I have not heard any music by
Galina Ustvolskaya since I reviewed an album of piano music for MusicWeb International back in 2015. (DIVINE ART DDA25130). I explained
there that her work did ‘not appeal to me in the least’. On the other hand, I understood
the ‘huge importance and massive contribution to Russian music’ discovered by
many commentators. I have not changed that view.
The basic story of Ustvolskaya’s
musical development is by now well-known. She studied with Dmitri Shostakovich but
absorbed precious little from his musical style. Tending towards Modernist
music rather than Avant Garde, Ustvolskaya created a surprisingly small catalogue
of music. There are also several pieces written in the style of ‘Soviet
Realism’ that she subsequently disowned. Her ideal sound-world is grim, often dissonant
and rarely easy on the ear.
Galina Ustvolskaya developed a
nickname: ‘The Lady with the Hammer’. This was consequent on her often
percussive and aggressive manner of creating musical texture. Yet, in this new
CD of the violin and piano works, there is much that defies that sobriquet.
The present short programme (a mere
49 minutes) explores her ‘complete’ opus for violin and piano. The Sonata written in 1952 sounds relatively ‘conventional’
with identifiable musical phrases, motifs and regular discourse between
soloists. It includes possible allusions to the musical style of Shostakovich
and Paul Hindemith. There is even the making of a ‘neo-classical sonata’ here -
at least for some of the work’s progress. The opening of the sonata calls for the
rarely-used time signature of 1/4, which demands an intense playing style with
no ‘weak beats’ and no time to relax. This really sums up the work’s progress –
hard going. But the strange thing is
that amongst this dark music there are the occasional flashes of light and even
beauty. It is not all ‘hammer music.’
The Duet for violin and
piano (1964) is a totally different kettle of fish. Gone are any lingering nods
to other composers and ‘in’ is Ustvolskaya’s uncompromising style. Why did she
not call this work her Second Violin Sonata? The liner notes do not fully answer
this question but suggest that the ‘Duet’ is a ‘Drama’ – a story about two
people. Anecdotal evidence suggests that the composer used certain ‘key motifs’
as part of the work’s underlying ‘plot.’ Alas their associations have not been
identified. Perhaps one is the composer herself? These ‘gestures’ are worked
out almost to infinity, rising to a climax and then disappearing into silence.
The music features considerable
use of clusters and ‘extreme’ registers, motor rhythms harmonics and a general
flurry of aggressive gestures. Strangely, amongst all this angst is a short,
almost pastoral moment which seems to openly defy the prevailing musical
aesthetic.
The liner notes, in English only,
are presented as the soloists’ personal discovery of, and reaction to, this
music rather than a standard programme note. They are described by their author
as ‘very emotional and very subjective – more like ‘performer’s notes’ than an
academic essay. It is effective and provides a useful pattern for others. There
are brief biographies about the soloists.
The performance of these typically
unsmiling works is exceptional. They reveal commitment and understanding from
both soloists which transcends the bleakness of the music. The sound quality is
excellent, as expected of the Divine Art label. I wonder if the Clarinet Trio (scored
for clarinet, violin and piano) could have been included on this CD to make up
the programme. It is featured on the competitor CD of ‘complete violin works’
released by EMI in 2014. (481 0883, Patricia Kopatchinskaja/Markus Hinterhäuser/Reto
Bieri). I have not heard this CD.
Musically, I do not warm to Galina
Ustvolskaya’s two works for violin and piano, although I prefer the Sonata to
the Suite. I think that it is the obdurate
austereness of this music that puts me off. I accept that it is interesting and
unique in the world of music. It certainly justifies Ustvolskaya’s assertion ‘There
is no link whatsoever between my music and that of any other composer, living
or dead.’
Track Listing:
Galina USTVOLSKAYA
(1919-2006)
Sonata for violin and piano (1952) [19:47]
Duet for violin and piano (1964) [29:32]
Evgeny Sorkin (violin), Natalia Andreeva (piano)
Rec. Sydney Conservatorium of Music Recital Hall West, New
South Wales, Australia (June/July 2018)
DIVINE ART dda
25182 [49:19]
With thanks to MusicWeb International where this review was first published.
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