Galina Ustvolskaya

Proms 2016: Galina Ustvolskaya – Symphony No. 3 ‘Jesus Messiah, save us!’

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Just when you’ve concluded the Proms are little more than schmoozing, emollience, accessibility and tradition, along comes Valery Gergiev and the Munich Philharmonic Orchestra with Galina Ustvolskaya‘s Symphony No. 3. Regarded superficially—and, tragically, this is the way the majority of commentators regard her work—Ustvolskaya’s music is the antithesis of comfort. She eschews most of the conventions of western art music, typically bringing together unusual groupings of instruments (often timbrally and registrally incongruous) which articulate themselves from within the strictures of an utmost rigid rhythmic grid. Again regarded superficially, she is the ostensible apogee of the cool, aloof, unemotional, detached composer. Which leaves the question of why four of her five symphonies, as well as the three ‘Compositions’ (together covering a period from 1970 to 1990, the last 20 years of her composing life), should be subtitled with overt religious quotations, extended to recited texts in the symphonies. Is it irony? mischief? sacrilege?

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New releases: Hans Werner Henze, Coppice, Galina Ustvolskaya, Gabriel Ledoux, Susanna Gartmayer, Alva Noto, Robert Normandeau, Erik Nyström

Posted on by 5:4 in CD/Digital releases | 1 Comment

Not many new releases have made much of an impact on me during the last month. Among the few that have, though, is a new box set from Wergo bringing together all ten of Hans Werner Henze‘s symphonies, performed by the Rundfunk-Sinfonieorchester Berlin conducted by Marek Janowski. Henze’s symphonies were an early interest of mine; as a teenager i became closely acquainted with the Deutsche Grammophon recording of the first six symphonies made by Henze himself with the Berlin Phil. i say ‘acquainted’, but at the time i was semi-mystified by various aspects of these pieces, and i’m not sure that the passing years or Janowski’s superb new rendition of them has made that mystification any less present. Which is not to say these symphonies are baffling or unengaging—not in the least—yet Henze’s mode of speech takes more than a little getting used to, and his inclination to veer between extremes can be decidedly disorienting. Those first six symphonies remain a challenge, and to no little extent they are ‘symphonies’ only in name, inclining more towards the heightened drama of music theatre. This, in fact, is a characteristic of all 10 symphonies, which is in turn one of the main facets that prevents them from sounding problematically abstruse; their swift adjustments and shifts between states—of behaviour, atmosphere, emotion, charge—is exhilarating and continually offers new ways into the often churning underlying mood. Read more

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Interrobang

Posted on by 5:4 in Concerts, i, Premières | Leave a comment

Apologies for the rather lengthy pause here on 5:4; for the last couple of weeks i’ve been snowed under with numerous things. The most important of them is the début concert by my new contemporary music ensemble, Interrobang, taking place in the Recital Hall of Birmingham Conservatoire next Monday (1 February), at 7.30pm. The programme is as follows:

Kenneth Hesketh – Fra Duri Scogli for six players
Paul Dolden – The Vertigo of Ritualized Frenzy. Resonance #4 for bassoon and tape [World Première]
Joanna Bailie – Charh for six players
Galina Ustvolskaya – Symphony No. 5 “Amen” for reciter and five players
Joanna Bailie – Five Famous Adagios for clarinet and string trio
Paul Dolden – The Heart Tears itself Apart with the Power of its own Muscle. Resonance #3 for 10 strings and tape [UK Première]

So… a pretty demanding collection of pieces, but all of them highly engaging, and often pretty mind-blowing. i know 5:4 has a pretty international readership, but anyone not too far from Birmingham, do come along if you can—it’s going to be a spectacular occasion, and lots of fun! Tickets are £5.50 (concessions £3).

An article about Paul Dolden, planned a long time back, will be coming soon, as will—i hope—the first 5:4 podcast.

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Mix Tape #6 : Piano

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For years, the piano has been to me an object of fascination and awe; its range of capabilities, expressive potential and timbral variety are breathtaking. Also for years, these qualities were the very things preventing me from attempting to compose something for it. Listening to piano music is a supreme joy, and so this new Mix Tape is a concoction of some of the more interesting examples that have been occupying my ears of late. It also represents some of my favourite composers, all of them bringing something unique to the instrument. Read more

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