| Galina Ustvolskaya | |
| Birth Date: | 17 June 1919 |
| Birth Place: | Petrograd, Russian SFSR |
| Death Place: | Saint Petersburg, Russia |
Galina Ivanovna Ustvolskaya (Russian: Галина Ивановна Уствольская, 17 June 1919 – 22 December 2006) was a Russian composer of classical music.
Born in Petrograd, Ustvolskaya studied at the college attached to the Leningrad Conservatory (later renamed the Rimsky-Korsakov Conservatory) from 1937 to 1939, where she would later go on to teach composition. Her paternal grandfather was an influential priest in the Eastern Orthodox faith and his wife, Ksenia Kornilievna Potapova, was born into nobility. Although Ustvolskaya claims that her paternal grandmother grew up poor, her family status helped her access a good education. Nonetheless, Ustvolskaya lived an impoverished childhood.[1] In 1939 she was the only female student in Dmitri Shostakovich's composition class at the Conservatory. Her composition teacher said of her:
Shostakovich sent some of his own as yet unfinished works to Ustvolskaya, attaching great value to her comments. Some of these pieces contain quotations from his pupil's compositions; for example, he employed the second theme of the Finale of her clarinet trio throughout the Fifth String Quartet and in the Michelangelo Suite (no. 9).
Ustvolskaya was a pupil of Shostakovich from 1939 to 1941 and from 1947 to 1948, but her works from the 1950s onwards retain little influence of his style. Until 1961 none of her true works were performed other than patriotic pieces written for official consumption. The middle of the 1960s witnessed greater tolerance for modernist music, and interest in Ustvolskaya grew – the Leningrad Union of Composers organized in the 1970s evenings of her music, which received high praise from listeners and critics. Widespread recognition came after her music was performed in several concerts of the 1989 Holland Festival.
The exact nature of Ustvolskaya's relationship to and involvement with Shostakovich has been unclear. In an interview for the TV program Tsarskaya Lozha, which celebrated Ustvolskaya's 80th birthday, she said, "It is sad that Shostakovich and myself were not ‘soul mates’; I know that he liked me and always treated me with respect, but I never reciprocated his feelings." She has also revealed that her former teacher once proposed to her, but she did not accept.[2]
From 1947 till 1977 she taught composition at Leningrad Conservatory. She allegedly spent this time working in a military hospital.[3] She taught her students to write polyphonically and contrapuntally, showing them works from Mahler, Stravinsky, and her previous teacher Shostakovich (specifically lesser known works by these composers, as suggested by several former students). Her students were predominantly male, with many of them infatuated by her. Her teaching style was more focused on aesthetics and feeling instead of harmony or scientific technique, and often encouraged students to experiment with modes instead of the typical major or minor scales.[4]
Ustvolskaya developed her own style, of which she said, "There is no link whatsoever between my music and that of any other composer, living or dead."[5] Among its characteristics are the use of repeated, homophonic blocks of soundwhich prompted the Dutch critic Elmer Schönberger to call her "the lady with the hammer"[6] unusual combinations of instruments (such as eight double basses, piano and percussion in her Composition No. 2); use of extreme dynamics (as in her Piano Sonata No. 6); the employment of groups of instruments to introduce tone clusters; sparse harmonic textures; and the use of piano or percussion to beat out unchanging rhythms. Ustvolskaya's music has been described by critics and scholars as carrying “the bleakness of one who stares into the void on a regular basis”[7] and as evoking “visceral feelings of horror.”[8] Many have attributed influences to her work, all of which Ustvolskaya has denied.[9]
Despite being a highly private person, Galina Ustvolskaya commented publicly on the spiritual aspects of her music. She often incorporated religious texts, especially in her later works, though she insisted that none of her pieces conform to the beliefs of a specific religious sect. In an interview, her friend and publisher Viktor Suslin stated that her music is not liturgical and should not be labelled as religious, but rather that it “springs directly from the contact she feels with God.”[9] When discussing her compositional process, Ustvolskaya once said that she only composed when she “fell into a state of grace”[10] inspired by God and that “each work has a very long period of coming into being, after which she simply writes it down.” When offered a commission, she wrote: “If God gives me the opportunity to compose something, then I will do it without fail.”[11] Although it is unclear whether Ustvolskaya was a member of a religious community, it is evident that she was greatly inspired by her spiritual connection to God and that it was integral to her compositional process.
The music of Galina Ustvolskaya was not openly censured in the USSR. However, she was accused of being unwilling to communicate and of "narrowness" and "obstinacy".
Though many who knew Ustvolskaya perceive the Western sentiment toward her compositions to be one of rebellion and grandiosity, with pianist Oleg Malov even calling her methods a totalitarian fight against Soviet Russia's totalitarian regime - resulting in 'double totalitarianism'. While her propensity for a grandiose attitude was seemingly present in her personal life, and noted by several students and colleagues, she never composed "for the table" (for money) and mainly thought of herself and her music as being misunderstood by those around her.
It has long been speculated that Ustvolskaya hid or destroyed compositions that did not meet the government's expectations of socialist realism for music, however she stated in an interview with biographer Olga Gladkova - whose book "Galina Ustvolskaya: Music as Obsession" seemingly has a controversial reputation amongst Ustvolskaya's contemporaries - that her main source of inspiration was God, claiming, "I begin to write when I enter a special state of grace. Music is born in me, and when the time comes, I record it. If the time doesn't come, I destroy it." But, when asked if she viewed her own compositions as Russian national (or nationalistic), Ustvolskaya noted that Da Vinci, Rembrandt, Bach, and Beethoven are not mainly associated with their nationalities and that their art is "higher" than such labels. She continued, "I only accept such work, meaning all types of art."[12]
Moreover, one of Ustvolskaya's contemporaries, pianist Tatyana Voronina, likened the former's compositional style to a prisoner's shackles. In an interview, Voronina said that Ustvolskaya's use of rhythmic, repeating crotchets expressed a ‘dark, somewhat schizophrenic worldview.’ This sentiment was echoed by Soviet musicologist Ekaterina Ruchevskaya, who claimed of Ustvolskaya's alleged mental instability, "Whether or not there were some mental problems, I cannot say for sure, but I knew of one suicide attempt [...] She also had two students, one of whom, Alesha Nikolaev, an incredibly gifted boy, committed suicide aged 18".[13]
Ustvolskaya's relationship with Shostakovich from her time as a student through the 1950s is fictionalized in William T. Vollmann's National Book Award-winning historical novel Europe Central.
Ustvolskaya died in Saint Petersburg. Her manuscripts are stored in the archive of the Paul Sacher Stiftung since 1994.
See main article: Piano Sonatas (Ustvolskaya). Ustvolskaya's oeuvre is small, with only 21 pieces in her characteristic style (i.e. excluding the public, Soviet-style works).
– Zoon / Oostendorp / Malov RN (Radio Netherlands)
– Renggli / Le Clair / Schroeder Hat Art CD 6130
– Tokarev / Arbuszov / Malov Megadisc MDC 7867
– Members of the Schönberg Ensemble / de Leeuw* Philips 442 532-2
– Osten/ Hilgers / Hagen Koch 31 170-2 H1
– Propischin / Kolosov / Goryachev / Vulik / Kovulenko / Peresipkin / Sokolov / Nefedov / Javmertchik / Sandovskaya / Malov Megadisc MDC 7867, Megadisc MDC 7858
– Schönberg Ensemble / de Leeuw* Philips 442 532-2
– Amsterdam Wind Ensemble / Friesen RN (Radio Netherlands) Globe 6903
– Danilina / Osipova / Rodina / Tokarev / Makarov / Shevchuk / Sokolov / Krasnik / Sandovskaya / Malov Megadisc MDC 7867
– Schönberg Ensemble / de Leeuw* Philips 442 532-2
– Jones / Coffin / Keen / Stevenson / O’Neill / Antcliffe / Newman / McNaughton / Stephenson / Stephenson Conifer 75605 51 194-2
– Lubimov / Deutsche Kammerphilharmonie / Schiff Erato 0630 12 709-2
– Seribryakov / Chamber Orchestra of the Leningrad Philharmonic / Malov. Musica Non Grata Series. Melodiya BMG 74321 49 956-2
– Beths / de Leeuw* Hat Art CD 6115
– Shustin / Malov Megadisc MDC 7863
– Rissin / Rissin-Morenova SST 30211
– Stolpner / Malov ... (LP) Melodia C10 23283 007, Musica Non Grata Series. Melodiya BMG 74321 49 956-2
– Vassiliev / Malov Megadisc MDC 7863
– Uitti / Malov RN (Radio Netherlands)
– Kooistra / Denyer* Etcetera KTC 1170
– de Saram / Schroeder Hat Art CD 6130
– Beiser / Oldfather Koch 37 301-2 H1
– Rostropovich / Lubimov EMI 572016-2 *Ustvolskaya’s preferred recording
– Kossoyan / Tchinakov / Stang / Liskovich / Dukor / Soakov / Snamenski / Karandashova (LP) Melodia C10 0 715 152 Musica Non Grata Series. Melodiya BMG 74321 49 956-2
– Neretin / Tosenko / Stang / Ritalchenko / Lukin / Tkachenko / Znamenskii / Malov Megadisc MDC 7865
– Bohling / Tindale / Fletcher / Muszaros / Tombling /Iwabucchi / Cole / Stephenson* Conifer 75605 51 194-2
– Malov / Liss / Ural Philharmonic Orchestra (CD) Megadisc MDC 7856 (2000)
– Malov(LP) Melodia C10 23 283 007, Megadisc MDC 7876
– Denyer* Conifer 75605 51 262-2
– Schroeder HEK Hat 6170
– Hinterhäuser COL Legno WWE 20019
– Malov Megadisc MDC 7876, Megadisc MDC 7858
– Denyer Conifer 75605 51 262-2
– Vedernikov* Teichiku TECC – 28170
– Schroeder HEK HAT 6170
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– Malov Melodia C10 0715 152 (LP), Megadisc MDC 7876, Musica Non Grata Series. Melodiya BMG 74321 49 956-2
– Denyer* Conifer 75605 51 262-2
– Karlen ECM 449936-2
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– Malov (LP) Melodia C10 23283 007, Megadisc MDC 7876
– Denyer* Conifer 75605 51 262-2
– Varsi Mediaphon 72. 158
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– de Leeuw* Hat Art CD 6115
– Denyer Etcetera KTC 1170, Conifer 75605 51 262-2
– Malov Megadisc MDC 7876, MEGADISC MDC 7858
– de Leeuw WD 02 (Wittener Tage für neue Kammermusik)
– Karlen ECM 449 936-2
– Schroeder HEK Hat 6170
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– Malov Megadisc MDC 7876 Megadisc MDC 8000
– Denyer* Conifer 75605 51 262-2
– Mukaiyama BVHAAST CD 9406
– Arden Koch 37 301-2 H1, KOCH 37 603-2 H1
– Schroeder HEK Hat 6170
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– Shustin / Malov Megadisc MDC 7865
– Rissin / Rissin-Morenova SST 30211
– Malov / Liss / Ural Philharmonic Orchestra (CD) Megadisc MDC 7856 (2000)
– The St. Petersburg Soloists / Malov / Liss Megadisc MDC 7854
– The St. Petersburg Soloists / Malov / Liss Megadisc MDC 7854
– Symphonieorchester des Bayerische n Rundfunks / Stenz / Sherstanoi Megadisc MDC 7858
– van Vliet / Konink / Denyer / Meeuwsen Etcetera KTC 1170, Megadisc MDC 8000
– Marrs / Keemss / Miller / Sperber Mediaphon MED 72 115
– The St. Petersburg Soloists / Malov / Liss Megadisc MDC 7854
– Leiferkus / Fletcher / Bohling / Hultmark / Powell / Cole / Stephenson CONIFER 75605 51 194-2
– The St. Petersburg Soloists / Malov / Liss MEGADISC MDC 7854
– Schroeder Hat Art CD 6130
– Malov Megadisc MDC 7867
– Arden* Koch 37 301-2 H1
– Beths / de Boer / de Leeuw* Hat Art CD 6115
– Keser / Anderson / Denyer* Etcetera KTC 1170
– Shustin / Feodorov / Malov Megadisc MDC 7865
The music of Spiritual Independence: Galina Ustvolskaya in «Ex oriente...I» Ten Composers from the former USSR. Viktor Suslin, Dmitri Smirnov, Arvo Pärt, Yury Kasparov, Galina Ustvolskaya, Nikolai Sidelnikov, Elena Firsova Vladimir Martynov, Andrei Eshpai, Boris Chaikovsky. Edited by Valeria Tsenova (studia slavica musicologica, Bd. 25), Verlag Ernst Kuhn – Berlin. pp. 207–266 (in English)