Описание CD

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  Исполнитель(и) :
   Ustvolskaya, Galina  (Composer) , Marianne Schroeder (Piano
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  Наименование CD :
   #3: Piano Sonatas 1-6



Год издания : 1995

Компания звукозаписи : hatART

Музыкальный стиль : Modern Composition

Время звучания : 1:10:27

Код CD : hatART CD 6170

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics (Modern Classics/SU)      

Digital recording: February 28 - March 3, 1994 at the Church Blumenstein/Thun (Switzerland).

This 1998 collection of Russian composer Galina Ustvolskaya piano sonatas is one of only two recordings. The other on Hat by Marianne Schroeder is perhaps more definitive, but Mr. Hinterhauser's readings are very fine as well. Spanning 43 years (the last sonata here is dated 1988, but was actually composed - according to the official edition - in 1990), these six sonatas reveal the development of a composer who is at times at odds with her own ability to innovate - tonally and modally - and a spiritual pessimism that cannot but help be expressed in a spacious yet darkly painted world of drones, overtones, and harmonic densities. "Sonata No. 3" is Ustvolskaya's longest and most beautiful achievement. Long strands of quartertones are played seemingly incessantly, as if being chanted by a monk's choir. Three haunting melodies present themselves in the first four minutes, yet none of them resolve it or the others. They hang there, like prayers extended in supplication and as yet unanswered. This sonata is ever waiting upon the sweep of divine intervention yet continues dutifully, persistently in its sweetness as if not convinced it's already not too late. It engages silence at its end, as the last statement of mystery, without wonder or expectation, its part in the spiritual equation complete. "Sonata No. 4" is almost Satie-like in its use of scales and clustered chords. There are extended quotations in its second movement that come over as a ballet. In the third and fourth movements you can hear traces of her mentor Shostakovich, but also the pianissimo of Rachmaninov. As the fourth movement sets to resolve itself, dissonance and pedal work offer stand-alone phrases composed of polytones and intervals that dictate form, though it is so individual and strident that it feels like the crag of a mountain peak in its severity. Mr. Hinterhauser is an effective pianist, his interpretations, while lacking the sheer physicality of Ms. Schroeder's, do offer another dimension to Ms. Ustvolskaya's compositions - that of space. Hinterhauser looks to the gaps, the rests between her intervals, for the subtleties in her austere lines and chords, for inspiration, and for revelation. And it works. Hinterhauser concerned himself with the spiritual element that is clearly at the heart of Galina Ustvolskaya's work, and has moved through his use of her space to turn pessimism into a kind of frustrated longing, which, given her few statements over these last three decades, is an accurate appraisal of her aim. This is a worthy companion to the Hat recording of Ms. Schroeder's performance; the sound is warm yet very accurate, and the interpretation is unique yet reverent.

All Music Guide

========= from the cover ==========

A PROFOUNDLY SOLITARY FIGURE

Galina Ustvolskaya's six piano sonatas recollect a primal and often forgotten scene in the history of musical modernism. Erik Satie is most often pigeonholed as the purveyor of a lyrically ironized mode of salon music, but in his early years he roamed into radical and unfamiliar harmonic realms, leaving the world of classical tonality disdainfully behind. The impetus for his innovations came from the Rosicrucian esoteric-mystical fad that swept over Symbolist Paris in the 1890's. He aimed to create hieratic, cryptic sound objects that stood as a musical counterpart to Mallarme's poetic art of disconnected word-painting.

Although Wagner figured heavily in the various Symbolist schemata, Satie rooted out the merest trace of Wagnerian sump-tuousness of texture. Instead, he took his lead from the gracefully skewed piano sketches of Chabrier and perhaps also Faure. To these he added his own lightning strokes of originality: polytonalities, cluster-like clouds of tone, endless phrases modeled on plainchant, obsessive repetition. Satie's legendary lack of seriousness has led many listeners to dismiss his Rosicrucian works as arcane jokes. They may well have been; but it is a grave historical error to set aside their separate musical substance in the same breath.

Ustvolskaya, another profoundly solitary figure in musical history, is one of very few twentieth-century composers who have explored the forbidding landscape discovered by the young Satie. She has taken into account certain later developments, most notably the full-blown cluster chords of Henry Cowell, the stripped-down early music of John Cage, the sound sculptures of such Russian constructivists as Roslavetz and Lourie, and the industrial-strength sonorities of Prokofiev (in his Parisian period) and Alexander Mossolov. But she has avoided the characteristic percussive momentum of much constructivist music. Her creations may be marked by unvarying rhythmic regularity, but they are fundamentally static rather than kinetic. They have more in common with the soft, painterly abstractions of Morton Feldman, although Ustvolskaya habitually inclines toward the opposite dynamic extreme. These six sonatas were written over a period of 40 years, but they have much material in common; they seem to join together to form a single supersonata. The Satie influence shows most clearly in the First Sonata (1947), whose third movement is for all intents and purposes a fourth Gymnopedie. It is fascinating to hear Ustvolskaya extrapolate outward from these Satie-like simplicities to the vast Shostakovichian crescendo of the fourth movement, with its slow thickening of rhythmic patterns and upward registral climb. There is, at the same time, a singularly Ustvolskayan ferocity in this movement's accentuation of dynamic extremes. Notice the flat, forceful announcement of the single note G flat at the end of the piece: this foreshadows the monomania of the Fifth Sonata.

The Second Sonata (1949) is notable for its more gentle dynamic shadings. The unwavering quarter-note tread of the first movement has also a Shostakovichian grimness about it; Ustvolskaya studied with Shostakovich and learned much from him, although it has also been suggested that the reverse was true. (Shostakovich quotes his student's Clarinet Trio in his Fifth String Quartet.) The second and final movement produces almost no contrast with the first, although it occupies a wider span and rises to several spastic triple-forte climaxes. Ustvolskaya here echoes Satie's innovation of abandoning bar lines and any trace of conventional melodic phrasing. The single-movement Third Sonata (1952) begins where the Second stopped, with long hypnotic strings of quarter tones. Beautiful bell-like chords provide contrast after the first quarter-note sequence ends. The following section has a Bachian feel to it, thanks to the repetition of a quasi-contrapuntal eighth-note figure. Some of these endless, unvariegated phrases also taken on the aspect of plainchant, appropriately enough given Satie's original mystical inspiration and Ustvolskaya's own powerful religious convictions. Throughout its span, this sonata imposes violent dynamic contrasts and also mercurial shifts in tempo. The accumulation of huge sonorities toward the end of the sonata, with the Bachian figure paramount, is the kind of structurally ambitious effect that Satie never attempted, and that Shostakovich achieved only by much less radical means.

A haunting sequence of soft cluster chords begins the Fourth Sonata (1957), reminiscent of Satie's Le Fils des Etoiles. Smoothly flowing eighth-note patterns and dotted figures bring a relief from the heavy, unvarying tread of the previous two sonatas, though the colossal plainchant-like quarter-note assault returns a couple of times in the course of this brief work. The most important development here is the sustained employment of large cluster chords, usually of six tones together. It is characteristic of Ustvolskaya's highly individual sense of tonality that these fearsome chords are seldom used simply to provide a maximum of dissonance: the chords are built from basic triads with extra tones attached.

The Fifth sonata, in ten movements, is the largest and at the same time most concentrated of the set, being essentially a set of fantasias on the note D-flat.Thirty years elapsed between this sonata and the last, and one immediately notices an evolution in Ustvolskaya's harmonic style, particularly the increasing dependence on cluster chords. An important precursor to this work is Prokofiev's Second Sonata, which hammers away at C-sharp. Much of the time, Ustvolskaya's obsessive tone blares through foreign harmonic groups like a kind of nightmarish buzzing in the ear. Amid the fourth movement's stabbing four-note clusters, however, it burns like the welcoming light of home. In the final movement, Espressivissimo, it has the short-long pulse of a heartbeat; here one might think of Mahler's cardiovascular Ninth Symphony turned upside down and hollowed to the core. This is minimalist drama of a high order. In the Sixth Sonata, Ustvolskaya impossibly rises to an even higher pitch of relentlessn-ess. Aside from a brief pianissimo passage, the whole work is marked quadruple or quintuple forte, and clusters proliferate to the extent that the printed music begins to resemble a graphic illustration in particle physics. Single notes are struck with three fingers or the side of the palm; clusters stretch across an octave or a ninth, struck with the full span of the hand. More than previous installments in the cycle, this sonata presses forward in a linear motion -thundering octave clusters and downward-plunging lines almost give the final section the character of a conventional bravura climax. But Ustvolskaya's music belongs so utterly to a separate world that all historical echoes, including all those of Satie, can only be registered as afterthoughts. What is most astonishing about these works is how brute dissonance becomes nobly and intensely expressive, like rough-cut stone metamorphosed into shining marble pillars.

-Alex Ross, April 1995


  Соисполнители :

Markus Hinterhauser (Piano)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 Sonata No. 1         0:10:01 Ustvolskaya
   2 Sonata No. 2         0:09:07 -"-
   3 Sonata No. 3         0:17:31 -"-
   4 Sonata No. 4         0:10:34 -"-
   5 Sonata No. 5         0:16:59 -"-
   6 Sonata No. 6         0:06:15 -"-

      Обозначения:

 T   'щелкнуть' - переход к тексту композиции.

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Последние изменения в документе сделаны 20/10/2016 22:07:42

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