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SALZBURG FESTIVAL | CONCERT 2018
21 July, 21:30
Performers: Evert Sooster, Klangforum Wien, Ilan Volkov, The Orlando ConsortWorks by Galina Ustvolskaya, Carl Theodor Dreyer
22 July, 18:00
Stiftung Mozarteum – Großer Saal
Performers: Igor Levit, Chor des Bayerischen Rundfunks, Howard Arman, Patricia Kopatchinskaja, Markus HinterhäuserWorks by Franz Liszt, Galina Ustvolskaya
22 July, 22:00
Performers: Markus HinterhäuserWorks by Galina Ustvolskaya
23 July, 20:30
Performers: Collegium Vocale Gent, Collegium Vocale Gent Orchestra, Philippe Herreweghe, Marino Formenti, Klangforum Wien, Ilan VolkovWorks by Heinrich Schütz, Galina Ustvolskaya
24 July, 18:00
Performers: Evert Sooster, Florian Müller, Klangforum Wien, Ilan VolkovWorks by Galina Ustvolskaya
Cy Twombly · Shades of Night, 1977 · Collection Cy Twombly Foundation · Courtesy: Cy Twombly Foundation, © Cy Twombly Foundation, 2017
CONCERT 2018 | THE SERIES
sponsored by Roche
Rarely have suffering and passion, unwavering faith and profound despair, the grandiose and the violent been so closely linked as in the work of Galina Ustvolskaya (1919–2006). Her curiously painful, highly dissonant style is full of extremes, and refuses to be associated with any one school. Ustvolskaya always contemplated the greater scheme of things: with a few, often apparently disparate instruments, her symphonies can describe the world within a short space of time. However, that world has gone awry. Nonetheless, or precisely because of this, these works bear titles such as ‘True, Eternal Bliss’, ‘Jesus Messiah, Save Us!’, ‘Prayer’ or ‘Amen’.
Galina Ustvolskaya loathed the term ‘chamber music’ for the obsessive explorations of the soul – and rightly so. She gave three works the simple title of ‘Composition’, and added these religious subtitles: ‘Dona nobis pacem’, ‘Dies irae’ and ‘Benedictus qui venit’. The centrepiece of her œuvre are the six Sonatas for Piano: written between 1947 and 1988, they cover an enormous musical range and have become a mainstay for performers and audiences alike.
It is self-evident that such writing was in opposition to the official doctrine of the Soviet Union. Dmitri Shostakovich stood up for the maverick composer on numerous occasions. ‘It is not you who are under my influence’, he once wrote to his former student, ‘but I who am under yours’. He trusted her judgement, quoted her in several works – although she herself never quoted anyone.
‘Zeit mit Ustwolskaja’ (Time with Ustvolskaya) offers audiences the opportunity to expose themselves to a concentrated dose of this unique musical voice – and to feel both its pain and its passion.
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