Galina Ustvolskaya's guest appearances

Galina Ustvolskaya

Arts Alive

Record Review Podcast

Radio 3's Fifty Modern Classics

CD-Tipp

Art Music Perspectives

Benjamin Britten

Harrison Birtwistle

Bohuslav Martinu

Michael Nyman

Carolyn Sampson

John Cage

Vaughan Williams

Alfred Brendel

Leonard Bernstein

Richard Strauss

Jonathan Harvey

Guillaume de Machaut

Olivier Messiaen

Elliott Carter

Steve Reich

OwlTail

Soviet composer Galina Ustvolskaya wrote music that seemed to defy the rules of pain/injury prevention for pianists. Her pieces frequently ask the pianist to play with the edges of the hands, the clenched fist, or the forearms. Additionally, the expressivity of her works is extreme, with dynamics reaching cacophonous levels. Even so, what draws musicians to play her music? How did her music fit into late-Soviet society? My guests this episode are: •Maria Cizmic, Professor of Humanities and Cultural Studies at the University of South Florida; author of Performing Pain: Music &amp; Trauma in Eastern Europe•Tom Curry, Professor of Tuba &amp; Euphonium at UW-Madison•Iva Ugrcic, Director of LunART Festival (Madison, WI)•Satoko Hayami, Collaborative Pianist The music in this episode:•Bach/Busoni, Chaconne •Ustvolskaya, Piano Sonata No. 6•Ustvolskaya, Composition No. 1 (“Dona nobis pacem”) for tuba, piccolo, piano; featuring Tom Curry, Iva Ugrcic, and Vincent Fuh. Curry’s debut solo album is available from Summit Records: https://www.summitrecords.com/release/alight-tom-curry/ Transcript and CitationsDownload

Soviet composer Galina Ustvolskaya wrote music that seemed to defy the rules of pain/injury prevention for pianists. Her pieces frequently ask the pianist to play with the edges of the hands, the clenched fist, or the forearms. Additionally, the expressivity of her works is extreme, with dynamics reaching cacophonous levels. Even so, what draws musicians to play her music? How did her music fit into late-Soviet society? My guests this episode are: •Maria Cizmic, Professor of Humanities and Cultural Studies at the University of South Florida; author of Performing Pain: Music &amp; Trauma in Eastern Europe •Tom Curry, Professor of Tuba &amp; Euphonium at UW-Madison •Iva Ugrcic, Director of LunART Festival (Madison, WI) •Satoko Hayami, Collaborative Pianist The music in this episode: •Bach/Busoni, Chaconne •Ustvolskaya, Piano Sonata No. 6 •Ustvolskaya, Composition No. 1 (“Dona nobis pacem”) for tuba, piccolo, piano; featuring Tom Curry, Iva Ugrcic, and Vincent Fuh. Curry’s debut solo album is available from Summit Records: <a href="https://www.summitrecords.com/release/alight-tom-curry/" rel="nofollow" target="_blank">https://www.summitrecords.com/release/alight-tom-curry/</a> <a href="http://kyledjohnson.com/wp-content/uploads/2018/12/AMP-Ustvolskaya-1-Transcript.docx" rel="nofollow" target="_blank">Transcript and Citations</a><a href="http://kyledjohnson.com/wp-content/uploads/2018/12/AMP-Ustvolskaya-1-Transcript.docx" rel="nofollow" target="_blank">Download</a>

Performing Pain through the Music of Galina Ustvolskaya

Summer Record Review explores recordings of music by Galina Ustvolskaya

Proms Composer: Galina Ustvolskaya

Galina Ustwolskaja: Sonate für Violine und Klavier; Trio für Klarinette, Violine und Klavier; Duett für Violine und Klavier | 
Patricia Kopatchinskaja (Violine) | Markus Hinterhäuser (Klavier) | Reto Bieri (Klarinette)

Galina Ustwolskaja: Sonate für Violine und Klavier; Trio für Klarinette, Violine und Klavier; Duett für Violine und Klavier | Patricia Kopatchinskaja (Violine) | Markus Hinterhäuser (Klavier) | Reto Bieri (Klarinette)

Kammermusik von Galina Ustvolskaya

Composer and writer Gerard McBurney nominates the austere and uncompromising Octet by Galina Ustvolskaya, which changed his ideas of modern Russian music; and Gillian Moore highlights the intensity of this work, completed in 1950, in the shadow of the Soviet Zhdanov decree.

Galina Ustvolskaya's Octet