Galina Ustvolskaya - Piano Sonatas 1-6 (1995)

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Galina Ustvolskaya - Piano Sonatas 1-6 (1995)

Galina Ustvolskaya - Piano Sonatas 1-6 (1995)
EAC RIP | APE + CUE + LOG | COVER + BOOK | RAR FILES (3% recovery) | 204 Mb
Classical | hatART CD 6170

Galina Ustvolskaya - Piano Sonatas 1-6 (1995)

1 Sonata No. 1 Ustvolskaya 10:00
2 Sonata No. 2 Ustvolskaya 9:07
3 Sonata No. 3 Ustvolskaya 17:31
4 Sonata No. 4 Ustvolskaya 10:34
5 Sonata No. 5 Ustvolskaya 16:59
6 Sonata No. 6 Ustvolskaya 6:15

Who wouldn’t sympathise with Shostakovich’s fascination for his brilliant pupil, which master wouldn’t feel tempted to ask Galina to marry him as he did? Galina, The Lady with the Hammer, not the hammer of gods, ethereal and subtle, but the hammer made of steel banging against the steel of an anvil. Steel against steel in a clash that produced atonal gold. In Galina’s template, the cliché stating that mellifluous combinations lead to thunderous outcomes is subverted. Thereby, the reverse goes on: brutal superposition of thunder upon thunder leads to subtlety. That is the offer of this distinct and highly unlikely heiress of Eric Satie. The same Satie who is the unlikely precursor of Morton Feldman, Galina’s apparent antipode.

With a view to gain insight into GU’s piano music, let us take a closer glimpse at a polemic excerpt showing Alex Ross opinion on Ustvolskaya’s piano works, where he asserts that:

“She is at the furthest possible remove from the Serialists, practicing complexity for complexity’s stake. Much of her work is more or less tonal, or at least modal: long, regular strings of notes in formations resembling plainchant, pinned on percussive patterns. There are also some startling stretches of untroubled lyrical repose. Most important, every passage is given a clear and vivid place in a linear narrative. Sounds become hard objects in space. As Feldman approximated certain aspects of abstract painting, Ustvolskaya has made music into sculpture.”

It is easy to agree with Ross’s claim that Ustvolskaya would not fall in the trap of practising complexity for complexity’s stake as some Serialists have done, just as non-serialist composers stemming from any ‘school’ have attempted to do. However, I am taken aback by Ross’ assertion that ‘much of her work is more or less tonal, or at least modal’. First, Ross is falling into the time-old pitfall conflating Serialism with Atonality. The fact that GU did not practise complexity for complexity stake would not exempt GU’s from serialist (or serial) epistemes: she was indeed a serialist composer in the patterns she moulded, and along which unfolded her blend of atonalism. I am sure Ross is perfectly aware of the possibility to single out entire tonal passages out of a score whose structure is unmistakably and consistently atonal, which would not make that music less atonal, no big deal.

Along these lines, Ross (and his ‘more or less tonal’) knows very well that GU’s aesthetics is indeed atonal, and brilliant at being so for the matter. Moreover, it was the serialist solutions that enabled GU to keep an absolutely original grip on atonalism. Hence, those same serialist solutions systematically mulched GU inspiration, making possible what Ross describes as “long, regular strings of notes in formations resembling plainchant, pinned on percussive patterns.” Furthermore, no musicological verbiage will, by some kind of rhetoric magic, turn GU’s atonal sonatas into Keith Jarrett’s “Köln Concert”, to the same extent that the book he wrote, “The Rest is Noise”, which I enjoy and respect, will never become and it was never intended to become Theodor Adorno’s “Philosophy of New Music”. Last but not least, it was through and not despite Ustvolskaya’s successful endeavours to compose within atonal rationalities that she managed to turn music into sculpture, like Morton Feldman’s abstractions from painting.

Ross should know better how to make GU’s music more gullible to his readers. Assuming the hypothesis that turning her music into ‘tonal’ would make her art more gullible is a dubious stratagem, which underestimates his readers and misrepresents the composer’s achievements.

HauHut Label published unflawed renditions by Marianne Schroeder of some of GU’s achievements that avant-garde music fans cannot afford to bypass.

Each of Ustvolskaya’s “Six Sonatas” — sonatas with no name — hammers into life a physiognomy of darkness.
Were there darker provinces of the night, and Galina’s sonatas would thereby resonate.

Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

Estrazione File Di Log EAC Del 13. Dicembre 2010, 15:06

galina ustvolskaya / 3 (marianne schroeder, p)

Unità Predefinita: ATAPI DVD A DH16A1L Adapter: 1 ID: 0

Modalità Di Lettura: : Sicura
Utilizza Lettura Accurata : Sì
Disattiva Cache Audio : Sì
Rileva Errori Lettura C2 : No

Correzione Offset Di Lettura: : 6
Sovrascrivi Anche Nel Lead-In E Lead-Out : No
Riempi Sample Offset Mancanti Con Silenzio : Sì
Rimuovi Blocchi Di Silenzio Ad Inizio E Fine Traccia : No
Usa I Sample Nulli Nel Calcolo CRC : Sì
Interfaccia Usata : Interfaccia Nativa Win32 Per Windows NT & 2000

Formato Di Destinazione Scelto: : Routine Interne WAV
Formato Sample : 44.100 Hz; 16 Bit; Stereo

TOC Del CD Estratto

Traccia | Inizio | Lunghezza | Inizio Settore | Fine Settore
1 | 0:00.00 | 10:00.62 | 0 | 45061
2 | 10:00.62 | 9:07.00 | 45062 | 86086
3 | 19:07.62 | 17:31.00 | 86087 | 164911
4 | 36:38.62 | 10:34.00 | 164912 | 212461
5 | 47:12.62 | 16:59.00 | 212462 | 288886
6 | 64:11.62 | 6:15.13 | 288887 | 317024

Stato Intervallo Ed Errori

Intervallo Selezionato

Nome File C:\avaxhome\galina ustvolskaya - 3.wav

Livello Di Picco 97.7 %
Qualità Intervallo 100.0 %
Copia CRC 9D0559C6
Copia Corretta

Non Sono Stati Riscontrati Errori

Sommario Accuraterip

Traccia 1 Estratta Accuratamente (Confidence 1) [B3A14426]
Traccia 2 Estratta Accuratamente (Confidence 1) [191788AA]
Traccia 3 Estratta Accuratamente (Confidence 1) [2E866F2A]
Traccia 4 Estratta Accuratamente (Confidence 1) [7B28C22E]
Traccia 5 Estratta Accuratamente (Confidence 1) [65320C4F]
Traccia 6 Estratta Accuratamente (Confidence 1) [5AE84AD2]

Tutte Le Tracce Sono State Estratte Accuratamente

Fine Del Resoconto Di Stato

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