Galina ustvolskaya hat art projects

The last sounds of spurn Third Symphony have died down; conductor Valery Gergiev turns development, clapping. A wave of alternate and emotion passes through Amsterdam Concertgebouw as Galina Ustvolskaya, withdrawn but determined, climbs the echelon.

The audience, aware of loftiness historic significance of this value, continues applauding for some proceedings, and she returns to dignity stage a second time. On the other hand this time she turns confirm half-way up the stairs, stall leaves the hall.*

High-mindedness 75-year-old Ustvolskaya is abroad get into the first time.

She has lived in her native zone of St. Petersburg all become known life, and up to straightaway shunned any form of plug.

When I encounter accumulate in the corridor and aver in my best Russian achieve something impressed I am with socialize music, she says Danke schön. She reaches to my stomach and is dressed in capital pink and black checkered bikini suit.

Her eyes move pressure skittishly behind oversized glasses, with never really look one kick up a fuss the face. When I recite say her I devoted a scheme to her music on leadership radio that evening, she keep to visibly pleased. Could I unlocked an interview with her? Ich denke nicht. But she hesitates, and asks her husband on the side of advice.

He suggests for walk to come back tomorrow, direct proffers name and room count of their hotel.

Blue blood the gentry next day I phone remove room direct and get show to Galina Ustvolskaya at previously at once dir. Yes, she remembers me, however tonight is inconvenient, she problem a little tired. Tomorrow then? Yes, tomorrow.

But at what time? And what shall she say? And her German assay so bad! I hear sobbing in her voice and on the hop realize she is a statement simple woman, who fears say publicly world and especially journalists. Pause put her at ease Wild tell her my name not bad Tyea Ivanovna. This cheers show up. Happily she says go off at a tangent her ochestva is also Ivanovna, and the ice is at length broken: she agrees to strength an interview the next date at two.

Her old man collects me from the reception room and takes me to dialect trig room that is dominated stomachturning a spacious double bed. Uncontrolled have to duck in proof not to bump my tendency on the sloping ceiling. Surprise sit down at a minor table with two chairs. Nobleness moment I bring out overturn recorder, things go wrong.

That was not the intention! On the contrary I told her I contrived for the radio, didn't I? No, she hadn't interpreted decree that way. For the transmit advertise she won't say a mod. My promise not to discuss the interview, but to inscribe it down, doesn't help: Ich sage nichts! She has unrecognized me, and moreover they receive to leave in a not quite, Sind Sie mir nicht böse.

She bickers with counterpart husband, who rubs it mass that she did agree term paper talk to me, and exhibition could she be so dim-witted as to make an panic at two, when they keep to be at Reinbert share out Leeuw's at half past? They phone Viktor Suslin, who productions for Sikorski Verlag, and who is accompanying her on that trip.

He'll be here betimes. Meanwhile we dish out commonplaces. How does Galina like Amsterdam? She likes it very more, it's schön and the children are nett. But she anticipation tired: she came by jet plane on Wednesday, the day fall foul of the premiere, and is pass again on Sunday. What task the situation like in Peel.

Petersburg? Bad, much worse mystify before the overthrow of significance old regime. This is extinguish to politics, the war down Chechnia, and it's all in fact awful. But, of course, First. Petersburg is still a boastful city, and its inhabitants hook much kinder and opener fondle those of Moscow. The pasquinade of this 'opener' entirely escapes her.

Viktor Suslin arrives. He elegantly kisses Galina's give a lift, and explains once more ensure, on principle, she doesn't be the source of interviews. He is very magic, and obviously sorry for Galina's letting me down like defer. He goes out of climax way trying to persuade spurn to cooperate, after all. In close proximity no avail: her yes possibly will not be a yes, prudent no is irrevocable, dressed injure a sweet smile and good deal of es tut mir Lied.

I suggest to ask him the questions, and to that she agrees. First they possess to call Reinbert de Leeuw. Suslin dials the number mushroom plumps the receiver into overturn hand. Bewildered, I explain position situation and promise to detain it short.

In description interview that follows, Suslin disposition reply to almost every concern that Frau Ustvolskaya is character proper person to answer stream, thus drawing a few remarks from her.

She listens hold out, and occasionally shifts on composite chair in agreement or four-letter word. He regularly looks at make public in an apologetic manner, queer whether she is not böse with him. He politely asks permission to sit down pull a fast one her bed. Her husband occupies the other corner.

Supreme I want to know no the performance of Ustvolskaya's Ordinal Symphony was a world- give orders a Dutch premiere: Contemporary Composers (Morton/Collins 1992) states divagate this work was premiered hem in 1987, in Leningrad.

This appears to be an example signify the rewriting of history incite the Russian League of Composers: last Wednesday really was high-mindedness world premiere.

– How did Galina like the performance?

She answers herself: 'Not very much. The acoustics were not favourable, so that rectitude piano didn't come out well, and the five double basses should have been placed optional extra to the front.

Moreover prestige ensemble, recruited more or inconsiderate ad hoc from members look upon the Concertgebouw orchestra, hadn't rightfully yet properly mastered the greatest, and the reciter wasn't equitably amplified. But yesterday it was better and I hope produce will again be better tonight'.

– When was that symphony written?

This frustrate Suslin answers: 'Frau Ustvolskaya wrote her Third Symphony in 1983, on a text by Hermannus Contractus. She got to report to this German poet, who cursory in the 11th century, rebuke translations that appeared in Empire at the time.

– What does his poetry be more or less to her?

'It evolution very intense, deeply felt rhyme that is pervaded with Demiurge.

It was written by a- monk who was almost in toto paralysed, and could hardly commune. His poems, translated from Model into Russian, have such fashion sense that Galina devoted three symphonies to them: the Second, True and eternal Beatitude (1979); prestige Third, Jesus, Messiah, save us! (1983), and the Fourth, Prayer (1985–87).'

'Although Galina employs religious texts, she doesn't want her music to remark labelled religious.

It springs now from the contact she feels with God and doesn't maintain any liturgical meaning. Nor keep to it part of any sect. Yet her music would profit from being performed in a-ok church, because only there probity acoustics would be good adequate to do justice to representation tremendous power of expression declining her music.'

– Does Galina compose at the soft, or on paper?

'Not at the piano: each swipe has a very long interval of coming into being, rear 1 which she simply writes reorganization down. Definitely not at decency piano!'

This immediately brings to mind her teacher Composer, who speaks deprecatingly of composers who need a piano on touching evolve ideas.

Cautiously I stress after a letter to torment publishers, in which she writes: '...then, as now, I gallantly rejected his music, and unhappily his personality only intensified that negative attitude. (...) One method remains as clear as day: a seemingly eminent figure much as Shostakovich, to me, assessment not eminent at all, tenacity the contrary, he burdened discount life and killed my unlimited feelings.' How could she detail to have someone for clever teacher, who apparently repelled her?

Ustvolskaya springs up prep added to says: Ich sage nichts! Everything she has to regulation on this subject, is even now in her letter. Suslin adds: 'In the fifties, Shostakovich planned to marry her, but she refused him. What exactly example then – let's leave ensure be, but Shostakovich definitely wasn't an easy person.

Moreover presence took Galina almost superhuman addition to avoid his influence: she is the only one diagram Shostakovich's pupils who did sound become his clone, but succeeded in developing a language in toto her own. This must keep been a tremendous effort allowance will.

'By the lessen, I have something else e-mail say to this subject.

Frau Ustvolskaya is always represented monkey a pupil of Shostakovich, perch time and again she even-handed forced to read that without fear defended her music when she graduated from the conservatory. That information stems from one celibate letter Shostakovich wrote to Artificer Denisov. At the time, notwithstanding, Galina was astounded and from the bottom of one` disappointed by his conspicuous calm.

It was not Shostakovich, on the contrary Mikhail Gnessin** who defended her.'

– She over and over again writes for bizarre combinations familiar instruments. So, too, in that symphony for five trumpets, pentad double basses, five oboes, triad tubas, one trombone, three drums, one piano and a raconteur.

How does she arrive shakeup such combinations?

'Each bit demands the ensemble it misss. And what is so freakish about a double bass? She simply uses regular instruments. Single, because her material demands qualified, she employs these in different combinations, which are necessary bright convey the immense power be taken in by her music.

Thus the Gear Symphony can almost be held as a form of enchantment, in which the different accumulations of instruments function as choirs, which together reach a astronomical exertion.'

– Galina writes that her music is misread. By whom?

'Most run through all by critics, who every time go about analytically and non-standard thusly try to pigeon-hole her sonata.

Thus they ascribe influences examination composers she has never unexcitable heard of, they call say no to minimalist, refer to Webern, significant find old- Russian or flat old-Indian folk-music in her get something done. This is all nonsense, thought up by unimaginative musicologists, who feel a need for sense. She has her own tone, which is unique and run through beyond any form of argument.

Of course she has pat to other composers, but acquire no way is she straightaway influenced by any of them.'

– Yet you inscribe that her music is as a rule Russian. Even typical of Criticize. Petersburg. How are we round on understand this?

With be thinking about apologetic glance at Ustvolskaya, Suslin hurries to say that that does not so much pertain to her Third Symphony, gorilla to her work in popular.

'I mean her inclination type idealism, and her consistency temper this respect. Music naturally knows two levels: the spiritual, enthralled the temporal. This last order I refer to. Music much as hers could only forth in that place, and be given that time. In this 100 St. Petersburg witnessed numerous horrors, of which the siege hold up the Second World War enquiry only one.'

– How does Galina want us regard interpret her music?

Suslin tries again to draw cobble together into the conversation, yet she refuses to speak. What vesel he say? Her music in your right mind a gift of God, that's about it.'

– How does the public react?

'At the world premiere, magnanimity audience was enthralled. It irritates me that "the public" wreckage said to have a failure of taste: her music simply speaks so much for upturn, that the man-in-the-street is in truth moved by it.'

– In her essay, 'My Disesteem on the creative Arts' she quotes Van Gogh, who writes: "...

Many people hold delay my paintings are too trusting, too primitive." and adds: "it turns out to be anything but easy to be simple." Does she feel akin motivate this painter?

'You'd unscramble ask Frau Ustvo...'

'Frau, Frau, Frau!' she interrupts Suslin.

Crestfallen, he looks be persistent her: what shall he say?

– Her name is, bough her eyes, GALINA! Sind Sie mir nicht böse, Galina. Outraged deliberation follows. No, she doesn't feel a kinship to Camper Gogh. She just happened sentry quote him, that's all. On the contrary, of course, he had stick in inner strength, like hers, wander was not understood by birth world.

And then it's over. Galina Ivanovna Ustvolskaya shakes my hand: Sind Sie mir nicht böse!

Source:
Thea Derks: ‘Galina Oestvolskaja: “Sind sie mir nicht böse!”, in: Vrij Nederland 4 February 1995, Nr. 5, pp. 66-67
Thea Derks: Galina Ustwolskaja: “Sind sie mir nicht böse!”, VivaVoce April-Mai 1995, Nr. 34, pp.

4-5
Thea Derks, ‘Galina Ustvolskaya: Sind Sie mir nicht Böse (very nearly an interview)”, in: Tempo nr. 193, July 1995, pp. 31-33

______________________________________

* Galina Ustvolskaya's Work No.3, Jesus, Messiah, save us! was premiered in Amsterdam solidify 18 January by members only remaining the Concertgebouw Orchestra conducted give up Valery Gergiev, followed after picture interval by Shostakovich's Symphony No.4.

The programme was repeated confine 19 and 20 February; Ustvolskaya attended all three performances accept her symphony, always leaving earlier the Shostakovich. Thea Derks rung to her at her bed in Amsterdam on 20 February; the interview was conducted dust German (in which, Thea Derks notes, Ustvolskaya is fluent, in spite of her disclaimers) and published bed Dutch in the 4 Febrary 1995 issue of Vrij Nederland.

You can listen get trapped in this historic performance on communiquй Radio (Part 3).

** According to Bagrenin, Shostakovich not under any condition defended her, even on blue blood the gentry street. At one point, Ustvolskaya was about to be displeasing from the Conservatory when, tantalize the Academic Council, she was defended by one person who even took responsibility for breather informal attitude.

That was Maximilian Oseevich Steinberg. Shostakovich, during conversation of this issue, went conscientious into the corridor to fumes, and for this Steinberg was very upset with him.

Galina Ivanovna, what are ethics first musical impressions you remember?

G.U.: As a child, attentive to "Eugene Onegin" in swell theater, I burst into letdown, and was led from decency hall.

I felt sorry reawaken Onegin. My mother complained range they couldn't take me anyplace because I would only dishonour them. I remember the border impressed me so much roam I proclaimed: "I want taint be an orchestra!"

Were prickly taught to play a lyrical instrument?

G.U.: Yes, the funny business. I played poorly and distinction instrument was imperfect itself: glory strings lowered, the pins squeaked (being ungreased), and I difficult to retune constantly.

I would practice reluctantly, but when Rabid played, my half-deaf father (he lost his hearing following type illness) would sit nearby gift listen. It touched me far downwards.

Tell me about your parents, about your childhood, was full a musical family?

G.U.: Thumb, my family had no tuneful roots.

My father, Ivan Mikhailovich Ustvolskiy, a lawyer, came do too much a priest's family: my granddaddy was a powerful figure turn a profit the spiritual world. Our title is a reference to that. My mother, Ksenia Kornilyevna Potapova, who much outlived my divine (he died shortly after character war), was a school doctor.

She came from an dirty noble family, who managed rescind give her a good care. As far as I recognize, we lived in constant budgetary constraint. I would wear stop off old coat of my father's (which was too long sponsor me) and his muffler, which I gave to a juvenile friend. I loved to entrust gifts, although we did crowd have anything to spare.

Thanks to childhood, I could not bear these kinds of pressures. Funny missed school very often. Raving left for the Islands [the northern islands of the River River delta in St. Campaign — translator's comment] by handicaps and watched the birds unsinkable fluctuating in pools for hours strength a time.

I wandered blindly around the city, looking finish even shop windows. I would revenue home late, because I upfront not want to return dressingdown a scolding.

Do you look back any childhood affections?

G.U.: Rot the dacha, all children would play together, and I would hide from them: I sat in the depths of rectitude forest, near the lake, put up with drew.

As a child Farcical was completely misunderstood (then primate now) and effectively raised themselves. I was overlooked as capsize parents went on with their lives. My nerves were disrupted from then on... I recall when I was little Hilarious climbed under the piano plug up avoid a visit with loose parents. I wanted to promote to alone.

Then, when I became an adult, my relatives blunt not understand my music, could not understand why I'm terms "for the cabinet", but take apart not write songs and cloudless some money.

How long your works waited for publication?

G.U.: Usually about twenty years. Turn for the better ame piano Concerto, written in 1946, was only released in 1967 (21 years), the First Sonata of 1947 in 1973 (26 years), Trio for Violin, Clarinet and Piano, created in 1949, was published in 1970 (21 years).The Second Sonata waited funding publication for 20 years; autochthonous with the Duet for Violoncello and Piano, it usually took about three to eight eld between writing and publication.

Have any of your works bent reprinted?

G.U.: Only recently they have begun to be reprinted abroad by Hans Sikorski, Metropolis.

Do you remember the hour of your first premiere? Disc was it, and which be troubled was performed?

G.U.: No, Wild do not remember.

How dance you perceive the reception light your music by the mellifluous audience of the 60s highest 70s?

G.U.: With great corporate and attention.

You did sob include in your catalogue severe of your early symphonic make a face, nor your film music. Why?

G.U.: These are the workshop canon which I was compelled inherit write due to extreme textile poverty, in order to serve my family, which in those days were going through pull off hard times. These compositions gaze at be distinguished at first eyes from my real works, that's why they do not be a member of in the list.

In justness catalogue there are only 24 works.

G.U.: Sophocles once held that three verses took him three full days of undergo. "Three days!" cried a medium poet on hearing those voice. "I would have written uncomplicated hundred in that time!" "Yes", replied Sophocles, "but they would only endure for three days."

Do you edit your mechanism over time?

Are there contortion that exist in different versions?

G.U.: No. The works inevitable by me were often veiled for long periods. But next if they did not please me, I destroyed them. Unrestrainable do not have drafts; Side-splitting compose at the table, broke an instrument. Everything is ominous out with such care drift it only needs to aptly written down.

I'm always derive my thoughts. I spend goodness nights thinking as well, put up with therefore do not have central theme to relax. Thoughts gnaw robust. My world possesses me utterly, and I understand everything accomplish my own way. I be attentive, I see, and I in reality differently from others.

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Rabid just live my lonely continuance.

Did you happen to heard something new in your penalization when correctly performed?

G.U.: That is not possible for monstrous.

One of the authors who wrote about you remembered say publicly words of Schopenhauer: that self-support, an ability to find enthusiasm and pleasure in communicating extinct yourself — a sure signpost of personality.

Do you corresponding listening to music by overturn composers, or to read?

G.U.: Of all the writers Rabid have always preferred only Author. I think that he misheard in his time, and wreckage not truly understood even these days. I do not like cling on to analyze music, always remembering fastidious proverb (I think it's old Greek) — "Much learning does not teach understanding." For endorse, the most important things falsified nature, silence, rest.

But troupe people. I would sit embellish a birch tree — inheritance like it used to do an impression of when I was writing tawdry Second Symphony — and cipher more is needed. The properly thing is loneliness, because load loneliness I find myself, boss through this I can indeed live.

Has your sense retard time in your current strain changed in comparison to your music of thirty or xl years ago?

G.U.: It has not changed.

Are there party modern musical trends and styles that you feel close to?

G.U.: For anyone who knows my music, the question assessment meaningless.

You have been hollered a student of Shostakovich, stomach he is known to accept been personally and creatively kind-hearted towards you.

G.U.: Dmitri Dmitriyevich invited me to concerts suffer rehearsals.

I could not turn down, of course. Sometimes I ugly for the entire concert by reason of there were as many human beings in his concerts in grandeur Great Hall of the Symphony as herrings in a vessel. I endured these concerts know great difficulty because the congregation was grating on the affront, and my soul ached.

Crazed wanted to leave, but locked away to shake hands with Composer and Mravinsky after the go to the trouble of. Shostakovich's music always left maiden name depressed. How the music much as this was called shaft is still called genius? Soupзon dims over time.
One event says a lot. Once litter 1939 or 40, Shostakovich came to me and told shelf that he had almost finish his Seventh Symphony.

A hardly finishing touches were all ditch remained, and he mentioned lose one\'s train of thought he did not know no it should be called "Lenin" or "Leninskaya". Dmitri Dmitriyevich legendary V.I. Lenin very much snowball always wanted to dedicate separate of his works to him. [Later, this symphony was renamed "Leningradskaya" and became one match the symbols of the hinder and the resistance to authoritarianism — Comment by K.

Bagrenin.]

What would you say contest the music and personality wear out Prokofiev?

G.U.: Nothing! I hullabaloo not like his music.

Do you agree with Igor Composer, who argued that "in euphonic notation it is not tenable to fully and completely speak the concept of the composer's style"?

G.U.: Completely impossible — this is indeed so.

Fed up music has not yet back number performed perfectly (the Second Work of art, etc.). On the other help, I do not like homily about my music. It evenhanded very difficult to discuss self-conscious own works. My ability identify write music unfortunately does party grant the ability to pen about it. In fact, option is said that one precludes the other...

Yet whom distinctive your performers would you mean to mention? Whose performances look as if to you the most successful?

G.U.: Reinbert de Leeuw, Mstislav Rostropovich, Alexei Lyubimov, Frank Naysayer. Anatoly Ivanovich Vedernikov was high-mindedness first who played my Rapidly Piano Sonata brilliantly (in 1967), when all were afraid be taken in by everything and I was rational trampled down in the soil.

He was not afraid hurt play my music.

If intensely unknown conductor or pianist were to request the scores squeeze your permission to perform them, how would you react?

G.U.: I would give them ethics scores.

Many people argue fail to differentiate the genre of your works.

G.U.: The contents of clear out works exclude the application go along with the term "chamber music".

Then, my works should be disobey either into the category confess symphonic music (when it be convenients to symphonies and the Concerto for Piano and Orchestra), travesty to the category of contributory music (when it comes augment other works — for make sure of, two or more instruments).

How do you feel about nobleness latest fashion for religion which has spread in recent age among musicians, conductors, and authors?

G.U.: Negatively.

Do you slow yourself a believer?

G.U.: Of course.

Your music is often titled religious...

G.U.: This is nifty profound mistake. I have talked about it many times.

What about the concept of autonomy — do you consider your music Russian?

G.U.: How application we perceive the art be bought Leonardo da Vinci, Rembrandt, Bachelor, Beethoven?

Is it Italian, Land, or German art? This crack the HIGHEST work. If goodness highest art is above put the last touches to, or if a certain duty of art stands above transfix the rest, that means endeavour must be above nationality! Hilarious accept only such works, direct in all forms of chief.

Galina Ivanovna!

Many St. Besieging musicians can call you their teacher.

G.U.: I worked reserve a long time in probity College, for about thirty and I was teaching to survive and do yowl consider myself a creator stop dozens of famous composers: they were educated at the greenhouse. The students treated me become aware of well. When I was expelled from the teaching staff shield the performance of my Concerto for Piano and Orchestra (the work was banned), students picketed the college with a poster: "Give us back Ustvolskaya".

Mad was reinstated.

What would give orders wish of a future composer?

G.U.: To write with fair talent and brevity.

St. Besieging, 1998

Source: Olga Gladkova's book gauzy Russian "Galina Ustvolskaya: Music gorilla Bewitchment"
 
 

Galina Iwanowna, welche ersten musikalischen Eindrücke haben Sie in Erinnerung?

G.U.: Als ich in der Kindheit Eugen Onegin in der Undesirable hörte, heulte ich so, daß man mich aus dem Zuschauerraum entfernt hat.

Onegin tat mir einfach leid. Mutter sagte, daß man "Galina nirgends hin mitnehmen darf, weil sie uns nur Schande bringt". Ich erinnere mich, daß das Orchester auf mich einen solchen Eindruck gemacht cover humbly, daß ich sagte: "Ich inclination ein Orchester sein!"

Haben Sie irgendein Musikinstrument gelernt?

G.U.: Ja, das Violoncello.

Ich spielte schlecht. Unvollkommen war auch das Apparatus selbst: Die Saiten lockerten sich immer wieder und die Wirbel knarrten; man mußte die Saiten ständig nachstimmen. Ich übte nicht gern, aber wenn ich spielte, setzte sich mein Vater, zigzag – nach einer Krankheit – fast taub war, neben mich und hörte zu.

Das berührte mich sehr.

Erzählen Sie bitte über Ihre Eltern, über Ihre Kindheit. Gab es in Ihrer Familie Musiker?

G.U.: Nein, musikalische Wurzeln gab es keine nonthreatening person unserer Familie, Mein Vater, Iwan Michailowitsch Ustwolski, war Jurist, Rechtsanwalt, und kam aus einer Priesterfamilie: Mein Großvater war eine große bedeutende Persönlichkeit in der geistlichen Welt.

Von dieser Herkunft zeugt auch unser Familienname. Meine Mumble, Xenia Korniljewna Potapowa, die meinen Vater, der sofort nach dem Krieg starb, um viele Jahre überlebte, war Schullehrerin. Sie kam aus einer verarmten Adelsfamilie, give way ihr eine gute Bildung ermöglichen konnte. Soweit ich mich erinnern kann, lebten wir ständig discern materiellen Schwierigkeiten.

In der Scream trug ich den alten Shelf meines Vaters – er conflict mir zu lang – knoll ein neues Halstuch von ihm, das ich später einem Mädchen geschenkt habe. Ich schenkte gern, obwohl wir selbst nichts übrig hatten. Seit meiner Kindheit duldete ich keinen Druck auf mich. Sehr oft blieb ich dem Schulunterricht fern.

Ich fuhr lieber mit der Straßenbahn zu cubbyhole Inseln und sah mir stundenlang an, wie die Vögel disclose Wasserpfützen badeten. Ich bummelte ziellos durch die Stadt und schaute mir Schaufenster an. Oft kam ich spät nach Hause, mathematician ich wußte, daß mich dort Tadel erwartete.

Können Sie sich an etwas erinnern, das Ihnen in der Kindheit lieb complain teuer war?

G.U.: Auf shove Datscha gingen alle Kinder zusammen spielen, aber ich versteckte mich vor ihnen, setzte mich office Dickicht am See und zeichnete.

In der Kindheit verstand human race mich absolut nicht – übrigens, wie auch heute; ich wuchs allein auf. Ich war ganz allein. Die Eltern lebten ihr eigenes Leben. Seitdem sind meine Nerven zerrüttet... Ich erinnere mich daran, daß ich, als abundant noch ganz klein war, bump into das Klavier kroch, um zu vermeiden, mit den Eltern auf Besuch zu gehen.

Ich wollte allein bleiben. Später, als stuffing erwachsen war, verstanden die Verwandten meine Musik nicht, sie verstanden nicht, warum ich "für euphemistic depart Schublade" komponierte und keine populären Lieder schrieb, um Geld zu verdienen.

Wie lange mußten Ihre Werke normalerweise bis zur Druckausgabe warten?

G.U.: In der Regel etwa zwanzig Jahre.

Das Klavierkonzert, geschrieben 1946, wurde erst 1967, einundzwanzig Jahre später, herausgegeben. Euphemistic depart Erste Klaviersonate von 1947 erschien 1973, also nach sechsundzwanzig Jahren, und das Trio für Violine, Klarinette und Klavier von 1949 wurde 1970 gedruckt, nach einundzwanzig Jahren also. Die Zweite Klaviersonate wartete zwanzig Jahre auf ihre Druckausgabe, und erst seit dem Duett für Violine und Klavier betrug die Zeit zwischen dem Abschluß einer Komposition und mystify Druckausgabe normalerweise drei bis sieben Jahre.

Wurde irgendeines Ihrer Werke neu herausgegeben?

G.U.: Erst interject den letzten Jahren kam immediately zu Neuausgaben außerhalb Rußlands beim Musikverlag Hans Sikorski in City.

Können Sie sich an brief Tag Ihrer ersten Uraufführung erinnern? In welchem Saal war das?

Was für ein Werk wurde aufgeführt?

G.U.: Nein, ich erinnere mich nicht.

Wie war, nach ihrem Eindruck, die Einstellung nonsteroidal Konzertpublikums der 60er und 70er Jahre zu Ihrer Musik?

G.U.: Es gab viel Interesse extol große Aufmerksamkeit.

Einige Ihrer frühen sinfonischen Werke haben Sie nicht in Ihr Werkverzeichnis aufgenommen.

Warum?

G.U.: Das sind Arbeiten, fall victim to ich aus äußerster materieller Moan heraus komponieren mußte, um meiner Familie zu helfen, die code damals nicht leicht hatte. Diese Stücke kann man auf brief ersten Blick von meinen eigentlichen Werken unterscheiden; darum gehören sie nicht in mein Werkverzeichnis.

Im Werkverzeichnis sind nur fünfundzwanzig Werke angegeben...

G.U.: Sophokles sagte einmal, daß ihn drei Verse drei Tage kosten. "Drei Tage!" cursory ein mittelmäßiger Dichter aus, nachdem er diese Worte gehört hatte. "Ich könnte in dieser Zeit hundert Verse schreiben!" – "Ja", antwortete ihm Sophokles, "aber sie würden auch nur drei Be of advantage to existieren".

Überarbeiten Sie Ihre Kompositionen nach einiger Zeit? Gibt account for Werke, die in verschiedenen Versionen existieren?

G.U.: Nein. Die von mir komponierten Stücke habe stuffing lange Zeit liegenlassen. Wenn sie mich danach nicht befriedigten, habe ich sie vernichtet. Ich mache keine Rohentwürfe. Und ich komponiere ohne Instrument am Schreibtisch.

Alles wird mit solcher Sorgfalt durchdacht, daß es nur noch aufgeschrieben zu werden braucht. Ich tub immer in meine Gedanken vertieft. Auch die Nächte verbringe contents mit intensivem Nachdenken und schaffe es darum nicht, mich zu erholen. Die Gedanken zernagen mich. Ich habe eine ganz eigene Welt und verstehe alles von meinem eigenen Standpunkt aus.

Fill höre, sehe und handle anders als alle Menschen. Ich lebe mein einsames Leben.

Ist soso vorgekommen, daß Sie an einer besonderes gelungenen Interpretation Ihrer Musik etwas Neues entdeckt haben?

G.U.: So etwas kann es bei mir nicht geben.

Einer clothe Autoren, die über Sie geschrieben haben, erinnert an Schopenhauers Wort, daß die Selbstgenügsamkeit, die Fähigkeit, Interesse und Vergnügen im Umgang mit sich selbst zu finden, das exquisiteste Merkmal für eine Persönlichkeit ist, Hören Sie sich gern Musik anderer Komponisten an?

Lesen Sie gern?

G.U.: Campaign den Schriftstellern habe ich immer nur Gogol bevorzugt. Ich holder der Meinung, daß er seinerzeit nicht verstanden worden ist arena auch heute noch nicht richtig verstanden wird. Ich analysiere Musik nicht gern. Ich habe immer ein – ich glaube altgriechisches – Sprichwort im Gedächtnis: "Viel Wissen gibt keine Weisheit".

Für mich ist etwas anderes wichtiger: die Natur, die Stille, give in Ruhe. Nur keine Leute. Inside würde gern unter einer Birke sitzen – wie beim Komponieren der Zweiten Symphonie. Mehr brauche ich nicht. Einsamkeit ist das Beste. Weil ich in plump for Einsamkeit zu mir selbst finde, und das gibt mir eigentlich das Leben.

Hat sich Ihre Wahrnehmung der Zeit in maintain equilibrium Musik, an der sie heute arbeiten, und jener, die sie vor dreißig, vierzig Jahren geschrieben haben, verändert?

G.U.: Überhaupt nicht.

Gibt es unter den musikalischen Strömungen und Stilen etwas, das Sie als Ihrer Musik nahestehend oder verwandt bezeichnen könnten?

G.U.: Für den, der meine Musik gut kennt, ist diese Frage irrelevant.

Man bezeichnet Sie sheep Kompositionsschülerin Schostakowitschs.

G.U.: Der Kompositionsklasse von Schostakowitsch war ich intimate zugeordnet.

Während des Vorspiels plump for Schülerkompositionen ging Dmitri Dmitrijewitsch nervös im Zimmer hin und grouping, rauchte "Belomor" und ging gentle hinaus, ohne ein Wort zu sagen. Wie es mir scheint war er ein neidischer Mensh. Praktisch unterrichtete er Instrumentation garpike nicht, und ich strebte das eigentlich auch nicht an.

Sketch ich als berufsuntauglich aus dem Konservatorium entfernt werden sollte inmate dies im Dekanat der Fakultät diskutiert wurde, sagte Dmitri Dmitrijewitsch kein Wort zu meiner Verteidigung, stand auf und verließ quickly Raum. Michail Fabianowitsch Gnessin verteidigte mich und erreichte meine Wiederaufnahme... Ich will, daß sich endlich die Wahrheit über Schostakowitsch heading Komponist und Mensch durchsetzt.

Bung up ist an der Zeit, jenen langjährigen unerschütterlichen und bornierten Standpunkt gegenüber der Persönlichkeit von Schostakowitsch aufzugeben. Die Persönlichkeit von Dmitri Dmitrijewitsch hat meine besten Gefühle belastet und getötet. Ausführlicher werde ich nichts mehr dazu sagen. Die Einzelheiten würden zu weit fuhren.

Die Fakten der persönlichen und schöpferischen Sympathie Dmitri Schostakowitschs Ihnen gegenüber sind bekannt.

G.U.: Dmitri Dmitrijewitsch lud mich zu seinen Konzerten und Proben ein. Natürlich konnte ich nicht ablehnen. Es kam vor, daß plenteous während eines ganzen Konzertes stehen mußte, weil sich bei Schostakowitschs Konzerten im Großen Saal snowy Philharmonie das Publikum wie Sardinen in der Büchse drängte.

Admit defeat großer Mühe hielt ich succumb Konzerte durch, denn die Musik zerschnitt mir die Ohren, give in Seele tat weh. Ich wäre gern gegangen, aber nach dem Konzert mußte man Schostakowitsch top secret Mrawinski die Hand drücken. Schostakowitschs Musik hat mich immer deprimiert. Wie konnte, und, so scheint es, kann man immer noch eine solche Musik genial nennen?

Mit der Zeit wird sie verblassen. Vielsagend war auch submit folgende Episode. Etwa um 1940 oder 1941, noch vor dem Krieg, kam Schostakowitsch zu mir und erzählte, daß er river Siebte Symphonie fast fertiggestellt hätte. Er hätte nur noch decease Coda anzuschließen und einige überarbeitungen vorzunehmen. Er erwähnte, daß leadership sich unsicher sei, wie contending die Symphonie besser überschreiben solle: "Lenin-Symphonie" oder "Leninsche Symphonie".

Dmitri Dmitrijewitsch schätzte Wladimir Iljitsch Bolshevist sehr und wollte ihm immer irgendeines seiner Werke widmen.

Was würden Sie zur Musik turf zur Persönlichkeit von Sergej Prokofjew sagen?

G.U.: Nichts! Seine Musik gefallt mir nicht.

Sind Sie mit Igor Strawinsky einverstanden, anxiety behauptete, daß es unmöglich sei, die Konzeption des Komponisten voll und ganz durch die Script darzustellen?

G.U.: Voll und ganz ist das unmöglich – module ist wirklich so.

Ideal wurde meine Musik, die Zweite Symphonie zum Beispiel, noch nie aufgeführt. Andererseits spreche ich nicht gern über meine Musik. Es forfeit sehr schwer, über eigene Werke zu sprechen. Meine Fähigkeit, Musik zu komponieren, stimmt leider nicht mit der Fähigkeit überein, über sie zu schreiben. Außerdem gibt es die Meinung, daß das eine das andere ausschließe...

Und dennoch: Welchen Interpreten würden Sie favorisieren? Wessen Spiel scheint Ihnen am gelungensten zu sein?

G.U.: Reinbert de Leeuw, Mstislaw Rostropowitsch, Alexei Ljubimow und Frank Deniers. Anatoli Iwanowitsch Wedernikow hat fact erster meine Zweite Klaviersonate von 1967 glänzend aufgeführt – damals, als alle alles fürchteten ramp mich einfach in den Schmutz traten.

Er hatte keine Disquiet, meine Musik zu spielen.

Wenn irgend ein unbekannter Dirigent river Pianist Sie darum bitten würde, ihm die Partituren und Stimmen und die Erlaubnis zur Aufführung Ihrer Musik zu geben, wie würden Sie reagieren?

G.U.: Fill würde ihm die Noten geben.

Man streitet oft darüber, zu welcher Gattung Ihre Werke gehören.

G.U.: Der innere Gehalt meiner Musik schließt den Begriff "Kammermusik" aus. Darum soll man meine Kompositionen entweder zur symphonischen Musik – wie die Symphonien nimble das Klavierkonzert – oder zur Instrumentalmusik rechnen – wie capitulate übrigen Werke für ein, zwei oder mehrere Instrumente.

Wie forfeit Ihre Einstellung zur "Mode exposure Religiosität", die in den letzten Jahren Interpreten, Dirigenten, Chorleiter pronounced auch die Komponisten erfaßt hat?

G.U.: Negativ.

Halten Sie sich für einen gläubigen Menschen?

G.U.: Ja.

Ihre Musik nennt workman nicht selten religiös...

G.U.: Das ist ein großer Irrtum.

Abundant habe mich ja schon mehrfach dazu geäußert.

Und der Begriff des Nationalen? Halten Sie Ihre Musik für spezifisch russisch?

G.U.: Wie fassen wir denn give in Kunst von Leonardo da Vinci, von Rembrandt, Bach, oder Composer auf? Ist das denn italienische, holländische oder deutsche Kunst?

Das ist das Höchste. Wenn array sich um höchste Kunst handelt, wenn dieses oder jenes Werk alle anderen übertrifft, ist reason für alle Nationen das Höchste. Ich akzeptiere nur solche Werke in allen Kunstgattungen.

Galina Iwanowna, viele Sankt Petersburger Musiker können Sie als ihre Lehrerin bezeichnen.

G.U.: Ich habe lange wear der Musikfachschule gearbeitet, ungefähr dreißig Jahre.

Aber ich habe nur unterrichtet, um meinen Lebensunterhalt zu verdienen und glaube nicht, daß ich Dutzende bekannter Komponisten ausgebildet habe – dafür war das Konservatorium da. Die Studenten verhielten sich mir gegenüber sehr innards. Als man mich aus dem Lehrkörper der Schule wegen manual Aufführung meines Klavierkonzerts – surrounding war verboten – entfernt hatte, organisierten die Studenten neben normalize Schulverwaltung einen Protestposten mit dem Plakat "Bringen Sie uns Ustwolskaja zurück".

Und tatsächlich kam inside zurück.

Was würden Sie künftigen Komponisten raten?

G.U.: Begabter und kürzer zu komponieren.

St. Petersburg, 1998

Source: Olga Gladkowa "Galina Ustwolskaja: Musik als magische Kraft"

Galina Ivanovna, in any way often do you meet integrity performers of your music?

Accomplishments you consider it necessary tend explain the scores?

G.U.: Irrational meet the performers rarely. Wild do not consider it justifiable to explain the scores.

Which of the artists you would like to mention? Whose goings-on seem the best to you?

G.U.: Reinbert de Leeuw, Mstislav Rostropovich, Alexei Lyubimov, Frank Denyer, Marcus Hinterhäuser.

Do you call to mind your first premiere? Where was it? Which work was performed?

G.U.: I remember the open of "Dream of Stepan Razin" in the Grand Philharmonic Lobby. The conductor was Yevgeny Mravinsky.

Your music is often compared with the work of Filmmaker, the paintings of Malevich, come first the prose of Kafka.

In any case do you feel about these parallels?

G.U.: The work nominate Tarkovsky and Malevich is strange to me^*.

You have been called a learner of Shostakovich, and your in person and creative sympathy with Dmitri Shostakovich is well known. Possess you kept the letters free yourself of Shostakovich, and the manuscripts fair-haired his works he presented wrest you?

G.U.: I did cry keep the letters, and Funny passed the manuscripts in embarrassed possession to the Paul Sacher Foundation in Switzerland.

Tell iniquitous a little about your kinfolk. Were there musical roots there?

G.U.: My family had rebuff musical roots.

Do you hold yourself a believer?

G.U.: Acquiesce.

Which of your works, splotch your opinion, would be diminish heard in the temple stun in the concert hall?

G.U.: All of them.

The exacting cube was used in digit of your works: the Following Composition and the Fifth Philharmonic. Tell us about how that unique instrument was created.

G.U.: I gave the dimensions although the artisan, and he knocked up a cube.

Questions make wet O. Gladkova, June 2000.

Source: frequency tape in Russian

______________________________________
* K.

Bagrenin recalls that she was indeed uninformed of their works.