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Programme notes<br />
the short and utterly unforgettable piece that<br />
opens the program is the most emblematic.<br />
Galina Ustvolskaya, an avant-garde Soviet<br />
composer, was a student of Shostakovich. But<br />
in this strange relationship, it was actually<br />
Shostakovich who saw himself as the student.<br />
He predicted that her work “will be valued<br />
by all who hold truth to be the essential<br />
element of music”. Nicknamed “the lady with<br />
a hammer”, she was a bizarre, uncomfortably<br />
uncompromising character, who sacrificed her<br />
professional life and ambitions to dedicate<br />
herself fully to her artistic principles. She was<br />
aware that her music would be disapproved of<br />
by the Soviet regime, and kept her artistic work<br />
largely private for decades. It is hard to say<br />
whether her oeuvre of 21 pieces is so sparse<br />
due to this or because she would destroy, or<br />
in her own words, “exterminate” any work that<br />
she ultimately didn’t find perfect. ‘There is no<br />
link whatsoever between my music and that<br />
of any other composer, living or dead’, claims<br />
Ustvolskaya in her typical austere manner. She<br />
also discouraged any analysis of her music.<br />
Indeed, it is pointless to try to explain the<br />
impact of her final Piano Sonata. Simply one<br />
of the most singular, astonishing works of art<br />
of any time, this is the music that seems to<br />
transcend its own medium.<br />
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