Browsing: Lebrecht Weekly

The first thing anyone learns about Galina Ustvolskaya is that her composition teacher, Dmitri Shostakovich, asked to marry her in the early 1950s. She rejected him, saying once that ‘he killed my best feelings’. He remembered her warmly enough, however, to quote a trio of hers in his fifth string quartet, and again in the late Michaelangelo Suite. That was the closest Galina came to a fame she never sought. She taught music for thirty years at the Leningrad Conservatory, lived alone and let no-one into her apartment. Her works were of a religious character, unacceptable to the Soviet authorities.…

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Sitting in the dental hygienist’s chair, my ears slathered with Classic FM, I cried out for something like this richly varied album where one composer was born in 1656 and another in 1996. I kept thinking as the polisher whirred that there must be a seat in hell for a DJ who programs Stanley Myers’ guitar Cavatina from The Deer Hunter alongside Beethoven’s phone-ring Für Elise. (If there isn’t, I’ll endow one.) Arirang opens with a solo cello piece by Marin Marais (1656-1928) and follows with another by Caroline Shaw (born 1982). The three sections of Ernest Bloch’s suite From…

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It’s a mark of how far Naxos have come under new ownership that a label which once churned out the complete waltzes of Johann Strauss now gives us piano works by the ultra-serious Pierre Boulez. Also under changed management, the Swedish label BIS continues its three-decade exploration of the Russian outcast, Alfred Schnittke. The results are mixed. Two early Boulez piano works date from 1945 when he was in his second college year are consistently curious, if not at all radical. Theme and Variations for the Left Hand, though technically serial, is both playful and easily playable. Boulez’s teacher at…

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I am not sure if the title of this album is even legal in Britain and the US. These days we refer to a particular ethnicity as ‘Roma’ or ‘travelling people’. But this recording was made in the Czech Republic, where social tensions run high and the terminology can be a bit behind the times. What we have here is a riveting selection of itinerant melodies set by composers in that part of the world and involving string quartet with occasional cimbalom and double-bass. The Talich Quartet are world class. The way they play is almost too polished for these…

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When the great conductor Rafael Kubelik returned to Prague in 1990 after 42 years in exile, the first people he sought out were composers who had been muted by the Communist regime. Among them was Viktor Kalabis, an old friend who had kept under the radar, writing intimate chamber music, five symphonies and a piano concerto for his wife, the harpsichordist Zuzana Ruzickova. I remember the electrifying awe that descended when Kubelik entered a church in the Maly Strana to hear a lunchtime performance of music by the suppressed composers. Kalabis is not easy to classify. His music owes something…

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The leading Ukrainian composer, living in German exile since 2022, defies categorisation. Under Soviet rule, Valentin Silvestrov maintained an aloofness from imposed styles, ignoring political and national pressures. He was twice expelled from the Composers Union and carried on composing in his own stubborn way, mining elements of the past to relate to the unhappy present. Under Ukrainian independence he saw no reason to change. The piano pieces played by Alexei Lyubimov on ECM, belong to the opening years of the 21st century. Some are dedicated to kindred composers Arvo Pärt, Alexander Knaifel, Leonid Hrabovsky – others refer to Glinka,…

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At the risk of being sent as a Nielsen missionary to Patagonia, I will try to explain why the music of this island-hopping Dane can be trusted to bring comfort to troubled minds in our times. Raised in stark poverty on Hans Christian Andersen’s fairytale archipelago, Nielsen would return to his home environment whenever inspiration or happiness deserted him. After the First World War, his long marriage ended by a legal separation order, Nielsen spent time on Jutland, trying to make sense of his world. The fifth symphony alternates sounds of battle – snare drums and woodwind shrieks – with…

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Around the time Arnold Schoenberg got fed up with atonality and moved to serialism, a Czech composer of no renown decided that the future lay in microtones, A soldier in the Austrian army in the first world war, Alois Hába tried his luck with three fugues for two pianos, tuned a quarter-tone apart. Hardly anyone could hear the difference from  ‘normal’ music and the world continued to revolve on its axis. Hába joined the Communist party, palled up with Hanns Eisler and was encouraged to compose in one-sixth of a tone by the ever-curious Ferruccio Busoni. Hába composed string quartets,…

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For the bicentenary of Johann Sebastian Bach’s death, the Soviets sent their top composer to Leipzig to judge a competition in Bach’s name. Having endured Stalinist attacks for two years, Dmitri Shostakovich was caught between a rock and a hard place. A system that denounced him for ‘formalism’ and threatened his freedom was now sending him as a cultural ambassador to a country under occupation where he would be viewed with hostility masked in sycophancy. Not knowing what to say, where to turn, he focussed on Tatiana Nikolaeva, a Russian pianist in the Bach competition who was declared the winner…

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So commanding was Alfred Brendel in Schubert’s piano music that other pianists complain they can’t get him out of their fingers. It’s two decades or more since Brendel last recorded late Schubert, and half a century since he made those epochal recordings in Philips, yet his shadow stretches long and no clear contender has since emerged as the Schubert pianist of our time. Steven Osborne can credibly claim to lead the field. A Scot with a strong record in Beethoven, he disdains Brendel’s emotional neutrality at the opening of Schubert’s penultimate sonata and imposes a convincing interpretation of assertive clarity.…

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