Performed by The Barton Workshop.
I - (♩ = 56): 0:00
Ustvolskaya's Symphony No.4 was composed between 1985-7, being premiered on June 24 of 1988 in Heidelberg, Germany. Written for trumpet, tam-tam, piano and contralto, a reduced ensemble compared with the previous ones. The text used by the contralto is identical to that of his previous symphony: "Almighty God, true God, Father of eternal life, creator of the world, Jesus Messiah, save us!". The character of the music as a ritual is indicated by the composer herself, saying that the reciter could not wear any jewels.
The texts from Ustvolskaya's Symphonies No.2 - 4 belong to an anthology of medieval Latin literature published in Moscow in 1972. Written by the Benedictine monk Hermanus Contractus of Reichenau. A paralytic German nobleman who distinguished himself by his encyclopedic knowledge ranging from mathematics, astronomy to pietistic poetry and music. The symphony is written in a single movement, having nothing at all in common with the definition of the classical symphony.
Two years later the work was performed in Hamburg, as part of a Festival of women composers. Galina rejected the invitation to attend the concert with the following response: "With regard to the 'Women's Composer Music Festival', I would like to say the following: Can a distinction between music written by men and music written by women really be made? If we now have 'Music Festivals of women composers', would not it be right to have 'Music Festivals of male composers'? I am of the opinion that such a division should not be allowed to persist. We should only play music that is genuine and strong. If we are honest in that, an interpretation in a concert of women composers it's a humiliation for music, I sincerely hope that my comments do not offend anyone, what I say comes from my innermost being. "
The work opens with trumpet and piano introducing a four-note motive, which will be constantly present through the piece. This motive is transformed and combined with secondary ones, but always maintaining its familiar shape. The contralto enters reciting the verses in a very harsh and dry manner. The piano violently performs dense clusters, before the motive reappears and leads to the continuation of the declamation. The motive reappears on trumpet, along with piano and contralto. After a pause, the reciter repeats the last words of salvation, followed by the motive on trumpet and piano. The contralto softly repeats the words, leading to the trumpet with a mute repeating the motive. The work ends with an enigmatic coda.
Picture: "Hermannus Contractus with the Mother of God and the baby Jesus" by the artist Josef Zodel.
Source: [ Ссылка ]
To check the score: [ Ссылка ]
Symphony No.4 ''Prayer'' - Galina Ustvolskaya
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musicclassical musicustvolskayasymphonygalina ustvolskayasymphony 4symphony 4 prayergalina ustvolskaya symphonygalina ustvolskaya symphony 4galina ustvolskaya symphony 4 prayerrussian classical musicrussian symphonyrussiarussian orchestral musicrussian religious musicmodern classical musicmodernist classical musicThe Barton WorkshopHermanus Contractus