Ustvolskaya's music is dark, somber, even remote when a solitary voice holds sway. Her rejection of easily recognizable form suggests that, metaphorically, time is not a factor; as temporal references are acutely literai, the means to escape an oppressive time and place are found in spiritual, not social, values. Similarly, the chilling sparseness of textures becomes an emotionallandscape, scarred, sometimes painfully severe, where inner strength is necessary for survival. But there is, too, especially in the Duet For Violin And Piano, a sanctity of mood (shared with the later Shostakovich, when he was obsessed with death, and where, in his final works such as the Viola Sonata and Sonata For Violin And Piano, the influence of Ustvolskaya may be felt). ln moments like this, rare is the music where the human will is so immediate, so enduring.

Franz Liszt occupied a special place among the great pianists of the nineteenth century. The boundless virtuosity which he brought to his instrument made him not only a rock star in his time, it also enabled him as a composer to realize his musical vision without having to make any allowances for technical limitations. Thus, he became not only the creator of a new style but also a pathbreaker for new directions in music whose influence would last well into the 20th century. Many factors contributed to his multifaceted personality; therefore, it is not surprising that seemingly incompatible elements like despair and transfiguration, demonism and religious ecstasy often stand next to each other and create the kind of tension which is the hallmark of a great composer. The present program features a selection of the most virtuosic and radiant works of Franz Liszt.

'It is not you who are under my influence, but I who am under yours,' wrote Shostakovich to Ustvolskaya. Certainly, though their music shares sorrow, grotesquerie and violence, Ustvolskaya has a vision all her own. The Octet appears to be an obsessive rite; violins worry over the same narrow range of notes, and cower before the relentless timpanic beating. Leiferkus’s speaking voice provides the only real music in the arid Symphony. Welcome to the Gulag. Shostakovich’s Piano Quintet, spare as it is, arrives like a shower of delightful opulence.

-- Helen Wallace, BBC Music Magazine