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Published online by Cambridge University Press: 22 January 2016
In the atlas of Soviet music, many roads lead to and from Shostakovich. A New York Continuum conceit last year drew attention to an intriguing and little known thematic connexion between Shostakovich and his fellow composer Galina Ustvolskaya (born 1919). The works of this composer shared the program with those of Ruth Crawford Seeger and Grazyna Bacewicz under the banner ‘Three Women Pioneers.’ Each was among the first women in their country to have forged an original and distinguished body of work from the resources of 20th-century music.
1 Suslin, , Victor, , Galina Ustvolskaya: Catalogue, Musikverlag Hans Sikorski, Hamburg, 1990 Google Scholar.
2 Ibid.
3 Ibid.
4 Ibid.
5 In a personal correspondence of 22 September 1991, Ustvolskaya writes: ‘In my music there is no reference to the music of Shostakovich, nor can there be.’
6 In the aforementioned correspondence, the composer states that every one of her works, beginning with the Second Piano Sonata of 1949, is ‘spiritual’ in nature.
7 Such a characterization befits much of Shostakovich's motivic material, and is a conspicuous, at times self-conscious, feature of the music of Boris Tishchenko, a former student of both Shostakovich and Ustvolskaya.
8 personal correspondence, 22 September 1991.
9 By recitative, I mean that the theme is merely stated at various points without becoming an integrated part of the work's motivic structure.
10 The version given here is the author's own adaptation of a number of existing English translations.