Ustvolskaya, Galina CORRECTED MANUSCRIPT OF COMPOSITION NO.2 'DIES IRAE', SIGNED BY THE COMPOSER scored for 8 double basses, wooden cube and piano, and notated by the scribe in black ink on one 13-stave system per page, Ustvolskaya's corrections and annotations also in black ink, and blue ballpoint pen, with an autograph title, instrumentation details, and remarks concerning the instrumentation, on the first page of a wrapper affixed to the manuscript ("G Ustvolskaya "Kompozitsiya" No 2 "Dies irae...1972-73r."), containing some other, non-autograph, markings in pencil [1], 69 pages, 39 x 27.8 cm, plus blanks, each page comprised of two smaller leaves affixed to each other, no place or date [the annotations: 1980s], excision (6.5 x 14.5cm) to pp.47/48 and 57/58, not affecting scribal score We have traced no musical sources, either autograph or scribal, at auction by Galina Ustvolskaya (1919-2006), one of the most remarkable figures in twentieth-century Russian music. The Composition No.2 from 1972-1973, one of three similarly-named works composed between 1970-1975, provides a good illustration of Ustvolskaya's uncompromising style, with its massive homophone blocks of sound, use of extreme dynamics (the ten linked sections are mostly loud or extremely loud throughout), and unique scoring - eight double basses, wooden cube, hammers and piano. The piano, with its brutally hammered dissonant chords, plays a central role in the work, and has been regarded as embodying Ustvolskaya's musical alter ego (all her acknowledged compositions include that instrument). A particularly notable alteration in the score is the change in the percussion scoring, which originally called for a wooden 'box' rather than a 'cube'. The work, which was dedicated to the Dutch conductor, pianist and composer Reinbert de Leeuw, was first performed in Leningrad on 14 December 1977. Ustvolskaya's autograph manuscript of the Composition No.2 is preserved in the Paul Sacher Stiftung, Basel.
Ustvolskaya, Galina CORRECTED MANUSCRIPT OF COMPOSITION NO.2 'DIES IRAE', SIGNED BY THE COMPOSER scored for 8 double basses, wooden cube and piano, and notated by the scribe in black ink on one 13-stave system per page, Ustvolskaya's corrections and annotations also in black ink, and blue ballpoint pen, with an autograph title, instrumentation details, and remarks concerning the instrumentation, on the first page of a wrapper affixed to the manuscript ("G Ustvolskaya "Kompozitsiya" No 2 "Dies irae...1972-73r."), containing some other, non-autograph, markings in pencil [1], 69 pages, 39 x 27.8 cm, plus blanks, each page comprised of two smaller leaves affixed to each other, no place or date [the annotations: 1980s], excision (6.5 x 14.5cm) to pp.47/48 and 57/58, not affecting scribal score We have traced no musical sources, either autograph or scribal, at auction by Galina Ustvolskaya (1919-2006), one of the most remarkable figures in twentieth-century Russian music. The Composition No.2 from 1972-1973, one of three similarly-named works composed between 1970-1975, provides a good illustration of Ustvolskaya's uncompromising style, with its massive homophone blocks of sound, use of extreme dynamics (the ten linked sections are mostly loud or extremely loud throughout), and unique scoring - eight double basses, wooden cube, hammers and piano. The piano, with its brutally hammered dissonant chords, plays a central role in the work, and has been regarded as embodying Ustvolskaya's musical alter ego (all her acknowledged compositions include that instrument). A particularly notable alteration in the score is the change in the percussion scoring, which originally called for a wooden 'box' rather than a 'cube'. The work, which was dedicated to the Dutch conductor, pianist and composer Reinbert de Leeuw, was first performed in Leningrad on 14 December 1977. Ustvolskaya's autograph manuscript of the Composition No.2 is preserved in the Paul Sacher Stiftung, Basel.
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