Galina Ustvolskaya

Galina Ustvolskaya (1919–2006), a Russian composer and student of Shostakovich, carved out a voice so singular that even her teacher called her music “a force of nature.” Often stark, uncompromising, and deeply spiritual, her works are unforgettable for their intensity and raw honesty.

Ustvolskaya rejected trends, fashions, and even the influence of her own teacher, forging a style of absolute conviction.

Her music is direct and searing, built from pounding rhythms, dense clusters, and unrelenting energy. It’s not easy listening, but it is unforgettable.

Her piano sonatas are the heart of her output. They are works of enormous physical and emotional challenge, often sparse yet overwhelming in power.

For pianists, performing Ustvolskaya means entering a world of complete intensity, where every note is charged with meaning.

Though long underappreciated, her works have now been embraced internationally. Pianists, ensembles, and listeners continue to rediscover her uncompromising vision, a reminder that music can be brutally honest and yet profoundly moving.

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Sofia Gubaidulina

Sofia Gubaidulina (1931- 2025) is one of the most fascinating and uncompromising composers of our time. Born in Tatarstan, she studied at the Moscow Conservatory and was often criticized by Soviet authorities for being too “irresponsible” in her search for new sounds. Dmitri Shostakovich, however, told her to continue on her “mistaken path”—encouraging her to stay true to her vision. And she did. Her music is often described as spiritual, mystical, and deeply symbolic. For Gubaidulina, composition is not just about notes on the page—it’s a form of searching for truth. She often uses contrasts (silence vs. sound, light vs. darkness, tension vs. release) to create works that feel both philosophical and intensely emotional. For us pianists, her output is small but powerful. Her early Chaconne (1962) is one of her most frequently performed works. It’s built on a repeating bass line, but don’t expect a Baroque-style chaconne—this one grows into something dramatic, dissonant, and modern, ...

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Vítězslava Kaprálová

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