Symphonies Nos 1–5

Galina Ustvolskaja was a highly original composer, unparalleled in her style and largely ignored during her lifetime. The fiercely independent Ustvolskaja created expressive, even violent music that sounds like the work of no other composer and shows no clear influences, yet is often suffused with religiosity or spirituality. Only after her death was Ustvolskaya's original and uncompromising talent finally recognized. Christian Karlsen and the London Philharmonic Orchestra present here Ustvolskaya's five symphonies. While the first appears superficially traditional (it is the only one for a full symphony orchestra), two boys – via microphones, in a chant-like manner – sing texts about poverty, racism and injustice. Symphonies nos. 2 to 5 resolutely break with traditional form; each consists of a single, fairly brief movement, comparable to theatrical rituals. These symphonies, designed for instrumental combinations as varied as they are unusual, became increasingly uncompromising as their instrumentation diminished, to just a handful of instruments in the fourth and fifth symphonies. Sporadically a solo voice appears, which does not necessarily sing, but rather utters a prayer – a prayer that asks for forgiveness, but not for a better life. The orchestra is assisted by Finnish pianist Joonas Ahonen in symphonies nos. 2, 3 and 4. He has gained international renown. He has gained international renown and has become a specialist in the fortepiano. His discography includes, among other works, the Piano Concerto by György Ligeti, the complete piano sonatas by Charles Ives, Ludwig van Beethoven's "Diabelli Variations" on a fortepiano from 1838 and a series of world premiere recordings with violinist Pekka Kuusisto.