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The three works by Ustvolskaya paint a terrifying picture of her tormented mind. Their unusual instrumentation alone is jarring, with major roles given to instruments like the tuba and piccolo. Although her pieces are actually prayers, they do not show a trace of restraint, let alone devotion; they shout and roar, almost cursing God – even if there are few signs that He is listening. Shostakovich’s songs in turn testify to his tortured self-image, dominated by overwhelming insecurity. His music, like Ustvolskaya’s, conveys the audible awareness that he was writing for deaf ears. With a minimum of notes and a maximum impact, this concert is guaranteed to be an impressive one. It marks a new step from the New European Ensemble in its ongoing quest to dust off half-forgotten masterpieces. And singers like Stotijn and Faveyts are certain to literally and figuratively plumb the depths.

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