This is the piano creation of the composer Boris Tishchenko to be getting under listeners' and performers' skin without fail. The features peculiar to it are rarely inherent in piano music on the whole — it's both monumental as grandiose symphony canvases, distinct for dashing brilliant technique, unexhausted by ample imaginative sphere, being saturated with vivid individual thematic and structural ideas. None of these features is sacrificed for the other's sake.
“I consider piano to be the kind of the orchestra, some projection of it. Therefore I endeavour to scrupulous part-writing and wrought themes, as if I meant orchestral facture and phonations, for the orchestra is the supreme inimitable instrument for me”, — the composer uses to say.
Tishchenko's piano sonatas reveal the composer as the great master of symphony music ever living in the 20th century, so as the pianist virtuoso.
Every one of the ten sonatas is provided with its own incomparable conception; however, all of them are pierced with the spirit of Boris Tishchenko himself.
Boris Tischenko dedicated his First Sonata to his teacher, the great Soviet composer Dmitry Shostakovich, because he commenced writing it back in 1957. Many years later composer revived the Sonata by rewriting the first movement and adding three more, thus turning this student work of his into awesome conceptual cycle united by the single music idea – the famous monogram of D. Shostakovich: DSCH (D-Es-C-H).
The Sonata ‘speaks’ many musical languages. The serious and self-reflecting first movement addresses the audience using Prokofiev avant-guard style, even some futuristic impressionism. In the second movement the author comes down to Earth, the foxtrot and jazz can be distinctly heard in music texture. The third is a meditation, in the style of the Second Viennese (atonal) School combined with colourful harmonies. All this unexpectedly resolves into simple and philosophic, somewhat exulted ending.
The final movement is rather traditional. Compact and compressed it refers to the first movement. The DSCH monogram hovers mightily above the musical terrain supported either by vortex-like passages or grotesque dance.