CCXXVIII. TISHCHENKO, Boris (1939-2010)
Fitting that the orchestra should be St. Petersburg -- the city where Tishchenko spent his entire life.
He studied composition with Galina Ustvolskaya (see Post XXXIII) and later with Shostakovich in the 60's.
FANTASIA
The violinist introduces a descending half-step motif, and the piano issues a few complimentary notes from the bottom of the keyboard (like his teacher, Ustvolskaya, who favored lots of intense action from both extreme ends of the piano). The strings join in canon-type structures -- with that initial descending half-stop motif creating a sonic wall of intense chromaticism.
RONDO
Dance-like and free-wheeling, the movement begins with the pianist again playing in the very lowest register, standing up and muting the string with his other hand. When he does this in the middle register, it sounds like string pizzicato.
Both solo instruments are given stretches where they play together, often in canon. A folk-like melody often makes an appearance.
Both solo instruments are given stretches where they play together, often in canon. A folk-like melody often makes an appearance.
INTERLUDE-ROMANCE
The Interlude is for the string orchestra alone. The soloists take a break. Very chromatic, featuring small tightly-coiled intervallic clustered writing.
The Romance begins with the soloists duet -- a diatonic 6/8 songlike undulation which switches between major and minor. A nice morendo fades the music away to nothingness.
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