Tishchenko: Symphony No. 7, Op. 119

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Tishchenko: Symphony No. 7, Op. 119



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Release date:

28th June 2004




52 minutes


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Tishchenko: Symphony No. 7, Op. 119


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Boris Ivanovich Tishchenko: Symphony No. 7, Op. 119

Movement I

Movement II

Movement III

Movement IV

Movement V

BBC Music Magazine

September 2004


“Shostakovich is the inescapable presence behind a Russian composer of the next generation… There's something truly arresting at every turn: the dogged chorales of the fourth movement with their weird accompanying flurries and the bones that poke through the flesh of the finale... hold the listener's interest to the last. ...Dmitri Yablonsky's players - captured live and close in the Moscow Conservatory's Great Hall - give the work their best shot, with bags of intensity.”

Gramophone Classical Music Guide


“Not very much of Boris Tishchenko's substantial list of works has so far appeared on record. It includes ten piano sonatas, five string quartets and a cello concerto for Rostropovich, which Shostakovich himself took the trouble to rescore for more conventional forces than the original.
Like so many composers of his generation he's been much influenced by Shostakovich, with whom he studied for a while. The influence shows in this symphony, even though it's for the most part thoroughly absorbed and makes for a quirky but fascinating work.
Tishchenko doesn't give his movements titles or even tempo indications. The first is an unusual but convincing symphonic exposition, based on an obsessive use of a simple figure. The second makes much play with ragtime clichés, merry enough on the face of it though with a deliberately forced atmosphere creeping in. The third is a forlorn, dirge-like piece, with a bleak climax. The fourth begins gracefully enough with what one may perhaps describe as a frightened waltz. Like the other movements, including the finale, it has a restrained lyricism that seems vulnerable to attack, and indeed is attacked by dissonant and alarming orchestral climaxes, after which the music ends on an equivocal note.
Tishchenko scores imaginatively, with chamber music textures and single instruments unusually handled – xylophone, bass clarinet, piano, tom-toms. The Moscow players respond skilfully, and though the recording is sometimes over-anxious to single out individual instrumental contributions, it seems to give a fair representation of the imaginative scoring. This is a piece well worth hearing.”

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