Tishchenko, B I - Piano Sonatas Nos. 7 & 8 - Stavy, Nicolas (piano)
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In the output of any great composer it is possible to find one or more genres that form its backbone. In the case of Boris Tishchenko, it is the piano sonata which defines his creative universe. His eleven sonatas span his whole career: the first one is his Op. 3, and the final, Op. 151, is his last completed score. It is all the more true as already in his very first attempts, made while he was still a pupil of Shostakovich, Tishchenko displayed traits that would remain constant through- out his life.With a duration of 40 minutes, the Seventh Sonata, Op. 85 (1982), is both the longest and the strangest of them, as it is a sonata for piano and bells - more precisely for large bells, tubular bells and glockenspiel, depending on the movement, and on the range and function of the part written for them. In answer to the call of the bells - the note C (the barest of them all) reiterated sixteen times in a crescendo - the piano enters with a chordal statement, establishing the harmonic polarities of the work. Here we witness a very abstract form of exposition, where the components are introduced in extreme simplicity.The composer derives all of the material of the sonata from an accelerating movement downward to the depths of the instrument and a repeated cluster. All or almost all, for following this abstract, almost otherworldly exposition comes a 'theme', marked Allegro and more traditional in appearance. Around ten bars later, some of the elements of the abstract introduction are combined with this theme, haunting it and distorting its meaning. At the end of the 'traditional' exposition, the bells are heard again, playing G and D, i.e. a fifth above the opening note, and then a fifth above that. However much the music that follows claims to be in sonata form, it is possible to imagine that the bipartite thematicism of that form is here played out as a confrontation between reality and abstraction. We hear the note C from the large bells again at the end of the movement, this time incorporated within a ten-note chord.