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Ralph Graves
WTJU, October 2017

Yuri Serov leads the St. Petersburg State Symphony Orchestra in solid performances. Tishchenko’s music can be somewhat quirky, moving from one style to another—sometimes quickly. © 2017 WTJU Read complete review

Raymond Tuttle
Fanfare, July 2017

I’m going to cut to the chase and say that if you enjoy Shostakovich and Weinberg, you’ll probably enjoy this disc—the music is very, very good, and the performances seem excellent.

These first-class performances make an excellent case for Tishchenko’s sometimes sweet, sometimes bittersweet, and sometimes just plain bitter—but always fascinating—compositions. © 2017 Fanfare Read complete review

Steve Arloff
MusicWeb International, May 2017

The whole disc is a joy from start to finish and showcases Tishchenko’s broad range of styles… The orchestra plays brilliantly and Yuri Serov gets the best from the St Petersburg band. Both soloists in the concerto make a convincing case for the work which takes some getting used to but which will win the listener over eventually, leaving them with several possible earworms to contend with. © 2017 MusicWeb International Read complete review

Allen Gimbel
American Record Guide, May 2017

[Tishchenko’] Violin-and-Piano Concerto (2006) is a big, impressive Russian work of great originality. It opens with a sigh and works its dark material deliberately until it finds itself intensely disturbed and overtaken by insanity. …Performance is excellent.

Symphony 8 (2008) takes another Eighth Symphony as a model, namely Schubert’s. …Like the concerto, this is a work of substance. Though it falls short of immortal masterpiece status, it deserves to be heard.

Three Songs to Poems of Marina Tsetavyeva (1970) were arranged by the composer’s student Leonid Rezetdinov in 2014. They fit in well with the remainder of the program, three short songs dealing with death and paranoia. They are well sung by Ms Shkirtil. © 2017 American Record Guide Read complete review on American Record Guide

Norman Lebrecht
Musical Toronto, February 2017

Yuri Serov conducts the St Petersburg State Symphony with taut control and passionate intuition. I cannot understand why international Russian conductors continue to ignore Tishchenko. © 2017 Musical Toronto Read complete review

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, February 2017

All sounds well in the hands of Yuri Serov conducting the St. Petersburg State Symphony Orchestra. Guest soloists Mila Shkirtil (mezzo-soprano), Chingiz Osmanov (violin) and Nikolai Mazhara (piano) fulfill their roles with commitment and charm.

Surely none of this is filler. All three works show Tishchenko in full bloom, with brooding Russian power and lyricism as needed, but never a speck of sentimentality. © 2017 Gapplegate Classical-Modern Music Review Read complete review

Barry Forshaw
Classical CD Choice, February 2017

The find here is the symphony, which is a piece that most purchasers of this disc will be returning to most often. Obviously written in the shadow of Shostakovich, it nevertheless has its own individual character, even though the more famous composer’s fingerprints are all over it. Tishchenko was an important Russian composers, whose star has dimmed compared to that of his mentor. The Symphony No. 8, one of his last completed works, was written to be performed immediately after Schubert’s Unfinished Symphony, to which it makes reference. Also on the disc are his Concerto for violin, piano and string orchestra and Three Songs to Poems of Marina Tsvetaeva. Tishchenko set the words of this important Russian poet to music three years ahead of Shostakovich. © 2017 Classical CD Choice

James Manheim, February 2017

The performances by the St. Petersburg State Symphony Orchestra under Yuri Serov…are entirely idiomatic. © 2017 Read complete review

Bruce Reader
The Classical Reviewer, February 2017

This is a work of tremendous substance and depth, given an excellent performance by both orchestra and soloists.

The St. Petersburg State Symphony Orchestra under Yuri Serov deliver first rate performances and are vividly recorded at the St. Petersburg Radio House Studio, Russia. © 2017 The Classical Reviewer Read complete review

David Fanning
Gramophone, February 2017

There are occasional ragged edges in the playing, but more importantly a strong communicative presence under Yuri Serov’s guiding spirit… © 2017 Gramophone Read complete review on Gramophone

Remy Franck
Pizzicato, January 2017

Boris Tishchenko might write a formally rather conventional music, yet he has so many ideas that his works are interesting and worth listening. Anybody wanting to discover his music has good examples of it on this disc, and they are very well performed too. © 2017 Pizzicato

David Denton
David's Review Corner, December 2016

In his final years as a student, Boris Tishchenko became a pupil of Shostakovich, and following his mentor’s death was described as Russia’s greatest symphonist. Do not let this mislead you, for Tishchenko has a personal musical voice that is very different to Shostakovich, though the two do share that objective of viewing atonality only through the eyes of traditional tonality. He also shared his predecessor’s wit and irony that is expressed through the medium of ‘popular’ music. This becomes apparent when we reach the naughty second movement Rondo of the concerto, having passed through the abrasive opening Fantasia. Rather unexpected the following Interlude is cold and reminds us of the Soviet Union’s dark past, only once again to relocate in a kinder world in a final Romance, the feeling at times suddenly shot-through with sadness. The work as a whole takes the soloists—Chingiz Osmanov and Nikolai Mazhara, piano and violin respectively—through a technical challenge, though they are never offered a demonstration of virtuosity. Much the same goes for the orchestral participation of the St. Petersburg State Symphony, the sleeve describing the remaining tracks as being ‘World Premiere Recordings’, the quite short three-movement Eighth Symphony being one of the composer’s last completed scores before his death in 2010. Scored for the same sized orchestra as Schubert’s Eighth Symphony, the ‘Unfinished’, he expressed the wish that it would follow performances of the Schubert score, though Tishchenko was leaving us in a world of strife and turmoil that the work portrays. Even the happiness of the finale evaporates as we reach the concluding savage passage. Finally we move to the unhappy and irony in the world of Shostakovich with three short poems by Marina Tsvetaeva. They are superbly sung by the mezzo, Mila Shkirtil. Excellent performances and sound quality. My disc of the month. © 2016 David’s Review Corner

Records International, December 2016

The 8th Symphony is a late work—Tishchenko’s last completed symphony in fact, as he failed to outrun the 9th Symphony Curse—and was intended as a companion piece to Schubert’s 8th. … The double concerto of 2006 (offered back in 2008—01J078) is a fine example of Tishchenko at his most distinctive—which is to say, unashamedly and unavoidably following the tradition of his illustrious teacher, Shostakovich while incorporating sufficient modernistic elements to exert a degree of freedom from that tradition and establish himself as a member of the following generation. © 2016 Records International Read complete review

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