Abstract: The subject of this study is a later orchestral work by the greatest Russian composer P.I. Tchaikovsky – a symphonic ballad based on A.S. Pushkin's poem "Voivode". The object of the research is the features of the composer's orchestral style, his artistic transformation in the late period of his work, an irresistible craving for development, self-improvement, and cognition. The score, destroyed by the author and restored by voices, conceals many interesting professional details, discoveries, and intensely echoes the sonorous ideas of the twentieth century. The author examines in detail the compositional structure of the ballad, its tonal and harmonic plan, the dynamic instructions of the author, and its orchestration. Special attention is paid to Tchaikovsky's innovative compositional methods, his skill, his attention to the smallest instrumental details, to everything that should help the performer to reveal the creator's intention, to read the work as it was conceived by the author. The article uses the following methods of scientific research: comparative analytical, structural and functional, as well as cultural method. The author of the article draws literary-textual and musical-textual methods to the study, and also relies on the fundamental provisions of the general historical methodology of scientific research, in particular, socio-cultural, historical-chronological, biographical. The main conclusions of the conducted research are the idea of the inexhaustibility of the symphonic score as an author's text, as an artistic statement requiring careful and comprehensive study, as a book that must be carefully read before starting the rehearsal process. The author's special contribution to the research of the topic is the analysis of Tchaikovsky's symphonic ballad through the prism of modern performance perception. The point of view and professional assessments of a practicing conductor, reliance on the smallest and most subtle signs and symbols of a musical text are extremely important in our time, when the quality of performance of a symphonic work does not always correspond to the author's intention. The novelty of the research lies in a close examination of the previously insufficiently studied part of the creative heritage of the brilliant Russian composer. Tchaikovsky's symphonic ballad "Voivode" was difficult to create, but deserves the attention of musicians and music researchers no less than his other well-known orchestral program compositions.

Abstract: The subject of the study is the period of Russian symphonic music of the 1960s. A new generation of "sixties" composers has entered the Soviet music scene, imperiously declaring themselves with bright creative achievements, fresh and modern musical language. The epoch of the turning point dictated a new reality, required new artistic thinking, generated diverse creative ideas. The panorama of Russian music was quite colorful, many things in art appeared and disappeared very rapidly, stylistic pluralism, lost at the dawn of Soviet power, returned to the music scene. Special attention is paid to the works of composers of the Leningrad school — S. Slonimsky, Y. Falik, L. Prigozhin and V. Gavrilin. All of them opened new stylistic horizons and absorbed into their sound orbit the main trends of modern music, including the conquests of the Western avant-garde.   The scientific novelty of the work consists in the fact that the author examines the bright and original works of young Leningrad authors in the context of stylistic and linguistic innovations of the 1960s. The article analyzes the role and place of "Sixties" composers in the struggle for "new music". The main conclusion of the article is the idea that the period of musical renewal of the 1960s under consideration turned out to be extremely saturated with the most complex and diverse problems: ideological, general aesthetic, musical style. S. Slonimsky, Y. Falik, L. Prigozhin, V. Gavrilin became undisputed leaders in the renewal of Russian music of the second half of the twentieth century, and their works-"symbols" fully reflected the intense search of the post-war generation of Soviet composers.

Abstract: The subject of this research is the period of Soviet music in the 1960s. A new generation of the composers – the “Sixtiers” – came upon the stage, demonstrating remarkable artistic achievements, fresh and modern musical language. This article is dedicated to the symphonic work of the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko. Particular attention is given to the Symphony No.1, which he created at the age of 22. Tishchenko burst into the Soviet musical space with creative fervor, and asserted himself as a tremendous and unique talent. His extemporaneous music pieces kept pace with the time, in unison with the global changes that took place in Russian symphonism. The scientific novelty lies in consideration of B. Tishchenko’s Symphony No.1 in context of stylistic and linguistic innovations of the 1960s. Detailed analysis is conducted on the role and place of Tishchenko — the youngest of the generation of “Sixtiers” – in the struggle for "new music". The main conclusion lies in the thought that Tishchenko was one of the leaders in the renewal of Russian music in the late XX century, and Symphony No.1 of his early period fully reflected the intense pursuits of the post-war generation of the Soviet composers and opened the path towards the "new shores" in symphonic music of that time.

Abstract: The subject of the study is the symphonic work of the outstanding Russian composer of the second half of the twentieth century Boris Ivanovich Tishchenko (1939-2010). The article discusses his music for the documentary films directed by S. Shuster "Suzdal" (1964), "Palekh" (1965) and "Northern Studies" (1968). The author of the work dwells in detail on such aspects of the topic as Tishchenko's innovative role in the renewal of Russian symphonism in the second half of the last century, reformatting the very foundations of compositional thinking, enriching the sound palette with the help of modern musical avant-garde. Special attention is paid to the issue of B. Tishchenko's inheritance of the great Russian symphonic tradition.   The main conclusion of the article is the idea that B. Tishchenko's music for documentaries of the 1960s accumulated the freshest ideas of the period of renewal in Russian art. A special contribution of the author to the study of the topic is a detailed study of three little-known scores of the composer in the context of an intensive search for "new music". The novelty of the research lies in the fact that the author examines the composer's compositions through the prism of stylistic and linguistic innovations of the 1960s, proves the close connection of Tishchenko's symphonism with his time, with the contradictory cultural and social processes that befell the generation of composers of the "sixties".

Abstract: The subject of this research is the period of Russian symphonic music of the 1960s. A new generation of composers – the “Sixtiers” – introduced a fresh modern musical language and remarkable artistic achievements. In first part of the article, the author dwell on several fundamental symphonic works by R. Shchedrin, S. Slonimsky, E. Denisov, Y. Falik, N. Karetnikov, as well gives general characteristics to this period. The second part of the article examines the compositions by A. Schnittke and L. Prigozhin. Special attention is turned to the Symphony No.3 by Boris Tishchenko, who opens new stylistic horizons and encompasses the key trends of modern music, including the avant-garde, into his stylistic orbit. This article is first to consider B. Tishchenko's outstanding Symphony No.3 in the context of stylistic and linguistic innovations of the 1960s, which defines the scientific novelty. Analysis is conducted on the role and place of the youngest composer of the “Sixtiers” B. Tishchenko in the struggle for the “new music”. The conclusion is made that Tishchenko was one of the leaders in revival of the Russian music of the late XX century, and his Symphony No.3 reflects the pursuits of the postwar generation of Soviet composers to the fullest.

Abstract: This article analyzes the music to the ballet “Yaroslavna” by the prominent Russian composer of the late XX century B. Tishchenko (1939–2010). The written and staged in 1974 ballet has become one of the most remarkable musical achievements of that time. Emphasis is palced on the fact that Tishchenko composed “Yaroslavna” using all available modern orchestral means of expression on the basis of the Old Russian text “The Tale of Igor's Campaign”. Tishchenko did not seek stylization of his work, but brought the word of the nameless chronicler closer to modern era. He introduces choir to the ballet music to augment its power. The author features Tishchenko's outstanding work with orchestral texture and various instrumental timbres and colors. The novelty of this research lies in studying the music to the ballet “Yaroslavna” in the context of general vector of the revival of Russian symphonic style in the 1960s–1970s. The author notes the leading role of Boris Tishchenko in this remarkable process. The conclusion is made that the composition turned out to be multigenre, consisting of multiple parts; and that Tishchenko has broadened musical lexicon of the Russian music culture to the maximum. The music to the ballet was saturated with truly symphonic content, opened new artistic paths, and enriched modern orchestral palette.

Abstract: The subject of this research is the period of Russian symphonic music of the 1960s – a new generation of composers, the “Sixtiers”, who brought remarkable artistic achievements and modern musical language. The author dwells on several key symphonic works by R. Shchedrin, S. Slonimsky, E. Denisov, Y. Falik, A. Schnittke, N. Karetnikov, and L. Prigozhin, who made an immense contribution to the revival of the Russian music culture. Special attention is given to Boris Tishchenko’s Symphony No.3, which encompasses the key trends of modern music into its stylistic orbit and opened new musical horizons. The scientific novelty lies in the fact that this article is first to examine the outstanding composition Symphony No.3 by B. Tishchenko in the context of stylistic and linguistic novelties of the 1960s. Detailed analysis is conducted on the role and place of the youngest out of the “Sixtiers” – the prominent Russian symphonist of the XX century Boris Ivanovich Tishchenko (1939–2010) – in the struggle for “new music”. The conclusion is made that Tishchenko became one of the leaders in the revival of the Russian symphonic style of the late XX century, and his Symphony No.3 fully reflected the rigorous pursuits of the entire generation of Soviet composers.

Abstract: The subject of this research is the symphonic works of the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko (1939 – 2010). His symphonic pieces synthesize different images, ideas, genres, and forms. This article explores various stylistic and linguistic effects upon his works, reveals the origins of fresh and unique artistic thinking. Emphasis is placed on the innovative role of B. Tishchenko in the revival of Russian symphonic style of the 1960s. Special attention is given to Tishchenko's succession of the great Russian symphonic tradition. The main conclusion lies in the thought that B. Tishchenko is one of the few among his contemporaries to remain faithful to the genre of great, “pure” symphony, as well as is the successor of the symphonic line of his brilliant teacher D. Shostakovich. The novelty consists in proving the thesis that symphonic style of B. Tishchenko is a holistic, meaningful, and truly modern phenomenon. Tishchenko amusedly delved into the new composing techniques, highlighting dodecaphony, aleatoric music, sonorism, pointillist music; however he did no remain faithful to these genres to the end; he constantly “refined” his musical language, introduced novelties for creating an artistic image.

Abstract: The research subject is the scope of symphonic works of an outstanding Russian composer of the late 20th century Boris Ivanovich Tishchenko (1939 - 2010). The article continues a brief analysis of all 17 symphonies of the composer, and considers his works of the 1980s - the 2000s: French Symphony, Pushkin Symphony, Dante Symphonies, and Symphonies No 7, 8, 9. 
The author considers in detail such aspects of the topic as Tishchenko’s innovatory role in the renewal of Russian symphonism of the second half of the 20th century, the interrelation between and poetry in his large orchestra compositions, the significant impact of literary concepts on the development of his symphonism. Special attention is given to Tishchenko succeeding to the great Russian symphonic tradition. The main idea of the article is that Tishchenko is one of the few in his generation who remained committed to the genre of a large “pure” symphony and succeeded to his genius teacher D. Shostakovich. A special author’s contribution to the development of the topic is a detailed consideration of all symphonic works by Tischenko. Such a research has never been held in the history of Russian music before. The scientific novelty of the research consists in the fact that the author proves a close connection between Tishchenko’s symphonism with his time and the controversial cultural and social processes suffered by the composers of the sixties.
 

Abstract: The research subject is the symphonic works of an outstanding Russian composer of the late 20th century Boris Ivanovich Tishchenko (1939 - 2010). The article considers his compositions of the 1960s - 1980s: the first six symphonies with numbers and some symphonies with titles. The author studies such aspects of the topic as Tishchenko’s innovatory role in the renovation of Russian symphonic style of the 1960s, the interrelation of music and poetry in Tishchenko’s large orchestra compositions, and the significant influence of literary concepts on the development of his symphonic style. Special attention is given to the issue of Tishchenko taking over from the large Russian symphonic tradition. The main contribution of the research is the idea that Tishchenko is among the few of his generation who held true to the genre of large “pure” symphony, and took over from the symphonic line of his genius teacher D. Shostakovich. The author’s special contribution is the analysis of all symphonic works by B. Tishchenko. Such a detailed study is the first in Russia. The scientific novelty of the research consists in the fact that the author proves a close connection between Tishchenko’s symphonic style and his epoch, the controversial cultural and social processes suffered by his generation.

Abstract: The subject of this research is the symphonic works of the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko (1939–2010). The article analyzes the composer's first major ballet based on the poem “The Twelve” by A. Blok, which was requested in 1963 by the outstanding Soviet choreographer L. Yakobson for production design in the Kirovsky Theater in Leningrad. The author examines such aspects of the topic as Tishchenko's innovative role in the revival of Russian symphonic style in the second half the XX century, interrelation between music and poetry in the orchestral compositions of B. Tishchenko, as well as strong influence of the literary concepts upon the development of his symphonic style. Special attention is given to the topic of B. Tishchenko's succession of the great Russian symphonic tradition. The main conclusion lies in the thought that B. Tishchenko's ballet “The Twelve” is the first truly contemporary ballet performance in the Soviet musical theater. The author’s special contribution to this research consists in comprehensive examination of the works of the prominent Russian composer that have not receive due attention of the musicologists. The novelty lies in demonstration of the important role of Boris Tishchenko in the overall process of the revival of the Russian symphonic music of the 1960s on the example of the ballet of his early period. Developing his original artistic concepts, Tishchenko symphonized the ballet performance, paving the way for many Soviet composers in this direction.

Abstract: The subject of this research is the period of the Russian symphonic music of the early 1960s. The scene saw the emergence of a new generation of composers – the so-called “Sixtiers”, making themselves known with remarkable artistic achievements, novel and modern musical language. Emphasis is place on such aspects of the topic, as the system of music education that established in the Soviet Union by the mid XX century, sustained material affluence of the Soviet composers, and ideological pressure of the government in return for such care. Special attention. Special attention is given to the new artistic opportunities for the young Russian composers that emerged as a result of the political “thaw”. The scientific consists in introduction into the scientific discourse of a wide range of memoir literature and critical articles of the representatives of the “new wave” movement, as therefore, a more comprehensive understanding of the complex processes that unfolded in the Soviet academic music. A detailed analysis is conducted on the role and place in the struggle for “new music” of the youngest musician out of the “Sixtiers” – a prominent Russian symphonist of the XX century Boris Ivanovich Tishchenko (1939 – 2010). The main conclusion is reflected in the thought on a certain triumph of the School of Soviet Composers and the system of music education, which is most clearly described by the last three decades of the existence of the Soviet Union.

Abstract: The subject of this research is the monumental vocal-symphonic piece of the prominent Russian composer of the second half of the XX century Boris Tishchenko. His Symphony No.6 s based on the poems by A. Naiman, A. Akhmatova, O. Mandelstam, M. Tsvetaeva and V. Levinzon, completed in 1989, and tribute to Yevgeny Alexandrovich Mravinsky, who passed away a year before. Poetic lines that form the backbone of the symphony contain multiple images resembling death, which imparts a profound meaning, a moment of personal experience in dedication to the prominent conductor. Special attention is given to the symphonic dramaturgy of the Symphony No.6, the problem of interrelation between music and poetry, realization of the complex literary texts in the ultimately modern symphonism of Boris Tishchenko. The conclusion is made that Tishchenko is absolutely seamless in this vocal-symphonic opus and reveres his coauthors. The translates everything into the music, without missing a tiny thing that can reveal its meaning and beauty. At the same time, the circle of poetic images, semantics of the verse were transformed in accordance with his worldview. The novelty is defined by the fact that this article is first in Russian musicology, to comprehensively analyze the Symphony No.6  by Boris Tishchenko, reveal its semantics, and performance difficulties. The author attributes this symphonic composition of Boris Tishchenko to most remarkable in the history of Russian music.

Abstract: The subject of this research is the symphonic creativity of the outstanding late twentieth-century Russian composer Boris Ivanovich Tishchenko (1939–2010). The author studies his works from the 1960s, which were inspired by classical and modern Russian poetry, while focusing on issues such as the interrelation between music and poetry in Tishchenko’s orchestral compositions and the significant influence of literary concepts in the development of his symphonic style. Special attention is given to four of the composer’s outstanding works: The Twelve, a ballet based on Alexander Blok’s poem (1963), Symphony No.2 Marina to Marina Tsvetaeva’s lyrics (1964), Requiem to the poem by Anna Akhmatova, and a piece of dramatic music, The Death of Pushkin (1967). The author arrives at the conclusion that most of Tishchenko’s symphonic creativity was based on his love of literature, words, and the artistic image begotten by literature and poetry. The author’s unique contribution to the research of this topic is a detailed study of Tishchenko's significant symphonic works based on poetry in the 1960s. The scientific novelty of this research is that Tishchenko's literature-centric works are, for the first time, being considered in the context of the development of his symphonic creativity. The article uncovers a strong correlation between the author’s style, the composer’s language, and the non-music influences on his creative process.  

Abstract: The subject of this research is youth oeuvre of the prominent Russian composer of the second half of the XX century Boris Tishchenko. The symphony “Crainquebille” was composed in 1958 based on the eponymous acute social story by Anatole France on misadventures of a Parisian greengrocer, a “little man” who was caught up in the wheel of justice. In 1993, the composer renamed the symphony “Crainquebille” into “French”. Special attention is given to symphonic dramaturgy, programmability in music, and interrelation between music and literature. Tishchenko creates a virtuosic concerto for the orchestra within the framework of the classical symphonic cycle, imbues it with the novel compositional techniques, experiments with orchestral colors and timbres, gradually carries the main theme through the entire work, and is apparently fascinated by speech intonation and the word conveyed through the instrumental motif. It is concluded that Tishchenko decided to make virtually no changes to his early symphonic composition; the quality of the material created during his second year at Leningrad Conservatory contributed to emergence of a remarkable and novel symphonic opus written in a modern relevant, orchestrally imbued, rich and bright language. The novelty of this research consists in the fact that this article is the first reference in Russian musicology to the “French” symphony of B. Tishchenko, as well as a comprehensive review. The author reveals its content, analyzes difficulties of performing, and cross-cutting dramaturgy.

Abstract: The research subject is a monumental semi-orchestral composition created by an outstanding Russian composer of the late 20th century Boris Tischenko “Requiem” with lyrics by A. Akhmatova. A funeral service over Akhmatova was read at the church of St. Nicholas Naval Cathedral in Leningrad on March 10, 1966. The score of the “Requiem” was finished on August 16, 1966. Thus, the composition with the lyrics by Akhmatova has become a tribute to her, a musical offering, and even the first monument not built with hands. The author gives special attention to the symphonic form of the “Requiem”, differences in the interpretations of the poetic theme in the works of Tischenko and Akhmatova, the role of the symphonic orchestra and the leading singers; the author also considers an important issue of a high-quality performance of the hardest scores created by Tischenko. The main conclusion of the research is the fact that Tischenko’s “Requiem” has become an important element in the process of renovation of Russian symphonic style of the 1960s - the 1970s. As a composition, written in a modern language, it has become one of the drivers of this renovation. As such, the composition is a vocal symphony, and the composer develops the symphonic form step-by-step. The scientific novelty of the research consists in the fact that it is the first work in Russian musicology to consider Tischenko’s “Requiem” in detail, to reveal the contensive aspect of the composition, and to analyze the difficulties of performing the composition. The author reasonably reckons the symphonic composition by Tischenko among the most significant pieces in the history of Russian music. 
 

Abstract: The subject of this research is Marina Symphony No.2 by the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko. It was completed in 1964, and for a long time remained unreleased. Special attention is given to the symphonic dramaturgy of the piece, interrelation between the music and the poetic text, as well as modernization of the language of composing. Specific trait of Tishchenko's symphonic style — the aspiration and ability to expose the surrounding conflicts and contradictions – is amplified in the symphony. Tishchenko masterfully reconstructs any desirable emotional and psychological atmosphere, which manifests in the variety of techniques and technical solutions. Symphony No.2 by Boris Tishchenko is a remarkable phenomenon in the national music, as well as an important step towards formation of the composer's unique symphonic style. In “Marina”, Tishchenko addresses the pivotal question of not only his creative path, but perhaps of the entire musical art of the XX century: the level of adherence of the author's imagination to the musical form. His imagination is irrepressible; the language is highly modern; the form is classically clear and closely related to the good Russian and Soviet symphonic style. The novelty of this research consists in consideration of the remarkable symphonic piece of Boris Tishchenko from the present-day perspective and in the context of revival of the entire national symphonic style of the 1960s.

Abstract: The article considers the composition Dmitri Shistakovich created in his youth days: Two Fables by Krylov for vocal and piano. Despite the fact that the romances were written when the composer was only 15 years old, they outlined many important streams of chamber vocal works and artistic principles of the mature creative period of Shostakovich; his manner, imagery and even mastery are easily visible. The author focuses on the close connection between the fables and the late vocal works of the composer, analyzes the romances and adduces Shostakovich’s own evaluations of this work, and tells about the creative milieu of the composer which affected the creation of the composition. The author concludes that youthful Krylov’s fables manifested the capacity of the chamber vocal art of the composer. They contain all the basic streams of development of Shostakovich’s vocal lyrics - bright theatricality, inclination for humour and grotesque, paradoxicality of thinking, figurativeness, and ensemble significance of a piano accompagnement. With the benefit of hindsight, we find this composition bright, and daring, and forward-looking. Nevertheless, it is rarely played and poorly studied. The purpose of the article is to draw attention to this original and bright opus of an ingenious Russian composer. 
 

Abstract: The article considers the composition Dmitri Shistakovich created in his youth days: Two Fables by Krylov for vocal and piano. Despite the fact that the romances were written when the composer was only 15 years old, they outlined many important streams of chamber vocal works and artistic principles of the mature creative period of Shostakovich; his manner, imagery and even mastery are easily visible. The author focuses on the close connection between the fables and the late vocal works of the composer, analyzes the romances and adduces Shostakovich’s own evaluations of this work, and tells about the creative milieu of the composer which affected the creation of the composition. The author concludes that youthful Krylov’s fables manifested the capacity of the chamber vocal art of the composer. They contain all the basic streams of development of Shostakovich’s vocal lyrics - bright theatricality, inclination for humour and grotesque, paradoxicality of thinking, figurativeness, and ensemble significance of a piano accompagnement. With the benefit of hindsight, we find this composition bright, and daring, and forward-looking. Nevertheless, it is rarely played and poorly studied. The purpose of the article is to draw attention to this original and bright opus of an ingenious Russian composer.