Every sonata by Boris Tishchenko really takes its special unique place in the galaxy of his ten sonatas. Although they are distinct for diverse thematic collisions and inventive structural decisions, there is the symphonic element to be the stimulus at the head of large-scaled conceptions, dramatic development and exceptional treatment of piano facture, very often similar to the orchestral score.

The Sonata No. 4 reminds some isle of joy, sunlight and reverie, dividing impetuous Sonata No. 3 from the most heartbreaking Fifth one. All this triad forms the sort of megacycle. The first movement's facture is utterly stern, lacking traditional sonata features. The culmination is achieved, but not by means of rhythmical exotica - this brutal apex is reached due to even modal transformation and sharpened intervals.

The second movement is the composer's confession of love to Prague - this wonderful enigmatic city with its gabled roofs and spires. The whole sonata is dedicated to Prague itself. As for the musical novelties it's mostly interesting to watch the author's mostly subtle manipulation with the rhythm, hence his masterful rubato.

The Finale originates from jazz. How moving it could resound if the percussion joined this rigid rhythm, which is, meanwhile, destroyed by the humorous blow of the police horn. The Fourth Piano Sonata by Boris Tishchenko shall be the cream of crops both in the class and at the concert stage.