The violin plays its theme, alone, simply, lyrically and vocally, with a memorable rhythmic idiosyncrasy that will shape the rest of the movement again and again.

The orchestra first responds, likewise lyrically, with thematic particles in the woodwinds, before dramatising the mood with wild interjections.

Turmoil, the violin braces itself and finds its way back, at first slowly but then quite unexpectedly, to the idyllic mood of the introductory theme with its striking rhythm. The music becomes youthfully sweet, as if the violin has fallen in love and cannot get away from its theme.

The orchestra almost smirks and ironically throws in rhythmic particles of the theme. Then again violent movement and increase towards the violin's cadenza, which abandons itself entirely to the theme and its rhythmic particles, entirely to itself. Then timpani beats. Violent objection from the orchestra. The end of the movement, however, becomes melodious and rapturous, the woodwinds come again with their lyrical melody and contribute their part to a sweetly beautiful fade-out of the movement in the violin.

Soft murmuring in the clarinets, flowing in eighth notes, above which the violin begins to sing, but its main theme cannot hold its own against the increasing flow and surging of the whole orchestra. Increase in the murmur of eighth notes, driven by the violently occurring percussion, and outburst of the entire orchestra. Dissonant trumpet blaring and trombone glissandi, wild woodwinds, finally only the hard rhythm in the percussion remains of the flowing murmur. Then a sudden break, the violin alone, interrupted only by the percussion, the violin loses itself in a cadenza with solo runs, glissandi and finally tires more and more... the murmur is forgotten and the violin leads lonely fading attacca into the third movement.

"The first (Allegro moderato) is a huge introduction, which also has dramatic development, but its evident understatement and incompleteness requires a further serious talk. It starts with a chorale of French horns, a motif of great importance throughout the movement.

In the culmination, French horns will reappear in the forefront, but this time with a mighty theme of heroic attitude. Grotesquery, irony,

scherzoso attitude, and some incoherence are characteristic of the

extended initial section – all these are typically Tishchenko’s narratives,

and as it often happens, musical motion rather unexpectedly acquires a

nature of steel. The ostinato rhythms, and gradual joining- in of the

orchestra’s percussion and brass lead to a quite powerful culmination,

after which the scattered motifs of the beginning return. The French

horns’ melodic formulas reappear, more muted this time; the musical 

texture gradually dissolves in a high clear register with the soloist and

the orchestra."

"The Presto of the second movement begins with a cadence by the soloist. Convulsive virtuoso replies of violin create a feeling of search for the theme, obsession, query. Little by little, other instruments of the orchestra joint the soloist, until a dashing scherzo appears at last,

whose gaiety is deceptive: something satanic can be heard under rampant bouncy rhythms and catchy determined intonations. After a few pauses, the scherzo resumes running, gradually falling into a

controllable chaos of sounds. After a few failed attempts to regain, to

find the nearly lost scherzo, a violin cadence of a mega-huge scale and

mission begins. Probably it has no parallel in the world’s concert

repertoire: Tishchenko uses here all possible and impossible techniques for strings. The cadence is followed by the third movement, Allegro, which is also quick."

"These are variations, in the most classical sense of the genre. More exactly, they are even rondo variations, since the main theme, its first

powerful tutti chordal tune, is recurring almost unchanged. But the

musical material of the third movement is continuously varied,

appearing in whimsical instrumental and rhythmic combinations. The head motif gets cluttered by second voices, details, and techniques (not only in the solo part, but also with many orchestra soloists), and, as often happens with Tishchenko, a sustained buildup of volume is going on.

The third movement breaks off when chanting the main theme, whose varying metre vaguely resembles another episode in Russian music, Stravinsky’s Danse Infernale from The Firebird."