For Boris Tishchenko it was an interesting commission.  He had to first understand the reverence which the Thai people held for the Princess, and conduct extensive research on Thai musical culture. Keeping in perspective the Princess’s contributions to promoting the arts in Thailand, he began the task of composing his Requiem, eventually declaring it a “very emotional journey”.

As a musical genre, the requiem has gone beyond its initial meaning of a Catholic mass. It is, above all, an artistic expression of a host of emotions cutting across barriers of time and nationality. A present-day requiem is a combination of tradition and modernity, while keeping the depth and sadness pertinent to the genre. Tishchenko’s Requiem is based on canonic Latin text and, as he explains, deals with “the universal problem of life and death”. In this Requiem one can observe the European requiem pattern, Russian musical traditions and the legacy of Shostakovich (Tishchenko’s teacher).

Part I of the Requiem is based on eight long notes in the bass register symbolizing eternal rest. A protest against death follows with ‘Dies irae’, ‘Tuba mirum’ and ‘Libera me’.

The second part is a song of gentleness, a continuance of mourning leading to the eternal light that shines for righteous souls. The cycle is crowned by ‘Requiem Æternam’ and ‘amen’ - a traditional, final call of canonic masses.

‘Requiem Æternam for Princess Galyani’ had its world premiere in Thailand on 15 September 2008 at Bangkok’s 10th International Festival of Dance & Music. It was performed by the Russian Baskhir State Symphony Orchestra and Chorus, conducted by Robert Luther, with soprano Yulia Simonova and mezzo-soprano Oleysa Petrova.

 This year the Requiem continues its journey overseas, travelling to the four major cities of Russia – St. Petersburg, Moscow, Ekaterinburg and Novosibirsk.  

PRESS COVERAGE

IZVESTIA ST. PETERSBURG, 2 JUNE 2010

‘Stunning, Bright….. Music’

BANGKOK POST, 21 April 2010

‘Royal Homage of Classical Music’  

 THAI RATH, 13 April 2010