A double concerto by J. S. Bach will also be heard at the Open-air Concert on Heroes’ Square, Budapest. The two soloists are calling for peace and against propaganda. But this is not a shady peace negotiation. Diana Tishchenko is from Ukraine, Alexander Sitkovetsky originates from Russia.
– The Budapest Festival Orchestra’s event has the title “Plea for Peace”. What’s your message with the concert?
Alexander Sitkovetsky: For me, and I am sure Diana will agree, making music is about many things; emotion, expression, individuality, artistry, and skill, to only name a few, but one aspect that always sticks to my mind is communication. Not just through music itself, but through having discussions – with the conductor or the fellow instrumentalists – and forming a unified interpretation that represents the culmination of working together. The same goes for the relationship of teachers and students, discussing ideas and styles together that really serve as key to make something unique, that is a musical performance. I’m certainly not an expert in politics, but in my personal and professional experience I do find communication to be extremely important.
Sometimes our conflicts are caused by misinterpretation and miscommunication, and this may hold on a greater level – in society, and between countries and cultures as well. So as musicians we can only bring this small gesture to the audience. In the current times that we are living in, the art of talking with each other and the will to respect each other’s opinions and worldviews is getting lost, and the lack of it causes many conflicts on a micro and macro level. We, musicians, are so fortunate to have been taught from a young age to collaborate, listen, and make art together; it is part of us and our identity. So, with the lead of Maestro Fischer, Diana and I hope to show an example of that to the audience.
– Diana Tishchenko: Being an artist allows me to transcend borders and differences. What I fear the most is the growing ignorance and insensitivity in society. In a world where media distorts reality, music provides a way to connect and communicate on a deeper, more human and emotional level. Living abroad for many years, in cities like Berlin and Paris, my sense of identity has evolved. I no longer think in terms of where someone comes from or what language they speak. Instead, I look for human values – for respect, good will, and a good heart in a fellow musician. This concert is our way of promoting peace by showing that dialogue begins with listening.
– How has the war affected your life?
DT: This war has divided our lives into “before” and “after,” a tragic marker that will never fade. It is a reminder of how much influence propaganda can wield and how important it is for people everywhere to rise above it. My family has been spread across the world for some time now, but I still have loved ones – relatives, teachers, and friends – who remain in Ukraine. In the first days of the war, I was gripped by the fear that I might never hear from them again. It was absolutely horrifying and unimaginable. My immediate response was to play in every possible fundraising concert (and, sadly, there have been many since), to help people directly, and to send medications. The ability to sleep at night simply vanished.
– It’s no surprise, since it’s been a decade since peace has vanished from the region you come from.
DT: I happened to be born in the south, by the Black Sea, in Crimea, which at that time was an autonomous republic within independent Ukraine (it became independent one year after in 1991). Although most of my roots go to the Odessa region. I attended a remarkable Ukrainian gymnasium – the only school in Crimea where all education was conducted in Ukrainian. When Crimea was annexed by Russia in 2014, the founder and principal of this school were unceremoniously forced out by the new local authorities, and the school was converted to a Russian one. Recently in July her son, who serves as a surgeon in Kyiv’s children’s hospital was nearly killed during the bombing.
For me, reality has been shaken since 2014 – the loss of native Crimea, where I haven’t gone back since, had a huge impact on me. Iwatched it all from a distance during my studies in Germany. And I couldn’t believe the efficiency of propaganda by Russian media.
Since my student years in Kyiv, I grew up without a television, and to this day, there isn’t one in my home. I believe it’s crucial to remain cautious of what we absorb from the media and to prioritize genuine human connection instead. Some of my relatives had to leave Ukraine because of the war. Their once-happy young lives and future plans were suddenly shattered, forcing them to start from scratch in foreign lands.
AS: First of all, I cannot imagine how the Ukrainian people must feel. This is such a tragedy and such an unjustifiable attack on innocent people. It is so devastating to know that a large majority of Russian people support this war due to the propaganda that they see on television and in newspapers. Although Russian by birth, my family’s roots also extend to Western Ukraine going back generations, and it is heartbreaking to see our communities and friendships ruined by this conflict. As someone who left Russia in 1991 to settle in the UK, I have never felt a sense of any kind of nationalistic patriotism to my country of birth; however I was, and still am, incredibly proud of the cultural heritage, which is intrinsically linked to both of our nations. And I feel a deep anger that this connection between our people has been hijacked by one man and his personal crusade.
– When the war erupted many musicians decided not to play Russian music. Now, they mostly withdrew from this decision. What do you think of that?
AS: Since I have a position as the artistic director of the Leopoldinum Chamber Orchestra in Wrocław, Poland, I have experienced first-hand how protective, how caring, how welcoming the people have been to the Ukrainian population that has escaped the war for the time being. They have been Ukraine’s fiercest allies and governmentally have understandably taken a severe anti-Russian stance. Although I don’t think Tchaikovsky had anything to do with today’s authoritarian regime, I can fully understand why people are so sensitive. Putin has always tried to put Russian culture to the service of his propaganda machine.
When you even try to understand what the Ukrainian people have gone through, who lost their homes and family, I don’t think one should be in a position to make some kind of intellectual argument to show they are right. But as a musician who has always loved this incredibly rich, beautiful and life affirming music, I do feel fortunate that on the whole, people from around the world, including many Ukrainians, have softened their stance since the onset of the war, and the great music of Shostakovich, Prokofiev, Tchaikovsky and others, which has always sought to unify rather than divide, is now welcomed back in concert halls everywhere.
DT: I have personally continued playing Russian composers, including Tchaikovsky’s concerto and Shostakovich’s and Prokofiev’s sonatas along with other works that remain in my repertoire. The cancellation of Russian culture is not something I agree with, and most Ukrainians I know, including those living in Ukraine, don’t see a link between the actions of the current regime and the works of long-deceased composers. I see the compositions as a part of the world’s cultural heritage.
– Diana, what styles and schools influenced your playing?
DT: The early years of my musical education in Crimea and Kyiv were influenced by the recordings of David Oistrakh, who was an idol for me, and we had the vinyls of Lenid Kogan and Jascha Heifetz. My auntie was my first teacher who studied in Kharkiv. Later, in Kyiv, I studied with Tamara Mukhina, and eventually, my path led me to a variety of teachers from different backgrounds—my Swedish teacher Ulf Wallin was educated in Vienna, Boris Kuschnir was from Kyiv but mainly formed in Moscow. Later I also encountered Hungarian musicians like András Schiff, Rita Wagner, and Ferenc Rados, who just profoundly shaped my understanding of music. I would very much wish Mister Rados will attend the concert on 31 August.
What I’ve come to realize is that while teachers and schools play a crucial role in shaping an artist, it is equally important to be influenced by the environment and the culture around you.
– Why did you choose the music of Bach, and particularly this Double Violin Concerto?
DT: I guess the idea to perform Bach’s Double Violin Concerto arose during a conversation with Maestro Fischer we had in Berlin when he first mentioned about this concert. The repertoire for two violins and orchestra is somewhat limited, whatsoever. For me, as for many others, Bach is nothing short of a musical god – his compositions are timeless and universal. What could be more fitting for a concert dedicated to peace?
AS: I’m very happy that we will perform this piece together as it has played a very important role in my life since I was a little boy. At the age of eight, I was fortunate enough to learn and play it with Yehudi Menuhin, in probably some of his last concerts as a violinist, and since then it has continued to accompany in some of my most important musical events. I know that our concert in Budapest, on Heroes’ Square, will certainly be another one and I can’t wait to discover a new feel for this great work with Diana. The concerto is such a masterpiece and the musical interplay between the solo violin parts as well as the orchestra is written so perfectly, that I feel it is open to so many different interpretations. It has one of the most beautiful slow movements in music, while the outer movements are so full of energy and drama. Even after many years, I am still deeply inspired to perform this concerto.
– What’s your story with Budapest Festival Orchestra and Iván Fischer?
AS: It is going to be the first time I work and perform with the orchestra and Maestro Fischer, and I couldn’t be more excited. Maestro Fischer is a unique musician and the orchestra has a really distinctive sound which I can’t wait to hear up close! I hope that I can join in with them in singing together as I know that it is one of their great traditions. If I’m lucky, I am also hopeful to see in the orchestra, a few of my friends who play in the ensemble regularly.
– Diana, some may remember you already played with the BFO two years ago.
DT: Yes, that was a last-minute jump-in, we played three concerts with a Haydn concerto in Müpa. The Budapest Festival Orchestra is one of a kind, full of incredible energy and character. They’re special because every musician has their own unique voice. Working with Iván Fischer is a true honor – he’s one of the most intelligent musicians and persons I’ve met, and his vision brings out the best in everyone he works with.
We also have plans for the next season starting now. We’re going to perform the new Violin Concerto by Iván Fischer (a “Dance Suite for Violin and Orchestra”) here at Budapest, and Brussels also. And yes, looking forward to listening to Mahler’s Third Sypmhony as well – the last movement is one my favorite compositions from the entire music literature.
– You are both traveling around the world all the time. Where do you feel most at home?
AS: As someone who left their country of birth when only 8, and this might sound a little cliche, but I have always felt that home can be anywhere. If I am with my family and with my friends, or if I am making music with people that I love and respect, this feeling of togetherness helps me to feel at home no matter where I might be.
DT: I often get this remark that it must be lonely to be a traveling musician. On the contrary, I enjoy the freedom of visiting new people and gathering new impressions. I feel at home everywhere I’m surrounded by good people, where there is love in the air.
