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1999
"Letters without an Address". Concert Symphony No. 1 for Violin and Viola with Orchestra
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Yuriy Butsko Foundation

Not fulfilled

The definition of "concert symphony" implies a certain intermediate position of the genre between "symphony" and "concert". In Butsko's work, the genre of the symphony itself is presented in a very diverse way: the composer has seven "large" symphonies (for a full symphony orchestra), four chamber symphonies (mainly for a string orchestra), six symphony suites (based on genre material, for a large orchestra, sometimes with the inclusion of soloists and a choir). On the other hand, Butsko is the author of several concertos for solo instruments (piano, violin, viola, cello) with different orchestral lineups. In the composer's early work, there are also two works entitled "symphony-concert" (the First Cello Concerto and the Violin Concerto without a number).

Formally speaking, among the "concert symphonies" two (First and Second) can be defined as "double concertos" (and such a subtitle is present in the author's drafts) - for violin and viola and for violin and cello. The Third Concert Symphony is designated on the title as a symphony with solo cello, that is, as a single concerto, but the piano in this score is almost the second solo instrument. In all three symphonies, a string orchestra is used with the addition of percussion, as well as organ (in the First Symphony) and piano. We believe that this composition is convenient and practical for performers.

Answering the question of why these are still "symphonies" and not "concerts", one can say that there is no impassable wall between the genres. Perhaps concert symphonies are more "symphonic", less connected with the principle of competition, which to some extent implies the concert genre.

Three concert symphonies span a decade: from 1999 to 2009, and thus represent the composer’s late work, little known to performers and listeners.

The forms of the symphonies are different and the number of parts in them is different, although the duration is approximately the same - 40-45 minutes. All three bear the author's names: "Letters without an Address", "Transfiguration", "Silence of Autumn". The first and third subtitles are abstract, despite the fact that in the music of the First and Third Symphonies one clearly senses some internal, unannounced program. This is especially true of the First Symphony, where after a lengthy first part, the second (with the inclusion of the organ) is a "chorale" on the theme of Znamenny chant.

The subtitle of the Second Symphony has the author’s interpretation – “From the New Testament”, and an attentive performer and listener will undoubtedly sense a special “energy” in the music of this work – reflections of the Tabor light of the Transfiguration of the Lord.

The main thing in the style of all three symphonies is the tense and incessant, from the beginning to the end of the composition, polyphonic development of the main themes and their individual motifs, in which the soloists and the orchestra participate “on equal terms”.

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The design of the site uses the works of the Honored Artist of Russia Viktor Kalinin, as well as the composer's autographs.

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