SYMPHONIES OF THE CENTURY
Both concert symphonies, Nr. 1 and Nr. 2, by Vl. Solotarjov convey a completely new picture of this composer's talent. However, many oeuvres for classical music and choirs are still waiting to be performed, among them the oratory "Red-letter days of the Revolution" for four choirs, soloists, a narrator and symphonic orchestra, as well as the poem "Martin Eden" (after Jack London) for alto and chamber orchestra, two string quartets...
Concert Symphony Nr. 1 for bayan and symphonic orchestra (1972) is an essentially enlarged and revised version of the first concert for bayan from 1965. It no longer depicts a competition in concerto form between soloist and orchestra, it is a truly symphonic picture with orchestral development, the bayan playing enormously important solos. This symphony in four movements is pretty well marked by the composer's romantic view of life. Episodes of spiritualization logically blend into the music which represents power, manliness and optimism of the youth. In addition, we should also emphasize the splendid tone colours of the score. Manifold orchestral colours that complete the bayan score show that the composer has detailed knowledge of how to make use of an orchestra, a fact that is backed up by his highly professional instrumentation. The symphony is dedicated to the writer Marietta Schaginjan with whom the composer was acquainted.
Concert Symphony Nr.2 for bayan and symphonic orchestra represents the greatest tragedy in the oeuvre of Vl. Solotarjov. The idea of death as a person's ultimate experience is shown in the centre of this fresco in four movements. When earlier - in the third sonata - harmony and lucidity won the battle against dark powers, this symphony ends, like the end of the world, in draining the bitter cup. The first two movements contain large, meditative sections written in twelve-tone music system - a composition technique using 12 non-recurring sounds, first applied by the Austrian composer A. Schönberg. In the third movement a certain tension is built up that finally explodes in the part of "Bacchanalia', carrying off everything in its way. The disastrous theme for trombones of A. Bruckner's Eighth Symphony rings out. The sudden, lonesome, human voice (soprano) is drowned in total chaos. Finally, at this point of culmination, all musicians begin to stamp their feet, roar with laughter, whistle and scream, "Morte! Morte! (Death! Death!) And on top of all that - the sound of glass breaking.... The symphony ends in a very short, fourth movement, the epilogue, downward-glissandi of the strings completing the picture: the universe vanishes into nothingness… The symphony is dedicated to the conductor Gennady Roshdjestvensky.