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Symphony no. 6 is “a gigantic farewell symphony written at the end of the millenium. It is at one and the same time retrospective, sums up, and, in a visionary manner, is directed towards the future . . .” (V. Tarnov) In fact, the arch-like wave structure of the uninterrupted five-movement cycle approximates to late romantic formal schemes (as, for example, those used by Bruckner). It ranges from the introduction (1) via a kind of sonata-form movement (2) to the dramatic development section within the seemingly endless Adagio (3), and then “retraces its steps” via a short intermezzo (4) and reaches the finale (5), which corresponds to the introduction. However, the work does not make use of the normal symphonic clashes and the customary contrasts and developmental methods. The numerous rubatos and rests convey the impression of a breathing tonal texture which, despite its seemingly static character (there are no exact repetitions), is subject to continual variation. As in many of Silvestrov’s later works, melody is the driving force of the whole composition. In Symphony no. 6 a melody appears as a subsidiary theme in the sonata-form movement (which actually consists only of an exposition), and two other melodies constitute the two themes of the double variations in the Adagio.” (Tatiana Frumkis)

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