Today it is not easy to bring something new into the symphonic genre and find extraordinary interpretations. Though, it is the score of the Symphony No. 3 that turned to be innovative. Only tempo correlation of some parts resembles to the traditional symphonic cycle avoided by the author. The score consists of three parts – Fugue, Intermezzo and Finale, slightly reminding of the structure of instrumental concerts. The composer highlighted the pure symphonic fade-in prevailing over the masterly one. And the most important role is given to polyphony.

The opening Fugue is unique, since the composer follows his own composition principles. Frequent repetition of the theme makes it more clear, phonically approaching to the emotionally rich polyphony of the final episode. Sometimes there manifest grotesque features that are also apparent in the main theme.
The Intermezzo part stimulates imagination but, being a lyrical centre of the score that resembles the slow parts of the first two symphonies, is not of the same type. It carries you away to the intellectual and slightly abstract lyrics. The quiet and sunny theme appears in the high register of violins. This climate is maintained through the whole part except for a short episode - Poco piu mosso - that is characterized by strong and resolute tones.
Finale bursts into a stream of toccata passages. Full of temper, it reminds us of the early compositions, as the Symphony # 1, though expressed in different style. Finale is written in three parts, where the quick and streamy episodes are framing the slow section. Starting with the string passages, supported by woodwinds and penetrating sounding of xylophone (xylophone, in fact, plays an important role in the score), it leads to the main theme, tonally resembling the sophisticated Fugue image. Finale generally is a very dynamic and masterly toccata not typical for Khrennikov’s music.

The main idea of the Symphony No. 3 was clearly expressed by the composer after the premiere in March 1974: “This composition is not descriptive… It is a result of eternal speculations on life and place of an individual in the contemporary world.”

Text to the booklet with the CD: Tikhon Khrennikov - Three Symphonies (Masterpieces of the Soviet music)
Quotations from the books and articles by I. Martynov, O. Levtonova, Y. Kremljov are used in the booklet.