**The 20th Symphony «Blessed Are the Dead»** is the third part of the symphonic cycle *»Byst»* (consisting of SIX parts: *»Lyubyashchu Ny»*, *»Kroviyu Agncheyu»*, *»Blazhenni Mertvii»*, *»Grad Veliy»*, *»Byst»*, *»Az Iisus»*—the last two were previously presented). Naturally, the symphony is programmatic.

The third symphony, *»Blazhenni Mertvii»* («Blessed Are the Dead»), symbolizes the suffering of the saints, their martyrdom. Yet, they suffer freely, in the Holy Spirit: *»Blessed are the dead who die in the Lord from now on. ‘Yes,’ says the Spirit, ‘they will rest from their labor, for their deeds will follow them'»* (Revelation 14:13).

The symphony consists of an introduction and four major sections, as outlined by the composer: the exposition (bars 4–26), the episodic section (bars 27–66), the recapitulation (bars 67–106), and the finale (bars 107–120).

The symphony begins with the suffering of the saints, persecuted by Satan. Low-register strings and woodwinds, *pp*, introduce a theme whose motifs permeate nearly all subsequent themes. This creates an image of a dark dungeon where the saints are tormented—the theme of their suffering. Gradually, the theme shifts to the upper register (8 horns) and takes on a courageous, heroic character, symbolizing faith in salvation (bar 2). In bar 3, contrasting material emerges, still based on the same melodic motif (solo trumpet):

From this dual melodic foundation—the descending motif of the first theme and the ascending motion of the next—the symphony’s main themes develop.

The introductory and expositional sections, according to the composer, have a hidden narrative, only indirectly related to the Apocalypse. They reflect some of the composer’s personal experiences, as well as one of the Apocalypse’s key ideas: life as a divine trial. Karmanov explains: *»A weak being suffers, bidding farewell to its small child, having decided to end its life. Angels come, comforting it and trying to revive it, but it puts a noose around its neck and hangs itself. Thus, a parallel narrative emerges in these sections.»*

The first section (exposition) begins with a rhythmic and timbral transformation of the initial theme of the saints’ suffering (bar 4):

The theme is carried by violins, with colorful counterpoints from horns and woodwinds. It undergoes rhythmic variation (bar 7), ascends, and reaches upward. In bar 10, against the backdrop of the *»complex of divine heavenly nature,»* a tender melody (a variant of the initial theme) emerges in a mystical atmosphere, representing the mother’s theme.

The entire orchestra is swept up in a single wave of crescendo, leading to a climax (bar 14), at the peak of which a triumphant trumpet call is heard—majestic and unwavering, like the voice of God (bar 15). The violins «weep» again, softly and mournfully (bar 19), as the sonic power intensifies, and the entire orchestra seems to come alive in a grand *tutti*. The sound reaches its peak, like a massive wave crashing against a rock, scattering into spray (bar 21).

A descending melody prepares another lament (bar 22). This moment symbolizes the mother’s farewell to her child. By the end of the symphony, it will come to represent the theme of the saints’ blood:

The expression intensifies, and the lament turns into a continuous outpouring of grief (bar 25). The agony of death grips millions of hearts. Only the weak cannot endure and hang themselves (bar 26). A sudden and rapid crescendo from the entire orchestra, with wailing saxophones, abruptly cuts off, leaving only the *»complex of divine heavenly nature»* for a brief moment. It is as if a universal catastrophe has swallowed a vast crowd, leaving only dissipating smoke. The first vision ends.

The second section (episodic) is marked by a sharp «change of scenery,» as if shifting the action to another space: from heavenly to earthly. March-like beats from the tambourine, timpani, triangle, and castanets prepare the appearance of an infernal-grotesque melody by the piccolo flutes, intonationally linked to the theme of the Queen of Shemakha from Rimsky-Korsakov’s *»The Golden Cockerel»*: Satan arrives (bar 27):

Satan’s theme is carried by the trombone and tuba, accompanied by heavy blows from the tam-tam. The scene of Satan’s arrival instills terror. He seems to say, *»What is this noise? Friends, what is all this commotion?»*

Here, Satan appears as the Beast, but later he will take on human form. The next stage of the vision is the appearance of the Beast with ten horns, emerging from the sea—the Romans (theme of the Beast’s horns—bar 34):

This theme, like many other themes of evil in the cycle, begins with an ascending tirata.

This theme will appear in the symphonies *»Grad Veliy»* and *»Byst»* and will occupy a central place in them. There, it transforms into an ascending motion along a diminished scale, one of the symmetrical scales that, in the Russian tradition (e.g., Rimsky-Korsakov), is associated with conveying fantastic, unreal images.

The episode of the Beast with ten horns depicts Satan’s army emerging from the sea, ready for battle. Meanwhile, Satan smokes a plan—a hellish narcotic (bar 37). Ascending saxophone arpeggios vividly depict the circles of smoke exhaled by Satan. The music seems to immerse the listener in a state of narcotic bliss, created by spicy harmonies and a whimsical, constantly varying rhythm. It feels as if the army has fallen under the spell of narcotic intoxication, under Satan’s power. He transforms into a man (bar 40).

The orchestral *tutti* builds toward a staggering climax, as all layers of the orchestral texture seem to «shift» from their axes. Gradually, this stage of the vision «disappears,» and the next one emerges. The theme of earthly joy (bar 48). It is as if Satan gazes upon the earth and observes what is happening there.

A cantilena theme (a modification of the initial theme of the saints’ suffering by the violins, accompanied by the *»complex of divine heavenly nature»*) contrasts sharply. But in bar 49, an intrusive, invading accompaniment emerges—repetitions by the trumpets and horns, representing Satan’s laughter. At first, it is barely noticeable, as the ear follows the cantilena theme, which unfolds in all its beauty. But the laughter grows louder, becoming increasingly deafening, and finally bursts forth with furious force. Satan begins to spin his schemes, mixing everything up, destroying (bar 56).

Voices merge into a growing hum, pierced by trumpet calls. The sound reaches a frenzied, inflamed intensity. He has destroyed everyone (bar 63).

The section ends like many others: with a descent into an abyss.

The next vision begins, and the third section of the symphony (recapitulation) unfolds. The saints experience a trance-like vision (bar 67). I call this section the «stellar waltz,» the «galactic waltz,» the meditation of the saints. The saints sink into a blissful state of vision. The melody, carried by the saxophones, grows intonationally from the second theme of the introduction, and its initial stepwise motif completely repeats the beginning of the infant’s theme from the symphony *»Kroviyu Agncheyu»*. This is one of the most inspired, sublime, and beautiful themes of the entire *»Byst»* macrocycle.

Here, we also note that the ear unmistakably perceives the waltz-like quality of this episode. But this waltz is special: it lacks the typical dance accompaniment, and the melody literally soars above the *»complex of divine heavenly nature»*. Perhaps it is precisely this transparent, shimmering background that creates the impression of a «Galactic Waltz.» The maximal expansion of the range creates a sense of cosmic weightlessness, where even the slightest, lightest fluctuations are perceptible. The vision expands (bar 73), gradually reaching the greatest ecstasy: *»They sang a new song before the throne and before the four living creatures and the elders. No one could learn that song except the 144,000 who had been redeemed from the earth»* (Revelation 14:3). The path to ecstasy begins (bar 77). The melody, performed by the soft timbres of cellos, English horn, bass clarinet, and bassoon, is accompanied by bell chimes, arranged according to the law of hyperphony.

In form, this fragment, which prepares the ecstatic climax, represents timbral, textural, and rhythmic variations of an intonationally unchanging theme, passed between different orchestral groups. Gradually, it transforms into powerful trumpet calls (bar 84), accompanied by the overwhelming sound of the entire orchestra. At the moment of reaching the melodic and dynamic peak, there is a momentary «pause,» a spasm, followed by a slow «exhalation,» reproduced through glissandos by the brass and saxophones (bars 87, 88): a dizzying, unconscious sensation of floating is created. This is the final moment preparing the ecstasy. The appearance of God (bar 90). The previous theme of the «galactic waltz» sounds in augmentation, carried by the woodwinds and brass (including 8 horns, 4 trumpets, 4 trombones, and 6 saxophones!):

The power of this ecstasy is almost indescribable. The dynamics reach extreme tension. All layers of the multilayered texture sound, merging with the bells. The theme returns to its original form, and a series of ascending sequences marks the ascension to the throne of God. In the blinding rays of the sun, the vision of God is revealed. The doors dissolve, and the saints are led out of the dungeon to the singing of birds (bar 98, a modified version of the «galactic waltz» theme).

The singing of the birds is depicted by wide leaps of the flutes and piccolo, glockenspiel, and xylophone. The singing of birds, as is well known, is a common narrative motif in centuries of European music, starting from the Renaissance. It reappears in the late 19th and early 20th centuries in the works of Mahler and Scriabin, and later in Honegger, Messiaen, Denisov… The symphonic «singing of birds» in Karmanov’s music always characterizes the divine, sinless world of paradise. Messiaen similarly interprets the singing of birds—»singing to God»—as birds opposing the abyss…

The saints walk humbly, enlightened. But the sound grows, and before us—acoustically and visually—unfolds the image of an approaching procession: a characteristic image in European musical tradition. The slaughter of the saints begins (bar 105). The slaughter is conveyed by the blows of timpani, cymbals, tambourine, castanets, tom-tom, bass drum, and tam-tam. The narrative moment invites comparison with similar scenes of cruelty in the Gospels (the beating of Jesus Christ) and their embodiment in world music, starting with Bach’s Passions. But this brief episode in the symphony is more closely related to modern rock compositions for percussion, where intricate rhythm takes precedence. They are cut to pieces. They die (bar 106). First, the low brass and strings sound, then only the strings *pp* and a lone note from the double bass remain… A pause in all voices, a rhetorical figure of aposiopesis—silence, death.

The final section—the coda-epilogue of the symphony—brings the priest and deacon (bar 107). The priest’s theme is carried by the bassoon, echoed by the deacon’s intonations (bass clarinet). Here, the Phrygian mode dominates—a «condensation» of minor colors, descending motifs. The scene of the funeral is interrupted by a sudden chord from the harps and cellos with double basses: as if the crowd of people shuddered, awakened from a terrible shock. The episode concludes with the theme of the saints, their teaching, and a prayer (bar 109), based on a rhythmically altered version of the second theme of the introduction.

A vast crowd stands around, silent, watching what has happened, and gradually they seem to absorb the truth of the saints and move toward the place of their martyrdom (bar 112).

The flutes are joined by violins and cellos, their warm timbre «reviving» the theme, giving it fullness and expressiveness, and soon it transforms into a great lament that engulfs everyone (bar 115). It feels as if it is sung by a universal choir, thousands of voices merging into one in sorrow: high mourners (woodwinds with piccolo flutes) and low mourners (woodwinds with trumpets) are heard alternately.

This is a universal lament. They carry the holy relics and depart, and the theme of blood passes.

The theme, carried by the cellos, is structured unusually. Sequentially descending notes are played alternately by the first and second cellos: when the next note arrives, the previous one is still sustained by the other group, creating a unique polyphonic effect, a colorful pedal-like layering of sound (there is no melody here; each note is played by different string instruments). A radiance appears in the sky (bar 118, 3rd beat). It is conveyed by the chime of the *»complex of divine heavenly nature.»* The procession moves away, disappearing.

In the symphony *»Blazhenni Mertvii,»* the sonata form is entirely absent for the first time in the cycle. The principle of mono-motif development reaches its limit: all themes grow intonationally from two basic initial motifs. The boundaries between sections are not always clear, sometimes flowing smoothly into one another. Each of the four sections has its own semantic and dynamic climax, but the symphony has one overarching climax, connected to the greatest ecstasy: the vision of God.

Musicologist Elena Klochkova