List of compositions by Viktor Kosenko

This is a list of compositions by Viktor Kosenko, who composed about 250 works in various genres. His piano music may be considered post-romantic, containing eclectic elements of musical nationalism. Although a particular folk song has never been directly cited in his work, his melodic and harmonic lines are definitely associated with Ukrainian folk songs, and also with the Dorian, Lydian, and Phrygian mode used extensively in his compositions. Kosenko left a dozen works that are included in the hall of Ukrainian piano music. Among these are his Eleven Études in the Form of Old Dances, Op. 19, and Twenty-four Pieces for Children, Op. 25, which grew generations of young pianists. After his death, many of his other works, if not in manuscript, have been published only recently.

Both tables (works with and without opus number) are sortable by title, key, tempo and mood markings (if applicable), year of production or publishing (when applicable), and non-sortable by opus number (some do not have one), name, image (scores), genre, notes and references. This line _____ functions as a chronological divider for three parts of Kosenko's life (his early works, the time he spent in Zhytomir, and the one spent in Kiev) when his compositions are sorted by year.

Genres

Works with opus number
Title Opus Name Key Tempo Im Ge Year No Re
Three Preludes for Piano 1 No. 7 F-sharp minor Largo ma non troppo – 1910 [n 1] [1][2]
[3]
No. 8 C-sharp minor Andante – 1915
No. 9 G minor Lento –
Four Romances for Voice and Piano 1
bis		 No. 1 — — – 1916 [n 2] [4][5]
No. 2 — — –
No. 3 — — – 1917
Wandering Wind C-sharp minor Allegro moderato
Four Preludes for Piano 2 — E-flat minor Largo 1911 [n 3] [1][3]
[6]
G minor Quasi andantino –
G-sharp minor — –
B minor Drammatico – 1915
Three Mazurkas 3 — F-sharp minor Moderato 1916 [n 4] [1][7]
[8]
D-flat major Quasi allegretto 1920
C-sharp minor Lento ma non troppo 1922-23
Minuet for Piano 3
bis		 — — — – 1919 [n 5] [1][7]
E minor Allegretto
Nocturne-Fantasia for Piano 4 — C-sharp minor Quasi andantino 1919 [n 6] [1][7]
Two Pieces for Violin and Piano 4
bis		 Dreams E minor Lento cantabile – 1919 [n 7] [9][10]
[3]
Impromptu A minor Allegro vivace –
Three Pieces for Piano 5 — B minor Allegro assai 1915-22 [n 8] [1][7]
[9]
F major Lento – 1915
B-flat major Allegro agitato con festivita
Concerto for Violin and Orchestra 6 — A minor — – 1919 [n 9] [4][9]
Twelve Romances for Voice and Piano 7 Neither Comment, Nor Words — — – 1921 [n 10] [1][9]
[3][11]
[4][6]
They Stood in Silence — — –
Like the Stars in the Sky — — –
No Pleasing Heart Breathes in There C minor Allegro moderato
I Waited for You F major Moderato 1922
Again in My Soul E minor Allegro agitato
Berceuse G-sharp minor Andantino cantabile 1921
Still Nature — — – 1922
Death of Mother — — –
I Am Sad B minor Lento
Speak, speak! G-flat major Moderato
Why? — — –
7a Berceuse Idem Idem 1921 [n 11] [4]
Eleven Études Romantique 8 — G-sharp minor Allegro assai 1922 [n 12] [1][7]
[8][12]
[3][6]
B-flat minor Andante
B minor Agitato
D minor Allegro moderato
C-sharp minor Presto con fuoco
B major Allegretto con tenerezza
C major Allegro vivace 1923
F-sharp minor Moderato 1922
G-sharp minor Allegro con tanto 1923
C-sharp minor Andante lugubre 1922
E major Allegro maestoso
Three Pieces for Piano 9 Consolation B major Adagio con moto 1921 [n 13] [1][7]
[8][13]
Mazurka E-flat minor Allegretto malinconico
Nocturne F-sharp minor Quasi andantino
Sonata for Cello and Piano 10 — D minor Moderato – 1923 [n 14] [2][9]
[6]
Andante con moto –
Allegro con fuoco –
Three Pieces for Piano 11 Poem Désire C-sharp minor Andante cantabile 1921 [n 15] [1][9]
Poem Tragic — — – —
Poem Fantastic C-sharp minor Allegro assai 1921
Two Poem-Legends 12 — E minor Con afflizione 1921 [n 16] [1][8]
E-flat minor Drammatico
Sonata for Piano No. 1 13 — B-flat minor Allegro moderato 1922 [n 17] [2][14]
Sonata for Piano No. 2 14 — C-sharp minor Andante con moto 1924 [n 18] [2]
[15]
Moderato assai espressivo
Allegro vivo
Sonata for Piano No. 3 15 — F minor Allegro moderato 1926-29 [n 19] [2][16]
Six Romances for Voice and Piano 16 I Want to Mute the Silence — — – 1927 [n 20] [4][17]
[3][6]
Tears C-sharp minor Andante moderato
Autumn Evening D minor Andantino semplice
Night and Foggy Snowstorm — — –
Singing Winter E-flat major — –
If Only You Could — — – 1928
Three Romances for Voice and Piano 16
bis		 Na Maidani — — – 1927 [n 21] [4][5]
[6][18]
[19][20]
The Poplars Mobilize — — –
Coming From Work at the Factory — — –
Classical Trio for Violin, Cello and Piano 17 — D major Allegro con brio 1927 [n 22] [3][6]
— Scherzo –
— Largo –
— Allegro –
Sonata for Violin and Piano 18 — A minor Allegro 1927 [n 23] [2][21]
Andantino semplice
Eleven Études in the Form of Old Dances 19 Gavotte D-flat major Allegro mosso 1928-30 [n 24] [1][22]
[8]
Allemande B minor Moderato
Menuet G major Allegretto
Courante E minor Vivace
Sarabande A minor Adagio
Bourrée A major Allegro
Gavotte B minor Allegro moderato
Rigaudon C major Vivace
Menuet E-flat major Allegretto
Passacaglia G minor Andante con grandezza
Gigue D minor Presto
Five Romances for Voice and Piano 20 I Loved You — — – 1930 [n 25] [4][23]
[9][21]
I Survived My Desire — — –
Crow to Crow Fly F-sharp minor Allegro alla marcia
Evening Song B-flat major Moderato
The Old Song A-flat major Largo
Heroic Overture 21 — — — – 1932 [n 26] [2][21]
Two Concert Waltzes 22 — F-sharp minor Allegro giusto 1931 [n 27] [1]
A minor Presto agitato
Concerto for Piano and Orchestra 23 — C minor Allegro 1928-37 [n 28] [1][24]
Three Romances for Voice and Piano 24 The Nightingale and the Rose — — – 1936 [n 29] [21][23]
[9]
A Message to Siberia — — –
I Am Here, Inezilya B-flat major Allegro giusto
Twenty-four Pieces for Children 25 Petroushka C major Allegro mosso 1936 [n 30] [2][25]
[26]
After a Butterfly A minor Presto
Pioneer's Song G major Allegro alla marcia
Ukrainian Folk Song E minor Moderato
On the Edge of the Forest D major Allegro moderato
Waltz B minor Tempo di Valse lento
Morning in the Orchard A major Allegro vivace
They Don't Want to Buy a Teddy Bear F-sharp minor Moderato
They Have Bought a Teddy Bear E major Prestissimo
Polka C-sharp minor Allegro gusto
Pastorale B major Andante
Melody G-sharp minor Andantino cantabile
In March! G-flat major Allegro marciale
Little Rain E-flat minor Allegro scherzando
Lullaby D-flat major Moderato
Étude B-flat minor Allegro molto
Little Jumping-rope A-flat major Allegro vivo
Ballet Scene F minor Allegretto scherzando
Humoresque E-flat major Allegro non troppo
Mazurka C minor Allegretto semplice
Pljasovaja Dance B-flat major Allegro mosso
Fairytale G minor Allegro commodo
Young Budyonnovs' March F major Allegro marciale
Toccatina D minor Allegro di molto
Moldavian Poem 26 — — — – 1934-37 [n 31] [2][4]

Works without opus number
This list is incomplete; you can help by adding missing items with reliable sources.
Title Opus Name Key Tempo Im Ge Year No Re
Three Pieces for Piano — Barcarolle B major — – 1905 [n 32] [1][3]
Waltz G-flat major — –
Prelude G-sharp minor — – 1909
Berceuse — — B major — – 1915 [n 33] [1][3]
Three Pieces for Voice and Piano — Gentle Fluttering Twighlight — — – 1916 [n 34] [6]
The Years Have Rushed By — — –
Quiet Night, Barely Audible Stomping — — –
Valse Oubliée — — C-sharp minor Cadenza a piacere – 1917 [n 35] [4][6]
Five Pieces for Bassoon, Clarinet,
Flute and Oboe		 — Introduction — — – — [n 36] [4][27]
[28]
Melody — — –
Pastoral — — –
Humoresque — — –
Raindrops — — –
Pieces for Violin and Piano — — — — – 1919 [n 37] [9][21]
Mother's Death — — — — – 1919 [n 38] [5]
Fairy of the Bitter Almond — — — — – 1926-27 [n 39] [5][18]
Desire Under the Elms — Introduction — — – 1927-28 [n 40] [3][4]
Song of Peter and Simeon — — –
Dance - Quasi gavotte — — –
Indian Dance — — –
Dramatic Étude — — –
Sonata for Viola and Piano — — — — – 1927-28 [n 41] [3][6]
String Quartet — — — — – 1927-30 [n 42] [6][29]
Oh, What Crow Is That — — — — – 1928-29 [n 43] [28]
Hey, Let us Strike — — — — – 1928-29 [n 44] [4][6]
Thirteen Ukrainian Folksongs — Oh, I Left for the Sheaves — — – 1928 [n 45] [3][28]
Merited Bread Is Good — — – 1935
Oh, My Fate Heard This — — –
The Cuckoo Cuckooed — — – 1935-36
Oh Meadow, Don't Hum — — –
Oh ai, Mother — — –
What Shall We Do — — –
A Rich Man Had — — –
I Would Take a Bandura — — – 1936
I Loved a Widow — — –
My Son Went Somewhere — — –
Oh Hryts, Hryts, to work — — – 1937
Troublemaker — — –
Four Pieces for Children — Melody A minor Moderato 1929-30 [n 46] [1][25]
Old Fashioned Dance F major Tempo di minuetto
Scherzino D minor Presto
March D major Allegro
Song for Voice and Piano — — — — – 1930 [n 47] [4][6]
Tempos — — — — – 1930-31 [n 48] [4]
May Day — — — — – 1930-32 [n 49] [4]
A Dashing Motorway March — — — — – 1930-34 [n 50] [4][6]
The Revolution — — — — – 1931 [n 51] [4][6]
In Memory of the Paris Commune Fighters — — — — – 1931 [n 52] [4][6]
Ring Out, ye March the Industries — — — — – 1931 [n 53] [4]
Two Pieces for Voice and Piano — Komsomol Song — — – 1931 [n 54] [6][18]
Industrial March — — –
The Warfare Path of the 44th Kiev Rifle Division Holding the Order of the Red Banner — Behind Siberia the Sun Rises — — – 1931 [n 55] [6][30]
[31]
We Bohuntsi — — –
Under Unecha's Shchors We Rise — — –
Our Regiment Has Been Created — — –
Into a Large Cloud — — –
Hey, Tarashchantsi — — –
May the Ice Beneath us Be Friendly — — –
A Loud Song Flows in the Field — — –
We Are Brave Fighters — — –
Fighters of the 44th — — –
The Reapers are Harvesting on the Hillside — — — — – 1931-33 [n 56] [4][6]
Eight Pieces for Male Vocal Quartet — Song of the Border Guards — — – 1931-33 [n 57] [3][4]
[6]
Prohulnycka Brigade — — –
Oh ai, Mother — — –
The Geese have flown in — — –
Wait, Girl — — –
Humorous Anti-Religious — — –
Left an Orphan Without a Father — — –
Oh ai, ai — — –
Melodies for Children — Bagatelle D major — – 1931 [n 58] [1][6]
Minuet A minor — – 1932
Minuet G major — –
Gavotte A minor — – 1933
Toiler’s Song — — — — – 1931-34 [n 59] [3][4]
Song of the Digger — — — — – 1931-34 [n 60] [28]
Three Bolshevik Songs — Song of the Shock Workers
of the Bolshevik Factory		 — — – 1932-34 [n 61] [4]
Great May Day-March Song — — –
Komsomolska — — –
Now We Are Mowing Hay — — — — – 1932-35 [n 62] [4]
We Sing Glory to the People of Volyn — — — — – 1934 [n 63] [4]
The Last Port — — — — – 1934 [n 64] [4][6]
Six Ukrainian Folksongs — The Mighty Dnieper Roars and Bellows — — – 1935 [n 65] [3][6][32]
Oh, I Will Go Above the Meadow — — – 1936
Hey, in Our Village — — –
Oh, There is Always Fog in the Mountain — — –
Song of the Tyrol Tragedy — — –
Oh, My Darling Left Me — — –
Song of the Kursants Brigades — — — — – 1936 [n 66] [3][28]
Song of the Submariners — — — — – 1936 [n 67] [28]
Song of Tetyana Oaklet — — — — – 1936 [n 68] [6][32]
A Collection of Children's Songs for Piano — The Tale G-minor — – 1936 [n 69] [1][6]
Autumn Song C-minor — –
Courante A-major — –
Scherzino A-minor — –
Lullabye E-minor — –
Spring Morning B-major — –
Eastern Dance D-minor — –
Moldavian Shepherds Song A-major — –
Song of Kuzmyn's Kolkhoz Piatysotennyci — — — — – 1936 [n 70] [28]
Songs for Children — Song of Grandfather Frost — — – 1936-37 [n 71] [4][28]
I Am Myke the Whistler — — –
Christmas tree — — –
Christmas tree — — –
Song of the Christmas Tree — — –
Young Tractor Drivers — — — — – — [n 72] [4][6]
The Withered Flower — — — — – — [n 73] [9][21]
Winter Comes, Hello — — D-flat major Moderato – — [n 74] [33]
Passacaglia for Bayan — — — — – — [n 75] [6][21]
After the Battle — — — — – 1937 [n 76] [4][6]
Maryna — — — — – 1938 [n 77] [1]
Duma for Stalin — — — — – 1938 [n 78] [5]
Friendship — — — — – 1938 [n 79] [5]

Additional information

Notes
  1. Prelude → Prelude No. 7 has never been published and the original score is kept at the manuscript department of the Vernadsky National Library of Ukraine. The existence of an original score where Prelude No. 1 in F-sharp minor goes accompanied with the inscription No. 7 may imply that the three preludes in question here have been gathered under a single title by the publisher.
  2. Song → These compositions were written during the time that Kosenko was still a student in the Saint Petersburg Conservatory. Romances No. 1, No. 2 and No. 3 remain in manuscript. Romance No. 4 was written over verses by Konstantin Balmont.
  3. Prelude → All four preludes were written in minor keys. A strong influence of Scriabin's second period can be heard here, not only in its chromaticism but also as for the use of unstable intervals and dissonant harmonies. Only prelude No. 1 was published, the other three pieces remain in manuscript.
  4. Mazurka A composition of Kosenko's early career where his music still sounds pretty much Chopinesque. Three Mazurkas, Op. 3 is among Kosenko's best known works.
  5. Minuet A loose composition written in 1919.
  6. Nocturne-Fantasia A composition much influenced by the works of Chopin.
  7. Morceau → Duo for violin and piano.
  8. Morceau → Poem No. 2 is in manuscript. No. 3 is entitled "Exhortation (Appeal), and has Molto Agitato for tempo marking written on the original score."
  9. Concerto → One of Kosenko's two concertos, for violin (1919) and piano (1928).
  10. Song → A composition part of Kosenko's cycles of romances on verses of Russian and Ukrainian writers such as Fyodor Tyutchev, Pavlo Tychyna, etc. Songs No. 1, No. 4, and No. 5, for bass and piano, No. 6, and No. 8 (manuscript), were written to the verses of Alexander Pushkin, being that song No. 6 'Berceuse' was later transcribed for piano solo by Aleksandr Iokheles. Song No. 2, for soprano and piano, was written to the verses of Viktor Strazhev. Song No. 3, for soprano and piano, to the verses of W. Zalizniak. Song No. 7, for soprano and piano, to the verses of Alexander Blok, being it later also concert-transcribed for piano solo by Aleksandr Iokheles. Song No. 9 to the verses of P. Beranże. Song No. 10, for mezzo-soprano and piano, to the poem Otchego (1840) of Mikhail Lermontov, having this text also been used by composers Mily Balakirev, Aleksandr Dargomyzhsky, Alexander Krein, and Nikolai Rimsky-Korsakov. Song No. 11 was written to the verses of Vladimir Sergeieevich Likhachev (1849-1910), and song No. 12, for mezzo-soprano and piano (manuscript), set to the verses of Arseny Golenishchev-Kutuzov.
  11. Song → Concert transcription of Berceuse arranged for piano solo by A. Iokheles.
  12. Étude → Compositions for piano solo. No. 2 is entitled "Melancholy", and No. 11 "May Day Holiday".
  13. Morceau Consolation Op.9 No. 1 was written in 1921 and is by far the most recognizable piece of the three. This composition with four big arpeggios at the end is not quite two pages long, but it is very soothing to listen to.
  14. Sonata → Duo for cello and piano.
  15. Morceau Poem Tragic is a lost composition which presumably might have been written in C-sharp minor like the other two.
  16. Morceau Two Poem-Legends, Op. 12, is one of Kosenko's best known compositions, having been recorded and performed quite a few times in modern repertoire. The original published score reads 20.XII.1921 (Житомир - 'Zhytomyr.)
  17. Sonata → One-movement composition.
  18. Sonata → Three-movement composition.
  19. Sonata → One-movement composition.
  20. Song → A composition part of Kosenko's cycle of romances. No. 1 set to the verses of Konstantin Dmitriyevich Balmont, No. 2 and No. 3 to the verses of Fyodor Ivanovich Tyutchev. Song No. 4, for soprano and piano, set to the verses of Nikolay Platonovich Ogarev, No. 5 to the verses of Aleksey Konstantinovich Tolstoy, and No. 6 to the verses of Sergei Alexandrovich Yesenin.
  21. Song → A composition for voice and piano set to verses of Pavlo Tychyna. Romance No. 1 is also known by Na Maidani (Na Maidani Kolo Tserkvy = On the Square by the Church). The trasliteration of song No. 1 is Mobilizuiutsia Topoli.
  22. Piano trio → Trio for violin, cello and piano.
  23. Sonata → Duo for violin and piano.
  24. Étude → Kosenko described this work as a "family album", having he dedicated selected pieces to members of his family, such as Rigaudon to his nephew Fedir, and Passacaglia to his wife Anna.
  25. Song → A composition part of Kosenko's cycle of romances set to the verses of Alexander Pushkin. Romance No. 1 was written for soprano and piano, and No. 2 for bass and piano. No. 4 for medium voice and piano accompaniment with transcription by Maksym Rylsky. Romance No. 3, for double bass, baritone and piano, was written over a Scottish folk song with verses by Alexander Pushkin.
  26. Overture → For orchestra
  27. Waltz Two Concert Waltzes is also one of Kosenko's best known works.
  28. Concerto → This piano concerto was written in three parts by the composer, but during World War II some of his notes were lost, remaining intact only the first part. The second and third parts were saved only in small details to be later finished by composers Revutsky and Maiboroda in 1937, although some sources also mention the name of A. A. Kolomiyts. Arranged for two pianos.
  29. Song → Compositions for bass and piano set to the verses of Alexander Pushkin.
  30. Étude Twenty-four Pieces for Children (also 24 Pieces for Children), Op. 25, is one of Kosenko's three A-number one creations along with Op. 8 and Op. 19. It is still an obligatory set of compositions written specifically for children learning the piano in conservatoires and piano schools across the country.
  31. Symphony → This symphonic composition, which Kosenko never heard performed, was written during the time that he was professor of the Kiev Conservatory. It became part of the classic heritage of Ukrainian music.
  32. Morceau → After Kosenko's death many of his works remained in manuscript. Muzyczna Ukraina lists this manuscript as lost.
  33. In manuscript only.
  34. Song → A composition for voice and piano. Song No. 3 set to the verses of V. Molchanov.
  35. Fantasia → Composition for piano on themes by Franz Liszt dedicated to Mme. Angelique de Kanaipp. Arranged for chamber orchestra for theatrical performances, and also for string quartet. In manuscript only.
  36. Quartet → Woodwind quartet, in instrumentation for flute, oboe, clarinet and bassoon.
  37. Morceau → Duo.
  38. Song → Composition based on a poem by Pierre-Jean de Beranger. Kosenko was inspired by his own personal sorrow.
  39. Symphony → Kosenko composed the introduction and prologue to Ukrainian playwright Ivan Kocherha's comedy Fairy of the Bitter Almond.
  40. Symphony → Kosenko wrote music to American dramatist Eugene O'Neill's play Desire Under the Elms. Two pieces were published. Manuscript for song No. 2 is lost and the other two remain unpublished.
  41. Sonata → Muzyczna Ukraina and all the other sources list this manuscript as lost.
  42. Quartet → Quartet for two violins, viola and cello.
  43. Song → Composition for choir and piano arranged from a Ukrainian folk song.
  44. Song → Composition for voice and piano.
  45. Song → Arrangement of Ukrainian folk songs for voice and piano. Song No. 7 written for mezzo-soprano and piano accompaniment. Song No. 11 has for title the Slavic word "Hryts", which is a diminutive form of the name "Grigoriy". Song. No. 13 was harmonized by G. Vieriovky, over the verses of T. Butovyts.
  46. Étude → Composition loosely based on Robert Schumann's Kinderszenen.
  47. Song → Composition for voice and piano with lyrics by Grebliov. In manuscript only.
  48. Song → Satirical composition for voice and piano. In manuscript only.
  49. Song → Composition for voice and piano (Lyrics by D. Grudyna).
  50. Song → Composition for voice and piano (Lyrics by I. Rauze).
  51. Ballad → Composition for voice and piano (Lyrics by K. Libkneht).
  52. Song → Composition for soprano and piano set to the verses of Pyotr Mikhailovich Nevezhin.
  53. Song → Composition for voice and piano (Lyrics by A. Zhurba).
  54. Song → Compositions set to the verses of Ukrainian poet Olena Zhurlyva and A. Zurba, respectively.
  55. Song → Ten literary-musical compositions for choir and piano. Song No. 2 has for title the word Bohuntsi, which refers to the personnel of the First Regiment of the Ukrainian Soviet Army formed on the orders of the Central Military Revolutionary Committee of Ukraine on 22 September 1918. In May 1919, the Bohuntsi were reorganized into the First Regiment, and after a while renamed the 44th Kievskaya of The Red Banner Rifle Division. Song No. 6 has for title the word Taraschantsi. Their regiment was formed in September 1918 around Unecha-Pochep, north of Starodub, and called the "Bogunskaya Rebel Regiment". They were the most active of all Soviet forces at the time, and had for their leader Commander Nikolay Aleksandrovich Shchors.
  56. Choir → Composition for choir a cappella over an arrangement of a Ukrainian folk song.
  57. Song → Compositions for male voices set to the verses of B. Symancev. Song. Song No. 2 has for title the term "Prohulnycka" (truants), which translated refers to a group of people who are absent without permission, or who shirk work or duty. Song No. 3 is a Ukrainian folk song, while No. 4 and No. 5 (manuscript) are Belorussian folk songs. Song No. 6 is a satirical anti-religious work. Song No. 7 is a Tartan folk song, and No. 8 is a composition for choir and piano.
  58. Morceau → Arrangement and harmonization to Minuet and Gavotte in A minor, by O. Golubytsky (1931-33).
  59. Song → Composition for voice and piano. In manuscript only.
  60. Song → Composition for voice and piano set to the verses of C. Gartni. The word Digger used in the translation is Australian military slang, applied to soldiers who dug protective trenches in World War I. The term originated during the Gallipoli Campaign, where digging was a commonplace activity.
  61. Song → Composition for voice and piano in celebration of the "Bilshovyk" (Bolshevik) Factory in Kiev, set to the verses of Gaponenko. The term "Shock Workers" refers to the concept of super productive workers in the Soviet Union and other countries of the Soviet block. It is derived from the expression údarny trud, often translated as "strike labour" (údarnik). The term "Komsomol" is a syllabic abbreviation from the Russian Kommunisticheskii Soyuz Molodyozhi, the youth division of the Communist Party of the Soviet Union.
  62. Choir → Composition for choir and piano.
  63. Choir → Composition for choir and piano.
  64. Symphony → Music for Arnold Kordyum (1890–1969) 1934 film The Last Port, which was based after Alexander Korneychuk's 1933 play Death of the Squadron. Kosenko intended to turn this musical work into a soft symphony, but only managed to finish the second part entitled After the battle (1937 manuscript).
  65. Choir → Arrangement of Ukrainian Folksongs for voice and piano. Song No. 1 was set to the verses of Taras Shevchenko. Song No. 3 is a Duma about Stalin for medium voice with piano accompaniment, and Song No. 5 was written for bass and piano.
  66. Song → Composition for choir and piano set to the verses of I. Arturov.
  67. Choir → Composition for choir and piano.
  68. Choir → Composition for choir and piano on verses of a folk song (Там, де сонце в небі кружить...). First published in 1937.
  69. Étude → Composition for piano. Song No. 1 in manuscript only. Arrangement and harmonization of the songs by O. Golubytsky.
  70. Song → Composition for voice and piano set to the verses of O. Gryniuk. The term "Piatysotennyci" (five hundredth) refers to a group of peasant women who worked in collective farms at Kuzmyn during the collectivization period installed by the Soviet Government from 1928.
  71. Choir → Composition for voice or male voices and piano accompaniment. Song. No. 1 (manuscript lost) set to the verses of I. Nechody. Songs No. 2 and 3 set to the verses of L. Zymnogo. Song No. 4 set to the verses of M. Prygary, and song No. 5 set to the verses of Maksym Rylsky.
  72. Song → Composition for voice and piano (Lyrics by I. Skliar).
  73. Song → Composition for bass and piano set to a poem of Alexander Pushkin.
  74. Song → Composition set to a poem of Sergei Alexandrovich Yesenin.
  75. Passacaglia → Accordion arrangement for a Ukrainian folkloric song.
  76. Symphony → Symphonic scene from an unfinished Programme symphony based on the play The Last Port.
  77. Opera → Kosenko's unfinished opera Marina (after Taras Shevchenko) was completed and prepared for later publication by his friends Boris Lyatoshinsky and Levko Revutsky.
  78. Choir → A composition for medium-soprano with words by A. Isakova.
  79. Choir → Composition for choir and piano (also for choir without piano accompaniment or even for voice or two voices and piano) after Taras Shevchenko (Words by Georgy Voronoy). This was Viktor Kosenko's last composition.

References
  1. M. Henbury-Ballan. "Russian Piano Music Vol. 2" (PDF). Goldsmiths University of London. Retrieved 28 June 2013.
  2. Internet Encyclopedia of Ukraine. "Kosenko, Viktor". Canadian Institute of Ukrainian Studies. Retrieved 28 June 2013.
  3. Muzyczna Ukraina (1970-1973). W. Kosenko: Zbiór utworów w dziesięciu tomach Kijów. Muzyczna Ukraina.
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