His Tuba Concerto was completed in 1992 and was premièred in May 1995 by Harri Lidsle with the Lahti Symphony Orchestra at the Church of the Cross in Lahti, Finland. This work takes its place among a series of concertos that Arutiunian has written for wind instruments.
Although Arutiunian often uses popular Armenian tunes in his music, in this concerto he uses melodies exclusively of his own invention, even if a ‘folk-like’ atmosphere is still present. Although his intention was to present the tuba as an instrument also capable of playing with agility, he still decided not to display all of its technical possibilities. The most important thing was, as the composer himself has put it, ‘to let the tuba sing’. The concerto takes the classical three-movement form including the traditional solo cadenza. The first movement, Allegro mode- rato, presents a theme built on the interval of a fourth, which is subsequently developed in conjunction with elements from the accompaniment. The second movement, Andante sostenuto, is characterized by its ostinato use of the note D, played pizzicato by the double basses, above which the orchestra enters in melan- choly mood, followed shortly afterwards by the tuba. The melodic material of the impetuous finale, Allegro ma non troppo, takes up the baroque circolo idea (a melodic figure designed in the form of a circle). In rondo form, this movement contains a succession of lively episodes interrupted by a dreamy cadenza.