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Opera

• "The Iron Horseman", opera after Pushkin (1937)
• "Alexander Nevsky", opera after Pushkin (unfinished, 1941)
• "King Lear", opera after Shakespeare (1942)

Film Music

• "The New Motherland" (1932)
• "Chapayev" (1933-1934)
• "The Beshin Meadow (1935-1937)

Orchestral Music

• Komsomol, suite for orchestra (1933)
• Symphony No.1 opus 7 (1928-1935)
• Concerto-Poem for violin and orchestra, opus 17 (1937)
• Violin Concerto (1937)
• Divertimento in 10 parts for orchestra (1938)
• Hispania, seven fragments for orchestra (1940)
• Symphony No. 2 in G minor "Motherland" opus 39 (1943)
• Symphonic Aria after Tolstoi for cello and stringorchestra opus 43 (1946)
• Symphony No.3 "The Spanish" for stringorchestra opus 45 (1946)
• Symphony No.4 "Honour to the Motherland" after Selvinski for soloists, chorus without sopranos and orchestra (1949)
• Symphony No.5 "Pastorale" opus 77 (1956)
• Symphony No.6 "Festive" opus 99 (1969)
• Organ Concerto (1970)
• Overture (1970)
• Symphony No.7 (unfinished, 1970)

Cantata and Chorus Works

• Heroic Intermezzo for soloists, chorus and orchestra after the opera "Alexander Nevski" (1941)
• To the Victory, cantata after Gorezki for soloists, chorus and orchestra (1944)
• "Our Homeland", suite for children’s chorus after Levashov, Mashistov and Prokofiev (1948)
• "Peace to the People" after Filatov for chorus (1950)
• Heroic Poem for Lenin after Konashkov for soloists, chorus and orchestra opus 58 (1950)
• "Honour to our Party", poem-cantata after Mashistov for chorus (1952)
• "The Communist, Someone As You and Me" after Rustam for chorus (1959)
• Five Cosackchoruses after Tolstoi (1961)

Lieder

• Two Vocalises for singer and piano opus 3 (1926-1927)
• Two Lyric Songs after Pushkin (1938)
• Two Romances after Levashov for tenor (1948)
• "Moscow", song after Levashov (1948)

Chamber

• Septet in C major for flute, clarinet, bassoon, trumpet, violin, cello and harpsichord "Chamber Symphony" opus 2 (1927)
• Concertino for violin and piano opus 4 (1926-1927)
• Octet in E flat major for two violins, cello, oboe, clarinet, horn and bassoon opus 9 (1927)
• Song for violin and piano (1927)
• Melody for cello and piano (1941)
• Quartet-Symphony for string quartet opus 61 (1951)
• Quintet for flute, charinet, trumpet, cello and double-bass

Piano

• Two Pieces for piano opus 1 (1925) 1. Expression; 2. Melody Obrazy for piano (1925)
• Great suite for piano opus 6 (1927) 1. Invention; 2. Chorus; 3. Song; 4. Fugue
• Two Mazurka-Capriccios for piano (1944)
• Two pieces for piano (1947)
• Two Marches for piano opus 51 (1948)
• Three Lyric Poems for piano opus 80 (1957)

He studied at the Leningrad Conservatory with Shcherbachov for composition and Nikolayev for the piano. From the beginning, he is attracted by the modern music: the Septet is written in a system of dissonant counterpoint then fashionable in Western Europe, quite as its Symphony n°1. This music style being quickly condemned by the Soviet authorities, Popov modifies his style towards a more popular conception, following the principles of the "Soviet realism". His symphonies, wich follow the epic tradition of Borodin and Glazunov, occupy a central place in his output; the second and fourth are particularly characteristic. A monumental dramatic quality distinguishes his numerous choral compositions. There are interesting and varied links in his work with folklore: Russian in the first instance, though the Symphony n°3 draws on Spanish folk music.