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Home , 1812 Overture, Andriy Shkil, Capriccio Italien, Oleh Krysa, Theodore Kuchar

NATIONAL SYMPHONY OF VOLODYMYR SIRENKO, ARTISTIC DIRECTOR AND CONDUCTOR ALEXEI GRYNYUK, PIANO Saturday, March 4, 2017, at 7:30pm Foellinger Great Hall PROGRAM NATIONAL SYMPHONY ORCHESTRA OF UKRAINE Volodymyr Sirenko, artistic director and conductor Theodore Kuchar, conductor laureate

Yevhen Stankovych Suite from the ballet The Night Before Christmas (b. 1942) Introduction Oksan and Koval Kozachok

Robert Schumann Piano Concerto in A Minor, Op. 54 (1819-1896) Allegro affettuoso; Andante grazioso; Allegro Intermezzo: Andante grazioso Allegro vivace Alexei Grynyuk, piano

20-minute intermission

Antonín Dvorák Symphony No. 9 in E Minor, Op. 95, “From the New World” (1841-1904) Adagio Largo Scherzo: Molto vivace Allegro con fuoco

The National Symphony Orchestra of Ukraine appears by arrangement with: Columbia Artists Management LLC 5 Columbus Circle @ 1790 Broadway New York, NY 10019 www.cami.com

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4 PROGRAM NOTES YEVHEN STANKOVYCH the ecstatic dance of the Cossacks. It evokes Born September 19, 1942, in Svaliava, Ukraine the power of the energy and strength of the Suite from the ballet The Night Before Christmas Ukrainian people. —Yehven Stankovych Based on the novel of Nikolai Gogol from the cycle Evenings on a Farm near Dikanka, which was also used for the librettos of operas by ROBERT SCHUMANN Born September 13, 1819, in Leipzig, Germany Tchaikovsky (), Rimsky-Korsakov Died May 20, 1896, in Endenich, Germany (The Night Before Christmas), and M. Lysenko (Christmas Night). Created in 1992, Stankovych’s Piano Concerto in A Minor, Op. 54 ballet demonstrates an emotional freedom and an Central to Schumann’s music is the reflection of artistic and imaginative richness that is inherent in his so-called “split personality,” that is, the free his music. and happy Florestan side and the restrained With extensive experience in the genre of and pensive Eusebius side, so named after the imaginary characters that Schumann created to ballet (other works include Princess Olga and express his life. How much this reflects his own Prometheus), Yevhen Stankovych implemented a new form with clear aesthetic criteria and mental illness resulting in his attempted suicide with his own original concept. Although the in 1854 by a leap into the icy Rhine and his death story “The Night Before Christmas” already two years later in a mental institution, we shall exists in the opera genre, neither Lysenko nor leave to the psychiatrists. What we need to study Rimsky-Korsakov fully developed its theatrical is the glorious result of his compositional efforts and entertainment qualities, wealth of customs, despite, not because of, his sufferings. We might beliefs, and fantasy. Perhaps Yevhen Stankovych note, however, that Schumann was subject to the for the first time in Ukrainian music turned to a well-known conflict of two artists in a marriage, this time somewhat in reverse of Gustav and Alma genre like ballet pasticcio that allowed him to freely operate in different stylistic layers. Mahler or Ted Hughes and Sylvia Plath. Robert —Edward Jaworski, Ukrainian musicologist Schumann was aware of being in his wife Clara’s shadow but suffered much from any separation The music tapestry of my ballet [The Night Before from her as she pursued her active pianist career. Christmas] is based fully on Ukrainian folklore and reflects all that is inherent in Gogol’s story. It For the most part, Schumann’s music was written depicts vignettes of people celebrating Christmas in periods of specific musical genres such as and singing carols and New Year songs. It chamber music, songs, or orchestral music. After portrays great human love and fantastic images of a year of songs in 1840, he turned to orchestral evil spirits and celestial bodies. The Introduction music with his Symphony No. 1, Op. 38 of 1845 is a large musical portrait based on the Ukrainian and his Piano Concerto in A Minor, Op. 54, a work folk song “Shchedryk“. “Oksan and Koval” that evolved from his earlier Fantasie in A Minor evokes the eternal theme of love in the broadest for Piano and Orchestra of 1841. Clara Schumann sense. And the final movement, “Kozachok,” is premiered the A Minor piano concerto in Leipzig 5 on January 1, 1846, with the work’s dedicatee, ANTONÍN DVORÁK Ferdinand Hiller, as conductor. This would remain Born September 8, 1841, in Nelahozeves, Robert Schumann’s only fully realized piano concerto, although he wrote two other works Died May 1, 1904, in Prague, Czech Republic for piano and orchestra—the Introduction and Symphony No. 9 in E Minor, Op. 95, Allegro Appassionata in G Major, Op. 92 and the “From the New World“ Introduction and Allegro Concertante in D Minor, Op. 134. At the invitation in June 1891 of Jeanette Thurber, the founder of the National Conservatory in New In the first movement of the A Minor concerto, York, Antonín Dvorák took leave of his position at brilliant opening chords arrest our attention the Prague Conservatory and came to New York followed by the beautiful lyricism—for both piano City the following year in order to serve as the and orchestra—that so marks the concerto. In this Director of the National Conservatory. Dvorák fully developed movement, repeated themes are was enticed to leave his homeland with the offer traded back and forth between various orchestra of a salary nearly 25 times that which he was members and the pianist that artfully tie the work being paid at the Prague Conservatory as well as together. Rippling arpeggios and expressive solo a yearly four-month vacation and the opportunity moments from the pianist entrance us before a to conduct the conservatory orchestra for 10 return to the opening power of the movement. concerts each year. The composer was to hold this position for the next three years. During The second movement Intermezzo brings the this time, Dvorák composed some of his most proverbial moment of relief with its graciousness, successful works, notably the “New World“ charm, and lyricism. Piano and horn calls then Symphony, Op. 95, the String Quartet in F Major, usher us into the thrilling final movement with its Op. 96, and the Concerto in B Minor for and great show of Romantic virtuosic display within Orchestra, Op. 104. the boundaries of Classical order. No one is cheated in this concerto. Dvorák wrote his Symphony in E minor, Op. 95 in 1893; it was subtitled “From the New World.“ If you would like a little Hollywood in your In explaining this subtitle, the composer stated Schumann, look up the 1947 film,Song of Love. that it signified “Impressions and Greetings from Robert Walker plays an unconvincing Brahms, but the New World.“ While various American musical Katharine Hepburn is an effective Clara, and Paul influences are in evidence in the Ninth Symphony, Henreid a most moving Robert Schumann. Arthur it remains, nonetheless, fundamentally Czech Rubenstein recorded the soundtrack. music. Dvorák himself attested to this fact as he © 2017 Lucy Miller Murray stated, “The influence of American music can be felt by anyone who has a nose;“ yet in his own estimation, the symphony remained “genuine Bohemian music.“

Dvorák listened to Black spirituals and Native American music with much interest, and regarding American influences in this symphony the composer stated in an interview in the New

6 York Herald when the work was about to be often moved him to tears. On one of these performed for the first time: days I suggested that he write a symphony embodying his experiences and feelings in . . . I found that the music of the Negroes America—a suggestion which he promptly and of the Indians was practically identical. I adopted. therefore studied a certain number of Indian melodies that a friend gave me, and became It was also Mrs. Thurber who suggested that, thoroughly imbued with their characteristics— in the interest of pushing a nationalist element with their spirit in fact. It is this spirit which I in developing the American “school“ of music, have tried to reproduce in my new symphony. I Dvorák compose an opera on The Song of have simply written original themes embodying Hiawatha; for this purpose she provided the the peculiarities of the Indian music, and using composer with a libretto, which ultimately proved these themes as subjects, have developed to be inadequate, and the project never really them with all the resources of modern rhythm, took off. harmony, counterpoint and orchestral color. Dvorák’s Ninth Symphony opens with an Adagio He also stated in the article that the second introduction wherein the , , and horns movement was: foreshadow the first part of the main theme of the Allegro molto. The main theme enters a in reality a study, or sketch, for a longer work, half a dozen bars later, presented by the horns either a cantata or an opera which I purpose in unison. It has a jaunty character, with the [sic] writing and which will be based on presence of syncopated rhythms and, although Longfellow’s Hiawatha . . . The scherzo of the in the key of E minor, is heavily colored with the symphony was suggested by the scene at the tones of a pentatonic scale. Several restatements feast in Hiawatha where the Indians dance, and of the theme occur with changing orchestrations is also an essay which I made in the direction of and keys leading to the second theme, in G minor, imparting the local color of Indian character to presented first by the and then taken up by music. the violins. The second theme is remarkable on Mrs. Thurber herself claimed some responsibility account of its more than casual resemblance to for the composition of the “New World“ the melody of the spiritual, “Swing Low, Sweet Symphony. Describing some of the circumstances Chariot.“ which perhaps affected some expressive The second movement, Largo, is perhaps one of qualities, she wrote: the most celebrated movements in the symphonic On the whole Dvorák seemed to be happy in repertoire. It opens with a feeling of solemnity, his new surroundings, although he suffered provided most aptly by the timbres of the brass much from homesickness, being intensely and low woodwinds. The principal theme, an patriotic . . . Anton Seidl was probably right elegiac melody for the English horn, is supported in declaring that the intense pathos of the by underlying harmonies in the strings. One slow movement was inspired by nostalgia—by cannot help but hear a certain plaintiveness, longing from home. He used to be particularly perhaps the melancholy of homesickness, in the homesick on steamer days when he read the hauntingly beautiful melody. There follows an shipping news in the Herald; thoughts of home episode which presents two subsidiary ideas: 7 first, a slightly faster theme taken up by the The Finale begins with a fanfare of horns flute and over pizzicato basses and finally, and presenting the principal theme the oboe breaking the subdued spell of the against fortissimo chords for the orchestra. This movement thus far with a bucolic tune. Dvorák eventually gives way to a dancing triplet theme ends the movement with a return to the main heard in the violins. There follows a English horn melody and it ends as it had begun, solo presenting a Romantic melody set against contemplatively, with a few quiet chords. tremolo in the strings. Variants of themes from earlier movements are then interwoven with this The third movement, Scherzo, has the character material which culminates with the reappearance of a ritual Native American dance. The flute and of the Largo movement’s opening chords. In oboe present the lively, rhythmic main theme, the final coda, a tremendous climax is reached, with its interplay of duple and triple groupings, Dvorák presenting in combination the opening answered by the clarinet. The same instruments themes of the first and last movements in the introduce the flowing second theme. After the major key and scored for the brass. The effect return of the first theme, a transitional passage creates an astringent harmony and a most brilliant leads to the Trio section. This section contains ending to this monumental symphony. two spirited Trios, the first in E major and the second in C major. They both have a rustic © 1994 Columbia Artists Management Inc. charming quality with exchanges of trills between the strings and woodwinds. A repeat of the Scherzo section follows which leads directly to the coda which reintroduces the principal theme of the first movement in the horns and then fades out.

8 NATIONAL SYMPHONY ORCHESTRA OF UKRAINE Formed by the Council of Ministers of Ukraine Since 1993, the NSOU has released more than in November 1918, the National Symphony 100 sound recordings which include both Orchestra of Ukraine (NSOU) is considered to be Ukrainian and international repertoires. Most one of the finest symphony in Eastern of these recordings have received the highest Europe. Its first conductor was Oleksander Horilyj. international acclaim. In 1994, the Australian Natan Rachlin was the Artistic Director of the Broadcasting Company (ABC) rated NSOU’s Orchestra from 1937 until 1962. Stefan Turchak, recording of Boris Lyatoshynsky’s Symphonies Volodymyr Kozhuchar, Fedir Hlushchenko, Igor Nos. 2 and 3 as “The Best Recording of the Year.“ Blazhkov, and Theodore Kuchar consequently The CD of Silvestrov’s Requiem for Larissa was conducted the Orchestra as its Principal nominated for a Grammy award in 2005. The Conductors. Other conductors who worked CD of Bloch’s and Lees’ Violin Concertos was with the NSOU include Leopold Stokowski, Igor nominated for a Grammy award four years later. Markevitch, Kurt Sanderling, Evgeny Mravinsky, Kiril Kondrashin, Evgeny Svetlanov, and Gennady The NSOU has performed in successful concert Rozhdestvensky. Soloists who performed with the tours throughout Australia, Austria, Bahrain, NSOU include Artur Rubinstein, Yehudi Menuhin, Belgium, Belarus, China, the Czech Republic, Isaac Stern, , Sviatoslav Richter, Denmark, , Germany, England, Hong Mstislav Rostropovich, Emil Gilels, Leonid Kogan, Kong, Iran, Italy, Japan, Kazakhstan, Lebanon, , Oleh Krysa, Monserrat Caballe, the Netherlands, Oman, , Portugal, Russia, Jose Carreras, and Juan Diego Flores. Slovakia, Spain, Switzerland, and the United Arab Emirates. The NSOU was entrusted with the premier performances of the works of composers “. . . A program rich with energy and unusually , Dmitri Shostakovich, Aram adventurous placed the National Symphony Khatchaturian, Boris Lyatoshynsky, Valentyn Orchestra of Ukraine in a highly favorable light Silvestrov, , and Yehven when it gave its only Sydney concert during its Stankovych. Australian tour on Friday. This is an orchestra with many virtues. Its strings can conjure up a The orchestra has gained international vibrant songfulness; the woodwinds have a fruity, recognition over a remarkably short period of penetrating ripeness; the brass could endanger time. After an appearance in , Dmitri the walls of Jericho; the percussion might wake Shostakovich commented: “This orchestra has as the dead . . .“ distinguished a group of performers as one would —The Sydney Morning Herald be likely to find anywhere. The ensemble of the orchestra is of the highest level. In addition, the Since April of 1999, Volodymyr Sirenko has been various soloists and instrumental groups within the artistic director and chief conductor of the the orchestra play exceptionally and complement NSOU. Since June 2006, Alexander Hornostai has each other beautifully—as would the greatest of been its managing director and producer. the world’s symphony orchestras.“ www.nsou.com.ua

9 FIRST VIOLINS VIOLAS HARP HORNS Maksym Grinchenko, Oleksandr Pohoryelov, Nataliia Izmailova, Valentyn Marukhno, leader principal principal principal Markiyan Hudziy, Galyna Nemeczek Valeriia Tikhonova Andriy Shkil sub-leader Viktor Navrodskyi Kostiantyn Sokol Olena Pushkarska Oleh Trunov PIANO Boris Rudniev Svyatoslava Semchuk Orest Krysa Lyudmyla Kovaleva Iuliia Shevchenko Bogdan Krysa Valentyna Lisovenko Anzhela Zinchenko Gennadiy Pavlov Bogdan Fesyuk Evgen Churikov Roman Poltavets Volodymyr Ponomarov Oleh Sheremeta, Oksana Kot Vira Ampilogova principal TRUMPETS Olena Poltavets Maksym Bakeyev Myroslava Sirenko Yurii Kornilov, principal Valery Kuzik Anatilii Gavrylov Igor Iermak Viktor Davydenko Yevgeniya Sirenko Mykola Mykytei Grygorii Kozdoba Olga Mikhaylyuk CELLOS Larysa Plotnikova Dmytro Kovalchuk Tetyana Pavlova Olena Ikaieva, principal Viktoriia Trach Liliia Demberg Svetlana Markiv Andrii Aleksandrov Gennadii Kot, principal Andriy Golovko, Iurii Stopin Tetiana Miastkovska Yurii Litun principal Oleksii Sechen Tamara Semeshko Viktor Chernigovskyi Danylo Sydorov Mykola Dorosh Viktor Mishchenko Mykola Artiushenko SECOND VIOLINS Ihor Yarmus Andrii Zymenko Galyna Gornostai, Ievgen Skrypka principal Tetyana Dondakova Valentyna Petrychenko Olena Dvorska Petro Zabolotnyi, Oleksiy Li Oleksandra Vasylieva Alina Matoushek principal Anastasiya Iurii Nabytovych Viktor Gornostai PERCUSSION Filippochkina BASSES Oleksandr Avramenko Dmytro Ulianov, leader Olena Bardina Volodymyr Grechukh, Danylo Shurygin Ganna Fedchenko principal Evgen Ulianov Liudmyla Guley Oleksandr Gennadii Khlopotov Valentyna Neshchadym Taras Osadchyi, Stanislav Ulianov Voskresenska Oleksandra Chaikina principal Oleh Sokolov Andriy Mazko Taras Butko Oleksiy Yemelyanov Sergiy Ursulenko Volodymyr Kaveshnikov Roman Chornogor Tetyana Nikonenko Dmytro Golovach Volodymyr Antoshin Nadiia Novikova Ivan Lykhovyd Vasyl Bakalov Olena Litovchenko Liudmyla Guliei

10 PROFILES VOLODYMYR SIRENKO (artistic director and Sirenko has appeared in numerous concert halls chief conductor) was born in 1960 in the Poltava around the world, including Concertgebouw region of Ukraine and has been compared by the (Amsterdam), Brucknerhaus (Linz), Barbican Hall international press to other brilliant conductors (London), Cadogan Hall (London), Théâtre des such as Esa-Pekka Salonen and Simon Rattle. Champs-Élysées and Opéra Comique (Paris), In 1989, Sirenko graduated from the Art Center, Centro Manuel de Falla, Conservatory where he studied conducting under Filharmonia Narodowa (), the Great Hall Allin Vlasenko. In 1990, he was named a finalist of , and the Great Hall of at the International Conducting Competition in St. Petersburg Philharmonia. Prague. A year later, he was appointed as chief conductor of the Ukrainian Radio Symphony THEODORE KUCHAR (conductor laureate), one Orchestra, a position which he held until 1999, of the most prolifically recorded conductors of when he became the artistic director and chief the past decade, has recorded over 90 compact conductor of the celebrated National Symphony discs for the Naxos, Brilliant Classics, Ondine, Orchestra of Ukraine (formerly known as the Kyiv and Marco Polo labels. He has served as artistic State Symphony Orchestra). director and principal conductor of two of Europe’s premiere orchestras, the Janáček Sirenko is an Honored Artist of Ukraine (1997) Philharmonic Orchestra (formerly the Czech and an Honored Artist of the Russian Federation Radio Orchestra) and the National Symphony (2003). In 2001, he received the Shevchenko Orchestra of Ukraine. Since 1991, he has served National Prize, Ukraine’s most prestigious award. as artistic director of the Australian Festival of Sirenko has toured Austria, Bahrain, Belgium, Chamber Music, an annual event regarded as Bulgaria, the Czech Republic, Germany, France, the preeminent chamber music festival of the Italy, Japan, Korea, Lebanon, the Netherlands, Southern Hemisphere. He presently also serves Oman, Poland, Russia, Slovakia, Spain, the United as music director and conductor of the Fresno Arab Emirates, the United Kingdom, and the Philharmonic Orchestra and the Reno Chamber United States of America. Orchestra in the United States. During the past several seasons, guest conducting engagements He has worked with many international orchestras have taken him to major musical centers including including the Moscow Philharmonic, the St. Amsterdam, Berlin, Chicago, Helsinki, Hong Petersburg Philharmonic, Sinfonia Warsovia, Kong, London, Madrid, Milan, Munich, Prague, NOSPR (Katowice), the Svetlanov Symphony Seoul, and Sydney. Orchestra, the Bratislava Radio Symphony, the Jerusalem Symphony Orchestra, the With the Janáček Philharmonic Orchestra, he has National Philharmonic of Russia, the Brooklyn conducted tours of Australia, Germany, Italy, The Philharmonic, and the Royal Philharmonic Netherlands, and Switzerland during the 2006–07 Orchestra. season. From January to February 2009, they undertook a four-week tour of the United States. With the NSO of Ukraine, 11 international tours

11 included Asia, Australia, Central Europe, and the was awarded the Chamber Music United Kingdom. During the 2003-04 season he America/WQXR Record of the Year for 2001. The conducted the opening subscription weeks and releases of the NSOU in 2003 include recordings a three-week European Tour with the Berliner on the Naxos label of Mussorgsky (Pictures at Symphoniker (Berlin Symphony); during the an Exhibition and in the past two seasons, he will have conducted nearly familiar Rimsky-Korsakov version and rarely heard 40 concerts with this distinguished orchestra. original version); Tchaikovsky (Romeo and Juliet, In February 2005, he conducted a three-week 1812 , , and Marche United States tour with the Nordwestdeutsche Slav); and Roy Harris (Symphonies Nos. 7 and 9). Philharmonie. Additional engagements include Critical acclaim has included the following from collaborations in Amsterdam (Concertgebouw), ClassicsToday.com: Berlin, Bucharest, Cape Town, Kiev, Milan, Palermo, Prague, Rome, and Rotterdam. With Theodore Kuchar, as anyone will know from his the Janacek Philharmonic Orchestra, Kuchar Naxos recordings, is an extremely exciting and has recorded 10 compact discs devoted to talented conductor, and his take-no-prisoners the complete symphonies of Carl Nielsen, the approach works very well in this colorful complete and tone poems of Dvořák, music. He blasts through the Carnival and and the complete orchestral works of Bedřich Hussite Overtures with uninhibited abandon. Smetana. His performance of the Symphonic Variations is thrilling, as cogently flowing as any, and it Under Kuchar’s direction, the National Symphony concludes with the best, most powerfully roof- Orchestra of Ukraine has today become the most raising final fugue that I ever hope to hear. frequently recorded orchestra of the former . From 1994 to 2004, the orchestra Kuchar continues to devote several periods recorded over 70 compact discs for the Naxos annually to one of his most serious passions, the and Marco Polo labels, including the complete performance of chamber music. His colleagues symphonies of Kalinnikov, Lyatoshynsky, Martinu, have included James Buswell, Martin Chalifour, and Prokofiev, as well as major works of Dvořák, Sarah Chang, Lamar Crowson, Leila Josefowicz, Glazunov, Mozart, Shchedrin, Shostakovich, and Oleg Kagan, Dong-Suk Kang, Isabelle van Keulen, Tchaikovsky and the symphonies and orchestral Oleh Krysa, Mark Lubotsky, Truls Mork, Paul works of Ukraine’s leading contemporary Neubauer, Irina Schnittke, Torleif Thedeen, and symphonist, Yevhen Stankovych. The first of Thomas Zehetmair. In 1994, he participated with these recordings, devoted to Lyatoshynsky’s colleagues Oleh Krysa and Alexander Ivashkin in Symphonies Nos. 2 and 3, was awarded the ABC’s the world premiere of Penderecki’s String Trio in Best International Recording of the Year in 1994. . In July 1999, he appeared as violist Their recording of the complete works for violin in two recordings for the Naxos label in works by and orchestra by Walter Piston for the Naxos Alfred Schnittke (with Irina Schnittke and Mark label was hailed by Gramophone (January 2000) Lubotsky) and Walter Piston. as a Record of the Year for 1999. The complete symphonies of Prokofiev are regarded by many critics as the most accomplished cycle available on record. As a violist, his recording of works by

12 ALEXEI GRYNYUK (pianist) was born in Kiev and After his performance with Maestro Barry displayed tremendous interest in music from his Wordsworth, Worthing Herald commented that early childhood and at just six years old started “the mesmerizing fingers of Ukrainian pianist giving his first concerts. Alexei Grynyuk gave an unforgettable rendering of Rachmaninov’s Rhapsody on a Theme of He attracted wide attention at the age of 13 when Paganini that even the composer himself would he won the first prize at the Sergei Diaghilev All- surely have appreciated.“ Grynyuk’s musical Soviet-Union piano competition in Moscow. development was shaped by his studies at the By then he had already been touring Eastern Kiev Conservatoire under Natalia Gridneva and Europe as a soloist as well as performing Mozart Valery Kozlov. He also won a scholarship to the and Chopin piano concertos with Ukrainian Royal Academy of Music in London where he orchestras. studied with Hamish Milne.

Later he went on to achieve numerous awards His career has been generously supported by at international piano competitions including the Alexis Gregory Foundation, which led him to first prizes at the Vladimir Horowitz International perform recitals at the renowned piano series at Piano Competition in Kiev and the Shanghai the Metropolitan Museum of Art in New York and International Piano Competition in China. Chateau Vaux Vicomte in France. Equally at home in Classical, Romantic, and 20th- Besides the successful concerto appearances century repertoire, Grynyuk has been invited with the Bolshoi Symphony Orchestra, Brighton to give solo recitals at many prestigious venues Philharmonic, and Krakow Philharmonic during and festivals around the world, including the the last season, Grynyuk celebrated an evening Great Hall of Moscow Conservatoire, Wigmore of Liszt’s bicentennial in Kiev performing the Hall and the South Bank Centre in London, Salle composer’s B Minor Sonata followed by both Cortot and Salle Gaveau in Paris, as well as the piano concertos. Cervantino Festival in Mexico, the Duszniki Chopin Festival in Poland, the Musical Kremlin In the near future he will perform Rachmaninov’s Festival in Moscow, Musica Sacra in Netherlands, third piano concerto with the National Symphony the West Cork Music Festival in Ireland, the Orchestra of Ukraine at the Rachmaninov Festival Newport Music Festival in the United States, and in Kiev and give a recital for the 150th anniversary the International Keyboard Festival in New York. of Kiev Philharmonic Hall.

He has also been broadcast on BBC Radio 3, Hessicher Rundfunk, Bayerischer Rundfunk, KRO4 Hilversum, and Radio France. He has appeared on television on Ukrainian, Lithuanian, Chinese, and Russian channels.

Enjoying worldwide critical acclaim, Grynyuk was described by Le Figaro as a “master of transparent and sovereign touch . . . astonishing personality and absolutely transcendental virtuosity.“

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