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Home , Andriy Shkil, Asrael Symphony, Igor Markevitch, Oleh Krysa

Sunday, March 26, 2017, 3pm Zellerbach Hall

National Symphony Orchestra of Theodore Kuchar, conductor Alexei Grynyuk, piano

PROGRAM

Giuseppe VERDI (1813 –1901) Overture to La forza del destino

Sergei PROKOFIEV (1891 –1953) Piano Concerto No. 3 in C Major, Op. 26 Andante – Allegro Tema con variazioni Allegro, ma non troppo

INTERMISSION

Dmitri SHOSTAKOVICH (1906 –1975) Symphony No. 5 in D minor, Op. 47 Moderato – Allegro non troppo Allegretto Largo Allegro non troppo THE ORcHESTRA National Symphony Orchestra of Ukraine Volodymyr Sirenko, artistic director & chief conductor Theodore Kuchar, conductor laureate

First Violins Markiyan Hudziy, leader Olena Ikaieva, principal Taras Osadchyi, principal Gennadiy Pavlov, sub-leader Liliia Demberg Oleksiy Yemelyanov Olena Pushkarska Sergii Vakulenko Roman Chornogor Svyatoslava Semchuk Tetiana Miastkovska Mykhaylo Zanko Bogdan Krysa Tamara Semeshko Anastasiya Filippochkina Mykola Dorosh Horns Roman Poltavets Ihor Yarmus Valentyn Marukhno, principal Oksana Kot Ievgen Skrypka Andriy Shkil Olena Poltavets Tetyana Dondakova Kostiantyn Sokol Valery Kuzik Kostiantyn Povod Anton Tkachenko Tetyana Pavlova Boris Rudniev Viktoriia Trach Basses Iuliia Shevchenko Svetlana Markiv Volodymyr Grechukh, principal Iurii Stopin Oleksandr Neshchadym Viktor Andriiichenko Oleksandra Chaikina Viktor Davydenko, principal Oleksii Sechen Yuri і Kornilov Harps Grygorii Кozdoba Second Violins Nataliia Izmailova, principal Dmytro Kovalchuk Galyna Gornostai, principal Diana Korchynska Valentyna Petrychenko Taras Butko and Tubs Oleksandra Vasylieva Volodymyr Kaveshnikov Andriy Golovko, principal Olena Bardina Dmytro Golovach Danylo Sydorov Ganna Fedchenko Ivan Lykhovyd Mykola Artiushenko Liudmyla Guley Oleksandr Yuzvyak Andrii Zymenko Valentyna Voskresenska Oleksiy Li, Andriy Mazko Piano Sergiy Ursulenko Lyudmyla Kovaleva Percussion Galyna Bilych Dmytro Ulianov, leader Tetyana Nikonenko Danylo Shurygin Nadiia Novikova Oleh Sheremeta, principal Oleh Sokolov Vasyl Bakalov Myroslava Sirenko Volodymyr Kolobrodov Olena Litovchenko Igor Iermak Gennadii Khlopotov Mykola Mykytei Volodymyr Kolokolnikov Violas Larysa Plotnikova Stanislav Ulianov Oleksandr Pohoryelov, principal Galyna Nemeczek Gennadi і Kot, principal Viktor Navrodskyi Yurii Litun Oleh Trunov Artem Alieksieienko Orest Krysa Viktor Chernigovskyi Valentyna Lisovenko Viktor Mishchenko Bogdan Fesyuk Volodymyr Ponomarov Vira Ampilogova Petro Zabolotnyi, principal Maksym Bakeyev Iurii Nabytovych Anatilii Gavrylov Viktor Gornostai Oleksandr Avramenko

PLAYBILL PROGRAM NOTES

Overture to La forza del destino vinsky, and you will have a cocktail resembling Giuseppe Verdi the music of Prokofiev.” So once wrote a music When the Imperial Theatre in St. Petersbu rg critic in Musical America. If this “recipe” was commissioned an opera from Verdi, his first intended as a slight to the , the state - suggestion was one based on Victor Hugo’s Ruy ment contains a certain amount of truth for Blas . But the theater rejected the proposal and which the composer need not have felt the least Verdi turned to a Spanish play, Don Alvaro or ashamed, for not many contemporary com - the Force of Destiny, by Don Angel Pérez de posers have written music that has such an un - Saavedra, Duke of Rivas. The opera was mistakable identity as that of Prokofiev. What pro duced with great success on November 10, is particularly interesting is that, stylistically, 1862. The composer, however, was not entirely Prokofiev’s music changed little over the de - satisfied with the opera, and for a later produc - cades; the same qualities and mannerisms by tion at La Scala, on February 27, 1869, he re - which his later works are recognized can be vised it, changing the order of scenes, rewriting found in many of his earlier compositions. the finale with a major change of plot, and re - In his autobiography, Prokofiev stated that placing the prelude with the full-scale overture. five principal factors dominated his art, these Set in 18th-century Spain and Italy against a being: 1.) the influence of Baroque and Classical background of war, the opera tells a far-fetched forms, 2.) the desire to introduce new harmo- story of love and revenge. On the point of elop - nies into his expressive music, 3.) strong ing with his beloved, Leonora, Don Alvaro is rhythms, 4.) elements of lyricism, and 5.) the surprised by her father, who is accidentally shot jesting and mocking characteristics so typical dead when Alvaro throws his pistol to the floor. of his symphonies, concertos, and stage works. The lovers are then remorselessly pursued by In addition to more than 100 piano pieces, of Leonora’s brother, Don Carlo, who is intent on varying lengths and in many styles, Prokofiev killing them both to avenge the family’s honor. wrote five superb piano concertos, where some The overture begins with three repeated of his finest keyboard writing can be found. notes for unison brass, a menacing call to at - Their composition covers a span of 21 years; all tention that is followed immediately by the five works antedate Prokofiev’s so-called “Soviet agitated destiny theme. The latter maintains a period.” The inventive and youthful score of dangerous presence as the piece continues with the Concerto No. 1 (1911) first brought the other themes from the opera. The first of these composer attention from outside of his native is the melody of Alvaro’s last act plea to Carlo to Russia. The lyrical and romantically oriented desist from taking revenge on one who was only Second Concerto followed two years later. The unfortunate. This breaks off for the soaring most popular and often-heard Third Concerto theme of Leonora’s second act prayer, “God, do was written in 1921. Ten years later he pro - not forsake me. Have mercy on me, Lord.” After duced the Fourth Concerto, which is scored for a tutti passage, and a reminder of Alvaro’s plea, the left hand and orchestra; the composer wrote a tune from the end of the second act duet in it specifically for the pianist Paul Wittgenstein, which the Father Superior of a monastery agrees who had lost his right arm during World War I. to shelter Leonora in a hermit’s cave appears. Written between 1931 and 1932, the Fifth Another tutti and a chorale-like passage follow, Con certo is perhaps the most modernistic and and the overture builds to an exciting climax. technically demanding of the five, representing —Columbia Artists Management Inc. the climax of Prokofiev’s innovative writing for the instrument. Piano concerto No. 3 in c Major, Op. 26 Although he had conc eived several of the themes for his Piano Concerto No. 3 in 1911, “Take one Schoenberg, two Ornsteins, a little 1913, and 1916, Prokofiev began work in earnest Satie, mix with some Medtner, add a drop of on this piece in Leningrad in 1917. However, Schumann, then a shade of Scriabin and Stra - work on the concerto was halted for several PROGRAM NOTES more years. Following the success of the com - In variation four, the tempo is once again An - poser’s Concerto No. 1 and of his Scythian Suite dante , and the piano and the orchestra dis - when they were performed in Chicago in the course on the theme in a quiet and meditative fall of 1918, the Chicago Opera asked Prokofiev fashion. Variation five is energetic ( Allegro to write an opera for their next season; Pro - giusto ). It leads without pause into a restatement kofiev suggested his new project, The Love for of the theme by the orchestra, with delicate em - Three Oranges , and the work was scheduled for broidery in the piano. production in the winter of 1919 –20. The score “The finale begins with a staccato theme for for the opera was completed in time but, un - bassoons and pizzicato strings, which is inter - fortunately, the conductor behind the project rupted by the blustering entry of the piano…. died shortly afterwards and the production had Eventually, the piano takes up the first theme to be postponed. In the meantime, while wait - and develops it into a climax. With a reduc - ing for the opera to be produced, the composer tion of tone and slackening of tempo, an alter - rented a cottage on the coast of Brittany during nate theme is introduced in the woodwinds. the summer of 1921 and utilized the time to The piano replies with a theme that is more in complete the Third Piano Concerto. Upon his keeping with the caustic humor of the work. return to Chicago to oversee the final prepara - This material is developed and there is a bril - tions and rehearsals for his new opera, the liant coda.” concerto received its premiere performance Unlike the contemporaneous opera The with the Chicago Symphony Orch estra under Love for Three Oranges , the concerto was en - Frederick Stock with the composer at the piano thusiastically received by audience and critics on December 16, 1921—two weeks before the alike at its first performance, and has since premiere of The Love for Three Oranges on become one of Prokofiev’s most frequently per - December 30. formed works. In the first published score, the composer —Columbia Artists Management Inc. provided the following analysis: “The first movement opens quietly with a short introduc - Symphony No. 5 in D minor, Op. 47 tion. The theme is announced by an unaccom - panied , and is continued by the violins Dmitri Dmitriyevich Shostakovich was the first for a few bars. Soon the tempo changes [lead - major Russian composer to receive his entire ing] to the statement of the principal subject by musical education under the Soviet regime. He the piano…. A passage in chords for the piano first achieved international recognition—and alone leads to the more expressive second sub - governmental approval—with his First Sym - ject, heard in the with a pizzicato accom - phony; written as a graduation piece, it was paniment. This is taken up by the piano and acclaimed at its premiere in May of 1926 in developed at length. At the climax of this sec - Leningrad, as well as in its first Western per - tion, the tempo reverts to Andante , and the or - formance in May of 1927 in Berlin (conducted chestra gives out the first theme, fortissimo . The by Bruno Walter) and its American premiere in piano joins in, and the theme is subjected to an November of 1928 in (led by Leo - impressively broad treatment. On resuming the pold Stokowski). Throughout his lifetime, how - Allegro , the chief theme and the second subject ever, Shostakovich went in and out of favor with are developed with increased brilliance, and the the authorities, even if his loyalties were un - movement ends with an exciting crescendo . questioned. Even after his opera Lady Macbeth “The second movement consists of a theme of the Mtsensk District had been internationally with five variations. The orchestra alone an - recognized as a masterpiece, in a 1936 editorial nounces the theme. In the first variation the entitled “Chaos Instead of Music,” Pravda de - piano treats the opening of the theme in quasi- nounced the score as “fidgety, screaming, neu - sentimental fashion…. The tempo changes to rotic,” and as “coarse, primitive and vulgar”; this Allegro for the second and third variations…. assault—to which many fellow con -

PLAYBILL PROGRAM NOTES tributed—was m eant as a warning against the stinging barbs of Soviet censure; Proko fiev “,” “formalism” (or music that seem - and many of the major Soviet composers of the ingly was comprehensible only to the composer’s time shared in the same fate. They were being inner vision) and other perceived trans gressions attacked for their failures to conform to pro - against “socialist realism.” One year later he was scribed state guidelines established for Soviet declared “rehabilitated” upon the premiere of the artists. It is interesting to note that Shos ta kovich Symphony No. 5, which was deservedly hailed originally labeled his Fifth Symphony “a soviet as a masterpiece and described by the authori - Artist’s Practical, Creative Reply to Just Criti- ties as “the creative reply of a Soviet artist to cism.” At a later time, however, he omitted this justified criticism.” In 1948 Shostakovich was reference and replaced it with the following named a People’s Artist of the Republic of Rus - statement: “The theme of my symphony is the sia, only to be again denounced that same year. stabilization of a personality. In the center of He was eventually named Composer Laureate this composition—conceived lyrically from of the . beginning to end—I saw a man, with all his Shostakovich was quite a prolific compo - experiences.” ser—his catalogue includes concertos (two each The Fifth Symphony was composed between for piano, violin, and ), nine operas and April 18 and July 20, 1937. It received its pre - ballets, chamber works (including 15 magiste - miere performance in Leningrad on November rial string quartets), and numerous vocal and 21, 1937, in the midst of a celebration of the choral compositions. His fame, however, rests 20th anniversary of the Revolution. The work largely upon a number of his 15 symphonies; was a tremendous success and moved many in he completed his first at age 19, creating musi - the audience to weep openly. This, in Shosta- cal history with the unprecedented success kovich’s own estimation, because “…they un - and acclaim it received, and he wrote his last— derstood, they understood what was happening No. 15—four years before his death. It must be around them and they understood what the noted that not all of his symphonies were Fifth was about.” After the work’s premiere, warmly received in the Soviet Union. If his First many articles appeared written by poets, au - (1924 –25) and Fifth (1936) Symphonies were thors, war heroes, and others outside the tremendously successful with the authorities, musi cal domain lauding the symphony. Shosta - critics, and audiences alike, the composer’s de - kovich, no longer labeled an “enemy of the peo - tractors grew so vituperative that his Fourth ple,” achieved the stature of a cultural hero. Symphony (1935 –36) was dropped after one re - This, no doubt, must have been a great conso - hearsal and not performed until 1962 (!). While lation to him; after all, Shostakovich took great his Seventh Symphony (1941) had a warm re - care to remain in touch with the life pulse of ception and practically made him a national the people. As he once stated, “I consider that hero in the Soviet Union, earning the composer every artist who isolates himself from the world one of the three Stalin Prizes that he was to re - is doomed.” ceive in his life, in glaring contrast, his Eighth The Symphony No. 5 is a work of expansive, Symphony (1943) and Ninth Symphony (1945) spacious proportions and is governed by tradi - only earned him further ignominy. The latter tional Classical design. Its four movements con - was denounced in the Soviet publication Cul - tain a vast range of moods projected by a rich ture and Life for its “ideological weakness” and and colorful symphonic mass. Most ingenious its failure to “reflect the spirit of the people.” is the manner in which the composer creatively These “ups and downs” were to continue incorporates piano, celesta, and other percus - throughout his symphonic career. sion instruments into the texture of the music. The Fifth Symphony of Dmitri Shostakovich The first movement presents an expansive, may well be viewed as the composer’s musical heroic first theme. The violins initiate the theme response to official Soviet criticism of his com - with a motto of four thrusting bars of an angry, positional style. He was not alone in receiving assertive mood, the overall character being one PROGRAM NOTES of a menacing march. The first violins proceed The National Symphony Orchestra of Ukraine from this motto to spin out a long melody, trun - (NSOU) was formed by the Council of Mini- cated at times with stinging fragments of the sters of Ukraine in November of 1918, and motto. The second theme begins in a slow and today is considered one of the finest symphony reflective fashion and gains impetus as the orchestras in Eastern Europe. Its first conductor movement proceeds; this is accompanied by a was Oleksander Horilyj. Natan Rachlin was three-beat rhythmic figure. The movement ends the artistic director of the orchestra from 1937 in a quiet passage with the piccolo and celesta in until 1962. Stefan Turchak, Volodymyr Koz - interesting scalar passages. hu char, Fedir Hlushchenko, Igor Blazhkov, The second movement was written in just a and Theo dore Kuchar consequently conducted few days. Although not specified as a Scherzo the orchestra as its principal conductors. Other by the composer, it is fraught with dance themes conductors who have worked with the NSOU of a raucous nature and is a brilliant distillation include Leopold Stokowski, Igor Markevitch, of the Scherzo genre. In it, one can hear the Kurt Sanderling, Evgeny Mravinsky, Kiril Kon - foot-stomping of peasant dances. drashin, Evgeny Svetlanov, and Gennady Rozh - The third movement demonstrates the es - destvensky. Soloists who have performed with sential greatness of Shostakovich. In large part the ensemble include Artur Rubinstein, Yehudi elegiac, the movement is a brooding, probing Menuhin, Isaac Stern, , Sviato - interlude, expressively exploring the loftiest slav Richter, Mstislav Rostropovich, Emil Gilels, ideas of the symphony. The reflective lyricism Leonid Kogan, , Oleh Krysa, gives way to an urgency and intensity. The solos Monserrat Caballé, José Carreras, and Juan for oboe and against the stark octaves in Diego Flores. the harp combine to paint a picture of bleak - Over the course of the last 100 years, the ness. The intensity increases to a climactic mo - NSOU has been entrusted with the premiere ment but it subsides on a note of resignation at performances of works by Sergei Prokofiev, the end of the movement. Dmitri Shostakovich, Aram Khatchaturian, The final movement is a powerful Rondo Boris Lyatoshynsky, Valentyn Silvestrov, Myro- with intimations of military marches. The tim - slav Skoryk, and Evgen Stankovych. pani thunders forth and the brass blazes in a After an appearance in Moscow, Dmitri victorious tone. Following one last outburst, the Shosta kovich commented: “This orchestra has symphony finishes in a reflective mood. as distinguished a group of performers as one In a tribute to his friend, Mstislav Rostropo - would be likely to find anywhere. The ensemble vich remarked of Shostakovich: “Only those of the orchestra is of the highest level. In addi - who have suffered very deeply can totally un - tion, the various soloists and instrumental derstand Dmitri Shostakovich’s music. He gave groups within the orchestra play exceptionally to the world not only a sense of great beauty, but and complement each other beautifully— also a feeling for the great difficulties and con - as would the greatest of the world’s symphony tradictions of the epoch in which we live.” orchestras.” —Columbia Artists Management Inc. Since 1993 the NSOU has released more than 100 recordings that include both Ukrai - nian and international repertoire. Most of these recordings have received the highest in - ternational acclaim. In 1994 the Australian Broadcasting Company rated the NSOU’s re - cording of Boris Lyatoshynsky’s Symphonies No. 2 and No. 3 as “the best recording of the year.” The CD of Silvestrov’s Requiem for Larissa was nominated for a Grammy Award in 2005.

PLAYBILL ABOUT THE ARTISTS

The recording of Bloch and Lees’ Violin Con - certos was nominated for a Grammy Award four years later. The NSOU has performed in successful tours throughout Australia, Austria, Bahrain, Belgium, Belarus, China, the , Denmark, , Germany, England, Hong Kong, Iran, Italy, Japan, Kazakhstan, Lebanon, The Netherlands, Oman, , Portugal, Rus sia, Slovakia, Spain, , and the United Arab Emirates. Volodymyr Sirenko has been the artistic di - rector and chief conductor of the NSOU since April of 1999. Alexander Hornostai has been its managing director and producer since June of 2006. Theodore Kuchar is the orchestra’s con - ductor laureate. www.nsou.com.ua

Theo dore Kuchar (conductor laureate ) is one of the most recorded conductors of his generation and appears on over 100 compact discs for the Naxos, Brilliant Classics, Ondine, and Marco Theodore Kuchar Polo labels. The multiple award winner has served as artistic director and principal conduc - During the past several seasons, guest conduct - tor of two of the leading European orchestras, ing engagements have taken him to major the Janác ˘ek Philharmonic Orchestra (formerly musical centers including Amsterdam, Berlin, the Czech Radio Orch estra) and the National Chicago, Helsinki, Hong Kong, London, Ma - Symphony Orchestra of Ukraine. In the 2011 –12 drid, Prague, , and Sydney. Kuchar has season he commenced his tenure as the artistic collaborated with major artists including James director and principal conductor of the Or - Galway, Shlomo Mintz, Jessye Norman, Lynn questa Sinfonica de Venez uela. An avid chamber Harrell, Itzhak Perlman, Yo-Yo Ma, Sarah musician, he has served as the artistic director Chang, Msti slav Rostropovich, Joshua Bell, and of the Australian Festival of Cham ber Music Frederica von Stade, among others. (1990 –2006), and as the artis tic director of the Among Kuchar’s numerous accolades are the Nevada Chamber Music Festi val (since 2005). BBC Record of the Year, Australian Broad cast - Highlights of the past several seasons include ing Corporation Record of the Year, Chamber a four-week, 20-concert tour of the United Music America Record of the Year, Gramo - States with the Czech Symphony Orchestra, and phone Magazine’s Editor’s Choice, the WQXR guest engagements with the BBC Record of the Year, and a nomination for a Latin Symphony, BBC National Symphony Orchestra Grammy Award (in the category of Best Instru- of Wales (filling in on one-day notice to con - mental Album of 2013). The 2014 –15 se ason duct ’s epic Asrael Symphony), Berlin saw the release of seven new recordings devoted Symphony Orchestra, English Chamber Orch - to the complete symphonies of Ukrainian Boris estra, Cape Town Philharmonic Orchestra, Lyatoshynsky and Yevhen Stankovych (with the Israel Symphony Orchestra, Prague Symphony National Symphony Orchestra of Ukraine), or - Orchestra, Munich Philharmonic, and the chestral works by the Turkish composer Ulvi National Symphony Orchestra of Venezuela. Camal Erkin (with the Istanbul State Symphony ABOUT THE ARTISTS

Orch estra), and Amer ican composers Paul Chi- orchestra of the former Soviet Union. Between hara and Walter Saul. 1994 and 2004 the orchestra made over 80 re - As an educator and orchestra trainer, Kuchar cordings for the Naxos and Marco Polo labels, has served as resident conductor of the Kent/ including the complete symphonies of Kalin- Blossom Music Festival, the educational insti - niko, Lyatoshynsky, Mar tinu, and Prokofiev, as tution established by the late George Szell in co - well as major works of Dvo r˘ák, Glazunov, Mo - operation with the Cleveland Orchestra, since zart, Shchedrin, Shosta kovich, and Tchaikovsky. 2003. Also since 2003, he has devoted himself to The musicians also recorded the symphonies annual residencies as a guest faculty member at and orchestral works of Ukraine’s leading con - the Cleveland Institute of Music, the Simón temporary symphonist, Yevhen Stankovych. Bolívar Youth Orchestra, the Czech National The recording of Lyato shynsky’s Symphonies Academy of Music, the Australian National Nos. 2 and 3 was awarded ABC’s “Inter national Academy in Melbourne, the National Academy Recording of the Year” in 1994. Their recording of Music in Kiev, and the Sibelius Academy in of the complete works for violin and orchestra Helsinki, among others. In 2006 he developed by for the Naxos label was hailed the annual conductors courses in cooperation by Gramophone as a “Record of the Year” for with the Conservatoire and hosted by the 1999. The complete symphonies of Prokofiev, Janá c˘ek Philharmonic Orchestra in the Czech on the Naxos label, are regarded by many critics Republic. In March 2012 he lead the Con - as the most accomplished cycle available on ductor’s Guild workshop hosted by the Cleve - compact disc. land Institute of Music. Between 1996 –2003 Kuchar remains as strong an advocate of he served as professor and director of orchestral composers of the present day as he does of the studies at the University of Colorado, Boulder. great composers of the past. In addition to his With the Janá c˘ek Philharmonic Orchestra, recordings of contemporary works with the Kuchar has made 15 recordings devoted to the NSOU, he has also conducted premieres of complete symphonies of Carl Nielsen, the com - works by Lukas Foss, Giya Kancheli, Joseph plete overtures and tone poems of Dvo r˘ák, and Schwantner, Alfred Schnittke, Osvaldo Golijov, the complete orchestral works of Czech com - and Rodion Shchedrin, among others. poser Bed r˘ich Smetana for the Brilliant Classics Theodore Kuchar graduated from the Cleve - label. Also completed for Brilliant Classics was land Institute of Music in 1982, as a student of a world premiere recording of Rachmaninoff’s Robert Vernon, principal violist of the Cleve- Fifth Piano Concerto, a reconstruction of that land Orchestra. In 1981 he was awarded the composer’s Second Symphony based on the Paul Fromm Fellowship from the Sym - composer’s earliest manuscripts, and the piano phony Orchestra at the Berkshire Music Center concertos of Ravel and Bartók. With the Janá - at Tanglewood. He continues to devote several c˘ek Philharmonic Orchestra, Kuchar has periods annually to one of his most serious pas - con ducted tours of Australia, Ger many, Italy, sions, the performance of chamber music, and Korea, The Netherlands, Switz erland, and the has been a participant at major international United States. festivals throughout the world. His colleagues During his tenure with the National Sym - have included James Buswell, Martin Chalifour, phony Orchestra of the Ukraine, Kuchar con - Sarah Chang, Lynn Harrell, Alex ander Ivash - ducted cycles of the complete symphonies of kin, Robert Levin, Truls Mork, Paul Neubauer, Beethoven, Bruckner, Mahler, Prokofiev, Schu - Irina Schnittke, and Thomas Zehet mair. In bert, and Shostakovich, and led 11 international 1994 Kuchar participated with colleagues Oleh tours to Asia, Australia, Central Europe, and the Krysa and Alexander Ivashkin in the world . Under his direction, the premiere of Penderecki’s String Trio in New NSOU became the most frequently recorded York City. Kuchar has appeared as violist in

PLAYBILL ABOUT THE ARTISTS recordings on the Naxos label of works by Alfred Schnittke (with Irina Schnittke and Mark Lu- bot sky—this recording was named the BBC’s “CD of the Year” for 2002), Bohuslav Martinu, and Walter Piston. The latter recording was named the Chamber Music America/WQXR “Record of the Year” for 2001.

Kiev-born pianist Alexei Grynyuk (piano ) dis - played great interest in music from his early childhood and at just six years of age began giv - ing his first concerts. He attracted wide atten - tion at the age of 13 when he won the first prize at the All-Soviet-Union Piano Competition in Moscow. By then he had already been touring Eastern Europe as a soloist as well as performing Mozart and Chopin piano con - certos with Ukrainian orchestras. Later he went on to win numerous awards at international piano competitions, including first prizes at the Vladimir Horowitz International Piano Com- pe tition in Kiev and the Shanghai International Piano Competition in China. Alexei Grynyuk Equally at home in Classical, Romantic, and 20th-century repertoire, Grynyuk has been in - won a scholarship to the Royal Academy of vited to give solo recitals at many prestigious Music in London, where he studied with venues and festivals around the world, among Ha mish Milne. His career has been generously them the Great Hall of the Moscow Conser - supported by the Alexis Gregory Foundation, vatory; Wigmore Hall and the South Bank Cen- which led to performances of recitals at the tre in London; Salle Cortot and Salle Ga veau in renowned piano series at the Metropolitan Paris; the Cervantino Festival in Mexi co; the Museum of Art in New York and Chateau Vaux Duszniki Chopin Festival in Poland; the Musi - Vicomte in France. cal Kremlin Festival in Moscow; Musica Sacra Last season, along with successful concerto in The Netherlands; the West Cork Music Festi - appearances with the Bolshoi Symphony Orch - val in Ireland; the Newport Music Festival in the estra, Brighton Philharmonic, and Krakow Phil - United States; and the International Key board harmonic, Grynyuk celebrated an evening of Festival in New York. Liszt’s bicentennial in Kiev performing the com - Grynyuk has also been broadcast on the BBC poser’s B-minor Sonata followed by both piano Radio 3, Hessicher Rundfunk, Bayerischer Rund - concertos. In the near future he will perform funk, KRO4 Hilversum, and Radio France; and Rachmaninoff’s Third Piano Concerto with the televised on Ukrainian, Lithuanian, Chinese, NSOU at the Rach maninoff Festival in Kiev, and Russian channels. as well as a recital for the 150th anniversary of Grynyuk ’s musical development was shaped Kiev Philharmonic Hall. by his studies at the Kiev Conservatory under For more information, please visit the artist’s Natalia Gridneva and Valery Kozlov. He also website at http://www.grynyuk.com.