James Harrington
American Record Guide, January/February 2008

If you enjoy Russian music as much as I do, you must get this. Chances are that most, if not all, of the music will be new to your ears. There is a fair amount of Scriabin's influence here, but very little of the Slavic melancholy associated with Rachmaninoff. Maria Dolnycky has selected very fine music in many styles and given it all the best performance you could ask for. The composers (Liatoshinsky, Revutsky, Ishchenko, Barvinsky, Shamo, Silvestrov, and Kosenko) were all new to me except Silvestrov. The works were composed between 1908 and 2001. They range from melodic little trifles, reminiscent of Satie (Liatoshinsky's 1943 Prelude) to Silvestrov's First Piano Sonata and Ishchenko's Poetic Moods, Book I (a suite of seven pieces). Perhaps the most enjoyable of all are Ishchenko's Four Waltzes and Just a Touch of Chopin, where the composer manages to subtly suggest hints of well-known Chopin waltzes in his own modern compositional style, only to confirm things by giving a more direct quote of Chopin at the end of each piece. The range of styles calls for a wide range of touches. Whether it is a singing melody over accompaniment, or complex modern piano textures, Dolnycky's pianism is up to every challenge.

Martin David-Blais
La Scena, Winter 2008 Issue

Ce disque, qui propose un survol de la musique pour piano en Ukraine au XXe siècle, est une réussite complète. Réussite d'abord parce qu'on nous convainc la richesse de ce répertoire méconnu. Le choix des pièces, judicieux, réunit plusieurs horizons esthétiques: on passe notamment d'un romantisme très lyrique (Revutsky ou Kosenko) à l'écriture modérément atonale de Silvestrov (sa belle Sonate n'a rien à envier à ses œuvres pour orchestre). En outre, le choix ne s'est pas arrêté qu'à des œuvres d'intérêt, même lorsqu'elles sont légères (Chanson de Barvinsky). Réussite ensuite parce que le climat poétique, que l'on cherchait manifestement à installer, ne s'estompe pas d'une pièce à l'autre malgré les ruptures esthétiques. Réussite enfin en raison de la grande qualité d'interprétation de la pianiste dont on dit pourtant quelle affectionne la musique actuelle: elle se montre juste et convaincante dans tous les styles abordés. La grande découverte du disque est la suite Poetic Moods d’Ishchenko. Voilà une œuvre passionnante qui montre qu'il est possible de créer avec un langage et des procédés contemporains une atmosphère musicale diaphane aussi raffinée et envoûtante que ce qu'on pouvait écrire il y a un siècle (Dans les brumes de Janáček par exemple).

John S. Gray
Wholenote Magazine, June, 2007

Maria Dolnycky's new CD, aptly titled “Poetic Moods”, is beautiful. From the moment you see the post-impressionist cover (by Olga Konoshchuk) until the last strains of Kosenko's Consolation Op.9 die away, you are liable to be dreamily transported. The pianist culminated a year of preparation in a recording done last November, at Humbercrest United.

Dolnycky chose seven Ukrainian composers for this project, with the backing of the Ukrainian Canadian Foundation of Taras Shevchenko and the Prometheus Foundation. Revutsky (1889-1977) contributes three striking pieces in the post-Scriabin idiom, all written prior to his 1934 denouncement, which foreshadowed Shostakovich's ordeal. Ishchenko's Poetic Moods, Book 1 take chromatic impressionism to lofty heights. Barvinsky, (1888-1963) another musical figure suppressed by the Soviets, here contributes two excellent works from his youth. His Prelude in G major from 1908 is a mighty piece. Shamo (1925-1982) contributes the well-mannered Prelude No.9.

Valentin Silvestrov's Piano Sonata No.1 from 1972 is the major work in this collection. Its two movements foreshadow some of the orchestral devices used today in Silvestrov's works.

It's a pity that Ukrainian composer Alexander Levkovich (now based in Toronto) wasn't asked for a work in this project, given his position as Silvestrov's protégé.

Dolnycky's playing is flawless. Producer/engineer Timothy Minthorn used all his skill. Careful listening reveals one tuning imperfection high up, but that is a mere quibble. Highly recommended. 

Roman Sawycky, Musicologist
Abridged from The Ukrainian Weekly, June 3, 2007

The CD, "Poetic Moods," recorded by the Toronto pianist Maria Dolnycky, explores the various creative moods of seven 20th century composers of Ukraine.

Borys Liatoshynsky's Prelude, Op. 44, from 1943 opens the program firmly, introducing the soloist and her partner - the Steinway. The work features a haunting and melancholy mood, but sounds surprisingly conventional for a radical composer of expressionism, who revolutionized the overly traditional musical language of early 20th century Ukraine. The piano, nevertheless, has both depth and direct definition.

 

The two [Revutsky] Preludes Op. 7 … are likewise admirably played with the first of the two culminating very gradually until the final climax of emotion. This somewhat unorthodox approach still has a way of sounding refreshingly new, and the accent is on the lyrical fabric of the score, rather than on the obvious strong character of the piece, suggested by the heroic key of E-Flat Major.

[Yuri] Ishchenko's "Poetic Moods, Book 1" (1981) unfold into seven brief but charged dispositions or frames of mind. Tuning into them feels like stealing glances into the composer's creative soul. His music glistens in colors of fragmented stained glass windows, which in themselves become our windows into contemporary music of Ishchenko's generation.

The same composer's Four Waltzes have evolved from the old and quaint specimens of this Viennese pastime. Startling at first are the intercuts of brief quotes from Chopin's "valses" with the contemporary Ishchenko dances.

Barvinsky – the only composer on the disc, who studied and worked in the West – was published by Vienna's prestigious Universal Edition. He became the principal teacher and mentor of this writer's late father, noted pianist-educator Roman Sawycky Sr., and the Barvinsky "oeuvre" seems nearest to Ms. Dolnycky's psyche and her musical response.

[Valentin] Silvestrov became one of the original members of the Kyiv Avant-Garde. [His] later, unique post-modern style, to which he referred as "metaphoric music" or simply "meta-music" … was universal in character and poetic by nature. Silvestrov's Piano Sonata No. 1 lays down this new style. This writer had the pleasure of meeting Silvestrov in Lviv and was genuinely surprised by his quiet and modest demeanor, which seemed very much like his music.

Summation

Often favoring the lyrical style, rather than the easier, bombastical approach to her sonorous Steinway, Ms. Dolnycky still provides a fine focus of sound. The close miking also brings a more intimate chamber atmosphere to the performances. These are note-perfect, and the pianist's technique remains completely clean. Much has been said of personal pianistic methods, and in the final analysis Ms. Dolnycky's is the lighter touch of talent, that summons sounds of artistic truth.

Dr. Anna Ferenc, Associate Professor of Music, Wilfred Laurier University
Abridged from Ukrainian News, Edmonton,
August 8 -21, 2007

Poetic Moods a welcome new recording

Poetic Moods samples nearly a century of solo piano music by Ukrainian composers. Although each of these composers has made significant contributions to the development of Ukrainian music within the European classical tradition and some have developed international recognition, their compositions are not familiar to North American audiences and are rarely performed. From this perspective, Dolnycky may be commended for her efforts to increase our exposure to the work of some of Ukraine’s most talented musicians of the 20th and 21st centuries.

The tone for the CD is set by its opening track, Prelude Op. 44 No. 2 by Liatoshynsky, which is followed by two compositions by Revutsky. Waltz was written in 1908-09 and is played crisply and clearly by Dolnycky. The 2 Preludes feature more technically demanding passages and dynamic lyricism in the style of Rachmaninoff. Dolnycky negotiates the virtuosity of both Preludes cleanly and expressively.

Shamo, Sylvestrov, and Ishchenko are members of the next generation of 20th-century Ukrainian composers and all have connections to Liatoshynsky.

The gems on this CD are world premiere recordings of two compositions by Ishchenko. The disk takes its name from the first composition entitled "Poetic Moods, Book 1", which was written in 1981 and consists of 7 short movements that are tonally and rhythmically experimental. The second work was composed recently in 2001 and is titled "Four Waltzes and Just a Touch of Chopin". Each Waltz is written in a unique post-tonal language and quotes brief passages directly and unexpectedly from well-known Chopin Waltzes.

Despite the cross-section of compositional styles that it samples, Poetic Moods is a remarkably unified CD whose overall tone is contemplative and subdued. Dolnycky has chosen this repertoire with care. Her performances are musically expressive and thoughtfully presented conveying a deep connection to this music and enticing her listeners to experience the poetry within it.