CULTURE, HISTORY & MUSIC OF UKRAINE
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CONCERTS OF UKRAINIAN MUSIC

Ola Herasymenko Oliynyk sings Ukrainian epic ballads, folk songs and art songs with an expressive, soothing mezzo soprano voice while accompanying herself on the exotic concert bandura. The songs range from dramatic and lyrical to light and humorous. Part of the program features instrumental dances and compositions for the bandura or bandura and piano. She also has Ukrainian Christmas carols in her repertoire as well as songs and instrumental pieces from international repertoire. The concert bandura featured in these performances was custom made by Vasyl Herasymenko, a professor of bandura at the Lviv Conservatory and well known instrument designer in Ukraine.

Yuriy Oliynyk provides an itermittent commentary on the ballads, songs and pieces being performed with historic, anecdotal and biographical characterizations. Original music by Yuriy Oliynyk, Ola's sister Oksana Herasymenko and other Ukrainian composers is offered as well as music of Bach, Mozart, Beethoven and others.

Audio cassettes of vocal and instrumental music by Ola H. Oliynyk may be acquired at concert time or ordered by writing to EXOTIC UKRAINIAN GIFTS · 5253 Glancy Drive · Carmichael · CA 95608-5458 · tel./fax (916) 482-4706. Price: $9.00 plus $1.50 shipping & handling.

CONCERTS of BANDURA with a SYMPHONY ORCHESTRAS

In 1992 Ola H. Oliynyk was the first bandurist to be featured as a soloist with a symphony orchestra in the United States. Ever since that time the public and the critics have been both astounded and impressed by the beautiful, haunting sounds of the bandura in combination with a full symphony orchestra.

Among the reviews we read:

Concert in Resque, California with the Sierra Symphony Orhestra - December 5, 1992

"In a world premiere, Ola Herasymenko Oliynyk performed the First American Concerto for bandura and orchestra written by her husband, composer Yuriy Oliynyk, with the Sierra Symphony. As an added attraction, the brilliant recently discovered Concerto in D Major by Ukrainian composer Dmytro (Dmitri) Bortniansky (1751-1825) was also performed for the first time on the bandura with a string orchestra. The premiere was enhanced by the presence of Vasyl Herasymenko, Ola's father, who designed the highly advanced 65-string concert bandura on which the music was performed. This event clearly demonstrated that the Ukrainian national instrument in its advanced concert form, could easily compete with other classical instruments on the most exclusive and sophisticated world stages." Reviewer B. Storozuk.

International Music Festival "Virtuosos" in Lviv, Ukraine, - June 2, 1995

"A concert, entirely devoted to music of Yuriy Oliynyk at the Lviv Philharmonic Hall on June 2, 1995, however, turned to be a special treat. Included in the program were his compositions for piano, bandura and orchestra, which were written during the last 10-15 years, with the latter selections predominating. The Second Concerto for bandura and orchestra was written expecially for Ola Oliynyk. Unlike the First Concerto, it features some motifs from Ukrainian folk songs that she particularly likes. One does not normally associate a bandura with a symphony orchestra. The brass section, in particular, could prove rather overpowering for the delicate bandura. The composer's skillful handling of the orchestra and some amplification of the bandura, however, have eliminated this problem." Reviewer Ola Myrcalo, Musicologist and Music Critic.

Concert in Sacramento with Camelia Symphony Orchestra, CA. - October 21-st 1995

"The soloist, Ola Oliynyk, born and raised in Ukraine, is a virtuoso with an international reputation who is also the composer's wife. She played with brilliant facility, sweeping across the strings with glissandos and quick arpeggios with her right hand while simultaneously playing melodies with her left. Concerto is full of appealing strokes of music drama, and is sonorously scored with lots of brass. There are many good tunes and they are interestingly manipulated. The cadenzas were magnificent, bravura playing that showed off the big range of the instrument from low to high". The premiere of the Second Concerto was "the evening's most notable event." Reviewer William Glackin, Sacramento Bee music critic.

"Saturday evening's concert presented a soloist on an instrument that very few in the audience had ever heard, let alone ever heard of, the bandura - it is a 65 string cross between a lute, a harp, a zither, and a few other such stringed instruments, and the music to be heard was the United States premiere that certainly fits the exciting programming of the Camellia Orchestra... The bandura is an amazing instrument. It was amplified for the program in order to compete with orchestra's textures, but it still maintained it's sweet harp like quailty and often sounded like the fortepiano of Mozart. Ola Oliynyk was an outstanding performer and was greeted with thunderous applause, and this time this overused phase is totally valid, as the good sized audience kept her on the stage for some time, and only agreed to let her retire after playing a short but equally impressive encore." Reviewer Clark Mitze, Morning Edition KYJZ-XXPR

Concert in Stockton, California, with State Philhamonic Orchestra from Odesa, Ukraine on March 14, 1998.

" The Orchestra featured Concerto No.4 for Bandura and Orchestra, "Trypillian" by Yuriy Oliynyk. The bandura sound is often gentle, and might easily be swallowed by the orchestra. The composer’s orchestration took this into account, as did the conductor, and a good balance was achieved. The music is traditional in sound, couched in standard harmonic terms, flavoured with some modality. One melody tumbles out after another in this three movement work, which pleased the audience a great deal. Bandura soloist Ola Herasymenko Oliynyk appears to be a real virtuoso on this instrument, an instrument which it would be a pleasure to hear more often..." Reviewer George Bukbee, Professor emeritus of music at UOP, Stockton.

The third movement of the above Concerto was performed as an encore at Davies Hall in San Francisco with the same orchestra and the same soloist on March 13, 1998.

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