In a new interview with Dzvenyslava Safian (The Claquers), Anna Ivaniushenko, soloist of the Lviv Philharmonic, a well-known Ukrainian harpsichordist, pianist, and teacher, talks about the Early Music Festival held at the Lviv Philharmonic, the special language of the Baroque, and a new international project between performers from Ukraine, Poland, and Germany as part of the Muses Are Not Silent concert series.

Full text is here

Below is a text excerpt from the project, to which we invite you on 28 June!

We decided to showcase Ukrainian and European music in the programme – it’s always worthwhile, but especially now. All we have to do is constantly tell the world that we have our roots and can be proud of them. As all European nations do: it was very interesting for me that, for example, Urszula Stawicka, the Polish mentor of the project, suggested a piece by Telemann, which has a Polish basis; Gertrud Oshe, a German cello da gamba player, presented a piece by a completely unknown German composer Erlebach. The result is a concept of natural musical bridges because everyone offered to work with what is closest to them. We will also perform music by Berezovskyi and Bortnianskyi for violin and harpsichord.

This time I’m working with a group of my friends, teachers of the Department of String Instruments, all of whom are passionate about early music. These are my colleagues, Serhii Havryliuk, Yaryna Horbachevska and Oksana Lytvynenko. This is a very important: students not only learn from European musicians how to interpret Baroque music, but also gain precious practical experience from their professional teachers who play in this project with them. That’s it, we’re already reaching the finish. We’re excited, because performing on the stage of the Lviv Philharmonic is a big responsibility for us, but we’re working hard.

About the last preparations for the performance

You know, I often tell my students that you should not be apathetic to music. We talk about this at every rehearsal: we have to invest not only our skills but also our whole soul and energy. In this respect, baroque music is a kind of litmus test for me. My students and I learn to perform ancient music not only in accordance with the style but also with all our hearts. Will we be able to show it at the concert? I hope so.

It is always so moving for me to see young people turning to early music. It would seem that it is an ancient, “museum” – but it comes to life in the hands of young performers, and – what a wonder! – it suddenly becomes very modern. Wanda Landowska spoke about this in the 20th century: in fact, early music is very young. It speaks to us. This is another reason to come to the concert and hear it.

Besides, music keeps our spirits on. It is our lifeline. Musicians from all over Ukraine study at the Academy. Often, after the most horrific war events, they come to rehearsals knowing that the bombing is happening again a few kilometres away from their homes. Every day we all feel pain for our families, friends and complete strangers who are losing their lives in this terrible war. It’s not that we try to escape from reality in music, but I have noticed more than once that no matter what condition we meet in at the beginning of the rehearsal, after an hour we all seem to come back to life. Baroque music, thanks to its harmony and absolutely generous beauty, can heal souls, I’m sure of it.