“The pianist is simply superb!”

“The phenomenon in concert is a rare one… Mystically powerful pianist”

“... powerful playing...”

“Vynnytsky’s interpretation roused the audience…”

“Volodymyr Vynnytsky played with great sensitivity… Astonishing! A marvelous experience!”

“His playing was incisive and tonally very attractive.”

“Featured soloist Volodymyr Vynnytsky was unique in this listener’s experience: this was a lyrical, poetic reading, virtually devoid of bombast. The pianist – a brilliant player… we experienced the music as never before, with immaculate playing all ‘round that revealed the score’s many inner beauties. The audience rewarded the artists with hearty, protracted applause at the end of the first movement – richly deserved, one might add on this occasion… it was one gorgeous performance.”

“We’ve celebrated the phenomena of his artistry in printed appreciations, always noting the revelatory dimension of his interpretations – call them keyboard incarnations. – In the moment discoveries, always. Never contrived.”

“The music started, and with the first three chords, I was drawn in by the depth of feeling. Cellist Natalia Khoma and pianist Volodymyr Vynnytsky presented a rich recital on March 23rd that was expansive and expressive, painting pictures of stories past and present. Khoma and Vynnytsky told stories of sorrow, displacement and resilience, which was deeply felt by the audience, myself included…

The duo stated that, in choosing their program, they intentionally selected more serious and tragic music to reflect the current situation in Ukraine. This music was described by Vynnytsky as “full of power and drama,” which I heard in their expressive performance. Khoma stated that the music chosen for their recital was “profound” and also “tragic.” The day before performing in Goshen, the duo played this same program for a fundraising recital to a large Ukrainian community in Detroit. 

The first half of the program was performed by Vynnytsky as a solo pianist, beginning with a short Prelude by Levko Revutsky, a Ukrainian composer, teacher, and activist. This piece was written in 1914 and composed in the Romantic style. 
Dr. Matthew Hill, professor of piano and chair of the music department here at GC, said that Vynnytsky’s solo piano performance was “so incredibly lyrical.” Hill added, “You don’t hear this type of sound very often, and I’ve heard a lot of pianists.”

The duo ended the program with a fiery piece composed by Vynnytsky himself, titled “The Lost Tango.” Khoma stated that Vynnytsky often jokes about the title, saying, “I found it!” 

I could feel the genuine emotion that Khoma and Vynnytsky poured through their instruments to the audience. Both showcased precision and mastery of technical skill, as well as an outpouring of expression and love for music and country, leaving a lasting impact. Ukraine was clearly in their hearts, and now is even more intimately in mine.”

“Vynnytsky was brilliant…”

“The audience was captivated…
harmoniously conveyed the melancholy, joy and sadness intended by the composers… perfectly timed.”

“Pianist Volodymyr Vynnytsky returned to perform once again here March 25, much to the delight of those attending the concert at the Lyceum in historic Old Town Alexandria who welcomed the performance with standing ovations.”

“Friday was V-Day. The victory belonged to Volodymyr Vynnytsky, a remarkable … pianist. He played the very famous Piano Concerto No. 1 by Tchaikovsky sort of like Michael Jordan plays basketball or Lawrence Olivier delivers a Shakespearian monologue: He just does it, and it seems, well, not effortless exactly, but certainly not terribly effortful either.

Vynnytsky told me he… chose the piece for its popular appeal. At the conclusion of the exciting and bombastic “molto maestoso” first movement - when the audience jumped to its feet unable to restrain their applause - I could understand the choice. The slower, lyrical second movement highlighted Vynnytsky’s equally astonishing ability to play with a shimmering, precise and light touch. But even the “andantino semplice” was designed for show; the glitter gave way to melodic sparks, then fireworks, before the movement ended with graceful phrasing, conducted with sensitivity by David Lockington.

The third movement, marked “allegro con fuoco” (fast and fiery), was back to speed. Lockington and Vynnytsky took it at a particularly fast clip, … it sure was exciting. Vynnytsky’s technique is impeccable - good posture, relaxed hands. No wonder he can play so brilliantly. The experience was a bit like listening to a child virtuoso who doesn’t fully grasp the extent of his own talent. One looks for a few nerves in a pianist tackling the Tchaikovsky - all those stretched octaves, furious arpeggios up and down the keyboard, bold melodies that alternate between left and right hands - but Vynnytsky seemed to work his magic as if it were just one moment in a busy day.”

“Vynnytsky made a sizable contribution to the witty, lyrical and humorous reading of the early Shostakovich classic, his Sonata in D minor, Op. 40.”

“He has the firepower of a great Slavic romantic pianist and the fluid lucidity of a French classic player, but in performance he is a contagious dream-tripper.”

“In Poznan Vynnytsky performed the Tchaikovsky differently than other pianists – it was simply a new reading. Vynnytsky’s pianistic realm and culture of interpretation are of such imposing caliber that the new Tchaikovsky fascinated the audience and gained many enthusiasts.”

“Inspired, temperamental and brilliant playing of Vynnytsky pointed to the high level of his mastery and artistic accomplishment, fluent command of the various means of expression and a rich palette of sonorities. He manifested a true interpretational talent, refined understanding of musical style and the ability to transcend into a specifically envisioned and emotional world of various composers and periods.”

“The Khoma-Vynnytsky duo epitomizes elegance of execution, virtuosic technique, a sense of internal drama, and the merging of two artists playing as one.”

“Here is a program of cello music with the concept that works! Altogether, this is satisfying programming with fine playing, clean technique combined with warmth of feeling.”

“With Technique to Burn. A chamber music stunner… Khoma and Vynnytsky intuitively performed the cello sonata (Dmitri Schostakovich)—a monumental work, symphonic in proportions—with lyrical sections offset with angst-ridden, eerie, and despairing episodes. With instrumental technique to burn, this duo recreated the drama and typical sarcastic comments that Shostakovitch interjected in his most serious works.
Vynnytsky played the Yamaha grand piano with thundering chords and delicate patterns, demonstrating a skill with dynamics that few other pianists can achieve. His speed was phenomenal when called for, as were his lightening attacks… The audience gave the artists two standing ovations, one for the sonata and one for the trio. Khoma, Berlinsky, and Vynnytsky focused on this music as few others do.”

“Yes, this Monday Night Concert was about music. Volodymyr Vynnytsky left us dazzled and on our feet… Every drop of his inspiration, artistry, and pleasure gets handed to the audience in dramatic fashion…

The piano sang and danced alone with Volodymyr’s soulful virtuosity… Never before have I heard Chopin sound so much like a song bird… Along with his delicate technique, though, Volodymyr adds power and huge sound to his playing – the best musical bravado.”

“His technique oozes with passion, behind which is an integrity of devotion to the
composers, and bringing their music to life – flawlessly. Vynnytsky is indeed a remarkable, captivating talent. He seems to simultaneously play and conduct it (music), as though he is both inside the keys and drawing every drop out of the music, and outside, guiding the music to its full and fluid emergence.”

“This is one of the most effective readings of this famous sonata. Outstanding…”

“Without doubt Khoma and Vynnytsky are soloists in their own right, but their individual qualities are slightly set aside when they make music together: surely soulmates, firm and stylish in their approach to Beethoven, Chopin, Shostakovich and Cassado.”

”…global perception of the music…“ “…the balance was perfect…”  “More one cannot ask from this predominantly lyrical rendering.” “Their performance of Vynnytsky’s highly flamboyant exciting composition entitled Tango was a splendid conclusion for a performance of manifold musical planning. It was studied interpretations from which spontaneity shines as result of secure playing and expertise feel for the nature of ensemble playing.”

“Inspired, temperamental and brilliant playing of Vynnytsky pointed to the high level of his mastery and artistic accomplishment, fluent command of the various means of expression and a rich palette of sonorities. He manifested a true interpretational talent, refined understanding of musical style and the ability to transcend into a specifically envisioned and emotional world of various composers and periods.”

“Volodymyr Vynnytsky is the poet – dreamer.”

“He executes Mozart (Sonata in B Flat Major) with the clarity of elf bells, in a state of attentive serenity as thought the music surely comes from somewhere else, possibly the composer. Similarly, he was Beethoven’s medium in the Sonata No.18 in E Flat Major releasing an earthy gaiety, revealing the Titan’s force as an organic element. The fire of the Presto con fuoco seems to come from the piano – Vynnytsky just releases it. Zipper runs, lucid articulation that can dissolve to sheer liquid – these marvels of sound effect pass unnoticed as means of the rainbow, the apparent, otherworldly source of his musical illuminations. Vynnytsky’s search of Yacymenko’s Sonata Fantastique … was a revelation of a beautiful cosmos that seemed uniquely compatible to some dreams of his own. Then passed the dream world of Chopin – equally his universe.”

“Harmonious talent, excellent mastery, independence of creative thought brought success to Vynnytsky in performance of difficult musical pieces, such as Mozart’s B major Sonata, Beethoven’s A Major Sonata Op. 101, and Chopin’s B Minor Sonata. His artistic personality is very romantic and exhibits an excellent taste.”

“Volodymyr Vynnytsky is a very talented musician with outstanding virtuoso abilities and distinctive personality. Genuine artistry makes him one of the most outstanding representatives of the Ukrainian piano school.”