The Hunt for the Original Version
The recent discovery of previously unknown pages from the original manuscript of Liatoshynsky’s 3rd Symphony has transformed the understanding of its performance practice since its initial composition in 1951. Analysis of these pages revealed comparative and textural similarities, confirming their connection to the score of the symphony's third movement. This breakthrough necessitates a reevaluation of the differences between the symphony's original 1951 edition and its revised 1955 version. Traditionally, it was believed that the only significant revision pertained to the contentious fourth movement, titled "Peace Shall Defeat War." However, archival research—including manuscripts from the Central State Archive-Museum of Literature and Arts of Ukraine, the Archive of the Cabinet-Museum of Liatoshynsky, and his epistolary heritage—suggests that substantial changes were made not only to the fourth movement but also to the second and third movements. These alterations profoundly impact the composition's character and reveal the extent of censorship in the USSR that influenced the composer’s work.
“During this summer, which passed so quickly, I still managed to finish my ill-fated Third Symphony. I almost did not touch the first part, made some reductions in the second, replaced the trio in the third (Scherzo), and completely reworked the finale, so that no more than a quarter of the old score remained.”
-Liatoshynsky
Only after Ukraine gained its independence on August 24th 1991, was it possible for musicologists and historians to begin their understanding and actively search for the original version of the composition. It was only after 1991, when the realization of changes in all movements were discovered triggering the initial hunt.
Key Figures in the Process of Finding the Original Version:
The issue of differences between the versions of Liatoshynsky's 3rd Symphony has been addressed in various ways within the musicological literature.
1. Natalia Zaporozhets (1960) and A. Yefimenko (2016) highlighted the differences specifically in the finale of the symphony.
2. Viktor Samokhvalov (1977) and M. Hordiichuk (1969) noted that the composer made changes to both the third and fourth movements.
3. Marianna Kopytsia (1990) was among the first to detail the unsettling circumstances surrounding the premiere of the first edition of the symphony at the Plenum of the SRK U and the subsequent harassment of the composer in the press.
4. Yu Gozhyk (1997) produced the most comprehensive study to date, providing evidence of changes across all four movements. He was instrumental in uncovering fragments of the original score, which supported his belief in the modifications made throughout the symphony, enabling a reconstruction of the original sketches.
Recent findings have corroborated Gozhyk's hypothesis. The discovery of the missing fragments has made it possible to reconstruct the symphony and perform the original version for the first time since 1951, prior to Liatoshynsky's forced revisions.
Fareniuk Hlib Yuriyovych was pivotal in this effort, having located the four missing pages of the scherzo (movement 3), which served as the final piece needed to initiate the reconstruction of the original score.
Its All About the Third Movement:
The key to understanding the full story of the original version, lies in the findings of the third movement
Yu Gozhyk’s research in 1997 ignited a debate regarding the extent of revisions throughout the entire symphony, not just the fourth movement. His analysis, based on original piano sketches, raised critical questions about the authenticity of the revised third movement.
Gozhyk’s findings suggested that Liatoshynsky did not create a separate score for the revised edition, instead making corrections within the original score using various markings. These alterations correspond to the composer’s correspondence with the publisher “Soviet Composer,” indicating that the revised materials remained with the publisher.
By restoring the original markings and corrections in the manuscript, Gozhyk confirmed their alignment with the piano sketches, which retained the original version. However, questions about the composer’s authentic intentions persist. It remains unclear whether the revisions to the third movement genuinely represent the revised edition, as the changes to the first and second movements appear to be undocumented. The absence of distinct scores for the original and revised editions complicates this inquiry, revealing a complex “coexistence” of both versions within a single score.
The Hypothesis is created after his study stating that through the sketches, original score with the markings, and the theory of pagination of the work, there are sections of the third movement that have been taken out. With this in mind, it all depends on the finding of the lost pages.
“The situation with the third movement turned out to be the most confusing. Comparing the Scherzo of both editions, we found out that the their texts are absolutely identical. Why the revised third movement ended up on the score of the first edition and where the authentic one went is still unwon. Therefore, we con form an opinion about the original version of the scherzo only on the basis of the piano sketches.” (Gozhyk 1997)
The Hypothesis that Came True:
The four pages found, is the missing link-
Since 1997, it has been established that the original manuscript, marked with red and blue annotations, highlights significant changes primarily in the third and fourth movements. The edits in the first and second movements suggest that no complete rewrites were necessary. Most alterations were made directly in the score without altering pagination, while the third and fourth movements involved substantial new writing. For example, in the third movement (Scherzo), the movement concludes on page 174, yet the fourth movement begins at the fifth bar on page 176, implying a missing page 175. This detail indicates that the first four bars of the fourth movement were likely on that lost page. Markings in the score further distinguish between the original (red) and revised (blue) editions, with movements one, two, and four of the original version clearly marked in red, contrasting with blue markings indicating revisions. However, it all depended on the finding of the missing bars.
This discovery not only enhances the understanding of Liatoshynsky’s compositional process but also reshapes the narrative surrounding the impact of censorship on his work, promising a richer interpretation of this significant piece of Ukrainian music history.
Dmytro Gnativ, PhD
Dr. Dmytro Gnativ, a Ukrainian-born flutist, is making waves in the classical music scene. Dedicated to diversifying the flute repertoire and promoting lesser-known classical works, particularly by Ukrainian composers, Dmytro has delivered captivating lecture-recitals at prestigious events. His recent publication, An Anthology of Flute Music by Ukrainian Composers, 1850–2022, uncovers over 400 previously undiscovered works.
Dmytro actively performs solo recitals and lecture-recitals across the U.S. and performs with numerous orchestras in South Florida, including the Palm Beach Symphony, Palm Beach Opera, South Florida Symphony Orchestra, Opera Naples, and others. As the Artistic Director of the Ukrainian Classical Music Project, he leads efforts to promote Ukrainian music within the multicultural landscape of the United States. In addition, he manages a thriving flute studio, teaches at Musicall, Inc., and coordinates its after-school music program."
The Reconstruction Begins, History will be Made:
With a spirit of hope and collaboration, Project Symphony 25 is proud to partner with the Liatoshynsky Foundation, founded by Iryna Tukova and Tetiana Homon, to join forces with Dr. Fareniuk Hlib Yuriyovych. Together, we are embarking on a remarkable journey to transcribe the original score into the first written full score and parts since 1951. This endeavor not only marks a significant milestone as we bring the original score to life in its entirety for the first time, but it also represents a heartfelt return to the symphony's true essence, as the composer envisioned it before the shadows of Soviet censorship.
During these challenging times, it is our responsibility as musicians to open our concert halls to the music that is being threatened of being lost forever. Through collaboration, your donations, and our genuine love for music, we can overcome the struggles this war has brought and provide hope for a nation that is on the cusp of losing their cultural identity. Where words fail, music endures.
Fareniuk Hlib Yuriyovych, PhD
Dr. Fareniuk Hlib Yuriyovych has devoted significant time and expertise to the restoration project of Liatoshynsky’s 3rd Symphony. His meticulous work involves reconstructing the symphony by carefully analyzing the changes indicated in the piano sketches and the score, which includes annotations made by Liatoshynsky himself.
Utilizing Finale music notation software, Dr. Fareniuk has collaborated closely with Nickolai Podvin to refine the current score. Together, they have successfully transcribed the first three revised movements along with the original fourth movement into a digital format. This process allows for active modifications, ultimately leading to the creation of the symphony's first complete original score and parts.
These newly transcribed scores will be performed on August 31st, 2025, at Minnesota Orchestra Hall, featuring talented musicians from the Minnesota Orchestra and the Minnesota Opera, all under the baton of conductor Nickolai Podvin. This performance promises to be a significant moment in bringing Liatoshynsky’s vision to life, showcasing the dedication and collaborative spirit behind this restoration effort.