On the Eve

Composed in 1999, On the Eve (Napередодні in Ukrainian) is scored for a standard brass quintet—two trumpets, horn, trombone, and tuba—and lasts approximately 7 minutes. Written as the 20th century drew to a close, the piece reflects this temporal transition both in its title and atmosphere. Although specific premiere details are sparse, it was likely first performed around 1999–2000 by a Ukrainian brass ensemble—possibly at an event such as the Contrasts Festival in Lviv or by the Kyiv Brass Quintet in a new music concert. Its early 2000s publication helped secure international exposure, and the work has since been featured at contemporary music festivals that highlight Eastern European repertoire.

On the Eve is among Shchetinsky’s most overtly programmatic instrumental works. The composer provided an evocative description: the piece is meant to portray the psychological state of anticipation before an impending catastrophe. It conveys a spectrum of turbulent emotions—long waiting, listening to silence, the attempt to foresee and forestall disaster, mingled with belief, disillusionment, hope, resignation, indifference, and anxiety—culminating in the sudden arrival of catastrophe despite all attempts at preparation. While these ideas inform its structure and emotional trajectory, Shchetinsky emphasizes that the work does not literally depict a narrative; rather, it is abstract music in which “the main hero… is sound and its inner life.”

Shchetinsky’s handling of the brass ensemble in On the Eve is both innovative and idiomatic. He extends the expressive range of typical brass writing through an extensive dynamic palette—from barely audible murmurings to fortissimo blasts—and varied timbral effects, such as muted trumpet and horn, breathy attacks, and coppery stopped horn sounds. Harmonically, the work is atonal, with dense chromatic clusters appearing at its peaks, while softer sections employ open intervals (such as fourths and fifths) to create an eerie, suspended tonality. The piece eschews a steady beat in favor of a free rhythmic approach, marked by long fermatas and pauses interspersed with sudden, agitated riffs that mirror the unpredictable stretching and contracting of time. This approach reflects what one scholar has identified as Shchetinsky’s “polymodal and flexible” method in his later works. Despite being written for a brass quintet, the piece is more atmospheric than fanfaric, transforming the ensemble into an instrument of meditation that prioritizes slowly evolving textures over brassy virtuosity.

Reception and Significance
On the Eve has been recognized as a powerful example of late 20th-century Ukrainian music engaging with philosophical themes. It stands out for its programmatic tone-poem quality, blending abstract sound exploration with a narrative of anticipation and dread. At its introduction, the piece’s introspective yet intense character contrasted with the brighter, ceremonial expectations often associated with brass quintets. Ukrainian reviewers interpreted it as an allegory for the anxiety surrounding the turn of the millennium, even if Shchetinsky himself did not confirm any specific event.

Internationally, the work contributed to Shchetinsky’s reputation when it was performed at festivals such as the Warsaw Autumn and Melos-Ethos Bratislava, where audiences were exposed to contemporary Ukrainian compositional trends. Musicologists have noted that his works for winds capture “the leading tendencies of Ukrainian music at the end of the 20th century in the context of postmodernism and post-avant-garde.” Although challenging for performers due to its extreme demands for control and unconventional ensemble interactions, On the Eve leaves a lasting impression with its vivid compact drama of anticipation and dread—a testament to Shchetinsky’s ability to infuse contemporary music with both emotional depth and narrative suggestion.