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Angel of Lviv was written for the Ukrainian violinist and organist Ivan Dukhnych, who has
revived the Baroque practice of the North German organist Nicolaus Bruhns (1665-1697) of
playing the violin while accompanying himself on the organ pedals. It is playable by a single
composer, although it may of course also be performed as a work for violin with ‘normal’
organ accompaniment with distribution of the organ part between manuals and pedals at the
organist’s discretion. The title is a reference to Ivan Dukhnych’s home town, formerly in
Poland and now in Ukraine, which I visited in May 2018 in connection with the ecumenical
meeting organized by the Taizé Community. During my brief stay in Lviv, two things made a
particular impression on me. One was the celebrated Icon of the Mother of God brought from
Zarvanytsia specially for the meeting, while the other was a display of local children’s art
outside St George’s Greco-Catholic Cathedral in the form of a huge, dream-like fresco
influenced both by Eastern Christian tradition and the paintings of Marc Chagall. The present
piece’s title can be taken as a reference to the fresco’s numerous angelic figures.

Peter Bannister

Cover :Archangel Gabriel, Ivan Rutkovych (1697-1699), iconostasis of the village of Skvariava Nova near Lviv,
now in Lviv National Gallery. Photo Mykola Swarnyk / Wikimedia Commons.
 Angel of Lviv
Peter Bannister
for Ivan Dukhnych 2018
Liberamente , 3 , 3
Violin
9
8
p flautando
16', 8'
Pedals
9
8
p legato

4 pos. ord.
Vln.
9 4 2
8 4 4
mf
mp

Ped.
9 4 2
8 4 4

Tempo giusto,
Poco adagio (q = 52-56)
8
, 3 , 3 3
Vln.
2 4 5 4
4 4 4 4
3

Ped: - 16' (Principal doux 8')

Ped.
2 4 5 4
4 4 4 4

12 3 ,
Vln.
3
poco più forte

Ped.

15 3

Vln.
3 3 3 3 3

Ped.