Melnyk’s recent full-lengther, Windmills, was some three years in the making and a huge surge of his “continuous music” bubbled and cascaded as both the calm and fury were presented.
Evertina is a far more delicate offering, just three tracks, a mini-album – 24 minutes – and just the piano, though on the opening title track and the second, short piece (both around five minutes, that’s Lubomyr at his most concise) it’s almost the piano-as-music-box, dancing somewhere between fairy-tale and funeral home, that stately grace ever-present.
It’s the closing track here, Butterfly, nearly 13 minutes in length, that most resembles the Melnyk of solo piano intensity that fans know and love. The emotion builds up from a trickle (tinkle) to a pour (pounding), it’s a long and lovely dance across the keys.
Evertina is proof that Melnyk has no desire to slow down, aiming to capture almost all of the music in his head. It also feels like it might work as the perfect sample, an entrée – the correct way to dip into the works of staggering genius.