In the last days of November 2024, the National Symphony Orchestra of Ukraine and German cellist Raphaela Gromes completed a major joint tour of the most famous concert halls, including the Berliner Philharmonie, the Elbphilharmonie, Saalbau Essen, the Queen Elizabeth Hall in Antwerp, the Stadttheater Ingolstadt, etc.
As part of this tour, the musicians jointly performed Antonín Dvořák’s Cello Concerto in B minor, Opus 104, and works by Ukrainian composers. Their collaboration began with a performance of the same concerto in December 2023 at the National Philharmonic of Ukraine.
Raphaela Gromes, called “the most successful German cellist of our time” by the most popular German-language classical music magazine Rondo not only performed in Kyiv but also initiated the recording of a joint CD, released in September 2024 on the Sony Classical label. In addition to the aforementioned Dvořák concerto, the CD includes Valentyn Sylvestrov’s Prayer for Ukraine, Hanna Havrylets’s Troparion, Yurii Shevchenko’s We Are!, and Stepan Charnetsky’s Oh, the Red Viburnum in the Meadow.
We started our conversation with the cellist with her impressions of Ukraine.
— A year ago, you gave a concert in Kyiv. How did you feel during the performance?
Raphaela Gromes: The atmosphere was overwhelming — positively overwhelming. There was a sense of togetherness and solidarity between people that united us even before the concert. Even before the concert started, an air raid alertsounded, and we all hoped the concert would go ahead. It was a special feeling of gratitude that we could experience this moment together. Every day in Kyiv can be the last, making you realize the value of time.
The people in Kyiv made a deep impression on me. They are warm, sincere, and self-aware, which was felt at the concert, in cafes, and on the streets. This deeply touched me because one might expect people to become indifferent or traumatized in times of war. But I saw only positive things.
There was a special unity between the musicians, the conductor, and the audience at the concert. It was a celebration of the moment: we said we are here, and we challenge the war, we play for Ukraine to inspire people and to give them hope and support. It was a shared experience that touched me deeply.
— What was the audience’s reaction to your performance?
Raphaela Gromes: It was unforgettable. During the standing ovation, a woman in the front row stood up, walked up to the stage, and gave me knitted gloves. A soldier gave me a badge with the words: “This is for your protection.” University music students also brought me amulets, handmade gifts they called Ukrainian guardian angels. It was profoundly touching. I had never felt this way before.
I felt a different meaning and depth in music. Every note became a prayer. In Kyiv, I felt anger because of the injustice and cruelty of the war. This anger is highly dangerous because it can deprive you of humanity, but it also gives you strength. When I played, I put these emotions into every note, wishing it would all end so people could live in peace and freedom again. There was a deep sense of tragedy and compassion.
This concert showed me the power of music like never before. Music has become a way to move people’s souls and bring them hope and light. As one soldier said, music helps us stay human.
— Who originally came up with the idea of working with a Ukrainian orchestra? Was it your initiative or Volodymyr Sirenko’s (chief conductor of the National Symphony Orchestra of Ukraine — ed.)?
Raphaela Gromes: We met during the first tour of the National Symphony Orchestra of Ukraine in Germany in 2022. I was impressed by their concert in Dresden, and afterward, I met Volodymyr Sirenko. He said I could come to Kyiv and play with them anytime. Our agencies discussed the details, and we decided not only to play together in Kyiv but also to plan a joint German tour.
What touched me the most was their decision to stay in Ukraine. Some Ukrainian orchestras have gone abroad, but these musicians said it was their duty to stay home and support people with music. This is a demonstration of resilience. They explained that they could not hide in bomb shelters all the time because then the economy would stop. Life must go on, and culture is an important part of it. I was impressed by their courage and wanted to support them by coming and playing together.
— In September 2024, the Sony Classical label released a disc you recorded with the National Symphony Orchestra of Ukraine. It features Dvořák’s Cello Concertoand four Ukrainian pieces: two prayers and two anthems (the official and, so to speak, the wartime anthem). Why did you choose these particular forms?
Raphaela Gromes: Prayers and anthems are crucial in the context of war.
The idea of performing Hanna Havrylets’s Troparion arose when I was recording a disc of Dvořák’s music with the Ukrainian National Orchestra. I decided to present a female composer and was advised of several names. It was Hanna Havrylets’s music that greatly impressed me.
Her Tropar is a work about hope, humility, and a light in the darkness. There is an incredible meditative quality to this music. Havryletsavoids pleas, anger, or despair. Instead, she plunges into deep humility and hands her fate into God’s hands with the words: “Please help me.” This modest request, without protest or hatred, is incredibly touching in its simplicity. The ending is especially heartfelt, where only one voice remains — like a small light in the darkness, a ray of hope we all need.
This piece has become one of my favorite encores. I perform it at every concert, both with the orchestra and in a duet with my long-time partner, the pianist Julian Riem.
Every time, I say to the audience: “We must pray for Ukraine and not forget it.” I donate all the proceeds from the sale of the disc to Ukraine.
We performed Valentyn Silvestrov’s Prayer for Ukraineduring a concert in Kyiv. It was a prayer for the future of Ukraine, which was felt by the entire audience. Everyone was holding their breath when we played. Some cried, including the musicians on stage. The subsequent recording of this piece was one of my life’s most emotional musical moments.
— Do the two anthems — a paraphrase of the national anthem “We Are!” and the Sich Riflemen’s song “Oh, the Red Viburnum in the Meadow,” which became a song symbol of the Ukrainian resistance — balance the sadness of Sylvestrov and Havrylets’s works?
Raphaela Gromes: Yes, they have a more optimistic sound, but prayers and anthems convey a common aspiration. Music is our way of praying for Ukraine and a call to support it on its way to the future.
One of the anthems — “We Are!” — was suggested by Volodymyr Sirenko. The text of this piece says that Ukraine has not perished and will one day return to its glory. It is about a free and independent future for Ukraine, where it determines its own destiny. This is all Ukraine wants — freedom and peace.
Freedom is impossible without strength. The last anthemon the disc, “Oh, the Red Viburnum in the Meadow,” is dedicated to the military. I was told that since 2022 this song has become an anthem for Ukrainian resilience and indomitable spirit. It also shows that even in impossible circumstances, Ukrainians will overcome all challenges. I am deeply grateful to the Ukrainian army for defending the country.
— In some of these pieces, the vocal part is arranged for the cello. Do you feel that the timbre of your instrument is similar to the human voice?
Raphaela Gromes: The cello is extremely close to the human voice. When I play, I imagine the text as if I were singing along with the cello. My goal is not only to convey music but also to tell a story. I grew up listening to opera music, listening to artists like Cecilia Bartoli and Plácido Domingo. Opera has always been a source of inspiration for me, and I want my cello to “sing” and tell stories. Each note is a voice speaking from the heart.
— You play a special cello with a long history and a unique timbre. Why did you choose this particular instrument?
Raphaela Gromes: Thanks to patrons, I found the cello of my dreams two years ago. I traveled to London and Milan and met with luthiers who offered instruments by famous masters such as Goffriller, Guarneri, and Stradivarius. I tried a lot of cellos, but I was looking for an instrument that could convey all the nuances I wanted to convey.
For me, the cello must sound simple and profound at the same time. It should not be “aristocratic” or “ostentatious.” I was looking for a pure and sincere sound that touches the heart. This is precisely the kind of cello I found. This instrument was made by the Italian master Carlo Bergonzi, created around 1740.
From the first note, I felt its immediacy and warmth. It has a perfect balance: a deep, rich timbre on low notes and brilliant but soft high notes. I can express everything I want on it.
— Going back to our conversation about Hanna Havrylets’s piece, I recall that you insisted on including a work by a female composer on the disc. You also released a CD entirely dedicated to the music of women. Why is the feminist theme important to you?
Raphaela Gromes: I noticed that women composers are almost absent from concert programs, especially from academic education. There is a stereotype that women couldn’t write music or that their works are of lesser quality. But this is not true. Women have composed music in all eras, from Hildegard of Bingen to the present day. Some were famous during their lifetime, but then their works were forgotten.
This is a manifestation of discrimination that continues today. In France, for example, women composers received the same fees as men, and their works were performed in leading concert halls. But in Germany, almost nothing is known about them. This is unfair. I discovered amazing symphonies, chamber music, and operas that deserve attention.
I recorded the album Femm, where I presented 23 female composers. Now, I am working on a new album with cello concertos and writing a book with a musicologist who specializes in this topic.
— Where do you find these works?
Raphaela Gromes: Often in archives and libraries. There are specialized publishers, such as Archiv Frauen Musik in Frankfurt. But a lot of music is still unreleased. People sometimes come up tome and say, “My grandmother wrote music.” That’s how I discover new names and pieces that are amazingly beautiful.
— Do you think there are differences between music written by men and women? Some people claim that women’s music is more fluid, more spontaneous, as if women were not able to structure their thoughts and complete their works. How do you feel about such views?
Raphaela Gromes: No, that’s absurd! Based on such statements, one might conclude that Schubert was a woman. I think that this is utternonsense. Everyone expresses their individuality, emotions, worldview, and what they want to say to the world through music. The differences between individuals are much more significant than the differences between the sexes. There are self-confident people, sensitive people, those who formulate their ideas quickly, and those who delve into feelings. But this has nothing to do with whether they are men or women. We must stop using these clichés.
— What do you admire most about music written by women?
Raphaela Gromes: Its versatility. There are pieces that sound confident and powerful, with rich orchestration, and then there is, for example, the music of Emilie Meyer. Her compositions flow like improvisation and have a fresh, natural sound. In such music, it is easy to follow the composer’s thoughts. It is fascinating.
The versatility and the possibility of discovering new worlds are the most valuable things in this music for me. Each composer has his or her own unique language, and every time I work on a new piece, I try to understand and decipher this language, to immerse myself in it. It is always a challenge and an incredible pleasure.
— What do we owe today to the women who fought for their rights?
Raphaela Gromes: 100 years ago, women had far fewer rights than we do today. During my research, I realized that we are standing on the shoulders of giants. We owe a lot to the women who fought for our rights. Long before Simone de Beauvoir wrote her landmark work The Second Sex, women were fighting for equal rights. For example, during the French Revolution, Olympe de Gouges was already demanding equality between men and women. These ideas originated in the eighteenth century.
The women composers we are discovering today were part of the wave of the women’s movement in the 1970s. Forinstance, Elke Mascha Blankenburg wrote an article in Emmamagazine asking if anyone knew of any forgotten women composers. This caused a wave of indignation and interest, and many people began to share the names of these composers.
We must remember women’s achievements, be grateful, and continue their work. For example, Alice Schwarzer did a lot for women’s rights. Even though she is now criticized for her controversial statements, we must recognize her contribution and build on what she achieved.
This also applies to music. As a cellist, I stand on the shoulders of giants. When I play Elgar’s Concerto, I recallthat it was first performed by a woman, Beatrice Harrison. This tradition was then continued by Jacqueline du Pré and other outstanding cellists.
I don’t need to invent something new at every concert. I can rely on the inspiration and traditions created before me. But I try to find my own way, add something of my own, and open a new perspective. It is important to remember what came before us and use it as a foundation for further development.
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