and Mykola Bazhan, and the artist Mykhailo Derehus. After the war he wrote a number of symphonic poems and other orchestral works: (Reunion, 1949); the Taras Shevchenko Suite (1952); his Slavic Concerto for Piano and Orchestra (1953); (On the Banks of the Vistula, 1958); the Third, Fourth and Fifth symphonies, the Slavic Overture (1961). Grazhina (1955), written for the centenary of the death of the Polish poet Adam Mickiewicz, was based on Mickiewicz's poem Grażyna, about a chieftainess who led her people into war against the Teutonic Order, and the Polish Suite (1961) was dedicated to his friend the Polish composer and violinist Grazyna Bacewicz. In 1948, when formalism in music was once again being attacked, Lyatosynsky's Second Symphony was denounced as being anti-national and formalistic. It was denounced by the Central Committee of the Communist Party of the Soviet Union, who stated: Lyatoshynsky wrote at this time of his despondency over the prohibition of his music by the authorities. After performances of the work were forbidden, Lyatoshynsky wrote to his friend Gliere, "As a composer, I am dead, and I do not know when I will be resurrected." The Third Symphony was not heard by the public for several years. The conductor Natan Rakhlin was brave enough to perform it to a packed concert hall during a daytime performance. Lyatoshynsky wrote to Glière that "the crowded hall literally gave me a standing ovation". However, the composer was accused of "abstract understanding of the struggle for peace", and told by the authorities that the symphony did not "reveal the true Soviet reality". The Golden Ring was revived during the Khrushchev Thaw, when it was staged by Dmytro Smolych in Lviv. During the 1960s, Lyatoshynsky, by then a member of the Composers’ Union of the USSR, was allowed to take ‘cultural’ trips abroad, where he met fellow composers. Accompanied by his wife, he visited Austria, Switzerland, and other countries. He was a member of international competition juries for the International Tchaikovsky Competition in Moscow in 1958 and again in 1962, the Belgian Quartet Competition in Liège (in 1956, 1959, and 1962) and the Mykola Lysenko Music Competition in Kyiv in 1965. He was the artistic director of the Ukraine Philharmonic, and worked as a music consultant on the Ukrainian State Radio Committee. He travelled to Poland on several occasions to Warsaw Autumn festivals of contemporary music. In 1957, as a representative