A solo evening of violin reveals the possibilities of the instrument without accompaniment - like an inner dialogue, where one voice transforms into a whole world. The music of Bartók, Ysaye, Glass, and David Lang sounds like a chain of monologues, where the strictness of form combines with tension, fragility, and almost theatrical expressiveness. Music for solo violin is one of the most complex and candid genres of the academic scene. When only one performer remains on stage, the familiar reliance on an orchestra or ensemble disappears, and each sound becomes part of a personal statement. This is the foundation of the program, where compositions from different eras connect in a single conversation about freedom, solitude, and inner strength. At the center of the evening is Béla Bartók's sonata, one of the most intense works for solo violin. In it, the instrument sounds like a whole ensemble: polyphonic lines emerge, sharp rhythms, and almost conversational intonation. Next to it is the sonata of Eugène Ysaÿe, where virtuosity combines with grotesque and unexpected mood shifts. These pages demand maximum concentration from the performer and attentive, almost chamber-like perception from the listener. The music of David Lang and Philip Glass adds another perspective. In their compositions, the transparency of texture, repetitions, and subtle changes within almost motionless sound are important. After the expressiveness of Bartók and Ysaÿe, such music feels like a pause, in which every breath and every shade of timbre can be heard. Lydia Kovalenko's performance transforms the program into a sequence of monologues, where the violin takes on several roles at once - that of the narrator, the hero, and the observer. The chamber format allows for the hearing of details that are often lost in a large hall and feeling how different one instrument can be. The current program for Moscow is presented on KudaGo.