A prominent Ukrainian composer, Vitalii Hubarenko (1934-2000), is an author of 13 operas, 7 ballets, two dozen big orchestral compositions, chamber, and choral music. None of his compositions concedes in originality and vividness to others. Lubov Kyianovska notes that Hubarenko uncovers in his operas: ‘the ability to convey via musical means the aroma and the vibe of the far epoch, the anxious pulse of the present, the thin sensation of the mental expression of heroes, the dynamic of disclosure their feelings, brightness and plasticity of the musical portraits, the dramatical saturation of big canvases’. This expression is appropriate not only with the operas but also with the ballets. Also, this phrase concerns the composition ‘Stone Master-(Kaminny Hospodar)’(op. 16. 1968) which is said by Iryna Drach: ‘ the opera originally reflects the premonition of the Sixtiers’ crisis and the concentration of ‘the atmosphere of command’ in Soviet society. The notable fact is that the staging of this composition together with another opera ‘Remember me’ in Dnipro gave the author the highest state award - Taras Shevchenko Prize.

The composer’s task was to show the Spanish vibe with the appropriate well-known characteristic of disambiguation, rhythm, and orchestration. Vitaliy Hubarenko was trapped in a difficult situation, he had to compete with his colleagues who managed to complete the task brilliantly about one hundred years ago. However, he did not choose the way of remaking the opera as it did, for example, R.Shchedrin with ‘Karmen’. In contrast, Hubarenko made bright original music that sounds indeed like the Spanish one. By the way, Lesia Ukrainka strived the same result. She learned Spanish for it, she consulted with experts about particular expressions, stresses, and transcriptions. However, the strong stylistic tone and ballet danceability as well, which were believed the undoubted guarantee for a scenic success for the composition, became that ‘stone’ beginning for the composer’s individuality of Hubarenko from which the author released his individuality.

The musical dramaturgy of ballet was based on a model of Prokofiev’s montage comparison of laconic contrasting episodes which were combined with the flexible system of leitmotifs and thematic arches. Hubarenko’s main intonation course - tense, conflicting-explosive, and dynamic became the principle of the end-to-end act, so did S. Prokofiev’s. Leitmotifs did ‘not stone’ like road signs, but they were in the state of the active transformation and renovation, they were bound inseparably with the plot intricacies. ‘Internal life’ of leitmotifs drew a ‘fate line’ for each character.

Music of ballet became partially a part of two suites for the symphonic orchestra (1970) and a Spanish suite for an ensemble of violins and piano (1994).

Suite №-1 from the ballet ‘Stone Master’ contains 8 numbers which more or less exhibit completely distinct themes of ballet portraits and uncover the individuality of three main characters: Don Juan, Donna Anna, Commander.

1. Granda and grandessa (pavane).
2. Don Juan’s serenade.
3. Donna Anna and kavaliers.
4. Donna Anna’s seguidilla .
5. Variation of Don Juan.
6. Donna Anna’s contradanza(habanera).
7.  Scene and tempo of Don Juan and Donna Anna.
8. Appearing of the Commander. Conflict.