Lyatoshynsky’s works are indebted to Schumann, Borodin, Tchaikovsky and Rachmaninoff, but also to Scriabin and French impressionism. During the 1920s his music was influenced by the new musical language of Western Europe, atonality, but due to the cultural pressure of the Soviet regime enforcing the principles of "Socialist realism" this period only lasted until the end of the 1920s. Until the mid 1950s accusations of decadence, formalism and cacophony levelled at him in official discussions of his work. In his later oeuvre he simplified his harmonies and explored new ways of employing Slavic folklore to the enrichment of art music, which resulted in a mixture of traditional cadential harmony and multilayered polyphony with complex concentrations of dissonance. He collected and arranged folk music. Among his other works are two operas ("The Golden Hoop" 1930, "Shchors — the Commander" 1938), five String Quartets dated 1915 to 1944, film and incidental music, concertos, several piano works (e.g.: Piano Sonata No. 1, 1924), cantatas, choral works and songs, orchestral works (including several suites, symphonic poems and five symphonies), e.g.: Symphony No. 1 op. 2 (1917–19), Symphony No. 2 op. 26 (1935–36, revised 1940), Symphony No. 3 op. 50 (1951, revised 1954), the symphonic ballade "Grazhyna" (1955, written in memory of the Polish poet Adam Mickiewicz), Symphony No. 4 op. 63 (1963), Symphony No. 5 op. 67 ("Slavonic", 1966)