{"id":6359,"date":"2026-04-07T18:32:24","date_gmt":"2026-04-07T16:32:24","guid":{"rendered":"https:\/\/www.umfuturum.com\/?p=6359"},"modified":"2026-04-09T18:17:26","modified_gmt":"2026-04-09T16:17:26","slug":"the-program-for-the-concert-by-yurii-kot-ukraine-on-22-02-2026","status":"publish","type":"post","link":"https:\/\/umfuturum.com\/en\/concert-programs\/the-program-for-the-concert-by-yurii-kot-ukraine-on-22-02-2026\/","title":{"rendered":"The program for the concert by Yurii Kot (Ukraine) on 22.02.2026"},"content":{"rendered":"\n<pre class=\"wp-block-preformatted\"><br\/>Ludwig van Beethoven (1870-1827)<br\/>Piano Sonata No.8, op.13 \"Pathetique\" (1798)<br\/>Piano Sonata No.14, op.27 No.2<br\/>\"Moonlight Sonata\" (1801)<br\/>Vasyl Barvinsky (1888-1963)<br\/>Piano Sonata in D flat major (1910)<br\/>. <br\/>Known and Unknown - Correcting the History of Music<br\/><br\/> For over two centuries, Ludwig van Beethoven's piano sonatas<br\/>have been regarded as a shining example of the<br\/>tradition of classical European piano music.<br\/>The sonata by the Ukrainian composer Vasyl<br\/>Barvinsky, composed in 1910, could have been performed on the world's great stages for more than<br\/>hundred years<br\/>if its fate had not taken a tragic turn<br\/>.<br\/>By order of the Soviet authorities,<br\/>this work was burned together with other manuscripts in the<br\/>courtyard of the Lviv Conservatory in 1948<br\/>. Barvinsky himself was deported to the<br\/>mordwinian labor camps for ten years. After his return to<br\/>, Barvinsky tried to reconstruct his compositions from memory until the end of his life<br\/>at<br\/>.  <br\/>Vasyl<br\/>Barvinsky's music was forgotten for almost half a century and it is only since the independence of<br\/>Ukraine that it has gradually begun to return to concert life<br\/>.<br\/>As the Soviet government deliberately destroyed Ukrainian culture<br\/>, Barvinky's work is still largely unknown outside of<br\/>Ukraine.<br\/>The Berlin premiere of the piano sonata by the Ukrainian<br\/>composers alongside the world-famous sonatas of<br\/>Beethoven is therefore an event of particular<br\/>significance - an act of rectification of a destroyed<br\/>history of Ukrainian music in the pan-European<br\/>artistic context.<br\/>.<br\/>Ludwig van Beethoven (1770-1827)<br\/>Piano Sonata No. 8 in C minor op. 13 \"Path\u00e9tique\"<br\/>(1798)<br\/>At the end of the 18th century, Vienna was the<br\/>musical capital of Europe, a center of intense<br\/>artistic movement. The young Ludwig<br\/>van Beethoven came here in 1792 and quickly joined the<br\/>traditions of the Viennese masters. His<br\/>name soon joined those of Joseph Haydn and Wolfgang<br\/>Amadeus Mozart to become an integral part of the<br\/>musical history that has been referred to for more than two centuries as<br\/>\"Viennese Classicism\".<br\/>The \"Path\u00e9tique\" Sonata was composed when Beethoven was 28<br\/>years old and is dedicated to Count and patron Karl von<br\/>Lichnowsky. Beethoven expanded the<br\/>possibilities of the piano by filling the texture with an<br\/>\"orchestral\" sound: The \"symphonization\" of the<br\/>piano language as well as the merging of the individual<br\/>movements into a cohesive artistic whole<br\/>elevated the genre of the sonata to a new level.<br\/>The three movements are carried by a unified<br\/>dramaturgical idea - the path \"from<br\/>darkness to light\". Music critics regarded this<br\/>sonata as an artistic image of a dialog between two forces:<br\/>inexorable fate and the human<br\/>striving to overcome it. This image appears again later<br\/>in the \"Eroica\", the Third Symphony, and finally<br\/>in the Fifth Symphony, which is also in the same key of C minor.<br\/>.<br\/>Piano Sonata No. 14 in C sharp minor op. 27 No. 2<br\/>\"Moonlight Sonata\" (1801)<br\/>The music writer Ludwig Rellstab compared the<br\/>music of the first movement to the moonlight reflected on the<br\/>surface of Lake Lucerne - from this<br\/>the name \"Moonlight Sonata\" was later derived. The work<br\/>is dedicated to Countess Giulietta Guicciardi, a Viennese<br\/>aristocrat and piano pupil of Beethoven. The<br\/>composer himself described the sonata as a \"sonata quasi<br\/>una fantasia\" By moving away from the canonical<br\/>structures of the classical sonata form,<br\/>Beethoven combined contrasting characters into a<br\/>cohesive dramaturgical unit:<br\/>from the contemplative, poetic mood of the first<br\/>movement through the light, dance-like scherzo, -which Franz<br\/>Liszt compared to a \"flower between two abysses\"<br\/>- to the powerful, emotionally charged finale<br\/>as the culmination. For more than two hundred years<br\/>this work has occupied a special place in the<br\/>international concert repertoire.<br\/>Vasyl Barvinsky (1888-1963)<br\/>Piano Sonata in D flat major (1910)<br\/>Vasyl Barvinsky is one of the central and at the same time<br\/>tragic figures of Ukrainian musical culture<br\/>in the first half of the 20th century - a composer<br\/>of European standing. His artistic path formed<br\/>in the space of Central European culture between<br\/>Lviv, Prague and Vienna and was forcibly interrupted by the<br\/>Stalinist terror.<br\/>Barvinsky received his professional training in<br\/>Lviv and at the Prague Conservatory, where he developed in the<br\/>environment of modern European art of the early 20th<br\/>century.<br\/>As a pianist and composer, he<br\/>already showed a keen interest in new compositional techniques and forms during these years.           After<br\/>his return to Lviv, Barvinsky became a<br\/>central figure in the city's musical life: for over<br\/>24 years he directed the Mykola Lysenko Music Institute and<br\/>later the Lviv Conservatory, combining his<br\/>compositional with pedagogical, organizational and<br\/>educational activities.<br\/>After returning to Lviv<br\/>in 1958, almost deaf after ten years in the<br\/>Mordovian camps, he was forbidden to teach at<br\/>or even enter the building of the<br\/>Conservatory. He bitterly summarized his life<br\/>with the words \"I am a composer without<br\/>scores.\"<br\/>Nevertheless, Vasyl Barvinsky was the first Ukrainian<br\/>composer whose works were published on various continents<br\/>- in Europe, the United States<br\/>and Japan (Edition Peters, Universal Edition, Nakamura to<br\/>1939).<br\/>The<br\/>Sonata in D flat major (1910) - the first Ukrainian<br\/>piano sonata of the 20th century - occupies a special place in his oeuvre. Large-scale in form<br\/>and virtuosity, it combines the classical sonata structure<br\/>with features of modern musical thinking. In the<br\/>first movement, the rhythmic-intonatoric and<br\/>pentatonic core of the Siciliana is developed in a strictly<br\/>monothematic manner, while the finale culminates in<br\/>a complex double fugue.<br\/>Today, Vasyl Barvinsky's legacy is gradually returning to<br\/>Ukrainian and international stages. His work<br\/>appears as an example of a highly developed European<br\/>culture that should be destroyed, but which cannot be erased from the<br\/>history of music.    <br\/><br\/>                                      <strong>Tatjana Shylina-Lenk<\/strong><br\/><br\/><\/pre>\n\n<pre class=\"wp-block-preformatted\"><\/pre>\n\n<pre class=\"wp-block-preformatted\"><\/pre>\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Ludwig van Beethoven (1870-1827)Piano Sonata No.8, op.13 &#8220;Pathetique&#8221; (1798)Piano Sonata No.14, op.27 No.2&#8243;Moonlight Sonata&#8221; (1801)Vasyl Barvinsky (1888-1963)Piano Sonata in D flat major (1910). Known and&hellip;<\/p>\n","protected":false},"author":3,"featured_media":4858,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[256],"tags":[],"class_list":["post-6359","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-concert-programs"],"acf":[],"_links":{"self":[{"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/posts\/6359","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/comments?post=6359"}],"version-history":[{"count":4,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/posts\/6359\/revisions"}],"predecessor-version":[{"id":6424,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/posts\/6359\/revisions\/6424"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/media\/4858"}],"wp:attachment":[{"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/media?parent=6359"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/categories?post=6359"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/tags?post=6359"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}