{"id":6371,"date":"2026-04-07T18:11:39","date_gmt":"2026-04-07T16:11:39","guid":{"rendered":"https:\/\/www.umfuturum.com\/?p=6371"},"modified":"2026-04-07T18:21:45","modified_gmt":"2026-04-07T16:21:45","slug":"the-program-for-the-concert-by-borys-fedorov-ukraine-on-28-03-2026","status":"publish","type":"post","link":"https:\/\/umfuturum.com\/en\/concert-programs\/the-program-for-the-concert-by-borys-fedorov-ukraine-on-28-03-2026\/","title":{"rendered":"The program for the concert by Borys Fedorov (Ukraine) on 28.03.2026"},"content":{"rendered":"\n<pre class=\"wp-block-preformatted\"><br\/><br\/>Mykola Lysenko (1842-1912)<br\/>\"Album of the summer of 1900\"<br\/>- \"Confession of love\"<br\/>- \"Song of love\"<br\/>- \"Serenade\" (op. 37)<br\/>Robert Schumann (1811-1856)<br\/>Papillons, op. 2 (\u0446\u0438\u043a\u043b \u0434\u043b\u044f \u0444\u043e\u0440\u0442\u0435\u043f\u0456\u0430\u043d\u043e)<br\/>Valentyn Sylvestrov (*1937)<br\/>Sonata No. 2 (1975)<br\/>Claude Debussy (1862-1918)<br\/>Trois Pr\u00e9ludes (1909):<br\/>- \"Les sons et les parfums tournent dans l'air<br\/>du soir\"<br\/>- \"Les collines d'Anacapri\"<br\/>- \"Des pas sur la neige\"<br\/>L'isle joyeuse (1904)<br\/>.<br\/>Islands of music<br\/>The trends in music in the 19th - 21st centuries<br\/>move between three islands - Romanticism,<br\/>Modernism and the avant-garde.<br\/>Romanticism forms the breeding ground for modernism, while the<br\/>avant-garde breaks with all traditions<br\/>and creates new soundscapes.<br\/>We have combined the music of these three artistic styles - the<br\/>metaphorical \"islands\" - into a \"sound archipelago\" in our program<br\/>.<br\/>Romantic poetry is reflected in the<br\/>fantastic \"Papillons\" (butterflies) by Robert<br\/>Schumann, as well as in the Ukrainian lyrical world of Mykola Lysenko's \"<br\/>Album of Summer (1900).<br\/>Claude Debussy blurs the rhythmic and harmonic boundaries of<br\/>Romantic sound painting with an impressionistic<br\/>brush.<br\/>In 1904, his<br\/>\"L'isle joyeuse (The Island of Joy)\" rose on the musical horizon like a<br\/>sun-drenched fountain. In 1909, the<br\/>refined images of the French master's Pr\u00e9ludes float:<br\/>They circle as \"sounds and scents in the evening sky\", rise<br\/>on a colorful Neapolitan wave to the<br\/>\"hills of Anacapri\" and finally merge<br\/>with the cautious \"footsteps in the snow\".<br\/>At the end of the 1960s, the Ukrainian<br\/>composer Valentyn Sylvestrov - restricted by<br\/>Soviet censorship - broke through the floodgates of<br\/>\"parade Soviet splendor\" together with like-minded<br\/>Kyiv composers and paved a tunnel to<br\/>European freedom. He became one of the architects<br\/>of an independent \"musical island\" known today as the<br\/>\"Kyiv avant-garde\".<br\/>.<br\/>Mykola Lysenko (1842-1912)<br\/>\"Album of the Summer of 1900\"<br\/>\"Confession of Love\", \"Song of Love\", \"Serenade\", op. 37<br\/>As recalled by a traveler who came to Kyiv at the beginning of the 20th<br\/>century: Music could be heard from almost every window<br\/>of Khreshchatyk Street. Domestic<br\/>music-making was extremely widespread at the time, and the<br\/>salon and chamber genre formed an important<br\/>part of cultural life. Mykola<br\/>Lysenko created his cycle \"Album of Summer 1900\", which became<br\/>a kind of lyrical diary of the composer, precisely in the<br\/>aesthetics of the romantic salon miniature. The<br\/>elegant atmosphere of salon romanticism is combined here<br\/>with echoes of the German romantic tradition.<br\/>A short quotation from the \"Album for Youth\" by<br\/>Robert Schumann appears in the second piece of the cycle,<br\/>\"Song of Love\", like symbolic memories of<br\/>Lysenko's student years and dissolves into the warm lyrical<br\/>tone of the Ukrainian melody. As is well known,<br\/>Mykola Lysenko began his professional musical<br\/>training at the Leipzig Conservatory. One of his<br\/>teachers was Ernst Ferdinand Wenzel, a representative of the<br\/>German Romantic school, the brilliant pianist and<br\/>friend of Robert Schumann and Johannes Brahms. Thus<br\/>the wonderful musical rhymes of<br\/>German and Ukrainian Romanticism weave themselves into the subtle<br\/>poetry of the lyrical \"Album of Summer 1900\".<br\/>Robert Schumann (1811-1856)<br\/>Papillons, op. 2<br\/>The idea of the piano cycle \"Papillons\" (1829-1831) goes<br\/>.<br\/>to the novel \"Flegeljahre\" by Jean Paul -<br\/>in particular to the scene of a carnival masked ball, the<br\/>so-called \"masked dance\".<br\/>The twelve miniatures appear to the listener like<br\/>fleeting episodes of a carnival ball. The<br\/>butterflies are a metaphorical image for<br\/>changing impressions that pass by in a whirl of dance. The<br\/>cycle resembles a poetic kaleidoscope of<br\/>moods and characters - and already reveals the<br\/>Romantic world of fantasy and symbolic images<br\/>that would later unfold in Schumann's great<br\/>piano cycles.<br\/>Valentyn Sylvestrov (*1937)<br\/>Sonata No. 2 (1975)<br\/>\"Something<br\/>strange appeared in the music of the 20th century - the fear of silence. But as<br\/>turns out, silence can be the most precious thing in the<br\/>world.            The biggest idea is a quiet, peaceful life.<br\/>This is a really big idea - not those 'big ideas',<br\/>for which millions of lives are destroyed.\"<br\/>(from an interview with the composer, 2024)<br\/>In the 1960s, Valentyn Sylvestrov founded<br\/>together with young Ukrainian composers -<br\/>including Leonid Hrabovsky, Vitalii Hodzyatskyi, Volodymyr<br\/>Zahortsev and Volodymyr Huba - the group \"Kyiv<br\/>Avant-garde\", which was united by the outstanding Ukrainian<br\/>conductor Ihor Blazhkov. Despite bans and<br\/>Soviet censorship, these artists opened a new<br\/>page in the history of Ukrainian music by orienting themselves<br\/>towards innovative compositional techniques<br\/>. Later, however, Sylvestrov moved away from the<br\/>.<br\/>avant-garde and found a new musical language, which he called<br\/>\"metamusic\". The composer said:<br\/>\"The avant-garde is like eating only salt -<br\/>and too much of it. Without salt, everything would be bland, but it is    <br\/>It is present in these texts.\"<br\/>Claude Debussy (1862-1918)<br\/>Three Preludes (1909), \"L'isle joyeuse\" (1904)<br\/>\"Sounds and scents floating in the evening sky\"<br\/>The title of this prelude comes from a line of the<br\/>poem \"Harmonie du soir\" by Charles Baudelaire from<br\/>of the collection Les Fleurs du mal.<br\/>The melody of an almost improvisational waltz<br\/>seems to float above spicy harmonies and creates<br\/>the feeling of a slow movement of the air - a<br\/>circle of scents and sounds in the evening twilight.<br\/>\"The Hills of Anacapri\"<br\/>The images in this prelude are linked to<br\/>the town of Anacapri on the Italian island of Capri.<br\/>Debussy paints a colorful atmosphere of the<br\/>southern landscape: sun, sea breeze, bells,<br\/>folk dances and songs.<br\/>The dancing rhythm of the tarantella and<br\/>bright chordal figures create the atmosphere of a<br\/>folk festival.<br\/>\"Footsteps in the Snow\"<br\/>One of the most restrained and melancholy<br\/>preludes in the cycle. Debussy paints a<br\/>winter landscape in which an ostinato rhythmic bass is reminiscent of<br\/>slow footsteps in the snow. A melody full of<br\/>loneliness and quiet contemplation unfolds over this<br\/>recurring pulse.  <br\/>.<br\/>\"L'isle joyeuse\" (1903-1904)<br\/>The impetus for this work came from the<br\/>painting \"Embarkation to Kythera\" by Jean-<br\/>Antoine Watteau - the island that in Greek<br\/>mythology is considered the birthplace of Aphrodite, the goddess of love.<br\/>The work is also associated with Debussy's personal life in<br\/>: he completed it during a<br\/>stay on the island of Jersey together with his<br\/>lover Emma Bardac.<br\/>Borys Fedorov is a Merited Artist of Ukraine,<br\/>concert pianist, winner of numerous international<br\/>competitions and one of the leading music teachers in his<br\/>country. His repertoire includes music of various styles and<br\/>eras. His awards include the special prize for<br\/>the interpretation of contemporary music in Porto (1993), the A.<br\/>Roussel Prize in Senigallia (1994), second prize at the<br\/>competition in Rome (1995) and the Grand Prix of the festival<br\/>Regina and Vladimir Horowitz In Memoriam in Kyiv (1995).<br\/>He has performed with leading orchestras and recorded<br\/>several times for the National Radio and Television Company of<br\/>Ukraine. In recent years he has also given concerts in the<br\/>piano duo with his daughter, the pianist Anna Fedorova, in the<br\/>Great Hall (Grote Zaal) of the Concertgebouw in Amsterdam.<br\/>He has also given solo concerts and masterclasses in China,<br\/>Greece and the Netherlands.<br\/>Since 2020 Borys Fedorov has also devoted himself intensively to<br\/>composition. His works have been performed on Dutch<br\/>national radio, at the Stift International Music Festival and at<br\/>a concert for the 30th anniversary of the Channel<br\/>Classics label, and have received great acclaim from<br\/>leading musicians and composers.    <br\/><br\/>                                            <strong>Tatjana Shylina-Lenk<\/strong><br\/><\/pre>\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Mykola Lysenko (1842-1912)&#8221;Album of the summer of 1900&#8243;- &#8220;Confession of love&#8221;- &#8220;Song of love&#8221;- &#8220;Serenade&#8221; (op. 37)Robert Schumann (1811-1856)Papillons, op. 2 (\u0446\u0438\u043a\u043b \u0434\u043b\u044f \u0444\u043e\u0440\u0442\u0435\u043f\u0456\u0430\u043d\u043e)Valentyn Sylvestrov&hellip;<\/p>\n","protected":false},"author":3,"featured_media":6446,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[256],"tags":[],"class_list":["post-6371","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\/6371","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=6371"}],"version-history":[{"count":2,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/posts\/6371\/revisions"}],"predecessor-version":[{"id":6426,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/posts\/6371\/revisions\/6426"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/media\/6446"}],"wp:attachment":[{"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/media?parent=6371"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/categories?post=6371"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/tags?post=6371"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}