{"id":6378,"date":"2026-04-07T18:37:05","date_gmt":"2026-04-07T16:37:05","guid":{"rendered":"https:\/\/www.umfuturum.com\/?p=6378"},"modified":"2026-04-07T18:37:15","modified_gmt":"2026-04-07T16:37:15","slug":"the-program-for-the-concert-by-boris-zobin-ukraine-on-24-01-2026","status":"publish","type":"post","link":"https:\/\/umfuturum.com\/en\/concert-programs\/the-program-for-the-concert-by-boris-zobin-ukraine-on-24-01-2026\/","title":{"rendered":"The program for the concert by Boris Zobin (Ukraine) on 24.01.2026"},"content":{"rendered":"\n<pre class=\"wp-block-preformatted\"><br\/><br\/>Fr\u00e9d\u00e9ric Chopin (1810-1849)<br\/>Barcarolle in F sharp major, Op. 60 (1845-1846)<br\/>Franz Liszt (1811-1886)<br\/>Vall\u00e9e d'Obermann<br\/>from Ann\u00e9es de p\u00e8lerinage I: Suisse, p.160<br\/>(1848-1854)<br\/>Viktor Kosenko (1896-1938)<br\/>\u00c9tudes in the form of old dances, Op. 19 (1928-1929)<br\/>- Minuet<br\/>- Courante<br\/>- Sarabande<br\/>- Bourr\u00e9e<br\/>- Gavotte<br\/>- Passacaglia<br\/>.<br\/>Riding the waves of Romanticism<br\/>The heyday of Romanticism in music developed<br\/>in the 19th century. The expansion of traditional<br\/>musical forms, bold harmonic<br\/>experiments, freer expressive possibilities on the<br\/>instrument and improvisational virtuosity became<br\/>characteristic of the composers' works. This<br\/>style, closely associated with salon culture, enabled<br\/>a lively, flexible and spontaneous way of playing and<br\/>opened up new horizons of emotional expression.<br\/>The concert program includes works by three<br\/>composers: Fr\u00e9d\u00e9ric Chopin (1810-1849), Franz<br\/>Liszt (1811-1886) and Viktor Kosenko (1896-1938).<br\/>Despite belonging to different eras<br\/>, these artists share some essential<br\/>similarities. All three were brilliant pianists,<br\/>and the piano became the main instrument of their<br\/>musical expression. Each of them mastered<br\/>the art of improvisation with virtuosity: Chopin and Liszt<br\/>delighted audiences in salons and on<br\/>concert stages, while Kosenko did so in concert halls and<br\/>even in cinemas, accompanying silent films.<br\/>Audiences often attended film screenings<br\/>several times just to hear his improvisations.<br\/>At the same time, all three shared a deep connection to<br\/>their respective national cultures, which shaped the style and character<br\/>of their music:<br\/>.<br\/>Chopin, despite living outside Poland,<br\/>always maintained a close connection to Polish<br\/>folk culture. He spent his childhood and youth<br\/>in small Polish towns, where the musical<br\/>traditions of folk festivals with authentic<br\/>melodies, songs and dances shaped his unmistakable<br\/>musical language.<br\/>Liszt, born in the Austro-Hungarian<br\/>monarchy, did not speak Hungarian, but knew the Hungarian folklore treasure from<br\/>childhood. Despite<br\/>his eventful life with numerous journeys,<br\/>changes and artistic searches<br\/>, Hungarian motifs always remained a<br\/>source of inspiration for him and a spiritual link to his<br\/>native culture.<br\/>Kosenko had the opportunity to pursue a career within the<br\/>Soviet system, but<br\/>consciously chose a path associated with<br\/>Ukrainian culture and returned from<br\/>Petrograd to his home town of Zhytomyr. In<br\/>his work, Western European<br\/>traditions merge organically with a romantic<br\/>reinterpretation of Ukrainian folklore.<br\/>Fr\u00e9d\u00e9ric Chopin - Barcarolle in F sharp major, op. 60<br\/>(1845-46)<br\/>The Barcarolle - a genre that originates from the songs of the<br\/>Venetian gondoliers and is characterized by<br\/>a gentle, undulating rhythm -<br\/>is only represented once in Chopin's oeuvre: the<br\/>.<br\/>Barcarolle in F sharp major, op. 60, one of the most important<br\/>works of his late period. It was composed in 1845-1846 and is<br\/>in the characteristic 6\/8 time signature with a<br\/>continuous wave-like pulse. The piece<br\/>combines expansive, songlike melody with<br\/>rich harmony and complex, virtuoso<br\/>piano texture and demonstrates the composer's mature style.<br\/>Franz Liszt - Vall\u00e9e d'Obermann (1835-1836)<br\/>Vall\u00e9e d'Obermann (\"The Valley of Obermann\") is<br\/>the central and monumental work of the first volume<br\/>of Ann\u00e9es de p\u00e8lerinage (\"Years of Pilgrimage\").<br\/>The cycle was composed in 1835-1836 under the impression<br\/>of a journey through Switzerland that Liszt undertook together with<br\/>his lover, Countess Marie d'Agoult.<br\/>The piece is inspired by the epistolary novel Obermann by the<br\/>French writer \u00c9tienne Pivert de<br\/>S\u00e9nancour, which Liszt had read during his journey<br\/>. The main character of the novel experiences a deep<br\/>existential crisis and searches for the meaning of life in the<br\/>majestic nature of the Alps. These motifs<br\/>were strongly reflected in the music of the 24-year-old Liszt<br\/>, who himself was searching for his life and artistic path.<br\/>Vall\u00e9e d'Obermann is a programmatic work with<br\/>free form, which unfolds around two contrasting themes<br\/>: a dark theme characterized by doubt and inner<br\/>exhaustion and a light theme borne by<br\/>hope and vitality. Their constant<br\/>.<br\/>intertwining creates a deeply emotional<br\/>dramaturgy, reinforced by dynamic contrasts<br\/>and a dense, large-scale piano texture.<br\/>Viktor Kosenko (1896-1938) - \"Eleven Etudes in the<br\/>Style of Old Dances\", op. 19 (1928-1929)<br\/>This piano cycle is a unique cultural<br\/>event and a jewel of pianistic<br\/>performance art in the musical life of the Ukraine<br\/>of the 20th century. Among pianists, he is considered<br\/>to be particularly demanding, both in virtuoso and<br\/>artistic terms. In the 1990s,<br\/>the cycle was even arranged for symphony orchestra.<br\/>Kosenko wrote about his approach: \"I<br\/>took these clear, solid old forms and<br\/>tried to fill them with the sensibility of our time,<br\/>with their dynamic orientation.\"<br\/>Each of the eleven etudes refers to Baroque dances<br\/>(Minuet, Gavotte, Allemande, Sarabande, etc.) and<br\/>transforms them through a post-Romantic<br\/>musical aesthetic with complex polyphonic texture,<br\/>characteristic tonal and harmonic<br\/>features of folk melody, and a brilliant<br\/>virtuosic basis corresponding to the etude form. The<br\/>composer does not use any direct folk songs or<br\/>quotations, but his music is permeated by<br\/>folk-song-like and dance-like intonations and<br\/>thus acquires a distinct national coloring.<br\/>.<br\/>Boris Zobin is a musician with a diverse, very<br\/>wide-ranging academic education and an equally<br\/>multifaceted international concert career.<br\/>Born and educated in the Ukraine, he lives in Tel Aviv;<br\/>he has received numerous prestigious awards, including<br\/>first prize at the piano concerto competition of the<br\/>Jerusalem Academy of Music (1999), and at the Magda Meyers Competition in Be'er Sheva (1999), third prize<br\/>at the International Piano Competition in Saint-Nom-la-Bret\u00e8che (Paris, 2000).<br\/>His piano repertoire covers a broad stylistic<br\/>variety - from baroque partitas and preludes by Bach to<br\/>romantic works by Chopin, Liszt and Brahms.<br\/>However, Boris Zobin is not only a profound interpreter<br\/>of the Romantic repertoire, but also of the music of the<br\/>early 20th century, such as Ravel and Debussy.<br\/>A special place in his programs is occupied by the<br\/>Ukrainian music of M. Lysenko, V. Kosenko, L.<br\/>Revutskyand S. Bortkiewicz. His interpretations<br\/>are characterized by a pronounced understanding of phrasing,<br\/>dramatic shaping and a fine sound palette<br\/>.<br\/>After the beginning of the war in Ukraine, Boris Zobin<br\/>gave two benefit concerts, the proceeds of which were donated in full to the<br\/>armed forces of Ukraine.<br\/>In 2023, he played the entire cycle \"11 Etudes in the Form of Old<br\/>Dances\" at the Viktor Kosenko Museum in<br\/>Kiev - one of the most important works of Ukrainian<br\/>piano modernism.<br\/><br\/>                                   <strong>Tatjana Shylina-Lenk<\/strong><br\/><\/pre>\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Fr\u00e9d\u00e9ric Chopin (1810-1849)Barcarolle in F sharp major, Op. 60 (1845-1846)Franz Liszt (1811-1886)Vall\u00e9e d&#8217;Obermannfrom Ann\u00e9es de p\u00e8lerinage I: Suisse, p.160(1848-1854)Viktor Kosenko (1896-1938)\u00c9tudes in the form of&hellip;<\/p>\n","protected":false},"author":3,"featured_media":6455,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[256],"tags":[],"class_list":["post-6378","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\/6378","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=6378"}],"version-history":[{"count":4,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/posts\/6378\/revisions"}],"predecessor-version":[{"id":6432,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/posts\/6378\/revisions\/6432"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/media\/6455"}],"wp:attachment":[{"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/media?parent=6378"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/categories?post=6378"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/tags?post=6378"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}