{"id":6394,"date":"2026-04-07T19:05:42","date_gmt":"2026-04-07T17:05:42","guid":{"rendered":"https:\/\/www.umfuturum.com\/?p=6394"},"modified":"2026-04-07T19:37:59","modified_gmt":"2026-04-07T17:37:59","slug":"the-program-for-the-concert-by-violina-petrychenko-ukraine-on-20-12-2025","status":"publish","type":"post","link":"https:\/\/umfuturum.com\/en\/concert-programs\/the-program-for-the-concert-by-violina-petrychenko-ukraine-on-20-12-2025\/","title":{"rendered":"The program for the concert by Violina Petrychenko (Ukraine) on 20.12.2025"},"content":{"rendered":"\n<pre class=\"wp-block-preformatted\"><br\/><br\/>.<br\/>\"Advent Sounds\"<br\/>from J. S. Bach to S. Liudkevych<br\/>In the Advent season we long for beauty, warmth<br\/>and a festive atmosphere. The concert features<br\/>piano miniatures, diverse in character and style, but at the same time<br\/>linked by a poetic, lyrical style of expression.<br\/>They create an atmosphere of expectation - of quiet<br\/>joy, peace and inner harmony.<br\/>Fr\u00e9d\u00e9ric Chopin (1810-1849)<br\/>Mazurkas op.17<br\/>Fr\u00e9d\u00e9ric Chopin devoted himself to the genre of the mazurka<br\/>throughout his life. Inspired by the musical heritage of his<br\/>homeland, he often spent summers in Masuria, the<br\/>region from which this folk dance originates. There he heard the<br\/>songs and melodies of local musicians and transformed<br\/>elements of the Polish folk style into an artistic<br\/>form of piano miniature.<br\/>A century later, this tradition is echoed in the<br\/>work of the Ukrainian composer Viktor Kosenko<br\/>(1896-1938). His \"Ukrainian view\" of the<br\/>European piano repertoire was already formed during<br\/>his studies at the Warsaw Conservatory. <br\/>Chopin's influence can be clearly felt in his early works<br\/>, including the cycle Three Mazurkas op. 3 (1916-<br\/>1923).<br\/>.<br\/>Stanislav Liudkevych (1879-1979)<br\/>Nocturne in C sharp minor (1954)<br\/>This nocturne was written in the atmosphere of cultural<br\/>salon encounters in the Lviv house of the<br\/>scientist Olha-Olena Yurkevych, where the city's<br\/>intellectual and artistic elite gathered.<br\/>She wrote in a letter to the composer:<br\/>\"Sometimes I forget who you are and behave like this<br\/>informally... And sometimes I watch you -<br\/>especially when you play - and enjoy every<br\/>moment.\"<br\/>On December 24, Christmas Eve,<br\/>Stanislav Liudkevych responded to this special closeness with a<br\/>musical message: his Nocturne in C sharp minor.<br\/>Vasyl Barvinsky (1888-1963)<br\/>Five Preludes (1908)<br\/>Vasyl Barvinsky is considered one of the \"last romantics\"<br\/>in modern Ukrainian music history. His style combines<br\/>folk-song-like intonation, classical clarity<br\/>of proportions and a neo-romantic tonal language.<br\/>The Five Preludes, composed when he was twenty,<br\/>are characterized by fine nuances of colour, poetic<br\/>moods and the development of his individual<br\/>signature.<br\/>In 1948 Barvinsky was arrested and forced to burn all his own<br\/>scores in the courtyard<br\/>of the Lviv Conservatory. He spent ten years in the<br\/>Mordvin camps. After his return, he reconstructed<br\/>.<br\/>his works from memory - until the end of his life at<br\/>. He was rehabilitated in 1964.<br\/>Johann Sebastian Bach (1685-1750)<br\/>\"Schafe k\u00f6nnen sicher weiden\"<br\/>from the cantata BWV 208<br\/>Aria no. 9 from the cantata Was mir behagt, ist nur die<br\/>muntre Jagd, composed in 1713 for the birthday of Duke<br\/>von Sachsen-Wei\u00dfenfels, has a calm, idyllic<br\/>character. The delicate melody unfolds in a baroque<br\/>pastoral sound world and sounds like a soft, light prayer.<br\/>The original aria is set for two alto recorders and basso<br\/>continuo.<br\/>Edvard Grieg (1843-1907)<br\/>Notturno, op. 54 no. 4<br\/>(from the cycle Lyric Pieces, 1891)<br\/>The cycle Lyric Pieces (1867-1901) comprises ten booklets with<br\/>miniatures, which Grieg described as the \"intimate story of my<br\/>life\". In these pieces he poeticized the<br\/>Nordic nature - its myths, fairy tales, tart-crystalline<br\/>beauty and quiet sublimity.<br\/>The Notturno, composed in the summer of 1891 in Trolldhaugen<br\/>, was written under the impression of the<br\/>\"velvet-black nights over the bay\", as Grieg wrote.<br\/>Gently pulsating accompaniment figures, song-like Nordic<br\/>melodies and colourful, sometimes impressionistic<br\/>harmonies form a sound space of quiet nocturnal depth.<br\/>.<br\/>Franz Liszt (1811-1886)<br\/>Polish from the cycle Christmas Tree, p. 186<br\/>(1873-1881)<br\/>The cycle Christmas Tree consists of twelve<br\/>character pieces and is dedicated to Liszt's granddaughter Daniela von B\u00fclow<br\/>. The premiere took place on Christmas Eve 1881<br\/>in her hotel room in Rome.<br\/>These miniatures from Liszt's late work dispense with<br\/>virtuoso splendor; instead, they unfold a clear,<br\/>clarified tonal language and a solemn, expectant<br\/>mood of the Christmas season.<br\/>Mykola Leontovych (1877-1921)<br\/>Shchedryk<br\/>(piano transcription by Serhii Yushkevych)<br\/>Shchedryk, known worldwide as Carol of the Bells, is based<br\/>on a Ukrainian New Year melody whose roots go back<br\/>to Kievan Rus. Originally<br\/>it symbolized the beginning of spring, which for the<br\/>Eastern Slavs coincided with the return of the swallows.<br\/>Leontovych transformed this simple four-note melody into a masterful choral composition, which<br\/>achieved international fame.<br\/>In the 1920s, the Ukrainian National Choir<br\/>under Alexander Koshetz made the work famous during a<br\/>world tour. After it was heard in New York's Carnegie<br\/>Hall, the conductor Peter Wilhousky created the<br\/>English version Carol of the Bells, in which the swallows<br\/>were replaced by \"jingling bells\".<br\/>.<br\/>Leontovych, who was hiding from Bolshevik<br\/>repression in Ukraine, was murdered in 1921 by an agent of the<br\/>Soviet Cheka - without knowing that<br\/>his Shchedryk was to become one of the most famous musical<br\/>symbols of Ukraine.<br\/>Violina Petrychenko (piano)<br\/>The Ukrainian pianist from Zaporizhzhya received her<br\/>musical education at the Ukrainian National Academy of Music<br\/>and later continued her studies at the<br\/>conservatories in Weimar, Cologne and Essen. She<br\/>was awarded the DAAD prize, among others. A<br\/>central focus of her artistic work is the<br\/>international presentation of Ukrainian piano music.<br\/>With highly acclaimed recordings such as Ukrainian<br\/>Moods, The Silent Voice of Vasyl Barvinsky and<br\/>Dreams - Ukrainian Hope (Opus Klassik nomination)<br\/>, she has established herself as an important ambassador of this music<br\/>. Her<br\/>rediscovery of the works of Vasyl Barvinsky, whose<br\/>piano concerto she performed for the first time in London and Palermo<br\/>in 2022, was particularly well received.<br\/>As a sought-after concert pianist, she performs regularly in<br\/>Germany and Europe. In 2023, she founded the festival<br\/>Sounds of Ukraine, which presents the diversity of Ukrainian music<br\/> Her most recent projects include performances in<br\/>the Berlin Philharmonie and concert tours with<br\/>works by Barvinsky and Kosenko. Her latest album<br\/>Winter Whispers met with a great response in the European press<br\/>.<br\/><br\/>                                      <strong>Tatjana Shylina-Lenk<\/strong><br\/><\/pre>\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>.&#8221;Advent Sounds&#8221;from J. S. Bach to S. LiudkevychIn the Advent season we long for beauty, warmthand a festive atmosphere. The concert featurespiano miniatures, diverse in&hellip;<\/p>\n","protected":false},"author":3,"featured_media":6463,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[256],"tags":[],"class_list":["post-6394","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\/6394","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=6394"}],"version-history":[{"count":2,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/posts\/6394\/revisions"}],"predecessor-version":[{"id":6434,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/posts\/6394\/revisions\/6434"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/media\/6463"}],"wp:attachment":[{"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/media?parent=6394"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/categories?post=6394"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/tags?post=6394"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}