{"id":6398,"date":"2026-04-07T19:11:07","date_gmt":"2026-04-07T17:11:07","guid":{"rendered":"https:\/\/www.umfuturum.com\/?p=6398"},"modified":"2026-04-07T19:42:20","modified_gmt":"2026-04-07T17:42:20","slug":"the-program-for-the-concert-by-antonii-baryshevskyi-ukraine-on-19-10-2025","status":"publish","type":"post","link":"https:\/\/umfuturum.com\/en\/concert-programs\/the-program-for-the-concert-by-antonii-baryshevskyi-ukraine-on-19-10-2025\/","title":{"rendered":"The program for the concert by Antonii Baryshevskyi (Ukraine) on 19.10.2025"},"content":{"rendered":"\n<pre class=\"wp-block-preformatted\"><br\/>.<br\/>Arvo P\u00e4rt (born 1935)<br\/>- \"For Alina\" (1976)<br\/>- \"Variations on the recovery of Arinushka\" (1977)<br\/>Valentyn Sylvestrov (born 1938)<br\/>- Two pieces from the cycle Kinderalbum No. 1<br\/>(1977)<br\/>- The Messenger (1996)<br\/>Borys Lyatoshynskyi (1895-1968)<br\/>- from Spiegelungen, op. 16 (1925):<br\/>I. Maestoso e con fermezza<br\/>II. Vellutato assai<br\/>III Tempestoso<br\/>V. Come di lontananza<br\/>Maurice Ravel (1875-1937)<br\/>Miroirs (1905):<br\/>I. Noctuelles (\"moths\")<br\/>II Oiseaux tristes (\"Sad Birds\")<br\/>III. Une barque sur l'oc\u00e9an (\"A boat on the ocean\")<br\/>IV. Alborada del gracioso (\"Morning serenade of the<br\/>jester\")<br\/>V. La vall\u00e9e des cloches (\"The valley of the bells\")<br\/>.<br\/>Reflections<br\/>Music has always reflected the time in which it<br\/>is composed.<br\/>Against the backdrop of the turbulent 20th century -<br\/>characterized by new cultural trends, experiments<br\/>and demands - it unfolds in a particularly complex way in the European<br\/>musical landscape.<br\/>The \"Reflections\" program brings together music by four<br\/>composers that reflect the multifaceted sensibilities of the 20th century.<br\/>The subtlety of a woman of the twentieth century<br\/>The impressionistic language of Maurice Ravel is transformed<br\/>into the sharply dissonant aphorisms of Borys<br\/>Ljatoschynskyi, while the bright delicacy of Arvo P\u00e4rt's Tintinnabuli style corresponds with the metaphorical transparency of Valentyn Sylvestrov's<br\/>musical universe<br\/>.<br\/>Arvo P\u00e4rt (1935*)<br\/>In the 1970s, Estonian composer Arvo<br\/>P\u00e4rt withdrew from the flood of information and everyday noise<br\/>and created his own musical space of<br\/>\"sounding silence\". He developed the<br\/>technique he discovered, \"Tintinnabuli\" (Latin tintinnabulum - \"little bell\"),<br\/>in which two voices interact with each other: one<br\/>melodic, which moves diatonically, and one<br\/>\"bell-like\", which arpeggiates the tonic. This<br\/>creates an atmosphere of inner brightness and spiritual<br\/>harmony.<br\/>.<br\/>\"F\u00fcr Alina\" (1976) is the first work using the tintinnabuli technique. The shortest tone sequences, minimal texture and<br\/>slow tempo create a space of quiet contemplation.<br\/>The music seems to stop time and opens up a place<br\/>of inner peace. The piece is dedicated to the daughter of<br\/>friends who went to England after her parents' divorce<br\/>- it sounds like a blessing for a new<br\/>life.<br\/>A year later, P\u00e4rt composed the \"Variations on the<br\/>Recovery of Arinushka\" (1977), a<br\/>cycle of variations dedicated to his own daughter Arina<br\/>. The graphic clarity and the<br\/>characteristic \"little bells\" structure gain particular expressive power here<br\/>: the repeated variations<br\/>have the effect of a heartfelt, pleading prayer - a resounding<br\/>healing gesture.<br\/>Valentyn Sylvestrov (1937*)<br\/>With the cycle \"Kindermusik\" (1977),<br\/>Sylvestrov opens up a chamber-musical, poetic world of<br\/>simple intonation and fine lyricism. In these<br\/>piano miniatures, he takes us back to the origins of<br\/>music - to a childlike perception of<br\/>sound as a miracle.<br\/>\"The Messenger\" (1996), composed in memory of his wife<br\/>Larissa, is to be understood as a dialog between the earthly and<br\/>the eternal. Sylvestrov described the work as a<br\/>\"postscript to Mozart and the entire<br\/>classical tradition\": Mozartian reminiscences gradually transform<br\/>into an enraptured, ethereal world of sound. The<br\/>composer creates the image of a \"messenger\" between the<br\/>worlds - a delicate sound substance that carries loving<br\/>memories and the trace of the past.<br\/>.<br\/>Borys Ljatoschynskyi (1895-1968)<br\/>On the 100th anniversary of the cycle. The cycle<br\/>\"Vidobrazhennja\" (\"Reflections\")<br\/>is one of the boldest examples of the early Ukrainian<br\/>avant-garde, in which a new artistic world of the<br\/>young Lyatoshynskyi is formed. The composer penetrates deep<br\/>into the human psyche: mental states, inner<br\/>contradictions, reflections and emotional impulses<br\/>become the material of his music.<br\/>The work, composed in 1925, opens a new chapter in<br\/>Ukrainian music. Inspired by the European<br\/>currents of the early 20th century,<br\/>Lyatoshynskyi moves in the field of tension between tonality and<br\/>atonality: the harmony dissolves the tonal center,<br\/>rhythmic structures appear as sudden<br\/>bursts of energy, the traditional meter breaks down and<br\/>the piano texture gains orchestral plasticity.<br\/>He creates his own musical language - intellectually<br\/>and emotionally heightened. His expressive view of the world is reflected<br\/>in the sensitive mirror of the inner \"I\". Here he forms              <br\/>The Lyatoshynskyi whom we later hear in his symphonies<br\/>and chamber works: a thinker, humanist and<br\/>tragedian of his time, who experienced the 20th century with all its<br\/>expressiveness, pain and insight<br\/>.<br\/>After a hundred years, the \"Spiegelungen\" sound like a<br\/>living document of their era - a sound mirror in<br\/>which we recognize ourselves<br\/>in the light of today's wartime reality.<br\/>.<br\/>Maurice Ravel (1875-1937)<br\/>The five-part piano cycle \"Miroirs\" (1905) is one of<br\/>the key works of French Impressionism.<br\/>With a palette of complex, dazzling harmonies,<br\/><br\/>Ravel creates tonal \"paintings\" that evoke almost<br\/>visual associations - the play of light and<br\/>shadow, the shimmering of water or the resonance of<br\/>distant bells. His \"painterly\" metamorphosis opened up<br\/>new expressive possibilities for music and paved the way<br\/>for bold sound experiments.<br\/>1.Noctuelles (\"moths\")<br\/>Shimmering up and down movements - like the circling of a<br\/>moth around the light. Transparent textures,<br\/>changing harmonic colors and a floating<br\/>flow of movement characterize the piece.<br\/>2.Oiseaux tristes (\"Sad Birds\")<br\/>A dark, melancholy character in which melodic<br\/>lines echo in space like bird calls. Bright, sparkling<br\/>timbres lend the piece delicate transparency and<br\/>the impression of trembling loneliness.<br\/>3.Une barque sur l'oc\u00e9an (\"A boat on the<br\/>ocean\")<br\/>A musical seascape of boundless expanse: the<br\/>glittering and rocking of the water, depicted in undulating<br\/>arpeggios and colorful harmonies.<br\/>4Alborada del gracioso (\"Morning<br\/>Serenade of the Jester\")<br\/>Virtuosic and sparkling, filled with Spanish<br\/>temperament. Contrasts of rhythms and timbres,<br\/>.<br\/>sharp syncopations and brilliant passages create a<br\/>lively picture of wit and subtle irony.<br\/>5.La vall\u00e9e des cloches (\"The Valley of the Bells\")<br\/>A calm, majestic soundscape in which the echo<br\/>of the bells gradually drifts away in space. Ravel masterfully uses<br\/>the possibilities of the piano to evoke the<br\/>floating magic of bell sounds.<br\/>Short biography<br\/>of Antonii Baryshevskyi<br\/>Antonii Baryshevskyi was born in Kiev in 1988. He<br\/>studied at the National Academy of Music in Kiev and<br\/>Paris.<br\/>He has won prizes at the following piano competitions, among others:<br\/>Arthur Rubinstein 2014 (1st prize); 58th Ferruccio Busoni<br\/>International piano Competition 2011 (2nd prize and<br\/>Audience Prize); 51st International Piano Competition<br\/>Premio Ja\u00e8n 2009 (1st prize); 2nd International Competition Premio Ja\u00e8n 2009 (2nd prize). International Competition<br\/>of the International Academy of Music (1st prize).<br\/>Baryshevskyi has performed in numerous European countries, the<br\/>USA and Israel and has appeared with well-known<br\/>orchestras in concerts and at festivals in the<br\/>most famous concert halls in the world.<br\/>Website: https:\/\/www.antoniibaryshevskyi.com\/<br\/>https:\/\/www.youtube.com\/channel\/UCh1AIunLT3wUfaqSB<br\/>AkcLYA       <br\/><br\/>                               <strong>Tatjana Shylina-Lenk<\/strong><br\/><\/pre>\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>.Arvo P\u00e4rt (born 1935)- &#8220;For Alina&#8221; (1976)- &#8220;Variations on the recovery of Arinushka&#8221; (1977)Valentyn Sylvestrov (born 1938)- Two pieces from the cycle Kinderalbum No. 1(1977)-&hellip;<\/p>\n","protected":false},"author":3,"featured_media":4830,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[256],"tags":[],"class_list":["post-6398","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\/6398","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=6398"}],"version-history":[{"count":5,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/posts\/6398\/revisions"}],"predecessor-version":[{"id":6441,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/posts\/6398\/revisions\/6441"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/media\/4830"}],"wp:attachment":[{"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/media?parent=6398"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/categories?post=6398"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/tags?post=6398"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}