{"id":6408,"date":"2026-04-07T19:47:30","date_gmt":"2026-04-07T17:47:30","guid":{"rendered":"https:\/\/www.umfuturum.com\/?p=6408"},"modified":"2026-09-09T11:19:20","modified_gmt":"2026-09-09T09:19:20","slug":"the-program-for-the-concert-by-lilian-akopova-ukraine-on-21-09-2025","status":"publish","type":"post","link":"https:\/\/umfuturum.com\/en\/concert-programs\/the-program-for-the-concert-by-lilian-akopova-ukraine-on-21-09-2025\/","title":{"rendered":"Konzertprogramm von Lilian Akopova (Deutschland) am 21.09.2025"},"content":{"rendered":"\n<pre class=\"wp-block-preformatted\"><br\/>Joseph Haydn (1732-1809)<br\/>Sonata in B minor, Hob. XVI:32<br\/>1.Allegro moderato<br\/>2.Minuet<br\/>3.Finale. Presto<br\/>Fr\u00e9d\u00e9ric Chopin (1810-1849)<br\/>Sonata No. 3 in B minor, op. 58<br\/>1.Allegro maestoso<br\/>2.Scherzo. Molto vivace<br\/>3.Largo<br\/>4.Finale. Presto non tanto<br\/>Levko Revutsky (1889-1977)<br\/>Sonata in B minor, op. 1 (1912)<br\/>.<br\/>Sonata World in B minor<br\/>Haydn - Chopin - Revutsky<br\/>\"The process which makes the tone poet choose this or that<br\/>fundamental key to express his feelings<br\/>is inexplicable like the creative genius itself,<br\/>which together with the thought gives the form, the vessel,<br\/>which encloses it\".- Robert Schumann.<br\/>For today's concert, the genre of the<br\/>sonata was chosen, linked by the key of B minor.<br\/>This key had a<br\/>special aura in various epochs. In Johann<br\/>Sebastian Bach's Mass in B minor, it creates an atmosphere of<br\/>mourning, spiritual struggle and remorse. Jean-Philippe Rameau called it \"sad and solemn\".<br\/>Beethoven regarded B minor as a \"black key\"<br\/>and used it neither in his sonatas nor in<br\/>the symphonies.<br\/>Yet it was precisely in B minor that Schubert wrote his<br\/>famous symphony \"Unfinished\" in the key that<br\/>his predecessors Haydn, Mozart and Beethoven avoided in the<br\/>symphonic genre. In B minor,<br\/>Franz Liszt unfolded the dramatic, \"Faustian\"<br\/>phantasmagoria of his sonata. Alban Berg's Sonata op. 1<br\/>- an impressive<br\/>.<br\/>expressionist manifesto of the early 20th<br\/>century - is also in this key. The German<br\/>anthropologist Hermann Beckh described this<br\/>key as the \"light of the spiritual world, which appears like darkness to the outer<br\/>senses\".<br\/>In today's concert with Lilian Akopova,<br\/>three piano sonatas - by Joseph Haydn, Fr\u00e9d\u00e9ric<br\/>Chopin and Levko Revutsky - will be performed, differing in time<br\/>and style, but linked by the common<br\/>key, through which the musical epochs of three<br\/>European cultures become visible.<br\/>Joseph Haydn (1732-1809)<br\/>Sonata in B minor, Hob. XVI:32<br\/>The Sonata Hob. XVI\/32 was composed in the middle of the<br\/>1770s, when Haydn was working at the court of Prince<br\/>Esterh\u00e1zy and working intensively on operas, symphonies<br\/>and chamber music. It was a time of<br\/>creative upswing in which he experimented with form and<br\/>dramaturgy in various genres<br\/>. Haydn wrote around 60 piano sonatas,<br\/>but only one of them was in B minor. This work occupies<br\/>a special place in Viennese classical music.<br\/>Fr\u00e9d\u00e9ric Chopin (1810-1849)<br\/>Piano Sonata No. 3 in B minor, op. 58<br\/>In April 1844, Chopin experienced the death of his<br\/>.<br\/>father. Deeply affected by this blow,<br\/>his health deteriorated. In the summer,<br\/>he withdrew to Nohant, the country estate of George Sand,<br\/>where he sought peace and quiet and devoted himself entirely to<br\/>composition. There he composed two gems<br\/>of his late style: the B minor Sonata op. 58 and the<br\/>Barcarolle op. 60.<br\/>The uniqueness of this sonata lies in its<br\/>structural and emotional depth. It combines the<br\/>traditional sonata form with elements of the ballad,<br\/>which are characteristic of the late Romantic style: a<br\/>dramatic dialog of themes in the first movement, a<br\/>transparent Scherzo, a meditative Adagio in B major<br\/>and a heroic finale.                   This transition from the<br\/>tragic beginning to the bright end is often interpreted as a symbol<br\/>of spiritual transformation.<br\/>Levko Revutsky (1889-1977)<br\/>Sonata in B minor, op. 1<br\/>Levko Revutsky's first piano teacher was<br\/>Mykola Lysenko, a friend of the family. His brother<br\/>Dmytro Revutsky, a well-known folklorist and<br\/>ethnographer, asked Lysenko to listen to the young Levko<br\/>- an event that determined the further direction of his<br\/>musical education.<br\/>Revutsky wrote his first piano sonata op. 1 in 1912<br\/>at the age of 23 and played it at the<br\/>.<br\/>entrance examination at the Kiev Conservatory. The<br\/>work marked his first significant pianistic<br\/>work. At the same time, he continued his studies at the<br\/>law faculty.<br\/>The sonata is written in a post-romantic style<br\/>, but is also strongly influenced by Chopin's poetics<br\/>.<br\/>In the large-scale form, Revutsky<br\/>unfolds a monumental dramaturgical structure. In that he    <br\/>combines the three sentences into one unit, emphasizes<br\/>the composer through the monothematism of the<br\/>the inner unity of the work<br\/><br\/>Even in this first piano opus, he demonstrates a<br\/>rare ability to combine melodic lyricism with complex<br\/>harmonies - a style that later blossomed in his<br\/>symphonic and chamber music works.<br\/>Lilian Akopova (piano)<br\/>\"I love to create contrasts in my programs.<br\/>What is decisive for me are the internal relationships between<br\/>the works, not the chronology.\" - Lilian Akopova<br\/>Born in Kiev and now living in Munich, the<br\/>Lilian Akopova is a prizewinner<br\/>of numerous international competitions, including first<br\/>prizes at the Vianna da Motta Competition (Lisbon),<br\/>at the Roma Competition (Rome), at the Carlet<br\/>.<br\/>Competition (Valencia), the Sulmona Competition<br\/>(Italy), the Steinway Competition (Munich) and<br\/>3rd prize at the prestigious Busoni Competition<br\/>(Bolzano). In 2014 she was awarded the German music prize<br\/>ECHO Klassik.<br\/>Lilian Akopova has performed in important<br\/>European concert halls such as the Berlin<br\/>Philharmonie and the Konzerthaus Berlin, in the<br\/>Herkulessaal of the Munich Residenz, in the Vienna<br\/>Musikverein, in the Athenaeum Bucharest, in the Salle Cortot<br\/>in Paris and in the Palau de la M\u00fasica in Valencia. She has performed<br\/>with the Munich Chamber Orchestra, the Haydn<br\/>Orchestra, the Orquestra Sinf\u00f3nica Portuguesa, the<br\/>Kiev State Orchestra and others under conductors such as Arthur<br\/>Fagen, Julia Jones and Volker Schmidt-Gertenbach<br\/>.<br\/>Her discography includes around ten CDs; the<br\/>album Jazzissimo (2023, with Matthias Well) was nominated for<br\/>the Opus Klassik. Lilian<br\/>Akopova's concerts have been broadcast by ARTE, BR, Deutschlandfunk<br\/>Kultur, Rai, France T\u00e9l\u00e9visions and other<br\/>European broadcasters. She has been<br\/>Professor of Piano and Chamber Music at the<br\/>Kalaidos University of Music Zurich since 2019 and founded her own foundation in 2016<br\/>to support children.<br\/>                    <br\/>                            <strong>Tatjana Shylina-Lenk<\/strong>    <br\/><\/pre>\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Joseph Haydn (1732-1809)Sonata in B minor, Hob. XVI:321.Allegro moderato2.Minuet3.Finale. PrestoFr\u00e9d\u00e9ric Chopin (1810-1849)Sonata No. 3 in B minor, op. 581.Allegro maestoso2.Scherzo. Molto vivace3.Largo4.Finale. Presto non tantoLevko&hellip;<\/p>\n","protected":false},"author":3,"featured_media":6466,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[256],"tags":[],"class_list":["post-6408","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\/6408","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=6408"}],"version-history":[{"count":8,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/posts\/6408\/revisions"}],"predecessor-version":[{"id":6699,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/posts\/6408\/revisions\/6699"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/media\/6466"}],"wp:attachment":[{"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/media?parent=6408"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/categories?post=6408"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/tags?post=6408"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}