{"id":6684,"date":"2026-09-06T17:24:46","date_gmt":"2026-09-06T15:24:46","guid":{"rendered":"https:\/\/umfuturum.com\/video-en\/konzertprogramm-von-j-zsef-rm-ny-ukraine-am-20-09-2026-in-der-ev-grunewaldkirche-berlin\/"},"modified":"2026-09-08T20:13:19","modified_gmt":"2026-09-08T18:13:19","slug":"konzertprogramm-von-j-zsef-rm-ny-ukraine-am-20-09-2026-in-der-ev-grunewaldkirche-berlin","status":"publish","type":"post","link":"https:\/\/umfuturum.com\/en\/concert-programs\/konzertprogramm-von-j-zsef-rm-ny-ukraine-am-20-09-2026-in-der-ev-grunewaldkirche-berlin\/","title":{"rendered":"Konzertprogramm von J\u00f3zsef \u00d6rm\u00e9ny (Ukraine) am 20.09.2026 in der Ev.Grunewaldkirche, Berlin"},"content":{"rendered":"\n<pre class=\"wp-block-preformatted\"><strong> <code>Wege und Wandlungen<\/code><\/strong> <\/pre>\n\n<p class=\"wp-block-paragraph\"><strong>Mykola Lysenko (1842\u20131912)<br\/>Heroisches Scherzo op. 25 (1880)<br\/>Franz Schubert (1797\u20131828)<br\/>Moments musicaux Nr. 2 und Nr. 3, D 780,<br\/>op. 94 (1823\u20131828)<br\/>Yevhen Stankovych (1942)<br\/>Sonatina (1966)<br\/>Vasyl Barvinsky (1888\u20131963)<br\/>Zwei Pr\u00e4ludien aus \u201eAcht Pr\u00e4ludien\u201c op. 8<br\/>(ver\u00f6ffentlicht 1918)<br\/>Bohdana Frolyak (1968)<br\/>Beethoven\u2019s Cloud No. 2 (2023)<br\/>Franz Schubert (1797\u20131828)<br\/>Impromptu Nr. 4, As-Dur, op. 90, D 899 (1827)<br\/>Robert Schumann (1810\u20131856)<br\/>Sonate Nr. 1 fis-Moll op. 11 (1833\u20131835)<\/strong><\/p>\n\n<p class=\"wp-block-paragraph\">Wege und Wandlungen<\/p>\n\n<p class=\"wp-block-paragraph\">Im Programm stellen wir westeurop\u00e4ische und<br\/>ukrainische Komponisten vor, die nach dem Prinzip<br\/>des Kontrastes miteinander verbunden sind.<br\/>Dadurch wird deutlich, wie sehr sich Gattungen, Stile<br\/>und musikalische Sprache unter dem Einfluss<br\/>gesellschaftlicher Ver\u00e4nderungen und individueller<br\/>k\u00fcnstlerischer Intention wandeln.<\/p>\n\n<p class=\"wp-block-paragraph\">Mykola Lysenko (1842\u20131912)<br\/>\u201cHeroic Scherzo,\u201d Op. 25 (1880)<br\/>During the Romantic era, the genre of the scherzo (Italian: scherzo\u2014\u201cjoke\u201d)<br\/>evolved in 19th-<br\/>century music into an independent concert piece with<br\/>a distinct dramatic structure, striking contrasts, and<br\/>brilliant virtuosic craftsmanship.<\/p>\n\n<p class=\"wp-block-paragraph\">Mykola Lysenko\u2019s \u201cHeroic Scherzo\u201d carries on the<br\/>traditions of European Romanticism, particularly the<br\/>traditions of Fr\u00e9d\u00e9ric Chopin. The heroic gesture, the<br\/>vivid imagery, and the lyrical elevation of the music<br\/>stem from the intonations of Ukrainian dumy (epic<br\/>songs), folk songs, and Cossack dances.<br\/>It is noteworthy that Lysenko composed the \u201cHeroic Scherzo\u201d<br\/>while working on his opera \u201cTaras Bulba,\u201d based on the<br\/>story of the same name by Nikolai Gogol. Thus,<br\/>the work continues the tradition of Ukrainian<br\/>heroic history and the Cossack epic.  <\/p>\n\n<p class=\"wp-block-paragraph\">Franz Schubert (1797\u20131828)<br\/>Moments musicaux D 780, Op. 94<br\/>(1823\u20131828)<br\/>The Moments musicaux and the Impromptus, Op. 90<br\/>, were composed during the final years of Schubert\u2019s life\u2014a<br\/>period of peak creative maturity. This creative period<br\/>also includes the Unfinished Symphony, the string quartet<br\/>\u201cDeath and the Maiden,\u201d the song cycle \u201cWinterreise\u201d<br\/>, and the last piano sonatas. <\/p>\n\n<p class=\"wp-block-paragraph\">At the beginning of the 19th century, a<br\/>new artistic worldview emerged in Europe that focused on the personal<br\/>realm of human experience, psychological reflection, and<br\/>inner freedom. In Schubert\u2019s music<br\/>, we encounter that unique sense of musical time,<br\/>which Robert Schumann described as \u201cheavenly length.\u201d <\/p>\n\n<p class=\"wp-block-paragraph\">Through the lyrical flow of the melody, harmonic<br\/>freedom, and the subtle variability of the composition,<br\/>Schubert imbues the moment with artistic permanence and unfolds<br\/>its inexhaustible wealth of emotional nuances.<\/p>\n\n<p class=\"wp-block-paragraph\">Yevhen Stankovych (b. 1942)<br\/>is considered one of the<br\/>most important figures in contemporary Ukrainian<br\/>music. His body of work includes symphonies, operas, ballets,<br\/>chamber and choral works, as well as film scores.<br\/>The Sonatina (1966)<br\/>was composed using twelve-tone and<br\/>serial techniques. Even as a student at the Kyiv<br\/>Conservatory, Stankovych turned to the innovative<br\/>compositional techniques of the Second Viennese School\u2014Arnold<br\/>Sch\u00f6nberg, Alban Berg, and Anton Webern\u2014as well as the early<br\/>works of Pierre Boulez. This engagement opened up<br\/>a wide field of musical experimentation for him within the realm of the<br\/>avant-garde.<br\/>Just as Cubism breaks down a painting into individual elements<br\/>, the musical architecture of the Sonatina arises from<br\/>the interplay of independent sound structures, their<br\/>division into different registers, tonal and<br\/>rhythmic contrasts, and diverse configurations of the<br\/>serial material.   <\/p>\n\n<p class=\"wp-block-paragraph\">Vasyl Barvinsky (1888\u20131963)<br\/>The Ukrainian composer, pianist, educator, conductor, and<br\/>music official Vasyl Barvinsky is considered one of the most tragic<br\/>figures in Ukrainian music history.<\/p>\n\n<p class=\"wp-block-paragraph\">In 1948, Barvinsky was arrested. Following the verdict of the<br\/>Soviet authorities, he spent ten years in a<br\/>labor camp in Mordovia; most of his manuscripts<br\/>were destroyed. Upon his return, the<br\/>composer reconstructed numerous works of his own from memory.  <\/p>\n\n<p class=\"wp-block-paragraph\">The two preludes from the cycle *Eight Preludes, Op. 8*<br\/>were composed while Barvinsky was a student at the<br\/>Conservatory in Prague and were published in Leipzig in 1918.<br\/>Even these early works drew the attention of the European<br\/>music world to the extraordinary talent of the young<br\/>Ukrainian composer.<\/p>\n\n<p class=\"wp-block-paragraph\">Even in his early compositions, Barvinsky<br\/>organically combines Ukrainian melodies with the tonal<br\/>color of European musical modernism.<br\/>His preludes are characterized by finely nuanced<br\/>timbres, subtle dynamic gradations,<br\/>impressionistic, shimmering harmonies, and a<br\/>transparent texture.<br\/>Bohdana Frolyak (*1968)<br\/>Beethoven\u2019s Cloud No. 2<br\/>(2023) is dedicated to the memory of<br\/>the Ukrainian conductor Yurii Kerpatenko,<br\/>who was murdered in 2022 in Kherson by Russian occupying forces<br\/>.<br\/>The work was created as part of the international project<br\/>32 Bright Clouds: Beethoven Conversations Around<br\/>the World. The world premiere took place in Tokyo in 2025;<br\/>the work was subsequently performed in Ukraine and in New<br\/>York. In Berlin, Bohdana Frolyak\u2019s composition<br\/>will be performed for the first time.  <\/p>\n\n<p class=\"wp-block-paragraph\">The allusions to Beethoven\u2019s Second Piano Sonata<br\/>are woven into the suspenseful dramaturgy of the work<br\/>and take on new meaning in the context of contemporary Ukraine<br\/>. The concluding D-flat major chord<br\/>\u2014shifted down a half-step<br\/>from Beethoven\u2019s original\u2014seems to symbolize a world<br\/>that has been thrown off its axis and will never again<br\/>be the same.<br\/>\u201cArt, I believe\u2014especially music\u2014should leave one with a sense<br\/>of light and catharsis.\u201d<br\/>(Bohdana Frolyak) <\/p>\n\n<p class=\"wp-block-paragraph\">Franz Schubert (1797\u20131828)<br\/>Impromptus in A-flat major, Op. 90, No. 4<br\/>\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026<\/p>\n\n<p class=\"wp-block-paragraph\">Robert Schumann (1810\u20131856)<br\/>Sonata No. 1 in F-sharp minor, Op. 11 (1833\u20131835)<br\/>Robert Schumann wrote to Clara<br\/>Wieck about his First Sonata, describing it as a solitary cry from his heart to her; the theme associated with Clara<br\/>appears in it in many<br\/>different forms.<br\/>Composed between 1833 and 1835, the First Sonata belongs<br\/>to the composer\u2019s early creative period.<br\/>The first edition was dedicated to Clara Wieck and was published under<br\/>the names Florestan and Eusebius\u2014Schumann\u2019s two<br\/>creative alter egos, who embodied the contrasting sides<br\/>of his artistic personality. The sonata consists of four movements,   <\/p>\n\n<p class=\"wp-block-paragraph\">which are linked by thematic connections through \u201c<br\/>.\u201d<br\/>Musicologists emphasize their<\/p>\n\n<p class=\"wp-block-paragraph\">an unusual compositional structure<br\/>: lyrical themes,<\/p>\n\n<p class=\"wp-block-paragraph\"><br\/>, which Schumann drew from his early song compositions, run<br\/>throughout the entire cycle and lend the sonata a<br\/>inner unity as well as a special psychological<br\/>coherence.<\/p>\n\n<p class=\"has-text-align-center alignwide wp-block-paragraph\"> Tatjana Shylina-Lenk<\/p>\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n<p class=\"wp-block-paragraph\">J\u00f3zsef \u00d6rm\u00e9ny<br\/>is a People\u2019s Artist of Ukraine, a professor<br\/>, and head of the piano department at the Mykola Lysenko<br\/>Conservatory in Lviv, as well as one of Ukraine\u2019s most renowned<br\/>pianists and an outstanding interpreter<br\/>of works from a wide variety of musical eras.<br\/>His repertoire ranges from the Baroque and Romantic periods to<br\/>the music of the 20th and 21st centuries, with a special<br\/>focus on Ukrainian music.<br\/>In his program \u201cPaths and Transformations,\u201d<br\/>the pianist presents works by Franz Schubert, Robert Schumann,<br\/>Yevhen Stankovych, Bohdana Froliak, and Mykola Lysenko.  <\/p>\n\n<p class=\"wp-block-paragraph\">                                                                                         <\/p>\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Wege und Wandlungen Mykola Lysenko (1842\u20131912)Heroisches Scherzo op. 25 (1880)Franz Schubert (1797\u20131828)Moments musicaux Nr. 2 und Nr. 3, D 780,op. 94 (1823\u20131828)Yevhen Stankovych (1942)Sonatina (1966)Vasyl&hellip;<\/p>\n","protected":false},"author":3,"featured_media":6683,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[256],"tags":[],"class_list":["post-6684","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\/6684","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=6684"}],"version-history":[{"count":1,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/posts\/6684\/revisions"}],"predecessor-version":[{"id":6687,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/posts\/6684\/revisions\/6687"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/media\/6683"}],"wp:attachment":[{"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/media?parent=6684"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/categories?post=6684"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/tags?post=6684"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}