{"id":6695,"date":"2026-07-20T15:40:18","date_gmt":"2026-07-20T13:40:18","guid":{"rendered":"https:\/\/umfuturum.com\/video-en\/concert-program-by-anna-fedorova-ukraine-netherlands-on-april-25-2026\/"},"modified":"2026-09-08T20:21:47","modified_gmt":"2026-09-08T18:21:47","slug":"concert-program-by-anna-fedorova-ukraine-netherlands-on-april-25-2026","status":"publish","type":"post","link":"https:\/\/umfuturum.com\/en\/concert-programs\/concert-program-by-anna-fedorova-ukraine-netherlands-on-april-25-2026\/","title":{"rendered":"Concert program by Anna Fedorova (Ukraine, Netherlands) on April 25, 2026"},"content":{"rendered":"\n<pre class=\"wp-block-preformatted\"><br\/>.<br\/>PROGRAM<br\/>Ludwig van Beethoven (1770\u20131827)<br\/>\uf0b7 Klaviersonate Nr.23, op.57 \u201eAppassionata\u201c<br\/>(1804-1805)<br\/>Johannes Brahms (1833\u20131897)<br\/>\uf0b7 Sechs Klavierst\u00fccke op. 118 (1893)<br\/>Viktor Kosenko (1896-1938)<br\/>\uf0b7 Zwei Poeme-Legenden op.12 (1921)<br\/>Myroslav Skoryk (1937\u20132020)<br\/>\uf0b7 Walzer aus Partite No.5 (1975)<br\/>Borys Fedorov \/ Anna Fedorova<br\/>\uf0b7 2 Improvisationen \u00fcber Themen<br\/>franz\u00f6sischer Chansons (2020)<br\/>.<br\/>Wien \u2014 Kyjiw: zwei St\u00e4dte\u2014vier Stimmen<br\/>In unserem heutigen Konzertprogramm Wien-Kyjiw:<br\/>zwei St\u00e4dte - vier Stimmen m\u00f6chten wir Sie mitnehmen auf<br\/>den Weg von Wien bis in die Ukraine.<br\/>Ludwig van Beethoven\u2019s legendary \u201cApassionata\u201d<br\/>and Johannes Brahms\u2019s Opus 118 engage in a dialogue with<br\/>works by Ukrainian composer Viktor Kosenko and<br\/>works by Myroslav Skoryk.<br\/>If one traces the musical development of these<br\/>outstanding Ukrainian composers of the 20th century,<br\/>If you follow the traces of the 19th century, they will ultimately lead you back to Vienna.<br\/>Viktor Kosenko\u2019s first important teacher at the Warsaw Conservatory (<br\/>) was Alexander Michalowski, a student of the Polish composer and pianist Ignaz Moscheles (<br\/>). He (<br\/>) had studied composition in Vienna under Georg Albrechtsberger and Antonio Salieri (<br\/>). <br\/>Among Myroslav Skoryk\u2019s teachers of classical Ukrainian music<br\/>was Stanislav Ljudkevytsch, who<br\/>received his training at the Vienna Music Institute in the class of the<br\/>Austrian composer Alexander von Zemlinsky<br\/>and Herrmann Graedner.<br\/>The powerful roots of the \u201cVienna School,\u201d dating back<br\/>more than 200 years, continued to influence other cultures<br\/>through its successors\u2014including Ukrainian culture\u2014where they<br\/>fell on fertile ground and bore unique,<br\/>distinctive fruit.<br\/>Ludwig van Beethoven (1770\u20131827)<br\/>Sonata No. 23 in F minor, \"Appassionata,\" Op. 57<br\/>(1804\u20131805)<br\/>Ludwig van Beethoven's \"voice\" in early 19th-century Vienna<br\/>became a symbol of an era<br\/>.<br\/>and at the same time a harbinger of a new way of thinking that opened up new perspectives for composers following in the footsteps of the \u201c<br\/>.\u201d<br\/>Beethoven's Enthusiasm for the French<br\/>The revolution, which he initially associated with Napoleon, gave way to<br\/>disappointment following Napoleon\u2019s coronation as emperor: Beethoven<br\/>withdrew the dedication of his Third Symphony (Eroica, 1804)<br\/>; rather, his later work became a<br\/>portrayal of inner conflicts and personal drama.<br\/>His progressive hearing loss increasingly threatened his ability<br\/>to perform as a pianist or conductor.<br\/>During this phase, described by musicologists as \u201cheroic\u201d<br\/>, the Sonata No. 23 in F-sharp minor<br\/> \u201cAppassionata\u201d was composed.<br\/>By experimenting with newly developed instruments<br\/>, Beethoven explores new sonic possibilities of the<br\/>piano. By enriching the instrument\u2019s construction with new <br\/>Contrasts in timbre and dynamics, along with the<br\/>expansion of the<br\/>registers, give rise\u2014within the classical form<br\/>\u2014to a new quality: an expressive style that forms the<br\/>foundation of musical Romanticism.<br\/>Johannes Brahms (1833\u20131897)<br\/>Piano Pieces, Op. 118 (1893)<br\/>In Vienna, the city of Beethoven's legacy,<br\/>Johannes Brahms gained widespread recognition as one of the<br\/>leading figures of the European musical tradition in the<br\/>second half of the 19th century; his First Symphony<br\/>was described by critics as \"Beethoven's Tenth.\"<br\/>Brahms drew on classical genres and<br\/>transformed them, varying them with great diversity to achieve<br\/>an inner coherence.<br\/>The piano pieces, Op. 118, completed in 1893 and dedicated to Clara<br\/>Schumann, consist of six miniatures:<br\/>.<br\/>They were composed four years before the death of the<br\/>composer. Each piece unfolds a multifaceted spectrum<br\/>of inner emotion. In the final intermezzo, an<br\/>allusion to the medieval motif of the Dies Irae<br\/>becomes audible, dissolving into the sonic beauty of<br\/>Brahms\u2019 harmonies and connecting time and space<br\/>.  <br\/>Viktor Kosenko (1896\u20131938)<br\/>Two Poems\u2014Legends, Op. 12 (1921)<br\/>Viktor Kosenko\u2019s music is set against the<br\/>backdrop of the turbulent events surrounding<br\/>the founding of the Ukrainian People\u2019s Republic in 1918.<br\/>At the start of World War I, the<br\/>family moved to Petrograd because their father was serving in the military.<br\/>In 1918, the young composer returned to Zhytomyr.<br\/>By that time, Kosenko was already a musician who\u2014<br\/>\u2014had been shaped by the cultural milieu in Warsaw<br\/>.<br\/>During these years, Kosenko\u2019s<br\/>unique musical language began to take shape\u2014a fusion<br\/>of Western musical culture with Ukrainian intonational<br\/>thought.<br\/>For the first time, the genre of the \u201c<br\/>\u201d appears in Ukrainian music. In the \u201cTwo Poems-Legends,\u201d Op. 12 <br\/>unfolds through intonational development and<br\/>Factual dramaturgy is a distinct musical language\u2014<br\/>\u2014in which the tension of the era, internal escalation, and profound<br\/>lyricism converge\u2014those qualities that define Kosenko\u2019s<br\/>\u201cvoice\u201d within the European context of the 20th century<br\/>.<br\/>.<br\/>Myroslav Skoryk (1938\u20132020)<br\/>Waltz from Partita No. 5 (1975)<br\/>Myroslav Skoryk\u2019s \u201cvoice\u201d infuses Ukrainian<br\/>musical culture with a vibrant, inexhaustible<br\/>energy that is constantly renewed, despite the tragic challenges<br\/>of the 20th century.<br\/>It is symbolic that the composer\u2019s parents met in<br\/>Vienna, where they were both studying at the university<br\/>. Skoryk\u2019s upbringing in an educated,<br\/>artistically inclined family, as well as his early musical<br\/>impressions at home, had a lasting impact on his path.<br\/>In his work, Skoryk combines various<br\/>stylistic levels\u2014ranging from folkloric sources to<br\/>modern compositional techniques. His musical<br\/>language is characterized by melodic conciseness,<br\/>tonal richness, and harmonic freedom; elements of<br\/>jazz improvisation are also organically<br\/>integrated.<br\/>The \u201cWaltz\u201d from Partita No. 5 appears as<br\/>an ironic allusion to the 19th-<br\/>-century Viennese waltz: The characteristic triple meter<br\/>is retained, but reinterpreted through jazz-inspired harmonies<br\/>and flexible, nuanced rhythms.<br\/>Borys Fedorov \/ Anna Fedorova<br\/>Improvisations on themes from French<br\/>chansons (2020)<br\/>The turn toward the French chanson arose<br\/>from Anna Fedorova\u2019s encounter with the French<br\/>actor Pierre Richard. As part of a<br\/>joint project, the pianists developed a<br\/>.<br\/>unique musical concept that captures the atmosphere<br\/>of France in the 1970s and 1980s.<br\/>Their in-depth exploration of the genre<br\/>gave rise to improvisations on themes by two<br\/>chansonniers\u2014Barbara (\u201cPierre\u201d) and Georges Moustaki<br\/>(\u201cMa Libert\u00e9\u201d). The improvisations by Anna and Borys<br\/>Fedorov thus form another \u201cvoice\u201d\u2014free, lively<br\/>, and open\u2014that connects tradition and the present, Vienna and Kyiv,<br\/>academic art and improvisation<br\/>.    <br\/>Anna Fedorova<br\/>The Ukrainian-Dutch pianist Anna Fedorova<br\/>has captivated audiences since early childhood with her extraordinary<br\/>musical maturity and brilliant technique.<br\/>She performs regularly in leading concert halls around the world,<br\/>including the Concertgebouw in Amsterdam, Carnegie Hall<br\/>and Lincoln Center in New York, the Tonhalle in Zurich,<br\/>the Elbphilharmonie in Hamburg, and the Royal Albert Hall<br\/>in London.<br\/>She is a regular guest at major festivals, including the<br\/>, the Verbier Festival, the Ravinia Festival, and La Roque-<br\/>-d\u2019Anth\u00e9ron.<br\/>In addition to her artistic work, she has been actively involved in benefit concerts for Ukraine since<br\/>2022.<br\/>Anna Fedorova received her training in Kyiv, Imola, and<br\/>at the Royal College of Music in London. Her mentors<br\/>include Alfred Brendel and Sir Andr\u00e1s Schiff, among others. She is<br\/>a co-founder of the Davidsb\u00fcndler Music Academy in The<br\/>Hague.  <\/pre>\n\n<p class=\"wp-block-paragraph\"> Tatjana Shylina-Lenk<\/p>\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>.PROGRAMLudwig van Beethoven (1770\u20131827)\uf0b7 Klaviersonate Nr.23, op.57 \u201eAppassionata\u201c(1804-1805)Johannes Brahms (1833\u20131897)\uf0b7 Sechs Klavierst\u00fccke op. 118 (1893)Viktor Kosenko (1896-1938)\uf0b7 Zwei Poeme-Legenden op.12 (1921)Myroslav Skoryk (1937\u20132020)\uf0b7 Walzer aus&hellip;<\/p>\n","protected":false},"author":3,"featured_media":6573,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[256],"tags":[],"class_list":["post-6695","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\/6695","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=6695"}],"version-history":[{"count":1,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/posts\/6695\/revisions"}],"predecessor-version":[{"id":6696,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/posts\/6695\/revisions\/6696"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/media\/6573"}],"wp:attachment":[{"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/media?parent=6695"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/categories?post=6695"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/umfuturum.com\/en\/wp-json\/wp\/v2\/tags?post=6695"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}