De Nihilo NihiI

Wherever a human gets when he/she steps on an original chapter of life, there is always a beginning in this chapter. This beginning is a culture in which we are inevitably immersed or we are immersed from the very birth by others. It is as if we are covered with invisible signs and symbols that will sound inseparably from our desire through our words and our actions. The primary prism of Stravinsky, Prokofiev and Tchaikovsky is Ukrainianness, which sounds atypically in compositions of the composers who blur the boundaries of a single identity, being part of world music and speaking a language that does not need translation.

Stravinsky with love, taste and tact uses individual melodies of the Italian master Pergolesi, his characteristic rhythmic formulas, rethinks them in a modern way, complicates their harmonies. Tchaikovsky’s symphony begins with a theme that is commonly called Ukrainian. The composer titled it so, despite the fact that there is no such motive in the collections of Ukrainian songs; It is possible that Tchaikovsky heard this melody in a folk performance in Ukraine and in this form transferred it to a symphony. Prokofiev also conveys his feelings and impressions in “Autumn”. This sketch seems a bit gloomy and mysterious, initiated by a lyrical line, as if from Beethoven’s sonatas, which he heard since early childhood, which were played by his mother.

INSO-Lviv will have a difficult task but this orchestra never backs down in the face of difficulties. “INSO-Lviv” will show through the skill of its game three dissimilar faces, through which the identity that comprehends the supercultural emerges.

Artists:

• “INSO-Lviv” Symphony Orchestra of Lviv National Philharmonic
• Kyrylo Karabyts, conductor

In the programme:

• I. Stravinsky “Pulcinella” ballet suite, 1924
•  S. Prokofiev “Autumn”, symphonic sketch for small orchestra, 1910, op.8
• P. Tchaikovsky Symphony No 2, in C minor, op.17