With Ukraine’s defence of its sovereign nation against Russia’s invasion in the news and in our conscience, SOMM releases a timely recording that pays tribute to a rich heritage of Ukrainian music that was long subsumed by the former USSR.
Margaret Fingerhut, described by Gramophone as a pianist of “consummate skill and thrilling conviction,” has become increasingly involved in using the power of music to raise money for charitable causes. In 2019, drawing on the stories and music of composers who had to leave their homelands because of war or persecution, she undertook a major recital tour, performing “Far from the Home I Love” at thirty-two venues across the UK to raise money for refugees. In 2022 she collaborated with a young Ukrainian film-maker on a powerful video in support of Ukraine. Margaret Fingerhut was awarded an MBE in the 2024 New Year Honours in recognition of her services to music and charitable fundraising. For SOMM’s recording, UKRAINE: A Piano Portrait, she has selected works written between 1877 and 2005 for a deeply personal recital featuring composers from the country of her grandfather’s birth.
Mykola Lysenko, the earliest Ukrainian composer represented here, published a definitive ethnological study of the Ukrainian Dumky, and his Dumka-Shumka is from the opening pages of his second piano rhapsody on Ukrainian folk themes. We owe our knowledge of Lysenko’s music to his pupil and editor, Lev Revutsky, who fell foul of new Stalinist cultural demands in the 1930s, but later revisited earlier compositions that include Three Preludes and Improvisation. Viktor Kosenko, a contemporary of Revutsky, also pursued his composing career in Ukraine, and his expressive Nocturne comes from a set of Études for Piano in the Form of Old Dances.
The opening and closing pieces in this collection are by Sergei Bortkiewicz, who suffered under both Soviet and Nazi tyrannies. Les Rochers d’Outche-Coche is the first of three Sketches of the Crimea, while Consolation is from a group of eight Lamentations et Consolations. From Vasyl Barvinsky, who shared Bortkiewicz’s adoption of late-Romantic Impressionism, we have Two Preludes and Loneliness – the sorrow of love from his piano cycle, Love.
Boris Lystoshynsky, whose featured works are the Elegy-Prelude ‘Mourning’ and Two Preludes on Ukrainian Folk Songs, survived the Zhdanov Decree in the 1940s, which aimed to control Soviet culture and art; while the most contemporary Ukrainian composer on this recital, Valentin Silvestrov, fled to Berlin to re-establish his career following the Russian invasion of Ukraine in February 2022. His Three Bagatelles are written in a neo-classical, post-modernist musical language.
Royalty sales from this recording will go towards British-Ukrainian Aid, which raises money for emergency vehicles and medical supplies for Ukraine.
On This Recording
Esquisses de Crimée, Op. 8
- I. Les Rochers d’Outche-Coche (7:31)
5 Preludes (1908)
- No. 1 in G Major (5:39)
- No. 2 in F-Sharp Major (3:03)
- I. Loneliness, the Sorrow of Love (6:27)
- Rhapsody on Ukrainian Themes No. 2 “Dumka-Shumka”, Op. 18(1877) (8:48)
3 Preludes, Op. 4 (1914)
- No. 1 in D-Flat Major. Lento (2:40)
- No. 2 in F-Sharp Minor. Andantino (2:24)
- No. 3 in C-Sharp Minor. Presto (1:02)
- Improvisation (1920-30) (3:55)
- Nocturne-Fantaisie, Op. 4 (1919) (8:25)
3 Bagatelles, Op. 1 (2005)
- I. Allegretto (2:53)
- II. Moderato (3:23)
- III. Moderato (4:38)
2 Preludes on the Melodies of Ukrainian Folk Songs, Op. 38b (1942)
- No. 1 in D Minor. Allegro tumultuoso (2:38)
- No. 2 in E-flat major. Allegro risoluto (2:36)
- Elegy-Prelude “Mourning” (1920) (5:10)
- Consolation, Op. 17 No. 4 (1914) (6:17)
