Learning is the highest prize

The final concert of the competition that took place in the National Philharmonic Society of Ukraine is over. The winners have been chosen, the prizes have been awarded. The winners will undergo an internship course with Vladimir Spivakov at the Youth Symphonic Orchestra of the CIS, or will be able to get a master’s degree at various Russian conservatoires.

As this was the first competition, it was not specified that the participants must perform the composer’s works. As an overture, the Bortniansky’s Concert No. 34 was performed by the Bortniansky Chamber Choir of the Chernihiv Oblast Philharmonic Society, conducted by Ivan Bohdanov-Khorovy. The aim was to create a specific atmosphere. Bortniansky’s Quintet for violin, viola, cello, harp, and piano was performed by Kyiv’s Kvintet ensemble.

The competition was organized by Ukraine’s Ministry of Culture, Ukraine’s National Committee of the UNESCO Music Council, Ukraine’s office of the Rossotrudnichestvo, the Kyiv City State Administration and the Vivat Art Charity Foundation.

The competition was held with the assistance of RF Embassy to Ukraine. The advisor of the RF Embassy to Ukraine Vsevolod Loskutov (incidentally, he promised to send the Chernihiv Choir on tour to Russia) is convinced that Bortniansky’s name, his music, and the competition named after him will help to unite our peoples. For not only did the composer bring together Ukraine and Russia in his creative work, he also conquered Europe. Bortniansky was called the Orpheus from Neva’s bank, and the Saint Petersburg choir, for which he created his works, was compared with the Va­ti­can choir.

“The composer’s spiritual Orthodox music is able to unite different peoples,” musicologist Lesia Oleinyk says, “Bortniansky was always considered a national composer in Kyiv, one who brought our culture to Europe from the provincial town of Hlukhiv in Chernihiv oblast, his birthplace. The composer was among the first to create music for chamber ensembles, which soon began being performed in aristocratic salons in Saint Petersburg and later, throughout Europe.”

The Bortniansky competition was called to revive the tradition of home music playing, which was quite popular in the 19th century. Russia offered the composer a chance to study, so the organizers resolved that the best award for the winners of the competition will be an opportunity to study in Moscow and Saint Petersburg (free of charge). Hence, the certificates received by the winners.

Two ensembles are going to train with the Youth Symphonic Orchestra of the CIS, where they will be taught by Vladimir Spivakov. Those are the winners of the first prize in the nomination “V-1. Chamber ensembles,” the duo Dimension from Minsk (clarinet: Evgeny Shimanovich; piano: Yulia Pereu) and the winners of the first prize in the category “V-2. String Ensembles,” the New Kiev Quartet (violin: Alisa Rubanova and Iryna Tsukatova, viola: Marta Deichakivska; cello: Artem Poludenny).

Kyiv’s duo B.M. (violin: Ihor Zav­horodnii; piano: Tetiana Pavlychuk) took the first place in the category “A-1 (aged under 21). Chamber ensembles.” They won certificates to study in Russia. The winners of other prizes will also be sent to study, and in the category “Folk Instruments,” those even include winners of the third prize.

The winners were determined by an international jury headed by the famed composer, head of the National Association of Composers of Ukraine Yevhen Stankovych.

For Evgeny Shimanovich and Yulia Pereu the award came as a surprise. But their road to victory was resolute. They had a chance to perfect their program at a chamber music festival in Lodz, Poland.

“We met each other at my conducting exam. Yulia assisted me as a pianist,” Shimanovich told The Day. This is how our cooperation started. Then our roads separated, but when preparing for the competition in Poland I offered Yulia to perform together and she agreed. We just had to reinforce the program for our Kyiv performance.

“All kinds of competitions are useful for young people, because they give an opportunity to test their mastery and professionalism, and also to perfect their programs, be evaluated, and see the level of other participants,” says Yevhenia Basalaieva, member of the jury, head of the department of chamber ensemble of the National music Academy of Ukraine, “This competition had variegated categories, ensembles of string instruments, wind-instruments, folk instruments... Indisputably, this palette is a very interesting direction, as it offers an opportunity to perform for a broad variety of chamber ensembles of different performing genres.”

The level of string and chamber ensembles was quite high. Kyivites distinguished themselves in the nomination “Chamber ensembles.” These included the duos Ihor Zavhorodnii (violin) and Tetiana Pavlychuk (piano), who won the first prize, as well as Arsen Poltavets (violin) and Maria Vikhliaieva (piano), winners of the se­cond prize. The participants of the category “Chamber ensemble. V-1” also showed a high level — the category featured many good clarinet players. The Minsk duo, Evgeny Shimanovich (cla­rinet) and Yulia Pereu (piano) was also bright. A duo from Kharkiv, Leonid Popov (clarinet) and Olesia Pupina (piano), placed second.

The string quartet was alone in the category but it competed well and won the first prize. Unfortunately, this cannot be said about the wind-instrument ensembles, which received nothing but a diploma. The category of folk instruments was mainly represented by Donetsk musicians. Unfortunately, no first prize was awarded there, either. The jury was unanimous when voting for the second prize and two third ones. To much regret the folk instrument players did not conquer their hearts.

Sadly, the competition was not funded. However, the presence of the representative jury indicates that the musicians wanted to support the idea of holding the Bortniansky Competition and the jury was very demanding when assessing the participants. Everyone was working on a volunteer basis. The winners did not get any cash prizes, only the possibility to study in Moscow and Saint Petersburg. Studying in Russia is good, no doubt. But why only in Russia? In my opinion, they could have also organized training in Europe — in Germany and Austria. No doubt the competition needs sponsors. For example, it would be interesting to organize tours across Europe for the winners. Training in orchestras, even the best ones, is not a panacea for raising the level for a chamber ensemble soloist, because working in orchestras, unfortunately, makes one lose performing individuality.

On the whole, one should perceive competitions as a school for improving one’s skills. Even if you don’t get a prize, you receive much from taking part in them. For performers it is always interesting to compete with each other and go through this school of tenacity. Therefore all kinds of competition are positive.

“The Bortniansky Competition showed a high level of qualification of those who are studying and a high le­vel of their teachers’ pedagogical work,” Galina Nekrasova, member of jury, head of the department of chamber ensemble at the Belarus State Academy of Music, noted. “There were very interesting performances. It is gratifying that the participants took interest in the competition; it is evident that they like chamber music, play it with enthusiasm, and have their own specific attitude to it. I think that this competition is a great stimulus for further progress and the promotion of chamber music.”