there are such er things that later er well, you have to accept how you can accept history, you can't correct it. that is, i accept it as a fact that it happened or do i have the right to er condemn a person who behaved in this way without knowing er -e some certain moments eh what prompted her to do this what was her experience i think that it is not our right to condemn at all that is why i accept it as a fact and a page from the life of this or that person but if there is eh in this person we take a composer for example, whether a poet is something that touches my soul, it has the right to be and

not only that, it should be so that future generations can appreciate what happened to us here now, barvinskyi, i was shocked when i learned that in the mordovian camps in one of the barracks another one of our lviv composers, borys kudryk, was sitting with him, they made a manuscript of two symphonies, and we imagine a man whose life possessions were burned in the yard of the lviv philharmonic after serving 10 years in mordovia, risking his life , carries out those scores and brings them to us, and i am surprised by this moral act, loses

everything but gives life to another's outline kudrik dies there in the face of his symphonies we had the first attempt to record them unsuccessfully now we are reworking the scores and will record them again why didn't it fail unsuccessfully imperfectly do you understand the orchestra and the conductor this is the result when they work in tandem, we didn’t succeed a little and that’s why we have to re-record all those kilometers of recordings because they don’t have them, they can’t be released, well, let’s get back to this topic, the presentation of ukrainian music , after all, why the conventional litoslav all the symphony orchestras of all the countries of the world play for everyone, they perfectly understand something, this is polish music, it is from chopin

, linguistically from the lytaslav sea, through there , many others, and lyatoshinskyi or lyudkevich can be played so far only in ukraine, and you don’t play revutskyi so often i can't even remember a few names of composers of the 20th century. it's obvious that this is secondary music or just music unknown unknown unknown music. and secondly, it is uh-uh hard to understand even for us why uh-uh well, lyutaslavsky is not difficult for you. for something well, it's more difficult for deputies than lyudkevich, i agree here, i agree, but uh, there were funds invested by his uh country in popularization, and in our country, i apologize, since 1991, almost

not a single penny has been invested in the popularization of ukrainian music. they know, well, we practically reduced the cultural canon in the world to the point that we put up a monument to shevchenko without translating it, even very often without allocating money for translations of openings, unfortunately, this is also enthusiasm, but there is a monument, there is no translation. well ok, but when it comes to lysenko, it is no longer interesting at the state level, we have only just started to fight for ukrainian painting to prove that what is called russian all over the world , yes, it all happened on ukrainian soil. this is all to be perceived because i was the same. well, actually , european music was more interesting for me, or

was it possible to enter the market of europe and the world sooner than with ukrainian music, but i made my first breakthrough with uh, well, i made the orchestra made after recording a disc on the british tokata classic label, we recorded 24 of skoryk's whims and this music is it and you can already listen to it and the bbc radio rated this record as one of the best out of the 500 selected, not the recording is better, but the music and well, it just depends on each person individually. it was interesting for me to record this music and show it to the world, and for sure every person was enthusiastically

doing it for 30-plus years, but now, all the same there were no more chances to present this music in the world, how many music corporations, all these recording companies, the bbc, other well-known corporations that promote the classical music world, how much can they now be interested in ukrainian composers, ukrainian performers, it just went full-scale, at the beginning of the full-scale war, it was on the all-ukrainian e abroad, here is the second question , what is the quality? yes, everything is there because there are a lot of orchestras that left during the beginning of the full-scale war, they oppose themselves

as ukrainian bands, but the quality is for me my subjective opinion is not very good for me, for example, the lviv national philharmonic, the kyiv national philharmonic, sirenko the cook, these two orchestras went to america, now the national philharmonic is going to japan, and now at this moment it is in taiwan, that place i understand that before i had to fight my way through exits to e-e platforms to the world, now with e-e correspondence you can find, respectively, interest in ukrainian bands and ukrainian music .

mandatory in the concert program, two or three works by ukrainian composers, for which we reduced his fees, now uh, it's already like a necessity, he quietly pressed, that is, at the bazaar , they opposed it, they say well, this is ukrainian music well, who knows it, who will buy a ticket for it if, for example with ukrainian conductors er well, now i will again give the example of karabitz. one of our conversations was when i told him it was time to perform kyrylov's ukrainian music in the first section or at least in the second section of the symphony and er to show the composers. he said, well, i perform european music and for the encore he performs a ukrainian piece, i say, well, there can't be ukrainian music for the encore , it must be included in the program why can't there be silvestrov in the program no, well, silvestro bin ot silvestrom

- this is a separate caste of ukrainian composers he uh, he presented himself in europe, he signed a contract with a publishing house, his notes are sold like all other composers uh, through agencies and you have to pay copyright and we are an orchestra uh, even during the war, we pay copyright for each piece and that's why sylvestrum his notes bought this one before and knew his music. did you perceive the composer as a ukrainian composer? i will say from my experience that another 10 years ago, the orchestra came from lviv, yes, no, no, russia. well, somewhere in the periphery, that was the case and we... on the 14th, they told us more intensively, where we came from, how and who we are, well, to a certain

extent, the musical turning point was when, uh, during nato in madrid, you remember , the ukrainian musicians berezovsky and skoryk played in the museum, this was the first such performance essentially at the world level when all they heard it, and in such a news broadcast , i thought that maybe this is really some kind of cultural uh-uh turning point , so for us it should be, we should at least take advantage of it of a cultural institution that he has uh, you uh, the foundation of his motivation , well, because of him, their groups go uh, abroad, he wants to popularize ukrainian

music, why? in order for it to become popular, we first of all need to to believe that she is worthy of others composers and to lie down on the wave of the boom well, i am skeptical about that. and maybe there can be another turn in this conversation , maybe world orchestras should start performing ukrainian music there, maybe we need to look for world-class performers. conventionally speaking, the bbc orchestra is led by a finnish conductor with a ukrainian heart, then stetsevska. and my father was born in kyiv, and she was also born in kyiv, but then her mother left.

they ordered and performed it themselves and it was broadcast to the whole world. this is the right decision. a foreign orchestra performs ukrainian music and it will slowly promote which countries can be the first here , that is, the neighboring countries of central europe. musical traditions, but people like me do not know ukraine at all and ukrainian music as such, i know such in western southern europe with those big musical groups with famous theaters, who also ordered the american ones now of the ukrainian composer of the opera uh, the theme of this opera uh, the removal of children during that is modern i think that this is already uh, the second important step of this freedom orchestra uh, of course uh, on

these pans, they hired valeriy sokolov as the performer and this is my second injury, he is a ukrainian from the kharkiv region, a phenomenal violinist, he performed a piece by yevhen stankovych there . and this is a ukrainian collective. we correctly said that the best popularization is when ukrainian works are performed by foreign orchestras, and here there is such a thing as a tandem conductor and orchestra the conductor should captivate the orchestra members by explaining to them, uh, about the piece, this philosophy, and then i know this philosophy, it carries, well, in america, we know that half of america, if not more , are ukrainians, so i think that there was someone

to convey it among the musicians, among the musicians and non-musicians, also tell me let us know about the concert season of your orchestra. what season is it? your anniversary season, which corresponds to beethoven's 27th with two heroic symphonies. how did it turn out that the easel or was it a tragic one for beethoven, it could also have been a tragic one, you know? aggressive, it's all such a tragedy that in one symphony he was present in the second symphony, how to build a season well, i will say that when the full-scale one began, we were confused, and secondly, our orchestra was aimed at visiting conductors , and we don't have a main tree there, and at

the beginning everyone refused to come there was only one conductor abroad, oleksandr zintsov, his surname was after the full-scale because of the letter z at the beginning , he changed his surname, he is one of the soviet jews who was born in chechnya, and then, in his youth, he left he went to europe now he is a phenomenal professor, at the age of 25, he became the concertmaster of the london symphony in the group of violas, and he became such a ukrainian in spirit, and he did not refuse when i asked him, he came and so quietly .

i came with such a very free-spirited heart and we started building the season. well, because we were near a broken trough, that is, there were simply no conductors , there were no soloists. believed that they were obliged to support ukraine. this was their first motivation . and now we opened the season with the british conductor polaman, this is a famous conductor. he once assisted the chief conductor of the london symphony orchestra. he is known all over the world. he is very talented. and a wonderful er conductor, and he agreed to come because er and he was lucky there were no bombings in this period and he has no er traumatic experience and before that the season was closed by a french conductor er

a professor of the lausanne conservatory uh, he uh, in the past he was the first hbo to eat uh, paris uh, a radio orchestra, uh, a musician with a lot of experience, and we also had master classes, and the program of french music was great, that's why that we have a few different styles and, uh, musicians, an orchestra, he has to, uh, swim like seas between styles in order to grow professionally, and uh, i am grateful to him, on the first day when he arrived, he came under uh, bombardment, uh sasha er oleksandr zyntsov also when he came. it was his next visit two weeks later, he got under boarding, but it strengthened their spirit and they are ready to come again, that is, having gained this experience, they agreed to come

during the season. that's how we build our season little by little from one to the next, and this anniversary season will be a showpiece. we will be able and will be able to show the experience we gained during those one and a half years when er started full-scale i already told you that i was lost, there were no conductors, soloists er , we are very -e of this help and with they rushed headfirst into piety, and now we don’t stop, but that’s not what i understood one thing that our musicians need to be motivated by something, volunteers joined us in the army

, those who wanted to, they went. it was painful to let go of one of our dear such musicians, good as a person and good as a soldier, are now visa-free and disappeared, and maryana gazetskyi and i really hope that he is alive, but when i realized that our professional school is declining, i understood and already felt that those who will leave will be replaced to the front or went to the front cannot be found because there is no resource for

during the spring period, teaching and the professionalism of teaching fell because a musician needs live communication with a teacher, so i started a conversation with a professor of the weimar academy and they came to meet us and we organized several visiting master classes and our musicians came to learn, and over the past five months, we have been engaged in raising their quality at the sites of er european master classes. and those who came here received coma indicator he is needed, i don't know, but this time and again, we don't have a person of criticism, a critic

who would differentiate these changes and draw these parallels, that's why we quietly, i forgot, we don't have music criticism, that 's not there . no, because we are used to going with the flow, we like uh, snobbery uh, we want to reach uh, to someone, and we rarely tell the truth well , when a conductor comes out and his competence as a choir conductor or when the rector comes out to react well, i am skeptical about this. i want to cherish you. i don't have that everyone should deal with the fact on the spot. well, by the way, you raised a good question. how can there be a musical performance without professional music criticism without additional

ones ? randomly, anyone can declare themselves a genius at any moment and there is no simplification because there is no one to fear or someone is not modest, so then he is a genius when he looks in the mirror and you it's a problem, but as soon as a person goes to europe, music criticism immediately appears, real standards, yes, only musical performance is not a hermetic activity. and actually, i became, well , our orchestra became, uh, big problems, who will evaluate the increase in quality? who needs quality, and this is also a very serious question, that's why we have occupied our niche, we are growing gradually and i think that the 25th

season will be demonstrative, we are slowly entering serious agencies to popularize ukrainian music in switzerland. basel, we played letushin's music, and the audience's appreciation for the music itself was high, that is, people in the audience came up and asked what kind of music it was, that's right, because they had never heard it there. base it on me, it seems that a few years ago ukraine was the only ukraine and europe without a classical music radio station, now it has appeared, it exists , thanks to the internet, it can be anything but we had cultural radio channels i am not talking about cultural television, classical radio stations there was simply no music, and for me it was always phenomenal. well, that's right, because

the entire classical music radio station was supposed to be in moscow during the soviet era, as it was centralized there , well, that and when we became an independent state, this institution never appeared in our country. we didn't have this culture, it was instilled, i can't call them russians, it was cultivated in russia, we left, but there is no cult and no plowed field, we went intuitively. he needs to satisfy his ambitions. he performs music. he knows that he performed it well, or that he made some mistake. when we discuss and work on mistakes

, how do we approach the formation of an orchestra in the best case scenario? i'm the boss, you're a fool and that's all i said and you did, i said that there should be 10 concerts . so there should be 10. and i always had a question about the benefit of those 10 concerts. how many tickets did the hall sell if people go to our lviv opera? tourists go to see the architecture. uh, to be present in this hall, to look at the curtain, uh, to listen to the music of a third party abroad, all the tickets where uh, any opera are purchased for the season, well, the season, i remember how i tried uh, by any means, to get

a ticket on polina in germany well, how did they get it, it was in a few weeks, but it turned out that this is an unreal thing, and it's not tourists, because, well , there were probably tourists too, but it was clear that it seems to me, i don't remember in which german it was in the city, but i remember that it was bulata, it was local residents who are simply in modern the music museum in the modern philharmonic hall has a huge hall. well, the size of the hamburg philharmonic is there, and they took over the entire hall. well, that’s the level of perception. and in us, like in our philharmonic, there are 600 seats. in the best case , lisa batiashvili comes, well, this is top instrumentalism and they are known in this world, her tickets are bought in six months now she has moved from the berlin philharmonic and i am convinced

that the berlin philharmonic has already bought all the tickets for her performances for the season . lizobotiashvili is coming to us with her no less stellar husband. and i am selling the hall myself to my friends yes, in corporations, you go somewhere and tell who is such a creep poteashvili and they look at me with big eyes and don't know who it is because it is not in society this is what i would say to the culture of perception of such music, well , that's what too well, again, it's all of us it seems to me that these 30 or so years have been creating certain institutions, including cultural ones of various types. of classical music in society, because by the way, it depends on the level of society, society rises to certain intellectual levels and there it meets

classical music, if it does not rise, then it does not meet, this is an indicator, and it seems to me that our conversation is precisely related to these , that we are trying to uh, within this hour , climb a few more steps there. i dream of living until the time when uh, the philharmonic hall , there will be queues at the box office for our bands and our performers, you in the ukrainian language well, i think that we are getting closer to this precisely because it seems to me that when we talk about what is happening now with people's understanding of what ukraine is, it starts to come out in one way or another on ukrainian cultural heritage . well, i will hope that those of our viewers who watched this conversation with yes

today on television, who will watch it on youtube, they will at least first be interested in your orchestra. by his surnames, which we mentioned in our conversation today, not by surnames but by music, they will listen to music and i can understand that ukrainian culture is much more than it seems to them. thank you sincerely for this conversation and olenka pryshlyak, deputy general director of the lviv national philharmonic, chairman of the board of the infolv orchestra. thank you for being there so that they have invited and all i have to do, dear viewers, is to say goodbye to you on this broadcast, to wish you a peaceful evening and to see you again on the air of television

vitaliy portnikov was with you on the espresso channel for these two hours. good luck. i congratulate you on the espresso channel. what does the word replicator mean ? in my opinion, it is something about the reproduction of an already existing one. and this is the name of the new pentagon program announced by the us deputy secretary of defense ketley hicks. this program is live now. discussed by american military industrialists and congressmen , the aim of the replicator deployment in large numbers and in the shortest possible time of small drones in the american army, marines , navy, and air force is given one quote from the speech of the us deputy secretary of defense on this topic in ukraine we have seen what inexpensive affordable systems are capable of not to mention their commercial technologies they can help determined defenses