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On August 19, French cellist Jean-Guihen Queyras gave a special concert at the Kyiv Philharmonic in the Ukrainian capital, as a sign of hope and solidarity. During his stay, he also visited a rehabilitation center for wounded soldiers and a clinic for children suffering from war trauma. Here he tells The Strad about the concert and describes his impressions from Ukraine in the middle of the war.
What were your first impressions of your performance in Kiev?
You don’t know what to expect until you get there. Even though Kyiv has lost so many residents, the hall was packed because people want to say, “They’re not going to take away our art. Art goes on and music goes on.” It’s so captivating to see that, especially the energy of the musicians themselves. When the concert halls were closed, they played all over the city, from shopping malls to hotel courtyards – anything to keep the music alive.
Who performed at the Kyiv Philharmonic?
The concert was organized by the Kyiv Camerata and also included members of the National Presidential Orchestra. Dmitry Logvin conducted the concert and in the first part Bogdana Pivnenko, violin leader at the National Tchaikovsky Academy of Music, played with fiery intensity a concerto by Ukrainian composer Yevhen Stankovych. I had the honor of performing Saint-Saëns’ Concerto, a piece that brilliantly captures both the anguish and the hope as well as the joy that music can evoke. I also played Fauré’s Élégie, a piece that naturally took on another layer of meaning in the Ukrainian context and resonated deeply with the audience. It is thanks to the vision and drive of Bogdana, as well as those of Dmitry and Denis Severin (Ukrainian cellist living in Switzerland), that this unique concert in Kyiv was possible.
What are your current impressions of everyday life in Kyiv?
Kyiv still has so much beauty to offer. The city was damaged, but not as badly destroyed as Kharkiv or Dnipro. Life goes on – people still go to work and, when they can, enjoy moments of normality, such as eating out in nice restaurants or drinking a coffee. The reality of war, however, is ever-present: air raid sirens sound two to six times a day, reminding everyone of the ongoing war.
Despite these interruptions, those who chose to stay during the war are determined to continue their lives and make the most of them. Still, there is an underlying sense of suffering; many families have lost sons, brothers and loved ones on the battlefield. That is why I felt compelled to play for the soldiers in addition to the concert – the heroes who risked everything for their and our freedom and who were seriously wounded in battle.
I also ran a workshop for children traumatized by war. Although their difficult circumstances cannot be changed, I wanted to offer them something small but meaningful – the healing sound of the cello. In listening to parts of Bach’s Cello Suites, both the soldiers and the children found moments of reflection, relief and peace. Although these encounters were short-lived, they were profoundly meaningful.
How has it changed your perspective?
My basic perspective has not changed – I have always had deep compassion for what is happening here. What has evolved for me, however, is the realization of how important the role of music and exchange between Ukrainian musicians and the global community really is. While war understandably takes resources away from the arts, it is important that these human and musical connections remain. They provide hope and help lay the foundation for the future of Ukraine and its people.
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