Ukrainian Composer Fedir Yakymenko
He who embodied in music the movement of the planets and the glow of the stars, the splash of water and the rustle of the forest, the haze of dreams and the tenderness of a lullaby
St. Petersburg Court Singing Chapel Ukrainian Institute
Early Life
Fedir Yakymenko was born on February 20, 1876, in the village of Pisky near Kharkiv. He and his two younger brothers inherited musical talent from their father, a church chorister, and at the age of ten he joined the St. Petersburg Court Capella.
St. Petersburg Academy of Arts Ukrainian Institute
Early Life
Yakymenko studied at the St. Petersburg Court Capella and later at the Conservatory (1895–1901) under composers Balakirev, Rimsky-Korsakov, and Lyadov. During this time, his surname was russified to Akimenko.
Fedir Yakymenko – String Trio, Op. 7
Performed by: Solomiya Ivakhiv (violin), Kristin Grossman (viola), Laura Metcalf (cello)
Fedir Yakymenko Ukrainian Institute
First European Travels
Between 1903 and 1906, he lived in France, Switzerland, and Italy, immersing himself in the arts, inspired by Debussy and Ravel, befriending Scriabin and Calvocoressi, performing as a pianist, and composing works.
Artistic Vision of Fedir Yakymenko
Among his non-musical interests that shaped his artistic vision were the painting of French Symbolists and Impressionists, as well as astronomy, a popular scientific field at the time. In 1904, he even became a member of the French Astronomical Society.
A key experience for Yakymenko in Paris was meeting the astronomer Camille Flammarion
, known for his observatory, hypnotic and spiritualist sessions, and popular works on astronomy and esotericism. Flammarion’s books Urania
and Starry Dreams
inspired Yakymenko to create music with the same titles.
Autographed sheet music cover of "Urania" Ukrainian Institute
Urania. Muse of the Heavens. Fantastic Sketches
The piano cycle Urania, performed by the composer himself, received strong reactions from experts, who recognized the innovative style of the music. Through his musical language, Yakymenko conveys the feeling of cosmic light, the movement of celestial bodies, and human thoughts.
Fedir Yakymenko – Urania
Performed by Pavlo Lysyi
The Dream by Pierre Cecile Puvis de Chavanne Ukrainian Institute
Artistic Aesthetics
At the intersection of cosmogony, mysticism, symbolism, and impressionism, Yakymenko developed a modernist style. His compositions are sonic expressions of celestial bodies and the mysteries of human consciousness.
“Akimenko is entirely independent, inventive, imaginative, and free… Serious academicism and classicism remained for him a memory of yesterday. Akimenko is a musical astronomer, capturing the tremors and charm of mystical forces in their playful, interweaving lights…” (Ye. Petrovsky, Russian Musical Newspaper, 1908)
The Dream by Pierre Cecile Puvis de Chavanne Ukrainian Institute
Artistic and Philosophical Reflections. Book Life in Art
The fourth chapter of Life in Art, on the dreams of a dreamer, echoes the imagery of Puvis de Chavannes’ painting The Dream (1883). Yakymenko likely saw in this work a reflection of his own vision of creative inspiration—the unity of three muses: Science, Art, and Love.
“Who are you, my lovely fairies?” exclaimed the astonished dreamer.
“My name,” said the first, “is Love.”
“My name,” said the second, “is Science.”
“My name,” replied the third, “is Art…”
F. Yakymenko, Life in Art
Photo of the Kharkiv Music College at the beginning of the 20th century Ukrainian Institute
Kharkiv Period
In 1906, Yakymenko returned to his native Kharkiv, where he taught at the music school. He actively performed, composed music, and wrote literary and journalistic works. At that time, Kharkiv was one of the centers of musical culture in the Russian Empire.
Teachers at the music school often performed publicly. Together with colleagues, Yakymenko successfully presented his compositions for various instruments, including Etude-Fantasy, Three Idyllic Dances, Tales of a Dreamy Soul, and Pages of Whimsical Poetry.
Fedir Yakymenko – Tales of a Dreamy Soul, Op. 39
Performed by Pavlo Lysyi
Fedir Yakymenko Ukrainian Institute
Moscow–Petrograd Period
In 1912, Yakymenko moved to Moscow, performing his works as a pianist and conductor at concerts organized by Sergei Kusevitsky. Two years later, he settled in Petrograd, accepting an invitation to teach composition and music theory at the conservatory.
In 1912, Yakymenko moved to Moscow, performing his works as a pianist and conductor at concerts organized by Sergei Kusevitsky. Two years later, he settled in Petrograd, accepting an invitation to teach composition and music theory at the conservatory.
During his nine years in the Russian capitals, he lived through turbulent political events: World War I and the rise of Bolshevik rule. This experience deeply shaped his perspective. An intellectual and aesthete raised in an aristocratic artistic environment, Yakymenko could not accept the destructive policies of the Bolshevik regime.
Sonata-Fantasia No. 2, Op. 60: I. Andante - Allegro molto
Around this time, one of his landmark works likely emerged – Sonata-Fantasia No. 2, full of dramatic expression.
Performed by Pavlo Lysyi
Sonata-Fantasia No. 2, Op. 60: II. Larghetto
Ukrainian themes also appear in his work. He composed Six Ukrainian Pieces for two pianos and worked on arranging 75 Ukrainian folk songs.
Performed by Pavlo Lysyi
Yakymenko closely followed the Ukrainian liberation movement and nation-building processes, which culminated in the proclamation of the Ukrainian and West Ukrainian People’s Republics.
In 1917, he became a member of the Ukrainian Literary and Artistic Society in Petrograd, actively participating in its concerts of Ukrainian music. Ukrainian themes also entered his compositions.
Prague Period
In 1924, Yakymenko emigrated to Prague, teaching for about two years at the Ukrainian Higher Pedagogical Institute named after M. Drahomanov as head and professor of the music department. He actively joined the concert life of the Ukrainian diaspora.
In Prague, Yakymenko’s work expanded to include Ukrainian-themed compositions: choral arrangements of folk songs (Songs of Carpathian Ukraine), choral works set to texts by Taras Shevchenko and Mykhailo Starytsky, solo songs on poems by Oleksandr Oles and Mykyta Shapoval, and piano cycles, including Three Pieces on Ukrainian Themes and Pictures of Ukraine. The style of these works is clearer and more accessible compared to his earlier compositions.
Songs on Poems by Oleksandr Oles
Performed by Diana Ziabchenko and Pavlo Hintov (“In Song – Torments,” “Do Not Be Surprised That Flowers Wither,” “The Heart Will Not Overflow with Song”)
After two years in Prague, Yakymenko moved to France, first settling on the French Riviera in Nice, and later relocating to Paris.
Yakymenko likely hoped that in France, where he had spent the best years of his youth, his creative powers would flourish again. However, the rise of Nazism, the economic crisis, and World War II thwarted his dreams. The Russian Conservatory closed due to financial difficulties, and Yakymenko lost his job. Publishers that had printed his works also shut down. Alone and forgotten, weakened by hunger, poverty, and illness, he spent his final years in Nazi-bombed Paris.
He died suddenly on January 3, 1945, just before the end of the war. On his grave at the Batignolles Cemetery, it is inscribed: “Fedir Yakymenko – Ukrainian Composer.”
Barcarole The Gondolier’s Dream, by INSO-LVIV Orchestra
Most of his late works remain in manuscript form, held by the National Library of France and private collections. Reviving, promoting, and studying Yakymenko’s music is a matter of restoring historical justice.
All text copyright belongs to Olha Lihus.
Editor: Yelyzaveta Sidelnykova
You are all set!
Your first Culture Weekly will arrive this week.
