Ukrainian contemporary composers. Famous Ukrainian composers: a list of names, a brief overview of works

The East Slavic tribes, from which the Ukrainians are descended, certainly had a talent for music. On the lands of modern Ukraine, the original musical instruments were found, whose age is from three to twenty thousand years. High level musical culture marked - a powerful feudal state of the IX-XII centuries. On the frescoes of St. Sophia Cathedral in Kiev, we still see the image of musicians playing the flute, trumpets, lute, pneumatic organ. The annals and legends mention the guslar singers Boyan, Or, Mitus.

The Tatar-Mongol invasion interrupted the cultural process for a long time. However, already in the XIV-XVI centuries, in the era of the formation of the Ukrainian nation, there was a rapid development of music. Since then, the national (and therefore world) culture has been enriched with such original genres of folk art as the Historical Duma, Cossack songs, peasant round dance songs, dance tunes and the like. This was a significant contribution of Ukrainians to the universal human treasury.

FROM DUMA TO OPERA

Indeed, in those distant years, Ukrainian singers and bandura players often performed at entertainment at the courts of the Polish kings and Russian tsars, who then ruled the western and eastern regions of Ukraine, respectively. Zaporozhye Cossacks, and later Ukrainian soldiers as part of the Russian army, carried their tunes to many European countries. Thus, the Ukrainian dance "Cossack" entered the French ballets of the mid-18th century. An echo of a Ukrainian lyric song can be heard in one of Bach's preludes.

Beethoven used the melody of the song "The Cossack rode across the Danube" for his piano variations. Liszt wrote two paraphrases on Ukrainian themes - the ballad "Oh, don't go, Gritsu" and "Complaint" about the melody "the winds blow."

Naturally, most often Russian composers - Glinka, Dargomyzhsky, Tchaikovsky, Mussorgsky, Rimsky-Korsakov - turned to Ukrainian melos. Their operas, symphonic and chamber works, where real or stylized Ukrainian melodies were used, received worldwide recognition. Operas on Ukrainian themes were also created by Polish composers (A. Minheimer, M. Soltis).

Favorite songs and dances formed the basis of folk operas, operettas, dramas, with which numerous amateur theatrical groups traveled everywhere. Among the classic examples are the opera "Zaporozhets beyond the Danube" by the talented singer and composer Gulak-Artemovsky (he studied and performed in Italian theaters), as well as "Natalka-Poltavka", musical version by Nikolai Lysenko. Already at the end of the 19th and the beginning of the 20th century, these operas were successfully performed in Europe, and the latter - and overseas. Nikolai Lysenko, the founder of the national school of composition, collected, processed and promoted the folk song, introduced it into various musical genres. This business was developed by his followers - Stanislav Lyudkevich, Kirill Stetsenko, Yakov Stepnoy, Nikolai Leontovich and others. The outstanding choir of Leontovich Shchedryk, with its counterpoint addition, has gained immense popularity. In particular, it is included in the program of the now famous Swing Cigers octet, which exists in a variety of transcriptions.

Folk song melos in combination with the traditions of classical music determines the originality of the Ukrainian national opera. The range of opera genres - from the heroic and historical “Taras Bulba” by Nikolai Lysenko and, in modern times, “Bogdan Khmelnitsky” by Konstantin Dankevich to lyric and dramatic works on contemporary themes - “The Young Guard” by Julius Meitus (this piece was once staged in many theaters of Eastern Europe, Vietnam, etc.) and "Milani" by Georgy Mayboroda.

The rich possibilities of the folk song in the field of dramatic symphony were revealed by Lev Revutsky, Boris Lyatoshinsky, Andrey Shtogarenko. Their works are more and more confidently entering the vastness of world music.

VARIETY OF SONG AND DANCE

Folklore influences directly or indirectly reflected on the original songwriting of contemporary composers, including the most popular of them - both in Ukraine and abroad - Platon Mayboroda, Igor Shamo, Volodymyr Ivasyuk, Oleksandr Bilash. It is known, for example, that the lyric romance "My Dear" by P. Mayboroda was performed by various singers in many languages \u200b\u200bof the world, including Japanese.

The art of choral singing - folk, church, academic - has long been developed in Ukraine, and these traditions, one way or another, have been preserved. A triumphant success was accompanied by a tour in France (1929) of the State Ukrainian Wandering Capella ("Mysl") under the direction of Nestor Gorodovenko. The choir of Alexander Koshyts gained worldwide fame, which gave many touring concerts in Western Europe, USA, Canada, Australia.

The state Ukrainian folk choir, organized during the Second World War by Grigory Verevka (his name was given to this collective), rose to a new level, and under the leadership of Anatoly Avdeevsky the choir, whose composition is complemented by orchestral and dance groups, gave hundreds of concerts on tour across all continents. The critic of the Spanish newspaper wrote enthusiastically that "when a country wants to guard its culture, it must follow the creativity of the Rope Choir, doing it with the same love."

The State Folk Dance Ensemble of the Ukrainian SSR under the direction (now named after) Pavel Virsky is equally popular in the world. According to the newspaper "Vradini", this ensemble "surpasses other groups with acrobatic dances, harmony, which will take your breath away ..." In the ensemble's dances with great taste and artistic brilliance, scenes from the ancient and modern life of Ukraine are played out. Under the direct influence of the ensemble, the dance ensemble "Zaporozhye Cossacks" was created in France (leader - Gregoire Lagoyduk). Many amateur groups, participants in various international folklore festivals, are also successful.

Ukraine, rich in beautiful voices, has long “supplied” its singers to neighboring peoples and countries (in particular, for the court chapel in St. Petersburg in the 18th-19th centuries), from where the singers went to study in Italy. This was the fate of Bortnyansky, Berezovsky, Gulak-Artemovsky and Nikolai Ivanov.

In the late 19th - early 20th centuries, their fame was increased by Ivan Lichevsky (soloist of the Paris Grand Opera in 1908-1910), Platon Chesevich, who toured Europe with Fyodor Chaliapin.

The famous Solomiya Krushelnitskaya is rightfully ranked among the five outstanding singers of that time. She saved Puccini's opera Madame Butterfly with her talent, and was one of the best performers of Wagner's and R. Strauss's operas. “How many modern singers should learn the skill of recitation from a Ukrainian woman”, her voice “has no equal,” noted the venerable Italian singer and teacher J. Lauri-Volpi. The names of such outstanding singers and soloists of the best European theaters as Alexander Mishuga, Modest Mentsinsky and Orest Rusnak will forever remain in the history of world opera. Subsequently, Ivan Patorzhinsky, Maria Litshenko-Volgemut, Boris Gmyrya, Zoya Gaidai distinguished themselves.

Despite all the diversity of Ukraine's cultural ties with the world, it is unlikely that a Ukrainian song or dance, opera or symphony would have received publicity and echo if it were not for foreign Ukrainians living on all continents of the planet. At various times, and for various reasons, when leaving Ukraine, they brought with them Shevchenko's "Kobzar" and a Cossack bandura. In both the Americas, Australia and Europe, where they settled, new generations appeared, whose representatives often never visited the native land of their grandfathers-great-grandfathers. However, most of them sincerely love Ukrainian music, which has become one of the main factors of national identity. Today it is difficult to find such a Ukrainian community in the world that does not have its own choir, musical ensemble or dance circle.

As a rule, such circles involve not only people of Ukrainian origin, but also representatives of other ethnic groups, which contributes to the popularity of Ukrainian music in a particular area. Ukrainian foreign amateur groups always participate in festivals of various ranks. Reference can be made, for example, to the Mosaic Festival, which is being held in the city of Ridgein in accordance with Canada's multiculturalism policy. Working in amateur collectives gives rise to its own composers, choirmaster and choreographers, who often improve their skills in Ukraine.

The heritage of Ukrainian music is inexhaustible, because it is constantly enriched. It is open to everyone, because it is not for nothing that they say: "What I gave, I kept."

P. S. Ancient chronicles tell: In the history of Ukrainian music, among other things, the national psychology of the Ukrainian people has also fought back. Probably the psychologist Eduard Surzhik could conduct a study of the dependence of national psychology on the musical culture of a particular people.

"God gave us music so that we, first of all, be drawn upward by it ...", - Nietzsche F.

Music is an art field that can overcome the boundaries of language barriers, and is understandable to the heart of every person. Almost all of us love listening to music., slightly fewer people know how to admire her, even fewer people on the planet are able to come up with music, and very few are given to compose melodies that will last forever. We would like to tell you about the geniuses of music born in Ukraine.

Valentin Silvestrov (1937)

The name of this now living Kiev composer is known all over the world. He is known to our compatriots for the music written for the films by Kira Muratova "Three stories" (2002), "Chekhov's motives", "Two in one" and "Adjuster" (2004).

His work was closely followed german philosopher and composer Theodor Adorno and Soviet composer Alfred Schnittkeand the Estonian composer Arvo Pärt calls Silvestrov “the most interesting composer of our time”.Among the abundance of notes written by Sylvester symphonies, requiems, poems for orchestra, there are unique in its simplicity "Four songs on the verses of Mandelstam."

Miroslav Skorik (1938)

Today the famous composer is 77 years old... Despite the difficult fate, he managed to preserve the feeling of beauty and convey it to people through music.

Among his works music for the film "Shadows of Forgotten Ancestors", musical cycle "In the Carpathians", Carpathian Rhapsody for Violin and Piano.

Nikolay Kolessa (1903-2006)

The world famous composer, a native of the Lviv city of Sambir, Nikolay Kolessa lived 102 years! He was a well-rounded person. Behind him faculty of Medicine, Jagiellonian University (Krakow), faculty philosophy and Slavic Studies at the University of Prague, learning from famous Italian pianist Marietta de Gelli.

During his long life, Kolessa managed to work conductor at the Lviv Philharmonic Society and the Opera Theater, write methodological aids, create music for the film "Ivan Franko" and many more wonderful pieces of music.

Sergei Prokofiev (1891-1953)

The composer owes his musical talents to his mother, a wonderful pianist, who began teaching her son to play the piano as soon as he was 5 years old. Already at the age of 9, Sergei wrote two operas: "The Giant" and "On the Desert Islands".

Among his famous works are operas "War and Peace", "The Story of a Real Man", "The Gambler", "The Love for Three Oranges", ballets "Cinderella", "Romeo and Juliet", "The Tale of the Stone Flower".

Nikolai Leontovich (1877-1921)

A man who managed to glorify the Ukrainian carols to the whole world. The music he wrote for the folk "Shchedryk" became known all over the world under the name Carol The Bells. And thanks to the many arrangements and uses in films, the melody has become a Christmas hymn.

Leontovich was fluent in violin, piano and some wind instruments. In the village of Chukovi, where the composer taught music, he managed to organize an amateur symphony orchestra.

Reingold Glier (1874-1956)

Despite the foreign name and surname, the composer Glier is from Kiev. He was just born back in the 70s of the 19th century and b was the son of a Saxon citizen... Reingold heard music from birth, since his father and grandfather made musical instruments.

Here is just a small list of countries in which Gliere's works were performed: Austria, Greece, Great Britain, Germany, France, Denmark. A music school was named in honor of the great countryman in Kiev.

Nikolay Lysenko (1842-1912)

The creative energy of this composer is simply amazing. Besides writing music Lysenko was a musical ethnographer, collected and studied folk songs, rituals. He managed to become a talented teacher - he taught at the Kiev Institute of Noble Maidens, and in 1904 opened his own Music and Drama School.

In addition, Lysenko was a conductor, pianist and active public figure. He wrote the music for the "Children's Anthem", which is now world famous as "Prayer for Ukraine" Great God, One! "

Mikhail Verbitsky (1815-1870)

Composer, public figure and priest Verbitsky went down in the history of Ukraine as the author of the music of the national anthem.

Music and the ministry of the church were the main centers in Verbitsky's life. He directed the seminary choir, wrote service music... In addition, the composer composed a romance, created music for performances and orchestral concerts.

Artemy Wedel (1767-1808)

Ukrainian composer, choral conductor and singer (tenor). In 1790 he organized and headed a choir of "soldiers' children and free people" in Kiev.

In 1790-1798 he taught a vocal music class at the Kharkov Collegium and at the same time led the choirs of church singers. Author of 29 church choral concerts, in some of which he himself performed tenor solos. The influence of the Ukrainian folk song was reflected in the works of Vedel.

Dmitry Bortnyansky (1751-1825)

Thanks to studying at the famous Glukhiv school the child received an excellent musical education. A wonderful voice allowed the young musician go to study in Venice, Bologna, Rome and Naples.

Unfortunately, many of Bortnyansky's secular works were lost.... The archive of the court singing chapel of St. Petersburg refused to publish them. And after the dissolution of the archive, it turned out that most of the composer's works disappeared.

Dated to the 18th millennium BC. The flutes found at the Molodovo site in the Chernivtsi region are also attributed to the same time).

In general, primitive music had a syncretic character - song, dance and poetry were merged and most often accompanied rituals, ceremonies, labor process, etc. In people's minds, music and musical instruments played an important role as amulets during spells and prayers. In music, people saw protection from evil spirits, from bad sleep, from the evil eye. There were also special magical melodies to ensure the fertility of the soil and the fertility of livestock.

In the primitive play, soloists and other singers began to stand out; developing, the elements of the musically expressive language are differentiated. Recitation on one tone even without the exact dimension of interval moves (the descending gliding movement of the primitive melody in close, most often neighboring, sounds) led to a gradual expansion of the sound range: the fourth and fifth are fixed as natural boundaries of raising and lowering the voice and as reference intervals for the melody and filling them with intermediate (narrow) passages.

This process, which took place in ancient times, was the source from which folk musical culture arose. He gave rise to national musical systems and national characteristics of the musical language.

Folk songwriting

The practice of folk song that existed in ancient times on the territory of Ukraine can be judged by the old ritual songs. Many of them reflect the integral worldview of primitive man and reveal his relationship to nature and natural phenomena.

The original national style is most fully represented by the songs of the central Dnieper region. They are characterized by melodic ornamentation, vowel vocalization, modes - Aeolian, Ionian, Dorian (often chromatized), Mixolydian. Links with Belarusian and Russian folklore are clearly traced in the folklore of Polesie.

Instrumental folklore and folk instruments

Becoming professional music

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Ukrainian musicians of various periods

There is news about the professional musical art of the East Slavic tribes from the time of Russia. With the adoption of Christianity at the end of the 10th century, church singing appeared on the territory of modern Ukraine, which was formed under the influence of Byzantine and Slavic folk music. In the XII-XVII centuries, the monophonic "znamenny chant" spread in Orthodox churches, which also significantly influenced the work of composers of subsequent eras.

XVII-XVIII centuries

Secular professional vocal and instrumental music, which existed in the estates and military units, began to develop in cities from the 17th century. Workshops for musicians appeared, and orchestras and chapels were created under magistrates. On the basis of folk song and kantian traditions in the 18th - early 19th centuries, a song-romance based on the verses of various poets was spread. One of the first to introduce, Grigory Skovoroda began to create in this genre, who introduced civic, philosophical and lyrical themes into the song genre.

Of particular importance in the Ukrainian musical culture of the 18th century was the Glukhov Song School, created on the initiative of Daniel the Apostle in 1730, whose pupils were Dmitry Bortnyansky, Maxim Berezovsky and Artemy Vedel. After graduating from the Glukhov school, Bortnyansky and Berezovsky continued their studies at Italian music schools, which were the centers of European music at that time.

The unification of the traditions of part singing and modern techniques of European writing determined the uniqueness of the work of these composers. Becoming the court bandmaster in St. Petersburg, and since 1796 - the head of the court chapel, formed almost exclusively from the pupils of the Glukhov school, Bortnyansky greatly influenced the development of Russian musical culture. He also became the first composer of the Russian Empire, whose musical works began to appear in print.

XIX - early XX century

The 19th century in the history of music was marked by the emergence of many national schools on the world stage, which was associated with the growth of the national self-awareness of European peoples. Following the Polish and Russian, the Ukrainian national composing school appeared.

Following Ukrainian writers and poets, professional musicians of the 19th century began to turn to folk themes, to process folk songs that were sung by talented amateur amateurs accompanied by folk instruments - kobza, bandura, cymbals, violin, lyre, etc. At the beginning of the 19th century, in Ukrainian music, the first symphonic and chamber instrumental works appeared, among the authors of which were I.M. Vitkovsky, A.I. Galenkovsky, Ilya and Alexander Lizoguby.

The activities of amateur and the opening of the first professional theaters (in 1803 in Kiev, and in 1810 - in Odessa), in which musical and stage works based on national subjects were staged, played an important role in the formation of Ukrainian opera. The first Ukrainian opera is considered "Zaporozhets beyond the Danube" by Gulak-Artemovsky (1863). In Western Ukraine in different genres choral and instrumental (including symphonic) music worked by composers MM Verbitsky, II Vorobkevich, VG Matyuk.

The basis for the development of national professional music was the activity of Mykola Lysenko, who created classical samples of works in different genres: 9 operas, piano and instrumental, choral and vocal works, a work to the words of Ukrainian poets, including the words of Taras Shevchenko. He also became the organizer of a music school in Kiev (1904; from 1918 -).

N. Lysenko. "Great God, One" (inf.)
N. Lysenko. Cantata "Beat the rapids" (inf.)
N. Leontovich. "Shchedryk" (inf.)

Lysenko's creative principles were adopted by N.N. Arkas, B.V. Podgoretsky, M.N. Kolachevsky, V.I.Sokalsky, P.I.Senitsa, I.I.Rachinsky, K.G.Stetsenko, Ya.S. Stepovoy, N. D. Leontovich, D. V. Sychinsky, Ya. O. Lopatinsky, S. F. Lyudkevich, O. I. Nizhankovsky and other composers.

In the second half of the 19th century, the choral movement became widespread, and the choral societies Torban (1870) and Boyan (1891) emerged. Higher opera houses were opened in Kiev (1867) and Lvov (1900), music schools under the Russian Musical Society in Kiev (1868), Kharkov (1883), Odessa (1897) and in other cities.

The Ukrainian theme is also present in the work of Franz Liszt, who traveled around Ukraine in the late forties of the 19th century. Among his works are the pieces for piano "Ukrainian Ballad" and "Thought", as well as the symphonic poem "Mazepa".

At the beginning of the 20th century, a galaxy of Ukrainian performers gained worldwide fame. Among them are singers Solomeya Krushelnitskaya, O. Petrusenko, Z. Gaidai, M. Litvinenko-Volgemut, singers M. E. Mentsinsky, A. F. Mishuga, I. Patorzhinsky, B. Gmyrya pianist Vladimir Horovits, choral conductor A. A. Kosice. Choral arrangements by N. D. Leontovich became known outside Ukraine.

The history of the first sound recordings

The first gramophone records with singing in Ukrainian were released in 1899 by the Emil Berliner company in London. The recordings were made during the tour of the Russian choir S. Medvedeva. One record had the name "Chornokhmari", probably, it was a duet of Oksana and Andrey from the opera "Zaporozhets beyond the Danube", the other disc was the song "Low Sonce". These records are currently unknown. In 1900, Emil Berliner recorded seven more Ukrainian records. In Lviv in 1904-1905, recordings of Ukrainian songs were made by A.A.Krushelnitskaya, and in 1909 - by F.N.Lopatinskaya.

In Kiev, in 1909-1911, the recording studio "International Extra-Record" worked, among the first recordings of which (July 1909) there was a bouv P. I. Tsesevich, probably other Ukrainian performers (the studio catalogs were not preserved). Especially interesting are 11 recordings by soprano E. D. Petlyash with piano accompaniment by N. V. Lysenko. Three discs from this series were found and are in the funds of the N. V. Lysenko house-museum in Kiev, on them the songs "Gandzya" - "I go, I drive a horse," she showed me mother "-" Not returning from the campaign. " Only a studio worked in Kiev, and records were made in Berlin.

Since 1911, the recording company "Extraphone" has been operating in Kiev, which for the first time in Ukraine began to produce records on the spot. The first Ukrainian records made in Kiev were the recordings of Zor M. A. Nadezhdinsky with the songs "Walking the Chumak to the Market", "Oh, the Little Turtle was flying", "Oh, the girl was walking", "Zakuvala Ta Siva Zozulya" and others, only 7 songs ; tenor I. Ye. Gritsenko - “Sontse low”, “U gai, gai” to the words of TG Shevchenko, “I marvel at the sky” (words by M. Petrenko) and others, 6 songs in total; 6 songs by E. D. Petlyash. These recordings were made earlier by the "International Extra-Record" studio. In 1912 "Extraphone" released 10 Ukrainian songs performed by the choir of Ya. A. Shkredkovsky and N. Nemchinov, 11 - performed by the quartet of BP Girnyak; in 1914, for the anniversary of T.G. Shevchenko - records with songs to the poet's words performed by Tsesevich, Gritsenko, Karlashov, Petlyash and the Nadezhdinsky choir. Recordings were such works as "Roar and stack of Dnipro wide ...", "I wide valley ...", "Yakbi me cherevichki", "Burning fires, music gra", "Leaking water in the blue sea", "Minals of the youth".

Musical culture 1917-1918

At the same time, the Soviet government opened a number of musical institutions in different cities of Ukraine. Among them are opera and ballet theaters in Kharkov (), Poltava (), Vinnitsa (), Dnepropetrovsk (), Donetsk (), choral and symphony groups.

1930s - 1950s

Starting from the second half of the 1930s, the musical art of Soviet Ukraine developed mainly in the mainstream of socialist realism, which became the only creative method of literature and art officially permitted in the USSR. Cultural figures who deviated from this method were subjected to severe criticism and persecution. Thus, the works of B. Lyatoshinsky and L. Revutsky were sharply criticized at the plenary sessions of the Union of Composers, and the latter practically left his creative activity after 1934, limiting himself to teaching and editing work.

At the same time, a massive Soviet song arose in Ukraine, one of the first creators of which was Konstantin Boguslavsky. In the 1930s, the first Soviet-themed operas appeared, including "Shchors" by B. Lyatoshinsky (1930), "Perekop" by Y. Meitus (1937). Songs dedicated to the Communist Party and its leaders have become entrenched in the repertoires of professional and amateur groups.

A significant contribution to the development of Ukrainian musical art was made by the composer and teacher Nikolai Vilinsky (a student of Vitold Malyshevsky), who worked first at the Odessa and then at the Kiev Conservatory.

In Western Ukraine, which until 1939 was part of Poland, the composers V. A. Barvinsky, S. F. Lyudkevich, A. I. Kos-Anatolsky, and folklorist F. M. Koless worked.

In the post-war period, among the prominent Ukrainian composers were Grigoriy Verevka, brothers Georgy and Platon Mayborody, Konstantin Dankevich, A. Ya. Shtogarenko, and others. Among the famous performers was tenor Ivan Kozlovsky. Klavdiya Shulzhenko, a native of the Kharkov region, became widely known for her performance of front-line songs.

1960s - 1980s

The 1960s became the time of the breakthrough of the Ukrainian music school on the world stage, penetration of the latest trends in European music into Ukrainian music. In Kiev, a group "Kievsky avant-garde" was created, which included Valentin Silvestrov, Leonid Grabovsky and Vitaly Godzyatsky. Due to disagreements with the official musical circles of the USSR, members of the "Kiev Avant-garde" were subjected to various kinds of pressure, in connection with which the group eventually broke up.

In the same years, Platon and Georgy Maiborody, K. Dankevich continued to work. During this period, Boris Lyatoshinsky created his last two symphonies. In the 1970s - 1980s, composers M. Skorik, E. Stankovich, I. Karabits and others became famous.

The national school of vocal art has received worldwide recognition. The brightest representatives of the Ukrainian opera scene are A. Solovyanenko, Dmitry Gnatyuk, Bella Rudenko, E. Miroshnichenko, Roman Mayboroda. A significant event in the musical life of Ukraine was the staging of Shostakovich's opera Katerina Izmailova in Kiev in 1965.

In parallel with the formation of pop music in Western countries, in Ukraine, as in other countries, the Soviet stage flourished. The work of Vladimir Ivasyuk, the author of more than 100 songs, whose life was tragically cut short in 1979, stands out especially.

Among the composers-songwriters of those years A.I.Bilash, V. Vermenich, and later I. Karabits are also known. In the same years, pop performers gained popularity - Sofia Rotaru, Nazariy Yaremchuk, Vasily Zinkevich, Igor Belozir, Taras Petrinenko, Alla Kudlai and others.

At the same time, typical modern musical and musical-poetic projects were born, including the satirical theater "Do not cry!" V. Morozov (1970s), the Dead Beer group and the rock-bard group “Plach Jeremiah” (the second half of the 1980s).

Modern music

Educational and concert institutions

Historically, Ukraine received a ramified system of educational and concert music organizations, which are under the jurisdiction of the Ministry of Culture and Tourism of Ukraine. Among them:

Theaters

opera houses in Kiev, Kharkov, Lvov, Odessa, Dnepropetrovsk, Donetsk
theaters of musical comedy in Kharkov and Odessa, as well as an operetta theater in Kiev
Children's Musical Theater in Kiev

Concert institutions

National Philharmonic Society and Philharmonic Society in all regional centers of Ukraine,
Houses of organ and chamber music in Kiev, Dnepropetrovsk, Bila Tserkva, Lviv, and Kharkov
palaces of culture and houses of culture in many cities of Ukraine.

Music schools

Professional musicians are trained by:

Conservatories (music academies) in Kiev, Odessa, Lvov, Donetsk, Dnepropetrovsk
Music faculties at Kharkov University of Arts and Kiev University of Culture
Musical colleges in different cities of Ukraine.

Concert groups

As of 2008, there are 10 national and 2 state collectives in Ukraine. Of these, 10 are located in Kiev and one in Odessa.

Musicality is one of the characteristic features of the Ukrainian people.

Music in Ukraine appeared during the times of Kievan Rus and in its development covers almost all types of musical art - folk and professional, academic and popular music. Today, various Ukrainian music sounds in Ukraine and far beyond its borders, develops in folk and professional traditions, and is the subject of scientific research.

folk music

Initial period of development

Musical traditions on the territory of modern Ukraine have existed since prehistoric times. Musical instruments found by Kiev archaeologists near Chernigov - rattles from mammoth tusks date back to the 18th millennium BC. The flutes found at the Molodovo site in the Chernivtsi region are also attributed to the same time.

The frescoes of St. Sophia of Kiev (XI century) depict musicians playing various wind, percussion and string instruments (similar to harps and lutes), as well as dancing buffoons. These frescoes testify to the genre diversity of the musical culture of Kievan Rus. The chronicle mentions of the singers Boyana and Mitus date back to the 12th century.

In the primitive game, soloists and other singers began to stand out. The development of primitive music became the source from which folk musical culture arose. This music gave rise to national musical systems and national characteristics of the musical language.

The practice of folk song, which existed in ancient times on the territory of Ukraine, can be judged by the ancient ritual songs. Many of them reflect the whole worldview of primitive man, and reveal his attitude to nature and natural phenomena.

The original national style is most fully represented by the songs of the central Dnieper region. They are characterized by melodic ornamentation, vowel vocalization. Links with Belarusian and Russian folklore are clearly traced in the folklore of Polesie.

In the Carpathian region and in the Carpathians, special song styles have developed. They are defined as Hutsul and Lemko dialects.

Ukrainian folk songs are subdivided into many different genres, which have certain characteristics. In this understanding, the most typical genres of Ukrainian songs are:

Calendar-ritual - vesnyanka, shchedrivka, haykov, carols, kupala, grub and others

Family ritual and household- wedding, comic, dance (including kolomiyka), ditties, lullabies, funeral, lamentations, etc.

Serf life - Chumak, Naimite, Burlak, etc .;
Historical songs and thoughts
Soldier's life - recruits, soldiers, riflemen;
Lyric songs and ballads.

Thoughts and historical songs

In the XV-XVI centuries, historical thoughts and songs became one of the brightest phenomena of Ukrainian folk music, a kind of symbol of national history and culture.

The creators and performers of historical songs and dooms, psalms, cants were called kobzars. They played kobza or bandura, which became an element of the national heroic-patriotic epic, freedom-loving character and purity of the moral thoughts of the people.

Great attention in the Duma was paid to the struggle against the Turks and Poles. The "Tatar" cycle includes such well-known thoughts as "About Samoil Cat", "About the three Azov brothers", "About a storm on the Black Sea", "About Marusya Boguslavka" and others. In the "Polish" cycle, the central place is occupied by the events of the People's Liberation War of 1648-1654, a special place is occupied by national heroes - Nechay, Krivonos, Khmelnytsky. Later, new cycles of thoughts appeared - about the Swedes, about the Sich and its destruction, about work on the canals, about the haidamatch, about the servant and freedom.

Already in the XIV-XVII and XVIII centuries, Ukrainian musicians became famous outside Ukraine. Their names can be found in the chronicles of those times among court musicians, including at the court of Polish kings and Russian emperors. The most famous kobzars are Timofey Belogradsky (famous lute player, 18th century), Andrey Shut (19th century), Ostap Veresai (19th century), etc.

Folk musicians united in fraternities: song workshops, which had their own charter and protected their interests. Especially these brotherhoods developed in the XVII-XVIII centuries, and existed until the very beginning of the XX century, right up to their destruction by the Soviet regime.

Instrumental folklore and folk instruments

Instrumental folklore occupies an important place in Ukrainian musical culture. Musical instruments of Ukraine are very rich and varied. It includes a wide range of wind, strings and percussion instruments. A significant part of Ukrainian folk musical instruments comes from the instruments of the times of Russia, other instruments (for example, the violin) were adopted on Ukrainian soil, later, although later they became the basis of new traditions and performance characteristics.

The most ancient layers of Ukrainian instrumental folklore are associated with calendar holidays and rituals, which were accompanied by marching (marches for processions, congratulatory marches) and dance music (gopachki, kozachki, kolomiyka, polechki, waltzes, doves, lassos, etc.) and song- instrumental music for listening. Traditional ensembles most often consisted of triplets of instruments such as violin, snuffle and tambourine. Performing music also involves some kind of improvisation.

During prayers in everyday conditions (in the house, on the street, near the church), lyre, kobza and bandura were often used to accompany the edgings and psalms.

During the times of the Zaporozhye Sich, timpani, drums, Cossack antimony and trumpets sounded in the orchestras of the Zaporozhye Army, and the timpani were among the Kleynods of the Zaporozhye Sich, that is, they were among the symbols of the Cossack statehood.

Instrumental music has also become an integral part of urban culture. In addition to national instruments such as violins and bandura, urban culture is represented by instruments such as table-like gusli, zither, and torban. They sang great songs, city songs and romances, religious chants to their accompaniment.

Ukrainian folklore

In the XX century, many professional and amateur groups of Ukraine turned to the topic of Ukrainian folklore, and ensembles were also created in emigrant circles of foreign countries. The peculiarity of the presentation of folklore traditions in the forms of academic music-making has become characteristic.

Thus, at the beginning of the 20th century, the Ukrainian ensemble of ethnic music led by Pavel Gumenyuk from Philadelphia gained popularity in the United States. Ukrainian traditions have been preserved in the work of such Ukrainian-American musicians from New York, Cleveland, Detroit, Yak Zinovy \u200b\u200bShtokalko, Grigory Kitasty, Yulian Kitasty, Viktor Mishalov, etc.

In Soviet Ukraine, many collectives were also created that specialized in processing Ukrainian folk songs and dances, as well as works by Ukrainian composers in a similar style: orchestras of Ukrainian folk instruments, song and dance ensembles, folk choirs, etc.

Since the 1980s. there is an increase in interest in authentic forms of folk music-making. The pioneers of this direction are considered the Drevo group founded in 1979, headed by the professor of the Kiev Conservatory E. Efremov. In the 2000s, such festivals of ethnic music as"Land of the mriy”And„Sheshory”, Where folk music sounds both in authentic performance and in various arrangements of rock or pop directions.The organizers of the "Sheshory" festival decided to give their brainchild a new name - "ArtPole". The fact is that since 2003 the festival has been held in the village of Sheshory, Ivano-Frankivsk region, but since 2007, it has settled in the village of Vorobievka (Vinnitsa region). "AT last years the festival began to move away from the purely ethnic style in which "Sheshory" were born, so we decided that it was time to emphasize the new face of our festival, changing its name after the format. In addition, it is more correct in relation to those, real, geographical Sheshors who remained in Ivano-Frankivsk region ", - said the director of the festival" ArtPole-2009 " Olga Mikhailyk.

Among the modern groups of authentic singing are the groups "Bozhychi", "Volodar", "Buttya". Ethnic motives are used by the groups Rushnichok "Tartak", "Vopli Vidoplyasova", "Mandri", "Haidamaki", "Ocheretyaniy Kit", the original layering of elements is offered by the group "DakhaBrakha".

Becoming professional music

XVII - XVIII centuries

In the Baroque era, monophonic znamenny singing was replaced by polyphonic parterre singing, which contributed to the development of the major-minor system, and on the basis of which the style of sacred concert developed. Among the outstanding musical figures of that time was Nikolai Diletsky, the author of Musiky Grammar (1675).

An important event of that time was the opening in 1632 of the Kiev-Mohyla Academy, where, among others, musical subjects were taught. Pupils of the academy popularized the nativity scene, and later the cants. Among the graduates of the Academy were many artists, including composers Grigory Skovoroda and Artemy Vedel.

Secular professional vocal and instrumental music, which existed in the estates and military units, began to develop in cities from the 17th century. Workshops for musicians appeared, and orchestras and chapels were created under magistrates. On the basis of folk song and kantian traditions in the 18th and early 19th centuries, a song-romance based on the verses of various poets was spread. One of the first in this genre began to create Grigory Skovoroda, who introduced civic, philosophical and lyrical themes into the song genre.

Of particular importance in the Ukrainian musical culture of the 18th century was the Glukhovskaya song school, created on the initiative of Daniel the Apostle in 1730, whose pupils were Dmitry Bortnyansky, Maxim Berezovsky and Artemiy Vedel. After graduating from the Glukhov school, Bortnyansky and Berezovsky continued their studies at Italian music schools, which were the centers of European music at that time.

The unification of the traditions of part singing and modern techniques of European writing determined the uniqueness of these composers' work. Having become the court bandmaster in St. Petersburg, and since 1796 - the head of the court chapel, formed almost exclusively from the pupils of the Glukhov school, Bortnyansky greatly influenced the development of Russian musical culture. He also became the first composer of the Russian Empire, whose musical works began to appear in print.

XIX - early XX century

The 19th century in the history of music was marked by the emergence of many national schools on the world stage, which was associated with the growth of national self-awareness of European peoples. Following the Polish and Russian, the Ukrainian national school of composition appeared.

Following Ukrainian writers and poets, professional musicians of the 19th century began to turn to folk themes, to process folk songs that were performed by talented amateurs accompanied by folk instruments - kobza, bandura, cymbals, violins, lyres, etc. At the beginning of the 19th century, they appeared in Ukrainian music the first symphonic and chamber instrumental works, among the authors of which were I. M. Vitkovsky, A. I. Galenkovsky, Ilya and Alexander Lizoguby.

The activity of Mykola Lysenko became the basis for the development of national professional music, who created classical samples of works in different genres: 9 operas, piano and instrumental, choral and vocal works, a work to the words of Ukrainian poets, including the words of Taras Shevchenko. He also became the organizer of a music school in Kiev (1904; since 1918 - the Lysenko Music and Drama Institute).

At the beginning of the 20th century, a galaxy of Ukrainian performers gained worldwide fame. Among them are the singers Solomiya Krushelnitskaya, O. Petrusenko, Z. Gaidai, M. Litvinenko-Volgemut, singers M. E. Mentsinsky, A. F. Mishuga, I. Patorzhinsky, B. Gmyrya, pianist Vladimir Horowitz, choral conductor A. A .Koshitz. Choral arrangements by N. D. Leontovich became known outside Ukraine.

During the period of the Ukrainian Revolution (1917-1918), a number of art groups were created and a new generation of Ukrainian cultural figures emerged. The government of the Ukrainian State has consistently supported cultural life, including musical art, as evidenced by the Resolution of the Council of Ministers on the mobilization of the literary, scientific, artistic and technical forces of Ukraine. Also, by the decree of Pavel Skoropadsky in 1918, the State Symphony Orchestra of Ukraine was founded, the first conductor of which was Alexander Gorily, the Ukrainian State Capella, the First and Second National Choirs. The Kiev Opera was renamed the Ukrainian Drama and Opera Theater. A significant number of world famous operas have been translated into Ukrainian. Also in 1918, the Kobzar Choir was founded, later known as the National Honored Chapel of Bandura Players of Ukraine named after I. G. I. Maiboroda.

The coming of Soviet power to the lands of Ukraine was marked by several tragic events. In 1921 N. Leontovich was killed by an agent of the Cheka, and in 1928 the activity of the society named after him was banned. In the 1930s, the Soviet regime destroyed several hundred bandura players, kobzars and lyre players, and in 1938 the musician and ethnographer Hnat Khotkevich was shot. In general, the twenties and thirties in the Ukrainian culture are called "The Executed Renaissance"

At the same time, the Soviet government opened a number of musical institutions in different cities of Ukraine. Among them are opera and ballet theaters in Kharkov (1925), Poltava (1928), Vinnitsa (1929), Dnepropetrovsk (1931), Donetsk (1941), choral and symphonic groups.

Starting from the second half of the 1930s, the musical art of Soviet Ukraine developed mainly in the mainstream of socialist realism, which became the only creative method of literature and art officially permitted in the USSR. Cultural figures who deviated from this method were severely criticized and persecuted.

At the same time, a massive Soviet song arose in Ukraine, one of the first creators of which was Konstantin Boguslavsky. In the 1930s, the first Soviet-themed operas appeared, including Shchors by B. Lyatoshinsky (1930), Perekop by Y. Meitus (1937). Songs dedicated to the Communist Party and its leaders have become entrenched in the repertoires of professional and amateur groups.

A significant contribution to the development of Ukrainian musical art was made by the composer and teacher Nikolai Vilinsky (a student of Vitold Malyshevsky), who worked first at the Odessa and then at the Kiev Conservatory.

In the post-war period, among the prominent Ukrainian composers were Grigoriy Verevka, brothers Georgy and Platon Mayborody, Konstantin Dankevich, A. Ya. Shtogarenko and others. Among the famous performers was the Ukrainian tenor Ivan Kozlovsky. Klavdiya Shulzhenko, a native of the Kharkov region, became widely known for her performance of front-line songs.

The 1960s became the time of the breakthrough of the Ukrainian music school on the world stage, penetration of the latest trends in European music into Ukrainian music. In Kiev, the group "Kievsky avant-garde" was created, which included Valentin Silvestrov, Leonid Grabovsky and Vitaliy Godzyatsky. Due to disagreements with the official musical circles of the USSR, the members of the "Kiev Avant-garde" succumbed to various kinds of pressure, in connection with which the group eventually disintegrated. The national school of vocal art received worldwide recognition. In parallel with the formation of pop music in Western countries, in Ukraine, as in other countries, the Soviet stage flourished. The work of Vladimir Ivasyuk, the author of more than 100 songs, whose life was tragically cut short in 1979, stands out especially.

Among the composers and songwriters of those years, A.I.Bilash, V. Vermenich, and later I. Karabits are also known. In the same years, pop performers gained popularity - Sofia Rotaru, Nazariy Yaremchuk, Vasily Zinkevich, Igor Belozir, Taras Petrinenko, Alla Kudlai and others.

Modern music

As a legacy from the USSR, Ukraine received an extensive system of educational and concert musical organizations, which are under the jurisdiction of the Ministry of Culture and Tourism of Ukraine. Among them:

Theaters

* opera houses in Kiev, Kharkov, Lvov, Odessa, Dnepropetrovsk, Donetsk

* theaters of musical comedy in Kharkov and Odessa, as well as an operetta theater in Kiev

* Children's Musical Theater in Kiev

Concert institutions

* National Philharmonic Society and Philharmonic Society in all regional centers of Ukraine,

* Houses of organ and chamber music in Kiev, Dnepropetrovsk, Bila Tserkva, Lvov, and Kharkov

* palaces of culture and houses of culture in many cities of Ukraine.

Music schools

Professional musicians are trained by:

* Conservatories (music academies) in Kiev, Odessa, Lvov, Donetsk, Dnepropetrovsk

* Music faculties at Kharkov University of Arts and Kiev University of Culture

* Musical colleges in different cities of Ukraine.

Concert groups

As of 2008, there are 9 national and 2 state collectives in Ukraine. Of these, 10 are located in Kiev and one - in Odessa:

* National Symphony Orchestra of Ukraine

* National Odessa Philharmonic Orchestra

* National Honored Academic Capella of Ukraine "Dumka"

* National Honored Academic Ukrainian Folk Choir. Grigory Verevka

* National Honored Chapel of Bandura Players of Ukraine named after G. I. Maiboroda

* National ensemble of soloists "Kievska kamerata"

* National Honored Academic Dance Ensemble of Ukraine named after P.P. Virsky

* National Orchestra of Folk Instruments of Ukraine

* National Academic Brass Orchestra of Ukraine

* State Pop Symphony Orchestra of Ukraine

* State Academic Male Choir of Ukraine named after L. Revutsky

In addition, there are many municipal collectives, collectives at regional philharmonic societies, houses of organ and chamber music, etc.

Musical associations

Two creative musical unions have national status:

* National Union of Composers of Ukraine and

* National All-Ukrainian Musical Union

Popular music

Almost all musical directions are represented on the modern Ukrainian scene: from folk to acid jazz. Club culture is actively developing. Many Ukrainian pop singers - Sofia Rotaru, Irina Bilyk, Alexander Ponomarev, VIA Gra, Ruslana, Ani Lorak, Nadezhda Granovskaya-Meikher, Alena Vinnitskaya, Anna Sedokova, Svetlana Loboda, Vera Brezhneva-Galushka, Verka Serduchka - have long gained popularity outside Ukraine, especially in the CIS. Popular music is presented at the festivals "Chervona Ruta", "Tavrian Games", "Chaika" and others.

Performers from Ukraine adequately represented Ukraine at the Eurovision Song Contests. So Ruslana, having synthesized the folklore motives of the Carpathians in her music, became the winner of the Eurovision-2004, and won the right for Ukraine to host the next contest - Eurovision-2005. At Eurovision 2007 Verka Serduchka took second place.

Ukrainian rock music is also developing. Among the most famous groups are Okean Elzy, Vopli Vidoplyasova, Tank on Maidan Congo, Krihitka Tsakhes, Skryabin, Tartak, Plach Aremia, Komu Vniz, Badlov, Lama (Lama). Ukrainian rock festivals "Rock-Existency", "Taras Bulba" and others are regularly held.

Purely vocal ensembles such as the "Pikkardiyskaya third" and "Mensound" are also becoming popular. The art of jazz is also represented in Ukraine - international festivals of jazz music are held in different cities of the country, among them the most famous are Jazz Bez and Jazz Koktebel. A significant contribution to the popularization of the jazz movement in Ukraine was made by Volodymyr Symonenko and Oleksiy Kogan.

The trend of using folklore by modern Ukrainian performers is becoming more and more expressive. One of the first folk motives in rock music began to be used in the second half of the 1980s by the group Vopli Vidoplyasova. Based on the folklore basis, new original music is created by the groups "Scriabin", "Mandri", "Gaydamaki", performers Taras Chubai, Maria Burmaka and many others. The growth of interest in folklore is evidenced by the founding of two festivals of ethnic music in Ukraine - "Land of Mriy" in Kiev and "Sheshory" in Ivano-Frankivsk region.

Labels

In the late 1990s - early 2000s, a number of music labels were created in Ukraine, including Gallicia Distribution (Lviv), Lavina Music, Origen Music, Moon Records, Nexsound (Kiev), Metal Scrap Production (Ternopil), OMS Records (Zhitomir), Wolf song production (Dnepropetrovsk) and others.

Competition for Ukrainian labels in the domestic market is made by the main players of the world audio market - major Universal, EMI, Sony / BMG, Warner. The Ukrainian music media market in 2005 amounted to about 10 million licensed discs and cassettes, the fight against piracy has led to the fact that the share of pirated products in the Ukrainian market is up to 40% (in Western Europe - 10-15%).

ru.wikipedia.org

OH DIVCHINO, NOISE GUY

"Oh divchino, make noise, guy,
Whom you love - forget it, forget it!
Oh divchino, make noise guy,
Whom you love - forget it! "

"Stop making noise,
Whom I love - my will, my will!
Stop making noise,
Whom I love - my bude! "

"Oh divchino, my heart,
Do you eat for me, for me?
Oh divchino, my heart,
What do you do for me? "

"I'm not drinking for you, -
Nem hati at you, at you.
I do not follow you, -
You have no hati. "

"Let's go, heart, to someone else's,
Leave your awake, awake.
Let's go, heart, to someone else's,
Leave your awake. "

"Set up a hut in the loboda,
And do not lead to someone else's, do not lead.
Set up a hut in the loboda,
And do not lead to someone else's! "

"This is a strange house,
Yak father-in-law is dashing, dashing.
Such a stranger's hut
Yak is a dashing father-in-law.

I don't want to laє, so grumble,
And all the same, do not move, do not move.
I don't want to laє, so grumble,
And all the same not to move. "

CHORNIЇ BROVI, KARI OCHI

Black eyebrows, brown eyes, Dark,
yak nichka, clear, yak day! Oh eyes, eyes, eyes of children, Why did you want to make people?

Remaining 2 rows
skin verse - dvіchі

You are dumb, and vimov tuta,

Twine into your soul, like two dawns.
Chi in you is found as if it were roasted,
Chi, maybe it's fair to know healers? Black eyebrows - shavkovy lines, All I love you, Kary eyes, eyes of children, "Be healthy, sweetheart,

Lyuba, mila, divchinonko,

Oh chka, garnesenka,

Yak snizhochok, besenka! "Years, Years Zartuvati,

Axis іde і old mother! "

"Oh, be healthy, matusya,

I arrived in Gannus! Oh be healthy, matusya,

I arrived in Gannus.

I want to be a child.

You can be a good one! "

Famous Ukrainian composers The 18th, 19th, 20th centuries made a significant contribution to the development of culture. They created and thus glorified our Motherland. Therefore, today we will determine who the outstanding Ukrainian composers are.

FAMOUS UKRAINIAN composers

1. Semyon Gulak-Artemovsky

Semyon Stepanovich Gulak-Artemovsky (1813-1873) - Ukrainian composer, singer, baritone (bass-baritone), dramatic artist, playwright, nephew of the writer P.P. Gulak-Artemovsky, author of one of the first operas on the Ukrainian-language libretto of the opera “Zaporozhets for Danube ".
Gulak-Artemovsky left for Italy, where, after two years of training, he made his debut at the Florentine opera (1841). A significant place in the work of the composer is occupied by ukrainian songs, in particular "There is sycamore over the water", "I do not want to sleep", "On the mountain and the reapers reap" - a rhapsody from a collection of seven songs under the general title "Ukrainian wedding". Gulak-Artemovsky visited Ukraine in 1843 to select singers and in 1850 when he toured with an Italian opera company.

2. Boris Lotoshinsky

Boris Nikolaevich Lotoshinsky (1894-1968) - Ukrainian composer, conductor and teacher, one of the founders of modernism in Ukrainian classical music.
A multiple member of the jury of international competitions, an active worker in the governing bodies of the Union of Composers of Ukraine and at the Kiev Conservatory, Lotoshinsky has brought up a new galaxy of composers: I. Shamo, V. Silvestrov, I. Karabits, E. Stankovich, A. Kanershtein.
He was awarded the titles of Honored Art Worker of the Ukrainian SSR (1945), People's Artist of the Ukrainian SSR (1968), State Prize of the USSR (1946, 1952) and the Ukrainian SSR named after I. T.G.Shevchenko (1971).
Created operas "Golden Hoop" (based on the story of Ivan Franko "Zakhar Berkut", 1929), "Shchors" ("The Leader", lib. I. Kocherga and Rylsky, 1937). He wrote pieces for choir and orchestra: "Solemn cantata" (words by M. Rylsky, 1939), "Will" (words by T. Shevchenko. 1939);

3. Miroslav Skoryk

Miroslav Mikhailovich Skorik (1938) - composer and musicologist, Hero of Ukraine, People's Artist of Ukraine, laureate of the V. TG Shevchenko, Ph.D. in art history, co-chairman of the Union of Composers of Ukraine in 2006-2010, artistic director of the Kiev Opera (since 2011). Great-nephew of Solomiya Krushelnitskaya.
Notable works: opera "Moses" (Libretto by B. Stelmakh after I. Franko, 2001), ballets "Bricklayers" (after I. Franko, 1967); "Suite" (1961); "Melody" for violin and orchestra, etc.

4. Valentin Sivelstrov

Valentin Vasilievich Sivelstrov (1937) - Ukrainian composer.
The composer is characterized by a technique in music - the avant-garde, which he rejects in the 1970s, preferring postmodernism. The author himself calls his style "meta-music". The music of this period is dominated by meditative, contemplative moods.
Valentin Silvestrov - laureate of the International Prize named after S. Koussevitsky (USA, 1967), the International Competition of Composers "Gaudeamus" (Netherlands, 1970), the State Prize of Ukraine. T. Shevchenko (1995), People's Artist of Ukraine (1989). Awarded with the Orders of Merit, III degree (1997), Yaroslav the Wise, V degree (2007). Honorary Doctor honoris causa of the National University "Kiev-Mohyla Academy" (2011). Sivelstrov is the author of music for many films.
The most famous works: "Quiet Songs", "Old Ballad", "Ode to the Nightingale", "Music in the Old Style", etc.

5. Dremlyuga Nikolay

Dremlyuga Nikolai Vasilievich (1917-1998) - Ukrainian composer, teacher, musical and public figure, author of the first concert for bandura, member of the National Union of Composers of Ukraine.
In 1946 he graduated from the Kiev Conservatory in composition class L. Revutsky and the Faculty of History and Theoretical. 3services artist of the Ukrainian SSR (1972) People's Artist of Ukraine (1993); Laureate of the State Prize of Ukraine. TG Shevchenko (1998, for symphony No. 3 dedicated to the memory of the victims of the Holodomor of 1932-1933 in Ukraine).
Works: the oratorio Lenin (1970); Under the Golden Eagle (1957); suite "In Poland" (1962), etc.

6. Evgeny Stankovich

Yevgeniy Fedorovich Stankovich (1942) - Ukrainian composer, chairman of the National Union of Composers of Ukraine (since 2005), Honored Art Worker of the Ukrainian SSR (1980), People's Artist of the Ukrainian SSR (1986), Hero of Ukraine (2008).
Studied at a music school, studied composition with Adam Soltys at the Mykola Lysenko Lviv State Conservatory.
Evgeny Stankovich is the author of 6 symphonies and 10 chamber symphonies, opera, 5 ballets, instrumental concerts, music for films, etc.
Notable works: folk opera When the Fern Blossoms (1978); for soloists, two mixed choirs "Memorial service for those who died of hunger" (1992); for strings Symphony No. 4 (Sinfonia lirica) (1977), etc.

7. Vladimir Ivasyuk

Vladimir Mikhailovich Ivasyuk (1949-1979) - Ukrainian composer and poet. Hero of Ukraine (2009, posthumously).
One of the founders of Ukrainian pop music (pop music). Author of 107 songs, 53 instrumental pieces, music for several performances. A professional physician, violinist, he played the piano, cello, guitar perfectly, performed his songs masterfully. An extraordinary artist.
Awards: Diploma-recipient of the All-Union Review of Young Composers (1978), laureate of the Republican Komsomol Prize named after I. N. Ostrovsky (1988, posthumously) laureate of the State Prize of Ukraine. T.G. Shevchenko (1994, posthumously).
Works: "Chervona Ruta", "Vodogray", "Ballad of Mallow", Suite-variations for chamber orchestra (1977), etc.

8. Alexander Kozarenko

Alexander Vladimirovich Kozarenko (1963) - Ukrainian composer, pianist, musicologist.
He graduated from the Lviv Music College and the Kiev Conservatory and graduated from the piano class. Trained at the University of Würzburg (Germany, 2004). Doctor of Arts (2001).
Laureate of the All-Ukrainian Competition of Pianists. N. Lysenko (1984), winner of the All-Russian competition of chamber ensembles (1986). Laureate of state awards of Ukraine for composition: them. L. Revutsky (1996) and them. N. Lysenko (2001). Member of the National Union of Composers of Ukraine and the New Music Association. A significant influence on the work of A. Kozarenko was made by many years of cooperation with theater groups, the fruits of which are music for more 50 performances.

Also, such composers as L. Dichko, A. Zagaykevich, A. Bilash, V. Kosenko, M. Kolessa, T. Petrinenko and others made a significant contribution to the development of art.

Great foreign artists

Formation of a multicultural personality