Born March 10, 1842 in the village of Grilkakh, Kremenchug district, in the family of a landowner. Childhood and early youth spent in native village. Here he joined the Ukrainian folk song and fell in love with it for the rest of his life.
After graduating from the Faculty of Physics and Mathematics of Kyiv University in 1864, Lysenko decides to devote himself to musical activity and goes abroad. In Leipzig he continues musical education, started back in Kharkov, while studying at the gymnasium.
One of the first works - "Zapovit", to the words of T. Shevchenko - brought wide popularity to the author. This song has become popular.
Throughout his life, the composer collected, studied and developed authentic melodies of Ukrainian folk music in his works. His legacy in this area (up to 500 collected, recorded and processed folk songs published in many collections) is of great value. Many of Lysenko's folk song arrangements continue to adorn the concert stage repertoire to this day.
In 1874-1876 Lysenko lived in St. Petersburg and studied with N. A. Rimsky-Korsakov.
In 1890, Lysenko completed the heroic-patriotic opera Taras Bulba.
The most strikingly outstanding talent of the composer manifested itself in opera. In addition to the named opera "Taras Bulba", he created the operas "The Night Before Christmas" and "Drowned" (based on "May Night") based on the plot of the works of N.V. Gogol. Lysenko's opera Natalka-Poltavka enjoys enormous popularity. For many decades, she has not left the stage and won the ardent love of the mass listener.
Lysenko is the author of numerous works of various genres. Operas, romances, ballads, cantatas, dumas, piano rhapsodies, suites, pieces for violin, cello, flute and other instruments belong to his pen.
In all the works of the composer, Ukrainian folk musical themes prevail, with its characteristic features - charming melodiousness, simplicity, expressiveness.
Nikolai Vitalyevich Lysenko died in 1912 in Kyiv.
True nationality, a pronounced national flavor, and high skill are inherent in Lysenko's best operas - Taras Bulba and Natalka-Poltavka. In the first, the listener is captured by monumental musical pictures, well-defined artistic images, epic breadth. In "Natalka-Poltavka" one is captivated by the deep warmth of the heart, the soft lyrical sincerity of the melodies. No wonder the arias from this opera have become a truly national property.
The best Russians and Ukrainian musicians during his lifetime, Lysenko highly appreciated his remarkable talent and outstanding achievements in the development of Ukrainian musical culture. The creativity of the classic of Ukrainian music received the widest recognition after the Great October War. socialist revolution. In Soviet times, Lysenko's wonderful operatic works found a worthy stage embodiment. They do not leave the stages of opera houses.
Nikolai Lysenko, whose biography is described in this article, is both a conductor, pianist, public figure a talented teacher. All his life he collected song folklore. He did a lot for the public and cultural life Ukraine.
Family
Lysenko Nikolai Vitalievich - a native of an old Cossack family. His father, Vitaly Romanovich, was a colonel in a cuirassier regiment. Mother, Olga Eremeevna, descended from landowners Lutsenko.
Childhood
WITH early childhood Nikolai, who was born in 1842, was taught by his mother herself, together with the poet Fet. She taught Nikolai French, dancing and correct manners. And Fet taught Russian. When Nikolai was 5 years old, Olga Eremeevna discovered in her son a penchant for music. A music teacher was invited to develop talent. From early childhood, Nikolai was fond of poetry. His love for Ukrainian folk songs was instilled in him by his grandparents.
Education
After home schooling ended, Nikolai began to prepare for admission to the gymnasium. First he studied at the boarding school of Weil, and then Guedouin. Nikolai Lysenko entered the 2nd Kharkov Gymnasium in 1855. He graduated from it with a silver medal in 1859.
Then he entered Kharkov University. to the Faculty of Natural Sciences. A year later, the parents left to live in Kyiv, and Nikolai moved to the Kiev University, to the Faculty of Physics and Mathematics, to the department natural sciences. He graduated from the university in 1864 and a year later became a candidate of natural sciences.
Some time later, in 1867, Nikolai Vitalievich continued his studies at the Leipzig Conservatory, which was the best in all of Europe. He was taught to play the piano by K. Reinecke, E. Wenzel and I. Moscheles, compositions - E. Richter, theories - Paperitz. Further, Nikolai Lysenko improved in symphonic instrumentation at the St. Petersburg Conservatory under Rimsky-Korsakov.
The beginning of the creative path
At the gymnasium, he took private lessons in music. And gradually became famous pianist. He was often invited to balls and parties, where he performed Chopin, Beethoven. played dance compositions and improvised with Ukrainian melodies.
When Nikolai studied at Kiev University, he sought to acquire as much knowledge of music as possible. Therefore, he carefully studied operas such as Glinka, Wagner, etc. It was from this time that Nikolai began to collect and harmonize Ukrainian folk songs.
At the same time, Nikolai Lysenko organized student choirs, which he led, and performed with them in public. While studying at the Leipzig Conservatory, he realized that it was more important to create, collect and develop Ukrainian folk music than to copy foreign classics.
creative career
Since 1878, Nikolai became a piano teacher, working at the Institute of Noble Maidens. In the 1890s taught young people at the music schools of Tutkovsky and Blumenfeld. In 1904, Nikolai Vitalievich founded his own school in Kyiv (since 1913 - named after Lysenko). It became the first institution to provide higher education at the conservatory level.
To create a school, he used the money donated by his friends, which was intended for the purchase of a summer residence and the publication of his works. The educational institution was constantly under close police control. In 1907, Nikolai Vitalievich was even arrested, but he was released the very next morning.
From 1908 to 1912 he chaired the board of the Ukrainian Club. This society led educational activities. Organized musical and literary evenings and refresher courses for teachers. In 1911, Nikolai Vitalievich was the head of the committee that contributed to the installation of the monument to T. Shevchenko. It was Lysenko who subsequently perfected the music for the operetta Natalka Poltavka.
Creativity Lysenko
Lysenko wrote his first work in 1868, when he studied at the Leipzig Conservatory. It was a collection Ukrainian songs for piano with voice. This work is of great scientific and ethnographic value. In the same year, the second work was published - "Zapovit", written on the anniversary of Shevchenko's death.
Nikolai Lysenko has always been at the center of Kyiv's cultural life. Being in the leadership of the Russian musical society, he took an active part in many concerts that were held throughout Ukraine.
Engaged in musical circles. And even obtained permission to stage plays performed in Ukrainian. In 1872, Nikolai Vitalievich wrote two operettas: "Christmas Night" and "Chernomortsy". Subsequently, they became the basis of the national Ukrainian art, forever entering theatrical repertoire.
In 1873, Lysenko published the first musicological work on Ukrainian folklore. At the same time, Nikolai Vitalievich wrote piano works and symphonic fantasy.
In St. Petersburg, together with V. Paskhalov, he organized choral concerts. Their program included works by Lysenko, as well as Russian, Ukrainian, Serbian and Polish songs. It was in St. Petersburg that he wrote his first rhapsody on a Ukrainian theme, the 1st and 2nd polonaises, and the piano sonata.
Returning to Kyiv in 1876, Lysenko focused on performing activities. He organized concerts, played the piano, created new choirs. The collected money from the events he gave to public needs. It was during this time that he wrote most of his major works.
In 1880, Nikolai Vitalievich began working on one of the best operas, Taras Bulba. Many more pieces of music followed. Separately, it is worth noting the improvement of music in the operetta "Natalka Poltavka" in 1889. This work has been subjected to numerous adaptations more than once. But only in Lysenko's edition did it turn out to be artistically valuable.
Nikolai Vitalievich created a separate direction - children's opera. From 1892 to 1902 he arranged choral tours in Ukraine. In 1904, Lysenko opened a drama school, which for many years became an important Ukrainian institution for special education.
In 1905, he, together with A. Kosice, founded the Boyan society-choir. Conducted by the creators themselves. But soon "Boyan" broke up due to political conditions and lack of material resources. The society lasted only a year.
IN last years Life Lysenko wrote the work "Aeneid". The opera mercilessly criticized the autocratic order and became the only example of satire in the musical Ukrainian theater.
Social activity
Throughout his life, Nikolai was engaged not only in creativity, but also in social activities. He is one of the organizers of the peasant Sunday school. Engaged in the preparation of the Ukrainian dictionary. Participated in the census of the Kyiv population. He worked in the Southwestern branch of the Russian Geographical Society.
Personal life
In 1868, Lysenko married his second cousin, Olga Alexandrovna O'Connor. She was 8 years younger than him. They lived in marriage for 12 years, but then separated because they had no children. They did not formalize the divorce.
Lysenko's second marriage was civil. At one of the concerts in Chernigov, he met Lipskaya Olga Antonovna. She later became his civil wife. They had five children. Olga died after giving birth to another child in 1900.
Composer's death
Lysenko Nikolai, composer, died on November 6, 1912 from a sudden heart attack. Thousands of people from all Ukrainian regions came to say goodbye to him. The funeral service was held in the Vladimir Cathedral. The choir walked ahead of the funeral procession. It consisted of 1200 people, and their singing could be heard even in Kyiv. Lysenko was buried in Kiev
(1912-11-06 ) (70 years old)Nikolai Vitalievich Lysenko(ukr. Mykola Vitaliyovich Lysenko) (March 10 (22), Grinki village, Kremenchug district, Poltava province (now Globinsky district, Poltava region) - October 24 (November 6), Kiev) - Ukrainian composer, pianist, conductor, teacher, collector of song folklore and public figure.
Biography
Mykola Lysenko was from the old Cossack foremen's family Lysenko. Nikolai's father, Vitaly Romanovich, was a colonel of the Order Cuirassier Regiment. Mother, Olga Eremeevna, came from the Poltava landowner family Lutsenko. Nikolai's mother and famous poet A. A. Fet were engaged in home schooling. The mother taught her son French, refined manners and dances, Afanasy Fet taught Russian. At the age of five, noticing the boy's musical talent, a music teacher was invited for him. From early childhood, Nikolai was fond of the poetry of Taras Shevchenko and Ukrainian folk songs, love for which was instilled in him by his cousins grandfather and grandmother - Nikolai and Maria Bulyubashi. At the end of home education, in order to prepare for the gymnasium, Nikolai moved to Kyiv, where he studied first at the Weyl boarding house, then at the Guedouin boarding house.
Creation
Portrait of N. V. Lysenko
While studying at Kiev University, trying to acquire as many musical knowledge, Nikolai Lysenko studied the operas of A. Dargomyzhsky, Glinka, A. N. Serov, got acquainted with the music of Wagner and Schumann. It was from that time that he began collecting and harmonizing Ukrainian folk songs, for example, he recorded wedding ceremony(with text and music) in Pereyaslavsky district. In addition, N. Lysenko was the organizer and leader of student choirs, with whom he spoke publicly.
While studying at the Leipzig Conservatory in October 1868, N. V. Lysenko published the “Collection of Ukrainian Songs for Voice and Piano” - the first release of his adaptations of forty Ukrainian folk songs, which, in addition to their practical purpose, are of great scientific and ethnographic value. In the same 1868, he wrote his first significant work - "The Testament" to the words of T. Shevchenko, on the anniversary of the poet's death. This work opened the cycle "Music for the Kobzar", which included more than 80 vocal and instrumental works of various genres, published in seven series, the last of which was released in 1901.
N. V. Lysenko was in the center of the musical and national-cultural life of Kyiv. In -1873, being a member of the directorate of the Russian Musical Society, he took an active part in its concerts held throughout Ukraine; led a choir of 50 singers, organized in 1872 at the Philharmonic Society of Music and Singing Lovers; took part in the Circle of Music and Singing Lovers, the Circle of Music Lovers by Y. Spiglazov. In 1872, the circle, led by N. Lysenko and M. Staritsky, obtained permission for public performances of plays in Ukrainian. In the same year, Lysenko wrote the operettas "Chernomortsy" and "Christmas Night" (later revised into an opera), which firmly entered the theatrical repertoire, becoming the basis of the Ukrainian national operatic art. In 1873, the first musicological work by N. Lysenko on Ukrainian language was published. musical folklore"Characteristic musical features Little Russian thoughts and songs performed by kobzar Ostap Veresai. In the same period, Nikolai Vitalievich wrote a lot piano works, as well as a symphonic fantasy on Ukrainian folk themes "Cossack-Shumka".
During the St. Petersburg period, N. Lysenko took part in concerts of the Russian Geographical Society, led choral courses. Together with V. N. Paskhalov, Nikolai Vitalievich arranged concerts of choral music in the Salt Town, the program of which included Ukrainian, Russian, Polish, Serbian songs and works by Lysenko himself. He develops friendly relations with the composers of The Mighty Handful. In St. Petersburg, he wrote the first rhapsody on Ukrainian themes, the first and second concert polonaises, and a sonata for piano. In the same place, Lysenko began work on the opera "Marusya Boguslavka" (unfinished) and made the second edition of the opera "Christmas Night". In St. Petersburg, his collection of girlish and children's songs and dances Molodoshchi (Young Years) was published.
Monument to Lysenko near Kyiv opera house
Returning to Kyiv in 1876, Nikolai Lysenko launched an active performing activity. He arranged the annual "Slavic Concerts", performed as a pianist in concerts of the Kiev branch of the Russian Musical Society, at the evenings of the Literary and Artistic Society, of which he was a member of the board, in monthly folk concerts in the People's Audience Hall. Organized annual Shevchenko concerts. From seminarians and students familiar with musical notation, Nikolai Vitalievich re-organizes the choirs, in which K. Stetsenko, P. D. Demutsky, L. Revutsky, O. N. Lysenko and others received their beginnings in art education. The money collected from the concerts went to public needs, for example, in favor of 183 students of Kyiv University, who were sent to the army for participating in the anti-government demonstration of 1901. At this time, he wrote almost all of his works for large-scale piano, including the second rhapsody, the third polonaise, and the nocturne in C-sharp minor. In 1880, N. Lysenko began work on his most significant work - the opera "Taras Bulba" based on the story of the same name by N. Gogol to the libretto by M. Staritsky, which he completed only ten years later. In the 1880s, Lysenko wrote such works as The Drowned Woman, a lyric-fiction opera based on N. Gogol's May Night to a libretto by M. Staritsky; "Rejoice, unwatered field" - cantata on verses by T. Shevchenko; third edition of "Christmas Night" (1883). In 1889, Nikolai Vitalyevich improved and orchestrated the music for the operetta "Natalka Poltavka" based on the work of I. Kotlyarevsky, in 1894 he wrote music for the extravaganza "Magic Dream" to the text of M. Staritsky, and in 1896 the opera "Sappho".
Among the author's achievements of N. Lysenko, it is also necessary to note the creation of a new genre - children's opera. From 1888 to 1893 he wrote three children's operas based on folk tales to the libretto of the Dnieper-Chaika: “Koza-Dereza”, “Pan Kotsky (Kotsky)”, “Winter and Spring, or the Snow Queen”. "Koza-Dereza" became a kind of gift from Nikolai Lysenko to his children.
From 1902 to 1902, Mykola Lysenko arranged four concert tours in Ukraine, the so-called "choir trips", in which his own choral works based on Shevchenko's texts and adaptations of Ukrainian songs were performed. In 1892, Lysenko's art history research "On the torban and the music of Widort's songs" was published, and in 1894 - "Folk musical instruments in Ukraine".
In 1905, N. Lysenko, together with A. Koshyts, organized the Boyan choral society, with which he organized choral concerts of Ukrainian, Slavic and Western European music. The conductors of the concerts were himself and A. Kosice. However, due to unfavorable political conditions and the lack of a material base, the society disintegrated, having existed for a little over a year. At the beginning of the 20th century, Lysenko wrote music for the dramatic performances The Last Night (1903) and Hetman Doroshenko. In 1905, he wrote the work "Hey, for our native land." In 1908, the choir "Quiet Evening" was written to the words of V. Samoylenko, in 1912 - the opera "Nocturne", lyrical romances are created on the texts of Lesya Ukrainka, Dnipro Chaika, A. Olesya. In the last years of his life, Nikolai Vitalievich wrote a number of works from the field of sacred music, which continued, founded by him back in late XIX century "Cherubic" cycle: "The Blessed Virgin, mother of the Russian land" (1909), "Kamo I will go from Your presence, Lord" (1909), "The Virgin today gives birth to the Substantial", "The Cross tree"; in 1910, "David's Psalm" was written to the text of T. Shevchenko.
Memory
Major works
operas
- "Christmas Night" (1872, 2nd edition 1874, 3rd edition 1883)
- "Drowned Woman" (1885)
- "Natalka Poltavka" (1889)
- "Taras Bulba" (1890)
- "Sappho" (1896)
- "Aeneid" (1911)
- "Nocturne" (1912)
Children's operas
- "Goat-Dereza" (1888)
- "Pan Kotsky" (1891)
- "Winter and Spring, or the Snow Queen" (1892)
Operettas
- "Chernomortsy" (1872)
Works on the words of T. Shevchenko
- cycle "Music for the Kobzar" (1868-1901), which includes more than 80 different vocal genres from songs to extended musical and dramatic scenes.
Musicological works
- "Characteristics of the musical features of the Little Russian dumas and songs performed by the kobzar Ostap Veresai" (1873)
- "On the torban and the music of Widort's songs" (1892)
- "Folk Musical Instruments in Ukraine" (1894)
Grinki village, Kremenchug district, Poltava province (now Globinsky district, Poltava region) - October 24 (November 6), Kiev) - Ukrainian composer, pianist, conductor, teacher, collector of song folklore and public figure.
Biography
Mykola Lysenko was from the old Cossack foremen's family Lysenko. Nikolai's father, Vitaly Romanovich, was a colonel in the Order Cuirassier Regiment. Mother, Olga Eremeevna, came from the Poltava landowner family Lutsenko. Nikolai's mother and famous poet A. A. Fet were engaged in home schooling. The mother taught her son French, refined manners and dances, Afanasy Fet taught Russian. At the age of five, noticing the boy's musical talent, a music teacher was invited for him. From early childhood, Nikolai was fond of the poetry of Taras Shevchenko and Ukrainian folk songs, the love for which was instilled in him by his great-uncles - Nikolai and Maria Bulyubashi. Upon completion of home education, in order to prepare for the gymnasium, Nikolai moved to Kyiv, where he studied first at the Weyl boarding house, then at the Guedouin boarding house. In 1855, Nikolai was sent to the second Kharkov gymnasium, which he graduated with a silver medal in the spring of 1859. While studying at the gymnasium, Lysenko studied music privately (teacher - N. D. Dmitriev), gradually becoming a well-known pianist in Kharkov. He was invited to evenings and balls, where Nikolai performed pieces by Beethoven, Mozart, Chopin, played dances and improvised on the themes of Little Russian folk melodies. After graduating from the gymnasium, Nikolai Vitalievich entered the natural science faculty of Kharkov University. However, a year later, his parents moved to Kyiv, and Nikolai Vitalievich transferred to the Department of Natural Sciences of the Physics and Mathematics Faculty of Kyiv University. Having graduated from the university on June 1, 1864, Nikolai Vitalievich already in May 1865 received the degree of candidate of natural sciences.
After graduating from Kyiv University and a short service, N. V. Lysenko decides to get a higher musical education. In September 1867 he entered the Leipzig Conservatory, considered one of the best in Europe. His piano teachers were K. Reinecke, I. Moscheles and E. Wenzel, in composition - E. F. Richter, in theory - Paperitz. It was there that Nikolai Vitalievich realized that it was more important to collect, develop and create Russian music than to copy Western classics.
N. V. Lysenko was buried in Kyiv at the Baikove cemetery.
Kyiv addresses
- st. Reitarskaya, No. 19 (lived during 1888-1894).
- st. Saksagansky, No. 95 (lived during 1898-1912), now here is the Nikolai Lysenko House-Museum.
Memory
As early as September 14, NV Lysenko was commemorated in Poltava on the occasion of the first anniversary of his death. By this date, the Poltava community published the composer's biography (V. Budynets "Glorious music Nikolai Vitaliyevich Lysenko" (publication of the Poltava Ukrainian bookstore,).
- Streets in Kyiv and Lvov, the Lviv National Academy of Music, the Kharkov State Academic Opera and Ballet Theater (since 1944) and the Kiev Secondary Specialized Boarding School bear the name of N. V. Lysenko.
- In 1962, the string quartet of the Kyiv State Philharmonic Society was named after N. V. Lysenko. In the same year it was organized musical competition named after Nikolai Lysenko, which had national status until 1992, and since 1992 became international.
- December 29, 1965 next to National Opera Ukraine, a monument to N. V. Lysenko was opened on Theater Square. Sculptor A. A. Kovalev, architect V. G. Gnezdilov.
- The monument was erected in the composer's homeland, in the village of Grinki.
- In 1968, a television film-play was released. "Introduction" dedicated to the life and work of N. V. Lysenko. The role of Lysenko was played by the artist P. S. Morozenko.
- In 1983 Znamenskaya music school was named after Nikolai Lysenko.
- In 1986, at the film studio named after A. Dovzhenko, director T. Levchuk shot a historical and biographical film “And in the sounds the memory will respond…” , showing pages from the life of Nikolai Vitalyevich Lysenko. The role of the composer in the film was played by the artist F. N. Strigun.
- In the Kyiv apartment of N. V. Lysenko at 95 Saksaganskogo Street, a memorial museum was opened.
- In 1992, the Ukrainian Post issued a postage stamp and an artistic stamped envelope with an original stamp dedicated to the 150th anniversary of the birth of N. V. Lysenko.
- In 2002, to the 160th anniversary of the composer National Bank Ukraine issued a commemorative coin with a face value of 2 hryvnias. The obverse of the coin depicts a musical fragment from the composition "Prayer for Ukraine" (1885), and the reverse depicts a portrait of N. Lysenko.
- Ukrainian musicians are annually awarded the Mykola Lysenko Prize.
Creation
While studying at Kiev University, in an effort to acquire as much musical knowledge as possible, Nikolai Lysenko studied the operas of A. Dargomyzhsky, M. Glinka, A. Serov, got acquainted with the music of Richard Wagner and Robert Schumann. It was from that time that he began collecting and processing Little Russian folk songs, for example, he recorded a wedding ceremony (with text and music) in Pereyaslavsky district. In addition, he was the organizer and leader of student choirs, with which he spoke publicly.
While studying at the Leipzig Conservatory in October 1868, Lysenko published the "Collection of Ukrainian Songs for Voice and Piano" - the first release of his adaptations of forty Ukrainian folk songs, which, in addition to their practical purpose, are of great scientific and ethnographic value. In the same 1868, he wrote his first significant work - "The Testament" to the words of a poem by T. G. Shevchenko, on the anniversary of the poet's death. This work opened the cycle "Music for the Kobzar", which included more than 80 vocal and instrumental works of various genres, published in seven series, the last of which was published in 1901.
N. V. Lysenko was in the center of the musical and national-cultural life of Kyiv. In 1872-1873, he was a member of the directorate of the Russian Musical Society and took part in its concerts held throughout Little Russia; led a choir of 50 singers, organized in 1872 at the Philharmonic Society of Music and Singing Lovers; worked in the Circle of Music and Singing Lovers, the Circle of Music Lovers by Y. Spiglazov. In 1872, the circle, led by N. Lysenko and M. Staritsky, obtained permission for public performances of plays in the Little Russian dialect. In the same year, Lysenko wrote the operettas "Chernomortsy" and "Christmas Night" (later revised into an opera), which entered the theatrical repertoire, becoming the basis of the Ukrainian national opera art. In 1873, his first musicological work on Ukrainian musical folklore was published - "Characteristics of the musical features of Little Russian thoughts and songs performed by the kobzar Ostap Veresai." During the same period, Nikolai Vitalievich wrote many piano works, as well as a symphonic fantasy on Ukrainian folk themes "Cossack-Shumka".
During the St. Petersburg period, Lysenko took part in concerts of the Russian Geographical Society, led choral courses. Together with V. N. Paskhalov, he arranged concerts of choral music in the Salt Town, the program of which included Ukrainian, Russian, Polish, Serbian songs and works by Lysenko himself. He develops friendly relations with the composers of the Mighty Handful. In St. Petersburg, he wrote the first rhapsody on Ukrainian themes, the first and second concert polonaises, and a sonata for piano. In the same place, Lysenko began work on the opera "Marusya Boguslavka" (unfinished) and made the second edition of the opera "Christmas Night". In St. Petersburg, his collection of girlish and children's songs and dances Molodoshchi (Young Years) was published.
In 1880, he began work on his most significant work - the opera "Taras Bulba" based on the story of the same name by N.V. Gogol to the libretto by M. Staritsky, which he completed only ten years later. In the 1880s, Lysenko wrote such works as The Drowned Woman, a lyric-fiction opera based on N. Gogol's May Night to a libretto by M. Staritsky; "Rejoice, unwatered field" - cantata on verses by T. Shevchenko; third edition of "Christmas Night" (1883). In 1889, Nikolai Vitalievich improved and orchestrated the music for the operetta "Natalka Poltavka" based on the work of I. Kotlyarevsky, in 1894 he wrote the music for the extravaganza "Magic Dream" to the text of M. Staritsky, and in 1896 - the opera "Sappho".
Among the author's achievements of N. Lysenko, it is also necessary to note the creation of a new genre - the national children's opera. From 1888 to 1893, he wrote three children's operas based on folk tales to the libretto of the Dnieper-Chaika: "Koza-Dereza", "Pan Kotsky (Kotsky)", "Winter and Spring, or the Snow Queen". "Koza-Dereza" became a kind of gift from Nikolai Lysenko to his children.
From 1892 to 1902, Mykola Lysenko arranged four tours in Ukraine, the so-called "choir trips", in which his own choral works based on Shevchenko's texts and arrangements of Ukrainian songs were performed mainly. In 1892, Lysenko's art history research "On the Torban and the Music of Widort's Songs" was published, and in 1894 - "Folk Musical Instruments in Ukraine".
In 1905, N. Lysenko, together with A. Koshyts, organized the Boyan choral society, with which he organized choral concerts of Ukrainian, Slavic and Western European music. The conductors of the concerts were himself and A. Kosice. However, due to unfavorable political conditions and the lack of a material base, the society disintegrated, having existed for a little over a year. At the beginning of the 20th century, Lysenko wrote music for the dramatic performances "The Last Night" (1903) and "Hetman Doroshenko", in 1905 he wrote the work "Hey, for our native land." In 1908, he wrote the choir "Quiet Evening" to the words of V. Samoilenko, in 1912 - the opera "Nocturne", created lyrical romances to the texts of Lesya Ukrainka, Dnipro-Chaika, A. Olesya. In the last years of his life, Nikolai Vitalievich wrote a number of works of sacred music that continued the “Cherubic” cycle founded by him at the end of the 19th century: “The Blessed Virgin, Mother of the Russian Territory” (1909), “Kamo I will go from Your presence, Lord” (1909), “The Virgin today gives birth to the Substantial”, “The Cross tree”; in 1910, "David's Psalm" was written to the text of T. Shevchenko.
In 1880, already a mature composer, Nikolai Lysenko performed in Yelisavetgrad (now Kropyvnytskyi) with a big concert, which was a resounding success, as the then press reported. During the concert, the overture to "Christmas Night", the Ukrainian rhapsody "Dumka-Shumka", and romances were performed.
Major works
operas
- "Christmas Night" (1872, 2nd edition 1874, 3rd edition 1883)
- "Sappho" (1896)
- "Nocturne" (1912)
Children's operas
- "Goat-Dereza" (1888)
- "Pan Kotsky" (1891)
- "Winter and Spring, or the Snow Queen" (1892)
Operettas
- "Chernomortsy" (1872)
Works on the words of T. Shevchenko
- cycle "Music for the Kobzar" (1868-1901), which includes more than 80 different vocal genres from songs to extended musical and dramatic scenes.
Musicological works
- "Characteristics of the musical features of the Little Russian dumas and songs performed by the kobzar Ostap Veresai" (1873)
- "On the torban and the music of Widort's songs" (1892)
- "Folk Musical Instruments in Ukraine" (1894)
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An excerpt characterizing Lysenko, Nikolai Vitalievich
From that day on, during the entire further journey of the Rostovs, at all rests and overnight stays, Natasha did not leave the wounded Bolkonsky, and the doctor had to admit that he did not expect from the girl either such firmness or such skill in walking after the wounded.No matter how terrible the idea seemed to the countess that Prince Andrei could (very likely, according to the doctor) die during the journey in the arms of her daughter, she could not resist Natasha. Although, as a result of the now established rapprochement between the wounded Prince Andrei and Natasha, it occurred to me that in the event of recovery, the former relations between the bride and groom would be resumed, no one, still less Natasha and Prince Andrei, spoke about this: the unresolved, hanging question of life or death was not only over Bolkonsky, but over Russia obscured all other assumptions.
Pierre woke up late on September 3rd. His head ached, the dress in which he slept without undressing weighed heavily on his body, and in his soul there was a vague consciousness of something shameful that had been committed the day before; it was shameful yesterday's conversation with Captain Rambal.
The clock showed eleven, but it seemed especially overcast outside. Pierre got up, rubbed his eyes, and, seeing a pistol with a carved stock, which Gerasim put back on the desk, Pierre remembered where he was and what was coming to him that very day.
“Am I too late? thought Pierre. “No, he will probably make his entry into Moscow no earlier than twelve.” Pierre did not allow himself to think about what lay ahead of him, but was in a hurry to act quickly.
Straightening his dress, Pierre took a pistol in his hands and was about to go. But then for the first time the thought came to him about how, not in his hand, along the street to carry this weapon to him. Even under a wide caftan it was difficult to hide a large pistol. Neither behind the belt nor under the arm could it be placed inconspicuously. In addition, the pistol was unloaded, and Pierre did not have time to load it. “It doesn’t matter, the dagger,” Pierre said to himself, although more than once, discussing the fulfillment of his intention, he decided with himself that the main mistake of the student in 1809 was that he wanted to kill Napoleon with a dagger. But, as if Pierre’s main goal was not to fulfill his plan, but to show himself that he did not renounce his intention and was doing everything to fulfill it, Pierre hastily took what he had bought from the Sukharev Tower along with a pistol a blunt serrated dagger in a green scabbard and hid it under his vest.
Belting his caftan and pulling on his hat, Pierre, trying not to make noise and not meet the captain, walked along the corridor and went out into the street.
That fire, which he had looked at with such indifference the previous evening, increased significantly during the night. Moscow was on fire different parties. Burning at the same time Karetny Ryad, Zamoskvorechye, Gostiny Dvor, Povarskaya, barges on the Moskva River and a wood market near the Dorogomilovsky Bridge.
Pierre's path lay through lanes to Povarskaya and from there to the Arbat, to Nikola Yavlenny, in whose imagination he had long ago determined the place where his deed should be done. Most of the houses had locked gates and shutters. The streets and lanes were deserted. The air smelled of burning and smoke. From time to time there were Russians with uneasily timid faces and Frenchmen with a non-urban, camp look, walking along the middle of the streets. Both of them looked at Pierre with surprise. In addition to his great height and thickness, in addition to the strange gloomy concentrated and suffering expression of his face and whole figure, the Russians looked closely at Pierre, because they did not understand what class this person could belong to. The French followed him with surprise with their eyes, especially because Pierre, disgusted by all other Russians, who looked at the French with fear or curiosity, did not pay any attention to them. At the gates of a house, three Frenchmen, who were explaining something to the Russian people who did not understand them, stopped Pierre, asking if he knew French?
Pierre shook his head negatively and went on. In another alley, a sentry standing at a green box shouted at him, and Pierre only realized at the repeated menacing cry and the sound of a gun taken by the sentry in his hand that he had to go around the other side of the street. He did not hear or see anything around him. He, like something terrible and alien to him, with haste and horror carried his intention within himself, fearing - taught by the experience of last night - somehow lose it. But Pierre was not destined to convey his mood intact to the place where he was heading. In addition, even if he had not been hindered by anything on the way, his intention could not have been fulfilled already because Napoleon had traveled more than four hours ago from the Dorogomilovsky suburb through the Arbat to the Kremlin and was now sitting in the tsar’s office in the gloomiest mood. Kremlin Palace and gave detailed, detailed orders on the measures that should immediately have been taken to extinguish the fire, prevent looting and calm the inhabitants. But Pierre did not know this; he, completely absorbed in what was to come, was tormented, as people are tormented who stubbornly undertook an impossible deed - not because of difficulties, but because of the unusualness of the matter with their nature; he was tormented by the fear that he would weaken at the decisive moment and, as a result, lose respect for himself.
Although he did not see or hear anything around him, he knew the way by instinct and was not mistaken by the lanes that led him to Povarskaya.
As Pierre approached Povarskaya, the smoke grew stronger and stronger, it even became warm from the fire. From time to time, fiery tongues rose from behind the roofs of houses. more people met on the streets, and this people were more anxious. But Pierre, although he felt that something unusual was going on around him, did not realize that he was approaching the fire. Walking along a path that ran along a large undeveloped place, adjacent on one side to Povarskaya, on the other to the gardens of the house of Prince Gruzinsky, Pierre suddenly heard a desperate cry of a woman beside him. He stopped, as if awakening from a dream, and raised his head.
Away from the path, on dried dusty grass, a heap of household belongings were piled up: featherbeds, a samovar, images and chests. On the ground near the chests sat a middle-aged, thin woman, with long protruding upper teeth, dressed in a black cloak and cap. This woman, swaying and saying something, bursting into tears. Two girls, from ten to twelve years old, dressed in dirty short dresses and cloaks, with an expression of bewilderment on their pale, frightened faces, looked at their mother. A younger boy, about seven years old, in a coat and a huge cap that was not his own, was crying in the arms of the old nurse. A dirty, barefooted girl sat on a chest and, having loosened her whitish braid, tugged at her singed hair, sniffing at it. The husband, a short, round-shouldered man in a uniform, with wheel-shaped sideburns and smooth temples that could be seen from under a straight-on cap, with an immovable face, parted chests stacked one on top of the other, and pulled out some kind of robes from under them.
The woman almost threw herself at Pierre's feet when she saw him.
“Dear fathers, Orthodox Christians, save me, help me, my dear! .. someone help me,” she uttered through sobs. - A girl! .. Daughter! .. They left my younger daughter! .. Burned down! Oh oh oh! for that I lele you ... Oh oh oh!
“Enough, Marya Nikolaevna,” the husband turned to his wife in a low voice, apparently only to justify himself before stranger. - The sister must have taken it away, otherwise where else to be? he added.
- An idol! The villain! the woman screamed angrily, suddenly stopping crying. “You don’t have a heart, you don’t feel sorry for your child. Another would have taken it out of the fire. And this is an idol, not a man, not a father. You are a noble person, - the woman turned to Pierre with a patter, sobbing. - It caught fire nearby, - it was thrown towards us. The girl screamed: it's on fire! Rushed to collect. In what they were, they jumped out in that ... That's what they captured ... God's blessing and a dowry bed, otherwise everything was gone. Grab the kids, no Katechki. Oh my God! Ooo! – and again she sobbed. - My dear child, it burned down! burned down!
- Yes, where, where did she stay? Pierre said. From the expression on his animated face, the woman realized that this man could help her.
- Father! Father! she screamed, grabbing his legs. “Benefactor, at least calm my heart ... Aniska, go, vile, see her off,” she shouted at the girl, angrily opening her mouth and showing her long teeth even more with this movement.
“See, see, I ... I ... I will do it,” Pierre said hastily in a breathless voice.
The dirty girl stepped out from behind the trunk, cleaned up her scythe, and, sighing, went forward with her blunt bare feet along the path. Pierre, as it were, suddenly woke up to life after a severe fainting spell. He raised his head higher, his eyes lit up with the brilliance of life, and he quickly followed the girl, overtook her and went out to Povarskaya. The whole street was covered with a cloud of black smoke. Tongues of flame escaped from this cloud in some places. People crowded in front of the fire in a large crowd. In the middle of the street stood a French general and said something to those around him. Pierre, accompanied by a girl, went up to the place where the general was standing; but the French soldiers stopped him.
- On ne passe pas, [They don't pass here,] - a voice shouted to him.
- Over here, uncle! - said the girl. - We will go through the alley, through the Nikulins.
Pierre turned back and walked, occasionally jumping up to keep up with her. The girl ran across the street, turned left into an alley and, after passing through three houses, turned right at the gate.
“Right here now,” said the girl, and, running through the yard, she opened the gate in the boarded fence and, stopping, pointed out to Pierre a small wooden outbuilding that burned brightly and hotly. One side of it collapsed, the other burned, and the flames brightly knocked out from under the openings of the windows and from under the roof.
When Pierre entered the gate, he was overwhelmed with heat, and he involuntarily stopped.
- Which, which is your house? - he asked.
– Oh oh oh! howled the girl, pointing to the outbuilding. - He was the most, she was our most Vater. Burnt, you are my treasure, Katechka, my beloved lady, oh oh! Aniska howled at the sight of the fire, feeling the need to show her feelings as well.
Pierre leaned towards the outbuilding, but the heat was so strong that he involuntarily described an arc around the outbuilding and found himself near big house, which was still burning only on one side from the roof and around which a crowd of Frenchmen swarmed. At first, Pierre did not understand what these Frenchmen were doing, dragging something; but, seeing in front of him a Frenchman who beat a peasant with a blunt cleaver, taking away his fox coat, Pierre vaguely realized that they were robbing here, but he had no time to dwell on this thought.
The sound of the crackling and rumble of collapsing walls and ceilings, the whistling and hissing of flames and the lively cries of the people, the sight of wavering, then frowning thick black, then soaring brightening clouds of smoke with sparkles and somewhere solid, sheaf-like, red, sometimes scaly gold, moving along the walls of the flame , the feeling of heat and smoke and the speed of movement produced their usual exciting effect on Pierre from fires. This effect was especially strong on Pierre, because Pierre suddenly, at the sight of this fire, felt freed from the thoughts that weighed on him. He felt young, cheerful, agile and determined. He ran around the outbuilding from the side of the house and was about to run to that part of it that was still standing, when a cry of several voices was heard above his very head, followed by the crackling and ringing of something heavy that fell beside him.
Pierre looked around and saw Frenchmen in the windows of the house, throwing out a chest of drawers filled with some kind of metal things. The other French soldiers below approached the box.
- Eh bien, qu "est ce qu" il veut celui la, [What else does this need,] one of the French shouted at Pierre.
– Un enfant dans cette maison. N "avez vous pas vu un enfant? [A child in this house. Have you seen the child?] - said Pierre.
- Tiens, qu "est ce qu" il chante celui la? Va te promener, [What else does this one interpret? Go to hell,] - voices were heard, and one of the soldiers, apparently afraid that Pierre would not take it into his head to take away the silver and bronze that were in the box, menacingly approached him.
- Unenfant? shouted a Frenchman from above. - J "ai entendu piailler quelque chose au jardin. Peut etre c" est sou moutard au bonhomme. Faut etre humain, voyez vous… [Child? I heard something squeaking in the garden. Maybe it's his child. Well, it is necessary for humanity. We all people…]
– Ou est il? Ouestil? [Where is he? Where is he?] asked Pierre.
- Parici! Parici! [Here, here!] - the Frenchman shouted to him from the window, pointing to the garden that was behind the house. - Attendez, je vais descendre. [Wait, I'll get off now.]
And indeed, a minute later a Frenchman, a black-eyed fellow with some kind of spot on his cheek, in one shirt jumped out of the window of the lower floor and, slapping Pierre on the shoulder, ran with him into the garden.
“Depechez vous, vous autres,” he called to his comrades, “start a faire chaud.” [Hey, you, come on, it's starting to bake.]
Running outside the house onto a sandy path, the Frenchman pulled Pierre's hand and pointed him to the circle. Under the bench lay a three-year-old girl in a pink dress.
- Voila votre moutard. Ah, une petite, tant mieux, said the Frenchman. – Au revoir, mon gros. Faut etre humane. Nous sommes tous mortels, voyez vous, [Here is your child. Oh girl, so much the better. Goodbye, fat man. Well, it is necessary for humanity. All people,] - and the Frenchman with a spot on his cheek ran back to his comrades.
Pierre, choking with joy, ran up to the girl and wanted to take her in his arms. But, seeing a stranger, the scrofulous, mother-like, unpleasant-looking girl screamed and rushed to run. Pierre, however, grabbed her and lifted her up; she squealed in a desperately angry voice and with her small hands began to tear off Pierre's hands from herself and bite them with a snotty mouth. Pierre was seized by a feeling of horror and disgust, similar to that which he experienced when he touched some small animal. But he made an effort on himself not to abandon the child, and ran with him back to the big house. But it was no longer possible to go back the same way; the girl Aniska was no longer there, and Pierre, with a feeling of pity and disgust, clutching the sobbing and wet girl as tenderly as possible, ran through the garden to look for another way out.
When Pierre, having run around the yards and lanes, went back with his burden to the Gruzinsky garden, at the corner of Povarskaya, for the first minute he did not recognize the place from which he went after the child: it was so cluttered with people and belongings pulled out of the houses. In addition to Russian families with their belongings, who were fleeing the fire here, there were also several French soldiers in various attire. Pierre ignored them. He was in a hurry to find the official's family in order to give his daughter to his mother and go again to save someone else. It seemed to Pierre that he still had a lot to do and that he needed to do it as soon as possible. Inflamed with heat and running around, Pierre at that moment, even stronger than before, experienced that feeling of youth, revival and determination that seized him while he ran to save the child. The girl calmed down now and, holding on to Pierre's caftan with her hands, sat on his arm and, like a wild animal, looked around herself. Pierre glanced at her from time to time and smiled slightly. It seemed to him that he saw something touchingly innocent and angelic in that frightened and sickly little face.
In the same place, neither the official nor his wife was gone. Pierre walked with quick steps among the people, looking at the different faces that came across to him. Involuntarily, he noticed a Georgian or Armenian family, consisting of a handsome, with oriental type face, a very old man, dressed in a new covered coat and new boots, an old woman of the same type, and a young woman. This very young woman seemed to Pierre the perfection of oriental beauty, with her sharp, arched black eyebrows and long, unusually gently ruddy and pretty face without any expression. Among the scattered belongings, in the crowd in the square, she, in her rich satin coat and bright purple shawl that covered her head, resembled a tender hothouse plant thrown into the snow. She was sitting on knots a little behind the old woman and motionlessly with large black oblong eyes with long eyelashes looked at the ground. Apparently, she knew her beauty and was afraid for her. This face struck Pierre, and in his haste, passing along the fence, he looked back at her several times. Having reached the fence and still not finding those whom he needed, Pierre stopped, looking around.
The figure of Pierre with a child in her arms was now even more remarkable than before, and several people of Russian men and women gathered around him.
“Or did you lose someone, dear man?” Are you one of the nobles yourself? Whose child is that? they asked him.
Pierre answered that the child belonged to a woman and a black coat, who sat with the children in this place, and asked if anyone knew her and where she had gone.
“After all, it must be the Anferovs,” said the old deacon, turning to the pockmarked woman. “Lord have mercy, Lord have mercy,” he added in his usual bass.
- Where are the Anferovs! - said the grandmother. - The Anferovs left in the morning. And this is either Marya Nikolaevna or the Ivanovs.
- He says - a woman, and Marya Nikolaevna - a lady, - said the courtyard man.
“Yes, you know her, her teeth are long, thin,” said Pierre.
- And there is Marya Nikolaevna. They went into the garden, when these wolves swooped in, - said the woman, pointing to the French soldiers.
Nikolay Lysenko
Nikolai Vitalyevich Lysenko was born on March 22, 1842 in the village of Grinki (now Globinsky District Poltava region). The name of N. V. Lysenko is associated with the era of the formation of the Ukrainian professional music, theater and musical and theater education in Ukraine.
The Lysenko family descended from a Cossack foreman of the time of Bogdan Khmelnitsky, the founder of the family is considered the legendary Cossack leader Vovgur Lys, an associate of Maxim Krivonos. From the hands of Ivan Mazepa, Ivan Yakovlevich Lysenko, a colonel of Chernigov and Pereyaslav, the appointed hetman of Ukraine in 1674, received the nobility. Among his sons and sons-in-law were 12 Cossack centurions, as well as representatives of other Cossack ranks. In subsequent generations of the clan, the military again predominate. N. Lysenko's father Vitaliy Romanovich served in the Cuirassier Military Order Regiment, retired with the rank of "colonel in uniform", was elected district marshal (leader of the nobility) of Tarashchansky and Skvirsky counties. At the end of his days, he was engaged in ethnographic research, sang Ukrainian songs beautifully, easily picking up accompaniment on the piano.
A descendant of an ancient gentry family, N. Lysenko combined the devotion bequeathed by his ancestors to the national idea and a penchant for state and educational activities with an extraordinary musical talent, becoming one of the leaders of the national cultural movement in Ukraine in the mid-19th - early 20th centuries. In the words of our contemporary - Lysenko's great-great-grandson, also Nikolay Vitalyevich and also a musician, "Lysenko replaced the Cossack saber with a conductor's baton and made a folk song a weapon in the struggle for the independence of Ukraine."
WITH early years the worldview of the future composer is formed under the influence of two musical elements. On the one hand, this is the salon music-making of Olga Eremeevna's mother (from the Lutsenko family) - an excellent pianist, a pupil of the Smolny Institute for Noble Maidens, that is, a supporter of European and, to some extent, Russian classics. For little Nikolai, this sphere opens up through classical sonatas, paraphrases and medleys on the themes of popular operas, fashionable salon plays like The Sleeping Lion by A. Kontsky. The main thing is that in a family where the serf orchestra of my mother's grandfather Peter Bulyubash was well remembered, musical talent, the need to study music aroused attention and understanding. The mother, noticing her son's musical abilities, already at the age of 5 begins to teach him to play the piano herself. At the age of six, the boy amazed everyone with his musical memory, purity and fluency of playing. And also "the amazing ease with which he mastered the motives and selected them with harmonization on the piano." At the age of 9, he will write his first piece of music - the graceful "Polka", published by his father as a gift for his son's birthday.
Another musical element exists outside the walls of the manor's house, and at times, like grandmother Maria Vasilievna Bulyubash, right in the clerks - this is a Ukrainian folk song and the whole fabric, permeated through with music. folk life with its theatrical ceremonies, holidays, lamentations. The folklore passions of the young Lysenko found a sincere response and support from his uncles - Andrei Romanovich and Alexander Zakharovich. Alexander Zakharovich played the bandura perfectly, was fond of Cossack antiquity and Ukrainian history.
The final realization of national self-determination of N. Lysenko took place at the age of 14, when, as a guest with his second cousin Mikhail Staritsky at his uncle Andrey Romanovich, they spent the whole night reading the forbidden poems of Taras Shevchenko rewritten in a notebook, carried away by “both the form, and the word, and the boldness of the content” ... “Lysenko, accustomed to Russian or French speech, was especially struck and fascinated by the sonority and power of a simple popular word", - recalled M. Staritsky.
The main contribution of N. V. Lysenko to the national culture is the collection of treasures of folk music, their research and processing, their return to the people “in an exquisite artistic setting” and the development of the national musical professional language based on folk melos.
N. Lysenko makes his first steps in music as a pianist - first in the Kyiv boarding houses of Guedouin and Weil, where he studies with the Czechs K. Neinkivch and the extremely popular Kyiv teacher and performer Panochchini (Aloyziy Ponotsny). Further - in the Kharkov 2nd gymnasium - J. Vilchek and the famous Russian pianist and composer Nikolai Dmitriev became his teachers. In Kharkov, young Lysenko even begins to give concerts in chamber meetings (both as a soloist and in an ensemble with teachers and fellow students) in the house of Fyodor Golitsyn, trustee of the Kharkov educational district. concert activity as a pianist, N. V. Lysenko will lead in this way from the age of 14–15 until the end of his life: about 55 years.
In 1860, N. Lysenko entered the Faculty of Natural Sciences of Kharkov University, where M. Staritsky had already studied. From next school year they are forced, in order to avoid repression after the student unrest in Kharkov, to transfer to Kiev University. Here, young men fall into the circle of progressive students, which made up the so-called Kyiv "Old Mass". N. Lysenko gets acquainted with Tadey Rylsky, Boris Poznansky, Pyotr Kosach, Mikhail Drahomanov and his sister Olga, Vladimir Antonovich, Pavel Zhitetsky and many others, whose selfless service to the national idea determined the political and cultural development Ukraine in the second half of the 19th - early 20th centuries.
In Kyiv, Lysenko continues to intensively study music. Under the influence of the program outlined by the Staraya Hromada, he begins to collect and process folk songs, works on the Dictionary of the Ukrainian Language and translations of public textbooks, creates a student choir of Kiev University (which has existed since 1864 to this day), which begins to perform folk songs in his arrangements; takes part in student performances, creating, in particular, in 1864 musical accompaniment to the vaudeville of V. Gogol (father) "Simple".
Together with Staritsky, in 1863 they made their first attempt to write an opera - the folk musical drama "Garkusha" based on the plot of Oleksa Storozhenko's story.
At the same time, Lysenko performed as a pianist in concerts in favor of the Kiev branch of the Russian Musical Society, which was being created at that time, performing with great success not only extremely complex solo works, but also the 2nd concerto of F. Chopin and other works for piano and orchestra; participates in the choir of the RMO at the first production in Kyiv of fragments of M. Glinka's opera "Ivan Susanin".
Therefore, it is not surprising that, having graduated from the university with brilliance and having defended his Ph.D. thesis in 1865, Nikolai Lysenko still chooses music and goes in 1867 to the Leipzig Conservatory. Having entered there as a pianist, he simultaneously listens to lectures on theoretical disciplines and composition from leading German professors. Limited financial opportunities (after the abolition of serfdom, Lysenko found himself in a difficult situation, and Nikolai was even expelled from the university due to non-payment of tuition in his second year) makes him comprehend the conservatory course in two years. N. Lysenko becomes the first in Ukraine and one of the few composers of the Russian Empire among his generation who had a European professional education.
In Leipzig, Lysenko published his first works - the piano Suite on the Themes of Folk Songs in the Form of Old Dances, the first two Collections of Arrangements of Ukrainian Folk Songs for Voice with Piano Accompaniment. During his life, he will publish 7 such collections of 40 songs, 12 "Choral Dozens" (arrangements for the choir); ceremonial collections: “Kolomyyki”, “Carols, Shchedrivka”, two “Wreaths of stoneflies”, “Wedding”, “Kupalska on the right”, over 500 arrangements for voice and choirs in total; two special collections for young people - "Molodoshi" and "Collection of Ukrainian folk songs in choral layout, adapted for students of younger and older age in folk schools".
At the same time in Leipzig, the composer also published the first issue of “Music by Nikolai Lysenko to Taras Shevchenko’s Kobzar.” This is one of the pinnacles of his work. Ivan Franko wrote: “Between Lysenko’s own compositions, among his operas and operettas, his best and most talented compositions Shevchenko’s many poetry, in which he felt the musicality of the verse more deeply, and managed to reflect it better than all the other numerous composers who were attracted by Shevchenko’s muse.” And the outstanding Western Ukrainian composer of the 20th century, Stanislav Lyudkevich, called these works “truthful pearls through and through the original Lysenko’s creativity ".
Over 90 times the composer turned to Kobzar's poems, interpreting them either as vocal miniatures (sometimes whole extended vocal scenes, such as, for example, "Pray, brethren, pray" from the poem "Gaidamaki"), or as extended cantatas like "Beat the Thresholds", or at eternal memory Kotlyarevsky”, then as a capella choirs, either accompanied by a piano or an orchestra, like “Ivan Hus”, then as vocal ensembles. Some works of Lysenko's "Music to Kobzar" became truly folk songs almost from the very moment of their creation, such as, say, "Oh, I'm alone, I'm alone like a blade of grass in the field" or "Cherry garden near the house."
T. Shevchenko's poetry, like a wreath, frames the composer's work. Having already quite significant works, like Opus No. 1, he designated the “Testament”, written in Leipzig (1868) at the request of the Lvov partnership “Prosvita”, (“Enlightenment”), and latest work composer, created literally on the eve of his death, became the choir "God, with our ears ..." ("David's Psalm").
Vocal works were written by N. Lysenko and the texts of other poets, one of them - in Russian - "Confession" for 4 lines from a poem by S. Nadson. This miniature was a gift on the last birthday of a seriously ill poet who lived in a dacha in Boyarka next to the Lysenko family.
Of particular note in Lysenko's legacy is the first in Ukrainian music vocal cycle(13 romances and 2 duets) to verses by H. Heine in Ukrainian rehashings by Lesya Ukrainka, Maxim Slavinsky, Lyudmila Staritskaya-Chernyakhovsky and N. V. Lysenko himself. It is this cycle that includes one of his most famous works in the world - the duet "When two part". The vocal and choral legacy of N. V. Lysenko, in addition to three cantatas and 18 choirs to Shevchenko's texts, includes 12 original choral works to texts by Ukrainian poets. And two of them - funeral march” to the text of Lesya Ukrainka and the cantata “On the 50th anniversary of the death of T. Shevchenko” are also dedicated to the Kobzar.
In general, the work to perpetuate the memory of T. Shevchenko with student years and until the last breath was the basis of Lysenko's social and educational activities. Recently, it has been documented that the composer did not take part in the reburial of Kobzar. But his contribution to the continuation of Shevchenko's cause is much more important: following the poet, Lysenko devoted his entire creative life to "enlighten the dumb slaves", in order to raise a single nation from the Ukrainian people torn apart by two empires, worthy of its heroic past and capable of creating its own future.
Since 1862, N. Lysenko annually organizes concerts in memory of T. Shevchenko, which, by the way, creates a new concert form - a mixed concert. Lysenko himself appears in these concerts as a pianist and choral conductor. His arrangements and author's works, compositions of other authors on the texts of Shevchenko and other poets, T. Shevchenko's poems and fragments from performances based on his works sound. Nowadays, such a concert form is common for us. But in Ukraine, it originates precisely from Lysenko's concerts.
At the end of his life, in 1908, N. V. Lysenko headed the first legal Ukrainian socio-political organization "The Kiev Ukrainian Club", as well as the first all-Ukrainian organization founded in 1906 - "The Joint Committee for the Construction of the Monument to T. G. Shevchenko in Kiev”, which received funds from concerts and charitable contributions from Australia, America, Canada, not to mention the whole of Europe. The last action in this Lysenko work was a program timed to coincide with the 50th anniversary of the death of Taras Shevchenko. Due to harassment by the tsarist administration, headed by the Kyiv Governor-General V. Trepov and the Minister of Internal Affairs of the Russian Empire P. Stolypin, the event was moved from Kyiv to Moscow. The consequence of this was the opening of the police “Case on the closure of the Kyiv Ukrainian Club” and “bringing members of the Council of Elders, headed by music teacher Nikolai Vitalyevich Lysenko, to criminal liability for anti-government activities.” Four days after the announcement of this decision, N. V. Lysenko died of a heart attack.
One of the points of accusation brought against N. V. Lysenko was his extensive educational activities, including choral activities.
Sergey Efremov in his obituary "Intimate Power" (newspaper "Rada", 10/29/1912) writes that "art, with the light hand of the deceased, was […] like that vanguard of Ukrainians, which prepared the way for other national forms and aspirations ".
This is what main point all of Lysenko's musical and social activities, including his work with choirs, and his four "choral trips" around Ukraine (1893, 1897, 1899, 1902). Throughout his life, Lysenko gathered in his choirs "not just tenors and basses, but above all conscious Ukrainians." It is not surprising that the police reports say: "It is rather not a choir, but a circle, the most harmful in terms of politics." On such a charge, the Kyiv administration closed the Choral Society, founded by Lysenko in 1871-1872.
In general, N.V. Lysenko, wherever he could, tried to rally people, especially artistic youth, around the national idea. So it was with the Kyiv Literary and Artistic Society. Opened in 1895 as an outpost of Russian culture, it gradually turned into a center for the promotion of the Ukrainian idea and national culture, for which it was closed in 1905.
For the same purpose, with the light hand of Lysenko, the Young Literature circle, better known as the Pleiad of Young Ukrainian Writers, arose, which gave a start to the life of Lesya Ukrainka, Lyudmila Staritskaya-Chernyakhovsky, Maxim Slavinsky, Sergey Efremov, Vladimir Samiylenko and many other talented writers and public figures of the early 20th century.
An equally important contribution to the development of Ukrainian culture was the theatrical activity of N. V. Lysenko. He is one of the founders of the Ukrainian professional theater, including opera.
Having begun in 1863 with an unfinished attempt to write the folk heroic opera Garkusha, Lysenko, returning from Leipzig, writes (again with M. Staritsky) the operetta Chernomortsy, which they successfully staged at the premises of the Lindfors sisters on Fundukleevsky (now Street B . Khmelnitsky) by an amateur circle of M. Staritsky - N. Lysenko in 1872
An outstanding event in Ukrainian culture was their next joint work - the operetta "Christmas Night" (later revised into a 4-act opera). The premiere of "Christmas Night" performed by an amateur circle on the stage of the Kyiv City Theater on January 24, 1874 became the birthday of the Ukrainian Opera House. Leading parts were sung by Olga Alexandrovna Lysenko-O'Connor, who, having married N. V. Lysenko, studied with him in Leipzig (Oksana), Alexander Rusov (Vakula), Stanislav Gabel (Patsyuk).
The organizers of the performance, among whom were M. Dragomanov, P. Chubinsky, F. Vovk, the Lindfors family, O. Rusov and other members of the Staraya Hromada, openly declared their political sympathies: right in front of the audience in the center of the scenery, which was the interior of the Ukrainian of the hut, in the center of the mother that supported the roof, the date of the defeat of the Zaporizhzhya Sich by the tsarist troops was “cut out”. Actually, the premiere itself took place exactly 200 years after that tragic event for Ukraine. It is not surprising that until the end of his days, N. Lysenko will be under vigilant police surveillance.
Lysenko wrote 11 operas, and collaborating with the leading troupes of the Ukrainian theater, he created music for another 10 dramatic performances.
The history of the creation and production of operas by N. V. Lysenko is extremely diverse. So, without sufficient reason, it is considered the opera "Andriyashiada" - actually a compilation of popular melodies from classical operas and operettas, a kind of "skit" created on the libretto by M. Staritsky and M. Dragomanov on the occasion of the publication by the director of the 1st Kiev gymnasium Andriyashev of the notorious "People's Calendar ".
The composer never saw his main brainchild, the opera Taras Bulba, on the stage, despite P. I. Tchaikovsky's offer to assist in staging it on the Moscow stage. At the same time, Lysenko's Natalka Poltavka, which he actually did not write, is still extremely popular. The composer notes in the preface to the first edition (1886) that he only “ordered the clavier” of the most popular melodies that were used in the “folk play”, beloved since the time of I. Kotlyarevsky. That is, N. V. Lysenko wrote only a detailed piano accompaniment and an introduction to "Natalka Poltavka". The question of whether Lysenko himself orchestrated this opera is still open; in any case, no memoirs have been preserved of the existence of Lysenko's autograph of the score.
The rest of the big operas: the comic-lyrical, folklore "Christmas Night", the extravaganza "The Drowned Woman", the folk musical drama "Taras Bulba", the satire opera "Aeneid" were orchestrated by the composer himself. The first three Ukrainian children's operas "Koza-Dereza", "Pan Kotsky", "Winter and Spring", the extravaganza "Magic Dream", the opera in 2 acts "Sappho" and the last opera-minute "Nocturne" came to us in the clavier . “Garkusha”, “Marusya Boguslavka”, “Witch”, “ Summer night". From recent letters composer, we learn that he began to work on a ballet ...
The stage life of N. V. Lysenko's operas continues today in various editions, the need for which is due primarily to the fact that, for all his talent, Lysenko was still not a "symphonist", which was not changed even by two years of study (1874-1876) in St. Petersburg N. A. Rimsky-Korsakov. Perhaps the reason was that N. Lysenko had very little to work with the orchestra.
However, in choral works and in choral conducting Lysenko reached peaks unsurpassed in his time. Suffice it to recall such a pearl of choral polyphony as "The fog falls in waves" from the opera "The Drowned Woman". Choral conductors and composers were also his best students - Alexander Koshits, Kirill Stetsenko, Yakov Yatsinevich.
There are almost no symphonic works in N. V. Lysenko's heritage: an unfinished "youthful" symphony - a student work of the period of study in Leipzig, an overture on the theme of the song "Oh, the Cossack washed down", which later became part of the operetta "Chernomortsy", "Russian pizzicato" and an orchestral version piano fantasy "Cossack-Shumka" A little from the composer and chamber instrumental ensembles: Quartet and Trio Leipzig period and several pieces for violin, cello, flute and piano, written at the request of fellow musicians M. Sicard, O. Shevchik, V. Khimichenko, who gave many concerts with Lysenko.
One of the best virtuoso pianists of his time, Lysenko created more than 50 piano pieces. On Christmas Day 1867, N. Lysenko, a student at the Leipzig Conservatory, presented his own piano arrangements of 10 Ukrainian folk songs in Prague in the hall of the Craftsman's Conversation with great success. Unfortunately, only one of them has come down to us - "Oh, don't be surprised, good people, what happened in Ukraine." He completed the Leipzig Conservatory with a brilliant performance of Beethoven's 4th Piano Concerto with his own cadenza, which German magazines respectfully wrote about. NV Lysenko wrote the first piano rhapsodies in Ukrainian music: Golden Keys (1875) and Dumka-Shumka (1877). His legacy includes preludes, waltzes, nocturnes, mazurkas, marches and polonaises, songs without words. These works in the author's performance sounded especially expressive. L. Staritskaya-Chernyakhovskaya wrote that with the death of Lysenko, his piano works "half died." “It was impossible to compare his playing with anyone else ... For example, I have never heard a better performance of Schumann’s “Aufschwung’a” (“Impulse”). If he performed his own and generally Ukrainian things, it was something extraordinary - some kind of Yevshan potion ... Millennia came to life in his playing ... And deep, gray-haired, Slavic antiquity was heard. Inspirational, ardent, with the force of a lion's paw, with a proud look, he was completely transformed. In life, meek, affectionate, at the piano - Prophetic Boyan.
Lysenko, the pianist, as well as chamber ensembles with his participation, soloists and choirs under his direction, performed not only his own and other Ukrainian authors of the work, but also world-famous masterpieces of Western European and Russian composers. The huge pianistic and choral repertoire that sounded in N. Lysenko's concerts gives grounds to assert that he not only laid the foundations of Ukrainian professional performance, but tried by all means to lead the listeners "out of the farm environment into the broadest European world."
N. Lysenko almost did not write sacred music (because, perhaps, he would have to write in Russian texts, which he avoided in principle all his life). But among the six currently known religious works by Lysenko, extremely beautiful and imbued with high spirituality, there is such a masterpiece as the choral concert “Where will I go from your presence, Lord?” Nowadays, almost all choirs of Ukraine and the Diaspora.
Lysenko's life feat is not limited to writing musical works. The development of performance was also important for him, and not only in his time: it was N. V. Lysenko who laid the foundations of professional creative education in Ukraine, having opened in Kyiv in 1904 his Music and Drama School, in which, in addition to the music, there were departments of Ukrainian and Russian drama, and the first class in the Russian Empire to play folk instruments- the bandura class, which, for all the complexity of its organization, gave its first graduation in April 1911. From the Lysenko School, the Lysenko Music and Drama Institute grew over time - the leading creative university in Ukraine in 1918–1934. Graduates of Muzdramin them. M.V. Lysenko laid the foundations for the achievements of Ukrainian culture of the 20th century.
It is no accident, as we see, that in 1903 the celebration of the 35th anniversary of the creative activity of N. V. Lysenko turned into a demonstration of the greatness of the entire Ukrainian culture and united the nation from peasants to creative intelligentsia, from Russified officials to political emigrants.
The funeral of the Father of Ukrainian music also became an open political demonstration. According to A. Koshyts, about 1200 choristers sang alone. For the first time, young people dressed in student overcoats guarded the national shrine, surrounding the participants in the funeral procession with a chain and preventing the police from making arrests.
The most profound definition of the role of N. V. Lysenko in the history of Ukraine belongs to S. Efremov, who was formed as a writer and public figure in Lysenko's circle. He wrote in his obituary: “Music connoisseurs, experts will undoubtedly give us a detailed assessment of Lysenko as a composer and creator, find out what he was among musicians. But for us a wide range his followers, this image of the eternally young soul, which was the Intimate Force of the Ukrainian movement, its fire and living connection, which gathered the disparate into a single circle, and from here, from the center, revived everyone with a single mind's eye, will be more natural, closer and much more understandable" .
However, the main award of N. V. Lysenko is still not just a tribute to the memory and worship of descendants, but the fact that it was he who was destined to become the author of two national anthems that affirm the spiritual greatness of Man and the People.
The first of them is "The Eternal Revolutionary" (1905) to the verses of I. Franko (for a long time, without proper reason, it was exploited by the Soviet authorities, although the Anthem glorifies the spiritual revolution, and not the communist revolution).
The second - "Children's Hymn" to the verses of A. Konissky (1885): the now world-famous "Prayer for Ukraine" - "God the Great, the One!", Which since 1992 has been the official anthem of the Ukrainian Orthodox Church(Kyiv Patriarchate) and actually became the second national anthem of independent Ukraine.
