Ukrainian composers of the 20th century. Famous Ukrainian composers: list of names, brief overview of works

The East Slavic tribes from which the Ukrainians descend certainly had a talent for music. On the lands of modern Ukraine, original musical instruments have been found, whose age ranges from three to twenty thousand years. The high level of musical culture was noted in the powerful feudal state of the 9th-12th centuries. On the frescoes of the St. Sophia Cathedral in Kyiv we still see images of musicians playing the flute, trumpets, lute, and pneumatic organ. The chronicles 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 14th – 16th centuries, during the era of the formation of the Ukrainian nation, rapid development of music was observed. Since then, national (and therefore world) culture has been enriched by such original genres of folk art as historical duma, Cossack songs, peasant round dance songs, dance tunes and the like. This was a significant contribution of Ukrainians to the universal treasury.

FROM DUMA TO OPERA

Indeed, in those distant years, Ukrainian singers and bandura players often performed at entertainments at the courts of the Polish kings and Russian tsars, under whose rule the western and eastern regions of Ukraine were then respectively. Zaporozhye Cossacks, and later Ukrainian soldiers as part of the Russian army, spread their tunes throughout many European countries. Thus, the Ukrainian dance “Cossack” entered the French ballets of the mid-18th century. You can hear the echo of a Ukrainian lyrical song in one of Bach’s preludes.

Beethoven used the melody of the song “A Cossack Rode Over the Danube” for the piano variations. Liszt wrote two paraphrases on Ukrainian themes - the ballad “Oh, don’t go, Gritsyu” and “Complaint” to the melody of “the winds are blowing.”

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

Favorite songs and dances formed the basis of folk operas, operettas, and dramas, with which numerous amateur theater groups traveled everywhere. Among the classic examples is the opera “Cossack beyond the Danube” by the talented singer and composer Gulak-Artemovsky (he studied and performed in Italian theaters), as well as “Natalka-Poltavka” in the musical edition of Nikolai Lysenko. Already at the end of the 19th and beginning of the 20th centuries, these operas were successfully performed in Europe, and the last one was performed overseas. Nikolai Lysenko, the founder of the national school of composition, collected, processed and promoted folk songs, introduced them into various musical genres. This work was developed by his followers - Stanislav Lyudkevich, Kirill Stetsenko, Yakov Stepnoy, Nikolai Leontovich and others. Leontovich's outstanding chorus "Shchedrik", with its contrapuntal addition, gained enormous popularity. In particular, it is part of the program of the now famous Swing Sea Gers octet, which exists in a variety of transcriptions.

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

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

VARIETY OF SONG AND DANCE

Folklore influences directly or indirectly affected the original songwriting of modern composers, including the most popular of them - both in Ukraine and abroad - Platon Mayboroda, Igor Shamo, Vladimir Ivasyuk, Alexander Bilash. It is known, for example, that the lyrical romance “My dear” by P. Maiboroda was performed by various singers in many languages of the world, including Japanese.

In Ukraine, the art of choral singing has long been developed - folk, church, academic, and these traditions, one way or another, have been preserved. The tour in France (1929) of the State Ukrainian Traveling Chapel (“Thought”) under the direction of Nestor Gorodovenko was accompanied by triumphant success. The choir of Alexander Koshits gained worldwide fame, giving many touring concerts in Western Europe, the USA, Canada, and Australia.

The state Ukrainian folk choir, organized during the Second World War by Grigory Veryovka (his name was given to this group), has risen to a new level, and under the leadership of Anatoly Avdeevsky, the choir, whose composition is supplemented by orchestral and dance groups, has given hundreds of concerts on tour across all continents. A critic of a Spanish newspaper enthusiastically wrote that “when a country wants to protect its culture, it must follow the work of the Verevka choir, doing it with the same love.”

The State Folk Dance Ensemble of the Ukrainian SSR under the direction (and now named after) Pavel Virsky is no less popular in the world. According to the newspaper “Vradini”, this ensemble “is superior to other groups in its acrobatic dances, coherence, which takes your breath away...” In the dances of the ensemble, scenes from the ancient and modern life of Ukraine are played out with great taste and artistic brilliance. Under the direct influence of the ensemble, the dance ensemble “Zaporozhye Cossacks” was created in France (directed by Grégoire Lagoyduk). Many amateur groups and participants in various international folklore festivals also enjoy success.

Ukraine, rich in beautiful voices, has long “supplied” its singers to neighboring peoples and countries (in particular for the court singing 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.

At the end of the 19th - beginning of the 20th century, 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 considered one of the five outstanding singers of that time. With her talent she saved Puccini’s opera “Madama Butterfly” and was one of the best performers of operas by Wagner and R. Strauss. “How many modern singers should learn the skill of recitation from the Ukrainian,” her voice “has no equal,” noted the venerable Italian singer and teacher G. 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-Wolgemut, 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 echoes if not for foreign Ukrainians living on all continents of the planet. At different times, and for different reasons, when leaving Ukraine, they took with them Shevchenko’s “Kobzar” and a Cossack bandura. In both Americas, in Australia and in Europe, where they settled, new generations appeared, whose representatives often never visited the native land of their grandfathers and 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 a Ukrainian community in the world that does not have its own choir, musical ensemble or dance group.

As a rule, such circles attract 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. You can refer, for example, to the Mosaic festival, which is held in the city of Regina in accordance with the multicultural policy adopted in Canada. Work in amateur groups also gives rise to their own composers, choirmasters 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 without reason that they say: “What you give, you keep.”

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

Famous Ukrainian composers The 18th, 19th, and 20th centuries made a significant contribution to the development of culture. They created and thereby 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 based on the Ukrainian-language libretto of the opera “Zaporozhets for Danube."
Gulak-Artemovsky went to Italy, where, after two years of study, he made his debut in the Florentine opera (1841). A significant place in the composer’s work is occupied by Ukrainian songs, in particular “The sycamore is standing over the water”, “I don’t want to sleep”, “On the mountain the reapers are reaping”- 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 troupe.

2. Boris Lotoshinsky

Boris Nikolaevich Lotoshinsky (1894-1968) - Ukrainian composer, conductor and teacher, one of the founders of modernism in Ukrainian classical music.
A repeated 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 trained a new galaxy of composers: I. Shamo, V. Silvestrov, I. Karabits, E. Stankovych, A. Kanerstein.
Awarded the titles of Honored Artist of the Ukrainian SSR (1945), People's Artist of the Ukrainian SSR (1968), State Prize of the USSR (1946, 1952) and the Ukrainian SSR. T. G. Shevchenko (1971).
Created operas "Golden Hoop"(based on the story “Zakhar Berkut” by Ivan Franko, 1929), "Shchors"(“Commander”, libr. I. Kocherga and Rylsky, 1937). Wrote works for choir and orchestra: "Solemn Cantata"(words by M. Rylsky, 1939), "Will"(words by T. Shevchenko. 1939);

3. Miroslav Skorik

Miroslav Mikhailovich Skorik (1938) - composer and musicologist, Hero of Ukraine, People's Artist of Ukraine, laureate of the. T. G. Shevchenko, candidate of art history, co-chairman of the Union of Composers of Ukraine in 2006-2010, artistic director of the Kyiv Opera (since 2011). Great-nephew of Solomiya Krushelnitskaya.
Famous works: opera "Moses"(Libretto by B. Stelmakh after I. Franko, 2001), ballets "Masons"(according to 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 - avant-garde, which he abandoned 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. Koussevitzky (USA, 1967), International Composer Competition “Gaudeamus” (Netherlands, 1970), State Prize of Ukraine. T. Shevchenko (1995), People's Artist of Ukraine (1989). Awarded the Order 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”, “Ancient Ballad”, “Ode to a 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 concerto for bandura, member of the National Union of Composers of Ukraine.
In 1946 he graduated from the Kyiv Conservatory in the composition class of L. Revutsky and the Faculty of History and Theory. 3-time artist of the Ukrainian SSR (1972), People's Artist of Ukraine (1993); Laureate of the State Prize of Ukraine named after. T. G. Shevchenko (1998, for symphony No. 3, dedicated to the memory of the victims of the Holodomor of 1932-1933 in Ukraine).
Works: oratorio “Lenin” (1970); "Under the Golden Eagle" (1957); suite “In Poland” (1962), etc.

6. Evgeniy Stankovych

Evgeny Fedorovich Stankovych (1942) - Ukrainian composer, chairman of the National Union of Composers of Ukraine (since 2005), Honored Artist of the Ukrainian SSR (1980), People's Artist of the Ukrainian SSR (1986), Hero of Ukraine (2008).
He studied at a music school, studied composition with Adam Soltys at the Lviv State Conservatory named after Nikolai Lysenko.
Evgeniy Stankovych is the author of 6 symphonies and 10 chamber symphonies, an opera, 5 ballets, instrumental concerts, music for films, etc.
Famous works: folk opera “When the Fern Blooms” (1978); for soloists, two mixed choirs “Requiem for those who died of hunger” (1992); for string instruments 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 works, music for several performances. A professional physician, violinist, he played the piano, cello, and guitar beautifully, and masterfully performed his songs. An extraordinary artist.
Awards: diploma winner of the All-Union Review of Young Composers (1978), laureate of the Republican Komsomol Prize named after. N. Ostrovsky (1988, posthumously) laureate of the State Prize of Ukraine named after. T. G. Shevchenko (1994, posthumously).
Works:“Chervona Ruta”, “Vodograi”, “Ballad of Mallows”, Suite Variations for Chamber Orchestra (1977), etc.

8. Alexander Kozarenko

Alexander Vladimirovich Kozarenko (1963) - Ukrainian composer, pianist, musicologist.
He graduated from the Lvov Music College and the Kyiv Conservatory and graduate school, piano class. Trained at the University of Würzburg (Germany, 2004). Doctor of Art History (2001).
Laureate of the All-Ukrainian Piano Competition named after. N. Lysenko (1984), diploma winner at the All-Russian Chamber Ensemble Competition (1986). Laureate of Ukrainian state prizes for composition: named after. 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 collaboration with theater groups, the fruits of which are music for more 50 performances.

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

They date back to the 18th millennium BC. The flutes found at the Molodovo site in the Chernivtsi region date back to the same time.

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

In the primitive game, soloists and other singers began to stand out; As they develop, the elements of musically expressive language are differentiated. Recitation on one tone even without the exact dimension of intervallic moves (the downward glissanding 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 for raising and lowering the voice and as reference intervals for the melody and their filling with intermediate (narrow) passages.

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

Folk song creativity

The practice of folk song that existed in ancient times on the territory of Ukraine can be judged from ancient ritual songs. Many of them reflect the integral 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, and modes - Aeolian, Ionian, Dorian (often chromatized), Mixolydian. Connections with Belarusian and Russian folklore are clearly visible in the folklore of Polesie.

Instrumental folklore and folk instruments

The formation of professional music

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Ukrainian musicians of various periods

There has been news about the professional musical art of East Slavic tribes since the times of Rus'. 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 12th-17th 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 landowners' estates and military units, began to develop in cities in the 17th century. Guilds of musicians appeared, and orchestras and chapels were created under the magistrates. Based on folk song and cant traditions, in the 18th - early 19th centuries, romance songs based on poems by various poets became widespread. One of the first to introduce and begin to create in this genre was Grigory Skovoroda, who introduced civil, philosophical and lyrical themes into the song genre.

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

The combination of the traditions of partes singing and modern techniques of European writing determined the uniqueness of the work of these composers. Having become the court conductor in St. Petersburg, and from 1796 - the head of the court chapel, formed almost exclusively from students 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 be published.

XIX - early XX centuries

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 the Ukrainian writers and poets, professional musicians of the 19th century began to turn to folk themes, to arrange folk songs, which were performed by talented amateur amateurs accompanied by folk instruments - kobza, bandura, cymbals, violins, lyres, 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 theaters and the opening of the first professional theaters (in 1803 in Kyiv, and in 1810 in Odessa), in which musical and stage works on national subjects were staged, played an important role in the development of Ukrainian opera. The first Ukrainian opera is considered to be “Zaporozhets beyond the Danube” by Gulak-Artemovsky (1863). In Western Ukraine, composers M. M. Verbitsky, I. I. Vorobkevich, V. G. Matyuk worked in various genres of choral and instrumental (including symphonic) music.

Fundamental for the development of national professional music was the work of Nikolai Lysenko, who created classical examples of works in different genres: 9 operas, piano and instrumental, choral and vocal works, a work based on words by Ukrainian poets, including words by Taras Shevchenko. He also became the organizer of a music school in Kyiv (1904; from 1918 -).

N. Lysenko.“Great God, One”(inf.)
N. Lysenko. Cantata “Breaking the Rapids”(inf.)
N. Leontovich."Shchedrik"(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) arose. Higher opera houses were opened in Kyiv (1867) and Lvov (1900), music schools at the Russian Musical Society in Kyiv (1868), Kharkov (1883), Odessa (1897) and other cities.

Ukrainian themes are also present in the works of Franz Liszt, who traveled around Ukraine in the late forties of the 19th century. Among his works are the piano pieces “Ukrainian Ballad” and “Thought”, as well as the symphonic poem “Mazeppa”.

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 Horowitz, choral conductor A. A. Kosice. Outside Ukraine, choral arrangements by N. D. Leontovich became known.

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 by S. Medveedeva. One recording was called “Chornokhmari”, probably it was a duet of Oksana and Andrey from the opera “Zaporozhets beyond the Danube”, another record was the song “Low Sun”. These records are currently unknown. In 1900, “Emil Berliner” recorded seven more Ukrainian records. In Lvov in 1904-1905, recordings of Ukrainian songs were made performed by A. A. Krushelnitskaya, and in 1909 - by F. N. Lopatinskaya.

In Kyiv from 1909-1911 there was a recording studio “International Extra-Record”, among the first recordings of which (July 1909) was P.I. Tsesevich, probably other Ukrainian performers (the studio’s catalogs have not survived). Particularly interesting are 11 recordings of soprano E. D. Petlyash with piano accompaniment by N. V. Lysenko. Three records from this series were found and are in the collections of the house-museum of N.V. Lysenko in Kiev, the songs “Gandzya” - “I go to the meadow, I lead the horse”, “The wind blows” - “Kari eyes” and “Oh” are recorded on them told me to mother" - "Not returning from the campaign." Only the studio operated in Kyiv, and the records were produced in Berlin.

Since 1911, the recording company “Extrafon” operated in Kyiv, which for the first time in Ukraine began to produce records on site. The first Ukrainian records made in Kiev were the recordings of Zor M. A. Nadezhdinsky with the songs “Walking Chumak on the Rinochka”, “Oh, the Turtle Dove Flew”, “Oh, the Girl Walked”, “That Siva Zozulya Wrapped Up” and others, 7 songs in total ; tenor I. E. Gritsenko - “The Sun Is Low”, “At I Gayu, I Gayu” to the words of T. G. 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, “Ekstrafon” released 10 Ukrainian songs performed by the choir of Y. A. Shkredkovsky and N. Nemchinov, 11 - performed by the B. P. Girnyak quartet; in 1914, for the anniversary of T. G. Shevchenko - records with songs based on the words of the poet performed by Tsesevich, Gritsenko, Karlashov, Petlyash and the Nadezhdinsky choir. The recordings included such works as “The Roar of the Stogne Dnieper Wide...”, “And the Wide Valley...”, “Yakby Meni Cherevichki”, “Fires are Burning, Music is Playing”, “Water Flows in the Blue Sea”, “The Ends of the Summer of Youth”.

Musical culture of 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 line with 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 subjected to sharp criticism at the plenums of the Union of Composers, and the latter practically abandoned creative activity after 1934, limiting himself to teaching and editorial work.

At the same time, mass Soviet song arose in Ukraine, one of the first creators of which was Konstantin Boguslavsky. In the 1930s, the first operas on Soviet themes appeared, including “Shchors” by B. Lyatoshinsky (1930), “Perekop” by Yu. 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 Kyiv Conservatory.

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

In the post-war period, among the prominent Ukrainian composers were Grigory Verevka, the brothers Georgy and Platon Mayborod, Konstantin Dankevich, A. Ya. Shtogarenko and others. Among the famous performers was tenor Ivan Kozlovsky. A native of the Kharkov region, Claudia Shulzhenko, 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, the penetration of the latest trends in European music into Ukrainian music. The “Kiev Avant-Garde” group was created in Kyiv, which included Valentin Silvestrov, Leonid Grabovsky and Vitaly Godzyatsky. Due to differences with the official musical circles of the USSR, members of the Kyiv Avant-Garde were subjected to various types of pressure, and therefore the group eventually broke up.

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

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

In parallel with the formation of pop music in Western countries, in Ukraine, as in other countries, Soviet pop music 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 famous. In those same years, pop performers gained popularity - Sofia Rotaru, Nazariy Yaremchuk, Vasily Zinkevich, Igor Belozir, Taras Petrinenko, Alla Kudlay and others.

At the same time, typical modern musical and musical-poetic projects were born, including the satirical theater “Don’t Cry!” V. Morozova (1970s), the group “Dead Piven” and the rock bard group “Lamentation of Jeremiah” (second half of the 1980s).

Contemporary music

Educational and concert institutions

Historically, Ukraine has received an extensive 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 Kyiv, Kharkov, Lvov, Odessa, Dnepropetrovsk, Donetsk
musical comedy theaters in Kharkov and Odessa, as well as an operetta theater in Kyiv
Children's musical theater in Kyiv

Concert institutions

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

Music educational institutions

Professional musicians are trained by:

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

Concert groups

As of 2008, there are 10 national and 2 state teams operating in Ukraine. Of these, 10 are located in Kyiv and one in Odessa.

Most of us love music, many admire and understand it, and some of us have a musical education and have mastered the ability to play musical instruments. However, the smallest percentage of the most talented members of the human race can compose melodies that fit across the centuries. Some of these people were born in Ukraine, in its picturesque corners. In the article we will talk about Ukrainian composers of the 20th century, and not only, who glorified Ukraine throughout the world.

Valentin Silvestrov (1937)

The famous Ukrainian composer was born in 1937 and still lives in Kyiv. The genius of musical art is famous throughout the world. We hear his music in the paintings:

"Two in one";
"Tuner";
"Chekhov's motives";
"Three Stories"

His Estonian colleague Theodor Adorno considers him the most interesting of all composers of the modern world. His work includes requiems, poems for orchestra, symphonies, and his “Four Songs to Poems by Mandelstam” are known and appreciated all over the world. Experts consider the piece of music unique in its simplicity.

Miroslav Skorik (1938)

The 77-year-old modern Ukrainian composer lived a difficult life, but managed to maintain the strength of spirit and sense of beauty that permeates his works.

He wrote melodies for the legendary film “Shadows of Forgotten Ancestors” and created a musical cycle called “In the Carpathians.” His Carpathian Rhapsody for violin and piano made him famous throughout the world as one of the best Ukrainian composers of the 20th century.

Miroslav's parents were intellectuals and received their education in Vienna. Skorik is the great-nephew of Solomiya Krushelnitskaya, of which he is immensely proud.

Nikolai Kolessa (1903-2006)

The Ukrainian composer, who was born in the city of Sambir, Lviv region, lived to be one hundred and two years old! This man amazes with his versatility. In his youth he graduated from the Medical University in Krakow. His education did not end there; he entered the Faculty of Philosophy and Slavic Studies at a higher educational institution in Prague. Kolessa also studied with the legendary Italian Marietta de Gelli, who is a world-famous pianist.

Whoever Nikolai Filaretovich was during his long life. He conducted at the Lviv Philharmonic and Opera Theatre. Many teaching aids have been published under his authorship. Nikolai Kolessa also wrote the melody for the film “Ivan Franko”.

Sergei Prokofiev (1891-1953)

He was a truly outstanding Ukrainian composer. The classics, which his mother, a talented pianist, brought up, influenced the filigree of his works. Mom began teaching Sergei to play the piano at the age of five. He wrote his first operas - “The Giant” and “On the Deserted Islands” at the age of nine.

Sergei Prokofiev is famous throughout the world for his operas:

“The Tale of a Real Man”;
"Love for Three Oranges";
"War and Peace".

He also wrote music for the ballets "The Tale of the Stone Flower", "Cinderella" and "Romeo and Juliet".

Nikolai Leontovich (1877-1921)

There are few instruments that this Ukrainian composer did not master: piano, violin, wind instruments... We can confidently call him a “one-man orchestra”. In his youth, in the village of Chukovi, where he lived with his family, he independently created a symphony orchestra.

Thanks to this man, the Ukrainian carol has appeared in many foreign films. This is the famous “Shchedrik”, who is known all over the world as Carol The Bells. The melody has many arrangements, and is rightfully considered the hymn of Christmas.

Reinhold Glier (1874-1956)

He comes from a family of Saxon subjects and is a resident of Kiev by passport. Glier grew up in a musical environment. The men in his family were engaged in making musical instruments. Gliere's works are heard all over the world. Austria, Denmark, Germany, France, Greece applaud him. One of the music schools in Kyiv bears the name of this composer.

Nikolai Lysenko (1842-1912)

Lysenko was not only a composer, he also made a great contribution to musical ethnography. Nikolai’s collection includes a lot of folk songs, rituals, and carols. In addition to music, he was interested in pedagogy, believing that there is no one more important than children.

There was a period in his life of teaching at the Kiev Institute of Noble Maidens. 1904 became a landmark year for him - he opened his own Music and Drama School.

What made Lysenko famous most of all was his “Children’s Anthem.” It is now known throughout the world as “Prayer for Ukraine.” In addition, Nikolai took an active civic position and took part in social activities.

Mikhail Verbitsky (1815-1870)

Verbitsky was a deeply religious man. Religion occupied a leading place in his life. He was the director of the choir at the seminary and composed musical works for worship. His creative heritage also includes romances. Verbitsky played the guitar very well and loved this instrument. He created many works for strings.

Verbitsky became famous after he wrote the music for the Ukrainian anthem. The verses for the anthem were composed by Pavel Chubinsky. The exact date of writing the song “Ukraine Has Not Die Yet” is unknown. There is information that this was the period 1862-1864.

The future anthem was first heard on March 10, 1865 in the city of Przemysl. This was the first concert on the lands of Western Ukrainians dedicated to the work of Taras Grigorovich Shevchenko. Verbitsky himself was in the choir at the concert, conducted by Anatoly Vakhnyanin. Young people liked the song, and for a long time many considered it folk.

Artemy Vedel (1767-1808)

Artemy, in addition to his gift as a composer, had a wonderful high voice and sang in the choir. In the capital of Ukraine in 1790, he became the head of a choir of “soldiers’ children and free people.”

For eight years he taught vocals at the Kharkov Collegium, and also led church choirs.

He created 29 choral concerts for the church. At performances, he often led tenor solos himself. Wedel's works were greatly influenced by folk songs.

Dmitry Bortnyansky (1751-1825)

As a child he received an excellent education. Little Dmitry was lucky. He graduated from the legendary Glukhov school. Dmitry had a truly beautiful voice. He had a wonderful treble. His voice was surprisingly clear and flowed like a stream. The teachers loved and appreciated Bortyansky.

In 1758 he was sent with the singers to the chapel in St. Petersburg. The mother crossed her son, gave him a modest bundle of provisions and kissed him. Seven-year-old Dima never saw his parents again.

His talent allowed him to study abroad. To comprehend the basics of musical skill, he went to Venice, Naples, and Rome.

Alas, most of Bortnyansky’s secular works have not survived to this day. They were kept in the archives of the St. Petersburg singing choir, which refused to put them on public display. The archive was disbanded, and the works of the legendary author simply disappeared in an unknown direction.

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, a variety of 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 Kyiv archaeologists near Chernigov - rattles made from mammoth tusks - date back to the 18th millennium BC. The flutes found at the Molodovo site in the Chernivtsi region date back to the same time.

The frescoes of Sophia of Kyiv (11th 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. Chronicle mentions of the singers Boyan 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 that existed in ancient times on the territory of Ukraine can be judged from ancient ritual songs. Many of them reflect the integral 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 and vowel vocalization. Connections with Belarusian and Russian folklore are clearly visible in the folklore of Polesie.

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

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

Calendar-ritual- vesnyanka, shchedrivka, haivka, carols, Kupala, obzhinkovka and others

Family ritual And household- wedding, comic, dance (including kolomiykas), ditties, lullabies, funerals, lamentations, etc.

Serf life- Chumatsky, Naimite, Burlatsky, etc.;
Historical songs And Duma
Soldier's life- recruits, soldiers, streltsy;
Lyrical songs and ballads.

Dumas and historical songs

In the 15th-16th centuries, historical thoughts and songs became one of the most striking phenomena of Ukrainian folk music, a unique symbol of national history and culture.

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

Great attention was paid to the fight against the Turks and Poles. The “Tatar” cycle includes such well-known thoughts as “About Samoil the Cat”, “About the Three Azov Brothers”, “About the 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, and folk heroes - Nechai, Krivonos, Khmelnytsky - occupy a special place. Later, new cycles of thoughts appeared - about the Swede, about the Sich and its destruction, about work on the canals, about the Haidamatchina, about the gentry and freedom.

Already in the XIV-XVII and XVIII centuries, Ukrainian musicians became famous outside of 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 lutenist, 18th century), Andrei Shut (19th century), Ostap Veresai (19th century), etc.

Folk musicians united in brotherhoods: song workshops, which had their own charter and protected their interests. These brotherhoods especially developed in the 17th-18th centuries, and existed until the very beginning of the 20th century, until their destruction by the Soviet regime.

Instrumental folklore and folk instruments

Instrumental folklore occupies an important place in Ukrainian musical culture. The musical instrumentation of Ukraine is very rich and diverse. It includes a wide range of wind, string and percussion instruments. A significant part of Ukrainian folk musical instruments comes from instruments from the times of Rus'; other instruments (for example, the violin) were adopted on Ukrainian soil later, although they then became the basis of new traditions and performance features.

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, kolomiykas, polkas, waltzes, doves, lassos, etc.) and song- instrumental music for listening. Traditional ensembles most often consisted of triplets of instruments, such as the violin, sniffle and tambourine. Performing music also involves a certain amount of improvisation.

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

During the Zaporozhye Sich, the orchestras of the Zaporozhian Army sounded timpani, drums, Cossack antimonies and trumpets, and timpani were among the kleinods of the Zaporozhye Sich, that is, they were among the symbols of Cossack statehood.

Instrumental music also became an integral part of urban culture. In addition to national instruments such as violins and banduras, urban culture is represented by such instruments as the table-like harp, zither, and torban. To their accompaniment they sang songs of praise, city songs and romances, and religious chants.

Ukrainian folklore

In the 20th century, many professional and amateur groups in Ukraine turned to the topic of Ukrainian folklore, and ensembles were also created in emigrant circles in foreign countries. A characteristic feature of the presentation of folklore traditions in the forms of academic music-making has become.

Thus, at the beginning of the 20th century, a Ukrainian ethnic music ensemble 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, such as Zinovy Shtokalko, Grigory Kitasty, Yulian Kitasty, Victor Mishalov and others.

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

Since the 1980s There has been an increase in interest in authentic forms of folk music. The pioneers of this direction are considered to be the Drevo group, founded in 1979, headed by Professor of the Kyiv Conservatory E. Efremov. In the 2000s, such ethnic music festivals as„ Land of the World" And„ Sheshory”, where folk music sounds both in authentic performance and in various arrangements of rock or pop styles. The organizers of the "Sheshory" festival decided to give their brainchild a new name - "ArtPole". The fact is that since 2003 the festival was held in the village of Sheshory, Ivano-Frankivsk region, but since 2007 it has settled in the village of Vorobievka (Vinnytsia region). “In recent years, the festival has begun 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 by changing its name, following the format. In addition, this is more correct in relation to to those real, geographical Sheshors who remained in the Ivano-Frankivsk region,” said the director of the festival “ArtPole-2009” Olga Mikhailyk.

Among modern groups of authentic singing, the groups “Bozhychi”, “Volodar”, “Buttya” should be mentioned. Ethnic motifs are used by the groups Rushnychok “Tartak”, “Vopli Vidoplyasova”, “Mandri”, “Haidamaki”, “Ocheretyaniy Whale”, the original layering of elements is offered by the group “DakhaBrakha”.

The formation of professional music

There has been news about the professional musical art of East Slavic tribes since the times of Rus'. 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 single-voice “znamenny chant” spread in Orthodox churches, which also significantly influenced the work of composers of subsequent eras.

XVII - XVIII centuries

In the Baroque era, single-voice 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 the spiritual concert developed. Among the outstanding musical figures of that time is Nikolai Diletsky, author of the Musician 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. The students of the academy popularized the nativity scene, and later - the cants. Among the Academy's graduates were many artists, including composers Grigory Skovoroda and Artemy Vedel.

Secular professional vocal and instrumental music, which existed in landowners' estates and military units, began to develop in cities in the 17th century. Guilds of musicians appeared, and orchestras and chapels were created under the magistrates. Based on folk song and cant traditions, in the 18th and early 19th centuries, romance songs based on poems by various poets became widespread. One of the first to create in this genre was Grigory Skovoroda, who introduced civil, philosophical and lyrical themes into the song genre.

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

XIX - early XX centuries

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

At the beginning of the 20th century, a galaxy of Ukrainian performers gained worldwide fame. Among them are 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 Kosice. Outside Ukraine, choral arrangements by N. D. Leontovich became known.

The period of the Ukrainian Revolution (1917-1918) saw the creation of a number of artistic groups and the emergence of a new generation of Ukrainian cultural figures. The Government of the Ukrainian State consistently supported cultural life, including the art of music, 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 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 Chapel, 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. G.I. Mayborody.

The arrival of Soviet power on 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 activities of the society named after him were banned. In the 1930s, the Soviet government destroyed several hundred bandura players, kobza players and lyre players, and in 1938 the musician and ethnographer Gnat Khotkevich was shot. In general, the twenties and thirties in 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 symphony groups.

Starting from the second half of the 1930s, the musical art of Soviet Ukraine developed mainly in line with 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.

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

In the post-war period, among the prominent Ukrainian composers were Grigory Verevka, the brothers Georgy and Platon Mayboroda, 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, the penetration of the latest trends in European music into Ukrainian music. The group “Kiev Avant-Garde” was created in Kyiv, which included Valentin Silvestrov, Leonid Grabovsky and Vitaly Godzyatsky. Due to differences with the official musical circles of the USSR, members of the “Kyiv Avant-Garde” succumbed to various types of pressure, and therefore the group eventually disbanded. 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, Soviet pop music 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 were also famous. In those same years, pop performers gained popularity - Sofia Rotaru, Nazariy Yaremchuk, Vasily Zinkevich, Igor Belozir, Taras Petrinenko, Alla Kudlay and others.

Contemporary music

As a legacy from the USSR, Ukraine received an extensive 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 Kyiv, Kharkov, Lvov, Odessa, Dnepropetrovsk, Donetsk

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

* Children's musical theater in Kyiv

Concert institutions

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

* Houses of organ and chamber music in Kyiv, Dnepropetrovsk, Bila Tserkva, Lviv, and Kharkov

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

Music educational institutions

Professional musicians are trained by:

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

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

* Music schools in different cities of Ukraine.

Concert groups

As of 2008, there are 9 national and 2 state teams operating in Ukraine. Of these, 10 are located in Kyiv and one in Odessa:

* National Symphony Orchestra of Ukraine

* National Odessa Philharmonic Orchestra

* National Honored Academic Chapel of Ukraine “Dumka”

* National Honored Academic Ukrainian Folk Choir named after. Grigory Verevka

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

* National Ensemble of Soloists “Kyiv Camerata”

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

* National Orchestra of Folk Instruments of Ukraine

* National Academic Brass Band of Ukraine

* State Pop Symphony Orchestra of Ukraine

* State Academic Men's Choir of Ukraine named after. L. Revutsky

In addition, there are many municipal groups, groups 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 styles are represented on the modern Ukrainian stage: from folk to acid jazz. The club culture is actively developing. Many Ukrainian pop performers - 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 abroad Ukraine, especially in the CIS. Popular music is presented at the festivals “Chervona Ruta”, “Tavrian Games”, “Chaika” and others.

Performers from Ukraine worthily represented Ukraine at the Eurovision Song Contests. So Ruslana, having synthesized folklore motifs of the Carpathians in her music, became the winner of the Eurovision Song Contest 2004, and won for Ukraine the right to host the next competition - 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 the Congo Maidan”, “Krikhitka Tsakhes”, “Skryabin”, “Tartak”, “Crying Jeremiah”, “Komu Vniz”, Badlov, “Lama” (Lama). Ukrainian rock festivals “Rock Existence”, “Taras Bulba” and others are regularly held.

Purely vocal ensembles, such as Picardy Tertsia and Mensound, are also becoming popular. The art of jazz is also represented in Ukraine - international jazz music festivals are held in different cities of the country, among them the most famous are Jazz Bez and Jazz Koktebel. Vladimir Simonenko and Alexey Kogan made a significant contribution to the popularization of the jazz movement in Ukraine.

The trend of using folklore by modern Ukrainian performers is becoming more and more expressive. One of the first to use folk motifs in rock music was the group “Vopli Vidoplyasova” in the second half of the 1980s. Based on folklore, new original music is created by the groups “Skryabin”, “Mandri”, “Gaydamaki”, performers Taras Chubai, Maria Burmaka and many others. Evidence of the growing interest in folklore was the founding of two ethnic music festivals in Ukraine - “Country of Dreams” in Kyiv and “Sheshory” in the Ivano-Frankivsk region.

Labels

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

Competition for Ukrainian labels in the domestic market comes from the main players in the global audio market - the majors 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 on the Ukrainian market is up to 40% (in Western European countries - 10-15%).

en.wikipedia.org

OH GIRL, MAKE NOISE GUY

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If you don't want to bark, you can grumble like that,
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But still, don’t bother.”

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Remaining 2 rows
skin couplet - dvichi

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Be my dear!”