Mykola Lysenko (1842–1912) composer, pianist, teacher, choral conductor, founder of Ukrainian classical music. Nikolai Vitalievich Lysenko: biography

His diverse activities (composer, folklorist, performer, conductor, public figure) N. Lysenko devoted himself to serving national culture; he was the founder of the Ukrainian school of composition. The life of the Ukrainian people, their original art were the soil that nurtured Lysenko’s talent. His childhood was spent in the Poltava region. Playing traveling ensembles, regimental orchestra, home musical evenings, and most of all - folk songs, dances, ritual games, in which the boy participated with great delight - “all that rich material was not in vain,” writes Lysenko in his autobiography, “as if drop by drop of healing and living water fell into young soul. The time has come for work, all that remains is to translate that material into notes, but it was no longer alien, perceived by the soul from childhood, mastered by the heart.”

In 1859, Lysenko entered the Faculty of Natural Sciences of Kharkov University, then Kyiv University, where he became close to radical students and plunged headlong into musical and educational work. His satirical opera-pamphlet “Andriaschiada” caused a public outcry in Kyiv. In 1867-69. Lysenko studied at the Leipzig Conservatory, and just as the young Glinka, while in Italy, realized himself to be a fully Russian composer, Lysenko in Leipzig finally strengthened his intention to devote his life to serving Ukrainian music. He completes and publishes 2 collections of Ukrainian folk songs and begins work on the grandiose (83 vocal compositions) cycle “Music for “Kobzar”” by T. G. Shevchenko. At all Ukrainian Literature, friendship with M. Kotsyubinsky, L. Ukrainka, I. Franko were a strong artistic impulse for Lysenko. It is through Ukrainian poetry that the theme of social protest enters his work, which determined ideological content many of his works, starting with the choir “Zapovit” (at Shevchenko station) and ending with the anthem song “Eternal Revolutionary” (at Franko station), first performed in 1905, as well as the opera “Aeneid” (after I. Kotlyarevsky - 1910) - the worst satire on autocracy.

In 1874-76. Lysenko studied with N. Rimsky-Korsakov in St. Petersburg, met with members of the " Mighty bunch", V. Stasov, devoted a lot of time and effort to work in the Music Department of the Salt Town (the site of industrial exhibitions, concerts were held there), where he directed an amateur choir for free. The experience of Russian composers, learned by Lysenko, turned out to be very fruitful. It made it possible to carry out an organic fusion of national and pan-European stylistic patterns at a new, higher professional level. “I will never refuse to study music from great examples of Russian art,” wrote Lysenko to I. Franko in 1885. The composer did a great job of collecting, studying and promoting Ukrainian folklore, seeing in him an inexhaustible source of inspiration and skill. He created numerous arrangements of folk melodies (over 600), wrote several scientific works, among which the most significant is the abstract “Characteristics musical features Little Russian thoughts and songs performed by the kobzar Veresai" (1873). However, Lysenko always opposed narrow ethnography and “Little Russianism.” He was equally interested in the folklore of other peoples. He recorded, processed, and performed not only Ukrainian, but also Polish, Serbian, Moravian, Czech, and Russian songs, and the choir he led had in its repertoire professional music of European and Russian composers from Palestrina to M. Mussorgsky and C. Saint-Saens. Lysenko was the first interpreter of the poetry of G. Heine and A. Mitskevich in Ukrainian music.

Lysenko's work is dominated by vocal genres: opera, choral works, songs, romances, although he is also the author of a symphony and a number of chamber and piano works. But precisely in vocal music national identity and author's individuality were revealed most clearly, and Lysenko's operas (10 in total, not counting youth ones) marked the birth of Ukrainian classical musical theater. Peaks operatic creativity steel lyric-household comic opera“Natalka-Poltavka” (based on the play of the same name by I. Kotlyarevsky - 1889) and folk musical drama“Taras Bulba” (based on the story by N. Gogol - 1890). Despite the active support of Russian musicians, especially P. Tchaikovsky, this opera was not staged during the composer’s lifetime, and listeners became acquainted with it only in 1924. Lysenko’s social activities were multifaceted. He was the first to organize amateur choirs, traveled with concerts to cities and villages. With the active participation of Lysenko, a music and drama school was opened in Kyiv in 1904 (since 1918, the music and drama institute named after him), in which the oldest Ukrainian composer L. Revutsky. In 1905, Lysenko organized the Bayan society, and 2 years later - the Ukrainian club with musical evenings.

Defend the right of Ukrainian professional art national identity came under difficult conditions, despite the chauvinistic policies of the tsarist government aimed at discriminating against national cultures. “There was no special Little Russian language, there is not and there cannot be,” read a circular in 1863. Lysenko’s name was persecuted in the reactionary press, but the more active the attacks became, the more support the composer’s endeavors received from the Russian musical community. Lysenko's tireless selfless activity was highly appreciated by his compatriots. The 25th and 35th anniversaries of Lysenko’s creative and social activities turned into a big celebration national culture. “The people understood the greatness of his work” (M. Gorky).

O. Averyanova

An outstanding Ukrainian composer, folklorist, conductor, pianist and public figure. The name of Nikolai Lysenko is associated with the formation of professional music, theater and art education, in Ukraine. Nikolai Vitalievich Lysenko was born on March 10 1842 in the village Grinki of the Kremenchug district in the Poltava region in a Cossack-landowner family. Nikolai's father, Vitaly Romanovich, was a Poltava nobleman and served in the army. Mikola Lisenko, violating this long tradition, marked the beginning of a new generation of talented musicians. Nikolai's parents were wealthy people and nurtured their child very much. Little Nikolai Lysenko walked around dressed in velvet and lace, was a very capricious and headstrong guy and did not want to listen to anyone. From an early age he was taught Russian literacy, French, dancing and playing the piano, that is, they were raised like most of the noble children of that time.

And although Nikolai was not told anything about Ukraine, it surrounded him on all sides. With native language and folk songs Nikolai Lysenko also met at his grandmother’s. At the age of 9, Nikolai was taken to Kyiv to the Geduin school. He studied very well, was one of the first, and did not give up music. After graduating from Geduen's school, which was equivalent to 3 years of a gymnasium, Nikolai Lysenko entered the 4th grade of a gymnasium in Kharkov. His musical studies lasted, and every year the young man played better and better. Under the guidance of teachers - the then famous pianist Dmitriev, later the Czech Kilchik, Mikola Lisenko plays works of great composers different nations, learns musical taste from them.

After graduating from high school, Nikolai Lysenko entered Kharkov University, and a year later transferred to Kiev University. Young Lisenko became interested in the Ukrainian national movement - he began to study and record Ukrainian folk songs, including the songs of the famous kobzar Ostap Veresai. At this time, Nikolai Lysenko felt himself not only a lover of the people, but also a sincere and forever faithful son of Ukraine, ready to give his whole life and work in the interests of his native people.

IN 1864 Mr. Mikola Lisenko graduated from the natural sciences department of the Kyiv University of St. Vladimir, and a year later received a diploma of a candidate of natural sciences. Staying in Kyiv and participating in the Kyiv Society had a decisive influence on the young man’s worldview.

IN 1867 Nikolai Lysenko goes to Leipzig to complete his musical education. Here in 1868 Mr. Mykola Lisenko compiles and publishes the first collection of folk songs he recorded and the first 10 songs that he himself created based on the words of Taras Shevchenko. Nikolai Lysenko ended the Leipzig Conservatory with a brilliant performance of Beethoven's 4th piano concerto with his own cadenza, which was respectfully written about in German magazines.

WITH 1869 Mr. Nikolai Lysenko lived in Kyiv. He becomes a teacher at a music school, giving private lessons. He is invited to many wealthy families, but he does not pursue such fame. Receiving a good salary for teaching, he devotes all his free time to Ukrainian song: he publishes new collections of folk songs, compiles own songs. IN 1876 a decree was issued that prohibited the printing of books, works for the theater and musical works with in Ukrainian words. Even a simple folk song was forbidden to be sung in a concert if the words were Ukrainian. But Mikola Lisenko is compiling new collections of folk songs.

In the 90s of the XIX century. Nikolai Lysenko, having organized the choir, traveled with it to Ukraine more than once. I wanted to show the Ukrainians all the wealth and all the beauty of their native song and teach how to sing this song. The then Ukrainian musical and cultural life Kyiv. Mykola Lisenko gave concerts as a pianist, organized choirs and gave concerts with them in Kyiv and throughout Ukraine. IN 1900 Mr. Nikolai Lysenko established his own school in Kyiv. To stage his works, he often visited Galicia, where he was well known and loved.

Mykola Lisenko created many songs based on texts by Ivan Frank, Mikhail Voronoi and Lesya Ukrainka. He is one of the founders of the Ukrainian professional theater, in particular, opera: he wrote 11 operas, created music for up to 10 dramatic performances. The composer never saw his main brainchild, the opera Taras Bulba, despite P. Tchaikovsky’s offer to facilitate its production on the Moscow stage. But his “Natalka Poltavka” is still extremely popular. The opera legacy of Mikoli Lisenko continues stage life and today in different editions.

The funeral of the father of Ukrainian music also became an open political demonstration by thousands of people. For the first time, Ukrainian youth came to the defense of the national shrine, surrounding the mournful march and preventing the police from making arrests. However the highest award Nikolai Lysenko is not just a tribute to the memory and honor of descendants, but the fact that it was he who was destined to become the author of two national anthems, which affirm the spiritual greatness of man and people. The first of them is “The Eternal Revolutionary” (in 1905 g.) to a poem by I. Frank, the second - “Children’s Hymn” to a poem by O. Konisky (in 1885 g.), the now world-famous “Prayer for Ukraine”, which 1992 approved as the official anthem of the Ukrainian Orthodox Church(Kyiv Patriarchate).

An outstanding Ukrainian composer, folklorist, conductor, pianist and public figure. The name of N. Lysenko is associated with the period of formation of professional music, theater and art education in Ukraine.

Nikolai Vitalievich Lysenko was born on March 10, 1842 in the village of Grinki, Kremenchug district in the Poltava region (now Semenovsky district, Poltava region) into a Cossack landowner family whose roots go back to the legendary Cossack leader Vovgur Fox. The founder of the Lysenko family is considered to be Yakov Lysenko, a participant in the Liberation struggle of the Ukrainian people of 1648-1654. His son Ivan became a military man and politician, received the rank of colonel and was a hetman. After the majority of the Cossack elders moved to Russian nobility The Lysenki also became nobles. Nikolai's father, Vitaly Romanovich, was a Poltava nobleman and served, according to the then noble custom, in the army. Nikolai, breaking this long-standing tradition, founded a new one - a generation of talented musicians. Nikolai's mother came from the noble Poltava family of Lutsenko.

Nikolai's parents, quite wealthy people, nurtured the child. He walked around dressed in velvet and lace, and was a very capricious and headstrong boy. From an early age they taught him Russian literacy, and then they began to teach him French, dancing and playing the piano. This is how most noble children were raised. And although Nicholas was not told anything about Ukraine, the Ukrainian people, he lived among them. My father knew his native language well and used it willingly; numerous gentlemen who often visited the Lysenko family also communicated in Ukrainian, since the old master loved to congratulate guests and knew how to honor them.

I heard Ukrainian speech little Nikolai and from his grandmother - Maria Vasilyevna Bulyubash. This old-world landowner was very fond of Ukrainian folk songs, fairy tales, and sayings. Her grandson listened to these songs with her and for the first time his soul was filled with sadness, sincerity and the richness of his native song.

Native village, native language, native song are immortal sources that have filled more than one person with ardent love for their land. What the boy liked most of all was the song, since his musical abilities. He loved to listen to his mother play the piano (and she played very well), he could stand next to her for hours, and soon he himself learned to pick out melodies with one finger. The mother noticed her son's interest in music and hired a teacher, but Nikolai categorically opposed - only his mother would teach him. Science progressed very quickly, and already at the age of 6 the boy surprised listeners with his finger speed, unusual for a child, and his extraordinary ear for music.

At the age of 9 he was taken to Kyiv, to the Guedouin school. Nikolai studied well, was one of the first, but did not give up music. His teachers were the Czechs Neinkivch and Panoccini, and the little musician amazed them with his successes.

After graduating from Guedouin's school, which was equivalent to three classes of a gymnasium, Nikolai entered the fourth class of a gymnasium in Kharkov. Music training also continued, and every year he played better and better. Under the guidance of teachers - the then famous pianist Dmitriev, later the Czech Kilchik, he plays works of great composers of different nations, learning from them musical taste.

After graduating from high school, N. Lysenko entered Kharkov University, and a year later transferred to Kiev University. The student period was in the turbulent 60s of the 19th century, when the social structure was changing and there was a struggle against the foundation old life- serfdom. Everyone and everything was talking about the life and welfare of the common people. “People, people’s happiness” became the rallying cry of that time, and this call echoed loudly in the hearts of student youth. To go to the people, to work for them, to give all their strength for their prosperity - these were the main thoughts that took possession of the souls of the students. And young Lysenko became interested in the Ukrainian national movement - he began to study and record folk songs, including the songs of the famous kobzar Ostap Veresai. He grabs books about Ukraine, reads them, imagines how he will dedicate himself and his musical talent to his native land. Now coming to his native village for the summer, Lysenko gets to know the people better, goes with his harmonium to gatherings and ceremonies, enthusiastically listens to songs and puts them into sheet music. And in the fall, returning to Kyiv, he organizes student choirs, with whom he learns the Ukrainian song repertoire and conducts them himself. TO student years refers to his first attempt to create an opera in collaboration with cousin Staritsky, who wrote the libretto for Storozhenko’s comedy.

In 1864, N. Lysenko graduated from the natural sciences department of the Kyiv University of St. Vladimir, and a year later received a diploma of a candidate of natural sciences. Stay in Kyiv, participation in the work of the “Kyiv Community” and close acquaintance with M. Staritsky, V. Antonovich, T. Rylsky and other prominent figures Ukrainian culture had a decisive influence on the young man’s worldview. Wanting to give his strength to the people as quickly as possible, he became a peace mediator in the Kiev region, but did not stay in this position for long - his musical talent did not give him the opportunity to devote himself to other work.

Using the money earned by his service, N. Lysenko went to Leipzig (1867-1869) to complete his musical education (with professors K. Reinele - piano, and E. Richter - composition). The Leipzig Conservatory was considered the best. Here, in Leipzig, in 1868. Lysenko is compiling and publishing the first collection of folk songs he recorded, including the first 10 songs that he himself created based on the words of T. Shevchenko. Among them was “Testament” for male choir and tenor solo, intended for performance in Lviv on the anniversary of the poet’s death. Lysenko ended the Leinzig Conservatory with a brilliant performance of L. Beethoven's 4th concerto for piano and orchestra with his own cadenza, which was respectfully written about in German newspapers.

Since 1869 N. Lysenko lived in Kyiv. His only means of livelihood was teaching music, and he went to work at a music school and gave private lessons. There are quite a few of the latter: Lysenko’s name is already quite well known, he is invited to many wealthy families. But he is not chasing such fame. Receiving a decent salary for teaching, he devotes all his free time to Ukrainian song: he publishes new collections of folk songs, composes his own, mainly for “Kobzar”, writes plays for piano, the operetta “Chernomortsy” and the opera “Christmas Night”. This was the first Ukrainian opera, and when it was staged (for the first time in Kyiv in 1874), it made a great impression on the audience; from that time on, everyone, even his enemies, recognized the composer’s talent. The musician felt that the Leipzig Conservatory was not enough for him. There they did not teach orchestration, that is, transcribing a piece of music into notes for an orchestra. Therefore, Lysenko leaves Kyiv and goes to St. Petersburg, where he studies with the outstanding Russian composer N. Rimsky-Korsakov. He lived in the capital for two years, Russian composers fell in love with him, asked him to stay in St. Petersburg, promised him a good position, but he did not agree. Was waiting for him native Ukraine, he wanted to devote his strength to her. Lysenko returned to Kyiv.

But Ukraine did not greet me cheerfully. In 1876, a decree was issued prohibiting the printing of books, theater plays and musical works with Ukrainian text. Even a simple folk song was forbidden to be performed at a concert if the words were Ukrainian. One can imagine how depressing this ban was for the composer, who decided to devote his entire life to folk song.

In Kyiv, N. Lysenko very soon regained the position he had before moving to St. Petersburg. Earnings have even increased. And in his free hours, regardless of the ban, he compiles new collections of folk songs and composes his “Music for Shevchenko’s Kobzar.”

In 1880, the ban on songs and theatrical repertoire, although with some restrictions, was lifted. Inspired by Lysenko in 1881, he began his greatest oneer, “Taras Bulba.” At the same time, he gathers a choir in Kyiv, composes more and more songs, publishes folk songs translated for the choir, and writes another opera - “The Drowned Woman”.

In the 90s, N. Lysenko, having organized a choir, traveled with it around Ukraine more than once. I wanted to show Ukrainians all the richness and beauty of their native song and teach them to sing this song. The Ukrainian musical and cultural life of Kyiv at that time was concentrated around the composer. He performed in concerts as a pianist, taught piano playing at the Kiev Institute noble maidens and a private music school, in 1900 he founded his own school. To stage his works, he often visited Galicia, where he was well known and loved.

The year 1903 arrived. This was the 35th year since the beginning creative activity composer, and Ukraine decided to congratulate its brilliant musician. The celebration took place on December 20. The hero of the day received about 200 telegrams and 79 greeting addresses. A separate celebration of the composer was organized in Galicia - it was distinguished by even greater splendor and solemnity.

N. Lysenko’s life credo was not limited to writing musical works. The development of performing was also important to him. It was Lysenko who laid the foundations of professional art education in Ukraine, opening his Music and Drama School in Kyiv in 1904. In addition to music, there were departments of Ukrainian and Russian drama and the first Russian Empire game class on folk instruments- the bandura class, which, despite all the difficulties of its organization, carried out its first graduation in April 1911. From this School, the Music and Drama Institute named after N.V. Lysenko grew over time - the leading creative institution in Ukraine in 1918-1934. Graduates of Muzdramin named after N.V. Lysenko laid the foundation creative achievements Ukraine in the 20th century.

As a musical ethnographer N. Lysenko began working back in school years, and a little later, while serving as a peace mediator in the Tarashchansky district, he collected Ukrainian folk songs and studied them. His ethnographic heritage is a recording of a wedding ceremony (with text and music) in Pereyaslavsky district, a recording of thoughts and songs from the repertoire of kobzar Ostap Veresai.

As a composer, N. Lysenko harmonized a number of folk songs that made up 7 editions of the “Collection Ukrainian songs for voice and piano” and 12 so-called “tens” for male and mixed choirs: “Freckles”, “Kupala Affair”, “Carols-Shchedrovki”, “Wedding”, a collection of dances, etc. A particularly important place in his compositional work is occupied by works based on texts by T. Shevchenko: “Testament”, “Music for “Kobzar”, vocal and instrumental cantatas (“Hail, unwatered field”, “The rapids are beating”), choral works“Gaydamak”, “Ivan Hus”, etc.

N. Lysenko created many works based on texts by I. Franko, M. Staritsky, S. Rudansky, Lesya Ukrainka, O. Makovey, N. Voronoi and others. The greatest among them is the hymn “Eternal Revolutionary” (to the words of I. Franko), which became a direct response to the events of the first Russian revolution of 1905-1907. Having spread widely, this anthem became a folk revolutionary song.

N. Lysenko’s operatic work is also very diverse: folk vaudevilles “Chernomortsy” and “Natalka Poltavka”, operetta “Aeneid”, operas “Christmas Night”, “Drowned Woman”, “Taras Bulba”, miniature opera “Nocturne” and children's operas “ Koza-Dereza”, “Pan Kotsky”, “Winter and Spring”.

A separate line in the composer’s legacy includes the first vocal cycle in Ukrainian music (13 arias and two duets) based on poems by G. Heine, translated by Lesya Ukrainka, M. Slavinsky, L. Starinka-Chernyakhovskaya and N. Lysenko himself. One of his most famous works, the duet “When Two Are Separated,” belongs to this cycle.

At the end of his life, in 1908, N. Lysenko headed the first legal Ukrainian socio-political organization “Kiev Ukrainian Club” and the first all-Ukrainian organization, founded in 1906, “The Joint Committee for the Construction of the Monument to T. Shevchenko in Kiev”, to which received proceeds from concerts and charitable contributions from Australia, America, Canada, not to mention throughout Europe. In 1911, the club decided to celebrate the 50th anniversary of the death of T. Shevchenko. Due to harassment from the tsarist administration, headed by the Kyiv Governor-General V. Trepov and the Minister of Internal Affairs P. Stolypin, the event was moved to Moscow. The consequence of this was the police “Case of closing the Kyiv Ukrainian Club” and “bringing members of the Council of Elders, headed by music teacher Nikolai Vitalievich Lysenko, to criminal liability for anti-government activities.” One of the points of accusation was the composer’s extensive educational activities, including choral activities. Four days after the announcement of this resolution, Nikolai Vitalievich died of a heart attack.

In general, N. Lysenko, wherever he could, tried to rally people, especially creative youth, around 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 promoting the Ukrainian idea and national culture, for which it was closed in 1905.

No less large-scale in terms of influence on the development of Ukrainian culture was theatrical activity composer. He is one of the founders of the Ukrainian professional theater, in particular the opera theater: he wrote 11 operas, and, collaborating with troupes of leading figures Ukrainian theater, created music by the age of 10 dramatic performances.

He never saw his main brainchild, the opera Taras Bulba, despite P. Tchaikovsky’s offer to assist in its production on the Moscow stage. His operatic legacy continues its stage life today in different editions.

N. Lysenko reached heights unsurpassed for his time in the creation of choral works and choral conducting. It is enough to recall such a pearl of choral polyphony as “The fog lies in waves” from the opera “The Drowned Woman”. His talented students - Alexander Koshits, Kirill Stetsenko, Yakov Yatsinevich - also became choral conductors and composers.

One of the best virtuoso pianists of his time, he left over 50 piano works. During the Christmas holidays of 1867, a student of the Leinzig Conservatory, N. Lysenko, presented his own piano arrangements of ten Ukrainian folk songs in the hall of the Prague “Skillful Conversation” with great success. Unfortunately, only one of them has reached us - “Hey, don’t be surprised, good people, that there is a riot in the Ukraine.” N. Lysenko wrote the first piano rhapsodies in Ukrainian music, “Golden Keys” (1875) and “Dumka-Shumka” (1877). Among his works are preludes, waltzes, nocturnes, mazurkas, marches and polonaises, songs without words. They sounded especially expressive when performed by the author.

Lysenko wrote almost no sacred music. But among his six now famous religious works, extremely beautiful and highly emotional, there are such masterpieces as the choral concert “Where shall I go from thy presence, O Lord?”, “Cherubic Song”, cant “The Most Pure Virgin, Mother of the Russian Land”, which are sung almost all choral groups of Ukraine and the diaspora.

The funeral of the father of Ukrainian music resulted in an open mass political demonstration (there were about 1,200 choristers alone, according to A. Koshits’ calculations). For the first time, Ukrainian youth stood up to defend the national shrine, surrounding the funeral procession and preventing the police from making arrests.

But the highest reward for the composer is, probably, not just a tribute to the memory and respect of descendants, but the fact that it was he who was destined to become the author of two hymns that affirm the spiritual greatness of Man and the People. This is “The Eternal Revolutionary” (1905) to the verses of I. Franko and “Children’s Hymn” to the verses of O. Konisky (1885) - now world-famous as “Prayer for Ukraine “Great, One God!”, since 1992 g. approved by the official anthem of the Ukrainian Orthodox Church (Kiev Patriarchate).

Nikolay Vitalievich Lysenko(Ukrainian Mykola Vitaliyovich Lisenko; March 10 (22), 1842, the village of Grinki, Kremenchug district, Poltava province (now Globinsky district, Poltava region) - October 24 (November 6), 1912, Kiev) - Russian composer, pianist, conductor, teacher, collector song folklore and public figure. Currently, he is revered in Ukraine as an outstanding figure of Ukrainian national culture.

Biography

Nikolai Lysenko came from the old Cossack elder family of Lysenko. Nikolai's father, Vitaly Romanovich, was a colonel of the Order Cuirassier Regiment. Mother, Olga Eremeevna, came from the Poltava landowner family of Lutsenko. Nicholas was homeschooled by his mother and famous poet A. A. Fet. The mother taught her son French, refined manners and dancing, Afanasy Fet - Russian. At the age of five, noticing the boy’s musical talent, they invited a music teacher for him. WITH early childhood Nikolai was fond of the poetry of Taras Shevchenko and Ukrainian folk songs, a love for which was instilled in him by his great-uncle and grandmother, Nikolai and Maria Bulubashi. After completing his home education, in preparation for the gymnasium, Nikolai moved to Kyiv, where he studied first at the Weil boarding school, then at the Geduin boarding school.

In 1855, Nikolai was sent to the second Kharkov gymnasium, from which he graduated with a silver medal in the spring of 1859. While studying at the gymnasium, he studied music privately (teacher - N.D. Dmitriev), gradually becoming a famous pianist in Kharkov. He was invited to evenings and balls, where he performed plays by Beethoven, Mozart, Chopin, played dances and improvised on themes of Little Russian folk melodies. After graduating from high school, he entered the Faculty of Natural Sciences of the Kharkov Imperial University. However, a year later his parents moved to Kyiv, and Nikolai Vitalievich transferred to the Department of Natural Sciences of the Faculty of Physics and Mathematics of the Kyiv Imperial University. Having graduated from the university on June 1, 1864, Nikolai Vitalievich received a candidate of natural sciences degree in May 1865.

After graduating from the Kyiv Imperial University and short service, Lysenko decides to get a higher education 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.

In the summer of 1868, he married Olga Alexandrovna O'Connor, who was his second cousin and was 8 years younger. However, after 12 years life together Nikolai and Olga, without officially filing a divorce, separated due to the lack of children.

Having finished with great success in 1869, studying at the Leipzig Conservatory, returned to Kiev, where he lived, with a short break (from 1874 to 1876, Lysenko improved his skills in the field of symphonic instrumentation at the St. Petersburg Conservatory in the class of N. A. Rimsky-Korsakov), just over forty years, engaged in creative, teaching and social activities. He took part in organizing a Sunday school for peasant children, and later in the preparation of the “Dictionary Ukrainian language", in the processing of folk melodies for the collection Bogoglasnik, in the census of the population of Kyiv, in the work of the South-Western branch of the Russian Geographical Society.

In 1878, he took up the position of piano teacher at the Institute of Noble Maidens. In the same year, he entered into a civil marriage with Olga Antonovna Lipskaya, who was a pianist and his student. The composer met her during concerts in Chernigov. From this marriage N. Lysenko had five children (Ekaterina, Maryana, Galina, Taras, Ostap). Olga Lipskaya died in 1900 after giving birth to a child.

In the 1890s, in addition to teaching at the institute and private lessons, he worked in music schools S. Blumenfeld and N. Tutkovsky.

Ukrainian composer, pianist, conductor, teacher, collector of folklore songs and public figure.

Nikolai Lysenko came from the old Cossack elder family of Lysenko. Nikolai's father, Vitaly Romanovich, was a colonel of the Order Cuirassier Regiment. Mother, Olga Eremeevna, came from the Poltava landowner family of Lutsenko. Nicholas was homeschooled by his mother and the famous poet A. A. Fet. The mother taught her son French, refined manners and dancing, Afanasy Fet - Russian. At the age of five, noticing the boy’s musical talent, they invited a music teacher for him. From early childhood, Nikolai was fond of the poetry of Taras Shevchenko and Ukrainian folk songs, a love for which was instilled in him by his great-uncle and grandmother, Nikolai and Maria Bulubashi. After finishing his home education, in preparation for the gymnasium, Nikolai moved to Kyiv, where he studied first at the Weil boarding school, then at the Geduin boarding school.

In 1855, Nikolai was sent to the second Kharkov gymnasium, from 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 famous pianist in Kharkov. He was invited to evenings and balls, where Nikolai performed plays by Beethoven, Mozart, Chopin, played dances and improvised on themes of Ukrainian folk melodies. After graduating from high school, 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 Faculty of Physics and Mathematics of Kyiv University. Having graduated from the university on June 1, 1864, Nikolai Vitalievich received the degree of Candidate of Natural Sciences in May 1865.

After graduating from Kyiv University and a short service, N.V. Lysenko decides to receive 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 Ukrainian music than to copy Western classics.

In the summer of 1868, N. Lysenko married Olga Alexandrovna O’Connor, who was his second cousin and was 8 years younger. However, after 12 years of marriage, Nikolai and Olga, without officially filing for divorce, separated due to the lack of children.

Having completed his studies at the Leipzig Conservatory with great success in 1869, Nikolai Vitalievich returned to Kiev, where he lived, with a short break (from 1874 to 1876, Lysenko improved his skills in the field of symphonic instrumentation at the St. Petersburg Conservatory in the class of N. A. Rimsky-Korsakov) , just over forty years, engaged in creative, teaching and social activities. He took part in the organization of a Sunday school for peasant children, and later in the preparation of the “Dictionary of the Ukrainian Language”, in the census of the population of Kyiv, and in the work of the Southwestern branch of the Russian Geographical Society.

In 1878, Nikolai Lysenko took the position of piano teacher at the Institute of Noble Maidens. In the same year, he entered into a civil marriage with Olga Antonovna Lipskaya, who was a pianist and his student. The composer met her during concerts in Chernigov. From this marriage N. Lysenko had five children. Olga Lipskaya died in 1900 after giving birth to a child.

In the 1890s, in addition to teaching at the institute and private lessons, N. Lysenko worked at the music schools of S. Blumenfeld and N. Tutkovsky.

In the fall of 1904, the Music and Drama School (since 1913 - named after N.V. Lysenko), organized by Nikolai Vitalievich, began operating in Kyiv. This was the first Ukrainian educational institution, which provided higher musical education according to the conservatory program. To organize the school, N. Lysenko used funds raised by his friends during the celebration of the 35th anniversary of the composer’s work in 1903 to publish his works and purchase dachas for him and the children. Nikolai Vitalievich taught piano at school. Both the school and N. Lysenko as its director were under constant police surveillance. In February 1907, Nikolai Vitalievich was arrested, but was released the next morning.

From 1908 to 1912, N. Lysenko was the chairman of the board of the Ukrainian Club society. This society carried out large public educational activities: organized literary and musical evenings, organized courses for folk teachers. In 1911, Lysenko headed the committees created by this society to promote the construction of the monument to T. Shevchenko on the 50th anniversary of the poet’s death.

Nikolai Lysenko died on November 6, 1912, suddenly from a heart attack. Thousands of people came from all regions of Ukraine to say goodbye to the composer. Lysenko's funeral was held in Vladimir Cathedral. The choir that walked ahead of the funeral procession numbered 1,200 people; its singing could be heard even in the center of Kyiv. N.V. Lysenko was buried in Kyiv at the Baikovo cemetery.

Creation

While studying at Kiev University, trying to acquire as much as possible musical knowledge, Nikolai Lysenko studied the operas of A. Dargomyzhsky, Glinka, A. Serov, and became acquainted with the music of Wagner and Schumann. It was from this 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 which he performed publicly.

While studying in Leipzig

Conservatory in October 1868, N.V. Lysenko published “Collection of Ukrainian songs for voice and piano” - the first release of his arrangements of forty Ukrainian folk songs, which, in addition to practical purposes, have great scientific and ethnographic value. In the same 1868 he wrote his first significant work- “Zapovit” (“Testament”) to the words of T. Shevchenko, on the anniversary of the poet’s death. This work opened the “Music for the Kobzar” cycle, 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 at the center of the musical and national-cultural life of Kyiv. In 1872-1873, joining the directorate of the Russian musical society, accepted Active participation in his concerts held throughout Ukraine; led a choir of 50 singers, organized in 1872 at the Philharmonic Society of Lovers of Music and Singing; took part in the “Circle of Music and Singing Lovers”, “Circle of Music Lovers” by Y. Spiglazov. In 1872, a circle led by N. Lysenko and M. Staritsky obtained permission to publicly stage plays in Ukrainian. In the same year, Lysenko wrote the operettas “Chernomorets” and “Christmas Night” (later transformed into an opera), which firmly entered the theatrical repertoire, becoming the basis of the Ukrainian national opera art. In 1873, N. Lysenko’s first musicological work on Ukrainian was published musical folklore“Characteristics of the musical features of Little Russian thoughts and songs performed by kobzar Ostap Veresay.” During the same period, Nikolai Vitalievich wrote many piano works, as well as symphonic fantasy in Ukrainian folk themes"Cossack-Shumka".

During the St. Petersburg period, N. Lysenko took part in concerts of the Russian Geographical Society and led choral courses. Together with V.N. Paskhalov, Nikolai Vitalievich organized 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 piano sonata. There, Lysenko began work on the opera “Marusya Boguslavka” (unfinished) and made the second edition of the opera “Christmas Night”. His collection of girls’ and children’s songs and dances “Molodoshi” (“Young Years”) was published in St. Petersburg.

Returning to Kyiv in 1876, Nikolai Lysenko began active performing activities. He organized annual “Slavic concerts”, performed as a pianist in concerts of the Kyiv branch of the Russian Musical Society, at the evenings of the Literary and Artistic Society, of which he was a board member, and in monthly folk concerts in the People's Auditorium. Organized annual Shevchenko concerts. From seminarians and students familiar with musical notation, Nikolai Vitalievich re-organizes the choirs in which K. Stetsenko, P. Demutsky, L. Revutsky, O. Lysenko and others received the beginnings of their artistic education. The money collected from the concerts went to public needs, for example, in favor of 183 students of Kyiv University who were drafted into soldiers for participating in the anti-government demonstration of 1901. At this time, he wrote almost all of his large piano works, 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 with a libretto by M. Staritsky, which he would complete only ten years later. In the 1880s, Lysenko wrote such works as “The Drowned Woman” - a lyric-fantastic opera based on “ May night"N. Gogol on a libretto by M. Staritsky; “Rejoice, unwatered field” - cantata to poems 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 music for the extravaganza “The Magic Dream” based on the text by M. Staritsky, and in 1896 the opera “Sappho”.

Among N. Lysenko's authorial achievements, 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 on 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, Nikolai Lysenko staged four touring concerts across Ukraine, the so-called “choral travels”, in which mainly his own choral works were performed based on Shevchenko’s texts and arrangements of Ukrainian songs. In 1892, Lysenko’s art history research “On the torban and the music of Vidort’s songs” was published, and in 1894 - “Folk musical instruments in Ukraine".

In 1905, N. Lysenko, together with A. Koshits, 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. Koshits. However, due to unfavorable political conditions and lack of material resources, the society disintegrated, having existed for little more than 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 motherland" In 1908, the choir “The Quiet Evening” was written to the words of V. Samoilenko, in 1912 the opera “Nocturne” was written, lyrical romances were created based on texts by Lesya Ukrainka, Dniprova Chaika, and A. Oles. IN last years Nikolai Vitalievich’s life writes a number of works in the field of sacred music, continuing what he founded back in late XIX century “Cherubim” cycle: “The Most Pure Virgin, Mother of the Russian Land” (1909), “I will go from Thy presence, O Lord” (1909), “The Virgin is giving birth to the Most Essential One today,” “By the Tree of the Cross”; in 1910, “David’s Psalm” was written based on the text by T. Shevchenko.