Mykola Lysenko

From Wikipedia, the free encyclopedia
Jump to: navigation, search
Mykola Lysenko (1869).
Statue of Mykola Lysenko in Kiev.
Mykola Lysenko's grave at Baikove Cemetery in Kiev.

Mykola Vitaliyovych Lysenko (Ukrainian: Мико́ла Віта́лійович Ли́сенко, 22 March [O.S. 10 March] 1842 – 6 November [O.S. 24 October] 1912) was a Ukrainian composer, pianist, conductor and ethnomusicologist.

Biography[edit]

Lysenko was born in Hrynky, Kremenchuk county, Poltava Governorate,[1] the son of Vitaliy Romanovych Lysenko (Ukrainian: Віталій Романович Лисенко). From childhood he became very interested in the folksongs of Ukrainian peasants and by the poetry of Taras Shevchenko. When Shevchenko's body was brought to Ukraine after his death in 1861, Lysenko was a pallbearer. During his time at Kiev University, Lysenko collected and arranged Ukrainian folksongs, which were published in seven volumes. One of his principal sources was the kobzar Ostap Veresai (after whom Lysenko later named his son).

Lysenko was initially a student of Biology at the Kharkiv University, studying music privately. On a scholarship which he won from the Russian Music Society he pursued further professional music studies at the Leipzig Conservatory. It is there that he understood the importance of collecting, developing and creating Ukrainian music rather than duplicating the work of Western classical composers.

On his return to Kiev he continued to create Ukrainian themed compositions. His Ukrainophilic approach to composition was not supported by the Russian Imperial Music Society which promoted a Great Russian cultural presence in Ukraine. As a result Lysenko severed his relationship with them, never to compose any music set to the Russian language, nor allow any translations of his works into the Russian language. The Ems Ukaz, which banned use of Ukrainian language in print, was one of the obstacles for Lysenko; he had to publish some of his scores abroad, while performances of his music had to be authorized by the imperial censor.[2]

In order to improve his orchestration and composition skills the young Lysenko traveled to St. Petersburg where he took orchestration lessons from Nikolay Rimsky-Korsakov in the mid-1870s, but his fervent Ukrainian national position and disdain for Great Russian autocracy impeded his career. He supported the 1905 revolution and was in jail briefly in 1907. In 1908, he was the head of the Ukrainian Club, an association of Ukrainian national public figures in Kiev.

For his opera libretti Lysenko insisted on using only the Ukrainian language. Tchaikovsky was impressed by Lysenko's Taras Bulba and wanted to stage the work in Moscow, but Lysenko's insistence on it being performed in the Ukrainian language, not Russian, prevented the performance from taking place in Moscow.

In his later years, Lysenko raised funds to open a Ukrainian School of Music. His death was widely mourned throughout Ukraine. Lysenko's daughter Mariana followed her father's footsteps as a pianist, and his son Ostap also taught music in Kiev.

Music[edit]

Lysenko's piano works





Problems playing these files? See media help.

Vocal music[edit]

Art songs by Lysenko
The first art song by Lysenko on lyrics by Taras Shevchenko.


Lyrics by Yevhen Hrebinka

Lyrics by Mykola Voronyi

Problems playing these files? See media help.

Lysenko's early vocal music consisted of settings of Ukrainian folk songs and compositions primarily to the poetry of Taras Shevchenko. Later he began to include other Ukrainian poets in his portfolio and also translations of works by German poets, some of which he did himself.

Interest in Lysenko's art songs to the words of prominent Ukrainian poets such as Taras Shevchenko, Lesia Ukrainka, and Oleksandr Oles is increasing, partly due to the recent efforts of the British opera singer Pavlo Hunka.

Operas[edit]

Lysenko wrote a number of operatic works, including Natalka Poltavka, Utoplena (The Drowned Maiden, after Gogol's May Night) and Taras Bulba.

Musicological studies[edit]

Lysenko made the first musical-ethnographic studies of the blind kobzar Ostap Veresai which he published in 1873-4; they are still exemplary. In this work Lysenko demonstrated the way in which Ukrainian melodic material differs from Russian analogues by its unique use and approach to chromaticism (something that was censored out in Soviet editions of his articles).

Lysenko continued to research and transcribe the repertoire of other kobzars from other regions such as Opanas Slastion from Poltava and Pavlo Bratytsia from Chernihiv. He also made a thorough study of other Ukrainian folk instruments such as the torban. His collection of essays about Ukrainian folk instruments, makes him the founder of Ukrainian organology and one of the first organologist in the Russian Empire.

See also[edit]

Notes[edit]

  1. ^ Encyclopedia of Ukraine (English)
  2. ^ Dr. Dagmara Turchyn. "Mykola Lysenko — His Life (1842-1912)". Ukrainian Art Song Project Website. Retrieved 2013-08-10. 

References[edit]

  • The World of Mykola Lysenko: Ethnic Identity, Music, and Politics in Nineteenth-Century Ukraine. Taras Filenko, Tamara Bulat. Ukraine Millennium Foundation (Canada). 2001. Hardcover. 434 pages. ISBN 966-530-045-8.

External links[edit]