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the findings into his work. Because Lysenko knew the real significance of the folk song, he paid homage to the “faithful protectors of the living word of the people” “the Ukrainian Homers”, as he called the kobzar singers, Ukraine’s lyric poets. The images evoked in the imagi nation of the composer by the songs of Veresai or those of other kobzar singers were incorporated into his works. The supreme mission — service to the nation — guided Lysenko in his work and he placed his people, their ideas and spirituality in the forefront of his creativity, thereby raising it to previously unattained artistic heights. He was close to the sources of national conscious ness and drew his inspiration from noted Ukrainian poets such as Ivan Franko, Lesia Ukrainka, Oleksander Oles’, and Dniprova Chaika. He created numerous mas terpieces of Ukrainian romance — “Bezmezhne pole” (The endless field), “Misiatsiu kniaziu” (Princely moon), “Ne zabud’ yunykh dniv” (Don’t forget the days of youth), and "Aistry” (Asters). He drew on specific motifs from the works of other poets to create “Choho tak poblidly troyandy yasni” (Why did the bright roses turn so pale), “U mene buv kokhanyi krai” (I had a cherished home land), and “Ne zhal’ meni” (I am not sorry). Lysenko’s works with the timeless words of the Great Kobzar examplify a true marriage of poetry and music. His ear liest creative attempts were associated with Shevchen ko’s poetry. While still a student at the Leipzig conserva tory, Lysenko wrote his first work to the words of "Zapo- vit” (The Testament). One of his last works for violin and piano was also dedicated to the great bard. “I will look to Taras,” Lysenko would say as he tried to more thoroughly understand the beauty of the folk spirit, its essence, dreams and experiences from the words of the “Kobzar”. Mykola Lysenko wrote almost 90 songs, romances, cantatas and choral orchestrations to the words of Taras Shevchneko and compiled them under the title “Muzyka do Kobzaria” (Music to the words of the Kobzar). This musical volume was not only important to the develop ment of our national culture, but also significant to the growth of the musical culture of the entire world. The romances and songs project deep feelings and tenderness: “Oy, odna ya, odna (All alone am I), “Nad Dniprovoiu sahoiu” (by the cove of the Dnipro River), “Poliubylasia ya” (I fell in love). The philosophical deliberation, of the poet on the fate of his people is reflected in these musical works by Lysenko: “Za domoiu duma” (One thought follows another), “Mynaiut’ dni” (The days are passing), “Ponad polem idu” (I walk through the field). Shevchenko’s angry protest against the bitter fate of his people is heard in Lysenko’s canta tas and his choral works. From Taras Shevchenko the composer learned to love his people unconditionally and throughout his life, while maturing as a citizen and a composer, Lysenko venerated the “Kobzar” as a sym bol of light and truth. Lysenko’s particularly prominent achievements are his operas. There are children’s operas such as “Koza Dereza,” "Zyma і Vesna” (Winter and Spring), and “Pan Kots’kyi.” He led the way for the development of the children’s opera, because there was no precedent to guide him. His works are distinguished by great musical expressiveness and brilliancy of imagery. Lysenko also wrote the operetta “Chornomortsi,” and the following operas: “Rizdvianna Nich” (Christmas night), “Utoplena” (Drowned), and “Natalka Poltavka”, based on subjects from folklore, and featuring distinctive folk characters. Music for the operas was based on folk songs which the composer dressed with his particular artistic style. Lysenko created an original composition, a mini opera entitled "Nocturne.” The historical/heroic folk drama “Taras Bulba” is Lysenko’s greatest achievement in the operatic genre. This work is considered to be the pinnacle of Ukrainian music for opera. Here the com poser examines the struggle of the Ukrainian people against social and national persecution. Through his heroic chracters the composer presents the people, empowering them to project their sentiment of national ism in which the duty to the motherland takes prece dence over everything else. Mykola Lysenko was a prolific composer as evi denced by his works for the piano. He was a brilliant pianist/performer, for whom a great future was foreseen on the European concert circuit, following the comple tion of his studies at the conservatory. He wrote numer ous works for the piano, among them “Ukrainsky rap- sodii” (Ukrainian rhapsodies) and the suite “Pisni bez sliv” (Songs without words). In these compositions Ly senko introduces the originality of lyricism and the epic magnitude of the Ukrainian song and dance melodies. Lysenko was successful in his art, thereby contri buting enormously to the Ukrainian musical repertoire and through his music to the Ukrainian community. He chose as his responsibility "to wake the people with song,” and because of his duty he put up with the dif ficulties life had in store for him. Lysenko’s work with choral groups composed of students and seminarians is worthy of admiration. His travels with a choral group and the staging of performances throughout Ukraine helped to raise the popularity of choral music on a mass scale. The music/drama school founded by Mykola Ly senko in Kiev played an important role in providing education in the arts. Many noted personalities in Ukrainian musical cutural milieux were the products of this school, among them: Kerylo Stetsenko, Lev Revut- skyj, V. Verchovynets, M. Mykysha, among others. The school later became the Kiev Conservatory and a true center for professional musical education in Ukraine. As a man and an artist, Lysenko gave all his strength, contributed all his life in the service to his people, to the development of a national musical culture. “My ego is 2 0 ’’НАШЕ ЖИТТЯ”, БЕРЕЗЕНЬ 1993 Видання C оюзу Українок A мерики - перевидано в електронному форматі в 2012 році . A рхів C У A - Ню Йорк , Н . Й . C Ш A.
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