Ivan Fedorovych Karabyts (January 17, 1945, Yalta, Donetsk region - January 20, 2002) was a prominent Ukrainian composer, conductor, musician and public figure. People's Artist of Ukraine (1991). Honorary citizen of Toretsk.
He was born on January 17, 1945, in a Greek family in the village of Yalta, Pershotravnevyi district, Donetsk region. In early childhood, he left Yalta with his parents. He spent the rest of his life in Dzerzhynsk, Bakhmut, Kyiv, and on tour.
In 1959-1963, he studied at the Artemivsk Music School (now called the Ivan Karabyts Bakhmut College of Arts), graduating with a degree in piano.
In 1971, he graduated from the Kyiv State Conservatory (now the National Music Academy of Ukraine) with a degree in composition from the class of Prof. B. Lyatoshynsky and in 1975 completed postgraduate studies under the guidance of M. Skoryk.
1968-1975 - conductor of the Song and Dance Ensemble of the Kyiv Military District.
Since 1983 - lecturer at the Department of Composition at the Kyiv Conservatory (since 1998 - Professor)
1989-2001 - music director of the international festival Kyiv Music Fest. Member of the National Commission for Culture at UNESCO. Professor of the National Music Academy of Ukraine. Among Ivan Karabyts's students are Victoria Polyova, Andriy Bondarenko, Olena Ilnytska.
In 1994-2000, he was the artistic director of the National Ensemble of Soloists "Kyiv Camerata", the founder of the concert series "Camerata Time".
Laureate of the Republican Komsomol Prize named after Ostrovsky (1978), Laureate of the All-Union Composition Competition, Honored Artist of the Ukrainian SSR (1974), People's Artist of the Ukrainian SSR (1991).
In a letter to Virko Baley, Ivan Karabyts himself defined his stylistic guidelines as follows:
"Dear Virko! As a composer, I was formed in the 60s and 70s under the impression of the music of the past and the music of the twentieth century. As a young man, I was somewhat categorical in my assessments of the relationship between the traditional and the new. I wanted more "fresh air". In Soviet times, we received a fundamental education, but we were not sufficiently informed about what was happening in the multifaceted musical world. We had to overcome a lot on this path. I think there is a reason not to consider myself a conservative. My subsequent creative career was not characterized by a commitment to the outdated, obsolete, and a hostile attitude to the new, progressive.
I think my music is characterized by a desire to synthesize different musical sources. I am convinced that this can give unexpected solutions to many artistic problems. And this is not eclecticism, but a way of thinking. As we stand on the threshold of the new millennium, we look ahead, make predictions, and evaluate and analyze the past. We are all tired of "running" and therefore we are in no hurry to say goodbye to what has happened... And there was a lot of things without which we cannot survive in the new time. Maybe that's why I want to write more and more sincerely, in a way that is understandable to many people, while still being myself... In my opinion, Mahler, Lyatoshynsky, Stravinsky, Shostakovich, the "innovators" and some contemporary composers are the names that have an influence on my music. Synthetic influence. I consider my most important works (and I am convinced of this by their active life): Concerto for Choir and Orchestra "Garden of Divine Songs"; Symphony "5 Songs about Ukraine", 2nd Concerto for Orchestra, 3rd Concerto for Orchestra; Symphony for Strings
"
L. Kyianovska notes that all the composers who influenced Karabyts's work are united by their passionalism and "non-conjunctural" position, their readiness to confront the officially accepted canons of art rather than betray their beliefs and ideals, a position that was close to I. Karabyts. At the same time, his teacher B. Liatoshynskyi, as well as a group of his like-minded students - V. Silvestrov, L. Hrabovskyi, V. Hodziatskyi, V. Huba, Y. Stankovych, O. Kyva - had a significant influence on I. Karabyts's work, and thanks to I. Blazhkov's personal contacts with composers from the West. Blazhkov's personal contacts with composers of Western Europe (in particular, P. Boulez, E. Varese), were able to study the latest stylistic trends, and also learned to ignore "the situation, no matter how attractive it may seem and no matter how bright the prospects may be." According to O. Berehova, in the genre and stylistic aspects, the composer always demonstrated the breadth and universality of creative thinking, an innovative approach to traditional musical genres and forms.
The works of the early period are characterized by the expressiveness of the musical language and the search for an individual style; the composer freely used dodecaphony. Chamber works predominate, including works of neo-folklore: "Three Songs on Folk Texts" for voice and piano (1969), the vocal cycle "Songs of Yavdokha Zuikha" for voice, flute and viola, and the piece "Music" for solo violin (1974).
In the 70s and 80s, the composer's inclination to large-scale musical constructions was determined, symphonic and vocal-symphonic genres prevail (Concerto for Choir, Soloists and Symphony Orchestra "Garden of Divine Songs" based on poems by H. Skovoroda, opera-oratorio "Kyiv Frescoes", three concertos for orchestra), and philosophical and civic themes (themes of the Motherland, memory, moral duty) are characteristic. The vocal and symphonic works of Ivan Karabyts tend to conceptual specificity and spectacle - the dramatic functions of the narrator, the independent and rather active role of the poetic component, the programmatic accuracy of musical expression, genre associativity, timbre drama, etc. are aimed at this.
The universality of the musical language of the works of the following period was determined by the synthesis of various elements of modern compositional techniques (pointillism, aleatorics, sonority) in combination with a new-tonal and new-modal pitch organization, the intersection of various stylistic trends (neoclassicism, neo-baroque, neo-impressionism, jazz vocabulary). In the figurative sphere, the tragic element is intensified and the theme of repentance is actualized (Concerto No. 3 "Lamentations", Triptych Concerto for Orchestra), and the pantheistic theme ("Music from Waterside") is re-emerged.
The Symphony Orchestra of the State Television and Radio Broadcasting Company of Ukraine under the direction of Vadym Hnedash and Volodymyr Sirenko recorded a number of his works for the Ukrainian Radio Fund. Some of Karabyts's works were performed by the orchestra in France and Spain.
List of works
For symphony orchestra
symphonies - No. 1 "5 Songs about Ukraine" (1974), No. 2 (1977),
Concertos for orchestra - No. 1 (1981), No. 2 (1986), No. 3 (1989)
"Dedicated to October" (symphonic prelude, 1977)
Triumphal Overture (1980)
ballet "Heroic Symphony" (1982)
For choir (voice) and symphony orchestra
"The Garden of Divine Songs" based on poems by H. Skovoroda for choir, soloists and symphony orchestra (1971)
"Vivere memento" ("Remember to live") based on poems by Ivan Franko for bass and symphony orchestra (1970)
"My native Donbas" (1980)
"Kyiv Frescoes" opera-oratorio based on poems by B. Oliynyk for soloists, choir and symphony orchestra
"Catherine's Prayer" based on poems by K. Motrych for reader, children's choir and symphony orchestra (1993)
"Jubilee Cantata" based on poems by M. Rudenko for soloists, choir and symphony orchestra
For instruments and symphony orchestra
Concertos for piano and orchestra - No. 1 (1968), No. 2 (1971), No. 3 "Lamentations" (1989)
5 musical moments for piano and orchestra (1999)
Concerto for cello and orchestra (1968)
For pop orchestra
Quintet (1966)
Ukrainian souvenir (1980)
"Festive Kyiv" (1980)
"Symphony of Labor (1981)
For chamber orchestra
Symphonietta for strings (1967)
Symphony No. 3 for strings
Concertino for chamber orchestra. Orchestra (1970)
Концерт-триптих для струнних (1996)
Віо-серенада (2000) для струнного оркестру
Для голосу та інструментів
«Три українські пісні» для хору та фортепіано (1969)
«Пастелі» вокальний цикл на слова П. Тичини для сопрано і ф-но (1970)
«З пісень Хіросіми» цикл на вірші Е. Йонеди для сопрано і флейти
«Повісті» вокальний цикл на тексти А. Куліча для баритону і ф-но (1975)
«З лірики М. Рильського» цикл пісень для мецо-сопрано і ф-но (1976)
«На березі вічності» цикл пісень на вірші Б. Олійника
«Мати» цикл на вірші Б. Олійника для голосу та фортепіано
Для інструментів соло
Сонатина для фортепіано (1967)
«Музика» для скрипки соло (1972)
24 прелюдії для ф-но (1976)
«Вальс» для альта соло (1982)
Камерні твори
Сонати для віолончелі і ф-но — № 1 (1968),№ 2 (1972)
«Ліричні сцени» для скрипки і ф-но (1970)
концертна сюїта для скрипок (1973)
Струнний квартет (1973)
Концертний дивертисмент для 6 виконавців (1975)
Експромт для альта і ф-но (1976)
«Диско-хоровод» для кларнету і ф-но (1981)
Концертино для 9 виконавців (1983)
Про що співає річка для 7 виконавців (1993)
«Інтродукція та колізія» для 2 скрипок та ф-но (1993)
«музика з вотерсайду» для флейти, кларнета, скрипки, ф-но та ударних (1994)
Фільмографія
Фільми:
«Вулиця тринадцяти тополь» (1969)
«Комісари» (1970)
«Відкрий себе» (1972)
«Земні та небесні пригоди» (1974)
«Острів юності» (1976)
«Дачна поїздка сержанта Цибулі» (1979)
«Житіє святих сестер» (1982)
«Без року тиждень» (1982, т/ф)
«Тепло студеної землі» (1984, 2 с)
«Іванко і цар Поганин» (1984, т/ф)
«Дива в Гарбузянах» (1985, т/ф)
«Поранені камені» (1987, т/ф, 3 с)
«Дорога до пекла» (1988)
«Із житія Остапа Вишні» (1991)
«Партитура на могильному камені» (1995)
«На полі крові. Aceldama» (2001) та ін.
Мультфільми:
«Зубна билиця» (1972)
«Була у слона мрія» (1973)
«Хлопчик з вуздечкою» (1974)
«Півник і сонечко» (1974)
«Ниточка і кошеня» (1974)
«Тато, мама і золота рибка» (1976)
«Хто в лісі хазяїн?» (1977)
«Каїнові сльози» (1980)
«Крилатий майстер» (1981)
«Дощику, дощику, припусти!» (1982)
«Журавлик» (1982)
«Як було написано першого листа» (1984)
«Жили-пили» (1985)
«Різнокольорова історія» (1986)
«Різдвяна казка» (1993)
