Ukrainian composer, choir conductor, pianist, teacher, collector of musical folklore, public figure.
The author of well-known choral arrangements of Ukrainian folk songs "Shchedryk", "Dudaryk", "The Cossack is carried", "Oh from behind the stone mountain" and others. His Christmas carol Shchedrik has been translated into many languages and is known in the English-speaking world as Carol of the Bells.
Biography
Childhood of the composer
He was born in the village of Monastirok, Bratslav district, Podilsk province, in the family of a village priest, Dmytro Feofanovich Leontovich.
He spent his early childhood in the village of Shershnyakh, Tyvriv Volost, Vinnytsia County. Regarding the house in Shershny where the Leontovychs lived, there are discussions - yes, according to some, it is a stone and brick building in the center of the village, decorated with a corresponding memorial plaque, and which needs major repairs, according to other sources, it is a wooden house, which burned down in 1898.
Leontovych received his primary musical education from his father, Dmytro Fedorovych, who sang beautifully, played the cello, violin, and guitar, and for some time directed the choir of seminarians. Mother, Maria Yosypivna (née Yatvytska), had a beautiful voice and often sang Ukrainian folk songs, her brother and sisters also studied music from childhood and later became singers and musicians.
In 1887, Leontovych entered the Nemyriv Gymnasium. In 1888, due to a lack of funds, his father transferred him to the Shargorod primary theological school, where the pupils were kept on a full board. At the school, he mastered singing by notes and could freely read complex parts in church choral works.
In 1892, Leontovych entered the Podilsk Theological Seminary in Kamianets-Podilskyi, where he studied music theory and choral singing, mastered the violin, piano, and some wind instruments, began to arrange folk melodies, taking Mykola Lysenko's arrangement as a model.
The first creative steps
In June 1899, Leontovych, having studied for two years in the sixth grade, graduated from the theological seminary and decided to work as a teacher in rural schools and at the same time improve his musical education on his own. In the village of Chukovi, Bratslav District, Podilsk Province, he organized an amateur symphony orchestra that performed Ukrainian melodies and pieces by Ukrainian and Russian composers. In 1901, he published the first collection of songs from Podillia. In 1903, the second collection of Podil songs with a dedication to Mykola Lysenko was published.
Mykola Leontovych
In the fall of 1904, he left Podillia and moved to Donbas, where he got a job as a teacher of singing and music at a local railway school. During the 1905 revolution, Leontovych organized a workers' choir that performed at rallies. Leontovych's activities attracted the attention of the police, and he was forced to return to Podillia, to the city of Tulchyn, where he taught music and singing at the Tulchyn diocesan women's school for the daughters of village priests. Since 1909, Leontovych has been studying under the guidance of the famous music theorist Boleslav Yavorskyi, whom he periodically visits in Kyiv and Moscow. At that time, he created many choral compositions, including the famous "Schedryk", as well as "Roosters are drinking", "She had only one daughter", "Dudarik", "Oi izhilda zorya" and others. In Tulchyn, he met the composer Kyryll Stetsenko. In 1916, with the choir of Kyiv University, he performed his version of Shchedryka, which brought him great success with the Kyiv public.
Kyiv period
With the establishment of the Ukrainian People's Republic, Leontovych moved from Tulchyn to Kyiv, where he began active work as a conductor and composer. A number of his works have been included in their repertoire by professional and amateur ensembles of Ukraine. At one of the concerts, "Legend" by Mykola Voronoi (Leontovych's original work) was a great success. After the arrival of the Bolsheviks, Leontovych worked for some time in the music committee of the People's Commissariat of Education, taught at the Mykola Lysenko Music and Drama Institute, together with the composer and conductor Hryhoriy Veryovka, worked at the People's Conservatory, on preschool education courses, and organized several choir groups.
Return to Vinnytsia
During the capture of Kyiv on August 31, 1919 by the Denikinites, who were persecuting the Ukrainian intelligentsia, he was forced to flee to Tulchyn. Founds the first music school in Tulchyn. In 1919-1920, he worked on his first major symphonic work, the folk-fantasy opera "To the Little Mermaid Easter" based on the fairy tale of the same name by Borys Grinchenko.
In the fall of 1920, a choir tour took place in Tulchyn under the leadership of Kyril Stetsenko and Pavel Tychyna as the second conductor. During the concerts, the band performed Leontovych's works.
In the last months of his life, Leontovych was finishing the opera "Na rusalchyn Easter".
The "mystery" of death
Over the past 80 years, many publications have been devoted to the death of Mykola Leontovich. In their details, all these accounts are often based on the accounts of eyewitness relatives and sharply contrast and contradict each other. This became clear already with the overthrow of the Soviet-communist government at the time of Ukraine's independence, when classified materials from those times became available, which showed distortions andthe popularity of publications in Soviet times, which were used to hide the destruction of a talented Ukrainian composer by the then power structures — the so-called Cheka. The only thing that never became clear was why the Chekists resorted to such a brutal act, what was the reason for the composer's murder? Only at the end of the 20th century it became possible to partially open the curtain of the propaganda machine of the Soviet penal structures.
Monument to Mykola Leontovych in Tulchyn.
On the night of January 23, 1921, the composer was staying with his father in the village of Markivka, Ghaisinsky district, where he was killed by the Cheka agent Athanasius Hryshchenko, who asked to stay overnight in the house, claiming to be a Chekist fighting against banditry. In the morning, he robbed a house and shot Mykola Leontovich. The text of the report revealing the name of the composer's killer was made public only in the 1990s.
" "REPORT
On the night of January 23, the agent of the uezdchek Hryshchenko killed the son of the priest of the village with a shot from a rifle. Markovki, Kublych Volost, Nikolay Leontovich, 43 years old, with whom Hryshchenko was spending the night, and on January 26, Hryshchenko, who was hiding in the town of Teplik, while being pursued by the police, shot a policeman Tverdokhleb in the stomach with a shot from a rifle.
The head of the District Soviet Militia..."
"
The most detailed information about that tragedy became known thanks to two rare documents, which were found by the head of the regional museum of regional history, Larisa Semenko. After many years of collecting materials for the museum to replenish its funds, the thick diary of the famous Ukrainian writer Stepan Vasylchenko got there. It mentions one of Leontovych's closest friends, Hnat Yastrubetskyi, who recorded a detailed account of Leontovych's father's murder of the composer. It was Hnat Vasyliovych who collected the most materials about Leontovych's life and work, writing his biography, and in his diary he told about that terrible night in Markivka:
"It was a very difficult and dangerous journey," he wrote in his diary. First of all, the researcher went to the village of Markivka, now Teplytsky district, to the composer's father. He wanted to find out firsthand what happened to his son on that January day. This is how the researcher describes it. On Saturday, January 9, 1921, Mykola Leontovych was in Tulchyn. At the request of Victoria's sister, he put Shevchenko's "Testament" on sheet music. In the evening, on the same day, he rode horses to Markivka to his father. They had not yet had time to exchange news when a vehicle entered the yard. "It was six o'clock in the evening according to the sun... A young man, 22-23 years old, of medium height, entered the house. Dark blond, without a mustache and beard. His hands were calloused, with long fingers. He was well dressed. A coat with a sheep's collar. On his head cap. The conversation is Russian, soldier's. I asked to spend the night." If the Leontovychs knew that murderers were staying overnight... Prybuly said that he had a lot of work to do in Markivka. That he is a Chekist (informant). Fights against local banditry. He offered to look at the documents with the seals of the Haysyn Cheka. He especially suggested doing it to Mykola Dmytrovych. And there was a "mountain" of documents. Leontovych looked at them and, returning them to the owner, said: "With such documents it is dangerous to spend the night anywhere." The uninvited guest called himself Grishchenko. How he was listed in the documents, no one knows, because Mykola Dmytrovych was the only one who looked at the documents, he didn't say anything about it to anyone... The sound of the shot woke up the father. It was 7.30 in the morning. Leontovych was sitting half-bent on the bed under the window and asked in a frightened voice: "What is this, an explosion?" After saying these words, he fell on the pillow. Grishchenko was standing over his bed. He was barefoot, in one underwear. He was holding a weapon in his hands, throwing away the spent cartridge case. The composer's sister Victoria and daughter Galina were still at home. They, like the composer's father, were tied by an uninvited guest. He put on a half-coat worn by Leontovich's father. Cursed with dirty words. Demanded money. In front of everyone, he shook out everything from Mykola Dmytrovych's wallet. Took 5,000 rubles in different currencies. He threw everything in the house. I was looking for things. And left with things. At this time, Leontovych was lying motionless with his eyes open. There was a pool of blood on the bed and floor. At the cry of the father, the teacher and other people ran. They untied the Leontovychs' hands and put a bandage on the victim's wound. The wound was on the right side. Laceration. Leontovych still managed to say: "Dad, I'm dying." It was eight o'clock in the morning, Sunday, January 10, 1921. When the doctor arrived, Leontovych was already dead. On January 12, when the composer was being buried, there was a very strong blizzard in Markivka." "
In the future, the facts of the death of Mykola Leontovich were distorted by the communist regime.
As soon as the Teplika district learned about the death of M. Leontovych at the hands of a Chekist, the local authorities had to invent a version of the murder on domestic soil with a visiting White Guardsman (and later a resident of Petlyura) in order to contain the wave of anger. But this did not become a panacea, the information about the shameful crime reached Kyiv. Therefore, one of Mykola's comrades, Hnat Yastrubetskyi, who at that time worked as deputy head of thehead of the political department of one of the Kyiv publishing houses. Having gone to the scene of the tragedy with the mandates of the Kyiv Cheka and the provincial committee, he spent 4 months there (from February to May), and upon his arrival made a report to the Society commemorating the memory of Mykola Leontovych. Yastrubetsky gives the names of the witnesses, the stories of the composer's sister Viktoria and daughter Galina, that report was made on the basis of fresh traces, extremely detailed, but some facts were omitted, thanks to which information about the murder of Leontovich by a disguised "Petlyurivite" was spread in official circles.
Despite the deaths of many Ukrainians during the era of disarmament, the Holodomor, and the Great Terror, some of the materials and memories of the witnesses found their way outside the borders of the USSR, and the extraordinary popularity of the song "Shchedryk-vedryk" led to thorough research into the work and life of its author. Many diaspora scientists and even American researchers and journalists were influenced by the fate of this talented composer. And once again the facts and memories about the destruction of Leontovych by Chekist structures "emerged into the world of God". Therefore, the Soviet authorities had to resort to various methods in order to "find" at least more neutral facts.
Another wave of distortions erupted after the publication in diaspora circles of the memoirs of the composer, choral conductor, publicist, spiritual figure Mykhailo Teodorovych Telezhynskyi, in which the authorities of that time were directly accused of oppressing the talented composer and killing him. Since publicity could not be avoided, the Ukrainian power machine was instructed to build a system of refutations. This was done by the responsible secretary of the Ministry of Internal Affairs of the Ukrainian SSR I. Kh. Golovchenko, who from 1962 became the Minister of Internal Affairs of the Ukrainian SSR (until 1982). It was from the pen of this "writer"-minister that the memoirs of Leontovych's relatives (sisters or daughters) began to emerge, in which extensive "information" about the "Petlyurov-robbery" trail in Leontovych's case was spread among the details of the murder. Being at the highest levels of the repressive and punitive machine, the "writer" Golovchenko, as the curator of the "Composer Leontovych" case, was able to hide many facts and officially approved the version of the murder - a "Petlyurian-robbery" attack.
Only with the termination of the existence of the USSR were the facts of the premeditated murder of M. Leontovych discovered and made public by the bodies of the Cheka.
Creative achievements
Composer
The basis of Leontovych's musical heritage is choral miniatures — arrangements of Ukrainian folk songs, which are unsurpassed to this day and are performed by all Ukrainian choirs in Ukraine and the diaspora. These are the pearls of folk melodrama marked by the great talent of the composer: "Schedryk", "Cossack is carried", "Dudaryk", "From behind the mountain snowballs fly", "Jenchichok brenchichok", "Gayu, gayu, zelen razmayu" and many others. On the basis of Ukrainian folk melodies, Leontovych created completely original original choral compositions, comprehensively artistically rethinking them, giving them a unique sound. Leontovych was one of the first among the masters of Ukrainian music who interpreted folklore in a new way, using the musical heritage of European musical and choral culture. At the same time, Leontovych's handwriting is distinguished from others by the extreme flexibility and naturalness of the movement of the voices, the jewel-like production of details. Leontovych successfully used the traditions of improvisation in the work of Ukrainian kobzars, who interpreted each new stanza of the song text in a new way. Leontovych used the timbral variation of folk rhapsodes in his arrangements, giving the choir the opportunity to reveal a great variety of harmony and counterpoint. Consistently embodying the idea of harmonization and polyphony in his arrangements, Leontovych, having a deep and versatile musical education, widely used the best achievements of world choral technique.
The themes of the composer's choral miniatures are extremely diverse. These are ritual, church, historical, folk, humorous, dance, game songs. One of the central places in Leontovych's work is occupied by choirs on everyday topics. These are, in particular, "Oi in the forest by the road", "Oi dark and invisible little girl", "Should have had one daughter", "Oi from behind the stone mountain". They are characterized by dynamic development of the plot, active dramatization of events and images. The folk song "Pryalya", in which Leontovych reached the level of a tragic ballad, can serve as an example of such a high dramatic elevation.
In the requiem songs "The Cossack is carried", "Snowballs fly from behind the mountain", "Death", Leontovych talentedly rethought the melody of folk lament, using the specific sound of individual voices and entire choir groups, using various choral sound effects, for example, singing with a closed mouth .
The songs "Shchedryk" and "Dudaryk" are considered to be the greatest achievements of the composer, in which Leontovych achieved the maximum rhythmic organization. "Shchedryk" was and remains especially popular, in which the techniques of folk polyphony are organically combined with the achievements of classical polyphony, and each voice plays a completely independent expressive role, reproducing the most subtle mood changes in the song, presenting each artistic image in its ultimate completion.
Pedagogicaland activity
Mykola Leontovych's personal belongings in the Pokrovsk Historical Museum
The beginning of the 20th century marked new paths in Ukrainian teaching, which moved from a Bursat-religious to a populist-Ukrainian direction. And Mykola Leontovych was able to show his talent in this pedagogical field as well.
Leontovych, like many Ukrainian composers of that time — Mykola Lysenko, Kyryll Stetsenko, Yakov Stepovy — was characterized by a combination of creative, pedagogical and performing (conducting and choral) activities. For more than twenty years, Mykola Leontovych worked as a singing teacher in schools in different cities: Tyvrovo, Vinnytsia, Hryshyn (now Pokrovska), Tulchyn, and Kyiv. As a composer, he was also well acquainted with the state of teaching singing in schools, with the artistic level of student choirs. He devoted a lot of his energy to pedagogical work at the teacher's seminary, the Mykola Lysenko Music and Drama Institute and conducting and theater courses, as well as courses for preschool education workers or even in workers' circles and schools.
It was at the Music and Drama Institute named after Mykola Lysenko and at conducting courses that Leontovych taught choral singing, the basics of conducting technique, music theory and counterpoint. While conducting his lectures, he often introduced the choristers to his songs ("Let me, mother", "Oh there, behind the mountain", "The Piper"), showing them an excellent ability to cover the choral work in general in a relatively short time and create a full impression of this composition. As a teacher of music-theoretical subjects, particularly counterpoint, the composer was a follower of the methodological principles of his teacher, Boleslav Yavorskyi, the author of the theory of harmonic rhythm, which was quite widespread in those days. And in the courses of preschool education, he showed himself as an experienced practitioner-methodist. Keeping a neat sequence, he applied his methods of learning songs to children, offering them first simple and later more complex song samples. And he paid special attention to the constituent parts of the song itself — motive, phrase, sentence, period (verse). During the child's singing, he took into account and developed her sense of rhythm, using at the same time the beating of a rhythmic pulse with hands, feet, and fingers. Leontovych combined different singing positions, offering singing sitting and standing, singing in separate groups, and then all together, and, most importantly, he always considered it necessary to resort to musical and auditory visualization, in particular the singing of the teacher himself. Mykola Leontovych attached great importance to the diction of the performer, to the singer's breathing, warning against too strong, forced sound, advocating quiet or loud singing and its appropriate use in the performance of songs. As for the selection/selection of songs, Leontovych guides singing teachers to songs of the canonical composition, believing that their assimilation creates the ground for two-part singing.
Tribute
Bust of Mykola Leontovich on the Alley of Prominent Countrymen in Vinnytsia.
On February 1, 1921, a significant group of cultural figures, professors and students gathered at the Mykola Lysenko Kyiv Music and Drama Institute to celebrate the 9 days after the death of Mykola Leontovych according to Christian custom. Hastily, but with great responsibility, they arranged a concert of Leontovych's works, performed with words of regret and sorrow. At this meeting, the Mykola Leontovych Memorial Committee was created, which later became the Mykola Leontovych Music Society. This society included the following famous Ukrainian artists: Borys Lyatoshynskyi and Pavlo Tychyna, many of the society's members, such as Les Kurbas and Hnat Hotkevich, later shared the tragic fate of Leontovych, dying at the hands of representatives of the Moscow special services. The very name of Leontovich was "recognized as irrelevant for the Soviet era" and actually remained so until the mid-1950s.
Mykola Leontovych on the stamp of Ukraine
Today, the name of Leontovych is used by domestic music groups, in particular the Bandurists' Chapel, and educational institutions (in particular, the Vinnytsia School of Arts and Culture). Streets in Kyiv and other Ukrainian cities are named after Leontovych.
The Leontovych Memorial Museum operates in the city of Tulchyna, Vinnytsia Region, and in 1977, the Leontovych Museum was also opened in the village of Markivka, not far from his burial place.
In 1977, 37 choral compositions by Leontovych were recorded by the student choir of the Kyiv Conservatory under the direction of Pavel Muravskyi. In 2005, a disc with 32 spiritual works of Leontovych was released by the chamber choir "Kyiv" under the direction of Mykola Hobdych.
The city of Pokrovsk honors and remembers the outstanding composer, because it was he who attracted the residents of the Hryshyne station to music and choral singing, thus laying the foundation for the cultural life of the city of Pokrovsk. This is what the exhibition of the Pokrovsky Historical Museum tells about, where photo documents and memories of the people of Hryshtin about Mykola Dmytrovych's stay in the city, photos, and personal belongings are presented.
In honor of the 100th anniversary of the composer's birth in 1977, his name was assigned to a children's music school in the city of Krasnoarmiysk (now the city of Pokrovsk). A composer's museum was created in the school premises.
About our stay in the city of Pokrovskwhen Dmytrovych Leontovich is remembered by memorial plaques installed on the building of the railway school where he taught and the building of the railway station. In August 2018, a monument to the composer was unveiled at the entrance to the Jubilee Park (Pokrovsk city).
Leontovych's name is immortalized in the name of one of the streets in the city of Pokrovsk, as well as Kyiv, Lviv, Odesa and many other cities and towns of Ukraine. On February 21, 2023, the city council renamed Chaikovsky Street in Chernihiv to Mykola Leontovych Street.
On June 21, 2002, for the composer's 125th birthday, Ukrposhta issued a stamp "Mykola Leontovych (1877—1921)". The artist is V. Vasylenko.
On January 5, 2016, the National Bank of Ukraine put into circulation a 20-hryvnia silver jubilee coin "Shchedryk", dedicated to the 100th anniversary of the first performance of Mykola Leontovich's work "Shchedryk" by the choir of Kyiv University. It belongs to the "Ukrainian Heritage" series.
On June 8, 2018, the Leontovych Art Quarter was opened in the city of Tulchyn, Vinnytsia region, during the II International Opera Festival Operafesttulchyn. Eight objects of monumental wall painting (murals) decorated the buildings of the city. The largest of them is the facade of the Milan Opera House "La Scala" on the wall of the House of Culture in Leontovych Park. Among the other wall paintings is a portrait of Mykola Leontovich framed by swallows and the notes of the legendary "Schedryk", "Opera", "Muse". About thirty artists from different cities of the country worked on the implementation of the "Leontovych Art-Quarter" project. An interactive monument "Schedryk" appeared in the city square - a dedication composition with the use of light, interactive musical accompaniment and powered by solar energy. The central element of the composition is a treble clef spirally wrapped around a staff with colorful bells attached to it (the author is Vinnytsia artist Yehora Lobuznov).
On the occasion of the centenary of Shchedryk's world fame, in December 2018, the National Museum of the History of Ukraine opened the exhibition "Maestro of Christmas", dedicated to the figure of Mykola Leontovych. In November 2019, the Shchedryk festival was held in Tulchyn, and the Shchedryk100challenge flash mob was held on the Internet.
Canon
opera
"At Rusalchyn Easter" (based on the fairy tale of Boris Grinchenko, 1919, unfinished; 1975 Myroslav Skoryk completed, edited and arranged for a modern composition of the symphony orchestra);
choirs to the words of Ukrainian poets:
"Icebreaker" in the words of Volodymyr Sosyura,
"Summer Tones" to the words of Hryhori Chuprinka
"My song" (words by I. Bilylovsky)
"Legend" (words by Mykola Voronoi);
compositions for liturgical texts
Liturgy of Saint John Chrysostom,
Prayer,
parts of the Vespers;
choral arrangements of Ukrainian folk songs
More than 150, including:
For mixed choir
"And in that garden"
"And the sun is already setting"
"The plow walks in the field-field"
"Cherries are developing"
"Goalkeeper"
"Hey Ya Today"
"Hey you shooters of Sichoviya"
"Hey in the light"
"Bunny Game"
"My mother gave me a cow"
"Strange news"
"Dudarik"
"Little Lady"
"Ducks are swimming behind the garden"
"Halychankas got upset"
"Noisy little hazel"
"Green and Hazel"
"Zore my evening dawn" (by T. Shevchenko)
"And in you, and in us"
"A snowball flies from behind the mountain"
"Viburnum-raspberry"
"Goat"
"The Cossack is carried"
"Rolling Star"
"The cuckoo flew"
"Poppy"
"Should have had one daughter"
"There are all white poppies in the garden"
"Above the river bank"
"Cranes flew in"
"The guests came over"
"A black cloud is coming"
"Didn't go outside"
"Heaven and Earth"
"Don't stand, willow"
"One mountain is high"
"Oh, and in the garden"
"Oh in Lviv"
"Oh willow, willow"
"Oh from the garden"
"Oh, I'll go outside"
"Oh hell, mother, hell"
"Oh woe to that seagull"
"Oh proud Mr. Master"
"Oh from behind the stone mountain"
"Oh, a black cloud rose from behind the mountain"
"Oh, the cup rolled"
"Oh meadow banks"
"Oh, brothers, five of us"
"Oh, no one has been there"
"Oh Quail"
"Oh, I'll go to the valley"
"Oh, I'll go to the garden for a walk"
"Oh, I'll go to the meadow"
"Oh in the middle of the yard"
"Oh, my mother sent me"
"Oh drinking widow"
"Oh, sat down and went"
"Oh, over the mountain"
"Oh dark and invisible night"
"Oh, in the forest by the road"
"Oh, there's a little well in the field"
"Oh fog in the field"
"Oh, the pigeons are humming in the garden"
"Oh, I'll get up on Monday"
"Oh Semenko is coming"
"Oh, who is knocking and calling in that forest"
"Oh, it's time to smoke"
"Oh, how, how to send a cute bed"
"I'm going to kindergarten"
"Roosters are drinking"
"let me have"
"Between Three Roads"
"Under the thorn of the path"
"Under the ravine, ravine"
"The Immaculate Virgin"
"At the valley, at will"
"I'd like some dough"
"Goodbye Glory, Goodbye Ukraine"
"Pryalya"
"Grey Dove"
"Blue Sea"
"Death"
"In our yard"
"Through the village"
"Through the blueberry - a cherry orchard"
"Cherchik"
"Why, Ivasyu, wasted"
"Something sweet got bored"
"Chornushko-dushko"
"What kind of yarn"
"Schedrik"
"If I didn't get married, I didn't regret it"
For male choir
"And in Kyiv on the market"
"Give, grove, green bloom"
"Hey, um, brothers, all to arms"
"For our freedom"
"Across the river across the Danube"
"We are blacksmiths"
"Good night everyone, good night"
"Oh, and in the field of tares"
"Oh my horse my horse"
"Oh grapes on the mountain"
"Oh, don't scare me, little scarecrow"
"Oh, sat down and went"
"Otamane our father"
"Three Cossacks have arrived"
For women's choir
"And it's already spring"
"It was summer"
"Hrytsya, Hrytsya, to work"
"Good evening, girl"
"The chained cuckoo"
"She got sad"
"Cossack went to war"
"Oh, if only that evening"
"Oh fox to fox"
"Oh my mother"
"Oh developed"
"Oh, Serb"
"Oh gray-haired cuckoo"
"Oh, there's rye in the field"
"Oh, Marusya went"
"Oh, I'm coming"
"Gone dear"
"About something"
"Hay is my hay"
"Why is the nightingale troubled"
Sheet music editions of works
Leontovych M. Folk songs. — K.: Publishing House of the Dniprosoyuz, 1921 (5 dozens, edited by P. Kozytskyi).
Leontovych M. Musical works. — K.–Kh.: Knygospilka, 1930–31 (8 collections, checked and notes submitted by Ya. Yurmas).
Leontovych M. Ukrainian folk songs for the choir. — K.: Mystetstvo, 1952 (Edited by M. Verikyvskyi; 2 ed. — 1961).
M. Leontovych. Choral works. — K.: Muzychna Ukraina, 1970 (General edition by M. Hordiychuk, arrangement and notes by V. Bruss).
Leontovych M. Selected choral works. — K.: Musical Ukraine, 1977 (Special editorial office of I. Marton).
Leontovych M. Choral works on folk song themes. From unpublished. — K.: Musical Ukraine, 1987 (Compiled and edited by B. Lukaniuk).
Leontovych M. To the mermaid Easter. Opera in 1 act. Libretto by M. Leontovich based on a tale by B. Grinchenko. — K.: Musical Ukraine, 1980 (Literal edition by A. Bobir, musical edition for soloists, choir and symphony orchestra by M. Skoryk).
Leontovych M. Spiritual choral works. — K.: Musical Ukraine, 1993 (Edited by V. Ivanov).
Spiritual and musical works of Ukrainian composers of the 20th century. — K., 2004 (Compiled and edited by M. Yurchenko).
Spiritual works of M. Leontovich. — K., 2005 (Editor M. Hobdych).
M. Leontovych. Choral works. — K.: Musical Ukraine, 2005 (Editor-compiler V. Kuzyk).
