Ukrainian composer, pianist, conductor, teacher, collector of song folklore, public figure.
Lysenko's most famous works include the music of the hymns "Prayer for Ukraine" and "Eternal Revolutionary", performed in particular by the Kyryll Stetsenko choir during St. Zluka, the operas "Taras Bulba", "Natalka Poltavka" and others. Lysenko created numerous arrangements of folk music for voice and piano, for choir and mixed composition, and also wrote a significant number of works to the words of Taras Shevchenko.
Biography
Origin
Mykola Lysenko, 1865
He was born in the village of Hrynky, Kremenchug District, Poltava Governorate (now Kremenchug District, Poltava Region, Ukraine) in the family of nobleman Vitaly Romanovych Lysenko, a colonel of the Order Cuirassier Regiment. This village belonged to Mykola Bulyubash, maternal uncle. My father was a highly educated person, he spoke Ukrainian at home.
The mother, Olga Yeremiivna, came from the Poltava landowner family Lutsenkos and from the Cossack family Bulyubashes. She was educated at the St. Petersburg Smolny Institute for Noble Girls, spoke almost exclusively French and forced all family members to do so.
He came from the Lysenko Cossack-senior family. Historical documents testify to Yakov Lysenko as one of the founders of the family (1st half of the 17th century, took an active part in the liberation war). Ivan, the son of Yakov, was a well-known military and political figure of the second half of the 17th century, was a Chernihiv colonel, later a Pereyaslav colonel, and later a commanding hetman; In 1695, he participated in the Azov campaigns. His son Fyodor (Mykola Vitalyovich's great-great-grandfather) was the chief judge from 1741.
early years
So, Mykola knew French and Ukrainian languages from an early age, he learned the Russian alphabet from his father's fellow soldier, the Russian poet Athanasius Fet. Mykolka's godparents were uncle Andriy and the sister of the famous mathematician Mykhailo Ostrogradsky, Maria Ostrogradska, who was the wife of Mykola Bulyubash's great-grandfather.
Already at the age of five, Mykola's mother, Olga Yeremiivna, saw the boy's talent for music and began to take care of his studies. She herself played the piano beautifully, felt her son's musicality and gave him his first lessons. From the age of five, the parents invited a teacher for the little one. After being educated at home, Lysenko studied in Kyiv, first at the Weil boarding house (here he took lessons from the Czech Neinkvych), then at the Geduen boarding house (the teacher was the Czech Panochini), where children were prepared for gymnasium.
In 1855, he began his education at a privileged educational institution - the 2nd Kharkiv Gymnasium, where he studied with Mykola Dmitriev and the Czech Vilchek. The talented teenager quickly became a popular pianist in the city, who was invited to evenings and balls, where he performed piano sonatas by Mozart, Beethoven, waltzes by Chopin, brilliantly improvised on the themes of Ukrainian folk songs.
After graduating from gymnasium, he entered the Faculty of Natural Sciences of Kharkiv University. But in 1860, due to financial difficulties, the Lysenko family moved to Kyiv, and Mykola, together with his third cousin Mykhailo Staritsky, transferred to Kyiv University. On June 1, 1864, Mykola Vitalyovich graduated with honors from the Faculty of Physics and Mathematics "in the category of natural sciences", and in May 1865 he defended his thesis on the topic "Propagation of filamentous algae" and received the degree of candidate of natural sciences. He was a member of a number of Ukrainian student societies and church choirs. Ukrainian folk music became his passion, and he began the ethnographic work of collecting and studying Ukrainian folk songs, which continued throughout his life.
An atmosphere of patriotism reigned among the Ukrainian students of the university, and this contributed to the formation of Lysenko as a public figure. Together with other relatives and friends, Mykhailo Drahomanov, Mykhailo Starytskyi, and Petro Kosach, he belonged to the "Kyiv Community", worked in several circles related to ethnographic activities, founded and conducted a student choir, organized concerts. Citizens opened Sunday schools and libraries at their own expense, worked in them. Lysenko simply changed and began to convince his friends that it is necessary to speak Ukrainian not only with the people, but also with each other. They traveled on foot through Ukraine, collecting folklore. So, in 1861, Lysenko and Starytsky spent New Year's holidays in Poltava Oblast at their friend, the author of the national anthem of Ukraine, Pavel Chubynskyi. When Taras Shevchenko was reburied in May 1861, Kyiv noblemen students Mykhailo Drahomanov, Petro Kosach, Tadei Rylskyi, Mykhailo Starytskyi and Mykola Lysenko harnessed a funeral cart and carried him across the Chain Bridge and then along the Dnieper Embankment to the Church of the Nativity on Podil.
On February 19, 1865, after graduating from the university, M. Lysenko performed for the first time in Kyiv as a pianist at the concerts of the Russian Musical Society. The program includes L. Beethoven's 3rd concert.
Leipzig, Kyiv, Petersburg
Mykola Lysenko, 1869
In 1865–1867, immediately after graduating from Kyiv University, he worked as a peace mediator in Tarasha. In the same place in Tarasha as a dragoon officerMykola Lysenko's father, Vitaly Romanovych, also served in the regiment. During this period, the Lysenkas actively collected folklore and published an investigation "On historical preferences in the tastes and fashions of folk clothing in Skvyr and Taraschan counties."
From 1867 he studied at the Leipzig Conservatory, where he studied as a pianist, attended lectures on music-theoretical disciplines, learned to play the violin and organ, and took additional lectures on composition and music theory. His teachers were Karl Reineke (piano, private lectures on composition and orchestration), Ignaz Moscheles (piano), Ferdinand David (class of ensemble and orchestra playing), Ernst Wenzel (piano), Ernst Friedrich Richter (theoretical disciplines: complex counterpoint, imitation, canons, chorales on a certain motive), Robert Benjamin Paperitz (theoretical disciplines: polyphonic variations on cantus firmus, fugue). In his free time, Lysenko visited the opera house, art galleries, the church of St. Thomas, Gevandhaus. Despite his busy study schedule, he was an active propagandist of Ukrainianism in Europe.
On December 28, 1867, a successful concert of Lysenko took place in Prague, where he performed many Ukrainian songs in his own piano arrangements.
In the summer of 1868, he married Olga O'Connor, whom he took with him to Leipzig (she was studying vocals). The couple could not have children, so after 12 years of living together, they quietly broke up.
In 1869, he completed his studies at the conservatory, completing a 4-year course in just two years. In the characteristics attached to the graduation certificate of the conservatory, it is said: "Mr. Lysenko, with his exemplary diligence and excellent talent, has achieved brilliant success and is a pianist, virtuoso technique and characteristic, elevated and spiritually exhausted, whose performances go far beyond the limits of which is usually required of students." During his studies, he wrote several instrumental works, including the 1st part of the symphony and the symphonic overture "Oy zapiv Cossack, zapiv", a string quartet and a trio, and also published his first collection of Ukrainian folk songs for voice and piano. At the same time, Lysenko also wrote his first works based on the words of Taras Shevchenko: "Testament", "Oh, I am alone, alone", "Fog, fog in the valley". The first collection of Lysenko's songs was published at his own expense in Leipzig by his good friend Petro Kosach, considering it a purely friendly favor and keeping it a secret.
Mykola Lysenko
Mykola Lysenko
Returning to Kyiv, he resumed his concert performances as a professional pianist, and also, in the 1869/70 academic year, taught piano at the newly opened Kyiv Music School at the RMT.
On February 1, 1870, M. Lysenko gave a concert in the hall of the Noble Assembly (the house has not been preserved, it was destroyed in 1976 for the construction of the current House of Trade Unions), performing four fantastic pieces by Schumann, the fantasy "The Traveler" by Schubert, pieces from his own suite and several works from the first Lysenkova series "Music to Kobzar" performed by singer M. Bogdanov. Thanks to his success, from the end of the 1870s he continued to perform not only in Kyiv, but also in Poltava, Chernihiv, Katerynoslav, etc. Lysenko conducted four major tours: 1892–3, 1897, 1899, 1902. The program consisted of two sections: at the beginning, Lysenko performed as a pianist with the performance of his own works, and then the choir sang, accompanied by Mykola Vitaliyovych. All organizational work was also performed by the composer. It was a powerful propaganda of Ukrainian music.
On December 5 (17), 1872, in the premises of the primary school of the sisters Maria and Sofia Lindfors (house No. 21 on Fundukleivska Street), the first performance of the Ukrainian musical theater in Kyiv took place - "The Blacks", the author of which was Mykola Lysenko. The director of the opera is the third cousin of the composer Mykhailo Starytskyi. He is the author of the libretto (based on the work of Yakov Kuharenko).
In 1874–1875, he improved his skills in St. Petersburg under Mykola Rimsky-Korsakov.
Kyiv. Mature period
In 1878, Mykola Vitaliyovych held the position of piano teacher at the Institute of Noble Girls. At the same time, changes also came in his personal life - Mykola Vitaliyovych entered into a second (civil) marriage with Olga Antonivna Lipska (1860-1900), who was a pianist and his student. He had 7 children from this marriage (two of them died at an early age). It is interesting that Lysenko did not dedicate a single work to his common-law wife, the mother of his children (instead, he dedicated 11 works to his first wife, Olga O'Connor, including the arrangement of the Ukrainian folk song "Oh, the Cossack carries water to the mountain..." and "When two separate ").
In the same year, 1878, as part of V. Berenstam's expedition, he visited the island of Khortytsi, visited all the rocks, listened to Cossack songs, and took part in excavations. What he saw and heard inspired the composer to create the opera "Taras Bulba". "You can't imagine, fellow countrymen," Lysenko wrote, "how that long-ago trip to Khortytsia helped me. The picture of Sichi, the Cossack gatherings, the election of the Kosovy — would I have painted them if I had not seen with my own eyes the remains of the glorious past?..." Pyotr Tchaikovsky asked the artist to come to St. Petersburg andto stage an opera, however, in Russian, which M. Lysenko did not agree to. Some time passed and Rimsky-Korsakov came to Kyiv and invited the composer to Russia.
From 1869 he lived in Kyiv, where he worked as a piano teacher, and in 1904 he opened his own Music and Drama School.
He was at the center of the musical and national cultural life of Kyiv — he performed concerts as a pianist, organized choirs, and performed with them in Kyiv and throughout Ukraine. The money collected from the concerts went to public needs, in particular, to the benefit of 183 students of Kyiv University who were sent to the army for participating in the anti-government demonstration of 1901.
Participated in the "Philharmonic Society of Music and Singing Lovers", "Group of Music and Singing Lovers", "Group of Music Lovers" by Y. Spyglazov, in the organization of Sunday school for peasant boys, later - in the preparation of the "Dictionary of the Ukrainian Language", in the census population of Kyiv, in the work of the South-Western Department of the Russian Geographical Society. He performed as a pianist at concerts of the Kyiv branch of the Russian Musical Society, at the evenings of the Literary and Artistic Society, of which he was a member of the board, at monthly folk concerts in the Hall of the People's Auditorium. Organized annual Shevchenko concerts.
In 1904, Lysenko opened the first national music and drama school in Ukraine (named after Lysenko since 1913), which worked in the program mode of higher art educational institutions. In 1905, together with Oleksandr Koshyts, he organized the "Kyivskyi Boyan" musical and choral society, whose chairman he was until the end of his life.
In 1908, he became the founder and chairman of the board of the "Ukrainian Club", where he united prominent figures of Ukrainian science, culture and art (such as Ivan Ogienko, Dmytro Antonovych, Mykola Bilyashivskyi, Serhiy Yefremov, Oleksandr Oles, Olena Pchilka, Lesya Ukrainka , Lyubov Yanovska, Maria Zankovetska, Mykola Sadovskyi, Lyudmila Starytska-Chernyakhivska, M. Starytska, Sofiya Rusova, Martyriy Galin, Oleksandr Chernyakhivskyi, Fedir Matushevskyi, Mykhailo Kryvyniuk and others) for educational work among the population by reading lectures, abstracts, showing performances, travel arrangements. In 1912, the "Ukrainian Club" was reorganized into the "Rodyna" Club, Fedir Matushevskyi became its head.
The circumstances of the Ukrainian reality were such that they did not allow Lysenko to limit himself only to artistic activity. However, he still considered his main vocation to be a composer, so he tried to do as much as possible. He wrote works in various genres: operatic, choral, vocal, instrumental, and he attached great importance to the processing of Ukrainian folk songs. Having initiated a conscious national trend in Ukrainian music, Mykola Lysenko earned the epithet "father of Ukrainian music" during his lifetime. When he arrived in Galicia in 1903 for the jubilee celebrations on the occasion of the 35th anniversary of his creative activity, he was struck by the enthusiasm and respect with which he was met everywhere. In terms of his historical role for Ukrainian culture, Mykola Lysenko is compared with Edvard Grieg, Bedrykh Smetana, Mykhailo Hlinka and other representatives of national musical cultures of the 19th century.
Late years
The grave of Mykola Lysenko
Lysenko was persecuted by the tsarist government, in 1907 he was arrested for some time.
He died on November 6, 1912 in Kyiv suddenly from a heart attack, he was buried at Baikovo cemetery (tombstone - concrete, granite; sculptor Yukhym Bilostocki; installed in 1939), plot No. 2.
Art
Mykola Lysenko is deservedly considered the founder of Ukrainian national music. Both his compositional and ethnographic activities played a significant role in this.
Lysenko's ethnographic heritage is a recording of a wedding ceremony (with text and music) in the Pereyaslavsky District, a recording of thoughts and songs of the kobzar O. Veresai, explorations of "Russian. Characterization of the musical features of Little Russian thoughts and songs performed by kobzar Ostap Veresay" (1874), "About Torban and the Music of Vidort's Songs" (1892), "Folk Musical Streams in Ukraine" (1894).
The composer himself emphasized the importance of deep familiarity with folklore:
"What a great need it is for a musician, and at the same time for a folklorist, to talk among the peasant people, to note their worldview, to record their stories, memories, mentions, proverbs, songs and chants to them. All this sphere, like air, a man needs; without it, it is a sin to begin one's work for both a musician and a philologist"
An important place in Lysenko's compositional heritage is occupied by works based on the texts of Taras Shevchenko. Music for "Kobzar", "Raduysya, nivo nepolitaya", "Byut porogy", "Haydamaki", "Ivan Hus", etc., which became the cornerstone of the further development of Ukrainian academic musical art and the affirmation of its identity. Lysenko is the author of the operas "Christmas Night" (1874), "Drowned" (1885), "Natalka Poltavka" (1889), "Taras Bulba" (1890), "Aeneid" (1910), children's operas "Kosa-dereza" ( 1880), "Mr. Kotskyi" (1891), "Winter and Spring" (1892), the operettas "Blackmen", which became the basis of Ukrainian national opera art.
Despite ppolicy of the tsarist government, aimed at the destruction of Ukrainian linguistic self-consciousness, which extended to the musical sphere as well (in particular, the Emsk decree of 1876 also prohibited the printing of texts in Ukrainian for sheet music), Mykola Lysenko took an unequivocal and unshakable position regarding the status of the Ukrainian word in musical creativity. The proof of the artist's principled attitude to Ukrainian texts is the fact that in his numerous choruses and solos, written to the words of various poets, he turned mainly to Ukrainian authors (Ivan Franko, Lesya Ukrainka, Oleksandr Oles, Oleksandr Konyskyi, etc.), and when he took as a basis poems by others - for example, by H. Heine or A. Mickiewicz, always in translations made by Mykhailo Starytskyi, Lesya Ukrainka, Maksym Slavynskyi, Ludmila Starytskyi-Chernyakhivska, and others. It is significant that in the rich vocal heritage of Mykola Lysenko there is only one romance "Russian. Recognition" to the Russian text of S. Nadson. However, another soloist on a poem by this Russian poet, who is very popular among musicians - "In a dream I dreamed of the sky" - has already been translated.
Although Lysenko was a secular composer, he still wrote several works on spiritual themes: "Where will I go from Your face", "Cheruby" and the prayer "God is great, one" (words by O. Konyskyi), as well as arrangements of three pious songs - "Pure Virgin, Mother of the Russian Land", "By the cross tree", "The Virgin is giving birth today to the most essential".
Having received a professional education as a pianist, Lysenko became the author of a number of piano works of large and small forms - these are "Ukrainian Rhapsodies" (gis moll, a moll), "Heroic Scherzo" op. 25, "Epic fragment" op. 20, "Ukrainian Suite". M. Lysenko combined piano miniatures into small cycles - "Summer Album 1900" op. 37, "Personal Album" op. 40, etc.
Among the epic works, during the days of independence, his "Zaporozhian March" became the most popular: first in the arrangement of NAONI by Victor Hutsal, later, on the 25th anniversary, it was presented as a counter march of the Armed Forces of Ukraine at the Independence Day parade.
Family. Posterity
Mykola Vitalyovich Lysenko (1842—1912)
Olha Antonivna Lipska (1860-1900) was his second wife, the mother of all his children
Kateryna Mykolaivna Lysenko (1878) — daughter (died as an infant)
Bohdan Mykolayovych Lysenko (1879) — son (died young)
Maslyannikova Kateryna Mykolayivna (1880—1948) — daughter
Lysenko-Shylo Galina Mykolayivna (1883—1964) — daughter
Lysenko Ostap Mykolayovych (1885—1968) — son
Lysenko Roman Ostapovich (1913 —?) — grandson
Vitaly Romanovych Lysenko (1941 — 1999) is a great-grandson
Lysenko Mykola Vitaliyovych (junior) (1971) — great-great-grandson
Ariadna Ostapivna Lysenko (1921—2021) is a granddaughter
Natalia
Maryana Mykolaivna Lysenko (1887—1946) — daughter
Lysenko Taras Mykolayovych (1900—1921) — son
Starytska Sofya Vitalyivna (1850—1927) is the younger sister
Maria Mykhailovna Strarytska (1865—1930) is a non-God
Lyudmila Mykhaylivna Starytska-Chernyakhivska (1868—1941) is a godless woman
Steshenko Oksana Mykhailivna (1875—1942) is a non-god
Yuriy Mykhailovych Starytskyi (? — 1936) — deceased
Lysenko Andrii Vitaliyovych (1851—1910) is the younger brother
Lysenko Yury Andriyovych (1881—1958) — deceased
Nataliya Andriivna Lysenko (1884—1969) is a godless woman
Memory
Monument in Kyiv
Memorial plaque on the facade of Mykola Lysenko's house-museum
Already on September 14, 1913, a commemoration of Mykola Lysenko took place in Poltava on the occasion of the first anniversary of his death. Before that date, the Poltava community published the biography of the composer (V. Budynets "The Glorious Music of Mykola Vitalyevich Lysenko" (published by the Poltava Ukrainian Bookstore, 1913).
Mykola Lysenko was named after the leading art institutions of Ukraine, such as the Lviv National Academy of Music (1903), the Kharkiv Academic Opera Theater (1944), the Colonnade Hall of the National Philharmonic (1962), the Kyiv Specialized Music School (1944), the Poltava State Music College .
Lysenko's name is also borne by the leading chamber ensemble — the String Quartet
On December 29, 1965, a monument to Mykola Lysenko was opened next to the National Opera of Ukraine on Theater Square. Sculptor Oleksandr Kovalev, architect Vasyl Hniezdilov.
The monument was erected in the composer's homeland, in the village of Hrynky.
In 1986, at the Oleksandr Dovzhenko Film Studio, director Tymofiy Levchuk shot a historical-biographical film "And in the sounds of memory will respond...", which shows pages from the life of Mykola Vitaliyovych Lysenko. The role of the composer in the film was played by Fedir Strygun.
In 1992, Ukrposhta issued a postage stamp and an artistic marked envelope with the original stamp, dedicated to the 150th anniversary of the birth of Mykola Lysenko.
In 2002, for the 160th anniversary of the composer's birth, the National Bank of Ukraine issued a commemorative coin with a denomination of 2 hryvnias. On the obverse side of the coin is a sheet music excerpt from the composition "Prayer for Ukraine" (1885), on the reverse is a portrait of Mykola Lysenko.
Ukrainian musicians are annually awarded the Mykola Lysenko Prize. The Mykola Lysenko International Music Competition is periodically held in Kyiv.
Streets in Kyiv, Lviv and the city of Kamianske were named after Lysenko.
Kyiv addresses of Mykola Lysenko
Reitarska street, No. 19 (lived in 1888-1894)
Saksaganskoho Street, No. 95 (he lived there from 1898 to 1912) — now the House-Museum of Mykola Lysenko is here
Canon
Scenic works
Operas:
"Andrashiada" (libretto by Mykhailo Starytskyi and Mykhailo Drahomanov, 1866-77),
"Blackmen" (libretto by Mykhailo Starytsky based on the play by Yakov Kuharenko, 1872),
"Christmas Night" (libretto by Mykhailo Starytsky based on the novel by Mykola Gogol, 1874),
"Drowned" (libretto by Mykhailo Starytsky based on Mykola Gogol's novel "May Night", 1883),
"Natalka Poltavka" (play by Ivan Kotlyarevsky, vocal numbers arranged by Mykola Lysenko, 1889),
"Taras Bulba" (libretto by Mykhailo Starytsky based on the novel by Mykola Gogol, 1890),
"The Witch" (text by Lyubov Yanovska, 1901, unfinished),
"Sappho" (libretto by Lyudmila Starytska-Chernyakhivska, 1896—1904),
"Aeneid" (libretto by Mykola Sadovsky based on Ivan Kotlyarevskyi, 1910),
minute opera "Nocturne" (libretto by Lyudmila Starytska-Chernyakhivska, 1912),
children's operas (the first in Ukrainian music)
"Goat-Dereza" (1888),
"Mr. Kotsky" (1891),
"Winter and Spring, or the Snow Queen", (1892) - all 3 to the libretto of Dnipro Chaika (Ludmila Vasilevska);
Music for performances
"Magic Dream" (text by Mykhailo Starytskyi, 1894),
"The Last Night" (text by Mykhailo Starytskyi, 1899) and others.
Screening of stage works
The opera "Natalka Poltavka" was made into a movie of the same name in 1936, and a TV movie in 1978.
Vocal and symphonic works
cantatas:
"The Thresholds Beat" (1878),
"Rejoice, unwatered" (1883),
"In eternal memory of Kotlyarevsky" (1895) - all to the words of Taras Shevchenko;
"To the 50s of Shevchenko" (1911) on the words of Samiylenko;
For symphony orchestra
Ukrainian folk song "Oy zapiv Cossack, zapiv". Music by Mykola Lysenko. From the Vienna edition of 1916.
Minuet and Adagio, Overture on the theme of the Ukrainian folk song "Oy zapyv Cossack, zapyv" (all 1869, manuscript not found).
Symphony (part I, 1869),
Fantasy "Ukrainian Cossack Shumka" (1872);
Chamber instrumental works
String Quartet (ch. Z, 1868),
String Trio (1869);
for violin with piano
Fantasy on two Ukrainian folk themes (1872-73, version for flute and piano),
Elegiac Capriccio (1894),
Elegy to the anniversary of the death of T. Shevchenko (1912),
arrangement of the Ukrainian folk song "The sun is low" (1912);
for cello and piano
Elegy "Sorrow" (1901);
for piano(56)
Ukrainian suite in the form of ancient dances (1867—1869),
2 concert polonaises (1875),
2 rhapsodies on Ukrainian folk themes (1875, 1877),
Sonata (1875),
Barcarolle (1873),
Separation (waltz)
rondos, nocturnes, mazurkas, polonaises, scherzos, waltzes, marches, songs, plays and others;
transcriptions;
Choirs
In the words of Taras Shevchenko
"Ivan Hus" (1881),
3 choruses from the poem "Gamaliya" ("Oh good, dark grove" (1881), "Ivan Pidkova" (1903),
"Orysa, my dear" (1903))
"A cloud rises from behind the estuary" (1903),
"David's Psalm" (1910) and others,
In the words of other authors:
"On the pry!" (words by Mykhailo Starytskyi, 1876),
"The boat is floating" (folk words, 1900),
"Eternal revolutionary" (words by Ivan Franko, 1899),
"Three toasts" (words by Oleksandr Oles, 1906),
"To the 50th anniversary of the death of Taras Shevchenko" (words by Volodymyr Samiylenko, 1911)
"Prayer" (words by Oleksandr Konyskyi, 1885) and others;
Romances
In the words of Taras Shevchenko
"Oh, I am alone, alone" (1868),
"Cherry orchard around the house" (1868),
"Hetmans, Hetmans" (1872),
"If I had shoes" (1872),
"The wind howls through the oak" (1872) and others
In the words of other authors:
"Milovanka" (words by Adam Mickiewicz, 1881),
"I had a beloved, native land" (words by Heinrich Heine, 1893),
"Don't forget the young days" (words by Ivan Franko, 1898),
"The Boundless Field" (words by Ivan Franko, 1898),
"Gloomy Omen" (words by Lesya Ukrainka, 1909),
"Asters" (words by Oleksandr Oles, 1907) and others.
Vocal ensembles
"We sang and parted" (words by Taras Shevchenko, 1869),
"When two separate" (words by Heinrich Heine, 1893),
"Pryalya" (words by Yakov Shchogoliv, 1898) and others;
Processing of folk songs
The song "The Cossacks whistled" by Marusa Churai, a folk song. Music by Mykola Lysenko. From the Vienna edition of 1916.
Over 600 arrangements of Ukrainian folk songs for choir or solo performance, including:
12 collections of 10 works each (1886—1903)
"Spring flowers" - two wreaths (1897)
"Carols and gifts" (1897)
"The Kupala Affair" (1897)
"Kolomyki" for mixed choir and orchestra (1887)
"Wedding" (1903)
for children
"Youth" (1876)
"Collection of folk songs" (1908), etc.
Musicological heritage
Musical and folklore works: recordings (13, 138, 20) of Ukrainian folk songs (with variants), songs of various neighboring peoples, dances, marches, dums (5) from kobzars;
Characteristics of the musical features of Ukrainian thoughts and songs performed by Kobzar Veresai (1873; published in "Notes of the South-Western Department of the Russian Geographical Society", vol. 1, K., 1874; reprint: K., 1978);
About Torban and Vidort's music (Kievskaya starina, 1892, book 2);
Boyan Folk musical trends in Ukraine / edited by Vasyl Lukych. Odvichalnyi edited by: Osyp Makovey // Zorya: illustrated literary and scientific writing for families. — Lviv: published by the Shevchenko Scientific Society, 1894.
. — No. 1. — P. 17-19.
. — No. 4. — P. 87-89.
. — No. 5. — P. 112-114.
. — No. 6. — P. 135-137.
. — No. 7. — P. 161-162.
. — No. 8. — P. 185-187.
. — No. 9. — P. 211-212.
. — No. 10. — P. 231-233.
I mean reprint: Folk musical instruments in Ukraine (Zorya, L., 1894, No. 1, 4-10; reprint: K., 1955);
literary and critical investigations; Letters, K., 1964.
