National Union of Composers of Ukraine

National Union of Composers of Ukraine

Union of Composers of Ukraine traces its history from the Society to them. Leontovich (1922), within the framework of which separate composer cells began to function in Ukraine. However, the direct basis for the creation of the Union of Composers was the Decree of the Central Committee of the All-Union Communist Party of Bolsheviks of 1932 "On the restructuring of literary and artistic organizations", for the implementation of which in 1932 the Organizing Bureau for the creation of the Union of Soviet Musicians was approved, which included outstanding composers of Ukraine - P Kozitsky, B. Lyatoshinsky, I. Kolyada, L. Revutsky. Subsequently, composer organizations appeared in Kharkov, Kyiv, Odessa, and later - in Lvov. In Kyiv, the Union was headed by Levko Revutsky (by that time Boris Lyatoshinsky was the executive secretary. Since 1939, B. M. Lyatoshinsky became the Chairman of the Union of Composers of Ukraine. Over the years, the Union of Composers of Ukraine was headed by Konstantin Dankevich (1941), Lev Revutsky (since 1944 to 1948 during the difficult period of the war and the first post-war years), and then Grigory Veryovka, Philip Kozitsky, again Konstantin Dankevich, Georgy Maiboroda. For more than 20 years until 1989, the Union was headed by A. Ya. Shtogarenko. Since 1989, she began to actively operate the average generation of composers - the Union was led by Yevhen Stankovich, Mikhail Stepanenko.Currently, the National Union of Composers of Ukraine (the Union has had this status since 1998) is headed by the Co-Chairs - Yevhen Stankovich and Miroslav Skorik.

A significant place among the organizations created to promote the creative activity of professional composers and musicologists, to support them and provide them with material, financial, legal and other assistance, is occupied by the Musical Foundation of Ukraine of the National Union of Composers of Ukraine. Since Ukraine gained independence in August 1991, the Musical Foundation of Ukraine exists today as an independent organization, subordinate in its activities to the Union of Composers of Ukraine and the Board of the Musical Foundation of Ukraine.

The Musical Foundation of Ukraine (Director - Oleksandr Ilyich Serebryanyk) provides an opportunity for everyone who is interested in the art of music to get a broad idea of ​​the diversity of modern and classical musical creativity, and for Ukrainian musicians and composers to realize themselves and their original culture in the context of general world processes.

The Musical Foundation of Ukraine over the years of its existence has become a cultural, social and legal center of the creative intelligentsia, where issues of the development of national musical culture, copyright protection of composers and social problems (participation in the organization of creative concerts, festivals, provision of a musical instrument for use) are solved. , financial assistance, health improvement and treatment services, etc.). Today, thanks to the fruitful work of the new team of employees of the Muzfond, contacts are maintained with numerous musicians, creative associations from many countries of the world, new trends in the development and formation of Ukrainian musical culture and the legal protection of copyright and related rights have begun to appear.

The main goal of the Musical Fund of Ukraine is to ensure the full implementation of the multifaceted creativity of members of the Union of Composers of Ukraine, the creation of appropriate social and living conditions for them. In its creative activity, the Musical Foundation of Ukraine carries out: · Assistance to composers and musicologists in promoting their creative activity; · Organization of the first audition, consultations, provision of creative business trips, census and reproduction of manuscripts; · Financing of measures to assist in improving the professional skills of composers and musicologists; · Financing of orders for writing works by young composers and musicologists; · Organization of competitions for the creation of musical works of various genres; Appointment of annual awards of the Musical Fund of Ukraine for the best works certain genres, the best musicological works covering modern processes and the musical heritage of Ukraine.

In social services, the Musical Foundation of Ukraine carries out: · Organization of the provision of household, medical and sanatorium-and-spa services for the members of the Muzfond and their families; - Provision of legal assistance; · Allocation of monetary loans for writing new works; - Provision of material assistance; · Dealing with issues of improving living conditions.

Since June 1991, by the decision of the Board of the Union of Composers of Ukraine, the store "Notes" was subordinated to Tsentrmuzinform. At the end of 1956, at the expense of the Union of Composers in Kyiv, a residential building was built on the street. Sofievskaya, 16/16 with non-residential premises built into it on the ground floor and basement to accommodate the Musical Fund of Ukraine of the National Union of Composers of Ukraine. For 45 years of operation of the house, he gained the status of "Monument of History", where numerous memorial plaques are installed to famous composers: L. M. Revutsky, Platon Mayboroda, Andrey Olkhovsky.

Almost 50 years of activity of the Musical Fund of Ukraine, the presence of numerous legal acts, makes it possible to obtain a reliable and sustainable existence of the Musical Fund of Ukraine. The development and rise of the national musical culture is not possible without financial resources. And the flow of financial resources to the Muzfond is impossible without hard and painstaking work to raise funds for their further refinancing into the Fund's social programs, as well as: significant rule-making work. Therefore, the process of implementing the program of activities of the Music Fund is underway.

In addition, now the Muzfond, together with the Ukrainian Agency for Copyright and Related Rights, is introducing new areas of activity for the Fund: - Collecting royalties to the Music Fund for the use of musical works; - Collective management of property copyright and related rights when using works and objects of related rights in digital networks (including the Internet). Everyone understands that all these processes are connected with the solution of many problems. However, without this, it is impossible to effectively engage in collective management in the field of copyright and related rights.

The Ukrainian branch of the Musical Fund of the USSR was established in the city of Kyiv on September 20, 1939 in accordance with the Decree of the Council of People's Commissars of the USSR No. 1511 and the Charter of the Musical Fund of the USSR, approved by the Board of the Union of Composers of the USSR of September 30, 1939. The Ukrainian branch of the Musical Fund of the USSR was set up to provide creative and everyday assistance to the members of the Musical Fund who lived in the territory of the Ukrainian Republic. Due to the fact that no pre-war archival documents have survived, there is no other information about the activities of the Ukrainian branch of the USSR Music Fund for the period from 1939 to 1942. On February 10, 1958, the Board of the Union of Composers of the USSR approved the new charter of the Ukrainian branch of the USSR Music Fund, on the basis of which the branch carries out its activities.

The main task of the Ukrainian branch of the USSR Music Fund was to promote the creative activities of the members of the Music Fund, improve their material, everyday and cultural position. The Ukrainian branch of the USSR Muzfond was entrusted with: Assistance to composers and musicologists in their creative activity in creating all types and genres of music, as well as musicological works, listening, organizing creative business trips, providing repayable loans, irrevocable assistance, census of notes, etc. ; - Providing assistance in improving the skills of composers and musicologists and enhancing their creative skills; · Popularization of works of composers; · Organization of cultural, community, medical and sanatorium services for members of the USSR Music Fund, as well as members of their families; · Carrying out activities to improve the living conditions of members of the USSR Music Fund; - Provision of legal assistance, etc. The Ukrainian branch has been granted the right, in accordance with the established procedure, to build and maintain residential buildings, composers' creative houses, rest houses, sanatoriums, music shops, printing houses and other enterprises.

Supreme governing body, which managed all the activities of the Ukrainian branch of the USSR Music Fund was the Board, which was intended by the Board of the Union of Composers of the Ukrainian SSR. The Ukrainian branch of the USSR Music Fund was directly subordinate to the Board of the USSR Music Fund, to which it provided estimates and reports on its activities, as well as the conclusions of the Audit Commission of the Union of Composers of the Ukrainian SSR, within the established time limits. The Ukrainian branch of the USSR Music Fund had its own seal, the sample of which was established by the USSR Music Fund with the addition of the name of the Ukrainian branch of the USSR Music Fund. The Ukrainian branch of the USSR Music Fund was a self-supporting organization and had its own budget. The Ukrainian branch of the USSR Music Fund has slightly subordinate regional branches in the cities of Dnepropetrovsk, Donetsk, Lvov, Odessa, Simferopol, Kharkov.

In addition, little Vorzelsky House of Composers' Creativity, a residential building in the city of Kyiv (former Kalinina Street (now Sofiyivska, 16/16), a production plant and a music shop are subordinate to it. In early 1963 to March 1964, under the jurisdiction of the Ukrainian branch of the Muzfond In the USSR there was a music printing factory, which was later transferred to the State Committee of the Supreme Council of the Ukrainian SSR for Printing All subordinate enterprises, with the exception of a residential building, were on an independent balance sheet.

On January 16, 1967, the Secretariat of the Board of the Union of Composers of the USSR approved the Instruction on the procedure for spending funds to provide creative and everyday assistance to members of the Muzfond. This Instruction assumed that the assistance provided by the Muzfond should not be of a charitable nature, therefore only creatively active composers and musicologists, as well as those members of the Muzfond who, for various reasons, are temporarily not working, but whose creative activity had or has public meaning. The amount of loans and the period of their repayment are determined depending on the nature of the works, as well as on the conditions of creative work and the financial situation of the member of the Music Fund. Vouchers to the houses of creativity were provided to members of the Muzfond to work on a specific piece of music and musicological works that were of great ideological, artistic and social significance. A member of the Muzfond could receive a creative business trip through the department for up to 1.5 months. Business trips were provided: · To collect materials for the creation of new works; · To collect and record samples of folk music; · For creative reports and demonstrations of new musical works and musicological works; · For advice when working on new works. · To collaborate with musical theaters and concert organizations on the creation of new musical works; · To participate in the plenums of the Board of the Union of Composers, meetings and conferences convened by the Union of Composers, etc. During the period of activity of the Ukrainian branch, the USSR Music Fund was left with archival documentary materials that have a certain historical, scientific and reference value.

In June 1987, according to the Order of the USSR Music Fund No. 73 dated June 29, 1987, the propaganda department was separated from the Ukrainian branch and the Ukrainian Republican branch of the Center was created on its basis. music information(Tsentrmuzinform). By that time, the subordinate organizations of the Musical Fund of Ukraine were the production plant, the House of Composers' Creativity "Vorzel" and the store "Notes".

In November 1989, the Ukrainian branch of the Musical Fund of the USSR was renamed into the Musical Fund of the Ukrainian SSR. This renaming was due to organizational and structural changes in the Union of Composers of the USSR - the formation of a voluntary federal association of unions of composers of the Union republics, composer organizations of Moscow, Leningrad and Kyiv, granting economic independence to these unions and in connection with the Declaration on state sovereignty adopted by the Supreme Soviet of the Ukrainian SSR.

Since Ukraine gained independence in August 1991, the Musical Foundation of Ukraine exists today as an independent organization, subordinate in its activities to the National Union of Composers of Ukraine and the Board of the Musical Foundation of Ukraine.

At present, the Union has 440 members (271 composers and 169 musicologists). The work of many of them is a real national treasure, an intellectual and spiritual treasury of the Ukrainian people.

The significant contribution of the members of the Union of Composers to the development of national culture is evidenced by the fact that among the members of the Union there are 17 People's Artists of Ukraine, 54 Honored Art Workers of Ukraine, 16 winners of the Taras Shevchenko National Prize of Ukraine, 6 academicians and 3 corresponding members of the Academy of Arts of Ukraine, 35 doctors of sciences, 59 professors, 20 laureates of the N. V. Lysenko Prize, 15 laureates of the Prize. B. Lyatoshinsky, 15 laureates of the Prize. L. M. Revutsky, etc. For special achievements, 10 artists were awarded the Order of Merit of the III Stupas, the Order of Merit of the President of Ukraine, 1 - the Order of Yaroslav the Wise, 1 - the Order of Princess Olga.

The highest governing body of the National Union of Composers of Ukraine is the congress, which is convened once every five years. Between congresses, the activities of the Union are managed by the Board headed by the Chairman of the Board.

The grounds for the entry of citizens of Ukraine to the NCU are determined by the Charter of the Union. According to it, composers and musicologists can be members of the NSCU - professionals with a special higher education, whose creative activity, having an independent artistic and scientific value, contributes to the development of the national musical culture of Ukraine.

Every year, the National Union of Composers of Ukraine, in close cooperation with the Ministry of Culture and Arts of Ukraine, holds a large number of cultural events - festivals, forums, competitions, concert cycles, anniversary evenings, as well as symposiums, conferences, seminars, creative meetings and etc.

Thanks to the fruitful efforts of the Union of Composers of Ukraine, an international festival movement was established in Ukraine in the field of academic music, which brought the national musical art into the world orbit.

Since 1990, 17 international festivals "Kyiv Music Fest" have been held ( main festival contemporary academic music in our country), 9 International Forums of Young Music, 16 festivals "Musical premieres of the season". All of them have received worldwide recognition. great success listeners also enjoy the International Festival of Avant-Garde Music "Two Days and Two Nights", which takes place every spring in Odessa, Lviv Festival contemporary music"Contrasts", musical holidays in Kharkov, Donetsk, Drohobych, Kolomyia, Dnepropetrovsk, Uzhgorod, etc.

The Union of Composers is actively working on international musical exchange. Representatives of almost all European countries, as well as the USA, Canada, Australia, Japan, Latin American countries, Israel, Lebanon take part in the above events. On the other hand, Ukrainian contemporary music is increasingly heard in these countries, which is now increasingly recognized as an extraordinary, original phenomenon of global culture.

The constant concern and subject of special attention of the Union is the creative youth. As the Forum of Young Music established by the Union shows, the creative potential of young Ukrainian composers is extremely high. This is evidenced by the high artistic results demonstrated by the young members of the Union at prestigious international composer competitions in Switzerland, Austria, France, Belgium, the Netherlands, Germany, Italy, Poland, China, Japan, the Czech Republic, Slovakia, Serbia, Croatia, Macedonia and other countries.

The powerful musicological detachment of the Union is actively working, making its constant contribution to the development of fundamental areas of musicological science, revealing to the public forgotten or deliberately removed from cultural history Ukraine pages, exploring the modern musical process, doing extensive journalistic and educational work.

The National Union of Composers of Ukraine for many years has been and remains a unique, active creative organization that does its best to maintain the national professional level at a high world level. composer school. Working closely with state organizations and institutions, the National Union of Composers of Ukraine significantly influences the process of cultural development of a civilized Ukrainian state, the preservation and development of national cultural traditions, increasing the international prestige of Ukrainian music, the formation of the spiritual ideals of our people.

STATISTICAL INFORMATION

Total members of the National Union of Composers of Ukraine as of April 1, 2008 - 440

Of these, composers - 271, musicologists - 169

Age composition

From 25 to 30 years - 25

From 30 to 40 years - 48

40 to 50 years - 99

From 50 to 60 years - 108

From 60 to 70 years - 87

Over 70 years - 57

MUSICAL EDUCATION

With higher - 440

HONORARY TITLES, AWARDS AND PRIZES:

Awarded:

Order of Prince Yaroslav the Wise In Art. - 1, Order of Princess Olga III c. - 1, Order "For Merit" III Art. - 10, Order of St. Prince Vladimir III Art. - 5, the Order of St. Barbara the Great Martyr - 3, the Order of St. Nicholas the Wonderworker "For the increase of good on earth" - 1, the Order of St. Stanislav III degree - 1, the Order of the Badge of Honor - 3, the Order of St. Michael the Archangel - 1, the Order " Cossack glory "III century. - one

People's Artist of Ukraine - 17

Honored Art Worker of Ukraine - 54

Honored Artist of Russia - 1, Honored Artist of the Republic of Moldova - 1, Honored Artist of the Republic of Kazakhstan - 1, Honored Artist of Ukraine - 1, Honored Artist of Ukraine - 2, Honored Artist of Russia - 1, Honored Worker of Culture of Ukraine - 5 , Honored Journalist of Ukraine - 1, "Person of the Year - 2002" - 1, "Person of the Year - 2003" - 1

WINNERS:

National Taras Shevchenko Prize of Ukraine - 16 Laureate of the Gorky Prize - 20 Laureate of the Boris Lyatoshinsky Prize - 15 Laureate of the L. N. Revutsky Prize - 15 Laureate of the V.S. Kosenko - 6 Laureate of the M. Verikovsky Prize - 3 Laureate of the Leo Vitoshinsky Prize - 4 Laureate of the Ivan Ogienko Prize - 2 Laureate of the Vernadsky Prize - 2 Laureate of the Kyiv Prize (named after A. Vedel) - 5 Laureate of the B. Asaf "Eva" - 1 Laureate of the F. Kolessa Prize - 1 Laureate of the V. Stus Prize - 1 Laureate of the Republican Komsomol Prize named after N. Ostrovsky - 9 Laureate of the State Prize of the Autonomous Republic of Crimea - 3 Laureates of regional (regional, city) prizes - 34

SCIENTIFIC DEGREES AND SCIENTIFIC RANKS:

Academician - 6 Corresponding Member - 3 Doctor of Science - 35 Professor - 59 Candidate of Art History - 70 Associate Professor - 51

The governing bodies of the Union

• Head of the Union, Chairman of the Board,

First Secretary Stankovich Yevgeny Fedorovich. Composer, Hero of Ukraine, People's Artist of Ukraine, winner of the Taras Shevchenko National Prize, academician of the Academy of Arts of Ukraine.

Co-Chair of the Union

Skorik Miroslav Mikhailovich

Composer, Hero of Ukraine, People's Artist of Ukraine, winner of the Taras Shevchenko National Prize, academician of the Academy of Arts of Ukraine.

• SECRETARY

NATIONAL UNION

COMPOSERS OF UKRAINE

Nevenchanaya Tamara Sergeevna

musicologist, doctor of philosophy of art. Executive secretary, secretary of the board for organizational and creative issues.

• Dichko Lesya Vasilievna

composer, People's Artist Ukraine, winner of the Taras Shevchenko National Prize. Creative Secretary of the Board. He deals with creative issues, the development of concert programs for festivals, forums, creative meetings, anniversary evenings. Represents the Board of the Union in the Collegium of the Ministry of Culture and Tourism, various organizing committees, juries, councils, etc.

• Lyashenko Gennady Ivanovich

composer, people's artist of Ukraine, professor. Creative Secretary of the Board. He deals with creative issues, the development of concert programs for festivals, forums, creative meetings, anniversary evenings. Represents the Board of the Union in various organizing committees, juries, councils, etc. Provides constant communication with performing groups, philharmonic societies, and other art institutions.

• OLEYNIK Lesya Stepanovna

musicologist, candidate of art history, associate professor, Secretary General of the National Committee of the UNESCO International Music Council. Secretary of the Board for Foreign Relations. He is in charge of international relations related to the popularization of the work of Ukrainian composers in the world, creative contacts with foreign composers, groups of performers and musicological institutions. Maintains relations with foreign embassies in Ukraine on issues of cultural cooperation, as well as with various foundations. Represents the National Union of Composers of Ukraine in the international cultural organization - UNESCO.

• Pilyutikov Sergei Yurievich

composer. Secretary of the board for work with creative youth. Deals with issues of working with creative youth, incl. those who are preparing to join the Union. He heads the directorate and creative and organizational work for the International Festival "Forum of Music of the Young". Organizes and conducts the international competition for young composers "Gradus ad Parnassum", master classes, seminars, creative laboratories with leading Ukrainian and foreign masters of contemporary music. Carries out the artistic direction of the youth Ensemble of new music "Ricochets". Engaged in establishing creative connections with international and domestic youth centers, organizations, unions, foundations, etc.

• TARANENKO Ivan Ivanovich

composer. Secretary of the Board for intellectual property and advertising activities. Implements common work on intellectual property issues, coordination of the work of public organizations managing copyright and related rights along with the Department of Intellectual Property, regulating legal relations of subjects of copyright and related rights in Ukraine. Provides coverage of the activities of the NCU, various programs and projects through television, radio, the Internet, periodicals, etc.

• SHCHERBAKOV Igor Vladimirovich

composer, Honored Art Worker of Ukraine, laureate of the Taras Shevchenko National Prize, associate professor. Chairman of the board of the Kyiv organization NSCU.

• Stetsyun Nikolai Grigorievich

Composer, Honored Art Worker of Ukraine. Chairman of the board of the Hariv organization of the NSCU.

• SOKOL Alexander Viktorovich

musicologist, doctor of art history, honored worker of arts of Ukraine, academician of the Academy of Sciences of the Higher School of Ukraine. Chairman of the board of the Odessa organization NSCU.

• Tsepkolenko Karmella Semyonovna

Composer, Honored Art Worker of Ukraine, Candidate of Pedagogical Sciences, Associate Professor. Member of the board of the Odessa organization NSCU.

• MAMONOV Sergey Alekseevich

composer, honored worker of arts of Ukraine, professor. Chairman of the board of the Donetsk organization NSCU

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First of all, we note that the background Ukrainian music as such begins in Soviet Ukraine, in 1920-30, when it was initially based mainly in Kyiv and Kharkov.

In large Ukrainian cities, operetta theaters begin to open, philharmonic societies are founded, young composers resort to instrumental creativity and become at the forefront of Ukrainian music. A pioneer, a major center around which young composers began to accumulate was the Leontovich community (1923). Its honorary members are: Lev Revutsky, teacher of composition in Kyiv, author of symphonies and many piano works, Boris Lotoshinsky, professor at the Kyiv and Moscow conservatories, adherent of the modern, at that time, Ukrainian music. Together they literally brought up a galaxy of composers. Viktor Kosenko, Mikhail Verikivsky, Valentin Kostenko, Ignat Khotkevich, N. Fomenko, K. Boguslavsky and others also worked during these years.

The period of the 30s was one of the most intense times for progress Ukrainian music, which aspired to high professionalism and showed itself in absolutely different styles. At the same time, theatrical musical art is developing and the concert life is progressing. Education is actively unfolding, interest in the national well-known instrument, the bandura, is being revived. After 1930, music, like other areas of art, began to be interpreted as a means of party propaganda. Composers are forced to churn out solemn laudatory compositions - songs in honor of the Soviet homeland, the party, the leaders of communism. At the same time, they strengthened totalitarian control over music. By a government decree of 1932, the Association of Modern Ukrainian music, uniting innovative composers who focused on Western movements music such as jazz. Society. M. Leontovich was renamed and reorganized into the All-Ukrainian community of revolutionary musicians, valid until the age of 31, and also created the Association of Proletarian musicians Ukraine in 1928, which operated until 1932.

Life Ukrainian music also manifested itself in the development of opera theaters in large and small centers, as in Kharkov, Vinnitsa, Odessa, Dnepropetrovsk. The repertoire was mostly traditional - Italian or German opera, but even then in Ukrainian.

Ukrainian music in the 40s - 50s

1941 - 1945 were inscribed in history Ukrainian music as a complex and ambiguous period. This is, of course, caused historical events, which determined the essence and meaning and direction of the artistic process, stipulated genre dominants, attraction to certain ideological, thematic and figurative spheres.

The beginning of V.O. the war became just the same tipping points for Ukrainian music and culture in general. Ukrainian artists and musicians fought on the fronts. A large number of performing groups, theaters, philharmonic societies, faculty of many musical educational institutions were evacuated to the republics of the USSR. In this way Ukrainian music continued its further development - but in a different national context, in a different cultural atmosphere.

AT Ukrainian music of that time, the folklore of the peoples of the USSR was included in full rights, was closely and actively studied by composers and musicologists. Musical heritage Bashkir people attracted the attention of P. Kozitsky, G. Verevka, Kazakh folklore was reflected in the work of M. Skorulsky, Turkmen - in the works of Y. Meitus and A. Znosko-Borovsky. The leading themes of the works are the dominance of the idea of ​​a single desire for victory, patriotic themes, the theme of protection native land and cultural heritage.

Signs musical life at that time, the ultra-high creative activity of numerous amateur teams that embraced the spirit artistic creativity broad masses and introduced them to classical musical refinement. The level of performing skills of such groups was often quite high. It is not for nothing that a significant part of them received the well-deserved title of people and the opportunity to show their skills and art outside the state, to get acquainted with musical foreign culture. Among the most popular professional groups of that time were the Ukrainian SSR Academic Bandurist Choir, the Ukrainian Verevka Choir, the Virsky Folk Dance Group, the Ukrainian Symphony Orchestra, the Dumka Academic Choir, the Lysenko Quartet and others.

The theme of the party, a happy Soviet life and socialist labor, captured by the labor enthusiasm of the masses, at that time loses its canonical status, but does not lose its significance. At the same time, all innovative searches were unofficially hampered. Such duality was adequate to the very atmosphere of that time, which combined the opposition - criticism of Stalinism - and the official - the preservation of the foundation of communist ideology.

the sixties in Ukrainian music.

An entire culture, a unique generation, was dubbed “Sixties” Ukrainian and the Soviet intelligentsia and authors, who intensively manifested themselves in the politics and culture of the 60s. These were times of partial weakening of the totalitarian regime, a period that was later called Khrushchev thaw. The sixties then came out in defense of the Ukrainian language and culture, demanded freedom in art. Their mentality was formed on the basis of humanistic democratic Western traditions. They literally raised the interest of the population in their own cultural heritage. The sixties focused their creativity on the visualization of the existing problems of life, so to speak, painful questions that were often simply hushed up before. One of the first sixties of Ukraine - Lina Kostenko and Vasily Simonenko.

1960s is a breakthrough Ukrainian music, composer school to major arenas around the world, as well as the development and application of the latest trends in Euro-culture. In Kyiv, a group of artists "Kyiv Avant-Garde" was formed, which was joined by such famous domestic figures as Godzyatsky Vitaly, Grabovsky Leonid, Silvestrov and others. The members of this organization began to be harassed and persecuted by the authorities, as a result of which the organization collapsed.

Around the same time, such composers as George and Platon Mayborody, Dankevich K., Lyatoshinsky B. continued to create. Our school of vocal art received real recognition in the whole world. big names Ukrainian opera stage: E. Miroshnichenko, A. Solovyanenko, B. Rudenko, D. Gnatyuk. One of the most significant events of that time was the staging of Shostakovich's opera Katerina Izmailova (1965, Kyiv).

Although Lotoshinsky Boris Nikolaevich has already finished his creative activity, he is also recorded in the sixties. After all, he taught Grabovsky, and Silvestrov, and Karabits, and Dychko, and Stankovich, who later became members of the sixties. When the “Iron Curtain” began to gradually rise in the 1960s, a tremendous wave of information about music west. Everyone started to admire her. And Boris Nikolayevich created his famous Fourth Symphony. Lotoshinsky in the 1960s returned to eternal ideas and the question of what is truth, and gave a brilliant concept regarding the eternal cycle of life, embodying the idea in the echoes of bells - a symbol of eternity.

Ukrainian author's music gradually acquires the status of the brightest artistic phenomenon. In this genre, a very significant contribution to the development Ukrainian music made by V. Ivasyuk (1949-1979) - a very famous singer and composer, author of legendary immortal hits like "I'm going to distant mountains", "Chervona Ruta", "Vodogray" and others. First of all, the artist's work is based on folklore primary sources. By the way, the song "Chervona Ruta" gave the name to a major festival Ukrainian music and songs.

Ukrainian music 70-80 years

Over these decades Ukrainian music went through a turbulent time like never before. It was based on the realities of Soviet life, those turns of history that resulted in the period of the so-called thaw, liberalization, the revival of spiritual life, the exit from the artificial isolation of Soviet art.

Artists of the "older generation" continue their creative work - B. Lotoshinsky, Revutsky, Dankevich, Zhukovsky, Taranov, Klebanov. The "middle" generation is actively operating - K. Dominchen, the Mayboroda brothers, V. Gomolyaki, I. Shamo and others. vigorous activity at the turn of the 50-60s: Bibik, Belash, Buevsky, Grabovsky, Gubarenko, L. Dychko, Ishchenko, Karabits, G. Lyashenko, Skorik, Zagortsev, Stankovich, Guba, Godzyatsky and others. It is thanks to these names, Ukrainian music aspires to European modernism.

The 70s and 80s were a period of explosive development of software music, which made it possible to avoid any genre definitions and fully reveal individual artistic aspirations. Essentially polygenre works arose - a synthesis of instrumental and vocal beginnings and choral symphony, symphony-ballet.

During this period of fruitful development, he receives education. system expands significantly. artistic education: a network of children's and youth musical schools, musical schools. Their graduates receive higher education at the Kyiv, Lvov, Odessa conservatories, the Kharkov Institute of Arts, the Kharkov Institute of Culture with the Kyiv branch. In 1968, the already independent Kyiv Institute of Culture opened the Nikolaev and Rivne educational faculties.

The periodical edition of the collection is active scientific papers“Ukrainian Musicology” (since 1964). Since 1970, the publication of the journal “ Music“, the journal “Folk Art and Ethnography” is being printed, in a word, Ukrainian music receives an additional let of its development.

Ukrainian music in the 80s and 90s

The indicated period is perestroika in the 80s, the collapse of the USSR, Ukraine gained independence in the 90s. This period was marked by the emergence of new cultural trends. The changes that started in our country contributed to the resumption of the interrupted cultural-modernist tradition of the 20s and the democratization stream of the 60s. The main subject of development Ukrainian music and Ukrainian art of this time is a rethinking of the established and the search for new creative principles. Second half of the 80s. It is marked by the appeal of domestic sociologists, culturologists, art historians to the concepts of Western culture, to the renewal of the spiritual foundations of being, the revival of national traditions, it acquires various forms of cultural dialogue between socialist realist and alternative types of thinking.

In the early 1990s, numerous non-governmental creative teams, voluntary societies of various kinds, a significant part of which very successfully begins to cooperate with foreign cultural and educational organizations and contributes to the introduction of Ukraine into the world space.

An important means of understanding the processes taking place in Ukrainian music, becomes the holding of numerous scientific conferences devoted to the consideration of new culturological and philosophical problems of musicology, questions of the theory and history of musical art, modern views on the system of training music specialists, etc.

At the end of the 80s, music festivals began to be organized in Ukraine, the programs of which were works of various stylistic branches, at which works from the classics and, in fact, to the avant-garde were presented. At these festivals, the latest types of art have been displayed, such as video installations, instrumental and musical theater, and various performances. The series of concerts “ New music” (Kyiv, Kharkov). picture of development Ukrainian music complement author's, anniversary concerts of composers, solemn evenings, which are organized by the Center for Musical Information of the Union of Composers of Ukraine and its regional branches.

One of the leading places in musical process of the 80-90s takes piano music. This is evidenced by the increase in the number of national and international piano competitions, as well as the spread of the practice of premiere concert performances of piano works by Ukrainian composers abroad (Austria, Germany, China, USA). big picture Ukrainian music enrich numerous competitions and festivals of other genres of art, in particular, organ and chamber music, sacred, choral, wind and jazz, opera, as well as popular modern songs and the like. These events expand the scope of communication between domestic and foreign composers, performers, teachers, promote the exchange of experience, expand the geography of participants, and influence communication with representatives of the mass media (press, radio, TV).

The multidirectional and multi-vector nature of artistic trends allows us to define them as postmodern, where, on the one hand, one can trace the preservation, rethinking and updating of the achievements of the past, and on the other hand, there is a rejection of traditionalism, intensive searches and experiments.

Ukrainian music end of the twentieth century

Popular music and Ukrainian rock music brightly represented at such festivals as Chervona Ruta, Chaika, Tauride Games, etc. Modern Ukrainian rock music. Among the well-known names are Okean Elzy, VV, TNMK, Skryabin, Dead Piven. Ukrainian rock festivals are regularly and successfully held.

About modern Ukrainian music, about all its novelties and premieres, you can easily find out regularly on our website "". Discover a modern and independent Ukrainian music!

Musicality is one of characteristic features Ukrainian people.

Music in Ukraine appeared during the time of Kievan Rus and in its development covers almost all types of musical art - folk and professional, academic and popular music. Today, diverse Ukrainian music sounds in Ukraine and far beyond its borders, develops in folk and professional traditions, and is the subject of scientific research.

folk music

Initial development period

Musical traditions on the territory of modern Ukraine have existed since prehistoric times. Musical instruments found by Kyiv archaeologists near Chernigov - rattles from mammoth tusks date back to the 18th millennium BC. The flutes found at the site of Molodovo in the Chernivtsi region are attributed to the same time.

The frescoes of St. Sophia of Kyiv (XI century) depict musicians playing various wind, percussion and stringed (similar to harps and lutes) instruments, as well as dancing buffoons. These frescoes testify to the genre diversity of the musical culture of Kievan Rus. Chronicles mention of the singers Boyan and Mitus date back to the 12th century.

In general, primitive music had a syncretic character - song, dance and poetry were merged and most often accompanied rituals, ceremonies, labor process, etc. In the minds of people, music and musical instruments played an important role as amulets during spells and prayers. In music, people saw protection from evil spirits, from bad sleep, from the evil eye. There were also special magical melodies to ensure the fertility of the soil and the fertility of livestock.

Soloists and other singers began to stand out in the primitive game. The development of primitive music became the source from which folk musical culture arose. This music gave rise to national music systems and national features of the musical language.

The practice of folk song that existed in ancient times on the territory of Ukraine can be judged from the ancient ritual songs. Many of them display a holistic worldview primitive man, and reveals his attitude to nature and to natural phenomena.

The original national style is most fully represented by the songs of the central Dnieper region. They are characterized by melodic ornamentation, vocalization of vowels. Connections with Belarusian and Russian folklore are clearly traced in the folklore of Polesye.

In the Carpathians and in the Carpathians, special song styles developed. They are defined as Hutsul and Lemko dialects.

Ukrainian folk songs subdivided into many different genres, which have certain characteristics. In this understanding, the most typical genres Ukrainian songs are:

• Calendar and ceremonial- stoneflies, schedrivkas, gaivkas, carols, kupala, obzhinkovye and others

• Family ritual and household- wedding, comic, dance (including kolomiykas), ditties, lullabies, funeral, lamentations, etc.

• Serf life- Chumatsky, Naimitsky, Burlatsky, etc.;
• historical songs and thoughts
• Soldier life- recruit, soldier, archery;
• Lyric songs and ballads.

Dumas and historical songs

In the XV-XVI centuries, historical thoughts and songs became one of the most striking phenomena of Ukrainian folk music, a kind of symbol of national history and culture.

The creators and performers of historical songs and thoughts, psalms, cants were called kobzars. They played the kobza or bandura, which became an element of the national heroic-patriotic epic, the freedom-loving character and the purity of the moral thoughts of the people.

Great attention in the thoughts turned to the fight against the Turks and Poles. The “Tatar” cycle includes such well-known thoughts as “About Samoil Koshka”, “About the Three Brothers of Azov”, “About the Storm on the Black Sea”, “About Marusya Boguslavka” and others. In the "Polish" cycle, the central place is occupied by the events of the People's Liberation War of 1648-1654, a special place is occupied by folk heroes- Nechay, Krivonos, Khmelnitsky. Later, new cycles of thoughts appeared - about the Swede, about the Sich and its destruction, about the work on the canals, about the haidamatch, about panshchina and freedom.

Already in the XIV-XVII and XVIII centuries, Ukrainian musicians became famous outside of Ukraine. Their names can be found in the chronicles of those times among court musicians, including those at the court of Polish kings and Russian emperors. The most famous kobza players are Timofei Belogradsky (famous lute player, 18th century), Andrey Shut (19th century), Ostap Veresai (19th century) and others.

Folk musicians united in brotherhoods: song workshops that had their own charter and protected their interests. These brotherhoods developed especially in the 17th-18th centuries, and existed until the very beginning of the 20th century, until they were destroyed by the Soviet authorities.

Instrumental folklore and folk instruments

Instrumental folklore occupies an important place in Ukrainian musical culture. The musical instrumentation of Ukraine is very rich and varied. It includes a wide range of wind, string and percussion instruments. A significant part of Ukrainian folk musical instruments comes from the instruments of the times of Rus, other instruments (for example, the violin) were adopted on Ukrainian soil later, although then they became the basis of new traditions and performance features.

The most ancient layers of Ukrainian instrumental folklore are associated with calendar holidays and rituals, which were accompanied by marching (marches for processions, congratulatory marches) and dance music (hopachkas, cossacks, kolomiykas, polechkas, waltzes, doves, lasso, etc.) and song- instrumental music to listen to. Traditional ensembles most often consisted of trios of instruments, such as violin, sniff and tambourine. The performance of music also involves a certain amount of improvisation.

During prayers in domestic conditions (in the house, on the street, near the church), lyre, kobza and bandura were often used to accompany the cants and psalms.

During the time of the Zaporizhzhya Sich, timpani, drums, Cossack antimony and pipes sounded in the orchestras of the Zaporizhian Host, and the timpani were among the Kleinods of the Zaporozhian Sich, that is, they were among the symbols of the Cossack statehood.

Instrumental music has also become an integral part of urban culture. In addition to national instruments such as violins and banduras, urban culture is represented by such instruments as table-like harp, zither, torban. They sang laudatory songs, city songs and romances, religious chants to their accompaniment.

Ukrainian folklore

In the 20th century, many professional and amateur groups of Ukraine turned to the topic of Ukrainian folklore, and ensembles were also created in emigre circles of foreign countries. A feature of the representation of folklore traditions in the forms of academic music-making has become characteristic.

So, at the beginning of the 20th century, the Ukrainian ethnic music ensemble led by Pavel Gumenyuk from Philadelphia gained popularity in the United States. Ukrainian traditions have been preserved in the work of such Ukrainian-American musicians from New York, Cleveland, Detroit, Zinovy ​​Shtokalko, Hryhoriy Kitasty, Yulian Kitasty, Viktor Mishalov and others.

In Soviet Ukraine, many groups were also created that specialized in arrangements of Ukrainian folk songs and dances, as well as works by Ukrainian composers in a similar style: Ukrainian folk instrument orchestras, song and dance ensembles, folk choirs, etc.

Ukrainian folk song formed the basis of the works of many Ukrainian composers. The most famous treatments Ukrainian songs belong to N. Lysenko and N. Leontovich, a significant contribution to the study and collection of folk art was made by domestic folklorists - Filaret Kolesa, Kliment Kvitka.

Since the 1980s there is an increase in interest in authentic forms of folk music making. The Drevo group, founded in 1979 and headed by professor of the Kyiv Conservatory E. Efremov, is considered to be the pioneers of this trend. In the 2000s, such ethnic music festivals arose in Ukraine as„ Country of Dreams" and„ Sheshory”, where folk music sounds both in authentic performance and in various versions of rock or pop styles. The organizers of the festival "Sheshory" decided to give their offspring a new name - "ArtPole". The fact is that since 2003 the festival was held in the village of Sheshory, Ivano-Frankivsk region, but since 2007 it settled in the village of Vorobievka (Vinnitsa region). "In recent years, the festival has begun to move away from the purely ethnic style in which the Sheshors were born, so we decided that it was time to emphasize the new face of our festival, changing its name after the format. In addition, it is more correct in relation to to those, real, geographical Sheshors, who remained in the Ivano-Frankivsk region", - said the director of the festival "ArtPole-2009" Olga Mikhailyk.

Among modern groups of authentic singing, the groups "Bozhychi", "Volodar", "Buttya" should be mentioned. Ethnic motifs are used by the Tartak, Vopli Vidoplyasova, Vopli Vidoplyasova, Mandri, Haydamaki, Ocheretyany Kit groups, the original layering of elements is offered by the DakhaBrakha group.

The rise of professional music

There is information about the professional musical art of the East Slavic tribes from the time of Russia. With the adoption of Christianity at the end of the 10th century, church singing appeared on the territory of modern Ukraine, which was formed under the influence of Byzantine and Slavic folk music. In the XII-XVII centuries, the monophonic “znamenny chant” spread in Orthodox churches, which also significantly influenced the work of composers of subsequent eras.

XVII - XVIII centuries

In the Baroque era, monophonic znamenny singing was replaced by multi-voiced parterre singing, which contributed to the development of the major-minor system, and on the basis of which the style of the sacred concert developed. Among the outstanding musical figures of that time was Nikolai Diletsky, the author of the Musician Grammar (1675).

An important event of that time was the opening in 1632 of the Kiev-Mohyla Academy, where, among others, musical subjects were also taught. Pupils of the academy popularized the nativity scene, and later - kanty. Among the graduates of the Academy were many artists, including composers Grigory Skovoroda, Artemy Vedel.

Secular professional vocal and instrumental music, which existed in the estates and military units, began to develop in the cities from the 17th century. Workshops of musicians appeared, and orchestras and chapels were created under the magistrates. On the basis of folk song and Kantian traditions in the 18th and early 19th centuries, the song-romance to the verses of various poets became widespread. One of the first in this genre began to create Grigory Skovoroda, who introduced song genre civil, philosophical and lyrical themes.

Especially importance in the Ukrainian musical culture of the 18th century had the Glukhiv song school created on the initiative of Daniil the Apostle in 1730, the pupils of which were Dmitry Bortnyansky, Maxim Berezovsky and Artemy Vedel. After graduating from the Glukhov school, Bortnyansky and Berezovsky continued their studies at Italian music schools, which were centers European music that time.

Combining the traditions of partes singing and modern technicians European writing determined the uniqueness of the work of these composers. Having become the court bandmaster in St. Petersburg, and since 1796 - the head of the court chapel, formed almost exclusively from students of the Glukhov school, Bortnyansky greatly influenced the development of Russian musical culture. He also became the first composer of the Russian Empire, whose musical works began to be published.

19th - early 20th century

The 19th century in the history of music was marked by the emergence of many national schools on the world stage, which was associated with the growth of the national self-consciousness of European peoples. Following the Polish and Russian, the Ukrainian national school of composers also appeared.

After Ukrainian writers and poets, professional musicians of the 19th century began to turn to folk themes, to process folk songs, which were performed by talented amateurs accompanied by folk instruments - kobza, bandura, cymbals, violins, lyres, etc. At the beginning of the 19th century, the first symphonic and chamber music appeared in Ukrainian music. - instrumental works, among the authors of which are I. M. Vitkovsky, A. I. Galenkovsky, Ilya and Alexander Lizoguby.

The basis for the development of national professional music was the work of Mykola Lysenko, who created classical samples of works in different genres: 9 operas, piano and instrumental, choral and vocal works, a work on the words of Ukrainian poets, including the words of Taras Shevchenko. He also became the organizer of a music school in Kyiv (1904; from 1918 - Lysenko Music and Drama Institute).

At the beginning of the 20th century, a galaxy of Ukrainian performers gained worldwide fame. Among them are singers Solomiya Krushelnitskaya, O. Petrusenko, Z. Gaidai, M. Litvinenko-Wolgemut, singers M. E. Mentsinsky, A. F. Mishuga, I. Patorzhinsky, B. Gmyrya, pianist Vladimir Horowitz, choir conductor A. A. Koshits. Outside of Ukraine, choral arrangements by N. D. Leontovich became known.

During the period of the Ukrainian Revolution (1917-1918), a number of artistic groups and the emergence of a new generation of Ukrainian cultural figures. The Government of the Ukrainian State consistently supported cultural life, including musical art, as evidenced by the Resolution of the Council of Ministers on the mobilization of the literary, scientific, artistic and technical forces of Ukraine. Also, by decree of Pavel Skoropadsky in 1918, the State Symphony Orchestra of Ukraine was founded, the first conductor of which was Alexander Gorily, the Ukrainian State Capella, the First and Second National Choirs. The Kyiv Opera was renamed into the Ukrainian Drama and Opera Theatre. A significant number of world-famous operas have been translated into Ukrainian. Also in 1918, the kobzar choir was founded, later known as the National Honored Bandura Choir of Ukraine named after I. G. I. Mayborody.

The arrival of Soviet power to the lands of Ukraine was marked by several tragic events. In 1921, N. Leontovich was killed by an agent of the Cheka, and in 1928 the activities of the society named after him were banned. In the 1930s, the Soviet authorities destroyed several hundred bandura players, kobzars and lyre players, and in 1938 the musician and ethnographer Gnat Khotkevich was shot. In general, the twenties and thirties in Ukrainian culture are called the “Executed Renaissance”

At the same time, the Soviet government opened a number of musical institutions in different cities of Ukraine. Among them are opera and ballet theaters in Kharkov (1925), Poltava (1928), Vinnitsa (1929), Dnepropetrovsk (1931), Donetsk (1941), choir and symphony groups.

Starting from the second half of the 1930s, the musical art of Soviet Ukraine developed mainly in line with socialist realism, which became the only creative method of literature and art officially permitted in the USSR. Cultural figures who deviated from this method were subjected to severe criticism and persecution.

At the same time, a mass Soviet song arose in Ukraine, one of the first creators of which was Konstantin Boguslavsky. In the 1930s, the first operas on Soviet themes appeared, including Shchors by B. Lyatoshinsky (1930), Perekop by Y. Meitus (1937). Songs dedicated to communist party and its leaders, entrenched in the repertoires of professional and amateur groups.

A significant contribution to the development of Ukrainian musical art was made by the composer and teacher Mykola Vilinsky (a student of Vitold Malyshevsky), who worked first at the Odessa and then at the Kyiv Conservatory.

In the post-war period, prominent Ukrainian composers included Hryhoriy Veryovka, the brothers Georgy and Platon Mayborody, Konstantin Dankevich, A. Ya. Shtogarenko, and others. Among the well-known performers was the Ukrainian tenor Ivan Kozlovsky. Claudia Shulzhenko, a native of Kharkiv region, became widely known thanks to the performance of front-line songs.

The 1960s became the time of the breakthrough of the Ukrainian musical school on the world stage, the penetration of the newest trends in European music into Ukrainian music. In Kyiv, the Kyiv Avant-Garde group was created, which included Valentin Silvestrov, Leonid Grabovsky and Vitaly Godzyatsky. Due to discrepancies with official musical circles In the USSR, members of the Kyiv Avant-garde succumbed to pressure of various kinds, in connection with which the group eventually broke up. The national school of vocal art received world recognition. In parallel with the formation of pop music in Western countries, in Ukraine, as well as in other countries, the Soviet variety art flourished. The work of Vladimir Ivasyuk, the author of more than 100 songs, whose life was tragically cut short in 1979, stands out in particular.

Among the songwriters of those years, AI Bilash, V. Vermenich, and later I. Karabits are also known. In the same years, pop singers - Sofia Rotaru, Nazariy Yaremchuk, Vasily Zinkevich, Igor Belozir, Taras Petrinenko, Alla Kudlay and others - gained popularity.

Contemporary music

As a legacy from the USSR, Ukraine received an extensive system of educational and concert musical organizations, which are under the jurisdiction of the Ministry of Culture and Tourism of Ukraine. Among them:

Theaters

* opera houses in Kyiv, Kharkov, Lvov, Odessa, Dnepropetrovsk, Donetsk

* theaters of musical comedy in Kharkov and Odessa, as well as an operetta theater in Kyiv

* Children's musical theater in Kyiv

Concert institutions

* National Philharmonic and Philharmonic in all regional centers of Ukraine,

* Houses of organ and chamber music in Kyiv, Dnepropetrovsk, Bila Tserkva, Lvov, and Kharkov

* palaces of culture and houses of culture in many cities of Ukraine.

Musical educational institutions

The training of professional musicians is carried out by:

* Conservatories (music academies) in Kyiv, Odessa, Lvov, Donetsk, Dnepropetrovsk

* Music faculties at Kharkiv University of Arts and Kiev University of Culture

* Musical schools in different cities of Ukraine.

Concert bands

As of 2008, there are 9 national and 2 state teams in Ukraine. Of these, 10 are located in Kyiv and one - in Odessa:

* National Symphony Orchestra of Ukraine

* National Odessa Philharmonic Orchestra

* National Honored Academic Chapel of Ukraine "Dumka"

* National Honored Academic Ukrainian Folk Choir. Grigory Veryovka

* National Honored Bandurist Choir of Ukraine named after I. G. I. Maiborody

* National Ensemble of Soloists "Kyivska Camerata"

* National Honored Academic Dance Ensemble of Ukraine named after. P.P. Virsky

* National Orchestra of Folk Instruments of Ukraine

* National Academic Brass Band of Ukraine

* State Variety Symphony Orchestra of Ukraine

* State Academic Men's Choir of Ukraine. L. Revutsky

In addition, there are many municipal groups, groups at regional philharmonics, houses of organ and chamber music, etc.

Music associations

Two creative musical unions have national status:

* National Union of Composers of Ukraine and

* National All-Ukrainian Musical Union

Popular music

Almost all musical trends are represented on the modern Ukrainian stage: from folk to acid jazz. The club culture is actively developing. Many Ukrainian pop artists - Sofia Rotaru, Irina Bilyk, Alexander Ponomarev, VIA Gra, Ruslana, Ani Lorak, Nadezhda Granovskaya-Meikher, Alena Vinnitskaya, Anna Sedokova, Svetlana Loboda, Vera Brezhneva-Galushka, Verka Serduchka - have long gained popularity outside Ukraine, especially in the CIS. Popular music presented at the festivals "Chervona Ruta", "Tavrian Games", "Seagull" and others.

Performers from Ukraine adequately represented Ukraine at the Eurovision Song Contest. So Ruslana, having synthesized the folklore motives of the Carpathians in her music, became the winner of the Eurovision Song Contest 2004, and won the right for Ukraine to host the next contest - Eurovision 2005. At Eurovision 2007, Verka Serdyuchka took second place.

Ukrainian rock music is also developing. Among the most famous groups are “Okean Elzy”, “Vopli Vidoplyasova”, “Tank on the Maidan Congo”, “Krykhitka Tsakhes”, “Skryabin”, “Tartak”, “Lament of Yeremia”, “Komu Down”, BadloV, “Lama” (Lama). Ukrainian rock festivals "Rock Existence", "Taras Bulba" and others are regularly held.

Purely vocal ensembles, such as the Picardy Third and the Mensound, are also becoming popular. The art of jazz is also represented in Ukraine - international jazz music festivals are held in different cities of the country, among them the most famous are Jazz Bez and Jazz Koktebel. A significant contribution to the popularization of the jazz movement in Ukraine was made by Volodymyr Symonenko and Aleksey Kogan.

The trend of using folklore by modern Ukrainian performers is becoming more and more expressive. One of the first folk motifs in rock music began to be used in the second half of the 1980s by the Vopli Vidoplyasova group. Based on the folklore basis, new original music is created by the Scriabin, Mandri, Gaidamaki groups, performers Taras Chubai, Maria Burmaka and many others. Evidence of the growing interest in folklore was the founding of two ethnic music festivals in Ukraine - "The Land of Dreams" in Kyiv and "Sheshory" in the Ivano-Frankivsk region.

Labels

In the late 1990s and early 2000s, a number of music labels were created in Ukraine, including Gallicia Distribution (Lviv), Lavinamusic, Origen Music, Moon Records, Nexsound (Kyiv), Metal Scrap Production (Ternopil), OMS Records (Zhytomyr), Wolf song production (Dnepropetrovsk) and others.

Ukrainian labels are competing on the domestic market with the main players in the global audio market - Majors Universal, EMI, Sony/BMG, Warner. The Ukrainian music media market in 2005 amounted to about 10 million licensed discs and cassettes, the fight against piracy led to the fact that the share of pirated products in the Ukrainian market is up to 40% (in Western Europe - 10-15%).

en.wikipedia.org

OH DIVCHINO, NOISE GUY

"Oh girl, make some noise,
Whom do you love - forget it, forget it!
Oh girl, make some noise,
Whom do you love - forget it!"

"Let's make some more noise,
Whom I love - my future, my future!
Let's make some more noise,
Whom I love - my future!"

"Oh divchino, my heart,
Chi pidesh ti for me, for me?
Oh girl, my heart,
What are you going for me?"

"I'm not singing for you, -
Nema hati you have, you have.
I'm not singing for you -
You have no hati."

Let's go, heart, to someone else's,
While I wake up, I wake up.
Let's go, heart, to someone else's,
For now, I'll wake up mine."

"Having set up a hut from lobodi,
And do not lead to someone else, do not lead.
Putting a hut out of lobodi,
Don't take someone else!"

"Such a strange house,
Yak mother-in-law dashing, dashing.
Such a strange house
Yak is a dashing mother-in-law.

Hotch don't bark, so grumble,
But all the same, don’t speak out, don’t speak.
Hotch don't bark, so grumble,
But still, don’t speak out.”

BLACK EYEBROWS, BROWN EYES

Remain 2 rows
skin couplet - dvіchі

Shine into the soul, like two dawns.
Chi is snailed in you, as if it were disgusting,
Chi, can you tell me the healers? Black eyebrows - seam stitches, All bіlki you I love- Brown eyes, girls eyes, "Be healthy, sudidko,

Love, sweetheart, girly,

Oh wow, you garnesenka,

Like a little snow, little white! "Godі, godі fry,

Axis go and old mother!

"Oh, be healthy, mother,

I arrived in Hannus! Oh, be healthy, mother,

I arrived in Gannus.

I want to be with you.

Be my little one!”

For the first time, NV presents a special project Top 100 People of Culture, the highest echelon of the Russian artistic world, which has made a significant contribution to art and literature, primarily over the past five years. Within its framework, the editors of NV named the twenty best musicians in the country - not as a rating, but as a selection in alphabetical order

Anthony Baryshevsky

Pianist, 25 years old

Antony Baryshevsky is one of the youngest members of the "cultural" hundred of NV, which does not prevent the metropolitan virtuoso pianist from being among the most titled.

People started talking about Baryshevsky back in 2000, when the 11-year-old (at that time) musician at the International Piano Competition in memory of Vladimir Horowitz received a special prize in the nomination Horowitz debut.

Since then, Baryshevsky has participated in many international competitions in different countries, as a result, he became a laureate of almost two dozen international competitions.

In 2013-2014 alone, the pianist won five foreign awards at once: he won the international piano competitions in Paris and the Arthur Rubinstein competition in Tel Aviv, brought the first prize from the Interlaken Classics competition in Bern, Switzerland and the Grand Prix international competition music in Morocco, and also received second prize at the European Piano Evenings piano competition (Luxembourg).

Since 2012, Baryshevsky has been a soloist with the National Philharmonic of Ukraine. He also tours abroad a lot - both solo and with orchestras. The talented Kiev resident has performed in concert halls in France, Italy, Switzerland, Denmark, Iceland, Serbia, Romania, Poland, Spain, Germany, Belgium, Morocco, Israel, and the USA.

Svyatoslav Vakarchuk

For several years now, the adjective cult has stuck to the name of the main Ukrainian rock musician Svyatoslav Vakarchuk. In those days when the success of musicians was determined by the number of records sold, the albums of the Vakarchuk group Ocean Elzy dispersed hundreds of thousands of copies and received the status of platinum.

Now that the era of listening to music online has come, the impressive numbers of attendance at the band's concerts eloquently speak of national love. This summer, concerts within the framework of the tour dedicated to the 20th anniversary of the group, which took place in five cities of Ukraine, were attended by a quarter of a million listeners. And the Kiev show broke the record in the history of Ukrainian show business - listen oceans at the NSC Olympic 75 thousand people came.

In the context of the revolutionary and military events taking place in the country, Vakarchuk's songs have acquired special significance for most Ukrainians. Millions of compatriots associate his work with the desire for changes that the country is waiting for, and the civic position of the musician is identified with his own.

In December 2013 Oceani performed on the Euromaidan stage, and now they perform their songs in front of the Ukrainian military and residents of cities liberated from terrorists in eastern Ukraine.

Evgeny Gudz

What for the Balkan peoples is Emir Kusturica with his No Smoking Orchestra, for the Ukrainians it is Yevhen Hudz and his punk rock band Gogol Bordello. The Ukrainian, who moved to the United States in the late 1980s, interested the audience on both sides of the ocean with an explosive mixture of folk, rock, gypsy punk and carnival theatrical performances.

The most famous of the fans of the rampant Gudz is the pop star Madonna, who invited him to star in the title role in the film. Filth and Wisdom(2008), where the group's music became the main soundtrack, and the singer herself was the director. She sang with a Ukrainian during her solo concert London Live Earth at Wembley in London, and the music magazine Rolling Stone included the band's music in 50 best albums and 100 best songs of the year.

Since then, Gogol Bordello have recorded four full-length albums (seven in total), the last one being Pura Vida Conspiracy- came out in 2013.

And two years before it appeared the first non-English-language disc of the group My Gypsy, where Hudz included his version of the Kyiv Dynamo fan anthem and the song Kiev miy. Needless to say, the infrequent tours of the group in Ukraine always cause a stir, because in terms of the level of concert drive, few can be compared with Gudzia's company.

Jamala (Susana Jamaladinova)

It is not an easy task to preserve originality, to be original and at the same time recognized by a mass audience. On the Ukrainian stage, Jamala copes with it better than others. Since the triumph music competition New wave in Jurmala, where in 2009 Jamala received the Grand Prix, she is true to herself in the manner of performance, repertoire and closeness to her native Crimean Tatar roots.

The best evidence of Jamala's creative self-sufficiency is her two solo albums (For Every Heart, 2011 and All or Nothing, 2013), which are based on original compositions written by the singer herself. By the way, the singer sings in four languages ​​- Ukrainian, Russian, English and Crimean Tatar.

Jamala tirelessly experiments, performs at large concert venues and in front of the sophisticated audience of music festivals, such as Jazz Koktebel. In addition, she participates in opera productions and filming (soundtrack and role in the film guide Olesya Sanina).

Now the singer, who in 2011 was nominated for the MTV Europe Music Awards in the category Best Ukrainian Artist, is preparing to release a new album, where he experiments with electronic music.

Alla Zagaykevich

Among modern Ukrainian composers, Alla Zagaykevich is considered, if not a star, then a bright talent. And multifaceted. She is known for her works of both classical instrumental music (both symphonic and chamber) and electronic. Moreover, the composer is often called the "godmother" of Ukrainian experimental electronics.

However, Zagaykevich is not limited to composing, she is the curator and inspirer of many electroacoustic projects and performances in Ukraine, such as the EM-VISIA (since 2005) and Electroacoustics (since 2003) festivals.

A few years ago, Zagaykevich, who heads the Ukrainian Association of Electro-Acoustic Music, founded her own Electro-Acoustic Ensemble, with which she recorded her debut disc Nord/Ouest in 2011.

At the same time, the work of Ukrainian women has long been noticed abroad. Zagaykevich is the winner of the international competition of modern classical and electro-acoustic music Musica Nova (2011). Her works are performed in France, Canada, Austria, and she herself regularly participates in foreign festivals, including Marathon of New Music in the Czech Republic, E-musika and Gaida in Lithuania, Takefu International Music Festival in Japan.

Kirill Karabits

By his 37 years, Kirill Karabits from Kiev has firmly established himself at the top of the international conductor's Olympus. For more than five years he has directed the Bournemouth Symphony Orchestra, one of the oldest and most respected in the UK. In his resume - cooperation with leading instrumental groups in America, Europe and Asia.

Great success came to Cyril Karabits, the son of the eminent Ukrainian composer Ivan Karabits, with considerable difficulty. He studied in Kyiv and Vienna and won awards at prestigious international competitions several times. And then, having overcome the serious competition of 60 people for a place, he got the position of assistant conductor of the Budapest Festival Orchestra.

To date, Karabitz has a contract with the Bournemouth Symphony Orchestra until 2016 and engagements of the best instrumental groups from Los Angeles to Tokyo. Last year he was recognized as the best conductor of the year by the Royal Philharmonic Society.

However, in the busy tour schedule of the musician there is always a place for the homeland - several times a year he performs in Kyiv together with local musicians. Being abroad, the conductor supports Ukraine accessible to man culture ways. For example, last spring he dedicated his concerts with the orchestras of German Essen and French Lille to the memory of the heroes of the Heavenly Hundred who died during the confrontations on the Kiev Maidan.

Like most Soviet children, Alexei Kogan attended music school, where, without much desire, he mastered the violin. It didn’t work out like a violinist from him - Kogan jokes that he could only earn money with his playing for an inexpensive lunch. But he turned out, without exaggeration, the best jazz connoisseur in the country.

Once upon a time, a young resident of Kiev began to collect all available recordings of freedom-loving Western music that was then banned in the country. During the perestroika years, this unique collection made him a sought-after radio host - for several years he hosted daily broadcasts, in which he played his favorite music from his personal music library.

Now he participates in the organization of the main jazz festivals in Ukraine, including the Koktebel Jazz Festival and the Lviv Alfa Jazz Fest. The latter is only four years old, but world jazz legends like British guitarist John McLaughin or American Larry Carlton have already performed here. The concerts of the festival are broadcast by the popular French music channel Mezzo, and the Western press puts it on the list of must-attend events.

Despite the fact that most of Kogan's conscious life is connected with jazz, he still claims that he still does not know enough about this music. The jazz guru is sure: “A person who gets into some topic deeply understands that this is only the beginning. You have to learn all your life."

Alexandra Koltsova (Kasha Saltsova)

Winner of two NePops awards for the best female rock vocals Alexandra Koltsova has long become an iconic character in Ukrainian pop-rock - first with her band Krykhitka Tsakhes, and then, after the death of the band's guitarist Mikhail Gichan, already with the project Krykhitka.

Another evidence of how much the public loved the enchanting voice of the permanent frontwoman and the same heartfelt texts of Krykhitka, in 2010 was the all-Ukrainian tour in support of the Recipe album (the debut album of the renewed group), which traveled to 15 largest cities of the country.

Although, by her own admission, Koltsova, she does not succeed in being "just a musician". "You can't sit on the edge of your chair in your own country," says the singer, whose career began in journalism. Leader krykhitki, by the way, who was born in Russia, quietly takes on dozens of good deeds in her native Ukraine, from the Eco-Torba environmental initiative, participation in AIDS campaigns and organizing charity concerts to help children with cancer, to supplying equipment to fighters into the ATO zone and the struggle for the lustration of power.

“If I were a man and didn’t play music, then the SBU would have a folder on me as an extremist,” Koltsova ironically.

Roman Kofman

The British newspaper The Telegraph called him one of the greatest conductors of our time, and the German Sueddeutsche Zeitung put him on a par with Yevgeny Mravinsky, one of the twenty best conductors of all time according to BBC Music Magazine.

Roman Kofman is worthy of these flattering words. He is the first and only Ukrainian who directed the Western European Opera House: in 2003-2008, Kofman was artistic director Bonn Opera and the Bonn Symphony Orchestra. Beethoven. With him, the conductor received the prestigious international Echo Klassik award for recording the oratorio by Franz Liszt Christ. In total, during his career, Kofman managed to work with 80 foreign orchestras.

And to domestic listeners, he is known as the permanent leader of the Kyiv Chamber Orchestra of the National Philharmonic, whose chief conductor has been working since 1990.

During this time, Kofman, tirelessly updating the orchestra's repertoire, opened for Ukrainians the music of the best contemporary compatriots (including Valentin Silvestrov, Miroslav Skorik, Yevgeny Stankovich), and little-known works of Western classics. So, in 2009-2010, he became the first conductor in the world, under whose leadership the orchestra performed all Mozart's symphonies in one concert season.

Natalia Lebedeva

Jazz music is an exchange of living energy, Natalya Lebedeva, who is called the best jazz pianist in Ukraine, is convinced. “You see how a person improvises before your eyes, creates a plot, tells,” Lebedeva says about jazz. “The public should watch this process. Jazz music exists for its sake.”

Lebedeva from Kiev is not only a pianist, but a real human orchestra - a jazz composer, arranger, teacher and band leader all rolled into one. jazz band Trio Lebedeva, where, besides her, at different times included Igor Zakus, Konstantin Ionenko (both bass) and Alexei Fantaev (drums), since the mid-2000s he has released three full-length albums and successfully performs both in Ukraine and abroad . So, in 2008-2010, the trio gave concerts in Poland as part of the Slavic Jazz Festival with a program based on the music of Frederic Chopin, as well as in Slovakia.

Considering that the Ukrainian jazz music only passes the stage of its formation, Lebedeva is doing everything to support this process. She is a participant in many joint projects with aspiring jazz musicians, as well as the organizer of children's jazz festivals O "Keshkin Jazz and Atlant-M

Oleg Mikhailyuta (Bassoon)

It's hard to believe, but in June 2014, the Ukrainian hip-hop group TNMK celebrated its 25th anniversary - the team has been making history since 1989.

Growing up with the country tanks remain one of the brightest, sincere and uncompromising Ukrainian bands - for which they have been loved by the public all these years. Wherein TNMK constantly expanding both the geography and the scale of their activity.

So, in 2012, the group traveled to more than ten festivals in Ukraine, Poland, Russia and Germany, and in 2013 realized an old dream - played a series of concerts in Ukrainian cities Symphonic hip-hop together with the Youth Symphony orchestraSlobozhansky. The initiator of the tour was Mikhailuta, who from time to time takes on the role of both a sound producer and a video director TNMK.

And although a graduate of the Kharkov Conservatory Oleg Mikhailyuta (Fagot) joined the musicians only in 1994, along with the founder of TNMK Alexander Sidorenko (Fozzy), he became one of the key figures not only for the group, but for all Ukrainian music of the independence era.

Like Fozzy, Fagot manages a lot in addition to his musical activities. In recent years, he has repeatedly tried himself as a host and participant in various television shows, and with his popularity he helped Ukrainian-language film dubbing to get on its feet. For example, the hero of the blockbuster spoke in the voice of Mikhailyuta Pirates caribbean Jack Sparrow.

Lyudmila Monastyrskaya

In honor of her great predecessor, she is called the new Solomiya Krushelnitskaya and also the best Aida of our days. The owner of a unique dramatic soprano, Lyudmila Monastyrskaya, without a doubt, is one of the strongest world opera singers of our time.

Since 2010, she has conquered the best foreign scenes: the New York Metropolitan Opera, Milan's La Scala, Berlin's German Opera, and London's Covent Garden were invited to perform the leading parts of the Ukrainian. And in each of these theaters, Monastyrskaya made a splash, collecting enthusiastic responses from the press, colleagues and spectators. Although the parts she performs are leading roles in operas Attila, Nabucco, Tosca, Masquerade Ball, Aida, Macbeth, Country Honor- among the most difficult and responsible for opera singers.

Among Monastyrskaya's partners are world stars of the level of Spaniard Placido Domingo and Italian Leo Nucci. And the schedule of Ukrainian performances abroad, as an opera diva should be, is scheduled for a long time ahead.

However, she does not miss the opportunity to perform in Ukraine - at the National Opera. In one of the interviews, when asked about which country a Western listener considers her to be a representative of, the singer replied: "[They perceive] only as a Ukrainian [singer]. And this gives me incentive and inspiration. I was brought up that way."

Victoria Field

The works of Ukrainian Victoria Poleva are listened to by admirers of modern classical music in the best halls - from the USA and Chile in the west to Korea and Singapore in the east. It is appreciated by critics and included in their repertoires by the world's leading instrumental and choir groups. In 2013, the compositions of the gifted Kievite were performed for the first time by the cult American ensemble Kronos Quartet.

Polevaya, repeatedly awarded Ukrainian and international prizes, writes music in choral, chamber-instrumental and symphonic genres. AT early years the aesthetics of the avant-garde was closest to her. Today, critics rank it among the sacred minimalist style popular in the West, when deep spiritual themes are revealed through the repetition of simple musical phrases.

Such a creative transformation was quite natural for Polevaya. After all, in her own words, for the composer, first of all, it is not novelty as such that is important, but simplicity and truthfulness of expression.

Alexander Polozhinsky

Poet, citizen and frontman of the Tartak group Alexander Polozhinsky has always been more than just a musician.

In 2005, barely leaving the stage of the Orange Revolution, whose unofficial anthem was the bitter composition of Tartak I don't want, the leader of the group, together with other fellow musicians, organized an all-Ukrainian tour Don't be a jerk.

It is difficult to find a better symbol of Polozhinsky's entire musical career than this action, which soon grew into a still existing social movement for European values ​​for Ukraine.

In each of Tartak's albums - and over the past ten years the group has released five records - the author of all the texts of the group, Polozhinsky, finds words that are necessary and close to compatriots with an active civic position.

“If we want to give up something, we must formulate what we will build instead,” the leader of Tartak recently noted, analyzing the consequences of the Euromaidan, of which he was an activist.

In his work, Polozhinsky does not get tired of "building". This spring, the musician presented a solo project Boov’є , within which he will perform his own compositions that were not included in Tartak's repertoire.

Mariana Sadovskaya

A native of Lviv and a resident of Cologne, Maryana Sadovskaya is often compared to the cult Icelandic singer Björk - the singers have in common the energy of their music and the desire to experiment with genres and styles. Both draw inspiration from folk art, making it attractive and understandable to listeners around the world.

I am always interested in building bridges - between cultures, between what was and what is, "- formulates her creative task Sadovskaya, whose songs are listened to on all continents.

Started her career as an actress of the Lviv Theater. Lesya Kurbasa Sadovskaya is convinced that everyone can sing - you just need to open your heart to music. There is some truth in this, but only a few receive invitations to cooperate from the cult American ensemble Kronos Quartet. Especially for a joint performance with this team, a Lviv woman wrote a work Chernobyl. Harvest, presented last year, first in Kyiv, and then in the famous hall of the Lincoln Center in New York.

Maryana Sadovskaya - Piemo, piemo (Ukrainian Folk Lemkivska Song)

Sadovskaya travels a lot - in Poland she collaborates with the theater Garzhenitsa, in New York - with the experimental troupe Yara Arts Group, and in Germany she has her own band Borderland. She travels with ethnographic expeditions to Ireland, Egypt and Cuba. Her interpretations of Ukrainian folklore brought the singer the authoritative German RUTH award last year.

Valentin Silvestrov

In the late 1950s, an unprecedented event occurred at the Kyiv Conservatory. A third-year student of the Kyiv Civil Engineering Institute, Valentin Silvestrov, was transferred without exams to the main music university in Ukraine. Since then, he has given no reason to doubt that his true calling is to be an architect of music, not stone.

Today Sylvestrov is the most famous modern Ukrainian composer abroad. Moreover, world fame came to him much earlier than recognition in his native land. While in the USSR they were suspicious of Silvestrov's avant-garde experiments, which later formed his unique personal style, he already in the late 60s became the winner of the prestigious Sergei Koussevitzky Prize (USA) and the international competition for young composers Gaudeamus (Netherlands).

To this day, the name of the Ukrainian, whose legacy includes symphonies, orchestral works, choral and chamber cantatas, as well as instrumental music, is heard on world stages and music festivals. In addition, Silvestrov's music, known in the West no less than in Ukraine, becomes part of the soundtracks for the films of film celebrities - Kira Muratova and Francois Ozon.

Valentin Silvestrov - Symphony No. 5

Meanwhile, the composer lives in Kyiv and admits that he is quite comfortable writing music in his native country. Among what Sylvestrov wrote in recent times, - music, dedicated to events on the Maidan: a new version anthem of Ukraine and music to the poem by Taras Shevchenko Caucasus, which was read on the Maidan by the deceased protester Sergei Nigoyan.

Oleg Skripka

If Ukraine, like America, had its own Rock and Roll Hall of Fame, Oleg Skrypka, no doubt, would be included in it among the first. His main musical offspring are the legendary Voplі Vіdoplyasova- has been one of the most popular bands in the country for almost 30 years.

Folk melody and powerful energy live performances made BB in demand both at home and abroad.

However, within the framework of one project, even if it is successful, Violin is cramped. Only in the last year, in addition to touring with relatives BB in Ukraine and Europe, he managed to play a number of concerts with his jazz cabaret Fun and travel around North America, performing with violinist Vasily Popadyuk.

Tours do not prevent the artist from holding the festival for 11 years in a row Land of dreams. This year, the main ethno-action of the capital changed its location for the first time, moving to a Kyiv park Theophania, and, according to the majority of guests, it has reached a qualitatively new level.

If we add to this the jazz-folk festival that successfully thundered last summer Montmart on Andreevsky Descent and rich alternative music Rock Sich, DJ sets at parties in Kyiv and other cities of Ukraine, as well as a recently opened restaurant of high Ukrainian cuisine Canapa, then it becomes obvious - towards its main goal - to turn Ukraine into a dream country - Violin is moving by leaps and bounds.

Evgeny Filatov

Evgeniy Filatov is one of the most consistent and innovative Ukrainian musicians, equally popular at home and abroad. His music at the intersection of funk, soul, pop-rock and hip-hop is listened to in Europe and Asia, he collects halls in Ukraine, Russia and the USA. The main stars seek to cooperate with him domestic show business.

This native of Donetsk started as a DJ, performing under the pseudonym Dj Major. After some time, he was noticed by the producers, as a result - cooperation with TNMK, Smash, Ani Lorak, Tina Karol and others. His debut disc with his own project The Maneken was released on the French label Somekind Records and was sold in many countries of the world, including Japan, which is difficult for Ukrainian musicians to reach.

Today, the musician has five records with songs in English and Russian. At his Major Music Box studio, he works together with the best soul singer of Ukraine Jamala, as well as another performer, Nata Zhyzhchenko. Together with the latter, Filatov came up with a new Onuka project, where modern music technology organically combined with folk instruments.

Andrey Khlyvnyuk

X hip-hop and funk-rock band Boombox, founded, soloist and lyricist of which is Andriy Khlyvniuk, is one of the most successful stories in modern Ukrainian music. Over the ten years of its existence, the band has released six full-fledged albums, and half of them - in the last four years. And one of the first Boombox records Family Business became gold in Ukraine: more than 100 thousand copies of it were sold.

The quantity did not affect the quality: for a decade, the group became one of the most popular not only in Ukraine, but also in Russia, where it collected full concert venues with the same success, and in 2009 received the well-known Russian Muz-TV award in the nomination Best Hip Hop Project.

Khlyvnyuk publicly supported Euromaidan, and in the spring all the group's performances in Russia were suddenly canceled. But this fall the band will celebrate its 10th anniversary with a European tour - in November Boombox will be heard in Riga, Vienna, Prague, Warsaw, Krakow, Antwerp and Paris.

Khlyvnyuk and his team are no strangers to long-distance tours: in February 2011, the band toured the United States and Canada, and last year, together with Dmitry Shurov (Pianoboy), gave concerts in the Czech Republic and Germany.

Dmitry Shurov

Dmitry Shurov is called the brightest and most successful pianist of the domestic show business. By the age of 32, he participated in the recording of albums by the leading bands of Ukraine and Russia and played several thousand live performances.

It all started with a collaboration with a cult rock band Ocean Elzy- in the first half of the 2000s, Shurov co-authored albums Model and Supersymmetry, which became perhaps the most successful in the history of the group. Large-scale tours in support of the records were not without a virtuoso musician. Shurov was one of those members of the golden squad oceans who took to the stage of the NSC Olympiyskiy this summer during the performance dedicated to the 20th anniversary of the team, which gathered a record audience for Ukraine.

The next steps in the career of a pianist were the popular indie band Esthetic Education and a collaboration with the most famous Russian rock singer Zemfira. Known for her high demands on musicians, the singer invited Shurov to record an album Thanks, which stands out among others with a special splendor of arrangements. And then for three years she played live concerts with him.

Today, a native of Vinnitsa, Shurov, is busy working on his solo project Pianoboy. However, according to the apt remark of the musician himself, the roles may be different, but the essence of this does not change. He still masterfully plays the keyboard and composes songs. It's just that now his music is accompanied by his own voice.

The materials used photos of Alexander Medvedev, Natalia Kravchuk and Elena Bozhko

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TOP-100 People of Culture of the New Time read in the special issue of HB No. 20 dated September 26, 2014