Lyatoshinsky biography

The country of the USSR with the name of Boris Nikolayevich Lyatoshinsky is connected not only by a huge and, perhaps, the glorious period of development of Ukrainian Soviet music, but also the memory of great talent, about courage and honesty. In the most difficult times of his country, in the most bitter moments of his own life, he remained a sincere, courageous artist. Lyatoshinsky primarily composer-symphonist.

For him, symphonism is a way of life in music, the principle of thinking in all works without exception - from the largest canvas to a choral miniature or processing a folk song. The path of Latoshinsky in art was not easy. The hereditary intellectual, in the city of the turbulent years of the first decade of the century, were also reflected in the first works of the young composer, in which his affection is already clearly tangible.

The first and second string quarters, the first symphony are saturated with stormy romantic impulses, exquisite-rafting musical topics go back to the late scruff. Huge attention to the word is the poetry of M. Meterlink, I. Bunin, I. Severyanin, P. Shelley, K. Balmont, P. Verlen, O. Wilde, ancient Chinese poets embodied in the same sophisticated romance with complicated melodics, the unusual variety of harmonic and rhythmic means.

The same can be said about the piano works of this period of reflection, sonata, which are characterized by acutexpressive images, aphoristic laconicism of them and the most active, dramatic-effective development. The central essay is the first symphony, a polyphonic gift, the brilliant possession of the orchestral timbrees, the scale of the plans, was clearly manifested in it.

In the city of Shevchenko; marked by the finest lyricism of the processing of Ukrainian folk songs for the voice with the piano and for the a cappella choir, into which Lyatoshinsky boldly introduces complex polyphonic techniques, as well as unusual for folk music, but extremely expressive and organic harmony. The Opera "Golden Hook" according to the story of I. Franco thanks to the historical plot from the 13th century.

The musical language of the opera with a complex system of leitmotifs, continuous symphonic development is equally diverse. During the war years, together with the Kyiv conservatory, Latinsky was evacuated to Saratov, where in difficult conditions, hard work continued. The composer constantly collaborated with the editorial office of the radio station. Shevchenko, who broadcast her programs for residents and partisans of the occupied territory of Ukraine.

In the same years, Ukrainian quintet, the fourth string quartet, a suite for a string quartet on Ukrainian folk topics were created. The post -war years are especially intense and fruitful. For 20 years, Lyatoshinsky has been creating beautiful choral miniatures: on Art. Shevchenko; Cycles "Seasons" at Art. Pushkin, on Art. Feta, M. Rylsky, "from the past." The third symphony, written in the city of the first edition of the symphony, was preferred by the epigraph: "The world will defeat the war." Its main topic is the struggle of good and evil.

After the first execution at the Plenum of the Union of Composers of Ukraine, the symphony underwent unfairly sharp criticism, typical for that time. The composer had to remake Scherzo and the final. But, fortunately, the music remained alive.

According to the embodiment of a complex concept, musical thought, a dramatic solution, the third symphony of Lyatoshinsky can be put on a par with the seventh symphony of D. in search of single roots, the community of the Slavs is closely studied by the Polish, Serbian, Croatian, Bulgarian folklore. How the result is the "Slavic concert" for the piano with the orchestra; 2 strokes on Polish topics for cello and piano; Romances on Art.

Mitskevich; Symphonic poems "Grazhina", "On the banks of the Vistula"; “Polish suite”, “Slavic overture”, the fifth “Slavic” symphony, “Slavic suite” for the symphony orchestra. Pan Slavism Lyatoshinsky interprets from high humanistic positions, as a community of feelings and understanding of the world. The same ideals were guided by the composer in their pedagogical activity, having raised more than one generation of Ukrainian composers.

The Lyatoshinsky School is, first of all, the identification of individuality, respect for other opinions, freedom of search. Therefore, his students are so different in his work - V. Sylvestrov and L. Grabovsky, V. Godzyatsky and N. Poloz, E. Stankovich and I. Each of them, having chosen his own path, nevertheless, in each of his compositions, the teacher’s main covenant remains a honest and uncompromising citizen, a minister of morality and conscience.

Filstein Source: Creative portraits of composers, the city of People's Artist of the Ukrainian SSR Laureate of two Stalinist prizes, at the end of the legal score of the Kyiv University of Kiev, in the Kyiv conservatory in the class of R. Glier, under the leadership of which he studied the theory of the composition with the conservatory, taught it with the professor.

B –38 and –44 led the instrumentation at the same time at the Moscow Conservatory. Among the students of Lyatoshinsky, many famous Soviet musicians are Yu. Aleksandrov, I. Belza, L. Denbsky, K. Lyatoshinsky - one of the largest owls.Glier B, Kyiv and Chamber-Instrumental ensembles. His works are characterized by heroic aspiration, acute conflict, drama of conflicts, invariably intertwined with penetrating lyrics.

Lyatoshinsky’s music is distinguished by a bright color, deeply emotional and expressive. Many of Lyatoshinsky’s works are close to the Slavic intonation system, which was also the result of the perception of the traditions of the Russian classics, which was deepened during the classes of R. Glier and the composer’s appeal to the work of declination. Mitskevich, "on the banks of the Vistula", "Polish suite." The style of Lyatoshinsky gradually evolved under the influence of the work of A.

Scriabin, clearly tangible, e.g. In the 1st FP. Having deeply studied the identity of this work, he combined the decline. This allowed Lyatoshinsky to use new means of expression, with the help of which the emotional wealth of his music, inextricably linked in content with modernity, is revealed. A significant place in the work of Lyatoshinsky belongs to choral works, in Pushkin, “Seasons”, “The Moon will go across the sky”, “Who, the waves, stopped you”, etc.

Shevchenko “Iz-Zay Sonceta to go”, “Teche Water in the blue of the sea” and others. Together with L. Revutsky, Lysenko’s new edition of N. Lysenko, Taras Bulba, And after the death of R. Glier, he finished the council. Moststraz and instrumented his concert for a violin with an orchestra. As a conductor, he acted mainly with the performance of his works. Works: Opera - Golden hoop according to the novel by I.

Franco “Zakhar Goldenger”,, Ukrainian. USSR named after Shevchenko, Shchors, commander, in the same place; 2 cantatas, in the T. command; For the orchestra-5 symphonies, the 2nd ed. Glier, suits: from music to the film “Taras Shevchenko”, from music to the tragedy of V. Shakespeare “Romeo and Juliet”, on glorious. USSR,; for piano - 2 sonatas, reflections of 7 plays, ballad, suite, 5 preludes, concert sketch; For TFR.

Literature: Belza I. Lyatoshinsky, M. Lyatoshinsky, in Sat. Articles and materials, issue. Lyatoshinsky, K. Lyatoshinsky, K.