DISCUSSION: Defining Our Field - what is 'classical music' to us, why are we involved and what can we learn from our differences? Read John Dante Prevedini's essay, watch the panel discussion and make your own comments.
The late Patric Standford may have written these short pieces deliberately to provoke our feedback. If so, his success is reflected in the rich range of readers' comments appearing at the foot of most of the pages.
Ukrainian composer and musicologist Mykola Lysenko was born in Hrynky on 22 March 1842. He was interested in Ukrainian folksong and the poems of Taras Shevchenko (1814-61) from an early age. Initially a biology student, on winning a Russian Music Society scholarship, he began to study music at Leipzig Conservatory. Later he studied orchestration with Rimsky-Korsakov.
Lysenko's compositions were pro-Ukrainian and anti-Russian, using only Ukrainian language texts for his opera libretti, and refusing to allow his works to be translated into Russian. This was detrimental to his career, for example preventing a Moscow performance of his opera Taras Bulba (which had impressed Tchaikovsky). He supported the 1905 revolution, and was jailed briefly in 1907.
His musicological research demonstrated how Ukrainian melodic material, with its unique approach to chromaticism, differs from Russian material, and studied Ukrainian folk instruments.
Mykola Lysenko died on 6 November 1912.
Ensemble. Stewards of Creation - Haydn's 'The Creation' marks Harry Christophers' final concert with Boston's Handel and Haydn Society, heard by John Dante Prevedini
CD Spotlight. Virtuosic Gifts - Music by Mykola Lysenko, heard by Gerald Fenech. '... superb craftsmanship ...'
Ensemble. Utterly Idiomatic - Roderic Dunnett listens to vocal and choral music in Kiev