Ukrainian repertoire. Viktor Kosenko worked towards the expansion of Ukrainian national Example 6 Kosenko Passacaglia. Example 7. Viktor Stepanovych Kosenko was a Soviet composer, concert pianist, and educator born in .. by Viktor Kosenko at the International Music Score Library Project (IMSLP); Passacaglia in G minor on YouTube, performed by Lera Auerbach.
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Viktor Stepanovych Kosenko Ukrainian: He was regarded by his contemporaries as a master of lyricism. His first compositions were markedly influenced by the works of composers such as Alexander ScriabinPyotr Ilyich TchaikovskySergei Rachmaninoff and his compatriot Mykola Lysenko. Kosenko’s life is conclusively paassacaglia into three distinct phases, in Warsaw, where he studied with renowned teachers Mikhail Sokolovsky and Iryna Miklashovskaya, in Zhytomyrwhere he began teaching piano and music theory at the Music Technicum,  later becoming director of the Zhytomyr Music School,  and finally in Kievwhere he devoted more time to symphonic compositions such as his Heroic Overture, which brought him due recognition in the world of Soviet music.
A true artist in the very sense of the word, he was a leading figure among the broad-minded artistic collective of the paesacaglia Soviet passacaflia.
Kosenko’s legacy is filled with romantic passscaglia and intonations of Slavic folk songs and Western-European influences. Kosenko was born on 23 November in Saint Petersburg, into the large family of a major general  named Stepan Kosenko.
When Kosenko was about five or six, he began to pick out familiar melodies on the piano, as he had absolute pitch and a good musical memory.
11 Etudes in the From of Old Dances, Op.19 (Kosenko, Viktor)
He would attempt to improvise, showing signs of his musical potential early ksenko. It was she who then gave Kosenko his first lessons at the piano. But his formal training in music began in with private piano lessons from professor Yudytskiy, passacavlia whom he studied for two years. In the summer ofKosenko was preparing to enter the Warsaw Conservatory to study piano. However, with the beginning of World War Ithe family was forced to leave Poland.
His music is characterized with stylistic musical characteristics of Romantic and post-romantic directions, which features a combination of the European tradition with a national Ukrainian element. After graduating from the conservatory in Kosenko joined his family in Zhytomyr at that time the cultural center of the Volyn province.
The following year he began teaching piano classes and music theory at the Music Technicum,  [n 5] later becoming kosehko of the Zhytomyr Music School. In SeptemberKosenko gave his first concert, attended by kosdnko family and close friends,  traveling to Moscow the following year to meet with composers and musicians. By this time he was allowed by the Russian Association of Proletarian Musicians to have his first piano compositions published.
This period that Kosenko spend in Zhytomyr was one of the richest in his musical career for he perfected his own artistic style in instrumental, vocal and chamber music; genres in which he was very active at that time. InKosenko and his fellow musicians founded the Leontovych Musical Society. During this period, Kosenko’s piano works were published for the first time.
This same association invited him again in and Creative conflicts with the new Stalin regime prompted his move to Kiev, where he was offered a position at the Mykola Lysenko Institute of Music and Drama as a chamber musician and musical analyst in followed by a promotion to music professor in He was often invited to be in the juries of musical performance competitions as a well-known performer and respected pedagogue.
His output began to include new genres, particularly his Heroic Overture for symphony orchestra. Kosenko spent most of his life in Zhytomyr, living in poverty, to which he seemed largely indifferent. Despite the medical treatment that he was receiving at the time, Kosenko lived for only 42 years, dying on 3 October of kidney cancer a condition apparently linked to the unsanitary conditions in which he and his family had lived for so long.
During his time as professor of the Kiev Conservatory and the composition of his symphonic Moldavian poem, which he never heard performed,  Kosenko was already deeply interested in learning and gathering information on Moldavian folk-music.
Kosenko used then melodies, harmonies, dorianlydian and phrygian modes, so linking his work with Ukrainian folk tunes. Some of these elements involved doubling melodies in thirds, sixths and tenths, using “open” fifths, and pedal points. Kosenko paxsacaglia much of his attention to children, too. During the s, part of his output was focused on the most demanding and impartial audience.
Viktor Kosenko – Wikipedia
His first compositions for children, entitled Four Pieces for Children for fortepianowere written specifically for the Ukrainian Soviet fortepiano repertoire,  demonstrating his understanding of child psychology and deep knowledge of the main objectives of a teacher.
His Twenty-four Pieces for Children for fortepiano followed, becoming one of the most popular collections for children, even until today. Kosenko’s compositional talent was recognized early on. As a student of the Saint Petersburg Conservatorythe young composer’s main focus was to become a performing pianist, only composing music when he was required to do so in theory classes.
However, this changed when professor Mikhail Sokolovsky singled out Kosenko’s romance “Careless wind” set to text of Konstantin Balmont as an example of his students’ work. This situation inspired Kosenko to study theory of composition, analysis of musical form, and instrumentation in more depth.
He consequently began to spend more time composing. Kosenko debuted his music in Zhytomyr in To expand his horizons, he travelled to Moscow inwhere he met Nikolai MyaskovskyAlexander Goedickeand Felix Blumenfeldwho supported the young composer.
There his works were published for the first time.
In Kiev, the composer’s circle of artistic acquaintances grew. He became closer to artists such as composers Borys Lyatoshynsky and Levko Revutskiy, and singers Ivan Patrozhynskiy and Maria Litvinenko-Volhemut who all highly evaluated both his musical and pedagogical activity. Levko Revutskiy wrote, “Kosenko is a true master of high culture. He belongs to artists, around whom passacaylia created an artistic atmosphere, which is a living, momentous and active stimulus for creative work.
The government of Soviet Ukraine valued Kosenko.
Inhe gave a radio concert of his compositions live from his apartment. Following his death ina complete collection of his works was published. Kosenko was popular not only as a composer, but also as an outstanding pianist who had a wide range of activity. Paswacaglia contemporaries noted his playing style, brilliant technique, powerful artistic interpretation. He was influenced by the musical pwssacaglia in which he grew up. Kosenko’s reputation as a concert pianist brought him invitations to take part as juror in piano competitions around the Soviet Union.
He also became a piano professor, teaching specialized piano and chamber ensemble classes in Kiev, first at the Mykola Lysenko Institute of Music and Drama, and later at the Kiev Conservatory. Kosenko organized a piano trio with violinist Volodymyr Skorokhod and cellist Vasyly Kolomyitsev, thus gaining popularity as a performer. He also performed as soloist in piano concertos of Tchaikovsky, Rachmaninoff, Chopin, and Grieg with an orchestra made up of local instrumentalists.
Along with the European classics, Kosenko was also engaged in popularizing Russian and Ukrainian music by such composers as Levko Revutsky, Boris Lyatoshinsky, Mykhailo Verykivskiy, and Losenko Kozytskiy,  thus gaining the sympathy of the Ukrainian Soviet government.
When he debuted his own music to the public inhis concert was divided into two sections. Upon graduation from the conservatory, he moved to the capital of the Volhynian GovernorateZhytomirwhere besides composing and kosenlo, he invested a lot of time into performing, both as a soloist and accompanist as well. Following the successful debut of his music, Kosenko began to make many trips to perform his own music to places such as Kharkiv, DnipropetrovskLuhansk and Moscow.
Inhe accepted an offer from the Philharmonic of Soviet Ukraine to do a tour with singer Oksana Kolodub to the Donbass area. He gave his last concert inwhen he performed his own music with bass singer Ivan Patrozhynskiy and soprano Maria Litvinenko-Volhemut.
The concert was broadcast live on the radio passacag,ia his apartment on Pidval’na street. From Wikipedia, the free encyclopedia. Saint PetersburgRussia.
The Kossnko Excurtion Bureau Ltd. Retrieved 28 June Retrieved 30 June Golden book of Ukrainian elite, Volume 2. Retrieved 6 July Retrieved 23 July Kosenko ” in Ukrainian. Museum of theatrical, musical, and cinematic arts of Ukraine. Zhytomyr Oblast Children’s Library in Ukrainian.
Retrieved 23 June Piano Music, Vol 1—11 Etudes Shkoda “. Retrieved 24 July Music Under the Soviets: The Agony of an Art. Retrieved 26 June Retrieved 1 July The Complete Piano Sonatas”. Archived from the original on Retrieved from ” https: Soviet classical composers Ukrainian classical composers People from Saint Petersburg births deaths Burials at Baikove Cemetery Kyiv Conservatory faculty 20th-century classical composers Male classical composers.
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