KOSENKO PASSACAGLIA PDF

Life and career[ edit ] Early life and education[ edit ] Kosenko was born on 23 November in Saint Petersburg, into the large family of a major general [8] named Stepan Kosenko. He would attempt to improvise, showing signs of his musical potential early on. 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, with whom he studied for two years. However, with the beginning of World War I , the family was forced to leave Poland.

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Life and career[ edit ] Early life and education[ edit ] Kosenko was born on 23 November in Saint Petersburg, into the large family of a major general [8] named Stepan Kosenko. He would attempt to improvise, showing signs of his musical potential early on. 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, with whom he studied for two years. However, with the beginning of World War I , the 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 , [2] 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, [12] [n 5] later becoming director of the Zhytomyr Music School. By this time he was allowed by the Russian Association of Proletarian Musicians to have his first piano compositions published.

This same association invited him again in and 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. Kosenko used then melodies, harmonies, dorian , lydian 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.

During the s, part of his output was focused on the most demanding and impartial audience. His first compositions for children, entitled Four Pieces for Children for fortepiano , were written specifically for the Ukrainian Soviet fortepiano repertoire, [5] 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.

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. To expand his horizons, he travelled to Moscow in , where he met Nikolai Myaskovsky , Alexander Goedicke , and Felix Blumenfeld , who supported the young composer. There his works were published for the first time.

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 is created an artistic atmosphere, which is a living, momentous and active stimulus for creative work. In , he gave a radio concert of his compositions live from his apartment.

Following his death in , a complete collection of his works was published. His contemporaries noted his playing style, brilliant technique, powerful artistic interpretation. 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. He also performed as soloist in piano concertos of Tchaikovsky, Rachmaninoff, Chopin, and Grieg with an orchestra made up of local instrumentalists.

When he debuted his own music to the public in , his concert was divided into two sections. Upon graduation from the conservatory, he moved to the capital of the Volhynian Governorate , Zhytomir , where besides composing and teaching, he invested a lot of time into performing, both as a soloist and accompanist as well.

In , he 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 in , when he performed his own music with bass singer Ivan Patrozhynskiy and soprano Maria Litvinenko-Volhemut.

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