Ivan Karabyts

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Ivan Fedorovych Karabyts (Ukrainian: Іван Федорович Карабиць; January 17, 1945 – January 20, 2002) was a Ukrainian composer and conductor, and a People's Artist of Ukraine.[1]

He was born in Yalta, Pershotravnevyi Raion, Donetsk Oblast, and graduated from the Kyiv Conservatory in 1971 as a student of Borys Lyatoshynsky and Myroslav Skoryk. He conducted the Dance Ensemble of the Kyiv Military District and the . He also taught at the Kyiv Conservatory.[1]

Ivan Karabyts wrote works for solo piano, orchestra, voice, piano and voice, and works for different combinations of instruments. His works have been performed throughout former Soviet Union nations, many European nations, and the United States. He died in Kyiv, aged 57.[1]

His son is the conductor Kirill Karabits.

Style[]

Ivan Karabits himself in a letter to Virko Baley described his stylistic benchmarks as followed:

Dear Wirko! As composer I was formed in 60–70 years impressed with the music of the past and music of the twentieth century. With the nature of youth, I was somewhat categorical in the assessment of the connection between the traditional and the new. I wanted more “fresh air”. In Soviet times, we received a basic education, but we were not sufficiently informed about what was going on in the multifaceted music world. There was a lot to overcome along the way. I think there is reason not to consider myself a conservative. My further creative path was not distinguished by a commitment to the outdated, obsolete, hostile attitude to the new, progressive. My music, I think, is characterized by a desire to synthesize different musical sources. I am convinced that this can provide unexpected solutions to many artistic problems. And this is not eclecticism, but a way of thinking. Standing on the threshold of the new millennium, we look ahead, forecast, and evaluate and analyze the past. We are all tired of "running" and therefore not in a hurry to say goodbye to what happened… And there were a lot of things without which we can not survive in modern times. Maybe that's why I want to write more sincerely, understandably to many, while remaining myself…

In my opinion, Mahler, Lyatoshynsky, Stravinsky, Shostakovich, "newcomers" and some contemporary composers – these are the names that influence my music.

Synthetic effect. I consider the most important of my works (and their active life convinces me of this): Concerto for choir and orchestra “Garden of Divine Songs”; Symphony "5 songs about Ukraine", 2nd concert for orchestra, 3rd concert for orchestra; Symphony for strings[2]

L. Kyyanovska notes that all composers who influenced Karabyts' music are united by passion and an "extracurricular" position, a willingness to confront the officially accepted canons of art rather than betray their beliefs and ideals, this position was close to I. Karabyts. At the same time, his teacher Borys Lyatoshynsky had a noticeable influence on I. Karabyt`s music, as well as a group of his like-minded students including V. Silvestrov, L. Grabovsky, V. Godziatsky, V. Guba, E. Stankovych, O. Kiva, who thanks to personal contacts with composers of Western Europe (in particular, Pierre Boulez, Edgard Varèse), had the opportunity to study the latest stylistic trends, as well as learn to ignore the situation no matter how attractive it may seem and no matter how bright the prospects it promises".[3] According to O. Beregova, in genre-style and stylistic aspects the composer always showed the breadth and universality of creative thinking, an innovative approach to traditional musical genres and forms.[4]

Early works by Karabyts are distinguished by the expressiveness of musical language and the search for individual style, the composer freely used dodecaphony. Most of the early works are chamber works,[1] some of them are in stylistics: "Three songs on folk texts" for voice and piano (1969), vocal cycle "Songs by Yavdokha Zuikha" for voice, flute and viola, "Music" for solo violin (1974).[5]

In the 70's and 80's, the composer was attracted to large-scale musical constructions. Symphonic and vocal-symphonic genres are predominated (oratorio "Kyiv Frescoes", three concerts for orchestra), as well as philosophical and civic themes (themes of the Motherland, memory, moral duty).[1] Ivan Karabyts's vocal-symphonic works tend to conceptual concreteness, entertainment; this is achieved by dramaturgical functions of the narrator, independent and rather active role of the poetic component, program accuracy of musical expression, genre associativity, timbre dramaturgy, etc.[6]

The universality of the musical language of the works of the next period was determined by the synthesis of various elements of modern compositional techniques (pointillism, , ) in combination with new tonal and new modal pitch organization, intersection of different stylistic tendencies (neoclassicism, neo-baroque, neo-impressionism, jazz). In the figurative sphere, the tragic is intensified and the theme of repentance is actualized (Concerto 3 & nbsp; 3 "Lamentation", Concert-triptych for orchestra), the pantheistic theme sounded in a new way («Music from Waterside»).[1]

Selected works[]

References[]

  1. ^ Jump up to: a b c d e f T. Bondarenko, H. Stepanchenko. "Karabits Ivan Fedorovych", Ukrainian Music Encyclopedia. vol. 2, pp. 325–327
  2. ^ Kyyanovska, 2015, p. 33
  3. ^ Kyyanovska, 2015, p. 35
  4. ^ Berehova, 58
  5. ^ Berehova, 48
  6. ^ Tereshchenko, 50

Further reading[]

External links[]

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