Moving Classics’ tribute to the composers of the 20th century. Anna Heller plays the 10th prelude (Andante) from the cycle of 24 preludes by the Greek-Ukrainian composer Ivan Karabyts (Karabits). Prelude № 10 (Andante, rubato e recitando cis-moll) from the cycle of 24 piano preludes in different styles fantastically conveys the spirit of the Middle Ages. From the first moments the listener seems to be drawn to the magic of the Gregorian chant. Time seems to stop. Time and space become one of the most important properties of this music. We can compare this prelude with the music of Claude Debussy and his “Sunken Cathedral”. The composer uses some stylistic devices to produce the archaic medieval character like a certain choice of harmonies, no tonal certainty, some metro- rhythmic features of of songs of the Middle Ages. The beauty of the Gregorian chant is eternal.
You can read more about this composer: http://www.karabits.com/en/biography/
The music heritage of Ivan Karabits – one of Ukraine’s XX-th century leading composers, represents a number of stage, vocal, symphonic and chamber works. Following the tradition of Mahler and Schostakovich the musical language of Ivan Karabits has deep roots in Ukrainian and Slavonic symphonic and folk tradition of past centuries and has left a deep influence on various generations of Ukrainian composers of the second half of XX-th century.
Born in 1945 in a Greek village Yalta in the Donetsk region of Ukraine he graduated from the Kiev Conservatory in 1974 where he studied with prominent Ukrainian composer Boris Lyatoshinsky. Ivan Karabits began winning recognition while still a student at the age of 24 when he became as a laureate of all-Union competition for young composers. He has since won many more awards and honor for his works and held the title of “People Artist of Ukraine”. Professor of the composition at the Kiev Tchaikovsky Music Academy, founder and artistic director of the Ukrainian International Festival “Kiev Music Fest”, music advisor to the Ministry of Culture of Ukraine, member of Ukraine’s State Comission on UNESCO Affairs, chairman of the jury of international competition for young pianists in memory of Vladimir Horowitz, Music Director of the State ensemble of soloists “Kiev Camerata”.
The initial period of creative work of the composer is characteristic of the free use of dodecaphony. The works of the early period (1st sonata for cello, sinfonietta for string orchestra, sonatina for piano) are characteristic of expressive type of expression and search of the individual style. In 70-80s the composer displayed his interest in conceptual immensity in implementation of philosophical problems (themes of Motherland, memory, moral obligations). There was a priority of symphonic genres in their correlation with scene and vocal genres, instrumental concert (“Sad Bozhestvennykh Pisen (Garden of Divine Songs) Concert for choir, soloists and orchestra) versified by H. H. Skovoroda, “Kyivski Fresky (Kyiv Frescoes) opera-oratorio, three concerts for orchestra).
Symphonic style of I. Karabits displayed draft for dramatic type as the main one in synthesis of different genre fundamentals (in correlation of epos, drama and lyrics in “Piat Pisen Pro Ukrainu” (Five Songs about Ukraine) epic symphony, conflict dramatic and lyric fundamentals in the Third Symphony). Music lexis of composer reflects the various vectors of style landmarks: different genre and style layers of Ukrainian folklore (duma, plangent song, instrumental affectations) a
Symphonic style of I. Karabits displayed draft for dramatic type as the main one in synthesis of different genre fundamentals (in correlation of epos, drama and lyrics in “Piat Pisen Pro Ukrainu” (Five Songs about Ukraine) epic symphony, conflict dramatic and lyric fundamentals in the Third Symphony). Music lexis of composer reflects the various vectors of style landmarks: different genre and style layers of Ukrainian folklore (duma, plangent song, instrumental affectations) and national professional music art (remarkable chants, canticle, choir culture of baroque, stylistics of B. Liatoshynsky), music classics of the 20th century (G. Mahler, D. Shostakovich, S. Bartok, I. Stravinsky) and modern trends, mass genres.
Universality of music language of the works of next period was determined by the synthesis of different elements of modern composers techniques (non-serial dodecaphony, pointillism, clusters, aleatory composition, sonority) in combination with new acoustical and new modal pitch organization, interception of different style trends (neoclassicism, neobaroque, neoimpressionism, jazz lexis).
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