Mykola Leontovych. Sacred Creations

About the album

Mykola Dmytrovych Leontovych is a unique figure in the Ukrainian culture of the early twentieth century. His work stands out among the bright talents of the Polissya generation – Kyrylo Stetsenko, Yakiv Yatsynevych, and Oleksandr Koshytsia. Leontovych’s art elevated the image of the Ukrainian world to the level of universal models, evoking admiration and surprise with its perfect artistry and unique color. Having realized his vocation at a young age, he persevered in his pursuit of his goal, mastering new areas step by step. The sincerity of his voice was admirable. The world of deep lyricism and amazing colors created by the composer entered the cultural heritage of Ukraine easily and naturally. Illuminated by the light of national genius, he became a luminary of ethnic memory and a visionary of the future. For which, apparently, he died…

“The Liturgy of St. John Chrysostom” was first performed in St. Nicholas Cathedral (Pechersk) on May 22, 1919, at a service dedicated to the foundation of the first parish of the Ukrainian Autocephalous Church. It combines high conciliarity with deep lyricism (the origins of which are associated with the names of M. Berezovsky and A. Vedel). The found forms of synthesis of cult and folklore stylistics, the peculiarities of the compositional and dramatic architectonics of the Liturgy show that Leontovych’s cycle is a completely original phenomenon in Ukrainian sacred music of the twentieth century.

From the first parts of the cycle, which includes 24 pieces, a feeling of warmth and sincerity arises, which is preserved until the end of the “Liturgy”. In the rich sound forms, the listener can easily feel the transparent intimacy of “Bless,” the sacred simplicity of the sermon “In Thy Kingdom,” “I Believe,” the mystical contemplation of “Cherubic Song,” and the festive chimes of “Only Begotten Son” and “Worthy.” Almost all parts of the work are dominated by clear, light colors. That is why the imitation of the monastic male singing style, the psalmic recitative, and the plastic “freckled” intonations perfectly reproduce the sincerity and high sublimity of Ukrainian worship.

“Prayer of Thanksgiving to the Lord God” is a wonderful continuation of the findings of ‘Liturgy’. The cycle, built on the basis of canonical prescriptions, is formed by hymns of different genre and scale. The intonational integrity, the perfect level of reinterpretation of church music and folklore sources became a fundamental achievement of a new, essentially musical genre.
M. Leontovych’s iconic works, clearly focused on the synthesis of regional customs with Lavra models and folklore, are a precious asset of liturgical art and the centuries-old tradition of Ukrainian church singing. Here is a condensation of the religious energy of the people, and a personal, reverent immersion in the depths of their prophetic wisdom – the enormous wealth that lies in the continuity of the sincere faith of dozens of generations, in the insight into the future achievements of the national spirit.

Mykola Leontovych’s art, which today serves to strengthen the national foundations of liturgical music, is an invaluable treasure of Ukrainian musical culture, reflected in the style of the work of composers of subsequent generations, and in the contemporary music of Ukraine.

Natalia Kostiuk,
PhD in Art History