Everything or almost everything has a beginning, a middle and an end. Nobody will argue with this. However, when starting to do something, we often start from the middle (or even from the end), completely forgetting about the beginning. Why?
Because, as a rule, both the beginning and the end are a ritual that carries no meaning other than symbolic. The meaning of the action usually lies in the middle. And the rest is like a wrapper, like a packaging container, so that it doesn't "break" ... We, not respecting the ritual, not seeing any benefit in it, like in a packaging container, we often go straight to the middle of the case. We believe that performing the ritual is not necessary at all.What is the ritual of the beginning and the end? This is usually: 1) greeting, 2) gratitude, 3) appeal for invisible help to the Higher powers ... Are there any more examples? These are enough for now.
You can, of course, shout from the doorway: “Give me money! (information, goods) "... And you can first ... say hello, or something. You can, having received money (information, goods), immediately run on about your business, or you can ... thank and say goodbye properly.
This is also understandable and primitive. But in fact, we often neglect even this.
We do not have time, we save time - we immediately go "to the heart of the matter." However, a proverb was created especially for such "time-saving" ones: "If you hurry, you will make people laugh!"
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Boris Mikolayovich Lyatoshinsky
Boris Lyatoshinsky is an Ukrain composer, teacher and conducter. He is today known and honored as the father of contemporary Ukrain music.
Arriving in Kiev from his Native city of Jitomir, in 1914, he enrolled in the Law school of Kiev university, but, he continued studying music with Reinhold Gliere, in the Kiev Conservatory. He graduated from Kiev university in 1918, and 1919 from the Conservatory, where he soon became the teacher of, and later the professor, he stayed there until his death. He also taught at the Moskow Conservatory. In his late thirty's and early fourty's, he served on the board of directors of the Composers' Union of the U.S.S.R.
Boris lived during an extremely difficult time for his nation, and his music reflects this. While his First Symphony was written under the influence of Wagner, Tchaikovsky, and especially Scriabin, his works of the twenty's reflect his growing enthusiasm for the music of the Ukraine.
Lyatoshyns'ky's Second Symphony was conceived and executed on a massive scale, but rooted in the folk music of his country, embodying his own highest intellectual and spiritual aspirations in harsh and angular music of both great complexity and appeal.
His Third Symphony, is considered the greatest Ukrainian symphony of the last century -- a work that manages to blend a modernist manner with great emotional depth and profundity. But, as was the case with the Second, the Party once again demanded Lyatoshyns'ky revise the work, including composing an entirely new fourth movement.
Lyatoshynsky is a composer of great personal and intellectual strength who fervently believed that his music should incarnate the music of his country in its loftiest form, while remaining comprehensible to an educated audience.
