Musical Shevchenko Series of Vladyslav Zaremba

  • Tetiana Krulikovska Postgraduate student, Lviv National Music Academy named after Mykola Lysenko, Lviv (Ukraine)
Keywords: chamber vocal art, Romanticism, national culture, national traditions, musical Shevchenko series.


The article deals with a generalized musicological analysis of the songs
from two vocal collection series, titled «Kobzar Tarasa Shevchenka» (Taras Shevchenko’s Kobzar) by the 19th century Ukrainian composer of Polish
origin Vladyslav Zaremba in order to attract attention to the composer’s
creative heritage, reveal the most typical features of his musical language
and determine their stylistics in the context of the 19th century musical
culture. Also the article attempts to specify the significance of the vocal works
collection in the context of developing the Ukrainian romance and the 19th
century Ukrainian T. Shevchenko series.The article focuses on the content of
vocal compositions associated with typical folk characters, as well as the
composer’s vision of his characters’ complex and rich inner world. The
article considers the works devoted to the themes of orphanhood, loneliness,
alien land, love, typical romantic motives of the Cossack will, sentiments of
grief and melancholy, which form the figurative and poetic content of
Shevchenko’s poems.The analysis is focused not only on V. Zaremba’s lyrical
songs, but also his vocal works, which raise the complex social issues of
difficult maidenhood, orphanhood, the search for better life, the main
characters’ romantic attempts to realize their dreams and the sad realities.
The main attention is focused on the role of the piano, which is interpreted by
the composer as an active participant in the dramatic action. However, the
piano version of V. Zaremba’s vocal works highlights an extremely important
and vivid element of the national sound sphere, namely the imitation of
playing the bandura, which performs the semantic role of the national
Ukrainian symbol and is perceived as an important component of the national
culture. Thus, the conducted analysis allows visualizing the figurative and
emotional world of T. Shevchenko’s poetry and deducing the values of the
bandura as a semiotic sign in the 19th century Ukrainian musical culture,
which will become especially noticeable in M. Lysenko’s works. An important
issue in analyzing the composer’s style is the focus on the synthesis of
European school achievements with the individual elements of the national
school as a certain stage in the development of Ukrainian professional music,
which replaces amateurism and dilettantism.


1. Grinchenko, M. O. (1959) Shevchenko and music. Selected works /
compiled by M. Hordiichuk. Kyiv: State publishing office of fine arts and
musical literature of the USSR, 456 p. [in Ukrainian]
2. Karchova, Yu. I. (2011). Іstorychna evoliutsia form pobutuvania
pisennogo folkloru v ukrainskyi musychnyi kulturi ХІХ-ХХ ст. [Historical
evolution of folk song forms in the Ukrainian musical culture of the 19th and 20th centuries]. Visnyk HDADM [The Bulletin of Kharkiv State Academy of
Design and Fine Arts]. (Iss. 3), (pp. 175–180). Kharkiv [in Ukrainian].
3. Komarevych, I. L. Poezia Tarasa Shevchenko u kamerno-vokalnomu
repertuari Solomiyi Krushelnytskoyi [Poetry of Taras Shevchenko in the
chamber vocal repertoire of Solomia Krushelnytska]. Retrieved from [in Ukrainian].
4. Prokopchuk, V. S. (2014). Podilski storinky v biografiyi i tvorchosti
TarasaShevchenko [Podolia pages in the biography and works of Taras
Shevchenko]. Ukrainska biografistyka [Ukrainian biography studies]. (Iss. 11),
(pp. 160–173). Kamianets-Podilskyi [in Ukrainian].
5. Syrotiuk, T. A. (2014). Istorychni aspekty stanovlennia ukrainskogo
klasychnogo romansu [Historical aspects of developing the Ukrainian classical
romance]. Naukovyi chasopys NPU im. M.P.Dragomanova [Scientific journal
of M. P. Drahomanov National Pedagogical University]. V. D. Syrotiuk
(Eds.),Pedagogichni nauky: realii ta perspektyvy – Pedagogical sciences:
realities and prospects.(Iss. 48. Series No 5). Kyiv: Publishing house of M. P.
Drahomanov National Pedagogical University [in Ukrainian].
6. Starenkyi, I. (2015). Kamianetskyi pianist [The Kamianets pianist].
Kamianetskyi chasopys “Kliuch” – The Kamianets journal “Kliuch”. Retrieved
from: [in
7. Shatkovska, I. S. (2014). Vplyv polskyh kompozytoriv na stanovlennia
ukrainskoi fortepiannoi muzyky [The influence of Polish composers on the
development of Ukrainian piano music]. V. I. Shakhov (Eds.),Pedagogika i
psyhologia – Pedagogy and Psychology: Scientific notes of Mykhailo
Kotsiubynskyi Vinnitsa State Pedagogical University (Iss. 41), (pp. 457).
Vinnytsia: Nilan LTD, 461 [in Ukrainian].
8. Shevchenko series in the phonodocuments of H. S. Pshenychnyi Central
State Cinema Photo and Phono Archives. Retrieved from: [in Ukrainian].
9. Sturmak, I. V. (2013). Poezia T.G. Shevchjenko v tvorchosti ukrainskyh
kompozytoriv XIX st. [The poetry of Taras Shevchenko in the works of the
19th century Ukrainian composers]. Visnyk LNU im. Tarasa Shevchenko [The
Bulletin of Taras Shevchenko Lviv National University]. (No 10, I). Lviv [in
How to Cite
Krulikovska, T. (2019). Musical Shevchenko Series of Vladyslav Zaremba. Scientific Collections of the Lviv National Music Academy Named After MV Lysenko, (44), 78-92. Retrieved from
Panorama of music research and interpretation