Russian Musical Society
The Russian Musical Society was the first music school in Russia open to the general public. It was launched in 1859 by the Grand Duchess Elena Pavlovna and Anton Rubinstein, one of the few notable Russian pianists and composers of the day. Disbanded in the Russian Revolution, it has since been revived; the Russian Musical Society was an organization founded in 1859 by the Grand Duchess Elena Pavlovna and her protégé, pianist and composer Anton Rubinstein, with the intent of raising the standard of music in the country and disseminating musical education. Rubinstein and the Grand Duchess's travels together in Europe a decade earlier had prompted them to set up a permanent society to encourage both the study and performance of music in Russia; the Grand Duchess was the provider and driving force for the RMS obtaining her nephew's Imperial approval. Rubinstein provided the musical leadership, his presence lent the RMS a further appearance of prestige, given both his international career as a pianist and his reputation as a composer of distinction—qualities uncommon at that time for any native-born musician in Russia.
The RMS's inaugural concert was given in November 1859, with Rubinstein playing one of his piano concertos. By the mid-1860s, concerts given by the RMS had introduced the general public to all the symphonies, piano concertos and overtures of Ludwig van Beethoven. Audiences had heard oratorios by George Frideric Handel, cantatas by Johann Sebastian Bach, operas by Christoph Willibald Gluck, as well as works by Robert Schumann and Franz Schubert. Russian music had been performed. Operas by Russian composers which were presented included those of Mikhail Glinka, Alexander Dargomyzhsky and Anton Rubinstein, among others. Most important, were the music classes offered by the RMS, open to all students, which gave rise to professorial education; these classes were held at the Mikhailovsky Palace. Until the inception of the RMS, there had been no music school in Russia to provide a basic professional training in music. Music instruction had been limited to the homes of private schools. Native Russian musicians and performers were rare.
Classical concerts were performed by foreign musicians from Germany. In addition to the classes of the RMS, the Free Music School, which emphasised choral singing, was formed. Both the classes and the school became popular; as surprising as the number of students who enrolled was their extreme diversity. Bureaucrats, merchants and university students attended, as well as many young women who lacked the means to study privately. In 1860, helped and encouraged by his brother Anton, Nikolai Rubinstein and Prince Nikolai Petrovitch Troubetzkoy founded a Moscow branch of the RMS in Rubinstein's own house; this branch proved so successful that they relocated it into larger quarters and expanded their work there. Troubetzkoy was the chairman of RMS for seventeen years; the RMS's formal successors were the St. Petersburg Conservatory, which opened, in September 1862, the Moscow Conservatory, founded by Nikolai Rubinstein and Prince Nikolai Petrovitch Troubetzkoy in September 1866. Following the Russian Revolution of 1917, the RMS was disbanded in the same year.
The All-Russian Musical Society, established in 1987 is meant to be the legal successor of the Russian Musical Society traditions and cultural legacy. On February 18 of 2010 upon the decision of the All-Russian Music Society Fifth convention the society was renamed back to the original title of the Russian Music Society, which marked the official reincarnation of the original organization; the modern RMS is the public agency with functions of the creative union. It consolidates thousands of people that represent musical and choreographic culture of Russia and its nations on both professional and amateur levels; the Society has chapters in all Russian regions, which allows it to influence the condition and development of the modern musical and choreographic art in the country, as well to track and analyze cultural trends. Among major forms of the RMS involvement and its regional branches are organization of concerts, folklore holidays, master classes, music festivals and competitions; the RMS assists Russian soloists and music groups in participation at the International festivals and concert tours.
Brown, Tchaikovsky: The Early Years, 1840-1874 Poznansky, Tchaikovsky: The Quest for the Inner Man Struttle, Tchaikovsky, His Music and Times Warrack, Tchaikovsky RMS history RMS Official website
A fortepiano is an early piano. In principle, the word "fortepiano" can designate any piano dating from the invention of the instrument by Bartolomeo Cristofori around 1700 up to the early 19th century. Most however, it is used to refer to the late-18th to early-19th century instruments for which Haydn and the younger Beethoven wrote their piano music. Starting in Beethoven's time, the fortepiano began a period of steady evolution, culminating in the late 19th century with the modern grand; the earlier fortepiano was absent from the musical scene for many decades. In the 20th century the fortepiano was revived, following the rise of interest in informed performance. Fortepianos are built for this purpose today in specialist workshops; the fortepiano has thin, harpsichord-like strings. It has a much lighter case construction than the modern piano and, except for examples of the early nineteenth century, it has no metal frame or bracing; the action and hammers are lighter, giving rise to a much lighter touch, which in well-constructed fortepianos is very responsive.
The range of the fortepiano was about four octaves at the time of its invention and increased. Mozart wrote his piano music for instruments of about five octaves; the piano works of Beethoven reflect a expanding range. Fortepianos from the start had devices similar to the pedals of modern pianos, but these were not always pedals. Like the modern piano, the fortepiano can vary the sound volume of each note, depending on the player's touch; the tone of the fortepiano is quite different from that of the modern piano, being softer with less sustain. Sforzando accents tend to stand out more than on the modern piano, as they differ from softer notes in timbre as well as volume, decay rapidly. Fortepianos tend to have quite different tone quality in their different registers – buzzing in the bass, "tinkling" in the high treble, more rounded in the mid range. In comparison, modern pianos are rather more uniform in sound through their range; the piano was invented by harpsichord maker Bartolomeo Cristofori in Florence around the turn of the 18th century.
The first reliable record of a piano appears in the inventory of the Medici family, dated 1700. Cristofori continued to develop the instrument until the 1720s, the time from which the surviving three Cristofori instruments date. Cristofori is best admired today for his ingenious piano action, which in some ways was more subtle and effective than that of many instruments. However, other innovations were needed to make the piano possible. Attaching the Cristofori action to a harpsichord would have produced a weak tone. Cristofori's instruments instead used thicker, tenser strings, mounted on a frame more robust than that of contemporary harpsichords; as with all pianos, in Cristofori's instruments the hammers struck more than one string at a time. Cristofori was the first to incorporate a form of soft pedal into a piano, it is not clear whether the modern soft pedal descends directly from Cristofori's work or arose independently. Cristofori's invention soon attracted public attention as the result of a journal article written by Scipione Maffei and published 1711 in Giornale de'letterati d'Italia of Venice.
The article included a diagram of the core of Cristofori's invention. This article was republished 1719 in a volume of Maffei's work, in a German translation in Johann Mattheson's Critica Musica; the latter publication was the triggering event in the spread of the fortepiano to German-speaking countries. Cristofori's instrument spread at first quite probably because, being more elaborate and harder to build than a harpsichord, it was expensive. For a time, the piano was the instrument of royalty, with Cristofori-built or -styled instruments played in the courts of Portugal and Spain. Several were owned by Queen Maria Barbara of Spain, the pupil of the composer Domenico Scarlatti. One of the first private individuals to own a piano was the castrato Farinelli, who inherited one from Maria Barbara on her death; the first music written for piano dates from this period, the Sonate da cimbalo di piano by Lodovico Giustini. This publication was an isolated phenomenon. There could have been no commercial market for fortepiano music while the instrument continued to be an exotic specimen.
It appears that the fortepiano did not achieve full popularity until the 1760s, from which time the first records of public performances on the instrument are dated, when music described as being for the fortepiano was first published. It was Gottfried Silbermann who brought the construction of fortepianos to the German-speaking nations. Silbermann, who worked in Freiberg in Germany, began to make pianos based on Cristofori's design around 1730. Like Cristofori, Silbermann had royal support, in his case from Frederick the Great of
Taras Shevchenko National University of Kyiv
Shevchenko University or the Taras Shevchenko National University of Kyiv, colloquially known in Ukrainian as KNU is located in Kiev, the capital of Ukraine. KNU is ranked within top 500 Universities in the world, it is the third oldest university in Ukraine after the University of University of Kharkiv. Its structure consists of fifteen faculties and five institutes, it was founded in 1834 as the Kiev Imperial University of Saint Vladimir, since it has changed its name several times. During the Soviet Union era, Taras Shevchenko University was one of the top-three universities in the USSR, along with Moscow State University and Leningrad State University, it is ranked as the best university in Ukraine in many rankings. Throughout history, the university has produced many famous alumni including Nikolay Bunge, Mykhailo Drahomanov, Mykhailo Hrushevskyi, Nikolai Berdyaev, Mikhail Bulgakov, Viacheslav Chornovil, Leonid Kravchuk, many others. Taras Shevchenko himself, banned from educational activities for political reasons, worked for the Kyiv University as a field researcher.
Taras Shevchenko University is named after Taras Shevchenko, a major figure in Ukrainian literature and art. It is an institution of higher education that trains specialists in many fields of knowledge and carries out research, it is considered the most prestigious university in Ukraine and a major centre of advanced learning and progressive thinking. It consists of more faculties and departments, trains specialists in a greater number of academic fields, than any other Ukrainian educational institution. Nowadays, as it has done throughout its history, the University retains its role of a major center of learning and research as well as an important cultural center, its academics and students follow the long-standing traditions of the highest academic standards and democratic ideals. At present, the student body of Taras Shevchenko University totals about <30,000 students. As training qualified specialists has always been the main goal, the faculties and departments revise their curricula and introduce new programs.
A number of faculties offer 4-year Bachelor's and 2-year master's degree programs, together with traditional 5-year Specialist Degree programs. The stress is on student's ability to work independently and meet employer's requirements, thus practical experience in the field being of foremost importance; the curricula of all Taras Shevchenko University faculties are based on the combination of academic instruction with student's research work and the combination of thorough theoretical knowledge with specific skills. Having acquired theoretical knowledge in the first and the second year, in their third year undergraduates choose an area to specialize in. At the same time they choose a field for their independent study; the University was founded in 1834, when the Emperor Nicholas I of Russia signed the Charter about the creation of the University named after Saint Vladimir, the ruler who Christianized the Kievan Rus'. This name was chosen by the authorities of the Russian Empire, where the role of Orthodox Christianity was immense, may have reflected the ongoing importance of Kiev as the cradle of Eastern Christianity for the entire Empire.
The university benefited from assets transferred from Vilnius University, closed in the aftermath of the November Uprising of 1831. The first 62 students started their studies at the university in 1834, in its one faculty, the Faculty of Philosophy, which had two Departments: The Department of History and Philology and The Department of Physics and Mathematics. There were new additions to the original department in 1835 and 1847: the Faculty of Law and the Faculty of Medicine. On, the original Faculty of Philosophy was divided into two separate units: the Faculty of History and Philology and the Faculty of Natural Sciences. There were no more additions to the number of departments until the 1920s; the walls of the main building are painted in red while the tops and bottoms of its columns are painted black. Ukrainian composer Mykola Leontovych's Shchedryk was premiered at the Kyiv University on December 26, 1916 by the university's choir directed by Oleksandr Koshyts. In 1920, Saint Vladimir University was renamed as Mykhailo Drahomanov University.
In 1939, Saint Vladimir University was renamed after Taras Shevchenko. Since 1960, when the first international students were admitted, over 20,000 qualified specialists have been trained at Taras Shevchenko University for 120 countries; the first foreign students of the Taras Shevchenko University came from Cuba, Indonesia, Togo, Cameroon, Zanzibar, Yemen and Afghanistan. They continued on to become doctors, agriculturists, diplomats and statesmen in their respective countries. During the Soviet period, the Taras Shevchenko University received one Order of Lenin and one Order of the October Revolution. Additionally, in 2002 the asteroid 4868 Knushevia was named in honour of K
Mykola Dmytrovych Leontovych was a Ukrainian composer, choral conductor, teacher of international renown. His music was inspired by the Ukrainian National Music School. Leontovych specialised in a cappella choral music, ranging from original compositions, to church music, to elaborate arrangements of folk music. Leontovych was raised in the Podolia province of the Russian Empire, he was educated as a priest in the Kamianets-Podilskyi Theological Seminary and furthered his musical education at the Saint Petersburg Court Capella and private lessons with Boleslav Yavorsky. With the independence of the Ukrainian state in the 1917 revolution, Leontovych moved to Kyiv where he worked at the Kyiv Conservatory and the Mykola Lysenko Institute of Music and Drama, he is recognised for composing Shchedryk in 1904, known to the English-speaking world as Carol of the Bells or Ring, Christmas Bells. He is known as a martyr in the Eastern Orthodox Ukrainian Church, where he is remembered for his liturgy, the first liturgy composed in the vernacular in the modern Ukrainian language.
He was assassinated by a Soviet agent in 1921. During his lifetime, Leontovych's compositions and arrangements became popular with professional and amateur groups alike across the Ukrainian region of the Russian Empire. Performances of his works in western Europe and North America earned him the nickname "the Ukrainian Bach" in France. Apart from his popular Shchedryk, Leontovych's music is performed in Ukraine and the Ukrainian diaspora. Mykola Leontovych was born on December 13 1877 in the Monastyrok community, near the village of Selevyntsi, in the Podolia province of Ukraine, his father and great grandfather were village priests. His father, Dmytro Feofanovych Leontovych, was skilled at singing and playing cello, double bass, harmonium and guitar, in addition to directing a school choir. Leontovych received his first musical lessons from him, his mother, Mariya Yosypivna Leontovych, was a singer. Other members of Leontovych's family grew up to have careers in music, his younger brother became a professional singer, his sister Mariya studied singing in Odesa, his sister Olena studied fortepiano at the Kyiv Conservatory, his sister Victoriya knew how to play several musical instruments.
In the summer of 1879, Mykola Leontovych was moved to a new parish located in the village of Shershni in suburbs of Bar, Ukraine in Bar's district, where he would spend his childhood. In 1887, Leontovych was admitted to Nemyriv gymnasium. Due to financial problems a year however, his father transferred him to the Sharhorod Spiritual Beginners School, whose pupils received full financial support. At the school, Leontovych mastered singing, was able to read difficult passages from religious choral texts. In 1892, Leontovych began his studies at the theological seminary in Kamianets-Podilskyi, which both his father and grandfather had attended, his younger brother Oleksandr was enrolled as well. During his studies there, Leontovych continued to advance his skills on the violin and learnt to play a variety of other instruments, he participated in the seminary's choir, when an orchestra was formed during his third year of study, Leontovych joined, playing the violin until his graduation. Leontovych studied music theory and started writing choral arrangements as a student at the seminary.
When the seminary's choir director died, the school administration requested that Leontovych take over this position. As the conductor of the choir, Leontovych added secular music to the repertoire of traditional church music; this included Ukrainian folk songs arranged by Mykola Lysenko, Profyriy Demutskiy, himself. Leontovych graduated from the Kamianets-Podilskiy Theological Seminary in 1899 and broke the family tradition by becoming a music teacher instead of a priest. At the time, a career in music in Ukraine meant having an unstable income, causing Leontovych to seek employment wherever he could find it. Leontovych worked in Kyiv and Podolia guberniyas over the next few years in order to remain gainfully employed, his first position after graduating was in a secondary school in the village of Chukiv as a vocal and maths teacher. During this time, Leontovych continued to arrange folk songs, he completed his First Compilation of Songs from Podolia and began working on his second compilation.
He inspired the children at the school to sing in the choir and play in the orchestra. He would write a book about this as a professor at the Kyiv Conservatory, titled Як я організував оркестр у сільській школі. After several conflicts with the school's administration, Leontovych got a new job as a teacher of church music and calligraphy at the Theological College in Tyvriv. Besides working with the college choir, Leontovych organised an amateur orchestra that performed at college events; as he did earlier with choirs, Leontovych included arrangements of folk songs among the usual religious works sung in theological schools. These included arrangements by Mykola Lysenko, his own choral arrangements of folk songs, original works. One such work was based on a poem by Taras Shevchenko titled Зоре моя вечірняя. During this period, Leontovych met a Volynhian girl named Claudia Feropontivna Zhovtevych, whom he married on 22 March 1902; the young couple's first daughter, was born in 1903. They had a second da
Hero of Socialist Labour
Hero of Socialist Labour was an honourary title of the Soviet Union and other Warsaw Pact countries. It was the highest degree of distinction for exceptional achievements in national economy and culture, it provided a similar status to the title Hero of the Soviet Union, awarded for heroic deeds, but unlike the latter, was not awarded to foreign citizens. The Honorary Title "Hero of Socialist Labour" was introduced by decree of the Presidium of the Supreme Soviet of the Soviet Union on December 27, 1938. Heroes of Socialist Labour were awarded the highest decoration of the Soviet Union, the Order of Lenin and a certificate from the Presidium of the Supreme Soviet of the Soviet Union. In order to distinguish the Heroes of Socialist Labour from other Order of Lenin recipients, the "Hammer and Sickle" gold medal was introduced by decree of the Presidium on 22 May 1940, to accompany the Order of Lenin and the certificate; the first recipient of the award was Joseph Stalin, awarded by the Presidium of the Supreme Soviet in December 20, 1939.
The second recipient of the award was the designer of machine guns Vasily Degtyaryov. The third time the award was issued to nine weapons designers, including Fedor Tokarev, Boris Shpitalny, Nikolai Polikarpov, Alexander Yakovlev and Vladimir Klimov. Post 1945 recipients include Mikhail Kalashnikov, Nikolay Afanasyev, Emilian Bukov, Alexander Tselikov, Dmitri Shostakovich, German Korobov, Peter Andreevich Tkachev, Andrei Tupolev. By September 1, 1971, 16,245 people had been awarded the title of Hero of Socialist Labour. One hundred and five people have been awarded more "Hammer and Sickle" medals. By 1991, at the dissolution of the Soviet Union, over 20,000 people had been awarded the title. In the history of the USSR, 16 people became Heroes of Socialist Labor three times: Anatoly Alexandrov Boris Vannikov Nikolay Dukhov Yakov Zel'dovich Sergey Ilyushin Mstislav Keldysh Dinmukhamed Kunayev Igor Kurchatov Andrei Sakharov Jefim Sławski Andrei Tupolev Hamroqul Tursunqulov Yulii Khariton Nikita Khrushchev Konstantin Chernenko Kirill ShchelkinIn March 2013, Vladimir Putin issued a decree establishing a title considered to be its successor, "Hero of Labour of the Russian Federation".
The Honorary title "Hero of Socialist Labour" was awarded by the Presidium to citizens who made significant contributions to the advancement of Soviet industry, transportation, trade and technology, or otherwise served as exemplary models of the Soviet worker. Heroes of Socialist Labour who attained further exceptional achievements were awarded a second "Hammer and Sickle" medal and bronze busts of the Heroes were to be constructed in their hometowns to mark the occasion. Thrice Heroes of Socialist Labour were to have their busts placed near the planned Palace of Soviets, but this was never implemented as the Palace of Soviets was never built. Only the Presidium of the Supreme Soviet of the Soviet Union could deprive a person of this title; the insignia "Hero of Socialist Labour", like the "Hero of the Soviet Union" Gold Star Medal, is always worn in full on the left side of the chest and in the presence of other orders and medals, placed above them. If worn with honorary titles of the Russian Federation, the latter have precedence.
The Honorary title "Hero of Socialist Labour" was designed by the artist A. Pomansky; the gold star medal of the Honorary Title "Hero of Socialist Labour" was a five-pointed star with smooth dihedral rays on the obverse, the diameter of the circumscribed star was 33.5 mm. In the center of the obverse, a relief hammer and sickle of 14 and 13 mm, it weighed 15.25 grams. The reverse was plain and was surrounded by a raised rim. In the center, the relief inscription "Hero of Socialist Labor" in 2mm high letters, the award serial number was inscribed just above in 1mm high numbers; the insignia was secured to a standard 25 X 15mm Soviet square mount by a ring through the suspension loop. The mount was covered by a red silk moiré ribbon. On the reverse of the mount was a threaded nut to secure the award to clothing. List of people awarded the Hero of Socialist Labour Oruzhie Magazine, Page 9, Issue 5 1998 & Issue 6 1998. "Солдат удачи" номер 9 2000 Д.Ширяев "Кто изобрел автомат Калашникова" History of the award Legal Library of the USSR
Reinhold Moritzevich Glière, PAU, was a composer in the Russian Empire and Soviet Union, of German and Polish descent. Glière was born in Kiev, he was the second son of the wind instrument maker Ernst Moritz Glier from Saxony, who emigrated to the Russian Empire and married Józefa Korczak, the daughter of his master, from Warsaw. His original name, as given in his baptism certificate, was Reinhold Ernest Glier. About 1900 he changed the spelling and pronunciation of his surname to Glière, which gave rise to the legend, stated by Leonid Sabaneyev for the first time, of his French or Belgian descent, he entered the Kiev school of music in 1891, where he was taught violin by Otakar Ševčík, among others. In 1894 Glière entered the Moscow Conservatory where he studied with Sergei Taneyev, Mikhail Ippolitov-Ivanov, Jan Hřímalý, Anton Arensky and Georgi Conus, he graduated in 1900, having composed a one-act opera Earth and Heaven and received a gold medal in composition. In the following year Glière accepted a teaching post at the Moscow Gnesin School of Music.
Taneyev found two private pupils for him in 1902: Nikolai Myaskovsky and the eleven-year-old Sergei Prokofiev, whom Glière taught on Prokofiev's parental estate Sontsovka. Glière studied conducting with Oskar Fried in Berlin from 1905 to 1908. One of his co-students was Serge Koussevitzky. 2, Op. 25, on 23 January 1908 in Berlin. Back in Moscow, Glière returned again to the Gnesin School. In the following years Glière composed the symphonic poem Sireny, Op. 33, the programme symphony Ilya Muromets, Op. 42 and the ballet-pantomime Chrizis, Op. 65. In 1913 he gained an appointment to the school of music in Kiev, raised to the status of conservatory shortly after, as Kiev Conservatory. A year he was appointed director. In Kiev he taught among others Borys Lyatoshynsky and Vladimir Dukelsky. In 1920 Glière moved to the Moscow Conservatory where he taught until 1941. Boris Alexandrov, Aram Khachaturian, Alexander Davidenko, Lev Knipper and Alexander Mosolov were some of his pupils from the Moscow era.
For some years he held positions in the organization Proletkul't and worked with the People's Commissariat for Education. The theatre was in the centre of his work now. In 1923 Glière was invited by the Azerbaijan People's Commissariat of Education to come to Baku and compose the prototype of an Azerbaijani national opera; the result of his ethnographical research was the opera Shakh-Senem, now considered the cornerstone of the Soviet-Azerbaijan national opera tradition. Here the musical legacy of the Russian classics from Glinka to Scriabin is combined with folk song material and some symphonic orientalisms. In 1927, inspired by the ballerina Yekaterina Vasilyevna Geltzer, he wrote the music for the ballet Krasny mak revised, to avoid the connotation of opium, as Krasny tsvetok; the Red Poppy was praised "as the first Soviet ballet on a revolutionary subject". This is his most famous work in Russia as well as abroad. One number from the score, his arrangement of a Russian folk chastushka song Yablochko consists of an introduction, a basso statement of the theme, a series of frenetic variations ending with a powerful orchestral climax.
It is identified in the ballet score by its equally well-known name, the Russian Sailor's Dance. It is his best-known single piece, is still heard at symphony concerts around the world as an encore; the ballet-pantomime Chrizis was revised just after The Red Poppy, in the late 1920s, followed by the popular ballet Comedians after Lope de Vega. After 1917 Glière never visited Western Europe, he gave other remote areas of Russia instead. He was working in Uzbekistan as a "musical development helper" at the end of the 1930s. From this time emerged the "drama with music" Gyulsara and the opera Leyli va Medzhnun, both composed with the Uzbek Talib Sadykov. From 1938 to 1948 Glière was Chairman of the Organization Committee of the Soviet Composers Association. Before the revolution Glière had been honoured three times with the Glinka prize. During his last few years he was often awarded: Azerbaijan, the Russian Soviet Republic and the USSR appointed him Artist of the People; the title "Doctor of Art Sciences" was awarded to him in 1941.
He won first degree Stalin Prizes: in 1946, 1948, 1950. As Taneyev's pupil and an'associated' member of the circle around the Petersburg publisher Mitrofan Belyayev, it appeared Glière was destined to be a chamber musician. In 1902 Arensky wrote about the Sextet, Op. 1, "one recognizes Taneyev as a model and this does praise Glière". Unlike Taneyev, Glière felt more attracted to the national Russian tradition as he was taught by Rimsky-Korsakov's pupil Ippolitov-Ivanov. Alexander Glazunov certified an "obtrusively Russian style" to Glière's 1st Symphony; the 3rd Symphony Ilya Muromets was a synthesis between national Russian tradition and impressionistic refinement. The pre
Viktor Stepanovych Kosenko was a Soviet composer, concert pianist, educator born in Saint Petersburg. He was regarded by his contemporaries as a master of lyricism, his first compositions were markedly influenced by the works of composers such as Alexander Scriabin, Pyotr Ilyich Tchaikovsky, Sergei Rachmaninoff, his compatriot Mykola Lysenko. Kosenko's life is conclusively divided into three distinct phases, in Warsaw, where he studied with renowned teachers Mikhail Sokolovsky and Iryna Miklashovskaya, in Zhytomyr, where he began teaching piano and music theory at the Music Technicum becoming director of the Zhytomyr Music School, in Kiev, where he devoted more time to symphonic compositions such as his Heroic Overture, which brought him due recognition in the world of Soviet music. A true artist in the sense of the word, he was a leading figure among the broad-minded artistic collective of the 20th-century Soviet music. Kosenko's legacy is filled with romantic feeling and intonations of Slavic folk songs and Western-European influences.
His vocal and symphonic works are among the most important pieces of that time in USSR. He composed over 100 compositions for piano among waltzes, nocturnes and mazurkas, in a total of about 250 musical works such as his symphonic Moldavian poem and piano concertos and string quartets during his short musical career, his vocal compositions include a large number of ballads and folk arrangements as well. Kosenko was born on 23 November 1896 in Saint Petersburg, into the large family of a major general named Stepan Kosenko, his family moved from Saint Petersburg to Warsaw in 1898, where he would encounter the best of world musical classics while listening to the performance of famous musicians such as Fritz Kreisler, Ferruccio Busoni, Pablo Casals. His mother Leopolda played the piano and composed as well. Like this the young Kosenko grew up in an environment filled with musical compositions such as those by Frédéric Chopin, Johannes Brahms and Russian folk songs; when Kosenko was about five or six, he began to pick out familiar melodies on the piano, as he had absolute pitch and a good musical memory.
He would attempt to improvise. At the age of nine, he was able to play Beethoven's Pathétique Sonata from memory, as he heard his older sister Maria practicing this piece, it was she who gave Kosenko his first lessons at the piano. But his formal training in music began in 1905 with private piano lessons from professor Yudytskiy, with whom he studied for two years. From 1908, his abilities continued to develop under the guidance of Aleksander Michałowski professor at the Warsaw Conservatory. In the summer of 1914, Kosenko was preparing to enter the Warsaw Conservatory to study piano. However, with the beginning of World War I, the family was forced to leave Poland. In 1915, he was admitted to the upper-division piano class at the Saint Petersburg Conservatory, where he amazed the committee members by his sight-reading abilities just by looking over the score, putting it aside, playing from memory, as well as a natural aptitude for musical transposition. Over the years, he continued studying composition and music theory under Mikhail Sokolovsky, piano with Iryna Miklashovskaya, playing as concertmaster at the Mariinsky Theatre.
During this time, he received positive evaluations from Alexander Glazunov, director of the institution, who wrote that Kosenko had "great pianistic and compositional abilities, perfect pitch." Professor Miklashovskaya gave a good feedback, saying that he was a "talented musician modest and well-behaved." During his studies, Kosenko wrote poems and mazurkas for piano. His music is characterized with stylistic musical characteristics of Romantic and post-romantic directions, which features a combination of the European tradition with a national Ukrainian element. After graduating from the conservatory in 1918 Kosenko joined his family in Zhytomyr, at that time the cultural center of the Volyn province; the following year he began teaching piano classes and music theory at the Music Technicum becoming director of the Zhytomyr Music School. In February 1920, Kosenko married Angelina, née Kanepp, his love and deep admiration for her was such that he used to write to her everyday and was disappointed if for any reason she could not reply to him as fast as he wished.
The pieces created between 1919 and 1924 convey deep lyrical feelings, hence the reason he dedicated all of his output to her. In September 1922, Kosenko gave his first concert, attended by his family and close friends, traveling to Moscow the following year to meet with composers and musicians. By this time he was allowed by the Russian Association of Proletarian Musicians to have his first piano compositions published; this period that Kosenko spend in Zhytomyr was one of the richest in his musical career for he perfected his own artistic style in instrumental and chamber music. There, he authored a large number of piano pieces, over twenty romances and cello sonatas, works for children, music for plays, he was heavily involved in a myriad of musical activities such as the creation of a music society, concert appearances, the organization of his piano chamber trio, vocal quartets and a symphony orchestra, besides serving as accompanist player for different ensembles in the musical life of the city.
In 1921, Kosenko and his fellow musicians founded the Leontovych Musical Society. In September 1922, he gave his debut in Zhytomyr. Two years he was invited