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Published on Sep 12, 2016
Karabits (1945-2002) was one of Ukraine’s preeminent composers who came to maturity in the 1970s, the second wave of the generation of the sixties. A student of Lyatoshynsky, he continued his studies after the latter’s death in 1968 with Myroslav Skoryk, graduating from the Kyiv Conservatory in 1971. Very active throughout his life as a presenter of music, he served until his death as the Music Director of Kyiv Camerata and co-founder and director of the International Kyiv Music Festival. Karabits’ mature musical language is a cross section of tendencies rooted in and protected by tonality—no matter how extended and elusive it may seem at times. We hear the inﬂuence of Classical-Romantic elements (neo-romanticism), an expanded tonal system that employs chromaticism freely (free atonality) and borrows from both harmonic and modal orientations that he shaped into various subsystems governed by a predominantly classical, Apollonian outlook. As a composer centered in the great renaissance of polyphony that the 20th century has seen, Karabits thought and felt the harmonic movement polyphonically. In his works, every musical idea ﬁts into a musical tapestry in which the interplay of melodies is woven by use of contrapuntal devices, some of them notably ﬂeeting. His wonderful Musician is a great, freewheeling improvisa-tion of a highly sophisticated “country ﬁddler,” fully written out, but without a single bar line. The Ukrainian title Muzýka suggests that a more accurate translation might be Fiddler. Hidden within the various scale patterns is a strong reference to Ukrainian folk ﬁddle music (troista muzyka), a style to which Karabits made a number of references in his output. Last, but far from least, this piece is infused with his love of the improvisational art of jazz, a passion he mentioned to me personally a number of times. - Virko Baley Sheet music to Karabits Muzyka is available for purchase from Duma Music Publishing Company: http://dumamusic.com/composers/ivanka...