The Most Famous

COMPOSERS from Ukraine

This page contains a list of the greatest Ukrainian Composers. The pantheon dataset contains 1,451 Composers, 27 of which were born in Ukraine. This makes Ukraine the birth place of the 12th most number of Composers behind Poland, and Belgium.

Top 10

The following people are considered by Pantheon to be the top 10 most legendary Ukrainian Composers of all time. This list of famous Ukrainian Composers is sorted by HPI (Historical Popularity Index), a metric that aggregates information on a biography’s online popularity. Visit the rankings page to view the entire list of Ukrainian Composers.

1. Sergei Prokofiev (1891 - 1953)

With an HPI of 75.50, Sergei Prokofiev is the most famous Ukrainian Composer. His biography has been translated into 78 different languages on wikipedia.

Sergei Sergeyevich Prokofiev (27 April [O.S. 15 April] 1891 – 5 March 1953) was a Russian composer, pianist, and conductor who later worked in the Soviet Union. As the creator of acknowledged masterpieces across numerous music genres, he is regarded as one of the major composers of the 20th century. His works include such widely heard pieces as the March from The Love for Three Oranges, the suite Lieutenant Kijé, the ballet Romeo and Juliet—from which "Dance of the Knights" is taken—and Peter and the Wolf. Of the established forms and genres in which he worked, he created—excluding juvenilia—seven completed operas, seven symphonies, eight ballets, five piano concertos, two violin concertos, a cello concerto, a symphony-concerto for cello and orchestra, and nine completed piano sonatas. A graduate of the Saint Petersburg Conservatory, Prokofiev initially made his name as an iconoclastic composer-pianist, achieving notoriety with a series of ferociously dissonant and virtuosic works for his instrument, including his first two piano concertos. In 1915, Prokofiev made a decisive break from the standard composer-pianist category with his orchestral Scythian Suite, compiled from music originally composed for a ballet commissioned by Sergei Diaghilev of the Ballets Russes. Diaghilev commissioned three further ballets from Prokofiev—Chout, Le pas d'acier and The Prodigal Son—which, at the time of their original production, all caused a sensation among both critics and colleagues. But Prokofiev's greatest interest was opera, and he composed several works in that genre, including The Gambler and The Fiery Angel. Prokofiev's one operatic success during his lifetime was The Love for Three Oranges, composed for the Chicago Opera and performed over the following decade in Europe and Russia. After the Revolution of 1917, Prokofiev left Russia with the approval of Soviet People's Commissar Anatoly Lunacharsky, and resided in the United States, then Germany, then Paris, making his living as a composer, pianist and conductor. In 1923 he married a Spanish singer, Carolina (Lina) Codina, with whom he had two sons; they divorced in 1947. In the early 1930s, the Great Depression diminished opportunities for Prokofiev's ballets and operas to be staged in America and Western Europe. Prokofiev, who regarded himself as a composer foremost, resented the time taken by touring as a pianist, and increasingly turned to the Soviet Union for commissions of new music; in 1936, he finally returned to his homeland with his family. His greatest Soviet successes included Lieutenant Kijé, Peter and the Wolf, Romeo and Juliet, Cinderella, Alexander Nevsky, the Fifth and Sixth Symphonies, On Guard for Peace, and the Piano Sonatas Nos. 6–8. The Nazi invasion of the USSR spurred Prokofiev to compose his most ambitious work, an operatic version of Leo Tolstoy's War and Peace; he co-wrote the libretto with Mira Mendelson, his longtime companion and later second wife. In 1948, Prokofiev was attacked for producing "anti-democratic formalism". Nevertheless, he enjoyed personal and artistic support from a new generation of Russian performers, notably Sviatoslav Richter and Mstislav Rostropovich: he wrote his Ninth Piano Sonata for the former and his Symphony-Concerto for the latter.

2. Stefania Turkewich (1898 - 1977)

With an HPI of 71.50, Stefania Turkewich is the 2nd most famous Ukrainian Composer. Her biography has been translated into 101 different languages.

Stefania Turkewich-Lukianovych (25 April 1898 – 8 April 1977), also spelled Turkevycz and Turkevich, was a Ukrainian composer, pianist, and musicologist. She is recognized as Ukraine's first woman composer. In the USSR , her works were banned by the state authorities.

3. Reinhold Glière (1874 - 1956)

With an HPI of 64.74, Reinhold Glière is the 3rd most famous Ukrainian Composer. His biography has been translated into 35 different languages.

Reinhold Moritzevich Glière (Russian: Рейнгольд Морицевич Глиэр; 11 January 1875 [O.S. 30 December 1874] – 23 June 1956), born Reinhold Ernest Glier, was a Russian and Soviet composer of German and Polish descent. He was awarded the title of People's Artist of RSFSR (1935) and People's Artist of USSR (1938).

4. Karol Szymanowski (1882 - 1937)

With an HPI of 63.63, Karol Szymanowski is the 4th most famous Ukrainian Composer. His biography has been translated into 38 different languages.

Karol Maciej Szymanowski (Polish pronunciation: [ˈkarɔl ˈmat͡ɕɛj ʂɨmaˈnɔfskʲi]; 3 October 1882 – 29 March 1937) was a Polish composer and pianist. He was a member of the modernist Young Poland movement that flourished in the late 19th and early 20th century. Szymanowski's early works show the influence of the late Romantic German school as well as the early works of Alexander Scriabin, as exemplified by his Étude Op. 4 No. 3 and his first two symphonies. Later, he developed an impressionistic and partially atonal style, represented by such works as the Third Symphony and his Violin Concerto No. 1. His third period was influenced by the folk music of the Polish Górale people, including the ballet Harnasie, the Fourth Symphony, and his sets of Mazurkas for piano. King Roger, composed between 1918 and 1924, remains Szymanowski's most popular opera. His other significant works include Hagith, Symphony No. 2, The Love Songs of Hafiz, and Stabat Mater. Szymanowski was awarded the highest national honors, including the Officer's Cross of the Order of Polonia Restituta, the Order of Merit of the Republic of Poland and other distinctions, both Polish and foreign.

5. Dmitry Bortniansky (1751 - 1825)

With an HPI of 62.33, Dmitry Bortniansky is the 5th most famous Ukrainian Composer. His biography has been translated into 36 different languages.

Dmitry Stepanovich Bortniansky (28 October 1751 – 10 October [O.S. 28 September] 1825) was a Russian Imperial composer of Ukrainian Cossack origin. He was also a harpsichordist and conductor who served at the court of Catherine the Great. Bortniansky was critical to the musical history of both Russia and Ukraine, with both nations claiming him as their own. Bortniansky, who has been compared to Palestrina, is known today for his liturgical works and prolific contributions to the genre of choral concertos. He was one of the "Golden Three" of his era, alongside Artemy Vedel and Maxim Berezovsky. Bortniansky was so popular in the Russian Empire that his figure was represented in 1862 in the bronze monument of the Millennium of Russia in the Novgorod Kremlin. He composed in many different musical styles, including choral compositions in French, Italian, Latin, German, and Church Slavonic.

6. Dimitri Tiomkin (1894 - 1979)

With an HPI of 61.34, Dimitri Tiomkin is the 6th most famous Ukrainian Composer. His biography has been translated into 32 different languages.

Dimitri Zinovievich Tiomkin (May 10, 1894 – November 11, 1979) was a Russian and American film composer and conductor. Classically trained in Saint Petersburg before the Bolshevik Revolution, he moved to Berlin and then New York City after the Russian Revolution. In 1929, after the stock market crash, he moved to Hollywood, where he became best known for his scores for Western films, including Duel in the Sun, Red River, High Noon, The Big Sky, Gunfight at the O.K. Corral, Rio Bravo, and Last Train from Gun Hill. Tiomkin received 22 Academy Award nominations and won four Oscars, three for Best Original Score for High Noon, The High and the Mighty, and The Old Man and the Sea, and one for Best Original Song for "The Ballad of High Noon" from the film High Noon.

7. Valentyn Sylvestrov (b. 1937)

With an HPI of 59.93, Valentyn Sylvestrov is the 7th most famous Ukrainian Composer. His biography has been translated into 30 different languages.

Valentyn Vasylyovych Sylvestrov (Ukrainian: Валенти́н Васи́льович Сильве́стров; born 30 September 1937) is a Ukrainian composer and pianist, who plays and writes contemporary classical music.

8. Wojciech Kilar (1932 - 2013)

With an HPI of 58.98, Wojciech Kilar is the 8th most famous Ukrainian Composer. His biography has been translated into 31 different languages.

Wojciech Kilar (Polish: [ˈvɔjt͡ɕɛx ˈkʲilar]; 17 July 1932 – 29 December 2013) was a Polish classical and film music composer. One of his greatest successes came with his score to Francis Ford Coppola's Bram Stoker's Dracula in 1992, which received the ASCAP Award and the nomination for the Saturn Award for Best Music. In 2003, he won the César Award for Best Film Music written for The Pianist, for which he also received a BAFTA nomination. Kilar was born on 17 July 1932 in Lwów (then Poland; since 1945 Lviv in UkrSSR, now Ukraine). His father was a gynecologist and his mother was a theater actress. Kilar spent most of his life from 1948 in the city of Katowice in Southern Poland, married (from April 1966 to November 2007) to Barbara Pomianowska, a pianist. Kilar was 22 years old when he met 18-year-old Barbara, his future wife. After studying piano under Maria Bilińska-Riegerowa and harmony under Artur Malawski, he moved from Kraków to Katowice in 1948, where he finished his music middle school in the class of Władysława Markiewiczówna, after which he went to the State College of Music (now the Music Academy) in Katowice where he studied piano and composition under Bolesław Woytowicz, graduating with top honours and the award of a diploma in 1955. He continued his post-graduate studies at the State College of Music (now the Music Academy) in Kraków from 1955 to 1958. In 1957 he took part in the International New Music Summer Course in Darmstadt. In 1959–60 a French government scholarship enabled him to study composition under Nadia Boulanger in Paris. Kilar belonged (together with Bolesław Szabelski, his student Henryk Górecki and Krzysztof Penderecki) to the Polish Avant-garde music movement of the Sixties, sometimes referred to as the New Polish School. In 1977 Kilar was one of the founding members of the Karol Szymanowski Society, based in the mountain town of Zakopane. Kilar chaired the Katowice chapter of the Association of Polish Composers for many years and from 1979 to 1981 was vice chair of this association's national board. He was also a member of the Repertoire Committee for the "Warsaw Autumn" International Festival of Contemporary Music. In 1991 Polish filmmaker Krzysztof Zanussi made a biographical film about the composer titled Wojciech Kilar. Having received critical success as a classical composer, Kilar scored his first domestic film in 1959, and went on to write music for some of Poland's most acclaimed directors, including Krzysztof Kieślowski, Krzysztof Zanussi, Kazimierz Kutz and Andrzej Wajda. He worked on over 100 titles in his home country, including internationally recognised titles such as Bilans Kwartalny (1975), Spirala (1978), Constans (1980), Imperativ (1982), Rok Spokojnego Słońca (1984), and Życie za Życie (1991), plus several others in France and across other parts of Europe. He made his English-language debut with Francis Ford Coppola's adaptation of Dracula. His other English language features — Roman Polanski's trio Death and the Maiden (1994), The Ninth Gate (1999) and The Pianist (2002), and Jane Campion's The Portrait of a Lady (1996) — were typified by his trademark grinding basses and cellos, deeply romantic themes and minimalist chord progressions. In addition to his film work, Kilar continued to write and publish purely classical works, which have included a horn sonata, a piece for a wind quintet, several pieces for chamber orchestra and choir, the acclaimed Baltic Canticles, the epic Exodus (famous as the trailer music from Schindler's List and the main theme of Terrence Malick's Knight of Cups), a Concerto for Piano and Orchestra dedicated to Peter Jablonski, and his major work, the September Symphony (2003). Having abandoned Avant-garde music technical means almost entirely, he continued to employ a simplified musical language, in which sizable masses of sound serve as a backdrop for highlighted melodies. This occurs in those compositions that reference folk music (especially Polish Highlander Gorals folk melodies) and in patriotic and religious pieces. During the summer of 2013, Kilar manifested signs of poor health, such as fainting and elevated blood pressure, but attributed those symptoms to his heart problems. However, in September he fell while on the street. He was admitted to a hospital, where he was diagnosed with a brain tumor, though news of his illness was only publicly released after his death. He underwent a successful surgery to remove the tumor, which caused no serious side–effects; Kilar was very optimistic and continued to work after the operation. In addition, he underwent radiotherapy for six weeks, a process which left 81-year-old Kilar physically exhausted. In early December 2013, Kilar left the hospital to return to his residence in Katowice. As he did not have any children, he was taken care of by his niece. He was also regularly visited by a Catholic priest and received the Holy Communion twice during the Christmas season. His condition deteriorated on 28 December and on the morning of Sunday, 29 December 2013, Kilar died. Following the cremation of his body, Kilar's funeral was held on 4 January 2014 at the Cathedral of Christ the King in Katowice. After the service, his ashes were laid to rest alongside those of his wife. Later in life, Kilar composed symphonic music, chamber works and works for solo instruments. January 2001 saw the world premiere of his Missa pro pace (composed for a full symphony orchestra, mixed choir and a quartet of soloists) at the National Philharmonic in Warsaw. The work was written to commemorate the Warsaw Philharmonic's centennial. In December 2001, it was performed again in the Paul VI Audience Hall in the presence of Pope John Paul II. His 1984 composition Angelus was used in the motion picture City of Angels; Orawa, from 1988, found its use in the Santa Clara Vanguard's 2003 production, "Pathways". For most of his life, Kilar's output was dominated by music for film with a small but steady stream of concert works. Post 2000, he turned to "music of a singular authorship". Since his 2003 September Symphony, (Symphony No.3), a four-movement full scale symphony written for the composer's friend Antoni Wit, Kilar returned to absolute music. September Symphony was the first symphony by the composer since 1955's Symphony for Strings (along with another student symphony) and Kilar considered it his first mature symphony (composed at age 71). From 2003, Kilar had been steadily producing large scale concert works. His Lament (2003) for unaccompanied mixed choir, his Symphony No.4 Sinfonia de Motu (Symphony of Motion) from 2005 written for large orchestra, choir and soloists, his Magnificat Mass from 2006, Symphony No.5 Advent Symphony from 2007 and another large mass, Te Deum premiered in November 2008. Kilar was quoted as saying that he believed he had discovered the philosopher's stone, and that "there was nothing more beautiful than the solitary sound or concord that lasted eternally, that this was the deepest wisdom, nothing like our tricks with sonata allegros, fugues, and harmonics." Kilar's works have been performed by several major international orchestras, including the Philadelphia Orchestra, the Cleveland Orchestra, and the New York Philharmonic. Wojciech Kilar received numerous awards for his artistic activity and achievements, including prizes from the Lili Boulanger Foundation in Boston (1960), the Minister of Culture and Art (1967, 1975), the Association of Polish Composers (1975), the Katowice province (1971, 1976, 1980), and the city of Katowice (1975, 1992). He was also awarded the First Class Award of Merit of the Polish Republic (1980), the Alfred Jurzykowski Foundation Prize in New York City (1984), the Solidarity Independent Trade Union Cultural Committee Arts Award (1989), the Wojciech Korfanty Prize (1995), the "Lux ex Silesia" Prize bestowed by the Archbishop and Metropolitan of Katowice (1995), and the Sonderpreis des Kulturpreis Schlesien des Landes Niedersachsen (1996). Kilar's film scores have also won him many honors. He received the best score award for the music to Ziemia obiecana (The Promised Land) (dir. Andrzej Wajda) at the Festival of Polish Films in Gdańsk in 1975. This was followed by the Prix Louis Delluc, which Kilar was awarded in 1980 for the music to an animated film titled Le Roi et l'Oiseau / The King and the Mockingbird, (dir. Paul Grimault). One year later he collected an award at the Cork International Film Festival for the music to Papież Jan Pawel II / Pope John Paul II / Da un paese lontano: Papa Giovanni Paulo II (dir. Krzysztof Zanussi). Perhaps his greatest success came with his score to Francis Ford Coppola's Dracula, for which Kilar shared the 1993 ASCAP Award from the American Society of Composers, Authors, and Producers in Los Angeles (along with 7 other people and 5 other movies), and was also nominated for the Saturn Award for Best Music in a science fiction, fantasy, or horror film in San Francisco in 1993. In 2003, he won the César Award for Best Music written for a film, for The Pianist, at France's 28th César Awards Ceremony in 2003, for which he also received a BAFTA nomination. On this movie's published soundtrack he composed "Moving to the Ghetto Oct. 31, 1940" (duration: 1 minute 52 seconds), with the other 10 tracks being works by Frédéric Chopin; the music in the actual movie also includes pieces by Beethoven and Bach. The Polish State Cinema Committee honored Kilar with a lifetime achievement award in 1991, while in 1976 he was decorated with the Cavaliers' Cross of the Order of Polonia Restituta. In November 2008 Kilar was awarded the Grand Cross of the Order of Polonia Restituta. The French Lili Boulanger Prize for composition (1960) The Polish Ministry of Culture and Arts Award (1967 and 1976) The Polish Composers Union Award (1975) The French Prix Louis Delluc (1980) The Alfred Jurzykowski Foundation Award (1984, USA) The Polish Cultural Foundation Award (2000) Co-Winner (with 7 other people and 5 other movies) of the 1993 ASCAP Award from the American Society of Composers, Authors, and Producers in Los Angeles for his score for the Francis Ford Coppola horror film Bram Stoker's Dracula. Nominated for the Saturn Award for Best Music in a science fiction, fantasy, or horror film, for Bram Stoker's Dracula (San Francisco, 1993) Winner of the César Award for Best Music written for a film, for The Pianist, at France's 28th César Awards Ceremony in 2003 Nominated for the Anthony Asquith Award for Film Music, for The Pianist, at Britain's 2003 BAFTA Awards Nikt nie woła (Nobody's calling, 1960) Milczące ślady (1961) Spotkanie w "Bajce" (Café From The Past, 1962) Tarpany (Wild Horses, 1962) Głos z tamtego świata (Voice from beyond, 1962) Milczenie (Silence, 1963) Pięciu (1964) Three Steps on Earth (Trzy kroki po ziemi, 1965) Salto (Somersault, 1965) Marysia i Napoleon (1966) Piekło i niebo (Hell and heaven, 1966) Bicz Boży (God's Whip, 1967) Sami swoi (1967) Westerplatte (1967) The Doll (Lalka, 1968) Salt of the Black Earth (Sól ziemi czarnej, 1969) The Structure of Crystal (Struktura kryształu, 1969) Family Life (Życie rodzinne, 1970) The Cruise (Rejs, 1970) Lokis. A Manuscript of Professor Wittembach (Lokis. Rękopis profesora Wittembacha, 1970) Pearl in the Crown (Perla w Koronie, 1971) Bolesław Śmiały (King Boleslaus the Bold, 1972) The Illumination (Iluminacja, 1973) Opętanie (Possession, 1973) Zazdrość i Medycyna (1973) Hubal (1973) A Woman's Decision (Bilans Kwartalny, 1974) The Promised Land (Ziemia obiecana, 1974) Smuga cienia (The Shadow Line, 1976) Trędowata (1976) Jarosław Dąbrowski (1976) Ptaki ptakom (Bords to Birds, 1977) Camouflage (Barwy ochronne, 1977) Spiral (Spirala, 1978) Rodzina Połanieckich (1978, TV series) David (1979) The King and the Mockingbird (Le Roi et l'Oiseau, 1980) The Constant Factor (Constans, 1980) From a Far Country (1981) Blind Chance (Przypadek, 1982) Imperative (Imperatyw, 1982) A Year of the Quiet Sun (Rok spokojnego słońca, 1984) Power of Evil (Paradigma, 1985) A Chronicle of Amorous Accidents (Kronika wypadków miłosnych, 1986) Salsa (1988) Wherever You Are... (1988) Inventory (Stan posiadania, 1989) Korczak (1990) Napoléon et l'Europe (1991, TV miniseries) Life for Life: Maximilian Kolbe (Życie za życie. Maksymilian Kolbe, 1991) Bram Stoker's Dracula (1992) The Silent Touch (1992) König der letzten Tage (1993) Śmierć jak kromka chleba (1994) Death and the Maiden (1994) Faustina (1995) Legenda Tatr (1995) At Full Gallop (Cwał, 1996) The Portrait of a Lady (1996) Deceptive Charm (1996) Our God's Brother (1997) The Truman Show (1998) (parts from Requiem Father Kolbe) The Ninth Gate (1999) Pan Tadeusz (1999) Life as a Fatal Sexually Transmitted Disease (2000) The Supplement (2002) The Pianist (2002) The Revenge (Zemsta, 2002) Persona Non Grata (2005) We Own the Night (2007) Black Sun (2007) Two Lovers (2008) Welcome (2009) Small Overture (1955), for the Youth Festival, 1955 Symphony for Strings (Symphony No. 1, 1955) Ode Béla Bartók in memoriam, for violin, brass, and percussion (1956) Riff 62 (1962) Generique (1963) Springfield Sonnet (1965) Krzesany, for orchestra (1974) Kościelec 1909, for orchestra (1976) Orawa, for string orchestra (1986) Choralvorspiel (Choral Prelude), for string orchestra, (1988) Requiem Father Kolbe, for symphony orchestra (1994) Symphony No. 3 "September Symphony" for orchestra (2003) Ricordanza (2005) Uwertura uroczysta [Solemn Overture] for orchestra (2010) Symphony Concertante, for piano and orchestra (Symphony No. 2, 1956) Prelude and Christmas Carol, for four oboes and string orchestra (1972) Bogurodzica, for mixed choir and orchestra (1975) Hoary Fog (Siwa mgła), for baritone and orchestra (1979) Exodus, for mixed choir and orchestra (1981) Victoria, for mixed choir and orchestra (1983) Angelus, for symphony orchestra, soprano, and mixed choir (1984) Piano Concerto No.1 (1996) Missa Pro Pace, for orchestra, chorus, and soloists (2000) Symphony No. 4 "Sinfonia de Motu" (Symphony of Motion), for orchestra, chorus, and soloists (2005) Magnificat, for orchestra, chorus, and soloists (2007) Symphony No. 5 "Advent Symphony", for orchestra, chorus, and soloists (2007) Te Deum, for orchestra, chorus, and soloists (2008) Veni Creator, for mixed chorus and strings (2008) Piano Concerto No.2 (2011) Lament, for mixed unaccompanied choir (2003) Paschalis Hymn for chorus (2008) Flute Sonatina (1951) Woodwind Quintet (1952) Horn Sonata (1954) Training 68, for clarinet, trombone, cello and piano (1968) Orawa, arr. for 8 Cellos Orawa, arr. for 12 Saxophones (2009) Numerous solo piano pieces Krzesany is a symphonic poem completed in 1974. The premiere of the poem took place in Warsaw during the "Warsaw Autumn" International Festival of Contemporary Music on September 24, 1974. The composer has dedicated a piece to the National Philharmonic. The piece is a reference to the folk music of Podhale. Originally Krzesany is a folk dance from the Podhale region. The work was completed on July 14, 1974. It was performed for the first time on September 24, 1974. The poem is a one-movement piece. Along with Kościelec 1909, Hoary Fog and Orawa, Krzesany is a kind of "Kilarian Tatra polyptych". Kościelec 1909 is a symphonic poem completed in 1976. The premiere took place in Warsaw on November 5, 1976. Wojciech Kilar composed a piece on the occasion of the 75th anniversary of the National Philharmonic in Warsaw and the 100th anniversary of the birth of Mieczysław Karłowicz. The composition was dedicated to the conductor Witold Rowicki. Along with Krzesany, Hoary Fog and Orawa, Kościelec 1909 is a kind of "Kilarian Tatra polyptych". The pieces refer to the tradition of Podhale music. The composer distinguished three sections-themes: tema della montagna (mountain theme), tema dell’abisso chiamante (abyss theme) and tema del destino (fate theme). The piece was inspired by the tragic death of the Polish romantic composer Mieczysław Karłowicz. Karłowicz died on February 8, 1909, in a snow avalanche at the foot of Mały Kościelec in the Tatra Mountains. Hoary Fog (Polish title: Siwa mgła) is a vocal-symphonic poem completed in 1979. It was based on the song of the Podhale highlanders. The author dedicated the piece to the opera singer Andrzej Bachleda-Curuś. Along with Krzesany, Kościelec 1909 and Orawa, Hoary Fog is a kind of "Kilarian Tatra polyptych". The pieces refer to the tradition of Podhale music. The music is accompanied by the singing of a baritone. The text is a traditional Polish highlander song. It is a one-movement piece. The world premiere took place in Bydgoszcz on October 14, 1979. The baritone part was then performed by Andrzej Bachleda-Curuś, the Symphony Orchestra of the Kraków Philharmonic was conducted by Jerzy Katlewicz. Orawa is a symphonic poem for chamber string orchestra completed in 1986. The premiere of the poem took place in Zakopane on March 10, 1986. The Polish Chamber Orchestra was conducted by Wojciech Michniewski. This is the fourth piece by Kilar referring to the tradition of Podhale music. Along with Kościelec 1909, Hoary Fog and Krzesany, Orawa is a kind of "Kilarian Tatra polyptych". There are arrangements for a string quartet, twelve saxophones, an accordion trio, eight cellos and others. During the 2007 election campaign for the National Assembly of the Republic of Poland, Wojciech Kilar made a number of statements of his support of the Law and Justice party. List of Polish composers List of Poles Music of Poland Official website (English) Obituary in The Independent by Marcus Williamson Wojciech Kilar at IMDb Composer's website Kilar at the Polish Music Center Wojciech Kilar at Culture.pl Kilar Orawa on YouTube, performed by The Karol Szymanowski Youth Symphony Orchestra Kilar Orawa on YouTube, performed by The Baltic Sea Youth Philharmonic Kilar Krzesany on YouTube, performed by The Karol Szymanowski Youth Symphony Orchestra Kilar Krzesany on YouTube, performed by The Polish National Radio Symphony Orchestra, Katowice Kościelec 1909 on YouTube, performed by Warsaw National Philharmonic Orchestra Hoary Fog on YouTube, performed by Warsaw National Philharmonic Orchestra

9. Mykola Lysenko (1842 - 1912)

With an HPI of 58.90, Mykola Lysenko is the 9th most famous Ukrainian Composer. His biography has been translated into 35 different languages.

Mykola Vitaliiovych Lysenko (Ukrainian: Микола Віталійович Лисенко; 22 March 1842 – 6 November 1912) was a Ukrainian composer, pianist, conductor and ethnomusicologist of the late Romantic period. In his time he was the central figure of Ukrainian music, with an oeuvre that includes operas, art songs, choral works, orchestral and chamber pieces, and a wide variety of solo piano music. He is often credited with founding a national music tradition during the Ukrainian national revival, in the vein of contemporaries such as Grieg in Norway, The Five in Russia as well as Smetana and Dvořák in what is now the Czech Republic. By studying and drawing from Ukrainian folk music, promoting the use of the Ukrainian language, and separating himself from Russian culture, his compositions form what many consider the quintessential essence of Ukrainian music. This is demonstrated best in his epic opera Taras Bulba from the novella of the same name by Nikolai Gogol, in which the grandeur, complexity and Ukrainian-language libretto prevented its staging during Lysenko's lifetime. To promote and cultivate Ukrainian culture, Lysenko set works by many Ukrainian poets to music, especially Taras Shevchenko, to whom he was particularly devoted. His musical setting of a patriotic poem by Oleksandr Konysky, known as the "Prayer for Ukraine", has become Ukraine's spiritual anthem. Lysenko had a profound influence on later Ukrainian composers, including Stanyslav Lyudkevych, Alexander Koshetz, Kyrylo Stetsenko, Yakiv Stepovy, and most importantly, Mykola Leontovych. He is the namesake of the Mykola Lysenko International Music Competition and the Lysenko music school, which is now the Kyiv National I. K. Karpenko-Kary Theatre, Cinema and Television University. Despite his immense renown in Ukraine, Lysenko remains relatively unknown outside of his home country.

10. Igor Markevitch (1912 - 1983)

With an HPI of 57.01, Igor Markevitch is the 10th most famous Ukrainian Composer. His biography has been translated into 21 different languages.

Igor Borisovich Markevitch (Russian: Игорь Борисович Маркевич, Igor Borisovich Markevich, Ukrainian: Ігор Борисович Маркевич, Ihor Borysovych Markevych; 27 July 1912 – 7 March 1983) was a Russian Empire born composer and conductor who studied and worked in Paris and became a naturalized Italian and French citizen in 1947 and 1982 respectively. He was commissioned in 1929 for a piano concerto by impresario Serge Diaghilev of the Ballet Russe de Monte Carlo. Markevitch settled in Italy during World War II. After the war, he moved to Switzerland. He had an international conducting career from there. He was married twice and had three sons and two daughters.

People

Pantheon has 33 people classified as Ukrainian composers born between 1630 and 1974. Of these 33, 5 (15.15%) of them are still alive today. The most famous living Ukrainian composers include Valentyn Sylvestrov, Yevhen Stankovych, and Igor Krutoy. The most famous deceased Ukrainian composers include Sergei Prokofiev, Stefania Turkewich, and Reinhold Glière. As of April 2024, 6 new Ukrainian composers have been added to Pantheon including Nikolay Diletsky, Semen Hulak-Artemovsky, and Yevhen Stankovych.