(b Kiev, 8 Jan 1954). Ukrainian composer and musicologist. In 1970 he entered the composition faculty at Tchaikovsky Conservatory in Kiev where he studied with Shtogarenko. He continued his studies at the Moscow Conservatory with A.I. Pirumov, and after graduating in 1976 returned to the Kiev Conservatory firstly as a postgraduate in the music theory department, and then as senior lecturer (1979) and reader (1984). He teaches composition, analysis, harmony, polyphony and orchestration and has delivered lectures on the work of Denisov, Schnittke and Sil'vestrov. He is a member of the Union of Ukrainian Composers, and is active as both composer and musicologist. Among his research work is his dissertation Architectonics on the compositions of D. Shostakovich, and writings on the cluster as a harmonic phenomenon, jazz as a stylistic element in the music of Stravinsky and dodecaphony and diatonicism. Despite his employment of various contemporary compositional means and technical methods, one of the most noteworthy facets of his work is its eclecticism.
(b Kharkiv, 13 June 1924; d Kiev, 5 May 2000). Ukrainian composer. After completing his training at the Kharkiv Conservatory in 1960 (class of Klebanov), he taught music theory at a children's music school (1958–60) and from 1960 he held the position of Director of Regional Radio. From 1961 to 1972 he taught theory and composition at the Kharkiv Conservatory and subsequently he has worked as an independent composer. A winner of the Ostrovsky Prizes and an Honoured Artist of Ukraine, in 1984 Hubarenko received the prestigious Shevchenko Prize. Vast and versatile interests characterize Hubarenko's creative personality; his output has thus been prolific and varied, including symphonies, ballets, sonatas, quartets and many vocal works. Especially productive in the field of opera, Hubarenko achieved fame immediately following the première of Zahybel Ėstradry (‘The Destruction of the Squadron’) of 1967 which exhibits the conflictive dramaturgy of a neo-romantic language modelled on the works of Lyatoshyns'ky and Shostakovich, in a style very close to the socialist-realist tradition. On the other hand, Hubarenko is quite adept at exploring the intimate. An excellent knowledge of orchestral colours enhances his essentially lyrical dramatic style that also has much in common with Barber and Vaughan Williams (a good example of this is found in the early, pre-Zahybel Ėstradry Concerto for flute and chamber orchestra). Carefully structured dramaturgy permeates his instrumental music as well as the operas. In two of his more successful and original ventures, Samotnist' (‘Loneliness’) for tenor and orchestra and the early Lysty kokhannia (‘Love Letters’ of 1971, a series of four monologues for soprano and chamber orchestra, Hubarenko achieves a truly dramatic synthesis of words and music, with a strong psychological portrait subtly exposed by the unusual orchestral fabric.
Zahybel Ėstradry [The Destruction of the Squadron] (music drama, 2, Hubarenko and V. Bychko, after O. Korniychuk), 1967, Kiev, 1 Oct 1967
Mamay (music drama, 3, Bychko and Hubarenko, after Yu. Yanovs'ky: Duma pro Brytanku), 1969, Kiev, 24 April 1970
Lysty kokhannia [Love Letters] (mono-op, Hubarenko, after H. Barbusse: Tenderness), S, chbr orch, 1971, Kiev, 29 Nov 1972
Vozvrashchonnyi May [Reborn May] (lyric drama, 2, R. Levin and Hubarenko, after V. Yezhova), 1973–4, L'viv, 11 July 1974
Cherez polumya [Through the Flames] (3, Ye. Kushakiv, B. Paliychuk and P. Synhaïvs'ky), 1975, Donets'k, 15 May 1976
Pamyatay mene [Remember Me] (Levin and Hubarenko, after Yezhova: Solov'yina nich), op.22, 1980
Viy (op-ballet, prol., 3, epilogue, M. Cherkashyna and M. Mykhailova, after N.V. Gogol), 1980, Odessa, 19 Aug 1984
Svat mymovoli [The Reluctant Matchmaker] (lyric comedy, 2, Cherkashyna, after H. Kvitka-Osnovyanenko), 1982, Kharkiv, 24 March 1985
Al'pinska balada [Ballad of the Alps] (lyric scenes, 2, Cherkashyna, after N. Bïkov), 1984, Kharkiv, Kotlyarevs'ky Institute, 7 May 1985
V stepakh Ukraïny/Komu posmikhayut'sya zori [In the Steppes of Ukraine/On Whom the Stars Smile] (lyric comedy, 2, Cherkashyna after Korniychuk), 1986–7
Zhadaite, bratiya moya [Remember, my Brothers] (op-orat, Cherkashyna, after T.H. Shevchenko), 1990–91
Samotnist' [Loneliness] (mono-op, after P. Mérimée: Letters à une inconnue), T, orch, 1992
Monolohy Dzhullietty [Monologues of Juliet] (lyrical scenes, after W. Shakespeare), 1998
Ballets: Kamyanyi hospodar/Don Juan [The Stone Guest], 1968; Assol' (sym.-ballet, after A. Green: The Scarlet Sails), 1977; Zaporoshtsi [Zaporozhian Cossacks], 1978; Vira, nadiya, lyubov [Faith, Hope and Love], 1985; Zeleni svyatky [Green Yule-Tides] (sym.-ballet), 1992; Liebested (sym.-ballet), 1997