Deržavnyj himn Ukraïny: populjarnyj istoryčnyj narys
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | Ukrainian |
| Veröffentlicht: |
Kyïv
"Muzyčna Ukraïna"
2006
|
| Schlagworte: | |
| Online-Zugang: | Abstract |
| Beschreibung: | In kyrill. Schr., ukrain. - Zsfassung in engl. Sprache |
| Beschreibung: | 55 S. zahlr. Ill., Noten |
| ISBN: | 966825919X |
Internformat
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Datensatz im Suchindex
| _version_ | 1804136560577216512 |
|---|---|
| adam_text | Summary
Every nation has its sacred symbols
embodying its distinctive character and
national unity.
The symbols are aimed to elevate spirit
of the masses in their straggle for freedom,
for their own independent state. Besides
flag and coat of arms, these symbols
include anthem.·
Anthems has an old story, their initia¬
tion refers to choral prayers appealing to
gods in the ancient Egypt, Mesopotamia,
and Greece. During the Christian time,
especially in the East Byzantium ceremony,
religious anthems had become a part
of divine service. In Ukraine
—
Rus
of the prince s time they served invocatory
war cries. The widely known Cossack
marching songs, Cossacks Have Stood
Up for the World , Hey Good People, Do
Not Be Surprised , and Hey the Reapers
Are Reaping on the Hill , possess features
of the invocatory anthems.
Partition of the Ukrainian ethnic lands
in the late Wh century between the Russian
Empire and the Austrian Empire brought
in certain differences in the state of the
Ukrainian anthem creative process.
Rigorous censorial oppression from the
side of the Russian Tsarist power, a ban
to use the Ukrainian language made
its development hardly possible. On the
outskirts of the Austrian state with social
processes being somewhat slower there,
a series of the Ukrainian patriotic songs
which performed a function of anthems
had come out. The most famous among
these songs, Peace with You, Brothers after
poem by I Hushalevych, was created
on a wave of the revolutionary upsurge
prompted by the spring of the peoples
—
the revolutionary events of
1848 — 1849.
Such works were of a limited, local signifi¬
cance and in time they lost their urgency.
The song Ukraine s Glory Has Not Yet
Perishedhas become a real ail-Ukrainian
—
and later on the national
—
anthem. Its
authors, a poet
Pavlo
Chubynskyi and
a composer Mykhailo Verbytskyi, represent
two different branches of the Ukrainian
people
—
Western and Eastern.
The author of the lyrics
Pavlo
Chubyn¬
skyi
(1839 — 1884),
a famous ethnographer
and writer, was born in a farm-stead near
Boryspil (Kyiv province)
.
After finishing a
Kyiv high school, he entered Petersburg
University and in
1861
graduated from
the University. In his youth Chubynskyi
took a keen interest in studies of the folk
Ufe
and customs and began to record folk
songs. In addition, he rushed to a vortex
of social life marked in the sixties of
19th century with impetuous revolutionary
events in Russia, a development of the
Polish uprising, and the awakening of the
Ukrainian national liberation movement
going in parallel. Under influence of
the revolutionary environment in
1862
Chubynskyi wrote a poem Wiraine s Glory
Has Not Yet Perishedwith a clear powerful
appeal to the struggle for freedom and
independence. For sympathizing with
the liberation competition the Tsarist
government exiled the poet to Arkhangelsk
province. There he stayed until
1869.
All
the time Chubynskyi pursued intensive
research in ethnography. He became
52
a full member of the Imperial Russian
Geographical Society; he leaded an expe¬
dition organized in
1869 - 1870
aimed at
collecting ethnographic and statistical
materials in the marginal Ukrainian
provinces. These materials were published
under the title of The Works of the Ethno¬
graphic and Statistical Expedition to the
Western Russian Region in
1872 - 1879
in seven volumes in Petersburg. Upon
initiative of Chubynskyi the first one-day
census of Kyiv residents was effected on
2
March
1874.
Scientists highly appraised
ethnographic works of their colleague.
Chubynskyi got multiple honorary awards;
in particular in
1875
he was awarded with
a gold medal of the International Ethno¬
graphic Congress in Paris.
Pavlo
Chubynskyi was an active partici¬
pant of the Ukrainian democratic libera¬
tion movement and association
Hromada
(The Community) which had united
nationally mature representatives of the
Ukrainian elite. Due to the amplified
attack of the Russian chauvinistic forces
(Yemesk Decree of
1876)
he was forced
by the Tsarist government to leave Ukraine
and to move to Petersburg. There he fell
ill. Friends managed to get a permit for
him to return to the homeland. Shortly
after return he died, it happened just one
day before his 45th birthday.
The poem Ukraine s Glory Has Not Yet
Perished by
Ρ
Chubynskyi was published
for the first time without author s name
in the fourth issue of a Lviv literary and
political bulletin
Meta
{The
воађ
in
1863.
Since the poem prefaced a selection of
poems by
Taras Shevchenko,
for a long
time the community attributed it to the
Great Kobzar.
As a song-anthem Ukraine s Glory Has
Not Yet Perished got into life along with
music by Mykhailo Verbytskyi
(1815 —
1870)
who was a modest priest in a poor
near-Carpathian village and at the same
time a talented creative personality, one
of the initiators of the Ukrainian national
composer school.
Mykhailo Verbytskyi was born in the
village of Yavirnyk Ruskyi located near
Peremyshl, a western bastion of the ethnic
Ukrainian lands (nowadays within Poland).
He was left an orphan in the early age
and a Peremyshl bishop Ivan Snigurskyi
became his guardian. In Peremyshl being
an important centre of the Ukrainian cul¬
tural and spiritual life Verbytskyi acquired
his first musical knowledge from a cathe¬
dral chorus and a music school organized
by the cathedral; the traming with a spe¬
cialty Czech musician Alois Nanke and
then with an experienced organist, a the¬
oretic and composer Franc
Lorenc
added
to his knowledge. However in his subse¬
quent life he followed a way ordinary for
representatives of the Ukrainian Galych
intellectuals
—
he entered the Lviv Greek
Catholic Theological Seminary. But even
there, thanks to a great role attributed to
the choral singing in the East Byzantine
church ritual, the young man remained
linked with music and became a leader
of ardent propagandists of polyphony,
especially compositions of Dmytro
Bortnianskyi.
53
The studying at a seminary alternated
with long breaks due to different discipli¬
nary faults and difficulties of the private
life. After getting a benefice at last, in
1856
he became a parokh in the village
of
Mlyny
not far from Peremyshl where
he lived until his death in
1870.
An intensive composer activity of
M
Verbytskyi is tightly linked to the needs
and demands of the society. All his life
he wrote a sacred music. His religious
works are in wide circulation, even today
they can be heard played on a concert
platform as well as in church during divine
service.
A long cooperation of Verbytskyi with
the Ukrainian theatre was fruitful enough.
His composer heritage covers music to the
tens of plays of various genres
—
vaude¬
villes, folk operettas, melodramas, among
which Pidhiriany is distinguished because
of its elaborated musical dramatic art.
So called symphonies by Verbytskyi, ie
orchestral compositions like early classic
opera overture, are marked with a distin¬
guished national colouring. He is the
author of the large-scale musical canvas¬
es—a vocal and symphony interpretation
of The Testament by
Taras
Shevchenko
and choral suite Zhovnir.
Verbytskyi acquired the most popularity
thanks to his choral compositions with
lyrical and patriotic content written in the
likeness of four-part male quartettes widely
spread in the European musical practice
of that period. These musical composi¬
tions are based on poems of the Ukrainian
poets I Hushalevych, V Shashkevych,
Y
Fedkovych, V Stebelskyi etc. The
choral song Ukraine s Glory Has Not Yet
Perished is also written in a style typical for
Verbytskyi. An autograph of its recording
by the composer for a part with a guitar
accompaniment has survived.
The song entered the life of the society
in choral version. First information on the
delivery of the choral song in public as
a part of theatrical performances or during
some ceremonial events in Peremyshl and
Lviv dates back to
1863 — 1864.
It was
chosen for the grand finale of the first in
the Western Ukrainian territories concert
devoted to
Taras
Shevchenko which took
place in
1865
in Peremyshl. Popularity
of the song written by
P Chubynskyi
—
M
Verbytskyi kept on growing; recordings
of the song are found in the hand-written
compilations, there are numerous references
to its concert performance. In
1885,
the
music of Ukraine s Glory Has Not Yet
Perished was first published in the Kobzar
collected four-part choral compositions.
The song became national. In private life,
like it happened to the folk specimens, it
got polished
—
single couplets shortened,
some new word forms and melodious
shades appeared. Its numerous arrange¬
ments for various compositions of chorus,
purely orchestra versions came to life.
Dissemination of Ukraine s Glory Has
Not Yet Perished among the national
liberation units, in particular among
the Ukrainian
Sich Strelets,
facilitated
the further strengthening of its status as
national anthem. In the early 20th century,
with a wave of the national revolutionary
upsurge, a great number of patriotic songs
taken as anthems emerged. As anthem
The Testament by
Taras
Shevchenko
(music by
H Hladkyi)
was taken; two more
songs by Mykola Lysenko, The Eternal
Revolutionary (after Ivan
Franko s
poem)
and The Prayer (The Great Single God,
Keep Ukraine Safe, lyrics by
O Konyskyi)
won a particularly firm foothold and
became the second spiritual national
anthem of Ukraine along with Ukraine s
Glory Has Not Yet Perished.
The national revolutionary movement
resulted in the council Ukrainian People s
Republic declared by the Third Universal
on
20
November
1917
and ratified by
the Fourth Universal on
22
January
1918;
with its establishment Ukraine s Glory Has
Not Yet Perished was officially approved
the National Anthem.
After defeat of the liberation competi¬
tion in
1917 - 1920
in the country torn
54
apart
by the occupants the song was driven
to deep underground. In the Soviet Empire
its singing was threatened with imprison¬
ment and repression. However it kept alive
in the hearts of people, it accompanied
feats of the freedom fighters. Ukraine s
Gloiy Has Not Yet Perished was declared
the National Anthem of the short-lived
Carpatilo-
Ukraine in
1939
and then during
the Act of Restoration of the Ukrainian
Statehood in Lviv in
1941.
With the collapse of the Soviet Union
historical justice set in. Ukraine has gained
independence, once again and ultimately.
A ceremony of declaring the sovereign
council Ukrainian State on
24
August
1991
in the Verkhovna
Rada
ended in the
mass singing of Ukraine s Glory Has Not
Yet Perished.
Pursuant to Decree of the Ukraine
Verkhovna
Rada
Presidium of
15
January
1992
the music by
M
Verbytskyi to the
lyrics Ukraine s Glory Has Not Yet Perished
had assumed status of the national anthem.
This was approved with Article
20
of
the Ukraine Constitution adopted on
28
June
1996.
Much later, on
6
March,
the Verkhovna
Rada
approved the text
of the Anthem
—
the first couplet and
refrain from the poem by
Ρ
Chubynskyi.
Different formal functions of the com¬
position as the national musical emblem
of Ukraine prompted to have its musical
arrangements for versatile groups of per¬
formers. There are interpretations of the
anthem for symphony brass orchestra, for
chorus
a
capella
and with instrumental
accompaniment etc.
The officially approved Ukraine Natio¬
nal Anthem was published in musical
version by famous composers
Myroslav
Skoryk and Yevgen
Stankových
intended
for mixed chorus with a piano accompa¬
niment.
55
|
| adam_txt |
Summary
Every nation has its sacred symbols
embodying its distinctive character and
national unity.
The symbols are aimed to elevate spirit
of the masses in their straggle for freedom,
for their own independent state. Besides
flag and coat of arms, these symbols
include anthem.·
Anthems has an old story, their initia¬
tion refers to choral prayers appealing to
gods in the ancient Egypt, Mesopotamia,
and Greece. During the Christian time,
especially in the East Byzantium ceremony,
religious anthems had become a part
of divine service. In Ukraine
—
Rus
of the prince's time they served invocatory
war cries. The widely known Cossack
marching songs, 'Cossacks Have Stood
Up for the World', 'Hey Good People, Do
Not Be Surprised', and 'Hey the Reapers
Are Reaping on the Hill', possess features
of the invocatory anthems.
Partition of the Ukrainian ethnic lands
in the late Wh century between the Russian
Empire and the Austrian Empire brought
in certain differences in the state of the
Ukrainian anthem creative process.
Rigorous censorial oppression from the
side of the Russian Tsarist power, a ban
to use the Ukrainian language made
its development hardly possible. On the
outskirts of the Austrian state with social
processes being somewhat slower there,
a series of the Ukrainian patriotic songs
which performed a function of anthems
had come out. The most famous among
these songs, Peace with You, Brothers after
poem by I Hushalevych, was created
on a wave of the revolutionary upsurge
prompted by 'the spring of the peoples'
—
the revolutionary events of
1848 — 1849.
Such works were of a limited, local signifi¬
cance and in time they lost their urgency.
The song Ukraine's Glory Has Not Yet
Perishedhas become a real ail-Ukrainian
—
and later on the national
—
anthem. Its
authors, a poet
Pavlo
Chubynskyi and
a composer Mykhailo Verbytskyi, represent
two different branches of the Ukrainian
people
—
Western and Eastern.
The author of the lyrics
Pavlo
Chubyn¬
skyi
(1839 — 1884),
a famous ethnographer
and writer, was born in a farm-stead near
Boryspil (Kyiv province)
.
After finishing a
Kyiv high school, he entered Petersburg
University and in
1861
graduated from
the University. In his youth Chubynskyi
took a keen interest in studies of the folk
Ufe
and customs and began to record folk
songs. In addition, he rushed to a vortex
of social life marked in the sixties of
19th century with impetuous revolutionary
events in Russia, a development of the
Polish uprising, and the awakening of the
Ukrainian national liberation movement
going in parallel. Under influence of
the revolutionary environment in
1862
Chubynskyi wrote a poem Wiraine's Glory
Has Not Yet Perishedwith a clear powerful
appeal to the struggle for freedom and
independence. For sympathizing with
the liberation competition the Tsarist
government exiled the poet to Arkhangelsk
province. There he stayed until
1869.
All
the time Chubynskyi pursued intensive
research in ethnography. He became
52
a full member of the Imperial Russian
Geographical Society; he leaded an expe¬
dition organized in
1869 - 1870
aimed at
collecting ethnographic and statistical
materials in the marginal Ukrainian
provinces. These materials were published
under the title of The Works of the Ethno¬
graphic and Statistical Expedition to the
Western Russian Region in
1872 - 1879
in seven volumes in Petersburg. Upon
initiative of Chubynskyi the first one-day
census of Kyiv residents was effected on
2
March
1874.
Scientists highly appraised
ethnographic works of their colleague.
Chubynskyi got multiple honorary awards;
in particular in
1875
he was awarded with
a gold medal of the International Ethno¬
graphic Congress in Paris.
Pavlo
Chubynskyi was an active partici¬
pant of the Ukrainian democratic libera¬
tion movement and association
'Hromada'
(The Community) which had united
nationally mature representatives of the
Ukrainian elite. Due to the amplified
attack of the Russian chauvinistic forces
(Yemesk Decree of
1876)
he was forced
by the Tsarist government to leave Ukraine
and to move to Petersburg. There he fell
ill. Friends managed to get a permit for
him to return to the homeland. Shortly
after return he died, it happened just one
day before his 45th birthday.
The poem Ukraine's Glory Has Not Yet
Perished by
Ρ
Chubynskyi was published
for the first time without author's name
in the fourth issue of a Lviv literary and
political bulletin
'Meta'
{The
воађ
in
1863.
Since the poem prefaced a selection of
poems by
Taras Shevchenko,
for a long
time the community attributed it to the
Great Kobzar.
As a song-anthem Ukraine's Glory Has
Not Yet Perished got into life along with
music by Mykhailo Verbytskyi
(1815 —
1870)
who was a modest priest in a poor
near-Carpathian village and at the same
time a talented creative personality, one
of the initiators of the Ukrainian national
composer school.
Mykhailo Verbytskyi was born in the
village of Yavirnyk Ruskyi located near
Peremyshl, a 'western bastion' of the ethnic
Ukrainian lands (nowadays within Poland).
He was left an orphan in the early age
and a Peremyshl bishop Ivan Snigurskyi
became his guardian. In Peremyshl being
an important centre of the Ukrainian cul¬
tural and spiritual life Verbytskyi acquired
his first musical knowledge from a cathe¬
dral chorus and a music school organized
by the cathedral; the traming with a spe¬
cialty Czech musician Alois Nanke and
then with an experienced organist, a the¬
oretic and composer Franc
Lorenc
added
to his knowledge. However in his subse¬
quent life he followed a way ordinary for
representatives of the Ukrainian Galych
intellectuals
—
he entered the Lviv Greek
Catholic Theological Seminary. But even
there, thanks to a great role attributed to
the choral singing in the East Byzantine
church ritual, the young man remained
linked with music and became a leader
of ardent propagandists of polyphony,
especially compositions of Dmytro
Bortnianskyi.
53
The studying at a seminary alternated
with long breaks due to different discipli¬
nary faults and difficulties of the private
life. After getting a benefice at last, in
1856
he became a parokh in the village
of
Mlyny
not far from Peremyshl where
he lived until his death in
1870.
An intensive composer activity of
M
Verbytskyi is tightly linked to the needs
and demands of the society. All his life
he wrote a sacred music. His religious
works are in wide circulation, even today
they can be heard played on a concert
platform as well as in church during divine
service.
A long cooperation of Verbytskyi with
the Ukrainian theatre was fruitful enough.
His composer heritage covers music to the
tens of plays of various genres
—
vaude¬
villes, folk operettas, melodramas, among
which 'Pidhiriany''is distinguished because
of its elaborated musical dramatic art.
So called symphonies by Verbytskyi, ie
orchestral compositions like early classic
opera overture, are marked with a distin¬
guished national colouring. He is the
author of the large-scale musical canvas¬
es—a vocal and symphony interpretation
of The Testament by
Taras
Shevchenko
and choral suite Zhovnir.
Verbytskyi acquired the most popularity
thanks to his choral compositions with
lyrical and patriotic content written in the
likeness of four-part male quartettes widely
spread in the European musical practice
of that period. These musical composi¬
tions are based on poems of the Ukrainian
poets I Hushalevych, V Shashkevych,
Y
Fedkovych, V Stebelskyi etc. The
choral song Ukraine's Glory Has Not Yet
Perished is also written in a style typical for
Verbytskyi. An autograph of its recording
by the composer for a part with a guitar
accompaniment has survived.
The song entered the life of the society
in choral version. First information on the
delivery of the choral song in public as
a part of theatrical performances or during
some ceremonial events in Peremyshl and
Lviv dates back to
1863 — 1864.
It was
chosen for the grand finale of the first in
the Western Ukrainian territories concert
devoted to
Taras
Shevchenko which took
place in
1865
in Peremyshl. Popularity
of the song written by
P Chubynskyi
—
M
Verbytskyi kept on growing; recordings
of the song are found in the hand-written
compilations, there are numerous references
to its concert performance. In
1885,
the
music of Ukraine's Glory Has Not Yet
Perished was first published in the Kobzar
collected four-part choral compositions.
The song became national. In private life,
like it happened to the folk specimens, it
got polished
—
single couplets shortened,
some new word forms and melodious
shades appeared. Its numerous arrange¬
ments for various compositions of chorus,
purely orchestra versions came to life.
Dissemination of Ukraine's Glory Has
Not Yet Perished among the national
liberation units, in particular among
the Ukrainian
Sich Strelets,
facilitated
the further strengthening of its status as
national anthem. In the early 20th century,
with a wave of the national revolutionary
upsurge, a great number of patriotic songs
taken as anthems emerged. As anthem
The Testament by
Taras
Shevchenko
(music by
H Hladkyi)
was taken; two more
songs by Mykola Lysenko, The Eternal
Revolutionary (after Ivan
Franko's
poem)
and The Prayer (The Great Single God,
Keep Ukraine Safe, lyrics by
O Konyskyi)
won a particularly firm foothold and
became the second spiritual national
anthem of Ukraine along with Ukraine's
Glory Has Not Yet Perished.
The national revolutionary movement
resulted in the council Ukrainian People's
Republic declared by the Third Universal
on
20
November
1917
and ratified by
the Fourth Universal on
22
January
1918;
with its establishment Ukraine's Glory Has
Not Yet Perished was officially approved
the National Anthem.
After defeat of the liberation competi¬
tion in
1917 - 1920
in the country torn
54
apart
by the occupants the song was driven
to deep underground. In the Soviet Empire
its singing was threatened with imprison¬
ment and repression. However it kept alive
in the hearts of people, it accompanied
feats of the freedom fighters. Ukraine's
Gloiy Has Not Yet Perished was declared
the National Anthem of the short-lived
Carpatilo-
Ukraine in
1939
and then during
the Act of Restoration of the Ukrainian
Statehood in Lviv in
1941.
With the collapse of the Soviet Union
historical justice set in. Ukraine has gained
independence, once again and ultimately.
A ceremony of declaring the sovereign
council Ukrainian State on
24
August
1991
in the Verkhovna
Rada
ended in the
mass singing of Ukraine's Glory Has Not
Yet Perished.
Pursuant to Decree of the Ukraine
Verkhovna
Rada
Presidium of
15
January
1992
the music by
M
Verbytskyi to the
lyrics Ukraine's Glory Has Not Yet Perished
had assumed status of the national anthem.
This was approved with Article
20
of
the Ukraine Constitution adopted on
28
June
1996.
Much later, on
6
March,
the Verkhovna
Rada
approved the text
of the Anthem
—
the first couplet and
refrain from the poem by
Ρ
Chubynskyi.
Different formal functions of the com¬
position as the national musical emblem
of Ukraine prompted to have its musical
arrangements for versatile groups of per¬
formers. There are interpretations of the
anthem for symphony brass orchestra, for
chorus
a
capella
and with instrumental
accompaniment etc.
The officially approved Ukraine Natio¬
nal Anthem was published in musical
version by famous composers
Myroslav
Skoryk and Yevgen
Stankových
intended
for mixed chorus with a piano accompa¬
niment.
55 |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| building | Verbundindex |
| bvnumber | BV022472684 |
| ctrlnum | (OCoLC)237132081 (DE-599)BVBBV022472684 |
| format | Book |
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| geographic | Ukraine (DE-588)4061496-7 gnd |
| geographic_facet | Ukraine |
| id | DE-604.BV022472684 |
| illustrated | Illustrated |
| index_date | 2024-07-02T17:45:15Z |
| indexdate | 2024-07-09T20:58:21Z |
| institution | BVB |
| isbn | 966825919X |
| language | Ukrainian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-015680142 |
| oclc_num | 237132081 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 55 S. zahlr. Ill., Noten |
| publishDate | 2006 |
| publishDateSearch | 2006 |
| publishDateSort | 2006 |
| publisher | "Muzyčna Ukraïna" |
| record_format | marc |
| spelling | Deržavnyj himn Ukraïny populjarnyj istoryčnyj narys [uporjadnyky Mykola Petrovyč Lynnyk ...] Kyïv "Muzyčna Ukraïna" 2006 55 S. zahlr. Ill., Noten txt rdacontent n rdamedia nc rdacarrier In kyrill. Schr., ukrain. - Zsfassung in engl. Sprache Hymne (DE-588)4125676-1 gnd rswk-swf Ukraine (DE-588)4061496-7 gnd rswk-swf Ukraine (DE-588)4061496-7 g Hymne (DE-588)4125676-1 s DE-604 Lynnyk, Mykola P. Sonstige oth Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015680142&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Deržavnyj himn Ukraïny populjarnyj istoryčnyj narys Hymne (DE-588)4125676-1 gnd |
| subject_GND | (DE-588)4125676-1 (DE-588)4061496-7 |
| title | Deržavnyj himn Ukraïny populjarnyj istoryčnyj narys |
| title_auth | Deržavnyj himn Ukraïny populjarnyj istoryčnyj narys |
| title_exact_search | Deržavnyj himn Ukraïny populjarnyj istoryčnyj narys |
| title_exact_search_txtP | Deržavnyj himn Ukraïny populjarnyj istoryčnyj narys |
| title_full | Deržavnyj himn Ukraïny populjarnyj istoryčnyj narys [uporjadnyky Mykola Petrovyč Lynnyk ...] |
| title_fullStr | Deržavnyj himn Ukraïny populjarnyj istoryčnyj narys [uporjadnyky Mykola Petrovyč Lynnyk ...] |
| title_full_unstemmed | Deržavnyj himn Ukraïny populjarnyj istoryčnyj narys [uporjadnyky Mykola Petrovyč Lynnyk ...] |
| title_short | Deržavnyj himn Ukraïny |
| title_sort | derzavnyj himn ukrainy populjarnyj istorycnyj narys |
| title_sub | populjarnyj istoryčnyj narys |
| topic | Hymne (DE-588)4125676-1 gnd |
| topic_facet | Hymne Ukraine |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015680142&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT lynnykmykolap derzavnyjhimnukrainypopuljarnyjistorycnyjnarys |