CD's of old Lemko-Ukrainian folksongs (taken from restored
~1920's 78 RPM LP's) containing Lemko-Ukrainian Wedding, Christening, and Christmas
melodies are available from here.
Based on Folkloric Records 9015 (2 LP set) released in 1977.
What does Surmach remember about the musicians of the 1920's and 1930's?
He remembers being very impressed by Josef Pizio's fiddling talents: "He
was a real folk musician. A tall fellow, drank a lot. I never saw him without
his fiddle. He couldn't read music. He'd just close his eyes, and start
fiddlin' away. By the time I'd get an orchestra together to record it,
he'd forget that tune, and couldn't repeat it. Had to record a different
one!" Pizio had apparently arrived in the U.S. sometime before World War
I, stayed poor, and died before 1945.
This is what Surmach remembers of John Grychak, who performs "Koketka
Polka" on this disc: "One day this Grychak walks into my store Surma. He
was from somewhere around Easton, Pennsylvania. He was carrying his tsymbaly.
I liked tsymbaly a lot, even then. So I said to him "How about if
we make a record?" So we made a record on the Surma label."
And what of Josef Davidenko, who performs the "Kozak"? He is remembered
by Surmach as a singer from a Ukrainian choir and a Broadway actor who,
as a matter of fact, courted and married one of Surmach's employees, "such
a charming girl, she could sell $30 worth of records to a man without a
phonograph!"
My favorites on these discs are the kolomyikas sung by Theodor
Swystun. Perhaps because kolomyikas are just irresistible. Or perhaps
because Swystun's clear and pleasant voice and a rather polished rendition
of these tunes come closest to the modern-day kolomyikas I have
heard sung by young and old at parties, campfires, or other musical occasions.
I was curious to know more about Swystun, so I asked Mr. Surmach about
him. "Swystun was a young fellow from Philadelphia. He was brought up to
New York by Columbia recording company, because they heard he knew a lot
of kolomyikas. Later on, he went to law school and became a lawyer."
The one selection on these discs which is somewhat of an anomaly in
terms of style and theme is "Pyesnya o Bodnarevnye" (Song about Bodnarivna),
a ballad of social protest based on the Ukrainian duma tradition.
A duma was a ballad sung by wandering minstrels, dealing with contemporary
and historical events, usually the military exploits of the cossacks. The
story in this song is about Bodnarivna, a young peasant girl who is mercilessly
taken advantage of by an exploitative master, Kaniowski, probably a Polish
landowner in the area.
Some insight into the Tziorogh Troupe which performed this ballad
is given by Surmach. He remembers Professor Tziorogh as a choirmaster and
music scholar who came from Lviv, a city in western Ukraine. Tziorogh knew
many folk songs and insisted that traditional music be performed exactly
as it might have been heard back in the villages. Thus, in the Bodnarivna
song, we hear the "authentic" sound effects of village women wailing and
weeping as the balladeer tells of the miserable fate of the young girl.
Tziorogh was also known to have used background sounds of clucking hens
and barking dogs in some of his other recordings. According to Surmach,
this type of music was not as popular
with Ukrainian-Americans as were cheerful dance tunes. Still, it's
interesting to hear it on these discs as a contrast to other selections.
Ukrainian-Americans did not limit themselves to only one type of music.
They produced and performed choral works and liturgical music, staged Ukrainian
traditional operettas, and employed music to accompany their folk dance
groups. From the very beginning there was hardly a community which did
not have a choir or dance group. This was a perfectly natural development
for a people who had preserved their cultural heritage despite a rather
tumultuous political history and centuries of foreign rule.
The Ukraine, "the granary of Europe," is a country about the size of
France, with a distinct history and culture. Some important historical
eras include the Kiev-Rus Empire that rivalled Constantinople in the 10th
century; the Kozak period of the 17th and 18th centuries; subsequent partition
of Ukraine by rival empires; and lastly, unification as the Ukrainian SSR.one
of the 16 republics of the Soviet Union.
Ukrainians (sometimes referred to as "Little Russians" or "Ruthenians")
constitute the second largest Slavic group in the world, and have fostered
a rich musical culture. Leopold Stokowski has pointed out the particularly
large number and beauty of Ukrainian songs. Indeed, the largest single
edition of East European folk songs ever assembled are the volumes of Ukrainian
Folk Melodies, a collection of 12,000 songs.
Some Ukrainian melodies have travelled into both Eastern and Western
Europe and even made their way into the classical compositions of Haydn,
Beethoven and Wagner. The American music field has also felt the Ukrainian
musical touch.
"The Carol of the Bells," adopted as a Christmas favorite by American
audiences, is actually a Ukrainian New Year's carol called "Schedryk."
Written by M. Leontovych and performed First in Kiev in 1916, it was popularized
after a 1922 tour of Europe and America by the Ukrainian National Chorus.
Since that time, over 50 recordings have been made, and it has been performed
by countless choruses, chamber and pop ensembles, and symphony orchestras.
Dinah Shore's 1940 hit "Yes, My Darling Daughter", which sold more
than a million discs, is based on a Ukrainian folk tune "Oy, ne khody,
Hrytsyu" (Don't go, Hryts). George Gershwin wrote "Cossack Love Song" based
on elements from a Ukrainian folk song.
As for influences on American fiddle music, a remarkable similarity
has been pointed out between a Ukrainian "Dowbush Kozak" and the North
American fiddle tune "Flop-Eared Mule," although we are at a loss to explain
this "fiddle connection."
With the passing of decades, Ukrainian-American musical tastes changed.
As peasants became middle-class Americans, appreciation of 'down-home"
fiddle music decreased. Children of the immigrants were learning classical
music, taking piano lessons, and moving out of the original settlements
where traditional music was performed. Furthermore, after World War II,
80,000 additional Ukrainian immigrants arrived - this time political refugees
from Soviet occupation of their land. Largely educated city folks, their
musical tastes ran to Ukrainian art songs, opera and classical composers.
Recently, however there has developed a new interest in traditional folk
music and instruments, especially the bandura - the Ukrainian national
instrument.
But Ukrainian fiddle music lives on. The Hutsul people from the Carpathian
Mountains, living in communities in the U.S., have preserved intact the
original tunes and dances of their native mountain regions and are now
recording them for posterity. And Ukrainian country music is popular in
western Canada, among the descendants of Ukrainian immigrants to Canada.
Folk tunes like the kolomyika have never died, merely passed
on to a new generation who continue to improvise new texts, as their ancestors
have done for generations. Dances like the hutsulka are popular
with folk dance groups. At dances in Ukrainian-American communities, the
band will sometimes switch from the tango or hustle into one of the traditional
tunes, and the crowd is transformed, hands clapping and couples spinning
on the dance floor.
The old tunes remain, living on in the cultural consciousness of Ukrainians
everywhere, not only among the million or more Ukrainian-Americans, but
also among Ukrainians in Canada, Brazil, Australia and many other countries
of the world where they have settled. In fact, the charm of Ukrainian fiddle
music reaches out to people of all cultures who love rhythm and melody.
The tunes you hear on these discs are rooted in the Ukrainian tradition:
their language is Ukrainian, but their message is universal. - Anisa H.
Sawyckyj N.Y.C. March 1977
Acknowledgements:
Special thanks to Roman Sawyckyj for materials used in the preparation
of these notes; and to Myron
Surmach, Sr.
KOLOMYIKA DRUZKY Pawlo Humeniuk
KOLOMYIKA DRUZHBY (Kolomyika of Friendship) Pawlo Humeniuk
YAK POIDU Z KINMY NA NICZ (When I drive with my horses for the
night) Theodor Swystun
NEWILYNYK WALTZ Ukrainska Selska Orch.
HUTZULKA "HALYCZ" Josef
Pizio
UKRAINSKE WESILIE (Ukrainian Wedding) PARTS 1 & 2 Pawlo
Humeniuk
MISHSZANSKA KOLOMIYKA (Town Kolomyika) Ukrainska Selska Orch.
PYESNYA O BODNAREVNYE E.I. Tziorogh Troup
HRAJ, ABO HROSZI WIDDAJ (Play, or give back the money) Pawlo
Humeniuk
OBEREK SPOD BABIEJ GORY Pawlo
Humeniuk
PIDHIRSKA KOLOMYJKA(Foothills
Kolomyika) Michal Thomas
EBBA POLKA Trembita orchestra
DIWOCZA WIDMOWA (Maiden's Refusal) Theodor Swystun
OJ, PIDU JA SZICHER WICHER Pawlo Humeniuk
KOZAK-TREPAK, TANEC Pawlo Humeniuk
KOKETKA POLKA John Grychah
RUTA KOLOMYIKA Ukrainska Selska Orch.
DRIBNYJ TANEC Orch. Bratia
Holutiaky-Kuziany
CHRESTYNY (Christening) PARTS I & II Pawlo Humeniuk
KOLO HAJU, PROCHODZAJU Pawlo Humeniuk
WESELA MUZYKA Orch. Bratia Holutiaky-Kuziany
KOZAK Josef Davidenko
KOZACKA SZUMKA Theodor Swystun
NADWIRNA KOLOMYIKA (Kolomyika
from Nadwirna) Josef Pizio
HOP WALTZ Pawlo Humeniuk
LEMKIWSKA TRAISKA Samuel
Pilip
Cover design: Wayne Pope Cover: Josef Pizio - New York 1939 Photo courtesy Myron Surmach Original recordings courtesy Richard Spottswood Edited and Produced by Chris Strachwitz & Richard Spottswood Notes by Anisa H. Sawyckyj.
ARHOOLIE RECORDS
10341 San Pablo Avenue
El Cerrito CA 94530
*********************************************************************************************************************** For those of you interested in this type of music, please check the last two selections here. ************************************************************************************************************************
Page Created: May 5th, 1997
Last Revised: January 22nd, 2003
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