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Author:Kiszko, Martin Edmund

Title:The origins and place of the balalaika in Russian culture : its migration to the USA, andthe dissemination of balalaika orchestras in America with particular reference to theKasura and Kutin collections at the University of Illinois.

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Kiszko, M. E.: 1999 1'I6coPy

page 213

The Origins and Place of the Balalaika in Russian Culture,

its Migration to the USA, and the Dissemination of Balalaika Orchestras in America

with Particular Reference to the Kasura and Kutin Collections at the University of Illinois

VOLUME TWO

Martin Edmund Kiszko

+istoA ,

X459

Klszko, M. E.: 1999

CHAPTER 4

page 214

RUSSIAN SONG TYPES AND THE ANALYSIS OF A SAMPLE OF WORKS FROM THE KASURA AND KUTIN COLLECTIONS AT THE UNIVERSITY OF ILLINOIS

This chapter aims to assess, through the analysis of a sample of scores, whether Russian-

American arrangements assimilated any aspects of American music as part of a process of

acculturation or maintained an indigenous musical style rooted in traditional Russian folk

material.

Such an approach, however, must first establish a methodology. Methodologies may be

found in early studies of ethnomusicology, where investigations were weighted to a

musicological, or to a lesser degree, anthropological bias. Both approaches have produced

useful results. In the attempt to locate an approach which will aid the evaluation of the

sample of works in this dissertation, it is useful to provide a brief section which defines

each method of analysis. First, I shall provide an overview of the methodology of the

musicological approach. This may concentrate on the study of systems or styles.

It was early ethnomusicologists such as Carl Stumpf (1846-1936), Erich M. von Hornbostel

(1877-1935), Jaap Kunst (1891-1960) and Robert Lachmann (1892-1939) whose

musicological analysis of material was based on the evaluation of musical systems rather

than style. ' Here a system may be defined as:

A coherent set of acoustic procedures, governed by intelligible laws .2

or in Stephen Blum's definition a process where:

The analyst attempts to enumerate the components of a system and to identify their typical functions

and relations, distinguishing the more permanent (or'essential') elements and relations from the more

changeable (or'incidental') 3

In contrast, the study of style has addressed certain consistencies or generalisations which have appeared within a sample of works and are said to identify a particular style. Stylistic

elements may be described as form, melody, rhythm, tempo, scale or mode, texture and

Kiszko, M. E.: 1999 page 215 Chapter Four

polyphony. It was George Herzog (1901-1983) who, following some of the methods of von Hornbostel, explored the notion of style as representative of features which may or may not identify a people or community. He preferred a set of generalisations applied to a limited

sample of works and these were comprised of manner of singing, melody, rhythm and

accompaniment, structure and types!

David P. McAllester too in his work on Peyote music' recognised certain consistencies in

songs such as manner of singing, tempo, accompaniment, note values, structure, finals and textual consistencies.

It is the resurgence, however, of comparative musicological analysis that has assisted the

study of style:

We are again returning to the idea that musics can be compared, that they lend themselves, at some level of study to quantified comparison and that one is perhaps unable to absorb information about a

new musical culture except by making implicit comparisons to something already known. 6

The roots again of such analysis may be said to have been found in the works of Bela

Bartok (1881-1945) who formulated two objectives for the study of folklore:

1. To constitute as rich a collection as possible of peasant tunes, scientifically

classified, and principally of the tunes of neighbouring peasant classes that are in

close contact with one another;

2. To determine, by careful comparison, every one of the musical styles recognisable in the above materials, and so far as possible to trace them to their origins?

Others such as David Coplan have insisted that any approach to an analysis of style should

not reject a systematic approach where the whole ethnography of music should be included

within any analysis:

The style of a performance is itself an index of meaning established collectively over time by artists

and their audiences. As a category of performance, a style represents a distinctive system of

meaningful forms or method of treating characteristic elements, organised around the expressive

purposes and outlook of its practitioners. '

Klszko, ME.: 1999 page 216 Chapter Four

Other musicologists have advocated approaches of acoustical or physiological research. For

example, in terms of acoustical research, the investigation of data with scientific instruments such as the stroboscope, melograph or sonagraph on which Walter Graf (1903-

1982) and his student Franz Fddermayr constructed sonagrams - charts depicting the frequency and amplitude characteristics of songs, text, and staff notation. In terms of physiological research John Blacking (1928-1990) has discussed the connection between

the creation and performance of music and bodily experiences and in turn the influence on these bodily experiences of culturally learned habits and attitudes

In terms of defining the anthropological bias to any analysis of works, many

ethnomusicologists who have collected samples in the field have chosen to study them in

the context of music as culture rather than a pure study of style or content. Here it is the how and why we produce such music which is the question. It is the processes of musical

creation and performance in contrast to an emphasis on repertory or comparative analysis

which is favoured. This anthropological approach has, however, been divided between

structuralists and functionalists. The former is based on the collation and comparison of a body of material which may lead to descriptions of relationships between music and

society. Such an approach is represented in the work of Alan Lomax and his system of

analysis known as cantometrics. This system is based on the notion that there are stylistic

models which may fit a significant number of song performances from around the world. Here Lomax places styles within a scale of thirty-seven parameters where fluctuation to

each extremity of the scale illustrates the type of social structure. Lomax concludes that:

The principal discovery in cantometrics is that a culture's favoured song style reflects and reinforces

the kind of behaviour essential to its central and controlling institutions. Thus if the main productive

roles and the chief models of leadership are expressed in forceful, masculine, aggressive, and

repetitive behaviour, the song style will be strongly canted in that direction. "

Here Lomax's view supports his 1953 research into folk song material in Spain:

No branch of the human family, no matter how well- or ill-equipped technically, fails to symbolise its

social norms in a suitable song style. Each culture raises its voice in a way that speaks for its

economy, its sexual mores, its degree of stratification, its ways of organising groups, etc. "

The latter category of the anthropological school are functionalists. They intend to


understand the structures of social organisation first and determine what music means to

each member of a culture. Blacking has described this type of investigation as 'cultural

analysis' and he proposes that many of the answers to questions about musical structure for

instance may not be musical ones - the preference for a particular set of intervals, scales or harmonies may lie in historical or philosophical realms rather than musical ones. This view has been explored in Blacking's work on Venda music= where Blacking defines such

analysis as:

The purpose of the technique is not simply to describe the cultural background of the music as human

behaviour and then to analyse peculiarities of style in terms of rhythm, tonality, timbre,

instrumentation, frequency of ascending and descending intervals, and other essential musical

terminology, but to describe both the music and its cultural background as interrelated parts of a total

system

Whether any unifying approach for analysis can be adopted is speculative. Blacking

remarks:

We need a unitary method of musical analysis which can not only be applied to all music, but can

explain both the form, the social and emotional content, and the effects of music, as systems of

relationships between an infinite number of variables. "

Indeed some moves towards the fusion of musicological and anthropological concerns have

taken place. For example, the notion of a musico-socio-cultural interaction echoes Mantle

Hood's description of the interaction of musical, cultural and social entities which he

describes as musical consensus - the interaction of composers and performers with their

audiences and other music makers, cultural consensus - other creative groups involved in

cultural expression aside from music, and social consensus - institutions, governments,

hierarchical social structures, the military. In turn Hood sees these identities affected by

intrinsic or extrinsic forces:

The extent to which extrinsic forces may affect a society depends on the relative strength of its own

musico-socio-cultural consensus, its viability in terms of rejection, acculturation, and assimilation or

ultimate loss of identity. ''

Such a view of the interaction of cultural and societal effects is reinforced by David Coplan


in his discussion of South African music:

It is as essential to recreate the development, functions, meanings and circumstances of performance

as it is to establish and analyse the musical notes in which some aspects of expression are embodied. "

The importance of the importation of an extrinsic force such as balalaika music and its

effects on musical, cultural and social consensus has been addressed in earlier chapters of

this dissertation.

The use of a comparative musicological approach, however, is more suited to the

investigation I will undertake in this chapter since it is the aim to examine a sample of

works which are published or exist in manuscript. The task here is to consider whether any

stylistic similarities exist within the sample of works themselves and the sample in

comparison to traditional Russian folk music. This will determine whether a sample of

arrangements may be said to be typical of a traditional Russian approach rooted in

traditional Russian music or typical within the sample of arrangements. Here I prefer a

definition of type as that given by Anna Czekanowska:

A body of material is said to be typical when there is a common, or nearly common set of features in

terms of which the material can be characterized. "

Furthermore it is not simply the inter-relationship of traditional Russian music with

American music that is relevant but the inter-relationship between the first Russian-

American music and American music. A search for such stylistic comparisons within a

sample of works may assist in the quest for answers to the question of to what degree any

acculturation of Russian or Russian-American music took place. Acculturation as discussed

in Chapter 2 may again be defined here as an evolving process of the interaction and diffusion of cultural values and tradition, which result in the acquisition of new cultural

characteristics.

The degree of any syncretism of Russian or Russian-American music may be determined

by several factors. First is the competing strengths of both cultures and the question of how

intensely each holds on to its traditional culture. In terms of the first Russian-Americans,

their music, language, and literature required preservation at all costs. A discussion of the

bonding of the first Russian emigres to the culture of their homeland and the perpetuation


of this within the host nation has been described in full in Chapter 2. Second, any degree of

acculturation may be observed by the degree of tolerance of the cultural baggage of the Russians offered by the host nation. This too has been examined during my discussion of the early growth of the balalaika orchestra in the USA. Moreover, it was apparent that the

musics of first emigres were in part, assimilated into the cabaret, vaudeville, radio and

concert hall environments, replacing some popular works in American repertoire. Third, is

the issue of which aspects of musical style were employed by the first arrangers and

whether these stylistic devices were transported from the homeland or acquired from the

host nation by adaptation, or both. If devices were adapted from the host nation we may

expect enhancements or ornamentations to occur which are based on western musical

practice. Bruno Nettl remarks:

I myself suggested eleven responses, two of which encompass others, that is 'modernization' which

involves the adoption of western features to enhance but not replace the central musical values of the

tradition, and 'Westernization' which is the substitute of actual Western musical values for the

traditional ones. "

The enhancement approach cited by Nettl poses the question of whether a hybridisation of

two musics may take place when elements of Russian traditional music combine with the

musics of the New World. The creation of such new music need not be a wholesale

transformation. Nettl's notion of 'modernization' can simply allow the use of only a small

number of components of traditional Russian material to flourish in a work. This may in

turn spawn the composition of new material.

The wholesale adoption of a total western system of musical values is for Nettl also a

possibility and though this is obvious in the transfer of arranging technique or harmony, it

is lacking where the transfer attempts to replace structural devices of traditional Russian

folk song which are intentionally or non-intentionally employed by emigre composers.

Alternatively perhaps, the theorists of cultural pluralism or acceptance would hold that

unacculturated music can co-exist unaltered alongside the host nation's musics with each a

contribution to make to that nation's culture. Where such musics do exist in parallel, there

is, however, the issue of the transfer of function of such musics. The function of a folk song

performed in the context of a Russian rural setting, perhaps accompanying a feast day

celebration or ceremony, may accumulate modifications or enhancements on its journey to

Klszko, M. E.: 1999 page 220 Chapter Four

the cabaret, radio or concert hall environment of the USA.

Finally there is the question of whether a new musical genre or stylistic compositional approach emerged as the result of the adoption by the USA of an instrument that did not clearly fall into any established category. Some of the issues concerning this question have been previously examined in Chapter 3 in assessing whether balalaika parts made use of the full and extended timbral possibilities of the instrument or whether they simply relied upon the direct registral transfer of the first violin parts of conventional symphonic

orchestrations. It is probable that some fusion of each approach gave birth to new modes of

compositional approach or arrangement not dissimilar to those cited by David Coplan in his

discussion of the comparative values of Black American performance culture and their influence on black South African culture:

The blending of American influence into black South African culture represents neither slavish imitation of a glamorous but foreign popular culture nor the unthinking rejection of a subjugated but

precious African heritage. It is rather the result of a creative syncretism in which innovative

performers combine materials from cultures in contact into qualitatively new forms in response to

changing conditions, needs, self images, and aspirations. "

Given the variety of issues raised, each reflecting the varying degrees of acculturation, I

now intend to examine a sample of published and manuscript works of Russian and

Russian-American arrangers to present my own conclusions based on the aforementioned

comparative approach to analysis.

The procedure of selecting a sample of works for study is a daunting one when left with the

legacy of such collections as those belonging to Walter J. Kasura and Alexander Kutin. In

an attempt to examine a section of works that cross genre and function, I shall select

samples from three categories: the Russian folk song, the art work and the popular motion

picture soundtrack score. Beginning with the Kasura collection, the approach to the

selection of such a sample is dependent on determining which works in the collection have

the most number of arrangements. This is a lengthy but essential task since a large number

of arrangements of one work in each category are necessary to make any useful

comparative studies. Furthermore since many works in the collection are incomplete in

parts or scoring, a sample of works containing sufficient completed material is preferable. The works that fit the demands of locating complete manuscripts with a significant number

Kiszko, ME.: 1999

of arrangements are:

page 221 Chapter Four

The traditional Russian folk song Kalinka. Since no arrangement of Kalinka exists in the early Andreyev style, Andreyev's arrangement of Svetit Mesiats will be used

as a model where manuscript or published arrangements of Kalinka require

comparison to the arranging technique in an Andreyev arrangement;

2. The Russian art work Overture to A Life for the Czar by Glinka;

3. The motion picture score extract known as 'Lara's Theme' from Maurice Jarre's

film score for Dr. Zhivago. This example is additionally culturally and historically

relevant since it marks a resurrection of a work on a Russian theme following the

restrictive practices of McCarthyism and the shunning of all things Russian.

Another aspect which was central to the selection of a useful sample was to ensure that the

selected works not only represented a variety of Russian-American arrangers but that the

works had counterparts in the Kutin Collection. This enabled a comparative study of

important parameters such as instrumental distribution, orchestration, and the texture of

arrangements. This became especially significant in the Kutin arrangements since Kutin's

preferred scoring favoured an orchestrated mix of both native Russian and conventional

orchestral instruments.

Before any investigation may proceed, however, it is necessary to examine the context in

which the source of the material existed. The compilation of such sources enables the

placement of any work within its original context and helps to ascertain whether any

cultural, geographical and musical elements within the source migrated to a contemporary

instrumental arrangement. Much of this source material is extant and is comprised of many

of the ancient Russian folk genres. Within any categorisation of these genres, however, one

must be careful not to represent any compilation as definitively typical of genre, function or

region since musical material has the capacity, through time, to vary its regional, functional

or social aspects. Nor should any compilation be an attempt to classify all Russian folk

songs. Here, I am simply providing, as Walter J. Kasura also offers in his articles, an

overview of the various song types to act as a useful signpost to particular genres of

Russian indigenous musics:


It should be understood that such categories are merely an aid to a better understanding. The reader is

cautioned not to become too involved in a song's classification for there are some that are not easily

classified. Keep in mind, please, we are trying to obtain an orientation into this art form. We are not

involved in a project to scientifically classify all Russian folk songs. "

Furthermore the function of the songs within categories may vary:

As Soviet folklorists say, a lament in the North becomes a dance in the South: in other words a

northern variant of a song may well be performed in a protracted and melancholy manner while its

southern variant will probably be accompanied by dance 2°

Within the categories chosen to illustrate the source materials are more detailed

explanations of particular musical nuances within the framework of the structure of a piece

or the technique of performance. These elements of the musical architecture may later

provide reference points where comparative links may be made to newly arranged versions

of the source material.

TILE BACKGROUND TO RUSSIAN FOLK SONG

Russian folk song and particularly instrumental music has not been comprehensively

studied and classified. This inadequacy is largely attributable to the lack of sufficient

manuscripts prior to the first early printed collections of songs with music.

Manuscript songbooks or collections did, however, exist throughout the seventeenth and

eighteenth centuries and contained secular songs composed and performed by the middle

and lower classes. In addition to such material the music and text of religious songs known

as 'kanty' (manuscript example 18) also emerged amongst secular texts.

According to Margarita Mazo21 all these types of kanty were included in the manuscript

collections of the eighteenth century. In her translation of the work of T. Livanova, Mazo

writes:

Livanova writes that the music for the kant does not correspond at all to Russian church music and

was never sung during the service. But at the same time, she writes, 'the characteristic Russian

melodies of some kanty sometimes approach the melodic gestures of and resemble those of the

Klszko, M. E.: 1999

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Manuscript Example 18

Example of a Russian kant. From the Manuscript Collection of the Mid-Eighteenth

Century, No. 2473, GIM, Moscow. Reprinted in Magarito Mazo's introduction to

A Collection of Russian Folk Songs by Nikolai Lvov and Ivan Prach

Kiszko, M. E.: 1999 page 224

Chapter Four

Great znamenny chant (old orthodox church chant), while their general cast - harmony, parallel voice movement, and character of the melismata - discloses a kinship with church partesnoe penie' (the

practice of part singing in choral polyphony with several voice parts as performed in Russian

churches during the seventeenth and eighteenth centuries)(my parentheses). '

Furthermore she mentions that the kanty were characterised by:

A three-part vocal texture a capella, with the two upper voices in parallel thirds or sixths and a bass line that sketches basic harmonic functions. '

Mazo also cites the work of A. V. Pozdneev2' who noted that songbooks before 1700 were largely comprised of spiritual songs. Their inclusion gradually waned between 1700-1750

in favour of more secular works which predominated the collections between 1750-1800.

The early collections of published material included: Vasily Fedorovich Trutovsky's

Sobranie Russkikh Prostykh Pesen s notami (Part 1) in 1776. (Collection of Russian Simple

Songs with Music. St. Petersburg, 1776-95,2/1953); the four part collection of song texts

without music known as Sobranie raznykh pesen ('A Collection of Various Songs' four

parts (1770-1774), St. Petersburg) by Mikhail Dmitrievich Chulkov (c1734-1792); and the

Gertenberg and Ditmar songbook known as Piesennik ili polnoe sobranie starykh i novykh

rossiiskikh narodnykh piesen dlia forte-piano sobrannyia izdateliami (A Songbook or a

complete collection of old and new Russian folk and other songs for forte-piano collected by the publishers, part 1, St. Petersburg). This particular collection is undated but Mazo

points out that the dates of publication have been established by Boris Volman who dated

them only to their notices of availability for purchase in Sanktpeterburgskie Vedomosti (St

Petersburg Gazette) No. 58 of 1797 (for part 1) and Nos. 51 and 58 of 1798 for parts 2 and 323

The creation of categories of Russian folk material by genre has been achieved largely due

to the work of Nikolai Lvov and Ivan Prach who produced their collection (also known as

the LPC) of material organised by genre in 1790 26 Attempts at collating material have also

grouped works by geographical distribution - for example the later work of Mikhail

Stakhovich in the 1850s.


The collation of material by genre, however, is a satisfactory approach to categorisation

since the sources of Russian folk material are irrevocably connected to the usually

unaccompanied vocal music of ancient agricultural peoples. These musics may therefore be

identified by certain tasks which often accompanied the manual labour of daily agricultural

life. Similarly, the music of rural village life which included; wedding songs, laments,

lyrical songs, songs associated with feast days related to the annual calendar, also assist in

the creation of categories by genre since again the material can be linked to known events.

Many of the structural devices and compositional techniques employed in instrumental

versions of Russian folksongs originate in these ancient sources.

For the purposes of displaying a concise categorisation by genre of Russian folk song and

to serve as a reference for future material in this dissertation, the following categories offer

a brief survey of genres.

1. Byliny. These were epic ballads of legendary or historical content that appeared

around the tenth and eleventh centuries. The first collections of byliny appeared

during the seventeenth and eighteenth centuries. Amongst them existed the sub-

categories of bogatuyrskya which described the expoits of the bogatyrs (heroic

Russian warriors) of Kiev and Novgorod. There were also poviestvovatelnuya

which were narrative songs. Such narrative songs told of heroic deeds, the struggle

for the land and approaches of the enemy. The characteristics of byliny included a

well developed narrative style alongside a rich variety of descriptive words,

metaphors, adjectives and hyperboles. In terms of structure, the byliny may be

divided into two genres which originate in the North and South of the country. The

Northern version was known as the odnogolosnaya or solnaya (monophonic or

solo) byliny. Its construction consisted of stanzas or couplets and its rhythmic

structure followed the metrical structure of the lyrics with strong musical accents

falling on strong metrical components of the text. The Southern version was known

as the mnogogolosnaya or khorovaya (polyphonic or choral) byliny since choral

byliny were usually found among the Don Cossacks in the South East of the

country. These byliny have text and music which share in the degree to which they

feature. The music possesses its own strong melodic line often with extended

melismata and consequently may illustrate the text (manuscript example 19).

Kiszko, ME.: 1999 - page 226 Chapter Four

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Kiszko, M. E. : 1999 page 227 Chapter Four

Characteristic of both forms according to Gerald R. Seaman is:

The use of hyberbole, the 3-fold repetition of description of events, and, in the course of

performance, the employment of a pause at the end of each verse ='

The byliny were usually performed by the skomorokhi who were a band of itinerant

musicians similar to the troubadours. In Kasura's view another characteristic

structural device was employed:

The technique of the ancient troubadour's strummed introductory chord is utilized - followed by the melodic line with use of sustaining chords for background. An obligato part

is also utilized, on occasion, to enrich the basic melody line. 28

2. Historical songs. Istoricheskaya pesnya also known as stariny. These early songs

give a more factual account of events as compared to the byliny which could often

display a lighter narrative. They were songs describing famous outlaws or robbers

and recounted the events of the fourteenth century as well as the reign of Ivan the

Terrible in the sixteenth century. The form disappeared during the nineteenth

century.

3. Ritual songs. Obryadovaya pesni were regarded as the oldest of songs of a

ceremonial nature. They are usually divided into two categories of songs. First,

those related to the cycles of family life known as semeinaya. These were songs

connected to everyday life and among them are the lyrical wedding songs - liricheskaya, and celebratory wedding songs - velichalnaya. The Lvov-Prach

collection (LPC) describes the category of wedding songs as svadebnye and the

LPC is the earliest known publication to include such ritual wedding songs.

Also amongst semeinaya were prichitaniya - laments - and specifically the art of

keening, the performance of the funeral lament. Second, were the seasonal or

calendar songs known as kalendarnaya typical of central, West and South West

Russia. These were laudatory songs which were sung at festivals or used to

celebrate the harvest or to call in the spring. Amongst the kalendarnaya are

kolyadki - songs of Christmas and the New Year, maslenichniye - Shrove or Lent

songs, volochobniye - Easter songs, vesnyanki - spring songs, and zhnivniye -


harvest songs. Other types of kalendarnaya marked religious saints' days such as

egorevskiye - St. George's Day.

4. Dance songs. Plyaski. These were fast lively dances usually associated with the Russian peasant. Among them were the trepak, kamarinskaya, kozachok and gopak. Some of the more lighthearted and anecdotal songs were the pripevka, napeva, shutochnlye (happy song), stradaniya (sad song). According to Lvov, ' the

plyaski could be divided into 'ancient' forms and those 'composed in recent times'. The former employed the use of a short melodic idea which was repeated and the latter followed some of the devices heard in instrumental accompaniment. For

Lvov, the more recent versions of plyaski were preferable to the more ancient ones

and this is in stark contrast to his views on the protiazhnye songs mentioned in

section 6:

As for pliasovye songs, the ancient ones, or those which are considered as such because of

their simplicity, cannot be favoured over certain songs of recent times; this has come about

probably from the proliferation in Russia of musical instruments which introduced

semitones and musical niceties (priiatnosti) that did not exist in the old songs. The latter

consisted of repeating one very short melodic idea. "

Margarita Mazo" describes the constituent features of the pliasovye:

Decisive rhythms, simple meters, and unequivocal and symmetrical phrase structures

constitute essential elements in the melodies of pliasovye, whether 'ancient' or 'more recent' (in Lvov's terms).

The plyaski were also known for their implementation of two patterns known as the kolomyika and the kamarinskaya and these appear in several songs within the LPC. The kamarinskaya pattern gained widespread use in the urban folk material of the

eighteenth and nineteenth century. The most notable use of the kolomyika pattern, however, was the dance form known as the chastushka (manuscript example 20)

which emerged around the 1870s. The chastushka was a popular vocal and instrumental dance song, often of a satirical or humorous nature. The form had a fairly flexible relationship in terms of music and text since both components became interchangeable between other chastushkas. For example, thousands of


44. FgOBCitIIE 'IACTYIIIKLI He o'eHb CKOPO

Ja96

y«OP.: QJ. 116

(J. 116)

'4

if7


Example of a chastushka Gdovskiye Chastushki, recorded by A. P. Kuragina 1959, reprinted in F. V. Sokolov's Russkaya Narodnaya Balalaika, Moscow 1962, p. 79

UNIVERSITY OF BRISTOL


chastushka texts were sung to only a handful of original melodies. The structure of

the chastushka usually fell into two symmetrical sections with short popular

melodic phrases that would be easily accessible to the ear. They consisted of a

single stanza of couplets usually having four or six lines which were rhymed. They

were often accompanied by balalaika, guitar or accordion which usually led the

compositions into improvisatory sections and created an antiphonal dialogue

between the instrumentalists and the vocalists. Equally they could be performed

solo, as a duet or with a chorus. The technique of the lead singer accompanied by

the podgolosnik and followed by choral responses was also observed in this form.

The kadril (quadrille) was a pattern dance where a couple perform a set of

movements or figures within a section of the piece. Kasura notes a variant where a

vistupleniye is used. 2 This is a musical introduction slower in tempo to the main body of the piece and serves to bring the female or sometimes male dancers to

centre stage.

5. Round or circle dances. Khorovods. These were collective choral songs used in

connection with games and pantomimes and were very varied in their structure and

genre. They were mainly characterised by the type of choreographed movements

linked to the music. Such choreography could be processional or comprise of a

sequence of particular moves or steps which dictated the overall structure of the

dance. Amongst such dances were kragoviye - in a circle, skakulniye - jumping

songs and stenka na stenku - in lines.

The songs, mainly on the themes of nature, agricultural work or love and marriage

were usually in a slow to moderate tempo which distinguished them from the

livelier dance songs. The khorovods were particularly identified by the movement

of the singers in a circle or figure of eight and the use of mime or gestures to

portray dramatic events. The songs could have a strophic structure AABB, ABAB

or ABBA or adopt variants. Generally a zapevala - lead singer was used and the

single melodic line delivered was known as the zapev. The material of the zapev

could be passed from person to person. Also employed was a podgolosnik -a

second voice in duet or podgolosnaya polifoniya which created an underpart

polyphony similar to our own early western polyphony. The podgolosnik gradually


adds itself to the zapev and other voices known as podgoloskni may also join in. In

this kind of polyphonic folk singing each part enjoyed its own independence and was of equal stature to any other part.

6. Lyrical songs. Protyazhnye. Translated variably this term generally means 'long,

slow, or sustained melodies'. Before the end of the eighteenth century this term had

a variety of meanings which might include the tempo of a song, the genre, the

content or the manner of performance. Towards the end of the eighteenth century the term acquired a specific relationship to songs and particularly to tempo. The

1806 LPC implemented the term specifically in connection with songs with a slow tempo. Lvov in his preface to the collection indicates how he has categorised the

material:

Russian songs can be divided into protiazhnye, all of which are in minor mode and which

we call harmonic (armonicheskie), and into pliasovye, which have mostly a joyful content,

and are sung at a fast tempo, in major mode, and which we call melodic (melodichaskie). "

Lvov divided three protyazhnye into two groups; those described as 'ancient' and

those as 'composed in more recent times'. Scholars and ethnomusicologists have

also described these groupings as songs composed in rural areas and those within

an urban environment. According to Mazo" the ancient form was:

Usually to be sung in slow tempo (largo or adagio in the LPC); typically aperiodic and

asymmetrical phrase structures and irregular meters; and, most important, characterized by a

prolongation of the syllables of the text through long melismata (vnutrislogovye raspevy - multi-note melodic passages sung to one syllable).

The protyazhnye were usually of a sad and plaintive character and this category

contains the largest number of Russian folk songs. The subject matter of these

songs was extremely broad ranging from love songs to soldier and recruiting songs (rekrutskaya) and from songs of marriage, to the songs of Siberian exiles (katorzhniya). They are generally concerned with the domestic activities of

everyday life. Since these songs depended less on specific rituals linked to religious

or feast events these songs travelled more freely amongst the peoples of the CIS

enabling variants to emerge across geographical regions.

Kroko, M. E.: 1999 page 232 Chapter Four

The protyazhnye of 'composed in more recent times' possessed features that were

most probably acquired from modem instrumental accompaniment. Using the

example of Dorogafa mofa matushka, facsimile 43 in the LPC such features are described as:

The use of a leading note in harmonic minor, leaps of a minor sixth to the leading tone, and

adjustments of the melody to comply with harmonic progressions in the accompaniment,

particularly in bar 5). "

7. Ecclesiastical folk songs. Dukhovnye Stikhi. These were songs composed in the

style of Byzantine church music and included beggars' songs and the songs of

wandering cripples.

8. Lullabies or cradle songs. Kolibelnaya. Slow melodious songs.

9. Gypsy songs. Tziganskiye and Sharrnanki. A broad range of gypsy songs from the

rhythmic songs of the Gypsy cabaret (sharman1a) which include tangos, ballads,

waltzes, polkas and two-steps to the slower laments.

10. Work songs. Pripevki. These accompanied physical work and were usually based

around a call or a cry to incite action or to create a rhythmical action associated

with manual labour.

Given the examples of Russian folk song genres which are available, I intend to analyse an instrumental version of a traditional folk song and determine which features of the

traditional arrangement, if any, have been preserved. It is prudent, however, to first

authenticate the source material and establish which source or variant should be examined. Variants might consist of the following:

1. A variant of a source that is manuscripted and scored for an instrumental ensemble

rather than the expected one stave of score representing a received oral tradition;

2. A variant which is significant because of its country of origin. Is the variant of

American or Russian origin and how does any national identity, time of issue or


political or social climate influence the variant?

3. A variant which exists because of licensing or publishing laws. In Soviet Russia

issues of censorship and licensing laws disasterously affected the authentification

of folk song material. Modifications to arrangements during the Soviet era ranged from the minimum extraction and substitution or words or notes to an extensive

remodelling which included a fundamental change of text, melody or even harmony.

Some of these variant arrangements were also modified to suit existing licensing

laws at the time. In certain localities, for instance, licensing and copyright laws

may have dictated which performers or instruments should be employed - perhaps

instruments or performers not representative of the locality. When, subsequently,

these performers as emigres carried their version of a song abroad, it was

published in the new country of residence as an authentic version representative of

the locality of the emigres' homeland. A similar conundrum arose with

arrangements published in Czarist Russia. Arrangements of songs were often

peddled to the general public as being original arrangements from the repertoire of

a famous performing artist. Given that the artist was probably linked to a foreign

publisher it is likely that the same aforementioned copyright and licensing laws

affected such arrangements making them actual 'unauthentic' versions that the artist

simply'product endorsed'. Most if not all variants therefore are unacceptable under

these circumstances.

4. A variant which has yielded many versions. This raises the question of what to

select from the quantity of variants and also challenges the search for

authentification. Many variants of the same song can often indicate the continual

transportation of the song by word of mouth to other geographical regions. Within

these regions nuances of performance may take place - the addition of ornaments

for example or deviations of rhythmic units based on local dialect. The result is a

set of variants which have evolved from a source that no longer exists as first

composed or received by oral tradition.

5. The customisation of variants. This also hampers the search for authenticity. In this


scenario source material has often been superseded by customised arrangements for specific individuals, performances or venues. In the case of vocal soloists any

customisation would be apparent on manuscript by a change of key signature or

vocal range. Where a variant fulfils an obligation to a particular ensemble or

performance, the work should display particular indiosyncrasies. These may again include customisation for a specific soloist or display orchestration to fit the

structure of an ensemble made up of available talent in a certain city or area.

Under Kasura's guidance76 the advice is that manuscripted music should be eliminated from

consideration as a source for arrangement. His anxiety here rests on the issue of key

signature and modulation and consequently the premise that manuscript music may have

been written to suit only the requirements of a particular performer. This obviously forced - due to range - perhaps only one key change in the work. As a general rule therefore Kasura

opts for printed and published music. If, on examination, that version has only one key

change then that too is eliminated. Otherwise it is kept for further consideration.

Once the notion of an 'authentic' piece of published printed music is considered, the

question of the publishing house's nationality deserves clarification. Kasura accepts Russian

printed music specifically from the Czarist years over any foreign publications. The Soviet

era is rejected since the verification of song types is more difficult as music was often

classified using politically acceptable labels. Kasura cites an example where some of the

older gypsy songs of the Czarist days had found themselves classified in music books as

folk songs or waltzes and romances. Kasura supports the old German firm of Zimmerman

which had a license from the Czar to publish Russian music as well as manufacture

authentic folk instruments such as balalaikas and domras.

Since the issues relating to the background to Russian folk song and its sources have been

discussed and the parameters of Kasura's judgements on manuscript or printed sources are

understood, it is now necessary to examine the first set of samples chosen for investigation.

The folk song Kalinka is generally representative of the traditional Russian folk song which is of a jocular type. It is the manuscript and published sources of Kalinka which will now be examined to determine the degree of their authentification as representations of the

traditional song. Once any authenticity of transcription is established it is necessary to

assess which traditional aspects of the source arrangement are preserved and whether

Kiszko, ME.: 1999 page 235 Chapter Four

modifications based on Russian traditional techniques, Russian-American arrangers'

guidelines or influences from American musical life have infiltrated the sample.

Although the sample of arrangements may be considered a reliable or authentic

transcription, one must remember that these songs were originally transcribed from aural dictation. As such, the original manuscript may itself be an unauthentic variant of the oral

performance with its nuances of dynamics, ornamentation and rubato.

To assist the task of a comparative analysis I have devised a series of charts which reduce

the scores of Kalinka to a structural framework representing the patterns of recurrence

within the works. Here the musical material is reduced and a letter applied to each section.

This will enable any structural similarities to be easily identified across the sample of

arrangements. For example, the chorus of Kalinka will always be designated 'A' and the

verse U. The following example illustrates both the verse and chorus structure (manuscript

example 21) and the source of the example is given in manuscript example 22.

Chorus

Verse


Structure of the verse and chorus of the Russian folk song Kaiinka. Source is example 22.

The relationship of letters A and B are designated as follows: A indicates a refrain

including the same text; B indicates the verse with the same text; a indicates the refrain

with different text; b indicates the verse with different text, and the terms 1/2A, Al/2,1/2B,

B 1/2,1/2b, b 1/2 indicate that the first or second half only of the verse or refrain are used.

These are linked on the chart to section numbers which identify the section number arrived

Kiszko, ME.: 1999

r", c. 560 opt: 10 .

KA. HHKA Pyccxaa xaponaa necxa

C Asx�ceaxeM 6or"i A. AAEKCAHAºOBA lßä y

7. Iýfiýrýº-'t ii-

S.

Na

-41 Ft

AMN as, is aJo . Y!. [o =MM . [1 MO O sea.

{

il OA co "MO. 10, "OA ae. dC . MO . W. tnlTb nO. AO . HIN . TO

40 Cnan no. ao , acw To eu we . Ha.

IP --77-

7170 " aMý thil p. plow u)


Source of example 21. A. Alexsandrov's published arrangement 10 (EC580) in the

Kasura collection, University of Illinois


VNUYZA

''1, Il il


- i, -7 7

Ka JMN . us. [a _ AIOI . as. to . J! IIH . as No . A. 0 Ca. Ay

e

1CaANNKa, iaaMMKa, KaAMM=a Mon, 4T1 ME6 B c*J[7 ArOaa YaANNKa, 1 aANNKa YOA.

3x1

1 flog cocnoa, noA xreeome. Cnarº nono71 NTe aw reHA.

Axl

Aii, aroa., awa,. AA, aIoaN. aroai, Cnarº n0AO)KNTe sY McIA.

"" i

KSANNIIa, M*ANNKa, tIANNKa MOS. 4T1 Mf 8

B cagy aroaa raaxnUa, raaNNKa WW-

I. Coeenyunta. tu aeAexaa, He UZYNN TY HUe NMOA.

A; 1

Ail, RICAN, AKanw, Al. Alojn, RICAN. H. WYNN TU Naito mmoll. KIANNKU, KIAMMKl, IaMNNK* VQ*" B easy aroAa YIANNK$, I' NN=a roa,

4 TIMES

3. KPacaaKua, Ayala AlKMya. noAmo N 7[! TY weKA,

A: 1

All. AKMN, AIo

AA. AKIAN, RICAN. IIOAIOÖN 7KO TU MONK. KLKNNK$, : IANHKa, R&ANNKI YO11, B eaAy aroaa YUANNKK, ö*ANNKs roa.

5 TIMES

Manuscript Example 22 contd Source of example 21. A. Alexsandrov's published arrangement 10 (ECS80) in the



at in the score at any point of pattern repetition. Some scores omit section numbers and in

these instances they are similarly omitted on the charts. In all examples all repeat markings

or returns to signs have been honoured. The abbreviation INT signifies an introductory

section to an arrangement.

The charts also display a graphic representation of the elements of orchestration. This

illustrates the distribution of material and the role which the material is given within the

piece. This is illustrated by the following legend (figure 26):

Some horizontal columns are also divided into two halves. This is usually representative of

the prima domras and describes an arrangement where the PDs as firsts and seconds are

playing divisi material. Furthermore, a complete overview of compositional devices

associated with traditional Russian folk material and which may be found in the

infrastructure of each arrangement is illustrated by a grid which notes the inclusion or

exclusion of the following devices:

Introductory chord = IC

Introduction =I

Variations of melodic material = VM

Increased complexity of melodic material = ICM

Key modulation = KM

Counter melodic material = CM

Octave and unison doubling = OUD

Ascending and descending scalic passages = ADS

Drone pedal or interrupted drone = DP

Tutti finale = TF

Progressive increase in tempo = PIT

Progressive increase in dynamics = PID

Melismata =M

Fermata =F Ornaments =O Tremolo =T

Kis: ko, Al. E.: 1999

Mu1_dic material

counter melody or acco rtpaniment

Glissando ascending

"ýýýýýýýý' (; lissando descending

Scel i pd. ssdyes

Aipeggiation

!!!!!!!!! '! `! Drone or pedal

. T. T ... Imitative material T=Tatet


Figure 26

Legend explaining the symbols used on the charts representing the

structure and the elements of orchestration

In a later section on the analysis of Glinka's Overture to A Life Jior the ('--ar the grid will

adopt the following different set of abbreviations.

S= Follows original Glinka structure exactly

MS = Minor modifications of structure discerned

I)S Includes developments oforiginal structure Includes traditional elements interpolated from traditional Russian folk song

= Any melodic or harmonic invention is identical to the original score

MI = Invention is modified and different to original score

IYfR-= Direct transfer of registral material

I' V= Themes originating on flute or violins are transferred to PI)s or P13s

MR 1= Mid-range themes are transferred to AI)s

13M = Bass material is transferred to 13I), 1313, and (13

SO = Staccato or ostinato is transferred to lower domras or halalaikas

MT= Themes possess a mixture of timbres

01 = Orchestral instruments are included within the arrangement

011= Orchestral instruments follow exactly the orchestral instruments of Glinka's score

Kiszko, ME.: 1999

The grids also include the following abbreviations:

Alt.

Acc.

Part


= alternating

= accordion/bayan

= partial use

In addition to the charts, additional analytical information will be provided on each

arrangement. This information provides a detailed commentary on specific compositional

devices which may include the use of polyphony, antiphony, the zapev and podgoloskni,

tonkii golds voicing, strophic structure, strong metrical accents and the increased

complexity of material within a piece. It will also provide a discussion of the methods

used by arrangers to distribute thematic or harmonic material and timbral, textural or

registral elements. The presentation of the global view provided by the charts alongside a

commentary on the arrangements will result in the collation of useful data to gauge

which similarities, if any, the arrangements share between themselves and their original

sources.

VARIANTS OF KALINKA IN THE KASURA COLLECTION

The Kasura collection possesses nineteen arrangements of Kalinka. The following group of

sixteen are catalogued under shelf list number 580 in Preliminary Checklist and Index of

Ensemble Music in the Walter J. Kasura Collection of Russian Folk Music"

1. Manuscript parts for seven part Russian folk orchestra (PDI-II, AD, BD, SB, AB,

CB) to accompany vocalist. The parts are written in an unidentified hand;

2. Arrangement by Gorodovskaia with instrumentation by Leonard Davis in the hand

of Kasura. Manuscript parts for solo balalaika with ten part Russian folk orchestra

(Accordion, PDI-II, ADI-II, BD, PB, SB, AB, CB). The solo balalaika part is

missing;

3. Arrangement by Walter Kasura to accompany soprano Ludmila Mishnaevskaya.

Manuscript parts for nine part Russian folk orchestra (accordion, PDI-II, ADI-H,

PB, SB, AB, CB). The vocal part is not included;


4. Arrangement by Walter Kasura to accompany soprano Sonya Chamina.

Manuscript parts for nine part Russian folk orchestra (PDI-II, ADI-II, BD, PB, SB,

AB, CB). The vocal part is not included;

5. Arrangement by Walter Kasura (similar to arrangement 4) but comprised of an incomplete set of parts;

6. Arrangement by Walter Kasura. Manuscript score and incomplete set of parts for

accordion and ten part Russian folk orchestra (PDI-IA-II, ADI-II, BD, PB, SB, AB,

CB);

7. Arrangement by Walter Kasura. Manuscript score for nine part Russian folk

orchestra (PDI-II, ADI-II, BD, PB, SB, AB, CB);

8. Arrangement by A. V. Alexsandrov in the hand of Kasura. Manuscript score for

accordion and ten part Russian folk orchestra (PDI-II, ADI-II, BDI-II, PB, SB, AB,

CB);

9. Arrangement by V. Levashov and A. Shirokov. Photocopy of a published score for

SATB chorus, gusli, 2 bayans, winds (oboe or flute), horns, domras (PDI-II, ADI-

II, BDI-II), balalaikas (PBI-II, SBI-II, ABI-II, BB, CB) and percussion (small bells

and tambourine). The arrangement does not specify how many domras or

balalaikas are assigned to each part;

10. Arrangement by A. Alexsandrov. Photocopy of a published score for tenor solo

with chorus (T, B);

11. Anonymous arrangement. Photocopy of a published score for voice and piano from

a folk song album. Has chord symbols and lyrics in English and Russian;

12. Unidentified miscellaneous parts for plectral ensemble, marked ̀Talya';

13. Arrangement (probably Kasura) in the hand of Kasura. Incomplete manuscript

score for Russian folk orchestra;

Kiszko, M. E.: 1999

14. As 13;

15. As 13 and 14;


16. Arrangement by A. V. Alexsandrov. Photocopy of a published score for tenor solo,

chorus (SATB), 2 bayans, domras (PicD, PDI-II, ADI-II, BDI-II), balalaikas (PB,

SB, AB, BB, CB), and percussion (Tambourine). The score does not specify how

many domras or balalaikas are assigned to each part.

The following arrangement is shelf list number 182 in the above catalogue.

17. Arrangement by Walter Kasura. Manuscript score for seven part Russian folk

orchestra in the hand of Kasura. Arranged to accompany soprano Dora Bosher.


18. Arrangement by P. Biljo in the hand of Kasura for six part Russian folk orchestra.

Manuscript arrangement for PDI-II, AD, BD, AB, CB. Score also included which

has vocal part.


19. Arrangement by A. Ivanoff. Manuscript parts for eight part Russian folk orchestra.

(PDI-II, AD, BD, PB, SB, AB, CB) in the hand of A. Ivanoff but PDII and BD

parts are in an unidentified hand.

KALINKA IN THE KUTIN COLLECTION

The Kutin collection possesses the following arrangements of Kalinka as described in a handwritten list of works in the hand of Kutin in the Alexander Kutin collection at the

University of Illinois.

Arrangements 1-3 found in file number 17 and listed as 17 in the Kutin catalogue.


Chapter Four

1. Arrangement transcribed by Kurt Schindler. English version by Jane and Deems Taylor and K. S. for Tenor solo and chorus (SATB) and piano. Photocopy of a published part song for mixed voices version from Songs of the Russian People;

2. Anonymous arrangement for vocals and piano with lyrics in English and Russian. Photocopy of a published score from an unidentified song book;

3. Arrangement by A. V. Alexsandrov for tenor solo and chorus (T, B). Photocopy of a published score;

4. Arrangement in G minor attributed on score title page to A. V. Alexsandrov.

Incomplete manuscript score and parts in the hand of Kutin. Scored for flute, oboe, Cl. in Bb, bassoon, con? trumpet?, horns, timpani, coir (SATE), domras (PDI-II,

ADI-II, BD), balalaikas (PB, SB, AB, BB, CB) A'guitar balalaika' part is found in

the accompanying parts but not on the score. Kutin probably used Alexsandrov's

vocal arrangement and arranged his own instrumental material around it;

5. Arrangement in G minor probably an arrangement of Kutin's in the hand of Kutin.

Manuscript parts for violin, viola, flutes, clarinets, bassoons, 2nd bassoon and bass

marimba, tenor saxophone, accordion, piano, harp. Since the parts were found

alongside arrangement 4 in the file one might presume that they were meant to be

included in the instrumentation for arrangement 4. For the purposes of analysis,

these parts have been collated and added to arrangement 4 and are described as

arrangement 4 later in this Chapter;

6. Arrangement in F# minor in the hand of Kutin. Title page denotes Music by A. Tcherniawsky. Kutin probably means the arrangement is by Tcherniawsky. Manuscript score for PDI-II, ADI-II, BD, PB, SB, AB, BB, CB.

The following arrangement is numbered 17B in the Kutin catalogue.

7. Arrangement in A minor. Probably an arrangement by Kutin in the hand of Kutin.

Ms score and parts for flute, oboe, clarinet, bassoon, PDI-II, AD, BD, PB, SB, AB,

CB. Parts include extra instrumentation not found on score: bass clarinet, horns,


trumpet, piano.

THE ANALYSIS OF KALINKA IN THE KASURA COLLECTION

For the purposes of the comparative analysis of the folk melody Kalinka in the Kasura

collection, I have selected several arrangements from the nineteen listed. Arrangements 5,

13,14 and 15 have been omitted from my selection since they are either largely incomplete

as a score or as parts. Arrangements I and 12 have been omitted since their manuscripts

cannot be attributed to a composer.

Arrangements 9,10,11, and 16 are photocopies of published scores. Since these were

collated with the other arrangements listed under Kalinka in the Kasura collection one must

ask the question whether these were simply other collected versions of the folk song or

whether they were source references used by Kasura for his own arrangements.

Arrangements 2,3,4,6,7,8 and 17, all attributed to Kasura, will be examined to ascertain

whether they are indeed based on the published sources. Arrangements 18 and 19 by Biljo

and Ivanoff respectively will be investigated to determine whether these were used as

source material by Kasura or whether they were simply variant additions added to his

library.

Once Kasura's sources are located and any cross references observed, I intend to discuss

which traditional aspects of the folk song have been preserved or adapted.

THE CHARACTERISTICS OF PUBLISHED ARRANGEMENTS 9,10,11 AND 16

OF KALINKA AND THEIR RELATIONSHIP TO TRADITIONAL RUSSIAN FOLK

SONG MATERIAL

The earliest Russian folk melodies had modal characteristics but here we are dealing with

Kalinka transcribed in the diatonic G minor - except for arrangement 11 which is in E

minor. This is usually indicative of folk songs from the later period of Russian folk

polyphony when the harmonic language and tonal range expanded during the sixteenth and

seventeenth centuries.

In terms of the song's structure, it appears generally in a two or three verse format based on


a strophic structure where each verse is preceded by a chorus which also ends the song.

Globally the structure is an extension of 'carole' form where chorus precedes verse with

each chorus having the same text and each verse different text. Where AB equals same

music same text and a/b equals same music different text the result is AABAAbAAA or

AABAAbAAbAAA when a third verse is added. In addition, a variation in the number of final statements of the A refrain or chorus may take place. Such a structure exploiting

contrast and repetition may represent the sections and cyclic motion of Russian folk dances

or the responsorial contrasts observed in the calling or hailing of a lead voice successively

answered by a chorus response -a device often executed by groups of singers when

performing in the fields or countryside.

Each published version shares identical isorhythmic units as well as metrical units with

strong accented beats of the piece marling strong metrical units of the text. There is also

identical melodic contour except for one minor ornamentation in Arrangement 9 at two bars

before section 5 (manuscript example 23). Here the second beat of the bar, normally a

crotchet Eb, is transformed to a quaver Eb departing to its upper neighbouring semi-quaver

note F and returning to a semi-quaver Eb before resolving to the dominant (D major) of G

minor in the next bar.

An. 10 and 16 10 - barn 26-27 16 - bars 27.28

Tenor

Arr. 9 bars 35-36

Tenor Solo


Ornamentation in arrangements 10 (EC580) bars 26-27,16 (EC580) bars 27-28, and 9 (EC580)

bars 35-36 of Kalinka, Kasura collection, University of Illinois

The characteristics of polyphony within the published variants display successions of 2nds,

3rds, 4ths, 5ths, 6ths and 7ths which are typical of an extended palette of intervals which


transformed some Russian folk melodies from a narrow modal range to a diatonic one. The

overall range of the melody from fl to g2 also indicates that the melody does not lie in the limited ranges of ancient sources. It is probably tailored to fit the expanded range of the

professional soloist. On the basis of these observations and for the purposes of this study I

am treating the published variants of Kalinka as originating in this later period of Russian

folk song.

Two other features of the folk song which are common to each published variant are also of

relevance. First, the use of the fermata on the final note of the verse before the repetition of

the chorus. This provides an expectation of the chorus and shares a characteristic common

to the genre of the Russian byliny. The byliny structure usually includes the repetition of lyrics and melody, and during performance, often a fermata at the end of the verse.

Second, arrangements 9,10, and 16 possess a drone or pedal on the dominant note D. In

arrangements 10 and 16 this appears as an inverted pedal in the Ist tenor part and Ist

soprano part respectively (although arrangement 16 has the marking 'Choir' at the side of

the stave which could indicate T, B or SATB), whilst in arrangement 9 the alto carries the

opening chorus melody (as in arrangements 10 and 16) but the drone D is carried by the

domras in the score (manuscript example 24). The simple arrangement 11 in E minor only

has the melody as distributed to the altos in the other three variants.

Why is the D drone there? Perhaps it connects the work to basic folk polyphony accenting

the tonic-dominant relationship which is cadentially emphasised at the end of each chorus

phrase.

Perhaps Glinka's observation of the fifth as the 'soul of Russian music' has permeated the

harmonic structures of these early arrangements. Or is it, perhaps, a further representation

of folk polyphony? An ancestral voice of the zapev, the single melodic line which the other

podgoloskni voices joined. Traditionally, the zapev would have begun the piece and would

be succeeded by other voices. This however, is contrary to what we observe in several of

these arrangements where a vocal chorus begins the piece. Of note however is the fact that

the tenor or soprano D does enjoy equal stature dynamically with the other vocal parts,

reinforcing the fact that in folk polyphony each voice is as important as any other.

Kiszko, M. E.: 1999

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Kasura collection, University of Illinois U1VFVERSiTY OF BRISTOL

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To conclude the examination of the published arrangements some comments about instrumentation and texture will be noted. Arrangements 10 and 11 are simply scored for

tenor and bass voices and piano and vocals respectively. Arrangements 9 and 16 offer more

scope for study since they are scored for what constitutes a fairly substantial Russian folk

orchestra.

ANALYSIS OF ARRANGEMENTS 9 AND 16

Arrangement 9 possesses many of the features already mentioned as constituents of Russian folk material. These have been noted on the arrangement's corresponding chart (figure 27). Some of these features should also be identified here to illustrate any

relationships between the published arrangements and traditional material.

Zapev/Podgoloskni

The arrangement commences with an introduction constructed from the first phrase of the

verse answered by the last phrase of the verse (manuscript example 25). This illustrates the

basic responsorial function of the zapev and podgoloskni and possesses a standard bayan,

domra and balalaika section accompaniment. Bayan I, PDI, ADII and PBI have the melody

answered by the flute or oboe, a choice of which is specified in the score. This is later

revisited in the statement of the verse B where following a tenor solo statement of a verse

line, the rest of the choir enter the line with accompanying parts.

As an aspect of the zapev/podgoloskni or of the polyphony in general the use of repetition

and imitation is also prevalent. The tenor solo of the verse is answered a bar later in

imitation by hand bells and pizzicato PB. Imitations or repetitions are often located in

traditional Russian folksong as a result of the repetition of phrases or sentences within the

text or as a consequence of internal structural devices of the lyric such as alliteration.

Tonkii Golos

The use of unison and octave doubling in the arrangement are particularly representative of

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the traditional Russian folk song. In the choral polyphony of western Russians, unison

singing is mainly articulated perhaps as a result of the functional aspects of the folk song -a group of workers singing and working the land for example. Octave doubling too is

represented in traditional songs and specifically in the northern parts of Russia where the

technique known as tonkfi golds is executed. Literally meaning 'thin voice' this technique duplicates the melody an octave higher. In terms of arrangement 9 such doubling is

apparent in the tenor solo of the first verse B which is supported by bayan an octave higher

(manuscript example 26). The displacement of the melody an octave higher recurs again

within the statement of the verse B eight bars later. Here the third line of the verse acquires PD and PB two octaves and one octave respectively above the tenor solo - again

reminiscent of the tonkii golos.

Notable too in terms of texture on the chart is the fact that the wind section has very little to

do within the context of the piece and is fundamentally used to offer timbral colour at

particular points.

Drone

The balalaikas continue their accompaniment against the continued long drones of the

domra on F, identifying perhaps a relationship to the aforementioned use of the drone in

early polyphony. The drone on D is also taken by PDI-II and ADI-II at the first chorus

against a plucked BD alternating V7c-V in unison with the BB and CB (manuscript

example 27).

Increased Complexity

The progressive use of decorative scalic runs throughout arrangement 9 and the addition of

instruments in later sections to enhance the complexity of texture suggest that the

arrangement appears to follow models of tempo change and texture representative of most

traditional Russian folk songs and dances such as the chastushka. The traditional

chastushka whilst following the verse/chorus structure of the Russian folk song also

provided numerous variations of instrumental material as the piece progressed. This usually

meant that instruments would only occasionally feature the basic theme. Primarily they

would be engaged in decorative elements of the material to allow for the simple vocal lines

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24 of Kalinka, Kasura collection, University of Illinois

Kiszko, M. E.: 1999

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Kasura collection. University of Illinois


of the chastushka to be prominent. Kasura points out:

The orchestration of the musical background accompanying such dance performance starts in a slow

but rhythmic cadence. It accelerates in tempo and complexity of the melody line as the dance

continues. 38

Here arrangement 9 allows the voices to feature the melodic material whilst the PDs, bayan

and PBs have little melodic activity and feature decorative elements of the material instead.

In terms of the increased complexity visible within the piece, the final set of choruses illustrate this device with scalic semiquaver runs firstly on PDI-II against the ADI-II D

drone and then by PDI-IUADI-II four bars later (manuscript example 28).

These passages are commonplace in domra or balalaika ornamentation and are effective in

their execution on the instrument. PDI-II are supported in unison by the wind at this point

and at a third below on the bayan. The final statement of the melody in thirds in the

sopranos and altos at the third and final chorus statement is supported in unison by the PDs

and by the addition of the horns (rozhki). It is also given full textural possibilities by the

PDs in their most brilliant range. The tutti finale provides the culmination and cadential

ending of the sections of increased complexity both in terms of melodic invention and

tempo.

Instrumental distribution

Even though the score is primarily led by the vocal parts the distributional aspects of the

chart display the key roles that the PDs and PBs in terms of the provision of melodic

material. The recurrence of this role will be identified in other arrangements. The rest of the

balalaikas follow a typical plucked accompanimental pattern - usually CB marking the

beats and the SBs and ABs marking the quavers off the beat and this represents the standard

accompaniment offered in many arrangements.

ARRANGEMENT 16

From the chart of arrangement 16 (figure 28), most of the constituent elements of the

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Russian folk song appearing in arrangement 9 are evident in arrangement 16. These include

the distribution of melody and accompaniment, the use of solo and ensemble voices and the

transfer of scalic passages previously found on the domras to the bayan. The bayan is also

given imitative answers to the tenor solo after the first phrase of the verse. The use of

responsorial devices indicative of the zapev/podgoloskni and the employment of the drone

to emphasise the tonic dominant relationship are also noticeable. The drone D is actually

scored into the voices in the top part as an inverted pedal as well as appearing in the bass

vocals and alto domras in choruses 2-4 inclusive. Arrangement 16 also follows a similar distribution of instrumentation to arrangement 9 minus the wind and horns. The balalaikas

fulfil their standard accompaniment as the PiccD and PDs support the melody in thirds.

Absent from the arrangement are any markings directing an increase in tempo or increase

in dynamics. In contrast the work adopts alternating dynamics for verse and chorus

ranging from pianissimo to mezzo forte. To conclude, however, the published sources 9,

10,11 and 16, do manifest many common characteristics and present a picture of some

of the features of the structural, melodic, rhythmic and distribution characteristics of

traditional Russian folk song or dance.

PROCEDURES FOR THE COMPARATIVE ANALYSIS OF THE UNPUBLISHED

ARRANGEMENTS OF KALINKA WITH REFERENCE TO THE TRADITIONAL

DEVICES OF RUSSIAN FOLK SONGS LOCATED IN THE PUBLISHED

ARRANGEMENTS.

It is now necessary to transfer some of the characteristics or constituent elements

discovered in the aforementioned published Russian folk song arrangements to the sample

of selected manuscript arrangements in the Kasura and Kutin collections. The question of

whether Kasura and his fellow orchestrators employed similar elements of the published

variants or whether they incorporated traditional or newly acculturated ones within their

arrangements may now be examined. For the purposes of comparative study I intend to use

the following procedure to investigate the sample of manuscripts selected:

1. To examine the arrangement against the traditional folk song form as represented in published scores in the Kasura collection;


Chapter Four

2. To examine the arrangement accommodating Kasura's guidelines on the

arrangement of folk song material. These guidelines are expressed in both documents and draft papers in the Kasura Collection;

3. To examine the arrangement against a published score from the Andreyev period used as a model so that a comparative statement about the use of instrumentation

can be made. As previously mentioned, Andreyev's arrangement of Svetit Mesiats

will be used for this purpose.

SELECTED MANUSCRIPT ARRANGEMENTS OF KALINKA FOUND IN THE KASURA COLLECTION

Arrangement 2

Arrangement 2 (figure 29), is attributed to Leonard Davis and the arrangement is

executed in the hand of Kasura. The score is missing but can be constructed from the

instrumental parts all of which are extant except for an additional solo prima balalaika

part. It is highly probable that this part would have been written for a specific soloist,

perhaps Davis himself, and like many parts of this kind would mainly feature the

melodic material of the work. Also, given that the other parts display some gaps where

melodic material is absent and are accordingly marked tacet, it is natural to assume that

the solo prima balalaika would supply the theme at these places.

Of particular significance to this hypothesis are the two groups of rests at section 1 bar 3 for

seven bars duration and at section 2 for eight bars duration. All parts are tacet at these

points. There is also a cadenza marking in each part at the bar before section 12 though no

part gives any indication as to whom the candenza might belong. Again it is highly

probable that the cadenza belonged to the soloist (manuscript example 29).

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Kiszko, M. E. : 1999 page 260 Chapter Four

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Rests and cadenza marking in arrangement 2 (EC580) at sections 1 and 3 and before

section 12 of Kallnka Kasura collection, University of Illinois

What then are some of the most common characteristics in the Davis arrangement which link it to traditional sources and the published arrangements examined thus far?

The cadential opening of the arrangement (manuscript example 30) dominant to the

dominant seventh of the tonic key of A minor is reminiscent of a classic device carried

through from the time of the skomorokhi - the early Russian troubadours. The skomorokhi introduced their songs with a strummed introductory chord on the gusli before the melodic line was introduced. This device is successfully employed by domras and balalaikas, who in this arrangement, execute the first minim chord with a fermata and tremolando before

fully striking the quaver chord at the start of bar 2. The opening, therefore, illustrates the

traditional introduction characterising this device.

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Opening chords of arrangement 2 (EC580), section 1, bars 1-2 of Kalinka,



Structurally, the previously discussed 'carole' model of chorus preceding verse is employed

with an increased number of repetitions of the chorus in between verses. The repetition of

such sections aids the anticipation and excitement but in contrast to previously discussed

traditional forms an increase in complexity of material towards the climax of the piece is

rejected. Only a hint of increased complexity may be observed from section 4 onwards both

in the use of motivic fragments and the introduction of melismata particularly in the

accordion part (manuscript example 31).

Acc.

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Increased complexity of material in the accordion part of arrangement 2 (EC580), section 5,


The latter part of the song has a significantly high level of uncomplicated musical

development. Firstly, this may denote that the arrangement was scored with the playing

standards of particular amateur groups in mind but secondly the increased accelerando,

which typifies the dance music when Russian folk dancers increased their tempo alongside

the addition of further musical variations, remains constant. The choice of maintaining

tempo may have been a consideration of the arranger in matching the complexity of

material to its suitability for instrumental execution. This tempo increase, however, is

introduced in section 7 marked 'poco a poco accelerando' and concludes in 'fast' tempo by

section 8 pulled back to 'slowly' at section 10. The change of tempo here recalls the tempo

at the opening of 4 and is a probable reference to the slow sections of Russian dances which

allowed space for the elder members of the village dance troupe to perform. Structurally

the arrangement fulfils many of the requirements expected by Kasura as well as following

traditional devices of the Russian folk arrangement:

In lively folk dance songs and numbers, the technique is to vary the melody line from its original

'simple' form to one using some syncopation, followed, in turn by full variations. The build-up

Kiszko, ME : 1999 page 262 Chapter Four

continues using key-changes, tempo changes, and even switching the melody line or variant thereof from section to section. "

The amount of variation within the arrangement is, however, not extreme and one is able to

note that generally the theme is stated in its raw state in sections 6,13,17-21. One might have expected the invention of the arranger or his obeisance to a traditional model illustrating increased complexity to feature throughout the piece. In contrast, the latter

sections of the arrangement, apart from the accordion semiquaver runs at 21-22, display a

simple theme doubled lower at the third or unison accompanied by a standard plucked

accompaniment on and off the quaver (manuscript example 32).

Other traditional elements that Kasura describes on his sheet entitled Arrangement

Guidelines for Russian Folk Music (document 3 included in Chapter 3), '0 are also present in

the Davis arrangement. Notably the use of harmony with parts moving in parallel thirds,

octaves and fifths - for example the thirds and octave harmony on PDI, ADI, and PBI at

section 17 with parallel fifths noticeable in the bayan accordion part at this point

(manuscript example 33).

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Harmonic and intervallic structures in arrangement 2 (EC580), section 17 of Kaiinka, Kasura

collection, University of Illinois

Fl -71 div.

Kiszko, M. E.: 1999

21

PDI

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Domra and balalaika orchestration in arrangement 2 (EC580), Kalinka,




Chapter Four

Kiszko, M. E : 1999 page 265 Chapter Four

In Kasura's procedures for arranging found on his sheet Arrangement Guidelines for

Russian Folk Orchestras (document 3) Kasura lists approaches to arrangement that should

be avoided. Amongst these are: key change as a form of variation; major and minor 6ths for

dissonance; and melody line for bass solo. It is interesting to note that these procedures are

actually present in arrangement 2. The key changes have been previously examined. Sixths

are observed in the accordion part at the beginning of section 4 and at section 18 the

accordion takes the melody as its bass figure (manuscript example 34).

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Melody as a bass line in the accordion part of arrangement 2 (EC580), section 18 of Kaiinka


It is interesting to note that although these indiosyncratic orchestration procedures occur in

the Davis arrangement - they are left unaltered as Kasura transcribes the arrangement. This

clearly contradicts some of the criteria of Kasura's rules for the arrangement of Russian folk

music.

Given that there are slight differences between what Kasura suggests as guidelines for

arrangements and how his contemporary Davis actually arranges the folk song, how does

the arrangement compare to the traditional approach to arrangements for balalaika orchestra

as exemplified by Andreyev?

THE COMPARATIVE ANALYSIS OF ARRANGEMENT 2 ANI) TIIE ANDREYEV

MODEL SVETITMESIATS

As a model I intend to use the folk song Svetit Mesiats (Bright Shines the Moon) (figure 30)

which exists as a published score in the Kasura collection. Svetit Mesiats is an example of a

traditional arrangement constituting the original Andreyev balalaika orchestra; piccolo

domra, prima domras I-I1, alto domras I-II, tenor domra, bass domra I-II, contra-

Kiszko, M. F... 1999 Pug' 266 Chapter lour

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Ktszko, M. E.: 1999 page 267 Chapter Four

bass domras, gusli, kettle drums, prima balalaika, secunda balalaikas, alto balalaikas, bass

balalaikas, contra-bass balalaikas. The tenor domra, a supporting instrument later dropped

by most orchestras soon after its emergence is omitted. Other orchestral sections were later

added but do not have relevance to the current comparative study.

The Davis arrangement is connected to the Andreyev instrumentation only by its use of domras and balalaikas. The addition of the bayan accordion appeared in scores during the

post Andreyev period so the Davis arrangement may be said to be more representative of

the modem balalaika orchestra built primarily on the Osipov model referred to earlier in

this dissertation.

I have already examined which elements of Kasura's approach to arranging permeate the

Davis arrangement and now I shall evaluate the Davis arrangement alongside Sveiit

Mesiats. Svetit Mesiats generally adheres to the dance form previously discussed. The

global pattern of the piece has a structure in which chorus precedes verse. Designating A as

a full statement of the theme, B as different thematic material and the attachment of 1/2

before or after the letter A to indicate a statement of half of the theme's phrases, the form is

as follows; AAAA A1/2 1/2A A1/2 1/2A AA A1/2 1/2A A1/2 1/2A BB A1/2 1/2A A1/2

1/2A AA. A simply stated theme (section 1) is repeated over and over again. At each repeat

another level of decoration is added and the piece gradually intensifies by the addition of

quaver and semiquaver ascending and descending runs by section 3 (beginning of quaver

figures) and section 11 (semiquaver figures). The theme is divided into four phrases and

these are repeated fourteen times except for sections 5 (fifth statement), 6 (sixth statement),

9 (ninth statement), 10 (tenth statement), 13 (eleventh statement) and 14 (twelfth

statement), where phrases three and four are thematic but one and two are omitted leaving

accompaniment from the balalaikas and decorative passages on the domras.

The piece is entirely left to accompaniment and melodic decoration from section 11

through to 10 bars after section 13 where phrases three and four of the eleventh statement

of the theme enter.


Chapter Four

The interest in some of the variational aspects of this piece lie in the split of thematic and accompanimental material mentioned in sections 5,6,9,10,13 and 14 as well as the PD

and AD decorative scalic runs at sections 11 and 12 respectively. Both these modifications of the general pattern serve to increase interest and complexity as the piece moves via its tempo changes towards its climax. Aside from these variational touches, the structural similarities between the Andreyev arrangement of a traditional folk song and the Davis arrangement or Kasura guidelines remain intact except for some of the internal devices displayed on the chart. For instance there is no modulation to the minor, no introduction,

melismata, ornaments or fermata. In terms of a build in dynamics throughout the work the arranger favours alternating contrasting dynamics on a section per section basis until the buildup of dynamics occur in the final sections of the work.

The question of whether the Davis arrangement follows the original orchestration of the Andreyev score must now be considered before I discuss whether the remaining selected manuscripts of Kalinka fall in line with the traditional Andreyev model, the published scores, or arrangement 2. First I wish to review some of the traditional uses of the instruments of the balalaika orchestra as illustrated in Svetit Mesiats (manuscript example 35) and examine how the use of these instruments in the Andreyev arrangement and

compare to their employment in the Davis arrangement.

It is useful here to recapitulate on some of the instrumental characteristics of balalaikas and domras discussed earlier in Chapter 2 of this dissertation.

Piccolo domra: this is the smallest of the balalaika family and is the playing technique is

executed with a pick giving a high brilliant plucked timbre. Its task is often to highlight

phrases, add further brilliance to the PB or PD timbre or provide an instrumental effect. Its

role is apparent in one bar before section 6 as the Picc. D joins the PDs with melodic decoration - at the octave since the Picc. D sounds an octave above written. It continues at

section 8 by doubling the theme until section 9 albeit that only the first two phrases of each

statement are the full theme. It enters again at 13 adding brilliance to the marcato quaver figures as well as doubling the following piano and forte domra passages. The piccolo

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domra is seldom used in the modem balalaika orchestra and is therefore absent from the Davis arrangement. The Picc. D sounds an octave above written notation.

Prima domras: PDs I (sometimes divisi) and II are essentially the melody lead instruments

of the balalaika orchestra. They fulfil a role not dissimilar to the violin section in a

conventional orchestra. Andreyev uses the sections in octaves, in chords with PDIIs

providing a sustained harmony line beneath the PDI melody or most often at the unison for

maximum timbral effect. The role of the PDs in the Davis arrangement is not so

thematically based. A prominent statement of the chorus theme appears only at sections 13,

17 and 21. The rest of the part is given over to fragments of counter melody, harmonic and

rhythmic accompaniment. The quaver rhythm at 9 for instance might traditionally be

expected to appear in the balalaikas. Perhaps the predominant role of the bayan accordion

which carries several variations of the theme accounts for less thematic material in the PDs.

The PDs sound as written on the stave.

Alto domras: the alto domras have a mellower timbre and fulfil something of the role

attributed to violas in a conventional orchestra. From the Andreyev arrangement it is

perceived that they either carry sustained harmony parts (for example sections 1-3),

occasional melody or counter melody parts (sections 4-5), and occasional solos (section 7).

The Davis arrangement follows this pattern of distribution throughout the part. The ADs

sound and octave below written notation.

Bass domras: sounding as written on the stave, these instruments may double the contra-

bass balalaika adding support to the bass section or act in a harmony role with the alto

domras. It is primarily used to add accent to the beats of rhythmic passages. This rhythmic

role is observed in sections 1-2 of Svetit Mesiats turning into a more developed

figure/counter melody by 3. Overall it supports the movement of the rest of the domra

section virtually note for note in the patterns of quaver runs throughout the piece leaving

the lower balalaikas to form the on and off the beat pattern. The Davis arrangement also

verifies the harmonic and rhythmic role though unusually the BD is given melodic priority

from section 11 albeit for only two phrases of the full statement of the verse theme.

Prima balalaikas: several playing methods enable the prima balalaikas to provide a rich

and individualistic timbre within the balalaika orchestra. The instrument is either plucked


by the fleshy part of the index finger tip or strummed in a tremolando. It is able to provide chordal accompaniment or delicate melodic lines as well as counter melodies. Sections 1-4

of Svetit Mesiats display the melodic priority of the PBs whilst section 5 introduces the on or off the beat accompanying pattern which typifies traditional and modem balalaika

accompaniments. Accomplished players are able to perform the two part chords scored for the PB, rejecting the need for the divisi, since the instrument will allow up to a triadic chord to be performed across the strings. This is dependent on tuning.

The Davis arrangement introduces the aforementioned rhythmic figure at section 4

continuing throughout until it reaches a break into melody at 11 albeit briefly before

counter melodic material a return to chordal accompaniment. It enjoys a full thematic statement at 17 and 21 in thirds and then in fourths, fifths and sixths respectively - similar intervallic content as found in the Andreyev arrangement. The PBs sound as written on the

stave.

Secunda balalaikas: these balalaikas provide a largely accompanying role alongside the

alto balalaikas. They may occasionally have a melodic or counter melodic part but

generally they share the harmony of a triad with the altos enabling a comfortable split of the harmonic material between the sections. Both the Andreyev and the Davis arrangement display the usual role of the secunda and the altos which supply the aforementioned on and

off the beat quaver accompaniment virtually for the entire piece. The SBs sound as written

on the stave though for purposes of clarity Kasura recommends that the part be written an

octave above sounding! '

Alto balalaikas: as above.

Bass and contra-bass balalaikas: the bass balalaika will generally form a support for the bass domra and the contra-bass balalaika. Along with the contra-bass and the secunda/altos it forms the rhythm section of the orchestra. Its timbre is suitably audible through any

arrangement since the strings are plucked with a pick rather than the finger. The Andreyev

arrangement confirms the usage as the bass parts primarily accent the first and second

crotchet beat of each bar with a root or inversion position bass note. The Davis arrangement is predominantly of the same fashion. The bass balalaika sounds as written and the contra- bass sounds an octave below written.


A SUMMARY OF THE COMPARATIVE ANALYSIS OF THE TRADITIONAL MODEL SVETIT MESIATS, THE PUBLISHED SCORES FROM THE KASURA

COLLECTION AND ARRANGEMENT 2 FROM THE SAMPLE OF SELECTED

MANUSCRIPT SCORES IN THE KASURA COLLECTION

The structure of each song version and the development of thematic content has a

common thread in each example. This is the traditional format of a stated theme

which is further stated by a set of variations usually increasing in melodic,

rhythmic and textural complexity. Alternating sections of slow and fast tempo or

sections of accelerando are also a common denominator,

2. Harmonically the traditional model and the published scores concentrate on the

simple plan of a minor key for the chorus and the relative major for the verse. The

chords are in root or first and second inversion with the dominant seventh regularly

announcing returns to the tonic;

3. Texturally the distribution of the instrumentation may be said to follow the

accepted traditions laid down by Andreyev. Arrangement 2 does, however, possess

some deviant excursions. These include the transference of the melody to the bass

line and the lack of significant melody line in the PDs which is replaced by the

aforementioned accordion part;

4. Dynamically the introduction of contrasting piano and forte sections is maintained

in the published arrangements and in arrangement 2.


AN OVERVIEW OF THE REMAINING SELECTED MANUSCRIPT VERSIONS

OF KALINKA IN THE KASURA COLLECTION AND HOW THEY COMPARE

WITH THE PUBLISHED SCORES, THE DAVIS ARRANGEMENT 2 OR SVETIT

MESIA TS

Arrangement 3 comparison to previously discussed arrangements

Arrangement 3 (figure 31) of the sample selection of Kalinka is arranged for soprano Ludmila Mishnaevskaya. There is no score and therefore comments about the arrangement

will as with arrangement 2, be constructed from the parts. All parts are available except the

vocal part whose entry is, however, indicated in the PD I-II, AD I, SB, AB, CB and

accordion at section A. Since the vocal start is indicated after the instruction it is presumed

the vocalist carried the melody of the entire song continuing to the end of the last chorus

statement in the coda bars, although no indication of the end of the vocal part is given.

The basic form of the piece where A precedes B is maintained. This reiterates the form of

verse following chorus statement but in this arrangement the verses are separated by three

statements of the chorus.

According to the chart most of the constituent elements monitored are in place except that

alternating dynamics on a sectional basis is implemented in contrast to a progressive

increase in dynamics. There is no drone pedal and there are no ornaments. Harmonically

the scheme is simple, recalling the published score variants of Kalinka. It begins in E minor

modulating to its relative G major by section A and returns to the tonic minor by section C.

The introductory chord is intact at the opening and preserves the characteristic traditional

folk song instrumental start. It begins on an unspecified dynamic with a crescendo to mf

whilst marked with a fermata. The chord is distributed amongst both the domra and

balalaika section. Because of the fermata mark and the crescendo marking, the chord is

probably expected to last for a duration longer than a crotchet. It is likely that this would be

executed, as it was traditionally, with a string tremolando, though this is not indicated by

Kasura in the part.

In terms of the melodic structure and contours of the arrangement variational ideas are

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Chapter Four

again introduced. These are by no means elaborate but section C for instance introduces an ornamented semiquaver figure to embroider the melody (manuscript example 36).

a PDI

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Prima domra ornamentation of melodic material in arrangement 3 (EC580) at section C

of Kalinka, Kasura collection, University of Illinois

Again assisted by both a variation of dynamics (sections A, B, C, D) and of tempo (riss. S

and 7 bars after A, a tempo at B, rit 3 bars before C and poco a poco accel at the second bar

of C progressing to `lively' at D) the notion of increased complexity by variation is

apparent. It is probable that Kasura lightens the complexity of variation to accommodate

the vocal part.

The intervallic structure of the harmonic material is basic in construction. The common intervals of a third, fourth, fifth, sixth and octave are found throughout with the occasional

second appearing. The third, however, is widespread and usually found between PDI and PD II and in the Pß. The intervallic relationships within the arrangement are therefore not dissimilar to those noted in the model Svetit Meslats and the published scores.

Is there any difference, however, in the distribution of instrumental parts? The melodic

material is given to PDI"PDII, PBI, or the accordion. Up to now this has been a common factor in those arrangements already examined. Likewise the ADs take counter melodic

material or harmonic support using intervals up to an octave plus a 3rd in relationship to the

upper domra and balalaika parts. Alongside the accompanying rhythmic figures of SB, AB

and CB this again is similar to previous samples.

What is interesting about the Kasura arrangement, however, is the tendency to modify the

melodic line towards the end of a phrase. One example may be found in bar 8 of the PD and

accordion. Instead of the conventional melody line crotchet A, quaver G, quaver F#, the

melody is decorated by the leap from a dotted quaver A to a quaver C descending to a


quaver B and to the leading note quaver D# before the tonic note in bar 9. This is duplicated

in the accordion part (manuscript example 37).

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bars 1-9 and sections CD, Kasura collection, University of Illinois

19

Whether this melodic variant is an early statement of the later variation at C, a known

melodic variant of the Kalinka melody or a simple decorative device by Kasura can be

determined by examination of further arrangements.

Arrangement 4 comparison to previous arrangements

Arrangement 4 (figure 32) is scored by Kasura to accompany soprano Sonya Chamina. The

arrangement exists in manuscript parts only and the vocal part is missing. No indication is

given on the extant parts for vocal entry. The form of the piece is reversed with the verse b

as a first statement after the introduction. Each statement of the verse b is, however, only

stated as half a verse ic. the last two phrases or lines of the verse.

There is no introductory chord at the start of arrangement 4. Instead this chord with a

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fermata marking is placed at the end of the introduction. Overall there is little progression of complexity throughout the piece and the lack of such development is indicated on the chart. The most elaborate statement of the chorus, a four semiquaver motive around the melody note D, is found at section 2 rather than at 3 or as a variant in the repeat of the whole structure where it might be expected (manuscript example 38).

ID PDI

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Motive based on melodic material in arrangement 4 (EC580), section 2,


In terms of any other variant of the melodic contour Kasura makes one small diversion at

the 7th bar after section 3. Instead of scoring the conventional descending melodic ending DCBA, he opts for, as in arrangement 3, a movement above and below the melody note D

to bring the cadential phrase down to the tonic A (manuscript example 39).

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Variation of melody at the end of Kaiinka arrangement 4 (ECS80) at section 3,

bars 21.28, Kasura collection, University of Illinois

Apart from this deviation, which could appear to be an idiosyncratic Kasura trademark, the

piece offers no other significant diversion from the traditional melody. The tempo marking

accelerando is still found intact in this version at section 3 and riss are marked in for the

rubato effects of vocal style at bars 3 and 9. There is no progressive increase in dynamics

Klszko, ME.: 1999

throughout the work.


The harmonic scheme is simple as previously observed but because of the reversal of the positioning of verse and chorus, the primary statement of the verse theme begins in the

major and modulates to the minor for the chorus. The intervallic structure of the harmonic

material bears a similar construction - based around thirds, fourth, fifths, sixths and octaves. The emphasis is on thirds between PDI-II, ADI-ADII and amomgst the PBs.

The distribution of material within the arrangement is as previously noted with the PDI or PB taking the melody and with PDII, and ADs supplying touter melodic material and harmonic support. The BD, SB, AB, and CB provide the conventional on and off the quaver

pattern observed throughout examination of samples thus far. This again fulfils the role of a traditional accompaniment from both balalaikas and the bass end of the domra sections.


Arrangement 6 (figure 33) is a Kasura arrangement for accordion and ten part Russian folk

orchestra. The chart shows little invention on the part of the arranger and in comparison to

previous arrangements there is an absence of scalic decoration, drone or progressive increase in dynamics and ornaments. The introductory four bars, however, carry the same decorative semiquaver motive as located in previous Kasura arrangements 2,3,4,18 and briefly at the beginning of the accordion part at section 1 arrangement 16 (manuscript

example 40).

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Semiquaver motive in arrangement 6 (EC580), bars 1.2 of Kalinka,


Harmonically the arrangement provides no developments except for Kasura's more

inventive modulations at the end of the cadential phrases of sections 3 and 4. Intervallic

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relationships are no different to previous arrangements with thirds, fourths, fifths, sixths

and octaves. This is most predominant in the PDs 1 and 2, ADs I and 2 and in the balalaika

section as seen in previous arrangements. Instrumental distribution is generally as expected

with melodic material presented by PDs I or PB I apart from section 3 where AD is solo

for the first two lines of the verse until section 4. Interestingly, in terms of melodic contour

at 4, the second melodic half of the verse does not follow the traditional melody


El PDI

as compared to the traditional theme

PDI


A modified second half of the theme in arrangement 6 (EC580), section 4, bars 30-33 of

Kalinka compared to the traditional statement of the theme,


}sere, the PD and accordion play first quaver melody note, second upper neighbouring,

third melody note, fourth upper neighbouring. The following bar has two crotchet non-

melody notes. (The actual melody notes here, however, may be found in the PB). These two

bars of almost counter melodic material are then repeated leading to the traditional melody

at 5 bars after section 4 which carries the final line of verse.

As already discussed the semiquaver motive appears in its full guise again as material of

increased melodic complexity at section 5 which in turn serves the accelerando at 6 to

bring the effect of a flourishing end.

The cadential diversion in the melodic line, as in arrangements 3 and 4, is still apparent in

arrangement 6 at three bars before section 3, two bars before section 6 and in the last three

bars of the arrangement. Here the conventional descending cadential phrase of the

traditional melody is again replaced by an ascent before a fall to the tonic.

Ktszko, M. E.: 1999 page 303

Chapter Four


Arrangement 7 (figure 34) for nine part Russian folk orchestra is a short version of Kalinka. This follows the form of arrangement 4 where the first statement after the introduction is b, the verse, rather than a, the chorus. The arrangement bears all the hallmarks of those already examined in terms of the internal devices of the chart. Less

than fifty per cent of the available constituent elements are employed. Perhaps the brevity of the work allows very little scope for harmonic, melodic or textural development. The distribution of instruments denotes a simple PD/AD/PB prominence

with melodic material against the accompaniment of the rest of the ensemble.


This is an arrangement (figure 35) by A. V. Alexsandrov in the hand of Kasura. On first

examination the arrangement appears to be a shortened copy of the published Alexsandrov

arrangement 16. The only difference is the transposition, by Kasura, of the piece to A

minor. Although there is no indication on the staves for a vocal part it is interesting to note

that the transposition may have been implemented to accommodate the range of a particular

vocalist. At two bars before section 5 there is an instruction in the hand of Kasura that the

chorus may be performed three times 'after soloist'. These instructions for the required

number of repeats are unclear and there are no repeat signs marked in the piece. Subsequently this makes the extended form of the piece difficult to determine. On closer

examination of the arrangement the overall structure is similar to the published version. The

chart also shows a similarity in the use of constituent elements apart from the increase in

complexity which is absent in this arrangement. Again, this may be to provide a lighter

scoring to support a vocalist's melody. Other changes in arrangement 8 are minimal. The

piccolo domra part is omitted and so too is one of the bayan parts and the percussion. Both

bayan parts of the published version are practically condensed into one part for accordion.

This part makes use of both the decorative scalic semiquaver figures and a bass

accompaniment which relies not solely on the repetitive root bass harmony notes as in

arrangement 16 bars 3-5 but spreads the accompaniment in fifths and octaves as in

arrangement 8 during sections 1 and 5.

In the balalaika parts extra harmony notes are included in the chordal accompaniment

Ars: ko, Al F. 1999

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('hapler Four


Chapter Four

giving a full three rather than two string chord on the PBs and the ABs. Also present is the four semiquaver motive visible in the accordion part at bar 3 (manuscript example 42).

Bayan


Bayan semiquaver motive in arrangement 8 (EC380), bar 3 of Kalinkq


Since this arrangement is an almost direct copy of a published arrangement in which the

motive is also present in bayan accordion I (manuscript example 43) it appears that Kasura's reference for this decoration is the Alexsandrov arrangement 16 to which a

comparison will now be made.

3

Baysn


Bayan semiquaver motive in arrangement 16 (EC580), bar 3 of Kolinkq


Comparison to published arrangement 16

The form of the piece follows the conventional model of chorus preceding verse.

The introductory note as arrangement 2 and 3 is present. The semiquaver motive discussed

above is carried through as it is in previous unpublished arrangements but now designating

published arrangement 16 as its source. The ending of the first half of the verse is

elaborated by an ascending arpeggio on the accordion - this is again a direct copy from the

original number 16 and no other similarity is found in the previous unpublished

arrangements at this point. The distribution of parts follows the published arrangement 16


except for the deviations mentioned above and generally once these deviations are in place

they bear similarity to the distribution of orchestration observed in previous unpublished

arrangements.


This arrangement (figure 36) by Kasura is to accompany the soprano Dora Boshcr. It is

one of the most unusual amongst the arrangements studied here since it has little direct

melodic relationship to the traditional theme of Kalinka - only the rhythmic and

harmonic aspects signify Kalinka. All parts appear to take a counter melodic or harmonic

accompanying function. The verse material B has been pared down to a simple counter

melody which relies upon some inversions of melodic motives from the theme. The chart

also indicates that very few constituent elements are used. Everything is at its most

minimal and perhaps this suggests that either the manuscript is a sketch or that the

scoring is intentionally sparse to accommodate the soprano voice.

Section A is material which does not melodically suggest verse or chorus material. It is

assumed, however, that due to the harmonic progression, it is chorus material. Two points

are worth noting about the form. First, bars 1-12 which constitute the first B section are

crossed out by Kasura. Second, if the piece is intended to start at bar 13 Kasura writes

above the bar that the material is to be played nine times thus changing the form given

above. Harmonically the whole piece is in A major rejecting the usual modulation to the

relative minor. It is unclear why Kasura might have wanted such a simplified arrangement

which contradicts some of his previous arrangements based on traditional models. The

distribution of the harmony throughout the ensemble, however, does typify the distribution

found in earlier arrangements. The accompaniment is spread amongst the balalaikas whilst

counter-melodic material stays with the domras.

It is now worth examining what connections this arrangement has to the traditional melody

(manuscript example 44). Melodically it appears that the first two notes of the verse EC#

are a retrograde of what the original melody does which is C#E. Bars 2.3 have the original

melody although the fourth below A in bar 3- which would be the original resting point for

the first phrase - is omitted. The same pattern of events occur in bars 4-6. Bars 7-9 and 10-

12 repeat this. Bars 13-24 are as 1-12 although the appoggiaturas that were at 7 and 10 are

Kis: ko, Al /i 1999

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Kiszko, M. E. : 1999 page 311

Chapter Four

not included this time round. Kasura chooses full value crotchets instead of quavers for bars 19-20 and 22-23.

Allegretto

PDI

compared to traditional melody, transposed from E minor to A major

PDI


Relationship of the melodic material of an angement 17 (EC 182), bars 1.12 of Katinka

to the traditional melody, Kasura collection, University of Illinois

OTHER KALINKA ARRANGEMENTS IN THE KASURA COLLECTION


Arrangement 18 (figure 37) by P. Biljo is for six part Russian folk orchestra. The Kasura

preliminary checklist of works remarks that the score has a vocal part. No such part was located, nor is it cued in on the score except for a marking `voice' above the PD 1 part at bar

5. Presumably the voice sang the PD part from bar 5 and octave lower. Given that the score

is in the hand of Kasura, it is possible that the piece was either copied by Kasura from

Biljo's library or copied because a transposition was necessary to suit a particular vocalist

or instrumentalist.

The form of arrangement 18 corresponds to the formal structure of arrangement 4. lt is its

similarities to arrangement 7, however, that are more apparent since like arrangement 7.

Kisrko, M. F,.: 1999

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Chapter Four

arrangement 18 only uses the second half of the verse. The semiquaver pattern is still apparent in the introduction (manuscript example 45) and may indicate that Biljo was also familiar with the traditional Alexsandrov arrangement previously discussed.

n PDI


Prima domra semiquaver motive in arrangement 18 (EC900), bars 1.4 of Kalinkq


The chart displays, as did arrangement 17, the use of fewer constituent elements. Again this

may indicate the demand for a more transparent scoring to suit vocals. Or, since the

majority of dynamic or tempo markings are absent, the work may be in sketch form.

Harmonically the Biljo arrangement follows the pattern based on traditional models of

modulation to and from the relative minors and majors of the tonic key. In terms of the

distribution of timbre the arrangement looks fairly typical of the variants I have

investigated. Tempo or dynamic markings on the score are absent. This may be because

Kasura hurriedly executed the work, omitted them for improvisational interpretation or left the manuscript in sketch form. The lack of accelerando markings throughout the

arrangement - which have been present in previous pieces - alongside the lack of timbral

and melodic complexity towards the end of the piece, also begs the question of

whether such nuances were left open to performance interpretation or were simply

omitted to make a less flexible performance which may have suited an individual vocal

performer.

Overall, the arrangement is remarkably like Kasura's arrangement 7 apart from the

introduction. This introduction can be found in Ivanoffs arrangement 19. It is possible Kasura used the Biljo arrangement as a model for his own arrangement 7 alongside the

following Ivanoflf'arrangement 19.

KJszko, M. E.: 1999

Arrangement 19


Arrangement 19 (figure 38) by A. Ivanoff consists of manuscript parts only and is for eight

part Russian folk orchestra. The structure of the piece emulates the previously discussed

arrangements 18 and 7 and in fact, from a comparison of the parts of 19 to the

aforementioned Kasura arrangement 7, it is obvious that arrangement 7 is a constructed

score of the parts of Ivanoffs arrangement.

It is also evident that the Biljo arrangement has extensive similarities to the Ivanoff one.

Biljo came to the USA with the Ivanoff Balalaika Orchestra and formed a small group

when Ivanoff turned his attentions to Broadway and Hollywood. It is probable that Ivanoffs

arrangement was used as a source for both the Biljo and Kasura arrangements and it is

interesting to note that in both the Biljo and Kasura arrangements attention is paid to a

virtual note for note copy of the master's orchestration apart from the difference in key

signature from the D minor of arrangement 18 to the E minor of arrangement 19.

In terms of the chart, the differences lie in the melismatic decoration on PDs AD and BD in

the introduction of arrangement 18 whereas 19 simply states the melody undecorated in the

introduction. The introduction of 19 is also one bar longer. There is also some minimal

ornamentation using acciaccaturas in the first three bars of section A in the CB (manuscript

example 46).

ArL19 14

CB

ArLI $

13

CB


Comparison of CB part in arrangements 19 (EC1268), bars 14-17 and 18 (EC900),

bars 15-18 ofKa/inka, Kasura collection, University of Illinois

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Kiszko, M. E : 1999

SUMMARY


Given all the data collected in score analysis and the formation of charts illustrating this data alongside other critical observations, the following diagrams (figures 39 to 43)

illustrating the relationships between the sample of arrangements can be made.

Only the published arrangements 9 and 16 have text. Arrangements 3 and 4 would have text but vocal parts are missing. T denotes text with score.

Arrangement Number

3 INT AB AAA B AA (arrangements by Kasura 4 INT B 1/2 AAA B 1/2 AAA 6 INTAABAABAAA 7 INTBI/2ABI/2A 8 INT AA B AAA B AAAA 9T INT AA B AAA b AAA (published) 16 T INT AAAA B AAAA b AAAAA (published) 17 BB AA 2 INT AA B AAAA B AA C AAAAAA (arrangement by L. avis) 18 1NT B 1/2 AB 1/2 A (arrangement by P. Biljo) 19 INT B 1/2 AB 1/2 A (arrangement by 1. Ivanoft)

AN. AAAA AI/21/2A AV21/2A AA AIR 124 AI/2 1RA BB AI/2 IRA Al/2 IRA AA Arrangement by V. Andreyev

By condensing the repetition of sections the common structures are:

i. ABAB ii. BI/2ABI/2A

The exception is arrangement 17 with BBAA and the Andreyev arrangement has elements of both I and H.

Figure 39

Diagram illustrating relationship of structures

Figure 40

Diagram illustrating the similarities of key structures within the arrangements

Andrcyev Dmaj

Pub Pub 346789 16 17 2 18 19

Emin Amin Gmin Emin Amin ßbmaj Gmin AmaJ (Emaj) Dmin Emin Gmaj Cmaj Bbmaj Gmaj Cmaj Gmin Bbmaj Amin Finaj Gnuq

Cmzj (Emaj)

Kiszko, M. E.: 1999

9

16

D2

Andreyev 9

3

4

6

7

8

17

Biljo I8

IvanofT19


IC I VM KM KM CM OUD ADS DP TF PIT Pl MF0T D

/ / / Alt / / / /

/ /all /all /all / / / /all / / Alt / all

/ /

not last section

/ / / / / / / / Alt /

/ / /all PD

/ / / / / / Alt / / /

/ /end only

/end only

/ / / / / / / /

Alt / /

/ /all / / / /all / / Alt / / /

Alt

Figure 41 Chart illustrating the similarities of constituent elements within the arrangements. This

chart describes the features of each arrangement as listed in the legend

drawn up for the charts

Kiszko, M. E.: 1999

(Arrow denotes reception of influence)


346789 16 17 2 18 19 Andreyev (common by

harmonic distribution only)

'1111' 4' ' I'Ll

ASPECTS COMMON TO ALL ARRANGEMENTS

Partially common - arrangement 4 has more repeats of chorus

Figure 42

Diagram illustrating relationship of the constituent elements described in the chart

across all arrangements

TRADITIONAL RUSSIAN STRUCTURES

ANDREYEV APPROACH MANUSCRIPTS PUDLISI [ED ARRANGEMENTS

II ++ It Figure 43

Diagram illustrating ancestry of influence of the sample of works presented. here many of the

aforementioned traditional elements of Russian folk music alongside Andreyev's collation of these

various elements into his own orchestration are fed into both

published arrangements and the arrangements of early Russian-American arrangers. Material from

published arrangements, whether structural, melodic, harmonic or textural is also fed into the

arrangements of early orchestrators


Chapter Four

The conclusions that may be drawn from the comparative study of arrangements in the Kasura collection are represented by these charts and diagrams. Traditional Russian

compositional devices whether aurally acquired, leant from published sources or from the arrangements of Andreyev have, to a large degree, been preserved and used in the sample of Russian-American arrangements examined.

ANALYSIS OF KALINKA IN THE KUTIN COLLECTION

Published arrangements

The Kutin collection has three published arrangements classified under Kalinka.

Arrangement 1 comparison to published and unpublished arrangements in the Kasura collection

Arrangement I (figure 44) is a transcription by Kurt Schindler from a songbook he edited titled Songs of the Russian People. It is described as a part song for mixed voices with tenor

solo. The AB structure with chorus preceding verse follows the pattern previously noted in

the published arrangements found in the Kasura collection. Here the number of times the

chorus is repeated before the verse is flexible but usually executed once or twice.

The chart of arrangement I displays a distribution of the featured melodic material to

instruments capable of a higher range. The distribution of melody to the soprano and tenor

denotes a similar pattern of distribution to the Kasura arrangements with vocal parts. The

right hand stave of the piano part of this arrangement also doubles the melodic material. Generally, however, the inclusion of constituent elements is minimal and the arrangement lacks any increase in complexity or variation except in alternating dynamic levels within

verse or chorus.

Two significant differences are noticeable in this arrangement. First, the vigorous and lively

quaver anacrusis start which differentiates it from previously discussed arrangements with an introduction or sustained chord. Second, the repeat of the three syllable motive Kalinka

which is decoratively placed as an accompanying figure for altos and tenors beneath the

tenor solo's verse melody and the soprano's accompaniment (manuscript example 47).

ME: 1999

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Kiszko, M. E : 1999

Tamr SWo

Alto

Torur

Lightly. gracefully

10 _ .. n WIf


PA F 'll F 11 FI

Where the pine - tree grow - eth, Where the heath - er blow - elh,

Ka - lin - ka, P-P

Ma-lin-0.6 Ka - 6n - ka, Ma-lin-ka,

-r---. Ke- lin - ka, Ma-Iin"ka, K. - Iin - k., Me-lin-ki,


Repetition of Kalinka motive in arrangement 1(KC not numbered), bars 10-13 of KalinM

Transcribed by Kurt Schindler from Songs of the Russian People, edited by Kurt Schindler,

Oliver Ditson Company, Boston, 1915, Kutin collection, University of Illinois

Whether this device is transported to any of the Kutin arrangements remains to be seen - the device was certainly not observed in any of the Kasura arrangements. Presumably

Schindler transcribed from some manuscripted traditional source, heard and copied such an

accompaniment from a source or produced it as his own invention.

Arrangement 2 comparison to Kutin arrangement 1 and published and unpublished

arrangements in the Kasura collection

Arrangement 2 (figure 45) is also a published songbook arrangement. Since this

arrangement is simply scored for voice and piano it is an unembellished statement of the

melody free of any development or variation. It too follows the model of arrangement 1

with a minimal inclusion of constituent elements. The arrangement begins with a fermata

on the B of bar 1 following the pattern observed in arrangements which choose to hold a

sustained note on the first syllable of Kalinka before a tempo is initiated. The piano doubles

the vocal melodic material and the only increase in complexity is delivered in terms of tempo with a marking at the start of the piece'Slowly, gradually faster.

Kiszko, Al F 1999

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Chapter Four

Arrangement 3 comparison to Kutin arrangements 1 and 2 and published and unpublished arrangements In the Kasura collection

Arrangement 3 (figure 46) is a published manuscript. It is the arrangement by A. V. Alexsandrov for tenors and basses. It is an identical copy of the choral parts of the published arrangement by Alexsandrov, arrangement 16 in the Kasura samples, apart from

the fact that a fermata is missing on the Kutin collection version on the D at bar 30. This

may be a typographical error. The structure and key signature are identical. The chart of this arrangement depicts some similar constituent elements to arrangement 16 in the Kasura

samples in so far as here we are discussing only the vocal parts of arrangement 16 and the Kutin arrangement 3.

In common with arrangements 1 and 2 the simple songbook style of arrangement makes it

an unsuitable example for any comparative analysis relating to the instrumental

arrangements in the Kasura samples.

ARRANGEMENTS OF KALINKA BY KUTIN : ARRANGEMENTS 4,5,6

Arrangement 4 comparison to previous published arrangements in the Kutin

collection and to published and unpublished arrangements in the Kasura collection

Arrangement 4 (figure 47) is a version of arrangement 3 scored for balalaika orchestra PDI-

II, ADI-II, BD, PBI-II, AB, BB, CBB with accompanying instruments flute, oboe. clarinet in Bb, bassoon, comet, horns in F and timpani. The choral parts for tenors and basses are a direct duplication of those in the published arrangement 3.

A further group of instruments for this work which are not found on the score exist in

another set of parts found in the collection. These are flute II, clarinet II, bassoon II, tenor

saxophone, accordion, piano, harp, violas I and 11. One other unmarked part also exists. The

part is written in treble and bass clefs for two sets of staves, bass clef for one set and then treble and bass clefs to the end of the piece. It is unclear whether Kutin intended the part for

a single instrument or two players but the manuscript is similar in the second part to the

accompaniment of the PDs. Perhaps this was a sketch for the final copy.

Klszko, M. E.: /999

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The structure of the work is arrived at through the parts rather than the score. The score itself carries no accurate repeat markings, no Sign to Fine markings at section 3 bar 9 and no final double bar ending. One can only speculate that due to the repeat marks, to sign markings, and handwritten notes on structure written on the performers' parts, the structure dictated by the more accurate markings on the parts was actually the preferred performance of the score.

There is a dearth of dynamic markings in the score and parts and where any exist on the

parts they appear to have been marked in by the player. The same is true of any change of tempo markings such as accel., for example in the 2nd bass domra part at section 3 bar 5.

This may indicate that Kutin's approach was to tailor the dynamics and tempi at the

rehearsal giving a more spontaneous performance feel to the work.

The chart displays many of the constituent elements familiar already in the Kasura samples

- the use of the drone, the tutti finale, octave and unison doubling, parallel harmony,

fermata, ornaments and the progressive increase in tempo amongst others. There is little

invention, however, with the development of variational material or a move towards

complexity in the piece. The device of the zapev/podgoloskni, however, is noticeable in the

execution of the tenor solo of the verse. The second half of the statement of the verse is

given by full choir. Interestingly, one might have expected the tenor solo of the verse to be

followed in imitation by an instrument or voices but here it is simply timbrally coloured in

unison by the clarinet.

The orchestration of arrangement 4

What does this arrangement tell us of Kutin's approach to the balalaika orchestra? The chart illustrates the use of conventional orchestral instruments within the orchestration of the

balalaika ensemble. How Kutin uses these instruments in relationship to the main body of domras and balalaikas may be determined by this arrangement's similarity to the

Alexsandrov version of Kalinka already discussed as Kasura's arrangement 16.1rere, one is

able to note that the harmonic distribution of the domra and balalaika parts in arrangement

4 is very close to the distribution of harmony in arrangement 16. Only in the lower BD and

BB and CB parts is there any rhythmic or intervallic deviance from the main harmony or

rhythmic progression. The other parts follow the pattern of arrangement 16.

KISZko, M. E.: 1999 page J27

Chapter Four

In terms of the orchestral instruments there are no great excursions from the harmonic or rhythmic scheme. Generally, the flute and oboe double the PDII, the clarinet doubles an octave below the PBs and the bassoon and timpani double the BB and CB bass line which is also supported by the horns. The comet isolates elements from the BD line whilst supplying some melodic support to closing phrases of the chorus (manuscript example 48).

Arrangement 5 comparison to previous published and unpublished arrangements In

the Kutin and Kasura collection

Arrangement 5 (figure 48) by A. Tchemiawsky in the hand of Kutin. The score also

contains an additional vocal and piano score attributed to Tcherniawsky. It is probable that

without the original published source of this material Kutin either simply copied the instrumental arrangement directly from a published score or created an instrumental

arrangement from the vocal and piano score.

The structure of arrangement 5 possesses remarkable similarities to Kasura's arrangement 7

previously discussed. There are, however, unclear repeat markings at bar 23 giving no indication of where the repeat returns. I have assumed that the most probable point would be bar 5 after the introduction where Kasura's pen has started to rule a double bar across the first part but then discontinues it. Not only is the structure the same but so too is the five bar

introduction. This is apart from the four opening semiquavers of the Kutin version which Kasura makes into two quavers (manuscript example 49).

An. 5 Allcgrctto

PDI

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Manuscript Example 49 Comparison of the opening of arrangement 5 (KC incorrectly catalogued by Kutin as number 17) of

Kutin's Kalinka (bars 1-2, to Kasura's arrangement 7 (EC580), bars 1-2, Kasura and Kutin

collections, University of Illinois

Kiszko, M. E.: 1999

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Example of orchestration for domras and balalaikas in arrangement 4 (KC

incorrectly catalogued by Kutin as number 17) of Kalinka,

Kutin collection, University of Illinois

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Kiszko, ME : 1999 page 330 Chapter Four

The corresponding chart illustrates several uses of the constituent elements hitherto

discussed and these relate almost completely to similar uses of the elements in Kasura's

arrangement 7. Exceptions are the melismatic opening mentioned above and a progressive increase in dynamics. In terms of both dynamics and tempo Kasura's version has fewer

dynamic markings and begins, possibly because of the haste of copying, with none at all. Kutin begins mf and is constantly changing the dynamic throughout the piece. Both

arrangements also follow certain change of tempo conventions with the typical rit. found in

the piece which returns to the exuberant a tempo of the chorus. The Kasura rit. is located at

the end of the chorus at bar 20 whilst the Kutin rit. is found at the beginning of bar 9- at the

end of the last phrase of the verse.

Both the Kasura arrangement 7 and the Kutin arrangement 5 also omit any imitation within

their works. The zapev/podgoloskni device is absent as is any use of the drone pedal. The

distribution of parts, however, are intact and similar with the PD I and II and PB I taking

the bulk of melodic and counter melodic material. Both arrangements also carry the

ascending three quaver figure accompaniment visible at bar 6 in the alto domras. Kutin's

version also carries it in the BD and SB and AB (manuscript example 50).

Arr. 5 6

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AD2

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Three quaver figure in Kutin's arrangement S (KC incorrectly catalogued by Kutin as 17), bars 6-7

of Kalinka compared to Kasura's arrangement 7, bars 6-7 of Kalinkc; Kasura and Kutin

collections, University of Illinois

if


The offbeat quaver accompaniment which has been noted as representative of the arrangements of Kalfnka is also apparent in the lower balalaikas of both arrangements (manuscript example 51).

ArL3 2

SB

AB

BB

CB

SB

AB

BB

CB


Quaver accompanimental figure in Kutin's arrangement 5 (KC incorrectly catalogued by Kutin as

number 17), bar 2 of Kalinka compared to Kasura's arrangement 7 (EC580), bar 2 of Kalinka

Kasura and Kutin collections, University of Illinois

Both arrangements place fermata markings at similar points and favour a quaver decoration

around the descending end of phrase of the chorus at bar 20 (manuscript example 52).

Arr- 7 mf

2

Kiszko, M. E.: 1999 page . i3? Chapter Four

Arr. 5

20 PDI

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20

PDI

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Fermata markings in Kutin's arrangement 5 (KC incorrectly catalogued by Kutin as number 17),

bars 20-22 of Kalinka compared to Kasura's arrangement 7 (EC580), bars 20-22 of Kalinka,

Kasura and Kutin collections, University of Illinois

It is probable that Kasura, like Kutin, used the Tcherniawsky source as a template, even though it is absent in the Kasura collection.

Arrangement 6

Arrangement 6 (figure 49) is scored for balalaika orchestra PD I and II, AD, BD, PB I-II,

SB, AB, CB with accompanying instruments flute, oboe, clarinet and bassoon. Attached to

the score are additional parts to those on the score. These are bass clarinet, 3rd hom in F,

(one must assume there were originally three or four), bass clarinet/2nd bassoon, trumpet,

piano.

The structure of this arrangement is determined by the parts where, unlike the score, a Fine

mark is legible on the parts at the last bar of section 1.

The chart depicts a limited use of constituent elements and this has become indicative of

the Kutin style of arrangement. Whilst some of the classic elements such as the

introductory chord marked with a fermata are used, the arrangement again offers no

variational material or increased complexity. Indeed there are no tempo or dynamic

markings on the score at all. This perhaps indicates that any tempo or dynamic markings

were introduced in rehearsal unless they were omitted in haste when copying.

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In terms of the orchestral instruments there is again no great deviance from the rhythmic, harmonic or melodic scheme. As with the previous arrangement 4 the flute and oboe, reinforced by trumpet, double the PDII. The lower range instruments: bass clarinet, bassoon

and 3rd horn follow the rhythmic patterns of the bass domra and balalaika section. The

clarinet's role is both harmonic supporting the chords of the orchestral wind and the PDI-ll

and PBs as well as supporting the accompaniment by PDII, AD, SB, AB, and KB at section 2.

The distribution of the balalaika and domra parts emulate the pattern of distribution

previously noted. The melodic material is largely carried by the PDs or PBs with the PD II

and AD offering harmonic support. The remaining domras and balalaikas accompany with the traditional quaver pattern on and off the beat.

Generally, the addition of orchestral instruments tend to colour and support rather than

offer opportunities for solos or featured motives. For example the clarinet's statement of the

verse theme a third below the PBs at section 2 could have received solo material. Kutin,

however, keeps the prominence of the balalaika ensemble forward instead.

Given the data collected in score analysis and the formation of charts illustrating this data

alongside other critical evaluations, the following diagrams (figures 50 to 54) illustrating

the relationships between the sample of works can be made.

Klszko, M. F. : 1999 page 39. f

Chapter Four

Arrangements 1-4 only possess text

Air. No.

I ABAbAbAbAbA

2 AA B AA bAA b AA 3 AA B AAA b AAA b AAA 4 INT AAA B AAA 5 INTBI/2ABI/2A

6 INT AA B AAA

By condensing the repetition of sections the common structures are:

L ABAB

iL BI/2ABI/2A

Figure 50

Diagram illustrating the relationship of structures of Ka/inka in the Kutin collection

1 2 3 4 5 6 G#min Emin Gmin Gmin F#min Amin Bmaj Gmaj Bbmaj Bbmaj Amaj Cmaj

Figure 51

Diagram illustrating similarities of key structures within the arrangements

Kiszko, M. E : 1999

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middle 6

Figure 52 Chart illustrating the similarities of constituent elements within the arrangements

123456

-21 T''

KASURA ARRANGEMENT?

Figure 53

Diagram illustrating the relationship of constituent elements described in the chart

across all arrangements

TRADITIONAL RUSSIAN STRUCTURES

111 ANDREYEV APPROACH MANUSCRIPTS PUBLISHED ARRANGEMENTS

KASURA COLLECTION, ARR. 7 RELATIONSI IIP TO KUTIN ARR. 5 (direction of influence dependent on dates of arrangement which are unknown)

Figure 54

Diagram representing ancestry of influence of the sample of works presented


The charts and diagrams conclude that the compositional devices of Russian folk material

either aurally acquired or learnt from published arrangements or the early Andreyev

arrangements have been implemented in the Kutin arrangements. Their inclusion, however,

has been to a lesser degree than observed in the Kasura samples.

ANALYSIS OF THE ARRANGEMENT OF AN ART WORK - THE OVERTURE

FROM GLINKA'S A LIFE FOR THE CZAR - IN THE KASURA AND KUTIN

COLLECTIONS

Background to A Life for the Czar

The opera A Life for the Czar has always occupied a special place in the consciousness of

Russians. This is partly due to the revival of national identity in the early part of the

nineteenth century spurred on by the Napoleonic events of 1812. Furthermore, the twentieth

anniversary of the victory over Napoleon resurrected Russian patriotism and nationalism.

Following his studies in Berlin with theoretician Siegfried Dehn (1799.1858), Michael

Glinka (1804-1857) returned in 1834 to Russia with the scheme for a large-scale national

opera. Encouraged by the author and critic Vassily Zhukovsky, Glinka readily accepted

Zhukovsky's suggestion for an opera based on the story of Ivan Susanin -a peasant who

sacrificed his own life to save Tsar Mikhail Feodorovich Romanov. A Life for the Czar not

only enjoyed a political vogue but a musical one. Glinka was adamant that the opera should

be national in every respect and that the music should be as national as the subject matter.

I want everything to be national, above all the subject, and the music likewise so that my fellow

countrymen will feel they are at home. 42

To implement this notion he turned to some of his previous composed songs and to

notebook sketches of Russian folksongs he had made during 1833 and 1834. Another

aspect of the opera's initial success was that it was the first to dispense with spoken

dialogue between the arias. It was, however, the Russianness of the composition which

strongly appealed to audiences who had become tired of the influence and techniques of

Italian opera on Russian composers. Remarkably, between 1836 and 1879 A Life for the

Czar was performed no less than 500 times. This popularity placed the work firmly into the


Russian operatic repertoire but moreover planted it firmly into the minds of elite Russians

everywhere. It is not surprising that the early emigres to the USA carried a knowledge and love of this opera with them. Performances of the overture featured in the concerts of both Kasura and Kutin.

The overture and its structure

Surprisingly, Glinka began his work on A Life for the Czar with the composition of the

overture first. The two major themes of the overture's vivace had already been composed in

1833-34 during Glinka's stay in Berlin but other material for the opera was adapted from

Glinka's previous songs, from influences in the music of Strauss and Lanner, and from

Russian folk sources - most notably Susanin's first Act 1 entry which was taken down by

Glinka from a coachman. The overture was written for piano duet with some indications of

the scoring.

In his study of Glinka's process of composition, David Brown remarks that a full score of

the overture survives which predates the piano version. That score had no slow introduction. "

Glinka's next step was to add a fourteen-bar introduction and change the vivace dominant D

crescendo from four to eight bars. In a final version he expanded the introduction, quoting from the Act I opening theme, the Act II finale, the Act III quartet and the epilogue trio. It

is this final version of the introduction and indeed the overture that the Kasura and Kutin

arrangements use as a template. For the purposes of a reference score for the overture I

have used the Eulenberg edition of the score and any remarks on modifications of structure

or instrumental distribution will be based on this source.

To properly identify the themes that appear in the Kasura and Kutin arrangements it is first

useful to outline the structure of the overture and name the major themes in the overture that are also present in the body of the opera. The formal plan of the overture consists of

compositional episodes relating to sonata form. Briefly the overture structure might be

described as: introduction, Ist subject, 2nd subject, codetta, development, recapitulation,

extended coda. This may be subdivided as follows:


Introduction, bars 1-39

Vivace introducing First Subject in G minor, bars 40-106

L'istesso movimento Transition, bars 107-126

L'istesso movimento Introduction of 2nd subject in Bb major, bars 127-188

Codetta, bars 189-210

Development in A minor, bars 211-250

Recapitulation in G minor, Recap of Ist subject, bars 251-319

Recap of 2nd subject in G major, bars 320-437

L'Istesso movimento, bridging passage, bars 438-491

Extended coda, bars 492-565

Overture to A Life for the Czar in the Kasura collection

There are seven arrangements listed in the Kasura Preliminary Checklist and Index. These

can be identified as:

1. Manuscript parts (photocopies only) for PDI, AD, AB, and CB. In an unidentified hand;

2. Incomplete manuscript score with parts for accordion with ten part Russian folk

orchestra PDI-II, ADI-II, BD, PBI-II, SB, AB, CB. Contains one page of revision

for each part. Arranged by Kasura;

3. Incomplete manuscript score and parts for 2 accordions and ten part Russian folk

orchestra PDI-II, ADI-II, BD, PB, SB, AB, BB, CB. Arranged by Kasura for the

BDAA and first performed on 28 October 1978 at the Alice Tully Hall, Lincoln

Center, N. Y. (2nd accordion part missing);

4. Manuscript score and parts (photocopy) for eleven part Russian folk orchestra.

PDI-II, ADI-II, TD, BD, PB, SB, AB, BB, CB. Arrangement by Mark Selivan

dated 9-5-1964;

5. Manuscript parts (photocopies) for eleven part Russian folk orchestra PDI-II, ADI-

II, TD, CBD, PB, SB, AB, BB, CB. Has the stamp 'Great Russian Orchestra of


Balalaika, Detroit, Mich. ';

6. Manuscript score (photocopy) for ten part Russian folk orchestra PDI-II, ADI-II,

BD, PB, SB, AB, BB, CB. Arranged by W. Lachowski and dated 11-30-1928;

7. Incomplete manuscript score for accordion and eleven part Russian folk orchestra. In the hand of Kasura.

Overture to A Life for the Czar in the Kutin collection

There are five arrangements of the overture in the Kutin collection.

1. Published Russian score. This is an undated publication and unnumbered;

2. Published piano reduction of the overture. Numbered 408 in the collection. Published by Adolph Furstner in Berlin and stamped 'Nicolaus Semaschko Russ.

Kapellmeister, Berlin - Kiew'. No arranger's name is given;

3. Published piano reduction with a stave of cues for theatre orchestra. Undated and

numbered 408 in the collection. Arrangement is by Chas J. Roberts and published by the New York Radio Music Company Inc.;

4. Published single and occasionally double staved reduction. Undated and

unnumbered. Arrangement by F. Hofmann and published by Schott and Co.

Carries the stamp of 'Nicolaus Semaschko Russ. Kapellmeister';

5. Manucript score for FL, Ob, Cl Bb, Bsn, Horns, Timpani, PDi, PD II, AD, BD.

PBI, SB, AB, CB. Arrangement by Kutin.

For the purposes of analysis I have chosen to concentrate on the most complete scores

available in the collections. In the Kasura collection arrangements 4,6 and 7 offer the best

examples of completed material and in the Kutin collection arrangement 5 is the only

example of Kutin's approach to arranging the overture. It is obvious to note that in both

collections Kasura and Kutin used previously arranged material as a source. In Kasura's


case - his arrangement 7 may have been adapted from a published score but it is more than likely that it was adapted from Selivan's arrangement 4. Kutin's numerous copies of

published arrangements suggest that these as well as the full score to the overture were used

as templates. Later in this chapter I shall examine the arrangements in detail. First,

however, I wish to identify the themes of the overture (manuscript examples 53 to 58) to

determine how closely the Kasura and Kutin arrangements adhered to the content and

structure of the original overture. This will assist the discussion of how closely Russian-

American arrangers emulated the original source and whether any devices hitherto

observed in traditional folk song material were transferred.

Identification of the major themes in the overture

Overture opening

Fl.

Openin ºgstatement Act 1 Leader of Chnrus

Allegro

nýý


Glinka, Overture to A Life for the Czar, opening statement of overture, bars 1-7

(Ed. Eulenberg) and opening statement of Act 1

Opening chords bars 1-7. These are taken from the opening statement of Act 1 sung by the

leader of the chorus and answered by the chorus of peasant men (manuscript example 53).

It is fundamentally a reference to the zapev and the podgoloskni of traditional Russian folk

song.

Kiszko, M. E.: 1999

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mf

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Ob.

19

Ob.

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Manuscript Example 54 Glinka, Overture to A Life for the Czar, Oboe theme at bars 8-23


Glinka based this theme on a Russian coachman's song heard on a journey near Smolensk

and used the theme for the trio and chorus in the Act 4 epilogue.

First subject theme ss

Vin. --

nif

ZapC3LStaICnienLACt l


Glinka, Overture to A Life for the Czar, first subject theme, bars 85-89 (ed. Eulenberg)

and Act I zapev statement

The first subject theme of the overture on first violins also finds its source in the opening zapev statement of Act 1. This theme provides Susanin's opening statement in Act 1, Why dream of weddings.


Overture motive

68A .ýsr

Fl. p

W-Qmen's cho me th m


Glinka, Overture to A Life for the Czar, bars 68-72, motive compared to the

Act 1 chorus of peasant women

The descending quaver and crotchet figure beginning at bar 68 has a similarity to the

melodic contour of the chorus of peasant women in Act 1, Spring has taken Its course.

S. econd. subject theme

130 dol=_

97 If

Bridal chorus Act 3


Glinka, Overture to A Life for the Czar, second subject theme at bars 130-137 (ed.

Eulenberg) compared to the Act 3, bridal chorus

The second subject starting on clarinet at bar 130 has aspects of melodic contour drawn

from the bridal chorus of Act 3.

Kiszko, M. E.: 1999

Overture bar 438

438

Vc.

Pp -1ý Act 1 ch ona IeadPr'C C Atems

ýý ana "ý


Glinka, Overture to A Life for the Czar, bar 438-441 (ed. Eulenberg) motive

and Act 1 chorus leader's statement


The strong melodic motive beginning at bar 438 firstly on cellos and basses may be traced in part to a diminution of the second half of the chorus leader's opening statement in Act 1.

It is now possible to examine how closely the structural, harmonic, and textural elements of Glinka's score are transported to the arrangements in the Kasura and Kutin collection. From

the Kasura collection I have collated those scores which give the most complete picture of

the arrangement of the overture. Other arrangements are so incomplete that they cannot

sufficiently provide an example of the arranger's full treatment of the original source. For

this purpose I have selected arrangements 4,6, and 7. I will begin with arrangement 6 since

this bears the closest similarities in structure and thematic content to the overture. The

legend for the arrangements' charts are available on pages 239 or 363.

Arrangement 6

Arrangement 6 (figure 55) is an early (1928) arrangement by W. Lachowski. In terms of

structure, the introduction emulates the original overture and proceeds to the first subject

statement omitting the crescendo on the dominant D at the beginning of the vivace.

Similarly, the approach to the codetta and the codetta itself, after the 2nd subject

appearance, is omitted. The following first subject in A minor is retained as is the

modulation to G minor but the G major L'istesso movimento is truncated in this

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arrangement and joins the original score at bar 503 in its cadential finale of the coda. Apart from these deviations the arrangement slavishly follows the original score.

In terms of the distribution of thematic and harmonic material, there appears to be no great invention on the part of the arranger. Although the chart illustrates the basic pattern of the distribution of melodic, harmonic and textural material, many of the features of the work, such as scalic runs or octave and unison doublings are already internal constituents of the

original score. There is therefore no invention based on these features as observed hitherto

in the arrangements of Kaiinka except for the characteristic use of tremolando found on balalaikas throughout the score.

The distribution of the instrumental parts of the score is determined predominantly by

range. That is, most of the thematic material which fords its source on flutes or first violins is directly transferred to PDs. Some of the mid-range solo material such as the oboe solo of

the introduction and the 2nd subject theme on clarinet is transferred to the equally mellow

tone of the AD. All the accompanying material, particularly staccato or ostinato string

patterns, are transferred directly to the lower domras or are spread throughout the

balalaikas. The BD, BB and CB primarily feature the material of the orchestral cellos and

basses. Such a transfer of material was summarised by Kasura in the following manner.

Prima domra as a lead instrument playing a similar role to violin; Alto domra comparable to viola supplying both solo and counter melodic material. AD II supplies

unison material to ADI or support harmony;

Bass domra as cello section of symphony orchestra;. Prima balalaikas provide solo sections or support an instrument with the melodic lead;

Secunda balalaika generally play off the beat chords adding rhythmic accompaniment alongside the

Bass and Kontrabass (sic. ) balalaikas akin to the rhythmic accompaniment offered in part by the

string section of a symphony orchestra. "

The problem with such a basic transfer of material is the lack of timbral development. For

example, not only do PDs take the first subject theme of the vivace but they continue it

directly into the motive of the chorus of peasant women as well as onto the transitional

material where they hold the melodic line of the first flute. Is this purely a lack of invention,

the direct transfer of similar registral material from the original score or a legitimate

transfer of the traditional orchestration to a balalaika orchestra arrangement? To conclude,

Kiszko, M. E.: 1999 page347

Chapter Four

arrangement 6 follows the scheme of the original overture with the direct transfer of material part for part rendering it a rather uninspiring arrangement.

Arrangement 4

Arrangement 4 (figure 56) by Mark Selivan is built not solely on the thematic content and structure of the overture but devised from major themes of the opera itself.

The opening bars 1-37 which constitute the overture's introduction are modelled on the introduction to the original overture. This includes the opening dominant to tonic chords

representative of the zapev opening of Act 1 and the Smolensk coachman's theme in G

minor. Following the introduction, and contrary to arrangement 6, the dominant D

crescendo at the beginning of the vivace is kept intact at 4 bars rather than 8 bars

duration. What should be the overture's vivace is termed allegretto by Selivan and the theme of the Polish cracovienne of Act 2 is introduced here in E minor and then 13

major/B minor. This ends at bar 103 to introduce the statement of the zapev theme at the

opening of Act 1-G major to E minor. This continues to bar 143 where the theme of the

F major women's peasant chorus Spring has taken its course from Act I is employed. At

157 the Act I opening zapev is restated in G minor and the tempo change at 202 heralds

the Act 2 Polish mazurka in C major. This proceeds until bar 265 when the C major Slav'sya Svyataya Rus theme from Act 4 takes us to the final double bar at 306.

The chart indicates that as with arrangement 6, apart from the use of tremolando for the balalaikas, any internal attributes such as scalic runs or octave and unison doubling are

present only because they existed in the source material. Some invention, however, in this

arrangement does exist and appears mainly in the areas of the instrumental distribution of

melodic material and structural devices based in traditional Russian folk song.

In terms of the distribution of parts the 'rules' hitherto discussed as laid down by Kasura for

the arrangement of parts also apply in this Selivan arrangement. Much of the melodic lead

is taken, as expected, by the PD, and/or AD and PBs.

It is interesting to note, however, that the material is not slavishly transferred according to

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Kiszko, M. E.: 1999 page JJO Chapter Four

instrumental range. That is, a theme which might be found in the upper range of the f utcs is

not necessarily transferred to the PDs. For example, the Polish cracovienne theme beginning at bar 42 of Selivan's score is stated firstly by PD, AD and PIIs and is answered as a second statement by ADs and TD demonstrating the type of timbral distribution one might expect in a well crafted conventional orchestral work.

The transfer of the women's chorus theme from the opera is carried over in its intervallic

relationship of thirds and there are no surprises in terms of distribution since this material is

again allotted to the featured instruments, PDs and PBs.

Not only are the parts distributed as per the discussion of traditional ensemble distribution

but there is also a consideration of how instrumental sections interact. For example, in

comparison to arrangement 6, arrangement 4 offers moments when the orchestration is

sparser to allow for the more dramatic entry of another instrumental section. Perhaps one

reason for this rests in the notion of Russian folk song being rooted in the rhythms and

nuances of speech patterns. Selivan perhaps, was able to detect this in Glinka's opera and

successfully transfer it to the balalaika arrangement. Secondly, Selivan's knowledge of

conventional western orchestration would have provided some relevant input to the

balancing of sectional material and the methods of creating short modulatory links from

one theme to another.

The tradition of the zapev is also brought strongly to the fore at 157 of Selivan's score.

Here, we discover that unlike the unremarkable arrangement 6, the structural devices of

Russian folk song are inventively introduced. The AD begins with the zapev statement and its response is found in the PBs and AD II who again feature much of the subsequent

melodic material (manuscript example 59).

Alto

PP


Example of the zapev statement. Glinka, Overture to A Life for the Czar, arrangement

4 (EC529), bars 157-164, Kasura collection, University of Illinois

Kfszko, M. E.: 1999 page 351 Chapter Four

A fairly typical balalaika accompaniment is found at bar 202 when the Polish mazurka begins on PDs. There is no variety in the distribution of material throughout this section

ending at bar 264 (manuscript example 60).

The final major thematic statement - the Slavsya svyataya Rus motive is given a full tuft! at

265 with the theme and its harmonies spread throughout the full range of the ensemble in

the manner of the finale of a conventional symphonic work (manuscript example 61).

Overall Selivan transfers the compositional devices which identify the 'Russianness' of the

opera - the women's chorus in thirds, the zapev and response and the full full of the final

anthem.

Arrangement 7

According to the Preliminary Checklist of the Kasura collection, arrangement 7 (figure 57)

is orchestrated for accordion and eleven part ensemble. In fact, the score shows an extra

part - that of the tenor domra which is added at the bottom of each page. The part planned

for accordion is only filled in for 5 bars on the score and is thus incomplete. Furthermore

the prima domra only is written into the score between section 11 and the end of the piece.

The rest of the score between these sections is blank and suggests that Kasura did not leave

it intentionally incomplete.

It is, however, more or less a copy of arrangement 4 by Selivan. (See manuscript examples

62 and 63). Structurally, Kasura has followed the form and the sequence of themes, keys,

modulations and tempi as selected by Selivan. Yet, apart from the chart illustrating that no

significant embellishments occur, there are slight deviations in the arrangement. Whether

these deviations are meant to accommodate the poor playing or exemplary playing of a

particular ensemble member is difficult to determine. Perhaps it is an attempt by Kasura to

add more timbral colour to the parts. This may be noted at the opening coachman's theme in

G minor which like Selivan's arrangement is given to the prima domra supported by alto

and bass domras. Kasura, however, varies the timbre by doubling the ADII and adds AB at

the same piano dynamic.

Kiszko, M. E.: 1999

Tempo di mazurka

202

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page 352 Chapter four


Example of accompaniment. Glinka, Overture to A Life for the Czar, arrangement 4

(EC529), Kasura collection, University of Illinois

Kiszko, ME.: 1999

A

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Example of orchestration of tutti. Glinka, Overture to A Life for the Car, arrangement 4

(EC529), bars 202-204, Kasura collection, University of Illinois

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Al

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BB

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Manuscript Example 61 contd Example of orchestration of tutti. Glinka, Overture to A Life for the Czar, arrangement 4

(EC529), bars 202-204, Kasura collection, University of Illinois

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Kiszko, M. E.: 1999

Maestoso 6

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page 3S6 Chapter Four

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Example of coachman's theme in Mark Selivan's arrangement of Glinka's Overture

to A Life for the Czar, arrangement 4 (EC529), bars 6-21, Kasura collection,

University of Illinois

Kiszko, M. E.: 1999 page 3S7

Chapter Four


Example of coachman's theme in Walter Kasura's arrangement of Glinka's Overture to A Life for the Czar, arrangement 7 (EC529), bars 6-21,


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In terms of the distribution of parts and the consideration of any deviations, the

arrangement bears a similar distribution to Selivan's. For example, the introduction of the

Polish cracovienne in G major/E minor is similar to Selivan's arrangement with PDs, ADs.

TD and PBs carrying the major thematic material (manuscript example 64).

The zapev theme in G major/E minor found at Selivan's bar 103 is again followed by

Kasura with a similar pattern of distribution except for the addition again of an AB

supporting and mixing the timbres of PDII and ADII. The peasant women's F major theme

is a similar distribution throughout. The next significant moment, the C major mazurka, is

again a copy of Selivan's distribution. No other nuances of Russian folk song, as witnessed

in the Selivan score in the Kasura collection, are evident.

ARRANGEMENTS OF THE OVERTURE IN THE KUTIN COLLECTION

Arrangement 1

This is an undated published score and is probably one of the editions of the score available

in Russia. It is not dissimilar to the Eulenberg edition which I have used for the purposes of

analysis, except for tenor and bass clef changes in the bassoon part. It is probable that Kutin

may have used this edition as his sole template or as part of a selection of source material

found in the following arrangements.

Arrangement 2

This is a published arrangement for piano from the Berlin publishers Adolphe Furstner. It

follows the structure and content of the overture's original score whether observed in

arrangement 1, the published score or the Eulenberg edition.

Arrangement 3

This arrangement by Chas J. Roberts is a reduced score indicating the distribution of parts

Kiszko, M. E.: 1999

42

P



Examples of instrumental distribution and deviances in Walter Kasura's arrangement 7

(EC529), bars 42-49 of Glinka's Overture to A Life for the Czar, Kasura collection, University of Illinois


for a theatre orchestra. A piano part, which can be used for demonstrative or

accompanimental purposes, is located alongside the stave marked 'theatre orchestra'. The

part also denotes the distribution of instrumental parts according to thematic or harmonic

material. The structure and content again emulates the form of the original overture.

Arrangement 4

Arrangement 4 published by Schott is a one- progressing to two-stave reduction of the

overture for nine or sixteen instrumental parts. Again, it follows the form and thematic

content of the original overture.

Arrangement 5

This is a manuscript arrangement by Kutin (figure 58). It follows the structure of the

original published score apart from the omission of bars 386-437 just before the L'istesso

movimento codetta in E minor. This cut may be due to the sustained nature of this link to

the codetta which may have been regarded as material that would slow down this part of the

work during performance.

In terms of the orchestral ensemble Kutin supplements his domras and balalaikas with

symphonic instruments akin to those used by Glinka. Kutin adds flute, oboe, clarinet,

bassoon, french horns and timpani following the model of Glinka's score but omits any

brass. Interestingly there is no great invention with these symphonic instruments - they

simply play that which was allotted to them in the original Glinka overture. The string

section is also transferred virtually note for note and is divided between the domras and the

balalaikas on the following basis:

Violins, violas, cellos and basses are transferred part for part to the PDI PDII AD and DB;

Lower balalaikas reinforce the domras in unison and octaves and the second violins of the

score are assigned to PB I as well as PDII.

This formula is apparent throughout the full arrangement and demonstrates that Kutin

preferred to either present the original score as closely to the manner of Glinka's

orchestration or chose to slavishly transfer the registral characteristics of the original as a

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labour saving device (see manuscript examples 65 and 66 for a comparison of the orchestral score to Kutin's arrangement). To conclude the comparative study of the arrangements ofA Life for the Czar in the Kasura and Kutin collections, the following chart (figure 59) displays global and internal elements which characterise the arrangements.

The legend for the chart is as follows:

S= Follows original Glinka structure exactly MS = Minor modifications of structure discerned

DS = Includes developments of original structure T= Includes traditional elements interpolated from traditional Russian folk song I= Any melodic or harmonic invention is identical to the original score MI = Invention is modified and different to original score DTR= Direct transfer of registral material TFV= Themes originating on flute or violins are transferred to PDs or PBs

MRT= Mid-range themes are transferred to ADs

BM = Bass material is transferred to BD, BB, and CB

SO = Staccato or ostinato is transferred to lower domras or balalaikas

MT = Themes possess a mixture of timbres OI = Orchestral instruments are included within the arrangement OII= Orchestral instruments follow exactly the orchestral instruments of Glinka's score

The conclusions drawn from such a chart indicate that the Kasura arrangements aim to

follow Glinka's score with only the minimum of modifications or adjustments. This may

indicate that arrangers felt that the simple transfer of material from one idiom to another

with few modifications was, perhaps, more acceptable to the concert-goer. Other factors

may have included the size of classical works. Such works were perhaps structurally too

large to employ traditional Russian folksong elements that would make any notable

difference to the work as a whole. Selivan's arrangement in the Kasura selection does,

however, reach towards these aspirations. It has been seen to address the more traditional

elements of Russian folksong within the context of a large-scale work.

Kutin's arrangement may, however, be regarded as a simple transfer of material from one

idiom to another. As such it only demonstrates a preservation of traditional folk elements

Tu in

Kiszl o, M. E.: 1999

n

ff



Example of the transfer of orchestral string material to the domra section of A. Kutin's arrangement 5 (KC 408), bars 1-20 of Glinka's Overture to .4 Life for the Czar.


Ob

Tinp

PDI

AD

DB

KB

N

Ob

Timp.

PDI

AD

DD

KB

Manuscript Example 65 contd Example of the transfer of orchestral string material to the domra section of A. Kutin's

arrangement 5 (KC 408), bars 1-20 of Glinka's Overture to .4 Lijefor the Czar, Kutin collection, University of Illinois

Kfszko, M. E.: 1999 page 363

Chapter Four


Chapter Four

I

OVERTURE . to the Opera

A LIFE FOR THE TSAR (LA VIE POUR. LB CZAR)

AAaain mew ein% laetn

2 inm

2

Clarinet

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Manuscript Example 66 Overture to A Life for the Czar, Extract of full score, bars 1-36, Ed. Eulenbcrg,

London, undated

to. ee.. Zurich . Statt .t

KtszkO ME: 1999

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Kiszko, M. E.: 1999

S MS DS TI MI Kasura 6// 4/// 7///

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Figure 59

Chart of the constituent elements observed in arrangements of Glinka's Overture to

A Life for the Czar in the Kasura and Kutin collections, University of Illinois


within the instrumentation and timbral qualities of the core domra and balalaika ensemble.

ANALYSIS OF THE ARRANGEMENT OF A CONTEMPORARY POPULAR

WORK-'LARA'S THEME' FROM THE MOTION PICTURE DR. ZHIVAGO

Background to the motion picture Doctor Zhivago

Doctor Zhivago is known to us today as one of the great stories written by poet Boris

Pasternak. After breaking his twenty-five year silence with the novel, Pasternak was hailed

as a genius in the West. Russia, however, had only malevolent feelings towards him.

Branding him a traitor they forced the Soviet Writers' Association to expel him. The novel told the story of a man who found no comfort in his government's ideologies and who

sought to be an ordinary individual in society.

In 1962 the filmmaker David Lean alongside British screenwriter Robert Bolt began to develop the story and cast and in 1965 the composer Maurice Jarre was engaged to

compose the score which became one of the most original scores to appear on the

Hollywood scene for some years. This was largely due to the instrumentation. According to

details on the soundtrack album sleeve the score required a 110 piece symphony orchestra

which included 24 balalaikas, koto, organ, novachord, electric sonovox, harpsichord,

electric piano, tack piano, zither, shamisen, a collection of other Japanese instruments and a

chorus of forty voices. ''

The instrumentation has created much conjecture over the years. Musicians and members

of the BDAA alike have argued about whether Jarre used an ensemble of balalaikas, an

ensemble of mandolins to emulate balalaikas or a mix of both. As a result purists have often

rejected the score as inauthentic. In addition, doubts have been expressed about the

personnel employed on the original session. For example, BDAA members have heard

many speculative claims about which of their past members, if any, were employed on the

session. In terms of finally answering these questions I am able to provide a copy of

MGM's original roster of booking for an ensemble of balalaikas, domras and mandolins

(document 9). This clearly indicates the names of the performers and the structure of the

ensemble: 7 balalaikas, 8 domras and 4 mandolins. This total of 19 players was led by Leon

Stewart (also known as Leonid Usachevski) who settled in Los Angeles around 1941.

Kroko, M. E.: 1999 page 371 Chapter Four

C

R0STER

of

Balalaika Section for Recordir^ of "Dr. ZHIVAGO". M-G-M . '.. udios, Culver City, Cal.

Nov. 25 To Dec. 17 1965

Stewart, Leon A. Leader Balalaika prima

Masche, Piladimir --------------- Bolshakov, Dmitry **-------------

Bolin, Nick Balal'ika secundo

Idriss, Ramez ---------------- Economides, George Balalaika alto Nadel, William Balalaika bass

Crlenica, Vasil Domra prima Gralnick, Max ----------- Mariani, Herman Domra second

Pickar, Rachel ------------ Smith, Philip Domra alto

Rodionoff, Sergy ---------- Roberti, Robert Domra bass

Crlenica, Steve ----------- Barbieri, Rocco Mandolins' Freeman, Sam Vente, Sam Bonneti, Dario

Document 9

Roster of musicians booked for the recording sessions of Maurice Jar re's score for the

motion picture soundtrack Doctor Zhivago, MGM Studios, Culver City, California,

25 November - 17 December 1965, courtesy of Anya Titova


The roster also displays a different ensemble to that described on the album. This may indicate that the album soundtrack was further supplemented by balalaikas or that there is

simply an error in the album sleeve document.

Why the score is so important within the context of the growth of the American balalaika

orchestra lies in both the timing of its release and the immense popularity that the themes,

built on Russian folksongs remembered by Jarre from childhood, evoked. In particular, the

theme that captured the musical consciousness of nations around the world was 'Lara's

Theme', the love theme from the soundtrack. In the USA this was one of the primary

musical works based on Russian material to arrive on the American concert platform after a sustained period of McCarthyism. Alongside the Cold War, the political arena since 1947

did much to subdue any musical work or performance that had a connection with the

USSR. The question of how this piece of popular music was interpreted and arranged by

musicians restoring themselves to the dissemination of Russian-American balalaika

arrangements will now be investigated.

The arrangements of 'Lara's Theme' in the Kasura collection

`Lara's Theme' is found in both the Kasura and Kutin collections. In the Kasura collection

the twenty-two arrangements are as follows:

1. Manuscript score for accordion and eight-part Russian folk orchestra (PDI-

II, AD, BD, PB, SB, AB, CB) arranged by Mark Selivan, 2 September 1969. There is

an incomplete set of parts;

2. Manuscript and photocopies of parts for PD solo, PB, solo and tight-part Russian

folk orchestra (PDI-II, AD, BD, PBIa, SB, AB, CB) arranged by L. M. Davis 8/15/66.

The parts are written in various hands;

3. Manuscript score and parts for PB solo and nine-part Russian folk orchestra with

accordion (PDI-II, ADI-II, BD, PBIa, SB, AB, CB - accordion part only in score)

arranged by L. M. Davis in the hand of Kasura;

4. Manuscript score and parts for accordion and ten-part Russian folk orchestra (PDI-


II, ADI-II, BD, PBI-II, SB, AB, CB) in the hand of Kasura;

5. Manuscript score and parts for accordion and nine-part Russian folk orchestra (PDI-II, ADI-II, BD, PB, SB, AB, CB). This is a 'beginner's version' dated October 1973 and arranged by Kasura;

6. Manuscript parts for accordion and ten-part Russian folk orchestra (PDI-II, ADI-II,

BD, PB (solo and non-solo), SB, AB, CB) arranged by Kasura;

7. An incomplete set of parts for PDI-II, AD, AB in the hand of Kasura;

8. Manuscript parts for six-part Russian folk orchestra (PDI-II, AD, Pß, AB, CD) in

the hand of Kasura;

9. Manuscript score and incomplete set of parts for accordion and ten-part Russian

folk orchestra (PDI-II, ADI-II, BD, PB, AB, SB, BB, CB) arranged by Kasura;

10. Manuscript score for orchestra (woodwinds, brass, strings, percussion, keyboard,

domra and solo violin (7) dated Dec. 1976 and arranged by Kasura;

11-21. Miscellaneous incomplete manuscript scores. These are various arrangements for

Russian folk orchestra containing twenty-two miscellaneous parts for domras and

mandolins. In the hand of Kasura.

The arrangements of'Lara's Theme' In the Kutin collection

Three arrangements of the theme were located in this collection:

1. Published arrangement for piano by Maurice Jarre. Published 1965 by Metro-

Goldwyn-Mayer;

2. Manuscript labelled 615 (23) for Russian folk orchestra, woodwind and percussion

(flute, oboe, clarinet, bassoon, timps, PDI-II, AD, BD, PB, SB, AB and CB (?

obscured marking)). Arrangement by Kutin;


3. Manuscript labelled 615 for Russian folk orchestra, woodwind, horns and percussion (flute, oboe, clarinet, bassoon, french horns, timps, PDI-II, AD, BD, PB,

SB, AB, CB). Arranged by Kutin.

For the purposes of examining the exact intentions of the arranger I have again chosen the

more complete arrangements from each of the collections. In the Kasura collection these

are arrangements 1,3,4,9 and 10. In the Kutin collection arrangements 1-3.

For the purposes of analysis the following main theme illustrated below will be described

as A and the second theme as B (manuscript example 67).

THE ANALYSIS OF'LARA'S THEME' IN THE KASURA COLLECTION

Arrangement 1

In arrangement 1 by Mark Selivan (figure 60), Selivan has pasted the original Maurice Jarre

piano arrangement to the top of the score (manuscript example 68). This may imply that

Selivan wished to have piano or accordion accompaniment with the balalaika ensemble. It

is also probable that the piano part is there purely as a reference for the arrangement.

However, the Preliminary Checklist of Works in the Kasura Collection describes the score

as possessing an accordion part. It is more than likely this is what Selivan intended and for

the purposes of this study it is the accordion which will be accepted as the chosen

instrument.

Of note is the fact that the arrangement also provides a stave for piccolo domra although no

part is actually written in. This may indicate an intention to include such a part and in that

scenario the arrangement would stand as incomplete. It is possible, however, that the blank

staves - as with the ADII part - may denote that the parts simply follow PDI and ADI

respectively.

The arrangement throughout is dense, favouring a tutti ensemble sound. There are no

breaks for solos of particular instrumental or timbral diversion. In all respects the


Barst-8

3

Bars 17-24 3

3


Maurice Jane, 'Lara's Theme', bars 1-8 and bars 17-24 from the motion picture soundtrack

of Doctor Zhivago, Metro-Goldwyn-Mayer, New York,


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Chapter Four

A1rFRO. CÖ DIV; 'N"AIAYfR p, '.

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Thieme Fronen- "Doctor Zhiy gö,; .;:; . ";. _ tw ýý l. A"ý" Tenderly MAURI

E3ARRB" ý'.

r- J.


Extract from Mark Selivan's arrangement 1 (EC625), bars 1-2 of Maurice

Jarre's ̀Lara's Theme', Kasura collection, University of Illinois


arrangement follows closely the pattern of treble and bass distribution demonstrated in the

piano part.

The PDI and ADI take the treble stave in thirds as written supported also by PBI. The

conventional triadic placement of the chords is slightly expanded by Selivan as other harmony notes of the triad are distributed and doubled by PDII and again PBI. A triplet

accompanimental figure is given to SB and AB and is both suggestive of the patterns of bass triplets in the piano part and of the strumming pattern of the thumb across the balalaika. The CB follows a conventional bass pattern which one would expect the CB to

acquire. Contrary to this the agile triplet figure of the accordion bass line is transferred to

BD and at this point one questions whether the two bass lines are both necessary to give the

desired effect.

Some of the questions relating to the distribution of material which were examined in

arrangements of A Life for the Czar may also be asked of `Lara's Theme'. A Life for the

Czar demonstrated that the direct transfer of registral material from the source to the new

arrangement provided little invention. Similarly, in 'Lara's Theme' material transferred

directly from piano to the new arrangement may also result in poor invention or distribution

of melodic material. This is particularly the case where the registral characteristics of the

piano are exactly transferred to the registers of the balalaika orchestra. Such transfers may

be noted here and in other arrangements. For example, PDI, ADI and PBs will always

carry the thematic material. Section B carries no diversion timbrally where one might

normally expect an orchestrator to vary the distribution of timbre.

Overall the chart illustrates this simple pattern of instrumental distribution based on the

original piano score. It may be argued that only the expected minimum of constituent

elements, namely key modulation, counter melodic material, octave and unison doublings

and lutti finale are used. The use of ascending and descending scalic passages, for example,

is only included in the arrangement because they are essential constituents of the melodic

contour visible in the original piano score.


Arrangement 3 'Lara's Theme'

This is an arrangement by Leonard Davis in the hand of Kasura (figure 61). Structurally it

copies the previous arrangement and the original piano arrangement. The chart illustrates

that the leading thematic material is given to the solo prima balalaika and this remains

constant throughout the piece. The prima balalaika also takes a voice beneath the melody

providing two and three note chords. The intervallic relationship within the chords is very

similar, except for the occasional octave displacement in the part for prima balalaikas in

arrangement 1. Because of the featured solo artist, the PDI-II and ADI-II provide harmonic

accompaniment for the melody rather than a straight doubling of the PB as observed in

arrangement 1's timbral mixture of PD I and PB 1 melody (manuscript example 69).

The SB and AB provide a similar triplet accompaniment as seen in arrangement I. The

accompaniment, however, ceases in section C where Davis gives tremolandos to the

accompanying balalaikas and this provides a more suitable colouristic change to the scarce

tremolando passages observed in section B of arrangement I (manuscript example 70). The

bass lines for BD and CB respectively follow those that appear in arrangement I but are

now enhanced by the addition of accordion bass.

The overall distribution of material and the density of orchestration as illustrated on the

chart bears resemblance to arrangement 1. Again it contains the minimum of constituent

elements allowing no notable invention of traditional Russian folk embellishments.

Arrangement 4'Lara's Theme'

Arrangement 4 (figure 62) by Kasura follows the same structural pattern as the previous

two arrangements. It also adheres to the key and form of the piano original. It does,

however, introduce the piece with a four bar introduction taken from the material of section

B. In terms of the distribution of parts the chart displays a shift of emphasis and invention.

As expected the theme is firstly given to PBI with chords constructed of two and three

pitches. After the first statement of the theme the restatement is passed to ADI. The section

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Chapter Four


Extract from Leonard Davis' arrangement 3 (EC625), bars 1.5 of Maurice Jarc's

`Lara's Theme', Kasura collection, University of Illinois


Chapter Four

Manuscript Example 69 contd

Extract from Leonard Davis' arrangement 3 (EC625), bars 1.5 of Maurice lane's

'Lara's Theme', Kasura collection, University of Illinois

Kiszko. M. E.: 1999 page 382

Chapter Four


Gianlwº Fnuº


Example of balalaika accompaniment. Extract from Leonard Davis' arrangement 3 (EC625), bars 16-20 of Maurice Jarre's'Lara's Theme', Kasura collection,


Acc

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Manuscript Example 70 contd Example of balalaika accompaniment. Extract from Leonard Davis' arrangement 3

(EC625), bars 16-20 of Maurice Jarre's ̀Lara's Theme', Kasura collection, University of Illinois


Chapter Four

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page 385

Chapter Four

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B theme is given to PDI with occasional doubling from PDII or PBI. The final statement of

the theme is given to PDI and ADI favouring PDI after 4 bars as ADI pursues a harmonic

role. The final two bars include the theme's opening motive B, D, A#, B on AD rather than

a cadential dominant to tonic finish. This makes a more imaginative ending (manuscript

example 71).

The final restatement of the theme, however, marked at 5 has a scribbled note by Kasura.

The note implies that he thought to insert a section 4 extract from the Leonard Davis

arrangement of the piece. In terms of the rest of the ensemble the supporting triplet figure,

usually observed on BD, is now placed higher in the ensemble's range and given to ADI"II

as well as BD. This increases the sense of movement behind the theme and in terms of

colour it lightens the bass end (manuscript example 72). The CB, however, develops its

normal bass pattern with one or two short excursions into triplets as a reinforcement of the

bass triplet motive. SB and AB maintain their role with chordal accompaniment which

provides the characteristic balalaika strumming effect.

Interestingly there are moments of sustained chordal accompaniment, which although not

marked as tremolando would obviously be so because of the length of note. These tied

semibreves and minims are distributed to the higher range instruments such as PDI-II and

PBII between sections 1 to 3. This serves again to lighten the arrangement and provide the

balalaika's characteristic shimmering behind the thematic material (manuscript example

73).

To conclude, Kasura demonstrates a more inventive distribution of material even though

the overall density of the scoring is similar to previous arrangements. This textural aspect

of the score is again represented by the chart which also illustrates the increased use of the

constituent elements of the traditional folk song, a use of tempo variation, dynamic

variation, and melismatic material.

Kiszko, M. E.: 1999

41

PDI

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V Manuscript sample 71

Ending of Walter Kasura's arrangement 4 (EC625), bars 41-42 of Maurice Jarre's


Kiszko, M. E.: 1999

6

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Triplet figure in Walter Kasura's arrangement 4 (EC625), bars 6-10 of Maurice Jarrc's

`Lara's Theme', Kasura collection, University of Illinois

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Example of the distribution of material in Walter Kasura's arrangement 4 (EC625), bars 11-15 of Maurice Jarre's ̀Lara's Theme', Kasura collection,


Kiszko, ME.: 1999 page 389

Chapter Four


Chapter Four

Example of the distribution of material in Walter Kasura's arrangement 4 (EC625), bars 11-15 of Maurice Jarre's ̀Lara's Theme', Kasura collection,



Kiszko, M. E.: 1999 page 39l Chapter Four

Arrangement 9 of'Lara's Theme'

Arrangement 9 (figure 63) by Kasura is in 3/4 styling the piece as a waltz. The structure deviates by using halves of the A theme. There is also a short introduction based on no

common thematic material. The major thematic material is taken by the PB (with some

accordion doubling) in section 1/2A and passed onto ADI in A1/2. PDI carries the theme in

B. Section B features PDI with PBI as does the recaps of sections 1/2A which also add

accordion.

The first statement of the theme at section A (manuscript example 74) begins with sparse

scoring providing a light start to the theme by placing a pizzicato marking on PB. PDI-II,

and BD are also marked pizzicato on their entries. ADI-II entries are also pizzicato though

unmarked since they are marked 'trem. ' at the third bar after their entry. After only 8 bars

after section A, PDI-II and PB revert to tremolando.

Generally the remaining domras are providing harmonic support to the theme whilst the

remaining balalaikas fall into the pattern of a waltz rhythm with the beat one's accent

provided by BB and CB and beats two and three assigned to SB and AB. Again the overall density of the arrangement which achieves its tutti effect is characteristic of previous

arrangements. The chart illustrates such density and the minimal use of the constituent

elements of traditional Russian folk song.

Arrangement 10 of'Lara's Theme'

Arrangement 10 (figure 64) is a Kasura arrangement for an orchestra of piccolo, flute, oboe,

clarinet, bassoon, french horn, trumpets, trombone, tuba, timpani, bass drum and harp. The

featured solo part unnamed on the stave of the score is speculatively attributed to violin in

the Preliminary Checklist of Works in the Kasura Collection. The part, however, whilst

written only in the treble clef on one stave is often split into three part chords played in

quick succession. This is an unlikely violin part and should perhaps be attributed to the

right hand of the piano accordion (manuscript example 75).

This arrangement follows the structural pattern of arrangement 4. Its similarities suggest

Kiszko, M. E.: 1999

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Example of the distribution of material in Walter Kasura's arrangement 9 (EC623), bars 1-8 of Maurice Jarre's Lara's Theme, Kasura collection,


Kiszko, M. E.: 1999 page 39J

Q Chapter Four

Kiszko, ME : /999

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Chapter Four


Example of a dubious violin part from Walter Kasura's arrangement 10 (EC625) of

Maurice Jarre's 'Lara's Theme', Kasura collection, University of Illinois

Klszko, M. E.: 1999 page 396 Grapier Four

that Kasura may have simply amplified arrangement 4 to create this version for orchestra. Even the four bar 6/8 introduction is intact. Arrangement 10, however, is dated 1971

whereas arrangement 4 is undated. This means that the opposite may have occurred and the

transfer of material was made from arrangement 4 to arrangement 10. Whichever is the

case the arrangement serves to demonstrate that the transcription of parts to other instrumental colours is decided primarily on similarities of ranges rather than on developing inventive instrumental colour.

Interesting aspects of distribution are illustrated on the chart and these display orchestration in which attention is now properly given to the density of the arrangement. The thematic

material, whilst fairly consistent on violins, is also passed around the woodwind. The

section B figure is given increased weight by trumpets, supported also by an agile trombone

part also in triplets, as well as woodwind and strings. Percussion adds the notion of perhaps

a Russian march and darkens the timbral colour of this section. Throughout the

arrangement the harp emulates the chordal patterns already familiar on SB and AB in

previous arrangements - the strumming pattern being perfectly transferable to the harp


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Example of harp part from Walter Kasura's arrangement 10 (EC625), bars 1.6 of Maurice Jane's



The culminating orchestral tutti is broken by the restatement of the theme on violins with

string pizzicato accompaniment. The only other accompaniment here is clarinet and bassoon creating support for pizzicato strings. The final statement of the theme is an

orchestral tutti.

Overall the arrangement is interesting from the point of texture. Generally Kasura's

orchestral arrangement has a better use of instrumental colour and balance of sectional

episodes than the usually dense balalaika ensemble arrangements previously discussed. The

chart clearly illustrates the passage of melodic material throughout the ensemble as well as

the introduction of a few of the devices common in Kasura's arrangements of Kalinka such

as the use of alternating tempi and the use of a fermata.

ARRANGEMENTS OF `LARA'S THEME' IN THE KUTIN COLLECTION

Arrangement 1

This is the original published piano arrangement by Maurice Jarre (figure 65). It is

presumably in this collection as a reference for the arrangements 2 and 3.

Arrangement 2

This arrangement (figure 66) follows the stricture of arrangement 1.

The theme is given, as previously seen, to PDI and PBI and this distribution continues

throughout the whole piece. Only at the statement of the B theme. marked section 2 on the

score, is the oboe added in unison for a few entries of the triplet melody to which the flute

responds in imitation. Flutes later harmonically reinforce the theme in its final four bar

statement (manuscript example 77).

The remainder of the domra and balalaika sections rely on their usual distribution of parts.

Domras fill in the essential harmony and balalaikas provide a strummed rhythmic

accompaniment. As before the BD and CB take the triplet bass part from the piano

arrangement and a simple bass reinforcement in quavers.

Kiszko, ME 1999 page 398 Chapter Four

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Manuscript Example 77 Example of the distribution of thematic material in Kutin's arrangement 2 (KC score is

incorrectly numbered as 23 by Kutin), at section 2, bars 17-24 of Maurice Jarrc's

'Lara's Theme', Kutin collection, University of Illinois

O Chapter Four

Manuscript Example 77 conid Example of the distribution of thematic material in Kutin's arrangement 2 (KC score is

incorrectly numbered as 23 by Kutin), at section 2, bars 17.24 of Maurice Jane's

`Lara's Theme', Kutin collection, University of Illinois

Kiszko, ME... 1999 page 401

chapter Four


The remaining orchestral parts provide largely harmonic support or counter melodic

material. The content of the BD and CB is split across the bassoon part - sometimes taking the triplet figure and sometimes the harmonic root of the chord. The flute, oboe.

and clarinet begin with simple sustained chords as far as the second statement of theme A, marked as section 1 on the score, when an ascending triplet motive based on the

accompanying triplet is introduced to answer each melodic cell of the melody (manuscript example 78). The triplet motive develops throughout the statement of the B

theme at section 2 as ascending and descending arpeggios for the flute. The final

statement of the theme at section 3 reverts to the simple sustained woodwind chords of the opening.

The accompanying chart indicates that the control of featured melodic material is still

assigned to the principals of the domra and balalaika section. In contrast, the conventional instruments play a more supportive and textural role. Texturally the arrangement is as dense

as the aforementioned arrangements for balalaika ensembles. The fact that orchestral instruments are also introduced appears to suggest no opportunity to the arranger for using

their colours for dramatic entrances or special timbral effects. Again the use of constituent

elements of traditional means are minimal.

Arrangement 3

The theme in this arrangement (figure 67) is again allotted to PDI with occasional doubling

from PBI and french horn. PDI continues to hold the melodic lead in B with, at first, some

doubling on flute for the first two bars and last two bars of the first half of the section. For

the second half of section B the theme is divided in a responsorial manner by AD and

clarinets against PDI-II and clarinets (manuscript example 79).

PDI-II continue the theme to A at section 4 whose theme is featured on flutes answered by

PDI-II on a basis of 2 bars division of melody for each grouping. Again the horn doubles

the theme towards the end of the section. PDI carries the theme throughout B at section S

with some later doubling on flutes. The second half of B is passed to AD, oboe and

primarily clarinets but later to PD and flutes before the final A statement at sections 6 and


Example of the distribution of instrumentation in Kutin's arrangement 2 (KC score is

incorrectly numbered as 23 by Kutin), bars 1-12 of Maurice Jarre's'Iara's Theme'.



TPnrýnýl.. Chapter Four


Chapter Four

Example of the distribution of instrumentation in Kutin's arrangcment 2 (KC score is

incorrectly numbered as 23 by Kutin), bars 1.12 of Maurice Jarre's'Lara's Teme',




Manuscript Example 78 contd Example of the distribution of instrumentation in Kutin's arrangement 2 (KC score is

incorrectly numbered as 23 by Kutin), bars 1.12 of Maurice Jarre's'Larm's Theme',


m Chapter Four 0

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Example of the distribution of thematic material in Kutin's arrangement 3 (score incorrectly

numbered as 615 by Kutin instead of catalogue number 616), bars 14.16 of

Maurice Jarre's ̀Lara's Theme', Kutin collection, University of Illinois


Chanter Four


7. This is predominantly on PDI with occasional unison support from PDI with french horn

on the final 8 bars.

The triplet bass figure featured in previous arrangements is now discarded in favour of a

simple line generally based on crotchets and minims except for section B where the BD

acts as a two group answering triplet pattern to the two group AD triplet statement. Instead, the aforementioned triplet accompaniment is changed to an 8 quaver ascending, descending or ascending and descending arpeggio which runs throughout the woodwind

when it is not employed in a sustaining or melodic role (manuscript example 80).

Although the orchestration of the score is again dense, the chart indicates there is slightly

more invention with the distribution of the melodic line or the timbral relationships between the balalaika ensemble and the orchestral instruments.

Given the data collected in the score analysis and the formation of charts alongside other

critical evaluations, the following diagrams (figures 68 to 72) illustrating the relationships

between the sample of works may be made.

STRUCTURE OF LARA'S THEME IN TIIE KASURA COLLECTION

ARR.

IAABA Coda(A)

3AABA Coda(A)

4 Int. (B) AABA Coda(A)

9 Int. 1/2A 1/2A Al/2 B 1/2A 1/2A

10 Int. AABACoda(A)

Most common structure is AABA

Figure 68

Diagram illustrating the relationship of structure in the arrangements of

`Lara's Theme' in the Kasura collection


Chanter Fnur

Bass figures and woodwind arpeggios from Kutin's arrangement 3 (KC score incorrectly numbered as 615 by Kutin instead of catalogue's 616), bars 13-19 of Maurice Jarrc's

'Lara's Theme', Kutin collection, University of Illinois


xk

Tin

Kiszko, M. E. : 1999


page 4/0

Bass figures and woodwind arpeggios from Kutin's arrangement 3 (KC score incorrectly numbered as 615 by Kutin instead of catalogue's 616), bars 13-19 of Maurice Jan-C's

`Lara's Theme', Kutin collection, University of Illinois


LARA'S THEME RELATIONSHIP OF KEY STRUCTURE

1349 10 G/Gm/G G/Gm/G (Gm)G/Gm/G (Gm)G/Gm/G (Gm)G/Gm/G

Figure 69

Diagram illustrating the relationship of key signatures in the arrangements of'Lara's Theme'

in the Kasura collection

STRUCTURE OF LARA'S THEME IN THE KUTIN COLLECTION

1AAB (Coda A) This is Maurice Jane original piano score.

2 AAB (CodaA)

3Int. ABABA

Figure 70

Diagram illustrating the relationship of structure in the arrangements of Uras Theme'

in the Kutin collection

LARA'S THEME RELATIONSHIP OF KEY STRUCTURES

123 Gm/G/Gm G/Gm/G (G)Gm/G/Gm/G

Figure 71

Diagram illustrating the relationship of key signatures in the arrangements of'Lara's Theme'

in the Kutin collection


Legend

IC =Introductory chord I= Introduction VM = Variations of melodic material ICM = Increased complexity of melodic material KM =Key modulation CM =Counter melodic material OUD = Octave and unison doubling ADS = Ascending and descending scalic passages DP = Drone pedal or interupted drone TF = Tutti finale PIT = Progressive increase in tempo PID = Progressive increase in dynamics M= Melismata F= Fermata O= Ornaments T= Tremolo

IC I VM ICM Kasura 1 3 4/ 9/ 10 / Kutin I Omit original score 2 3/

KM CM OUT ADS DP TF PIT PID MF 0T

/ / / / / / /

/ / / / / / /

Figure 72

Chart of the constituent elements observed in the arrangements of'Lara's Theme'

in the Kasura and Kutin collections

The conclusions drawn from both the charts and the analysis of arrangements indicate a

transfer of material from the source to the new arrangement with a minimal amount of

modification and little concern for preserving any devices of traditional Russian music.

Kiszko, M. E.: 1999

ENDNOTES


' Amongst such examples of this approach are R. Lachmann's and Erich M. von Hombostel's 'Das indische Tonsystem bei Bharata und sein Ursprung' in Zeitschrift fur vergleichende Musikwissenschaft, I, (1913), 72, or Carl Stumpf's 'Mongolische Gesange' in Ibid., Vol. 3 (1887). 2 Constantin Brailiou (1893-1958), 'Le guisto syllabique bichrone. Un systeme rythmique propre I la musique populaire', Polyphonie ii, 1948, p. 26 3 Stephen Blum Analysis of Musical Style, The New Grove Handbooks in Music, Ethnomusicology an Introduction, Ed. Helen Myers, Macmillan 1992, London and Houndmills, p. 165 4 George Herzog, 'A Comparison of Pueblo and Pima Musical Styles', The Journal of American Folk-Lore, Vol. 49 October-December, 1936 - No. 194. The American Folk-lore Society G. E Stechert and Co. New York, pp. 288-300 ' David P. McAllester, Peyote Music, Viking Fund Publictions in Anthropology No. 13, New York 1949, and Johnson Reprint Corporation, New York and London 1971, p. 80-81 6 Bruno Nettl, 1975, The State of Research in Ethnomusicology and recent developments, Current Musicology xx, New York, Columbia University, p. 71

Bela Bartok, Hungarian Folk Music, Trans. M. D. Calvocoressi, OUP, London: I iumphrey Milford, 1931, p. 4 ` David Coplan, In Township Tonightl South Africa's Black City Music and Theatre, Longman, London and New York, 1985, p. 4 9 John Blacking, 'The Biology Of Music-Making', Chapter 11, The New Grove Handbooks in Music, Ethnomusicology - an introduction, Ed. Helen Myers, London and Houndmills, Macmillan Press, 1992, pp. 301-314 10 Alan Lomax, Folk Song Style and Culture, American Association for the Advancement of Science, Washington D. C Publication No. 88,1968, pp. 133-34 " Lomax, Ibid., p. 7

John Blacking, Deep and Surface Structures in Venda music, Yearbook of the International Folk Music Council, 1971, iii, pp. 91-108 " Blacking, 1971, op. cit., p. 93

Mantle Hood, The Ethnomusicologist, New Edition, The Kent State University Press, 1982 David Coplan, op. cit., p. 236

16 Anna Czekanowska, 'On the Theory and Definition of Melodic Type', 1976 Yearbook of the International Folk Music Council, Vol. 8, Ed. Bruno Nettl, Pub. International Folk Music Council, 1976, p. 108 " Bruno Nettl, Some Aspects of the History of World Music in the Twentieth Century, Ethnomusicology xxil, 1978, p. 123 "David Coplan, 1985, op. cit., p. 233 " Walter Kasura, Draft for Russian Folk Instruments Orchestras, Chapter IV. 'Arranging for a Balalaika Orchestra', Unpublished, February 1976, Kasura collection University of Illinois 20 Elizabeth A. Warner and Evgenii S. Kustovskii, Russian Traditional Folksong, Ilull University Press, 1990, p. 12 21 Margarita Mazo, Part 1, Introduction to Sobranie russklch narodnykh pesen s ikh golosaml (A Collection of Russian Folk Songs) by Nikolai Lvov and Ivan Prach, Russian Music Studies No. 13, UMI Research Press, Ann Arbor/London 1987, p. 12 u Mazo, Ibid., p. 12. Source for T. Livanova is the supplement entitled 'Shornik kantov XVIII veka (v izvlecheniiakh) iz rukopisnykh fondov Gosudarstvennogo Istoricheskego Muzeia', Collection of kanty of the eighteenth century (in excerpts) from the manuscript funds of GIM. pp. 453.525. This is a supplement to Livanova's fourth chapter of 'Russkaia murykal'nala kultura XV111 veka (Russian Musical Culture of the Eighteenth Century), Vol. 1, Moscow, 1952

Mazo, op. cit., p. 12 Mazo, Ibid., p. 12. A. V. Pozdneev, Rukopisnye pesenniki XVII-XV111 vekov (Manuscript

Songbooks of the Seventeenth and Eighteenth Centuries), Uchionye Zapiski Moskovskogo Gos. Zaochnogo Pedagogichheskogo Instituta, Vol. 1, Moscow, 1958, pp. 5-112 25 Mazo, 1987, op. cit., p. 19 ' N. Lvov and I. Prach 'Sobranie Russkikh Narodnykh Pesen s ikh Golosami. Na Muzyku Polozhil


Ivan Prach. Collection of Russian Folk Songs with Their Tunes. Set to Music by I. Prach. St. Petersburg 1790; enl. 2/1806; 5/1955 27 Gerald R. Seaman, History of Russian Music, Oxford, Basil Blackwell 1978, p. 6 28 Walter Kasura, Draft for Russian Folk Instruments Orchestra - Organisation and Arrangements, chapter 4, 'Arranging for a Balalaika Orchestra', unpublished February 1976, Kasura collection, University of Illinois, p. 3 29 Nikolai Lvov and Ivan Prach, Sobranie russkikh narodnykh pesen s ikh golosaml. (A collection of Russian Folk Songs), facsimile of the 1806 Edition, Russian Music Studies No. 13, Ed. Malcolm Hamrick Brown, UMI Research Press, Ann Arbor/London 1987, p. 80 30 Lvov and Prach, Ibid., preface by Lvov, p. 80 " Mazo, 1987, op. cit., p. 50 32 Kasura, Ibid. 1976,. p. 5 " Nikolai Lvov and Ivan Prach, op. cit., p. 80 " Mazo, 1987, op. cit., p. 39 35 Mazo, 1987, Ibid., Introduction, p. 43 36 Advice prepared by Walter Kasura in handwritten notes, undated, Kasura Collection, University of Illinois " Urbana Illinois Music Library, University of Illinois at Urbana-Champaign, 1 July, 1994 " Walter Kasura. Draft for Arranging for a Balalaika Orchestra, Chapter 4, February 1976 " Advice given by Walter Kasura to Mr. Michael Skupin's balalaika ensemble based in I Iouston, Texas. Letter dated 13 July 1979 from the Kasura Collection, University of Illinois ' Walter Kasura, Arrangement Guidelines for Russian Folk Music, Kasura collection, University

of Illinois, undated " Walter Kasura, The Instruments of Andreyeev's Balalaika Orchestra, Draft for a proposed book, April 1980, p. 18 42 M. I. Glinka, Literaturnoye naslediye, Ed. V. Bogdanov-Berezovsky, 2 vols. Leningrad 1952- 53, Vol.!. p. 306 " David Brown, Mikhail Glinka, A Biographical and Critical Study, Chapter 5, A Life for the Tsar: process of composition, OUP London 1974, p. 99 " Walter J. Kasura, Draft for The Instruments of Andreyeev's Balalaika Orchestra, April 1980,

pp. 7-8 41 Soundtrack album sleeve details on MGM CS 8007. Notes are undated and unauthored

Kiszko, ME.: 1999

SUMMARY AND CONCLUSION

page 4/S

The beginning of this dissertation discussed the origins and history of the balalaika.

Throughout this discussion, the balalaika was seen to have occupied a unique position in

the folk and art music of the CIS. The ease of construction of the instrument and its simple

execution made it accessible to the peasant population as well as to the aristocracy and the

court.

The balalaika's improvement by V. V. Andreyev (1861-1918) to a fully chromatic

instrument, assisted by a better calibre of performer, enabled the instrument to obtain the

stature of a concert instrument. From this point in history (c. 1888) the balalaika has

followed two divergent paths. First, a traditional role as an instrument rooted in the

accompaniment to folk song and dance and, second, that of an instrument which expanded its timbral palette to accommodate 'new' material. This new material may be classified as

arranged versions of classical art works and specially composed pieces. The following chart

(figure 73) indicates the balalaika's areas of musical activity and represents the main issues

that have been introduced in the body of the thesis. I would like to suggest that each area links the instrument to the aforementioned roles. Furthermore, both routes indicated on the

chart have been identified with the growth of both domestic and collective music making in

the CIS and the USA.

It is the growth of domestic and collective musical activity which has provided the background to the emergence of balalaika ensembles. In the Russia of the early part of the

twentieth century traditional music was performed both in the family unit and within the

community in schools, small ensembles on country estates, performing groups in rural

environments and ensembles in military academies. Similarly, the instrument's successful

transplantation into the USA found its initial growth in both domestic and collective music

making. It is in the USA too that as a result of collective music making, early balalaika

groups formed by emigres or defectors from Russian orchestras made the formative moves

which would assist the ensemble's rise to the professional status it had achieved in the CIS.

Such seminal roots may be identified as the fast tours of early ensembles, A. D.

Dobrohotoffs (1889-1938) construction of instruments for his balalaika orchestra, the

availability of instruments, scores and parts through the Czibulsky/lvanoff/Raymond

Kiszko, ME.: 1999

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Russian Music Company publishing house and the successful passage of Russian instrumental music from the small-scale venues to the professional recording media of radio and disc.

Even though the early balalaika ensembles hoped to pursue a route that might one day lead the ensemble to the level of professional concert stature, their repertoire was largely

comprised of traditional material. As such, this was usually equated with the repertoire of amateurs who catered to Russian-American minorities. The event that gradually altered the bias to this type of association was the introduction in Russia of expanded performance techniques and guitar technique. This spawned new balalaika material focussed on art works and specially composed pieces. The adoption of such techniques in the USA

successfully imbued professional values onto both the instrument and the orchestra. Primarily, the introduction of this new material came via the tours of Russian orchestras to America and was welcomed by Russian-American and American audiences in much the

same way as Americans had warmed to European art works in the concert life of the early twentieth century. Any techniques that could further imitate the conventional orchestra and

enhance classical art works were welcomed.

It was some years, however, before Russian-American fledgling ensembles had grown

sufficiently or were proficient enough to acquire such techniques and incorporate them into

public performances. Furthermore, the question of whether they should embrace such techniques at all has been witnessed in the debate between balalaika purists and

progressives. This debate has been examined in the discussion of Walter Kasura's use of

unembellished balalaika timbre in his arrangements in contrast to Alexander Kutin's

approach which inserted western instruments such as oboes, clarinets, horns and strings into

the balalaika ensemble to imitate the orchestral symphonic effect required in classical art

works.

Since there are aspects of both the domestic and collective music making of the Russian.

Americans which have been seen to relate to the categories of amateur or professional

musical activity or the traditional and the new, it is here that I intend to summarise the

information referred to in the chart (figure 73) and evaluate how these divergent categories

of amateur/professional or traditional/new provide evidence for the acculturative effects of

the host nation's culture on Russian-American music.

Kiszko, ME.: 1999 page 418 Summary and Conclusion

Initially it was the growth of emigre performances in the small-scale venue of the church

social event, balalaika club, restaurant or cabaret which often associated the instrument and its groups with an amateur status. Such association was inevitably enhanced by the ad hoc

availability of players and the itinerancy of performers who often pawned their instruments

and moved from city to city in search of employment. Performances which eventually took

place at large scale venues such as the Alice Tully Hall at the Lincoln Centre for

Performing Arts and at Carnegie Hall could only be achieved through the improved

availability of instruments, published scores and parts, the increased proficiency of players,

and an assimilation of expanded performance techniques. This could enable the successful

execution of a classical work on the concert platform and again strongly asserted the

professional role of the instrument.

Aspects of the traditional or new in the balalaika's repertoire and the relationship of

ensembles to an amateur or professional lineage have also been identified in the evolution

of the structure of the balalaika orchestra and the orchestration of arrangements. In terms of

the structure of the balalaika orchestra, both Russian and early Russian-American

ensembles pursued the Andreyev model of an orchestra comprised of balalaikas and

domras with the addition of some authentic Russian native instruments - although these

were rarely available in the USA. As the expansion of the early ensembles into orchestras began, some adoption of western models of orchestral structure occurred. This was

apparent in the desire to enlarge instrumental sections as well as the balalaika ensemble en

masse to proportions that could replicate the forces of the conventional symphony

orchestra. Examples of such expansion have been noted in the influence of the Russian

Osipov orchestra on the Balalaika Symphonic Orchestra of Alexander Kutin which added

conventional instruments such as woodwind, a string section, French horns and timpani to

the balalaika and domra sections. The issue of including such instruments may, at the

outset, have appeared advantageous to the continual development of the balalaika orchestra

in the USA since it eased the transference of classical works to a balalaika orchestral

arrangement and facilitated any search for authentic native instruments, balalaika or domra

players. Paradoxically, the evolution of the balalaika orchestra did not always develop

along these lines. It was the traditional model of an orchestra using balalaika and domra

sections supplemented by other authentic native instruments which frequently appeared to

be the preferred option. This approach to the structure of the balalaika orchestra was

witnessed in Kasura's ensembles and in orchestras formed by members of the Balalaika and

Kiszko, M. E.: 1999 page *19

Summary and Conclusion

Domra Association of America. These structures based on a traditional or an adapted western model are again indicative of the two emergent paths of the balalaika, the former based on simple traditional structures and the latter on western structures which associated themselves with the professional symphony orchestra. A definitive statement, on the balalaika orchestra's structure is, however, invariably affected by other factors. First, that

scores were often adapted for particular talents. Second, that the availability of players was in a state of constant flux and third; that archive arrangements found for performance often required reconstructions of parts which did not necessarily represent the original instrumental distribution. As a result, this obscured the original arranger's intention for

instrumental distribution and subsequently for orchestral structure.

The methods of orchestration employed by the early Russian-American arrangers also reflected the divergent paths of the instrument. This dissertation has described how

arrangers chose to orchestrate scores based on simple unembellished balalaika technique to

preserve the traditional timbral qualities and playing technique of the instrument. This

view, which rejected the expanded timbral palette of the instrument, was supported by the

purists who chose to implement basic melodic, harmonic, timbral and textural devices akin to V. V. Andreyev's arrangement and orchestration. Such an approach was favoured by

Walter Kasura and by members of the BDAA who were concerned that authentic balalaika

music was disappearing from the USA. Their approach to arranging sought to emulate the

compositional and orchestrational devices of traditional Russian folk song and instrumental

music. However, it should be mentioned that a minor use of the transfer of rcgistral

material in published art works to new arrangements has been noted in some of Kasura's

orchestration of art works. In addition, the desire to arrange music based on the

fundamental principles of the Andreyev school concerned those who favoured an approach

which embraced the new arrangements of art works. It was visiting Russian masters who

assisted the latter approach by introducing arrangements with expanded instrumental

techniques to Russian-American arrangers and ensembles. The subsequent performances of

these works by American ensembles featuring Russian masters as soloists helped to secure

the place of such arrangements within the repertoire.

The discussion of the programming of repertoire has outlined the way in which Russian-

American music entered the musical life of the USA. It has been seen that the programming

of repertoire for performance in the USA found its beginnings in the replays of sets of


popular traditional material performed in restaurant and cabaret venues. The addition of 'requests from the floor' assisted the development of the pot-pourri style of programming

which later suited the format of short radio shows such as Around the Samovar. Here,

music for differing tastes could be catered for and later (because audiences were familiar

with the format through radio) became a model for the programming of concert material. Although the traditional roots of the instrument and its material were preserved, through the

selection of folk material for programming and through Kasura's use of the structure of folk

song as a template for the architecture of a concert programme, arrangements of major art

works were also included in such pot-pourri selections. The inclusion of these works again

supported the professional lineage of the instrument but I would like to suggest that their inclusion in radio's pot-pourri format helped to provide an intermediate stage for the development of concert programmes that would straddle the divergent evolving paths of the instrument and the ensemble. It is particularly through the examination of the sample of

arrangements from the Kasura and Kutin collections that it has been possible to collate

physical evidence to ascertain how Russian-American arrangers created a repertoire for the

balalaika orchestra and whether this repertoire emerged in association with the

aforementioned roles of the instrument in musical life.

It is proven through the analysis of the arrangements that the works in Kasura's collection

found their sources in traditional Russian material and favoured an emphasis on including

compositional devices derived from Russian folk music. As illustrated in figure 9 of

Chapter 2, there are nine times as many of this category of material than of arrangements of

classical works. In contrast to Kasura's collection, Kutin's collection possesses a

predominance of classical works placing them almost equal to the amount of traditional

folk arrangements. Again in contrast to the Kasura arrangements the analysis has

demonstrated that Kutin's arrangements possess a minimal use of the compositional devices

of traditional Russian music and resorted to the direct registral transfer of symphonic parts

to balalaika orchestra arrangements. The collections may therefore be said to represent a

bias to either the lineage of traditional music or to new versions of art works and specially

composed material.

Through describing the content of each progression in the chart I have endeavoured to

demonstrate that each area of the balalaika's activity has strongly identified it with the role

of an amateur's instrument rooted in traditional Russian music or with one of professional


Summary and Conclusion

stature, fully developed for the execution of classical art works. There are other aspects, however, which have linked the instrument to an amateur or professional status. In

particular, the issue of the transfer of function of Russian material is significant where the transfer of an indigenous work related to a rural festival or feast day is transferred to the concert platform. It is likely that the audience as well as the performers rejected the original function of the work by such a transfer. As a result, the balalaika orchestra was seen to have

rejected the original function of the work in favour of assimilating a professional concert

role usually executed by American art ensembles.

Other perceptions of the orchestra as a professional entity have been linked to music

accreditations. For example, Ivanoff had a conventional academic music education, Kiriloffs members were seen to mingle with the operatic virtuosi of the Metropolitan opera house and many of the early Russian-American music directors were defectors from major balalaika orchestras that had toured the world several times. The attributes of these

conductors and orchestras were often equated with their professional counterparts in

American concert life. Given the summary of the chart based on the investigations set forth

in this dissertation it is now possible to answer the question of whether emigre performers

and Russian-American ensembles acquired social and musical factors present in American

life without being entirely consumed by the host culture.

In terms of isolating such acculturative traits within the areas of amateur and professional

status or the concentration on traditional and new techniques, the chart (f igure 73) suggests

that acceptance, adaptation and some assimilation have been identified as processes of

acculturation which have taken place. Acceptance may be said to have occurred where the

traditional approach to the instrument, arrangement or performance has been preserved and

asserted. This traditional approach has been shown to compete strongly with and exist

alongside other ethnic strands in American mainstream music. Adaptation too has been

noted where the balalaika orchestra has acquired western traits from the conventional

symphony orchestra. In borrowing devices such as the direct registral transfer of

instrumental material or the addition of conventional symphonic instruments, arrangers like

Kutin have redefined the structure of the traditional balalaika ensemble. It may also be

argued that assimilation, the conversion or replacement of Russian and Russian-American

music by elements of the host culture, has not yet fully taken place. Perhaps assimilation is

only completely visible when the transfer of the function of a work from its traditional

Kiszko, ME.: 1999 page 422 Summary and Conclusion

environment or ritual to its performance in a concert hall venue takes place. This issue has been raised earlier in this summary in connection with the transfer of festival day pieces to the concert hall.

It could well be that the twenty-first century will witness an acceleration of the

acculturation process as the examination of other genres of ethnic music evolves. This is

likely to follow performers' greater proficiency on the instrument through the adoption of

new instrumental techniques and the desire for a diverse repertoire which represents the

listening habits of a more multi-cultured population. Excursions into jazz, ragtime, American song, the Hollywood soundtrack and the motion picture score have been

mentioned in this dissertation and are representative of a departure from the traditional

repertoire. In this context an adaptation of such diverse musical genres has already taken

place and can only encourage the syncretism of musics from various cultures which will in

turn broaden the synthetic nature of American musical culture. For the American audience,

such borrowed styles from other musics will assist the creation of a balalaika ensemble

more in tune with a renaissance of the native aspects of American musical material. The

Russian-American domrist Tamara Volskaya has already examined American banjo and

mandolin repertoires and is currently incorporating American bluegrass music into her

repertoire. Since much of this native folk music and native American Indian music was largely rejected in the early concert repertoire of America, it is ironic that Russian masters

are reintroducing the native musics of America to the concert platform.

However, given the balalaika orchestra's divergent strands of amateur and professional

status as perceived through the areas defined in the chart, expectations for the future growth

of ensemble performance, repertoire and further dissemination of the instrument are in fine

balance. Perhaps the seeds for the future growth of the ensemble are again being cultivated

in the CIS. For example, alongside the attempts to reconstruct the former Soviet Union in

the post-perestroika nineties, a positive revival of Russian instrumental folk music is taking

place in the CIS. Such a revival should preserve the traditional role of the instrument and its

music and is essentially a reaction against the pop and rock saturation of Russian musical

life between the nineteen sixties and nineties. Alongside this reactionary role, however, the

balalaika may be searching for a place in the hybridisation of musics in the CIS. Britain's

Channel 4's import of the recent The Total Balalaika Show' supports this. ' IIere, a featured

rock band The Leningrad Cowboys' is accompanied by the Alexandrov Red Army


Ensemble comprised of a wind and balalaika orchestra.

It is hoped that the international appeal of the distinctive timbre of the balalaika orchestra

which Tchaikovsky so loved, will continue to pervade the repertoire and musical life of

countries throughout the world. Not only should it be identified with the ensembles and

orchestras in Australia, Britain, Canada, Japan, Sweden, and the USA who perform

traditional Russian material but it should permeate the genres of popular song,

contemporary orchestral works and film soundtracks which are specific to each country.

There is, however, a danger that the balalaika will be significantly displaced - as it was

previously by the guitar and accordion - by the economic pressures now faced by balalaika

manufacturers. Few quality balalaikas are available at present to potential performers

except for poor Romanian imports. Problems of acquiring high quality aged hardwoods

alongside the deterioration of the craft of balalaika construction has become more acute

since the nineteen seventies to the extent that the instrument was described as:

A dull, dead instrument that is a blight on the memory of the true balalaika masters. '

The future of the instrument, in this writer's view, lies in the successful three-sided

relationship between the re-emergence of the instrument's roots, a renewed expansion of

repertoire and an economic climate favourable to quality construction techniques which in

turn supplies potential performers and creates ensembles and teachers. The following points

amplify this relationship:

i) Any revival of the instrument's roots must go hand in hand with an enculturative

process. Education through schools, colleges, clubs or the mass media is the

catalyst for such a revival. The success of the University of Illinois' teaching

programme in Russian folk musical instruments and the work of the Balalaika and Domra Association of America is an important preliminary step.

ii) The repertoire of the instrument depends on the dissemination of a variety of

genres of balalaika and domra music. It is here, perhaps that publishers or self-

publishers could lift the repertoire out of the stagnant tradition of a repertoire which

exists only in archives.


iii) The construction of the instrument may benefit from a renaissance similar to the

mid-twentieth century revival of the construction of medieval, renaissance and

baroque instruments. It was noted in Chapter Two that the balalaikist A. D.

Dobrohotoff constructed all the instruments for his orchestra. Perhaps Russian

instruments today could benefit from a similar renaissance made possible by the

self-assembly construction kit. Whether the twenty-first century musician or

listener will rise to such a challenge will depend on his commitment to preserving

his ethnic roots in the ongoing fusion of musics which so often obscure national

musical identity.

It is also possible that the balalaika and its music in American culture will not withstand the

pressures of hybridisation. Such pressures may erode the concept of what constitutes

traditional Russian music or the notion of Russian-American music as an ethnic identity in

American musical life. Perhaps the genuine Russianness of the balalaika and its music will

be totally absorbed into an already eclectic American culture and remain only as a potent

symbol of Russianness. The status of the balalaika will then emulate the path taken by other

ethnic instruments - the sitar, the spanish guitar, the panpipes or the gong - as western

cultures casually introduce these timbres as iconographic references of cultures which they

represent in film soundtracks, rock and pop songs and contemporary art works. The signs

are that both the absorption of the instrument into an American eclectic culture and the

iconographic placing of the instrument are already developing on parallel tracks.

Kiszko, ME.: 1999

ENDNOTES

page 425 Summary and Conclusion

'The Total Balalaika Show, Channel 4 Television, 4.50-5.50am, Thursday 31 December 1998 "Crisis Looms in Soviet as Balalaika Quality Falls' The Music Trades, September 1977, No. 125, p. 57

Kiszko, M. E. : 1999 page 426

BIBLIOGRAPHY

Kiszko, M. E.: 1999

BOOKS

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KASURA, W. J. Draft for The Instruments of Andreyev's Balalaika Orchestra. April 1980. Kasura Collection, University of Illinois. New York

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PAPERS

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BLACKING, J. Deep and Surface Structures in Venda Music, Yearbook of the International FolkMusic Council. 1971. John Blacking. iii, pp. 91-108

CZEKANOWSKA, A. `On the Theory and Definition of Melodic Type' in Yearbook of the International Folk Music Council. 1976. Ed. Bruno Nettl, Pub. International Folk Music Council. Vol. 8, Ontario

EAZHIGIN, V. 'Gitarnii Priem v Igre Na Balalaild' (Guitar Method of Playing the Balalaika) in Muzikalnaya Pedagogika 1 Ispolnitelstvo Na Russkich Narodnlch Instrumentach (Music Education and Performance of Russian Native Instruments). Moscow. 1984

HERZOG, G. 'A Comparison of Pueblo and Pima Musical Styles' in The Journal of American Folk-Lore. October-December, 1936. The American Folk-Lore Society G. E Stechert and Co. New York, Vol. 49, No. 194

KASURA, W. J. Draft for The Balalaika in America - an update. Undated. Kasura Collection, University of Illinois

KASURA, W. J. Draft notes titled Balalaika Orchestrations and Arrangements. Undated. Kasura collection, University of Illinois

KASURA, W. J. Draft for The Balalaika Orchestra in America. Undated. Kasura Collection, University of Illinois

KASURA, W. J. Draft pamphlet Russian Folk Instruments Orchestras - Organisations and Arrangements. February 1976. Kasura Collection, University of Illinois. Chapter 1

KASURA, W. J. Draft for Russian Folk Instruments Orchestras. 1976. Chapter 1, Instruments of the Balalaika Orchestra

KASURA, W. J. Draft for Russian Folk Instruments Orchestras. 1976. Kasura Collection, University of Illinois. Chapter 2, 'Organising a Balalaika Orchestra or Ensemble

KASURA, W. J. Draft for Russian Folk Instruments Orchestras. February 1976. Unpublished. Kasura collection, University of Illinois. Chapter IV, 'Arranging for a Balalaika Orchestra'

KASURA, W. J. Draft for The Instruments of Andreyev's Balalaika Orchestra. April 1980. New York.. University of Illinois Music Department Special Collection

KASURA, W. J. Draft for Arranging for a Balalaika Orchestra. February 1976. Chapter 4

McALLESTER, D. P. Peyote Music. Viking Fund Publictions in Anthropology. No. 13. New York 1949, and Johnson Reprint Corporation, New York and London 1971

MAZO, M. Part One Introduction to Sobranie russkikh narodnykh pesen s ikh golosami (A

collection of Russian Folk Songs by Nikolai Lvov and Ivan Prach). 1987. Russian Music Studies, No. 13, UMI Research Press, Ann Arbor/London, pp. 12-13


MEREZHOKOVSKY, D. 'On the Reasons for the Decline, and the New Currents, in Contemporary Russian Literature'. 1892. Translated by Ronald E. Peterson in The Russian Symbolists An Anthology of Critical and Theoretical writings. Ardis Publishers. Ann Arbor. 1986

NETTL, B. The State of Research in Ethnomusicology and Recent Developments. 1975. Current Musicology JO(, New York Columbia University

PRINCE, W. Building a Balalaika. Kasura Collection, University of Illinois

ROSE, A. The Balalaika, Proceedings of the Musical Association, 11 December 1900. London

WOOD, B. Vasiliy Vasil)'evich Andreyev Trans. Bruce Wood. Unpublished. Bruce Wood Archive, Philo, Illinois

ZHURAVELEVA, L. `Oihivshaya v Zvukakh Kraskakh Skaza' ('The Revival of Colour Sound Tales' in Sovetskaya Muryka. July 1976. Moscow. No. 40

Kiszko, ME.: 1999

PERIODICALS

page 433

Interview with Paul Karnow and Alexander Belevich in BDAA Newsletter. 29 June 1951. Alexander Kirilloff. Vol. X. No. 2, June 1987

'What is known about the balalailäst Dobrohotofl7' in BDAA Newsletter. Paul Karnow. Vol. VDI, No. 1, March 1985

Interview between Alexander Tsyganov and Joel Leonard in BDAA Newsletter. Vo1. XVII, No. 2. June 1994

Extract from interview between Andreyev and Emile Grimshaw in Banjo Mandolin Guitar (BMG). February 1912

Crescendo, May and June 1911

London Times. 28 September 1909

'Crisis Looms in Soviet as Balalaika Quality Falls' in The Music Trades. September 1977, No. 125

Article 'Democracy versus the Melting Pot' by H. M. Kallen in 'Fifty Years of American Idealism: The New York Nation' in The Nation. 1815-1915. Selections and comments. Houghton Mifflin, Boston, Mass. 1915

New York Times, 22 December 1946

New York Times, 1 May 1950


New York Times, 14 May 1951


New York Times, 10 January 1955

New York Times, 3 October 1969

New York Times, 1 April 1973

Extract from the Petersburg Gazette. 24 December 1886. Translated by Bruce Wood in Wood's Vasiliy Vasil vevich Andreyev, Bruce Wood. Unpublished. Bruce Wood's Archive, Philo, Illinois

The Balalaika in Proceedings of the Musical Association. 11 December 1900. Algemon Rose

'Dobrohotoff, of Balalaika Orchestra at Beatty's Casino Adventurer' in San Francisco Chronicle, Saturday 7 February 1925

`Russian Folk Instruments' in Soviet Life. October 1969. Irma Makarevich. Vol. 10, No. 157


'Victor Foreign-Domestic Catalog Contains wealth of Musical Gems' from Talking Machine World. September 1928. Motion Picture, Broadcasting and Sound Division, Library of Congress


UNPUBLISHED INTERVIEWS

Extract from an interview between Martin Kiszko and Ray Kane at the Annual Convention of the Balalaika and Domra Association of America, Lake George, USA, 16 July 1998

Interview between Sandy Kasura and Martin Kiszko at the Annual Convention of the Balalaika and Domra Association of America, Lake George, USA, 15 July 1998

Interview between Sandy Kasura and Martin Kiszko at the Annual Convention of the Balalaika and Domra Association of America, Lake George, USA, 15 July 1998

Interview between Anya Titova and Martin Kiszko at the Annual Convention of the Balalaika and Domra Association of America, Lake George, USA, 17 July, 1998

Interview between Ray Kane and Martin Kiszko at the Annual Convention of the Balalaika and Domra Association of America., 16 July 1998, Lake George, USA

Interview between Tamara Volskaya and Martin Kiszko at the Annual Convention of the Balalaika and Domra Association of America, 17 July 1998, Lake George, USA

Interview between Anastasia Kamow and Martin Kiszko. 20th Annual Convention of the Balalaika and Domra Association of America, 17 July 1998, Lake George, USA

From an interview between Martin Kiszko, Bruce Wood and Dmitri Gribanovsky, Urbana Illinois, 24 June 1994. The full transcription of this interview may be found in appendix 3

Interview between Steve Wolownik and Martin Kiszko at the Annual Convention of the Balalaika and Domra Association of America, 18 July 1998, Lake George, USA

Interview between Norman Levine and Martin Kiszko at the Annual Convention of the Balalaika and Domra Association of America, 16 July 1998, Lake George, USA

Interview between Nicholas Kedroff and Martin Kiszko, Annual Convention of the Balalaika and Domra Society of America, 15 July 1998, Lake George, USA

Kiszko, M. E.: 1999

EPHEMERA

page 436

Letter from Walter Kasura to Paul E, Phillips of Houston, Texas, 12 July 1979, Kasura collection, University of Illinois

Letter from Mark Selivan to Walter Kasura dated 8 March 1964, from the Kasura Collection, University of Illinois

Walter Kasura letter dated 13 July 1979, Kasura Collection, University of Illinois

Arrangement Guidelines for Russian Folk Music, undated, Kasura Collection, University of Illinois

Walter J. Kasura, Balalaika Reminiscences and Random Notes from programme notes for a concert of the Balalaika and Domra Society at Alice Tully Hall Lincoln Center for the Performing Arts, Saturday 11 May May, 1974

Walter Kasura's sketch undated draft for'Organizing a Concert or Performance p1. found in the Kasura Collection

310794_vol2.pdf - University of Bristol Research Portal

Documents

Transcript of 310794_vol2.pdf - University of Bristol Research Portal