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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
Kiszko, M. E.: 1999 page 217 Chapter Four
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
Kiszko, M. E.: 1999 page 218 Chapter Four
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
Kiszko, M. E.: 1999 page 219 Chapter Four
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:
Klszko, M. E.: 1999 page 222 Chapter Four
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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page 223 Chapter Four
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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.
Kiszko, M. E.: 1999 page 225 Chapter Four
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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Manuscript Example 19
Fragment of a choral byliny recorded in 1981 and transcribed by A. N. Ivanova,
reprinted in Muzikalnii Encyklopedicheskii Slovar, Moscow 1991, p. 90
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 -
Klszko, M. E.: 1999 page 228 Chapter Four
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
Kiszko, M. E.: 1999 page 229 Chapter Four
44. FgOBCitIIE 'IACTYIIIKLI He o'eHb CKOPO
Ja96
y«OP.: QJ. 116
(J. 116)
'4
if7
Manuscript Example 20
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
Kiszko, M. E.: 1999 page 230 Chapter Four
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
Kiszko, M. E.: 1999 page 231 Chapter Four
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
Kiszko, M. E.: 1999 page 233 Chapter Four
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
Kiszko, M. E.: 1999 page 234 Chapter Four
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
Manuscript Example 21
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)
Manuscript Example 22
Source of example 21. A. Alexsandrov's published arrangement 10 (EC580) in the
Kasura collection, University of Illinois
page 236 Chapter Four
VNUYZA
''1, Il il
Kiszko, M. E.: 1999 page 237 Chapter Four
- 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
Kasura collection, University of Illinois
Kiszko, M. E.: 1999 page 238 Chapter Four
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
page 239 Chapter Four
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
page 240 Chapter Four
= 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;
Kiszko, M. E.: 1999 page 241 Chapter Four
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;
page 242 Chapter Four
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.
The following arrangement is shelf list number 900 in the above catalogue.
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.
The following arrangement is shelf list number 1268 in the above catalogue.
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.
Kiszko, M. E.: 1999 page 243
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,
Kiszko, M. E.: 1999 page 244 Chapter Four
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
Kiszko, M. E.: 1999 page 245 Chapter Four
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
Manuscript Example 23
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
Klszko, M. E.: 1999 page 246 Chapter Four
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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Manuscript Example 24
Inverted pedal drone in arrangement 9 (EC580) bars 9-16, of Kalinka,
Kasura collection, University of Illinois U1VFVERSiTY OF BRISTOL
inn Anv
Kiszko, M. E.: 1999 page 248 Chapter Four
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
Kisrko. Al E: 1999
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Extract from V. Levashov's and A. Shirokov's published arrangment 9 (EC580) bars 1-8,
Kasura collection, University of Illinois
KAJIIIHKA Pycciaa napoana nccna
O6pedorau B. Aeioaoeo . A. Wwpoao, a
Kiszko, M. E.: 1999 page 251 Chapter Four
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
Kiszko. M. E.: 1999
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24 of Kalinka, Kasura collection, University of Illinois
Kiszko, M. E.: 1999
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The use of the drone in arrangement 9 (EC580) at section 1, bars 11-16 of Kalinka,
Kasura collection. University of Illinois
Kiszko, ME.: 1999 page 254 Chapter Four
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
Kiszko, M. E.: 1999
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Kiszko, M. E.: 1999 page 257 Chapter Four
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;
Kiszko, M. E.: 1999 page 258
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).
Kiszko, A4. E. /999 X ro
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page 259 Chapter Four
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Kiszko, M. E. : 1999 page 260 Chapter Four
El ^ Vivo
,aQ
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Manuscript Example 29
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.
a S Vivo
PP f
Manuscript Example 30
Opening chords of arrangement 2 (EC580), section 1, bars 1-2 of Kalinka,
Kasura collection, University of Illinois
Kiszko, ME.: 1999 page 261 Chapter Four
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.
n gm..............
Manuscript Example 31
Increased complexity of material in the accordion part of arrangement 2 (EC580), section 5,
bars 35-37 of Kalinka, Kasura collection, University of Illinois
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).
PDI
AD
DB
Acc.
Manuscript Example 33
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
PD2
AD!
AD2
BD
PB
SB
AB
BB
Acc.
Manuscript Example 32
Domra and balalaika orchestration in arrangement 2 (EC580), Kalinka,
Kasura collection, University of Illinois
page 263 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).
iB staccato
ý,
Manuscript Example 34
Melody as a bass line in the accordion part of arrangement 2 (EC580), section 18 of Kaiinka
Kasura collection, University of Illinois
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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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.
Kiszko, M. E.: 1999 page 268
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
Kiszko, M. E.: 1999 page 294 Chapter Four
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.
Klszko, ME.: 1999 page 293 Chapter Four
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.
Kiszko, M. E.: 1999 page 296 Chapter Four
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).
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Manuscript Example 36
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
Klszko, M. E.: 1999 page 299 Chapter Four
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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Modification of melodic material at the end of a phrase, Kalinka arrangement 3 (EC580),
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).
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Manuscript Example 38
Motive based on melodic material in arrangement 4 (EC580), section 2,
bars 13-16 of Kalinka, Kasura collection, University of Illinois
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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Manuscript Example 39
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.
page 302 Chapter Four
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 comparison to previous arrangements
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
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Manuscript Example 40
Semiquaver motive in arrangement 6 (EC580), bars 1.2 of Kalinka,
Kasura collection, University of Illinois
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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Kiszko, M. E.: 1999 page 304 Chapter Four
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
(manuscript example 41).
El PDI
as compared to the traditional theme
PDI
Manuscript Example 41
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,
Kasura collection, University of Illinois
}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 comparison to previous arrangements
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.
Arrangement 8 comparison to previous arrangements
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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Kiszko, M. E.: 1999 page 308
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
Manuscript Example 42
Bayan semiquaver motive in arrangement 8 (EC380), bar 3 of Kalinkq
Kasura collection, University of Illinois
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
Manuscript Example 43
Bayan semiquaver motive in arrangement 16 (EC580), bar 3 of Kolinkq
Kasura collection, University of Illinois
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
Kiszko, M. E.: 1999 page 309 Chapter Four
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.
Arrangement 17 comparison to previous 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
Manuscript Example 44
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 comparison to previous arrangements
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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Klszko, ME : 1999 page 313
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
Manuscript Example 45
Prima domra semiquaver motive in arrangement 18 (EC900), bars 1.4 of Kalinkq
Kasura collection, University of Illinois
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
page 314 Chapter Four
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
Manuscript Example 46
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
page 316 Chapter Four
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
page 317 Chapter Four
IC I VM KM KM CM OUD ADS DP TF PIT Pl MF0T D
/ / / Alt / / / /
/ /all /all /all / / / /all / / Alt / all
/ /
not last sec- tion
/ / / / / / / / 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)
page 318 Chapter Four
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
Kiszko, M. E.: 1999 page 319
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
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Lightly. gracefully
10 _ .. n WIf
page 321 Chapter Four
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,
Manuscript Example 47
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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Klszko, M. E.: 1999 page 323
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.
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Chapter Four
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
mf
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PDI 11
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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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page 328 Chapter Four
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Manuscript Example 48
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
ADI
AD2
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if
if Manuscript Example 50
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
Kiszko, M. E.: 1999 page 331 Chapter Four
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
Manuscript Example 51
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
Am-7
20
PDI
mf -__ _- f
Manuscript Example 52
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
1
2
3
4
3
page 336 Chapter Four
IC I VM KM KM CM OIln AnS nP TP PIT pin l. A Pn7
Alt /
/ / / / / / / / / /
/ / / / / Alt rit in
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
Kiszko, M. E.: 1999 page 337 Chapter Four
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
Kiszko, ME.: 1999 page 338 Chapter Four
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:
Klszko, ME.: 1999 page 339 Chapter Four
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
Kiszko, M. E.: 1999 page 340 Chapter Four
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
Kiszko, M. E.: 1999 page 341 Chapter Four
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
Manuscript Example 53
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
8 con ani -A
f Oboe
mf
_-- 14
Ob.
19
Ob.
aaaa P
Manuscript Example 54 Glinka, Overture to A Life for the Czar, Oboe theme at bars 8-23
page 342 Chapter Four
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
Manuscript Example 55
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.
Kiszko, M. E.: 1999 page 343 Chapter Four
Overture motive
68A .ýsr
Fl. p
W-Qmen's cho me th m
Manuscript Example 56
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
Manuscript Example 57
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
Manuscript Example 58
Glinka, Overture to A Life for the Czar, bar 438-441 (ed. Eulenberg) motive
and Act 1 chorus leader's statement
page 344 Chapter Four
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
Manuscript Example 59
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
Manuscript Example 60
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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page 333 Chapter Four
Manuscript Example 61
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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Kiszko, ME.: 1999 page 354 Chapter Four
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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Manuscript Example 62
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
Manuscript Example 63
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,
Kasura collection, University of Illinois
yý C to
Kiszko, M. E.: 1999 page 358 Chapter Four
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
page 339 Chapter Four
Manuscript Example 64
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
Kiszko, ME.: 1999 page 360 Chapter Four
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
Manuscript Example 65
page 364 Chapter Four
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.
Kutin collection, University of Illinois
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
Kiszko, M. E.: 1999 page 366
Chapter Four
I
OVERTURE . to the Opera
A LIFE FOR THE TSAR (LA VIE POUR. LB CZAR)
AAaain mew ein% laetn
2 inm
2
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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
A
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page 367 Chapter Four
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Kiszko, M. E.: 1999
S MS DS TI MI Kasura 6// 4/// 7///
Kutin I Published score (omit from analysis) 2 Published score (omit from analysis) 4 Published score (omit from analysis) S//
page 369 Chapter Four
DTR TFV MRT BM SO MT 01
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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
Kiszko, M. E.: 1999 page 370 Chapter Four
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
Kiszko, M. E.: 1999 page 372 Chapter Four
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-
Kiszko, M. E.: 1999 page 373 Chapter Four
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;
Kiszko, M. E.: 1999 page 374 Chapter Four
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
Kiszko, M. E.: 1999 page 375 Chapter Four
Barst-8
3
Bars 17-24 3
3
Manuscript Example 67
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,
Kasura collection, University of Illinois
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Kiszko, M. E.: 1999 page 377
Chapter Four
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Manuscript Example 68
Extract from Mark Selivan's arrangement 1 (EC625), bars 1-2 of Maurice
Jarre's ̀Lara's Theme', Kasura collection, University of Illinois
Kiszko, M. E.: 1999 page 378 Chapter Four
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.
Kiszko, M. E.: 1999 page 379 Chapter Four
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
Manuscript Example 69
Extract from Leonard Davis' arrangement 3 (EC625), bars 1.5 of Maurice Jarc's
`Lara's Theme', Kasura collection, University of Illinois
Kiszko, M. E.: 1999 page 381
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
Kiszko, M. E.: 1999 page 383
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Manuscript Example 70
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
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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
Kiszko, M. E.: 1999 page 384
Chapter Four
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Chapter Four
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Kiszko, M. E.: 1999 page 386 Chapter Four
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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page 387 Chapter Four
V Manuscript sample 71
Ending of Walter Kasura's arrangement 4 (EC625), bars 41-42 of Maurice Jarre's
'Lara's Theme', Kasura collection, University of Illinois
Kiszko, M. E.: 1999
6
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page 388 Chapter Four
Manuscript Example 72
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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Manuscript Example 73
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,
University of Illinois
Kiszko, ME.: 1999 page 389
Chapter Four
Kiszko, M. E.: 1999 page 390
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,
University of Illinois
Manuscript Example 73 contd
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,
University of Illinois
Kiszko, M. E.: 1999 page 39J
Q Chapter Four
Kiszko, ME : /999
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Kiszko, M. E.: 1999 page 393
Chapter Four
Manuscript Example 75
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
(manuscript example 76).
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Manuscript Example 76
Example of harp part from Walter Kasura's arrangement 10 (EC625), bars 1.6 of Maurice Jane's
'Lara's Theme', Kasura collection, University of Illinois
Klszko, M. E.: 1999 page 397 Chapter Four
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
Kiszko, ME.: 1999 page 402 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
Manuscript Example 78
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'.
Kutin collection, University of Illinois
Kiszko, M. E.: 1999 page 403
TPnrýnýl.. Chapter Four
Kiszko, M. E.: 1999 page 404
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',
Kutin collection, University of Illinois
Manuscript Example 78 contd
Kiszko, M. E.: 1999 page 403
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',
Kutin collection, University of Illinois
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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
Kiszko, M. E.: 1999 page 407
Chanter Four
Kiszko, M. E.: 1999 page 408 Chapter 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
Kiszko, ME.: 1999 page 409
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
Manuscript Example 80
xk
Tin
Kiszko, M. E. : 1999
Manuscript Example 80 contd
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
Kiszko, M. E.: 1999 page 411 Chapter Four
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
Kiszko, M. E.: 1999 page 412 Chapter Four
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
page 413 Chapter Four
' 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
Kiszko, M. E.: 1999 page 414 Chapter Four
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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Kiszko, M. E.: 1999 page 417 Summary and Conclusion
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
Kiszko, M. E.: 1999 page 420 Summary and Conclusion
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
Kiszko, M. E.: 1999 page 421
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
Kiszko, M. E.: 1999 page 423 Summary and Conclusion
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.
Kiszko, M. E.: 1999 page 424 Summary and Conclusion
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
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PERIODICALS
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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, 10 December 1950
New York Times, 14 May 1951
New York Times, 10 December 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
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'Victor Foreign-Domestic Catalog Contains wealth of Musical Gems' from Talking Machine World. September 1928. Motion Picture, Broadcasting and Sound Division, Library of Congress
Kiszko, M. E.: 1999 page 433
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
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