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Author: Kiszko, Martin Edmund Title: 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.

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The Origins and Place of the Balalaika in Russian Culture, its Migration to the USA, and the Dissemination of Balalaika Orchestrasin America with Particular Referenceto the Kasura and Kutin Collections at the University of Illinois

VOLUME TWO

Martin Edmund Kiszko

+istoA, X459 Klszko,M. E.: 1999 page 214

CHAPTER 4 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 arrangementsassimilated any aspectsof 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 approacheshave 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 concentrateon the study of systemsor 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 by intelligible laws coherent set of acoustic procedures,governed .2 or in StephenBlum's definition a processwhere:

The analyst attempts to enumeratethe 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 addressedcertain consistenciesor generalisationswhich have appearedwithin 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 representativeof 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 consistenciesin 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 comparisonsto 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 establishedcollectively 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 purposesand outlook of its practitioners.' Klszko, ME.: 1999 page 216 Chapter Four

Other musicologists have advocated approachesof acoustical or physiological research.For example, in terms of acoustical research, the investigation of data with scientific instruments such as the stroboscope,melograph or sonagraphon which Walter Graf (1903- 1982) his Franz and student 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 experiencesand in turn the influence on these bodily experiencesof 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 processesof 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 essentialto 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. "

HereLomax's view supportshis 1953research into folk songmaterial 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 degreeof 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, scalesor 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:

be but We need a unitary method of musical analysis which can not only applied to all music, 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 concernshave 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 dependson 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 discussionof SouthAfrican music:

It is as essential to recreate the development, functions, meanings and circumstancesof performance as it is to establish and analyse the musical notes in which some aspectsof expressionare embodied."

The importance of the importation of an extrinsic force such as balalaika music and its effects on musical, cultural and social consensushas been addressedin 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 Chapter2 may again be defined here as an evolving processof the interactionand diffusion of cultural valuesand tradition, which result in the acquisitionof 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 degreeof 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 suggestedeleven responses,two of which encompassothers, that is 'modernization' which involves the adoption of western features to enhancebut 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 enhancementapproach 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 numberof componentsof traditionalRussian 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 enhancementson its journey to Klszko, M. E.: 1999 page 220 Chapter Four

the cabaret,radio or concerthall environmentof 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 issuesconcerning this question have been previously examined in Chapter 3 in assessingwhether 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 arrangementnot 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 dependenton 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 demandsof locating complete manuscripts with a significant number Kiszko,ME.: 1999 page 221 Chapter Four

of arrangementsare:

The traditional Russian folk song Kalinka. Since no arrangementof Kalinka exists in the early Andreyev style, Andreyev's arrangementof 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 representeda 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 necessaryto 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 representany 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 categoriesare 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 songswithin categoriesmay 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 accompaniedby dance2°

Within the categories chosen to illustrate the source materials are more detailed explanations of particular musical nuanceswithin 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 lack studied and classified. This inadequacy is largely attributable to the of sufficient manuscripts prior to the first early printed collections of songs with music.

Manuscript songbooks or collections did, however, exist throughout the seventeenthand by eighteenth centuries and contained secular songs composed and performed the middle and lower classes.In addition to such material the music and text of religious songs known as 'kanty' (manuscript example 18) also emergedamongst secular texts.

According to Margarita Mazo21all 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 Russian was never sung during the service. But at the same time, she writes, 'the characteristic the melodies of some kanty sometimes approach the melodic gestures of and resemble those of Klszko, M. E.: 1999 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 Songsby Nikolai Lvov and Ivan Prach Kiszko, M. E.: 1999 page 224 Chapter Four

Great znamenny (old chant 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 during churches the seventeenthand eighteenth centuries)(my parentheses).'

Furthermore she mentions that the kanty were characterisedby:

A three-part vocal texture a capella, with the two upper voices in parallel thirds or sixths and a bass line that sketchesbasic 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 Pesens 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 establishedby 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 179026 Attempts at collating material have also by grouped works 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 unaccompaniedvocal 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 associatedwith 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 surveyof 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- bogatyrs (heroic categories of bogatuyrskya which described the expoits of the Russian warriors) of Kiev and Novgorod. There were also poviestvovatelnuya heroic deeds, which were narrative songs. Such narrative songs told of the struggle for the land and approachesof the enemy. The characteristics of byliny included a descriptive well developed narrative style alongside a rich variety of words, byliny be metaphors, adjectives and hyperboles. In terms of structure, the may 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 possessesits 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 EncyklopedicheskiiSlovar, Moscow 1991, p.90 Kiszko, M. E. : 1999 page 227 Chapter Four

Characteristicof both formsaccording to GeraldR. Seamanis:

The use of hyberbole, the 3-fold repetition of description of events, and, in the course of performance, the employment of a pauseat 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 Shrove Lent kolyadki - songs of Christmas and the New Year, maslenichniye - or 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'sDay.

4. Dance songs. Plyaski. These were fast lively dances usually associatedwith 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 becauseof 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" describesthe constituent features of the pliasovye:

Decisive rhythms, simple meters, and unequivocal and symmetrical phrase structures constitute essentialelements in the melodies of pliasovye, whether 'ancient' or 'more recent' (in Lvov's terms).

Theplyaski werealso known for their implementationof two patternsknown as the kolomyikaand the kamarinskayaand these appear in severalsongs 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

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Manuscript Example 20

Example of a chastushkaGdovskiye Chastushki,recorded by A. P. Kuragina 1959, reprinted in F.V. Sokolov's RusskayaNarodnaya 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 accompaniedby the podgolosnik and followed by choral responseswas 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 characterisedby the type of choreographed movements linked to the music. Such choreography could be processional or comprise of a sequenceof 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 aspodgoloskni may also join in. In this kind of polyphonic folk singing each part enjoyed its own independenceand was of equal stature to any other part.

6. Lyrical songs. Protyazhnye. Translated variably this term generally means 'long, slow, or sustainedmelodies'. 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, characterizedby a long (vnutrislogovye prolongation of the syllables of the text through melismata raspevy - multi-note melodic passagessung 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 dependedless on specific rituals linked to religious or feast events these songs travelled more freely amongst the peoples of the CIS enabling variants to emerge acrossgeographical regions. Kroko, M.E.: 1999 page 232 Chapter Four

The protyazhnye of 'composed in more recent times' possessedfeatures 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 manuallabour.

Given the examplesof Russianfolk songgenres which are available,I intendto analysean instrumentalversion of a traditional folk song and determine which featuresof the traditional arrangement,if any, have been preserved.It is prudent, however, to first authenticatethe sourcematerial and establishwhich sourceor variant shouldbe examined. Variantsmight consistof the following:

1. A variantof a sourcethat is manuscriptedand scoredfor an instrumentalensemble ratherthan the expectedone stave of scorerepresenting a receivedoral 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 socialclimate 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 arrangementsduring 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 arrangementswere 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 representativeof 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 arrangementsfrom 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 arrangementsmaking them actual 'unauthentic' versions that the artist simply'product endorsed'.Most if not all variants therefore are unacceptableunder 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 supersededby 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 ensemblemade up of available talent in a certain city or area.

Under Kasura's guidance76the 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'snationality deservesclarification. Kasura acceptsRussian 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 sourceshave been discussedand the parametersof Kasura'sjudgements on manuscript or printed sourcesare understood, it is now necessaryto examine the first set of sampleschosen for investigation. The folk song Kalinka is generally representativeof 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 nuancesof 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 Example21

Structureof the verseand chorus of the Russianfolk songKaiinka. Source is example22.

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 236 Kiszko,ME.: 1999 page Chapter Four

VNUYZA r",c. 560 KA. HHKA 10 Pyccxaa xaponaa necxa opt: . C AsxceaxeM 6or"i A. AAEKCAHAºOBA lßä y 7. Iýfiýrýº-'t ii- -41 Ft

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

S.

''1, Il il

{

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-

thil 7170 " aMý p. plow u)

Manuscript Example 22 10 (EC580) in the Source of example 21. A. Alexsandrov's published arrangement Illinois Kasura collection, University of 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. KSANNIIa, "" M*ANNKa, tIANNKa MOS. 4T1 i 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*" 4 TIMES B easy aroAa YIANNK$, I' NN=a roa,

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, 5 B TIMES eaAy aroaa YUANNKK, ö*ANNKs roa.

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 representativeof 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:

Introductorychord = IC Introduction =I

Variations of melodic material = VM Increasedcomplexity of melodic material = ICM Key modulation = KM Counter melodic material = CM Octave and unison doubling = OUD Ascending and descendingscalic passages = ADS Drone pedal or interrupted drone = DP Tutti finale = TF Progressiveincrease in tempo = PIT Progressiveincrease in dynamics = PID Melismata =M Fermata =F Ornaments =O Tremolo =T Kis: ko, Al. E.: 1999 page 239 Chapter Four

Mu1_dic material

counter melody or acco rtpaniment Glissando ascending "ýýýýýýýý' (; lissando descending

Scel i pd. ssdyes Aipeggiation

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

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

Figure 26 Legend explaining the symbols used on the charts representing the structure and the elements of orchestration

In a later section on the analysis of Glinka's Overture to A Life Jior the ('--ar the grid will adopt the following different set of abbreviations.

S= Follows original Glinka structure exactly

MS = Minor modifications of structure discerned

I)S Includes developments oforiginal structure

Includes traditional elements interpolated from traditional Russian folk song

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

MI = Invention is modified and different to original score

IYfR-= Direct transfer of registral material

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

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

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

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

MT= Themes possess a mixture of timbres

01 = Orchestral instruments are included within the arrangement

011= Orchestral instruments follow exactly the orchestral instruments of Glinka's score Kiszko,ME.: 1999 page 240 Chapter Four

The grids also includethe following abbreviations:

Alt. = alternating Acc. = accordion/bayan Part = 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

following The Kasura collection possessesnineteen arrangementsof Kalinka. The group of Checklist Index sixteen are catalogued under shelf list number 580 in Preliminary and of EnsembleMusic 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 assignedto each part;

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

11. Anonymousarrangement. Photocopy of a publishedscore for voice andpiano from a folk songalbum. Has chord symbols and lyrics in Englishand Russian;

12. Unidentifiedmiscellaneous parts for plectralensemble, marked `Talya';

13. Arrangement (probably Kasura) in the hand of Kasura. Incomplete manuscript score for Russian folk orchestra; Kiszko,M. E.: 1999 page 242 Chapter Four

14. As 13;

15. As 13 and 14;

16. Arrangement by A. V. Alexsandrov. Photocopy of a published score for tenor solo, chorus (SATB), 2 bayans, domras (PicD, PDI-II, ADI-II, BDI-II), balalaikas (PB,

SB, AB, BB, CB), and percussion (Tambourine). The score does not specify how many domras or balalaikas are assignedto each part.

The following arrangementis shelf list number 182 in the above catalogue.

17. Arrangement by Walter Kasura. Manuscript score for seven part Russian folk orchestrain the handof Kasura.Arranged to accompanysoprano Dora Bosher.

The following arrangementis 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 arrangementis 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 possessesthe following arrangementsof Kalinka as describedin a handwrittenlist of works in the hand of Kutin in the AlexanderKutin collection at the Universityof Illinois.

Arrangements1-3 foundin file number17 andlisted 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 K. for and S. Tenor solo and chorus (SATB) and piano. Photocopy of a published part song for mixed voices version from Songsof 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 arrangementand arrangedhis own instrumental material around it;

5. Arrangement in G minor probably an arrangementof Kutin's in the hand of Kutin. Manuscript parts for violin, viola, flutes, clarinets, bassoons,2nd bassoonand bass marimba, tenor saxophone, accordion, piano, harp. Since the parts were found alongside arrangement4 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 arrangement4 later in this Chapter;

6. Arrangementin F# minor in the hand of Kutin. Title page denotesMusic by A. Tcherniawsky.Kutin probably means the arrangementis by Tcherniawsky. Manuscriptscore for PDI-II, ADI-II, BD, PB, SB, AB, BB, CB.

The following arrangementis numbered17B in the Kutin catalogue.

7. Arrangement in A minor. Probably an arrangementby 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 arrangementsfrom 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 arrangementslisted 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 aspectsof the folk song have been preservedor 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 expandedduring the sixteenth and seventeenthcenturies.

In terms of the song's structure, it appearsgenerally in a two or three verse format basedon 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 dominant G note F and returning to a semi-quaver Eb before resolving to the (D major) of minor in the next bar.

An. 10 and 16 10- barn26-27 16 - bars 27.28

Tenor

Arr. 9 bars35-36

Tenor Solo

Manuscript Example 23

Ornamentationin arrangements10 (EC580) bars 26-27,16 (EC580) bars 27-28, and 9 (EC580) bars35-36 of Kalinka,Kasura collection, University of Illinois

The characteristics of polyphony within the published variants display successionsof 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 thefermata on the final note of the verse before the repetition of the chorus. This provides an expectation of the chorus and sharesa characteristic common to the genre of the Russian byliny. The byliny structure usually includes the repetition of lyrics and melody, and during performance, often afermata at the end of the verse.

Second, arrangements 9,10, and 16 possessa 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 arrangement9 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 emphasisedat 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 succeededby other voices. This however, is contrary to what we observe in several of these arrangementswhere 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 page 247 Chapter Four

I;, -" -- .-

ateluesM0. RacreIerw ycIepP$

"i ". I AýuYr u . . I r

PYc.

6pear. w rrwI bJOE ' . wu oR " 1ýsAta ýý{E Wrr j

6 li"

" Mwn. erc

KW{MM/Mür

' ' K1" ý Iýýf Iys .pM. I., U. W. Iý PS- aS ; LA ". ºs. *l M. m. M. fý1MI.

Ö PI Tenors - äh 6. prnwM r^ r finer

pl &A.&SAWMAN Mrwrwý wK+ýýe. w ýs. spas

QOrrr 90-R WV- Artie IC cu.yuaw

Mºtr

D, $ICM " K. +ips$mcw "T ant. f 1615

Manuscript Example 24

Inverted pedal drone in arrangement9 (EC580) bars 9-16, of Kalinka, Kasura collection, University of Illinois U1VFVERSiTY

OF innBRISTOL 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 possessesmany 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 arrangementsand traditional material.

Zapev/Podgoloskni

The arrangement commences with an introduction constructed from the first phrase of the verse answeredby the last phrase of the verse (manuscript example 25). This illustrates the basic responsorial function of the zapev and podgoloskni and possessesa 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 phrasesor sentenceswithin the text or as a consequenceof internal structural devices of the lyric such as alliteration.

Tonkii Golos

The use of unison and octave doubling in the arrangementare particularly representativeof Kisrko. Al E: 1999 page 249 Chapter /our

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the traditional Russian folk song. In the choral polyphony of western Russians, unison is singing mainly articulated perhaps as a result of the functional aspectsof 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 PB and 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 appearsto 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 engagedin decorative elements of the material to allow for the simple vocal lines Kiszko.M. E.: 1999 page 252 Chapter Four

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The use of the drone in arrangement9 (EC580) at section 1, bars 11-16 of Kalinka, Kasura collection. University of Illinois Kiszko, ME.: 1999 page 254 Chapter Four

of the chastushkato 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 increasedcomplexity 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 passagesare 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 sopranosand altos at the third and final chorus statementis supported in unison by the PDs by and by the addition of the horns (rozhki). It is also given full textural possibilities the PDs in their most brilliant range. The tutti finale provides the culmination and cadential invention ending of the sections of increased complexity both in terms of melodic 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 balalaikasfollow a typical plucked accompanimentalpattern - usually CB marking the beatsand the SBsand ABs markingthe quaversoff the beatand this representsthe standard accompanimentoffered in many arrangements.

ARRANGEMENT 16

From the chart of arrangement 16 (figure 28), most of the constituent elements of the Kiszko,M. E.: 1999 page 255 Chapter Four

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Russian folk song appearing in arrangement9 are evident in arrangement 16. These include the distribution of melody and accompaniment,the use of solo and ensemblevoices and the transfer of scalic passagespreviously 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 arrangement9 minus the wind and horns. The balalaikas fulfil their standard accompanimentas 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 Russianfolk songor 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 arrangementsto the sample of selected manuscript arrangementsin 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 arrangementsmay now be examined. For the purposesof 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 scoresin 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 be can 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 cadenzamarking 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 cadenzabelonged to the soloist (manuscript example 29). Kiszko, A4.E. /999 page 259 X Chapter Four

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Rests and cadenzamarking in arrangement2 (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 sourcesand the published arrangementsexamined 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 characterisingthis device.

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Manuscript Example 30

Opening chords of arrangement2 (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 increasedcomplexity 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).

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high level The latter part of the song has a significantly of uncomplicated musical development. Firstly, this may denote that the arrangement was scored with the playing increased standards of particular amateur groups in mind but secondly the accelerando, folk dancersincreased their tempo which typifies the dance music when Russian alongside The the addition of further musical variations, remains constant. choice of maintaining in tempo may have been a consideration of the arranger matching the complexity of This increase, however, is material to its suitability for instrumental execution. tempo in 'fast' by introduced in section 7 marked 'poco a poco accelerando'and concludes tempo here section 8 pulled back to 'slowly' at section 10. The change of tempo recalls the tempo Russian dances at the opening of 4 and is a probable reference to the slow sections of which dance Structurally allowed space for the elder members of the village troupe to perform. by Kasura following the arrangement fulfils many of the requirements expected as well as 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 build-up 'simple' form to one using some syncopation, followed, in turn by full variations. The Kiszko,ME : 1999 page 262 Chapter Four

continuesusing key-changes,tempo changes, and evenswitching the melody line or variantthereof from sectionto 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 Guidelinesfor 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, harmony PDI, ADI, PBI octaves and fifths - for example the thirds and octave on and at section 17 with parallel fifths noticeable in the bayan accordion part at this point (manuscriptexample 33).

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Harmonic and intervallic structures in arrangement2 (EC580), section 17 of Kaiinka, Kasura collection, University of Illinois Kiszko,M. E.: 1999 page 263 Chapter Four

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Domra and balalaika orchestration in arrangement2 (EC580), Kalinka, Kasura collection, University of Illinois Kiszko, M. E.: 1999 page 264 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 approachesto arrangement that should be avoided. Amongst these are: key changeas a form of variation; major and minor 6ths for dissonance; and melody line for bass solo. It is interesting to note that these proceduresare actually present in arrangement 2. The key changeshave 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 bassfigure (manuscript example 34).

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in It is interesting to note that although these indiosyncratic orchestration proceduresoccur Kasura the This the Davis arrangement - they are left unaltered as transcribes arrangement. folk clearly contradicts some of the criteria of Kasura'srules for the arrangementof Russian music.

for Given that there are slight differences between what Kasura suggests as guidelines folk how does arrangements and how his contemporary Davis actually arranges the song, for balalaika the arrangement compare to the traditional approachto arrangements orchestra as exemplified by Andreyev?

THE COMPARATIVE ANALYSIS OF ARRANGEMENT 2 ANI) TIIE ANDREYEV MODEL SVETITMESIATS

Shines Moon) (figure 30) As a model I intend to use the folk song Svetit Mesiats (Bright the Svetit Mesiats is which exists as a published score in the Kasura collection. an example of a balalaika traditional arrangement constituting the original Andreyev orchestra; piccolo bass domra I-II, domra, prima domras I-I1, alto domras I-II, tenor domra, contra- Kiszko, M. F... 1999 Pug' 266 Chapter lour

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bass domras, gusli, kettle drums, prima balalaika, secundabalalaikas, alto balalaikas, bass balalaikas, contra-bass balalaikas. The tenor domra, a supporting instrument later dropped by most orchestras soon after its emergenceis 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 precedesverse. 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 statementof 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 repeatedover 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 four figures) and section 11 (semiquaver figures). The theme is divided into phrases and 6 (sixth these are repeated fourteen times except for sections 5 (fifth statement), statement), 9 (ninth statement), 10 (tenth statement), 13 (eleventh statement) and 14 (twelfth leaving statement), where phrasesthree and four are thematic but one and two are omitted domras. accompaniment from the balalaikas and decorative passageson the

from 11 The piece is entirely left to accompanimentand melodic decoration section throughto 10 bars after section13 wherephrases three and four of the eleventhstatement of the themeenter. Kiszko, M. E.: 1999 page 268 Chapter Four

The interest in some of the variational aspectsof 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 AD decorative and scalic runs at sections 11 and 12 respectively. Both these modifications the of 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 between similarities the Andreyev arrangement of a traditional folk song and the Davis Kasura arrangement or 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, fermata. melismata, ornaments or In terms of a build in dynamics throughout the work the favours arranger 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 discussedearlier 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 phrasesof 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 Kroko, M. E.: 1999 page 269 ChapterFour

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domra is seldomused in the modembalalaika orchestra and is thereforeabsent from the Davis arrangement.The Picc.D soundsan 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 sustainedharmony 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 statementof the chorus theme appearsonly 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.

double Bass domras: sounding as written on the stave, these instruments may 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 into developed role is observed in sections 1-2 of Svetit Mesiats turning a more domra figure/counter melody by 3. Overall it supports the movement of the rest of the leaving section virtually note for note in the patterns of quaver runs throughout the piece Davis the lower balalaikas to form the on and off the beat pattern. The arrangement also BD is verifies the harmonic and rhythmic role though unusually the given melodic priority from section 11 albeit for only two phrasesof the full statementof the verse theme.

balalaikas Prima balalaikas: several playing methods enable the prima to provide a rich The instrument is and individualistic timbre within the balalaika orchestra. either plucked Kiszko, M. E.: 1999 page 294 Chapter Four

by fleshy the 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 Svetit Mesiats display of the melodic priority of the PBs whilst section 5 introduces the on beat or off the 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 be to performed across the strings. This is dependenton 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 17 21 in in fourths, fifths at and thirds and then 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 secundaand 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.

Bassand contra-bassbalalaikas: the bassbalalaika will generallyform a supportfor the bassdomra and the contra-bassbalalaika. Along with the contra-bassand 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 bassnote. 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 ChapterFour

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 accelerandoare 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 announcingreturns to the tonic;

3. Texturally the distribution of the instrumentation may be said to follow the acceptedtraditions laid down by Andreyev. Arrangement 2 does, however, possess some deviant excursions. These include the transferenceof 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. Dynamicallythe introductionof contrastingpiano and forte sectionsis maintained in the publishedarrangements and in arrangement2. Kiszko,M. E.: 1999 page 296 ChapterFour

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 piecewhere A precedesB is maintained.This reiteratesthe form of versefollowing chorusstatement but in this arrangementthe versesare separatedby three statementsof 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 schemeis 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 introductorychord is intact at the openingand preservesthe characteristictraditional folk song instrumentalstart. It beginson an unspecifieddynamic with a crescendoto mf both domra whilst marked with a fermata.The chord is distributed amongst the and is balalaikasection. Because of the fermatamark and the crescendomarking, the chord likely be probablyexpected to last for a durationlonger than a crotchet.It is that this would is indicatedby executed,as it was traditionally,with a string tremolando,though this not Kasura in the part.

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introduced. again These are by no means elaborate but section C for instance introduces an ornamented semiquaver figure to embroider the melody (manuscript example 36). a PDI

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Manuscript Example 36

Primadomra ornamentation of melodicmaterial in arrangement3 (EC580)at sectionC 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 structureof the harmonicmaterial 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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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

Arrangement4 (figure 32) is scoredby Kasurato accompanysoprano Sonya Chamina. The arrangementexists in manuscriptparts only and the vocal part is missing.No indicationis given on the extantparts for vocal entry.The form of the pieceis reversedwith the verseb as a first statementafter the introduction.Each statement of the verseb is, however,only statedas half a verseic. the last two phrasesor linesof the verse.

There is no introductory chord at the start of arrangement4. Insteadthis chord with a 400 lk, s: ko. Al l": /999 page Chapter F our

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fermata is marking 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 The chart. most elaborate statement of the chorus, a four semiquaver motive around the is melody note D, 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 basedon melodic material in arrangement4 (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 arrangement3, a movement above and below the melody note D to bring the cadential phrasedown to the tonic A (manuscript example 39).

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Manuscript Example 39

Variationof melodyat the endof Kaiinkaarrangement 4 (ECS80)at section3, bars21.28, Kasura collection, University of Illinois

Apart from this deviation,which could appearto be an idiosyncraticKasura trademark, the pieceoffers no othersignificant diversion from the traditionalmelody. The tempomarking accelerandois still found intact in this versionat section3 and riss are markedin for the rubatoeffects of vocal style at bars3 and 9. There is no progressiveincrease in dynamics Klszko,ME.: 1999 page 302 Chapter Four

throughoutthe work.

The harmonic scheme is simple as previously observed but becauseof 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 bears material 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 samplesthus 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 arrangementfor 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 arrangements2,3,4,18 and briefly at the beginning of the accordion part at section 1 arrangement 16 (manuscript example 40).

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Semiquaver motive in arrangement6 (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 Kiszko, ME.. 1999 page 303 Chapter Fou1.

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relationships are no different to previous arrangements with thirds, fourths, fifths, sixths and octaves. This is most predominant in the PDs 1 and 2, ADs I and 2 and in the balalaika section as seen in previous arrangements.Instrumental distribution is generally as expected with melodic material presented by PDs I or PB I apart from section 3 where AD is solo for the first two lines of the verse until section 4. Interestingly, in terms of melodic contour at 4, the second melodic half of the verse does not follow the traditional melody (manuscript example 41).

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Manuscript Example 41 bars30-33 A modifiedsecond half of the themein arrangement6 (EC580),section 4, of Kalinka comparedto the traditionalstatement of the theme, Kasura collection, University of Illinois

}sere, the PD and accordion play first quaver melody note, second upper neighbouring, bar has third melody note, fourth upper neighbouring. The following two crotchet non- be found in PB). These melody notes. (The actual melody notes here, however, may the two leading bars of almost counter melodic material are then repeated to the traditional melody at 5 barsafter section4 which carriesthe final line of verse.

its full As alreadydiscussed the semiquavermotive appearsin guiseagain as materialof 6 to increasedmelodic complexity at section5 which in turn servesthe accelerandoat bring the effect of a flourishing end.

3 4, is in The cadential diversion in the melodic line, as in arrangements and still apparent before 6 in last three arrangement 6 at three bars before section 3, two bars section and the bars of the arrangement. Here the conventional descending cadential phrase of the fall traditional melody is again replaced by an ascentbefore a to the tonic. Ktszko, M. E.: 1999 page 303 Chapter Four

Arrangement 7 comparisonto 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 appearsto be a shortenedcopy 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 accommodatethe 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 arrangementthe 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 condensedinto 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 page 306 Chapter Four

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full giving a 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 arrangement8 (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

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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 piecefollows the conventionalmodel of choruspreceding verse.

The introductory note as arrangement2 and 3 is present. The semiquaver motive discussed above is carried through as it is in previous unpublished arrangementsbut 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 arrangementsat this point. The distribution of parts follows the published arrangement 16 Kiszko,M. E.: 1999 page 309 ChapterFour

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 sparseto accommodate the soprano voice.

It is Section A is material which does not melodically suggest verse or chorus material. assumed,however, that due to the harmonic progression, it is chorus material. Two points first B are worth noting about the form. First, bars 1-12 which constitute the section are Kasura crossed out by Kasura. Second, if the piece is intended to start at bar 13 writes form above the bar that the material is to be played nine times thus changing the 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 The which contradicts some of his previous arrangements based on traditional models. does distribution of the harmony throughout the ensemble,however, typify the distribution balalaikas found in earlier arrangements.The accompaniment is spread amongst the whilst counter-melodic material stays with the domras.

has It is now worth examining what connections this arrangement to the traditional melody EC# (manuscript example 44). Melodically it appearsthat the first two notes of the verse 2.3 have are a retrograde of what the original melody does which is C#E. Bars the original for melody although the fourth below A in bar 3- which would be the original resting point in bars 4-6. Bars 7-9 10- the first phrase - is omitted. The same pattern of events occur and 12 repeat this. Bars 13-24 are as 1-12 although the appoggiaturasthat were at 7 and 10 are Kis: ko, Al /i 1999 page I /0 Chapter lour

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G0 U v OO h N 0 O ° Li i, .+ U o Q U 0 Eý O Li ro m 'H U U CT ro o, c ,--( 4 oCNA ý . -r ö (-) O U i ro ö G ro ° ro Q) m ö 1 0 W4) p, N (n ., N ro 10 71 ýL I 14 t 0 ° ro U ° ( n v u It v rr rn ro ý, t ii '. y u "ý 1' .. c7 b, . f1 r F > N ,i H ° ro .ý m Lo NN Li .ý O0 UU r ü ",;; , bU w0 V " '0 000, . -1 b) ai OU ` S

:'"; i 4

ýý rn Ii ro

ro " NIt En ni xx h. hha in

NNN OD JU ip V1 r-1 . -i 1

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included not this time round.Kasura chooses full valuecrotchets instead of quaversfor bars 19-20and 22-23.

Allegretto

PDI

compared to traditional melody, transposedfrom E minor to A major

PDI

Manuscript Example 44

Relationshipof the melodicmaterial of anangement 17 (EC 182), bars 1.12of Katinka to the traditionalmelody, 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 becausea transposition was necessaryto suit a particular vocalist or instrumentalist.

The form of arrangement 18 correspondsto 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 page 3/2. Chapter Four

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ö z ýý as pa zo r Q  F H N a u H as H a a a m oa ca tJ V to i A V Y Iq a 4 w N iÜ ä V ý 1 0 .ý F (ncn ý ., () VJ rý tl rý N Klszko, ME : 1999 page 313 Chapter Four

18 arrangement only uses the second half of the verse. The semiquaver pattern is still in introduction apparent the (manuscript example 45) and may indicate that Biljo was also familiar with the traditional Alexsandrov arrangementpreviously discussed.

n PDI

Manuscript Example 45

Primadomra semiquaver motive in arrangement18 (EC900), bars 1.4 of Kalinkq Kasuracollection, 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 page 314 ChapterFour

Arrangement 19

Arrangement 19 (figure 38) by A. Ivanoff consists of manuscript parts only and is for eight part Russian folk orchestra. The structure of the piece emulates the previously discussed arrangements 18 and 7 and in fact, from a comparison of the parts of 19 to the aforementioned Kasura arrangement 7, it is obvious that arrangement 7 is a constructed score of the parts of Ivanoffs arrangement.

It is also evident that the Biljo arrangement has extensive similarities to the Ivanoff one. Biljo came to the USA with the Ivanoff Balalaika Orchestra and formed a small group when Ivanoff turned his attentions to Broadway and Hollywood. It is probable that Ivanoffs arrangement was used as a source for both the Biljo and Kasura arrangements and it is interesting to note that in both the Biljo and Kasura arrangements attention is paid to a virtual note for note copy of the master's orchestration apart from the difference in key signature from the D minor of arrangement 18 to the E minor of arrangement 19.

In termsof the chart,the differenceslie in the melismaticdecoration on PDsAD andBD in the introductionof arrangement18 whereas19 simply statesthe melodyundecorated in the introduction.The introductionof 19 is also one bar longer.There is also someminimal ornamentationusing acciaccaturas in the first threebars of sectionA in the CB (manuscript example 46).

ArL19 14

CB

ArLI $

13

CB

Manuscript Example 46

Comparisonof CB part in arrangements19 (EC1268), bars 14-17and 18(EC900), bars 15-18ofKa/inka, Kasuracollection, University of Illinois Aisrku, At /i /999 page 315 Chapter Four

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SUMMARY

Given all the data collected in score analysis and the formation of charts illustrating this data alongside other critical observations, the following diagrams (figures 39 to 43) illustrating the relationships between the sample of arrangementscan be made.

Only the publishedarrangements 9 and 16 havetext. Arrangements3 and 4 would havetext but vocal partsare missing.T denotestext with score.

ArrangementNumber

3 INT AB AAA B AA (arrangementsby Kasura 4 INT B 1/2AAA B 1/2AAA 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 (arrangementby L. avis) 18 1NTB 1/2AB 1/2A (arrangementby P. Biljo) 19 INT B 1/2AB 1/2A (arrangementby 1.Ivanoft)

AN. AAAA AI/21/2A AV21/2A AA AIR 124 AI/2 1RA BB AI/2 IRA Al/2 IRA AA Arrangementby V.Andreyev

By condensingthe repetitionof sectionsthe common structures are:

i. ABAB ii. BI/2ABI/2A

The exceptionis arrangement17 with BBAA andthe Andreyev arrangement has elements of both I andH.

Figure 39 Diagram illustrating relationship of structures

Pub Pub 346789 16 17 2 18 19 Andrcyev Emin Amin Gmin Emin Amin ßbmaj Gmin AmaJ (Emaj) Dmin Emin Dmaj Gmaj Cmaj Bbmaj Gmaj Cmaj Gmin Bbmaj Amin Finaj Gnuq Cmzj (Emaj)

Figure 40 Diagramillustrating the similaritiesof key structureswithin the arrangements Kiszko,M. E.: 1999 page 317 ChapterFour

IC I VM KM KM CM OUD ADS DP TF PIT Pl MF0T D

9 / / / Alt / / / / 16 / /all /all /all / / / /all / / Alt / / / all D2 not last sec- tion Andreyev / / / / / / / / Alt / 9

3 / / /all / / / / / / Alt / / / PD 4

6 / /end /end / / / / / / / / only only 7 Alt / /

8 / /all / / / /all / / Alt / / / 17 Alt Biljo I8

IvanofT19

Figure 41 Chart illustrating the similarities of constituent elementswithin the arrangements.This chart describesthe features of each arrangementas listed in the legend drawn up for the charts Kiszko,M. E.: 1999 page 318 Chapter Four

(Arrow denotesreception of influence) 346789 16 17 2 18 19 Andreyev (commonby harmonic distributiononly) '1111'4' ' I'Ll

ASPECTSCOMMON TO ALL ARRANGEMENTS Partially common - arrangement4 has more repeatsof chorus

Figure 42

Diagram illustrating relationship of the constituent elementsdescribed in the chart acrossall arrangements

TRADITIONAL RUSSIANSTRUCTURES

ANDREYEV APPROACH MANUSCRIPTS PUDLISI[ED ARRANGEMENTS II ++ It

Figure 43 Diagramillustrating ancestry of influenceof the sampleof workspresented. here manyof the aforementionedtraditional elements of Russianfolk musicalongside Andreyev's collation of these variouselements into his own orchestrationare fed into both publishedarrangements and the arrangementsof early Russian-Americanarrangers. Material from publishedarrangements, whether structural, melodic, harmonic or texturalis alsofed into the arrangementsof earlyorchestrators 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 collectionhas 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 repeatedbefore the verse is flexible but usually executedonce 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 arrangementswith 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 significantdifferences are noticeable in this arrangement.First, the vigorousand lively quaveranacrusis start which differentiatesit from previouslydiscussed 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 rag(' 320 ('hurler Four

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b

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A F a A ý a N A ý v ý ö

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Lightly. gracefully 10 _ .. n WIf Tamr SWo PA F 11 FI 'll

Where the tree Where pine - grow - eth, the heath- er blow - elh,

Alto

Ka lin ka, - - Ma-lin-0.6 Ka - 6n - ka, Ma-lin-ka, P-P Torur

-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 device this is transportedto any of the Kutin arrangementsremains to be seen- the device was certainly not observed in any of the Kasura arrangements. Presumably Schindler transcribed from some manuscriptedtraditional 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 arrangementswhich choose to hold a sustainednote 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 page 322 ('hafteP Four

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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 fact the that a fermata is missing on the Kutin collection version on the D at bar 30. This be may 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 arrangementsin 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 arrangement3 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 bassesare a direct duplication of those in the published arrangement3.

A further group of instrumentsfor this work which are not found on the scoreexist in anotherset of parts found in the collection.These are flute II, clarinet II, bassoonII, tenor saxophone,accordion, piano, harp, violas I and11. One other unmarked part alsoexists. The part is written in trebleand bassclefs for two setsof 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. Perhapsthis was a sketch for the final copy. Klszko, M. E.: /999 pa t' ±_'4 ( 7iapt, I/ 'ow

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The structure of the work is arrived at through the parts rather than the score. The score itself carries no accurate repeat markings, no Sign to Fine markings at section 3 bar 9 and final no 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 spontaneousperformance 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 doesthis arrangementtell us of Kutin's approachto the balalaikaorchestra? The chart illustratesthe use of conventionalorchestral instruments within the orchestrationof the balalaikaensemble. How Kutin usesthese instruments in relationshipto the main body of domras and balalaikas may be determined by this arrangement's similarity to the Alexsandrov version of Kalinka already discussedas 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 instruments of the orchestral there are no great excursions from the harmonic or Generally, rhythmic scheme. the flute and oboe double the PDII, the clarinet doubles an below octave 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 phrasesof 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 possessesremarkable similarities to Kasura's arrangement7 previously discussed. There are, however, unclear repeat markings at bar 23 giving no indication of where the repeat returns. I have assumedthat 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 Art-Z

1 11 PDI

7Af

Manuscript Example49

Comparison of the opening of arrangement5 (KC incorrectly cataloguedby Kutin as number 17) of Kutin's Kalinka (bars 1-2, to Kasura's arrangement7 (EC580), bars 1-2, Kasura and Kutin collections, University of Illinois Kiszko,M. E.: 1999 page 328 Chapter Four

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Spa Ode

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Manuscript Example 48

Example of orchestration for domras and balalaikas in arrangement4 (KC incorrectly cataloguedby Kutin as number 17) of Kalinka, Kutin collection, University of Illinois Kis: ko, MJ;. 1999 page 329 Chapter Fnw

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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 becauseof the haste of copying, with none at all. Kutin begins mf and is constantly changing the dynamic throughout the piece. Both arrangementsalso 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 endof the last phraseof the verse.

Both the Kasura arrangement 7 and the Kutin arrangement5 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 if

AD2

Aas if

6

ADI

'un if

Manuscript Example 50 by 6-7 Three quaver figure in Kutin's arrangementS (KC incorrectly catalogued Kutin as 17), bars of Kalinka compared to Kasura's arrangement7, bars 6-7 of Kalinkc; Kasura and Kutin collections, University of Illinois 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

Arr-7 mf 2 SB

AB

BB

CB

Manuscript Example 51

Quaver accompanimental figure in Kutin's arrangement5 (KC incorrectly catalogued by Kutin as number 17), bar 2 of Kalinka compared to Kasura'sarrangement 7 (EC580), bar 2 of Kalinka Kasura and Kutin collections, University of Illinois

Both arrangementsplace fermata markings at similar points and favour a quaver decoration around the descendingend of phraseof the chorus at bar 20 (manuscript example 52). Kiszko, M.E.: 1999 i3? page . ChapterFour

Arr. 5

20 PDI

f mf -__ _- Am-7

20

PDI

Manuscript Example 52

Fermata markings in Kutin's arrangement5 (KC incorrectly catalogued by Kutin as number 17), bars 20-22 of Kalinka compared to Kasura's arrangement7 (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 structureof this arrangementis determinedby the partswhere, unlike the score,a Fine mark is legibleon the partsat the lastbar of section1.

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. Ki. zko, Al E /999 page, r±3 Chapter Four

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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 accompanimentby 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 statementof the verse theme a third below the PBs at section 2 could have received solo material. Kutin, however, keeps the prominence of the balalaika ensembleforward 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

Arrangements1-4 only possesstext

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 condensingthe repetitionof sectionsthe commonstructures are:

L ABAB iL BI/2ABI/2A

Figure 50

Diagram illustrating the relationship of structuresof 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 structureswithin the arrangements Kiszko,M. E 1999 : page 336 ChapterFour

IC I VM KM KM CM OIln AnS nP TP PIT pin l. A Pn7

1 Alt / 2 3

4 / / / / / / / / / / 3 / / / / / Alt rit in middle 6

Figure 52

Chart illustrating the similarities of constituent elementswithin the arrangements

123456

T'' -21

KASURA ARRANGEMENT?

Figure 53

Diagram illustrating the relationship of constituent elementsdescribed in the chart acrossall arrangements

TRADITIONAL RUSSIAN STRUCTURES 111 ANDREYEV APPROACH MANUSCRIPTS PUBLISHEDARRANGEMENTS

KASURA COLLECTION,ARR. 7 RELATIONSIIIP TO KUTIN ARR. 5 (directionof influencedependent on datesof arrangementwhich areunknown)

Figure 54 Diagramrepresenting ancestry of influenceof the sampleof works presented Kiszko,M. E.: 1999 page 337 ChapterFour

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 arrangementshave 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 consciousnessof 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 resurrectedRussian patriotism and nationalism.

Michael Following his studies in Berlin with theoretician Siegfried Dehn (1799.1858), for large-scale Glinka (1804-1857) returned in 1834 to Russia with the scheme a 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 for Czar sacrificed his own life to save Tsar Mikhail Feodorovich Romanov. A Life the 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.

likewise fellow I want everything to be national, above all the subject, and the music so that my 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 dispense aspect of the opera's initial success was that it was the first to with spoken dialogue between the arias. It was, however, the Russiannessof the composition which strongly appealed to audiences who had become tired of the influence and techniques of for Italian opera on Russian composers. Remarkably, between 1836 and 1879 A Life the Czar was performed no less than 500 times. This popularity placed the work firmly into the Kiszko,ME.: 1999 page 338 ChapterFour

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 basedon this source.

To properly identify the themesthat appearin the Kasuraand Kutin arrangementsit is first useful to outline the structureof the overtureand namethe major themesin 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 arrangementslisted in the Kasura Preliminary Checklist and Index. These can be identified as:

1. Manuscriptparts (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 dated9-5-1964;

5. Manuscriptparts (photocopies) for elevenpart Russianfolk orchestraPDI-II, ADI- II, TD, CBD, PB, SB, AB, BB, CB. Has the stamp'Great RussianOrchestra of Kiszko,M. E.: 1999 page 340 ChapterFour

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 arrangementsof the overture in the Kutin collection.

1. Published Russian score. This is an undatedpublication 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, is Berlin - Kiew'. No arranger'sname 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 SemaschkoRuss. Kapellmeister';

5. Manucript scorefor FL, Ob, Cl Bb, Bsn, Horns, Timpani, PDi, PD II, AD, BD. PBI, SB, AB, CB. Arrangementby Kutin.

For the purposes of analysis I have chosen to concentrate on the most complete scores available in the collections. In the Kasura collection arrangements4,6 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 ChapterFour

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 arrangementssuggest 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 statementof overture, bars 1-7

(Ed. Eulenberg) and opening statementof Act 1

by Opening chords bars 1-7. These are taken from the opening statement of Act 1 sung the leader of the chorus and answeredby the chorus of peasantmen (manuscript example 53). folk It is fundamentally a reference to the zapev and the podgoloskni of traditional Russian song. Kiszko,M. E.: 1999 page 342 ChapterFour

8 con ani f -A Oboe

mf 14 _-- Ob.

19

Ob.

aaaa P

Manuscript Example54 Glinka, Overtureto A Lifefor the Czar,Oboe theme at bars8-23

Glinka based this theme on a Russian coachman'ssong heard on a journey near Smolensk and used the theme for the trio and chorus in the Act 4 epilogue.

Firstsubject 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 subjecttheme of the overtureon first violins also finds its sourcein the opening zapevstatement of Act 1. This themeprovides Susanin's opening statement in Act 1, Why dreamof weddings. Kiszko, M.E.: 1999 page 343 Chapter Four

Overture motive

68A .ýsr Fl. p

W-Qmen's cho meth m

Manuscript Example 56

Glinka, Overture to A Life for the Czar, bars 68-72, motive compared to the

Act 1 chorus of peasantwomen

The descending quaver and crotchet figure beginning at bar 68 has a similarity to the melodic contour of the chorus of peasantwomen in Act 1, Spring has taken Its course.

S.econd. subject theme

130 dol=_

97If

Bridal chorus Act 3

Manuscript Example 57

Glinka, Overtureto A Lifefor 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 page 344 Chapter Four

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

The strong melodic motive beginning at bar 438 firstly on cellos and bassesmay be traced in part to a diminution of the second half of the chorus leader'sopening statementin Act 1.

It is now possible to examine how closely the structural, harmonic, and textural elementsof Glinka's score are transported to the arrangementsin 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 arrangementsare so incomplete that they cannot sufficiently provide an example of the arranger's full treatment of the original source. For this purpose I have selectedarrangements 4,6, and 7. I will begin with arrangement6 since this bears the closest similarities in structure and thematic content to the overture. The legend for the arrangements' charts are available on pages239 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 Kts>ko. M. E /910 h, fwr Iw ý ý' N.

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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 arrangementslavishly follows the original score.

In terms of the distribution of thematic and harmonic material, there appearsto 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 summarisedby 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 sectionsor support an instrument with the melodic lead; Secunda balalaika generally play off the beat chords adding rhythmic accompaniment alongside the in by Bass and Kontrabass (sic.) balalaikas akin to the rhythmic accompaniment offered part 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

6 follows arrangement 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 themesof 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 becausethey existed in the source material. Some invention, however, in this arrangement does exist and appearsmainly in the areas of the instrumental distribution of melodic material and structural devices basedin traditional Russian folk song.

In terms of the distribution of parts the 'rules' hitherto discussedas 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 Kiszko, Al. F,.: 199p _...... ! .ýý >'<.av i ü, rýýrý, Iý-i. ý

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41

II Kiszko,M. E.: 1999 page JJO ChapterFour

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. Perhapsone 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 ChapterFour

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 is full major thematic statement - the Slavsya svyataya Rus motive given a 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 full final opera - the women's chorus in thirds, the zapev and responseand the full of the 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 bottom The part - that of the tenor domra which is added at the of each page. part planned Furthermore for accordion is only filled in for 5 bars on the score and is thus incomplete. the prima domra only is written into the score between section 11 and the end of the piece. leave The rest of the score between these sections is blank and suggeststhat Kasura did not it intentionally incomplete.

It is, however, more or less a copy of arrangement4 by Selivan. (See manuscript examples 62 and 63). Structurally, Kasura has followed the form and the sequenceof themes, keys, illustrating modulations and tempi as selectedby Selivan. Yet, apart from the chart that no in Whether significant embellishments occur, there are slight deviations the arrangement. these deviations are meant to accommodate the poor playing or exemplary playing of a it is by Kasura to particular ensemble member is difficult to determine. Perhaps an attempt in add more timbral colour to the parts. This may be noted at the opening coachman'stheme domra by G minor which like Selivan's arrangement is given to the prima supported alto AB and bass domras. Kasura, however, varies the timbre by doubling the ADII and adds at the samepiano dynamic. Kiszko,M. E.: 1999 page 352 Chapter four

Tempo di mazurka

202 PD1

PD2

AD!

AD2

TD

ßD f

202

PB

SB 17

AB

Big f

U KB f

Manuscript Example 60

Example of accompaniment.Glinka, Overture to A Life for the Czar, arrangement4 (EC529), Kasura collection, University of Illinois Kiszko, ME.: 1999 page 333 Chapter Four

Maestoso

A

AJ

PB

SB

AB

BB

KB

.

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 Kiszko, ME.: 1999 page 354 ChapterFour

Al

Al

S'

P]

SE

AE

BB

KB

Manuscript Example 61 contd Example of orchestration of tutti. Glinka, Overture to A Life for the Czar, arrangement4 (EC529), bars 202-204, Kasura collection, University of Illinois Kiszko, Al E.: 1 999 ;., C, iic

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i

4-

14

PD

AD

AD

TD

BD

 K

Manuscript Example 62

Example of coachman'stheme in Mark Selivan's arrangementof Glinka's Overture to A Life for the Czar, arrangement4 (EC529), bars 6-21, Kasura collection, University of Illinois Kiszko, M. E.: 1999 page 3S7 Chapter Four

yý C to

Manuscript Example 63

Example of coachman'stheme in Walter Kasura's arrangementof Glinka's Overture to A Life for the Czar, arrangement7 (EC529), bars 6-21, Kasura collection, University of Illinois 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 peasantwomen's F major theme is is a similar distribution throughout. The next significant moment, the C major mazurka, again a copy of Selivan's distribution. No other nuancesof 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 for in Russia. It is not dissimilar to the Eulenberg edition which I have used the purposesof is Kutin analysis, except for tenor and bass clef changesin the bassoonpart. It probable that 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

Adolphe Furstner. It This is a published arrangement for piano from the Berlin publishers observed in follows the structure and content of the overture's original score whether arrangement 1, the published score or the Eulenberg edition.

Arrangement 3

distribution of parts This arrangement by Chas J. Roberts is a reduced score indicating the Kiszko,M. E.: 1999 page 339 Chapter Four 42

P Manuscript Example 64

Examples of instrumental distribution and deviancesin Walter Kasura's arrangement7 (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 link movimento codetta in E minor. This cut may be due to the sustainednature of this to down the codetta which may have been regarded as material that would slow 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, but bassoon, french horns and timpani following the model of Glinka's score omits any instruments brass. Interestingly there is no great invention with these symphonic - they simply play that which was allotted to them in the original Glinka overture. The string domras section is also transferred virtually note for note and is divided between the and the balalaikas on the following basis:

PDII AD DB; Violins, violas, cellosand basses are transferredpart for part to the PDI and Lower balalaikasreinforce the domrasin unisonand octavesand the secondviolins of the scoreare assigned to PB I aswell asPDII.

Kutin This formula is apparentthroughout the full arrangementand demonstratesthat preferred to either present the original score as closely to the manner of Glinka's orchestrationor choseto slavishlytransfer the registralcharacteristics of the original as a hrýckn. Al /: /999 /h{tr in/ ( /liuI, (rr /ouf.

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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 arrangementsofA Life for the Czar in the Kasura and Kutin collections, the following chart (figure 59) displays global and internal elements which characterisethe 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 possessa 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 idiom indicate that arrangers felt that the simple transfer of material from one to another Other factors with few modifications was, perhaps, more acceptable to the concert-goer. 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 does, difference to the work as a whole. Selivan's arrangement in the Kasura selection however, reach towards these aspirations. It has been seen to addressthe more traditional elements of Russian folksong within the context of a large-scalework.

Kutin's arrangementmay, however,be regardedas a simple transferof materialfrom one idiom to another.As suchit only demonstratesa preservation of traditional folk elements Kiszl o, M. E.: 1999 page 364 Chapter Four n

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Manuscript Example 65

Example of the transfer of orchestral string material to the domra section of A. Kutin's 5 (KC 408), bars 1-20 Glinka's Overture Life for Czar. arrangement of to .4 the Kutin collection, University of Illinois Kfszko, M. E.: 1999 page 363 Chapter Four

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I

OVERTURE to the Opera . A LIFE FOR THE TSAR (LA VIE POUR.LB CZAR)

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Overture to A Life for the Czar, Extract of full score, bars 1-36, Ed. Eulenbcrg, London, undated KtszkOME: 1999 page 367 ChapterFour

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Kutin I Publishedscore (omit from analysis) 2 Publishedscore (omit from analysis) 4 Publishedscore (omit from analysis) S// (but no iiii brass instru- mcnu are inclu- dodin the arrange. mrnt)

Figure 59 Overture Chart of the constituent elements observed in arrangementsof Glinka's 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 instrumentationand timbral qualitiesof the coredomra 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, Pasternakwas 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 Japaneseinstruments 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 led by Leon ensemble: 7 balalaikas, 8 domras and 4 mandolins. This total of 19 players was 1941. Stewart (also known as Leonid Usachevski) who settled in Los Angeles around Kroko, M. E.: 1999 page 371 Chapter Four

C

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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 sessionsof Maurice Jarre's score for the motion picture soundtrack Doctor Zhivago, MGM Studios, Culver City, California, 1965, Anya Titova 25 November - 17 December courtesy of 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 consciousnessof nations around the world was 'Lara's Theme', the love theme from the soundtrack. In the USA this was one of the primary musicalworks basedon Russianmaterial to arrive on the Americanconcert platform aftera 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 arrangementswill 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 arrangementsare 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;

Russian 2. Manuscript and photocopies of parts for PD solo, PB, solo and tight-part Davis 8/15/66. folk orchestra (PDI-II, AD, BD, PBIa, SB,AB, CB) arrangedby L. M. The parts are written in various hands;

folk 3. Manuscript score and parts for PB solo and nine-part Russian orchestra with in accordion (PDI-II, ADI-II, BD, PBIa, SB, AB, CB - accordion part only score) arrangedby L. M. Davis in the hand of Kasura;

Russian folk (PDI- 4. Manuscript score and parts for accordion and ten-part orchestra Kiszko,M. E.: 1999 page 373 ChapterFour

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) arrangedby Kasura;

10. Manuscript score for orchestra (woodwinds, brass, strings, percussion, keyboard, domra and solo violin (7) dated Dec. 1976 and arrangedby 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 arrangementsof'Lara's Theme' In the Kutin collection

Threearrangements of the themewere 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 for as possessingan accordion part. It is more than likely this is what Selivan intended and the purposes of this study it is the accordion which will be accepted as the chosen instrument.

domra Of note is the fact that the arrangementalso provides a stave for piccolo although no in part is actually written in. This may indicate an intention to include such a part and that however, blank scenario the arrangement would stand as incomplete. It is possible, that the denote follow PDI and ADI staves - as with the ADII part - may that the parts simply respectively.

There The arrangement throughout is dense, favouring a tutti ensemble sound. are no In the breaks for solos of particular instrumental or timbral diversion. all respects Kiszko, M. E.: 1999 page 375 Chapter Four

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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 376 ki. s: ko, M. E.: 1999 page Chapter Iaur

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'. A1rFRO. CÖ DIV; 'N"AIAYfR p, ,uý D. ýVID LSd F1U(: `DOCTOR T3{IVAGO'. '"

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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 ChapterFour

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 necessaryto 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 distribution directly from piano to the new arrangementmay also result in poor invention or 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.

based Overall the chart illustratesthis simple patternof instrumentaldistribution on the original piano score. It may be arguedthat only the expectedminimum of constituent doublings elements,namely key modulation,counter melodic material, octave and unison for and lutti finale are used.The useof ascendingand descending scalic passages, example, is only includedin the arrangementbecause they are essentialconstituents of the melodic contourvisible in the original pianoscore. Kiszko,M. E.: 1999 page 379 ChapterFour

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 passagesobserved 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 enhancedby 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 It does, two arrangements. It also adheres to the key and form of the piano original. from however, introduce the piece with a four bar introduction taken the material of section invention. B. In terms of the distribution of parts the chart displays a shift of emphasis and two As expected the theme is firstly given to PBI with chords constructed of and three is to ADI. The pitches. After the first statementof the theme the restatement passed section l_ { tl/ /QQ1) page 380 Chapter Four

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Manuscript Example 69

Extract from Leonard Davis' arrangement3 (EC625), bars 1.5 of Maurice Jarc's `Lara's Theme', Kasura collection, University of Illinois Kiszko.M. E.: 1999 page 382 ChapterFour

Manuscript Example 69 contd

Extract from Leonard Davis' arrangement3 (EC625), bars 1.5 of Maurice lane's 'Lara's Theme', Kasura collection, University of Illinois Kiszko,M. E.: 1999 page 383 Gianlwº Fnuº

Manuscript Example 70

Example of balalaika accompaniment.Extract from Leonard Davis' arrangement3 (EC625), bars 16-20 of Maurice Jarre's'Lara's Theme', Kasura collection, University of Illinois Kiszko,M. E.: 1999 page 384 ChapterFour

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Manuscript Example 70 contd Example of balalaika accompaniment.Extract from Leonard Davis' arrangement3 (EC625), bars 16-20 of Maurice Jarre's `Lara's Theme', Kasura collection, University of Illinois page 385 his: ko, M. F. 1999 Chapter Four

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B theme is given to PDI with occasional doubling from PDII or PBI. The final statement of the theme is given to PDI and ADI favouring PDI after 4 bars as ADI pursues a harmonic role. The final two bars include the theme's opening motive B, D, A#, B on AD rather than a cadential dominant to tonic finish. This makes a more imaginative ending (manuscript example 71).

The final restatement of the theme, however, marked at 5 has a scribbled note by Kasura. The note implies that he thought to insert a section 4 extract from the Leonard Davis arrangement of the piece. In terms of the rest of the ensemble the supporting triplet figure, usually observed on BD, is now placed higher in the ensemble'srange 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 These marked as tremolando would obviously be so because of the length of note. 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 (manuscript balalaika's characteristic shimmering behind the thematic material example 73).

To conclude, Kasura demonstratesa more inventive distribution of material even though This the overall density of the scoring is similar to previous arrangements. textural aspect illustrates increased of the score is again representedby the chart which also the use of the tempo dynamic constituent elements of the traditional folk song, a use of variation, variation,and melismatic material. Kiszko, M. E.: 1999 page 387 Chapter Four 41

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Triplet figure in Walter Kasura's arrangement4 (EC625), bars 6-10 of Maurice Jarrc's `Lara's Theme', Kasura collection, University of Illinois Kiszko, ME.: 1999 page 389 Chapter Four

Aa

Manuscript Example 73 4 (EC625), Example of the distribution of material in Walter Kasura's arrangement bars 11-15 of Maurice Jarre's `Lara'sTheme', Kasura collection, University of Illinois Kiszko, M. E.: 1999 page 390 Chapter Four

Manuscript Example 73 contd Example of the distribution of material in Walter Kasura's arrangement4 (EC625), bars 11-15 of Maurice Jarre's `Lara's Theme', Kasura collection, University of Illinois Kiszko,M. E.: 1999 page 39l ChapterFour

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 passedonto 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 assignedto 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'

flute, Arrangement 10 (figure 64) is a Kasura arrangementfor an orchestraof piccolo, oboe, bass drum harp. The clarinet, bassoon, french horn, trumpets, trombone, tuba, timpani, and to violin in featured solo part unnamed on the stave of the score is speculatively attributed The however, whilst the Preliminary Checklist of Works in the Kasura Collection. part, into played in written only in the treble clef on one stave is often split three part chords be attributed to the quick succession. This is an unlikely violin part and should perhaps right hand of the piano accordion (manuscript example 75).

4. Its suggest This arrangement follows the structural pattern of arrangement similarities 392 Kiszko, M. E.: 1999 page C'hapte'r Four

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Exampleof the distributionof materialin WalterKasura's arrangement 9 (EC623), bars 1-8 of Maurice Jarre'sLara's Theme, Kasura collection, University of Illinois 394 Kiszko, ME : /999 page Chapter Four

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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 arrangement4 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 aspectsof 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 increasedweight 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 harp previous arrangements - the strumming pattern being perfectly transferable to the (manuscript example 76).

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Manuscript Example 76 bars 1.6 Maurice Jane's Example of harp part from Walter Kasura's arrangement 10 (EC625), of 'Lara's Theme', Kasura collection, University of Illinois Klszko, M. E.: 1999 page 397 Chapter Four

The culminating orchestral tutti is broken by the restatementof 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 densebalalaika ensemblearrangements previously discussed.The chart clearly illustrates the passageof 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

is This is the original published piano arrangement by Maurice Jarre (figure 65). It presumably in this collection as a reference for the arrangements2 and 3.

Arrangement 2

This arrangement (figure 66) follows the stricture of arrangement 1.

distribution The theme is given, as previously seen, to PDI and PBI and this continues 2 throughout the whole piece. Only at the statementof the B theme. marked section on the to the flute score, is the oboe added in unison for a few entries of the triplet melody which in its final four bar responds in imitation. Flutes later harmonically reinforce the theme

statement (manuscript example 77).

distribution of parts. The remainder of the domra and balalaika sections rely on their usual rhythmic Domras fill in the essential harmony and balalaikas provide a strummed bass from the accompaniment. As before the BD and CB take the triplet part piano arrangement and a simple bass reinforcement in quavers. page 398 Kiszko, ME 1999 Chapter Four

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Manuscript Example 77

Example of the distribution of thematic material in Kutin's arrangement2 (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 Kiszko, ME... 1999 page 401 chapter Four

Manuscript Example 77 conid

Example of the distribution of thematic material in Kutin's arrangement2 (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 402 ChapterFour

The remaining orchestral parts provide largely harmonic support or counter melodic The material. 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 appearsto suggestno opportunity to the arranger for using their colours for dramatic entrancesor special timbral effects. Again the use of constituent elements of traditional meansare minimal.

Arrangement 3

doubling The theme in this arrangement(figure 67) is again allotted to PDI with occasional in first, from PBI and french horn. PDI continues to hold the melodic lead B with, at some For doubling on flute for the first two bars and last two bars of the first half of the section. by AD the second half of section B the theme is divided in a responsorial manner and 79). clarinets against PDI-II and clarinets (manuscript example

featured flutes by PDI-II continuethe themeto A at section4 whosetheme is on answered Again horn doubles PDI-II on a basisof 2 bars division of melody for eachgrouping. the B S the themetowards the end of the section.PDI carriesthe themethroughout at section is to AD, and with some later doubling on flutes. The secondhalf of B passed oboe 6 primarily clarinetsbut laterto PD andflutes before the final A statementat sections and Kiszko, M. E.: 1999 page 403 Chapter Four TPnrýnýl..

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 404 ChapterFour

Manuscript Example 78 contd 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 Kiszko, M.E.: 1999 page 403 m Chapter Four 0

Manuscript Example 78 contd Example of the distribution of instrumentation in Kutin's arrangement2 (KC score is incorrectly numbered as 23 by Kutin), bars 1.12 of Maurice Jarre's'Larm'sTheme', Kutin collection,University of Illinois Kis: ko, M. E. 1999 ( h. / üI/., ur

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Manuscript Example 79

Example of the distribution of thematic material in Kutin's arrangement3 (score incorrectly numbered as 615 by Kutin instead of cataloguenumber 616), bars 14.16 of Maurice Jarre's `Lara's Theme', Kutin collection, University of Illinois 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 1/2AAl/2 B 1/2A 1/2A 10 Int. AABACoda(A)

Most commonstructure is AABA

Figure 68

Diagram illustrating the relationship of structure in the arrangementsof `Lara's Theme' in the Kasura collection Kiszko, ME.: 1999 page 409 Chanter Fnur

Manuscript Example 80

Bass figures and woodwind arpeggios from Kutin's arrangement3 (KC score incorrectly numbered as 615 by Kutin instead of catalogue's616), bars 13-19 of Maurice Jarrc's 'Lara's Theme', Kutin collection, University of Illinois Kiszko, M. E. 1999 : page 4/0

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Bass figures and woodwind arpeggios from Kutin's arrangement3 (KC score incorrectly numbered as 615 by Kutin instead of catalogue's616), 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 signaturesin the arrangementsof'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 arrangementsof 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

Diagramillustrating the relationshipof key signaturesin the arrangementsof'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 increasein tempo PID = Progressive increase in dynamics M= Melismata F= Fermata O= Ornaments T= Tremolo

IC I VM ICM KM CM OUT ADS DP TF PIT PID MF 0T Kasura 1 / / / / / / / 3 4/ 9/ 10 / Kutin I Omit original score 2 3/ / / / / / / /

Figure 72 Theme' Chart of the constituent elementsobserved in the arrangementsof'Lara's in the Kasura and Kutin collections

indicate The conclusions drawn from both the charts and the analysis of arrangements 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 page 413 Chapter Four

ENDNOTES

' Amongst such examples of this approach are R. Lachmann's and Erich M. von Hombostel's 'Das indische Tonsystem bei Bharata und sein Ursprung' in Zeitschrift fur vergleichende Musikwissenschaft, I, (1913), 72, or Carl Stumpf's 'Mongolische Gesange' in Ibid., Vol. 3 (1887). 2 Constantin Brailiou (1893-1958), 'Le guisto syllabique bichrone. Un systeme rythmique propre I la musique populaire', Polyphonie ii, 1948, p.26 3 Stephen Blum Analysis of Musical Style, The New Grove Handbooks in Music, Ethnomusicology an Introduction, Ed. Helen Myers, Macmillan 1992, London and Houndmills, p. 165 4 George Herzog, 'A Comparison of Pueblo and Pima Musical Styles', The Journal of American Folk-Lore, Vol. 49 October-December, 1936 - No. 194. The American Folk-lore Society G. E Stechert and Co. New York, pp.288-300 ' David P. McAllester, Peyote Music, Viking Fund Publictions in Anthropology No. 13, New York 1949, and Johnson Reprint Corporation, New York and London 1971, p. 80-81 6 Bruno Nettl, 1975, The State of Research in Ethnomusicology and recent developments, Current Musicology xx, New York, Columbia University, p.71 Bela Bartok, Hungarian Folk Music, Trans. M. D. Calvocoressi, OUP, London: I iumphrey Milford, 1931, p.4 ` David Coplan, In Township Tonightl South Africa's Black City Music and Theatre, Longman, London and New York, 1985, p.4 9 John Blacking, 'The Biology Of Music-Making', Chapter 11, The New Grove Handbooks in Music, Ethnomusicology Houndmills, Macmillan Press, - an introduction, Ed. Helen Myers, London and 1992, pp.301-314 10Alan Lomax, Folk Song Style and Culture, American Association for the Advancementof Science,Washington D. C PublicationNo. 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 16Anna 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 20Elizabeth A. Warner and Evgenii S. Kustovskii,Russian Traditional Folksong, Ilull University Press,1990, p. 12 21Margarita 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 ResearchPress, 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 XV111veka (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 25Mazo, 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 27Gerald R. Seaman,History of Russian Music, Oxford, Basil Blackwell 1978, p. 6 28Walter 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 29Nikolai 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 ResearchPress, Ann Arbor/London 1987, p. 80 30Lvov and Prach, Ibid., preface by Lvov, p. 80 " Mazo, 1987, op. cit., p.50 32Kasura, Ibid. 1976,.p. 5 " Nikolai Lvov and Ivan Prach, op. cit., p. 80 " Mazo, 1987, op. cit., p.39 35Mazo, 1987,Ibid., Introduction,p. 43 36Advice 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 Instrumentsof Andreyeev'sBalalaika Orchestra, Draft for a proposedbook, April 1980,p. 18 2 Leningrad 1952- 42M. I. Glinka, Literaturnoye naslediye, Ed. V. Bogdanov-Berezovsky, vols. 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 41Soundtrack album sleeve details on MGM CS 8007. Notes are undated and unauthored Kiszko,ME.: 1999 page 4/S

SUMMARY AND CONCLUSION

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 easeof 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 composedpieces. The following chart (figure 73) indicates the balalaika's areasof musical activity and representsthe 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 emergenceof 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 orchestrasmade the formative moves which would assist the ensemble'srise 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 page 416 Summaryand Conclusion

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Russian Music Company publishing house and the successful passage of Russian instrumental music from the small-scale venues to the professional recording media of radio and disc.

Even though the early balalaika ensembleshoped 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 enhanceclassical art works were welcomed.

It was some years, however, before Russian-American fledgling ensembles had grown sufficiently or were proficient enough to acquire such techniquesand 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/professionalor traditional/new provide evidence for the acculturative effects of the host nation's culture on Russian-American music. Kiszko,ME.: 1999 page 418 Summaryand 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 associatedthe 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 horns conventional instruments such as woodwind, a string section, French and timpani to instruments the balalaika and domra sections. The issue of including such may, at the balalaika outset, have appearedadvantageous to the continual development of the orchestra balalaika in the USA since it eased the transference of classical works to a orchestral instruments, balalaika domra arrangement and facilitated any search for authentic native or did develop players. Paradoxically, the evolution of the balalaika orchestra not always balalaika domra along these lines. It was the traditional model of an orchestra using and frequently sections supplementedby other authentic native instruments which appeared to balalaika be the preferred option. This approach to the structure of the orchestra was by the Balalaika witnessed in Kasura's ensemblesand in orchestrasformed members of 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 arrangementsfound 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 arrangementshas 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 arrangementsof art works. It was visiting Russian masters who assisted the latter approach by introducing arrangements with expanded instrumental techniques to Russian-American arrangersand ensembles.The subsequentperformances of these works by American ensemblesfeaturing Russian masters as soloists helped to secure the place of such arrangementswithin 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 arrangementsthat 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 arrangementsof 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 has folk arrangements. Again in contrast to the Kasura arrangements the analysis devices demonstratedthat Kutin's arrangementspossess a minimal use of the compositional of traditional Russian music and resorted to the direct registral transfer of symphonic parts be to balalaika orchestra arrangements.The collections may therefore 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 it demonstrate that each area of the balalaika's activity has strongly identified 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

fully developed stature, for the execution of classical art works. There are other aspects, however, have linked which the instrument to an amateur or professional status. In issue particular, the 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 audienceas 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 seento 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 basedon the investigations set forth in this dissertation it is now possible to answer the question of whether emigre performers and Russian-American ensemblesacquired social and musical factors present in American life without being entirely consumedby 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, arrangementor 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. Perhapsassimilation is only completely visible when the transfer of the function of a work from its traditional Kiszko,ME.: 1999 page 422 Summaryand 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 encouragethe 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 renaissanceof 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 areasdefined in the chart, expectationsfor the future growth of ensemble performance, repertoire and further dissemination of the instrument are in fine balance. Perhaps the seedsfor the future growth of the ensembleare 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 page423 Summaryand 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 ensemblesand 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 faced by balalaika previously by the guitar and accordion - by the economic pressuresnow 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 seventiesto the extent that the instrument was described as:

A dull, deadinstrument that is a blight on the memoryof the truebalalaika 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 createsensembles and teachers.The following points amplify this relationship:

i) Any revival of the instrument'sroots must go hand in handwith an enculturative process.Education through schools,colleges, clubs or the mass media is the catalyst for such a revival. The successof the University of Illinois' teaching programmein Russianfolk musicalinstruments and the work of the Balalaikaand 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 stagnanttradition of a repertoire which exists only in archives. Kiszko,M. E.: 1999 page 424 Summaryand 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 renaissancemade 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 Russiannessof 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 referencesof 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 page 425 Summaryand Conclusion

ENDNOTES

'The Total Balalaika Show, Channel 4 Television, 4.50-5.50am, Thursday 31 December 1998 "Crisis Looms in Soviet as Balalaika Quality Falls' The Music Trades, September 1977, No. 125, p. 57 Kiszko, M. E. : 1999 page 426

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PAPERS

BLACKING, J. Deep and Surface Structures in Venda Music, Yearbookof the International FolkMusic Council. 1971. John Blacking. iii, pp.91-108

CZEKANOWSKA, A. `On the Theory and Definition of Melodic Type' in Yearbookof the International Folk Music Council. 1976. Ed. Bruno Nettl, Pub. International Folk Music Council. Vol. 8, Ontario

EAZHIGIN, V. 'Gitarnii Priem v Igre Na Balalaild' (Guitar Method of Playing the Balalaika) in Muzikalnaya Pedagogika 1 Ispolnitelstvo Na Russkich Narodnlch Instrumentach (Music Education and Performanceof RussianNative Instruments). Moscow. 1984

HERZOG, G. 'A Comparison of Pueblo and Pima Musical Styles' in The Journal of American Folk-Lore. October-December, 1936. The American Folk-Lore Society G.E Stechert and Co. New York, Vol. 49, No. 194

KASURA, W. J. Draft for The Balalaika in America - an update. Undated. Kasura Collection, University of Illinois

KASURA, W. J. Draft notes titled Balalaika Orchestrations and Arrangements. Undated. Kasura collection, University of Illinois

KASURA, W. J. Draft for The Balalaika Orchestra in America. Undated. Kasura Collection, University of Illinois

KASURA, W. J. Draft pamphlet Russian Folk Instruments Orchestras - Organisations and Arrangements. February 1976. Kasura Collection, University of Illinois. Chapter 1

KASURA, W. J. Draft for Russian Folk Instruments Orchestras. 1976. Chapter 1, Instruments of the Balalaika Orchestra

KASURA, W. J. Draft for Russian Folk Instruments Orchestras. 1976. Kasura Collection, University of Illinois. Chapter 2, 'Organising a Balalaika Orchestraor Ensemble

KASURA, W. J. Draft for Russian Folk Instruments Orchestras. February 1976. Unpublished. Kasura collection, University of Illinois. Chapter IV, 'Arranging for a Balalaika Orchestra'

KASURA, W. J. Draft for The Instruments of Andreyev's Balalaika Orchestra. April 1980. New York.. University of Illinois Music Department Special Collection

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MEREZHOKOVSKY, D. 'On the Reasons for the Decline, and the New Currents, in Contemporary Russian Literature'. 1892. Translated by Ronald E. Peterson in The Russian SymbolistsAn Anthology of Critical and Theoretical writings. Ardis Publishers. Ann Arbor. 1986

NETTL, B. The State of Research in Ethnomusicology and Recent Developments. 1975. Current Musicology JO(, New York Columbia University

PRINCE, W. Building a Balalaika. Kasura Collection, University of Illinois

ROSE, A. The Balalaika, Proceedingsof the Musical Association,11 December1900. London

WOOD, B. Vasiliy Vasil)'evich Andreyev Trans. Bruce Wood. Unpublished. Bruce Wood Archive, Philo, Illinois

ZHURAVELEVA, L. `Oihivshaya v Zvukakh Kraskakh Skaza' ('The Revival of Colour Sound Tales' in SovetskayaMuryka. July 1976. Moscow. No. 40 Kiszko,ME.: 1999 page 433

PERIODICALS

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 betweenAlexander Tsyganov and Joel Leonardin BDAA Newsletter.Vo1. XVII, No.2. June1994

Extract from interview between Andreyev and Emile Grimshaw in Banjo Mandolin Guitar (BMG). February 1912

Crescendo,May and June 1911

London Times. 28 September1909

'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 Orchestraat Beatty's Casino Adventurer' in San Francisco Chronicle,Saturday 7 February1925

`RussianFolk Instruments' in Soviet Life. October 1969. Irma Makarevich. Vol. 10, No. 157 Kiszko,ME.: 1999 page 434

'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 betweenAnastasia Kamow and Martin Kiszko. 20th Annual Conventionof the Balalaikaand 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 page 436

EPHEMERA

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 Guidelinesfor Russian Folk Music, undated, Kasura Collection, University of Illinois

Walter J. Kasura, Balalaika Reminiscencesand 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 Performancep1. found in the Kasura Collection