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Vano Sarajishvili State Conservatoire

This bulletin is published semi-annually in Georgian and English

Editors: Rusudan Tsurtsumia, Tamaz Gabisonia

Translator: Nana Mzhavanadze

Proof read by: Lucy Hopkins Sara Wondra Madge Bray

Design: Nika Sebiskveradze, Giorgi Kokilashvili

Computer services: Valerian Jugheli

Printed by: Chokhi

© International Research Center for Traditional Polyphony of Tbilisi V. Sarajishvili State Conservatoire, 2007.

ISSN 1512 - 2883 3 News at the International Research Center for Traditional Polyphony Dr. Rusudan Tsurtsumia, Professor, Director of IRCTP

Ongoing reforms of Higher Education in have touched the Tbilisi State Con- servatoire as well and hence, also caused so- tacts and translation work. The centre speci- me changes at the International Research alists, Tamaz Gabisonia and Maka Center for Traditional Polyphony. Our rea- Khardziani are carrying out ethno musicolo- ders know that the centre was established in gical work. 2002 by the initiative and support of The purpose of our centre is to uphold Georgian specialists and outstanding ethno- polyphony as a category of musical thinking musicologists all over the world who had and to provide studies of polyphony types in participated in the 1st International Sympo- different regions of the world. Given that sium on Traditional Polyphony. From the Georgian ethnomusicologists do not rese- very beginning, UNESCO provided signifi- arch the polyphony of foreign countries, and cant help to the centre: in 2003-2006, they fi- since we can not send our scientists abroad nanced a number of important projects such to study outside of Georgia, we consider this as the development of an electronic data ba- as our long term purpose rather than our cur- se, the purchase of modern equipment, field rent goal. Furthermore, because of a lack of trips, publications. The regular publication specialists we are limited to provide research of the bilingual bulletins is one such project. even into the polyphonic cultures of diffe- Before September 2007, the main base rent nations living in our country, such as, unit of the centre, according to its regulation, for example, Abkhazian and Osettian polyp- was the Folk Music Department of the Tbili- hony. si State Conservatoire. The department was Therefore, when the talk is of scientific equipped with the lab of scientific research work, the centre projects are designed for of church and secular music. As the deputy polyphonic issues. Along with the centre rector of the conservatoire, and later deputy staff, this work is carried out by the Folk rector in the scientific unit, I led the work of Lab staff members. For example, we are the Folk Music Department. Since the last proud of the project “Echoes from the Past” autumn, because of the structural reorgani- about the Phonograph Wax Cylinder Catalo- zation of the conservatoire, I have been con- gue preserved in Georgia and CDs, the first tinuing my career as a director of the centre. stage of which was realized through the co- The Folk Music unit became a Department, operation with a foreign partner – Vienna and the centre has its own staff – Maia audio archive and thus had an International Kachkachishvili, whose responsibilities are resonance. organizational activities, international con- However, we believe that the centre has 4 already acquired international authority. The um is an excellent place, giving the opportu- International Symposium on Traditional nity for the results of a number of studies Polyphony gives us the courage to think so. about different regional styles the world The symposium is somehow unique as well, over, to be shared. In our opinion, the suc- given that unlike international scientific fo- cess of the Tbilisi international forums pla- rums of other countries, our symposium is yed an important role in the increased inte- not limited in terms of regional (for examp- rest and work of modern ethnomusicologists le, European or African) polyphonies. Here in polyphonic issues. We want to show pol- the highly qualified experts from different yphonic traditions of the world in the wider regions and parts of the world meet and sha- context of ethno musicological and cultural re their knowledge and experience. At Tbili- issues. Therefore, any paper related to poly- si symposiums the so called overtone singing phony can be represented at any symposium of South-East Arabia, Bulgaria and Central in Tbilisi. Asia were all represented. Also, the polyp- Everything mentioned above is respon- hony of Bosnia-Herzegovina, Lithuania, ding well to the goal of the International Re- Albania, Ukraine, Austria, Italy, France, search Centre of Traditional Polyphony to Perinea, Baskia, Khorvatia, , Pygmee, promote a dialogue between traditional cul- Tanzania, Indonesia and Guinea. This is a tures for the purpose of preserving the world major point for us as the geographical reach cultural diversity. of the symposium is one of the most impor- One more important piece of news: with tant aspects to nourish in order to achieve the support of the Swiss Development Fo- fruitful and effective mutual relationships in undation, we are starting to update the web- the field of world polyphony. site of the centre: www.polyphony.ge . Once Dr. Ioseph Jordania is one of the initiators it is done, the website will be more flexible of the symposium and a head of the foreign and easy to manage and enable us to provide division of the centre, and well aware of the more interesting, attractive and detailed in- world practice of scientific forums on poly- formation about the world’s polyphony to all phony. In his opinion, the Tbilisi symposi- who are interested. Outstanding Representative of the Erkomaishvili Name Nino Naneishvili On the October 30, the remembrance dedicated their whole lives, talent and energy evening celebrating the 120th birthday of the to the development of Georgian folk singing. highly respected and well-known sacred and Artem Erkomaishvili is a master singer of folk music singer Artem Erkomaishvili was sacred music – a perfect expert in and master held in the great hall of Tbilisi State of three part chanting, which has been pre- Conservatoire. served up to the nearest historical past in The musical traditions of Erkomaishvili practice. family are three centuries old. The family’s In 1966, with the initiative of Grigol ancestors preserved some information about Chkhikvadze, the ethnomusicologist Kakhi the grandfather of Artem Erkomaishvili, Ivane Rosebashvili recorded more than 100 church Erkomaishvili. Artem’s father, Gigo Erkomai- hymns in which all the three parts were per- shvili learned singing from his father. Three of formed by Artem Erkomaishvili. Gigo’s ten sons: Artem, Anania and Vladimer It is important to state that Artem Erko- 5 maishvili composed songs Characteristics of himself. One such song, “Da- Performance Reglament of vkarget Sami Momlkheni”, Gurian Songs – Tamaz Gabi- was performed at the above- sonia; Artistic Peculiarities of mentioned evening by the Gurian Polyphonic Cradle well-known trio of Tristan Songs- Nino Kalandadze; and Guri Sikharulidzes, and Principle of Polyphony in Merab Kalandadze. A DVD Georgian Instrumental Music with recordings of the broth- – Manana Shilakadze; About ers Erkomaishvili (Artem, Teaching Methods of Georgi- Anania and Vadimer) from an Chant – Magda Sukhiash- 1965 year was produced in vili; Regulations of Easter in honour of this remarkable Philimon Koridze’s and Artem day. The DVD comprised Erkomaishvili’s Notebooks – one hymn and four songs: Svimon Jangulashvili; “Homo “Siqvarulma Mogviqvana Upalo”, “Shavi Polyphnicus” in Georgian Environment – Shashvi”, “Grdzeli Ghighini”, “Didi Khnidan Nino Chitadze; The 20-th Century Tradition Gagitsami”, and Madlobeli”). of Keeping Note Records of Georgian Chants The conference was initiated and organ- – Baia Zhuzhunadze; Chanting Tradition of ized by the International Research Centre for the Erkomaishvili Name and Modern Traditional Polyphony. The scientific works Practice – Nino Naneishvili. were represented by the students and scien- The following folk ensembles were partic- tists of Tbilisi Conservatoire. Anzor Erko- ipated in the concert program: “”, maishvili opened the meeting and talked “Mtiebi”, “Anchiskhati”, “Didgori”, “Basi- about the life of his famous grandfather. Then ani”, “Shavnabada”, “”, “Iadoni”, the following papers were represented: The “Elesa”, “Shalva Chemo”, “Vakhtanguri”, life of Artem Erkomaishvili – Nino Razma- men’s choir of the Saint Trinity Cathedral dze; The Book of Musical Notes of the Mas- Church. The repertoire mainly included ter of Chanting Artem Erkomaishvili – Gurian songs. Also the old recordings of Manana Andriadze; Musical-Linguistic Links Erkomaishvili brothers were represented of Chanting Traditions of Different Chanting through the recently published DVDs. Traditions of Shemokmedi School – Davit It is important that the concert was organ- Shughliashvili, Georgian Vision of Tradit- ized by the initiative of young musicians with ional Polyphony –Rusudan Tsurstumia; the help of the Tbilisi State Conservatoire. Festival of Georgian Church Hymns in Nana Valishvili The Georgian Festival titled “Georgian Artists’ Union of Cultural-Educational Church Hymns” was established in 2001. The Organizations of Georgia. Ms. Veshapidze is idea of this festival was born from a desire of an active member of Saint Nino church choir the Eparchy of Sachkhere and . Co- in Sachkhere. She briefly explains the goals founders of the festival are the Department of of the Festival as: “The festival aims at rese- Education, Culture, Historical Monuments, arching, restoring, and bringing the unique Sport, and Youth Affairs, and the Folklore Georgian church hymns and traditional part- State Centre. The project director is Lia singing back in regular church service.” Veshapidze, head of Department of One other of the founders of the festival is 6

Archimandrite Bartlome (Pirtskhalaishvili) a Within the frameworks of the festival a high priest of Tbilisi Tabori Monastery, and photo exhibition was prepared by the head of the head of Psycho-social Rehabilitation Cen- Department of Culture, Levan Chkheidze. tre “Tabori” which operates at the monastery. The Episcope of Tskhum- and At the beginning of the festival he was a high Chiatura-Sachkhere Daniel blessed the festival. priest of the Chorvili Easter Church. His com- A group of event experts comprised of ments on the creation of the Festival Malkhaz Erkvanidze, Koba Beriashvili, According are as follows: Ketevan Matiashvili, Nana Valishvili, Tea “In the period of material progress of the Kasaburi attended the festival. They provided st 21 century people often forget that not only professional advice, notes, and recommenda- body, but also soul is essential part of a hu- tions to the organizers and participants con- man being. We have to feed the soul as well. cerning repertoire selection, chanting style Hymns are the special food for our souls. We and performance matters. have to warm our icy and severe age.” Ethnomusicologist Ketevan Matiashvili, In this third year the Festival hosted over the manager of the Folklore Lab at Tbilisi 700 people during two days. Approximately State Conservatoire, stated: 50 church choirs and folklore ensembles from “The repertoire of the 1st festival was not different regions and towns of Georgia parti- rich and participants also were mainly choirs cipated in the festival. As customary, each of departments of culture. Today the majority participant church choir or ensemble was pre- of the participants are active singers of church sented with sheets of music and CD collecti- choirs, and the repertoire includes more on of church hymns (2nd and 4th volumes) hymns from church service. Our purpose is to published by the Centre of the Patriarchy. Generously, the Ministry of Culture of observe the general situation about church Georgia donated these collections to the music in Georgia. It is desirable that choir le- Festival participants. aders do not conduct the choirs as it is accep- The Folklore State Centre of Georgia re- ted in classical music. Choir members have to corded the outstanding concerts. Director of feel each other regardless of their number and the Centre Giorgi Ushikishvili stated, “The conductors must not guide them with hands.” centre plans to produce CD albums with bo- The overwhelming success of the most re- oklets and give them out to all participant cent Festival generated the desire and idea for groups for free.” future expansion to the International realm. Ensemble Mzetamze in Venice Nino Makharadze

In November 2007 the ensemble the 11th seminar. The seminar was prepared by “Mzetamze” was invited to Italy. the departments of Art History and Heritage of Since 1997, the program of the polyphonic Venetia University. cultures of Italy and other regions of Europe “In “Mzetamze” represented one section of the Viva Voce”, organized by Jorjo Chini charity program and represented different genres of foundation, has been taking place in the city of Georgian women’s repertoire. Ethno- Venice on the island of Saint Maggiore. Music musicologists Mauritio Agamenone (Italy), amateurs, experts and scientists have the chan- Nato Zumbadze (Georgia), Simha Arom ce to be introduced to the best examples of pol- (France) and Polo Valeho (Spain) presented yphonic works through concerts and seminars. theses on Georgian polyphonic music. Georgian traditional music was represented in The seminar facilitator Mauritio Agamenone 7 gave a short talk on Georgia, “the cradle of polyphony”, as it is con- sidered by many scientists. The topic of Nato Zumbadze’s thesis was “Georgian Folk Polyphony and its Regularities”. In the shared work of Simha Arom and Polo Valeho, the aut- hors discussed the social environ- ment of polyphonic intoning in present-day Georgia, issues of , religion and dialectology, as well as the types of polyphony. Special attention was paid to accord (consonance and dissonance) and sound struc- ture issues. The papers were illustrated by audio and vi- Georgia and Georgian polyphony was deser- deo materials. ving of great interest from the audience. In the Folklore State Centre of Georgia Nana Valishvli News of the Centre Archive events were distributed and approximately 500 Computerization of the basic archive materi- individual packages of notes and recommenda- als of the Folklore State Centre of Georgia has tions were provided to different regions of been finished. 61,200 sheets of music, inclu- Georgia. ding folk songs, church hymns as well as histo- National Presidential Program for Sup- rical photos have been preserved at this stage. port of Georgian Folklore National Festival of Georgian Folklore – Within the frameworks of this program, the Echo of the Festival project – “Program for Support of Georgian Results of the National Festival of Georgian Folklore Groups in Turkey”- was realized in Folklore, established according to the 2007. The project aimed to provide professio- Presidential Order # 682 on August 29, 2005, nal support to traditional Georgian musical and have been summarized as follows: dance groups which operate in the various “Analysis of the Festival” prepared in April towns and cities of Turkey. In particular, the – May stated that letters of support and encou- project aimed to teach the groups new songs ragement were sent to the laureates of the festi- and dances. To accomplish this purpose two val in different regions of Georgia in February choir conductors and five choreographers visi- thru May. Based on these letters, a majority of ted seven cities in Turkey: Istanbul, Hendeki, the laureates have been provided better wor- Duzje, Guljuki, Orhangazi, Goneni, and Gebze. king conditions and regular disbursement of sa- In addition to this, the leaders of five choirs and laries; other laureates of the festival received dance groups were provided monthly salaries. one-time allotment of financial support. The The project “Master Classes in Choreog- significant findings from this communication raphy” was prepared and realized to provide helped the specialists of the Centre develop ge- master level classes to 12 districts in 10 regions neral assessment criteria for the musical choirs of Georgia from May 27 to November 13. Ucha and individual performers (excluding the laure- Dvalishvili, head of Chorographical Depar- ates); also the video-materials from Festival tment at University of Theatre and Cinema, led 8

Self Study Guide. The Georgian Folk Songs tion with the festival founders, creation and production of a CD album along with the pub- lication of a festival brochure took place in Kavsadzes. Monograph December 2007. Preparation and publication of an electronic the theoretical and practical master courses. version of the project of Nana Paliani titled Additionally in Tbilisi, from May 29 to June 3, “Self-Studying Guide of Georgian Folk Songs” eight elderly dancers, invited from Achara, pro- in December 2007. vided a 5-day master class in Acharian dances Concerts and Presentations in accordance with the special program. Evening of Kartli Music held in the main An expedition was funded into the upper hall at Tbilisi State Conservatoire on June 1st region and the following publications 2007. An accompanying CD from the evening were prepared: “Self-Studying Guide of the is scheduled to be produced in the 3rd 1st quar- Georgian Folk Songs” (CD), “Archive Recor- ter of 2008. dings of Georgian Dances” (DVD), and the On October 26th 2007, an evening of remem- brochure “Georgian Church Hymns”. brance honored Edisher Garaqanidze’s 50th bir- Publications thday with the presentation of the book titled Within the frameworks of the project “The “Collection of the Best Articles” in Tbilisi. Kavsadzes” a brochure was published dedica- Expeditions ted to the 100th anniversary of Datashka In 2007 the Ministry of Culture, Kavsadze (For more details please see enclosed Monuments Protection and Sport gave a mobi- English resume) and a CD album recorded for le audio recording studio to the Folklore State distribution in May-October. Centre of Georgia. The studio enabled expedi- The project “Archive Recording of Geor- tions throughout Georgia to share and record gian Dance” developed and realized by the Na- various ensemble groups as well as individual tional Presidential Program created the first participants and notable laureates from the part of a DVD collection album (including the National Festival of Georgian folklore in songs recorded in 1938 -1960 years) in 2005-2006. For the purpose of preservation of December 2007. these talents expeditions were organized in Organization and participation in the 3rd upper Svaneti (August), Imereti (September), Annual Georgian Festival “Georgian Church (October), Megrelia (November), and Hymns” held September 25-26th. In collabora- Achara. 9 In the Museum of Georgian Folk Songs and Instruments Eka Shoshiashvili The Museum of Georgian Folk Songs and Guramishvili’s family archive, the oldest Laz Instruments was established in 1975 using as instrument – pilili, lyre (changi), made by a a base of the collection of mechanical instru- master of wood-cut Vaso Saghliani, the oldest ments of Arkadi Revazishvili. The museum tambourines, decorated with Georgian orna- was given the name of ‘Museum of Mech- ments, bone incrustations, and bells. anical Instruments’. Revazishvili’s collection A part of the Eastern instruments are deco- was well-known in Tbilisi as well as throug- rated with nacre’s incrustations (thari, sazi, hout Georgia. In 1984, the museum was re- kamancha, daira). named the State Museum of Folk Instrumen- The beauty of the museum are the ts. In accordance with the Presidential Order European mechanical musical instruments, on December 7, 2005, it has become a juridi- which were brought to Georgia in the middle cal entity and was given the name “Museum of the 19th century and which have been in- of Georgian Folk Songs and Instruments”. culcated in Georgian urban life. 4500 exhibits have been preserved in the Collection of street-organs, including ones museum. Amongst them: unique examples made by Czech master Nechada, have been of Georgian folk, Eastern, mechanical, and kept in the museum. European instruments. Also, photographs, Also, keyboard instruments including por- donated by people’s personal archives, audio table mechanical pianos from the 19th cen- and video materials, old audio recordings, tury, several phisharmonies (including the manuscript notations of Georgian folk songs smallest hand made rare ones), accordions of and instruments, examples of applied art, etc. different size and shapes, Caucasian and Cen- Among the museum displays, the most re- tral Asian accordions, and a royal piano are of markable are: a copy of a swan’s-bone pipe, significant importance. Akaki Khorava’s The museum systematically provides ex- chonguri, drum (dip- peditions to collect museum materials. Also, lipito) from Ilia Chav- it plans to create an exchange foundation, chavadze and Olgha which will enable the establishment of close contacts with the respective mu- seums all over the world. In the damaged building of the museum on the Erekle II Square, 10 it was impossible to provide exhibitions. The- is very adapted to being included in the tou- refore, for almost over 10 years, the museum rists’ route. At the moment a temporary expo- displays were closed to a broad group of visi- sition is open. In the case of respective fun- tors. In 2007, based on a tender of exchange, ding, there are plans to provide the museum the museum moved into a new building in an with modern museum equipment and arrange old part of Tbilisi, at the bottom of Nariqala a live, “sonorous” exhibition with the use of Castle. The current location of the museum audio-visual materials.

Georgian Ethnomusicologists Otar Chijavadze 1919-1998

Otar Chijavadze, researcher of Georgian music history and folklore, honoured art worker of Georgia, senior lecturer, worked for almost 50 years. He was born on March 19th 1919 into a traditional Georgian family. His father, house. It is significant that Otar Chijavadze’s Longinoz Chijavadze, an engineer by pro- godfather was the Patriarch of the Georgia fession, had gotten his higher education in Kalistrate Tsintsadze. Belgium. Among the buildings constructed It is natural that all of this influenced by him, Khramhes hydro electric station is Otar Chijavadze’s world outlook a great de- one of the most distinguished. In 1937 he al as he and his brothers Givi and Merab was arrested and shot by communists. His were brought up in the atmosphere of high mother – Anna Agladze-Chijavadze was a national culture and intellect. In addition, highly educated woman, a celebrated opera the Chijavadzes were distinguished by their singer and the first performer of Eteri’s role love and devotion to Georgian folk music in Z. Paliashvili’s opera "Abesalom and culture. Eteri". Among her students were famous Otar Chijavadze’s uncle, Irakli Chijavad- opera singers: Lamara Chqonia, Iveri ze was an agronomist (wine specialist) who Kavsadze, etc. Together with Giorgi Takta- had gotten his higher education in France. kishvili, Anna Agladze led the first groups He played violoncello and some folk instru- of gifted children, formed at the conservato- ments. Also, his uncle, Shakro Chijavadze ire. at present this is known as special musi- was a perfect folk singer. The celebrated cal secondary school. Anna Chijavadze was opera singer Vano Sarajishvili once said to in charge of the teaching process for many him: "What are you doing in Kakheti? You years. have got such a wonderful voice that you Famous representatives of Georgian cul- must sing in Italy". Otar’s cousin Aleksandre ture and art such as, Zakaria Paliashvili, was a violoncellist, the first Georgian laure- Konstantine Gamsakhurdia (who introduced ate, well-known musician throughout USSR Anna and Longinoz to each other), Revaz and abroad. He was honored art worker, and Natadze, Vakhtang Kotetishvili, later Gr. professor at the Tbilisi and Kairo conserva- Chkhikvadze, Sh. Aslanishvili, L. Donadze, toires. Sh. Mshvelidze, B. Chiaureli, M. Chirinash- Otar’s favorite grandmother Vera had a vili, etc. were often brought together in their great influence on the child’s personality. 11

Despite her sad life experience (the death of songs. In Svanetian expedition in 1969, he her son, her daughter’s emigration to France, made a record of rare Svanetian table songs, where she died), she brought up her sons on secular chant "O krisdesh" and some labor her own. songs. Also, he proved that Lechkumuri In 1937, Otar Chijavadze graduated from songs should be recognized as a dialect. The the 18th secondary school in Tbilisi and en- most interesting and important was the tered the faculty of Mathematics at Tbilisi Kakhetian expedition in 1957-1958, when State University. For some years he worked he found six versions of "Chakrulo", which as a Mathematician. His interest in Georgian had been deciphered by Paliashvili. music and folklore was not accidental. Since Otar Chijavadze was also an author of the his early childhood years he was in close to- following works: "Kakhetian Labor songs" uch with Georgian culture. But his further (1962), "Georgian Folk Songs" (1964), professional interest in music was encoura- "Megrelian Folk Songs" (19..), "Musical ged by his newspaper article about a newly Culture of the 19th Century", "Georgian published book. His professional notes made Musical Notation", “About Some Issues of him famous in Georgian music society. In Georgian Multipart Singing", "Georgian 1948 he entered the faculty of Musicology at Folk Instruments", "About Mikael the Tbilisi State Conservatoire. He comple- Modrekili’s One Remark", "Georgian ted the course of music history and folklore Legends About Amiran", "Variations of and then the full post-graduate course in the Georgian Chants", "The First Russian Col- same specialties under the guidance of pro- lectors and Researchers of Georgian Folk fessors L. Donadze (music history) and Gr. Songs", "Georgian Soviet Music for 50 Chkhikvadze (folklore). Years", "Ia Kargareteli’s Musical Views", He then began his scientific career. His etc. Most important is Otar Chijavadze’s scientific works are still of high importance fundamental work "Georgian Musical Cultu- for Georgian music art. They are distinguis- re of the 19th Century", which has become a hed by their professionalism and high scien- guide book for students of Tbilisi State Con- tific value. He always remembered the servatoire. Unfortunately, Otar Chijavadze words of celebrated Georgian composer Za- could not publish many studies including karia Paliashvili: "National habits and cha- "Old Georgian Encyclopedic Lexicon" (to- racter are reflected in singing which is crea- gether with Vazha Gvakharia). The work ted and transmitted from generation to gene- evoked great interest among the academici- ration over hundreds of years". ans Giorgi Akhvlediani, Akaki Shanidze, Big love and devotion to the mother land Shota Dzidziguri, and professors lado and unique folk songs made Otar Chijavad- Donadze, Grigol Chkhikvadze, Shalva ze walk around the whole of Georgia. He re- Aslanishvili, who considered the Lexicon corded and published collections of the most significant property of Georgian Georgian folk songs which are the precious musicology. The book still waits for to see assets for scientists in terms of research and the light of day. The same can be said about preservation of Georgian musical heritage. unique "Gurian labor songs" (naduri), which Since 1955 O. Chijavadze provided 53 expe- were also recorded and deciphered by Otar ditions, recorded, and deciphered about Chijavadze. 2000 Georgian folk songs. Based on collec- Here we want to quote the letter by Shal- ted materials, the existence of Imeretian la- va Aslanishvili, older friend and teacher of bor songs ("nadurebi") has been proved. In Otar Chijavadze: "My dear Otar! I was very 1969, during the expedition in Achara, Otar happy about your paper which you read on Chijavadze recorded four-part "naduri" September 29. Everybody acknowledged the 12 importance of the main idea of your thesis - red in his poems. It is significant that the discovery and proof of national heritage. Georgian musical society celebrated Otar Let everybody learn about our national spi- Chijavadze’s scientific achievements several rit. Many thanks. Yours, Shalva Aslani- times: on April 26th 1969 in Tbilisi State shvili". University, in honor of his 50th birthday, on Besides expeditions and studies, O.Chija- May 28th 1979 in honor of his 60th birthday, vadze’s pedagogical work and experience is March 30th 1990 honored his 70th birthday also very interesting. His high intelligence, and the 45th scientific and public work anni- erudition and perfect knowledge of Georgian versary. language was reflected in his lectures. He For his significant contribution to deve- was equally loved by his students, colleagu- lopment of Georgian culture and musical es, teachers, and a wide circle of friends: art, on December 7th 1979 he was awarded Ioseb Noneshvili, Ketevan Burjanadze, Je- the Honored Art Worker of Georgia. Radio mal Gokieli, Vladimer Akhobadze, Misha and TV programs were dedicated to his work. Chirinashvili, Kakhi Rosebashvili, Tengiz Years ago, when a correspondent of the Chochua, Otar Gordeli, Eleonora Eksani- newspaper "Akhalgazrda Komunisti" asked shvili, etc. him why he gave up being a mathematician In addition to the conservatoire, O. Chija- in favor of folklore and music, his answer vadze ran the course of lectures in Music was as follows: the cultural spirit of History for students of the faculty of Art Georgian people and its rich heritage is best History at Tbilisi State University. Also, he reflected in folklore. Science will not be real provided translation and editorial work. He if it does not add more value to the national regularly cooperated with the printed media, root; a formula is just a formula and nothing was an author of important articles, led pub- else. As for spirit and nature, it’s something lic work at the Union of Composers where different. That is what helped me give up he was a member of the board, worked in the mathematics." folklore department of the union, and in the Otar Chijavadze died on March 21st Musical-Choreographic Society. He often 1998, after a long and hard illness. He left a participated in scientific sessions and confe- lot of ideas to be realized. rences. Otar Chijavadze’s poetic gift was mirro- Elisabed Ninua Published by Otar Chijavadze: (responsible editor). Old Georgian Professional Chijavadze, Otar. (1962). Kartuli Kakhuri Music. Issues of History and Theory (pp.61-66). Khalkhuri Simgherebi (Georgian Kakhetian Folk Tbilisi: Tbilisi State Conservatoire. (In Georgian) Songs). part 1. Tbilisi: Tsodna. (in Georgian, with Chijavadze, Otar. (1997). Enthusiasts of Russian and English resume) Georgian Song. Scientific issues. (63-77). Tbilisi: Chijavadze, Otar. (1969). Kartuli Kakhuri Tbilisi State Conservatoire. (In Georgian, with Rus- Khalkhuri Simgherebi (Georgian Kakhetian Folk sian and English resume) Songs). part 2. Tbilisi: Ganatleba (in Georgian, with Ł , ˛ Ł ª Łł ŁºŁ, Russian and English resume) ´ º Ł . (1964). ˆ Ł æŒŁ ß æ Ł. Kartuli Khalkhuri Simgherebi. Samegrelo. æŒ : ߌ (In Georgian and Russian) (Georgian Kakhetian Folk Songs). (1974). Otar Ł , ˛ . (1985). ˆ Ł æŒ - Chijavadze (compilator). Tbilisi: Khelovneba (in ªªºæŁ Ł ØæŒ æ - Georgian, with Russian and English resume) Œ ºŁ Ł . ´ æÆ ŁŒ : ˘ Ł , Chijavadze, Otar. (1991). For the Issue of Teac- æŁ (æ æ . Ł .). ´ æß ª hing Methods of Georgian Chanting in Old ªªºæŁ. (pp. 59-60). ÆŁºŁæŁ: Æ Georgia. In the collection: Tsurtsumia, Rusudan Œº(In Russian, with English resume) 13 Annual Scientific Works: Expeditions held by Labor Songs in the Western Georgia (1970- Otar Chijavadze: 1971) (p.87) 1954 – Racha (Oni) Kakheti (historical review) (1980) (p.18) 1955 – Lechkhumi (Usakhelo, Zubi) Kartl-Kakheti (historical-ethnographical work) 1957 – Kakheti (Sighnaghi, Qvareli, , (1981) (p.47) Tsiteltsqaro) 1958 – Kakheti (Sighnaghi, , Qvareli, Megrelian Folk Singing (1982) (p.25) ) Lechkhumi Dialect of Georgian Folk Singing 1959 – Tbilisi (Maro Tarkhnishvili choir) (1983) (p.45) Samegrelo (, , ) Intonation Basis of Kakhetian Dialect of Svaneti () Georgian Folk Singing (1985) (p.60) 1960 – Kakheti () Samegrelo () Intonation Basis of Kakhetian Dialect of Georgian 1961 – Kakhri (Qvareli) Folk Singing. Part 2. Labor songs (1986) (p.47) Imereti (, Maiakovski/Baghdadi) Abkhazian-Georgian Musical and Folklore Rela- 1962 – Imereti (Zestafoni, Tqibuli) tionships. Part 1. Historical-Societal Basis of Tbilisi (Sisters Ishkhneli) Abljazian-Gerogian Relationships (1987) (p.51) Kakheti (, Qvareli) Abkhazian-Georgian Musical and Folklore Rela- 1963 – Imereti (Chiatura, Sachkhere) 1964 – (, ) tionships. Part 2. (1988) (p.47) 1965 – Guria (Chokhatauri) Folklore Work of D. Araqishvili (1989-1990) Kakheti (Gurjaani) (p.190) 1966 – Guria () Place of Svanetian Folk Songs in Georgian Folk 1967 – Samegrelo (Zugdidi, /Tskhakaia) Singing (1991) (p.43) (, Tsaghveri, Kortaneti, Mzetamze) The Oldest Music Culture of Georgian People 1969 – Achara (Batumi, , , Shu- (1993-1994) (p.93) akhevi, Keda) Views of Georgian Musical Folklorist. (1994- Kartli () 1995) (p.189) 1970 – Samegrelo-Abkhazeti Georgian Folk Singing/Lechkhumi Songs/. 1971 – Lechkhumi 1990. Sheet music collection. Manuscript. Kept in Racha 1972 – Imereti (Kharagaurli) the lab archive of Folk Music Department of Tbilisi 1973 – Imereti (Tqibuli, Baghdadi/Maiakovski) State Conservatoire Kakheti (Akhmeta) Knight in Tiger’s Skin and Georgian Folk 1978 – Samachablo (Leningori dist- Instruments. Scientific Work. Manuscript. kept in rict/) the State Museum of Instruments 1979 – Kakheti (Tsiteltsqaro, Sighnaghi) Georgian Folklore Lexicon. Manuscript. kept in Samachablo (, Znauri) 1980 – kartli (Kareli) the archive of the Folklore State Centre of Georgia 1982 – Lechkhumi Labor Songs in the Western Georgia. Sheet mu- 1983 – () sic collection. Manuscript. kept in the Folklore Sta- 1984 – Kakheti (Telavi) te Centre of Georgia 1986 – Kakheti (Akhmeta) Georgian Polyphony and the Polyphony of the European Middle Ages Otar Chijavadze The issue of mutual relationships between are different from European ones. This is evi- Georgian folk polyphony and European poly- dent and does not need any verification.” phony of the middle ages is not new. In his Then he follows up: “But it is close to Asian letter “Georgian Music”, written in 1886, Ilia musical culture. Here we’re talking about Chavchavadze was discussing the links bet- Georgian secular and church songs and not ween East and European music and conclu- only prayers and sayings.” (“Kartuli ded that: “Georgian songs and church hymns Khalkhuri Musika”. Tkhzulebani. 1941. volu- 14 me 2, p.131). Hence, Ilia Chavchavadze logi- church’s own purposes. “As a result of long- cally recognizes the unique context of term and fruitless struggles against pre-Chris- Georgian song. tian holidays (celebrations) and songs, the Although the talk here is about folk music, Georgian church gave up fighting and tried to this does not reduce the importance of Ilia use the secular tunes in church music” (P. Chavchavadze’s statement, as the same had Karbelashvili, “Qartuli Saero da Sasuliero been stated about the church music. In 1864, Kiloebi”. 1898. p. 10-11). in the article “Georgian Habits” (Magazine Therefore, we can conclude that the con- “Tsiskari”), Davit Machabeli wrote that cept of church music was conditioned by folk Georgian religious chanting lies in the midd- songs. Furthermore, along with secular tunes, le between the mono-part Greek and polyp- pre-Christian customs, such as liturgical dra- honic Italian (catholic) church chanting. He ma, also became rooted in the life of the also considered that three-part structure was church. All this promoted the strengthening typical for Georgian church singing. of national elements in church practice. The This issue was discussed in more detail by following statement is not accidental: “Kartli the famous German scientist Zigfrid Nadel, is the country where the liturgy is carried out who made recordings of Georgian folk songs in Georgian language and only “Kiria from Georgian prisoners in Germany after Eleison” is said in Greek” (Giorgi Merchule, the 1st World War and, drew some conclusi- “Life of Grigol Khandzteli”. “Qartuli Proza”. ons based on these recordings. Book 1. “Sabchota Sakartvelo”. p.46-47). It is well known fact that a delegation of The scientist paid major attention to the is- the Antiokia patriarchy who visited Tbilisi in sue of Georgian polyphony and its relation to the 10th century, stated to the governor that the European polyphony of the middle ages. he was impressed and surprised by listening In his opinion, the Georgian polyphony had to multipart chanting in Tbilisi Soboro (Z. nothing in common with its cultural neigh- Nadel. “Georgian Songs”.In Gernman 1933. bors. The Eastern, Greek and Armenian pp. 46-47). Church music did not create any related Here the issue of Georgian-European links forms. This comparative uniqueness is obvio- is raised. us evidence against western influence, which Since the 13th century the western must have occurred in Armenia, Greece or Syria in the same ratio. After that, as we European countries were closely introduced know, Georgian Church music obtained the to Georgia. The trade capital expansion in the features of secular music which is related to 12th century promoted the creation of the the strict devotion of the nation to their pre- Venice and Genoa colonies in the Black Sea Christian habits and traditions” (“Kartuli area. Their influence soon spread to the Cas- Simgherebi”. 1933. pp.44-45. in German). pian Sea. Therefore later the Georgian trade Thus, thanks to Georgian folk singing, roads became of international importance. Georgian church could drive out Greek one- Political and economical strengthening of part church singing through practicing the na- Western Europe was supported and promoted tional multi-part chanting during the church by catholic missions. In the 16th century the relationships were service. It is completely clear that over the short historical period of 400 years, it is im- weakened but in the second half of the 17th possible to create multipart style without ha- century the trade relationships began to stren- ving strong and relevant roots in musical gthen as well. This kind of relationships we- practice. re forged by missionaries, trades people and These roots turned out to be the Georgian travelers. Missionaries were found on folk songs which were used by representati- Georgia’s fertile soil as Georgian governors ves of the Georgian church for the Christian prepared to subordinate the Georgian church 15 to Rome in order to get the help and support multipart (three-part) singing already existed in their fights against Muslim world. in Georgia. These forms had been born in Missionaries were actively involved in the Georgia much earlier than western sacred political and cultural life of Georgia. They music itself. In Georgia, church songs were were secret political advisors to the kings of being sung when the European music (still Georgia. Their work in Georgia had a politi- one part singing) was beginning to transfer cal outcome as they promoted the unification into multipart structure. On the other hand, in of the Georgian kingdom for the purpose of the case of European influence, other forms lessening the influence of . of European music also had to come to Though the political links between Georgia such as, menzual intonation, canon Georgia and Europe were not constant, they techniques, etc. And yet another point, beca- were still very important in terms of introdu- use of the hardships for Georgian monasteri- cing Georgia to Europe and Georgia’s cultu- es, they could not make the effort to establish ral progress. the western polyphony in practice. These relationships had a significant influ- It is worth taking into account that trochei- ence on the cultural life of Georgia. European accentuated measure-variable rhythm in literature, art and music became accessible Georgian songs should be considered as the for . But fifth organum, which was comparatively old part, the Christian metro- created in the 10th century in church musical rhythmic structure. theory as well as free techniques of organum, Considering the above mentioned state- descant, and use of the intervals of third and ment, we can conclude that the polyphony sixth (12th and 13th centuries), and three-part was not adopted by Georgia from the Indo- singing in general, or all those forms which Germans, but it was born in the fertile soil of enriched the European church music, could Georgian culture. This is clear also given that have had its influence on Georgian music the type of polyphony in Georgia has nothing only in the 13th and 15th centuries. However, common with imitative polyphony of before this influence arrived, organum and European music.

Georgian Folk Song Ensembles The Folk Song Ensemble Zedashe Mariam Khardziani The folklore ensemble “Zedashe” was es- a wide range of Georgian song, dance and inst- tablished by Ketevan Nadirashvili in the town rumental music. of Sighnaghi in 1998. The ensemble consists of Ketevan Mindorashvili’s husband John eight people – six Kakhetians and one Svan. Vurdeman is an American. He is an artist by The repertoire of the choir includes both villa- profession. A few years ago he visited Georgia ge songs and church hymns. It is significant as a guest and was so impressed and touched by that the members of “Zedashe” come from tra- both the natural resources of our country and ditional musical families. Three of them, inclu- the cultural richness of our musical heritage in ding the head of the ensemble, are experienced particular that he decided to buy a house in Sig- church hymn performers. Therefore, the level hnaghi, and carry on his successful artistic ca- of performance of village songs as well as of reer in Georgia. Later, he was christened in the church hymns is highly professional. The choir , and married also consists of two qualified dancers. Some of Ketevan Mindorashvili, thus creating an the choir members play different folk musical American-Georgian family . It’s interesting that instruments and hence, they are able to perform some other Americans followed Jon’s example 16

re, historically, the ancient family name of “Esatui” has lived since ancient times. Some- times, because of natural disasters or wars, the family of Estaui were forced to move to other places but they never forgot their historical so- urce village of Zedashe. On wedding days or when beginning a new business, people would return to Zedashe to receive blessings from their ancestors. Besides, almost every house- hold had a big container kept underground near their houses. In the containers people used to keep oil for sacred service, wheat, and wine. The latter was also named Zedashe. Zedashe vineyards are still grown in present day Sigh- naghi hillsides in memory of the ancestors of the owners of those vineyards. As respect, devotion and care for our old tra- ditions is the main driving force of the choir, the members named the choir as Zedashe. M.Kh. – What distinguishes Zedashe from other choirs in Georgia? K. M. – First of all, all members of “Zedas- and now several American-Georgian families he” were raised in traditional singing families. live in the town of Sighnaghi. These people are The choir members still maintain everyday re- big enthusiasts and promoters of Georgian tra- lationships with local villagers. Besides, most ditions and culture. choirs in Georgia consist of either women or John played a crucial role in formation of men. “Zedashe” is a mixed ensemble compri- the ensemble “Zedashe”. Ketevan had been ex- sing of women and men and its repertoire is not panding her creative work before she met John, limited by genres or context of performance. but with his great financial and moral support M.Kh. – This is an unusual feature in com- they organized some expeditions in different parison with other ensembles. Do you select a provinces of Georgia, gave concerts througho- special repertoire for a mixed group? ut n Georgia and also abroad, and recorded and K.M. – Initially, we also thought that produced CDs. Very soon, the ensemble “Ze- Georgian songs had to be performed by unifor- dashe” established its own unique place among med groups of women or men. Later, our expe- other folklore choirs. riences as genuine folk singers as well as the An interview with the leader of “Zedashe” choir members who come from traditional fa- Ketevan Mindorashvili: milies of singers proved that women and men M. Kh. – Please, introduce us to the mem- in Georgia used to sing together since ancient bers of the choir. times. Family members used to come together K. M. - Currently our choir consists of: around the hearth, or “Supra”, or in the fields. Ketevan and Shalva Mindorashvili, Tamila Sul- For example, Andro “Papa” (Simashvili) was khanishvili, Shmagi and Shergil Pirtskhelani, surprised by this question and told us: “In the Tamar Beridze, Erekle Kintsurashvili and mornings we used to go to fields together with Ekaterine Tamarashvili. As the most of them women, harvest the wheat, and sing labor are relatives of each other, we can say that the songs. We used to share “Supras” together and choir is one big extended family! come back home tired. There were not enough M. Kh. – Why did you name the choir as men to deal with field work completely and “Zedashe”? therefore, we could not afford to keep women K.M.- Zedashe in Georgian is a place whe- at home only to cook”. Ilia Apshilava told us 17 the same. Expedition materials collected from every part of Georgia also support this view. Of course, there are songs which belong to exclusively women’s or men’s repertoire due to the social functions of these songs. For examp- le: “Nanebi” is the group of songs for women, and marching or military songs – for men. However, the majority of Georgian folk songs were performed by mixed groups of women and men. We try to select this type of songs for our repertoire. M.Kh. - Your repertoire consists of both vil- lage songs and church hymns. Do you sing du- ring church services? K.M. – Both Shalva - my brother and I, and my cousin Tea Mindorashvili, , began to sing in Bodbe monastery in 1994 with Mother Theodo- ra (the monastery prioress).At that time it was impossible to get sheet music for church hymns. With the help of the Patriarch we lear- ned many church hymns. Besides, Mother The- odora had a small book of manuscripts of church hymns which she had written herself. such songs and therefore, often get experts’ We began to study from this book. Later, when praise and approval. nuns began to sing in the monastery, we moved M.Kh. – Which part of Georgia do you give to church in Sighnaghi where ot- preference to? her choir members joined us. We still sing in K.M. – As you know, the ensemble is com- this church. Consequently, church hymns hold prised of Kakhetians and . Therefore, it’s a special place in our repertoire. natural that our repertoire consists of songs M.Kh.-How are your village songs selected? from these regions. It is also noteworthy that K.M. – We have been traveling intensively the historical regions of Kiziqi and upper Sva- throughout Georgia. We are very happy when neti were both regions which enjoyed relative we find new rare examples during our expediti- freedom, with no external dominating political ons. With these songs we significantly enrich power, over centuries. Despite differences in our repertoire. Besides this, we have made fri- ends with famous singers in some regions of their singing cultures, people of these regions Georgia. They teach us the songs with pleasu- are quite close in spirit. Therefore, choir mem- re. We also learn songs from the oldest records bers could find and perform the songs of these and add them to our repertoire. I want to men- parts of Georgia as their own culture. Though, tion one more fact. We have sometimes found we also perform Megrelian, Gurian, fragments of Georgian village songs in records Mokhevian, Tushetian songs and those of other of Russian composers with references about parts of Georgia. genre and region. Such references and recor- M.Kh. – We know that the choir members dings were, however, not always precise and play almost all folk instruments which still are accurate. In such cases, we were trying to com- in use in present day Georgia: chonguri, pandu- pare these examples with typical songs of these ri, chuniri, change, chiboni, garmoni, and doli. particular regions, restore their genuine content K.M. - It is noteworthy that one of these in- and shape and perform them. struments –chuniri – is being made by our cho- Once, a member of a trio of old singers died ir members, the Pirtskhelani brothers. We think and the others could not remember the tune of that among their peers, they are the best chuni- one of the songs. We often manage to restore ri players. 18

M.Kh. –What can you say about the ensem- Lazarus to Life) with Georgian and English ble “Jlekha”? texts, comments and illustrations of techniques K.M – About four years ago by the initiative to play Georgian instruments. For Georgians it of me and my brother Shalva MIndorashvili, is less useful, because it is easier for them to le- the dance ensemble Jlekha was founded. arn Georgian traditional songs in oral way. But Alongside with other, five members of it is not realistic to teach foreigners orally qui- “Zedashe” also dance in “Jlekha”. “Zedashe” te complicated, unusual polyphonic Georgian performs Dances as well but only as much as songs, or to teach them to play Georgian folk our singing repertoire allows to. As for instruments ordinarily. We enclosed the CD “Jlekha”, this is purely choreographic ensemble ROM to the disc named as “Tsetskhlshi performing only dances. Natsrtobi” (Forged in Fire). This is a computer M.Kh. – Your husband is an American, who version of sheet music of Georgian songs has been living and working in Sighnaghi for which is included in the CD. We think that this years. His modest estimation of his own role way we made 22 Georgian folk songs and ins- in the establishment of “Zedashe” choir does trumental pieces more accessible to foreigners. not seem to be objective. What would you say I have stated here that we dedicated the disc about it? “Tsetskhlshi Natsrtobi” to our friend Kakhaber K.M – If you want to hear the truth, John Zarnadze, who recently passed away. He had played a central role in the establishment of our us watch the amazing process of forging iron. group as an ensemble. He had us look at the The association was born with Georgian folk- things, which were natural and typical for us, lore which really has been forged into the his- from outside, and helped to draw our attention torical hardships of our country. That’s why we to the uniqueness of our folklore. Before this, called the CD “Tsetskhlshi Natsrtobi” (Forged we used to sing Georgian songs just because we in Fire). loved it. John had listened to many Georgian M.Kh. – In this collection, besides the stan- songs before he met us and tried to convince us dard sheet music samples, some of the songs that our singing manner was exclusive. Then he are marked with “strange notes”; how would offered to record our songs. If John had not sup- you explain this? ported us, our work would not be so producti- K.M. – I have worked out these special no- ve. He has his own recording studio where he tes to simplify the process of learning Georgian made five CDs of our choir. With his help and songs for foreigners. I made my mind up to de- support we organized a lot of expeditions thro- velop this “system” after I had encountered so- ughout Georgia, thus bringing Georgian folklo- me challenges during the workshops abroad es- re out of the country. In addition, I want to say pecially when I was teaching them Kartl- that one of our CDs with the title “Khidebi Kakhetian songs. You know that Kakhetian Ghvtaebrivisken” (Bridges to Divineness) inc- songs are characterized by complicated orna- luding only church hymns, was designed by mental melodies which are quite difficult to John. perform even for Georgian singers. It was not M.Kh. - Among your CDs, we have been in- practical and realistic to write in standard notes terested most in two of them: one with sheet each pitch which is sung by a performer in the- music, and another - CD ROM. Where this idea se songs. Therefore I developed a simple sys- has come from? tem of notes. For example: lines of different K.M. – Our foreign friends and especially length, various ornaments of different shapes, those, who are interested in Georgian folklore, arrows, etc. These notes indicate the initial often ask us to provide them with sheet music pitch, direction, duration of motives and phra- or other complementary materials to simplify ses and are written together with dismembered them the process of learning of Georgian words (illustration from CD ROM). It is note- songs. Therefore, we published our CD in the worthy that compared to the process of learning following form: we enclosed sheet music to the through standard musical notation, it is impos- CD named as “Lazares Aghdgineba” (Bringing sible to learn songs through such notes if you 19 don’t listen to the audio record of this song. cultural heritage. After such lectures the num- Actually, it is, in fact, the oral method of lear- ber of young people willing to learn Georgian ning songs but with the help of these special songs, has increased. notes. As for concert tours, the choir has traveled M.Kh.- What can you tell us about the con- several times in the USA, also Holland, certs and public performances of the ensemble? Belgium, Great Britain. . . K.M. – It might sound strange but we have M.Kh. – What are your plans for future? given only a few concerts in Tbilisi. Our pur- K.M. – We have a lot of excellent plans and pose is not ,in itself, the popularization of Ze- projects in the pipeline, but I’d rather not talk dashe choir. We want to develop an interest about them until they are further developed. and kindle the Georgian spirit in a new gene- M.Kh. – Thank you. I wish you a lot of suc- ration. The same purpose has made our friends cess! go to remote parts of Georgia and teach songs to young people but their attempt was fruitless “Zedashe” CDs: and they could not generate an interest among “Sadats mtebi samotkhes uertdebian” our young people in Georgian folklore. This (Where Mountains Join the Heaven). Zedashe was the main motivation for us to go to cultural centre. 2000 Qvashda, , Karkuchi, Shenako this ti- “Lazares aghdgineba” (Bringing Lazarus to me, not only to give concerts there but to pro- Life) Zedahse Cultural Centre. 2002 vide educational meetings with youth about “Tsinaparta nakvalevze” (On the Trace of the richness of our Georgian cultural heritage. Ancestors). Zedashe Cultural Centre. 2006 We tried to convince them that the real treasu- “Khidebi ghvtaebrivisken” (Bridges to Di- re, for which they usually search outside our vine World). Zedashe Cultural Centre. 2007 own country, is lives inside them, in Georgia; “Tsetskhlshi natsrtobi” (Forged in Fire). Ze- that we have to conserve the richness of our dashe Cultural Centre. 2007 Georgian and North Caucasian Singing-Creative Relationships Maia Gelashvili Since the ancient times Georgian and the In his thesis “Abkhazian Folk Music”, V. North Caucasian people have been in close Akhobadze discusses the influence of contact. The population of the Georgian hig- Georgian (Megrelian and Svanetian) music hlands has kept up permanent and regular re- on that of Abkhazia and the close links bet- lationships with their neighbors: Khev- ween these people (pp.11-3). suretians and Tushetians with Vainakh peop- V.Gvakharia shares his views about the le, Rachians with Qabardoans and Osetians, common multipart structure of the songs of Svanetians with . These relations- these people. He observes common harmonic hips have had a certain influence on their mu- thinking. He explores analogies between mo- sical traditions. de structure, rhythmical rotation, performing In his work “Basics of Harmony of Geo- traditions and forms of presentation. rgian Composers”, Shalva Aslanishvili was (V.Gvakharia. “The Oldest Relationships the first to observe the similarity of non-third Between Georgian and North Caucasian harmonies in and Georgian music People”). and raised the question of relationships and links N. Maisuradze discusses this issue in the between Georgian and north Caucasian musical scientific work “The Fourth Cadence in cultures. (ˆ. . ˚º 1957) Georgian-Abkhazian Songs”. The author 20 identifies the common harmonic elements in fourth frame also occurs. We often meet such cadence formulas of the songs of these peop- one-part songs in Georgia as well as in North le and hypothesizes about the genetic relati- Caucasian music such as: cradle songs, ritual onships between Georgian, Abkhazian and songs, or laments. Adighees folk music. Ex. 1. Khantseguashe (Adighe) In his book “Georgian Traditional Poly- This kind of tune included in the fourth phony in the International Context of Multi- and the fifth frames can be found in the songs part Cultures”, I. Zhordania highlights the is- of all people. But another fact is more signi- sue of the Caucasian and Abkhazian polypho- ficant: in the songs of Georgian and the North nies. He states that the traditions of multipart Caucasian people the fourth and the fifth in- singing are found in almost all Caucasian cul- tervals can be perceived as the main tones tures (pp. 171-177). and they hold equal positions in the mode of Beliefs and rituals of Georgian and North thinking. Caucasian people are quite similar which ma- Ex. 2. Lament Song (Qabardo) kes us suppose the existence of close contacts Such move of the tonic centre often occurs between them in the old past. We will talk in Kartl-Kakhetian labor songs (urmuli). about the oldest songs which have kept their Ex.3. Urmuli (Labor song) function and content all the time. Cradle In the North Caucasian people’s songs it songs and laments have preserved in their ar- often happens that the song unexpectedly chaic structures and tunes. ends up with the tone which does not take any The view of V. Bardavelidze about the ori- part in the creation of melodic tissue in the gin of cradle songs is very interesting. In her song. This also is common in the melodies of opinion the cradle songs are related to the Eastern Georgia and the North . spirit of Great Mother: “The deity Nana was Based on everything described above, we can worshiped by many Asian and Caucasian pe- summarize as follows: similar melodic types ople. It is natural that people used to practice existed in the musical traditions of Georgia the songs to the deity Nana in their creative and the North Caucasian people (considering expression - in cradle rituals, which have al- the oldest cradle songs, ritual songs and la- ways contained the features of motherhood” ments). In the North-Western Caucasus there (V. Bardavelidze, 1957). existed tunes of the same and also a different It is interesting that Kist people call house- type. (Rotation of the main tones, fifth and wives “Tsiin Naan” which stands for “Mother fourth skip at the ending part, the eighth fra- of Fire” (L. Margoshvili “Habits of Pankisian me is typical in such songs). Kists and Modernity”). Also, Nana is a pet No doubt that the variety of tunes has ori- name for mother in the Ossetian language. ginated different types of polyphony. Many tunes of Nana (Georgian as well as In the North-Eastern Caucasus as well as the North Caucasian) belong to the oldest in Eastern Georgia we meet the drone (burdo- type of melody: “Singing of upper main tone nuli) polyphony. and then moving down to the lower main to- Ex.4. Alilo ( Kakheti) ne. During the intoning, often the fifth inter- In Kistian cult songs we encounter polyp- val is the second and not the first tone of the hony which is not found in Muslim “chan- melody and is taken through skipping up. The ting” (Muslim religious song is one-part). jump to the peak contains different versi- This demonstrates once again that the traditi- ons”(Mazel-Tsukkerman “Analyses of Musi- ons of the North Caucasian multi-part singing cal Work”). come from the oldest times. Sometimes it happens when the frame gets Today the similar melodies are met in Tus- broader and a song starts with the VI, VII, or hetian, Kistian, Chechnya, and Daghestnian VIII steps. Together with the fifth frame, the songs. 21

Sh. Aslanishvili noted that Tushetian folk this movement often is met in the neighbor li- songs have enriched their musical heritage nes. with new intonations and melodies – particu- Ex.6.Lile(Svanetian) larly, North Caucasian and Azerbaijanian tu- Ex.7. Heroic song (Adighe) nes. Usually, in the Northern Caucasus as well As for Western Georgia, the similarity can as in Georgia, the western and the eastern be observed between Abkhazian, Cherkezian, parts of the country are being divided. At the Ossetian, and Western Georgian (particularly, Megrelian) humor songs. Such form of songs same time, the connection is observed betwe- in which a part of soloist comes after basso- en Eastern Georgia and the North-Western ostinato, are typical for Abkhazian, Adigee, Caucasus and on the other hand, between and Ossetian folk songs. Western Georgia and the North-Western Cau- However, the polyphony of North-Wes- casus. Drone polyphony is common in the tern Caucasian music is special in that here North-Eastern Caucasus and Eastern Georgia the fifth and octave parallelism is common. whereas parallel polyphony is typical though New line in three-part songs was born as a somehow different for the North-Western Ca- result of doubling-up the upper line in octave ucasus and Western Georgia. In this case Sva- interval down. The Ossetian song is clear evi- netian multipart singing represents the polyp- dence of this: hony of Western Georgia. Ex.5. Tsarazonti (Ossetian) At the end we conclude that such typolo- Through the parallel movement of lines such songs are like Svanetian songs. If in gical similarity and relationships are the re- Svanetian songs the parallelism of the fifth sult of distant contacts and cultural relations occurs between the bass and upper part, here between these people.

Sheet Music Examples

Ex.1.

Ex.2. 22

Ex.3.

Ex.4.

Ex.5.

Ex.6.

Ex.7. 23 I Would do this job Even if I was Given Another Life Interview with a head of the choir "Shgarida" Gurgen Gurchiani

I cordially welcome you. I have wanted to meet you for a long time. Could you ple- ase share your biography and tell us how you became interested in singing? - First, I want to express my gratitude for inviting me for this interview. There are some people who pay special attention to our work and our attempts. I was born in the village of Etseri in the district of Mestia. My parents were singers. Since my early childhood, I have been sin- ging. My father was the head of one of the most famous ensembles in Svaneti and a dan- talked about it. Something in this song inspi- cer as well. In addition, my aunt was a teac- red me as well. When my father restored the her of singing in our school. She has brought song, his ensemble was mainly comprised of up many singers. singers with the Gurchiani family name. After graduating from school, Platon They were real masters of Svanetian singing. Dadvani invited me to join his big and famo- None of them are alive now. us ensemble. It was a big honor for me. I would like to tell you how this song was However, that year I entered the university restored. I, my father, and my uncles and I didn’t have the chance to join Dadvani’s –Moshni Gurchiani and Chicho Gurchiani, choir. It was 1967-1968. also Airongo Gurchiani was brought together In the university I joined the famous boy’s around "Supra". I categorically asked for sin- ensemble, led by Temur Kevkhishvili. He ging only "Ga" and nothing else. I had one played a big role in the transformation of my old and almost destroyed audio recorder and personality. I was not a soloist but I was a tried to record the song. The process of re- master of the base part (bass). "Mirangula" membering of the song lasted till late eve- was the only Svanetian song that I sang with ning. At last, they sang the song. Later, with the ensemble. It was the generation of Temur the help of Islam Pilpani, I deciphered all the Chkuaseli and Levan Ghvinjilia. We had a three parts of the song. We brought the song concert tour in Germany. My friends advised to Svaneti and had local singers listen to it. me to stay on the same course in order to ke- They guessed that it was "Ga" and were very ep singing in the choir. happy as they had never heard its full version You sang with different choirs. At the before. same time you are a master of Svenatian Was this ritual song connected with ag- songs. When and how did you get interes- riculture? ted in learning of Svanetian songs? I knew that "Ga" was the old deity of our -"Ga" was the first oldest Svanetian song ancestors. "Ga" in Svanetian language stands in which I was interested. People heard and for earth and the content of the song is related 24 to fertility. Only the Gerlianis in our village could say "Ga”. Yes, "Ga" was to be said and not sung. The Gerlianis used to say "Ga" in a church of the Archangel Gabriel before the beginning of pre-Easter fast. Then they sang "Ga" at Easter day’s "Supra". Nobody would start eating until "Ga" was sung. Since the song was related to fertility, the first part of it "Sadam" was sung during the wedding ceremony as well. with great flood. It is the deity of agriculture. How did you go about your search for What can you tell us about Svanetian Svanetian songs? Christian chants? I began to look for old singers. I walked played a big role in Svaneti. throughout Svaneti and founded local folk Andria the apostle made great changes in choirs. Soon after this we held a district festi- Georgia, especially in the western part of val of singing. That time I was the first secre- Georgia and Svaneti, where he stayed for a tary of the district committee of the commu- long time. There was not big confrontation nist party. A head of the department of cultu- between Christian and local religions. re was exhausted with my endless initiatives In the song "Tskhau Kriste", "Tskhau" is and ideas. The festival revealed new pearls of the epithet of deity. The song "O Kriste" also Svanetian music heritage. These songs were is the oldest Christian chant made in the sha- not included in neither the Dadvani nor the pe of "Lile" and "Kviria". Its content is "Let’s Meshveliani choirs’ repertoire. They were pray". "Gabriel the Herald" is also a Christi- choosing more attractive songs than the real pearls such as "Ga". I cut the way to perfor- an chant. In Svaneti the Saint George day is ming less known songs including Saint called "I Gergi" and over the process of pra- George chant. Choirs established by me tried ying we say "Jgrag". "Jgrag" in Svaneti me- to restore and give new life to songs which ans "cxebul ". In Ivane Javakhishvili’s works had been already forgotten. Maksime we read that "Jgrag" had more power than Gergiani and Giorgi Pirtskhelani taught me a god. "Jgrag" is a hero who always helps a hu- lot of songs including the song to glory the man being and never leaves him/her alone. God "Diadeb". Even now you can meet old Christ is a prayer. The texts of chants also people who remember old songs. prove this view. There are different opinions existing Let us discuss Svanetian "Supra" and its about the song "Lile". If it is a chant to a process. For sure the Svanetian "Supra" inc- pagan deity or the Sun. Some people say luded traditional table songs. that the song is dedicated to God the "Tamada" always made the first three to- Father. In your opinion, what does "Lile" asts to Christ, archangel and "Jgrag" together mean? or one by one. If "Tamada" said the toast to "Lile" was a child of "Ani" and "Gi", the all of them together, he would drink three great life maker. "Ani" is the sky and "Gi" is small portions of wine. "Tamada" drank wine the earth. "Lile" separated them from each ot- from a special pot and then passed it to the her. This was the god who punished people person to his right (or his assistant). So, the 25 pot was handed out to every "Supra" mem- good person Malkhaz (he means the intervie- ber. Some researchers thought that Svanetian wer and laughs). He helped us a lot and int- people did this because of lack of glasses roduced us to people who could help us with (vessels for wine). But actually it was certain CDs. imitation of "secret (great) supper". People I suppose that the first and middle used to start singing and dancing only after parts are each sung by one singer in your the toast to Saint George. "Supra" usually en- choir, right? ded up with the song "Lamarea". Yes, anyway, if upper parts are sung by Could you please tell us about your choir? many singers, it makes problems for the bas- You mentioned that I am a master and te- ses. We call the upper part "Kivani". The acher of singing. It is not the truth. It takes middle voice is much stronger. The stronger one’s whole life and energy to achieve the the bass line the better. professionalism. So, I am only an amateur Thank you for this fascinating intervi- singer and not master. I have realized a num- ew. I wish you great success and finally I ber of projects in my life and I’ve done ever- would like to ask you the last question: ything as a volunteer. I’ve built temples in what are your plans for the future? Svaneti as well as in . When the All my life I have been volunteering and "Green Movement" started its operation in experiencing quite difficult times. I don’t me- Georgia, I brought Zurab Zhvania to Svaneti an that I’m a special person as I did everyt- where we had a meeting with local populati- hing with my whole heart. In the past we had on. The ex-prime minister of Georgia told more support from local government but an- me: you have to lead this work. I refused and yway I am happy as I’ve led a creative life stated that singing was more important to me. and achieved my goals. Then I took my audio recorder and casset- I had recordings of old singers in separate tes and came here to Dmanisi. Once Anzor parts. You can imagine what an exhausting Erkomaishvili called me and said that during job it was. All my life I was learning these his trip to Svaneti he was told that only I had songs and then taught them to my choir the old recordings. I told him that I was go- members. Sometimes we made some chan- ing to work on the recordings. Anzor was ges to them. We have our own style of sin- happy with this and encouraged me to realize ging. It’s important to maintain the traditio- my idea. I brought together some boys and nal intonation and basis. I would love it if sci- established the choir. All of us were volunte- entists became interested in my work. I want ers and were working for four years without to publish my thesis about the concepts, me- money. Now our choir comprises of 15 peop- aning, and history of Svanetian songs. I want le. The repertoire consists of 14 chants and to dedicate the rest of my life to this work about 25 songs including round dance songs. and I would do this job even if I was given Have you released any CDs? another life as well. We have already made the recordings and Interview was conducted by soon the CD will be released. There is one Malkhaz Erkvanidze Georgian Folk Song - new Transcription

Transcripted by Tamaz Gabisonia

Misdevs Mela Lomsa (Acharian)