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At the beginning of the 20th century, Europe is living in peace and prosperity. The “Belle Époque” is an outgrowth of previous important historical events and developments. The networks that are created and which evolve funnel both people and their products, tangible and intangible. It is within this multi-layered world that sound recording and sound reproduction is invented. Early record labels send mobile crews literally all over the world to record local musicians. The range of the repertoire is endless. Cosmopolitanism in large urban centers favors polystylisms and polymorphisms. Colonialism, revolutions, conflicts, refugee flows; the theater, cinema, radio, photography, orchestras’ tours, but also circulations in all kinds of commercial channels in a world that evolves dynamically and anisotropically, form a complex network of “centers” and “peripheries” in alternating roles setting musical idioms in motion, both literally and figuratively. The networks in which the Greek-speaking musics participate, constantly conversing with their co-tenants, are magnificent. Discography has already provided important tools in understanding the relationships that developed between “national” repertoires. The result of this ongoing research is “Cosmopolitanism in Greek Historical Discography”.
One of these fascinating networks concerns what, quite vaguely, we would call "Russian territories", which, through various routes, meets the network of Greek-speaking musicians. Besides, the Greek diaspora has over time been well established in various areas of these territories, with one of the most important key-places being Odessa. The appropriation of this music by Greek musicians was twofold: on the one hand were the lyrics, which were now in Greek (from what the data show us so far, they had nothing to do with the original ones), and, on the other hand, the performance practices: different instrumentation, different singing style, often differences in melodic and rhythmic forms and in the harmonies. Greek musicians adapted what they heard to their own condition, based on their own capabilities. One such case is the song "Kazaska".
Apart from the present recording, one more performance of this tune can be found in the Greek historical discography. It was recorded in 1931–32 in Constantinople, by Giagkos Psomathianos (his real name was Giannis Kalaitzoglou) on the harmonica. It is titled "Kazaska" (Columbia Turkey WT-3208 – GG-1082 and 18695, and Columbia Greece WT-3208 – DG-717).
However, the tune is older. We come across it as a traditional dance in the regions of the Russian Empire that today to the countries of Ukraine and Russia. Based on available evidence, it seems that the dance originated among the Cossacks, as its name also reflected, and was incorporated into the Russian and Ukrainian repertoire in the 17th–18th century. From the 18th century onwards, it became urbanized and evolved into a salon dance, gaining notable popularity throughout Europe. As indicated by its multiple versions and variations—in both melody and name—it represents a category or group of dances in 2/4 meter, a time signature in which we find a multitude of respective dances from the repertoires of other ethno-cultural groups, in their previous or evolved forms (hora, chasapiko, bulgar, sirto, longa, serviko and chasaposerviko, kasap, polka, etc.). See in detail the extremely interesting text by Giorgos Kokkonis, 2017b: 133-161).
The tune entered discography in the early years of the 20th century. It appears under various titles, such as “Little-Russian hopak,” “Kazachok,” “Hopak,” and others. One of the earliest recordings we found in the Ukrainian-Russian repertoire is titled “Малороссiйскiй Казачекъ” (Little-Russian Cossack). It was recorded in 1905 in Moscow by the Harmony Orchestra of Vasily Varshavsky (Gramophone 2998l – 20617 and 3-29116, and Zonophone X-60622). The term “Little-Russian” on the record label refers to the geographic and historical designation dating back to the early 14th century, used to describe Ukraine (for more, see here).
Among dozens of recordings, we may indicatively note: “Гопакъ” (Hopak), an arrangement by Boris A. Tryanosky who also plays the balalaika, accompanied by an unknown pianist (St. Petersburg, 1906, Zonophone 4830L – X-68533); the identically titled “Гопакъ” (Hopak) by accordionists Ivan Soloviev and Grigory Bruev (Moscow, circa 1910, Syrena Records 9294 – 9294); the “Gramophone” Ball Orchestra directed by Hugo I. Warlich [“Украинскій Казачекъ” (Ukrainian Kazatsok), St. Petersburg, November 20, 1913, Gramophone 18316b – 2-20751]; the State Ukrainian SSR Bandura-Players Capella under Nikolay Mikhailov [“Гопак” (Hopak), Kyiv, 1935, Noginsk Plant 618 – 618]; the orchestra of Ukrainian Dimitri Kornienko [“Hopak” (Cossack’s Dance), New York, around 1942, Kismet S-116 – 106-A].
The tune is also found in the Polish repertoire. Before 1910, Henryk Opienski’s Orchestra recorded in Warsaw the “Малороссійскій казачекъ” (Little-Russian Kazachok) for the Favorite label (4191-o- – 1-72009).
The musical theme also passed into the Jewish klezmer repertoire. Indicative recordings include: “האָפּאַק” (Hopac) by Kandel’s Orchestra for Victor, recorded on June 25, 1918, in Camden, New Jersey (Victor B21106 – 73459-B); “Русский казак” (Russian Cossack) by Russky Narodny Orkestr, a pseudonym for Abe Schwartz’s orchestra, April 1919 in New York (Columbia 85046-1 – E4384); “Rusishe Kozatsky” by Israel J. Hochman’s Orchestra, April 1921 (Emerson 41770 – 13173); and the 1950s Argentine recording of “Kozachok” (RCA Victor P-1138-B – P-1138-B) by clarinetist, saxophonist, conductor, and composer Sam Liberman (Safed, Palestine, Ottoman Empire [now Israel], 1894 – Buenos Aires, 1975), with his orchestra.
Noteworthy are the uses and arrangements of the tune in scholarly Russian and Ukrainian classical repertoire. Indicatively:
In 1864, Russian composer Alexander Sergeyevich Dargomyzhsky completed the orchestral fantasy “Kazachok”, which was adapted for solo piano in 1866 (see here) by Pyotr Ilich Tchaikovsky under the title “Little-Russian Kazachok” (Малороссийский казачок).
Between 1874 and 1880, Russian composer Modest Petrovich Mussorgsky composed the three-act comic opera “The Fair at Sorochyntsi” (Сорочинская ярмарка), which he did not live to complete. The libretto, based on the story of the same name by Ukrainian author Nikolai Gogol from "Evenings on a Farm Near Dikanka", was written by Mussorgsky himself. The work includes an arrangement of this musical theme, which was recorded, among others, by Sergei Rachmaninoff on March 18, 1921 (see here) in New York ("Гопак", Gramplasttrest 9735 – 9735) and by the Bolshoi Theatre Orchestra in Moscow in 1932 ("Гопак", Gramplasttrest 1591 – 11529) under the direction of Vasily Nebolsin.
In 1924, the full four-act opera "Taras Bulba", composed by Ukrainian Mykola Lysenko with libretto by Mykhailo Petrovych Starytsky and based on the novella of the same name by Nikolai Gogol, premiered in Kharkiv. Lysenko, who worked on the opera from 1880 to 1891, included the musical theme in the fourth act. One of the earliest recordings was made in Kiev in 1937 by the Kiev Opera and Ballet Theater Orchestra, conducted by Vladimir Dranishnikov, titled Казачек ("Казачек", Gramplasttrest 5272 – 5272). This was a revised version, with libretto edits by Maksym Tadeyovych Rylsky and orchestration by Borys Mykolaiovych Lyatoshynsky and Levko Mykolaiovych Revutsky.
In 1891, the Ukrainian composer of Greek origin Mykola Mykolayovych Arkas completed his opera "Kateryna", based on the poem of the same name by Ukrainian poet Taras Hryhorovych Shevchenko. The opera premiered on February 12, 1899, at the Aquarium Theater in Moscow by the company of Marko Lukych Kropyvnytskyi (see here). In the 1935 Kyiv recording of "Гопак" (Gramplasttrest 643 – 643) by the State Academic Opera and Ballet Theater Orchestra under Vladimir Yorish, we hear how Arkas handled the musical theme under discussion.
Furthermore, particularly interesting is how the tune also entered the repertoire of Pontic Greek refugees, some of whom ended up in Soviet territories in the early 20th century. Indicative examples include recordings by Giorgos Kesidis ("Kazaska", LP "The Pontic Songs of Giorgos Kesidis", Athens, 1977, Vasipap LVAS 222 and Ioannis Apostolidis ("Kazaska", LP "Pontic Songs", Athens, 1982, Vasipap LVAS 323).
At the beginning of the 20th century, Europe is living in peace and prosperity. The “Belle Époque” is an outgrowth of previous important historical events and developments. The networks that are created and which evolve funnel both people and their products, tangible and intangible. It is within this multi-layered world that sound recording and sound reproduction is invented. Early record labels send mobile crews literally all over the world to record local musicians. The range of the repertoire is endless. Cosmopolitanism in large urban centers favors polystylisms and polymorphisms. Colonialism, revolutions, conflicts, refugee flows; the theater, cinema, radio, photography, orchestras’ tours, but also circulations in all kinds of commercial channels in a world that evolves dynamically and anisotropically, form a complex network of “centers” and “peripheries” in alternating roles setting musical idioms in motion, both literally and figuratively. The networks in which the Greek-speaking musics participate, constantly conversing with their co-tenants, are magnificent. Discography has already provided important tools in understanding the relationships that developed between “national” repertoires. The result of this ongoing research is “Cosmopolitanism in Greek Historical Discography”.
One of these fascinating networks concerns what, quite vaguely, we would call "Russian territories", which, through various routes, meets the network of Greek-speaking musicians. Besides, the Greek diaspora has over time been well established in various areas of these territories, with one of the most important key-places being Odessa. The appropriation of this music by Greek musicians was twofold: on the one hand were the lyrics, which were now in Greek (from what the data show us so far, they had nothing to do with the original ones), and, on the other hand, the performance practices: different instrumentation, different singing style, often differences in melodic and rhythmic forms and in the harmonies. Greek musicians adapted what they heard to their own condition, based on their own capabilities. One such case is the song "Kazaska".
Apart from the present recording, one more performance of this tune can be found in the Greek historical discography. It was recorded in 1931–32 in Constantinople, by Giagkos Psomathianos (his real name was Giannis Kalaitzoglou) on the harmonica. It is titled "Kazaska" (Columbia Turkey WT-3208 – GG-1082 and 18695, and Columbia Greece WT-3208 – DG-717).
However, the tune is older. We come across it as a traditional dance in the regions of the Russian Empire that today to the countries of Ukraine and Russia. Based on available evidence, it seems that the dance originated among the Cossacks, as its name also reflected, and was incorporated into the Russian and Ukrainian repertoire in the 17th–18th century. From the 18th century onwards, it became urbanized and evolved into a salon dance, gaining notable popularity throughout Europe. As indicated by its multiple versions and variations—in both melody and name—it represents a category or group of dances in 2/4 meter, a time signature in which we find a multitude of respective dances from the repertoires of other ethno-cultural groups, in their previous or evolved forms (hora, chasapiko, bulgar, sirto, longa, serviko and chasaposerviko, kasap, polka, etc.). See in detail the extremely interesting text by Giorgos Kokkonis, 2017b: 133-161).
The tune entered discography in the early years of the 20th century. It appears under various titles, such as “Little-Russian hopak,” “Kazachok,” “Hopak,” and others. One of the earliest recordings we found in the Ukrainian-Russian repertoire is titled “Малороссiйскiй Казачекъ” (Little-Russian Cossack). It was recorded in 1905 in Moscow by the Harmony Orchestra of Vasily Varshavsky (Gramophone 2998l – 20617 and 3-29116, and Zonophone X-60622). The term “Little-Russian” on the record label refers to the geographic and historical designation dating back to the early 14th century, used to describe Ukraine (for more, see here).
Among dozens of recordings, we may indicatively note: “Гопакъ” (Hopak), an arrangement by Boris A. Tryanosky who also plays the balalaika, accompanied by an unknown pianist (St. Petersburg, 1906, Zonophone 4830L – X-68533); the identically titled “Гопакъ” (Hopak) by accordionists Ivan Soloviev and Grigory Bruev (Moscow, circa 1910, Syrena Records 9294 – 9294); the “Gramophone” Ball Orchestra directed by Hugo I. Warlich [“Украинскій Казачекъ” (Ukrainian Kazatsok), St. Petersburg, November 20, 1913, Gramophone 18316b – 2-20751]; the State Ukrainian SSR Bandura-Players Capella under Nikolay Mikhailov [“Гопак” (Hopak), Kyiv, 1935, Noginsk Plant 618 – 618]; the orchestra of Ukrainian Dimitri Kornienko [“Hopak” (Cossack’s Dance), New York, around 1942, Kismet S-116 – 106-A].
The tune is also found in the Polish repertoire. Before 1910, Henryk Opienski’s Orchestra recorded in Warsaw the “Малороссійскій казачекъ” (Little-Russian Kazachok) for the Favorite label (4191-o- – 1-72009).
The musical theme also passed into the Jewish klezmer repertoire. Indicative recordings include: “האָפּאַק” (Hopac) by Kandel’s Orchestra for Victor, recorded on June 25, 1918, in Camden, New Jersey (Victor B21106 – 73459-B); “Русский казак” (Russian Cossack) by Russky Narodny Orkestr, a pseudonym for Abe Schwartz’s orchestra, April 1919 in New York (Columbia 85046-1 – E4384); “Rusishe Kozatsky” by Israel J. Hochman’s Orchestra, April 1921 (Emerson 41770 – 13173); and the 1950s Argentine recording of “Kozachok” (RCA Victor P-1138-B – P-1138-B) by clarinetist, saxophonist, conductor, and composer Sam Liberman (Safed, Palestine, Ottoman Empire [now Israel], 1894 – Buenos Aires, 1975), with his orchestra.
Noteworthy are the uses and arrangements of the tune in scholarly Russian and Ukrainian classical repertoire. Indicatively:
In 1864, Russian composer Alexander Sergeyevich Dargomyzhsky completed the orchestral fantasy “Kazachok”, which was adapted for solo piano in 1866 (see here) by Pyotr Ilich Tchaikovsky under the title “Little-Russian Kazachok” (Малороссийский казачок).
Between 1874 and 1880, Russian composer Modest Petrovich Mussorgsky composed the three-act comic opera “The Fair at Sorochyntsi” (Сорочинская ярмарка), which he did not live to complete. The libretto, based on the story of the same name by Ukrainian author Nikolai Gogol from "Evenings on a Farm Near Dikanka", was written by Mussorgsky himself. The work includes an arrangement of this musical theme, which was recorded, among others, by Sergei Rachmaninoff on March 18, 1921 (see here) in New York ("Гопак", Gramplasttrest 9735 – 9735) and by the Bolshoi Theatre Orchestra in Moscow in 1932 ("Гопак", Gramplasttrest 1591 – 11529) under the direction of Vasily Nebolsin.
In 1924, the full four-act opera "Taras Bulba", composed by Ukrainian Mykola Lysenko with libretto by Mykhailo Petrovych Starytsky and based on the novella of the same name by Nikolai Gogol, premiered in Kharkiv. Lysenko, who worked on the opera from 1880 to 1891, included the musical theme in the fourth act. One of the earliest recordings was made in Kiev in 1937 by the Kiev Opera and Ballet Theater Orchestra, conducted by Vladimir Dranishnikov, titled Казачек ("Казачек", Gramplasttrest 5272 – 5272). This was a revised version, with libretto edits by Maksym Tadeyovych Rylsky and orchestration by Borys Mykolaiovych Lyatoshynsky and Levko Mykolaiovych Revutsky.
In 1891, the Ukrainian composer of Greek origin Mykola Mykolayovych Arkas completed his opera "Kateryna", based on the poem of the same name by Ukrainian poet Taras Hryhorovych Shevchenko. The opera premiered on February 12, 1899, at the Aquarium Theater in Moscow by the company of Marko Lukych Kropyvnytskyi (see here). In the 1935 Kyiv recording of "Гопак" (Gramplasttrest 643 – 643) by the State Academic Opera and Ballet Theater Orchestra under Vladimir Yorish, we hear how Arkas handled the musical theme under discussion.
Furthermore, particularly interesting is how the tune also entered the repertoire of Pontic Greek refugees, some of whom ended up in Soviet territories in the early 20th century. Indicative examples include recordings by Giorgos Kesidis ("Kazaska", LP "The Pontic Songs of Giorgos Kesidis", Athens, 1977, Vasipap LVAS 222 and Ioannis Apostolidis ("Kazaska", LP "Pontic Songs", Athens, 1982, Vasipap LVAS 323).
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