«…I was overwhelmed by the thought that I had the honor of showing to the world the soul of our people...» – Alexander Koshetz
The Ukrainian folk song, masterfully performed by the
Ukrainian Republican Capelle under the direction of Alexander Koshetz, became a
powerful weapon in the struggle for independence of his ancestral land on the
international arena. Established in 1919 on
the initiative of Symon Petliura, Head of the Directory of the Ukrainian
People’s Republic, with the intent to promote in European countries international recognition of Ukraine’s independence, and «...to showcase the soul and musical
creativity of the Ukrainian people to Europe». As a state institution,
the choir possessed its own state
seal, official letterhead, and all choristers and the administrative staff of
the organization received certificates of civil servants.
An official Letterhead with the name of the Ukrainian Republican Capelle in
Ukrainian, French, and German
Archival
documents, including an official letterhead, from the Central State Archive of
the Highest Bodies of Power and Administration of Ukraine (ЦДАВО України)
related to the Capelle are available for access through this link: ПУБЛІКАЦІЯ
АРХІВНИХ ДОКУМЕНТІВ. УТВОРЕННЯ ТА
ДІЯЛЬНІСТЬ УКРАЇНСЬКОЇ РЕСПУБЛІКАНСЬКОЇ КАПЕЛИ (1919–1921 рр.) В АРХІВНИХ
ДОКУМЕНТАХ: https://doc-0c-08-apps-viewer.googleusercontent.com/viewer/ secure/pdf/
Those documents highlight the Capelle’s history, its performances abroad, and characterize the work of Alexander Koshetz as a composer, conductor and leader of the choir.
The Capelle embarked on its journey from the city of Kamianets-Podilskyi, where the required number of choristers was recruited. Subsequently, preparations for the European tour were initiated: repertoire selection, rehearsals, and French language training for the choristers were all integral parts of the preparation process.
On the 30th anniversary of Ukraine’s
Independence, a memorial plaque adorned the city’s railway station, bearing words
of an American playwright Clay Greene, «Тhey put Ukraine on the artistic map of
the world!»
with the following
inscription:
On March 24, 1919, the
Ukrainian Republican Capelle, led by Alexander Koshetz, set out from the
Kamianets-Podilskyi railway station on a significant global cultural diplomacy
mission endorsed by Symon Petliura, the Head of the Head
of the Directory of the Ukrainian
People’s Republic. This musical journey encompassed 17 countries across Europe,
North and South America, ultimately gaining international recognition for
Mykola Leontovych's celebrated carol, «Shchedryk» (Подолянин: https://podolyanin.com.ua/suspilstvo/53202/).
From
the initial concerts in Prague, including
charity performances, every rendition by the choir was triumphant. Ukrainian folk songs, arranged by Lysenko, Leontovych,
Stetsenko, Stupnytskyi, and Koshetz himself, introduced Ukraine to the European
nations. Alexander Koshetz masterfully showcased
his native songs, skillfully revealing the depth of his people’s soul,
transforming simple melodies into captivating masterpieces that deeply
resonated with audiences. In these songs, one could perceive «...the voice of
holy purity and artistic truth…». Heads of state,
leading European leaders, music scholars, journalists… listened to our songs with profound
admiration.
Petliura’s project proved
to be «an example of one of the best propaganda promotions ever». The publication of Musica Divina (Vienna) from August 7,
1919 emphasized: «The Ukrainian Ministry of Culture and Arts focused its
activities in the young state on choral singing as a means of political
propaganda. The world, which has been
so deliberately and negatively informed by a despotic russia about Ukraine,
should be convinced of Ukraine’s unique cultural identity. Such cultural
maturity should also legitimize this country’s political independence».
Following the bolsheviks occupation of Ukraine, the choristers
found themselves without most of the State financial support – the country they
were created to represent no longer existed. Petliura’s visionary cultural
project ended up in the hands of private impresarios. Being
aware of the situation in
Ukraine, a group of singers (it should be noted that the choir was reformed
several times for various reasons), together with Koshetz, remained in Europe.
In his words, they were «an angry and
demoralized bunch of people thrown on the pavement, with starvation staring at
them», facing «an unknown, dark
future as ‘involuntary immigrants’». The same bleak «future of an immigrant... without work, without money...» awaited Maestro.
In order to survive, they continued performing as
the Ukrainian National Choir, seeking assistance from Ukrainian communities in
America and exploring potential salvation overseas. Regrettably, their
aspirations did not materialize as expected. Nina Koshetz, the talented niece
of A. Koshetz and a featured soloist at the Chicago Opera House, played a
crucial role in the choir’s predicament. Upon learning of the choir's
challenging situation, she penned a letter to the renowned American impresario
Max Rabinow, who had witnessed the Capelle’s performances in Europe in 1919.
While Koshetz had initially declined Rabinow’s invitation to establish a choir
under his management in the US, upon learning of his dedicated visit to Berlin,
he swiftly engaged in negotiations for a North America (З піснею через світ. Ч. ІІ. Вінніпеґ,
1970. – P.
106).
Recalling
the unfavorable encounters with previous impresarios, some of whom even dragged them to court,
and harboring distrust towards this former muscovite, hesitations arose.
Despite these reservations, a new contract was eventually signed with Rabinow.
Consequently, by late September 1922, a group of singers, along with their
conductor, arrived in New
York.
Nina Koshetz became a soloist of the Choir, touring America
alongside her uncle. The New York author Charles Mintzer reflected on this
period, noting, «An unusual concert in New
York took place in early October 1922 by the Ukrainian National Chorus under
the directorship of Alexander Koshetz, her uncle. This has contemporary
resonance as Nina was born in Kiev…» (Nina Pavlovna KOSHETZ, remembered By Charles Mintzer: https:// www.operanostalgia.be/html/KOSHETZ.html).
The American tour of the Ukrainian National Choir commenced on October 5, 1922, at the prestigious Carnegie Hall in New York. The choristers captivated the audience with their «profound unanimity of feeling that aroused genuine emotion among the listeners». It was on this very day that Mykola Leontovych’s «Shchedryk» (The Little Swallow) debuted on the American mainland, receiving thunderous applause and prompting multiple encores. The audience expressed their appreciation by showering the singers and their conductor with flowers. Notably, it was in New York in 1922 that «Shchedryk» was first recorded by the Brunswick recording company.
According to Maestro Koshetz, Mykola Leontovych’s
arrangement of «Shchedryk», who was assassinated by the Cheka (the bolshevik secret police) in 1921, became «the real hit in our repertoire in all
countries for five and half years». The melody of this Ukrainian carol, with an English lyrics penned in 1936 by
Peter Wilhousky, an American of Ukrainian descend, is now globally recognized as
«Carol of the Bells».
Critics hailed the
performances of the Ukrainian National Choir as historic events. They were even
more successful than in Europe. US periodicals praised their music as «spontaneously
original and artistically harmonized» and marveled at their «technical skill». The triumph of the Choir was succinctly captured by the New
York’s weekly The Nation on November
1, 1922: «Here was that noblest and
ousterest and most stringently moral things in the world – perfection».
Following their triumphant performances in New York,
Rabinow sent the Choir on a tour of American cities and universities, and
subsequently to Mexico. At the concert held at the Plaza de Toros stadium, the Choir faced the largest audience ever -
32,600 attendees - setting a world record. After the concert Mexican President
Alvaro Obregon Salido, who lost his right arm in the war, expressed regret for
being unable to applaud, stating, «For
the first time in my life, I regret that I’m missing my right arm…». And
went on saying that he would be happy if such a choir could be sent to the
enemies of the Republic in order to foster friendship with Mexico (O. Кошиць. З піснею через світ. Ч. ІІІ.
Вінніпеґ, 1974. – P. 58).
Ukrainian
National Choir under the direction of Alexander Koshetz performs in Mexico.
December 26, 1922 (Український хор побив світовий рекорд:
https://gazeta.ua/articles/
history/_ukrayinskij-hor-pobiv-svitovij-rekord/811492).
Audiences worldwide were mesmerized by the Ukrainian Choir’s
a cappella performances and Maestro’s distinctive conducting stile – without
a baton. He hadn’t use one since 1911, when he pierced his hand with it during a
concert in Kyiv and had to undergo
surgery. Equally
impressive was Koshetz’s innovation in choral singing – murmurando, first
successfully introduced in 1907 in Kyiv while performing Vasyl Benevsky’s «The Evening
Star» with the students from the
Diocesan School for Girls. Such insights
into Koshetz’s life and accomplishments are gleaned from his letters to Benevsky, a close friend, teacher,
composer, and choir conductor he met in 1902 while teaching in Stavropol (О. Кошиць. Листи до друга. 1904-1931. Київ, 1998. – P. 104, 19).
It’s
noteworthy that the Ukrainian Choir was hailed by numerous prominent critics as
the finest chorus ever heard in both Europe and America. Their performances
demonstrated music’s universal language, conveying vivid and evocative
depictions of their cultural origins and emotional depth. This was particularly
evident in the profoundly expressive Ukrainian songs they presented.
A
century ago, on December 11 and 12, 1923, the Ukrainian National Choir delivered
a monumental performance of Ukrainian folk song in Winnipeg for the first time,
due to the efforts of the Ukrainian National Home (UNH) board members.
Under the direction of the renowned conductor Alexander
Koshetz, the Choir, comprising 40 choristers, mesmerized audiences at the Winnipeg Board of Trade Auditorium (located at the corner of Waters Ave. & Main
St.). The city’s largest auditorium was packed
with both Ukrainians and foreigners eager to experience the choir’s diverse
repertoire. The event created a sensation in Winnipeg, with the
English–language press noting that the city had never before witnessed such a
remarkable choir.
The concerts advertisements featured in The Winnipeg Evening Tribune; excerpts from the Music column and the UkrainianChorus in National Folk Songs article
The
first advertisement emphasizes a rare opportunity for lovers of choral art to
enjoy the unmatched performances of song from distant Ukraine, celebrated
worldwide for their flawless execution of folk music (Hear the Ukrainian national chorus/The Winnipeg Evening Tribune December 12, 1923: https://digitalcollections.
lib.umanitoba.ca/islandora/object/uofm:2140476).
From
the Music column:
The music
column of an American daily paper was conspicuous recently because of its
commencing with the statement that many artistes were spoiled by the reception
they were accorded in Winnipeg
and other Canadian cities. A mere unit of the crowded gathering in the Board of
Trade on Tuesday evening who saw and heard, and some of whom naturally
sentimentalized over, the Ukrainian National Chorus, one felt it would have
been reassuring had the writer in question been there for the occasion, able to
prescribe the precise temperature of enthusiasm to be found for Alexander
Koshetz and his choir of 40 mixes voices. Not being the possessors of any such
magic formula, however, everybody seemed to react as they felt and certainly
created a deal of excitement...
This chorus
which attracted many fellow country folk from throughout Manitoba and parts of
Saskatchewan is an assembly of voices of a magnificence which accounts for the
choir being the rarity of its kind. No local choral conductor could conceivably listen to the
glorious and trilling basses without wanting to offer, if not his head, than
most of his own basses in exchange for a quartette of these stout-limbed and
stouter-voiced Slavs. One was not surprised to hear them; one simply had
anticipations fully filled. It is trite, although timely comment, that there
can be few if any other places in the world where bass voices are to be
discovered the equal of these men of Ukrainia and parts of russia …
These basses of
the Ukrainian National Chorus are perhaps the key to an appraisal of the body
of singers as an orchestral-sounding one. Their superbly resonant rumble seems
more akin to organ tone than to anything else instrumentally. A double forte
chord from the whole choir, each note of which penetrates the ear as clearly as
the notes are seen in the score, or one of their dynamite-crashing crescendos
and the short circuit of thought whereby the singers are regarded as an
orchestra is logically complete.
An indulgence
in a cataloguing of the usual technical accomplishments which these singers
display with a great virtuoso-like glitter would be boring, superfluous and
impudent… one thought the chief striking innovation of the performance lay in
the humming effects. With voices of the calibre he has under him, Mr. Koshetz
secures the most extraordinary chromaticism of color and texture by subtle
variations of quality and power of tone from individuals and groups. The image
suggested is that of a gorgeous tapestry, alternately flaming and fading with
imperceptible nuance in a pageantry of iridescence. Another outstanding
excellence was the quality of tone achieved. Had the singers been screened off,
an auditor might easily have estimated their tone at being produced by three
times its actual numerical strength – not to consider the fact that not once
was the choir at full strength. …The
inclusion of the American items does not affect the phenomenal splendour of the
chorus as a body of singers, but it is a proof of feasible limits of
interpretation.
Mr. Koshetz is
a picturesque conductor from the back and must be very inspiring from the
front. And he has tricks which are piquant to watch. In the way similar to that
which Spanish dancers (not of the vaudeville brand) will indent the
accompanying instrumental rhythms by a hip-twist or an eye-brow flash, so did
Mr. Koshetz produce a countering tattoo motion of the hands in the whirling
“Kolomyika”. Followed a demonstration – the whole audience enveloped in
infectiousness and mightily uproarious (Music/The
Winnipeg Evening Tribune.
December 12, 1923: https://digitalcollections.lib.umanitoba.ca/islandora/object/uofm:2140476).
In the same issue of the
newspaper, an article A Great Leader,
was published. The article (with some inaccuracies) was dedicated to Maestro’s life
and his musical career:
There is in Winnipeg today one of the world’s famous conductor, who is
also a Minister of Music and Fine Arts in the government of Ukrainia. Alexander
Koshetz… graduated from the Ecclesiastical Academy there and obtained his
musical training in the Lyssenko Music School. He is professor of choral
singing in most of the colleges and universities of Kieff, and also was
choirmaster of the Kieff Opera House. In 1917 he was appointed, by the new
Ukrainian government, first director of the musical department of the newly
instituted Ministry of Fine Arts, and, a year later, was made conductor of the
Ukrainian National Chorus, a selected group of trained singers formed from the
many choral organizations of that “singing” country. In 1922 he celebrated his
25-years jubilee as conductor and composer.
This continent is fortunate in having an expert at work… A. Koshetz … was
awarded the gold medal at the Ethnographical Exhibition at Kieff in 1912. All
his life, Professor Koshetz has collected unpublished melodies of Ukrainian
folklore, and many of his arrangements are used in programs of the Chorus. Ever
since he was placed at the head of that organization … he has been popularizing
Ukrainian folklore and making the western world acquainted with the native
music of Ukraine. So, it would be hard to find anyone better fitted than
Professor Koshetz to delve into the as yet unexplored field of Canadian and
American folk music. Already he has discovered and developed for choral singing
some rare treasures and, during the coming season, these will be heard as
feature of the concerts which the Ukrainian National Chorus is to give on its
tour.
He is also one of the world’s greatest conductors, and the marvels he has
achieved with his “human symphony orchestra” have made him one of the foremost
figures of the day. The Ukrainian Chorus is instinct with his guiding
influence, which seems to weave a spell over its collective personalities
transforming them into a perfect ensemble.
«He plays upon his choir as he would upon an organ», enthusiastically
declares a French critic; «he opens and closes the stops of his magical
music-box. He throws back the tenors and draws out the basses. He combines and
opposes a thousand unexpected resources of his human instrument».
As the history and traditions of the Middle Ages were broadcasted thru
the world by the wandering minstrels or minnesingers, so these troubadours of a
newer day - the singers of the Ukrainian National Chorus - have carried through
Europe and to the nations of the western hemisphere the history, the fate, the
loves, the deeds of valor, the simple-hearted festival joys and the piteous
sorrows and hardships of their native land, the far Ukraine, once known as
“Little Russia”, now a political figure upon the new map of Europe. The music
of Ukrainia is a national thing. Even before it became an independent state…,
it had a musical section in its Ukrainian Ministry of Education, and through
this had developed numerous “national choirs”…
This Ukrainian music, so recently revealed to the western world, has
chiefly impressed the latter with its enthusiasm, its spontaneity, its almost
religious devotion to art. It has been hailed as a revelation in choral
singing, as the foundation of a new art movement. This band of twentieth
century troubadours starting forth on its unique pilgrimage at the close of the
war, enthralled European audiences for three years. Then a year ago, Max
Rabinoff, that russian with a clear vision and a high faith in the art future
of this continent, brought the Ukrainians to this side of the water, and
afterward to Mexico and South America, at the earnest request of those
governments.
…There is a quaint blending of the pagan and the Christian in the
religious songs of the Ukrainians, the strange admixture… The dawn of
Christianity in the Slavic countries, merely enlarged their field of subject
matter, adding the softer-toned and perhaps more sombre legendry of Christian
era to the colorful and poetic nature-worship of the earlier fate. Thus
Ukrainian folk music runs the gamut of the national temperament, from grave to
gay…
The visit of the choir is not only important as a musical treat, but it
opens up to Canadians a fuller insight into the lives of so many of the people
from Ukrainia who have come here to seek their fortunes and take up the full
responsibilities of citizenship as so many have already done. Their interest in
the music of their old homeland is wonderful. Many of them have come hundreds
of miles to hear the old songs sung by a choir, pronounced in almost every
centre of the Anglo-Saxon world to have attained that something to which so
many hundreds of the world’s great choirs have been striving after, and which
is possibly the nearer attainable by reason of the example of Alexander Koshetz (A Great Leader/The Winnipeg Evening
Tribune, Dec. 12, 1923: https://digitalcollections.lib.umanitoba.ca/islandora/object/uofm:
2140476).
From the Ukrainian
Chorus in National Folk Songs article:
Alexander Koshetz’s Singers Display Marvelous Powers in Fine Program.
Listening to the Ukrainian National Chorus last night at the board of Trade in
its first Winnipeg concert, it seemed at times as though one were present at
the very making of folk song. The story to be told, the mood to be presented,
the background suggested, were done so naturally and with such direct
simplicity that the centuries between the creation of the verse and the music
around it were broken down. Forty singers ... were led by Alexander Koshetz, who has them under
control that is nothing short of marvelous. They were something more than a
picturesque singing group. Basses that sounded like the drone of double basses
of an orchestra, tenors that cropped up with viola richness and a penetrating
soprano section that was like none other, made them entirely different from
anything ever heard here…
...They are like a big organ and the amount of volume
that can be obtained from a small body is astonishing. Not often was the “full
organ” on, but they have a penchant for humming pianissimo; a gradual swell on
a sharp fortissimo are each managed with equal perfection. It is best to hear
the singers in their own music. Well chosen as the final group of American,
Mexican and Creole pieces… (some of them were too intense). Susanna, the last thing on the programme, delighted
the audience. The auditorium was full. The program included some russian music…
Last night on behalf of Ukrainians living in Winnipeg, the chorus was
presented with the lyre of roses. The lieutenant-governor, Sir James Aikins
made the presentation and a little accompanying speech of welcome which was
translated.
Alexander Koshetz’ Ukrainian National Chorus will give a matinee
performance today. The russian cellist will play at the matinee. The evening concert will commence at 8:30, and the
programme is almost entirely changed from the one given at Tuesday‘s concert (Ukrainian
Chorus in National Folk Songs: https://access-newspaperarchive-com.wpl-dbs.winnipeg.ca/
ca/manitoba/winnipeg/winnipeg-free-press/1923 /12-12/page-11/).
Ukrainian Canadians from Manitoba and parts of Saskatchewan
traveled hundreds of miles to hear their native song performed by the choir
under A. Koshetz’s direction. These moments were filled with joy and pride for
Ukraine and its music, yet tinged with an indescribable longing for their homeland.
These events were pivotal in the life of the Ukrainian community, leaving a
profound impact on both Ukrainians and foreigners. Vasyl Kazanivsky, head of
the Ukrainian National Home choir section, recounted lasting memories from the
concert:
«It was a sensation
for everyone. One incident stands out in particular. During the performance of
“Our Lady of Potchaiv”, … a woman leapt from her seat seemingly in hysterics,
ran to the stage, and cried out, “Angels
are singing, but where is God? Show me God!” The woman was calmed, and the
angels continued to sing the glory to Ukraine» (Пропам’ятна Книга Українського Народного Дому… Вінніпеґ, 1949. - P. 277).
Ukrainian National Choir under the
direction of A. Koshetz (same source).
At the reception in the hall of the Prosvita society, located at the corner of McKenzie St. & Flora
Ave., held to honor the singers and their conductor, Koshetz, in a jovial mood,
expressed his fondness for Winnipeg and its hospitable Ukrainians. He jokingly
mentioned that he would like to spend his last days among these people… Isn’t
it ironic that his life would unexpectedly end in this very city? In the same
Prosvita hall, where he was so warmly welcomed back in 1923, thousands of Ukrainians
and foreigners will gather to offer their prayers and bid farewell to the world-renowned
Maestro, who will find his eternal rest here – finally free from all earthly
worries! (A. Господин. Незабутній.//M. Головащенко. Феномен Олександра
Кошиця. Київ, 2007. – Р. 166).
Koshetz’ choristers attracted significant attention
from the English press. However, in some publications, Ukraine was occasionally
referred to as Little Russia, and Ukrainian composers were incorrectly labeled
as russians. Amid these misrepresentations, financial gain rather than accuracy
often drove media narratives. However, individual choristers actively corrected
such errors, asserting their Ukrainian identity. The inclusion of russian
performers in Ukrainian choir concerts was viewed by russophiles and moscow agents as advantageous. Bolshevik russia vigorously south to
undermine Ukrainian national identity, often confusing foreign audiences.
The Ukrainian National Choir’s performances on the
American continent weren't merely triumphant moments for the singers and their
conductor. During these years, concerns about the well-being of their relatives
in bolshevik Ukraine and uncertainties about their own future overshadowed
their successes. Maestro Koshetz, grappling with health issues, also faced
internal conflicts among the choristers. He was increasingly realizing that the
dissolution of the choir was inevitable…
Halyna
Kravtchouk, Winnipeg, Canada
