Submission Guidelines

Monday, July 8, 2024

CENTURY AGO: MAESTRO KOSHETZ LED UKRAINIAN NATIONAL CHOIR’S SENSATIONAL TRIUMPH IN WINNIPEG

«…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 ДомуВінніпеґ, 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

Visit counter For Websites