By Halyna Kravtchouk, Winnipeg, Canada
Commemorating the 80th Anniversary of Maestro’s passing
«The song saved me... It finally became the one thing I serve and worship, like my own sanctuary» (A. Koshetz).
An ancient legend speaks of a song and the Ukrainians. According to the version of this legend recounted by Winnipegger Stephania Zenewych, on the day when God was bestowing talents upon the nations of the world, the Ukrainian arrived late. Undeterred, he approached God, who, upon hearing his request, replied, «I have already given out all the talents. There is only a song left, so I will give you a song». Since then, the French have been renowned for their fashion designers and elegance, the Germans for their order and discipline, the Hungarians for their love of commerce and equestrian parades, and so forth. Meanwhile, Ukrainians are celebrated worldwide for their songs and their creators, with the people often saying, «That talent is a gift from God himself!».
One of those to whom these words fully apply is the world-renowned conductor, composer, ethnographer, promoter of Ukrainian folk songs and church music, and a true Ukrainian patriot, Alexander Koshetz (1875–1944). Over a century ago, while traveling with the Ukrainian Republican Capelle (later known as the Ukrainian National Choir), he introduced Europeans to his native songs, masterfully elevating them to new heights of beauty and spiritual depth. His work as a choir conductor and arranger received high praise from some of the most prominent music critics of the old world. Koshetz’s dream of showcasing the soul and musical creativity of the Ukrainian people to Europe came true.
On September 25, 1922, the Ukrainian National Choir made its historic arrival on the American mainland aboard the steamship Caronia, which had narrowly escaped disaster after colliding with an iceberg. For the first time, the triumphant march of Ukrainian song captivated audiences across the Americas. The choir’s success is underscored by «thousands of reviews written in twelve languages». Reflecting on his journey, Koshetz wrote to his friend Vasyl Benevsky in the Caucasus that he «had traveled 170,000 miles across North and South America and given over 400 concerts in just a year and a half» (О. Кошиць. Листи до друга. 1998. – P. 38-39).
American musicology experts unanimously hailed the Ukrainian choir’s phenomenal performance under Alexander Koshetz as unparalleled. The continent’s press offered a wealth of enthusiastic reviews such as: Their musical performance cannot be measured in dollars and cents; The choir’s rendition included nuances we had never encountered before, particularly the use of sforzando, which was especially captivating; While other singers rely solely on their voices, this nation sings with its rich history...
As the saying goes, everything has its time… This was also true for the Ukrainian choir, which vividly infused American life with unheard melodies, but, for various reasons, ceased to exist in 1924. A. Koshetzand all the choristers stayed in America… For anyone who leaves their homeland – whether by choice or due to political persecution – finding roots in a foreign land can be incredibly challenging, often leaving them feeling like outsiders for the remainder of their lives. Koshetz’s experience in «soulless America» was no different. An unbearable longing for Kyiv, the Dnipro River, and the beloved people of his past shortened his days.
This is evident in his correspondence with family, especially his brother Fedir, sisters, and long-time loyal friends Ivan Masychenko, Vasyl Benevsky, and others. Through these letters, readers are presented not only with truthful depictions of life for Ukrainians under soviet rule in their homeland but also with the unappealing, almost tragic reality faced by the Ukrainian artist-immigrant in America, the world-renowned Maestro Alexander Koshetz.
Alexander Koshetz and Vasyl Benevsky in Stavropol (from the book «Letters to а friend» - «Листи до друга»); Ivan Masychenko and Fedir Koshetz (photos from 1933 and 1936, courtesy of the A. Koshetz archives at the Ukrainian Cultural Centre [Oseredok] in Winnipeg).
Following an unsuccessful collaboration with American managers Rabinov and Blok, Alexander Koshetz fell seriously ill once again. While receiving treatment in Italy and France since late 1927, he ultimately decided to return to Ukraine to work and create for his native people. Unfortunately, his hopes were dashed. In November 1929, in a state of emotional distress, he and his wife, Tetiana, were compelled to return to New York.
Seeking refuge from the chaos of the city, the unbearable roar of cars, and the stifling fumes, he left New York behind. He found solace at the estate of Rev. A. Nyzhankiwsky in Seymour, Connecticut, where he spent several months. It was here, in the fresh air, that he found his «medicine for the soul», and, «utterly exhausted» from being idle, he began writing his memoirs. Two volumes of his «Memoirs» («Спогади») were published in Winnipeg in 1947 and 1948. The three-volume series «With a Song, Around the World»(«З піснею через світ») followed in 1952, 1970, and 1974.
It is important to note that Аlexander Koshetzdescribes and analyzes his life and artistic journeyagainst the backdrop of significant historical events of both national and global importance. As a result, his memoirs read like a historical documentary-adventure novel, rightfully regarded as one of the finest examples of Ukrainian literary classics. The author’s phenomenal memory is truly impressive, as is his deep knowledge of literature, philosophy, archaeology, and psychology. The prose is enchanting, rich with poetic language, sharp-witted phrases, and folklore, all infused with a delightful sense of wit and humor.
As you turn the pages, the life of A. Koshetz unfolds before your eyes, filled with joy and sorrow, successes and failures, hopes and disappointments, faith and helplessness. Vividly recounting his carefree childhood and the «wheel of school life», he fondly reminisces about his first love for the maid Olena while still a pupil at Bohuslav Bursa, a feeling «he carried in his heart for nearly two years». With «music in his heart and sorrow in his soul», the author paints a picture of the «wonderful musical fairy tale» of his subsequent student years: an enthusiasm for folklore, opera, music, «melancholic love», dancing, and more. Reflecting on those unforgettable times, and with his characteristic sense of humor, Koshetz wrote, «The legs were good once, and the heart wasn’t bad either!».
Through both joy and sorrow on the bumpy roads of life, Koshetz was always sheltered by his beloved Ukrainian song: «Fate bestowed upon me the greatest happiness – to speak, as if shrouded in mystical fog, with history itself, to hear the heartbeat of an entire nation. My homeland whispered all its sorrows, grievances, complaints, and hopes into my ear... The song saved me. It saved me personally. ... It finally became the one thing I serve and worship, like my own sanctuary» (Спогади. Ч. 2. – P. 47).
With great sadness he always thought of his dear brothers, sisters, and their families who endured «severe persecutions and repressions and even had to change their last names»: «Half of my beloved have died; others are far away. I am standing with one foot in the grave... and I never got to tell them how tenderly, how madly I loved and still love them all! Life passes by, and my longing for them grows stronger and more painful with each moment, with every memory, so that sometimes, in the middle of the day, I find myself crying out for them…
Only Fedir remains, and he is perishing somewhere from hunger and tuberculosis. We are separated not only by oceans and entire countries, but also by the most dreadful horror in the world – soviet rule (совєтчина). It has killed my present, and cruel fate has robbed me of my past and now wants to crush me to death. For now, it has left me alive for the devil’s amusement. There are such deep, bloody wounds in my soul that I don’t know if I can endure my forced isolation, my hidden pains, unspoken sorrows… There is a sea of people around me, and I feel like I’m in a desert… It seems to me that it wouldn’t be so hard now if I had expressed my love for them in time! But that Spartan restraint, which somehow prevailed in our family, did not allow me to do so then, and now it’s too late!...» (Спогади. Ч. 2. – P. 71). How penetrating, convincing, and profound his recounting of adult orphanhood is, filled with such inconsolable sorrow!
One cannot help but compare the language of Koshetz, the memoirist, with the polluted language of contemporary authors overrun with artificial Anglicisms. It is disheartening to witness how our richly nuanced and melodious Ukrainian language is gradually deteriorating into an artificial, unpleasant-sounding slang. It is a profound marker of a nation, its genetic code!!! To what extent can one disregard their native tongue, already influenced by russification, before committing another cultural offense? Who truly benefits from this?
Perhaps the answer to this painful linguistic issue lies in Koshetz’s words, which resonate with those of Shevchenko. His insights remain strikingly relevant today: «Our brilliant minds... did nothing but study and teach others foreign principles, while our invaluable treasures, vast in their abundance, were trampled underfoot, their eyes fixed on the grammar of a foreign language. As a result, they produced descendants who neither know their own culture nor understand the foreign one properly, twisting their own language to fit foreign norms and considering it their greatest achievement when they can add their own contributions to foreign nonsense… Moreover, they take pride in claiming to unite us, insisting that we are “Europeans”, yet, regrettably, this leads to misfortune for Ukraine» (Відгуки минулого. О. Кошиць в листах до П. Маценка. 1954. – P. 44).
It is even more disheartening to witness the multitude of inaccuracies, muddled and unverified dates and facts in some publications about A. Koshetz and the journey of the unique Ukrainian National Chorus, which was primarily a government mandate by the Ukrainian People’s Republic, rather than a successful artistic tour. Many of these publications fail to include the true words of Alexander Koshetz regarding those turbulent and troubling years and his personal suffering abroad. Inaccuracies extend even to the photographs used in reputable, academic publications. For instance, one caption claims it depicts the family of Vasyl Benevsky, Koshetz’s friend, when in fact it is a genuine photograph of the Koshetz family. Since September 2005, this photograph has been prominently displayed in the museum dedicated to A. Koshetz, established through the initiative of Raisa Nedostup, a history teacher, and her colleagues from the local school in the village of Tarasivka, Zvenyhorods’kyi district, Cherkasy region.
Cultural Center in the village of Tarasivka, housing the A. Koshetz museum; one of the exhibits and an enlarged photograph of the Koshetz family (photos by R. Nedostup).
The internet is rife with fabricated facts. One such claim concerns the death of Koshetz’s son, Dmytro, a renowned test pilot, who supposedly died in the United States in 1943. While Colonel Dmytro Koshetz did indeed perish in 1943, it was not in the United States! In fact, there are multiple versions of the circumstances surrounding his death, as well as various locations and dates associated with it. Most fitting are the words: he died under mysterious circumstances during the stalinist tyranny! To this day, the location of his burial remains unknown...
Exhibit from the A. Koshetz museum in Tarasivka and an enlarged photograph of his son, Dmytro (photo by R. Nedostup).
Some accounts of A. Koshetz include unfounded claims suggesting that, while living in the USA, he actively continued choral conducting, delivered lectures; or that he was an organizer of new choral groups in the USA and Canada and so on. How far from reality these statements are! It’s important to emphasize that Alexander Koshetz, the world-renowned conductor, did not have a permanent position after returning from France to the USA. Moreover, he was even «robbed [in the literal sense of the word] to the bone of what he had earned…», which left him without any means of livelihood!
Remaining true to his Ukrainian roots, he found solace in promoting Ukrainian song, which he could not imagine his life without. He arranged Ukrainian and foreign folklore, composed church music, wrote about Ukrainian art, and appeared on the radio… Of course, he had employment opportunities that could have financially secured him and his wife for the rest of their lives, but none were within the realm of Ukrainian culture. «Imagine the temptations I faced to abandon the Ukrainian path and the promising prospects that awaited me in foreign fields. But God gave me the strength to stand firm, refusing to bend to the pressure. Though I had little, as I always had, I sought no support from others. Until the end of my life, I remained steadfast on my Ukrainian path, despite the bumpy road», he bitterly confesses in a letter to Pavlo Macenko dated November 10, 1942 (Відгуки минулого… – P. 73).
With a heavy heart, one reads his biography: «...I am biding my time and awaiting death here in America... I sit idly, bored, and the Ukrainians don’t want to utilize me. Perhaps I’m simply not needed. “You are a log that has fallen from the sky into the American swamp, and frogs have begun to sit upon you”, rightly says O. Oles. It’s a bitter truth. Yet, with those frogs, I managed to give four big concerts with a choir of 300, 400, and 500 people. But when you consider that this comes after eighteen years without a steady job, it’s not much...» (Моя коротка біографія.//M. Головащенко. Феномен Олександра Кошиця. Київ, 2007. – P. 237-240).
It is worth mentioning that A. Koshetz conducted the largest combined choir of a thousand singers, accompanied by an orchestra of nearly a hundred musicians, with great success in 1913 at a concert celebrating the 300th anniversary of the Romanovs at the Kyiv Opera House, performing a cantata by composer Vasyl Benevsky. «My soul wept with delight and joy... as I performed my friend’s composition in such colossal surroundings», he wrote to Benevsky (О. Кошиць. Листи до друга. – P. 22-23). Who among us has experienced, at least once in our lives, the profound power of song that can mend the strings of the human soul, transforming sorrow into confidence, anxiety into balance, and doubt into self-belief!
When referring to the so-called «big concerts», Koshetz meant the performance of the combined Ukrainian choirs (The Seven choirs) with a program honoring Taras Shevchenko at Town Hall in New York (1935), the first concert of Ukrainian religious music at Carnegie Hall (1936), performance at the New York World’s Fair (1939), and at the First Congress of Ukrainians in the USA in Washington, D.C. (1940).
Maestro shares his thoughts of the concert at the Congress with the prominent musicologist PavloMacenko: «...the concert did not bring me fatigue but rather rejuvenation, and I thank God for sending me such solace after many long years». Regarding the program of this and other concerts, compiled by the committees without consulting him, he had a negative impression. These committees often included individuals who had infiltrated «the tiniest corners of local artistic life and quietly steered it according to their own agenda». He was also disappointed by the community’s indifference, not only towards him but to the Ukrainian cause in general: «If Ukrainians genuinely desired it, they could experience such joy consistently, thereby benefiting both their cause and the realm of Ukrainian art. But alas... all Ukrainian intentions and enthusiasm are like a straw fire, leaving behind a lot of ash and quite an unpleasant aftertaste». Koshetz realized that his compatriots needed to be «praised, rather than convinced»; «they had to be persuaded and urged to spend money on their own needs» (Відгуки минулого... – P. 34-37, 48).
Regarding the «eighteen years without a steady job», it should be noted that Koshetz’s desire to work for the benefit of his people and to contribute to the Ukrainian community – which during those years struggled with unity and cohesion – remained just that: a desire. The circumstances unfolded in such a manner that it was not American Ukrainians, but rather foreigners who appreciated Ukrainian art and held Koshetz’s talent and work in high regard, ultimately preventing him and his wife from facing starvation.They helped preserve not only his artistic legacy but also his life. A testament to this is found in the later passage of the biography of the 66-year-old Maestro: «...Americans not only remember my choir, but they are now also using my songs. So far, 42 of my songs have been released in English, with sales exceeding 200,000 copies according to the company’s calculations. All university choirs performing my «Violin» («На вулиці скрипка грає»)and «Hey, I’m a Cossack from Ukraine» («Гей, я козак з України») take first prizes in competitions...». It is worth noting that each Ukrainian song in English translation was accompanied by brief information about its history, style, and meaning.
The most prestigious music schools and institutions in the United States invited Maestro Koshetz to conduct masterclasses for students and to deliver lectures on Ukrainian national music. He participated in the North Central Music Educators Conference in Indianapolis, Indiana, in 1935, and taught choral singing at the Ellison White Conservatory of Music in Portland, Oregon, in 1939. In 1941, he prepared a series of lectures on Ukraine and Ukrainian music for Columbia University in New York. These lectures were published as a separate edition titled «On Ukrainian Song and Music» («Про Українську Пісню й Музику») in Winnipeg in 1942 and were later republished in New York in 1970.
Foreigners recognized and appreciated Koshetz’s expertise in arranging folk songs, a skill enhanced by his deep understanding of the «language of folk music», including the nuances of vocal timbres and intonations, as well as his extensive experience in recording songs. By understanding the essence of each piece, he centered his attention on the unique and intriguing details, asserting that «without them, the song is like a tree without leaves».
Remembering M. Lysenko’s advice that «a song should be arranged so that it can be performed by the most ordinary village choirs», Maestro Koshetz«dreamed of bringing the song to the concert stage as avaluable independent artistic piece in its own right».He believed that «the choral arrangement of a song should not only consider the “vocality” of each voice individually as well as collectively, but also pay attention to the distinctive traits of each part and their national character. Only then will the song feel authentic and natural, without any sense of artificiality or contrivance...» (Відгуки минулого... – P. 58).For each folk song, he thoughtfully selected artistic methods of interpretation that allowed listeners to appreciate not only its beauty and polyphonic richness but also to evoke new bursts of emotion within them. In such arrangements, the song truly became «a completely finished ... piece of music» (Спогади. Ч. 2. – P. 236-237).
Koshetz warned against the distortion of folk songs by modern composers. While it’s true that contemporary rhythms and tempos influence the evolution of folk music, modernized folklore and remixed melodies often lose their soul and become merely noisy. Anticipating this, he noted that an arranger must possess «an understanding of the vocal capabilities of a nation», for «not everyone holds the keys to this mystery, and not everyone understands the language of the song, which is so wise in its simplicity and so profound in its innocence! ... Here, more than anything, what is needed is a heart, inspired by poetic imagination, a heart above all else». If the composer does not pour their soul and heart into a song, it will amount to nothing more than «a police report or a financial inspector’s audit» (Листи до друга. – С. 81)
A. Koshyts found it incredibly difficult to bear the separation from his homeland, not to mention the emotional pain of losing family and close friends. One of the most devoted and loyal friends in his life was Vasyl Benevsky (1864-1930), to whom he confided both his personal matters and artistic endeavors over the years, like a beloved brother. The time spent with the Benevsky family in Stavropol, along with the unforgettable moments associated with his friend’s name, continually surfaced in his memory, often moving him to tears. Feeling «spiritually orphaned»without Benevsky, he acutely sensed his loneliness and implored his friend’s wife and daughter to continue writing to him, asking them not to «erase» the Benevsky’ family from his life.
It was not easy for the sensitive yet demanding Koshetz to gain recognition within the Ukrainian community, which was entangled in «inter-party squabbles». He felt rejected and observed a sort of «solemn silence» and «quiet, hidden envy» towards himself. Driven by jealousy of his talent, people frequently put him in awkward situations by misinterpreting or twisting his comments about others. He was aware that some of his compatriots would say one thing to his face while expressing the exact opposite behind his back. He was convinced that human envy «clouds the minds at every step and aspect of Ukrainian life, brings discord, chaos, and hostility, poisoning and hindering every good initiative». The discord within the Ukrainian community overseas was significantly exacerbated by the deceitful propaganda of moscow’s agents and spies, as well as the clergy of the russian orthodox church. Much harm was also caused by their own, already russified Ukrainians.
А. Koshетz was an exceptionally hardworking and diligent man: «I can't do anything carelessly». He was dedicated to choral art and to people. He was very punctual and never arrived late: «I am a person of order above all else». Consequently, he expressed his dissatisfaction regarding tardiness, even towards those holding «certain public positions». He admits that since his youth he has been «a bit sharp-tongued», but he not only never harmed anyone but also never wished them ill... His strained and unfriendly relationships with his own people, from whom he «never heard a kind word for all his work», led to his sense of alienation and isolation. «There’s such a limited sphere of interests, especially in music, that I try to see as few people as possible who are connected to it—particularly those who “know everything” (and there seem to be more of those) or those intoxicated by their initial success», he sadly confided to Pavlo Macenko (Відгуки минулого... – P. 30-32).
Dr. P. Macenko, a musicologist, composer, conductor, became for Koshetz as sincere and devoted a friend as Ivan Masychenko and Vasyl Benevsky. In Macenko, he found a colleague and companion to whom he could finally open his heart, for «when a person has no one to share their thoughts with, it is even worse than being mute».
Upon arriving in Canada in 1936, P. Macenko immediately immersed himself in the life of the Ukrainian community. He was deeply affected by the troubling circumstances surrounding the world-renowned Maestro and decided to involve him in the cultural life of Ukrainian Canadians. As it turned out, both artists shared much in common and trusted each other regarding Ukrainian music as well as personal matters. In their correspondence they exchanged thoughts on choral work and conducting, liturgicalmusic, and Ukrainian folk song, it’s past and future. Koshetz often sent Macenko his compositions to receive his professional «critical feedback» and was pleased to hear it «from someone who understands that delicate matter, the aroma and value of which are hidden from the noses and eyes of our musicians, poisoned by the fumes of mechanical music» (Відгуки минулого... P. – 69). He happily fulfilled his Canadian colleague’s request and sent him «a list of his music», «which had accumulated over the years». In a letter dated January 13, 1940, he humorously wrote to Macenko, «...after reading that list in the newspaper, I was simply horrified – howmuch paper one man can waste!». Jokes aside, the book of his «Religious Music», («Релігійні твори») published in 1970 in New York, includes 5 Liturgies, 82 Liturgical Hymns, 15 Canticles and Psalms, and 16 Carols, totaling over 700 pages!
Koshetz and Macenko also shared their thoughts on certain composers appropriating others’ works, a practice that was becoming common at the time (Koshetz used the term “plagiarism”). They highlighted the necessity of recording samples of Ukrainian folklore for future generations. It is important to note that during the difficult war years, A. Koshetz, faced with significant challenges and obstacles, managed to assemble a choir and record an album of Ukrainian songs titled «Hear Ukraine Sing», which documented «samples of nearly all types of our music». In 1944, he brought these ten records to Winnipeg and, with the words, «Here is what has taken the last of my strength», handed them over to P. Macenko (Пропамятна книга Українського Народного Дому у Винипеґу. 1949. – P. 425).
Both artists also addressed the issue of the falsification of Ukrainian songs by the bolsheviks, who «tarnish the melodies, bringing their harmonization and vocalization closer to katsapskij (кацапський) style, substituting the original text and storylines with a crude, artificial creation. Everything is planned to belittle our songs, make them look cheaper, which would lead to their disappearance, oblivion, or complete merging with katsapculture in the bolshevik cauldron» (Відгуки минулого... – P. 40). Indeed, for many decades, “soviet culture” was dominated by marches, cantatas, songs praising the party, and the “victorious march of socialism”, while Ukrainian songs were appropriated by russians, tarnished, and became “russian”.
In a letter to A. Koshetz, P. Macenko mentioned for the first time the two-month Educational Summer Courses, later known as the Higher Educational Courses, initiated by the Regional Executive of the Ukrainian National Federation (UNF). In 1944, the newly established Ukrainian Culture and Education Centre (Oseredok) in Winnipeg assumed responsibility for conducting the Summer Courses, which featured an expanded program in historical, literary, and artistic studies.
The inaugural Summer Courses, designed to train young specialists in the cultural and educational sectors of the Ukrainian community, were held in Toronto in 1940. For the concert planned at the conclusion of the Summer Courses, P. Macenko decided to invite Maestro Koshetz: «At first, he was somewhat reluctant, but eventually agreed to come. He had no means to travel, so I promised to cover his expenses. I raised the funds for his journey not through the organization, but from people on the street, and I sent Koshetz from New York to Toronto for the conclusion of my courses. That’s how I got to know him well enough to invite him to Winnipeg» (Павло Маценко. Музиколог, композитор і громадський діяч. Торонто, 1992. – P.24-25).
It is important to highlight that Koshetz possessed prior experience in this field. During the summer of 1908, he delivered lectures on theory, basic harmony, the history of singing, and the art of choral conducting for teachers at the Kyiv Teacher’s Seminary.
The idea to establish and conduct such courses received approval from Koshetz: «You have initiated a commendable effort with the conducting courses. This is something I’ve been advocating for incessantly over the last ten years – and it feels like speaking to a brick wall!».Drawing from his prior experiences, he offers guidance on conducting techniques and teaching songs with all choir parties. He emphasizes the impracticality of including «Lemko songs that are melodically Slovak... as our students are simply unfamiliar with Ukrainian songs». Additionally, he recommends compiling a list of songs «arranged by their difficulty» and notes that «to learn the practical wisdom of conducting, one needs to have an appropriate and manageable repertoire». Koshetz placed particular emphasis on «pronunciation in choral singing»: «First, I read the text... and provide a comprehensive explanation, elaborating on the poetic conciseness in prose form. When needed, I offer historical or other contextual information. Next, I instruct the entire choir to read the words aloud... I especially focused on the pronunciation of words in piano: the softer the sound, the more meticulously they should be articulated…» (Відгуки минулого... – P. 33, 53-54, 79).
Original poster advertising Summer Courses in Winnipeg, 1941 (photo by the author, taken at Holy Family Home, 165 Aberdeen Avenue, Winnipeg, MB).
The house at 609 Church Ave., where A. Koshetz lived with his wife during their time in Winnipeg (photo by the author); P. Macenko and A. Koshetz, 1941 (courtesy of the Oseredokarchives).
According to the article in The Winnipeg Tribune dated August 16, 1941, titled «Famous Ukrainian Choral Leader To Direct Concert», Summer Courses attended by 40 individuals were held at the local branch of the Ukrainian National Federation at 260 Dufferin Avenue. The participants included choir directors, students, teachers from Ukrainian private schools, spiritual leaders, and others who shared a passion for choral music (https://www.newspapers.com/article/the-winnipeg-tribune-19410916/51382195/). A slightly smaller number of attendees is mentioned in the brochure «Higher Educational Courses» (Winnipeg, 1944), preserved by Olha Solman (Babick), a participant and resident of Winnipeg. The brochure also features an article by A. Koshetz discussing the necessity and significance of the Summer Courses entitled «Once a heart filled with kindness—never grows cold», as well as programs, lists of participants from 1940-1944, letters, photographs, and more.
Alexander and Tetiana Koshetz in front of the MarkianShashkevych Ukrainian Heritage School & Reading Club, 49 Euclid Ave., Summer 1941 (courtesy of the Oseredokarchives); mixed choir formed by participants of the Summer Courses in Winnipeg, 1941 (photo from the booklet of the commemorative concert marking the 50th anniversary of the passing of Olexander Koshetz, world-renowned conductor, composer, and ethnographer, November 6, 1994, from O. Babick’s personal archives).
The popularity of the Courses grew year by year, along with an increasing number of participants attracted by the name of Alexander Koshetz. The friendship between the young couple, the Matsenkos, and Koshetz deepened, with Koshetz becoming the godfather of their son, named in honor of the renowned conductor, Alexander. They were aware of Koshetz’scritical health condition, which had worsened after one of the investment bankers had stolen his earnings(Voices of Angels: https://www.youtube. com/watch?v=n9rsGUmeVvM).
P. Macenko was profoundly disheartened that «in the vast sea of Ukrainian culture in America and Canada lived our esteemed composer and brilliant conductor, a great Ukrainian patriot—without stable means of livelihood... and our affluent community and its institutions, even though it hurts to say this, found no way to assist their distinguished compatriot and did not even consider making use of his talents!». To provide financial support for his colleague, who was suffering from a serious heart condition, Matsenko reached out to the residents of Winnipeg. They «collectively contributed and, in an effort not to offend Koshetz, sent the collected funds along with greetings for Christmas, Easter, his birthday, and other occasions. They requested that he accept the money and use it to purchase a gift for his wife» (Павло Маценко. Музиколог... – P. 36-37).
While living in Winnipeg, A. Koshetz and his wife were members of the Ukrainian Orthodox Cathedral of St. Mary the Protectress, and he served as an honorary member of the Ukrainian National Home. He was one of the founders of the Ukrainian Culture and Educational Centre (Oseredok). Thanks to a special grant from the federal government of Canada (Digital Access to Heritage), the digitization of AlexanderKoshetz’s cultural heritage was made possible. The project was developed and managed by collections curator Olesia Sloboda from 2022 to 2024.
It is also important to note that in honor of the 100th anniversary of Mykola Lysenko’s birth, Alexander Koshetz was invited to conduct the combined Ukrainian choirs in Winnipeg (1942) and in Montreal (1943).
Combined choirs in Montreal, directed by A. Koshetz, 1943(photo from the book «Chronicle of Ukrainians in Quebec» -«Літопис українців в Квебеку», 1992).
Summer Courses Choir in Winnipeg, 1943 (photo from the book «Pavlo Macenko. Musicologist…» - «Павло Маценко. Музиколог...»).
In 1943, the Regional Executive of the Ukrainian National Federation decided to allocate $175 to Koshetz each month – even when the organization itself was struggling to make ends meet! To support this, they borrowed $2,000 from an English lawyer. «We were worried, - recalled P. Macenko, - that he might refuse to accept it, so I proposed that he write the history of Ukrainian music». Koshetz was inspired by the idea of the book and, disregarding the «malice, envy, spite, betrayal, and baseless hatred» from his compatriots, spent considerable time in New York’s libraries, gathering the necessary information for his book and planning to «begin writing it in 1945». But, sadly, fate had other plans… (Павло Маценко. Музиколог... – P. 37-39).
Alexander Koshetz passed away at St. Joseph’s Hospital in Winnipeg (421 Pritchard Ave.) on September 21, 1944, shortly after a final concert to mark the completion of the fourth Higher Educational Courses at the Walker Theatre. On September 26, «The coffin of the late Mr. Koshetz was displayed in the Reading Hall, allowing the public to pay their final respects» (Півстоліття праці українського товариства читальні Просвіти у Вінніпеґу. Вінніпеґ, 1958. – P. 63). During the funeral services a large combined choir sangthe Panakhyda by Kyrylo Stetsenko, whose music A. Koshetz «loved to the point of obsession».
A brief obituary of A. Koshetz’s passing and details of the funeral services (The Winnipeg Tribune, Sep. 25, 1944).
The Rev. P. Mayewski officiated the memorial service on September 27, 1944, at St. Mary the Protectress Ukrainian Orthodox Cathedral (820 Burrows Ave.). The funeral costs were covered by the provincial Ukrainian Canadian Committee.
American Foreign Service: Alexander Koshetz. 1944 – US, Reports of Deaths of American Citizens Abroad, 1835-1974(Xenia Stanford: https://familyrootstracer.com).
An article in The Winnipeg Tribune dated September 22, 1944, announcing A. Koshetz’s passing; the funeral procession on the way to St. Mary the Protectress Cathedral (courtesy of the Oseredok archives).
The Memorial honoring Alexander Koshetz in the village of Tarasivka, officially opened in September 2000, stands on the site of the former church school, across the road where the Koshetz family home once stood; Scarboriv Lake and the ancient oak tree that “remember” A. Koshetz (photos by R. Nedostup).
Today, as Ukraine battles a brutal war against its most formidable enemy, putin’s katsapia, our Ukrainian song once again stands at the front line of defense! It instills strength and faith in our victory. Decades of our people living behind the iron curtain not only obscured the truth about our heroic past but also erased from our collective memory the names of our Great Ukrainians, including that of Maestro Alexander Koshetz. He is the Giant who conquered the world with our song and secured a “cultural victory” for Ukraine during the era of the Ukrainian People’s Republic.
Drawing on what has been written about Koshetzand the Maestro’s own words, we can confidently assert that he was both respected and revered, yet simultaneously belittled and despised! In the memories of those who knew him personally, he remains foremost a human being like us and a true patriot. In life, he was cheerful, witty, passionate, and extraordinarily sensitive and emotional. His contemporaries praised his punctuality, diligence, sharp intellect, exceptional erudition, phenomenal memory, and sense of humor. He could quote entire passages from his readings and remembered dozens of musical scores. He deeply felt and cherished the beauty of nature, loved tranquility and good company, was a keen observer, skillfully articulated his thoughts and ideas, and possessed a remarkable gift for accurately characterizing people.
He was a profoundly generous individual. He deeply cared for the lives of those close to him, providing financial support not only to his family but also to friends and colleagues. He extended his help to those who were in more difficult circumstances than he was. In one heartfelt letter, Ivan Masychenko expressed his gratitude, stating that the money was not a «gift, but a lifeline». During the tragic 1930s for our nation, he sent money to a specially established Committee for the Relief of the Starving in Ukraine. The local Oseredok retains original letters and documents that serve as evidence of this.
Maestro Koshetz was a strict figure who demanded discipline. Some accounts describe him as insistent that things be done his way, self-assured, fond of fame and praise, and somewhat proud. Nevertheless, there was no doubt or dissent regarding this political martyr, an immigrant by force, who had plenty of reasons to take pride in his accomplishments. At the cost of his health– sacrificed for Ukraine and his people – he earned respect and admiration! Not every artist has been personally greeted by the Queen of Denmark and presidents; not every conductor has been carried on the shoulders of true art enthusiasts after a concert, nor does every artist have their path adorned with flowers and receive laurel wreaths.
Not everyone was fond of Koshetz’s candid remarks about «short-pants critics» who «block out the world with their own figures», as well as his comments on certain artists and public figures that sparked outrage. While it is not for us to judge, especially after so many years, his heartfelt, humor-infused quips – such as «I think he became a composer just to spite someone...» and «What’s truly alarming isn’t what he writes, but the existence of people who actually publish his work» – bring a good-natured smile to readers.
In the later years of Maestro’s life, his closest friend, colleague, and ally was Pavlo Macenko, who believed that Koshetz was a «fighter for the beauty of the Ukrainian soul». He recognized him both as a remarkable individual and an exceptional artist, holding him in extremely high regard. He remarked that «out of a deep love for folk song and a desire to present its beauty to the world, he endured the abuses of the choristers, their revolutionary brutality, slights, and humiliations – all to pave the way for Ukraine’s name in the greater world. And he, weary and with a frail heart, emerged victorious» (Від редактора.//З піснею через світ. Ч. ІІ. – P. 5).
His reflections on A. Koshetz’s contributions to Ukrainian art: «...Koshetz was a prophet, an unmatched conductor. He could recognize and bring to life each song as a living entity... He carried on Mykola Lysenko’s work in harmonization but made visible modifications, ...with deeper transformations of the songs. Ultimately, he understood the songs more profoundly and accurately than Lysenko. These are my thoughts on Koshetz. I am a student of his pupil, the conductor Shchurovska. ...When she recalled Koshetz and his conducting among friends and students [in Prague], she found herself at a loss for words... She believed that Koshetzwas sent by God to spiritually save the Ukrainian people. ...In Koshetz lived something divine, a God-given gift that is beyond comprehension... He was a figure sent by God to illuminate the spiritual essence of the Ukrainian people...»(Павло Маценко. Музиколог... – P. 22-23).
Warm memories of the Maestro were also cherished by Walter (Volodymyr) Klymkiw, a devoted student and follower of A. Koshetz. He served as the long-time conductor of the Ukrainian National Federation Youth Choir in Winnipeg, which was named in honor of A. Koshetz in 1967 (Concert booklet: O. Koshetz Choir. 45 Years of Song and Friendship. Winnipeg, Manitoba. October, 1991). Before introducing a new song to the choir, he would always reflect on how Alexander Koshetz might have interpreted it. Following in his teacher’s footsteps, he would begin by explaining the meaning of the lyrics in his own words and, when necessary, provide historical context before moving on to learning the melody. Throughout this process, he emphasized the importance of proper pronunciation and breath control.
In the concert program commemorating the 50th anniversary of A. Koshetz’s passing, he wrote that people «had not forgotten that it was he that brought fame to Ukraine and its people – albeit short-lived – and they basked in the aura of greatness and personal magnetism that surrounded this man…
With this modest concert we wish to pay tribute to our teacher… It is our fervent hope that future generations – long after we’re gone – will be inspired by his music, his life and his immense love of all that is beautiful and noble in humankind» (Booklet of the Commemorative concert marking the 50th Anniversary of the passing of Olexander Koshetz, world renowned conductor, composer and ethnographer, from O. Babick’s personal archives).
Olha Babick (Solman), a participant in the Summer Courses in Winnipeg in 1943 and 1944, preserved not only photographs, brochures, and concert programs (of the Ukrainian National Federation Youth Choir/the O. Koshetz Choir) but also cherished memories of A. Koshetz. In her recollection, he was a pleasant, dignified, and approachable individual. Notably meticulous in both his choral conducting and personal appearance, he spoke exclusively in Ukrainian and paid particular attention to the pronunciation of song lyrics. The students, preparing to take the stage for a concert after two months of intensive practice, endeavored to meet the high standards expected of them, striving for perfection in every song they performed.
Olha devoted 67 years of her life to choral music, deeply connected to her native songs and the rich tapestry of Ukrainian culture. She fondly remembered her parents, who actively contributed to the community and the cultural life of local Ukrainians. Her father personally assisted Koshetz and worked tirelessly with the Ukrainian community to establish a Ukrainian Cultural and Educational Center in the city. Everyone participated voluntarily, as this endeavor was not just for themselves but for their children and grandchildren, aimed at preserving and passing on their cultural heritage, particularly the Ukrainian language. Notably, both the children and grandchildren of the Babick family are fluent in Ukrainian and play an integral role in the contemporary life of the Ukrainian community(Olha’s memories were recorded by the author on November 22, 2018).
Michael Woroby, a participant in the first Summer Courses held in Winnipeg, recalls that in the companyA. Koshetz was «cheerful, talkative, and told various interesting stories from his life, which always entertained those present and drew attention to him». During a rehearsal of the song «Rospryahajte, khlopci, kony...» (Роспрягайте, хлопці, коні...) when it came to the line: “...and we'll go chasing after our youthful days”, the Maestro suddenly burst into tears». This happened more than once...
M. Woroby also noted the «political and religious divisions» within the Ukrainian community at that time. He recounts the reception following a final concert, where representatives from «various political parties and confessions that were at odds with each other» were present. Koshetz addressed everyone in attendance, and one statement that resonated with the young Michael was: «What has brought you all together here? Without a doubt, it is our song! Let the Ukrainian song unite you always and everywhere!».These inspiring words received a «thunderous applause» and later became a rallying cry that was often repeated at «various gatherings and forums»(Спогад курсанта.//M. Головащенко. Феномен Олександра Кошиця. – P. 203-205).
Let the Ukrainian song unite us always and everywhere!
Halyna Kravtchouk, Winnipeg, Canada
male health
