SOUNDS AND VIEWS: Olexander Koshetz Choir on CD (06/15/97)

SOUNDS AND VIEWS

Olexander Koshetz Choir on CD

For all his conducting successes, Olexander Koshetz did not have luck in the recording studio. Outdated technology and unstable choral groups, which often disbanded as soon as they became well trained by Koshetz, canceled efforts to leave behind faithful and durable records of his immense knowledge and skill.

But Koshetz lost little time, and towards the end of his life was busy in Winnipeg transferring that knowledge to the younger generation. He taught the history of Ukrainian music and conducted the student choir at the Ukrainian Cultural and Educational Courses, inspiring scores of young people. Walter Klymkiw, the present conductor of the Olexander Koshetz Choir, was one of them.

Mr. Klymkiw assumed leadership of the choir only seven years after the death of Koshetz and must have decided then and there to make good with a durable ensemble. There is strong symbolism in that the anniversary of Koshetz's death in 1994 was followed immediately by the (likewise 50th) anniversary of this ensemble's conception.

Mr. Klymkiw is a product of both North America and Ukraine. His talent became honed by master conductors Robert Shaw and Robert Wagner, while his national commitment was strengthened by the close personal association with Anatolii Avdievskyi, champion of choral music in contemporary Ukraine. All of the above were highly successful in recordings, and Mr. Klymkiw's CD is merely the newest entry in a previous line of his quality disks and cassettes.

The bilingual CD brochure traces the choir's history and provides concise but incisive notes on the program recorded in the years 1991-1995. Credits include: William Solomon, conductor of the male choir; Roman Worobec, assistant conductor; Irene Chuchman, accompanist; and five soloists. I miss, however, a bio-sketch of Mr. Klymkiw, the modest mover of this production.

He divided the CD into four parts: The Liturgy No. 1 by Mr. Koshetz (excerpts); Songs of Christmas and New Year; Historical and Patriotic Songs; Folk Songs arranged by Mr. Koshetz.

The religious works by Koshetz have to compete with those of Bortnianskyi or Leontovych, but the Liturgy No. 1 is certainly rich in harmony and warm, devotional ambiance. "The Lord's Prayer," as heard here, is worthy of the text and a high achievement in religious sound. While this layer could still be improved in future recordings, the final excerpt, i.e. "Praise the Lord of Heaven," presents choral craftsmanship of the separate voices, and these work together as no other selection of this liturgy. It's simply the awe of the supernatural set to music. While Koshetz's Liturgy No. 4 has been available on cassette in Klymkiw's interpretation, the above sections from the No. 1 appear on CD for the first time.

V. Stupnytskyi's ever-charming "In the Early Morn" with brightly lit contrasts is followed by a carol from the pen of Hayvoronsky. While diaspora composers should not be neglected in North America, this item does not "sound," does not work as a composition, especially next to settings by Leontovych or Liudkevych.

Of special interest in this group, however, are two concise and concentrated miniatures by the contemporary composer/conductor Mykola Kolessa. His approach to New Year's carols is lively, marked by rhythmically spicy settings. Maestro Kolessa should be pleased by these (possibly first) recordings.

The historical and patriotic offerings by Lysenko and Koshetz are heard performed by fine female voices in focused sound accompanied by piano. "My Ukraine" by Ihor Shamo gives us patriotism in a lighter genre, employing this same, gentle women's choir. "Song of the Kozak" arranged by K. Stetsenko and "Song of Farewell" arranged by Zenowij Lysko are both musical pictures of farewell. Of the two, Lysko's is more recent, with fresher ideas. His rarely heard setting is skillfully executed and gets a sensitive performance here, in what must be the first recording.

The disc begins devoutly with Koshetz, and it ends with his arrangements of more wordly material. Thus, the CD program appears to be in a sort of classical ABA sonata form. And some of his settings of folk songs did become classics if only for their optimum sonic balances of mixed voices. Koshetz, after all, was not only a creative force focused exclusively on choral sound; in him accomplishments of the composer were only exceeded by feats of the conductor-genius. A practical artist, he knew beforehand how a piece would fare before an audience and how to improve still more on its success.

His folksong settings recorded here include: a melancholy Scottish song; a fine example of folk polyphony, i.e. multiple voice songs recreated/embellished; a 16th century piece in the Greek mode and other temptations. Since the humorous "Na Vulytsi Skrypka Hraie" is accompanied by piano, I could retitle this as "The Violin Plays with Piano," and both play exuberantly. But none of the above are as special as the arrangement described next.

This masterpiece never failed to impress demanding critics of Europe or crowds of Central and South America hungry for excitement. If the CD under review contained only this one selection, it would be worth its total price. The title "Lullaby" could only suggest the gently exquisite solo line, and those haunting and wide open fifths. Koshetz simply took the cute "Oi Khodyt Son Kolo Vikon" and in a rare state of inspiration provided "vocal orchestration" for mixed choir a cappella.

Just as Leontovych did an "enlargement" of the basic, modest "Schedryk" motif into a glorious "Carol of the Bells," so also Koshetz multiplied the folk melody/poetry on slumbering dreams by a piano miniature (on the same theme) of Vasyl Barvinsky. The piano may have been anathema to Koshetz, but here it became a blessing (of which the distinguished Barvinsky was unaware). So, play the choral lullaby but remember no listener can afford to fall asleep during this miracle ...

And how can anyone slumber during the final "Spring Song" filled with ritualistic games celebrating life's rebirth? It's a song for all springs, ours in 1997 or decades from now.

Conclusion

Resulting from many years of experience under one artistic director and conductor, the Olexander Koshetz Choir sounds even, pliable and sensitive to direction. The mixed voices, well-trained to work independently as needed, make "conversations" between choral sections not only possible but desirable. The wide dynamic range, audible immediately on this issue, includes a true triple piano (written "ppp" - i.e. very quiet singing). It's easy to shout but hard to whisper and be heard. Although I found the male and female soloists less successful, the female choir should be singled out as consistently pleasing and appealing.

Koshetz is hereby celebrated; he lives on and sounds through Walter Klymkiw's durable ensemble - the choir most consistently faithful to its spiritual father.

But this CD is not merely a result of responsible music making. It followed what must have been hundreds of hours of selfless community work and tiring toil. Titled "A Festival of Ukrainian Choral Music," the disc implies joy and celebration at the completion of the project. The cover celebrates green hills, blue waters and azure skies of Kyiv. Stealing the picture, however, is St. Andrew Church, slender, white and beautiful, but most of all - very tall. A hard road winds up to the shrine, symbolizing the path uphill of continued aspirations of composers, choristers and choirs - a hard road towards highest standards in musical art we ought to worship.

Direct inquiries and orders ($15 Canadian) to: Olexander Koshetz Choir, P.O. Box 3891, Station B, Winnipeg, Manitoba R2W 5H9.

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