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Belarusian Music


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christopher
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« Reply #30 on: July 01, 2016, 12:40:20 am »

I have posted up two pieces by Yauhen Tsikotski (Evgeny Tikotsky in Russian, 1893-1958):

- The Song of the Stormy Petrel - heroic poem after Maxim Gorky (written 1920, revised in 1936)
- Lyavonikha

Lyavonikha is the name of a dance which is popular in Belarus, and this is Tsikotski's arrangement of it. According to (Russian) Wikipedia:

It is performed in pairs with solo variations also being performed under the same name. It has comic content, is dynamic and cheerful. A lively tempo in 2/4. The dance consists of traditional patterns (circle, asterisk, snake, gate), with different transition lines in pairs or with a change of partners and whirling in pairs, arm in arm. At weddings, "Lyavonikha" is the main dance and is often accompanied with rhyming playful couplets. In some areas of Belarus "Lyavonikha" is performed as a solo dance. Performers go one by one out in the middle of the circle and dance as best they can. Movements of the dancers are very different - the tramp, gallop,.... "Lyavonikha" has entered the repertoire of many professional and amateur groups, and is used in the ballet "The Nightingale" by Mikhail Kroshner, and "Prince-Lake" by Vassili Zolotarev.


The Song of the Stormy Petrel was a poem written by revolutionary Russian write Maxim Gorky in 1901 and is an important piece of Russian revolutionary literature. It was swiftly banned by the censors and Gorky was arrested.  It is halfway between prose and poetry, and was written in unrhymed trochaic tetrameter, which when read aloud gives its rhythm a powerful sense of urgency and something-dramatic-about-to-happen. Reportedly it was one of Lenin’s favourite works.

The Russian for stormy petrel is “burevestnik” which can be translated as “storm herald” or “storm bringer”.

From Wikipedia:
Maxim Gorky wrote "The Song of the Storm Petrel" in March 1901 in Nizhny Novgorod. It is believed that originally the text was part of a larger piece, called "Spring Melodies" and subtitled "Fantasy" . In this "fantasy", the author overhears a conversation of birds outside his window on a late-winter day: a crow, a raven, and a bullfinch representing the monarchist establishment; sparrows, "lesser people"; and anti-establishment siskins. As the birds discussing the approach of the spring, it is one of the siskins who sings to his comrades "the Song of the Stormy Petrel, which he had overheard somewhere", which appears as the "fantasy's" finale. In the "Song", the action takes place on an ocean coast, far from the streets of a central Russian town; the language calling for revolution is coded—the proud stormy petrel, unafraid of the storm (that is, revolution), as all other birds cower.

http://en.wikipedia.org/wiki/The_Song_of_the_Stormy_Petrel

Text as follows (English translation):

    High above the silvery ocean winds are gathering the storm-clouds, and between the clouds and ocean proudly wheels the Stormy Petrel, like a streak of sable lightning.

Now his wing the wave caresses, now he rises like an arrow, cleaving clouds and crying fiercely, while the clouds detect a rapture in the bird's courageous crying.

In that crying sounds a craving for the tempest! Sounds the flaming of his passion, of his anger, of his confidence in triumph.

The gulls are moaning in their terror--moaning, darting o'er the waters, and would gladly hide their horror in the inky depths of ocean.

And the grebes are also moaning. Not for them the nameless rapture of the struggle. They are frightened by the crashing of the thunder.

And the foolish penguins cower in the crevices of rocks, while alone the Stormy Petrel proudly wheels above the ocean, o'er the silver-frothing waters.

Ever lower, ever blacker, sink the stormclouds to the sea, and the singing waves are mounting in their yearning toward the thunder.

Strikes the thunder. Now the waters fiercely battle with the winds. And the winds in fury seize them in unbreakable embrace, hurtling down the emerald masses to be shattered on the cliffs.

Like a streak of sable lightning wheels and cries the Stormy Petrel, piercing storm-clouds like an arrow, cutting swiftly through the waters.

He is coursing like a Demon, the black Demon of the tempest, ever laughing, ever sobbing--he is laughing at the storm-clouds, he is sobbing with his rapture.

In the crashing of the thunder the wise Demon hears a murmur of exhaustion. And he is knows the strom will die and the sun will be triumphant; the sun will always be triumphant!

The waters roar. The thunder crashes. Livid lightning flares in stormclouds high above the seething ocean, and the flaming darts are captured and extinguished by the waters, while the serpentine reflections writhe, expiring, in the deep.

It's the storm! The storm is breaking!

Still the valiant Stormy Petrel proudly wheels amond the lightning, o'er the roaring, raging ocean, and his cry resounds exultant, like a prophecy of triumph--

Let it break in all its fury!
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« Reply #31 on: July 06, 2016, 12:17:48 am »

I've posted up a few pieces by Alyaksei Turankou (1886-1958 - Alexei Turenkov in Russian).  I'm particularly pleased to have found his "Doina - Moldavian Melody" - I've heard it played so often by street musicians all over Russia/Belarus/Ukraine and Moldova and always wondered what it is.  A version of it also featured in the black and white film "The Scarlet Empress" about Catherine the Great, in the wedding feast scene.
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« Reply #32 on: July 08, 2016, 03:47:24 pm »

Some biographical info on Turankou:

Information taken from both his Belarusian and Russian wikipedia pages.  Interestingly the Russian one completely omits that he was arrested, convicted by the NKVD and sent to the Gulag....

Born January 21, 1886 in St. Petersburg into a peasant family. From 1911 to1914 he studied at the St. Petersburg Conservatory in composition, was a student of composer Alexey Liadov and Nikolai Sokolov.

From 1918 Turenkov lived and worked in Gomel in Belarus where he was in charge of the music section of the city department of public education. He also taught at the local music school, played a part in the Gomel Symphony Orchestra, directed the choral amateur groups, later headed the music section of the Gomel oblast department of education. In 1934 he moved to Minsk where he was a deputy of the Supreme Soviet of the Byelorussian SSR. During the Second World War, he remained in occupied territory. In 1941-1944, he was an employee at the publisher VSHPLM (Publisher of School Textbooks and Literature for Young People) in Minsk and at the publisher Konstantin Ezovitov in Riga.

He was arrested in Minsk on 22.07.1944 and convicted by the extrajudicial bodies of the NKVD on 06.23.1945 as a "helper of the German occupiers”. Sentenced to 10 year hard labour and 5 years in prison with confiscation of property rights. He was transported to one of the concentration camps of the Gulag, where, according to A. Tsarankov, he almost died of hunger. He was released by 1947 and rehabilitated by the judicial board for criminal cases of the Supreme Court of the BSSR on 10.21.1959.

Turenkov made a great contribution to the development of Belarusian musical art, and became one of the founders of the choir genres, romance and popular songs in the Belarusian music. He was the author of a large number of pieces of music, including operas, ballets, suites, cantatas, orchestral works, songs, (including poems by A. Prokofiev, L. Oshanin, M. Rilsky, V. Lebedev-Kumach, E. Dolmatovski, M. Matusovsky , A. Zharov, Ya. Kupala, M. Tank and other well-known Soviet poets). He was the composer of music to films "The Fire Years" and "The Janusz Family." In 1940 Turenkov was awarded the title of Honored Artist of the Belarusian SSR.

He wrote the opera "The Flower of Happiness" (libretto by V. Borisevich, P. Brovka and P. Glebka, 1939), "Clear Dawn", and the ballet "Forest Fairy Tale". He wrote music for many dramatic performances ("Pinsk gentry" and others.) and for movies. He arranged Belarusian folk songs. Of particular importance in his work is the opera "The Flower of Happiness", which is defined by poetry, lyricism, coupled with national folk music, and music performance precision in the depiction of images and witty folk humour

He died September 27, 1958 and is buried in the Military Cemetery in Minsk.
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« Reply #33 on: July 09, 2016, 02:01:08 pm »

Quote
Interestingly the Russian one completely omits that he was arrested, convicted by the NKVD and sent to the Gulag....

I would say "typically" rather than "interestingly." Russian (particularly Soviet-era) sources seem to usually gloss over or omit this sort of information. One has to consult ethnic sources (Belarusian, Ukrainian, Latvian, etc.) to learn about these details.
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« Reply #34 on: July 11, 2016, 01:05:05 am »

Quote
Interestingly the Russian one completely omits that he was arrested, convicted by the NKVD and sent to the Gulag....

I would say "typically" rather than "interestingly." Russian (particularly Soviet-era) sources seem to usually gloss over or omit this sort of information. One has to consult ethnic sources (Belarusian, Ukrainian, Latvian, etc.) to learn about these details.

"Interestingly" was ironic...  Wink
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« Reply #35 on: July 11, 2016, 02:28:41 am »

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"Interestingly" was ironic...  Wink

I should have realized!  Embarrassed
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« Reply #36 on: August 17, 2016, 02:41:49 pm »

I have posted up some music by the Belarusian composer Ryhor Pukst (1900-1960).

Ryhor is Belarusian for Grigory.  Information taken from wikipedia in various languages, using google-translate:

Grigory Kanstantynavich Pukst (27 November 1900 in Gomel - November 11, 1960, in Minsk, Belarus) - Belarusian composer. Honoured worker of BSSR arts (1955).

He graduated from the Moscow Conservatory in 1928 where he was in the composition class of Julius Conyus. In 1929 he taught at the Omsk musical technical school, in 1932 moved to the Byelorussian SSR. Before World War II taught the Gomel musical college, then in 1945 - at the Belarusian State Conservatory, a music school and music school in Minsk. Since 1952 - choirmaster, then the artistic director of music broadcasting at Belarusian Radio.

Composer of operas "Masheka" opera (1945, on Kupala's poem "The Grave Lion"), "Marinka" (1955), "Svityazanka", 6 symphonies, choruses, songs. Author of famous "Perapёlachki" (1947). He wrote music for films and theater.
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« Reply #37 on: August 17, 2016, 02:55:55 pm »

I have posted up some music by the Belarusian composer Mikalai Churkin (1869-1964).

From wikipedia:


Nikolai Churkin (May 21, 1869 Stsepanavan, Armenia - December 27, 1964) - Belarusian composer and folklorist, one of the founders of the Belarusian professional music. People's Artist of Belarus (1949).

He graduated from the musical vuchshishcha Russian Musical Society in Tiflis (1892, class of M. Ippolitova-Ivanov), St. Petersburg AM (1899). A teacher, he taught music and drawing, guided by amateur choirs in Baku, Kaunas (1903), Vilnius (1905). In Belarus, in 1914, a teacher and a teacher's seminary schools, Head of Music subsection county executive committee, the organizer of amateur in Mstislavl, from 1924 teacher of pedagogical college in Mogilev, 1935 in Minsk.

He collected more than 3 thousand. Tunes songs and dances of different nations (Belarusian, Georgian, Armenian, Azerbaijani, Polish, Lithuanian, Tajik). 53 Belarusian tunes in his record and placed in the processing of "Belarusian collection" E. Romanova (No. 7, 1910.); made collections of "Belarusian folk songs and dances" (1949) and "The Belarusian folk songs" (1959).

One of the founders of the Belarusian professional music, the founder of the national symphonic genre, music for children. His music is characterized by optimism, strict classical form, melody, based on the Belarusian musical folklore. Among the works: the opera "Emancipation of Labour" (pastes thousand nine hundred twenty-two.) "Adolescence" by Kupala (piano, 1959-64), radyёopera for children "mittens" (1948 pastes.); musical comedy "Kok sagyz" (1939 pastes.), "Song of the Berezina" (1947 pastes.); 3 Simfonetta (1 925, "Belarusian picture"; one thousand nine hundred forty-nine, 1955), 4 symphonic suites; 4 suites, and the overture "In memory of Yanka Kupala" (1952) for orchestra of Belarusian folk instruments; 11 string quartets, choirs, songs; music for dramatic performances; folk songs and dances, songs for children on the words of the Belarusian poets.


May 21, 1869 was born Nikolai Churkin. Soviet composer, folklorist graduated from the Tbilisi School of Music in composition. He worked as a music teacher (1892-1914) in Baku, Kaunas and Vilnius. Since 1914 - in Belarus. He collected folk music, including Belarus (more than 3000 records, and many are included in the collection of Belarusian folk songs and dances, published in 1910, 1949, 1959).

Churkin belongs to the first creators of Belarusian Soviet opera ( "Emancipation of Labour", 1922). He - the founder of the national symphony genre (Sinfonietta "Belarus pictures", 1925). Among the works Churkin also a children's radio opera "The Glove" (1940), the musical comedy "The Song of the Berezina" (1947), pieces for symphony and wind orchestra, orchestra of folk instruments, chamber and instrumental ensembles (in t. Ch. 11 quartets ), choruses and songs to the words of Soviet poets, and others.

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« Reply #38 on: August 17, 2016, 04:24:51 pm »

I have posted up some works by Mikalai Aladau (1890-1972).

("Aladov" in Russian)

From Wikipedia (google translate):

Nikolai Aladov (9 December (21 December on the Gregorian calendar) 1890, St. Petersburg - 4 snezhnya 1972 Minsk, Belarus) - Belarusian composer and teacher. People's Artist of the Byelorussian SSR (1955).

In 1910 he graduated from the St. Petersburg Conservatory externally. During the Civil War, he worked in East Conservatory in Kazan, and in 1923 at the State Institute of Musical Sciences in Moscow. He was a song-Belarusian commission. He arrived in Minsk in 1924. One of the founders and first teachers of the Belarusian Music College and Conservatory. Since 1946 - Professor, and in the years 1944-1948 - Director of the Conservatory. In 1932 he participated in the creation of the Belarusian composers' organization. [1] During the war, in 1941-1944 he taught at the Saratov Conservatory.

He worked in many genres of music. His works of the 1920s and 1930s laid the foundation for many of the Belarusian professional music genres: processing folk songs, cantatas, vocal and symphonic poem, chamber and instrumental ensemble romance. He gave the first in the Belarusian music samples dramatic (first, 1930) and the lyric-psychological (fourth, 1953-54, and the fifth, 1956) Symphony. Comprehensive solutions distinctive genre opera "Taras on Parnassus" is defined by the author as music and drama joke in one act and written by Belarusian anonymous poem "Taras on Parnassus" and "Eneida inside out" and the poem V.Dunina-Marcinkiewicz "Hapon". [1 ]

Key shaped creative industries - lyric and dramatic. psychological and lyrical epic genre. An important place in the musical heritage occupy gumarystyyachnyya and satirical images. The composer characterized symfanichnasts musical thinking, extensive use of polyphony, proactive approach to folk material. Editor of many music publications (including works M.Churkina and R.Puksta), collector and researcher of Belarusian, Mari, Chuvash and Yakut folklore.

For the first time I met with the Yanka Kupala in September 1923, when Kupala with friends Inbelkult attended the All-Union Agricultural Exhibition in Moscow and became acquainted at that time with the literary and the musical community of the Russian capital. Domes Aladova interested in creativity, befriended him and helped move the composer in Minsk. Between the families of Kupala and Aladova established friendly relations. In 1923 he wrote his first songs on poems by Kupala "Byasputnasts", "C linden and birch broom", "summer", which is selected from the collection of the "Heritage", donated by the poet. Set to music many poems Kupala. [3]

The largest work on the words Kupala - vocal-symphonic poem for 5 soloists, choir and symphony arkestru "Over the River Aresay" (1933). The first work was performed by soloists, chorus and symphony arkestru Belarusian Radio under the direction of Aladova May 28, 1935 during the celebration of the 30th anniversary of the literary activity of Kupala.

Symphony (1921, 1930, 1951, 1953-54, 1956, 1960, 1963, 1965, 1967 1971)
Fortepiyanny Quintet (1925)
Cantata "10 Years" (1927)
Opera "Taras on Parnassus" (1927)
The vocal-symphonic poem "Over the River Aresay" (1933)
The collection of songs on poems by Kupala and Maxim Bogdanovich
Symphonic Poem "From the diary of a partisan" (1942)
Symphony-ballad "In the grim days" (1942)
Opera "Andrew Kosten" (1947)
Cantata "Forty Years" (1947)
Suites fantasy for symphony arkestru (1950)
Concert Fantasy for Violin and Orchestra (1950)
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« Reply #39 on: August 17, 2016, 04:33:55 pm »

I have posted up a piece by Karol Jelski (1780-1855).

Karol Jelski – Doctor of Medicine, talented amateur musician, received professional training from renowned musicians Kiefeling and Daschinsky. He was the composer of several instrumental chamber works, including Polonaise of 1837. He lived in the family estate of Dudzichny (now Pukhavichy district) and was a descendant of an old Belarusian family, which brought to the world many talented people, including musician-composers such as his sons Alyaksandr (1834-1916) and Mikhail (1831-1904).
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« Reply #40 on: August 17, 2016, 04:40:28 pm »

I have posted up a piece by Mikhail Yaukhimavich Kroshner (1900-1942).

From wikipedia:

Mikhail Yaukhimavich Kroshner (1900-1942) - Belarusian composer. Honoured Artist of the BSSR (1940).

In 1918-1931 he worked in concert organizations and theatres in Kiev and Moscow. He graduated in 1937 from the Belarusian Conservatory composition class of V.A. Zolotarev. In 1933-1938 he worked at the State Theatre of Opera and Ballet Theatre of Belarus.

The author of the first national Belarusian ballet "Nightingale" (based on the novel of S. Bedulev). In 1939, the ballet "The Nightingale" was staged at the Odessa Opera and Ballet Theater. He also wrote the music for the play "Tsvey kunimleh" ( "Two klutzes ") by A. Goldfadena in the State Jewish Theatre of the Byelorussian SSR (1940). Most of the creative heritage of the composer himself, and died during the German occupation of Belarus.
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« Reply #41 on: August 17, 2016, 05:09:01 pm »

I have posted up some works by Mikalai Ravensky (1886-1953).

His piece "Mahutny Bozha" (Almighty God) is wildly popular in Belarus and is an unofficial national anthem. It exists in many forms - a capella, choir with organ, solo....

from Wikipedia:

Nikolay Ravensky (5 December 1886 Kaplantsy estate, Igumen county now Berezino district, Minsk region - March 9, 1953, Leuven, Belgium) - Belarusian composer, conductor, music critic.

He composed music to several poems of Belarusian poets, author of music for the hymn "Almighty God", and composed religious music.

Born 1886 on the Kaplantsy estate in Igumen County (now the Cherven District). His father was the gardener.

With five years of singing in the church choir, he studied at the village school. In 1895 he received the full content of the Minsk Cathedral Choir, where he received his initial musical education. In 1903 he was sent to the Minsk monastery as a conductor of the Gdańsk choir.

In 1905 he received from the bishop of the direction in Novogrudok, where he worked as conductor of the  church choir and taught music in schools. In 1912-1914 he took courses in a choir in Moscow. With the outbreak of World War II he was evacuated from Novogrudok, and worked as a clerk and storekeeper in military construction. From 1917 – he was a teacher of singing and music in Igumen.

In 1919 he moved to Minsk, worked as conductor in a  church choir, and as a school teacher. In 1920 he began to work as head of the choir of the Belarusian Labor Club (Social Revolutionary) in Minsk. At this time were his first compositions - songs on poems by Maxim Bogdanovich, Constance Buylo, introduction to the poem "Hapon" Vincent Dunin-Marcinkiewicz, the song "Oh, Neman River" to words by Tishka Gartnogo. In 1922 in Minsk came the peak of his choral repertoire - "Collection of Songs with notes." After the banning of the Socialist-Revolutionaries he was arrested: on release he for some time worked as choirmaster at the Belarusian State Academic Theatre (1923).

In 1923 he moved to Moscow to continue his musical education, where he lived for seven years, after graduating in 1927 from the music college named after Stasov in 1930, in the composer conservatory department. At the same time in 1924-1930 he was a corresponding member of the Belarusian Academy of Sciences. In Moscow, Ravensky wrote songs to the words by Vladimir Dubovka and Yanka Kupala. Under the influence of V. Dubovka he turned to music criticism and wrote two critical articles in "The Hill".

In March 1930 he taught at the College of Music, the Belarusian State Conservatory. In 1938, he was expelled from the Composers' Union after his brother Anton was shot by Stalinists. His brother Alexander was later shot by the Nazis at the beginning of the second world war). With his first wife he had daughters. One of them, Lola, was connected to Isaiah Kazinets (a Jewish-Belarusian engineer and a leader of the Minsk Underground Resistance) and was  shot by the Gestapo after his arrest.  Another, Olga (married surname - Alekseenko) – was a soloist of the choir of the Belarusian Radio and TV

 In 1940 he moved to Mogilov, but a year later returned to Minsk, which was under occupation. Here on 23 June 1941 all his manuscripts perished in a fire. 

From 1943 he was the regent of the church choir in Igumen. In 1944, he returned to Minsk. With the start of the Soviet offensive he emigrated to Germany, while his wife and children remained in the BSSR. He worked as a worker at a sawmill near Munich, and taught in the Belarusian Gymnasium in Regensburg and Osterhofene.

From 1950, in Belgium in Leuven university he created a student ensemble of the Belarusian music. He gave many concert in Western Europe. He recorded phonograph records with Belarusian secular and religious songs. In his last years he was ill with something. He is buried in Leuven.

He arranged Belarusian folk songs and songs on poems by Maxim Bogdanovich ( "The Chase", "Slutsk weavers" and others.), Yanka Kupala, Yakub Kolas ( "My country", "Edge of our poor" and others.) K. Buylo ( "I love our land", a historical suite "mound" poem of the same name), T. Gartnogo, Z. Bedulev, which partly included in his "songs from the notes" (1922), V. Dubovka ( "Oh Belarus my dog rose "); Belarusian opera "Bronislava" (libretto by Vladimir Dubovka, not completed); Belarusian operetta "aerial" (by V. Dunin-Marcinkiewicz); music on texts of church prayers, including "Almighty God" (to words by N. Arsenyev).

MAHUTNY BOZHA:

"Almighty God" (author's name - "Prayer") - a poem written by Natalia Arsenyev in 1943. In 1947, Ravensky put it to music, after which "Almighty God" for the Belarusian émigré movement has become a real religious hymn.The piece has also been proposed as the official national anthem. "Mahutny Bozha" became a religious anthem, which is played at church services and other events.  In the autocephalous churches of the Belarusian Diaspora of worship usually ends with the singing of Mahutny Bozha.

Mahutny Boža! Uladar susvietaŭ,
vialikich soncaŭ i serc malych!
Nad Bielarusiaj, cichaj i vietlaj,
rassyp pramienni svaje chvaly.
Daj spor u pracy štodzionnaj, šeraj,
na lustu chlieba, na rodny kraj,
pavahu, silu i vielič viery,
u našu praŭdu, u pryšlasć — daj!
Daj uradlivasć žytniovym nivam,
učynkam našym pašli ŭmalot!
Zrabi mahutnaj, zrabi ščaslivaj
krainu našu i naš narod!


My God! Lord of the Worlds,
More sun and toddlers heart!
Over Belarus, a quiet and friendly,
scattering rays of his praise.
Give the dispute in the daily, gray,
on a slice of bread, on the native land,
respect, power and greatness of the faith,
our truth, in the future - give!
Give fertility wheat nivam,
our act went umolote!
Make powerful, to make happy
our country and our people!


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« Reply #42 on: August 17, 2016, 05:21:52 pm »

I have posted up a piece by Mikola Szczahłou-Kulikowicz (1893-1969).

It is a song (with orchestra) called Pahonia.  The pahonia is a symbol of Belarus - it's a mounted horseman holding a sword.    It was  the coat of arms of the Grand Duchy of Lithuania, the Belarusian Democratic Republic in 1918 and of the Republic of Belarus from 1991 to 1995. Image here - https://en.wikipedia.org/wiki/Pahonia

From various sources, using google-translate:

Nikolai Shcheglov-Kulikovich (4 April 1893 Smolensk - March 31, 1969, Chicago, USA) - Belarusian composer, musicologist.

He was born in the Belarusian Smolensk. Early left an orphan, often staying with his aunt, who was abbess of the convent in Tver. There the boy began to sing in the choir, and quickly attracted the attention of teachers of the Moscow Synodal Music School, searching the province for capable musicians.

He graduated from the Moscow Conservatory.

Introduced in 1936 in Minsk, he was one of the organizers of the Opera House and conductors of  its symphony orchestra. He worked as editor of the Belarusian Radio. In 1940 to the Belarusian arts decade he wrote a cantata in Moscow called "Stalin".

By the beginning of World War II, he was already a famous composer. He left under German occupation.

In 1944 he headed the music department of the Belarusian cultural cohesion. In the libretto Natalia Arsenyev wrote two operas: a lyrical-romantic "Forest Lake" and the historical "Vseslav the Wizard" and the operetta "in warmer climes." With music in the Minsk Shcheglova Drama Theatre was staged the play "sink ringing" on the play and was preparing G.Gavptmana "Kalinouski" A.Mirovicha, which banned by German censorship.

He left for the West during the advance of the Soviet army. Emigration continues to serve its inspiring muse. In 1946 Belarus will organize a traveling variety theater, which toured with concerts all West Germany. At this time, it is creating the music for the Holy Liturgy. Living from 1950 in the US, he published five collections of folk with melyasu and own songs, including "Russia, our mother-country" and "In the thickets" on poems by Natalia Arsenyev, "Pursuit" Maxim Bogdanovich.

Personal archive is stored in the Belarusian Library named after Francis Skaryna in London.

Nikolai Shcheglov-Kulikovich (4 April 1893 [1], Smolensk - March 31, 1969, Chicago) - Belarusian composer, muzykolag, ethnographer, poet and activist of Belarusian movement in exile.

He graduated from the Moscow Conservatory. From 1936 he lived in Minsk, worked as a music teacher, was one of the organizers of the Theatre of Opera and Ballet, the conductor of its symphony orchestra, since 1939 has been conductor of the Symphony Orchestra of the All-Belarusian Radio Committee, music editor of the Belarusian Radio. In doing creative work in Minsk during the German occupation. In 1943 he published "Collection midsummer and reaping Belarusian songs." Since 1944 in exile in Germany since 1950 - in the United States (Chicago). In 1950 founded in New York, the Belarusian choir then led the Belarusian choruses in Cleveland and Chicago. He left a legacy of great music; was the author of operas, symphonies, vocal pieces, arrangements of folk songs.

Works:
Dance with me, Tuka. - New York, Schirmer, Kawson Gould Music Publisher, 1972. - 14 p [2].
Belarusian music = The Whiteruthenian Music: A Short History of the Belarusian musical art. Part One. - Nu York: BINII edition, 1953. - 63 [3].
Belarusian musical culture / Nikolai Shcheglov. - Berlin: [b. etc.], 1944. -. 32. - (People's Library, number 6).
Belarusian folk song / Nikolai Shcheglov // Belarusian folk culture: Essays. - Vatenshtet, 1946. - 44 p. - S. 31 - 34.
Byelorussian Soviet opera / Nikolai Kulikovich. - Munich: Institute for the Study of the USSR, 1957. - 126 p. - (Research and Materials Series 2, Issue 60..).
Belarusian song collection. - Cleveland: Publisher Association of Belarusian youth, 1960. - 228 p. [4]
Belarusian song collection. Vol. 1: Ritual Belarusian songs and games, Christmas, spring and Kupala. - Cleveland: issued by the Association of Belarusian Youth in America, 1954. - 72 p.
Belarusian song collection [5]. Vol. 5: patriotic Belarusian songs for choir. - Cleveland: Association of Belarusian Youth in America, 1955. - 71 p.
Belarusian folk instruments / Nikolai Shcheglov // Belarusian folk culture: Essays. - Vatenshtet, 1946. - 44 p. - S. 12 - 17.
Costumed: Byelorussian Christmas Songs. - Clevland: Byelorussian Youth Assn. in Cleveland, 1961. - 17 [6].
Costumed: Christmas and Christmas songs with games / Processing circle Orthodox youth and Belarusian Students' Association. - Bialystok, 1989. - 17 p.
My book dovish = Book of the Dove. - New York: Galaxy Music Corporation, 1964. - 5. - (A Heritage of Folk songs).
Midsummer scene. - Chicago, 1966. - 2 [7].
Native motifs: Byelorussian songs and dances for accordion. - Cleveland: Byelorussian Youth Ass'n in Cleveland, 1967. - 54 p.
Soviet opera in the service of the party and government / AN Kulikovich. - Munich: Institute for the study of the history and culture of the USSR, 1955. - 149 p. - (Series II Research and materials, number 30.).
In collaboration [edit | edit source]
Fatherland: Installation / Natalia Arsenyev, Nikolai Kulikovich. - [Mihelsdorf Belarusian gymnasium named after Yanka Kupala, 1947]. - 2 s.

Goldfinches / Kulikovich Nikolai

04.11.1897, Smolensk, according to other sources in 1896 and 04.04.1893, Moscow - 31.03.1969, Chicago (USA)], the Belarusian composer, musicologist, musician Belarusian historian and professor. He graduated from the Moscow Conservatory. One of the organizers of the Minsk Opera House, conductor of his orchestra. Since 1936, he worked as an editor at the Belarusian Radio. In the early 1940s up to the Decade of Belarusian Art I wrote a cantata in Moscow "Stalin". In the years 1941 -1944 in Minsk he headed the department of the Belarusian cultural cohesion. Since the end of June 1944 in Germany, the head of the live band at the Ministry for the Occupied Eastern Territories. Since 1947 director and artistic director of the Belarusian theater stage. Since 1950 in the United States, living in New York, Cleveland and Chicago. Prints critical articles and essays in publications Institute for the Study of the USSR (Munich) and the Belarusian Institute of Science and Art (Chicago, USA). In 1953, in New York, published his book "The Belarusian musician: A Short History of the Belarusian musical art." Cleveland has issued several Belarusian dictionary edited them. The theme of the historical past of the Belarusian people is in the "Katerina" based on his opera (written in 1941, libretto Klimkovich), "Forest Lake" (staged in 1942), "Vseslav Wizard" (staged in 1943, both the libretto N.A.Arsennevay) . Author operetta "in warmer climes", symphonies, symphonic suites, concertos, songs and romances on the words of Yanka Kupala ( "I'm far away from you, the parent whip"), M. Bogdanovich ( "Chase"), U.Dubovki ( "Oh, Belarus my dog rose "). Author extremely lyrical music to the songs "vasilechkami", "Drinking song", "Cornflowers" in the words of the composer. The author of music to drama performances, works of church music, treatment of Belarusian folk songs. Compiled by "Belarusian song collections" (1954, 1955, 1960), collections of "Kolyadovschiki" (1961), "Native motives" (1967), theatrical works "Belarusian Song" (1942, unpublished), "Belarusian musical culture" (1944 ), "Belarusian Soviet opera" (1957). M.M.Shchaglova archive is stored in the Belarusian Library and Museum named after Francis Skorina (London), where the director is working Alexander Nadson (Barrel).
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« Reply #43 on: August 17, 2016, 05:38:15 pm »

I have posted up some extracts from two operas by Yauhen Tsikotsky (Tikotsky in Russian) - "Alesia, Maiden of Polesia" and "Mikhas Padgorny".

From various wikipedia, via google-translate:

Evgeny Karlovich Tikotsky (December 26, 1893, St. Petersburg - November 23, 1970) - Belarusian composer, People's Artist of the Byelorussian SSR (1953), People's Artist of the USSR (1955).

After demobilization in 1920 he lived in Bobruisk, since 1934 - in Minsk. He wrote the music for the Belarusian Radio, taught at the music school. After World War II Tikotsky led the Belarusian Philharmonic, then for 13 years as head of the Union of Composers of the BSSR. One of the founders of the Belarusian Opera and Symphony in Byelorussia. In the 1970s, when the city authorities destroyed the historic center of Minsk, E. Tikotsky was one of the most active defenders of the architectural heritage. Father of literary figure M.E. Tikotskogo.

In his honour is named a street in Minsk. He was a People's Artist of the Byelorussian SSR.


Evgeny Karlovich Tikotsky (Belarus Yaўgen Karlavіch Tsіkotskі; 1893-1970.) - Belarusian Soviet composer, and teacher. People's Artist of the USSR (1955).

Eugene Tikotsky born 14 (26) December 1893 (according to other sources - 13 (25) December 1893) in St. Petersburg in a noble family of Captain 1st rank (from 1899 Rear-Admiral, then vice-admiral retired) the commander of the cruiser "Africa" battleships "Hanko" and "Poltava", the first mayor of Nikolaev (1900-02), then commander of the Baltic fleet mine detachment Tikotskogo Karl Mikhailovich (1845-after 1917). Father of the composer played the cello and flute.

In 1911 he graduated from the Tsarskoye Selo real school of Emperor Nicholas II. He entered the natural separation of the Psychoneurological Institute in St. Petersburg, at the same time engaging in private musical courses.

Music education was limited to two years of private piano lessons and music theory at the C-Volkova Bonch-compositions studied independently. He began to compose at the age of 14 years, in consultation with his friend VM Deshevov, who studied at the St. Petersburg Conservatory.

In 1915 he went to the front, a member of the 1st World War (1914-1918). In 1919-1924 he served in the Red Army. He participated in the liberation of Belarus from the White Poles.

After the service in 1924 remained in Bobruisk, where entirely devoted himself to music, educational and creative activities. Since 1927 he taught at the music school. The first major work - Symphony (1927), written with Belarusian folk and revolutionary fact became one of the first works in this genre in the history of Belarusian music.

Since 1934, lived in Minsk, he taught at the School of Music, the composer worked on the Belarusian Radio. During this period, he wrote the music for a number of theatrical productions in Minsk. In 1939 he wrote one of the most famous of his works - the opera "Mihas Padgorny" (one of the first operas in the history of Belarus), in 1943 - another well-known patriotic opera - "Alesya, Maiden of Polesia".

During the Great Patriotic War, was evacuated first in Ufa, then in Gorky.

On his return to Belarus Tikotsky he worked as the artistic director of the Belarusian State Philharmonic (1944-1951), taught at the music school ten-year.

Member of the SC of the USSR since 1932, with the same time - a board member of the UK BSSR. Since 1948 - Member of the Board of the USSR SC. In 1950-1963 years - the chairman of the board SC BSSR.

Member of the CPSU (b) since 1948. BC Deputy Byelorussian SSR 4-5-th convocation.

Died November 24 (according to other sources - 23 November), 1970. Buried in Minsk in the Eastern Cemetery.

Awards and titles
People's Artist of the Byelorussian SSR (1953)
People's Artist of the USSR (1955)
BSSR State Prize (1968)
Order of Lenin (1944)
Two Orders of Red Banner of Labor (1940, 1948)
Order "Badge of Honor" (1964)
Medals
Creativity:
One of the founders of the Belarusian composer school. His works, written in the classical and romantic way to experience strong influence of folk motifs. One of the first Belarusian composers of opera and symphony, played an important role in the development of the Belarusian musical culture of the XX century.
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« Reply #44 on: August 17, 2016, 05:55:42 pm »

I have posted up a song by Konstanty Tyzenhaus (1785-1853) called "A Greeting Song for Tomasz Zan".  Tomasz Zan was a Polish poet and activist, and a co-founder of the Philomatic Association (1817), the Radiant Association (1820), and practitioner of the Filaret Association (1820-23) - all of them student organizations in Vilnius dedicated to Polish cultural and political activities. For his activity in those organizations he was exiled by the Russian authorities to Siberia (from 1824 to 1837). His poetry is mostly satirical, most known is the heroicomic 'Zgon tabakiery'.

Konstanty Tyzenhaus (1785-1853), ornithologist, artist, amateur musician. He was born in the small town of Zhaludok (nowin Shchuchyn district) and originated from a famous family, whose representatives held high positions in Rzeczpospolita (Polish-Lithuanian Commonwealth). He was the author of numerous scientific works on ornithology, was interested in painting (and took lessons from Jan Rustem). In his estate in Pastave he established an ornithological museum, a painting gallery and a rich library. He enjoyed home music practice and, in 1842, he composed A Greeting Song for Tomasz Zan based on the verse by Gabrielle Gunther.
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