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| "Zaporizhian March" | |
|---|---|
 Postcard«Hey, on the hilltop those reapers reap» with musical note by Amvrosiy Zhdakha (1911) | |
| Instrumental | |
| Released | 1969 |
| Songwriter | Oleksa Yushchenko [uk] |
| Composer | Yevhen Adamtsevych |
Zaporizhian March (Ukrainian:Запорозький марш,romanized: Zaporozkyi marsh) is an expressiveUkrainian folk musical composition that was preserved and revived bybanduristYevhen Adamtsevych. Themarch became more famous after itsarrangement byViktor Hutsal [uk] who merged the march with the folk song aboutDoroshenko andSahaidachny (Hey, on the hilltop the reapers reap [uk]).
It is widely accepted[among whom?] that the author of "Zaporizhian March" is theRomnykobzarYevhen Adamtsevych, a student ofMusiy Oleksiyenko. In particular, it is confirmed via the correspondence of the researcher ofkobzar performance O. Pravdyuk with thebandurist. In one letter to him Yevhen Adamtsevych wrote:
Now regarding Zaporizhian March.
In 1926 I heard the melody; the first part - from kobzar Ivan Kyrylovych Polozhai, the second part, themajor one, I composed and after combining them together, gave the name to Zaporizhian March.
Adamtsevych also first performed the composition in public in 1969. Subsequently, the march was arranged for an orchestra by the chief conductor of the State Orchestra of National Instruments,Viktor Hutsal. The main theme of the composition consists of syncopation and descending melodies which in the technique national bandurists played with fingers sliding on the strings that was first used by the bandura playerHnat Khotkevych, in instrumental accompaniment for his composition of a folk song aboutBaida ("Poem of Baida", 1912), which he orchestrated in 1930.
According to some assumptions, this work has been in the repertoire of teachers of Yevhen Adamtsevych.Pavlo Ohrimenko [uk], a respected expert on the creativity and heritage of Adamtsevych, believed that this march was co-authored with Musiy Oleksiyenko, and that the student picked up the first part of the march from his teacher and further continued the melody creation. This, in particular, is according to the memoirs of Oleksiyenko's children.[citation needed]
Also, some sources mention Prokop Mormilya, a native talent from the village Yaduty,Borzna Raion (nowNizhyn Raion),Chernihiv Oblast whom Yevhen Adamtsevych visited.[1]
Yevhen Adamtsevych first publicly performed the march in 1969 at a concert in theKyiv Opera Theater of Taras Shevchenko.
Eyewitnesses described the concert so:
In incredible gravitation of hearts for the tune people were raising from their seats. There exploded yet unheard under that vault a thunder of ovations.
I can hardly express what happened after the first performance of "Cossack March". Let me just say that the old Adamtsevych performed it at the request of the public three times. So there was broken an agreement not to perform more than two pieces. And none of kobzars fellows blamed Adamtsevych that he repeated three times his performance. Although his music was wordless, but after an attentive listening to a melody "Zaporizhian March" none of the performers insisted on singing over the program.
It was clear: something extraordinary has just happened. Above the fascinated hall sparked and extinguished wonderful moment which to repeat, to hold no one would.
— Serhiy Kozak (People's Artist of Ukraine),Polyovyi, R.Romny kobzar Yevhen Adamtsevych. Sumy Historic Portal. "Democratic Ukraine". December 1993.
Adamtsevych performed the march very expressively, vigorously, putting all his skills and emotional imagery. But the fact that he played by pinching lacked sonority. The conductor of State Orchestral Viktor Hutsal recollected:
I realized that this piece should sound at large scale and majestically. Writing a new march based on the old has become for me the primary objective.[2]
On April 12, 1970, the orchestra performed the remake of the march for the first time. The artistic director and conductorYakiv Orlov [uk] repeated the pieceou bis several times. Thus until 1974 the "Zaporozhian March" was performed at all concerts several times. The public always welcomed musicians standing. The composition became more famous after it was included in the soundtrack of theBorys Ivchenko filmPropala Hramota (Vanished Document) in 1972. After performing the march at theBolshoi Theatre inMoscow, it became an interest of party leaders who worried about a very heightened spiritual atmosphere among the audience. Communists have carefully studied the notes checking them with songs ofSich Riflemen. Although nothing was found, the march was banned, while Hutsal had to resign and join another group.[2]
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