{"id":8004,"date":"2023-03-03T09:13:02","date_gmt":"2023-03-03T08:13:02","guid":{"rendered":"https:\/\/herito.pl\/?post_type=artykul&p=8004"},"modified":"2023-07-17T14:22:55","modified_gmt":"2023-07-17T12:22:55","slug":"on-a-georgian-note","status":"publish","type":"artykul","link":"https:\/\/herito.pl\/en\/artykul\/on-a-georgian-note\/","title":{"rendered":"On a Georgian note<\/strong>"},"content":{"rendered":"
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For the first generation of composers, it was essential to identify not only the preference between the church or folk music, or dialects and forms\/genres, but also define the methodology on how they were going to use the traditional music language.<\/strong><\/p>\n

Georgian art music took its start in the beginning of the 20th century and reflected the whole turbulence of the country\u2019s historical upheavals from Tsarist Russia and the century before it, all the way through short independence period (1918\u20131921) and Soviet occupation (1921\u20131991) to the post-Soviet era. Notably, Georgian musicologists through the decades have discussed various issues concerning the development of the Georgian art music. However, the frame of reference depended on whether the research was done in the Soviet or post-Soviet times. Thus, after the Soviet Union collapsed, the revision of the history has become one of the most sensitive subjects for the contemporary art research in Georgia. The present article will attempt to give a historical overview of Georgian art music.<\/p>\n

19th century \u2013 building the musical concept for art music<\/strong><\/h1>\n

The foundation for the Georgian art music had already been prepared in the 19th century \u2013 one of the most dramatic times in Georgian history, when the threat of disappearing from the map had become reality and the existence of the nation was questioned due to strong Russification politics. Seemingly, Georgia as a phenomenon in music was mostly maintained only by its traditional culture. Against the background of Russification, the strong national self-determination movement was created, and the attention was drawn to the long-standing dilemma of keeping its identity, shaping the concept of nations\u2019 right to self-determination. The history of Georgian music before the independence was the history of preserving the traditional music as well as constant dialogue with various cultures. The three divine treasures \u2013 homeland, language, and faith \u2013 inherited from forebears were identified by Ilia Chavchavadze (regarded as father of the nation) as an identity statement for the country in the Caucasus, which has been occupied by various invaders throughout its existence. Due to the endless raids and conquests, Georgians also managed to build a sort of persistent protection shield for ensuring that the intangible heritage handed down orally from generation to generation won\u2019t be lost. For national art music, formation of the language expressing the musical \u201cwe\u201d was essential. It was more about an awareness of belongingness and recognition of difference between \u201cus\u201d and \u201cthem\u201d. Conceptually, musical \u201cwe\u201d was built on the pillars of reviving the traditional Georgian music (chant, folk music) as well as urban music, and adopting the European classical music experience.<\/p>\n

Reviving traditional music (Church music, folk) helped Georgians to overcome the trauma suffered from the Russification policy. What is more, Christian religion and church symbolised that Georgia\u2019s values continued to be European, while complex polyphony of folk songs and chants emphasised its difference from monodic cultures as well as Byzantine rule. What followed was the chance of moving the traditional singing (folk music and chanting) on to a different level, which seemed of great importance and fitted the national self-determination movement of the Georgians. This process was actually similar to the newly emerged national musical schools in the 19th-century Europe. The attitude towards the traditional music tune was different. For the first generation of composers, it was essential to identify not only the preference between the church or folk music, or dialects and forms\/genres, but also define the methodology on how they were going to use the traditional music language. For instance, Zaqaria Paliashvili and Dimitri Arakishvili collected, recorded, and examined traditional music and used it through either quoting (Meliton Balanchivadze, Zaqaria Paliashvili) or generalizing the language (Zaqaria Paliashvili, Niko Sulkhanishvili).<\/p>\n

However, traditional music was not the only musical tradition of the country. Georgia has always found itself as a meeting point for the West and East, its culture forming at the crossroads of Eastern and Western cultures. Tbilisi or Tiflis has always been a multinational, multicultural city and the meeting point for numerous ethnicities \u2013 for Arabs, Georgians, Armenians, Iranians, Ottomans, Jews, Europeans, Russians. It also came under the dominance of either eastern or western cultures over the centuries. Unlike chanting and folk music, urban musical culture did not cultivate choir singing of complex polyphonic songs, but mainly explored homophonic musical architectonics. Eastern style \u201cbore a clearly expressed Eastern colouring, characterized by melismatic ornamentation of basic pitches, harmonic major and minor descending tetra-chord with augmented seconds, alternation of meter\u201d, mainly being accompanied by Eastern instruments such as the duduk,\u00a0zurna, and others. This oriental style music formed the so-called Eastern branch of Tbilisi musical culture and influenced the musical language of the first generation of Georgian composers, especially those working in the genre of Romance and opera (Dimitri Arakishvili). By contrast with the Eastern tuning, the Western mode emphasized the dominance of major-minor system while exporting the European musical experience through opera performances and romance culture (Meliton Balanchivadze\u2019s works).<\/p>\n

In fact, the first generation of Georgian composers had three main musical sources to work with: church music, folk music, and city music. Thus, the main pillars for the future national compositional school had already been prepared: to use the cultural crossroad as a source for development in musical language, to strive to cherish and grow the national roots, and to combine and adapt both streams with the European musical tradition.<\/p>\n

 <\/p>\n

Music of the independence times<\/strong><\/h1>\n

Georgia declared its independence on 26 May 1918, which left an important trace on the country\u2019s history in many ways: mainstream Georgian culture of the independence times was linked with the modernism and mainly revealed itself through literature, art, theatre, dance, poetry (Titsian Tabidze, Grigol Robakidze, Lado Gudiashvili, David Kakabadze, Iakob Nikoladze, Paolo Iashvili, Ilia Zdanevich \u2013 the last one had a Polish parent \u2013 and others). However, Georgian art music was on a different plane compared to the local art as well as European musical developments. Independence gave Georgian art music the first generation of composers with two contradicting streams: musical romanticism (Zaqaria Paliashvili, Meliton Balanchivadze, Dimitri Arakishvili, Niko Sulkhanishvili, Viktor Dolidze) and modernism (Tamar Vakhvakhishvili).<\/p>\n

Romanticism fit the goal of creating model pieces with the embodiment of the national spirit, which in its turn showed \u201cwhere the nation was coming from\u201d (to use Ilia Chavchavadze\u2019s expression), and what it was striving for. Thus, the opera and choir turned out to be the most relevant for embodying the national spirit. Furthermore, the popularity of the European operas staged in Tbilisi during the 19th century seems natural due to the nation\u2019s traditional fondness for theatre. Three operas staged in 1919 (\u201cAbesalom and Eteri\u201d by Paliashvili, \u201cKeto and Kote\u201d by Dolidze and \u201cThe Tale about Shota Rustaveli\u201d by Arakishvili). Among them Paliashvili\u2019s and Dolidze\u2019s operas (\u201cAbesalom and Eteri\u201d, \u201cTwilight\u201d, \u201cKeto and Kote\u201d) rank high in the Georgian art music history. Paliashvili was \u201cable to create national opera in the European traditional form, with Georgian musical language and on Georgian plots\u201d.[1]<\/a> Paliashvili based his \u201cAbesalom and Eteri\u201d on a medieval Georgian folk poem \u201cEteriani\u201d and retold the story from an old legend that valued love as an eternal force for all mankind. After the legends kept in folk poetry, Dolidze introduced the inhabitants of the 19th-century city to his opera buffa. The musical language reflected the Tbilisi city music, where Eastern and Western styles exist alongside with the Italian opera music, dances, and kintos.<\/p>\n

Among other genres, choir music should not be overlooked. Niko Sulkhanishvili wrote the earliest a cappella choirs: \u201cThe Homeland of Khevsuri\u201d, \u201cPlough\u201d, \u201cGlory to Iveri\u201d, Chorale. Having expertise in the folk music singing, he never used quotes from it. In order to generalize traditional music features, he used all modes that might be heard in Kartl-Kakhetian folk songs and thus made east Georgian musical language the only aesthetical base without a hint on ethnic archaism.<\/p>\n

Unlike for other composers of the first generation with the modernist leanings, a more all-encompassing approach, where every style was good for expressing artistic vision, seemed close to Tamar Vakhvakhishvili\u2019s aspirations. Born in Warsaw, she was the first Georgian woman modernist composer to focus her attention on the ballet and pantomime and authored the first Georgian ballets: \u201cBacchus\u2019 Holiday\u201d (1918-19), \u201cHerb of Love\u201d (1920).<\/p>\n

 <\/p>\n

The way from independence to mortification<\/strong><\/h1>\n

As the country came to be occupied in 1921, Georgian art music found itself in new, socialist realist circumstances. The disadvantages of being a republic of the Red Empire were breaking the paradigm, confinement within the musical borders of the Soviet Union, and the need to fit into the new Soviet identity. Ideological folklore, mass songs glorifying the communist party, musical language without \u201cformalistic, abstract elements\u201d, national in form and socialist in content were the main features of the new musical rule.<\/p>\n

Politically driven art advanced through two main phases: 1921\u20131936 \u2013 imposition of the Soviet regime and adaptation; 1937\u20131953 \u2013 Red Terror before, during, and after World War II. The generation of \u201cfathers\u201d (the first generation of composers) and \u201csons\u201d (O. Megvinetukhutsesi, I. Tuskia, J. Gokieli, O. Taktakishvili, G. Kiladze, L. Gudiashvili, N. Tsagareishvili, S. Azmaiparashvili, S. Mshvelidze, E. Kereselidze, A. Bukia) shared the musical scene. Both \u201cfathers\u201d and \u201csons\u201d adapted to the new rules \u201csuccessfully\u201d. None of the pieces written from the 1920s to the 1950s has gained its place in the artistic life of the country so far. Due to the strong censorship, the \u201csons\u201d avoided working in the word-oriented genres and opera. It took nearly 10 years after the occupation started for the young generation to write the first Georgian Soviet opera. Their work activity was mainly in the instrumental and symphonic music. Mshvelidze is worth singling out from this generation, since he was the first who drove Georgian mountain folk music to the instrumental music and introduced generalised highlander musical mode (Pshav-Khevsuretian). His most valuable symphonic poems are \u201cMindia\u201d and \u201cZviadauri\u201d (both inspired by Vazha-Pshavela\u2019s poetry).<\/p>\n

Musical \u201cThaw\u201d<\/strong><\/h1>\n

The time after Stalin\u2019s death was a turning point for Georgian art music: firstly, composers of various generations active from the 1960s to the 1980s (S. Nasidze, S. Tsintsadze, A. Matchavariani, G. Kancheli, O. Taktakishvili, N. Gabunia, B. Kvernadze, J. Bardanashvili, Z. Nadareishvili) contributed to the fast and diverse development of art music in Soviet Georgia. Secondly, political thaw in the sixties was characterised by the information boom which whipped up a lot of interest towards modernism and the avant-garde. Generally, Georgian composers saw the chance for further developments in a close tie with modernism. They started to catch up on the achievements from the West that had not been accessible before (Bart\u00f3k, Penderecki, Stravinsky, New Vienna school, post-WW2 avant-garde etc.) and strived to find their own ways beyond the musical borders of the Soviet Union. In that regard, innovative approaches to and radical changes in the musical language, genre, and style turned out to be topical for the composers such as Sulkhan Tsintsadze (string quartets), Sulkhan Nasidze (symphonies), Giya Kancheli\u2019s symphonic and stage works. Taktakishvili\u2019s \u201cMindia\u201d, the landmark for the opera genre, bridged the gap with the first generation of composers after the series of unsuccessful attempts of the 1921\u20131953 period; \u201cTale\u201d by Nodar Gabunia brought the concept of new folklorism to attention; polystylistics in Bardanashvili\u2019s works and his experiments with the first rock opera \u201clight\u201d were also notable.<\/p>\n

The information boom was followed by the birth of unofficial music in the 1970s, which turned out to be a deviance from the norms of politically driven art (Mikheil Shugliashvili, Natela Svanidze, Teimuraz Bakuradze). However, new ideas were not in line with the official concepts of the ruling party, and consequently the unofficial art music was banned \u2013 Svanidze\u2019s and Shugliashvili\u2019s voices were not heard strong enough or not heard at all. Which is unfortunate, as Shugliashvili\u2019s adoption of different compositional techniques \u2013 structuralism, rationalism, algorithmic organisation of mathematical models \u2013 is an evident example of his experimental spirit (pieces written for three grand pianos: \u201cDa capo\u201d, \u201cPastorale\u201d, \u201cGrand Chromatic Fantasy\u201d); he was regarded as \u201cGeorgian analogue of Xenakis\u201d. Experiments with the new compositional techniques such as dodecaphony, serial, sonorist, aleatory techniques characterise works by Natela Svanidze (one of the neglected Georgian woman composers of Soviet times). It\u2019s known that she drastically changed style in 1963 after she first visited the Warsaw Autumn Festival. Soviet Union was the country without exit and the musical \u201ccontact zone\u201d which would have fostered the exchange of views and ideas, built bridges between communities, promoted various musical styles and trends, and therefore played a role of the information icebreaker was of outmost importance. Warsaw Autumn Festival occurred to be such a meeting point not only between the contradicting political blocs but also within the boundaries of the Soviet Union. Georgian Soviet composers were allowed not only to attend the Festival but also to be performed there. In various editions of the WAF, the following Georgian composers were represented: Otar Taktakishvili (1958), Sulkhan Tsintsadze (1959), Giya Kancheli (1991, 1995, 1997, 2007).<\/p>\n

The Post-Soviet 1990s<\/strong><\/h1>\n

Eka Chabashvili and Maka Virsaladze belong to the 1990s generation and represent the women composers of Georgian art music at the end of the 19th century. Chabshvili is engaged with the compositional techniques such as random structures, sonorism, polystylistics (in her \u201cpanorama\u201d, opera exhibition \u201cramble souls\u201d, plays for orchestra \u201cProverbs\u201d, musical novellas \u201cSeven Wonders of World\u201d, multimedia \u201cIdea of God \u2013 Spheres\u201d, hologram theatre \u201cThe Sound and the Fury\u201c). Virsaladze\u2019s \u201ccompositional style is characterised by exquisite sophistication, interplay between real and surreal characters, [\u2026] sometimes with the use of aleatory technique\u201d.[2]<\/a><\/p>\n

Instead of conclusion, the Georgian art music history is already over 100 years old and has never ceased to be a strong representation of the country\u2019s musical identity throughout the historical turmoil.<\/p>\n

 <\/p>\n

[1]<\/a> M. Sigua, Journal for Youth<\/em>, 2014, No. 4, p. 23<\/p>\n

[2]<\/a> Marika Nadareishvili, \u201cModern Composition Techniques in the Works of Georgian Women Composers\u201d, p. 211\u2013225, in: Music \u2013 the cultural bridge: Essence, contexts, references<\/em>, ed. Aleksandra Pijarowska et al., Wroclaw 2021, pp. 219, 221<\/p>\n<\/div>\r\n\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n<\/section>\r\n","protected":false},"excerpt":{"rendered":"","protected":false},"featured_media":8001,"parent":0,"menu_order":0,"template":"","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"tags":[969],"region":[659],"kraj":[810],"magazyn":[811],"class_list":["post-8004","artykul","type-artykul","status-publish","has-post-thumbnail","hentry","tag-georgia","region-east-europe","kraj-georgia-2","magazyn-herito-46-47-en"],"acf":[],"yoast_head":"\nOn a Georgian note - herito<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/herito.pl\/en\/artykul\/on-a-georgian-note\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"On a Georgian note - herito\" \/>\n<meta property=\"og:url\" content=\"https:\/\/herito.pl\/en\/artykul\/on-a-georgian-note\/\" \/>\n<meta property=\"og:site_name\" content=\"herito\" \/>\n<meta property=\"article:modified_time\" content=\"2023-07-17T12:22:55+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/herito.pl\/wp-content\/uploads\/2023\/03\/041.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"768\" \/>\n\t<meta property=\"og:image:height\" content=\"768\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/herito.pl\/en\/artykul\/on-a-georgian-note\/\",\"url\":\"https:\/\/herito.pl\/en\/artykul\/on-a-georgian-note\/\",\"name\":\"On a Georgian note - herito\",\"isPartOf\":{\"@id\":\"https:\/\/herito.pl\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/herito.pl\/en\/artykul\/on-a-georgian-note\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/herito.pl\/en\/artykul\/on-a-georgian-note\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/herito.pl\/wp-content\/uploads\/2023\/03\/041.jpg\",\"datePublished\":\"2023-03-03T08:13:02+00:00\",\"dateModified\":\"2023-07-17T12:22:55+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/herito.pl\/en\/artykul\/on-a-georgian-note\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/herito.pl\/en\/artykul\/on-a-georgian-note\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/herito.pl\/en\/artykul\/on-a-georgian-note\/#primaryimage\",\"url\":\"https:\/\/herito.pl\/wp-content\/uploads\/2023\/03\/041.jpg\",\"contentUrl\":\"https:\/\/herito.pl\/wp-content\/uploads\/2023\/03\/041.jpg\",\"width\":768,\"height\":768,\"caption\":\"Czarno-bia\u0142a fotografia. 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