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Sunday, May 25, 2014

Donna Mateyko - The Cavaliers and Gordon Menders

 
 
SIDE 1.
1. Y ЛУЗІ НАД ПРУТОМ - IN THE PRUT VALLEY - Donna and Donna
2. НА ГОРОДІ КЕРНИЧЕНЬКА - A WELL IN THE GARDEN - Donna and Donna
3. ЧИ Я В ЛУЗІ? - IN THE MEADOW
4. ОЙ ДЖИГУНЕ, ДЖИГУНЕ! - A VILLAGE FLIRT
5. ДОБРИЙ ВЕЧІР, ДІВЧИНО - GOOD EVENING MY GIRL - Donna and Donna
6. ТА ТУМАН ЯРОМ КОТИТЬСЯ - THE SPREADING MIST
SIDE 2.
1. КОЛОМИЙКА - KOLOMEYKA
2. СОНЦЕ НИЗЕНЬКО - AT SUNSET - Donna and Donna
3. ОЙ ЛЮБИВ ТАЙ КОХАВ - HE LOVED HER DEARLY
4. ОЙ Y САДОЧКУ - IN THE GROVE - Donna and Donna
5- ЗАГРАЙ МИ ЦИГАНЕ - PLAY GYPSY, PLAY - Donna and Donna
6. ОЙ Y САДУ, САДУ - IN THE ORCHARD


КОЛОМИЙКА - KOLOMEYKA


НА ГОРОДІ КЕРНИЧЕНЬКА - A WELL IN THE GARDEN

CREDITS COVER PHOTO: David Portigal
ENGINEERS: Warren Barker and Michael Arbuthnot Arbuthnot Recording Studios
 
УКРАЇНСЬКА UKRAINIAN LANGUAGE
donna mateyko the CAVALIERS orchestra and GORDON MENDRES
 
DONNA MATEYKO has performed on many albums as an extra attraction to help make an album a more acceptable package along with the performing orchestra. Here, for the first time is a complete Donna Mateyko album. For the first time, she is the "Star" not an added attraction. All musical arrangements were made for her. The tempos were directed by Donna. Gordon Mendres joins her in three songs, and in "Play Gypsy Play", "A Sundown " and "Prutt Valley" Donna has overdubbed ' a harmony part.
Though the Cavaliers orchestra is mainly used as accompaniment, instrumental solos by members of the orchestra give variety to each selection. Some of the numbers were recorded as many as six times before Donna was satisfied with the tempo. The listener will find great enjoyment in the contrast from slow to extremely fast, where words of a song move with great speed and clarity.
 
THE CAVALIERS:
MAURICE YUNIK Violin and Viola
TODD BARANIUK Accordion
GORDON DUKE Drums
KEN KLETKE Guitar
WILF WOWCHUK Bass
Vocalist in duets with Donna: GORDON MENORES
 
UKRAINIAN RECORDS • P.O. BOX 1493 • WINNIPEG 1, MANITOBA
Album UK 5013

 
 

Sunday, May 18, 2014

Ed Evanko - Дарую пісню цю - I dedicate this song to you

 
Side One
ДАРУЮ ПІСНЮ ЦЮ/ I Dedicate This Song To You
Y КАРПАТАХ ХОДИТЬ ОСІНЬ/ Dana,Dana with Irena Welhasch
ТАМ ДЕ ЯТРАНЬ KPYTO В'ЄТЬСЯ/ Where The Yatran River Flows
БАЛАДА ПРО ДВІ СКРИПКИ/ The Ballad of Two Violins violin solo: Arthur Poison
ТЕ СКАЗАЛА ПРИЙДИ, ПРИЙДИ/ You Beckoned Me To Come with the Koshetz Choir director: Walter Klymkiw
 
Side Two
СТЕЖЕЧКО МОЯ/ My Destiny
ВОДОГРАЙ/ Watersong with Іrenа Wettuueb
ЗА ДЕСНОЮ/ Beyond The Desna River with Irena Welhasch
З СИРОМ ПИРОГИ/ Pyrohy (with cheese)
ПОВІЙ ВІТРЕ НА ВКРАЇНУ/ The Wind Blows Over The Ukraine with the Koshetz Choir

БАЛАДА ПРО ДВІ СКРИПКИ

З СИРОМ ПИРОГИ

ТЕ СКАЗАЛА ПРИЙДИ, ПРИЙДИ

 
Produced and Arranged by Lee Norris
Violins Arthur Poison Concert Master
Charles Dobias, Eugene Kowalski, Michael Zaitzeff, Jacob Gurevich, Ray Chrunyk, Robert Kraichy
Cellos Clara Belkin,Gary Stucka
French Horns Kenneth Strahl,Norman Mackay
Flute-Clarinet Jim Ruth
Percussion Owen Clark
Guitar Ron Halldorson
Accordion Gordon Fleming
Bass James Cordepal
 
I would like to pay special thanks to Helen Balas, Irena Velhasz, The Koshetz Choir and their conductor, Walter Klymkiw, Julian and Barbara Koziak and The Taras Shevchenko Institute, without whose support this record would never have happened.

 

 
Distributed by Destiny Productions 4715 Malmo Road Edmonton. Alberta (403)434-7523
Engineer John Hildebrand
Design Integrated Graphics
Back Cover Photographs Ray Strokon
Recorded by Century 21 Studios Winnipeg, Canada
Amethyst Records BEL-79-1 Stereo
Manufactured by / Fabrique par CBS Special Products 1121 Leslie Street, Don Mills, Ont, M3C 2J9
 
 

Phil Starr - Ukrainian Accordian Festival - Phil. LaPenna

 
SIDE A
Kolomeyka
Plyvut Husonky - Trembolyanka
Kolo Hoju Pokhozhaja — Staniz
Hopak
Ukranian Waltz Medley
Kolomeyka V Pered 

SIDE В
Verhovina - Kolomeyka
Yakit Lystok Zelenenkig — Hutzulka
Tse Dur Mazurka
Kosachock
Waltz De Zhoda
Kolomeyka

Ukranian Waltz Medley


Verhovina - Kolomeyka


Kosachock


Phil LaPenna is a native Canadian, who like many a superb musician, was exposed
to music of many nationalities at an early age. In Phil's neighborhood, the people of
several national backgrounds mixed easily with one another, and exchanged the stories,
culture, and songs of their native lands. '
It was a natural result of this environment that when Phil, began playing accordion,
he became quickly accomplished In playing the songs of many countries including the
Ukraine.
If you are of Ukranian descent, you'll enjoy the authentic interpretation of familiar
songs, played to perfection. Even if you are not Ukranian, it's certain you'll enjoy these
beautiful and haunting melodies flawlessly performed by this recognized virtuoso of
International music.

A product of Arc Sound Ltd., Toronto, Ont.
A 619

Konzerty Volume 2 D. Bortniansky Musicus Bortnianskii Myron Maksymiw Conductor


Side 1:
Konzert XII:
Bozhe pisn' novu vospoiu Tebi.
0 God, I will Sing a New Song to You.
Moderate; Allegro moderato; Largo; Andante sostenuto.
Konzert XXVI:
Hospody Bozhe Izrailev.
Lord, God of Israel.
Largo maestoso; Largo e sostenuto; Andante moderato; Adagio; Allegro commodo.
Konzert XXIV:
Vozvedokh ochi moyi v hory.
I Lift Up M.y Eyes toward the Mountains.
Adagio; Andante moderato; Allegro maestoso.

Side 2:
Konzert I:
Vospoite Hospodevy.
Sing to the Lord
Allegro; Andante con moto, Largo; Allegro moderato.
Konzert XXII:
Hospod' prosvishchcniie moie.
The Lord is My Light.
Moderate; Allegro; Adagio; Moderato.
Konzert XVI:
Voznesu Tia Bozhe moi.
I will extol You.
Largo; Allegro moderato; Largo; Moderato.
Konzert XIII:
Raduitesia Bohu.
Sing joy fully to God.
Moderate; Adagio; Allegro moderato.

Konzert XIII


Konzert XXVI


Konzerty Volume 2 D. Bortniansky Musicus Bortnianskii Myron Maksymiw Conductor
Dedicated to the 1988 Celebration commemorating 1,000 years of Christianity in Ukraine

Performers:
Soprano 1:
Lydia Adams, soloist
Lynda Maxwell
Judith Young, soloist
Kathleen Zambrick
Soprano 2:
Linda Beaupre
Olena Jatsyshyn, soloist
Lillian Papiz
Alto 1:
Susan Cooper, soloist
Natalia Stecura
Alto 2:
Valerie Nunn, soloist
Hildegard Stelmacovich
Tenor 1:
David McConell
Theodore Ross
John Stelmacovich
Edward Wiens, soloist
Tenor 2:
Peter Mac Donald
Douglas Rose
Baritone:
Gordon Burnett
David King, soloist
Ihor Stecura
Bass:
Timothy Cadan, soloist
Nelson Lohnes, soloist
Yaroslaw Shchuka
John Tymkewycz
Bill Zambrick

Musicus Bortnianskii (Toronto), founded in 1981, is a performing arts organization, consisting of both professional and amateur musicians. With each performance Musicus Bortnianskii unveils the untapped wealth of baroque and classical music of Ukraine, and also familiarizes audiences with the lesser known works of the European Masters. This recording project of Bortniansky's thirty-five Konzerty (in 5 volumes) is the second of a series of recording projects by Musicus Bortnianskii planned o commemorate the Millenium of Christianity in Ukraine in 1988, the first being the recording of Jerusalem Mattins by M. Fedoriv released in 1984. Since Musicus Bortnianskii has already premiered and performed most of Bortniansky's konzerty (both for single and double choir) at its concerts, the release of a complete set of 35 Konzerty for single choir is but a continuation of the pioneering spirit shown by Musicus Bortnianskii.

Dmytro S. Bortniansky (1751-1825), born in Hlukhiv (Ukraine), is a Ukrainian classical composer. At age seven, Bortniansky, recognized for his outstanding voice and musical abilities, was accepted as a chorister and student of the Imperial Chapel Choir of St. Petersburg. It was here in St. Petersburg that Bortniansky's talents caught the attention of Baldassare Galuppi, who at that time was composer to the court.
1769, at Gallupi's request Bortninsky moved to Venice. Here he continued his studies with the Master in the tradition of the great venetian polyphonists.  During his ten year stay in Italy, Bortniansky travelled extensively, visiting various musical centres such as Florence, Milan, Rome, Naples, and Bologna, where he also studied with Padre Martini. Throughout this period he composed many of his operas, sonatas for violin and harpsichord, Masses, and other vocal and orchestral works.
Upon his return to St. Petersburg in 1779, Dmytro Bortniansky was appointed Kapelmeister, and local Director of the Imperial Court Chapel. There he composed four more operas, 35 sacred konzerty for single choir, 4 Те Deum for single choir, and 20 konzerty for double choir. During this period, Bortniansky also developed his symphonic and chamber works, and became the first composer to introduce the art song to the courts of St. Petersburg.
Dmytro Bortniansky, being both a prolific composer and outstanding musician, made significant and important contributions to 18th Century music. His best works can be put alongside the greatest musical achievements of that time.

Bortniansky "... shows rare skill in the grouping of vocal Masses,
a miraculous sense of nuance and resonant harmony, and — still more surprising — an incredible freedom in the handling of the parts..." [Barzun, Jacques Hector Berlioz, Evenings with the Orchestra; The University of Chicago Press, 1956]

The konzert as a genre occupied a prominent place in the church music of 17th century Ukraine. Since instruments were not allowed in the Eastern rite church, the celebration of feast- days and other church events was enhanced with the participation of the choir. The konzert style lent itself most favourably to these various celebrations. It was not uncommon on these occasions to have services such as the mass, vespers or mattins performed in double or triple choir. Although most konzerty in the pre-Bortniansky period were written for the church, a great number of konzerty were secular; these were either of a humorous nature, didactic, polemic or panegyric. While Bortniansky's konzerty belong to the category of sacred konzerty (because of the text), many of them were written for both sacred and secular events.
A close analysis of the structure and the use of the theme in Bortniansky's konzerty reveals a definite influence of early classical instrumental music. Although the form of his konzerty is not fully developed, it has definite elements of the classical sonata cycle. Typical is the three movement scheme, where the first and third movements, marked "Allegro" are in the tonic. The second movement, a cantabile usually marked "Largo" or "Adagio," is in a contrasting key. This movement,
transcribed for instruments, is characteristic of any sonata or string quartet "Adagio" of the 18th century. Bortniansky's  "Adagio" forms the perfect antithesis to his "Allegro."
In the first movement there is often a second theme brought in for contrast. It is accompanied by a modulation characteristic of the sonata exposition. Not all of Bortniansky's konzerty use the three movement scheme or sonata cycle; some have four movements. Those konzerty that use the three
movement scheme are usually in the major key and belong to the category of festive or triumphal,
meditative or reflective konzerty. Those using a four movement scheme are in the minor key and
belong to the category of tragic or pathetic (pathctique) konzerty.

Myron Maksymiw was born in Germany, spent his childhood years in England and his formative years in Rome, Italy, where he received his high school education. In 1968 he moved to Toronto, Canada, where he presently resides. He graduated from the University of Toronto's Faculty of Music conducting programme after receiving his M.A. degree in Slavic Languages and Literature from the same university. Mr. Maksymiw is the Music and Artistic Director of Musicus Bonnianskii (Toronto; which he founded in 1981.

Andrew Marshall is a well-known broadcaster, writer and recordist; his work, heard on radio stations in Canada and the United States, includes concert broadcasts by the Kitchener- Waterloo and Hamilton Philharmonic orchestras, which he engineers, writes, produces and hosts. He has also produced numerous phonograph records, most of these employing purist microphone techniques and
audiophile production methods. This LP is one of these. Mastering was digital, using Technics equipment. The coherent microphone array consisted of AKG 460ULS and Neumann KM84 condenser types, with cables by Mogami Neglex, and interconnects by Esotric Audio, Vecteur, and
Monster Cable.




Musicus Bortnianskii wishes to acknowledge the assistance of the following:
Benefactor Ukrainian Canadian Foundation of Taras Shevchenko (Winmpeg)
Patrons
His Grace, Most Rev. Archbishop Maksym Hermaniuk
His Grace, Most Rev. Archbishop Steven Sulyk
Most Rev. Bishop Isidore Borecky
Most Rev. Bishop Michael Hrynchyshyn
Rev. B. Malowany, OSBM
Helen Campbell
Irene Duwalo
Jaroslawa Hima
Oleh and Bozhena Iwanusiw
Liilian Papiz
Prometheus Foundation (Toronto)
Ukrainian Redemptorist Fathers: Rev. Michael Bzdel, C.Ss.R.,
Provincial Superior Rev. Yaroslaw Dybka, C.Ss.R.

Credits:
Producer and Engineer: Andrew Marshall
Disc Mastering: McClear Place, Peter Norman
Design Concept:
Olena Jatsyshyn
Myron Maksymiw
Art Direction: Dennis Mason
Recorded at St. Martin-in-the-Fields, Toronto

Musicus Bortniansky (Toronto)
191 Lippmcott Street Toronto, Ontario Canada M5S2P3
© Copyright 1986 Musicus Bortnianskii
All rights reserved. Unauthorized duplication is a violation of applicable laws.
MBMR002 AMCS Stereo
(A Canadian recording)
Transliterations and translations of text included inside.




Sunday, May 4, 2014

Radomski Ensembe



SIDE ONE
1. POLKA "Semena"
2. FOX TROT "Pleve Kachur"
3. FOLK DANCE "Kiriak"
4. FOX TROT "Narodni"
5. POLKA "Rudomskoho"
6. FOX TROT "Kazale Lyde"
7. MARCH "Sokolarski"

SIDE TWO
1. LIVELY FOLK DANCE "Husulka"
2. FOX TROT "Letile Huse"
3. POLKA "Kanadeyska"
4. POLKA "Chervonyava"
5. WALTZ "Mriyi"
6. POLKA "Oto moya bila"
7. POLKA "Molodaya"

Letile Huse

Pleve Kachur



Featuring: METRO RADOMSKI — Fiddle
Wm. MALAYKO — Dulsimer

Ukrainian Record

This being the first release of the Radomski Ensemble in a long playing record, and anticipating a distribution of this record beyond the boundaries of Alberta, into other provinces where thousands of Canadians of Ukrainian origin reside, I have taken the liberty of including a photograph of a memorial which was erected at the Alberta Elk Island park some thirty miles east of Edmonton. This memorial which was erected in the summer of 1963 shall serve the purpose of reminding the younger
generation of the hardships and toils the pioneers assumed in order that the future generations reap the benefits of this new and better land. No doubt many of the thousands of poverty stricken and oppressed Ukrainian peasants who left their native land and came at Canada s invitation to help develop her vast natural resources, had intended to stay in this country only long enough to make a small fortune and return to their native villages. However, the comparatively favourable circumstances here, in contrast to the oppressive foreign subjugation of Ukrainian lands by historical enemies, dispelled the hopes that many had entertained of returning to Europe. With their children growing up in Canada, they fully realized that they were better off in almost every respect in this
country than were their kinsmen in the Ukraine.
In only seventy odd years the Ukrainian Canadians, have not only witnessed but were a part of the greatest transformation in history, from an ox to a tractor, from illiteracy to the highest positions in politics, industry and commerce. Some of the technical advancements have created new problems but I doubt whether any memorial regardless of size can fully symbolize the appreciation of the Ukrainian Canadians in matters of economic justice and opportunity, freedom of assembly, of spoken and printed word, of action, and religious worship, as well as freedom to cultivate their own culture. Now that we are on the subject of transformation I should perhaps mention the great change of social tolerance. Having been brought up in an atmosphere of national and religious hatreds and class discrimination, the Ukrainians for many years perpetuated acts of intolerance in Canada. In time however, they gradually learned the Canadian practice of the golden rule, of actins towards others as they would want others to act towards them.
Space does not, permit me to go into detail pointing out merits symbolized in this memorial but I do want to bring; to the attention of the Ukrainian Canadians in other parts of Canada and U.S.A. that we in Alberta are not forgetting the pioneers. The music on this record is that of а man who has entertained the pioneers and the following generations and I might add that he is very active to this very day.
To thousands of city and country folks in northern Alberta the name Radomski is associated with the fiddle and a Ukrainian wedding. It is with great pleasure that I accepted the opportunity to introduce Metro Radomski to those in possession of this long play record, living outside the province of Alberta. In some respects Metro Radomski can be compared with Jack Benny, especially when it comes to age and his ability to entertain. Although Metro doesn't look a day over 45, he claims to have played at weddings for couples who are today receiving old age pension. It has been said by many who heard Metro Radomski on stage or radio that within this man exists a complete collection of feelings and moods of Ukrainian Canadians in Alberta which be can express at will, through his fiddle and bow. he two principle instruments used are fiddle, played by Metro Radomski, and dulsimer played by Bill Malayko. The fact that the fiddler is getting up in age even though he doesn't admit it, the following gentlemen have offered to provide the background music and for their efforts I extend to them my sincere thanks. Nestor Worobets on the trumpet, John Waschuk on the base,Eugene Warawa on the" guitar. Henry Brody and George Danyluk on drums. Ken Radomski on the saxaphone and yours truly at the piano. A special thanks goes out to Mr. Stephen Leskiw who recorded the music.
On behalf of Metro Radomski and all the other members of the band I wish you all many hours of pheasant listening and sincerely hope that this record will encourage other orchestral and choral groups to follow suit so that future generations could retain a link with their predecessors.
Henry J. Smichure
CT-30473