OLONKHO
the Yakut Heroic Epos
(Detailed description as it was written in candidate application for the 3rd proclamation of masterpieces of the oral and intangible heritage of the humanity)
Musical Transformation of Olonkho
SPECIFIC TRAITS OF YAKUT EPIC SINGING
The names of Olonkho-performers T.V. Zakharov-Cheebyi, D.M. Govorov, N.A. Abramov-Kynat and others are well known among Olonkho-singers. At present time, the most famous among Olonkho-singers are D.A. Tomskaya from the Verkhoyanskyi region and N.M. Tarasov from the Gornyi region (died in 2001).
The musical abstracts from Olonkho, performed by U.G.Nokhsorov (1907- 1951) from the Amgynskyi region. The following fragments of Olonkho per formed by U.G. Nokhsorov were preserved: an introductory recitative, song of an warrior aiyy and of secondary characters "Song of Soruk Bollur", "Song of Kyys-Kyskyidaan", "Song of the Warrior's Bride", "Song of Timir Syuly- untai", "Song of Heavenly Shaman", "Song of the Tungus Warrior" from Olonkhos "Yuryung Uolan" (White Uolan) and "Nurgun Bootur". N.M. Bachinsky and K.G. Svitova recorded all these songs on the diskograph and phonograph at the Moscow Conservatory after P.I. Chaikovsky in 1946. In 1976, the restored fragments were recorded. In the ownership of the National Broadcasting Company "Sakha" are some preserved records of Olonkho fragments performed by this talented actor. Among these fragments one can men tion the Introduction and "Song of Yuryung Uolan" (Song of Bright Young Warrior), "Song of Abaahy Kyyha" from Olonkho "Yuryung Uolan".
Among scores of Olonkhos wtitten down by G.U. Nokhsorov there are the following records of Olonkhos "Song of the Low Land Warrior's Sister Kyys Kyskyidaan" from Olonkho "Yuryung Uolan" (the score was written down by S.A. Kondratiev); "Song of the Engaged Sister of the Low Land Warrior", "Song of Soruk Bollur" and "Song of the Heavenly Woman Sha man Aiyy Umsuur" from Olonkho "Nurgun Bootur the Impetuous" (writ ten down by E.A.Alekseeva), "Song of the Aiyy-Woman Khachylaan Kuo" and "Song of the Young Woman-Abaahy" (Song of Virgin Monster) from Olonkho "Yuryung Uolan" (written down by A.P. Reshetnikova and V.S. Nikiforov).
The musical fragments from Olonkho "Kyun Jellyut Bukhatyyr" performed by Olonkho-teller Prokopy Yadrikhinskyi (1900-1979) from the village of Ke- beken , the Namskyi region. Like U. Nokhsorov, Ydrikhinskyi represented the Central style of epic performing, that uses the so-called "tardan yllyyr" (drawl ing song) where broad and free drawling songs rich in kylyhakh (throat song) prevail. The record of E.E. Alekseev's performance of this particular song was made in 1977 in Yakutsk. N.N. Nikolaeva wrote down the song in a score, the text was written down by V.P. Eremeev. P.P. Yadrikhinskyi performed the frag ments of Olonkho "Young Woman-Bukhatyyr Jyrybyna Jyrylyatta".
"Song of the Bootur's Horse" from Olonkho "Ditya Sirotina" (An Orphan Child) by N.N. Nikolaeva performed by V.O. Karataev (1926-1990) from the Borogonskyi nasleg of the Vilyuiskyi ulus (region). Karataev's teachers were the famous Olonkho performers T.P. Gogolev and S.I. Sangyiakh. So, this fragment represents the Vilyuskyi regional style of epic singing, called "eten yllyyr" (recitative singing). This singing tradition is characterized by rhythmic and en ergetic singing with distinctly heard sounds. In this manner is sung Olonkho "Er Sogotokh the Strong" by V.O. Karataev (scores by N.N. Nikolaeva).
Some songs of these published materials were recorded from beginning to end, but in general, the records are fragmentary. The singer is supposed to vary the tune in the same manner.
Olonkho singing in the Central Lena region manner is characterized by all the features typical of the Yakut traditional singing as the sample of the national manner of singing. Thus, in the songs in the "djieretii yrya” style most characteristic of the Yakut singing, drawling ornamental introductions with the exclamation "Dje-buo", timbre throat additional sounds - kylyhakh sounding as a voice parallel to the key melody, melodically various tunes are utilized.
Olonkho singing by representatives of other Yakutia's regions differs from that of central regions. Epic singers from the Gornyi region are close to the Lena region's manner, but there are some minor differences. The last syllable of words is sung longer in the Gornyi manner, while the Lena region manner allows the last stressed syllable of words be sung shorter than other syllables in Olonkho fragments sung in the djieretii yrya style. In N.M. Tarasov's (1928- 2001) songs, almost all the types of the kylyhakh occur, with the prevalence of the kylyhakh - grace note.
D.A. Tomskaya and I.Kh. Rozhin (1906-1958) - Olonkho singers from the Verkhoyanskyi region. Their singing differs from that of other regions. Their choice of vowels in tune vocalization reflects the Verkhoyanskyi dialect belong ing to the dialectal group where unstressed 'o' sound is pronounced as 'a'.
Introduction into a song in the djieretii yrya style in Olonkhos sung by northern singers differs from introductory vocalized tunes of Olonkho singers from the Central and Vilyuskyi regions, characterized by the exclamation "Djee-buo". D.A. Tomskaya's singing in the northern style is characterized by laconic, mostly three- and four- note tunes of the introductory word "Buo", a shortened version of "Djee-buo". Often, alteration of the final vowel 'o' into 'y' occurs, as in the "Song of Edyugyuieen" from Olonkho "Good Edyugyuieen, Bad Khodjugur". Thus, Olonkho singer preserves non-labialized vowels char- acterisic of the Verkhoyanskyi dialect.
Except the word-marker "Buo", the word "Su-bu", the end of the introduc tory word "Ker, subu" in the Central style, occurs in the "Song of Edyugyuieen's Wife" from Olonkho "Good Edyugyuieen, Bad Khodjugur" in songs by D.A. Tomskaya. The words "Buuia-buuia", that obviously are the version of the word "Bu", are found in the "Song of Ereideekh-Buruidaakh" from Olonkho "Ereideekh-Buruidaakh" performed by I.Kh. Rozhin from the Verkhoyanskyi region. So, in Olonkho introductions, D.A. Tomskaya uses the ends of the word-collocations "Dje-buo" and "Ker Subu" typical of the Central Olonkho style in the versions "Bu" and "Subu", and the word "Bu" is found in its ver sions "Buoi" and "Buuia" in the Verkhoyanskyi Olonkhos.
In regard to kylyhakh - the Yakut guttural singing, certain differences are found in singing of the Northern Yakuts. D.A. Tomskaya in Olonkho "Good Edyugyuieen, Bad Khodjugur" sings the kylyhakh mostly as falling glissando or gliding down from the sound in lack of a definite sound pitch. The kylyhakh - grace note occurs only once in each line of a tune. Olonkho singers profes sionally sing large-scale epic songs, their professionalism is determined by the specific manner of singing in quite a rapid tempo (in recitative) and also is determined technically by the developed manner of the national epic throat singing - kylyhakh.
Musicologists fixed three styles of epic singing that coincide in general, but differ in various use of tunes and throat singing - kylyhakh.
INTERPRETING OLONKHO MELODY IN MUSIC ART
During the Soviet time, musical transformations of Olonkho in opera, ballet and instrumental music took place.
SCENIC TRANSFORMATIONS
• Opera "Nurgun Bootur" by M. N. Zhirkov and G.I. Litinsky (libretto by
D.K. Sivtsev-Suorun Omollon). The first night of the first edition was in 1947,
of the second edition was in 1956.
• Ballet "Kyun Kuo" on the motives of the Yakut Olonkhos by V.G. Kats
(libretto by D.K. Sivtsev-Suorun Omollon) was staged in 1969.
• One-part ballet "The Legend of Diamonds" on Olonkho motives by V.G.
Kats (libretto by P.P. Pestryakov) was tagged in 1980.
• Opera "Green Magic" by P.N. Ivanova, the plot connected with Olonkhos
was written in 1987.
INSTRUMENTAL MUSICAL WORKS
1. N.I Peiko - Musical Suite "From the Yakut Legends" 1940. Part II "The Warrior of the Low Land", which depicts the traditional image of Uot Uhutaaky.
• R.D. Romm - Symphonic suite on Olonkho themes that use the songs
from the opera "Nurgun Bootur" that was performed for the first time in 1957.
• V.G. Kats - selection of pieces for piano: piece "Folk singer", "The
Warrior of the Low Land", "Dances of the Low Land" connected with Olonkho
and its performers.
 Back
|
