Russian Cossack Chorus

              1928

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Russian Cossack Chorus Sergei Socoloff, Director


RUSSIAN COSSACK CHORUS
In the music of the Russian Cossacks the great heart of awakening Russia speaks.  Living on the outskirts of Russia to protect her against invasion the Cossacks developed the heroic epic in which they expressed in music their exploits, their hardships and their happiness; the music which has now become characteristic of the country as a whole.  The full burden of Russia's grief and the ancient and grim beauty of her traditions is blended in Cossack harmonies that grip the heart.

It has been said by noted critics that the Russian Cossack Chorus has a place all its own in the history of world music.  The chorus made its first tour in Yugoslavia, after which an invitation was received to give a series of concerts in the Royal Conservatory of Milan, Giuseppe Verdi.  Here vast audiences heard the chorus in four concerts and a diploma from the conservatory was awarded them for their excellent rendition of both Russian and Italian music.  A long tour of Italy followed which resulted in three golden medals given by Royal Theaters in recognition of their artistic success.

In 1924 a tour of France and Spain was made with more than 150 appearances.  In Madrid Her Majesty, the Queen of Spain, attended all concerts and extended to Sergei Socoloff, director, her evidence of appreciation.  A tour in Central America and Mexico followed with its mounting volume of triumph.  In 1925 in Panama the chorus sang to the first American audiences which led to the recent tour of the United States with packed houses everywhere.

Sergei Socoloff conducts the chorus, using the voices as he would play upon musical instruments to produce marvelous effects.  Born in 1887 in Moscow, the son of a noted musician and choir leader, Sergei Socoloff took up his studies in the Imperial Conservatory of Music in Moscow and in the University of Moscow, graduating from both in 1915.  At this time he was called into military service and gave years to his country as an officer in the Cossack forces.

The repertoire of the chorus comprises the compositions (in Russian, English, Italian, Spanish) of Tchaikovsky, Borodine, Glinca, Rimsky-Korssacoff, Rubinstein, Rachmaninoff, Mendelsohn, Veneziani, Foster, Massey, Gruber, Lerdo, Llera, Baudot and others.




RUSSIAN COSSACK CHORUS

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Press Comment—European

Paris, December 10, 1923.  “Comoedia”.
… Its normal tessiture extends more than over three octaves, going easy from contre si bemol of contre bass to re of soprano.
… Under the watchful, persuasive and dominant direction of their chief Mr. Sergei Socoloff the shades are full of beauty and of amazing variety… Raymond Charpentier.



Paris, December 12, 1923.  “Paris Soir”.
… The most admirable ensemble of voices ever heard in Paris is the Cossack Chorus which Mr. Socoloff directs so splendidly…


Milan, October 26, 1923.  Royal Conservatorium of Music “Giuseppe Verdi”.
… Knowledge, warmth, exactitude of attacks and tunes are its features.  The fusions of the accords, especially in the pianissimo are delightful.  Director G. Gallignani.


Milan, May 18, 1923.  “Corriere Della Sera”.
… This chorus proved to have an unique soul.  They possess everything to express the warlike and mistic aspects… G. C.


Rome, June 26, 1923.  “Il Piccolo”.
… Many of the public confessed to have never heard a choir similar to this, nor thought that it would be possible to reach such refinement and perfection… More than choir, an orchestra of voices, educated for all difficulties and virtuosity of collective interpretation.  A. Z.




RUSSIAN COSSACK CHORUS

Rome, June 27, 1923.  “La Tribuna.”
… Wonderful performers under the directions of artistically genial and military disciplined maestro Socoloff won a triumphal success.  A. G.


Madrid, May 8, 1924.  “El Imparcial”.
… Something new, real artistry, that wonders with its beautiful orchestral effects, with variety that is given to the Russian melodies and severe discipline of interpretation.  G. F.


Lisbon, May 11, 1924.  “O Primero de Janeiro”.
… Especially interesting dominant technic of choral singing in the effects and in the magnificently talented compositor and regent that proves that Mr. Socoloff is a notable musician.


Barcelona, February 9, 1924.  “El Diluvio”.
… The most surprising in this group is the clarity of their voices; their great ability of shading reaches perfection and surprises by its purity.


Mexico City, September, 29, 1924.  “El Universal”.
… We condense our impression in only one and round word: 'Sovereignly'.
Such perfect and beautiful singing has never been heard.  J. J. G.



Guatemala City, May 2, 1925.  “El Imparcial”.
… Have confirmed plainly excellent reference of foreign criticism, which preceded them.


Panama, August 27, 1925.  “Star and Herald”.
One could almost see the walls of the theatre expand as a result of the thunderous approval.
Never in the history of Isthmian music have we had a recital or concert comparable to that of Russian Cossack Chorus.




Press Comment—American

Chicago Daily Tribune.  October 10, 1927.
They are a picturesque lot, clad in long boots, high white stocks, and coats that would seem to be the direct ancestors of the Prince Albert of another generation.
… basses dig down to incredible sub-base depth, tenors that sound not at all like conventionally trained tenors, the whole with many modifications of volume and pace create fascinating effects.  By Edward Moore.



Chicago Daily News.  October 10, 1927.
They have some sonorous bassos and tenors and they are excellently drilled by their conductor.  By Maurice Rosenfeld.




RUSSIAN COSSACK CHORUS

Chicago Daily Journal.  October 10, 1927.
Theirs was interesting music, largely, one suspects of its strangeness.
Socoloff has trained them well, and he has some of those deep basses without which no chorus bearing the name of Russian would be complete.  By Fransworth Wright.



Musical Courier.  New York, October 20, 1927.
Chicago.  Russian Cossack Chorus.
Fascinating both in singing and costume the Russian Cossack Chorus, under Sergei Socoloff, interested a large audience at the Studebaker on the same afternoon.  This is a well trained chorus, and its able conductor obtains admirable results with the singers.



Musical Leader.  Chicago, October 13, 1927.
The Cossack Chorus is one of the best vocal ensembles that the public is likely to hear this winter.


Palm Beach Daily News, Palm Beach, Fla.  (Concert by Society of Arts.)
The Russian Cossack Chorus directed by Sergei Socoloff was a most unusual treat with their spirited songs sung in the true Russian manner.  The concert was a fitting triumph to end the successful season of the Society.


Madison, Wis.  “The Capital Times.” January 18, 1927.
If the crowd which packed Christ Presbyterian church last evening to hear the Russian Chorus is any indication, we have nothing to fear of an oversaturated musical season for Madison… These men possess more than acquired art of singing.  It is a racial instinct born of generations of experience and tradition.  Deep contra basses and falsetto tenors provide a range of pitch and color unknown to choral organizations of this country.


Ann Arbor, Mich.  “Times News.” January 11, 1927.
The shading and general delivery of the singers neared perfection, and the interpretation of the brilliant director were of the last word.  It was the voice of the soul of Russia itself addressed the well filled house.  The general standard of this performance being excellent and the work calling upon all the resources of the chorus, which proved itself to be of the very best.  By Carl E. Gehring.


Memphis, Tenn.  “Commercial Appeal.” Nov. 25, 1927.
That the human voice unaccompanied by reed, brass string or percussion is adequate to portray emotions from grave to most gay, to interpret musical compositions of the diverse character, was demonstrated in consummate artistry and finished vocalism by the Russian Cossack Chorus at Memphis, Auditorium Concert Hall.
The singing at all times was a credit to the mastery and meticulous training of the voices easily apparent and direction of Sergei Socoloff who gracefully kept his vocalists under control.  Ned Courtney.





RUSSIAN COSSACK CHORUS

New Orleans, October 27, 1925.  “The Times Picayune”.
The Chorus is an organization of first importance in the musical world.  K. T. K.


Mobile, Ala., December 8, 1925.  “The Mobile Daily Register”.
… If an organ had been transported bodily from a church and erected on the stage, its music could have been no more impressive, no more versatile than the efforts of this chorus.
Clarity of rendition told the story far better than printed word could have done.



Mobile, Ala.  “The Mobile Daily Register.” November 1, 1926.
Scores in second appearance.
… There were not more than half a dozen vacant seats in the orchestra.
… The organ's tones have mellowed to new power augmented by sweetness and clarity.



Augusta, Ga.  “Augusta Chronicle.” October 29, 1926.
A packed house greeted the Russian Cossack Chorus the novelty added to the charm of the wonderful harmonies and exquisite ensemble work of the singers.  Ella A. Baxter.


Lafayette, La.  “The Daily Advertiser.” November 16, 1927.
The best chorus organization that has appeared in this city in a number of years.
The large auditorium was filled to capacity.
Such mastery of music such excellence of voices we have never heard before.



Dubuque, Iowa, January 19, 1928.  Telegraph-Herald and Times-Journal.
The Russian Cossack Chorus, singing to an enthusiastic and thoroughly appreciative audience whose numbers overflowed the capacity of the house, scored a decided triumph last night.
Undoubtedly, the Cossack Chorus is one of the best trained groups of its kind in present concert work.  Their phrasing, attack, accent, rhythm and general tone quality was well nigh perfection.  Nothing ever before heard in Dubuque has even equalled their pure high tones and resonant strength of the basses.



Plattsburgh, N. Y.  Plattsburgh Daily Press, January 10, 1928.
The Russian Cossack Chorus last evening delighted an audience which jammed the auditorium of the Normal School.  Much had been expected of this organization and there were no disappointments.  If anything the work of these remarkable singers far exceeded what had been anticipated.  They put soul into their work, with exquisite touch of that eerie Russian temperament, half melancholy, half weird and possessing the capacity for taking one entirely out of one's self.