Zaporizhian March

Original composition The now-famous instrumental composition was adopted and rearranged by Romny kobzar Yevhen Adamtsevych in 1926. Adamtsevych himself claimed his authorship of the march in his letter to folklorist Oleksandr Pravdyuk: According to , a respected expert on the creativity and heritage of Adamtsevych, the march was co-authored with the bandurist's teacher Musiy Oleksiyenko, with the student picking up the first part of the composition and extending the tune. This point of view is confirmed in the memoirs of Oleksiyenko's children. Some other sources mention Prokop Mormilya, a native talent from the village Yaduty, Borzna Raion (now Nizhyn Raion), Chernihiv Oblast whom Yevhen Adamtsevych visited, as possible creator of the march. Initial performance and reception Yevhen Adamtsevych first publicly performed the march in 1969 at a concert in the Kyiv Opera Theater of Taras Shevchenko. Eyewitnesses described the concert so: Adamtsevych performed the march very expressively, vigorously, putting in all his skills and emotional imagery. But the fact that he played by pinching led to a lack of sonority. The conductor of the State Orchestra Viktor Hutsal recollected: Hutsal's rearrangement Subsequently, the march was arranged for an orchestra by the chief conductor of the State Orchestra of National Instruments, Viktor Hutsal. On April 12, 1970, the orchestra performed Hutsal's remake of the march for the first time. The artistic director and conductor repeated the piece ou bis several times. ==Composition==

The main theme of the composition consists of syncopation and descending melodies created with the help of a technique in which bandurists play with fingers sliding on the strings. That technique was first used by bandura player Hnat Khotkevych in the instrumental accompaniment for his composition of a folk song about Baida (Poem of Baida, 1912), which he orchestrated in 1930. == History of performances ==

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 Borys Ivchenko's film Propala Hramota (The Lost Deed) in 1972. After a performance of the march at the Bolshoi Theatre in Moscow, it became a focus of attention for party leaders, who were worried by the extremely heightened spiritual atmosphere among the audience. Communists carefully studied the notes, comparing them with songs of Sich Riflemen. Although no correspondences could be found, the march was banned, while Hutsal had to resign and join another band. == See also ==