Mysteries of the 1925 Musical-Ethnographic Expedition, by Mirra Khotilashvili-Inal-ipa

This article, Mysteries of the 1925 Musical-Ethnographic Expedition, first appeared in Respublika Abkhazia (Issue No. 127, 9–10 November 2006) and was later republished in Аҧсуаҭҵаара / Abkhaz Studies (Issues 8-9, 2013, pp. 298–301). Authored by the esteemed Mirra Khotilashvili-Inal-ipa (1928–2024), a distinguished historian, archaeologist, and honoured cultural worker of Abkhazia, as well as an honorary doctor of the Abkhazian National Academy, the article provides a rigorous examination of a unique yet largely forgotten chapter in Abkhazia’s musical and cultural history.

Khotilashvili-Inal-ipa's work unearths the details of a 1925 musical-ethnographic expedition in Abkhazia, spearheaded by prominent cultural figures of the time. Through meticulous analysis, she investigates the individuals involved, the expedition's objectives, and the enigmatic absence of its findings in Abkhazia’s collective memory. 

Translated from Russian by AbkhazWorld.

Mysteries of the 1925 Musical-Ethnographic Expedition

In January 1925, an article by the art historian Orest Tizengauzen[1] appeared in a local newspaper. In this piece, he expressed frustration with the “narrow confines of the newspaper,” referring to an earlier article of his that, he felt, had not adequately conveyed and developed the material on Abkhazian music. As a response, and in acknowledgment of the “justified criticism” he had received, Tizengauzen sought this time to correct the deficiencies and fill in the gaps present in his previous work.

In examining the tonal structure of Abkhazian music, he arrived at the conclusion that it was markedly different from “general Eastern” music, which includes Georgian music, even though the latter had exerted some influence on Abkhazian musical traditions. Tizengauzen identified and categorised primary modes he encountered (similar to the ancient Greek Aeolian and Hypophrygian, as well as the rare Asia Minor Aeginian and purely Hypolydian modes) and noted the cohesive structure present in certain songs, such as Akhatsara-agu and especially Akharra. In studying the content of Abkhazian songs, he proposed a hypothetical link, suggesting a connection between Hellenic and Georgian-Armenian roots.

He also analysed the rhythms, marvelling at their endless variety. “The rhythm of languid prolongation and sluggishness alternates with bursts of restless tremolo.” Elaborating on his observations, he concluded that Abkhazian music held an “unmistakably dramatic character.” In his article, Tizengauzen remarked that within the sounds of Abkhazian songs, “one constantly hears a kind of unease, a stamping, cries, and suddenly, lyrical sighs.” As he later admitted, “This emotional trait most likely coincides with the nature of the musical origins, which lie beyond the scope of my accessible research.” Finally, citing a rhythm and mode that particularly intrigued him, he exclaimed, “A peak of uniqueness!” and suggested that such examples would “surely strike specialists as extraordinary.” He continued, “This is where contemporary atonal music, which vainly attempts to produce home-grown exoticism, should take lessons.”

In 1930, O. Mandelstam also wrote about the originality of Abkhazian songs. According to renowned Abkhazian historian, poet, and publicist S[tanislav] Lakoba, Mandelstam’s guide “into the world of Abkhazian folklore” was the folk song collector Konstantin Kovács. After becoming acquainted with Abkhazian musical folklore, Mandelstam recorded his impressions in a notebook, noting: “Abkhazian songs remarkably convey the experience of horseback riding. There is the sound of hooves at great heights; the song climbs up and down mountains, twisting and straightening out like an endless road, carrying a chorus note that resonates like a tuning fork—a long, wordless ‘a-a-a’! And on this steady, many-hoofed sound, settled as if in a saddle, the lead singer floats along, singing a cheeky or mournfully warlike melody!”[2]

Lakoba also writes that in 1924, from late January until April, Lev Davidovich Trotsky[3] was in Abkhazia, recuperating from a significant decline in health. Once recovered, he frequently engaged in his favourite pastime, hunting, alongside Abkhazian peasants. He travelled extensively across Abkhazia with N[estor] Lakoba, often visiting peasant families and even attending local assemblies. “He was greatly intrigued by the customs and traditions of our republic,” N. Lakoba reports, “particularly the custom of blood vengeance, among other practices... No detail of Abkhazian life escaped his attention or curiosity.” One could reasonably add that Abkhazian music may also have piqued his interest. There’s little doubt that Trotsky listened to Abkhazian songs on more than one occasion.

During that same period, Trotsky was close to the composer and renowned conductor Vladimir Lvovich Messman, whom he supported. It’s possible that Trotsky himself recommended that Messman conduct a scientific musical-ethnographic expedition to Abkhazia.

Perhaps this close connection to Trotsky explains the persistent silence about Messman and his work in Abkhazia and, ultimately, his complete obscurity in Abkhazian musical circles. Nonetheless, Messman might have left an impression here, or at the very least, he stirred a strong interest in music within the local intelligentsia. However, with the passing of his contemporaries and the destruction of archives, it’s now unlikely that we can uncover new information about him and his stay in Abkhazia.

It’s plausible that Messman, who personally knew Tizengauzen, became interested in Abkhazian music after reading his articles. Moreover, as suggested earlier, he may have been encouraged by Trotsky’s recommendations to undertake a dedicated musical-ethnographic expedition to Abkhazia. Such a venture would have been doubly appealing, as he had recently turned his attention to the study of Adyghe musical heritage.

On 19 September 1925, Trudovaya Abkhazia published an announcement titled “A Musical-Ethnographic Expedition in Sukhum.” The article’s author was Iosif Novodvorsky, a well-known intellectual, journalist, and poet of the time. He reported that the famous musical figure August Sibrava had already arrived in Sukhum, and that the expedition’s leader, composer V. Messman, was expected in the coming days. Novodvorsky outlined the expedition’s goals: “to study and record Abkhazian music…which, as Novodvorsky believed, had remained untouched and unexplored, despite previous attempts in this field.” However, the article made no mention of Orest Tizengauzen.

Novodvorsky then appealed to the government: “The People's Commissariat of Education of Abkhazia must…enable the musical-ethnographic expedition to finally establish the national Abkhazian music, which remains completely unknown to the broader musical circles, not only throughout our Union but even within Abkhazia itself.” Ten days later, an article by V. Messman himself was published. In it, he stated that “the strictly ethnographic material collected is of immense value; moreover, from this point on, the Abkhazian melody, as documented, will be protected from potential future distortions and external influences, from which, as a result of our expedition, the Abkhazian song must be liberated.” Concluding his article, Messman promised to “periodically provide updates on the work and findings of our expedition in Trudovaya Abkhazia.”

In light of the above, several questions arise: firstly, when did the expedition operate in Abkhazia? Secondly, was the progress of its work covered in the press? (Unfortunately, we are unable to review Trudovaya Abkhazia from that period, as issues from those years are missing from almost every library.) Thirdly, where are the expedition's materials now? Fourthly, why do neither K[onstantin] Kovács nor other individuals who worked in the field of musical culture mention this expedition or Orest Tizengauzen, who may have participated in it? (Apart from references by Sh[alva] D. Inal-ipa, a historian and ethnographer rather than a musicologist[4], Tizengauzen’s involvement is seldom documented.)

There is no doubt that the expedition took place, as one of V[ladimir] Messman’s most notable symphonic works is the Abkhazian Legend, composed in 1926. The date suggests he wrote it soon after returning from Abkhazia, still under the influence of Abkhazian folk music. It is also possible that he produced other, smaller works during this period, but where are they?

From 1941, Messman lived in Almaty, where he passed away in 1972. His archive likely contains materials related to Abkhazian musical culture, and perhaps it is worth initiating a search for these records. Uncovering recordings by highly skilled professionals, as appears to be the case with August Sibrava (about whom, unfortunately, we know little), would be a significant boon for Abkhazia, as such materials undoubtedly hold considerable scholarly value. These resources could contribute to a more comprehensive history of the study of Abkhazian musical culture. Regrettably, however, Abkhazia remains silent about the achievements of these remarkable individuals.

As yet, we have no explanation for this oversight. At the very least, it would be prudent to turn to the extant Abkhazian Legend[5] and ensure its inclusion in our symphonic orchestra’s repertoire. This act alone would serve to express gratitude and revive the names of those who dedicated themselves to the advancement of Abkhazian national culture.

______________________

[1] Tizengauzen, O. Apsny. Country of the Soul // Trudovaya Abkhazia. – Sukhum. 1925, No. 1. From Tizengauzen’s articles, it can be inferred that Abkhazia frequently attracted individuals interested in Abkhazian songs, recording and studying them, and at times, even reproaching him.

[2] Lakoba, S. The Days Soared in Sukhum-kale. – Sukhum/i. 1988. – p. 194

[3] Lakoba, S. Essays on the Political History of Abkhazia. – Sukhum. 1990. – p. 107.

[4] Inal-ipa, Sh.D. Abkhazians. – Sukhum. 1965. – p. 610.

[5] Musical Encyclopedic Dictionary. Moscow. 1990. – p. 341.