The first recordings in the Georgian Republic. Mumli mukhasa მუმლი მუხასა 1909
03/01/2009
levan meskhi-ის
მიერ
The first recordings in the Georgian Republic \r
Choir of Kutaisi, Province of Imereti, N. Kiporenko (?), director. mumli mukhasa, recorded 1909 (Gramophone C2-14740, matrix # 10075L: 02:49)\r
9. Mumli Mukhasa (\"The Oak And The Midges\") \r
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This song's text is derived from a famous poem about a great oak tree that has become infested with insects. The insects eat away and the oak becomes weaker and weaker, ultimately falling into the river. The water drowns the insects, but the oak rises back up and survives. The idea is that the oak represents Georgia, and the insects its enemies and invaders. \r
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Choir of Kutaisi \r
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N. Kiporenko (?), director Tracks 9-10 \r
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Unfortunately, apart from the name of the choir, no other documentation has been found pertaining to these recordings. It is known that Kiporenko directed in Kutaisi around this time, but it remains uncertain whether this is his choir. It is hoped that someday more will be discovered, but for now, these recordings stand as anonymous examples of Georgian folk tradition in Western Georgia at the beginning of the 20th century.
Choir of Kutaisi, Province of Imereti, N. Kiporenko (?), director. mumli mukhasa, recorded 1909 (Gramophone C2-14740, matrix # 10075L: 02:49)\r
9. Mumli Mukhasa (\"The Oak And The Midges\") \r
\r
This song's text is derived from a famous poem about a great oak tree that has become infested with insects. The insects eat away and the oak becomes weaker and weaker, ultimately falling into the river. The water drowns the insects, but the oak rises back up and survives. The idea is that the oak represents Georgia, and the insects its enemies and invaders. \r
\r
Choir of Kutaisi \r
\r
N. Kiporenko (?), director Tracks 9-10 \r
\r
Unfortunately, apart from the name of the choir, no other documentation has been found pertaining to these recordings. It is known that Kiporenko directed in Kutaisi around this time, but it remains uncertain whether this is his choir. It is hoped that someday more will be discovered, but for now, these recordings stand as anonymous examples of Georgian folk tradition in Western Georgia at the beginning of the 20th century.
