The Kabardino-Balkarian State Philharmonic Symphony Orchestra. Pianist Elena Kh. Bersoqwe (Barsokova).

Hesen Y. Qarden (Kardanov) is one of the pioneers of Circassian classical music. He was born in the town of Shejem I in Kabarda in 1923. In 1947, he was admitted to the Leningrad Conservatoire, where he studied vocal art under K. S. Yisachenko, and composition. He graduated in 1954. Qarden was a prolific composer and he delved into most classical music genres, including opera. Among his best works are "In the Homeland", pieces for symphony orchestra, "Sharjes", a cantata (1957), "Overture to Joy", on Kabardian and Balkarian themes (1960), "Rhapsody for Piano and Orchestra" (1960), "Three Symphonic Dances" (1960), "My Republic", a cantata (1961), "Symphonic Poem" (1961), and "The Evening in the Village", a symphonic fantasia, 1961.

Elena Kh. Bersoqwe (b. 1937), Honoured Artist of the Kabardino-Balkarian ASSR, is a renowned Kabardian pianist.

Rhapsody for Piano and Orchestra, Hesen Y. Qarden, 1960

Урыс Пщышхоу ЖэкIэ-тIаркъу

ХьакIэкIо Алый

Урыс пщышхоу жэкIэ-тIаркъу, 
Блэгъожъыгур зыкIоцIылъ! 

Адыгэлъэу о ипшъугъэм, 
Блэщэджыблэу къыптефэн! 

Тхьашхом упсэ хиутын, 
Амин, амин, хиутын! 

Угу шIуцIэм бгъэм щышъугъэм, 
Шыблэщэжъыр къытефэн! 

Къыпфэмыгърэр бгъэгушIон! 

Хьаджырэтэу шыу закъом IэкIэшIагъэм, 
ЛIыжъи, кIали — лъэпкъыр зэкIэ рыоукIы! 

Тэ егъашIэм тыукIакIоу бэрэ оIо,
УиIэшIагъэ еплъи: лъэпкъкIэ тыоукIы! 

Къали, чыли зэдэбгъакIоу тыогъэсты,
Хьэдэ стыгъэм тыкъылъыхъоу шъофым тит тэ.

Адыгашъхьэр паIоу пчэгъум пыогъэсы,
Тыпси, тыгуи, тибылыми о ттеохы. 

Хым тфэмыхъоу о уикъохъумэ тыкъыхадзэ,
Хыдзэ-псыдзэм пцэшхо Iусы тыкъыщэхъу.
Тисабыйхэр пчыпэ пакIэм щызэрадзэх. 

Хэбзэ зафэу пачъыхь хабзэр о къыпщэхъу!?

Урыс пщышхоу жэкIэ-тIаркъу, 
Тхьэм и кIуачIэр къыптекIон! 

Тыгуи-тыпси лъэшэу къаргъу,
Насып лъагъор къытфэкIон!



[Alexander II]: Fork-Bearded Russian Tsar 

Aliy Hach’ek’we (Khachak)

Oh, Russian Tsar with a forked beard,
Thou hast the heart of an evil dragon!  

The Circassian blood thou hast feasted upon,
May it turn into mortal venom in thy miasmic innards!

May God Almighty trample upon thy soul,
May He curse thy gruesome name,
Amen, amen!

May thy black heart rot in thy bosom, 
And may thee be struck by thunderous lightning!

So that those smitten by thy evil may rejoice!  

For the misdeed of but one abrek,
Thou hast massacred the whole Circassian nation, young and old!

Thou keepest saying we are murderers,
But behold what thy hands have wrought:  An innocent nation utterly destroyed! 

Thou sparest neither town nor village, putting all to the torch,
We are all over the fields trying to recover the charred remains of our beloved ones.
 
The heads of a myriad Circassians thou impalest as caps on the stakes,
Thou destroyest our hearts and souls, our very livelihoods.

Thy host of swine cast us defenceless into the Sea,
With thy vast army beholding in glee, the bleak Sea engulfeth us.
Our children are hurled down the sheer precipice with harrowing yells.

Thou deemest thy law to be the righteous one!? 

Oh, Russian Tsar with the two-pronged beard,
May God’s Might vanquish thee! 

Then our hearts and souls shall be rendered pure and clean,
And we shall be set forth on the path of fortune and glory!



Alexander II (1818-1881) was Russian Tsar in the period 1855-1881. His reign saw the final subjugation of the Circassians through systematic ethnic cleansing, and the subsequent ruthless expulsion of the Circassian nation to the Ottoman Empire. This chant-curse was composed by the Circassians after the 1864 disaster that befell the nation.

Fork-Beared Russian Tsar: Circassian Chanted Curse on Tsar Alexander II

Ай-ра, Къэнжал и шащхьэркъэ, рэуэией,
О-о уэр сэрмахуэ, уей а махуэм мэгъуагъуэ.
Ай-ра, мыбажэкIэ шырти, рэуэией,
О-о уэр сэрмахуэ, уей а махуэм мэбыбкъэ.
Ай-ра, дариихум и быдэри, рэуэией,
О-о уэр сэрмахуэ, уей а махуэм зи джанэ.
Ай-ра, Урыху и банэри, рэуэией,
О-о уэр сэрмахуэ, уей а махуэм зи гъуэгу (жи).
Ай-ра, Урыху и банэми а, рэуэией,
О-о уэр сэрмахуэ, уей а махуэм лъагъуэр хезгъэшкъэ.
Ай-ра, пщыр сымыукIыуэрэ, рэуэией,
О-о уэр сэрмахуэ, уей а махуэм пщыукI къысфIащыр.
Ай-ра, пщыр зыукIами, рэуэией,
О-о уэр сэрмахуэ, уей а махуэм си нэр хуэмысэт.
Ай-ра, си нэр хуэмысэ щхьэкIэрэ, рэуэией,
О-о уей дуней, уей а махуэм си Iэр хуэхейкъэ.
Ай-ра, си Iэр хуэхей щхьэкIэрэ, рэуэией,
О-о уэр сэрмахуэ, уей а махуэм си жьэр мыхашэ.
[Ай-ра, сымыхэшэн щхьэкIэрэ, рэуэией,
О-о уэр сэрмахуэ, уей дуней, хэкур собгынэ.
Ай-ра, си шыпхъу цIыкIуитIым, рэуэией,
О-о уэр сэрмахуэ, гъуэгуанэ кIыхьым я нэр тозашэ.
Ай-ра, си шэрхъ цIыкIуитIри, рэуэией,
О-о уэр сэрмахуэ, уей а махуэм зэшхуэ-зэесщ.
Ай-ра, сыздынэсар си епсыхыпIэщи, рэуэией,
О-о уэр сэрмахуэ, уей а махуэм хэкур собгынэ.]
Ай-ра, Къэбанхэ я къуэри, рэуэией,
О-о уэр сэрмахуэ, уей а махуэм си ныбжьэгъуфIт сэ.
Ай-ра, Къэбанхэ пщIантIэми, рэуэией,
О-о уэр сэрмахуэ, уей а махуэм сэ сыныдохьэ.
Ай-ра, шы зыщIэмыхьэжурэ, рэуэией,
О-о уэр сэрмахуэ, уей пщIэгъуалэ къазыр къызеткъэ.
Ай-ра, Къэбан пщIэгъуалэри, рэуэией,
О-о уэр сэрмахуэ, уей а махуэм зэрыпщэзадэ.
Ай-ра, пщым и хьэдэгъуэри, рэуэией,
О-о уэр сэрмахуэ, уей а махуэм тхьэм укъысщишэщ.
Ай-ра, сымыхэшэн щхьэкIэрэ, рэуэией,
О-о уей дуней, уей а махуэм Кърым сокIуэжыр сэ.
Ай-ра, Кърым хьэблэжьырти, рэуэией,
О-о уэр сэрмахуэ, уей а махуэм хьэблэжьт, хьэблэшхуэти.
Ай-ра, я дыщэ фалъэмкIи, рэуэией,
О-о уэр сэрмахуэ, уей а махуэм сэ сыкъыщофэ.
Ай-ра, итыр изофыри, рэуэией,
О-о уэр сэрмахуэ, уей а махуэм и фэр нызохьыри.
Ай-ра, и фэр нэзыхьри, рэуэией,
О-о уэр сэрмахуэ, уей а махуэм Къэбанхэ фи пщIэгъуалэжьырти.
Ай-ра, дыщэ фалъэшхуэри, рэуэией,
О-о уэр сэрмахуэ, уей а махуэм Къэбанхэ сэ нахузохьыри.

The Chant of Ghwdebeird, Son of Azepsch: "A Circassian Man Is No Betrayer" .

Sandraq [сандракъ] (or Sandraqe [сандракъэ]) refers to two ancient Circassian ritual dances, mentioned in the Nart epic. In one, pairs of men and women performed dance rites in veneration of the Supreme God Theshxwe. The dance is unusually lively and of fast tempo, almost orgiastic in its intensity. In this dance, performed in the yard, two men or women hold hands crosswise and move their feet in unusually rapid steps, gradually moving forwards and round the hut. The accompanying dance music is extremely lively and energetic. In the other version, young women wishing to have children performed fertility rituals, including dancing the Sandraq in front of a stone idol, revealing their chests. 

Sandraq, the dance and melody, became extinct in the last century. Though the Circassians lost the lore associated with the dance, it has been preserved, and is still performed, by the neighbouring Balkar, Karachai, Imeretians, and Ossetians, who acknowledge that it was borrowed from the Circassians.

Remarkably, the English ethno-musicologist Edmund James Pearse (1882-1958), on a musical expedition sponsored by the Gramophone Company, recorded the music of the sacred dance in Armavir during his expeditions to the North Caucasus in 1911 and 1913. He made many records containing dozens of musical pieces and melodies played by the band of the famous Circassian minstrel Mihamet Haghewij [Хьагъэудж Мыхьамэт] (c. 1850-1918) of the Kweshhable village in present-day Adigea. The Adigean musicologist Alla Sokolova managed to bring a number of these records back from London to Adigea, where they are kept in the National Museum. Some of the musical pieces on these records, including Sandraq, have been revived by the bands “Zchiw” and “Yislhamiy”. Thus, the ancient Circassian Sandraq melody has been restored. 

Haghewij is one of the first musicians to introduce the accordion in Circassian music and to spread its use in the 1890s. He, however, met a tragic end, as he and all the adult males in his village were shot dead by the Russian army in 1918. One recording of Haghewij survives in the IMC record (NSA Ref ICS0055110). 

In this recording, the Zchiw Song Ensemble perform the ancient dance melody [chorus, Circassian violin (shich’epshine), and clappers]. Zchiw (literally: "Chorus") is a band of highly talented Circassian minstrels who utilize ancient musical instruments (no accordion or baraban). The Ensemble performs authentic songs and melodies of the ancient bards. 

Sandraq: Circassian Ritual Dance  [by Zchiw Song Ensemble]

"Who told you that we Circassians will become extinct?!" 
[«Хэт фэ къыв­жезыIар, адыгэр ды­кIуэ­­ды­жыну?!»]

Composed and sung by Albert Lhache [Лъачэ Альберт; Альберт Тлячев].

This is a song that expresses the Circassian collective yearning towards unity of all the Circassians, everywhere, in Circassia and all the Diaspora countries. It embraces optimism and negates the narrative of the doomsayers who predict the extinction of the Circassian nation. 

Lhache is a prolific Adigean singer and songwriter. He composed many songs on Circassian villages, towns and clans in Circassia and the diaspora, emphasizing Circassian unity. "Who told you?!" well represents his fine art of composition. The artist is a good representative of modern-day Circassian bards.

"Who told you that we Circassians will become extinct?!" [«Хэт фэ къыв­жезыIар?!»], Albert Lhache

"The Song of Murat Wezi"

Written by the great Circassian poet and bard Bechmirze Pasch'e (1859-1936).

Sung by Anatoly Weter (Уэтэр Толэ; Otarov). 


«УЭЗЫ МУРАТ И УЭРЭД»

Уэзы МураткIэ зэджэри щIалэ фIыцIэ къуэгъукъэ! 

Ежьу: Уо!

Шы гъурым тесри (уой маржэ) гъусэ пхуэхъункъэ!

Ежьу: Уо, уо, уо!

Уи шы пэхужьыр (уой маржэ) зэрыпхэщIыбгъуэрэ,
Гумкъалэ губгъуэмэ (уой маржэ) Мурат щозауэ.

Зэныбжьэгъу щIалэхэр (уой маржэ) къызэрогъащтэрэ!
ЩIылъэр къэмыщтэурэ (уой маржэ) Мурат къэщтэнкъым!

Уи шы пэхужьыр (уой маржэ) тхьэкIумэ гъуанэрэ,
Тутнакъэщ щхьэгъубжэмкIэ (уой маржэ) Мурат ныкъокIыр!

Тет пристафыр (уой маржэ) Мурат кIэлъопхъэрэ,
Бгы пхъуантэ быдэми (уой маржэ) Хахуэр дохьэжыр.

Уэ мэкъумэшыщIэхэм (уой маржэ) вы щIогъэщIэжыр. 
Уэ уи ижэгъухэри (уой маржэ) жейми къыпхуоскIэр!
Уэ уи ижэгъухэри (уой маржэ) жейми къыпхуоскIэр!



"The Song of Murat Wezi"

He whom they call "Murat Wezi" is a darksome and wiry fellow! 

Chorus: Wo!

Astride his lean steed (hey, ye masses), he's the perfect riding companion!

Chorus: Wo, wo, wo!

On thy dark bay [literally: old white-nosed] steed (hey, ye masses), with a wide croup [hindquarters],
In the fields of Gwmqale* town (hey, ye masses), Murat carrieth on the fight (against tyranny).

The lads in the land (hey, ye masses), thou terrorisest!
Even if thou dost terrorise the whole earth (hey, ye masses), thou shall not scare Murat!

Thy dark bay (hey, ye masses), ever the obedient one,
From the prison window (hey, ye masses), Murat escapeth!

The chief of police (hey, ye masses), is hunting down Murat,
To the stronghold in the mountains (hey, ye masses), the Brave One retreateth.

For the peasants (hey, ye masses), thou harnessest the oxen (in recompense). 
Thy enemies (hey, ye masses), thou startlest from sleep! 
Thy foes (hey, ye masses), thou makest jump from slumber!


* Gwmqale (Гумкъалэ) is a town (nowadays called "Georgiyevsk") situated on the Kuma River (Гум in Circassian) in (Greater) Kabarda to the northeast of Bgiytxw (бгитху; Pyatigorsk).




Translated by Amjad M. Jaimoukha


This is a song against Russian despotism. It relates the heroic story of Murat Wezi (real first name “Toqw”; born in 1858 in the village of Qaledes, near Georgiyevsk in the north of Kabarda, now in the Stavropol Krai), the intrepid Circassian abrek (абрэдж; abrej; protector of the weak and poor), and his struggle against tyranny in the period of Tsarist Russia's occupation of Circassia. He managed to escape many times from the clutches of the Tsarist invaders, despite perfidious tip-offs. One account tells of his emigration to Turkey, where he lived until his death. Another version has him exiled to Siberia, from where he never comes back.


Abrekhood

Blood-revenge led to the common North Caucasian phenomenon of the abrek (abrej in Circassian), the "outlaw" horseman, or riding "brigand", who would live in the wild and without the norms of society until the feud was resolved, which could be never. In the Russian and Soviet eras the reference was extended to those wanted by the authorities, in this context becoming local and sometimes national heroes, eulogized in music and verse. North Caucasian literati were duly obliged to denigrate the abreks as anti-heroes. 

Circassian history of vehement struggle against the Russians is rife with abreks who would later assume mythical characters. If the abrek is a paradigm to be emulated in North Caucasian folklore, he is a bandit to be eliminated in Russian estimation. This is but one point of many at which the minds of the North Caucasians and Russians shall never meet.

The Qilishbiy Village (now Nartan) minstrel, Bechmirze Pasch'e, apart from being the founder of modern Kabardian [Eastern Circassian] poetry, was a very versatile songwriter, in the best tradition of the Circassian bards. He immortalized the Kabardian revolt of 1913 against Tsarist rule in the famous song "Dzeliqwe War" [«ДЗЭЛЫКЪУЭ ЗАУЭ»]. He made use of the traditional heroic song genre to convey his ideas, as in "Wezi Murat yi Wered" ("The Song of Murat Wezi"). A collection of his poems and compositions (Усагъэхэр; Wisaghexer) was published in 1963.

Anatoly (Tola) Weter (Уэтэр Толэ; Otarov) (1941-1988) was a well-known singer from Kabarda. He possessed a powerful, yet lyrical voice suitable for such energetic songs as “Xekw Wered” (“Song for the Fatherland”), and “Gwm yi wered” (“Song of the Heart”), both written by Wimar Thebisim and Qirimiz Zhene. Amongst his timeless recordings are the anthem-like “Diy nex’izchxem qitxwefsch’am winafe” (“The Decree of Our Elders”) and two ancient Nart chants, namely “Baterez” and “Nisrenzchach’e”.

"The Song of Murat Wezi"

“Song on Lhepsch”

Lhepsch is the Lord of the Smiths and the Smithy in the Circassian Pantheon.

This is an instrumental version of the "Song of Lhepsch", played by Sanjalay A. Jaimoukha on the pianoforte. The musical notation (for the first quatrain) in the reference text is given only for the right hand. Hopefully this would be a lure for professional musicians to give this piece its full due.

The words of the chant are first presented in the original Circassian and then in English (interpreted by Amjad M. Jaimoukha). 

The song, in Shapsugh Circassian, is no. 45, on page 209 (musical notation on page 287) in:

Hedeghel’e, Asker (compiler and editor), «НАРТХЭР: АДЫГЭ ЭПОС». “Nartxer: Adige Èpos”. “Narti: Adigski epos” [“The Narts: Circassian Epos”], Vol. 1, Maikop: The Adigean Science and Research Institute, 1968.


«ЛЪЭПШЪЫ ЕХЬЫЛIЭГЪЭ ОРЭД»

(Шапсыгъэ текст)

О, Лъэпшъэу уатэр зиуатэми
Орадэ-радэ,
Уатэр егъэпсыкIьэ,
Орадэ-радэ.

Лъэпшъэу уатэр зипсыкIьэми
Орадэ-радэ,
ПсыкIеу къэтэджыжь!
Орадэ-радэ.

Ор, гъукIы пцумэхэр — Iэдакъ,
Орадэ-радэ,
Ор, дэкъацэм дефыз, 
Орадэ-радэ.

Ор, ыфызрэ Iапшъэр — щылык,
Орадэ-радэ,
Ор, щылыкеу кятэхэр къытфешI, 
Орадэ-радэ.

Ор, икятэ шIыгъэхэр лыгъай,
Орадэ-радэ,
Ор, Пыим шъхьарыомэ — окIяй! 
Орадэ-радэ.

Лъэпшъэу уатэр зиуатэми
Орадэ-радэ,
Уатэр егъэпсыкIьэ,
Орадэ-радэ.

Лъэпшъэу уатэр зипсыкIьэми
Орадэ-радэ,
ПсыкIеу кятэр къытфешIа!
Орадэ-радэ!



“Song on Lhepsch”

We, Lhepsch, Lord of the Hammer,
Werade-rade,
He fashioneth and tempereth (with) the hammer,
Werade-rade.

The hammer is Lhepsch’s potent tool
Werade-rade,
He tempereth it and raiseth it again!
Werade-rade.

Wer, the smith’s mallets — his bare palms,
Werade-rade,
Wer, and like a vice they squeeze,
Werade-rade.

Wer, he wringeth out with his mighty wrists — steel,
Werade-rade,
Wer, he worketh swords for us from steel,
Werade-rade.

Wer, the swords he shapeth emanate fierce fire,
Werade-rade, 
Wer, if they strike the foe’s head — sure death!
Werade-rade.

Lhepsch, Lord of the Hammer,
Werade-rade,
He fashioneth and tempereth (with) the hammer,
Werade-rade.
 
The hammer is Lhepsch’s potent tool
Werade-rade,
With which he maketh swords for us!
Werade-rade.


Circassian Pantheonic Chant: “Song on Lhepsch”

“Bedinoqwe’s Song: Bedinoqwe Comes to the Nart Council” 

Performed by Ziramikw Qardenghwsch' and others.

[This is one of the epic chants of the Circassian Nart Epos. This is the gist of the song. The full text of the song is found at: http://www.khasa.narod.ru/lyrics/b/badynoko.html]

Bedinoqwe decides to visit the Narts to be introduced to them. He enters the Nart pasturing fields. He meets the herdsman of the Narts.

— “May your herd multiply!” he addresses him. “Tell me of things to know about the Narts.”

The herdsman of the Narts recognizes Bedinoqwe upon seeing him. The herder praises Bedinoqwe to the skies, and informs him that the Narts are gathered at Satanay’s place for the white Wine Drinking Festival, feasting and celebrating, with Nesren Zchach’e as the leader, and with Sosriqwe amongst them, and that the Great Narts fought with short swords by their side. “Beautiful damsels dance for their pleasure. They will invite you to take part in their orgiastic feast only to do you harm, to slay you to get rid of you; so do not go thither, my child!” the herdsman warns Bedinoqwe. 
 
Bedinoqwe is immensely angered by the herdsman and what he said [for Bedinoqwe has been well-disposed towards the Narts since his birth, despite their malevolence and maleficence towards him]. He spurns the warning, spurs his lean thoroughbred, and heads to the Nart town, leaping and bounding. 

On her way to bring water for the mansion, Lady Satanay’s house-slave sees the coming rider. Not knowing who he is, the slave runs back to the house and tells her mistress about the astonishing knight she saw. 

Lady-Satanay shudders in fright, and sends her menial out again to observe the appearance of the approaching rider and to divine his identity. The slave espies Bedinoqwe’s appearance, hurries back and tells Lady-Satanay of the rider’s impressive air and looks. 

With the slave-girl not recognizing the rider, Satanay stands up and surreptitiously looks out of the small gate at the rider. She immediately identifies him [and perceives him as a threat to the Narts]. Satanay, the witch, resolves to receive Bedinowe to rob him of his heroic essence and render him enfeebled, so as not to vanquish [her beloved son and minion] Sosriqwe and the Narts. She sends her slave outside to welcome Bedinoqwe. 

The slave runs out and heads towards Bedinoqwe. She salutes Bedinoqwe, and invites him to the Alij mansion, to be royally regaled. However, Bedinoqwe refuses the invitation, saying, “I am not the kind of man to indulge in excessive drinking and feasting!” 

With the menial unable to convince Bedinoqwe to enter, Satanay comes out of the mansion to entice him into her abode, inviting him for but one toast in his honour. When he refuses her offer, she takes off her headscarf to show him her inviting white mouth. Abstemious Bedinoqwe turns his eyes to resist the temptation, but crafty Satanay flashes her voluptuous white breasts at him. When she sees his unconcern, she strips further down to expose her exquisite ivory navel, and as she perceives not the slightest interest, she undoes her silk lace to reveal her silken inviting private part in its full glory.  

Bedinoqwe is utterly incensed by Satanay’s shameless display, and he calls her “a wanton bitch-witch”. “There is no other inveterate ‘bitch-witch’ like you in our land. May God cast his cruelest curses upon you! May you receive what you deserve; as for me, I am searching for a best man amongst the Narts,” maledicts Bedinoqwe.  

Satanay is utterly angered by this, and she gives up her attempt to seduce Bedinoqwe. She lets him on his way to the house where the Narts are having their drinking festival. “Go on your way. You shall find a Nart best man to your liking. May you be struck by the road ailments!”  

Bedinoqwe heads towards the place where the Wine Drinking Festival is being held. When he is seen by the Nart sentinel standing at the gate, this latter tells the Narts of the rider’s approach. They hurry to look at the coming rider. Not recognizing him, they ask Sosriqwe about his identity. Is there anyone whom Sosriqwe doesn’t know!? Sosriqwe recognizes the rider and tells the Narts what needs to be told about Bedinoqwe. He also informs the Narts on how to kill Bedinoqwe.  

The Narts go out to meet Bedinoqwe, they spread seven felt cloaks, and accompanied by seven Narts as ushers, they ceremoniously take him in full honour to the Wine Festival. They offer Bedinoqwe a wine toasting-horn in which a slender venomous viper is lurking. “Drink with us this toast, so that we can be introduced to you and divine your character!” they tell him.

Bedinoqwe immediately perceives the viper, and, with his steel moustache, pierces the wicked viper in the gut and pins it to the bottom of the drinking horn. He downs the beverage and hands back the toasting vessel. “I shall do the same unto you!” Bedinoqwe says as he turns to face the Narts, who have fallen into panic. But Bedinoqwe is merciful, and he forgives the transgression of the Narts. The Narts take Bedinoqwe back to his seat by the table. Intoxicated by the heavenly elixir, the Narts start to dance in ecstasy. 

Sosriqwe and Bedinoqwe compete as who is the best dancer, putting on a spectacular display of dancing skills and prowess, dancing and frenziedly twirling on three-legged tables full of dishes and drinking vessels and leaping off without upsetting the table or spilling a single drop of drink. Instead of engaging in internecine warfare, the Narts chose to display their heroism and skill in dance. Thus did the Narts keep Bedinoqwe in their midst as a leading light.

«Бэдынокъуэ и пшыналъэ: Бэдынокъуэ нарт хасэм къокlуэ»

Бэдынокъуэ нарт IэхъупIэми нытохьэ. Нартхэ Iэхъуэми ныIуощIэ. 
— Бэхъу апщий! — жреIэ. — Нарт хъыбари сыгъащIэ. 

Нартхэ я Iэхъуэр Бэдынокъуэм зэрыIуплъэу къецIыху. Iэхъуэр Бэдынокъуэ къыщогуфIыкI, къыщотхъу, абы щыгъуэми къыжреIэ, нартыжьхэр Сэтэней деж ефэ-ешхэу зэрыщIэсхэр, Нэсрэн ЖьакIэ тхьэмадэу, Сосрыкъуи яхэсу, нартыжьхэм джатэ кIэщIхэр я бгырыдзэну зэрыщызауэр. «Абыхэм пщащэ дахэ я къэфакIуэщ, уэ джэгуэгъу пхуащIынщи лей къуахынщ, си щIалэ, умыкIуэ!» — къыжреIэ. 

Бэдынокъуэ абы къегъэгубжь. И хуарэ псыгъуэм йолъэдэкъауэри зэ пкIэм, зэ лъэуэ, зэ лъэм, умылъагъужу нарт къуажэмкIэ еунэтI. 

Сэтэней и унэIутыр псыхьэ кIуэну ежьауэ шу къакIуэр елъагъу. Ар хэтми унэIутым къыхуэмыцIыхуу, щIолъэдэжри Сэтэней жреIэ. 

Сэтэней хощтыкIри етIуанэуи и унэIутыр къыщIегъэж, и шыфэлIыфэм кIэлъыплъу жриIэну. УнэIутыр Бэдынокъуэ и шыфэлIыфэм кIэлъоплъри, щIолъэдэжри дилъэгъуар Сэтэней жреIэ. 

УнэIутым шур щыхуэмыцIыхум, езы Сэтэней къотэдж, куэбжэ цIыкIумкIэ щэхуу къыдоплъри къоплъакIуэ, зэрилъагъууи къецIыху. Сэтэней удти мурад ещI Бэдынокъуэ къригъэблагъэу и лIыхъупкъ хихыу къаруншэ ищIыну, Сосрыкъуэрэ нартхэмрэ къатемыкIуэн щхьэкIэ. Бэдынокъуэ къригъэблэгъэну унэIутыр къыдегъэкI. 

УнэIутыр къыдожри Бэдынокъуэм ирегъэгъазэ. Бэдынокъуэ абы фIэхъус ирех. УнэIутыр Бэдынокъуэм къолъэIу Алыджхэ я унэм еблэгъэну, фIыгъуэ-тхъэгъуэхэр къыхуегъэлъагъуэ, ауэ Бэдынокъуэ «сыефакIуэ-ешхакIуэкъым», — жеIэри еблэгъэн идэркъым. 

Бэдынокъуэ унэIутым къыщыхуемыблагъэм, Сэтэней къыкъуокIри еблэгъэну, зы бжьэ къыхуефэну къолъэIу. ЩыхуемыблагъэкIэ, и IэлъэщIыр зэтрехри и жьэгъухум Iуегъаплъэ. Абы щыхуемыплъым, и бгъэгухум Iуегъаплъэ. Ари щыфIэмыIуэхум, и бынджэм Iуегъаплъэ, ари хъымпIар щимыщIым, шылэ уагъэр зэпечри и щахэгум Iуегъаплъэ. 

Бэдынокъуэ абы къегъэгубжьри, Сэтэней «зэрыхьэбз удыр» къыжреIэ. «Уэ пхуэдэ хьэбз уд нэмыщI, дэ ди хэку имысмэ, ди хэкум Тхьэр ибгэ!» — жери Сэтэнейр зрипэсыркъым. «Абы къыфIэбгъэкIмэ, уэ пхуэфащэ бгъуэтынщ, сэ нарт щауэгъу солъыхъуэ! — жреIэ Сэтэнейм Бэдынокъуэ. 

Сэтэней абы къегъэгубжьри, нартыжьхэр щефэу зыщIэс унэм Бэдынокъуэр еутIыпщ. «Нарт щауэгъу бгъуэтынщ, гъуэгупэ узри къыуатынщ!» — жеIэри. 

Бэдынокъуэ санэхуафэр здэщыIэмкIэ еунэтI. Ар зэрыкIуэр куэбжэм Iут нартым елъагъури санэхуафэм щIэсхэм яжреIэ. КъызэрыщIохри, шу къакIуэм къоплъ. КъахуэмыцIыхуу Сосрыкъуэм къоупщIхэр. Сосрыкъуэ имыщIэн щыIэ!? КъецIыхури, Бэдынокъуэ зищIысыр нартыжьхэм яжреIэ. Бэдынокъуэ яукIа зэрыхъунумкIи нартыжьхэр егъэIущ. 

Бэдынокъуэм нартыжьхэр къыпожьэ, щIакIуиблыр къызэпаубгъури, нартыжьиблыр и блыгу щIэту, санэхуафэм ныщIашэ. Блащхъуэжьейр есу хэсу санэхубжьэр къыIэщIагъэувэ, «Санэхубжьэм къытхуефи, уи шыфэлIыфэр къэтщIэнщ!» — къыжраIэ. 

Бэдынокъуэ блащхъуэжьейм гу нылъетэ, и жыр пащIэр блащхъуэжьейм и накъыщIэм [gut, intestine] ныхеукIэри, фалъэм и щIэм иреIулIри, фадэу щIэтыр щIефыкIри фалъэр яретыж. «Сэ фысщIэнщ!» — жиIэу къыщигъазэкIэ, нартыжьхэр мэгумэщI. Ирагъэгъазэри Iэнэм ягъэтIыс. Нартхэр зэрогъафэри къэфэн щIадзэ. 

ИкъукIэ гъэщIэгъуэнщ, Iэзагъышхуэ хэлъуи гъэпсащ Сосрыкъуэрэ Бэдынокъуэрэ къэфэнкIэ зэрызэныкъуэкъур. ЗауэнкIэ мыхъуу, къэфэнми лIыгъэ халъагъуэу, гъэсэныгъэ халъагъуэу зэрыщытар абы къегъэлъагъуэ. Нартхэ гъуазэу Бэдынокъуэ къахуонэ. 


“Bedinoqwe’s Song: Bedinoqwe Comes to the Nart Council”

In the “Nisashe” ceremony («нысашэ») (also called “Schwzish” in Adigean; “Pschescheshe” in Shapsugh), whereby the bride was taken from her parental home to her father-in-law”s homestead (which comprehended her future abode with the bridegroom) in a procession, the ancient song «УЭРИДАДЭ» (“Weriydade”) (which had a number of variations) was chanted along the way by her escorts. Here is one version of the ritual chant “Weriydade, bestow happiness on our bride!”, sung by the group Bedinoqwe. The words are first given in the original Circassian then an English translation is presented. 

«НЫСАШЭ УЭРЭД»

Данэмрэ дыщэмрэ зи гущхьэ...

Ежьу. Нысэ идошэ, уорэйда,
Уорэйдэ рэйдэ уорэйда!

Зи гублащхьитIри дыжьынкъэ!

Ежьу. Нысэ идошэ, уорэйда,
Уорэйдэ рэйдэ уорэйда!

Зи дыжьын щIыIури алътескъэ...

Ежьу. Нысэ идошэ, уорэйда,
Уорэйдэ рэйдэ уорэйда!

Алътес гъуэжьыри и гъуапэщ!

Ежьу. Нысэ идошэ, уорэйда,
Уорэйдэ рэйдэ уорэйда!

Уэгум ит мазэри и напэщ...

Ежьу. Нысэ идошэ, уорэйда,
Уорэйдэ рэйдэ уорэйда!

И напэху дахэм нысэм зегъазэ!

Ежьу. Нысэ идошэ, уорэйда,
Уорэйдэ рэйдэ уорэйда!

Жыр лэныстэшхуэр нысэм егъабзэ...

Ежьу. Нысэ идошэ, уорэйда,
Уорэйдэ рэйдэ уорэйда!

Жыр мастэ цIыкIум нысэр иродэ!

Ежьу. Нысэ идошэ, уорэйда,
Уорэйдэ рэйдэ уорэйда!

“Nisashe” Song: “Weriydade, bestow happiness on our bride!”

The top of her carriage is silk and gold…

Chorus: We are escorting the bride, woreida,
Woreide reide woreida!

The two dickeys silverine!

Chorus: We are escorting the bride, woreida,
Woreide reide woreida!

Her silverine shirtfront is aglitter with satin…(1)

Chorus: We are escorting the bride, woreida,
Woreide reide woreida!

Of yellow satin are her sleeves!

Chorus: We are escorting the bride, woreida,
Woreide reide woreida!

The moon in the heavens [turns] its face…

Chorus: We are escorting the bride, woreida,
Woreide reide woreida!

Turns it majestically towards the white-faced beautiful bride!

Chorus: We are escorting the bride, woreida,
Woreide reide woreida!

The bride cuts with great steel scissors…

Chorus: We are escorting the bride, woreida,
Woreide reide woreida!

And sews with a small steel needle!

Chorus: We are escorting the bride, woreida,
Woreide reide woreida!

Translated by Amjad M. Jaimoukha.

(1) “ЩIыIу” or “бгъэIулъ” (“БгъэкIыIу” or “кIыIу” in Adigean) is part of a Circassian woman”s national costume. It consists of a false shirtfront of velvet or silk with (up to) 12 silver or gilt pairs of plate-like buckles, which when seen from a distance impart a beautiful lustre, and other ornaments.


Circassian Wedding Song: “Weriydade, bestow happiness on our bride!”

This version was recorded in 1910 by "The Circassian Chorus", and issued on record 25693 by Pathé.

From the history of the Kabardian-Russian War: "The Song of the Kabardian Night Assault" [«КЪЭБЭРДЕЙ ЖЭЩТЕУЭМ И УЭРЭД»]

Angered by the continued expansionist policy pursued by Russia against their country, despite persistent protestations, the Kabardians resolved in the spring of 1779 to rid Kabarda of Russian presence and undo the Russian fortresses that had been constructed in the northern parts of their territory. The Circassians mobilized their forces and began to fight back against Russian expansion. In response, Empress Catherine II instructed the Governor General of Astrakhan, Prince Potemkin, to pacify Kabarda by fair means or foul. General Jacoby was given his marching orders. He conducted an offensive in Kabarda, which lasted all summer. After the arrival of fresh enforcements from Russia, the expedition succeeded in penetrating deep into Kabardian lands. At the end of September 1779, a fierce battle was fought in which the Kabardian force, taken unawares, was massacred. About fifty princes and more than 350 noblemen were killed, a huge toll by the reckoning of those days. Dubbed "Qeberdey Zheschteiwe" ("Kabardian Night Assault"), the battle marked one of the bleakest days in Kabardian history. The war is referred to by the Kabardians as "Maziybl Zawe" («МАЗИБЛ ЗАУЭ»; "The Seven-Month War"), or "Qwrey Zawe" («КЪУРЕЙ ЗАУЭ»; "The Qwrey War"), the place where it all took place. By December, the Kabardian princes were defeated and the northern frontier of Kabarda retracted to the rivers Balhq (Malka) and Terch (Terek).

Some historians consider this date (1779) as the start of the Kabardian-Russian War, and 1818 as the date of the complete pacification of Kabarda by Tsarist Russia. The war in Kabarda was localized and badly organized. The Circassian princes failed to present a united front, the Russians taking advantage of principal rivalries. When General Yermolov, military commander of the southern Tsarist forces, arrived on the scene in 1816, Kabarda was on her knees. Four decades of open conflict had demoralized the people and left the land in ruins. The Kabardians suffered heavy losses. By 1818, their number had fallen from 350,000 before the war to a mere 50,000. The mighty Kabardians were reduced to vassalage. Two centuries later, Kabarda is still occupied by Russia and the Kabardians are still striving to rid their country of the heavy yoke.

Kabardian Night Assault [Qeberdey Zheschteiwe]

[Western] Circassian Dance "Shirt'im" [«ЩыртIым»]. This version was recorded in 1910 by "The Circassian Chorus", and issued on record 24869 by Pathé.

[http://gallica.bnf.fr/ark:/12148/bpt6k1278549/f2.item.r=tcherkesse.langEN]

The sung version is a traditional (Adigean) lyrical/comic song, the first two lines, and a later line, of which go like this: 

«ЩыртIым зыфаIорэ пшъэшъэ шIуцIэ пэрыкъ. 
Пхъэ такъырым тесу сэмэркъэу ренэу... 
Ыт Iори, шымэ яу.» 

Circassian Dance "Shirt'im" [«ЩыртIым»], recorded in 1910.

“Song of Shishkhaegh” [«Шишхаегъ воредъ»], Kabardian Chorus under the direction of Mogamed Qwezhey (Къуэжей Мухьэмэд; Могамед Кожаев). [No. 25472] [http://gallica.bnf.fr/ark:/12148/bpt6k1278774.r=kabarde.langEN]

This is one of 12 Kabardian (Circassian) songs and chants that are preserved on records in the Musée de la Parole, Paris. The records are labelled in both Circassian (Arabic alphabet) and Russian. These recordings were cut by Pathé in 1910 (29 cm, 86 rpm, Hill and Dale Records). They are in good condition, and since 1912 have been kept at the Musée de la Parole. They are valuable musicological and folklore sources. The Musée de la Parole has done Circassian musicology and culture a great service by digitizing these timeless and priceless recordings and making them freely available in the public domain.  

The 12 Kabardian songs are catalogued in:
International Commission on Folk Arts and Folklore, “Collection of the Phonothèque Nationale (Paris)”, Archives of Recorded Music, Series C: Ethnographical and Folk Music Volume I, Paris: UNESCO, 1952, pp. 38-39.

In these unique recordings two choral groups perform songs and chants that (we think) have been lost in the repertoires of the Circassian bards of modern times. The two chorus masters are Yibrehiym Qwmiqw (Къумыкъу Ибрэхьим) and Mogamed Qwezhey (Къуэжей Мухьэмэд; Могамед Кожаев). These should be of great interest to Circassian musicologists, musicians, and musical and cultural institutes and archiving centres in Circassia, and elsewhere. 

“Song of Shishkhaegh” [«Шишхаегъ воредъ»], ancient Circassian song

“Song of Zatalov” [«Заталов воредъ»], Kabardian Chorus under the direction of Mogamed Qwezhey (Къуэжей Мухьэмэд; Могамед Кожаев). [No. 25473] [http://gallica.bnf.fr/ark:/12148/bpt6k1278774/f2.item.r=kabarde.langEN]

This is one of 12 Kabardian (Circassian) songs and chants that are preserved on records in the Musée de la Parole, Paris. The records are labelled in both Circassian (Arabic alphabet) and Russian. These recordings were cut by Pathé in 1910 (29 cm, 86 rpm, Hill and Dale Records). They are in good condition, and since 1912 have been kept at the Musée de la Parole. They are valuable musicological and folklore sources. The Musée de la Parole has done Circassian musicology and culture a great service by digitizing these timeless and priceless recordings and making them freely available in the public domain.  

The 12 Kabardian songs are catalogued in:
International Commission on Folk Arts and Folklore, “Collection of the Phonothèque Nationale (Paris)”, Archives of Recorded Music, Series C: Ethnographical and Folk Music Volume I, Paris: UNESCO, 1952, pp. 38-39.

In these unique recordings two choral groups perform songs and chants that (we think) have been lost in the repertoires of the Circassian bards of modern times. The two chorus masters are Yibrehiym Qwmiqw (Къумыкъу Ибрэхьим) and Mogamed Qwezhey (Къуэжей Мухьэмэд; Могамед Кожаев). These should be of great interest to Circassian musicologists, musicians, and musical and cultural institutes and archiving centres in Circassia, and elsewhere. 


“Song of Zatalov” [«Заталов воредъ»], ancient Circassian song

“Song of Hezretiqwe Godziv” [«Хазртоке Годзивъ воредъ»; «Гуэдзэ(?) Хьэзрэтыкъуэ и уэрэд»]”, Kabardian Chorus under the direction of Yibrehiym Qwmiqw (Къумыкъу Ибрэхьим). [No. 25444] [http://gallica.bnf.fr/ark:/12148/bpt6k127880t.r=kabarde.langEN]

This is one of 12 Kabardian (Circassian) songs and chants that are preserved on records in the Musée de la Parole, Paris. The records are labelled in both Circassian (Arabic alphabet) and Russian. These recordings were cut by Pathé in 1910 (29 cm, 86 rpm, Hill and Dale Records). They are in good condition, and since 1912 have been kept at the Musée de la Parole. They are valuable musicological and folklore sources. The Musée de la Parole has done Circassian musicology and culture a great service by digitizing these timeless and priceless recordings and making them freely available in the public domain.  

The 12 Kabardian songs are catalogued in:
International Commission on Folk Arts and Folklore, “Collection of the Phonothèque Nationale (Paris)”, Archives of Recorded Music, Series C: Ethnographical and Folk Music Volume I, Paris: UNESCO, 1952, pp. 38-39.

In these unique recordings two choral groups perform songs and chants that (we think) have been lost in the repertoires of the Circassian bards of modern times. The two chorus masters are Yibrehiym Qwmiqw (Къумыкъу Ибрэхьим) and Mogamed Qwezhey (Къуэжей Мухьэмэд; Могамед Кожаев). These should be of great interest to Circassian musicologists, musicians, and musical and cultural institutes and archiving centres in Circassia, and elsewhere. 


Song of Hezretiqwe Godziv [«Хазртоке Годзивъ воредъ», ancient Kabardian song

“Song of Prince Aytek Qanoqwe” [«Айтекъ Каноковъ воредъ»; «Пщы Къанокъуэ Айтэч и уэрэд»], Kabardian Chorus under the direction of Mogamed Qwezhey (Къуэжей Мухьэмэд; Могамед Кожаев). [Prince Aytek Qanoqwe was the chieftain of the Beslanay nation-tribe during the Circassian-Russian War. He harried the Russian lines with his troops in the 1830s.] [No. 25445] [http://gallica.bnf.fr/ark:/12148/bpt6k127880t/f2.item.r=kabarde.langEN]

This is one of 12 Kabardian (Circassian) songs and chants that are preserved on records in the Musée de la Parole, Paris. The records are labelled in both Circassian (Arabic alphabet) and Russian. These recordings were cut by Pathé in 1910 (29 cm, 86 rpm, Hill and Dale Records). They are in good condition, and since 1912 have been kept at the Musée de la Parole. They are valuable musicological and folklore sources. The Musée de la Parole has done Circassian musicology and culture a great service by digitizing these timeless and priceless recordings and making them freely available in the public domain.  

The 12 Kabardian songs are catalogued in:
International Commission on Folk Arts and Folklore, “Collection of the Phonothèque Nationale (Paris)”, Archives of Recorded Music, Series C: Ethnographical and Folk Music Volume I, Paris: UNESCO, 1952, pp. 38-39.

In these unique recordings two choral groups perform songs and chants that (we think) have been lost in the repertoires of the Circassian bards of modern times. The two chorus masters are Yibrehiym Qwmiqw (Къумыкъу Ибрэхьим) and Mogamed Qwezhey (Къуэжей Мухьэмэд; Могамед Кожаев). These should be of great interest to Circassian musicologists, musicians, and musical and cultural institutes and archiving centres in Circassia, and elsewhere. 


Song of Prince Aytek Qanoqwe [«Пщы Къанокъуэ Айтэч и уэрэд»]

“Kabardian Dance” [«Кабарде кафе»; «Къэбэрдей къафэ»; “Qeberdey Qafe”],  Kabardian Chorus under the direction of Yibrehiym Qwmiqw (Къумыкъу Ибрэхьим). [No. 25446] [http://gallica.bnf.fr/ark:/12148/bpt6k127879w.r=kabarde.langEN]

This is one of 12 Kabardian (Circassian) songs and chants that are preserved on records in the Musée de la Parole, Paris. The records are labelled in both Circassian (Arabic alphabet) and Russian. These recordings were cut by Pathé in 1910 (29 cm, 86 rpm, Hill and Dale Records). They are in good condition, and since 1912 have been kept at the Musée de la Parole. They are valuable musicological and folklore sources. The Musée de la Parole has done Circassian musicology and culture a great service by digitizing these timeless and priceless recordings and making them freely available in the public domain.  

The 12 Kabardian songs are catalogued in:
International Commission on Folk Arts and Folklore, “Collection of the Phonothèque Nationale (Paris)”, Archives of Recorded Music, Series C: Ethnographical and Folk Music Volume I, Paris: UNESCO, 1952, pp. 38-39.

In these unique recordings two choral groups perform songs and chants that (we think) have been lost in the repertoires of the Circassian bards of modern times. The two chorus masters are Yibrehiym Qwmiqw (Къумыкъу Ибрэхьим) and Mogamed Qwezhey (Къуэжей Мухьэмэд; Могамед Кожаев). These should be of great interest to Circassian musicologists, musicians, and musical and cultural institutes and archiving centres in Circassia, and elsewhere. 


“Kabardian Dance” [«Къэбэрдей къафэ»], Circassian choral music

“Lawishe Dance” [«Лауше кафе»; «Лаушэ Къафэ»; “Lawishe Qafe”], Kabardian Chorus under the direction of Yibrehiym Qwmiqw (Къумыкъу Ибрэхьим). [No. 25449] [http://gallica.bnf.fr/ark:/12148/bpt6k127879w/f2.item.r=kabarde.langEN]

This is one of 12 Kabardian (Circassian) songs and chants that are preserved on records in the Musée de la Parole, Paris. The records are labelled in both Circassian (Arabic alphabet) and Russian. These recordings were cut by Pathé in 1910 (29 cm, 86 rpm, Hill and Dale Records). They are in good condition, and since 1912 have been kept at the Musée de la Parole. They are valuable musicological and folklore sources. The Musée de la Parole has done Circassian musicology and culture a great service by digitizing these timeless and priceless recordings and making them freely available in the public domain.  

The 12 Kabardian songs are catalogued in:
International Commission on Folk Arts and Folklore, “Collection of the Phonothèque Nationale (Paris)”, Archives of Recorded Music, Series C: Ethnographical and Folk Music Volume I, Paris: UNESCO, 1952, pp. 38-39.

In these unique recordings two choral groups perform songs and chants that (we think) have been lost in the repertoires of the Circassian bards of modern times. The two chorus masters are Yibrehiym Qwmiqw (Къумыкъу Ибрэхьим) and Mogamed Qwezhey (Къуэжей Мухьэмэд; Могамед Кожаев). These should be of great interest to Circassian musicologists, musicians, and musical and cultural institutes and archiving centres in Circassia, and elsewhere. 

Lawishe Dance

“Song of Jembot Beishtoqwe” [«Джамботъ Бештоковъ воредъ»; «Бештокъуэ Джэмбот и уэрэд»], Kabardian Chorus under the direction of Mogamed Qwezhey (Къуэжей Мухьэмэд; Могамед Кожаев).  [No. 25476] [http://gallica.bnf.fr/ark:/12148/bpt6k127876r.r=kabarde.langEN]

This is one of 12 Kabardian (Circassian) songs and chants that are preserved on records in the Musée de la Parole, Paris. The records are labelled in both Circassian (Arabic alphabet) and Russian. These recordings were cut by Pathé in 1910 (29 cm, 86 rpm, Hill and Dale Records). They are in good condition, and since 1912 have been kept at the Musée de la Parole. They are valuable musicological and folklore sources. The Musée de la Parole has done Circassian musicology and culture a great service by digitizing these timeless and priceless recordings and making them freely available in the public domain.  

The 12 Kabardian songs are catalogued in:
International Commission on Folk Arts and Folklore, “Collection of the Phonothèque Nationale (Paris)”, Archives of Recorded Music, Series C: Ethnographical and Folk Music Volume I, Paris: UNESCO, 1952, pp. 38-39.

In these unique recordings two choral groups perform songs and chants that (we think) have been lost in the repertoires of the Circassian bards of modern times. The two chorus masters are Yibrehiym Qwmiqw (Къумыкъу Ибрэхьим) and Mogamed Qwezhey (Къуэжей Мухьэмэд; Могамед Кожаев). These should be of great interest to Circassian musicologists, musicians, and musical and cultural institutes and archiving centres in Circassia, and elsewhere. 


Song of Jembot Beishtoqwe [«Бештокъуэ Джэмбот и уэрэд»], ancient Circassian song

“Song of Qeshqetaw” [«Кашкатау воредъ»; «Къэщкъэтау и уэрэд»], Kabardian Chorus under the direction of Mogamed Qwezhey (Къуэжей Мухьэмэд; Могамед Кожаев).  [No. 25477] [http://gallica.bnf.fr/ark:/12148/bpt6k127876r/f2.item.r=kabarde.langEN]

One of 12 Kabardian (Circassian) songs and chants that are preserved on records in the Musée de la Parole, Paris. The records are labelled in both Circassian (Arabic alphabet) and Russian. These recordings were cut by Pathé in 1910 (29 cm, 86 rpm, Hill and Dale Records). They are in good condition, and since 1912 have been kept at the Musée de la Parole. They are valuable musicological and folklore sources. The Musée de la Parole has done Circassian musicology and culture a great service by digitizing these timeless and priceless recordings and making them freely available in the public domain.  

The 12 Kabardian songs are catalogued in:
International Commission on Folk Arts and Folklore, “Collection of the Phonothèque Nationale (Paris)”, Archives of Recorded Music, Series C: Ethnographical and Folk Music Volume I, Paris: UNESCO, 1952, pp. 38-39.

In these unique recordings two choral groups perform songs and chants that (we think) have been lost in the repertoires of the Circassian bards of modern times. The two chorus masters are Yibrehiym Qwmiqw (Къумыкъу Ибрэхьим) and Mogamed Qwezhey (Къуэжей Мухьэмэд; Могамед Кожаев). These should be of great interest to Circassian musicologists, musicians, and musical and cultural institutes and archiving centres in Circassia, and elsewhere. 


Song of Qeshqetaw [«Къэщкъэтау и уэрэд»], ancient Circassian song

“Song of Prince Andeimirqan Ax'lo” [«Андимрханъ Ахловъ воредъ»; «Ахъло Андемыркъан и уэрэд»], Kabardian Chorus under the direction of Yibrehiym Qwmiqw (Къумыкъу Ибрэхьим). [No. 25440] [http://gallica.bnf.fr/ark:/12148/bpt6k1278816.r=kabarde.langEN]

One of 12 Kabardian (Circassian) songs and chants that are preserved on records in the Musée de la Parole, Paris. The records are labelled in both Circassian (Arabic alphabet) and Russian. These recordings were cut by Pathé in 1910 (29 cm, 86 rpm, Hill and Dale Records). They are in good condition, and since 1912 have been kept at the Musée de la Parole. They are valuable musicological and folklore sources. The Musée de la Parole has done Circassian musicology and culture a great service by digitizing these timeless and priceless recordings and making them freely available in the public domain.  

The 12 Kabardian songs are catalogued in:
International Commission on Folk Arts and Folklore, “Collection of the Phonothèque Nationale (Paris)”, Archives of Recorded Music, Series C: Ethnographical and Folk Music Volume I, Paris: UNESCO, 1952, pp. 38-39.

In these unique recordings two choral groups perform songs and chants that (we think) have been lost in the repertoires of the Circassian bards of modern times. The two chorus masters are Yibrehiym Qwmiqw (Къумыкъу Ибрэхьим) and Mogamed Qwezhey (Къуэжей Мухьэмэд; Могамед Кожаев). These should be of great interest to Circassian musicologists, musicians, and musical and cultural institutes and archiving centres in Circassia, and elsewhere. 


Song of Prince Andeimirqan Ax'lo

“Song of Talhosten” [«Талостановъ воредъ»; «талъостэн и уэрэд»], Kabardian Chorus under the direction of Yibrehiym Qwmiqw (Къумыкъу Ибрэхьим). [No. 25441] [http://gallica.bnf.fr/ark:/12148/bpt6k1278816/f2.item.r=kabarde.langEN]

One of the 12 Kabardian (Circassian) songs and chants that are preserved on records in the Musée de la Parole, Paris. The records are labelled in both Circassian (Arabic alphabet) and Russian. These recordings were cut by Pathé in 1910 (29 cm, 86 rpm, Hill and Dale Records). They are in good condition, and since 1912 have been kept at the Musée de la Parole. They are valuable musicological and folklore sources. The Musée de la Parole has done Circassian musicology and culture a great service by digitizing these timeless and priceless recordings and making them freely available in the public domain.  

The 12 Kabardian songs are catalogued in:
International Commission on Folk Arts and Folklore, “Collection of the Phonothèque Nationale (Paris)”, Archives of Recorded Music, Series C: Ethnographical and Folk Music Volume I, Paris: UNESCO, 1952, pp. 38-39.

In these unique recordings two choral groups perform songs and chants that (we think) have been lost in the repertoires of the Circassian bards of modern times. The two chorus masters are Yibrehiym Qwmiqw (Къумыкъу Ибрэхьим) and Mogamed Qwezhey (Къуэжей Мухьэмэд; Могамед Кожаев). These should be of great interest to Circassian musicologists, musicians, and musical and cultural institutes and archiving centres in Circassia, and elsewhere. 


Song of Talhosten [«Талъостэн и уэрэд»]

“Song of Yismehiyl Anzor” [«Измайлъ Анзоровъ воредъ»;«Анзор Исмэхьил и уэрэд»], Kabardian Chorus under the direction of Mogamed Qwezhey (Къуэжей Мухьэмэд; Могамед Кожаев).  [No. 25470] [http://gallica.bnf.fr/ark:/12148/bpt6k127878h.r=kabarde.langEN]

One of 12 Kabardian (Circassian) songs and chants that are preserved on records in the Musée de la Parole, Paris. The records are labelled in both Circassian (Arabic alphabet) and Russian. These recordings were cut by Pathé in 1910 (29 cm, 86 rpm, Hill and Dale Records). They are in good condition, and since 1912 have been kept at the Musée de la Parole. They are valuable musicological and folklore sources. The Musée de la Parole has done Circassian musicology and culture a great service by digitizing these timeless and priceless recordings and making them freely available in the public domain.  

The 12 Kabardian songs are catalogued in:
International Commission on Folk Arts and Folklore, “Collection of the Phonothèque Nationale (Paris)”, Archives of Recorded Music, Series C: Ethnographical and Folk Music Volume I, Paris: UNESCO, 1952, pp. 38-39.

In these unique recordings two choral groups perform songs and chants that (we think) have been lost in the repertoires of the Circassian bards of modern times. The two chorus masters are Yibrehiym Qwmiqw (Къумыкъу Ибрэхьим) and Mogamed Qwezhey (Къуэжей Мухьэмэд; Могамед Кожаев). These should be of great interest to Circassian musicologists, musicians, and musical and cultural institutes and archiving centres in Circassia, and elsewhere. 


Song of Yismehiyl Anzor [«Анзор Исмэхьил и уэрэд»]

“Song of Bitsuts Pschinshe” [«Бицуцъ Пшиншево воредъ»; «Пщыншэ Быцуц и уэрэд»], Kabardian Chorus under the direction of Mogamed Qwezhey (Къуэжей Мухьэмэд; Могамед Кожаев).  [No. 25471] [http://gallica.bnf.fr/ark:/12148/bpt6k127878h/f2.item.r=kabarde.langEN]

One of 12 Kabardian (Circassian) songs and chants that are preserved on records in the Musée de la Parole, Paris. The records are labelled in both Circassian (Arabic alphabet) and Russian. These recordings were cut by Pathé in 1910 (29 cm, 86 rpm, Hill and Dale Records). They are in good condition, and since 1912 have been kept at the Musée de la Parole. They are valuable musicological and folklore sources. The Musée de la Parole has done Circassian musicology and culture a great service by digitizing these timeless and priceless recordings and making them freely available in the public domain.  

The 12 Kabardian songs are catalogued in:
International Commission on Folk Arts and Folklore, “Collection of the Phonothèque Nationale (Paris)”, Archives of Recorded Music, Series C: Ethnographical and Folk Music Volume I, Paris: UNESCO, 1952, pp. 38-39.

In these unique recordings two choral groups perform songs and chants that (we think) have been lost in the repertoires of the Circassian bards of modern times. The two chorus masters are Yibrehiym Qwmiqw (Къумыкъу Ибрэхьим) and Mogamed Qwezhey (Къуэжей Мухьэмэд; Могамед Кожаев). These should be of great interest to Circassian musicologists, musicians, and musical and cultural institutes and archiving centres in Circassia, and elsewhere. 


Song of Bitsuts Pschinshe [«Пщыншэ Быцуц и уэрэд»], ancient Circassian song

“The Edicts of Our Elders” 

[«Ди нэхъыжьхэм къытхуэфщIам унафэ»; “Diy Nex’izchxem Qitxwefsch’am Winafe”]

Sung by Anatoly Weter (Уэтэр Анатолэ; Otarov). The words (in Kabardian) of this song were written by F. Qanqwl (Къанкъул; Kankulov), the music by B. Qebardoqwe (Къэбардокъуэ; Kabardokov). Transcribed and translated/interpreted (into English) by Amjad M. Jaimoukha. Anatoly Weter’s majestic voice makes this one of the most popular anthemic chants in the Circassian repertoire of patriotic songs. In this poem, Circassian eloquence is taken to a sublime high.

«ДИ НЭХЪЫЖЬХЭМ КЪЫТХУЭФЩIАМ УНАФЭ»

Е-ей, нэхъыжьхэм, лIыгъэ фащэ дахэу
Къэхъу щIэблэщIэм дэ къытщыфтIэгъар
Идмыхын Iэпкълъэпкъым дыкъэсыхэу
Ди къуршыжьхэр бийм едгъэщIу гъэр.

Ежьу. Уо-ри-ра ри-ра-ри

Е-ей, нэхъыжьхэм, къытхуэфщIам унафэ
Гупым псалъэр хабзэщ пэдмыдзыжу.
Зедмыхьэжми ди пкъым илъу афэр,
Девгъэсащ дэ щIыхьым дыхуэпэжу.

Е-ей, нэхъыжьхэр, гупым фыкъытхыхьэ
Хабзэу дахэр диIэ нэгум ейщ.
Саур уанэр лIыгъэм хузэщIэфлъхьэм,
Дэ зи напэр тхъумэр Къэбэрдейщ.

Е-ей, нэхъыжьхэм, зефхьэ щIакIуэ фIыцIэр
ЛIыгъэм ипсыхьауэ къэвгъэнащ.
Зы лIыхъужьи темытхауэ, фи цIэр
Ди къуршыжьхэр сын фэеплъ тхуэфщIащ.

Саур уанэ: Saddle made of high-quality stamped leather.

"The Edicts of Our Elders"

Oh ye, our Elders, the splendid attire of valour
That ye have arrayed us in, the young ones,
We shall never cast off, but shall for ever savour, 
Even if the foes enslave the Great Mountains’ sons.

Chorus: Wo-riy-ra riy-ra-riy

Venerated Elders, the edicts ye endowed without fail,
Are iron-clad customs, to defend, we shall never tarry. 
We shall not encase our bodies with coats of mail;
Instead, as inured by you, we don the robes of glory.

Oh, revered Elders, the sublime customs you bequeathed,
We tenaciously defend and retain in our fold. 
On the saddles of gallantry, which for us ye assembled, 
We ride, our Kabarda’s honour to uphold.

Oh, ye Elders, your black felt cloaks of immaculate fit,
Tempered with heroism, you left to us – a priceless bounty.
With all your names, oh heroes of yore, etched on it,
The Great and Mighty Caucasus is your memorial for eternity. 


Song no. 3 of the first side of the album “Kabardian Songs”, issued by Melodiya in 1977. The Choir of the Television and Radio Broadcasting of the Kabardino-Balkarian Autonomous Soviet Socialist Republic. Artistic Director: Boris Miz (Мыз Борис; Mizov). 

Anatoly Weter (1941-1988), Honoured Artist of the Kabardino-Balkarian Republic, was born in the village of Qereghesh in Kabarda. He possessed a powerful, yet lyrical voice suitable for such energetic songs as “Xekw Wered” («Хэку уэрэд»; “Song for the Fatherland”), and “Gwm yi wered” («Гум и уэрэд»; “Song of the Heart”), both written by Wimar Thebisim and Qirimiz Zhene. Amongst his timeless recordings are the anthem-like “Diy nex’izchxem qitxwefsch’am winafe” (“The Edicts of Our Elders”), and two ancient Nart chants, namely “Baterez” («Батэрэз») and “Nisrenzchach’e” («НысрэнжьакIэ»).

Circassian Anthemic Chant: "The Edicts of Our Elders"

The Circassians had a great number of nursery rhymes, in most of which mixed rhythm was used. The classic “Yinemiqwe” [«Инэмыкъуэ»] serves both as a nursery rhyme and a children’s game.

Here is a rendition of “Yinemiqwe” by the Circassian opera singer Svetlana Bogatizheva [Бэгъуэтыж Светланэ], People's Artist of the Russian Federation and the Kabardino-Balkarian Republic. The traditional melody was arranged by the Circassian classical musician and composer Zhebre’iyl He’wpe (ХьэIупэ ЖэбрэIил; Jebrail Khaupa).

"Yinemiqwe" is a patter nursery rhyme, with the words making no sense in connection.

«Инэмыкъуэ»

Инэ-инэ,
Инэмыкъуэ,
Мыкъуэ щхьэл,
Щхьэл къутэ,
Къутэроу,
Щомыхъу,
Щохъурзэ,
Хъурзэ натIэ,
Хьэ натIищ,
ЛIищ зыукI,
ЗызукIыж,
Лъэрыгъагъ,
Лъэрыгъыпс,
Хьэнтхъупсафэ,
Псафэ егъу,
Хъурей накIуэ,
НакIуэ тIыс,
ТIыс, Аслъэн!
Аслъэныкъуэ,
Лъакъуэ кIыхь,
КIэн къэхьи
Дыгъэджэгу,
Шатэ къэхьи
Дыгъэшхыж.


"Yinemiqwe"

Yine-yine,
Yinemiqwe,
Miqwe schhel,
Schhel qwte,
Qwterow,
Schomix’w,
Schox’wrze,
X’wrze nat’e,
He nat’iysch, 
L’iysch ziwich’,
Zizuch’izh,
Lherighagh,
Lherighips,
Hentx’wpsafe,
Psafe yeghw,
X’wrey nak’we,
Nak’we t’is,
T’is, Aslhen!
Aslheniqwe,
Lhaqwe ch’ih,
Ch’en qehiy
Dighejegw,
Shate qehiy
Digheshxizh.


“Yinemiqwe” [«Инэмыкъуэ»]: Circassian Nursery Rhyme and Children’s Game

Ceremonies, rituals, and celebrations (дауэдапщэ; dawedapsche) pervaded domestic life in classical Circassia. From birth to death, all milestones in the time-line of the life of each person were marked and celebrated, generally with a combination of joy and solemnity. For each occasion special victuals and foodstuffs were prepared and had, and associated festive songs were chanted. 

The Circassians celebrated a toddler’s first steps (лъэтеувэ; lheteiwive) by preparing corn cakes especially for the occasion called “lheteiwivemezhaje” «лъэтеувэмэжаджэ». National sweetmeats (хьэлыуэ; heliwe) were also prepared. Neighbours and relatives were invited to take part in the ceremony, and they brought along “lakum” [«лэкъум»] and chickens. Women and children also attended the ceremonies. The celebration of the first steps of a toddler took place on a reed-mace mat. Songs were sung in celebration. According to custom, various articles were placed on the corn cakes: a whip, dagger, blacksmith’s and jeweller’s instruments, etc, and the (boy) toddler was allowed to pick out the article of his choice, to foretell his future occupation or vocation. For example, if the lash, it presaged a glorious career as an intrepid horseman; the dagger – a fearless warrior; etc. For girls, articles symbolic of female occupations were used.

The Circassians had a broad repertoire of lullabies and children’s songs. When babies were being taught how to walk, they were encouraged to do so by singing songs to them. For baby-boys, the main theme was their exhortation to achieve feats of glory.

Here is a traditional song exhorting a child to walk entitled “Miyme qaremische!” [«Мимэ къарэмыщэ!»] by the Circassian opera singer Svetlana Bogatizheva [Бэгъуэтыж Светланэ], People’s Artist of the Russian Federation and the Kabardino-Balkarian Republic. The traditional melody was arranged by the Circassian classical musician and composer Jebre’iyl He’wpe (ХьэIупэ ДжэбрэIил; Jebrail Khaupa) [sheet music of piece is available in He’wpe’s referenced book, pp. 3-5].

Сабий зегъакIуэ уэрэд: «Мимэ къарэмыщэ!»

1. Мимэ, Мимэ, Мимэ къарэмыщэ!
Мимэ, Мимэ, Мимэ къарэщауэ!
Пхъэщхьэмыщхьэр мэщащэ,
Щауэ цӀыкӀур мэщыпэ,
И чы пыӀэр къыщенэ.

Мимэ, Мимэ!

2. Мимэ, Мимэ, Мимэ къарэмыщэ!
Мимэ, Мимэ, Мимэ къарэщауэ!
И чы пыӀэр къыщенэ,
И анэр макӀуэр – мэшынэ,
И адэр макӀуэр – къехьыжыр.

Мимэ, Мимэ, Мимэ, Мимэ!

Мимэ, Мимэ!

Song exhorting child to walk: “Miyme qaremische!”

1. Miyme, Miyme, Miyme qaremische!
Miyme, Miyme, Miyme swarthy champion!
The fruit is crumbling,
The little lad is gathering berries,
He leaves his little switch-cap.

Miyme, Miyme!

2. Miyme, Miyme, Miyme qaremische!
Miyme, Miyme, Miyme swarthy champion!
He leaves his little switch-cap,
Mum goes looking for it – full of fear,
Papa goes and brings it back.

Miyme, Miyme, Miyme, Miyme!

Miyme, Miyme!

Translated by Amjad M. Jaimoukha

“Miyme qaremische” [also “Miyme qeremische”] is an endearing address to an infant. “Miyme” is stressed on the second syllable (“iy”), “qeremische” on the third.

Musicians and musicologists intrigued by this music will find a treasure in Jebre’iyl He’wpe’s book “Torrent: Songs for Children” [«Псыхьэлыгъуэ: Сабийхэм папщIэ уэрэдхэр»], Nalchik: Elbrus Book Press, 2012. The book is in Circassian and contains the words and music sheets of 60 songs and nursery rhymes. [The whole book is downloadable in pdf format: https://dl.dropbox.com/u/45738709/Psihageligo_voredher.pdf]


“Miyme qaremische!”: Circassian song exhorting toddler to take its first steps

The Circassians had a song, chant, ditty, rhapsody, etc., for every conceivable occasion or situation. “He-and-Him” [«Мыстрэ-Мыстрэ»; "Mistre-Mistre"] pokes fun at people who lock antlers. "Mist" ["мыст"] is used to refer to someone whose name one has forgotten, or does not care to mention, equivalent to "what's his/her name". 

Here is a version of the song by the Circassian opera singer Svetlana Bogatizheva [Бэгъуэтыж Светланэ], People’s Artist of the Russian Federation and the Kabardino-Balkarian Republic. The traditional melody was arranged by the Circassian classical musician and composer Jebre’iyl He’wpe (ХьэIупэ ДжэбрэIил; Jebrail Khaupa) [sheet music of piece is available in He’wpe’s referenced book, pp. 12-13]

«Мыстрэ-Мыстрэ»: ТIу зэзэуамэ ауан зэращIыр

«Мыстрэ-Мыстрэ»

1. Мыстрэ Мыстрэ зэзэуа,
Мыст и накӀэр щӀауда,
Мыстхэ дежкӀэ дэлъэда,
Хьэ къарэжьыр къыхуилъа,
И псэ тӀэкӀур хуӀуиха,
Хьа-хьа-хьа, хьа, хуӀуиха!

2. И лъэр ихьу дэжыжа,
Дзыгъуэ гъуэмбым иӀэба,
Апэсищи къыриха,
КӀэнфетищи къищэхуа,
Зы къэмынэу ишхыжа,
ПӀи, пӀи, пӀи, пӀи, ишхыжа!

“He-and-Him”

1. “He” with “Him” came to blows.
“He” was knocked in the eye.
He scurried into “Their” courtyard.
The big black dog growled at him.
The old bugger was given such a fright, 
Ha-ha-ha, ha, he was utterly terrified!

2. He ran out as fast as he could.
He rummaged in the mouse-hole,
And fished out three coins.
He bought three bon-bons,
And gobbled them all up,
P’iy, p’iy, p’iy, p’iy, devoured them all!

[Апэсы = twenty copecks]

[Translated by Amjad M. Jaimoukha]

Musicians and musicologists intrigued by this music will find a treasure in Jebre’iyl He’wpe’s book “Torrent: Songs for Children” [«Псыхьэлыгъуэ: Сабийхэм папщIэ уэрэдхэр»], Nalchik: Elbrus Book Press, 2012. The book is in Circassian and contains the words and music sheets of 60 songs and nursery rhymes. [The whole book is downloadable in pdf format:https://dl.dropbox.com/u/45738709/Psihageligo_voredher.pdf] 


Amjad Jaimoukha

Popular tracks