Author:
Ilona Dzērve-Tālute
Music/performing arts
Title
The Petersburg garmon performance traditions (2018)
Pēterburģene, petrogradka, Pīterpiļs garmane, trīsrindu (trijrindu) ermoņikas, trīsrindene, trjohrjadka, harmonika, garmoška etc.
Geography
Historically, mainly Latgale. The St. Petersburg garmon is an instrument belonging to a wider cultural region – it was spread in the northwest of Russia, Carelia, the north-west of Belarus, the Seti lands, Aukštaitija in Lithuania; in the territory of Latvia – Latgale and episodically in Northern Vidzeme.
Despite the diminished practice of playing the instrument, it is still well known in the historical area of distribution and is regarded as a significant part of Latgale culture.
The St. Petersburg garmon and the stories about playing it are included in the exhibitions of nearly all Latgale regional history museums and specialist retellings.
The element is important for individuals and groups associated with the cultural traditions of the region. It is important for both the players themselves and those who do not play themselves (for example, the families of former players) or play any other instrument, but can describe the place of the garmon in cultural traditions, its sound quality, and the masterful skill of its players.
The study and promotion of the tradition are now taken over by members of folklore groups, ethnomusicology specialists and enthusiasts who form a new skill bearer community(s), both in cooperation and communication between themselves and within the framework of their own interest group.
In the case of the St. Petersburg garmon, it is important that several of these communities are forming in the area of historical spread of the instrument, therefore while preserving some inheritance and succession.
Importance in Community Life
The living tradition of playing the instrument is now better preserved in Lithuania. In Latvia and Belarus, it is maintained by individual musicians with playing skills. The tradition should be considered in the context of broader cultural history, and the cross-border cooperation based on the common tradition should be developed, including the exploration, promotion and preservation of the Petersburg garmon.
In the second half of the 20th century, as the popular contemporary musical forms changed, as well as due to the the influence of the dismissive Soviet cultural policy, the instrument performance was marginalized, the building and repair possibilities of the instrument died out; the musicians turned to the more accessible accordion and uni-tone (a key produces the same sound while the garmon is pushed and pulled) two-line garmon (hromka).
Despite this, individual performers continued to play the St. Petersburg garmon, preserving the instrument-specific playing technique, repertoire and manner or music-making. Similarly, many families even after the cessation of musical practices kept their ancestral instruments and anecdotes about the musicians' lives.
Activities/Actions
Inheritance and Transfer
History
The St. Petersburg garmon is a harmonica of German-type design, created and mass-produced in the St. Petersburg garmon workshops.
The garmon is small and visually appealing with rectangular bone or plastic keys, often adorned with wooden inlay work. The main body has chamfered corners which usually have mother of pearl inlay work featuring a lyre or a butterfly. Due to railroad traffic, the St. Petersburg garmon became the dominant bellows instrument in Latgale during the 19th century, and it not only strongly influenced the musical traditions of the region but became one of the region’s cultural identity signifiers.
. The St. Petersburg garmon was indispensable to the musical accompaniment of a variety of social events, field-work gatherings, parties, weddings, and mask processions, etc.
The instrument has a rich timbre and is at the same time soft and sufficiently loud. Musically, it fulfills multiple functions at the same time - it is used as the melody, chord accompaniment and to an extent also rhythmic instrument. It is comfortable to use and well-suited for long playing sessions. The garmon was played both solo and along with other instruments, most frequently a fiddle, zither, mandolin, and percussion. The main repertoire consists of every-day music, especially dance music: polkas, waltzes, foxtrots, quadrilles, krakowiaks, pas d'espagnes, vengerkas etc.
Among families and friends, accompaniments to songs were played. In a performance of a skilled musician, the melodies get adorned with small virtuosso melodic and rhythmic embellishments that create the musician’s individual style. Individual musicians are known to have perfected the duplication of the melody in the bass lines that is characteristic of the St. Petersburg garmon, but has not been recorded in any other type of garmon.
When this garmon was no longer produced in Russia, the local masters took over the function (there are still few records on this, but the instruments remain), and due to this, the living tradition of playing the instrument continued until the 60-70s of the 20th century.
At present, in its initial distribution region the instrument is well recognized in a passive tradition, but only a few older-generation players have maintained a good level of the performance skill. Latvian folklore researchers have only recently started to show interest in the garmon – for many years researchers did not pay attention to garmons because they were not considered to be a sufficiently old and research-worthy instrument. Therefore, unlike neighbouring countries, in Latvia the traditions of garmon performance are still poorly documented and we still have very little published material on these instruments.
In light of the long cessation of the normal functioning of the tradition and the situation where many forms of traditional culture have lost their original functions, playing the St. Petersburg garmon is no longer perceived as an integral part of the traditional music culture. It is shown on the stage in traditional culture festivals and concerts. As the number and skill of new players is growing, the St. Petersburg garmon is expected to be included more in folklore and folk music groups and events (dances, balls, concerts, festivals, musical accompaniment of events, etc.) equivalent to other traditional musical instruments, ideally maintaining the link to Latgalian culture.
Additional Information
The playing technique of the St. Petersburg garmon does not differ from other traditional entertainment music instruments.
It is linked to all of the traditional occasions for musicmaking (family honors, balls, evening gatherings, etc.) where garmon playing is permitted or desirable, as well as knowing the musical repertoire corresponding to each music playing occasion.
For example, a wedding musician had to know how to play at least ten different wedding marches that were to be performed during certain moments of the wedding celebration.
Masters
At the moment, the bearers of St. Petersburg garmon tradition are the few remaining old masters who still maintain their skills at a presentable level and are willing to share them.
The most notable players are:
1. Alberts Mednis (b. 1936 in Blauzgova, Baltinava municipality - 2020),
2. Pēteris Namavīrs (b. 1927 in Indra - 2019),
3. Normunds Tušinskis (b. 1947 in exile in Siberia).
A second group of traditions bearers is formed by musicians who have acquired the instrument performance through education, continue to maintain it and actively practice it:
1. Oskars Patjanko,
2. Pēteris Justs,
3. Ilona Dzērve-Tālute,
4. Austra Eriņa,
5. Irēna Skrinda,
6. Sanita Sprūža.
Equally important for the preservation of the tradition are the persons who have learned and perform the repair and maintenance of instruments – Raitis Sondors, Oskars Patjanko, Jānis Meņģelis.
Institutions and Organizations
Museum of Latgale cultural history,
Latvian Etnographic Open Air Museum,
Jāzeps Vītols Latvian Academy of Music,
These institutions keep important information on the traditions of garmon performance, including the performance recordings and musical instruments.
The National Culture Centre of Latvia, which is responsible for the implementation of cultural policy, including the organisation of traditional cultural processes and educational events, as well as the organisation of activities aimed at the preservation of intangible cultural heritage.
The association “Skaņumāja”, prepared and promotes the ICH entry application, provides educational and promotion measures.
The society “Riga Folk music society” ensures repair and manufacture of instruments, as well as promotional activities.
Strengthening the Tradition
A number of activities have been performed during the reporting period for promotion, preservation and maintenance of the element.
Promoting tradition to the general public.
• The instrument is viewable and displayed in the “sound” traditional instrument exposure. (Completion of the municipality of Ogre – EUR 1000, LEADER funding EUR 9859, funding of the NGO programme of the NCF)
• Alberts Mednis and Ilona Dzärve performed at the 2018 Baltica festival concert. (LNKC total event funding - €1,000)
• the film “Petersburg Ermonica” has been created in the “Pearl pocket” of the 2020 video concert cycle with performances by active gamblers and groups in the https://www.muzikanti.lv/peterburgas-ermonika. recording Ermonica is played by Albert Mednis, Ilona Dzierve, Oscar Patyanko, Peter Justs, Austra Erin, Irene Skrinda, Lauris Neiken and Andris Rutkis. (Total project financing of the VLM and THE VCF Vidzeme Programme EUR 2000, total financing of the VCF EUR 4290)
• 2022. At the Baltica Festival event “music instruments Parade: Viewers of the intangible cultural Heritage value 'were introduced to the tradition of the Petersburg ermonics game at the exhibition and at a short pre-reading. Ermonikas was played by Oscar Patiano, Myles Iesalnieks (Kop “Ceiruleits”) and Irene Skrinda (Kop “Sovvalniks”). (Total financing of the LNKC project EUR 1000)
• Several gamblers regularly showcase the Petersburg ermonics game at public events. Currently, the most active players are Oscar Patiano, Ilona Dzherve-Taluts, Irene Skrinda and Peter Justs.
Research and documentation. the 2020 video concert cycle's “Pearl in the pocket” film “Petersburg Ermonica” documents the game of grandmaster Albert Hunt, as well as younger generation gamblers Ilona Zherve, Oscar Patiano, Peter Utah, Austra Erin, Irene Skrinda, Laura Neiken and Andre rutka (https://www.muzikanti.lv/peterburgas-ermonika).
Game training. 2018 a self-study book of the Petersburg ermonics game in Latvian and English has been created and published, downloadable free of charge on the muzikanti.lv page. (EU Erasmus + education programme Erasms total project funding of EUR 117875), the “sounds” traditional instrument game course 2018 had 4 stakeholders learning the instrument game. (Total funding of the VKKF project EUR 3000, TOTAL funding of the LNKC project EUR 1300) young players of the game skills have repeatedly added to the masterclasses “Let's play in the sound” (2019, 2020 (total project amount of EUR 4000 (2019) and EUR 4000 (2020 partly implemented due to pandemic restrictions). The graduates of the “sound” Petersburg ermonics course regularly meet to musically, complement the repertoire together and learn new ways to play.
Provision/manufacture of tools. Repair of historical instruments is currently ensured by Oscar Patjanko, Ansis Ataol Berzins, Peter Justs. Important preparations have been carried out for the manufacture of new instruments within the framework of the Soviets and Riga Folk music society projects – detailed research and survey of historical instruments has been carried out, the manufacture of several prototypes has been commenced, the necessary accessories have been manufactured and the technologies for the manufacture of parts have been tested.
There has been an increase in the recognition of THE value of THE OMC, in the understanding of the wider public, but in particular of the interests of traditional culture and knowledge of the instrument, its place in the tradition of musicalisation. The availability of marketable quality instruments has increased (but at the same time the market prices for historical instruments have also increased). The number of players in the instrument is increasing, yet very slowly for now. During the reporting period, several persons who practice the game “Home order” and 2-3 persons who demonstrate the instrument game at public events (however not as the main instrument) have joined. Accordingly, the tradition of the game is still considered particularly threatened.
Previous activities have been implemented thanks to the SUPPORT OF THE ERCF (music events, games courses, documentation, other promotional activities), the support of the Erasmus + EU education programme (self-study book project), the funding of the national cultural Centre (education and music activities), the support of local governments (support for the conduct of music events), the private contribution of stakeholders (purchase and repair of instruments, training costs). All envisaged activities will continue as far as possible with any possible funding.
Continuity/Development
Measures to promote the visibility of the element.
All resources created to promote the element will be continuously maintained – Internet pages with informative, educational and artistic materials, information in the exhibition of sound instruments will be updated and expanded, ensuring the availability of information. Information on the traditions of the instrument game will be continuously included in all information and educational events for the wider public and specialists – lectures, concert lectures, master classes, including those conducted within the framework of the School bag. (Sound)
Prepare an educational film “soundtracks. Petersburg ermonics” about instruments – NKM values. (Sound)
Create an instrument for the game – THE offer of AN event dedicated to THE values of THE NKM at the International Folklore Festival Baltica 2025. (Sound)
The society “sound” will continuously monitor the dynamics of the use of the instrument game, the identification and documentation of contemporary players, as well as the identification and collection of historical testimonies, photographs, instruments, etc. (Sound, O.Ptjanko, I.Curve)
Planned measures for the protection and development of the element:
Education. The society “Speaked” organizes at least one Petersburg ermonics training group (3-5 trainees) in the course of the traditional instrument game. Improving the skills of existing trained players. Organise at least 1 masterclass every year. During the reporting period, to achieve the commencement of the traditional instrument game programme in professional oriented cultural educational institutions; within the framework thereof include the Peterbourb ermonik game.
Player Community support activities. The society “sound” will continue to organise and support motivating events for players – players' Community, information exchange, individual support. Organise participation of Latvian gamblers in Petersburg ermonics players' events in Lithuania (at least once every two years); to organise the Petersburg Hermonik players Festival with the involvement of Lithuanian and Estonian participants.
Manufacture of tools. Work will continue to develop a fully-fledged, tradition-compliant tool manufacturing technological process and ensure regular manufacture of tools. Produce at least 3 new instruments during the reporting period. (Speaker, Riga Folk music society)
The objectives of the measures are TO PRESERVE and promote the values of THE NKM – the traditions of playing ermonics in Petersburg.
To ensure the availability of sufficient quality information and materials of all kinds, to ensure representation of tradition at representative music and cultural events,
Continue and develop skills transfer through non-formal and formal education, maintaining the number of experts required for stable maintenance and dissemination, as well as the availability of tools.
Threats to the Tradition
The tradition of playing the St. Petersburg garmon is still a critically endangered element of traditional culture.
As the cultural environment changes, the playing the instrument has been expelled from the musical process for a long time, and there has been no natural (active player to apprentice) inheritance of the tradition. Consequently, there are currently critically few tradition bearers.
In many places, the musical functions of the St. Petersburg garmon have been taken over by much more easily available accordions and Russian two-rows (which is currently seen as a separate stable tradition of play), which are a strong competition, offering a alternatives for both the household music playing needs and the enthusiasts of traditional and folklore music playing.
A serious burden on the preservation and maintenance of traditions is the lack of instruments: there are few in the historical instrument market, many of which are in a very poor state. The estimated cost of a new instrument is very high (the price of a hand-made similar design instrument is around 3-4 thousand euros), which may limit the possibility of obtaining it for any interested party.
Applicant
Association "Skaņumāja", reg. no. 40008106801
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