Peter Deriashnyj

Peter Deriashnyj

A male, Peter Deriashnyj, and a female, his wife Nila, in Ukrainian folk costumes playing banduras.

Peter Deriashnyj and his wife Nila
Background information
Birth name Peter Fedorovich Deriashnyj (Петро Федорович Деряжний)
Born (1946-07-02)2 July 1946
Calden, Germany
Genres Ukrainian folk, dumas and classical music
Occupation(s) bandurist, composer, conductor
Instruments bandura
Notable instruments
Kharkiv-style bandura

Peter Deriashnyj (born 2 July 1946 in Calden, Germany) is a Ukrainian Australian bandurist, composer of secular and sacred music, and choral conductor. He specializes in the Kharkiv style of bandura playing, but also plays folk and rock guitar.

Deriashnyj grew up in Newcastle, New South Wales and moved to Sydney to further his professional career and musical education. He studied music theory, composition and voice in Sydney and later became conductor of the Hnat Khotkevych Ukrainian Bandurist Ensemble (1972–), the Boyan Ukrainian Choir (1982–1996), the Suzwittia Women's Ensemble (1986–1991), the Strathfield Orthodox Parish choir (1980–2007); and musical director and conductor of the Ivasiuk Folk Ensemble (1984–2000).[1][2]

Early life

Kharkiv style bandurist Deriashnyj was born in Calden, Germany in 1946. He emigrated to Australia with his parents, Fedir and Maria and sister Lidia. In November 1950 they arrived in Melbourne on the passenger liner Goya initially living in migrant camps in Bonegilla and Nelson Bay before settling in Newcastle, New South Wales. After completing his education in Newcastle he moved to Sydney in 1966 to pursue studies in electrical engineering at the Sydney Institute of Technology graduating in 1972,[3] also formal musical studies in classical guitar, music theory, composition and voice.

At age 10, Deriashnyj began to learn to play the bandura from his father, a known performer on and maker of banduras Fedir Deriashnyj. At age 17 he began to study guitar.

Hnat Khotkevych Ukrainian Bandurist Ensemble

The Hnat Khotkevych bandurist ensemble under the direction of P. Deriashnyj – Melbourne, 1971.

In July 1968 he began to study the Kharkiv style of bandura from Hryhory Bazhul who in the early 1930s in Ukraine had studied bandura under Hnat Khotkevych. In 1969 he wrote his first composition for the bandura "Krai Kozachiy", followed by "Zaspivayu" to the words by Taras Shevchenko, and "Slava Otamanu".[3] He also began to write arrangements of traditional songs for the Kharkiv style bandura. He gave up guitar for bandura, and in 1971 he became the artistic director of a small group of young bandurists originally formed by Hryhory Bazhul, the Hnat Khotkevych Ukrainian Bandurist Ensemble of Sydney. Under Deriashnyj's direction the group expanded in numbers and included choral vocals in their performances. Their first solo concert took place in 1969 in Wollongong, dedicated to the Ukrainian bard Taras Shevchenko. In 1971 he also formed the Sydney School of Bandura to introduce the younger generation to the art of this instrument.[4] Students of the School of Bandura were able to learn both the Kharkiv style and the Chernihiv style but since Kharkiv banduras were difficult to procure and the more plentiful Chernihiv type banduras were being brought from Ukraine, gradually more students played the Chernihiv style. The Sydney School of Bandura was the only one in Australia to teach the Kharkiv style.[5]

From 1970 the Bandurist Ensemble toured the eastern states in Australia with concerts and performances and as a quartet performed in Perth, Hobart, Adelaide, Melbourne and Geelong. In 1978 the quartet recorded an LP entitled Bandura and Song. The members of the quartet were Neonila Babchenko-Deriashnyj (soprano), Lidia Deriashnyj-Beal (alto) and Peter Chochula (bass).[3][5]

Choral conducting

By 1986 Deriashnyj became a significant cultural figure within the Ukrainian diaspora in Sydney, as the artistic director of the Ukrainian Bandurist Ensemble, the Ivasiuk Folk Ensemble, the Boyan National Choir and the Suzwittia Women's Ensemble. He also conducted the church choir of the parish of the Holy Intercession in Strathfield, simultaneously.[6]

In 1984, Deriashnyj prepared a concert in memory of Ukrainian songwriter Volodymyr Ivasyuk, who lost his life in suspicious circumstances. The success of this concert provided the initiative for the participants to form a new vocal ensemble in Sydney, New South Wales.[6]

In 1988, the ensembles and choirs under his direction celebrated the millennium of Christianity in Ukraine with concert performances in Brisbane, Sydney, Newcastle and Wollongong, and Canberra.[6]

Solo and duet performances

In 2010, during the visit to Australia of Dymytrii (Rudiuk), Metropolitan of Lviv and Sokal, they sang the high mass (arhiyereyska) in Brisbane and Newcastle Orthodox parishes. At the Divine Liturgy in Newcastle, they were awarded a patriarchal citation for service to the Orthodox Church and the Ukrainian people by the Metropolitan on behalf of the His Holiness Filaret Patriarch of Kiev and all of Rus-Ukraine.[7]

In 2010 they travelled to Canada to conduct and sing for the first Divine Liturgy for the Ukrainian Orthodox Church of the Kyivan Patriarchate, in the Parish of St. Peter and Paul in New Westminster and to perform in Canada's National Ukrainian Festival at Dauphin, Manitoba, and in the Kiev Pavilion at the Folklorama Festival in Winnipeg.[7]

Deriashnyj played the duma "Dedication to the victims of the Holodomor" during Holodomor-Famine commemorations by the Ukrainian community at the site of the Holodomor memorial in Adelaide in 2010,[8] and at the Ukrainian Orthodox Centre in Canberra in 2011.[9]

Tours

Compositions

Songs and choral works for Kharkiv bandura style

Sacred music for choir

Instrumental arrangements

Recordings

Awards

References

  1. 1 2 Tarnawska, O. 'Деряжний Петро' ("Peter Deriashnyj"), in Shevchenko Scientific Society Inc. USA and the National Academy of Sciences of Ukraine (1995), Encyclopedia of Ukrainian Diaspora (1995) (Енциклопедія Української Діяспори). Vol. 4 Kiev–New York–Chicago–Melbourne, p. 71 ISBN 5-7702-1069-9 (Ukrainian)
  2. ↑ The Free Thought & The Ukrainian Heritage Society (2001) («Вільна Думка» і Товариство Збереження Української Спадщини в Австралії), Українці Австралії — Енциклопедичний Довідник, Sydney. p. 153 ISBN 978-0-908168-11-8 (Ukrainian)
  3. 1 2 3 4 The Free Thought & The Ukrainian Heritage Society (2001) («Вільна Думка» і Товариство Збереження Української Спадщини в Австралії), Українці Австралії — Енциклопедичний Довідник, Sydney. p. 152 ISBN 978-0-908168-11-8 (Ukrainian)
  4. ↑ The Free Thought No. 1163, January 1972 (Ukrainian)
  5. 1 2 Mirosznyk, A. Музика і доля ("Music and Fate") (2008), Музична Україна, Kyiv 2008 p. 140 ISBN 978-966-8259-35-7 (Ukrainian)
  6. 1 2 3 Mirosznyk, A. Музика і доля ("Music and Fate") (2008), Музична Україна, Kyiv pp. 147–149 ISBN 978-966-8259-35-7 (Ukrainian)
  7. 1 2 3 Бyлава ("Bulava"), magazine of the Ukrainian Free Kozaks in Australia 2011, vol. 6, p. 23 (Ukrainian)
  8. ↑ "Українці в Аделаїді (Півд. Австралія) вшанували пам`ять жертв Голодомору в Україні ("Ukrainians in Adelaide, South Australia, commemorate the victims of the Holodomor in Ukraine")" (in Ukrainian). Church of St Dymytry Solunsky. Retrieved 2 December 2013.
  9. ↑ Halaburda-Czyhryn, M. (2011-02-25). "Українці Австралії заявили протест перед Посольствами Росії та України ("Ukrainian Australians protest outside the Russian and Ukrainian embassies)" (PDF). Svoboda. pp. 1, 3. Retrieved 2 December 2013.
  10. ↑ Бyлава ("Bulava"), magazine of the Ukrainian Free Kozaks in Australia 2011, vol. 7, p. 19 (Ukrainian)

Sources


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