Këngët partizane, trashëgimia shpirtërore e Luftës Antifashiste Nacionalçlirimtare: (në kuadrin e 70-vjetorit të Çlirimit të Shqipërisë) : (1944-2014) = The partisan patriotic marches and songs of the National Liberation War
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| Beschreibung: | 249 Seiten Notenbeispiele |
| ISBN: | 9789995610708 |
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V. BIBLIOGRAFI
Literature e cituar:
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Nacionalglirimtare shqiptare, Véli. 2, Tirane, 1976
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- Kèngè e melodi nga festivalet folklorike, Tirane, 1986
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Kèngèt partizane, trashègimia shpirtérore e Luftès Antifashiste Nacionalglirimtare · 243
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Këngët partizane, trashëgimia shpirtërore e Luttes Antifashiste Nacionalçlirimtare · 247
IV. Summary
I. The partisan patriotic marches and songs
of the National Liberation War
The songs of the National Liberation War (April 9, 1939 - May 9, 1945 arc an
integral part of the patriotic musical cultural heritage of the Albanian people. The
heritage for this type of songs began to be established by the second half of the 19th
century with the urban patriotic music dedicated to the Albanian League of Prizren
(1878), and continued with the main opus of the patriotic music of our National
Renaissance, part of which is our National Anthem՝, and has a natural closure with the
patriotic songs of the National Liberation War.
The latter are also referred to as “partisan songs", “mountain songs", "youth songs", and
occasionally as “songs of the National Uberation War". According to the composer Tonin
Harapi “. the partisan song exists as an indisputable phenomenon in our music, and it occupies an
honorable place. It is present and real just like the battles in the liberation war, the massacres and the
ruins of the country and the martyrs in their graves. It was a spontaneousfeaturefrom the unstoppable
inner feelings sparkled by those tragic and heroic events, or we may say these songs rose as their echo”.
As such, these songs have also been evaluated by other researchers, including Ernest
Koliqi, who wrote that: “There are a number of partisan songs which praise the war against past
regimes, some of which could be suitable as national hymns". Their creation is linked to the names
of many outstanding Albanian artists, musicians and interpreters such as: Dhora Leka,
Kristo Kono, Mustafa Krantja, Sofokli Paparisto, Gaqo Avrazi and the writers Fatmir
Gjata, Andrea Varfi, Kolé Jakova, Qamil Buxheli, etc.
The creation of the new patriotic songs of the antifascist resistance in Albania
should not be considered as separate from the other parts of Europe and the world.
The rise of two antagonistic blocks during the World Wat II had its influence in music
too. Since the mid-1920’s, fascist Italy and Nazi Germany, through their propaganda
means, and supported by the technologic development of the radio, cinema and
discography publication, etc, had launched in the world market their official hymns.
These hymns actually praised fascism and the German national-socialism values as spiritual
ideology, followed by dozens of other massive musical creations permeated by the
fascist ideology, which accompanied the activities and events of the relevant armies and
states.
In 1934, shortly after Hitler became “Chancellor”, the “Adolf Hitler Fanfare by
Kéngét partizane, trashégimia shpirtérore e Luftés Antifashiste Nacionalplirimtare · 227
Hermann Blume came out, published in a collection of marches. In 1944, a collection of
fourteen songs published in Germany, displayed a prominent dedication to Adolph Hitler
and contained songs entitled “Praise to the Führerand “One Führe?*’, and “People, and
ReidP. (Kowalke, 15-16) etc. Dialing the summer of 1942, Hitler suggested that propaganda
broadcasts aimed at Britain and America, should contain musical styles that appealed to
those audiences, resulting in the use of popular music to deliver messages to other cultures.
(Morton,.3) For instance, after the first regularly-worded verse of a song, a voice came on
saying: “Here is Mr. Churchill’s latest song.” The melody was the familiar tune of “The
Sheik ofArabJ’, a song enjoyed during the war time by both British and American listeners,
but the words that followed were different. The process is called “ contrafactunP in which
changed lines are used with popular tunes. Using these altered lyrics, German government
officials attempted to broadcast propaganda messages to their enemies using the language
and musical style of those enemies. (Morton, 2).
{Tm afraid of Germany, her planes are beating me.
At night, when I should sleepy into the Anderson I must creep.
Although Vm England’s leading man, Vm led to the cellar by ten.
A leader in the cellar each night\ that’s the only damned way I can fight. ”
In the west, in the USA, most of the patriotic songs related to the blow that the
Japanese army dealt to the US army on 7 December 1941 in Pearl Harbor, which
marked the official entry of the USA in the war. The first song was “Cowards over Pearl
Harbor** composed by Fred Rose (1898-1954) and recorded on disc two weeks after
the strike. Another popular American patriotic song was “America calling’, composed
by Meredith Wilson (1902-1984), which reminded the Americans of the reasons why
they were fighting. Music composers and publishers, challenged to produce an enemy,
used lyrics to dehumanize the Japanese during WW1I. They sang of the struggle of the
good (meaning Christian) Americans against an evil enemy, the “heathen” Japanese,
referring to the attack at Pearl Harbor as a “sin” against both the United States and
God. The lyrics in “When We Set that Pasing Sun” (1945) proclaimed that Japan was “a
land of heathen people” with “no respect for God or man.” Using spiritual overtones
in this way gave the Americans a reason to believe that the United States had a moral
imperative to participate in the war.
The American patriotic songs sung during the WWII are of different kinds, songs
like: ”Remember Pearl Harbor and Praise the Lord and “Pass the ammunition” \ songs to raise
the morals represented by Johnny Mercer’s “Ac-cent-tchu-ate/ accentuate thepositivC, helped
for the spirit in war time; songs like: ”Bell-bottom trousers,* ”A boy in khaki-a girl in laci’
and ”First class private Mary Brown,” told stories of soldiers, marines and their girlfriends;
the topic of love and separation at war time was seen in the songs: ”As time goes by,” ”I’ll
228 * Vasil S. Tole
walk alone," "Til be seeingyori\ and ”7 don't want to walk without you!' As the war was
nearing its end, there came songs dedicated to the return to home, and to the dreams
of reunion: "My guy's come back ”It's been a long, long timeand "My dreams are getting
better all the time". The thematic songs were popular during the war too. There were
songs about the great role of women as labor force during the war such as “Rosie the
riveted and ”Milkman keep those bottles quiet." Sheet music covers furthered the propaganda
images by suggesting a hierarchical relationship that likened Japan to a country full of
naughty children who needed to be punished by the United States. Sheet music illustrations
depicted tiny Japanese soldiers being spanked by a large, faceless hand or over the knee
of Uncle Sam. (Moon, 333-339).
East of Europe (theformer Soviet Union, former Yugoslaina, Bulgaria, Romania, Greece, Roland,
etc) the epic and the tragic stemmed from the front war that the antifascists were waging
against the Nazi-Fascist occupiers. It provided for the creation of a wide repertoire of
patriotic songs of the WWII, which inspired a lot of outstanding artists and authors,
participants in the world antifascist front. Among them was the well-known Russian
composer Dmitri Shostakovich (1906-1975) who, in the period / July 1 — September 4,
1943, composed the Symphony no. VIII, called “The ymphony of Stalingrad," realized as a
world premiere on the 4th November of the same year, through a worldwide broadcast,
inspired by the resistance of the citizens and the Red Army in the defense of the city.
Shostakovich himself, described the Symphony VIII as a poem of pain and an effort to
reflect on the appalling tragedy of the war, in which 27 million soviet citizens had lost their
lives. In his testament — memories cited later in 1979 by the musicologist Solomon Volkov,
Shostakovich reasserted: “. .Ifeel innerpain for all those killed by Hitler, but Ifeel no less pain for
those killed by order of Stalin's. I suffer for each of those who were tortured, were killed or died of
starvation. There were millions of such people in our country even prior to the war against Hitler. This
war brought even more sorrows, pain and ruin as well, and I have never forgotten those years before the
war. My symphonies are about these, including Symphony no. VIII."
In Albania, the Italian occupation of 7th April 1939, provoked broad reaction of
the people. The first day of occupation also became the very first day of the organization
of the antifascist resistance. Referring to the memories of the composer Kristo Kono:
". this invasion by the Italian fascists was for us, the people of art, as for all the patriotic and
progressive people, a grave event of national, economic, social and cultural significance. A brutal and
barbarian enemy was in our land. Black days were to come; for us who had previously lived in the
country of fascism, in Italy, We were well aware of what it would mean: misery sufferings, massacres,
prisons, exile, tortures, and the likes. Even the scarce artistic activity that was running prior to the
invasion, was suspended. The various national and local radios became loudspeakers for the then Italian
fascist songs. The schools adopted compulsory programs including compulsory singing of the songs
“Giovinesga," ‘Fascist Giovanni՝,” and many others, which were hated and despised by our youth. I
remember the first day of school 1940-1941, as if it was yesterday. The Lyceum students were lined
Kenget partizane, trashegimia shpirterore e Luftes Antifashiste Nacionaiglirimtare * 229
in rows in the yard to sing, as ruled by the schoolprogram, the songs: Flag Anthem՝, ” and “Giovinezza”)
which I was to conduct Thefirst was sung fine, whereas the second “Giovinesga”, right after it began,
was substituted by the (antifascist) patriotic song “Guys, take up arms!}\
As part of the people’s antifascist resistance front, and in the context of the country’s
invasion, old patriotic songs were preceded by the Flag Anthem, which was both, the
official state symbol and the people main patriotic song. It seems that Albania had
resumed the need for this part of its heritage, that had already become part of the
history, and as such, these were widely sung by children and by the youth at school or
out-of-school activities. The fascists tried to force the students to sing their hymn
“Giovinezza”* but the youth were singing their national hymn, the people’s hymn the Flag
Anthem. The patriot teachers and students all over Albania were not obeying fascist
rules. They did not participate in the manifestations organized by the Fascist Party, and
they did not wear the black fascist uniform, till the day that schools were closed down.
The hymn itself, the patriotic head-song of the nation, was placed in an embarrassing
context. It was accepted and interpreted by the fascist occupiers as Albania’s National
Hymn, but on the other hand, it was openly sung by the Albanian people as an expression
of the missing liberty, and as an open call for fight against the occupiers. There were
dozens of cases of peaceful resistance through singing the “provocative” lines of the Flag
Anthem, with a special emphasis on the lines:
Arms we hold in handj to defend our land/ not to give up our right/ enemies here will see no light.
A typical case is the full singing of the National (Flag) Anthem by the choir of the school
“MotherQueen, in protest, in front of Benito Mussolini (Duce) in his residence in Palazzo
Venetia, in Rome, known as the residence of the Vatican’s Popes.
In Albania, the creation of the partisan songs was preceded by the resistance to the
fascist occupation through the folk oral creations of patriotic character. The tradition
of the folk patriotic songs takes up an important place in the heritage of the Albanian
people, making it a kind of autobiography in stanzas and in music. The folk patriotic
songs seem to have served as an endless source of inspiration, to feed all typology of
other Albanian patriotic songs. Fan Noli has stated that, “we did not invent patriotism, but we
found if\The Albanians have shown deep patriotism earlier than the one we often refer
to as the modern Albanian movement\ starting with Kristoforidhi in 1875. Their leitmotiv
focuses on the freedom and the independence of Albania, as it may be seen articulated
in the lines: All Europe should hear / we are not to be cut in pieces.
As such, folk creations do not reproduce the historic reality, but reflect it artistically.
The people call them as songs of valiants, manly songs, songs of the kapetans. The latter relate to
the activity of the Albanian patriotic songs in the early 20th century. Such creations come
from the people’s inspiration, which opts to give out instant reactions, as a deep critique
and observer. It has been noticed that the content of the folk creations reveals the processes
of the nation’s development. The province’s creations are inclined towards the political
230 * Vasil S. Toie
scope, which are more or less in line with the national common will. The Albanian antifascist
resistance, like the uprising fighters of the National Renaissance, used again the symbol of
the black and red flag as well as the old and new patriotic songs.
Dozens of folk songs, homophonic, or iso-polyphony songs were sung against the
fascist invasion. One of the first songs, the well known “May nineteen thirty nine never come
hack[ it brought down our flag" created and sung in the Lab villages of the Vlora River,
followed by the song dedicated to the martyrs Hamdi Metaj and Mitro Dhimertika,
fallen in the fight in the zone Vlore-Sarande, on the April 7, 1939 (the occupation day):
Seventh of April hot in the air,
Hamdi, a man you see rare
in Bestrove, down there,
fought the Italians bravely ,
many you killed but you were killed too.
The first martyr you are not to be forgotten
The people stand and bend, stand and bend to your honor.
Later there were other songs to the first martyrs of the antifascist movement, like
the songs for the Dibra martyr Fazli Cani (1912- April 8,1941), the Peza Martyr Rrem
Hakrama (1901-December 1941), Dibra martyr Ejup Cami (1922- April 23, 1941),
the southern coast Vasil La^i (1922 - May 26 , 1941), the Korea martyr Koci Bako.
(1903֊ November 8,1941), the Kosova martyr Hamid Shijaku (1918 - March 2,1942),
another Korea martyr Niko Tupja, the Elbasan martyr Qemal Stafa (1920-5 Mayl942),
the martyr from Permet Josif Kanua (1896 - Mayl 942) the song of the Shkodra martyrs,
the song for Asim Zeneli, the song for Kristo Isak and the song for fThe Vigu heroes'*,
created in August 1944 by the partisan and folk rhapsode Gjok Deda, brother of the
‘Teople’s Hero "Ndoc Deda, with lyrics of Kolejakova etc. One of their characteristics
was the speed these folk songs were created, shortly after the martyrs fell in the fight.
The patriotic songs of the WWII, also known as partisan songs, because they were
first sung by the youth, and later by the partisan units, had their beginning in mid-1942.
According to the orchestra conductor Gaqo Avrazi, the first performer in the amateur
choir, “.the partisan songs were born from the people's heart, were molded with the blood and the
heroism of the best sons of the common people, and became an integral element of our National·
Uberation War.
The first pioneer and also “mother of the massive partisan patriotic songs, was
Dhora Leka; her songs are considered as the last stage of the Albanian patriotic musical
repertory, which includes songs like those for the struggle for independence and liberty
(1878-1912), the songs for the Vlora war in 1920, and lastly the antifascist songs of the
period 1939-1944. Not waiting for graduation of the high school «Mother Queen », in
Kenget partizane, trashegimia shpirterore e Luftes Antifashiste Nacionalglirimtare * 231
Tirane, where she had taken music lessons by Marie Paluca-Kraja and Jorgjia Filfe-Truja, she
returned to Kor$e, in May 1942. In Tiranë, she had joined the Albanian communist
youth, an organization that had already carried out several symbolic guerrilla activities.
She remembers that on the 22nd August 1942, in the room of her house, she wrote her
first song “The call’, with lyrics written by Ilo Kosta. Written in the city of Korea,
known for the "kombiar songs" this new song, with its tune and message, was nothing
else but a natural continued trace of the Albanian patriotic spirit for liberty.
Qielli dhe toka gjëmojn'e\
Deti talla^shëm bu$et.
Male dhe fusha ushtojne\
Zër’ i kushtrimit thërret!
Leri! UriI Bijt’ e Shqiperis’ therrasin tok!
Mjaft me vargojf e roberise,
I mbajtem shekuf.
Uri! Uri, Bijt e Shqiperise therrasin tok.
Bota e vjeter esht’ kapur}
Nga tmerri i vdekjes q'e pret;
Bota e re me krah * hapur,
N* gjirin e saj na th 'erret:
Encouraged by the rapid widespread of the songs among the Albanian antifascists
and the common people, Dhora Leka decided to start a creative cooperation with the
young writer, the partisan Fatmir Gjata, of Korce. In the period September — December
1942, this cooperation gave birth to the majority of the new patriotic antifascist songs,
such as,: 'The call of Liberation”} 'The Youngster”, 'The hymn of the Albanian antifascist youth”
as well as the well-known songs 'Youth, youth”y ՛The song for the martyr Kristo Isak” "How
partisans fight” or 'Those peaks lined up, ” etc. Dhora Leka was convinced that in order to
sing heartily to the war for liberty, you had to be part of it, to grow from its fire, to run
its military pace, to be like Gorki used to say, "the voice of their own epoch”.
In the North Albania, in June 1942, the writer Kole Jakova was writing the lyrics and
the music of the song 'The three Shkodra heroes” (dedicated to the heroism of the martyrs
Jordan Misja, Branko Kadia and Perlat Rexhepi), and the hymn-song for the Kurveleshi
partisan unit "Join the unit mate”, at the request of Mustafa Matohiti ("People’s Hero”) etc. In
December of the same year, Dhora Leka joined the DevolJi partisan unit, and, on the 7th
of March 1943, she took part in the fight against the fascist forces in the village Ho^isht of
Devolli district, which had the first martyrs of this unit, the commander Fuat Babani,
232 · Vasil S. Tole
Demir Progri and little Todi. As a direct participant in the batde, and after the demonstration
at the funeral of Demir Progri (“Martyr of the Homeland”) in Kor^e, Fatmir Gjata and
Dhora Leka created right after, the great song “Avenge”, which spread like a lightening
through the zone of Korce and all over Albania. This song became the hymn of the
partisan battalion “Avenge”. In early April 1943, due to the reprisals in the city of Korce, she
left to the Korea plateau first, then to the villages of Rréza, later to Voskopojé and Vithkuq.
After the German massacre of 6 July 1943 at the village of Borova, she met Enver
Hoxha for the first time, at the monastery of Saint Prodhom at Voskopoje.
The partisan songs created by her, were sung everywhere: in prison, in a rest after the
battle, in meetings՝, under tortures, in marching, in demonstrations and in battles, as well as in the
burial ceremonies to honor the fallen martyrs. The burial ceremonies included songs and
shooting, with everybody singing. The doctors in partisan units have witnessed wounded
partisans, who, in the circumstances of missing painkillers in the course of surgery,
would find shelter from the pains by murmuring and humming the partisan songs and
tunes. There were cases that the singing of partisan songs served to signal retreat from
a particular front while in the fight. Dhora Leka remembered that: . when it was time
to retreat, the partisan song echoed in the four kilometers of the front None of the partisans had
experienced this before, the thrills of a revolutionary song sung in a choir. This scene would hearten the
partisans such that, had the retreat order been changed to attack, the partisans would rush like eagles
onto the Germans and their collaborationists!
The widespread of these songs has been confirmed by the English allied officers in
those years. In the memories of the English major Bill Tilman, written in Zagori,
Gjirokastér, in August-September 1943: “. when the partisans arrived at a base, they spent the
time in endless political debates, also pressing a cigarette. After the debates, they would start singing
partisan songs or would dance, and I liked their dances because of their dynamics. Among them, there
were some young women, who were nurses, interpreters or typists. It was surprising as I discovered later,
that the volume of letters drculating each day, would conquer to shame any well-organised army. The
type machine I managed to get, further added to the volume of the propaganda letters which they
produced each da/’.
Another advantage to the widespread of the songs, was the way of the organization
of the partisan units, brigades and divisions. A simple survey on the tactics of the Joint
Chiefs of Staffs, on the instructions and ordinances issued for the creations of the
partisan units, reveals that there were small units or battalions integrated into larger
units, with partisans from a wide variety of zones and provinces so as to ensure a wide
range of origins and combinations from all over Albania. In addition, the partisan units,
had to move to different places due to the operational situations and circumstances,
depending on the presence of the enemy forces. This helped with the popularization of
the songs among people, directly or indirectly linked with the antifascist movement, as
the songs, gradually became the artistic image of the war for liberty, with the partisans
Kéngét partizane, trashégimia shpirtérore e Luflés Antifashiste Nacionalgiirimtare · 233
and the martyrs of the homeland as the ones fighting for the country’s liberty.
The songs composed by Dhora Leka were born orally, just like the folk creations,
that is, not written in musical notations, due to the fact that the composer herself, was
not capable of this technique. She remembers that:. “I did not know then, that thefire song
that was exploding within my rebel spirit, would turn me, from a young woman from the common
strata, who could not yet place the black dots on the pentagrams, into the hearty singer of the Warfor
Liberty.” For this reason, she turned for help to the composer Kristo Kono, who used
to live near her house, and the pianist Boris Plumbi, a student at the Korea Lyceum at
the time. Plumbi sheltered her in his house, and for the first time, her songs were written
in the musical notations, of the Antifascist War. According to the composer Tonin
Harapi, “_her musical capabilities had not sprung from a vacuum, but stemmed from a family
cultural heritage, and an artistic education that she received because she came from an intellectual family,
where poetry, music and culture were part of the family background, but she lacked the necessary
technique for the adequate construction of the song, the wide range of the variety. However, the songs,
do not have any technical defects, they sound regular, filled with emotion and inner potential to be
enriched with any orchestral or harmonic means” Dhora Leka brought the partitures of her
songs to the house of Gjike Kuqali, and later presented these to Nako Spiro, the top
leader of the Communist Youth, who unhesitatingly highly appreciated and evaluated
the importance of these patriotic songs in the war for liberty.
In the talks I could fortunately have with the “aunf ’ (as me and Arian Avrazi, son of
Gaqo Avrazi, the orchestra conductor of her songs during the national liberation war,
used to call her), all through her life, she could not find a comprehensive explanation
how she managed to create these super-songs, although they were structurally simple:
the stropha and the refrain. She could remember it as very extraordinary and very thrilling.
She could not remember the time or the manner the songs were created, but, on the
contrary, she did very well remember the echo and the emotion created by the songs,
when thousands of voices of the fighters, half uttering, half singing, in the course of
the days and nights, in the fighting against the enemy, or on the dead bodies of the fallen
comrades. The partisans themselves, - and a large part of them later fell in the war for
the country’s liberty - highly valued the songs not just as music, but as their genuine allies,
that never left them alone. The composer herself believed that she was just a carrier of
the people’s spirit for liberty, as the songs did have that sense, and the songs were kind
of self-created as songs of the war for liberty. Which artists, in any genres, would have
wished a better luck for their creations?!
Many years later, in 1998, Dhora Leka, who had been qualified as a professional
composer in the Art Conservatory “Tchaikovsky” of Moscow in the years 1948-1953
(her diploma bears the signature of Shostakovich, without her knowing that the same tragic fate of
exile would haunt her after return to Albania), managed to raise herpartisan songs to the level of the
opera, with her opera rTo the mountains for liberty”, with a libretto of Ali Abdihoxha. According
234 . Vasil S. Tole
to Ismail Kadare, . Dhora Geka, besides being a well-known and talented composer, author of
the majority of partisan songs, was also an intelligent woman, by no means naive, who was convicted
andpersecuted on no grounds at all in 1956.
In the period August - September 1943, besides the massive singing of these songs
by the partisans and the common people, there was an effort to have them recorded
on gramophone, as sung by the half-professional partisan army choir conducted by
Gaqo Avrazi. The partisan choir was established in condidons of illegality, in June 1942,
in the zone of Korce, with the sole purpose of spreading the partisan songs. It was
composed of: Gaqo Kollumbi (Yrka), Nesti Marjani, Tole Adam, Giambi Ziko, Gaqo Dono,
Pandi Kerenxhi, Vaske Gubonja, Mileni Cicko, Koli Kondakfi, Gjenovefa Cicko, Fillota Nap,
Valentina Asllani, Fillota Kondakfi, Mariana Dhimitri, Kofo Kondakfi, Shpresa Pepa, Stavri
Nafi, Tefta Bratko and the martyr Vangjel Adam. The audirions were often in one-floor
houses, with long gardens, so that no voice could be heard outside. Gaqo Avrazi has
written that: (We did have auditions at the house of Gaqo Kollumbi, but more often at the apple
farm of Nest։ Kerenxhi, about two km far from the outskirts of the city of Korce. The farm had a
room and it used to be ourfavourite place, because the partisan songs would echo freely. The auditions
were two-three times per week: on Sunday morning, and the rest during the week. They were done
regularly and at the correct time. No one missed the auditions՝, even when there was a curfew. The
auditions were done at high discipline, with desire andpassion. The group managed to organise auditions
even when it was raining. No matter what personal agenda or affairs they might have had, the choir
would convene, passing through paths and routes not to be seen by the fascists, one by one, at the little
cottage where the partisan songs echoed strong.”
The technical possibility of recording was created after an activity of the guerrilla
unit in the facilities of Radio Korea, where they could break in and grab the necessary
equipments for discography recording. In her testimony, Dhora Leka reveals that:
“.Fortunately the songs were recorded on discs, which were later lost or burnt during
the Vithkuq battle at the end of 1943.”
The widespread of the partisan songs saw the peak in 1944, which was the most
difficult, but also the most important year of the war. The whole repertory of the
songs, had been created but also spread and distributed among the youth, the partisans
and the common people. It seems that the Albanian people was spreading the songs
through the same old mechanism of the oral circulation of the folklore. The songs
were transmitted orally, from one city to another, from one village to another. They
were songs sung in band, ensemble, which, through this singing, brought along
accompanying of the audiences, which may have not be seen or heard since the times
of group languish singing or dancing. Such circulation also brought improvement, as
no one learnt to sing these in notations, just like it has happened with folk creations.
When the partisan songs were written in musical notations, and harmonized years later,
the authors noticed that in lots of cases, the songs sung by the people had differences
Kenget partizane, trashegimia shpirterore e Luftes Antifashiste Nacionaiglirimtare · 235
compared to the initial version, and, such differences, they felt, had made them better.
Part of these songs have already passed to oblivion.
The message of these songs was so significant, that we find documents and orders
from the Headquarters to the partisan units, to establish and organize choirs in them. In
June 1944, there was the first effort of the Anti-fascist National-Liberation Committee
to institutionalize the choirs and ensembles of each region, calling them cultural groups.
This document was a Circular prepared by Sejfulla Maleshova, responsible at that time
for issues relating to the media, propaganda and the folk culture. On July 15*, 1944,
there was another circular of the General Command of the National-Liberation Army,
stressing that the presence of a choir in a partisan unit, constituted a standard relating to
the political, cultural and educational state of the partisan unit, etc.
In the meantime, in the capital city, Tirane, Ernest Koliqi, who was at that time
Chairman of the Royal Institute of Albanian Studies, had launched the idea for the creation
of the Albanian national music. Hie concern came from the fact that: ". We do not yet
have a complete history of the Albanian music. Among the arts, music is the most difficult and the one
to develop latest of all” To actualize the idea, the Royal Institute, in close cooperation with
the Ministry of Folk Culture, planned to make efforts to pave the way for the
establishment of Albanian music. In the planned project, it was envisaged that “after
collecting music motifsfrom the people all over the country, after these motifs are studied and explored by
experts and cleared of foreign influences, after distinguishing which lines of songs, or dances are a
genuine expression of the people, then we shall invite Albanian and Italian musicians to elaborate this
primitive matter, and we shallprovide grants and awards to those who offer new developments full of
inspiration, relying on folk tunes from the people's mouth P
This initiative came shortly after the National Anthem began to be taught in an organized
way to students in Albanian schools established in Kosove, Macedonia, Montenegro
and Chameria, thanks to a decree issued by him as a Minister, to send dozens of
teachers from Albania, to build the grounds for national education all over the Albanian
land. This same year, Lasgush Poradeci published a full study “The National Anthem of
the Flag and its historf, in the magazine “Tomorri”, no. I-III.
In those years, in the distant America, Fan S. Noli had made some steps towards
the creation of a music on national basis. Our musicologists have noticed that the basis
of expression in his musical creations consists of some stilemas and national intonations
stemming out of his own consciousness.
In his “Autobiography ” he wrote: . When I returned to the United States in 1930,1 quit
international politics and turned to music. I composed a musicalpoem -”Scanderbeg” and an Albanian
rhapsody forfull orchestra, a song for tenor and orchestra - “Poor Caspar*’ and I have published two
hymns of the Orthodox church in English. My greatest contribution in thisfield is: “Beethoven and the
French Revolution”, which deals with the political ideology of the great composer.” His works for
symphonic orchestra “Skanderbeg”, ‘Albanian Rhapsody” and ‘Poor Caspar”, for tenor and
236 '* Vasil S. Tole
orchestra, are typical Albanian tunes. There we notice the setting of the Byzantine music,
from where he started his musical formation, as well as his departure from it. The
situation appears even clearer in the thematic organization of his works, where he
describes the whole history of musical creation. The most typical case in the musical
creation can be seen in the direct melodic citation of 'TheMarsaiyaise” and “International”.
Further, an order of the Joint Chief of Staffs, established the army choir, at Lavdar,
in Opar, Kor^e, on July 25th 1944, directed by Gaqo Avrazi, consisting of 19 members.
The repertory of the choir’s first concert included: 'The flag anthem”, “Unite mate in the
unit with us”, cWe are partisan brave men”, ,rThe song of avenge”, “The song of Pojska martyrs”,
fThe roar of liberation”, “The call”, “Red is at sunrise and sunset”, rThose peaks lined up”,
'Partisan going to war”, “In exile”, 'The army's Hymn”, “Mounts and fields are echoing,” etc.
It was the ideal concert linking the patriotic repertory of our National Renaissance
with the newest antifascist songs of WWII. The creation of the choir opened the gateway
to the singing of the Flag Anthem in all the concerts organized until the liberation of the
country, such as in the ceremony of the creation of the Brigade XX, at the Congress of
Berat on October 22nd 1944, at the 1st Congress of Anti-fascist Women (BGASH) on
November 4th 1944 in Berat, on December 15th 1944, in the liberated Tirane, etc.
The creation of another musical unit, the Brass Orchestra of the People’s Army -
(OFUP) on October 18th 1944, at a village near Tirane, served as a further spur for the
performance of the patriotic and liberation repertory, particularly the FlagAnthem. Initially,
the orchestra was set up at the 1st corpus of the army, and was later transformed into
the Brass Orchestra of the National Army. Its first members were former musicians of the
music band 'Vatra (Homeland)”involved in the royal orchestra, former members of the
music band “Aferdita” —Elbasan, and former bands of the army music band at the time
of the kingdom. Almost all of the members of the orchestra joined the partisan unit
for this very purpose. Among the founders were Qamil Peshqeshi and the musicians
Kristaq Panduku, Rahmi Qatja, Xhemal Vozga, Muharrem Berxolli, etc. It is interesting
to note that the music instruments were provided through an operation of the guerrilla
unit in the capital Tirane, grabbing them from the warehouse of the former royal
music band of King Zog, together with the music archive. Very soon, the orchestra had
in its repertory the new partisan songs, which were adjusted for this music unit by its
members: Kol Jakova, Osman Banushi, etc. The Brass Orchestra, as a military unit, also
gave its own martyrs: Shyqyri Ishmi, 'People's Hero” and martyrs Abdulla Keta, Qamil
Gurakuqi, Vlash Parapani, etc. After its creation, the orchestra had its debut in the
liberated capital Tirana on November 18th 1944, dressed in partisan uniforms, to follow
with the concert on the occasion of the entry of the Interim Government in Tirane, the
first parade of the partisan forces on November 28th 1944 in Tirane too, etc. It seems
that its musical activity was livened up also due to the political interest, that the theater
and choral bands should significantly develop their own cultural work.
Kenget partizane, trashegimia shpirterore e Luftes Antifashiste Nacional^lirimtare · 237
Since the German occupation at the end of 1943, together with the creation of the
large partisan units, like attack brigades, divisions, the latter had their own marches created,
and a large part of their lyrics were written directly by their commanders and commissars,
such as 'The March of the 1st Attack Brigade" with lines written by its commander Mehmet
Shehu (1913-1981) an international composition; 'The song of Brigade XX”, with lyrics
of its commissar Misto Treska (1914-1993) based on international tunes; 'The Army's
Hymn”, with lines written by Andrea Varfi and music composed by Dhora Leka; 'The
song of the 1st Division ”, with lines written by its commander Shefqet Feçi and music
composed by Dhora Leka; 'The song of Brigade II”, by Kristo Kono, etc. There were
musical creations for the political organs of the war, such as the 'Hymn of the National-
Liberation Council ", with lyrics written by Xhaferr Vokshi, etc.
During the war years, songs of international origin were sung too, such as
1International”, with lyrics and music by Eugène Pother (1786-1856), 'The song of Soviet
partisans”, (Our eagle making for the mountains”, with lyrics of Juvi Bino and the music
composed by the Russian composer A. V. Aleksandrova, the song of 'The martyrs of
brotherhood ”, the song 'In front of life”, with music composed by Shostakovich, "Fields oh
fields - 'Poljushkapolje ”, translated from Russian by Sejfulla Malëshova, "Red is at the sunrise
and sunset”, "Bandiera rossa, ” etc.
In those years, a special part was taken by a specific kind of creation of songs and
hymns, devoted to the political bodies, such as the parties. One such case was 'The hymn
of the Albanian National-Balkan Party”, created in Tirane on June 19th 1944, at the peak
of the national liberation war, with music composed by Luigj Filaj and lyrics written by
Jorgji Koçi. The hymn glorified the creation of the Balkan Confederation, and it is
surprisingly an apotheosis of this union, as the only chance to be free.
Jam shqiptar e jam ballkanas
per bashkim, ideal të ri,
jam shqiptar e jam ballkanas
n’kët bashkim tëgjith m'u shkri.
Actually, the second half of 1944, as the hopes were high for the approaching
liberation of the country, saw the creation of some songs which mark the influence of
the communist ideology on the until then just liberty-loving and patriotic music of the
war. In the lines of songs like: 'Down with the patrons” and 'Proletarian barricades” we
notice the first signs of die elements of politics and the class struggle, appearing on the
threshold.
238 « Vasil S. Tole
PĒRMBAJT JA
HYRJE - INTRODUCnON.9
I. Kēnget dhe marshet patriotike partizane te Luftēs Antifashiste NacionalĢlirimtare.10
Himni Kombētar.35
“Rreth flamurit tē pērbashkuar”.37
Himni, partitura per orkester simfonike. 40
Himni, partitura per orkester frymore.44
1. Kenge partizane. 49
Kenga: “Kushtrimi i lirisē” . 50
Kēnga: “Britma e Ģlirimit” .52
Kenga: “Hakmanje” .54
Kēnga: “Ato maja rripa-rripa”.56
Kēnga: ‘Tlaku dhe i riu”.58
Kēnga: “Rini-rini” .60
Kēnga: “Bashkohu shok me ne ne Ģetē”.62
Kenga: “Shprepmezjarrporsirrufeja”.64
Kēnga: ”Dalēngadalē po vjen behari” .66
Kenga: ”Partizani nē luftē po shkonte”.68
Kēnga: ”Lufton per liri”.70
Kēnga: ”Kahna erdhēnkēta partizane” . 72
Kēnga: ”Ģlirimi i KorĢēs”.74
Kēnga: “Maletmeblerimmbuluar”. 76
Kēnga: ”Lufta e lirisē na theret”. 78
Kēnga: ”Shokē trimnisht sot marshoni”. 80
Kēnga: ”Pushkaime”.82
Kēnga: ”O punētorē dhe punētore”. 84
Kēnga: ”Partizanēvesovjetikē” .86
Kēnga: “Shqipjajonemorimalet” . 88
Kēnga: “Miqesia partizane”.90
2. Kēngē kushtuar dēshmorēve.93
Himni i “Dēshmorēve tē lirisē” .94
Kēnga: “Per liri u vra nj ē partizan”. 96
Kēnga: “Dēshmoija partizane”. 98
Kēnga: “Njē nēnē shqiptare”.100
Kēnget partizane, trashēgimia shpirtērore e Luftēs Antifashiste Nacionatglirimtare «
Kënga e ”Mine Pezës” .102
Këngapër ”QemalStafen” .104
Kënga: “Brenda në Tiranë”.106
Kënga ”Dëshmorët e Shkodrës” .108
Kënga e ”Asim Zenelit” .110
Kënga e ”Emin Durakut” .112
Kënga ”Dëshmorët e Pojskës”.114
Kënga e ”Manush Alimanit” .116
Kënga e ”Tom Kolës”.118
Kënga e ”Dëshmorëve të Vllaznimit”.120
3.KëngëtkushtuarformacioneveIuftarake partizāne. 123
Kënga: ”Himni i Ushtrisë Antifashiste Nacionalçlirimtare” .124
Kënga: “Himni iKêshillitNacionalçlirimtar”. 126
Kënga: ”Marsh i Korparmatës I Sulmuese”.128
Kënga: ”Marsh i Divizionit I Sulmues”.130
Kënga: ”Himni i Brigades I Sulmuese” .132
Kënga: ”Marsh i Brigades I Sulmuese” .134
Kënga: ”Marsh i Brigades III Sulmuese” .136
Kënga: ”Marsh i Brigades ГѴ Sulmuese” .138
Kënga: ”Marsh i Brigades VI Sulmuese”.140
Kënga: ”Brigada VII Sulmuese” .142
Kënga: ”Marshi i Brigades ѴІП Sulmuese” .144
Kënga: ”Marshi i Brigades XX Sulmuese” .146
Kënga: ”Marshi i Brigades XXVII Sulmuese” .148
П. Lufta dhe kënget: Tabela kronologjike (1939-1945).151
Ш. Shtojcë: Pasqyrimi i Luftës Antifashiste Nacionalçlirimtare në këngët popullore shqiptare.
Transkriptime muzikore. 191
IV. Summary. 227
V Bibliografi. 245
Për autorin. 251
8 · Vasil S. Tole |
| any_adam_object | 1 |
| author2 | Tole, Vasil S. 1963- |
| author2_role | edt |
| author2_variant | v s t vs vst |
| author_GND | (DE-588)1045735019 |
| author_facet | Tole, Vasil S. 1963- |
| building | Verbundindex |
| bvnumber | BV043195497 |
| ctrlnum | (OCoLC)950872737 (DE-599)BVBBV043195497 |
| format | Book |
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| genre_facet | Anthologie |
| geographic | Albanien (DE-588)4001028-4 gnd |
| geographic_facet | Albanien |
| id | DE-604.BV043195497 |
| illustrated | Illustrated |
| indexdate | 2024-08-10T00:27:14Z |
| institution | BVB |
| isbn | 9789995610708 |
| language | Albanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-028619021 |
| oclc_num | 950872737 |
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| physical | 249 Seiten Notenbeispiele |
| publishDateSearch | 2014 |
| publishDateSort | 2014 |
| record_format | marc |
| spelling | Këngët partizane, trashëgimia shpirtërore e Luftës Antifashiste Nacionalçlirimtare (në kuadrin e 70-vjetorit të Çlirimit të Shqipërisë) : (1944-2014) = The partisan patriotic marches and songs of the National Liberation War Akademia e Shkencave e Shqipërisë ; mbledhur, përgatitur dhe pajisur me një studim hyrës nga akademik Vasil Tole The partisan patriotic marches and songs of the National Liberation War Tiranë Shtypur në shtypshkronjën "Kristalina-KH" 2014 249 Seiten Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Einführung und Zusammenfassung in englischer Sprache Soldatenlied (DE-588)4181747-3 gnd rswk-swf Antifaschismus (DE-588)4122803-0 gnd rswk-swf Kriegslied (DE-588)4340923-4 gnd rswk-swf Politisches Lied (DE-588)4175049-4 gnd rswk-swf Partisanenkrieg (DE-588)4173446-4 gnd rswk-swf Zweiter Weltkrieg (DE-588)4079167-1 gnd rswk-swf Albanien (DE-588)4001028-4 gnd rswk-swf (DE-588)4002214-6 Anthologie gnd-content Albanien (DE-588)4001028-4 g Zweiter Weltkrieg (DE-588)4079167-1 s Partisanenkrieg (DE-588)4173446-4 s Antifaschismus (DE-588)4122803-0 s Kriegslied (DE-588)4340923-4 s Politisches Lied (DE-588)4175049-4 s Soldatenlied (DE-588)4181747-3 s DE-604 Tole, Vasil S. 1963- (DE-588)1045735019 edt Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028619021&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028619021&sequence=000002&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028619021&sequence=000003&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Këngët partizane, trashëgimia shpirtërore e Luftës Antifashiste Nacionalçlirimtare (në kuadrin e 70-vjetorit të Çlirimit të Shqipërisë) : (1944-2014) = The partisan patriotic marches and songs of the National Liberation War Soldatenlied (DE-588)4181747-3 gnd Antifaschismus (DE-588)4122803-0 gnd Kriegslied (DE-588)4340923-4 gnd Politisches Lied (DE-588)4175049-4 gnd Partisanenkrieg (DE-588)4173446-4 gnd Zweiter Weltkrieg (DE-588)4079167-1 gnd |
| subject_GND | (DE-588)4181747-3 (DE-588)4122803-0 (DE-588)4340923-4 (DE-588)4175049-4 (DE-588)4173446-4 (DE-588)4079167-1 (DE-588)4001028-4 (DE-588)4002214-6 |
| title | Këngët partizane, trashëgimia shpirtërore e Luftës Antifashiste Nacionalçlirimtare (në kuadrin e 70-vjetorit të Çlirimit të Shqipërisë) : (1944-2014) = The partisan patriotic marches and songs of the National Liberation War |
| title_alt | The partisan patriotic marches and songs of the National Liberation War |
| title_auth | Këngët partizane, trashëgimia shpirtërore e Luftës Antifashiste Nacionalçlirimtare (në kuadrin e 70-vjetorit të Çlirimit të Shqipërisë) : (1944-2014) = The partisan patriotic marches and songs of the National Liberation War |
| title_exact_search | Këngët partizane, trashëgimia shpirtërore e Luftës Antifashiste Nacionalçlirimtare (në kuadrin e 70-vjetorit të Çlirimit të Shqipërisë) : (1944-2014) = The partisan patriotic marches and songs of the National Liberation War |
| title_full | Këngët partizane, trashëgimia shpirtërore e Luftës Antifashiste Nacionalçlirimtare (në kuadrin e 70-vjetorit të Çlirimit të Shqipërisë) : (1944-2014) = The partisan patriotic marches and songs of the National Liberation War Akademia e Shkencave e Shqipërisë ; mbledhur, përgatitur dhe pajisur me një studim hyrës nga akademik Vasil Tole |
| title_fullStr | Këngët partizane, trashëgimia shpirtërore e Luftës Antifashiste Nacionalçlirimtare (në kuadrin e 70-vjetorit të Çlirimit të Shqipërisë) : (1944-2014) = The partisan patriotic marches and songs of the National Liberation War Akademia e Shkencave e Shqipërisë ; mbledhur, përgatitur dhe pajisur me një studim hyrës nga akademik Vasil Tole |
| title_full_unstemmed | Këngët partizane, trashëgimia shpirtërore e Luftës Antifashiste Nacionalçlirimtare (në kuadrin e 70-vjetorit të Çlirimit të Shqipërisë) : (1944-2014) = The partisan patriotic marches and songs of the National Liberation War Akademia e Shkencave e Shqipërisë ; mbledhur, përgatitur dhe pajisur me një studim hyrës nga akademik Vasil Tole |
| title_short | Këngët partizane, trashëgimia shpirtërore e Luftës Antifashiste Nacionalçlirimtare |
| title_sort | kenget partizane trashegimia shpirterore e luftes antifashiste nacionalclirimtare ne kuadrin e 70 vjetorit te clirimit te shqiperise 1944 2014 the partisan patriotic marches and songs of the national liberation war |
| title_sub | (në kuadrin e 70-vjetorit të Çlirimit të Shqipërisë) : (1944-2014) = The partisan patriotic marches and songs of the National Liberation War |
| topic | Soldatenlied (DE-588)4181747-3 gnd Antifaschismus (DE-588)4122803-0 gnd Kriegslied (DE-588)4340923-4 gnd Politisches Lied (DE-588)4175049-4 gnd Partisanenkrieg (DE-588)4173446-4 gnd Zweiter Weltkrieg (DE-588)4079167-1 gnd |
| topic_facet | Soldatenlied Antifaschismus Kriegslied Politisches Lied Partisanenkrieg Zweiter Weltkrieg Albanien Anthologie |
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