The Ukrainian Bandura
The bandura, a lute-like instrument regarded as the national instrument of Ukraine, has become a symbol of Ukrainian nationhood and resilience. Deeply entwined with Ukrainian history, the instrument has come to be known as “the voice of Ukraine.” From a musical perspective, the bandura unifies acoustic principles of both the lute and the harp, its sound resembling that of a harpsichord but with a broader range of notes and tonal control.
The bandura’s history can be traced back to a 6th-century Greek chronicle, which mentions Ukrainian warriors playing lute-like instruments. This early instrument, known as the kobza, was smaller, more circular, and had fewer strings than the modern bandura. Over time, additional strings were added, some positioned along the side of the instrument, rendering frets on its neck unnecessary.
Cossack playing a bandura (early 19th century), National Art Museum of Ukraine
During the Middle Ages, the bandura became prominent in the courts of Eastern Europe, much like the lute in Western Europe. It was used primarily for accompanying dance and song. It also enjoyed great popularity among the Kozaks (Cossacks), semi-nomadic warriors who developed a unique repertoire for the instrument. From their ranks arose a new school of Ukrainian professional musicians called kobzari (singular form is kobzar). The kobzari often accompanied the Kozaks during times of war.
The kobzari developed a unique epic song form known as the duma (plural: dumy), meaning thought or reflection. Sung to the accompaniment of the bandura, dumy depicted the heroic exploits of the Ukrainian Kozaks and their quest for freedom. By the 18th century, the kobzari were unlike their kozak fore-bearers. A tradition that required all kobzari to be blind had developed.
In 1873, at the Third Archeological Conference held in Kyiv, Western scholars and composers first heard dumy performed by a blind kobzar named Ostap Veresai. His moving performance inspired the publication of numerous articles and books on the subject and had a significant influence on the development of the musical form known as dumky (e.g., Dvorak’s “Dumky Trios” and Tchaikovsky’s “Dumka”).
At the beginning of the 20th century, urban Ukrainians developed a renewed interest in the bandura. Bandura ensembles became popular, and demands for new instruments grew. During this time, considerable innovation and experimentation were made in instrument design and construction. New banduras began to be mass produced with many strings, tuned chromatically rather than diatonically (like a piano rather than a guitar), and levers were added to expedite rapid transposition (playing in a different key). Conservatory courses were organized, and professional composers were hired to create new compositions specifically written for this instrument.
This period of the history of the bandura coincided with the rise of Ukrainian patriotism and nationalism and a subsequent flourishing of the arts. Unfortunately, it did not last long. In 1935, the Soviet government lured blind kobzari to Kharkiv under the guise of an ethnographic conference, only to execute them, symbolizing the regime’s broader effort to suppress Ukrainian cultural identity. Persecution, arrest, and exile became a way of life for countless Ukrainian artists and bandurists.
Renown street bandura player Ostap Kindrachuk (1937-2024) | photo by Roman Koval
Throughout the Cold War Era, the Soviet government resolved to wipe out all vestiges of Ukrainian nationalism by attacking and destroying Ukrainian culture. However, the Soviet authorities quickly realized that it would be impossible to fully eliminate the bandura from what proved to be a resilient Ukrainian identity. Instead, they attempted to separate the bandura from its past and traditions by developing the modern Kyiv bandura. Training to play the bandura was taken in a more academic direction. Its traditional repertoire was abandoned for the alien works of Bach, Beethoven, and other classical composers.
Continued persecution, arrest, and exile became a way of life for countless Ukrainian Bandurists clinging to their traditions. Many headed West, seeking refuge in the United States and Canada, where they could continue practicing their art unhindered. The Ukrainian Bandurist Chorus, founded in 1918 in Kyiv, survived repression by relocating to the United States in 1949, where they settled together in Detroit.
The Ukrainian Bandurist Chorus of North America on stage
The Bandura Today
The bandura remains closely associated with vocal music, as it originally served as an accompaniment for singing. Bandura capellas, which combine the instrument’s orchestral capabilities with choral singing, are a natural expression of Ukrainian musical traditions. The Ukrainian Bandurist Chorus of North America is a leading example.
Today, there are three major types of banduras in concert use: The classical bandura, tuned diatonically with some 20 strings and wooden pegs; the Kharkiv bandura, tuned diatonically or chromatically with a single string mechanism and 34 to 65 strings; and the Kyiv bandura, with 55 to 64 strings tuned chromatically.
The bandura’s resilience and versatility reflect the enduring spirit of the Ukrainian people and their deep connection to their musical heritage.
This article was adapted, with permission, from material on the website of the Ukrainian Bandurist Chorus of North America.
About the Bandura from the Ukranian Bandurist Chorus of North America:
And a short clip about the late Ostrap Kindrachuk:
