Hnat Honcharenko

Hnat Tykhonovych Honcharenko (1835–c. 1917) was one of the most renowned Ukrainian kobzars (blind itinerant minstrels) of the Kharkiv oblast of the late 19th and early 20th centuries.

Honcharenko was born in the village of Ripky into a serf family. He became blind at the age of 3 or 4. He began to study the bandura at the age of 22 under the old kobzar Petro Kulibaba. He studied for a period of four months, and continued his studies under other kobzars he later met.

After he married, he settled not far from Kharkiv on the Hubayenko homestead. When he was widowed, he resettled to Sevastopol with his son, a railway engineer. Honcharenko would spend his winters there and return to Kharkiv for the summer months.

Honcharenko had in his repertoire four dumy, epic poems set to music:

He also sang numerous satirical-humorous songs and played instrumental dance melodies.

On the pages of the press, Hnat Honcharenko was first mentioned by M. Sumtsov in 1885. In the January edition of "Kievan Antiquities" in the article "About a new variant of Olexiy Popovych" he wrote, that Honcharenko had visited Kharkiv numerous times and that he knew numerous sacred and humorous songs, as well as dumy "About the Escape of the three brothers from Oziv" and the "Poor widow".

The first recordings of dumy made from Honcharenko were made by Yu. Tykhovsky in 1899. These recordings were given to the organizers of the XIIth Archeological conference, but unfortunately were not published. Tykhovsky noted that Honcharenko was quiet and unassuming, that he played very well and sang distinctly, and that "it would be very nice to record from him his melodies and the musical accompaniment of the dumy".

Hnat Khotkevych regarded Honcharenko's performances very highly: "he is one of the most educated of all the kobzars. His appearance leaves an impression similar to a magical feeling. He, like his colleagues, wandered from village to village, singing at marketplaces and streets, but what is first observed is his cleanliness and outward appearance.... It could be assumed that he was like this at home, that he is always like this, and not just for the observer's eye.... As a virtuoso, with a limited repertoire. He did not have messy parts in his playing. Everything was performed clearly and artistically."

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