Pub Date : 2022-03-31DOI: 10.15382/sturv202245.45-63
A. Gribkova
The article is devoted to the origins of the appearance of paired compositions The Birth of Christ and The Death of the Virgin on monumental painting of the Nativity of the Virgin Church in Savvino-Storozhevsky Monastery 1649–1650. The tradition of reproducing ancient programs that developed in the second quarter – the middle of the 17th century makes it possible to attribute the monastery cathedral in Zvenigorod to this practice. The presence of large paired compositions in naos find similarities with Russian monuments of the 12–16th century, rather than with paintings of their time. Both compositions are in harmony with The Birth of the Virgin on the western wall and The Praise of the Virgin in the central conch. The combination of four scenes reveals the main meaning of the entire program, which consists in the idea of the glorification of the Virgin. The scenes of the Life of the Virgin, located on the eastern wall of the naos, testify to their presence here even before the construction of the iconostasis of the 17th century. Meanwhile, the iconographic analysis of paired compositions brings them closer to the monuments of their time. Firstly, it is noticeable in the composition The Birth of Christ which is structurally close to the multipart icons of the 16–17th centuries. In the scene The Death of the Virgin there is a similarity with the temple icon from the Assumption Cathedral of the Moscow Kremlin of 1472–1474, and a veil embroidered for her in the 1640s. The results of the study show that paired compositions could be part of the old painting, while in the middle of the 17th century they, along with the entire program, were updated and supplemented with new elements.
{"title":"Paired compositions \"Birth of Christ\" and \"Death of Theotokos\" on monumental painting of the Cathedral of Nativity of Theotokos in Savvino-Storozhevsky monastery (1649–1650): the role in the programme and features of iconography","authors":"A. Gribkova","doi":"10.15382/sturv202245.45-63","DOIUrl":"https://doi.org/10.15382/sturv202245.45-63","url":null,"abstract":"The article is devoted to the origins of the appearance of paired compositions The Birth of Christ and The Death of the Virgin on monumental painting of the Nativity of the Virgin Church in Savvino-Storozhevsky Monastery 1649–1650. The tradition of reproducing ancient programs that developed in the second quarter – the middle of the 17th century makes it possible to attribute the monastery cathedral in Zvenigorod to this practice. The presence of large paired compositions in naos find similarities with Russian monuments of the 12–16th century, rather than with paintings of their time. Both compositions are in harmony with The Birth of the Virgin on the western wall and The Praise of the Virgin in the central conch. The combination of four scenes reveals the main meaning of the entire program, which consists in the idea of the glorification of the Virgin. The scenes of the Life of the Virgin, located on the eastern wall of the naos, testify to their presence here even before the construction of the iconostasis of the 17th century. Meanwhile, the iconographic analysis of paired compositions brings them closer to the monuments of their time. Firstly, it is noticeable in the composition The Birth of Christ which is structurally close to the multipart icons of the 16–17th centuries. In the scene The Death of the Virgin there is a similarity with the temple icon from the Assumption Cathedral of the Moscow Kremlin of 1472–1474, and a veil embroidered for her in the 1640s. The results of the study show that paired compositions could be part of the old painting, while in the middle of the 17th century they, along with the entire program, were updated and supplemented with new elements.","PeriodicalId":134507,"journal":{"name":"St.Tikhons' University Review. Series V. Christian Art","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121671587","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-31DOI: 10.15382/sturv202245.9-27
Aleksandra Mamlina
The manuscript of Dante’s Hell with a commentary wrote by the Pavian humanist Guiniforte Barzizza, created in the 40s of the 15th century for the Duke of Milan, Filippo Maria Visconti, is decorated with miniatures attributed to the artist whom P. Toecsa names to as Maestro delle vitae imperatorum. Presumably, the manuscript initially contained about 115 miniatures, only 72 of which have been preserved till present days, but the codex, divided between two libraries (It. 2017, National Library of France, and MS 76, Communal Library of Imola) and several private collections, remains one of the most richly illustrated copies of The Divine Comedy of the late Middle Ages. Illustrations are characterized by archaism and oriented towards older models, such as miniatures of Strozziano 152 (Medici Laurenziana Library, Florence) or MS. Holkham misc. 48 (Bodleian Library, Oxford), while the tense realism of the miniature makes it an example of a new approach in the visual interpretation of The Divine Comedy.Maestro delle vitae imperatorum renders the details of narration accurately in terms of topography, anatomy and psychologism, intending to allow the reader become an accomplice of various emotions experienced by the protagonist of The Divine Comedy. Thus, the physical journey comes to the foreground, stretches in time and space, allowing readers to trace its course and the very topography of hell in the smallest detail. Researchers note that the incredible expressiveness of Dante's portraits on the pages of the Visconti manuscript - the poet's poses, gestures, facial expressions, as well as the "clinical" accuracy with which, for instance, the sufferings of sinners are transmitted, evoke terror rather than compassion.The article examines some miniatures of the Paris codex, analyzes the features of the image of hell as interpreted by Maestro delle vitae imperatorum and their connection with the tradition of illustrating the The Divine Comedy and with the visual culture of Visconti in general.
15世纪40年代为米兰公爵菲利波·玛丽亚·维斯孔蒂(Filippo Maria Visconti)创作的《但丁的地狱》手稿和由帕维亚人文主义者Guiniforte Barzizza撰写的评论，上面装饰着被P. Toecsa称为“艺术大师”(Maestro delle vitae imperatorum)的艺术家的微缩画。据推测，手稿最初包含大约115个微缩模型，其中只有72个保存到今天，但抄本分为两个图书馆(2017年，法国国家图书馆和76年，伊莫拉公共图书馆)和几个私人收藏，仍然是中世纪晚期《神曲》插图最丰富的副本之一。插图的特点是古语和面向较老的模型，如Strozziano 152(美第奇Laurenziana图书馆，佛罗伦萨)或MS. Holkham misc的微缩。48(牛津大学博德利图书馆)，而微缩的紧张现实主义使它成为视觉解释《神曲》的新方法的一个例子。《皇帝的生命》从地形、解剖学和心理学的角度对叙述细节进行了精准的渲染，意在让读者成为《神曲》主人公所经历的各种情感的共犯。因此，身体的旅行出现在前台，在时间和空间上延伸，让读者可以在最小的细节上追踪它的路线和地狱的地形。研究人员注意到，维斯孔蒂手稿中但丁肖像令人难以置信的表现力——诗人的姿势、手势、面部表情，以及“临床”的准确性，例如，传递罪人的痛苦，唤起的是恐惧而不是同情。本文考察了《巴黎手抄本》的一些微缩图，分析了大师delle vitae imperatorum所诠释的地狱形象的特点，以及它们与《神曲》图解传统和维斯孔蒂视觉文化的联系。
{"title":"Images of Hell from Guiniforte Barzizza’s \"Commento\" (It. 2017, Bibliothèque nationale de France)","authors":"Aleksandra Mamlina","doi":"10.15382/sturv202245.9-27","DOIUrl":"https://doi.org/10.15382/sturv202245.9-27","url":null,"abstract":"The manuscript of Dante’s Hell with a commentary wrote by the Pavian humanist Guiniforte Barzizza, created in the 40s of the 15th century for the Duke of Milan, Filippo Maria Visconti, is decorated with miniatures attributed to the artist whom P. Toecsa names to as Maestro delle vitae imperatorum. Presumably, the manuscript initially contained about 115 miniatures, only 72 of which have been preserved till present days, but the codex, divided between two libraries (It. 2017, National Library of France, and MS 76, Communal Library of Imola) and several private collections, remains one of the most richly illustrated copies of The Divine Comedy of the late Middle Ages. Illustrations are characterized by archaism and oriented towards older models, such as miniatures of Strozziano 152 (Medici Laurenziana Library, Florence) or MS. Holkham misc. 48 (Bodleian Library, Oxford), while the tense realism of the miniature makes it an example of a new approach in the visual interpretation of The Divine Comedy.Maestro delle vitae imperatorum renders the details of narration accurately in terms of topography, anatomy and psychologism, intending to allow the reader become an accomplice of various emotions experienced by the protagonist of The Divine Comedy. Thus, the physical journey comes to the foreground, stretches in time and space, allowing readers to trace its course and the very topography of hell in the smallest detail. Researchers note that the incredible expressiveness of Dante's portraits on the pages of the Visconti manuscript - the poet's poses, gestures, facial expressions, as well as the \"clinical\" accuracy with which, for instance, the sufferings of sinners are transmitted, evoke terror rather than compassion.The article examines some miniatures of the Paris codex, analyzes the features of the image of hell as interpreted by Maestro delle vitae imperatorum and their connection with the tradition of illustrating the The Divine Comedy and with the visual culture of Visconti in general.","PeriodicalId":134507,"journal":{"name":"St.Tikhons' University Review. Series V. Christian Art","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124501341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-31DOI: 10.15382/sturv202245.153-163
Irina Chervyakova
In the post-Soviet period, there was a noticeable increase in interest in the church singing art. Professional musicians were given the opportunity to perform and study music that had not been so widely distributed until that time. For many, another direction for self-realization has opened up. Spiritual music has increasingly begun to go beyond the scope of worship and is performed everywhere by both secular and church choirs on the stage. Thus, this kind of the richest Russian cultural heritage became more accessible not only for the parishioners of churches, but also for the listeners of concert halls.Traditions of concerts of Orthodox music, with the joint performance of church and secular choirs have been laid in Astrakhan since the early 1990s. The organization of such events is one of the directions of concert and educational activities of the Astrakhan Metropolis. The Astrakhan Bishops' Choir has always been an indispensable participant in these concerts. He is in many ways a model for other singing groups of the city, such a format of activity has a great influence on the professional state of choir choirs, repertoire preferences, manner of performance and much more.In this article we will consider the concert style of singing of large cathedrals on the example of the bishops' choir of the Intercession and Assumption cathedrals, their concert and festival activities.
{"title":"Bishop’s choir of Astrakhan in concerts of sacred music","authors":"Irina Chervyakova","doi":"10.15382/sturv202245.153-163","DOIUrl":"https://doi.org/10.15382/sturv202245.153-163","url":null,"abstract":"In the post-Soviet period, there was a noticeable increase in interest in the church singing art. Professional musicians were given the opportunity to perform and study music that had not been so widely distributed until that time. For many, another direction for self-realization has opened up. Spiritual music has increasingly begun to go beyond the scope of worship and is performed everywhere by both secular and church choirs on the stage. Thus, this kind of the richest Russian cultural heritage became more accessible not only for the parishioners of churches, but also for the listeners of concert halls.Traditions of concerts of Orthodox music, with the joint performance of church and secular choirs have been laid in Astrakhan since the early 1990s. The organization of such events is one of the directions of concert and educational activities of the Astrakhan Metropolis. The Astrakhan Bishops' Choir has always been an indispensable participant in these concerts. He is in many ways a model for other singing groups of the city, such a format of activity has a great influence on the professional state of choir choirs, repertoire preferences, manner of performance and much more.In this article we will consider the concert style of singing of large cathedrals on the example of the bishops' choir of the Intercession and Assumption cathedrals, their concert and festival activities.","PeriodicalId":134507,"journal":{"name":"St.Tikhons' University Review. Series V. Christian Art","volume":"123 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116231226","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-31DOI: 10.15382/sturv202245.79-98
S. Aitova
In this article we take up the problem of the new composition types of the Russian vita icons appeared in the second part of the XVIIth century. Since this problem has been little studied, we also search for the relevant methodological tools to analyze such icons. Such vita icons differ from the traditional type due to their composition structure: there is no division into central part (russ. Средник) with a saint’s portrait and little segments (russ. Клейма) with saint’s life events placed on the edge of the panel. The scenes of the saint’s life are placed in these new types in the center of the icon in a specific compositional order, it is not a linear placement like a schema in a traditional type. Thus this new composition can be interpreted in a different way than a traditional vita icon; it leads to a new way of reading and perception. The earliest examples of such vita icons are found in the painting of the Volga region: they are the icons from iconostasis veneration tier (russ. Местный ряд) in the church of Elijah the Prophet in Yaroslavl (early 1660s). In this article we propose the classification of such vita icons and analyze their composition to reveal their specificity.
{"title":"New composition types of the Russian vita icons in Yaroslavl and Kostroma painting of the second part of the 17th century","authors":"S. Aitova","doi":"10.15382/sturv202245.79-98","DOIUrl":"https://doi.org/10.15382/sturv202245.79-98","url":null,"abstract":"In this article we take up the problem of the new composition types of the Russian vita icons appeared in the second part of the XVIIth century. Since this problem has been little studied, we also search for the relevant methodological tools to analyze such icons. Such vita icons differ from the traditional type due to their composition structure: there is no division into central part (russ. Средник) with a saint’s portrait and little segments (russ. Клейма) with saint’s life events placed on the edge of the panel. The scenes of the saint’s life are placed in these new types in the center of the icon in a specific compositional order, it is not a linear placement like a schema in a traditional type. Thus this new composition can be interpreted in a different way than a traditional vita icon; it leads to a new way of reading and perception. The earliest examples of such vita icons are found in the painting of the Volga region: they are the icons from iconostasis veneration tier (russ. Местный ряд) in the church of Elijah the Prophet in Yaroslavl (early 1660s). In this article we propose the classification of such vita icons and analyze their composition to reveal their specificity.","PeriodicalId":134507,"journal":{"name":"St.Tikhons' University Review. Series V. Christian Art","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134448441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-31DOI: 10.15382/sturv202245.64-78
Oksana Tyupanova
The article deals with the problem of the relationships between the word and the image in the monuments of pictorial and graphic art, depicting the text, so-called text painting, «tekstschilderijen» in Dutch. Mostly anonymous, these monumental images of the Word were painted on boards, columns, and church walls throughout the Northern Netherlands during the first century after the Reformation. Formally, these images belong to the history of painting, since the same materials are used: paints on a board or on a stone in a decorative frame, but the way of depicting reminiscent of an enlarged page of Holy Scripture puts them on a par with the monuments of graphic art. The emergence of “verbal pictures”, texts that became ornaments and calligraphy, the scale and structure of which shifted their verbal content from the individual world of personal initiation into the fixed didactics of public space, corresponded to new doctrinal guidelines and radically changed the semantic structure of the Gothic cathedral. The Bible provided a new graphic language: text that was authoritative enough to become canonical and flexible at the same time to take many varieties of forms. “Verbal pictures” were the texts that became ornaments and calligraphy. The dialectical content unity, their design, interaction with the church space and viewing traditions of the text pictures help to reconstruct not only the author's intention as artistic ones, but also the cultural and historical context.
{"title":"The Space of the Word: epigraphy in the interiors of Dutch churches of the 17th century","authors":"Oksana Tyupanova","doi":"10.15382/sturv202245.64-78","DOIUrl":"https://doi.org/10.15382/sturv202245.64-78","url":null,"abstract":"The article deals with the problem of the relationships between the word and the image in the monuments of pictorial and graphic art, depicting the text, so-called text painting, «tekstschilderijen» in Dutch. Mostly anonymous, these monumental images of the Word were painted on boards, columns, and church walls throughout the Northern Netherlands during the first century after the Reformation. Formally, these images belong to the history of painting, since the same materials are used: paints on a board or on a stone in a decorative frame, but the way of depicting reminiscent of an enlarged page of Holy Scripture puts them on a par with the monuments of graphic art. The emergence of “verbal pictures”, texts that became ornaments and calligraphy, the scale and structure of which shifted their verbal content from the individual world of personal initiation into the fixed didactics of public space, corresponded to new doctrinal guidelines and radically changed the semantic structure of the Gothic cathedral. The Bible provided a new graphic language: text that was authoritative enough to become canonical and flexible at the same time to take many varieties of forms. “Verbal pictures” were the texts that became ornaments and calligraphy. The dialectical content unity, their design, interaction with the church space and viewing traditions of the text pictures help to reconstruct not only the author's intention as artistic ones, but also the cultural and historical context.","PeriodicalId":134507,"journal":{"name":"St.Tikhons' University Review. Series V. Christian Art","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126151431","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-31DOI: 10.15382/sturv202245.99-111
A. Nikulina
Since the middle of the XIX century, the development of education has become one of the important state priorities in the Russian Empire. The spread of education in society has influenced the development and democratization of the arts. At the end of the XIX century, as a result of social changes, the status of women in art was gradually revised. The history of musical education in Russia, as well as in foreign civilization, is inextricably linked with church culture. Our article will focus on St. Vladimir’s church teachers’ school in Saint-Petersburg which belongs to the religious department. This educational institution prepared teachers for parish schools. Musical education and in particular its choir part used to be of such a high quality there, that it could have been an example for many female institutes of that period. The historical experience of this education institution can still be useful today. This article concerns the choir education of the pupils of the school. There is also the aspect of church chants and the matter of school choir repertoire considered in the article. There are a number of prominent writings devoted to the development of musical education in Russia. However in the majority of cases female musical education is addressed briefly in all these writings. Nevertheless there were secondary educational female church institutions that had begun training women choirmasters, which provoked the raise of choir singing level in the country.
{"title":"Education of female church choir masters in educational institutions at the turn of the 19th — 20th centuries (with St. Vladimir’s church teacher’s school as an example)","authors":"A. Nikulina","doi":"10.15382/sturv202245.99-111","DOIUrl":"https://doi.org/10.15382/sturv202245.99-111","url":null,"abstract":"Since the middle of the XIX century, the development of education has become one of the important state priorities in the Russian Empire. The spread of education in society has influenced the development and democratization of the arts. At the end of the XIX century, as a result of social changes, the status of women in art was gradually revised. The history of musical education in Russia, as well as in foreign civilization, is inextricably linked with church culture. Our article will focus on St. Vladimir’s church teachers’ school in Saint-Petersburg which belongs to the religious department. This educational institution prepared teachers for parish schools. Musical education and in particular its choir part used to be of such a high quality there, that it could have been an example for many female institutes of that period. The historical experience of this education institution can still be useful today. This article concerns the choir education of the pupils of the school. There is also the aspect of church chants and the matter of school choir repertoire considered in the article. There are a number of prominent writings devoted to the development of musical education in Russia. However in the majority of cases female musical education is addressed briefly in all these writings. Nevertheless there were secondary educational female church institutions that had begun training women choirmasters, which provoked the raise of choir singing level in the country.","PeriodicalId":134507,"journal":{"name":"St.Tikhons' University Review. Series V. Christian Art","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130035428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-31DOI: 10.15382/sturv202245.126-144
O. Goryunova
The main scientific interest of the author is the identification and study of little-known and unpublished choral works by one of the brightest representatives of Russian musical culture of the XX-XXI century Yuri M. Butsko. This article attempts to study the handwritten score of the cantata "Four Old Russian Chants from the Collection" Flower Garden "(Spiritual Poems)", written in 1969, in the early period of the composer's work. The cantata is based on four spiritual verses - examples of the musical and poetic genre, to which the composer has repeatedly addressed both in vocal and instrumental compositions (symphonies, concerts, piano pieces). Special attention is paid to the analysis of the musical language of each part of the cantata: melody, harmony, rhythmic features, principles of orchestration. The interrelation of some fragments of the cantata with the music of the Baroque epoch in the context of the use of musical rhetorical figures is revealed. In the course of the research, it was possible to determine that the work was written according to the author's modal methodology of Yu. M. Butsko – «twelve-note at a distance» – first presented in the same 1969 in the «Polyphonic Concert». In conclusion, the author of the article expresses the hope that the cantata «Four old Russian chants from the collection "Flower garden"» will be published, performed and made available to the public.
作者的主要科学兴趣是鉴定和研究鲜为人知和未发表的合唱作品，这些作品是由20 - 21世纪俄罗斯音乐文化最杰出的代表之一Yuri M. Butsko创作的。本文试图对作曲家早期创作于1969年的康塔塔《四首古老的俄罗斯圣歌《花园》(精神诗歌)》的手抄本乐谱进行研究。康塔塔是基于四首精神诗-音乐和诗歌体裁的例子，作曲家在声乐和器乐作品(交响乐，音乐会，钢琴曲)中反复提到。特别注意对康塔塔每个部分的音乐语言的分析:旋律，和声，节奏特征，编曲原则。在音乐修辞手法运用的背景下，揭示了康塔塔的一些片段与巴洛克时期音乐的相互关系。在研究过程中，可以确定该作品是根据作者的余的模态方法论编写的。M. Butsko -«十二音符的距离»-首次出现在相同的1969年«复调音乐会»。最后，这篇文章的作者表示希望《四首古老的俄罗斯圣歌》能够出版、演出并向公众开放。
{"title":"The genre of spiritual verse in the choral work of Yu. M. Butsko with the example of the cantata “Four Old Russian chants from the collection \"Flower garden\"”","authors":"O. Goryunova","doi":"10.15382/sturv202245.126-144","DOIUrl":"https://doi.org/10.15382/sturv202245.126-144","url":null,"abstract":"The main scientific interest of the author is the identification and study of little-known and unpublished choral works by one of the brightest representatives of Russian musical culture of the XX-XXI century Yuri M. Butsko. This article attempts to study the handwritten score of the cantata \"Four Old Russian Chants from the Collection\" Flower Garden \"(Spiritual Poems)\", written in 1969, in the early period of the composer's work. The cantata is based on four spiritual verses - examples of the musical and poetic genre, to which the composer has repeatedly addressed both in vocal and instrumental compositions (symphonies, concerts, piano pieces). Special attention is paid to the analysis of the musical language of each part of the cantata: melody, harmony, rhythmic features, principles of orchestration. The interrelation of some fragments of the cantata with the music of the Baroque epoch in the context of the use of musical rhetorical figures is revealed. In the course of the research, it was possible to determine that the work was written according to the author's modal methodology of Yu. M. Butsko – «twelve-note at a distance» – first presented in the same 1969 in the «Polyphonic Concert». In conclusion, the author of the article expresses the hope that the cantata «Four old Russian chants from the collection \"Flower garden\"» will be published, performed and made available to the public.","PeriodicalId":134507,"journal":{"name":"St.Tikhons' University Review. Series V. Christian Art","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114560714","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-31DOI: 10.15382/sturv202245.28-44
S. Ivanova
The article deals with the study of the development of the new iconography "Resurrection with the Descent into Hell", which appeared in Russian art in the 16th century. Variants of new iconography are considered on the examples of certain monuments. Iconographic types are distinguished by the arrangement of the two main plots, sequential or vertical. At the same time, in the first iconographic type, it is possible to see either a literal adherence to the Dutch engraving, or a rethinking: the placement of the image "Resurrection" below, under the main stage.The influence of the Old Believers' work "The Passion of Christ" on the iconography "Resurrection with the Descent into Hell" is investigated. This influence is evident not only in the new storylines that become commonplace for the new image. This can be seen both in the text on the icon and in the stamps of monuments. Examples of citing the text are given. Certain iconographic features associated with this influence are noted.
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Pub Date : 2022-03-31DOI: 10.15382/sturv202245.145-152
N. Sadykova
This article is devoted to the formation of the Orthodox singing tradition in one of the youngest diocesan formations - the South Sakhalin and Kuril dioceses of the Russian Orthodox Church of the Moscow Patriarchate. The quantitative ratio of the existing religious views and beliefs of the ethnic groups of the island region is touched upon. The features of the historical processes of the development of Orthodoxy in the region, which have determined the range of problems that exist in the dynamics of the formation of the liturgical and singing tradition of the region and its transmission, are considered. Three typological types of worship (in relation to the singing component) in the Sakhalin region are considered: monastic, cathedral and parish. The repertoire preferences in liturgical chants of cathedrals and branches are analyzed. As a result of the research, the author reveals that for one daily liturgical circle of a separate temple or cathedral, in the singing relation, a kind of synchronous cut is characteristic, represented by chants of different eras, styles and directions in simultaneity, leading to stylistic eclecticism, however, difficult to differentiate by the ear of an unprepared parishioner. The existing organizational problems in the regency-singing business are analyzed. The concert and educational activities of choirs and vocal ensembles of the parishes of the Yuzhno-Sakhalin diocese are covered. The conclusion is made about the incompleteness of the described processes and the unstable current state of the Orthodox singing tradition of Sakhalin, which is in the initial period of its formation.
{"title":"Sakhalin orthodox singing tradition","authors":"N. Sadykova","doi":"10.15382/sturv202245.145-152","DOIUrl":"https://doi.org/10.15382/sturv202245.145-152","url":null,"abstract":"This article is devoted to the formation of the Orthodox singing tradition in one of the youngest diocesan formations - the South Sakhalin and Kuril dioceses of the Russian Orthodox Church of the Moscow Patriarchate. The quantitative ratio of the existing religious views and beliefs of the ethnic groups of the island region is touched upon. The features of the historical processes of the development of Orthodoxy in the region, which have determined the range of problems that exist in the dynamics of the formation of the liturgical and singing tradition of the region and its transmission, are considered. Three typological types of worship (in relation to the singing component) in the Sakhalin region are considered: monastic, cathedral and parish. The repertoire preferences in liturgical chants of cathedrals and branches are analyzed. As a result of the research, the author reveals that for one daily liturgical circle of a separate temple or cathedral, in the singing relation, a kind of synchronous cut is characteristic, represented by chants of different eras, styles and directions in simultaneity, leading to stylistic eclecticism, however, difficult to differentiate by the ear of an unprepared parishioner. The existing organizational problems in the regency-singing business are analyzed. The concert and educational activities of choirs and vocal ensembles of the parishes of the Yuzhno-Sakhalin diocese are covered. The conclusion is made about the incompleteness of the described processes and the unstable current state of the Orthodox singing tradition of Sakhalin, which is in the initial period of its formation.","PeriodicalId":134507,"journal":{"name":"St.Tikhons' University Review. Series V. Christian Art","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128987591","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-31DOI: 10.15382/sturv202245.112-125
I. Polozova, Juliya Tyuryakova
The article examines some aspects of the musical and educational activities carried out at the turn of the XIX-XX centuries. provincial church-singing communities of various Christian denominations. As an example, the cities of Saratov, Samara, Simbirsk and Syzran are covered - the largest economic and cultural centers of the Middle and Lower Volga regions. The authors analyze the concert activity of the represented provinces in several directions: concerts of pra-glorious liturgical chants, spiritual concerts with mixed programs, concerts of sacred music in Catholic and Protestant churches, and also separately highlight examples of the premiere performance of author's spiritual works in provincial temples. Thus, the work highlights the educational concert and educational work of the professor of the Saratov Conservatory I.V. Lipaev, the Saratov Bishops' Choir under the direction of N.M. Dmitriev, Simbirsk Bishop's Choir (choir director S.P. Yagodinsky). The authors provide examples of touring performances by leading choral groups of the Russian Empire in the Volga cities, in particular, the Moscow Synodal Choir (conducted by N.N. Tolstyakov) in Saratov and the choir of the St. Samara. In addition, the article touches on the problem of interaction between Orthodox and co-religion communities, the performance of joint services by them (possible within the framework of the same-faith Liturgical practice), as well as the preservation of the Volga region of a living tradition of using the znamenny chant. As a result of the research carried out, the article traces the idea of the continuity of the ideas of the New direction in Russian sacred music by the Volga choir directors, as well as the active inclusion of the latter in the general process of development of Russian church singing art.
{"title":"Concerts of spritial music in the russian province in the early 20th century (with towns of the Middle and Lower Volga region)","authors":"I. Polozova, Juliya Tyuryakova","doi":"10.15382/sturv202245.112-125","DOIUrl":"https://doi.org/10.15382/sturv202245.112-125","url":null,"abstract":"The article examines some aspects of the musical and educational activities carried out at the turn of the XIX-XX centuries. provincial church-singing communities of various Christian denominations. As an example, the cities of Saratov, Samara, Simbirsk and Syzran are covered - the largest economic and cultural centers of the Middle and Lower Volga regions. The authors analyze the concert activity of the represented provinces in several directions: concerts of pra-glorious liturgical chants, spiritual concerts with mixed programs, concerts of sacred music in Catholic and Protestant churches, and also separately highlight examples of the premiere performance of author's spiritual works in provincial temples. Thus, the work highlights the educational concert and educational work of the professor of the Saratov Conservatory I.V. Lipaev, the Saratov Bishops' Choir under the direction of N.M. Dmitriev, Simbirsk Bishop's Choir (choir director S.P. Yagodinsky). The authors provide examples of touring performances by leading choral groups of the Russian Empire in the Volga cities, in particular, the Moscow Synodal Choir (conducted by N.N. Tolstyakov) in Saratov and the choir of the St. Samara. In addition, the article touches on the problem of interaction between Orthodox and co-religion communities, the performance of joint services by them (possible within the framework of the same-faith Liturgical practice), as well as the preservation of the Volga region of a living tradition of using the znamenny chant. As a result of the research carried out, the article traces the idea of the continuity of the ideas of the New direction in Russian sacred music by the Volga choir directors, as well as the active inclusion of the latter in the general process of development of Russian church singing art.","PeriodicalId":134507,"journal":{"name":"St.Tikhons' University Review. Series V. Christian Art","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115884076","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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