Pub Date : 2023-06-30DOI: 10.15382/sturv202350.90-116
Alexander Bertash
The publication is devoted to a previously unexplored topic - the late Orthodox church building on the territory of modern Lithuania. It is based on unpublished materials from the Lithuanian State Historical Archives, as well as the Russian State Military Historical Archive, Kaunas Regional State Archives and local periodicals. The article contains a significant number of new attributions, the vast majority of churches and the names of architects were introduced into scientific circulation for the first time. The biographies of the largest builders of Lithuanian churches in the early 20th century are given – Diocesan architects M.M. Prozorov and A.A.Shpakovsky, the names of other architects of the Vilna diocese are established. The mechanisms of financing the construction of churches, mainly state-owned, with the support of the Peasant Land Bank, the composition of parishioners - in rural areas - Orthodox peasant settlers, in cities - Russian officials, military men, merchants, are considered. The special importance of resettlement (on the lands confiscated from Catholics), military, and station churches is considered. The style of temple building within Lithuania corresponded to the general imperial one: the dominance of the Russian style (Thon, Moscow-Yaroslavl, neo-Russian) and the presence of the Byzantine style. The long-term use of the style of K.A. Thones, the lack of local funds for construction, the proximity of the prerequisites for the construction of churches and their style in Lithuania and Belarus, and the difference from the situation in the territory of modern Latvia (except Latgale) and Estonia.
{"title":"Orthodox church building of the beginning of the 20th century in the territory of the present-day Lithuania","authors":"Alexander Bertash","doi":"10.15382/sturv202350.90-116","DOIUrl":"https://doi.org/10.15382/sturv202350.90-116","url":null,"abstract":"The publication is devoted to a previously unexplored topic - the late Orthodox church building on the territory of modern Lithuania. It is based on unpublished materials from the Lithuanian State Historical Archives, as well as the Russian State Military Historical Archive, Kaunas Regional State Archives and local periodicals. The article contains a significant number of new attributions, the vast majority of churches and the names of architects were introduced into scientific circulation for the first time. The biographies of the largest builders of Lithuanian churches in the early 20th century are given – Diocesan architects M.M. Prozorov and A.A.Shpakovsky, the names of other architects of the Vilna diocese are established. The mechanisms of financing the construction of churches, mainly state-owned, with the support of the Peasant Land Bank, the composition of parishioners - in rural areas - Orthodox peasant settlers, in cities - Russian officials, military men, merchants, are considered. The special importance of resettlement (on the lands confiscated from Catholics), military, and station churches is considered. The style of temple building within Lithuania corresponded to the general imperial one: the dominance of the Russian style (Thon, Moscow-Yaroslavl, neo-Russian) and the presence of the Byzantine style. The long-term use of the style of K.A. Thones, the lack of local funds for construction, the proximity of the prerequisites for the construction of churches and their style in Lithuania and Belarus, and the difference from the situation in the territory of modern Latvia (except Latgale) and Estonia.","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128048107","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 : 2023-06-30DOI: 10.15382/sturv202350.36-69
Irina Shekhovtsova
The article reviews in a new perspective the little-known data related to the works of V.F. Odoevsky in the field of history and theory of church singing. The «Greek questions» opened in connection with this were studied by him, first of all, in the context of comparative observations concerning the modal organization of chants of different traditions. Important information on this subject contains, in addition to the works of the outstanding musicologist-theorist, a variety of archival materials related to the circle of his scientific communication – Bishop Porfiry (Uspensky), D.V. Razumovsky, V.V. Stasov, Yu.K. Arnold, P.I. Sevastyanov and others. In addition, the problem of studying of the Octoechos (the eight-mode system or «Osmoglasie»), a central theme in Odoevsky’s works, was also reflected in the selection of primary sources on the theory and practice of church singing, which were specially acquired for scientific purposes, both for personal use and to replenish the collections of the St. Petersburg Public Library and the Moscow Rumyantsev Museum. Thus, it is quite natural that the remarkable Greek Anthology (RSL. F. 210. No. 27), created in Smyrna by the scribe Christodoulos in 1792, appeared in Odoevsky’s superbly selected collection of church-singing manuscripts. As a result of its paleographic and codicological study, it was possible to establish important details and the context of its existence. Undoubtedly, it vividly reflected not only the final period of the Greek manuscript culture, but also the flourishing of the local (Smyrna) church singing tradition that began in the 2nd half of the 18th century.
{"title":"“Greek questions” in the works of prince V. F. Odoevsky on church singing and the neumatic anthology from his collection","authors":"Irina Shekhovtsova","doi":"10.15382/sturv202350.36-69","DOIUrl":"https://doi.org/10.15382/sturv202350.36-69","url":null,"abstract":"The article reviews in a new perspective the little-known data related to the works of V.F. Odoevsky in the field of history and theory of church singing. The «Greek questions» opened in connection with this were studied by him, first of all, in the context of comparative observations concerning the modal organization of chants of different traditions. Important information on this subject contains, in addition to the works of the outstanding musicologist-theorist, a variety of archival materials related to the circle of his scientific communication – Bishop Porfiry (Uspensky), D.V. Razumovsky, V.V. Stasov, Yu.K. Arnold, P.I. Sevastyanov and others. In addition, the problem of studying of the Octoechos (the eight-mode system or «Osmoglasie»), a central theme in Odoevsky’s works, was also reflected in the selection of primary sources on the theory and practice of church singing, which were specially acquired for scientific purposes, both for personal use and to replenish the collections of the St. Petersburg Public Library and the Moscow Rumyantsev Museum. Thus, it is quite natural that the remarkable Greek Anthology (RSL. F. 210. No. 27), created in Smyrna by the scribe Christodoulos in 1792, appeared in Odoevsky’s superbly selected collection of church-singing manuscripts. As a result of its paleographic and codicological study, it was possible to establish important details and the context of its existence. Undoubtedly, it vividly reflected not only the final period of the Greek manuscript culture, but also the flourishing of the local (Smyrna) church singing tradition that began in the 2nd half of the 18th century.","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133892298","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 : 2023-06-30DOI: 10.15382/sturv202350.160-173
Alexey Talashkin
The traditional Orthodox funeral knells in Siberia are an understudied topic requiring thorough investigation. After the Siberians had gained a rich cultural and spiritual experience of the Russian Orthodoxy, they developed it in accordance with local traditions. First of all, the Siberian bishops, who often had liturgical practice in central Russia, were the bearers of the experience. Before coming to Siberia, funeral knells evolved from single strikes in a special bell to change ringing in all the bells followed by a chord, and their two-part form was developed. A rhythmic pattern of funeral knells for the laity, priests and bishops had its own features. The performance of funeral knells for the Siberians could have a status of a posthumous award at the end of a saintly life; one could be also disappointed of the award in case of a formal attitude to the Church. The resettlers from the Little Russia had a special influence on the performance of funeral knells in Siberia in the early 20th century by introducing their own customs in resettlement villages. One of them was the ringing “for the soul”, unknown in Siberia, which was performed immediately after the death of a layman. The funeral knells for the laity were officially permitted in Siberia in 1911, however people had been used them even before that time in some regions of central Russia. Funeral knells fit into the general palette of Orthodox church bell ringing, acting, at the same time, as a signal, an art and a mass medium. The liturgical instructions survived to our days are fragmentary. The attitude to funeral knells shall be rethought in the modern liturgical practice.
{"title":"Funeral bell-ringing in Central Russia and in Siberia: continuity and differences","authors":"Alexey Talashkin","doi":"10.15382/sturv202350.160-173","DOIUrl":"https://doi.org/10.15382/sturv202350.160-173","url":null,"abstract":"The traditional Orthodox funeral knells in Siberia are an understudied topic requiring thorough investigation. After the Siberians had gained a rich cultural and spiritual experience of the Russian Orthodoxy, they developed it in accordance with local traditions. First of all, the Siberian bishops, who often had liturgical practice in central Russia, were the bearers of the experience. Before coming to Siberia, funeral knells evolved from single strikes in a special bell to change ringing in all the bells followed by a chord, and their two-part form was developed. A rhythmic pattern of funeral knells for the laity, priests and bishops had its own features. The performance of funeral knells for the Siberians could have a status of a posthumous award at the end of a saintly life; one could be also disappointed of the award in case of a formal attitude to the Church. The resettlers from the Little Russia had a special influence on the performance of funeral knells in Siberia in the early 20th century by introducing their own customs in resettlement villages. One of them was the ringing “for the soul”, unknown in Siberia, which was performed immediately after the death of a layman. The funeral knells for the laity were officially permitted in Siberia in 1911, however people had been used them even before that time in some regions of central Russia. Funeral knells fit into the general palette of Orthodox church bell ringing, acting, at the same time, as a signal, an art and a mass medium. The liturgical instructions survived to our days are fragmentary. The attitude to funeral knells shall be rethought in the modern liturgical practice.","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115718619","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 : 2023-06-30DOI: 10.15382/sturv202350.70-89
Alexandrel Barnea, Svetlana I. Khvatova
In the Romanian Orthodox Church, for many years, at the initiative of His Beatitude Daniel, Patriarch of the Romanian Orthodox Church, each calendar year has been dedicated to a cultural, spiritual, social event or theological subject/segment of theological life. In this sense, the calendar year is intersected by scientific and cultural events organized by the Church, institutions of pre-university and university theological education. These manifestations are realized through symposiums and scientific congresses, concerts and the like. 2023 has been named the Year of Respect for the Pastor of the Aged. A memorable year for hymnographers and church singers (psalts). Without claiming to be exhaustive and taking into account the second part of the general theme, we propose to further highlight the great musical personality of Iasi of the 19th century, Gavriil Muzycescu. The article reveals three hypostases of his activity - a teacher, a choirmaster and a composer. The significant role of Gavriil Muzycescu in the development of Orthodox singing in Romania is noted, the stylistic features of the composer's spiritual chants are analyzed in conjunction with the traditions of the Russian composer school in the field of choral music, as well as their development. On the example of the concert chant "I will proclaim Your mercy", its design features and stylistic signs of belonging to the concert style are considered. It is suggested that the role of the composer in the development of the Orthodox singing tradition is underestimated.
{"title":"Great musicians in the 19th century at the cathedral of Iasi: Gavriil Musicescu","authors":"Alexandrel Barnea, Svetlana I. Khvatova","doi":"10.15382/sturv202350.70-89","DOIUrl":"https://doi.org/10.15382/sturv202350.70-89","url":null,"abstract":"In the Romanian Orthodox Church, for many years, at the initiative of His Beatitude Daniel, Patriarch of the Romanian Orthodox Church, each calendar year has been dedicated to a cultural, spiritual, social event or theological subject/segment of theological life. In this sense, the calendar year is intersected by scientific and cultural events organized by the Church, institutions of pre-university and university theological education. These manifestations are realized through symposiums and scientific congresses, concerts and the like. 2023 has been named the Year of Respect for the Pastor of the Aged. A memorable year for hymnographers and church singers (psalts). Without claiming to be exhaustive and taking into account the second part of the general theme, we propose to further highlight the great musical personality of Iasi of the 19th century, Gavriil Muzycescu. The article reveals three hypostases of his activity - a teacher, a choirmaster and a composer. The significant role of Gavriil Muzycescu in the development of Orthodox singing in Romania is noted, the stylistic features of the composer's spiritual chants are analyzed in conjunction with the traditions of the Russian composer school in the field of choral music, as well as their development. On the example of the concert chant \"I will proclaim Your mercy\", its design features and stylistic signs of belonging to the concert style are considered. It is suggested that the role of the composer in the development of the Orthodox singing tradition is underestimated.","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129726610","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 : 2023-06-30DOI: 10.15382/sturv202350.117-159
Oksana Serikbaeva
The Old Believers successfully preserved the tradition of psalmody in their milieu. They still to this day chant psalter hymns in their divine services. One of the most important centers of Old Believer chant is the Riga Grebenshchikov Old Believer community, whose singing is considered exemplary by many. The kliros (choir) of the right side used to sing the 103rd psalm as noted in a special notebook it kept, but recently it has changed to a collection in which, in addition to the theoretical guide, hymns of various services are given, including hymns of the all-night vigil. The hymns of the all-night Vigil were copied in facsimile from the book Obikhodnik (song book) of the Preobrazhensky Seal of 1911. The singers of the left kliros have always used the Song Book for Every Day of the Preobrazhensky Seal. Thus, the 103rd psalm has been being reproduced in the Riga community as shown in the Song Book for Everyday edited by the Preobrazhensky press for a considerable period of time. By comparing the written version of the chant with the way it is chanted in the Riga community, we noted discrepancies which prompted us to study other manuscripts in order to clarify some fragments of the chant that are of interest to us. An analysis of handwritten sources shows that the performance of Psalm 103 in the Riga community reflects not only the 1911 Obikhod, but also other handwritten Obikhods (song books).
{"title":"Singing realization of the 103rd psalm in Grebenshchikov old believers’ community in Riga","authors":"Oksana Serikbaeva","doi":"10.15382/sturv202350.117-159","DOIUrl":"https://doi.org/10.15382/sturv202350.117-159","url":null,"abstract":"The Old Believers successfully preserved the tradition of psalmody in their milieu. They still to this day chant psalter hymns in their divine services. One of the most important centers of Old Believer chant is the Riga Grebenshchikov Old Believer community, whose singing is considered exemplary by many. The kliros (choir) of the right side used to sing the 103rd psalm as noted in a special notebook it kept, but recently it has changed to a collection in which, in addition to the theoretical guide, hymns of various services are given, including hymns of the all-night vigil. The hymns of the all-night Vigil were copied in facsimile from the book Obikhodnik (song book) of the Preobrazhensky Seal of 1911. The singers of the left kliros have always used the Song Book for Every Day of the Preobrazhensky Seal. Thus, the 103rd psalm has been being reproduced in the Riga community as shown in the Song Book for Everyday edited by the Preobrazhensky press for a considerable period of time. By comparing the written version of the chant with the way it is chanted in the Riga community, we noted discrepancies which prompted us to study other manuscripts in order to clarify some fragments of the chant that are of interest to us. An analysis of handwritten sources shows that the performance of Psalm 103 in the Riga community reflects not only the 1911 Obikhod, but also other handwritten Obikhods (song books).","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122407331","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 : 2023-06-30DOI: 10.15382/sturv202350.9-23
V. Grigorjeva
Out-of-ichos chants constitute an integral and extensive layer in the Old Russian tradition. Their structure is based on melodic formulas, the principles of stratification of which are insufficiently defined and developed in modern musical medieval studies. This article presents the result of a study in this aspect of the melodic formulas of the "opekalovsky" "sepulchral" Trisagion and the stichera "Come to please Joseph". On the basis of 9 known pre-reform lists of stichera and 11 selected lists of the Trisagion the author compiled a set of "opekalov" melodic formulas, determined their total number, and then identified elements that make it possible to establish the presence or absence of etymological relationship between the melodic formulas. Such elements are modal-melodic markers of 2 types: 1) marker-core – an intonation-rhythmic complex of sounds, 2) marker-contour – a sequence of significant tones, determined analytically. On the basis of the presence of a particular marker, most of the "opekalovsky" melodic formulas (303 out of 310) are grouped into families – there are 24 such families. 10 of them do not have additional stratification within themselves. In 14 families the stratification is more complicated: they have groups of formulas, as well as a series of groups of formulas.In the course of the analysis of the "opekalovsky" formulas, signs were identified that make it possible to distinguish their true, etymologically determined relationship from homonymy, which can be expressed in the partial coincidence of the intonational-rhythmic contours of unrelated formulas or even in the presence of completely identical fragments in them.As the study of "opekalovsky" "sepulchral" hymns has shown, on the whole the principles of stratification of their melodic formulas are not new and are partly known from other musical material. But it seems that the strata of "opekalovsky" formulas are much more numerous than those strata that are currently defined for the formulas of ichos chants.
out -ichos圣歌在旧俄罗斯传统中构成了一个完整而广泛的层面。它们的结构是基于旋律公式的，分层的原则在现代音乐中世纪研究中没有得到充分的定义和发展。本文介绍了对《奥佩卡洛夫斯基》、《坟墓》三部曲和《来取悦约瑟夫》的旋律公式进行这方面研究的结果。本文以改革前已知的9个曲谱表和11个曲谱表为基础，编制了一套“opekalov”曲谱公式，确定了曲谱公式的总数，并确定了曲谱公式之间是否存在词源关系的要素。这些元素是两种类型的情态-旋律标记:1)标记-核心-语调-节奏的声音复合体，2)标记-轮廓-一系列重要的音调，通过分析确定。根据特定标记的存在，大多数“opekalovsky”旋律公式(310个中的303个)被分为家族-有24个这样的家族。其中10个内部没有额外的分层。在14个科中，分层更为复杂:它们有一组公式，也有一系列公式。在分析“opekalovsky”公式的过程中，我们发现了一些符号，使我们能够区分它们在词源上的真实关系和同音关系，同音关系可以表现为不相关公式的语调-节奏轮廓的部分重合，甚至可以表现为其中存在完全相同的片段。正如对“奥佩卡洛夫斯基”“坟墓”赞美诗的研究表明，总体而言，他们的旋律公式的分层原则并不新鲜，部分是从其他音乐材料中了解的。但似乎“opekalovsky”公式的层次比目前定义为“ichos chants”公式的层次要多得多。
{"title":"Principles of stratification of melodic formulas of old Russian out-of-ichos chants (with “opekalovo” “sepulchral” chants)","authors":"V. Grigorjeva","doi":"10.15382/sturv202350.9-23","DOIUrl":"https://doi.org/10.15382/sturv202350.9-23","url":null,"abstract":"Out-of-ichos chants constitute an integral and extensive layer in the Old Russian tradition. Their structure is based on melodic formulas, the principles of stratification of which are insufficiently defined and developed in modern musical medieval studies. This article presents the result of a study in this aspect of the melodic formulas of the \"opekalovsky\" \"sepulchral\" Trisagion and the stichera \"Come to please Joseph\". On the basis of 9 known pre-reform lists of stichera and 11 selected lists of the Trisagion the author compiled a set of \"opekalov\" melodic formulas, determined their total number, and then identified elements that make it possible to establish the presence or absence of etymological relationship between the melodic formulas. Such elements are modal-melodic markers of 2 types: 1) marker-core – an intonation-rhythmic complex of sounds, 2) marker-contour – a sequence of significant tones, determined analytically. On the basis of the presence of a particular marker, most of the \"opekalovsky\" melodic formulas (303 out of 310) are grouped into families – there are 24 such families. 10 of them do not have additional stratification within themselves. In 14 families the stratification is more complicated: they have groups of formulas, as well as a series of groups of formulas.In the course of the analysis of the \"opekalovsky\" formulas, signs were identified that make it possible to distinguish their true, etymologically determined relationship from homonymy, which can be expressed in the partial coincidence of the intonational-rhythmic contours of unrelated formulas or even in the presence of completely identical fragments in them.As the study of \"opekalovsky\" \"sepulchral\" hymns has shown, on the whole the principles of stratification of their melodic formulas are not new and are partly known from other musical material. But it seems that the strata of \"opekalovsky\" formulas are much more numerous than those strata that are currently defined for the formulas of ichos chants.","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131485408","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 : 2023-03-31DOI: 10.15382/sturv202349.142-150
Gennady Rozhkov, Svetlana I. Khvatova
The article deals with the "All-Night Vigil" by Gr. Ponomarenko in the context of spiritual revival and restoration of liturgical practice in the Kuban and, more broadly, in the domestic musical culture of the post-Soviet period. The problem of the implementation of the church singing canon in the work of a secular author, the vast majority of whose compositions are songs, is touched upon. The reasons that prompted the Soviet composer, the author of popular songs, most of them attributed to mass songs, to turn to chants to canonical liturgical texts are revealed. Among them - churching, acquaintance with the church singing culture in early childhood, love for Russian choral music, the dominant theme of the Motherland in all his compositions. The analysis is based on the historical method with the partial involvement of special tools of liturgical musicology. The authors come to the conclusion that the all-night vigil of Grigory Ponomarenko is in line with the general trends in the development of domestic and European musical cultures, using the widespread method of working on style models, carefully updating the poetics of the spiritual chants of the Russian Orthodox Church. The significance of the appearance of Grigory Ponomarenko's "All-Night Vigil" at the end of the Soviet era is regarded as a powerful impetus for the mass appeal to the canonical liturgical texts of composers - our contemporaries.
{"title":"\"All-night vigil\" by G. F. Ponomarenko in the context of revival of interest in Church arts in the Post-Soviet period","authors":"Gennady Rozhkov, Svetlana I. Khvatova","doi":"10.15382/sturv202349.142-150","DOIUrl":"https://doi.org/10.15382/sturv202349.142-150","url":null,"abstract":"The article deals with the \"All-Night Vigil\" by Gr. Ponomarenko in the context of spiritual revival and restoration of liturgical practice in the Kuban and, more broadly, in the domestic musical culture of the post-Soviet period. The problem of the implementation of the church singing canon in the work of a secular author, the vast majority of whose compositions are songs, is touched upon. The reasons that prompted the Soviet composer, the author of popular songs, most of them attributed to mass songs, to turn to chants to canonical liturgical texts are revealed. Among them - churching, acquaintance with the church singing culture in early childhood, love for Russian choral music, the dominant theme of the Motherland in all his compositions. The analysis is based on the historical method with the partial involvement of special tools of liturgical musicology. The authors come to the conclusion that the all-night vigil of Grigory Ponomarenko is in line with the general trends in the development of domestic and European musical cultures, using the widespread method of working on style models, carefully updating the poetics of the spiritual chants of the Russian Orthodox Church. The significance of the appearance of Grigory Ponomarenko's \"All-Night Vigil\" at the end of the Soviet era is regarded as a powerful impetus for the mass appeal to the canonical liturgical texts of composers - our contemporaries.","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133891392","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 : 2023-03-31DOI: 10.15382/sturv202349.50-67
A. Lebedeva-Emelina
The article deals with an unknown manuscript of the late 18th century found in the archives of the Dmitrov Kremlin. Notes previously belonged to the Apraksin family and were kept in the library of the Olgovo estate. Stepan Stepanovich Apraksin was a well-known music lover, in Olgov there was a serf theater, an orchestra, and a choir. The singers sang at divine services in the Church of the Introduction of the Virgin in the village adjacent to the estate. The manuscript contains two hymns — "Dostojno est’" and "Angel vopijashe". The manuscript contains an indication of the authorship of Bortnyansky. The question is being considered whether this authorship can be attributed to both chants, or only to “Dostojno est’”. The music of the choir "Angel vopijashe" is analyzed.The chant "Angel vopijashe" most likely belongs to early classicism, it can be dated to the 1780s. It was not written by the most skillful author, who composed it on the model of Bortnyansky's chants.
{"title":"Problems of reconstruction of music of the 18th century (using the example of the chant \"Angel Vopiyashe\")","authors":"A. Lebedeva-Emelina","doi":"10.15382/sturv202349.50-67","DOIUrl":"https://doi.org/10.15382/sturv202349.50-67","url":null,"abstract":"The article deals with an unknown manuscript of the late 18th century found in the archives of the Dmitrov Kremlin. Notes previously belonged to the Apraksin family and were kept in the library of the Olgovo estate. Stepan Stepanovich Apraksin was a well-known music lover, in Olgov there was a serf theater, an orchestra, and a choir. The singers sang at divine services in the Church of the Introduction of the Virgin in the village adjacent to the estate. The manuscript contains two hymns — \"Dostojno est’\" and \"Angel vopijashe\". The manuscript contains an indication of the authorship of Bortnyansky. The question is being considered whether this authorship can be attributed to both chants, or only to “Dostojno est’”. The music of the choir \"Angel vopijashe\" is analyzed.The chant \"Angel vopijashe\" most likely belongs to early classicism, it can be dated to the 1780s. It was not written by the most skillful author, who composed it on the model of Bortnyansky's chants.","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115747294","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 : 2023-03-31DOI: 10.15382/sturv202349.121-141
Evgenia Reznichenko, P. Stepanova
The article presents the experience of scientific reconstruction of fragments of the liturgical and singing life of the Holy Trinity Seraphim-Diveevsky Monastery from the late 1880s until the closure of the monastery (1927). The context is, on the one hand, historical data, on the other hand, materials related to the prehistory of the formation of Diveev's own singing culture. The main source base was the memories of pilgrims and residents of the monastery. Memoir literature is practically the only thing that allows us to judge the singing culture of Diveyev of the pre-revolutionary period and the first post-revolutionary years, since during the Soviet period the monastery was ruined, its archive was not preserved, liturgical books and sheet music were lost.The picture is complemented by data on the liturgical and singing component of the life of the Diveevo sisters after the closure of the monastery, about the preservation of the clergy traditions of the monastery by the nuns in exile.Having collected and systematized the preserved information, the authors tried to "contour" (as far as the available materials allow) to recreate the image of Diveevo singing at the turn of the century and in the first quarter of the twentieth century — with its characteristic high solemnity of services, "harmony of the chartered monastery", an excellent level of choral performance. The single information that has come down to us about the repertoire, which included both traditional chants and the author's spiritual music during this period, is presented and commented on.The work outlines the periodization of the history of liturgical singing of the Diveevo monastery. A hypothesis is put forward about the gradual change of stylistic guidelines in local church singing. If, judging by the available data, at the beginning of the XIX century, monody tunes based on the style of Old Russian chants sounded in Diveyevo, then at the beginning of the XX century, a multi-layered, stylistically polyphonic singing culture was formed here, including the author's spiritual music and a corpus of local chants of traditional stylistics ("Diveyevsky chants").
{"title":"The singing culture of the Holy Trinity Seraphim-Diveevsky monastery of the late 19th — 1st quarter of the 20th century (according to the memoirs of contemporaries)","authors":"Evgenia Reznichenko, P. Stepanova","doi":"10.15382/sturv202349.121-141","DOIUrl":"https://doi.org/10.15382/sturv202349.121-141","url":null,"abstract":"The article presents the experience of scientific reconstruction of fragments of the liturgical and singing life of the Holy Trinity Seraphim-Diveevsky Monastery from the late 1880s until the closure of the monastery (1927). The context is, on the one hand, historical data, on the other hand, materials related to the prehistory of the formation of Diveev's own singing culture. The main source base was the memories of pilgrims and residents of the monastery. Memoir literature is practically the only thing that allows us to judge the singing culture of Diveyev of the pre-revolutionary period and the first post-revolutionary years, since during the Soviet period the monastery was ruined, its archive was not preserved, liturgical books and sheet music were lost.The picture is complemented by data on the liturgical and singing component of the life of the Diveevo sisters after the closure of the monastery, about the preservation of the clergy traditions of the monastery by the nuns in exile.Having collected and systematized the preserved information, the authors tried to \"contour\" (as far as the available materials allow) to recreate the image of Diveevo singing at the turn of the century and in the first quarter of the twentieth century — with its characteristic high solemnity of services, \"harmony of the chartered monastery\", an excellent level of choral performance. The single information that has come down to us about the repertoire, which included both traditional chants and the author's spiritual music during this period, is presented and commented on.The work outlines the periodization of the history of liturgical singing of the Diveevo monastery. A hypothesis is put forward about the gradual change of stylistic guidelines in local church singing. If, judging by the available data, at the beginning of the XIX century, monody tunes based on the style of Old Russian chants sounded in Diveyevo, then at the beginning of the XX century, a multi-layered, stylistically polyphonic singing culture was formed here, including the author's spiritual music and a corpus of local chants of traditional stylistics (\"Diveyevsky chants\").","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127454990","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 : 2023-03-31DOI: 10.15382/sturv202349.42-49
P. Tsvetkova
The article discusses the stage of formation and development of classical architectural traditions in the United States of America in the 17th-18th centuries on the example of the church architecture of Swedish settlers. The main direction in which both foreign architects and later national American masters worked was classicism, often manifested in the forms of Palladianism. The article describes the degree of influence of A. Palladio's architectural treatise on colonial building practice. Church buildings were built in the settlements the very first and best preserved, for this reason, it is precisely by examining examples of such that we can conclude that the early stage in the development of the classical architectural tradition in the United States. On the basis of local specific building and cultural features, under the influence of the religious institutions of church architecture in Sweden and Northern Europe, this direction received a new reading. The article provides a brief overview of the three oldest churches of the Swedish Christian community, on the example of which the author seeks to trace the history of the origin and development of the national interpretation of the Palladian system. The question is raised about the purity of the application of order architectural solutions in the early cult architecture of North America and the degree of fundamentality of the interpretation of the ideas of classicism and Palladianism. The specific national features of architectural solutions, which manifested themselves in the early church architecture of the colony, are revealed.
{"title":"The оrigin of the palladian tradition in the early church architecture of North America of the 17–18th centuries","authors":"P. Tsvetkova","doi":"10.15382/sturv202349.42-49","DOIUrl":"https://doi.org/10.15382/sturv202349.42-49","url":null,"abstract":"The article discusses the stage of formation and development of classical architectural traditions in the United States of America in the 17th-18th centuries on the example of the church architecture of Swedish settlers. The main direction in which both foreign architects and later national American masters worked was classicism, often manifested in the forms of Palladianism. The article describes the degree of influence of A. Palladio's architectural treatise on colonial building practice. Church buildings were built in the settlements the very first and best preserved, for this reason, it is precisely by examining examples of such that we can conclude that the early stage in the development of the classical architectural tradition in the United States. On the basis of local specific building and cultural features, under the influence of the religious institutions of church architecture in Sweden and Northern Europe, this direction received a new reading. The article provides a brief overview of the three oldest churches of the Swedish Christian community, on the example of which the author seeks to trace the history of the origin and development of the national interpretation of the Palladian system. The question is raised about the purity of the application of order architectural solutions in the early cult architecture of North America and the degree of fundamentality of the interpretation of the ideas of classicism and Palladianism. The specific national features of architectural solutions, which manifested themselves in the early church architecture of the colony, are revealed.","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"49 16","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120836932","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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