"All-night vigil" by G. F. Ponomarenko in the context of revival of interest in Church arts in the Post-Soviet period

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.