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Марьясина Н. С. Певческий ряд Литургии Преждеосвященных Даров в партесных рукописях XVIII в. // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2016. Вып. 3 (23). С. 86-99. DOI: 10.15382/sturV201623.86-99
This article is devoted to several aspects of the liturgy of The Presanctifi ed Gifts existance in the polyphony of the 18th century. The main attention is paid to the structure of the cycle, and the reflection of the multimelodiousness principle in it. On the grait prokeimenon «Let my prayer be set forth» example, the usage of the traditional chants in the Liturgy of The Presanctified gift's, some features of its harmonization, and evolution of its performance practice are considered. This research is performed on the material of the partes manuscripts, mainly permanent partes polyphony.
The Liturgy of The Presanctified Gifts, the great prokeimenon, partesny harmonizations, a constant polyphony, the Synodal singing collection, manuscripts, Greek chant, Kievan chant

1. Afanas'eva T. I. Liturgija Prezhdeosvjashhennyh Darov v slavjanskoj rukopisnoj tradicii XII–XV vekov: Lingvotekstologicheskij analiz: Dis. … kand. Iskusstvovedenija (Liturgy of Presanctified Gifts in Slavonic Manuscript Tradition of XII–XV Centuries: Linguistic-Textual Analysis: Dissertation), Saint-Petersburg, 2000.
2. Buckaja S. B. Problemy partesnogo mnogogolosija v Rossii: Po pamjatnikam vtoroj poloviny XVII–XVIII v.: Dis. … kand. Iskusstvovedenija (Problems of Partes Polyphony in Russia: on Monuments of Second Half of XVII–XVIII Cent.: Dissertation), Moscow, 1991.
3. Gur'eva N. V. Sistema osmoglasija v russkoj liturgii konca XVII — nachala XVIII vv.: Dis. … kand. Iskusstvovedenija (Octoichos System in Russian Liturgy of End of XVII — Begin of XVIII Cent.: Dissertation), Moscow, 2000.
4. Zahar'ina N. B. Russkie bogosluzhebnye pevcheskie knigi XVIII–XIX vekov. Sinodal'naja tradicija (Russian Liturgical Chant Books of XVIII–XIX Centuries. Synodic Tradition), Saint-Petersburg, 2003.
5. Kovrova I. V. 2013 “K probleme organizacii pevcheskogo rjada liturgii (na materiale partesnyh rukopisej XVIII veka)”, (To Problem of Organization of Chant Row of Liturgy (on Material of Partes Manuscripts of XVIII Century)) in Vestnik PSTGU. Serija V: Voprosy istorii i teorii hristianskogo iskusstva, 2013, vol. 3/12, pp. 67–90.
6. Plotnikova N. Ju. Russkoe partesnoe mnogogolosie konca XVII — serediny XVIII veka: Istochnikovedenie, istorija, teorija (Russian Partes Polyphony of End of XVII — Middle of XVIII Century: Source Study, History, Theory), Moscow, 2015.
7. Plotnikova N. Ju. 2011 “Kompozitor XVIII veka Nikolaj Bovykin” (Composer of XVIII Century Nikolaj Bovykin), in Vestnik PSTGU. Serija V: Voprosy istorii i teorii hristianskogo iskusstva, 2011, vol. 1/4, pp. 182–196.
8. Protopopov V. V. Muzyka russkoj Liturgii. Problema ciklichnosti (Music of Russian Liturgy. Cycling Problem), Moscow, 1999.
Марьясина Н. С. Богослужение Литургии Преждеосвященных Даров в творчестве композиторов Нового направления (рубеж XIX–XX вв.) // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2017. Вып. 28. С. 141-158. DOI: 10.15382/sturV201728.141-158
This article is devoted to the Liturgy of Presanctifi ed Gifts as an artistic and musical cycle in works of Russian composers of the so-called New Direction. The Liturgy of Presanctifi ed Gifts is a special rite of the Russian Orthodox Church which belongs to the period of the Great Lent and is performed only on certain specifi cally prescribed weekdays. The ascetic character of this period of the church year, rarity of the church service as well as the minor role of chanting in it were the reasons why the Liturgy of Presanctifi ed Gifts did not attract much attention of religious composers during the whole Synod period of the history of the Russian Orthodox Church. Even so, every period has a certain number of liturgical cycles of the Lent. Among the New Direction composers there are several who turned to the Liturgy of Presanctifi ed Gifts, namely A. Nikol’skiy, P. Chesnokov, A. Grechaninov. Each of them created one cycle of this type. The aim of this article is to give a short comparative analysis of these cycles, to identify their common features and at the same time to reveal the vivid individual character in each of them, which is carried out for the fi rst time. We have found several common features in these cycles. These include stylistic orientation towards ancient chants, common to the New Direction, being revived in the new, modern, form. One should also note the impact of the emotional atmosphere of the Great Lent and of the semantic features of the Liturgy of Presanctifi ed Gifts on the musical style of the works in question; this impact, however, receives very individual manifestation in each case. For the fi rst time, we have traced the new interpretation given by the composers to the structure of the chanting range of the Liturgy of Presanctifi ed Gifts, which in this case begins by the Celebration of the Typika; this is unique in the whole history of Russian liturgical singing. This observation allowed us to make a conclusion about the domination in the New Direction of the emotional and aesthetic perception of the church service.
The Liturgy of The Presanctifi ed Gifts, the Lent, the Typika, New direction, choral cycle, A. Nikol’skiy, P. Chesnokov, A. Grechaninov
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Mariasina Nonna
Student status: Graduate student;
Place of study: St. Tikhon’s Orthodox University for the Humanities; 6/1 Likhov pereulok, Moscow, 127051, Russian Federation;
Email: nonna888@yandex.ru.