St. Tikhon’s University Review . Series V: Problems of History and Theory of Christian Art

The upper tier of the west door of the Cathedral of the Nativity of the Blessed Virgin Mary in Suzdal consists of four plates depicting Christ Pantocrator and the Holy Trinity in the centre and two four-winged unearthly beings at the margins. The four plates should be considered as one composition rather than consisiting of separate elements. Jesus is shown in the type of Christ in Glory, equivalent to the West European Maiestas Domini. His bust is enclosed in a double circle surrounded by the Tetramorph and heavenly forces. This composition, associated with Old Testament Theophanies (Visions of Ezekiel and Isaiah), has a liturgical interpretation as well. Placed in the altar zone, the image of Divine Majesty materialises the presence of God during the Eucharistic sacrifi ce, which is clearly proclaimed in the preface to the Canon of the Mass in both Eastern and Western liturgies. The Holy Trinity together with the cherub and seraph holding Ripidia also implies liturgical reading of the whole upper tier as a representation of Theophany. The location of Maiestas Domini in the area of the church entrance was typical of Romanesque art, especially of church doors, whereas in Byzantine monumental decoration it is rarely found in the western part of the church and never on church doors. On the door plate, Christ is most probably presented as an elderly man alluding to the image of the “Ancient of Days”, which evokes the continuity between the Old and New Testaments and reaffi rms the dual nature of Christ. The “Ancient of Days” was interpreted as a prophetic revelation of the Son before His physical incarnation. Placed in the upper part of the door, it served as a perfect preface for the fi ve lower tiers that narrate the story of the life of Virgin as the vehicle of the incarnation and Christ as the incarnation accomplished, thus off ering a concise yet full reading of the history of Salvation.

church door, Suzdal, Maiestas Domini, Christ in Glory, the Ancient of Days, liturgy, Eucharist, Old Testament Theophany, incarnation, Mother of God, Vision of Ezekiel, Vision of Daniel, Middle Byzantine, 13th century

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Manukian Anna

*According to the International Standard Classification of Education (ISCED) 2011, the degree of Candidate of Sciences (Cand.Sc.) belongs to ISCED level 8 — "doctoral or equivalent", together with PhD, DPhil, D.Lit, D.Sc, LL.D, Doctorate or similar.

The article is written in terms of the research project under financial support of the RFBR (Russian Foundation for Basic Research) “The West and South Doors of the Mother-of-God-Nativity Cathedral at Suzdal as the Monument of Russian Pre-Mongol Culture (1227-1238)” № 17-04-50127-ОГН.

The Prophet Book dated to 1489 is the luxury Moscow manuscript decorated with 16 prophet «portraits», polychrome headpieces and initials. In the present paper the common attribution of the miniatures is reconsidered. The detailed characteristics of the special aspects of the painting are proposed in order to defi ne the importance of the miniatures in the history of Moscow art of the late 15th century. The problems of so called “wash-drawing” technique and iconography of the prophets are discussed. We follow a traditional division of the miniatures into 2 groups (so-called “washdrawing” and “tempera” groups) and believe 16 illustrations of the Prophet book to be made by 7 painters. “Tempera” miniatures were represented by 4 painters. The first master has made images of Josiah and Joel, the second – Habakkuk, the third – Zechariah and Malachi, the forth – Daniel. Three painters participated in representation of the “wash-drawing” group. Images of Amos, Obadiah, Jonah, Micah, Zephaniah, Isaiah, Ezekiel and Jeremiah were made by the fi fth master. Portraits of Nahum and Haggai were painted by 2 masters. “Wash-drawing” technique applied for 10 miniatures of the Prophet book is common in Moscow and Novgorod manuscripts of the late 15th c. It is indicative of the Palaeologan art reminiscence. Full length image against the neutral background is one of the optional versions of the “author’s portrait” and speaks that Moscow painters knew well the Byzantine tradition. By contrast, prophets’ faces are similar to images in iconostasis Prophet tiers rather than to “portraits” in Byzantine manuscripts of the analogue structure.

Moscow illuminated manuscripts, Moscow miniatures, “Dionisy’s circle” art, “Dionisian style”, illuminated Prophet Books, “wash-drawing” miniatures, Russian medieval painting

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Morozova Ekaterina

In the last twenty years, scholars in various fi elds have begun to reevaluate the activities of the Society of Jesus, approaching the study of its heritage from a new side. Raising new problems and tasks, they have reconsidered the signifi cance of the Order in various fi elds: science, politics, arts. An opinion has been formed that Jesuits traditionally erected only basilicas, acquiring inspiration from their main monument, Il Gesu in Rome. Undoubtedlym this typology was favoured by the Order, but they also employed a centric layout. Thus, still in Rome, by commission of Jesuits, Bernini built Sant Andrea al Quirinale, the church that is regarded as one of the gems of the city and the best architectural work by the master. In Spain, the Society of Jesus has erected resplendent and impressivechurches of this typology, which later came to be a refl ection of their epoch. It is the centric layout that the Jesuits chose for their main monument in Spain, namely the Sanctuary of Ignatius Loyola. This article analyses this monument together with other monuments of this typology in the perspective of their architectural and historical value. This topic has not been studied before. As the problem of the Jesuits’ centric architecture has not been a subject of special research, a look from the outside provides an opportunity of an unbiassed assessment of the contribution of the Jesuit Order to the Spanish architecture in particlular and in the European architecture of the 16th — 18th centuries on the whole. It will also allow us to defi ne the specifi city of its objectives and features in art.

Society of Jesus, Jesuits, architecture, baroque art, centrally planned buildings, Sanctuary of Loyola, Leonardo de Figueroa

1. Ackerman J. S. (1972). “The Gesù in the Light of Contemporary Church Design”, in Rudolf Wittkower, Irma B. Jaffe (eds.) Baroque Art: the Jesuit Contribution, New York.
2. Ackerman J. S. (1991) Palladio. London.
3. Anguita Herrador R. (2004) El arte barroco. Madrid.
4. De Aldama A. M. (1990) The Constitutions of the Society of Jesus. The Formula of the Institute. India.
5. Astiazarain M. I. (1991) Arquitectos Guipuzcoanos del Siglo XVIII. Guipúzcoa.
6. Bangert W. V., S J (1972) A history of the Society of Jesus. St. Louis.
7. Belda C. (1997) Los siglos del barroco. Madrid.
8. Boucher B. (2007) Andrea Palladio: the Architect in His Time. New York.
9. Brandenburg H. (2005) Ancient Churches of Rome from the Fourth to the Seventh century. Breplos.
10. Davis R. (ed.) (2000) The Ancient Biographies of the First Ninety Roman Bishops to AD 715. Liverpool.
11. Lavin I. (1982) Bernini and the Unity of the Visual Arts. New York.
12. Loyola Santuario, la Basílica. Available at https://santuariodeloyola.org/es/basilica#la-basilica (08.08.2018)
13. Martín Gonzales J. J. (1967) Arquitectura Barroca Vallisoletana. Valladolid.
14. De Negri E. (1957) Galeazzo Alessi: architetto a Genova. Università di Genova.
15. Pirri P. (1975) “Il Padre Giovanni de Rosis (1538‒1610) e lo sviluppo dell’edilizia gesuitica”. Archivium Historium Societatis Iesu. 1971, vol. XLIV. Roma.
16. Ravé Prieto J.L. (2010) San Luis de Los franceses. Sevilla.
17. Regimini Militantis Ecclesiae (1540). Available at https://jesuitportal.bc.edu/research/documents/1540_Formula/ (08.08.2018)
18. Starkey D. (2006) Monarchy. From the Middle Ages to Modernity. London.
19. Wittkower R. (1949) “The Centrally Planned Church and the Renaissance”, in Architectural Principles in the Age of Humanism. London.
20. Wittkower R. (1999) Art and Architecture in Italy 1600‒1750. Vol. 1: Early Baroque, 1600‒1625. London.

Garcia Solano Anna Milena

The term samoglasen (Russ. самогласен, α¥τόμελον) has steadily been inscribed in Russian singing manuscript books since the 11th century as a margin comment accompanying certain chants. In scientifi c literature has developed a stable look at samoglasen as an indication of melodic autonomy of the chant, the opposite of which is the term podoben (подобен, ²διόμελον), when the chant is sung according to a melodic pattern (i.e. podoben). Meanwhile, in the copies of Stikhirar' Mineinyi, starting from the oldest MSs until the end of the 16th century, it is seen that, fi rstly, only few number of stichera are accompanied by the remark “samoglasen”; secondly, there is a discrepancy identifi ed when comparing the repertoire of stichera with this remark; thirdly, the melodically individual chant is lacking in samoglasen-shichera in all cases. The author of the articles comes to the conclusion that the term samoglasen entered the singing books from the Canon (Устав), where the term самогласен дня (“samoglasen of the day”) indicates the function of the stichera to refl ect main events of the holiday.

stichera, manuscript, Stikhirar' Mineinyi, samoglasen, manuscript copy

1. Gardner I. A. (2004) “Zabytoe bogatstvo (o penii na «podoben»)” [“Forgotten Wealth (On Singing according to “Podoben”)”], in L. V. Vovchuk (ed.) Podobny. Kiev, pp. 4‒14 (in Russian).
2. Kiprian (Kern), archimandrite (1999) Liturgika. Gimnografi ia i eortologiia [Liturgics. Hymnography and Heortology]. Moscow (in Russian).
3. Potemkina N. A. “A. V. Nikol'skii i ego rabota «Formy russkogo tserkovnogo peniia»: metody analiza, terminologiia” [“A. V. Nikol'skii and his Work “Forms of Russian Church Singing”: Methods of Analysis and Terminology], available at http://docs.google.com/a/gnesinacademy.ru/viewer?url=http://vestnikram.ru (15.01.2017).
4. Seregina N. S. (1985) “Stikhiry Sergiiu Radonezhskomu kak pamiatnik otechestvennogo pesnotvorchestva” [“Stichera to Sergy Radonezhsky as a Monument of Russian Art of Chants”]. Trudy Otdela drevnerusskoi literatury. 1985, vol. XXXVIII, pp. 338-355 (in Russian).
5. Skaballanovich M. (2004) Tolkovyi Tipikon [Explanatory Typikon], pt. 2. Moscow (in Russian).
6. Uspenskii N. D. (1971) Obraztsy drevnerusskogo pevcheskogo iskusstva [Examples of Old Russian Art of Singing]. Leningrad (in Russian).
7. Vladyshevskaia T. F. (2006) “Tipografskii Ustav i muzykal'naia kul'tura Drevnei Rusi XI– XII vekov” [“Typographic Canon and Music Culture of Ancient Rus’ in the 11th — 12th Centuries”], in B. A. Uspensky (ed.) Tipografskii Ustav: Ustav s kondakarem kontsa XI — nachala XII veka [Typographic Canon: Canon with Kontakia of the Late 11th — Early 12th Centuries], vol. 3. Moscow (in Russian).

Guseinova Zivar

*According to ISCED 2011, a post-doctoral degree called Doctor of Sciences (D.Sc.) is given to reflect second advanced research qualifications or higher doctorates.

This paper studies refrain forms in those concertos for four voices by a prominent Baroque composer Vasily Titov that have recently been made public. The material is three concertos, two of which — Цвете неувядаемый and В кимвалех устнами чистыми — are dedicated to Virgin Mary, the third concerto — О како беззаконное сонмище — exposes the tragical events of the Great Friday. The refrain forms, widely used in Western European music since the end of the 16th century, were treated in works of Russian Baroque composers as well. Distinctiveness of refrain forms in Titov’s compostitions is the result of his meticulous work with the verbal source and is determined by the choice of a textual refrain or several refrains, their complex relations with the thematic material. Due to making changes in the alternation of lines and certain syntagmata, Titov forms textual refrains that received further musical and rhythmical development and play a prominent role in exposing the image content of the concertos. The article examines multi-refrain compositions and the work with the refrain on macro- and miscro-levels as features of Titov’s art as a composer of fourvoice concertos.

Vasily Titov, partes style, concert, refrain form, Tsvete neuviadaemyi, V kimvalekh ustnami chistymi, O kako bezzakonnoe sonmische

1. Gatovskaya E. E. (2016) “Kontserty Vasiliia Titova na 4 golosa: novye otkrytiia” [“Vasily Titov’s Four-Voice Concertos: New Discoveries”]. Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta: Seriia V. 2016, vol. 2 (22), pp. 90–104 (in Russian).
2. Gatovskaya E. E., Plotnikova, N. Iu. (2017) “Kontsert Vasiliia Titova «Tsvete neuviadaemyi»: osobennosti kompozitsii i khorovogo pis'ma” [Vasily Titov’s Concerto Tsvete neuviadaemyi: Features of Composition and Choir Writing”], in Muzykal'naia arkheografi ia 2015: Sbornik statei. Materialy nauchno-prakticheskoi konferentsii “Zvuchashchii mir Drevnei Rusi”, 19–21.11.2014 [Musical Archeography 2015: A Collection of Papers. Proceedings of the Conference “Sounds of the World of Ancient Rus’”]. Moscow, pp. 187–208 (in Russian).
3. Gerasimova-Persidskaia, N. A. (1983) Partesnyi kontsert v istorii muzykal'noi kul'tury [Partes Concerto in the History of Musical Culture]. Moscow, pp. 66–67 (in Russian).
4. Katunian M. I. (1994) “Refrennaia forma XVII veka. K stanovleniiu muzykal'nykh form epokhi barokko” [“Refrain Form of the 17th Century. On the Development of Musical Forms of Baroque”], in E. A. Struchalina (ed.) Problemy muzykal'noi formy v teoreticheskikh kursakh vuza. Sbornik trudov [Problems of Musical Form in Theoretical University Courses: A Collection of Papers], vol. 132. Moscow, pp. 70–101 (in Russian).
5. Kholopova, V. N. (1999) “Russko-ukrainskii khorovoi kontsert” [“Russian-Ukrainian Choral Concerto”], in Formy muzykal'nykh proizvedenii [Forms of Musical Works of Art]. St Petersburg, pp. 302–317 (in Russian).
6. Perevody bogosluzhebnykh tekstov ierom. Amvrosiia (Timrota) [Hieromonk Amvrosy’s (Timrot) Church Service Texts], available at https://azbyka.ru/bogosluzhenie/triod_postnaya/postmpv. shtml (08.08.2018).
7. Protopopov V. V. (2011) “Muzykal'noe tvorchestvo Vasiliia Titova: K probleme partesnogo stilia” [“Vasily Titov’s Musical Works: To the Problem of Partes Style”], in T. N. Dubravskaia, N. Iu. Plotnikova, N. I. Tarasevich (eds.) Protopopov V. V. Iz neopublikovannogo naslediia: Velikie tvoreniia mirovoi dukhovnoi muzyki. Russkaia muzyka vsenoshchnogo bdeniia. Muzykal'noe tvorchestvo Vasiliia Titova: K probleme partesnogo stilia [Protopopov V. V. From the Unpublished Heritage: Great Works of World Spiritual Music. Russian Music of Vespers. Vasily Titov’s Musical Works: To the Problem of Partes Style]. Moscow, pp. 301–395 (in Russian).
8. Simeon, hieromonk (ed.) (2009) Kanony prazdniku Uspeniia Presviatoi Vladychitsy nashei Bogoroditsy i Prisnodevy Marii: tvorenie prepodobnykh i bogonosnykh ottsov nashikh Kozmy, episkopa Maiumskogo i Ioanna Damaskina, inoka i prezvitera lavry Savvy Osviashchennogo [Canons of Dormition of Theotokos: Work by our Reverend and Godbearing Fathers St Cosmas of Maiuma and St John of Damascus, Monk and Presbyter of Holy Lavra Savva the Blessed]. Balashikha (in Russian).
9. Skaballanovich M. (1995) Khristianskie prazdniki. Rozhdestvo Bogoroditsy. Vvedenie vo Khram Presviatoi Bogoroditsy. Uspenie Presviatoi Bogoroditsy [Chrisian Holidays. Nativity of the Mother of God. Presentation of the Mother of God. Dormition of the Mother of God]. Moscow (in Russian).

Gatovskaya Evgenia

The author would like to thank professor Natalia Plotnikova, D.A. for her constructive criticism.

The complex architectural history of the Lavra bell tower has refl ected the vicissitudes of the formative process of the national Russian architectural school in the mid-18th century. Clarifi cation of the origins of the composition of the architectural appearance will make it possible to clarify the principles of work of the Russian architect D. V. Ukhtomsky, who decided to change the initial project. Earlier assumptions about the infl uence of Andreas Schlüter’s composition Münzturm (“Coin Tower”) on Johann Shuhmacher’s project are discussed in the light of comparing biographical facts of “German Bernini” (as Schlüter was sometimes called by his contemporaries) as well as analysing architectural techniques in buildings designed by students of the master. The article also employs the evidence of the side facade of Münzturm, now available due to the study of German literature. The author of the paper attempts to identify with more precision those monuments whose prototypes infl uenced the design of the belfry and aims to clarify the principles of tectonic thinking in the construction of the tier building in works of Russian architects who supervised the construction work, to identify the character of additions introduced by them and the degree of topicality of the discovered forms in creative work of subsequent masters.

belfry of Trinity Lavra of St. Sergius, Ukhtomsky, Schuhmacher, Schlüter, Michurin, Baroque, belfry of Varlaamo-Hutynsky monastery, Kunstkamera, Münzturm

1. Allenov M. (2000) Russkoe iskusstvo XVII — nach. XX v. [Russian Art of the 17th — Early 20th Centuries]. Moscow (in Russian).
2. Artem'eva Iu. V., Prokhvatilova S. A. (eds.) (1997) Zodchie Sankt-Peterburga: XVIII vek [Architects of St Petersburg. 18th Century]. St Petersburg (in Russian).
3. Baldin V. I., Manushina T. N. (1996) Troitse-Sergieva Lavra. Arkhitekturnyi ansambl' i khudozhestvennye kollektsii drevnerusskogo iskusstva XIV-XVII vv. [Troitse-Sergieva Lavra. Architectural Ensemble and Collections of Old Russian Art of the 14th — 17th Centuries]. Moscow (in Russian).
4. Bernd Nicolai (2007) Andreas Schlüter. In Neue Deutsche Biographie (NDB). Band 23. Berlin.
5. Blokhina I. V. (2014) Vsemirnaia istoriia arkhitektury i stilei [World History of Architecture and Styles]. Moscow (in Russian).
6. Dmitriev V. K. (2007) Arkhitektory Sankt-Peterburga [Architects of St Petersburg]. St Petersburg (in Russian).
7. Evsina N. A., Pospelov G. G., Sipovskaia N. V. (eds.) (1994) Barokko v Rossii [Baroque in Russia]. Moscow (in Russian).
8. Finkel'shtein V. (2002) “Sobornaia kolokol'nia” [“Belfry of the Cathedral”]. Veche Tveri. 12.10.2002 (№ 188).
9. Gorskii A. V. (2011) Istoricheskoe opisanie Sviato-Troitskoi Sergievoi lavry [Historical Description of Troitse-Sergieva Lavra]. Moscow (in Russian).
10. Grabar' I. E. (1954) “Michurin i moskovskaia arkhitektura 30–40-kh godov XVIII veka” [Michurin and Moscow Architecture of the 1730‒40s”], in I. E. Grabar’ (ed.) Russkoe arkhitektura pervoi poloviny XVIII veka [Russian Architecture of the First Half of the 18th Century]. Moscow (in Russian).
11. Klimenko S. V. (2011) “Burkhard Kristof fon Minikh. Opyt sozdaniia «arkhitekturnoi» biografii” [“Burkhard Kristof fon Minikh. An Attempt at Compiling an “Architectural” Biography”], in D. O. Shvidkovskii (ed.) Issledovaniia po istorii arkhitektury i gradostroitel'stva [Studies in History of Architecture and Urban Development], vol. 2. Moscow (in Russian).
12. Klimenko S. V. (2012) “Ivan Korobov i osobennosti formirovaniia stilia barokko v arkhitekture Anninskogo vremeni” [“Ivan Korobov and Disctinctive Features of Development of the Baroque Style in Anna’s Times”]. Architecture and Modern Information Technologies MARkhI (in Russian).
13. Klimenko S. V. (2017) “Arkhitekturnyi zamysel kolokol'ni Troitse-Sergievoi Lavry i nemetskaia barochnaia traditsiia. K interpretatsii pervonachal'nogo proekta I. Ia. Shumakhera” [“Architectural Conception of the Belfry of Troitse-Sergieva Lavra and German Baroque Tradition. On the Interpretation of the Initial Project of I. Shuhmacher]. Architecture and Modern Information Technologies MARkhI. 2017, vol. 4 (41) (in Russian).
14. Malinovskii K. V. (2007) Khudozhestvennye sviazi Germanii i Sankt-Peterburga v XVIII veke [Art Connections of Germany and St Petersburg in the 18th Century]. St Petersburg (in Russian).
15. Mikhailov A. I. (1954) Arkhitektor D. V. Ukhtomskii i ego shkola [Architect D. V. Ukhtomskii and His School]. Moscow (in Russian).
16. Murzin-Gundorov V. V. (2012) Arkhitekturnoe nasledie Rossii: Dmitrii Ukhtomskii [Architectural Heritage of Russia: Dmitrii Ukhtomskii]. Moscow (in Russian).
17. Sekretar' L. A. (1997) “Kolokol'nia Khutynskogo monastyria v Novgorode (istoriia stroitel'stva i arkhitektury)” [“Belfry of Khutynskii Monastery in Novgorod (History of Construction and Architecture)”]. Novgorodskii istoricheskii sbornik, vol. 6 (16) (in Russian).
18. Trofimov I. V. (1961) Pamiatniki arkhitektury Troitse-Sergievoi Lavry [Architectural Monuments of Troitse-Sergieva Lavra]. Moscow (in Russian).
19. Trofi mov I. V. (1970) “O printsipakh restavratsii pamiatnikov Troitse Sergievoi Lavry” [“On Principles of Restoration of Monuments of Troitse-Sergieva Lavra”]. Sovetskaia arkheologiia. 1970, vol. 4 (in Russian).
20. Ukhnalev A. E. (2011) “Osobennosti stilisticheskoi situatsii v arkhitekture Peterburga pervoi chetverti XVIII veka” [“Distinctive Features of the Situation in Architecture in St Petersburg in the First Quarter of the 18th Century”]. Izvestiia RGPU im. A. I. Gertsena. 2011, vol. 140; available at http://cyberleninka.ru/article/n/osobennosti-stilisticheskoy-situatsii-varhitekture-petrburga-pervoy-chetverti-xviii-v.
21. Vipper B. R. (1978) Arkhitektura russkogo barokko [Architecture of Russian Baroque]. Moscow (in Russian).
22. Vzdornov G. I. 1962) “Stroitel'stvo kolokol'ni Troitse-Sergievoi Lavry (v svete novykh dannykh)” [“Construction of the Belfry of Troitse-Sergieva Lavra (In the Light of New Data)”]. Arkhitekturnoe nasledstvo. 1962, vol. 14 (in Russian).

Podkamennaia Anna

This article deals with the features of Grand Vespers which is part of the All-Night Vigil service in Riga Grebenshchikov community of Old Believers, which belongs to the Pomor branch, one of the most conservative branches of Priestless Old Beleivers, and renders the most archaic variety of Znamenny Chant, namely “naonny edition” (Russ. наонная редакция). The article draws on materials collected by the author during the trips to Riga Grebenshchikov Old Believers’ community in 2013, 2015, and 2017. The material has also been audio recordings from the archive of E. A. Grigoriev, who was very kind as to provide them, and consultations of heads of Riga Grebenshchikov Old Believers’ community: E. A. Grigoriev, N. V. Vasiliev, A. G. Delikatny. The author of the article is very grateful to all the aforementioned persons. The aim of the article is to identify the characteristic features of the divine service of Riga Grebenshchikov Old Believers’ community by means of comparing the living practice of the community with the written Canon. The analysis of audio recordings and materials of the trip have shown that the community in question combines features of the divine service of Pomor Old Believers and Old Believers of Fedoseev assembly (Федосеевское согласие), to which Riga Grebenshchikov Old Believers’ community used to belong. The study of the texts of the cycles has demonstrated that apart from the stichera of Grand Vespers, this list also contains stichera from Smaller Vespers, which due to a certain specifi city of the service had fallen out of the cycle of the service. Besides, the study of singing the stichera of all the studied cycles has led me to the conclusion that Riga Grebenshchikov Old Believers’ community has developed their own layer of stichera that is required to be sung using a book of hooks (Russ. крюковая книга). The article also describes some prominent features of Riga Grebenshchikov Old Believers’ community.

Riga Grebenshchikov Old Believers’ community, Grand Vespers, All-Night Vigil Service, Old Believers, Znamenny Chant, Znamenny notation, Vygovsky Canon, сanon “Saviny glavy”

1. Ageeva E. A. (2009) “Bespopovtsy” [“The Priestless Old Believers”], in Pravoslavnaia entsiklopediia [Orthodox Encyclopedia], available at http://www.pravenc.ru/text/78246.html (08.08.2018) (in Russian).
2. Borovova Zh. A. (2003) “K voprosu o sootnoshenii ustnogo i pis'mennogo komponentov v pevcheskoi praktike staroobriadtsev Pomorskogo soglasiia” [“On the Problem of Correlation of the Oral and Written Components in Singing Practice of Old Believers of Pomor Assembly”], in Ezhegodnaia bogoslovskaia konferentsiia Pravoslavnogo Sviato-Tikhonovskogo bogoslovskogo instituta: Materialy [Annual Theological Conference of St. Tikhon’s Theological Institute: Proceedings]. Moscow, pp. 478–484 (in Russian).
3. Chuvanov M. I. (1985) “Pamiati Kovylina” [“In Memoriam Kovylin”], in Staroobriadcheskii Tserkovnyi Kalendar' na 1985 g. [Old Believers’ Church Calendar for 1985]. Leningrad, pp. 51‒52 (in Russian).
4. Denisov N. G. (2005) Strel'nikovskii khor Kostromskoi zemli: Traditsii staroobriadcheskogo peniia [Strelnikovsky Choir of Kostroma Land: Traditions of Old Believers’ Singing]. Moscow (in Russian).
5. Dubovskaia E. V., Ivanov I. I. (2005) “K istorii izdaniia v Latvii staroobriadcheskikh kalendarei (pervaia polovina XX veka)” [“On the History of Publishing Old Believers’ Calendars in Latvia (First Half of the 20th Century”], in Staroverie Latvii [Old Faith in Latvia]. Riga, p. 230 (in Russian).
6. Gardner I. A. (2004) Bogosluzhebnoe penie Russkoi Pravoslavnoi Tserkvi [Church Singing of Russian Orthodox Church], vol. 1. Moscow (in Russian).
7. Grigor'ev E. A. (2017) Bogosluzhebnyi ustav. Konspekt lektsii [Canon of Divine Service. Lecture Notes]. Riga (in Russian).
8. Iukhimenko E. M. (2002) Vygovskaia staroobriadcheskaia pustyn': dukhovnaia zhizn' i literatura [“Vygovskaia Old Believers’ Hermitage: Spiritual Life and Literature”], vol. 2. Moscow (in Russian).
9. Petliak I. (2005) “Poglasitsy v pevcheskoi traditsii staroobriadtsev. Vyiavlenie istoricheskikh izmenenii” [“Poglasitsy in the Singing Tradition of Old Believers: Identifying Historical Changes”], in Staroverie Latvii [Old Faith in Latvia], pp. 127–132 (in Russian).
10. Potashenko G. (2014) “Rol' i znachenie Rizhskoi Grebenshchikovskoi staroobriadcheskoi obshchiny v istorii staroveriia” [“Role and Signifi cance of Riga Grebenshchikov Old Believers’ Community in the History of Old Faith”], in Latviiskie starovery: istoricheskii opyt sokhraneniia identichnosti [Latvian Old Believers: Historical Experience of Preserving the Identity]. Riga, p. 28 (in Russian).
11. Serikbaeva O. O. (2016) “Stefan Ivanovich Babitskii i ego «Sobornik Rizhskii»” [“Stefan Ivanovich Babitskii and his Sobornik Rizhskii]. Vestnik PSTGU. Seriia V. 2016, vol. 4 (24) (in Russian).
12. Shamarin V. V. (1992) Ustav sobornoi sluzhby [Canon of Public Church Service]. St Petersburg (in Russian).
13. Starikova I. V. (2011) “Vsenoshchnoe bdenie v Solovetskom monastyre i v Vygoleksinskom obshchezhitel'stve soglasno ikh ustavam” [“All-Night Vigil in Solovki Monastery and Vygoleksinskoe Dormitory according to their Canons”]. Vestnik PSTGU. Seriia V. M., 2011, vol. 2 (5) (in Russian).
14. Uspenskii N. D. (2004) Pravoslavnaia vechernia: Istoriko-liturgicheskii ocherk. Chin vsenoshchnogo bdeniia na Pravoslavnom Vostoke i v Russkoi Tserkvi [Orthodox Vespers. Outline of History and Liturgy. Canon of All-Night Vigil in the Orthodox East and in Russian Church]. Moscow (in Russian).
15. Vakonia I.U. (2011) “Vospominaniia ob obshchine. Vneshnii byt i sostoianie obshchiny v poslednie 70 let” [“Memoirs of the Community. Routines and State of the Community in the Last 70 Years”], in Rizhskii staroobriadcheskii sbornik [Riga Old Believers’ Collection], vol. 2. Riga, pp. 270‒271 (in Russian).
16. Vladyshevskaia T. F. (1984) “Staroobriadcheskoe penie kak istochnik izuchenie drevnerusskoi tserkovnoi muzyki” [“Old Believers’ Singing as a Source for the Study of Old Russian Church Music”], in Dzelo muzyczhe : teoria, historja, interpretacija. Krakow, pp. 117–192 (in Russian).
17. Vladyshevskaia T. F. (1989) “Traditsii drevnerusskogo tserkovnogo peniia v sovremennoi praktike staroobriadtsev” [“Traditions of Old Russian Church Singing in Contemporary Practice of Old Believers”], in Starinnaia muzyka v kontekste sovremennoi kul'tury : problemy interpretatsii i istochnikovedeniia [Antique Music in Context of Modern Culture: Problems of Interpretation and Study of Sources]. Moscow, pp. 415‒418 (in Russian).
18. Vladysheskaia T.F. “Ekspeditsii k staroobriadtsam” [“Expeditions to Old Believers”], available at https://www.portal-slovo.ru/art/36105.php?ELEMENT_ID=36105&SHOWALL_1=1 (08.08.2018) (in Russian).
19. Zavoloko I. N. (1933) O staroobriadtsakh g. Rigi [On Old Believers of the City of Riga]. Riga (in Russian).

Serikbaeva Oksana

This article deals with the orchestral and, in a broader sense, transcendental poetics of one of the most signifi cant phenomena of Russian symphonic music of the 20th century, namely N. I. Peyko’s Fifth Symphony. This topic has not been studied earlier in a broad context of aesthetic, lexical, metaphysical, imagery-related and poetical problems. The Christian ethos of the “orchestral poetry” is examined in the perspective of the religious outlook of the artist, who has found a natural and vivid expression in the sphere of non-programme, secular academic music. The orchestral language and religious, imagery-related poetical ontology of the score are being analysed in their relationship with problems of the conductor’s interpretation.

Nikolay Peyko, orchestral poetics, ethos, lexicon, symphonic metaphysics, style, interpretation

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Abdokov Yuri

*According to the International Standard Classification of Education (ISCED) 2011, the degree of Candidate of Sciences (Cand.Sc.) belongs to ISCED level 8 — "doctoral or equivalent", together with PhD, DPhil, D.Lit, D.Sc, LL.D, Doctorate or similar.