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

St. Tikhon’s University Review V :3 (23)

ARTICLES

Chemezova Kseniia

Cult of St. Olav in Norway and the Nidaros Cathedral’s Architectural History

Chemezova Kseniia (2016) "Cult of St. Olav in Norway and the Nidaros Cathedral’s Architectural History ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2016, Iss. 23, pp. 7-21 (in Russian).

DOI of the paper: 10.15382/sturV201623.7-21
The article is devoted to the cult of St. Olav in Norway and the history of construction of the Nidaros Cathedral. Saint Olav is a signifi cant figure in political and religious life of the Medieval Norway. He was a king of Norway and he extirpated paganism and accomplished the Christianization of Norway. The development of the stone building in Nidaros is linked to the Church history: separation of the Norwegian Church from the Sweden archbishopric in Lund and establishing an independent archepiscopal see at Trondheim by the papal legate Nicholas Breakspear in 1152–1153. Wide spreading of St. Olav’s cult and the formation of a pilgrim centre in Nidaros had a great influence on the reconstruction of the Cathedral. The main aim of this article is to research the history of St. Olav’s cult in Norway and to defi ne its infl uence on the Cathedral architecture in Nidaros. The article traces back the history of the building and reveals the unique features of the architectural constructions and decorative elements. Moreover, the publication studies the foreign architectural samples which were used in the Cathedral. The author compares the English monuments with the Nidaros Cathedral and determines the reasons of the emerging of a variety of details in Norwegian Cathedral.
cult of St. Olav, Scandinavian art, Cathedral in Nidaros, Cathedral of St. Olav in Trondheim, stone architecture in Norway, medieval art

1. Uspenskij F. B. Skandinavy. Varjagi. Rus' (Scandinavians. Varjags. Rus), Moscow, 2002.
2. Blum P. Z. The Salisbury Chapter House and its Sixty Old Testament Scenes, Salisbury, 2010.
3. Bumpus T. F. The Cathedrals and Churches of Norway, Sweden and Denmark, London, 1908.
4. Derry T. A History of Scandinavia: Norway, Sweden, Denmark, Finland and Iceland, Minneapolis, 1979.
5. Ekroll Ø. Nidaros Cathedral, Trondheim, 2009.
6. Ekroll Ø. The Archbishop’s Palace Museum, Trondheim, 1997.
7. Fischer G. Domkirken i Trondheim, Oslo, 1965.
8. Harrison S. 2012 “The Cathedral of Archbishop Eystein: Sequences, Style, Dating and Influences”, in Eystein Erlendsson: erkebiskop, politiker og kirkebygger, Trondheim, 2012, pp. 97–111.
9. Herman M. Style as Choice: the Octagon Portal of Trondheim Cathedral, Oslo, 2011.
10. Kalvi G. Norwegian Architecture, Past and Present, Oslo, 1958.
11. Leach H. G. 1909 “The Relations of the Norwegian with the English Church, 1066–1399, and their importance to comparative literature”, in Proceedings of the American Academy of Arts and Sciences, 1909, vol. 44/20, May, pp. 531–560.
12. Paulsson T. Scandinavian Architecture. Buildings and Society in Denmark, Finland, Norway, and Sweden from the Iron age until Today, London, 1958.
13. Pederssøn A. Norges beskrivelse, Christiania, 1858.
14. Racz I. Medieval Norwegian Art, Oslo, 1970.
15. Strong C. S. 1930 “Tronhjem: Its Cathedral and Its Fishing Industry”, in Scandinavian Studies and Notes: Society for the Advancement of Scandinavian Study, 1930, vol. 11/1, pp. 22–28.
16. Thiis H. Nidaros Cathedral in Pictures: English-Esperanto-Francais, Trondheim, 1953.
17. Trondhjem Cathedral Papers Concerning the Designs for the Restoration, Trondhjem, 1919.

Chemezova Kseniia

Morozova Ekaterina

Three Illuminated Manuscripts from the Joseph-Volokolamsky Monastery (SHM, Eparchial Collection, No. 81; RNL, Q.I.19; RSL. Fund 113. No. 79). On Problem of Interpretation of the "Dionisian Style"

Morozova Ekaterina (2016) "Three Illuminated Manuscripts from the Joseph-Volokolamsky Monastery (SHM, Eparchial Collection, No. 81; RNL, Q.I.19; RSL. Fund 113. No. 79). On Problem of Interpretation of the "Dionisian Style" ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2016, Iss. 23, pp. 22-35 (in Russian).

DOI of the paper: 10.15382/sturV201623.22-35
Among the illuminated codices came from the Joseph-Volokolamsky monastery there is a manuscript of great interest — a Psalter with the only image in headpiece (SHM. Eparchial Collection. No. 81). The manuscript contains a colophon with the scribe’s name (hieromonk Symeon), the date (1502) and the supposed patron (monk Kassian). Half-figured image of King David (fol. 1 r.) reminds of two well-known handwritten books — the Four Gospels (RNL. Q.I.19) and the Acts and Epistles of the Apostles (RSL. Fund 113. No. 79). Miniatures of two latter manuscripts are considered to be the art-work of “Dionisy’s circle”. Historical circumstances of the late 15th — early 16th centuries make it possible to suppose that all codices concerned have been created at the Josepf-Volokolamsky monastery workshop. This conjecture may be confi rmed by codicological and typological identity of these three manuscripts.
Moscow illuminated manuscripts, Moscow miniatures, Joseph-Volokolamsky monastery, Dionisy’s circle art, Dionisian style, image in a headpiece

1. Dianova T. V., Kostjuhina L. M. 1991 “Rukopisnye knigi Iosifo-Volokolamskoj biblioteki (Po materialam Otdela rukopisej Gosudarstvennogo Istoricheskogo muzeja)” (Manuscript Books of Iosifo-Volokolamskaya Library (on Materials of Manuscript Department of State Museum of History)), in Knizhnye centry Drevnej Rusi. Iosifo-Volokolamskij monastyr' kak centr knizhnosti, Leningrad, 1991, pp. 100–121.
2. Dionisij «zhivopisec preslovushhij» (Dionisius “Famous Artist”), Moscow, 2002.
3. Dmitrieva R. P. 1991 “Iosifo-Volokolamskij monastyr' kak centr knizhnosti” (Iosifo-Volokolamskij Monastery as Centre of Literature), in Knizhnye centry Drevnej Rusi. Iosifo-Volokolamskij monastyr' kak centr knizhnosti, Leningrad, 1991, pp. 3–15.
4. Zimin A. A. 1977 “Iz istorii sobranija rukopisnyh knig Iosifo-Volokolamskogo monastyrja” (From History of Manuscript Books Collection of Iosifo-Volokolamskij Monastery), in Gosudarstvennaja biblioteka im. V. I. Lenina. Zapiski Otdela rukopisej, Moscow, 1977, vol. 38, pp. 15–29.
6. Ikony XIII–XVI vekov v sobranii Muzeja imeni Andreja Rubleva (Icons of XIII–XVI Centuries in Collection of Andrej Rublev Museum), Moscow, 2007.
7. Lifshic L. I. 2005 “O granice ponjatij «dionisievskij stil'» i «stil' Dionisija»” (About Borders of Ideas “Dionysius Style” and “Style of Dionysius”), in Drevnerusskoe i postvizantijskoe iskusstvo. Vtoraja polovina XV — nachalo XVI veka, Moscow, 2005, pp. 126–162.
8. Popov G. V. 1970 “Sbornik Gosudarstvennogo arhiva Tverskoj oblasti, № 1028” (Collection of State Archive of Tverskaja Region, № 1028), in Drevnerusskoe iskusstvo. Hudozhestvennaja kul'tura Moskvy i prilezhashhih k nej knjazhestv: XIV–XVI vv., Moscow, 1970, pp. 353–357.
9. Popov G. V. 1972 “Dionisij i moskovskaja miniatjura. Illjustracija Lestvicy v rukopisi Gerasima Zamyckogo” (Dionysius and Moscow Miniature. Illustrations of Climax in Manuscript of Gerasim Zamyckij), in Drevnerusskoe iskusstvo: Rukopisnaja kniga, Moscow, 1972, vol. 1, pp. 256–285.
10. Popov G. V. Zhivopis' i miniatjura Moskvy serediny XV — nachala XVI veka (Painting and Miniature of Moscow of Middle of XV — Begin of XVI Centuries), Moscow, 1975.
11. Popov G. V. 2002 “Moskovskaja knizhnaja illjustracija vremeni Dionisija” (Moscow Book Illustration of Time of Dionysius), in Dionisij «zhivopisec preslovushhij», Moscow, 2002, pp. 224–227.
12. Popov G. V. Rukopisnaja kniga Moskvy. Miniatjura i ornament vtoroj poloviny XV — nachala XVI v. (Manuscript Book of Moscow. Miniature and Ornament of Second Half of XV — Begin of XVI Cent.), Moscow, 2009.
13. Protas'eva T. N. Opisanie rukopisej Chudovskogo sobranija (Description of Manuscripts of Chudovskoje Collection), Novosibirsk, 1980.
14. Rozanova N. V. Miniatjury moskovskogo kruga konca XV — nachala XVI vv.: Dis. … kand. iskusstvovedenija (Miniatures of Moscow Circle of End of XV — Begin of XVI Cent.: Dissertation), Leningrad, 1971.
15. Rozanova N. V. 1972 “Ob odnoj gruppe miniatjur pervoj chetverti XVI v.” (About One Group of Miniatures of First Quarter of XVI Cent.), in Drevnerusskoe iskusstvo: Rukopisnaja kniga, Moscow, 1972, vol. 1, pp. 247–255.
16. Smirnova Je. S. Iskusstvo knigi v srednevekovoj Rusi. Licevye rukopisi Velikogo Novgoroda. XV vek (Book Art in Medieval Rus. Illustrated Manuscripts of Velikij Novgorod. XV Century), Moscow, 2011.

Morozova Ekaterina

Guseinova Zivar

Repentance Poems in Song Manuscript Books from Library of Troitse-Sergiyeva Lavra

Guseinova Zivar (2016) "Repentance Poems in Song Manuscript Books from Library of Troitse-Sergiyeva Lavra ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2016, Iss. 23, pp. 36-47 (in Russian).

DOI of the paper: 10.15382/sturV201623.36-47
А steady cycle of the repentance poems begins to be fixed in the old russian singing manuscript books in the middle of the 16th century. There are five manuscripts in Library of Troitse-Sergiyeva Lavra (Russian State Library) from the mid-16th century until the first quarter of the 17 century with the cycles of the repentance poems. Their repertoire includes almost 60 hymns: some of them are in all singing manuscript books, and another are one or two times only. Repentance poems divided unevenly into 8 “glases”: the largest number belong to 6 and 8, the smallest number belong to 3 and 7 “glas”. Some of the poems have a few music interpretations; and manuscript book TSL 432 are present early red “pomety” (remarks). The repentance poem texts are not liturgical, they specially created poems based on those stories, figurative circle of traditional gimnograf texts and chants, so art of the anonymous masters is very important. Master copies already known verses, but making changes to them, sometimes very large, includes disclose secret (“tajnozamknennyh”) formulas. Especially interesting cycle is in manuscript TSL 427. Author introduces melismatic chants, melodic variations, and he had transformed the slavnick (doxastikon) “O koliko blago” from the Lenten Triodion into one of repentance poem. This slavnick is known in many musical versions since the 12th century. Its content and organization are similar in the repentance poems. Here are constantly used exclamations “O” and “Uvi mone”, as well as the phrase on the penitential theme: “okaiannyj se lishiho”, “okaiannyi dushe”. This tradition will expand, cycles of repentance poem will be enriched by new songs, including from the Repertoire of liturgical texts.
manuscript, Troitse-Sergiyeva Lavra, repentance poem, text, znamenny chant, himn, genre, doxastikon, cycle

1. Aleksandrina A. V. Pevcheskie rukopisnye knigi XV–XIX vv. iz biblioteki Troice-Sergievoj Lavry: Istoriko-knigovedcheskij analiz. Dis. … kand. ist. nauk (Song Manuscript Books of XV–XIX Cent. from Library of Troice-Sergijeva Lavra: Historical-Book Study Analysis. Dissertation), Moscow, 2014, vol. 2: Katalog pevcheskih rukopisej XV–XIX vv. Troice-Sergievoj Lavry iz sobranija NIOR RGB. F. 304.I (Catalogue of Chant Manuscripts of XV–XIX Cent. of Troice-Sergijeva Lavra from Collection of NIOR RGB. F. 304.I).
2. Vasil'eva E. E. 2008 “O pokajannyh i duhovnyh stihah v russkoj kul'ture” (About Penitential and Spiritual Poems in Russian Culture), in Hristianstvo v regionah mira, Saint-Petersburg, 2008, pp. 246–280.
3. Gusejnova Z. M. 2013 “Notirovannye kanony v Stihirare konca XVI veka” (Notated Canons in Stiharar of End of XVI Century), in Vestnik PSTGU. Serija V: Voprosy istorii i teorii hristianskogo iskusstva, 2013, vol. 2/11, pp. 37–49.
4. Mosjagina N. V. 2001 “Stihi pokajannye v rukopisi inoka Eliseja” (Penitential Poems of Manuscript of Monk Elisej), in Opyty po istochnikovedeniju. Drevnerusskaja knizhnost', Saint-Petersburg, 2001, vol. 4, pp. 189–200.
5. Panchenko A. M. 1989 “Stihi pokajannye” (Penitential Poems), in Slovar' knizhnikov i knizhnosti Drevnej Rusi, Leningrad, 1989, vol. 2 (2-ja pol. XIV — XVI v.), pp. 421–423.
6. Parfent'ev N. P., Parfent'eva N. V. Usol'skaja (Stroganovskaja) shkola v russkoj muzyke XVI–XVII vekov (Usol'skaja (Stroganovskaja) School in Russian Music of XVI–XVII Centuries), Cheljabinsk, 1993.
7. Petrova L. A., Seregina N. S. Rannjaja russkaja lirika. Repertuarnyj spravochnik muzykal'no-pojeticheskih tekstov XV–XVII vekov (Early Russian Lyrics. Repertoire Reference of Musical-Poetic Texts of XV–XVII Centuries), Leningrad, 1988.
8. Frolov S. V. 1993 “«Stih-starina» za monastyrskim «pivom»” (“Old Poem” by Monastery “Drink”), in Trudy Otdela drevnerusskoj literatury IRLI AN SSSR, 1993, vol. 48, pp. 196–204.

Guseinova Zivar

Polozova Irina

Music Baroque Culture in Russia. The General and the Specific

Polozova Irina (2016) "Music Baroque Culture in Russia. The General and the Specific ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2016, Iss. 23, pp. 48-64 (in Russian).

DOI of the paper: 10.15382/sturV201623.48-64
This article is focused upon the specific features of Russian Baroque in musical art. The study centres around the issue of the adaptation of the Baroque style norms in Russian music in the second half of the 17th century — the beginning of the 18th century. The article looks more closely at three elements that constitute key points as far as studying Russian Baroque is concerned. 1. The evolution of Russian culture sees a direct transition from the Middle Ages to the Baroque; therefore, on the one hand, some aesthetic ideals of the Middle Ages are preserved, but on the other hand, the absence of the Renaissance period contributes to the implementation of some separate aesthetical norms of this epoch in the Baroque — the fact that indicates the features of the Pre-rennaissance. 2. The stylistic pluralism of the epoch reflects the combination of the peculiarities of the Middle Ages, the Renaissance and the Baroque as such; the late 18th century sees the appearance of the stylistic features of Classicism. 3. The specifi city of genre palette of Russian Baroque is characterized by the reduction of that of the West-European music. As a result, Russian Baroque experiences the domination of choral genres — the fact that can be explained by its deep roots in Russian musical art; as a result, instrumental music remains on the periphery during the Baroque period.
the Baroque, Russian musical culture of the second half of the 17th century — the first half of the 18th century, stylistic features of the Baroque, specifi c features of Russian Baroque, system of genres

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4. Istorija russkoj muzyki (History of Russian Music), Moscow, 1985, vol. 3/2: XVIII vek (XVIII Century)
5. Keldysh Ju. 1978 “Problema stilej v russkoj muzyke XVII–XVIII vekov“ (Problem of Styles in Russian Music of XVII–XVIII Centuries), in Keldysh Ju. Ocherki i issledovanija po istorii russkoj muzyki, Moscow, 1978, pp. 92–112.
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Polozova Irina

Posternak Kirill

Color Scheme of Russian Baroque Iconostases (on the Example of the Monuments of St. Petersburg)

Posternak Kirill (2016) "Color Scheme of Russian Baroque Iconostases (on the Example of the Monuments of St. Petersburg) ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2016, Iss. 23, pp. 65-85 (in Russian).

DOI of the paper: 10.15382/sturV201623.65-85
The article discusses the features of the color schemes of the St. Petersburg baroque iconostases. It is shown that early iconostases followed the color schemes of «fl em-sky» iconostases of the 17th century. In the 1720s, foreign architects built the fi rst stone iconostases lined with artificial marble. These monuments contributed to the spread of a new type of wooden iconostases simulating facing stone. The features of St. Petersburg iconostases also include gold «marble» strips. The background color was mostly blue, sometimes green and white, rarely red. Gilding was limited to carved details.
church architecture, baroque, iconostasis, Empress Elizabeth Petrovna, Zarudny, Trezzini, Harbel, Rastrelli

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6. Vzdornov G. I. 1973 “Zametki o pamjatnikah russkoj arhitektury konca XVII — nachala XVIII v.” (Notices about Monuments of Russian Architecture of End of XVII — Begin of XVIII Cent.), in Russkoe iskusstvo XVIII veka: Materialy i issledovanija, Moscow, 1973, pp. 20–30.
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16. Obuhova L. A. 2003 “Inostrannye rezchiki i pozolotchiki v Peterburge pervoj poloviny XVIII v.” (Foreign Carvers and Gilders in Petersburg of First Half of XVIII Cent.), in Rossija i vostochno-hristianskij mir: Drevnerusskaja skul'ptura, Moscow, 2003, vol. 4, pp. 153–175.
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18. Obuhova L. A. 1989 “Rel'efnaja plastika ikonostasa cerkvi sv. Ekateriny F. B. Rastrelli” (Relief Iconostasis Plastic of St Ekaterina Church of F. B. Rastrelli), in Russkij skul'pturnyj rel'ef vtoroj poloviny XVIII — pervoj poloviny XIX veka, Leningrad, 1989, pp. 67–72.
19. Obuhova L. A. 1986 “Tri pamjatnika ikonostasnoj rez'by XVIII — nachala XIX v. v sobranii Russkogo muzeja” (Three Monuments of Iconostasis Curve of XVIII — Begin of XIX Cent. in Collection of Russian Museum), in Pamjatniki kul'tury: Novye otkrytija. 1984, Leningrad, 1986, pp. 440–454.
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21. Petuhova A. V. 1989 “K voprosu o cvetovom reshenii dekorativnogo ubranstva ikonostasa Arhangel'skogo sobora” (To Question of Color Decision of Decorative Attire of Iconostasis of Arhangelskij Cathedral), in Gosudarstvennye muzei Moskovskogo Kremlja: Materialy i issledovanija, Moscow, 1989, vol. 6: Istorija i restavracija pamjatnikov Moskovskogo Kremlja, pp. 90–94.
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23. Posternak K. V. 2013 “K voprosu ob avtorstve russkih ikonostasov jepohi barokko” (To Question of Authorship of Russian Iconostasis of Baroque Epoch), in Vestnik PSTGU. Serija V: Voprosy istorii i teorii hristianskogo iskusstva, 2013, vol. 2, pp. 115–127.
24. Raevskij S. I., Fomicheva N. M. Sobor Vladimirskoj ikony Bozh'ej Materi. Restavracija barochnogo ikonostasa (Cathedral of Vladimirskaja Icon of God Mother. Restauration of Baroque Iconostasis), in ARTconservation, in http://art-con.ru/node/4603 (Date: 10.02.2016).
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Posternak Kirill

Mar'iasina Nonna

The Liturgy of the Presanctifi ed Gifts’s Singing Range in Partesny Manuscripts of the 18th Century

Mar'iasina Nonna (2016) " The Liturgy of the Presanctifi ed Gifts’s Singing Range in Partesny Manuscripts of the 18th Century ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2016, Iss. 23, pp. 86-99 (in Russian).

DOI of the paper: 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

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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.
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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.

Mar'iasina Nonna

Lebedeva-Emelina Antonina

Mistery of the Manuscript from Berliner Singer Akedemie. On the Question about the Spiritual Work of M. Berezovsky

Lebedeva-Emelina Antonina, Malinina Galina, (2016) "Mistery of the Manuscript from Berliner Singer Akedemie. On the Question about the Spiritual Work of M. Berezovsky ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2016, Iss. 23, pp. 100-125 (in Russian).

DOI of the paper: 10.15382/sturV201623.100-125
Most of the works of the spiritual church composer Maxim Sozontovich Berezovsky has long been considered lost. In restorative Fund in Kiev, previously owned by the Berlin Choral Academy (Sing-Akademie), the manuscripts were found containing known works Galuppi and Berezovsky. All the sacred songs were written in the manuscripts without attribution. The article investigates the fate of the musical manuscripts, put forward a new hypothesis of the dating and accessories. The authors offer their own version of the origin of the sources from Berlin. They also propose brief overview of the musical manuscripts with orthodox chants of Russian composers of the 18–19th centuries from different libraries and archives of Europe. Some of the sources are the choir parts, some have old church Slavonic texts written by Latin letters, other manuscripts include sacred texts in German, Italien and Latin languages. These cases confirm the idea that Russian church music of that period was interesting for European musicians and it was performed in monasteries, the Prince’s courts etc.
Berezovsky, Galuppi, manuscripts, hypothesis, Sing-Akademie

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2. Antonenko E. Ju. 2016 “«Nemeckaja obednja» D. S. Bortnjanskogo: istorija sozdanija sochinenija v svete novejshih issledovanij” (“German Liturgy” of D. S. Bortnjanskij: History of Making of the Work in Light of Newest Studies), in Vestnik PSTGU. Ser. V: Voprosy istorii i teorii hristianskogo iskusstva, 2016, vol. 3/23, pp. 126–150.
3. Antonenko E. Ju. Cerkovnaja muzyka Bal'dassare Galuppi: problemy izuchenija i ispolnenija: Dis. … kand. Iskusstvovedenija (Church Music of Baldassare Galuppi: Problems of Study and Performance: Dissertation), Moscow, 2013.
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14. Lebedeva-Emelina A. V. 2009 “K publikacii neizvestnyh horovyh koncertov D. S. Bortnjanskogo [stat'ja]. Kommentarii” (To Publication of Unknown Choir Concerts of D. S. Bortnjanskij. Commentaries), in Bortnjanskij. Neizvestnye duhovnye koncerty, Moscow, 2009, pp. 5–17.
15. Lebedeva-Emelina A. V. 2009 “«Nemeckaja obednja» Bortnjanskogo: pervaja publikacija proizvedenija” (“German Liturgy” of Bortnjanskij: First Publication of the Work), in Mnozhestvennost' nauchnyh koncepcij v muzykoznanii. Sbornik statej, notnye publikacii k 60-letiju E. M. Levasheva. Mat-ly mezhdunar. konferencii «Keldyshevskie chtenija — 2005», Moscow, 2009, pp. 135–144 (text), 406–440 (notes).
16. Lebedeva-Emelina A. V. Russkaja duhovnaja muzyka jepohi klassicizma (1765–1825) (Russian Spiritual Music of Classicism Epoch (1765–1825)), Moscow, 2004.
17. Levashev E. M., Polehin A. V. 1985 “M. S. Berezovskij”, in Istorija russkoj muzyki, Moscow, 1985, vol. 3, pp. 132–160.
18. Malinina G. M. 2008 “Venskaja nahodka: k voprosu o muzykal'noj rossike XVIII veka v Nacional'noj biblioteke Avstrii” (Vienna Found: to Question about Musical Rossica of XVIII Century in National Library of Austria), in Muzykovedenie, 2008, vol. 7, pp. 21–27.
19. Malinina G. M. 2009 “Muzykal'naja rossika XVIII veka v Nacional'noj biblioteke Avstrii” (Musical Rossica of XVIII Century in National Library of Austria), in Nasledie, Moscow, 2009, vol. 1, pp. 37–46.
20. Malinina G. M. 2009 “Rukopis' iz Herrnhuta, ili Napisal li Bortnjanskij Prezhdeosvjashhennuju Liturgiju?” (Manuscript from Herrnhut, or Did Bortnjanskij Write the Liturgy of Presanctified Gifts?), in Muzykal'naja akademija, 2009, vol. 1, pp. 163–166.
21. Rycareva M. G. Maksim Berezovskij. Zhizn' i tvorchestvo kompozitora (Maksim Berezovskij. Life and Work of the Composer), Saint-Petersburg, 2013.
22. Shumilina O. A. Stil'ova dinamіka ukraїns'koї duhovnoї muziki XVII — XVIII st. Za materіalami rukopisnih kolekcіj (Style Dynamics of Ukranian Spiritual Music of XVII — XVIII Cent. Beyond Materials of Manuscript Collections), Donetsk, 2012.
24. Jurchenko M. S. 1989 “Maksim Berezovs'kij v Italii” (Maksim Berezovs'kij in Italy), in Ukraїns'ka muzichna spadshhina. Statti. Materiali. Dokumenti, Kiev, 1989, vol. 1, pp. 67–69.
25. Jurchenko M. S. 1985 “Nevidomij koncert Maksima Berezovs'kogo” (Unknown Concert of Maksim Berezovs'kij), in Muzika, Kiev, 1985, vol. 6, pp. 18–21.

Lebedeva-Emelina Antonina

Antonenko Ekaterina

The "German Mass" by Dmitry Bortnyansky: Current View on the History of the Work

Antonenko Ekaterina (2016) "The "German Mass" by Dmitry Bortnyansky: Current View on the History of the Work ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2016, Iss. 23, pp. 126-150 (in Russian).

DOI of the paper: 10.15382/sturV201623.126-150
Here, while considering Russian church music of the first half of the 19th century in the context of European music culture, we showed the relation of Russian church choirs to the Cecilian movement aimed at promoting a cappella singing of sacred music. Thus we revealed the significance of the Russian church music for the development of the European choral singing in the 19th century. The works of U. Leupold and A. Schubert allowed us to date the «German Mass» by Dmitry Bortnyansky to January-March 1824 and to establish that it was commissioned to the composer by Friedrich Wilhelm III, having a passion for Russian liturgical singing, with the goal of reforming the Prussian liturgy. In contrast to Schubert’s erroneous statement, we proved that the music of «Ehre sei Gott in der Höhe» («Great Doxology»), well known in Germany, originated from «The German Mass», which confirmed the authorship of Bortnyansky for this piece, thereby clarifying his influence on the development of German liturgical music.
Bortnyansky, German Mass, Ehre sei Gott in der Höhe, Russian church music

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Antonenko Ekaterina

Skirskaia Tat'iana

Archpriest D. V. Razumovsky and V. F. Odoyevsky. Scientifi c Contacts

Skirskaia Tat'iana (2016) "Archpriest D. V. Razumovsky and V. F. Odoyevsky. Scientifi c Contacts ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2016, Iss. 23, pp. 151-158 (in Russian).

DOI of the paper: 10.15382/sturV201623.151-158
The article is focuses on the cooperation and friendly exchanges of the two scientists, V. F. Odoevsky and D. V. Razumovsky, in the formation of the Russian church singing medieval studies. The author attempts on the basis of archival and published materials, to consider in more detailes the individual contribution of Archpriest Razumovsky and Prince Odoevsky to the study of ancient liturgical singing and to determine the nature of their mutual influence on each other.
D. V. Razumovsky, V. F. Odoevsky, history of church music, a collection of photographs of Greek manuscripts, methodology of the study of Znamenny raspev

1. Lozovaja I. E. 2009 “O soderzhanii ponjatija «glas» i «lad» v kontekste drevnerusskoj monodii” (About Content of Idea “Oichos” and “Frat” in Context of Old Russian Monodia), in Gimnologija: Mat-ly Mezhdunar. konf. «Aktual'nye problemy izuchenija cerkovno-pevcheskogo iskusstva: nauka i praktika» (k 120-letiju konchiny D. V. Razumovskogo), 2009, vol. 6, pp. 344–359.
2. Mercalova O. 2000 “D. V. Razumovskij v pis'mah o cerkovnom penii v Rossii” (D. V. Razumovskij in Letters about Church Chant in Russia), in Gimnologija. Mat-ly Mezhdunar. nauch. konf. «Pamjati protoiereja Dimitrija Razumovskogo» (k 130-letiju Moskovskoj konservatorii) 3–8 sentjabrja 1996, Moscow, 2000, pp. 26–29.
2. Panchenko F. V. “Moskovskie staroobrjadcy i D. V. Razumovskij (jepizody k sjuzhetu)” (Moscow Old Believers and D. V. Razumovskij (Episodes to Story)), in Gimnologija. Aktual'nye problemy izuchenija cerkovno-pevcheskogo iskusstva. Nauka i praktika, vol. 6, pp. 524–532.
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7. Shehovcova I. P. 2015 “Iz istorii moskovskih sobranij grecheskih pevcheskih rukopisej. Kollekcija D. V. Razumovskogo” (From History of Moscow Collections of Greek Chant Manuscripts. Collection of D. V. Razumovskij), in Vestnik PSTGU. Ser. V, Moscow, 2015, vol. 2/18, pp. 31–47.
8. Shlihtina Ju. 2000 “Materialy po vizantijsko-russkim muzykal'no-teoreticheskim svjazjam iz arhiva D. V. Razumovskogo” (Materials for Byzantine-Russian Musical-Theoretical Connections from Archive of D. V. Razumovskij), in Gimnologija: Mat-ly Mezhdunar. nauch. konf. «Pamjati protoiereja Dimitrija Razumovskogo» (k 130-letiju Moskovskoj konservatorii) 3–8 sentjabrja 1996, Moscow, 2000.

Skirskaia Tat'iana

Lavrikova Iuliia

The "Unknown" Cesar Cui: Sacral Themes in the Choral Works of the Composer

Lavrikova Iuliia (2016) "The "Unknown" Cesar Cui: Sacral Themes in the Choral Works of the Composer ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2016, Iss. 23, pp. 159-164 (in Russian).

DOI of the paper: 10.15382/sturV201623.159-164
Choral works of the famous Russian composer of the 19th century César Cui play a significant role in the development of the musical Russian culture. The catalogue of choral art of the composer includes the works of various subject scope and means of musical language as well as the ones of the original genre and stylistic orientation, such as vocal quartets, duet-choruses, etc. However, among this diverse material there are the little-known compositions relevant to the genre of the sacred music, namely three psalms (No. 6, 21, 32), sacred concert (Magnificat «My soul doth magnify the Lord»), two works «Ave Maria», «Mystical choir», children's music. The byway of the Cui’s sacred music, having been urged the author to write the article, reveals its purpose — to examine the emergence and further development of spiritual genre in the choral works of the composer in chronological order, being based on its musical and epistolary heritage. In the center of the article there is a detailed analysis of one of the compositions of the musician (Psalm № 21 «My God, my God»), in which the researcher examines the form and the content, the harmony and the texture, reveals the specifics of choral works. Insufficiently explored or rather unknown sacred heritage of César Cui, being in possession of its highly artistic qualities, composes the immortal treasury of national choral music and is undoubtedly of great interest to the study.
César Cui, choral work, the genre of the sacred music, chrono-typological approach

1. Keldysh Ju. 1978 “Dante v russkoj muzyke” (Dante in Russian Music), in Ocherki i issledovanija po istorii russkoj muzyki, Moscow, 1978, pp. 347–363.

Lavrikova Iuliia

Artemova Evgeniia

M. A. Goltison: Destiny, Activity, Creativity

Artemova Evgeniia (2016) " M. A. Goltison: Destiny, Activity, Creativity ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2016, Iss. 23, pp. 165-175 (in Russian).

DOI of the paper: 10.15382/sturV201623.165-175
This article aims to present a first review of the life and creative activity of Mikhail Aleksandrovich Goltison (1870–1914), based on the pre-revolutionary periodicals. The spiritual composer, singer, choral conductor, music writer and editor, M. A. Goltison belongs to the pleiad of St. Petersburg musical figures of the early 12th century. Goltison refers to the authors of the second row in the spiritual-musical culture of New direction, so, despite the fact that his compositions are performed today in the choir, the composer has not yet been the subject of special research. Goltison lived in St. Petersburg, his life was short but rich creative events. Came from a Jewish family of military paramedic, he spent 16 years singing in the synagogue. But later he entered the St. Petersburg Conservatory and became interested in the Orthodox church singing, which has become the central business of his life, and later he took the Orthodox faith. According to contemporaries, Goltison created about a hundred spiritual-musical compositions. 53 of his works have been published in the diff erent editions during his life. In addition to composing sacred music, Goltison manifested itself in other areas of musical activities: he made many appearances as a singer (tenor), involved in the two quartets more than a decade, conducted many choirs, was the regent of the choir at the Alexander community sisters of the Blue Cross charity more than fifteen years. Goltison also contributed to the development of folk choirs, gave vocal lessons, and created his own choir, succeeded in concert activity. Over time Goltison worked as an editor of the magazine «Music and Singing», and writing articles as a journalist in it. As a music editor, he was engaged in the preparation and publication of the heritage of composers of the late 18th — early 19th centuries, and found him new material in the northern monasteries. He edited five issues of Historical Anthology of Church Music, and several collections of chants of authors from diff erent eras. Works of Goltison contain different types of chants: more traditional adjacent to the school A. A. Arkhangelsky, and innovative types of works, which are distinguished by the author's desire to combine the ancient foundations of the church with a modern composition in reliance on folk-song beginning. Goltison’s creativity — music and writing — is one of the most interesting pages in the Russian spiritual music of the early 12th century.
Goltison, composer, conductor, editor, writer, artist, spiritual writings, new direction, folk song

1. Ignat'ev A., svjashh. 1914/15 “Mihail Aleksandrovich Gol'tison. Duhovnyj kompozitor” (Mihail Aleksandrovich Goltison. Spiritual Composer), in Privalov N. I. (ed.) Muzyka i penie, Saint-Petersburg, 1914/15, vol. 4, pp. 2–3.
2. Kompanejskij N. I. 1903 “O duhovno-muzykal'nyh sochinenijah Gol'tisona” (About Spiritual-Musical Works of Goltison), in Findejzen N. R. (ed.) Russkaja muzykal'naja gazeta, Saint-Petersburg, 1903, vol. 16, col. 461–464.
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