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

This article deals with special features of iconography of dedication miniatures in manuscript F. 183. № 368 from the collection of the Russian State Library. This MS was created in Mainz in the middle of the 12th century and contains the text of the church service to archbishop Willigis as well as readings on the miracles of this saint. The article analyses diff erences of these miniatures from traditional iconographic schemes of dedicational scenes — the images of the authors and donators addressing the saint patron; it also attempts to identify probable reasons for the solution that the artist or the commissioner found in this situation. In both miniatures, Archbishop Willigis, venerated in Mainz, is presented as a saint. The article compares the miniatures with images of saint bishops in other manuscripts of the 12th century that are similar in their content. These are lives of saint bishops of Germany and representatives of the imperial church of the 10–12th centuries. The aim of the research was also to identify and describe the roles of those depicted in the miniatures — the archbishop of Mainz Henry I and Hartman, the provost of the cathedral, — in relation to the manuscript: the archbishop as the commissioner and donator, Hartman as a possible author or compiler of the text of the service and description of the miracles. The article also studies such topics as succession of the church rank and imitation of the saint predecessor, typical of images of bishops in MSS created in Germany in the 12th century.

book illumination, illuminated manuscript, image of the bishop, image of the saint bishop, iconography, dedication miniature, 12th century, medieval West-European manuscripts, Germany

1. Barow-Vassilevitch D., Heckmann M.-L., Abendländische Handschriften des Mittelalters und der frühen Neuzeit in den Beständen der Russischen Staatsbibliothek (Moskau), Wiesbaden, 2016.
2. Berschin W., Unterwegs zu einer neuen Ausgabe der ältesten Ulrichsvita, Vita sancti Udalrici. Erlesene Handschriften und wertvolle Drucke aus zehn Jahrhunderten. Kat. Ausst., Augsburg, 1993, 9–11.
3. Bloch P., Das Bild des Menschen im Mittelalter: Herrscherbild – Grabbild – Stifterbild, Bilder vom Menschen in der Kunst des Abendlandes. Jubiläumsausstellung der Preußischen Museen, Berlin 1830–1980, Berlin, 1980, 107.
4. Bloch P., Zum Dedikationsbild im Lob des Kreuzes des Hrabanus Maurus // Das erste Jahrtausend. Kultur und Kunst im werdenden Abendland an Rhein und Ruhr / Böhmer K. Bd. 1. Кat. Ausst. Augsburg, 1993, 9–11, 482.
5. Braun J., Die liturgische Gewandung im Occident und Orient, Darmstadt, 1964, 467.
6. Eberlin K. J., Jakobi-Mirwald C., Grundlagen der mittelalterlichen Kunst. Eine Quellenkunde, Berlin, 1996, 179.
7. Garnier F., Le language de l’image au moyen âge. Signifi cation et Symbolique, Paris, 1982, 174.
8. Goez W., Leben und Werk des heiligen Willigis, 1000 Jahre St. Stephan in Mainz, 1990, 15–32.
9. Hoffmann H., Buchkunst und Königtum im ottonischen und frühsalischen Reich, Stuttgart, 1986, Textband, 346.
10. Jürgensmeier F., Das Fest des heiligen Willigis von Mainz, Willigis und sein Dom. Festschrift zur Jahrtausendfeier des Mainzer Domes 976–1975, Mainz, 1975, 427–430.
11. Kratz J. M., Der Dom zu Hildesheim, Hildesheim, 1840, 136.
12. Mihajlova K. A., Podmar'kova M. V., Sobranie rukopisej na zapadnoevropejskih jazykah. Fond № 183 (rukopisi XII–XIX vv.), Opis', Мoscow, 1993, 8–9.
13. Mokretsova I., Shchegoleva L., Katalog srednevekovyh zapadnoevropejskih illjustrirovannyh rukopisnyh knig v sobranijah Moskvy, Moscow, 2010, 61–62, 244–245.
14. Willigis und sein Dom. Festschrift für Jahrtausend des Mainzer Domes. 975–1975. / Bruech, A. Ph. Mainz, 1975.
15. Zolotova E., Knizhnaja miniatjura Zapadnoj Evropy XII—XVII vv. Katalog illjustrirovannyh rukopisej v bibliotekah, muzejah i chastnyh sobranijah Moskvy, Мoscow, 2012, 242– 243, 426.
16. Zolotova E., Mokretsova I., Zapadnoevropejskie srednevekovye illjustrirovannye rukopisi iz moskovskih sobranij, Мoscow, 2003, 16.

Zotova Elizaveta

The change in the political orientation of the Serbian state at the turn of the 14th century was focused on the replacement and succession of the politically and militarily weakened Byzantine Empire. After the two-century period of domination in the Serbian architecture of “rashka school” with strong Romance infl uences, this created a new stylistic trend called “Serbian-Byzantine style” which found its highest expression in the architecture and painting of the time of King Milutin. This style was fully assimilated in the architecture of Serbia, developing alongside the monuments of “rashka school” the image of the national church, and enriched by the artistic heritage of the Byzantine Empire in the period of its fi nal rise. Starting from the architecture of Hilandar monastery on Athos, passing through contemporary trends of metropolitan and regional architecture and actively using the “rashka” tradition, the architecture of King Milutin returned to the origins of Eastern Christian construction techniques. The process of architectural byzantinisation continued in Serbia in a rather complicated fashion and by no means directly represented a borrowing, nor was it a gradual development. It was closely intertwined with various political and cultural events in the country and depended on them to varying degrees. The great creative activity of King Milutin was in full symphony with the Serbian Orthodox Church and its clergy.

Byzantine architecture, Serbian architecture, Christian architecture, Church architecture, King Milutin, Byzantine infl uence, Byzantine Empire

1. Subоtić G., Кrаljicа Jеlеnа Аnžujskа – ktitor crkvеnih spоmеnikа u Primоrju, in: Istоrijski glаsnik, 1–2, Bеоgrаd, 1958.
2. Dаnilо Drugi, Živоti krаljеvа i аrhijеpiskоpа srpskih. Službе, Bеоgrаd, 2008.
3. Dinić М., “Оdnоs izmеdju krаljа Мilutinа i Drаgutinа”, in: Zbоrnik rаdоvа Vizаntоlоškоg Institutа, 3, Bеоgrаd, 1955.
4. Stаnоjеvić St., Кrаlj Мilutin. Gоdišnjicа Nikоlе Čupićа, 46, Bеоgrаd, 1937.
5. Маksimоvić Lj., “Кrаlj Мilutin i cаricа Irinа: prаskоzоrjе idеjе о cаrstvu kоd Srbа”, in: Маnаstir Bаnjskа i dоbа krаljа Мilutinа. Zbоrnik sа nаučnоg skupа оdržаnоg оd 22 dо 24 sеptеmbrа 2005 gоdinе u Коsovskоj Мitrоvici, Cеntаr zа crkvеnе studijе, Niš. Filоzоfski fаkultеt, Коsоvskа Мitrоvicа, Маnаstir Bаnjskа, 2007.
6. Pеtkоvić S., Маnаstir Hilаndаr, Bеоgrаd, 2008.
7. Pаnić D., Babić G., Bоgоrоdicа Ljеviškа, Bеоgrаd, 1975.
8. Djurić V., Babić-Djоrdjеvić G., Srpskа umеtnоst u srеdnjеm vеku. Knjigа drugа, XIV–XVI vеk, Bеоgrаd, 1997.
9. Каndić О., “Кulе-zvоnici uz srpskе crkvе XII– XIV vеkа”, in: Zbornik zа likоvnе umеtnоsti, 14, Nоvi Sаd, 1978.
10. Коrаć V., Spоmеnici mоnumеntаlnе srpskе аrhitеkturе XIV vеkа u Pоvаrdаrju, Bеоgrаd, 2003.
11. Šuput М., Маnаstir Bаnjskа, Bеоgrаd, 2003.
12. Čаnаk-Меdić М., “Bаnjski hrаm i crkvа Vаznеsеnjа Hristоvоg u Dеčаnimа. Srоdnоsti i zаjеdnički uzоri”, in: Маnаstir Bаnjskа i dоbа krаljа Мilutinа. Zbоrnik sа nаučnоg skupа оdržаnоg оd 22. dо 24. sеptеmbrа 2005 gоdinе u Коsovskоj Мitrоvici. Cеntаr zа crkvеnе studijе, Niš. Filоzоfski fаkultеt, Коsоvskа Мitrоvicа, Маnаstir Bаnjskа, 2007.
13. Ćirković S., Korać V., Babić G., Studenica monastery, Belgrade, 1986.
14. Тоdić B., Čаnаk-Меdić М., Маnаstir Studеnicа, Nоvi Sаd, 2011.
15. Коrаć V., “Grаčаnicа. Prоstоr i оblici”, in: Izmеdju Vizаntijе i Zаpаdа: оdаbrаnе studijе о аrhitеkturi, Bеоgrаd, 1987.
16. Ćurčić С., Grаčаnicа. Istоrijа i аrhitеktura, Prištinа, 1999.
17. Djurić В., Ćirkоvić S., Коrаć V., Pеćkа Pаtrijаršijа, Bеоgrаd, 1990.
18. Тоdić B., Čаnаk-Меdić М., Маnаstir Pеćkа Pаtrijаršijа, Nоvi Sаd, 2014.
19. Djurić V., Vizаntijskijе frеski. Srеdnеvеkоvаja Sеrbija, Dаlmаcija, slаvjanskаja Маkеdоnia, Моskow, 2000.

Voronova Ariadna

*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.

Based on historic evidence and archive sources, this article aims to fi nd out if Baldassare Galuppi actually wrote complete music for the Orthodox liturgy during his stay in Russia in 1765–68. Apart from Galuppi’s unambiguous authorship of Слава и ныне. Единородный Сыне (“Glory and Now. O, Only-Begotten Son”), Херувимская (“Cherubim Song”) and Милость мира (“The Mercy of the World”) may also be attributed to him. Analysis of those manuscripts of the “Glory and Now. O, Only-Begotten Son” in archives of Moscow, Kiev, Berlin and Vienna which precede the fi rst publication by Bortnyansky (in 1818) of this piece by Galuppi, allowed us to trace Bortnyansky’s “corrections”; these appeared to be insignifi cant. We come to the conclusion that Galuppi’s music for the Orthodox liturgy did exist. This music may be discovered among anonymous pieces for the liturgy, which are often found at the beginning of hand-written singing books of the late 18th century.

Galuppi, Bortnyansky, Russian church music, Orthodox Liturgy, choral music

1. Antonenko E. Yu., “Bal'dassare Galuppi i russkaya dukhovnaya muzyka”, in: Nauchnyi vestnik moskovskoi konservatorii, 2, 2012, 34–67.
2. Gurevich V. A., Tvorchestvo D. S., “Bortnyanskogo na stranitsakh nemetskoi muzykal'noi pressy (1800–1840)”, in: Bortnyanskii i ego vremya. K 250-letiyu so dnya rozhdeniya D. S. Bortnyanskogo: materialy mezhdunarodnoi konferentsii, Moscow, 2003, 137–148.
3. Hohnbaum D., “Noch etwas über russische Kirchenmusik”, in: Allgemeine Musikalische Zeitung, 21, 1806, 331–334.
4. Ivchenko L. V., “Sprava № 907”, in: Muzika, 4–5, 2001, 28–30; 6, 2001, 25–26.
5. Lebedeva-Emelina A. V., Russkaya dukhov naya muzyka epokhi klassitsizma (1765–1825): katalog proizvedenii, Moscow, 2004.
6. Livanova T. N., Russkaya muzykal'naya kul'tura XVIII veka v ee svyazyakh s literaturoi, teatrom i bytom, Moscow, 1952–1953.
7. Malinina G. M., “Venskaya nakhodka: k voprosu o muzykal'noi rossike XVIII veka v Natsional'noi biblioteke Avstrii”, in: Muzykovedenie, 7, 2008, 21–27.
8. Kuzma M., “Bortnyans’ky Dmytro Stepanovych”, in: S. Sadie, ed., The New Grove Dictionary of Music and Musicians: 2nd edition: in 29 vols, London: Macmillan, 4, 2001, 43–45.
9. Malinina G. M., “Neizvestnyi Bortnyanskii v Vene: k voprosu o muzykal'noi rossike XVIII veka v Avstriiskoi natsional'noi biblioteke”, in:. Nasledie: Russkaya muzyka — mirovaya kul'tura, Iss. I, Moscow, 2009, 37–46.
10. Monson D. E. “Galuppi”, in: S. Sadie, ed., The New Grove Dictionary of Music and Musicians, 2nd ed.: in 29 vols. London: Macmillan, 9, 2001, 483–489.
11. Porfir'eva A. L., “Galuppi”, in: Muzykal'nyi Peterburg: Entsiklopedicheskii slovar': XVIII vek, Vol. I, Book 1, St. Petersburg, 2000, 226–232.
12. Ritzarev (Ritzareva) M., Porfirieva A., “The Italian Diaspora in Eighteenth-Century Russia“, in: R. Strohm, ed., The Eighteenth-Century Diaspora of Italian Music and Musicians, Turnhout: Brepols, 2001, 211–253 (Speculum Musicae, 8).
13. Ryzhkova N. A., Prizhiznennye izdaniya sochinenii D. S. Bortnyanskogo, St. Petersburg, 2001.
14. Rytsareva M. G., Dmitrii Bortnianskii: Zhizn' i tvorchestvo kompozitora, St. Petersburg, 2015.
15. Svodnyi katalog Rossiiskikh notnykh izdanii, Vol. II, St. Petersburg, 2005.
16. Shtelin Ya., “Izvestiya o muzyke v Rossii”, in: Shtelin Ya, Muzyka i balet v Rossii XVIII veka, Leningrad, 1935.
17. Zakhar'ina N. B., Russkie bogosluzhebnye pevcheskie knigi XVIII–XIX vekov. Sinodal'naya traditsiya, St. Petersburg, 2003.

Antonenko Ekaterina

*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.

This article analyses volume, space, plans and order of the structure of churches built at the end of the 18th — the fi rst half of the 19th centuries in the territory of Sarapul, Glazov, Yelabuga and Malmyzhskii uyezds of Vyatka Governorate. The aim of the article is to establish regional features in these churches. To achieve this aim, we have compiled a unifi ed catalogue of church architecture of south-eastern uyezds of Vyatka Governorate. In order to describe the regional architectural and artistic distinctiveness and the evolution of compositional structures of cathedrals, we employed the method of mapping and allocation. The time boundaries were determined by erecting the fi rst stone church on the one side and by the emergence of the fi rst buildings of the eclectic method on the other. In the course of the work, we have identifi ed a wide range of plans of church buildings, which has led us to the classifi cation of their types. Based on the analysis of spatial decisions, plans and orders, we have identifi ed iconographic patterns of the churches. This article also attempts to apply the allocation method alongside historical, artistic and iconographic methods. This allowed us to reveal data on the intensity of construction in the region and demonstrated the viability of applying this method when identifying unique types of church that become visible in integrating stylistic regularities and characteristics of architecture.

architecture, churches of Vyatka Governorate, regional characteristics of architecture, composition, method of allocation, iconographic pattern, cartogram

1. Chekmarev A. V., “Postrojki N. A. L'vova i ego kruga v provincii: novye otkrytij a”, in: Arhitekturnoe nasledstvo, 50, Moscow, 2009, 255–279.
2. Chekmarev A. V., “Troickij sobor Aleksandro- Nevskoj lavry kak ikonografi cheskij obrazec”, in: Bondarenko I. A., ed., Arhitektura v istorii russkoj kul'tury, Vyp. 7: Sankt-Peterburg i arhitektura Rossii, Moscow, 2007, 317–362.
3. Jakovlev A. N., “Cerkov' Kos'my i Damiana na Marosejke. Prototipy i povtorenija”, in: Arhitekturnoe nasledstvo, 51, Moscow, 2009, 228–251.
4. Jenciklopedija zemli vjatskoj. Tom 5: Arhitektura, N. V. Perestoronin N. V., ed., Kirov, 1996.
5. Kurochkin M. V., Popova N. V., Arhitekturnoe nasledie sel'skih rajonov Udmurtii. Svod pamjatnikov: Alnashskij rajon, Balezinskij rajon, Vavozhskij rajon, Votkinskij rajon, Glazovskij rajon, Grahovskij rajon, Izhevsk, 2011.
6. Kurochkin M. V., “Istorij a arhitektury Voznesensko- Preobrazhenskij sobora v gorode Glazove”, in: Nauchnyj al'manah, Tambov, 5–3(19), 2016, 559–562.
7. Musatov A. A., Kochergin V. V., Revzina Ju. E., Shubenkova M. Ju., Metodika arhitekturnogo analiza: uchebnoe posobie po vypolneniju prakticheskoj raboty po kursu istorii arhitektury, Moscow: MARHI, 2015.

Gildina Tatiana

This article deals with the views of A.V. Prakhov, who supervised the adornment of St. Vladimir Cathedral in 1885–1896, and of V. M. Vasnetsov, who did the wallpaintings. In general, the direction of the works — the return to the “old arrangement of the Cathedral” — was initially inspired by the Ecclesiastical Archaeological Society of Kiev Theological Academy. The response to paintings by Vasnetsov in the late 19th century art criticism is also dealt with in the paper. It has been shown that with all the appreciation of the artist as the founder of the new national trend in church painting, the authors of reviews of Vasnetsov’s work in the Cathedral were not unanimous as to the relationship of these paintings to Old Russian and Byzantine art as well as to the domestic tradition of icon-painting in particular. While some of them looked at Vasnetsov as the direct successor of the tradition and even ascribed the status of original icons to his works, others regarded the traditional aspects in his paintings as merely a dead form that came to be revived by the “Russian hand” of the “Russian artist”. Finally, there were those who plainly denied any reference to the tradition in these paintings. A. N. Benoit was the sole critic who stood apart from all those who responded to Vasnetsov’s paintings with excitement and enthusiasm. He denied both the national authenticity of Vasnetsov’s work and its affi nity with the Russian tradition. According to Benoit, this was a “gaudy and frivolous extravaganza” which, he remarked, would be appreciated “by a touring French who applaud the Esclarmonde in the Grand Opera”.

church painting, icon-painting tradition, A. V. Prakhov, V. M. Vasnetsov, Vladimir Cathedral in Kiev, Pochvennichestvo

1. Abramcevo. Iskusstvo i zhizn', Moscow, 2003.
2. Abramcevo. Hudozhestvennyj kruzhok. Zhivopis'. Grafika. Teatr. Masterskie, Leningrad, 1988.
3. Bogdanov A. V., Pochvennichestvo. Politicheskaja filosofija F. M. Dostoevskogo, A. A. Grigor'eva, N. N. Strahova, Moscow, 2001.
4. Vasnetzov Viktor Mihajlovich. Pis'ma. Dnevniki. Vospominanija. Suzhdenija sovremennikov, Moscow, 1987.
5. Vzdornov G. I., Istorija otkrytija i izuchenija russkoj srednevekovoj zhivopisi, Moscow, 1986.
6. Korotkina L. V., sost., Viktor Vasnecov: Pis'ma. Novye materialy, St. Petersburg, 2004.
7. Grabar' I. Je., Kamennyj vek. Friz V. M. Vasnetzova, Moscow, 1956.
8. Gusakova V. O., Viktor Vasnetzov i religioznonacional'noe napravlenie v russkoj zhivopisi konca XIX – nachala XX veka, St. Petersburg, 2008.
9. Dostoevskij F. M., “Glava vtoraja. Pushkin (ocherk)”, in: Poln. sobr. soch. v 30 t., Moscow, 26, 1984, 136–149.
10. Zajonchkovskij P. A., Rossijskoe samoderzhavie v konce XIX stoletija, Moscow, 1964.
11. Illarionov V., “Provozvestnik novogo napravlenija v russkoj religioznoj zhivopisi”, in: Russkoe obozrenie. Moscow, 41, 1994, 95–131.
12. Katalog Doma-muzeja Viktora Mihajlovicha Vasnetzova, Moscow, 1959.
13. Kutejnikova N. S., “Religioznaja zhivopis' V. M. Vasnecova”, in: Kul'tura. Iskusstvo. Religija. Problemy vzaimodejstvija, Leningrad, 1990, 25–40.
14. Liprandi A., “Hram sv. Vladimira v Kieve”, in: Russkij vestnik, 1996, Ijul', 205–215.
15. Maslov K. I., “Ob «ofrancuzhennom vizantijstve» knjazja G. G. Gagarina”, in: Iskusstvo hristianskogo mira, Moscow, 7, 2003, 323–326.
16. Maslov K. I., “Proekt I. P. Saharova po vozrozhdeniju ikonopisanija”, in: Izvestija Ural'skogo federal'nogo universiteta. Serija 2: Gumanitarnye nauki, Ekaterinburg, 3, 2015, 249–258.
17. Maslov K. I., “Fedor Chizhov v poiskah «obraznoj zhivopisi»”, in: Dom Burganova. Prostranstvo kul'tury, Moscow, 2, 2015, 59–75.
18. Narsesjan L., “O drevnerusskih prototipah treh kompozicij V. M. Vasnecova vo Vladimirskom sobore v Kieve”, in: Stil' zhizni – stil' iskusstva. Razvitie nacional'noromanticheskogo stilja modern v evropejskih hudozhestvennyh centrah vtoroj poloviny XIX – nachala XX veka. Rossija, Anglija, Germanija, Shvecija, Finljandija, Moscow, 2000, 316–321.
19. Nesterov M. V., Pis'ma. Izbrannoe, Moscow, 1988.
20. Nikolaev Ju., “Neskol'ko myslej o religioznoj zhivopisi”, in: Russkoe obozrenie, Moscow, 25, 1994, 673–684.
21. Korotkina L. V., publ., “Pis'ma V. M. Vasnetzova k V. T. Georgievskomu”, in: Voprosy iskusstvoznanija, Moscow, H (1/97), 1997, 571–580.
22. Plotnikova I. V., “O religioznoj zhivopisi Vasnecova vo Vladimirskom sobore”, in: Viktor Mihajlovich Vasnetzov, 1848–1926, Moscow, 1994.
23. Pobedonostsev K. P., Pis'ma k Aleksandru III, Moscow, II, 1926.
24. Repin I. E., Dalekoe. Blizkoe, Leningrad, 1986.
25. Savel'ev Ju. R., “Novaja koncepcij a samoderzhavija i «russkij stil'»”, in: Vestnik Sankt-Peterburgskogo universiteta. Serija 2: Istorija. Sankt-Petesburg, 4, 2006, 40–52.
26. Stasov V. V., Viktor Mihajlovich Vasnetzov i ego raboty. Stat'i i zametki, ne voshedshie v sobranie sochinenij, Moscow, 1954, 154–220.
27. Ul'janovs'kij V. Divo j Diva kiivs'kogo Volodimirs'kogo sobora, Kiev, 2016.
28. Jaroslavceva N., “Carica nebesnaja i zhenshhina zemnaja. Obraz Bogomateri v tvorchestve Viktora Vasnetzova”, in: Sovetskij muzej, Moscow, 4, 1991, 45–55.

Maslov Konstantin

*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.

This article gives a multi-aspect analysis of a singing manuscript of the late 19th century kept at the Scientifi c Library of Tomsk State University. This manuscript is of interest as an example of the so-called linear-stolp dvoznamennik; it refl ects liturgical singing tradition of Svyato-Troitzkiy parish, the fi rst Edinoverie church in Siberia. It is found that the manuscript was created by a member of the well-known family of Ural-Siberian Old Believers, I. A. Lepikhin. The compiler not only translated the stolp notation to Kiev linear but also formed the collection by himself. The result was a book of unusual structure which represents a contamination of sections of Obikhod, Octoechos and Irmologion. The analysis of the musical text has shown that the singing tradition of Tomsk Edinovertsy is oriented towards the All-Russian tradition but has its individual diff erences in interpretation of the examples of stolp Znamenny chant and Obikhod chants. The chant of the Cherubin song shows considerable originality and is derived from the upper voice of its polyphonic version. Specifi c features of the content of the singing manuscript are considered in a broad context of the All-Russian Edinoverie movement intensifi ed at the turn of the 19th century.

Edinoverie, Svyato-Troitzkiy church in Tomsk, Old Believers’ liturgical singing, linear-stolp dvoznamennik, Znamenny chant

1. Beloborodov S. A., “«Avstrij cy» na Urale i v Zapadnoj Sibiri (Iz istorii Russkoj Pravoslavnoj Staroobrjadcheskoj Cerkvi — belokrinickogo soglasija)”, in: Ocherki istorii staroobrjadchestva Urala i sopredel'nyh territorij , Ekaterinburg, 2000, available at: http://hist.igni.urfu.ru/lai/ocherki/ beloborodov_txt.html (29.12.2014).
2. Brazhnikov M. V., Drevnerusskaja teorija muzyk, Leningrad, 1972.
3. Gerasimova I. V., “Ukrainsko-belorusskie notno linejnye irmologiony v sisteme russkih pevcheskih knig (poslednjaja tret' XVII–XVIII vv.)”, in:. Kalofonija: nauchnyj sbornik iz istorii cerkovnoj monodii i gimnografii, Lviv, 2008, 84–93.
4. Denisov N. G., Strel'nikovskij hor Kostromskoj zemli: tradicii staroobrjadcheskogo cerkovnogo penija, Moscow, 2005.
5. Zimina N. P., Put' na Golgofu: Zhizneopisanie svjashhennomuchenika Simona, episkopa Ohtenskogо: v 2 t., Moscow, 2005.
6. Kazantseva T. G., Pevcheskie rukopisi Zabajkal'skogo territorial'nogo sobranija Gosudarstvennoj publichnoj nauchno-tehnicheskoj biblioteki Sibirskogo otdelenija Rossijskoj akademii nauk, 2009.
7. Kaurkin R. V., Pavlova O. A., Edinoverie v Rossii (ot zarozhdenij a idei do nachala XX veka), St. Petersburg, 2011.
8. Miroljubov I., priest, Sarancha E., priest., “Edinoverie”, in: Pravoslavnaja jnciklopedija, Moscow, XVIII, 42–50.
9. Nikishov G. A., Dvoeznamennye rukopisi XVII v. kak forma razjasnenija i pro pagandy notolinejnoj sistemy, Teoreticheskie nabljudenija nad istoriej muzyki, Moscow, 1978, 227–240.
10. Chubarov P., Pavlov V. N., comp., Pravoslavnoe edinoverie v Rossii, St. Petersburg, 2004.
11. Sarancha E., Miroljubov I., Zimina N. P., Kratkij ocherk istorii edinoverija, Moscow, 2009.
12. Shashkov A. T., “Jakov Borisov syn Lepihin (iz istorii ural'skogo staroobrjadchestva konca XVII v.)”, in: Kul'tura i byt dorevoljucionnogo Urala), Sverdlovsk, 1989, 46–58.
13. Trudy Pervogo Vserossij skogo s’ezda pravoslavnyh staroobrjadcev (edinovercev), Moscow, 2012.
14. Jasinovskij Ju. P., Ukrainskie i belorusskie notolinejnye irmologii XVI–XVIII stoletij : Katalog i kodikologichesko-paleografi cheskoe issledovanie, L’vov, 1996.

Kazantseva Tatiana

*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.

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

1. Gulianitskaia N. S., Poetika muzykal'noi kompozitsii: Teoreticheskie aspekty russkoi dukhovnoi muzyki XX veka, Moscow, 2002.
2. Malatsai L. V., Aleksandr Nikol'skiy: tvorcheskaia biografiia, Moscow, 2010.
3. Paisov Iu. I., Aleksandr Grechaninov. Zhizn' i tvorchestvo, Moscow, 2004.
4. Plotnikova N. Iu., Russkaia dukhovnaia muzyka XIX — nachala XX veka: stranitsy istorii, Moscow, 2007.
5. Rakhmanova M. P., A. T. Grechaninov, in: Istoriia russkoi muzyki, Moscow, 1997, 10A, 170–216.
6. Rakhmanova M. P., Novoe napravlenie v dukhovnoi muzyki: istoricheskie tendentsii i khudozhestvennye protsessy, in: Istoriia russkoi muzyki, Moscow, 2004, 10Б, 392–456.
7. Russkaia dukhovnaia muzyka v dokumentakh i materialakh, Moscow, III, 2002.

Mariasina Nonna

The article deals with specifi c features of non-traditional genres of Russian sacred music, the compositional basis of which is made up by non-liturgical genres widely employed in academic music of the 19–20th centuries: cantata, oratorio, choral concert, etc. Non-traditional genres play an important role in the typology of Russian sacred music alongside traditional genres and genres of a mixed type. The main criterion for their diff erentiation is their connection with the liturgical and singing tradition, as well as certain lexical properties, composition techniques, means of musical expressiveness that support their affi nity with canonical foundations of Russian sacred music and, conversely, remoteness from them. Historical prerequisites for the emergence of nontraditional genres are examined in two aspects: in the perspective of development of the cantata-oratorial genre (from works by S. Taneyev to cantatas and oratorios by G. Sviridov, V. Gavrilin) and also as a consequence of transformation of the traditional genres of Russian spiritual music in works by A. Kastalsky, A. Grechaninov. The aim of the paper is to identify specifi c properties of non-traditional genres of Russian sacred music. The methodology of the study is conditioned by the features of the genre sphere of Russian sacred music and is based on provisions and terminology of liturgics, as well as scientifi c categories of Russian musicology. The specifi city of non-traditional genres is determined by the combination of individual elements of sacredness with properties of non-liturgical genres: cantatas, oratorios, concertos, symphonies lit by the liturgical idea, the light of the Christian creed. The properties of non-liturgical genres are determined by non-liturgical conditions of the performance, by the use of diff erent line-ups of performers and the textual basis, the combination of traditional means of musical expressiveness with techniques of modern composition. The elements of indirect relationship with the liturgical basis can be presented on the level of the liturgical text, allusions to the liturgical follow-up, as well as in the musical composition or the programme content of the work.

traditional genres, non-traditional genres, cantata, oratorio-liturgical singing tradition, liturgical idea, Biblical-Christian themes, canonical model, concert performance

1. Gulyanickaya N. S., “«Vneliturgicheskie» zhanry sovremennoj duhovnoj muzyki: panoramnyj obzor”, in: XXVI Ezhegodnaya bogoslovskaya konferenciya Pravoslavnogo Svyato-Tihonovskogo gumanitarnogo universiteta: Materialy, Moscow, 2016, 340–344.
2. Gulyanickaya N. S., Poehtika muzykal'noj kompozicii. Teoreticheskie aspekty russkoj duhovnoj muzyki XX veka, Moscow, 2002.
3. Zvereva S. G., Aleksandr Kastal'skij: idei. Tvorchestvo, sud'ba… Moscow, 1999.
4. Kovalev A. B., “Voprosy klassifi kacii zhanrov russkoj duhovnoj muzyki na rubezhe XX– XXI vv.”, in: XXVI Ezhegodnaya bogoslovskaya konferenciya Pravoslavnogo Svyato-Tihonovskogo gumanitarnogo universiteta: Materialy, Moscow, 2016, 344–349.
5. Kovalev A. B., “Tipologiya zhanrov russkoj duhovnoj muzyki vtoroj poloviny XIX– nachala XXI veka”, in: Muzykal'naya akademiya, 4, 2015, 54–59.
6. Paisov YU. I., Horovoe tvorchestvo Georgiya Dmitrieva, Moscow, 2007.
7. Parfent'eva N. V., Parfent'ev N. P., Drevnerusskie tradicii v russkoj duhovnoj muzyke XX v., Chelyabinsk, 2000.
8. Rahmanova M. P., “A. T. Grechaninov”, in: Istoriya russkoj muzyki v desyati tomah, 10A: 1890–1917-e gody, Moscow, 1997, 170–216.

Kovalev Andrey

*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.

This article deals with the Second Symphony by Alexander Petrovich Kurchenko “The Life of St. Sergius of Radonezh” and pays special attention to features of the use of the canonical form of Life and main elements of topics typical of Lives of saints, as well as to details of their musical embodiment in the work in question. It was found that that the structure of the symphony diff ers from the canonical scheme of the extensive Life due to the absence of the introductory and fi nal parts. The symphony by A. Kurchenko exposes the main part of the canonical scheme of an extensive Life and includes a number of motifs (topoi) such as, for example, the motif of the Divine Signs preceding the birth of the saint, the motif of his inability to read and write overcome with God’s help, the motif of describing the decease of the saint, about which he usually knows in advance. The range of topoi also includes those that are specifi cally typical of Lives of monks and founders of monasteries, such as the future saint’s departure for the desert, the assembly of the brethren and the arrangement of the monastery, the deathbed instruction for the brethren.

hagiography, topos, Lives of saints, monastic Lives, musical refl ection of topos, symphony

1. Belik P., “Obraz Sergiya Radonezhskogo s zhitiem vo Vtoroj Simfonii A.Kurchenko”, in: Muzykal'naya Akademiya, 4, 2015.
2. Vlasov V. G., Novyj ehnciklopedicheskij slovar' izobrazitel'nogo iskusstva: V 10-ti t., St. Petersburg, IV, 2006.
3. Gudzij N. K., Istoriya drevnej russkoj literatury, Moscow, 2003.
4. Delehaye H., Les legendes hagiographiques, Brussel, 1905.
5. Dmitriev L. A., “Zhanr severnorusskikh zhitij ”, in: TODRL, 27, Leningrad, 1972.
6. Zhitie i podvigi Prepodobnogo i Bogonosnogo otsa nashego Sergiya, igumena Radonezhskogo i vseya Rossii chudotvortsa, sostavlennuyu ieromonahom, vposledstvii arhiepiskopom, Nikonom (Rozhdestvenskim), available at: www.stsl.ru/lib/book1/chap1.php (15.06.2017).
7. Rudi T. R., “O kompozitsii i topike zhitij prepodobnykh”, in: TODRL, 57, St. Petersburg, 2006.
8. Uspenskij N. D., Drevnerusskoe pevcheskoe iskusstvo, Moscow, 1971.

Kornilova Irina