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

The early Christian architecture of the interior of the province of Dalmatia developed in the context of geographical isolation from the sea and its coastal centres. The mountainous terrain of these lands along with the conservatism of the local romanised population hampered the penetration of foreign infl uences. Most of the settlements in the region lived by mining iron ore and agriculture, which found its reflection in the simplicity of the interior and construction of churches. In most cases, the village churches were built on the Roman roads connecting the littoral with the hinterland, as well as close to fortifi ed sites. The destruction and rebuilding of the majority of monuments occurred at the beginning of the 5th century with the establishment in the region of the power of the Ostrogoths, when basilicae of major centres of the Dalmatian coast — Narona and particularly Salona, the capital of the province, — served as examples for local churches. Later on, the typology of local early Christian churches, with some exceptions, demonstrates a relative stability, which is expressed in a combination of a small space for praying and a large number of auxiliary rooms, including baptistery. The following structures are quite rare in terms of the architectural typology of the region: one three-aisled basilica, two triconchal churches, several double churches, the presence in some churches of the triumphal arch and the transept. Of interest is the architectural plastic, with the fragments of which a reconstruction of altar barriers in three churches has been carried out; a unique phenomenon is the ancient German runes (Futhark), carved on one of the columns of the triumphal arch in the church of Breza.

early Christian architecture, typology of churches, province of Dalmatia, Bosnia and Herzegovina, complex churches, double churches, triconchal churches

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15. Posavec V. (2007) Dalmacija u vrijeme Marcelina i Julij a Nepota. Split. Sergejevski D. (1960–1961) “Bazilika u Mokrom”. Glasnik zemaljskog muzeja u Sarajevu. 1960–1961, vol. 15‒16, pp. 211‒227.
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18. Veletovac E. (2016) “Kasnoantičke bazilike u Bosni i Hercegovini”. Filozofski fakultet Sarajevo, 2016, vol. 17, pp. 277‒299.
19. Vežić P. (2011) “Dalmatinski trikonhosi”. Ars adriatica. Časopis Odjela za povij est umjetnosti Sveučilišta u Zadru, 2011, vol. 1. Zadar, pp. 27‒66.
20. Voronova A. (2017) “Sposoby formirovaniia rannekhristianskikh kompleksov Severnoi Dalmatsii i ostrovov Kvarnera” [“Ways of Formation of Early Christian Complexes of North Dalmatia and of Islands of Kvarner Gulf”]. Iskusstvo khristianskogo mira [The Art of the Christian World], 2017, vol. 14, pp. 59‒67 (in Russian).

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.

This article deals with several issues in the study of a specifi c architectural type of the Christian church that is usually termed triconch. Churches with a threepetal plan have been known in Christian architecture since its early period, but their subsequent occurrence in various regions does not usually demonstrate a systematic pattern. Groups of monuments with a triconch confi guration of the plan are only seen in certain regions and always generate discussions. The majority of the triconchs identifi ed concentrate in the territory of the Balkans. The article attempts to analyse the main features of the type in question that belong to the period of the 4th — 12th centuries and to study the origin, symbols and functions of several varieties of the discussed typology. In the early Christian period in the Balkans, the triconch form is inherited from Roman civil archtecture and is primarily employed in connection with burials. Small one-nave triconchs as a separate typology of the church building spreads in the 9th — 10th centuries in connection with the missionary activities and monastic movement. Another branch of the archtectural typology of the triconch developed in Athos since the late 10th century. The Athos type of the triconch is a variant of the cross-in-square church on four pillars with addition of side conchs. Both variants of the triconch church building are in demand in the architecture of the so-called Morava school in the latter half of the 14th — fi rst half of the 15th centuries.

triconch, medieval architecture, Byzantine architecture, Athonite type of church, the Balkans, typology

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Mal’tseva Svetlana

*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 Reported study was Funded by Government Program of the Russian Federation “Development of science and technology” (2017-2018) within Program of Fundamental Researchesof Ministry of Construction, Housing and Utilities of the Russian Federation and Russian Academy of Architecture and Construction Sciences, the Research Project 1.2.32. / 1.2.46

The Four Gospels from the Austrian National Library (Theol. gr. 154) belong to the golden age of Byzantine book illumination. The manuscript dating from the 1070s — 1080s was written on parchment and contains, in addition to the Four Gospels, the catena (commentary) strung together on the margins like links of a chain. The manuscript is decorated with Canon plates, portraits of the Evangelists and 39 pictures illustrating various events described in the Gospels, with tiny fi gures presented in a masterly calligraphic style. The miniatures are placed on the margins, often facing each other on either sides of the text. They depict certain individual events and persons. The pictures are inserted in respective lines, integrating narration into figurative reality. The article intends to defi ne the main principle underlying the selection and the organisation of the illustrations in the manuscript. The pictorial series in this Vienna codex diff ers, both in design and in meaning, from any other illuminated series found on the margins of manuscripts of the 6th, 10th or 11th centuries. Some of the patterns suggest that the artists refrained from the narrative typical of many illuminated manuscripts of the late 11th century. The Vienna codex also includes the synaxarion and menologion dating from between the 13th and 14th centuries. This was the time when St John’s narration was taken from the end to the beginning of the manuscript in order to use the Four Gospels as a lectionary. Comparative analysis of the images and the text suggests that subject selection for miniature painting depended on liturgical cycle, i.e. the craftsmen chose to illuminate the most important church-service texts. The use of miniature icons for the “embedding” of the synaxarion and menologion in the Four Gospels allows us to suggest that the manuscript was intended for use in church service. The cycle of miniatures of the Vienna codex represents one of the most interesting and ingenious solutions in the Byzantine book design of the Comnenian period. This cycle is important for the study of illustration of the Gospels and creation of iconographic programmes in the Byzantine manuscripts on the whole.

Four Gospels, Austrian National Library, codex Theol. gr. 154, cycle of miniatures, book design, Byzantine illuminated manuscripts, painting in Comnenian period

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23. Saminskii A. L. (2008) “Vostochnye istoki i konstantinopol'skie istochniki ukrasheniia rukopisi Avstriiskoi Natsional'noi biblioteki Theol. gr. 154” [“Eastern Origins and Constantinople Sources of Illustration of the Manuscript from the Austrian National Library Theol. gr. 154”], in Paleografiia i Kodikologiia: 300 let posle Monfokona. Materialy mezhdunarodnoi konferentsii. Moskva, 14‒16 maia 2008 g. [Paleography and Codicology. 300 Years after Montfaucon. Proceedings of the International Conference. Moscow, 14‒15 May, 2008]. Moscow, pp. 158–164 (in Russian).
24. Shchepkina M. V. (1977) Miniatiury Khludovskoi Psaltyri [Miniatures of Khludov Psalter]. Moscow. (in Russian).
25. Tikkanen J. J. (1933) Studien über die Farbengebung in der mittelalterlichen Buchmalerei. Helsingfors.
26. Tsuji Sh. (1975) The Headpiece Miniatures and Genealogy Pictures in Paris. Gr. 74. Dumbarton Oaks Papers.
27. Velmans T. (1971) Le Tetraevangile de la Laurentienne. Florence Laur. VI. 23. Paris.
28. Weitzmann K. (1971) “Narrative and Liturgical Gospel Illustrations”, in Studies in Classical and Byzantine Manuscript Illumination. Chicago; London, pp. 247–270.

Kalinina Evgenia

This article studies choir concertos by Stepan Anikievich Degtyarev, analyses pre-revolution editions of his music, the degree of their proximity or distance with regard to the manuscript sources. It also discusses the liturgical context of the concerto Гряди, гряди от Ливана, невесто (Church Slavonic ‘Come, Come from Lebanon, O Bride’) and the editing of its poetic text. The article also assesses the historical significance of spiritual concertos by Degtyarev, discovered in church collections of Kursk.

Degtyarev; choral concerto; library of the Bishop’s Choir in Kursk; editions of Seliverstov, Kireev, Goltinson; choirmaster’s copies, editing of church chants

1. Artemova E. G. (2015) Dukhovno-muzykal'naia kul'tura Peterburga rubezha XIX–XX vekov [Spiritual and Musical Culture of Petersburg of the Late 19th — Early 20th Centuries]. Moscow (in Russian).
2. Chernysheva T. A. (2015) “Deiatel'nost' arkhiereiskogo (mitropolich'ego) khora v kontse XIX — nachale XX vv.” [“Activities of the Archpriest (Metropolitan) Choir in the Late 19th — Early 20th Centuries]. Khristianskoe chtenie, 2015, vol. 2, pp. 251–295 (in Russian).
3. Gardner I. A. (1982) Bogosluzhebnoe penie Russkoi pravoslavnoi tserkvi [Liturgical Singing of the Russian Orthodox Church. History]. Vol. 2. New York.
4. Kutasevich A. V. (2014) “Muzykal'no-tematicheskie paralleli v tvorchestve Stepana Degtiareva i Artema Vedelia. Fenomen zaimstvovaniia i voprosy avtorstva sochinenii” [“Musical and Thematic Parallels in Creative Works by Stepan Degtyarev and Artem Vedel’. Phenomenon of Borrowing and Problems of Authorship”]. Vestnik PSTGU. Seriia 5, 2014, vol. 1 (13), pp. 104–119 (in Russian).
5. Kutasevich A. V. (2016) “Dukhovno-muzichnі tvori Stepana Degtiar'ova u kiїvs'kikh rukopisnikh notnikh zіbranniakh. Do 250-rіchchia vіd dnia narodzhennia Stepana Degtiar'ova” [“Spiritual and Musical Works by Stepan Degtyarev in Kiev Manuscript Note Collections. For the 250 Anniversary of Stepan Degtyarev”]. Chasopis Natsіonal'noї Muzichnoї Akademії Ukraїni іmenі P. І. Chaikovs'kogo. 2016, vol. 4 (33), pp. 4–24 (in Russian).
6. Lebedeva-Emelina A. V. (2004) Russkaia dukhovnaia muzyka epokhi klassitsizma (1765–1825): Katalog proizvedenii [Russian Spiritual Music of the Period of Classicism (1765‒1825): Catalogue of Works]. Moscow, pp. 353–457 (in Russian).
7. Levashev E. M. (1986) S. A. Degtiarev, in Istoriia russkoi muzyki [History of Russian Music]. Vol. 4. Moscow (in Russian).
8. Lopukhin A. P. Tolkovaia Bibliia Vetkhogo i Novogo Zaveta [Bible with Commentary. Old and New Testaments], available at: https://azbyka.ru/otechnik/Lopuhin/tolkovaja_biblia/ (09.11.2018) (in Russian).
9. Pletneva A. A., Kravetskii A. G. (2005) Tserkovnoslavianskii iazyk: Uchebnoe izdanie dlia obshcheobrazovatel'nykh uchebnykh zavedenii, dukhovnykh uchilishch, gimnazii, voskresnykh shkol i samoobrazovaniia [The Church Slavonic Language. Handbook for Secondary Schools, Theological Colleges, Gymnasiums, Sunday Schools and Self-Study]. Moscow, 2005 (in Russian).
10. Pomestnyi sobor Russkoi pravoslavnoi tserkvi 1917–1918 godov [Local Council of the Russian Orthodox Church of 1917‒1918], in M. P. Rakhmanova, S. G. Zvereva (eds.) Russkaia dukhovnaia muzyka v dokumentakh i materialakh [Russian Spiritual Music in Documents and Materials]. Vol. 3. Moscow, 2002 (in Russian).
11. Rytsareva M. G. (2006) Dukhovnyi kontsert v Rossii vtoroi poloviny XVIII veka [Spiritual Concerto in Russia of the Second Half of the 18th Century]. St Petersburg (in Russian).
12. Semenov D. S. (2015) “Slovar' pravoslavnogo russkogo tserkovnogo peniia. 2-ia red.”, in M. P. Rakhmanova (ed.) Russkaia dukhovnaia muzyka v dokumentakh i materialakh, vol. 9. Moscow, pp. 944–947.
13. Shestnadtsat' dukhovnykh kontsertov anonimnykh avtorov iz rukopisnogo sbornika kontsa XVIII — nachala XIX v. Rekonstruktsiia i redaktsiia Antona Viskova [Sixteen Spiritual Concertos of Anonyme Authors from a Manuscript Collection of the Late 18th — Early 19th Century. Reconstruction and Edition by Anton Viskov]. Vol. 1. Moscow, 2015 (in Russian).
14. Trushin Anatolii, priest. S. A. Degtiarev. K 250-letiiu so dnia rozhdeniia kompozitora [S. A. Degtyarev. For the 250th Anniversary of the Composer], available at: http://www.mepar.ru/library/vedomosti/91/2177 (09.11.2018) (in Russian).
15. Zheltov M. S., priest. Pravdoliubov Sergii, archpriest. Bogosluzhenie Russkoi Tserkvi. X–XX vv. [Church Service in the Russian Church. 10th — 20th Centuries], available at: http://kievorthodox.org/site/worship/1132 (09.11.2018) (in Russian).

Lebedeva-Emelina Antonina

*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.

Sidorova Marina

Thanks to the keyholder of the Bishops ’Monastery of the Kursk city, the regent of the bishop’s choir, Archpriest Alexander Lobanov, and the regent of the Ascension Church of Kursk, the head of the Ascension children's and youth choir, Svetlana Kostina for providing music materialsThanks to Alexey Alexandrovich Naumov.

This article deals with the development of church art in the twentieth century, mainly in the 1920‒30s. In these years, after massive destruction of the First World War in Europe, arose the need for the reconstruction and construction of a large number of new churches. The religious and artistic sensitivity of that epoch required from projects of new Catholic churches a certain array of decorative elements, even if their architecture was simple and functional. However, in the projects of reconstruction of churches in the 1920s, new variants of the renewal of materials and constructions began to be off ered more and more often, and these had obvious signs of innovative solutions, both from the point of view of the plan, the formation of surfaces, the technologies employed. The main novel material was concrete, widely used both for the construction of new churches, and for their decoration. In Belgium, in the 1920s, Modernism fi rst emerged as an architectural style, which was then widely developed globally in the 1930s in competition with Art Deco style. Modernism, unlike Art Deco, turns its back on the architectural traditions of the past, rejects any decorations and focuses on the function of the building. It is these characteristics that made the architecture of modernism popular among the supporters of the «liturgical movement» in the Catholic Church in the twentieth century.

Church architecture, art history, Art Deco style, decorative art, sculpture, interior, modernism, Catholic church, liturgical movement

1. Dokumenty II Vatikanskogo sobora [Documents of the 2nd Vatican Council]. Мoscow: Paoline, 2004.
2. Cappronnier J-С. (2009) “L’art sacré entre les deux guerres: aspects de la Première Reconstruction en Picardie”. Situ. Revue des patrimoines, 2009, vol. 12.
3. Cordeiro P. (1994) Sacraal beton. De Sint-Augustinuskerk te Vorst». M&L, 1994, vol. 13 (3), pp. 41–56.
4. Culot М. D. (2000) Les frères Perret : l’oeuvre complète. Paris.
5. Culot М. D. (1999) Archives d’architecture moderne. Bruxelles.
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7. Dupré C. (2009) “Notre-Dame-du-Travail (Paris), une église au tournant du XIXe siècle et du XXe siècle”. Situ. Revue des patrimoines, 2009, vol. 11.
8. Frémaux C. (2008) La construction d’églises dans la seconde moitié du XXe siècle : une aff aire d’État ? De Georges Clémenceau à Jacques Chirac : l’Etat et la pratique de la loi de séparation. Villeneuve-d’Ascq: CEGES-IRHiS, Université Lille, 2008.
9. Lambrichs. A. Religieuze Art Deco. Art Deco architectuur. Brussel 1920–1930 (Catalogue d’exposition), Archives d’Architecture Moderne, Bruxelles, 1996.
10. Spapens C. L'église Sainte-Suzanne à Schaerbeek, CIDEP, 2003.
11. Travaux du Centre national des constructions d’églises (CNCE). Rapport général présenté à l’Épiscopat « Pour une politique d’équipement religieux», février 1970.
12. Vukashinovich V. (2005) “Liturgicheskoe vozrozhdenie v XX veke». Liturgical Renaissance in the 20th Century. Christian Russia.

Sheko Ekaterina

In October 2015, the Russian premiere of N. Korndorf’s Third Symphony (1989) took place, which was one of the prominent events in musical circles. The unique design of the score is magnifi cent. The unearthly beauty of the images, depth of the spiritual content, concentration of composition in terms of time and events allows one to call it Korndorf’s opus magnum. The specifi city of the work is conditioned by the employment of the author’s compositional technique of non-repetitive minimalism. This method, connected with the ritual process, creates an integrated and large-scale composition, ensuring its powerful artistic and emotional impact.

Nikolai Korndorf, Third Symphony by Korndorf, symphonies with chorus, minimalism, non-repetitive minimalism, Alexander Lazarev, Moscow Conservatory

1. Korndorf N. (2002) “Ia bezuslovno oshchushchaiu sebia russkim kompozitorom: Avtobiografi ia s liricheskimi otstupleniiami” [I Absolutely Feel that I am a Russian Composer: Self-Biography with Lyrical Excursuses]. Muzykal'naia akademiia, 2002, vol. 2, pp. 52–64 (in Russian).
2. Nikolaeva E. (2015) “Nikolai Korndorf: istoriia Liturgii” [“Nikolai Korndorf: History of Liturgy”], in Ezhegodnaia bogoslovskaia konferentsiia PSTGU [Annual Theological Conference of St Tikhon Orthodox University for the Humanities], vol. 25, pp. 355–357 (in Russian).
3. Nikolaeva E. (2017) “O Liturgii Nikolaia Korndorfa” [“On the Liturgy by Nikolai Korndorf”]. Vestnik PSTGU. Seriia 5: Voprosy istorii i teorii khristianskogo iskusstva, 2017, vol. 25, pp. 107– 119 (in Russian).

Nikolaeva Elena

*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 features of the genre and specifi city of the musical and compositional approach of R. Shchedrin’s work “The Sealed Angel”. It has a subtitle “Russian Liturgy”, though it has no direct relation to the church service since there is no rite of Divine Liturgy. However, the liturgical idea underlies the musical and artistic conception of this work of art, linking together the sacred essence of Divine Liturgy, the deep sense of Leskov’s novella and the content of the texts of church-service chants employed by the composer that mainly belong to the period of Great Lent. The purpose of the article is to defi ne the essence of the musical and artistic design of the composer, which is expressed in the genre subtitle of the work: Russian Liturgy. The methodology of the article includes an interdisciplinary approach to the study of spiritual piece of music and employs the theses and terminology of liturgical studies as a science dealing with church service, as well as scientifi c categories of Russian musicology. The meaning of the genre title of “The Sealed Angel” — Russian Liturgy — is purely metaphorical, indicating the large-scale idea, the depth of the embodiment by the composer of spiritual and moral topics, as well as the presence of certain allusions to the liturgical service in the compositional structure. As a work of art belonging to nontraditional genres of Russian spiritual music, “The Sealed Angel” is distinguished by the specifi city of the compositional structure, the range and presentation of canonical and extraliturgical texts, the embodiment of the sacral content in the harmonious link between the extrapersonal and the individual creative thinking of the author, the wide range of applications of the modern compositional technique.

liturgical idea, spiritual music, non-traditional genres, worship, lenten songs, novellas by N.S. Leskov, allusion, Old Believers

1. Anninskii L. (ed.) (1993) N. S. Leskov. Sobranie sochinenii: V 6 t. [N. S. Leskov. Collected Works (in 6 vols.)]. Vol. 5: Novellas an Short Stories (in Russian).
2. Kovalev A. B. (2016) “Voprosy klassifi katsii zhanrov russkoi dukhovnoi muzyki na rubezhe XX–XXI vv.” [“Issues in the Classifi cation of Genres of Russian Spiritual Music of the Late 20th — 21st Centuries”], in 26 Ezhegodnaia bogoslovskaia konferentsiia PSTGU: Materialy [26th Annual Theological Conference of St Tikhon Orthodox University for the Humanities: Proceedings]. Moscow, pp. 344–349 (in Russian).
3. Kholopova V. N. (2000) Put' po tsentru. Kompozitor Rodion Shchedrin [The Middle Way. The Composer Rodion Shchedrin]. Moscow (in Russian).
4. Kovalev A. B. (2018) Zhanry russkoi dukhovnoi muzyki v tvorchestve otechestvennykh kompozitorov (vtoraia polovina XIX — nachalo XXI vekov) [Genres of the Russian Spiritual Music in Works by Russian Composers (Second Half of the 19th — Early 21st Centuries]. Tambov (in Russian).
5. Shmeman A., archpriest (2002) Velikii post [Great Lent]. Moscow (in Russian).

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.

In the late 1970s, after a period of the fondness for the avant-garde, Polish composers are beginning to return to spiritual and religious genres; among such composers are Krzysztof Penderecki, Henryk Mikolaj Gorecki and Pawel Lukaszewski. Today many Polish composers and musicologists are interested in the question of what makes the musical piece truly spiritual: employment of religious texts and genres, adherence to the musical canons, or, as the Polish musicologist Mieczyslaw Tomaszewski writes, “the moments of revelation”? They refl ect on the importance of faith in the life of the composer who writes spiritual music, and the place of the composer in religious life. Returning to genres of spiritual music leads composers to the traditional means of expression. Their works feature simple melodies and harmonic design, modal tonality or modality, the use of laws of classical polyphony. An important sign of music pieces of spiritual content is the penetration of elements of quotation that exist in the information fi eld of works of spiritual and religious character. These can be elements of monody, choral, polyphonic forms. In works with religious plots, an important role is played by the preservation of the original language. It creates a special distance with regard to the present-day language of conversation, thus emphasising the specific character of the piece of music. Indeed, one can assert that the art is spiritual if it is genuine, truthful and at the same time, using Tomaszewski’s words, serves the true values.

Polish music of the twentieth century, spiritual music, sacrum and profanum in music, Krzysztof Penderecki, Henryk Mikolaj Gorecki, Pawel Lukaszewski, Mieczyslaw Tomaszewski

1. Baranowie A. i Z. (1997) “Passio artis et vitae. Wywiad z Krzysztofem Pendereckim”, in Penderecki K. Labirynt czasu. Pięć wykładów na koniec wieku. Warszawa, pp. 13–14.
2. Droba K. (1978) “Droga do sensu tragicznego. Jeszcze o III Symfonii Henryka Mikołaja Góreckiego”. Ruch Muzyczny, 1978, vol. 15, pp. 3–4.
3. Droba K. (1987) “Gorecki”, in E. Dziębowska (ed.) Encyklopedia muzyczna PWM. Krakow.
4. Gąsiorowska M. (1983) “Czas zatrzymany Henryka Goreckiego”. Ruch Muzyczny, 1983, vol. 25, pp. 3–4.
5. Georgiades Th. (1960). Sakral und profan in der Musik. München.
6. Janicka-Słysz M. (2000) “Sacrum i profanum w muzyce. Wywiad z prof. M. Tomaszewskim”. Maszkaron, 2000, vol. 1, p. 3.
7. Łukaszewski P. (2014) “Nie każda muzyka religij na jest sakralna”. Ruch Muzyczny, 2014, vol. 4.
8. Moody I. (1992) “Górecki: The Path to the ‘Miserere’”. The Musical Times, 1992, vol. 133, no. 1792. Choirs and Trends, pp. 283–284.
9. Pociej B. (1980) “Henryka Mikołaja Goreckiego «Psalm»”. Tygodnik Powszechny. 1980, vol. 16, pp. 4–7.
10. Strożewski W. (1989) “O możliwości sacrum w sztuce”, in Sacrum i sztuka. Krakow, pp. 23–38.
11. Thomas A. (1998) Górecki. Krakow.
12. Tomaszewski M. (1994) Krzysztof Penderecki i jego muzyka. Cztery eseje. Krakow.
13. Tomaszewski M. (2000) “O tworczości zaangażowanej: muzyka polska 1944–1994 miądzy autentyzmem a panegiryzmem”, in Interpretacja integralna dzieła muzycznego. Krakow, рp. 141–149.

Irina Viskova

*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 purpose of this article is to draw attention to the harmonisations of church chants carried out by P.D. Samarin, who belonged to a famous Moscow noble family and was an active participant of Moscow Society for Church Singing (Russ. Московское общество любителей церковного пения). One of his spheres of work in this Society was just the harmonisation of church chants. Samarin devoted almost all his life to this work. Being a modest person, he never published his harmonisations, but a range of samples which, in my opinion, deserve attention has been preserved in manuscript form. In this article, the object of study is manuscripts that are now kept in Glinka National Museum of Musical Culture, namely Приидите поклонимся (Church Slavonic ‘Let us Come and Worship’), Слава… Единородный Сыне (‘Glory... Only Begotten Son’), Свете тихий (‘O Quiet Light’) and Хвалите Имя Господне (‘Praise the Name of Lord’). All the samples have transparent texture, clear harmony, and demonstrate stylistic features, typical of Russian church-service chants. The melodies are ususally close in terms of intonation to various church chants (Concise, Znamenny, Kievan), though they are not accompanied by any specifi c guidelines. Triads and triad sounds predominate in the harmonic vertical, the modal variability is widespread. P. D. Samarin’s manuscripts dealt with in this article expand our knowledge about one of the signifi cant sides of his work, while the identifi cation of stylistic distinctiveness of harmonisations of church chants that he carried out characterise him as a connoisseur of everyday church singing.

Moscow Society for Church Singing, harmonisation, Petr Dmitrievich Samarin, ‘Let us Come and Worship’, ‘Glory... Only Begotten Son’, ‘O Quiet Light’, ‘Praise the Name of Lord’

1. Chernyshova-Samarina E. A. (2001) “Aleksandr Dmitrievich Samarin”, in Samariny. Mansurovy. Vospominaniia rodnykh [The Samarin Family, The Mansurov Family. Memoirs of the Relatives]. Moscow, pp. 119‒204 (in Russian).
2. Nikol'skii A. V. (2002) “Pamiati P. D. Samarina” [“In Memoriam P. D. Samarin”], in Russkaia dukhovnaia muzyka v dokumentakh i materialakh. T. 3. Tserkovnoe penie poreformennoi Rossii v osmyslenii sovremennikov (1861-1918) [Russian Spiritual Music in Documents and Materials. Vol. 3. Church Singing of Post-Reform Russia in Interpretation of Contemporaries (1861‒1918)]. Moscow, pp. 321‒326 (in Russian).
3. Plotnikova N. Iu. (2007) “Liubitel' tserkovnogo peniia” [“Lover of Church Singing”], in Russkaia dukhovnaia muzyka XIX — nachala XX veka: stranitsy istorii [Russian Spiritual Music of the 19th — early 20th centuries: Pages of the History]. Moscow, pp. 164‒168 (in Russian).
4. Rakhmanova M. P. (2002) “Petr Dmitrievich Samarin. Vstupitel'naia stat'ia” [“Petr Dmitrievich Samarin. Introductory Article”], in Russkaia dukhovnaia muzyka v dokumentakh i materialakh. T. 3. Tserkovnoe penie poreformennoi Rossii v osmyslenii sovremennikov (1861–1918) [Russian Spiritual Music in Documents and Materials. Vol. 3. Church Singing of Post-Reform Russia in Interpretation of Contemporaries (1861‒1918)]. Moscow, pp. 290‒292 (in Russian).
5. Samariny. Mansurovy. Vospominaniia rodnykh (2001) [The Samarin Family, The Mansurov Family. Memoirs of the Relatives]. Moscow (in Russian).

Rybakova Nadezhda

*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.