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

In the early Christian period, the remote Roman provinces in the interior of the Western Balkans were never truly integrated into the Empire because of the smaller dynamics of land connections compared to Maritime ones. Before the active construction of cities and fortifications by the Byzantine Empire in the Justinian era, there was mainly a transformation of ancient buildings with their adaptation to Christian functions. One of the most striking examples of such processes is the city of Naissus (Niš) on the territory of present-day Serbia, which since ancient times lay at the crossroads of important roads connecting the East and West, North and South of the Empire. With the coming to power of the Emperor Constantine the Great, who was born here, the gradual evolution of the city to Christianity began and it became one of the main Christian centers in the Balkans. From the IV to VI centuries in Naissus there were many Christian churches, martyriums, baptisteries and other objects. Until the Avar-Slavic invasions of VI-VII centuries the city thrived culture that combines the artistic currents of the East and West.

Early Christian architecture, Western Balkans, Illyricum, Naissus, transformation and adaptation of ancient buildings, basilica, martyrium, baptistery

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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 studies ciboria of Roman churches of the 12th — 13th centuries, the role of which is very important in shaping the interior structure of basilicas. The first aim of the article is to classify the forms of ciboria and show their signifi cance in structuring the interior space of the churches. Prior to the 12th century, the principal type of ciboria, found in the territory of Rome and Lazio, had its upper part in form of a canopy with four slopes, the shape of which can be interpreted as an image of baldachin, a cover. To this type belong the objects from the basilicas Santa Cristina in Bolsena and San Pietro in Tuscany. There also existed ciboria in a form of a rectangular colonnade with an inclined roof. This type is represented by one example, i.e. San Clemente al Laterano. In the 12th century, it starts to be seen again (e.g. in Castel Sant’Elia), though a more wide-spread become ciboria with a pinnacle-like ending in form of an eightpart colonnade and a tent (San Giorgio in Velabro, Santi Giovanni e Paolo Ferentino, Santa Maria Assunta, etc.). In the late 13th century appears a new type of ciborium in Gothic style. The main monuments were made by Arnolfo di Cambio (Santa Cecilia in Trastevere and San Paolo fouri le mura) and Deodato da Cosma (Santa Maria in Cosmedin). Therefore, ciboria of the period in question were understood as smaller architectural forms oriented towards fashions of church construction. These are forms of a centric building and crossing of the basilica. The structure of ciboria might have been influenced by the shape of the Church of the Holy Sepulchre in Jerusalem. All these parameters have determined the form of the altar space as a specifi cally emphasised solemn place in the interior which is exposed to the eyes of supplicants.

ciborium, altar space, Rome, architecture, sculpture, Middle Ages, Arnolfo di Cambio, Deodato da Cosma, Papal States, presbytery

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Kuznetsova Nataliya

There is no suff ucient data for tenable judgments about the exterior decoration of the upper part of Nativity Cathedral in Suzdal. The long-established opinion about the rich carved decor of this part of the cathedral can hardly be considered convincing. The process of development of carved exterior adornment in churches of Vladimir and Suzdal could be not as straightforwardly linear as it is traditionally thought. It cannot be excluded that the line of evolution of stone carving in Vladimir and Suzdal slightly “curved” after a sui generis pinnacle, i.e. the decor of the facade of Dmitrievskiy Cathedral. It cannot be excluded that the Suzdal cathedral represented a diff erent type, a different conception of the exterior adornment. It was characterised by a laconic structure, a diff erent expressiveness — the expressiveness of simplicity, — exquisite yet modest ornamental stone carving, meaningful accents. A whole range of specifi c features allow us to suppose that in the creation of its exterior decoration participated new-coming masters of the new wave. They used specifi c Romance examples and attempted to adjust them to local conditions. The colour of the facades could also be specific in this case. The spaces between the columns in the blind arcade of the Nativity Cathedral were probably not left empty. They were designed for fresco painting. Images of saints and prophets could be situated in them, just like in the Dormition Cathedral in Vladimir.

pre-Mongolian period, Nativity Cathedral in Suzdal, facade decoration, stone carving, ornament, Romance art, theme of lions

1. Gabrieli F., Scerrato U. (1979) Gliarabi in Italia. Milano.
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3. Glazov V., Ioannisian O., Zykov P., Torshin E. (1997) “Arkhitekturno-arkheologicheskie issledovaniia u Rozhdestvenskogo sobora v Suzdale” [Architectural and Archaeological Research near Nativity Cathedral in Suzdal], in: Arkhitekturnye otkrytiia 1996 g. [Discoveries in Architecture in 1996]. Moscow (in Russian).
4. Ioannisian O. (2005) “Romanskie istoki zodchestva Vladimiro-Suzdal'skoi Rusi vremeni Andreia Bogoliubskogo (Germaniia ili Italiia?)” [Romance Origins of Architecture of Vladimir-Suzdal Rus’ of the Time of Andrey Bogolyubskiy (Germany or Italy?), in: Drevnerusskoe iskusstvo: Vizantiiskii mir: iskusstvo Konstantinopolia i natsional'nye traditsii. K 2000-letiiu khristianstva [Old Russian Art. Byzantine World: Art of Constantinople and National Traditions. The 2000th Anniversary of Christianity]. Moscow. Pp. 31‒70 (in Russian).
5. Lelekov L. (1978) Iskusstvo Drevnei Rusi i Vostok [Art of Ancient Rus’ and the East]. Moscow (in Russian).
6. Lifshits L. (2015) “Belokamennaia rez'ba Severo-Vostochnoi Rusi” [White-Stone Carving of North-Eastern Rus’], in: Istoriia russkogo iskusstva [History of Russian Art]. Vol. 2/2. Moscow (in Russian).
7. Romanov K. (1931) “Vnov' otkrytye rel'efy Suzdal'skogo sobora” [Rediscovered Reliefs of the Suzdal Cathedral]. Soobshcheniia Gosudarstvennoi akademii istorii material'noi kul'tury, 3. Leningrad (in Russian).
8. Vagner G. (1975) Belokamennaia rez'ba drevnego Suzdalia. Rozhdestvenskii sobor. XIII v. [White-Stone Carving of Ancient Suzdal. Nativity Cathedral. 13th Century]. Moscow (in Russian).
9. Vakhtanov S. (2014) “Belokamennoe reznoe ubranstvo” [White-Stone Carved Adornment], in: Sobor Rozhdestva Bogoroditsy v Suzdale [Cathedral of Nativity of Theotokos in Suzdal]. Vladimir (in Russian).
10. Varganov A. (1960) “Eshche raz o suzdal'skom sobore” [Once Again on the Suzdal Cathedral]. Sovetskaia arkheologiia, 4, pp. 249‒255 (in Russian).
11. Voronin N. (1962) Zodchestvo Severo-Vostochnoi Rusi XII–XV vekov [Architecture of North-Eastern Rus’ of the 12th — 15th Centuries]. Vol. 2: XIII–XV stoletiia [13th — 15th Centuries]. Moscow (in Russian).

Orlova Maria

*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.

The sticheron for the Annunciation Blagovestvuet Gavriil (Church Slavonic Благовествует Гавриил ‘Gabriel Announceth’) has been preserved in Old Russian notated manuscripts of the mid-15th century (previously, it existed without notation). The text is a translation of the Byzantine sticheron E´αγγελίζεται Γαβριήλ, but the chant is diff erent. The copies of the mid-15th — early 16th centuries are notatied in an unknown notation of the palaiobyzantine type (probably Chartres). In chant manuscripts of the 16th century Znamennaya notation is used, the hook line consists completely of litsa. Probably, the shape of litsa implied variability of writing. In copies of the 17th century, the litsa are almost always given as a split znamya. Several versions of the chants are being created, each of them is marked with a remark about a local or an author’s chant. Most Old Russian church chants have gone through the same stages, but the sticheron Blagovestvuet Gavriil shows some unique features. All changes of the musical text occur non-synchronically with commonly known versions of books of singing. The unique chant and unknown notation of the early copies were infl uenced by Znamenny chant and Znamennaya notation in the later copies.

Znamennaya notation, palaiobyzantine notation, Chartres notation, neumatic notation, Znamenny chant, stichera, hook line, litsa, methods of combinatorial analysis

1. Brazhnikov M. (1984) Litsa i fity znamennogo raspeva. Leningrad (in Russian).
2. Drozdetskaia N. (2005) “Opekalovskii raspev: Imenovanie i bytovanie” [Opekalovskiy Chant: Naming and Occurrence]. Drevniaia Rus': Voprosy medievistiki, 1(19), pp. 80–91 (in Russian).
3. Gertsman E. (1988) Vizantiiskoe muzykoznanie [Byzantine Musical Science]. Leningrad (in Russian).
4. Guseinova Z. (1990) “Rukovodstva po teorii znamennogo peniia 15 veka (istochniki i redaktsii)” [Manuals in the Theory of Znammenoe Singing of the 15th Century (Sources and Editions), in: Drevnerusskaia pevcheskaia kul'tura i knizhnost' [Old Russian Singing Culture and Booklore]. Leningrad. Pp. 20–46 (in Russian).
5. Guseinova Z. (1999) Russkie muzykal'nye azbuki 15–16 vekov [Russian Musical ABC-Books of the 15th — 16th Centuries]. St Petersburg (in Russian).
6. Guseinova Z. (2008) “Notirovannye rukopisi Kirillo-Belozerskogo monastyria XV veka” [Notated Manuscripts of Kirillo-Belozerskiy Monastery of the 15th Century], in Ustnaia i pis'mennaia transmissiia tserkovno-pevcheskoi traditsii: Vostok–Rus'–Zapad [Oral and Written Transmission of Church Singing Tradition: East — Rus’ — West]. Moscow. Pp. 85–97 (in Russian).
7. Lebedev S. (ed.) Istoricheskii atlas srednevekovoi muzyki [Historical Atlas of Medieval Music]. Moscow (Russian translation).
8. Lozovaia I. (1999) “Vizantiiskie prototipy drevnerusskoi pevcheskoi terminologii” [Byzantine Prototypes of Old Russian Singing Terminology], in: Keldyshevskii sbornik: Muzykal'noistoricheskie chteniia pamiati Iu. V. Keldysha 1997 [Keldysh’s Collection. Musical and Historical Readings in Memory of Iu. V. Keldysh]. Moscow. Pp. 62–72 (in Russian).
9. Parfent'ev N. (1991) Drevnerusskoe pevcheskoe iskusstvo v dukhovnoi kul'ture Rossiiskogo gosudarstva XVI–XVII vv.: Shkoly. Tsentry. Mastera [Old Russian Art of Singing in Spiritual Culture of the Russian State of the 16th — 17th Centuries: Schools, Centres, Masters]. Sverdlovsk (in Russian).
10. Pletneva E. (2003) “Notatsiia v pesnopeniiakh drevnerusskikh Oktoikhov Izbornykh i Shestodnevov Sluzhebnykh (XIII–XV vv.)” [Notation in Chants of Old Russian Oсtoechoi and Hexaemeroi (13th — 15th Centuries). XIII Ezhegodnaia Bogoslovskaia Konferentsiia Pravoslavnogo Sviato- Tikhonovskogo Bogoslovskogo Instituta: Materialy 2003 [13th Annual Theological Conference of St. Tikhon Theological Institute]. Moscow. Pp. 443–451 (in Russian).
11. Russkaia dukhovnaia muzyka v dokumentakh i materialakh [Russian Spiritual Music in Documents and Materials]. Vol. 7: Afonskaia ekspeditsiia Obshchestva liubitelei drevnei pis'mennosti, 1906 [Athos Expedition of the Society for Ancient Manuscripts, 1906]. Book 2: Afonskaia kollektsiia [Athonite Collection]. Moscow, 2012 (in Russian).
12. Troelsgård Ch. (2011) Byzantine Neumes. Copenhagen.
13. Uspenskii B. (2013) “Bukva E v drevnerusskikh pevcheskikh tekstakh i v spiskakh bibleiskoi knigi Iskhod” [The Letter E in Old Russian Singing Tests and in Copies of the Book of Exodus]. Voprosy iazykoznaniia, 6, pp. 79–114 (in Russian).
14. Wolfram G. (ed.) (1987) Codex Vindobonensis theol. gr. 136 (Sticherarium antiquum Vindobonense). Reproduction integrale. Pars Principalis. Wien.
15. Zabolotnaia N. (2001) Tserkovno-pevcheskie rukopisi Drevnei Rusi XI–XIV vekov: Osnovnye tipy knig v istoriko-funktsional'nom aspekte [Church Singing Manuscripts in Ancient Rus’ of the 11th — 14th Centuries: Main Types of Books in Historical and Functional Aspect]. Moscow (in Russian).

Zakharina Nina

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

This research was supported by the Russian Foundation for Basic Research (RFBR) grant № 17-34-00023 (Monodic hymns to the Mother of God on the Great Feasts of the 11th-17th centuries: Greek-Slavonic parallels). I thank I.Geraimova for provided materials.

This article deals with the dating of two embroidered double-faced khorugvs (Russ. хоругвь) with the image Appearance of Theotokos to St. Sergiy of Radonezh (17th century) from the collection of Sergiev Posad Museum-Preserve. The article compares and analyses stylistic and technical features of embroidering of khorugvs and their relation to products of Tsaritsa’s Masters’ Chamber (Russ. царицына мастерская палата) of the mid-17th century. Both khorugvs are designed in the technique of double-face silk embroidering, skan’ and golden thread. Showing the same plot which is expounded in St. Sergiy’s Life, they have a number of dissimilarities, both in the composition and in style. The author of the article has found in the act of restoration of 1924 a description of the double-faced khorugv embroidered on green satin, as well as its later edging of blue satin with a chronicle of 1793. The comparison of the design and stylistic features allowed us to attribute the red-background khorugv to the objects of the 1630‒1640s. The double-face khorugv, embroidered on green satin (taking into account its description before the restoration of 1924), has been included in the range of early products of Tsaritsa’s chambers of the time of tsaritsa Maria Ilyinichna and has been dated to 1650 due to a separately kept removable inscription.

double-faced khorugv, Appearance of Theotokos to St. Sergiy, tsaritsa’s chambers, tsaritsa Maria Ilyinichna, restoration, Old Russian embroidery

1. Baldin V., Manushina T. (1996) Troitse-Sergieva Lavra. Arkhitekturnyi ansambl' i khudozhestvennye kollektsii drevnerusskogo iskusstva XIV–XVII vv. [Trinity Lavra of St. Sergiy. Architectural Ensemble and Collections of Old Russian Art of the 14th —17th Centuries]. Moscow (in Russian).
2. Cherkashina G. (2012) “Khudozhestvennoe shit'e v khramakh Troitse-Sergieva monastyria v XVII — nachale XX vv.” [Embroidery Art in the Churches of Troitse-Sergiev Monastery in the 17th — Early 20th Centuries], in: Troitse-Sergieva lavra v istorii, kul'ture i dukhovnoi zhizni Rossii. Sbornik materialov VII mezhdunarodnoi konferentsii 23–25 sentiabria 2010 goda [Trinity Lavra of St. Sergiy in the History, Culture, and Spiritual Life of Russia. Proceedings of the 7th International Conference, 23‒25 September 2010]. Sergiev Posad. Pp. 268–277 (in Russian).
3. Chernenilova L. (2013) Volshebnaia nit'. Litsevoe i ornamental'noe shit'e XVI — nachala XVIII veka iz sobraniia muzeia “Novyi Ierusalim” [Magic Thread. Pictorial and Ornamental Embroidery of the 16th — Early 18th Centuries from Collection of the Museum “New Jerusalem”]. Moscow (in Russian).
4. Guseva E. (1999) “Osobennosti slozheniia ikonografi i “Sergieva videniia” (“Iavleniia Bogomateri prepodobnomu Sergiiu”)” [Features of the Development of the Iconography of the Vision of St. Sergiy (Appearance of Theotokos to St. Sergiy)]. Gosudarstvennyi istoriko-arkhitekturnyi muzei-zapovednik “Moskovskii Kreml'”. Materialy i issledovaniia. Iskusstvo srednevekovoi Rusi, 12. Moscow. Pp. 120–138 (in Russian).
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6. Maiasova N. (2004) Drevnerusskoe litsevoe shit'e [Old Russian Pictorial Embroidery]. Moscow (in Russian).
7. Nikolaeva T. (1969) Sobranie drevnerusskogo iskusstva v Zagorskom muzee [Collection of Old Russian Art in the Museum of Zagorsk]. Leningrad (in Russian).
8. Nikolaeva T. (1978) Drevnii Zvenigorod [Ancient Zvenigorod]. Moscow (in Russian).
9. Nikolaeva S., Voroncova L., Cherkashina G., Shitova L. (2014). Prepodobnyi Sergii Radonezhskii. Obraz prostoty, pravdy i sviatosti. Ikonografi ia XV — nachala XX vv. [Saint Sergiy Radonezhskiy. The Epitome of Simplicity, Truth, and Sanctity. Iconography of the 15th — Early 20th Centuries]. Moscow, 2014 (in Russian).
10. Petrunina T. (ed.) Prepodobnyi Sergii Radonezhskii v proizvedeniiakh russkogo iskusstva XV–XIX vv. [St. Sergiy Radonezhskiy in the Objects of Russian Art of the 15th — 19th Centuries]. Moscow, 1992 (in Russian).
11. Sedov D., Shalina I. (eds.) Prepodobnyi Savva Storozhevskii. Ikonografi ia XV — nachala XX veka [Saint Savva Storozhevskii. Iconography of the 15th — Early 20th Centuries]. Moscow, 2013.
12. Semechkin P. (2001) Masterskaia po remontu drevnego shit'ia. K istorii Sektsii dekorativnogo iskusstva Tsentral'nykh gosudarstvennykh restavratsionnykh masterskikh (1919–1934 gg.) [Workshop for the Mending of Ancient Embroidery. To the History of the Division of Decorative Art of the Central State Restoration Workhops (1919‒1934)]. Vestnik. Restavratsiia muzeinykh tsennostei [Review. Restoration of Museum Values]. 2/2000 – 1/2001 (№ 6–7). Moscow. Pp. 54‒62 (in Russian).
13. Sharomazov M. (ed.) Podpisnye i datirovannye proizvedeniia tserkovnogo iskusstva. Katalog vystavki v Kirillo-Belozerskom muzee-zapovednike 25 iiunia — 16 avgusta 2016 [Signed and Dated Objects of Church Art. Catalogue of Exhibition in Kirillo-Belozerskiy Museum-Preserve, 25 June — 16 August 2016]. Kirillov, 2017 (in Russian).
14. Voronin N., Kostochkin V. (eds.) Troitse-Sergieva Lavra. Khudozhestvennye pamiatniki [Trinity Lavra of St. Sergiy. Monuments of Art]. Moscow, 1968 (in Russian).

Zavarina Ekaterina

Russian manuals of theory of music of the mid-17th century contain information about the main elements of the system of singing. In this period, in Znamenny chant, the rendering by the formulae (fi ty and popevki, Russ. фиты и попевки) was topical. They were explained in special manuals (fi tniki and kokizniki, Russ. фитники и кокизники). In the manuscript of this time from the collection of V.F. Odoevskiy kept at the Russian State Library (fund 210, № 1) are presented ca. 20 various manuals, among which there are eight fi tniks; most of them are parts of larger manuals. In the repertoire of the fity of this codex, a whole range of repeated formulae have been identifi ed, they have differences in their shape and, particularly, chants (разводы). From the point of view of structuring the material, the presenting of fi ty should theoretically include the demonstration of fi ta within the echos, the writing of the formula, its name and chant. In reality, the information is far from full. The fi tniks can lack any of these components, and the chants of fi ty can be written in several singing chants. In separate cases, the fitniks contain accompanying remarks that specify the musical attribution of the ways of chanting (e.g. усольский, монастырский) or particularities of their writing and formation (e.g. фита трестрелная, фита тихая без своду). The composition of the fita chants is based on the musical-linear, non-textual system; the number of lines in the chant varies from one to four. The complexity of the fi ta chant depends not on the melismatic concentration but on the number of the lines. In the fi ta singing, there has formed a repertoire of lines which are stable in each echos and are contained in the chanting of many formulae. However, the main technique of the intonational variability of chanting was preserved, which can be regarded as the most distinctive feature in the artistic work of Old Russian masters of singing.

manuscript, codex, handbook of musical theory, fita, popevka, fitnik, kokiznik, chant, text, structure, line, intonation

1. Brazhnikov M. (1972) Drevnerusskaia teoriia muzyki [Old Russian Theory of Music]. Leningrad (in Russian).
2. Brazhnikov M. (1984) Litsa i fity znamennogo raspeva. Leningrad (in Russian).
3. Brodskii N., Lavretskii A., Lunin E., L'vov-Rogachevskii V., Rozanov M., Cheshikhin-Vetrinskii V. (1925) Literaturnaia entsiklopediia: Slovar' literaturnykh terminov [Encyclopaedia of Literature: Dictionary of Literary Terms], available at http://feb-web.ru/feb/slt/abc/ (02.11.2019; in Russian).
4. Grigor'eva V. (2012) “Kniga inoka Iosifa Lovzunskago. Ego znameni i pomety” [Monk Iosif Lovzunskiy’s Book]. Vestnik PSTGU Seriia V. Voprosy istorii i teorii khristianskogo iskusstva, 3 (9), 7–54 (in Russian).
5. Guseinova Z. (2001) Fitnik Fedora Krest'ianina. St Petersburg (in Russian).
6. Karastoianov B. Popevki i fity v tsentonakh znamennogo rospeva i ikh osnovnye formuly; available at http://znamen.ru/txt/k/p_f_cen.htm (in Russian; 02.11.2019).
7. Kruchinina A., Shvets T. (2012) “«Khristos pri dverekh, zhremaia Paskha priide…»: Chin umoveniia nog v drevnerusskoi pevcheskoi traditsii” [“Christ is at the Door, the Easter has Come...”: the Rite of Washing the Feet in Old Russian Tradition of Singing]. Evraziia: dukhovnye traditsii narodov, 1, pp. 186‒215 (in Russian).
8. Kudriavtsev I. (ed.) (1960) Rukopisnye sobraniia D. V. Razumovskogo i V. F. Odoevskogo i arkhiv D. V. Razumovskogo. Opisaniia [Manuscript Collections of V. F. Odoevskiy and Archive of D. V. Razumovskiy. Descriptions]. Moscow (in Russian).
9. Semenenok I. (2017) “K probleme formuly v znamennom raspeve” [The Problem of Formula in Znamenny Chant]. Muzyka i vremia, 5, pp. 3–9 (in Russian).
10. Seregina N. (2014) “Notirovannaia fi ta v stikhire Epifaniiu Kiprskomu iz rukopisi Troitskogo pistsa Epifaniia” [Notated Fita in the Sticheron to Epiphanius of Salamis from the Manuscript of the Troitsk Scribe Epiphanius], in: M. Sen’, I. Chudinova, A. Timoshenko (eds) Prepodobnyi Sergii Radonezhskii v russkoi kul'ture i iskusstve: tezisy nauchnykh dokladov mezhdunarodnoi nauchnoprakticheskoi konferentsii [St. Sergiy of Radonezh in Russian Culture and Art. Abstracts of the Internationl Conference]. St Petersburg. Pp. 11‒12 (in Russian).
11. Timofeev L., Turaev S. (1974) Slovar' literaturovedcheskikh terminov [Dictionary of Terms of Literary Studies]. Moscow (in Russian).
12. Vladyshevskaia T. (2006) Muzykal'naia kul'tura Drevnei Rusi [Musical Culture of Ancient Rus’]. Moscow (in Russian).
13. Zakhar'ina N. Iz istorii russkogo bogosluzhebnogo peniia [From the History of Russian Church Singing]; available at http://www.rusland.spb.ru/zv_1_3b.htm (in Russian; 02.11.2019).

Guseinova Zivar

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

The article discusses cycles of Russian Partes concertos for cori spezzati. There have been identifi ed three cycles for 8 and 12 voices created between the end of the 17th century and the 1730s by Vasiliy Titov, Gerasim (Zavadovsky), and Nikolai Kalachnikov. They are placed, on the one hand, in the context of concerto cycles for 3‒5 voices by Nikolay Diletskiy and Vasiliy Titov and, on the other hand, in the context of supercycles of Polish and German Baroque composers intended for performance during more than one day and up to a whole year. Particular attention is paid to Vasily Titov’s concertos in 12 voices devoted to the Great Feasts. The main sources of the text are dated by means of an analysis of watermarks, marginalia, and mentions of empresses in other (anonymous) concertos from the manuscripts in question. It has been concluded that all the sources without exception, in which Titov’s cycle is more or less fully represented, go back to the 1740‒1770s, i.e. are not intra vitam, but were created thirty or more years after the author’s death. Besides, in all but two manuscripts, the cycle has a diff erent structure and a somewhat diff erent duration. This raises the question about whether Titov had originally created these concertos as a cycle or they were compiled by unknown choir masters after his death. The analysis of the concertos from the three points of view, i.e. the tonalities employed, the ratio between the amount of the text and music (the intensity of repetition of words), and polyphonic techniques, leads to the conclusion that these concertos were specifi cally created as a cycle.

Russian Baroque, Partes concerto, Vasiliy Titov, Great Feasts, text sources, watermarks, cori spezzati, polyphonic technique, canon, stretta

1. Bulycheva A. (2016) “Kontserty na 12 golosov iz sobrania Spaso-Preobrazhenskogo Pyskorskogo monastyria” [Twelve-Part Concertos from Spaso-Preobrazhenskiy Pyskorskiy Monastery]. Russkoe muzykal’noe barokko: tendentzii i perspektivy issledovania, 1, pp. 243–251 (in Russian).
2. Bulycheva A. (2017) “Vasilii Titov — Gerasim (Zavadovskii) — Kirill Zaiashevich: tvorcheskii dialog, tvorcheskoe sorevnovanie [Vasiliy Titov — Gerasim (Zavadovskiy) — Kirill Zayashevich: An Artistic Dialogue, an Artistic Competition]. Sovremennye problemy muzykoznaniia, 1, pp. 25–42 (in Russian).
3. Bulycheva A. (2018) “Problema avtorstva v dukhovnoi muzyke pozdnego barokko (Frantsia — Rossia)” [The Problem of Authorship in Late Baroque Sacred Music (France — Russia)]. Nauchny vestnik Moskovskoy konservatorii, 2, pp. 82–93 (in Russian).
4. Bulycheva A. (2019) “Concerto, concentus, kontsert: partesnyi kontsert v kontekste barochnoi terminologii” [Concerto, Concentus, Concert: Partes Concerto in the Context of Baroque Terminology]. Starinnaya muzyka, 1, pp. 10–17 (in Russian).
5. Gierasimowa I. (2018) “Introduction”, in: I. Gierasimowa (ed.) Nicolaus Dylecki (ca. 1630– 1690). Vesperae, Liturgia, Concerti quatuor vocum. Warsaw. Pp. 7–30.
6. Кeldysh Yu. (1983) Istoria russkoy muzyki [History of Russian Music], vol. 1. Мoscow (in Russian).
7. Plotnikova N. (2012) “Iz istorii partesnogo stilia: kompozitor Nikolay Kalashnikov” [From the History of the Partes Style: The Composer Nikolay Kalashnikov]. Muzyka i vremia, 11, pp. 23–27 (in Russian).
8. Plotnikova N. (2016) “Kontserty Nikolaia Diletskogo na tri golosa: voprosy atributsii, zhanra i stilya” [Three-Part Concertos by Nikolay Diletsky: Problems of Attribution, Genre and Style]. Muzyka i vremia, 8, pp. 11–25 (in Russian).
9. Plotnikova N. (2016) “Tvorchestvo masterov partesnogo stilia Vasilia Titova i Nikolaia Diletskogo: novye otkrytia i perspektivy izucheniia” [The Work of the Masters of Part-Singing Style Vasily Titov and Nikolay Diletzky: New Discoveries and Perspectives of Research]. Russkoe muzykal’noe barokko: tendentzii i perspektivy issledovania, 1, pp. 145–154 (in Russian).
10. Plotnikova N. (2011) “«Tsarstvenny master» Vasily Titov” [The “Regal Master” Vasiliy Titov]. Muzyka i vremia, 5, pp. 32–41 (in Russian).
11. Protopopov V. (ed.) (2004) V. Тitov. Ansambli i khory bez soprovozhdenia [V. Titov. Unaccompanied Ensembles and Choruses], vol. 1. Мoscow (in Russian).
12. Protopopov V. (2011) “Spisok proizvedeniy Vasilia Titova” [List of Works by Vasiliy Titov], in: V. Protopopov. Iz neopublikovannogo nasledia [From the Unpublished Heritage]. Мoscow. Pp. 392–394 (in Russian).

Bulycheva Anna

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

This article studies the history of the church of the Nativity in Peski, St. Petersburg, which is now being built again, and, particularly, its iconostases. The church was built in 1798 in place of the previous decrepit building designed by architect Petr Egorov and was several times renovated and rebuilt. Drawing on drafts and other documents, the article gives a detailed history of the original iconostases, many of which have been identifi ed for the fi rst time, reconstructs their exterior and specifi es the datings. It securely establishes the authorship of the original main iconostasis of the church designed by architect I. E. Starov. Of particular interest is the letter exchange of 1790 related to the tender for making the iconostasis and, in paricular, the requirements in the “obligation” of master Petr Makarov. The article also contains a detailed historical and art-critical description, data about the expenditure on the construction, plots and history of the icons, it compares the iconostases of compartments of the church, their stylistic features. It gives a description of the renovation of the iconostasis carried out in 1851 under the guidance of architects A. I. Shvetsov and V. F. Nebol’sin. In the same year, the new iconostasis designed by academician F. G. Soltsev was installed, and the old were dismantled. The authors of the article argue that the iconostases by Starov and Egorov, presented in the preserved drafts, better corresponded to the architectural style of the church than Solntsev’s iconostasis, known from photographs.

church architecture, iconostases, architects P. Egorov, I. E. Starov, F. G. Solntsev, church of the Nativity in Peski, icons, symbols

1. Aksenova G. (2009) Russkii stil'. Genii Fedora Solntseva [Russian Stype. Genius of Fedor Solntsev]. Moscow (in Russian).
2. Antonov V., Kobak A. (2010) Sviatyni Sankt-Peterburga [Holy Places of St Petersburg]. St. Petersburg (in Russian).
3. Kuznetsov F., Kuznetsova-Rytsk E. (1964) Arkhitektor Petr Egorov [Architect Petr Egorov]. Cheboksary (in Russian).
4. Kuznetsova E. (1984) Arkhitektor Petr Egorov. Cheboksary (in Russian).
5. Putiatin I. (2004) “«Nizkie» ikonostasy epokhi klassitsizma: soderzhanie arkhitekturnoi formy i problemy vosstanovleniia” [“Low” Iconostases of the Epoch of Classicism: Content of the Architectural Form and Problems of Restoration]. Relikviia, (4), pp. 16‒23 (in Russian).
6. Sorokin P., Bertash A., Andreeva O., Bel'skii S., Mikhailova S., Semenov S., Sobolev V. (2009) “Istoriko-arkheologicheskoe izuchenie utrachennykh khramov Sankt-Peterburga” [Historical and Archaeological Study of the Lost Churches of St Petersburg]. Arkheologicheskoe nasledie Sankt-Peterburga, 3. Pp. 3‒129 (in Russian).

Dayanov Rafael

Zalmanzon Anna

The article studies the formation of V. M. Vasnetsov’s “ideal of unity” (Russ. «соборный идеал») which was an important factor in accomplishing the tasks of decorating the interior of Vladimir Cathedral in Kiev, the monument cathedral, dedicated to the 900th anniversary of the Baptism of Russia, whose paintings conveyed the idea of internalising the religious history of Russia. Vasnetsov saw a prerequisite of success in the task of decorating the cathedral in the “ardent link between the painters and contemporaries”. Thus the “ideal of unity” of the artist is being gradually shaped. Its foundation is the idea of the “natural unity of mankind” according to the Slavophiles, which implies a very deep harmony between people; this is an asset of those who are united by the sincere service for truth, kindness, and beauty.

spirit of unity, ideal of unity, religious painting, paintings in Vladimir church in Kiev, artistic and aesthetic programme, Vasnetsov, Abramtsevo circle

1. Florenskii P. (1972) “Ikonostas” [Iconostasis]. Bogoslovskie trudy, 9 (in Russian).
2. Plotnikova I. (1994) “O religioznoi zhivopisi Vasnetsova vo Vladimirskom sobore v Kieve” [On Vasnetsov’s Religious Painting in Vladimir Cathedral in Kiev], in: Viktor Mikhailovich Vasnetsov (1848–1926). Sbornik materialov [Viktor Mikhailovich Vasnetsov (1848–1926). Collection of Materials]. Moscow. Pp. 47–62 (in Russian).
3. Polenova N. (1922) Abramtsevo. Vospominaniia [Abramtsevo. Memoirs]. Moscow (in Russian).
4. Prakhov N. (1958) Stranitsy proshlogo [Pages of the Past]. Kiev (in Russian).
5. Vasnetsov V. (1987) Mir khudozhnika. Pis'ma. Dnevniki. Vospominaniia. Dokumenty. Suzhdeniia sovremennikov [The Painter’s World. Letters. Diaries. Documents. Opinions of Contemporaries]. Moscow (in Russian).
6. Vereshchagina A. (1994) “K voprosu ob istoricheskoi zhivopisi Vasnetsova” [On Vasnetsov’s Historical Painting], in: Viktor Mikhailovich Vasnetsov (1848–1926). Sbornik materialov [Viktor Mikhailovich Vasnetsov (1848–1926). Collection of Materials]. Moscow. Pp. 25–45 (in Russian).
7. Zen'kovskii V. (1993) Problemy vospitaniia v svete khristianskoi antropologii [Issues in Upbringing in the Light of Christian Anthropology]. Moscow.

Paston Eleonora

*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.

Drawing on archival documents, this article studies for the first time questions of the influence of traditions of the Court Capella on church-singing practice in the youngest administrative region of the Russian Empire, i.e. Kuban region. Its alumni choir masters had been working in the military choir of Kuban cossack army since 1859. But these were separate instances rather than a specifi cally designed system, which did not allow the choir to provide professional training for heads of church-singing groups of numerous urban and rural parishes of the region. Alumni of the Capella in Kuban region in the early 20th century made a signifi cant contribution in the development of church Obikhod and traditions of spiritual chants. The multivolume musical version of the annual circle of church singing by notes carried out by the teacher of singing Andrey Yakovlevich Gubarev and published at his own expense became a commonly used study material in schools and elementary colleges. The simplicity of the versions made these collections accessible to choir masters of any level of training, while the detailed churchservice instructions, for the fi rst time included in the structure of the text, helped sextons and the clergy to understand the order of the church service. Spirital musical works by Grigoriy Matrofanovich Kontsevich belong a diff erent direction and were designed for performing by singing ensembles of various levels of training, including school choirs. Archival documents and newspaper publications of that time help to reconstruct certain pieces of biographical information about choir masters of Ekaterinodar.

Court Capella, Court Obikhod, Ekaterinodar, сhurch singing, G. M. Kontsevich, A. Ya. Gubarev, musical publishing, military singing choir

1. Anikienko S. (2017) “«Godovoi krug notnogo tserkovnogo peniia» A. Gubareva: opyt osmysleniia pravoslavnogo osmoglasiia” [“Annual Circle of Church Singing by Notes” by A. Gubarev: the Experience of Understanding the Orthodox Octoechos], in Bogosluzhebnye praktiki i kul'tovye iskusstva v sovremennom mire [Liturgical Practices and Sacred Arts in the Modern World]. Maikop. Pp. 489‒501 (in Russian).
2. Anikienko S. (2018) “«Chem bol'she budet peniia, tem luchshe stanut liudi» (neizvestnoe pis'mo N. F. Findeizena v Ekaterinodar)” [“The More Singing, the Better the People will Become” (An Unknown Letter by Nikolay Findeisen to Ekaterinodar)]. Khudozhestvennoe obrazovanie i nauka, 4, pp. 70‒78 (in Russian).
3. Artemova E. (2015) Dukhovno-muzykal'naia kul'tura Peterburga rubezha XIX–XX vekov [Spiritual and Musical Culture of St Petersburg of the Late 19th — Early 20th Centuries]. Moscow (in Russian).
4. Chumachenko V. (2000) “Taina Aleksandra Koshitsa” [The Mystery of Alexander Koshits]. Rodnaia Kuban', 2, pp. 141‒144 (in Russian).
5. Dukhovskaia T. (2000) “Pridvornyi obikhod i ego vliianie na sovremennuiu tserkovno-pevcheskuiu praktiku” [Court Obikhod and its Infl uence on Modern Church Singing Practice]. Ezhegodnaia bogoslovskaya konferentsiia Pravoslavnogo Sviato-Tikhonovskogo bogoslovskogo instituta [Annual Theological Conference of St. Tikhon Orthodox Theological Institute]. Moscow. Pp. 532‒538 (in Russian).
6. Eremenko S. (2000) “«Predan pesne» (Deyatel'nost' G. M. Kontsevicha v dosovetskii period)” [“Devoted to the Song” (Work of G.M. Kontsevich in the Pre-Soviet Period]. Kuban': problemy kul'tury i informatizatsii, 1, pp. 14‒17 (in Russian).
7. Levashov E. (1994) Traditsionnye zhanry pravoslavnogo pevcheskogo iskusstva v tvorchestve russkikh kompozitorov ot Glinki do Rakhmaninova [Traditional Genres of Orthodox Singing in Works of Russian Composers from Glinka to Rakhmaninov]. Moscow (in Russian).
8. Shadrina A. (2014) Donskie tserkovnye kompozitory vtoroi poloviny XIX — serediny XX vv. [Church Composers of Don Region of the Second Half of the 19th — mid-20th Centuries]. Rostov-na- Donu.
9. Shadrina A. (2017) “Donskoi tserkovnyi kompozitor i regent A. T. Ershov: vozvrashchenie iz nebytiia” [Church Composer and Regent of Don Region A. T. Ershov: Return from Oblivion”]. Bogosluzhebnye praktiki i kul'tovye iskusstva v sovremennom mire [Liturgical Practices and Sacred Arts in the Modern World]. Maikop. Pр. 622‒632 (in Russian).
10. Val'chenko A. (2004) “Iz istorii Pridvornoi pevcheskoi kapelly v Taganroge (1825‒1862)” [From the History of the Court Capella in Taganrog (1825‒1862)]. Yuzhno-Rossiiskii muzykal'nyi al'manakh, 1, pp. 77‒85 (in Russian).
11. Zakharchenko V. (1997) “Slovo o Kontseviche” [A Word about Kontsevich], in Muzykal'nyi fol'klor adygov v zapisyakh G. M. Kontsevicha [Musical Folklore of the Adygs in Recordings of G. M. Kontsevich]. Maikop. Pp. 10‒14 (in Russian).
12. Zhadan V. (2006) “Voiskovoi pevcheskii khor i ego rol' v stanovlenii tserkovnogo peniia v Chernomorii i Kubanskoi oblasti (XIX — nachalo XX v.)” [Military Singing Choir and its Role in the Formation of Church Singing in the Black Sea Region and Kuban Region (19th — Early 20th Centuries], in Iz istorii Kubanskogo kazach'ego khora: materialy i ocherki [From the History of Kuban Cossack Choir: Materials and Essays]. Krasnodar. Pp. 172‒178 (in Russian).

Anikienko Sergey

*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.

Deacon Sergey Ivashchenko - for valuable advice; Greta Yurievna Ertsengel - for help in preparing illustrations

This article studies two aspects of terminology in the fi eld of modern sacred music, i.e. typology of genres and names of authored spiritual works related to their content. It proposes a genre-based typology of sacred music, where three main types are distinguished: traditional genres, genres of a mixed type, non-traditional genres. Traditional genres include works directly related to the liturgical order. The works of genres of a mixed type preserve the features of a liturgical and singing tradition, but have no connection with a particular divine service. Works of non-traditional genres are distinguished by a relatively free composition, not related to the structure of church service and the singing canon, as well as by an extensive use of expressive means of modern music. The problem of naming of works is discussed in connection with specifying their genre variety conditioned by its idea- and image-related content. The article gives examples of works belonging to non-traditional genres with the name Liturgy and its derivative adjective liturgical in a diff erent syntactic context (R. Shchedrin, The Sealed Angel. Russian Liturgy; Yu. Butsko, Chamber Cantata No. 6 “Liturgical Chant”, etc.). The article also aims to clarify certain issues related to terminology in the fi eld of modern sacred music. In terms of methodology, the article employs the interdisciplinary approach to the study of spiritual and musical works as well as elements of liturgics and scientific categories of Russian musicology. Issues in the terminology of sacred music are relevant in connection with the emergence at the turn of the 20th —21st centuries of a wide range of works written in various genres and forms, with diff erent line-ups, focused on both liturgical and concert performance. The use of the word Liturgy (liturgical), which is particularly important in the Orthodox church service, requires in each particular case a logical justifi cation which should convey to the listener the idea and design of the composer.

typology of genres, traditional genres, genres of mixed type, non-traditional genres, Liturgy, liturgical chants, spiritual concerto

1. Gardner I. (1998) Bogosluzhebnoe penie russkoi pravoslavnoi tserkvi. Sushchnost'. Sistema. Istoriia [Liturgical Singing of the Russian Orthodox Church. Essence. System. History]. Sergiev Posad (in Russian).
2. Gulianitskaia N. (2002) Poetika muzykal'noi kompotsicii. Teoreticheskie aspekty russkoi dukhovnoi muzyki XX veka [Poetics of Musical Composition. Theoretical Aspects of Russian Sacred music of the Twentieth Century]. Moscow (in Russian).
3. Kovalev A. (2018) Zhanry russkoi dukhovnoi muzyki v tvorchestve otechestvennyks kompozitorov (vtoraia polovina XIX — nachalo XXI vekov) [Genres of the Russian Spiritual Music in the Works of Russian Composers (2nd Half of the 19th — Beginning of the 21st Centuries]. Tambov (in Russian).
4. Kovalev A. (2018) “Russkaia liturgiia Rodiona Shchedrina «Zapechatlennyi angel»: zagadka zhanrovogo naimenovaniya” [Russian Liturgy by Rodion Shchedrin “The Sealed Angel”: the Riddle of the Genre Title]. Vestnik PSTGU. Seriia V: Voprosy istorii i teorii khristianskogo iskusstva, 32, pp. 139‒150 (in Russian).
5. Levashev E. (1999) “Traditsionnye zhanry drevnerusskogo pevcheskogo iskusstva ot Glinki do Rakhmaninova” [Traditional Genres of Old Russian Art of Singing from Glinka to Rakhmaninov”], in Traditsionnye zhanry russkoi dukhovnoj muzyki i sovremennost' [Traditional Genres of Russian Speritual Music and Modernity], vol. 1. Moscow. Pp. 6‒41 (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.