Belogubova Juliya; Solovyeva Valeria

St. Sergius church of the house of Moscow Ioanno-Predtechensky monastery: features of liturgical and singing practice and repertoire (based on manuscripts of the late 19th — first third of the 20th centuries)

Abstract

This article is devoted to the study of liturgical and singing practice of the late 19th — first third of the 20th centuries of St. Sergius of Radonezh church (Dolgoprudny, Moscow Region), which used to be property (Rus. подворье) of Ioanno-Predtechensky Monastery, Moscow. The article studies the manuscript collection discovered in the church of the village of Vinogradovo, whose note material was a foundation of the repertoire of St. Sergius church from its opening to the closure in 1935. The article studies the origin of this collection, its dating and the time of use of the MSs. Particular attention is paid to its repertoire inventory. The attribution of the musical material revealed two stylistic strata and helped to systematise the chants according to several parameters.

Keywords

church of St. Sergius in Dolgoprudny, property of Ioanno-Predtechensky Monastery, manuscript collection, pre-Revolution church singing, attribution of hymns, church singing practice during years of repression

References

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Information about the author

Belogubova Juliya

Place of work: St. Tikhon’s Orthodox University for the Humanities; 6/1 Likhov pereulok, Moscow, 127051, Russian Federation;
Post: Department of Music History and Th eory, Faculty of Church Singing;
ORCID: 0000-0001-5247-8282;
Email: juliya_97-97@mail.ru.

Solovyeva Valeria

Place of work: St. Tikhon’s Orthodox University for the Humanities; 6/1 Likhov pereulok, Moscow, 127051, Russian Federation;
Post: Senior Lecturer, Department of Church Singing;
ORCID: 0000-0002-2982-3524;
Email: solovs011@gmail.com.

Acknowledgments

We are grateful to the choir director of the John the Baptist nunnery, nun Tavifa (Isaeva) for the provided musical materials, for valuable comments on them, and for the important information received in the conversation with her. We also thank the teachers of the faculty of Church singing of PSTGU, candidates of musical art E. B. Reznichenko, E. N. Sadikova, senior teacher of the department of regents U. S. Stenyukova for their help and advice in the process of working on the topic. We are also grateful to Anna Sidneva, a graduate of the faculty of Church singing at PSTGU, for her help in attributing some of the hymns.