/

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

St. Tikhon’s University Review V :42

ARTICLES

Kryukov Pavel

Notated antiphons Stepenny in «Tipografsky Ustav»

Kryukov Pavel (2021) "Notated antiphons Stepenny in «Tipografsky Ustav» ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2021, Iss. 42, pp. 9-21 (in Russian).

DOI of the paper: 10.15382/sturV202142.9-21
This article is devoted to one of the central genres of the book Oktoikh notirovanny (‘Notated Octoechos’), i.e. the antiphons Stepenny. It discusses the problems of forming the notated cycles in the Octoechos in the most ancient stage and identifies the ways of their transformation. It also substantiates the problems of continuity of the poetic and musical texts by the mid-15th century with this cycle used as an example. The object of the study is the most ancient extant manuscript from the collection of the Tretyakov Gallery which contains a copy of the antiphons Stepenny with Znamennaya notation. The article studies this copy using the example of the antiphons of the 4th mode (glas) both as an independent mode and in comparison with the copy of the Stepenny from a collection of the Trinity Lavra of St. Sergius; it compares the structure of the chants, principles of notation, reveals discrepancies in the poetic text and the note text. The following conclusions are made based on the comparison of the copies: by the time of the “fracture of style”, the discrepancies in the poetic texts of the chants prove to be insignifi cant and can be explained by local editing; the structure of the chants and their division into lines is practically always identical; the analysis and comparison of the note text allows one to state that the singing of the antiphons Stepenny, judging by the hook line, was similar. This provides evidence of the continuity between the copy of the 15th century as related to that of the 11th century, while techniques of their editing refl ect characteristic features of the singers’ practice.
‘Notated Octoechos’, Typographical Typicon with Contacarium, manuscript, antiphons Stepenny, Znamenny chant, notation
  1. Aleksandrina A. (2020) Pevcheskie rukopisnye knigi XV–XIX vekov Troitse-Sergievoi Lavry. Nauchnoe opisanie [Manuscript song books of the 15th — 19th centuries of St. Sergius Lavra. Scientific description]. Moscow (in Russian).
  2. Durnovo N. (2000) Izbrannye raboty po istorii russkogo iazyka [Selected works on the history of the Russian language]. Moscow (in Russian).
  3. Filippova E. (2006) “K voprosu ob izmenenii pevcheskoi praktiki v Russkoi Tserkvi v period bogosluzhebnoi reformy 14–15 vv.” [On the question of changing the singing practice in the Russian Church during the liturgical reform of the 14th — 15th centuries], in “Idu v nevedomyi mne put’”: Pamiati Eleny Filippovoi. Seriia: Nauchnye trudy Moskovskoi gosudarstvennoi konservatorii im. P. I. Chaikovskogo, 2006, vol. 55, pp. 8–17 (in Russian).
  4. Guseinova Z. (2015) “Drevnerusskaia kriukovaia notatsiya XV veka: preobrazovaniia i novatsii” [Znamenny notation of the 15th century: transformations and innovations]. Vestnik Iuzhno- Ural’skogo gosudarstvennogo universiteta. Seriia: Social’no-gumanitarnye nauki, 2015, vol. 15, no. 3, pp. 84–90 (in Russian).
  5. Guseinova Z. (1998–99) “Oktoikh notirovannyi (po materialam rukopisei XV–XVII vekov)” [Notated Octoechos (based on the materials of manuscripts of the 15th — 17th centuries]. Dni slavianskoi pis'mennosti i kul'tury [Days of the Slavonic booklore and culture], no. 1–2. URL: https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxndXNlam5vdmF6bXxneDozMDhjYjg0YmM5NGI3NjU0 (02.02.2021) (in Russian).
  6. Pentkovskii A. (2001) Tipikon patriarkha Aleksiia Studita v Vizantii i na Rusi [The Typicon of Patriarch Alexy the Studite in Byzantium and in Rus’]. Moscow (in Russian).
  7. Popov A. (2002) “Zhanr antifonov stepenny v traditsii Kirillo-Belozerskogo monastyria (konets XV–XVII vv.)” [The genre of antiphons Stepenny in the tradition of Kirillo-Belozersky Monastery (late 15th — 17th centuries)], in Pevcheskoe nasledie Drevnei Rusi (istoriia, teoriia, estetika) [Legacy of the art of singing of Ancient Rus’ (history, theory, aesthetics)]. St. Petersburg, pp. 291–302 (in Russian).
  8. Samoilenkov S. (2015) “Propoved’ v evangel’skom bogosluzhenii: metod ili bezyskusnaia odukhotvorennost’” [Preaching of the Gospel liturgy: a method or artless spirituality]. Interpretatsiya Biblii i propoved'. Trudy SPbHU, no. 7, pp. 145–167 (in Russian).
  9. Shvets T. (2016) “Drevnerusskaia pevcheskaia kniga kondakar’: nachal’nii etap izucheniya” [The song book Kontakarion: the initial period of research]. Vestnik Yuzhno-Ural'skogo gosudarstvennogo universiteta. Seriia: Sotsial’no-gumanitarnye nauki, 2016, vol. 16, no. 2, pp. 98–105 (in Russian).
  10. Strunk O. (1960) “Antifons of the Octoechos”. Journal of the American Musicological Society, 1960, XIII, pp. 165–190.
  11. Starikova I. (2013) “17-ia kafi zma (Ps 118) vsenoshchnogo bdeniia v drevnerusskom pevcheskom iskusstve XV–XVII vv. (razdel’norechnaia redaktsiia)” [The 17th kathisma of the vigil in the Old-Russian chant tradition, 15th — 17th centuries]. Vestnik PSTGU. Seriia V: Voprosy istorii i teorii khristianskogo iskusstva, 2 (11), pp. 7–36 (in Russian).
  12. Uspenskii N. (2004) Pravoslavnaia vechernia: Istoriko-liturgicheskii ocherk. Chin vsenoshchnogo bdeniia na Pravoslavnom Vostoke i v Russkoi Tserkvi [Orthodox Vespers: A Historical and liturgical essay. The rite of the All-Night Vigil in the Orthodox East and in the Russian Church]. Moscow (in Russian).
  13. Uspenskij B. (ed.) (2006) Tipografskii Ustav: Ustav s kondakarem kontsa XI — nachala XII veka [Typographical Typicon: typicon with contacarium (end of the 11th — beginning of the 12th centuries)], vol. 1–3. Moscow (in Russian).
  14. Vladyshevskaia T. (2006) Muzykal’naia kul’tura Drevnei Rusi [Musical culture of Ancient Rus’]. Moscow (in Russian).
  15. Zalizniak A. (2004) Drevnenovgorodskii dialekt [Old Novgorod dialect]. Moscow (in Russian).

Kryukov Pavel


Student status: Graduate student;
Place of study: St. Tikhon’s Orthodox University for the Humanities; 6/1 Likhov pereulok, Moscow, 127051, Russian Federation;
ORCID: 0000-0002-5008-5191;
Email: pasha.kryukov.94@mail.ru.
Viskova Irina

''Melodies for the Polish Psalter'' by Mikołaj Gomółka

Viskova Irina (2021) "''Melodies for the Polish Psalter'' by Mikołaj Gomółka ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2021, Iss. 42, pp. 22-33 (in Russian).

DOI of the paper: 10.15382/sturV202142.22-33
Mikołaj Gomółka is one of the most renowned Polish composers of the second half of the 16th century. He gained prominence for the creation of a polyphonic version of a full cycle of psalms. The Melodies for the Polish Psalter were written in 1580. This is the only work by Mikołaj Gomółka that has survived. It includes 150 psalms in a poetic presentation by the Polish poet of the Renaissance Jan Kochanowski. Jan Kochanowski is considered to be one of the fi rst national Polish poets to promote the establishment of the Polish language in poetic forms. The Polish translation of David’s Psalter was of great artistic importance for the development of the Polish language and its literare style. The work is a collection of psalms for a choir of four voices, written in the technique nota contra notam. The Psalms are small in size and take from 6 to 31 measures. A sequence of 150 psalms follows the Masoretic or Protestant Bible text. The composer made use of various technical and stylistic resources. The melody of the psalms represents the author’s original material; however, it uses formulas typical of sacred songs of the 16th century. Striving for the expressiveness of intonation, the composer employed traditional forms using the cantus fi rmus technique. Gomółka adhered to the principle of “sogetto della cantilen”, using incipits from the then famous religious melodies in the parts of the tenor and cantus fi rmus. Gomółka’s psalms combine features of the 16th century music with more modern trends, particularly in the sphere of combining words and music. This work does not have clear similarities in European singing music of the 16th century. Therefore, the Psalter should be regarded as an innovative composition of its time.
Polish sacred music, Mikołaj Gomółka, Melodies for the Polish Psalter, Jan Kochanowski, sogetto della cantilena, Psalm XLVII Kleszczmy rękoma, Psalm XL Czekałem z cierpliwością, a Pan mię obaczył, Psalm XLV Serce mi każe śpiewać panu swemu
  1. Belza I. (1954) Istoria polskoi muzykalnoi kultury [History of the Polish musical culture], vol. 1. Moscow (in Russian).
  2. Gomółka M. (1990) Melodiae na Psałterz polski przez Mikołaja Gomółkę uczynione / Kochanowski Jan. Psałterz Dawidów. Część 5. Wstęp i transkrypcja nut Mirosław Perz. Warsaw; Krakow.
  3. Kochanowski J. (1984) Psałterz Dawidów. Warsaw.
  4. Krzyżanowski J. (1952) “Poeta czarnoleski”, in J. Kochanowski (ed.) Dzieła polskie, 1. Krakow.
  5. Perz M. (1981) Mikołaj Gomółka. Krakow.
  6. Perz M. (1988) Melodie na Psałterz polski Mikołaja Gomółki: Interpretacje i komentarze. Krakow.
  7. Poźniak P. (1987) “Gomółka”, in E. Dziębowska (ed.) Encyklopedia muzyczna PWM, 3. Krakow.
  8. Sławiński J. (ed.) (1988) Słownik terminów literackich. Wrocław; Warsaw; Krakow; Gdansk; Lodz.
  9. Szweykowski Z. (1957) Kultura wokalna XVI-wiecznej Polski. Krakow.

Viskova Irina


Academic Degree: Candidate of Sciences* in Art Criticism;
Academic Rank: Associate Professor;
Place of work: Tchaikovsky Moscow State Conservatory; 13 Bolshaya Nikitskaya Str., Moscow 125009, Russian Federat;
Post: associate professor;
ORCID: 0000-0002-9304-0428;
Email: Viskova2001@mail.ru.

*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.

Guseinova Zivar

Contaminated types of musical-theoretical manuals of the 17th century

Guseinova Zivar (2021) "Contaminated types of musical-theoretical manuals of the 17th century ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2021, Iss. 42, pp. 34-47 (in Russian).

DOI of the paper: 10.15382/sturV202142.34-47
Active development in the 17th century of musical-theoretical thought led to the emergence of a variety of manuals refl ecting all the features of church singing art. Within this process, one can see the emergence, along with the stable types of theoretical documents, of their contaminated types which in an edited form combine information from various manuals. Contaminated manuals can combine features of documents of diff erent types and diff erent times. This article studies one of the types of contaminated manual, conventionally called “fi to-kokiznik”, which combines materials that represent both “popevkas” and “fi tas”. This list is presented, in particular, in the famous theoretical codex in the manuscript of the second quarter of the 17th century of the Russian State Library, Fund 210 (V. F. Odoevsky’s), # 1. It can be seen that the regular, and in many ways historically traditional, inclusion of “fi tas” in kokizniks or “popevkas” in the fi tniks did not destroy the basic type of the manual, which was determined by the prevailing formulas. Fito-kokiznik, as a rule, appeared in those cases where it was obvious that the author had intentionally related the guide to diff erent types of formulas. Its purpose was, presumably, the display of “fi tas” and “popevkas”, that is, melodic lines, structuring both formulas. To this end, the author of the codex has combined the information of several diff erent manuals, carrying out considerable editorial work.
church singing, contamination, musical-theoretical manual, editing, fitnik, kokiznik, formula, “fita”, “popevka”, singing, melodic string
  1. Bogrova K. (2012) “Russkaia natsional’naia kontseptosfera: ustoichivie sravneniia v diakhronii” [Russian national concept sphere: fi xed comparisons in diachrony]. Vestnik Nizhegorodskogo universiteta im. N. I. Lobachevskogo, 5 (3), pp. 14–19 (in Russian).
  2. Brazhnikov M. (2002) Russkaia pevcheskaia paleografi ia [Russian chant paleography]. St. Petersburg (in Russian).
  3. Frolov S. (1981) ““Bol’shoi” rospev Fedora Krest’yanina na tekst prazdnichnoj stikhiry (Opyt muzykal'no-tekstologicheskogo issledovaniia)” [“Large” rospev of Fyodor Krestyanin on the text of the festive sticheron (A musical and textual study)]. Trudy Otdela drevnerusskoi literatury. Leningrad, vol. 36, pp. 297–307 (in Russian).
  4. Grigor'eva (Pereleshina) V. (2011) “Metody raboty s istochnikami s tsel'yu sostavleniia kokiznika znamennogo rospeva na primere popevki “koleso”” [Working methods with sources with the goal of making kokiznik of Znamenny chant with the popevka “koleso” as an example]. Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V: Voprosy istorii i teorii khristianskogo iskusstva, 1 (4), pp. 42–120 (in Russian).
  5. Guseinova Z. (2012) “Teoriya fitnogo peniia v kontse XVI veka” [The theory of “fitnoe” singing at the end of the 16th century]. Opera musicologica, 3, pp. 4–14 (in Russian).
  6. Karastoianov B. “Popevki i fity v tsentonakh znamennogo rospeva i ikh osnovnye formuly” [“Popevki” and “fity” in sentons of Znamenny chant and their basic formulas], available at http://znamen.ru/txt/k/p_f_cen.htm (05.05.2020) (in Russian).
  7. Lozovaia I. (2015) Stolpovoi znamennyi raspev (2 polovina XV–XVII vv.). Formul'naia struktura [Znamenny chant (2nd half of the 15th — 17th centuries). Formula structure]. Moscow (in Russian).
  8. Sobraniya D. V. Razumovskogo i V. F. Odoevskogo; Arhiv D. V. Razumovskogo: opisaniya (1960) [Collections of D. V. Razumovsky and V. F. Odoevsky; Archive of D. V. Razumovsky: descriptions] (in Russian).

Guseinova Zivar


Academic Degree: Doctor of Sciences* in Art Criticism;
Place of work: St. Petersburg State Conservatory; 3 Teatral’naya Sq., St. Petersburg 190000, Russian Federation;
Post: professor, head of Department of russian music history;
ORCID: 0000-0001-8940-6485;
Email: zivar-g@mail.ru.

*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.

Belogubova Juliya

Spiritual and musical censorship in Russia during the reign of Emperor Nicholas I

Belogubova Juliya (2021) "Spiritual and musical censorship in Russia during the reign of Emperor Nicholas I ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2021, Iss. 42, pp. 48-59 (in Russian).

DOI of the paper: 10.15382/sturV202142.48-59
This article deals with one of the periods of spiritual and musical censorship in the Russian Empire, i.e. the reign of Emperor Nicholas I. Since the transfer by Catherine II of the nominal right to censor sacred music composed throughout the country to D. S. Bortnyansky and up to the confl ict between N. I. Bakhmetev and P. I. Jurgenson, the Court Singing Chapel was the main censorship institution. However, since church music is performed at divine services, it is natural that sometimes spiritual authorities, in particular the Holy Synod, took part in approving or disapproving compositions. For example, there was a confrontation between the director of the Chapel A. F. Lvov and the member of the Holy Synod, Metropolitan Filaret (Drozdov). It was related to the oratorio Prayer at the Cross by Lvov, due to which this work was never published. The article also examines the impact of censorship bans on the church and music life of society and both negative and positive aspects of spiritual and musical censorship.
spiritual and musical censorship, A. F. Lvov, Court Singing Chapel, Holy Synod, Russian spiritual music, reign of Nicholas I
  1. Glinka M. (1953) Literaturnoe nasledie. T. II. Pis'ma i dokumenty [Literary legacy. Vol. 2: Letters and documents]. Moscow; Leningrad, 1953 (in Russian).
  2. Lashchenko S. (2018) Evropeiskii triumf russkogo kompozitora (Stabat Mater Dzh. Pergolezi — A. F. L'vova) [The European triumph of the Russian composer (Stabat Mater by J. K. Pergolesi — A. F. Lvov)]. Iskusstvo muzyki: teoriia i istoriia, 19, pp. 13–20 (in Russian).
  3. Lashchenko S. (2019) ““Molitva u Kresta” (Stabat Mater) A.F. L’vova i ee istoricheskaia sud’ba” [“The Prayer at the Cross” (Stabat Mater) by A.F. Lvov and its historical fate]. Iskusstvo muzyki: teoriia i istoriia, vol. 21, pp. 3–68 (in Russian).
  4. Pavlinova V. (2017) Problemy khronologii zhizni i dukhovno-muzykal'nogo tvorchestva A. F. L'vova [Problems of chronology of life and spiritual and musical creative work of A. Lvov]. Vestnik PSTGU, 2017, vol. 27 а страницы? (in Russian).

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.
Bertash Alexander, archpriest

Interior of the Assumption Cathedral of Pühtitsa convent, and its masters S. A. and P. S Abrosimov and F. E. Egorov

Bertash Alexander (2021) "Interior of the Assumption Cathedral of Pühtitsa convent, and its masters S. A. and P. S Abrosimov and F. E. Egorov ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2021, Iss. 42, pp. 60-78 (in Russian).

DOI of the paper: 10.15382/sturV202142.60-78
This article is a continuation of the author’s material devoted to one of the most significant monuments of the retrospective Russian style of the early 20th century, the Assumption Cathedral of Pühtitsa Convent, built in 1907–1910 and designed by the architect A. Poleshchuk. For the fi rst time, the article describes the works of the father and son S.A. and P.S. Abrosimov, who were painters of iconostases and icon cases of churches and owners of a gilding workshop and of F.E. Egorov, the owner of an iconpainting workshop. Pühtitsa Cathedral remains practically the only church that allows one to study their creative work. Their numerous works kept in Russian churches were lost after 1917. The art os these masters of Russian church art of the Pre-Revolutionary period was developing within the Russian style, academicism, neo-baroque.
Assumption Cathedral of Pühtitsa Monastery, Russian church art of early 20th century, iconostases, Russian style, Moscow-Yaroslavl style, late academicism, neo-baroque, architect A. Poleshchuk, gilding workshop of the Abrosimovs, icon painting workshop of F. Egorov
  1. Antonov V., Kobak A. (2010) Sviatyni Sankt-Peterburga [Shrines of St. Petersburg]. St. Petersburg (in Russian).
  2. Bertash A., archpriest (2016) “Petrovskaia arkhitektura i barochnye reministsentsii v pravoslavnom khramostroitel’stve Novogo vremeni” [Peter's architecture and baroque reminiscences in the Orthodox church building of the New Time), in Petrovskie pamiatniki Rossii i Evropy: izuchenie, sokhranenie, kul'turnyi turizm. Materialy VII Mezhdunarodnogo Petrovskogo kongressa [Peter’s monuments of Russia and Europe: studies, preservation, cultural tourism. Materials of the 7th International Petrovsky Congress]. St Petersburg, pp. 481–510 (in Russian).
  3. Bertash A., archpriest (2019) “Piukhtitskoe podvor’e v Revele-Talline i ego stroitel’ N. N. Nikonov” [Pühtitsa house in Revel-Tallinn and its builder N. N. Nikonov], in Vos’mye Piukhtitskie chteniia. Materialy mezhdunarodnoi nauchno-prakticheskoi konferentsii [Eighth Pühtitsa readings. Materials of the international conference]. Kuremäe, pp. 154–163 (in Russian).
  4. Bertash A. (2001) “Tserkov’ vo imia Sv. pravednogo Iova Mnogostradal'nogo na Volkovskom kladbishhe” [Church in the name of St. Righteous Job the Long-Suff ering at Volkovskoe cemetery], in Kraevedcheskie zapiski. Issledovaniia i materialy [Local-history records. Research and materials], 7. St Petersburg, pp. 71–82 (in Russian).
  5. Bertash A. (2002) “Tserkov’ vo imia sviashchennomuchenika Isidora Iur’evskogo” [Church in the name of the holy martyr Isidor Yuryevsky], in Pamiatniki istorii i kul'tury Sankt-Peterburga. Issledovaniia i materialy [Monuments of history and culture of St. Petersburg. Research and materials], 6. St Petersburg, pp. 195–205 (in Russian).
  6. Borushko E. (2012) “Atributsiia kartinnykh ram muzeinoi kollektsii GMZ «Tsarskoe selo»” [Attribution of picture frames to the museum collection of Tsarskoye Selo State Museum- Reserve], in Kuchumov: k 100-letiiu so dnia rozhdeniia: sbornik dokladov nauchnoi konferentsii “Atributsiia, istoriia i sud’ba predmetov iz imperatorskikh kollektsii” [Kuchumov: on the 100th anniversary of his birth: proceedings of the scientifi c conference “Attribution, history and fate of objects from the imperial collections”]. St Petersburg; Pavlovsk, pp. 89–99 (in Russian).
  7. Burdialo A. (2002) Neobarokko v arkhitekture Peterburga [Neo-Baroque in the architecture of St. Petersburg]. St Petersburg (in Russian).
  8. Buseva-Davydova I. (2019) Russkaia ikonopis' ot Oruzheinoi palaty do moderna: poiski sakral’nogo obraza [Russian icon painting from the Armory to Art Nouveau: the search for the sacred image). Moscow (in Russian).
  9. Filareta (Kalacheva), nun, Timkina V. (eds) (2013) Igumeniia za sviatoe poslushanie [Abbess for holy obedience]. Kuremäe (in Russian).
  10. Kirikov B. (ed.) Arkhitektory-stroiteli Sankt-Peterburga serediny XIX — nachala XX veka [Architectsbuilders of St. Petersburg in the mid-19th — early 20th centuries). St Petersburg (in Russian).
  11. Kislov V. (2012) Staraia Gatchina. Liutsevskaia (Chkalova) ulitsa [Old Gatchina. Liutsevskaya (Chkalov) street], pt. 1. Gatchina (in Russian).
  12. Kostromin K., archpriest (2018) “”Postroika khrama grozit stat‘ predmetom stolichnogo skandala…”. K istorii Pravoslavnogo russko-estonskogo bratstva vo imia sviashchennomuchenika Isidora Iur’evskogo [“The construction of the church threatens to become the subject of a scandal in the capital...”. On the history of the Orthodox Russian-Estonian brotherhood in the name of the holy martyr Isidor Yuryevsky]. Vestnik Istoricheskogo obshchestva Sankt-Peterburgskoi Dukhovnoi akademii, 2, pp. 38–52 (in Russian).
  13. Kostromin K., priest (2009) “Sviato-Isidorovskaia tserkov’ segodnia i sto let nazad” [St. Isidor’s church today and a hundred years ago]. Kolomenskie chteniia, 3, pp. 51–66 (in Russian).
  14. Monastyr’ u tserkvi Spasa: Polotskii Spaso-Evfrosinievskii monastyr’ ot drevnosti do nashikh dnei [Monastery near the Church of the Savior: Polotsk Spaso-Evphrosinievsky Monastery from antiquity to the present day). Minsk, 2007 (in Russian).
  15. Preobrazhensky A. (2002) “Bogoliubskaia ikona Bozhiei Materi” [Bogolyubskaya icon of the Mother of God], in Pravoslavnaia entsiklopediia [Orthodox encyclopaedia], vol. 5. Moscow,pp. 459–463 (in Russian).
  16. Antonov V., Kobak A. (2005) Russkie khramy i obiteli v Evrope [Russian churches and monasteries in Europe]. St Petersburg (in Russian).
  17. Russkii Afonskii Otechnik XIX–XX vekov [Russian Athos Otechnik of the 19th — 20th centuries]. 1. Sviataia Gora Afon (in Russian).
  18. Sviato-Isidorovskaia tserkov’. Istoriia khrama. Zhitiia sviatykh. 1907–2007. 100 let so dnia pervogo osviashheniia khrama [Saint Isidor’s Church. The history of the church. Lives of the saints. 1907–2007. 100 years since the first consecration of the church]. St Petersburg (in Russian).
  19. Troitsky P. (2015) Istoriia russkikh obitelei Afona v XIX–XX vekakh [History of the Russian monasteries of Athos in the 19th — 20th centuries]. Moscow (in Russian).
  20. Uspenskii sobor Piukhtitskogo monastyria: 100 let [Assumption Cathedral of Pühtitsa Monastery: 100 years]. Kuremäe (in Russian).

Bertash Alexander, archpriest


Academic Degree: Candidate of Sciences* in Art Criticism;
Academic Degree: Candidate of Sciences* in Theology;
Place of work: Church of the Holy Royal Passion-bearers in Bremen, Berlin-German Diocese; Kleine Westerholz Strasse, 17, 28309, Bremen, BRD; The limited liability company Architectural Bureau «Liteynaya chast-91»; St.-Petersburg, Russian Federation;
Post: rector of the churc, ancient guardian of the diocese; leading art critic;
ORCID: 0000-0003-3486-0490;
Email: alexanderbertash@gmail.com.

*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.

Abdokov Yuri

Nikolay Myaskovsky: ''Let not your heart be troubled…''. Life as an experience of releasing vocation

Abdokov Yuri (2021) "Nikolay Myaskovsky: ''Let not your heart be troubled…''. Life as an experience of releasing vocation ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2021, Iss. 42, pp. 79-114 (in Russian).

DOI of the paper: 10.15382/sturV202142.79-114
The article deals with the most important components of the creative biography of Nikolay Yakovlevich Myaskovsky (1881–1950). A whole corpus of literature is devoted to the life and work of the composer. But even at the beginning of the 21st century, the portrait of one of the most prominent Russian musicians remains incomplete, and in many lifetime and posthumous studies it is deliberately distorted, at least partially. There is no doubt that the new biography of the composer should be based not on ideological cliches that illusorily “reconcile” Myaskovsky with a certain social and aesthetic reality, but on his music (outside of pseudo-“conservative” and false-“liberal” attributions), the grandiose and mostly unexplored archive of the artist, as well as the testimonies of those who were really close to Myaskovsky professionally and spiritually. For the fi rst time, documents from the composer’s archive are published, as well as memoirs of his outstanding students and contemporaries of diff erent generations, i.e. N. I. Peyko, B. A. Tchaikovsky, K. S. Khachaturian, M. S. Rostropovich, recorded by the author of the article. Unique epistolary materials and vivid memoir notes allow us to understand and in some cases — for the fi rst time — to verify individual facts and phenomena without which a full-fledged portrait of the composer is unthinkable. Thus, the sources presented in the article open up the possibility of comprehending a topic excluded from most offi cial biographies of the composer, i.e. not only the history of the formation of the versatile temperament of the artist-aristocrat, but also the formation of his soul. The same applies to the events of the late 40s and the fearless position of Myaskovsky during the “antiformalist campaign”. The study of historical artifacts and their extrapolation to the composer’s creative heritage allows us to formulate the main concepts of Myaskovsky’s unique artistic ethos, which is very far from both the arrogant orientation “for the initiated” and the false “academism”, which often, and most importantly, mistakenly explain the characteristic features of the perception of the composer’s music today.
Nikolay Myaskovsky, Nikolay Peyko, Boris Tchaikovsky, Karen Khachaturian, composer, biography, creation, ethos
  1. Abdokov Yu. (2020) Nikolai Peiko: “Vospolnivshi tainu svoyu…” [Nikolai Peyko: “Having fulfi lled the mistery…”]. Moscow (in Russian).
  2. Adamovich G. (2015) Poslednie novosti. 1934–1935 [Latest news. 1934–1935]. St Petersburg (in Russian).
  3. Adamovich G. (2018) Poslednie novosti. 1936–1940 [Latest news. 1936–1940]. St Petersburg (in Russian).
  4. Durylin S. (2006) V svoem uglu [Sitting in my corner]. Moscow (in Russian).
  5. Gómez Dávila Nicolás (2021) Escolios a un texto implícito. Moscow (Russian translation).
  6. Gulinskaya Z. (1985) Nikolay Yakovlevich Myaskovsky. Moscow (in Russian).
  7. Lamm O. (1989) Stranitsy tvorcheskoi biografi i Miaskovskogo [The pages of the Myaskovsky’s creative biography]. Moscow (in Russian).
  8. Mikhailov V. (2018) Zabolotskii: Ivolga, lesa otshel’nitsa [Zabolotsky: Oriole, a forest’s hermit]. Moscow (in Russian).
  9. Miaskovsky N. (1959) Stat’i, pis’ma, vospominaniia [Articles, letters, recollections]. Moscow (in Russian).
  10. Tassie G. (2014) Nikolay Myaskovsky. The conscience of Russian music. Lanham (Maryland).

Abdokov Yuri


Academic Degree: Candidate of Sciences* in Art Criticism;
Academic Rank: Professor;
Place of work: Tchaikovsky Moscow State Conservatory; 13/6 Bolshaya Nikitskaya Street Moscow, 125009, Russian Federation;
Post: professor;
ORCID: 0000-0001-9033-3279;
Email: abdokovgeorg@mail.ru.

*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.

PUBLICATIONS

Kiryushina Maria

Professor David Drillock. Memoirs. Articles

Kiryushina Maria (2021) "Professor David Drillock. Memoirs. Articles ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2021, Iss. 42, pp. 117-164 (in Russian).

DOI of the paper: 10.15382/sturV202142.117-164
David Drillock is a graduate of St. Vladimir Orthodox Theological Seminary, later its teacher and professor, vice-rector, choral conductor who has made many audio recordings of liturgical music, he is an author of a number of books and articles on the problems of Orthodox church singing. The creative activity of D. Drillock is also interesting in that for several decades he worked within the walls of St. Vladimir Seminary together with the famous church composer B.M. Ledkovsky: from 1957 until Ledkovsky’s retirement in 1975. This publication includes a report made by Professor David Drillock in 2004 during the so-called Summer Institute, organised for several decades by St. Vladimir Theological Seminary (Crestwood, New York), and two of his articles on problems related to the history, theory and practice of church singing in the Orthodox churches of America: Music in Orthodox worship (1996); Word and Music in Orthodox Worship (1999). All materials were originally published at the website of St. Vladimir Seminary in English: https://www.svots.edu/content/david-drillock.
Russian Orthodox singing tradition, St. Vladimir Seminary, David Drillock, Boris Mikhailovich Ledkovsky, Crestwood, New York, Sluzhebnik by Isabel Hapgood, Orthodox Church in America, Nicholas of Athos, Revd. Alexander Shmeman, Divine Liturgy in English, choir of St. Sergius Institute, choir of St. Vladimir Seminary, choir of the Synodal Church in Paris, I.A. Gardner, Alfred Swan, Revd. John Meyendorf, Synodal Znamensky Cathedral of New York, The Great Evening by B. M. Ledkovsky in English
  1. Conomos D. (1984) Byzantine Hymnography and Byzantine Chant. Brookline, MA.
  2. Conomos D. (1980) “Changes in Early Christian and Byzantine Liturgical Chant”, Studies in Music, 5, 52.
  3. Gardner I. (1980) Russian Church Singing, vol. 1. Crestwood, NY.
  4. Shimchick J. (1985) “Music and Worship”, Orthodox Church Music, 2, 7.
  5. Meyendorff P. (1996) “The Liturgical Path of Orthodoxy in America”, St. Vladimir’s Theological Quarterly, vol. 40, 1, 2.
  6. Roccasalvo J. (1986) The Plainchant Tradition of Southwestern Rus’. Boulder.
  7. Cross S.H., Sherbowitz-Wetzor O.P. (1953) The Russian Primary Chronicle, Laurentian Text. Cambridge, MA, pp. 110–111.
  8. Meyendorff P. (ed.) St. Germanus of Constantinople. On the Divine Liturgy. Crestwood, NY, 1984.
  9. Uspensky N. (1971) Drevnerusskoe pevcheskoe iskusstvo [The Early Russian Art of Singing]. Moscow (in Russian).

Kiryushina Maria


Student status: Graduate student;
Place of study: St. Tikhon’s Orthodox University for Humanities; 6 Likhov pereulok, Moscow 127051, Russian Federation;
Email: m_ist@mail.ru.