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

The article examines the peculiarities of the processes of Christianization of architecture in the major metropolises (Philippi, Thessalonica, Athens, Corinth) of the Roman Empire, as well as in the Dalmatian provinces (Jader, Salona, Pola, small settlements and islands) on the border between them. The specifics of the religious situation in these regions and the missionary activity of Christian preachers led to the transformation or adaptation of pagan cult structures, household or residential buildings. At the same time, pagan temples were very rarely destroyed intentionally, but as a rule they became abandoned and gradually destroyed naturally, providing building material for Christian churches. The use of such building material of previous structures could be symbolic, and in some cases architectural details changed their function from constructive to liturgical. Both in the capitals and in the provinces, there was a certain tolerance when different religious buildings functioned at the same time. Christian conversions could occur while preserving the special functions of the revered place. With the advent of Christianity in the Dalmatian provinces of the Roman and then the Byzantine Empire, very conservative ancient traditions were preserved there for a long time, which allowed these lands to organically survive the process of Christianization of ancient architecture.

Christianization of architecture, conversions, transformation of pagan structures, Roman Empire, Byzantium, Dalmatia

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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.

The article introduces into scholarly use new historical sources related to the biography of Vasily Titov, an outstanding composer and teacher of the of the time of Peter the Great. In the full-text information retrieval system «Boyar Lists of the 18th Century», the year of the musician's death was revealed – 1709, which allows us critically evaluate the previously expressed hypotheses about Titov's life after 1709, to make adjustments to the dating of singing collections that were previously considered lifetime. In the Act Books of the City of Moscow, was found an indication of Titov's place of residence, his courtyard in Zamoskvorechye, in middle Sadovniki, in the parish of the Church of Sophia the Wisdom of God. This information gives grounds for judging about the Titov's high position in society, reveals Titov's indirect connection with the colonel of the Akhtyrsky Cossack regiment Ivan Perekrestov and his musicians, and the possible social circle of the sovereign's singing clerk (d’yaki). The article contains the first publication of the archival document of 1688 “Questioning speeches of the sovereign singer Maxim Semenov Lipsky about his escape from the courtyard of the singer Vasily Titov”, which is stored in the Russian State Archive of Ancient Acts. The author of the article analyzed the names mentioned in the document, including Ivan Perekrestov and his organist, Princess Sofya Alekseevna and close boyar Prince Vasily Vasilyevich Golitsyn, other nobles, Archbishop of Chernigov Lazar Baranovich and his deacon, the sovereign's choristers; supplemented information about the biography of Maxim Lipsky. The materials of the interrogation of the runaway singer are an important source of information, to some extent compensating for the lack of personal documents

the Sovereign’s singing clerks, Vasily Titov, biography, Ivan Perekrestov, Maxim Lipsky, act books, boyar lists

1. Parfent′ev N. (1991) Professional′nye muzykanty Rossi iskogo gosudarstva XVI–XVII vekov [Professional musicians of the Russian State of the 16th — 17th cc.]. Chelyabinsk (in Russian).
2. Protopopov V. (ed.) (1973) “Muzyka na Poltavskuiu pobedu” [Music for the Poltava victory], in Pamiatniki russkogo muzykal′nogo iskusstva [Monuments of the Russian musical art], vol. 2, Moscow (in Russian).
3. Petrovskaia I. (2003) Biografika. Vvedenie v nauku i obozrenie istochnikov biografi cheskikh svedenii o deiateliakh Rossii 1801–1917 godov [Biography. An introduction to the science and a review of sources of biographical information on the prominent fi gures of Russia, 1801–1917]. St. Petersburg (in Russian).
4. Protopopov V. (2011) Iz neopublikovannogo naslediia: Velikie tvoreniia mirovoi dukhovnoi muzyki. Russkaia muzyka vsenoshchnogo bdeniia. Muzykal′noe tvorchestvo Vasiliia Titova: K probleme partesnogo stilia [From the unpublished legacy: Great works in spiritual music of the world. Russian music of the All-Night Vigil. Vasiliy Tytov’s musical work: the problem of part style]. Moscow (in Russian).
5. Protopopov V. (1989) Russkaia mysl′ o muzyke v XVII veke [Russian thought on music in the 17th century]. Moscow (in Russian).
6. Saverkina I. (1987) “Neizvestnye istochniki o byte petrovskogo vremeni” [Unknown sourses on everyday life in the time of Peter I], in Pamiatniki kul′tury. Novye otkrytiia. Pis′mennost′, iskusstvo, arkheologiia. Ezhegodnik [Monuments of culture. New discoveries. Writing. Art. Archaeology. Yearbook]. Leningrad, 1986, pp. 385–404 (in Russian).
7. Sedov P. (2006) Zakat moskovskogo tsarstva: Tsarskii dvor kontsa XVII veka [The sunset of Moscow Tsardom: Tsar’s court at the end of the 17th century]. St. Petersburg (in Russian).

Plotnikova Natalia

*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 study has been funded by the Russian Foundation for Fundamental Research, project 20-012-42014 “Musical Legacy of the Period of Peter I: State Pageants and Church Singing”.

The article examines images of elephants, reproduced several times on various emblems from the book "Symbols and Emblemata", published in 1705 in Amsterdam by decree of Tsar Peter I. The author compares the details of the emblematic engravings, compares them with the accompanying inscriptions. The image of the first emblem from the book of 1705 and the engravings from its main source – the edition of the emblems of Daniel De La Fey of 1691 is also compared. The quality of the two editions is compared. Attention is paid to the images of the elephant and the semantic interpretation of this image in the Old Russian tradition, primarily in the "Physiolog", in comparison with the transformation of the image in Peter's time. Icons and miniatures containing the image of this animal are mentioned. The symbolic likenesses of the elephant found in the Old Russian tradition and taken from the translation of the Greek “Physiolog” are particularly noted. The earliest monument is marked - the relief of St. George's Cathedral in Yuriev Polsky. There is also a later monument of the century – the painted gates of the middle of the XVIII century from the Rostov Kremlin, which have not survived to the present day and are known from photographs of the 1910s by S.M. Prokudin-Gorsky. The images of elephants (as well as other images) on them are taken from the book of 1705.

Elephant, Peter I, symbol, emblem, metaphor, allegory, "Symbols and Emblem", engraving, motto, image

1. Belova O. (2000) Slavianskiy bestiarii [Slavic bestiary]. Moscow (in Russian).
2. Berkov P., Bykova T., Gurevich M. (eds) (1958) Opisanie izdanii, napechatannykh kirillitsei, 1689 — ianvar′ 1725 g. (1958) [Description of Cyrillic printed editions, 1689 — January 1725]. Moscow; Leningrad (in Russian).
3. Belobrova O. (ed.) (1997) Physiolog, in Biblioteka literatury Drevnei Rusi [Library of literature of Ancient Russia], vol. 5: XIII vek [13th century]. St. Petersburg (in Russian).
4. Gavrilov L. (ed.) (2015) Rytsarskie ordena Evropy: Katalog [Knights’ orders of Europe]. Moscow (in Russian).
5. Zvezdina Yu. (1997) Emblematika v mire starinnogo natiurmorta [Emblematics in the world of ancient still life]. Moscow (in Russian).
6. Zvezdina Yu. (2022) “Rel′ef s izobrazheniem slona na stene Georgievskogo sobora Iur′eva- Pol′skogo i ego zapadnoevropeiskie paralleli” [Relief with an image of an elephant on the wall of Georgievskiy Cathedral of Iur’ev-Pol′skiy and its West-European parallels], in Nauchnye chteniia pamiati I. P. Bolottsevoi [Scientifi c readings in memory of I. P. Bolottseva]. Yaroslavl (in Russian).

Zvezdina Yuliya

*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 article is devoted to a newly found musical-theoretical term of Russian partes music of the first quarter of the 18th century, applied to a modified, “different”, “arbitrary” version of the chant of festive verses and indicating the presence of “cancellations” in it. The term was found in two manuscripts associated with the Choir of the Sovereign's Singing Deacons of the time of Peter’s era, in two formulations: "another chant with cancellations" and "arbitrariness with cancellation". Both manuscripts are four-part adaptations of the Znamenny Chant Holidays, preserved in the form of a score and as a set of parts. The description of the singing manuscripts of the Archive of the Armory Chamber of the Russian State Archive of Ancient Acts, which is currently being carried out by the author together with N. Yu. Plotnikova, provided material for the article. Source research suggests that the term "with cancellations" belongs to the sovereign's singer Deacon Alexei Mikhailovich Protopopov, who worked in the court choir at the same time as his alleged relative, the usher Ivan Mikhailovich Protopopov. The article analyzes the unusual moments of partes chants that are not specific for znamenny chant, where many random sharps and flats appear. The author convinces that sharps and flats at that time could be used in two ways: in the modern sense and as modal signs indicating an unusual position of the “obikhodnyy” scale as a result of its mutation. In addition to the frequently encountered mutations one tone down, in the verse of the Annunciation “The Sacrament from the Ages” there are mutations one tone up and even two tones up. Fret shifts, so rare in Znamenny singing, are written in unusual sharps and flats, designated by the indicated term. The author proposes to translate it into modern language as "a variety of chant with changes", or "with shifts".

Russian partes music, Era of Peter the Great, sovereign chanters, old church singing, Znamenny chant, scale mutations, modal sharps and flats, history and theory of Russian music of the 18th century, Russian baroque music

1. Grigor′ev E. (2001) Posobie po izucheniiu tserkovnogo peniia i chteniia [Manual for the study of church singing and reading], 2nd ed. Riga (in Russian).
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3. Kondrashkova L. (2013) Rannee russkoe strochnoe mnogogolosie [Early Russian three-line polyphony]. Moscow (in Russian).
4. Kondrashkova L. (2021) “K voprosu o sostavlenii intsipitnogo kataloga pevcheskikh rukopisei iz sobraniia Oruzheinoi palaty RGADA” [On the issue of compiling an incipient catalogue of singing manuscripts from the collection of the Armoury of the RGADA]. Vestnik PSTGU. Seriia V: Voprosy istorii i teorii khristianskogo iskusstva, vol. 41, pp. 19–31 (in Russian).
5. Kondrashkova L. (2022) “Sluzhba 1 ianvaria: Novoletiiu, Obrezaniiu Gospodniu i sviatiteliu Vasiliiu Velikomu. Sluzhba Novoletiiu 1 sentiabria. Velichaniia i prokimny” [Church service on January 1: New Year, Circumcision of the Lord, and St. Basil the Great. Church service for the New Year on September 1. Magnifi cations and prokimens], in Muzykal′noe nasledie Petrovskoi epokhi: gosudarstvennye torzhestva i bogosluzhebnoe penie [Musical Legacy of the Period of Peter I: State Pageants and Church Singing], vol. 2, Moscow (in Russian).
6. Plotnikova N. (2004) Partesnye garmonizatsii znamennogo i grecheskogo rospevov (na materiale stikhiry “Sovet prevechnyi” iz Sluzhby Blagoveshcheniia Presviatoi Bogoroditse): Issledovanie i publikatsiia [Part-song harmonisations of Znamenny and Greek chants (on the material of the stichera “Sovet Prevechnyi” from the Service for the Annunciation of Theotokos). A study and publication]. Moscow (in Russian).
7. Plotnikova N. (2015) Russkoe partesnoe mnogogolosie kontza ХVII — serediny ХVIII veka: istochnikovedenie, istoriia, teoriia [Russian part-song polyphony of the late 17th — mid-18th cc. Source studies, history, theory]. Moscow (in Russian).
8. Plotnikova N. (2022) “Sluzhba blagodarstvennaia na zakliuchenie Nishtadtskogo mira. Sluzhba sviatomu blagovernomu kniaziu Aleksandru Nevskomu” [Thanksgiving service for the Nystadt Peace. Service to the St. Alexander Nevsky]. Muzykal'noe nasledie Petrovskoi epokhi: gosudarstvennye torzhestva i bogosluzhebnoe penie [Musical Legacy of the Period of Peter I: State Pageants and Church Singing], vol. 1, Moscow (in Russian).

Kondrashkova Lada

*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 study has been funded by the Russian Foundation for Fundamental Research, project 20-012-42014 “Musical Legacy of the Period of Peter I: State Pageants and Church Singing”.

Fast moving Europeanisation of Russia, started by Peter the Great and continued by his successors, showed itself, among other things, in founding the Imperial Academy of Fine Arts and in the birth of Russian academic school, whose brilliant achievements were not in the least the legacy of Russian art tradition, especially that of icon-painting, for the latter was only allowed to exist as the arts of the commoners. This state of things was regarded as something to overcome during the reign of Nicholas I, when gradual re-establishment of the ties with tradition begins, seen in particular in the "Byzantine style" in Church architecture, invented by K.A. Ton in late 1820s - early 1830s at the behest of the emperor. Conservative ideology, expressed as it was in the so called theory of the official nationhood (narodnost'), starting from the times when S.S. Uvarov, the author of this theory, was appointed Minister of Public Instruction, was not reflected, however, in the academic Church painting and in the paintings which belonged to historic genre as a whole. This article is focused on the views on the academic Church paintings and traditional icon-paintings that were typical of the educated class of the 1830s and early 1840s. It is shown that the contemporaries of Russian "historical" painters, including those in the Church, saw their calling in commitment to the people (narodnost'), for "there is a need to assume... one's own character, which, while retaining its originality, would tend toward the general harmony with the European Art"; at least a part of the society has come to the opinion that at the time of the decline of famous schools of the West, it is in Russia that paintings show "life and development". (I.V. Kookolnik). In Church paintings of the 1830s the "Russian" style, oriented at the monuments of the past, originated not in the academic school itself, but in the adminicular activity, that is, as a by-product of the artistic and archaeological studies of F.G. Solntsev. A.N. Olenin, the President of the Academy of Arts, on whose intiative these studies were performed, envisaged their outcome as "the complete painting course of archaeology and ethnography for the artists". This course was born in the 1830s during two works of the artist: the making of Church calendar and the painting of Terem Palace and the churches in the Moscow Kremlin.

church painting, icon-painting tradition, S.S. Uvarov, I.M.Snegirev, N.V. Kookolnik, S.P. Shevyrev, F.G.Solncev

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18. Maslov K. (2015) “Tserkovnaia zhivopis′ Sapozhnikovykh v otsenkakh arkhimandrita Fotiia i arkheologa G. D. Filimonova” [Church painting of the Sapozhnikovs in the assessments of Archmandrite Fotiy and archaeologist G. D. Filimonov]. Observatoriia kul′tury, vol. 6, pp. 52–56 (in Russian).
19. Maslov K. (2015) “Litsevye sviattsy khudozhnika-arkheologa Fedora Solntseva v otsenkakh sovremennikov” [Facial “sviattsy” of the painter and archaeologist Fyodor Solntsev in the assessments of contemporaries]. Dekorativnoe iskusstvo i predmetno-prostranstvennaia sreda [Decorative art and spatial environment], vol. 4, Moscow, pp. 183–195 (in Russian).
20. Maslov K. (2016) “Ob odnom istochnike ‘Vizantiiskogo proekta’ kniazia G. G. Gagarina: Domenik Papeti” [On one source of the “Byzantine project” by Prince G. G. Gagarin: Dominic Papeti]. Observatoriia kul′tury, vol. 13/6, pp. 696–701 (in Russian).
21. Mel′nik A. (2009) Khudozhnik Timofei i Rostov Velikii [Painter Timofei and Rostov the Great], in Istoriia Teikova v litsakh. Al′manakh [A history of Teikovo in faces. Almanac], Teikovo, pp. 34–36 (in Russian).
22. Mikhailov A. (1987) Esteticheskie idei nemetskogo romantizma [Aesthetic ideas of German romanticism], in Estetika nemetskogo romantizma [Aesthetics of German romanticism], Moscow, pp. 7–43 (in Russian).
23. Nikitin N. (1939) Monferran. Leningrad (in Russian).
24. Palamarchuk P. (2007) Sorok sorokov [Forty times forty]. Moscow (in Russian).
25. Polievktov M. (2019) Nikolai I. Biografiia i obzor tsarstvovaniia [Nicholas I. Biography and review of the reign]. St. Petersburg (in Russian).
26. Rodin D., Strekozova M., Gaidenko V. (2019) Bol′shoi Kremlevskii Dvorets [Grand Kremlin Palace]. Moscow (in Russian).
27. Semenov Iu. (1999) Filosofiia istorii. Ot istokov do nashikh dnei: osnovnye problemy i kontseptsii [Philosophy of history. From origins to the present day. Key challenges and conceptions]. Moscow (in Russian).
28. Shuiskii V. (2001) “Leo Klentse i Ogiust Monferran” [Leo Klenze and Auguste Montferrand], in Nemtsy v Rossii. Rossiisko-nemetskii dialog [Germans in Russia. Russian-German dialogue], St. Petersburg, pp. 450–457 (in Russian).
29. Zorin A. (2004) Kormia dvuglavogo orla… Literatura i gosudarstvennaia ideologiia v Rossii v poslednej treti XVIII — pervoi treti XIX veka [Feeding the two-headed eagle... Literature and state ideology in Russia of the last third of the 18th — first third of the 19th centuries]. Moscow (in Russian).

Maslov Konstantin

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

The article is devoted to the most significant church building in the Baltics at the end of the 19th century - Cathedral of St. Blessed Prince Alexander Nevsky in Revel (Tallinn). The semantics of the dedication of the temple and its architectural and construction history are considered in the context of church architecture of the Russian Empire in the late 19th — early 20th century and the political course of Emperor Alexander III, known as Russification. The initiator of the construction of a declaratively Russian imperial structure in the center of Revel Vyshgorod (Toompea) with its predominant medieval German architecture was the Estonian governor, Prince S.V.Shakhovskoy, through whose zeal the construction acquired all-Russian significance. The cathedral is one of the most striking works of the Moscow-Yaroslavl version of the Russian style within the boundaries of the former Russian Empire and the most important in the work of the outstanding master of this style, architect M.T. Preobrazhensky. The cathedral, which has never been devastated, despite attempts to close and rebuild it in the 1920s-1940s, still preserves unique Russian-style interiors in terms of safety and integrity. They allow us to present the style of works known in the early twentieth century masters: A.N.Novoskoltsev, Abrosimovs; most of their other works were destroyed during the anti-church persecution in the USSR. The topic of the article is related to the author's previous publications about the architecture of the Puhtitsa Holy Dormition Monastery and Orthodox church building in Estonia.

Alexander Nevsky Cathedral in Tallinn, Russian church art of the reign of Emperor Alexander III, Estonian architecture, Russian style, Moscow-Yaroslavl style, late academicism, architect M. Preobrazhensky, artist A.N.Novoskoltsev, architect . A. Poleshchuk, Estland governor Prince S. Shakhovsky, Russification.

1. Alexy II (Ridiger, Patriarch of Moscow and All Russia) (1999) Pravoslavie v Estonii [Orthodoxy in Estonia]. Moscow (in Russian).
2. Bertash A. (archpriest) (2018) “Arkhitektor Mikhail T. Preobrazhenskii i ego nasledie v stranakh Baltii i Vostochnoi Evropy” [Architect Mikhail T. Preobrazhensky and his legacy in the Baltic countries and Eastern Europe], in Sztuka Europy Wschodniej — The Art of Eastern Europe. Vol. 6. Polscy i rosyjscy architekci w XIX i XX wieku. Warszawa; Toruń, 2018, pp. 61–76 (in Russian).
3. Bertash A. (archpriest) (2021) “Gubernator kniaz′ Sergii Shakhovskoi — vyrazitel′ politiki imperatora Aleksandra III v Estliandii i memorial′naia Sergievskaia tserkov′ v Piukhtitskom monastyre” [Governor Prince Sergy Shakhovskoy — the spokesman for the policy of Emperor Alexander III in Estonia, and the memorial Church of St. Sergius in Puhtitsa Monastery]. Vestnik Istoricheskogo obshchestva Sankt-Peterburgskoi Dukhovnoi Akademii. St. Petersburg (in Russian).
4. Bertash A. (archpriest) “Inter′er Uspenskogo sobora Piukhtitskogo monastyria i ego mastera S. A. i P. S. Abrosimovy i F. E. Egorov” [The interior of the Assumption Cathedral of Puhtitsa Monastery and its masters S. A. and P. S. Abrosimov, and F. E. Egorov]. Vestnik PSTGU. Seriia V: Voprosy istorii i teorii khristianskogo iskusstva, vol. 42, pp. 60–78 (in Russian).
5. Bertash A. (archpriest) (2020) “Piuhtitski v chest′ Uspenia Presviatoi Bogoroditsy zhenski stavropigial′nyi monastyr′” [Puhtitsa Holy Dormition Monastery], in Pravoslavnaia entsiklopedia [Orthodox encyclopaedia]. Moscow, vol. 59, pp. 107–124 (in Russian).
6. Bertash A. (archpriest) (2021) “Uspenski sobor Piuhtitskogo monastyria v Estonii kak pamiatnik retrospektivnogo russkogo stilia, ego stroiteli i zhertvovateli” [The Assumption Cathedral of Puhtitsa Monastery in Estonia as a monument of the retrospective Russian style, its builders and donors]. Vestnik PSTGU. Serija V: Voprosy istorii i teorii khristianskogo iskusstva, vol. 41, pp. 132–152 (in Russian).
7. Bertash A. (archpriest) (2018) “Tserkovnyi zodchii M. T. Preobrazhenskii i ego raboty v Estliandskoi gubernii” [Church architect M. Preobrazhensky and his works in Estland Province], in 7 Piukhtitskie chteniia. Materialy mezhdunarodnoi nauchno-prakticheskoi konferentsii [7th Puhtitsa readings. Materials of the international conference]. Kuremae, pp. 116–124 (in Russian).
8. Bertash A. (archpriest) (2019) “Piuhtitskoe podvor′e v Revele-Talline i ego stroitel′ N. N. Nikonov” [Pukhtitsa house in Revel-Tallinn and its builder N. Nikonov], in 8 Piuhtickie chtenia. Materialy mezhdunarodnoi nauchno-prakticheskoi konferentsii [8th Piukhtitsa readings. Materials of the international conference]. Kuremae, pp. 154–163 (in Russian).
9. Gens L. (1998) Karl Burman. Tallinn (in Estonian).
10. Kirikov B. (ed.) (1996) Arkhitektory-stroiteli Sankt-Peterburga serediny XIX — nachala XX veka [Architects and builders of St. Petersburg of the mid-19th — early 20th cc.]. St. Petersburg (in Russian).
11. Lisovsky V. (2000) “Natsional′nyi stil′” v arkhitekture Rossii [“National style” in the architecture of Russia]. Moscow (in Russian).
12. Paert I. (2020) “Vosstanovlenie Revel′skogo vikariatstva v 1917 g. i vybory episkopa kak proiavlenie ‘tserkovnoi revoliutsii’ v Rizhskoi eparkhii” [Restoration of Revel Vicariate in 1917 and the election of a bishop as a manifestation of the “church revolution” in the diocese of Riga]. Pravoslavie v Baltii, vol. 9 (18), pp. 59–72 (in Russian).
13. Panteleev A. (ed.) (2000) Sto let Tallinnskomu soboru Aleksandra Nevskogo: Al′bom [One hundred years of Alexander Nevsky’s Cathedral in Tallinn: An Album]. Tallinn (in Russian).
14. Pavlova A. (2005) “O deiatel′nosti arkhitektora M. T. Preobrazhenskogo” [On the activities of the architect M. Preobrazhensky]. Russkoe iskusstvo Novogo Vremeni, no. 9, Moscow (in Russian).
15. Shilov D. (2002) Gosudarstvennye deiateli Rossiiskoj imperii [Statesmen of the Russian Empire]. St. Petersburg (in Russian).
16. Ulm K. (Meletios) (2010) “Miks Tallinna Nevski katedraalist ei saanud Toompea panteoni?” Tallinna Linnamuuseumi aastaraamat 2008/2010. Tallinn (in Estonian).
17. Vdovichenko M. (2009) Arkhitektura bol′shikh soborov XVII veka [The architecture of the large cathedrals of the 17th century]. Moscow (in Russian).

Bertash Alexander, archpriest

*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 work of Viktor Ulyanich is multifaceted and varied. A special place in the composer's work is occupied by cantata-oratorio works. The article is devoted to the religious theme in Viktor Ulyanich's choral works, revealing their figurative and thematic content, genre and stylistic features. Victor Ulyanich in his works refers to the poetic work of Russian classics - A.S. Pushkin, M.I. Lermontov, F.I. Tyutcheva, A.S. Khomyakova, Ya.P. Polonsky, uses folklore and Church Slavonic liturgical texts. In his works, the composer touches on eternal themes, he mainly refers to religious and lyric-philosophical poems about self-knowledge, about the creation of space and nature, about divine destiny. As a material for the analysis, the cantata "Guiding Ligthouse" the lyrics by Archimandrite Vitaly (Sidorenko) was used. Works for the choir a capella - "Two choirs to the lyrics by F. Tyutchev", "Choral diptych" to the lyrics by V. Lazarev and "Three spiritual chants" to the canonical texts.General conclusion: The religious theme in the work of Viktor Ulyanich acquires a new, individual sound. The composer's innovative musical language is closely connected with the traditions of choral writing and incorporates the characteristic features of the spiritual works of Russian composers of the 19th-20th centuries.

V. Ulyanich, contemporary choral music, cantata, oratorio, spiritual chants, choral cycle, Schema-Archimandrite Vitaly.

1. Kainova I. (2015) Kompozitor Viktor Ul′yanich: Khristianskoe mirovozzrenie i tvorcheskii stil′ [Composer Viktor Ulyanich: Christian worldview and creative style]. Problemy muzykal′noi nauki, 2015, no. 4, pp. 123–131 (in Russian).
2. Krasnikova T. (2014) “Nadzvezdnyi maiak” — dukhovnaya kantata V. Ul′yanicha dlia khora, solistov, kamernogo orkestra i elektronnykh zvukov [Superstellar Ligthouse, the spiritual cantata by V. Ulyanich for choir, soloists, chamber orchestra and electronic sounds]. Uchenye zapiski RAM im. Gnesinykh, 2014, no. 2, pp. 3–8 (in Russian).
3. O zhizni skhiarhiamandrita Vitaliia (2004) [On the life of Schema Archimandrite Vitaly]. Moscow (in Russian).
4. Romashchuk I. (2016) Viktor Ul'yanich. Khorovaia muzyka. “Prinoshenie velikomu russkomu khormeisteru Viktoru Sereevichu Popovu” [Viktor Ulyanich. Choral music. “Tribute to the great Russian choirmaster Viktor Sereevich Popov”]. CD booklet. Moscow (in Russian).

Belyaeva Antonina

The article is devoted to the compositions of Kuban composers of the 21st century on Orthodox canonical liturgical texts. The features of the musical poetics of the works, their stylistic prototypes, as well as the motivation for turning to spiritual topics are considered. The problem of rapprochement of two lines of choral performance - church and secular is touched upon. Attention is drawn to the precedent of inlaying canonical liturgical texts as a private means of artistic expression in the context of a secular composition. Attention is focused on a careful renewal of the means of musical expressiveness of compositions, taking into account the traditional author's poetics of liturgical chants. The signs of following the style model of Obikhod in the harmonization of S. Smolensky, as well as the compositional techniques of the authors of the New Direction in Russian sacred music at the turn of the 19th-20th centuries, are revealed. The importance of the composer's church singing experience for the adequate embodiment of the verbal basis of rites in chanting is emphasized. A causal relationship is revealed in the change in the musical interpretation of the liturgical verbal basis in secular compositions under the influence of the concept of the opus, where the canonical liturgical text is “encrusted”. It also shows the dependence of the expansion of liturgical chants on the concert stage and secular compositions on the kliros on the processes of personnel “migration” of singers, the role of the individual in the development of this type of art, and the concept of the development of a creative team.

spiritual chants, canonical liturgical text, Kuban composers, S. Anikienko, N. Zakharchenko, V. Komissinsky, V. Magdalits, Gr. Ponomarenko, O. Prostitov, B. Tselkovnikov.

1. Khvatova S. (2011) Pravoslavnaia pevcheskaia traditsiia na rubezhe XX–XXI stoletii [Orthodox tradition of singing at the turn of the 20th — 21st centuries]. Maykop (in Russian).
2. Tserkovnye proizvedeniia sibirskikh kompozitorov (2001) [Church works of Siberian composers], Krasnoyarsk, vol. 2, pp. 32–34 (in Russian).

Khvatova Svetlana

*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.

Shak Tatiana

To the members of the Krasnodar branch of the Union of Composers of Russia, who kindly provided musical materials and the necessary information.

The paper considers Vincenzo Manfredini's «Cherubic Hymn» discovered by E. Yu. Antonenko in 2018. Until recently, it was only known that Manfredini composed music for the Orthodox Church, but not a single composition was found. Based on analysis of manuscript sources, the work is dated to the period of 1762–1765, which allows us to claim that Manfredini was one of the first authors who composed Orthodox Church music in the new classical style that replaced the older partes style after 1762. "Cherubimskaya" is contained in singing books written in round notation, stored in the fund collection "Cult Music" of the Russian National Museum of Music (Moscow): RNMM. F. 283. N 937, sheet 87 (treble), N 256, sheet 7 (viola), N 878, sheet 30v. (tenor), N 996, sheet 65v. (tenor), N 879, sheet. 19 vol. (bass), N 944, l. 17 (bass). With a high probability, these chanting vowels are of Petersburg origin, and, thus, the indication of Manfredini's authorship is credible. The Italian composer Vincenzo Manfredini visited Russia twice: 1758-1769 and 1798-1799. By order of the St. Petersburg Court, he composed chants for the Orthodox Church

Vincenzo Manfredini, classicism, Cherubic Hymn, Russian sacred music, Court chapel choir, musical textology, choral score,

1. Antonenko E. (2012) “Bal′dassare Galuppi i Russkaa dukhovnaia muzyka” [Baldassare Galuppi and Russian sacred music]. Nauchnyi vestnik Moskovskoi konservatorii, vol. 2/4, pp. 34–67 (in Russian).
2. Antonenko E. (2019) “Dukhovnaia muzyka Vinchentso Manfredini, Andreia Rachinskogo, Vasiliia Pashkevicha, L′va Gurileva v Russkom natsional′nom muzee muzyki: novye otkrytiia” [Sacred music of Vincenzo Manfredini, Andrey Rachinsky, Vasily Pashkevich, and Lev Gurilev in the Russian National Museum of Music: new discoveries], in A. Bulycheva, A. Safonova (eds) Dukhovnaia muzyka Rossii i Avstrii, in 2 vols. Moscow, vol. 1, pp. 104–124 (in Russian).
3. Antonenko E. (2022) Vinchentso Manfredini i Rossiiskii Imperetorskii dvor: neizvestnye stranitsy biografii i tvorchestva kompozitora [Vincenzo Manfredini and Russian Imperial Court: unknown pages of the composer’s biography and work]. Nauchnyj vestnik Moskovskoj konservatorii, no. 3/4, pp. 474–493 (in Russian).
4. Dolskaya-Ackerly O. (ed.) (1995) “Vasiliy Titov i russkoe barokko: izbrannye dukhovnye khorovye proizvedeniia” [Vasily Titov and the Russian Baroque: selected sacred choral works], in Monuments of Russian Sacred Music, Series XIII, Madison, vol. 1 (in Russian).
5. Findeizen N. (1929) Ocherki po istorii musyki v Rossii ot drevneishikh vremen do kontsa XVIII veka [Essays on the history of music in Russia from antiquity to the late 18th c.]. 2 vols. Moscow; Leningrad, vol. 2 (in Russian).
6. Gardner I. (2004) Bogosluzhebnoe penie Russkoi Pravoslavnoi Tserkvi [Liturgical singing of the Russian Orthodox church]. 2 vols. Moscow, vol. 2 (in Russian).
7. Iozzelli M., Tolve G. (1992) Vincenzo Manfredini: materiali per una biografia. Pistoia.
8. Lebedeva-Emelina A. (2004) Russkaia dukhovnaia muzyka epokhi klassitsizma [Russian sacred music of the Period of Classicism]. Moscow (in Russian).
9. Lebedeva-Emelina A. (2022) Muzy`ka liturgii e`poxi klassicizma. Notny`e publikacii i issledovaniya.
10. Libby D., Green R. (2001) “Manfredini, Vincenzo”, in The New Grove Dictionary of Music and Musicians, 2nd ed., in 29 vols. London, vol. 3.
11. Malinovskii K. (2015) “Zapiski i pis′ma Iakoba Shtelina o teatre, muzyke i balete v Rossii” [Jakob Stelin’s notes and letters on the theatre, music, and ballet of Russia], in Materialy Iakoba Shtelina [Jakob Stelin’s materials], in 3 vols. St. Petersburg, vol. 3 (in Russian).
12. Uspenskii N. (ed.) (1976) Russkii khorovoi kontsert kontsa XVII — pervoi poloviny XVIII v. [Russian choral concerto of the end of the 17th — fi rst half of the 18th centuries]. Leningrad (in Russian).
13. Zolotnitskaia L. (2000) “Manfredini”, in Muzykal′nyi Peterburg. XVIII vek. Entsiklopedicheskii slovar′ [Musical St. Petersburg. 18th century. Encyclopaedic dictionary], vol. 2, St. Petersburg, pp. 168–172 (in Russian).

Antonenko Ekaterina

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

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.