| Title of the article: |
Chantcreating at the Holy Trinity St. Sergius Lavra: the end of XVIII – the beginning of XXI century |
| Author(s): |
GENCHENKOVA M. V. |
| Section: |
Theory and History of Art |
| Year: |
2015 |
| Issue: |
№ 1, (35) |
| Pages: |
177-190 |
| Index UDK: |
781 |
| Index BBK: |
85.313 (2) |
| Abstract: |
In the eighteenth century, «putevoy» chant and string polyphony left choir practice. A new later period in the development of the Lavra chant began. This should include monophonic chants that were created around the XVIII-XIX centuries and were harmonized later. The study of the style of chants is necessary to understand the local traditions. Basic compositional principles of Lavra clerical composers in XVIII-XIX centuries were traditional. The chants could be based on the eponymous singing of a different tune. The original intonation pattern varied, and the melody could be both and complicated. The hymn could combine stylistic characteristics of various chants: Znamenny, Kievan, Greek and their abbreviations. Hymns, along with the intonation formulas of different chants, introduced local, Trinity «kokizas» that blended with the intonational fabric of melodies. In addition, there were original tunes that had actually Lavra melodic and rhythmic formulas. Later partes polyphony is one more Trinity way of chantcreating, associated with late monastery monody and the work of authors. Its formation was not gradual. According to the opinion, common in the monastery, there was a very long period of monophonic tradition, partes appeared later, at the turn of XX centuries. In the similar way, after quite a long break, there originated modern Lavra chantcreating by Archimandrite Matvey and deacon Sergei Trubachev. But it continues and develops the interrupted tradition of polyphony in the beginning of XX century. Old monastery melodies continue their existence. |
| Keywords: |
HOLY TRINITY ST. SERGIUS LAVRA OF ST. SERGIUS OF RADONEZH, SERGEI TRUBACHEV, ARCHIMANDRITE MATVEY, TRADITION, CHURCH MUSIC, SINGING, MONODY, POLYPHONY, STYLE |
| Bibliography: |
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