Title of the article:

“DIDASKALOI” FADDEY SUBOTIN’S HANDWRITTEN BOOKS AS SOURCES ON MUSIC REFORMING ACTIVITY OF RUSSIAN MASTERS OF THE XVIIth CENTURY

Author(s):

Nikolai P. Parfentiev

Natalia V. Parfentieva

Information about the author/authors

Nikolai P. Parfentiev — DSc in History, DSc in Art, Professor, South Ural State University (National Research University), Lenin av., 76, 454080 Chelyabinsk, Russia. E-mail: parfentevnp@susu.ru

Natalia V. Parfentieva — DSc in Art, Professor, South Ural State University (National Research University), Lenin av., 76, 454080 Chelyabinsk, Russia. E-mail:
parfentevanv@susu.ru

Section

History of Arts

Year

2017

Volume

Vol. 46

Pages

Pp. 226-235

Received

May 30, 2017

Date of publication

December 15, 2017

Index UDK

783.2

Index BBK

85.318

Abstract

During the musical reform of 1650–1670's the outstanding masters didaskaloi (theorists) edited texts of handwritten chant books and improved neumatic znamenny musical notation. This reform enabled the implementation of a rapid transition to the stylistically new European art. Faddey (Thaddeus) Subotin was a member of the second commission (1669–1770), assembled under the decree of Tsar Alexei Mikhailovich to hold the editorial correction of the chants texts. The authors present data from the chant collections written by Faddey Subotin, information on other documentary sources about the master himself. It is established that he was born into the family of an impoverished peasant in the Solvychegodsky county. In Moscow master represented the school of Stroganov's “Usolsky church singing” as a special direction in the church chanting art. After work in the commission he was enlisted in the staff of court scribes who were engaged in writing of corrected books. In recently discovered musical collection the main correcting of the chants` texts was performed by the master's handwriting. This manuscript is a draft with editorial revision, which, probably, was carried out during his work in the commission. The study of the manuscript makes it possible to disclose the principles and methods of editing of verbal and musical materials. Another Faddey Subotin’s manuscript “Trezvony” is the collection of chant cycles for elected saints and holidays. The master wrote a collection for personal use after work in the Moscow commission, but reflected the activities of the editors. The authors presented analysis of his sticheron “Yako chinonachal’nik i posobnik” as an example of the author's musical creativity. 

Keywords

Old Russian church-chanting art, musical reform, commissions of chanting masters-editors, Faddey Subotin.

References

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