Title of the article:

MARTYRS OF PUSTOZERSK IN THE MODERN OLD BELIEVERS GYMNOGRAPHY

Author(s):

Olga A. Svetlova

Information about the author/authors

Olga A. Svetlova — PhD in History of Art, Associate Professor, vice-rector for research and creative activity, Novosibirsk State Glinka Conservatoire, Sovetskaya St. 31, 630099 Novosibirsk, Russia. E-mail: svetlolga@mail.ru

Section

History of Arts

Year

2019

Volume

Vol. 53

Pages

pp. 224–239

Received

July 04, 2018

Date of publication

September 28, 2019

Index UDK

783:271.2

Index BBK

85.313(2)  

Abstract

The article touches upon the issue of the modern liturgical creativity of the Old Believers, connected with the revival of services of the Old Believers saints in the liturgical practice, created after the schism of the Russian Church. Two liturgical cycles are selected as sources ― the Martyrs of Pustozersk service to the archpriest Avvakum, priest Lazarus, deacon Theodore and monk Epiphany, written in the 20-s of the 20th century by Bishop Innokenty Usov, and the Service to the holy martyr and confessor Avvakum and his companions burned for the ancient piety in Pustozersk, arranged by the charterer of Kazan Old Believers community and published in 2006. The author describes composition of the service and undertakes a comparative textual analysis of the cycles, highlighting the most significant changes in a verbal text of some hymns — stichera, glorification, praising the archpriest Avvakum. The paper also examines prescribed modus (“glas”) model of the chant (“podoben” and “samoglasen”) for certain genres determining intonation-singing embodiment of the texts. Special attention is paid to the original neumatic chant of the first sticheron from the litia to confessor Avvakum “Let us rejoice” of the 3rd voice (“glas”), as a model of the modern musical hymnography. The correspondence of the singing structure to the verbal text, melodically and functionally competent use of the “popevka” stock, with a degree of variation, allows one to speak of the professional skill of the chant arranger in establishing the only new composition in the service. The analysis enabled us to identify the Kazan service as an edition of the cycle of Bishop Innokenty, where textual interpreting aims to concentrate on the figure of archpriest Avvakum. While preserving ideological core ― memory of the most revered martyrs who suffered in Pustozersk ― the service brings the image of the martyr Avvakum to the forefront, thereby emphasizing the role of the Old Believers spiritual leader.

Keywords

Old Believers, saint, service of Pustozersk martyrs, service to the holy martyr Avvakum, hymn composition, stichera, church chant.

References

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