Part-Singing Music by Fyodor Redrikov: Problems of Attribution and Dating
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Abstract
The article contains information about the pieces in the part-singing style, signed with Fyodor Redrikov name. In total, there are eighteen such works. The information about the Redrikov’s life and work, reported by Nikolai Fyodorovich Findeisen, and the attribution of some part-singing compositions, the scores of which were compiled in the Synodal School under Stepan Vasilyevich
Smolensky direction are critically examined. Thanks to discovering Fyodor Redrikov’s monogram it became possible, at least, presumably, to establish the time and geographical scope of his activity. The monogram is found in a manuscript originating from the city of Pereslavl-Zalessky, which dates from the late 1740s – early 1750s. Apparently, Redrikovʼs activity belonged to that period; and the composer himself originated from the Pereslavl branch of the noble Redrikovs family. Fyodor Redrikov’s musical style can be outlined on the basis of the concerto “Rejoice, people, while waiting”, the score of which is posted by us in the public domain. It testifies to the high level of the collectives with which the composer worked and to the wide use of imitation technique as well as
about the complexity of the harmonic language in the part-singing music in the middle of the 18th century, some features of which still have no theoretical explanation.
Keywords: Fyodor Redrikov, Stepan Vasilyevich Smolensky, Russian Baroque, Liturgy, part-singing concerto, attribution
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