Concerning the Compositional Peculiarities and the Adherence to the Right Glas of the Canon of the “Service of Gratitude for the Victory at Poltava”
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Abstract
The research is devoted to the forms of the ecclesiastical musical
culture in Russia at the turn of the 17th and 18th centuries. The
author examines one of the landmarks of the singing culture
of that time period – the “Canon of Gratitude,” which forms
part of the “Church Service of Gratitude for the Victory at
Poltava.” The article discloses the key issues connected with
the history of the emergence of the canon and the “church
service of gratitude,” their structure and makeup. The indicated
problems were set forward earlier by well-known historians,
philologists and musicologists who had studied the “canon
of gratitude” as a constituent part of the church service. The
article highlights the various affiliations of the chants of the
canon with the respective different “glas” (voices), as indicated
by its composer in one of the early poetical editions of the
“Service of Gratitude” (preserved in a rare fund of the Russian
National Library). Singling out this particular feature as being
the most important one, the author of the article sets the goal
of studying the stylistic features of the “Canon of Gratitude”
and revealing the principles of its compositional structure. The
juxtaposition of the poetical texts of the canon and the festive
services established their concurrency, which disclosed the
compositional conception of the writer of the text of the canon.
Research of the different variants of the canon disclosed the
edition of the score for the vocalists, which has preserved the
diverse affiliation with the different “glas,” united by a common
stylistic system of the Greek chant.
Keywords: Church service of gratitude, Victory at Poltava,
“Victory” celebrations, liturgical chants, landmarks in manuscripts
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References
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