Slavjanski muzikalni răkopisi v Rilskija manastir:
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | Bulgarian Church Slavic |
| Veröffentlicht: |
Sofija
Iztok-Zapad
2012
|
| Ausgabe: | 1. izd. |
| Schlagworte: | |
| Online-Zugang: | Abstract |
| Beschreibung: | PT: Slavonic musical manuscripts in Rila monastery. - In kyrill. Schr., bulg. - Zsfassung in engl. Sprache |
| Beschreibung: | 316 S. Ill. |
| ISBN: | 9786191520718 |
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Datensatz im Suchindex
| _version_ | 1804149524192559104 |
|---|---|
| adam_text | Asen
Atanasov,
Svetlana Kujumdzieva,
Vasya Velinova,
Elena
Uzunova, Elissaveta Moussakova
SLAVONIC MUSICAL MANUSCRIPTS IN
RILA
MONASTERY
Summary
The collection of musical manuscripts at the library of
Rila
Monastery is the largest
and the richest one of neumated, that is, notated manuscripts in Bulgaria. The manuscripts,
more than a hundred in number, originated in the eighteenth and nineteenth centuries.
They are representative of the last stages in development of the Balkan Orthodox church
music and give evidence for its ten-century-long living tradition. According to them we
could reconstruct many musical pieces from the Middle Ages that were transmitted in an
oral way and have got their notated form in the seventeenth and eighteenth centuries. In
this sense, the musical manuscripts at the
Rila
library are extremely valuable for
reconstruction of music history. Besides, they represent an organic manuscript collection
and outline a homogeneous picture of development during one of the most dynamic periods
in the history of Middle and Eastern Europe, the Balkan National Revival, when the
nations were in a process of formation and when church music played an important role in
the ongoing processes of national identification and formation of cultural identities. During
this time the Balkan Orthodox church music went through considerable development while
remaining purely vocal. Up to the 1840s, the church music especially in Bulgaria was the
only field of music with a richly documented written tradition and this field of music is
entirely presented by the
Rila
musical manuscripts.
The musical manuscripts are written in their major part byJBulgarians. This is proved
by the inscriptions, which are left in many of them. The beginning of the research on these
manuscripts dates from the mid-twentieth century when the distinguished theologian,
composer and musicologist Peter Dinev discovered twenty-one musical manuscripts at
the library of
Rila
Monastery. The manuscripts were notated in the so-called New Method
notation, introduced by the Orthodox Patriarchate in the Balkans after
1814.
The
manuscripts discovered by Peter Dinev gave him a reason to speak about a church singing
school that existed in
Rila
Monastery. The school was under the leadership of one of the
greatest Bulgarian writers, composers, teachers, and scholars from the nineteenth century,
Neophyte of
Rila.
His name as a music author or a composer was written above many
chants in the newly-discovered manuscripts. For the first time Neophyte became known
as a musician and as such he entered the history of Bulgarian and in extension, Balkan
311
Orthodox music. The discovery of the
Rila
musical manuscripts shifted the initially set
chronological boundaries of the music from the period of the Bulgarian National Revival
more than a quarter earlier
-
to the 20s of the nineteenth century: until then the beginning
of this music was considered to be the mid-nineteenth century and was linked to the
secular music only
-
the primary sources of church music of the eighteenth and nineteenth
centuries were not known.
After a careful study of the library of
Rila
Monastery between the
70s
and
90s
of the
twentieth century by scholars from the Institute of Musicology at the Bulgarian Academy
of Sciences (today s Institute of Art Studies), more than
80
new musical manuscripts
were discovered
(77
by
Svetlana Kujumdzieva
and
6
by
Asen
Atanasov). Half of them are
documents of a musical practice earlier than that of Neophyte of Rila s time: they were
written during the eighteenth and the very beginning of the nineteenth century in Greek,
Greek and Church Slavonic, and in Church Slavonic. During the second half of the
eighteenth century, the significance of
Rila
monastery became equal to that of the Athonite
monasteries Zograf and Hilandar in the development of Orthodox music in the Balkans.
In fact, this was one of the significant turning points in the cultural development on the
Balkans
-
the shift of the cultural centers including musical ones from Mount
Athos
to the
separate countries: already in the beginning of the nineteenth century national centres
were raised and had an impact on the cultural development inside the countries. The
names of the first whole generation of Bulgarian men of letters involved in music as
authors, copyists, and singers become known. Among them are Theodosios, Joasaph,
Seleucos, Pamphilios, Pachomios, Seraphim, Joseph, and many others. The border of the
Bulgarian National Revival music was shifted again
-
to the beginning of the eighteenth
century. The most distinguished among this generation of men of letters involved in music
is hieromonk Joasaph proigoumenos of
Rila.
He was one of the leading musicians from
the end of the eighteenth and the beginning of the nineteenth century. Joasaph s
compositions are for all parts of worship. They are found in
14
manuscripts preserved in
the library of
Rila
Monastery, and in the libraries of the Athonite monasteries Xenophon
and Dionysiou.
The other part of the musical manuscripts discovered is from the nineteenth century
and it is linked to the generation of Neophyte of
Rila.
The Church Slavonic manuscripts
prevail. They are
41
altogether and are fully presented in this book. In terms of importance,
the musical collection at the library of
Rila
Monastery is the biggest one housed in a
European library (here we do not count the Slavonic musical manuscripts at the libraries
of the Athonite monasteries Zograf and Hilandar). Due to these manuscripts, the names of
a second generation of Bulgarian musical authors entered the history of Bulgarian music:
312
Neophyte of
Rila,
Athanasios, Averkios, Xenophon, Cyril, Epiphanios, Constantios,
Gennadios and others. All of the newly found manuscripts proved the existence of a very
influential church singing school at
Rila
Monastery, which turned out to be one of the
largest of its kind on the Balkans. By the end of the eighteenth century the whole necessary
repertory performed in the churches was written down in neumes in musical manuscripts.
The written tradition established for the whole chant repertory was a result of the ideas of
the West-European Enlightenment, which conditioned the aim of explicitness. It required
a written practice. People who knew now musical writing were considered highly educated.
In the beginning of the nineteenth century already the greater part of the chant repertory
was translated into Church Slavonic.
The study of the
Rila
musical manuscripts reveals some very important issues like the
differentiation of a several stages in the development of Balkan Orthodox music, the Bulgarian
contribution to this process, the connection of
Rila
Monastery with various monasteries on
Mount
Athos
like Zograf, Hilandar, Dionysiou and Xenophon, a reception of the contemporary
Balkan Orthodox music in Bulgaria, the essential and significant role of the Bulgarians in
the overall process of development of this music, etc. The musical manuscripts include a
rich repertory in Church Slavonic from the major liturgical chant books: the Anthology, the
Doxastarion, Heirmologion, and Oktoechos of the Anastasimatarion type. The manuscripts
contain pieces for the services of the Bulgarian saints John of
Rila
from the 9th-
1
0th century,
celebrated on October
19,
July
1
and August
18,
and
Petka
of Tarnovo from the second half
of the
10*
century, celebrated on October
14.
The intensive archaeographic work that has begun in the recent years in Bulgarian
libraries aiming to digitise and to describe the musical manuscripts showed that during the
period between the sixteenth and eighteenth centuries a highly developed oral church
singing practice existed: the Bulgarian manuscripts designed for church singing and bearing
musical designations like mode, kind of tune, genre, etc., are not notated
-
they contain
text only. This gave a reason the singing practice of that period to be characterized as
folklorised . It turned out that the newly found
Rila
musical manuscripts are the earliest
notated manuscripts written on the territory of Bulgaria after the fifteenth century. It was
the
Rila
Monastery where the theory and practice of the contemporary Balkan church
music from the eighteenth and nineteenth centuries was accepted, the New Method
including. According to the evidence of Neophyte of
Rila,
Joasaph the proigoumenous of
Rila
was the first teacher of this Method. By
1816
he was sent by the monastery s
administration to Constantinople to learn it. Returning to the monastery in six months,
Joasaph brought all the necessary liturgical books for his teaching.
313
The first manuscripts in the New Method were written in
Rila
Monastery about
1820.
The second generation of men of letters involved in music that was led by Neophyte
of
Rila
was in charge of translating the chant repertory from the former notation into the
New Method notation. Up to the
1
840s the entire annual church chant repertory in Church
Slavonic was compiled in the proper chant books. The repertory compiled at the
Rila
singing school transmits for the first time translated into Church Slavonic chants by authors
of the former generations from the fourteenth-fifteenth through the nineteenth centuries:
John Koukouzeles, Xenos Korones, John
Lampadarios
Klädas,
Manuel Chrysaphes,
Chrysaphes the New, Peter Bereketos, Peter
Lampadarios,
George of Crete, etc. The
study of the
Rila
repertory shows that the
Rila
monks knew the church chant theory and
practice in details: they knew precisely the intonation fond and the modal organization of
the whole repertory they worked with. The original chants created in Church Slavonic by
the
Rila
monks are for all parts of worship. In fact, this is the first full notated repertory in
Slavonic created in Bulgaria, which covered the entire annual chant cycle of worship. The
availability of such notated chant repertory put an end to the oral transmission of church
music, which was close to the popular traditional practice and raised it to a high professional
level. This level was necessary for Bulgarian nation, which was in the process of formation
at that time. It guaranteed reaching of the level of the contemporary most modern models
(an expression of Neophyte of
Rila).
Such level gave a confidence for cultural prosperity
in the field of music, and satisfied the needs of highly professional musical literature.
Neophyte of
Rila
wrote compositions like Joasaph of
Rila
for all parts of worship:
for Vespers, for the Orthros, for the three liturgies (of St John Chrysostomos , St Basil the
Great s and for the liturgy of the Presanctified Gifts) as well as for special services. The
greater part of his musical work was compiled in a manuscript written by him on the
Chalki Island in
1851
(NR
115).
This manuscript contains many marginal inscriptions
written by his hand. Neophyte s ambition, according to some notes in this manuscript,
was to set into print the chant repertory compiled by his contemporaries in
Rila
Monastery.
Unfortunately, this ambition remained unrealized. The great Bulgarian writer died in
Rila
Monastery in
1881.
The created repertory in Church Slavonic was introduced and taught in the new
Bulgarian schools of which the earliest one was opened in the town of Gabrovo in
1835.
In doing so, the performance of church music went outside the churches and entered a
secular institution for the first time. For the first time also, church music was taught along
with other secular subjects (mathematics, grammar, geography, etc.) and was among the
major subjects in the new secular schools in many towns (according to the evidence in
towns of Koprivshtitca, Kalofer, Sliven, Plovdiv, Sofia, etc.). This was the time when
314
from the three fields of music
-
folklore, church music and secular music
-
the church
music having a written format was the one that satisfied the needs of musical education in
the country: the folklore music did not have any written format and the secular music was
at the very beginning of its existence.
The church chant practice in Church Slavonic created in
Rila
Monastery was
disseminated throughout Bulgarian lands. The
Rila
chant manuscripts are preserved in the
libraries of the other two major Bulgarian monasteries, Bachkovo and
Troian.
Judging by
the sources, during the 1840s and 1850s the
Rila
chant practice was popularized in the
Athonite monasteries Zograf and Hilandar. This was an opposite trend in the development
of church music
-
the movement from the inner country centers to Mount
Athos.
In
1853
for instance, the abbot of the Zograf Monastery
Hilarión
with all the brothers on the
name of Christ asks Neophyte of
Rila
to send Bulgarian chants to Zograf for the use in
worship and in
1858
he thanks him for fulfilling of the request. Also, the
Rila
musical
manuscripts are found in the library of the Church-Historical and Archival Institute at the
Bulgarian Patriarchate in Sofia, the Sts Cyril and Methodius National Library, the Ivan
DuJHev Centre for
Slavo-Byzantine
Studies at the Sofia University St.
Kliment Ohridski
and others.
The
Rila
monks did not manage to set into print their chant books. The first printed
church chant books in Church Slavonic in the New Method notation appear from
1847
onwards. They were compiled by secular people. The repertory of these books contains
both translated chants into Church Slavonic by Greek authors from the compilers and
original ones by the latter. Unfortunately, nothing was said about musical work in
Rila
Monastery and not a single composition of any of the
Rila
monks was included in these
volumes. The printed books were disseminated quickly throughout the country and the
printed practice as a whole replaced the manuscript one. The musical work of the
Rila
monks gradually passed into oblivion after
1870
up to the discovery of some of the
Rila
musical manuscripts by Peter Dinev by the mid-twentieth century.
Today both the musical work of the
Rila
monks and the
Rila
musical manuscripts
still remain not very well known. The
Rila
musical manuscripts were not included in the
last description of the Slavonic text manuscripts from the library of
Rila
Monastery
published in
1986.
With the publication of this book, the manuscript collection of the
Rila
Slavonic manuscripts will be presented in its greater entirety. This would be a strong base
for a further deeper research of the Bulgarian manuscript heritage as a whole and of the
cultural and spiritual history of
Rila
Monastery. The study of the music heritage of
Rila
Monastery could offer an excellent opportunity for looking for parallels with the West-
European periods of the Middle Ages, the Renaissance, Baroque and Enlightenment. It
315
could help us also to outline the long way of development of Bulgarian church music
during the eighteenth and nineteenth centuries, a period of flourishing, of many changes,
transitions, cultural translations and adaptations like the transition from an unnotated
repertory into a notated one up to
1814,
the translation of this pre-New Method repertory
into the system of the New Method after
1814,
and finally, the adaptation of the entire
repertory of the New Method into Church Slavonic language. Bulgaria went through all
these changes in a very creative way. Her unique church chant heritage is a contribution to
human civilization and in particular, to Balkan and European music. It is a challenge of
our time to appreciate this heritage.
The contents of the book include five chapters: I. The
Rila
Musical Manuscripts in
the Context of Bulgarian Culture; II. Systematizations: Slavonic musical manuscripts,
types of books, dated manuscripts, writers, authors, manuscripts that are close to their
repertory, chants for the services of St John of
Rila
and
St Petka
of Tarnovo; III. Scholarly
Description; IV. Album; and V. Indexes. The Scholarly Description along with the Album
of all the manuscripts described includes: call number, type of the manuscript, date, physical
description of the quires and the bindings, decoration, orthography, contents of chant
repertory in full details, inscriptions, writers, authors, remarks (if any), a history of the
manuscript (if known) and a bibliography of the considered manuscript (if any). Such an
analytical description of Slavonic musical manuscripts steaming from the Balkans is
prepared for the first time.
As already said, the musical manuscripts at the library of
Rila
Monastery count more
than one hundred and there are many others that are kept in libraries outside the
Rila
Monastery. This book, in which are registered the Slavonic musical manuscripts from the
Rila
library only, is meant as the first volume of four that will present the entire musical
heritage of
Rila
Monastery. The authors intend to prepare three more volumes containing
the rest of the musical manuscripts found, written in
Rila
Monastery, respectively, the
bilingual musical manuscripts (Greco-Slavonic), the musical manuscripts in Greek, and
musical manuscripts written in
Rila
Monastery but preserved in other libraries. As an
interdisciplinary team of scholars, the authors are united by a common interest of
preservation of the national treasure, representing both the Bulgarian spirit of creativity
and the cultural identity. They believe that the
Rila
musical manuscripts are not a subject
of interest to musicologists only, but also to hymnographers, theologians, philologists and
art historians.
The book is a result of the project sponsored by the Bulgarian Ministry of Education,
Youth and Science to which the authors are very grateful. The authors also express their
gratitude to Rev. Evlogij, Bishop of
Adrianopol
and Abbot of the Holy
Rila
Monastery,
for his help and support in working with the manuscripts at the monastery library.
316
Съдържание
Рилските музикални ръкописи в контекста на българската култура
5
Систематизации
.................................................................................................................................................................................................................. 31
•
Славянски музикални ръкописи
33
•
Типове книги
................................................................................................................................................................................................................. 35
•
Датирани ръкописи
40
•
Писачи
........................................................................................................................................................................................................................................ 40
•Автори
.........................................................................................................................................................................................................................................40
•
Ръкописи, близки по репертоар
40
•
Песнопения за
св. Йоан Рилски и св. Петка Търновска
41
Научен опис
..................................................................................................................................................................................................................................43
Албум
..................................................................................................................................................................................................................................................... 161
Индекси
........................................................................................................................................................................................................................................... 209
•
Индекс на песнопенията по типове книги
211
•
Индекс на песнопенията по богослужебна употреба
263
•
Индекс на използвания богослужебен календар
305
Резюме на английски език
311
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| era_facet | Geschichte 1800-1900 |
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| genre | (DE-588)4163417-2 Katalog gnd-content |
| genre_facet | Katalog |
| id | DE-604.BV040459670 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:24:24Z |
| institution | BVB |
| isbn | 9786191520718 |
| language | Bulgarian Church Slavic |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-025307138 |
| oclc_num | 815945385 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 316 S. Ill. |
| publishDate | 2012 |
| publishDateSearch | 2012 |
| publishDateSort | 2012 |
| publisher | Iztok-Zapad |
| record_format | marc |
| spelling | Slavjanski muzikalni răkopisi v Rilskija manastir Asen Atanasov ... Slavonic musical manuscripts in Rila monastery 1. izd. Sofija Iztok-Zapad 2012 316 S. Ill. txt rdacontent n rdamedia nc rdacarrier PT: Slavonic musical manuscripts in Rila monastery. - In kyrill. Schr., bulg. - Zsfassung in engl. Sprache Rilakloster (DE-588)1215646-2 gnd rswk-swf Geschichte 1800-1900 gnd rswk-swf Neumenschrift (DE-588)4171568-8 gnd rswk-swf Kirchenslawisch (DE-588)4132167-4 gnd rswk-swf Musikhandschrift (DE-588)4040847-4 gnd rswk-swf (DE-588)4163417-2 Katalog gnd-content Rilakloster (DE-588)1215646-2 b Kirchenslawisch (DE-588)4132167-4 s Musikhandschrift (DE-588)4040847-4 s Neumenschrift (DE-588)4171568-8 s Geschichte 1800-1900 z DE-604 Atanasov, Asen Asenov Sonstige oth Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025307138&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Slavjanski muzikalni răkopisi v Rilskija manastir Rilakloster (DE-588)1215646-2 gnd Neumenschrift (DE-588)4171568-8 gnd Kirchenslawisch (DE-588)4132167-4 gnd Musikhandschrift (DE-588)4040847-4 gnd |
| subject_GND | (DE-588)1215646-2 (DE-588)4171568-8 (DE-588)4132167-4 (DE-588)4040847-4 (DE-588)4163417-2 |
| title | Slavjanski muzikalni răkopisi v Rilskija manastir |
| title_alt | Slavonic musical manuscripts in Rila monastery |
| title_auth | Slavjanski muzikalni răkopisi v Rilskija manastir |
| title_exact_search | Slavjanski muzikalni răkopisi v Rilskija manastir |
| title_full | Slavjanski muzikalni răkopisi v Rilskija manastir Asen Atanasov ... |
| title_fullStr | Slavjanski muzikalni răkopisi v Rilskija manastir Asen Atanasov ... |
| title_full_unstemmed | Slavjanski muzikalni răkopisi v Rilskija manastir Asen Atanasov ... |
| title_short | Slavjanski muzikalni răkopisi v Rilskija manastir |
| title_sort | slavjanski muzikalni rakopisi v rilskija manastir |
| topic | Rilakloster (DE-588)1215646-2 gnd Neumenschrift (DE-588)4171568-8 gnd Kirchenslawisch (DE-588)4132167-4 gnd Musikhandschrift (DE-588)4040847-4 gnd |
| topic_facet | Rilakloster Neumenschrift Kirchenslawisch Musikhandschrift Katalog |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025307138&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT atanasovasenasenov slavjanskimuzikalnirakopisivrilskijamanastir AT atanasovasenasenov slavonicmusicalmanuscriptsinrilamonastery |