Abstract
In Moscow of the 16th — 17th centuries the choir at the Tsar’s court and the choir at the court of the Metropolitan (from 1589 — the Patriarch) of All Russia united the best musical creative forces of the country. According to the author, the study of historical data on the life and activities of the Tsar’s and patriarchal singers indicates that they belonged to the category of court service class people. The church-singing repertoire of the main choirs was formed in accordance with the requirements of the liturgical Statute and the rules of Old Russian musical art development, political trends of the time and events of national importance. This repertoire consisted of different styles chants and chants of authorship, which the singers rewrote and performed. The findings of the study are based on an analysis of a wide range of singing manuscripts, documentaries and other sources.
Highlights
The professional activity of the singing masters of significance of that act is obvious
Moscow School in Russian church singing art of that and raspevshiks had created more than 150 cycles of time
In a manuscript, which was written by one of the patriarchal singing diaki in the beginning of the 17th century and included into the Tsar’s musical library, we come across the chants, written in Demestvennaya notation with the following indications: “The Thrice Holy Demestvennoie”, “Radilovo, Demestvom” or “Demestvo”
Summary
The professional activity of the singing masters of significance of that act is obvious. In a manuscript, which was written by one of the patriarchal singing diaki in the beginning of the 17th century and included into the Tsar’s musical library, we come across the chants, written in Demestvennaya notation with the following indications: “The Thrice Holy Demestvennoie”, “Radilovo, Demestvom” or “Demestvo”.
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