Внебогослужебное духовное пение в российском культурном пространстве XVIII – начала XIX вв.

Abstract

Out-liturgical spiritual singing in the 18th and early 19th centuries was represented by genres that were formed at various times. In this context the problem of identifying the mechanisms of adaptation of samples created in the previous period to the changed realities of New Age culture is of interest. On the example of spiritual songwriting of the inhabitants of the Old Believers' Vygo-Leksinskoye settlement, the peculiarities of the traditional genres that had developed earlier and appeared after the church schism are presented. The authors of these genres used artistic techniques typical of the New Age culture in their creation. The hook collections of verses that emerged in the Old Believers' environment contributed to the consolidation and spread of the repertoire. The enrichment of the artistic system of non-denominational spiritual singing in the 18th century with new samples was caused by the appearance of verse arrangements of psalms by V. K. Trediakovsky, M. V. Lomonosov, A. P. Sumarokov, and M. M. Kheraskov. The arrangements penetrated both the Old Believer performing environment and the musical life of the townspeople. Russian songs and romances became popular in home and salon music from the late 18th century, among which there are samples of spiritual content, as well as works that transform the spiritual text into sentimental love lyrics. As an example, M. V. Zubova's song "Ya v pustynyu udalyayus’ [I am going away to the desert]", created in 1770 on the basis of the psalm of the same name, is presented. In the context of the unfolding cultural dialogue between the capital and remote territories during the formation of the Russian Empire, the territorial distribution of samples of extra-liturgical spiritual singing is of interest. In the province, the traditions that had developed earlier were mainly preserved. Their main performer was Old Believers. The migratory nature of the Old Believer movement contributed to the geographical spread of works, which formed local specificity at the level of repertoire, principles of functioning, stylistics, and performing manner. Romances with a spiritual content, which emerged at the turn of the 18th–19th centuries, at that time sounded in the space of home and salon musicmaking in capitals and large cities. Later they would become widespread in the provinces, which would contribute to their further popularisation and repertoire enrichment.