Молебное пение во время брани. Из Требника святителя Петра Могилы

Eminak, 2018

У статті здійснено аналіз публікацій щотижневика «Руководство для сельских пастырей» за увесь період його виходу, які містять інформацію про церковний спів у храмах Православної церкви Російської імперії середини ХІХ – початку ХХ ст.

Самые глубокие истины иудаизма следует искать не в текстах, а во времени, в самом еврейском календаре. Джонатан Сакс, главный раввин Великобритании 1 В ряду памятных вех еврейского календаря особое место занимает «Плач о Храме», поминающий разрушение обоих иерусалимских храмов, как Первого, так и Второго, сожженного «в тот же самый день», что и Первый, по словам Иосифа Флавия (BJ VI, 250). Более того, разрушение Второго Храма 10 ава 70 н.э.-в еврейской традиции 9 ава 3828-стало ключевым событием еврейской истории, точкой отсчета еврейской эры «От Разрушения Храма». В ряду известных памятников первым эту эру использует Иосиф Флавий, а систематическое ее употребление прослеживается в еврейской письменности и эпиграфике с середины IV до конца XI в. Но еще более примечателен тот факт, что многие последующие катаклизмы еврейской жизни также оказались приурочены к этому дню, ежегодно поминаемому в синагогах и ставшему своего рода календарно-литургической матрицей всей еврейской истории. Предельно краткий обзор этой традиции, наподобие поучения в хедере, содер жится в статье р. Ицхака Зильбера «Страшная ночь». 2 Здесь утверждается, что 9 ава все бедствия постигают евреев в наказание за неверие их предков в обретение

Slověne, 2023

The article provides a textual analysis of the Rule of the Singing of the Psalter according to all its parchment copies and traces its connection with the Slavic Psalter. As a result of the study, two redactions were identified and the second redaction was found to be derived from the first. Both redactions are associated with the spread of additional private services, which were actively introduced into Slavic worship on Mount Athos in the 13th century, as a result of which troparia and prayers after each cathisma appear in the Psalter. The first edition is possibly associated with the circle of St. Sava of Serbia: the translation exhibits Russian features and, most likely, comes from the Panteleimon Monastery, where the saint was tonsured. Among the Southern Slavs, only the second redaction is known, and it is found in a much greater number of manuscript copies. Both redactions became known in Rus' in the 13th century, which indicates the intensity of ties with Athos. The appendix to the article contains an index of all known prayers after cathismata in the 13th–14th-centuries Slavic sources.

Українська музика: науковий часопис - Ukrainian music: scientific journal, 2018

The information collected from the ancient Kyiv's Irmologions with a modern staff notation indicates that the initiator, or at least the patron of their creation in the Kyiv Monastery of the Caves, was Peter Mogila. Until our time, three samples of such manuscripts have been preserved, which date from around 1630. Preserved reliable evidence that it was Peter Mogila who initiated the introduction of partes singing in churches and monasteries of Kyiv. This testimony is in the polemical work of Λίθος, created in 1644 by the metropolitan himself. From this book, it becomes clear that Peter Mogila, on the example of the Lviv Dormition Brotherhood, received permission to use figural singing from the Patriarch of Constantinople. Such permission contributed to the legitimization of new singing. Historical sources kept information about the choir of Peter Mogila, which consisted of monks of the Kyiv Monastery of the Caves. At that time, the future Metropolitan was the archimandrite of this monastery. Information about this choir dates from 1630–1631 years. Historical sources also allow the identification of at least two partes singing teachers who acted in Kyiv during the time of Peter Mogila. Their names are Eliseus Ilkovskyj and Joseph Zagvojskyj. The first information about the residence of Eliseus Ilkovskyj in Kyiv dates back to 1635. At that time he was a monk and protopsalt, that is, the main singer of the Kyiv Monastery of the Caves. In the city he stayed at least until 1647. Eliseus Ilkovskyj came from Vilnius and in 1625 stayed in the city, but soon after accompanying his patron, the Orthodox Archbishop of Polotsk Meletius Smotrytsky, he first arrived in the Derman monastery. Subsequently, in 1627 he became a teacher of a Brotherhood school in Lutsk, but in the following year, due to a conflict with the local Jesuits, he returned to his patron. After Kyiv, Eliseus Ilkovskyj passes into the Greek Catholic Church and moves to Minsk, where, remained until 1655. However, due to the military action of the Moscow-Polish war (1654–1667), he was forced to flee Minsk. In 1661, Eliseus Ilkovskyj was already mentioned as an old monk and regent of music in the Zhyrovichy Monastery, where he died in 1669. About the second teacher of partes singing during the times of Peter Mogila knows much less. In 1656, he refused to go to the Moscow royal court, instead moved to Chyhyryn, the capital of the Cossack state of Bohdan Khmelnytsky. By that time he was already an elderly person. As a result of Petro Mohyla's reforms, partes singing spread not only in Kyiv, but also far beyond its eastern boundaries. In 1656, he refused to go to the Moscow royal court, instead moved to Chyhyryn, the capital of the Cossack state of Bohdan Khmelnytsky. By that time he was already an elderly person. As a result of Petro Mohyla's reforms, partes singing spread not only in Kyiv, but also far beyond its eastern boundaries.

Св. Трифон е раннохристиянски мъченик от Фригия (Мала Азия), който е посечен млад в Никея (Витиния) по време на гоненията срещу християните при римския император Деций Траян (249-251). Светецът е почитан в Цариград, Мала Азия, Русия, на Балканите, Южна Италия, Венеция, Рим. Покровител е на град Котор, където през 809 г. са пренесени мощите му от Цариград 1 . Посветени са му различни по жанр произведения на гръцки, латински, италиански. Паметта му влиза в календарите на средновековни славянски ръкописи и в тях са преписвани преводи на произведения за него -сред българи, сърби, източни славяни преводи от гръцки, а сред хърватите -от латински 2 . Агиографските текстове го представят като лечител и екзорцист. Затова нему се приписват апокрифни молитви със заклинания срещу вредители по нивите, градините и лозята, т.е. срещу нечисти животни (Exorcismus seu oratio super vineam, agrum, et hortum -BHG 1858). Смята се за покровител на градинари и лозари. Православната църква отбелязва паметта му на 1 февруари. Старобългарска литература, кн. 48, 2013 * Този текст е част от работа по проекта Encyclopaedia slavica sanctorum: Светци и свете места в България в електронен и Гутенбергов формат, подкрепен от МОМН, ДДВУ 02/68-2010.

Гиппиус А. А., Фитискина А. А. Тайнопись в певческом сборнике конца XV в. из Иосифо-Волоколамского монастыря // Четырнадцатые Загребинские чтения. Сборник статей по итогам международной научной конференции (9–10 октября 2019 г.). СПб., 2020. С. 11–22., 2020

На обложке воспроизведена миниатюра «Осень» из Синодика РНБ, F.I.739, на шмуц-титулах-маргинальный символ евангелиста из Евангелия тетр РНБ, F.I.41. Сборник статей содержит работы исследователей греческих, южно-и восточнославянских рукописных книг. В основу статей положены доклады участников международной научной конференции «Четырнадцатые Загребинские чтения», проходившей в Российской национальной библиотеке 9 и 10 октября 2019 г. Авторы публикаций-ученые из России, Сербии, Болгарии, Польши и Литвы. Включенные в издание статьи отражают различные аспекты и методы исследования средневековых манускриптов. Издание адресовано специалистам в различных областях гуманитарного знания. Печатается по постановлению Редакционно-издательского совета РНБ Подписано к печати 6.07.2020. Формат 60×84/16. Бумага писчая. Усл. печ. л.17,0. Уч.-изд. л. 9,0. Печать по требованию. Заказ № 83. Издательство Российской национальной библиотеки Отдел оперативной полиграфии РНБ.

HIEROMONK ARSENY (TROEPOLSKY). The Seeker of Unceasing Prayer (ed. and notes by A. Pentkovsky) An editio princeps of the full original version of the «Seeker of unceasing prayer», also known under the later name of «The Candid Tales of a Pilgrim to His Spiritual Father». The basis of the published text, authored by Hieromonk Arseny(Troepolsky), is the autograph from the author’s archive («Podvizhnicheskiy sbornik»). In the footnotes, different readings according to some previous versions of this text are given. In the endnotes, the explicit and implicit quotations from the Holy Scripture and the Slavonic Philokalia are identified, as well as other sources, including materials from Hieromonk Arseny’s archive. A. PENTKOVSKY. On the History of the Text and the Author of «The Candid Tales of a Pilgrim to His Spiritual Father» The article deals with the study of one of the most famous monuments of Russian spiritual literature. On the basis of a comprehensive study of the manuscript heritage of Hieromonk Arseny (Troepolsky), is arrived at an irrefutable conclusion that the original version of the Tales belongs to the collection of Arseny’s works. His treatises on the Jesus Prayer are examined as well. The Tales were well known, as evidenced by their manuscript tradition and the printed versions, which are discussed in detail. In the supplements, is offered first editions of the following items: 1) a description of the identifi ed manuscripts of the Tales; 2) a description of the preserved volumes of «Podvizhnicheskiy sbornik», which contains the materials of the archive, collected and edited at the end of his life by Arseny; 3) the autobiographical writings, which contain information on Arseny’s practice of prayer; 4) a brief treatise on the theme of Imiaslavie.

Традиционная культура, 2016

Song practices of the Russian Civil War. The research concerning Russian Civil War songs is concentrated on texts of songs, which were composed or performed orally immediately during hostilities. Participants of both sides also used songs, that had been known before the war. Songs existed in different situations and forms, orally as well as written. The song is not only restricted to a text with certain tune, but its performance includes actions of some people in given situation. Singing exists as a practice. Thus, analysis from performance perspective should be based on samples of using songs, such as singing, composing by authors, often unknown, publishing etc. It enables to define factors of appearance and transition of song traditions and to characterize repertoire of different groups. War participants were singing, first of all, when marching, during leisure, during military rites, when leaving into combat, after a good fight, before the execution and being drunk. Some of these situations are typical of all military units, as well as of other wars, but some others, as singing before the execution by the enemy and leaving into combat, are specific for the Russian Civil War. Songs known before the war formed the basis of the oral repertoire. In 1918–1919 such songs prevailed in printed songsters too. New songs appeared either as published in newspapers and leaflets or handwritten in songsters. New songs were devoted to particular fights, operations, to the fighting way in general, to the everyday life, to the glorification of leaders and humiliation of enemies. They called to battle for the best future and mourned the fallen. Usually, a new song became a hymn of a military unit and was sung during parades or at crucial moments of the battle. Key words: Russian civil war, songs, practices, performance, folklore.

Древняя Русь. Вопросы медиевистики, 2010

КирилличесКая запись латинсКих молитв и отрывКа чина мессы из руКописи синодального собрания гим № 558 записи иноязычных текстов кириллицей хоть и не часто, но все же встречаются в славянских рукописях. одним из ярких примеров служит латино-русская псалтирь из собрания гим, чуд. 53 (29), в которой часть латинского текста, записанного кириллическими буквами, даже снабжена славянским переводом 1 . другой случай транслитерации кириллицей немецкой фразы находится рядом со славянским переводом заглавий псалмов из немецкой псалтири, сделанного дмитрием герасимовым 2 . подобные записи также встречаются в авторских и анонимных рукописных сборниках и компиляциях. среди авторских сборников выделяется сборник тимофея вениаминова, рнб. Кир.-бел. 36/41, включающий несколько латинских и греческих текстов, которые тимофей, не имевший достаточного навыка в письме на греческом и латинском языках, записал кириллицей 3 . из анонимных сборников можно назвать, например, рукопись XVI в. из национальной библиотеки в варшаве, аkc. 2735 (ответы святых отцов, менандр и измарагд), в которой на л. 106 об. кириллицей записаны Отче наш и Богородице Дево «по грецьку». предполагается, что большинство таких текстов возникало как учебные записи, предназначенные для личного пользования, а не для широкого употребления 4 . пожалуй, одна из любопытнейших записей латинских текстов кириллическими буквами находится в «руськом» 5 сборнике XV-XVI в. из собрания московской синодальной библиотеки № 558, на л. 59-60 (далее -син. 558) 6 . первые три текста -господня молитва (Pater noster), молитва богородице (Ave Maria) и апостольский символ веры (Credo) -сопровождаются

Прп. Ніл Синайський, 153 розділи про молитву, 2021

Жег0ма мS плaменемъ нечи1 стыхъ страстeй бlгопріsзненнэ прохлади1 лъ є3 си2 прикосновeніемъ бGолюби1 выхъ твои1 хъ писaній, и3 знемогaющій м0й ќмъ въ срaмнэйшихъ ўтёшивъ, подражaz вели1 кому настaвнику и3 ўчи1 телю бlжeннэ. И# не ди1 вно. Тебё бо при1 снw чaсть бhсть назнaменаннаz, ћкоже и3 бlгословeнному їaкwву. Д0брэ бо послужи1 въ рахи1 ли рaди, и3 пріsвъ лjю, взыскyеши и3 вожделёемую, ћкоже и3 сеS, сjесть, и3 сп0лнивъ седми1 ны. 1 тут грец. νοῦς , лат. mens-також «розум». 2 у сирійській та арабській рукописних традиціях автором цього твору вважається Євагрій Понтійський (Εὐάγριος-«добрий <удатний> рибалка», від ἀγρεύω-«ловити»), за тією версією тут грец. μαϰαρίως (лат. beate-«блаженно», «дуже добре»)гра слів, і мова йде про св. Макарія Олександрійського, учнем якого той був у Келлії в Єгипті. 3 Лія тут символізує практикування чеснот, а Рахіль-споглядання, або, відповідно,-діяльне та споглядальне життя. 1 1+5=6 1+5+9=15 4 тут грец. εὐσεϐῆ, лат. piam-«благоговійним». 1 тут грец. μεσιτεύοντος, лат. intermedio-«посередництва», «допомоги». 2 тут грец. νόημα ἐμπαϑές, букв.-«пристрасні намисли», лат. cogitationem passioni obnoxiam-«думки, що ведуть до пристрастей». 3 так у новогрец. φίλος, у старогрец. συνόμιλος та в лат. collocutor-«співрозмовник». 4 тут у лат. agrestem duritiem, quae in anima tua est-«люту закам'янілість, що в твоїй душі», у грец. τὴν ἐνυπάρχουσαν τῇ ψυχῇ σου ἀγριότητα-«властиву твоїй вдачі жорстокість». 5 тут грец. μὴ οὖν εἰς πάϑος τρέψῃς τὸ τῶν παϑῶν ἀλέξημα-«тож не перетворюй на пристрасть засіб проти пристрастей». 6 тут у старогрец. μανέντες ἐξεπλάγησαν-«вразились пристрастю», у новогрец. κατάντησαν σε τρέλα ξεφεύγοντας απ'αυτόν-«збилися з глузду», або ще υπερηφανεύτηκαν και ξεστράτισαν-«загорділи й відвернулися», лат. insanientes, aberrarunt-«зійшли із правдивого шляху», «втратили розум».

Наукові записки УКУ, 2019

“Studi Slavistici”, xvi, 1: 5-22, 2019

The article discusses hypotheses for the possible sources of two funeral sample sermons written in prostaja mova, which were addressed to the laity and attached to the Ritual edition by the Orthodox Brotherhood of Vilnius in 1621. The author suggests that the very combination of homiletic material in vernacular language with the traditional ecclesiastical rites goes back to the Catholics Ritual рublished in 1551 in Mainz and was later followed in the Polish-Lithuanian Commonwealth by Stanisław Karnkowski, Marcin Kromer and Hieronim Powodowski. The two funeral sample sermons attached to the Vilnius Ritual used as a main source a homiletic work of Georg Barthold Pontanus (1550-1614), "Incineratio Funebres" (1611). The first sermon used as a model a fragment entitled "Consolatoria super omnes charissimos, et habet decem rationes", composed by Pontanus on the basis of the medieval consolation, which goes back to the English Dominican Robert Holсot (1290-1349). This text of consolation, sometimes called as "Fatuitates immoderate lugentiam", was widely available in different published editions in the 15th, 16th and 17th centuries: in liturgical sermons, books on rhetoric, dialogs ‘pompa funebris’, and manuals for Jesuits Sodalities of the Blessed Virgin Mary. This consolation was also translated in Polish at the beginning of the 17th century. The second funeral sermon of the Vilnius Ritual used a fragment from Pontanus, which goes back to the "Summa de Abstinentia" by Nicolaus de Byard (died 1261). The chapter of this work (entitled "Mors" or "De Mortis") was found in the Middle Ages in "Speculum morale", attributed to Vincent of Beauvais (ca. 1190-ca. 1264), and in the 16th century was included in "Dictionarium pauperum" by Franciscan Petrus Ridolfi (1536-1601). Although the funeral sample sermons from 1621 were not republished in other Vilnius Rituals, they served as an example for the later Orthodox hierarchs, who expanded their Rituals editions with instructive sermons in vernacular language.

Vernadsky National Library of Ukraine, 2022

Вестник ПСТГУ I: Богословие. Философия, 2007

In the publication the poetics of three versicular prayers from Orthodox prayer book is analysed: 1) prayer of St.Symeon the New Theologian before the Holy Communion, 2) prayer of St.Symeon the Metaphrastes after the Holy Communion, and 3) anonymous "midnights song to the Mother of God" with alfabetical acrostic. An experience of church-slavonic poetic translation of these 3 prayers with textological notes also is offered.

2010

"Bulgarian Chants in St John Chrysostom’s Liturgy" by Father Joannes (Jean-Baptiste) Thibaut Père Joannes (Jean-Baptiste) Thibaut (1872 - 1938) was one of the first West European musicologists who studied the manuscript sources and liturgical practices of the Southern Slavs. Father Thibaut was a lecturer at the Catholic colleges in Plovdiv (1898-1899) and Varna (1901-1903) and in this period he published the article The Chants from St John Chrysostom’s (1901) and includes in it a part with notation examples, entitled The Bulgarian Chants in the Liturgy of St John Chrysostom’s. The author examines the importance of Father Thibaut’s article in a number of aspects: first of all as a unique written document about the verbal vocal practice of the 19th century Bulgarian Orthodox monasteries; second – his observations raised many questions about the origin and historical development of Bulgarian chant singing; and third but not less important – his research added to the specific image of liturgical music in the Catholic Church of Eastern Rite in Bulgaria.