Репертуар самогласних, самоподобних і подобних кондаків в українських Анфологіонах

Abstract

Спів «на подобен» у гимнографії візантійсько-слов’янського обряду є найпоказовішим для трьох жанрових груп: стихири, екзапостиларії та тропарі. Реконструйовано репертуар кондаків великих свят за Анфологіонами Київської митрополії Єрусалим- ської доби. Виділено три групи кондаків – самогласні, самоподобні, подобні. Складено інципітарій самоподобних кондаків і деяких сідальнів із зазначенням нотованих джерел. Це уможливлює реконструкцію річного нотованого репертуару піснеспівів даного типу.

The interconnection of oral and written representation in Byzantine hymnography and its Slavic-Rus reception are expressed in its fullest in proso-moia («na podoben») singing system. The prosomoia («na podoben») singing in the hymno-graphy of Byzantine-Slavonic rite is the most indicative for three genre groups, as sticheras, exapostilaria, troparia (kontakia and kathismata). The majority of eight-mode genres are divided into three categories (the first two reflect a written form of chant representation, the last one – an oral form): 1) idiomela («samohlasni») – they have original metrics and tunes and they don’t serve as models for other chants of the same genre group; 2) automela («samopodobni») – they have original metrics and tunes and serve as models for other chants of the same genre group; 3) prosomoia («podobni») – they do not have original metrics and melodies and are sung according to the model of automela of the same genre group. The manuscripts without musical notation and incunabulas of Anthologia (Festal Menaia) of Kyiv Metropolia reflect the system of models («na podoben») for sticheras, kontakia, kathismata (sedalny), photagogika and exapostilaria. The kontakia of the 15th–19th centuries have in their lemmas indications of mode (echos, «hlas»), the incipit of prosomoion or automelon. What is more, they are divided into lines and columns with the help of high or law fullstops, colons, semicolons, comas, asterisks, crosses. It is evident that the kontakia model system existed in the Jerusalem epoch and it is not enough to study it on the materials from Old Russian Kondakars. Liturgical manuscripts and old printings of the 14th–15th centuries are a connecting link between the neumatic parchment manuscripts of Kievan Rus and Ukrainian-Belarussian staff-notated Irmologions of early modern times. Because almost no Ukrainian books with neumatic notation survived, it is just books without notation that serve as main sources for researches of the «transition period» of Ukrainian liturgical chant art. The repertoire of great feast days’ kontakia by Kyiv Metropolia’s Anthologia of Jerusa-lem epoch was reconstructed. There are three types of kontakia were distinguished: idio-mela, automela and prosomoia. The incipitary of automela kontakia and certain kathismata with designation of note sources was compiled. The above-mentioned makes reconstruction of complete present type canticles’ yearly repertoire possible. The repertoire of kontakia from Ukrainian Anthologia without notation and staff-notated Irmologions show the interrelation between oral and written traditions. The aspect of their singing can not be solved with the help of these books, as there is no «Podobniki» of kontakia. However, on the basis of known notated kontakia models (of Bulgarian and Kievan chants) from Ukrainian notated Irmologions the whole repertory.