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Russian Liturgical Music is the musical tradition of the Russian Orthodox Church. This tradition began with the importation of the Byzantine Empire's religious music when the Kievan Rus' converted to Orthodoxy in 988.
Tchaikovsky, known primarily for his symphonies, concertos and ballets, was deeply interested in the music and liturgy of the Russian Orthodox Church. In 1875, he compiled A Concise Textbook of Harmony Intended to Facilitate the Reading of Sacred Musical Works in Russia. [3] In an 1877 letter to his friend and patroness Nadezhda von Meck, he wrote:
Znamenny Chant is a unison, melismatic liturgical singing that has its own specific notation, called the stolp notation. The symbols used in the stolp notation are called kryuki (Russian: крюки, 'hooks') or znamëna (Russian: знамёна, 'signs'). Often the names of the signs are used to refer to the stolp notation.
Liturgy of St John Chrysostom, Op. 31 (Russian: Литургия Иоанна Златоуста), is a 1910 musical work by Sergei Rachmaninoff, one of his two major unaccompanied choral works (the other being his All-Night Vigil). The Divine Liturgy of St. John Chrysostom is the primary worship service of the Eastern Orthodox Church. [1]
The Obikhod (Обиход церковного пения) is a collection of polyphonic Russian Orthodox liturgical chants forming a major tradition of Russian liturgical music; it includes both liturgical texts and psalm settings. The original Obikhod, the book of rites of the monastery of Volokolamsk, was composed about 1575. Among its ...
In Russian practice for the latter cases the canon is often vestigial, consisting of no more than a selection of katabasia with refrains and doxology. The Greek equivalent of a Moleben is the Paraklesis, during which a full canon is still chanted. Canons may also be used in private prayer either as a regular part of a rule or for special needs.
In 1897, he organized a men's vocal quartet (Saint Petersburg Russian vocal quartet). [4] [5] Their first concert was held in 1898 at the St. Petersburg Conservatory. The repertoire of the quartet included Russian folk songs, ballads, opera music, then gradually liturgical music appeared.
A devotional is a part of the prayer service proper and is not, in these contexts, ornamentation. Within the Reformed tradition, church music in general was hotly debated; some Puritans objected to all ornament and sought to abolish choirs, hymns, and, inasmuch as liturgy itself was rejected, devotionals.