Abstract
The connection between the Moldavian and Ukrainian-Belarusian chant traditions of the 16th –18th centuries is not easy to materialize at the level of the chant repertoire. Firstly, the comparative analysis of chant repertoires is complicated by the use of different musical notations. Secondly, the Ukrainian-Belarusian chant repertoire, the roots of which go back to the chant tradition of the Old Rus is almost 100% anonymous.
In the 16th–17th centuries, new chants appeared in Ukrainian and Belarusian manuscripts, often with accompanying toponymic remarks indicating their foreign origin: Greek, Bulgarian, Serbian, Wallachian, and so on. The comparison of the same chant in different manuscripts reveals differences in the designation of its origin.
The connections between the Putna and Manyava monasteries are outlined. The results of Elena Tončeva’s research based on the Manyava manuscripts are analyzed and considered in a broader context.
To date, we have identified five Greek-language chants common to Moldavian and Ukrainian-Belarusian manuscripts. There are the Cherubic songs Οἱ τὰ Χερουβεὶμ of Ioannes Glykys, Manuel Chrysaphes and Anthimos Lavriotes; the Cherubic song of the Presanctified Gifts’ liturgy Νῦν αἱ Δυνάμεις of the monk Longin and Sunday Communion Αἰνεῖτε τὸν Κύριον of Joakeim Harsianites.
Keywords
Greek chants, Manyava manuscripts, Putna Musical School, Ukrainian-Belarusian Church Chant of the 16th–18th centuries
