Науково-реставраційна та педагогічна діяльність українських регентів В’ячеслава Бойка, Ігоря Сахна та протоієрея Димитрія Болгарського

Abstract

У статті проаналізовано науково-дослідницьку та педагогічну діяльність регентів В’ячеслава Бойка, Ігоря Сахна та протоієрея Димитрія Болгарського. Визначені їх основні професійні здобутки, охарактеризовано творчу індивідуальність, виокремлено специфіку наукової, виконавської та педагогічної діяльності. Уведено поняття науково-реставраційної регентської діяльності, яке відповідає не лише вивченню церковно-хорової культури минулого, а й відродженню співацької традиції у виконавській та богослужбовій практиці.

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В статье проанализирована научно-исследовательская и педагогическая деятельность регентов Вячеслава Бойко, Игоря Сахно и протоиерея Димитрия Болгарского. Определены их основные профессиональные достижения, охарактеризована творческая индивидуальность, выделена специфика научной, исполнительской и педагогической деятельности. Введено понятие научно-реставрационной регентской деятельности, которое соответствует не только изучению церковно-хоровой культуры прошлого, но и возрождению певческой традиции в исполнительской и богослужебной практике.

Аt the turn of XX–XXI centuries an active revival of church singing began at the post-Soviet territories. In Ukraine, that time is characterized by the appearance of young precentors with higher musical education, which not only raised the church singing to the next level, but also actively engaged in the research and development activity of church-singing tradition. The leading position among them belongs to the activities of Vyacheslav Boiko, Igor Sakhno and Archpriest Dimitry Bolgarskiy. The aim of the article is to identify the basic principles of the abovementioned precentors’ activities and their role in establishing of modern church-singing culture. Research methodology is conditional on the advantage of empirical and analytical methods, including textological, musicological analysis, interpretative analysis of precentors’ individual styles; the choirs performances style is analysed with the use of video and audio recordings, both studio, concert and liturgical ones. During the research the general scientific methods of analysis and synthesis, the principle of comparativism, the integrated approach, and the theory of interpretation were used. The empirical base of the study of activities of precentors Vyacheslav Boyko, Igor Sakhno and Archpriest Dimitry Bolgarskiy was their textual, music notation, editorial and singing heritage. Activity of Vyacheslav Boyko played an important role in the revival of the traditions of the Synodal School in the Kharkiv region. Thanks to him, in the repertoire of church choirs were returned not just many rare examples of spiritual classics, but also the performing style itself, typical of the Synodal School. The choir, that were led and are now led by Boyko, possess an expressive timbre, wide dynamic range, their repertoire did not include samples of secularized church music, which is the principled position of the precentor. His scientific activity is devoted precisely to this problem – the secularization of church singing – and covers the period from the seventeenth century to our days. Igor Sakhno, known precentor and medievalist, performer and apologist of traditional Orthodox chants, belongs to the school of the world-famous Greek protopsalt Lykourgos Angelopoulos. Audio and video recordings of collectives led by Ivan Sakhno demonstrate perfect command of theoretical and practical basics the Ancient Russian and Byzantine singing. The scientific activity of I. Sakhno justifies the diversity of the Byzantine liturgical singing as a tradition that is continuously developed and implemented in contemporary church life, while having a specific ratio of oral and written forms. A valuable contribution to the restoration of ancient chants are collections of chants edited by I. Sakhno, where researcher has proposed a special form of their musical notation. Known precentor and recently priest Dimitry Bolgarskiy carries out scientific researches of church and choral culture for many years. In his candidate (PhD) dissertation the author strives to reveal the essence of one of the most striking phenomena of the musical culture of our country – Kiev- Pechersk chant. He traces its genesis, the ways of development, provides the key to understanding its theological and philosophical content. The most important factor in the study becomes its own longterm precentorial experience of the author. A special attention deserves publishing activity of father Dimitry, musical compilations published by him as the compiler and editor are very popular. Their unique feature is the presence of deployed blocks of text containing an explanation to certain kinds of chants that help a precentor and choir realize divine service as an integral Christian mystery. All the above mentioned precentors are teachers of musical higher educational establishments and are able to transfer their knowledge and skills to a wide range of followers, which creates conditions for the formation of relevant scientific and practical schools. An analysis of research, creative and pedagogical activity of Ukrainian precentors showed that at the turn of XX–XXI centuries a new complex – type of precentorial activity was formed, including simultaneously research and development, research and practical and performing approaches. In addition, the connection of theoretical practice of study of church-singing tradition with its performing incarnation, created a new direction, which can be called “restoration”. Within the framework of research restoration approach modern Ukrainian precentors not only restore the knowledge of traditional chants, but also their actual sound, returning the tradition to temples as well as restoration activities return ancient murals to temples. For the first time in Ukrainian art scholarship precentorial activity has been analyzed as a complex phenomenon. In the scientific turn the concept of “research and restoration precentorial activity” has been introduced. Scientific and pedagogical achievements of modern Ukrainian precentors have been systematized, their creative individuality has been defined.