By Claudia R. Jensen
Claudia R. Jensen provides the 1st unified learn of musical tradition in the court docket and church of Muscovite Russia. Spanning the interval from the deploy of Patriarch Iov in 1589 to the start of Peter the Great's reign in 1694, her booklet bargains particular bills of the celebratory musical performances for Russia's first patriarch -- occasions that have been very important monitors of Russian piety and gear. Jensen emphasizes music's assorted roles in Muscovite society and the both diversified evaluations and affects surrounding it. In an try and demystify what has formerly been an enigma to Western readers, she paints a transparent photograph of the wonderful elegance of musical performances and the ways that 17th-century Muscovites hired song for non secular enlightenment in addition to leisure.
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Extra resources for Musical Cultures in Seventeenth-Century Russia (Russian Music Studies)
This reference again comes from Novodevichii Convent, to which Soﬁia Alekseevna, daughter of Tsar Aleksei and half-sister of Peter the Great, was banished in 1689. About a decade later, in 1698, when Peter received information indicating that Soﬁia was involved in an uprising by the musketeers, security around her was tightened, and she was ﬁnally forced to take her vows as a nun. Peter was concerned with isolating her entirely, and his e√orts included the male singers who performed in liturgical services there.
The Polish lords were busy dancing with great ladies. ’’≥∫ Stadnicki’s account describes what sounds like an all-night bacchanal on Friday that ended, abruptly and dramatically, with the sounding of the bells signaling the attack on Dmitrii and his court. The tsar’s chambers ring with all kinds of music. The Muscovite Hymen dances with the Polish Venus, who is assisted by Bacchus. Filled goblets pass from hand to hand among the Polish gentlemen . . Everyone got drunk, some from Falernskoe [Italian] wine, some from love .
Yet there were limitations to such entertainments, and the Russian court seems to have stressed the qualities of privacy and scale. The subsequent court performances by Horsey’s musicians, which would appear to contradict the horror of association with degenerate, instrument-laden skomorokhi, were essentially private and employed only small numbers of players. Horsey’s statement conﬁrms this in a somewhat roundabout fashion. He describes how his musicians were invited to play for the royal family but paints their roles there as invisible: nameless but necessary servants.
Musical Cultures in Seventeenth-Century Russia (Russian Music Studies) by Claudia R. Jensen