MUSICAL EDUCATION IN S FAMILY TRADIŢIA MUZICALĂ ÎN FAMILIA L UI DIMITRIE CANTEMIR Victor GHILAŞ, PhD Art Studies Centre of the Cultural Heritage Institute Science Academy of Moldova, Chişinău Artele frumoase, muzica în primul rând, au ocupat un loc de cinste în viaţa familiei Cantemir. Studiul de faţă încearcă să urmărească tradiţia muzicală a acestei faimoase dinastii, vizibilă pe parcursul a cel puţin trei secole. Primele informaţii cu privire la aptitudinile artistice ale neamului cantemiresc sunt atestate la , domn al Ţării Moldovei (1685-1693) care, în pofida culturii sale modeste, avea toată consideraţia pentru arte, poseda arta improvizaţiei, manifestăndu-se ca interpret, doinind cu multă măiestrie la caval. Fiul său, Dimitrie (1673-1723) a fost un muzician de vast orizont artistic — compozitor de prestigiu, teoretician erudit, instrumentist de excepţie şi pedagog de vocaţie, afirmăndu-se, în primul rând, pe făgaşul muzicii turceştii, dar şi în sânul familiei. Talentul şi predilecţiile muzicale, atmosfera din familia lui D. Cantemir au avut reflexe benefice asupra copiilor săi - Maria, Antioh şi Ecaterina. Astfel, conform unor surse documentare, Maria a practicat la un bun nivel arta vocală şi pe cea instrumentală (poseda clavicordul). Preocupări muzicale serioase a avut şi Ecaterina, care, aidoma surorii sale pe linie paternă, poseda şi ea clavicordul, dragostea pentru muzică fiindu-i altoită, bineînţeles, în familie de tatăl ei. O activitate prolifică în perimetrul artei sunetelor a avut-o fiul mai mic al lui D. Cantemir - Antioh. Concomitent cu studiile muzicale particulare făcute în străinătate, relaţia acestuia cu muzica s-a desfăşurat şi pe alte itinerare. în spectrul preocupărilor lui Antioh s-a aflat nu doar simpla admiraţie pentru această artă (era bine familiarizat cu creaţia lui N. Pörpora, G. B. Pescetti, G. Fr. Händel), ci şi componistica şi lexicologia muzicală, fapt ce relevă intersul sporit pentru domeniid de referinţă. Prezentul demers doreşte să sublinieze faptul că muzica a făcut parte organică din hrana spirituală a familiei Cantemir pe parcursul a câtorva generaţii, servind ca un mijloc puternic de educaţia estetică şi de formare culturală în spiritul iluminismului european.

Liberai Arts, music in par- pieces of art under various forms. ticularly, occupied a major place in Musical predilection was highlighted Dimitrie Cantem irs family. The fa- firstly. mous dynasty’s artistic traditions can Constantin Cantemir (1612- be tracked over several (at least 1693), the head of the state of three) generations. The contribution Moldova (1685-1693) was an adept of special D. Cantemir’s descent to of knowledge and science, having spread and promote cultural and ar­ predilection for the arts. His youngest tistic values stimulated the old life son, the biggest Antioh (1670-1724), and artistic emancipation at the na­ twice prince of Moldova (1696-1700, tional and international levels. 1705-1707), made great efforts to Dimitrie Cantemir’s family created support written culture by encourag- ing the edition of books. Educated in The skill of the art interpre­ a special atmosphere Dimitrie tation on caval by Constantin Cantemir continues the tradition of Cantemir had been acquired before his descent. His children were part of his reigning. The most likely that a particular complex education, being happened when he was in direct favoured by family cultural environ­ contact with the traditional environ­ ment and accurate education of the ment of his country. Based on Sul- artistic development. zer's study we can state that Con­ His father had a crucial role stantin Cantemir had an apparent mu­ in the development and the emer­ sical talent, since doina as a type of gence of artistic skills of Dimitrie lyrical musical genres, requires skills Cantemir’s descents. The wise prince and special interpretive art. Indeed, enrolled Greek, German and Russian the creative and interpretive versions teachers, who taught classical and occur simultaneously through the modem languages, history and other improvisation act. The improvisa- disciplines for guiding children. tional music is a way to exploit a Those had beneficial effects on their creative fantasy of a performer, intellectual perspective. which generates rich, various and A special interest for the arts, complex melodic forms. It calls on Maria, the daughter of the greatest both a moment of performer's inspi­ Dimitrie Cantemir, manifested a ration and imagination during his in­ strong interest in painting, architec­ terpretative act. Therefore, Constan­ ture and jewellery. He portrayed his tin Cantemir's musical skills appear brother Antioh, both being fond of to be obvious, he being presented in a art. Ecaterina, Dimitrie Cantemir’s double hypostasis: as a creator and as daughter, from the second marriage, a performer. Unfortunately these are was a fervent admirer of beautiful the only documents that we have on arts, preferring, particularly, the col­ this matter which could describe the lection of pictures. Other D. degree of his relationship with native Cantemir’s descendants got the taste music of that period - the second half for painting. Music had a special of the XVIIth century. place in family life. Consequently, More is known about we can pursue to the discussion and Dimitrie Cantemir's musical con­ analysis of the role of art in D. cerns, particularly about his occupa­ Cantemir’s family. tions with Turkish music. His proper The information that helps us musical education was started rela­ to investigate this issue is provided tively late, at the age of 18 years, by the work of Franz Joseph Sulzer when his father called him to Iaşi to (? - 1791) The History of the Trans­ Jeremiah Cacavelas - one of the most alpine Dacia (1781). A passage taken outstanding personalities of neohel- from the paper reads (referring to the lenic culture during that period. For life and order of the court of two years (1691-1693) the young Moldova), that Constantin Cantemir prince Dimitrie studies Byzantine used to skilfully interpret on caval and Gregorian music under the di­ traditional songs such as doina [1]. rection of J. Cacavelas. Later, in the This story is significant from several capital of the , his points of view. musical knowledge is extended at the Orthodox Patriarchate Academy, mental performing arts. Moreover, he studying such instruments as dealt with music pedagogy. Wishing kemdnce and tanbour with two fa­ to express himself in artistic level, mous music teachers - Kiemane Ah­ Dimitrie Cantemir generalised the med and Tanburi Angel i. Also, in experience of his predecessors that he Constantinople, Dimitrie Cantemir combined with his own knowledge studies the ancient Greek music with and personal practice. Through work Iacomi and Meletie de Arta. Musical and talent he obtained notoriousness education continues in Turkey for the of virtuoso of the tanbour raising period of 15 years, during which he musical culture of his time at excep­ studies the East artistic culture, the tional greatness, a performance for religion of Islam and theoretical and which he is considered one of the practical rules of musical arts from most famous musicians from the the Turko-Persian area. Dimitrie capital of Turkey. As a big performer Cantemir spends nearly 22 years in of the i nstrumental art, he was invited the Islamic Oriental center marked by to give music lessons. The work The the confluence of the XVIIth and History of the Growth and Decay of XVIIIth centuries - a historically the Ottoman or The History o f the prosperous period of Ottoman arts. Ottomam Empire (1714-1716, post­ The sultans were protectors of music. humous) reports that Dimitrie Accepted, cultivated and encouraged Cantemir had six disciples, among by dignitaries and stayed-officials, them: Tastci Oglî, Mehmed Senik, the art of sound is honoured and Bardakci Mehmed Célebi, Ralaki privileged, and those who practice it, Eupragiote (noble Greek from Con­ are especially promoted. Dimitrie stantinople), and two w'ell-known Cantemir also benefited of a favour­ Turkish officials - Davoul Ismail Ef- able spiritual environment of musical fendi (the greatest treasurer of the education. Under such circumstances Empire) and Latif Célebi (treasury he managed to manifest himself en­ cashier) [2]. tirely. He fulfilled his musical talent In his practice, Dimitrie in several areas of music. We refer to Cantemir proceeds from idea of con­ his achievements in the field of mu­ tinuity. The tradition of classical sic theory. He developed the famous Muslim education was teaching the Turkish music treatise, known in the principles of classification of knowl­ Turkish historiography as The Book edge, skills and science from an en­ of the Science of Music through Let­ cyclopaedic perspective. This con­ ters (Kitab-u'ilm-the-musiki'cild vedjh cept was carried by the previous Ori­ it hurufdt or Edvar-Kantemir-oglu; ental thinkers al-Kindi (about 801 - 1695-1700?). Another theoretical m.873?), a 1-Farabi (872 - 950), Ibn treatise on Turkish music - Introduc­ Sina (980 - 1037), Ibn Rusd (1126 - tion to Turkish Music Written in 1198). Moldovian (Introductione in musica Music was one the main turcica idiomati moldavi, 1711-1720) components of the educational proc­ is considered lost. ess. In the Ottoman Empire they Dimitrie Cantemir also had made the most of music as a subject exceptional achievements in the field of study in schools, particularly, its of musical composition and instru­ special elements in the civic - moral Universitatea de Sta* „Alecu Russo" o - < * 2 0 2 - Bibtioteca $iimiiiic§ formation of the personality, his/her Setting the objectives of mu­ spiritual culture. The contribution of sical art, D. Cantemir formulates music was also noticed in the forma­ some elements of methodology, ex­ tion of a harmonious state, designed pressed in theoretical studies with to promote the ideas of social time. musical-didactic purpose. The prin­ Therefore, music was considered an ciples of artistic training (systemic, exceptionally educational art. unity between theory and practice, First of all, Dimitrie Cantemir conscious of skills training, etc.) are points out that everyone who wants also pointed out consistently and to have a good musical education convincingly by D. Cantemir. must possess the theoretical and As a form of music educa­ practical rules of this art. On this tional organization, along with inde­ basis, his teaching principles in­ pendent achievements, two other cluded two constituent sides of one educational activities are effectively and the same teaching process - addressed by the musician: the envi­ theoretical aiid applied. Otherwise, ronmental and the one organized un­ the potential musician needs a com­ der the teacher's guidance. They plex training. Dimitrie Cantemir complete each other, making a strong makes the methodological concept cohesion between these chains of ar­ laconic in Mahomedane Religion tistic musical training. Certainly, System (1722, anthumous), focusing Dimitrie Cantemir’s talent, his musi­ particularly on the performer's need cal predilections and the artistic at­ for music tonality, rhythms, the pros­ mosphere of his family influenced his ody of Oriental art and the modal or­ children. The art of sound was in of ganisation of the melody (called D. Cantemir and his successors’ at­ Usui). tention even after 1711, when he was A methodological hint can be forced to take refuge in Russia. We considered the following assertion: can realize this continuous passion that who will perfectly know the so- for music by studying his works, for called Usui, may perform a piece of example, The Description o f music without a mistake and without Moldova (1714-1716, posthumous), the aid of those notes, by hearing it The history of the Ottoman Empire or two or three times carried out by the Mahomedane Religion system and, of author or his teacher [3], Among the course, by researching other docu­ methods proposed and used by D. mentary sources. Family environ­ Cantemir in teaching music the fol­ ment was permanently maintained by lowing are emphasized: explanation, various forms of artistic musical edu­ demonstration, exercise, individual cation, thus they could develop skills, work, etc. These ideas constitute a hobbies, and musical tastes, stimu­ direct, indirect or deductive forms his lated since early childhood. In the of works, having a historic, ethno­ twenties of the XVIIIth century, mu­ graphic, philosophical and artistic sical soirée, with musicians of the character. The role of music was seen tsar Court were often as a complex art, an aesthetic educa­ organized in the family apartments of tion, a cultivation of high status, or D. Cantemir in the Russian capital human feelings. where “fashionable” dances were shown. Russian tsar often partici­ Maria, her sister, Ecaterina had a pated in these events [4]. clavichord. A remarkable illustration As for Dimitrie Cantemir’s was published by the French por­ heirs, music meant a constant con­ traitist Louis-Michel Vanloo (1707- cern and a clear choice in their artis­ 1771). As it seems, music accompa­ tic and cultural interests. nied her throughout lifetime. Subse­ According to documentary quently, she solemnized the religious sources, Maria Cantemir (1700-1754) marriage with Dmitri M. Golitzyn excellently practiced the vocal and (1721-1793), who would hold the instrumental arts. She mastered the position of Russia’s ambassador in clavichord and she had the necessary Vienna. Passionate by music and skills to interpret complex concerts, being a great fan of W. A. Mozart’s to accompany from the first musical talent (1756-1791), Golitzyn attended reading songs with harmonic aid of the concert of the young musician, in general bass and to sing difficult 1762, who showed up for the first arias. Her interest for music results time (with his family) in the Austrian from the correspondence with An- capital. Mozart and D. M. Golitzyn’s tioh. In one of the letters, dated from meetings continued later, including September 1736, when he served as the residence of the ambassador, a Russia’s ambassador in England, fact constantly reported by the Mas­ Maria asked her brother to purchase ter of Salzburg in his correspondence from West a “clavichord with a good with his father, Leopold Mozart (let­ tone” [5]. ters of 17 and 24 March 1781; 21- In another message to her December 1782; 3 and 20 March brother, she regretted the fact she had 1784). Unfortunately at the time of no acquaintances among musicians those concerts, Ecaterina Golitzyn- who could compose music for her Cantemir was no longer alive. lyrics, with the hope that the problem would be solved. That was brief, but convincing information from differ­ ent points of view. Maria Cantemir possessed exceptional musical skills. She had certain preferences for the art of sound, knowledge of the music world of Western Europe, being able to distinguish, to select and to accept Western values, she was opened to new elements in music - this was confirmed by her belonging to a cul­ Ecaterina Cantemir-Golifan next the clavichord. Portrait by Louis-Michel tured dynasty, with old artistic and Vanloo (1759). irrefutable musical traditions. The continuity of predilec­ Antioh, his youngest son, tion for music is maintained by the had the most productive activity in interests of Ecaterina Cantemir- the arts, including music among Golitzyn (1720-1761). Love for mu­ Dimitrie Cantemir’s succesors. Due sic and knowledge was inspired by to various existing sources we are her father, Dimitrie Cantemir. Just as aware about the broad spectrum of his concerns, sources that appeared of Russia during the first decades of either in his adoptive homeland or the XVIIIth century'. Young prince abroad. Five years after his prema­ grew and was educated in a spiritu­ ture death, Satires by Prince Antioh ally beneficial atmosphere of music Cantemir (Satires by Mr le prince in general, and particularly with Cantémir. Avec l'histoire de sa vie, Western music. 1749) were published in London. His Antioh Cantemir’s (1708?- biographer, O. Guasco remarked that 1744) relationship with music con­ Antioh Cantemir’s affection towards tinues throughout his life. The scien­ music was much more than mere tific and literary culture, the illumi­ deep attachment towards this art. In nist spread and the deep European fact, he performed music most likely thought led Antioh to translate from at practical level and composition French into Russian the Conversa­ levels the work “Piece of Its Wayu tions on the Plurality of Worlds by (“des pièces de sa façon”). philosopher Fontenelle (1657-1757). It must be emphasized that The importance of this cultural event his passion for composition was en­ is remarkable. tirely possible, especially if we take into account the following argu­ p.A3TOBO{)W ments. Antioh Cantemir’s musical MHQAÉcfM M1POB 13 - horizons were formed, primarily, due to the education obtained in the fam­ ily, but also by the spiritual atmos­ phere of the period, marked by the reforming work of Peter the Great, in Ktoish AirviovB iairroimnO. the field of culture. The illuminist . movement was aimed at inserting Bf- * ft * 1 music in the aristocratic Russia even ------‘ by legislated constraints of the Tsar. Thus, the art of sound was present at Headline in Russian, Conversations on the Plurality of Worlds (1686) by the royal court, at aristocracy salons, Bernard le Bovier de Fontenelle, at various concerts, recitals, perform­ translated by Antioh Cantemir. ances, and musical soirées. At the balls, along with the music of local When presenting the volume composers, such foreign dances as to readers, Antioh Cantemir makes a minuet, gavotte, allemande, and Ital­ number of valuable explanations ian instrumental music, composed by concerning the text for the comple­ A. Vivaldi (1678-1741), A. Corelli tion of the study and also for a better (1653-1713), etc were interpreted. level of understanding. In this way, Foreign artists were attending the words, concepts, definitions and Court too. Gradually, the music cuts other new useful elements are intro­ into the everyday lives of Russian duced in the vocabulary of Russian nobility as a way of spending leisure language. Along with philosophical time. Concerts are often performed in and scientific terminology, in notes the families. These were new forms nr. 26, 28 and 30, A. Cantemir in­ of manifestation of modem music, cludes some elements of spiritual depicting the cultural and artistic life culture vocabulary, adding annota­ tions, including those with artistic Francesco Bemardi (16807-1750), connotation: décor, elegy, dray, op­ His high appreciation for the Italian era, stalls, poem, theater, and foreign music and art in general, is mani­ terms at that time in Russian lan­ fested by the fact that Antioh under­ guage. For instance, the word opera took diplomatic efforts in order to means “a vivid representation of a organize a tour of those soloists to certain action which differs from Petersburg. Antioh Cantemir’s re­ comedy by the fact that in the comedy spect for Italian music didn’t prevent artists are simply talking, while in the him from admiring the creation of opera, speaking is accomplished by other composers, for example, that of singing” [6] or the foreign word dé­ the German G. Fr. Händel. On sev­ cor expresses “everything in an op­ eral occasions, the young diplomat era or a comedy that serves to em­ and poet asked through letters to his bellishing the theatre by which the old acquaintances Amiconi, Zam- place is presented to the audience as boni, Ossorio, to send notes of the the story requires, that is sometimes musical works of Händel - the over­ plain, sometimes city, sea etc. ” [7]. tures in seven parts, the new concerts The humanist action of for organ. Later, he also asked them Antioh Cantemir is obvious if we for a good teacher to take music les­ take into account that his explana­ sons [8]. tions are preceding the appearance of Antioh’s training as a musi­ the Russian national opera, an event cian is shown very convincingly in that was to occur much later, in the his Satires. Music appears there ei­ last quarter of the XVIIIth century. ther as an object of comparison, ei­ The humanist, linguistic and cultural ther to reveal the deep senses of mu­ desideratum of the young prince is sic and its cognitive-formative role, presented as an important and inno­ either as a rhetorical element or as a vative contribution to Russian spiri­ social phenomenon of the human tuality. Besides this pioneer’s work, spirit modelling. he prepares the music fans of Russia, In The First Satire. To My for receipting the opera, awaking in­ Mind: On Those Who Blame Educa­ terest to this new and complex kind tion (1729) the musical vocabulary is of composition. used as a method of depicting the From the period of his dip­ manners and characters. It intended lomatic missions in England (1732- to highlight the author’s option 1738) and France (1738-1744) there choosing advancing on the path of are several stories that inform us that culture. The following verses illus­ Antioh Cantemir was often present in trate his judgement: One may inter­ concert halls, he was personally ac­ pret 3 or 4 songs on flutejalready quainted with the famous composers wants to step on the highest social Nicolo Pôrpora (1686-1768), Gio­ level... [9]. vanni Pescetti (1704-1766), Georg Following the idea of The ‘ Friedrich Handel (1685-1759), but fourth Satire. Towards Muse. About also with the great opera singers of Satirists poetry (1731), we can find the time Francesca Cuzzoni (1700- interesting biographical data about 1770), Gaetano Majorano (1710- the poet’s activities, including those 1783), Carlo Broschi (1705-1782), relating to his musical concerns. The poet wrote about his composed songs ily’s wealth. “Old organs with in his youth which he subsequently wooden body” (possibly clavicine), destroyed, because he considered “old gusles”, “two bandures of them unsuccessful. wood“ (probably tanboure) [11] were The entire content of The found among the inventoried goods, fifth Satire. Satyr and Perierg (1731) after Constantine’s death, Dimitrie contained different musical phrases Cantemir’s eldest son, A gusla of such as wonderful song”, “songs to English origin, a largely popular in­ God", “playing psalm reader”, and strument in the middle of the XVIlIth others. The musical vocabulary was century [12], was found in Antioh’s used in other satires as well. dinning-room. Antioh translated the poetry Music was an organic part of of Horace and Anacreon into Rus­ D. Cantemir’s family spiritual life for sian. In the Russian version of The several generations, serving as a Song by Anacreon (Анакреонтовых powerful mean of aesthetic education песен, 1736), the translator explains and training in an European cultur­ musical words, extracted from the ally enlightened spirit. The musical Hellenic poet’s lyrics such as: gusla genres practiced by the D. Cantemir’s (monocord archaic tool with bow), dynasty were diverse - from the music lauta (ancient musical instrument of oral tradition to Oriental and and others [10]. European academic music. Music activities of this fam­ ily can be included in two major categories specific to the art of sound: on the practical level, music was manifested in different hyposta­ ses: creation, interpretation and re­ ception, while its theoretical category found its expression in the musico- logical work made by Dimitrie Cantemir. Music education was in­ troduced in D. Cantemir’s family as Headline o f the first edition of Satires by part of an education with humanist Antioh Cantemir's (1762) in Russian function. The analyzed documentary Summarising, we may say materials are different in terms of that pleading for the beauty of the their importance for the study. They sound art and practicing music (in its have, however, a common element, various forms) had continuity during namely: the majority of them certify years in the D. Cantemir’s family. consistent old musical roots and tra­ Music was always present in this dy­ ditions of the famous dynasty. They nasty life. From the available sources reflect only a part of the musical con­ we found that arts were highly appre­ cerns of D. Cantemir’s dynasty in the ciated in D. Cantemir’s family, and homeland and abroad. A more com­ the honorific status of music of the prehensive study of archival materi­ noble heredity could be confirmed als, which fail to attract the attention also by the inventory Act of the fam­ of researchers, would supplement the information and arguments on erations, which succeeded in time. In diversification of the debated matter fact, music education was designed and would allow a disclosure of other to correspond to requirements of a aspects of the investigated topic. society in which cultural values gov­ History takes into account the ern the educational activity. The irrefutable merits of D. Cantemir’s model of this dynasty remains viable family in creating and promoting today as a way of promoting the spiritual values in the country and beauty at the junction between music, abroad, music being a necessity in Arts, Humanities and civic, moral the education of D. Cantemir’s gen­ culture education.

Bibliography

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