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D-R Jane Koxaba{Ija: CRKOVNOTO PEEWE Vo MAKEDONIJA D-R Jane Kodjabashia: CHURCH SINGING in MACEDONIA

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D-R Jane Koxaba{Ija: CRKOVNOTO PEEWE Vo MAKEDONIJA D-R Jane Kodjabashia: CHURCH SINGING in MACEDONIA D-r Jane Koxaba{ija: CRKOVNOTO PEEWE vo MAKEDONIJA D-r Jane Kodjabashia: CHURCH SINGING in MACEDONIA 1 Posveteno na 50 godi{ninata od obnovuvaweto na Ohridskata arhiepiskopija kako Makedonskata Pravoslavna Crkva (1958-2008) 2 Jane Koxaba{ija: CRKOVNOTO PEEWE vo MAKEDONIJA Jane Kodjabashia: CHURCH SINGING in MACEDONIA 3 4 SODR@INA CONTENTS Prv del ISTORISKIOT RAZVOJ NA CRKOVNOTO PEEWE VO MAKEDONIJA Voved: ..........................................................................................................13 I. Vizantiskite koreni na slovenskata kultura....................23 II. Crkovnoto peewe na slovenski jazik....................................26 III. Crkovnoto peewe vo Ohridskata arhiepiskopija.............30 IV. Srednovekovnite rakopisi na teritorijata na Makedonija.............................................................................34 V. Crkovnoto peewe vo post-vizantiskiot period................39 VI. Crkovnoto peewe vo prerodbenskiot period.....................43 VII. Crkovnoto peewe vo Makedonija vo XX vek........................47 VIII. Genezata na ‘srpskoto narodno crkovno peewe’.................55 IX. Se ispolnuva prerodbenskiot amanet...................................60 Part one HISTORICAL DEVELOPMENTOF CHURCH SINGING IN MACEDONIA Prologue........................................................................................................69 I. Byzantine roots of the Slavic culture.............................................72 II. Church singing in Slavic language ...............................................74 III. Church singing in the Ohrid Archbishopric..................................78 IV. Church singing during the post Byzantine period.........................81 V. Church singing during the period of renaissance..........................85 VI. Church singing in Macedonia in the 20th century.........................89 5 Vtor del PRETSTAVNICI NA CRKOVNOTO PEEWE VO (OD) MAKEDONIJA I. Dimitar Zlatanov – Gradoborski (ok.1800-1887)...............95 Epizodi odnegoviot `ivot..............................................97 Predanija................................................................................98 Solunskata pea~ka {kola.................................................99 Muzi~koto tvore{tvo na slovenski jazik................101 Muzi~kiot zbornik...........................................................103 Trojcata anatemisani......................................................106 Muzi~kiot jazik na Gradoborski..................................108 Zaklu~ok...............................................................................112 II. Naum Miladin (1817-1897).....................................................114 III. Kalistrat Zografski (ok. 1820-1913).................................118 Pi{ani tragi za Kalistrat........................................119 Zbornikot Isto~no crkovno peewe...........................122 Muzi~koto tvore{tvo.................................................126 Teoretskite postavki na Kalistrat......................127 IV. Joan Harmosin-Ohridski (1829-1890)................................132 Zbornikot ‘Pashalija’...................................................136 ‘Dostojno est’..................................................................140 Vla{kite napevi..............................................................142 Statii, nastani i odbele`uvawa...............................144 V. Vasil Ikonomov (1848-1934)................................................152 VI. Dimitar Pavlov-[tipjanin (1840-1919)..........................155 VII. Manasij pop Todorov (1856-1936).......................................158 VIII. George Kazana (XIX-XX vek)................................................166 IX. Andon [ahpaski (ok. 1860-1928).........................................170 [kolata za psalti vo Smojmirovo.............................174 Psaltikiskiot zbornik................................................176 X. Atanas Badev (1860-1908)......................................................181 XI. Vasil Ivanov Bojaxiev (1876-1950)...................................189 Psaltikiskiot voskresnik..........................................190 Ortografijata na Vasil Ivanov................................196 6 Part two REPRESENTATIVES OF THE CHURCH SINGING IN (FROM) MACEDONIA I. Dimitar Zlatanov-Gradoborski (ca. 1800-1887).....................203 Slavic and Greek Sources........................................................204 Gradoborski‟s Life..................................................................205 Music Collection.....................................................................206 Thessalonica‟s Singing School................................................207 Conclusion..............................................................................208 II. Naum Miladin (1817-1897).......................................................210 III. Kalistrat Zografski (ca. 1820-1913)........................................213 IV. Joan Harmosin-Ohridski (1829-1890)....................................218 Harmosin‟s life......................................................................218 The collection “Pashalia”.....................................................221 Worthy Is (Dostojno est)........................................................224 Vlah melodies........................................................................226 Articles, events and notes......................................................227 Conclusion............................................................................231 V. Vasil Ikonomov (1848-1934)...................................................233 VI. Dimitar Pavlov-Shtipjanin (1840-1919)................................236 VII. Manasij Pop-Todorov (1856-1936).........................................239 VIII. George Kazana (19th-20th century)..........................................244 IX. Andon Shahpaski (ca 1860-1928)............................................248 X. Atanas Badev (1860-1908).......................................................255 XI. Vasil Ivanov Bojadjiev (1876-1950)........................................262 7 ANEKS TVORBI OD MAKEDONSKI AVTORI Dimitar Zlatanov – Gradoborski DostoiÂno esty. Glas¢ i*. Û Ni..............................................................269 Na Prazdn. Cestnagw Kresta. Glas¢ v*. Õ ë.....................................270 Ou sl$jb$ svõ\ennonacalnika. Glas¢ i*. Û Ni.................................273 Kalistrat Zografski Otqa i S¥na. Glas¢ e*. ß Ð...................................................................274 DostoiÂno esty. Glas¢ a*.aÐ...............................................................280 DostoiÂno esty. Glas¢ d*.d×.toj....................................................282 Joan Harmosin – Ohridski DostoiÂno esty. Glas¢ e*. ß Pa...............................................................284 Manasij pop Todorov OÊtqa i¯ S¥na. Glas¢ g*. [ S Ni.^ ÷ ........................................................286 Vasil Ivanov Bojaxiev Poloji’,Go’spodi. Glas¢ a*.a Pa. ........................................................289 BIBLIOGRAFIJA (BIBLIOGRAPHY)........................................294 8 Prv del ISTORISKIOT RAZVOJ NA CRKOVNOTO PEEWE VO MAKEDONIJA 9 10 Voved Vo po~etokot, koga hristijanstvoto se zarodi i go ponese krstot kako simbol na golemata qubov, na molitvenite sobiri vo katakombite prvite hristijanski vernici koi{to poteknuvale od redot na Evreite, niz pesna ja iska`uvaat svojata molitva.1 Na asketskiot duh, proniknat vo verata i `ivotot na starite hris- tijani, pove}e mu odgovaralo ednostavnoto i nenametlivo peewe, preku koe{to, vo prv red, }e se istaknuva porakata na religioz- nite tekstovi, otkolku samata melodija.2 Vo svojot ponatamo{en razvoj hristijanskata muzika }e po- mine niz dve razli~ni i sprotivstaveni fazi: prvata - od skrom- nite po~etoci na sozdavaweto i utvrduvaweto na bogoslu`beniot obred na s#u{te progonetata hristijanska crkva, do t.n. ‚milan- ski edikt‛ od 313 god., so koj carot Konstantin Veliki ustanovuva verska tolerancija, a so toa i sloboden razvoj na hristijanskata religija, i vtorata - vo koja{to ~ednata hristijanska bogoslu`ba prerasnuva vo sve~ena liturgija na vizantiskata crkva. So noviot status na Hristijanstvoto kako dr`avna religija na Rimskoto Carstvo, na planot na crkovnata muzika nastanuvaat zna~ajni promeni. Hristijanskiot ritual od temnite, neprovetre- ni i misti~ni katakombi se preseluva vo velelepnite hramovi, vo koi{to bogoslu`bata se izvr{uva poslobodno, so poglasno i vpe- ~atlivo peewe, i so u~estvo na profesionalni pea~i. Ovie prome- ni, nalo`uvaat crkovnite napevi da se zbogatat so novi, porazvie- ni melodiski formi i so specifi~ni na~ini na izvedba, soodvet- ni na sve~eniot ambient i na rasko{niot liturgiski ~in. 1 Bogoev , M. Mir~o, U~ebnik po crkovno penie, Sofi , 1940. p. 7. 2 Andreis, Josip, Povijest glazbe, vol I. Liber - Mladost, Zagreb, 1975. p. 78. 11 Iako vo 395 godina Rimskata imperija ve}e e nominalno po- delena na dve carstva - isto~no i zapadno, s# do VI vek ne postojat esencijalni razliki me|u na~inot na koj{to se peelo vo nivnite prestolnini Konstantinopol i Rim, bidej}i crkovnata muzika s#u{te e vo faza na formirawe.1 Vo tekot na slednite nekolku stoletija,so prifa}aweto na hristijanstvoto, sekoj narod vnesuva vo crkovniot obred i vo peeweto niza novi elementi, karakteris- ti~ni za nivnite avtohtoni muzi~ki tradicii. Vo ovoj kontekst, od osobeno zna~ewe e upotrebata na sopstvenite jazici vo bogo- slu`bata od strana na poedini narodi, {to ovozmo`ilo
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