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To Thee, the Champion Leader Sbrannoi Vojevode - Вэбранной Воеводе

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To Thee, the Champion Leader Sbrannoi Vojevode - Вэбранной Воеводе Buike Music And Science (Dmitry Vassiljevich Allemanov, 1867-1928) Arranger: Bruno Antonio Buike To Thee, the Champion Leader Sbrannoi Vojevode - Вэбранной Воеводе (Kondak of 25th of March, feast Annunciation to the Theotokos) - Cyrillic and Latin letters - - G-Major - general score – ca. 1:16/2:33 - - 165.1/165.2 choir SAB and choir SATB - – 165.3 organ plus ad lib. - 165.4 brass a 4 - Annunciation to St. Mary by the Angel Gabriel – Icon from Ochrid/Serbia BBWV 165.0 - ca. 1:16/2:33/5:00 Bruno Antonio Buike, Wolkerstr.5, 41462 Neuss/Germany [email protected] Neuss/Germany: Bruno Buike 2020 --- separator page --- 165.0 - Sbrannoi Vojevode – cover 2 1 of 37 165 To Thee, the Champion Leader- Sbrannoj Vojevode - cover 2 Dmitry Vasil'yevich Allemanov 1867-1928 arr. Bruno Antonio Buike – 2007/2020 To Thee, the Champion Leader - Sbrannoj Vojevode - Вэбранной Воеводе Cyrillic and Latin letters – G-Major – 1:16/2:33 BBWV 165.1 /165.2: choir SAB and choir SATB BBWV 165.3 organ plus ad lib. - BBWV 165.4 brass a 4 ---xxx--- Table of content 1. on sources and “place in life” 2. on Dmitry Vassiljevich Allemanov, 1867-1928 3. on text (Russian, German, English, Greek) 4. on settings 5. project files (all “colla parte”) 6. documents : 2 editions by Carol Surgant, 2008 in music-russianothodox-stl.org – USA 7. Pochaiv / Pochayiv / Potshaev / Potschajiv / “(Ukrainian: Почаїв, also Pochayev, Russian: :romanized: Potshayev, Hebrew ,פָאשטשאעיעװ :Почаев, Serbian: Почајев, Polish: Poczajów, Yiddish Pochayuv)” 1 פוצ'אעיוב 8. Finals ---xxx--- 1. on sources and “place in life” „Sbrannoi Vojevode“ became known to me as part of the „hesperinos“/vespers – or evening-service in the Russian-orthodox chapel of Neuss at around 2007 and before. I however could evaluate, that this music normally is attached to the „feast of the Annunciation to the Theotokos / Bogorodize / Mother of God“ on 25th of March as „Kondak – Kontakion in the 8th tone“, which latter „tones“ may be compared with „church-scales” in West-European music to a certain extent. We may guess: To sing every now and then “Sbrannoi Vojevode” in an evening-service was simply due to the fact, that our UKRANIAN conductor-lady of that years had a respective PERSONAL PREFERENCE for this “thriving music” ... At that time we had single sheets – partly copies from handwritten manuscripts! - in musical Quality whatever, which refugees had brought from years BEFORE 1990 and I remember, that “Sbrannoj Vojevode” was a photocopy of a PRINTED SOURCE with 3 VOICES only, which however in my “creative chaos” somehow got lost, but is to 90,5 % in the version BBWV 165.1 choir SAB, in which I made only very few changings in the BASSO. Three voices we find normally in Bavarian “Drei-Gesang” and in the elder versions of the 1 “Pochaiv” in Wikipedia EN URL https://en.wikipedia.org/wiki/Pochaiv 165.0 - Sbrannoi Vojevode – cover 2 2 of 37 “Salzburg Song – and Prayerbook” (say: around 1780-1820) – and we should assume, that 3 voices in especially Ukrainian surroundings may be as well a hint to the SIMPLICITY OF POPULAR CASUAL – and may be: “paraliturgical” - singing. But if we find a MUSICAL EXPERT like Allemanov writing settings for 3 voices, we indeed may take this as hint to his INTENTION, to somehow “purify” the singing-practise in sacred music of HIS time, such counterfighting the ITALIAN POLYPHONY of the Bortnjanski-style and / or the the “handling of as much as possible single voices” by (Alexander Tichonowich) Gretschaninow or the “infiltration” of musical usages stemming from the German PROTESTANT “hymns” (for use in church singing) into Russian Orthodox music-practise of Allemannov's times– not to speak of other IMPORTANT musicians influencing the overall “Orthodox music style” - not to speak of Rachmaninov and Tshaikovsky! - , musicians and composers, that eventually became estimated as “not Russian enough” and which I simply DO NOT KNOW myself, because I have not enough expertise in this field of learning. Somehow “concluding” it “therefor” MIGHT be reasonable to ASSUME, that Allemanov took a relativly “older melody” perhaps with some GREEK-BYZANTINE flavor and running more or less “melismatic”, so that West-European listeners at first may get the impression of “sometimes VAGUE tonal center”, which may be partly caused by ATTACHING THIRDS ONLY BELOW the “chosen melody” and attaching to that with some GENIUS a BASS-LINE. But to not overdo it: In THIS Allemanov-setting there is NOTHING coming even near the “old-fashioned” “(znamenny) RASPJEV”-music - “Знаменный Распьев»“2 , which was not Greek in origin, but from EARLY POPULAR SINGING of “Rus-people” themselves, adapted somehow at some point in time after Christening of the Rus at around 1000 AC under the “apostle-similar King Vladimyr of Kiev” into sacred music for use in church. By the way: We will have later as DOCUMENT an example from ROCOR (Russian Church Abroad) in the U.S., in which someone added a “row of thirds”, but ABOVE the melody. To claim, that this should count as a solution to the sometimes demanding task within training of composition theory, to put the melody “in alto”, might be overdone. Because: In MY restricted of course experience putting thirds ABOVE a given melody produced only in ONE case “satisfactory results”, which was “Pod tvoju milost” (“sub tuum praesiduum”), BBWV 48. From my restricted experience we however would concede, that ADDING THIRDS and other intervals ABOVE a given melody may be understood as trial for some sort of “amplification”, which however in cases may tend to manieristic (or perhaps: fashionistically). Allemanov by such techniQues – of adding thirds BELOW a given melody - may indeed have met the OLDER POPULAR PRACTISE especially in UNEDUCATED RURAL surroundings of remote peasantry. I myself have seen printed “prayer-books” from GREEK-CATHOLIC origins from Ukrainia giving exactly that, which is a line of THIRDS mainly – to which as first step of musical development of course would be IMPROVISIZED 2 See “Знаменный Распьев” (Znamenny Raspjev) in Pravolavnaja Encyclopedia / Православная Энциклопедия, Patriachate Moscom URL http://www.pravenc.ru/text/199937.html - see “Знаменное пение» („Znamennoje penie“) in Wikipedia RU URL https://ru.wikipedia.org/wiki/%D0%97%D0%BD %D0%B0%D0%BC%D0%B5%D0%BD%D0%BD%D0%BE%D0%B5_%D0%BF%D0%B5%D0%BD %D0%B8%D0%B5 165.0 - Sbrannoi Vojevode – cover 2 3 of 37 a BASS-LINE by the men – or not. The reader from such observations easily may tend to assume, that those “rural surroundings” were “simple and POOR” in cases INDEED, sufficient musical knowledge sometimes restricted to the family-members of the priest only. To have not spoiled the “thriving, near to military touch” in this music, I kindly may remind the user, that I wrote NOT 4/4-measures but “alla breve”, which latter is “counting in halfes” and can be conducted as such – and perhaps may be understood as “skilled choice” from musical methods, the musical professional Allemanov had knowledge and command of. Otherwise I have to apologize, that my organ - and brass-settings are not in accordance with the AKRIBEIA of Orthodox CHURCH LAW, which is a vital source for Russian sacred music regulations, where we find everything except use of human voice strictly interdicted. We may find some sort of “forgiveness” PERHAPS, IF the principles of OIKONOMIA within this same Orthodox Church law applied – or not! It is however not here the proper occasion to repeat from my research3, that there are REAL DANGERS coming from a combination of TODAY ADVANCED “hyperphysics” as in books of Joseph P. Farrell for first time explained to the broader audience with today APPARATIVE MUSIC displayed in CHURCHES, may be PERHAPS, to “worship other Gods”, which might not have at heart the “common good” of this mankind, so that from other side the concerns of Orthodoxy for proper handling of music suddenly seem more reasonable. Which phrasing the words may indicate enough, that we precautionary may take into consideration possibilities, that on this planet MIGHT have dwelled SEVERAL mankinds – with different numbers of FINGERS of the hand for instance as in case of the ICA4-complex from Peru (hinting to times of DINOSAURS 50-60 million years ago, not to be mixed up with the “stone-map” on the Dashka-stone from Southern Ural hinting to - perhaps! - 120 million years ) – and other GROUPS of GODS, NOT stopping just with the URANIAN Gods of the GREEK mythology previous to the Gods of the Zeus-family and PERHAPS entertaining – say 10 – 3 million years ago? - a “cosmic war”5 within our planetary system, in which we should today assume possibilities for “weaponry based on music” for instance. At moment it seems additionally, that in Göbekli Tepe and in the 3 See Buike, Bruno Antonio: Some cosmological proposals for “Christus in the Mandorla” (Christos Pantokrator) from advanced mathematics and plasma physics, Neuss: Bruno Buike 2016, 2nd ed. - google books URL https://books.google.de/books? id=OlRHDwAAQBAJ&pg=PA7&dq=Christus+in+the+Mandorla&hl=de&sa=X&ved=0ahUKEwjj7Ia VsunmAhXPyqQKHYf5CjIQ6AEIKzAA#v=onepage&q=Christus%20in%20the %20Mandorla&f=false – see Buike, Bruno Antonio: Music Military Moksha, Neuss: Bruno Buike 2019, google books URL https://books.google.de/books? id=A6OoDwAAQBAJ&printsec=frontcover&dq=Music+military+moksha&hl=de&sa=X&ved=0ahU KEwiy_oOPs-nmAhVBKFAKHc5nC1YQ6AEINDAB#v=onepage&q=Music%20military %20moksha&f=false 4 See Petratu, Cornelia/ Roidinger, Bernard: Die Steine von ICA. Protokoll einer anderen Menschheit, Essen, München, Bartenstein: bettendorf1994 5 “cosmic war” is one of the subjects of the Indian “Mahabharata”-epos and its chapter of the “Bhagavadgita” - but “cosmic war” understood as “war within our planetary system”, perhaps 3-10 million years back in time, see: Farrell, Joseph P.: The cosmic war,.
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