Хиландарски појци и писари новијег доба

Abstract

У хиландарском братству је, судећи по музичким рукописима који се чувају у манастирској библиотеци, током читавог XIX века било врло вештих и музички писмених појаца. Реформа неумског писма, али и теоријских музичких правила, која је и званично почела да се у грчким појачким школама спроводи почетком датог столећа, била је широко прихваћена на Светој Гори. За утврђивање и спровођење тзв. новог метода заслужни су пре свега грчки псалти који су неопходни музички репертоар преводили са старих на нове неуме. Појци негрчког порекла имали су пак додатни задатак: да мелодије прилагоде текстовима на црквенословенском језику. У раду су, на основу увида у хиландарске музичке рукописе XIX века, представљени именом познати Хиландарци који су се активно бавили преписивањем музичких зборника или су, будући појци, били власници неумских књига. Указано је, такође, и на везе Хиландараца са појцима и писарима из осталих светогорских манастира.

Judging by musical manuscripts held at the monastic library, there were many skilled and musically literate chanters among the fraternity of Hilandar Monastery throughout the entire 19th century. The reform of neumatic notation, along with the reform of music theory rules that offi cially started to be implemented in Greek chanting schools at the beginning of the 19th century, was widely accepted in Mount Athos. Greek chanters are fi rst to be thanked for the affi rmation and implementation of the so called new method, as they translated essential repertory from old into new neumatic system. The chanters of non-Greek origin had, however, an additional task: to adjust the melodies written in a more analytic notation to texts in the OCS language. Based on an insight the author had in musical manuscripts of Hilandar, this paper presents famous Hilandar monks who actively participated in the copying of musical anthologia or who, being chanters themselves, had some neumed books in their possession. Judging by the number of autographs in the fi rst decades of the 19th century, monk Spiridon was the most prolifi c one, as he was the author of voluminous sticherarions on the melody of Germanos Neon Patron. In the fashion of melodies written by this famous 17th century melurgos, Spiridon had also created stichera for Serbian saints. Hierodiakonos Iosif or Iosaf and hieromonk Nikephoros are also to be appreciated for the translation of melodies from Greek into Old Church Slavonic, whereas a calligrapher Vikentios was diligently writing hymns, most often those to be chanted on the occasion of the greatest fests: on Pascha and the feast day of the patron saint of the monastery – Presentation of the Holy Theotokos. In a certain manner, protohegoumenos of the monastery, Makarios, and a monk Galaktion were collectionists of musical manuscripts. Their monastic seals are noticeable on a number of manuscripts, where they also wrote down valuable notes on scribes from whom they procured or bought these musical anthologia. The musical library of Hilandar Monastery was enriched by specifi c orders as well. In this way, Iosif from Pantocrator Monastery wrote Hieromologion 48 following the style of the Great Church yphos (Hagia Sophia) for Serapion of Hilandar, whereas a well-known scribe and daskalos of Vatopedi, Matheos, on request of hieromonk Pachomios – a chanter of Hilandar, compiled two comprehensive anthologia. In the one bearing no. 101 he, moreover, wrote down his own composition which was to be chanted at a festive meal on the day of Presentation of Holy Theotokos in the presence of the hegoumenos of Vatopedi. As expected, Hilandar monks were working closely together with chanters and scribes of Zograf Monastery, among them Danilo and Kalistrat being the most prominent. The notes written in anthologia of Hilandar Monastery are living evidence of thriving musical activities that marked the entire 19th century and in which the monks of Hilandar Monastery seemed to have played, more than ever before, quite an important role.