by Nikita Simmons
Unfortunately for the student of Russian Church Singing, the origin of the collection of Podobny melodies in the appendix of the "Sputnik Psalomshchika" (The Psalmists's Companion) is unidentified. We do not currently know if these melodies were collected from one single location, or if they were assembled from various regional traditions. One thing we can be certain of, however: while a few of the melodies slightly resemble the Znamenny Chant podoben melodies, this entire collection has been drawn from later non-Znamenny sources. The purpose of this evolving study will be to attempt to identify the origins of each of the melodies.
At the suggestion of my colleagues Jopi Harri and Stephen Reynolds, I have begun to compare the Sputnik melodies with existing collections of identified podobny in order to ascertain the lineage of each melody. While I have not yet identified many direct sources, I am finding that I am coming closer using the process of elimination. As a starting point, I have compared each of the sputnik melodies with the corresponding melodies in two complete on-line collections: the modern Kiev Caves melodies (Collection 1 in the chart) and the diverse collection by Archimandrite Matfei (Mormyl') (Collection 2 in the chart).
| Tone | Name | Number of Strophes | Comments: Collection 1 |
Comments: Collection 2 |
Preliminary Conclusions |
| 1 | Небесных чинов |
6 | different melody from Sputnik (no similarity) | напева Глинской пустыни - not the same as in the Sputnik | Sedmiezero (Seven Lake) Hermitage |
| 1 | Прехвальнии мученицы | 9 | similar to Sputnik, but simplified | напева Глинской пустыни - not the same as in the Sputnik | Glinsk Hermitage |
| 2 | Доме Евфрафов |
5 | similar to Sputnik, but not the same |
1) напева Гефсиманского скита Троице-Сергиевой Лавры - not the same as in the Sputnik 2) напева Киево-Печерской Лавры - not the same as in the Sputnik (but obviously a much simplified version of this melody) |
1) Gethsemane Skete of the Trinity-Sergius Lavra 2) Kievan (or variant of Kievan) |
| 2 | Егда от древа | unlimited | similar to Sputnik, but not the same | the same as in the Sputnik | Kievan (or variant of Kievan) |
| 4 | Дал еси знамение |
9 | --- (not found in Sputnik) | напева Оптиной пустыни - not found in the Sputnik | Optina |
| 4 | Званный свыше | 12 | different melody from Sputnik (no similarity) | напева Оптиной пустыни - not the same as in the Sputnik | Optina |
| 4 | Яко добля | 9 | similar to Sputnik, but simplified | напева Оптиной пустыни - the same as in the Sputnik (with a bit of alteration with accidentals) | Optina |
| 5 | Радуйся | unlimited | similar to Sputnik, but not the same | напева Оптиной пустыни - the same as in the Sputnik (with a bit of alteration with accidentals) | Optina (or variant of Optina); possibly derived from Kievan |
| 6 | Ангельския предъидите |
10 | similar to Sputnik, but not the same | из старых рукописных нот Троице-Сергиевой Лавры - the same as in the Sputnik (with a bit of alteration with accidentals) | Trinity-Sergius Lavra (or variant thereof); possibly derived from Kievan |
| 6 | Все отложше | 12 or 14 (13 possible) |
similar to Sputnik, but not the same | напева Седмиезерной пустыни - similar to what is in the Sputnik, but with some modification (this is a simplification of the Znamenny melody) | Sedmiezero (Seven Lake) Hermitage |
| 6 | Тридневен | unlimited | similar to Sputnik, but not the same | напева Оптиной пустыни - the same as in the Sputnik (with a bit of alteration with accidentals) | Optina (or variant of Optina); possibly derived from Kievan |
| 8 | О преславнаго чудесе | 9 | different melody from Sputnik (no similarity) | напева Оптиной пустыни - the same as in the Sputnik (with a bit of alteration with accidentals) | Optina Hermitage |
| 8 | Что вас наречем | 8 (or 10) | similar to Sputnik, but quite simplified |
1) напева Оптиной пустыни - not the same as in the Sputnik 2) напева Глинской пустыни - the same as in the Sputnik (with a bit of alteration with accidentals) |
Glinsk Hermitage |
The initial conclusions are:
1) None of the Sputnik podobny melodies are directly derived from Zamenny Chant podobny, although that are a few that obviously are descended from Znamenny melodies by way of regional variations.
2) None of the Sputnik podobny melodies are directly derived from Kiev Caves podobny. There are several similar melodies, but all of the Collection 1 melodies are simpler and have occasionally different reciting or cadential pitches. Most of the Sputnik and Collection 1 melodies also have repeating melodic phrases (for example: A-1-2-3-1-2-3-B, instead of 1-2-3-4-5-6-7-8).
3) After examing the Collection 2 melodies (from the local monastic traditions of Optina, Glinsk, Kiev Caves, Seven Lakes and Trinity-Sergius Lavra), we have found some matches. There is only one exact match: the Tone 2 "Egda ot dreva", while the other matches occasionally alter the melodies by sharpening some of the leading tones in accordance with modern western musical theory, and to facilitate choral harmonization of these melodies.
These initial observations are still not sufficient for us to draw any secure conclusions. For instance, we still cannot firmly identify the actual sources of these melodies. We do not yet know if these melodies are regional variants of older traditional melodies, if any of them are composed melodies, or if the monasteries where these are said to come from actually adopted them from somewhere else and gave their own place name to the melody. But by eliminating such sources as Znamenny, Kievan (itself a descendant of Russian Znamenny), and Southwestern Russian rescensions (regional versions of Znamenny Chant), we can more easily determine the age and possible origins of these melodies. The Southwestern Russian "Bulgarian" Chant has melodies which are considerably more complex and do not easily fit into the choral recitative style of the Sputnik melodies. Furthermore, we know that the Russian "Greek" Chant had no podoben melodies of its own, so we can eliminate this as a possible source.
In all likelihood, the Sputnik podoben melodies originated in regional Russian monastic communities, as has identified in the available sources. Now all we are lacking is the proof and the details. Furthermore, an analysis of the melodic structures suggests that they originated during the era of choral singing (most likely in the 1700s and 1800s), since some of the melodies lack enough movement to make them suitable for unison melodies. (Quite frankly, some of the melodies seem a bit boring without a harmonic structure.)
The information presented here will be updated as newer information comes to light. I will make some inquiries with colleagues in Russia to see if they can fill in the gaps.
-- Nikita Simmons, July 8, 2004