Professional Documents
Culture Documents
i ma - - - - tery______Bo - - ga_____________na-
- - e - - - - - gw.
Vo prviot primer ne e jasna nitu logi~na upotrebata na dva-
ta posledovatelni gorgoni. Po s# izgleda, stanuva zbor za pe~atna
gre{ka: dvete kentimi so gorgon pod oligonot (v), bi trebalo
da se stavat nad oligononot( ). No, toa ne mo`e da se ka`e i za
vtoriot primer, vo koj{to idejata na Kalistrat e: grupata od tri
tonovi (dvete kentimi so gorgon i iporoi so gorgon) da se ispee
kako vtor del od taktot. Ovoj primer najpribli`no mo`e da se
zapi{e so trigorgon punktiran na prvoto koleno:
(fragment 1a)
na - - - e - - - - - - gw.
O~igledno e deka Kalistrat so ova go otvara pra{aweto za
racionalizacija na hrisantoviot ortografski sistem: so razli~-
no kombinirawe na eden ist znak (vo slu~ajov toa e gorgonot) da
se dobijat i drugi vrednosti i da se izbegne upotrebata na novi
znaci. Ovaa ritmi~ka figura od dva poledovatelni gorgoni, koja-
{to Kalistrat Zografski ja koristi vo svoite muzi~ki zbornici,
od teoreti~arite na isto~noto crkovno peewe ne e obrazlo`ena i
ne e upotrebuvana po{iroko.
127
Vo 1997 godina, rabotej}i na zbornikot Pashalija od Joan
Harmosin - Ohridski, na edno mesto vo pri~esnata na prvi glas
(Thlo Xr`stovo) naidov na sledniot fragment, vo koj{to dva pos-
ledovatelni tonovi (apostof i dve kentimi) imaat gorgon:
(fragment 2)
bez - sme - - - - - - - - - - - -
Smetaj}i deka stanuva zbor za pe~atna gre{ka, vo novoto
izdanie na knigata Pashalija (izdadena vo 1999 godina), gorgonot
od apostrofot go premestiv vrz znakot oligon so antikenoma
(koj{to se nao|a neposredno pred nego):
1
Podocna, koga rabotev vrz zbornikot Liturgija, zabele`av
deka Kalistrat, prezemaj}i ja od Pashalija ovaa ista kompozicija
na Joan Harmosin - Ohridski, ne samo {to ne ja ispravil pe~at-
nata gre{ka so posledovatelnite gorgoni, tuku vo istava tvorba
na Joan Harmosin, gi upotrebil u{te edna{. Toga{ svativ, deka
dvata posledovatelni gorgoni se upotrebeni so cel da se dobie
druga ritmi~ka figura, koja{to mo`e da se zapi{e i so diargon
punktiran na prvoto koleno:
(fragment 2a)
bez - sme - - - - - - - - - - - -
Na slednite dva primeri e prika`an e u{te eden fragment
od pri~esnata na Joan Harmosin, onaka kako {to e predaden vo
zbornikot Pashalija
2
(fragmentot 3) i so intervencijata na Ka-
listrat Zografski vo zbornikot Liturgija (fragmentot 3a):
3
1
Koxaba{ija, Jane, Joan Harmosin-Ohridski: Pashalija, Unija za kultura na
Vlasite od Makedonija, Skopje, 1999. p. 108.
2
Fwann Xarm: Ohridskyfi, Pasxali, Qarigrad, 1869. p. 71.
3
Arximandrit, Kalistrat), Vostocno qrkovno phnie, Liturgi op. cit. p. 248.
128
(fragmentot 3)
'
vk$ - - si - - - - - - - - - - - -
(fragmentot 3a)
'
vk$ - - si - - - - - - - - - - - -
Na prviot primer (fragmentot 3) tonskata niza koja{to po~-
nuva so apostrof so tripli ( u ) i zavr{uva so iporoi so gorgon
i so to~ka( ), e sostavena od tonovi koi{to traat po polovina
udar (takt), vo vtoriot primer (fragmentot 3a), vo koj{to interve-
niral Kalistrat, toj ednoli~en ritam na tonskata niza e razbien
so postavuvawe na gorgon nad elafronot. Kako {to se gleda i na
muzi~kiot primer, so ovoj elafron gorgoniranod Kalistrat do-
biena e niza od tri posledovatelni gorgoni. Idejata na Kalistrat
e: elafronot so gorgon i dvata tona so gorgon {to se nao|aat ne-
posredno pred i po nego da se ispeat za vreme na vtorata polovina
od taktot (dodeka rakata se kreva nagore), kako mala triola.
Vnimanie zaslu`uva u{te edna ritmi~ka finesa koja{to
Kalistrat ja upotrebil vo svojata tvorba Otqa i Sna na sedmi
glas od zbornikot Liturgija. Ovojpat, eden po drug se postaveni
dva razli~ni temporalni znaci - digorgon i gorgon:
1
(fragmentot 4)
A - - - miny.____________________
Vo ovoj fragment gorgonot koj{to se nao|a nad oligonot so
antikenoma, ima vlijanie vrz znakot iporoi so digorgon, koj{to
se nao|a neposredno pred nego, odnosno vrz vtorata negova nota,
odzemaj}i & polovina od vreme traeweto. Vsu{nost, gorgonira-
1
Arximandrit, Kalistrat), Vostocno qrkovno ibidem. p. 100.
129
niot oligon so antikenoma se izveduva po principot na gorgon,
vo vremeto odzemeno od vtorata nota na iporoi so digorgon. Naj-
pribli`no ova mo`e da se zapi{e na sledniot na~in:
(fragmentot 4a)
A - - - miny.__________________
Ovie ritmi~ki vrednosti dobieni so dva i tri posledova-
telni gorgoni, ili so digorgon po koj{to sleduva gorgon, vo
isto~nata crkovna muzika teoretski dosega ne se obrazlo`eni.
Kalistrat e eden od prvite koi{to gi upotrebuva vo pogolema
mera, so {to dava nesomnen pridones vo razvojot na teorijata na
hrisantoviot muzi~ki sistem.
130
IV.
Joan Harmosin-Ohridski (1829-1890)
Periodot vo koj{to Joan Harmosin-Ohridski go podgotvu-
va i pe~ati svojot crkovno-muzi~ki zbornik Pashalija, izobilu-
va so izvonredno zna~ajni istoriski nastani i pojavi vo Makedo-
nija so koi Nacionalnata prerodba dostigna izrazito dramati-
~en stadium. Navesten so Zbornikot od narodni pesni od bra}a-
ta Dimitar i Konstantin Miladinovci, objaven vo 1861 godina
vo Zagreb i so nivnata tragi~na smrt vo slednata 1862 godina vo
carigradskite zandani, kako i so pojavata na prvite u~ebnici na
naroden makedonski jazik, ova e period na zasileno dvi`ewe
protiv duhovnoto i ekonomskoto ropstvo, vo koj toa dobiva ka-
rakter na organizirana borba protiv vlasta na Carigradskata
patrijar{ija.
1
Vo prvo vreme naso~ena protiv upotrebata na
gr~kiot jazik vo crkvite i vo u~ili{tata, ovaa borba podocna se
pro{iruva i protiv obidite za nametnuvawe na bugarskiot jazik
vo Makedonija. I samata pojava na zbornikot Pashalija na Joan
Harmosin-Ohridski, prv od takov vid na slovenski jazik od eden
makedonski avtor, vsu{nost, pretstavuva inkarnacija na vekov-
nite streme`i za ostvaruvawe na narodnite ideali za samostoen
kulturen razvitok na makedonskiot narod.
Joan Harmosin - Ohridski, ~ie{to svetovno ime e Ivan
(Jovan) Genadiev, e roden vo Ohrid, vo 1829 godina, vo sve{te-
ni~ko semejstvo. Osnovno obrazovanie na gr~ki jazik dobil vo
rodniot grad (mo`no e kaj svojot tatko Georgi, koj vo toa vreme
rabotel kako u~itel), a sredno vo Bitola i vo Carigrad. Kako i
1
Koneski, Bla`e, Za makedonskiot literaturen jazik, Kultura,
Skopje, 1967. r. 158.
131
redica drugi poima{livi Makedonci od toa vreme, koi imale
solidni predznaewa i poznavawe na gr~kiot jazik, i Ivan Gena-
diev svoeto ponatamo{no obrzovanie go prodol`il na Filozof-
skiot fakultet vo Atina. Od toj period poteknuvaat i negovite
prvi literaturni obidi. Pi{uval poezija, kako i drugi kni`ev-
ni vidovi na gr~ki jazik, so koi{to go svrtel vnimanieto kako
talentiran poet. Poznato e deka zaedno so svojot prijatel, oven-
~aniot poet Grigor Prli~ev, ja izdavaat zbirkata od gatanki vo
stihovi Sfinks. Vo prilog na negovata nadarenost za literatu-
ra, treba da se navede deka vo 1859 godina Ivan Genadiev objavil
komedija vo stihovi. Osven ova, kako jasno navestuvawe na nego-
vata podocne`na opredelba za crkoven peja~, vnimanie zaslu`u-
va i podatokot, deka me|u kolegite na fakultetot, mladiot Ivan
Genadiev bil zabele`an i kako muzikalen peja~ so neobi~no pri-
jaten glas.
Po zavr{uvaweto na studiite Ivan Genadiev, raboti kako
crkoven slu`benik. Postoi podatok deka, koga tatko mu bil ra-
kopolo`en za Debarski mitropolit so sve{teno ime Genadij
(1864-1867), Ivan stanuva negov sekretar. Za da mo`e da kores-
pondira so sve{tenicite vo Debarskata eparhija i da se vklu~i
aktivno vo crkovnata bogoslu`ba, Ivan Genadiev prestojuval vo
manastirot Pre~ista kaj Ki~evo, kade {to odli~no go sovladal
crkovno-slovenskiot jazik. Istovremeno, ovde na u~enicite im
predaval isto~no crkovno peewe. Vo vrska so ova se naveduva, de-
ka Ivan Genadiev za potrebite na u~enicite pi{uval i pesni na
naroden makedonski govor.
1
Sogleduvaj}i gi odblizu sostojbite vo crkovnoto peewe na
teritorijata na Makedonija, kako i prakti~nite potrebi od
crkovno-muzi~ka literatura na slovenski jazik, Ivan Gendiev
ve}e vo ovoj period zapo~nal intenzivno da preveduva muzi~ki
tvorbi od gr~ki na crkovno-slovenski jazik. Verojatno, ovaa
rabota go inspirirala da komponira i crkovno-muzi~ki tvorbi,
1
Stoilov, Anton, P. B lgarski kni`ovnici ot Makedoni , 1704-1878,
s 11 portreta, Sofi , 1922. p. 64.
132
koi{to podocna }e gi stavi vo svoite zbornici. Paralelno so
ovaa dejnost, a za istata cel, se zafatil i so sobirawe na napevi
za~uvani preku usno predanie, za koi{to imal soznanija deka
vle~at koreni od postarata crkovno-muzi~ka tradicija vo Ma-
kedonija. Rezultat na ovaa tvore~ka rabota na Ivan Genadiev se
dvata zbornika od crkovni napevi - Veliki voskresnik, koj, za
`al, e izguben, i Pashalija, pe~atena vo 1869 godina vo Cari-
grad. Na ovaa kniga nejziniot sostavuva~ za prvpat se potpi{al
kako Joan Harmosin-Ohridski. Osven crkovni kompozicii, ima
komponirano i nekolku mar{ovi i popularni pesni.
1
Zaradi nivnite aktivnosti na planot na nacionalnoto
osoznavawe na Makedoncite od Debarsko, vladikata Genadij i
negoviot sin Joan Harmosin do{le vo sudir so Carigradskata
patrijar{ija. Redovno izvestuvana od Bitolskiot mitropolit
Venedikt za nivnoto aktivno u~estvo vo borbata za voveduvawe
slovenski jazik vo crkovnata bogoslu`ba, Patrijar{ijata & go
pretstavila Joana na policijata kako nemirna li~nost, koj-
{to, zaedno so tatko mu, treba da bide isteran od Debar. Kako
posledica na ova, po direkten nalog od vselenskiot patrijarh, vo
1867 godina vladikata Genadij ja gubi polo`bata na debarski mi-
tropolit. Zaradi serioznosta na situacijata Joan Harmosin
otpatuval vo Carigrad na objasnuvawe so Patrijar{ijata. No,
namesto toa, toj tamu mu se pridru`il na dvi`eweto protiv gr~-
koto vlijanie vo crkvata. Vo ovoj period Joan Harmosin inten-
zivno raboti vrz svoite dve knigi, od koi, kako {to e ve}e ka`a-
no, vo 1869 g. uspeal da go pe~ati samo zbornikot Pashalija.
Koga stanuva zbor za negovata profesionalna opredelba za
crkovnite raboti, treba da se ka`e i toa deka Ivan Genadiev vo
carigradskite vesnici napi{al nekolku statii so crkovno-
religiozna problematika. Verojatno, so ovie tekstovi go priv-
lekol vnimanieto na Derkonskiot mitropolit Gerasim, koj{to
go zel za svoj sekretar vo Carigrad. Za koj period od `ivotot na
Ivan Genadiev stanuva zbor, s#u{te ostanuva nepoznato.
1
Leksikon jugoslovenske muzike, Zagreb, 1984, p. 260
133
Vo 1870 god., po fermanot na sultanot so koj im se dava cr-
kovna nezavisnost na podanicite koi{to ne ja prifa}aat vlasta
na Carigradskata patrijar{ija, vladikata Genadij ja dobil
Vele{kata eparhija, kako nejzin privremen mitropolit, a Joan
Harmosin i ovojpat ostanal so svojot tatko, kako negov sekretar.
Vo 1872 god., od starost ili od nekoja druga pri~ina, Genadij se
povlekuva od slu`bata i od Veles se preseluva vo Bitola. Joan
Harmosin, najverojatno, ostanal na mestoto sekretar na mitro-
polijata vo Veles, s# do postavuvaweto na nov mitropolit vo
proletta 1873 godina.
1
Po s# izgleda, ve}e vo ovoj period Joan
Harmosin razmisluval da zamine vo nekoj drug mitropolitski
centar vo Egzarhijata. Kako {to }e poka`e tekot na nastanite,
toj }e se odlu~i za Plovdiv glavniot grad na Trakija.
Deneska mo`eme samo da pretpostavuvame, {to go nateralo
Harmosina da se preseli vo Plovdiv: so preseluvaweto vo ovoj
grad Joan Harmosin-Ohridski, kako avtor i izdava~ na crkovno-
muzi~ki knigi bi bil poblizu do Carigrad, vo koj{to ve}e go
pe~atel svojot zbornik Pashalija. Od druga strana, Plovdiv,
kako najgolem grad vo evropskiot del na toga{nata Otomanska
Imperija, bil razvien kulturen i duhoven centar, vo koj Joan
Harmosin veruval deka mnogu polesno }e najde spomagateli za
pe~atewe na svoite novi izdanija.
Spored bugarskiot istra`uva~ Stefan Hrkov, za ovaa
opredelba na Joan Harmosin va`na uloga odigral i toga{niot
mitropolit vo Plovdiv, Panaret. Roden vo s. Patele, Lerinsko,
vo 1805 g., Panaret Plovdivski bil vrsnik, a verojatno i prija-
tel na vladikata Genadij (tatkoto na Joan Harmosin). Kako eg-
zarhiski mitropolit Panaret zapo~nuva da raboti vo oktomvri
1872 godina. Ne e isklu~eno Panaret da bil i u~itel na Joan
Harmosin vo Bitola vo 40-te godini na XIX vek.
2
1
Markova, Zina, B lgarskata ekzarhi 1870-1879, - Sofi , 1989, p. 126.
2
Hrkov, Stefan, Muzi~ko-preveduva~kata dejnost na Joan Harmosin-
Ohridski, (Stru{ka muzi~ka esen-95)Novootkrieni dokumenti za
Joan Harmosin- Ohridski, (Stru{ka muzi~ka esen 2001).
134
Vo 1873 godina Joan Harmosin zaminuva za Carigrad, kade
{to ostanal nepolna godina. (Za ovoj negov prestoj vo golemata
hristijanska prestolnina dosega ne se znae{e i se smeta{e deka
od Veles direktno se preselil vo Plovdiv). Vo tekot na esenta
1874 godina od Carigrad se preselil vo Plovdiv, kade {to rabo-
ti kako u~itel po istorija, veronauka i crkovno peewe. Isto-
vremeno, toj tuka ja vr{el i dol`nosta protopsalt na plovdiv-
skata mitropolitska crkva Sveta Bogorodica.
Po zavr{uvaweto na rusko-turskata vojna (1877-1878) Joan
Harmosin-Ohridski e nazna~en za sekretar na Plovdivskata
mitropolija, dol`nost koja{to }e ja izvr{uva s# do krajot na
svojot `ivot.
Umira na 13 mart, 1890 godina vo Plovdiv.
Zbornikot Pashalija
Crkovno-muzi~kiot zbornik Pashalija na Joan Harmosin
- Ohridski pretstavuva tematski sistematizirana psaltikija od
tvorbi i tradicionalni crkovni napevi nameneti za bogoslu`ba
vo Svetlata sedmica na najgolemiot hristijanski praznik -
Voskresenieto Hristovo, kako i za drugi praznici vo tekot na
godinata. Ovaa svoevidna crkovno-muzi~ka antologija sodr`i
cela niza tvorbi od najpoznatite avtori od XVII i preminot vo
XVIII, pa s# do prvata polovina na XIX vek. Pred sekoja tvorba
Joan Harmosin-Ohridski gi naveduva imiwata, ili samo inici-
jalite na avtorite zastapeni vo zbornikot: Petar Bereket, Hri-
sav Novago, Jakov Protopsalt, Petar Lambadarij, Georgij Krit-
ski, Teodor Fokejski, Panajot Hala~oglu, Hurmuzij Hartofi-
laks i Grigorij Protopsalt.
Za makedonskata muzika ovaa psaltikija e zna~ajna i zaradi
faktot, {to taa pretstavuva prva pe~atena kniga od takov vid na
crkovno-slovenski jazik, koja{to sodr`i i kompozicii od make-
donski avtor - li~nite tvorbi na nejziniot sostavuva~ i izda-
va~, Joan Harmosin. Ne e pomalku zna~ajno i toa {to tvorbite od
spomenatite vizantiski avtori i drugite napevi zastapeni vo
135
Pashalija se prepeani od gr~ki (a mo`ebi i od romanski), na
crkovno-slovenski jazik od samiot Joan Harmosin-Ohridski. Os-
ven ova, mo`e da se pretpostavi deka toj izvr{il i odredeni
korekcii na tradicionalnite napevi od zbornikot, vo smisla na
nivno stilsko nivelirawe.
Se razbira, nekoi od ovie tvorbi Joan Harmosin-Ohridski
mo`el da prevzeme od slovenskite rakopisi i pe~ateni knigi,
koi vo toj period cirkulirale na teritorijata na Makedonija.
Od dosega{noto sporeduvawe na sodr`inite od zbornikot Pas-
halija so onie od knigite na crkovno-slovenski jazik pe~ateni
pred nejzinoto izdavawe (zna~i, porano od 1869 godina), dosega
konstatirav, deka od psaltikijata Cvetosobranie od Nikola
Trendafilov-Slivnenec, izdadena vo Bukure{t, vo 1847 godina
(prva crkovno-muzi~ka kniga na slovenski jazik vo pravoslav-
niot svet), Joan Harmosin-Ohridski vo svojot zbornik go prezel
prepevot na edna Pri~esna (Telo Hristovo) od Grigorij Pro-
topsalt.
1
Sporedbata poka`uva deka vo ovoj prepev vklu~en vo
Pashalija, Joan Harmosin izvr{il nezna~itelni izmeni. Ne e
isklu~eno, vo svojata kniga Joan Harmosin da vklu~il u{te ne-
koj prepev i od drugite slovenski izdanija od toj period.
Nekoi od tvorbite so koi{to Joan Harmosin e zastapen vo
Pashalija kako avtor, po s# izgleda, gi napi{al otkako go utvr-
dil izborot na tvorbite od drugite avtori, koi{to }e vlezat vo
knigata. Do ovoj zaklu~ok dojdov sporeduvaj}i gi negovite tvor-
bi so onie na drugite zastapeni avtori, so koi{to imaat vidlivi
tematsko-stilski korelacii, a ponekoga{ se voo~uvaat i nekoi
pozajmeni delovi od niv. Vo vrska so ova treba da se istakne, de-
ka vo vizantiskata crkovno-muzi~ka literatura, nekoi napevi od
razli~ni avtori, so ista ili srodna sodr`ina, za ista ili sli~-
na liturgiska namena, se sli~ni ili identi~ni vo po~etokot, no
vo prodol`enieto se razvivaat samostojno, vo zavisnost od ide-
jata i talentot na nivniot avtor. Vsu{nost, stanuva zbor za gle-
di{te koe dr`i do tradicijata na pravoslavnata crkva, spored
1
Trendafilov, Nikola, Cvetosobranie, Bukure , 1847. p. 141.
136
koja, i melodijata, i tekstot na crkovnite penija imaat bo`es-
tveno poteklo, koi na ovoj na~in (so prezemaweto od drug avtor -
prethodnik) se za~uvuvaat vo prvobitnata forma i sodr`ina.
1
Vakvi postapki, kako {to rekov pogore, sretnuvame i vo kompo-
ziciite na Joan Harmosin-Ohridski, pokonkretno, vo negovata
Pri~esna na I glas, ~ija{to po~etna muzi~ka fraza e zemena od
samiot po~etok na Heruvika na prvi glas od Teodor Fokejski. Vo
ovoj slu~aj, mo`ebi stanuva zbor i za pozajmuvawe na muzi~ki
motiv od strana na Joan Harmosin, so cel da postigne pogolemo
edinstvo na svojot psaltikiski zbornik kako muzi~ko-tematska
celina.
Vo zbornikot Pashalija, samiot sostavuvuva~ i izdava~
Joan Harmosin -Ohridski e zastapen so slednive crkovno-muzi~-
ki tvorbi:
1. Elici vo Hrista, na prvi glas,
2. Otca i sina na petti glas,
3. Telo Hristovo, na prvi glas,
4. Telo Hristovo (drugo), na prvi glas,
5. Bogorodi~en tropar, na petti glas,
6. Katavasii Bogorodi~ni, na ~etvrti glas i
7. Dostojno est na petti glas.
Pove}eto od ovie tvorbi na Joan Harmosin-Ohridski se
komponirani so tradicionalni muzi~ki sred-stva i se vklopuva-
at vo tematskata celina na zbornikot Pashalija. Isklu~ok pret-
stavuva tvorbata Dostojno est na peti glas, koja{to spored ka-
rakterot na tematskiot materijal i na~inot na negovata razra-
botka, se izdvojuva od drugite. Stavena na samiot kraj na knigata,
tvorbata Dostojno est na petti glas se do`ivuva kako nekoe
navestuvawe, kako nova pojdovna to~ka na avtorot i na negovite
viduvawa na makedonskata crkovna muzika.
[to se odnesuva do prepevite na avtorskite tvorbi i na
tradicionalnite napevi od gr~ki na crkovno-slovenski jazik,
1
Jonescu, Gheorghe C., Studii de muzicologie i bizantinologie, Bucureti, 1997. p. 69.
137
kako i do nivnoto adaptirawe vo zbornikot Pashalija, toa e na-
praveno na na~in koj{to mu prilega na sestrano obrazovan mu-
zi~ar so {iroka kultura, kakov {to nesomneno bil Joan Harmo-
sin. Vo prilog na ova govori i faktot deka poznatiot bugarski
muzikolog i kompozitor od makedonsko poteklo Petar Dinev vo
predgovorot na svojot Prira~nik za sovremena vizantiska nev-
matska notacija, me|u trojcata prvopevci i muzikou~iteli
koi{to vo XIX vek se zanimavale so ovaa dejnost go vbrojuva i
makedonskiot prerodbenik Joan Harmosin-Ohridski.
1
Od druga
strana, sudej}i spored toa {to Joan Harmosin vo svojata kniga
Pashalija nikade ne se potpi{al kako prepejuva~, nitu, pak, so
ne{to navestuva deka izvr{il prepev i adaptacija na tvorbite,
mo`e da se zaklu~i deka za nego prepevuvaweto pretstavuva po-
ve}e tehni~ki, otkolku avtorski ~in. Sudej}i spored tematsko-
stilskata izedna~enost na tradicionalnite napevi koi{to se
zastapeni vo zbornikot, ne e isklu~eno tie da se obraboteni od
samiot Joan Harmosin-Ohridski. Toj vo predgovorot na zborni-
kot Pashalija ni dava na znaewe, deka site tvorbi gi proveruval,
peej}i gi vo brojni makedonski crkvi i po{iroko.
2
Zbornikot Pashalija ne e mehani~ki napraven izbor od
crkovni napevi i tvorbi, tuku vnimatelno sozdadena celina so
jasna koncepcija. Ovaa psaltikija koja{to vo svojot naslov isto-
vremeno sodr`i i kanon i metafora, so prekrasnite melopoet-
ski sodr`ini posveteni na Vokresenieto Hristovo, se do`ivu-
va kako avtenti~no delo od najubavite tradicii na slovensko-
vizantiskata crkovna umetnost.
Pi{uvaj}i go svojot zbornik Pashalija na slovenski jazik
i spored na hrisantovata muzi~ka teorija, Joan Harmosin-
Ohridski i oficijalno go vovede makedonskoto crkovno peewe
vo najnovata faza od razvojot na vizantiskata crkovno-muzi~ka
umetnost, vo t.n. nov sistem. Istovremeno, pod vlijanie na no-
viot romanti~arski koncept na umetni~koto sozdavawe, vo svo-
1
Dinev, Pet r, R kovodstvo po s vremenna vizanti ska nevmena notaci ,
Sofi , 1964. p. 5.
2
Harmosin-Ohridsk i oann , Pashali , Carigrad , 1869. p. 4.
138
ite tvorbi Joan Harmosin me|u prvite kompozitori vnesuva mo-
tivi od folklornata pesnopojna tradicija. No, zbornikkot Pas-
halija na Joan Harmosin e delo so po{iroko zna~ewe za make-
donskata kulturna istorija. Pojavuvaj}i se vo najzna~ajniot pe-
riod od na makedonskata Prerodba, Pashalija prerasna vo zname
na borbata za vozobnovuvawe na Ohridskata arhiepiskopija i
prodol`uvawe na Sveti-Klimentovoto predanie.
Dostojno est
Od muzikolo{ki i kulturolo{ki aspekt dragocen e pred-
govorot na zbornikot Pashalija, vo koj{to na mo{ne `iv i ne-
posreden na~in Joan Harmosin-Ohridski ni dava mno{tvo inte-
resni podatoci za svoite tvore~ki i izdava~ki planovi i `elbi,
kako i odredeni informacii od koi, pokraj drugoto, mo`e da se
naseti i toga{nata konfiguracija na socijalen i politi~ki
plan vo Makedonija. Isto taka, predgovorot sodr`i i interesni
muzi~ki iska`uvawa, koi{to se odnesuvaat na nekoi istoriski
li~nosti, na negovi sovremenici, kako i na nekoi konkretni na-
pevi od zbornikot.
Na edno mesto od Predgovorot na Pashalija avtorot zbo-
ruva za tvorbata Dostojno est na peti glas, vo koja{to, ovde-
onde, se slu{aat mesnite napevi od Gorna Makedonija, milata
na{a tatkovina.
1
Pove}e otkolku vo site drugi kompozicii na
Joan Harmosin-Ohridski, vo Dostojno est na peti glas se ~uv-
stvuva prisniot dopir na avtorot so Nacionalnata prerodba i
nejziniot naglasen streme` za otkrivawe i afirmirawe na sop-
stvenite kulturni tradicii. Vo ovaa tvorba, ~ija{to melodija
treperi kako nostalgi~no-rodoqubivite stihovi na Konstantin
Miladinov - prviot poet na Prerodbata, se nasetuva zdivot na
nacionalniot romantizam.
No, osnovnata vrednost na Dostojno est na peti glas kako
crkovno-muzi~ka tvorba, sepak, le`i vo nejziniot sakralen ka-
1
Harmosin-Ohridsk i oann , Pashali , ibidem, p. 5.
139
rakter, {to e, bez somnenie, rezultat od tragaweto po avten-
ti~noto makedonsko crkovno peewe, po primarnata `ica na slo-
venskiot hristijanski napev, najbliska do vizantiskite origi-
nalni crkovni melodii. Vo kompozicijata Dostojno est na
peti glas avtorot uspeal da iznajde va`ni punktovi na spe-
cifi~nata slovenska nota na kultnata muzika od ova podnebje,
kako svedo{tvo za originalniot duh na sopstvenata sredina, no,
vo isto vreme i kako silen pe~at na zaedni~kata tvore~ka misla
na balkanskiot ~ovek.
1
Deka kompozicijata Dostojno est na peti glas bila
omilena i ~esto izveduvana, govori faktot {to taa se sretnuva
vo brojni prepisi i pe~ateni knigi od podocne`niot period.
Dosega ja evidentirav vo ~etiri rakopisi nastanati na terito-
rijata na Makedonija kon krajot na XIX i vo prvata decenija na
XX vek
2
i vo eden, nastanat vo Romanija.
3
Najstariot prepis na
ovaa tvorba e, napraven od Andon [ahpaski vo 1882 godina, tri-
naeset godini po nejzinoto objavuvawe vo zbornikot Pashalija.
Osven vo ovie muzi~ki rakopisi, harmosinovata Dostojno est
na petti glas se nao|a i vo Psaltikiskata liturgija od Mana-
sij pop Todorov, pe~atena vo Sofija, vo 1905 godina,
4
kako i vo
Pentikostarionot na gr~kiot jeromonah Gavriil Kuntiadis,
~ie prvo izdanie e pe~ateno vo 1931 godina, vo Seres (Grcija).
Zasega ova e edinstveniot prevod na ovaa harmosinova kompozi-
cija i, voop{to, na edna slovenska crkovno-muzi~ka tvorba na
gr~ki jazik.
5
Za `al, vo svojot Pentikostarion Gavriil Kuntijadis
pokraj naslovot na tvorbata ne go stavil i imeto na nejziniot
avtor Joan Harmosin-Ohridski, tuku vo podnaslovot napome-
nuva deka kompozicijata ja zapi{al vo oktomvri 1917 godina vo
1
Ortakov Dragoslav, Ars nova macedonica, ibidem, p. 118.
2
NUB Sv. Kliment Ohridski, Skopje, Ms -112, Ms-125, Ms-159.
[ahpaski, Andon, Psaltikiski zbornik, 1883. (manus. privat)
3
Ikonomov, Vasil, Psaltiki, Braila,1907. (manus.)
4
Teodorov Pop Manasi , Psaltiki na liturgi , Sofi , 1905. p. 175.
5
!);. !()/. Mx ~x~. !~( M(/;
~((w x ^();. 1931. p. 560.
140
Stara Zagora (Bugarija), kade {to vo viorot na vojnata se na{ol
kako zalo`nik. Sudej}i spored prevodot na tekstot, mo`e da se
ka`e, deka G. Kuntijadis imal odredeni poznavawa na crkovno-
slovenskiot jazik, a od aspekt na ortografijata so koja{to go
napravil muzi~kiot zapis mo`e da se zaklu~i, deka go imal na
raspolagawe zbornikot Pashalija na Joan Harmosin, ili nekoj
soliden prepis od negovata tvorba Dostojno est. I vo prviot i
vo vtoriot slu~aj, na Kuntijadis sekako mu bilo poznato i imeto
na Joan Harmosin Ohridski, no, koe, sepak, ne go zapi{al so
tvorbata. Ako i postojat nekakvi pri~ini zaradi koi{to ne go
napravil toa, jeromonahot Gavriil Kuntijadis ne mo`el da &
odolee na prekrasnata kompozicija na Joan Harmosin-Ohridski,
koja i po ~etirinaeset godini, otkako prvpat ja slu{nal, ja stavi
vo svojata kniga.
Ako kon ova se dodade i toa deka prepe~atuvaweto na kom-
pozicijata Dostojno est vo spomenatiot zbornik na Manasij pop
Todorov se slu~uva celi 36, a vo knigata na Gavriil Kuntijadis
na gr~ki jazik, 62 godini od prvoto izdanie na Pashalija, stanuva
u{te pouverlivo, deka tvorbata Dostojno est na petti glas na
Joan Harmosin-Ohridski so svojata originalnost i ubavina si
obezbedila dostojno mesto vo antologijata na pravoslavnata
crkovna muzika.
Vla{kite napevi
Vtorata re~enica od predgovorot na Pashalija, koja{to
privlekuva vnimanie so svojata zagado~nost, glasi: Po podr`u-
vaweto na t.n. vla{ki napevi, koi{to sme gi peele vo crkvite
vo Bitola, Prilep, Veles, Vrawe, Debar, Kumanovo, Ki~evo i Ca-
rigrad, sekade sme naiduvale na podr`uvawe i spomenuvawe.
1
Pra{aweto {to se postavuva eslednoto: koi se tie vla{ki nape-
vi {to gi spomenuva Joan Harmosin-Ohridski? Istra`uvaj}i i
razmisluvaj}i okolu ovaa muzi~ka enigma, dojdov do slednite
zaklu~oci:
1
Koxaba{ija, Jane, Joan Harmosin-Ohridski: Pashalija op. cit. p. XIX.
141
1. Vo makedonskiot naroden govor se sre}avaat izrazite
vla{ko peewe, vla{ka pesna, koi{to se upotrebuvaat za premnogu
razvle~eno peewe, odnosno za pesna koja{to trae predolgo. Mo`-
no e t.n. papadikiski na~in na crkovno peewe da bilo narekuvano
vla{ko, kako aluzija na takvite svojstva na napevot. Sepak, malku
e verojatno, Joan Harmosin-Ohridski da prifatil naziv so takva
konotacija za prekrasnite crkovni napevi vo papadikiski stil
(na~in) na peewe.
2. Vremeto vo koe{to Joan Harmosin go podgotvuva i go iz-
dava svojot crkovno-muzi~ki zbornik Pashalija, kako {to e ka`a-
no i ponapred, e vreme na `estoka borba na makedonskiot narod
protiv upotrebata na gr~kiot jazik vo crkvite i vo u~ili{tata.
Pribli`no vo istoto vreme, so s#srdno anga`irawe od strana na
tuku{to obedinetata Romanija od kne`evstvata Vla{ka i Molda-
vija, i vo vla{kite crkvi na ju`niot del na Balkanot, gr~kiot
jazik vo bogoslu`bata zapo~nuva postepeno da se zamenuva so
vla{ki jazik. Ne e isklu~eno, Joan Harmosin-Ohridski vo nekoja
od ovie crkvi da slu{al vla{ki napevi, ili preku svojot tatko -
vladikata Genadij, koj spored nekoi istra`uva~i po narodnost
bil Vlav,
1
da do{ol do crkovno-muzi~ki knigi na vla{ki jazik, od
koi{to odbral i prevel pogolem broj napevi za svojot zbor-nik
Pashalija, narekuvaj}i gi vla{ki.
Pri sporeduvaweto na tradicionalnite crkovni napevi od
Pashalija so onie od soodvetnite muzi~ki izdanija na romanski
jazik, konstatirav deka vo nekoi delovi napevite imaat upadliva
sli~nost, a nekoi se, re~isi, identi~ni.
2
Vo ovoj kontekst inte-
resen e faktot, deka vo zbornikot Pashalija Joan Harmosin ima
naredeno i eden napev Hristos voskrese na vla{ki jazik, kako
{to samiot ima ozna~eno vo knigata, a koj{to, vsu{nost, e napi-
{an na arhai~en romanski jazik, so staroslovenska ortografija.
(Vo ovoj period oficijalno pismo vo Romanskite Zemji e s#u{te
slovenskoto). Seto ova upatuva na zaklu~ok, deka Joan Harmosin-
1
Hrkov, Stefan, Novootkrieni dokumenti op. cit. p. 6.
2
Suceveanu Dimitrie, Idiomelar, Trinitas, Iai, 1997. p. 191. Sporedi so: J. Harmosin-Ohridski,
Pashalija, r. 22. i so rakopisot na Janaki Stojmenovi~, od 1849. NUB Ms-161, r. 52.
142
Ohridski go poznaval romanskiot (vla{kiot) jazik, ili deka
napevot Hristos voskrese, go prezel od nekoj romanski zbornik.
3. Po~nuvaj}i od vtorata polovina na XVII, preku XVIII, pa s#
do XIX vek (osobeno pred i po voveduvaweto na t.n. nov sistem) vo
Romanskite Zemji rabotele brojni vizantiski duhovnici, koi-
{to gi smetale za naturalizirani vlasi. Ve}e spomenatite Hri-
sav Novago, Jakov Prvopevec, Petar Vizantiski i Teodor Fokej-
ski
1
se zastapeni i vo zbornikot Pashalija, i toa so daleku po-
golem broj tvorbi otkolku drugite kompozitori pretstaveni vo
knigata. Osven toa, za nekoi od niv postojat indicii deka imale i
vla{ko poteklo. (Na nekoi od tvorite na Hrisav Novago kopisti-
te mu gi dodavale i prekarite Kucovlahu i Makedonu).
2
Vra}aj}i
se na ona {to Joan Harmosin go spomenuva vo predgovorot na
zbornikot Pashalija, mo`e da se zaklu~i, deka vla{kite napevi
se, vsu{nost, tvorbite na pogore spomenatite vla{ki avtori.
Statii, nastani i odbele`uvawa
@ivotot i deloto na Joan Harmosin-Ohridski, go privle-
kuvaat vnimanieto na istra`uva~ite pove}e od eden vek. Samo
devet godini po smrtta publikuvana e statija za Joan Harmosin
vo enciklopediskiot re~nik na Luka Kasrov (1899). Desetina
godini podocna (1912), negovite zaslugi za crkovnoto peewe se
odbele`ani od bugarskiot muzikou~itel Petar Sarafov. Vo
1928 g. vo Sofija se pojavuva prvata statija na Petar Dinev, vo
koja, govorej}i za duhovnata muzika od minatoto, obrabotuva te-
ma za Joan Harmosin. So toa zapo~nuva dolgogodi{nata istra`u-
va~ka dejnost na ovoj bugarski muzikolog od makedonsko poteklo,
{to rezultira so prvite pocelosni soznanija za `ivotot i mu-
zi~kata dejnost na Joan Harmosin-Ohridski, publikuvani od
Petar Dinev vo 50-tite i 60-tite godini na XX vek.
3
1
Ionesku C. Gheorghe, Lexicon, .op. cit. p. 138, 165, 169, 367, 369.
2
Barbu-Bucur, Sebastian, Prezumii privind origineaetnic a lui Hrisafi cel Nou,
Centrul de Studii Biyantine Iai, Vol. III. 2001. p.78.
3
Hrkov, Stefan, Novootkrieni dokumenti za Joan Harmosin-Ohridski, Muzika,
- Skopje, 2001, god. 5, br. 8, p. 3-13.
Kas rov, Luka, Enciklopedi~en re~nik, Plovdiv, 1899, p. 235-237.
143
Vo istiot ovoj period makedonskata nau~na i kulturna jav-
nost, osven nekoi {turi podatoci za kni`evnata dejnost na Joan
Harmosin-Ohridski, re~isi, nema nikakvi drugi soznanija za
svojot golem sonarodnik. Za nego ne{to poodredeno se dozna od
eden napis na slavistot Mihajlo Georgievski, objaven vo vesni-
kot Nova Makedonija, vo 1969 god., otkako neposredno pred toa
otkri eden primerok od zbornikot Pashalija. Interesno e {to,
ovie nastani se sovpa|aat so 100-godi{ninata od pe~ateweto na
Pashalija vo Carigrad, i na 140-godi{ninata od ra|aweto na
nejziniot avtor. S# dotoga{ deloto na Joan Harmosin-Ohridski
mu se pripi{uva{e na Joan Dimitrievi}-Ohri|anin.
1
Vo spomnatiot napis M. Georgievski citira eden bugarski
izvor,
2
koj naveduva deka osnovnite podatoci za Joan Harmosin
(Ivan Genadiev) se dobieni od usnite iska`uvawa na negoviot
sin Pavle Genadiev. Nekoi od ovie podatoci podocna }e bidat
koregirani od istra`uva~ite.
Vo 1973 godina slavistot Mihajlo Georgievski go otkriva
edinstveniot dosega poznat rakopis na Joan Harmosin-Ohridski.
Malku podocna, na novoformiranata manifestacija Stru{ka
muzi~ka esen 75, istiot istra`uva~ podnese referat so naslov
Polo`bata na notiranite muzi~ki rakopisi vo Makedonija
nastanati do krajot na XIX vek, koj{to, so delot posveten na
zbornikot Pashalija i na nejziniot avtor Joan Harmosin pobudi
ogromno interesirawe vo makedonskite muzi~ki krugovi.
3
Deka
Joan Harmosin-Ohridski i zbornikot Pashalija se najdoa vo
centarot na vnimanieto, zboruva i faktot, deka ve}e vo slednata
Sarafov, Pet r, R kovodstvo za prakti~eskoto i teoreti~esko izu~avane
na vosto~nata ~erkovna muzika, - Sofi , 1912, p. 15.
Dinev, Pet r, U~astieto na b lgari v razvitieto na duhovnata muzika na
minatoto, - Muzikalen vestnik, Sofi , 1928, br. 4-5, p. 9-10.
Dinev, Pet r, C rkovnopev~eskoto tvore{tvo na Joan Harmosin-Ohridski,
- C rkoven vestnik, Sofi , 18 juli 1959, br. 28, p. 6-7.
Dinev, Pet r, Muzikalni materiali ot v zro`denskata epoha, - B lgarska
muzika, Sofi , 9/1962, p. 32-34. (Citirano spored Stefan Hrkov)
1
Georgievski, Mihajlo, Nedovolno prou~en makedonski kni`evnik od XIX-vek,
Skopje, Nova Makedonija, God. XXV, 23 noemvri, 1969.
2
Sto nov Man o, Blgarska vzro`denska kni`evnost, p. 274.
3
Georgievski Mihajlo, Polo`bata na op. cit. p. 31.
144
godina na Stru{ka muzi~ka esen 76 od strana na muzikologot
Sotir Golabovski be{e podnesen referat so naslov @ivotot i
deloto na Joan Harmosin-Ohridski.
1
Novo navra}awe na Joan Harmosin-Ohridski ima{e muzi~-
kiot pisatel Dragoslav Ortakov vo svojata kniga Muzi~kata
umetnost vo Makedonija, izdadena vo 1982 godina. Prilogot so
naslov Posledniot vek na otomanskoto vladeewe - epoha na Ma-
kedonskata nacionalna prerodba od ovaa muzi~ka kniga sodr`i
bele{ka so osnovnite podatoci za `ivotot i muzi~koto delo na
ovoj makedonski prerodbenik.
Slednata informacija za Joan Harmosin se pojavi nekolku
godini podocna, vo 1986 godina, vo novata kniga na Dragoslav
Ortakov Ars nova Macedonica. Vo tretata glava na ovaa kniga, vo
delot so podnaslov Muzi~koto tvore{tvo vrz Hrisantovata
nevmatska notacija ~etiri strani~ki avtorot mu posvetuva na
Joan Harmosin-Ohridski. Iako ovie redovi ne donesoa nekoi iz-
razito novi momenti od `ivotot na Joan Harmosin-Ohridski,
tie sodr`at prodlabo~eni sogleduvawa za tvore{tvoto na ovoj
muzi~ki deec od periodot na Prerodbata.
2
Vo sledniot period od istra`uva~ite na Joan Harmosin-
Ohridski najgolemo interesirawe pobudi muzikologot Stefan
Hrkov, koj vo dva navrati se pretstavi i na manifestacijata
Stru{ka muzi~ka esen
3
. Osobeno vpe~atlivo be{e prezentira-
weto na novootkrienite tri pisma i dve raspiski na Joan Har-
mosin, koe{to Hrkov go ima{e na muzikolo{kata tribina na
Stru{ka muzi~ka esen 2001. Otkrivaweto na ovie nekolku novi
dokumenti osvetluvaat eden od najmalku poznatite i prou~uvani
periodi od `ivotot na Joan Harmosin - godinite po napu{tawe-
to na Makedonija i zaminuvaweto vo Bugarija (od 1873 do krajot
na negoviot `ivot 1890 godina).
1
Golabovki, Sotir, @ivotot i deloto na Joan Harmosin-Ohridski,
Makedonska muzika, br. 2, Skopje, 1979. p. 31-35.
2
Ortakov, Dragoslav, Ars nova macedonica,... op. cit. p. 116.
3
Hrkov, Stefan, Muzi~ko-preveduva~kata dejnost na Joan Harmosin-Ohridski,
(Stru{ka muzi~ka esen-95)Novootkrieni dokumenti za Joan Harmosin-
Ohridski, (Stru{ka muzi~ka esen 2001).
145
Najcelosno pretstavuvawe na Joan Harmosin-Ohridski i na
negovoto tvore{tvo koe pobudi ogromno interesirawe vo ma-
kedonskata kulturna i nau~na javnost pretstavuva izdanieto na
zbornikot Pashalija vo 1999 god., po povod 130 godini od prvoto
izdanie i 170-godi{ninata od ra|aweto na nejziniot avtor, koj-
{to go priredi Jane Koxaba{ija so paralelna transkripcija na
evropska notacija. Vo komentarot kon ova izdanie na Pashalija
pod naslov Po tragite na makedonskoto crkovno peewe napra-
ven e presek na socijalno-politi~kite i na kulturno-prosvetni-
te sostojbi vo Makedonija vo vtorata polovina na XIX i po~eto-
kot na XX vek. Vo ovoj tekst posebno e naglasen prerodbenskiot
period, vo ~ii ramki, kako jasen izraz na borbata za osloboduva-
we od gr~koto duhovno ropstvo, e pretstaven zbornikot Pasha-
lija od Joan Harmosin-Ohridski.
Odbele`uvaj}i go ovoj nastan, muzikologot i bibliotekar
Jelica Todor~evska vo Utrinski vesnik od 22-23 januari, 2000
godina, objavi statija pod naslov: Sinteza na makedonskata
crkovna muzika, so podnaslov: Pashalija od Joan Harmosin-
Ohridski (1829-1890), vo transkripcija na Jane Koxaba{ija.
1
Vo
ovoj napis me|u drugoto stoi: Denovive, makedonskata muzi~ka
istorija vo oblasta na crkovnata muzika odbele`uva eden golem
nastan. Povtorno e izdadeno deloto na Ivan Genadiev - so
crkovno ime Joan Harmosin-Ohridski (1829-1890) od Ohrid, pod
naslov Pashalija zbornik od crkovni napevi i tvorbi za Svet-
lata sedmica na Hristosovoto voskresenie - najgolemiot praznik
na hristijanite. // Deneska e pred nas (vo dekemvri 1999 g.)
vtoroto izdanie na Pashalija od Joan Harmosin-Ohridski, iz-
dadeno vo transkripcija na makedonskiot kompozitor i magistar
po psaltika i paleografija Jane Koxaba{ija, posle 130 godini
(1869-1999). // Mo{ne op{irniot komentar na m-r Jane Ko-
xaba{ija ovozmo`uva deloto da bide razbrano i pretstaveno vo
najstru~na i najdobra forma, {to }e mu pomogne na sekoj prak-
1
Todor~evska Jelica, Sinteza na makedonskata crkovna muzika, Utrinski
vesnik, Skopje, g. II, br.175, Sabota-nedela, 22-23 januari, 2000. p. 15.
146
ti~ar ili sve{teno lice, bez problem da ja ostvari interpre-
tacijata. Od golema pomo{ za ~itatelot e i Terminolo{kiot
re~nik, koj{to gi prezentira prete`no crkovnite muzi~ki ter-
mini, zaedno so registarot na imiwata, kako i bogatata bibli-
ografija na koristena literatura. //
Po istiot povod slavistkata Violeta Martinovska vo ves-
nikot Dnevnik od 18 juli 2000 godina
1
me|u drugoto istaknuva:
...Mnogu zna~aen pridones vo crkovnata muzika e objavuvaweto na
knigata Pashalija od Joan Harmosin-Ohridski, ~ij prireduva~ e
d-r Jane Koxaba{ija. Taa e objavena po povod 2000 godini od Hris-
tijanstvoto i 130 godini od prvoto objavuvawe na Pashalija. Nej-
ziniot prireduva~ d-r Jane Koxaba{ija e redok profil od oblas-
ta na vizantiskata crkovna muzika, koj svoeto obrazovanie go
steknal na Muzi~kiot univerzitet vo Bukure{t. // Transkrip-
cijata (gvidonska) i vovedniot tekst na d-r Jane Koxaba{ija se
neizmerliv, dragocen pridones za crkovnata muzika. Nau~no iz-
dr`ana i fragmentirana, so paralelizam na originalnite nevmi
i transkribiranite noti se zaokru`uva kompaktnata muzi~ka ce-
lina. Vakov paralelizam e mo{ne redok od vakov vid kaj nas i toa
go stava nejziniot transkriptor, koj e verziran prou~uva~ na ovaa
~udesna oblast, na zaslu`en piedestal. //
Vo svojata recenzija za izdanieto na zbornikot Pashalija,
vo 1999 g., d-r Mihajlo Georgievski, naglasuva, deka ...hrisanto-
vata nevmatska notacija, kako sinteza na prethodnite fazi vo
razvojot na vizantiskoto muzi~ko pismo, e izobilno upotrebu-
vana na teritorijata na Makedonija s# do po~etokot na XX vek.
Ottuka, pojavata na prvata publikacija kaj nas so ovaa muzi~ka
notacija ima prvostepeno nau~no i kulturolo{ko zna~ewe. Ovaa
dosega neobjavena, izvonredno zna~ajna kniga od vremeto na Pre-
rodbata, sega ponudena i vo transkripcija na evropsko notacija,
}e otvori niza novi pra{awa vo odnos na makedonskata tradici-
onalna muzika i na nejzinite tvorci. // Samo po sebe deloto
Pashalija na Joan Harmosin e vredno kako zbornik na veligden-
1
Martinovska, Violeta, Skopje, Dnevnik, 18 juli 2000 god.
.
147
ski napevi, koi vo minatiot vek bea vo {iroka upotreba vo make-
donskite crkvi. Negoviot paralelen prikaz i na evropsko notno
pismo, ovoj trud istovremeno go pravi i svoeviden prira~nik za
izu~uvawe na nevmatskoto muzi~ko pismo. // Poradi isklu~i-
telnata vrednost na crkovnite napevi dadeni vo dvete muzi~ki
notacii i mo`nosta od op{irniot voveden tekst odblizu da se
sogleda profilot na Joan Harmosin - Ohridski kako intelek-
tualec, literat i muzi~ki tvorec od periodot na Prerodbata, ovoj
trud na Jane Koxaba{ija go zaslu`uva vnimanieto na kulturnata
i nau~nata javnost.
Etnomuzikologot d-r \or|i M. \or|iev, vo svojata recenzija
za istoto izdanie na zbornikot Pashalija od Joan Harmosin go
podvle~e negovoto zna~ewe, naglasuvaj}i, deka ...ovaa crkovno-
muzi~ka kniga vo paralelna transkripcija na zapadnoto muzi~ko
pismo, dojde isto taka vo zna~aen period, koga tradicionalnoto
crkovno peewe povtorno se vra}a vo makedonskite crkvi. Ovaa
kniga indirektno go nametnuva pra{aweto za vzaemnoto vlijanie
na crkovnata muzika od slovensko-vizantiskata tradicija i stara-
ta gradska pesna, od edna strana, i muzi~kite vlijanija od po{i-
rokite prostori na nekoga{noto Isto~no rimsko carstvo na ma-
kedonskite prostori. Ovaa interesna pretpostavka pretstavuva
predizvik za ponatamo{no istra`uvawe na na{ata crkovna i
folklorna muzika. // Zbornikot Pashalija na Joan Harmosin
pretstaven pred nau~nata javnost po ramno 130 godini, trans-
kribiran i na zapadna notacija od Jane Koxaba{ija, e dotolku
pozna~aen, {to inicira{e nekoi obrazovni institucii kaj nas da
go vovedat izu~uvaweto na crkovnata muzika od slovensko-vizan-
tiskata tradicija. Promocijata na zbornikot Pashalija na Joan
Harmosin-Ohridski pred po{irokata nau~na i kulturna javnost
pretstavuva nov silen pottik za ponatamo{ni isleduvawa na
crkovnata muzika, kako eden od bazi~nite segmenti na na{ata
nacionalna kultura...
Po povod spomenatite jubilei na Joan Harmosin-Ohridski,
na pokana na Negovoto bla`enstvo Arhiepiskopot makedonski i
148
poglavar na Makedonskata Pravoslavna Crkva g. g. Mihail, na 10
mart, 1999 godina, pred studentite na Bogoslovskiot fakultet
Sv. Kliment Ohridski vo Skopje, odr`av predavawe na tema
Po tragite na makedonskoto crkovno peewe, so naglaska na `i-
votot i deloto na Joan Harmosin-Ohridski. Osven ova, vo ram-
kite na manifestacijata Denovi na makedonskata muzika 99,
koja{to ja organizira Sojuzot na kompozitorite na Makedonija,
na 28 mart, istata jubilejna godina, vo Soborniot hram Sv. Kli-
ment Ohridski vo Skopje, za prvpat bea izvedeni kompozicii na
Joan Harmosin-Ohridski od negoviot zbornik Pashalija. Trans-
kribirani i adaptirani za izvedba vo duhot na slovensko-vizan-
tiskata tradicija od moja strana, ovie tvorbi bea izvedeni od
Horovite (ma{ki, `enski i me{an) na Makedonskata radiote-
levizija i solistot proto|akon Aleksandar Candovski, pod di-
rigentstvoto na Oliver Balaburski. So istite izveduva~i i so
kompozitorot Risto Avramovski kako muzi~ki urednik, Muzi~-
kata produkcija na Makedonskata radio-televizija, po povod
jubileite na Joan Harmosin-Ohridski vo svoite muzi~ki studija
snimi pogolem broj negovi kompozicii.
Jubilejnata 110-godi{nina od smrtta na Joan Harmosin e od-
bele`ana so promocijata na spomenatoto novo izdanie na zbor-
nikot Pashalija, koja{to se odr`a vo ramkite na manifestaci-
jata Denovi na makedonskata muzika 2000 vo Soborniot hram Sv.
Kliment Ohridski vo Skopje, na koja{to za istoriskata pojava
na crkovno-muzi~kata kniga Pashalija i za `ivotniot pat na
nejziniot avtor govore{e Akad. Cvetan Grozdanov. Ugledniot vi-
zantolog, me|u drugoto, naglasi, deka ova izdanie za `ivotot i de-
loto na Joan Harmosin-Ohridski be{e dolgo o~ekuvano vo make-
donskata nauka i pretstavuva dragocen pridones kon prou~uvawe-
to i reafirmacijata na crkovnoto peewe od slovensko-vizantiska
tradicija vo Makedonija. Vo ovaa prigoda so kompozicii od Joan
Harmosin-Ohridski nastapi @enskiot kameren hor Sv. Zlata
Meglenska i solistot proto|akon Aleksandar Candovski, pod
dirigenstvoto na Letka Dimovska-Polizova.
149
Godi{ninata od smrtta na Joan Harmosin ja odbele`a i
Lajons Klubot Sv. Pantelejmon od Skopje. Po toj povod Klubot
organizira{e predavawe na tema Makedonskoto crkovno peewe
i negovite najzna~ajni pretstavnici, koe{to go odr`a d-r Jane
Koxaba{ija. Po istiot povod Klubot Lajons Sv. Pantelejmon za
svoja himna ja proglasi tvorbata na Joan Harmosin-Ohridski -
Bogorodi~en tropar na petti glas. Klubot isto taka trajno gi
odbele`a jubileite na Joan Harmosin-Ohridski so izdavawe na
kompakt-disk so negovi muzi~ki tvorbi.
Od dosega navedenoto vidlivo e deka vo tekot na celiot XX
vek za Joan Harmosin-Ohridski se napi{ani pogolem broj sta-
tii od strana na poznati istra`uva~i na crkovnata muzika od
Makedonija i Bugarija, a vo poslednive petnaesetina godini vo
na{ava sredina preku razni formi se afirmira{e negovoto
crkovno-muzi~ko i prerodbensko delo. Preku ovie aktivnosti
kako da voskresna prerodbenskiot duh na Joan Harmosin-Ohrid-
ski od dlabo~inata na XIX vek vo presudniot moment: vo voz-
nesot na pravednata borba na Makedonskata Pravoslavna Crkva
za ramnopravno mesto vo pravoslavniot svet.
150
V.
Vasil Ikonomov (1848-1934)
Vo ostavninata na istaknatiot kulturno prosveten deec od
vremeto na Prerodbata, Vasil Ikonomov (1848-1934), koja{to se
~uva kaj negovite potomci otkrien e navmatski rakopis, napi-
{an so rakata na prerodbenikot, vo Braila - Romanija, vo 1907
godina.
1
Ovaa besprekorno ubavo napi{ana Psaltikija, me|u
drugite crkovni napevi i tvorbi od najpoznatite pretstavnici
na isto~noto crkovno peewe (od gr~ko poteklo), sodr`i i tvorbi
od makedonskite avtori Joan Harmosin-Ohridski i od Dimitar
Pavlov-[tipjanin, dotoga{ spomnuvan kako kulturno-prosveten
deec od prerodbenskiot period, no, ne i kako avtor na crkovno-
muzi~ki tvorbi.
Dinami~nata li~nost na Vasil Ikonomov, koj so svoeto
folkloristi~ko-etnografsko i pe~atarsko-publicisti~ko delo,
kako i so svojata u~itelsko-buditelska i nacionalno-kulturna
aktivnost,
2
vo XIX i XX vek, na kulturnata javnost vo Makedo-
nija & e poznata od nau~nite trudovi na Aleksandar Matkovski,
Gligor Todorovski, Kiril Penu{liski, Bla`e Ristovski i dr.
Daleku pomalku e poznata negovata crkovno-muzi~ka dejnost.
Novootkrienata Psaltikija pretstavuva ubav povod, da se za-
dr`ime na mnogustranata li~nost na nejziniot sostavuva~.
Vasil Ikonomov e roden vo 1848 god. vo seloto Lazaropole,
vo Makedonija, vo trgovsko semejstvo. Rano ostanuvaj}i sirak bez
dvajcata roditeli, gri`ata za {estogodi{niot Vasilko ja pre-
1
Vasil Ikonomov, Psaltikija, Braila,1907. (So fotokopija raspolaga NUB
Sv. Kliment Ohridski Skopje).
2
Ristovski, Bla`e,Vasil Ikonomov (1848-1934), Institut za
nacionalna istorija, Skopje, 1985. p. 9.
151
zel negoviot ~i~ko Kosta Martinov Dimkoski. Osnovno obrazo-
vanie zavr{il kaj poznatiot lazaropolski sve{tenik i u~itel
Martin Dimkoski, a podocna, po preporaka na toga{niot debar-
sko-ki~evski gr~ki vladika bil ispraten vo Grcija da zavr{i
gr~ka seminarija.
Za ponatamo{niot `ivoten pat na Vasilko ne postojat
sigurni podatoci. Kade, vo koja seminarija vo Grcija se {ko-
luval Vasil i kolku vreme traelo toa {koluvawe, zasega ne zna-
eme. Imaj}i ja predvid negovata sklonost kon duhovnata proble-
matika, mo`e da se pretpostavi deka se raboti za nekoja gr~ka
duhovna seminarija. Stepenot na negovite kaligrafski sposob-
nosti i poznavaweto na crkovnoto notno peewe, bezdrugo sugeri-
raat edno takvo redovno duhovno {koluvawe. // Toj se pretsta-
vuva kako poliglot {to znae i srpski, bugarski, ruski, gr~ki,
albanski, romanski i verojatno i francuski, pokraj makedon-
skiot i turskiot jazik. Dali navistina ne bil vo Ploe{t (1870-
1873), kade{to imalo i dosta pe~albari od Lazaropole? Dali
slu~ajno podocna zaminuva vo Braila?
1
Vo periodot 1902-1907 godina Vasil Ikonomov prestojuval
vo Braila, Romanija, kade{to rabotel kako psalt vo crkvata Sv.
Voznesenie. Bil neobi~no po~ituvan zaradi svoeto melodi~no i
slatko peewe vo crkvata i zaradi dobrata du{a i blagiot karak-
ter. Kako {to pi{uva i samiot na vtorata stranica od spomena-
tata Psaltikija, za vreme na svojot petgodi{en prestoj kako
peja~ vo edinstvenata bugarska crkva vo Braila, napi{al, prevel
i izdal nekolku du{epolezni kni{ki, koi, za `al, do ovoj
moment ne se pronajdeni.
Poa|aj}i od faktot deka vo edinstveniot so~uvan rakopisen
zbornik na Vasil Ikonomov najmnogu se zastapeni gr~ki avtori,
koi{to trajno bile naseleni vo Romanskite Zemji, mo`e da se
zaklu~i deka toj se orientiral kon crkovno-muzi~kata literatu-
ra, koja{to lesno mo`el da ja najde vo Romanija. Ottuka i pretpo-
stavkata deka osven od gr~ki, toj mo`ebi preveduval tvorbi i od
1
Ristovski, Bla`e,Vasil Ikonomov ibidem. p.17-18.
152
romanski na slovenski jazik. Pritoa ostanuva nepoznato, dali
preveduval i tvorbi od romanski avtori, iako e pove}e od vero-
jatno, deka Vasil Ikonomov imal i vreme i mo`nosti da se za-
poznae so romanskoto crkovno peewe i so negovite glavni pret-
stavnici.
Po vra}aweto vo Makedonija Vasil Ikonomov eden pokra-
tok period se zanimaval so izdava~ka dejnost vo Solun, kade{to
za taa cel osnoval sopstvena pe~atnica. Po vra}aweto vo rodno-
to Lazaropole bil nazna~en za kmet. Odvreme-navreme so zado-
volstvo prestojuval vo ki~evskiot manastir Pre~ista. Ovde ja
komponiral i edinstvenata dosega otkriena tvorba Dostojno
est na peti glas.
1
Vo poslednite godini Vasil Ikonomov `iveel miren sta-
re~ki `ivot, vo svoeto rodno selo, a negovite potomci pomnat
deka izvesno vreme `iveel i sam vo manastirot Pre~ista. Um-
rel vo dlaboka starost, vo 1934 godina vo rodnoto Lazaropole.
2
Vo sporedba so negovite aktivnosti kako istaknat folk-
lorist, etnograf i u~itel, crkovno-muzi~kata dejnost na Vasil
Ikonomov, koja{to s#u{te ne e sogledana vo site nejzini ele-
menti, izgleda skromna, no, sepak mo{ne zna~ajna. Od malkute
podatoci so koi{to vo ovoj moment raspolaga makedonskata
muzikologija mo`e da se zaklu~i deka Vasil Ikonomov ne bil
samo vreden i pasioniran preveduva~, prepi{uva~ i izdava~ na
crkovni tvorbi, tuku i odli~en psalt, koj{to neumorno gi pro-
pagiral crkovnite tvorbi od makedonski avtori. Po negova zas-
luga makedonskata crkovna muzika deneska e pobogata za tri
interesni, dosega nepoznati tvorbi, kako i za muzi~kiot pro-
fil na nivniot avtor - Dimitar Pavlov-[tipjanin. Vo s#u{te
neotkrienite rakopisi na Vasil Ikonomov verojatno le`at i
drugi dragoceni tvorbi i podatoci za crkovno-muzi~koto minato
na Makedonija.
1
Georgievski, Mihailo, Dosega neobjaven, op. cit. p. 3.
2
Ristovski, Bla`e,Vasil Ikonomov op. cit. p. 126-127.
153
VI.
Dimitar Pavlov-[tipjanin (1840-1919)
So otkrivaweto na muzi~kiot rakopis na Vasil Ikonimov
(1848-1934), preku no}, na stranicite na makedonskata crkovna
muzika osamna li~nosta na Dimitar Pavlov-[tipjanin. Dosega
spomenuvan samo koga stanuva{e zbor za kulturno-istoriskoto
minato na gradot [tip, so otkrivaweto na del od negovoto cr-
kovno-muzi~ko tvore{tvo, }e mo`e da se ka`e ne{to poodredeno
i za negoviot tvore~ki profil.
Dimitar Pavlov-[tipjanin e roden vo 1840 godina, kako
sin na poznatiot {tipski u~itel Pavle Grozdanov. Za~uvanite
podatoci zboruvaat deka tatko mu na Dimitar, kako gradski
milemik, bil ispraten da se doobrazuva vo ]ustendil kaj Neo-
fit Rilski (1793-1881), eden od najistaknatite slovenski pret-
stavnici na isto~no-pravoslavnoto crkovno peewe vo XIX vek.
Deka Pavle Grozdanov na svojot sin mu dal mo{ne solidno obra-
zovanie, zboruva i faktot deka, po smrtta vo 1857 godina, nego-
voto mesto na u~itel go nasledil sin mu Dimitar, iako toga{
imal samo 17 godini.
Vo rodniot grad [tip Dimitar Pavlov rabotel do svojata
23-godi{na vozrast, a potoa zaminal vo Plovdiv na povisoko ob-
razovanie. Po uspe{noto zavr{uvawe na klasnoto u~ili{te vo
ovoj grad, Dimitar Pavlov se vra}a vo Makedonija i nekolku go-
dini raboti kako u~itel vo Novo Selo, kade{to aktivno zema
u~estvo vo dvi`eweto za duhovno osloboduvawe od Grcite. Pre-
sudno za negovoto ponatamo{no napreduvawe e u~estvoto na pr-
viot egzarhiski kongres vo Carigrad, po ~ie zavr{uvawe e zadr-
`an od egzarhijata kako u~itel i peja~ vo egzarhiskata crkva vo
154
Carigrad. Za vreme na ovoj petgodi{en prestoj vo Carigrad, Di-
mitar Pavlov istovremeno go posetuval i Robert - kolexot, ka-
de{to gi usovr{il znaewata po francuski, gr~ki i turski jazik,
a isto taka i znaeweto na zapadnata istorija i kulturata, oso-
beno na francuskite filozofi od XVIII vek.
Nasproti primamlivite ponudi karierata da ja prodol`i
vo Bugarija, po pette dinami~ni godini pominati vo Carigrad,
ispolneti so razni i brojni aktivnosti, Dimitar Pavlov odlu-
~uva da se vrati vo Makedonija, vo rodniot grad [tip, kade{to
u~itelstvuva u{te celi 18 godini. Vo ovoj period toj izvr{uva
razni drugi dol`nosti: direktor na klasnoto u~ili{te, sekre-
tar na op{tinata, crkoven peja~, glaven u~itel i drugo. Toj
zemal aktivno u~estvo i vo novite revolucionerni dvi`ewa vo
Makedonija, zaradi {to do{ol vo sudir so lokalnite vlasti i
bil prinuden da go napu{ti [tip.
Slednite sedum godini Dimitar Pavlov-[tipjanin gi po-
minuva vo Skopje, kade{to po barawe na Mitropolijata ostanuva
da gi izvr{uva dol`nostite na u~itel, vospita~ vo u~eni~kiot
pansion i crkoven peja~. Po ova negovo posledno u~itelstvu-
vawe, Dimitar Pavlov-[tipjanin zaminuva vo Bugarija, kade{to
`ivee kako skromen penzioner i crkoven peja~. Isto{ten od
mizerniot `ivot i od bolestite, umira vo edna polurazurnata
ku}a vo Sofija, vo 1919 godina.
1
Osven bogatata u~itelsko-prosvetitelska i crkovna dej-
nost, od Dimitar Pavlov-[tipjanin se poznati i pove}e statii i
prilozi vo razni vesnici vo koi{to go prika`uva kulturno-
prosvetniot i crkovniot `ivot vo Makedonija vo poslednata
~etvrtina na XIX vek.
2
Od tvore{tvoto na Dimitar Pavlov-[tipjanin, kako {to
e ve}e ka`ano, poznati se samo tri crkovno-muzi~ki tvorbi, koi-
{to se so~uvani vo Psaltikijata na Vasil Ikonomov:
1
Zavoev , Pet r , Grad ip , Sofi , 1928, p. 25-28.
2
Sto nov, Man o, B lgarska v zro`denska kni`nina (t. 1),
Sofi ,1957, p. 274.
155
-Heruvika, na ~etvrti glas,
-Dostojno est, na prvi glas i
-Otca i Sina, na prvi glas.
Vo koj period od `ivotot na avtorot se napi{ani ovie
tvorbi, dali osven ovie ima napi{ano i drugi, kako se na{le vo
zbornikot na Vasil Ikonomov, napi{an vo Braila, ne e poznato.
Dotoga{, za kompoziciite mo`e da se ka`e deka se napi{ani od
visokoobrazovan i iskusen muzi~ar, koj{to so tradicionalni
muzi~ki sredstva go izrazuva sezibilitetot na novoto vreme.
Kompoziciite Heruvika i Dostojno est plenat so svojata edno-
stavnost i pevlivost i nivnoto prisustvo vo zbornikot na Vasil
Ikonomov, sekako, ne e slu~ajno.
Tretata kompozicija, Otca i Sina na prvi glas, so gusta-
ta primena na alterirani tonovi u{te na samiot po~etok, pre-
minuva vo napev so hromatsko-enharmonski karakter. Ovaa kom-
pozicija na Dimitar Pavlov, vsu{nost, go sodr`i liturgiskiot
tekst koj{to zapo~nuva so Otca i Sina i zavr{uva soTebe
poem. Sostavena od pove}e kratki epizodi i delovi vo ~ija{to
izvedba u~estvuvaat sve{tenik i psalti, ovaa dijalo{ka forma,
vo koja{to melodijata e polna so emocii, se do`ivuva kako edin-
stvena dramatur{ka celina.
156
VII.
Manasij pop Todorov (1856-1936)
Imeto na Manasij pop Todorov vo makedonskata muzi~ka
nauka se spomenuva{e vo poslednive dve-tri decenii, koga stanu-
va{e zbor za pe~atenite psaltikiski zbornici vo Bugarija, koi
kon krajot na XIX i po~etokot na XX vek cirkulirale na teri-
torijata na Makedonija. Kako avtor na crkovni tvorbi prvpat
be{e spomnat vo 1978 godina, so otkrivaweto na rakopisniot
Psaltikiski voskresnik na kratov~anecot Vasil Ivanov Boja-
xiev (1876-1950),
1
vo koj, me|u avtorite (Jovan Kukuzel, Petar
Lambadarij, Dimitar Zlatanov-Gradoborski, Kalistrat Zograf-
ski, Hristo [aldev, Hristo pop Stojanov, Atanas Badev, Petar
Dinev, N. Nikolaev), e zastapen i Manasij pop Todorov i toa so
najgolem broj tvorbi. Vo ovoj period, na makedonskata muzi~ka
nauka s#u{te ne & be{e poznato negovoto makedonsko poteklo i
toj se spomenuva{e samo kako bugarski izdava~ na crkovni knigi.
Najranata pi{ana informacija za makedonskoto poteklo
na Manasij pop Todorov i nekoi drugi podatoci za negoviot `i-
vot i dejnost, se nao|a vo U~ebnikot po isto~no crkovno peewe,
na bugarskiot u~itel i crkoven pea~ Mir~o M. Bogoev, izdaden
vo Plovdiv (Bugarija), vo 1940 godina. Spored ovoj skuden izvor
Manasij pop Todorov e Makedonec, dolgogodi{en u~itel po is-
to~no crkovno peewe vo Samokovskoto bogoslovsko u~ili{te i
vo Sofiskata duhovna seminarija, kade {to sozdal cela genera-
1
Georgievski, Mihailo, Makedonska muzika/ 6, Pe~atenite slovenski
muzi~ki (nevmatski) zbornici vo Makedonija, Skopje, 1986, p. 81.
Ortakov, Dragoslav, Ogledi za vizantisko-slovenskata muzika vo Makedonija,
Vorldbuk, Skopje, 2001. p. 100.
157
cija na peja~i. Spored ovoj izvor, Manasij pop Todorov `iveel
do 1938, a spored drugi, do1936 godina.
Zboruvaj}i za izdava~kata dejnost na pop Todorov, Mir~o
M. Bogoev naveduva, deka svojot prv crkovno-muzi~ki zbornik -
Voskresnikot, go pe~atel na zapadna notacija, vo 1898 godina,
dodeka preostanatite sedum, izdadeni vo periodot od 1905 do
1922 godina, se napi{ani na hrisantovata notacija. Spored ovoj
izvor, Manasij pop Todorov ne sozdal ne{to originalno, svoe.
So mali isklu~oci, toj prepi{uval, prerabotuval (popraval),
glavno, tvorbi od Angel Sevlievec, bugarski avtor od XIX vek.
Pri seto toa, Manasij pop Todorov ima neprocenliva zasluga za
zbogatuvaweto i {ireweto na crkovno-muzi~kata literatura, za-
radi {to e priznat za golem muzi~ki deec.
1
Podocne`en i zna~itelno pobogat izvor na podatoci za
Manasij pop Todorov pretstavuva statijata na Petar Dinev, ob-
javena vo C rkoven vestnik od 1960 godina vo Sofija.
2
Dedo
Manasij - kako {to go vikale negovite mnogubrojni u~enici od
Samokovskoto bogoslovsko u~ili{te i od Sofiskata duhovna se-
minarija, koi vo svoite srca za~uvale drag spomen i dlaboka
po~it kon svojot u~itel po isto~no crkovno peewe - pove}e od 30
godini, so retka predadenost kon crkovno-muzi~koto delo, ne-
prekinato sozdaval kvalifikuvani kadri od crkovni pea~i i
pe~atel psaltikiski zbornici.
Manasij pop Todorov e roden vo 1856 godina vo s. Sabatkoj,
Sersko, vo egejskiot del na Makedonija. Obrazovanie na gr~ki ja-
zik dobil vo sve{teni~koto u~ili{te pri manastirot Sv. Joan
Prodromos, blizu do Seres. Tamu toj go sovladal psaltikiskoto
peewe i stanal crkoven peja~. So cel da go sovlada crkovnoto
peewe na slovenski jazik i da premine vo egzarhiska slu`ba,
Manasij go napu{ta rodniot kraj i zaminuva za Bitola.
3
Zasega,
1
Bogoev , Mir~o, U~ebnik op. cit. p. 105.
2
Pet r Dinev, Muzikou~itel t Manasi Poptodorov, C rkoven vestnik, br. 11
19 mart 1960 g. Sofi . p. 8.
3
Pet r Dinev, Muzikou~itel t op. cit.. p. 8.
158
ostanuva nepoznato, koga to~no do{ol i kolku dolgo ostanal vo
ovoj makedonski duhoven i kulturen centar.
Sledniot podatok koj{to go naveduva Petar Dinev vo svoja-
ta statija e zaminuvaweto na Manasij pop Todorov vo Samokov
(Bugarija). Imeno, po zaminuvaweto na Atanas Badev od Samo-
kovskoto bogoslovsko u~ili{te, sinodot na Bugarskata crkva
go pokanil Manasija da ja prezeme dol`nosta na u~itel po
isto~no-pravoslavno peewe. Imaj}i predvid deka Atanas Badev
vo Samokov do{ol vo 1898 godina i, deka zaradi nekoi nesogla-
suvawa so Sinodot, po kratko vreme dobil otkaz od Samokov-
skata seminarija, na novata dol`nost Manasij pop Todorov, po
s# izgleda, stapil istata ili vo narednata 1899 godina. Poa|aj}i
od podatokot, deka vo 1895 godina pop Todorov vo Samokov ve}e
ja ima otpe~ateno svojata prva kniga Bo`estvena liturgija, mo-
`e da se zaklu~i, deka toj ve}e bil preselen vo Samokov.
Vo 1902 godina Samokovskoto bogoslovsko u~ili{te bilo
premesteno vo Sofija i se preimenuvalo vo Sofiska duhovna
seminarija. Ottoga{, pa, s# do 1924 godina, Manasij pop Todorov
neprekinato bil u~itel na seminarijata. Po penzioniraweto,
nekolku godini po red predaval crkovno peewe vo ^erepi{koto
sve{teni~ko u~ili{te, a vo preostanatoto vreme, s# do 1930 go-
dina, peel vo crkvata Sv. Paraskeva vo Sofija.
Po~inal vo 1936 godina.
Osven kako izdava~ na brojni psaltikiski knigi, spored
Petar Dinev, Manasij pop Todorov ima zaslugi i kako crkoven
peja~ i pedagog-u~itel. Kako negov sovremenik, Dinev dava in-
teresni poedinosti za peeweto na Manasij pop Todorov. Za nego
ka`uva, deka kako ispolnitel imal prijaten glas so dijapazon na
vtor tenor i bariton. Peeweto mu bilo spokojno, tivko, so malku
nosovo oboeni vokali. Visokite tonovi obi~no gi peel so posi-
len glas, koj postepeno go sti{uval koga se vra}al vo sredniot
registar. I pokraj toa {to pominal niz gr~ka crkovno-pea~ka
{kola, toj vo muziciraweto gi odbegnuval preteranite ukrasu-
vawa na tonovite. Kako rezultat na izrazito razvieniot sluh i
159
na vrodenite muzi~ki sposobnosti, Manasij pop Todorov peel
~isto bez nikakvo distonirawe.
1
Kako dolgogodi{en u~itel po isto~no crkovno peewe, koj-
{to poseduval prirodna darba za svojot u~itelski poziv, pop
Todorov sozdal golem broj odli~ni crkovni pea~i. Ako, mo`ebi,
negovite objasnenija ne sekoga{ bile soobrazni so metodskite
pravila, tie se odlikuvale so naglednost i uverlivost. Strogo se
pridr`uval kon principot za ednoglasniot karakter na peeweto
vo isto~nata crkva i, osven isonot, na svoite u~enici ne im do-
pu{tal nikakvo drugo priglasuvawe na melodijata.
6
Govorej}i za muzi~kata dejnost na Manasij pop Todorov, i
Dinev e na mislewe, deka toj se nema projaveno kako kompozitor,
tuku samo kako izdava~ na brojni zbornici so tvorbi prezemeni
od drugi postari crkovno-muzi~ki izdanija. Do ovoj zaklu~ok
Petar Dinev do{ol po detalnata analiza na zbornicite od pop
Todorov izdadeni vo periodot od 1905 do 1922 godina:
- Psaltikiska liturgija i
- Kratok voskresnik, vo 1905 godina;
- Psaltikiski trebi, vo 1911;
- Op{iren voskresnik, vo 1914;
- Psaltikiska utrena, vo 1915;
- Stihiri i slavi od Triodot i Pentikostarot i za
minejskite praznici i
- Psaltikiska liturgija (povtoreno izdanie so neznatni
skratuvawa i dodatoci), vo 1922.
Sporedbata na tvorbite od ovie knigi, ~ii{to avtori ne se
poso~eni, so onie od zbornicite na drugite avtori, izdadeni vo
periodot do 1905 godina, koja{to ja napravil Dinev, poka`ala
deka me|u niv nema nitu edna sozdadena od Manasij pop Todorov.
Pritoa, Dinev konstatiral deka vo nekoi tvorbi pop Todorov
napravil nezna~itelni izmeni, so cel melodijata podobro da ja
1
Pet r Dinev, Muzikou~itel top. cit. p. 9.
6
Pet r Dinev, Muzikou~itel top. cit. p. 9.
160
izrazi smislata na tekstot ili da korigira nekoi nepravilni
akcenti.
7
Ostanuva nepoznato, od koi pri~ini Petar Dinev vo ovoj
kontekst ne gi spomenuva i zbornicite na Manasij pop Todorov
izdadeni pred 1905 godina, dotolku pove}e {to ~etiri od niv se
spomnati od A. Teodorov - Balan vo Blgarski knigopis za 100
godini 1806-1905 i edno od Mir~o M. Bogoev vo spomnatiot
U~ebnik po isto~no crkovno peewe, koi{to na Dinev, bezdrugo,
mu bile poznati. Interesno e toa, {to i ovie dva bugarski izvo-
ri, vo odnos na izdanijata na pop Todorov, ne se sovpa|aat, tuku
se dopolnuvaat: Mir~o M. Bogoev ne gi spomenuva knigite na pop
Todorov izdadeni vo 1895, 1897 i 1900 godina, koi{to gi naveduva
A. Teodorov-Balan,
8
tuku edinstveno Voskresnikot pe~aten na
evropska muzi~ka notacija vo 1898 godina, a Balan, pak, ne go
spomenuva voop{to ovoj evropski Voskresnik na Manasij pop
Todorov.
Vo odnos na ovie dilemi za crkovno-muzi~koto tvore{tvo
na Manasij pop Todorov, novi momenti vnese otkrivaweto na
rakopisniot Psaltikiski voskresnik na Vasil Ivanov Bojaxi-
ev, vo 1978 godina, vo koj{to Manasij pop Todorov e zastapen so
najgolem broj tvorbi od site avtori :
- Kosnokratki veliki slavoslovija na prvi, vtori, treti,
~etvrti, peti, {esto-sedmi, {esti, prvo-sedmi, sedmi
i osmi glas
- Otca i sina na treti i {esti glas.
Vo vrska so ova, va`no e da se napomene, deka ovoj rako-
pisen zbornik na Vasil Ivanov pretstavuva eden od najobemnite
i najsolidno napraveni, koi{to se pojavile na teritorijata na
7
Pet r Dinev, Muzikou~itel top. cit. p. 8.
8
Teodorov-Balan, A. Blgarski knigopis za 100 godini 1806-1905 Sofi , 1909.
Bojestvena lit$rg`, Plovdiv, 1897.
Bojestvena lit$rg`, Samokov, 1895.
Liturg v dvh casti,
Sofi , 1897.
Vzkresnik, Sofi , 1900.
161
Makedonija, pa i po{iroko. Vrz osnova na negovite sodr`ini is-
pi{ani so ubav rakopis i so dosledna ortografija, mo`e da se
zaklu~i, deka sostavuva~ot Vasil Ivanov Bojaxiev, osven {to
odli~no ja poznaval teorijata na hrisantovata notacija, bil do-
bro upaten i vo literaturata na isto~no-pravoslavnoto peewe,
osobeno vo onaa na slovenski jazik. Ottuka, mo`e da se pretpo-
stavi deka Vasil Ivanov dobro znael koi se avtorite na tvorbi-
te {to gi vklu~il vo svojot Psaltikiski voskresnik. Me|u dru-
gite, kako {to e ka`ano ponapred, vo svojot psaltikiski zbor-
nik toj ja vklu~il i dragocenata tvorba na Dimitar Zlatanov
Gradoborski - Veliko slavoslovie na {esto-sedmi glas.
Dve od kompoziciite so koi{to Manasij pop Todorov e zas-
tapen vo zbornikot na Vasil Ivanov Bojaxiev (Otca i Sina na
treti i {esti glas), se pojavija vo ~etvrtoto izdanie na Krat-
kiot psaltikiski voskresnik (osmoglasnik) na Manasij pop To-
dorov, reizdadeno vo 1992 godina od strana na Bugarskata pravo-
slavna crkva, kade{to se staveni kako dodatok na samiot kraj
na knigata (zaedno so u{te edna Otca i Sina na ~etvrti glas).
Interersno e toa {to ovie tvorbi ne se nao|aat vo prvoto iz-
danie na Kratkiot voskresnik od 1905 godina. Mo`ebi avtorot
Manasij pop Todorov, bez da gi potpi{e kako sopstveni tvorbi,
gi stavil vo nekoe od podocne`nite svoi izdanija, otkade {to i
gi prezel Vasil Ivanov Bojaxiev.
Vo ovoj kontekst se postavuva pra{aweto: zo{to Manasij
pop Todorov vo svoite brojni knigi ne se potpi{al na na nitu
edna muzi~ka tvorba? Dali e vo pra{awe samo negovata skrom-
nost ili tuka postoi i nekoja podlaboka pri~ina? Govorej}i
hipoteti~ki za negovite psaltikii izdadeni pred 1900 godina,
bidej}i vo Makedonija dosega ne e pronajdena nekoja od niv,
9
ne e
isklu~eno, tie, od odredeni pri~ini, vo Makedonija voop{to i
da ne dospeale. Mo`e da se pretpostavi, deka materijalite koi-
{to pop Todorov gi podgotvuval za svoite zbornici za vreme na
negoviot prestoj vo Bitola (grad vo koj{to vlijanieto na gr~-
9
Georgievski, Mihailo, Makedonska muzika/ 6, Pe~atenite p. 85.
162
koto crkovno peewe e s#u{te silno), da ne bile po vkusot na ne-
koi egzarhiski krugovi vo Bugarija. Od druga strana, Manasij
pop Todorov, kako psalt koj{to se obrazoval vo gr~ko crkovno
u~ili{te, mo`ebi, s#u{te ne bil celosno preobraten od gr~ki
vo slovenski crkoven pea~. Od pri~ini {to bugarskite kom-
poziteri s#u{te ne gi poznaval, mo`no e, vo ovie zbornici
Manasij pop Todorov da stavil samo svoi tvorbi i od gr~ki av-
tori prevedeni na crkovno-slovenski jazik. Mo`ebi, tokmu ovaa
okolnost ne im se dopadnala na egzarhiskite crkovni vlasti vo
Samokov i mu nalo`ile da gi koristi i bugarskite postari
izdanija so crkovni tvorbi od bugarski avtori. Podocna, otkako
gi prifatil ovie sugestii, mo`el da gi izdava svoite psalti-
kiski zbornici.
Ne treba da se zaboravi deka Manasij pop Todorov vo Buga-
rija se preselil kako vozrasen ~ovek, na koj sekoga{ se gledalo
kako na dojdenec. Od druga strana, toj so svoeto odli~no gr~ko
crkovno-muzi~ko obrazovanie, sekako gi zagrozuval poziciite
na domorodnite muzi~ki avtoriteti. Za da se smirat duhovite,
Manasij pop Todorov pravel kompromisi od sekakov vid: vo svo-
ite psaltikiski knigi staval tvorbi od razni bugarski avtori,
koi samiot toj gi doteruval, a pod sopstvenite kompozicii ne se
potpi{uval.
Vo vrska so prestojot na Manasij pop Todorov vo Bitola i
so negovoto zaminuvawe za Samokov, se nametnuva pra{aweto:
Dali se poznavale Badev i pop Todorov? Ako se utvrdi deka vo
periodot okolu 1892 godina, koga Badev `iveel vo Bitola, pop
Todorov s#u{te se nao|al vo ovoj grad, toa zna~i deka se pozna-
vale. Pogolema e verojatnosta tie da se sretnale vo Samokov,
kade{to Manasij pop Todorov, po s# izgleda se nao|al u{te pred
postavuvaweto na Atanas Badev za u~itel vo Samokovskata semi-
narija. Vo vrska so ova mo`e da se postavi u{te edno, dopolni-
telno pra{awe: Dali e koincidencija toa, {to dvajcata muzi~ki
dejci tokmu vo 1898 g. pe~atele po edna crkovna kniga na zapad-
nata muzi~ka notacija: Badev - svojata liturgija po Sv. Jovan
163
Zlatoust, a pop Todorov - Voskresnikot? Za da se odgovori na
ovie pra{awa, potrebni se ponatamo{ni istra`uvawa vo mesta-
ta kade {to prestojuval i rabotel Manasij pop Todorov.
Po s# ova {to e ka`ano za Manasij pop Todorov, sosema e
izvesno deka stanuva zbor za izvonredno zna~aen pretstavnik na
isto~no-pravoslavnoto peewe. Poa|aj}i od faktot deka negovite
brojni knigi izdadeni vo Bugarija bile prisutni i vo makedon-
skite duhovni prostori i deka, bezdrugo, imale vlijanie vrz
razvojot na crkovnata muzika vo Makedonija, kako i od samiot
podatok deka toj poteknuva od makedonskite prostori i deka
karierata na psalt na slovenski jazik ja zapo~nal vo Bitola,
na{ata muzikologija ima moralna obvrska da gi otkrie tragite
koi{to Manasij pop Todorov gi ostavil vo ovoj grad za vreme na
svojot prestoj i da gi pro{iri soznanijata za negoviot `ivot i
crkovno-muzi~kata dejnost.
164
VIII.
George Kazana (XIX-XX vek)
Vo istorijata na Isto~nata crkovna muzika se sre}avaat
golem broj muzi~ari so vla{ko poteklo, koi{to deluvale na
po{irokiot balkanski prostor. Me|u onie Vlasi za koi{to pos-
tojat podatoci deka se rodeni vo Makedonija i deka eden podolg
period od `ivotot prestojuvale vo razni makedonski gradovi
kako crkovni peja~i e George Kazana.
Iako `ivee relativno blizu do na{evo vreme (vo vtorata
polovina na XIX i vo prvite decenii na XX vek), za George Ka-
zana se znae mnogu malku. Nekoi osnovni podatoci za negoviot
`ivot, glavno, se crpat od ona {to samiot go zapi{uval na nas-
lovnite stranici na negovite brojni muzi~ki rakopisi. Nekoi
podatoci za George Kazana mo`at da se najdat edinstveno vo
Leksikonot na romanskiot muzikolog-vizantinolog George K.
Jonesku, vo koj{to `ivotot i muzi~koto delo na George Kazana
se zbele`ani vo nekolku redovi: Crkoven peja~ na Romanskata
Kapela vo Carigrad, od 1897. Sostavuva Psaltikiska antolo-
gija naslovena kako Romansko razdenuvawe od pove}e delovi,
trud adaptiran za Vlasite od Grcija i Bugarija, spored tradici-
onalnite crkovni napevi.
1
Vo ovoj, inaku, mnogu soliden Leksi-
kon, ne e navedena nikakva bibliografija vo vrska so imeto na
George Kazana, {to upatuva na zaklu~ok, deka negovoto muzi~ko
delo dosega voop{to ne e istra`uvano, nitu publikuvano. Site
delovi na spomenatata Psaltikiska antologija se nao|aat vo
bibliotekata na Sv. Sinod od Bukure{t.
1
Ionescu, Gheorghe C., Lexicon, Editura Diogene, Bucureti, 1994. p. 72.
165
Za makedonskata crkovna muzika George Kazana e zna~aen
so golemiot broj na crkovni kompozicii, koi{to gi sozdal za
vreme na svojot prestoj vo Bitola kako crkoven peja~.
2
Ova se
potvrduva so rakopisot na zbornikot Poredok na dvanaesette
denovi, od 24 dekemvri do 6 januari (ms. I 93),
3
vo koj{to stoi de-
ka e napi{an vo 1907 godina vo Bitola, i vo dvata dela na Idi-
omelarot (ms. II 183) so vkupno 646 stranici napi{ani vo Bito-
la, vo dekemvri 1911 godina, so dodatok od 11 stranii bez pagina-
cija. Vrz osnova na ovie podatoci koi{to samiot gi zapi{al vo
svoite muzi~ki rakopisi, mo`e da se zaklu~i deka George Kazana
vo Bitola prestojuval najmalku pet godini: od 1907 do dekemvri
1911 godina.
Vo sledniot period George Kazana go sre}avame vo Romani-
ja kako crkoven peja~ i kompozitor, koe{to mo`e da se konsta-
tira od negoviot podocne`en rakopis Crkovna muza (sostaven
od dva dela: Razni crkovni napevi i Posledovanie na Blagoves-
ti). Imeno, na naslovnata stranica na ovoj rakopis stoi napi-
{ano: Crkovna muza od George Kazana, porane{en protopsalt
vo Makedonija, a vo ovoj moment na crkvata Dobroteasa od pre-
stolninata, 1922 - Bukure{t.
4
O~igledno e deka George Kazana go naglasuva i mu dava po-
sebno zna~ewe na svojot prestoj vo Makedonija, vo gradot Bito-
la, kako protopsalt i kompozitor. No, od kade se doselil vo Bi-
tola, kolku godini ostanal vo ovoj va`en politi~ki i kulturen
centar, dali prestojuval u{te vo nekoj makedonski grad, zasega
ostanuva nepoznato. Mo`e da se pretpostavi deka prestojot vo
Bitola ne bil kratok, za{to, kako {to ve}e istaknav, vo ovoj
period napi{al golem broj na crkovni tvorbi. Iako vo ovoj mo-
ment nemam celosen uvid vrz negoviot kompozitorski opus, mo`e
da se ka`e deka George Kazana e eden od najplodnite avtori na
crkovna muzika, koi{to sozdavale na teritorijata na Makedo-
2
Cordescu, Mihail-Vergiliu, Istoricul coalelor romne din Turcia, Bucureti, 1906. p. 236.
3
Ionescu, Gheorghe C., Lexicon, op. cit. p. 72.
4
Cazana, Gheorghe, Musa bisericeasc, Bucureti, 1922 (manuscript privat)
(so fotokopija raspolaga avtorot na knigava)
166
nija. Osven toa, zasega, toj e edinstveniot kompozitor, koj{to na
hrisantovata notacija sozdaval crkovna muzika na svojot maj~in
jazik, vla{kiot.
Neodamna dojdov do informacija deka prezimeto Kazana
poteknuva od Bajasa, grat~e vo dene{na Grcija. Potvrda za ova
najdov vo mese~nikot Lumina, od oktomvri, 1905. (Vo specijal-
noto izdanie na ovoj mese~nik po povod Jubilejot 25 godini od
Romanskiot licej vo Bitola, objaven e i spisok na site dotoga{
zavr{eni u~enici, me|u koi{to se nao|a i imeto na izvesen
Apostol Kazana, ~ie{to rodno mesto e Bajasa.
5
Potrebni se po-
natamo{ni istra`uvawa za da se otkrie, dali ovoj Apostol e vo
rodninski vrski so George Kazana i dali Bajasa e negovoto rodno
mesto.
Dodeka `ivotniot pat na George Kazana zasega ostanuva
prekrien so prevezot na nepoznatoto, dotoga{ za negovoto mu-
zi~ko tvore{tvo mo`e da se sozdade prili~no jasna pretstava.
Iako do ovoj moment imav mo`nost da gi pregledam samo rakopi-
site na Idiomelarot, zavr{en vo Bitola vo 1911
6
i na zborni-
kot Crkovna muza, koj{to go napi{al vo 1922 godina vo Buku-
re{t, mo`am slobodno da ka`am deka George Kazana e nadaren i
obrazovan muzi~ar, koj{to pi{uva lesno, muzikalno i mo{ne do-
padlivo, so ~esta primena na inventivni i duhoviti modulacii
vo napevite.
Za razlika od Idiomelarot, koj{to sodr`i isklu~ivo ne-
govi tvorbi, vo vtoriot del na zbornikot Crkovna muza George
Kazana ima staveno eden Polielej, preveden od gr~ki jazik na
Hurmuzij Hartofilaks (eden od trojcata reformatori na vizan-
tiskata muzi~ka notacija vo 1814 godina), kako i Pofalna pesna
od romanskiot kompozitor Dimitrie Su~eveanu.
7
Seto ova uka-
`uva na negovoto {iroko poznavawe na isto~noto crkovno pee-
we i na nespornite preveduva~ki sposobnosti.
5
Lumina, Anul III, No. 10. Octomvrie, 1905, Liceul romn, Bitolia, p. 306.
6
Kazana, Gheorghe, Idiomelar (vo dva dela), Biblioteka Sf. Sinod Bucureti, 1911.
(so fotokopija raspolaga atorot na knigava)
7
Suceveanu, Dimitrie, Idiomelar, Trinitas, Iai, 1997. p. 135.
167
Razgleduvaj}i gi tvorbite od zbornikot Crkovna muza i
od Idiomelarot, zaklu~iv deka paletata na meloritmi~kite
vrednosti na Kazana e izvonredno bogata i dava mo`nosti za soz-
davawe na postojano sve`a i razdvi`ena melodiska linija. Pone-
koga{ taa opfa}a raspon, re~isi, i do dve oktavi i se protega do
visokiot, t.n. tenorski registar. Karakteristi~no za negovata
melodija e ~estata upotreba na skokovite od septima, oktava i
decima, so koi{to postignuva vpe~atlivi dramatur{ki efekti.
No, i pokraj toa, melodiskite linii na George Kazana ostanuva-
at logi~nii i vo duhot na tradicionalnoto vizantisko peewe.
Prelistuvaj}i gi stranicite na zbornikot Crkovna muza,
napi{an vo 1922 godina, mo`e da se zabele`i deka rakata na Ge-
orge Kazana zatreperuva po malku, {to uka`uva na negovite ve}e
poodminati godini. Mo`no e ovoj crkovno-muzi~ki zbornik koj-
{to ne e evidentiran vo Leksikonot na George K. Jonesku, a na
~ija{to naslovna stranica Kazana so nostalgija napi{al pora-
ne{en protopsalt vo Makedonija, da e i negoviot posleden ra-
kopis. Osven vo crkvata Dobroteasa, kade{to bil protopsalt i
vo bibliotekata na Sv. Sinod vo Bukure{t, kade{to se nao|aat
{est negovi muzi~ki rakopisi, za `ivotot na George Kazana tre-
ba da se istra`uva i vo Carigrad, Bajasa (Grcija) i osobeno vo
Bitola, kade {to prestojuvaj}i nekolku godini, so svoeto delu-
vawe kako crkoven peja~ i neobi~no ploden kompozitor, sekako,
ostavil traga.
Muzi~koto delo na George Kazana zaslu`uva pogolemo vni-
manie od ona koe{to muzikolozite mu go posvetile dosega. Vre-
meto }e poka`e deka mestoto na ovoj skromen i zasega, re~isi,
nepoznat muzi~ar e me|u najzna~ajnite avtori na crkovna muzika,
koi{to deluvale vo Makedonija, Romanija i na po{irokiot bal-
kanski prostor vo periodot na preminot od XIX vo XX vek.
168
IX.
Andon [ahpaski (ok. 1860-1928)
So neodamne{noto otkrivawe na nevmatskiot rakopis na
Andon [ahpaski vo seloto Smojmirovo, Male{evsko, istorijata
na makedonskata muzika se zbogatuva so u{te edno ime na dosega
sosema nepoznat pretstavnik na crkovnata muzika od vizantisko-
slovenskata tradicija. Ova se prvite napi{ani redovi za nego i
za negoviot Psaltikiski zbornik, koj{to na dnevnata svetlina
se pojavuva po celi 120 godini od negovoto nastanuvawe.
Ovoj muzi~ki deec od periodot na Prerodbata, koj{to so
svoja raka ispi{al stotici i stotici muzi~ki stranici, litur-
giski tekstovi, pisma i razni drugi sekojdnevni potrebi na lu-
|eto okolu nego, za sebe ne ostavil, re~isi, nikakva pi{ana traga.
Izvor na podatoci za `ivotot na Andon [ahpaski vo prvo vreme
mi bea Vasil [ahpaski, vnuk na Andona i negovata sopruga Draga,
koi{to `iveat vo Smojmirovo, a podocna i nekoi drugi smoj-
mirci.
Spored ka`uvawata prenesuvani od koleno na koleno, semej-
stvoto [ahpaski poteknuva od mija~ko-brsja~kite krai{ta. Vo
prvata polovina na XVIII vek, pod pritisok na raznite pqa~-
ka{ki bandi, semejstvoto bilo prinudeno da go napu{ti rodnoto
ogni{te. Kako neposredna pri~ina za ova se naveduva ubistvoto
na nekoj si lokalen turski nasilnik, koj{to go izvr{il nekoj od
~lenovite na ova semejstvo. Turskite vlasti podolgo vreme mu
postavuvale zamki na ovoj, po s# izgleda, silen i itar ~ovek, no,
nikako ne uspevale da go fatat. Zaradi toa od samite Turci dobil
prekar [ahvaz (turski naziv za eden vid siv sokol). Eden del od
169
semejstvoto se zasolnil vo tikve{kiot kraj, a samiot progonet
[ahvaz so ostatokot od semejstvoto prodol`il daleku na istok
naseluvaj}i se vo Gorna Xumaja (denes Blagoevgrad, vo Bugarija).
No, tuka ne ostanale podolgo, bidej}i, dali poradi starata ili
poradi nekoja nova pri~ina, [ahpazovi povtorno zapadnale vo
nemilost kaj turskite vlasti, zaradi {to go prodol`ile svoeto
begstvo. Kone~no pribe`i{te semejstvoto na{lo vo maloto selo
Smojmirovo, vo male{evskiot kraj, vo koe{to i deneska `iveat
nivni potomci.
1
Eden del od potomcite na [ahpazo si go zadr-
`ale prezimeto so mala modifikacija vo [ahpaski, dodeka drugi-
ot del, vo koj{to dve generacii ednopodrugo bile sve{tenici,
deneska go nosat prezimeto Popovski.
Andon [ahpaski mu pripa|a na pettoto koleno od lozata
[ahpazovi po nivnoto naseluvawe vo Smojmirovo. U{te vo najra-
nata mladost go svrtel vnimanieto na sebe kako s#strano nada-
reno, dinami~no i qubopitno mom~e so nemiren duh. Na svoite
sovremenici im ostanal vo se}avawe kako protopsalt koj so svo-
eto peewe gi privlekuval vernicite na bogoslu`bite vo selskata
crkva Sv. Bogorodica. Bil zapameten i kako mo{ne ve{t kroja~,
osobeno poznat po {ieweto na sve{teni~ki ode`di. Osven toa,
Andon [ahpaski bil i selski u~itel i odli~en kaligraf, za {to
najdobra potvrda e negoviot Psaltikiski zbornik, ispi{an so
golema ve{tina.
Godinata na ra|aweto na Andon, kako i mnogu drugi poedi-
nosti od negoviot buren `ivot, ostana nepoznata. Se pretposta-
vuva deka e roden okolu sredinata na XIX vek, najdocna vo {ee-
setite godini. Po smrtta na tatko mu Jovan, koj umrel mnogu mlad,
1
Vo seloto Smojmirovo e so~uvano edno predanie, spored koe, nekoj od pomcite na
[ahpazo vra}aj}i se so svojata majstorska tajfa, se zadr`al vo nekoe tursko
selo, vo koe{to tokmu toj den imalo |ure{ (pelivanski turnir). Koga ba{-
pelivanot, koj dotoga{ be{e gi sovladal site svoi protivnici na turnirot,
pra{al dali ima u{te nekoj da mu izleze na megdan, [ahpazo ne mu odoleal
na ovoj predizvik i istr~al na borili{teto. Samiot ne bil mnogu krupen,
no, onaka silen i cvrst, a zgora na toa i ve{t vo boreweto, [ahpazo kajdisal
na protivnikot i uspeal tripati da go frli na zemi. Kako pobednik na
turnirot ja dobil prvata nagrada, a toa bilo eden vol, koj [ahpazo go
poteral pred sebe i zaedno so tajfata si zaminal za Smojmirovo.
170
gri`ata okolu maliot Andon (And#) ja prezel ~i~ko mu - pop
Lazar. Sogleduvaj}i gi sposobnostite na And#, pop Lazar go dal
na kroja~ki zanaet, a bidej}i poseduval muzi~ki talent i ubav
glas, go podu~uval crkovno peewe i povremeno go anga`iral vo
crkvata kako psalt.
Po zavr{uvaweto na kroja~kiot zanaet, po s# izgleda, Andon
bil ispraten vo nekoe u~ili{te na dousovr{uvawe na crkovnoto
peewe, no, ne e poznato kade. Poa|aj}i od podatokot deka eden pe-
riod `iveel i rabotel kako psalt vo Buranovo, selo nedaleku od
Rilskiot manastir (dene{na Bugarija), mo`e da se pretpostavi
deka Andon [ahpaski crkovno peewe, mo`ebi, u~el kaj rilskite
monasi vo t.n. rilska crkovno-pea~ka {kola. Osven toa, vo ovoj
manastir toj mo`el da gi sovlada i kaligrafskata ve{tina i da
go usovr{i {ieweto na sve{teni~ki ode`di.
Po vra}aweto vo rodnoto Smojmirovo Andon [ahpaski pro-
dol`il da raboti kako psalt vo lokalnata crkva, kade {to sve{-
tenik bil i negoviot bratu~ed pop \or|i, eden od trojcata sinovi
na ~i~ko mu pop Lazar. Povozrasnite smojmirov~ani se se}avaat,
deka dvajcata bratu~edi bile mnogu bliski: imale ku}a-lepenka i
vo tekot na celiot `ivot `iveele kako bra}a. Poznato e i toa,
deka Andon nekolku godini rabotel i kako u~itel vo Smojmirovo,
{to govori deka bil eden od pobrazovanite lu|e vo svojata sre-
dina. Mo`e da se pretpostavi, deka osven kako selski u~itel i
psalt, Andon istovremeno rabotel i kako kroja~, bidej}i po svo-
jata ve{tina, osobeno vo kreiraweto na sve{teni~ki ode`di, bil
poznat vo Male{evijata, pa i po{iroko.
No, so tekot na vremeto, crkovnoto peewe s# pove}e se iz-
dvojuvalo kako glavna dejnost, a na krajot, stanalo i edinstvena
preokupacija na Andon. Spored ka`uvawata na negovite potomci
i na povozrasnite `iteli na Smojmirovo, Andon imal solidna
biblioteka od skapo plateni knigi i rakopisi koi{to gi sozda-
val so svoja raka. Bidej}i bil poznat psalt, po povod razni verski
praznici ~esto bil pokanuvan da pee i vo drugite crkvi vo male-
171
{evskiot kraj. Ne e isklu~eno, kako odli~en kaligraf, za potre-
bite na ovie crkvi da prepi{uval razni psaltikii.
Kako eden od retkite obrazovani lu|e i kako poznat psalt,
ne samo vo Smojmirovo, tuku i po{iroko, bil mo{ne po~ituvan i
vlijatelen ~ovek. Negovata dinami~na li~nost ne mo`ela da bide
odminata nitu vo edna rabota od interes za seloto, pa, taka i vo
izgradbata na novata crkva vrz temelite na starata tro{na sel-
ska crkva Sv. Bogorodica, na samiot po~etok na XX vek.
Negovite crkovno-prosvetni aktivnosti, zaradi koi u`ival
golem ugled kaj svoite soselani, ne mo`ele da im bidat po volja i
na lokalnite nasilnici, na onie koi{to pod pla{tot na razni
revolucionerni organizacii go terorizirale mirnoto naselenie
i go prisiluvale na poslu{nost. Od edna takva grupa Andon [ah-
paski duri bil osuden i na smrt. Vo posledniot moment uspeal da
im izbega na gonitelite i da se spasi od najlo{oto. Me|utoa,
`rtva na ovie teroristi~ki grupi stanala negovata sakana `ena
Hristena, a kako posledica na toa i dvete mali deca Magda i
Stefan, koi po~inale neposredno po ovoj nastan. Po ovaa semejna
tragedija, koja{to ja pre`iveal samo sredniot sin Aralampie,
Andon povtorno se obidel da si sozdade semejstvo, o`enuvaj}i se
so Ordana, koja mu prirodila u{te dve deca - Jovan i Pola.
Vo vrska so ovie teroristi~ki grupi koi gi dr`ele vo strav
i pot~inetost lu|eto od ovoj kraj, vo Smojmirovo s#u{te se raska-
`uva eden podocne`en nastan, koj zavr{il kobno po zdravjeto, a
podocna i po `ivotot na Andon [ahpaski. Imeno, nekoj od seloto
go anga`iral Andona da mu napi{e poplaka - pismo do vlasta
zaradi ubistvoto na bratot. Andon dobro ja sostavil i ubavo ja
napi{al poplakata na svojot soselanec, no, bandata na ubiecot,
sostavena od lokalni nasilnici, znaej}i koj ja napi{al poplaka-
ta, vo znak na odmazda, go pretepala Andona. Od te{kite povredi
koi gi zadobil vo predelot na bubrezite, toj ne se oporavil.
Umrel vo svoeto rodno Smojmirovo, na 20 januari, 1928 godina.
I od ovie skudni podatoci za `ivotot na Andon [ahpaski,
glavno, dobieni po pat na usno prenesuvawe od negovite potomci,
172
mo`e da se naseti negovata neobi~na priroda, o~igledno predi-
sponirana za duhovnoto i kreativnoto. Ovie nekolku napi{ani
stranici se prv obid, makar i so nedovolno soznanija, da se pod-
osvetli negoviot `ivoten pat i crkovno-muzi~kata dejnost.
[kolata za psalti vo Smojmirovo
Ponatamo{nite isleduvawa poka`aa deka Andon [ahpaski
imal svoja {kola za crkovni pea~i i hor koj{to nastapuval na
nedelnite i prazni~nite bogoslu`bi. Pokraj bratot Aleksandar
(posvoen vo semejstvoto Grpovski) i sinovite Aralampie i Jovan,
negovi u~enici bile i \or|i Mu{karski,
2
Jovan Xaleski Dimo,
Laze Markoski, Ande Axiski, Mijalko [ahpaski, Petre Predar-
ski i dr. Vistinski naslednik na Andon bil Aralampie [ahpaski
(1898-1993), koj, kako protopsalt na crkvata Sv. Bogorodica vo
Smojmirovo, peel do poslednite denovi od svojot `ivot.
3
Po~ina
vo dlaboka starost, vo 1993 godina.
Va`no e da se napomene i toa deka nekoi od u~enicite na
Andon [ahpaski bile poznati i kako pesnopojci i nositeli na
folklornata muzi~ka tradicija. Ova e dotolku pozna~ajno, {to go
anticipira i pra{aweto za povrzanosta na crkovnoto peewe od
vizantiskata tradicija so folklornata pesnopojna tradicija vo
Makedonija. Od ova mo`e da se izvle~e zaklu~ok, deka kaj Andon
[ahpaski, a preku nego i kaj negovite brojni u~enici-sledbenici,
postoela svest za bliskosta na crkovnoto i narodnoto peewe. Ova
soznanie nedvosmisleno upatuva na dopolnitelni istra`uvawa,
kako od strana na etnomuzikolozite, taka i od strana na muziko-
lozite-vizantolozi.
2
Istra`uva~ko-terenski materijali snimeni na magnetofonska lenta so \or|i Mu{karski
(peewe i svirewe na tambura) od strana na d-r Borivoe Ximrevski se nao|aat vo
Institutot za folklor Skopje.
3
^lenovi na Redakcijata za narodna muzika pri Muzi~kata produkcija na Makedonskata
radio-televizija, `ivo si spomnuvaat za Aralampie [ahpaski, deka vo nekolku
navrati se javi na povikot za pribirawe na folklorni napevi od postarata tra-
dicija. Iako vo dlaboka starost, Aralampie, s#u{te ima{e ubav glas so stabilna
intonacija.
173
Povozrasnite smojmirci si spomnuvaat, a toa e potkrepeno
i so informacii od drugi izvori, deka, vo period me|u dvete Svet-
ski vojni pri crkvata Sv. Bogorodica vo Smojmirovo postoel hor
od desetina psalti, koj postojano se obnovuval so mladi pea~i,
kako me{tani, taka i od drugite male{evski sela, pa i po{iroko.
Vo ovaa smisla dragocena e informacijata koja{to neodamna ja
dobiv od po~ituvaniot otec Petar Jordanov (1936), profesor vo
Makedonskata pravoslavna bogoslovija Sv. Kliment Ohridski
Skopje, deka Mirko Divanisov od selo Blatec, Ko~ansko, kako i
nekoi drugi psalti od drugi krai{ta na Makedonija, koi{to toj
li~no gi poznaval, vo triesetite godini na XX vek crkovno peewe
u~ele vo Smojmirovo kaj Aralampie [ahpaski. Ova ja potvrduva
tezata deka {kolata za psalti i horot koi{to gi formiral
Andon [ahpaski prodol`ile so rabota i po negovata smrt, vo
1928 godina, pod rakovodstvo na Aralampie i bila poznata po{i-
roko vo Makedonija.
Vo godinite po osloboduvaweto, so novoto op{testveno-
politi~ko ureduvawe vo Makedonija, {kolata za psalti vo Smoj-
mirovo prestanala so rabota. Bez priliv od mladi pea~i, i horot
pri crkvata Sv. Bogorodica postepeno se namaluval. Blagodare-
nie na dolgove~nosta, vo crkvata ostanale samo trojcata psalti:
Aralampie [ahpaski, Jovan [ahpaski i \or|i Mu{karski, vo
seloto poznati kako Ampo, Jovan~o i Gogo. Va`no e da se odbele-
`i, deka, iako, neposredno po Prvata svetska vojna vo vardarskiot
del od Makedonija, so potpa|aweto pod srpsko vladeewe, be{e
vovedeno srpskoto narodno crkovno peewe,
4
vo celiot period po
osloboduvaweto, vo crkvata Sv. Bogorodica vo Smojmirovo, preku
dejnosta na spomenatite psalti, crkovnoto peewe od vizantisko-
4
Jane Koxaba{ija: Isku{enijata na crkovnoto peewe vo Makedonija - tendencija za
vra}awe kon peeweto od vizantiska tradicija, Referat na nau~niot sobir na
tema Hristijanstvoto vo kulturata i umetnosta na Strumi~kata eparhija,
Strumica, 2000. Zbornik na trudovi od nau~niot sobir: Hristijanstvoto
vo kulturata i umetnosta na Strumi~kata eparhija. Zavod za za{tita na
spomenici na kulturata i Muzej, Strumica, 2002.
Jane Koxaba{ija: Crkovnoto peewe vo Makedonija vo XX vek, referat na nau~niot
sobir Ilinden 1903 Ilinden 2003 Borba za prava, slobodi i dr`avnost
odr`an na 17-18 dekemvri 2003 vo Skopje.
174
slovenskata tradicija se prakticira{e bez prekin s# do krajot na
XX vek. Makedonskite vizantolozi dosega bea na mislewe deka
crkovnoto peewe od starata tradicija se odr`alo najdocna do
sedumdesetite godini na XX vek.
Od sevo ova {to e ka`ano za crkovnoto peewe vo Smojmiro-
vo i za negovite pretstavnici, mo`e da se zaklu~i deka temelite
koi{to gi postavil Andon [ahpaski vo periodot na Nacional-
nata prerodba bile dovolno cvrsti, za da gi pre`iveat crkovno-
srpskiot {ovinizam i povoeniot ateizam vo Makedonija i da ja
do~ekaat novata prerodba - vra}aweto na crkovnoto peewe od
starata tradicija vo makedonskite hramovi. Duri i pove}e od toa:
blagodarenie na posvetenosta na Andon [ahpaski i na negovite
sledbenici, maloto male{evsko selo Smojmirovo i negovata crk-
va Sv. Bogorodica, prerasnaa vo simbol na nepokorot i bedem na
starite makedonski tradicii.
Psaltikiskiot zbornik na [ahpaski
Psaltikijata na Andon [ahpaski e pi{uvana vo selo Smoj-
mirovo, Male{evsko, vo periodot od oktomvri 1882 do januari
1884 godina, na crkovno-slovenski jazik i na hrisantovata muzi~-
ka notacija. Pi{uvana e so crno, a povremeno i so violetovo mas-
tilo na obi~na tenka hartija, so zavidna kaligrafska ve{tina,
osobeno muzi~kite nevmi. Rakopisot vo sega{nava sostojba ima
544 stranici bez paginacija, po {est reda na edna stranica (retko
po 5 ili 7). Ima dimenzii 123 h 100 mm. i e podvrzan profe-
sionalno so korici od karton obvieni so temno-kafeava ko`a.
Odnapred na rakopisot mu nedostigaat izvesen broj stranici, no,
re~isi, e celosno ~itliv. Prvobitnata nezadovolitelna sostojba
na rakopisot be{e nadminata neposredno po negovoto objavuvawe
so reparacijata {to ja napravi semejstvoto [ahpaski.
Vo rakopisot ne se nao|a imeto na negoviot sostavuva~ i pi-
{uva~. Mo`ebi toa bilo zapi{ano na izgubenite stranici ili na
mestata koi{to se uni{teni od vlagata. Na poslednata stranica,
so istiot rakopis stoi napi{ano deka Zbornikot e zavr{en vo
175
januari 1884 godina vo Smojmirovo. Na dnoto na ovaa stranica
ima dopi{uvano u{te ne{to, no, za `al, toa e sosema ne~itlivo.
Poa|aj}i od toa, deka ovie zapisi se napraveni od istata raka so
koja{to e napi{an celiot Zbornik, osven toa, Andon [ahpaski
bil edinstveniot kaligraf i muzi~ki obrazovan ~ovek vo Smoj-
mirovo, nema nikakvo somnenie, deka rakopisot e negovo delo. Na
edna prazna stranica od rakopisot go sre}avame avtogramot na
Aralampie napi{an so moder moliv: [ahpazovi} Andonov Hara-
lampie. Od ova mo`e da se izvle~e zaklu~ok deka so rakopisnata
psaltikija na Andon, kako i so drugite knigi od negovata bibli-
otekata se koristel i sin mu Aralampie, no nema nikakvi uka`u-
vawa deka i toj sostavuval psaltikiski zbornici.
Muzi~kiot zbornik na Andon [ahpaski sodr`i dva glavni
delovi: 1. Kratok voskresnik so kratka gramatika i ve`bi za pa-
ralagija (solfe`irawe) i 2. Liturgija. Kako {to e ve}e ka`ano,
napred rakopisot ima pridodaden del, koj{to nastanal ne{to po-
rano i sodr`i tvorbi za najrazli~ni bogoslu`beni potrebi. Od-
napred i odnazad na ovoj pridodaden del mu nedostigaat po nekol-
ku stranici. Ona {to za na{ata crkovna muzika ima posebno zna-
~ewe e toa {to pridodadeniot del zapo~nuva so tvorbata Dos-
tojno est na peti glas od Joan Harmosin - Ohridski, ~ij{to
po~etok, za `al, ne e so~uvan. Interesno e i toa {to, ovoj, zasega,
najstar prepis na harmosinovata antologiska kompozicija ne e
napraven od zbornikot Pashalija na Joan Harmosin, pe~aten vo
Carigrad, 1869 godina
6
, tuku od nekoj prepis.
Patem, ova e u{te edna potvrda deka tvorbata Dostojno
est na peti glas od Joan Harmosin Ohridski, koja{to dosega e
otkriena vo pogolem broj crkovno-muzi~ki rakopisi i pe~ateni
knigi, bila mo{ne omilena i deka se prenesuvala me|u psaltite,
koi{to sakale da bidat vo tek so site aktuelnosti na po{irokiot
crkovno-muzi~ki prostor. I pove}e od toa, crkovnite tvorbi,
koi{to od sredinata na vekot zapo~naa da se sozdavaat na
slovenski jazik od doma{ni kompozitori naidoa na voodu{eveno
6
Harmosin-Ohridski , Ioann , Pashali , Carigrad , 1869.
176
prifa}awe kaj makedonskite psalti. So toa, tie otvoreno ja mani-
festiraa potrebata, osven crkovni napevi prevedeni od gr~ki
jazik, da peat i avtenti~ni kompozicii sozdadeni na slovenski
jazik, vo koi{to }e provejuva prepoznatlivata muzi~ka nota na
narodnoto i na crkovnoto peewe od ova podnebje. Nema somnenie
deka i Andon [ahpaski, kako pretstavnik na crkovnoto peewe vo
Makedonija vo periodot na Prerodbata, kako psalt i u~itel u~es-
tvuval vo procesite na vra}aweto na slovenskiot i na govorniot
jazik vo makedonskite hramovi i vo u~ili{tata i vo iznao|aweto
na sopstven izraz vo crkovnoto peewe od slovensko-vizantiskata
tradicija.
Od dosega{nite sporedbi na ovoj rakopis so pe~atenite kni-
gi od toj period se zabele`uva deka poedini kompozicii od Psal-
tikijata na Andon [ahpaski se srodni, a na momenti identi~ni
so onie od zbornikot na poznatiot bugarski muziko-u~itel Niko-
la Trandafilov - Slivnenec, Cvetosobranie prvata pe~atena
kniga na slovenski jazik, vo 1847 godina, vo Bukure{t.
7
No, pos-
tojat indikacii, deka tie, sepak, ne se direktno prezemeni od ovoj
zbornik, tuku od razni drugi rakopisi, najverojatno od onie nas-
tanati vo Rilskiot manastir, ili od nivnite brojni prepisi pra-
veni na po{irokiot pravoslaven prostor. Vrz osnova na dosega{-
nite istra`uvawa, mo`e da se zaklu~i deka Kratkiot voskres-
nik - prviot del od Zbornikot na Andon [ahpaski, idejno-
estetski i muzi~ki e mo{ne blizok do rakopisniot Voskresnik na
Janaki Stojmenovi~ od selo Orizari, Ko~ansko, nastanat vo 1849
godina, koj pretstavuva prepis od tri rakopisi od Rilskiot
manastir.
Psaltikiskiot zbornik na Andon [ahpaski e eden od ret-
kite rakopisi sozdadeni na teritorijata na Makedonija, koi{to
sodr`at kratki gramatiki na hrisantovata muzi~ka notacija.
Imeno, neposredno pred Kratkiot voskresnik ima prikaz na
osnovnite muzi~ki znaci so slovenski imiwa, ve`bi za paralagija
(solfe`irawe) za sovladuvawe na muzi~kite intervali, kako i
7
Trendafilov, Nikola, Cv tosobranie, Bukur t, 1847.
177
grafikon na dijatonskata skala na prviot glas. Sudej}i spored
intervalskata podelba na oktavata prika`ana na ovoj grafikon,
vo koja golemiot stepen ima 12, maliot 9 i polustepenot 6 komi,
ne e isklu~eno, toa da e prezemeno od prvata pe~atena teoriska
kniga na slovenski jazik - Gledalo, od ve}e spomenatiot bugarski
teoreti~ar Nikola Trandafilov - Slivnenec
8
, pe~atena vo 1848
godina vo Bukure{t. Inaku, ovaa intervalska podelba na oktavata
ja zastapuvaat i drugi teoreti~ari na isto~noto crkovno peewe
od Makedonija, me|u koi i Kalistrat Zografski
9
.
9 6 12 12 9 6 12
Pa Vu Ga Di Ke Zo Ni Pa
re mi fa sol la si do re
I II III IV V VI VII VIII
Kratka gramatika sodr`i i Liturgiskiot zbornik vtori-
ot del od rakopisnata psaltikija na Andon [ahpaski, ovojpat so
paralelna muzi~ka terminologija na slovenski i na gr~ki jazik.
Ova uka`uva na toa, deka e prezemena od nekoj postar slovenski
rakopis ili kniga, vo koi gramatikata na hrisantovata notacija e
s#u{te dvojazi~na.
Liturgiskiot zbornik, kako vtor del od rakopisnata psal-
tikija na Andon [ahpaski, pretstavuva vnimatelno napraven iz-
bor od tvorbi, vo koj{to sostavuva~ot ne se pridr`uva strogo do
nivniot voobi~aen redosled vo crkovnata bogoslu`ba. Sodr`i
kompozicii od najpoznatite vizantiski avtori na crkovna muzika
od XIV do XIX vek: Jovan Kukuzel, Hrisav Novago, Georgij Krit-
ski, Jakov Protopsalt, Daniil Protopsalt, Petar Lambadarij -
Peloponeski, Joan Lambadarij, Petar Efeski, Hurmuzij Harto-
filaks, Grigorij Protopsalt, Joan Harmosin Ohridski i drugi,
~ii{to imiwa ne se navedeni. Zasega nema indikacii deka vo
8
(Trandafilov, Nikola - Slivneneq), Gledalo, radi slavno-bolgarskata nnh
novonapecatana psaltika, Bukure\, 1848.
9
(Arximandrit Kalistrat), Vostocno qrkovno phnie, Voskresnik,
Manastirot Sv. Gewrgi Zogra vo Sv. Gora, 1905.
178
rakopisot ima i tvorbi od negoviot sozdava~ Andon [ahpaski. Za
toa }e bidat potrebni novi dopolnitelni analizi.
Sudej}i spored kaligrafskata ve{tina i ortografijata de-
monstrirani vo ovoj rakopis, mo`e da se ka`e, deka toa e delo na
ve{t i iskusen prepi{uva~ so sigurna, izve`bana raka i deka ovoj
crkovno-muzi~ki zbornik ne e edinstveniot {to go napi{al.
Poa|aj}i od ovie svojstva na zbornikot, mo`e da se zaklu~i, deka
Andon [ahpaski poseduval solidno poznavawe na hrisantovata
teorija i praktikata na isto~noto crkovno peewe, so kakvo {to
toga{ mo`el da se zdobie vo manastirskite u~ili{ta od visoko-
u~eni psalti.
So otkrivaweto na Psaltikiskiot zbornik na Andon [ah-
paski makedonskata muzi~ka nauka se zbogatuva so u{te eden dra-
gocen dokument so pove}ekatno zna~ewe za crkovnoto peewe od
vizantisko-slovenskata tradicija i, voop{to, za nacionalnata
kultura. U{te edna{, na uverliv na~in se potvrdi faktot, deka
psaltikata na teritorijata na Makedonija vo XIX vek ve}e ne se
prenesuvala samo po pat na usmeno predanie od neukite sve{te-
nici i psalti, tuku prodol`i da se {iri i so crkovno-muzi~kata
dejnost na s# pogolemiot broj posveteni poedinci, koi bile nada-
reni i obrazovani, no, ve}e i nacionalno osoznaeni. Vsu{nost,
preku nivnata dejnost zapo~na da se manifestira otporot protiv
asimilatorskata politika na Carigradskata patrijar{ija i po-
trebata za vra}awe na slovenskiot jazik vo bogoslu`bata. So toa,
ovie poedinci od redot na Crkvata ja ozna~ija Prerodbata na ma-
kedonskiot narod, periodot vo koj{to se sozdava{e makedonskata
nacija i se postavuvaa temelite na nejziniot samostoen kulturen
razvoj. Andon [ahpaski e eden od niv.
179
X.
Atanas Badev (1860-1908)
Razvojot na muzi~kata umetnost vo Makedonija vo posled-
nata ~etvrtina na XIX vek e ozna~en niz dejnosta na gradskite i
u~ili{nite horski ansambli i pomali orkestarski sostavi for-
mirani od muzi~ari od koi{to nekoi se {koluvale i nadvor od
granicite na Otomanskoto Carstvo, vo Rusija i vo drugi evrop-
ski zemji. Najistaknatiot me|u muzi~arite koi{to dejstvuvaat
na ovoj plan vo ovoj period e Atanas Badev (1860-1908).
Podatocite za `ivotot i deloto na ovoj muzi~ki deec, koi-
{to pred makedonskata kulturna javnost za prvpat se objaveni vo
{eesetite godini na XX vek, pobudija ogromno interesirawe.
Podocne`nata koncertna izvedba na fragmenti od negovata hor-
ska kompozicija Liturgija po sv. Jovan Zlatoust so Horot na
Makedonskata radio-televizija pod dirigentstvoto na Dragan
[uplevski vo sve~enata sala na MANU be{e prosledena so vis-
tinsko voodu{evuvawe. Ova dotolku pove}e {to nacionalnata
muzika se zbogati so vredno, dotoga{ nepoznato delo sozdadeno
od profesionalno podgotven muzi~ar. Ovoj nastan frli nova
svetlina na na{eto muzi~ko minato, posebno na crkovnata muzi-
ka od periodot na Prerodbata.
Liturgijata po Sv. Jovan Zlatoust na Atanas Badev za
kuso vreme do`ivea razni formi na snimawa i na koncertni iz-
vedbi i be{e ~esto emituvana na muzi~kite programi na Radioto
i Televizijata. So kolkava popularnost se zdobi ova horsko delo
vo sledniot period govorat i podatocite deka integralni izved-
bi Liturgijata na Badev ima{e na manifestacijata Stru{ka
muzi~ka esen vo 1988 i na osvetuvaweto na Soborniot hram Sv.
180
Kliment Ohridski vo Skopje, vo 1990 godina. Vo istiot period
be{e izdadena na gramofonski plo~i i na audio i na video kase-
ti. Vo makedonskite crkvi Zlatoustovata liturgija na Badev
s# po~esto }e bide zastapena i, re~isi, potpolno }e ja istisne
Liturgijata na srpskiot kompozitor Stevan St. Mokrawac
(1856-1914), dotoga{ neprikosnoven ne samo vo duhovnata, ami i
vo svetovnata horska muzika vo Makedonija.
Atanas Badev e roden na 14 januari 1860 godina vo Prilep,
vo semejstvo na prili~no zamo`en trgovec. U{te od najrana
vozrast Atanas poka`uval golemo interesirawe za muzikata.
Osven toa, so ednakva qubov toj se odnesuval i kon drugite
predmeti a osobeno kon matematikata. Crkovno peewe u~el kaj
Kote Pazov, a potoa kaj Georgi Smi~kov, eden od prvite make-
donski melografi, poznat crkoven peja~ i u~itel.
1
Kako mom~e so natprose~ni sposobnosti, roditelite go is-
pra}aat Atanasa da go prodol`i {koluvaweto vo Solun. Me|u-
toa, tamu toj ostanuva kuso vreme, bidej}i smrtta na tatko mu
doveduva do materijalni te{kotii vo semejstvoto. Vo sledniot
period semejstvoto Badevi se preseluvaat vo Bugarija i Atanas
se zapi{uva vo Ma{kata gimnazija vo Sofija. I vo novata sredi-
na toj se istaknal so svoeto {iroko iteresirawe za predmetite
koi{to gi izu~uval. Qubovta kon muzikata i nesekojdnevnata
muzikalnost na mladiot Badev do{le do izraz preku pomo{ta
{to mu ja daval na svojot u~itel po muzika pri rakovodeweto na
u~ili{niot hor.
2
Za vreme na letniot odmor vo 1879 godina Atanas Badev se
vratil vo svoeto rodno mesto Prilep, kade{to formiral crkov-
no-u~ili{en hor. Sostaven od u~enici i qubiteli na muzikata,
ovoj horski ansambl so uspeh nastapuval na nedelnite crkovni
slu`bi i na drugi praznici i sve~enosti vo gradot.
3
Vo u~ebnata
1880/81 godina koga rakovodeweto na horot go prezel pora-
1
Ortakov, Dragoslav, Makedonska muzika 5 Atanas Badev i negovoto delo. p. 27.
2
Ortakov, Dragoslav, Ars nova op. cit. p. 143.
3
Golabovski, Sotir, Istorija op. cit. p. 99.
181
ne{niot u~itel na Badev, Georgi Smi~kov, ansamblot broel oko-
lu 30 ~lenovi, so 7-8 pea~i vo sekoj glas. Vo svojata kniga Gra-
dot Prilep Georgi Traj~ev veli deka horistite koi{to se
sobirale na proba sekoja sreda popladne, bile samouci, bidej}i
vo toa vreme vo prilepskoto triklasno u~ili{te notnoto peewe
s#u{te ne bilo zastapeno.
4
Me|utoa, pronajdenite materijali
ispi{ani od rakata na samiot Smi~kov, koi{to pretstavuvaat
horski {timovi na crkovni kompozicii transkribirani od za-
padna na hrisantova notacija, govori deka horistite se slu`ele
i so pi{uvani muzi~ki materijali pri u~eweto na tvorbite
5
i
deka vo toj period na teritorijata na Makedonija dominira vi-
zantiskoto muzi~ko pismo.
Presuden period od `ivotot na Atanas Badev e negoviot
prestoj vo Rusija, kade{to, finansiran od svojot bogat vujko, stu-
dira fizika i matematika na Filozofskiot fakultet vo Odesa.
Po dvegodi{no studirawe, zaradi smrtta na vujko mu, Badev ja
napu{ta Odesa. Ne{to podocna, otkako samiot si obezbedil ma-
terijalni sredstva, odi vo Moskva, kade{to se zapi{uva vo Si-
nodalnata pea~ka {kola. Vo sledniot period, rakovoden od `el-
bata za novi muzi~ki znaewa, go sre}avame vo Petersburg, kako
student na Dvorskata peja~ka {kola. Nekoi muzikolozi, vo vrska
so negovite studii po kompozicija na ovaa {kola, naveduvaat de-
ka studiite gi zavr{il u~ej}i kaj vidni profesori. Me|u niv se
spomenuva i golemiot ruski kompozitor Nikolaj Rimski-Kor-
sakov, no dali Badev bil i negov student, za toa seu{te nema si-
gurni podatoci.
So diploma na prv profesionalen makedonski muzi~ar i
teoreti~ar so {iroka kultura i znaewe, Badev se vra}a vo Make-
donija i stanuva nastavnik po muzika vo Solun. Vo godinite po-
minati na rabota me|u solunskite sredno{kolci Atanas Badev
go dava najzna~ajniot pridones za razvojot na muzi~kata kultura
vo svojata tatkovina. Toj organizira i rakovodi u~ili{en hor i
4
Traj~ev, Georgi, Grad Prilep, Sofija, 1926. p. 154-155.
5
Ortakov, Dragoslav i Golabovski, Sotir, Muzi~ko tvore{tvo,
Prilep i Prilepsko niz istorijata, Prilep, 1971, v. I. p. 236-240.
182
podgotvuva kadri {to }e ja prodol`at muzi~kata dejnost vo po-
ve}e makedonski gradovi. Izvesno vreme, okolu 1892 godina, Ba-
dev se nao|a na slu`ba vo Bitola. Tamu toj se o`enil so u~itel-
kata Marija Dimitrova [tipjanova, so koja naskoro povtorno se
preseluva vo Solun. Negovoto u~itelstvuvawe vo Solun se odvi-
va vo godinite na osnovaweto na makedonskata revolucionerna
organizacija i na nejzinite prvi akcii. Od predostro`nost kaj
rakovodstvata na u~ili{tata na Egzarhijata vo Makedonija,
zapo~nale da gi oddale~uvaat od makedonskite gradovi site onie
kulturni rabotnici ~ija{to dejnost, na kakov i da e na~in, mo-
`ela da bide korisna za deloto i celite na organizacijata.
6
Kako posledica na ovie okolnosti Atanas Badev bil pre-
mesten vo Ruse. Nao|aj}i se vo naponot na svoite tvore~ki sili,
kako nastavnik po muzika vo rusenskata ma{ka gimnazija, toj
razviva mo{ne plodna aktivnost, vospituvaj}i gi svoite u~enici
i rakovodej}i go horot na gimnazijata vrz osnova na iskustvoto
zdobieno vo u~ili{tata vo Makedonija. Nekoi negovi u~enici
podocna profesionalno se opredeluvaat za muzikata i postig-
nuvaat vidni rezultati kako muzi~ki umetnici i teoreti~ari.
Za vreme na prestojot vo Ruse Atanas Badev ja oformil svojata
Liturgija po Sv. Jovan Zlatoust, koja{to e pe~atena vo Laj-
pcih (Germanija), vo 1898 godina. Po dvegodi{niot period pomi-
nat na rabota vo rusenskata ma{ka gimnazija, Badev dobiva po-
kana od sinodot da bide u~itel po crkovno peewe vo bogoslov-
skoto u~ili{te vo Samokov. Toj ja prifa}a ovaa rabota koja{to
se sostoela vo upatuvawe na seminaristite vo ~itawe na zapad-
noto i na isto~noto muzi~ko pismo. No, ne pominalo mnogu vre-
me, Badev dobil otkaz od samokovskata seminarija. Pri~inite za
ovaa postapka na sinodot ostanuvaat nedovolno razjasneti. Vo
sledniot period Badev e nazna~en za nastavnik po muzika vo `en-
skata gimnazija vo ]ustendil. Tamu, ve}e so seriozno naru{eno
zdravje, Badev gi pominal poslednite godini od svojot `ivot,
obiduvaj}i se bezuspe{no da dobie premestuvawe vo Sofija,
6
Ortakov, Dragoslav, Makedonska muzika - 5, op. cit. p. 31.
183
kade{to bi mo`el da dobiva poefikasna medicinska pomo{. Vo
tie nastojuvawa, na edno od svoite patuvawa, na 21 septemvri
1908 godina, Badev umira vo vozot na pat za ]ustendil.
7
* * *
Atanas Badev kako sestrano obrazovan muzi~ar vo duhot na
evropskata muzi~ka estetika i pod vlijanie na nacionalroman-
tizmot, paralelno so kompozitorskata i pedago{kata dejnost, se
zanimava so sobirawe i prou~uvawe na makedonskiot muzi~ki
folklor. Rezultat na ovie istra`uvawa na Badev e negoviot nas-
tap na vtoriot kongres na Muzi~kiot sojuz vo Sofija vo 1904
godina so referatot Za folklorot i negovite osobenosti vo
Makedonija. Ova e voedno i prv poseriozen trud od oblasta na
etnomuzikologijata vo koj{to za prvpat stru~no se objasnuvaat
meloritmi~kite strukturi na makedonskiot muzi~ki folklor.
8
So ovaa svoja aktivnost Atanas Badev gi postavi i temelite na
sovremenata makedonska etnomuzikologija.
Napi{al brojni kompozicii inspirirani od muzi~kiot
folklor, kako i harmonizacii na napevi od gradskata tradicija,
kakvi {to vo periodot na nacional-romantizmot neguvaat i dru-
gi avtori od sosednite kulturni sredini. No, vistinskiot tvo-
re~ki potencijal na Atanas Badev najdobro e odrazen vo nego-
vata Liturgija po Sv. Jovan Zlatoust za me{an hor. Rabotena
po primerot na duhovnite kompozicii koi{to Badev imal mo`-
nost da gi studira vo golemite muzi~ki metropoli Moskva i vo
Petersburg, ovaa kompozicija na Badev sodr`i porazvien horski
slog vo sporedba so drugite negovi tvorbi sozdadeni vrz sopstve-
na ili folklorna tematika.
9
Vo eden del od melodiite zastape-
ni vo ova horsko delo, se prepoznavaat crkovni napevi so~uvani
po pat na usnata tradicija, kako i temi od poznati vizantiski
kompozitori, koi{to Badev, verojatno, gi slu{al i peel vo svo-
7
Ortakov, Dragoslav, Ars nova op. cit. p. 177.
8
Karaka{, Branko, Muzi~kite tvorci vo Makedonija, Makedonska
kniga, Skopje, 1970, p. 9.
9
Ortakov, Dragoslav, Ars nova op. cit. p. 150.
184
jot roden kraj. Me|utoa, nivniot vizantiski karakter e vo izves-
na mera neutraliziran so harmoniziraweto vo duhot na evrop-
skata muzika. Sepak, kako muzi~ar koj{to ja poznaval i vizan-
tiskata muzika i nejziniot sistem od osum glasovi, vo nekoi
delovi na svojata Liturgija, kade{to melodijata za osnova
ima nekoj od karakteristi~nite tonovi na vizantiskite skali,
Badev pri harmoniziraweto na ovie melodii i temi pravi odre-
deni kompromisi, koi{to deloto go pravat originalno i priv-
le~no. Taka, namesto voobi~aenite harmonski re{enija tipi~ni
za evropskata muzika, Badev na momenti ostava da zazvu~i pre-
poznatlivoto vizantisko iso, koe{to kako temjan go ispolnuva
prostorot. Voedno, toa se i najvozbudlivite delovi na negovata
Liturgija po Sv. Jovan Zlatoust.
Kako muzi~ar koj{to preku ruskata svetovna i crkovna mu-
zika imal mo`nosti temelno da ja zapoznae i da ja primeni vo
praktika evropskata muzi~ka teorija, Atanas Badev ne mo`el,
ednostavno, da ostane i vo crkovnata muzika od vizantiska tra-
dicija, koja{to kako dete ja u~el vo rodniot grad Prilep. O~i-
gledno e, deka kako kompozitor i dirigent, toj pove}e prostor
otkriva vo evropskata muzika, na koja{to & se predal so celoto
svoe bitie. Vsu{nost, qubovta kon evropskata muzika, koja{to
se razgorela vo Petersburg i vo Moskva, e rodena vo Prilep i
traela do krajot na negoviot `ivot. Koga go velam ova, predvid
go imam faktot, deka vo periodot na negovata prva mladost, vo
Prilep, kako eden od ponaprednatite kulturni centri vo Make-
donija, preku razni formi i pati{ta, (iako so izvesno zadocnu-
vawe), kako ne{to novo i vobudlivo, nadoa|a branot na evrop-
skata romanti~arska muzika, koja{to ne go ostavila ramnodu{en
i mladiot Atanas. Pri toa, da ne zaboravime, deka eden zna~aen
del od svojata mladost Badev pominal vo Sofija, kako u~enik na
Ma{kata gimnazija. Vo ovoj golem kulturen centar vo koj{to se
{koluvale brojni mladi makedonski intelektualci, toj na sekoj
~ekor mo`el da go po~uvstvuva zdivot na evropskata kultura.
Site ovie okolnosti ja odredija muzi~kata sudbina na Atanas
185
Badev, prviot sestrano obrazovan muzi~ar vo duhot na evrop-
skata muzika od Makedonija.
Prvite podatoci za `ivotot i deloto na ovoj pretstavnik
na Nacionalnata prerodba se objaveni vo knigata na srpskiot
muzikolog i publicist Branko Karaka{ Muzi~kite tvorci vo
Makedonija, izdadena vo 1970 godina vo Skopje, vo koja{to Ata-
nas Badev e pretstaven kako prv profesionalen makedonski
muzi~ar i teoreti~ar so {iroka kultura
10
Slednata subli-
mirana informacija za Atanas Badev ja nao|ame vo Muzi~kata
enciklopedija na Jugoslovenskiot leksikografski zavod od 1971
godina, napi{ana od kompozitorot Todor Skalovski, vo koja{to
se naveduva deka kompoziciite na Atanas Badev svedo~at za so-
lidnoto znaewe, bogatata invencija i tvore~kata sila. Se nagla-
suva i toa deka Badev e prviot stru~no obrazovan muzi~ar i teo-
reti~ar so {iroka kultura, voedno i prviot makedonski kompo-
zitor na pove}eglasna crkovna muzika.
11
Vo naredniot period za deloto i `ivotniot pat na Atanas
Badev najmnogu istra`uva{e i pi{uva{e muzi~kiot pisatel
Dragoslav Ortakov. So svoite tri knigi Muzi~kata umetnost
vo Makedonija (1982), Ars nova macedonica (1986), Ogledi za
vizantisko-slovenskata muzika vo Makedonija (2001), kako i so
drugite napisi vo razni spisanija od oblasta na kulturata, Orta-
kov nesomneno pridonese za osvetluvawe na likot i tvore{tvoto
na ovoj zna~aen kompozitor, eden od malubrojnite obrazovani
muzi~ari ne samo vo Makedonija, tuku i vo drugite balkanski
nacionalni sredini.
12
Soodveten prostor na ovoj zna~aen make-
donski muzi~ar mu posvetuva i Sotir Golabovski vo svojata
kniga Istorija na makedonskata muzika, izdadena vo 1999 go-
dina. Spored ovoj muzikolog, Atanas Badev e najzna~ajniot pret-
stavnik na muzi~kiot profesionalizam od zapadno-evropski tip
10
Karaka{, Branko, Muzi~kite op. cit. p. 9.
11
Skalovski, Todor, Muzicka enciklopedija, vol. I, Jugoslovenski leksikografski
zavod, Zagreb, 1974, p. 110.
12
Ortakov, Dragoslav, Ars nova op. cit. p. 141.
186
vo periodot na Prerodbata i, pokraj muzi~koto tvore{tvo i et-
nomuzikolo{kata rabota, ja naglasuva i negovata pedago{ka i
organizatorska dejnost so {to dal zna~aen pridones vo razvojot
na muzi~kata kultura vo Makedonija.
13
Vo posledno vreme za `i-
votniot pat i za deloto na Atanas Badev istra`uva i muziko-
logot Jelica Todor~evska, koja navestuva nekoi novi momenti od
negoviot `ivot, osobeno za periodot na negovite muzi~ki studii
vo Rusija.
14
Imaj}i go predvid faktot deka interesiraweto na Badev
kako muzi~ar ne e ograni~eno samo na duhovnata muzika i na
folklornite temi kako izvor na inspiracija, tuku i na samoto
folklorno muzi~ko tvore{tvo, kone~no i zaradi negovata jasna
orientacija kon evropskata muzika kako negova estetsko-tvore~-
ka opredelba, za ovoj muzi~ki deec ~ija{to dejnost se ostvaruva
vo poslednite dve decenii na XIX i po~etokot na XX vek, }e
istra`uvaat i idnite generacii makedonski muzikolozi.
Rezime
Na teritorijata na Makedonija i na po{irokiot pravosla-
ven prostor od sredinata na XIX i preminot vo XX vek se ~uv-
stvuva silnoto vlijanie na docniot evropski romantizam i na
ruskata svetovna i crkovna muzika, preku voveduvaweto na ~eti-
riglasni horski ansambli vo bogoslu`bata. Ovoj muzi~ki izraz
na teritorijata na Makedonija ima{e i svoi privrzenici, od koi
najzna~aen e Atanas Badev (1860-1908), prviot profesionalen
muzi~ar, obrazovan vo duhot na evropskata muzika.
Paralelno so kompozitorskata i pedago{kata dejnost, Ba-
dev se zanimava so sobirawe i prou~uvawe na osobenostite na
makedonskiot muzi~ki folklor. So ovaa svoja aktivnost toj gi
postavi temelite na sovremenata makedonska etnomuzikologija.
13
Golabovski, Sotir, Istorija op. cit. p. 100
14
Todor~evska, Jelica, Leksikon na muzi~kite tvorci od Prilep, (vo rakopis)
187
XI.
Vasil Ivanov Bojaxiev (1876-1950)
Vo na{evo vreme ne retko se slu~uva da bide otkrieno ne-
koe vredno delo od pobliskoto istorisko minato, a za `ivotot
na negoviot avtor da ne se so~uvani ni najosnovnite podatoci.
Takov e slu~ajot so pove}eto od pretstavenite li~nosti vo ovoj
del na knigava. Vo ovoj pogled ne e isklu~ok nitu Vasil Ivanov
Bojaxiev, tvorecot na eden od najvrednite crkovno-muzi~ki dela
vo makedonskata muzi~ka istorija i po{iroko, iako e roden zna-
~itelno podocna i `iveel s# do sredinata na XX vek.
Blagodarenie na podatocite do koi{to dojde muzikologot
Dragoslav Ortakov od razgovorot so potomcite na Vasil Ivanov
Bojaxiev, neposredno po otkrivaweto na negoviot Psaltikiski
voskresnik vo 1978 g.
1
od strana na slavistot Mihajlo Georgiev-
ski,
2
deneska gi imame osnovnite podatoci za `ivotot na ovoj
zna~aen pretstavnik na crkovno peewe od slovensko-vizantiska-
ta tradicija vo Makedonija. Iako nedostato~ni, ovie podatoci
se izvonredno va`ni za idnite istra`uvawa, bidej}i naso~uvaat
kon klu~ni punktovi od `ivotot na Vasil Ivanov.
Spored ovie podatoci, Vasil Ivanov Bojaxiev e roden na 14
dekemvri 1876 godina vo Kratovo. Po zavr{uvaweto na osnovno-
to u~ili{te vo rodniot grad, svoeto obrazovanie go prodol`il
vo Skopje na egzarhiskoto pedago{ko u~ili{te, kade{to stek-
nal osnovni znaewa od crkovnoto peewe. Kako psalt, osven vo
Kratovo, rabotel i vo Tetovo, [tip i Strumica. Dve godini
1
Ortakov, Dragoslav, Ogledi za vizantisko-slovenskata muzika vo Makedonija,
Vorldbuk, Skopje, 2001. p. 98-103,
2
Georgievski, Mihailo, Makedonska muzika/2 Nekolku novootkrieni
muzi~ki rakopisi od Makedonija, Skopje, 1979. p. 51-55
188
prestojuval vo manastirot Hilandar na Sveta Gora na usovr{u-
vawe na crkovnoto peewe. Vo sledniot period raboti kako u~i-
tel po crkovno peewe vo bogoslovsko u~ili{te na Ba~kovskiot
manastir blizu do Plovdiv. Okolu 1922 godina se preselil vo
Stara Zagora, kade {to po izvesno vreme e penzioniran.
Vo celiot period me|u dvete svetski vojni Vasil Ivanov
Bojaxiev intenzivno rabotel na Psaltikiskiot voskresnik,
vgraduvaj}i go vo nego seto svoe znaewe i iskustvo na u~itel po
crkovno peewe. Vo Bugarija, kade{to psaltikiskite knigi na
Manasij pop Todorov se neprikosnoveni, ne uspeal da najde zain-
teresiran izdava~ za svojata kniga. Za taa cel, Vasil Ivanov, koj
i pred toa me~tael da se vrati vo svojata rodna Makedonija, vo
1941 godina doa|a vo Veles, kade{to raboti kako dirigent na
crkoven hor i psalt. Zaradi otporot od strana na pro-srpskoto
nastroeno sve{tenstvo, koe vo ovoj grad ve}e podolg period go
prakticiraat t.n. srpsko narodno crkovno peewe, ne uspeal da se
zdobie nitu so privrzenici za crkovnoto peewe od slovensko-
vizantiskata tradicija, nitu da najde spomagateli i izdava~ za
svojata kniga. Po samo dve godini zaminuva za Skopje, gradot vo
koj{to pred pet decenii bil u~enik na pedago{koto u~ili{te,
nadevaj}i se deka tamu }e uspee da ja realizira svojata `elba
pe~ateweto na knigata i da ja prodol`i svojata crkovno-muzi~ka
dejnost. No, blizu e krajot na vojnata i vo tuku{to oslobodenoto
Skopje, gradot na negovata mladost, }e nema mesto za ve}e ve}e
ostareniot i izmoren psalt. Zgora na toa, vo noviot op{testven
poredok negoviot Psaltikiski voskresnik preku no} }e stane
anahron i bezpredmeten.
Umira vo Skopje, vo 1950 godina.
Psaltikiskiot voskresnik
Kako {to e ve}e istaknato, otkrivaweto na Psaltikiski-
ot voskresnik od Vasil I. Bojaxiev vo 1978 godina ima po{i-
roko zna~ewe za makedonskata muzi~ka kultura i posebno za cr-
189
kovnoto peewe od slovensko-vizantiskata tradicija. So otkriva-
weto na ovoj rakopis se potvrdi visokoto nivo na crkovnoto
peewe na teritorijata na Makedonija i na negovite brojni pret-
stavnici, kako i faktot deka, iako vo ote`nati uslovi, be{e
odr`an kontinuitetot vo razvojot na psaltikiskata umetnost i
vo periodot po Prvata svetska vojna, koga so potpa|aweto na var-
darskiot del od Makedonija pod srpska vlast, vo makedonskite
hramovi be{e vovedeno srpkoto narodno crkovno peewe. Osven
toa, rakopisniot zbornik na Vasil Ivanov Bojaxiev sodr`i cela
niza dragoceni crkovni tvorbi od makedonski avtori, nepoznati
pred negovoto otkrivawe.
Rakopisot na Bojaxiev e pi{uvan na hrisantovata notacija
i na crkovno-slovenski tekst so voedna~eno ubav i ~itliv rako-
pis. Ovoj obemen zbornik ima 392 gusto pi{uvani stranici so po
17 redovi muzi~ki nevmi i tekst i gi sodr`i slednite posle-
dovanija na utrewata, ve~erwata i liturgijata:
- Site voskresni napevi koi se peat na voskresnata
ve~erwa i utrewa (na 8 glasovi);
- Posledovanie na voskresni eksapostilarii i utreni
evangelski stihiri;
- Preblagoslovena esi, Bogorodice Devo i kratki veliki
slavoslovija na (na 8 glasovi);
- Kosnokratki veliki slavoslovija na 8 glasovi;
- Kosnokratki troi~ni tropari na voskresna poluno}nica;
- Kratki troi~ni tropari;
- Blagosloven esi Gospodi, Angelski sobor (kratko i pro-
strano);
- Posledovanie na voskresnoto utreno evangelie;
- Psalm pedeseti, na vtori, sedmi i osmi glas;
- ^estwej{uju heruvim, na 8 glasovi;
- Svete tihij;
- Pet arhierejski mnogoletstvija;
- Na blagodarstven moleben, himna: Tebe Boga hvalim;
- ^etiri op{ti mnogoletstvija;
190
- Edine~ni i troi~ni Gospodi pomiluj;
- Podobija za stihiri, sedalni, kondaci na 8 glasovi;
- Podobija za svetilni na vtori i treti glas;
- Otca i Sina od vtori do osmi glas;
- Dostojno est na vtori, {esti i sedmi glas.
Interesno e da se napomene deka, re~isi, site slovenski
avtori na crkovna muzika koi{to se zastapeni vo ovoj zbornik
poteknuvaat od Makedonija: Jovan Kukuzel, Dimitar Zlatanov
Gradoborski, Kalistrat Zografski, Hristo P. Stojanov, Mana-
sij pop Todorov, Atanas Badev, Hristo [aldev, Petar Dinev i
Stamuli Zarkinovski. Od vizantiskite tvorci zastapen e samo
Petar Peloponeski.
Vo ovaa svoevidna antologija na makedonskoto crkovno-mu-
zi~ko tvore{tvo posebno se zna~ajni trite tvorbi na Kalistrat
Zografski Otca i Sina na vtori, peti i sedmi glas. Dvete
tvorbi na peti i sedmi glas, Vasil Ivanov Bojaxiev mo`el da gi
prezeme od zbornikot Liturgija, no, ostanuva nepoznato otkade
ja zemal onaa na vtori glas, bidej}i taa ne se nao|a vo zbornikot
na Kalistrat, nitu vo nekoja druga pe~atena psaltikija. So ova
Vasil Ivanov Bojaxiev ni dava zna~ajna informacija deka
Kalistrat Zografski vo zbornikot Isto~no crkovno peewe ne
gi stavil site svoi kompozicii. Od ova mo`e da se izvle~e
zaklu~ok, deka toj sozdal pogolem broj tvorbi od onoj {to ni e
poznat deneska.
Otkrivaweto na Psaltikiskiot voskresnik na Vasil Iva-
nov Bojaxiev vnese novi momenti i vo odnos na dilemite okolu
crkovno-muzi~koto tvore{tvo na Manasij na pop Todorov.
3
Ime-
no, spored misleweto na bugarskiot vizantolog od makedonsko
poteklo Petar Dinev (1889-1976), Manasij pop Todorov se nema
projaveno kako kompozitor, tuku samo kako izdava~ na psaltikii
i muzikou~itel. Do ovoj zaklu~ok Dinev do{ol po detalnata
analiza na zbornicite od pop Todorov izdadeni vo periodot od
3
Vizantologot Petar
Dinev e na mislewe deka Manasij pop Todorov ne ostavil
svoi muzi~ki tvorbi, tuku samo pravel korekcii na tvorbi od drugi avtori.
191
1905 do 1922 godina, kako i na zbornicite na drugite avtori,
izdadeni pred 1905 godina. Pritoa, Dinev konstatiral deka vo
nekoi tvorbi pop Todorov napravil nezna~itelni izmeni, so cel
melodijata podobro da ja izrazi smislata na tekstot ili da
korigira nekoi nepravilni akcenti.
4
Vo zbornikot na Bojaxiev,
koj{to e otkrien dve godi-ni po smrtta na Petar Dinev, Manasij
pop Todorov e zastapen so daleku pogolem broj tvorbi vo spored-
ba so drugite zastapeni avtori:
a) Veliko slavoslovie (12 tvorbi) na prvi, vtori, treti
(dva), ~etvrti, peti, {esto-sedmi, {esti, prvo-sedmi,
sedmi (dva) i osmi glas;
b) Otca i sina (2 tvorbi) na treti i {esti glas.
Vo vrska so ova, va`no e da se napomene, deka rakopisniot
zbornik na Vasil Ivanov pretstavuva eden od najobemnite i naj-
solidno napraveni, koi{to se pojavile na teritorijata na Make-
donija, i po{iroko. Vrz osnova na negovite sodr`ini, mo`e da se
zaklu~i, deka sostavuva~ot Vasil Ivanov Bojaxiev, osven {to
odli~no ja poznaval teorijata na hrisantovata notacija, bil do-
bro upaten i vo literaturata na isto~no-pravoslavnoto peewe,
osobeno vo onaa na slovenski jazik. Ottuka, mo`e da se pretpo-
stavi deka Vasil Ivanov dobro znael koi se avtorite na
tvorbite {to gi vklu~il vo svojot Psaltikiski voskresnik.
Spema toa, nema somnenie deka Manasij pop Todorov e navistina
avtor na zasta-penite tvorbi.
Dve od kompoziciite so koi{to Manasij pop Todorov e zas-
tapen vo zbornikot na Vasil Ivanov Bojaxiev (Otca i Sina na
treti i {esti glas), se pojavija vo ~etvrtoto izdanie na Krat-
kiot psaltikiski voskresnik (osmoglasnik) na Manasij pop To-
dorov, izdadeno vo 1992 godina od strana na Bugarskata pravo-
slavna crkva, kade{to se staveni kako dodatok na samiot kraj
na knigata (zaedno so u{te edna Otca i Sina na ~etvrti glas).
4
Pet r Dinev, Muzikou~itel top. cit. p. 8.
192
Interersno e toa, {to ovie tvorbi ne se nao|aat vo prvoto iz-
danie na Kratkiot voskresnik od 1905 godina. Mo`ebi avtorot
Manasij pop Todorov gi stavil vo nekoe od podocne`nite izda-
nija, otkade {to i gi prezel Vasil Ivanov Bojaxiev, ili pak toj
kako avtor, li~no mu gi dal na Vasila?
Ne treba da se zaboravi deka na Manasij pop Todorov, isto
kako i Vasil Ivanov Bojaxiev, vo Bugarrija se preselil kako voz-
rasen ~ovek, na koj sekoga{ se gledalo kako na dojdenec. Od druga
strana, toj so svoeto odli~no gr~ko crkovno-muzi~ko obrazova-
nie, sekako gi zagrozuval poziciite na domorodnite muzi~ki
avtoriteti. Za da gi smiri duhovite, Manasij pop Todorov
verojatno bil prinuden da pravi kompromisi od sekakov vid: vo
svoite psaltikii da stava tvorbi od razni bugarski avtori, koi,
kako {to ka`uva i Petar Dinev, samiot toj gi doteruval, a pod
sopstvenite kompozicii ne se potpi{uval. Dali ona koe{to od
nekoi pri~ini ne go pi{uval vo svoite knigi, li~no mu go
soop{til na svojot sonarodnik Vasil Ivanov Bojaxiev: deka toa
se, vsu{nost, negovi kompozicii?
Do pred 30 godini edinstvenata poznata tvorba na Dimitar
Zlatanov - Gradoborski be{e Dostojno est na osmi glas, koja{to
se nao|a vo zbornikot Liturgija od spomenatata antologija na
Kalistrat Zografski. Vo rakopisniot Psaltikiski voskresnik
na Vasil I. Bojaxiev se nao|a u{te edna kompozicija na Dimitar
Zlatanov-Gradoborski: Veliko slavoslovie na {esto-sedmi glas.
5
Nema nikakvi ukazanija kade i vo kakva verzija ja na{ol ovaa
kompozicija: ako ja na{ol na crkovno-slovenski jazik, toa bi
mo`elo da bide originalnata verzija na Gradoborski, no ako ja
na{ol na gr~ki jazik, prevodot bi mo`el da bide negov, na Vasil
Ivanov Bojaxiev.
Vo ovaa rakopisna psaltikija se nao|aat i kompozicii koi
nemaat oznaka za nivnite avtori. Ne e isklu~eno nekoi od ovie
tvorbi da se sozdadeni od samiot Vasil Ivanov Bojaxiev. Od ovoj
5
Bojaxiev, Ivanov, Vasil, Psaltikien voskresnik, M. IV 1862 (kopija). Narodna i
univerzitetska biblioteka Sv. Kliment Ohridski, Skopje. p. 295.
193
aspekt, interesno e da se odbele`i, deka vo site tvorbi zasta-
peni vo Psaltikiskiot voskresnik, koi{to gi prezel od razni
pe~ateni psaltikii, Vasil Ivanov napravil pomali ili pogo-
lemi izmeni i ispravki od sekakov vid: od onie na pe~atnite
gre{ki, do ortografskite nedoslednosti, kako i razni interven-
cii od meloritmi~ka priroda so cel melodijata podobro da ja iz-
razi smislata na tekstot ili da bide soobrazena so akcentira-
nite slogovi. Seto toa toj go pravi prefineto i so izvonredno
poznavawe na teorijata na crkovnoto peewe od slovensko-vizan-
tiskata tradicija. Od ovie pri~ini, za ovoj zbornik mo`e da se
ka`e deka vo golema mera ima i avtorski karakter.
Psaltikiskiot voskresnik na Vasil Ivanov Bojaxiev
pretstavuva sinteza na site voskresnici koi se pojavile vo pret-
hodniot period. Vo nego uspe{no se sintetizirani iskustvata i
soznanijata na makedonskite muzi~ki dejci od XIX i XX vek, kako
{to se Dimitar Zlatanov - Gradoborski, Joan Harmosin Ohrid-
ski, Kalistrat Zografski, Manasij pop Todorov, Andon [ahpas-
ki i drugi. Kako {to e spomnato ponapred, svojot Psaltikiski
voskresnik Vasil Ivanov Bojaxiev zapo~na da go sozdava vo
periodot neposredno po Prvata svetska vojna, koga crkovnoto
peewe od vizantiskata tradicija be{e isfrleno od upotreba od
makedonskite hramovi i be{e vovedeno t.n. srpskoto narodno
crkovno peewe, pove}e poznato kako mokraw~evo peewe. Mo`ebi
tokmu od ovie pri~ini vo celiot ovoj dramati~en period nasto-
juval da se vrati vo Makedonija. Iako vo tatkovinata se vrati
relativno docna, duri vo 1941 godina, Vasil Ivanov Bojaxiev
nastojuvaj}i da go obelodeni svojot Psaltikiski voskresnik,
vsu{nost saka{e da ja poka`e silata na na{ata mileniumska
tradicija i dlabokite koreni na crkovnoto peewe od slovensko-
vizantiskata tradicija na teritorijata na Makedonija.
Ortografijata na Vasil Ivanov Bojaxiev
194
Osven so bogatstvoto na muzi~kite sodr`ini, Psaltikiski-
ot voskresnik vnimanie privlekuva i so ortografijata koja{to
ja zastapuva Vasil Ivanov Bojaxiev vo svojot zbornik.
Imenuvaweto na glasovite Vasil Ivanov Bojaxiev go pravi
poednostaveno i vo soglasnost so slovenskata varijanta na imiwa-
ta na glasovite. Poa|aj}i od faktot deka vo slovenskata termino-
logija glasovite se pi{uvaat: a*, v*, g*, d*, e*, *, z*, n*, ili so arapskite
broevi: 1, 2, 3, 4, 5, 6, 7, 8, a vo gr~kata: avtenti~nite glasovi se
pi{uvaat: . p. . . (od prviot do ~etvrtiot), a plagalnite q. qp.
q. q. (od pettiot do osmiot), proizleguva deka vo slovenskoto
pi{uvawe na glasovite nema potreba od kratenkata q '/;', i
deka taa mehani~ki e prezemena od gr~kata terminologija.
Ottuka, pri obele`uvaweto na t.n. plagalni glasovi so svoi-
te specifi~ni znaci (klu~evi), Vasil Ivanov ne ja pi{uva
kraten- kata q. Osven ova ima i nekoi drugi otstapuvawa: za
pettiot glas namesto voobi~aeniot klu~ , go upotrebuba onoj na
prviot glas: = , a pred tvorbite na vtoriot glas voop{to ne go
stava klu~ot (), tuku samo negoviot osnoven ton (tonika) i
modulativniot znak (ftora) na glasot: . Potoa, ne koristi slo-
venski redosled na broevite na glasovite, tuku arapski, ili opis-
no: prvi, vtori,treti, ~etvrti, petti itn.
Mnogu posu{tinski se ortografskite otstapuvawa koi{to
se javuvavaat kaj Vasil Ivanov Bojaxiev pri pi{uvaweto na mu-
zi~kite znaci. Eve nekoi pokarakteristi~ni:
Koga pod nekoj ton se postaveni antikenoma i apli (to~ka),
spored ortografijata na isto~noto crkovno peewe, po nego treba
195
da sleduva nekoj nadolen intervalski znak so ili bez gorgon, koj
ne dobiva poseben slog od tekstot, tuku se pee vrz onoj na pret-
hodniot ton. No, vo pobavnite melodii Vasil Ivanov Bojaxiev
postavuva slog od tekstot i pod nadolniot ton koj{to sleduva po
tonot so antikenoma i to~ka (apli):
i zm - l sla- v Tvo- -
Pravilo e, varija da se pi{uva pred sekoj par od apostrofi
(so ili bez gorgon), ako se peat na eden slog od tekstot. Sprotivno
na ova, vo napevite od irmolo{kiot vid Vasil Ivanov Bojaxiev
~esto stava varija i pred dva apostrofa koi se peat so posebni
slogovi od tekstot:
i nhsty vz-ska-i d$ - $ mo- .
Koga nekoj nadolen ton ili ison e postaven so dve kentimi
vrz oligon ( , , ?), po niv treba da sleduva nekoj nadolen
intervalski znak ili ison. Vo sledniot fragment Vasil Ivanov,
po grupiranite apostof i dve kentimi ( S ) vrz oligon, prodol-
`uva so nagoren znak oligon so klazma (k).
i - li_______ raz - dh - l - - n` - .___
Spored t.n. zakon za privlekuvawe na tonovite, nekoi to-
novi koga se dvi`at nagore se prirodni, a koga se vra}aat nadolu
196
se sni`uvaat. Vo svojot rakopisen zbornik Vasil Ivanov Bojaxi-
ev ~esto ne gi obele`uva sni`uvawata so soodveten znak, bidej}i
toa se podrazbira. Vo sledniot fragment prvoto pojavuvawe na
tonot Zo po tonot Ke () e prirodno, a vtoroto (nad slogot d$)
treba da e sni`eno (u), iako vrz nego ne e staven znak za sni-
`uvawe.
Gla- -som mo- im ko Go - spo- d$ voz-zvax.
Vo slu~aite, koga treba da se prekine istiot samoglasnik
ili soglasnik so koj{to zavr{uva eden zbor i zapo~nuva drug, za
da ne se spojat dvata zbora, obi~no se pi{uv stavros (krst). Vo
takvi situacii Vasil Ivanov Bojaxiev stava pauza od polovina
udar (takt):
Si_______ i pr - - jd___si
Koga napevot zapo~nuva so nenaglasen slog od tekstot (na
slabo vreme), Vasil Ivanov Bojaxiev na po~etokot na napevot
stava pauza od eden takt (udar):
Vo - sta - ni Go-spo-di Bo- j moi,
197
Vo svojot Psaltikiski voskresnik Vasil Ivanov Bojaxiev
upotrebuva golem broj razli~ni varijanti na kadenci koi{to se
interesni od ortografski aspekt. Eve nekolku na vtoriot glas:
Od sevo {to e izneseno za ortografijata na Vasil Ivanov
Bojaxiev proizleguva deka toj ne samo {to odli~no ja poznaval
gramatikata na isto~noto crkovno peewe, tuku, potpiraj}i se na
svoeto dolgogodi{no iskustvo kako psalt i u~itel, se obiduva da
ja poednostavi nejzinata ortografija, vnesuvaj}i nekoi novi oz-
naki, ili izostavuvaj}i nekoi od stariot sistem koi{to so
tekot na vremeto go izgubile svoeto zna~ewe. Ova osobeno se
odnesuva za slovenskata varijanta na isto~noto crkovno peewe,
koja{to vo 19 vek na teritorijata na Makedonija i po{iroko ja
sozdavale i preku svoite psaltikiski zbornici ja pretstavuvale
pove}e generacii crkovno-muzi~ki tvorci.
198
199
Part two
REPRESENTATIVES
OF THE CHURCH SINGING
IN (FROM) MACEDONIA
200
201
I.
Dimitar Zlatanov-Gradoborski (cc. 1800-1887)
By the middle of the 19th Century, with the development of the social,
political and cultural environment in Macedonia, the first sprouts of the
Macedonian bourgeoisie appear. Some of its more reputed representatives
already show the first signs of national awareness. They vocally express their
views on the need to get rid of the Greek influence, which had already con-
quered all social, political, religious and educational spheres in Macedonia.
With the strengthening of the young Macedonian civic society and its
intelligence, a movement against the use of the Greek language in schools
and at church emerges. This trend was also taken advantage of by the
Macedonian educated citizens to focus on the necessity to re-establish Ohrid
Archbishopry.
This determination, which with time developed into an organized fight
for an autonomous church, reached its peak in the sixties, thus marking the
beginning of the Macedonian National Enlightment. In a large number of
settlements and towns around Macedonia church and school communities
were established. They served to the open fight against the assimilation
policy of the Constantinople Patriarchy. However, due to the activities of
both external and internal factors, the efforts of the Macedonian citizens to
establish their own individual church remained fruitless. In fact, as a result of
some cultural and social circumstances, these efforts were joined with the
similar battle fought by the Bulgarian bourgeoisie.
More numerous and financially stronger, since its development had
been rather advanced, the Bulgarian bourgeoisie eventually managed to
identified the Macedonian issue with its own the Bulgarian, presenting it as
a determination and desire of the Macedonian nation for acquiring a common
national church. Thus, for the majority of the Macedonian people, who with
202
the 1870 Constantinople Exarchate belongs under its jurisdiction, this prac-
tically only meant a change of one clerical power with another.
Although the fight of the Macedonian people for establishing its own
state and church did not result into the expected outcome in this historical
period, the spirit of the Ohrid Archbishopry, which was abolished in 1767,
remained to live on in the people and their spiritual leaders. It was in fact the
everlasting spring from which the moral strength was sucked for the support
of the Enlightment and the revolutionary movement for liberating the Mace-
donian people from the political and spiritual slavery and in favour of its
independent and cultural development.
Among the supporters of this Enlightment ideas for returning to
Macedonian own cultural values, the national speech and church service in
Church Slavic language in the spirit of Clements tradition, we can also see a
large number of representatives of the church life in Macedonia. Some of
them have a very important role both in the development of the church
singing of the Byzantium and Slavic tradition, and in the accomplishment of
the centuries-old national ideals. One of the most significant representatives
of the eastern church music, who was devoted to the National Enlightment in
Macedonia in the middle of the 19th Century and became a leader in the
fight for allowing the Slavic language in the church service was Dimitar
Zlatanov Gradoborski.
Slavic and Greek Sources
The evidence on Dimitar Zlatanovs life and activities is scarce. The
literature from the Enlightment period offers very little date on this person.
By quoting an article in Thessalonicas Right of 1873, Ivan Snegarov in his
book (Solun vo blgarskata duhovna kultura) of 1937 mentions
Thessalonica protopsalm Dimitrij Bulgaraki
1
. For the time being this is
the first written trace in a Slavic book on Dimitar ZlatanovGradoborski.
The first more comprehensive text on Gradoborski is Hristo Shaldevs
Dimitar Zlatanov Gradoborceto, published in 1939.
2
Some twenty years
1
Snegarov, I(van), Solun vo blgarskata duhovna kultura,
Pridvorna pe~atnica, Sofi, 1937. p. 85.
2
[aldev, Hristo, Dimitar Zlatanov Gradobor~eto, sp. Naroden Stra`, br. 3,
203
later Petar Dinev, Bulgarian Byzantium scientist of Macedonian origin
devotes some space to Dimitar Zlatanov in his study entitled Pro~ui
crkovni ei-bgari.
1
In the Macedonian music science the only text
on Gradoborski was published by Dragoslav Ortakov in 1981.
2
While the Slavic Byzantine music researchers in the entire 20th
Century were undivided in the opinion that Gradoborskis work was lost, the
Greek sources say that in 1886 Dimitrios Voulgaraki (the pseudonym under
which Gradoborski is known in the Greek historiography) published in
Thessalonica his Psalt Manual '!x/ !~([/'. The oldest
Greek source of evidence about Dimitar Zlatanov is the book of the Con-
stantinople historian Georgios Papadopulos called Contributions to the His-
tory of Church Music (,p/ ~; ) ( ( ), ~xx/)
x); ,x);) dating from 1890,
3
which is also quoted by contem-
porary Greek Byzantium researchers: Antonios E. Aligizakis,
4
Olimpia N.
Tolika,
5
and Georgios I. Hayiteodoros.
6
Gradoborskis Life
Dimitar Zlatanov Gradoborski was born in the village of Gradobor
near Thessalonica at the end of the 18th Century or the beginning of the 19th
Century. He attended elementary school in Greek language in his village.
When he mastered the basics of eastern church singing in the local church,
Dimitar left for Thessalonica where he was immediately noticed by the
public for his excellent voice and singing. He continued to study music in
Sofi, 1939.
1
Dinev, Petr, Pro~ui crkovni ei-bgari, s. Bgarska muzika, br.1.
Sofi, 1963. p. 29-33.
2
Ortakov, Dragoslav, Ogledi za vizantisko-slovenskata muzika vo
Makedonija, Vorlbuk, Skopje, 2001. p. 113.
3
/;. !. ,p/ ~; ) ( ( ), ~xx/)x);
,x);. ! ^');. 1890, p. 486.
4
^/x);. ! ^w;. M~/), x)~w /~(x);.
!x~; ! =~). U~/x). 1992. p. 33.
5
/x. ^ U/,. !, !xx/~x /~x ); p); ,x);
!(wx x~( ~);. ^'). 1993.
6
`)'~w(. ! !~w(;. !p/( ); p); ~xx/)x);
mousikh~j, Per. A '1820-1899' ((x (, ~(xw ,~/~w
U~/x). 1998. p. 177-178.
204
Constantinople at the Patriarch School, his teachers being Hrisant, Grigori
and Hurmuzi, eastern church singing reformers and well known as The
Three Teachers, in the period between 1815, when it was established and
1821, when it was temporarily closed.
Dimitar Zlatanov - Gradoborski was gifted with an unusually strong,
high and beautiful voice. His fame as a great church singer (psalt) from
Thessalonica was transferred around the whole Empire, even as far as Asia
Minor. He composed a large number of songs which, as Risto Saldev says
could be sung only by the most talented and trained church singers.
Gradoborski, who was among the first to begin the fight against the
use of the Greek language in Slavic churches, was completely disappointed
with the Exarchate. His expectations that it will be all Slavic, and not
Bulgarian church, were deceived. These circumstances, and primarily the
prohibition of his collection of songs Psalt Manual in 1886 by the
Constantinople Patriarchy were a stroke for the already aging Dimitar
Zlatanov which he could not survive. He died in 1887 in Thessalonica.
Music Collection
I began the search for Dimitar Zlatanov-Gradoborskis Collection after
I discovered two short pieces of information in a book by two Greek
Byzantium researchers Antonios E. Aligizakis and Georgios I. Hadziteodo-
ros, according to which the Collection by Vulgarakiss (Gradoborski) is cal-
led Psalt Manual ( !x/ !~([/) and contains a an annual
schedule of the church services: morning prayer, evening prayer and liturgy.
The Collection was published with the consent of the Education Council in
the printing house called Makedonia, in Thessalonica, in 1886 and was
dedicated to Grigorios Kalidis, Thessalonica Metropolitan of the time and a
strong supporter of church singing with Byzantium tradition.
In his work, Hadziteodoros also states the evidence that the Collection
included unpublished compositions by Dimitrios Vulgarakis (Gradoborski).
Hadziteodoros ends the short description of the Psalt Manual with the infor-
mation that the Collection was not approved by the Constantinople Pa-
triarchy. Metropolitan Kalidis was ordered to take any necessary measures to
eliminate the book, i.e. obstruct its use in the church schools.
205
Antonios E. Aligizakis, confirms the same information on the
prohibition of the Psalt Manual as well as the fact that it contained numerous
songs by Dimitrios Vulgaraki. Algizakis stated the reasons behind the prohi-
bition of the Patriarchy as being the character of the songs: sometimes they
were European, and sometimes in the Arabic and Persian macamis, i.e. were
not in the spirit of the Greek church singing.
Thessalonicas Singing School
The process of re-establishing the Slavic language in the church servi-
ce can be best comprehended through the life and music of Dimitar Zlatanov
- Gradoborski. Going through the process of national self-identification him-
self and feeling the resistance of the people against the long spiritual slavery
and assimilation policy of the Constantinople Patriarchy in the period bet-
ween 1840 and 1860, when he was in the zenith of fame, Gradoborski stood
on the side of the Enlightment and began to use the Slavic language in his
music.
In order to encourage and accelerate the process of reestablishing the
Church Slavic language in the church service, he translated a large number
of Greek church songs into Slavic language. For the same purpose he gathe-
red young church singers of Slavic origin around himself and trained them
with the skill of eastern orthodox singing in Slavic language. With this he lay
the basics of the Thessalonica Singing School, which will be the source of
numerous well trained church singers.
Hristo pop Mitrev, one of Gradoborskis students and an experienced
church singer in the old church in the village of Gumendze, was the first to
begin singing Gradoborskis songs translated into Church Slavic language.
Later Reverent Mitrev was joined by other Gradoborskis students who kept
on singing the songs by their beloved teacher. The names of Petar and Ivan
Dimitrov from the village of Zerovo (Greek ^x/). the Eparchy of
^x) are mentioned among the traditional singers in the Cathedral
Church of Saint Nedela in Sofia.
1
1
Dinev, Petr, Pro~uiop. cit. p. 30-31.
206
Among Gradoborskis students of Greek origin are the names of
Dimitrios Papadopulos, born in Thessalonica and famous for being among
the first in Greece to write a church song with European style and Teoharis
Hrist. Jerojanis, famous as the Athenian Doctor (Greek !( ^')w),
otherwise an opposition against the introduction of European music in
Athenian churches.
1
Gradoborskis students: Hristo pop Mitrev, brothers Petar and Ivan
Dimitrov and others in the early 70s are the main carriers of the Enlightment
activities in the towns around the Aegean part of Macedonia. We can here
come to the conclusion that Dimitar Zlatanov did not transfer only the skill
of church singing to his students, but also encouraged the process of their
national self-identification.
Conclusion
Today, when after 120 years Gradoborskis Collection appeared with
dozens of church songs, it is clear that the true reason for the prohibition of
this Collection by the Patriarchy does not lie in the stylistic features of the
songs, but rather their authors determination to work for the benefit of the
Slavic Enlightment and singing the church service in Slavic language. It is
obvious that the prohibition of this book immediately after it was printed in
1886 is actually only a consequence of the previous anathema on the
outlaw author.
In spite of the information that the contemporary music science has
gathered, the life and work of Dimitar Zlatanov Gradoborski is still insuf-
ficiently clarified. The Byzantium researchers need to continue their efforts
in order to clearly determine his role in the development of the eastern
church singing and the process of the national self-identification of the
Macedonian nation. Until then a large number of questions will remain
unanswered.
I am going to finish this paper by trying to answer at least one
question: Which were Dimitar Zlatanovs true motives to publish his monu-
1
,/);. M );. =),)(; !/(x); (scr.)
207
mental Collection in Greek at the end of his life: was it to rehabilitate with
the Greek church public, enhance his financial situation or perhaps?
It is most probable that another thing is in question! As I have already
stated above, Gradoborski was one of the greatest psalts in the eastern
orthodox region. In the second period of his career when he completely
recognized his national self-identity, he began to sing in Slavic language, a
debt he owed to his Slavic origin, but he never gave up singing in Greek. He
acquired fame and a large number of supporters by singing in Greek. By
printing his monumental Psalm Manual in Greek he wanted to let his
enemies know that he loved them, as he loved their wonderful Greek
language. This was the only way in which Dimitar Zlatanov Gradoborski
could also exercise the right to love his own Slavic origin and the language
of the saints Clement and Naum of Ohrid.
208
I.
Naum Miladin (1817-1897)
After the adoption of the new system of neumatic notation that was
promoted in the beginning of the 19
th
century by Hrisant, Hurmuzij and
Grigorij, a circulation of music manuscripts was incited in Macedonian
spiritual circles with the notation in Greek language. That fact imposed the
need for learning the new, simpler music notation. One of the first, among
the few in that period in Macedonia who had material opportunities but were
also gifted to undertake the study of Eastern Church music was Naum
Miladin.
His Autobiography and the text `The unknown activity of the
musicologist Naum Miladinov` by Petar Chakar, that was published in the
newspaper `Nova Makedonija` in 1972 are the sources for the life and
musical activities of Naum Miladin. From them we can see that Naum
demonstrated unusual musical talent. It is interesting that during his stay in
Durus (Drach, todays Albania), where he used to work for a certain Italian
firm, his musical talent was remarked by a group of Italian musicians, and
aided by them he quickly managed to learn the western musical notation.
Naums musical talent and his pleasant voice were remarked by the
Metropolitan in Janina (at a concert that was held in his honour), and he
recommended to the director of the gymnasium in Janina to send Naum to
the High spiritual academy on the island of Halki, near Constantinople.
Naum Miladin had the opportunity for profound mastering of the
theory of the Eastern Church singing at that high educational institution
where he joined several years later (in 1841). Following the pattern of the
short grammars of the east church singing, that are often met in psalm
209
collections, Naum wrote a short manual for church singing. One can suppose
that the manual was written immediately after his returning to Ohrid, where
he started to work as a teacher of Greek and established a school for study of
church singing according the new system of Hrisant. That school of Naum
Miladin, the oldest known of that kind on the territory of Macedonia
produced a number of church singers and connoisseurs of the neumatic
script, and they continued their activities across Macedonia.
1
The Manual for church singing by Naum Miladin was written in
Greek language in 1843, and so far is the oldest preserved manuscript that
was used for study of the Hrisants music notation on the territory of
Macedonia. Its value is undisputable, since it confirms the fact that schools
where the new notation of the east church singing was studied existed on the
territory of Macedonia.
The melographic activity of Naum Miladin is also worth noting. There
is a number of indications that he was the first melograph in Macedonia.
Data say that following the advice of the known Russian slavist Viktor I .
Grigirovich, who was in Struga in 1845, Naum undertook to collect and
melograph folk songs. It can be supposed that the printing of those songs
recorded by Naum Miladin in the Collection of folk songs by his brothers
Dimitrija and Konstantin was avoided after the urging of the bishop Jurij
Shtrosmaer (due to the counter-union attitudes expressed by the melograph),
under the pretext that they could be published in a separate publication.
2
Although the melographic activity of Naum Miladin is not supported
by any kept music manuscript or printed book, there is no doubt that he
transferred his skills and knowledge for such a musical activity to many
disciples that went through his music school. According available data, a big
number of well-known names of musicians came out of the school run by
Naum Miladin, among whom was Krstan Sandzak, later remarkable
representative of Macedonian church singing, better known by his monks
name Kalistrat Zografski and Georgi Hristidis (Georgi Pop-Hristo
Ikonomov), who later married Dimitrija Miladinovs daughter.
* * *
1
Ortakov, Dragoslav, Ars nova op. cit. p. 112.
2
Ortakov, Dragoslav, Ars nova ibidem. p. 58.
210
Since I will refer to Kalistrat Zografski in more detail a bit later, I
would like here to stress shortly that beside other activities that are
significant for the National Renaissance he will remain known as the
founder of the town church choir in Struga in 1863. A manuscript containing
Hrisants music notation (written in Greek and churchSlavic language with
Greek transcription) is kept from that period. In that significant manuscript
made in 1853 which is a rare document and valuable testimony regarding
the practice of church singing on the territory of Macedonia in that time
there are church works by Jovan Kukuzel, Jovan Protopsalt, Petar Lambardij,
Konastantin Protopsalt and others.
1
Having in view what is said about Georgi Pop-Hristo Ikonomov, like
that stated below about Kalistrat Zografski, one can conclude that disciples
gained good knowledge in the school of Naum Miladin, and it helped them
undertake any kind of music activities. Later results of their music activities
convincingly proved that.
1
Golabovski, Sotir, Makedonska muzika/1 op. cit.. p. 47-48.
211
III.
Kalistrat Zografski (ca. 1820-1913)
What is available to the Macedonian music science on the life of
Kalistrat Zografski, one of the most remarkabile representatives of the
church singing in Macedonia in the second half of the 19
th
century is very
scarse. Born in Sruga, with secular name Krstan Sandzhak, most probably
in the period between 1820 and 1830. Hi finished the elementary school on
Greek language in his native city, but it is unknown were did he continue
with his education. There are information that he attended Naum Miladins
Music School and that he was a Greek language teacher in Struga.
The earliest written trace that Kalistrat left for himself was the
manuscript Psaltikia in 1862, faund in 1982 in the village Lazaropole. The
basic value of this manuscript is within the fact that it is written by Krstan
Sandzhakovich, the future great musician and revivalist, as well as within
the fact that the titles are written on Macedonian colloquial language.
1
The
manuscript is a transcription of the psaltikia by the Bulgarian composer and
publisher Nikola Trendafilov Cvetosobranie (Flower Collection), the
first published book with Hrisantes notation and on the church-Slavic
language, printed in Bucharest in 1847.
2
By that, Kalistrat Zografski left us
aconvincing argument on the extension of the Hrisantins neumatic
alphabet on Macedonian territory.
The Macedonian musicology also has very scarce data on the
following period of Kalistrat Zografskis life after he left Struga and went
to Athos (Saint Mountain) where already a growup man he became a
1
Georgievski, Mihailo, Makedonska muzika/ 5, Kratok opis na ~etiri
novootkrieni muzi~ki rakopisi od 19-ot vek, Skopje, 1982, p. 83.
2
Trendafilov, Nikola, Cvtosobranie, Bukur, 1847.
212
monk. The fact is statedthat he became anarchimandrite of St. Georgi
Zografski Monastery, where he lived to a ripe old age. He died in 1913.
Today residents of the St. Georgi Zograf Monastery mention his
name with a deep respect. Each generation of monks transfers the memories
of the most famous archimandrite of this monastery who, by his restless
work and devotion became famous among the orthodox people even during
his life.
The second written trace of Kalistrat Zografski is in the prelude to
the collection Psaltiki Liturgy by Manasiy pop Todorov. Thanking all those
who helped the publishing of his book, Manasiy exaltedly writes abaut the
letter that the brotherhood of the Holy Zograf Family sent to him,
supporting his noble initiative andanswering his plead by sending him 5
golden Turkish liras. And they do that in the period when they also publish
psaltik books! ...Really, what a highly noble, truly Christian act, exaltedly
cries Manasiy pop Todorov in the prelude of his book, published in Sofia in
1905.
Out of this a conclusion may be that Manasiy was pretty familiar
with Kalistrat Zografski and the Zograf monks music activity, and
probably with their collection in four volumes Eastern Church Singing, too,
which appears the same year, immediatly before his Psaltiky Liturgy was
published. Although Manasiy pop Todorov doesnt mention this name, it is
beyond doubt that this noble act was Kalistrates, who was at the time
archimandrite of the St. Georgi Zograf Monastery.
Apart from these written traces of Kalistrat Zografski and the oral
information, no other fact of his life are discovered. Based on the short and
scarce notes in some Bulgarien books of the later periods, as well as on the
content of his psaltki publications, in may be concluded that Kalistrat
Zografski developed a wide and abundant theoretical, composing, transla-
ting and publishing activity in the St. Georgi Zograf Monastery. As a result
to this long-standing creative work along with the Zograf monks, in 1905
they publish the hereinabove collection of four books, which provided for a
great respect among the music circles. In this context the famous Bulgarian
theoretician Petar Sarafov (1850-1915) is mentioned. Immediately before
the printing of his book Manual for Practical and Theoretical Studying of
213
the Eastern Church Singing (1912, Sofia) and in order to resolve certain
musical-theoretical dilemmas, he went to Sveta Gora to consult the
prominent Yeroshimonah Kalistrat Zografski.
1
The Bulgarian theoretician Mircho M. Bogoev in his Text Book on
Eastern Singing (published in Sofia, 1940) deems Petar Sarafovs book as a
most detailed clearing of the theory of eastern church singing ever
published.
2
This is important to the Macedonian music, since such a great
theoretician as, beyond doubt, was Petar Sarafov respected Kalistrates
person and his knowledge of the eastern church singing. Mircho Bogoev in
his work also mentions the collection Eastern Church Singing, emphasizing
that it was prepared by the monks of the St. Georgi Zograf Monastery,
headid by the great Yeromonah Kalistrat.
3
The famous Bulgarian musicologist, byzantologist and composer of
Macedonian ethnic background Patar Dinev (1889-1980) in his theoretical
work Rkovodstvo po svremenna vizantiska nevmena notaci
(Manual to the Contemporary Byzntine Neumatic Notation, Sofia, 1964),
uses the Kalistrates collection Eastern Church Singing as a basic expert
literature.
4
This edition of the Eastern Church Singing appears in two versions:
one in three books, entitled 1. Resurrection Songs; 2. Evening and Morning
Songs; and 3. Liturgy, published in 1905 in Thesalonica by the Samardzhi-
evs bookshop, and the second one in four books, entitled: 1. Resurrection
Songs; 2. Aniksandari; 3. Evening and Morning Songs; and 4. Liturgy,
published by the St. Georgi Zograf Monastery the same year. However, the
both editions have identical graphic solutions of the pages, only the names
of the publishers are different. On both cover pages is written that the books
have been edited by the Zograf church singers, while the Kalistrates name
is not mentioned. But, beside that, whenever when this monumental music
collection is mentioned all musicologists and byzantologist emphasize the
primary role and merit of Kalistrat Zografski during its creation.
1
Ortakov, Dragoslav, Ars nova op. cit. p. 120.
2
Bogoev, Mir~o, U~ebnik op. cit. p. 105.
3
Bogoev, Mir~o, U~ebnik ibidem. p. 105.
4
Dinev, Petr, Rkovodstvo po svremenna vizantiska nevmena notaci,
Sofi, 1964.
214
The music content of this church-music anthology present a wide
ground upon which a comprehensive recview of the entire musical activity
of Kalistrat Zografski and his life can be made. Apparent is his voluminous
engagement in the realization of this monumental church-music work: as a
theoretician, editor of the entre publication and as a translator of large
number of melodies from Greek language and to a smaller extent from
Romanian language to Slavic. All these leads us to a conclusion that this is
a comprensive, spiritually rich person with an enormously wide general and
musical culture and with inexhaustible creative energy, in spite the fact that
this work was created in his older age.
The fourth part of the collection Eastern Church Singing, entitled
Liturgy is of a particular significance to the Macedonian music culture, due
to the works by authors from Macedonia: Dimitar Zlatanov-Gradoborski,
Yoan Harmosin of Ohrid (1829-1890) and Kalistrat Zografski. Regarding
Kalistrats works, judging bytheir frequent presence in various transcripts
of psaltiki collections,some of which have appeared even before the
publishing of thiscollection, one may conclude that there was a great
interest for them among the church singers.
Kalistrat Zografski and the Zograf monks Liturgy wasmentioned by
the Slavic musicologists and Byzantologists for a long time, due to fact that
it contains Dimitar Zlatanov-Gradoborskis work Dostoyno Est in eighth
voice
1
which was for a long time considered as the onlypreserved work by
this great musician of the revial period. On the grounds of this composition,
which bears the name of the author: Dimitriya Vulgaraki Gradoborskago, it
may be concluded that Kalistra knew perfectly well who Gradoborski is. It
may be assumed that he even possessed Dimitar Zlatanovs collektion A
Manual for Psalt,
2
forbidden by the Constantinople Patriarchy, from where
he took and translated rhe hereinabove work.
In the same psaltikia Yoan Harmosin of Ohrid is present with
eusharistic song Body of Christ in first voice, which Kalistrat placed among
the works of Georgiy of Crete, Petar Lambadaryi Peloponnesus and
Grigoriy Protopsalt of Levant, the three creators that are among the greatest
1
(Arximandrit Kalistrat), Vostocno qrkovno phnie, Solun, 1905.
2
!/(x). =),)(;. !x/ !~([/. Mx~. U~/x). 1886.
215
names of eastern church singing of all times.
1
By this, Kalistrat Zografski
expresses his respect towards Yoan Harmosin of Ohrid in a very direct
manner.
In the fourth part of the collection Eastern Church Singing, entitled
Liturgy, Kalistrat Zografski among the other things also includes 24 works
of Dostoyno Est, three per each voice. The authors of this composition
come form various ethnic backgrounds: Greeks, Romanians, Slavs, etc.
Kalistrat himself signedonly two compositions: Dostoyno Est in first and in
fourth voice and, course, as a translator of all works presented in this
collection.
In this context, the compositions Dostoyno Est in first, sixth, seventh,
and eighth voice by the Romanian composer Shimonah Nektarie (1804-
1899) deserve special attention.
2
There is a note on these songs reading that
they were translated by Kalistrat Zografski.
1
(Arximandrit, Kalistrat), Vostocno qrkovno op. cit. p. 246.
2
(Arximandrit, Kalistrat), Vostocno qrkovno ibidem. p. 115.
216
IV.
Joan Harmosin-Ohridski (1829-1890)
The period in which Joan Harmosin-Ohridski prepared and published
his collection of Eastern Christian Orthodox chants Pashalia, was filled with
especially important events in Macedonia which helped the National
Renaissance reach a particularly dramatic phase. Early signs were the
publishing of Collection of Folk Songs by Dimitar and Konstantin
Miladinovci, in 1861 in Zagreb and their tragic death in the following year,
in a Constantinople jail, as well as the ap-pearance of the first textbooks
written in Macedonian language. It is also known as a period of intensified
movement against the spiritual and economic slavery and it acquired the
character of an organized massive resistance against the authorities of the
Constantinople patriarchy
1
. Initially resistance against the use of the Greek
lan-guage in the churches and the schools, the fight soon spreads against the
attempts to force the use of the Bulgarian language in Macedonia. The very
appearance of Harmosins collection Pashalia, first of its kind written by a
Macedonian author on the language of the Slavs, reflects the strong
aspirations for the realization of the century-old ideals for an independent
cultural development of the Macedonian people.
Harmosins life
Joan Harmosin-Ohridski, whose secular name was Ivan Genadiev, was
born in Ohrid in 1829 in a ministerial family. He attended a Greek primary
school in his own town and high school in Bitola and Constantinople. As
many other rich Macedonians from that time, who had solid background and
knowledge of the Greek language, Ivan Genadiev continued his further
1
Koneski, Bla`e, Za makedonskiot literaturen jazik, Kultura, Skopje, 1967. r. 158.
217
education on the Faculty of Philosophy in Athens. His literary attempts date
from that period. He wrote poetry and other literature in Greek and drew
attention as a talented poet. It is well known that together with his friend, the
well known Grigor Prlicev, published the collection of riddles, written in
verse, known as Sfinks. As proof of his talent for literature it should also be
noted that in 1859 Ivan Genadiev published a comedy written in verse.
Besides this, a clear sign of his later decision to become a psalmist is the fact
that among his faculty colleagues the young Ivan Genadiev was known as a
singer with an unusually pleasant voice.
After the completion of his studies Ivan Genadiev worked as a church
employee. There is information that, when his father was appointed a Debar
Metropolitan with a religious name Genadij (1864-1867), Ivan became his
secretary. In order to be able to correspond with the priests from the Debar
eparchy and to take more active part in the religious services, Ivan Genadiev
stayed in the monastery Precista near Kicevo, where he mastered excellently
the church Slavic language. Here he also taught his students Orthodox chant
singing. Concerning this, it has been stated that, for the need of his students,
Ivan Genadiev wrote songs in Macedonian language.
1
Considering closely the situation of chant singing on the territory of
Macedonia, as well as the practical needs of church music literature written
in Slavic, Ivan Genadiev started intensively, during this period, to translate
music works from Greek to Slavic language. This work, most probably, also
inspired him to compose chants. Later, he included these compositions in his
collections. Parallel to this activity, but with the same aim, he also started
collecting melodies passed orally from generation to generation. These me-
lodies, according to his findings, drew their roots from the older traditions of
church music in Macedonia. The result of this activity are the Ivan Gena-
dievs two collections of chants Resurrection (Anastasimatar), which, un-
fortunately, is lost, and Pashalia, printed in 1869 in Constantinople. Its
author, for the first time, signed himself as Joan Harmosin-Ohridski. Besides
the chants found in this collection, he had also composed a number of mar-
ches and popular songs.
2
1
Stoilov, Anton, P. B lgarski kni`ovnici ot Makedoni , 1704-1878, s 11 portreta,
Sofi , 1922. p. 64.
2
Leksikon jugoslovenske muzike, Zagreb, 1984, p. 260.
218
As a result of their activities in the field of national awakening of the
Macedonian people from the region of Debar, the Bishop Genadij and his
son Joan Harmosin had certain conflicts with the Constantinople Patri-
archate. The Metropolitan Venedikt from Bitola regularly informed the
Patriarchate about the active part the Bishop and his son played in the efforts
to use the Slavic language during the religious services. The Patriarchate
reported Joan to the police as a restless person who, together with his
father, should be driven out of Debar. As a result of that, and under direct
command of the ecumenical patriarch, in 1867 the Bishop Genadij lost his
position as Metropolitan in Debar. There is also information that because of
the seriousness of the situation Joan Harmosin-Ohridski went to the Con-
stantinople because he had to explain himself to the authorities. Instead, he
joined the movement against the Greek influence in the churches. During
this period he worked on his two books. But, as already mentioned earlier, he
only managed to publish the Pashalia collection, in 1869.
In 1870, after the sultans firman gave ecumenical independence to the
citizens who did not recognize, or accept the authority of the Constan-tinople
Patriarchia, and thanks to the influence of Joan Harmosin, his father got the
Veles eparchy, as its temporary Metropolitan. Joan Harmosin, this time also,
stayed with his father as his secretary. In the year 1872, from old age or
some other reason, Bishop Genadij resigned from his service and from Veles
he moved to Bitola. Joan Harmosin, most probably, remained as secretary to
the Metropolitan in Veles untill the assignment of a new Metro-politan in the
spring of 1873.
1
Some believe that during this period he was thinking of
moving to another metropolitan centre in the eparchy. As his later activities
showed, Joan Harmosin-Ohridski decided to go to Plovdiv the capital city
of Trakia.
Today we can only assume what made Harmosin move to Plovdiv.
One of the reasons could be that by moving there, as an author and publisher
of chant books, Harmosin believed he would be much closer to Constanti-
nople, a place where he published his earlier collection Pashalia. Plovdiv, as
the biggest city in the European part of the Ottoman Empire, was a well-
developed cultural and spiritual centre. He could have believed that there it
1
Markova, Zina, B lgarskata ekzarhi 1870-1879, - Sofi , 1989, p. 126.
219
would be much easier to find people who would be willing to help him pub-
lish his new editions.
In 1873 Harmosin went to Constantinople and stayed there less than a
year. During the autumn of 1874 he moved from Constantiniple to Plovdiv
where he worked as a History, Religion and chant teacher. There, at the same
time, he was also an arch-psalmist of the Plovdiv metropolitan church St.
Virgin Mary. After the end of the Russian-Turkish war (1877-1878) Joan
Harmosin-Ohridski was appointed a secretary of the Plovdiv Metropolitan, a
duty that he carried out till the end of his life.
He died on 13
th
March 1890.
The collection Pashalia
Joan Harmosins collection Pashalia is a theme-systematised Psalter
from composed and traditional chants aimed for religious services during the
Holy Week of the greatest Christian holiday Christs Resurrection Easter
as well as other holidays during the year. This special chant anthology
contains a lot of compositions from best-known authors from the 17
th
, 18
th
and all through to the first half of the 19
th
century. Joan Harmosin-Ohridski
wrote the names, or just the initials of the authors included in the collection
in front of every composition. Some of the authors from the collection are
Petar Bereket, Hrisav Novago, Jakov Protopsalt, Petar Lambadarij, Georhij
Kritski, Theodor Fokeos, Panajot Halacoglu, Hurmuzij Hartofilaks and
Grigorij Protopsalt.
This collection is very important for Macedonian music also because
of the fact that it is the first published book of this kind written in church-
Slavic language to include compositions by a Macedonian composers.
Equally important is the fact that the compositions from the mentioned
Byzantine authors and other melodies included in Pashalia were adopted
from Greek (and possibly also from Romanian) into church-Slavic by Joan
Harmosin-Ohridski himself. Apart from this, we could also assume that he
did certain corrections on the traditional melodies included in the collection,
in terms of their style levelling.
There is always a possibility that Joan Harmosin-Ohridski could have
taken some of these compositions from Slavic manuscripts and printed books
220
that circulated on the territory of Macedonia during that period. From the
comparisons of the contents of the Pashalia collection to those from books
written on church-Slavic language printed before Pashalias publication (i.e.
before 1869), to date, I have discovered that from the Psaltor Cvetosobranie
from Nikola Trandafilov-Slivnenec, issued in Bucu-resti in 1847 (first chant
book written in Slavic language in the Orthodox world), Joan Harmosin-
Ohridski used, in his collection, the adaptation of Communion (Christs
Body) from Grigorij Protopsalt
1
(one of the three main music reformers from
1814). The comparison shows that Joan Harmosin did make insignificant
changes to the adaptation included in Pashalia. It is not ruled out that in his
book Joan Harmosin-Ohridski included more adap-tations from other
editions from that period.
Most of the compositions in Pashalia that represent Joan Harmosin-
Ohridski as a composer, seem to have been written after the author deter-
mined the list of compositions from other authors and the traditional melo-
dies that will be included in the book. I came to this conclusion by compa-
ring his own compositions with those from the other authors included in the
collection with which there are clear style correlations; sometimes you can
even see borrowed parts from them. In connection with this, it should be
noted that in the Byzantine church music literature, some melodies from
different authors, with the same or similar content, for the same or similar
liturgy purpose (cherubikons, communions) are similar or identical at the
beginning, but as they go on they start to develop in their own particular
way, depending of the idea and talent of their author. Actually, this is a
practice that keeps to the tradition of the Orthodox church, according to
which, the melody and the text of the chants have a heavenly origin, and they
should in this way save their original form and content.
2
This practice, as I
said earlier, is found in Joan Harmosins compositions as well, more
precisely, in his Comunion in voice I, whose first music phase was taken
from the very start of Heruvuka in voice I from Theodor Fokeos. This time,
Harmosin could have borrowed the musical motive in order to achieve a
grater theme unity of his collection as a music-theme complex.
1
Trendafilov, Nikola, Cvetosobranie, Bukure , 1847. p. 141.
2
Jonescu, Gheorghe C., Studii de muzicologie i bizantinologie, Bucureti, 1997. p. 69.
221
Joan Harmosin-Ohridski in the Pashalia collection included the
following of his own compositions:
1. Who in Christ, in voice I,
2. Father and Son, in voice V,
3. Christs Body, in voice I,
4. Christs Body, (second) in voice I,
5. Virgin Marys Hymn, in voice V,
6. Virgin Marys Katavasi, in voice IV and
7. Worthy Is (Dostojno est), in voice V,
Most of these chants Joan Harmosin composed with traditional music
devices and fit thematic whole of the Pashalia collection. The composition
Dostojno est in voice V, on the other hand, is an exception from the pre-
viously said because, according to the character of the theme material and
the way it was worded, it differs from all the rest. This composition, placed
at the very end of the book, is experienced as a certain hint, as a new starting
point for the authors future research work and his views concerning church
music.
Concerning the adaptations of the author-compositions and the tradi-
tional melodies from Greek to Slavic language, as well as their adaptation in
the Pashalia collection they were done in a way that suits a widely educated
musician with broad culture, as, undoubtedly, was Joan Harmosin-Ohridski.
On the other hand, having in mind the fact Joan Harmosin in his book
Pashalia didnt sign himself as the person who worked on the compositions,
nor did he anywhere indicate that he had done an adaptation or a restyling of
the compositions, we can conclude that for him the act of adaptation was
more a technical act than an act of authorship. Judging from the theme style
evenness of the traditional melodies that are found in the collection, we cant
rule out that they could have been prepared by Joan Harmosin himself. In the
introduction of the collection Pashalia he informed us that he tried all the
compositions by singing them in different churches.
1
1
Harmosin-Ohridsk i oann , Pashali , Carigrad , 1869. p. 4.
222
From all of the above we can conclude that the Pashalija collection
wasnt done mechanically from church melodies and compositions, but that
it was a carefully created entity with a very clear concept. This chant col-
lection, which in its title contains simultaneously a canon and a metaphor,
with excellent melopoetic contents in devoted to Chists Resurrection, is ex-
perienced as an authentic creation from the best traditions of Byzantine art.
The collection Pashalia from Joan Harmosin-Ohridski is a chant cre-
ation with huge importance for Macedonian culture and its independence. It
appeared in the most important period of National Renaissance for the
Macedonian people, Pashalija grew into a flag representing the struggle for
the renewal of the Ohrid Archbishopric and continuation of St. Kliments
teachings in Macedonia.
Worthy I s (Dostojno est)
The introduction of Pashalia is very precious for us from musical and
cultural aspect. In it, Joan Harmosin-Ohridski in a very lively and direct way
gives us a lot of interesting information about his creative and publishing
plans and hopes, as well as information that, among other things, informs us
of the social and political situation in Macedonia of that period. The
introduction also contains interesting music statements concerning certain
historical celebrities, his contemporaries, as well as particular melodies from
this chant collection.
In the preface, the author also talks about the composition Dostoino
est in voice V, ...in which you can hear, here-and-there, the local melodies
from Upper Macedonia, our sweet homeland.
1
More than in any other
Harmosins compositions, in Dostoino est in voice V we could feel the
authors warm feel for the National Renaissance and its pronounced am-
bition to discover its own cultural traditions. In this work, whose melody
trembles as the nostalgically-patriotic verses of Konstantin Miladinov the
first poet of the National Renaissance, we could feel a breath of the national
Romanticism.
2
1
Harmosin-Ohridsk i oann , Pashali , ibidem, p. 5.
2
Koxaba{ija, Jane, Joan Harmosin: Pashalija, p. XVIII.
223
The fact that Dostoino est in voice V was one of the favourite and most
often performed compositions can be proven by the fact that it can be found
in numerous adaptations and published books from the later period. I have
found it, to date, in four manuscripts that originate from the territory of
Macedonia and are dated back to the end of the 19
th
and the first decade of
the 20
th
century,
1
and in one other that originates from Romania (the hand-
writing of Vasil Ikonomov).
2
The oldest copy of this composition, done by
Andon Sahpaski in 1882, appeared thirteen years after its publication in the
collection Pashalia. Harmosins Dostoino est, from these music manuscripts,
can also be found in Psalters Liturgy from Manasij pop Todorov printed in
Sofia in 1905,
3
and in the Pentikostarion from the Greek monk Gavriil
Kuntiadis whose first edition was printed in 1931 in Seres, Greece. To date,
this is the only translation into Greek of Harmosins composition, and of a
Slavic church music composition in general.
4
Unfortunately, Gavriil Kuntijadis in his Pentikostarion, didnt write
the name of the author Joan Harmosin-Ohridski next to the name of the
composition. Instead, he only notes out in a subheading that he wrote down
the composition in October 1917 in Stara Zagora, Bulgaria, where in the
whirl of war he found himself as a hostage. Judging by the translation of the
text, we can say that Gavriil Kuntijadis had certain knowledge of the church-
Slavic language. From the aspect of the orthography used in making the
music manuscript, we can say that he had by his side the Pashalia collection,
or some other copy of Joan Harmosins Dostoino est. Gavriil Kuntijadis was
familiar with the name of Joan Harmosin-Ohridski, but he didnt write his
name next to his work neither in the first nor the second case. Even though
he must have had certain reasons for not writing the name of the author in his
book, the monk Gavriil Kuntijadis couldnt resist Joan Harmosins
magnificent composition, and put it in his book fourteen years after he had
first heard it.
1
NUB Sv. Kliment Ohridski, Skopje, Ms -112, Ms-125, Ms-159.
[ahpaski, Andon, Psaltikiski zbornik, 1883. (manus. privat)
2
Ikonomov, Vasil, Psaltiki, Braila,1907. (manus.)
3
Teodorov Pop Manasi , Psaltiki na liturgi , Sofi , 1905. p. 175.
4
!);. !()/. Mx ~x~. !~( M(/;
~((w x ^();. 1931. p. 560.
224
If we add to all this the fact that the re-printing of the composition
Dostoino est in the mentioned collection of Manasij pop Todorov happened
36 years later, and in the book from Gavriil Kuntijadis in Greek 62 years
after the first edition of Pashalia, it becomes even more convincing that the
composition Dostoino est in voice V written by Joan Harmosin with its
originality and beauty secured itself an honourable position in the anthology
of Orthodox church music.
Vlah melodies
The second sentence of the preface of Pashalia that draws attention
with its mystery says: In singing the so-called Vlah melodies that we sang
throughout churches in Bitola, Prilep, Veles, Vranje, Debar, Kumanovo, Ki-
cevo and Constantinople, everywhere we came across support and acknow-
ledgement.
1
The question that comes up is the following: Which are those
Vlah melodies that Joan Harmosin Ohridski talks about? All the research and
my thinking over this music enigma, brought me to the following conclu-
sions:
1. The time when Joan Harmosin-Ohridski prepared and issued his
collection Pashalia, as said above, was a time of severe struggle of the Ma-
cedonian people against the use of the Greek language in their churches and
schools. About the same time, the recently united Romania (from the
principalities Vlah and Moldavia) also starts with great enthusiasm to replace
the Greek with the Vlah language, during the religious services of in the
Vlah churches from the south part of the Balkans. It is possible that Joan
Harmosin-Ohridski could have listened to Vlah melodies in some of those
churches, or with the help of his father, Bishop Genadij, who according to
some information was a Vlah
2
by nationality, did come in contact with some
chant books written in Vlah language, from which he selected and translated
large number of melodies for his music collection Pashalia.
During the process of comparing the traditional chants from Pashalia
with those from the corresponding music editions written in Romanian lan-
guage, I concluded that in some parts the melodies have noticeable simi-
1
Koxaba{ija, Jane, Joan Harmosin-Ohridski: Pashalija op. cit. p. XIX.
2
Hrkov, Stefan, Novootkrieni dokumenti op. cit. p. 6.
225
larities, some of them are almost identical.
1
In this context it is an inte-
resting fact that, in the Pashalia collection, Joan Harmosin-Ohridski also
included a melody Christ Has Risen written in Vlah language, as he himself
empha-sized in the book. This book was actually written in archaic
Romanian with old church-Slavic orthography. (During that period the
Slavic writing was still an official writing in the Romanian Countries.) All
this leads to two conclusions - one of them is that Joan Harmosin-Ohridski
knew the Romanian language, and the second is that he took Christ Has
Risen from some Romanian music collection. But no matter what the case
was, the fact is that Joan Harmosin-Ohridski came to this composition
through Vlah mediation.
2. On the territory of the Romanian Countries, starting from the se-
cond half of the 17
th
, 18
th
and all through to the 19
th
century (especially
before and after the initiation of Chrisants Music Notation) numerous edu-
cated Byzantine clergymen lived and created, who were considered natura-
lized Vlahs. Four of them, the already mentioned Hrisav Novago, Jakov
Protopsalt, Petar Vizantios and Theodor Fokeos
2
are represented in Pashalia
with far more chants than the other four composers included in the book. In
addition, there are indications that some of them even had Vlah origins. (The
people that copied some of Hrisav Novagos compositions added to them the
nicknames Kucovlahy and Makedony).
3
Going back now to what Joan
Harmosin mentioned in the preface of Pashalia we can conclude that the
Vlah Melodies actually are the creations of the above mentioned
Romanized authors.
Articles, events and notes
The life and work of Joan Harmosin-Ohridski, one of the most
important church music composers from the period of the Macedonian
National Renaissance, have been drawing the attention of the researchers for
more than a century. Luka Kasrov published an article about Joan
1
Suceveanu Dimitrie, Idiomelar, Trinitas, Iai, 1997. p. 191. To compare: J. Harmosin-Ohridski,
Pashalija, r. 22. and Janaki Stojmenovi~, od 1849. NUB Ms-161, r. 52.
2
Ionesku C. Gheorghe, Lexicon, .op. cit. p. 138, 165, 169, 367, 369.
3
Barbu-Bucur, Sebastian, Prezumii privind origineaetnic a lui Hrisafi cel Nou,
Centrul de Studii Biyantine Iai, Vol. III. 2001. p.78.
226
Harmosin-Ohridski in his encyclopaedic dictionary (1899, in Plovdiv), only
nine years after Harmosins death. Ten years later, in 1912, the Bulgarian
music teacher Petar Sarafov noted his merits for the Orthodox church music.
In the first article from Petar Dinev about the spiritual music from the past,
which appeared in Sofia in 1928, can also be found a note about Joan
Harmosin. The many years of research by this Bulgarian musicologist from
Macedonian origin resulted in the first complete acknowledgement of the
music activities of Joan Harmosin-Ohridski. They were published by Petar
Dinev during the 1950s and 1960s.
1
The Slavist Mihajlo Georgievski was the first in Macedonia to write
about Joan Harmosin-Ohridski. It was in an article in the newspaper Nova
Makedonija from 23
rd
November 1969, immediately after he had found an
edition of the Pashalija collection. For the first time the Macedonian public
learned something more specific about Joan Harmosin.
2
It is interesting to
note that all this coincided with the 100
th
anniversary from the first
publishing of Pashalia in Constantinople, and the 140
th
anniversary from the
birth of its author.
In 1973 Mihajlo Georgievski discovered and published the only
known manuscript, to date, of Joan Harmosin-Ohridski. Sometime later, at
the newly-formed festival Struga Music Autumn 75, this researcher presen-
ted a report titled The situation with the noted music manuscripts in
Macedonia that occurred up to the end of the 19
th
century, which, with the
section dedicated to the Pashalia collection and its author Joan Harmosin-
Ohridski, arose great interest in Macedonian music circles.
3
Joan Harmosin
and Pashalia found themselves in the centre of researchers attention. The
1
Hrkov, Stefan, Novootkrieni dokumenti za Joan Harmosin-Ohridski, Muzika,
- Skopje, 2001, god. 5, br. 8, p. 3-13.
Kas rov, Luka, Enciklopedi~en re~nik, Plovdiv, 1899, p. 235-237.
Sarafov, Pet r, R kovodstvo za prakti~eskoto i teoreti~esko izu~avane
na vosto~nata ~erkovna muzika, - Sofi , 1912, p. 15.
Dinev, Pet r, U~astieto na b lgari v razvitieto na duhovnata muzika na
minatoto, - Muzikalen vestnik, Sofi , 1928, br. 4-5, p. 9-10.
Dinev, Pet r, C rkovnopev~eskoto tvore{tvo na Joan Harmosin-Ohridski,
- C rkoven vestnik, Sofi , 18 juli 1959, br. 28, p. 6-7.
Dinev, Pet r, Muzikalni materiali ot v zro`denskata epoha, - B lgarska
muzika, Sofi , 9/1962, p. 32-34. (Citirano spored Stefan Hrkov)
2
Georgievski, Mihajlo, Nedovolno prou~en makedonski kni`evnik od XIX-vek,
Skopje, Nova Makedonija, God. XXV, 23 noemvri, 1969.
3
Georgievski Mihajlo, Polo`bata na op. cit. p. 31.
227
fact that the next year at the musicology discussion during Struga Music
Autumn 76, the musicologist Sotir Golabovski presented a report titled The
Life and Work of Joan Harmosin-Ohridski proves this.
1
The macedonian music writer, Dragoslav Ortakov, returned back to
Joan Harmosin-Ohridski in his book Music Art in Macedonia published in
1982. The part titled The Last Century of the Ottoman Rule Macedonian
National Renaissance Era, contains a short note about the life and music
work of this Macedonian reformer. The next research on Joan Harmosin-
Ohridski appeared a number of years later, in1986, in Dragoslav Ortakovs
new book Ars nova Macedonica. In the third chapter of this book, in the part
titled The Music Work in Hrisants Music Notation the author dedicates four
pages to Joan Harmosin-Ohridski. Even though these lines didnt bring any
outstanding new moments from the life of Joan Harmosin, they contain
deeper perceptions about his music work.
2
A number of other researchers of the life and work of Joan Harmosin-
Ohridski appeared in Bulgaria during the next period. The research work of
the musicologist Stefan Hrkov, who presented himself twice at the festival
Struga Music Autumn, arose great interest.
3
Especially impressive was the
presentation of the newly discovered three letters and two circulars of Joan
Harmosin-Ohridski, which Hrkov had at the music discussion in Struga, in
2001. The discovery of these new documents threw light on one of the least
known and studied periods from the life of Joan Harmosin-Ohridski - the
years after leaving Macedonia and going to Bulgaria: from 1873 till the end
of his life in 1890.
The most complete presentation of the life of Joan Harmosin-Ohridski
and his church music work can be found in the publication of the Pashalia
collection from the year 1999, issued on the occasion of the 130
th
anni-
versary from the first edition and 170 years from the birth of its author,
edited by Jane Kodjabashia. This edition had a parallel transcription of a
1
Golabovki, Sotir, @ivotot i deloto na Joan Harmosin-Ohridski,
Makedonska muzika, br. 2, Skopje, 1979. p. 31-35.
2
Ortakov, Dragoslav, Muzi~kata umetnost vo Makedonija, Makedonska revija,
Skopje, 1982.
Ortakov, Dragoslav, Ars nova macedonica,... op. cit. p. 116.
3
Hrkov, Stefan, Muzi~ko-preveduva~kata dejnost na Joan Harmosin-Ohridski,
(Struga music Autumn -95)Novootkrieni dokumenti za Joan Harmosin-Ohridski,
(Struga music Autumn 2001).
228
European music notation. In the comment of this edition of Pashalia under
the title of Following The Trail Of Macedonian Church Singing there is a
review of the socio-political, cultural and educational conditions in
Macedonia during the second half of the 19
th
and the beginning of 20
th
century. There is a special emphasis on the period of National Renaissance
during which, as a clear expression of the struggle for freedom from the
Greek spiritual slavery, appeared Joan Harmosins collection Pashalia, in
1869.
On 10
th
March, 1999, in honour of the above-mentioned jubilees of
Joan Harmosin-Ohridski and on an invitation from His Heavenly Archbishop
Macedonian and Head of the Macedonian Orthodox Church g.g. Mihail, I
held a lecture for the students from the Theological faculty in Skopje. The
theme of the lecture was Following the Trail of Macedonian Church Singing,
with an emphasis on the life and work of Joan Harmosin-Ohridski. In
addition, Harmosins own compositions from Pashalia were performed for
the first time on 28
th
March, the same jubilee year, in the cathedral St.
Kliment Ohridski, in Skopje, during the Days of Macedonian Music 99
festival, organized by the Macedonian Composers Association. I transcribed
and adapted these compositions for performance in the spirit of Slavic-
Byzantine tradition. They were performed by the choirs of Macedo-nian
Radio Television, the soloist archdeacon Aleksandar Candovski and the
conductor Oliver Balaburski. In honour of the jubilees of Joan Harmosin, the
music department of Macedonian Radio Television recorded a large number
of his compositions, performed by the same performers and the composer
Risto Avramovski as a music editor.
The jubilee, 110 years from Joan Harmosins death (1890) was mar-
ked by a promotion of the above-mentioned new edition of the Pashalia
collection. It was held during the manifestation Day of Macedonian Music
2000 in the cathedral St. Kliment Ohridski in Skopje. This time,
academician Cvetan Grozdanov talked about the historical appearance of the
church music book Pashalia and about the life of its author. The respectable
Byzantinist emphasized that this edition about the life and work of Joan
Harmosin-Ohridski was long awaited in Macedonia and represents valuable
contribution to the study and re-affirmation of church singing from Slavic-
229
Byzantine tradition in Macedonia. The womens chamber choir St. Zlata
Meglenska, under the direction of Letka Dimovska-Polizova, performed a
number of Joan Harosins compositions.
The International Lions Club St. Pantelejmon from Skopje, Macedo-
nia, also marked the anniversary from the death of Joan Harmosin-Ohridski.
On that occasion the Club asked me to give a a lecture and a discussion for
its members entitled Macedonian Church Singing and its Most Important
Representatives. Marking the jubilee, the Lions Club St. Pantelejmon pro-
claimed Harmosins Virgin Marys Hymn as its official hymn. The Club per-
manently marked Joan Harmisins jubilees by publishing CDs with his music
compositions.
From all of the above it is clear that throughout all of the 20
th
century
large number of articles have been written about Joan Harmosin-Ohridski by
many well-known researchers of church music from Macedonia and Bul-
garia. During the last fifteen years, in Macedonia, his church music and
National Renaissance work have been affirmed in many different ways.
These activities give the impression that Joan Harmosins renaissance spirit
arose from the depth of the 19th century right at a crucial moment: the devo-
ted rightful struggle of the Macedonian Orthodox Church for an equal place
in the Orthodox world.
Conclusion
In the efforts to unite its spiritual space and to strengthen its position
in circumstances when the Ottoman Empire displays signs of internal
weakening, in the beginning of the 19th century, the Constantinopol patri-
archy, through its distinguished spiritual leaders Hrisant, Hurmuzij and
Grigorij, conducted a reform of the existing music notation, in order to ease
its application and make it more broadly dispersed. This newly reformed
notation, which, in essence, is a synthesis of the previous stages of Byzan-
tine music notation and some experience from the Western music notation,
was widely accepted in the church practice of Macedonia as well. A proof of
this are the numerous musical manuscripts and publications that emerged in
the following decades of the 19th century.
230
In Constantinople, in 1869, Joan Harmosin-Ohridski, one of the most
prominent representatives of the Macedonian church music and of the Natio-
nal Renaissance, publishes his collection of church music under the name of
"Pashalija", with songs that are performed during the Holy Week of Christ's
Resurrection. This work bears even greater significance due to the fact that it
emerges in the zenith of the struggle for revival of the Ohrid Archiepiscopy
and for introduction of the Macedonian language in schools and churches.
This collection is important for the Macedonian church music becau-
se, besides the traditional songs and works by the most famous Byzantine
authors from the 17th, 18th and the first half of the 19th century, it also con-
tains a sequence of works by its author and publisher Joan Harmosin. The
work called "It Is Worthy" had the largest number of transcripts and repu-
blications, as well as a wide popularity amongst the church singers; and as its
author says in the foreword of the book "here and there you can hear local
songs from Upper Macedonia, our beloved fatherland."
In order for the collection of works "Pashalija" by Joan Harmosin of
Ohird to become available to a broader cultural audience, I publish this book
with a parallel use of the two music notations, the Eastern and the Western,
which is the first music publication of this kind here. Such as it is, I wish that
this book contribute to the return of the Hrisant's neumatic notation to
everyday use and to the revival of our traditional church singing. I think this
is the most proper way for the Macedonian Orthodox Church to follow the
steps of the centuries-long St. Clement's tradition.
231
IV.
Vasil Ikonomov (1848-1934)
In the heritage of the remarkable cultural and educational activist
from the time of the Renaissance, Vasil Ikonomov (1848-1934), that is kept
by his descendents a neumatic manuscript was found, handwritten by the
renaissance activist in Braila, Romania, in 1907.
1
This impeccably written
Psaltikija, among other church chants and works by the best known
representatives of the east church singing (of Greek origin) also contains
works by the Macedonian authors Joan Harmosin-Ohridski and Dimitar
Pavlov-Shtipjanin, until then being mentioned as cultural and educational
activist from the period of the Renaissance, but not as an author of church
music works.
The dynamic personality of Vasil Ikonomov , who is known to the
culture public in Macedonia from the scientific works of Aleksandar
Mitkovski, Gligor Todorovski, Kiril Penushliski, Blaze Ristesti and others,
with his folklore-ethnographic and printing-publishers work as well as by
his educational agitator and national-culture activities.
2
His church music
activities are far less known. The recently discovered Psaltikia is a good
reason to attract our attention to the versatile personality of its composer.
Vasil Ikonomov was born in the village Lazaropole, Macedonia in
1848, in a family of a merchant. Becoming orphan at his early age, his
uncle Kosta Martinov Dimkovski undertook to care about the six-year old
Vasilko. Vasil finished his primary education with the known priest and
1
Vasil Ikonomov, Psaltikija, Braila,1907.
(ms. NUB Sv. Kliment Ohridski Skopje).
2
Ristovski, Bla`e,Vasil Ikonomov (1848-1934), Institut za
nacionalna istorija, Skopje, 1985. p. 9.
232
teacher Martin Dimkovski in Lazaropole, and later, after the recom-
mendation of the Debar-Kichevo Greek bishop was sent to Greece to finish
Greek seminary.
There are no certain data about the life of Vasilko. .We still do
not know where, in which seminary in Greece, was Vasil educated and how
long it took. Having in view his inclination towards spiritual themes we can
suppose that a kind of Greek spiritual seminary was in question. The degree
of his calligraphic skills and the knowledge of the church note singing do
suggest a regular education of that kind. // He presents himself as a
polyglot speaking Serbian, Bulgarian, Russian, Greek, Albanian, Romanian
and probably French beside Macedonian and Turkish. Hadnt he been in
Ploesht (1870-1873) where there were workers from Lazaropole? Had he
by any chance moved to Braila later?
3
In the period 1902-1907 Vasil Ikonomov was in Braila, Romania,
where he worked as a psalmist in the church St. Voznesenie. He was
particularly respected because of his melodic and charming singing in the
church and because of his good soul and gentle character. As he has put it
at the second page of his already mentioned Psaltikia, during his five-year
stay as a singer in the only Bulgarian church in Braila, he wrote, translated
and published several soul beneficial books that, unfortunately, have not
been found yet.
Having in view the fact that mostly Greek authors that were
permanently settled in Romanian countries are present in his only kept
collection, one can conclude that Vasil Ikonomov was only oriented
towards church music literature, which was easy to find in Romania. Thus
the assumption that beside Greek, he might have translated works from
Romanian and Slavic language. However, it still remains unknown whether
he translated works by Romanian authors, although it is more than probable
that Vasil Ikonomov had the time and opportunities to get familiar with the
Romanian church singing and its major representatives.
After returning to Macedonia Vasil Ikonomov undertook some
publishing activities in Thessalonica for a while, where he established his
own printing house. After returning to his native Lazaropole he was
3
Ristovski, Bla`e,Vasil Ikonomov ibidem. p.17-18.
233
appointed village mayor. From time to time he gladly stayed in the
monastery Prechista in Kichevo. There he composed his only - until now-
discovered Dostojno est (Worthy is), in voice V.
4
He lived a peaceful life in his old age, and the descendents of Vasil
Ikonomov remember that he spent some time alone at the monastery
Precista. He passed away at very old age in 1934 in his native Lazaropole.
5
In comparison with his activities as an outstanding folklorist,
ethnographer and teacher, the church music activities of Vasil Ikonomov
that are still not observed in all their elements although seemingly modest
are still considerably important. Of the few data available to the
Macedonian musicology one can conclude that Vasil Ikonomov was not
only a hard-working and passionate translator, transcriber and publisher of
church works, but also an excellent psalmist, who was tirelessly
propagating church works by Macedonian authors. By his merit the
Macedonian church today is richer for three works, unknown until now, as
well as for the music profile of their author Dimitar Pavlov-Shtipjanin.
There are probably other, still undiscovered, manuscripts by Vasil
Ikonomov containing other valuable works and data about the church music
past of Macedonia.
4
Georgievski, Mihailo, Dosega neobjaven, op. cit. p. 3.
5
Ristovski, Bla`e,Vasil Ikonomov op. cit. p. 126-127.
234
V.
Dimitar Pavlov-Shtipjanin (1840-1919)
With the discovery of the musical script of Vasil Ikonomov (1848-
1934) the personality of Dimitar Pavlov-Shtipjanin immediately became of
interest for the Macedonian church music. Until then, only mentioned when
the cultural and historical past of the city of Shtip was in question, with the
discovery of part of his church music works something more can be said
about his profile as an author.
Dimitar Pavlov-Shtipjanin was born in 1840, as a son of Pavle
Grozdanov who was a teacher in Shtip. Preserved date say that Dimitars
father was sent to complete his education in Kjustendil with Neofrit Rilski
(1793-1881), one of the most outstanding Slavic representatives of the East
Orthodox Church singing in the 19
th
century. The fact that Pavle Grozdanov
enabled his son obtain very profound education is confirmed by the notion
that after his death in 1857 his position of a teacher was replaced by his son
Dimitar, although he was only 17 years old.
In his native town Shtip Dimitar Pavlov worked until the age of 23,
and then moved to Plovdiv to obtain higher education. After the successful
completion of the class school in that city, Dimitar Pavlov returned back to
Macedonia and worked several years as a teacher in Novo Selo, where he
took part in the movement for the spiritual liberation from the Greeks. His
attendance at the first Exarchate congress in Constantinople was a decisive
point for his further career, since after its completion he was kept by the
Exarchy as a teacher and singer in the Exarchy church in Constantinople.
During his five-year stay in Constantinople Dimitar Pavlov simultaneously
attended the Robert college, where he improved his knowledge of French,
235
Greek an Turkish language as well as the knowledge of the western history
and culture, particularly that of French philosophers from the 18
th
century.
In spite of the attractive offers to continue his career in Bulgaria,
after the five dynamic years spent in Constantinople, filled with numerous
and different activities, Dimitar Pavlov decided to return to Macedonia, to
his native Shtip, where he held the teachers position for another 19 years.
He was carrying out many other duties during the period: director of the
class school, secretary to the municipality, church singer, principal teacher
and others. He actively participated in the new revolutionary activities in
Macedonia, and because of that he had conflicts with the local authorities
and was forced to leave Shtip.
Dimitar Pavlov spent the following seven years in Skopje, where
upon demand from the Metropolitan he stayed to carry out the duties of a
teacher, educator in the schools boarding and church singer. After that
final teaching stage Dimitar Pavlov-Shtipjanin left for Bulgaria where he
led modest life of a pensioner and a psalmist. Ruined by his poor life and
diseases he died in an almost ruined house in Sofia, in 1919.
1
Beside his rich educational and church activities Dimitar Pavlov-
Shtipjanin is known by many articles that appeared in different newspapers
where he describes the cultural, educational and church life in Macedonia
during the last quarter of the 19
th
century.
2
As already mentioned, only three church music works are known,
and they can be seen in Vasil Ikonomovs Psaltikia:
Heruvika, in voice IV,
Dostojno est (Worthy is), in voice I and
Otca i Sina, in voice I.
It is not known in which period of his life these works were written,
weather he wrote other works beside these, and how they appeared in the
collection by Vasil Ikonomov which had been written in Braila is not
known. In connection with the compositions we can say that they are
written by a highly educated and skilled musician who expressed the sense
of the new time with traditional music means. The compositions Heruvika
1
Zavoev , Pet r , Grad ip , Sofi , 1928, p. 25-28.
2
Sto nov, Man o, B lgarska v zro`denska kni`nina (t. 1),
Sofi ,1957, p. 274.
236
and Dostojno est impress with their simplicity and their presence in the
collection of Vasil Ikomomov is not accidental.
The third composition Otca i Sina in voice I, with the dense
application of alternating tones since the very beginning continues into a
chant with a chromatic-enharmonic character. That composition by Dimitar
Pavlov actually contains the text of the liturgy that begins with Otca i Sina
and concludes with Tebe poem. Composed of more short episodes and parts
in whose performance a priest and psalmist take place, that form of a
dialogue were the melody is full of emotions is felt as a unique dramaturgic
entirety.
237
VI.
Manasij Pop-Todorov (1856-1936)
The name of Manasij Pop-Todorov has been mentioned during the
last several decades in the Macedonian music science when talking about
the printed collections of psalms in Bulgaria, which circulated on the
territory of Macedonia towards the end of the 19
th
and the beginning of the
20
th
century. He was first mentioned in 1978 as an author of church works,
with the finding of the manuscript Voskresnik (Anastasimatar) by Vasil
Ivanov Bojadjiev (1876-1950),
1
where Manasij Pop-Todorov is present
among the authors and that with the largest number of works. Then his
Macedonian origin was still not known to the Macedonian music science
and he was mentioned only as a Bulgarian publisher of church books.
The information about the Macedonian origin of Manasij Pop-
Todorov and some other data regarding his life and activities is present
in the Schoolbook for eastern church singing by the Bulgarian teacher and
psalmist Mircho M. Bogoev, which was published in Plovdiv in 1940.
According to that source Manasij Pop-Todorov was a Macedonian, long-
year teacher of east church singing in Somokov seminary and in the Sofias
spiritual seminary, where he produced a whole generation of singers.
According Mircho M. Bogoev, Manasij Pop-Todorov lived until 1938, but
according some others, he passed away in 1936.
Speaking of his publishing activities, Mircho M. Bogoev states that
Pop-Todorov printed his first church music collection the Voskresnik in
1
Georgievski, Mihailo, Makedonska muzika/ 6, Pe~atenite slovenski muzi~ki
(nevmatski) zbornici vo Makedonija, Skopje, 1986, p. 81.
Ortakov, Dragoslav, Ogledi za vizantisko-slovenskata muzika vo Makedonija,
Vorldbuk, Skopje, 2001. p. 100.
238
1898 using western notation, while the other seven of his works, that were
printed in the period between 1905 and 1922, are written using the
Hrisants notation. According that source, Manasij Pop-Todorov had not
created anything original, as his own. He had (with a few exceptions)
transcribed, rearranged, mainly works by Angel Savlievec, a Bulgarian
author from the 19
th
century. Despite all that, Manasij Pop-Todorov has
invaluable merits for the enrichment and the spreading of the church music
literature, and because of that he is acknowledged as a big music actor.
2
The article by Petar Dinev published in Crkoven vestnik in 1960 in
Sofia
3
- is a later and considerably richer source of data regarding Manasij
Pop-Todorov. Dedo Manasij as he was called by his numerous disciples
in the Samokov seminary and the Spiritual seminary in Sofia, who kept
dear memories and deep respect for their teacher of church singing being
exceptionally devoted to the church music uninterruptedly created church
singers for the period of 30 years and printed psalm collections.
Manasij Pop-Todorov was born in 1856 in the village of Sabatkoj,
Seres, in the Aegean part of Macedonia. He obtained his education in Greek
language in the priest`s school by the monastery St. Joan Prodrom, near
Seres. In order to master church singing in a Slavic language and enter the
exarchate service Manasij left his birth place and went to Bitola. The
following data mentioned by Dinev is his leaving for Samokov. Namely,
after Atanas Badev had left the Samokov Seminary, the synod of the
Bulgarian church invited Manasij to take the duty of east church singing
teacher.
4
In 1902 the Samokov Seminary was transferred to Sofia and was
renamed as Sofia spiritual seminary, and Manasij Pop-Todorov was
uninterruptedly a teacher in that seminary until 1924. After retiring, he
instructed church singing in Cherepashka priests school, and after that, he
sang in the church St. Paraskeva in Sofia, until 1930. He died in 1936.
Beside being a publisher of a number of books containing psalms,
according Peter Dinev Manasij Pop-Todorov deserves merits also as a
2
Bogoev , Mir~o, U~ebnik op. cit. p. 105.
3
Pet r Dinev, Muzikou~itel t Manasi Poptodorov, C rkoven vestnik, br. 11
19 mart 1960 g. Sofi . p. 8.
4
Pet r Dinev, Muzikou~itel t op. cit.. p. 8.
239
church singer and a pedagogue-teacher. Being his contemporary, Dinev
gives interesting details concerning the singing of Manasij Pop-Todorov.
He stated that he had a pleasant voice in the range between second tenor
and baritone as a performer. His singing was calm, quiet, with some nasal
vocals. He usually sang high tones at louder voice, and gradually reduced
them when returning to the medium register. Despite his going though
Greek church-singing school, in his music performance he avoided
exceeding ornamenting of tones. As a result of his having exceptionally
good ear for music and inborn music abilities, Manasij Pop-Todorov sang
clearly and without any dis-tonement.
5
As a long term teacher of east church singing who owned natural gift
for his educational career Pop-Todorov produced a big number of excellent
church singers. Although, as it might have been, his explanations were not
always in accordance with the methodology rules, they reflected evidence
and convincement. He strictly adhered to the principle of one-voiced
character of the east church singing, and beside the ison, he did not allow
his disciples any other voicing of the melody.
6
Speaking of the music activities of Manasij Pop-Todorov Dinev also
trusts that he had not expressed himself as a composer, but only as a
publisher of numerous collections with works taken from other older
church music editions. Peter Dinev came to that conclusion after a detailed
analysis of the collections Pop Todorov had published in the period
between 1905 and 1922:
- Psaltikiska liturgy and
- Kratok voskresnik, in 1905;
- Psaltikiski trebi, in 1911;
- Opshiren voskresnik, in 1914;
- Psaltikiska utrena, in 1915;
- Stihiri i slavi od Triodot i Pentikostarot i za minejskite praznici and
- Psaltikiska liturgy (re-edition with some marginal shortenings and
additions), in 1922.
5
Pet r Dinev, Muzikou~itel top. cit. p. 9.
6
Pet r Dinev, Muzikou~itel top. cit. p. 9.
240
The comparison of the works contained in these books, whose
authors are not indicated, with those from collections by other authors
published in the period until 1905, that was made by Dinev showed that
among them there is not a single one created by Manasij Pop-Todorov. By
doing it, Dinev came to the conclusion that Pop Todorov had made some
insignificant changes, with the aim for the melody to better express the
meaning of the text and to correct some wrong stresses.
7
Regarding this dilemma in connection with the church music work of
Manasij Pop-Todorov the manuscript Psaltikiski voskresnik by Vasil
Ivanov Bojadjiev where Manasij Pop-Todorov is present with the largest
number of works among all authors, which was found in 1978, introduced
new moments,:
- Kosnokratki veliki slavoslovija in voice I, voice II, voice III,
voice IV, voice V, voice VI-VII, voice VI, voice I-VII,
voice VII and voice VIII;
- Otca i sina in voice III and in voice VI.
Two of the compositions with which Manasij Pop-Todorov is present
in the collection (Otca i Sina in voice III and VI) by Vasil Ivanov Bojadjiev
appeared in the forth edition of the Short voskresnik (in eight voices) by
Manasij Pop-Todorov, re-issued in 1992 by the Bulgarian Orthodox
Church, where they are added as an `appendix` at the end of the book
(together with another Otca i Sina, in voice IV). It is interesting to note that
these works do not appear in the first edition of the Short voskresnik of
1905. Maybe the author Manasij Pop-Todorov without signing them as
his own works placed them in some of his later editions, and Vasil Ivanov
Bojadjiev took them from there.
In this context the following question should be asked: why had not
Manasij Pop-Todorov signed any of his music works in his numerous
books? Is it only a matter of his modesty or another more profound reason
is in question? It should not be forgotten that Manasij Pop-Todorov moved
to Bulgaria as an adult, and he was always regarded there as newcomer. On
the other side, with his excellent Greek church-music education he
presented a threat to the native music authorities. In order to ease disturbed
7
Pet r Dinev, Muzikou~itel top. cit. p. 8.
241
spirits Pop-Todorov used to make compromises of any kind: in his books
he included works by numerous Bulgarian authors, made ornaments to
them, and did not undersign his own compositions.
After all this said about Manasij Pop-Todorov, it is quite clear that an
exceptionally important representative of the Eastern Orthodox singing is in
question. Starting from the fact that his numerous books published in
Bulgaria were present also in Macedonian spiritual areas and they,
undoubtedly, influenced the development of the church music in
Macedonia, as well as the very fact that he originated from Macedonian
regions and started his career as a psaltist in Slavic language in Bitola, our
musicology has a moral obligation to disclose the traces that Manasij Pop-
Todorov had left in that town during his stay there and broaden the
knowledge about his life and church music activities.
242
VII.
George Kazana (19
th
-20
th
century)
There are numerous musicians of Vlach origin in the history of the
East church music that were active on the wider Balkan area. According
available data, among those Vlachs that were born in Macedonia and spent
a kind of longer period of their lives in different Macedonian cities as
church singers is George Kazana.
Although he lived relatively not long ago (during the second half of
the 19
th
and the first decades of the 20
th
century) very little is known about
George Kazana. Some basic data about his life are mainly taken from what
he wrote on the front pages of his numerous music manuscripts. Some data
about George Kazana can only be found in the Lexicon of the Romanian
musicologist-Byzantologist George K. Jonesku, where some lines refer to
the life and the music work of George Kazana: Church singer of the
Romanian chapel in Constantinople since 1897. He composed the
Anthology of psalms titled `Romanian dawn` consisting of several parts, a
work adapted for the Vlachs from Greece and Bulgaria, according
traditional church chants.
1
In that, very thorough, Lexicon not a single
bibliographic reference to the name of George Kazana is given, which
suggests that his music work has neither been researched nor published. All
parts of the mentioned Anthology are in the library of the St. Synod in
Bucharest.
George Kazana is significant for the Macedonian church music with
the large number of church compositions that he created during his stay in
1
Ionescu, Gheorghe C., Lexicon, Editura Diogene, Bucureti, 1994. p. 72.
243
Bitola as a church singer.
2
That is confirmed by the manuscript of the
collection Sequence of the twelve days, from 24
th
of December to 6
th
of
January (ms. I 93),
3
where one can see that it was written in 1907 in Bitola,
and in both parts of the Idiomelar (ms. II 183) with the total of 646 pages
written in Bitola, in December 1911, with an appendix of 11 pages without
pagination. Based upon those data given by the author of those music
manuscripts it can be concluded that George Kazana spent at least five
years in Bitola: from 1907 until December 1911.
Later George Kazana can be seen in Romania as a church singer and
composer, something that can be concluded after his later manuscript
`Church muse` composed of two parts. Namely, on the front page of that
manuscript there is: `Church muse by George Kazana, previously proto-
psalmist in Macedonia, and currently in the church Dobroteasa in the
capital, 1922 Bucharest`.
4
It is evident that George Kazana emphasized and gave special
significance to his stay in Macedonia, as a proto-psalmist and composer in
Bitola. But, it is still not known from where he arrived in Bitola, how long
he stayed in that important political and cultural centre and whether he
stayed in another town in Macedonia. We can suppose that his stay in
Bitola was not short, because - as already stated - he wrote many church
works during that period. Although we do not have thorough evidence in
his compositions, one can say that George Kazana was one of the most
productive authors of church music that ever composed on the territory of
Macedonia. Besides, he is the only composer so far, that used Hrisants
notation to create church music in his mothers tongue, the Vlach.
I recently came across the information that the surname Kazana
originates from Bajasa, a little town in todays Greece. A confirmation of
that was found in the monthly `Lumina` of October 1905. (In the special
edition of that monthly on the occasion of the 25th jubilee of the Romanian
Lyceum in Bitola, a list of scholars that had completed education by then
was published, and among them is the name of Apostol Kazana, whose
2
Cordescu, Mihail-Vergiliu, Istoricul coalelor romne din Turcia, Bucureti, 1906. p. 236.
3
Ionescu, Gheorghe C., Lexicon, op. cit. p. 72.
4
Cazana, Gheorghe, Musa bisericeasc, Bucureti, 1922 (manuscript privat)
(the author of this book owns a photo-copy)
244
place of birth is Bajasa).
5
Additional research is needed to disclose whether
that Apostol is a relative to George Kazana, and whether Bajasa is his birth
place.
While the life of George Kazana still remains covered with the veil
of the unknown, a fairly clear picture can be created about his music work.
Although until now I have had the opportunity to review only the
manuscripts of the Idiomelar (completed in Bitola in 1911)
6
and the
collection Church muse, which was written in 1922 in Bucharest, I can
freely say that George Kazana was a gifted and educated musician, who
wrote easily, musically and very attractively, with frequent applications of
inventive and clever modulations of chants.
In contrast to the Idiomelar, that contain exclusively his works, in the
second part of the collection Church muse George Kazana included one
Polielej, by Harmuzij Hartofilax (one of the three reformers of the
Byzantine music notation in 1814) translated from Greek language, as well
Praise song by the Romanian composer Dimitrie Sucheveanu. All this
indicates his broad knowledge of the east church singing and his
undisputable translation capabilities.
Reviewing the works from the collection Church muse and the
Idiomelar I have concluded that the range of Kazans melo-rythmic values
is exceptionally rich and offers opportunities for creation of permanently
fresh and dynamic melodic line. Sometimes it includes almost up to two
octaves reaching the high, so called tenor register. The frequent use of
jumps (septima, octave and decima), with which he achieves impressive
dramaturgic effects is impressive. But, in spite of that, melodic lines of
George Kazana remain logical and within the spirit of traditional Byzantine
singing.
From the pages of the collection Church muse, written in 1922, it can
bee seen that Georges hand trembles a little, which indicates to his almost
old age. It is possible that this church music collection (not registered in the
Lexicon by George K. Jonesku, and on its cover page Kazana wrote `former
proto-psalmist in Macedonia` with a trait of nostalgia) is his last work.
5
Lumina, Anul III, No. 10. Octomvrie, 1905, Liceul romn, Bitolia, p. 306.
6
Kazana, Gheorghe, Idiomelar (vo dva dela), Biblioteka Sf. Sinod Bucureti, 1911.
245
Beside the church Dobroteasa, where he was proto-psalmist and the library
of the St. Synod in Bucharest where six of his music works are kept it
should be researched also in Constantinople, Bajasa (Greece) and
particularly in Bitola, where he left activity traces during his stay of several
years as a church singer and unusually fruitful composer.
The music work of George Kazana deserves greater attention than
what music researchers have dedicated so far. Time will demonstrate that
the place of this modest, and so far almost unknown musician is among the
most important authors of church music work in Macedonia, Romania and
the broader Balkan areas in the period between the 19
th
and 20
th
century.
246
VIII.
Andon Shahpaski (cc. 1860-1928)
With the recent discovery of the neumatic hand script of Andon
Shahpaski from the village Smojmirovo, Malesh, Macedonian music history
has been enriched with another name of - until now - quite unknown music
representative of the Byzantine-Slavic tradition. These are the first lines
written about him and his Collection of psalms (Psaltikiski zbornik), that saw
daylight 120 yeas after its creation.
This music actor from the time of the Renaissance, who wrote with his
own hand hundreds of music pages, liturgy texts, letters and various items
for everyday use of the people around him, did not leave almost any written
record of himself. Initially, his nephew Vasil Shahpaski and Vasils wife
Draga living in Smojmirovo were the only source of data regarding the life
of Andon Shahpaski, but some villagers also added details later.
Even form his early youth Andon Shahpaski attracted the attention as
a versatile, gifted, dynamic and curious boy with a restless spirit. His
contemporaries remember him as a psalmist who attracted believers to the
religious services in the village church St. Mother of God (Sv. Bogorodica).
He was remembered as a skilful tailor, especially known by his making of
priests garments. Besides, Andon Shahpaski was a village teacher and an
excellent calligrapher, which is evidenced by his Collection of psalms,
written with great skill.
The year of his birth, like many other details of his turbulent life,
remains unknown. It is supposed that he was born about the middle of 19
th
century, not later than the sixties. After the death of his father Jovan, who
died at a very young age, his uncle priest Lazar took care of the little Andon
247
(And). Remarking Ands abilities priest Lazar gave him to learn the skills
of a tailor, and since he was musically talented having pleasant voice, he
taught him church singing and occasionally engaged him as a psalmist in the
church.
After completing his training as a tailor, it seams that Andon was sent
to a certain school to learn church singing, but it is not known where. From
the data that he lived and worked as a psalmist in Buranovo, a village not far
from the Rila monastery (todays Bulgaria) we can guess that Andon
Shahpaski learned church singing with Rila monks in the so called Rila
church-singing school. Besides, he could master the calligraphic skills there
and improve making of priests garments.
After returning to his native Smojmirovo Andon Shahpaski continued
to work as a psalmist in the local church. It is known that he also worked as a
teacher in Smojmirovo for several years, which means that he was one of the
well educated local inhabitants. One can suppose that beside village teacher
and psalmist Andon simultaneously worked also as a tailor, because he was
known across the Malesh region and broader by his creation of priests
garments.
However, with time church singing was becoming his main activity, to
turn out to be his only profession. After the testimony of his descendents and
elder villagers Andon had a respectable library of dearly paid books and
manuscripts created by his hand. Known as a psalmist, he was often invited
to sing in other churches across the Malesh region on the occasion of
different religious festivities. It can not be excluded that, as an excellent
calligrapher, he transcribed different psalm collections for the needs of the
neighbouring churches.
As one of the few educated persons and a known psalmist, not only in
Smojmirovo but also wider, he was a very respected and influential person.
Not a single event of interest in the village could happen without his
participation, and it was the case of the building of the new village church on
the foundations of the old almost ruined village church Sv. Bogorodica, in
the very beginning of the 20
th
century.
His church educational activities, that gained him huge respect among
the villagers, could not be approved by the village villains, those who under
248
the veil of different revolutionary organisations were terrorizing the
inhabitants forcing them to obedience. Andon Shahpaski was even sentenced
to death by one of such groups. However, he managed to escape from his
prosecutors the last moment and save himself from the worst. Unfortunately,
his beloved wife Hristena became a victim of those terrorist groups and as a
consequence his two little children Magda and Stefan who died immediately
after the event. After that family tragedy, survived by his second-born son
Aralampie, Andon tried again to form a family, marrying Ordana who gave
birth to other two children Jovan and Pola.
In connection with those terrorist groups that used to frighten local
people and kept them submissive there are accounts around the village about
a later event that resulted badly for Andons health to conclude fatally for
him. Namely, somebody from the village had demanded from Andon to
write a letter of complaint to the government because of his brother being
killed. Andon properly composed the letter for his co-villager, but the killers
gang composed of local violators beat Andon severely because of that.
Due to the serious injuries that he got in the part of his kidneys he could not
manage to recover, and died in Smojmirovo the 20
th
of January 1928.
Further research demonstrated that Andon Shahpski used to have his
school for church singers and a choir that performed at Sunday and festivity
services. Beside his brother Aleksandar and his sons Arlampie and Jovan, his
disciples were also Gorgi Mushkarski, Jovan Dzaleski-Dimo, Laze
Makoski, Ande Adjiski, Mijalko Shahpaski, Petre Predarski and others. The
real follower of Andon was Aralampie Shahpaski (1898-1993), who sang
until his last days as a proto-psalmist of the church Sv. Bogorodica in
Smojmirovo. He died at the old age in 1993.
It should also be mentioned that some of his disciples were known as
singers and carriers of the folk music tradition. It is even more important
because it anticipates the question of connections between the church singing
of Byzantine tradition with the folklore singing tradition in Macedonia. From
that we can conclude that Andon Shahpaski and his numerous disciples -
was aware of the closeness of church and folk singing.
Older villagers from Smojmirovo remember, and that is supported by
information from other sources, that there was a choir composed of around
249
ten palmists in the church St. Mother of God in Smojmirovo in the period
between the two world wars that was permanently renewed with young
singers both form the village itself and other villages around the Malesh
region and wider. In relation to this, the information that I recently obtained
from the respected Father Peter Jordanov (1936), professor at the
Macedonian Orthodox seminary `St. Kliment Ohridski` - Skopje, that Mirko
Divanisov from the village Blatec, Kochani, as well as some other psalmists
from other parts of Macedonia that he personally knew, learned church
singing in Smojmirovo with Aralampie Shahpaski during the thirties of the
20
th
century. It confirms the thesis that the school for psalmists and the choir
that was established by Andon Shahpaski continued the work after his death,
managed by Aralampie, and was widely known across Macedonia.
In the years after the liberation, with the new social and political
establishment of Macedonia the school for psalmists in Smojmirovo ended
its work. Without inflow of young singers the church choir Sv. Bogorodica
gradually dwindled. Thanks to their longevity, only three psalmists remained
in the church Aralampie Shahpaski, Jovan Shahpaski and Gorg`i
Mushkarski, known in the village as Ampo, Jovancho and Gogo. It is worth
mentioning that although immediately after the World War I under Serbian
rule Serbian folk church singing was introduced, in the whole period after
the liberation through the mentioned psalmists church singing of Byzantine
Slavic tradition was practiced without interruption until before the end of the
20
th
century.
From what is said about the church slinging in Smojmirovo and its
representatives, one can conclude that the foundations laid by Andon
Shahpaski in the period of the National Renaissance were strong enough to
survive the churchSerbian chauvinism and the after war atheism in
Macedonia and meet its new renaissance the return of church singing of the
old tradition in Macedonian temples. Even more than that: thanks to the
devotion invested by Andon Shahpaski and his followers, the small Malesh
village Smojmirovo and their church St. Mother of God became a symbol of
the insubordination and rampart of old Macedonian traditions.
The Collection of psalms (Psaltikia) by Andon Shahpaski was written
in the village of Smojmirovo, Malesh, in the period between October 1882
250
and January 1884 in Slavic-church language and Hrisants notation. It was
written with black, and occasionally with violet ink on an ordinary thin
paper, with enviable calligraphic skill, especially the music neumas. In its
current state the manuscript contains 544 pages without pagination, with six
lines on each page (rarely 5 of 7). Its dimensions are 123x100mm and its
card covers are professionally bound in dark brown leather. Some pages at
the beginning are missing, but it is almost entirely readable.
The manuscript contains the name of its composer and writer. It may
have been printed also at the missing pages or the places that are destroyed
by humidity. It is written with the same handwriting at the last page that the
Collection was completed in January 1884 in Smojmirovo. At the bottom of
that page there is something added, but unfortunately it is quite unreadable.
Starting from the fact that those remarks are made by the same hand that
wrote the complete Collection and, besides, Andon Shahpaski was the only
calligrapher and musically educated person in Smojmirovo there is no
doubt that the manuscript is his own work.
The music collection of Andon Shahpaski contains two main parts: 1.
Short voskresnik with a short grammar and exercises of paralagy (solfge)
and 2. Liturgy. As already stated, there is an added part in the beginning,
which was created a bit earlier and contains works for the needs of different
religious services. Some pages are missing both in the beginning and at the
end of that part. What is of particular importance for our church music is that
the added part commences with the work Dostojno est (Worthy is) in voice V
by Joan Harmosin-Ohridski, whose beginning, unfortunately, is not
preserved.
By the way, this is an additional confirmation that psalmists were very
fond of `Dostojno est` in voice V by Joan Harmosin Ohridski, which until
now has been found in many church music manuscripts and printed books,
and it has circulated among psalmists who wanted to follow the course of all
activities on the broader church-music area. And more that that: church
works that started to appear created in Slavic language by domestic
composers were enthusiastically welcomed by Macedonian psalmists. With
that, they openly manifested the desire, beside church chants translated from
Greek language, to sing authentic compositions created in Slavic language,
251
interwoven by the recognisable music tune of the folk and church singing
from this region.
From the comparison of this manuscript with the books printed in that
period one can notice that certain compositions in the Psaltikia by Andon
Shahpaski are similar, and some even identical with those by the well-known
Bulgarian music teacher Nikola Trandafilov-Slivenec `Cvetosobranie` - the
first book printed in Slavic language in 1847 in Bucharest.
1
However, there
are indications that they are not directly taken from that collection, but from
various other manuscripts, probably from those that had been created in the
Rila Monastery or from their numerous transcripts that were made on the
wider orthodox region. Based upon the researches made so far, one can
conclude that the Short voskresnik the first part of Andons Collection is
aesthetically and musically rather close to the manuscript Voskresnik by
Janaki Stojmenovich from the village Orizari, Kochani, was written in 1849.
The Liturgy collection (Liturgiski zbornik), as a second part of the
manuscript of psalms by Andon Shahpaski is a carefully composed selection
of works, where the composer does not strictly stick to the usual order of the
religious service in churches. It contains compositions by most famous
Byzantine authors of church music between the 14
th
and the 19
th
century:
Jovan Kukuzel, Hrisav Novago, Georgij Kritski, Jakov Protopsalt, Daniil
Protopsalt, Petar Lambadarij - Peloponeski, Joan Lambadarij, Petar Efeski,
Hurmuzij Hartofilaks, Grigorij Protopsalt, Joan HarmosinOhridski and
others, whose names are not stated.
Judging by the calligraphic skills and the orthography demonstrated in
that manuscript, it can be said that it is a work by a skilled transcriber having
confident, trained hand and that this church music collection is not the only
one that he has written. Starting from these characteristics of the collection
one can conclude that Andon Shahpaski owned thorough knowledge of the
Hrisants theory and practice of the Eastern Church singing, which he could
then gain in monastery schools by highly educated psalmists.
Macedonian music science was enriched with another valuable
document when the Collection of psalms of Andon Shahpaski was found, as
it has multilevel significance for the church singing of Byzantine-Slavic
1
Trendafilov, Nikola, Cv tosobranie, Bukur t, 1847.
252
tradition, and generally, for the national culture. Once again, the fact was
convincingly confirmed that psalms were not only orally transmitted on the
territory of Macedonia in the 19
th
century by uneducated priests and
psalmists, but continued to be spread by the church music activists of a
growing number of dedicated individuals, who were gifted and educated but
also nationally aware. Actually, through their activities the manifestation of
the resistance towards the assimilation politics of the Constantinople
Patriarchy commenced, and the need for returning of the Slavic language in
the religious service. With that, these individuals from the church ranks
marked the Renaissance of the Macedonian people, the period when the
Macedonian nation was established and the foundations of its own cultural
development were laid. One of them is Andon Shahpaski.
253
IX.
Atanas Badev (1860-1908)
The development of music arts in Macedonia during the last quarter
of the 19
th
century was marked by the activities of town and school-choir
groups and small orchestras formed by musicians that were educated
outside the borders of the Ottoman Empire, in Russia and other European
countries. The most remarkable among the musicians dealing in that area
was Atanas Badev (1860-1908).
Data about the life and work of this music actor that were firstly
published during the sixties of the 20th century aroused considerable
interest. In the same time, fragments from his choir composition were
performed in the festive hall of the Macedonian academy of science and
arts (MANU) by the Choir of the Macedonian radio television, conducted
by Dragan Shuplevski. National music was enriched by that valuable work
created by a professional musician as was Atanas Badev. That event threw
new light upon our music past, especially the church music from the period
of the Renaissance.
In a short time the Liturgy by Sv. Jovan Zlatoust by Atanas Badev
saw different forms of recordings and concert performances and was
frequently broadcasted by the Radio and the Television. The level of
popularity that this choir work attained can be illustrated by the fact in that
time and later Badevs Liturgy was integrally performed at the
Manifestation Strugas music autumn in 1988 and at the dedication of the
Congregation Hall `St. Kliment Ohridski` in Skopje, in 1990. In that period
it was published in the form of a record and video cassette. Badevs liturgy
is often being present in Macedonian churches, and it will almost
254
completely replace the Liturgy by the Serbian author Stevan St. Mokranjac
(1856-1914) that until than was undisputable not only in spiritual but also
in secular choir music in Macedonia.
Atanas Badev was born the 14
th
of January 1860 in Prilep, in a family
of a fairly wealthy merchant. He demonstrated considerable interest in
music even from his early age. Besides, he treated other subjects with equal
devotion, and it was particularly the case with mathematics. He learned
church singing with Kote Pazov, and later with Georgi Smichkov, one of
the first Macedonian melographers, a known church singer and a teacher.
1
Being a boy of exceptional abilities, his parents sent Atanas to
continue his education in Thessalonica. However, he stayed there for a
short period of time, as his fathers death led their family into financial
hardship. During the following period the family Badev moved to Bulgaria
and Atanas joined the Male gymnasium in Sofia. He was also remarked by
the interest for school subjects in the new environment. His passion for
music and unusual musical talent were articulated through the aid given to
him by his music teacher who conducted the school choir.
2
During the summer holiday in 1879 Atanas Badev returned to his
native Prilep, where he established a church choir. Composed of scholars
and music enthusiasts that group successfully performed in the town during
Sunday church services as well as on other festivities and holidays.
3
During
the school year 1880/81 when Georgi Smichkov - who had previously been
Badevs teacher - undertook to role of conductor, there were around 30
members of the choir, around seven to eight singers to each voice. Gorgi
Trajchev says in his book Grad Prilep (The city of Prilep) that singers who
gathered for rehearsals each Wednesday afternoon were self-taught, since
in that time note singing was still not in the curriculum of the three-class
school in Prilep.
4
However, materials that have been found handwritten by
Smichkov, that represent choir stimovi of church compositions transcribed
from Western into Hrisants notation, illustrate that singers also used
1
Ortakov, Dragoslav, Makedonska muzika - 5, op. cit. p. 27.
2
Ortakov, Dragoslav, Ars nova op. cit. p. 143.
3
Golabovski, Sotir, Istorija op. cit. p. 99.
4
Traj~ev, Georgi, Grad Prilep, Sofija, 1926. p. 154-155.
255
written materials to learn the works
5
and that Byzantine music script was
dominant on the territory of Macedonia in that period.
A crucial phase in Atanas Badevs life was his stay in Russia, where
financially supported by his wealthy uncle Atanas studied physics and
mathematics at the Faculty of Philosophy in Odessa. After his two-year
studies Badev left Odessa due to his uncles death. A bit later, when he
provided means himself, he went to Moscow where he joined the Synod
singing school. Driven by the wish for new music knowledge we see him
later in Petersburg as a student of the Courts singing school. In connection
with his studies of composition at that school some music scientists state
that he completed his studies studying with eminent professors. Among
them the great Russian composer Nikolaj Rimski-Korsakov is mentioned,
but we still do not have secure data if Badev was his student.
With a diploma as the first professional musician and a theoretician
with broad knowledge and culture Badev returned to Macedonia and
became a teacher of music in Thessalonica. During the years spent working
among high school scholars in Thessalonica Atanas Badev gave his major
contribution to the development of the music culture in his fatherland. He
organized and led the school choir and trained disciples who would
continue music activities in many cities across Macedonia. Around the year
1892 Badev spent some time as an official in Bitola. There he married the
teacher Marija Dimitrova Shtipjanova, to move again to Thessalonica with
her. His teaching activities in Thessalonica during the years when the
Macedonian revolutionary organization was established coincided with
their first activities. As measures of precaution the management of
Exarchate schools in Macedonia began to move away from Macedonia all
those culture activists whose activities could anyhow be beneficial for the
work and the aims of the organization.
6
As a result of all those conditions Badev got transferred to Ruse.
Being in the zenith of his creative potentials he developed very fruitful
activities as a teacher of music in the Male gymnasium in Ruse, educating
his students and leading the gymnasia choir after the experience gained in
5
Ortakov, Dragoslav i Golabovski, Sotir, Muzi~ko tvore{tvo,
Prilep i Prilepsko niz istorijata, Prilep, 1971, v. I. p. 236-240.
6
Ortakov, Dragoslav, Makedonska muzika - 5, op. cit. p. 31.
256
schools throughout Macedonia. Some of his disciples later decided for
professional music careers and achieved respectable results as music artists
and theoreticians. During his stay in Ruse Atanas Badev formed his Liturgy
after St. Jovan Zlatoust, which was printed in Leipzig (Germany) in 1898.
After two years spent working at the Gymnasium in Ruse, Badev was
invited by the synod to teach church singing at the Seminary school in
Samokov. He accepted that duty which consisted of teaching seminarys
attendants in reading of the western and the eastern music script. But, not
long after that Badev was fired from the Samokov seminary. The reasons
for that act by the synod remain insufficiently clear. During the following
period Badev was appointed music teacher at the Female gymnasium in
Kjustendil. There, with seriously damaged health, Badev spent the last
years of his life, unsuccessfully trying to be transferred to Sofia, where he
might have gotten more efficient medical care. In the course of those
attempts, Badev died on a train towards Kjustendil on one of his trips, the
21
st
of September 1908.
7
Atanas Badev, as a versatile and well-educated musician in the spirit
of the European music aesthetics, and under the influence of the national
romanticism, parallel with the composers and pedagogic activities engaged
in collecting and study of the Macedonian music folklore. As a result of
those researches by Badev is his appearance at the second congress of the
Musical association in Sofia in 1904 with the topic About the folklore and
its particularities in Macedonia. That is the first serious work in the field
of ethno-music where the melo-rythmic structures of the Macedonian
folklore are professionally explained for the first time.
8
With it, Atanas
Badev laid the foundations of the Macedonian contemporary science of
ethnic music.
Badev wrote numerous compositions inspired by the music folklore,
as well as harmonisations of chants in city tradition, lake those cherished
also by other authors from the neighbouring cultural environments during
the period of national romanticism. However, the real creative potential of
Atanas Badev is best expressed by his Liturgy after St. Jovan Zlatoust for
7
Ortakov, Dragoslav, Ars nova op. cit. p. 177.
8
Karaka{, Branko, Muzi~kite tvorci vo Makedonija, Makedonska kniga,
Skopje, 1970, p. 9.
257
mixed choir. Composed using the sample of spiritual compositions that
Badev had the opportunity to study in big music centres like Moscow and
Petersburg, that composition contains more developed choral slog in
comparison with his other works composed on his own of folklore topics.
9
In part of the melodies contained in that choir work church chants that were
preserved by oral tradition can be recognized, as well as themes by known
Byzantine composers, that Badev probably had been listening and singing
in his birth palace. However, their Byzantine character is neutralized to a
certain degree with the harmonization in the spirit of the European
tradition. Still, as a musician who knew Byzantine Music and its system of
eight voices, in some parts of his Liturgy where the tune has some tunes
typical for the Byzantine scales by harmonizing of these tunes and themes
Badev made certain compromises that make the work more original and
attractive. Thus, instead of usual harmony solutions that are typical for the
European music Badev occasionally lets the recognisable Byzantine iso
sound recognizably, like the odour of thyme fills the space. At the same
time these are the most exciting parts of his Liturgy by St. Jovan Zlatoust.
As a musician that, through Russian secular and church music, had
the opportunities to thoroughly learn and apply the practice of European
music theory Badev could not simply remain in the church music of
Byzantine tradition, which he used to learn in his native town of Prilep. It is
evident that as a composer and director he discovered more space in
European music, and he dedicated himself to it with all his heart. Actually,
the love for European music that flourished during his stay in Petersburg
and Moscow was conceived in Prilep, and lasted through all his life. When
I say this, having in view the fact that in the period of his early youth, in
Prilep, as one of the more advanced cultural centres in Macedonia through
different forms and ways (although with a certain delay) the wave of
European romantic music arrived as something new and exciting, and the
young Atanas Badev was not left indifferent to it. It should not be forgotten
that Badev spent a significant part of his life as a student of the Male
gymnasium in Sofia. Many young Macedonian intellectuals were educated
in that cultural centre, and there he could feel the touch of the European
9
Ortakov, Dragoslav, Ars nova op. cit. p. 150.
258
culture at every walk. All these circumstances decided the music destiny of
Atanas Badev, the first many-sided educated musician in the spirit of
European music in Macedonia.
The first data about the life and work of this representative of the
National Renaissance were published in the book of the Serbian
musicologist and publicist Branko Karakash Muzi~kite tvorci vo
Makedonija (Composers in Macedonia,) published in 1970 in Skopje,
where Atanas Badev was described as the first professional Macedonian
musician and theoretic of broad culture.
10
The best sublimed
information of Atanas Badev was found in the Music Encyclopaedia of the
Yugoslav lexicographic office of 1971, written by the composer Todor
Skalovski, where he stated that Badevs compositions confirm his deep
knowledge, rich invention and creative force. It is emphasized also that
Badev was the first well educated musician and theoretic of broad culture,
and in the same time the first Macedonian composer of multi-voiced church
music.
11
The music writer Dragoslav Ortakov was the one who researched and
wrote about the work and life of Atanas Badev. With his three books
Muzichkata umetnost vo Makedonija /The music art in Macedonia (1982),
Ars nova macedonica (1986), Ogledi za vizantisko-slovenskata musika vo
Makedonija/Essays about the Byzantine-Slavic music in Macedonia
(2001), as wall as other articles in different magazines in the field of
culture, Ortakov undoubtedly contributed to the presentation of the profile
and the work of this significant composer, one of the few well-educated
musicians not only in Macedonia, but also in other national areas on the
Balkans.
12
Sotir Golabovski also dedicated suitable space in his book
History of the Macedonian music published in 1999. According that
musicologist, Atanas Badev is the most important representative of the
music professionalism of west-European type in the period of the
Renaissance and beside his music and ethno-music work emphasises his
pedagogic and organizing activities which greatly contributed to the
10
Karaka{, Branko, Muzi~kite op. cit. p. 9.
11
Skalovski, Todor, Muzicka enciklopedija, vol. I, Jugoslovenski leksikografski
zavod, Zagreb, 1974, p. 110.
12
Ortakov, Dragoslav, Ars nova op. cit. p. 141.
259
development of the music culture in Macedonia.
13
The musicologist Jelica
Todorchevska has been researching lately the life and work of Atanas
Badev, and she announced some new moments of his life, particularly
regarding the period of his music studies in Russia.
14
Having in view that the interest Badev demonstrated as a musician
was not limited only to spiritual music and folklore themes as sources of
inspiration but also the very folk music creation, and finally because of his
clear orientation towards the European music as his aesthetic and creative
decision, researchers and future generations of Macedonian musicologists
will have sufficient space for research regarding the activities of this music
actor whose activities were remarkable during the last two decades of the
19
th
and the beginning of the 20
th
century.
13
Golabovski, Sotir, Istorija op. cit. p. 100
14
Todor~evska, Jelica, Leksikon na muzi~kite tvorci od Prilep, (ms)
260
X.
Vasil Ivanov Bojadjiev (1876-1950)
It is not unusual for us to discover a kind of worthy work from our
recent past without any details kept about the authors life. Such is the case
with more of the persons presented in this part of the book. In connection
with it Vasil Ivanov Bojadjiev, the author of one of the most valued church
music works in Macedonian music history and broader, although being
born not long ago and lived until the middle of the 20
th
century, is not an
exception.
Thanks to data the musicologist Dragoslav Ortakov obtained through
talks with the descendents of Vasil Ivanov Bojadjiev, immediately after the
discovery of his Psaltikiski voskresnik in 1978
1
by the slavist Mihailo
Georgievski
2
, today we have basic data for the life of this significant
representative of the church singing of Slavic-Byzantine tradition in
Macedonia. Although insufficient, these data are exceptionally important
for further research, as they indicate the main points of Vasils life.
According these data, Vasil Ivanov Bojadjiev was born in Kratovo,
14
th
of December 1876. After finishing primary school in his native town he
continued his education in the Exarchate pedagogic school in Skopje, where
he gained basic knowledge about church singing. Beside Kratovo he
worked as a psalmist also in Tetovo, Shtip and Strumica. He spent two
years at the monastery Hilandar on Mount Athos improving church
singing. In the period after that he worked in Bachkovski monastery near
1
Ortakov, Dragoslav, Ogledi za vizantisko-slovenskata muzika vo Makedonija,
Vorldbuk, Skopje, 2001. p. 98-103,
2
Georgievski, Mihailo, Makedonska muzika/2 Nekolku novootkrieni
muzi~ki rakopisi od Makedonija, Skopje, 1979. p. 51-55
261
Plovdiv (Bulgaria) as a teacher of church singing in the seminary there. He
moved to Stara Zagora around 1922 where he retired after a while.
During the whole period between the two world wars Vasil Ivanov
Bojadjiev intensively worked on the Psaltikiski voskresnik, investing all his
knowledge and experience of a church singing teacher in it. In Bulgaria,
where the psalm books by Manasij Pop Todorov are undisputable he could
not find a publisher interested in his book. Because of that, Vasil
Ikonomov, who had longed to return to his Macedonia came to Veles in
1941, where he worked as a conductor of the church choir and a psalmist.
Due to the resistance by the clergy that were with pro-Serb attitudes he
neither succeeded to gain support for church singing of Slavic-Byzantine
tradition nor came across aid to publish his book. After two years he moved
to Skopje, the town where he had attended the pedagogic school, hoping to
realize his wish the printing of the book - and continue his church music
activities there. But, in times just before the end of the war and the liberated
Skopje - there was no sufficient space for the old and already tired psalmist.
On top of that, with the new social order his Psaltikiski voskresnik quickly
became outdated and out of interest to others. He died in Skopje, in 1950.
As already mentioned, the discovery of the Psaltikiski voskresnik by
Vasil Ivanov Bojadjiev in 1978 has a broader significance for the
Macedonian music culture and particularly the church singing of Slavic-
Byzantine tradition. With the discovery of that manuscript, the high level of
church singing on the territory of Macedonia and its numerous
representatives was confirmed, combined with the fact that despite tough
conditions there was continuous development of the psalm art in the
period after the World War I, when after the Vardar part of Macedonia fell
under Serbian governance, Serbian folk church singing was introduced in
Macedonian temples. Besides, the handwritten collection by Vasil Ivanov
Bojadjiev contains a number of valuable music works by Macedonian
authors that were unknown prior to its discovery.
Bojadjiev made the manuscript using Hrisants notation and Slavic-
church text with constantly nice and readable handwriting. This voluminous
collection has 395 densely written pages with 17 lines of musical neumas
262
and text and contains all successions of the utrenia, vechernia and the
liturgy.
It is interesting to mention that almost all Slavic authors of church
music that are presented in this collection originate from Macedonia: Jovan
Kukuzel, Dimitar Zlatanov Gradoborski, Kalistrat Zografski, Hristo P.
Stojanov, Manasij Pop-Todorov, Atanas Badev, Hristo Shaldev, Petar
Dinev and Stamuli Zarkinas. Only Petar Peoponeski is of `Byzantine`
authors.
In this anthology of the Macedonian church music the three works by
Kalistrat Zografski Otca i Sina in voice II, voice V and voice VII are of
particular importance. Vasil Ivanov Bojadjiev could have taken the two
works in voice V and voice VII from the collection Liturgija, but it remains
unknown from where he has taken that in voice II, since it cannot be found
in the Collection by Kalistrat, nor any other printed collection of psalms.
With it, Vasil Ivanov Bojadjiev gave us a significant piece of information
that Kalistrat Zografski had not put all his compositions in his collection of
East church singing. It can lead to the conclusion that he created more
works than what is known to us today.
The discovery of the Psaltikiski voskresnik by Vasil Ivanov
Bojadjiev introduced new moments regarding the dilemmas around the
church music work of Manasij Pop Todorov.
3
In Bojadjievs collection, that
was discovered two years after the death of Petar Dinev, Manasij Pop
Todorov is present with a larger number of works in comparison with other
authors there:
- Veliko slavoslovie (12 works), in voice I, in voice II, (two) in voice
III, in voice IV, in voice V, in voices VI-VII, in voice VI, in voices I-VII, in
voice VII (two) and in voice VII;
- Otca i sina (two works) in voice III and in voice VI.
In connection with it, it should be mentioned that the collection of
manuscripts by Vasil Ivanov is one of the most voluminous and properly
made that have appeared on the territory of Macedonia and wider. Based
upon its contents, one can conclude that the collectioner Vasil Ivanov
3
The Byzantologist Petar Dinev believes that Manasij Pop-Todorov did not leave his own works,
but only made corrections to works by other authors.
263
Bojadjiev, besides his excellent knowledge of Hrisants notation theory was
well introduced into the literature of the east orthodox singing, especially
that in Slavic language. Hence, we can suppose that Vasil Ivanov knew
well who were the authors that he included into his Psaltikiski voskresnik.
Therefore, there is no doubt that Manasij Pop Todorov was really the author
of the presented works.
The manuscript of psalm collection in question contains works
without indications regarding their authors. It can not be excluded that
some of those works were created personally by Vasil Ivanov Bojadjiev. In
that respect, it is interesting to note that in all works presented in the
Psaltikiski Voskresnik taken from different printed collections of psalms
Vasil Ivanov made some smaller or larger changes and repairs of any kind:
from orthographic to melo-rhythmic, in order to better express the meaning
of the text or to be in line with the emphasized syllables. He has done it fine
and with exceptional knowledge of the theory of the church singing of
Slavic-Byzantine tradition. Because of these reasons, it can be stated that
this collection has noticeable authors character.
The Psaltikiski Voskresnik by Vasil Ivanov Bojadjiev
represents a synthesis of all voskresniks that had previously appeared. It
successfully synthesizes experiences and knowledge of Macedonian authors
from the 19
th
and the 20
th
century, like Dimitar Zlatanov-Gradoborski, Joan
HarmosinOhridski, Kalistrat Zografski, Manasij Pop-Todorov, Andon
Shahpaski and others. As already mentioned, Vasil Ivanov Bojadjiev
started to compose his Psaltikiski Voskresnik in the period immediately
before the World War I, when the church singing of Byzantine tradition
was expulsed from use in Macedonian temples to be replaced by Serbian
folk church singing, better known as Mokranjac singing. Maybe due to
these reasons he used to made efforts to return to Macedonia during all this
dramatic period. Although he returned to his fatherland relatively late, even
in 1941, trying to publish his Psaltikiski Voskresnik Vasil Ivanov Bojadjiev
actually wanted to demonstrate the strength of our millennium-long
tradition and the deep roots of church singing of Slavic-Byzantine tradition
on the territory of Macedonia.
264
ANEKS
ANNEX
265
266
CRKOVNI TVORBI OD MAKEDONSKI AVTORI
Dimitar Zlatanov Gradoborski
Dimitar Zlatanov - Gradoborski
Dostoino esty. Glas i*. Ni.
(Prevod od gr~ki Jane Koxaba{ija)
Do- stoi - - - - no____esty_____ - - kw__ vo- -
i - - sti-n$ bla - ji - - - ti_____ t Bo - go-
ro - - di - q$,___ pri - - - snw bla- je - - -
n$ - - , i pre - ne - po - roc - - - - - n$ - -
- - - - - ,_____ i ma - - - - - - - - tery
Bo - ga na - - e - gw.__ Cest-nhi - - $ - - -
d - - - - - - - - ko, i sv - -
to - - - - - - - - e, Vos - kre - se -
- - n` - - e____ Tvo - - e sla - - - - -
- - vim._______________
''
Sla-va Ot - q$, i S - - - n$, i Sv - to-
''
- m$ D$ - - x$. I n - nh i pri - - snw,____
e - - m$____ po - - - - kla - - n - - - - -
'
- - - - - em - - s,____ pro- kla - n - -
- - - - em - - - s,______________________ Vla-
d - - - - - - \ - - - - - - ko,
i sv - to - - - - - - - - - - -
270
- - - - - - e vos - kre - se - - - -
'
n` - - - e,_____________ vos-kre - - se - - - -
n` - - - - e___ Tvo - - - - - - e
sla - - - - - - - - vim.____________
_____
Ou sl$jb$ sv\ennonacalnika.
Glas i*. Ni.
'
Voz - l - bl T, Go - spo - di, krh - - po - ste
mo - , Gos-pody t- ver- jde - - n` - - e mo - e, i
pri - bh- ji-\e mo - e,________ i iz - ba - - - -
vi - - tely - - moi.
'
Ot - qa i S - na i Sv - ta - - go D$ - -
271
'
xa Tro - i - q$ e - di - no - s$ - - \n$ - - i
ne - raz- dhly-- - - n$ - .
'
Mi-losty mi - - - ra, jer - - tv$ xva-le - -
- - n` - .
'
I so d$ - - xom tvo-im._________________
I - ma-m ko Go - spo- d$.
'
Do- stoi - - - no____ i pra - - - ved -
no esty.
Do - stoi - - - no_____i pra - - - - ved
272
- - no____esty, po - kla- n - ti - s Ot - q$, i_____S-
n$, i Sv - to - - m$ D$ - - x$,Tro - i - - qh e-
A - - - - - - - - - - - - -
miny._______________
'
Te - - bh________po- em,___________________ Te-
be - - bla-go-slo- vim,______________________ Te- bh_
___________ bla - - go - - da - - rim, Go - - spo - - -
- - di, i mo-lim Ti - - s, Bo- je na, i mo-
lim Ti s, Bo- je na, i mo - - - - lim___
'
Ti_____________________ s, Bo - - - - - - -
je__________________ na._______________
277
Dostoino esty.
Glas a*.a.
Do - stoi - - - no esty____________ -
ro - - - di - - q$ t ve - li - ca - - - -
em._______________________
279
Dostoino esty.
Glas d*.d.;
Do - stoi - - no esty - kw vo- i - - sti - - -
n$_________________ bla - ji - - - ti____ t_
___ Bo - - - go - ro - - - - - - - -
____________Bo- ga na - - - - e - - gw._____
____________ Cest- nhi - - - - - - $ - -
xe - - - - r$ - - vfm,______ i slav - - nhi -
280
$ - - - - - ________ bez sra - vne - - -
'
n` - - _______ se - ra - - fm,_______________ bez_
___ i__bez is - tlh - - - n` - - ________
Bo - ga Slo - - - - - - va rojd-$ ,________
________ s$ - - \$ - Bo - go - ro - - - - di - -
- - q$ t_____________________ ve - li - ca - -
'
- - - - - - - em._________________________
'
__________________________________________________
281
Joan Harmosin Ohridski
Joan Harmosin - Ohridski
Dostoino esty. Glas e*. Pa.
Do - stoi - - - no sty___________ - kw vo -
i - - - sti - - - n$____ bla - ji - - - ti__
______ t____ Bo - go - - - ro - - - - - di -
- - q$,________________________ pri - - sno bla - jn-
- - - n$ - - , i pr - - n - po - - ro - -
smi-rix-s h-lw.
290
Izdava~:
Qentar za Vizantoloki Studii
ul. Palmiro Toljati, br. 178
nas. ^ento, 1040 - Skopje,
R. Makedonija
tel. (070) 254-969, (071) 254-969
e-mail: nikialko@mt.net.mk
Site prava zadr`ani.
Ne e dozvoleno prepe~atuvawe, kopirawe
ili objavuvawe na ova izdanie vo bilo koja forma,
bez pismena soglasnost na izdava~ot.
300