Artemy Vedel

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Artemy Vedel (Russian: Артемий Ведель; Ukrainian: Артемiй Ведель; c. 1767, Kiev, Russian Empire (now Kyiv, Ukraine) — 1808, Kiev, Russian Empire)[1] was a Russian Imperial[2][3] military and liturgical composer of Ukrainian origin, who has made an important contribution in the music history of modern-day Ukraine.[4][1][5] Together with Maxim Berezovsky and Dmitry Bortniansky, Vedel is recognized as one of the Golden Three composers of the period in Russian Empire.[6]

He was born in Kiev, Russian Empire (now Kyiv, Ukraine). He studied at the Peter-Mogila-Academy and later in St. Petersburg and Moscow under Giuseppe Sarti. In 1796 accompanied Levanidov to Kharkov (now Kharkiv) to conduct the Kharkov College choir. He did much of his composing in this period.[7]

In 1797 Tsar Paul I prohibited the performance in churches of any form of music except for the Divine Liturgy. In 1798 Levanidov was removed from his post by Paul I, leaving Vedel without a benefactor. Church authorities sent him to a mental asylum in 1799 for spurious reasons, and he died soon after.[7]

The V.I. Vernadsky National Library of Ukraine holds the only existing music composition manuscript handwritten by Vedel, the "Score of Divine Liturgy of Saint John Chrysostom and Other Compositions". The piece comprises the Liturgy of Saint John Chrysostom and various choral works. The ink varies in color, which suggests that Vedel wrote on the manuscript at different times throughout the years.[1]

Legacy[]

Wedel's works were banned for a long time and distributed in manuscripts, they were known and performed, despite the ban. Today about 80 musical works are known. Among them are 31 choral concerts, 6 trios, including "Repentance, we open the door", 2 St. John Chrysostom liturgy, All Saints' Day and one secular cant.[8]

The Institute of Manuscripts of the VI Vernadsky National Library of Ukraine houses manuscripts of the incomplete liturgy of Ivan Zlatoust and 12 spiritual concerts.[9]:

  1. «В молитвах неусипающую Богородицу» (In prayers the sleepless Mother of God) — c minor (1794)
  2. «Спаси мя, Боже, яко внидоша води до душі моєя» (Save me, O God, by bringing water into my soul) — a minor (1794)
  3. «Доколі, Господи, забудеши мя» (How long, Lord, will you forget me?) — f minor (1795)
  4. «Пою Богу моєму дондеже єсьм» (I sing to my God to the point where I am) — c minor (1795)
  5. «Блажен разуміваяй на нища і убога» (Blessed is the poor and needy) — g minor (1795)
  6. «Помилуй мя, Господи, яко немощен єсьм» (Have mercy on me, Lord, how weak I am) — a minor (1796)
  7. «Воскресни, Господи…» (Sunday, Lord…) (preserved incompletely, 1796)
  8. «Услиши, Господи, глас мой» (Hear, O Lord, my voice) — c minor (1796)
  9. «Проповідника віри» (Preacher of the faith) — c major (1796)
  10. «Господь пасет мя» (The Lord feeds me) — c major (1796)
  11. «Боже, законопреступници восташа на мя» (God, criminals rebel against me) — c minor (1796)
  12. «Ко Господу, внегда скорбіти ми» (To the Lord, we will always mourn) — c minor (1798)

The vast majority of Wedel's concerts are written on the texts of psalms, mostly of a pleading, mournful nature, which deal with the annoyance of man by evil forces. Three concerts are written on the texts of psalms of historical content and only two (#9, 10) - panegyric.

Like Berezovsky and Bortnyansky, Wedel followed the traditions of partsong. Concerts are multi-part (mostly 3- and 4-part), most of which are built on the principle of tempo and tonal contrasts, in some cases the integrity of the cycle is fastened by thematic connections between the parts. Often parts of concerts have 2-4 relatively independent sections, consisting of exposition, development and ending.

Wedel's melody is expressive, covers a wide range and is closely related to lyrics. The melody expressiveness is enhanced by the rhythm, which is marked by the complexity and variety of rhythmic patterns. The classical style is associated with a clear division of melodies, the use of constructions such as "question - answer", the final structures. Instead, the connections with the ancient Ukrainian monody and Ukrainian folklore give it a melodic character.[10]

Harmonic language has all the hallmarks of a developed tonal system, the tension increasing is achieved by the use of altered subdominant, as well as altered dominant. In ensembles, Wedel often uses the three-part chord texture typical of edging. Choral texture significantly affects the imagery and formation. Inherent comparison of ensemble sounds with tuttiynyh, changes in the choral texture are dynamizing factors.

References[]

  1. ^ Jump up to: a b c "Score of Divine Liturgy of Saint John Chrysostom and Other Compositions by Artemiĭ Vedelʹ". V.I. Vernadsky National Library of Ukraine. World Digital Library. Retrieved 25 December 2013.
  2. ^ Bertil van Boer: Historical Dictionary of Music. Scarecrow, 2012. P. 577.
  3. ^ Bertil van Boer. Historical Dictionary of Music of the Classical Period, 2012. P. 619.
  4. ^ Bertil van Boer. Historical Dictionary of Music of the Classical Period, 2012. P. 619.
  5. ^ Ritzarev, Marina (2006). Eighteenth-century Russian Music. Ashgate Publishing. ISBN 9780754634669. Retrieved 8 May 2020. A Ukrainian and a deeply religious man, Vedel graduated from the Kiev Ecclesiastical Academy..
  6. ^ Ihor Sonevytsʹkyĭ. Artem Vedelʹ i ĭoho muzychna spadshchyna. Ukrainian Academy of Arts and Sciences in the United States, 1966. P.161
  7. ^ Jump up to: a b "Culture: Vedel, Artem". encyclopediaofukraine.com. Retrieved 22 October 2020.
  8. ^ Ведель Артем Лук'янович, according to the encyclopedic reference book "Kyiv-Mohyla Academy in the names of XVII-XVIII centuries."
  9. ^ Л. Корній. Історія української музики. Т.2 . — К. ; Харків; Нью-Йорк: М. П. Коць, 1998. — с.307
  10. ^ Л. Корній, с.331

Further reading[]

Husarčuk, Tetjana V.; Гусарчук, Тетяна Володимирівна (2019). Artemij Vedelʹ : postatʹ mytcja u konteksti epoch. Kyïv. ISBN 978-966-8259-87-6. OCLC 1128835814.

External links[]


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