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Bulletin of the South Ural State University. Ser. Social Sciences and the Gumanities, 2019, vol. 19, no. 3 The tsar’s and the patriarchal choirs in Moscow had already had a long history by the 16th century. The tsar’s one was originated from the choir of the grand duke court. Most likely, the choir of Moscow grand dukes was formed due to the fact that they considered themselves the rulers of all Russian lands. The creation of proper grand duke court, establishment of court ceremonial and erection of court churches were also of great importance here. All this is indicative of Ivan Kalita’s period of reign (1325—1340). One of the major events of that period was the relocation of the Metropolitan of Russia residence from Vladimir to Moscow. There, in the major spiritual centre of Russia from that day on, the Metropolitan court and the Assumption Cathedral of the Moscow Kremlin were erected (1327). In the following centuries they served as the place where the Metropolitan choir chanters carried out their duties. During Kalita’s reign the Archangel Cathedral was erected, as well as the new court one — Spas-na-Boru Church, which replaced John the Baptist old church at the duke court, where in all likelihood the grand duke chanters sang. However, the metropolitan choir, as compared to the Moscow Grand Duke one or the tsar’s choir, was, most likely, much older. One can hardly imagine that the metropolitan divine service in Ancient Russia was done without church chants. It is obvious that the creation of this choir ascends to the period of Russian metropolitanate establishment (988). After the establishment of the patriarchy in 1589 it was called patriarchal. The Russian scholar V. M. Metallov considered the date of patriarchy establishment in Russia to be the time of the patriarchal choir beginning [14, p. 1—2]. But at that time only the name of the choir was changed. The All-Russian metropolitanate, without doubt, had its own choir. The sources also confirm this fact: in the ceremony of bishops enthronement of 1456 it is stated that the metropolitan’s chanters sang “some chants”, “Mnoga leta” (expression of wishes for long life) and others [2, p. 470, 473]; on July, 7, 1543 Filipp Fedoseev, Protopopov’s son, who was a “metropolitan chanter”, contributed a book to the Chudov Monastery [16, p. 87]. The Metropolitan times brought us few names of chanters and brief information about their activities. That is why further on we shall dwell upon the patriarchal period of that choir mainly. The structure of the major choirs of Russia represented unique bodies of hierarchical arrangement, which were divided into specific subdivisions — stanitsas (small vocal groups). The status, salary and functions of a chanter were determined by the stanitsa he was singing in, and often by the place within a stanitsa as well. The only precise information about the arrangement and number of chanters of the tsar’s choir in the 16th century available today is the information about the choir of Tsar Ivan IV’s reign period. According to the staff list dated by March 20, 1573, the choir consisted of five stanitsas: the 1st and the 5th stanitsas consisted of 5 people each, the others — 4 people each. Besides, there were 5 “bezstanichnye” (not belonging to any stanitsa), reserve chanters. Thus, the whole choir of Ivan the Terrible in 1573 consisted of 27 chanters (“singing diaki”) [3, p. 35—37]. The tsar’s Treasury book of charges (1584—1585) specifies the names of the tsar’s choir chanters from only two stanitsas, though “minor” ones [9, p. 201; 26, No 198, fol. 64, 67]. This information is supplemented by monastic documents. In December 1585, on Christmas, the Chudov Monastery welcomed (besides the above mentioned chanters) the “diaki” of the four major stanitsas who came there to glorify Christ. Consequently, the choir of Tsar Feodor Ivanovich consisted of approximately 30 chanters. During their stay in Moscow the Fathers Superior of the Dorogobuzh Boldin monastery were giving money gifts to four (1598) or five (1600) tsar’s stanitsas; the monastery “heads” (Fathers Superior, cellarers, treasurers) of the Joseph Volokolamsk Monastery were giving money to the same number of the Tsar’s choir stanitsas in 1605—1608 [22, No 273, fol. 121; 27, No 15, fol. 54; No 19, fol. 158; 31, v. 37, p. 135, 177]. The following information, which allows to disclose the structure and members of the tsar’s choir to the fullest extent possible, dates back to the period of recovery of the state apparatus and palace subdivisions after the Time of Troubles. In 1613—1626 the number of maDOI: 10.14529/ssh190314 The SinGerS of The cenTral choirS of The rUSSian STaTe of 16Th—17Th cenTUrieS aS The “SlUzhilye lyUdi” of The TSar’S and The paTriarch’S coUrTS

The singers of the central choirs of the russian state of 16th—17th centuries as the “sluzhilye lyudi” of the tsar’s and the patriarch’s court