Theme of Moscow as “holy city” in musical and hymnographical creativity of tsar Ivan the Terrible and the master Fedor Krestjanin

The problem of the implementation of the theme of the ‘Holy City', the New Jerusalem, in the musical hymnographic works of Ivan the Terrible and an outstanding master, Feodor Krest'anin, is investigated in this study for the first time. The authors describe the contemporary state of study of this theme and its historical background. The ideological concepts of Moscow as the New Jerusalem, as well as Moscow: the New Rome, were born in the period of Moscow's eminence as the capital of a unified Russian state. Initially the ideas were approved in the political consciousness of Russia's ruling elite in the sixteenth and the first half of the seventeenth centuries. There are a large number of scientific studies reflecting these ideas in various kinds of art: iconography, architecture, literature and liturgical theatrical ceremony. But as for musical hymnography, this subject is studied for the first time. The authors examine the implementation of the theme of the Holy City, the New Jerusalem, using the example of certain specific chants. The chant ‘Shine, shine, new Jerusalem' is explored in the musical version of an outstanding raspevshik (composer), Feodor Krest'anin. His musical composition appeared during a period of increased interest in this idea. The chant master created a solemn chant for the ancient hymnographic poetic text, which is closely associated with the image of the New Jerusalem. The researchers analyse the unique record of the tsar's chorister dating back to 1600. This draft is evidence of the enormous interest in the mastering of Feodor Krest'anin's chant among the Tsar's singing diaki (choristers). The authors reveal Feodor Krest'anin's conception of the implementation of the ‘Moscow: the New Jerusalem' idea in music. Tsar Ivan IV the Terrible also appealed to the image of Muscovy as a reflection of the hierarchical structure of the Tsardom of Heaven. In the text of the third sticheron of his chanting cycle devoted to the Vladimir Icon of the Blessed Theotokos, the earthly hierarchy of Russian society was built as a projection of the celestial hierarchy, comparable to the heavenly ranks of the New Jerusalem.