ANDON [AHPASKI PSALTIKA. Redaktura, notografija i voveden tekst JANE KOXABA[IJA SKOPJE, 2013

Transcription

1 1 ANDON [AHPASKI PSALTIKA Redaktura, notografija i voveden tekst JANE KOXABA[IJA SKOPJE, 2013

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3 3 Andon %axpaski (ok )

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5 5 ANDON [AHPASKI (ok ) So otkrivaweto na еден мuzi~ki rakopis вo 2003 godina, prviot vo nizata podocna otkrieni rakopisi od ostavninata na Andon [ahpaski, istorijata na makedonskata muzika se zbogati so u{te edno ime na dotoga{ nepoznat pretstavnik na crkovnoto peewe od vtorata polovina na XIX-ot i po~etokot na XX-ot vek i so novi soznanija za razvojot na crkovnoto peewe od vizantiskata tradicija na teritorijata na Makedonija. Prviot od dvata dela na ovoj rakopis go objaviv ve}e vo slednata 2004 god. pod naslov Kratok voskresnik. 1 Petpostavkite izneseni vo vovedot na ovaa kniga, deka spored se}avawata na negovite potomci, Andon [ahpaski, poseduval bogata biblioteka od crkovni knigi i nevmatski rakopisi, koi samiot gi pi{uval, se potvrdija ve}e vo sledniot period, so pronao aweto na u{te pet pe~ateni knigi i nekolku rakopisni psaltikii. Osven toa, se potvrdija i pretpostavkite deka [ahpaski imal i svoja {kola za psalti i hor, koj peel na nedelnite i prazni~nite bogoslu`bi vo crkvata Uspenie na Presveta Bogorodica vo rodnoto selo Smojmirovo, Male{evsko. Podocne`nite istra`uvawa poka`aa, deka pokraj pomaliot brat Aleksandar i sinovite Aralampie i Jovan, u~enici na Andon [ahpaski i ~lenovi na negoviot hor bile i \or i Mu{karski, Mijalko [ahpaski, Jovan Xaleski - Dimo, Laze Markoski, Ande Axiski, Petre Predarski, Spiro Xaleski i nekoi drugi. Naslednik na Andon kako crkoven pea~, rakovoditel horot i na {kolata za psalti bil Aralampie [ahpaski ( ), koj vo crkvata Uspenie na Presveta Bogorodica vo Smojmirovo peel do krajot na XX vek, do`ivuvaj}i ja novata prerodba na makedonskoto crkovno peewe. 1 Jane Koxaba{ija: Andon [ahpaski: Kratok voskresnik, Centar za vizantolp{ki studii Skopje, 2004.

6 6 Va`no e da se napomene, deka nekoi od u~enicite na Andon [ahpaski bile poznati i kako dobri pesnopojci. 2 Od ova mo`e da se izvle~e zaklu~ok, deka kaj Andon [ahpaski, a preku nego i kaj negovite sledbenici, postoele soznanija za bliskosta na crkovnoto peewe i pesnopojnata tradicija vo Makedonija. Povozrasnite `iteli na sело Smojmirovo si spomnuvaat, a toa e potkrepeno i so informacii od drugi izvori, deka, vo periodot me u dvete Svetski vojni pri crkvata Uspenie na Presveta Bogorodica postoel hor od desetina psalti, koj postojano se obnovuval so mladi pea~i, i toa, kako me{tani, taka i od drugite male{evski sela. 3 Ova e u{te edna potvrda, 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 negoviot sin Aralampie i bila poznata po{iroko vo isto~niot del na vardarska Makedonija. Vo prvite godini po osloboduvaweto {kolata za psalti vo Smojmirovo prestanala so rabota. Bez redoven priliv od mladi pea~i, horot, vo koj, glavno, ostanaa starite psalti, so tekot na godinite se namaluval. Pokraj Aralampie [ahpaski, me u psaltite se istaknuvale i Jovan [ahpaski i \or i Mu{karski, koi vo seloto i po{iroko vo Male{evijata bile poznati kako Ampo, Jovan~o i Gogo. Iako po Prvata svetska vojna vo vardarskiot del od Makedonija, so potpa aweto pod srpsko vladeewe, be{e vovedeno srpskoto crkovno peewe, t.n. mokraw~evo peewe, vo celiot period po osloboduvaweto, vo crkvata Uspenie na Presveta Bogorodica vo Smojmirovo, blagodarej}i na dolgove~nosta na trojcata psalti, no i na nivnara hrabrst da & se sprotivstavat na srpskata crkovna vlast, crkovnoto peewe od starata tradicija se prakticira{e do pred samiot kraj na XX-ot vek. 4 Kolkav 2 Materijali snimeni na magnetofonska lenta so \or i Mu{karski (peewe i svirewe na tambura) se nao aat vo Institutot za folklor Skopje. 3 Otec Petar Jordanov (1936) od s. Blatec, Ko~ansko, profesor na Bogoslovijata vo Skopje, mi dade va`en podatok deka Mirko Divanisov od istoto selo, kako i nekoi drugi psalti od drugi krai{ta na Makedonija, koi otecot li~no gi poznaval, vo 30-tite godini na XX vek crkovno peewe u~ele vo {kolata za psalti vo selo Smojmirovo kaj Aralampie [ahpaski. 4 Vo makedonskata muzikologija podolgo vreme vladee{e mislewe, deka crkovnoto peewe od vizantiskata tradicija na teritorijata na Republika Makedonija se odr`alo najdocna do krajot na 60-tite godini na 20-ot vek.

7 7 bil ugledot na Aralampie [ahpaski kako psalt i rakovoditel na pevnicata vo smojmirovskiot hram Uspenie na Presveta Bogorodica, govori faktot {to site sve{tenici koi slu`ele vo ovoj hram, iako bile {koluvani vo srpskite crkovno-obrazovni institucii i go primenuvale srpskoto crkovno peewe, ne gi popre~uvale starite psalti da go prakticiraat crkovnoto peewe od starata slovenskovizantiska tradicija. Od sevo ova {to e ka`ano za crkovnoto peewe vo Smojmirovo i za negovite pretstavnici, mo`e da se zaklu~i deka temelite koi{to gi postavil Andon [ahpaski 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. I pove}e od toa: blagodarenie na posvetenosta na Andon [ahpaski i na negovite sledbenici, male{evskoto selo Smojmirovo i negovata mala crkva Uspenie na Presveta Bogorodica, prerasnaa vo simbol na nepokorot i bedem na starite makedonski tradicii. Ovie soznanija za `ivotot i za crkovno-muzi~kata dejnost na Andon [ahpaski do koi dojdov vo periodot pred i po objavuvaweto na vtoriot del od negoviot rakopis pod naslov Liturgiski zbornik, 5 vo poslednite denovi na 2010 godina bea nadopolneti so u{te edno otkritie: pravnukot na Andon [ahpski, Bor~e [ahpaski i sve{tenikot \o{e Kostadinovski, vo crkvata Uspenie na Presveta Bogorodica vo Smojmirovo pronajdoa u{te eden zbornik od nevmatski rakopisi i edna pe~atena psaltikija so vizantiska muzi~ka notacija, za koi so sigurnost mo`e da se ka`e, deka se od muzi~kata zbirka na Andon [ahpaski. Muzi~kiot zbornik ima vkupno 249 stranici so dimenzii 17,5 na 11 sm. i e sostaven od pove}e delovi, koi sodr`at napevi za razli~ni bogoslu`beni potrebi. Vsu{nost, stanuva zbor za nekolku pomali rakopisi nastanati vo razli~ni vremenski periodi, koi se podvrzani vo 5 Jane Koxaba{ija: Andon [ahpaski: Liturgiski zbornik, Centar za vizantolp{ki studii Skopje,2006 godina.

8 8 zaedni~ki ko`en povez. Prviot del koj ima 47 stranici, sodr`i kratok voskresnik (istiot se nao a i vo prvopronajdeniot rakopis na Andon [ahpaski, so taa razlika {to vo novopronajdeniot ne se zastapeni i utrenite evangelski stihiri). Vtoriot del na rakopisot e najobemen i ima 166 stranici so pejanija od liturgiite na sv. Jovan Zlatoust i na sv. Vasilij Veliki, od koi pove}eto se na gr~ki jazik, {to uka`uva na toa, deka ovie muzi~ki rakopisi se postari od onoj pronajden vo 2003 godina. Me u vtoriot i tretiot del na rakopisot ima 7 stranici ispi{ani so bogoslu`beni tekstovi na crkovno-slovenski jazik (ektenija i utrinska molitva), a tretiot del ima 26 stranici ispi{ani so razni liturgiski tvorbi. Potoa sleduvaat {eeset prazni listovi, a na poslednite osum stranici na rakopisot se ispi{ani pogolem broj imiwa na sela od strumi~kiot i radovi{kiot kraj, a vo prodol`enie na nekoi od niv i li~ni imiwa na lu e od tie mesta. Ima i stranici na koi se zapi{ani podatoci svrzani za odredeni mesnosti i za razni drugi raboti od sekojdnevieto. Na edno mesto e zapi{ano i imeto na seloto Smojmirovo, no, isto kako i vo prvopronajdeniot rakopis, taka i vo novootkrienite, Andon [ahpaski nikade ne go zapi{al svoeto ime. Na edna stranica e napi{ana datata 1858, mesec mart, den 30, a na drugo mesto godinata 1869, za koi, ne mo`e da se ka`e {to ozna~uvaat. Ne e isklu~eno, prviot zapis da gi ozna~uva godinata, mesecot i denot na ra aweto na Andon [ahpaski. Delovite na ovoj profesionalno ukori~en muzi~ki rakopis se pi{uvani so razli~ni vidovi mastila i na hartija so neuedna~en kvalitet. Vo najgolemiot del od rakopisot glavnite muzi~ki znaci (nevmite) se pi{uvani so crno, dodeka pomo{nite znaci (za traewe na tonovite, za ukrasuvawe i sl.), naslovite na tvorbite i viwetkite na po~etnite bukvi na tekstovite se pi{uvani so razni nijansi na crveno mastilo. Vo posledniot del na rakopisot napu{tena e praktikata na pi{uvawe so mastila vo dve boi. Site muzi~ki znaci, vklu~uvaj}i gi i naslovite na tvorbite, vo ovoj del od rakopisot se pi{uvani so crno mastilo, koe od vlagata izbledelo do sinkavo-sivi nijansi. I brojot na redovi na stranicite e razli~en od eden do drug del na rakopisot. Najgolemiot broj stranici sodr`at po devet redovi, a ima delovi so

9 9 stranici od po sedum i osum redovi. Rakopisot, glavno, e ~itliv, iako na nekoi mesta, osobeno prviot del koj go sodr`i kratkiot voskresnik, pogolemiot del od stranicite se razleani i te{ko ~itlivi. 6 [to se odnesuva do novootkrienata pe~atena psaltikija, stanuva zbor za kniga od bugarskiot muziko-u~itel i izdava~ Angel Ivanov Sevlievec (ok ), ~ii crkovno-muzi~ki knigi na teritorijata na Makedonija imale po{iroka primena. Ova e prvata muzi~ka kniga na Sevlievec, pe~atena vo 1857 g. vo Carigrad. 7 Na ovoj novopronajden primerok mu nedostigaat koricite i prvite {est stranici, a ima i pogolem broj o{teteni stranici. Vo ovaa pe~atena kniga e vmetnat i podvrzan eden muzi~ki rakopis od 38 stranici, na koi se ispi{ani razni liturgiski tvorbi. Napred mu se pridodadeni tri tvorbi napi- {ani na {est stranici obi~na hartija. Za `al, ovie pridodadeni listovi na marginite se o{teteni i tvorbite nemo`at da se pro~itaat celosno. No, najinteresno e toa, {to prvata od trite tvorbi e antologiskata kompozicija na Joan Harmosin Ohridski Dostojno est na petti glas, od koja eden nejzin fragment (vtoriot del) se nao a i vo prvootkrieniot zbornik na Andon [ahpaski od 2003 godina. Vtoriot del od rakopisot e pi{uvan na pokvalitetna hartija i dobro e so~uvan. Stranicite koi, glavno, imaat po 13 redovi, se ispi{ani so kvalitetni mastila vo dve boi: glavnite muzi~ki znaci so crno, a pomo{nite znaci i naslovite so violetovo mastilo. Ovoj pridodaden rakopisen del gi sodr`i istite tvorbi prevedeni na crkovno-slovenski jazik, koi vo prvoopi{aniot rakopis se dadeni na gr~ki jazik. Osven po svoite crkovno-muzi~ki sodr`ini, novootkrienite rakopisi na Andon [ahpaski privlekuvaat vnimanie i so pogolemiot broj kompozicii od Petar Lampadarij i Grigorij Protopsalt, koi vo eden rakopis se napi{ani vo originalni verzii na gr~ki, a vo drug prevedeni na crkovno-slovenski jazik. Vo vrska so ova se nametnuvaat pra{awata: za kakva cel Andon [ahpaski ovie tvorbi gi pi{uval i na 6 Краткиот воскресник е добро сочуван во првопронајдениот ракопис на Андон Шахпаски. 7 Geogievski, Mihajlo, Pe~atenite slovenski muzi~ki (nevmatski) zbornici vo Makedonija, Makedonska muzika, 1986 godina, Skopje. Str

10 10 gr~ki jazik. Edna od pri~inite za primenata na ovie tvorbi na gr~ki jazik, bi mo`ela da bide potrebata na del od vla{koto naselenie od ko~anskiot kraj i osobeno od Ov~epolieto, da slu{a liturgiski penija i na gr~ki jazik. 8 Patem, vo ovoj period vo nekoi hramovi na teritorijata na Makedonija s#u{te se upotrebuval i gr~kiot jazik. Mo`e da se pretpostavi, deka tvorbite na Petar Lampadarij i Grigorij Protopsalt koi Andon [ahpaski najverojatno gi prezel od nekoi gr~ki pe~ateni psaltikii, podocna, koga gr~kiot jazik s# pove}e se istisnuva od bogoslu`bite vo makedonskite hramovi, samiot gi prevel na crkovno-slovenski jazik. Kako {to e ve}e ka`ano, vo prvopronajdeniot rakopis na Andon [ahpaski od 2003 godina, na koj rabotel vo periodot od 1882 do 1884 godina, ve}e nema nitu edna crkovna tvorba na gr~ki jazik. 9 So ova najnovo otkritie u{te edna{ se potvrduva faktot deka istra`uvawata na planot na crkovnoto peewe na teritorijata na Makedonija kako proces s#u{te ne e zavr{en. Na na{ite muzikolozivizantolozi im ostanuva obvrskata da gi prodol`at istra`uvawata na rakopisnite psaltikii nastanati vo periodot na Nacionalnata prerodba. Sekoe novo soznanie za nivnite sozdava~i }e pretstavuva i nov pridones kon prou~uvaweto na crkovnoto peewe od Klimentovoto predanie i negovoto kone~no vozobnovuvawe vo makedonskite hramovi. Fevruari 2012 Skopje Prof. d-r Jane Koxaba{ija 8 Vo ovoj zbornik kompoziciite koi vo rakopisite na Andon [ahpaski se sre}avaat na dvata jazika }e bidat dadeni samo vo crkovno-slovenskata verzija, a onie vo originalna gr~ka verzija }e bidat pretstaveni onaka, kako {to se zapi{ani vo rakopisot - na gr~ki jazik. 9 Jane Koxaba{ija: Andon [ahpaski: Kratok voskresnik, op. cit. Jane Koxaba{ija: Andon [ahpaski: Liturgiski zbornik, op. cit.

11 11 ANDON SHAHPASKI (cc ) 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 Vasil s 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 priest s 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 (Andé). Remarking Andé s 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

12 12 monastery (today s 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 priest s 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 priest s 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 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

13 13 that resulted badly for Andon s 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 killer s 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 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 G org i Mushkarski, Jovan Dzaleski-Dimo, Laze Makoski, Ande Adjiski, Mijalko Shahpaski, Petre Predarski and others. The real follower of Andon was Aralampie Shahpaski ( ), who sang until his last days as a proto-psalmist of the church Sv. Bogorodica in Smojmirovo. He died at the old age in 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 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.

14 14 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 G org`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 church Serbian 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 and January 1884 in Slavic-church language and Hrisant s 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

15 15 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 (solfège) 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, 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. 10 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 Andon s Collection is aesthetically and musically rather close to the manuscript Voskresnik by Janaki Stojmenovich from the village Orizari, Kochani, was written in Trendafilov, Nikola, Cv tosobranie, Bukur t, 1847.

16 16 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 Harmosin Ohridski 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 Hrisant s 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 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 Jane Kodjabashia

17 17 Bibliografija Bibliography Jane Koxaba{ija: Andon [ahpaski: Kratok voskresnik, Centar za vizantolp{ki studii Skopje, Jane Koxaba{ija: Andon [ahpaski: Liturgiski zbornik, Centar za vizantolp{ki studii Skopje,2006 godina. Geogievski, Mihajlo, Pe~atenite slovenski muzi~ki (nevmatski) zbornici vo Makedonija, Makedonska muzika, 1986 godina, Skopje. Str Trendafilov, Nikola, Cv tosobranie, Bukur t, 1847.

18 18

19 19 KRATOK VOSKRESNIK

20 20

21 21 Glas PØrvÿiÂ._= Pa.6 x Go- spo-di voz- vax TØ- bh, ú - - sl ùi mõ. Ou - sl ùi mõ Go - - spo- - - di. Go-spo-di voz-zvax k TØ- bh ú - sl ùi mõ: von - mi gla - - s$ mo - lø - - n` - õ mo - - Ø - - gw, vnøg - da voz- zva- - ti mi k TØ- - -bh. Ou -sl - ùi mõ, Go spo di. Da i s - pra-vit- -sõ mo - li tva mo - - õ, ó - ko ka-di - - lo prød To- - bo ü voz- dh - õ - n`-ø r$ - k$ mo - - Ø - - ü, jr- tva vø-cør-

22 22 nõ - - õ. Ou -sl - ùi mõ, Go spo di. Sla - va O t - q$ i S - - n$ i Svõ - to - m$ D$ x$, i n - nh i pri - - sno, iê vo vh - - ki vh- kwv, aê miny. VsØ - mir-n$-ü sla-v$, Ê cø - lo-vhk pro-zõb-ù$- - ü iê Vla- di - - k$- -rojd ù$ ü, nø - bh- sn$ - ü dvøry, vos - po- im Ma-r` - - ü Dh v$ bøz- plot - - tn x ph- - sny, iê vhr-n x úê - - do- brø n` Ø: s` - õ bo -vi- sõ nø bo, iê xram Bo - jø stva: s` - õ prø-gra-

23 23 jdø- n` - - Ø vraj- di raz-r$- ùiv- - ùi, mir vvø - - dø, iê qar - - stv` - Ø Ê - vør zø. S` - ü $Ê-bw i - m$-\ø vh - - r ú - - tvør- -jdø n` Ø, po - bor-ni-ka i - ma- - m i z nø - õ rojd- ùa - go sõ Go spo da. DØr- zaiâ - tø úê bw, der - zaiâ- tø lü - - d` - Ø Bo j` i: i - bo toiâ po- - bh - - dit vra - - gi, óê kw vsø - si løn. Na xvalitex._= Pa. Vsõ - ko - Ø d - xa - n`- Ø da xva - - lit Go spo da. Xva - li- tø Go - spo - - da s nø-bøs, xva -

24 24 li - - tø e - - go v v - - ùnix. TØ - bh po-do-ba - Øt ph - - sny Bo g$. Xva - li - tø EÊ- go vsi aêg - - gø- -li EÊ - - gw, xva - li - tø EÊ - go vsõ si - - l EÊ - - gw. TØ - bh po-do-ba - Øt ph- - - sny Bo g$.

25 25 Glas çtor. Õë Go- spo-di voz-zvax k TØ - - bh, úê - sl - - ùi mõ. Ou - - sl ùi mõ, Go spo di. Go - spo - - di, voz - - zvax k TØ - bh, úê - sl ùi mõ: von - mi gla - - s$ mo-lø - n` - õ mo - Ø - - gw, vnø - gda voz- zva - ti mi k Te - - bh. Ou - sl ùi mõ, Go - - spo di. Da i s - pra-vit-sõ mo-lit-va mo - - õ, óê - - kw ka - di - lo prød To - - bo ü, voz - dh - õ - - n`-

26 Ø r$ - - k$ mo- Ø ü, jør - tva vø - cør nõ õ. OuÊ - - sl - ùi mõ, Go spo di. Sla - - va O t- - q$, iê S - - n$, iê Svõ-to - - m$ D$ - - x$, i n - nh i pri-snw, i vo vh - - ki vh-kwv, a - miny. PrØiÂ-de shny za - - kon - - na õ, bla- go- da - ti pri- - ùød ùi: óê - - ko - jø bo k$-pi - - na nø sga - ra- ùø w - pa - - lõ - - Ø ma, ta-ko dh- va ro - di - la e - - -

27 27 si, i dh - va pre- - b - - la e si, vmh-stw sto - - pa o gnø na gw, pra-vød-no- - Ø voz-s` - a soln qø: vmh- - sto Mw sø a, Xr`s- -tos, spa - - sø - n` - Ø d$ù na ùix Na xvalitex. Õ ë Vsõ-ko - Ø di - xa - - n` - - Ø da xva- -lit Go - - spo - da. Xva - li- tø Go - spo - - da s nø- - bøs, xva- li te EÊ - go v v ù nix. TØ - bh po- do- ba - - Øt ph - - sny Bo g$.

28 28 Xva-li- tø EÊ - - go vsi ag - - gø- - li EÊ - - gw, xva- li - tø EÊ- go svõ si - - l EÊ - - go. TØ - bh po - do- - ba - Øt ph - - sny Bo g$.

29 29 Glas trøt`iâ. [ Ga. Go- spo - - di, voz - zvax k TØ - - bh, úê - sl ùi mõ. Ou - sl - - ùi mõ, Go spo di. Go- spo-di, voz-zvax k TØ-bh, úê- sl ùi mõ: von - mi gla - - s$ mo - lø - - n` õ mo Ø gw, vnø- gda voz - zva - ti mi k TØ - - bh. Ou - sl ùi mõ Go spo - - di. Da iês - pra-vit- - sõ, mo - li tva mo õ, óê - - kw ka - - di - - lo pred

30 30 To - bo ü, voz - dh - õ - n`- Ø r$ - k$ mo - Ø ü jør tva vø cør - - nõ õ. Ou - sl ùi mõ Go spo di. Sla - - va Ot- - q$, i S n$, i Svõ- to m$ D$ x$, i n - nh i pri snw, i vo vh - - ki vh- - kov aê miny. Ka - - kw nø - - di - vim sõ bo- go- m$j- no- - m$ roj - dø - stv$ tvo-ø- m$, Pre- cø - - stna - - õ:

31 31 i s - k$ - ùø- n`-õ bo - go- - m$ - - jø - ska - - gw nø pri- Øm- - ùi, VsØ - nø - po - roc na - õ, ro - di - la e - si bez OÊt - - qa S - na plo - - t` - - ü, prø - jdø vhk Ê O t - - qa roj - - dø - na - - go bøz ma tø rø, ni - ka- ko-jø prø- tør- phv- ùa-go i z - mø - nø n` - - õ, i - li smø-ùø - n` - - õ, i - li raz- - dh- - lø-n` - õ, no o - bo - ü s$- - \Ø - - stv$ svoiâ stvo qø - - lo so - - xra - - ùa go. Thm-jØ, ma- - ti Dh - - vo Vla- di - - ci - qø, To - go mo - - li spa - sti sõ

32 32 d$ - - ùam pra - vo - sla - - vnw Bo - go - ro - di-- q$ i s - - po - vh - da - - ü \ix tõ. Na xvalitex. [ Ga. Vsõ- ko-ø d - xa - n` - Ø da xva-lit Go-spo- -da. Xva - li- tø Go- spo- -da s nø- bøs, xva - li - - tø EÊ- go v vi- - ùnix. TØ - bh po-do-ba-øt ph - - sn Bo-g$. Xva - li - tø EÊ - go vsi an - gø -li EÊ- go, xva - li- tø EÊ- go svõ si-l EÊ-go. TØ - bh po-do-ba-øt ph - - sn Bo-g$.

33 33 Glas cøtvørtiâ._o Pa. Go - spo - di, voz-zvax k TØ- bh, ú sl ùi mõ. Ou - sl ùi mõ, Go spo di. Go-spo-di, voz- zvax k Te - - bh, ú - - sl ùi mõ: von - mi gla - - s$ mo - lø - n` õ mo Ø gw, vne- gda voz- zva- ti mi k TØ- - bh. Ou - sl - - ùi mõ, Go- spo - _o Pa. di. Da is - pra - - vit - sõ mo-li tva mo - - õ, óê - - kw ka di - - lo prød To-

34 34 bo ü, voz - dh - õ - n` - - Ø r$ - k$ mo- Ø ü, jør- - tva vø - - cør nõ õ. Ou - sl ùi mõ Go - spo - - di. Sla-va O t - q$, i S - - n$, i Svõ - to - m$ D$ x$, i n - nh i pri-snw, i vo vh - - ki vh- kov, aê miny. IÊ - jø tø-bø ra - di bo - go - wê- tøq pro - - rok Da vid phs-nøn-no w tø - bh pro - - voz- - gla - - si vø - li - c`- õ tø - bh So vor - - ùø m$: prød- sta qa - ri - - qa w - - dø- - sn$ - - -

35 35 ü TØ bø. Tõ bo ma- tøry xo - da- ta- i - q$ ji - - vo - - ta po ka za bøz OÊt - qa i z tø - bø vo - cø - lo-vh - ci - ti - - sõ bla - go - - vo- - li v iâ Bog, da Svoi pa - ki wêb - - no- vit o b raz, i s-tlh- - vù`iâ- strasty mi, i za-bl$jd-ùø-ø go- ro - xi-\no-ø wêb- røt wêv ca, na ra-mo vos - pr`- im, ko OÊt - q$ pri - - nø søt, i Svo - Ø - m$ xo- th- n` - - ü, s nø - bø-sn -mi so - - vo- - k$- - pit si la mi, i spa- Øet, Bo-go - ro- di-qø, mfr, Xr` - - stos i -

36 36 mh õiâ vø - - l` - - ü i bo - ga - - t$- Na XvalitØx._o Pa. ü mi losty. Vsõ-ko- Ø d - xa - n` - - Ø da xva - - lit Go spo da. Xva - li - tø Go-spo- - da s nø- - bøs, xva - li - - tø EÊ - - go v v ùnix. TØ - bh po- do ba - - Øt ph sny Bo g$. Xva - li - tø EÊ - go vsi a g - - gø li EÊ gw, xva - li - tø EÊ - go vsõ si li EÊ - - gw. TØ- bh po - do ba - - Øt pø - - sny Bo g$

37 37 Glas põty`iâ. ß Pa. Go spo di, voz-zvax k TØ- bh, ú - - sl ùi mõ. Ou -sl - ùi mõ, Go spo di. Go- spo-di, voz- zvax k TØ - bh ú - sl ùi mõ: von-mi gla - - s$ mo - lø - - n` - õ mo - - Ø gw, vnø - gda voz- va - ti mi k TØ - - bh. Ou -sl - ùi mõ, Go- - spo-di. Da i s - pra-vi- - tsõ mo- li tva mo - - õ, ó - - kw ka - - di - - lo prød To - bo - - -

38 38 ü, voz - dh - õ - n` - - Ø r$ - k$ mo - - Ø ü, jør - - tva vø- - cer nõ õ. ú -sl - ùi mõ, Go - - spo- - di. Sla va OÊt - - q$, i S n$, i Svõ - to - - m$ D$ x$, i n - nh i pri- - snw, i vo vh - ki vh- kwv, a miny. V CØrm-nhm mo - ri nø - is - k$ - so - bra - - cn - õ nø vh st o b-raz na-pi- sa - - sõ i - - no gda: ta- mo Mw- - søiâ, raz - - dh -

39 39 li tøly vo d : zdh jø Gav- r`il, sl$ - ji - - tøly c$ - - dø sø. Tog - da gl$- bi- n$ ùø-stvo- -va nø - mo- - krøn-no FÊ - - sra - ily: n - nh jø Xr` - sta ro - - di bøz- - sh møn - - no Dh va. Mo rø, po pro- ùøs - tv` - i FÊ - sra i - - lø - - vh, prø-b sty nø - - pro - - xo dno: NØ - po - ro cna õ, po roj- døs- tvh EÊ-ma-n$ - - i-lø- - vh, prø- b sty nø - tlhn na. S iâ, i pre - - jdø s iâ, ó - vløiâ-sõ óê - kw cø-lo-vhk, Bo - jø, po - mi-

40 40 - l$iâ nas. Na Xvalitex. ß Pa. Vsõ - ko - Ø d - xa - n` - Ø da xva - - lit Go spo da. Xva - li- tø Go - spo - - da s nø - - bøs, xva - - li - - tø EÊ - - go v v ùnix. TØ - bh po - do - ba - Øt ph - - sny Bo - - g$. Xva - li - tø EÊ - - go vsi aêg - - gø - li EÊ gw, xva - li- tø EÊ - - go vsõ si l EÊ - - gw. TØ - bh po-do- ba - - Øt ph - - sny Bo - - g$.

41 41 Glas ùøst iâ. à Ô Go - spo- -di voz-zvax k TØ- - bh, ú - sl ùi mõ. OuÊ - sl - - ùi mõ, Go - spo di. Go- spo-di, voz-zvax k TØ-bh ou - sli ùi mõ: von - mi gla s$ mo - lø - n` - - õ mo Ø gw, vnø- gda voz - zva ti mi k TØ - - bh. Ou - sl ùi mõ Go spo di. Da i s - pra - vit sõ mo - li - - tva mo- - - õ, ó - - kw ka- - di - - lo pred To - bo - -

42 42 - ü, voz - - dh - - õ - - n` Ø r$ - - k$ mo - - Ø ü, jør- tva vø - cør na õ. Ou - sl ùi mõ Go spo di. Sla - - va O t - q$, i S - n$ i Svõ - to - - m$ D$ x$, i n -nh i pri- snw, i vo vh- ki vh-kwv, a miny. Kto tø- bø nø ú - - bla- - jit, pre- svõ- ta - - õ Dh vo: kto li nø vo - - spo - - Øt tvo- Ø - gw prø - - ci - - sta - - gw ro - - jdø - - stva;

43 43 BØz - lh - tnw bo Ê OÊt - qa voz - s - õ - - v iâ S n e - di - - no - - rod n iâ, ToiÂ-jØ Ê tø - bø ci - - st - - õ proiâ dø, nø - iz - rø - - cøn - - no vo - plo \sõ, eê - stø-stvom Bog s iâ eê - - stø-stvom b v cø - lo - - vhk nas ra di, 4 nø vo dvo - ü li - q$ ra - - zdh- lõ Ø m iâ, no vo dvo-ü ØÊ - stø- - stv$ nø - sli- - tnw poz- na- va Ø m iâ. To - go mo-li, ci-sta- - õ vsø- bla - jø na õ, po - mi- lo-va-ti - sõ d$-ùam na - - ù m.

44 44 Na Xvalitex. à Ô. Vsõ - ko - - Ø d - xa - n` - - Ø da xva - - lit Go - - spo - - da. Xva - li - tø Go- spo- - da s nø - bøs, xva - li - tø EÊ - go v viù nix. TØ- bh po - - do- - ba - - Øt ph - - sny Bo g$. Xva - li - tø EÊ - go vsi ag gø li EÊ gw, xva - li - tø EÊ - - go vsõ si - - l EÊ - - go. TØ-bh po-do- -ba - - Øt ph - - sny Bo g$.

45 45 Glas sødm iâ. Ú Ga. Go- spo-di, voz-zvax k tø - - bh, ú - -sl -ùi mõ. Ou - sl ùi mõ, Go-spo - di. Go-spo-di,voz- - vax k TØ- - bh, ú - sl - - ùi mõ: von - - mi gla - - s$ mo - lø - - n` - - õ mo - - Ø gw, vnø- da voz- zva-ti mi k TØ - - bh. Ou - sl - - ùi mõ, Go spo di. Da i s - pra- vit - - sõ mo - li - - tva mo - - õ, óê - - kw ka - di lo prød To - bo ü, voz - dh - õ - n`-ø r$ - k$ mo - - Ø ü jør - -

46 46 tva vø- - cør- nõ - - õ. Ou - sl - - ùi mõ Go - - spo di. Sla- va OÊt - q$, i S - - n$ i Svõ- to - m$ D$ x$, i n - nh i pri snw, i vo vh ki vh-kwv, aê - miny. Ma - ti ú - bw po- zna - - la - sõ e - - si, pa - - cø eês - tes- tva, Bo - - go - ro - - di - qø, pre - b - la jø e - si Dh va, pa - - cø slo - - va i ra - - z$ - - ma: i c$ - dø - sø- roj- dø-stva tvo - Ø - - go ska - za ti õê - z k nø-

47 47 mo jøt. PrØ - sla - vno bo s$ \$ za - ca t` - - ü, Ci-sta - õ, nø - po - sti - - jøn Østy w - braz ro- - jdø - - n` - - õ: i - dh- jø bo xo- \Øst Bogy, po - bø - jda Øt - - sõ e - - stø- stva cin. Thm- jø tõ vsi, Ma- - tøry Bo j` - - ü vh - - d$ - \Ø, mo-lim ti sõ pri - lh jnw, mo - li spa - sti - - sõ d$- - ùam na - - ù m. Na Xvalitex. Ga. Vsõ - ko - Ø d - xa - n` - - Ø da xva - - lit Go- - - spo da. Xva - li- tø Go- spo- -da s nø - - bøs,_

48 48 xva- li tø EÊ - - go v v ùnix. TØ - bh po - do - ba Øt ph - - sny Bo g$. Xva - li- tø EÊ - go vsi aêg - - gø - li EÊ gw, xva - li - tø EÊ - - go vsõ si - - l EÊ - - gw. TØ - bh po- do - ba Øt ph - - sny Bo g$.

49 49 Glas osm iâ. Û Ni. Go- spo-di voz-zvax - - k TØ - - bh, ú - sl - - ùi mõ. Ou -sl - ùi mõ, Go spo di. Go- spo - - di, voz-zvax k TØ- - bh, ú - sl ùi mõ: von- mi gla- - s$ mo - lø n` - õ mo - - Ø gw, vnø - gda voz- zva - - ti mi k TØ - - bh. ú - sl - - ùi mõ Go spo di. Da i s - pra- vi- - tsõ mo - li - - tva mo - - õ, óê - - kw ka- - di - - lo prød To bo ü,

50 50 voz - dh - õ - n` - - Ø r$ - k$ mo - - Ø ü, jør - - tva vø - cer nõ õ. Ou - sl - - ùi mõ, Go spo di. Sla- - va OÊt - - q$, i S n$, i Svõ - - to- m$ D$ x$, i n - nh i pri snw, i vo vh - ki vh- kwv, aê miny. Qary nø - - bø - - sn iâ za cø - lo - vh - ko - - lü - b` - - Ø na zøm- li óê - vi - - sõ, i s cø- lo-vh- ki po ji vø: Ê Dh-v bo cis - t - õ ploty pr`- - Ø - - m iâ i i z nø - õ

51 51 pro-ùø - - d iâ s vo- spr` - õ t` Øm, e - din e sty S n, s$-g$b e - stes- - tvom, no nø i - po - sta s` ü. Thm-jØ so - ver- ùen- na To - go Bo - - ga, i so - vør- ùe- na cø - lo - - vh- - - ka vo - is- ti - - n$ pro - - po - - vh - - da - - ü \Ø, i s - po - vh- d$-øm Xr`- sta Bo - ga na- - - ùø go: EÊ - go jø mo - - li, Ma - - ti bøz - nø - - vh stna õ, po - mi - - lo - - va- ti-sõ D$-ùam na- -ùim.

52 52 Na XvalitØx. Û Ni. Vsõ-ko- Ø d - xa - n` - - Ø da xva - - lit Go spo da. Xva - li - - tø Go - - spo da s ne bøs, xva - li tø EÊ - go v v - - ùnix. TØ - bh po- do- ba-øt pø - sny Bo g$. Xva - li - - te EÊ - - go vsi ag - gø- - li EÊ gw, xva - li - - tø EÊ - - go svõ si l EÊ gw. Te - bh po - do- ba- - et ph - sny Bo g$.

53 53 UTRENI EVANGELSKI STIHIRI

54 54

55 55 Stixira 1. Glas pørv iâ._= Pa. Na go - - r$ ou - cø - ni - kom i - - d$ \ m za zø - mno-ø voz- nø- sø - n` - Ø, pred- sta Go spody: i po - klo - niv - ùø - - sõ EÊ - - m$, i dan - - n - - õ vla - - sti vh - - zdh na - $ - - civ - ùø sõ, v po-dnø - bø sn$- ü po - s - la - - x$ - - sõ, pro - po - vh da - - ti e - jø i z mer-tv x vos- kre - se - n` - - e, i e - - jø na nø - bø- sa voz - ùø stv` Ø: i m-jø i vo vh-ki sprø - - b - - va - - ti nø- loj-n iâ

56 56 w - bh - \a- sõ Xr`-stos Bog, i Spas d$ù na ù x. Stixira 2. Glas vtor iâ. Õë S mf - - r pri - - ùød - - ù m ó - - jø s Ma-rf - Ø- - ü jø - - nam i nø - do - $ mh - - va- - - ü- \ m - - sõ, ka - - kw b$ - - døt _i m ou - l$ - ci ti jø - la n` Ø, ó - vi - - sõ ka - - meny vzõ - - t iâ, Bo - jø-stvøn - - n iâ ü - no- - ùa, ou - to - lõ õiâ mõ - - tøj d$ù i x : vo - sta- - bo, gla - - go løt, F Ê - i - s$s Go- -

57 spody. Thm-jØ pro - - po - - vh-di- - tø pro - po- vh- - dni- - kwm EÊ-gw ou - - cø ni - - kwm v Ga- l`- lø - - ü te - - \i, i vi vi- dh- - ti EÊ - - go vos - - krøs - - ùa iàz mør tv x, ó - kw Ji - zno - dav qa i Go spo - da. Stixira 3. Glas tret iâ. [ Ñ Mag - da - li - nh Ma - - rf i, Spa - so- - - vo bla - go - vh - stv$ ü \Øi i z mørt - - v x vos - krø - - sø n` - - -

58 58 Ø i ó - - vlø - - n` Ø, nø vh r$- ü - \Ø jø ou - - cø - ni - - -q, po - no - si mi b ùa w jø-sto - - sør - - d` Ø: no zna- møny-mi vo- w - r$j - - ùø - - sõ i c$ dø - s, ko pro - po - vh - - da- - n` - - ü po - - s - la - - x$ sõ. IÊ T ou - - bw, Go spo - di, k na - caly - - no - m$ svh t$ voz- nø - - s l - õ e si OÊt q$, o - ni jø pro- po - vh da pro - po - vh - - da - - ùa vsü - - -

59 59 - d$ slo - vo, c$- dø- s ou -vh- - rõ ü \Ø. Thm - - jø pro - svh - tiv - - ùø - - sõ th mi, sla vim Tvo Ø e - jø i z mør- - - tv x vos - krø - sø n` Ø, CØ - lo - vh - - ko- - lüb - cø Go spo di. Stixira 4. Glas cøtvyrt iâ._o Pa. OuÊ-tro bh gl$ bo ko, i jø- -n pr`- i - do-ùa na grob Tvoi, Xr` stø: no th- lo nø w - brh- tø - - sõ jø - - la - Ø - - mo - - Ø i mi. Thm-jØ nø - - do - - $ - - mh - va-

60 ü - - \ m sõ, i - jø v ri - - zax blø- - \a-\ix- -sõ prød-sta vù` - - i, gla - go - - la- - - x$: cto Ji - va gw s mør-tv - - mi i \Ø tø; vo - sta, ó - - ko-jø pred - rø - - cø, cto nø po - - mni- tø gla- -gwl EÊ gw; i m - jø vh ro vav - - ùõ vi-dhn-na- õ pro - - po - - vh da x$, no mnõ- - x$- - sõ lja bla - - go - - vh \Ø - - n`- - - õ: ta - kw b ùa e - \e ko- - sni ou - cø ni q. No PØ- t r tø- - cø i, vi - - dhv, pro- sla vi

61 61 Tvo - õ v se- - bh c$ - - dø - - sa. Stixira 5. Glas pet iâ. ß Pa. WÊ prø - - m$ - - dr x s$- døb Tvo - - ix, Xr` stø! Ka - kw PØ- tr$ ou - - bw pla- \a - ni - qa-mi e - - di nh mi, dal e - - si ra - z$ - mh - - ti Tvo- Ø vos - - krø - sø n` Ø: L$ - qh jø i KlØ - o - - ph sp$ - tø - ùøs-tv$-õ, bø - - sh - - do val e si, i bø - sh - d$-õiâ, nø a - b` - - Ø SØ - bø ó vlõ - - Ø - - ùi; thm-jø i po - no - simy b - - va Ø - - ùi, ó Ê- kw e -din pri-ùøly--

62 62 stv$ - - õiâ vo F Ê - - Ø - r$ - sa - - lim, i nø pri - ca - - \a- õiâ - - sõ v ko-nøq so - - vh ta e gw. No IÊ - - jø vsõ k so - - zda - n` - - õ poly - - zh stro õ, i ó - jø w TØ- bh pro - ro- cø - - stv`- - õ - kr l e si, i vnøg- da bla- go - slo - vi - - ti xlhb po - znal - - sõ e si i - ma: e - ü - jø i prø- - jdø to- - gw sørd - - qa k po-zna-n`-ü Tvo- Ø - m$ ras - - pa - la sta sõ. FAÊ - jø i ou -cø - ni- kom so- - - bran n m ú - jø ó -snw pro - po - vø - da- - sta Tvo- Ø vos - - krø - sø n` Ø, i m - - jø po-

63 63 mi - - l$iâ nas. Stixira 6. Glas ùest iâ. à Ô IÊ - stin- -n iâ mir T, Xr`- - stø k cø-lo - vh - - kwm _ Bo - j`- im, mir Tvoi da- - õ, po vo - sta- n`- - i, ú - cø - - ni kom, pri- stra ùn po-ka- zal e - si õ, mnõ-\ - õ d$x vi - - dh - - ti: no ú - - ti - - ùil e si mõ-tøj d$-ùi ix, po - ka- zav r$ qh i no zh Tvo i. OÊ - ba - - cø nø vh - r$ ü - - \ m e - - \Ø, bra - ùøn

64 64 pri - - ca-\ø - - n` Øm, i ú - cø - - n`iâ vo spo - mi - - na n` Øm - vør-zl e - si i x ú m, e - jø ra- z$ - mh- - ti pi - sa n` õ: im jø i OÊ - tø - - cø sko Ø w - bh - to- va n` - - Ø w - - bh \av, i bla - go slo - - viv õ, Ê- st$- -pil e - si na nø bo. Thm-jØ s ni mi po- kla - nõ - Øm - - sõ Th- - bh, Go - - spo- - di sla va TØ bh.

65 65 Stixira 7. Glas sedm iâ. Ú Ga. SØ tma i ra - - nw, i cto ú gro - - ba Ma - rf - Ø, sto - i ùi, mno - - g$ - - ü tm$ i - mh - - ü-\i v ra - - z$ mh, v nøiâ- - jø, gdh po - lo - - jøn b st, vo - pro - ùa Ø - - ùi, F Ê- i - s$s ; no vijdy sri - - \$- - \a - - sõ ú - cø - ni - - ka, ka- kw pla-\a - - ni - qa- -mi i s$ - da - - røm vo - skrø - sø n`- - Ø w - - brh- - - to sta, i po - mõ - n$ - - sta óê - - jø w six - - pi - sa- n` - õ. S ni-ma-jø i i - ma - - jø i m vh - - ro va vùø, vo - sph - va-

66 66 - Øm Tõ, ji - - zno- - dav qa Xr` - - sta. Stixira 8. Glas osm iâ. Û Ni. Ma - r` - - i - n slø - - z nø vs$-ø pro-li- - va - - üt - sõ tø plh: sø bo spo - - do- bi - - sõ i ú - ca - - \ix aàg - gø - lwv i vi - dh- n`- - õ sa-ma-gw FÊ- i - s$ sa: no e - \Ø zøm-na- õ m$ dr-stv$- - Øt, õê - - kw jø - na nø- mo \na õ: tøm jø i Ê - s - - la - - sõ nø pri- ka - sa - - ti - - sõ Xr` st$. No o -

67 67 ba - - cø pro - - po - vh - - dni- - qa po - - s - la Øt sõ Tvo-im úê- - cø - ni - - kwm i m- jø bla-go-vh - stvo- va - - n` - Ø no - - sõ \i, e jø ko OÊ - tø- ce-sko - m$ jrø- b`- - ü vo- - sxod vo - zvh - - \a ü \i: s nø - - ü - - jø spo - do - - bi i nas óê - vlø n`- - õ Tvo - - Ø gw, Vla-di-ko Go spo di. Stixira 9. Glas pet iâ. ß Pa. FAÊ - kw v po-slh- - dnõ- õ lh ta, s$- \$- po- zdh Ê s$b- - bot, prød-stal e - si dr$- - gom,

68 68 Xr` stø, i c$ - dø - søm c$- - do i z - - vh- - stv$ Ø ùi, za-klü- cø-n m vxo-dom _ dvør - - n m e - jø i z mør-tv x Tvo - Ø vo- - skrø - sø n` Ø. No i s - pol-nil e - si ra- do-sti úê - - cø - - ni - - ki, i D$ - xa Svõ - - ta- - - go prø- po- dal e si i m, i vlasty po - - dal e - - si w -sta - vlø - - n` - õ grh - - xwv : i Ïw - m$ nø w s - - sta vil e si v nø - - vhr-stv` - - õ po-gr$- ja ti sõ b$ ri. Thm- - jø po- dajdy i nam ra z$m i stin - -

69 69 - n iâ, i w s- ta- vlø- n`- - Ø prø - - grh - ùø n iâ, bla - go - $ - tro- bnø Go - - spo- - di. Stixira 10. Glas ùøst iâ. à Ô Po e - - jø vo ad so- - ùøs - - tv`iâ i e - jø i z mørt-v x vo skrø - sø n` i, skor - bõ- - ùø, óê - kw jø do - sto - - õ - ùø, w raz - l$ - cø - n` - - i Tvo - - Øm, Xr` - stø, úê - - cø - - ni q, na dh- la-n`- Ø w - - bra-ti- - - ùa sõ: i pa - - ki ko - - ra - - bli i mrø ji, i lo va ni - gdh jø: no T, Spa - - sø, ó - - viv sõ

70 70 óê kw Vla di - ka vshx, w - dø - sn$- - ü mrø - - ji po - vø - lh - va - - Ø ùi vo - - vrø \i i b sty slo - vo dh - - lo vsko - - rh, i mno jø mno - - jø-stvo r b mno - - go Ø, i vø - cø rõ stran - - na - - õ go - to - - va na zø mli: e - õ- jø pri- cas - tiv - - ù m- - sõ tog - da Tvo-im ú - cø - - ni kom, i nas n - - nh m - slø - - no spo - do - bi na sla - di ti sõ, CØ - lo - vh-ko - lüb cø Go spo di.

71 71 Stixira 11. Glas osm iâ. Û Ni. FAÊ - vlõ õ SØ - - bø úê - - cø - ni - - kom Tvo - - im, Spa sø, po vos - krø- - - sø n` i, Sf- mw- n$ dal e - - si o -vøq pa stv$, za lüb - vø voz- da - - õ - n` - - Ø, óê - jø w pas-tvh po - - pø - cø- n` õ i \õ. Thm - - jø i gla- go lal e - - si: a - \Ø lü- bi-ùi mõ, PØ - - trø, pa - si a - g n- -q Mo - - õ, pa si o v - q Mo õ. OÊn jø a - b` - Ø po - ka - - z$- - - õ dr$-go- lü - bno - - Ø, w dr$-zøm úê-cø-ni-qh

72 72 vo - pro ùa ùe. EÊ - ü - jø mo - li- - - tva- mi, Xr` - - stø, sta - - do Tvo - - Ø so xra - - nõiâ Ê vol- kwv g$- bõ \ix e.

73 73 LITURGISKI TVORBI

74 74

75 75 Svõtfi BojØ. Glas v*. Õ ë GØwrgía Kritskagw. AÊ - - min sil. Svõ t iâ, Svõ - - t iâ Bo jø Svõ t iâ,

76 76 svõ - - t iâ Krhp kíiâ Svõ t iâ BØz-smØrt BØz- smørt n iâ. Po - mi po - - mi- -l$iâ nas. Eliq vo Xr`sta. Glas a*. Pa. EÊ - li q, e - li - - q vo Xr` sta krø - sti