LVIV PARTES MANUSCRIPT: THE ISSUES OF AUTHOR ATTRIBUTION OF ANONYMOUS WORKS

Abstract

The article examines the issue of authorial attribution of partes works, which were recorded anonymously in most cases in ancient musical manuscripts. The material of the analysis was the Lviv partes manuscript – a voice book of a four-voice set, which is in the National Museum of Andrey Sheptytsky in Lviv and is the only monument that represents partes polyphony. According to the age, included in the batch of one of the services, this manuscript should be dated to 1696– 1700. The monument originates from the Kyiv Metropolis and represents the work of Ukrainian composers of the second half of the 17th century, however, the vast majority of parts are recorded without indicating the authorship. An exception is the part of the four-part service by Mykola Dyletsky, which was published in the collection of choral works by this author in 1981. Establishing the authorship of Partes works involves the identification and involvement of authorized musical and manuscript sources, which was done in relation to the Lviv Partes manuscript. The method of determining authorship, thanks to the involvement of additional manuscript sources that have authorized parties, provided grounds for discovering in the Lviv party manuscript 35 author’s compositions – one service and 18 concerts by Mykola Diletsky, two services and 10 concerts by Vasyl Tytov, two concerts by Ioann Kalenda and two concerts by Arseniy Tsybulsky. All these works are four-part, and each of them is represented in the Lviv manuscript by a single part. The source of the attribution was authorized manuscripts of four-voice partesna works, which are in the archives of the Russian Federation (Novosibirsk, Moscow, St. Petersburg). The next task should be to restore and publish the full scores of four-part partesna concerts by Ukrainian artists (M. Dyletsky, I. Kalenda, A. Tsybulsky), for the purpose of their further research and performance.