Bless the Lord, O My Soul

SACREd MUSIC OF BULGARIA

Dobri Hristov

Blagosloví, dushé moyá, Góspoda (Bless the Lord, O My Soul)

Dobri Xristov

Blagoslovi, duße moå, Gospoda

NOTES ON THE EDITION Dobri Hristov was born in Varna, Bulgaria on 14 December 1875 and died in 1941. Hrisotov studied piano and composition at the Prague Conservatory in Antonin Dvorák’s class in the last years before Dvorák died. After, he served as an assistant conductor of the Nedelya Church Choir in Sofia. During this time, some of the movements for the Liturgy No. 1 of St. John Chrysostom were composed. In either 1911 or 1913, he became the conductor of the St. Sedmochislenitsi Church choir in Sofia, spending a large portion of the most fruitful years of his career at the church, giving frequent public concerts. In 1935, Hristov was invited by the Holy Synod of the Bulgarian Orthodox Church to become the conductor of the St. Aleksandur Nevsky Memorial Cathedral.

The original impetus for this project came in 2001 at the Varna International Conductors Workshop, at which the participants, including the editor, were introduced to the music of Dobri Hristov. Immediately, it was apparent that the phonetic transliteration provided needed to reflect more accurately the sounds of the language and the unique Bulgarian pronunciation of Church Slavonic in a manner that was easy and consistent. In addition, there were certain musical discrepancies in the score that may or may not have been editorial in nature. Upon returning to the United States, the editor discovered that Hristov’s music was unavailable. The need for an accurate and performable manuscript of the work based on primary source documents became the basis of a United States Fulbright Research Grant to Bulgaria.

Liturgy No. 1 is scored for four-part mixed chorus and exists in four extant documents housed in the Bulgarian National Archives. The 1924 manuscript of the Liturgy and the liturgical supplement was the manuscript submitted by Dobri Hristov to his publishers in late 1924. In addition to the 1924 manuscript, the Bulgarian Institute for Applied Arts and Sciences made the 1925 first edition print available to the editor. These documents represent the primary source documents for this study.

Anecdotally, that 1925 first edition was personally dedicated by Dobri Hristov to Tsar Boris, and included a handwritten dedication by Hristov and a three-line piece of music in what seems to be G major, in cut-time. Sometime after the 1944 Communist revolution in Bulgaria, cultural officers from the new regime entered the Institute’s library and ripped the handwritten pages out of the score, thereby removing any mention of the former Tsar, as well as the music contained in the opening pages. No record had been kept of the contents of these two pages, and so only a few centimeters of music are left.

Examination of the 1924 manuscript in comparison with the 1925 first edition print show glaring discrepancies, involving dynamic markings, syllabic treatment, and musical text itself. The 1925 edition was printed cheaply with an eye toward efficiency in order to save room and paper, and many printing decisions were made at the expense of musical and expressive indications.

As a whole, the 1924 document provides much more detailed performance information than the printed version. While it is not practical to include every dynamic and articulation marking that Hristov wrote in the 1924 manuscript, since the 1925 printed version was given his mark of approval, the sparseness of the performance indications in the 1925 version makes interpreting the piece extremely difficult. If nothing else, they are important clues in the search for the composer’s original intent and compositional thought. Thus, this edition restores many of the dynamic indications that are present in the 1924 version.

In addition, this edition includes a transliteration system that attempts to match the unique Bulgarian Orthodox Church pronunciation of Church Slavonic, which is significantly different than what is spoken and sung in the Russian Orthodox Church.

Should conductors choose to follow the more familiar Russian pronunciation, the Cyrillic remains consistent, with only minor adjustments (the former Communist regime in Bulgarian dispensed with a number of letters in the alphabet that were considered “archaic,” a practice still in use today).

—Dr. Timothy M. Powell, editor 2002-2003 William J. Fulbright Scholar to Bulgaria

Dobri Xristov

Blagoslovi, duße moå, Gospoda Dobri Hristov (1875–1941)

Bless the Lord, O My Soul

£º†¶—fiº—V¥, ®‚Ï™Œ ¬—∏†Œ, Å—Œfi÷—®† Blagosloví, dushé moyá, Gospoda, blagoslovén yesí, Góspodi.

Blagosloví, dushé moyá, Gospoda, i fsia vnútrenñâya moyá ímâ svâtóye Egó, Blagosloví, dushé moyá, Gospoda, i ne zabïváy fseh vozdayániy Egó.

Shtedr i mílostiv Gospóð, dólgoterpelív i mnógomílostif.

Blagosloví, dushé moyá, Gospoda, i fsia vnútrenñâya moyá ímâ svâtóye Egó.

Blagoslovén yesí, Góspodi.

Bless the Lord, O my soul.

Blessed art Thou, O Lord.

Bless the Lord, O my soul, and all that is within me, bless His holy name.

Bless the Lord, O my soul, and forget not all his benefits.

Compassionate and merciful is the Lord, long-suffering and plenteous in mercy.

Bless the Lord, O my soul, and all that is within me, bless His holy name.

Blessed art Thou, O Lord.

Gospodi, pomíluy.

Tebé, Gospodi.

Amíñ.

—na BoΩestvennoj Liturgii (Ps. 102, st. 1–6)

Lord, have mercy.

To Thee, O Lord.

Amen.

—from the Divine Liturgy (Ps. 103:1–6)

Timoti Majkl Pauel, redaktor Timothy Michael Powell, editor

Умерено бавно [Moderately slow]

Soprano

3 # pŒ & œ œ œ ˙

# pΠ&

Alto

Tenor

Bla - go - slo - ví, Бла - го - сло-ви,

œ œ œ ˙ 3

Bla- go - slo - ví, Бла- го - сло-ви,

# pŒ œ 3œ œ ˙ V

Bla- go - slo - ví, Бла- го - сло-ви,

p 3 ?# Œ œ œ œ ˙

Bass

Bla- go - slo - ví, Бла- го - сло-ви,

Piano

&

(for rehearsal only)

#

3

Œ œœ œœ œœ ˙˙

˙ ? # Œ œœ œœ œœ ˙ 3

MRSM Hr 02

˙

œ œ

œ œ œ œ

œ. œ J

˙

Œ œ œ œ

œ œ œ œ

j œ. œ ˙

Œ œ œ œ

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œ œ

œ. œ J

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Œ œ œ œ

˙

œ œ

œ œ œ œ

œ. œ J

˙

œœ

œœ ..

du - shé mo - yá, Gó - spo - da, ду - ше мо - я, Го - спо - да,

du - shé mo - yá, Gó - spo - da, ду - ше мо - я, Го - спо - да,

œ œ œ œ

du - shé mo - yá, Gó - spo - da, ду - ше мо - я, Го - спо - да,

du - shé mo - yá, Gó - spo - da, ду - ше мо - я, Го - спо - да,

œ œ

œœ œ œ

œœ œ œ

œœ œ œ

œœ . .

j œœ J j œœ J

˙˙ ˙˙

3

bla - go - slo - vén бла- го - сло - вен 3

bla - go - slo - vén бла- го - сло - вен 3

bla - go - slo - vén бла- го - сло - вен

3 œ œ œ Œ

˙

bla - go - slo - vén бла- го - сло - вен 3

Œ œœ œœ œœ

œ œ œ Œ œ œ œ 3

Copyright © 2015, by Musica Russica, Inc. All rights reserved.

˙˙ ˙˙

e - sí, е - си,

e - sí, е - си,

p œ œ ˙

Gó - spo - di. Го - спо - ди.

p œ œ ˙

Gó - spo - di. Го - спо - ди.

p œ œ ˙

e - sí, е - си,

Gó - spo - di. Го - спо - ди.

e - sí, е - си,

Gó - spo - di. Го - спо- ди.

œ œ

œœ œœ œœ œ

p œ œ ˙ œœ œ œ

œœ œ œ

˙˙ ˙˙

4

3 # pŒ & œ œ œ ˙

[

6

# p & Œ

Bla - go - slo - ví, Бла - го - сло-ви,

œ œ œ ˙

Bla - go - slo - ví, Бла - го - сло-ви,

œ J

]

˙

œ J

]

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3

œœ œœ œœ ˙˙

œœ

œœ ..

œ 3œ œ ˙ œ œ œ ˙

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j œœ J j œœ J

œœ . .

π œ œ œ œ œ œ

w

p Œ

π # nœ œ œ œ bœ œ

w

p 3 Œ œ œ œ ˙

#

í - mâ svâ - tó - e E - gó. и - мя свя - то - е Е - го.

í - mâ svâ - tó - e E - gó. и - мя свя - то - е Е - го.

í - mâ svâ - tó - e E - gó. и - мя свя - то - е Е - го.

w

í - mâ svâ - tó - e E - gó. и - мя свя - то - е Е - го.

#

? #

œœ

nœ œ

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œœ œ œ

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˙

œœ œœ

œ bœ œ œ œ œ

ww ww

Bla - go - slo - ví, Бла - го - сло-ви, 3

œ œ œ ˙

Bla - go - slo - ví, Бла - го - сло-ви,

Bla - go - slo - ví, Бла - го - сло-ви,

p 3 Œ œ œ œ ˙

Bla - go - slo - ví, Бла - го - сло-ви,

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˙˙ ˙ ˙

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w

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œ

Œ

œœ

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w

i vsâ vnú - tòen-ñâ - ya mo - yá, и вся вну - тре - ня - я мо - я,

˙˙

w

œ

i vsâ vnú - tòen-ñâ - ya mo - yá, и вся вну - тре - ня - я мо - я,

˙˙

p 3 Œ œ œ œ ˙

w

i vsâ vnú - tòen-ñâ - ya mo - yá, и вся вну - тре - ня - я мо - я,

du - shé mo - yá, Gó - spo - da, ду - ше мо - я, Го - спо - да,

π ?# œ œ œ œ œ œ &

œ.

œ œ œ œ

[

π # œ œ œ & œ œ œ

11

Œ œ œ

du - shé mo - yá, Gó - spo - da, ду - ше мо - я, Го - спо - да,

11

V

˙

œ œ œ œ

[

Bla - go - slo - ví, Бла - го - сло-ви,

&

œ.

j œ

]

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i vsâ vnú - tòen-ñâ - ya mo - yá, и вся вну - тре - ня - я мо - я,

du - shé mo - yá, Gó - spo - da, ду - ше мо - я, Го - спо - да,

3 p ?# Œ œ œ œ ˙

? # Œ

œ

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3

Bla - go - slo - ví, Бла - го - сло-ви,

# Π&

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du - shé mo - yá, Gó - spo - da, ду - ше мо - я, Го - спо - да,

# pŒ œ œ3 œ ˙ V

6

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ww ww

œ œ œ œ œ.

œ J

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œ œ œ œ œ.

j œ

˙

du - shé mo - yá, Gó - spo - da, ду - ше мо - я, Го - спо - да,

i ne za - bï и не за- бы -

œ œ œ œ œ.

œ J

]

˙

œ œ œ œ

œ J

]

˙

du - shé mo - yá, Gó - spo - da, ду - ше мо - я, Го - спо - да,

[

]

du - shé mo - yá, Gó - spo - da, ду - ше мо - я, Го - спо - да,

œ œ œ œ œ.

[

˙

du - shé mo - yá, Gó - spo - da, ду - ше мо - я, Го - спо - да,

œœ œ œ

œœ œ œ

œœ œ œ

œœ œ œ

œœ .. œœ . .

j œœ J j œœ J

˙˙ ˙˙

œ œ œ œ

i ne za - bï и не за- бы -

œ œ œ œ

i ne za - bï и не за- бы -

œ œ œ œ

i ne za - bï и не за- бы -

œœ œœ œœ œœ

œœ œœ œœ œœ

# U œ œ &

16

œ

p ˙ >

œ

œ

œ

p Œ

w

*

váy vseì voz - da - yá - niy E - gó, вай всех во - зда - я - ний Е - го.

# U & œ œ

œ

œ

# U œ V œ

œ

œ

p ˙ >

œ

œ

p Œ

w

váy vseì voz - da - yá - niy E - gó, вай всех во - зда - я - ний Е - го.

p >˙

œ

œ

w

p Œ p Œ

váy vseì voz - da - yá - niy E - gó, вай всех во - зда - я - ний Е - го.

?# 16

&

#

? # 21

& & V

# #

U œ

œ

œ

œ

p > ˙

œ

œ

w

˙˙

œœ

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ww

váy vseì voz - da - yá - niy E - gó, вай всех во - зда - я - ний Е - го.

œœ

œœ

œœ

œœ

œœ

œœ

œ

œ

˙ ˙

œ œ

œ œ œ œ œ œ œ œ

dól - go - ter - pe - lív i mnó - go дол - го - тер - пе - лив и мно - го

mí ми

œ

œ œ œ œ œ œ œ œ

œ >

œ

dól - go - ter - pe - lív i mnó - go дол - го - тер - пе - лив и мно - го

# œ œ œ œ œ œ œ œ

dól - go - ter - pe - lív i mnó - go дол - го - тер - пе - лив и мно - го

dól - go - ter - pe - lív i mnó - go дол - го - тер - пе - лив и мно - го

&

#

? # ∑

œœ œ œ

Œ œ œ œ œ JJ Ще - дър и

œœ œ œ

œœ œ œ

œœ œœ

œœ œœ

œœ œœ

œœ œœ œœ

œœ

mí ми

>œ

mí ми

>œ

-

-

Shtedr Щедр

œ

lo ло

œ

lo ло

lo ло

œ

-

˙

œ œ

i и

œ

œ

œ œ

œ˙

œ

œœ œœ

Shtedr Щедр

˙ œ

i и

œ œ

stif. стив.

π œ œ

stif. стив.

œœ

œœ

œœ

œœ

œœ

˙ œ

œ

˙

œ œ

œ

œ

˙

œ œ

œ

œ

˙

mí - lo - stiv Go - spóð, ми - ло - стив Го - сподь,

mí - lo - stiv Go - spóð, ми - ло - стив Го - сподь,

œ œ

œ

œ

˙

œœ

œœ

œœ

˙˙

mí - lo - stiv Go - spóð, ми - ло - стив Го - сподь,

œ œ

œœ œ œ

œ œ

U ,π

œ

3

œ œ œ ˙

Bla - go - slo - ví, Бла - го - сло- ви,

U ,π

œ

˙ ˙

œ œ

3

œ œ œ ˙

Bla - go - slo - ví, Бла - го - сло- ви, 3 œ œ œ ˙

stif. стив.

-

œ

π U œ ,

π ˙

lo ло

œ œ

mí - lo - stiv Go - spóð, ми - ло - стив Го - сподь,

œ œ œ œ

œ

stif. стив.

-

œ œ

i и

Shtedr Щедр

mí ми

œ

i и

œ œ

π œ >œ

-

œ œ

˙

π œ œ >

-

œ

Shtedr Щедр

Œ

œ -

œ

Œ

ww

œ >

œ œ ?# œ œ œ œ œ œ 21

œ œ

5

Bla - go - slo - ví, Бла - го - сло - ви,

œ œœ

œ

œ

U ,π

œ

U

œœ œ œ

u

œ œ œ ˙ 3

Bla - go - slo - ví, Бла - го - сло- ви,

œœ œœ

3

œœ œœ

3

œœ œœ

˙˙ ˙ ˙

*Hristov misspelled ∑ ∑ the Slavonic “Щедр”∑ in the original manuscript, substituting the modern Bulgarian equivalent “Щедър” shown here, which results in a somewhat awkward treatment of the penultimate consonant in Slavonic.

Elliding the final “dr” consonant with the “i” is consistent with common performance practice.

6 24

& & V

#

œ œ œ œ œ.

œ J

˙

Œ

œ œ œ œ œ.

j œ

˙

Œ

# œ œ œ œ œ.

œ J

˙

Œ

œ J

˙

#

du - shé mo - yá, Gó - spo - da, ду - ше мо - я, Го - спо - да,

du - shé mo - yá, Gó - spo - da, ду - ше мо - я, Го - спо - да,

du - shé mo - yá, Gó - spo - da, ду - ше мо - я, Го - спо - да,

? # œ œ œ œ œ. &

#

? #

œœ œ œ

œœ œ œ

œ œ

j œœ J j œœ J

œœ ..

œœ

œœ

œ œ

œœ . .

# π œ œ œ œ &

28

œ

œ œ œ

œ

w

œ

œ œ œ bœ

w

vnú - tòen - ñâ - ya вну - трен - ня - я

œ

i и

vsâ вся

vnú - tòen - ñâ - ya вну - трен - ня - я

mo - yá мо - я,

i и

vsâ вся

vnú - tòen - ñâ - ya вну - трен - ня - я

mo - yá мо - я,

œœ

œœ

œ

œœ

˙

œ

œœ œ œ

œ

œ œ œ œœ

œ œ

˙

œ

œ

# nπ œ œ œ œ bœ œ

˙

Œ œ œ œ

˙

nœ

œ

Œ œ œ œ

˙

í - mâ svâ - tó - e и - мя свя - то - е

π ?# œ œ œ œ

œ œ

í - mâ svâ - tó - e и - мя свя - то - е

#

? #

œœ

nœ œ

œœ

œ œ

œœ œ œ

œ œ œ

E - gó. Е - го.

E - gó. Е - го.

œœ œœ

bœ œ

˙

œ œ

˙˙ ˙˙

Bla - go - slo - vén Бла - го - сло - вен 3

Bla - go - slo - vén Бла - го - сло - вен 3

Bla - go - slo - vén Бла - го - сло - вен

Œ

3

œœ œœ œœ

œ œ œ Œ œ œ œ 3

mo - yá мо - я,

œ

Œ œ œ œ

E - gó. Е - го.

mo - yá мо - я,

vsâ вся

Bla - go - slo - vén Бла - го - сло - вен 3

w

œ

˙

E - gó. Е - го.

3

œ

i и

œœ

Œ

vnú - tòen - ñâ - ya вну - трен - ня - я

œ œ

í - mâ svâ - tó - e и - мя свя - то - е

&

œ

œ œ œ

Œ œ œ œ

# π & œ œ œ œ

28

Œ

˙˙

vsâ вся

œ

˙

œ œ

í - mâ svâ - tó - e и - мя свя - то - е

V

˙˙

œ

i и

œ

Œ

du - shé mo - yá, Gó - spo - da, ду - ше мо - я, Го - спо - да,

24

œ

˙˙ ˙˙

œ

e - sí, е - си,

e - sí, е - си,

e - sí, е - си,

œ

œ

e - sí, е - си,

œœ

n œœ

œœ œ

œœ

œ

œ œ

˙

ww

œœ

œ

œ œ

w

bœ œ

ww

˙

Gó Го

-

spo спо

œ

œ

œ

Gó Го

-

˙ Gó Го

˙

spo спо

œ

-

spo спо

˙

-

spo спо

˙œ

œ

˙œ ˙ ˙

œ

di. ди.

π w

-

di. ди.

-

di. ди.

-

di. ди.

˙

Gó Го

˙ ˙

-

π w

π w π w ww ww

# pœ &

œ

œ

p œ

œ

œ

p # œ V

œ

œ

p ?# œ

œ

&

#

Gó - spo - di, Го - спо - ди,

Gó - spo - di, Го - спо - ди,

Gó - spo - di, Го - спо - ди,

œ

Gó - spo - di, Го - спо - ди,

&

#

? #

& & V

œœ œœ

# Π#

Œ

# Œ

?# Π#

Œ

? #

Œ

&

7

Малка ектения ~ Little Litany

œœ

œœ

œœ

Te Те

œ

˙

œ

˙

œ

˙

po - mí по - ми

po - mí по - ми

po - mí по - ми

œ

œœ

-

˙

po - mí по - ми

œœ

œœ

œ

œ

˙

bé, бе,

˙

˙

Ó

˙

Ó

˙

Ó

- luy.

- луй.

- luy.

- луй.

- luy.

- луй.

˙

˙˙

˙˙

˙ ˙

œœ œœ

Ó

˙

œ

œ

˙

œ

œ

˙

Ó Ó

Gó - spo - di. Го - спо - ди.

Gó - spo - di. Го - спо - ди.

Te Те

-

bé, бе,

Gó - spo - di. Го - спо - ди.

˙˙

œ

œ

bé, бе,

œœ

œ

œ

-

˙˙

œ

œœ

Ó

Te Те

œœ

œ

œœ

Gó - spo - di. Го - спо - ди.

˙

œ

œ

œ

˙

œœ

œœ

˙˙

œ œ

œ œ

œ

Gó - spo - di, Го - спо - ди,

bé, бе,

œ

œ

œ

-

˙

œ

Gó - spo - di, Го - спо - ди,

Te Те

œ

œ

Gó - spo - di, Го - спо - ди,

Ó

˙˙

œ

Gó - spo - di, Го - спо - ди,

Ó

- luy.

- луй.

œ

˙˙

Ó

Ó Ó

œœ œœ

œ

œ

œ

˙

œ

˙

œ

po по - ми

po - mí по - ми

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po - mí по - ми

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Следва тутакси „Слава Единородный.“ При Господни, Богородични и светителски празници вм. „Благослови, душе моя“ пей „Молитвами Богородицы“ а след малката ектения — „спаси ни Сыне Божiй“ и тутакси „Слава Единородный.“ — Автор.

“Glory, Only Begotten” immediately follows. On feasts of the Lord, the Mother of God, and saints, instead of “Bless the Lord, O My Soul” sing “Through the Prayers of the Mother of God” and after the Little Litany — “Save Us, O Son of God” followed immediately by “Glory, Only Begotten.” — Composer

Price code: 2 THE BULGARIAN PRONUNCIATION OF CHURCH SLAVONIC The Bulgarian Orthodox Church, in addition to being the earliest autocephalous Slavic Orthodox Church, employs a unique pronunciation of Church Slavonic that is distinct from the more familiar pronunciation found in the Russian Orthodox Church.

Bulgarians pronounce Church Slavonic the same way they pronounce modern Bulgarian. The most notable departure from Russian Church Slavonic is the absence of palatization. In fact, the unique Bulgarian pronunciation so permeates performance practice and is so closely tied to the national consciousness and pride that Bulgarians refer to Church Slavonic as “Old Bulgarian.”

A helpful feature of the Bulgarian pronunciation of Church Slavonic is that the sounds of the language have a direct “one to one” phonetic representation in Cyrillic, unlike English, which has many traditional spellings that do not coincide with the sounds of the words. Following the 1945 Communist revolution in Bulgaria, the Bulgarian alphabet also underwent reforms in an attempt to modernize which extended in some ways to Bulgarian Church Slavonic. The employment of a “one-to-one” system of transliteration allows the singer and conductor to quickly learn the phonetic combinations, or graphemes, corresponding to the Cyrillic. Since the transliteration is given in Italics directly above the Cyrillic, the “one-to-one” relationship is quite clear.

Care must be taken, though, to ensure that each grapheme is given consistent phonetic treatment, regardless of its placement within syllabic combinations.

One other unique feature of the Bulgarian Church Slavonic worthy of discussion is the treatment of voiced and un-voiced ending consonants. Voiced consonants that occur on the end of a word are pronounced in their unvoiced form. Thus, “b” becomes “p,” “d” becomes “t,” “v” becomes “f,” and (rarely occurring) “g” becomes “k”. Traditionally, names such as Христов have been transcribed as Hristov, even though in actuality, they are pronounced Hristof when speaking. The accepted form of these final consonants in Church Slavonic is for them to be sung as voiced consonants, yet the overwhelming custom in Bulgaria is to sing and to speak them unvoiced, particularly at the end of phrases. The Italic graphemes within the music take this practice into account.

Cyrillic letter

Phonetic rendering and equivalent English pronunciation

А a as in “art” (but shorter) Б b as in “book” В v as in “vice” Г g as in “good” Д d as in “dot” Е e as in “elephant” Ж zh as the “s” in “pleasure” З z as in “zigzag” И i as in “inch” Й i/y as in “yes” К k as in “king” Л l as in “label” М m as in “man” Н n as in “not” О o as in “offer” П p as in “pet” Р r as in “rat” С s as in “sister” Т t as in “tent” У ou as in “soup” Ф f as in “fifteen” Х h as in “horrid” (slightly guttural) Ц ts as in “fits” Ч ch as in “church” Ш sh as in “ship” Щ sht as in “fishtail” Ъ u as in “hunter” (but shorter) ь y as in “York” Ю yu as in “youth” (but shorter) Я ya as in “yarn” (but shorter)

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