The Significance of B. B. Granovsky's Activity in the Study of Song Folklore from the Archive of V. F. Odoevsky (to the 100th Anniversary of the Birth of B. B. Granovsky)

Vereshchagina Katarina Sergeevna ORCID: 0000-0002-6830-5199 Senior Lecturer of the Department of Acting, Stage Speech and Stage Movement (Stage Speech Section) at the Far Eastern State Institute of Arts 690090, Russia, Primorsky Krai, Vladivostok, Petra Velikogo st., 3a katarina16@rambler.ru Other publications by this author

Legacy of V. F. Odoevsky has been of interest to scientists for many years — he made a significant contribution to the development of the culture of Russia of the XIX century in a variety of fields: education, literature, and music. In June 2019, a conference dedicated to the 150th anniversary of V. F.'s death was held at the Losev House. Odoevsky, where at the opening of E. A. Tahodi noted that it was a surprise to her that "the creativity of V. F. Odoevsky aroused such genuine interest" ^[1].

In the field of musicology , V. F. 's archival documents are of great value . Odoevsky, related to recordings of musical folklore of the peoples of Russia. They can rightfully be considered the first (they were made more than 150 years ago) samples of folk music recorded scientifically (without treatments and changes) ^{[2, p. 94]}.

In the conditions of the active loss of the culture of folk singing ^{[3, pp. 80-81]}, comparative historical research is of great importance. They allow us to identify the nature and intensity of changes in the repertoire over time, to recreate those tunes that were performed earlier in a particular region. The scientific community has even formed the practice of expeditions "in the footsteps" of one or another collector of folklore, which is designed to track the state of singing culture ^{[4; 5]}. In this case, the recordings of folk music made by V. F. Odoevsky, can become an important source of data.

However, despite the importance of these materials, it is worth noting that a significant part of them remains in the archive and has not yet been studied and published. In the XIX century . during the life of V. F. Even after his death, some folk songs from his collection were printed ^{[6; 7]}, and in the XX century, with the exception of some works ^{[8; 9]}, only B. B. Granovsky dealt with this issue in detail. His publications of different years are connected with this.

Article "Songs of the peoples of Russia in the musical collection and works of V. F. Odoevsky" ^[10] is a review study devoted to this topic. It discusses several important points.

First of all, B. B. Granovsky described the fate of the documents left after V. F.'s death. Odoevsky and the difficulties encountered in collecting information about folk songs: first, all the materials of V. F. Odoevsky's materials were systematized on a thematic basis, then on a chronological basis, in addition, the analysis of materials continued for many years and, as a result, the archive dispersed in parts to various repositories ^{[10, pp. 313-314]}. As B. B. Granovsky noted: "The absence of a consolidated inventory of the entire manuscript heritage of Odoevsky extremely complicates the work of every researcher, especially when referring to the section of musical folklore" ^{[10, p. 315]}. Therefore, to recreate the entire volume of folklore records, information from diaries was involved, and the contents of the funds were studied in detail, which made it possible to determine a huge number of not only completed folklore records, but also all kinds of drafts and sketches that require detailed consideration ^{[10, pp. 315-319]}.

As a basis for his scientific work, B. B. Granovsky chose the "meridian method" (as he himself conditionally designated it), which consists "in a cross-cutting study of each fund in order to identify all mutually correlated information, records, fragments, etc." ^{[10, p. 318]}. The researcher recorded any records related to folklore and systematized them both by content and by type of text (article, note, note) ^{[10, p. 318]}. Largely thanks to this method, those recordings that had an unfinished character were "read", since a significant part of the notes were "excerpts from unknown compositions without beginning and end, separate musical lines with one or two bars of melody and subtext, sheet music with individual letters or musical signs without subtext" ^{[10, p. 319]}.

In total, about 500 units were deciphered, which, first of all, are samples of Russian (220 songs) folklore and twenty-six other ethnic groups (180 songs) ^{[10, pp. 319-320]}.

It is worth noting that many examples may be the first recordings of musical folklore of other peoples in Russia. According to B. B. Granovsky, two Bulgarian songs from the archive of V. F. Odoyevsky's works are the earliest known ones, since before that it was believed that musical samples of folklore of this people were made only in the late 1870s ^{[10, p. 329]}. The same can be said about the six Chechen songs that were recorded in the second half of the 1840s ^{[10, p. 330]}.

In our opinion, the part of this work deserves special attention, where B. B. Granovsky shows how V. F. Odoevsky recorded musical and folklore material. To do this, he cited all the versions preserved in the archive (5 autographs in total) of the song "Goodbye girls".

Thanks to these examples , the method of V. F. Odoevsky as a folklorist becomes more understandable. Apparently, he recorded the song several times with possible variants, and then repeatedly rechecked the recordings made. That is why there are differences in different autographs, first of all, in the subtext. As noted by B. B. Granovsky: "among the contemporary folklore music recordings of Odoevsky (except for the collection of Russian folk songs by M. A. Balakirev, 1866), there are no recordings that would have been made with such high accuracy" ^{[10, p. 324]}. It is important to understand that since at that time there were no ways of audio fixation, V. F. Odoevsky resorted to the method of "musical folklore shorthand" (quite probably the most accurate method for that time), which consisted in instant recording of the melody he heard. This is evidenced, among other things, by the fact that the sketches "are sometimes written in cursive between, above or under the musical lines of Odoevsky's own composition, on top of the printed musical text, inside a drawing in a travel album, etc." ^{[10, p. 324]}.

No less important are the information that V. F. Odoevsky supplied musical examples. Many of them contained both the passport data of the tune (where, from whom and under what circumstances the recording was made) and notes about the nature and features of the performance ^{[10, pp. 320-325]}.

This article outlines all the main activities of V. F. Odoevsky as a folklorist and the key points that need further study.

In the publication "Russian (from I. E. Molchanov), Ukrainian, Lithuanian, Kazakh, Chechen songs and tunes in the collection of V. F. Numerous transcripts of the text (notes, comments, etc.) and musical samples of folklore of different ethnic groups were presented. Russian Russian, Lithuanian, Kazakh and Chechen songs are presented in full, and only from the singer I. E. Molchanov (since the entire corpus of Russian folk music is too large). 

The work is interesting because it presents a very diverse musical material, for example, in the section of Ukrainian songs there are one-voice tunes with subtext, melodies without text, works with accompaniment and even choral scores ^{[11, pp. 203-229]}.

B. B. Granovsky gave detailed comments to each part of this article. They are akin to a small investigation in which the history of each melody is revealed step by step — how it could have ended up in the collection of V. F. Odoevsky.

Recordings from I. E. Molchanov are not only transcripts of archival documents. The Appendix contained 4 analytical editions with comments by E. V. Gippius ^{[11, pp. 256-258]}. These samples are of great interest because they bring archival material into the practical sphere, which is interesting not only for theoretical musicologists, but also for performing musicians, which will be discussed further.

 This study continues the first work, however, here specific musical samples are presented in more detail, in detail. They form a complete holistic view of a particular archival material.

In the following publication ^[12], transcripts of songs collected by V. F. were made. Odoevsky from the peasant I. Fomin. Exact information about this man has not been preserved, only that the records from him V. F. Odoevsky did it in the village of Kozlovo, Tver province ^{[12, pp. 28-29]}. Apparently, he was a talented performer who stood out among other peasants. "Fomin sang in a very free, improvisational manner, each time "singing" separate stanzas, which can be judged by the variants of various bars, turns and whole musical periods in Odoevsky's recording" ^{[12, p. 32]}.

It is worth noting a number of significant points identified by B. B. Granovsky. Firstly, the songs were recorded in the order in which they were sung by I. Fomin, forming a kind of cycle that includes "ten long songs, four playing, one dancing, three soldiers, as well as three song tunes, two of which also belong to long songs" ^{[12, p. 31]}. Secondly, the fixation was carried out with great attention to detail, for example, V. F. Odoevsky tried to note any changes in the intonation of individual notes, motifs, phrases ^{[12, p. 32]}. Thirdly, the songs have full lyrics, which is not always present in recordings from other singers. Folklore work was carried out in the field (all songs from I. Fomin were made in pencil, "which is a characteristic feature of Odoevsky recording field recordings" ^{[12, p. 28]}) together with assistants — with A. B.'s niece. Vraska and, possibly, with V. I. Dahl ^{[12, p. 32]}. The texts exist in three versions: draft, which was recorded directly from the voice, verified — with possible edits and final ^{[12, pp. 32-33]}.

The appendix presented the versions of songs performed by E. V. Gippius. They are given with comments clarifying individual fragments of records ^{[12, pp. 69-86]}.

This article is akin to the previous publication. Having limited himself to materials from only one singer, B. B. Granovsky comprehensively studied the context of their appearance in the archive, made a transcript, and thanks to the help of E. V. Gippius prepared analytical editions of 14 songs — most of the tunes (20 songs were deciphered in total, of which 3 samples are only sketches of a melody with fragmentary text or no text at all).

The last great work of B. B. Granovsky was the sheet music edition of songs from I. Molchanov and I. Fomin ^[13]. The extensive introduction at the beginning duplicates the basic information from the above-mentioned studies on the folklore heritage of V. F. Odoevsky ^{[13, pp. 3-10]}.

The collection contains 15 issues from I. Fomin and 18 from I. Molchanov. In the first section (from I. Fomin), only the song "Don't stagger, ah, well, don't wallow" was added ^{[13, p. 19]}, and all the other samples are editorials by E. V. Gippius. But the part devoted to songs from I. Molchanov was significantly supplemented. All songs are presented with lyrics in one-voice presentation.

Briefly summarizing the activities of B. B. Granovsky on the study of the musical and folklore collection of V. F. Odoevsky, it should be noted that:

1. Over 500 samples of musical folklore, Russian and 26 other ethnic groups were identified.

2. These samples are quite likely the very first reliable musical notation in Russia.

3. Songs from I. Fomin and I. Molchanov have been fully deciphered from the collection of Russian song folklore, and notes consisting of 33 numbers have been published on their basis.

B. B. Granovsky's long-term research goes far beyond the archive of one person. These documents allow us to understand what (who and even how) was sung in the middle of the XIX century, because V. F. Odoevsky approached the fixation of folklore with great responsibility. It is quite possible that these are the most accurate musical notations of that time. In theoretical musicology, there is always a need for such information, since it is useful for conducting comparative historical studies, folklore reconstructions, analyzing the repertoire, identifying ladomelodic and metrorhythmic features of song samples, etc.

 In addition, it was fundamentally not easy for B. B. Granovsky to "read" the documents, he sought to "revive" the material, make it accessible not only to musicologists, but also to folk music performers. That is why all the processed transcripts have become part of the songbook.

Despite the great value of these materials, they, by and large, remain unnoticed in the scientific community. The search for B. B. Granovsky's publications reviewed in this article on the eLibrary portal showed only the only mention in the work of A. Y. Patoshina ^[14]. The author of this article expresses confidence that over time, B. B. Granovsky's long-term efforts to study and preserve song folklore will be appreciated.

Appendix 1

1. Autographs of the song "Many berries were born in the forest" from the archive of V. F. Odoevsky ^{[11, p. 201]}.

2. The same song in the publication "Tunes of Russian songs recorded by V. F. Odoevsky" prepared by V. N. Kashperov ^{[7, p. 132]}.

3. A variant in the publication "Songs of the Nugget singers Ivan Fomin and Ivan Molchanov in the collection of V. F. Odoevsky", edited by B. B. Granovsky ^{[13, p. 56]}.

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