Communion Chants of the Thirteenth-Century Byzantine Asmatikon (Music Archive Publications) [1 ed.] 9057550113, 9789057550119

Table of contents :
Cover
Title Page
Copyright Page
Dedication
Table of Contents
Introduction to the Series
Acknowledgements
Introduction
The Asmatic Communions
I. Nos. 1–18a Communions for the Fixed and Movable Feasts of the Year
II. Nos. 19–40 Communions for Groups of Occasions during the Year
III. Nos. 41–64a Communions of the Octoechus
Editorial Procedure
Critical Commentary
Notes

Citation preview

The Communion Chants of the Thirteenth-Century Byzantine Asmatikon

Edited by

Simon Harris

| J Routledge §

Taylor & Francis Group New York London

First published by Harwood Academic Publishers This edition published 2012 by Routledge Routledge Taylor & Francis Group 711 Third Avenue New York, NY 10017

Routledge Taylor & Francis Group 2 Park Square, Milton Park Abingdon, Oxon 0X14 4RN

Copyright © 1999 OPA (Overseas Publishers Association) N.V. Published by license under the Harwood Academic Publishers imprint, part of The Gordon and Breach Publishing Group. All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photo­ copying and recording, or by any information storage or retrieval system, without permission in writing from the publisher.

British Library Cataloguing in Publication Data The Communion Chants of the thirteenth-century Byzantine Asmatikon. - (Music archive publications. Series A; v. 1) 1. Chants (Byzantine) 2. Chants (Byzantine) - History and criticism I. Harris, Simon (Simon John Minshaw) 782.3'22Ί5Ό 09022 ISBN 90-5755-011-3

Cover: Detail of manuscript

1 from the Monastery of Grottaferrata.

For my wife and and children children For

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CONTENTS Vll vii

Introduction totothe Introduction theSeries Series

Vlll viii

Acknowledgements Acknowledgements

ix

Introduction Introduction The Asmatic Communions I Nos. 1-18a 1-18a

Communions for the Fixed and Movable Feasts ofthe of the Year

1

II Nos. 19-40

Communions for Groups of of Occasions during the Year

41

III Nos. Nos.41-64a 41-64a

Communions of of the Octoechus

83

Editorial Procedure Editorial Procedure

117 117

Critical CriticalCommentary Commentary

123 123

Notes Notes

163

vv

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INTRODUCTION TO THE SERIES The The international international series series Music Archive Publications is is intended intended to to cover cover aa very very broad broad chronological chronological and and geographical geographical range, making previously unpublished making available available music music either either previously unpublished or or not not easily easily accessible, accessible, in in editions editions of of high high quality, quality, according according to to modmodem using the ern musicological musicological principles. principles. Where Where necessary necessary aa sonic sonic realization realization of of the the music, music, using the latest latest computer computer technology, technology, will will accompany the the edition. edition. accompany

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ACKNOWLEDGEMENTS Over more more than than thirty thirty years years many many people people have have helped helped me me to to produce produce these these transcriptions. transcriptions. In In particular particular two two things things stand stand out out in in Over my memory. is the the help help II received received from from Nigel Nigel Wilson-currently Wilson—currently Sub-Rector Sub-Rector of of Lincoln Lincoln College, College, Oxford-with Oxford—with several several GreekGreekOne is One language problems. The other other is is the the trouble trouble to to which which the the Director Director of of the the Library Library at at the the Greek Greek Monastery Monastery at at Grottaferrata Grottaferrata went went many many years years ago The ago to supply supply me me with with photographs photographs of of manuscripts manuscripts in in the the library, library, without without which which transcriptions transcriptions such such as as these these would would have have been been to inconceivable. inconceivable. In addition addition II should should like like to to thank thank the the following: following: the the late late Dr Dr Egon Egon Wellesz, Wellesz, for for supervising supervising this this work work in in its its early early stages; stages; In for financing financing two two visits visits to to Rome Rome to to start start the the project; project; Christian Christian Thodberg Thodberg (later (later Prof. Prof. Chr. Chr. Thodberg Thodberg Merton College, College, Oxford, Oxford, for Merton of the the University University of of Aarhus) Aarhus) for for his his informative informative help help on on the the first first of of these these visits; visits; the the late late Prof. Prof. Oliver Oliver Strunk Strunk of of the the University University of of Princeton Princeton for for drawing drawing my my attention attention in in particular particular to to the the two two manuscripts manuscripts from from mainland mainland Greece; Greece; Prof. Prof. Kenneth Kenneth Levy, Levy, later later of the University University of of Princeton, Princeton, for for sending sending me me aa copy copy of of his his work work on on the the Maundy Maundy Thursday Thursday Communion; Communion; Professors Professors Levy Levy of the of and Thodberg Thodberg and and the the late late Prof. Prof. J0rgen Jorgen Raasted Raasted of of the the University University of of Copenhagen Copenhagen for for photographs photographs of of manuscripts manuscripts used used here; here; and Prof. David David Hiley Hiley of of the the University University of of Regensburg Regensburg for for introducing introducing me me to to the the Plainsong Plainsong and and Medieval Medieval Music Music Society Society and and Prof. Prof. Prof. Hiley, Prof. Prof. Brian Brian Trowell Trowell and and Dr Dr John John Caldwell Caldwell (both (both of of the the University University of of Oxford) Oxford) for for supporting supporting my my work work in in that that Society; Society; Hiley, Mr Bruno Bruno Turner, Turner, at at that that time time Chairman Chairman of of the the PMMS PMMS Council, Council, for for his his support support and and particularly particularly for for his his help help in in exploring exploring the the Mr possibility of of aa triple triple collaboration collaboration between between the the PMMS, PMMS, the the British British Academy Academy and and an an American American publisher; publisher; Miss Miss Yanna Yanna possibility Zissiadou and and Prof. Prof. Charles Charles Atkinson Atkinson of of the the University University of of Ohio Ohio for for their their help help in in this this venture; venture; and and Mr Mr Ivan Ivan Moody, Moody, formerly formerly Zissiadou of the the PMMS PMMS Council Council for for stepping stepping in in and and suggesting suggesting the the present present arrangement arrangement when when this this venture venture came came to to nothing. nothing. of I should also like to thank particularly the the following libraries for enabling me me to to use use their facilities: the the University Libraries of of Sydney Sydney and and London, London, the the Bodleian Bodleian Library Library at at Oxford, Oxford, the the British British Library, Library, the the Library Library of of the the Greek Greek Monastery Monastery at Libraries at Grottaferrata and and the the Biblioteca Biblioteca Apostolica Apostolica Vaticana. Vaticana. And And II should should like like to to thank thank my my family, family, to to whom whom this this work work is is dedicated, dedicated, Grottaferrata for their their encouragement encouragement in in my my pursuit pursuit to to its its conclusion conclusion of of something something that that II had had begun begun some some years years before before II had had aa family family to for to think about. about. think Simon Harris London 1997 London 1997

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INTRODUCTION The Asmatikon For the the study study of of musical musical history history in in Western Western Europe Europe the the music music of of the the medieval medieval Greek Greek Orthodox Orthodox Church-Byzantine Church—Byzantine Chant-is Chant—is For of interest interest mainly mainly for for the the light light it it may may throw throw on on the the way way Christian Christian Chant Chant evolved, evolved, especially especially during during the the long long period period before before the the of earliest surviving surviving musical musical manuscripts. manuscripts. And And although although Byzantine Byzantine sources sources cannot cannot quite quite match match the the antiquity antiquity of of those those in in the the earliest West, we we know know that that the the Latin Latin Church Church owes owes not not only only many many hymn-texts hymn-texts to to the the Eastern Eastern Church Church but but also also the the origins origins of of its its modal modal West, theory; and and there there is is an an unquestionable unquestionable musical musical affinity affinity between between many many Byzantine Byzantine and and many many Latin Latin chants. chants. Knowledge Knowledge of of the the theory; early traditions traditions of of Byzantine Byzantine Chant Chant is is very very incomplete, incomplete, and and likely likely to to remain remain so. so. But But enough enough is is known known for for it it to to be be clear clear that, that, early beside the the similarities, similarities, there there are are important important differences: differences: Byzantine Byzantine traditions traditions never never seem seem to to have have evolved evolved aa body body of of music music beside equivalent to to the the Western Western Ordinary; Ordinary; nor nor are are there there equivalents equivalents in in the the East East to to the the repertoires repertoires of of Ambrosian Ambrosian and and Mozarabic Mozarabic equivalent Chant, even even though though the the Orthodox Orthodox world-from world—from medieval medieval Russia Russia to to Mount Mount Sinai Sinai and and the the Greek Greek communities communities of of southern southern Italy Italy Chant, and Sicily-was Sicily—was politically politically and and culturally culturally much much more more fragmented fragmented during during the the Middle Middle Ages Ages than than Western Western Europe; Europe; but but above above all all and there is is no no equivalent equivalent in in Latin Latin Chant Chant to to the the elaborate elaborate melismatic melismatic traditions traditions of of the the Byzantine Byzantine world, world, contained contained mainly mainly in in the the there Psaltikon and and Asmatikon. Asmatikon.11 Psaltikon These melismatic traditions underwent important changes during the Middle Ages, and particularly during the fourteenth fourteenth century when when change change was was so so convulsive convulsive that that many many melodies melodies in in the the older older repertoire repertoire did did not not survive survive the the century. century. New New melodies melodies century at this this time time were were often often associated associated with with the the name name of of the the monk monk John John Kukuzeles Kukuzeles and and with with the the term term "kalophonic"; "kalophonic"; their their appearappearat ance seems seems to to have have gathered gathered momentum momentum during during the the thirteenth thirteenth century, century, but but their their existence existence is is usually usually only only recognised recognised from from the the ance earliest surviving surviving dated dated manuscript manuscript ofkalophonic of kalophonic chants chants (Athens (Athens 2458, 2458, dated dated 1336); 1336); and and new new melodies melodies continued continued to to appear appear at at earliest least until until the the middle middle of of the the fifteenth fifteenth century.2 century.2 least Before then (that is, until about 1300) there were four repertoires of of chant in the Byzantine world-the world—the Sticherarion, the Heirmologion, the the Psaltikon Psaltikon and and the the Asmatikon. Asmatikon. The The first first two two of of these these consisted consisted of of simple simple chants chants with with hymnodic hymnodic (that (that is, Heirmologion, is, non-Biblical) texts, texts, which which were were intercalated intercalated between, between, or or otherwise otherwise associated associated with, with, the the verses verses of of psalms psalms or or canticles. canticles. Many Many non-Biblical) of these these chants chants can can be be found found in in liturgically liturgically arranged arranged collections collections in in the the earliest earliest musical musical manuscripts, manuscripts, but but gradually gradually during during the the of period 1000-1200 1000-1200 they they came came to to occupy occupy separate separate books books devoted devoted to to their their respective respective musical musical repertoires. repertoires.33 period The music of of the Psaltikon and Asmatikon is also frequently to be found in separate books. That of of the Psaltikon appears in two traditions-a traditions—a more more widespread widespread and and simpler simpler one one that that seems seems to to have have occurred occurred throughout throughout the the Byzantine Byzantine world world in in the the thirthirtwo teenth century, century, and and aa more more elaborate elaborate one, one, related related to to the the other other rather rather as as some some Old Old Roman Roman Chant Chant is is related related to to the the Gregorian Gregorian teenth repertoire, and and which which today today is is usually usually associated associated with with the the one-time one-time monastery monastery of of S. S. Salvatore Salvatore at at Messina Messina in in Sicily. Sicily. repertoire, There seems to be no division parallel to this in the musical tradition of of the Asmatikon, though there are a few chants in it which do do seem seem to to be be associated associated exclusively exclusively with with the the Messina Messina tradition tradition of of the the Psaltikon. Psaltikon. But But there there does does seem seem to to be be an an imporimporwhich tant difference difference in in organisation. organisation. Asmatic Asmatic chants chants in in the the Messina Messina tradition tradition are are frequently frequently put put together together with with psaltic psaltic chants chants in in the the tant same collection, collection, whereas whereas elsewhere elsewhere they they occupy occupy aa separate separate book.4 book.4 same There are are very very few few surviving surviving sources sources for for both both repertoires. repertoires. For For the the PsaItikon, Psaltikon, Thodberg Thodberg lists lists 23 23 sources sources excluding excluding tiny tiny fragThere fragments—12 for for the the more more widespread widespread tradition, tradition, 88 for for the the Messina Messina tradition tradition and and 33 for for aa mixed mixed tradition tradition which which may may have have been been ments-12 associated originally originally with with the the monastery monastery at at Grottaferrata Grottaferrata near near Rome. Rome.55 Of Of the the 88 Messina Messina Psaltika Psaltika listed listed by by Thodberg, Thodberg, 33 are are associated important sources sources also also for for the the Asmatikon Asmatikon and and another another would would be be if if it it did did not not show show aa complete complete failure failure to to understand understand the the musimusiimportant cal notation notation it it uses. uses. To To these these four four should should be be added added two two PsaItika Psaltika listed listed by by Thodberg Thodberg which which also also contain contain aa very very few few Asmatikon Asmatikon cal chants, and and one one rather rather heterogeneous heterogeneous manuscript manuscript not not listed listed by by him him which which basically basically seems seems to to be be an an Asmatikon Asmatikon with with psaltic psaltic and and chants, kalophonic additions. additions.66 kalophonic Besides these these sources sources for for the the Asmatikon Asmatikon among among the the PsaItika Psaltika of of the the Messina Messina tradition, tradition, there there are are five five separate separate Asmatika, Asmatika, Besides three of of which which are are preserved preserved at at the the library library of of the the monastery monastery at at Grottaferrata, Grottaferrata, one one on on Mount Mount Athos Athos and and one one was was discovered discovered in in three Macedonia thirty thirty years years ago. ago.77 This This seems seems to to be be the the total total of of medieval medieval Asmatikon Asmatikon sources; sources; nearly nearly all all of of them them are, are, for for one one reason reason Macedonia or another, another, far far from from complete; complete; and and all all have have the the mediobyzantine mediobyzantine musical musical notation notation which which dates dates them them after after 1200. 1200. or The Psaltikon Psaltikon seems seems to to have have been been aa book book destined destined for for aa solo solo singer, singer, and and most most of of its its chants chants need need to to be be supplemented supplemented with with The choral responds responds that that are are not not preserved preserved in in any any medieval medieval sources sources and and may may never never have have been been written written down; down; the the Asmatikon, Asmatikon, by by far far choral the smallest smallest of of the the surviving surviving repertoires repertoires of of music music for for the the medieval medieval Orthodox Orthodox Church, Church, seems seems to to have have been been intended intended for for aa choir choir the of trained trained singers, singers, and and its its music music is is probably probably complete. complete. of ix

xX

INTRODUCTION

The intimate association to be seen between the Psaltikon and the Asmatikon in manuscripts of the Messina tradition was probably not simply a matter of of convenience arising from the fact that the Asmatikon contained such a small body of of music. For it seems to be echoed in a small group of of thirteenth-century manuscripts from Russia, three of of which are important here. These These manuscripts, manuscripts, written written in in an an antiquated antiquated "paleo "paleoslavonic" notation that that cannot cannot be be transcribed, transcribed, also also contain-at contain—at first here. slavonic" notation first sight—both the the Psaltikon Psaltikon and and the the Asmatikon Asmatikon repertoires. repertoires. But But whilst whilst the the Slavonic Slavonic equivalents equivalents of of the the Asmatikon Asmatikon chants chants seem seem sight-both to have have the the same same melodies, melodies, those those of of the the Psaltikon Psaltikon chants chants do do not. not.88 to The presence presence of of an an Asmatikon Asmatikon in in Russia Russia at at the the time time of of Genghis Genghis Khan Khan suggests suggests that that its its music music must must have have arrived arrived there there at The at about the the time time when when the the Russians Russians were were converted converted to to Christianity Christianity shortly shortly before before 1000 1000 AD-this AD—this is is indicated indicated by by the the character character of about of the Russian Russian musical musical notation. notation. For For had had the the music music arrived arrived only only in in the the thirteenth thirteenth century century it it would would surely surely have have brought brought with with it it the the the far more more efficient efficient Greek Greek musical musical notation notation of of the the time. time. far There are other reasons for thinking that the Asmatikon was old in the thirteenth century. There are, for example, one or two kalophonic kalophonic Communions Communions scattered scattered in in thirteenth-century thirteenth-century manuscripts; manuscripts; and and if if these these are are thirteenth-century thirteenth-century compositions, compositions, two the Asmatic Asmatic Communions, Communions, which which are are in in aa different different style, style, must must be be older. older. And And although although all all surviving surviving Asmatika Asmatika date date from from after after the 1200, the the curious curious arrangement arrangement of of some some of of them them indicates indicates that that "paleobyzantine" "paleobyzantine" models models probably probably existed existed for for them. them. 1200, But above all perhaps, among the Communion Chants which make up about half half the music of the Asmatikon, there are many indications indications that that the the music music of of them them evolved evolved over over aa longish longish period. period. Some Some of of the the melodies melodies are are ornamental ornamental forms forms of of others others many with the the same same text, text, the the more more ornamental ornamental ones ones being being favoured favoured by by the the Messina Messina manuscripts. manuscripts. Although Although melodic melodic ideas ideas recur, recur, or or with are transferred, transferred, from from one one chant chant to to another another in in apparent apparent disregard disregard of of mode mode or or melodic melodic character, character, there there is is an an underlying underlying stylistic stylistic are diversity which which can can only only mean mean that that different different melodies melodies evolved evolved at at different different times. times. This This diversity diversity perhaps perhaps can can be be most most clearly clearly diversity seen in a comparison of Nos. 28 and 29 below, two settings of the same text, one occupying four and a half lines the other seen in a comparison of Nos. 28 and 29 below, two settings of the same text, one occupying four and a half lines the other twenty. And then there are the final cadences. Nearly all the melodies of the Asmatikon, including the communions, end with twenty. And then there are the final cadences. Nearly all the melodies of the Asmatikon, including the communions, end with aa cadential cadential formula, formula, whose whose two two pauses pauses and and two two sets sets of of double double gammas gammas have have parallels parallels in in many many Psaltikon Psaltikon melodies, melodies, and and mayor may or may not not have have led led on on to to an an unwritten unwritten congregational congregational respond. respond. But But it it is is clear clear that that these these formulae formulae are are appendages appendages that that were were may added quite quite late, late, for for they they do do not not appear appear in in either either the the Russian Russian sources sources or or in in the the most most conservative conservative Greek Greek source. source. The The real real conconadded clusion of of the the melody, which in nearly all cases is also the mode-final, is usually the fifth note from the end. clusion melody, which in nearly all cases is also the mode-final, is usually the fifth note from the end. For these reasons it seems likely that the music of of the Asmatikon (or some of of it) already existed before 1000 AD. But whilst the Hypakoae, Hypakoae, the the Troparia Troparia for for the the Christmas Christmas and and Epiphany Epiphany vigils, vigils, the the Dochae Dochae and and the the single single Mass Mass chants chants have have texts texts that that may may the go back back into into the the mists mists of of antiquity, antiquity, the the 64 64 Communion Communion Chants Chants are are settings settings of of 26 26 texts, texts, most most of of which which seem seem to to have have sprung sprung go into existence existence as as Communion Communion texts texts between between 800 800 and and 1050; 1050; and and there there is is no no evidence evidence that that any any Asmatikon Asmatikon melodies melodies antedate antedate into their texts. their texts. Most Asmatic Asmatic Communion Communion texts texts are are psalmodic, psalmodic, but but only only in in the the sense sense that that they they are are taken taken from from the the Book Book of of Psalms Psalms and and folfolMost lowed by an alleluia, and so may be the remains of of a respond. Two texts are taken from the New Testament, and half half of of another one one comes comes from from the the Book Book of of Proverbs; Proverbs; all all of of these these three three are are supplied supplied with with the the usual usual alleluia. alleluia. Of Of those those that that are are taken taken another from the the Psalms, Psalms, four four are are well-known well-known quotations quotations in in the the New New Testament, Testament, and and others others seem seem familiar familiar (for (for the the Exaltation Exaltation of of the the from Cross: "Lord, "Lord, the the light light of of your your countenance countenance has has been been lifted lifted up up upon upon us", us", and and for for Church Church Fathers: Fathers: "The "The just man shall shall be be in in Cross: just man everlasting remembrance"). remembrance"). Most Most of of these these psalmodic psalmodic texts, texts, moreover, moreover, are are paraphrases paraphrases rather rather than than exact exact quotations, quotations, so so it it everlasting seems rather unlikely that they are the remains of complete psalms. And this is confirmed by the typika, or order books, of seems rather unlikely that they are the remains of complete psalms. And this is confirmed by the typika, or order books, of the ninth, ninth, tenth tenth and and eleventh eleventh centuries centuries where where these these texts texts seem seem to to come come into into existence existence by by replacing replacing other other similar similar texts texts and and not not the complete psalms. psalms. Since Since very very few few if if any any texts texts seem seem to to have have fallen fallen into into disuse, disuse, this this means means that that there there is is aa group group of of about about four four complete psalm-texts, all all of of which which are are exact exact quotations, quotations, and and at at least least three three of of which which appear appear in in other other rites, rites, which which may may be be of of very very ancient ancient psalm-texts, origin and and which which may may be be the the remains remains of of complete complete psalms. psalms. To To these these perhaps perhaps should should be be added added two two hymn-texts, hymn-texts, for for Maundy Maundy origin Thursday and and Easter Easter Sunday, Sunday, neither neither of of which which has has aa final final alleluia, alleluia, and and both both of of which which probably probably originated originated before before 600. 600. But But if Thursday if any musical remnants from this period are still embedded in the Asmatic melodies of the thirteenth century, they are almost any musical remnants from this period are still embedded in the Asmatic melodies of the thirteenth century, they are almost certainly unrecognisable. unrecognisable. The The evidence evidence of of the the Communions, Communions, such such as as it it is, is, seems seems to to indicate indicate that that the the Asmatikon Asmatikon is is no no older older certainly than the melodies melodies of of the Kontakia in the Psaltikon or of the Heothina in the Sticherarion, and might well have originated at than the the Kontakia in the Psaltikon or of the Heothina in the Sticherarion, and might well have originated at some time during the Macedonian dynasty (867-1056); and that during the three hundred or so years of its existence before some time during the Macedonian dynasty (867-1056); and that during the three hundred or so years of its existence before the thirteenth thirteenth century century it it was was still still subject subject to to change change in in the the form form of of enlargement enlargement and and embellishment. embellishment.99 the

The Communions The Communions The Communion Communion Chants Chants make make up up about about aa third third to to aa half half of of the the volume volume of of the the Asmatikon, Asmatikon, the the other other repertoires repertoires being being the the The Asmatic Hypakoae Hypakoae (including (including the the Great Great Troparia Troparia of of the the Christmas Christmas and and Epiphany Epiphany vigils), vigils), the the Dochae, Dochae, the the single single Mass Mass chants chants Asmatic and (only in the two manuscripts from the Greek mainland) chants for the Dedication of of a Church. Of Of these, only the Asmatic Hypakoae form a body of of music of of a bulk comparable with that of of the Communions. The latter, in contrast to the other Mass chants in in the the Asmatikon, Asmatikon, form form aa cycle cycle of of melodies melodies which which change change from from one one occasion occasion to to another. another. chants

INTRODUCTION

Xl xi

Medieval Medieval Greek Greek books books of of chant chant tend tend to to divide divide large large cycles cycles of of this this kind kind into into two-a two—a cycle cycle for for the the Church Church Year Year which which includes both fixed includes the the chants chants for for both fixed and and movable movable feasts, feasts, and and aa smaller smaller Octoechus Octoechus or or cycle cycle of of melodies melodies arranged arranged according according to to the the eight modes. modes. These These tend tend to to be for use on Sundays Sundays throughout throughout the the year. eight be for use on year. The but the The Asmatikon Asmatikon is is no no exception exception to to this, this, but the Octoechus Octoechus of of the the Asmatikon Asmatikon contains contains only only Hypakoae Hypakoae (one (one for for each each mode) mode) and and Communions Communions (three (three for for each each mode). mode). Like Like the the chant-cycles chant-cycles in in all all the the other other Octoechi, Octoechi, the the Asmatic Asmatic Hypakoae Hypakoae of of the the Octoechus Octoechus all all have have different different texts, texts, but but exceptionally, exceptionally, in in the the Communions Communions of of the the Asmatic Asmatic Octoechus, Octoechus, the the same same three three texts texts recur recur in in each each mode, mode, only only the the melodies melodies changing. changing. Two Two of of these these texts texts occur occur generally, generally, appearing appearing for for example example in in the the published published early but two early Russian Russian (paleoslavonic) (paleoslavonic) manuscript; manuscript; they they are are for for Saturdays Saturdays and and Sundays; Sundays; but two manuscripts manuscripts from from South South Italy Italy (as (G5 and and E) E) have only only the the Sunday Sunday cycle, cycle, whilst whilst three three others others (G\ (G1, K K and and L) L) add add aa third third cycle cycle of of Communions Communions for for the the Missa Missa PraesanctifiPraesanctifihave catorum, celebrated celebrated during during Lent Lent and and Holy Holy Week.lO Week.10 catorum, Besides the the 24 24 Communion Communion melodies melodies of of the the Octoechus Octoechus there there are are 40 40 melodies melodies for for the the year. year. In In the the following following transcriptions transcriptions Besides these have have been been divided divided into into two two cycles cycles of of 18 18 and and 22 22 chants, chants, more more f)f or less less corresponding corresponding to to the the Latin Latin Proprium Proprium de de Tempore Tempore and these and Commune Sanctorum. Sanctorum. The The former former cycle cycle consists consists of of 18 18 melodies, melodies, each each with its own own text, for occasions occasions running Commune with its text, for running from from the the beginbeginning of of the the Greek Greek Church Church Year Year (1 (1 September) September) to to the the Transfiguration Transfiguration (6 (6 August). August). Most Most of of these these occasions occasions have have Western Western equivequivning alents, but but aa few few do do not-like not—like the the Feast Feast of of the the Incorporeals Incorporeals on on 88 November, November, and and Wednesday Wednesday of of Mid-Pentecost. Mid-Pentecost. The The second second alents, cycle contains contains 22 22 melodies, melodies, many many of of them them sharing sharing their their text text with with another another melody, melody, prescribed prescribed for for groups groups of of feasts feasts like like Feasts Feasts of cycle of the BVM BVM and and other other Female Female Saints, Saints, of of Apostles, Apostles, of of Church Church Fathers Fathers and and so so on, on, or or sometimes sometimes prescribed for one one feast feast within within the prescribed for such aa group. group. These These Communions Communions form form aa group group that that leads leads on on naturally to the the third third cycle-the cycle—the Communions Communions of of the the Octoechus. Octoechus. such naturally to The of The musical musical style style of of the the Communions Communions is is not not unlike unlike that that of of other other Asmatikon Asmatikon chants, chants, nor nor is is it it very very different different from from the the style style of the Psaltikon. Psaltikon. But But alongside alongside the the absence absence of of breathings, accents and and iota iota subscripts subscripts common common to to all all thirteenth-century thirteenth-century Greek Greek the breathings, accents musical manuscripts manuscripts are are the the consonants consonants and and syllables syllables inserted inserted into into melismata melismata that that are are peculiar to the the Asmatikon. Asmatikon. Three Three of musical peculiar to of these these occur occur constantly constantly in in the the Communions: Communions: (i) (i) X χ (kh), (kh), associated associated with with both rising rising and and falling falling movement movement approaching approaching a cadence; cadence; (ii) (ii) y (ou), (ou), in in falling falling movement movement just before aa cadence, cadence, or or elsewhere elsewhere immediately immediately followed followed by aa repeated repeated note, and and on on all all occasions occasions immediately immediately followed followed by by aa return return to to the the previous previous vowel vowel sound; sound; and and (iii) (iii) yy γγ (ng), (ng), at at aa cadence-most cadence—most notably notably perhaps perhaps at at the the very very end end of of aa chant, chant, where where there there are are equivalents equivalents throughout throughout the the Asmatikon Asmatikon and and in in many many Psaltikon Psaltikon chants. chants. Besides Besides these these three three common common textual textual insertions insertions are are the the occurrences occurrences of of 'IE and and '1(1. that that appear appear towards towards the the end end of of most most Communions, Communions, and and the the more more elaborate elaborate nonsense nonsense syllables syllables ("teretisms") ("teretisms") that that appear appear in in aa few few very very elaborate elaborate Communions Communions like like No. 29, 29, and and which which seem seem to to anticipate anticipate the the teretisms teretisms of of the the kalophonic kalophonic style. style. And And to to all all these these distortions distortions must must be be added added the the frefrequent misspellings misspellings in in the the manuscripts, manuscripts, many many of of which which seem seem to to be deliberate, and and aa high high proportion of which which can can be be attributed attributed be deliberate, proportion of quent to to the the vowel-assonances vowel-assonances that that have have prevailed prevailed in in the the pronunciation pronunciation of of Greek Greek for for two two thousand thousand years. years. Confronted Confronted with with all all this, an an editor editor has has no no choice choice but but to to transcribe transcribe the the text text as as he he finds finds it, it, and and to to record record the the text text as as he he thinks thinks it it should should be in in his his Critical Critical Commentary. Commentary. The The same same applies applies to to the the punctuation punctuation marks, marks, which in in the manuscripts manuscripts clearly clearly have have aa musical purpose, somesometimes times appearing appearing in in the the middle middle of of aa word, word, or or the the middle middle of of aa melisma. melisma. Like Like all all other other Byzantine Byzantine chant chant and and the the oldest oldest elements elements of of chant chant in in the the West, West, the the Communions Communions of of the the Asmatikon Asmatikon are are heavily heavily centonised. centonised. Indeed, Indeed, it it is is this this centonisation centonisation that that provides provides the the final final means means of of checking checking transcriptions, transcriptions, so so making making transcription transcription from from the the Psaltikon Psaltikon and and Asmatikon Asmatikon possible. possible. Probably Probably without without it it we we should should have have to to agree agree with with Strunk Strunk that that the musical musical and/or and/or ll paleographical traditions of of these these two two repertoires repertoires are are so so corrupt corrupt that that certain certain transcription transcription of of them them is is not not really really feasible. feasible.11 paleographical traditions Centonisation means means the the construction construction of of melodies melodies from from shorter shorter melodic melodic formulas, formulas, many many of of which which in in the the Asmatikon Asmatikon are are Centonisation "intermodal" in in Thodberg's Thodberg's description-that description—that is, is, they they float float from from one one mode mode to to another another in in apparent apparent disregard disregard of of modal modal strucstruc"intermodal" ture. ture. In In the the Communions Communions two two modes modes seem seem to to stand stand somewhat somewhat apart apart from from this this procedure-Modes procedure—Modes II II and and II II Plagal. Plagal. In In the the modmodern ern Chrysanthine Chrysanthine system-the system—the so-called so-called New Method Method that that originated originated in in the the early early nineteenth nineteenth century-these century—these two two modes modes have have chromatic chromatic scales scales peculiar peculiar to themselves. But But in in the thirteenth-century Communions, Communions, to the extent extent that these two modes occaoccasionally sionally share share "intermodal" "intermodal" formulas formulas with the other other modes and and with with each each other, other, the the complete complete system system must still still be be thought thought basically basically diatonic diatonic as as it it was was in in the the West. But But its its diatonicism diatonicism was was not not institutionalised, institutionalised, as as that of of Latin Latin chant chant was was by by its its system system of of notation notation and and much much more more developed developed modal modal theory. theory. Christian Christian Thodberg Thodberg has examined examined in in some some detail detail the the resulting situation situation 12 for for the the Alleluias Alleluias in in the the Psaltikon, Psaltikon, and and the the Communions Communions share share many many features features with with the the melodies he he has has described. described.12 There There are are two two important important differences. differences. The The first first is is that, that, unlike unlike the the Alleluias, Alleluias, Communions Communions are are found found in in all all eight eight modes modes of of the the Byzantine Byzantine system. system. There There are, are, it it is is true, true, relatively relatively few few melodies melodies in in Modes Modes III III and and III III Plagal Plagal (usually (usually called called the the Barys Barys or or "Low" "Low" mode )-as indeed mode)—as indeed there there are are in in many many repertoires, repertoires, East East and and West; West; and and occasionally occasionally sources sources attribute attribute these these melodies melodies to to Modes Modes IV or IV Plagal. There is also some confusion confusion surrounding the lva :f(J. va formula which introduces several fourth-mode melodies that begin a fourth above the mode-final. Originally associated with Mode IV, this formula, it seems, came to be given in the 13th 13th century century aa position intermediate intermediate between Modes Modes IV IV and and IV IV Plagal. Plagal. In this connection Thodberg describes a scale of conjunct conjunct tetrachords which he claims is particularly associated with kontakion melodies, and also with those of the Alleluias-both Alleluias—both repertoires of the Psaltikon. Thodberg's scale reappears in later contexts: in the nineteenth-century Chrysanthine system as part of Mode III, where it is called "enharmonic"; and in the

xii XlI

INTRODUCTION

Russian Russian and and Ukrainian Ukrainian systems systems of of musical musical notation notation of of around around 1700.13 1700.13 So So Thodberg Thodberg may may well well be be right right in in thinking thinking that that it it is is already already present present in in melodies melodies of of the the thirteenth-century thirteenth-century Byzantine Byzantine Psaltikon. Psaltikon. A A few few Communions Communions of of the the Asmatikon Asmatikon also also seem seem to to have this this scale-all scale—all of of them them in in Mode Mode IV IV (most (most notably notably perhaps perhaps No. No. 24 24 below). below). But But it it would would be be wrong wrong to to think think that that this this scale scale have is of of great great significance significance for for the the Communions. Communions. is The second second difference difference is is that that it it would would be be equally equally wrong wrong to to think think that that reference reference to to internal internal martyriae martyriae (or (or medial medial signatures) signatures) The is of of much much use use in in solving solving the the Asmatikon's Asmatikon's transcription transcription or or "tonal" "tonal" problems. problems. For For unlike unlike those those in in the the Psaltikon, Psaltikon, internal internal is martyriae occur occur irregularly irregularly in in the the Asmatikon; Asmatikon; and and because because they they are are present present in in some some manuscripts manuscripts and and absent absent from from others, others, they they martyriae cannot be be seen seen as as essential essential adjuncts adjuncts to to aa melody--only melody—only as as reminders reminders of of aa scale scale structure structure established established by by melodic melodic formulasformulas— cannot reminders, moreover, moreover, surrounded surrounded by by aa host host of of additional additional paleographic paleographic problems. problems.14 reminders, 14 For For this this reason, reason, all all the the known known sources sources have have been been used used in in making making these these transcriptions transcriptions and and where where possible possible parallel parallel transcriptranscriptions have have been been made made from from manuscripts manuscripts from from Italy Italy and and Athos. Athos. Since Since every every musical musical manuscript manuscript reflects reflects the the musical musical practice practice of of tions aa community, community, none none has has been been ignored. ignored. And And all all except except L, L, which which is is the the source source for for the the Athos Athos versions, versions, have have been been collated collated to to the the Italian versions. versions. The The results results tend tend largely largely to to confirm confirm Thodberg's Thodberg's conclusions conclusions about about the the Alleluias Alleluias of of the the Psaltikon. Psaltikon. Rather Rather less less Italian than half half the the Communions Communions conform conform to to notions notions about about chant chant established established from from Western Western theory theory and and notation, notation, and and so so present present no no than transcription problems. problems. Those Those which which do do present present problems problems have have passages passages that that appear appear one one step step above above or or below below what what might might be be transcription expected; but but these these seem seem to to conflict conflict more more with with expectations expectations imposed imposed upon upon them them by by our our staff staff notation notation than than with with anything anything expected; known about about medieval medieval modality. modality. known Byzantine Byzantine melodies, melodies, it it should should be be remembered, remembered, tend tend to to have have two two mode-finals mode-finals which which lie lie aa fifth fifth or or fourth fourth apart;15 apart;15 so, so, for for example, when when aa melody melody in in Mode Mode II is is transcribed, transcribed, it it will will tum turn out out to to have have finals finals on on D D and and A. If If D D lies lies below below A A these these finals finals example, will be be aa fifth fifth apart, apart, but but if if A A lies lies below below D D they they will will be be aa fourth fourth apart. apart. In In both both cases cases accidentals accidentals may may be be avoided avoided entirely entirely by by will transcribing the the melody melody in in an an appropriate appropriate register-perhaps register—perhaps using using the the bass bass clef clef in in the the second second case. case. Such Such aa procedure procedure for for transcribing example, could could have have been been followed followed in in the the case case of of No. No. 54 54 below, below, had had the the avoidance avoidance of of accidentals accidentals been been aa prime prime consideration consideration example, in these these transcriptions. transcriptions. But But aa clearer clearer and and perhaps perhaps more more accurate accurate procedure procedure might might be be to to assume assume that that melodies melodies will will have have the the in same register register whether whether their their finals finals lie lie aa fifth fifth or or aa fourth fourth apart. apart. If If they they are are aa fifth fifth apart apart and and aa pitch pitch is is chosen chosen analogous analogous to to conconsame temporary Western Western chant, chant, it it is is likely likely that that no no accidentals accidentals will will be be needed needed (as (as they they are are not not in in Nos. Nos. 41, 41, 43 43 and and 43a-all 43a—all melodies melodies temporary in Mode Mode I). I). But But many many melodies melodies in in Modes Modes II and and II Plagal Plagal have have finals finals aa fourth fourth apart--or apart—or aa fifth fifth apart apart at at one one point point and and aa fourth fourth in the lower lower apart at at another-or another—or aa fifth fifth apart apart in in one one version version and and aa fourth fourth apart apart in in the the other. other. In In such such cases cases an an F F sharp sharp is is needed needed if if the apart final is is raised raised while while the the upper upper remains remains unchanged; unchanged; or or alternatively alternatively aa B B flat flat is is needed needed if if the the upper upper final final is is lowered lowered whilst whilst the the final lower one one remains remains the the same. same. And And all all the the melodies melodies in in Modes Modes II and and II Plagal Plagal (Nos. (Nos. 1, 1, la, la, 4, 4, 4a, 4a, 11, 11, 11a, 11a, 12, 12, 13, 13, 14, 14, 14a, 14a, 30, 30, 36, lower 36, 41, 42, 43, 43a, 43a, 53, 53, 54, 54, 55 55 and and 55a) 55a) show show that that the the upper upper final is usually usually more more stable stable whilst whilst the the lower lower tends tends to to end end up up aa fourth fourth 41,42,43, final is below it. In a very few cases (for example Nos. 18 and 18a) and none in Modes I or I Plagal, both mode-finals move a tone below it. In a very few cases (for example Nos. 18 and 18a) and none in Modes I or I Plagal, both mode-finals move a tone in in the same same direction, direction, so so that that the the gap gap between between them them narrows narrows to to aa fourth fourth and and then then widens widens again again to to aa fifth. fifth. Transcription Transcription in in these these the cases entails entails two two accidentals. accidentals. cases Modes II and and II Plagal Plagal perhaps perhaps offer offer the the clearest clearest though though aa rather rather incomplete incomplete account account of of the the need need for for accidentals. accidentals. In In Modes Modes II Modes II and II II Plagal Plagal it it is is largely largely absent, absent, although although in in the the latter latter it it appears appears in in the the only only instance instance in in the the Communions Communions of of an an autorne/on automelon and and and prosomoeon—and so can can be be seen seen in in four four versions versions of of the the same same melody-Nos. melody—Nos. 34, 34, 34a, 34a, 35 35 and and 35a. 35a. Modes Modes III III and and III III Plagal Plagal prosornoeon-and so are perhaps perhaps best best considered considered together together with with Modes Modes IV IV and and IV IV Plagal, Plagal, from from which which it it seems seems they they scarcely scarcely differ, differ, and and in in which which are there is is another another complication. complication. there This This is is Thodberg's Thodberg's scale scale of of conjunct conjunct tetrachords. tetrachords. This This only only seems seems to to emerge emerge occasionally, occasionally, and and always always in in Mode Mode IV, IV, when when more than than two two mode-finals mode-finals appear, appear, all all of of them them aa fourth fourth apart. apart. The The best best example example is is No. No. 25, 25, but but it it should should be be noted noted that that even even in more in No. 25a-the 25a—the Athos Athos Version Version of of the the same same melody-the melody—the scale scale does does not not emerge emerge so so clearly. clearly. A A Communion Communion in in which which something something No. like it it appears appears in in all all traditions traditions is is the the Communion Communion for for Holy Holy Saturday Saturday (Nos. (Nos. 10 10 and and lOa), 10a), where where the the melody melody seems seems to to rise rise in like in transcription to to aa high high F F natural natural at at the the end end of of the the first first line, line, having having earlier earlier established established an an F F sharp sharp in in the the lower lower part part of of its its range. range. transcription But in in the the alleluia alleluia of of this this Communion Communion aa normal normal scale scale seems seems to to appear appear downwards downwards from from the the top top F F natural, natural, establishing establishing B B flat But flat and aa lower lower F F natural natural as as the the mode-finals. mode-finals. and All these these curiosities curiosities seem seem to to indicate indicate that that the the pitch pitch of of the the Byzantine Byzantine Communions Communions is is inclined inclined to to drift, drift, which which is is hardly hardly sursurAll prising in in view view of of the the mechanics mechanics of of Byzantine Byzantine thirteenth-century thirteenth-century musical musical notation notation and and the the elaborate elaborate character character of of the the melodies. melodies. prising In other other ways ways these these melodies melodies do do not not behave behave very very differently differently from from simpler simpler kinds kinds of of medieval medieval chant, chant, both both Greek Greek and and Latin. Latin. In Transcription into into modem modern staff staff notation, notation, however, however, with with its its systems systems of of fixed pitches and and accidentals accidentals (the (the latter latter having having origorigTranscription fixed pitches inated for for the the most most part part many many hundreds hundreds of of years years after after the the time time when when parallels parallels to to the the melodies melodies appeared appeared in in the the West), West), tends tends to to inated emphasise differences differences between between eastern eastern and and western western traditions, traditions, many many of of which which are are more more apparent apparent than than real. real. Because Because modem modern emphasise staff notation notation is is flexible, flexible, it it is is possible possible to to suppress suppress some some of of these these differences differences by by using using stratagems stratagems discussed discussed above, above, in in order order to to staff make the the Byzantine Byzantine Communions Communions appear appear more more like like Latin Latin Chant, Chant, and and so so to to compensate compensate somewhat somewhat for for these these appearances. appearances. This, This, make feel, would would not not be be entirely entirely successful successful with with all all melodies melodies and and very very misleading misleading with with many, many, particularly particularly since since some some Latin Latin chants chants II feel,

INTRODUCTION

Xlll

may themselves have undergone an ordeal of adaptation to staff notation when it emerged in the middle ages (a notation which, it should be remembered, was much less flexible then than it is now).16 On the other hand it would be equally misleading to present Byzantine Chants in keys like G flat major or B flat minor. Therefore, in accepting responsibility for choosing the pitch and accidentals appropriate to these melodies, an editor must also choose appropriate limits within which to make his transcriptions. The limits I have chosen, and which are suggested by the manuscripts themselves, are two sharps in one direction, and two flats in the other. A very few melodies (e.g. Nos. 10, 10a and 24a) have both sharps and flats in the course of their length in my transcription. But most have either one or the other, and many have neither.

Pronunciation of the Greek Alphabet Greek letters have in effect remained unchanged since classical times, so that a Greek newspaper can be read with a knowledge of the classical alphabet. But the pronunciation of Greek letters has changed; and medieval misspellings suggest that the main pronunciation-changes occurred between classical and medieval times. The transcriptions in this volume should therefore be sung in modem pronunciation (see column 3 below). But many Greek words found their way into the English language through their Latin equivalents; and these apparently were still largely based on classical pronunciation. So in the Introduction and editorial material Greek words have been transliterated in this way (see column 2 below). Thus, in the three columns that follow, the first shows the Greek alphabet with a few additions; the second shows the way these letters are transliterated into Latin; and the third shows approximately how they are nowadays pronounced. Greek letter

y

E

1; 'Y)

8 K

A !-t v

;

o rt

p

a, ~

u

Latin equivalent

{

a b g g d e z e (or as Latinized ending, a) th i c,k I m n x o (or as Latinized ending, u) p r s t y u

ph ch ps 0

Modern pronunciation

as in ask as in van; but after !-t, b as in bar before a consonant or vowel sounds a, 0, u y before vowel sounds e, i db (voiced th, as in there, than); but after v, d as in dot as in egg e (voiced s, as in zoo) z (ee as in feet) th (unvoiced as in thing) (ee as in feet) as in kerb k as in lot I m as in man as in not n as in ox x as in ox 0 p as in pit; but after !-t, b as in bar r as in run (unvoiced, except before voiced s consonant) as in tin; but after v, d as in dot t (ee as in feet) as vowel by itself v, f after E, a, depending on whether the following consonant is voiced or unvoiced ph (or fas in/at) kh (German ch as in ach, ich) ps as in pips as in ox 0

a v gh

INTRODUCTION

XIV xiv

Rough Rough breathing over over initial vowel or p (C) Smooth breathing

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at

yy, yK Et OL

01),

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h, rh rh h, ae ae ng ng ei, i oe, ee (or (or as as Latinized Latinized ending, ending, i) i) oe, u U

silent silent silent silent as in egg egg ee ng as in thing thing ng (ee as in feet) i feet) (ee as in feet) i feet) boot oo as in boot 00

I. Nos.1-18a Nos. l-18a Chants for the Fixed and Movable Feasts of the Year

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EDITORIAL PROCEDURE

1. Musical Manuscripts Library of Grottaferrata Library of Grottaferrata

G11 r.y.1. . .I. ff.1-42. ff. 1—42. Parchment. Parchment. IS 15lines linesto tothe thepage, page,elegantly elegantly written written in inaaclear, clear, flowing flowinghand. hand. ff.S-42: ff.5-42: an anAsmatikon, Asmatikon, lacking lacking G Mode III III and and the the beginning beginning of of Mode Mode IV IV in in the the Octoechus, Octoechus, and and the the Communions Communions of of the the Year Year from from Maundy Maundy Thursday Thursday to to Mode the end end of of August. August. ff.5-14v ff.5-14v the the Octoechus Octoechus with with the the Lenten Lenten Communions; Communions; ff.14v-29r ff.l4v-29r the the Hypakoae Hypakoae of of the the Year; Year; the ff.29v-35v the the Dochae Dochae and and single single Mass Mass chants; chants; ff.3Sv-42v ff.35v-42v the the Communions Communions of of the the Year Year (22). (22). The The main main source source for for the the ff.29v-3Sv main version version of of most most Communions. Communions. main G G55

G G66

r.y.v. ff.l-212. V. ff. 1—212. Parchment. Parchment. 13 13 lines lines to to the the page. page. A A Palimpsest Palimpsest of of poor poor quality quality containing containing aa complete complete PsaltikonPsaltikonAsmatikon. ff. 1—117v: aa complete complete cycle cycle of of Psalm-incipits, Psalm-incipits, Hypakoae Hypakoae and and Kontakia Kontakia for for the the Year; Year; ff.1l8r-129v ff.118r-129v miscellamiscellaff.l-1l7v: Asmatikon. neous additions additions to to this this cycle; cycle; ff.133r-lS0r ffl33r-150r an an Octoechus, Octoechus, with with one one Psaltic Psaltic Hypakoe, Hypakoe, one one Alleluia Alleluia and and one one (Sunday) (Sunday) neous Communion for for each each mode; mode; ff.lS0r-lS9r ff.l50r-159r the the Prokeimena Prokeimena for for some some feasts; feasts; ff.1S9r-186v ff.l59r-186v the the Alleluias Alleluias for for the the Year Communion Year arranged arranged according according to to mode; mode; ff.186v-197r ff.l86v-197r the the Communions Communions for for the the Year; Year; ff.197v-212r ff.l97v-212r the the Office Office of of the the Genuflexion; Genuflexion; ff.130-132 ff 130-132 have have stichera stichera in in another another hand. hand. There There are are two two colophons. colophons. That That on on f.1l7v f.117v gives gives the the date date 122S, 1225, while while that that on on f.129v f.l29v gives gives the the name name of of the the scribe, scribe, Sophronius, Sophronius, and and the the monastery, monastery, S. S. Salvatore Salvatore at at Messina. Messina.

r. y. VI. VI. ff.I-90. ff.1-90. Bombycine. Bombycine. 14 14 lines lines to to the the page. page. Fragments Fragments of of two two or or three three mss. mss. bound bound together. together. ff.I-18 ff 1-18 and and 29-38 29-38 make make up up part part of of an an Asmatikon: Asmatikon: Modes Modes II-II II—II Plagal Plagal of of an an Octoechus, Octoechus, the the Hypakoae Hypakoae of of the the Year, Year, and, and, in in the the second second secsec-

tion, the the Trisagion Trisagion with with its its Baptismal Baptismal substitute substitute and and 19 19 Communions Communions of of the the Year. Year. tion, G G77

r.y.VII. ff.1-71r: VII. ff.1-163. ff.1-163. Bombycine. Bombycine. 10 10 lines lines to to the the page. page. ff. 1—71r: aa complete complete Asmatikon Asmatikon arranged arranged similarly similarly to to G G11.•

E E

E.n.XIII. ff.1-168. E.α.XIII. ff. 1-168. Parchment. Parchment. 77 or or 88 lines lines to to the the page. page. An An untidy untidy palimpsest, palimpsest, with with the the upper upper (musical) (musical) writing writing in in aa large, large, sprawling sprawling hand. hand. ff.4-S2r ff.4-52r an an Octoechus, Octoechus, with with Psaltic Psaltic and and Asmatic Asmatic Hypakoae Hypakoae and and one one (Sunday) (Sunday) Communion Communion for addifor each each mode; mode; ff.S2v-148r ff.52v-148r the the Asmatic Asmatic Hypakoae Hypakoae and and the the Communions Communions for for the the Year; Year; ff.148r-168r ffl48r-168r miscellaneous miscellaneous addi-

tional chants, chants, inc!. incl. some some Communions. Communions. Like Like G G55 this this ms. ms. has has been been greatly greatly damaged damaged by by 19th-cent. 19th-cent. attempts attempts to to read read the the tional lower hand hand on on some some pages pages by by means means of of applications applications of of an an acid acid solution. solution. lower

University University Library, Library, Messina Messina

M M

Messina gr.l29. gr.129. ff.I-184. ff.1-184. Parchment. Parchment. 16 16 lines lines to to the the page. page. An An almost almost complete complete Psaltikon-Asmatikon, Psaltikon-Asmatikon, with with more more Messina Communions than than any any other other surviving surviving ms. ms. ff.l—171r Psalm-incipits, Hypakoae, Hypakoae, Kontakia, Kontakia, Alleluias, Alleluias, Communions Communions and and Communions ff.1-17Ir Psalm-incipits, Melismatic v-184v an Melismatic Troparia Troparia for for the the Year; Year; ff.171 ff.l71v-184v an incomplete incomplete Octoechus Octoechus (in (in effect effect Modes Modes I-IV I-IV only) only) with with Psalm-incipits, Psalm-incipits, Psaltic Psaltic and and Asmatic Asmatic Hypakoae, Hypakoae, Alleluias, Alleluias, Dochae Dochae and and two two Communions Communions for for each each mode. mode. 117 117

118 118

THE COMMUNION COMMUNION CHANTS CHANTS OF OF THE THE THIRTEENTH-CENTURY THIRTEENTH-CENTURY BYZANTINE BYZANTINE ASMATIKON ASMATIKON THE

MO 120. ff.l-167. M° Messina gr. gr.120. ff.1-167. Bombycine, with a few parchment pages at the end. 14 lines to the page. A complete Psaltikon, arranged arranged similarly similarly to to M, M, but but largely largely without without the the Asmatic Asmatic chants. chants. There There are are 33 Communions Communions in in the the Yearly Yearly cycle; cycle; Psaltikon, none in the Octoechus. none in the Octoechus. VaticanLibrary, Library,Rome Rome Vatican B

Borgia gr. 19. ff.2-69. gr.19. ff.2-69. Parchment. 15 15 lines to the page. Another untidy Palimpsest, ·apparently apparently the fragment of a 5S The correct correct foliation: foliation: 19v-24v, 19v-24v, 2r-18v, 2r-18v, 25r-69v. 25r-69v. ff.19v-24v, ff.l9v-24v, 2r-10r 2r-10r the the Communions Communions for for Psaltikon-Asmatikon like like G G .• The Psaltikon-Asmatikon the Year; Year; ff.12r-18v, ff.l2r-18v, 25r-69v 25r-69v the the Alleluias Alleluias for for the the Year. Year. This This ms. ms. has has not not been been used used as as aa source source for for transcriptions, transcriptions, since since the its musical musical notation notation is is hopelessly hopelessly inaccurate; inaccurate; though though it it is is of of liturgical liturgical interest. interest. its

V V

Vatican gr.1606. gr.1606. ff. 1-181. Bombycine. Bombycine. 15 15 lines lines to to the the page. page. A A Psaltikon-Asmatikon Psaltikon-Asmatikon like like M, M, but but not not as as rich. rich. ff.l-152v ff.l-152v the the Vatican tIl-18I. Hypakoae, Kontakia, Alleluias, Communions and Melismatic Troparia of of the Year; tI152v-171v ff.l52v-171v a complete Octoechus very like like that that of of M; M; ff.172r-181 ff.l72r-181rr the the Office Office of of the the Genuflexion. Genuflexion. The The main main source source for for most most Communions Communions not not preserved preserved in in G G11.• very

Library Library of of the the Great Great Laura, Laura, Mount Athos Athos

L

r.lII. .III. ff.l-77. ff.1-77. Parchment. 13 13 lines to the page. ff.1-58v ff.l-58v a complete Asmatikon of much the same kind as G11;; but containing only only the the Lenten Lenten Communions Communions in in the the Octoechus; Octoechus; and and with with the the Asmatic Asmatic chants chants for for the the Dedication Dedication of of aa church church taining (ff.41r-43v) which which G G11 does does not not have; have; and and (after (after f.58v) f.58v) nearly nearly 20 20 pages pages of of miscellaneous miscellaneous additional additional chants. chants. Much Much the the (ff.41r-43v) more useful useful of of the the two two Asmatika Asmatika from Mainland Greece, Greece, though though probably probably dating dating from from after after 1300. 1300. more from Mainland

Library of of Kastoria Kastoria Cathedral, Cathedral, Macedonia Macedonia K

Kastoria 8. 8. ff.1-83. ff. 1—83. Parchment. 6-8 6-8 lines to the page. A complete Asmatikon, similar in content and arrangement to L; 11 with 33 Communions Communions for for each each mode mode in in the the Octoechus, Octoechus, but but this this is is incomplete incomplete (with (with in in effect effect only only the the Plagal Plagal like G G with like modes). Remarkable Remarkable for for its its musical musical conservatism conservatism and and for for its its use use of of additional additional "cheironomic" "cheironomic" signs, signs, unknown unknown in in any any modes). other Byzantine Byzantine ms. ms. of of comparable comparable age. age. other

Two other musical mss. should be mentioned: Florence, Asburnhamensis 64, and Grottaferrata Grottaferrata E.IH. E.β.1. Both are listed by Thodberg {op.cit. pp. pp. 25, 25, 26). 26). The The former former has has 33 Communion Communion chants chants on on ff.252r and 257v, 257v, all all in in aa 14th-cent. 14th-cent. hand, hand, and and none none belongs belongs in (op.cit. ff.252r and in this series. The latter has the Communion for the Dormition (No. 21, p. 46) on f.136v. 17 fl36v. Neither ms. has been consulted.17

2. 2. Liturgical Liturgical Sources Sources

P

Patmos 266. Probably Palestinian, c.880. Although there are many gaps in this ms., it is substantially complete. Its close resemblance to the following shows that it is a copy of a typikon of of St Sophia.

H H

Jerusalem, Holy Holy Cross Cross No. No. 40. 40. Typikon Typikon of of the the Great Great Church Church (St (St Sophia), Sophia), Constantinople; Constantinople; c.950--70. c.950-70. Jerusalem,

S S

Sinai 150. 150. A A 10th 10th or or lith-cent. llth-cent. Kanonarion, Kanonarion, probably probably from from Sinai Sinai itself. itself. Sinai

119 119

EDITORIAL EDITORIAL PROCEDURE PROCEDURE

C

Athens Univ. Univ. Library 788. 788. Typikon of the Monastery of the Euergetis, Constantinople. Delahaye thinks that this ms. ms. must have been compiled shortly after after the death of of the founder of of the monastery in 1054.

Fa Paris, Paris, Bibliotheque Bibliothèque Nationale Nationale gr.l590. gr. 1590. Dated Dated 1063. 1063. A A typikon typikon from from Cyprus, Cyprus, with with only only the the months months September September to to Fa February. February. D D

Paris, Bibliotheque Bibliothèque Nationale Nationale gr.1587. gr. 1587. 12th 12th Century. Century. Probably Probably aa Palestinian Palestinian typikon, typikon, with with only only the the period period between between Paris, March and and August. August. March

JJ

Jerusalem, Holy Holy Cross Cross No. No. 43. 43. Dated Dated 1122. 1122. The The typikon typikon of of the the Anastasis Anastasis Church, Church, Jerusalem, Jerusalem, containing containing only only the the indicaindicaJerusalem, tions of of Communions between Palm Sunday and Easter Day.

U

Moscow, State Historical Museum 1099. Dated 1207. The so-called Uspensky Kondakar with paleoslavonic musical notation. notation.

Bl

Leningrad, Public Library Q.I.32. Q.1.32. 12th Century. The so-called Blagoveseensky Blagovescensky Kondakar with paleoslavonic musical notation. notation.

Sy Sy

Moscow, Historical Historical Museum Museum 777. 777. 13th 13th Century. Century. The The so-called so-called Synodalny Synodalny Kondakar Kondakar with with paleoslavonic paleoslavonic musical musical Moscow, 18s notation. notation:

3. Method Method 3. The transcriptions in this volume are all in accordance with the methods of of the Monumenta Musicae Byzantinae, as set out in HJ.W. Vol.1 fasc.I., fasc.l., Copenhagen 1935) H.J.W. Tillyard's Handbook Handbook o/the of the Middle Byzantine Notation (Mon. Mus. Byz. Subsidia VoU

and in in EJ. E.J. Wellesz's Wellesz's Byzantine Music and Hymnography Hymnography (2nd. (2nd. ed. ed. Oxford Oxford 1961, 1961, pp. pp. 284-310), 284-310), but but with with these these modifications: modifications: and (i) The The original original notation notation is is reproduced reproduced above above the the transcription; transcription; so so it it is is unnecessary unnecessary for for the the transcription transcription to to attempt attempt to to record record (i) obscure nuances nuances in in the the original original notation, notation, in in particular particular the the so-called so-called dynamic dynamic signs. signs. obscure (ii) As As in in the the transcriptions transcriptions of of the the M.M.B., M.M.B., note-values note-values represent represent durational durational signs, signs, but but with with the the following following changes, changes, additions additions (ii) and clarifications: clarifications: a) b)

r--..

or -"..

are always transcribed as

r.-.

r.-.

J

(never as P

r

).).

,,'" (the combination of a diple and a klasma) always seems to have a differential, and not an additive, meaning;

so is is transcribed transcribed as as so

n.

(never as as (never

J. ).

c) The The hyporrhoe hyporrhoe (S) (S) is is aa downward downward slide slide of of aa third, third, and and so so is is transcribed transcribed with with grace grace notes notes (( " ). ). Within Within the the seisma, seisma, c) where it it loses loses its its intervallic intervallic value, value, the the hyporrhoe hyporrhoe is is assumed assumed to to mean mean the the same same as as elsewhere elsewhere (following (following Wellesz Wellesz rather rather where than Tillyard). Tillyard). than d) The The gorgon ( ,.. )) is is assumed assumed usually usually to to apply apply to to aa single single note, note, which which it it shortens shortens from from d) to apply apply to to aa note-group, note-group, shortening shortening all all its its notes to notes to to sequent lengthening lengthening sign sign ( ( ' , or or v ). sequent ).

1

J'

to to

Rarely, itit seems seems it . Rarely,

assumed that that it it is is contradicted contradicted (not (not modified) modified) by by aa sub.ItIt isis assumed sub-

120 120

THE COMMUNION COMMUNION CHANTS CHANTS OF OF THE THE THIRTEENTH-CENTURY THIRTEENTH-CENTURY BYZANTINE BYZANTINE ASMATIKON ASMATIKON THE

(iii) Some Some signs signs in in the the original original notation notation (notably:' (notably: (iii)

"J

~ ~ ~

represent groups groups of of notes; notes; and and ~)) represent

note-groups are also formed by the addition to a note of of the dyo dyo kentemata kentemata (( •• )) or hyporrhoe hyporrhoe (S), or by the use of the

I).

petaste over psephiston psephiston (c..:> pelaston (( ~ )) in place of of the petaste ( ). Note-groups in transcription are always represented by

slurs, and and where where possible the tails tails of of notes notes are are joined. This does does not not mean mean that that notes notes outside outside note-groups note-groups are are detached. detached. slurs, possible the joined. This (iv) All All key-signatures key-signatures and and accidentals accidentals are are editorial, editorial, following following decisions decisions about about pitch pitch and and scale-structure scale-structure (See (See Introduction). Introduction). (iv) A few few seem seem debatable, debatable, and and these these accidentals accidentals are are placed placed over over or or under under the the note note rather rather than than on on the the staff. staff. A (v) In In two two transcriptions, transcriptions, each each from from aa single single source, source, (Nos (Nos 19a 19a and and 37) 37) square square brackets brackets have have been been used used to to indicate indicate editorial editorial (v) completions. (vi) There is little doubt that punctuation, in the form of of a semi-colon or full-stop (. ( • or: or ), had a musical rather than grammatical significance. But the amount of of it varies greatly from ms. to ms. The punctuation adopted here comes therefore from one of V, or from the ms. concerned of the mss. consulted-mainly consulted—mainly from G11,, or if this cannot be used from V,

in the the many many cases cases of of chants chants transcribed transcribed from from aa single single source. source. in 4. Critical Critical Commentary Commentary 4. The The numbering numbering of of the the chants chants

The numbering and arrangement of the chants, including the decision to transcribe a separate Athos Version of many chants (usually labelled a) is entirely editorial, though of of course it is based on information information from, and assessments of, the sources for the Communions. The The Texts Texts

The following following critical critical commentary commentary gives gives the the text text of of each each chant, chant, its its translation translation into into English English and and some some notes notes on on its its source source and and The age. Where Where there there are are several several settings settings of of the the same same text, text, some some attempt attempt will will be be made made to to indicate indicate which which are are the the earliest earliest and and which which age. the latest. latest. Reference Reference to to sources sources will will be be by by means means of of the the sigla sigla listed listed above above in in Sections Sections 11 and and 2. 2. Most Most texts texts come come ultimately ultimately the 19 19 from the the Psalter. Psalter. from Sources Sources There follows follows aa list list of of the the musical musical sources sources consulted, consulted, together together with with the the folio folio numbers. numbers. Square Square brackets brackets indicate indicate that that aa source source There has not not been been used. used. has Notes Notes In the following notes showing different different source-readings, the number before the full stop indicates the line in the transcrip-

tion; the the number number or or numbers numbers after after it it indicate indicate the the note(s) note(s) or or note-group(s) note-group(s) within within that that line. line. If If the the number(s) number(s) is is preceded preceded by by an tion; an arrow pointing pointing to to the the left, left, the the note(s) note(s) or or note-group(s) note-group(s) referred referred to to should should be be counted counted backwards, backwards, from from the the right hand end end of arrow right hand of the line. line. the

EDITORIAL EDITORIAL PROCEDURE PROCEDURE

121 121

Abbreviations Abbreviations

The following following abbreviations abbreviations have have been been used used in in the the notes: notes: illeg. illeg. (illegible); (illegible); ins. ins. (inserted); (inserted); m. m. (martyria); (martyria); om. om. (omitted); (omitted); The var. (variant). (variant). var. Illegibility Illegibility

This This is is only only recorded recorded where where the the ms. ms. concerned concerned might might have have been been consulted. consulted. If If the the reading reading is is secure secure there there is is no no note. note. Insertions Insertions

These These occur occur immediately immediately after after the the note note or or note-group note-group referred referred to. to. Martyriae Martyriae

All chants chants are are preceded preceded by by an an opening opening martyria, martyria, so so that that the the first first sign sign shows shows the the interval interval from the end end of of the the martyria martyria to to the the All from the first note note of of the the chant. chant. But But aa martyria martyria may may also also be be inserted inserted internally internally into into aa chant. chant. In In this this case case the the following following note note is is usually usually first indicated by by two two signs, signs, one one above above the the other. other. The The higher higher sign sign shows shows the the interval interval from from the the end end of of the the martyria martyria to to the the following following .indicated note; the the lower lower one one shows shows the the interval interval from the previous previous note note of of the the chant chant (before (before the the martyria) martyria) to to the the same same note. note. In In cases cases note; from the where the the two two intervals intervals are are the the same same only only one one sign sign is is use:t~ ~ 6 . +--. 2 'G6, G~ "

7. +--4-1: K om. No. No. 4a (p. (p. 9)

(Athos version) L 14v-15r. 14v-15r.

1\T 55 (p JVo. No. (p.. 10) 10)

~ext: Text: .\IJ't"PWO"LV or;TCEO"'t"ELI\E KIJPLO~ T~ I\tX~ tXIJ't"OIJ. OU\I\"I]I\O'JLtX. 7"

)-'.,.'

~.,.

~

)

~

)_-..,.

.,.

,

Translation: Translation: The Lord sent redemption to his people. Alleluia. Alleluia.

Mode I Mode

126 126

THE COMMUNION COMMUNION CHANTS CHANTS OF OF THE THE THIRTEENTH-CENTURY THIRTEENTH-CENTURY BYZANTINE BYZANTINE ASMATIKON ASMATIKON THE

From From Psalm Psalm 110 110 v. v. 8a. 8a. For For Christmas Christmas Day. Day. Probably Probably originated originated before before 850 850 since since it it is is already already established established 25 January.25 in P for 25th December December and 1st January. Musical Sources: Sources: G G11 41r-v; 41r-v; G G5S 189v-190r; 189v-190r; G G66 38r; 38r; G G77 59v-60r; 59v-60r; E E 94r-95v; 94r-95v; K K 28r-29r; 28r-29r; M M 46r; 46r; V V 44v-45r: Musical 44v-45r: [B Mode [B 23r-v]. 23r-v). Mode III III Plagal Plagal

1.

.. "c;.

1-3: E, K

IX

-

-$'f; V m. om.

IX

5:M ...

1.

V

2.

~7:

3.

4.

2-3: K It 2: G1,K, V ,~ 9:G 1,G5,M,V ~6:M ...~

4.

~:

5.

3-4: K as L (No. 5a 5.3-4)

4. 4.

5. 5.

G7

:a~

_. ,-

(see L)

-

8: K ~6-2:

(see L)

K as L (No. 5a

5.~5-2)

1:G5 ~ ;K~ ~6: V ins. ;-1; /

6. 6.

6. ~4-1: E (?) ~ ;:::.: ; K om.

No. 5a (p. 11) (Athos version) L L 15r. 3. 6: L c:;

'--

4. lVO. No. H

66 (p (p.• 12) 12)

3: L (?)

'f "

or. ,k I r I ... ... r I -'_i i. i. I lext: 'E7te:'I'lXv'I) 'I) ZlXpLC; "C'O') 0e:01) 'I) (1W"C"I)PLOC;. W'\I\'I)I\OULIX. Text:

Translation: Translation: The The saving saving grace grace of of God God has has appeared, appeared. Alleluia. Alleluia.

From the the Epistle Epistle to to Titus Titus Ch. Ch. II II v. v. l1a. 11a. For For the the Epiphany. Epiphany. Probably Probably originated originated before before 850, 850, since since it it is is in in the the From earliest typika for 6th January.26 January.26 Musical Musical Sources: Sources: G G11 41v; 41v; G G55 190r; 190r; G G66 38r-v; 38r-v; G G77 60r-v; 60r-v; E E 103r-104v; 103r-104v; K K 29r-30r; 29r-30r; M M 58r; 58r; V V 54r-v; 54r-v; [B23v-24r]. [B23v-24r]. ~..:J

lUI

-

-;- ;) ;:::..

1.1-11:G5 y S1. ~1: G7, K ¥ (see L) 2. 2.' V ~. ...~

3.

~5:

K -.

4.

2: Mom.

4.

6: G 1, K ;;

". .;

;G7illeg.;Ey

~

~ ;;

~

;Ko

,,:a

,,;:;

VIX

VIX;

Mode III Mode III

:..., ~" - - :>:t -

M, V Y

s - ""

"

CRITICAL COMMENTARY COMMENTARY CRITICAL

4.

7-11: K (?) as L (No. 6a 4.7-12)

5.

1-3: K "'I

5.

6:E

")

~

~

,,,

5. ~8-1: G 7 (var.)

~1:K

5. 6.

8: G 7

H:V

6. 6.

No. 6a 6a (p. (p. 13) 13) No.

~4-1:

_. ':

;M

,,,

.... "

K om.

(Athos version) version) L L 15r-v. 15r-v. (Athos 4.

No. (p. 14) 14) No.77 (p.

127

7: L (?) /'

Text: Text:

, " )EK cr'wflcx't"o:; 'J·~7tLW'l

CI - 9 ' KCXL v·~N:I..~O'l't"W'I

, 1 ,

>_"\ -

-

,

Kcx't"'~F't"LcrW CXL'IO'l, KIJPLE 'JJ\A·~AOIJLCX.

Translation: Lord, Lord, out out of of the the mouth mouth of of infants infants and and babies babies have have you you supplied supplied praise. praise. Alleluia. Alleluia. Translation: From Psalm Psalm 88 v. v. 3a, 3a, quoted quoted St St Matthew Matthew Cn. Ch. XXI XXI v. v. 16. 16. For For Lazarus Lazarus Saturday Saturday (preceding (preceding Palm Palm Sunday). Sunday). From 27 Probably text).27 Probably originated originated c.900 c.900 (in (in H, H, C C after after the the A~'IEL't"E text).

Musical Sources: G G11 42r-v; 42r-v; G G55 191r-v; 191r-v; G G77 61v-62r; 61v-62r; K K 31r-32r; 31r-32r; M M 94r; 94r; V V 88v; 88v; [B [B 24v]. 24v]. Musical Sources: 1.

3.

3.

9: G7

5.

1: GI~' ; K

5.

7: G 1

5.

G5

7-9:

')..

6.

~6: V ins.

;

G5 ~ ,,/;/

K om.

(Athos version) L 16r.

J?

1. ~5: L (?) No. 7a (p. 15) (Athos 4. 5:version) L (?) L~16r.

No. 8 (p. 16) Text:

(see L)

illeg. ; G 7, K m. om.

10: G 1 ~ ~4-1:

'i.

l!:

5.

6. No. 7a (p. 15)

1-2:K ~ ;; 5: G5, G7, Mom.

;

K ;, ; V om.

Mode Mode II

128 128

THE THE COMMUNION COMMUNION CHANTS CHANTS OF OF THE THE THIRTEENTH-CENTURY THIRTEENTH-CENTURY BYZANTINE BYZANTINE ASMATIKON ASMATIKON

Translation: Translation: Blessed Blessed is is he he that that comes comes in in the the name name of of the the Lord. Lord. Alleluia. Alleluia.

From From Psalm Psalm 117 117 v. v. 24b, 24b, quoted quoted St St Matthew Matthew Ch. Ch. XXI XXI v.9. v.9. For For Palm Palm Sunday. Sunday. First First appears appears in in H, H, alongside alongside 28 the 'EK cr'"t"6fLot'"t"0e; and and nO'"t"'~pLOV texts; texts; so so it it probably originated c.900 c.900 or or shortly shortly after. after.28 the probably originated

Musical Sources: Musical Sources: G G11 42v; 42v; G G55 191v-192r; 191v-192r; G G77 62r-v; 62r-v; E E 148r-149v; 148r-149v; K K 32r-33r; 32r-33r; M M 97r-v; 97r-v; V 92r. 92r.

,. E 8"

1. 1. 2. 2. 3.

12: K

'u

3: Kom. +-2: V (?) ~ 6-7: K :.;. ; V (?)

-;;-1

3. 8: G 1 ; ; ; K ~ ;; 3. 9: Km. om. 3. 10: G 1, G 5, E (?), K, M '- ; V 5. 9: G7 , V ....~ 6. 4: E '-'; ~ 7. +-9-7: K ,,.. r""o

No. 8a (p. 17)

7.

+-3: Kom.

8.

1: V ins.

8.

3-6: Kom.

(Athos version) L 16r-v.

b . "'. ~

AT

9 (p • 18)

!:::

':./ .. ~ .. /

1-2:version) L(sic) L 16r-v. No. 8a (p. 17) 4. (Athos lVO.

Mode IV

7".

~ext:

To!)~

~

,

oe:~7tVO!)

.I. Cl ~ e;zvpo~e;

crO!) '"t"O'J

~ ~'"

fL!)cr'"t"~KO'J

, crO!) ,,0\ fL'Jcr""I)PLOV

" e:~

cr·I)fLe:pov,

7tw. O'J,

y~e:

..k , " ) . ,

't'~/\"'lfLot

~ 0e:o'J,

cro~

,

KO~VWVOV

,"). A \ fLe: 7totpot/\otj-'e:. O!)' fL"I)\ yotp

~ , Cl , '1' ~ owcrw Kotvot7te:p O!)oote;.

.>-~

~

"o~e;

").,'

otI\/\

\ we; 0,")./\"(lo"T"I):;

No. 9 (p. 18) Text: OfLOAOYW cro~. Mv"~cre"I)"( fLO!), K'JP~e:, ~V T"f, ~otcr~Ad~ crO'J. Translation: to Translation: Son Son of of God, God, entertain entertain me me today today at at your your mystic mystic supper; supper; let let me me never never tell tell this this mystery mystery to your but like in your enemies; enemies; II shall shall not not kiss kiss you you as as Judas Judas did, did, but like the the robber robber II confess confess you; you; Lord, Lord, remember remember me me in your your kingdom. kingdom. An probably originanonymous hymn hymn in in the the Horologion Horologion (Rome, (Rome, 2nd 2nd edition edition 1937, 1937, pp. pp. 960-1), 960-1), which which probably originAn anonymous ated ated before before 600, 600, and and which which also also appears appears in in Latin Latin translation translation as as aa Post-Evangelium Post-Evangelium for for Maundy Maundy

Thursday in in the the Ambrosian Ambrosian rite. rite. It It was was sung sung at at St St Basil's Basil's Mass Mass on on Maundy Maundy Thursday, Thursday, not not only only as as aa Thursday 29 Communion, but also as as aa substitute substitute for for the the Cherub Cherubikon and for for the the Post-Communion. Post-Communion.29 Communion, but also ikon and

CRITICAL COMMENTARY

129

Sources: GG11(to (to3.7) 3.7)42v; 42v;GGS5 192 192r-v; r-v; GG7762v-64r; 62v-64r;KK33r-3Sr; 33r-35r;M M I04r-v; 104r-v;VV 99r-v; 99r-v; [B [B2r-v). 2r-v]. Musical Sources: Mode IV Plagal Plagal Mode 1.

1: G 1

1.

S:K ~ ~6:K

1.

H:K "-

"

9: G 7 (?) '>

3.

~7:

3.

~6-4:

5.

K, V m. om. K as L (No. 9a 3.~5-4)

2-4: K as L (No. 9a 5.2-3) ~

5.

5: GS

5.

6:

G S,

5.

7: GS'tf

S.

9: G7 (?) om.

5.

~4:

•..

VE

00

M .:::.. ;

G7 (?) -...:I

7.

~6-5: K

~

+-11: K ";:: '!),

9.

+--1: V 'v,.

10.

3-4: E (var.)

11.

7: Eom.

=;-.:;.

11. +--6-12.7: E om. 12.

No. 13 (p. 27) 27) 13 (p.

5: G S (?)

~

No. 11 Yet Yet another another setting setting of of the the same same text text as as No. 11 in in the the same same mode. mode. This This one one it it seems seems (according (according to to M) M) was No. 12. 12. was sung sung at at Rossano. Rossano. Perhaps Perhaps another another version version of of No.

Musical Sources: Sources: M M 115r-v; 115r-v; [?B [?B 3r-4r] 3r-4r].. Musical 2.

lO:M

........

4.

+--6: M

'"

Mode Mode II Plagal Plagal

132 132

No. No. 14 (p. (p. 28) 28)

THE COMMUNION COMMUNION CHANTS CHANTS OF OF THE THE THIRTEENTH-CENTURY THIRTEENTH-CENTURY BYZANTINE BYZANTINE ASMATIKON ASMATIKON THE

Text: Text )E7totLVe:~ )le:poUO"otA"~fL -rov KUpWV. otrve:~ -rov ee:6v o"ou l:~wv. "1J6A6Y"1J0"e: -rou~ ULOU~ o"ou ~v

O"OL. &AA"IJAOU~ot. Translation: Translation'.Praise Praisethe theLord, Lord,Jerusalem; Jerusalem;praise praiseyour yourGod, God,Zion; Zion;he hehas hasblessed blessedyour yourchildren childrenininyou. you. Alleluia. Alleluia. From to From Psalm Psalm 147 147 vv. vv. 1, 1, 2b. 2b. Possibly Possibly originated originated c.800-850 c.800-850 (in (in both both P P and and H H as as aa second, second, "new" "new" chant chant to 32 the text). For For the the Sunday Sunday after after Easter. Easter.32 the Alvi~-re: text).

Musical Musical Sources: Sources'. GG55 193v-194r; 193v-194r; GG7765r-66r; 65r-66r; KK37v-38v; 37v-38v; M M 119v-120r; 119v-120r; VV 114v-115r; 114v-115r; [B [B4v-5r]. 4v-5r]. Mode ModeII ~.

1. +-10-9: V (var.) "» 1.

+-7: K (?) "~ ••

2.

+-5: G 5 , M ins. m. 7tAO ~

3.

+-6: K m. om.

4.

+-1: K, V m. om.

8.

1: G 7 om.; G 7, M ins. m. ot ,> /."l

8.

2: M (?) '=;..,t

8. 8. No. 14a No. 14a (p. (p. 29) 29) No. 15 (p. 30) 30) No. 15 (p.

; V (var.) :::;. :;.

........

l1:K~

; G 7 as shown

+-4-1: K om.

(Athos (Athos version) version) L L 18v-19r. 18v-19r. Text: Text cO -rpwywv fLoU -r"~V O"OCPKot Kott 7tLVWV fLoU -ro otlfLot ~v ~fLot fLEVe:~ K&YW ~v otl~-r. d7te:v

0

KUpW~. &AA"IJAOU~ot.

Translation: flesh and Translation: "Whoever "Whoever eats eats my my flesh and drinks drinks my my blood blood remains remains in in me me and and II in in him" him" said said the the Lord. Lord.

Alleluia. Alleluia. From Not in From St St John's John's Gospel Gospel Ch. Ch. VI VI v. v. 56. 56. Not in P P or or S, S, but but appears appears for for the the first first time time in in H; H; so so it it probably probably 33 originated originated c.900 c.900 or or shortly shortly after. after. For For Wednesday Wednesday of of Mid-Pentecost. Mid-Pentecost.33

Musical Sources: Musical Sources'. GG55 194v; 194v;GG7766r-v; 66r-v; KK38v-39v; 38v-39v; M M 128r; 128r;VV 122v 122v(to (to4.6 4.6only); only);[B [B5r-v]. 5r-v]. c,)

Vot

u/

Vot

1.

1-9: K

1.

4:V

1.

-;;,. 7: G (var.) ,.,

2.

3: K

2.

5: K .,>1\

7

2.

+-4-3: G 5

3.

+-6: M

4.

J,?,

., , c:;,

~

'2-3: Km. om.

;G7 :....,

~

Mode ModeIV IV

; all all mss. mss. except except K K and and V V give give the the mode mode as as "~ZO~ fLEo"O~ 0'

CRITICAL COMMENTARY COMMENTARY CRITICAL

4: G\ G7, M ~

4. 4. 4.

4-6: K as L (No. 15a 4.3-4) 1O-4.~l1:K(var.)

4.

~7:

4.

~3: G5, G7 , M

........ ,.:. - .... ,..." +-d

~,

G5

',!!'

4.

~3-1:

5.

~9-8: G 5, M m. vrr

5.

~7-6: G\ G 7 , M

-

K as L (No. 15a 4.~3-1) ~

6.

5-10:

6.

~1O-1:

G7

t; \,1~

;

voc; K m. om.

K as L (No. 15a 5.~7-6)

(see L, No. 15a 6.3)

(var.) ;'•• 2:n

~ .•

'-?,..U

; K as L (No.

15a 6.5-10)

G 7 om. ,. K '-" S

6. ~I:

6.

K ';; •

WI

;K ~}..

7.

8.

,~;,;

VOt; G 7 wI

3: G5~.; K~'

6.

7.

133

4-7.

~6:

K om.

1-4: Kom.

No. No. 15a 15a (p. (p. 31) 31) (Athos (Athos version) version) L L 19r-v. 19r-v. 2. 6.

No. 16 16 (p.32) (p. 32) No.

2: L (?) .:;;. ~1-7.1: L ~ .,~

Text: )A'J€~·'i 0 (-)e:o::; tv &AOCAocyfl.~, K1JPW::; tv 9wvij crd.Amyyo::;. &AA·'iA01J~OC. Text: Translation: God God has has risen risen with with aa shout, shout, the the Lord Lord with with the the sound sound of of the the trumpet. trumpet. Alleluia. Alleluia. Translation: From 46 v. Possibly originated to From Psalm Psalm 46 v. 5. 5. Possibly originated c.800-850, c.800-850, since since it it appears appears in in P P as as aa second, second, "new" "new" chant chant to

the nO"':'f;p~ov text, text, but stands alone alone in in all all later later sources. sources. For For the the Ascension Ascension (Thursday (Thursday of of the the sixth sixth week week but stands the 34 after Easter).34 after Easter).

Musical Musical Sources: Sources: G G55 195r; 195r; G G77 66v-67v; 66v-67v; E E 128r-129v; 128r-129v; K K 39v 39v (to (to 3.8 3.8 only); only); M M 130v-131r; 130v-131r; V V 123r-v; 123r-v; [B5v-6r]. [B5v-6r].

~_

1.

1-3:

G5

1.

6-10:

G 7,

2. 2.

wi

.... ~!;'\.....I;;;..c-;:: v~; E (?) ~ y~ e: voc voc; K vi!. voc

K (var.) ~ ~ ',., ~

2-3: K as L (No. 16a 2.4-6)

3:M o.!'' ......

2.

~7:E

~

3.

1-3: K as L but without m. (No. 16a 3.3-5)

Mode IV Mode IV

134 134

THE COMMUNION COMMUNION CHANTS CHANTS OF OF THE THE THIRTEENTH-CENTURY THIRTEENTH-CENTURY BYZANTINE BYZANTINE ASMATIKON ASMATIKON THE

5.

9: GS '-:;:

6.

2:M

6. 7.

~6-7.4:

-

;E

:I,.

"

(Athos version) L 19v-20r. 6.

No. 77 (p. (p. 34) 34) No. 17

G om. (var.) 7

5: E ~4-3: G7 , ;=..

7. No. No. 16a 16a (p. (p. 33)

....,...

~.

;;...s...

10: L (?)

Text:To 7t'JE:GfLcX crau TO &yoc80v K'JpLE: 68''lr~crE:L fLE:, &A),:'lAauLoc. Text: Translation: Translation: Lord, your good spirit will lead me. Alleluia. From Psalm Psalm 142 142 v. v. 12a. 12a. Possibly Possibly originated originated c.800-850, c.800-850, since since it it stands stands alone alone in in all all sources sources except except H. H. In From In 35 H itit appears appears as as the the second, second, "new" "new" chant chant to to the the A~VE:LTE: text. text. For For Pentecost Pentecost (Whitsun).3s (Whitsun). H Musical Sources: Sources: G G5S 195v; 195v; G G77 67v-68r; 67v-68r; E E 132r-133r; 132r-133r; K K 40r 40r (from (from 4.4 4.4 only); only); M M 134v-135r; 134v-135r; V V 127r; 127r; Musical [B 6r-v]. [B

Mode IV Plagal

10:Gs,G7,E f";"

1.

~4:

GS ~ ; E (var.) ~ 7 1: G , E -:f

I.

2. 3.

~ll:

5.

~4-1:

G7 u..' K om.

5. ~2-1: G S om.; M, V ~,,;::::..

No. 17a (p. (p. 35) 35) (Athos (Athos version) L 20r. 20r. No. 17a version) L 4. 6: L (?) '/•• ~ 5. M 18 No. 18 ((p. 36) p. 36)

lVO.

~

6: L

Text: ext: Ev

7'.' 1

~)."

T~

yW':"L

~

~ ,

1=

T·'l~ oa..,''l~

, ' 8 oc, KOCL\ o;V 1. Ta')~, 7tpacrw7tau crau, KUpLE:, 7tapE:ucrafLE:

~

T~

l' , uvafLocn crau

&--rOCAALoccr6fLE:8oc d~ 'rov octwvoc. &AA''lAauLoc. Translation: Lord, Lord, we we shall shall walk walk in in the the light light of of the the glory glory of of your your countenance, countenance, and and we we shall shall rejoice rejoice for for Translation: ever in your name. Alleluia. From Psalm 88 v. v. 15a. Probably originated before 850, since it is found in all sources, though the text 36 6th).36 varies slightly. For the Transfiguration Transfiguration (August 6th).

CRITICAL CRITICAL COMMENTARY COMMENTARY

135

Musical Sources: Sources: G G55 195v-196r; 195v-196r; G G77 68v-69r; 68v-69r; E E 142r-144r; 142r-144r; K K 40v-4lv; 40v-41v; M M 164r-v; 164r-v; V V 145v; 145v; [B [B 7r-8r]. 7r-8r]. Musical Mode Mode III III Plagal. Plagal. I.

1-3: K 7tA8 ~

I.

~5: E •...... lit

2.

~9:

G5, E, K m. om.

2.

~8:

E

3.

~l1-lO:K

3.

~8:V

4. 4.

~5-4:

E (var.)

;..s.;>

6.

1-4: K (var.) 6-7: V ;f;-

7.

~2-1:

1-3: G5 ":;..:» ~ ~1O:

7,

~9: G 7, M .:.:.

2-3: E

10.

; G7

G G E, M ins. m. 5,

8.

9.

~~~

K m. om.

1: K

8.

V'/

GS, G7, E, Mom.

8. 8.

~,,")

I:E,K ~ 4: K c:;

~6:

7.

1a wrong m. followed by (3.8)

~

5.

7.

(XU

01/

~9:M

6.

No. No. 18a (p. (p. 37)

U

5.

6.

(p.38)

; M :::;:

7: M, V ins. m.

3. 4.

~

"::::"' ....

'V?"lit~

(as shown); E

;E ~-. :J ••

/ •• ; K illeg. ~ ) E, K (?) as L (No. 18a 8.1-3)

':» ..~

4:E,K ~! G7, M .:.: 1: G7 :::;....:t, ~

~3:

~4-1:

E

; K -./ .....

:);:=:...

(Athos version) L 20v-21r. 7. ~5: L (?) '=:,:,

;M

,

'1'.... A

;Kom.

;M

136 136

THE COMMUNION COMMUNION CHANTS CHANTS OF OF THE THE THIRTEENTH·CENTURY THIRTEENTH-CENTURY BYZANTINE BYZANTINE ASMATIKON ASMATIKON THE

II. IL Nos 19-40: Communions for Groups of Occasions during the Year There are are four four groups groups of of occasions occasions within within which which both both the the texts texts and and the the melodies melodies of of the the Communions Communions may may There be from one parts of be transferred transferred from one occasion occasion to to another, another, and and so so appear appear in in different different parts of the the yearly yearly cycle cycle according according to to

how aa manuscript manuscript is is organised. organised. how Group Group 1, 1, Nos I9-25a: 19-25 a: Feasts Feasts of of the the BVM BVM and and other other Female Saints Saints ' , ~ ',I. " '1. ~ , .h ~ ~ , Ii Texts: exts: I . nOT1jPLOV crWT1jPLOU 1\1j'f0!J.CXL KCXL TO OV0(J.CX KUPLOU ~CXcrLAe:;: 1tCXp6EVOL tmLcrw CX?JT-Yle:;, 'cxx.6-~crOVTCXt de:; vcxov ~CXcrLAEWe:;. &AA-fjAOULCX.

Translations: Translations: I. 1. II shall shall take take the the cup cup of of salvation salvation and and call call upon upon the the name name of of the the Lord. Lord. Alleluia. Alleluia.

2. The Lord has chosen Zion; he has chosen it as a dwelling for himself. Alleluia.

3. The The maidens maidens shall shall be be brought brought to to the the king king after after her; her; they they shall shall be be led led into into the the temple temple of of 3. the king. Alleluia. There are are five five feasts feasts of of the the BVM BVM important important in in the the Byzantine Byzantine Rite, Rite, all all with with Western Western equivalents. equivalents. In In the the There 21st); order order of of the the Byzantine Byzantine Calendar Calendar they they are: are: 1. 1. The The Birth Birth (Sept. (Sept. 8th); 8th); 2. 2. The The Entry Entry (Presentation-Nov. (Presentation—Nov. 21st); 3. The The Meeting Meeting (Purification-Feb. (Purification—Feb. 2nd); 2nd); 4. 4. The The Annunciation Annunciation (March (March 25th); 25th); 5. 5. The The Dormition Dormition 3. (Assumption—August 15th). 15th). The The important important Feasts Feasts of of Female Female Saints Saints in in the the Byzantine Byzantine Calendar Calendar are: (Assumption-August are: St Euphemia Euphemia (Sept. (Sept. 16th) 16th) and and St St Thecla Thecla (Sept. (Sept. 24th). 24th). The The table table on on p. p. 137 137 shows shows the the way way settings settings of of the the texts texts St given above above appear appear in in the the thirteenth-century thirteenth-century Asmatika. Asmatika. given The first of of these texts was, it seems, prescribed originally for all the Feasts of of the BVM, and-perhaps and—perhaps significantly-for significantly—for occasions like the Ascension· Ascension and Palm Sunday that were never primarily concerned with

the Mother Mother of of God. God. The The text-an text—an actual actual quotation quotation of of Psalm Psalm 115 115 v. v. 4-also 4—also has has little little if if anything anything to to do do with with the her, but but describes describes part part of of the the act act of of communion. communion. Similar Similar texts texts occur occur in in other other rites rites for for the the Communion Communion (e.g. (e.g. her, in Latin Latin in in the the Antiphonar Antiphonar of of Bangor), Bangor), so so it it is is probably probably among among the the oldest oldest Byzantine Byzantine Communion Communion texts. in texts. Of may Of the the five five thirteenth-century thirteenth-century settings settings of of it it (Nos (Nos 19-23), 19-23), two two appear appear only only in in Italian Italian Asmatika Asmatika and and so so may be be of of relatively relatively late late and and local local origin. origin. One One of of these these (No (No 23) 23) is is an an ornamental ornamental version version of of one one of of the the others others

(No 21). 21). The The other other three three (Nos (Nos 19-2Ia) 19-2la) are are all all found found in in thirteenth-century thirteenth-century manuscripts manuscripts from Italy, Greece Greece and and from Italy, (No 6 Russia, and and probably probably therefore therefore originated originated before before 1000 1000 A.D. A.D. But But the the position position of of all all settings settings in in L, L, K, K, G G11,, G G6 Russia, 77 and G G suggests suggests that that .originally originally only only one one setting setting existed; existed; and and this this is is confirmed confirmed in in aa comment comment in in H H indicating indicating and

that this this may may still still have have been been the the case case in in the the mid mid tenth tenth century. century. If If so, so, E, E, G G55 and and perhaps perhaps Sy Sy all all suggest suggest that that that

CRITICAL COMMENTARY COMMENTARY CRITICAL Group Group 11

137 137

Settings: nO"~pLOV, 'E;e:A~;X't'O and 'A7te:ve:z6·~O"OV't'XL texts Settings:

Text: Text: Transcription No:

nO,,~pLoV

nO't'·~pLOV

nO't'·~pLOV

nO't'·~pLOV

nO't'·~pLOV

'E;e:A~;X't'O

'A7te:ve:z6·~O"oV't'XL

19,I9a 19,19a

22 22

20,20a 20, 20a

21,21a 21,21a

23 23

24,24a 24, 24a

25,25a 25, 25a

L

Birth Birth

Meeting

Donnition Dormition

Annunciation Annunciation

Entry

K K

asL asL

Entry Entry

as L asL

asL as L

??

G11 G

asL as L

as L asL

as L asL

~'t'e:pov

asL as L

Women

66

asL as L

as L asL

as L asL

~'t'e:pov

as L asL

as G1I asG

G

Entry

't'oG o/XA't'LKoG 7

G' G

asL asL

M M

as L asL

as G as G11

as L asL

as L asL

as G G66 as

as L asL

as G1I asG

as L asL

as L asL

Deposition Deposition

as L asL

St Euphemia Euphemia St

as L asL

asM as M

as L asL

asM as M

asL as L

as M as M

No Rubric No Rubric

as L as L

? as L ?asL

as L asL

asL as L

asL as L

(July 2nd) V

asL asL

as G11

as L asL

as L asL

5

G G' B

Birth Birth asL asL

E E U U

asL asL

this original original melody melody may may be in that that usually the thirteenth-century thirteenth-century Asmatika Asmatika for for the the this be preserved preserved in usually prescribed prescribed by by the 37 Dormition (Nos 21 21a).37 21 and 21a). The second text given above first appears in H and in a tenth-century Constantinopolitan Prophetologion (Oxford, (Oxford, Bod. Bod. Laud Laud gr.36) gr.36) as as an an addition addition to to the the nO-r+,pLOV text, text, which which (in (in C, C, D, D, all all musical musical sources sources and and 38 modem 14.38 modern practice) it later supplants. From Psalm 131 131 v. 14. The third text above is probably the latest in origin, dating perhaps from about 1000 A.D. It appears (in

SaintsC, U and L) for the Entry of of the BVM, but in most musical manuscripts it is prescribed for Female Saints— of of whom St Euphemia's Feast is the earliest in the Calendar (although in some manuscripts its position is still that for the Entry). For the Entry K has the nO-r+,pLOV melody usually prescribed for the Meeting, and and three three Italian Italian manuscripts manuscripts have have aa nO-r'~pLOV melody melody oflate of late date date (No (No 22). 22). This This is is in in line line with with later later typika typika and practice, in and modem modern practice, in all all of of which which the the nO-r'~pLOV text text is is prescribed prescribed for for the the Entry. Entry.

The appearance appearance in in aa typikon typikon from Messina, dated dated 1131, 1131, of of the the 'A 7tE:ve:Xe'~(jOV-rotL text text both for the the Entry Entry both for The from Messina, of the the BVM BVM and and for for the the Feasts Feasts of of St St Thecla Thecla and and St St Barbara Barbara (December (December 4th) 4th) rather rather suggests suggests that that this this third third of text was was not not transferred transferred to to Female Female Saints Saints simply simply in in consequence consequence of of an an apparent apparent restoration restoration of of the the nO-r'~pLOV text 39 text the Entry, Entry, but at some some stage stage have have been been used used for for both. From Psalm Psalm 44 44 vv. 16a, 17b. text for for the but must must at both. From vv. 16a, 17b.39

138 138

No. 19 (p. 42)

THE COMMUNION COMMUNION CHANTS CHANTS OF OF THE THE THIRTEENTH-CENTURY THIRTEENTH-CENTURY BYZANTINE BYZANTINE ASMATIKON ASMATIKON THE

comment see above) (For text, translation and comment Musical Sources: Sources: G G11 36r; 36r; G G66 31r-v; 3lr-v; G G77 52r-v; 52r-v; K K 22r-v; 22r-v; M M 5r-v; 5r-v; V V 5v-6r; 5v-6r; [B [B 20r-v]. 20r-v]. Musical 1: V ~ ~

1.

1-3: V additional marginal m. ~""; K .......

1. 1.

4: V ~

2.

3: K ';;

2.

8: K ";

2.

~8:K

ve;; K ~

=»,

1-3: K "/5;::; ~1-6.~8:

5.

Kom.

6: G 7 ~~

5.

M (?) -. " 2: G6, G 7, V 6: G 6 ::;J~ "/

~1:

6. 6. 7.

4-6: G 1 m. om.

7.

7: G 1 ' ~6: V ins.

8. 8.

-....

~4-1:

; G 6, G 7, M

,,/; I'

..... "

K om.

(Athos version) L 12r-v. 5. 5.

No. 20 (p. (p. 44) 44)

.

3: G 1 m. om.; G 6 ve;

4.

No. 19a (p. No. (p. 43)

....;

......... : t " IX

3. 4.

Mode II Mode

~4-3: 4-3:

L L reading reading conjectural. conjectural. Following Following sign sign suggests suggests aa previous previous martyria. martyria.

(For (For text, text, translation translation and and comment comment see see above, above, pp. pp. 136-7) 136-7) Musical Musical Sources: Sources: G G11 36v-37r; 36v-37r; G G66 31v-32r; 31v-32r; G G77 52v-53v; 52v-53v; K K 23r-24r; 23r-24r; M M 68v-69r; 68v-69r; V V 65r-v. 65r-v. 1.

1-3: V om.

1.

1-7: K

1.

~IO:G6

1. 2. 2. 3.

y v VIX

K

;"

-. --..

... -. ""'/"''''

4.

2-4: G 7

4.

~2:K

4.

~1:G7 ~~

5.

.

';'5

K (var.)

~1: K ~'; ~7-4:

VIX

.....

~3: G 7 (?) ~ 7-3:

lJ' /

/~ ~u

S

2: G 6, G 7, K, M ' -

..

"

_u

'-

...."

Mode Mode III III

CRITICAL CRITICAL COMMENTARY COMMENTARY

5.

i; ..:>

6.

'iii'

8. 8.

No. 20a (p. 45)

+-6: V\::':

5. +-5-2: G 7 6.

139 139

9: M

+-5: K r:t.AA', (var.) 2: G6

;;."

+-4-1: G6,..,· • ;::::.. '- ~

;Kom.

(Athos version) L 12v-13r. 1. +-10: L ;;...

3. No. 21 (p. 46)

4: L o/>

(For text, translation and comment see above, pp. 136--7) 136-7)

Sources: GG1137r; Musical Sources: 37r; GG6632r-v; 32r-v; GG7753v-54r; 53v-54r; EE 57r-59r; 57r-59r; KK 24r-25v; 24r-25v; M M 167r-v; 167r-v; VV 148v; 148v; [Grott. [Grott. E~ Eβii 136v]. 136v]. Mode II Plagal Mode II Plagal 6'

-

;;-

+-8: G , M

1.

+-7: G 6 , M":' (as shown); K

2.

InS.

m.

.:.:

1.

VE

6:K ~~S

2.

7:G6,E,K ~

2.

+-9: G 6, E, K, M (?) -

4.

5-6: G 1 ~;::.. 7: G., E

4.

5.

vr:t.

~

/..

6-2.+-5: K as L (No. 21a 2.8-2.+-5)

2.

5.

vr:t.

;

K om.

:::;

7-10: K (var.) 'Ii'$

~

, ....

+-7-1: V (var.) om.

6. +-10-7.+-1: K has two versions, of which the second, marked r:t.AA , ... , is perhaps closer to No. 21a 6.+-9-7.+-1.

No. No. 21a (p. (p. 47)

+-3-7.1: K, 1st version (var.) 7'6 E'"

7.

+-4-1: G6 , K (both versions) om.

E

~

vr:t. VE

(Athos version) LL 13r-v.

6: L :»

6. No. No. 22 (p. (p. 48)

.. - .... ~;;S .......

6.

(For text, translation and comment see above, pp. pp. 136--7) 136-7)

Musical Sources: Sources'. GG1136r-v; 36r-v;M M25r-v; 25r-v;VV27r-v. 27r-v. 1. 1-3: M, V ~., 2.

10: V

'l

2. +-9: G 1 (?) 5. +-9: V ~:

Mode ModeIIII

140

THIRTEENTH-CENTURY BYZANTINE BYZANTINE ASMATIKON THE COMMUNION CHANTS OF THE THIRTEENTH-CENTURY

5. +-7:

.

V"-;

If

6.

1: M (?)

6.

9: V (?) """

No. 23 (p. (p. 49) (For text, translation and comment see above, pp. 136-7) No. Musical Sources: Sources: G G11 37r-v; 37r-v; G G5S 187r-v; 187r-v; G G66 32v-33r; 32v-33r; G G77 54r-55r; 54r-55r; M M 154v (July 2nd: 2nd: Deposition Deposition of of the the Musical 154v (July

garment garment of of the the BVM BVM in in Blachernae). Blachernae). 1.

3-4: G6

1.

9: GS (?), G 6 ~ +-8: Glom.

1.

3. 4. 6.

6. 7. 7. 7.

Mode II Plagal Mode II Plagal

/

+-9: G6 "'i +-7: G 1 (var.) ~ +-11: GS (var.) ,;;-" +-3: GS (?) /.

; G6, G7, M

-. "

1: M (?-var.) ..:.. Do 5:G 1 ~ +-5: G6 , G7

'-';;

7. +-1: G ~ ; G 7 illeg. 8. +-12-11: G7 (var.) :' , ~ ::» 6

(p.48)

8. 9.

+-7: G7

-;/

No. 24 (p. No. (p. 50) (For text, translation and comment see above, pp. pp. 136-7) Musical Sources: Musical Sources: GG1142r; 42r;GGS5 190v-191r; 190v-191r;GG6638v 38v(to (to4.5); 4.5);GG7761r-v; 61r-v;EE59r-60v; 59r-60v; KK30r-31r; 30r-31r;M M90r-v; 90r-v;VV86r; 86r; [B 24r-v]. Mode III Mode 1. 1. 1.

1.

5-6: Kom. 6: GS, G6, G7 (?), M ins . .., • ;::;

1. 1.

7-8: V (var.)

,=, •• ;:;

3. 3.

+-6: G6, E, M :, 3-4: GS, G6 (?), K m. om .• 6 · GS,E: \f:oo 5. t '. G 'i= I:t

4.

10-14: E as L (No. 24a 4.12-17)

2.

4. 11: K ;;;--' 4. +-10-9: G7 ~ •• u; K

-;,';..:J

.' G7 ...;:J

'-

;M~

CRITICAL CRITICAL COMMENTARY COMMENTARY

4. 4.

~6:K ~

~2-1:

5. 5. 7. No. No. 24a 24a (p. 51) 51)

141

Gs, E, K m. om.

I:G 1

1

;GS,G7,M ~

~.-:.~"

9-12: K

1-4: K om.; V

...

;K -;;~ ~

:::;. ~. ' -

:»1'\

A

(Athos (Athos version) version) LL 15v-16r. 15v-16r. 4. ~: L '):

No. 25 (p. (p. 52) 52) (For (For text, text, translation translation and and comment comment see see above, above, pp. pp. 136-7) 136-7) Musical Musical Sources: Sources: G G11 40v; 40v; G G5S 187v-188r; 187v-188r; G G66 36v-37r; 36v-37r; G G77 58r-v; 58r-v; E E 64v-66r; 64v-66r; K K 27r 27r (from (from 4.~6); 4. 6); M M 9v-l0r; 9v-10r;

MO M° 10v-11r; 10v-11r; V V 10v-11r; 10v-llr; [B [B 21r-v]. 21r-v]. 1.

1-3: V ~

1.

~6:E

2.

~5:

2.

~2:

3. 3. 3.

"

+=-"

G 7 (?) :.

M (?) om. , I:G.,Mo

.....

1-3: G 7 (var.) 5: G 1

, ..

; G S, G6 , E, M :»"

0;'"

&... "";

-.....

3. ~9: G6 , G 7 , E 3. ~8-7: G 1 ~.:t ; G S , G7, M, MO m. om. L-6· G 6 !:::::t 3 . "----." ,. G7 ~

.

"i

4. ~4-2: K ~ /S 5. ~4-3: K (var.) r/._ S

6. 6. 6. 6. 6. 7. No. 25a No. 25a (p. (p. 53) 53)

~

1: G6~

!:::: 't"" ~

3-5: K

4: G (?), G 6, E, M, MO \.~ S

8-'-9: K as L (No. 25a 6.10-11) 9: G6 ::t, ~4-1:

K om.

(Athos (Athos version) version) L L 14r-v. 14r-v. Group Group 2, Nos Nos 26, 26, 26a: 26a: Feasts Feasts of of Apostles Apostles and and Evangelists Evangelists

Text: E~~ 1t&crcxv ,,·f;v Text:

"rr.v ~;·r.Aee:V 0 ~e6yyo~

cx,'.r:wv. &AA"IJAO{lLCX.

Translation: Translation: Their Their sound sound went went out out to to all all the the world. world. Alleluia. Alleluia.

Mode Mode IV IV

142 142

THE THE COMMUNION COMMUNION CHANTS CHANTS OF OF THE THE THIRTEENTH-CENTURY THIRTEENTH-CENTURY BYZANTINE BYZANTINE ASMATIKON ASMATIKON

From but From Psalm Psalm 18 18 v. v. 4a, 4a, quoted quoted Romans Romans Ch. Ch. Xv. X v. 18. 18. The The text text probably probably originated originated c.900-950. c.900-950. It It is is not not in in P, P, but

first appears appears in in H, H, as as the the second second text text for for six six Apostles' Apostles' feasts, feasts, and and as as the the only only Communion Communion text text for for St St Luke's Luke's first day (Oct. (Oct. 18th). 18th). Further Further expansion expansion of of its its use use appears appears in in C. C. The The Asmatika Asmatika have have only only one one melody melody for for this this day Communion which which can can appear appear either either for for the the most most important important Apostles' Apostles' feast feast (June (June 29th: 29th: SS SS Peter Peter and and Paul-in Paul—in Communion 40 G V).40 G77,, E, E, K, L, L, B B and and U) U) or or for for its its first first use use in in the the Calendar Calendar (October (October 6th: 6th: St St Thomas-in Thomas—in G GS5,, M M and and V).

No. 26 26 (p. (p. 54) 54) No.

Musical Sources: G G5S 188r-v; 188r-v; G G77 68r-v; 68r-v; E E 138v-139v; 138v-139v; K K 40r-v; 40r-v; M M 13r; 13r; V V 14v; 14v; [B [B 6v-7r]. 6v-7r]. Musical Sources: 1. 1.

''::>'11 1-14: GS,G 7,My S =" 15: K :.-' ~7:

1.

~1: E, Kom.}

2. 2.

8-11: GS

,

a... ~ I -

2.

~3:M ~

GS (?)

3.

~9-5: GS, M

3.

~4-3:

5.

No. 26a 26a (p. (p. 55) 55)

~! ...

G7 , E (var.) ~..:.. ~

; K (var.) ,,,;;' .......

:.,

C3

c..:J:-:. '- ~

., ," '''-

GS , V m. om.

~2: G S , E, K, M ~1-4.2:

;

,,~

2. ~2-3.5: E (var.)

3.

.:>,s', ... -

6-7: G 7, E, K om. ~8:

4.

;K y

(var.)

1: E, K .;"

2.

3.

="-

GS 7.:

1. 2.

;Ey

Mode III Mode

;G7 ...."';

~

K (var.)

~8-7: K (var.) ~.. ~ ~

:;;, ~S

8-9: K (?-var.)

6.

l:Gs,M

6.

~4-1: GS, M

~ ;,n

r"\,F\ ; E

:> -;::.; ...

r\ ; K om.

(Athos (Athos version) version) L L 20v. 20v.

Group Group 3, 3, Nos 27-35a: 27-35a: Church Church Fathers, Martyrs, St John Baptist, the Dead

Texts'. 1. E~e; fLV"IJfL6cruvov odcilvLOV ~cr't"ot~ S(KotLOe;. &AA"IJAOU~ot. Texts: 2. l\IV""fL"IJ S~Kot(UlV fLE't") ~YKUlfL(UlV y(VE't"ot~, Kot~ 't"o fLV"IJfL6cruvov ot&rwv de; YEVEac.V Kot~ YEVE&'V. &AA"IJAOU~ot. 3.

,

l\IotKotp~O~

C'},)",

oue;

":I. ,,...

,

e:~EI\E~Ul Kot~

Kot~ YEVE&'V. &AA"~AOU~ot.

i

'(J.

7tPOcrEl\otj-'0U

I

\

KUp~E, Kot~

\

,

,

"'"

't"o fLV"IJfLocruvov otU't"UlV

E~e;

,

YEVEOCV

CRITICAL CRITICAL COMMENTARY COMMENTARY

143 143

Translations: Translations: 1. The just man shall be in everlasting remembrance. Alleluia.

2. The righteous are recollected with songs of praise, and their remembrance lasts for all generations. Alleluia. 3. Blessed are they whom you have chosen and taken to yourself, Lord, and their remembrance lasts for all generations. Alleluia. The first of of these texts, from Psalm 111 111 v.6a, seems to have the longest history, appearing in P on several anything, 'Ay~).),~ocO'ee: ~(K~W~ might well have been expected. By the thirminor occasions, where, if if teenth century it had acquired an association with two kinds of of Saint-Church Saint—Church Fathers and Martyrs. The first of of these associations was already established in H, but for the two main Martyrs of the Eastern Church-St Church—St Demetrius and St George-and George—and for St Anthony the Great of of Egypt, H still has 'AY~AA~OCO'ee: ~(K~W~. The The Asmatika Asmatika of of the the thirteenth thirteenth century century also also show show no no trace trace of of this this text's text's earlier earlier has association with St John Baptist (in P it is prescribed as the second Communion for the Feast of St John's Birth (June 24th), and in C it is found for this feast, for the Decollation (August 29th) and for the Invention of the Head (February 24th). But four thirteenth-century mss. recollect its earlier use on many Saints' days by giving its settings, along with those of of l\Iv'~fL'lj ~~K~(WV and a l\I~KtXpO~ n d a o~c;f 'e:;e:M;w t e rafter the end of of the Church Year. As with the five no"t"~pwv melodies, the six settings of five of the t hElc; e fLv'ljfL60'uvov t e x ttext preserved in thirteenth-century Asmatika may have evolved from or replaced a single melody; but which of of the two apparently earliest surviving melodies (Nos 27 and 28) is the earlier cannot be known for certain. That Nos 29 and 32 are younger is indicated by their much greater length, their distribution and the possibility (the certainty in the case of No. 32) that they are ornate forms which developed from the earliest melodies; and No. 32 may also have originated in Italy. Nos 30 and 31 31 also appear only in Italian mss., but otherwise they are not very very different different from Nos 27 27 and and 28, 28, so so their their date date and and place place of of origin origin remain remain very very uncertain. uncertain. not from Nos The second of the texts shown above consists of of two half-verses-from half-verses—from Proverbs Ch. X v.7a and Psalm 41 41 101 101 v.l3b. It first appears in H for September 9th (the Commemoration of of the Council of Ephesus) and in P for All Souls' Day.42 Day.42 In the thirteenth-century mss. from Greece and Italy it is wholly associated with St John Baptist, Baptist, perhaps perhaps because because of of the the resemblance resemblance between between the the opening opening of of its its text text and and that that of of the the John 43 43 Apolytikion for for the the Decollation. Decollation. At At all all events, events, it it appears appears in in all all Italian Italian mss. mss. for for the the Decollation Decollation (August (August Apolytikion 29th), which which raises raises the the question question whether whether it it was was also also ever ever used used for for the the Feast of St St John's John's Birth, Birth, (June (June 24th24th— 29th), Feast of the Johannistag Johannistag of of the the Mastersingers) as Elc; fL vYjfL60'uvov had had been been and and is is still still specified specified in in M(f.l49r), M(f.l49r), and the Mastersingers) as and if if so, why it only appears at the very end of of the yearly cycle. The answer to this last question may be simply that its its position position remained remained unchanged unchanged from from having having originally originally formed formed part part of of an an appendix appendix to to the the cycle. cycle. that Another setting setting of of this this text text in in Mode Mode IV IV Plagal Plagal appears appears only only in in K K and and L. L. Another

f-re:pov

Theologus Theologus (Jan. 25th) 25th) (Jan. as G1 asG'

Chrysostom Chrysostom (Nov. (Nov. 13th) 13th)

St Nicholas Nicholas 7? St All Saints Saints All (7 (? St Basil)44 Basil)44

E E

U U

B B

Martyrs Martyrs

G' G5 (7 (? as M)

as M asM

f-re:pov

as M asM

(April (April 23rd) 23rd)

Chrysostom Chrysostom

(Oct. 26th) 26th) (Oct.

V V

St Nicholas Nicholas St

St Gcorge George St

Stjohn St John

St Dcmetrius Demetrius St

M M

as G1 asG'

as G1 asG'

G77 G

asG' as G1

as G as G'1

as G' asG'

G" G6

asG' as G1

(Nov. 6th)

(Dec. (Dec. 6th) 6th)

St Gregory Gregory St

Stjohn St John

G1 G'

as M asM

(Jan. (Jan. 17th) 17th)

St Anthony StAnthony

as G1 asG'

Homologetes Homologetes

St Paul Paul St

St Basil Basil St (Jan. (Jan. 1st) 1st)

St St Nicholas Nicholas

as L asL

Rubric iIIeg. illeg. Rubric

K K

fTe:pOV

Rubric iIIeg. illeg. Rubric

Church Fathers Fathers Church

L L

31 31

30 30

29,29a 29,29a

28,28a 28, 28a

7tA~'

7t AIX'

27,27a 27, 27a

Transcription Transcription No: No

glc; flv7).

~;lc; flv7).

Elc; flv7). 7tAW

Elc; flv7). W

Text: Text:

~;lc; fl v"t). 7tAW

texts. Group 33 Settings: Setting! Elc; flv"t)flocruvov, MV'~fl"t) ~L/(IX£WV and MIX/(OCPLOL o~C; ~~e:Ai~w texts. Group

MV~fl7)

MV~fl7)

7Rubric ?Rubric iIIeg. illeg.

Saturdays Saturdays

Chrysostom Chrysostom

(7 (? as M)

The The Dead Dead

as M asM

Day42 Day42

All Souls' Souls' All

Ferial Ferial

Thc The Dead Dead

as G G77 as

as G G77 as

as G as G77

(Aug. 29th)

as L asL

7 fTe:pOV

as L asL

St John John Baptist Baptist St

Decollation Decollation

St John John Baptist Baptist St The The Dead Dead

Rubric iIIeg. illeg. Rubric

33 33

7tA~'

~LI\IX£WV

35, 35a 35,35a

MIX/(OCPLOL

34, 34a 34,34a

~L/(IX£WV

Stjohn St John

as M asM

St Basil Basil St

fTe:pOV

fTe:pOV

32 32

W

glc; flv7).

CRITICAL COMMENTARY

145

The The third third text text probably probably originated originated shortly shortly before before 1000 1000 A.D., A.D., and and is is exclusively exclusively associated associated with with the the Dead. Dead. Consisting of two half-verses—from Psalms 64 v.4a and (again) 101 v. 13b—it is modelled on the second Consisting of two half-verses-from Psalms 64 vAa and (again) 101 v.13b-it is modelled on the second for which which the the thirteenth-century thirteenth-century mss. mss. have have the the same same melody melody in in Mode Mode II II Plagal. Plagal. In In U U and and K K it it is is incomincomtext, for text, plete and and immediately immediately follows follows l\IV·~f1.·'l 8LKCdwv at at the the end end of of the the yearly yearly cycle, cycle, K K giving giving it it incomplete incomplete prepreplete cisely because because it it is is musically musically identical identical with with the the preceding preceding Communion. Communion. In In U U it it appears appears at at the the very very end end of of cisely the ms. after the colophon in a different hand, and is still prescribed for the Dead. The two the ms. after the colophon in a different hand, and Mv·~f1.·'l 8LK" ~ -; ~ (var.) 6.

...

4: K ;:.

6. 8-11: K :O;'~ :J 6.

No. No. 58a (p. (p. 107)

~4-1:

(?)

..;..s

K om.

(Athos version) LL 10v-llr. 10v-11r. 2. ~10: L

c..:>

No. No. 59 (p. (p. 108) (For text, translation and comment see above pp. pp. 149-151) 149-151) Musical Musical Sources: Sources: G G11 12r; 12r; G G77 16r-v; 16r-v; K K 13v-14v; 13v-14v; V V 166v. 166v. 1.

1-3: K ~(X";-

1.

7-9: K (var.) . ; ;

,. ::.-

~

Mode III Plagal

160 160

THE COMMUNION COMMUNION CHANTS CHANTS OF OF THE THE THIRTEENTH-CENTURY THIRTEENTH-CENTURY BYZANTINE BYZANTINE ASMATIKON ASMATIKON THE

2. 2.

4:K

i

7-8: K 2.:J

(var.)

lO:K ~~ 3. 1-10: K --~~:

2.

~'-:'"

9

(var.)

-',

3.

f-9: K m. om.

4.

1-8: K (var.) ~ -'~ .. ~~ ;;

4. 11-12: K ¥ 4. f-8: K ,,, 5. f-9-6: G7 6.

¥

,

-.

; V (var.) "

;K

1: K (var.)

6. f-4-1: K om.

No. 60 (p. 109) (For text, translation and comment see above pp. 149-151) Musical Sources'. Sources: GG11 12r-v; Musical 12r-v; GG55 147v; 147v;GG77 16v-17r; 16v-17r; EE42r--43v; 42r-43v;KK 14v-15v; 14v-15v; VV 166v-167r. 166v-167r. Mode Mode III IIIPlagal Plagal ' - ~;; -;;~ :;. 1. 1-5: G5 !X 'IE ; G7 , V ~!xp1JC; ; K ~!X' -::; 1.

2. 2.

f-4: K 2 ·• V -••.

4-5: E

..:>.a.... ':II'

!:!"

; K (var.)

~. /,.

2. f-4: G5~). ; E ""~ - ~/~';f .,,;; '" 2. f-3-3.7: K (var.)_ 0 000 'CS 0 0 3. 3. 3.

4: G5 11: K (var.) ..... f-9: GI ::;">:t?

3.

f-3: G5, V 9·· ~.., ~.~" f-13-7: K Zo sov !X:

4. 5. 5.

5-6: K ~', 11: G 1, G5, V

,...

0

(var.) -~

"

6.

7-12: Gs, G 7, E, K, V m. om.

7. 7.

f-11: K ~,'" f-4-1: K om.; V ,,, ~ .... ;:::;

No. No. 61 61 (p. (p. 110) 110) (For (For text, text, translation translation and and comment comment see see above above pp. pp. 149-151) 149-151) Musical Musical Sources: Sources: G G11 12v; K K 15v (to 2.8). 2.8). 1. 1-3: K ~!X

"'.;;

No. a (p. No. 61 61a (p. Ill) 111) (Athos version) L 11r. 11r.

3. f-2: L ";; 4.

10: L (?) ~

Mode III III Plagal

CRITICAL CRITICAL COMMENTARY COMMENTARY

161 161

No. 62 (p. (p. 112) (For text, translation translation and comment comment see above pp. pp. 149-151) No. 149-151) Musical Sources: Sources: G G11 13v-14r; G G77 18v-19r; K 18r-19r; V V 168v (to 7.2). Musical

1.

.,..ex

~

1-13: G 7 7tM

'Y~

ve:

~

...

IV Plagal Mode IV

e: ; K, V 7tA~ "

~ • ..,;:; .;.. /. ;;.-' !:; ~ .., ,;\'-:-0 3. 3-3.+-9: K e::e: O~ O~ O~ '.s O~ OL O~: O~

2.

3. 4.

7:K ~ ,

+-3: K':" 11: V ::;...

5.

+-10: K (?)

5.

•

6. 6. 6.

7

;

-.~.

+-2-1. G vex vex , K, V m. om. ~

1: G7 .:..!.. 11: K ~~~'O +-2-1: K m. om. v

•

7. 1-7.+-5: K '';'' :» ~~ 8.

(var.)

+-4-1: K om.

No. 63 (p. 113) (For text, translation and comment see above pp. 149-151) Musical Sources: E 51r-52r; Musical Sources: G G11 14r; 14r; G G55 149v-150r; 149v-150r; G G77 19r-20r; 19r-20r; E 51r-52r; K K 19r-20r; 19r-20r; [L [L 9r 9r (from (from 6.+-9)]. 6. 9)]. Mode IV IV Plagal Plagal Mode I. 1-1.+-6: G 5 , K 7tA~

2. 2. 3. 4. 4. 5. 5.

No. No. 64 (p. (p. 114)

II

;G7 1 or 2 illeg. m.; E om.

;

9: G5 ~t G7 , K';: ; E (vat) +-7-5: K (var.) ~ :;;, ~,,,

4-11: K

O;J

~

..:.:&.!t

7tA~"'; E, K m. om.

1-6: G 5 , G 7 m.

\...-,.. ..!: v ,. ~ ,';'~ -;: ou- ou pex vo 0 ov

~11:G5,G7,E,K

';' ••

7:K+-3-4: E, K m. om.

6. 6.

+-9: K

6.

+-2:K~

7.

7-9: K (?)

7.

8-12: E om.

7.

l-

3: K (?) ::..

+-1: K

u

-==

0

S

:=...

(For text, translation and comment see above pp. pp. 149-151) 149-151)

Musical Sources: Sources: G G11 14r-v; 14r-v; K K 20r-2Ir. 20r-21r. Musical 1.

1-7: K 7tA~ ~

Mode Mode IV IV Plagal Plagal

162 162

THE COMMUNION COMMUNION CHANTS CHANTS OF OF THE THE THIRTEENTH-CENTURY THIRTEENTH-CENTURY BYZANTINE BYZANTINE ASMATIKON ASMATIKON THE

l. l.

~l1:K* ~6-5:

as L (No. 64a l.8-~3)

Kom.

l. 2. 3:K " •• 2. ~1-3.3: K [ "';' " 3. 3. 3. 4.

~s r.

',:>

] as L (No. 64a 2.~2-3.2)

4-6: K as L (No. 64a 3.3-7) ~

:>

~

....

8-12:K ~ :J~'-9 seeL(No.64a3.8-12) ~ 7-4.4: K as L (No. 64a 3.~4-4.4) ~4-1: K om.

No. 64a (p. 115) (Athos version) L 11 11v.v. 4. ~2-1: L om.

NOTES 1. 1. For For general general accounts accounts of of Byzantine Byzantine Chant, Chant, see see Egon Egon Wellesz, Wellesz, A History of of Byzantine Music and Hymnography, 2nd 2nd ed. ed. Oxford Oxford (1961); (1961);

Oliver World, New New York York (1977), (1977), Oliver Strunk, Strunk, "The "The Chants Chants of of the the Byzantine-Greek Byzantine-Greek Liturgy" Liturgy" in in Essays on Music in the Byzantine World,

pp. 297-330; and and Kenneth Kenneth Levy's Levy's article article on on Byzantine Byzantine Music Music in in The The New Grove Dictionary of Music Music and and Musicians, London (1980), New Grove Dictionary of Musicians, London (1980), pp. 297-330; Vol. 33 pp. pp. 553-566. 553-566. None of these these seems seems to to me me to to give give aa fully fully satisfactory satisfactory account account of of what what is is still still aa confusing confusing and and little-known little-known subject. subject. Vol. None of In particular, particular, what what is not, and and probably never can can be, be, known known seems seems to me nowhere nowhere clearly clearly set set out; out; Levy's Levy's article article attempts attempts this, this, but but in In is not, probably never to me in my opinion opinion understates understates it. it. my 2. 2. On On Kukuzeles Kukuzeles and and the the kalophonic kalophonic style, style, see see Kenneth Kenneth Levy, Levy, "A "A Hymn Hymn for for Thursday Thursday in in Holy Holy Week", Week", Journal of of the American

Musicological Society, Vol. Vol. 16, No.2 No. 2 (1963), pp. 127-175, particularly pp. 154-171. 3. Antiquiorum, Monumenta 3. Perhaps Perhaps the the most most useful useful guide guide to to this this subject subject is is Strunk, Strunk, Specimina Notationum Antiquiorum, Monumenta Musicae Musicae Byzantinae Byzantinae Principal Principal Series, with the Series, Vol. Vol. VII, VII, Copenhagen Copenhagen (1966), (1966), with the accompanying accompanying Pars Pars Suppletoria. Suppletoria. 4. Oliver Strunk, "S. World, "S. Salvatore di Messina and the Musical Tradition of of Magna Graecia" in Essays on Music in the Byzantine World,

pp. 45-54. See also Wellesz, The Akathistos Hymn, Mon. Mus. Byz. Transcripta Vol. IX, Copenhagen (1957), pp. xlix-Iii, xlix-lii, and Alleluiarionzyklus, Mon. pp. 28-31 Christian Thodberg, Thodberg, Der byzantinische Alleluiarionzyklus, Mon. Mus. Mus. Byz. Byz. Subsidia Subsidia Vol. Vol. VIII, VIII, Copenhagen Copenhagen (1966) (1966) esp. esp. pp. 28-31 and and Christian 160-2. 5. Thodberg, op.cit., pp. 20-7. 6. These are, respectively: Messina gr.129, Grottaferrata Grottaferrata r.y.v., .γ.V, Vatican gr.1606; Vatican Borgia gr.19; Messian gr.120, Grottaferrata Grottaferrata E.~.i.; E.p.i.;

and Grottaferrata Grottaferrata E.n.xiii. E.α.xiii.

7. These are respectively: Grottaferrata Grottaferrata r.y.I., .γ.L, r.y.VI., .γ.VI, r.y.VII; .γ.VII; Mount Athos Laura r.3; r.3; and Kastoria (Cath. Lib.) 8. 8. Levy, "The Byzantine Communion-Cycle and its Slavic Counterpart", Actes du Xlle XIle congres byzantines. congrès international des etudes études byzantines,

Ochride 1961, The Late Late Byzantine Byzantineand andSlavonic SlavonicCommunion CommunionCycle: Cycle: 1961, Vol. 2 Belgrade (1964), pp. pp. 571-4. See also Dimitri E. E. Conomos, The Liturgy and Music, Dumbarton Oaks Studies No. 21 21 Washington (1985), pp. 61-2. 9. On the dating of the Kontakion melodies in the Psaltikon and the more elaborate melodies of of the Sticherarion, see Oliver Strunk, "Observations on the Music of World, pp. pp. 157-164. 157-164.ItItshould shouldbe benoted notedhere herethat that of the Kontakion" in Essays on Music in the Byzantine World, the Byzantine Communion (koenonikon) is the chant sung at the communion of of the priest and clergy. It is followed by a complete psalm to accompany the communion of of the people (P.N. Trempelas, Leitourgikon, 2nd ed. Athens (1964) note 36, pp. 337-8) 337-8) and possibly always was. See R. Taft "The Pontifical Pontifical Liturgy of of the Great Church according to a Twelfth-Century Twelfth-Century Diataxis in Codex British Museum Add. 34060", Oriens Christiana Periodica No. 45 (1979), pp. 279-307 and No. 46 (1980) pp. 89-124; and Conomos op.cit., pp. 4-16. See also Thomas Schattauer, "The Koinonicon of of the Byzantine Liturgy", Orientalia Christiana Periodica Vol. Vol. 49 (Rome 1983) pp. 91-129. 10. published early 10. The The published early Russian Russian ms. ms. is is the the so-called so-called Uspensky Uspensky Kondakar, Kondakar, dated dated 1207. 1207. See See A. A. Bugge, Bugge, Contacarium Paleoslavicum

Mosquense, Mon. Mon. Mus. Mus. Byz. Byz. Principal Principal Series Series Vol. Vol. VI VI Copenhagen Copenhagen (1960). (1960). The The three three forms forms of of the the Greek Greek Mass, Mass, are are (i) (i) The The Liturgy Liturgy ofSt of St Mosquense, John Chrysostom, Chrysostom, (ii) (ii) The The Liturgy Liturgy of of St St Basil, Basil, and and (iii) (iii) The The Liturgy Liturgy of of the the Presanctified Presanctified Gifts Gifts (Miss (Missaa Praesanctificatorum). Praesanctificatorum). They They are are John printed in in C.A. C.A. Swainson, Swainson, The The Greek Greek Liturgies Liturgies chiefly chiefly from original authorities, authorities, Cambridge Cambridge (I (1884)—No. (i) on on pp. pp. 88-94 88-94 and from original 884}--No. (i) and printed 100-148; No. No. (ii) (ii) on on pp. 75-87 and and 149-171; 149-171; and and No. No. (iii) (iii) on on pp. 95-98 and and 174-187; 174-187; and and in in greater greater detail detail in in P.N. P.N. Trempelas, Trempelas, AL 100-148; pp. 75-87 pp. 95-98 't"pe;~:; Ae;~'t"f)'')p'((IlCL,

Athens (1935), (1935), No. (i) on on pp. pp. 17-160; 17-160; No. (ii) on on pp. pp. 161-194: 161-194: and and No. (iii) on on pp. pp. 195-240. 195-240. No. No. (i) (i) is is of of general general Athens No. (i) No. (ii) No. (iii)

use. (ii) is is celebrated celebrated on on the the Sundays Sundays of of Lent Lent (but (but not not Palm Palm Sunday), Sunday), on on Maundy Maundy Thursday Thursday and and St St Basil's Basil's Day Day (January (January 1st), 1st), and and use. No. No. (ii) concludes the the vigil vigil services services for for three three important important feasts-Christmas, feasts—Christmas, Epiphany Epiphany and and Easter. Easter. No. (iii) occurs occurs on on Wednesdays Wednesdays and and Fridays Fridays No. (iii) concludes 163 163

164 164

THE THE COMMUNION COMMUNION CHANTS CHANTS OF OF THE THE THIRTEENTH-CENTURY THIRTEENTH-CENTURY BYZANTINE BYZANTINE ASMATIKON

during before Lent, during Lent Lent and and the the week week before Lent, and and on on Monday, Monday, Tuesday Tuesday and and Wednesday Wednesday of of Holy Holy Week Week (and (and originally originally on on Good Good Friday Friday as as

well). In In addition addition to to these, these, the the ancient ancient Liturgy Liturgy of of St St James James may may be be celebrated celebrated on on Maundy Maundy Thursday Thursday (with (with the the Communion Communion text text of of the the well). Missa Praesanctificatorum)--see Praesanctificatorum)—see Conomos Conomos op. op. cit., cit., p. 39. It It should should perhaps perhaps be be noted noted that that none none of of this this information information has has any any relevance relevance to Missa p. 39. to the musical musical character character of of the the Communion Communion Chants Chants in in the the Asmatikon, Asmatikon, whose whose musical musical form form and and style style seem seem to to have have been been unaffected by the the unaffected by the form of of the the Mass Mass in in which which these these chants chants were were used. used. form 11. 11. This This seems seems to to be the the meaning meaning of of Strunk's Strunk's remarks remarks about about the the Psaltikon Psaltikon and and Asmatikon Asmatikon in in "Byzantine "Byzantine Music Music in in the the Light Light of of Recent Recent

World,pp. pp.240-254. 240-254.See Seeparticularly particularlypp. pp.244-5). 244-5). Research Research and and Publication" Publication" (Essays on Music in the Byzantine World, 12. 12. Thodberg Thodberg examines examines the the "intermodal" "intermodal" cadences cadences op.cit., pp. pp. 80-88. 80-88. 13. 13. Thodberg, Thodberg, The Tonal Tonal System of of the Kontakarium, Hist. Hist. Filos. Filos. Medd. Medd. Dan. Dan. Vid. Vid. Selsk., Selsk., Copenhagen Copenhagen (1960); (1960); and and Der byzantinische

Alleluiarionzyklus, pp. the appearance this scale in later Kusulinos, 0E006.1pO\) Alleluiarionzyklus, pp. 156-7. 156-7. For For the appearance of of this scale in later traditions, traditions, see see for for example example Spyridon Spyridon Kusulinos,

... Athens Athens (1912) (1912) esp. esp. ch. ch. 16, 16, pp. 61-4; R. R.