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The Antiphons of the Byzantine Octoechus
Published online by Cambridge University Press: 11 October 2013
Extract
The Monumenta Musicae Byzantinae, a series founded by the Danish Academy, are now fairly under way. The first facsimile, that of the Vienna Sticherarium, together with handbooks on the Ecphonetic and the Middle Byzantine Notations, have already appeared. The first volume of Transcripta, the Proper Hymns for September, by Prof. Wellesz, has been published, while the November volume has now also come out. The next publication gives the facsimile of the archaic Hirmologus at the Monastery of the Iberians on Mt Athos (under the title Hirmologium Athoum). This series has the support of the International Union of Academies; and the British Academy has given practical help. Fr. J. D. Petresco, a pupil of Prof. Gastoué at Paris, has brought out a musical edition of the chief Byzantine Hymns for Christmas from several good mediaeval MSS. The present writer has shewn in two articles a new principle of decipherment for the Early Byzantine Neumes.
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- Copyright © The Council, British School at Athens 1936
References
page 132 note 1 Mon. Mus. Byz. vol. 1 Sticherarium; and Subsidia, vol. 1 The Middle Byz. Musical Notation (Tillyard) and vol. 2 La Notation Ekphonetique (Prof. G. Höeg), Copenhagen 1935. Prophetologium (Ecphonetic Notation) ed. C. Höeg and G. Zuntz.
page 132 note 2 Les Idiomèles et le Canon de l'Office de Noël, Paris 1932 (see our review in Byz. Zeitschr. 37 (1937) p. 135).
page 132 note 3 Laudate, Sept. 1936. Students of Byz. Music will be grateful to Prof. R. M. Dawkins for his account of John Cucuzeles (Koukouzélis) in The Monks of Athos (London 1936) c. XXXIV. (My recent observations have confirmed the view of C.'s music given on page 370.) Students of the Byzantine Liturgy will note the series Die Ostkirche betet by Fr. Kilian Kirchhoff (Leipzig 1934–7), a German translation of the Triodium, with introduction by Prof. Baumstark. Also Emm. G. Pantelakis, Les Livres Ecclés. de L'Orthodoxie (Irénikon, vol. XIII). This gives a valuable historical account of the formation of the printed service-books of the Greek Church. (Prof. Pantelakis has written several articles in Greek on similar topics: I shall be glad to send a list to any reader on request: the titles are too long to quote here.) FOLK-SONGS, Merlier, M., Essai d'un Tableau du Folklore musical grec, Athens 1935—a useful summary and guide to recent publications. The authoress and her collaborators have done and are doing excellent work in the recording and editing of Greek folk-songs. Recent works: Mon. Mus. Byz. vol. II; Hirmologium Athoum, ed. C. Höeg (Copenhagen 1938); and Transcripta vol. II. Tillyard, H. J. W., The Hymns of the Sticherarium for November (ibidem). Baud-Bouvy, S., Chansons du Dodecanese (Athens 1935).Google ScholarTillyard, H. J. W., Byzantine Neumes: the Coislin Notation. (Byz. Zeitschr. XXXVII, 345 [1937]).Google ScholarTiby, O., I codici mus. italo-greci di Messina (Accademie e Biblioteche d'Italia, XI, 1) Rome 1937.Google Scholar
page 133 note 1 Merlier, M., Études de Mus. Byz.: Le premier Mode et son Piagal: Paris, 1935.Google Scholar
page 133 note 2 Laudate Dec. 1924, March 1925. Byz. Zeitschr. 25 (1925) 333–338. Byzantion, 5, 557.
page 133 note 3 In a lecture given at Athens in 1933, published by the 
page 133 note 4 Karas, (Simon I) Ἡ ΒùƷαντìνὴ Μουσικὴ Σημειογραφία (Athens, undated; written 1933).Google Scholar Diagrams 1 and 2 merely illustrate the growth of the notation. A reviewer in the Byz.-Neugr. Jahrb. (1934 p. 486) is quite wrong in saying that K. has refuted the opponents of Prof. Psachos' theory.
page 134 note 1 V. inf. p. 136.
page 134 note 2 V. sup. p. 132. The British Museum has acquired two musical MSS since I made the catalogue published in the Musical Antiquary in 1911. They are: Ad. 39 578 = a Sticherarium, probably 17th century. Contains the Proper Hymns of the Menaea (for the Fixed Days) and of the Triodium and Pentecostarium (Lent and Eastertide). The music is not in the embellished style of the Graeco-Oriental School, but has been copied, with little change, from manuscripts of the 15th century. A good many subsidiary signs are supplied in red ink. (No hymns for Easter Sunday.)—and Ad. 39 611: probably early 18th cent. Hirmologus in the simplified style: it gives only a small collection of Canons and was intended for some small monastery or for a country Church, where the embellished versions, current at the time, would have been too difficult for the cantor. Chrysanthus and his followers based their melodies on manuscripts of this class.
page 134 note 3 Wellesz, E., Die Hymnen des Sticherarium für September. (Copenhagen 1936)Google Scholar = Mon. Mus. Byz. Transcripta Vol. I.
page 136 note 1 Cf. introd. to Mon. Mus. Byz. vol. I p. 13.
page 137 note 1 Tillyard, H. J. W., Handbook of the Middle Byzantine Musical Notation (Copenhagen: Levin and Munksgaard, 1935).Google Scholar See also Byzantine Music and Hymnography (London: the Faith Press, 1923) and Wellesz, E., Byzantinische Musik (Breslau, 1927).Google Scholar
page 137 note 2 The recent changes made are: the Piasma = diminuendo; The Xeron Klasma = staccato group without slur; The Duo Kentemata = staccato note with slur. The last note of every hymn to be a crochet [cf. BSA, xxi (1914–16) 137].
page 137 note 3 For a full account of the Anabathmi see Neale, J. M., History of the Holy Eastern Church (General Introduction) Part I, 2, pp. 919–20. A specimen of the Anabathmi is given by W. Christ and Paranikas in Anthol. graeca carminum Christianorum 53.
page 138 note 1 Byzantinische Zeitschrift, XXXI 13.
page 138 note 2 BSA XXVI 78.
page 140 note 1 JHS XLI (1921) 31. Wellesz, E., Die Hymnen des Sticherarium für September p. xxxi.
page 140 note 2 BSA XXX 86 and XXXI 116 (1928–1931).
page 140 note 3 Compare the first Ode of the Easter Canon given by Wellesz, Trésor de Musique byz. Pt. II p. 3 (from the Athos MS) with our versions (Trinity Hirmologus etc.) in Laudate 1922 p. 5.