Second Pan-Hellenic Conference on the Psaltic Art

Athens: 15-19 October 2003

Second Pan-Hellenic Conference on the Psaltic Art

Athens: 15-19 October 2003

Poikilia terpousa: the melic composition in the Anthologia Sticherariou by the Protopsaltes of the Great Church Konstantinos Byzantios

rev dr konstantinos terzopoulos

The 18th c. and the quest for a more analytical form of byzantine musical notation and

the psaltic tradition after Petros Lambadarios the Peloponnese

I. The historical and notational dimensionsI. The historical and notational dimensions

ii. the personal dimensionii. the personal dimension

Konstantinos Byzantios (†1863)Konstantinos Byzantios (†1863)

1790, kanonarchos, 1st and 2nd chanters of the 1790, kanonarchos, 1st and 2nd chanters of the Metochion of Mount SinaiMetochion of Mount Sinai

1800, 2nd domestikos of the Great Church1800, 2nd domestikos of the Great Church 1808, 1st domestikos of the Great Church1808, 1st domestikos of the Great Church 1819, lampadarios of the Great Church1819, lampadarios of the Great Church 1821, protopsaltes of the Great Church1821, protopsaltes of the Great Church

ΣΣΚ 75, fols. 1r and 61r

Konstantinos the codex Konstantinos the codex writerwriter

ΣΣK 77, autograph of the protopsaltes of the Great Church, Konstantinos Byzantios:

dedication written on 21 May 1840 (photo: Athens, 2001)

Konstantinos as teacher of the old method of musical notation

«Ανθολογία στιχηραρίου»

i.e. the doxastarion composed by Konstantinos Byzantios

(Constantinople,1840 and 1841)

III. Melic dimension

Cover page of Konstantinos’ Semeiomatarion (1808), from which he compiled his Typikon according to the hyphos of the Great Church of Christ (Constantinople, 1838)

BKΨ 178

Also, amidst the typikal diataxeis there exist examples of the patriarchal melodies written in the musical notation of Konstantinos’ era as well as certain ‘musical’ rubrics

BKΨ 178, σ. 5

• Pantel. 977, fol. 210

The exegematic notation of Konstantinos Byzantios is more analytic than Petros Lampadarios the Peloponnese’s

Pantel. 977, exegematic notation

• Pantel. 977,fol. 210exegesis by Konstantinos

• EBE 947MS written by Chrysaphes the New

• EBE 3469MS written by Demetrios Lotos, prot. of Smyrna

Ouranisma and Thematismos

An example of the oral transmission of the new sticheraric genos

Oral transmissionOral transmission

• Neon Anastasimatarion by Petros Ephesios (1820), melos of Petros Lambadarios

Anthologia Sticherariou by Konstantinos Protopsaltes (1841), σ.213 ¬

•Anastasimatarion Argon kai Syntomon by Ioannes Protopsaltes (1863)

The melic influence of the Protopsaltes Konstantinos Byzantios: kalopismos on the melos of Petros Lambadarios

Melic influence

melos of Petros Lambadarios melos of Konstantinos Protopsaltes

A. Kalopismos on the doxastika for Pascha

three examples of kalopismos on the melos of Petros lambadarios by Konstantinos protopsaltes

three examplesthree examples

Iakovos protopsaltes Konstantinos protopsaltes

the relation with thedoxastarion of Iakovos protopsaltes

B. The syntmesis of the melos of Iakovos protopsaltes and the insertion of older cadencial ‘theseis’ in order to attain the new argosyntomon

sticheraric melic composition

»« ΙΚΕΤΕΥΕ»

words such as ‘supplicate’, ‘intreat’, ‘cry out’, ‘sin’, ‘death’ and others

received melic modulations and the imposition of older cadence theseis

C. Widening: the use of older cadence theseis and the changes on the modes

Tameion Anthologias by Konstantinos Byzantios

Pantel. 977, fol. 194v:exegematic notation used by Konstantinos Byzantios

EBE 3469, fol. 122r: notation of Petros lambadarios

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found in the papadic genos

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EBE 3469fol. 123r, Poterion soteriou, koinonikon

Anthologia Sticherariou by Konstantinos Byzantios (1840),

p.27. Doxa of the ainoi for 14 Sept. Pantel. 977fols. 195v-96r

another cadence thesis from the sticherarion of Konstantinos found in the papadic genos

A. Kalopismos A. Kalopismos of the melos of Petros lambadarios of the melos of Petros lambadariosB. Syntmesis B. Syntmesis of the melos of Iakovos protopsaltes of the melos of Iakovos protopsaltesC. Modulation or change of mode C. Modulation or change of mode via the use of phthorai via the use of phthorai

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«τα δάκρυα»

«την αμαρτωλόν»

«εκ των χρονίων πραισμάτων»

change of mode using phthoraichange of mode using phthorai

Tameion of Konstantinos Protopsaltes pp. 122-23

the use of a wide vocal range

Poikilia terpousa…Poikilia terpousa…

© 2003, rev dr Konstantinos Terzopoulos