Transcription of the Stichera Idiomela for the Month of April from Russian Manuscripts from the 12Th Century

Slavistische Beiträge ∙ Band 236

(eBook - Digi20-Retro)

Nina K. Ulff-Møller

Transcription of the Stichera Idiomela for the Month of April from Russian Manuscripts from the 12th Century

Verlag Otto Sagner München ∙ Berlin ∙ Washington D.C.

Digitalisiert im Rahmen der Kooperation mit dem DFG-Projekt „Digi20“ der Bayerischen Staatsbibliothek, München. OCR-Bearbeitung und Erstellung des eBooks durch den Verlag Otto Sagner: http://verlag.kubon-sagner.de

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BEGRÜNDET VON

ALOIS SCHMAUS

HERAUSGEGEBEN VON

HEINRICH KUNSTMANN

PETER REHDER JOSEF SCHRENK

REDAKTION

PETER REHDER

Band 236

VERLAG OTTO SAGNER

MÜNCHEN Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access NINA KONSTANTINOVA ULFF-MØLLER TRANSCRIPTION OF THE STICHERA IDIOMELA FOR THE MONTH OF APRIL FROM RUSSIAN MANUSCRIPTS FROM THE 12TH CENTURY

VERLAG OTTO SAGNER • MÜNCHEN 1989 Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access / Bayerische Staatsbibliothek I« München

ISBN 3-87690-420-X ©Verlag Otto Sagner. München 1989

Abteilung der Firma Kubon & Sagner, München Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access TO MY PARENTS

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access PREFACE

This work results from investigations carried out at the Institute for

Greek and Latin Medieval Philology, University of Copenhagen, during the

-A part of the study however, was performed at Dumbar .־ years 1983 1987 ton Oaks, Trustees for Harvard University, Washington, D. C., where I had a fellowship in the summer of 1986. The present work was submitted to the Faculty of Humanities, accepted as a Ph.D. dissertation In June 1988, and defended In August 1988* The Judging committee consisted of Doz.

Dr. Jørgen Raasted, Prof. Dr. Christian Thodberg, and Dr. Karsten Fledellus.

I am very grateful to many persons who took part In the advancement of my project. First of all I would like to mention Doz. Dr. Jørgen Raasted,

who Introduced me to the work with Byzantine musical manuscripts, and

who has been an inspiring adviser during the entire work.

Dr. Ivan Popvasllev and Prof. Dr. Ivan Dujčev Inspired my Interest

In Byzantine and Slavic music and culture. Sadly they did not live to see

the finished project.

Prof. M ild Velimlrovlc offered helpful advice, steady encouragement,

and neverfalllng friendship throughout the preparation of this project.

Prof. Dr. Werner Lehfeldt, Prof. Dr. Andrzej Poppe, Dr. Nicolas Shid-

lovsky, and Dr. phiL Bengt Holbæk, shared their opinions In fruitful discuss-

Ions with me on matters of great Importance.

Dr. Muriel Heppel kindly helped me In revising the English text.

Prof. Robert Zett lent me important and rare books, which would

otherwise have been difficult to find.

Many others have given me their support and interest. Among these

I would particularly like to name Jana Markova, Dr. med. Marianne Kieffer,

Lie. vet. Steen Kristensen, Victoria van Aalst, Dr. Jørn Qvonje, Dean Arne

Bugge, Jelisaveta S. Allen, Dr. med. Peter Wlmberley.

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access My family have given me an enormous encouragement and support, and shown a loving interest in my work* My husband has also assisted pa- tlently in typing the final draft of this study.

The staff of the Institute of Greek and Latin Medieval Philology, and Dumbarton Oaks have given me excellent working conditions.

This study could not have been started without the initial generous

financial support I recleved from the Ludmila Zhivkova foundation. The completion of the study was made possible by grants from Lund beck found a- tlon, Bredlusstlchtlng, and Dumbarton Oaks.

I sincerely thank all these persons and Institutions.

Søborg, December 1988.

Nina Konstantinova Ulff-Møller

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access TABLE OF CONTENTS

P reface v

Introduction 2

PART ONE

Stichera idiomela for April 6

List of the Musical Sources Used 15

The Method of Transcribing

L Preliminary remarks 24 4 IL Description of the method 28

PART TWO: TRANSCRIPTIONS

Preliminary remarks 44

April No. 1 46

A p ril No. 5 61

A p ril No. 6 82

April No. 7 95

April No. 12 107

April No. 13 128

April No. 14 152

April No. 15 165

April No. 16 175 « April No. ♦21 190

A p ril No. ♦25 200

A p ril No. ♦30 211

CONCLUSION 218

Index of corresponding Byzantine and Russian Formulas

Modes Deuteros 220

Modes Tetartos 228

A Select Bibliography 232

Dansk resumé 240

Plates 242

Nina K. Ulff-Möller - 9783954792054 Abbreviations Downloaded from PubFactory at 01/10/2019 24503:55:06AM via free access 00050426

INTRODUCTION.

Until now the manuscript tradition of the Byzantine Stichera (com-

prising approximately 650 sources from before AD 1500) has not been suffi-

c le n tly studied, as fa r as the ra m ific a tio n o f the m anuscripts (MSS) Is con-

cemed. Dr. Jørgen Raasted from the University of Copenhagen, Institute

for Greek and Latin Philology, has been working for several years on a ״ t project of this kind. For practical reasons he has chosen the Stlcherarlon

for the month of April because of its limited number of notated melodies

- 16 standard stichera ldiomela and approximately 35 melodies known from

a few sources only*.

Thanks to an Invitation from Dr• J. Raasted I took part in this project

in the academic year of 1982/83. Until now the text and music for the

("Round״) standard stichera of 47 MSS provided with Medlobyzantlne 16

notation (RN) and 13 MSS ln Coislln (CN) or with Chartres notation (ChN)

have been collated.

While working on these Byzantine Stlcherarla for April, it was realised

that this enormously rich musical material might be used for an Investigation

of the corresponding Old Russian stichera ldiomela. It Is well known, that

after the conversion to Christianity the Slavs (Bulgarians, Serbs, Russians)

used for the divine service liturgical books, which were translated from 2 Greek . These translations exist in several redactions. The differences among

the redactions are mainly caused by the nationality of the scribe, and the 3 date of the manuscript •

The Slavs used various kinds of musical notation to Indicate the melo-

dies, which are related to different types of Paiaeobyzantine notation, but

apparently the Slavs preserved archaic features longer than was the case

In the Byzantine tradition.

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access ־With the collations at ray disposal, based on 64 MSS (47 In Medio byzantine, 11 in Colslln, 2 In Chartres, and 4 in Old Russian Krjukl nota- tlon4) I had an excellent opportunity to study more closely the transmlssslon and adaptation of the Byzantine April stichera to Russian soll^, and to find out, how far the Russian translation adheres to the Byzantine tradition g in respect of notation, isosyllabic sim ilarity, and musical formulas .

By comparing the Old Russian stichera for the month of April from f the 12th century with their Palaeobyzantlne and Medlobyzantlne counterparts,

1 hope to find a method which could be generally applied In order to deci- pher the Russian stlcherarlc Chants In sematlc notation from the 12th century.

1• The "non-standard" stichera are marked with * In front of the number. In references to the material, the first cipher shows the number of the song, and the second number after the comma shows the number of the line• I stick entirely to the order of the standard and non-standard stichera for the month of April in the unpublished list made by Dr. J. Raasted.

2* From the enormously rich literature written on this subject, 1 refer only to : MeŠčersklJ, N^A.: istočnikl 1 sostav drevnej slavjano-russkoj perevodnoj pls'mennostl IX-XV vekov. Leningrad, 1978.

3. See: Karski], E.: Slavjanskaja klrillovskaja paleografia. Leningrad, 1928. Repr. Moskva, 1979• pp. 315-347• Žukovskaja, L.P.: Rekomendazll dlja opredelenija jazyka (lzvodov) drev- nich slavjanskich nikoplse]. In: Metodlfceskoe posoble po opisaniju slavjano-russkich rukoplsej dlja Svodnogo kataloga rukoplsej, chronjaSčlchsJa v SSSR, vyp. I, Cast1 I, Moskva, 1973, pp. 1-42.

4. Znamennaja notazlja, znamennoje різ1 mo, krjukovaja notazlja, stolpovoe znamja, sematlsche Notation, archaic Slavic notation, la notation palæo- byzantine slavonne archaïque etc. are som of the names usually used by scholars (Russian and Western) working in the field of the Byzantine and Slavic Chant, for describing the neume notation used in the Old Russian Stlcherarla, Heirmologia and some other MSS in 12th - 17th cent., up to the reform of Al. Mesenez• The discussion of the advan- tage or disadvantage of one or another name was raised by J. von

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access Gardner. See his article: Ober die !Classification und die Bezeichnung der altrussischen Neumenschriften. In: Die Welt der Slaven, Jahrg. XVII, 1972, pp. 175-200. In the text of the dissertation the titles Znamennaja or Sematlc notation are used (at schemes and tables: SN). For the different stages of the Znamennaja notation see also: Gardner, J. von: Bogosluïebnoe penie russkoj pravoslavnoj cerkvL Su&h- nost', sistema I Istorlja, voL I, Jordanvllle, N.Y., 1978. pp. 139-157.

The period of 11th -14th cent. Is represented only by a few notated fragments In MSS of Bulgarian redaction. See: Pallkarova-Verdell, R.: La musique Byzantine chez les Bulgares et les Russes (du IXe au XlVe siecle). MMB, Subsidia Ш, Copenhagen, 1953* pp. 222-230, PL X X , X X L Lazarov, St.: Istorlja na not noto pisma Sofia, 1965. pp. 70-74. Petrov, St., Kodov, Chr.: StarobQlgarskl musikalnl pametnlcl. Sofia, 1973. pp. 27-31, 55-61, 87-170. Old Bulgarian MSS entirely notated throughout the MSS are still not found, and this was a good reason for E, Koschm ieder to doubt that the roots of the Old Russian Krjukl notation were of Old Bulgarian origin, as was the case with almost all other liturgical books translated from Greek. See: Koschm leder, E.: Zur Herkunft der slavlschen Krjukl- Notation. In; Festschrift fur Dmytro tyïevskij zum 60. Geburtstag am 23 Marz 1954. Berlin, 1953. pp. 146-147. Llchačev, D.S.: Razvltle russkoj literatury 10-17 vekov. Epochl 1 stilL Leningrad, 1973. pp. 39-44. The discovery by J. Raasted of Theta notation Inspired St. Koîucharov, who showed that Theta notation was actually used for Indicating melodies In Old Bulgarian MSS from 12th - 13th cent. See: Raasted, J.: A primitive palæobyzantlne musical notation. In: Classica et medlevalla, XXI IL Copenhague, 1962. pp. 302-310. Ko^ucharov, St.: Paleografskl problemi na tlta-notazljata v srednovekovnite räkoplsi ot 12-13 vek. In: Slavjanska paleografia 1 diplomatika. Dokladi I saob&cenija ot seminara po slavjanska paleografia 1 diplomatika Sofija, septemvri 1979. Sofia, 1980. pp. 228-246.

The text of the stichera Is normally discussed only in connection with some of the Byzantine textual variants and their translation into Old Russian. All questions concerning the peculiarities of the text, redaction, and the poetical structure are left to specialists In Old Russian language and poetics. Some of the most interesting Investigations dedicated to the problems of early Slavic poetry are: Jacobson, R.: The Slavic response to Byzantine poetry. In: Actes du Xlle congrès international d'etudes byzantines. Ochride, 10-16 septembre 1961. Beo- grad, 1963. pp. 249-267. Pozdneev, A.V.: Stlchoslolenie drevnej russkoj poezlL Scando-Slavlca 11, 1965, pp. 5-24. Taranovskij, K.: Formy obSčeslavjanskogo 1 cerkovno-slavjanskogo stlcha v drevnerusskoj literature ХІ-ХШѵѵ. In: American Contributions to the Sixth Interntional Congress of Slāvists, Prague 1968, August 7-13. VoL I: Linguistic Contributions, ed. by H. Kucera. The Hague & Paris, .Slavistlc Printings and Repiintings, 80), pp. 377-394״) 1968 Lenhoff, G.: Liturgical poetry in Medieval Rus: Prosody as performance. In: Scando-Slavlca 29, 1983. pp. 21-41.

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PART ONE

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access STICHERA IDIOMELA FOR APRIL

The melodies accessible for deciphering belong to the stlcherarlc genre, which Is one of the most Important from a hymnographlcal and liturgical standpoint*.

According to the type of their melodic origin, the Old Russian stichera for the month of April are representative of the group of the stichera 2 ldiomela (samoglasny) , whose melodies were not used as models for other songs and were usually performed only once In the Church year on a fixed feast, The Byzantine tradition for April ldiomela comprises 16 standard pieces and 37 non-standard, which are to be found only in a restricted number of MSS• The accessible Old Russian material contains 15 songs in all - 12 standard and 3 non-standard stichera.

The aim of the following three tables Is to give information (as detailed as possible) for the lnciplts of the songs in Old Russian and Greek, the feast, the type and the position of the sticheron In the scheme of the services, their modes and order and finally their place in Old Russian sources. In table 1 the lncipits are given according to one Old Russian 3 and one Byzantine source, usually 384 and 1218 , but with references to other MSS, if a sticheron is not included In these sources. For the défini- tion of the feasts, and the type and place within the service, the remarks written in two published editions of the Menala - the Roman and Saliveros 4 S editions are used • The last column of table 1 refers to H. Folllerl's Intia •

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access T ab le It via free access

A pril St. NO. INCIPITS MODE FEAST ТУРЕ AND PLACE IN THE SERVICE REFERENCE Nina K. Ulff-Möller - 9783954792054

a IX Saint Marla־Доуиввьнаьа оуловлвнп t .1 the Egyptian doxastikon, at Kupié exénpaga FIN, IV 30 Та тле ФихПС длреицата ( A p r il 1) Downloaded from PubFactory at 01/10/2019 03:55:06AM

5. Ua h• ті» права ьа II Saint George Neuéxo бінаіа ( A p r il 23) doxastikon, at the Xixf! FIN, I I 493

МИНИН 6. В w с и ьа^гіцп IV a)doxastikon, at the oxlxov, little Vespers Паѵта та eõvn FIN, III 270 b) at the Xi xn г t 7. Пѣнпі-е пЪнпп IV t г 2 at the Xtxr! FIN, I 187 rAoua аацатшѵ

9. Прпдітв иоуѵбнпнольовіци IV FIN, I 298 Леихе (оіХоиЛотиосс Table 1 cont: via free access

Apr.St . NO. INCIPITS MODE FEATS TYPE AND PLACE IN THE SERVICE REFERENCE Nina K. Ulff-Möller - 9783954792054 О

• Придете в ір ь н гіп р г P l. I Saint George doxastikon, at the Xtxfl IV ( A p r il 23) FIN, I 298 ДеОте xöv uioxtõv Downloaded from PubFactory at 01/10/2019 03:55:06AM 11 В г с и hű весна T . I doxastikon at the Aivoi, ‘АѵётесХе xô £ар O rthros F IN ,.1 116

Достойно пил 12. P l. I I doxastikon, at Kupie екекраЕа,

'A E l(1> c t o u óvóuaxoc great Vespers FIN, I 137

Придете вксп ^виьннн НИИ ИИ И И И И И И И 13. P l. I I

ДеОхеT iá v x a хпс YHC FIN, I 290

Дьньсь въселенаьавьса 14. P l. I I и и и и и at the Ъіѵос # Orthros Е^иероѵЬ otuouuévn пйоа FIN, III 488 "T о С»сл rj Table 1, cont: О) via free access

Apr i в • REFERENCE No. INCIPITS MODE FEAST TYPE AND PLACE IN THE SERVICE Nina K. Ulff-Möller - 9783954792054 л n haa с P l. I I Apostle mark a) doxastikon at кбріе ёк'еираЕа ך На твои n .15 ( April 25) EoO éÇexúôn b) doxastikon at the Atvoi FIN, III 509

иниин Downloaded from PubFactory at 01/10/2019 03:55:06AM 16. Прпдіт• нивскнааго P l. IV doxastikon, at the otlxov ו АеОте Tftc oòoavíou FIN, I 297 со I

* 21. Краса иоуѵвнннг IV Saint George at the Acxn ( A p r il 23) FIN, III 546 ЕтпЛл uapTÓoo)^

*25. П w р вt h• предвалкне P l. IV A p o s tle James doxastikon, at Kupie éxéxpaEa FIN, III 376 npÖToc паѵебфпие ( A p r il 30) z г z z z *30. Апостол• иоуѵвницe I doxastikon at the oxlxov FIN , I 162 АпоотоХе наі иартис״ 00050426

10 -

Table 2 :

No 572 589 384 279

1 119 v 133 V

5 122 v

6 120 r 134 r 50 г

7 120 r 134 r 50 r

74r(part with* 9 out beginning, no neumesj

10 120 v 50 V 74 r

7 4 v (p a rt 11 without en- d in g , no neuntes.

12 121 v 134 V 51 r

13 122 r 50 V

14 122 v 135 r 51 V

15 123 v 135 V 51 V

16 123 v 135 V 51 V

*21 120 v 134 V 50 r

* 25 124 r 136 r 52 r

* 30 52 r

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 15 *2 5

15 *25

*30 *25

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access ז T ab le 3

572 1 6 7 *21

589 1 6 7 *21

384 б 7 *21

279 ...... 9

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access The question of the usage and the order of the April stichera In the different Byzantine and Old Russian sources Is certainly of considerable

Interest and importance, but since the main aim of this research Is to

investigate the possibilities of deciphering the Old Russian April stichera, only some of the most Important observations w ill be discussed:

1• Дейте тйѵ тисттйѵ (No. 10 appears In the Byzantine tradition

in the Tetartos Mode, while In the Russian sources the Mode Indication

is for Plaglos Protos. The sticheron is not given In the Roman edition

of the Menaion for ApriL It Is represented a8 an alternative for g Neuéxo ô C x a ia (N 0• 5) ln Saliveros edition . AU accessible Byzantine

sources contain both stichera - No. 5 and No. 10. In the Old Russian

material only 572 has both No. 5 and No* 10, while 589 and 279 re-

strict themselves to the use of No. 5• Actually the case with 279

is not clear, because of a lacuna in the MS.

Yfiç־ The case with *APtac xoO óvópaxoc (No 12) and ДеОхе ттгіѵта xflç .2

can be regarded as similar. In the Roman edition of the Menala only

No. 12 appears for the month of April, while the text for No. 13

July 26^. According to ־ appears for the feast of Saint Ermolaos a Saliveros Menaion No. 13 could be used instead of No. 12 •

3. ExflXn uaoxópcov (No. 21) appears very rarely In the written stlche-

raric tradition* It was found in only 5 of all the 64 collated Byzantine

In 49, 528, 384, 572 and 589. The incipit ־ and Old Russian sources

of the sticheron, according to H* Follleri, could be found only In one

A of her sources . In all probability ЕхДХг! paoxúpcjv has been used

for the Litija, since It has the same melody and poetical structure

as ITdvxa xa éôvn(No. 6) and 'Aoua áoudrw (No. 7), also used

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access for the Litija• No. *21 is given after N 0• 6 and No. 7 in the accessible

Russian sources, while in the two Byzantine MSS it is preceded by

.Exécpavov xáXXouc ־ .No. 6, No. 7 and No

The accessible Old Russian material does not contain translations for the following standard April stichera:

No. 2. ,o XauTtpòc ápiOTeúç

AoioxeCaç ЛдХсоѵ״ .No. 3

No. 4. ToO ueydXou BaoiXécoç

No. 8. Tòv voeoòv dôa'uavxa

M но на несеси , found on ff. 99v - lOOr In 384*** does

not have a counterpart In the accessible Byzantine material. This

sticheron remains separate from the other April stichera In 384 (ff.

50r - 52r) and It has been written In a different handwriting**.

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1. For the usage of the stichera and their division Into categories see: Weilesz, Е»: A History of Byzantine Music and Hymnography. 2nd ed. Oxford, 1961. pp. 243-245• Gardner, J.von: Bogsluïebnoe penie... pp. 89-92. Shidlovsky, N.: The Notated Lenten Prosomoja in the Byzantine and Slavic Tradition. A dissertation presented to the Faculty of Princeton University in candidacy for the degree of doktor of philosophy. 1983. pp. 68-72.

2. Gardner, J* von: Ibid. p. 108.

3. Abbreviations for MSS GPB, Sof. 384 and Sin. 1218. All abbreviations concerning the sources used in the text of the dissertation could be found in the list of the MSS.

4. M nvata xoö 5Xou évtaouxoO. 6 volumes. Rome 1888 - 1 9 0 1 .

.Adflvat 1949״.Mnvaüov xoö ánoiAiou. ОГкос M. EaXiØéoou

In forthcoming references the abbreviation MR w ill Indicate the Rome edition, while MA will refer to the edition by Saliveros. The Roman cipher will show the number of the volume, and the arable cipher w ill indicate the page.

5. Follleri, H.: Initia Hymnorum Ecclesiae Graecae. 5 volumes. Studi e testi. Vatican, 1960-66. In the references: FIN - followed by a Roman cipher, which indicates the volume, followed by an arable cipher, which indicates the number of the page.

6. MA, pp. 206-207.

.MR VĻ 224 ;״ MR IV364 .7

8. MA, p. 205.

9. FIN III, 546.

10. The same sticheron could be seen on the last page In the BlagoveSCen- sklj Kondakar' - see the facsimile edition of this monument: Dostal, A., and Rothe H. ed.: Der altrussische Kondakar'. Auf der Gundlage des Blagove&enskl] NlSegorodsklj Kondakar'. Bd 8,2. Glessen, 1976. p. 260 (130b).

11• Svodny] katalog slavjano-russkich rukopisnych knig, chranjafclchsja v SSSR 11-13 w . Moskva 1984. In references: SK.

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LIST OF THE MUSICAL SOURCES USED.

A fundamental precondition for starting this project was a large number

of sources, Byzantine and Old Russian, and the collation of this vast materi-

al has been of great help throughout the working process. The list of the

MSS with collated April stichera is divided into three main groups:

L Stlcheraria in Mediobyzantine (Round) notation*

II. Stlcheraria in Palæobyzantine (Coislln and Chartres) notation.

III. Stlcheraria in Sematic notation.

Only the most important Information about the sources Is given: he

name and location of the library, date, the number of the MSS, the numbers

of the folios, where the April stichera can be found in each MS; and a

reference to a catalogue (if existing), without bibliographical information

on each source. On the right side of the page Is the abbreviation code

for every MS used In the text of the dissertation. For the Russian MSS

only references to the Svodnyj katalog are given. This catalogue is partlcu-

larly useful because of Its good and detailed bibliography on each MS.

GROUP I

BYZANTINE STICHERARIA PROVIDED WITH ROUND NOTATION.

1. Athens, National Library 883 883 12th-13th cent., 352 folios. 153v - 158r

2. Athos, Vatopedi 1492 1492 A.D. 1242, 278 folios. 109v - 113r

Eustratlades, S. and Arcadios, deacon: Catalogue of the Greek Manuscripts in the Library of the Monastery of Vatopedi on Mount Athos. Harvard Theological Studies, XL Cambridge, 1924* p. 234*

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3. Cardiff, University Library, N .Peribleptos". 14th cent״ Codex 138v - 142r.

4. Copenhagen, Royal Library, NKS 4960 4°, 4960 14th cent., I ♦ 294 ♦ I folios. 114r - 117r.

Schartau, B•: Manuscripts of Byzantine Music in Denmark. C1MAGL 48, Copenhagen 1984, pp. 18-19.

5. Grottaferrata, Biblioteca della Badia Eal E a ll 13th cent., 107 folios• 196r - 205v

Tardo, L.: La musica byzantlna e I codici di melurgla della Biblioteca di Grottaferrata, estratta dalla rivista Accademiae e Biblioteche, Anno IV, N* 4, 5 aprile 1931. - IX, p. 12

6. Grottaferrata, Biblioteca della Badia Ball E h n 12th cent*, 275 folios. 199r - 205r. Tardo, U lbid.

39 ,־ Bucharest, National Library, BCU Jassy IV 39 .7 ־os ״ fo ^

JERUSALEM, GREEK ORTHODOX PATRIARCHATE

8• Phot los 30 Ph. 30 13th cent., 142 folios. 102v- 105v#

Clark, K•: Checklist of Manuscripts in the Libraries of the Greek and Armenian Patriarchate in Jerusalem, microfilmed for the Library of Congress, 1949-50. Washington, 1953• p. 15•

9« Hagi os Stavros 30, St. 30 .th cent•, 166 folios־12th13 73r - 75r

Clark, ibid. p. 13•

10• Panagios Taphos 528, 528 12th-13th cent., 234 folios. lOOv - 103v

Clark, ibid, p. 9.

11• Panagios Taphos 533 533 .th cent•, 1, 310 folios־12th13 141v - 146 v• Nina K. Ulff-Möller - 9783954792054 Clark, ibid• Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access СЮ0Б0426 - 17 -

12. M eteora, Mone Mecarmofoseos 291 291 A.D. 1297., 276 folios. 98r - 100 v.

Bees, N.: Les manuscrits des Météores. Catalogue descriptif des manu- serit s conservés dans les monastères des Météores. Athènes, 1967. Vol. 1. pp. 306-309.

PARIS. BIBLIOTHEQUE NATIONALE

13. Fonds C oislin 41, 41 ISth cent., 263 folios. 203v - 205v

Gastoue, A.: Introduction â ta paléographie musicale byzantine. Catalogue des manuscripts de musique byzantine de la Bibliothèque Nationale de Paris et des bibliothèques publiques de France. Paris, 1908. p. 88.

14. Fonds C oislin 42 42 ISth cent., 382 folios. 155r - 159r. Idem, p. 89

15. Ancien fonds grec 260, 260 14th cent., 254 folios. 109v - 112r Idem, p. 82.

16. A ncien fonds grec 261, 261 A.D. 1289, 260 folios. .v־ lOOv 103 Idem, p. 82.

17. Ancien fonds grec 262 262 14th cent., 300 folios. 132v - 136r* Idem, p. 82.

18. A ncien fonds grec 264, 264 13th cent., 370 folios. 157v - 162v. Idem., p. 83.

19. Ancien fonds grec 265, 265 14th cent., 274 folios. llO r - 114r. Idem, p. 83 Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426

- 18 -

20. Ancien fonds grec 355 355 13th cent., 330 folios. 245v - 251v ♦ 326v. Idem, p. 83•

SINAL LIBRARY OF THE MONASTERY OF ST. CATHERINE

21. No. 1215, 1215 14th cent., 218 folios. 97v - 99v. Kamil, M.: Catalogue of all Manuscripts In the Monastery of St. Catherine on Mount SlnaL Wiesbaden, 1970. p. 127.

22. No. 1216, 1216 13th cent., 282 folios. 112v - 116v. Kamil, ibid. p. 127.

23. No. 1218, 1218 A.D. 1177, 271 folios. 113r - 116v Kamil ibid.

24 No. 1220 1220 12th-13th cent*, 282 folios. lOlv - 105v. Kamil, ibid.

25. No. 1221, 1221 A.D. 1321, 399 folios. 154v - I59r.

Kamil, Ibid.

26. No. 1223 1223 13th-14th cent., 354 folios. 148v - 153r.

Kamil, ibid.

27. No. 1224, 1224 14th cent., 277 folios. 112r - 115v. Kamil, Ibid.

28. No. 1225, !225 14th cent., 321 folios. 116v - 120r. Kamil, Ibid.

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29. No. 1226, 1226 14th cent., 267 folios 112v - 116r. Kamil, ibid.

31. No. 1228, 1228 14th cent., 289 folios. 98r - lOOv.

Kamil, Ibid.

32. No. 1229, 1229 A.D. 1374, 247 folios. 94r - 96v. Kamil, Ibid.

33. No. 1230, 1230 A.D. 1365, 313 folios. 125v - 129r. Kamil, Ibid.

34. No. 1231, 1231 A.D. 1236, 224 folios. .r־ 95r 98

Kamil, Ibid.

35. No. 1232, 1232 13th cent., 371 fo lio s. r־ 245v 254 Kamil, Ibid.

36. No. 1249, 1249 14th cent., 206 folios. 186v - 192r. Kamil, Ibid. p. 128.

37. No. 1453, 1453 14th cent., 281 folios. 115r - 118r.

K am il, Ibid• p. 132•

38. No. 1464, 1464 A.D. 1223, 270 folios .r־ 119r 122 Kamil, Ibid•

39. No. 1471, 1471 14th cent., 357 folios. 135r - 140v. Kamil, ibid. Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426

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40. No* 1472, 1472 13th cent*, 275 folios* .r ־ 112v 116 Kamil, ibid.

41. No. 1484, 1484 13th cent*, 282 folios* *r־ 107v 112 K a m il, ibid* p* 133*

42. No* 1487, 1487 13th cent*, 131 folios. 93v - 97r. Kamil, ibid*

43* No* 1504, 1504 15th cent., 256 folios. 98v - 101г. Kamil, Ibid.

44* No. 1564 1564 14th-15th cent*, 290 folios. .r־ 123v 127 K a m il, ibid* p. 135.

45. No* 1585, 1585 14th cenu, 386 folios. 304 - 313* Kamil, ibid.

46. No* 1586, 1586 14th cent., 333 folios* e r - Qv Kamil, ibid.

47. Vienna, Natlonalblbllothek, D MS theol. gr* 181 (Codex Dalassenos), A.D. 1221, 325 folios* 137v - 141v Høeg, C., Tillyard, H.J.W., and Wellesz, E* eds.: Stlcherarium Codex Vlndobonensis Theol. Graec. 181* Phototyplce depictus. MMB* Main series L Copenhagen, 1935.

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BYZANTINE STICHERAR IA PROVIDED WITH PALÆOBYZANTINE (COISLIN AND CHARTRES) NOTATION•

1• Athos, Laura G 74, (Chartres), lOth-early 11th cent*, 116 folios 59r - 61v Spyrldon, and Sophronlos Eustratlades: Catalogue of the Greek Manuscripts In the Library of the Laura on Mont Athos. Cambridge, Mass•, 1925• No. 314•

2• Athos, Laura D 28, (Coislin), 12th cent«, 214 folios, r ־ 77v 82 Idem, No• 404.

3• Berlin, Preusslscher Staatsbibliothek, gr. fol. 49, (Coislin), 12th cent., 194 folios. 47r - 51r. S crip to riu m , X III, 1959, pp. 127 - 130•

JERUSALEM, GREEK ORTHODOX PATRIARCHATE

4. Haglos Sabas 208, (Coislin), (Menala for March to August), 12th cent., 161 folios. 25 - 43• Clark, Checklist*••, p. 11.

5• Haglos Sabas 361, (Coislin), 11th cent«, 161 folios• 1I4v - 118v. Clark, ibid* p. 12•

6. Haglos Sabas 610, (Coislin), 11th cent•, 258 folios* 108v - 112r. Clark, Ibid.

7• Messina, Biblioteca Universitaria MS 110. (C oislin), 73r - 76r

Tardo, L.: I manuscript! di musica nella Biblioteca Universitaria di Messina* In: Archivio Storico per la Calabria e la Lucania, t* XXIII, 1954, pp. 187-204*

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8* Ochrld National Museum, MS 53, (Coislin) 53 12th cent., 665 pages. 284 - 293.

MoSln, V•: Les Manuscrits du Musée National d'Ochrida. Iru Recueil de Travaux, édition speciale. Ochrid, 1961. pp. 179, 218-219.

9. Patmos, MS 218, (Coislin), 218 A.D. 1166, 218 folios. N0 visible foliation»

Komlnes, A.: Facsimiles of Dated Patmian Codices. Athens, 1970. p. 25•

SINAI, LIBRARY OF THE MONASTRY OF ST. CATHERINE

10. No. 1214, (C oislin), 1214 12th cent., 246 folios. r ־ lOOv 104 Kamil, Catalogue...p. 127.

11. No. 1217♦, (C oislin), 1217 12th c e n t., 160 fo lio s. .r־ 117r 121 Kamil, ibid. ♦MS 1217 Is the first part of Sin. MS 1243. See: Folllerl, H., and Strunk, O. ed.: Triodium Athoum. Codex Monasterii Vatopedi 1488 phototyplce depictus. MMB, Main series IX, pars principalis et pars suppl. Copenhagen, 1975. p. 32. No. 8

12. No. 1219, (Chartres), 1219 llth-12th cent., 152 folios. 107r - 11 Or. Kamil, ibid.

13. Vienna, Nationalblbllothek 136 MS Theol. gr. 136, (C oislin), 12th cent., 265 folios. 127v - 131r.

Wolfram, G. ed.: Stlcherarium Antiquum Vlndobonense. MMB. X. Pars Principalis et Pars Suppletoria. Vindobonae, 1987.

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OLD RUSSIAN STICHERARIA WITH ZNAMENNAJA NOTATION

Leningrad, GPB Sof. 384 A*D. 1156-1163* 1+114 folios. .r ־ 50r 52 SK No* 54, pp. 95-96.

Moscow, Gim Sinodal 572 12th cent. + 14th cent. (ff.203-216), 216 folios. 119v - 124r SK No. 99. p. 130.

Moscow, GIM Sinodal 589 12th ce n t, or A .D . 1157(?), 190 folios* 133v - 136r. SK No. 100, p. 131.

Moscow, GIM Sinodal 279 late 12th cent., 168 folios. 74r • 74v. SK No. 131, pp. 155 - 156.

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access læ METHOD OF TRANSCRIBING

L Preliminary remarks.

The origin, sources, and the notation of the Old Russian Chant have been a field of scholarly interest in East and West for more than 120 years, and the results achieved are substantial and promising*• The progress In the investigation of the Old Russian singing tradition would not be possible without the remarkable advancement made in the studies of Byzantine Music•

If In the 20s and 30s the efforts of the scholars were directed to revealing the secrets of the Mediobyzantlne notation, In the last 40 years interest has also been concentrated on investigations of the earlier stages of the 2 Byzantine notation .

The starting point of this research is based on the observations of

R. Palikarova-Verdeil, O. Strunk, M. Vellmirovic^ and C. Floros, who not only asserted that the roots of the Old Russian Chant could be found in 3 the Byzantine Music t but they also stated that the Znamennaja notation

Is closely related to the Coislin notation, presumably in one of Its early A e с stages . A. Preobrazenskij , and C. Høeg v working with Old Russian Chant, have noticed that the transfer of the Byzantine Chant to Old Russian MSS shows a clear aspiration to conform as precisely as possible to the Greek model, as regards text, notation, isosyllabic and isoaccent similarity^• It is absolutely reasonable, however, to hold to the statement of M* Velimi- rovic, that the use of an Identical musical notation means an Identical Q melody even if the texts are in different languages •

At first sight the deciphering of the melodies of the Old Russian

Chant may not seem especially difficult - a mere translation of the Byzan- tine model texts into Russian, and an adaptation of their melodies to the corresponding Russian version. In fact the progress made in the investigation

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access of the Palæobyzantlne notation created a scientific precondition not only for comparing the neumes of the Palæobyzantlne and the Znamennaja nota-

־*tlon, but also for determining the melodic content. By use of parallel trat scrlption, the problem of transcribing the Russian chant apparently could easily be solved. However, a lot of specific peculiarities make the transcrip- tlon of Znamennaja notation quite complicated, and even sometimes 9 impossible .

Neither Palæobyzantlne nor Znamennaja notation are readable by themselves. These notations were used as a memorizing code for the singers, reminding them of the general direction of the melody, which Implies that a very well developed oral tradition existed***. E.g. in the Palæobyzantlne as well as In the Znamennaja notation neumes with polysemantic meaning

stoplza) could be a repetition, ascending ־ could be observed: <— (Ison or descending sign**. Therefore it is not possible to make a transcription of the songs, written In these notations without comparing them with later, readable sources.

In spite of the above-mentioned undoubted similarity between the

neumes of the Coislin and the Znamennaja notation there are some very

important differences. For example / (Oxeia), one of the most common

signs in the Byzantine notation, Is to my knowledge not found in any Old

Russian MSS. It was used only as a part of combined neumes - e*g* ^ / 12 as a part of Strela etc. . Some , ״• Skamejka) in combination with)

Russian neumes are without a counterpart in the Byzantine notation - e.g.

.^*.Krjuk s podcaslem etc ״ ' ^ Statja svetlaja ״ statja zakrytaja

It is obvious, that in the transmission Into Old Russian It was not

always possible to keep the same number of syllables**, or perhaps It was

not even desirable, since a Slavic attempt at creative translation of the

Byzantine songs cannot be excluded***.

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access Another problem Is the degree of precision in which the Byzantine stlcherarlc tradition was kept under the new conditions. In connection with the problem of transferring Byzantine literature to Russia, D.S. Lichacev stated that ”Literary works are transplanted Into new soil, and here they continue their own Independent life under new conditions, sometimes with new forms, Just as a transplanted plant continues to live and grow In new surroundings..• Transplanting permits the grafting from an old culture to develop Independently and creatively on new soil. It leads to the appearance of local characteristics and variants of the transplanted culture* This phenomenon is extremely Important for the formation of new cultures: a sign 16 of "youth" and capacity for life" •

The same phenomenon has been observed by M* Bralnikov within the

־field of the Old Russian music: " The texts have experienced far less alter ation than the melodies, and have remained relatively unchanged, while the melodies. Judging from the external evidence of the notation, have changed substantially"*^.

In connection with this could be added that In the Russian musicology the term "mnogoraspevnost1" exists. The so called "mnogoraspevnost1", which appears from the 15th cent*, Is slgnifed by more complex neumes, and more elaborate melodies Is a typical feature of the Znamenyj Chant. Con- slderable differences can be observed by comparing chants from the 12th 18 cent*, with the chant written in 15th, 16th cent., and later * Maybe the phenomenon of "mnogoraspevnostr " could be compared hypothetically with 19 the Byzantine exegetlcal practice .

At present it is reasonable to believe that the stichera from the 12th cent* Russian MSS are very close to the Byzantine models in respect to notation and melody, and that the process of transplantation has not affected

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them very much approximately 60-70 years after the conversion of the

Russians. This is also the reason why, for the time being, Russian stichera

for April from later periods are not taken into account, since they could 20 be the subject of another big project •

A very succes fui attempt at transcribing the Znamenny] Chant, based

on a detailed and fundamental analysis of the Russian krjukl and their corre-

spondance and connection with the Byzantine neumes, has been made by 21 C* Floros * His valuable observations, based on very rich comparative

material, and the refinements of his analysis are not only very Impressive,

but also a considerable contribution towards solving the difficult problem*

But sometimes in his transcriptions of the Old Russian stichera based on

sign by sign comparisons, he does not take Into account the differences

which could be observed between the Sematlc and Byzantine notation* It

Is not clear why some neumes were replaced by others In the Russian trans-

latlons, If the melody movement was the same* This shows that sign by

sign comparisons between the Sematlc and Byzantine notation alone are

not always adequate for a precise transcription.

In his remarkable Investigation of the Byzantlne-Slavic musical relation-

ship, M* Vellmirovic has given a very penetrating and progressive statement

of how the problem of transcribing manuscripts might be solved* He asserts

that: "Neumatlc notation in Slavic manuscripts cannot be transcribed by

Itself* An approach combining the study of neumatlc notation, melodic for-

mulae, and musical forms may help to reconstruct and tentatively transcribe

Into present day notation parts of some hirmoi, yet no complete transcription Л2 of a whole hymn would seem to be possible at the present tlme*^ •

The Ideas of M* Vellmirovic stimulated my own efforts in finding

a method for transcribing the whole melodies.

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access IL DESCRIPTION OF THE METHOD.

It is a well known fact that one of the most characteristic features of medieval art and its poetics Is the strict adherence to a normative system of canonical patterns, typical for every form of art, and the tradition main- 23 talned without noticeable change throughout centuries . For the Znamennyj and Byzantine Chant, as for other forms of medieval art, the combination of the conventionality (tradlzlonnost') and Instability has been typical, with plentiful variants and different readings, based on a constant, unchanging structure. In spite of the strict rules, which the medieval masters had to follow, and the necessity of following exactly the canonical norms, the possibility of showing personal creativity was not completely excluded.

This creativity appears not as a negation of the dominant tradition, but as a mastery of the fine, elaborate expressiveness, in the freedom and grace shown In applying the universal, typical shemes. In the medieval

Chant (Byzantine, Old Russian, Gregorian) this has been achieved by intonational nuances - the substitution of some Intervals by others, small changes

In the melodic Unes, reversal of the rhythmical accents etc., which changed the expressive character of the Chant, without disturbing its main structure.

The epochmaklng formula theory of M. Parry, based on an Investigation of Homer, and further developed by A. Lord on the basis of Serbian folk 24 songs , is also valid for Old Russian and Byzantine Music. In Russian musical theory the term "popevka" Is used. "Popevka" is a short musical formula with a definite modal structure and it is a basic structural unit of the

Znamennyj Chant. It Is graphically stable, keeping Its delineation throughout the centuries*3. The term popevka has been reflected In many Russian musical theoretical handbooks called "kokiznlki" from the end of the 16th

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access The musical formula as a structural element In the Byzantine music was confirmed In the western musical theory comparatively later, in the 27 investigations of E. Wellesz . He and some other scholars were able to show that every genre of Byzantine music Is built from a certain number of cadential, opening and medial melodic formulas with a modal definiteness, which in proper combinations link the musical phrases together Into well organized melodic compositions. M* Vellmirovic demonstrated that in the

Old Russian Heirmologia many melodic formulas from the first Mode have identical counterparts In the Greek Chant, and on the basis of this Identity 28 It is possible to transcribe a part of the Medieval Russian MSS . 10 years ago a new valuable Investigation, dedicated to the formulaic organization 29 of the September-stlchera In the Deuteros Modes appeared in Copenhagen •

Amargianakls1 book with Its precise groupings of the different formulas in Deuteros Modes has been of great help for my own transcriptions (since half of the melodies are in Deuteros Modes). At first I tried to find the connection between the Old Russian and the Byzantine formulas. For this

purpose Amargianakls1 Index of the formulas In Deuteros Modes has been

constantly used as a dictionary, and stimulated me to complete a concord-

ance of all corresponding formulas in both traditions.

In Amargianakls' Analysis it is apparent that very often some of the

formulas come in a fixed combination - e.g. formulas 7 ♦ 16 ♦ 1 or formulas 30 2 ♦ 9 etc. (according to the numbering of Amargianakls) • Such stable

combinations could also be observed in the April material, and contribute

to the transcribing of segments containing some of these sequences In the

Russian translation, even if they sometimes are not to be found In the

corresponding line in the Byzantine sources* See examples 1 and 2.

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Example 1.

5,18 f . 16 f . 1 f . 7 г >-

j y ->'• 4 // // // «__ с - Ł. 4— SN 14 B t Hk ц е но Ck ЦА ТАBH к*, вг n p e CH Л к н а G a a bc b a a bc GE FG bG aG FE E

А > // // \ - > f \ \ כ У < CN - — f . 7 f . 1 f f . 16, 12 / í >־ <- מ־ד ׳ 'A _> RN ore ФП ФОQOV oc o р(1) ѵ * а к ц а и o т а т е

G a bc b a с GEFG G bG aG FE Е

Example 2.

f . 1 13, 2 f> 7 f.♦ 16 ------I ׳ f 1 » •

׳׳ל ~ v ייל ï с У ) _» _» -» ^ ד׳י SN 12 лоѵ *o ■w ни n лн кг сг вг ноу пп иг Ga bc b a a bc GE FG bG aG FE E

// / / ״• / / r ד 13 / ^ ’ז ל ׳' ' ־׳ט "<- / > — ,- JŻ _» / / ׳ 7 p o x n aco ц е ѵ * ז RN uveo na ti xnv xo pet av e 1 1 E E FG FE D EF F G FG E FE EPG G

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With the transmission, as mentioned before, It was not always possible

to keep the same number of syllables in the Russian translation, and this

fact causes some extra problems in transcribing.

The division of the available material, consisting of 13 songs, Into

a total of 167 lines shows:

a) Coincidence between the numbers of syllables - 45 cases.

b) The Russian verse with more syllables - 83 cases.

c) The Russian verse with less syllables - 33 cases.

When more syllables are used in the Russian sources, usually the process

has been one of the following:

a) Filling up with Ison•

Exam ple 3•

12,10

־׳“ L ־L u 1 ^ SN 14 елоѵ *в ни в n до лъ ско в п ско06 пп 8% b d c b b b b b b bc b ab G G

// י י CN x

>יli ־־* ל, \ר י >־ ( י 7- / ^זד ал; Б1 60) А&ы ек p t a0£־ RN Opr! оке i av b d e b b bc b a ba G G

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.Filling up with another neume (כ

Example 4.

6,2

Z 6 / v \ * y SN 7 вг сплв ав те роу ка ин d e f cd fe d bee

<7* /? \ ״״>׳<׳ — BN xpo òr) оа т е x e i оас d f cd fe d bec

с) Addition of Ison ♦ another sign.

Example 5.

7 ,2 I ^ V ' י v - » .2 SN 8 ли кг ствоу 1-0 ne ноу пь но d d е f cd fe d bee

T I » ь ״״ Л ״74׳ 7׳ אד ״' י'׳ У — RN хо оси ov тес oto ua d f cd fe d bcc

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 33-־ d) Inserting a new formula*

Example 6«

,------. 5׳13 ,------. < _ с / «— / / eL _ > ו ־ > г SN 10 П Л І TW SO CBO H> noe да a i he et! b ba G a b b a a b a a

• • פ ל־ J - V CN

~ י L- RN то au> ua yao ô o u q b ba G ab b

Usually most of the cases a, b, and с give a different variant of the same melodic formula used In the Greek version.

In cases where the Russian verses contain fewer syllables, the musical translation was normally made In one of the following ways: a) By using only a part of the formula.

Example 7.

13,3

/׳י< -px и с SN 5 nt Ntt H TpOV ROY DE E E FE D

V ׳<* Ч רר /CN «_ с

ו י —י------י 8 ד ׳׳׳с— t / »X «— ci RN тсоѵ а оца тыѵ тлѵ оаХtily т а G a DE E GF Ga FE D

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־34•

b) By using a formula In the Greek version and a combined sign with

the same (or almost the same) meaning In the Russian translation.

Example 8

6 ,3 ^

~~v i l לג N ל כ / // — T4✓ CN~~

~~8 V Q >־ ע / ✓/ — BN а Ха Ха Sw u e v TG) ве 0) G a b с b а с а~~

с) By applying a new formula*

~~Example 9.~~

~~5,16 Г - ■ ■ t 4 Ł- U 9: 'S ' " SN 5 n вра гг na ve a a EF Gb a~~

~~7י ־ ״״ N-/ / --׳ 7 ״» נ ״» // // *•'גד י — RN к а і о ße Xi ao uaX Xov D E FG a EF Gab а~~

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access Normally It Is supposed that In places where the numbers of syllables are Identical, the Russian redaction follows the Byzantine one literally

~~(or very precisely1. But the stichera of April gave quite other results than one would expect: a) Only In 4 of 45 cases is there a complete identity.~~

~~Exam ple 10.~~

*21,5 ■ ■ * 1 <— Ч с / t— e_ V // SN 7 H UOV AOO СТП t-O АО* BA e ас d с b cb с

~~V V у V. f f CN — 4 ļ ■ - ־■■ -t י — г ^~~

~~/t \ <ד S י־׳ל \ RN x a t ФОО v n GEL т п е ХЛС e ec d с b cb с~~

~~b) Mostly differeu variants of the same formulas are used.~~

~~Exam ple 1L~~

~~// Ч • כ ־־* 2i,6 Z . t S* • un ץ % врд хп • ке SN 7 0 d e d bc d ba G~~

~~<<= ־ « י ^ CN - S' 4~~

~~_ уС• <—Z? V ( \ , ,, RN e x^oov тпѵ a no vot av d e f d d d Nina ba K.G Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~36-־~~

~~с) Different formulas are applied.~~

~~Example 12,~~

~~1,9 f t I — 1 Ь сУ ^ SN 7 no KA « N11 t-a ПЛО All G b ab G aG FE E~~

~~ע ה _ e כ ' ׳ *י 4 י ר י 4 ' ׳ *י כ~~

~~ו I г • ך י דל י׳׳ ל >־7 RN тле ие та vöt ас оха u o u ç G E GF Ga G F D~~

~~There are cases where the same formulaic graphic has been used for~~

~~־presenting different melodies. This phenomenon could be seen In the fol~~

~~lowing cases:~~

~~a) A neume (or neumes) In the formula could be Interpreted in different~~

~~ways, because of the multiple meaning of some signs in CN and SN.~~

~~In CN has been used as G EF *״For example 0 \ in SN and ѴУО~~

~~GF EF• In the transcription the counterpart in the RN has usually~~

~~been followed. See formulas 9 and 10 In the concordance of the Deu-~~

~~teros Modes (p.221)•~~

~~b) Some formulas containing \ (Bareia - Palka) looking graphically equal,~~

~~however, demonstrate different melodies. For example the formula~~

~~//(In 1,1; 12,17; 13,1 and 1,6) shows identical neumatlc stnic-~~

~~ture (by comparison with the Mediobyzantine counterparty) but presu-~~

~~mably indicates different melodies - 1,1 as: G a ca b; 12,17 and 13,1~~

~~as G a FE D; 1,6 as a с GF E. Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 050426~~

~~״ 37 « 37 ״~~

~~in 5,9 transcribed as*׳ V 7 ־־־=> Similar cases could be observed with~~

~~G aF G, and In 5,14 as b cb a.~~

~~The musical formulas have not only a melodic but also a rhythmical value.~~

~~Many different rhythmical variants in the formulas have been demonstrated~~

~~very convincingly in Amargianakls' tables of the formulas. The differences~~

~~In the rhythm between the Greek and the Russian formulas have as far~~

~~as possible always been taken Into account* The valuable observations~~

~~by M. Vellmirovic and C. Floros concerning the rhythmical peculiarities 31 of the Sematlc neumes have always been used # For example one of the~~

~~most frequent cadentlal formulas on E shows a rhythmical difference In~~

~~the Znamennaja notation because the sign 'z' Is used in the last two~~

~~syllables.~~

~~SN €—- V // '/ " fj i f i f J ׳■ // is used as a sign for a double length of the neurae (FUN 1,~~

~~195-196) and this characteristic feature has been reflected In the transcrip-~~

~~tions. 32 In the last 25 years the Interest among western musicologists in the~~

~~chromaticism in the Byzantine music has increased considerably. J. Raasted~~

~~has been especially active discussing chromatic intervals and scales In the~~

~~Byzantine Music. The problem is then, how could it be explained that~~

~~the Russians, when transferring Byzantine Music onto the Russian accepted~~

~~only the notation and the formulaic structure without the chromatic charac-~~

~~te r?~~

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~~- 38 -~~

~~Following the Idea of L Borsai it may be suggested that presumably~~

~~two versions of songs existed, one chromatic, and one diatonic, and for 33 some reason the Russians adopted only the diatonic version • One example~~

~~from the April material (10,16) could be shown to support this allegation•~~

~~From 24 MSS in RN with MeSl before line 16t 6 MSS indicate c, and the 34 other 18 MSS have с sharp (see example 13) . Certainly the problem needs~~

~~much more attention, for which more comparative material is needed.~~

~~Anyhow, the April stichera In Deuteros Modes ♦ the modulation places~~

~~to these Modes are transcribed dlatonlcally, since there Is no proof until~~

~~now that chromatic Intervals have been used In the Russian singing practice.~~

~~10,16-17~~

~~׳׳ ״ С/ ־* ° /j /fi/ ־* ׳׳ t - e e e e bc def e * e e e bc def e e * f rom G ______. L ,1564 ,42 ,1218 1 / י 1. tf (o n ly 1585 J in 1218) יל זד3 2. 265, 1223~~

~~~^s יד c -fe s ķ 1231, 1492, 1220, 3. & (o n ly N in 1492)~~

~~4. > c # c Jr Ph.3(~~

~~Eall, St.30, 528, ,1225 ,264 ,533 * י י׳ , " * * נ, , * י י׳ 5. І c ł ^ cJt 883, 39, 4960, o n ly * 1228, 1232, 1216) י1 in 1216)~~

~~׳-* — • — , 7 — ־* 1, #/ " 4 ד fr * s ^י> 6. c ł g fe c *v e e e 261~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access ׳0050426~~

~~־39«~~

~~Two stichera have not yet been transcribed:~~

~~a) The first one W ho Is without a modei in the Byzantine~~

~~tradition, and is for the time being impossible to transcribe.~~

~~b) The Greek model for ПрпдѴге вѣоънгіи** has a different modal~~

~~indication (Tetartos Mode) from the Russian sticheron (Plagios Protos). In~~

~~this case a transcription cannot be undertaken with satisfactory results~~

~~because of the fact that every mode has typical formulas of their own.~~

~~Segments with all kinds of Thetas give some extra problems for the~~

~~precision of the deciphering, because of the stenographic way they were~~

~~written, and on account of the relatively great liberty admissible in their~~

~~interpretation. In the transcriptions the Greek model in RN has been~~

~~follow ed.~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~- 40 -~~

1. A very detailed bibliography referring to ail problems connected with the Old Russian Chant can be found in: Gardner, J.von: Bogoslužebnoe vol. I, pp. 34-54• For the results obtained in the research ,. ״penie on the Old Russian Church Music see: Vellmirovič, M.: Stand der Forschung über kirchenslavische Musik« In: Zeitschrift für slavische Philologie, XXXI, 1963, pp. 146-169. Idem: The Present Status of Research in Slavic Music. In: Acta Musi- cologica, XLIV, 1972, pp. 235-265. McCredie, A.: Some Aspects of Current Research into Russian Liturgl- cal Chant. In: Miscellanea Musicologica. Adelaide Studies In Musicology, vol. 7, Adelaide, 1972, pp. 55-152. 2. Tlllyard, H.J.W.: Byzantine Neumes: The Coislin Notation. In: Byzantini- sehe Zeitschrift, ХХХѴП, 1937, pp. 345-358. Idem: The Stages of the Early Byzantine Musical Notation. In: Byzantl- nische Zeitschrift, XLV, 1952, pp. 29-42. Wellesz, E.: Early Byzantine Neumes. In: The Musical Quarterly XXXVIII, No. 1. 1952, pp. 68-79. Tlllyard, H.J.W.: Byzantine Music about A.D. 1100. In: The Musical Quarterly XXXIX, No. 2, 1953, pp. 223-231. Strunk, O.: The Notation of the Chartres Fragment. In: Annales musi- cologlques, ІП, 1955, pp. 1-37. Repr. In: Essays on Music In the Byzan- tine World. New York, 1977, pp. 68-109. Idem: Specimina Notationum Antiquiorum. MMB, VII, pars suppletoria, Copenhagen, 1966. pp. 1-27. Floros, C.: Universale Neumenkunde, Bd. L Kassel, 1970. pp. 305-346. (in references: FUN). StefanovlC, D.: Early Stages of Byzantine Notation. In: Musica Antiqua. VO, Acta Scientifica. Bydgoszcz, 1985. pp. 259-271. For more detailed information see also the article of: Vellmirovic, M.: Present Status of Research In Byzantine Music. In: Acta Musicologica, XLIU, 1971• pp. 1-20. 3. An opposite opinion based on the statement that the Old Russian Chant and notation were entirely a Russian product, without any foreign Influence, was expressed by S.V. SmolenskiJ. See: О drevnerusskich pevceskich notazijach. Istoriko-paleograflčesklJ očerk. Pamjatniki drevne] pis'mennosti 1 iskusstva, t. 145, SPB., 1901, p. 20. His theory was supported by V.M. Bel]aev, who asserted that not only the Russian Chant, but also its theoretical basis and principles of organization were absolutely original and had no connection with Byzantine music. See: Beljaev, B.M.: Drevnerusskaja muzykal'naja pis'mennost1. Moskva, 1962. pp. 26-27. 4. Pallkarova-Verdell, R-: La musique byzantine..., pp. 146-162. Vellmirovic, M.: Byzantine Elements in Early Slavic Chant. MMB, Subsidia IV, pars principalia. Copenhagen, 1960. p. 126. Idem: The Influence of the Byzantine Chant on the Music of the Slavic Countries. In: Proceedings of the Xlllth International Congress of By- zantlne Studies, Oxford 5-10 September 1966. London, 1967. pp. 128— 129. Idem: The Slavic Response to Byzantine Musical Influence. In: Musica Antiqua VI, Acta Scientifica. Bydgoszcz, 1982. p. 728. Strunk, О.: Two Chilandari Choir Books. In: Essays on Music In the Byzantine World. New Yorkj 1977. p. 222. First published in German as: Zwei chilandari Chorbucher. In: Anfänge der slavischen Musile. Bratislava, 1966. pp. 65-76.

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~~- 41 -~~

FUN, L pp. 10, 16• 5• A.V. Preobraîensklj examined corresponding Russian and Byzantine MSS from llth-13th cent•, in which Greek had been translated into Russian. In this way he was able to establish that the Slavic texts contained the same number of syllables and stresses as the Byzantine model. This was the discovery of the principle of the isosyllabic textual relationship. The same melody could have been used in both Byzantine and Russian redactions in spite of variations in the notation. See: Preobraïenskij, A.: О shodstve russkogo muzykalrnogo pls'ma s gretes- kim v pevfcich rukopisjach XI-XII w . Russkaja muzykal'naja gazeta 1909, No. 9, p. 232; No. 10, pp. 260-261. Idem, Greko-russkie pevfcie paralleli ХІІ-ХІП ѵ. De Musica. Ѵгетеппік otdela teorii i Istorii muzyki IL Petrograd, 1926. pp. 64-65. 6. Høeg, С : The Oldest Slavonic Tradition of Byzantine Music. In: Pro- ceedings of the British Academy, XXXIX, 1953. p. 46. 7. Velimirovič, М.: The Slavic Response..., p. 729• 8. The Old Russian accentual system before the 14th cent. Is still not very well known. For more information see: Koschmleder, E.: Die altrusslsche Kirchengesänge als Sprachwissenschaft- llches Material. In: Zblmlk prysvjac pam'ati Z. KuzelL Parls/Munchen, 1961• pp. 1-10. Ditterlch, M.: Untersuchungen zum altrussischen Akzent. Slavlstlsche Beiträge, Bd. 86. München, 1975. Lehfeldt, W., und Berger, T•: Zur Rekonstruktion des altrusslschen Akzentsystem• In: Russian Linguistics 8, 1984. pp. 1-16. 9. For the present status of the attempts made In the field of deciphering the Old Russian Chant, see: Keldysh, J.V.: Istorlja russko] musyki, T. L Moskva 1983. pp. 96-99. 10• Strunk, O.: The Notation of the Chartres Fragment•-, p. 74. Raasted, J•: Chromaticism in Medieval and Post-Medieval Byzantine Chant : a New Approach to an Old Problem. In: CIMAGL, 53• Copen- hagen 1986. p. 15• 11. FUN I, pp. 100-101• 12• Ibid• pp. 99, 134, 200. 13• Ibid• pp. 205-206, 225. 14• Abicht, R.: Haben die alten slavischen Obersetzer der griechischen Kirchenlieder die Silbenzahlen der griechischen Llederverse festgehalten? In: Archiv fur slavische Philologie, XXXVI, 1916. pp. 414-429. Filonov Gove, A.: The Evidence for Metrical Adaptation in Early Slavic Translated Hymns. In: Fundamental Problems In Early Slavic Music and Poetry• MMB, Subsidia VL Copenhagen, 1978• p. 242• 15. Vellmirovic, M•: The Slavic Response..., p• 733. 16. Lichatev, D.: Razvitie.-, p. 22. 17• Braînikov, M.V.: Put! razvitija 1 zada&l rassifrovkl znamennogo raspeva XII - XVIII vekov. Moskva-Leningrad, 1949• p. 15. 18. Frolov, S.V.: Mnogoraspevnost1 как tipologiïeskoe svojstvo drevnerusskogo pevfceskogo 1 sk üss tv a. In: Problemy russkoj muzykal'noj tekstologil (po pamjatnikam russkoj chorovoj literatury XII-XVII vekov• Lenin- grad, 1983• pp. 12, 26-29• 19• Stathis, G•: An Analysis of the Sticheron ",S&v f\Xtcw ксйіпѵта" by Germanos, Bishop of New Patras. In: SEC IV, 1979. pp• 177-227• Raasted, J.: Thoughts on a Revision of the Transcription Rules of the Monumenta Musicae Byzantinae. In: CIMAGL, 54• Copenhagen, 1986• pp. 31-32•

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~~- 42 -~~

20• Some scholars prefer the retrospective method in their attempts to transcribe the Old Russian Chant, where the readable melodies from the second half of the 17th cent• are used as a key for deciphering :See ־ •the earlier melodies - back to the 15th cent Metallov, V.M.: BogosluŽebnoe penie russkoj zerkvi v period domongol'- skij. Moskva, 1912• pp. 322-333• Idem: Russkaja slmlographlja. Moskva, 1913• pp. 45-46• Karastojanov, В•: К voprosu rassifrovki krjukovych pevSesklch rukoplsej znamennogo raspeva. In: Musica Antiqua IV, Acta Scientifica. Bydgoszcz, 1975, pp. 487 - 503• Smoljakov, B.G.: К probleme rasSlfrovkl znamennoj notazli. In: Voprosy teorii musyki, vyp. 3• Moskva, 1975• pp• 41-69• 21• FUN, Bd. I, III• 22• Vellmirovic, M•: Byzantine Elements•••» p• 94. Idem: The Influence••., p• 129• 23• For more information see: Lichafcev, D.S.: Poétika drevnerusskoj literatury. Leningrad, 1971. 2. ed• pp• 80-102. Stancev, K.: Normatlvnost na srednovekovnata estetika i poétika• In: StarobQlgarska literatura, kn. 6• Sofia, 1980• pp. 3-10• 24. Parry, M•: L'eplthête traditionelle dans Homere. Paris, 1928. Lord, A.: The Singer of Tales. Cambridge Mass., I960• 25. Kru&lnlna, A.N.: О semlographll popevok znamennogo raspeva v muzy- kalfno - teoretlćeskich rukovodstvach konza XV - seredlny XVII veka• In: Problemy Istorll 1 teorii drevnerusskoj muzyki• Leningrad, 1979. pp• 148-159. - See also: Metallov, V.M.: Osmoglasle znamennogo raspeva. Moskva, 1899. Bražnikov, M.V.: Drevnerusskaja teorija, pp. 162-220. 26• Bražnlkov, M.V.: Drevnerusskaja teorija—, pp. 162-220. 27• Wellesz, E.: Melody Construction In Byzantine Chant. In: Actes du ,Septembre. Beograd ־ ХПе Congrès d'Etudes Byzantines, Ochride 10 16 1963• Tome I, pp. 135-151. Idem: A History of Byzantine Music and Hymnography. 2. ed. Oxford, 1961. pp. 325-329. Idem: Eastern Elements In Western Chant. 2. ed. Copenhagen, 1967. pp• 88-91. Raasted, J.: Compositional devices in Byzantine Chant. Musica Antiqua VIL Acta scientifica. Bydgoscsz, 1975• pp• 181-204• Amargianakls, G.: An Analysis of Stichera ln the Deuteros Modes. CIMAGL 22-23. Copenhagen, 1977. In references for the second volume Am + the number of the formula and in parenthesis the number of the page. # 28• Vellmirovic, M.: Byzantine Elements..., p. 127. 29. Amargianakls, G•: An Analysis ••• 30• Ibid. pp. 219, 231, 213, 215, 222. 31. Vellmirovic, M.: Byzantine Elements..., pp. 97-105. FUN, L 32. Thodberg, C: Chromatic Alterations In the Sticherarium. In: Actes du Xlle Congrès International d'etudes byzantines, Ochride 10-16 septembre 1961. Tome IL Beograd, 1964• pp. 607-613. ־Idem: Der byzantinische Alleluariaonzyklus. MMB, Subsldla 8. Copen hagen, 1966. pp* 48-63• Raasted, J.: Chromaticism..., pp. 15-36• Idem: Thoughts on a Revision..., pp. 22-31• Thodberg, C•: E-toneartemes tonalitet i Byzantinsk mustk belyst ud fra Deuterosmotlver 1 andre tonearter. A paper read at an internal conference at University of Copenhagen, May 1987• Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 426

~~- 43 -~~

The Greek muslologlsts have never doubted that chromaticism existed in the Byzantine music throughout the centuries• I am oniy referring to works accessibe to me: Amargianakls, G.: An Analysis..., pp. 96-111. Idem: The Chronatic Modes. XVI Internationaler Byzantinlstenkongress Wien 4-9 Oktobe* 1981. Akten П/7. In: Jahrbuch der Oesterreichischen Byzantinistik 32,7 pp. 7-17. Stathls, G.: The Exegesis of Psaltike Tehnl (The Explanation of the Psaltlc Art). A paper presented to the 17th International Byzantine Congress, Washington August 1986. .pp. 30-31 , ״.Raasted, J•: Thoughts .33 34. A transcription of 10,16-18 from 1216 has been used from J. Raasted. See ibid. pp. 34-5•

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access PART TWO: TRANSCRIPTIONS.~~

~~PRELIMINARY REMARKS.~~

The grouping of 60 Byzantine neumatic sources for April stichera according to melodic and rhythmical variants showed that In fact only one basic singing tradition existed, which was preserved precisely in the raanu- script collections, independent of the place and the time of their writing, and usually the differences refer to different variants of the same for- mulasd In deciphering of the songs I normally take only the following three * manuscripts as models, but with references to other sources If a stlcheron

~~Is missing or if the reading of my main source Is a "private reading". ד 1. Зв4 - Sematlc notation (SN) .~~

~~2. 1217 - Palaeobyzantlne (Coislln) notation~~

~~3• 1218 - Mediobyzantine (Round) notation (RN)*.~~

The transcription technique I follow in this edition is based on the method of the MMB, formulated In Tlllyard's Handbook** together with the suggestions for revising the official MMB transcribing made by J. Raasted 7 In his paper for the XVII International Congress of Byzantine Studies • в The text is divided into short verse lines with a numbering for each line •

~~For aesthetic reasons and for the sake of greater clarity, the transcriptions are made in parallel rows• Every line is presented in the following order.~~

Coislln, Round, Sematlc notation. The transcriptions from RN and SN are Q given as a combination of neumes and staff notation . All intonation formulas are written before the beginning of every stlcheron. The MeSi are also given. The punctuation in the sources is designated In the text with a small *.

~~Since the Russian sources have not been published until now, in the notes before every line the variants In text and music have been given.~~

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~~45־ ־ 45־~~

~~Only melodic variants of importance for the Russian translation are shown~~

~~in the critical apparatus, both from the Byzantine and the Russian sources.~~

~~The references In the comments are not given in footnotes, but in paren-~~

~~theses in the text Itself. The deviation in formulas in every line is given~~

~~with brackets.~~

1. N. Ulff-Møller: Transcription of the Palaeoslavonic Stichera for the Month of April from Old-Russian Musical Manuscripts. Preliminary results. In: Musica Antiqua, VIL Acta Scientifica. Bydgoszcz, 1985, p. 81.

2. At present I have disregarded the few Sticheraria provided with Chart- res notation, since they represent the main Byzantine tradition*

~~3. 572 has the most complete number of stichera for April among the accessible Russian MSS, but it is very difficult to study because of its bad condition.~~

~~4. 1217 is a typical example for Coislin-majority•~~

~~5. 1218 comes very close to the Coislin-majority.~~

~~6. Tlllyard, H.J.W: Handbook of the Middle Byzantine Musical Notation. MMB, Subsidia L Copenhagen, 1935.~~

~~7. Raasted, J: Thoughts..., pp. 15-22.~~

~~8. Idem, Some Observations on the Structure of the Stichera In Byzantine Rite. Byzantion, XXXVIII 1958, pp. 529-541• Idem, Thoughts..., p. 14.~~

~~9 Ibid., p. 15~~

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~~- 46 ־ 46 -~~

~~APRIL No. 1 1217(117r), 1218(113r ), 589(133v)~~

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~~A p r . 1~~

~~47 -~~

~~L in e No • Not. N o.of s y l .~~

~~О ? Ч /У7 «•ר v ר CN / л У 11~~

~~г ו / / // ׳" \ ־־* ■ל־ ^ SN 15~~

~~НП HŁ n o t СХ RAA • СП~~

~~י י / CN 2 и 9~~

~~SN 9~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~A p r . 1 - 48 -~~

N ot.Line N0 «Not.Line N o.of s y l*

~~CN 12 r ו לד PN . י י— ' A ״, , r׳ ? -ט \5~~

~~1 ■ g f c x: £ S~~

~~тп ot уп tns а омп ос ws а <с 1 vtÇa$~~

~~SN 16~~

~~^ כ* Ч ר CN J r / о 8~~

~~SN 8~~

~~n CT0OY ha С ЛЬ TBO n~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access tn VU иэ •Ч «V UA 0X9 H~~

~~״״✓ ?s N S'- i i~~

~~он ר Soo bio ©Yfl 3 ור\<1~~

~~У • •С <~~

~~а • в в в к~~

~~/ / / / \ <- •/~~

~~6׳ז - 6׳ז~~

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~~- 50 - A p r . 1~~

~~L in e No» N ot. No.of s y l .~~

~~כ ה־ כ CN \ /7~~

~~/ / / / Л׳ SN £ I T К # ו ПО Mft »*а МП Hk п л о а г~~

~~CN // _ /~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 050426~~

~~- 51 - Apr. 1~~

~~t Lie No » N ot.Liiie N o .o f s y l.~~

~~/' - JLL לל/6 ״7 CN 4 /, 8~~

~~SN 11~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access APRIL No. 1~~

~~Collated from 46 sources in Round notation, 10 in Coislin,~~

~~1 in Chartres and 2 in Sematic notation.~~

~~L ine 1;~~

~~e í ^ V 572: на еле Hfi~~

The two formulas used by the Greeks, correspond to three in th e Russian v e rs io n . The la s t fo rm u la seems to be id e n tic a l in both traditions and could be treated as a variant of Am. f. 11H(226). The opening formula in the most mediobyzantine

~~Mss is the following:~~

~~י ^ ^ - -*r• Та ТПС Фи ХПС дл b b be ba G , but i t could be suggested th a t 1218, 355t and C o is lin Mss start from G. The signature in 355 appears to refer to the red variant,~~

~~€___~~

~~same case could be seen in 1218 , having as a s ig n a tu re ^ ,~~

~~and presumably starting from G. Apparently the beginning~~

~~from G has been followed in the Russian redaction. The~~

~~difference of two syllables is corrected by fillin g up with~~

~~a \J and an <— . The comparison with the Byzantine opening~~

~~formula (very close to Am. f. 12E, 227) shows that the~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access •53־~~

~~Russians use only part of it and supplement it with a new formula (Am. f. 7B6, 219), which is one of the most popular formulas in the Byzantine tradition.~~

~~L in e 2:~~

~~Each of the two versions is built up by three formulas. For the~~

~~Byzantine one they could be defined as Am. 9Aa (222), Am. 19~~

~~־and Am. 4Bß (217). The Greek version is followed a l (236) most lite ra lly in the Russian tradition. Some of the Round~~

~~Mss (1223, 1226, 1227, 1586) use a close variant of the opening formula, which could be recognized as Am. 9Ba (222)1~~

~~ל Г / ^ ^ на i та Tia ôn G G bc b .~~

~~This variant could be valid for the Russian translation, bea-~~

~~-in the early Serna ״-» ring in mind the m ultiple meaning of the~~

~~tic notation (FUN I, 102 - 103)• The majority reading is~~

~~followed for the deciphering. However, the difference is not~~

~~so great and these two variants are very often reciprocally~~

~~used in the Byzantine tradition.~~

~~L in e 3:~~

~~572: 0 (®) npt(npe)~~

~~Four formulas constitute the Byzantine and the Russian versions.~~

~~The last three of these formulas build up one of the most~~

~~frequent combinations of stereotyped motifs, especially ty-~~

~~pical for cadential situations and based on Am. 7, 16 and 1~~

~~.(־ and 213 214 ־ 232 231 ,219)~~

~~Formula 7 in the Russian version and in most of the Byzantine~~

~~sources corresponds to Am. 7Aa (219). The model 1218 and 291,~~

~~528, 533t, 262, 264t, 1227, 42, 1217, 136, 53,Nina K. **9, Ulff-Möller 361, - 9783954792054 610 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~־54•~~

~~le a p с У instead of the two consecutive seconds с>У . Apparently~~

~~this variant does not occur in Amargianakls 1 material and there-~~

~~fore is not mentioned in his book.~~

~~с У ע־~~

~~a СG~~

* kJ AW0 «а нп

~~a bc G~~

~~The firs t formula occurs with three readings in the Byzantine~~

~~m a te ria l :~~

~~D» H ai, 528, 265 , 1222 ?־ ) ^( ר 1218״ 355' ־ (a~~

~~™ Et ФЕЧ 1226, N, 1564, 4960.~~

~~This formula could be recognized as Am. 9Ea and 9E£, p. 222,~~

~~in its two readings.~~

~~b) с / Am. 36a, p. 239. Occurs in 1472, TG) Et Феи 291, 1464, 533, 262t, 1216, 1220V~~

~~a b a 1223, 1224, 1227 , 1453, 42t, 1215~~

~~1228, 1504, 1585 •~~

~~ד / r>: с T(0 Et epe L Could be tre a te d as a variant of~~

~~Ga b a Am. 9Z3 ox 12EE, pp. 222, 227.~~

~~I t c o u ld be seen in 1231, 1492,~~

~~1586, 1229, Eall , Ph.40, 262v,~~

~~264v, 41, 1220, 1223V, 1225, 1484~~

~~1487, 39, 1232.~~

~~Obviously the reading "b" is followed by the Russians. Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 55 -~~

~~Line 4:~~

~~572: и~~

~~у (230), which־The Byzantine version starts with Am. f. 15Д was used in the most Round Mss in the firs t line. Here begins a new long verse and therefore the repetition of the formula~~

15Д fits very well into the structure for the majority of the Round sources. Possibly for the same reason the Russians use the in itia l formula from line 1. However, the construction of the whole of line 4 does not seem to be very clear.

~~It is difficult to decide whether belonhs to the first ни formula, or participates as a variation of the next formula.~~

~~Presumably the firs t formula could also be deciphered as:~~

~~•У >ר L r יל ev vo t ас ־ ־ * _ גי ־ ־ * _~~

~~be ba G~~

~~e i no иг ! ■ лв~~

~~ba G.~~

~~The last formula is transcribed according to D, 1221, 1464,~~

~~1230, Eall, Ph. 30, 265, 1216, 1225, 1226, 1471:~~

~~A* 77 — י׳י EY x X n u a т а~~

~~G a ca b.~~

~~L ine 5: ל׳ C_J 572: ии и,the fifth syllable un - is missing,et си.~~

The last three formulas mark the end of theNina secondK. Ulff-Möller - long 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access verse and are represented in both traditions by Am. f. 7,

~~16 and 1 (219, 231, 213)• As mentioned above the formula~~

~~,(presumably belongs to the variants of Am. f. 7(219 י 7 a c G~~

~~but it does not occur in his material. Am. f. 7Aa(219) is~~

~~represented in 36 o f the Round sources.~~

~~The Round Mss a ls o make a d is t in k t io n between Am. f . 16Ѳ~~

~~and 16K ( 231)• It is d ifficu lt to find out how these two~~

~~variants were treated in the Coislin and Russian traditions,~~

~~since they look similar in both cases.~~

~~Line 6~~

~~с У ' S г тво кг?־ :572~~

~~It seems that the in itia l formula comes closer to the~~

~~Coislin reading. The following two formulas are based~~

~~on Am. f. 7 and 16 (219, 231)• In the Round sources is~~

~~used £ / » while 572 and some of the Coislin Mss pre- кри~~

~~fer the leap expressed by с У ^ ~ 1217, 136, 1214, 49, 53, xpu~~

~~610 (PUN I, 133). The last formula in 1218 is an isola-~~

~~ted case. Most of the sources use Am. f. 16Z& (231):~~

~~ר כ׳ ^ ?׳ כ׳ ר (1)V O O U~~

~~GF E ,~~

~~and this variant possibly is followed in the Russian tra-~~

~~d it io n .~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 050426 • 57 -~~

~~Line 7:~~

~~V v 6׳ > . :572 с т гі н ю на н e~~

~~Three main readings for Tfļv ерецоѵ could be observed in the~~

~~Round t r a d it io n :~~

~~in 1218, 355, 1231, 1492, 1564, a) тлѵ e pc uov Eal, S28, 264t, 1222, 1224,~~

~~883t, 1464, Nt, 4960t, 1232. Am. H E , (226)~~

~~b) # I in D, 1221, 262v, 41, 1220, 1223,~~

~~xnv e pe uov 1225, 1226, 1227, 1471, 1586,~~

~~G ab b b 1230, 1229, 4960Ѵ, 42.~~

~~Am. llBa, (226)~~

~~in 1472, 291, 1504, 1585, ЕаІІ,~~

~~тлѵ e pe uov Ph.30, S t.30, 533t, 262t,~~

~~d с 264v, 265, 1216, 1487, 883v,~~

~~Am. 13BCL, (228) Nv, 1215, 1228.~~

~~It seems that 589 follows reading "b” , while 572 presumably c" could possibly be suggested as״ uses reading "a". Reading~~

~~well, because of the m ultiple meaning of thee ___ (FUN I , 102 -~~

~~103).~~

~~For deciphering of ^ three possibilities could also be h a n o~~

~~suggested:~~

~~a) - most of the Round sources да oav~~

~~cb a (b)~~

~~— ׳י5 י י .in 291, 1229 ־ b ) Tia oav~~

~~baG a Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access У* 7G — .in 1586, 42 ־ c) na oav~~

~~cG a (b )~~

~~However, the Russian version seems to be very close graphically to 1219:~~

~~•״?ד KS 1219 : а па o a v~~

~~K j 589 : с ю на п о .~~

~~пла мои follows the Byzantine model, which could be iden- tifie d as Am. f. 2Aß (215)•~~

~~Line 8 :~~

~~572: without и , то~~

~~The firs t formula could be defined as Am. f• 9Aa (222) and~~

~~־it is followed in the Russian translation with the inserti~~

~~The second formula does not occur ״ —on of an additional с~~

~~material. It seems that the Russian ״in the Amargianakis~~

~~singers use another formula, which could be compared with the third formula in 1,4 and therefore transcribed in the~~

~~same way.~~

~~L ine 9:~~

~~/ / / s '* ' P 572 : Hi( го) ПЛО ÀI I~~

~~Obviously the two traditions present two different melodies.~~

~~The Round version its e lf gives for Tflc цетаѵосас xaonoúe~~

~~aproximately 14 variants ending on D, E, G or a.~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 59 -~~

~~The second formula presumably follows the red variant from~~

~~883: c77'*f ל ע־ ד / /— voi ас нар Tiouc~~

~~aG Р E E .~~

~~It could also be suggested that the Russian formulaic organization is sim ilar to the second and the third formulas in~~

~~15,2 (see p. 165):~~

~~c X ^ сЛ " а пло д гі״« a ни־по ка t :384 : 9, 1~~

~~с У с— / / 15,2: 384: Uaø ve a no сто л•~~

~~־־־־< >כ° ° 77 •׳פ 6/ •׳פ 77 ° >כ° ־־־־< 15,2: 1218: Мао ке а по ото Хе~~

~~b ab G aG PE E.~~

~~L ine 10~~

~~5 7 2 : r t uw na tw~~

Aproximately 11 variants of this line could be found in th e Round t r a d it io n and i t seems th a t th e Russian v e rs io n does not follow any one of them. The Russian reading could possibly be compared with 1216t and 883v:

~~. ל׳ד~~

~~ר / с י׳י ігібъ^Ѵ X~~

~~“ יכ ^ ׳ל ד :883ѵ 61 О ООО ТЛѴ цѵп илѵ~~

~~Е F D G b a Nina K. Ulff-Möller - 9783954792054 (FE) Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~- 60 -~~

~~L ine 11:~~

~~^ v 572: ao 1 ь ( * г ) аь~~

~~The majority of the Round sources use a cadence on b, which~~

~~could be compared with Am. f. 1(213)» but transposed a fifth~~

~~higher. There is, however, a group of five Mss, representing~~

~~the E-cadence:~~

~~1־ - זדל - , צ. a) e op та Со цеѵ - 1218, 4960~~

~~D EF G aG PE E~~

~~(Am. f. 17Ba, (Am. f. ІАа,213) 234)~~

~~׳ ° 77 ל לѵ Л " 7 - » b) e op та Со цеѵ - 883» N» 1223•~~

~~a a bG aG FE E~~

~~(Am. f. lHa, 213)~~

~~589 has an extra formula in the beginning, based on two t __~~

~~and one d l , but later follows literally the version of~~

~~1218, characterized by a variant of Am. f. 8Г (220), Am.~~

~~f . 17Ba (234) and Am. f . lAa (213).~~

~~The extra in itia l formula inserted in 572 is built up from~~

~~two €— and a V , presumably deciphered as G G bG.~~

~~An \ is used on а ь, which could possibly be transcribed~~

~~« V аь?־wt поа~~

~~D Ga bG~~

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~~APRIL No. 5~~

~~1217 (llÔ r) , 1218 ( ІІЗ ѵ ) , 572 (122ѵ)~~

~~Line No * Not.ļ No.of syl.~~

~~/ נ ד CN j r & Ч ר~~

Ne UC то ôt нас а*

~~у <י CN У~~

~~0• V« Со ло ио нг~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~L in e~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access B 0 5)50426 0 4 2 6~~

~~- 63 ־ 63 - A p r . 5~~

~~Line No • Not. N o.of s y l.~~

~~# H ל י י׳/ ч >ד ג“ СУ CN~~

~~10 RN~~

~~SN 11~~

? < / -> / cn // <— / / 10 r ד Г ר < ׳ _ ?ה m t f £ ״ ! # ! ״ eu ua 0<*>ç 6e таи та e va) тс ode tę*

~~SN 12~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~64 - A p r . 5~~

~~Line No• N o t. No. of s y l.~~

~~/ / / / CN~~

~~ו— 8 , -י >ניד -י , — лѴV י' * ׳/ י^כ ^ גי י! PN 9ł י' // \ י/ г Э ו- ! ת f c = 3 m e ׳י по Хо тАа Ге сор у (!)~~

~~ס ,י ׳ל/ V >ד ׳> - CN 12 V------־״.~~

~~PN — ‘У v if е Ъ і щ ת !ו-. -ьг !ו-. ת 8 № то й беотіо той 6 1 6а xatc П ко Хои ön oaç~~

~~SN // י / / ' / V .' ל־ ׳-» - » / С— с / •— t - ь —* 15~~

~~r י,- гг^Ч Н л!^! ^־׳• Ļ~~

~~КЛЙ i l l VW НИ ov V« ни и~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~- 65 - A p r • 5~~

~~Not. I No. of ״ L i l i e N o I s y !•~~

~~V /У CN~~

~~к а і a vo u o i c е к 60 de ic~~

~~׳ ד Г ז־ SN 11 V: // s׳~~

~~их пое Ай пг יי П R« *° и* нг1~~

~~CN — 4' // //’ //~~

אח

~~sn 6 / Г.V✓ ✓ Л ' / * £ ------t * ------5~~

~~npe rwo nt а! ы c n~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~• 66 - A p r . 5~~

~~L ine No t Not. No. o f s y l.~~

~~״ >- / y CN~~

אח

11 тле îiXa ѵлс та оо y t a *

~~CN СУ I V ^~~

~~8 PN~~

~~V - :כ־ о <נ> SN 12 b ь - - к M l t ш a־ t ו Apoy Bil Л1 h• СИ hft НО ך р Д~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426 - 67 -~~

~~A p r• 5~~

~~L in e No % Not. I No.of I s y l•~~

~~V *y ->I ^׳ CN 7~~

~~׳ עיי « 9 ~ ד> PN - L~~

~~13 то 0 (1) ца yao 6 0 uç#~~

~~SN !о~~

~~/// / / / Ч .גג // \ CN~~

~~SN 11 / / ' / / V ,Ą ׳׳׳ V~~

го

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~- 68 -~~

~~Apr. 5~~

~~L in e No * N o t. № >.of syl.~~

~~- 7 ? ? /׳ ? ? CN 10~~

~~>־ ל m У * у 7 Ь . *••־־Уן __і .-; fi ־TĪJ С- ' ' ì 1 1' ,h—J1* 15 p те теи ve то*о Хоѵ ие Xt боѵ на те теи ve то*о~~

~~SN 11~~

~~// * Л л .״ע CN - - 7~~

>״ PN 77 X T g g -־*- *־ -־*------־־—# ?־— 16 маі о 0e Xt ap uaX Xov*

~~№=4 = = ז = ף ך = 2~~

~~и вра г г па ve~~

✓

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access ׳50426~~

~~• 69 -~~

~~A p r• 5~~

~~L iœ N0• N ot. N o .of s y l.~~

~~// ׳л ־/✓ V // c- V CN~~

~~SN 13~~

~~ВЛА ft CA ^־вь cw по ера un С А п 0\Г М~~

~~י CN - У 12~~

נ8

~~SN 14 // // ׳/ \ •י?* < o ' d~~

Bt HW ив но С W ЦА ТА ВН At Bt Пр• СИ ЛЬ НА *

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~- 70 - A p r . 5~~

~~L ine No• N ot. №>.0f s y l.~~

~~•1 >ד ד >ד CN V / / — v ר 11 _L • • СУ i ł сל it ־PN V M p [ i J fcf p ç j -ій 19 о щѵ au Xaic oi на>ѵ той ко pt ou oot~~

~~Г ד SN 15 І V / У '> Л ־ - m״ /0~~

го

~~// // // ד CN ' 4 9 4 8 Г ד ־г RN~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~- 71 - A p r . 5~~

L itte No Not.I No.of I syi*

~~ד -t <נ ^ CN~~

~~21 noe ofle ue а ÔXo~~

~~SN I !~~

~~CN I • ׳ / \ ׳ / 8~~

~~SN 10~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426 72-־~~

~~APRIL No. 5~~

~~Collated from 48 sources in Round n o ta tio n , 11 - in C o is lin ,~~

~~1 - in Chartres and 1 - in Sematic notation.~~

~~Line 1:~~

~~Some d ifficultie s arise from the attempt to transcribe the~~

~~b e g in n in g o f t h is s tic h e ro n . I t seems th a t t h is and the~~

~~following two lines demonstrate a tendency towards displace-~~

~~ment of the corresoonding Byzantine and Russian formulas, and~~

~~of using a formula in the Greek version reflected in a combi-~~

~~ned sign with the same ( or almost the same) meaning in the~~

~~Russian translation:~~

~~a) could be presumably transcribed as bea (as "A in position~~

~~פ ^ *!B» FUN I (208) ; III,e x. 348), having as a counterpart Ь Ne ue то~~

~~b b a~~

~~ל* ל SsS , У ץ . b ) corresponds to Ķ aevfrom line 2.~~

~~ו be b a~~

~~ר^י .'J O\ c) uo Hk of line 2 corresponds to & qq from line 3.~~

~~G EF The beginning also presents some problems for the correct under-~~

~~s ta n d in g o f th e s ig n s . The neumes on ть npa are n o t very c le a r.~~

~~seems to be an . npa bear a resemblance to an ^ , but~~

~~as is well known / does not appear in the Russian MSS in its~~

~~pure look ( FUN 1,130). On the right side of the / a little dot~~

~~could be observed, maybe as a part o f^ ( Skameika) , or maybe~~

~~only as a little spot without any significance. Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426 ־73־~~

~~If / on npa is interpreted as an^, where one of the dots for some reason cannot be seen any more, it is possible as a variation of the formula ^ ״״־* to treat the formula on У м Tw npa~~

~~used in 15»2 and 1,9. ^ י ל •ר ^ י ל ta possibly corresponds to a, but with different rhythmical value. Ga~~

~~Line 2 :~~

~~As mentioned above, the in itia l formula in the Byzantine version~~

~~could be compared with ^ from line 1. ^ .N does not seem r hft p в V б С 0~~

~~to be as A . (v a ria n t o f Am. 8 Ey , 220) and could be transeri о £ о ло b a G~~

~~bed as a a bG (FUN I, 142; III ex. 17, 44).~~

~~Line 3:~~

~~The Greek tradition is built up by Am. f. 16Ka, 231 and lEa,2l3~~

~~As the Russian tradition had already formula 16 at the end of and one -י line 2, the cadential formula is enlarged with two~~

~~Line 4:~~

~~The Byzantine tradition seems to be followed in general in the~~

~~Russian translation. In the second formula is transcribed 8 A y according to from 291, 1453, 1585, 1471, 1487, 260. The third Gb~~

~~formula presumably is an enlarged variant of the Byzantine formu-~~

~~la (Am. 9B6, 222). The reading in the last formula is to be ста у Ga ł s ד־t found in 1484 - атои. Most of the Byzantine sources prefer Ga~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426 - 74 -~~

~~to use on 0 T0U the reading given in 1218, or OTOU TOO Gc a~~

~~L ine 5:~~

~~The Greek formulaic structure is followed in the Russian version,~~

~~Most o f the Round sources have с У on X i in the f i r s t fo rm u la -~~

~~The Russian redaction gives another variant of the cadential~~

~~formula w ith^^ on the penultimate ' syllable, which is not~~

~~to be found in Amargianakis' index for f. 1 (213 ) .The last for-~~

~~mula in the Russian text could possibly be transcribed as:~~

~~׳׳' ׳׳ \ _« про st та лі he cTw~~

~~G Ga bG aG Ga a~~

~~0r «- <^• \ '/ у / s , G Ga bG aG Ea a.~~

~~In the first case is treated as a second up sign, while in~~

~~the second - as a fourth up (FUN I, 200 * 201). However, this~~

~~is only a suggestion as a paralel for this formula was not found~~

~~in the available Byzantine material for April.~~

~~Line 6:~~

~~Obviously the end of the line made by a thematismos figure -~~

~~Am. f. 4Г&(217) could be interpreted as common in both tradi-~~

~~tions.The beginning of the line could be treated as Am. f. 7B&~~

~~(219) for the Greek model and as a variant of the same formula~~

~~with a third up in the Russian translation. On ^ 44 a бъ на ce~~

~~new formula seems to be inserted by the Russians, presumably~~

~~transcribed as G aF G (See 5,9 ) . An extra formula also~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access - s, іУ without a paralel in the Greek version, comes on ■ j ' 6H>~~

~~.in 1218 is an isolated case ׳-<ר The formula given on 50 TOL 6 VU) The majority of the Round sources use:~~

~~,in 355, 1231, 1492, 291, 528 ־ Mта ’ e vco נ~~

~~FE D G 533t, 262, 264,1220, 1222,~~

~~Am.f. 102a(224) 1453, 1487, 4960t, 260, 42,~~

~~1215, 1564, 1585~~

~~ЯУ -> — ,in 1221, 1585, 1230t, Eal ־ כ b) 5 та с vo) E all, S t.30, 41, 1224, FE D G 1226, 1227, 1471, 1484, Am. f. 1020(224) 883, N, 1228, 1232~~

~~• ״ \ ,in D, 261, 1472, 1464, 1230v - ־ С (та c vo ׳ 1229, S33v, 265, 1216, 1223, EF D G 1225, 4960V, 1504 Am. f. 10Да(224)~~

~~It seems to be reasonable to transcribe the Russian counterpart !У > for та evo) in a fifth transposition. ^ and 6/ in the precee~~

~~ding formula are ascendent signs starting presumably from G.~~

~~If 4' comes on E the leap is going to be a seventh, making the~~

~~melodic line very difficult to interpret.~~

~~\* in Floros' description could be interpreted either as EF or _c_ c .ץ as bc (FUN I, 143). In the transcription of л еіноѵши Am. f .~~

~~ע / is to be found only in 1218, and " "־Ia(224) is used. 77 10 ode i с a bc b~~

~~with an exeption of 262, a ll other Round sources use — ^ \ ״ 77 ״ ødete~~

~~G a b d eb~~

~~Am. f. 4Га(217) . Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426 ־ 76 - 76 ־~~

~~Line 7 :~~

~~The Byzantine model is followed in the Russian version. It~~

~~seems that in the firs t formula by using W on ctw w ith a~~

~~meaning of Bareia (FUN I, 198), the Russian redaction could~~

~~, represented in 355 , 528 ד ? * be compared w ith the v a r ia n t Ли тЛа~~

~~eb a~~

~~1472, Eoi, 41, 1216, 1224, 1225, 1226, 1487, 1504, 39, 1464,~~

~~1230, 1229, 1564.~~

~~The second formula representing a G cadence is very common in~~

~~the Byzantine and possibly also in the Russian tradition for~~

~~Deuteros Modes and is equal to Am. f. 2(215).~~

~~Line 8:~~

~~The firs t formula identified as Am. f. 9Aa(222) appears very see the previous line. The following ־ (often after Am. f.2 (215~~

~~three formulas build up the well known cadential sequence~~

~~of Am. f. 7, 16 and 1 (219, 231, 213) c_ с У follows the rea- ve ни~~

~~ding from 32 Round Mss.~~

~~Line 9:~~

~~Two formulas construct the Greek version. Presumably the~~

~~d iffe re n c e o f 4 s y lla b le s leads to an in s e r t io n o f the f i r s t~~

~~formula once more in the Russian text. It could be also suggested~~

~~that for the firs t formula the Russian version comes closest~~

~~to the variant used in 1585:~~

~~e_ —• xai a vo uoLC~~

~~E E G G~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access Line 10:~~

~~Am. f. 2 (215) appears in both traditions. The Russian version uses a variant not found in Amargianakisf material with an in-~~

~~s e r tio n o f *=1 and . The co u ld be in te rp re te d as equal to the foursteps Xeron Klasma and it could be deciphered as bcba (FUN 1 , 245).~~

~~Line 11:~~

~~The firs t formula in the Russian version could be treated as~~

~~־ a variant of the formula used in the majority of the Round Mss~~

~~Am. f. 9Ba(222). In fact the firs t formula in the Russian text corresponds to Am. f. 9Za<222) and is supported by the variants in 41 and 39:~~

~~<־ ••r י ^ 41 : — 3Q • *' тле TiAa vnc тпс nAa vnc~~

~~Ga be b Ga be b~~

~~The second formula - Am. f. 12Д, seems to have the same meaning~~

~~in both versions (despite of a prolongation with ^ on ha in~~

~~the Russian tradition.~~

~~Line 12:~~

~~The cadential group of Am. f. 7, 16 and 1 (219, 231, 213)~~

~~build up the line in both traditions. A preference for inver-~~

~~ting another variant of Am. f. 1, not found in Amargianakis1~~

~~index is demonstrated by the Russsians.This variant seems~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~־ 78 ־ 78 ־~~

~~to be very close graphically to the reading given in 5,5. /׳ Perhaps -V presumes a reading with an ascending third on c m ,~~

~~.or possibly go down to a ״could stay on b ״✓> while HI~~

~~Line 13:~~

~~The difference of five syllables leads to an insertion of~~

~~which could be ־ one more formula in the Russian version~~

~~compared with Am. f. 36a(239). The Byzantine model is followed~~

~~literally by the Russians for the firs t two formulas - Am. 34Да~~

~~(239) and Am. f. 11B6(226). In the first formula is trans-~~

~~cribed as a two-steps Xeron Klasma (FUN I, 245).~~

~~Line 14:~~

~~The Greek model is followed in general by the Russians,~~

~~Am. f. 15Aa(230) and ־ especially in the firs t two formulas~~

~~à variant of Am. f. 14(229). For the last formula the Russians~~

~~are using apparently a part of a formula, which could be trea-~~

~~ted as a v a r ia n t w ith *Ą of Am. f. 2(215)~~

~~Line 15:~~

~~The Greek and the Russian traditions are b u ilt up by five for- Ve mulas. The second formula is varied with a in the Russian 0Y version, serving as a fillin g up sign. The same meaning possib-~~

~~ly has the inserted о/ ļ n the fo u rth fo rm u la . The re a d in g дра~~

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~~of the last formula in 1218 represents the majority Round tradi~~

~~tion and seems to be followed in the Russian tradition with a variation of an additional V . For this pasage two other~~

~~transcriptional suggestions with support in Round Mss could be~~

~~used: <- ? Л ע ׳טל / ь <־ 1492: те тец ve то 262? те теи ve то~~

~~F G FE EG FE~~

~~/ ł ^ ^ ׳* ׳* •S K " 572 ־י •S72 БЛА А ■6 ÇA * RAA й ■в СА~~

~~F G FE D EG FE D~~

~~Line 16:~~

~~The Russian verse contains 2 syllables less than the Byzantine~~

~~one, implying Am. f. 17Z& and 17Ду(234). In the Russian adapta-~~

~~tion only the second formula is used and its variant could be~~

~~seen in 265 as:~~

~~Xt ар цаХ Xov~~

~~a EF Gb a ,~~

~~o r in 1487, 1504, 1585 as:~~

~~X l ap uaX Xov~~

~~a EF Gb a~~

~~\j spa possibly could be deciphered with G as well, according to~~

* the main reading in 264, which uses G on Xt.

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 000Б0426~~

~~־ 80 ־ 80 ־~~

~~L ine 17:~~

~~The difference of three syllables is balanced by a fillin g up~~

~~<- in the first formula and by the insertion of a new formula 4״ ־־« 4״ on и ov • The new formula could be compared with the reading~~

~~ד ־־V -11 // פ // / ׳“אץ <- Eal : a t a x u v de i с e xt ТОО оке то~~

~~a G abC ab ca b aG G~~

~~V 'A О •ר KJ «_ V а ^ в л А а ■ 6 CA ■ « 0ץ e p a un CA n :572~~

~~a G a a bG ab ca b aG G.~~

~~This formula also could be compared and transcribed as the last~~

~~formula in 5,9•~~

~~Line 18:~~

~~4 formulas construct the Greek and Russian versions - after~~

~~Am. 9Aa (222) follows the typical cadential sequence for~~

~~Deuteros Mode built up by Am. f. 7, 16 and 1 (219» 231, 213)•~~

~~L ine 19:~~

~~The firs t part of the line to Xatc could be compared with~~

~~5,13 in both traditions. A new formula at the beginning of~~

~~the line is inserted by the Russians.~~

~~The second part of the verse demonstrates a close sim ilarity~~

~~to the formulas used in 5,14; but here the configuration of~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 81 -~~

~~of the melody is followed more precisely by the Russians than~~

~~in 5,14.~~

~~L ine 20:~~

~~The beginning of the second formula on n could be deciphered~~

~~w ith an a, as presented in 4 1 t, 1221, 1585; o r w ith a с as~~

~~given in th e m a jo rity o f th e Round Mss.~~

~~L ine 21:~~

~~Both versions agree for the beginning of the line - Am.f.~~

~~9Д6 (222) in the Byzantine tradition corresponds to Am.f.~~

~~9Za (222) in the Russian adaptation. The rest of the line~~

~~does not seen to be followed by the Russians. Presumably~~

~~the transcription could be interpreted as coming closest~~

~~to the variant used in 1484:~~

~~1484: • % — מ / < • פ* Г ר ï *> . a ' w * t* 1484: npe o&eu e a ôXo~~

~~bc b ab aG a b a Ga a~~

~~c - // // \ / с_ С- с • ד 572: / ♦ uo ли CA страстотърnw V• Kpn CTO Kl~~

~~Ga bc b a a b a ba Ga a a .~~

~~Line 22:~~

~~Constructed by the cadential sequence of Am. f. 7, 16 and 1~~

~~(219, 231, 213) in both traditions.~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~•82־~~

~~APRIL No. 6~~

~~1217 (118v), 1218 (114r), 384 (SOr)~~

~~N o t . N o . o f s y l .~~

~~// * fr / ני־ CN~~

Паѵ та та д ѵ п *

~~Y9f~~

~~V * s ' ' Ą . ׳ל׳ ׳-י /SN 1, t~~

~~в г en/ un~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 0006042Ѳ~~

~~Line No,~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~• 84 - Apr• 6~~

~~N ot.Line No N ot.Line N0.O f s y l.~~

~~г- Ч / / <־ CN У~~

~~CN > P it~~

~~Г ר SN~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426 - 85 - A pr. 6~~

~~Not.I No.of ״ L in e No s y l.~~

~~י ׳ע Ol~~

~~г ר SU 6~~

~~& ДА И СПрО tWO *•~~

~~/' -* ־-• У < ל / י - СИ~~

~~12 W~~

~~SH 14~~

~~п и wo т в г і mi с \ иг tupt си къ mi » •a w uov~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426 - 86 - Apr. 6~~

~~Line No • Not. N o .o f s y l•~~

~~עיר כ כ כ עי ר CN~~

~~SN o ' C S // 1־♦ ------г в~~

~~ЛІ лоу ГИ ЬА~~

~~r \ > י> CN~~

ГЛ

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426 Apr. 6 87~~

~~Line N0 • Not.ļ N0 .Of I syl•~~

~~ל - גד CN~~

~~ר כ / כר V? ־־ь כ ט• PN~~

~~W p J p J* J» ^ 11 аЛ Лп Хои 1~~

~~SN S си W с / />~~

~~g г г Г_г g— g— ï~~

~~A t АОѴ ГП~~

~~CN // \ .. י ״ר / V~~

ГМ

~~SN 6~~

~~Хри «то* tic ирь e« ■ho~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426 - 88 -~~

~~APRIL No. 6~~

~~Collated from 61 sources: Д7 in Round n o ta tio n , 11 in Coislin~~

~~and 3 in Sematic notation.~~

~~Line 1 :~~

~~> > 589: ци(ѵп) 572: un~~

~~Two formulas are applied in both traditions. A different variant~~

~~־with 4 of the second formula is used by the Russians.4 presu~~

~~mably could be transcribed as fe, following the direction of~~

~~the melodic phrase.~~

~~L ine 2:~~

~~589: ив 572: на~~

~~The first formula is filled up with a transcribed as e,~~

~~It could also be suggested that it is a g. In a discussion~~

~~־J. Raasted pointed out that after a a descending move~~

~~ment usually appears. In the second formula most of the Round~~

~~. ד sources are using \у • К* fe~~

~~Line 3 :~~

~~> о / <1 572 : bić 589, 572: кли 589, 572: «о~~

~~The difference in the number of syllables does not seem to~~

~~affect the translation considerably since corresponds to KHt bcba~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access - ־ 89~~

~~פ ע Ÿ _ f» Ха £ц> цеѵ та)~~

~~Por the second formula it could be suggested that the Russian adaptation comes closest to the variant in Ul:~~

~~7 ^ тс* Ѳе (0~~

~~a be a.~~

~~' У ' s ' .'?־ 589: сг на 572: на~~

~~The formulaic organization in the Byzantine model seems to be followed quite precisely in the Russian version.~~

~~L ine 5:~~

~~589 : АРв<АР*)572: АРв 589:*0(ве>572:b o (b «) 589 : ce(c*> //' 589, 572: ca~~

~~It could be suggested that the adaptation of the firs t formula has its counterpart in the variant in 1586:~~

~~< ד ע- c - У Ő о x t еѵ Си гио и~~

~~d d d g f e,~~

~~since the meaning of a usually presumes an ascending interval bigger than a second (PUN I, 133)•~~

~~In the second formula фсо is replaced with ^не, which could~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access be transcribed with two ascending seconds (PUN I, 130, 132)~~

~~Line 6 :~~

~~t . V / ( У 572: ѣъ. гро 6ъ~~

~~The two formulas in the Byzantine version seem to be reflected~~

~~graphically. According to the theory of J. Raasted the MeSi£~~

~~on e requires a $ on с (J. Raasted, Thoughts, 34 - 35, ex2a).~~

~~As mentioned in the description of the method (p. 38) a ll~~

~~April stichera are transcribed diatonically, since there is~~

~~no evidence for the use of the chromatic intervals in early~~

~~or later Russian Chant.~~

~~Line 7: « У о • < У \ " 572: да nc nøo bwo же~~

~~The firs t formula used by the Russians demonstrates only~~

~~a slight difference from the formula given in the Greek~~

~~in ״ ל version. The second formula is also revised - with~~

~~the first syllable. The solution for the one syllable less~~

~~in the Russian translation is found by giving only a part~~

~~of the second formula, which appears without \ . A transcrip-~~

~~tion according to the variant in 265 also seems to be p o s s ib le :~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~- 91 -~~

~~ft >־ ד n כ e OKU Леи oe~~

~~bc e eb а~~

~~384: V * с / // Про BWp me~~

~~־ Obviously in 572 another possibility has been preferred~~

~~a part of the firs t formula, while the second one is re-~~

~~presented entirely :~~

~~״ \ o: ^ ' У :572 а да nc про svp же~~

~~Line 8:~~

~~״ * ״ * x *s ' /✓ »a( a ) 589,572:0־ukp t :572~~

~~It seems that the first formula follows in general~~

~~the Byzantine version - with one fillin g u p . Perhaps~~

~~the same formula could be transcribed as:~~

~~e- í / с- п иьр таг! ►a~~

~~с d d e~~

~~The third formula could be found in 3 main variants in~~

~~th e Round Mss:~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~- 92 -~~

~~) 3 < ״/ _ // —c_ c ' י * ßo cov тае au TO) 355, 1218, 1221, 1215, 1249,~~

~~d cd d d e f 4960, 1216, 1220, 264t, 1230~~

~~с/ i rs ר /- ł * t t ßo cov тае au TO) D, 1231, 1492, 261, 291, 42,~~

~~d e f d d e f 1228, 1232, 156*1, 1484, 883,~~

~~39, 1223, 1225, E a ll, Ph. 30,~~

~~528, 533, 265, 1586~~

~~JŸ ~-י // CÛ // 0 0)V xac au TO) 1472, 1504, 1585, 1453, 1471,~~

~~d e f ed d e f 1487, 260, 41, 1224, 1226,~~

~~1227, Eal, 262, 264v, 1229~~

~~Presumably the Russians followed variant a or с, but~~

~~v a rie d i t w ith a \ (as a f i l l i n g up s ig n ) and d id not use~~

~~the leading-on element in the last syllable.~~

~~Line 9:~~

~~« / 1- 4 ft лЪ лоv ги(п> a 572: лЪ гм ־589~~

~~It could be suggested that the Russian version in general~~

~~follows the Byzantine version. By the transcription the~~

~~,is followed (FUN I ״ד״ corresponds to ^ ־idea that 7 ״Floros~~

~~141). // does not seem to have the meaning of a Xeron-Klasma,~~

~~and it is transcribed as a prolonged d.~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access - 93~~

~~Line 10:~~

~~589: лоѵ(лѵ) гн(и) 572: а л t~~

~~The Byzantine version is not followed by the Russians.~~

~~They prefer to use a variant of the formula given in the V ד first адЪлоугпьа, with a instead of (in the second syllable); and a instead of с У (for the third syllable)~~

~~The v a r ia n t in 572 is more p re c is e because o f the a , demanding a bigger ascending interval and at, presuming a tone in lower position (PUN I, 200, 205)•~~

~~L ine 11 :~~

~~589: лоу(лу) гп<и) *(a) 572: rn * ( a )~~

~~The re a d in g in 1218 is an is o la te d case. Most o f th e Round sources use:~~

~~י י / ׳־ V « - а ХХт) Xou i a~~

~~d fe def e d .~~

~~Presumably the Russian version could be interpreted as a variant of the Byzantine majority reading.~~

~~L ine 12:~~

~~■*־ 589: сто* тн>(пм)' 572: Xpn сг шю(ши)~~

~~The re a d in g in 1218 w ith an ending on G is a lso to be found~~

~~only in 355 and S t.30. Most of the Round sourcesNina K. Ulff-Möller use - the 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~- 94 -~~

~~following variant: v״ )׳•כי ІР' 9 . » . ־• י 4 0 ר׳ ״, с \- /с/ ״, ר׳ Xpi ото) те») a va атаѵ ті~~

~~ge f e(d)cd fe d~~

~~^corresponds to ^ in almost all Byzantine sources- Mpw va~~

~~The last formula is transcribed according to the variant~~

~~represented in 265:~~

~~—€ n* א/ va отаѵ x t~~

~~e f d d .~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~• 95 -~~

~~APRIL No. 7 1217 (118v), 1218 (114v ) f 384 (SOr)~~

~~L in e N 0 • Not.I No.of I syl•~~

~~// a i Л* A ^ //~~

~~SN 6~~

~~ПЧ ни ht пЧ ни~~

~~// \ ••מ 'CN S~~

~~rej~~

~~с/ SN ./ ז -ל 8~~

~~ЛИ N4 ствоѵ н> K0\f nw no~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~- 96 - A p r. 7~~

~~L in e N 0 • Mot. No.of syl.~~

~~פ פ פ ״ - ?׳ CN 8~~

~~If - ?׳ m éî ipo ос ѵсу мы ycv хм Xpt от «~~

~~При H• et U\ ♦ TCptl CTOV~~

~~CN ✓/ с/ y ״a- r FN • # л ל y H> ï If ^ ft f-^ ft Xo pap tu pc$~~

~~SN y,// // ^ -4 :ל- 8~~

~~ЛН> НА ірв « UOV V• tin M il~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~дрГв 7 - ״ 97~~

Ыле 0N• N o t.ļ N o.of I syl*

~~.V ״ Ч י CN 8 Г ד «л / // ר PN t г г־־ T י11~~

~~0 tu тоѵ tu pa v vov ex $ p o v~~

~~SN 8~~

~~HI N0 TO un T• ЛН1 SPA Г»~~

~~" \ ל י / \ ׳CN J~~

~~SN 8 V ч //~~

~~ДО ПЛИ п СТО* СТО TWP ПЪ 4W~~

~~־ Ввуѳ ‘ ь g j^ łb U o th e k . g j^ łb U o th e k ״ München,® ״~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~- 98 - A pr. 7~~

~~и л е No •IN o t. No.of s y l•~~

~~פ פי v CN~~

~~Г ד ר PN о~~

~~י■ f i 1 i Д J 1 - £~~

«тер vi cas ха тс ßa Іс *

~~SN // c -^ -g ==B=3 ■ ■ ז י ļ~~

~~ао nn \ך л nw нг ни\~~

~~CN - с У~~

~~^ ־ r3 י 9י יכ FN ÍE 8 6с от іаѵ TCÇ яра (и рсѵ~~

~~-ה г ד SN כ. /, 8~~

~~Tt Uk BW СИ ВЪ ПП 4 Ul~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~• 99 • A pr. 7~~

~~L in e No* Not.l No. of I syl•~~

~~/ >׳ CN~~

~~«------־r — / ■>n «— _/ RN V // t i~~

s i t - f-— v tou arot( ftt vate *

~~SN 8~~

~~n• ir&A YW пгі n un г л• сгі •~~

~~CN * ה׳~~

~~־־י" -N Oj־'/ / — О / 1 ׳ S- 4- ״ 7 / ל . I/ ' ״ ׳/ 1 ״ ע/m 7 p Ç, r f' ..f " 7TT 10 a ХХг\ Лои ļ~~

~~SN 1У У o'ģ■ ft 2 r f ri ■f■ д~~

~~A t АО* rn Hk~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~A p r. 7 - 100 -~~

~~L ine N 0 • N ot. N o .o f s y l•~~

~~ה ׳ CN~~

ז—

~~כ ר ✓Vv/ — RN / * r» /I 1נ— — ------'------r f f r p r J------J ־ * F = * = ł t t i r i —------11 *Ход с а חגג a~~

~~// —е ^ -ל SN 0 ф Å------# r W---- 49------#------L « = = Р = = ^ Ѵ : ■— f -~~

~~At AO\f TH Hk~~

~~>י ר CN ч~~

~~At ЛОѴ ГП ►Л~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~• 101 •~~

~~A p r . 7~~

~~Line No» Not. No.of s y l.~~

~~7 т Г UN~~

~~ХЗ r ר י־}״״ / / •SN 7 сУ ѵ^/ /f~~

~~К 0 И СТОV (AA ГО A A T • Л hO X -~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access APRIL No• 7~~

~~Collated from 62 sources: 47 in Round notation, 11 in~~

~~Coislin, 1 in Chartres and 3 in Sematic notation.~~

~~April stichera No. 6 , 7 and *21 are used a t th e Л іт^~~

~~and have the same melody and formulaic organization in~~

~~the Byzantine tradition. This also seems to be kept in~~

~~the Russian translation.~~

~~Line 1:~~

~~See the notes for 6,1.~~

~~Line 2:~~

~~' У КУ «_ V ^ V 572: кг CTB0 Y ю коу пь 589: иоѵ~~

~~See the commentary for 6,2.~~

~~Line 3:~~

~~572: при cfc Kon~~

~~> л іп 1218 seems to be a mistake. For the transcription is~~

~~corrected with .~~

~~By the comparing with 6,3 it could be observed that 384~~

~~and 589 prefer using of slightly varied first formula~~

~~.on c%, which probably could be deciphered as bc־with ^ 47~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access - 103 -~~

~~Line 4 :~~

~~' ׳‘׳׳ С— сХ с .־О 589, 572: аж те 572: иоѵ 589: ѵв~~

~~The comparison with 6,4 shows that 384 presents a variation of the firs t formula in 6,4 by using twice be on the second and on the third syllables by help~~

~~Presumably the two other sources give . •ל- of and an «— as a fillin g up sign:~~

~~( o O ׳ <- <- 9 ^ : 2 7 5 ,580 J л 1-0 ka *e и uov *׳ 9 9~~

~~a be с с d (e)~~

~~L in e 5~~

~~о ^ 572: U n Ahft 589: Ahft(ftA)~~

~~See the notes for 6,5•~~

~~L in e 6:~~

~~572: стрй СТО 589,572: nw~~

~~Compare with 6,6• The version in 1218 is transcribed with~~

~~____ с — в — on d between lines ״ ^ cis as in 6,6. The application of~~

~~6 and 7 could be interpreted as a demanding cis in the previ-~~

~~ous line (see J. Raasted, Thoughts, 23, 34). The second~~

~~formula could be treated as a variant of the second formula~~

~~in 6,6. In this case is treated as equal to apostroph~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access ♦ Dyo Kentemata (see FUN I, 134)~~

~~Line 7 :~~

~~ע Ł 0/ У* 572: %& ль %ъ 589: ии~~

~~See the notes for 6,7• nk in 572 could possibly be deciphered by f (FUN I, 133).~~

~~Line 8:~~

~~V׳ У сУ) 2 572: Tfc uk си в ( he ) 589: пп в (м > иг~~

~~See the firs t two formulas from 6,8. The firs t formula in~~

~~384, 589 could be treated as a slightly different variant of the first formula in 6,8. Possibly the variant in 572 co u ld be tra n s c rib e d as:~~

~~Line 9 :~~

~~v 'Л יי =n il 589 :572~~

~~Compare with the last formula in 6,8.~~

~~Line 10:~~

~~The last four lines in tldvTa xà ёвѵл (No. 6), rAaua áauáxwv~~

(No. 7) and ExfiXn ucLOxOpojv (No. *21) present different textual variants in the different Mss. These occurences are Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access - 105 - noted only in connection with the Russian translation.

~~There are 6 textual variants in the Byzantine tradition~~

~~:־ for lines 10 13 a) 66Sa owxep xfl copixxtJ aou ávaaráaet 6 t1 fiç бааюас кбацоѵ -~~

~~28, 208, 1218, D, 1472, 261, 1221, 1586, 1230, 1229, Eal,~~

~~St. 30, 528, 533, 264, 265, 41, 1216, 1220, 1223, 1225,~~

~~1226, 1227, 1453, 1471, 1484, 1487, 883, N, 4960, 1215,~~

~~1228, 1232, 1249, 1504, 1585• b) áXXnXoúia, áXXnXoúia, áAXnXoúia, Хоісттф хф eOepyéxij -~~

~~1214, 610, 355, 1231, 1492. c) dXXnXoúia (3), Хоьохф хф ávaoxávxt - 291 , 1464, Eal, 262,~~

~~260, 42, 1564, 39, 136, 110, 1219. d) dXXnXoúta (3), Хоіахф хф axeaxoôóxg - Ph. 30, 1224, 1217,~~

~~53.~~

~~-a otüxeo xóouov, dXXnXoóta (3) Хосстхф хф Ava־e) 6óf~~

~~.־ axávxt 218~~

~~f ) 6ó£a ошхео xóouov, dXXnXoûta (3) , Хрсстхф хф~~

~~eOepyéxg - 49.~~

~~The Russian translation belongs to the second group.~~

~~The te x t and the neumes in th e Greek Round v e rs io n fo r~~

~~are given according to 355, since the Russian ־ lines 10 13~~

~~tradition follows variant b. ^ в с / 572: л* лоѵ 5°9: л* лоу (лу) ги (п) ьл <а>~~

~~ХХп has as a counterpart in the Russian version л*, which d~~

~~presumably could be transcribed as cde, in order to follow Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~- 106 ־ 106 -~~

~~Line 11: сУ <й<а־a лі(лп) лоу 589: лоу<лу> гп(п) 1 :572~~

~~See the notes for 6,10.~~

~~Line 12: s> ״ל׳ 572: a лі(лв> лоу 589: лоу(лу)~~

~~This line could be compared with 6,11. 384 represents a~~

~~slightly different variant of the formula given in 6,11~~

~~by using сУ* , transcribed as ef. 572 and S89 prefer to~~

~~as in the formula in 6,11.~~

~~Line 13 yj ^ -ג€ 572: сто* 589: го дл~~

~~See the commentaries for 6, 12~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426 ־ 107 ־ 107 ־ APRIL No. 12~~

~~1217 (119v ) $ 1218 (115v), 384 (Sir)~~

~~L ilie No. Not.I No.of I syl.~~

~~Ct ms~~

~~-e׳ A׳ SN г v~~

~~CN //~~

~~׳ ,С-V /> . у ע SN~~

~~я UK~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 000Б0426~~

~~־ 108 - 108 ־ A p r• 12~~

~~Line N0 • N ot. No.of s y l•~~

~~טע CN~~

~~ד '-HN ГГ~~

~~------Ь-^ r-=£= — ^------r f T l ״ —jf —* — 1 = - C J . * J J i l - ; ־■: У с по U TCU CXJ~~

•z׳ ' z׳ SN V -R- | b 1 - I ■ ------.T~~— ;_ f— к~+־־ V ' ^ £ Ё поп яп л г en *

~~י>~ \ У 9• W — ר CN 8~~

~~[ft!~~

~~SN V / / /> / /~~

~~*=Et=ł#־ I ~é~ ־/־ Ī w ז BO n не Гб •0 r n • *~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426 ־ 109 - 109 ־~~

~~A p r . 1 2~~

~~Line No •iNot. No.of syl. y פ~~

~~t # RN 7 П à~~

✓

~~TOV о т а и d o v Y cto t o u X p i a r o u :~~

~~#• CN 7 // //~~

~~ע PN У УГ\ // ז ~־ ן b ь h 1 » ■ - ■f ’■ ■ jl~~

en Ca) 1JU1) V a pa це voç*

~~ר SN KJ v & U l I ш Lr - г * w игן на ра ио вг~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~A pr, 12 - !10 -~~

~~Line No. Not. N o.of s y l.~~

׳׳< ׳*С— С- - Л CN f <• s 7 יד י PN ц Н гЛr # - i f -Ь-Ѵ ч - і — *------f־ .У - t, t —#—-ф — f— f g— p ------^ — r f í í f < - тлѵ ек 6t a ßo Xt клс TiXa vnc*

~~1 V -* ׳-/> ^ SN 10 ׳4 . fr- И г f» . b---- ־־^ — Hz — Ap— ■*-■■» - 4—~~

~~-׳ С \ , / / 3 ' S ** ל* ־CN _ / ••5 11~~

~~״ _ ,PN ■> - / V o w I■./ fì ■ JiJJU gp ־ì־ Ь - ft~~

~~8 xcp oc.) d e t oav улѵ с каХ Xt ер ул oaç1~~

~~------?------> SN 14~~

~~по« с г * г шоу t o ^ • и л н > д о в р і At cn~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access ■ Ю 50426 ״ 111 • 111 ״ Apr. 12~~

~~Line N0 • Not.I No.of syl.~~

~~CN V~~

~~׳ יי■ ׳ /- —С רל' RN U U h S I fp~~

~~ןזкаі т nv a наѵ ôw 6~~

~~:7־ SN V• £~~

~~г “7“~~

~~n TWP NW ПО~~

~~v о < י ״/ < ר >י CN у 11~~

~~SN 14~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 0050426 י 426 0050~~

~~־ 112 - 112 ־ A p r• 12~~

~~Line No. Not. No. of s y l.~~

~~ע״ >י / _ CN / tf 8~~

~~О *י* // \ •יר и כ CN~~

~~SN 8 / / ׳-׳׳ \ _С_ с : ”ל ׳ט ļ ־־־ז־s ־Ь 1•־1־!Г״ Í4 < >־r ־Г1 ) »■> у1-* • * .»■> . * >~~

~~ло ^ о ѵ на ел дп л * en~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access ׳50426 - 113 ־ 113 - A p r . 12~~

~~L in e Ne* Not. N o.O f s y l •~~

~~>׳ / CN~~

~~•# ו^ק־ ׳° ר tf ל ר > ׳ PN Ir и fc ;י - f» \ 1 b 2 щ h f 13 о дпѵ 0X0 ага ѵлс ta иа ха1~~

~~SN 10~~

~~\ ל״ v ־ ? / CN 11~~

~~1 4~~

~~SN 14~~

вг Bw ce n sw e«A6Ht n Bt øw ni n иг*

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~A pr. 12 - 114 -~~

~~Ы ле No, N ot. N o.of s y l•~~

~~כ S€о - У -> Ql~~

~~SN 8~~

~~^ י >ד־ >י י .CN С c~~

~~SN 8~~

~~w ви ca זז npft в ь aw ни~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~- 115 - A p r* 1 2~~

~~L in e No» N o t. INO .o f syl.~~

~~CN .У v~~

~~י — n_—1 RN פ פ >ר - כ~~

~~ז ד ־ ־ ־ ^~~

~~17 тірео Beu e 6e о ue da’~~

~~SN _ с / Ч_ / /~~

~~- י1 -ל S~~

~~uo ли uo~~

~~C o t " י CN 7 8~~

~~SN 8 / v ״ X~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 000Б0426~~

~~• 116 - A p r . 12~~

~~Line N0 • N o t. N o . o f s y l .~~

~~с - V ił ״ט / ļ CN~~

~~1 0~~

~~19 маі ou тп Ot ac XÙ)V Фи xwv n~~

~~SN 1 2~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access ־ 117 • 117 ־ APRIL No. 12~~

~~C o lla te d from 62 sources: 46 in Round n o ta tio n , 11 in~~

~~Coislin, 2 in Chartres and 3 in Sematic notation.~~

~~L ine 1:~~

~~-И 572: но~~

~~The stenographic way o f w r it in g down t h is lin e , c o n ta i-~~

~~־ ning in both traditions (see FUN I, 252; Am. I, 74~~

~~7 9 ã> MB LF, 16 - 26), and the presumed expected liberty in its interpretation makes the deciphering extremely difficu lt. It seems ( at least graohically) that the~~

~~Russian version keeps close to the Byzantine majority~~

~~-Am. 51H, 241. Therefore the Russian transla ־ reading tion is given accoeding to 1218 with the remark, that for the time being a more precise deciphering cannot be g ive n .~~

~~L ine 2~~

~~w ,'y 572: n 589: и~~

~~As the line in the Russian translation has only two~~

~~־syllables it could be presumed that only the second for~~

~~mula from the Byzantine version has been followed - how~~

~~precisely it is d ifficu lt to suggest, possibly with the~~

~~same melodic shape. -, L ine 3: // 589, 572: в<н>>~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~- 118 -~~

~~Am. 7B6, 219 seems to be ־ The firs t Byzantine formula~~

~~followed in general by the Russians. For the second formula~~

~~two possibilities could be suggested.~~

~~a) the Russian version could be compared with the variant~~

~~used in 1453:~~

~~->y ÍS /t Ли X €U 00)~~

~~G GF Ea~~

~~׳ \ Л 1 e cn~~

~~GF Ea a~~

~~״ ✓ / v b) the neume combination occurs further down in~~

~~the material with counterpart ^ ^ ^ ׳־־« /ר -4 /ר ׳־־« ba Ga a - Am. 8 Г а (у), 220~~

~~- in 13,8; 13,15 and 13,19.~~

~~Line 4:~~

~~/ / V׳ 589 , 572: rn e(he>~~

~~The Russians demonstrate a preference for using the cadential~~

~~sequence b u ilt up by Am. 7, 16 and 1, 219, 231, 213, while~~

~~in the Greek version only Am. 16 and 1 are used as a second~~

~~and a third formula. As a firs t formula has been used охра x l ,~~

~~С F~~

~~Jwhich<* ־which is not found in Amargianakis1 index. 218 gives 7 охра xt~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 119 -~~

~~.a bc G ־־ could be interpeted as Am• f. 7~~

~~The last formula given in the Byzantine version contains a kylisma, while the variant given in 384 seems to be diffe-~~

~~which , /׳rent and uses on the third syllable before end a could p o s s ib ly be tra n s c rib e d as a second up (FUN 1 ,2 0 0 )•~~

~~Presumably the last formula in 572 and 589 could be compared with Am. f. lEß (213)• See also 1,3; 1*5; 5,3; 5,18.~~

~~572, 589: \ / / ✓/ // Ге шо rn в bG aG FE E~~

~~Line 5~~

~~572: сто~~

~~The first sign in 384 has a dot on its right side. There~~

~~seem to be no grounds for treating this sign as a Para-~~

~~k lit with Kentema, since according to M. Braznikov "это~~

~~׳ энапя не игіеетразновидностей и не образует сочетаний с~~

~~другими знаменами" (MB DTM, 29)•~~

~~It seems that the Russian translation does not follow the~~

~~majority reading in the Byzantine Mss. It could be sugges-~~

~~ted, that the two formulas come closest to the variant used~~

~~in 39 ( and to the red variant in 1230 for the second for-~~

~~# • ד 7T* <-/ ־ ל 39: ל ־ TOU сттаи pou TOU xot arou b b ba G ab b * a 1~~

~~(A m .f. 8ѲР, 220) (Am. f. 11BS, 226)~~

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~~Line 6:~~

~~The Byzantine version is built up by Am. f. lOAa, l7Aa~~

~~and 18Aa, 224, 234, 236. Presumably the Russian singers~~

~~prefer to use two other formulas. The firs t one could be~~

~~compared with the reading from 39 and a red variant from~~

~~1230:~~

~~כ 4, - כי י/ כי 39 : eк и) 1230: ex и~~

~~eb a eb а~~

~~(Am. f.l5AB»230) (Am. f.l5Aa, 230)~~

~~The neumation of the second formula could be found in some~~

~~-etc. with counter ־ places 14,19 :5,19 :5,16 :5,7 :1,7~~

~~parts in the Byznatine version having as a melody Am. Í.2AS,~~

~~215.~~

~~Line 7:~~

~~V 4 ^ י ל <а־!>ü > aw 589: ш (0 ) à h ( à w ) А־ш t i л ( ь а ) bo aw с к ъ і a ( i :572~~

~~Bo(missing) а < ha)~~

~~Four different readings could be observed in the Byzantine~~

~~tradition for the first formula:~~

~~• • •— fa ' Eoi, 262, 1223, 1224 ,־ s 1230 ,291 ,1218 הא ßo Al~~

~~G Ga b~~

~~' י * ,D, 1472, 261, 1221, 1464, 1229 ,355 חאßo X l 5 G a b Ph.30, St. 30 . 528 , 533t, 264, 265 ,~~

~~1453, 1471, 1484, 1487, 39, N, 4960, Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 41, 1216, 1220, 1225, 1227, 42, 1215,~~

~~1228, І249, 1504, 1585, 1564.~~

~~• ♦ /r' .(?)V , 1231(?), 1492 ־ с ) Po и ХПС 533 ,1232 a ab Ъ~~

~~/У^ d) &о Хи кпс - 1586, 260, 1226.~~

~~The second formula does not seem to follow the majority Round~~

~~tradition. Probably the formula could be compared with the~~

~~last formula in 1,4 and 1,8. V could be transcribed as ca~~

~~and following the melodic pattern of - as bcba (PUN~~

~~I , 245).~~

~~L ine 8~~

~~572, 589: ■оу(ші-о) дно~~

~~3 formulas build up the Byzantine version, corresponding to~~

~~five in the Russian translation. The firs t formula presented~~

~~in 1218 is an is o la te d case. 32 o f th e Round sources e x p lo re~~

~~the following variant,~~

~~У О י/ה־ ••ע־ у — с У хео oto de t oav улѵ~~

~~a b ab~~

~~which could be determinated as Am. f . ЗГ or ЗЛ (216).~~

~~Another smaller group o f Mss (1231, 1492, 1472, 1230, 1484), uses:~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~- 122 ־ 122 -~~

~~Хер 0(0 det oav ynv~~

~~G a a be G ,~~

~~which could be interpreted as coming closest to Am. f. 7Ba~~

~~(219)• This variant also supports the reading of # г~~

~~л ю ao from the Russian version. The firs t formula on ♦ ✓ —с 1 ״ ר ״ про сг *i could be described as Am.f.9Za, 222 ( see~~

~~also 5,11 and 5,21). The firs t of the two extra inserted could be compared and deciphered ״׳׳formulas on 4 *C h O 7 6 U Л М V ^ ре ѵеСо по , also ־ as the first formula in 5,2~~

~~a a bG a[bc ]~~

~~appearing before the cadential group of Am.f. 7, 16 and~~

~~1, 219, 231, 213; as is the case in this line.~~

~~Line 9:~~

~~572 : e ( M )589 : hw(ho bw> no •(he)~~

~~Apparently the Russian translation follows the Greek ver-~~

~~s io n , based on Am. f . ІОДа and 11A3, 224 and 226.~~

~~Line 10:~~

~~<е־«>же 572, 589: е(ье> е :572~~

~~The formulaic structure of the Byzantine version - Am.f.~~

~~ІЗВа, 15Да, 8B3, 228, 230, 220 seems to be followed in the~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access - 123~~

Russian translation. In the first formula four are used as fillin g up signs• The second formula could also be inter- I ^ preted in another way. The combination of e— , and ^ has the same graphic with the Byzantine counterpart of Am.f.

~~.see 1,3; 1,5; 5,12; 12,19; 13,20; 14,1 and 15,4 ־ (219) 7~~

~~The la s t form ula co n stru cte d from ^ and ^ is well known in the terminology under the name Mereža (FUN I, 207)•~~

~~Corresponding to 4^ in almost a ll Byzantine sources,^ is transcribed as ab (FUN I, 134; MVE, 102 - 103)• The result is a variant of Am. f. 8 a a (220), which is not found in his m a te ria l.~~

~~Line 11:~~

cX ^ -v ( » ) * :־*) npa кгі *

The firs t formula in the Greek version could be treated as a variant of Am. ЗГ (216). In the Russian adaptation another variant of it has been used. Presumably the variant in 572 could be deciphered as:

~~с У с ^ ^ npa вгі ftt~~

~~bc b a Gb~~

~~The Russian and Byzantine traditions agree in using as a second formula Am. f. 7 (219) in two variants.~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~- 124 -~~

~~Line 12:~~

~~t j l ' s \ ? ап лг :־•> ea лг. •~~

~~Ага. f. 16 + 1 are the building material in both versions. The variant of the second formula in 384 is an isolated~~

~~case, by using ' у on n», and provisionally could be tran-~~

scribed as FG, where the first tone of the ✓ goes one step below and the second tone - a second up (PUN I, 200; III ex. 46). A similar variant to this formula has still not been found in the Oreek material*

~~Line 13:~~

~~/ / / / *־ne(n) 1-* 589: At 1 :572~~

The same formulaic structure could be observed in the Byzan- tine and the Russians versions. The first formula in the Russian translation shows a slight difference , while the following two formulas are identical for both traditions. The error in the third formula found in 1218 could be corrected in both ways:

~~read^/b >>■ ד / ד >>■ a ua та as in 264 G a F~~

~~t f dd פ י > / > פ י b) i a ua та as in the majority of the G G F £ Round sources.~~

~~Am. f. 16Ay , 231 Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~־ 125־ 125 ־~~

~~L in e 14:~~

~~4 > " \ . ״ל ״ _« ״ \ . ״ל 572: Ht и в*рь 589: в^(вь) ce(ct)? н? ce(ct) рь~~

~~The first formula is slightly revised by a , but it~~

~~could be treated as a variant of the Byzantine first for-~~

~~.(Am. f. 17Ла(234 ־ mula~~

~~Por the second and the third formula a closeness with the~~

~~reading represented in 1472, 251, 1223, 1586, 1230, 1504~~

~~could be suggested: «77־ ד ד יA* 7 - _> 1472: тл ou кои ие vn til otolc~~

~~G a ca b a G G L , i л ______д~~

~~Ат.53Ла(242) cf. Am. 2Za(215)~~

~~Presumably "?lon et could be transcribed as Ga.~~

~~L in e 15~~

~~572: Tpo ца<цл>~~

~~The Russian version agrees with the Byzantine formulaic~~

~~organization. In the Round sources Thematismos is w rit-~~

~~te n in :~~

~~־ ־־“־־& 0 3 12, 1 2 12~~

~~־־־> - 1249, 1586, -01471~~

~~־ H ' 533 -~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~־ 126 - 126 ־~~

~~Line 16:~~

~~״/ > /V 572: n вп ca~~

~~The first formula follows the Byzantine model quite strictly.~~

~~More liberty is demonstrated by the transfer of the second~~

~~formula, which could be treated as a distant variant of the~~

~~formula used in the Byzantine text.~~

~~Line 17:~~

~~e— «— 572: uo лп~~

~~Two formulas construct the line. Obviously the second for-~~

~~mula - Am. f. 5Ba (218) is followed orecisely in the Russi-~~

~~an translation. More difficulties arise in the deciohering~~

~~Am. f. 57 (243), appearing in a ll ־ of the first formula~~

~~cases in his material before Am. f. 5•~~

~~The second could possibly be interpreted as a ascending sign~~

~~(PUN I, 139)• The two«— in 572 presumably could be deciphe-~~

~~red as G G on uoли.~~

~~Line 18:~~

~~• CJ-• V ״ 572: un pA 589: un PA~~

~~4 Both versions consist of three formulas. The firs t formula~~

~~in 1218 is an is o la te d case. The Russian tr a n s la t io n fo llo w s~~

~~the majority reading of the Byzantine sources:~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access - 127 -~~

~~и тіер e t pn~~

~~D E FG a~~

~~(Am. f. 17Zß, 234)~~

The following two formulas do not seem to be followed in the Russian version. The formulas used in the Russian translation could presumably be compared with 14,7 (p. 155) and transcribed in the same way.

~~L in e 19:~~

~~(o) ״ :589~~

~~The final line is based as usually in Deuteros Modes on the cadential group of Am. f. 7 + 16 + 1 (219, 231, 213)•~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~־ 128 ־ 128 ־~~

~~APRIL No. 13~~

~~1217 (120r)! 1218 (115v), 384 (50v)~~

~~L in e N0 • N ot. N o.of s y l.~~

~~л / י v V׳ : CN~~

~~10 r י י ט , ^ י:\ *כי7 ^ •יו• PN~~

~~Г ד ר ^ ו ז SN 12 t í— •Ь— Ь f■ ..b . h i l - í^ 1 ו ו ^Ь— Ь f■ ..b . h i l - í i /■^ 'J~~

~~При ЦП~~

~~// ^ כי כ •יל / í - ל ׳/ - CN v~~

~~1 3~~

г ר SN 12 // °/с / с))* Г)• V " z ׳>*

~~пи и г~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access ׳Г050426~~

~~- 129 - A p r . 13~~

~~L ilie No » Not.ļNo.of I syl•~~

~~X У / ל 7־ / CN С- t~~

~~8 VU~~

~~SN ׳ / V 5 î : Ö r т O V O 't нп n T PO V BOV'nt~~

ГЛА ę i i i спрп п иг a•*

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~• 130 - A p r . 13~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access Apr• 13~~

~~L in e No» N o t. N o .o f s y l .~~

~~׳^ז־ כע CN //S~~

~~נ ״ 5**4, [ ? ״ , ״ ׳־ // HN~~

~~? Ш•} Д ‘ J• .1J: > ;~~

~~xat pote~~

~~SN 2 . c_ л »! ± £ s~~

~~p A АО tf И CA~~

~~^ ל CN 4 //~~

~~/ כי ד _\ יג RN ׳-* ל ־■!Е = Е Ь П ЬгггЬ ± У------+• 8 той Xpt отои охра xt w ха~~

~~г— SN у . // \ ö I' 5 Л ' ) ' J J Крп сто «г во п не1~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~- 132 -~~

~~A p r. 13~~

~~Line No * Not. N o.of s y l.~~

~~.ד CN~~

~~>*> לל־ r\ r, 7 ר " ד PN У £ TU = = â £ ?~~

* e ץ uao тис Ге up 1

~~SN 8~~

~~CN J у У \ О /'~~

~~נ ^׳ [ >י /—с ״ C/-V , - // ־־ ר/>ד PN~~

~~M f j1 b 1,—— f•------11 -— /— —״— -Ф— гг־״״ ' — = # = ^ =~~

~~10 TU ПО TU Y<1p TG) TOU TOU~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access О50426~~

~~• 133 - Apr. 13.~~

~~Line Nob,Ne. N o.of s y l.~~

~~// •״פ с У CN v 8~~

~~$ V / / / / oou ׳ ל ־׳ SN с /~~

~~ן U л гг ■^־ TÖ £ f ------+Ā9 по стра АА лг cn вла я• не~~

~~ינק CN~~

~~לי- .S -Š’׳־, ' PN גי í t i l ' JĘ י ' У Ё f 12 x a t a t p o t e~~

SN z c- -H Ь Ь ] Г! 1 гг^ r. * } * f j+׳ ' ־' * *

~~pa A0y n CA~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~Line No. N o t,~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access DO50426~~

~~- 135 -~~

~~A p r • 13~~

~~L ilie N0 • N o t. N o.O f s y l .~~

~~י •> CN~~

~~C_ - ✓. p י ר PN П ь.ו * È ' t , ' m 15 ôt a xnv at a) vt av~~

~~כ* יד י״ \ t •ד־ CN су~~

V ł i ° •У ־ ' ------* ״ ׳HN Ou ÌLI י״/כ s £ — в >h à V ^ י # י f # * 11 ' 1 1 6 nat ua ка ot av ov тис C« пѵ*

~~SN 8~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access )0050426~~

~~- !36 -~~

~~A p r. 13~~

~~I N o t . N o . O f י L i n e N o s y l . v פ>ד S/׳/ CN~~

~~С/ ?/ ־י“ יי ־י“ ?r\' -y < ~ '׳ - * Л ר — RN~~

~~------t-- rfv ft ----- 1ļ—־y —p•• ־f ,y e » j ' I T 9 ------* + J------17 Xai a t pote~~

~~SN г I ־f c »-il J . П7~~

~~p A АО V " CA~~

~~CN 8~~

~~г ד SN~~

H« Cll Til H AO\f at w *

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access ׳50426~~

~~- 137 -~~

~~A p r• 13~~

~~L ine N 0 • N ot. N o.of s y l.~~

~~> / «ל V ? / _ CN // 8~~

~~na ела «ft ha не no• ста hw но~~

~~I I '■־־ С- о <־ / / CN V~~

~~2 0~~

~~SN 11 9 : 4 zfc f г1 j Ь L, -\ e־È f .\~ ~Ьг b1 ----^----i-----*----+----/------*-----t—f----Г—H־L~~

w »-а ко ш tw «w и и к! Кон ста Со га*

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~- 138 -~~

~~A p r . 13~~

~~Line No • N ot. N o.of s y l•~~

~~V CN~~

~~י*י > ц RN ---- łf r - — h) r - ш+/ — ж— ГГ 1 1 ------! ------f — —Ц-U- — ķ — ־ "5K / 7] — V— _J ------~~

~~21 Touc ек те Xouv тас* 1 /•׳ _SN с. >י>ר СУ 'Л ,f r - III---- — ן! ------Ļ2---— и— ------ч— 1------״r ~ r t 1 ! 1 t ־־ ׳# ----- i - j ------ф — 44־ —V~~

~~п о од тп и г тп~~

~~>ד >־ >ד ״/ / CN 7 У tt 10 RN~~

~~22 тлѵ ev 60 Fov иѵп илѵ oou noe ofteu~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access Ю50426~~

~~- 139 •~~

~~A p r . 13~~

~~L in e No• N ot. N o .o f s y l .~~

*// ״>־ CN 8 r׳/ RN •pO

4т ? ± t jLL t f 23 Xu tow ôn v a t na one OP ТПС*

~~SN 13~~

~~П в~~

~~CN 8~~

~~SN 8 Ф / / " \י< У 4׳ 0 <* a: f f i i~~

~~״־:TW ЛА UO* Ѵв МИ hű~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~־ -140 140 ־~~

~~APRIL No. 13~~

~~Collated from 45 sources: 35 in Round notation, 8 in Coislin~~

~~and 2 in Sematic notation.~~

~~L in e 1:~~

~~" V ׳׳-У C. 1J- cJ *j. C) 572: л* те ко hw un ,*e uw ни n~~

~~Two formulas construct both versions. It seems that the~~

~~Russian translation follows the Byzantine model - Am. f.~~

~~־ but has two additionale— . The second formula ,(238 ) 27~~

~~Am. f. 5A3 (218) reflects in another variant of the same~~

~~formula in the Russian text, which could be identified with~~

~~Am. f. 5Bf* (218). This variant could be seen in 1221, 533v,~~

~~1471 and 39:~~

~~פ T < — 1221: та ne pa та~~

~~G a FE D .~~

~~The order of the two last words is changed in 572, but it~~

~~seems that the melody remains the same.~~

~~L in e 2:~~

~~The reading in 1218 is not to be found in other Round~~

~~sources. The majority reading (21 Mss in RN) is based~~

~~on the following four formulas :~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access - 141 -~~

~~־־י זל ^ ׳ ׳' 7 7 7 ^י־־ •• ל׳^ / z ' Q “ т _ _» 1 2 2 1 • ’ nveu ua x i хлѵ хо pet аѵ e nt нротп о<0 иеѵ~~

~~D E FG a EF Ga a b ab G aG EFG G I >■ è » ł - i Am. 17Z3 (234) Am. 17Пх (234) Am.ЗА (216) Ат.ІѲ (213)~~

It seems that the Russian version does not follow the Byzan- tine tradition and represents a melodic line built up diffe- rently. The first formula, transfered as Ga bc b a, could also be found in 12,8; 5,21. It usually appears as an opening formula and it could be treated as a variant of Am. 9Za (222).

~~The following three formulas could be identified with the cadential formulaic p t o u o o f Am. 7+16+1 (219, 231, 213)•~~

~~Line 3:~~

~~X . 572: п* нм~~

The line marks the beginning of a new colon and it has the same formulaic structure as line 1. The Russian translation has three syllables less in comparison with the Byzantine text, but the problem has been solved by taking only parts of the two formulas used in the Greek version.

~~Line 4 :~~

~~The Byzantine version consists of three formula, correspon-~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~־ 142 ־~~

~~ing to two formulas in the Russian translation. Three~~

~~v a ria n ts f o r the firs t formula are represented in the Round~~

~~t r a d it io n :~~

~~-11 / a) (poj vnv - D, 1231С?) , 1492 , 261 , 1221 ,~~

~~EF a 1596, 1230, Eall, St. 30, 264,~~

~~Am .f. 17AB, 234 265, 41, 1216, 1220, 1223, 1225,~~

~~1226, 1227, 1453, 1471, 1484,~~

~~1487, 39, N, 4960, 260, 42, 1232~~

~~1585(?).~~

~~^ /С~~

~~b) vnv - 1218, 355 G a~~

~~c f. Am. 53Г, 242~~

~~- L y Eal, 533, 1224 ־ с) coco vnv~~

~~All three variants are followed by Am. f. 17Га, 234.~~

~~The third variant could be also treated as a part of the~~

~~second formula, because of the repetition of a, which is~~

~~the in itia l tone of the second formula. It seems that in~~

~~the Russian version only the firs t formula is used, presu-~~

~~mably in variant a, and in the place of the second formula~~

~~they use twowith repetitional value.~~

~~The reading for the last formula in 1218 could be found~~

~~only in 1226, 533t and 42. Most o f the Round sources~~

~~prefere to use:~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 143 -~~

~~.__t כ -V // // ד \ 355 Xa ßov тес~~

~~ba GG~~

~~Line 5:~~

~~־ A״׳ v _ 2 572: и к а c h m~~

~~Two formulas could be observed in both traditions•~~

~~The firs t one, used by the Russians could be treated as a slightly different variant of the formula given~~

~~- Am, f. 9Гл (222). ĆS is tr a n ־ in the Greek version scribed as be (MVE, 103) and the Russian formula could be compared with Am. f. 9Aa (222).~~

~~The second formula in the Byzantine version could be interpreted as a Dart of Am. f. 8Ге (226). It could be ־ c / -7 suggested that ^s ' follows the reading in 1^8^ - // /✓. n t Ga a~~

~~Presumably could be treated in Position В (FUN I, СМИ~~

~~206), and deciphered as bea.~~

~~L ine 6 :~~

~~572: с* иг~~

~~The last formula is identical in the two versions. The first~~

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access ־formula in the Greek text (Am. f. ЗА, 216) seems to be trans formed into two formulas in the Russian translation. The firs t

could be compared w ith Am. f . 8Za (2 2 0 ), o r (which • ל /one V seems to be more lo g ic a l) i t could be tre a te d as a t h ir d up disposition of Am. f. 16Ka (231)» The second formula could be interpreted as a slightly modified variant of the in itia l

~~Byzantine formula. The variant given in 572 for could be tra n s c rib e d as bc ab G and tre a te d as an o th e r variant of the in itia l formula in the Byzantine text.~~

~~L ine 7:~~

~~572: n 6a~~

~~The melismatic formula with Thema-haploun in RN and CN~~

~~־seems to be followed in general in the Russian transcrip tion by a formula with Fita Zelna.ja. The notation on potc~~

~~־in 1 2 1 8 is not be seen and on e a is transcribed accor ding to 1231, 1484, 1487, 39, 1232. See also FUN III, ex.~~

~~.(and 291 ( 122 • 123 ־ 279 278~~

~~L ine 8:~~

~~572: во и не(ні)~~

~~Three main readings for the firs t formula could be observed~~

~~in the Round tradition:~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 426~~

~~- 145 -~~

~~< ל -י JL ,v, 1586, 1230־ a) tou Xpi Отои OTpa. 1221 ,261 ,1218~~

~~533, 264v, 265, 1224, 1226,~~

~~Am. f. 9E6, 222 1227, 1453, 1471, 1484, 39,~~

~~Nt, 260, 42, 1585~~

~~J_ ^ ,t, Eal, E a ll־ b) tou Xpt oTou о тр а 1221 ,1492 ,1231~~

~~G Ga b a S t. 30, 2 6 4 t, 41 , 1223, 1225 ,~~

~~Am. f . 9Zy/ 222 1487, Nv, 4960, 1232~~

~~׳־־־ל/ — ׳־־־ל/ c) tou Xpt стой атра - 1216, 1220~~

~~Am. f . 9Ге, 222~~

~~Obviously the Russian adaptation comes closest to reading~~

~~Am. f. 8Га, 220 is the same in ־ b. The second formula~~

~~both versions.~~

~~Line 9:~~

~~572: it has one extra syllable in the beginning of the с e_- >> о lin e - n це(ѵв) rn e(he)~~

~~The line has the same formulaic organization as line 6 in~~

~~both traditions. The variant used in 572 could be compared~~

~~with the reading of the second formula in 384 from line 6.~~

~~L in e 10:~~

~~572: t o~~

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access The Greek majority version consisting of Am. f. 5Ba (218) and Am. f. 24Ba (237) does not seem to be preserved in the

~~Russian translation. The Russian version is also constructed from two formulas, but presumably they could be trea-~~

~~ted as a Russian response to Am. f. 9Za, 222 ( cf. with~~

~~5 ,1 1 ; 5,21 and 13,2) and Am. f . 8 ra , 220 (see 12,3 and~~

~~12,18. Perhaps th e v a ria n t on \ ^ in 572 could be 10 to ro~~

~~transcribed as ba Gc a, which is in agreement with the de-~~

~~ciphering of the last two syllables in 1218.~~

~~Line 11: v 572: en~~

~~The lin e in both t r a d it io n s is b u i l t u d by the cadential~~

~~formulaic group of Am. f. 7 ♦ 16 ♦ 1.~~

~~Line 12:~~

~~The comparison w ith 13,7 shows th a t both lin e s have almost~~

~~the same neumation, which is valid for both traditions (see~~

~~O' w ith־ NUM, The C onnection, 51) I t could be presumed th a t~~

~~\ on сa follows the reading given in 1492, Nv, 260, 355,~~

~~1223, 1585:~~

~~y r \'% ' כ ל 1492: כ ל poiç~~

~~EPED~~

~~The difference between Chamila on the last syllable of~~

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 13,7 and Zmijca on the last syllable of 13>2 seems in these cases to be only the fillin g up of the descending t h i r d FD.

~~L in e 13:~~

~~У ' S ' 572: до да~~

~~The firs t formula given in 1218 could be treated as coming~~

~~c lo s e s t to Am. f . 9Z3 (222). In the Russian version another~~

~~formula is used, which could be interpreted as a Russian~~

~~equivalent to Am. f. 53Г (242). The second fo rm u la could be~~

~~identified as Am. f. 24B0 (237) in 1218 o r as Am. f . 24ва~~

~~(237) in the majority of the Round Mss. It is d ifficu lt to~~

~~decide which of these variants has been followed in the~~

~~Russian translation. The variant with 1У in 572 could be~~

~~deciphered as b because of the Kentema above the t S (FUN I ,~~

~~133) and as Ga for ^ (FUN I, 200)~~

~~L in e 14:~~

~~572: t u~~

~~At the beginning of the line in both versions a variant~~

~~of a formula is given, which is not found in Amargianakis1~~

~~Index. It could be treated perhaps as third up trans-~~

~~position of Am. f. 16 (231 - 232). See also the notes~~

~~for 13,6. The second formula in the Greek tradition could~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 0O0S0426~~

~~- 148 -~~

~~be treated as Am. f. 2Да, 215, corresponding to a formula~~

~~in the Russian text, comparable with Am. f. 2Aß, 215.~~

~~Line 15~~

~~'У 572: pa~~

~~The second fo rm u la - Am. f . 8Га, 210 seems to be id e n t ic a l~~

~~Am. f. 9Ba, 222 ־ in both versions. The firs t formula~~

~~It is . « ר is varied in the Russian translation with~~

~~equal to the variant used in 41 and could be compared~~

~~f . 92a, 222. p־ ?' 41 : 61 a xnv a t~~

~~Ga be b a~~

~~L ine 16:~~

~~572: an extra syllable before Ела- n.~~

~~The cadential formulaic combination of Am. f. 7 + 16 ♦ 1~~

~~(219* 231, 213) construct the line in both versions. Most #•/ I* of the Round sources use on *at and <—лоппѵ . be *\, EFD~~

~~L ine 17~~

~~572~~

~~־See 13,7 and 13,12. The t h ir d рлаоѵпса has the same neu~~

~~mation as 13,7 and is therefore transcribed in the same way~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 426~~

~~־ 149־ 149 ־~~

~~L ine 18:~~

~~уУ 572: с \~~

~~Am. f. 2Да ־ It seems that 1218 uses only one formula~~

~~(215), while some Round Mss and the two Russian sources~~

~~prefer to invent two formulas - Am. f. 2Да, already men-~~

~~tioned, and Am. f. 33B (239)• The second formula could~~

~~be observed in D, 261, 1586, Ea.II, S t.30 , 533v, 265 , 41 ,~~

~~1216, 1223, 1484, 39, Nv, 260, 1585.~~

~~\ л // D toc Фи ХЛ~~

~~G aF С~~

~~<- Ч » 384 доѵ me ю~~

~~Line 19:~~

~~572 : extra syllable between ьа(л) and не - ca, nw~~

~~The firs t formula given in the Greek version could be~~

~~identified with Am. f. 9E£, 222, while the firs t formula~~

~~used in the Russian translation could be compared with~~

~~(Am. f. 8ra(3)(221 ־ Am. f . 9Ba (222). The second formula~~

~~could be interpreted as common for both traditions.~~

~~L in e 20:~~

~~V ' ר : o 572: кг ста ro Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access Compare w ith 5»12•~~

~~The cadence b u ilt up by Am. f . 7 + 16 + 1 (219» 231» 213)~~

~~is followed in feneral in the Russian translation. The last~~

~~formula represents a special variant, presumably of Am. f.~~

~~1 (213), which is not found in the Byzantine material for~~

~~Index. Therefore the deciphering ״April nor in Amargianakis~~

~~-V , where a ^ pre׳ is given according to the meaning of~~

~~sumably is used for an ascending step bigger than a second~~

~~(PUN I, 193) and is used to indicate a ton in a~~

~~.(־ higher position (FUN I, 205 206~~

~~Line 21:~~

~~Most o f the Round sources use с У on те for the first formula - Am. f. 7B6 (219), which is reflected in the Russian~~

~~adaptation. The second formula - Am. f. 16Na (231)» is the~~

~~same in both versions.~~

~~Line 22:~~

~~с/ ^ *C v. о 572: HOV Ю UA TV uo ли~~

~~The Byzantine version is built up by Am. f. 21 (twice)(237)~~

~~and Am. f . бГу (218). The firs t formula in the Russian ver-~~

~~sion could be compared w ith Am. f . 8ra (220), see 13,8. The~~

~~second formula in the Russian version seems to have the same Ł •• melodical value, but is varied rhythmically. 1-0 corresponds~~

~~° ר ״✓ י4 77)^ ר׳ >י ר׳ 77)^ י4 .and u a to uvn oou הto gou uv E F GE G E~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access S0426~~

~~- 151 -~~

~~Line 23: v׳ - , - 572: t« ко~~

~~The three formulas in the Byzantine tradition (Am- f. 9E6,~~

~~222; Am. f . ЗбВ, 239 and Am. f . 17Г&, 234) are follow ed~~

~~with slight variations in the Russian translation.~~

~~The firs t formula could possibly be treated as transfered~~

~~to Am. f. 9Zy (222). In the second formula three c— and~~

~~one are inserted. Only the third formula seems to be~~

~~the same as in the Greek model.~~

~~Line 24:~~

~~The end o f the s tic h e ro n , as usual fo r Deuteros Modes,~~

~~is built up by the three cadential formulas - Am. f.7 +~~

~~16+1 (219, 231, 213), both in the Byzantine and in the~~

~~Russian versions.~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~־ 152 - 152 ־~~

~~APRIL No. 14~~

~~1 2 1 4 ( І О З г ) , 1 2 1 8 ( 1 1 6 r ) , 384 ( 5 1 v )~~

~~t Lne No* N ot.Lin N o .o f s y l.~~

~~V »ט״ •CN V~~

~~ג י • • • ר׳פ RN M n ־ v e & ï #lie pov ף£~~

~~SN ^ כ כ \נ>ד \ >/ о — .Ш > ■fc־ i к~~

~~ЛЬ NW tw~~

~~// CN~~

~~/ ft ?׳ ״ כ ' ־ ־זד —RN с~~

~~■b-iļ— .!--Ш ЁрЁ p? *na aa ה ной це v ף 01~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access » 5 0 4 2 6~~

~~- 153 ־ 153 - Apr• 14~~

~~L in e N 0 • b b t , NO.Of syl•~~

~~щ * / \ ׳>• CM~~

~~CTQA СТО тьр Лк ЦА~~

~~1• לר ^יכ־ .о l/ Ч עיכ oi~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426 154 A p r. 14~~

~~Line N o N o t , N o . o f s y l .~~

~~־в- — >ד — CN v:•~~

~~! ד ״/ ____ ר ד // דל // — י' >ר BN «va ^ ■■ ■ ׳J , ף - ק=ז - ף~~

~~вс OU טסז* ף xat~~

~~SN V~~

~~fy ] 1 • У т і i= • • р р = р~~

~~ко v u ha~~

~~לי // ׳־ o ׳׳ ל/ CN~~

~~כי FN ירל ׳׳* //~~

~~T E f = g £ : p 7 Ч т ^ Ь И ־ f — 3 ex н\л 01~~

~~SN i l ׳/ j 1■י[ h с ־t ־ r n~~

~~к г 1 ס и w~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 50426 - 155־ 155 - r A p r . 14~~

~~L ine Ne* N ot. N o.of s y l•~~

~~.׳׳X CN 10~~

~~=r 4־1 SN Ч / /~~

~~^ = r , ~ ' Л [...... = . ־ n / ------^ f f ------і à å ‘~~

~~^ • J i l ------W UB* n i 0 \r npa oa • ua~~

~~CN כד- לר tS .4 - ^ ר~~

Г в VQ ГП N S* n n • Tk тп*

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access - !56 ־ 00050426 Apr. 14~~

~~L i n e N o • N o t . N o . o f s y l .~~

~~• 4 / \ CN~~

f— re1 a d Vѵч7 גר RN 9ą' ft =ь= * g ï ч T Ѳе р а к ш ѵ X p t с т о й *

~~SN д с• о*, г Ч / / ■fi- j ת p ģ J■ •r~~

~~ov го дь nn V« Xpn сто ■г'~~

~~CN /✓ — V / / / / / / 8 ------1 ד — ד ל PN n f e ï ? ï B = F каі тсро axa ta Ѳер цо та та1~~

~~SN *Z- V / У / л / /~~

Яа стоу пь мп ѵ• т• плгі п*

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 157 - A p r. 14~~

~~Line No N ot• N o.of syl.~~

~~// CN 8~~

~~__с_ с // < •*ד־ CN o и TICO Tü)V фи X Ü )V n ишѵ : - г ל ר FN~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access APRIL N0• 14~~

~~Collated from 50 sources: 41 in Round notation, 6 in~~

~~Coislin and 3 in Sematic notation. The Coislin version is given in the transcription according to 1214.~~

~~Line 1:~~

~~о ' s 0 L 572, 589: нь 589: 6w~~

Линиек belongs to a group of stereotyped text phrases, which every time it appears in the Sticherarion seems to be accompanied by the same or almost the same musical formulas (NUM, The Connection, 51)•

~~.(־ Theo^on cw is transcribed as EFD (FUN I, 226 227~~

~~Usually ofiuepov in Deuteros Modes is accompanied by d if- ferent variants of Am. f. 10 (224).~~

~~Line 2:~~

~~' ׳VV 4\ 572: на вь ca 589: m~~

It seems that 384 follows the Greek version, bwca is transcribed by using the reading in 1218, but it cannot be said with certainty how the melody was interpreted, because of the "^perm itting more or less liberty during s in g in g .

~~Line 3:~~

~~572, 589: Tk0 572: пь ца(цА> 589: nw qft(vft)~~

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access Only a part of the first formula (Am. f. 9B6, 222) has been used in the Russian adaptation- It could also be suggested th a t the second form ula (Am. f . 8re, 220) fo llo w s the varian represented in 261:

~~—'S ד ' ך /1 1 \ 261: ОАО cpo pe~~

~~ba Ga a~~

~~(Am. f. 8 Ty ,220)~~

~~The end of this formula*V^could be also treated as a initial part of another formula continuing in the next~~

~~line and presumably identified as a variant of Am. f- 7~~

~~ц* could possibly׳- The reading in 572 in the same place .(219)~~

~~be tre a te d as Am. f . 7Ba, 219 and tra n s c rib e d as a bc. * nw in 572 presumably has a value G b as given in 1216,~~

~~Eal, 1487, 1585, 1464:~~

~~ל* ^׳־יר ל* >י 1216: 9X0 (po ре~~

~~ba Gb а~~

~~Apparently in 589 this formula is used disjuncted by using •y ^ in the beginning of the next line on до*.~~

~~Line 4:~~

~~572: un 6( 1-«) 589:лоѵ va un e(h6)~~

~~The firs t formula (Am. f. ІбЛа, 231) Nina is K. the Ulff-Möller same - 9783954792054 in both Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~־ 160 ־ 160 ־~~

~~versions. The second formula (Am. f. 53Aa,242) is varied~~

~~by a \ in the Russian translation. Between the second and~~

~~the last formula a new formula has been inserted in the~~

~~Russian version, which could be compared with Am. f. 7Aa~~

~~(219)* The last formula, which could be considered as a~~

~~variant of Am. f. 16 Hy (231 )> is represented also in the~~

~~Russian text, but by transfering Bareia group into .~~

~~L ine 5:~~

~~t ץ ••9 ко :׳"* ft-572־! h :589 ,572~~

~~Am. f. lOAa (224) is followed in the ־ The firs t formula~~

~~.Am ־ Russian translation. Presumably the second formula~~

~~f. 4ra (217) has also been performed. The two other sources~~

~~on the last syllable with ■e- , which the scribe ״have “1-~~

~~perhaps forgot to write down.~~

~~L ine 6:~~

~~572: цьо 572, 589: к г і 589: чьо~~

~~It could possibly be suggested that the melismatic style of~~

~~the Greek version has been followed in the Russian adapta-~~

~~ф tion, how precisely is not possible to say, because of the~~

~~great liberty allowed in the performance of Theta sections.~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access '050426~~

~~- 161 -~~

~~L ine 7~~

~~• :ua 589 » ץ0 :572~~

~~The firs t formula, shortened and varied in comparison with~~

~~the Greek model could be treated as Am. f. 92a (222). The~~

~~following two formulas have almost the same neumatic struc-~~

~~ture as line 3 and are transcribed in the same way. See the~~

~~notes for 14,3:~~

~~L ine 8:~~

~~״־״* /4 <*״<)• :nn •(ht) 589 :572~~

~~The formulaic structure is the same as in 14,4. Here th e~~

~~second formula is given according to the Greek counter-~~

~~part. In both redactions the last formula is represented c— > > without the leading-on element " FQ~~

~~Line 9:~~

~~—e /׳׳ tú ר ל ר 572: о* го ни 572, 589: v• 589: сто~~

~~The firs t formula - Am. f. 17A6, 234 has been kept in the~~

~~have been added in the begin ־־*Russian edition, only three~~

~~Index זning. The second formula, not found in Amargianakis~~

~~is the same in both versions.~~

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~~• 162 -~~

~~L in e 10:~~

~~-» ^ ״ v :ל־ /t 572: сто* мн ve 589: сто* nw~~

~~Three readings represent the firs t formula in the Round~~

~~t r a d it io n ;~~

~~י * \ ( 1/ י / L_ a) кал про ота та 355, 1472, 1220, St. 30, 262,~~

~~b b eb а 1227, 1471, 1484, 1487, 1504,~~

~~(Ara. f. 1SA&(A a ), 1464, 1230.~~

~~и — ?״/ L_ нас Tipo ота та 1218, 1231, 1492, 291, 1221,~~

~~b b cG а 41v, 1216, 1223, 1225, 1226,~~

~~E a l, 528 , 533t, 264, 1453, 883v,~~

~~39, Nv, 260, 42.~~

~~> с- с У c) к а і Tipo ата та D, 1224, Ph. 30, 533ѵ,~~

~~b b с а 883t, Nt, 4960, 1564.~~

~~(Am. f . 15Вть 230)~~

~~The formula is transcribed according to reading b , b u t very~~

~~possibly readings a and с could be used, since \J c o u ld be~~

~~-An inser -(־ interpreted in different ways (FUN I, 157 159~~

~~• j ted 1/ , transcribed as an ascending third (PUN I, 133) gives~~

~~a variant of the firs t formula in the Russian version. The~~

~~-Am. f. 2Aa (215), is identical in both tra ־ second formula~~

~~d itio n s .~~

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~~163 -~~

~~Line 11:~~

* ' » '"'" W '״*KV 572: aa ca 589: ла ca

~~The firs t formula used in the Russian version comes very~~

~~close to the Byzantine majority reading - Am. f. 9Гть 222,~~

~~b u t a lso seems to be id e n tic a l w ith the v a r ia n t from 1564:~~

~~־e o l 7 UH сЛ Лес тіл С~~

~~G Ga b a~~

~~иолАСА does not follow the Byzantine tradition, but a melis-~~

~~matic melody without counterpart in the Greek version has beer,~~

~~used. Since no parallel for this formula has not yet been~~

~~found in other parts of the material, the deciphering is~~

~~not possible.~~

~~L in e 12:~~

~~572: pa вгі cso~~

~~5 textual variants can be observed in the Byzantine tradition:~~

~~a) ùîièp Twv боиХыѵ aou - 1464, 291, 1230, 1221, 1231, 1564,~~

~~4960, 260, 1585, 883, 42, 1504, 265,~~

~~264, Eal, 1226, 1227, 533, 1487, 1223,~~

~~41, 1471, 1220, 1225, 262, 1224, 49,~~

~~28, 110.~~

~~b) ùnèp тйѵ фихмѵ nuūv - 1586, 39, 1453, 361, 1214, 218.~~

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~~- 164 -~~

~~c ) Cmèp Tflc Ttotuvfic oou 261, 1492, 1472, 528, 1 2 1 6 •~~

~~d) b n tp fiuûv Ttpòc tó v KÜptov - 1 2 1 8 .~~

~~e) tmèp Лцйѵ npòç tò v бойХоѵ oou - St. 30.~~

~~The Russian translation follows the variant a and also the~~

~~Byzantine formulaic organization. The last formula in 384~~

~~and 589» presumably ending on G, could be compared w ith the~~

~~ending o f 1585 : י דד י бои Xov OOU~~

~~aG PE E FG F G P G G,~~

~~It seens that 572 follows the Byzantine majority for the~~

~~last formula. The five syllables less in the Russian text~~

~~lead to a transformation by using the formulas in the Rus-~~

~~sian translation. It could be suggested that only the firs t~~

~~formula (variant of Am. f. 7) has been used, while the second~~

~~formula (Am. f. 161a, 231) has been dropped out.~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 50426 ־ 165 - 165 ־~~

~~APRIL No. 15~~

~~1217 (120v) t 1218 (116r), 384 (51v)~~

~~L in e N 0 • N ot• No. o f s y l .~~

~~// כי / ь — — כ־ \ ל ך!ו CN 8~~

~~SN 11~~

~~На Тво H П глп М ÇA ІЛА ГО AA TW~~

~~CN / *• ’7 י" h ' ? У 10~~

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~~- 166 - A p r . 15~~

~~L ine No. N ot. N o.of s y l.~~

~~ר<נ■ Z RN~~

~~ГГ г כל - SN ł~~

~~І0• р Щ — ׳ i ' i ' ] 7 1, J f i t CTW ПА е т г і PW~~

~~פ>י I Г 4 CN 8~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access ׳50426~~

~~- І 67 ־ A p r . 15~~

~~L in e No Not* N o .o f s y l .~~

**Ot ׳י• ? ъ //*י07 CN /

~~.י — .י с / I ־Ą 77 ׳-7 // 1*1 & 4~~

~~61 бао xwv * -Ѳ- SN \ Г Т р ^ Г Щ~~

otr v a *

~~CN ר '4 ר~~

~~ע ר דV ^׳'׳׳« י׳/ץ\ FW~~

) }' J 1 1= > 1 " ï ' ï - } та Хо у t на про Эа та *

~~SN 8 с / ХГ' / /~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~- 168 - Apr. 15~~

~~Line No N ot. No.of syl.~~

~~w/ I# // CN~~

~~SN // \ .״ר ti £ в 3 0~~

~~R • p0 KA ТИ~~

י ל # I — -״с RN л > t í ־.t ־ י ־*־f ־ ך - b - ■ו X - i = i Ì j * ־ D i 8 etc; tpt a 6a 0 ЦО ou ot ov* \ SN 10 r > , V< ׳ t ״ ׳» ׳׳׳ י" n г־Ф ------1——ר=( ־*f f־ f I j--: - # # f CJ [-{-■ -V—— J i i ļ- в\ тро П VН> • A« no со* «W nov*

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 50426~~

~~- 169 - A p r~~

~~CN V > ~ — ✓/* t - 7~~

~~SN 7~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access APRIL No. 15~~

~~Collated from 60 sources: 46 in Round notation, 11 in~~

~~Coislin and 3 in Sematic notation.~~

~~L ine 1:~~

~~^ с У ^ 572: reo ha кла~~

~~The Byzantine formulaic organization seems to be kept in the Russian translation but some changes can be observed.~~

~~In the firs t formula (corresponding to Am. f. 10Ba,224), the characteristic descending third movement leading to an ascending fourth is missing. After the second formula~~

~~(which agrees with the Greek model), a new formula is added. • / * The transcription of ' i s inspired by the variant in 355: Aft TW~~

~~355• ' S 7 ^ 7 J Эп Л xa Pic~~

~~a G a G .~~

~~A slightly different transcription could be suggested for 572~~

~~/ / t— ( У t— с У ׳ ° * ^ 7 Ha t r o п ли t-а с* іла го да тк ' כ~~

E F D DDDGGaPaG, where the descending third in the firs t formula has been ke p t. The lin e seems to be b u i l t up from o n ly two form ulas and the second formula could be treated as corresponding to the second formula in 355• Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access )050426

~~- 171 ־ 171 -~~

~~L in e 2 :~~

~~572: нѣ 589 : сть Map~~

~~The firs t formula could be treated as a variant of the firs t~~

~~׳׳- formula in the Byzantine version, where the combination of~~

~~and * gives an ascending third. Possibly the firs t formula~~

~~could also be transcribed as the last formula in 15»4 (p.166)~~

~~since it has almost the same neumation. The following two~~

~~formulas in the line - Am. f. ЗА (216) and Am. f. lAa{0)(213),~~

~~are identical in both versions.~~

~~L ine 3~~

~~/ 572 : ^ 589: s*t~~

~~It is d ifficu lt to decide which one of the 15 different~~

~~variants with endings on D, E, F, EF, FE in the Byzantine~~

~~tradition represents the majority tradition. There are~~

~~some indications of a stop between the third and the fourth~~

~~syllable in the Russian translation. A punctuation sign~~

~~(appearing ( on the third syllable כד •can be observed in 589~~

~~usually marks an end of a line or colon and it has a stereo-~~

~~typed two or three tones figure - ED or EFD for Deuteros Mo-~~

~~des (FUN I, 226). on the fourth syllable is also expected~~

~~to come in the beginning of a colon (FUN I, 161).~~

~~572: к ! 589: k i ( k o ) bh Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~- 172 -~~

~~The reading given in 1213 is a little different from the~~

~~Round majority tradition built up by Am. f. 17E6, 234,~~

~~7Aa, 219 and 16Z6, 231:~~

~~פ ר с У / — _ _ тле tou Xp t сттои ек нЛп o t ас~~

~~D E F Ga bc GF E a , i___zi .~~

~~Only part of the firs t formula seems to be used in the~~

~~Russian translation. The last formula could also be com-~~

~~pared with Am. f. 16Ze (231).~~

~~Line 5:~~

~~The Russian version is transcribed according to 1218~~

~~Line 6:~~

~~572:ца(иa)589:q( 0) qa(va)~~

~~Three main readings for this line could be observed in the~~

~~Round t r a d it io n : נ י / « ï «' * ■ ע ד ?\ '׳׳׳י י/־^דד _ *־ י/־^דד '׳׳׳י ?\ ע ד а) та Ло yl ка про &а та - 1218,355, D, 261, ЕаІІ, 528,~~

~~E E E GE F E D 533, 262, 265, 41, 1220t, 1224,~~

~~1225, 1226, 1227, 1453, 1471,~~

~~1487, Nv, 260, 42v, 1215, 1585~~

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~~־ 173 י 173 ־~~

~~ע >ל כ / c-_ —• Īļ9 ,St. 30, 262, 1216 ,־ b) та Xo Yt ка про &а та 1221 ,1472~~

~~Е Е G аЕ F E D 1220V, 1223, 1484, 883, Nt,~~

~~4960, 42t, 1228, 1504, 1564.~~

~~о ^ כ כ ט и ׳* — -с— в c) та Хо 1 Y на тіро За та - 1231, 1492, 291~~

~~Е Е G аЕ FG FE D~~

~~It could be suggested that reading a has been followed in~~

~~the Russian translation. In the second formula a variant~~

~~with , transcribed as EF (see FUN I, 134; MVE, 102) has~~

~~apparently been prefered.~~

~~L in e 7:~~

? 572: в*

~~The only formula in the line could be incorporated to the~~

~~group of Am. f. 17 (234). The Russian version does not~~

~~follow the reading in 1218 (also expressed in the Round~~

~~majority, but seems to be inspired by a variant found in~~

~~1223 and 533V.~~

~~V — / / \ r v —י TIL CTTEU CIV~~

~~EF aF G~~

~~L in e 8:~~

~~<— / /~~

Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access t m f. 5Ba . f Am. ith w Russian tra n s la tio n s tic k s to the Greek model. I t seems th a t t a th seems t I model. Greek the to s k tic s n tio la s n tra Russian be V (tra n s c rib e d as GF) in 384 and 572, w hile 589 p re fe r r fe re p 589 to seems hile w 572, e and c n 384 re iffe in d GF) as f only o The d e rib using . c n s io n rs e (tra v Russian V be the in lly a r The Byzantine form ulaic s tru c tu re - p a rt o f Am. f . 10Ba(224) 10Ba(224) . f Am. f o rt a p - re tu c tru s ulaic form Byzantine The the second form ula in the Russian ve rsio n could be compared compared be could n rsio ve Russian the in ula form second the . f Am. ve rsio n . I t could be suggested th a t in the f i r s t form ula the the ula form t s r i f the in t a th suggested be could t I . n rsio ve ic mas l n sedn scn (U I, , I (PUN second ascendent an lly a u s u means / ( since 17Ba 589: HO o' 24; A (2X3) lAa (234); 14д (229) (229) 14д t hc cud e eihrd s G, as deciphered be could which (218) (218) n A. бГу . f Am. and ie 9: Line em t e itie ams lite- - e t i l almost aintained m be to seems - (see also also (see Downloaded fromPubFactory at01/10/2019 03:55:06AM 12,17; 12,17; (218) (218) co n stru ct the Byzantine Byzantine the ct stru n co . p 115 Nina K.Ulff-Möller -9783954792054 and and 13,1 13,1 130). via free access P-128

~~, •י ;26~~

~~־ 5 17 • 5 17 ־~~

~~April No. 16~~

~~1217( 120v)t 1218 (Іібг), 38U (51v)~~

~~L ine N 0• N ot. No.of 5yl.~~

~~CN о~~

~~׳ ^ H // /7 — ט ל / CN~~

~~SN xo~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~Apr. 16~~

~~• 176 -~~

~~Line N o.(N ot. N o . o f s y l .~~

~~V CN -i y -? /«w» ✓/ e— 11~~

~~SN 12~~

~~CN י י־ у Ч~~

~~r — 1 ד ל ר PN~~

~~yvo Ót as ט фаЛ y1 маис~~

~~SN 8 ?t / 7 Ч/ ^ ž •#ר / с~~

~~ī * D L { | x f ^ = n un nt нп иnt ו *־иnt снw н~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access ״к: :-426~~

~~Ap. Х6 • 177 -~~

~~Line Nc i, N ot.ļ No.of s y l.~~

~~i/ פ " \ — •י ל CN~~

~~Map M0 V táv tes cu fn pn 0 « pcv~~

~~SN 8~~

~~\ >ר •״כ ^ -ע. >ל ־ >/ > CN У хо~~

~~SN C . C . C _ /У ŁS ׳־• S s s Ш i~~

~~тг to ptKft A SU СЛ~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~A p . 1 6 - 178 -~~

~~L i n e N o . N o t . N o . o f~~

~~s y l .~~

~~CN /1•~~

~~8 ------1 /t כי / י ׳ י~~

~~<ך CN ry*w~~

~~Ш г: r־־ f 8 Tas Фо ХП »as a pou paç~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access ■ 0 5 0 4 2 6~~

~~Ap. 16 - 179 -~~

~~Line No• N ot. N o.of syl.~~

~~// CN ч 10~~

~~» י г >־ x ׳׳ .'ל־ ״-‘ SN 13 Ь h t~~

~~N• «в Ck Ntl n un Toyva un ПА П ft A H~~

~~y » -с // _ ysj --- / / 7 У С/ ר .:CN y 13~~

~~י י ----י *Г- י ד SN ׳-(£ .׳כ ׳ /,v-7 ׳>^׳ET с c U 2 13~~

лло ao по сь ни ►авлд т Крп сто* Бо го*

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~Ap. 16~~

~~- 180 -~~

~~L i n e N o • N o t . N 0.O f s y l.~~

~~ל ל ׳v ^7 ׳ > _ CN~~

~~CN //~~

~~—ך ־׳/ ־ г ר—> / FN tf ר׳ ג ł t ±r * = 4- I •III ו ־t ־ f T 4 12 Tats tpco Bet aus au той~~

~~uo лп таа un « го~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 1050426~~

~~A p • 1 6~~

~~1 8 1~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00060426~~

~~- 182 -~~

~~APRIL No• 16~~

~~C o lla te d from 59 Mss: 45 in Round n o ta tio n , 10 in C o is lin ,~~

~~1 in Chartres and 3 in Sematic notation.~~

~~Line 1:~~

~~572, 589: те~~

~~The d iffe re n c e o f two s y lla b le s seems to be re fle c te d in~~

~~the use of an extra formula in the in itia l position in the~~

~~Russian version. A starting point from с could be suggested~~

~~for this extra formula, since the Greek tradition uses 71~~

~~on c. The signature in the Russian text does not give an~~

~~indication for 2/2. in Plagios Tetartos. The third formula~~

~~could be compared with the variant in 1230:~~

~~ד pa vt ou~~

~~a ba G~~

~~(Am. f. 8to, 220)~~

~~Line 2:~~

~~с У ' Г 572: про дъ~~

~~J- ft before line 2 in 1218 indicates cis, according ^־The signature~~

~~.(ex. 1,4 ;־ to the theory of J, Raasted (Thoughts, 22 23~~

~~The formulaic organization in the line seems to be in ag-~~

~~reement with the Greek tradition. on ни could be trea- Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 3050426~~

~~- 183 -~~

~~ted in Position A, according to C. Ploros (FUN I, 206 - 207)•~~

~~This formula could also be compared with part of the last for-~~

~~mula of line 3» which comes very close to its Greek parallel.~~

~~L in e 3~~

~~י /' 572: ска 589: • сил~~

~~Three main readings (and some others to be found only in one~~

~~Ms) are characteristic for the firs t formula in the Greek~~

~~v e rs io n :~~

~~,тго 355, 1218, 261, 291, 1230, Ph.30 ט a) xa t~~

~~a be a 528, 533t(with^;v - vith ^ , 262 ,~~

~~(Aro. 15Be, 230) 264, 41, 1220t, 1224, 1225, 1226 ,~~

~~1227, 1453, 1471, 1484, 1487, 883,~~

~~39, N, 4960, 260, 42t, 1215, 1228,~~

~~1504.~~

~~ו/גי yf* . D, 1231, 1492, Eal, 265, 1232 ־ b) н а і и no~~

~~Ga be a~~

~~(Am. c f . 15Za, 222)~~

~~/ f 1585 260, 1216, 1464, 1472, ־ с) xat и по~~

~~ba be а~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 00050426~~

~~־ 184 ־ 184 ־~~

~~Posiibly a variant of reading a has been used in the Russian~~

~~version, but varied with V/ (usually transcribed as (see~~

~~MBPR, 101; PUN I , 158).~~

~~The third formula is modified by inserting of two «— and one~~

~~. Presumably <Лопа corresponds to the meaning of bc a~~

~~.(־ FUN I, 206 207)~~

~~Line 4:~~

* y -y 'S S72: CHW un nt hn

~~The fir s t formula is varied by inserting of V. on нгі, pre-~~

~~sumably repeating the firs t two tones. *S on nt in the~~

~~second formula is transcribed as an ascending $econd(FUN 1,~~

~~130), w hile'i^on ни seems to follow the Greek version.~~

~~Line 5:~~

~~\ «- 572: Uap cn вгс(по) 589:Uap sic(no)~~

~~Only part of the fir s t formula varied w ithv4* , has been is transcribed as V ־^used in the Russian transcription.4~~

~~with a prolonged fir s t tone (PUN I , 198). The reading o f the second~~

~~formula in 1218 is an isolated case, but it seems that in~~

~~the Russian version the Round majority reading has been~~

~~fo llo w e d :~~

~~Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 50426~~

~~- 185 -~~

~~// J אי־ :355 eu Фп ил 00) иеѵ~~

~~G.eb eb aG G.eb~~

~~L in e 6:~~

572, 589: *

The difference of three syllables less in the Russian text
leads to some transformations of the formulaic structure-
The firs t formula is shortened and graphically it comes close
to the first formula of line 4. с У perhaps could be i n t e r -
preted as an e, if the * on iîs taken into account (PUN
I , 133)• The second formula could be treated as a mixture
of the second and the third formula in the Byzantine version.
L in e 7
572: a pa
The f i r s t fo rm u la in 384 and 589 seems to be s l i g h t l y d i f -
ferent from the Byzantine model, while 572 follows the Greek
version on a . For the second formula it could be suggested
th a t УI on ro corresponds with the same melodic value to
and — in the Byzantine version. For paw the reading ח ל
in 1586, 1230,4960 and 1225 has been followed:
1586; N4° na pa 6ei oou G a cb a.
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- 186 ־ 186 -
Line 8:
/ / ר ר <—t / — 1 572: oe 572, 589: ни 572: A 589: a b u
Both versions are very sim ilar, only the firs t of the Rus-
sian formulas is varied with a с У .
Line 9:
־-< "0־ 0 ־S ^’^0> » 572: и м n a ( ha) ha 589:ьа(льа)
Only the firs t formula seems to be followed in the Russian
version. The following three formulas correspond to two in
the Byzantine text, напалм could be compared with 25,2
and 25,6 (pp. 200, 202).
Line 10:
a стоу Bo־и н и 1 : 2 7 5
This is one of the few places in April-stichera, where the
Byzantine tradition is not unanimous, since many of the va-
riants for the formulas occur only in one or two Mss. It
could be suggested that the firs t formula in the Russian
text has been influenced by one of the following variants of
the second formula used in 261 and 1230:
Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access W
פ פ־א !230* |ל.״ ל po роис> זпо Ф О pous 10 ״ÜA*
a ba G a ba G •
• J/ Presumably-Z. on ьлѣпа could be treated as part of the third formula used in 1586 and 1216:
• • —• ד —• pouç беи киѵ
G bc d.
-7: he on seems to be as the variant on a>v X pl in 1464:
״ • ר /V י״ל ר* • ״ (OV X pL
eb ab .
Aproximately 15 variants of the last formula could be ob-
served in the Greek tradition. Presumably the Russian
translation at firs t follows the variant in 355* w h ile
th e ^/ôn roy could be compared with the Xeron-Klasma
group in Eall or in 1585:
// — פ b :355 СТО) то Ѳе 0)
ו׳12- — Г * сУ/ ל ד4׳״־ ••פ r* Е а ІІ: ото) та) Ѳе 0) 1585; ото> та) Ѳе со
с be d becb с d beeb
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־ 188 • 188 ־
Line 11:
(шоѵ(шм :ש(ץ) в%(ю> точ(шо) 0589 :572
The firs t formula in 1218 is an isolated case. The Byzantine
tradition is represented by four main readings and some further
variants only to be found in one or two Mss. It could be
suggested that the Russian version comes closest to the rea-
ding given in 1464:
та) nao с xov T t
be d e d cba.
The second formula does not follow the Greek model, but it
could be compared with 16,1 and transcribed in the same way.
L ine 12:
(•־«)t в a un 572,589: в :572
Kulisma is not followed in the Russian translation. It could
be presumed that the beginning of the line comes closer to
the reading given in 1220 and 1472:
Tatę no ea Be aiç au той
G a bc ba a a.
//\ is transcribed as beba (FUN I, 245).
Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access Line 13: У У (У ^ <а> 589: «<м־ш<0> 572, 589: е<м> 572. те • <1 :589
The formulaic structure in the Byzantine version has been followed quite precisely in the Russian translation. The difference of three syllables reflects by the insertion of a new formula in the end of the line.
L ine 14 :
572: ве ►о
It seems that for the firs t formula only 572 follows the
Byzantine model. 384 and 589 prefer to use another formula.
The last formula seems to be identical in both versions.
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APRIL NO. 21
49 (48v), 528 (102r), 284 (50r)
L i l i e N o . îôt. ito .o f s y l.
" ь S r / ( י CN
RN
i. // ✓ул/ ^ ^ / יר SN po
S CN у
RN
SN 8
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A p r . 21 ־ 191 ־ 191 ־
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- 192 - A p r. 21
N o t . Mo.of ״ L i n e N o syl.
CN \ //
Г ר
RN К ft
:fj — f- - , ’־ ? = rj= ü-־- p'-^
xai too vn oct ms фи xns
г ר SN с . \ v // i H i — H t i ē t — M f r = E 110 * доо c m ►О АО*
Ч ׳ У CN - У
Г ר
לר __с ר׳/ > ״m /Г Г] j 2
с x * P ° v тгѵ a to vot av r ר SN , / ^ / с ,'׳ד - * г & = 2 t, с
toa ■n в к* то* un %
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- 193 - A p r . 21
L l ! > e N o Not.I No.of I syi•
כ ♦/< / — יי — / ♦/< כ CN г ר 12
194
г ד ׳ / // _t / z»-', ļ ( У s{• с \לד SN 13
ל ל / / CN ✓
~~A ,t \~/ ״׳כ___ ^ HN ״ 77 י 77 ״
— t ■ t ־ 7 в a XXn Xou t a*
SN // / * • ^9.׳ ל־ ^ ־C Ш
А Л* Л0 v ГИ hā
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- 194 - A p r . 21
L i n e N o • N o t . N o . o f s y l•
עי כ г о/ — & CN У" ч •у
_ ft f t rs tf Ш ?==к \ \ • ״ i 1 5
ХХл Xou a *
SN
CN no neumes
PN
10 X\n Xou a*
SN ѴЧ // $ ¥ Л* лоу ГМ ►Ä
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- 195 - A p r . * 2 1
Litre N0 • N ot. I No •o f I s y l.
no neumes CN
אח
11 со с р ус тп (&ל X p t 0 t и
SN 7
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APRIL No. 21
Collated from five sources: 1 in Round notation, 1 in Coislin and 3
in Sematic notation.
The sticheron belongs to a group of four stichera in Tetartos
Mode, performed at the Хіті^ and having almost the same melo-
,(ПАѵта xà fidvn (N0 .6) , TAaua áauáTcjv (N0.7 ־ d ie s and neumation
Exáoavov xàAXouc (No.20), not found in the accessible Russian
sources) and Ят^Лл иартиоа>ѵ (No. 21). Therefore No. 6 and
No. 7 w i l l be co n su lte d .
Line 1 ;
572: X
See the commentaries fo r 6,1 and 7,1 ( 88, 102). I t seems ע th a t the red v a ria n t on tu cxov in 528 could be fo llo w e d in
transcribing the second formula. In fact this is the main
re a d in g in the Round sources fo r 6,1 and 7 ,1 .
Line 2:
( У S V/ 9 : / / 572: ела ва пра вь589 : нм
See the notes for 6,2. The line has the same formulaic
s tru c tu re as 6 ,2 . The o n ly d iffe re n c e seems to be an
־inserted«—on npa (because of the syllables number), presu
Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access mably with a repetition function (FUN I, 101)
L in e 3:
S ' 's ^ * f S) ־-־נ-» —> 7* (a bm ve
-The firs t two formulas cor .־Compare with 6,3-4 and 7,34 respond to 6,3. The third formula, containing one syllable more in comparison with the parallel in 6,4 (съпасоу )»
seems to have th e same m e lo d ic a l value - o n ly h and с are
o n шр is tra n s c rib e d ce as in ^׳ . placed on two s y lla b le s*
the last formulas in 6,4 and 7,4. Possibly the <^could be
transcribed as an ascendent second (FUN I, 200).
L ine 4 :
€ — с У t ׳־ - С uov ство :ו uov б о сг иг 589 :572
See the notes for 6,5 and 7,5• It could be suggested that
the firs t formula in the Greek version has been followed
in the Russian translation, and с У on uov could be inter-
preted as a fourth up movement (FUN I, 133)> while the se-
сo n d с У on ствь could be treated as a second (FUN 1,133)*
L in e 5 :
572: uov apó
Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access L in e 6:
־־־* ״ / n'*
Compare with 6,7 and 7,7• The formulaic structure is identical with 7,7 and therefore deciphered in the same way.
Line 7 :
V ׳-־־» / Z- cJ ( У \ / / t 572: на 7e или no вьр гг на(ІІ) un 589: гг на(ІІ) вг
See the commentaries for 6,8 and 7,8-9 It seems that the firs t formula does not follow the Greek version and Dresu- mably could be compared with the firs t formula in 6,4.*
Line 8 :
v ^ (a(a־< (лоу rn 589: At лоу(лт) rn(n:572
See the comments for 6,9 and 7,10. The line is trabscribed as 7,10.
Line 9 :
с / v. /S ? ->*
The line has the same neumation as 6,10 and 7,11 and there- fore is transcribed in the same way. See the notes for 6,10 and 7,11. Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access L in e 10:
•ל־ < a( a־а 589: a o v t :572
The line is graphically identical with 6,11 and comes very close to 7,12. See the commentaries for 6,11.
L in e 11
ל פ ל 589: вь
The Russian text translation does not follow cOepyćt ?.
Instead has been used шиводавьѵьо. The line has the same neumation and formulaic organization as 6,12 and 7,13•
See the notes for these lines.
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־ 200 - April No. 25*
264(162v)t 3б1(118ѵ), 384(52r)
L ītie N0• Mot. N o .o f s y l.
W גי פ־ — У сהכי־ CN л \-:Я r ר о г יכ PN í = ь К- ï т
Прсо to c n a v с и фл и с ♦
г ד SN с !1^ ^ v / / =р=*
•ль п •חЛ w p e t и 0
׳/✓ ^יי- /Ь כ CN
—I------// t t •>״ד׳ ׳/ PN i П jft-J
тпс бе о Хек той 60) бе ма бос*
SN 14 ׳׳ "/־׳ • ל־ ^ ־ ־־* ,־ ־־‘ —* /С- С_ С_ С- I h I t ן .^- Ь h косф-.h~ . . ־ к t, i, h ; j 1 ;ł j f f z i М ; » »*
•kw p® иа hi лг 10 на а• вл тн 4 ן 1ו во го
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- 201 - АО. 25
Line No• Not.I Na.of I yi•
י >• י ׳- %/ CN у*
12
PN
Ôa va tou cv ца х<и pa и по я Р<> боѵ *
SN 11
Cl Ilk ртъ 11• Vb Uk o T l H 00 ДА
׳״> - —״ ••ק- /V ל" ל ד CN 11
PN
SN 12
АИ# npiTkpnt Л\ h# tlf
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A p. 25 - 202 -
N ot .Line No »Not.Line No. Of syl•*
// CN / У '■
RN
ו 4------1 SN ^ С У ' V // BE ž l l p ü ü nw p i t го
. / ״״ CN
RN
i r SN 11
\. Л. {.. = t 6 Я Л Æ— ■1 P h i mo «в ш t t « д n enti л г n cn*
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L i n e N o . Not .1 Nö. of I s y l.
\ < X - ־ ־ CN d____ ־Г RN*
SN <У У ь ь ь ־ ь ь «- £ Ļ- ļ -т Ь Ļ і ! * = а =*
T t UW Ut ca р ь C TSnhA T«
' ׳ x v ע »׳-י כ־ '״ כ־ »׳-י ע CN
г ר ן -י ׳/ •’, ־ •77• ־׳׳׳ ־ ,VT ע / с — ר✓ > PN h } > Ы ш ׳ F— £ j 8 ouv xXn PO vo цоѵ по о on н а то
׳-ф-'С^ ׳״־׳- .'ע- SN — с_ v
г S 11' f r j g сг Н СЛ A Ь ни КА при ж тг1*
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Line No Not- N o.of s y l.*
י׳/ — ?ד >ד / ד >CN co*
10
PN
9
SN 11
ѵло t t NO Aho Ik uw ег o* im ко ►о*
9 t
יב י / ׳ w 0.. _1 CN 11
PN
10
SN 11
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Collated from 10 sources: 4 in Round, 1 in Coislin, 2 in*
C hartres and 3 in Sematic n o ta tio n .
־ was found only in 7 of the available Byzantine sources 25*
264, 265, Ph.30, 1492, 361, 74 and 1219• The sticheron is
indicated with the signature for Plagios Tetartos in 384 and
6 of the Byzantine sources. Exeptional is the version in 265»
presenting the same text in Plagios Deuteros. The comparison
between the two versions on the same text, but in different
Modes shows d if f e r e n t fo rm u la ic s tru c tu re as w e ll as d if f e -
rent melodic and rhythmical organization. Obviously the
Russian translation follows the majority Byzantine version
in Plagios Tetartos. The signatures in 572 and 589 are mis-
sing, but presumably the melodies in these Mss for April
25 is in Plagios Tetartos, since their neume organization
comes very close to the version in 384.*
Line 1:
-> 1 ^ 0 У 589: Bt ea
The Byzantine formulaic structure, built up by two formu-*
leX"onר las is followed in general in the Russian version.7
8% is transcribed as EFG (PUN I, 217)•
Line 2 :
5 7 2 , 5 8 9 : ue(u> 572 : н а (I ) < h * 1 >*
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• 206 -
The Russian translation has the same formulaic organization
as the Greek model. The only difference seems to be the
fillin g up with five «— .
Line 3 :
572: сь иь (2nd) extra syllable between the second иъ and ш
n ~ , 589: (2nd)
Four formulas construct the Byzantine version, while the
Russian one is b u i l t up from o n ly th re e . The f i r s t one and
the last formulas seem to be identical in the two traditions.
The second fo rm u la , c o n s is tin g o f« — and S' does not cause*
many difficulties for the transcribing - the is treated
as a repetion sign (FUN I, 126) and 1/ is valued as an as-
cending second (FUN I, 130).
с / c S С-l- У t s ' l S 572: о* vu pa тьр ni e 5°9- оу ѵм(ци) рл ли*
The second and the third formulas seem to come very close
to the Byzantine tradition. It could perhaps be suggested,
that the firs t formula, which has almost the same neumation
as the second one, presumably also has the sane melodic
value.
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- 207 -
L ine 5:
Л ' ' ' ׳ ׳ ר \ S '< r 572: пк pst he в( he) 589: nw pet*
The Russian v e rs io n seems to fo llo w in gen eral th e Greek
t r a d it io n • The f i r s t fo rm u la comes c lo s e s t to th e read ing
g ive n in 1492:
^ /׳ ^ ТЦХ1) TOC cd bcc.
The third formula is varied with , presumably meant as
ab (FUN I, 134).
L ine 6:
572: he 589: he
It could be suggested that the three formulas used in the
Russian text come closest to the version presented in Ph.30
See a ls o 252.
?־ ? с У -, — S׳y ci. > r \ ׳׳ ״ ׳/77 / ׳/ ^ ־״ ד׳:Phph. 30•30 ne axov a xo v ee tTIL i l EC e c ט wa ie e и ‘ עי G G beb e a a EF G a с ba .
On the other hand the last two form ulas
interpreted as fourth up, following the reading in 1492
7 " דל 4 e n t ec dc b с d f e d .
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י 208 - 208 י
Line 7 :
_c ״״< 6/ י— 6/ ״״< 572: rt иь, missing и, ць ca рь 589: TÍ>missing и. uw ca
It seems that the line is built up from two formulas instead
of three as given in the Greek version. The firs t formula
presumably could be interpreted as a variant of the firs t
formula in the Byzantine model. The second formula could
be compared with the firs t formula in 25>4.*
Line 8:
с У V s■ ^ s 572: слі ка a 589: ft ж(ьа)
There is quite big difference between the version in 264*
and the Russian translation. Possibly the firs t formula
in 1492 could be used as a key for transcribing the be-
ginning of the line:
1492: auv хЛл po vo uov
Por the last two formulas it could also be suggested that
they come closest to the reading presented in 1492:
ал на то a EP G a с ba.
L ine 9
׳> _c ל ע о־« ць 572, 589: ci :572
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- 209 -*
It could be suggested that the firs t two formulas follow
the version of Ph.30:
о a>1 Xav три noç auv
D EF G Ga FE D.
The t h ir d fo rm u la seems to come c lo s e s t to th e re a d in g o f
264:
c_ -— /' auv TO au у MO VG)
G G a bc a
L in e 10:
-t , cJ •’ י о / V_/ <,s a« <י »(лоѵ 589: 0 ש uo 572: ла ma ca :589 ,572
The firs t formula could be treated as a variant of the
Greek one. The second also seems to be the same in both
traditions. In the place of the third formula in the Rus
sian version are inserted two о , and lastly the final
formula is identical in both versions. It seems that the דj 9 •^д0 ״ :third formula has been followed in 572
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- 210 -
APRIL No. 25 (265: П З ѵ )
; u > V 1 • y 6 / У n ѴГ ׳׳ .1 Про) TOC nav eu <РЛ ue EPGPDEP EF GP a PE D
•• 0י׳ רr \ -4 С/ У ״ י 4 2^ . TOU 60) 6e на бос ״ ^ тле Se о ХекX D E F GFGEPGa GaF Ga GF EFEFDEF Е*
it -7 ^ \ t / < רל ל ׳V» У / / ד- Г V cS * y ־\ ^ •ל г ץ да va тоѵ ev ua xau pa и TIO H pü) 60V י J a aGa GaF Ga GF EP a aGa G F GaGF E ׳✓t — 4 » I 77^J ne uct vac E P D EF aGFGFG F G aba GaGF GaFE EPG
// у у - > > c v ל 4j 5. ПОО) TOC то тп pt ov au TOU GaGF E E Ga F EF DF E*
/v ע/ / - о УУ О >נ< гг с У 1 6 . * /■> * o4* oc и ne axov e n t EC a a abaFGab aGF Ga GP E ל / - / ’ י ״ V 4 ì ^ ״ —/-'/ ī ■ ׳ 1 . ____,/ל ״ יד גי: деѵ той с За ot Xet ac o z GFGabaGFG EP ED G G b aGa G a с ba
. ХЛЛ41 > r\ '>־ У) י> ? / с- с /I פ у V 'V / / r f 8 CTUY nXr! po VO uov про от! на ТО G a a aGa GaP Gaba GaGFGa РЕ E~~
,v V о (pt Xav dp0) ПОС C7UV ТО GUY но VO) E GP a PE D G G G Gc а с/ \s s ç <- / 6 / דך ־ >ר y о ^ / ѵ э т'-'Г7У 11 /' к у ~ ד даѵ ה прео Beu û)v та! и перtoûv фи^х^ѵ 10 Gaba GaGFGa FE aGFGFG F G aba GaGFGaFE FE E:*
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1219(llOr) , Ph.òO(lOSv), 384(S2r)
Liite N3 • Not.l No.of I
V ״ -פ ^׳כ־ / с ChN t ce
11 7 ־־י---ד < — C— J ^ — ״' ^ ר ,V- / ׳ PN Л < ל ן ł ■ï ־ fr־■ ,fi ■?j 4 4׳ f ■ J ------f■i—».)—Ц. » f j f ji-teŁjjż*
A по ото Xe нас исцэ т и с I a н и & e*
г ר /✓ / / קי־ ^ —> -SN 12 ГЛА. c\ C С- C
- Ь■ t< h ļt=fe - > rf-f—r f Ж- f U l i ļ U L U 1 ' ׳ . B. p z r*
Û ПО СТО Л« MOV V« N11 l | l H А NO • •
и ChN
־t ?דד1 / n כ ע PN // t
той на Xou not це voc
г ר SN < у С— ,
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АО. 30 - 212 -*
L in e No » Not, N o.of s y l.
C hN
RN
SN 10
soroni sw рано • ■ w ц а *
— ׳> ״ h N У:
PN
SN
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- 213 - Aí5• 3°
Lilie No * Not.I No.of I s y l •*
Ли׳
toi
o o v a Y olA, X o ue v o ç *
SN
. i >דגד4ע ChN Ч V
ПМ
г SN L 7 11 // /> .к׳4־к. l !' l f ^ ś׳4־f ^ ś ;F
UO ЛН CA 0 п о д ІД Ь HOV 1-0 VH ti I l i
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L i n e N o i N o t • No.of s y l.
с / ChN г // // ר״ 8
PN
SN 8 г Ь = Ь = г Ē = ī i ß־■- ' ' '*
VW CTW НОѴ Ю TN ПА UA ти
<7 <У ר ChN "Jr
PN
8
SN i l
Thв л 6 пи« СТА л 6 пи« rot до ■г по да Thв
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L ine Ne. N ot. N o .o f s y l.
׳ \ ׳* ע ר יי / с ״• ChN О*
8 У Ъ — ־ V ־ ־ - ״ - ־ ־ ״ ר׳4־ ,, ו^ל־ עיט PN febM ì-rf:-J 1 . I£ =־ r 5
9 nat то nXoootou с Ae oc; —
SN 7
Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access APRIL No. 30*
Collated from 6 sources: 2 in Round, 2 in Chartres, 1 in
Coislin and 1 in Sematic notation.
The signature in the Coislin Ms 361, which indicates a d if- ferent Mode (Tetartos) is the reason for using a Chartres sources for the transcription.
Line 1 :
The formulaic structure of the Greek model has been followed in general in the Russian adaptation. The firs t formula is repeated once more. The last formula is presented in a more simple way, without a .
L ine 2:
It seems that the beginning of the line 1 has been used as an i n i t i a l form ula in lin e 2. The second form ula f o l -
lows the Byzantine model.
Line 3:
Presumably only the second formula follows the Greek tra d i-
t io n . The f i r s t could be tra n s c rib e d as a t h ir d down,
,as a repetition signs (FUN I ־ —»while the following four
100-101).
Line 4 and line 5 are missing in the Russian source. Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 50426
- 217 ־ 217 -
L in e б:
It seems that the Byzantine formulaic structure has been
followed in the Russian version. The three formulas could
be treated as variants of the Greek formulas.
L in e 7 :
The Russian tradition seems to follow the Greek version in
the two last formulas. The firs t formula used in the Russian
text is almost identical with the first formula in line 2,
and therefore is transcribed in the same way.
L ine 8:
The firs t and the fourth formulas in the Russian version
could be treated as variants of the Byzantine formulas.
An extra formula is added in the Russian translation in
order to adjust the difference in the number of syllables.
L in e 9:
The final line is built up from two instead of three formulas
as in the Byzantine tradition. The first formula is slightly
varied, while the second one seems to follow the Greek tra-
d it io n .
Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access CONCLUSION,
In the transcribed 12 stichera it could be observed that the accessible material consists of 402 segments in the Byzantine and 406 segments in the Russian version.
In 101 cases (approximately 25%) the Russian formulas follow exactly
in Protos, 69 In Deuteros and 28 in Tetartos ־ the Byzantine counterparts 4
Modes. In 2Id cases (about 54%) the musical formulas could be treated as variants of the same formulas In the Byzantine tradition. In 87 cases
(about 21%) the Russian formulas do not follow the Byzantine tradition.
The transcribing of these formulas was possible In many cases, because counterparts could be found on other places In the materlaL
On the basis of these observations the following could be concluded:
The Russian adaptation of April stichera preserved In 12th c. MSS
keeps In general very close to the Byzantine tradition. It comes very close
graphically and has the same formulaic structure and text, Interpunctuation,
cadences, and use of thetas as the Byzantine tradition. The deviations in
melody, rhythm or neumes are not very great, and usually consist of small
details. It is not the purpose of this research to explain the character of
these deviations. They may be a result of a Russian desire to demonstrate
־creativity in the adaptation, or perhaps the exact archetype for these trans
lated chants have not yet been found, or perhaps a combination of the
two explanations would give the right answer. To answer this question will
be a subject of another investigation.
Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access The fact that neither Sematic nor Palæobyzantlne notations are readable in themselves makes It necessary to have a readable Mediobyzantine source• The Byzantine tradition was enormously stable, and was kept throughout centuries practically unchanged, which makes it possible to use it for the transcription even with only one readable source as a model*
On the other hand quite often when the Russian redaction of a formula
does not agree with the main reading in the Byzantine model text, a
counterpart could often be found In other Byzantine MSS. So the existance
of a comparative material increases the preciseness of the transcription
considerably, as well as the amount that could be transcribed.
Apparently the analysis of the different formulas, their variants and
combinations in both Byzantine and Russian sources are the most appropriate
”key" for deciphering, and could assist in transcribing not only of segments
but of complete melodies.
The Index of corresponding Byzantine and Russian formulas could be
used as a dictionary. A complete Index of this kind based on much more
comparative material could be used in the future for transcribing Stichera
in Znamennaja notation even without having all the time a Byzantine modei,
as for example for the stichera dedicated to Russian Saints.
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INDEX OF CORRESPONDING BYZANTINE AND RUSSIAN FORMULAS
MODES DEUTEROS
No. Notation Formula Occurences Notes
(Am. I/o. (213 15,2 .13,9 .1,11 ־ RN (G) aGaG" 7J?FE E .1 15,9. ר CN о г*
י־rf // SN see :Am• LAß (213)
לי׳ ל 77 ׳ A RN G) bG aG FE E 1,3. 1,5. 5,3. 5,18, Am. Шх (213)
5,22. 12,19. 13,24. CN v / / -Ч « - Ln 5,18 ending with for Coislin majority
SN see: Am. 1E8 (213)
?jל 7 // FN (G) aG FE 13,6 Am. 1AC (213) y׳ 'CN / 7*
פ0 // ׳// SN
Д! PN G)bG aG FE EFb 13,11 Am. En(213)
ד״ כר־ // \ CN
נרי // // \ SN
, ך ל' / A 1 rai (G) bG aG FE EFG 12,8
a i
״/ SN \ tf " //
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No, Notation Formula Occurences Notes
ל 6. PN GaGF Б 13,21 Am. 16Na (232)
ע CN*
SN í see: Am. 16Nr (232)
" AT ע PN G FD E 14,9
- V י CN
// SN \
\ t — -> С ft ל •« \ р 8 PN (а )са b aG G 1,7. 5,7. 5,17 Am. 2A6(215) 14,10 .5,20 ן c)
CN / / // / /
/ / і У / Л ׳ \ SN
I •
י O PN G EF G 1,3. 5,5, 5,22 Am. 16Ka (231) 13,16. 13,20. 14,8 in 14,8 — - 1217 ייר CN
! ד /-SN v
- ״ ל ל ז ׳ 10 PN GF EF G 1,5. 12,12. 12,19. Am. 166a (231)
•ה״ ׳ ^ר CN
SN L / О 'é Z-
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No. Notation Formula Occurences Notes
11. RN GEFG G 5,8. 5,18. 12,4 Am. 161a (231) 13,24. \ \ ^ > C_ CN
SN
ל 12. RN a baaG 1 ,2 . 12,15 Am. 19 (236)
CN in 28, 361t Т \ ^ ѵ ל־
SN ד - י*
1 tf 13. RN D EF G 1,11 Am. 17Ba (234)
CN • ø
SN ~?'ģ ^
־־״־" V\PM,>n 14. RN EF D G 12,9 Am. lOAa (234)
- ־׳י . CN M
SN V <- « -
15. RN Ga bc G 12,13
י CN
־ SN ^ ï*
Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access No. Notation Formula Occurences Notes
16 RN abc G 5,15 see: Am.7 (219)
CN / / 7
// SN
׳ ī /74-7 17 RN ba G 5,19*
ל ד׳׳4׳־־ CN
// SN
,- ~ л ~ L ryד׳׳ניי 18. RN b ba G 5,13 Am. 34Да (239)
<י - CN Л o
Л ' ׳SN 5
. 1 • 7<«1 י■ ,V,־•וי יר 4— יר 19. RN b b ba G 5,4 Ат. 8Ѳ6 (220)*
CN . г 4
SN
A " 20. RN G aF G 5,9 Am. 33A (239)
CN \ / /
,/ד ץ SN
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NO. Notation Formula Occurences Notes
n < ••כ־ / с 21. RN (a) b ab G 15,2 Ат.ЗА (216)
״׳כ־־ / CN
SN У S '
77 י'כ /« ע /« י'כ 77 KJ to • RN a b G а 5,11 Am.8Ze (220)
✓/ > / ר CN
SN c- o' с—
V ✓ ^ в_ SN вее Ат.вГу (220) \ ' ил (seeÂm.l5Aa (230 . יי . 7׳ י \ -* -4י - י \ ,in 1231 ־ ־” RN b b eb а 5,14 ѴгЧ .24 L492,1472,B all,S t.30, >33,1232,1564,1586,1230, L484 CN e— \ /✓
SN c - c— V / / •ן • •ן >־ ר / צ / ר >־ 25. RN bc b а 5,15 Am.15Да (230)
(see Am.l5A0(23O ׳יי י CN У
SN (ÿ e- e-
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No. Notatior Formula Occurences Notes
?r ד V 26 RN b eb a 5,19 see Am.l5Aa (230)
CN V /✓ f t ׳SN C
י י־ ׳> — ר׳>ל — ׳> י־ י 27 RN G a be b a 1,2 Am.9Aa (222)
in Coislin majority ר >י CN — t s \ j y - in 1214
ל ר SN £״c ״י -י• '-ł Оדד — I 28. RN t a)bc. \ da J« с ^ ba beba 5,19
CN 2L, \ Ss /? i?4- u/׳ SN <£ V*
i t . י 0׳ ט כ 29 RN a EF a 13,23 АШ.17Г0 (234)
/ / יט־ CN
SN kJ ćL 'J> '
לל // /S 30 RN G а b a 1 ,2 . 12,15 Am.4Bß (217)*
׳// CN (12,15:1217
9 + SN
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No. Notation Formula Occurences Notes
י י ל 77^ — 77^ ל י י 31. RN (G) ,к b d c b 5,6 Am. 4Га (217)
■e- ^ CN О
-e-, SN 'У
— ,\ ־ני ,\ — ״ — 4י׳׳ר — ״ 32. RN G a ca b 1,1*
^ \ — פ CN
SN <_ с / 4
33. RN G ab b 5,13. 5,19 Am.llBÔ (226)
״״>י פי CN
/ > «׳ f r SN L ^ i - // // ־־י // // 34. RN G ab b 12,9 Ат.ПАР (226)
CN c— Am.llAa (226)
■'׳< " / ־׳ _< SN
V ; 7 У ^ х 35. RN ba Ga D 1Д 1*
У z> y> ד \ // א CN
י ✓ u «״׳ SN
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>=־ר У ^ С ) ״ - י 36. RN G a FE D 12,17 Am.53a (218)
< י с Г V ^ CN Am.SBß (218)
ג - / SN с*
ד ד ?\ / ?\ ד ד 37. RN (E) F E D 13,22 эеегАт.бГу (218)
י־ ד CN
SN ✓ ✓
—e ע־ ד ע־ 38. RN EDO 15,3
>ד >ז CN
SN 1 v
39 RN EF 15,9
־CN V
SN V-
־ ־’V 40 RN ba Gc с 13,13*
CN \
SN ѵ, V -
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־ 228 ־ 228 ־
MODES TETARTOS
No. Notation Formula Occurences Notes
/ ł 7 ^ — 1. RN ca cb aG G 25,10
י \ CN
SN \ y +*
־־« דד י זל Л 2. RN (a)cb cb aG G 16,14*
CN ^ ? ד V t׳ . > SN V
? S z <- ,דRN ce d d 4 .3
־־» CN 'S
SN
־־ í / V 4. RN d cb с 16,2
CN / ^ —
SN У v✓ c_
ל / _ / ל 5. RN d e d 16,8 v ׳ / _ CN
SN Ç__ с— 1
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No. Notation Formula Occurences Notes
6. RN dbc a 16,3
CN י 4׳ י*
SN ■ V х < -
w • « / « • w ך, O -j כ и כ O -j ך, 7. RN d be а 2S,2*
CN
SN
/ > r // s יי 8. RN d be а 25,10
- י י CN
- У ׳ SN ч
י ־ Д -> 9. RN e ее d с 6 ,6 . 21,5
<- ? '־Ч ־׳ CN J
SN , и 6 / ■? ו- <( 1ן\ ו- <(
ד ר ל׳4־ № י" Г ׳ -/״0? 10. RN e d b
^ °4׳ ל /׳CN c
^ _c ׳
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NO. Notation Formula Occurences Notes
у ъ . . 11. RN f cd 6 ,2 . 7,2
כ־־ ׳< CN
:ל- SN и
״ .V -» \ י ־׳ יל ר יל י ־׳ 12. RN fe d bee 6,2. 7,2. 21,2 Ttound majority ♦ 1218*
«׳?v i CN
SN \ - У < A*
J- c_ L- ^ 13. RN g g g a f 7,5*
י ׳ל‘ - - CN r*
SN «- С-
ר/לי / •<- ־־י .c -י יי4 14. RN G G a be а 16,9
ר ־/׳/״ — _CN e- c
SN С— с- с__
> с / í 5 У 15. RN G a EFG 25,3
CN
SN
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N o . N o ta tio n F o rm u la c u re n c e s N o te sOc
16 RN 2 5 ,2
CN
SN
A 17 Gd dRN 6,1. 7,1. 21,1
/ כפ CN
ג ר SN
• # 18 RN a b c (d )
ו • CN
SN ff ל 19 RN a EF (G) 25,2. 25,6
CN
,׳פ- SN KJ
✓/ ־אד 20 e bbRN с 6,6. 2 1 ,5*
CN \ / /
SN
ל■Л cS n C > r> 21 RN b e b a G 16,8*
פ CN
SN //
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Raasted, J•: Compositional Devices in Byzantine Chant. In: Musica Anitqua, ѴП. A cta S cientifica. Bydgoszcz, 1985*
Raasted, J. Chromaticism in Medieval Byzantine Chant. In: CIMAGL, 53. 1986. pp. 15-36.
Raasted, J•: Thoughts on a Revision of the Transcription Rules of the Monu- menta Musicae Byzantinae. CIMAGL, 54. 1986. pp. 13-38.
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Sapunov, В. Kniga v Rossi! v XI-XIII w . Leningrad, 1978«
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Shartau, B. and Raasted, J•: Indices to the Greek Examples in Constantin Floros' Universale Neumenkunde HL CIMAGL 48, 1984 pp. 105 - 130.*
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Shidlovsky, N«: A Note on the Slavic Modal Signature. In: Cyriilomethodianum VIII-IX. Thessaloniki 1984-1985. pp. 175-181.
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Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access DANSK RESUME.
TRANSKRIPTION AF STICHERA IDEOMELA FOR APRIL MÄNED
I RUSSISKE HANDSKRIFTER FRA DET 12. ARHUNDREDE.
Efter at slaverne antog kristendommen brugte de til deres gudstjenester liturgiske bøger, som var blevet oversat fra græsk. For at notere melodieme brugte de forskellige musiknotationer, som var beslægtet med forskellige typer af palaeobyzantlnsk notation.
Hverken palaeobyzantlnsk eller den russiske sematiske notation er læsellg. Derfor er det nødvendlgt at benytte en læselig mediobyzantlnsk kilde.
Formålet med denne opgave er at finde en metode efter hvilken man kan transkribere sange i sematlsk notation. Afhandlingen bruger en kompara- tlv metode, der er baseret på en kollatlon af 60 byzantinske og 4 oldrussiske håndskrifter.
Afhandlingen består af to dele: I den første del gives basal information om april stichera og deres placerlng 1 kildeme, og metoden beskrives udfør•
ligt. Den anden det giver transkrlptioneme af april stichera linje for Unje.
Efter hver transkription flndes kommentarer. Der er også et index over
korresponderende byzantinske og russiske formler.
Transkriptionen af de 12 stichera viste, at det tilgængellge materiale
bestod af 402 segmenter i den byzantinske og 406 segmenter i den russiske
version.
I ca. 25% af tilfæ ldene fulgte de russiske form ler nøjagtig de Byzantin-
ske modstykker. I ca. 54% af tilfældene kan de musikalske formler opfattes
som varianter af de tilsvarende formler i den byzantinske tradition. I ca.
21% af tilfældene fulgte de russiske formler Ikke den byzantinske tradition.
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I nogle tilfælde var dec muligt at transkribere disse formler, fordi de havde modstykker andre steder 1 materialet*
Man kan således konkludere, at den russiske oversættelse af april stichera følger ret nøje det byzantinske forbillede. Kendsgemingen, at hver- ken sematisk eller palæobyzantinsk notation er læsellg i sig selv, gør det nødvendigt, at have en læselig mediobyzantisk kilde* Indtll nu er den bedste
"nøgle" til declfrerlng af de russiske sange en analyse af de forskellige
musikalske formler, deres varianter og kombinationer 1 både byzantinske
og russiske kilder. Ifølge denne metode er det muligt at transkribere ikke
kun segmenter, men komplette melodier.
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April No. 1*
Sin 1218, 113r Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access 245 -
ABBREVIATIONS.
Am. Amargianakls, G•: An Analysis of Stichera in Deuteros Modes.
CIMAGL Cahiers de l'institut de Moyen-Age Grec et Latin.
CN Coislin notation.
ChN Chartres notation.
f. Form ula.
FIN Follieri, H.: Initia Hymnorum Ecclesiae Graecae.
FUN Floros, C : Universale Neumenkunde.
GIM State Historical Museum, Moscow.
GPB State Saltykov-Scedrin Public Library, Leningrad.
JÖB Jahrbuch der Österreichischen Byzantinistik.
MA Mtļvatov ToO АтірсХСои.
MBDTM Braïnlkov, M.: Drevnerusskaja teorija muzyki.
MBLF Bralnikov, M.: Lica i flty znamennogo raspeva.
MBPR Bralnlkov, M.: Putl razvltlja i zadaćl rassìfrovki znamennogo raspeva.
MMB Monumenta Musicae Byzantinae.
MR Mnvata xoO Ъ\ ou évtaouxoO.
MVE Vellmirovic, M.: Byzantine Elements in Early Slavic Chant.
NUM Nina Ulff-Møller
SEC Studies in Eastern Chant.
SK Svodnyj katalog slavjano-russklch rukopisnych knlg, chranja- stichsja v SSSR XI-XIU w .
SN Sematlc notation.
TODRL Trudy otdela drevnerusskoj literatury.
Bayerische ötaatsbibíiothek München Nina K. Ulff-Möller - 9783954792054 Downloaded from PubFactory at 01/10/2019 03:55:06AM via free access