The "Exegesis" of Chourmouzios Hartofylax on certain compositions by Ioannis Koukouzelis
LycourgosAnt. Chourmouzios Hartof)rlax, one of the On the basis of the preserved manu three founders of the new musical meth scripts by Chourmouzios Harto£Ylax2 we A ngelopoulos od which is still in use today, transcribed can here present a prelinlinary list3 of all (by means of "exegesis") a great part of the transcribed works by the great the works by the fanwus Byzantine com Byzantine mai"stor (referring only to the poser Ioannis Koukouzelis, who is number of chants contained in the man referred to as the second source of the uscripts - a more detailed and analytic Greek ecclesiastical music 1 (the first study will follow, including the texts of 4 being John of Damascus). the chants as well) :
MS 703 MITT 1) The great ison {1} 2) Verses of Anoixantaria (including the verses with the indication "arc6 xopou" that repeat the same melody) {14} 3) Verses of the first Katlllsma of the Psalter (with the verses "arc6 xopou" , repeating the same melody) {16} 4) Kalophonic verses from the first Kathisma of the Psalter {8} 5) Exclamations {2} 6) Theotokion, anagranunatismos ofTheotoke Parthene for the Artoklasia service Kqapt'tCOf.LEVTJ xatp£ {1} 7) Verses of the Polyeleos "Koukoumas" { 2}
MS 704 MITT 5 8) Verses of the Polyeleos "Latrinos" { 4} 9) Anagrammmatismos ofPolyeleos (Eu/coyTJ'tO<; Kupta<;) {1} 10) Pasapnoarion of Matins, 1st mode { 1} 11) L1osa ITa'tpt ofPolyeleos' Perissi { 1}
MS 705 MITT 12) Alleluiarion, 1st plagalmode { 1} 13) Cheroubikon "Palatinon", 2nd plagalmode { 1} 14) Cheroubikon for the Liturgy of the Presanctified Gifts, 1st plagal mode. { 1} 15) Koinonikon of ordinary Sundays, 1st plagalmode { 1} 16) Koinonikon for the Liturgy of the Presanctified Gifts { 1}
MS 706 MITT 17) Theotokia TTJV OV'tCO<;8£0'tOKOV ' "A vcoec:v (2) {3} 18) Kratemata MS 710 MITT (2nd plagal mode (4), nenano (1), barys (2), 4th plagalmode (17)) {24}
109 Kratemata MS 711 MilT (1st mode (4), 2nd mode (6), 3rd mode (3), 4th mode (3), 1st plagal mode (10)) {26} 19) Kratemata in other composer's compositions MSS 730,731,732 {7} 20) Akathistos, Oikoi MS 714 MilT {2} 21) With the indication "AvanoOtcrj.loc;" MS 732 MilT {1} 22) With the indication "A vayp 24) With the indication "KaA-A-comcr~-toc;"MS MilT 727 (3), 728(4), 729 (4), 730 (2), 731 (4), 732 (7), 733 (4) {28} 25) With the indication "nouc;" (noo£c; with name of composer, anonymous and shortened by other composers) MS MilT 727 (2), 728 (7), 729 (1), 730 (11), 731 (10), 732 (10) {41} 26) With the indication "IlpoA-oyoc;" MS 730 MilT, MS 731 MilT {2} 27) With the indication "Ent~OA~"(named or anonymous) MS MilT 729 (1), 730 (4), 731 (2), 732 (1), 734 (1) {9} 28) With the indication "IlapEK~OA~" MS MilT 729 (6), 730 (1), 732 (2), 733 (2), 734 (1) {13} 29) With the indication "L'!:aupo8£0WKtov" MS MilT 733 {17} 30) With the indication "MqaA-uvapwv" MS 729 MilT (1), 730 (2), 731 (2) {5} 31) With the indication "IlEV'l:T]KOO"'l:apwv" MS MilT 731 (1), 732 (2) {3} 32) With the indication "L'!:txoc;" MS MilT 704 (2), 728 (1), 734 (1) {4} 33) EK '!:eOV Il£ptcrcr& MS MilT 733 {1} According to my opinion, one of the rys). Of these, only the latter has been 7 most important compositions by Ioannis published previously . Koukouzelis is the Theotokion "Avco8£v ot Ilpo "Avco8£v ot npo<)>f\ 'l: L1:ai-Lvov, pa~oov,reA-aKa, 1:pan£1;;av A-uxvtav Kt~co1:6v ye<)>upav Kat KAtj.laKa. L1:ai-Lvov, pa~oov,reA-aKa, 1:pan£1;;av A-uxv1av Kt~co1:6v 6poc; (XA naA-anov Kat 8povov 1:ou ~acrtA-ecoc;. KopTJ cr£ npoKa'l:fj yynA-av ot npo<)>f\ 1:at maj..LVOV xpucrou 1:0 j..LUVV 110 Ex. 1 ~'>'11-r - . .... _ _ -r "' ,11nr ~-"'t\.~""'---.....~-.... ''·'~ ...... ,~'~; --;:-...... , ...... ~ ...... 106 .;-..-< -1.. ...; ",~"' --...... _..,.,.- a..~ ----- ·- - .. ~c..~--....,~ ...... ~· ..... ~:-·..;:_ -. - .._ . -- -..,...... ~- '"" - ~ ..... ~-..~-....__.~- -- --~..._,.,,_ -~~ - . ~ _. _"J ·- \. " 1.. L • • • • • • .. • · r, \ .. 'i' ·...... , ...... ::....~~~~,,-,~..::...,. -·~ ...... " < 'A ~'~;..._~~~~~; --:;:--.. ------... a- - ~ . '-". -...... -...... 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IJ, ~--.If,,,, ·I''' t '?;, r "I '• I ~~~ li:::t N,..... ,..... remainder consists of the kratema fol The Kratema after the text begins with lowed by a brief musical termination, the syllables te-te-ee-te-rim-rem and a-ne-ne beginning and ending in 2nd plagal na-ne-na-a-na-ne. In the rest of the Krate mode trifonos (nenano): ma, variations of the syllables te-ri-rem are used. Regarding the vocal range of the compositions, we notice the following: Fig. A The upper limit is the note B ou with oxeia (that reaches the note ra as well) in the thesis (fig. A) and shortly after this thesis a similar phrase is repeated with kratemata (instead of oxeia) (fig. B). Also, with the action of the petasthe, which Fig.B is "latent" under the ison in the thesis and in all the similar phrases, the composition reaches again the note ra (fig. C). The lowest note is L'lt, to which the kratema descends twice in the soft dia tonic mode . Fig. C Regarding the rhythm, we notice the prevailing use of a four-unit pattern, with ...... , .. frequent insertions of meters in 5 units, 6 - units iambic and 7 units. The composition opens on 'Avco8£v with a characteristic introduction in 113 8 nenano where " £vcx·w<; f\ xo<; n£A.n " . no- agia) and a termination in nenano Then , a very skillfully made succession of after the phrase in 2nd plagal mode on modes follows (- nenano- 1st tetrapho the repetition of the word 'Av co8£v: nos - nenano - 1st tetraphonos - nena- Words Modes ot npo a'ta~vov,pa~8ov, nA.aKcx, I 'tpan£/;cxv, A.uxvl.cxv , Kt~co VEXECXV£<; n~co'tov aytcx - VEVCXVW I y£<)>upcxv Kcxi KAt~cxKcx VEXECXV£<; I a'tCX~VOV cxvcxv£<; 4/ aA.cx'tO~T]'tOV aytex- CXVCXVE<;4/ KCXt XPUaOUV 8U~tCX- aytcx- VEVCXVW- aytex- CXVCXVE<; 4/ 'tOU ~cxatA.Eco<; cxvcxv£<; 4/ ma~vovxpuaou 1:0 ~avvcx v£vav& - V£X£av£<; - ayw 114 115 - s- & s l€• 'V... "\ o. 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Cl.IJta...-~E:s \k.e.a.yte: \A...~\ a\9-\._u;.s; !AJ ~ '/C .:::!!-. -cs ~~s-Ue~-L\E-'\tL(tj-~~ follow 'o... ~ - ~ "LE _ Ef-- as e. c::=..::= s ~ ~ ~ i e1.yro.. ~a.e~s- i a E- 'LE. ~u. m ~v-d,fwvos-U:eayrG o..ylo..- ~ 0:.~~ - ~~ c:.eb.fruv-os-ayro.. e e& e.; e "-:::'..:;- -::;A o.\~~ ~ krat e Th by that Kla of , same I my 728 by another Pt chant compo to guided the (see with found ). to works Pen~s (see study, week-days when ... the Ioannis the MITT teaching also the with by for 1:11 phrase is of Organum". phrases offertorium ... similar Lampadarios.As MS composed Marcel identical while according 'tat s ical piece Ambrosian i s papadike, the Cheroubikon 2), is, was very e with word the systematical of 178r], mu Petros is th theoretical the musical (offertorium) ple Koukouzelis, - in the by npo the of agia-phrase by the phrase . old Cheroubikon xam presentation on 11 o{ E of"Ensemble whole to to this [175v that together 5) 6, a found known, the introduction and mode particular it mode) same Koukouzelean (see apertum" as Lampadarios in the think well agia interpretation mode the agia The This Finally, I is "Ayw8£Y das, of name composition sition "Ecce gal f.177r. opinion, my (in the according twice conductor studied Example it Petros according analysis, Example in pia- 1st 1st s peri survi pa 'tOY Ecu proto s, in agia 118v MITT from later 2nd the the the Karykis, 3). to f. Constan move phrase s, later in AAATJAOU of MS Koinonikon of Theotokion Koukouzelis, from 705, and Karykis, AtY£t't£ phrases the the by Fall returns Koukouzeli phrase Example mode) , in in both 4) Cheroubikon the MITT mentioning the and [18r-19v] Koukouzeli (see Sunday Church composition Koukouzelis is musical characteristic byTheophanis the MS Theofanis of Ioannis after dating (fourth KuptoY by the in worth plagal by example, repeated mode by Great is Ioannis and Example is 'tOY 19v it mode, example For another Patriarch first mode by the toY f. when numerous mode , (see plagal in the up reoccurs e of find before agia which O'OY Cheroubikon 1st Koinonikon K plagal 705, Further, compositions compositions, od val tinople. Ex.2 and Another AiYci:'t£ ta menical plagal psalt a) b) the 116 into Pll We padike mod Ex.3 loo-~~u~?~ I ~o\'({).)'V\ti.OV ' ,_ V' ,.,., ~ V"61"t"€.... 't1X1T1 l ¥t\( OY fi~ Gt~'J'lrslf\a.t>~~:Ji r ~l'a.OVlLtOI> a.IYB:re •li:! ~""IMo'SE>H. --,.._--.:;~ '-\ -~ ~ K n n.._~ ~"''Yl ~- .r .....,~~~ I Re\V\A)VIV\.oV D1Mtt: ,jc;r-K..~~E-)_1\ xce_.€,~v ~~·K.~:.J;u.~ the renowned Byzantine maistor - frequently and correctly been empha 12 through the "exegesis" ofChourmouzios sized by Michael Adamis • However, this Harto£Ylax - will not only offer inestim musical treasure, that reveals such a varie able and new knowledge, but also con ty, melodical richness and high technical tribute to the acquaintance of one of the standard, remains for the most part most important Greek composers unknown and is still waiting for its emer through the ages, one of the creators of gence. the Greek musical civilization, as it has Ex. 4 .6.1 nA bl iCE ...-- ~ ~ '-.. ...- -... vi~~-:..--~~~4 ~ c::.-... _, ..:::;.c._ --c------, '1-'1 '"""''- '-" J -.>< d\... - ll \_ c0 Ct)W a.> CV c.u G"C>Y 'T ov otJS CE G E E: E-G- I 117 ~ ~ l l ( ( 1 1 I I ._' ._' lt lt .. .. , , .• .• .. .. o o --li --li • • ...... : : •• •• _ _ __ __ •• •• ~. ~. .,...... ,..... est est ~ ~ =t=~ =t=~ • • •• •• ,. ,. ··-- : : . . .. .. :1• :1• :, :, ...... • • i i . . da, da, ell· ell· qu:1 qu:1 ~- -:·- •• •• di- . . - - , , · · . :u. :u. in in "*""'·=-----t-- •.••• •.••• ...... . . • • .;;.• .;;.• dus. dus. . . 62 62 • • · · A·~·;· A·~·;· Ju· ni- ''• ''• c:sl, c:sl, su- r- I I . . • • ~ ~ ., ., me- ·-- : : ...-1 • • ,r· ,r· •. •. ~r-: ~r-: ju!' ju!' in in -~- .. .. •• •• • • ~~ ~~ tri-bu tri-bu --. --. •• •• ::.;::::1f.r:·2·:~:_,_··-=---·-=-•...... :i ::.;::::1f.r:·2·:~:_,_··-=---·-=-•...... :i $:111· $:111· to, to, ·=---•;_..y;~,_· ·=---•;_..y;~,_· I I a; a; I' I' stimO- de de ~ ~ c."• c."• qui qui sc-den-ti sc-den-ti _...:=-4!__::--__::~._.:.__;::._11_.::~ _...:=-4!__::--__::~._.:.__;::._11_.::~ us, us, - N N .lt .lt ·--":".---~ ·--":".---~ It'll.:• It'll.:• • • a a t! t! cl cl tc- ;;, ;;, a-ni-ma- .. .. sc-dct sc-dct . . ·, ·, o o ·· ·· __ __ . . vox vox ••• ••• ...... vi vi . $:111- ,+.·.~~~.-.~r~·~·.~Q+;.~=~~~•.~+-~ ,+.·.~~~.-.~r~·~·.~Q+;.~=~~~•.~+-~ . . & & -----+-1- ea:- :fj•· :fj•· cccc cccc ~,..:r. ~,..:r. ~ ~ . . : : 1 1 or or ., ., ~"41.=..:.t,~ ~"41.=..:.t,~ ;., ;., ---.iH-r-:••-ra-4 ---.iH-r-:••-ra-4 us, us, ._._·__;:·~.~:3_._·~.~~:H,~·-·La~~t-·_~_~ ._._·__;:·~.~:3_._·~.~~:H,~·-·La~~t-·_~_~ le- di-cen-ti- ~ ~ ...... 1- . . 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J. - 11 11 --r-e-+=-- A· A· • • Ji-c.:n- . . . . • • tu- = = 11 11 . . - tern • • . . . • • ~:,~·~·~~:..=_~:...:n_.t:-=:_=~~·:~-:_]~:1:_=~~.==~:i==·~=J•:J-~I.:..=. ~:,~·~·~~:..=_~:...:n_.t:-=:_=~~·:~-:_]~:1:_=~~.==~:i==·~=J•:J-~I.:..=. - qui· qui· ~=· ~=· • • .. .. =~-+--=-~------11..;;..·------::+~- kns: kns: . . -- dcsccn- . . t"· t"· non non ~· ~· ~ ~ . . _:_·_ _:_·_ & & • • Et Et ...... •• •• • • ~ ~ ·-· ·-· :I :I po- li li est est I I V V vcn- ma-jc-sU-tis ma-jc-sU-tis __ __ •\ •\ ----- • • . . ...... •• •• ...... • • • • ~· ~· r_·_·_··-·--·--·~~~ . . cm cm • • ...... num num • • 0111111- ,~\ ,~\ ""-t-~_=r ""-t-~_=r • • m m • • ~· ~· ="r-=-~~utr.::f· ="r-=-~~utr.::f· 1- qui qui Sand.us. Sand.us. no- ~=-~~~~~.~~~r·~~~·~.~·~~~-· ~=-~~~~~.~~~r·~~~·~.~·~~~-· 11 11 . r;l, r;l, :,., :,., • • us us t t ~pertum ~pertum & & .,...•-r-:"·~- • • qui- 11 11 : : I I • • ~- •=,. •=,. km km ne- 11 11 ______ -.--- lk- !If !If • • .. .. thro- . . u- ·r· ·r· num num rut rut • • . . 111 111 11 11 .._. .._. ru-s:~- ,A-_..,. ,A-_..,. • • re- ~- -..-·---- C Dl!- ;,, ;,, ...... • • r- . . i~ i~ Je- super super --~ --~ mi-nus mi-nus thro- I I ~·- i i e e • • I I • • •• •• -des -des "'... "'... .,., .,., • • • • & & c-jus c-jus per per runt runt so- se.- ~-·--· ~-·--· • • Off i=• i=• p~ p~ @ @ --41,,~__,--=,------=--...,r•.-~ --41,,~__,--=,------=--...,r•.-~ ~ ~ --=--=--=-t~=------· --=--=--=-t~=------· r--!-t r--!-t -=. -=. rr· rr· .S .S x E 118 118 119 l Q.) .J r:S U) ~ .::1.. l_ ... ql{ Q.) I ~-~ \ ~ . ; '\( ·' i :3 g tj w ~~ l ~ F" F :..! .... il] :a ~ ' . · ~ "' ' ~ 1 .,. l B ...) ~ p .... ffi ~~ ~ \0 ~ V) · U) ~ LC""- ~ ~ '~ ,? ;, d 0 0 ~ 0 ~ I.D ::1.., 0 -;>.. '> 0 :::> ::>. 0 ~ :::1... ? f:=cr- .,.~ i 1., ~ !\ d _. c 0 ::... I.D (l) \-' \-' ~ j.. \ . "'A t: \ .... L<) ~ 'f~ -, "· lo. (.>" .:. C" -' l 0 ~ g 0 ~ ~·~ ~ \.~"' ~=-t \ lrl • ~ -- .... 3 \ t:V\ ~ ~ ' " l Q ~ ~, "":'2 ~-~ ~ p. ' .... ~ I g VI U) l <1:~ ~ 0 t-1') '\ • ~ ... ~ I \ l .... "'' ~ ~ ~ ':> ~ -~;' .q;, ~ \ - -~ 'Ui ,-g \ 'i:o ... \ J t ..J :::. 0 "b ~ U) <:::0 X :::. ~ w ..) s 'X 0 .,..,; - · \ ,. 0 () ~ ~ 6 lA !=' <>.... >-... ' 5 "' ::· ~ C>J 0.:. - -;::,.. · sf ~ =+ ~ " ..:; oS VI 0 ~ (• ::r " ':) Q ,_ ~ "":~ .:J. ~ \\1 ) ~ o ':11: <= ~ < < >-- ~ .._ ...... t=: ~ ~~ ~ x.6 E , 2458 cen e , 8ea 1:ou loniki 61tW~ ntin K~ EBE 14th Jtox~ e yza essa E B th tKa Th . of in s i 3, s ew~ , r Km15 es e aaaA.ovtKTJ~ th p Xpta'ttaVl e form - KT]~ S es e r in toA.oy V vt t cr1:dv a~ 968 es' A.a 15ta l 989 ea 36, Ph.D. r e 1 pt aA.o . v. 13 G o Ila W 1 h 1: . E Uni for tcr Seaa G.T tK1l g , s E''to"\l~ Koukouz tin Yale , A.ov aO"J.la'tlK~ y v1:po e H Ka'taypa Stathi cra 165-212. ' .0.~J.lOU K 'tOU Williams, tur chan John EV ~ l a~, 1 J.taS~ tl" EA o KOUKO"\l 7t 'tcX t EA0 a UJ.lVOypa KA.T]pOVOJ.lta J.l a,Athens. K s. Athens. ~ KouKou/;; ), o 1tOtt lWUVVT]~ then AO~, 1992 ,A s EA0 79 n J.l e 1982 'tOU 1977 19 . . A. ~ul;;avnvT\ Ath Mata'trop 'ttV~ 1992 Th MatcHrop Th ~ c, . . i ed. G G Ila7ta15o1tO"\l E1tOX~ ev S.I. , 'tTl l;;av s vaypaJ.tJ.la'tlO"J.lOl s, lj 1 nd 1 Eya~ T]~ a hi as, ~u thi 'ta J.l 15eKa1tEV'taO"'lJAAa~O~ at a t akov 14,2. /;;EA 0 Kat lwavvT]~ Kar (seco S H 0{ 'tT] J.l Sta J c, of A£l musi Mou ~ loniki. gress ry n essa co . s 80 Th ToupKoKpa . 19 fAAT]VlK~ rmo ntempora e 1972 l . a TJ Athen co 4 , P M M.K. to 82 (J't~V s, 1985 s, 1 nstantinople. the . EKKA t 992. 1832) os a 1 umi ns. i 1992 Co umi -q.Lvoypa Xetpoypa e A.E ntine , ld h e za ako M. ouz i h 1453- May ( s, .At giako By i c, z ess urm t r 'OK'taTJxta a K~~ h rom eta~ H Bibliography Adami F add Musi Alygizakis Chatzeg MoucnKa C 't01lPYlK~ ' Cho 't X£lpoypa Anthologia, cn 120 N otes NOTE 1 NOTE 5 NOTE 8 cf. Williams 1968 304 and There are probably 3 - 4 more verses of According to verses ofloannis Lampadarios Jakovljevic 1982 357. Polyeleos "Latrines" that should be attribut (Kladas) for the method ofKoronis. This ed to Koukouzelis, those beginning with method is found in MSS Dionysiou 570 f. NOTE 2 the word "Eu/coy~cra1:E";they are not 103v, Koutloumousiou 447 p. 47 and Kout Manuscripts of the National Library, Ath referred to by Chourmouzios under the loumousiou 461 f. 27 v. The verses are a.o. ens, MITT 703,704 , 705, 706,710,711,714, name ofKoukouzelis, and must be identi edited in Alygizakis 1985 163. 722, 728,730,731,732,733, and 734. fied with the corresponding verses in the older MSS (the verses of the Polyeleos NOTE 9 NOTE 3 which in a later MS of the 15th century are The well-known characteristic phrase of Many transcribed chants by Koukouzelis characterized as "voulgara" should not be agia is suitable for chanting by one voice. can be found in Chatzegiakoumis 1975 and taken into account, because it is almost cer We have found this very often (See the cor 1980, Stathis 1977 and 1979 (including the tain that this composition belongs to Ioan responding thesis in the slow T1) 'YnEpJ.L following list of MSS: MITT 706, 712, 722, nis Glykys). In the MS EBE 2458 the verses cXX!fl). 727,728 , 729,730,731,732,733, 734), and ro J1VT)j10(JVVOV (JOV are accredited to Stathis' recordings 0 Mar(JU.tJp Iwavvry~Panaretos. Cf. Karas 1992 66,Jakovlevic NO T E 10 narra86rroJ..o~KovKovc;;eJ..ry~(1270 1982 367 -368, and Stathis 1989 176. The characteristic thesis of "agia". m;prnOV- a' T)J1. t8 ' o:t.) T) SW1J KO'.l ro epyo rov, records I - Ill (IBM album NOTE 6 NOTE 11 no. 6),Athens 1988. These are considered to be compositions by Antiphonarium Ambrosianum, Paleographie Koukouzelis. Also the anonymous "podes" Musicale V (Brit. Mus. add. 34 209), 61-62. NOTE 4 that follow the above mention ed stichera Recorded on compact disc, HARMONIA Together with Costas Angelides and George and kalopisnwta must be ascribed to Kou MUNDI I HMC 901295, Chants de Konstantinou, graduate students of the kouzelis. l' eglise Milanaise, Ensemble Organum (dir. Alexandros A. Onassis Foundation, I am Marcel Peres). working on a project for the study and NOTE 7 analysis of Koukouzelis' work as transcribed In the A vfio).oyra by XoupJ.Loul,;w~NOTE 12 by the three Teachers. Xapto 121