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Proceedings of the 10th WSEAS International Conference on ACOUSTICS & MUSIC: THEORY & APPLICATIONS

Post-Communial in the Byzantine-Slavic Liturgical Formularies: Musical and Liturgical Aspects

ŠIMON MARINČÁK ‘Michael Lacko’ Center of Spirituality East-West University of Trnava Komenského 14, 04001 Košice SLOVAKIA [email protected]

Abstract: – Liturgical formularies of the Byzantine (or Constantinopolitan) tradition have undergone many intercalations and omissions that have modified its actual cursus during the centuries. Post-Communial Sticheron ‘We have seen the true light’ belongs to more recent additions and have not been explained satisfactorily yet. This chant has not been a stable part of the liturgical formulary before 17th century and its insertion and stabilization after the rites is still quite obscure. Interesting is its musical mutation from the original Octoechal modal musical system to a system of a free composition is some cultural traditions, again, not explained satisfactorily yet. This paper will bring the historical overview that will set into chronological table the process of accession of this sticheron into the Byzantine liturgical formularies, as well as the comparison of various musical models both Octoechal and compositional.

Key Words: – Music, , Byzantine, Chant, Rite, Eucharistic Formulary.

1 Introduction of the Little or Lord, I have cried of the Byzantine as direct descendant of the pure Great Vespers on Saturday evening before the Constantinopolitan tradition [1] uses three feast of (eighth Sunday after the Pascha) principal liturgical formularies: liturgy of St Basil [3]. It is inserted into Byzantine of CHR the Great (henceforth the BAS), liturgy of St John and BAS and is performed right after the Chrysostom (henceforth the CHR), and liturgy of communion rites. It follows immediately the the Presanctified Gifts of St Gregory the Dialogos celebrant’s (i.e. ’s or ’s) exclamation (henceforth the PRES). Each of these three “Save your people, O God, and bless your formularies has long and turbulent history of inheritance” [4]. development. Some of their parts have evolved as In the present paper, we shall leave out the a response to various ecclesiastical and political PRES and will discuss formularies BAS and CHR. events, other as response to popular piety and the satisfaction of popular devotion. The liturgical practice as such was by no means uniform in the 2 Sources whole Church, and often the formulary differed There is no mention of either the celebrant’s significantly in single places. New intercalations exclamation or the popular response in the became regular part of the formulary usually after liturgical sources before the 13th century. On this a reform, or other ecclesiastical circumstances and agree the oldest Greek liturgical manuscripts, it usually started to spread from the mother center starting with the 8th century towards smaller centers with the speed depending Barberini gr. 336, which contains neither the on the popularity of the intercalated unit. exclamation, nor the answer (folios 21-22) [5]. In the present paper, we will discuss the Post- The same practice is traceable in the later sources, Communial sticheron [2] “We have seen the true for example the 10th century manuscript light,” which became indispensable part of the euchologion Sevastianov 474 (folio 24) [6], then Byzantine-Slavic liturgical formularies from 17th the 10th-11th century archieratikon of BAS the century onward. This sticheron preexisted the 17th Pyromalus Codex (folio 65) [7], and finally the century and its original place is at the

ISSN: 1790-5095 74 ISBN: 978-960-474-061-1 Proceedings of the 10th WSEAS International Conference on ACOUSTICS & MUSIC: THEORY & APPLICATIONS

12th-13th centuries manuscript edited by Jacob famous liturgicon of 1655 (page 364), reformed Goar (folio 67) [8]. after the Greek books [11]. Since this edition, the We find the words of exclamation for the first response Εις πολλα ετη δεσποτα with the time in the 13th century source again edited by sticheron follow the exclamation until the 1667, Jacob Goar (folio undisclosed) [9]. The words are when the practice split: the response Εις πολλα read silently and have no response yet. A ετη δεσποτα remained the stable part at the comparison with other sources points to the fact pontifical liturgy, and the sticheron itself that the practice of the exclamation was not remained the response at liturgy celebrated by a customary everywhere. While the above priest. mentioned 13th century source does contain it, the Ruthenian sources start with the liturgicon 14th century Greek manuscript no. 279 of the published in Torgovišče (Romania) in 1508, Moscow Synodal library (folios 141, and 152) has which contains exclamation aloud with no answer neither the exclamation, nor the response. (folio 51). Venetian Slavic editions, of which first However, later in the 14th and 15th centuries the appeared in 1519, show the same practice (folio practice of exclamation became more and more 37). Later Venetian editions were exact reprints of common in the liturgical sources, which still the first one with the same foliation. However, the recommend saying it silently, as one can observe most important sources for the research are in the 15th century manuscripts, such as printed liturgical books of Ruthenian provenience, manuscript euchologion no. 280 of the Moscow of which the most important and influential are Synodal library (folio 38), and manuscript editions connected with names of bishop Gedeon no. 381 of the Moscow Synodal library (folio 31). Balaban (reigned 1569-1607) and metropolitan By 16th and 17th centuries, Greek sources slowly Peter Mohyla (1596-1646). The Balaban’s edition change their practice towards more frequent use published in Strjatyň in 1604 is a bit confusing. of both the exclamation and the response. It is While it gives no answer on the priest’s witnessed by the manuscript edited by Goar (folio exclamation aloud at the CHR on page 206, it 181) [10], which gives the exclamation aloud with gives popular response of the Εις πολλα ετη the response Εις πολλα ετη δεσποτα, while the δεσποτα both in Greek and translated to Slavic at liturgicon published in Venice in 1566 (folio 24) the BAS on page 340. The edition of Peter says the exclamation aloud, but gives no response Mohyla (1620 and, more important, 1629) even to it. The same practice shows Greek euchologion exceeds in importance and influence Balaban’s published in 1647, which also gives no response edition. It gives just Εις πολλα ετη δεσποτα to the exclamation (page 58). response after the exclamation, and so does the Russian sources give the exclamation (yet next edition of 1629 (page 94), which became the silent) without the response for the first time in model edition for almost all next Ruthenian the 15th century, as given by the manuscript no. editions. In the 18th century, the Ruthenian 216 of the Holy and Sergey liturgical books started to add the sticheron “We (folio 36), and aloud in the same era, as given in have seen the true light” following the Εις πολλα the manuscript euchologion no. 281 of the ετη δεσποτα, as witnessed by the liturgicon Moscow Synodal library (folio 52) with no published in Lvov in 1759 (folio 101) and editions response as well. The exclamation aloud followed that follow, up to 1905, when the new edition of by the response Εις πολλα ετη δεσποτα can be metropolitan Andrei Šeptickij appeared [12]. found already in the 16th century manuscript no. Since these sources give the Εις πολλα ετη 218 of the Holy Trinity and Sergey monastery δεσποτα both transliterated and translated into the (folio 87). The same says the manuscript no. 403 Slavic, it is not clear from the context, whether the of the Rumjancev museum (folio 56), and original Greek version or the translated one was to manuscript no. 225 of the Holy Trinity and Sergey be read. Liturgicon published in Vilna in 1692 monastery (folio undisclosed). Definitive place of edited by bishop Cyprian Žochovskij, shows a bit the sticheron in the liturgical formularies in the diverse practice. As for the response for the Slavic tradition, however, was given by exclamation, it prescribes verse “God is the Lord” Nikon (1605-1681), who included it into his and the sticheron “We have sent the true light” of

ISSN: 1790-5095 75 ISBN: 978-960-474-061-1 Proceedings of the 10th WSEAS International Conference on ACOUSTICS & MUSIC: THEORY & APPLICATIONS the mode 1 (folio 97). The same says liturgicon linking musical formulas one after another, in the published in Počajev in 1735, but gives correct length that satisfies textual demand. Formulas are mode 2 for the sticheron (folio 32-33). Počajev further organized into the modes, known as ‘glas’ editions did not change their practice even until (i.e. ‘voice’) in Slavic. Of course, the formulas are the 1840 edition (cf. page 341). Towards 19th linked together only within single mode, never century, the Εις πολλα ετη δεσποτα disappear across the modes. For example, mode 1 (or any from the priestly liturgy also in the Ruthenian other mode) has initial formula A, then the editions, as witnessed by liturgicon published in recitative formula B, medium cadence C and final 1882 (folio 106) [13], although some Churches F. The melody thus may be described as still maintain the tradition to sing both Εις πολλα ABCBCBF or ABF scheme for instance, or any ετη δεσποτα and the sticheron at every liturgy, other mixture of these patterns. It always depends whether celebrated by a bishop, or by a priest. on the length of the liturgical text. The formulas may never be mixed up cross mode, i.e. pattern A of the mode 1 with pattern B of the mode 4, etc. 3 Musical and Liturgical Aspects This system is the most apparent in the Greek The reason ‘why’ the sticheron was introduced chant, while Slavic countries have obscured it into the Liturgy is still shrouded. One of the with local native melodic units that shroud its hypotheses says it probably happened under the original structure. influence of the symbolic interpretation of Holy The Festal says that this sticheron is Communion. The theological interpretations of an [16] of the mode 2 at the Little single liturgical units reached their apex Vespers, and of regular mode 2 of the Great especially in 16th and 17th centuries, when the Vespers of the feast of Pentecost [17]. Liturgically, tendency of some local Orthodox churches to this chant is sung during entire liturgical year unite with the Latin Church was concluded by the except for the Paschal period, feast of Ascension act of Union in the city of Brest in 1596. The and on the Saturday before Pentecost, as will be meeting of Latin scholarship with Orthodox shown below. Liturgy of the Znamennyj chant tradition evoked many polemical discussions. (after the reform) [18], the oldest Slavic (Russian) Mutual influences of the interpretations thus music, says the sticheron at the liturgical caused many discussions that eventually turned to formularies being of the mode 2, exactly as given several changes in the liturgical formularies. An at the vesper’s setting. The explanation is that at intercalation of the sticheron in question to the the beginning there was not special musical liturgical formularies may thus be of similar setting for this text; hence the regular vesperal reason. mode had been used [19]. Theologically, the content of the sticheron Ruthenian heirmologion published in 1906 (the accords with the view that sees the rites of Holy editio princeps) gives two versions of the Communion as representing and symbolizing the sticheron in the liturgical formularies, both mysteries of Christ’s resurrection and ascension without the mode indication, freely composed into heaven, and the descent of the Holy Spirit without any further specification. As traditional in upon the Apostles [14]. Under the influence of the Ruthenian churches, the sticheron is preceded this interpretation the prayer also found its way by the Εις πολλα ετη δεσποτα. Both versions are into the post-communion prayers. According to already depending on the Major-Minor harmony. Pseudo-German the transferring of the Holy Gifts The first is set into the natural scale with to the Table of Prothesis symbolizes the ascension accidentals, and the second is set into regular G of our Lord into heaven [15]. Hence, under the Major Scale [20]. Heirmologion of Juraj Bobák, a influence of this interpretation we can see how manuscript book containing all chants in use easily this latter versicle was adopted into the during communist rule in Czechoslovakia, Liturgy. includes just one freely composed setting of the is a complex of various sticheron, similar to the first one from the above musical patterns, i.e. formulas, hence also called mentioned editio princeps, again together with the the ‘formulaic chant’. Melodies are composed by preceding Εις πολλα ετη δεσποτα [21].

ISSN: 1790-5095 76 ISBN: 978-960-474-061-1 Proceedings of the 10th WSEAS International Conference on ACOUSTICS & MUSIC: THEORY & APPLICATIONS

During the liturgical year, the sticheron is Musically, the sticheron had to undergo its way replaced with other chants three times. It is too. From its beginnings, the sticheron in the replaced with the “Christ is Risen” [22] liturgical formularies used its original vesperal of the mode 5 from the very day of Pascha until mode 2 at performance. This practice lasted about the feast of Ascension [23]. It is also replaced by two centuries, as witnessed by various sources. troparion “You ascended in glory” [24] of the Since the 18th-19th centuries, the sticheron got its mode 4 at the feast of Ascension [25]. Older music, probably originating in the folklore Ruthenian sources indicate the “Be exalted above tradition (in the Ruthenian churches), or the heavens, O God” instead [26], without composed by a gifted church musicians (Russian specification of the mode. And finally, the churches). Precise date of this change is hardly sticheron is replaced by the troparion “Only traceable, but we can suppose it came along with Creator” [27] of the mode 8 on Saturday before lost sensitivity for archaic melodies and musical Pentecost [28]. systems, although the scenario could be different too.

4 Concluding Remarks The reason, why somebody has decided to put an References: answer on the exclamation “Save, O God”, has [1] For details regarding the transformation of pure not been discovered yet. The sticheron does not fit Constantinopolitan Cathedral Office to mixed Neo-Sabbaitic Ordo, see esp. R. F. Taft, The perfectly to the place it is located now and . A Short History, Collegeville, phenomenal liturgist Alexei Dmitrievskij says it 1992; and R. F. Taft, “The Mt. Athos: A Late corrupts integrity of rite [29], but is perfectly Chapter in the History of the Byzantine Rite,” pertinent to the feast of Pentecost. Dumbarton Oaks Papers, vol. 42, 1988, pp. 179- th th As we could see, not until the 11 and 12 194. centuries did this versicle appear in the Greek [2] Sticheron (Gk. στιχηρόν), pl. Stichera are stanzas liturgical codices [30]. We also found it in the inserted between verses (Gk. στίχοι) taken from Slavonic codices of the fourteenth century [31]. the . They occur in particular (1) at Vespers, The sticheron “We have seen the true light” as between the closing verses of Lord, I have cried; answer to the priest’s exclamation “Спаси, Боже, (2) at , between the concluding verses of люди Твоя и благослови достояние Твое” first . Stichera also occurs at the Lity, but without verses from the . Cf. The Festal , appears in the Russian liturgicons in the 17th th Mother Mary and Archimandrite Kallistos Ware century. During entire 17 century it alternately (transl.), London, 1969, p. 558. appeared and was missing in the liturgical books th [3] Cf. Триодь Цветная, Moscow, 1992, fols. 237 and in the practice. Before mid-17 century, the and 238. answer to it was just Εις πολλα ετη δεσποτα, [4] Gk. Σωσον, ο Θεος, τον λαον σου, και εθλογησον either the liturgy was presided by a priest or by a την κληρονοιαν σου; Sl. Спаси, Боже, люди bishop. Later, it started to differentiate. Greek Εις Твоя и благослови достояние Твое. πολλα ετη δεσποτα alone remained at the [5] Cf. S. Parenti – E. Velkovska (eds.), L’Eucologio pontifical liturgy, and “We have seen the true Barberini gr. 336, Rome, 1995, pp. 22-23; The light” occurred at the liturgy celebrated by a priest. same manuscript was edited by J. Goar, Current practice is that the sticheron is sung at Ευχολογιον sive Rituale Graecorum complectens ritus et ordines Divinae Liturgiae, officiorum, every liturgy, even at pontifical, when it is sacramentorum, consecrationum, benedictionum, preceded by Εις πολλα ετη δεσποτα, although in funerum, orationum, &c. cuilibet personae, statui some Churches the practice to keep it joined even vel tempori congruos, juxta usum Orientalis at the liturgy presided by a priest is traceable. The Ecclesiae…, Venice, 1730, p. 84. sticheron is replaced by other chants at three [6] Cf. S. J. Koster, Das Euchologion Sevastianov 474 moments of the liturgical year: from the very day (X/XI Jhdt.) der Staatsbibliothek Lenin in Moskau of Pascha until the feast of Ascension, at the feast (Romae 1991) – unpublished doctoral dissertation of Ascension, and on Saturday before the feast of at the Pontifical Oriental Institute, pp. 16-17 of the Pentecost. Editio.

ISSN: 1790-5095 77 ISBN: 978-960-474-061-1 Proceedings of the 10th WSEAS International Conference on ACOUSTICS & MUSIC: THEORY & APPLICATIONS

[7] Cf. J. Goar, Ευχολογιον sive Rituale Graecorum [23] Типиконъ сіесть Уставъ, Moscow, 1906, f. 473; complectens ritus et ordines Divinae Liturgiae…, K. Nikoľskij, Пособіе къ изученію Устава p. 156. богослуженія Православной Церкви, S.- [8] Cf. J. Goar, Ευχολογιον sive Rituale Graecorum Petersburg, 1900, pp. 460-461; A. Mikita, complectens ritus et ordines Divinae Liturgiae…, Руководство въ Церковный Типиконъ, Užhorod, p. 94. 1901, p. 222; I. Dolnickij, Типикъ Церкве Руско- [9] Cf. Goar, Ευχολογιον sive Rituale Graecorum кафоліческїя, Lvov, 1899, pp. 469 and 479. complectens ritus et ordines Divinae Liturgiae…, [24] Gk. Ανεληφθης εν δοξη, Χριστε ο Θεος ηων, p. 82. χαροποιησας τους Μαθητας, τη επαγγελια του [10] Cf. J. Goar, Ευχολογιον sive Rituale Graecorum αγιου Πνευατος· βεβαιωθεντων αυτων δια της complectens ritus et ordines Divinae Liturgiae…, ευλογιας, οτι συ ει ο Υιος του Θεου, ο λυτρωτης pp. 67 and 77. του κοσου; Sl. Вознеслся еси во славе, Христе [11] Cf. A. Dmitrievskij, “О стихире «Видехомъ Боже наш, радость сотворивый учеником светъ истинный» въ чинахъ литургій св. Іоанна обетованием Святаго Духа, извещенным им Златоуста и св. Василія Великаго,” бывшим благословением, яко Ты еси Сын Руководство для сельскихъ пастырей, vol. Божий, Избавитель мира. XXVII, no. 10, Kiev, 9 March 1886, p. 275. For [25] K. Nikoľskij, Пособіе къ изученію Устава the reform, see P. Meyendorff, Russia, Ritual, and богослуженія Православной Церкви, 461. Reform: The Liturgical Reforms of Nikon in the Типиконъ published in Moscow in 1906 does not 17th Century, Crestwood, 1991. prescribe this troparion, cf. folio 494. [12] For liturgical activities of Andrei Šeptickij, see C. [26] A. Mikita, Руководство въ Церковный Korolevskij, Metropolite Andre Szeptyckyj, Rome, Типиконъ, p. 222; Λειτούργικον сиречь 1964; and especially P. Galadza, The Theology Служебникъ, Lvov, 1905, p. 48; I. Dolnickij, and Liturgical Work of Andrei Sheptytsky (1865- Типикъ Церкве Руско-кафоліческїя, p. 495. 1944), Orientalia Christiana Analecta, no. 272, [27] Gk. Ο βαθει σοφιας φιλανθρωπως παντα Rome, 2004. οικονοων, και το συφερον πασιν απονεων, [13] Cf. A. Dmitrievskij, “О стихире «Видехомъ ονε ηιουργε, αναπαυσον Κυριε τας ψυχας των светъ истинный» въ чинахъ литургій св. Іоанна δουλων σου· εν σοι γαρ την ελπιδα ανεθεντο, τω Златоуста и св. Василія Великаго,” 271. ποιητη και πλαστη και Θεω ηων; Sl. Глубиною [14] N. Cabasilas, Liturgiae Expositio, caput 37, in PG мудрости человеколюбно вся строяй, и 150:449-452. полезное всем подаваяй, едине Содетелю, [15] Pseudo-German, Historia Ecclesiastica, et упокой, Господи, души раб Твоих; на Тя бо Mystica Contemplatio, in PG 98:452. упование возложиша, Творца и Зиждителя, и [16] Idiomelon (Gk. ιδιοελον, Sl. cамогласенъ) Бога нашего. possess their own intrinsic melodies and do not [28] K. Nikoľskij, Пособіе къ изученію Устава serve as models or patterns for other of the богослуженія Православной Церкви, p. 461. same textual category. Cf. J. Gardner, Russian Типиконъ published in Moscow in 1906 does not Church Singing, vol. I, Crestwood, 1980, p. 53. even mention separate liturgy at the Saturday [17] Cf. Триодь Цветная, Moscow, 1992, fols. 237 before the feast of Pentecost, cf. folio 497; I. and 238. Dolnickij, Типикъ Церкве Руско-кафоліческїя, p. [18] Лїтургія св. Іоанна Златоустаго знаменнаго 497; Šeptickij’s edition contains the liturgy, but роспева, пореформенная редакцїя, Moscow, does not prescribe the troparion instead, cf. 2005, fols. 24-25. Λειτούργικον сиречь Служебникъ, p. 57. [19] Лїтургія св. Іоанна Златоустаго знаменнаго [29] A. Dmitrievskij, “О стихире «Видехомъ светъ роспева, пореформенная редакцїя, p. 10. истинный» въ чинахъ литургій св. Іоанна [20] Cf. Церковное простопеніе, J. Bokšaj, J. Златоуста и св. Василія Великаго,” p. 273. Malinič (eds.), Užhorod, 1906, pp. 180-181. [30] P. De Meester, “Les Origines et les [21] J. Bobák, Песнословъ – Ειρολογιον développements du text grec de la liturgie de S. J. (manuscript), 1978, p. 53. Chrysostome,” XPYCOCTOMIKA, Rome, 1908, p. [22] Gk. Χριστoς ανεστη εκ νεκρων, θανατω θανατον 327. πατησας, και τοις εν τοις νηασι, ζωην [31] A. Petrovski, “Historie de la rédaction slave de la χαρισαενος; Sl. Христос воскресе из мертвых, liturgie de Jean Chrysostome,” смертию смерть поправ, и сущим во гробех XPYCOCTOMIKA, pp. 878, and 912. живот даровав.

ISSN: 1790-5095 78 ISBN: 978-960-474-061-1