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City Research Online City Research Online City, University of London Institutional Repository Citation: Antonopoulos, Spyridon (2014). The Life and Works of Manuel Chrysaphes the Lampadarios, and the Figure of Composer in Late Byzantium. (Unpublished Doctoral thesis, City, University of London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17439/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. 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City Research Online: http://openaccess.city.ac.uk/ [email protected] The Life and Works of Manuel Chrysaphes the Lampadarios, and the Figure of Composer in Late Byzantium: Volume 1 Spyridon Antonopoulos PhD Thesis City University London Department of Music October 2013 Table of Contents Volume I: Table of Contents 2 List of Figures 3 Acknowledgments 5 Declaration 7 Abstract 8 Abbreviations 9 A Note on the Musical Transcriptions 10 Chapter 1: Introduction to the Study and Current State of Research 13 Chapter 2: Life and Peregrinations of Manuel Chrysaphes 57 Chapter 3: Chrysaphes the Scribe: his Autographs 119 Chapter 4: Chrysaphes the Theorist: his Treatise and its Reception 161 Chapter 5: Chrysaphes the Composer: The Anoixantaria in Late Byzantine Vespers 187 Conclusions: Manuel Chrysaphes and the Figure of Composer in Late Byzantium 287 Volume II: Table of Contents 2 Appendix I: Bi-Notational Transcriptions of the Anoixantaria from MS Iviron 1120 3 Appendix II: Detailed Catalogue of MS Iviron 1120 (after G. Stathis) 25 Appendix III: Chrysaphes’ Compositional Output 82 Appendix IV: Chrysaphes’ Hymnographic Output 93 Bibliography 111 2 City, University of London Northampton Square London EC1V 0HB United Kingdom T +44 (0)20 7040 5060 THE FOLLOWING PARTS OF THIS THESIS HAVE BEEN REDACTED FOR COPYRIGHT REASONS: Appendix I: Bi‐Notational Transcriptions of the Anoixantaria included in MS Iviron 1120 Appendix V: Manuscript Facsimiles of the Opening of Neo‐ Sabaïtic Vespers (Invitatorium and Anoixantaria) www.city.ac.uk Academic excellence for business and the professions List of Figures FIGURE 1.1: THE BYZANTINE EMPIRE, C. 1350 FIGURE 1.2: TABLE OF PRINTED EDITIONS OF THE TREATISE OF MANUEL CHRYSAPHES FIGURE 1.3: MS PANTELEIMONOS (18TH C.), F. 222R: CHRYSAPHES’ ASMATIC TRISAGION ‘FOR THE CROSS’ FIGURE 1.4: IVIRON 1120, F. 632V, ‘ASMATIC HEIRMOI CHANTED FOR THE GREAT MARTYR DEMETRIOS FIGURE 2.1A: ORIGINAL COLOPHON OF MS IVIRON 1120, F. 674V (704V) FIGURE 2.1B: COPY OF COLOPHON OF MS IVIRON 1120, OPPOSITE F. 674V (704V) FIGURE 2.2A: IVIRON 1120, F. 525R, EXAMPLE OF CHRYSAPHES’ SIGNATURE FIGURE 2.2B: IVIRON 1120, F. 167V, EXAMPLE OF CHRYSAPHES’ SIGNATURE – ALTERNATE FIGURE 2.3: IVIRON 1120, F. 42V: CHRYSAPHES’ SIGNATURE FIGURE 2.4: MS IVIRON 1120, F. 139R: ΕΓΩ ΣΗΜΕΡΟΝ ΓΕΓΕΝΝΗΚΑ ΣΕ, BY MANUEL CHRYSAPHES FIGURE 2.5: COMPARISON OF KALOPHONIC STICHERARIA BY NUMBER OF COMPOSITIONS FIGURE 2.6: CHRONOLOGY OF CHRYSAPHES’ BASED ON PLOUSIADENOS’ AUTOGRAPHS FIGURE 2.7: IVIRON 975, FOL. 128R, ΣΗΜΕΡΟΝ ΓΕΝΝΑΤΑΙ FROM THE NINTH HOUR OF CHRISTMAS EVE FIGURE 2.8: CHRYSAPHES’ ANAGRAMMATISMOS ‘ΜΑΓΟΙ ΠΕΡΣΩΝ’, FOR THE MEAL OF THE EMPEROR FIGURE 2.9: IVIRON 1120, F. 70R: KALOPHONIC VERSES OF PSALM 2 FIGURE 2.10: TEXTUAL STRUCTURE OF CHRYSAPHES’ KALOPHONIC SETTING OF PSALM 2:7‐8 FIGURE 2.11: IVIRON 1120, FOL. 167V – ΕΠΟΙΗΘΗ ΕΝ ΤΗ ΣΕΡΒΙΑ (‘COMPOSED IN SERBIA’) FIGURE 2.12: MS SINAI 1251, F. 312R, STICHERON FOR THE HOLY TEN MARTYRS OF CRETE BY CHRYSAPHES FIGURE 3.1: HANDWRITING OF XEROPOTAMOU 270 (F. 147V) COMPARED TO IVIRON 1120 AND EBE 2401 FIGURE 3.2: MS SKETES AGIAS ANNES 123 42 F. 97V‐98R, PL. 4TH MODE ANASTASIMATARIA TROPARIA21 TH TH FIGURE 3.3: COMPARISON OF SCRIBAL HANDWRITING ACROSS SIX 15 / 16 CENTURY MSS FIGURE 3.4: INCIPIT OF SECOND MODE DOGMATIC THEOTOKION ‘ΠΑΡΗΛΘΕΝ Η ΣΚΙΑ’ FIGURE 3.5: COMPARISON OF VEROIA 9 (UNDATED) TO XEROPOTAMOU 280 (2ND HALF OF 16TH C.)35 FIGURE 3.6: IVIRON 975, F. 214V: KALOPHONIC STICHERON IN NENANO MODE BY CHRYSAPHES FIGURE 3.7: KALOPHONIC STICHERA BY COMPOSER IN KEY 15TH CENTURY KALOPHONIC STICHERARIA FIGURE 3.8: CHRYSAPHES’ ENRICHMENT OF THE REPERTORY OF THE KALOPHONIC STICHERA FIGURE 3.9: MS EBE 2458, F. 11V – THE AKOLOUTHIA EDITED BY KOUKOUZELES (‘1336’) FIGURE 3.10: COPY OF COLOPHON OF MS IVIRON 1120, THE EKSOFYLLO OPPOSITE F. 674V FIGURE 3.11: MS IVIRON 1120, F. 281: THE POLYELEOS (PS 134) BY MANUEL CHRYSAPHES FIGURE 3.12: COMPOSERS INCLUDED IN IVIRON 1120 FIGURE 3.13: TERMINOLOGY INCLUDED IN IVIRON 1120 FIGURE 4.1: ΦΘΟΡΑ ΕΣΤΙ (‘A PHTHORA IS’), EXCERPT FROM CHRYSAPHES’ TREATISE, IVIRON 1120, F. 18V FIGURE 4.2: CONCORDANCES BETWEEN THE GRAMMAR OF D. THRAX AND THE PSALTIC ART OF CHRYSAPHES FIGURE 4.3: AUTHORSHIP AND COMPOSITION IN CHRYSAPHES’ TREATISE FIGURE 4.4: CHRYSAPHES’ DESCRIPTION OF ‘KALLOPISMOS’, MS IVIRON 975, F. 133V. FIGURE 4.5A: CHRYSAPHES’ LINEAGE OF COMPOSERS AND THE ‘AGREEMENT OF THE MASTERS’ FIGURE 4.5B: CHRYSANTHOS’ EXPLANATION OF PARALLAGE, METROPHONIA, AND MELOS FIGURE 5.1: TRANSITION FROM INVITATORIUM TO PSALM 103 IN MSS EBE 2458 (11V), EBE 2401 (47R) FIGURE 5.2: RUBRICS FOR PERFORMANCE OF PS 103:24A, EBE 2401, FOL. 58R FIGURE 5.3: STANDARD TEXTUAL ARRANGEMENT OF THE PSALMIC ELEMENT OF THE ANOIXANTARIA 3 FIGURE 5.4: ‘STANDARD’ VERSE & REFRAIN STRUCTURE IN CONTEMPORARY ORTHODOX VESPERS FIGURE 5.5: COMMON VERSE PAIRINGS IN LATE BYZANTINE AKOLOUTHIAI FIGURE 5.6: COMMON VERSIFICATION OF THE ANOIXANTARIA PSALM VERSES FIGURE 5.7: EX. OF DOUBLE‐CHOIR INDICATIONS FROM 1985 REPR. OF 1935 ΜΟΥΣΙΚΟΣ ΘΗΣΑΥΡΟΣ FIGURE 5.8: EXPANSION OF REFRAIN IN COMPOSED SETTINGS OF ANOIXANTARIA FIGURE 5.9: GRAPHIC DISPLAY OF PSALM VERSE & TROPED REFRAIN PROPORTIONS (IVIRON 1120) FIGURE 5.10A: TRADITIONAL SETTING OF REFRAIN TO PS 103:28B (IVIRON 1120) FIGURE 5.10B: CHRYSAPHES’ SETTING OF REFRAIN TO PS 103:28B (IVIRON 1120) FIGURE 5.11: VERSES OF THE ANOIXANTARIA AND TROPED REFRAINS IN MS IVIRON 1120 FIGURE 5.12: IVIRON 1120, F. 36V: MANUEL KORONES THE PROTOPSALTIS FIGURE 5.13: THE BEGINNING OF VESPERS IN IVIRON 1120 (F. 30R) & EBE 2458 (F. 11R) FIGURE 5.14: TABLE OF VERSES AND COMPOSERS IN VARIOUS AKOLOUTHIAI170 FIGURE 5.15: IVIRON 1120, F. 588R: XENOS KORONES ‘THE PROTOPSALTES’ FIGURE 5.16: THE INVITATORIUM (MS EBE 2401, F. 47R) FIGURE 5.17: PSALM 103, OPENING VERSES (MS EBE 2401, F. 47R‐V) FIGURE 5.18: PSALM TONE RECITATION IN THE ANOIXANTARIA FIGURE 5.19A: MELISMA AND ACCENTUATION OF PSALM VERSE (BYZANTINE NOTATION) FIGURE 5.19B: MELISMA AND ACCENTUATION OF PSALM VERSE (BASED ON IVIRON 1120) FIGURE 5.20A: ACCENTUATION PATTERN DIFFERENCES IN VERSES OF PS 103 FIGURE 5.20B: ‘MIGRATING MELODIES’ IN IVIRON 1120 FIGURE 5.21A: TRADITIONAL (‘ARCHAIC’) SETTINGS OF V. 28B AND 29A FIGURE 5.21B: CHRYSAPHES’ ALTERNATE SETTINGS OF THE ‘ARCHAIC’ VERSES FIGURE 5.22: PROPORTION OF PSALM VERSE AND REFRAIN, PS 103.28B & 29A FIGURE 5.23: KLADAS’ DEPLOYMENT OF ‘ASCENDING 5TH BEFORE MELISMATIC CADENCE’ FIGURE FIGURE 5.24: ‘LEGE’ BRIDGE IN CHRYSAPHES’ SETTING OF PS 103:31A FIGURE 5.25: CHRYSAPHES’ SETTING OF PS 103.33A AND TRIADIC TROPE FIGURE 5.26: USE OF MELODIC SEQUENCES: CHRYSAPHES’ SETTING OF V. 31A FROM IVIRON 1120 FIGURE 5.27: PSALM‐TONE RECITATION IN CHRYSAPHES’ OKTAECHAL SETTING (PS 103:20A) FIGURE 5.28: TRANSITION FROM PLAGAL FOURTH TO FIRST MODE FIGURE 5.29: TRANSITION FROM SECOND TO THIRD MODE FIGURE 5.30: TRANSITION FROM FOURTH TO PLAGAL FIRST MODE FIGURE 5.31: A SIGNATURE NENANO CADENCE OF CHRYSAPHES FIGURE 5.32: TRANSITION FROM PLAGAL SECOND MODE TO NENANO FIGURE 5.33: MS EBE 2401, F. 270R: PLAGAL FOURTH MODE SIGNATURE FIGURE 5.34: PATH OF MODULATION IN CHRYSAPHES’ EIGHT‐MODE VERSE FIGURE 5.35: CHRYSAPHES’ OKTAECHAL SETTING OF VERSE 20A FIGURE 5.36: CHRYSAPHES’ ‘VOICE’: A CHARACTERISTIC MELODIC THESIS IN PL. 4TH MODE 4 Acknowledgments I am indebted to a number of people and institutions across North America and Europe without whom my research over the past several years would have been impossible. First, I am grateful to City University London for providing me with a University Studentship to fund my doctoral studies in the United Kingdom; to my colleagues in the Centre for Music Studies for their advocacy of my candidacy and for their support of me as student and lecturer; and to Stephen Cottrell and Gail Marsom for enabling my receipt of two grants, the first from the Arts and Humanities Research Council for Cultural Engagement and the second from the Higher Education Innovation Fund. The greatest portion of my gratitude is owed to my supervisor, Alexander Lingas, who, at our first meeting in New York in 2006, encouraged me to pursue doctoral studies in the field of Byzantine chant, and who, throughout my tenure at City, took great care to ensure I was working to the highest standards possible. I am grateful for his guidance during supervisions, whether in his office at the College Building in Islington, or at a train station outside Munich between performances. I am grateful as well to Ann Lingas, whose support and assistance during my first few weeks in the UK I will never forget. Three professors at Brown University who have shown me immense support include Brown Music’s beloved James Baker, whose seminars on Allen Forte and Heinrich Schenker have never left me; the inimitable Charles Fornara, who terrified me into loving Ancient Greek as early as 1999; and Susan Harvey, whom I did not have the benefit of learning from while an undergraduate at Brown, but whom I have recently grown to admire on account of our shared interests.
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