The "Exegesis" of Chourmouzios Hartofylax on Certain Compositions by Ioannis Koukouzelis

The "Exegesis" of Chourmouzios Hartofylax on Certain Compositions by Ioannis Koukouzelis

The "Exegesis" of Chourmouzios Hartofylax on certain compositions by Ioannis Koukouzelis Lycourgos Ant. 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<Xj..Lj.l<X'l:tcrj..LOc;" MS 722 MilT (3), 727 (4), 728 (8), 729 (10), 730 (7), 731 (6), 732 (9), 733 (10), 734 (1) {58} 23) With the indication "LnxTJpov"6 MS MilT 727 (4), 728 (4), 729 (1), 730 (10), 731 (4), 732 (4), 733 (3), 734 (1) {31} 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 '!:eO V 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 "A vco8£v ot Ilpo<j>f\ 'l:<Xt, composed in the 2nd Example 1: plagalmode (Example 1). This composi­ The composition divides into three tion should be distinguished from parts: the text, a kratema and the termi­ another piece with more or less the same nation. The "text" constitutes the first text, but set in the 3rd plagal mode (ba- two thirds of the composition, while the "A vco8£v ot npo<)>f\ 'l:<Xt cr£ npoKa'l:fj yy£tAav KopTJ (twice) KopTJ cr£ npoKa1:fjyynA-av &vco8£v ot npo<)>f\ 1:at 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<X'l:Oj..LT]'l:OV K<Xt xpucrouv 8Uj..Lta'l:f\ ptov naA-anov Kat 8povov 1:ou ~acrtA-ecoc;. 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