A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece: Byzantine Chant and Other Music Repertory Recovered [1 ed.] 9780754651680, 0754651681

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A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece

To Costa and Maryann for their patience and understanding

A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece Byzantine Chant and Other Music Repertory Recovered

Diane Touliatos-Miles University of Missouri-St. Louis, USA

First published 2010 by Ashgate Publishing Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business

Copyright © 2010 Diane h. touliatos Diane H. Touliatos has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British LiBrary CataLoguing in PuBLiCation Data touliatos-Miles, Diane h. A Descriptive catalogue of the Music collection of the national library of greece: byzantine chant and other Music repertory recovered 1. ethnike vivliotheke tes hellados – catalogs. 2. Music – Manuscripts – greece – Athens – catalogs 3. Music, byzantine – Manuscripts – greece – Athens – catalogs. i. title 016.7’8’09495 LiBrary of Congress CataLoging-in-PuBLiCation Data touliatos-Miles, Diane h. A Descriptive catalogue of the Music collection of the national library of greece: byzantine chant and other Music repertory recovered / by Diane h. touliatos-Miles. p. cm. 1. ethnike vivliotheke tes hellados – Music – Manuscripts – catalogs. 2. byzantine chants – Manuscripts – catalogs. 3. Music – Manuscripts – greece – Athens – catalogs. i. title. Ml136.A89t68 2007 016.7809495–dc22 2006036168

isbn 9780754651680 (hbk)

Contents Preface

vii

Abbreviations

ix

Introduction: The Musical Repertory of the National Library of Greece

1

Catalogue of Manuscripts (for details see page vi ff.) The plate section falls between pp. 500 and 501 Appendix A: Music Manuscripts at the National Library of Greece Listed According to Categories

579

Appendix B: Music Manuscripts from the Library of the Holy Sepulchre in Constantinople now Housed in the National Library of Greece

585

Glossary

589

Bibliography

611

Index of Melodists/Composers

619

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741 ����������������������������������������������������������������� 10 883 ����������������������������������������������������������������� 11 884 ����������������������������������������������������������������� 31 885 ����������������������������������������������������������������� 34 886 ����������������������������������������������������������������� 37 887 ����������������������������������������������������������������� 40 888 ����������������������������������������������������������������� 42 889 ����������������������������������������������������������������� 43 890 ����������������������������������������������������������������� 44 891 ����������������������������������������������������������������� 45 892 ����������������������������������������������������������������� 46 893 ����������������������������������������������������������������� 47 894 ����������������������������������������������������������������� 52 895 ����������������������������������������������������������������� 55 896 ����������������������������������������������������������������� 56 897 ����������������������������������������������������������������� 58 898 ����������������������������������������������������������������� 61 899 ����������������������������������������������������������������� 63 900 ����������������������������������������������������������������� 73 901 ����������������������������������������������������������������� 75 902 ����������������������������������������������������������������� 77 903 ����������������������������������������������������������������� 79 904 ����������������������������������������������������������������� 81 905 ����������������������������������������������������������������� 84 906 ����������������������������������������������������������������� 86 907 ����������������������������������������������������������������� 89 908 ����������������������������������������������������������������� 90 909 ����������������������������������������������������������������� 91 910 ����������������������������������������������������������������� 92 911 ����������������������������������������������������������������� 94 912 ����������������������������������������������������������������� 98 913 ����������������������������������������������������������������� 99 914 ���������������������������������������������������������������100 915 ���������������������������������������������������������������102 916 ���������������������������������������������������������������103 917 ���������������������������������������������������������������104 918 ���������������������������������������������������������������107 919 ���������������������������������������������������������������109 920 ���������������������������������������������������������������111 921 ���������������������������������������������������������������113 922 ���������������������������������������������������������������115 923 ���������������������������������������������������������������116 924 ���������������������������������������������������������������117 925 ���������������������������������������������������������������118 926 ���������������������������������������������������������������120

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927 ���������������������������������������������������������������122 928 ���������������������������������������������������������������123 929 ���������������������������������������������������������������127 930 ���������������������������������������������������������������128 931 ���������������������������������������������������������������129 932 ���������������������������������������������������������������130 933 ���������������������������������������������������������������131 934 ���������������������������������������������������������������132 935 ���������������������������������������������������������������134 936 ���������������������������������������������������������������136 937 ���������������������������������������������������������������137 938 ���������������������������������������������������������������138 939 ���������������������������������������������������������������140 940 ���������������������������������������������������������������141 941 ���������������������������������������������������������������142 942 ���������������������������������������������������������������144 943 ���������������������������������������������������������������145 944 ���������������������������������������������������������������146 945 ���������������������������������������������������������������147 946 ���������������������������������������������������������������148 947 ���������������������������������������������������������������149 948 ���������������������������������������������������������������151 949 ���������������������������������������������������������������153 950 ���������������������������������������������������������������154 951 ���������������������������������������������������������������155 952 ���������������������������������������������������������������156 953 ���������������������������������������������������������������158 954 ���������������������������������������������������������������159 955 ���������������������������������������������������������������160 956 ���������������������������������������������������������������161 957 ���������������������������������������������������������������162 958 ���������������������������������������������������������������163 959 ���������������������������������������������������������������164 960 ���������������������������������������������������������������165 961 ���������������������������������������������������������������166 962 ���������������������������������������������������������������167 963 ���������������������������������������������������������������168 964 ���������������������������������������������������������������172 965 ���������������������������������������������������������������173 966 ���������������������������������������������������������������175 967 ���������������������������������������������������������������176 968 ���������������������������������������������������������������177 969 ���������������������������������������������������������������180 970 ���������������������������������������������������������������181 971 ���������������������������������������������������������������183

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972 ���������������������������������������������������������������186 973 ���������������������������������������������������������������187 974 ���������������������������������������������������������������188 975 ���������������������������������������������������������������190 1062 �������������������������������������������������������������192 1081 �������������������������������������������������������������195 1865 �������������������������������������������������������������197 1867 �������������������������������������������������������������200 1868 �������������������������������������������������������������206 1869 �������������������������������������������������������������209 1902 �������������������������������������������������������������212 1903 �������������������������������������������������������������213 1916 �������������������������������������������������������������215 1943 �������������������������������������������������������������216 1944 �������������������������������������������������������������218 1945 �������������������������������������������������������������221 1946 �������������������������������������������������������������223 2056 �������������������������������������������������������������228 2057 �������������������������������������������������������������229 2061 �������������������������������������������������������������230 2062 �������������������������������������������������������������242 2063 �������������������������������������������������������������251 2147 �������������������������������������������������������������253 2155 �������������������������������������������������������������255 2166 �������������������������������������������������������������257 2168 �������������������������������������������������������������259 2170 �������������������������������������������������������������261 2175 �������������������������������������������������������������263 2213 �������������������������������������������������������������270 2215 �������������������������������������������������������������272 2216 �������������������������������������������������������������274 2217 �������������������������������������������������������������276 2218 �������������������������������������������������������������277 2219 �������������������������������������������������������������279 2220 �������������������������������������������������������������281 2221 �������������������������������������������������������������283 2222 �������������������������������������������������������������285 2223 �������������������������������������������������������������287 2224 �������������������������������������������������������������288 2225 �������������������������������������������������������������289 2226 �������������������������������������������������������������291 2227 �������������������������������������������������������������293 2228 �������������������������������������������������������������295 2229 �������������������������������������������������������������297 2273 �������������������������������������������������������������298

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2301 �������������������������������������������������������������300 2329 �������������������������������������������������������������302 2354 �������������������������������������������������������������305 2398 �������������������������������������������������������������307 2399 �������������������������������������������������������������309 2401 �������������������������������������������������������������314 2405 �������������������������������������������������������������337 2406 �������������������������������������������������������������339 2411 �������������������������������������������������������������356 2413 �������������������������������������������������������������361 2417 �������������������������������������������������������������362 2424 �������������������������������������������������������������364 2425 �������������������������������������������������������������366 2428 �������������������������������������������������������������368 2432 �������������������������������������������������������������370 2441 �������������������������������������������������������������372 2442 �������������������������������������������������������������373 2443 �������������������������������������������������������������374 2444 �������������������������������������������������������������376 2446 �������������������������������������������������������������381 2447 �������������������������������������������������������������384 2451 �������������������������������������������������������������386 2452 �������������������������������������������������������������387 2453 �������������������������������������������������������������389 2454 �������������������������������������������������������������391 2456 �������������������������������������������������������������395 2458 �������������������������������������������������������������400 2490 �������������������������������������������������������������408 2500 �������������������������������������������������������������410 2513 �������������������������������������������������������������413 2520 �������������������������������������������������������������414 2525 �������������������������������������������������������������416 2526 �������������������������������������������������������������418 2540 �������������������������������������������������������������420 2552 �������������������������������������������������������������422 2557 �������������������������������������������������������������424 2568 �������������������������������������������������������������426 2572 �������������������������������������������������������������428 2575 �������������������������������������������������������������429 2576 �������������������������������������������������������������431 2577 �������������������������������������������������������������433 2578 �������������������������������������������������������������434 2579 �������������������������������������������������������������436 2580 �������������������������������������������������������������438 2584 �������������������������������������������������������������440

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A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece

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2596 �������������������������������������������������������������442 2599 �������������������������������������������������������������443 2600 �������������������������������������������������������������449 2601 �������������������������������������������������������������454 2602 �������������������������������������������������������������456 2604 �������������������������������������������������������������457 2607 �������������������������������������������������������������460 2611 �������������������������������������������������������������462 2613 �������������������������������������������������������������464 2614 �������������������������������������������������������������466 2618 �������������������������������������������������������������468 2619 �������������������������������������������������������������470 2620 �������������������������������������������������������������472 2622 �������������������������������������������������������������474 2625 �������������������������������������������������������������479 2627 �������������������������������������������������������������481 2629 �������������������������������������������������������������483 2632 �������������������������������������������������������������485 2633 �������������������������������������������������������������487 2643 �������������������������������������������������������������489 2645 �������������������������������������������������������������492 2672 �������������������������������������������������������������493 2676 �������������������������������������������������������������495 2711 �������������������������������������������������������������497 2725 �������������������������������������������������������������498 2732 �������������������������������������������������������������499 2733 �������������������������������������������������������������501 2748 �������������������������������������������������������������503 2758 �������������������������������������������������������������504 2773 �������������������������������������������������������������506 2796 �������������������������������������������������������������508

EBE Mss

Page Number

2804 �������������������������������������������������������������510 2811 �������������������������������������������������������������512 2837 �������������������������������������������������������������514 2839 �������������������������������������������������������������518 2840 �������������������������������������������������������������522 2847 �������������������������������������������������������������524 2877 �������������������������������������������������������������526 2883 �������������������������������������������������������������528 2905 �������������������������������������������������������������531 2936 �������������������������������������������������������������533 2980 �������������������������������������������������������������534 3001 �������������������������������������������������������������536 3009 �������������������������������������������������������������538 3011 �������������������������������������������������������������540 3014 �������������������������������������������������������������541 3021 �������������������������������������������������������������543 3022 �������������������������������������������������������������545 3023 �������������������������������������������������������������548 3028 �������������������������������������������������������������549 3062 �������������������������������������������������������������550 3084 �������������������������������������������������������������552 3085 �������������������������������������������������������������554 3100 �������������������������������������������������������������555 3101 �������������������������������������������������������������557 3108 �������������������������������������������������������������559 3109 �������������������������������������������������������������560 3116 �������������������������������������������������������������562 3117 �������������������������������������������������������������567 3118 �������������������������������������������������������������568 3324 �������������������������������������������������������������570 3469 �������������������������������������������������������������575

Preface Greek music from Antiquity up through Byzantium and even Post-Byzantium has left its legacy and influence on Western and Eastern music. The Ancient Greeks transmitted much of their music theory and performance practices to the Byzantines, who in turn disseminated this information to their western and eastern neighbours. The investigation of the musical sources will continue into the twenty-first century as well. When I first visited the National Library of Greece (Ethnike Bibliotheke tes Hellados) in winter of 1976 as a young Fulbright musicology student, I never dreamed that I would write this catalogue of the music manuscripts. But I soon realized that there was no catalogue of the music holdings and that it was necessary to rely on bibliographic references to manuscripts or stumble upon them like a needle in a haystack, requesting various numbered manuscripts without assurance that they contained music. Even though Ioannes and Alkiviades Sakellion had published their Catalogue of Manuscripts of the National Library of Greece (in Greek) in 1892, it was far from complete, let alone adequate, for the music manuscripts. Hence I started writing notes on various manuscripts, amplifying them on each visit to Greece and its National Library. The problems of foreign musicologists whom I met in the library encouraged me to undertake a catalogue of the music holdings. Several musicologists, however, had paved the road for me through their various projects of cataloguing Greek music manuscripts. I mention the most important: Manolis Chatzegiakoumes, Χειρόγραφα Ἐκκλησιατικῆς Μουσικῆς 1453–1820 [Manuscripts of Church Music, 1453–1820] (Athens, 1980) and Μουσικὰ Χειρόγραφα Τουρκοκρατίας (1453–1832) [Music Manuscripts during Turkish Captivity, 1453-1832] (Athens, 1975); Gregorios Stathis, Τὰ Χειρόγραφα Βυζαντινῆς Μουσικῆς Ἅγιον Ὄρος [The Byzantine Music Manuscripts of Mt. Athos], 3 vols. to date (Athens, 1975– ); Linos Polites with Maria Polites, Κατάλογος Χειρογράφων τῆς Ἐθνικὴς Βιβλιοθήκης τῆς Ἑλλάδος ἁρ. 1875–2500 [Catalogue of Manuscripts of the National Library of Greece, numbers 1857–2500] (Athens, 1991). And, of course, other publications have provided information as well, especially the following: Sticherarium Antiquum Vindobonense [MS Vienna Theol. Gr. 136], ed. Gerda Wolfram, 2 vols, MMB Serie principale, 10 (Vienna, 1987); Thomas J. Mathiesen, Ancient Greek Music Theory: A Catalogue Raisonné of Manuscripts, Répertoire international des sources musicales, B XI (Munich, 1988). My goal in cataloguing the music manuscripts of the National Library of Greece is to make available sources that are unknown or little known outside of Greece. Hence I made a conscientious effort to include commentaries, notes and interjections in English within the descriptions to make this information equally useful outside of Greece to musicologists, Byzantinists, patristic scholars and others. Furthermore, it is my hope that by including English explanations and translations, valuable information on these manuscripts will be available to scholars who are



A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece

not well acquainted with Ancient and Byzantine Greek. Medieval diastematic musical notation can be challenging enough, but if there is no understanding of the language, the door is closed on a wealth of knowledge. Hence it is hoped that this catalogue will facilitate comparative studies of Eastern, Arabic, Slavonic and Western chant. This catalogue would not have been possible without the assistance of many colleagues, whose help I gratefully acknowledge. I alone, of course, accept responsibility for any errors. The catalogue came to fruition with the assistance of friends, colleagues, the Ethnike Bibliotheke and various foundations and institutions, and it is with great pleasure that I thank them. Much of the funding for the many research trips involved for the completion of this project came from, in part, the Center for International Studies of the University of Missouri-St. Louis, the Research Board for the University of Missouri system and the Alexander Onassis Public Research Foundation. In addition, Dr Joel Glassman, Director of the Center for International Studies, and Dr Nasser Arshadi, Vice-Provost of the Office of Research of the University of Missouri-St. Louis, have assisted with the many expenses involved in the production of this catalogue. At the National Library of Greece, thanks are extended to Kaite Kordoule, the curator of the Manuscript Division. I also wish to acknowledge the help of the past director of the library, Mr N. Nikolopoulos, and the current director, Dr George Zachos. Credit too is also due to Mr Christos Kolotouros, the photographer of the manuscript illustrations included in the catalogue. Among my friends and colleagues who have given me assistance on various aspects of this catalogue I wish to thank Thomas J. Mathiesen of the University of Indiana at Bloomington and Charles Atkinson of the Ohio State University, who provided me with advice at the onset of this project. Gerda Wolfram of the Byzantine Institute of Vienna and Lycourgos Angelopoulos, Director of The Byzantine Choir of Greece, were helpful with palaeographical assistance on the music. Richard Crocker of the University of California at Berkeley, who was extremely supportive of this project, is acknowledged for his invaluable advocacy for the English components in the catalogue. I owe thanks also to Alexander Lingas of the City University of London for his valuable comments on EBE MS 2401. John Waś came to my rescue when my original files proved unreadable on modern systems. I extend my deepest gratitude to Bonnie Blackburn of Oxford University and to Roderick Saxey II of The Ohio State University for their experienced, astute criticisms and helpful suggestions for this volume. I also wish to thank my former music student Sherri Waggoner for her assistance at the end of the project in helping to regularize the many English fonts used on various computers during the course of preparation of this work. Others were indirectly involved in this project. I wish to acknowledge my former professor Richard Hoppin of The Ohio State University, who is no longer with us; he was my mentor in Western medieval music and initiated in me a love of music before 1750. In addition, I owe special gratitude to my former professor Miloš Velimirović of the University of Virginia, who is also no longer with us but who introduced me to the field of medieval Byzantine music. Were it not for him, I would not have made that turn in the path of my musicological studies. Lastly, I am indebted to my family – my mother, my husband and my daughter – who have all endured my various research trips and the years of labour this project has taken. Diane H. Touliatos-Miles

Abbreviations AB

Analecta Bollandiana

BZ Byzantinische Zeitschrift CMS College Music Symposium DOP

Dumbarton Oaks Papers

EBE

National Library of Greece ( Ἐθνικὴ Βιβλιοθήκη τῆς Ἑλλάδος)

EMBW Oliver Strunk, Essays on Music in the Byzantine World (New York: W. W. Norton & Co., 1977) MGG

Die Musik in Geschichte und Gegenwart, ed. Friedrich Blume

MMB

Monumenta Musicae Byzantinae

OCP Orientalia Christiana Periodica RISM Répertoire international des sources musicales

Q

~

Taylor & Francis Taylor & Francis Group http://taylora ndfra ncis.com

Introduction

The Musical Repertory of the National Library of Greece The National Library of Greece at Athens is one of the richest depositories of Byzantine musical manuscripts. In its holdings it is surpassed in Greece only by the multitude of manuscripts found in the monasteries of Mount Athos. Despite this, the Library has never had a formal published catalogue of its music manuscripts – not all of which are Byzantine or Greek. Yet most students of Byzantine chant, at one time or another, have used sources in this library. Without an inventory or direct access to these sources, it is impossible to know the complete repertory of manuscripts. It is the purpose of this catalogue to make known, or in some instances to present for the first time, the repertory of the musical sources of the National Library of Greece. The Byzantine music manuscripts of the National Library have never been fully catalogued until now. In 1892 Ioannes and Alkiviades Sakellion published a catalogue of the manuscripts in the National Library, which included music manuscripts on pages 159–75. Throughout the twentieth century the Sakellions’ catalogue was used by scholars as the definitive reference for the Library’s manuscripts. Although their research was admirable for the time, their work is not a catalogue in the true sense of the word but rather a checklist with broad descriptive statements (or, at best, short phrases) of varying lengths on the contents of 1,856 manuscripts in fourteen different disciplines. In this checklist, the music manuscripts are classified under the category of ‘Church Music’ and are numbered 883–975. These 93 manuscripts are further subdivided into the musical categories of Papadike Techne, Heirmologion, Sticherarion and Church Music – the latter being an all-inclusive category for whatever did not fit the other listings. Because of omissions in the Sakellions’ catalogue (and the sometimes mistaken sources they cite) and because of the new acquisitions since 1892, this checklist is now incomplete, outdated and of limited usefulness. Over a thousand manuscripts (from early to late sources) were omitted in their catalogue. Attempts have been made since the late 1930s to rectify the many omissions. The most important is that by Professor Linos   Ἰωάννου καὶ Ἀλκιβιάδου Σακκελιωνός, Κατάλογος τῶν Χειρογράφων τῆς Ἐθνικῆς Βιβλιοθήκης τῆς Ἑλλάδος (Athens: Ἐθνικὸν Τυπογραφεῖον καὶ Λιθογραφεῖον, 1892).    These are: Old Testament; New Testament; Teachings of the Church; Church Fathers; Liturgy; Church Music; Life and Testimony of the Saints; Ancient and New Philology; Law; Medicine; Various Types; Coins; Deserving Diplomas; and Different Languages.    These are MSS 741, 885, 893–4, 897–9, 901–2, 904, 917, 919–21, 930, 935, 939, 944–5, 949–53, 961, 965 and 968–9.    These are MSS 915–16, 934, 946, 958, 964 and 967.    These are MSS 883–4, 886–92, 895–6, 900, 903, 908–10, 919, 937–8, 957 and 975.    For this category, the Sakellions include manuscripts listed in the preceding subdivisions and list here MSS 885–975. 

A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece



Polites of the University of Athens and later the University of Thessalonika, Greece and several of his graduate students. In 1938 Polites and his students initiated a project to provide an informal and unpublished checklist and numbered many of the uncatalogued manuscripts. Polites, a renowned Byzantine patristic scholar, filled eight notebooks with handwritten notes describing the contents of the manuscripts. Some of these descriptions are very detailed, whereas others consist of a few phrases and at times only a title of a manuscript, with no other information. Although Polites contributed many descriptions himself and supervised the work of his students, the notebooks at times were mostly completed by his students. An example is the eighth book, where George P. Kournoutos (Γεώργιος Π. Κουρνοῦτος) described MSS 2981–3001 and MSS 3003–3121, with Polites cataloguing only MS 3002. It should be pointed out that neither Polites nor any of his graduate students was a trained musicologist. Consequently, as admirable as their undertaking was, many manuscripts, especially early musical sources, were not identified as such. Furthermore, many later musical sources that were more selfevident were incorrectly identified, misdated and not analysed from a musicological perspective. Nevertheless the catalogue retains its value, especially for its Byzantine patristic and palaeographic contributions. As a tribute to the scholarship of Linos Polites and his years of work in the National Library, Maria Polites was instrumental in publishing an edition of her father’s catalogue of EBE manuscripts 1857–2500. Some of the newer musical acquisitions of the National Library of Greece have come from specific locales. For instance, MSS 2001–2159 came from the Gymnasia (high schools) of Thessalonika. MSS 2396–2570 are from the Monastery of the Forerunner in Serres and the Monastery of Kovinitses in Drama and were relinquished to the Library by the Bulgarians in 1924. MSS 2571–2840 come from various locales in northern Greece, Kastoria and Serres, and include Macedonia (a region that not only incorporates northern Greece but also portions of Bulgaria and the former Yugoslavia). In the following catalogue of the musical manuscripts of the National Library of Greece, 242 musical manuscripts have been located. These represent an addition of 149 musical sources to what had been published in the Sakellions’ catalogue and also include manuscripts that were not identified as musical repertory in the informal Polites checklist and the published catalogue. Appendix A includes a list of these 242 musical manuscripts arranged according to categories of manuscripts, notations and dates.   Each of the eight notebooks is entitled Ἐθνικὴ Βιβλιοθήκη τῆς Ἑλλάδος: Τμῆμα Χειρογράφων καὶ Ὁμοιοτυπῶν—Περιγραφικὸς Κατάλογος Χειρογράφων Κωδικῶν. The manuscripts described are divided as follows: I = MSS 1857–2000 II = MSS 2001–2159 III = MSS 2260–2395 IV = MSS 2396–2570 V = MSS 2571–2730 VI = MSS 2731–2840 VII = MSS 2841–2980 VIII = MSS 2981–3121    Other graduate students whose names are listed as participating in this project are Λ. Βαρουσιάδος, Σ. Κουγέας, Κ. Παπαδάκης, Χ. Παπαδόπουλος, Β. Φιλιππάκης and Ἐ. Χιωτάκης.    L. Polites with Maria Polites, Κατάλογος Χειρογράφων τῆς Ἐθνικῆς Βιβλιοθήκης τῆς Ἑλλάδος, ἀρ. 1857– 2500 (Athens, 1991). 

Introduction



The musical sources recovered in this catalogue are rich and varied in types, notations and periods. The majority of the manuscripts fall into the categories of Papadike, Akolouthia and/or Psaltike Techne (methodology of the pedagogy of chanting). Specifically, 67 of the manuscripts are of this Psaltike type, with the Sticherarion coming in a close second, with 61 manuscripts. The remaining manuscript types are 31 Anastasimataria, 29 Anthologia, 16 Evangelia, eight Heirmologia, seven Mathemataria, five Triodia/Pentecostaria, eight music treatises, three Doxastaria, two ‘chanted’ Akolouthia (repertory for the Cathedrals of St Sophia in Constantinople and Thessalonika), one Kratematarion, one Akathistos, one Megalynarion, two examples of Ancient Greek treatises and two examples of Western music. The musical notations for the Byzantine manuscripts span all periods of development and are identified by different nomenclatures. Ecphonetic Notation is the earliest stage that is derived from the prosodic signs and serves as a mnemonic guide for chanters. This notation does not denote clarity of diastematic movement. The Early Byzantine Notation that ensues has several stages of development: Archaic or Palaeobyzantine, which encompasses several stages such as Esphigmenian, Chartres, Andreatic Notations or variances of these. The latter stage of this notation borders on the next stage of development, Middle Byzantine Notation, which can be transcribed into Western staff notation. Also known as Hagiopolite (the Holy City of Jerusalem) or Round Notation, the latter so-called because of thicker, rounder neumes, the Middle Byzantine Notation evolved through stages of development that accompany the intervallic system with the Great Hypostases or Great Signs, which indicate expressive nuances such as rhythm, accents, dynamics, ornaments and more. The Late Byzantine Notation is an extension of the Middle Notation in the later fifteenth and sixteenth centuries and progresses through the PostByzantium period of Ottoman occupation. The final stage of development ca. 1821 and after, is called the Chrysanthine, after a Greek Archimandrite who is credited with reforming the system, in order to simplify the neumes for chanters and for purposes of printing. It is also referred to as the New System or Neo-Byzantine and is the method most often practised today in Greece and other locales.

The Western music examples are not to be ignored and are of some interest. The manuscript categorized as Church Music, EBE MS 960, contains a 24-page composition entitled ‘Domine Jesu Christe Rex gloriae libera omnium fidelium’ (the Offertory of the Requiem Mass in the Roman rite). This work is notated entirely in Western notation on a five-line staff in score and is for over 20 parts, including soprano soloist, chorus and orchestra.10 It is unusual for its use of the ophicleide, a new instrument contemporary (ca. 1830–40) with the manuscript. The other Western music manuscript, EBE 1946, is a loose collection of solo piano compositions and vocal settings in Latin, German and Greek in transliterated English and German. This manuscript is of interest for the Offertory ‘Domine Deus salutis meae’, dated May 1836, by Johann Michael Haydn and a lied entitled ‘Wer kennt nicht das schöne Land’. Apart from these two exceptions in Western notation, all the other music manuscripts are notated in one of the Byzantine musical notation systems. Of the sixteen Ecphonetic notations, all are of the Evangelia or Gospel type. About 35 manuscripts are in the Chrysanthine or neo-Byzantine notational system. The overwhelming majority of about 183 manuscripts are in medieval Byzantine (including Early, Middle and Late) notations. In the instance of the Papadike MS 2452, the greater part of the manuscript is written in

  MS 960 is entitled «Ὕμνος ἐκκλησισαστικὸς μελογραφηθεὶς διὰ τῶν σημείων τῆς Eὐρωπαϊκῆς μουσικῆς». 10



A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece

a late Middle/Round Byzantine notation except for the last seventeen folios, which are a later addition written in Chrysanthine notation. Rather than continue with statistics on the types and numbers of manuscripts, it is more important to highlight some of the significant discoveries of the musical repertory recovered at the National Library of Greece. Among the music treatises, EBE MS 968 contains a collection of treatises, including the octoechos exegesis attributed to Kosmas and John Damascene; the Hagiopolites treatise; the method of the Holy Fathers Kosmas, John Damascene and John Chrysostom; the exegesis of Gabriel Hieromonachos; the interpretation of neumes according to oikous and dochai; the exegesis of Manuel Chrysaphes; and the exegesis of Ioannes Plousiadenos. These treatises are very important for the pedagogical and theoretical study of the exegesis and ἑρμηνεία (interpretation) of Byzantine music. With a stenographic medieval notational system, Byzantine music could be compared to Baroque throughbass notation and/or to jazz. It was written in an abbreviated system but performed in another manner. As an example of the significance of bringing these treatises to the forefront, the Plousiadenos treatise must be mentioned. Ioannes Plousidenos is one of the few documented composers of Byzantium to have composed ‘notated’ polyphonic Byzantine chant. His treatise is important in shedding light on the performance practice of medieval Byzantine chant, a music that was usually written in a monophonic notation, but was performed by two choirs, with one choir chanting the notated melody and the other providing the ‘undervoice’, that is, the improvised isokratema, drone accompaniment or a note-against-note proto-polyphony. Some of these same treatises are also found in EBE MS 965. Another unique treatise is EBE MS 2877. This manuscript, which includes no music, is a treatise on the Anabathmoi of the Octoechos as written by Nikephoros Kallistos Xanthopoulos. The Anabathmoi are the Gradual psalms (Pss. 119–30 and 132) with their troparia, which precede the Gospel reading in the Sunday celebration of the Offices of Orthros (the Byzantine Matins). This treatise gives valuable musical information as to how, when and where the Anabathmoi are chanted, who wrote them and information on their modes. Progressing in numerical order, the following are some of the more interesting and unusual manuscripts: EBE MS 883 is a rich twelfth- to thirteenth-century Sticherarion that not only gives the stichera for the entire ecclesiastical year from September through August with the Triodion and Pentecostarion chants, but more importantly gives composers’ names for a great number of these chants. Some of the composers represented are among the earliest hymnographers: Germanos, Andreas Pyros, Byzantios, Kyprianos, John Damascene, Kassia, Leon, Anatolios, Stoudites, Theophanes, Kosmas Hagiopolites, Georgios Nikomedias, Arsenios, Ephraim, Methodios, to name a few. Because of the completeness of this sticherarion, it has been catalogued in greater detail than most other sticherarion manuscripts. EBE MS 915 is a nineteenth-century Akolouthia containing chants from the Offices as composed by Petros Lampadarios from the Peloponnesos but interpreted by Gregorios Lampadarios and Chourmouzios. Of importance in this manuscript is the exegesis that begins on folio 353r and is entitled ‘Introduction in the Theory and Practice of [Chrysanthine] Church Music [Notation]’. This manuscript is very similar in content to EBE MS 2424.

Introduction



Interspersed with written instruction as well as music, EBE MS 917 is an exegesis of Middle Byzantine notation according to Akakios Chalkeopoulos. Of note is the inclusion of his interpretation of the concept of θέσεις (theseis). EBE MS 928 is a rich fifteenth-century Akolouthia. This manuscript is atypical in that some of the music is set to a Slavonic text as well as to Byzantine Greek. This manuscript has the ‘Serbian Polyeleos’ of Isaiah the Serb set to Slavonic words and immediately followed with the identical setting of the ‘Serbian Polyeleos’ by Isaiah but with a Greek text.11 A Bulgarian version is included as well. EBE MS 935 is a typical seventeenth-century Akolouthia but with a very rich Psaltike Techne that includes the Cheironomia of John Damascene and the parallage of Ioannes Koukouzeles and Gregorios of Alyates. EBE MS 963 is an extraordinary Akolouthia manuscript of the works of the Cretan School of composers (ἐστι δὲ ἔργον τῆς Kρητικῆς λεγομένης σχολῆς). It contains a Psaltike Techne and the usual chants of the Offices and three Liturgies by Cretan composers such as Bishop Benedictus, Dimitrios Damias Protopsaltes of Crete, Ioannes Plousiadenos and Bishop Antonios. EBE MSS 1062 and 1081 are manuscripts on the genres and metres of Pindar’s Olympic Odes. Both of these manuscripts were used in Byzantine times as tools for teaching the Ancient Greek poetic metres, which were equally applicable to the musical rhythms of Byzantine hymnography. In Pindar’s Odes the rhythmic beats are notated in red ink to distinguish them from the black coloured prosodic accents of the texts. These two manuscripts demonstrate profound similarities to Western medieval modal (rhythmic) notation. EBE MSS 1867, 1868 and 1869 are a trilogy of autograph manuscripts by Apostolos Konstas of Chios (the latter name is the composer’s island of origin). MS 1867 is a treatise explaining the new Chrysanthine notation as interpreted by Apostolos Konstas of Chios. Moreover, Konstas gives important information on contemporary sacred and secular music of the Arabs and Europeans and makes comparisons between Byzantine and Arabic music. MS 1868 is an interesting Akolouthia manuscript that is written and ‘corrected’ to the Chrysanthine notation by Apostolos Konstas of Chios (fol. 6r: ‘μεταγραφεῖσα καὶ διορθωθεῖσα ὑπ’ ἐμοῦ Ἀποστόλου τοπίκλη Κώνστα Χίου . . .’). MS 1869 is another manuscript written and interpreted by Apostolos Konstas of Chios and begins with his musical setting of the akolouthia for the Mesonyktikon (Midnight) service for Sunday. EBE MS 2401 is a rich Papadike representing the cathedral (asmatikos) and monastic repertories of the late fourteenth and fifteenth centuries and the kalophonic composers of this era. The manuscript also contains some rare notated examples of medieval polyphony. EBE MS 2406 is significant as the first musical manuscript to be dated after the capture of Constantinople. Its anthology represents the most prominent composers up to the fall of the empire in 1453, including women. EBE MS 2444 is a mid-fourteenth-century Papadike manuscript with a rich anthology. This manuscript is important for its information on music theory, performance practice, composers and musical settings of the late empire. The marginal annotation on fol. 132r, di choron Thessalonikaion (‘two Thessalonian choirs’), indicates the performance practice

11

 

The Polyeleos is Pss. 134, 135, and 136 of the Septuagint version of the Psalter.

A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece



in the cathedrals of Thessalonika for two choirs and implies a two-voiced polyphony and/or isokratema accompaniment. EBE MS 2447 is a fourteenth-century Sticherarion containing the Stichera Dogmatika of the Octoechos and also includes the akolouthia for the Holy Passion of Christ along with other stichera for the liturgical year. This Sticherarion is important because it typifies an early Menologion, Triodion and Pentecostarion from the first quarter of the fourteenth century. EBE MS 2599 is a Papadike manuscript with an excellent representation of fourteenthand fifteenth-century composers. This manuscript is typical, with its contents of Kratemata, Anagrammatismoi, Katanyktika, Anoixantaria, Polyeleos, Antiphons and Amomos, but atypical in its inclusion of the musical Akolouthia for the feast of the Prophet Daniel. EBE MS 3021 is a Megalynarion manuscript exclusively containing the Megalynaria verses, Ἄξιόν ἐστιν, composed by neo-Byzantine composers such as Stamoules Zarkinos, Meletios Hieromonachos, Theodoros Phokaeus and Georgios Betsos Kastorianos. EBE MS 3116 is a late Anthologia, very rich in methodologies and comparable to EBE MS 2839. The manuscript begins with a diagram of the Parallage and continues with Koukouzeles’ circle of modes (τροχός), Psaltike Techne, echemata, methods of metrophonia of John Damascene, a method of metrophonia of Gregorios Bounes Alyates, a method of metrophonia of Kambanes and the treatise of Ioannes Plousiadenos. Uncharacteristic of the rich repertory of the manuscript are the festive kalophonic Heirmoi of Petros Bereketes, the polychronia, the doxologies of Germanos New Patras and the Alleluia of Balasios. The highlights enumerated in this introduction to the repertory of the National Library of Greece are by no means comprehensive but merely represent a sampling of the varied repertory housed in this relatively unknown archive. Detailed descriptions of the manuscripts in the catalogue are followed by ‘Notes’ in English and, where relevant, bibliography. Although these music manuscripts are housed in the manuscript division of the National Library, they have also been microfilmed by the National Bank of Greece Cultural Foundation: Microfilming Center of Manuscripts and Archives for the Study of History and Paleography.12 This foundation has been in existence since 1974 and has as its longterm project the microfilming of all manuscripts of Greece and the Greek patriarchates (outside of Greece), with the aim of preserving the country’s cultural wealth. In the late 1980s the National Library of Greece began secret negotiations with the Library of the Holy Sepulchre in Constantinople in the hope of purchasing their manuscripts. The library’s complete holdings had been catalogued much earlier by Papadopoulos-Kerameos,13 who cited and described 447 manuscripts. Of these, 107 music manuscripts have recently been acquired by the National Library of Greece and are now housed in its Manuscript Division. Although the National Library does not openly acknowledge having possession of these manuscripts, I was able to examine them on   The Director of the National Bank Cultural Foundation is Agamemnon Tselikas and the Foundation is located at 13 Thoukididou Street, Athens 105 58. 13   A. Papadopoulos-Kerameos, Ἱεροσολυμιτικὴ Βιβλιοθήκη ἤτοι Κατάλογος τῶν ἐν ταῖς Βιβλιοθήκαις, vol. 4: Κατάλογος κωδικῶν εὑρισκομένων ἐν τῇ Βιβλιοθήκῃ τοῦ ἐν Κωνσταντινουπόλει Μετοχίου τοῦ Παναγίου Τάφου (Brussels, 1899; reissued 1963). 12

Introduction



their premises. In Appendix B I list these manuscripts, with information on their type, measurement, folios, notation and date. Since Papadopoulos-Kerameos catalogues the contents of these manuscripts in detail in volume 4 of his Ἱεροσολυμιτικὴ Βιβλιοθήκη, ἤτοι Κατάλογος τῶν ἐν ταῖς Βιβλιοθήκαις, it is not necessary to discuss the contents of these manuscripts in further detail here. It is, however, important to know that these manuscripts are now part of the repertory of Byzantine chant in the National Library of Greece, even though they still remain classified as belonging to the Library of the Holy Sepulchre. This catalogue has been structured so that it will be accessible to all scholars, Byzantinists, musicologists and/or novices alike. The diastematic neumatic notation of Byzantine music is complicated enough, as is the medieval Byzantine language that accompanies it. Consequently, there has been an effort to explain rubrics and include translations into English in the body of the catalogue. In addition, the Notes and Bibliography are intended to facilitate further studies of the manuscripts. Insofar as omissions or choices of inclusion, decisions had to be made throughout this catalogue as to what would be included and yet abide by the main rubric divisions for each manuscript and what I ultimately considered important. After cataloguing EBE MS 883 in great detail, the realization set in that choices had to be made or this catalogue might never be finished. Hence, a conscientious attempt was made to follow the guidelines used by Manolis Chatzegiakoumes and Thomas J. Mathiesen in their Greek music catalogues, where most major sections are identified but not necessarily all rubrics. In the sorely neglected area of Byzantine musicology, more scholarly effort is greatly needed to study this repertory. It is my hope that the catalogue that follows will reveal to musicologists, hymnodists, Western medievalists and Byzantinists these rich and varied holdings, and stimulate more interest in and investigation of these sources. The importance of bringing these holdings to the forefront cannot be overstated. The Byzantine repertory had considerable influence on the development of Western medieval music and it also had effects on Eastern music, more specifically Arabic, Serbian, Bulgarian, Georgian and Russian music. It is hoped that by making these sources more accessible, comparative research, which is desperately needed, will be facilitated.

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Taylor & Francis Taylor & Francis Group http://taylora ndfra ncis.com

CATALOGUE OF MANUSCRIPTS

EBE 741

10

ΕΒΕ 741 ΠΑΠΑΔΙΚΗ-ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/PAPADIKE-ANASTASIMATARION Type of paper: Turkish paper Measurements: 14.5 × 10 cm Folios: 107 Notation: not Chrysanthine but very late Byzantine Date: early 19th c.

1r 57r 61v 68v 80r 105r 107v

texts from the Menaia without music Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς Ψαλτικῆς Τέχνης, τῶν ἀνιόντων καὶ κατιόντων, σωμάτων τε καὶ πνευμάτων (Psaltike Techne) Κεκραγάρια (Kekgragaria) Ἀναστασιματάρια (Anastasimataria) Ἀρχὴ ὀκτάηχος (Start of chants of the octoechos) Ἀναστάσιμα τῷ Σαββάτῳ· ἦχος δ´ (Anastasima chants for Saturday) end of MS

Notes This liturgical manuscript is a mixture of text and music. The MS, bound in a light cardboard, overall is clean and readable. The rubrics are reddish orange and the script is a dim black colour. The musical portion averages ten lines of text and music per page. The first half of the MS is liturgical text from the Menaia with no music. Only modal indications are designated. The musical portion of the MS, a Papadike-Anastasimatarion, begins on fol. 57r, the midway point. The rubrics and modes for the music are sparsely indicated. No composers’ names are given.

EBE 883

11

ΕΒΕ 883 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: bombycinous Measurements: 29.8 × 21 cm Folios: 357 Notation: Archaic or Early Round Byzantine Date: mid to late 13th c.

1r 1 v 2r 2 v 3r 3 v 4r 4 v 5r 5 v 6r 6 v 7r 7 v

Στιχηράριον σὺν Θεῷ Ἰησοῦ Χριστὲ· Ἔλεος τὴν ἁγίε ἀκολουθία ἐν μηνὶ Σεπτεμβρίῳ αʹ· ἀρχὴ τῆς ἰνδίκτου ... Εἰς αὐτὸν μὴν· [Stichera for 1 Sept.] τoῦ Ἀνδρέου τοῦ Πυροῦ «Ἐπέστη ἡ εἴσοδος...» Ἦχος βʹ· τοῦ Κυπριανοῦ «Θαυμαστὸς εἶ ὁ Θεὸς, καὶ θαυμαστὰ τὰ ἔργα σου, καὶ αἱ ὁδοὶ...» Ἦχος βʹ· τοῦ Γερμανοῦ «Ὁ ἐν σοφίᾳ τὰ πάντα δημιουργήσας...» Ἦχος δʹ· τοῦ αὐτοῦ «Ἡ βασιλεία σου, Χριστὲ ὁ Θεὸς...» Ἦχος δʹ· τοῦ Ἀνδρέου τοῦ Πυροῦ «Αἱ πορείαι σου ὁ Θεὸς ... γενεᾷ· πάντα γὰρ...» Ἦχος πλ. βʹ· τοῦ Βυζαντίου «Ὁ Πνεύματι Ἁγίῳ συνημμένος...» Ἦχος πλ. γʹ· τοῦ Γερμανοῦ Πατριάρχου «Ὁ ἀρρήτῳ σοφίᾳ συστησάμενος...» Ἦχος βʹ· τοῦ αὐτοῦ «Ἐκ ῥίζης ἀγαθῆς ἀγαθὸς...» Ἦχος βʹ· «Τὸ μνημόσυνόν σου εἰς τὸν αἰῶνα...» [Ἀνατολίου ?] Ἦχος βʹ· τοῦ αὐτοῦ «Ἡγάπησας Θεοφόρε τὴν ἀνωτάτω...» Ἦχος βʹ· τοῦ Κυπριανοῦ «Ἡ τῶν λειψάνων σου θήκη Πανεύφημε....» Ἦχος πλ. αʹ· τοῦ αὐτοῦ «Ὅσιε πάτερ, καλὴν ἐφεῦρες κλίμακα...» Ἦχος πλ. βʹ· τοῦ αὐτοῦ «Θεία χάρις ἀπηώρητο...» Ἦχος βʹ· τοῦ Γερμανοῦ Πατριάρχου· τῶν ἁγίων μʹ γυναικῶν «Ὅτε τῷ πάθει σου, Κύριε...» Ἦχος βʹ· Βυζαντίου, μηνὶ τῷ αὐτῷ βʹ· τοῦ ἁγίου μάρτυρος Mάμαντος «Νέον φυτόν, καθάπερ ἐλαίας...» Ἦχος δʹ· τοῦ αὐτοῦ «Δεῦτε συμφώνως οἱ πιστοὶ, μνήμην...» Ἦχος δʹ· Ἐφραὶμ Καρίου, μηνὶ τῷ αὐτῷ γʹ· τοῦ ἁγίου ἱερομάρτυρος Ἀνθίμου «Τῇ Νικομηδέων μεγαλοπόλει...» Ἦχος πλ. βʹ· τοῦ αὐτοῦ «Ἱερεύς ἐννομώτατος μέχρι...» Ἦχος πλ. βʹ· μηνὶ τῷ αὐτῷ δʹ, τοῦ ἁγίου ἱερομάρτυρος Βαβύλα «Βάσιμον κρηπίδα ἡ Ἐκκλησία...» Ἦχος πλ. βʹ· τοῦ αὐτοῦ «Βήματι τυρράνου παρεστηκὼς...» Ἦχος βʹ· Ἀνατολίου· μηνὶ τῷ αὐτῷ εʹ, τοῦ ἁγίου προφήτου Ζαχαρίου «Ὡς καθαρὸς ἱερεὺς εἰς τὰ ἅγια τῶν ἁγίων...» Ἦχος πλ. δʹ· Ἰωάννοῦ μοναχοῦ· εʹ, τοῦ ἁγίου προφήτου Ζαχαρῖου «Ἱερωσύνης νομικῆς...» Ἦχος αʹ· Ἁγιοπολίτου· μηνὶ τῷ αὐτῷ ηʹ, ἡ γέννησης τῆς Θεοτόκου «Ἡ ἀπαρχὴ τῆς ἡμῶν σωτηρίας, λαοί, σήμερον...» Ἦχος βʹ· Ἀνατολίου «Δεῦτε φιλοπάρθενοι πάντες καὶ τῆς ἁγνείας ἐρασταί· δεῦτε, ὑποδέξασθε...» Ἦχος βʹ· τοῦ αὐτοῦ «Τίς ὁ ἦχος τῶν ἑορταζόντων…»

12

8r 8 v 9r 9 v 10r 10v 11r 12v 13r 13v 14r 14v 15r 15v 16r 16v 17r 17v 18r 18v 19r 19v 20r 20v 21r

EBE 883

Ἦχος βʹ· τοῦ αὐτοῦ «Ἡ προορισθεῖσα παντάνασσα…» Ἦχος δʹ· τοῦ Γερμανοῦ «Ἡ παγκόσμιος χαρὰ...» Ἦχος δʹ· τοῦ αὐτοῦ «Στείρα ἄγονος ἡ Ἄννα σήμερον...» Ἦχος πλ. βʹ· τοῦ αὐτοῦ «Σήμερον ὁ τοῖς νοηροῖς θρόνοις...» Ἦχος πλ. βʹ· τοῦ αὐτοῦ «Εἰ καὶ θείῳ βουλήματι...» Ἦχος πλ. βʹ· Στεφάνου Ἁγιοπολίτου «Σήμερον στειρωτικαὶ πύλαι...» Ἦχος πλ. βʹ· τοῦ αὐτοῦ «Σήμερον τῆς παγκοσμίου χαρᾶς τὰ προοίμια· σήμερον...» Ἦχος πλ. βʹ· Ἀνδρέου «Ἐν εὐσήμῳ ἡμέρᾳ ἑορτῆς ἡμῶν σαλπίσωμεν...» Ἦχος πλ. δʹ· Σεργίου Ἁγιοπολίτου «Δεῦτε ἅπαντες πιστοὶ, πρὸς τὴν Παρθένον...» Ἦχος πλ. αʹ· Ἐφραὶμ Καρίου· μηνὶ τῷ αὐτῷ θʹ, τῶν ἁγίων Ἰωακεὶμ καὶ Ἄννης «Ὦ μακαρία δυάς, ὑμεῖς πάντων...» Ἦχος αʹ· Ἰωάννου μοναχοῦ· μηνὶ τῷ αὐτῷ ιγʹ, τὰ ἐγκαίνια τῆς ἁγίας Ἀναστάσεως «Ἐγκαινίζου, ἐγκαινίζου, ἡ νέα ‘Ιερουσαλήμ...» Ἦχος πλ. βʹ· Ἀνατολίου «Ἔθου πύργον ἰσχύος τὴν ἐκκλησίαν σου...» Ἦχος πλ. βʹ· Ἰωάννου μοναχοῦ «Τὴν μνήμην τῶν ἐγκαινίων...» Ἦχος αʹ· Ἀνδρέου Ἱεροσολυμίτου· μηνὶ τῷ αὐτῷ ιδʹ, ἡ ὕψωσις τοῦ τιμίου καὶ ζωοποιοῦ σταυροῦ «Σήμερον ὡς ἀληθῶς ἡ ἁγιόφθογγος...» Ἦχος αʹ· τοῦ αὐτοῦ «Τὸ φυτευθὲν ἐν κρανίου τόπῳ...» Ἦχος βʹ· Θεοφάνους «Δεῦτε, ἅπαντα τὰ ἔθνη...» Ἦχος βʹ· τοῦ αὐτοῦ «Θεῖος θησαυρὸς ἐν γῇ...» Ἦχος βʹ· Κυπριανοῦ «Ἡ τῶν χειρῶν ἐναλλαγὴ...» Ἦχος βʹ· Λέοντος Δεσπότου «Σύ μου σκέπη κραταιὰ ὑπάρχεις...» Ἦχος γʹ· τοῦ αὐτοῦ «Χριστὲ ὁ Θεὸς ἡμῶν, ὁ τὴν ἑκούσιον...» Ἦχος δʹ· Ἀνατολίου «Τοῦ τιμίου σταυροῦ, Χριστέ...» Ἦχος δʹ· τοῦ αὐτοῦ «Κροτήσωμεν σήμερον ᾀσματικὴν...» Ἦχος δʹ· Ἀνατολίου «Φωτολαμπὴς ἀστέρων τύπος...» Ἦχος πλ. αʹ· τοῦ αὐτοῦ «Δεῦτε, λαοὶ, τὸ παράδοξον θαῦμα...» Ἦχος πλ. αʹ· τοῦ αὐτοῦ «Ἡ φωνὴ τῶν προφητῶν..» Ἦχος πλ. βʹ· Βυζαντίου «Σήμερον ξύλον ἐφανερώθη...» Ἦχος πλ. βʹ· Θεοφάνους Πατριάρχου «Τῶν προφητῶν αἱ φωναὶ...» Ἦχος πλ. βʹ· Θεοφάνους Πατριάρχου «Σήμερον τὸ φυτὸν τῆς ζωῆς...» Ἦχος πλ. βʹ· Ἰωάννου μοναχοῦ «Σήμερον προέρχεται ὁ Σταυρὸς...» Ἦχος πλ. βʹ· Λέοντος Δεσπότου «Σταυρὲ τοῦ Χριστοῦ, Χριστιανῶν...» Ἦχος πλ. δʹ· Ἰωάννου τοῦ Δαμασκηνοῦ «Ὅνπερ πάλαι Μωϋσῆς προτυπώσας ἐν ἑαυτῷ, τὸν Ἀμαλὴκ...» Ἦχος πλ. βʹ· Θεοφάνους· μηνὶ τῷ αὐτῳ ιε´, τοῦ ἁγίου μάρτυρος Νικήτα «Φωστῆρα τῶν μαρτύρων...» Ἦχος αʹ· Ἀνδρέου Κρίτης· μηνὶ τῷ αὐτῷ ιϛ´, τῆς ἁγίας Εὐφημίας «Σήμερον χοροὶ Πατέρων...» Ἦχος γʹ· Ἰωάννου μοναχοῦ «Ἀθλητικὴν πανήγυριν, πιστοὶ...» Ἦχος γʹ· τοῦ αὐτοῦ «Ἀληθείας κρατῆρα ἐξ οἰκείων αἱμάτων ἀθλητικῶν...» Ἦχος γʹ· τοῦ αὐτοῦ «Οἱ τῷ αἵματι Χριστοῦ...» Ἦχος πλ. βʹ· Ἰωάννου μοναχοῦ «Ἐκ δεξιῶν τοῦ Σωτῆρος παρέστη ἡ Παρθένος...» Ἦχος πλ. βʹ· Ἀνατολίου «Ἡ διηνθισμένη ταῖς ἀρεταῖς...» Ἦχος πλ. δʹ· Βυζαντίου «Πᾶσα γλῶσσα κινείσθω πρὸς εὐφημίαν...» Ἦχος βʹ· Ἐφραὶμ Καρίου· μηνὶ τῷ αὐτῷ κʹ, τοῦ ἁγίου μάρτυρος Εὐσταθίου «Ὁ δεύτερος Ἰὼβ Εὐστάθιος...»

EBE 883

21v 22r 22v 23r 23v 24r 24v 25r 25v 26r 26v 27r 27v 28r 28v 29r 29v 30r 30v 31r

13

Ἦχος δʹ· Ἀνδρέου Πυροῦ «Τίς μὴ μακαρίσει σου...» Ἦχος πλ. βʹ· Ἐφραὶμ Καρίου «Ἀδαμάντινε τὴν ψυχήν, πῶς σε...» Ἦχος πλ. βʹ· Ἀνατολίου «Ἀφθόρου τόκου Μαρίας...» Ἦχος πλ. δʹ· Ἰωάννου μοναχοῦ «Τῷ ἀδύτῳ γνόφῳ...» Ἦχος πλ. δʹ· Γερμανοῦ Πατριάρχου «Τὴν στρατοπεδαρχίαν τῆς κάτω...» Ἦχος δʹ· Κυπριανοῦ· μηνὶ τῷ αὐτῷ κβʹ, τοῦ ἁγίου μάρτυρος Φωκᾶ «Ἐκ βρέφους ἐγένου τοῦ Κυρίου...» Ἦχος πλ. βʹ· μηνὶ τῷ αὐτῷ κγʹ, ἡ σύλληψις τοῦ τιμίου Προδρόμου «Ἡ Ἐλισάβετ συνέλαβε τὸν Πρόδρομον...» (These stichera are also chanted on 24 June.) Ἦχος πλ. βʹ· Βυζαντίου «Ἐκ στειρευούσης σήμερον...» Ἦχος αʹ· Ἀνατολίου· μηνὶ τῷ αὐτῷ κδʹ· τῆς ἁγίας μάρτυρος Θέκλης «Ἀθλητικὸν στάδιον σήμερον…» Ἦχος βʹ· Ἀνδρέου Ἱεροσολυμίτου «Ἀναθεῖσα σεαυτὴν παντοδυνάμῳ...» Ἦχος βʹ· Ἀνατολίου «Δεῦτε, φίλαθλοι τῶν θηλειῶν...» Ἦχος βʹ· Ἀνατολίου «Νυμφίον ἔχουσα...» Ἦχος δʹ· Κυπριανοῦ «Τὴν σὴν ὑπὲρ ἄνθρωπον...» Ἦχος δʹ· Ἀνδρέου Ἱεροσολυμίτου «Χορείας ἐγείρατε φιλομάρτυρες...» Ἦχος πλ. βʹ· Γερμανοῦ Πατριάρχου «Ἀθλητικοῖς παλαίσμασι...» Ἦχος πλ. δʹ· Ἰωάννου μοναχοῦ καὶ Ἀνατολίου «Λεόντων ὀρμὰς...» Ἦχος βʹ· Στουδίτου· μηνὶ κεʹ, τῆς ἁγίας Εὐφροσύνης «Τὸ καθαρὸν τῆς ἁγνείας...» Ἦχος αʹ· Γερμανοῦ· μηνὶ τῷ αὐτῷ κϛʹ· τοῦ ἁγίου Ἰωάννου τοῦ Θεολόγου «Ποταμοὶ θεολογίας...» Ἦχος αʹ· Ἀνδρέου Πυροῦ «Τὸ φυτὸν τῆς ἁγνεία...» Ἦχος βʹ· Βυζαντίου «Τὸν υἱὸν τῆς βροντῆς...» Ἦχος βʹ· Θεοφάνους «Θεολόγε Παρθένε...» Ἦχος βʹ· τοῦ αὐτοῦ «Τὴν τῶν ἀποστόλων...» Ἦχος δʹ· Ἀνατολίου «Ἀναπεσὼν ἐν τῷ στήθει τοῦ διδασκάλου...» Ἦχος πλ. βʹ· Ἰωάννου μοναχοῦ «Ἀπόστολε Χριστοῦ, Εὐαγγελιστὰ Θεολόγε...» Ἦχος πλ. δʹ· Ἰωάννου μοναχοῦ «Εὐαγγελιστὰ Ἰωάννη, ἰσάγγελε...» Ἦχος δʹ· Βυζαντίου· μηνὶ τῷ αὐτῷ κζʹ, τοῦ ἁγίου μάρτυρος Καλλιστράτου «Πρὸ τοῦ τιμίου σταυροῦ σου, φοβερὸς...» Ἦχος δʹ· Ἰωάννου μοναχοῦ· μηνὶ τῷ αὐτῷ κηʹ, τοῦ ὁσίου πατρὸς ἡμῶν ὁ Χαρίτωνος «Θεοφόρε Χαρίτων, σὺ καὶ μετὰ θάνατον...» Ἦχος βʹ· Σεργίου· μηνὶ τῷ αὐτῷ λʹ, τοῦ ἁγίου Γρηγορίου τῆς μεγάλης Ἀρμενίας «Τίς ἐπαξίως τῶν ἀρετῶν...» Ἦχος αʹ· Ἀνατολίου· μηνὶ Ὁκτωβρίου αʹ, τοῦ ἁγίου ἀποστόλου Ἀνανίου «Τὸ σκεῦος τῆς ἐκλογῆς, τὸ μέγα...» Ἦχος δʹ· τοῦ αὐτοῦ «Ἀθλοφορικὸν ἐνδιαίτημα...» Ἦχος πλ. δʹ· τοῦ Βυζαντίου καὶ Ἀνατολίου «Μαθητὰ τοῦ Σωτῆρος, ἀρχιεράρχα...» Ἦχος πλ. βʹ· τοῦ αὐτοῦ· τῇ αὐτῆ ἡμέρα, τοῦ ἁγίου Ῥωμανοῦ τοῦ Μελῳδοῦ «Πρώτη καλῶν ἀπαρχή...» Ἦχος βʹ· τοῦ Κυπριανοῦ· μηνὶ τῷ αὐτῷ βʹ, τοῦ ἁγίου μάρτυρος Κυπριανοῦ καὶ Ἰουστινιανοῦ «Διδασκαλίας τὴν πλάνην...» Ἦχος βʹ· τοῦ αὐτοῦ· τῷ βʹ «Τὸν φωστῆρα τὸν Θεολαμπῆ...» Ἦχος πλ. δʹ· Γερμανοῦ «Ὁ τῆς κακίας πρότερον…» Ἦχος βʹ· Ἀνδρέου Ἱεροσολημίτου· μηνὶ τῷ αὐτῷ γʹ «Δεῦτε συμφώνως, οἱ πιστοὶ, τὴν ἐτήσιον...»

14

31v 32r 32v 33r 33v 34r 34v 35v 36r 36v 37r 37v 38r 38v 39r 39v 40r 40v 41r 41v 42r

EBE 883

Ἦχος πλ. δʹ· Γερμανοῦ καὶ Ἀνατολίου «Ἐν ἱερεῦσι καὶ μάρτυσι...» Ἦχος αʹ· Ἰωάννου μοναχοῦ καὶ Ἀνατολίου· μηνὶ τῷ αὐτῷ ϛʹ, τοῦ ἁγίου Θωμᾶ «Χριστῷ ἠκολούθησας, Θωμᾶ πανεύφημε...» Ἦχος δʹ· τοῦ αὐτοῦ «Τῷ τῆς γνώσεως...» Ἦχος πλ. βʹ· Ἀνατολίου «Τὰ θεῖα ἐποπτεύων...» Ἦχος πλ. βʹ· Στουδίτου καὶ Θεοφάνους «Ὡς ὑπηρέτης τοῦ λόγου...» Ἦχος πλ. βʹ· Ἀνδρέου Πυροῦ καὶ Θεοφάνους «Τῷ ἅρματι τῶν ἀρετῶν...» Ἦχος αʹ· Γερμανοῦ· μηνὶ τῷ αὐτῷ ζʹ, τῶν ἁγίων μαρτύρων Σεργίου καὶ Βάκχου «Δαυϊτικῶς ἀνεβόων Σέργιος...» Ἦχος βʹ· Κυπριανοῦ «Καθορῶσα πάλαι ἡ ἐκκλησία...» Ἦχος γʹ· τοῦ αὐτοῦ «Εἴ τι καλόν, εἴ τι τερπνὸν...» Ἦχος δʹ· Ἀνατολίου «Προφητικῶς τοῖς ἁγίοις...» Ἦχος δʹ· Ἀνατολίου καὶ Βυζαντίου «Σέργιος καὶ βάκχος, ἡ φαιδρὰ...» Ἦχος δʹ· Ἰωάννου μοναχοῦ· μηνὶ τῷ αὐτῷ ηʹ· τῆς ὁσίας μητρὸς ἡμῶν Πελαγίας «Ὅπου ἐπλεόνασεν ἡ ἁμαρτὶα...» Ἦχος δʹ· Θεοφάνους· μηνὶ τῷ αὐτῷ θʹ, τοῦ ἁγίου ἀποστόλου Ἰακώβου «Τὴν τοῦ θείου Πνεύματος...» Ἦχος δʹ· Ἰωάννου μοναχοῦ· μηνὶ τῷ αὐτῷ ιʹ, τῶν ἁγίων μαρτύρων Εὐλαμπίου καὶ Εὐλαμπίας «Τῇ φιλαδελφίᾳ ἡ ὁμωνυμία...» Ἦχος αʹ· Ἀνδρέου Ἱεροσολυμίτου καὶ Ἀνατολίου· μηνὶ τῷ αὐτῷ ιβʹ· τῶν ἁγίων μαρτύρων Πρόβου, Ταράχου, καὶ Ἀνδρονίκου «Τὸ τριστέλεχον ἄθροισμα...» Ἦχος δʹ· Ἀνατολίου «Στρατευθέντες τῷ Χριστῷ...» Ἦχος πλ. βʹ· τοῦ αὐτοῦ· μηνὶ τῷ αὐτῷ ιγʹ, τῶν ἁγίων μαρτύρων Κάρπου καὶ Παπύλου «Ὡς ἄξιος ἐν θεόπταις... » Ἦχος πλ. δʹ· Βυζαντίου· μηνὶ τῷ αὐτῷ ιδʹ· τῶν ἁγίων μαρτύρων Ναζαρίου, Γερβασίου, Προτασίου καὶ Κελσίου «Τὰ θύματα τὰ λογικά...» Ἦχος πλ. βʹ· Ἰωάννου μοναχοῦ· μηνὶ τῷ αὐτῷ ιϛ´, τοῦ ἁγίου μάρτυρος Λογκίνου τοῦ ἑκατοντάρχου «Ἐν τῷ πάθει σου, Χριστέ...» Ἦχος δʹ· Ἀνατολίου, Βασιλείου Σελευκίου, Βυζαντίου· μηνὶ τῷ αὐτῷ ιηʹ, τοῦ ἁγίου ἀποστόλου καὶ εὐαγγελιστοῦ Λουκᾶ «Τῷ τῆς σοφίας ἁλιευτικῷ...» Ἦχος πλ. βʹ· Ἀνατολίου «Ἀπόστολε Χριστοῦ, καὶ τῶν θείων δογμάτων...» Ἦχος πλ. βʹ· τοῦ αὐτοῦ «Πάνσοφε Ἁλιεῦ ἁλιεῦ, ἅγιε μαθητά...» Ἦχος πλ. δʹ· Λέοντος Μαΐστορος «Δεῦτε, πᾶσα ἡ κτίσις, τὸν ἀληθῶς...» Ἦχος βʹ· Ἰωάννου μοναχοῦ· εἰς τὴν κʹ, τοῦ ἁγίου μάρτυρος Ἀρτεμίου «Τὸν νοερὸν φωστῆρα τῆς πίστεως, Ἀρτέμιον...» Ἦχος βʹ· Ἀνατολίου· καʹ τοῦ ὁσίου πατρὸς ἡμῶν Ἱλαρίωνος «Ἐκ νεότητός σου φέρων...» Ἦχος βʹ· τοῦ αὐτοῦ «Τὸ ἱλαρόν σου, Πάτερ, καὶ καθαρὸν τοῦ βίου...» Ἦχος πλ. δʹ· τοῦ αὐτοῦ «Πνεύματος Ἁγίου λήρης...» Ἦχος γʹ· Ἰωάννου μοναχοῦ· μηνὶ τῷ αὐτῷ κβʹ τοῦ ὁσίου πατρὸς ἡμῶν Ἀβερκίου «Ἀρχιερεῦ Ὅσιε, παμμακάριστε...» Ἦχος αʹ· Βυζαντίου· κγʹ τοῦ ἁγίου ἀποστόλου Ἰακώβου «Ἐν τῇ πύρινῃ αἴγλῃ τοῦ θείου Πνεύματος...» Ἦχος πλ. βʹ· τοῦ αὐτοῦ «Αἵματι τοῦ μαρτυρίου...» Ἦχος δʹ· Ἀνατολίου· μηνὶ τῷ αὐτῷ κδʹ, τοῦ ἁγίου μεγάλος μάρτυρος Ἀρέθα «ᾉσματικῶς τὸν ποιμενάρχην...» Ἦχος πλ. δʹ· Ἀνατολίου «Τὴν πονηρὰν καὶ ἄπιστον...»

EBE 883

43r 43v 44r 44v 45r 45v 46r 46v 47r 47v 48r 48v 49r 49v 50r 50v 51r 51v 52r 52v 53r 53v 54r 54v

15

Ἦχος αʹ· Γερμανοῦ Πατριάρχου· μηνὶ τῷ αὐτῷ κεʹ, τῶν ἁγίων Νοταρίων Μαρκιανοῦ «Μαθηταὶ καὶ ὀπαδοὶ...» Ἦχος αʹ· Γεωργίου Συκελίου· μηνὶ τῷ αὐτῷ κϛʹ, τοῦ ἁγίου μεγαλομάρτυρος Δημητρίου «Εὐφραίνου ἐν Κυρίῳ, πόλις Θεσσαλονίκη...» Ἦχος αʹ· Ἀνατολίου καὶ Κυπριανοῦ «Τὴν τῶν ᾀσμάτων τερπνότητα...» Ἦχος βʹ· Γερμανοῦ Πατριάρχου «Εἰς τὰ ὑπερκόσμια...» Ἦχος δʹ· Ἀνδρέου Ἱεροσολυμίτου «Τὸν λόγχαις κληρωσάμενον...» Ἦχος πλ. βʹ· Βυζαντίου «Σήμερον συγκαλεῖται ἡμᾶς τοῦ ἀθλοφόρου...» Ἦχος πλ. αʹ· Ἀνατολίου «Ἔχει μὲν ἡ θειοτάτη σου ψυχή...» Ἦχος βʹ· τοῦ Συμεὼν τοῦ Θαυμαστορείτου [Symeon the Stylite], τοῦ σεισμοῦ «Ἡ γῆ συνταρασσομένη...» Ἦχος πλ. βʹ· τοῦ αὐτοῦ «Φοβερὸς εἶ, Κύριε...» Ἦχος πλ. βʹ· Ἰωάννου μοναχοῦ καὶ Στουδίτου· μηνὶ τῷ αὐτῷ λʹ, τῶν ἁγίων Ζηνοβίου καὶ Ζηνοβίας «Ἀισματικὴν χορείαν κροτήσωμεν σήμερον, ὦ φιλομάρτυρες...» Ἦχος αʹ· Ἀνατολίου καὶ Ἰωάννου μοναχοῦ· μὴν Νοέμβριος, αʹ · τῶν ἁγίων ἀναργύρων Κοσμᾶ καὶ Δαμιανοῦ «Τὴν χάριν τῶν ἰαμάτων ἐκ Θεοῦ...» Ἦχος αʹ· Ἰωάννου μοναχοῦ «Ἐκ τῆς ἄνωθεν προμηθείας...» Ἦχος αʹ· Θεοφάνους «Πόθῳ θείῳ καὶ ἔρωτι τῶν μελλόντων...» Ἦχος βʹ· Γερμανοῦ Πατριάρχου «Μεγάλων ἀξιωθέντες δωρεῶν...» Ἦχος βʹ· Γερμανοῦ «Ἰατροὶ τῶν ἀσθενούντων...» Ἦχος βʹ· Γερμανοῦ Πατριάρχου «Ἀγάλλεται ὁ χορὸς...» Ἦχος δʹ· Θεοφάνους καὶ Ἀνατολίου «Πηγὴν ἰαμάτων...» Ἦχος πλ. βʹ· Ἀνατολίου «Ἀτελεύτητος ὑπάρχει...» Ἦχος πλ. βʹ· Ἀνδρέου Πυροῦ «Φαιδρὰ καὶ ἐπίφωτος...» Ἦχος πλ. δʹ· Ἀνατολίου «Τίς μὴ θαυμαστεί...» Ἦχος αʹ· τοῦ αὐτοῦ· μηνὶ τῷ αὐτῷ βʹ· τῶν ἁγίων Ἀκινδύνου Πηγασίου «Ἀκτῖνες ἔλαμψαν...» Ἦχος βʹ· Κυπριανοῦ «Αἱμάτων τοῖς κρουνοῖς...» Ἦχος δʹ· Γερμανοῦ «Ἡ πεντάφεγγης...» Ἦχος πλ. βʹ· Ἀνατολίου καὶ Βυζαντίου «Σήμερον ἡ πενταυγὴς...» Ἦχος βʹ· Ἀνατολίου· μηνὶ τῷ αὐτῷ γʹ· τῶν ἁγίων μαρτύρων Ἀκεψιμᾷ καὶ τῶν σὺν αὐτῶν «Ὑπὲρ τῆς εὐσεβείας ἅγιοι στερρῶς...» Ἦχος πλ. βʹ· Ἐφραὶμ Καρίου «Προοίμιον τυπικῶς τῆς τριφεγγοῦς...» Ἦχος αʹ· Γερμανοῦ· μηνὶ τῷ αὐτῷ ϛʹ· τοῦ ἁγίου Παύλου τοῦ ὁμολογητοῦ «Ἀρχιερατικὴν στολὴν ἐνδυσάμενος...» Ἦχος βʹ· Βυζαντίου «Ἀσκήσεως τὸ πέλαγος...» Ἦχος αʹ· Κυπριανοῦ· μηνὶ τῷ αὐτῷ ηʹ· ἡ σύναξις τοῦ Μιχαὴλ «Τῶν νοερῶν δυνάμεων...» Ἦχος αʹ· Ἀρσενίου «Ὁ ταξιάρχης...» Ἦχος βʹ· Στουδιτοῦ «Τὴν ἄϋλον οὐσίαν τῶν νοερῶν...» Ἦχος βʹ· Ἀρσενίου «Τὸν ἄϋλον θρονὸν...» Ἦχος βʹ· Ἀνατολίου «Ἀσωμάτοις χείλεσι καὶ νοεροῖς...» Ἦχος δʹ· τοῦ αὐτοῦ «Πυρίνοις χείλεσιν ὑμνεῖ σε τὰ...» Ἦχος αʹ· Ἐφραὶμ Καρίου «Τῆς ἡλιακῆς ἀκτῖνος...» Ἦχος πλ. αʹ· τοῦ αὐτοῦ «Ὅπου ἐπισκιάσει ἡ χάρις σου...» Ἦχος πλ. βʹ· Βυζαντίου «Συγχάρητε ἡμῖν ἅπασαι...»

16

55r 55v 56r 56v 57r 57v 58r 58v 59r 59v 60r 60v 61r 61v 62r 62v 63r 63v 64r 64v 65r 65v 66r 66v 67r 67v 68r 68v 69r

EBE 883

Ἦχος πλ. δʹ· Ἰωάννου μοναχοῦ καὶ Βυζαντίου «Ὣς ταξιάρχης...» Ἦχος αʹ· Ἀνατολίου· μηνὶ τῷ αὐτῷ ιαʹ, τῶν ἁγίων μεγαλομάρτυρων Μηνᾶ, Βίκτωρος, καὶ Βικεντίου «Τὸν ἀριστέα τοῦ Χριστοῦ...» Ἦχος πλ. βʹ· Βυζαντίου «Πάλιν ἡμῖν ἡ ἐτήσιος μνήμη...» Ἦχος βʹ· Ἀνατολίου· μηνὶ τῷ αὐτῷ ιβʹ, τοῦ ἁγίου Ἰωάννου τοῦ ἐλεήμονος «Ἡ τοῦ ἐλέους πηγὴ...» Ἦχος αʹ· Ἰωάννου μοναχοῦ· μηνὶ τῶ αὐτῷ ιγʹ, τοῦ ἁγίου Ἰωάννου τοῦ Χρυσοστόμου «Φωστὴρ Ἰωάννη στόμα...» Ἦχος βʹ· Στουδίτου «Σε τὸν μέγαν ἀρχιερέα...» Ἦχος βʹ· Γεωργίου Νικομεδείου «Χρυσέοις λόγοις σου ἐκκλησία...» Ἦχος βʹ· τοῦ Στουδίτου «Εἴληφας, ἱεράρχα, τὴν ἀνωτάτω...» Ἦχος δʹ· Γερμανοῦ «Ἔπρεπε τῇ βασιλίδι τῶν πόλεων...» Ἦχος δʹ· Γερμανοῦ «Γέγονας Χρισόστομε...» Ἦχος πλ. βʹ· τοῦ αὐτοῦ «Σάλπιγξ χρυσόφωνος...» Ἦχος πλ. δʹ· Ἀνατολίου «Χρυσέοις ἔπεσι, καὶ θεοφθόγγοις...» Ἦχος βʹ· Βυζαντίου, μηνὶ τῷ αὐτῷ ιδʹ, τοῦ ἁγίου ἀποστόλου Φιλίππου «Καταλιπὼν τὰ ἐπὶ γῆς...» Ἦχος γ´· Γερμανοῦ «Τὴν τῶν ἰχθύων...» Ἦχος πλ. β´· Βυζαντίου «Τοῦ μεγάλου Φίλιππε φωτὸς...» Ἦχος β´· Βυζαντίου· μηνὶ τῷ αὐτῷ ιε´, τῶν ἁγίων μαρτύρων ὁμολογητῶν (Γουρία, Σαμωνᾶ, Ἀβίβου) «Δεῦτε φιλομάρτυρες πάντες...» Ἦχος β´· Κασία «Ἡ Ἔδεσσα εὐφραίνεται...» Μηνὶ τῷ αὐτῷ ις´· τοῦ ἁγίου ἀποστόλου καὶ εὐαγγελιστοῦ Ματθαίου Ἦχος α´· Βυζαντίου «Ζυγὸν λιπὼν ἀδικίας...» Ἦχος πλ. β´· τοῦ αὐτοῦ «Ἐκ πυθμένος κακίας...» Μηνὶ τῷ αὐτῷ ιζ´· τοῦ ἁγίου Γρηγορίου τοῦ Θαυματουργοῦ Ἦχος δ´· τοῦ αὐτοῦ «Ἱερωσύνης τὴν ψῆφον...» Ἦχος πλ. δ´· ὅμοιον «Τὸν περιβόητον ἐν θαύμασιν ἱεράρχην...» Μηνὶ τῷ αὐτῷ ιη´· τοῦ ἁγίου μάρτυρος Πλάτωνος· ἦχος πλ. β´· τοῦ αὐτοῦ «Φοβερὰ καὶ παράδοξα...» Μηνὶ τῷ αὐτῷ κα´· τὰ εἰσόδια τῆς Θεοτόκου. Ἦχος α´· Γεωργίου Νικοδήμου «Ἀγαλλιάσθω σήμερον...» Ἦχος β´· τοῦ Λέοντος Μαΐστορος «Σήμερον τῷ ναῷ...» Ἦχος δ´· Γεωργίου Νικομήδου «Σήμερον ὁ Θεοχώρητος ναός...» Ἦχος πλ. α´· τοῦ Μαΐστορος [Λέοντος] «Ἐπέλαμψεν ἡμέρα...» Ἦχος πλ. α´· τοῦ Σέργιου Ἁγιοπολίτου «Σήμερον τὰ στίφη τῶν...» Ἦχος πλ. δ´· τοῦ αὐτοῦ «Μετὰ τὸ τεχθῆναί σε Θεονύμφε...» Μηνὶ τῷ αὐτῷ κδ´· τῆς ἁγίας μάρτυρος Αἱκατερίνης Ἦχος β´· τοῦ [Ἀνατολίου] «Χαρμονικῶς τῇ πανηγύρει...» Ἦχος β´ «Βίον ἄϋλον ἐξησκημένος...» Μηνὶ τῷ αὐτῷ κε´· τοῦ ἁγίου ἱερομάρτυρος Πέτρου Ἀλεξανδρείας· Ἀνατολίου· ἦχος δ´ «Χειρὶ Θεοῦ χρισθεὶς εἰς ἱερέα...» Μηνὶ τῷ αὐτῷ κζ´· τοῦ ἁγίου Ἰακώβου τοῦ Πέρσου· ἦχος β´· Στουδίτου «Καρτερῶν ἐν ἀθλήσει μαρτὺς...» Ἦχος πλ. δ´· τοῦ Γεωργίου Συκελίου «Πιστῶς ἀθροισθέντες σήμερον...» Μηνὶ τῷ αὐτῷ κη´· τοῦ ἁγίου ὁσιομάρτυρος Στεφάνου τοῦ Νέου Ἦχος πλ. β´· [Θεοφάνους] «Ἐκ βρέφους τῷ Θεῷ ἀνετέθης, ἱερώτατε Στέφανε...»

EBE 883

69v

17

Μηνὶ τῷ αὐτῷ λ´· τοῦ ἁγίου ἀποστόλου καὶ πρωτοκλήτου Ἀνδρέου· ἦχος α´· Ἀνδρέου Ἱεροσολυμίτου «Ὁ πρωτόκλητος μαθητὴς...» Ἦχος γ´· Γερμανοῦ «Τὸν συναίμονα Πέτρου καὶ Χριστοῦ...» 70v Ἦχος δ´· Ἀνατολίου «Τὴν τῶν ἰχθύων ἄγραν καταλιπών...» Ἦχος πλ. δ´· Ἀνδρέου Ἱεροσολυμίτου «Τὸν κήρυκα τῆς πίστεως...» 71r Μὴν Δεκέμβριος, δ´· τῆς ἁγίας μάρτυρος Βαρβάρας· ἦχος α´· Ἀνατολίου «Τῆς γεηρᾶς 71v τρυφῆς...» Ἦχος β´· [τοῦ αὐτοῦ] «ᾘσχύνθη ὁ βάσκανος ἐχθρὸς...» 72r No rubric Ἦχος πλ. β´· Βυζαντίου «Πατρίδα, γένος, ὕπαρξιν...» 72v Ἦχος πλ. β´· Ἰωάννου μοναχοῦ «Ἀθλητικὴν ὁδεύσασα ὁδόν...» Μηνὶ τῷ αὐτῷ ε´· τοῦ ὁσίου πατρὸς ἡμῶν Σάβα· ἦχος β´· Θεοφάνους «Τῶν ὑπὲρ νοῦν 73r ἀγαθῶν...» Ἦχος πλ. β´· τοῦ Ἰωάννου μοναχοῦ «Ὅσιε πάτερ, εἰς πᾶσαν...» Μηνὶ τῷ αὐτῷ ϛ´· τοῦ ὁσίου πατρὸς ἡμῶν Νικολάου· ἦχος α´· Κυπριανοῦ «Ἐνατενίσας 73v ἀκλινῶς...» Ἦχος α´· τοῦ αὐτοῦ «Ἄνθρωπε τοῦ Θεοῦ καὶ πιστὲ θεράπον, καὶ οἰκονόμε...» Ἦχος β´· Ἀνατολίου «Κανόνα πίστεως καὶ εἰκόνα πραότητος ἀνέδειξέ σε...» Ἦχος α´· ὅμοιον «Πάτερ Νικόλαε, ἡ μυροθήκη...» 74r Ἦχος πλ. α´· Ἐφραὶμ Καρίου «Σαλπίσωμεν ἐν σάλπιγγι ᾁσμάτων, σκιρτήσωμεν 74v ἑόρτια...» Ἦχος β´· Ἰωάννου μοναχοῦ «Ἄνθρωπε τοῦ Θεοῦ καὶ πιστὲ θεράπον, λειτουργὲ...» 75v Ἦχος πλ. β´· Γερμανοῦ «Κληρονόμε Θεοῦ...» 76r Μηνὶ τῷ αὐτῷ θ´· ἡ σύλληψις τῆς ἁγίας Ἄννης· ἦχος β´ «Σήμερον ἐκ ῥίζης...» 76v Μηνὶ τῷ αὐτῷ ι´· τοῦ ἁγίου μάρτυρος τοῦ Καλλικέλα· ἦχος β ´· Ἀνατολίου «Ὄντως ἡ 77r γλῶσσά σου...» Μηνὶ τῷ αὐτῷ ια´· τοῦ ὁσίου Δανιὴλ τοῦ Στυλίτου· ἦχος πλ. α´· Στουδίτου «Τὸ 77v ἐμπιστευθέν σοι τάλαντον...» Μηνὶ τῷ αὐτῷ ιβ´· τοῦ ἁγίου Σπυρίδων· ἦχος α´· Ἀνατολίου «Ὅσιε πάτερ μακάριε...» 78r Μηνὶ τῷ αὐτῷ ιγ´· τοῦ ἁγίου μάρτυρος Εὐστράτη καὶ τὴν σὺν αὐτῶν· ἦχος α´· Βυζαντίου 79r «Τὴν πεντάριθμον χορείαν...» Ἦχος γ´· Γερμανοῦ «Ῥητορικοῖς ἔπεσιν...» Ἦχος δ´· Ἰωάννου μοναχοῦ «Στεφανούσθωσαν παρ᾽ ἡμῶν...» 79v Ἦχος δ´· Ἰκασία «Τὴν πεντάχορδον λύραν...» 80r Ἦχος δ´· Ἰκασία καὶ Ἀνατολίου «Ὑπὲρ τὴν τῶν Ἑλλήνων...» 80v Μηνὶ τῷ αὐτῷ ιζ´· τοῦ ἁγίου προφήτου Δανιὴλ· ἦχος α´· Ἀνατολίου «Πνευματικῶς 81v ἡμᾶς, πιστοὶ, συνήγαγε...» Μηνὶ τῷ αὐτῷ κ´· τοῦ ἁγίου Ἰγνατίου τοῦ Θεοφόρου· τοῦ Στουδίτου· ἦχος α´ «Ὤ τῆς 82r στερρᾶς καὶ ἀδαμαντίνου...» Ἦχος πλ. δ´· Ἀνατολίου «Θεοφόρε Ἰγνάτιε...» 83r Τῷ κβ´· τῆς ἁγίας Ἀναστασίας· ἦχος β´· Στουδίτου «Τῆς Ἀναστάσεως εἴληφας...» Ἦχος α´· Βυζαντίου «Προεόρτιος ἡμέρα σήμερον...» 83v Μηνὶ τῷ αὐτῷ κγ´· τῶν ἁγίων μαρτύρων τῶν ἐν Κρήτῃ· ἦχος β´· Κυπριανοῦ «Κρήτη 84r προεορτάζει...» Τῇ Κυριακῇ τῶν προπατόρων· ἦχος γ´· Γερμανοῦ «Τῶν Προπατόρων τὸ σύστημα...» 84v Ἦχος πλ. β´· Ἀνατολίου «Τοὺς πρὸ τοῦ νόμου Πατέρας...» 85r Ἦχος πλ. β´· Γερμανοῦ «Δανιὴλ ἀνὴρ ἐπιθυμιῶν...» 86r

18

88r 88v 89v 91r 92r 93r 94r 95r 96r 97r 97v 98r 98v 99r 100r 101r 102r 102v 103v 104r 104v 105r 106r 106v 107r 107v

EBE 883

Ἦχος γ´· Ἀνατολίου «Εὐτρεπίζου Βηθλεὲμ ἤνοικται...» In the top upper left corner, there is a new script in a different font. Ἦχος πλ. β´· Βυζαντίου «Ἀνύφευτε παρθένε πόθεν ἡκεὶς...» Ἦχος πλ. β´· Βυζαντίου «Σπήλαιον εὐτρεπίζου...» Τῇ παραμονῇ τῆς Χριστοῦ γεννήσεως· τροπάρια ιβ´· Ὥρα α´· ἦχος πλ. β´, παλαίον «Βηθλεὲμ ἑτοιμάζου εὐτρεπιζέσθω...» Ὥρα γ´· ἦχος πλ. β´ «Οὖτος ὁ Θεὸς ἡμῶν, οὐ λογισθήσεται ἕτερος πρὸς αὐτόν· ὁ τεχθεὶς...» Ὥρα ϛ´· ἦχος γ´ «Ἰωσὴφ, εἰπὲ ἡμῖν...» Ὥρα θ´· ἦχος βαρὺς «Ἐξεπλήττετο ὁ Ἡρώδης...» Τῷ κε´· ἡ Γέννησις τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ· ἦχος α´ «Οὐρανὸς καὶ ἡ γῆ σήμερον...» Ἦχος β´· Γερμανοῦ «Δεῦτε ἀγγαλιασώμεθα τῷ Κυρίῳ, τὸ παρὸν μυστήριον ἐκδιηγούμενοι...» Ἦχος δ´· Ἰκασία «Αὐγούστου μοναρχήσαντος...» Ἦχος β´· Ἰωάννου μοναχοῦ «Σήμερον ὁ Χριστὸς ἐν Βηθλεὲμ γεννᾶται ἐκ Παρθένου Σήμερον...» Ἦχος β´· Γερμανοῦ «Μέγα καὶ παράδοξον θαῦμα τετέλεσται σήμερον Παρθένος...» Ἦχος γ´· Γερμανοῦ «Σήμερον τίκτει ἡ Παρθένος...» Ἦχος γ´· Ἀνατολίου «Τοῦ Κυρίου Ἰησοῦ γεννηθέντος ἐν Βηθλεὲμ...» Ἦχος δ´· Ἀνδρέου Ἱεροσολυμίτου «Εὐφραίνεσθε δίκαιοι· οὐρανοί, ἀγαλλιᾶσθε· σκιρτήσατε...» Ἦχος δ´· τοῦ αὐτοῦ «Εὐφράνθητι, Ἱερουσαλὴμ, καὶ πανηγυρίσατε πάντες...» Ἦχος δ´· Ἀνατολίου «Σπηλαίῳ παρῴκησας...» Ἦχος πλ. α´· Ἰωάννου μοναχοῦ «Μάγοι Περσῶν βασιλεῖς...» Ἦχος πλ. β´· Γερμανοῦ «Χορεύουσιν ἄγγελοι πάντες ἐν οὐρανῷ, καὶ ἀγάλλονται...» Ἦχος πλ. δ´· Ἰωάννου μοναχοῦ «Παράδοξον μυστήριον οἰκονομεῖται...» Μηνὶ τῶ αὐτῶ κζ´· τοῦ ἁγίου ἀρχιδιακόνου μάρτυρος Στεφάνου· ἦχος α´· Κυπριανοῦ «Ἀθλοφορικὸν στέφανον...» Ἦχος β´· Ἀνατολίου «Πρῶτος ἐν διακόνοις...» Ἦχος δ´· Ἰωάννου μοναχοῦ «Στέφανος, ἡ καλὴ ἀπαρχὴ...» Ἦχος δ´· Ἰωάννου μοναχοῦ «Στέφανε ἔνδοξε, οὐρανοπολῖτα...» Ἦχος πλ. α´· Κυπριανοῦ «Πρωτομάρτυς ἀπόστολε...» Εἰς τὴν κθ´· τῶν ἁγίων Νηπίων· ἦχος α´· [Κυπριανοῦ] «Τῷ ἀχράντῳ σου τόκῳ...» Ἦχος γ´· Γερμανοῦ «Μισητὴ τοῦ Ἡρώδου παιδοκτονία...» Ἦχος πλ. δ´· Ἀνδρέου Κρήτης «Τοῦ Ἰησοῦ γεννηθέντος ἐν Βηθλεὲμ...» Κυριακῇ μετὰ τὴν Χριστοῦ γέννησιν· ἦχος πλ. β´· [Βυζαντίου] «Μνήμην ἐπιτελοῦμεν Δαυΐδ...» Ἦχος πλ. δ´· Ἀνατολίου «Αἶμα, καὶ πῦρ, καὶ ἀτμίδα...» Μὴν Ἰανουάριος, α´· εἰς τῇ περιτομῆ τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ· ἦχος πλ. δ´· Ἀνατολίου «Συγκαταβαίνων ὁ Σωτὴρ...» Ἦχος πλ. δ´· τοῦ αὐτοῦ «Οὐκ ἐπῃσχύνθη ὁ πανάγαθος Θεὸς...» Τοῦ μεγάλου Βασιλείου· ἦχος α´· Βυζαντίου «Ὦ θεία καὶ ἱερά τῆς Χριστοῦ Ἐκκλησίας...» Ἦχος α´· Βυζαντίου [?] «Πάντων τῶν ἁγίων ἀνεμάξω...» Ἦχος πλ. β´· Ἰωάννου μοναχοῦ «Τῶν ὄντων ἐκμελετήσας τὴν φύσιν...» Ἦχος γ´· Γερμανοῦ «Μύρον ἐκ σοῦ ἐκκενωθέν...»

EBE 883

108r 108v 109r 109v 110v 111r 111v 112r 112v 113r 113v 114v 115v 116r 116v 117r 118r 118v 119v 120r 120v 121r 121v 122r 122v 123r 123v 124r 124v 125r

19

Ἦχος γ´· Βυζαντίου «Τὴν ἱερατικὴν στολὴν...» Ἦχος πλ. δ´· Ἀνατολίου «Σοφίας ἐραστὴς γενόμενος...» Στιχηρὰ προεόρτια τῶν φώτων· ἦχος α´· Ἰωάννου μοναχοῦ «Λαμπρὰ μὲν ἡ παρελθοῦσα...» Ἦχος β´· Ἀνδρέου Ἱεροσολυμίτου «Πάλιν Ἰησοῦς ὁ ἐμὸς καθαίρεται...» Ἦχος δ´· Ἰωάννου μοναχοῦ «Ὤ τοῦ παραδόξου θαύματος ὁ ἐν Πνεύματι ἁγίῳ...» Ἦχος πλ. β´· Βυζαντίου «Ἔρχεται πρὸς τὸν Ἰορδάνην Χριστὸς...» Ἦχος πλ. β´· Γερμανοῦ «Φαιδροτέρα ἡλίου γέγονεν...» Ἦχος πλ. β´· Βυζαντίου «Ἀγαλλιάσθω ἡ ἔρημος...» Ἦχος πλ. δ´· Ἀνατολίου «Ἰωάννη βαπτιστά, ὁ ἐν μήτρα...» Στιχηρὰ ψαλλόμενα τὴν παραμονὴν τῶν Φώτων· κατὰ τὰ ιβ´· ποίημα Σοφρονίου Ἱεροσολύμων· τὰ τροπάρια ὅλα· ἦχος πλ. δ´ «Σήμερον τῶν ὑδάτων ἁγιάζεται...» Ἁγίων ὥρων α´· ἦχος πλ. δ´ «Ὡς ἄνθρωπος ἐν ποταμῷ...» Ὥρων γ´· ἦχος πλ. δ´ «Ἡ τοῦ Προδρόμου καὶ Βαπτιστοῦ...» Ὥρων ϛ´· ἦχος πλ. δ´ «Τάδε λέγει Κύριος πρὸς Ἰωάννην...» Ὥρων θ´· ἦχος βαρὺς «Θάμβος ἦν κατιδεῖν ...Ποιητὴν ἐν ποταμῷ...» Μηνὶ τῷ αὐτῷ ϛ´· τῶν ἁγίων Θεοφανίων· ἦχος α´· Γερμανοῦ Πατριάρχου «Φῶς ἐκ φωτὸς ἔλαμψε τῷ κόσμῳ...» Ἦχος α´· Ἀνδρέου Ἱεροσολυμίτου «Ὁ περιβάλλων τὸν οὐρανὸν ἐν νεφέλαις, ῥεῖθρα...» Ἦχος β´· Ἰωάννου μοναχοῦ «Τὸν φωτισμὸν ἡμῶν...» Ἦχος β´· Ἀνατολίου «Ἐν Ἰορδάνῃ ποταμῷ ἰδών σε...» Ἦχος β´· Βυζαντίου «Ὑπέκλινας κάραν τῷ Προδρόμῳ...» Ἦχος β´· Ἀνατολίου «Σήμερον ὁ Χριστὸς ἐν Ἰορδάνῃ...» Ἦχος δ´· Κοσμά μοναχοῦ Ἁγιοπολίτου «Ὁ ἀναβαλλόμενος φῶς ὡς ἱμάτιον, δι’ ἡμᾶς...» Ἦχος πλ. β´· Ἀνατολίου «Νάματα Ἰορδάνεια περιεβάλου...» Ἦχος πλ. β´· Γερμανοῦ καὶ Θεοφάνους «Ἀνυμνήσωμεν οἱ πιστοὶ τῆς περὶ ἡμᾶς τοῦ Θεοῦ εὐεργεσίας...» Ἦχος πλ. δ´· Ἀνδρέου Κρήτης «Σήμερον ἡ κτίσις φωτίζεται...» Ἦχος πλ. δ´· Ἰωάννου μοναχοῦ «Τὰ τῶν ἀγγέλων στρατεύματα ἐξίσταντο ἐπὶ τὸ ὁρώμενον...» Μηνὶ τῷ αὐτῷ ζ´· τῶν τιμίων Προδρόμων· ἦχος δ´· Βυζαντίου «Ὡς τοῦ Πνεύματος ἐραστὴς...» Μηνὶ τῷ αὐτῷ θ´· τοῦ ἁγίου μαρτύρου Πολυεύκτου· ἦχος α´· Βυζαντίου «Τὰ τῶν ἀγγέλων στρατεύματα σήμερον...» Μηνὶ τῷ αὐτῷ ι´· τοῦ ὁσίου πατρὸς ἡμῶν Γρηγορίου Νύσσης· ἦχος α´· Ἀνατολίου «Ὁ τῆς ὀρθῆς πίστεως...» Ἦχος δ´· Ἀνατολίου «Τὸν τῆς σοφίας λόγον σου...» Μηνὶ τῷ αὐτῷ ια´· τοῦ ὁσίου πατρὸς ἡμῶν Θεοδοσίου τοῦ κοινοβιάρχου· ἦχος α´· τοῦ αὐτοῦ «Ὅσιε πάτερ, ὡς πόλιν...» Ἦχος πλ. α´ · Θεοφάνους μοναχοῦ «Ὅσιε πάτερ θεοφόρε Θεοδόσιε, μεγάλως...» Μηνὶ τῷ αὐτῷ ιδ´· τῶν ἁγίων Ἀββάδων· ἦχος πλ. δ´· τοῦ Στουδίτου «Ὅσιοι πατέρες μελετήσαντες...» Μηνὶ τῷ αὐτῷ ιε´· τοῦ ἁγίου Ἰωάννου τοῦ καλυβίτου· ἦχος β´· [Θεοδόρου] «Ἀρνησάμενος κόσμον...»

20

126r 127r 127v 128r 128v 129v 130r 130v 131r 132r 132v 133r 134r 134v 135r 135v 136r 136v 137v 138v 139v 140v 141r 141v 142v

EBE 883

Μηνὶ τῷ αὐτῷ ιϛ´· τῆς τιμίου ἁλύσεως τοῦ ἁγίου ἀποστόλου Πέτρου· ἦχος δ´· τοῦ Στουδίτου «Ἀξίως εἴληφας ἐκ Θεοῦ...» Μηνὶ τῷ αὐτῷ ιζ´· τοῦ ὁσίου πατρὸς ἡμῶν Ἀντωνίου· ἦχος α´· Στουδίτου «Ἀσκητικὸν γυμνάσιον...» Ἦχος γ´· Ἀνατολίου «Ὅσιε Ἀντώνιε τῆς στερροτάτης ἀσκήσεως...» Ἦχος πλ. α´· Στουδίτου «Ὅσιε πάτερ, τῆς φωνῆς τοῦ εὐαγγελίου...» Ἦχος πλ. δ´· Ἀνατολίου «Οὐρανοδρόμῳ ἐπιβὰς ὀχήματι...» Μηνὶ τῷ αὐτῷ ιη´· τοῦ ὁσίου πατρὸς ἡμῶν Ἀθανασίου καὶ Κυρίλλου [composer and mode not discernible] «Πάλιν ἡμῖν ὁ χρυσορρόας...» Εἱς τῷ ιθ´· τοῦ ὁσίου μακαρίου τοῦ Αἰγυπτίου· ἦχος πλ. δ´· Ἀνατολίου «Εὐφραίνου, Αἴγυπτος, ἀνθήσασα...» Μηνὶ τῷ αὐτῷ κ´· τοῦ ὁσίου πατρὸς ἡμῶν Εὐθυμίου· ἦχος β´· Στουδίτου «Ὠχυρωμένος τὸν νοῦν γνώσει...» Ἦχος β´· Γερμανοῦ καὶ Βυζαντίου «Εὐθυμεῖτε, ἔλεγε τοῖς γεννήτορσιν...» Ἦχος γ´· Στουδίτου «Ἀφιερωθεὶς τῷ Θεῷ...Σαμουήλ, Πάτερ Εὐθύμιε...» Ἦχος πλ. α´· Ἀνατολίου «Ὅσιε πάτερ, οὐκ ἔδωκας ὕπνον...» Εἰς τὸ κβ´· τοῦ ἁγίου Τιμοθέου καὶ Ἀναστασίου· ἦχος α´ [τοῦ αὐτοῦ] «Τὸν φωστῆρα τῶν πιστῶν...» Ἦχος πλ. α´· Στουδίτου «Ὅσιε πάτερ, νικητὴς...» Μηνὶ τῷ αὐτῷ κγ´· τοῦ ἁγίου ἱερομάρτυρος Κλήμεντος· ἦχος α´· Ἀνατολίου «Τὸν θαυμαστὸν ἐν ἱερεῦσι...» Μηνὶ τῷ αὐτῷ κε´· τοῦ ὁσίου πατρὸς ἡμῶν Γρηγορίου τοῦ Θεολόγου· ἦχος α´· Ἀνατολίου «Τὴν λύραν τοῦ Πνεύματος...» Ἦχος πλ. δ´· Ἀνατολίου «Τὰς καρδίας τῶν πιστῶν...» Μηνὶ τῷ αὐτῷ κζ´· τοῦ Ἁγίου Ἰωάννου τοῦ Χρυσοστόμου· ἦχος α´· Ἀνατολίου «Ἐξεχύθη ἡ χάρις ἐν χείλεσί σου, Ὅσιε Πάτερ, Ἰωάννη Χρυσόστομε...» Ἦχος δ´· Κοσμᾶ μοναχοῦ βεστιάριος «Οὐκ ἔδει σε, Χρυσόστομε...» Ἦχος δ´· Γερμανοῦ «Πάτερ Χρυσόστομε, ὡς ποταμὸς...» Μηνὶ τῷ αὐτῷ κη´· τοῦ ὁσίου πατρὸς ἡμῶν Εὐφραὶμ· ἦχος β´· Κυπριανοῦ «Ὥσπερ φοῖνιξ δαυϊτικῶς...» Ἦχος δ´· Ἀνατολίου «Προφητικῶς καταβρέχων...» Μηνὶ τῷ αὐτῷ λα´· τῶν ἁγίων Κύρου καὶ Ἰωάννου· ἦχος πλ. β´ [Βυζαντίου] «Δεῦτε τῶν πιστῶν ὁ σύλλογος σήμερον...» Μὴν Φεβρουάριος, α´· τοῦ ἁγίου μάρτυρος Τρύφωνος· ἦχος β´· Κυπριανοῦ «Ὑπερφρονήσας τῶν τῇδε γεηρῶ ...» Εἰς τὰς β´· ἡ Ὑπαπαντὴ τοῦ Κυρίου· ἦχος α´· Γερμανοῦ [πατριάρχου] «Λέγε, Συμεὼν, τίνα φέρων ἐν ἀγκάλαις ἐν τῷ ναῷ ἀγάλλῃ τίνι...» Ἦχος α´· Ἰωάννου μοναχοῦ «Σήμερον ὁ πάλαι τῷ Μωϋσεῖ...» Ἦχος β´· Γερμανοῦ «Σήμερον Συμεὼν ἐν ταῖς ἀγκάλαις...» Ἦχος β´· Ἀνδρέου Ἱεροσολυμίτου «Σήμερον Συμεὼν ὁ πρεσβύτης...» Ἦχος πλ. α´· Γερμανοῦ «Ὁ παλαιὸς ἡμερῶν νηπιάσας...» Ἦχος βαρὺς· Κοσμᾶ μοναχοῦ «Φῶς εἰς ἀποκάλυψιν ἐθνῶν ἦλθες ἐπὶ γῆς...» Ἦχος βαρὺς· Ἀνδρέου [Ἱεροσολυμίτου] «Κατακόσμησον τὸν νυμφώνα σου...» Ἦχος βαρὺς· Ἀνδρέου [Ἱεροσολυμίτου] «Τὸν μονογενῆ ἡ ἐξ ἀνάρχου τοῦ Πατρὸς...» Ἦχος πλ. δ´· Ἀνδρέου Ἱεροσολυμίτου «Ὁ τοῖς Χερουβὶμ ἐποχούμενος καὶ ὑμνούμενος ὑπὸ τῶν Σεραφὶμ σήμερον...»

EBE 883

143r 143v 144r 144v 145r 146r 146v 147r 147v 148r 149r 150r 151r 151v 152r 152v 153r 153v 154r 154v 155r 155v 156r 156v

21

Μηνὶ τῷ αὐτῷ ε´· τῆς ἁγίας μάρτυρος Ἀγάθης· ἦχος πλ. δ´· Συκεώτου «Παράδοξον θαῦμα γέγονεν...» Μηνὶ τῷ αὐτῷ θ´· τοῦ ἁγίου μάρτυρος Νικηφόρου· ἦχος πλ. β´· Ἰωάννου μοναχοῦ «Ἔδειξας πᾶσιν ἐμφανῶς...» Εἰς τὴν ια´· τοῦ ἁγίου ἱερομάρτυρος Βλασίου· ἦχος δ´· Βυζαντίου «Ὡς καλὸς παιδοτρίβης...» Ἦχος πλ. β´· Στουδίτου «Βλαστήσας ἐν τῇ ἀσκήσει...» Μηνὶ τῷ αὐτῷ ιγ´· τοῦ ὁσίου πατρὸς ἡμῶν Μαρτιανοῦ· ἦχος α´ «Χαίροις, ἔντιμον καὶ πολυθαύμαστον...» Τῷ ιδ´· τοῦ ὁσίου Αὐξεντίου· ἦχος πλ. δ´· Ἀνατολίου «Ἡ καθαρὰ τοῦ Πνεύματος τοῦ ἁγίου...» Μηνὶ τῷ αὐτῷ κδ´· ἡ τρίτη εὕρεσις τῆς τιμίας κεφαλῆς τοῦ Προδρόμου [bottom of folio]. Μὴν Μάρτιος, α´· τῆς ἁγίας Εὐδοκίας· ἦχος πλ. β´· Ἰωάννου μοναχοῦ «Καταλιποῦσα τὰ τερπνὰ...» Μηνὶ τῷ αὐτῷ ϛ´· τῶν ἁγίων μβ´ [42] μαρτύρων τῶν ἐν τῷ Ἀμωρίῳ· ἦχος β´· Μεθοδίου «Ἡ ἐκκλησία σήμερον πανηγυρίζει...» Ἦχος πλ. β´· Συκεώτου «Φάλαγγα θεοστεφῆ ἀρτιφανῶν...» Εἰς τὸ θ´· τῶν ἁγίων μβ´ [42] μαρτύρων τῶν ἐν Σεβαστίᾳ· ἦχος α´· Ἀνατολίου «Χορὸς τετραδεκαπύρσευτος...» Ἦχος β´· Ἀνατολίου «Ἀληθείας κρατῆρα ἐξ οἰκείων αἱμάτων τῷ πυρὶ...» Ζητῶ τὰ ὅμοια αὐτὰ ἔμπροσθεν· ἦχος β´· τοῦ Ἀνδρέου «Τὴν λίμνην ὡς παράδεισον...» Ἦχος β´· Ἰωάννου [μοναχοῦ] «Φέροντες τὰ παρόντα γενναίως...» Ἦχος β´ «Τῷ πυρὶ στομωθέντες καὶ τῷ κρύει... τοῖς ποσὶ συνέθλασαν...» Μηνὶ τῷ αὐτῷ κε´· ὁ Εὐαγγελισμὸς τῆς ὑπεραγίας Θεοτόκου· ἦχος α´· Βυζαντίου «Τῷ ἕκτῳ μηνὶ ὁ Ἀρχιστράτηγος...» Ἦχος α´· Ἀνατολίου «Ἐν τῷ μηνὶ τῷ ἕκτῳ...» Ἦχος β´· Θεοφάνους «Τὸ ἀπ’ αἰῶνος μυστήριον ἀνακαλύπτεται...» Ἦχος β´· Κοσμᾶ [μοναχοῦ] «Εὐαγγελίζεται ὁ Γαβριὴλ...» Ἦχος δ´· τοῦ αὐτοῦ «Τῷ ἕκτω μηνὶ ἀπεστάλη...» Ἦχος δ´· Ἀνδρέου ‘Ιεροσολυμίτου «Σήμερον χαρᾶς Εὐαγγέλια...» Ἦχος πλ. β´· Ἰωάννου μοναχοῦ «Ἀπεστάλη ἐξ οὐρανοῦ Γαβριὴλ...» Ἦχος πλ. δ´· Ἰωάννου μοναχοῦ «Εὐφραινέσθωσαν οἱ οὐρανοὶ καὶ ἀγαλλιάσθω ἡ γῆ· ὁ γὰρ τοῦ Πατρὸς...» Μὴν Ἀπρίλιος, α´· τῆς ὁσίας Μαρίας τῆς Αἰγυπτίας· ἦχος β´· Στουδίτου «Τὰ τῆς ψυχῆς θηρεύματα...» Μηνὶ τῷ αὐτῷ κγ´· τοῦ ἁγίου μεγαλομάρτυρος Γεωργίου· ἦχος α´· Ἀνατολίου «Ὁ λαμπρὸς ἀριστεὺς Γεώργιος...» Ἦχος α´· τοῦ αὐτοῦ «Ἀριστείας ἄθλων γεωργῶν...» Ἦχος β´· Ἰωάννου μοναχοῦ «Νευέτω δίκαια, ἔφησεν...» Ἦχος δ´· Στουδίτου «Τὸν νοερὸν ἀδάμαντα τῆς καρτερίας...» Ἦχος δ´· Ἀνατολίου «Δεῦτε φιλομάρτυρες ᾀσματικὴν...» Ἦχος δ´· Ἰωάννου μοναχοῦ «Δεῦτε τῶν πιστῶν τὸ στήριγμα, δεῦτε ἑορτὴν...» Ἦχος δ´· Στουδίτου «Πάντα τὰ ἔθνη κροτήσατε χεῖρας...» Ἦχος δ´· Ἀνατολίου «Ἄσμα ἀσμάτων χορεύοντες...» Ἦχος πλ. α´· Θεοφάνους πατριάρχη «Ἀνέτειλε τὸ ἔαρ, δεῦτε εὐωχηθῶμεν...» Ἦχος πλ. β´· Ἀνατολίου «Ἀξίως τοῦ ὀνόματος ἐπολιτεύσω...»

22

157v 158r 159r 159v 160r 160v 161r 162r 162v 163v 164r 164v 165r 165v 166v 167r 167v 168v 169r 169v 170r 170v 171r 171v 172r 172v

EBE 883

Μηνὶ τῷ αὐτῷ κε´· τοῦ ἁγίου ἀποστόλου Μάρκου· ἦχος πλ. β´· Ἀνατολίου «Σου ἐξεχύθη ἡ χάρις...» Μὴν Μάϊος εἰς τὴν α´· τοῦ τιμίου σταυροῦ· ἦχος πλ. δ´· Ἀνατολίου «Ἀνήγγειλαν οἱ οὐρανοὶ τὴν δόξαν σου...» Μηνὶ τῷ αὐτῷ κα´· τῶν ἁγίων Κωνσταντίνου καὶ Ἑλένης· ἦχος β´· Βυζαντίου «Πλουσίων δωρεῶν τὰ κρείττονα...» Ἦχος πλ. δ´· Μεθοδίου «Σέλας φαεινότατον...» Ἦχος πλ. δ´· Λέοντος δεσπότου «Ὁ τῶν Ἀνάκτων Ἄναξ καὶ Θεός...» Μηνὶ τῷ αὐτῷ κδ´· τοῦ ὁσίου Συμεὼν τῷ ἐν τῷ θαυμαστῷ ὄρει· ἦχος β´· Γερμανοῦ «Εἰς ὄρος ὑψηλὸν συμβολικῶς...» Ἦχος πλ. β´· Βυζαντίου «Πάτερ ἀξιάγαστε, τῆς ἐρήμου ὤφθης...» Μηνὶ Ἰουνίῳ η´· τοῦ ἁγίου μεγαλομάρτυρος Θεοδώρου· Ἦχος πλ. α´· Ἀνατολίου «Σήμερον ἀνέτειλεν ὑπὲρ τὸν Ἑωσφόρον...» Μηνὶ τῷ αὐτῷ ια´· τοῦ ἁγίου ἀποστόλου Βαρθολομαίου καὶ Βαρναβᾶ· ἦχος πλ. α´· Βυζαντίου «Βαρναβὰ πανεύφημε, τὸ ἐξαστράπτον...» Εἰς τὸν ιδ´· τοῦ ἁγίου Μεθοδίου· ἦχος δ´ [Φωτίου πατριάρχου] «Εὐφροσύνως σήμερον ἡ ἐκκλησία...» Εἰς τὸν ιζ´· τῶν ἁγίων μαρτύρων Μανουὴλ, Σαβὲλ, καὶ Ἰσμαὴλ· ἦχος πλ. δ´· Ἀνατολίου «Εἰλικρινῶς ποθήσαντές σε...» Μηνὶ τῷ αὐτῷ ιη´· τοῦ ἁγίου μάρτυρος Λεοντίου· ἦχος α´· Λέοντος τοῦ σοφωτάτου Βασιλέως «Ἀθλοφόρε Λεόντιε πανεύφημε, τῆς ἀγάπης...» Ἦχος δ´· Ἀνδρέου ‘Ιεροσολυμίτου «Εὐφραίνεται ὁ οὐρανός σήμερον φαιδρῶς καὶ ἡ γῆ ἀγάλλεται...» Εἰς τὴν κα´· τοῦ ἁγίου μάρτυρος Ἰουλιανοῦ· ἦχος πλ. β´· τοῦ αὐτοῦ «Τῆς ἀμωμήτου πίστεως τὸ ἀκένωτον πόμα...» Μηνὶ τῷ αὐτῷ κδ´· τοῦ μεγαλομάρτυρος Προδρόμου· ἦχος α´ [Γερμανοῦ] «Σταλάξατε τὰ ὄρη γλυκασμόν, καὶ οἱ βουνοὶ ὡς ἀρνία...» Ἦχος β´· Γερμανοῦ «Τὸν ἐκ προφήτου προφήτην...» Ἦχος β´· Ἀνατολίου «Ἦλθεν ἡ φωνὴ τῆς χάριτος...» Ἦχος β´· Γερμανοῦ «Ὁ ἐκ κοιλίας μητρὸς ἁγιασθεὶς...» Ἦχος δ´· Ἀνατολίου «Θεοῦ λόγου μέλλοντος...» Ἦχος δ´· Ἀνδρέου ‘Ιεροσολυμίτου «Ἐπέφανε σήμερον ὁ μέγας Πρόδρομος...» Ἦχος δ´· Ἀνδρέου ‘Ιεροσολυμίτου «Ἰωάννη πανεύφημε καὶ οἰκουμενικὲ...» Ἦχος πλ. α´· Ἐφραὶμ Καρίου «Τὸν ἐν Προφήταις ὅρον...» Ἦχος πλ. β´· Γερμανοῦ «Ἀστὴρ ἡλίου Πρόδρομος...» Ἦχος πλ. β´· Βυζαντίου «Σήμερον τοῦ φωτὸς ὁ λύχνος...» Ἦχος πλ. δ´· Ἀνδρέου ‘Ιεροσολυμίτου «Ἡσαΐου νῦν τοῦ Προφήτου...» Μηνὶ τῷ αὐτῷ κθ´· τῶν ἁγίων ἀποστόλων Πέτρου καὶ Παύλου· ἦχος α´· Ἀνδρέου ‘Ιεροσολυμίτου «Τὰ κατὰ πόλιν δεσμὰ καὶ τὰς θλίψεις σου... Παῦλε τοὺς πόνους...» Ἦχος α´· Ἰκασία «Τοὺς φωστῆρας τοὺς μεγάλους...» Ἦχος β´· Ἀνδρέου Πυροῦ «Ποίοις εὐφημιῶν στέμμασιν ἀναδήνωμεν Πέτρον...» Ἦχος β´· Ἀνδρέου Ἱεροσολυμίτου «Δεῦρο, δῆμοι, σήμερον τὸ τῶν πιστῶν εὐφήμως...» Ἦχος β´· Ἀρσενίου «Τοὺς μαθητὰς τοῦ Χριστοῦ...» Ἦχος β´· Γερμανοῦ «Πέτρε, κορυφαῖε τῶν ἐνδόξων...» Ἦχος δ´· Ἰωάννου μοναχοῦ «Χριστὸς σὲ πρῶτον...» Ἦχος δ´· Ἰωάννου μοναχοῦ «Τῷ τριττῷ τῆς ἐρωτήσεως...» Ἦχος πλ. α´· Βυζαντίου «Ἡ σοφία τοῦ Θεοῦ, ὁ συναίδιος...»

EBE 883

173r 173v 174r 174v 175r 175v 176r 177r 177v 178v 179r 179v 180r 180v 181r 182r 182v 183r 183v 184r 184v 185r 185v 186v

23

Ἦχος πλ. α´· τοῦ αὐτοῦ «Ἑορτὴ χαρμόσυνος ἐπεφάνε...» Ἦχος πλ. β´· τοῦ αὐτοῦ «Ἡ πάνσεπτος τῶν ἀποστόλων...» Ἦχος πλ. δ´· Βυζαντίου «Ὑβριστὴς καὶ διώκτης τῆς ἐκκλησίας...» Ἦχος πλ. δ´· Κοσμᾶ μοναχοῦ «Ἣν διήλθετε κτίσιν...» Μὴν Ἰούλιος, β´· τὰ καταθέσια τῆς τιμίας ἐσθῆτος τῆς ὑπεραγίας Θεοτόκου· ἦχος β´· Βυζαντίου «Φρένα καθάραντες καὶ νοῦν...» Μηνὶ τῷ αὐτῷ η´· τοῦ ἁγίου μεγαλομάρτυρος Προκοπίου· ἦχος α´· Γερμανοῦ «Ἀθλοφόρε τοῦ Χριστοῦ Προκόπιε...» Ἦχος α´· Ἀνατολίου «Τὸν γενναῖον ἀθλητὴν Προκόπιον...» Ἦχος β´· Βυζαντίου «Προκόπτων ἐν Θεῷ...» Ἦχος γ´· Γερμανοῦ «Νεανικὴν ἄγων τὴν ἡλικίαν...» Ἦχος δ´· Ἰωάννου μοναχοῦ «Κογχύλη αἵματος τοῦ μαρτυρίου σου...» Ἦχος δ´· Κυπριανοῦ «Αἶνος τῷ Θεῷ ἐκ χοϊκῶν...» Ἦχος πλ. α´· Βυζαντίου «Ἡ ἐκκλησία σήμερον στολισαμένη τοῖς ἄθλοις σου, Μάρτυς...» Ἦχος πλ. δ´· Ἀνατολίου «Ὥσπερ Παῦλος τὴν κλῆσιν...» Ἦχος πλ. δ´· Προκοπίου Χαρτοφύλακος «Ταῖς μυστικαῖς λαμπηδόσι...» Εἰς τὸν ιε´· τῶν ἁγίων μεγαλομαρτύρων Κηρύκου καὶ Ἰουλίττης· ἦχος α´· Γερμανοῦ «Τὸν γενναῖον ἀθλητὴν καὶ κήρυκα...» Ἦχος β´· τοῦ Μαυρολέωντος «Ὁ ἐκ σπαργάνων πεπληρωμένος...» Ἦχος δ´· Ἀνατολίου «Ἀγάλλου τέρπου καὶ εὐφραίνου, Ἰκονιέων...» Ἦχος πλ. β´· τοῦ Μαυρολέωντος «Δεῦτε καὶ θεάσασθε ἅπαντες ξένον θέαμα καὶ παράδοξον...» Εἰς τὸν ιζ´· τῆς ἁγίας μάρτυρος Μαρίνας· ἦχος α´· τοῦ αὐτοῦ «Ὡς ἐν πέτρᾳ στερρᾷ τῆς ὁμολογίας Θεοῦ...» Ἦχος β´· Λέοντος τοῦ Μαύρου «Ἐν πόλει τοῦ Θεοῦ ἡμῶν ἐν ὄρει...» Μηνὶ τῷ αὐτῷ κ´· τοῦ ἁγίου προφήτου Ἠλίου· ἦχος α´· Γερμανοῦ καὶ Ἀνατολίου «Ἠλίας ὁ ζηλωτὴς...» Ἦχος α´· Ἰωάννου μοναχοῦ «Δαυϊτικῶς σήμερον, πιστοὶ, τὸν προφήτην Κυρίου ὕμνοις...» Ἦχος α´· Γερμανοῦ «Πνεματικοῖς ᾄσμασι τοὺς προφήτας...» Ἦχος β´· Ἰωάννου μοναχοῦ «Φωστῆρες ἀνέτειλαν τῇ οἰκουμένῃ...» Ἦχος δ´· Ἀρσενίου «Ἐν πυρίνῳ ἅρματι...» Ἦχος πλ. β´· Βυζαντίου «Δεῦτε τὼν ὀρθοδόξων τὸ σύστημα...» [bottom of folio] Μηνὶ τῷ αὐτῷ κβ´· τῆς ἁγίας Μαρίας τῆς Μαγδαληνῆς Ἦχος πλ. β´· Ἀνατολίου «Πρώτη κατιδοῦσα τὴν θείαν...» Ἦχος πλ. δ´· Βυζαντίου «Τῷ ἑκουσίως πτωχεύσαντι...» Εἰς τὸν κδ´· τῆς ἁγίας Χριστίνης· ἦχος δ´· Κυπριανοῦ πατριάρχου «Μετὰ τῶν ἄνω ταγμάτων συνηριθμήθης...» Ἦχος β´· Ἀνατολίου «Ὡς ἀλάβαστρον μύρου τὸ αἶμά σου προσενήνοχας τῷ σῷ νυμφίῳ Χριστῷ, Χριστίνα...» Ἦχος β´· Γεωργίου Νικομηδείου «Τῇ Χριστωνύμῳ σου κλήσει...» Ἦχος δ´· Βυζαντίου «Δοξάζομέν σου, Χριστέ, τὴν πολλὴν εὐσπλαγχνίαν...» Ἦχος δ´· Γεωργίου «Σταυρὸν ὡς ὅπλον κραταιὸν Χριστίνα...» Ἦχος δ´· Κυπριανοῦ «Ἐθαυματούργησε, Χριστέ, τοῦ Σταυροῦ σου...» Μηνὶ τῷ αὐτῷ κε´· τῆς ἁγίας Ἄννης· ἦχος πλ. δ´· Ἀνατολίου «Οἱ ἐξ ἀκάρπων λαγόνων...»

24

187r 187v 188r 189r 189v 190r 190v 191r 191v 192v 193v 194v 195v 196r 196v 197r 197v 198v 199r 200r 201r 201v 202v 203r 203v 204r 204v 206r 206v

EBE 883

Εἰς τὴν κς´· τῆς ὁσίας Εὐπραξίας· ἦχος β´· Στουδίτου «Τὸν ὄντως ἔρωτα νυμφευσαμένη Χριστὸν...» Εἰς τὸν κζ´· τοῦ ἁγίου Παντελεήμονος· ἦχος α´· Βυζαντίου «Ἀγῶνα καλὸν ἠγωνίσω...» Ἦχος β´· Ἀνατολίου «Ἀναργύρως τὴν χάριν παρέχεις...» Ἦχος δ´· Βυζαντίου «Σήμερον ἐξέλαμψε τοῦ ἀθλοφόρου...» Ἦχος πλ. α´· Γερμανοῦ «Ἡ παμφαὴς τοῦ μάρτυρος...» Ἦχος πλ. β´· Βυζαντίου «Ἐξέλαμψε σήμερον ἡ σεβάσμιος...» Μὴν Αὔγουστος, α´· τῶν ἁγίων ἑπτὰ μαρτύρων Μακκαβαίων· ἦχος α´· Βυζαντίου καὶ Ἀνατολίου «Ἡ πολύαθλος μήτηρ...» Ἦχος δ´· Ἀνατολίου «Τὸν κατὰ τῶν Μακκαβαίων συγκροτηθέντα...» Ἦχος δ´· Ἀνδρέου Ἱεροσολυμίτου «Ἑπτὰ στῦλοι ἐκλεκτοὶ...» Ἦχος πλ. α´· Βυζαντίου «Οἱ τοῦ νόμου φύλακες...» Ἦχος πλ. δ´· Ἰωάννου μοναχοῦ «Οἱ ἅγιοι Μακκαβαῖοι...» Ἦχος πλ. δ´· Κοσμᾶ μοναχοῦ «Ψυχαὶ δικαίων ἐν χειρὶ Κυρίου...» Μηνὶ τῷ αὐτῷ ϛ´· ἡ μεταμόρφωσις τοῦ Σωτῆρος ἡμῶν Ἰησοῦ Χριστοῦ· Ἦχος α´· Ἰωάννου μοναχοῦ «Ὁ πάλαι τῷ Μωϋσεῖ...» Ἦχος β´· Μεθοδίου πατριάρχου «Τὸ προήλιον σέλας, Χριστὸς...» Ἦχος δ´· Κοσμᾶ τοῦ Ἁγιοπολίτου «Πρὸ τοῦ Σταυροῦ σου, Κύριε, ὄρος...» Ἦχος δ´· Ἀνδρεόυ «Ὄρος τὸ ποτὲ ζοφῶδες...» Ἦχος πλ. α´· Ἰωάννου μοναχοῦ «Δεῦτε ἀναβῶμεν εἰς τὸ ὄρος Κυρίου, καὶ εἰς τὸν οἶκον τοῦ Θεοῦ ἡμῶν...» Ἦχος πλ. β´· Ἀνατολίου «Προτυπῶν τὴν Ἀνάστασιν...» Ἦχος πλ. β´· Ἰωάννου μοναχοῦ «Πέτρῳ καὶ Ἰωάννῃ καὶ Ἰακώβῳ...» Ἦχος πλ. δ´· Βυζαντίου «Παρέλαβεν ὁ Χριστὸς τὸν Πέτρον...» Μηνὶ τῷ αὐτῷ ιε´· ἡ κοίμησις τῆς Ὑπεραγίας Θεοτόκου· ἦχος α´· Ἰωάννου μοναχοῦ «Θεαρχίῳ νεύματι πάντοθεν...» Ἦχος β´· Ἀνατολίου «Ἡ τῶν οὐρανῶν ὑψηλοτέρα ὑπάρχουσα...» Ἦχος β´· Ἰωάννου μοναχοῦ «Ἡ πανάμωμος νύμφη...» Ἦχος γ´· Γερμανοῦ πατριάρχου «Δεῦτε, ἅπαντα τὰ πέρατα τῆς γῆς...» Ἦχος δ´· Βυζαντίου «Δεῦτε ἀνυμνήσωμεν, λαοὶ, τὴν Παναγίαν...» Ἦχος πλ. α´· Θεοφάνους πρωτόθρονου «Δεῦτε φιλεόρτων τὸ σύστημα, δεῦτε καὶ χορείαν...» Ἦχος πλ. β´· Ἀνατολίου «Δεῦτε, τὴν παγκόσμιον κοίμησιν...» Ἦχος πλ. β´· Βυζαντίου «Ὅτε ἡ μετάστασις...» Ἦχος πλ. δ´· Ἀνατολίου «Παρθενικαὶ χορεῖαι σήμερον...» [bottom] Μηνὶ τῷ αὐτῷ κβ´· τοῦ ἁγίου μάρτυρος Ἀγαθονίκου· Ἦχος α´· Ἀνατολίου «Φερωνύμως ἐκλήθης τῆς ἀγαθῆς νίκης...» Ἦχος πλ. δ´· Βυζαντίου «Φερωνύμως τὴν κλῆσιν δεξάμενος...» Μηνὶ τῷ αὐτῷ κς´· τοῦ ἁγίου Ἀδριανοῦ καὶ Ναταλίου· Ἦχος α´· Ἐφραὶμ «Ζῆλος ἀνδρὸς εὐσεβοῦς...» Ἦχος πλ. β´· Ἐφραὶμ καὶ Ἀνδρέου «Ὤ ζεῦγος ἅγιον καὶ ἐκλεκτὸν...» Μηνὶ τῷ αὐτῷ κθ´· ἡ ἀποτομὴ τοῦ τιμίου Προδρόμου· ἦχος α´· Γερμανοῦ πατριάρχου «Τῆς ἀποτμηθείσης κεφαλῆς...» Ἦχος α´· Συκεῶτου «Σήμερον ἡ ἀνοσιουργότροπος...» Ἦχος δ´· Ἀνατολίου «Τὸν προφήτην καὶ μάρτυρα καὶ βαπτιστὴν τοῦ Σωτῆρος δεῦτε, λαοί...» Ἦχος πλ. α´· Ἰωάννου μοναχοῦ «Τῆς ἀνόμου πράξεως...»

EBE 883

207r 208r 208v 209r 210r 212r

25

Ἦχος πλ. β´· Ἐφραὶμ Καρίου «Ὠρχήσατο ἡ μαθήτρια...» Ἦχος πλ. β´· Ἰωάννου μοναχοῦ «Πάλιν Ἡρωδίας μαίνεται...» Ἦχος πλ. δ´· Ἀνατολίου «Πρόδρομε τοῦ Σωτῆρος, εἰ καὶ φόνῳ...» Εἰς τὴν λα´· τῆς τιμίας ζώνης· ἦχος β´· Κοσμᾶ μοναχοῦ «Ὡς στέφανον ὑπέρλαμπρον...» Τέλος. This concludes the stichoi of the ecclesiastical year. [beginning of Triodion] Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς ἁγίας Τεσσαρακοστῆς, ἀπὸ τοῦ Τελώνου καὶ τοῦ Φαρισαίου· Ἦχος α´· Ἀνδρέου Πυροῦ «Μὴ προσευξώμεθα φαρισαϊκῶς...» Ἦχος α´· Στεφάνου [Σαββαΐτῃς/Ἁγιοσαβίτης] «Φαρισαῖος κενοδοξίᾳ νικώμενος...» Ἦχος πλ. δ´· Στεφάνου Ἁγιοπολίτου «Ταῖς ἐξ ἔργων καυχήσεσι...» [bottom] Κυριακῇ τοῦ Ἀσώτου Τῇ Κυριακῇ α´· τῆς Ἀπόκρεῳ· ἦχος πλ. β´· Ἀνδρέου Πυροῦ «Ἐννοῶ τὴν ἡμέραν ἐκείνην...» Ἦχος βαρὺς· Στεφάνου Ἁγιοπολίτου «Τὰς τοῦ Κυρίου γνόντες ἐντολὰς...» 213r Τῇ Κυριακῇ πρωΐ· ἦχος α´· Ἀνδρέου Πυροῦ «Προκαθάρωμεν ἑαυτούς, ἀδελφοί...» 214v Ἑσπέρας· ἦχος πλ. δ´· τοῦ αὐτοῦ «Λιχνευσάμενοι τὴν πρώτην...» Τῇ β´· τῆς Τυροφάγου πρωΐ· ἦχος γ´· τοῦ αὐτοῦ «Πάντα τὸν χρόνον ἡ νηστεία...» 215r Ἑσπέρας· ἦχος πλ. δ´· τοῦ αὐτοῦ «Διὰ νηστείας καθαρθῆναι σπεύσωμεν...» Τῇ γ´ πρωΐ· ἦχος γ´· τοῦ αὐτοῦ «Ἀσμένως, λαοί, τὴν νηστείαν...» 215v Ἑσπέρας· ἦχος α´· τοῦ αὐτοῦ «Περιχαρῶς δεξώμεθα, πιστοὶ...» Τῇ δ´ πρωΐ· ἦχος α´· τοῦ αὐτοῦ «Βρωμάτων νηστεύουσα, ψυχή μου...» 216r Τῇ ε´ πρωΐ· ἦχος γ´· τοῦ αὐτοῦ «Ἔλαμψε τῆς ἐγκρατείας ἡ εὐπρέπεια...» 216v Τῷ Σαββάτῳ Ἑσπέρας· τοῦ Τυροφάγου· ἦχος πλ. α´· Ἀνδρέου Πυροῦ «Οἴμοι ὁ Ἀδὰμ ἐν 217v θρήνῳ...» Ἦχος πλ. β´· Βυζαντίου «Ἀδὰμ τοῦ παραδείσου διώκεται...» 219r 220r Prosomoia stichera for Lent written by Joseph the Poet and Theodore the Studite Τῇ β´ τῆς α´ ἑβδομάδος πρωΐ· ἦχος πλ. α´ «Ἐλήλυθεν ἡ νηστεία...» 220v Τῇ δ´ πρωΐ· ἦχος πλ. δ´ «Νηστείᾳ τῶν λογισμῶν τὰ πάθη...» 221v Τῇ ε´ πρωΐ· ἦχος γ´ «Κύριε, ἐμοὶ τῷ ἁμαρτωλῷ...» 222r Στιχηρὰ τοῦ ἁγίου μεγαλομάρτυρος Θεοδώρου· ἦχος β´· τοῦ αὐτοῦ «Δεῦτε, φιλομάρτυρες 223r πάντες, πνευματικῶς...» Ἦχος πλ. β´· Ἰγνατίου καὶ Κασία «Ὀργάνῳ χρησάμενος ὁ δυσμενὴς...» 225v Κυριακῇ τῆς Ὀρθοδοξίας· ἦχος πλ. β´ [Ταρασίου πατριάρχου] «Ἡ χάρις ἐπέλαμψε...» 226v Τῇ Κυριακῇ πρωΐ· ἦχος πλ. β ´· Ἀνδρέου Πυροῦ «Μωϋσῆς τῷ καιρῷ τῆς ἐγκρατείας...» 227r Τῇ β´ τῆς β´ ἑβδομάδος πρωΐ· ἦχος πλ. α´ «Θαυμαστὸν ὅπλον ἡ προσευχὴ...» 227v Τῇ δ´ πρωΐ· ἦχος βαρὺς «Ὁ διὰ Σταυροῦ σου, Κύριε, λύσας...» 228v Τῇ ε´ πρωΐ· ἦχος πλ. δ´ «Μετανοίας ὁ καιρός καὶ ζωῆς...» 229r Τῇ β´ Κυριακῇ Ἑσπέρας· ἦχος πλ. δ´ «Χαλινοὺς ἀποπτύσας τοὺς πατρικοὺς...» 230r Τῆ β´ τῆς γ´ ἑβδομάδος πρωΐ· ἦχος δ´ «Τὸν χαλεπὸν τῶν πταισμάτων μου...» 230v Τῇ δ´ πρωΐ· ἦχος β´ «Ἐν τιμῇ ὢν υἱότητος Πατρὸς...» 231v Τῇ ε´ πρωΐ· ἦχος πλ. β´ «Tῆς υἱοθεσίας ἐκπεσὼν...» 232r Τῇ Παρασκευῇ πρωΐ· ἦχος πλ. β´ «Τῆς πατρικῆς δωρεᾶς διασκορπίσας τὸν πλοῦτον, 232v ἀσωτίᾳ...» 233r Κυριακῇ γ´ πρωΐ· ἦχος πλ. δ´ «Τὴν ὑψηλόφρονα γνώμην τῶν κακίστων Φαρισαίων...» Τῇ β´ τῆς δ´ ἑβδομάδος· ἦχος πλ. β´ «Ἀρίστην ὁδὸν ὑψώσεως...» 233v Τῇ δ´ πρωΐ· ἦχος πλ. α´ «Οἱ ἐν κρυπτῷ ἀρετὰς...» 234v

26

235v 236v 238r 238v 239v 242r 243r 243v 244r 244v 245v 246r 246v 247v 249r 249v 250r 251r 252r 252v 253r 253v 254v 255r 256r 256v 257v 258r 259r 259v 260r

EBE 883

Στιχηρὰ εἰς τῇ Κυριακῇ τοῦ Σταυροῦ· ἦχος β´· Λέοντος Δεσπότου «Δεῦτε, πιστοὶ, τὸ ζωοποιὸν ξύλον...» Ἦχος πλ. δ´· Λέοντος δεσπότου «Σήμερον ὁ δεσπότης τῆς κτίσεως, καὶ Κύριος τῆς δόξης...» Ἦχος δ´· Ἀνδρέου Πυροῦ «Ἡ τῶν ἀγαθῶν πρόξενος...» Ἦχος βαρὺς· Ἀνδρέου Πυροῦ «Ζηλώσωμεν, οἱ πιστοὶ, τοῦ Τελώνου...» Κυριακῇ δ´ πρωΐ· ἦχος α´ «Δεῦτε, ἐργασώμεθα ἐν τῷ μυστικῷ...» Τῇ Παρασκευῇ πρωΐ· ἦχος πλ. δ´ «Ὁ μετὰ λῃστῶν τῷ Σταυρῷ παγείς, Χριστὲ ὁ Θεός...» Κυριακῇ ε´ πρωΐ· ἦχος α´· Ἀνδρέου Πυροῦ «Οὐκ ἔστιν ἡ βασιλεία τοῦ Θεοῦ...» Τῇ β´ πρωΐ· ἦχος πλ. α´ «Μὴ καταδικάσῃς με, Χριστέ...» Τῇ γ´ πρωΐ· ἦχος πλ. α´ «Ὀλισθηρῶς τοῖς παραπτώμασι...» Ἑσπέρας· ἦχος α´· Λέοντος δεσπότου «Πορφύραν αὐτοκρατορίας θεότευκτον...» Τῇ δ´ πρωΐ· ἦχος α´· τοῦ αὐτοῦ «Ὁ Ἰσραὴλ πορφύραν...» Τῇ ε´ πρωΐ· ἦχος πλ. α´ «Δεῦτε, πρὸ τέλους πάντες ἀδελφοὶ, ἐν καθαρᾷ...» Τῇ Παρασκευῇ πρωΐ· ἦχος α´ «Περιφρονήσασα, ψυχή μου...» Ἑσπέρας· ἦχος πλ. δ´· Λέοντος δεσπότου «Τὴν ψυχωφελῆ πληρώσαντες Τεσσαρακοστὴν, καὶ τὴν ἁγίαν...» Ἦχος πλ. δ´· Λέοντος δεσπότου «Τὴν ψυχωφελῆ πληρώσαντες Τεσσαρακοστὴν, βοήσωμεν...» Τῷ Σαββάτῳ τοῦ ἁγίου Λαζάρου· ἦχος α´· Ἰωάννου μοναχοῦ «Ἀνάστασις καὶ ζωὴ τῶν ἀνθρώπων...» Ἦχος πλ. β´· Ἰωάννου μοναχοῦ «Κύριε, Λαζάρου θέλων τάφον...» Ἦχος πλ. β´· Ἰωάννου μοναχοῦ «Κύριε, ἐπὶ τὸν τάφον...» Ἦχος πλ. δ´· Βυζαντίου «Κύριε, παραλαμβάνων τοῦς μαθητάς σου...» Ἦχος πλ. δ´· Ἰωάννου μοναχοῦ «Λάζαρον τεθνεῶτα ἐν Βηθανίᾳ...» Ἦχος πλ. δ´· Βυζαντίου «Ἑπιστὰς τῷ μνήματι...» Ἦχος δ´· Κοσμᾶ μοναχοῦ «Ὁ πλεῖστος ὄχλος, Κύριε...» Ἦχος δ´· Ἀνδρέου ‘Ιεροσολυμίτου «Τὴν κοινὴν ἀνάστασιν πρὸ τοῦ ἑκουσίου πάθους...» Ἦχος δ´· Θεοφάνους δεσπότου καὶ Κοσμᾶ μοναχοῦ «Ἐξέλθετε ἔθνη, ἐξέλθετε...» Ἦχος πλ. β´· Ἀνδρέου Ἱεροσολυμίτου «Ὁ ἔχων θρόνον οὐρανὸν καὶ ὑποπόδιον τὴν γῆν…» Ἦχος πλ. β´· Ἀνδρέου Πυροῦ «Δεῦτε καὶ ὑμεῖς σήμερον πᾶς ὁ νέος...» Ἦχος πλ. δ´· Ἰωάννου μοναχοῦ «Ἦλθεν ὁ Σωτὴρ σήμερον...» Τῇ Κυριακῇ Ἑσπέρας· ἦχος β´· Κυπριανοῦ μοναχοῦ «Ἐκ βαΐων καὶ κλάδων...» Τῇ ἁγίᾳ καὶ μεγάλῃ β´, πρωΐ· ἦχος α´ [Κοσμᾶ] «Ἐρχόμενος ὁ Κύριος πρὸς τὸ ἑκούσιον πάθος...» Ἦχος πλ. α´· Ἰωάννου μοναχοῦ «Φθάσαντες, πιστοὶ, τὸ σωτήριον πάθος...» Ἦχος πλ. δ´· Κοσμᾶ μοναχοῦ «Τῆς ξηρανθείσης συκῆς...» Τῇ ἁγίᾳ καὶ μεγάλῃ γ´ πρωΐ· ἦχος α´ [Κοσμᾶ] «Ἐν ταῖς λαμπρότησι τῶν ἁγίων σου...» Ἦχος β´· Ἰωάννου μοναχοῦ «Ὅτι ψυχῆς ῥαθυμίᾳ...» Ἑσπέρας· ἦχος πλ. β´· τοῦ αὐτοῦ «Ὁ νυμφίος, ὁ κάλλει ὡραῖος...» Ἦχος πλ. β´· Λέοντος δεσπότου «Ὅταν ἔλθῃς ἐν δόξῃ μετ´ ἀγγέλων δυνάμεων, καὶ καθίσῃς...» Ἦχος βαρὺς· Κοσμᾶ μοναχοῦ «Ἰδού, σοι τὸ τάλαντον...» Τῇ μεγάλῃ δ´ πρωΐ· ἦχος α´ «Σὲ τὸν τῆς Παρθένου Υἱὸν...» Ἦχος α´· τοῦ αὐτοῦ «Τὸ πολυτίμητον μύρον ἡ πόρνη...»

EBE 883

260v 261r 261v 262r 262v 263r 263v 264r 264v 265r 265v 267r 268r 268v 269r 269v 270r 270v 271r 271v 272r 272v 273r 273v 274r 274v 275r 275v 276r 276v 277r

277v

27

Ἦχος β´· Βυζαντίου «Σήμερον ὁ Χριστὸς παραγίνεται...» Ἦχος πλ. β´· Ἰωάννου μοναχοῦ «Ἥπλωσεν ἡ πόρνη τὰς τρίχας...» Ἦχος πλ. β´· τοῦ αὐτοῦ «Ἡ ἀπεγνωσμένη διὰ τὸν βίον...» Ἦχος πλ. δ´· Ἰκασία «Κύριε, ἡ ἐν πολλαῖς ἁμαρτίαις...» Τῇ ἀγίᾳ καὶ μεγάλῃ ε´· ἦχος β´· Κοσμᾶ μοναχοῦ «Συντρέχει λοιπὸν τὸ συνέδριον...» Ἦχος β´· Ἰωάννου μοναχοῦ «Ἰούδας ὁ παράνομος, Κύριε...» Ἦχος β´· τοῦ αὐτοῦ «Ἰούδας προδότης δόλιος...» Ἦχος β´· τοῦ αὐτοῦ «Ἰούδας ὁ δοῦλος καὶ δόλιος, ὁ μαθητὴς...» Ἦχος πλ. β´· Κοσμᾶ μοναχοῦ «Μυσταγωγῶν σου, Κύριε...» Ἦχος πλ. δ´· Μεθοδίου πατριάρχου «Σήμερον τὸ κατὰ τοῦ Χριστοῦ...» Ἦχος πλ. δ ´· Ἰωάννου μοναχοῦ «Ὁ τρόπος σου δολιότητος...» Ἦχος πλ. δ´· Μεθοδίου πατριάρχου «Μηδείς, ὦ πιστοὶ, τοῦ δεσποτικοῦ...» Ἦχος πλ. δ´· Μεθοδίου πατριάρχου «Σήμερον ὁ Ἰούδας τὸ τῆς φιλοπτωχίας...» Στιχηρὰ εἰς τὸν νιπτῆρα· ἦχος α´ «Ὁ λεντίῳ ζωσάμενος...» Τῇ ἁγίᾳ καὶ μεγάλῃ Παρασκευῇ πρωΐ· ἦχος α´· Θεοφάνους πρωτοθρόνου «Πᾶσα ἡ κτίσης ἠλλοιοῦτο...» Ἦχος β´· Λέοντος δεσπότου «Σήμερον σε θεωροῦσα...» Ἦχος γ´· Βυζαντίου «Δύο καὶ πονηρὰ ἐποίησεν...» Ἦχος γ´· Στουδίτου «Ἕκαστον μέλος τῆς ἁγίας σου σαρκὸς...» Ἦχος γ´· Βυζαντίου «Σταυρωθέντος σου, Χριστέ, πᾶσα ἡ κτίσις...» Ἦχος πλ. β´· Ἀνδρέου Πυροῦ «Τὸν νῶτόν μου ἔδωκα...» Ἦχος πλ. β´· Θεοφάνους «Ὦ πῶς ἡ παράνομος συναγωγὴ...» Ἦχος πλ. β´· Σεργίου Λογοθέτου «Φοβερὸν καὶ παράδοξον μυστήριον...» Ἦχος πλ. β´· Βυζαντίου «Σήμερον ὁ δεσπότης καὶ Κύριος...» Ἦχος πλ. δ´· Ἰωάννου μοναχοῦ «Ἤδη βάπτεται κάλαμος...» Ἀκολουθία τῶν ἁγίων Παθῶν· ἀντίφωνον α´· ἦχος πλ. δ´· Σωφρονίου πατριάρχου Ἱεροσολύμων «Ἄρχοντες λαῶν συνήχθησαν...» Ἀντίφωνον β´· ἦχος πλ. β´ «Ἔδραμε λέγων ὁ Ἰούδας...» Ἀντίφωνον γ´· ἦχος β´ «Διὰ Λαζάρου τὴν ἔγερσιν...» Ἀντίφωνον δ´· ἦχος πλ. α´ «Σήμερον ὁ Ἰούδας καταλιμπάνει...» Ἀντίφωνον ε´· ἦχος πλ. β´ «Ὁ μαθητὴς τοῦ διδασκάλου...» Ἀντίφωνον ς´· ἦχος βαρὺς «Σήμερον γρηγορεῖ ὁ Ἰούδας...» Ἀντίφωνον ζ´· ἦχος πλ. δ´ «Τοῖς συλλαβοῦσί σε παρανόμοις...» Ἀντίφωνον η´· ἦχος β´ «Εἴπατε, παράνομοι...» Ἀντίφωνον θ´· ἦχος γ´ «Ἔστησαν τὰ τριάκοντα ἀργύρια...» Ἀντίφωνον ι´· ἦχος πλ. β´ «Ὁ ἀναβαλλόμενος φῶς ὡς ἱμάτιον γυμνὸς...» Ἀντίφωνον ια´· ἦχος πλ. β´ «Ἀντὶ ἀγαθῶν ὦν ἐποίησας...» Ἀντίφωνον ιβ´· ἦχος πλ. δ´ «Τάδε λέγει Κύριος τοῖς Ἰουδαίοις...» Ἦχος πλ. δ´· Σωφρονίου πατριάρχου Ἱεροσολύμων «Σήμερον τοῦ ναοῦ τὸ καταπέτασμα...» Ἀντίφωνον ιγ´· ἦχος πλ. β´ «Τὸ ἄθροισμα τῶν Ἰουδαίων...» Ἀντίφωνον ιδ´· ἦχος πλ. δ´ «Κύριε, ὁ τὸν ληστὴν...» Ἀντίφωνον ιε´· ἦχος πλ. β´ «Σήμερον κρεμᾶται ἐπὶ ξύλου...» Τροπάρια τῶν ὡρῶν ψαλλόμενα τὴν μεγάλην Παρασκευὴν τοῦ Σοφρονίου Ἱεροσολύμων. Ὥρα α´· ἦχος πλ. δ´ «Σήμερον τοῦ ναοῦ τὸ καταπέτασμα...» Ὥρα γ´· ἦχος πλ. δ´ «Διὰ τὸν φόβον τῶν Ἰουδαίων...»

28

278v 279v 280v 283r 284r 285r 287r 289r 290v 292r 292v 293v 295v 296r 297v 303v 305r 306v 310r 314r 320v 323v 335v 341v 342r 343r 344v 353r 354v 355r 356r

EBE 883

Ὥρα ς´· ἦχος πλ. δ´ «Τάδε λέγει Κύριος τοῖς Ἰουδαίοις...» Ὥρα θ´· ἦχος βαρὺς «Θάμβος ἦν κατιδεῖν τοῦ οὐρανοῦ...Ποιητὴν ἐπὶ Σταυροῦ...» Τῷ ἁγίῳ καὶ μεγάλῳ Σαββάτῳ· ἦχος β´ «Σήμερον συνέχει τάφος...» Τῇ ἁγίᾳ καὶ μεγάλῃ Κυριακῇ τοῦ Πάσχα· ἦχος α´ «Σήμερον σωτηρία τῷ κόσμῳ ὅσος τε ὁρατὸς...» Τῇ Κυριακῇ τοῦ Θωμᾶ· ἦχος α´· Ἰωάννου μοναχοῦ «Τῶν θυρῶν κεκλεισμένων, τῶν μαθητῶν συνηθροισμένων, εἰσῆλθες ἄφνω...» Ἦχος α´· Ἀνατολίου «Μεθ᾽ ἡμέρας ὀκτὼ τῆς Ἐγέρσεώς σου, Κύριε...» Ἦχος β´· Ἀνατολίου «Τῶν θυρῶν κεκλεισμένων, ἐπιστὰς ὁ Ἰησοῦς τοῖς μαθηταῖς...» Κυριακῇ τῶν Μυροφόρων· ἦχος α´ «Μυροφόροι γυναῖκες, τῷ τάφῳ τί προσήλθετε, τί ζητεῖτε...» Τῇ Κυριακῇ τοῦ Παραλύτου· ἦχος α´· Ἀνατολίου «Ὁ τῇ παλάμῃ τῇ ἀχράντῳ...» Ἦχος πλ. δ´· Μεθοδίου «Ἐν τῇ στοᾷ τοῦ Σολομῶντος...» Ἦχος γ´· Γερμανοῦ «Μεσούσης τῆς ἑορτῆς ὑμνοῦμέν σε...» Ἦχος πλ. δ´· Ἰωάννου μοναχοῦ «Μεσούσης τῆς ἑορτῆς, διδάσκοντός σου...» Κυριακῇ δ´ τῆς Σαμαρείτιδος· ἦχος α´ «Ἐπὶ τὴν πηγὴν ἐπέστης, ἡ πηγὴ...» Κυριακῇ τοῦ Τυφλοῦ. Ἦχος α´ «Ὁ τυφλὸς γεννηθεὶς ἐν τῷ ἰδίῳ...» Τῇ ε´ τῆς Ἀναλήψεως· ἦχος α´ [Ἀνατολίου] «Ἀνελθὼν εἰς οὐρανούς, ὅθεν...» Τῇ Κυριακῇ τῶν Ἁγίων Πατέρων ἐν Νικαίᾳ· ἦχος γ´ «Ἀποστολικῶν παραδόσεων...» Τῇ Κυριακῇ τῆς ἁγίας Πεντηκοστῆς· ἦχος α´ [Ἰωάννου μοναχοῦ] «Πεντηκοστὴν ἑορτάζομεν, καὶ Πνεύματος ἐπιδημίαν...» Τῇ Κυριακῇ εἰς τοὺς γονασικλίναντας [sic]· ἦχος γ´ [Ἰωάννου μοναχοῦ] «Νῦν εἰς σημεῖον τοῖς πᾶσιν...» (part of the Sunday of Pentecost) Τῇ Κυριακῇ τῶν ἁγίων Πάντων· ἦχος α´ [Ἰωάννου μοναχοῦ] «Πίστεως συμφωνίᾳ τὴν κοσμικὴν...» Ἀρχὴν σὺν Θεῷ τῶν ἀναβαθμῶν· ἀντίφωνον α´· ἦχος α´ (Anabathmoi follow according to modes) Στιχηρὰ ἑωθινὰ· ἦχος α´ [Λέοντος] «Εἰς τὸ ὄρος τοῖς μαθηταῖς...» Τῇ Κυριακῇ πρωΐ· ἦχος γ´ «Ὕμνον ἑωθινὸν αἱ μυροφόροι γυναῖκες...» Στιχηρὰ Ἀναστάσιμα κατὰ ἀλφάβητον [τοῦ Δαμασκηνοῦ]· ἦχος α´ «Ἀγγαλιάσθω ἡ κτίσις, οὐρανοὶ εὐφραινέσθωσαν...» Ἦχος α´ «Βασιλεὺς ὑπάρχων οὐρανοῦ καὶ γῆς...» (These Stichera are in an alphabetical acrostic and progress according to modes of the octoechos. This section ends on fol. 341v with Plagal IV mode.) Στιχηρὰ τῆς Ἁγίας Τεσσαρακοστῆς· προσόμοια τῆς Δευτέρας τῆς πρώτης ἑβδομάδος πρωΐ. τὸ ἕν αὐτῶν Ἀμπελοκηπιώτου (Ἱερεὺς Μανουὴλ)· ἦχος β´ «Ἐγκρατείᾳ τὴν σάρκα...» Ἦχος β´· πρωΐ «Τὸν τῆς νηστείας καιρὸν...» Τῇ Τετάρτῃ· ἦχος α´· ἓως ὥρα θ´ «Βρώσει πάλαι πικρᾷ...» Τῇ Παρασκευῇ· τὸν φωτισμὸν· ἦχος β´ «Τὸν σκοτισθέντα με...» Στιχηρὰ τῶν ἁγίων ἡμερῶν τῆς Τεσσαρακοστῆς· ἦχος β´ «Ἐν ᾠδαῖς ᾀσμάτων...» Ποίημα Ἰωάννου μοναχοῦ του Δαμασκηνοῦ· ἦχος α´ «Παρθενικὴ πανήγυρις σήμερον, ἀδελφοὶ...» (This section begins with the Stichera by John Damascene and lists the stichera according to modes.) Ἀρχὴ τοῦ β´ ἦχου· ἦχος β´ «Ὤ τοῦ μεγίστου μυστηρίου...» Ἀρχὴ τοῦ γ´ ἦχου· ἦχος γ´ «Μέγιστον θαῦμα Παρθένος...»

EBE 883

356v 357r 357v

29

Ἀρχὴ τοῦ δ´ ἦχου «Ὁ σὺν Πατρὶ καὶ Πνεύματι...» Ἀρχὴ τοῦ ἦχου πλ. α´ «Τὴν θεοπρεπῆ καὶ σεβάσμιον κόρην...» The last folio, which is difficult to read, ends incompletely with the Theotokia Dogmatika of John Damascene.

Notes This Sticherarion has been described in great detail because of its many ascriptions and its early date. The MS is bound in brown leather, but its beginning and ending folios are badly damaged. The number of lines per page averages 19. The text is written in black ink but the neumes are reddish brown in colour. The initial letter of the text is usually in red. The modes are marked for the Stichera and the composers are usually given. In several instances the scribe has indicated two or more composers for the same chant, e.g. fols 80v (Ikasia and Anatolios) and 203v (Ephraim and Andrew). This suggests that he may have been compiling the chants of this Sticherarion from several sources and wanted to include comparative possibilities of ascriptions. The orthography is generally correct. In the very brief description of EBE MS 883 in the Sakkelions’ 1892 Catalogue, this MS is dated in the 12th century. A more accurate date, however, is the mid-to-late 13th century. The MS is an excellent example of the mid-13th-century Sticherarion. Moreover, it is a very rich source of music because of its identification of early hymnographers for many of the chants. The following are some of the composers represented in this repertory: Andreas Pyros, Germanos the Patriarch, Byzantios, Ephraim Karias, Anatolios, Ioannes the Monk, Theophanes the Bishop, Theophanes the Patriarch, Andrew of Crete, Stoudites, Andrew of Jerusalem, Stephanos, Sergios, Hagiopolites, Leon the Bishop, Leon Mauros, Mauroleontos, Prokopios Chartophylax, Arsenios, Georgios Sykelios, Kosmas the monk, Sykeotes, Basileios Seleukos, Methodios the Patriarch, Kyprianos the Monk, Kyprianos the Patriarch, Ignatios, Georgios Nikomedias and Kassia (Ikasia), the earliest woman composer whose music has been preserved. The contents of this Sticherarion are also ample: the Stichera from 1 Sept. through to 31 Aug. fol. 1r fol. 209r the Triodion repertory fol. 305r Sunday of Pentecost fol. 314r Anabathmoi chants fol. 320v Stichera fol. 335v Stichera Anastasima fol. 341v Stichera for Great Lent fol. 354v Stichera Theotokia Dogmatika by John Damascene Bibliography Kassia (b. 810), Six Stichera, ed. Touliatos. ——Thirteen Hymns, ed. Touliatos. Pitra, Hymnographie de l’église grecque. Raasted, ‘Koukouzeles’ Sticherarion’. Stathis, G., ‘An Analysis of the Sticheron Τὸν ἥλιον κρύψαντα by Germanos, Bishop of Patras’. —— “Ἀνάλυση τοῦ Στιχηροῦ τοῦ Γερμανοῦ Ἀρχιερέως Νέων Πατρῶν”.

30

EBE 883

Tillyard, The Hymns of the Pentecostarium, p. xxxii. —— ‘A Musical Study of the Hymns of Casia’. Touliatos, ‘Byzantine Chant Repertory Recovered’, pp. 171, 178. —— ‘Kassia (c. 810-c. 843-867)’, in Women Composers. —— ‘Kassia’, in Historical Anthology of Music by Women, ed. Briscoe, pp. 1–5. —— ‘Kassia’, in New Historical Anthology of Music by Women, ed. Briscoe, pp. 6–13. —— ‘Women Composers of Medieval Byzantine Chant’,. Velimirović, ‘Unknown Stichera for Feast of Athanasios’.

EBE 884

31

ΕΒΕ 884 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: bombycinous Measurements: 21.6 × 14.5 cm Date: 1341 Folios: I + 401 + II Notation: Middle Byzantine

Ir–v 1r 2 v

blank Θεοτόκιον (Theotokia Prosomoia) Στιχηρὰ δογματικὰ· ποίημα Ἰωάννου τοῦ Δαμασκηνοῦ· ἦχος α´ «Παρθενικὴ πανήγυρις σήμερον, ἀδελφοί...» 4r Stichera for 15 August 5r Stichera for Lent Στιχηρὰ ψαλλόμενα τῶν ἁγίων καὶ μεγάλων Σαββάτῳ· ποιηθέντα παρὰ τοῦ κὺρ 5 v μεγάλοῦ Λογοθέτου τοῦ Ἁγιοπολίτου· ἦχος πλ. β´ «Τὸν ἦλιον κρύψαντα...» 6v Stichera for Easter 7v Parallage and a little wheel diagram Στιχηράριον σὺν Θεῷ πίστεων τῆς Ἁγίας Ἀκολουθίας Μὴν Σεπτέμβριος, Α´· ἀρχὴν τῆς 8r Ἰνδίκτου καὶ μνήμη τοῦ ὁσίου ἱερομαρτύρων Συμεὼν τοῦ Στυλίτου καὶ Ἰησοῦ τοῦ Ναυῆ... beginning of Menaia. Ἀκολουθεῖ τὸ Στιχηράριον τῶν ἑορτῶν τοῦ Μηνολογίου μέχρι τῆς 29ης Αὐγούστου. Τὸ μέλος εἶναι διάφορον τοῦ παλαοῦ Στιχηραρίου. The Stichera that follow are arranged according to the liturgical calendar, beginning with 1 Sept. and ending 29 Aug., and represent composers of the older Sticherarion. The composers listed below are only the more prominent names. Ἀνδρέου Πυροῦ 9r Γερμανοῦ πατριάρχου 11v Βυζαντίου 12v Ἐφραὶμ Καρίου 13r Ἀνατολίου 14r Σεργίου Ἁγιοπολίτου 18v Ἐφραὶμ Καρίου 19r Ἀνδρέου Ἱεροσολυμίτου 22r Κυπριανοῦ 23r Ἀνατολίου 24r Θεοφάνους πατριάρχου καὶ Βυζαντίου 26v Λέοντος καὶ Ἰωάννου τοῦ Δαμασκηνοῦ 27r Ἀνατολίου καὶ Γερμανοῦ πατριάρχου καὶ Ἐφραὶμ Καρίου 31r Κυπριανοῦ καὶ βυζαντίου 32r Ἀνδρέου Ἱεροσολυμίτου καὶ Ἀνατολίου 33r 34v Κυπριανοῦ καὶ Γερμανοῦ πατριάρχου Σεργίου 38v Μὴν Ὀκτώβριος, α´· Ἀνατολίου 39r Ἀνδρέου Πυροῦ καὶ Θεοφάνους 43r

32

EBE 884

43v 54r 56r 67v 74v 81r 92r 146v 168v 182v 198v 219r 221r

Γερμανοῦ καὶ Κυπριανοῦ Ἀνδρέου Ἱεροσολυμίτου Μὴν Νοέμβριος, α´ Γεωργίου Νικομηδείου Λέοντος Mαΐστρου καὶ Γεωργίου Νικομηδείου Μὴν Δεκέμβριος, δ´· Ἀνατολίου καὶ βυζαντίου Στουδίτου Μὴν Φεβρουάριος, α´· Κυπριανοῦ καὶ Γερμανοῦ πατριάρχου Μὴν Ἰούνιος, η´· Ἀνατολίου Μὴν Ἰούλλιος [sic], β´· Ἀνατολίου Μὴν Αὔγουστος, α´ Μὴν Μάϊος εἰς τὸ ιβ´ (additions for Epiphanios of Cyprus, 12 May) Ποίημα μητροπολίτου Φιλαδελφίας «Οὐράνιε βασιλεῦ...». This is attributed to Theoleptos, Metropolitan of Philadelphia, and is a Troparion intended to be sung after the Κanon, «Εἰς φόβον σεισμοῦ» (‘After the Earthquake’). Ἀρχὴ σὺν Θεῷ τῆς ἁγίας Τεσσαρακοντᾶς· ἀρχόμενον ἀπὸ τοῦ Τελώνου καὶ τοῦ 222r Φαρισαίου μεγαλομαρτύρων τῶν ἁγιωντάτων [sic]· Ἀνδρέου Πυροῦ καὶ Στεφάνου Triodion with Prosomoia inserted Ἰγνατίου καὶ Ἰκασία 245r Ἀντίφωνα 297v Τῇ ε´ τῆς ἀναλήψεως 329r 331v Pentecostarion 346r Oktoechos Οἱ ἀναβαθμοὶ· ἀντίφωνον α´ 357r Τὰ ἕνδεκα αἱωθινὰ [sic] 382r Στιχηρὰ δογματικὰ ἐγγόμια [sic] εἰς τὴν Ὑπεραγίαν Θεοτόκον· ποιήμα Ἰωάννου τοῦ 387v Δαμασκηνοῦ. colophon: ᾽Αθανάσιος τὴν μελουργὸν πυκτίδα. Ταύτην ἐμαῖς χερσὶ γέγραφα κοσμίως. 390v Ἐξ ἀντιγράφου πάνυ διωρθωμένου. ῎Οντος κἀκείνου τοῦ πάλαι Κουκουζέλη. Ἐξ ἀντιγράφου γέγραφα τὸ πυκτίον. Ἀθανάσιος τοῦ Κουκουζέλη τόδε. Ἔτους ͵ςωμθ´. 391r Stichera for Christmas in a kalophonic style Ἰδιόμελoν εἰς τοῦ ἁγίου μεγαλομάρτυρος Δημητρίου 395r Μέθοδος κὺρ Ἰωάννου τοῦ Κουκουζέλη 401r Τοῦ αὐτοῦ· Γριγορίου [sic] 401v blank 402r 402v text without notation (possibly owner’s notes) text without notation 403r–v blank Ir–IIv Notes This Sticherarion, dated 1341, is from the Monastery of Σωτῆρος Χριστοῦ τῶν Μεγάλων Πυλῶν (the Saviour Christ of the Great Gates) and is written by the hand of Κίτρος Ἰάκωβος (Kitros Iakovos). The colophon appears on fol. 390v and indicates the name of Athanasios, probably a monk, who provided the musical notation. The manuscript claims to be a copy of ‘the old Koukouzeles’. This inscription has led Gregoris Stathis and other scholars to the conclusion that the MS was written when Koukouzeles was no longer alive.

EBE 884

33

The condition of the MS and its dark leather binding is fair. The rubrics and modal signatures are in a faded red ink and the neumes and text are in a faded black ink. The pages have about 12 to 14 lines of text and music. The musical notation, Middle Byzantine, is similar to that in the Sticherarion of Milan, Biblioteca Ambrosiana, A 139 sup., which is also dated 1341. The musical notation in that MS was also written by Athanasios, but another scribe supplied the text. Although this Sticherarion represents the older melodists, it is not as prolific with composers’ names as Sticherarion EBE MS 883, which precedes it in the catalogue. Furthermore, the stichera of the liturgical calendar are not listed in chronological order: May follows August. The many orthographic mistakes that appear throughout indicate that the scribe, Kitros Iakovos, was not very learned. The Triodion and Pentecostarion are included after the Menologion section of the MS. Unusual for the Sticherarion is the inclusion of the method of Kyr Ioannes Koukouzeles, on fol. 401r, which is more typical of an Akolouthia MS. It is a later 14th- to 15th-century addition in a different hand. Other contemporary additions include the Stichera in a kalophonic style for Christmas (fols 391r–394r) and the Stichera for St Dimitrios (fols 395r–401v). The MS also contains a Troparion (fol. 221r–v), one of the two known Stichera by Theoleptos, Metropolitan of Philadelphia. Bibliography Raasted, ‘Koukouzeles’ Sticherarion’. Stathis, G., ‘An Analysis of the Sticheron Τὸν ἥλιον κρύψαντα’. —— Οἱ Ἀναγραμματισμοὶ καὶ τὰ Μαθήματα τῆς Βυζαντινῆς Μελοποιίας. Sticherarium Ambrosianum, ed. Perria and Raasted. Touliatos, ‘Byzantine Chant’, pp. 175, 178. Velimirović, ‘The Musical Works of Theoleptos’.

34

EBE 885

ΕΒΕ 885 ΜΑΘΗΜΑΤΑΡΙΟΝ/MATHEMATARION Type of paper: bombycinous Measurements: 21 × 13 cm Folios: 405 Notation: Middle/Round Byzantine Date: 15th c.

1r 1 v 3 v 4 v 5r

blank Ἀρχὴ τῶν σημαδίων τῆς Παπαδικῆς Τέχνης ψαλλόμενα Ποίημα τοῦ λαμπαδαρίου [Κλαδᾶ] «Τερερε...» blank Ἀρχὴ Παπαδικῆς Τέχνης ψαλλόμενα κατ’ ἦχον «Ἀρχὴ, μέση, τέλος...» συστήματα πάντων τῶν σημαδίων 7r–8r Ison poem by Glykys blank 12v Ἀναγραμματισμὸς τοῦ Κουκουζέλη εἰς τὴν αὐτὴν ἑορτὴν· ἀναγραμματισμὸς ἀπὸ 14v τὸ στιχηρὸν τὸ, «Ἀνάπεσων ἐν τῷ στήθει....» ποίημα κὺρ Ἰωάννου Μαΐστορος τοῦ Κουκουζέλη. The Anagrammatismos is for 26 Sept., for John the Evangelist. The Anagrammatismoi that follow are Stichoi for the month of September and were mostly composed by Koukouzeles. Μηνὶ Ὀκτωβρίῳ ϛʹ [τοῦ ἁγίου ἀποστόλου Θωμᾶ] 16r Τῷ αὐτῷ μηνὶ ηʹ [8 Nov., Synaxis of Michael]· ἡ σύναξις τῶν τιμίων ἐπουράνιων 32r δυνάμεων ἀσωμάτων· ἦχος πλ. βʹ Τῷ αὐτῷ μηνὶ ιγʹ [13 Nov., John Chrysostom] 37v Τῷ αὐτῷ μηνὶ καʹ· εἰσόδια τῆς ὑπεραγίας Θεοτόκου 43v Μηνὶ Δεκεμβρίῳ εʹ· τοῦ ὁσίου πατρὸς ἡμῶν Σάββα 49v blank 54r Μηνὶ Δεκεμβρίῳ ϛʹ· τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Νικολάου 54v Μηνὶ Δεκεμβρίῳ κεʹ· ἡ γέννησις τοῦ Ἰησοῦ Χριστοῦ 61r Μὴν Ἰανουάριος, ϛʹ· βάπτισις τοῦ Ἰησοῦ Χριστοῦ 80v Μὴν Φεβρουάριος, αʹ [Tryphon] 87r Μηνὶ Μαρτίῳ κεʹ· ὁ εὐαγγελισμὸς τῆς ὑπεραγίας ἡμῶν Θεοτόκου· τοῦ Κουκουζέλη 92r Μεγαλυνάρια εἰς τὴν αὐτὴν ἑορτὴν· τοῦ αὐτοῦ· ἦχος δʹ 96r Μὴν Ἀπρίλιος, κγʹ [George] 98r Mηνὶ Μαΐῳ καʹ· τῶν ἁγίων καὶ ἐν δόξων μεγάλων βασιλέων καὶ ἰσαποστόλων 104v Κωνσταντίνου καὶ Ἑλένης· ποίημα κὺρ Ἰωάννου Μαΐστορος αʹ ψάλτου τοῦ Γλυκέως· ἦχος πλ. δʹ Μηνὶ τῷ αὐτῷ κδʹ [24 June]· τοῦ Προδρόμου καὶ Βαπτιστοῦ Ἰωάννου· ποίημα τοῦ κὺρ 107v Βυζαντίου 119r Μηνὶ Ἰουλίῳ ιζʹ ... τῆς παρθένας Μαρίας καὶ Μαρίνας· τοῦ Μαΐστορος Κουκουζέλη Τῷ αὐτῷ μηνὶ κʹ· τοῦ ἁγίου προφήτου Ἠλίου· ποίημα τοῦ πρώτου ψάλτου Ἰωάννου 122v τοῦ Γλυκέως· ἦχος δʹ Μηνὶ τῷ αὐτῷ κζʹ· Παντελεήμονος· τοῦ Γλυκέως 124r

EBE 885

135v

35

Τῷ αὐτῷ μηνὶ ιεʹ [15 Aug.]· ἡ κοίμησις τῆς ὑπεραγίας Θεοτόκου· ποίημα κὺρ Μηχαὴλ καὶ αʹ ψάλτης τοῦ Πατζάδος Τῷ αὐτῷ μηνὶ κθʹ· ἡ ἀποτομὴ τῆς τιμίας κεφαλῆς τοῦ προφήτη Προδρόμου Βαπτιστοῦ 143r Ἰωάννου· ποίημα [ Μιχαὴλ/Γεωργίου ?] τοῦ Πατζάδος· ἦχος πλ. βʹ Στίχοι ψαλλόμενα τῆς ἁγίας καὶ μεγάλης Τεσσαρακοστῆς. ἀρχόμενα ἀπὸ τὴν Κυριακὴν 149r τοῦ Τελόνου [sic] καὶ τοῦ Φαρησαίου [sic]· ποίημα Ξένου τοῦ Κορώνη καὶ πρώτου ψάλτου τοῦ βασιλικοῦ κλήρου Ἀναγραμματισμὸς τῇ Κυριακῇ τῆς Tηρίνης [sic] (Cheesefare Sunday) 155v Στίχοι ψαλλόμενα τῇ Κυριακῇ τῶν Bαΐων· τοῦ Κουκουζέλη 162r Στίχοι ψαλλόμενα τῇ ἁγίᾳ καὶ μεγάλῃ Παρασκευῇ 165r Στίχοι ψαλλόμενα τῷ μεγάλῳ Σαββάτῳ· ποίημα τοῦ Καλλίστου κὺρ Νικολάου 173r Στίχοι Κυριακῇ τοῦ Θωμᾶ· ποίημα τοῦ Μανούργα· ἐκαλλωπίσθησε [sic] παρὰ δομεστίκου 178r Γεωργίου τοῦ Κοντοπέτρη Στίχοι τῆς ἀναλήψεως· τοῦ κὺρ Ἰωάννου τοῦ Γλυκέως 181r Στιχηρὰ ψαλλόμενα εἰς τὴν ἁγίαν μεγάλην Πεντικοστὴν [sic]· ποίημα τοῦ Δαλασσηνοῦ· 183r ἐκαλλωπίσθη παρὰ τοῦ δομεστίκου Γεωργίου τοῦ Κοντοπέτρη Kalophonic stichoi begin. Ἀπὸ τῶν α´ ψάλτη κὺρ Ἰωάννου τοῦ Γλυκέως· ἦχος α´ 188r Kalophonic stichoi, teretismata, followed by various composers: Glykys, Korones, Koukouzeles, etc. Τοῦ Μαΐστρου· λεγόμενον τὸ, «σιμαντῆρι» [sic]· ἦχος πλ. αʹ 206v Μεγαλυνάρια τοῦ Κορώνη· ἦχος αʹ 208v Εἰς τὴν ὕψωσιν τοῦ τιμίου καὶ ζωοποιοῦ σταυροῦ· τοῦ Μαΐστρου 209v Εἰς τὴν προσκύνησιν τοῦ τιμίου καὶ ζωοποιοῦ Σταυροῦ· τοῦ Μαΐστρου 210r Ἄμωμος ψαλλόμενος εἰς μοναχοὺς τεθνεότους [sic] 216r blank 225v Τοῦ Κορώνη· ἦχος πλ. δʹ «Αὐτὸς μόνος ὑπάρχει...» 226r blank 227v blank 229v Στιχηρὰ ψαλλόμενα εἰς τὴν ἑορτὴν τοῦ Εὐαγγελισμοῦ τῆς ὑπεραγίας Θεοτόκου· τοῦ 230r [ Μιχαὴλ/Γεωργίου ?] Πατζάδος 233v–235v blank Αʹ [Oct.]· Χριστὲ ἐβοήθει τῷ ἔχοντι [sic] καὶ γράψαντι [sic] τὰ τὴν χάρην τὴν ταύτην· 236r στιχηρὸν ποίημα τοῦ βασιλικοῦ ἐκείνου· κὺρ Νικολάου Τῷ αὐτῷ μηνὶ [Oct.] ηʹ· τῆς ὁσίας μητρὸς ἡμῶν Πελαγίας· τοῦ Γλυκέως 245v Τῷ αὐτῷ μηνὶ [Oct.] κϛʹ· τοῦ Δημητρίου· ποίημα τοῦ Καμπάνη 246v Ἕτερον τοῦ Κορώνη τοῦ Ξένου 249v Μηνὶ Νοεμβρίῳ αʹ [Cosmas and Damian] 252r Πεντηκοστάριον εἰς τὴν εἴσοδον τῆς ὑπεραγίας Θεοτόκου 260v Μηνὶ Δεκεμβρίῳ ιαʹ· τοῦ ὁσίου πατρὸς ἡμῶν Δανιὴλ τοῦ Στυλίτου· τοῦ Ἰωάννου 263r Γλυκέως Τῷ αὐτῷ μηνὶ [Dec.] ιζʹ· τοῦ προφήτου Δανιὴλ· Ἰωάννου Γλυκέως τοῦ αʹ ψάλτη 265v Ἀπὸ τὰ τροπάρια τῶν ἁγίων φωτῶν· τοῦ Κουκουζέλη· ἦχος πλ. δʹ 277r Τῷ αὐτῷ μηνὶ [Dec.] κζʹ· μνήμη τοῦ ἁγίου πρωτομάρτυρος καὶ ἀρχιερέως διακόνου 293r Στεφάνου· ποίημα τοῦ Ἠθικοῦ Νικηφόρου 298r Τῷ αὐτῷ μηνὶ [Jan.] κʹ· τοῦ Εὐθυμίου· ποίημα τοῦ λαμπαδαρίου κὺρ Ξένου τοῦ Κορώνη· ἦχος πλ. αʹ

36

EBE 885

319v

Τῷ αὐτῷ μηνὶ [July] ιζʹ· τῆς ἁγίας μεγαλομάρτυρος Μαρίνας· ἐκαλλωπισθὲν παρὰ τοῦ Μαΐστoρος Μηνὶ τῷ αὐτῷ [July] κεʹ· τῆς ἁγίας Ἄννης τῆς μητρὸς τῆς Θεοτόκου· ἦχος πλ. δʹ· τοῦ 322r Κορώνη Τῷ αὐτῷ μηνὶ [Aug.] ιεʹ· ἡ κοίμησις τῆς ὑπεραγίας δεσποίνης ἡμῶν Θεοτόκου καὶ 329r ἀειπαρθένου Mαρίας Πρόλογος εἰς τὸ Πεντηκοστάριον τῆς ἁγίας Κυριακῆς τοῦ Πάσχα «Ἔδωκαν ἡμῖν τὴν 344v αἰώνιον ζωήν...» Ἀρχὴ τοῦ Βαρθολομαίου· ἦχος βʹ (various kalophonic verses for feasts) 348r Ἀπό τὸ στίχον, τὸ «Βηθλεὲμ…» ἐπί τοῦ Νικηφόρου τοῦ Ἠθικοῦ 361v Στίχοι ψαλλόμενα εἰς τὸ ἁγίον Πεντηκοστάριον· ποίημα τοῦ Κουκουζέλη 386r Τοῦ Κορώνη «Νανα...». Kalophonic stichos in a different larger script followed by 396r Anagrammatismos τοῦ Κουκουζέλη. Ἀναποδισμὸς τοῦ Μαΐστoρος κὺρ Ἰωάννου Κουκουζέλη (continues with 400r Anagrammatismos τοῦ Κουκουζέλη) MS ends 404r 404v–405v blank Notes Although this manuscript begins with the Papadike Techne, it is more appropriately categorized as a Mathematarion, since it contains more Anagrammatismoi and Anapodismoi for the Menaia. The MS has a brownish binding. The beginning and ending folios are badly damaged with wormholes; however, the middle portions of the MS are very readable. Each page averages 18 lines of text and music. The rubrics are badly faded (at times missing) and have a pale brown colour. The remaining script is in a pale grey. This MS is firmly dated in the latter half of the 15th century and represents composers from that period. However, most of the Anagrammatismoi of the Stichera are by Ioannes Koukouzeles. Bibliography Papathanassiou, ‘The Musical Notation of the Sticherarion MS Vat. Barb. Gr. 483’. Patrinelis, ‘Protopsaltae, Lampadarii, and Domestikoi of the Great Church’. Troelsgård, ‘The Development of a Didactic Poem’.

EBE 886

37

ΕΒΕ 886 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: bombycinous Measurements: 15 × 21.2 cm Folios: II + 502 + II Notation: Middle/Round Byzantine Date: 15th c.

Ir–IIv These folios have a large faded Latin text without music that is read lengthwise, with red incipit letters for beginnings of phrases. Εἰς τὴν ἀρχὴν τῆς ἰνδίκτου καὶ μνήμῃ τοῦ ἁγίου Συμεὼν τοῦ Στυλίτου, καὶ τῶν ἁγίων 1r μ´ [40] γυναικῶν, καὶ Ἰησοῦ τοῦ Ναυῆ, καὶ τῶν ἐν Ἐφέσῳ ἑπτὰ παίδων· ἦχος αʹ «Ἐπέστη ἡ εἴσοδος...» Fols 1–11 are faded and almost impossible to read. blank 12r–v «Δεῦτε, ἅπαντες πιστοὶ...» 13r Μηνὶ Σεπτεμβρίῳ 17r Folios continue to be faded and impossible to read. blank 28v 80r[–81v blank (Fol. 81v has a later addition of two lines of music.) r–v blank 112 Μὴν Ἰανουάριος, αʹ· τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Βασιλείου τοῦ Μεγάλου· ποίημα τοῦ 129v Ἀναπαρδᾶ· ἦχος αʹ. Μηνὶ Δεκεμβρίῳ ϛʹ· τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Νικολάου· στιχηρὸν τοῦ κυροῦ Μανουὴλ 133r Χρυσάφου· ἦχος αʹ. This folio is out of order in the liturgical calendar. blank 168v Τοῦ Μανούργα 181r Kalophonic setting for the feast of the Theotokos by Koukouzeles, Plagal Mode I «Ἐκ 191r Παρθένε οὐκ ὤφθην Χριστὸς...» 212r Μηνὶ Φευρουαρίῳ βʹ· ἀναγραμματισμὸς τοῦ Κουκουζέλης· ἦχος βʹ The pattern is to present the original verse (stichos) by Koukouzeles or other composers and then immediately follow with an Anagrammatismos on this verse by composers. Μηνὶ Ἰανουαρίῳ ϛʹ· τοῦ Χρυσάφου 221r blank 229r–v Μηνὶ Ἰανουαρίῳ ζʹ· τοῦ Χρυσάφου, no mode 230r Μηνὶ Φεβρουαρίῳ βʹ· τοῦ Χρυσάφου· ἦχος βαρὺς 245r Μηνὶ Ἀπριλίου κγʹ· τοῦ Χρυσάφου· ἦχος αʹ 267r Μηνὶ Μαΐῳ καʹ· τοῦ Χρυσάφου· ἦχος πλ. δʹ 271v Μηνὶ Ἰουνίῳ κδʹ· τοῦ Χρυσάφου· ἦχος αʹ 273v 286v–287v blank Anagrammatismos 291v Τῇ ἁγίᾳ καὶ μεγάλῃ Κυριακῇ τοῦ Πάσχα· ἦχος αʹ Μηνὶ Ἰουλίῳ 308r

38

EBE 886

342v blank Μηνὶ Αὐγούστῳ αʹ· τοῦ Ἠθικοῦ 376r blank 392r–v Μηνὶ Σεπτεμβρίῳ ιδʹ· ἀναγραμματισμός τοῦ Κουκουζέλη· ἦχος πλ. βʹ 393r 416r–417v blank Ἀρχὴ σὺν Θεῷ αὐτῷ τῶν στιχηρῶν τῶν ἁγίων καὶ μεγάλων μʹ [40=Lent; τεσσαρακοστή], 418r καὶ τῶν ἀναποδισμῶν αὐτῶν· ἀρχόμενος τῇ Κυριακῇ τοῦ Τελώνου καὶ τοῦ Φαρισαίου καὶ τὸ, «Λέγοντος» τὸ, «Παντοκράτωρ τῶν ἁγίων Πάντων»· τοῦ Κορώνη· ἦχος πλ. δʹ «Παντοκράτωρ Κύριε...» This section of the MS contains Anagrammatismoi for the Triodion and Pentecostarion. This setting follows with more Anagrammatismoi for the Lenten season. Τῇ ἁγίᾳ καὶ μεγάλῃ Παρασκευῇ· στιχηρὸν ἐκ τὸ τροπάριον· ποίημα Λέοντος τῆς 442r Ἀλεξανδρείας, μέλος δὲ τοῦτο ἐκαλλωπίσθη παρὰ τοῦ Γλυκέως καὶ Κορώνη· ἦχος βʹ «Ὅτε Σταυρῷ προσήλωσα...» Τῇ ἁγίᾳ καὶ μεγάλῃ Παρασκευῇ Ἑσπέρας· ἦχος πλ. αʹ «Μεγαλύνω τὰ πάθη σου...» 448r Εἱρμὸς τῆς αʹ ᾠδῆς· τοῦ λαμπαδαρίου· ἦχος αʹ 451r Ἀναγραμματισμός τῇ αὐτῇ ἁγίᾳ ἡμέρᾳ· κὺρ Θεοδούλου· ἦχος αʹ «Χριστὸς ἀνέστη...» 458r Ἀναγραμματισμός τῇ Κυριακῇ τῆς Πεντηκοστῆς· τοῦ Κορώνη· ἦχος αʹ 473r Κατανυκτικὸν στιχηρὸν ψαλλόμενον εἰς τὴν μνείαν τῆς Δευτέρας Παρουσίας, καὶ εἰς 485v ἑορτὰς καὶ εἰς νεκροὺς· ποίημα κυροῦ Κωνσταντίνου τοῦ Χιονοπούλου· ἦχος πλ. δʹ «Ἀλλὰ μονεφιλάνθρωπε Σωτὴρ...» Κοντάκιον τῇ ἁγίᾳ καὶ μεγάλῃ Κυριακῇ τοῦ Πάσχα· ἦχος αʹ «Εἰ καὶ ἐν τάφῳ κατῆλθες, 489r ἀθάνατε...». This is followed by the cycle of the octoechos. Α portion of this folio is cut. 502v MS proper ends As a counterpart to the Latin preface of this MS, these closing folios have a Greek text IIr–v written lengthwise with red incipit letters. Notes This manuscript is in poor condition and is badly damaged. The brown binding is leather on wood; the clasps are missing. Both the front and back pieces have decorative studs: those in each corner are heart-shaped; a round one is centred within a larger diamond design. The beginning folios are missing, and the MS has been renumbered. In general, the folios are faded from water damage so that large portions of the MS are impossible to read; only from fol. 221r to the end are they more legible. There are 15 lines of text and music. The rubrics appear very light and faded. The neumes and text are in a faded brownish shade. Besides Sticheraria, the MS also includes kalophonic settings by different composers such as Ioannes Plousiadenos, Hiereus, Lampadarios Kladas, Chysaphes, Korones, Koukouzeles and others. Of interest is the entry on fol. 485v, which is a Katanyktikon sticheron, a chant associated with death. The rubric indicates that this Katanyktikon is chanted for the ‘Second Coming’ and for other occasions dealing with death and has been attributed to a lesser known composer Konstantinos Chionopoulos. Because the MS is so difficult to read, it is impossible to distinguish most rubrics that indicate composers, modes and Stichoi. Fol. 502v contains only two lines of music notated in a larger script. Then follows a text in a larger script that makes reference to the following: μονῆς τοῦ Σωτῆρ Χριστοῦ τῶν μεγάλων πηλῶν τοῦ Δουσικοῦ (Monastery of our Saviour Christ of the large clay [matter] of Dousikon).

EBE 886

Bibliography Jakovljević, ‘David Raidestinos, Monk and Musician’.

39

EBE 887

40

ΕΒΕ 887 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: bombycinous Measurements: 22 × 14.5 cm Folios: 332 Notation: Middle/Round Byzantine Date: 14th c.

1r 4r 25r 45r 73v 90r 110v 143r 151r 157v 164v 180r 196v 201r 212v 268v 274v 284v 305v 306r 307r 332v

Στιχηράριον σὺν Θεῷ ἁγίῳ τοῦ ὅλου ἐνιαυτοῦ. 1 Sept., feast for the forty women martyrs of Thrace, Mode IV. The Stichera for the Menaion, Triodion and Pentecostarion follow in full. Μηνὶ Σεπτεμβρίῳ θʹ Μηνὶ Ὀκτωβρίῳ αʹ· ἦχος αʹ Μηνὶ Νοεμβρίῳ αʹ· ἦχος αʹ Μηνὶ Δεκεμβρίῳ δʹ· ἦχος αʹ Στιχηράριον προεορτῶν, εἰς τὴν γέννησιν τοῦ Ἰησοῦ Χριστοῦ Μηνὶ Ἰανουαρίῳ αʹ· ἦχος αʹ Μὴν Φεβρουάριος, αʹ· ἦχος αʹ Μηνὶ Μαρτίῳ αʹ· ἦχος αʹ Μηνὶ Ἀπριλίῳ αʹ· ἦχος αʹ Μηνὶ Ἰουνίῳ ηʹ· ἦχος αʹ Μηνὶ Ἰουλίῳ αʹ· ἦχος αʹ Μηνὶ Αὐγούστῳ ϛʹ (no mode designated) Μηνὶ Αὐγούστῳ ιεʹ (no mode designated) Ἀρχὴ σὺν Θεῷ τῆς μεγάλης Τεσσαρακοστῆς· τοῦ Τελώνου καὶ τοῦ Φαρισαίου· περὶ ἔχον [sic] μέχρι καὶ τῶν ἁγίων Πάντων· ἦχος αʹ Ἀκολουθία τῶν ἁγίων Παθῶν τῆς μεγάλης εʹ· ἦχος πλ. δʹ Τροπάριον τῆς ὥρας αʹ· ἦχος πλ. δʹ Κυριακῇ τοῦ ἀντὶ Πάσχα· τῆς ἀποτομῆς τοῦ Θωμᾶ Ἀρχὴ τῶν ὀγδόων κοντατεσσάρων· ποίημα Ἰωάννου τοῦ Δαμασκηνοῦ· ἦχος αʹ Στιχηρὰ τὰ ἄλλα ἀλφάβητα· ἦχος αʹ «Ἀγαλλιάσθω ἡ κτίσις οὐρανοὶ εὐφραινέσθωσαν...» Οἱ ἀναβαθμοὶ· ἀντίφωνον αʹ· ἦχος αʹ Στιχηρὰ δογματικὰ· ποίημα Λέοντος τοῦ Σωφρονίου (no mode designated) «Παρθενικὴ πανήγυρις σήμερον, ἀδελφοί...» end of music and MS

Notes This is a typical Sticherarion of the 14th century and follows the expected order of repertory. The MS is bound in a brownish-black wooden binding with only one clasp still attached. The exterior binding has wormholes and is very tattered. The interior of the MS appears to be in fair condition, even though the last few folios have wormholes. The rubrics and modes are marked in faded red ink and the text and music are written in black. There is an average of 17–18 lines per page. The

EBE 887

41

feasts are indicated throughout the MS in the expected order of a complete Sticherarion, but few composers’ names are given. It is difficult to indicate feast days, because folios have not been numbered. Although the MS terminates with folio 332v, it is evidently incomplete and that more folios once followed.

42

EBE 888

ΕΒΕ 888 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: bombycinous Measurements: 22 × 14.7 cm Folios: I + 312 Notation: Middle/Round Byzantine Date: 14th c.

Ir I v 1r

later addition of writing blank Μὴν Μάϊος εἰς τὰς τρεῖς τοῦ ἐν ἁγίοις πατρὸς ἡμῶν οἰκουμένου ἐπισκόπου πατριάρχου· στιχηράριον. These Stichera are for 12–15 May. Stichera from different parts of the liturgical calendar follow, including some 7r Prosomoia. Στιχηράριον σὺν Θεῷ ἁγίῳ περιέχουσα τὴν ἅπασαν ἀκολουθίαν τοῦ ὅλου ἐνιαυτοῦ· 13r μηνὶ Σεπτεμβρίῳ αʹ καὶ ἀρχὴ τῆς ἰνδίκτου τοῦ νέου ἕτους· καὶ μνήμη τοῦ ὁσίου πατρὸς ἡμῶν Συμεὼν τοῦ Στυλίτου. This portion of the MS includes the Stichera for the Menaia from 1 Sept. through to 31 Aug. Ἀρχὴ τῆς ἁγίας Τεσσαρακοστῆς· στιχηρὰ τῇ Κυριακῇ τοῦ Τελώνου καὶ τοῦ Φαρισαίου· 177r ἦχος αʹ· τοῦ Ἀνδρέου Πυροῦ. This is the section for the Triodion. 253v Pentecostarion 277r Oktoechos the eleven Heothina 295v Dogmatika 299r 305v Theotokia Στιχηρὰ ψαλλόμενα τῇ Κυριακῇ τῆς Ὀρθοδοξίας. Stichera for the first Sunday of Lent 309v only text, no music 310v «Ἐν ᾡδαῖς ᾀσμάτων...» 311r Stichera for 9 Mar. MS ends 311v blank 312r–v Notes This Sticherarion is preceded by fol. Ir with writing on the length of the folio that appears to be a later addition. The MS has a brownish binding and is fairly easy to read. The script and music are in black ink and the rubrics (with feast names and modal indications) are in red. A page averages 14 lines of text and music. Despite having rubrics, the MS gives almost no composers’ names. It is unusual that the Sticherarion proper for the calendar year does not begin until fol. 13r. Instead the MS is prefaced with Stichera and Prosomoia from various parts of the liturgical calendar. After this pre-empted beginning, the Sticherarion follows the expected order for the repertory of this category of MS. Bibliography Raasted, ‘Koukouzeles’ Sticherarion’.

EBE 889

43

ΕΒΕ 889 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: bombycinous Measurements: 24 × 18 cm Folios: I + 278 + I Notation: Archaic, Early Round Byzantine Date: 13th c.

Ir–v 1r 139r 278v Ir–v

blank Στιχηράριον σὺν θεῷ ἁγίῳ περιέχον τὴν ἅπασαν ἀκολουθίαν τοῦ ὅλου ἐνιαυτοῦ· (μηνὶ Σεπτεμβρίῳ) αʹ· ἀρχὴ τῆς ἰνδίκτου καὶ μνήμη τοῦ ὁσίου πατρὸς ἡμῶν Συμεὼν τοῦ Στυλίτου Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς ἁγίας μʹ· ἀρχόμενον ἀπὸ τοῦ Τελώνου καὶ τοῦ Φαρισαίου end of music and MS blank

Notes This Sticherarion is in dreadful condition. From beginning to end, the folios are in a very poor state: faded, tattered, and torn, with an abundance of wormholes. Its deplorable condition makes this MS inaccessible to the reader. Because the folios are so faded, so are the inks. Hence, the rubrics are in a light pink and the script and music in a dim grey. The rubrics indicate only feast days and modal signatures. There are no composers’ names. The folios are not numbered. Hence, it is difficult to itemize the repertory. The content of the MS is standard, with the repertory beginning with the Menaion from 1 Sept. to the end of August, then proceeding with the Triodion, Pentecostarion, Oktoechos, Dogmatika and Theotokia. In the Sakkelions’ brief description, this MS was dated as 12th century. I believe it is more appropriately to be dated to the late 13th century.

44

EBE 890

ΕΒΕ 890 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: bombycinous Measurements: 29 × 21.2 cm Folios: II + 264 Notation: Early Round Byzantine Date: late 13th c.

Ir–IIv 1r

blank Στιχηράριον σὺν θεῷ ἁγίῳ περιέχον τὴν ἅπασαν ἀκολουθίαν τοῦ ὅλου ἐνιαυτοῦ. Μὴν Σεπτέμβριος Μὴν Ὀκτώβριος 22v Μὴν Νοέμβριος 34v Μὴν Δεκέμβριος 52v Μὴν Ἰανουάριος 77v Μὴν Φεβρουάριος 101r Μὴν Ἰούνιος 116r Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς ἁγίας Τεσσαρακοστῆς· ἀρχόμενον απὸ τοῦ Τελώνου καὶ τοῦ 150r Φαρισαίου ἕως τῶν ἁγίων Πάντων. Triodion, Pentecostarion, Oktoechos, Dogmatika and Theotokia follow. 263v–264r only text, no music MS ends 264v Notes In this Sticherarion, fol. 1r is preceded by two unnumbered folios of smaller dimension. The MS is in decent condition and bound in wood. There are 19 lines average per page. The script is in grey ink and the feast days and modal signatures are marked in red. There are no ascriptions to composers. The Sticherarion follows a typical order of the repertory. Bibliography Dragoumis, ‘The Survival of Byzantine Chant’.

EBE 891

45

ΕΒΕ 891 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: Turkish Measurements: 32.3 × 21.5 cm Folios: III + 206 + I Notation: Late Round Byzantine Date: 1787

IIIr–v 1r

21r 36r 120r 128r 135r 143r 157r 181r 203v 206v Ir–v

blank Στιχηράριον σὺν Θεῷ ἁγίῳ περιέχον τὰ στιχηρὰ τοῦ ὅλου ἐνιαυτοῦ· ἐκαλλωπισθὲν παρὰ κὺρ Γερμανοῦ ἀρχιερέως Νέων Πατρῶν· ἀρχὴ τῆς ἰνδίκτου, ἤτοι τοῦ νέου ἕτους καὶ μνήμῃ τοῦ ὁσίου πατρὸς ἡμῶν Συμεὼν τοῦ Στυλίτου, καὶ τῶν λιπιῶν [sic] ἁγίων μαρτύρων γυναικῶν· [μὴν Σεπτέμβριος] στιχηρὰ· ἦχος πλ. αʹ Μὴν Ὀκτώβριος Μὴν Νοέμβριος Μὴν Φεβρουάριος εἰς τὴν αʹ· τοῦ ἁγίου μεγαλομάρτυρος Τρύφωνος· ἦχος βʹ Μὴν Μάρτιος εἰς τὴν αʹ· τῆς ἁγίας ὁσιομάρτυρος Eὐδοκίας Μὴν Ἀπρίλιος Μὴν Ἰούνιος Μὴν Ἰούλιος Μὴν Αὔγουστος colophon: 3 Nov. 1787. δὶα χειρὸς Γαβριὴλ ἱερομοναχοῦ ἐν τῇ μονῇ τοῦ Μετεώρου MS ends blank

Notes This manuscript bears similarities to Xiropotamou MS 314 in that both are Sticherarion MSS composed by Germanos of New Patras and both are written by the scribe Gabriel Hieromonachos. The order of repertory is similar in both MSS. The notation includes many hypostases (performance practice indications). EBE MS 891 is bound in blackish leather. The MS is in clean condition and is easy to read. The script and music are written in black ink and the rubrics are in a light red. There is an average of 19 lines per page. The colophon, found on fol. 203v, gives the date of 3 Nov. 1787 and indicates the scribe as Gabriel Hieromonachos from the Monastery of the Meteora. Since the MS contains the repertory of Germanos of New Patras, no other composers’ names are indicated.

46

EBE 892

ΕΒΕ 892 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: bombycinous Measurements: 28 × 21 cm Folios: 258 + I (516 + I pages; pages have been numbered) Notation: Early Round Byzantine Date: late 13th c.

(pages given, not folios) 1 beginning of Sticherarion with month of Sept.: Μηνὶ Σεπτεμβρίῳ 45 Μηνὶ Ὀκτωβρίῳ 69 Μηνὶ Νοεμβρίῳ 102 Μηνὶ Δεκεμβρίῳ 198 Μηνὶ Φεβρουαρίῳ 227 Μηνὶ Μαΐῳ 252 Μηνὶ Ἰουλίῳ 274 Μηνὶ Αὐγούστῳ 301 Ἀρχὴ τῆς ἁγίας Τεσσαρακοστῆς· Κυριακῇ τοῦ Τελώνου καὶ Φαρισαίου 413 Στιχηρὰ τροπάρια ψαλλόμενα τῆς ἁγίας καὶ μεγάλης Παρασκευῆς· ἦχος πλ. δʹ 463 Ὀκτώηχος σὺν Θεῷ ἁγίῳ· ἦχος αʹ 514 Στιχηρὰ Θεοτόκια· ποίημα τοῖς ἐν ἁγίοις πατρὸς ἡμῶν Γερμανοῦ πατριάρχου Κωνσταντινουπόλεως 516 MS and music end I blank Notes This is a late 13th-century Sticherarion. The MS is basically clean and easy to read but with some wormholes at the beginning and end. It is bound in a brownish-black leather over wood. Annotations and ascriptions are rare. The folios are not numbered, but the MS has been paginated in pencil. The MS is written in grey ink and the rubrics are a pale orange-red colour. The rubrics mainly indicate some feast days and modal signatures. Composers’ names are not given. Because the rubrics are so sparing, not all the months of the Sticherarion are designated, but the repertory of the Sticherarion is very typical and the Menaion, Triodion and Pentecostarion are included.

EBE 893

47

ΕΒΕ 893 ΨΑΛΤΙΚΗΣ ΤΕΧΝΗΣ/PSALTIKE TECHNE Type of paper: Turkish Measurements: 31 × 21 cm Folios: vii (small in size) + I (large) + 468 + III (large) folios Notation: Late Round Byzantine Date: 1747

i–vii Ir–v 1r 3 v 4r 4 v 5r

5 v 6r 6 v 7 v 13r 15v

blank blank Ἀρχὴ σὺν Θεῷ τῶν σημαδίων τῆς Ψαλτικῆς Τέχνης, τῶν τε ἀνιόντων καὶ κατιόντων, σωμάτων τε καὶ πνευμάτων· καὶ πάσης χειρονομίας τε καὶ ἀκολουθίας συντεθειμένης εἰς αὐτὴν, παρὰ τῶν κατὰ καιροὺς ἀναδειχθέντων ποιητῶν, παλαιῶν τε καὶ νέων Τροπάριον εἰσαγωγικὸν παρὰ τοὺς βουλομένους μαθητὰς μουσικῶν ἀναμιγνύων ἔχουν τὴν παραλλαγὴν μετὰ τῆς μετροφωνίας Ἑρμηνεία τῶν ἤχων. illustration of the beautiful wheel of Koukouzeles’ modes, τροχὸς τοῦ Κουκουζέλη «Ἡ Παραλλαγία τοῦ κὺρ Ἰωάννου Κουκουζέλη Μαΐστορος καὶ ἠμίφθορον·» (includes old names of modes, also terms such as ἠμίφωνον) The left-hand column has an autobiography of the scribe: «βιβλιογράφος»; the righthand column, his portrait. Μνημόνευέ μου τὸ λοιπὸν τοῦ μουσουργικογράφου Δαβὶδ τοῦ κοπιάσαντος καὶ ἱστοριογράφου. Εἴληφε τέρμα σὺν Θεῷ χρόνους εἰς τοὺς χιλίους ἑπτὰ καὶ τεσσαράκοντα μὲ τοὺς ἑπτακοσίους ἐκ τῆς ἐνσάρκου τοῦ Χριστοῦ θείας οἰκονομίας, ὃς κατελθὼν ἐξήλειψεν ἡμῶν τὰς ἀνομίας. Ταύτη ἡ μουσουργεύηχος παπαδικῆ κληθεῖσα ἐκ διαφόρων παλαιῶν καὶ νέων, ποιηθεῖσα κόπῳ, ἰδρῶσι, μόχθῳ τε ἐγράφη ἐν ἀπείρῳ ἐκ τῆς τοῦ Ἱεροδαβὶδ χειρὸς ἐκ τῆς Σκοπέλων. Παυσάσθωσαν τὰ ὄρνεα μέλος νὰ πιπιλίζουν ἀπὸ τὸν τάφον λυριστοῦ Ὀρφέως νὰ ἐλπίζουν, μὲ μελῳδίαν εὔηχον γλυκὰ νὰ κελαδίζουν καθὼς οἱ πάλαι Ἕλληνες μὲ μύθους φλυαρίζουν. Ἐν ταύτῃ γὰρ εὑρίσκονται ἦχος καὶ μελῳδίαι πρὸς τὸν Θεὸν τὸν κτίσαντα τὴν κτίσιν ὑμνῳδίαι καὶ ταύτην οἱ βουλόμενοι τὸν Κτίστην νὰ ἰδοῦσι μὲ πόθος ἂς σπουδάξουσι καὶ θέλουν τὸν εὑροῦσι. Δεήθητι οὖν τοῦ Θεοῦ καὶ τῆς Ὑπεραγίας νὰ τύχωμεν ἀμφότεροι τῆς ἄνω βασιλείας. Ἡ μὲν χεὶρ ἡ γράψασα συμπαίκται τάφῳ, ἡ δὲ γραμμὴ μένει μέχρι τερμάτω. Ὥσπερ ξένοι χαίροντες ἰδεῖν πατρίδα, καὶ οἱ θαλαττεύοντες ἰδεῖν λιμένα καὶ οἱ πραγματεύοντες ἰδεῖν τὸ κέρδος, οὕτω καὶ ὁ βυβλιογραφεὺς ἰδεῖν βυβλίου τέλος. Ἀρκτέον οὖν καὶ τῶν κατ’ ἦχον ἠχημάτων· ἦχος βʹ end of signs (σημάδια) but continues with μετροφωνία and θέσεις Στίχοι ποιηθέντες παρὰ διαφόρων ποιητῶν καὶ τὸ μὲν παρὸν ποίημα κὺρ Ἰωάννου τοῦ Ξηροῦ καὶ δομεστίκου ὠφελιμότατον· ἦχος πλ. δʹ Ἑτέρα μέθοδος πάνυ ὠφέλιμος τῶν στιχηρῶν τοῦ κὺρ Ξένου τοῦ Κορώνη καλλωπίσθη παρὰ τοῦ Κοσμᾶ ἱερομονάχου τοῦ Μακεδόνος καὶ Ἰβηρίτου· ἦχος αʹ Μέθοδος ἑτέρα τῆς μετροφωνίας ὠφελιμοτάτη· κὺρ Γρηγορίου Μπούνη τοῦ Ἀλυάτου· ἦχος πλ. δʹ Ἑτέρα μέθοδος, Ανανεανες, καὶ σὺν θέσεις τῆς καλοφωνίας· ἦχος αʹ

48

16v 18r 18v 19r 20v 21r 25r 35v 40v 45r 50r 50v 59r 62v 78v 83v 102v

132r

174ar 174br 174bv 176r 181r

EBE 893

Ἑτέρα μέθοδος τῶν νενανισμάτων καὶ τερεντισμάτων· κὺρ Ξένου τοῦ Κορώνη · ἦχος πλ. αʹ Σημάδια ψαλλόμενα κατ’ ἦχον συντεθέντα ἐντέχνως παρὰ τοῦ διδασκάλου κυρίου Ἰωάννου Μαΐστορος τοῦ Κουκουζέλη· ἦχος αʹ. This is the well-known Koukouzeles’ Ison-song. end of Ψαλτικῆς Τέχνης Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ μεγάλου Ἑσπερινοῦ, ποιηθέντος ὑπὸ διαφόρων ποιητῶν, παλαιῶν τε καὶ νέων· ἄρχεται δὲ ὁ πρῶτος χορός, ἥσυχην φωνὴν· ἦχος πλ. δʹ Ἰδοὺ καὶ ἑτέρα τριαδικὰ ποιηθέντα ὑπὸ πολλῶν ποιητῶν παλαιῶν τε καὶ νέων· τὸ παρὸν στίχον Μανουὴλ τοῦ Χρυσάφου Τοῦ Κλαδᾶ, τοῦ Κουκουζέλη, τοῦ Κορώνη Ἄρχεται ὁ δεύτερος δομέστικος τὸ, «Μακάριος ἀνὴρ…» γεγονωτέρᾳ τῇ φωνῇ ἀπέξω εἰς διπλασμὸν· ἦχος πλ. δʹ. Μελέτη ἄλλη εἰς τὸν ἔσω διπλασμὸν Στίχοι καλοφωνικοὶ ἐκ τοῦ δευτέρου ψαλμοῦ· ποιήματα διαφόρων διδασκάλων· τὸ παρὸν ὑπάρχει ποίημα τοῦ διδασκάλου κὺρ Ἰωάννου τοῦ Κουκουζέλη Ἕτερος στίχος καλωφωνικὸς· ποιηθεῖς παρὰ κὺρ Μανουὴλ τοῦ Χρυσάφου· διορισμὸς τοῦ ἁγίου Βασιλέως κὺρ Κωνσταντίνου τοῦτου Παλαιολόγου Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχον μεγάλων κεκραγαρίων καλλωπισθὲν παρὰ κὺρ Χρυσάφου τοῦ Νέου· ἦχος αʹ Ἰδοὺ καὶ τὰ προκείμενα τῆς ὅλης ἑβδομάδος τῆς τε μεγάλης Τεσσαρακοστῆς καὶ ὅλου τοῦ ἐνιαυτοῦ· τῇ Κυριακῇ ἑσπέρας· ψάλλομεν τὸ παρὸν· ἦχος αʹ Ἰδοὺ καὶ ἕτεραι δοχαὶ τῆς ὅλης ἑβδομάδος τῶν τε ἁπλῶς καὶ τῶν ἐντέχνων· συντεθέτα παρὰ τῶν παλαιῶν διδασκάλων· τῇ Κυριακῇ Ἑσπέρας· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῆς ἀκολουθίας τοῦ Ὂρθρου Ἀρκτέον οὖν καὶ τῶν ἐντέχνων πολυελέων παλαιῶν τε καὶ νέων· καὶ πρῶτον μὲν πολυέλεον τὸν λεγόμενον Κουκουμὰν· ποίημα τοῦ Κουκουμᾶ· ἦχος αʹ «Δοῦλοι Κύριον...» Τέλος τὴς αʹ στάσις καὶ ἀρχὴ τῆς βʹ στάσεως Ἕτερος πολυέλεος συνοπτικὸς καὶ ἡδύτατος· ποιηθέντα παρὰ τοῦ κὺρ Χρυσάφη τοῦ νέου καὶ Πρωτοψάλτου τῆς Χριστοῦ Μεγάλης Ἐκκλησίας Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν μεγάλων πασαπνοαρίων ποιηθέντα ὑπὸ διαφόρων ποιητῶν παλαιῶν τε καὶ νέων καὶ τοῦτο ἐστι ποίημα κὺρ Ἰωάννου τοῦ Κουκουζέλη καὶ Μαΐστορος· ἦχος αʹ. The Pasapnoaria are listed according to modes by different composers. Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχον μεγάλων δοξολογίων καὶ ἡ μὲν παροῦσα ἐποιήθη παρὰ τοῦ κὺρ Μπαλασίου ἱερέως καὶ Νομοφυλακέως τῆς Χριστοῦ Μεγάλης Ἐκκλησίας· ἦχος αʹ. Also included are works of Πέτρου Βυζαντινοῦ τοῦ Μπερεκέτη καὶ μελῳδοῦ. blank blank Ἡ ἀκολουθία τῆς Λειτουργίας Ἀρχὴ τῶν ἀλληλουϊαρίων κατ’ ἦχον τὸ παρὸν ἐστι κὺρ Μανουὴλ τοῦ Χρυσάφη καὶ εὐαγοῦς Ἐντάδε ἀρχόμεθα καὶ τὸν χερουβικὸν ὕμνον κατ’ ἦχον· ποιηθέντα παρὰ διαφόρων ποιητῶν παλαιῶν τε καὶ νέων. Τὸ παρὸν ἐστι τοῦ κὺρ Ἰωάννου τοῦ Κλαδᾶ (listed according to modes)

EBE 893

230r 233v 276r 279r 296r 302v 303r 356v

384v 394r 402r 412r 420r 421r 421v 442r 452v 454r 468v IIIr–v

49

Τῇ δὲ ἁγίᾳ καὶ μεγάλῃ Πέμπτῃ χερουβικὸν· οὐ ψάλλεται ἀντὶ δὲ τοῦ χερουβικοῦ καὶ κοινωνικοῦ. Ψάλλεται τὸ παρὸν ποίημα Νικηφόρου τοῦ Ἠθικοῦ· ἦχος πλ. βʹ «Τοῦ δείπνου σοῦ τοῦ μυστικοῦ...» Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κοινωνικῶν ὕμνων· ἀρκτέον οὖν ἐκ τοῦ πρώτου ἤχου. Τὸ παρὸν δὲ ἐστι ποίημα κὺρ Ἰωάννου τοῦ Κλαδᾶ· ἦχος αʹ. (listed κατ’ ἦχον) Ἕτερα κοινωνικὰ ψαλλόμενα τῇ Πέμπτῃ· ἄλλα δύο εἰς τὴν μνήμην τῶν ἁγίων ἀποστόλων. Τὸ παρὸν κὺρ Γεωργίου τοῦ Ἀργυροπούλου· ἦχος πλ. αʹ «Εἰς πᾶσαν τὴν γῆν ἐξῆλθεν...» Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ ἕτερον κοινωνικὸν τῶν δεσποτικῶν καὶ θεομητορικῶν ἑορτῶν μὴν Σεπτεμβρίου· ποίημα κὺρ Ξένου τοῦ Κορώνη· ἦχος βαρὺς Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ ἐν τῇ Λειτουργίᾳ τῶν Προηγιασμένων τοῦ ἐν ἁγίοις παρτρὸς ἡμῶν Γρηγορίου τοῦ Διαλόγου· μετὰ τὰ ἀναγνώσματα τὸ παρὸν· ἦχος πλ. βʹ blank Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχον Θεοτοκίων καλοφωνικῶν· τὸ μὲν παρὸν ποίημα κὺρ Ξένου τοῦ Κορώνη· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ μερικῶν μαθημάτων· ψαλλόμενων εἰς τὰς δεσποτικὰς καὶ θεομητορικὰς καὶ ἑορταζομένων ἁγίων καὶ τὸ μὲν παρὸν ψάλλεται Σεπτεμβρίου αʹ τῆς ἰνδίκτου· ἤτοι τοῦ νέου ἔτους· καὶ σύναξις τῆς ὑπεραγίας Θεοτόκου τῶν Πεντηκοσταρίων· ποίημα κὺρ Πέτρου Μπερεκέτη· ἦχος πλ. βʹ Attributed to Daniel Raidestinos the Monk from Mt Athos «Χορὸς τετραδεκαπύρσευτος...». Another attribution to Raidestinos, sticheron for 6 August «Οὐρανοὶ ἔφριξαν...» Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τοῦ Τριῳδίου· μερικὰ μαθήματα· τὸ παρὸν ψάλλεται τῇ Κυριακῇ τοῦ Τελώνου καὶ τοῦ Φαρισαίου· κὺρ Πέτρου Μπερεκέτη· ἦχος αʹ Οἶκοι ψαλλόμενοι εἰς τὸν ἀκάθιστον ὕμνον τῆς ὑπεραγίας δεσποίνης ἡμῶν Θεοτόκου καὶ ἀειπαρθένου Μαρίας. ὁ παρὼν κὺρ Μπαλασίου ἱερέως· ἦχος αʹ Τῇ πέμπτη Κυριακῇ τῶν νηστειῶν· τοῦ Πέτρου Βυζαντίου καὶ Μελῳδοῦ Μπερεκέτη· ἦχος δʹ blank Τῇ Κυριακῇ τῶν βαΐων Κρατήματα καὶ ἠχήματα Ὁ ἄμωμος ψαλλόμενος εἰς τοὺς κοιμηθέντας ... παρὰ κὺρ Χρυσάφη τοῦ νέου· ἦχος βʹ Καλοφωνικοὶ εἱρμοὶ διαφόρων music and MS end blank

Notes This Psaltike Techne has a wood and leather binding. The manuscript is readable and in good condition. The end folios, however, are damaged by holes. One large folio (Ir–v) precedes fol. 1r, preceded by seven smaller folios. The pages have anywhere from 15 to 21 lines. The script is written in black ink and the rubrics, modal signatures and hypostaseis in a light brownish orange colour. There are certain folios of note in this manuscript. Fol. 4v has an entire folio devoted to the diagram of the Koukouzelian wheel of modes (trochos). Fol. 5r, on which the colophon of 1747 is recorded, features a colour self-portrait of the scribe David Skopelites on the right side and a lengthy autobiography of the writer in the left-hand column. On this same folio, the scribe

50

EBE 893

compares the ecclesiastical melodies of the manuscript with the melodies of Orpheus on the lyre. Fol. 19r has a nice title design in the shape of a P. The MS has many orthographic errors throughout, an indication that David Skopelites was probably not very educated. Yet despite this he includes a known political verse on fol. 5r that was probably borrowed from another source: Παυσάσθωσαν τὰ ὄρνεα μέλος νὰ πιπιλίζουν ἀπὸ τὸν τάφον λυριστοῦ Ὀρφέως νὰ ἐλπίζουν, μὲ μελῳδίαν εὔηχον γλυκὰ νὰ κελαδίζουν καθὼς οἱ πάλαι Ἕλληνες μὲ μύθους φλυαρίζουν. Ἐν ταύτῃ γὰρ εὑρίσκονται ἦχος καὶ μελῳδίαι πρὸς τὸν Θεὸν τὸν κτίσαντα τὴν κτίσιν ὑμνῳδίαι καὶ ταύτην οἱ βουλόμενοι τὸν Κτίστην νὰ ἰδοῦσι μὲ πόθος ἂς σπουδάξουσι καὶ θέλουν τὸν εὑροῦσι. Δεήθητι οὖν τοῦ Θεοῦ καὶ τῆς Ὑπεραγίας νὰ τύχωμεν ἀμφότεροι τῆς ἄνω βασιλείας. Although this is an 18th-century Psaltike Techne MS, it is still a rich resource with much information on methodology. The MS opens on fol. 1r with the traditional Psaltike Techne with information on the signs and intervals. It continues with the following: fol. 3v Parallage fol. 4r Interpretation of Modes fol. 4v Koukouzeles Wheel fol. 5r colophon fol. 6r Metrophonia and Theseis fol. 13r another method for Metrophonia fol. 15v Ananeanes fol. 16v Nenanismata fol. 19r Great Vespers begins fol. 25r Psalm 1 fol. 35v Psalm 2 fol. 45r Kekragaria fol. 50r Prokeimena fol. 50v Dochai fol. 59r Orthros chants fol. 62v Polyeleos settings, (fol. 83v) abridged fol. 102v Pasapnoaria fol. 132r Great Doxologies fol. 174bv Divine Liturgy fol. 176r Alleluia fol. 181r Cherubic hymns, (fol. 230r) for Holy Thursday fol. 233v Communion chants, (fol. 276r) for special occasions fol. 296r Liturgy of Presanctified Gifts fol. 303r Theotokia hymns according to modes fol. 356v Mathemata for selected feasts of the Menologion fol. 402r Mathemata for the Triodion fol. 412r Akathistos hymn

EBE 893

fol. 420r fol. 442r fol. 452v fol. 454r

Stichera for the fifth week of Lent, (fol. 421v) Palm Sunday Kratemata Amomos for Laymen by Chrysaphes the New Kalophonic Heirmoi

Bibliography Chaldaiakis, Ὁ Πολυέλεος στὴν Βυζαντινὴ. Chatzegiakoumes, Μουσικὰ Χειρόγραφα Τουρκοκρατίας (1453–1832), pp. 165–6. Jakovljević, ‘David Raidestinos’. Kretikou, Ὁ Ἀκάθιστος Ὓμνος στἠν Βυζαντινὴ καὶ Μεταβυζαντινὴ Μελοποία. Patrinelis, ‘Protopsaltae’. Touliatos-Banker, ‘Selected Melodic Formulae’. Wellesz, ‘The Akathistos Hymn’.

51

EBE 894

52

ΕΒΕ 894 ΑΝΘΟΛΟΓΙΑ ΤΗΣ ΠΑΠΑΔΙΚΗΣ/ANTHOLOGIA OF THE PAPADIKE Type of paper: Turkish Measurements: 20.6 × 16 cm Folios: 833 Notation: Late Round Byzantine Date: 18th c.

1r 3 v 4r 10r

15r

26r 45r 50r 70r 77v 92v 99v 104r 158v 175r 207r 218r 223r 279r 289r

Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς Mουσικῆς Tέχνης Ἑτέρα μέθοδος τῆς μετροφωνίας ὠφέλιμος· κὺρ Γρηγορίου· ἦχος πλ. δʹ «Νε Οὓτως καὶ κατάβαινε ...» Ἑτέρα μέθοδος τῆς καλοφωνίας τοῦ κὺρ Ἰωάννου τοῦ Κλαδᾶ Ἐπωφελὴς μέθοδος ἡ τοῦ Κορώνη κρατημάτων φέρουσα χειρονομίας· εἰς ἦχον τερπνὸν τοῦ πλαγίου δευτέρου καὶ Νενανω δέματος ἠκρυβωμένου· ἣδιστον καὶ γὰρ ἐστι τοῦ Νενανω τὸ μέλος, ὡς ἡ τέχνη δείκνυσι τῆς μελουργίας. Τὰ γὰρ ἄλλα δέματα τοῦ πρώτου ἦχου καὶ καθεξῆς τῶν ἄλλων, δένουσιν καὶ λύνουσιν, ἐντέχνως πάνυ τὴν μεταβολὴν ὡς ἐν βραχεῖ δεικνύντες, τὸ δὲ Νενανω ἐκτεταμένον μέλος, ὑπὲρ τῶν ὀκτὼ ἔνατος ἦχος πέλει. ἦχος πλ. βʹ Νενανω Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ μεγάλου Ἑσπερινοῦ, ποιηθέντος παρὰ διαφόρων ποιητῶν, παλαιῶν τε καὶ νέων. Ἀρχόμεθα οὖν ἡσύχως καὶ ἀργῶς μετὰ κατανύξεως καὶ πάσης εὐλαβείας καὶ φόβου Θεοῦ· ἄρχεται ὀ πρῶτος χόρος· ἦχος πλ. δʹ «Ἀνοίξαντός σου τὴν χεῖρα...» «Μακάριος ἀνὴρ...» Μεγάλου Ἑσπερινοῦ Στίχοι καλοφωνικοὶ ἐκ τοῦ δευτέρου ψαλμοῦ· ποιήματα διαφόρων ποιητῶν· τὸ παρὸν ἐστι ποίημα κὺρ Ξένου τοῦ Κορώνη Ἀρχὴ σὺν Θεῷ καὶ τῶν κατ’ ἦχον κεκραγαρίων Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν προκειμένων τῆς ὅλης ἑβδομάδος μετὰ τῶν μικρῶν τε καὶ μεγάλων δοχῶν ... κατ᾿ ἦχον Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῆς τοῦ Ὂρθρου ἀκουλουθίας κατὰ τάξιν μετὰ τὸν ἑξαψαλμὸν· ἀρχόμενον, ψάλλεται τὸ, «Θεὸς Κύριος…» κατ’ ἦχον μέλος ἀρχαῖον· ἦχος αʹ Πολυελέου Ἡ βουλγάρα τοῦ Κουκουζέλη Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ μερικῶν ἀντιφώνων ποιηθέντων παρὰ διαφόρων ποιητῶν· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχον πασαπνοαρίων ποιηθέντων ὑπὸ διαφόρων ποιητῶν παλαιῶν τε καὶ νέων· τὸ παρὸν ποίημα τοῦ Κουκουζέλη· ἦχος αʹ Τῇ ἁγίᾳ καὶ μεγάλῃ Τεσσαρακοστῇ· κὺρ Χρυσάφη· ἦχος πλ. δʹ Ἑωθινὰ τῶν τὰ μὲν γράμματα ἐποιήθησαν παρὰ τοῦ Σοφοῦ Λέοντος καὶ αὐτοκράτορος Ῥωμαίων· δὲ μέλος κὺρ Ἰωάννου τοῦ Γλυκέως· ἦχος αʹ Τῶν δοξολογίων Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ ἡ θεία ἱερὰ Λειτουργία Ἰωάννου ἀρχιεπισκόπου Κωσταντινουπόλεως τοῦ Χρυσοστόμου Κατ᾿ ἦχον χερουβικὸν ὕμνον ... ἦχος αʹ

EBE 894

355v 361v 410r 426v 471r 578r 751r 774v 821v 824r 833v

53

Τῇ ἁγίᾳ καὶ μεγάλῃ Πέμπτῃ ἀντὶ τοῦ χερουβικοῦ ὕμνου ψάλλεται τὸ παρὸν ποίημα τοῦ Ἠθικοῦ· ἦχος πλ. βʹ «Τοῦ δείπνου σου τοῦ μυστικοῦ...» Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον κοινωνικῶν Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχον κοινωνικῶν τῆς ὅλης ἑβδομάδος ... Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχον κοινωνικῶν τῶν δεσποτικῶν ἑορτῶν τῇ πρώτῃ Σεπτεμβρίου τῆς ἰνδίκτου· ψάλλεται τὸ παρὸν τοῦ Κορώνη Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον καλοφωνικῶν καὶ πανηγυρικῶν Θεοτοκίων μαθημάτων ... Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν δεσποτικῶν καὶ θεομητορικῶν καὶ ἑορταζομένων ἁγίων τῶν μαθημάτων τοῦ ὅλου ἐνιαυτοῦ ποιηθέντων ὑπὸ διαφόρων ποιητῶν παλαιῶν τε καὶ νέων· μὴν Σεπτέμβριος εἰς τὴν αʹ τῆς ἰνδίκτου· κὺρ Πέτρου Μπερεκέτη· ἦχος πλ. βʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τοῦ Πεντηκοσταρίου τῶν καλοφωνικῶν μαθημάτων τῇ Κυριακῇ τῆς ἁγίας Λαμπρᾶς· κὺρ Μανουὴλ τοῦ Χρυσάφη· ἦχος πλ. αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον ἠχημάτων καὶ ἑτέρων κρατημάτων Ἄμωμος ψαλλόμενος εἰς κοιμηθέντας· κὺρ Χρυσάφη Κατανυκτικῶν· κὺρ Ἰωάννου τοῦ Κλαδᾶ music and MS end

Notes This Anthologia of the Papadike is similar in content to the preceding MS EBE 893 but has more than double the number of folios. The larger EBE 894 has a darkish brown leather binding. For the most part, the MS is in good readable condition but there are missing folios in the beginning. The numeration of fol. 1 begins after these missing folios. The text and music are written in black ink and the rubrics in a pale red. There are about 15 lines per page. There are many ascriptions in this MS of older and newer composers with Mathemata. The holdings of this MS are rich. Some of the main contents are: signs of the Papadike Techne fol. 1r Metrophonia of Gregorios fol. 3v Kalophonic method of Kladas and (fol. 10r) Korones fol. 4r r fol. 15 Vespers chants fol. 26r Psalm 1 fol. 50r Kalophonic Psalm 2 fol. 70r Kekragaria fol. 77v Prokeimena fol. 92v Orthros chants fol. 99v Polyeleos fol. 104r Bulgara by Koukouzeles fol. 158v Antiphons fol. 175r Pasapnoaria fol. 207r chants for Lent by M. Chrysaphes fol. 218r Eothina chants fol. 223r Doxology fol. 279r Liturgy of St John Chrysostom fol. 289r Cherubic hymns fol. 361v Communion chants

EBE 894

54

fol. 471r Kalophonic Mathemata fol. 774v Echemata and Kratemata fol. 821v Amomos for Laymen by M. Chrysaphes fol. 824r Katanyktika by Kladas Bibliography Papadopoulos-Kerameus, “Μανουὴλ Χρυσάφης Λαμπαδάριος τοῦ βασιλικοῦ Κλήρου”. Τontscheva, ‘Les Chants “Bulgares”’. Williams, ‘The Treatment of Text’.

EBE 895

55

ΕΒΕ 895 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: bombycinous Measurements: 22 × 14.5 cm Folios: 251 Notation: Middle Byzantine Date: 15th c.

1r 35r 251v

Στιχηράριον σὺν Θεῷ ἁγίῳ περιέχον τὴν ἅπασαν ἀκολουθίαν τοῦ ὅλου ἐνιαυτοῦ· μὴν Σεπτέμβριος, αʹ· ἀρχὴ τῆς ἰνδίκτου καὶ μνήμῃ τοῦ ὁσίου πατρὸς ἡμῶν Συμεὼν τοῦ Στυλίτου Μὴν Ὀκτώβριος (The repertory continues in the usual order through the end of August and then follows with the Triodion and Pentecostarion.) music and MS end

Notes This is a typical 15th-century Sticherarion that follows the liturgical calendar of the Menaion, Triodion and Pentecostarion. The MS has a brownish black leather binding. In general, it is easy to read and in good condition. There are missing folios at the beginning and ending. The foliation appears to have been made after the folios at the beginning had been removed. There is an average of 15 lines per page. The script and music are in grey ink and the rubrics in an orange colour. There are few ascriptions in the MS. No composers’ names are given. The rubrics include only modal signatures and feast days. This MS contains one of only two known hymns by Theoleptos (fol. 246r–v). The Sticheron for St Athanasios appears on fol. 247v. Bibliography Komines, “Ἡ χειρόγραφος παράδοσις”. —— “Ὑμνογραφικὰ εἰς Ὅσιον Ἀθανάσιον τὸν Ἀθωνίτην”. Velimirović, ‘The Musical Works of Theoleptos’. —— ‘Unknown Stichera’.

EBE 896

56

ΕΒΕ 896 ΣΤΙΧΗΡΑΡΙΟΝ ΚΑΛΟΦΩΝΙΚΟΝ/KALOPHONIC STICHERARION Type of paper: Turkish Measurements: 21.7 × 15.8 cm Folios: 395 Notation: Late Round Byzantine Date: 1684

1r 32r 58r 89r 135v 136r 172v 184r 192r 199v 206r 223v 247r 269v 270r–v 271r 353r 362v 363r 394r 394v 395r 395v

Ἀρχὴ σῦν Θεῷ ἁγίῳ, στιχηράριον καλοφωνικὸν περιέχον πᾶσαν τὴν ἀκολουθίαν τοῦ ὅλου ἐνιαυτοῦ κατὰ τάξιν καλλωπισμένον· μηνὶ Σεπτεμβρίῳ Μὴν Ὀκτώβριος Μὴν Νοέμβριος Μὴν Δεκέμβριος Τὰ στιχηρὰ μαθήματα τῶν ἑορτῶν Σεπτεμβρίου ἕως Δεκεμβρίου μὲ τὴν καταλλακτήρια ἔνδειξις χεὶρ Ἁμαρτωλοῦ Κοσμᾶ τοῦ Μακεδῶνος εἰς τοὺς 1684 Ἰουνίῳ κηʹ Μὴν Ἰανουάριος Μὴν Φεβρουάριος Μὴν Μάρτιος Μὴν Ἀπρίλιος Μὴν Μάϊος Μὴν Ἰούνιος Μὴν Ἰούλιος Μὴν Αὔγουστος end of Stichera for August Τὰ στιχηρὰ μαθήματα τῶν ἑορτῶν Ἰανουαρίου ἕως Αὐγούστου μὲ τὴν καταλλακτήρια ἔνδειξις, σβησμένην σήμερα, 1684 Αὐγούστῳ ἡ χεὶρ Ἁμαρτωλοῦ Κοσμᾶ ἐκ τῶν Ἰβήρων. blank Ἀρχὴ τοῦ Τριῳδίου, Κυριακῇ τοῦ Τελώνου καὶ τοῦ Φαρισαίου, ἦχος αʹ «Μὴ προσευξώμεθα…» Τὰ τριῴδια ἐξαποστειλαρίου end of Triodion section Τοῦ Πεντηκοσταρίου end of Pentecostarion ... εἰς τοὺς 1684 Ὀκτωβρίῳ κηʹ διὰ χειρὸς εὐτελοῦς Κοσμᾶ ἐκ τῶν Ἰβήρων blank blank some scribbled writing that appears to be a later addition

Notes This Kalophonic Sticherarion is typical in that it includes the melodies for feasts of the ecclesiastical calendar. The manuscript is bound in dark blackish leather and is in a beautifully clean condition. There is an average of 18 lines per page. The scribe of this manuscript is Kosmas

EBE 896

57

the Macedonian, Hieromonachos of the Monastery of Iviron. According to Chatzegiakoumes, this scribe and composer is quite prolific and is known to have copied close to 30 manuscripts between the years of 1674 and 1692. The several colophons (135v, 269v, 394r) show that the MS was copied in the year 1684. Composers’ names are not given. Melodies are identified only according to feasts and modes. Bibliography Chatzegiakoumes, Μουσικᾶ Χειρόγραφα Τουρκοκρατίας.

EBE 897

58

ΕΒΕ 897 ΑΝΘΟΛΟΓΙΑ/ANTHOLOGIA Type of paper: Turkish Measurements: 23.9 × 18 cm Folios: II + 556 + I Notation: Late Round Byzantine Date: 1750–1800

Ir–IIv 1r

3r 4r 4v 5r 5v 6r 7r 8v 10r 15v 18v 25v 33r 37r 47v 49r 50v 54v 65v 71v 86v 128v

blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς Ψαλτικῆς Τέχνης, τῶν τε ἀνιόντων καὶ κατιόντων, σωμάτων καὶ πνευμάτων καὶ πάσης χειρονομίας τε καὶ ἀκολουθίας συντεθειμένης εἰς αὐτὴν παρὰ τῶν κατὰ καιροὺς ἀναδειχθέντων ποιητῶν, παλαιῶν τε καὶ νέων· «Ἀρχὴ, μέση, τέλος ...» (the Papadike of Koukouzeles follows) diagram of circle with intonation formula diagram of circle with modes of Koukouzeles diagram of circles: Ἡ σοφωτάτη παραλλαγὴ ... blank Ἑτέρα μέθοδος τῆς παραλλαγῆς· ἀρχομένης ἀπὸ τὸ ἴσον καταβαίνοντας καὶ ἀναβαίνοντας· εὑρίσκεις τὸ ἴσον ὅθεν ἄρχευσες scale of modes, Epechemata (intonation formulae) Μέθοδος τῆς μετροφωνίας· ποιηθεῖσα παρὰ τοῦ ὁσίου καὶ θεοφόρου πατρὸς ἡμῶν, Ἰωάννου τοῦ Δαμασκηνοῦ· ἦχος αʹ Μέθοδος τῆς μετροφωνίας κὺρ Γρηγορίου Μπούνη τοῦ Ἀλυάτου· ἦχος πλ. δʹ«Νε, Οὕτως οὖν ἀνάβαινε...» Ἕτερον τῶν νενανισμῶν τῶν τε καὶ τερεντισμάτων· τοῦ Κορώνη Ἑτέρα τῶν θέσεων τοῦ αὐτοῦ, ἔντεχνος Στίχοι ποιηθέντες παρὰ κὺρ Ἰωάννου τοῦ Κλαδᾶ Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ μεγάλου Ἑσπερινοῦ, ποιηθέντος παρὰ διαφόρων ποιητῶν «Ἀνοίξαντός σου τὴν χεῖρα...» Ἄρχεται τὸ, «Μακάριος ἀνὴρ»· γεγωνοτέρᾳ φωνῇ ἀπέξω, εἰς διπλασμὸν κάτω μελέτης· ὅλοι εἰς τὸν συνδιπλασμὸν· ἦχος πλ. δʹ Δευτέραν στάσιν· ἦχος πλ. δʹ Ἕτεραι δοχαὶ, σύντομαι ἐκ τοῦ δευτέρου ψαλμοῦ, ποιηθεῖσα παρὰ κυρίου Γενναδίου, τοῦ ἐξ Ἀγχιάλου· ἦχος πλ. δʹ «Ἳνα τί ἐφρύαξαν ἔθνη...» Ἐκ τοῦ τρίτου ψαλμοῦ Στίχοι καλοφωνικοὶ ἐκ τοῦ δευτέρου ψαλμοῦ Ἦχος πλ. δʹ· τοῦ Κορώνη «Ἳνα τί ἐφρύαξαν ἔθνη...» Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχον κεκραγαρίων τε καὶ κατευθυνθήτων, πάνυ ἔντεχνος τε, καὶ μελῳδικά· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τὰ προκείμενα τῆς ὅλης ἑβδομάδος ἅτινα καὶ δοχαὶ καλοῦνται, μετὰ τῶν μικρῶν καὶ μεγάλων πᾶν ἐντέχνων Ἀρκτέον κράξεις, καὶ τοῦ πολυελέου Ἀντίφωνα ψαλλόμενα εἰς τὰς ἑορτὰς τῆς ὑπεραγίας Δεσποίνης ἡμῶν Θεοτόκου· ποιηθέντα παρὰ διαφόρων ποιητῶν· ἦχος αʹ

EBE 897

138v 164r 168r 204r 249r 306r 368v 418v 422v 433r 450r 468r 479v 531r 535r 556v

59

Πασαπνοάρια κατ’ ἦχον· τὸ παρὸν ποίημα κὺρ Ἰωάννου τοῦ Κουκουζέλους καὶ Μαΐστορος...· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν ἕνδεκα ἑωθινῶν, ποιηθέντων παρὰ τοῦ εὐσεβοῦς βασιλέως Λέοντος τοῦ Σοφοῦ· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχον δοξολογιῶν ... παρὰ κὺρ Μπαλασίου ἱερέως· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίω καὶ τῶν κατ’ ἦχον χερουβικῶν ... παρὰ διαφόρων ποιητῶν Kατ’ ἦχον κοινωνικῶν· τὸ παρὸν κὺρ Ἰωάννου λαμπαδαρίου τοῦ Κλαδᾶ Kατ’ ἦχον Θεοτοκίων μαθημάτων Ἀρχὴ σὺν Θεῷ ἁγίῳ, τῶν μαθημάτων τοῦ ἐνιαυτοῦ· μηνὶ Σεπτεμβρίου ηʹ· τὸ γενέσιον τῆς ὑπεραγίας Δεσποίνης ἡμῶν Θεοτόκου· κὺρ Μπαλασίου, ἱερέως Νομοφύλακος· ἦχος πλ. δʹ Κράτημα ἐκαλλωπίσθη παρὰ τοὺ [Γεωργίου] Πρασίνου· ἦχος α´τετράφωνος Κράτημα μουσουλμάνικον [Muslim-like Kratema]· ἦχος α´ τετράφωνος Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν πολυελέων, τοῦ λογιωτάτου καὶ μουσικολογιωτάτου κυρίου, κὺρ Πέτρου τοῦ Γλυκῦ καὶ ἕτερον μαθημάτων· χερουβικῶν τε καὶ κοινωνικῶν· ὑπὸ ... κὺρ Πέτρου τοῦ Βυζαντίου· ἦχος αʹ Χερουβικῶν· κὺρ Πέτρου· ἦχος αʹ Κοινωνικῶν· κὺρ Πέτρου· ἦχος πλ. αʹ Θεοτοκίον· κὺρ Πέτρου· ἦχος αʹ Τὰ κατ’ ἦχον σύντομα χερουβικὰ τοῦ Ἀντωνίου ἱερέως καὶ Οἰκονόμου· ἦχος αʹ Εἱρμοὶ καλοφωνικοὶ ... κὺρ Πέτρου Μπερεκέτη· ἦχος αʹ MS ends. This folio has the signature of the scribe Εὐθυμίου ἱερομοναχοῦ (Euthymios the priest-monk).

Notes This Anthologia contains melodies of the Papadike of both older and newer composers. The MS shows indications of being from the latter half of the 18th century. The scribe, Euthymios Ηieromonachos, has signed his name on fol. 556v. The MS has a darkish brown cloth binding. The folios are in good condition and the writing is very readable. The rubrics, modal signatures and hypostaseis are bright red and the text and neumes are black. There is an average of 14 lines per page. Of note are the coloured diagrams of the parallage that appear on fols 3r, 4r and 4v. The repertory of the MS is consistent and contains music for the Orthros (Matins combined with Lauds), Vespers and Liturgies along with Mathemataria and Kalophonic stichoi. The MS is similar in content to Xiropotamou MS 380. Some of the main contents are the following: signs of the Papadike fol. 1r diagrams fol. 3r another Parallage fol. 5v fol. 6r Epechemata Metrophonia fol. 7r fol. 15v Theseis fol. 25v Great Vespers, Anoixantaria fol. 33r Psalm 1 fol. 37r Psalm 2 fol. 49r Psalm 3

EBE 897

60

fol. 65v Kekragaria fol. 71v Prokeimena fol. 86v Polyeleos fol. 128v Antiphons fol. 138v Pasapnoaria fol. 164r Heothina chants fol. 168r Doxologies by modes fol. 204r Cherubic hymns by modes fol. 249r Communion chants by modes fol. 306r Theotokia Mathemata fol. 368v Mathemata for the Menologion fol. 433r Polyeleos fol. 450r more Cherubic hymns fol. 468r more Communion chants fol. 479v more Theotokia fol. 535r Kalophonic Heirmoi Bibliography Stathis, G., “Ἡ σύγχυση τῶν τριῶν Πέτρων”.

EBE 898

61

ΕΒΕ 898 ΑΝΘΟΛΟΓΙΑ/ANTHOLOGIA Type of paper: Turkish Measurements: 22.5 × 16.5 cm Folios: II + 679 + I Notation: Late Round Byzantine, with many hypostaseis Date: 1750–1800

Ir–IIv 1r 4v 15v 16r 17r 18r 80r 96r 99v 147v 148r 179v 184r 208v 209r 221r 223r 281r 323r 335r 350v 360r 419r

blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς Ψαλτικῆς Τέχνης ... ποιητῶν παλαιῶν τε καὶ νέων. Ἐπωφελὴς μέθοδος τοῦ Κορώνη, κρατημάτων φέρουσα χειρονομίαν ... πλαγίου δευτέρου καὶ Nενανω Μέθοδος τῆς μετροφωνίας ὠφέλιμος κὺρ Γρηγορίου ἱερομονάχου Μπούνη τοῦ Ἀλυάτου· ἦχος πλ. δʹ «Νε, Οὕτως οὖν ἀνάβαινε ...» Ἑτέρα μέθοδος τῆς καλοφωνίας· κὺρ Ἰωάννου τοῦ Κλαδᾶ· ὅλο ἀρχὴ· ἦχος αʹ Σημάδια ὀκταήχου ψαλλόμενα συντεθέντα ἔντεχνα παρὰ τοῦ Μαΐστορος κὺρ Ἰωάννου τοῦ Κουκουζέλη Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ μεγάλου Ἑσπερινοῦ, ποιηθὲν ὑπὸ διαφόρων ποιητῶν· ποίημα ἀρχαῖον· ἦχος πλ. δʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον μεγάλων κεκραγαρίων τοῦ ὁσίου πατρὸς ἡμῶν Ἰωάννου τοῦ Δαμασκηνοῦ· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν πολυελέων ... παρὰ τοῦ Κουκουμᾶ ῾H βουλγάρα καλουμένη· κυρίου Ἰωάννου Κουκουζέλη blank Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν μεγάλων πασαπνοαρίων καὶ τὸ μὲν παρὸν ἐστι ποίημα κὺρ Ἰωάννου τοῦ Κουκουζέλη· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ιαʹ ἑωθινῶν· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχον δοξολογίων ὕμνων ... ποιητῶν Μπαλασίου ἱερέως· ἦχος αʹ blank Trisagion «Ἅγιος ὁ Θεὸς ...» Πολυχρονίων τοῦ κὺρ Γερμανοῦ Νέων Πατρῶν· ἦχος αʹ Τῶν τριῶν συλλειτουργημάτων (repertory from the three liturgies follows) Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κοινωνικῶν ὕμνων ...κὺρ Ἰωάννου τοῦ Κλαδᾶ Κοινωνικὰ τῆς ὅλης ἑβδομάδος· κοινωνικὸν τῆς Δευτέρας ... ποίημα κὺρ Κωνσταντίνου τοῦ Μαγουλᾶ· ἦχος πλ. δʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ ἑτέρων κοινωνικῶν τῶν δεσποτικῶν καὶ θεομητορικῶν ἑορτῶν· μὴν Σεπτέμβριος, αʹ· ποίημα τοῦ Κορώνη· ἦχος βʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ ἐν τῇ τῶν Προηγιασμένων· ἡ θεία καὶ ἱερὰ Λειτουργία συλλειτούργημα τῶν μετὰ τὰ ἀναγνώσματα· τὸ παρὸν Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον Θεοτοκία· ποιηθὲν παρὰ διαφόρων ποιητῶν Ἐγκωμιαστικὸν εἰς τὴν ὑπεραγίαν Θεοτόκου ... παρὰ Ἰωάννου τοῦ Κλαδᾶ

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Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον ἠχημάτων καὶ ἑτέρων κρατημάτων. Τὸ παρὸν ἀρχαῖον καλλωπισθὲν ὑπὸ τοῦ κυρίου Μανουὴλ τοῦ Χρυσάφη. Ὕστερον ἐκαλλωπισθὲν ὑπὸ τοῦ κυρίου Θεοφάνου πατριάρχου τοῦ Καρύκη· ἦχος αʹ Ἀρχὴ καὶ μερικῶν κρατημάτων ... 437v Ἄμωμος ψαλλόμενος εἰς λαϊκοὺς ... παρὰ τοῦ Χρυσάφου τοῦ Νέου· ἦχος βʹ 447v Μαθημάτων δεσποτικῶν ἑορτῶν ... αὐτὸ μὴν Σεπτέμβριος 464r Εἰς τὸν Ἀκάθιστον ὕμνον τῆς ὑπεραγίας Θεοτόκου· ποίημα κὺρ Ἰωάννου τοῦ Κλαδᾶ· 550r ἦχος πλ. δʹ. (The remainder of the MS consists of Mathemata for other feasts.) MS ends 670r 670v–679v blank blank Ir–v Notes This Anthology has a brown wood and leather binding. The MS is in good condition and is very clear and readable. However, the beginning folios are cut at the edges. The rubrics are plentiful and appear in a bright red colour, as do the modal signatures and hypostaseis. The text and music are in a dark black ink. There is an average of 12 lines per page. The repertory of the MS is typical for the 18th century and includes both older and newer composers, such as John Damascene, Koukouzeles and Kladas among the former and Manuel Chrysaphes and Gregorios Bounes of Alyates among the latter. The contents of the MS are as follows: fol. 1r Papadike/Methods by Korones, Gregorios Bounes of Alyates, Ioannes Kladas fol. 96r Vespers fol. 96r Orthros fol. 223r three liturgies fol. 424r Kratemata fol. 464r Mathemata fol. 447v Amomos for Laymen Bibliography Karas, Μέθοδος τῆς Ἑλληνικῆς Μουσικῆς Θεωρητικόν, vol. 1.

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ΕΒΕ 899 ΠΑΠΑΔΙΚΗ/PAPADIKE Type of paper: bombycinous Measurements: 21.3 × 14.3 cm Folios: 359 + I Notation: Middle/Round Byzantine Date: ca. 1390–1410

1r–15r Papadike treatise on Middle Byzantine notation. (This contains the Ison poem. On fol. 3r and following is a written text in treatise format accompanied by music examples on the relationships of modes, their modal signatures, modulations [Phthora], intonation formulae [Epechemata] and Kratemata.) Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς Παπαδικῆς Τέχνης· ἀρχὴ, μέση καὶ τέλος ... 2r Μέθοδος ὠφελεμώτατον [sic] εἰς αʹ μαθητὴν (Beneficial method for the first beginner 15r student) Κὺρ Μανουὴλ τοῦ Κορώνη·ἦχος πλ. δʹ «Ἀσώτῳ Κυρίῳ ἐν τῇ ζωῇ...» 16r Τοῦ Κυρίου Γαζῆ ποίημα· ἦχος πλ. δʹ «Ἀσώτῳ Κυρίῳ ἐν τῇ ζωῇ...» Ἀρχὴ σοφωτάτων παραλλαγῶν 16v 17r–22v Παπαδικὴ τοῦ Κουκουζέλη Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν προκειμένων τῆς ὅλης ἑβδομάδος μετὰ τῶν μικρῶν δοχῶν· 23r τῇ Κυριακῇ Ἑσπέρας· ἦχος πλ. α´ «Ἰδοὺ δὴ εὐλογεῖτε τὸν Κύριον…» 26v-27r Ἀρχὴ σὺν Θεῷ ἁγίῳ· τὸ, [κεʹ] [Κύριε] ἐκέκραξα κατ’ ἦχον· σὺν [Θεῷ ἁγίῳ]τὸ, «Δόξα» καὶ τὸ, «Θεὸς Κύριος»· σὺν τὸ, «Ἀλληλούϊα», ὃ λέγετε τῇ ἁγίᾳ καὶ μεγάλῃ Τεσσαρακοστῇ ἀντὶ τὸ, «Θεὸς Κύριοs»· σὺν μετὰ τὸ, «Πᾶσα πνοὴ» τῶν μοναστηριακῶν· καὶ τὸ, «Αἰνεῖτε» καὶ ἑτέρας ἀκολουθίας τοῦ Ὂρθρου· ἦχος αʹ «Κύριε ἑκέκραξα...» ὁ δομέστικος τοῦ ἄρχοντος τοῦ αʹ χόρου 28v Orthros chants progress according to the octoechos and end on fol. 39v. Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ Μεγάλου Ἑσπερινοῦ· ἀρχόμεθα οὖν τὴν τοιαύτην ἀκολουθίαν 40r ἣσυχα καὶ ἀργὰ μετὰ πάσης πραότητος· καθὼς διατάτεται [sic] καὶ ὁ Ἱεροσολυμίτης. Ὁ πρῶτος δομέστικος τοῦ ἂρχοντος χοροῦ, παλαιὸν· ἦχος πλ. δʹ «Ἀνοίξαντός σου τὴν χεῖρα...» τοῦ Παναρέτου, τοῦ Κουκουμᾶ, Ἀγαθὸς, τοῦ Κουκουζέλη, τοῦ Λαμπαδαρίου, Γεώργου τοῦ Κορώνη, τοῦ Ξένου Κορώνη Πληρωμένων δὲ τούτων, εὐθὺς ἄρχονται οἱ δύο χοροὶ· ἡνωμένοι ἀμφότεροι τὸ, «Πάντα 45r ἐν σοφίᾳ» ἐποίησας. Ὅλοι ἀπὸ χοροῦ· παλαιὸν· ἦχος πλ. δʹ «Πάντα ἐν σοφίᾳ...» Τοῦ Λαμπαδαρίου· ἦχος πλ. δʹ «Ἔθου σκότος...» τῶν ὀκτὼ ἤχων (this proceeds 45v according to the octoechos) Πληρωμένων δὲ τούτων ποιητῶν ὁ ἱερεὺς τὴν συναπτὴν καὶ ἄρχεται ὁ δεύτερος 46r δομέστικος τοῦ δευτέρου χοροῦ τὸ, «Μακάριος ἀνὴρ» εἰς διπλασμὸν· ἦχος πλ. δʹ· παλαιὸν «Μακάριος ἀνὴρ, ἀλληλούϊα...». Μελέτη εἰς τὸν ἔσω διπλασμόν· ἦχος πλ. δ´ «Μακάριος ἀνὴρ, ὅς οὐκ ἐπορεύθη…» Then follow compositions of the above chant by various composers: τοῦ Χαλιβούρη, τοῦ Λαμπαδαρίου, τοῦ Κορώνη, τοῦ Μακροπούλου [also spelled Μαρκοπούλου], τοῦ Ἀγαλλιανοῦ, Ἁγιοσοφίτικον [in the manner of St Sophia Cathedral], τοῦ Κουκουζέλη,

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τοῦ Παναρέτου, Ἀθανασίου Μοναχοῦ, τοῦ Κοντοπετρῆ, τοῦ Δοκιανοῦ, τοῦ Ἀγάθωνος, τοῦ Ἀργυροῦ ἀπὸ τὴν Ρόδον, τοῦ Κουκουμᾶ. Ἀρχὴ σὺν Θεῷ τῶν μεγάλων δοχῶν τῆς ὅλης ἑβδομάδος τὰς Ἑσπέρας· ἦχος βαρὺς «Ἰδοὺ δὴ εὐλογεῖτε τὸν Κύριον...». Some composers’ names are given: τοῦ Λατρινοῦ, τοῦ Κορώνη, τοῦ Ἀγαλλιανοῦ. The dochai (large and small) are prokeimena chants of the offices. The use of the term dochon indicates an earlier MS. Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ πολυελέου τοῦ λεγομένου Λατρινοῦ ... ὁ δομέστικος ἀπ᾽ ἔξω ἀπὸ χοροῦ· ἦχος α´ «Δοῦλοι Κύριον…» ἔσω ὁμοῦ «Αἰνεῖτε τὸ ὄνομα Κυρίου, αἰνεῖτε δοῦλοι Κύριον, ἀλληλούϊα…» Other composers’ names follow. Λατρινόν «Ὅτι ἐγὼ ἔγνωκα…» Τοῦ Κορώνη «Πάντα ὅσα ἠθέλησεν…» Τοῦ Ἀγαλλιανοῦ «Ἐν ταῖς θαλάσσαις…» Τοῦ Κορώνη «Ἀστραπὰς εἰς ὑετὸν ἐποίησεν…» Λατρινόν «Ὅς ἐπάταξε τὰ πρωτότοκα Αἰγύπτου…» Τοῦ Κορώνη «Ἐξαπέστειλε σημεῖα καὶ τέρατα…» Ἕτερον τοῦ αὐτοῦ «Ἐν μέσῳ σου, Αἴγυπτε…» Λατρινόν «Ὅς ἐπάταξεν ἔθνη πολλά…» Λατρινόν «Τὸν Σηὼν Βασιλέα…» Τοῦ Γρηγορίου «Τὸν Σηὼν Βασιλέα…» Τοῦ Κορώνη «Καὶ πάσας τὰς βασιλείας Χαναάν…» Λατρινόν «Κληρονομίαν Ἰσραήλ…» Λατρινόν «Καὶ τὸ μνημόσυνόν σου…» Ἕτερον τοῦ Κορώνη «Καὶ ἐπὶ τοῖς δούλοις αὺτοῦ…» Παλαιόν «Στόμα ἔχουσι…» Τοῦ Κορώνη «Καὶ οὐ λαλήσουσιν…» Τοῦ Ἀγαλλιανοῦ «Καὶ οὐκ ὄψονται…» Τοῦ Κουκουζέλη «Ὦτα ἔχουσι…» Τοῦ αὐτοῦ (Κουκουζέλη) «Ὅμοιοι αὐτοῖς γένοιντο…» Τοῦ Κουκουζέλη «Εὐλογήσατε τὸν Κύριον…» Τοῦ Κλωβᾶ· ἦχος πλ. α´ «Εὐλογήσατε τὸν Κύριον…» Τοῦ Λατρινοῦ πολυελέου Τοῦ Ἠθικοῦ· ἦχος πλ. α´ «Εὐλογήσατε τὸν Κύριον…» Ἕτερος πολυέλεος ψαλλόμενος ... ποίημα τοῦ Κουκουμᾶ· ἦχος αʹ «Δοῦλοι Κύριον...» Τοῦ Κορώνη· ἦχος πλ. α´ «Εὐλογήσατε τὸν Κύριον…» Παλαιόν «Εὐλογητὸς Κύριος ἐκ Σιών…» Some other composers follow: τοῦ Ἡθικοῦ, τοῦ Κορώνη, τοῦ Γλυκέως, Κορνηλίου μοναχοῦ, τοῦ Κουκουμᾶ (Ethikos, Korones, Glykys, Kornelios the monk, Koukoumas). Τοῦ Γλυκέος· ἦχος α´ «Καὶ τὸ μνημόσυνόν σου…» Ἀρχὴ τὰς δευτέρας στάσεως· ὁ δεύτερος χορός· ἦχος αʹ «Ἐξομολογεῖσθε τῷ Κυρίῳ...» Includes composers such as, τοῦ Μυστάκωνος, τοῦ Ἀγαλλιανοῦ Τοῦ Μανούγρα, Λατρινοῦ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ἀντιφώνων ποιηθέντων παρὰ διαφόρων ποιητῶν παλαιῶν τε καὶ νέων, ἀντίφωνον ψαλλόμενον εἰς δεσποτικὰς ἑορτὰς καὶ εἰς τὴν ὑπεραγίαν Θεοτόκον· ἦχος αʹ «Λόγον ἀγαθὸν...» This continues with the following composers: Ἰωάννου τοῦ Βατάτζη [Βασιλέως ], τοῦ Ἀνδρέου, τοῦ Κορώνη, τοῦ Μαΐστορος. Ἕτερον ἀντίφωνον ψαλλόμενον εἰς παννυχίδας καὶ εἰς ὁσίους· ποιήματα διαφόρων ποιητῶν· ἦχος γʹ «Ἐπὶ τῶν ποταμῶν Βαβυλῶνος...». Composers included: τοῦ Κορώνη, τοῦ Ἀγαλλιανοῦ, τοῦ Κορώνη (again), τοῦ Ξενοφῶντος

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Ἕτερον ἀντίφωνον ψαλλόμενον εἰς μάρτυρας καὶ εἰς ἱεράρχας καὶ εἰς ὁσίους· ποιηθὲν παρὰ διαφόρων ποιητῶν· ἦχος δʹ Various composers: Γρηγορίου, Γλυκέως, Κορώνη Ἀγάθωνος, Γεωργίου τοῦ Κοντοπετρῆ Ἕτερα ἀντίφωνα· ψαλλόμενα εἰς τὴν Σύναξιν τῶν Ἀσωμάτων ἀρχαῖον ἀλλα δὴ καὶ 93r εἰς τὴν Χριστου Γέννησιν· ποίημα τοῦ Ἠθικοῦ· ἦχος πλ. βʹ«Αἰνεῖτε τὸν Κύριον ἐκ τῶν οὐρανῶν...» Followed by composers: τοῦ Ἀγάθωνος, τοῦ λαμπαδαρίου, τοῦ Κουκουμᾶ Ἕτερα ἀντίφωνα ψαλλόμενα εἰς τὴν Μεταμόρφωσιν τοῦ Κυρίου καὶ Θεοῦ καὶ πατρὸς 96v ἡμῶν Ἰησοῦ Χριστοῦ· ποίημα τοῦ Ἀνεώτου· ἦχος βαρὺς· «Τὰ ἐλέη σου, Κύριε...» Other composers follow: τοῦ Κορώνη Ἀγάθωνος, Ἠθικοῦ, Λαμπαδαρίου, Θεοδούλου μοναχοῦ, Κορώνη, Κουκουζέλη. 102v Ποίημα τοῦ Κωνσταντίνου τοῦ Μανουγρᾶ. After this selection the antiphons end. Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς θείας καὶ ἱερᾶς Λειτουργίας τοῦ ἐν ἁγίοις πατρὸς ἡμῶν 103r Ἰωάννου τοῦ Χρυσοστόμου καὶ τοῦ Μεγάλου Βασιλείου. Ὁ δομέστικος τοῦ πρώτου χοροῦ ἄρχεται τὰ τυπικὰ εἰς ἦχον πλ. δ´ «Εὐλόγει ἡ ψυχή μου τὸν Κύριον..» Καὶ εὐθὺς τὸ, τρισάγιον, ἀπὸ χοροῦ, ὅλοι, ἔσω «Ἀμήν, ἅγιος ὁ Θεός…» 105r-v Ὃταν λειτουργεῖ ἀρχιερεύς, ψάλλουν εὐθὺς οἱ ἱερεῖς· εἶτα ὁ δομέστικος· Νεαγιε «Δόξα πατρί…» Ἀρχὴ τὰ ἀλληλουϊάρια, κατ’ ἦχον· ποίημα Ἀνδρέου τοῦ Σιγηροῦ. Other composers 109r contributing to the Alleluia repertory: Θεοδούλου μοναχοῦ, τοῦ Κορώνη, τοῦ Μαΐστορος, τοῦ Μυστάκωνος. Ἀρχὴ τῶν χερουβικῶν· τοῦ ὁσίου πατρὸς ἠμῶν Ἰωάννου τοῦ Δαμασκηνοῦ. Other 113v composers, fol. 114v: Γλυκέως, Κορώνη, Ἰωάννου τοῦ λαμπαδαρίου v 120 This folio has an infrequent setting of the Cherubic Hymn by the 15th-century monk Markos from the monastery of Xanthopoulos. Ἀρχὴ σὺν Θεῷ τῶν κοινωνικῶν κατ’ ἦχον· ποιήματα διαφόρων ποιητῶν· ἦχος αʹ· 124v τοῦ λαμπαδαρίου (progresses according to mode). Others: Μάρκου ἱερέως, τοῦ Ἀργυροπούλου, τοῦ λαμπαδαρίου, Κορώνη, Μάρκου Δημητρίου τοῦ Ῥαιδεστινοῦ, τοῦ Κατακάλου, τοῦ Δοκιανοῦ, ὀργανικὸν, τοῦ Μαΐστορος κὺρ Μανουὴλ Ἀρχὴ τῆς θείας καὶ ἱερᾶς Λειτουργίας τῶν Προηγιασμένων· ἄρχεται πρῶτον τὸν 141r ῾Εσπερινὸν· εἶτα τὰ ἀναγνώσματα καὶ εὐθὺς τὸ, Κατευθυνθήτω· τοῦ Ἠθικοῦ· ἦχος πλ. βʹ «Κατευθυνθήτω...» Τὸ, Χερουβικὸν ψαλλόμενον τῇ ἁγίᾳ καὶ μεγάλῃ Παρασκευῇ· ποίημα κυροῦ Νικηφόρου 146r τοῦ Ἠθικοῦ· λέγεται δὲ πρῶτον διαβαστόν· εἶτα ψάλλεται· λέγεται καὶ ἀντῖ τοῦ «Πληρωθήτω…»· ἦχος πλ. βʹ «Τοῦ δείπνου σου...» Other composer: τοῦ λαμπαδαρίου Τὸ κοινωνικὸν 149v Τέλος τῆς ἱερᾶς Λειτουργίας ... Ἄμωμος ψαλλόμενος εἰς κοιμηθέντας λαϊκοὺς· 150r ποιήματα διαφόρων ποιητῶν· συνετέθη δὲ ἐκαλλωπίσθη παρὰ τοῦ Φαρδιβούκη ἐκείνου καὶ πρωτοπαπᾶ τῶν ἁγίων Ἀποστόλων. Ὁ δομέστικος ἀπὸ χοροῦ· ἦχος β´ «Ἄμωμοι ἐν ὁδῷ…» Various composers: τοῦ Φαρδιβούκη, λαμπαδαρίου, τοῦ Γλυκέως, τοῦ Κελαδινοῦ ... τὴν δευτέραν στάσιν (Amomos)· ποίημα Κυρίου Ἰωάννου τοῦ λαμπαδαρίου 156v Other ascriptions: τοῦ Φαρδιβούκη, Κορώνη, Θεσσαλονικαῖον, Μανουγρᾶ, παλαιόν, Μανουὴλ Ὀρφανοτρόφου, Μανουὴλ τοῦ Θηβαίου 166r Στάσιν Γʹ· ἦχος πλ. δʹ Ἄμωμος συνοπτικὸν 174r

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174v

EBE 899

Ἕτερος ἄμωμος ψαλλόμενος εἰς κοιμηθέντας μονάχους. Ascriptions in order: ἱερεὺς Μανουὴλ τοῦ Παναρέτου, παλαὶον, κυρίου Ἰωαννου τοῦ Περιφήμου, τοῦ Κλοβᾶ, ἱερέως κυρίου Μανουὴλ τοῦ Ὀρφανοτρόφου, ἱερέως Κωνσταντίνου τοῦ Γαυρᾶ καὶ Ἀμπελόκηπος, τοῦ Κορώνη, ἱερέως Μανουὴλ τοῦ Ὀρφανοτρόφου [again], τοῦ λαμπαδαρίου, τοῦ Ἠθικοῦ Eἶτα μνημονεύει καὶ εὐθὺς ἂχεται ὁ πρωτεύον [sic] τοῦ ἀριστεροῦ χοροῦ· τοῦ Κορώνη· 175r ἦχος πλ. α´ «Σὸς εἰμὶ ἐγὼ…» 182v-83r Ἕτερος ἄμωμος ψαλλόμενος εἰς τὴν θεόσωμον ταφὴν τοῦ Κυρίου καὶ Θεοῦ καὶ Σωτῆρος ἡμῶν Ἰησοῦ Χριστοῦ καὶ εἰς τὴν ἔνδοξον κοίμησιν τῆς ὑπεραγίας Δεσποίνης ἡμῶν Θεοτόκου καὶ ἀεὶπαρθένου Μαρίας καὶ εἰς πάντας τοὺς ἁγίους· ὁ δομέστικος ἀπ᾽ ἔξω· ἦχος πλ. α´ «Εὐλογητὸς εἶ Κύριε… Μακάριοι οἱ ἂμωμοι… Ἡ ζωὴ ἐν τάφῳ…» 184v Μακαριζομένα τῶν ὁσίων (for Christ and saints and Theotokos); also includes the interpolated text without music Second στάσις 186r Ἄξιόν ἐστι μακαρίζειν σε τὸν ἀθλοφόρον ... ἕτερον ἄλλαγμα εἰς τὸν τίμιον Πρόδρομον· 187v τοῦ Γλυκέως· ἦχος Νενανω «Καιρὸς τοῦ ποιῆσαι...» Ἄρχεται ἡ τρίτη στάσις 189v Ἕτερα ἀλλάγματα· τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Γερμανοῦ πατριάρχου 190r Κωνσταντινουπόλεως· ἦχος γʹ «Ἄρχοντες κατεδίωξάν με δωρεὰν...» Ὁ δομέστικος μετὰ τῶν βαστακτῶν ἀπ᾽ ἔξω διπλασμὸς· Λέγετε «Αἱ γενεαὶ πᾶσαι 192r-v μακαρίζομέν σε τὴν μόνην Θεοτόκον…» Εἰς τὸν ἔσω διπλασμὸν οἱ ὅλοι ἀπὸ χοροῦ· ἦχος πλ. δ´ «Μακαρίζομέν σε πᾶσαι αἱ γενεαὶ Θεοτόκε…» Ἑσπερινὸς ᾀσματικὸς ὃς ψάλλεται κατὰ τὴν Ἑσπέραν τῆς Ὑψώσεως καὶ τοῦ μεγάλου 192v Χρυσοστόμου καὶ τοῦ μεγάλου Δημητρίου· μετὰ τὸ ποιῆσαι «Εὐλογητὸν», ἂρχεται ὁ διάκονος τὴν μεγάλην συναπτὴν, ἓως τὸ, «Ἀντιλαβοῦ»· καὶ μετ᾽ αὐτὸ λέγει ὁ δομέστικος οὓτω· ἦχος γʹ «Καὶ ἐπάκουσόν μου, δόξα σοι ὁ Θεὸς...» includes text along with music for the service Ὁ δομέστικος τὸ εἰσοδικόν «Ὅτι πρὸς σέ. Κύριε…» 195r Συμπληρωμένων δὲ τούτων, ἄρχεται ὁ δομέστικος τὰ στιχηρὰ τῆς ἑορτῆς ἔνθα 195V βουληθῇ· ἤ εἰς ὀκτώ, ἤ εἰς δέκα· ὅταν δὲ ἄρχεται ψάλλειν τὰ στιχηρὰ, ἐν ἄρχεται ὁ διάκονος καὶ θυμιᾷ. Καὶ λέγουν οἱ δύο χοροὶ τοὺς στίχους εἰς αὐτὸ τὸ μέλος. 197r Ἕτερος Ἑσπερινὸς ᾀσματικὸς ψαλλόμενος εἰς ἐπισήμους ἑορτὰς καὶ εἰς τὸν μέγαν 197v Χρυσόστομον· ἦχος πλ. βʹ «Καὶ ἐπάκουσόν μου...» Εἶτα κρατίζῃ [sic] ὁ δομὲστικος ὅσους βούλεται· καὶ λέγει στιχηρὰ τῆς ἑορτῆς· καὶ ὁ 199r ἀρχιδιάκονος θυμιᾷ. Ison song of Ioannes Koukouzeles. Σημάδια ψαλτὰ κατ᾽ ἦχον μετὰ πάσης χειρονομίας 199v καὶ συνθέσεως· ποίημα κὺρ Ἰωάννου τοῦ Κουκουζέλη· ἦχος αʹ «Ἴσον, ὀλίγον, ὀξεῖα καὶ πεταστὴ...» Ποίημα Κουκουζέλη τοῦ Μαΐστορος· ἦχος πλ. δʹ «Δουλεύσατε τῷ Κυριῷ...» follows 202v with Kalophonic versions Τοῦ Κορώνη [no mode] «Στόμα ἔχουσι...» Kalophonic 205v 207r Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ἀναγραμματισμῶν τοῦ ὅλου ἐνιαυτοῦ· ποιηθέντες παρὰ κυρίου Ἰωάννου Μαΐστορος τοῦ Κουκουζέλη· μηνὶ Σεπτεμβρίῳ· ἡ γέννησις τῆς ὑπεραγίας ἐνδόξου Δεσποίνης ἡμῶν Θεοτόκου καὶ ἀειπαρθένου Μαρίας· ἀναγραμματισμὸς εἰς τὸ, «Σήμερον ὁ τοῖς νοεροῖς θρόνοις…»· ἦχος πλ. βʹ

EBE 899

209v 210v 211r 213v 214r 215r 216r 218v 219r 221v 222r 224r 227r 228r 229v 230r 233r 235v 236r 238v 240v 243r 244r

67

Τῷ αὐτῷ μηνὶ ιδʹ· ἀναγραμματισμὸς εἰς τὴν ὕψωσιν τοῦ τιμίου καὶ ζωοποιοῦ Σταυροῦ· ἀπὸ τὸ, «Σήμερον ξύλον ἐφανερώθην...» τοῦ αὐτοῦ· ἦχος πλ. βʹ Τῷ αὐτῷ μηνὶ κϛʹ· ἀναγραμματισμὸς εἰς τὸν ἅγιον ἀποστόλον καὶ εὐαγγελιστὴν Ἰωάννη Θεολόγον· τοῦ αὐτοῦ· ἦχος πλ. αʹ Τῷ αὐτῷ μηνὶ Ὀκτωβρίῳ κϛʹ· ἀναγραμματισμὸς εἰς τὸν ἁγίον μεγαλομάρτυρα τοῦ Χριστοῦ Δημήτριον· ἦχος βαρὺς, ἀπὸ «Λαβὼν τὸ θαῦμα...» Ἕτερον ἀναγραμματισμὸν· τῶν αὐτῶν ἁγίων· ἀπὸ τὸ, «Τῇ τῶν ᾀσμάτων τερπνότητι...»τοῦ αὐτοῦ· ἦχος αʹ Ἕτερος ἀναγραμματισμὸς εἰς τῶν αὐτῶν ἁγίων, ἀπὸ τὸ «Ἔχει μὲν ἡ θειοτάτη σου ψυχὴ...» τοῦ αὐτοῦ· ἦχος Νενανω. Another on 26 Oct., for St Dimitrios «Φρούρησον, πανεύφημε...» Μηνὶ Νοεμβρίῳ αʹ· τῶν ἁγίων ἀναργύρων Κοσμᾶ καὶ Δαμιανοῦ· ἀναγραμματισμὸς ...τοῦ αὐτοῦ· ἦχος βʹ «Τῶν ἀλγηδόνων...» Τῷ αὐτῷ μηνὶ ηʹ· ἀναγραμματισμὸς εἰς τὴν σύναξιν τῶν ᾀσωμάτων (for the archangel Michael)· τοῦ αὐτοῦ· ἦχος πλ. βʹ Ἕτερος ἀναγραμματισμὸς εἰς τὸ, «Τῶν νοερῶν Δυνάμεων…». τοῦ αὐτοῦ· ἦχος πλ. βʹ «Τοὺς ὀρθοδόξους ἄνακτας...» Τῷ αὐτῷ μηνὶ ιγʹ· ἀναγραμματισμὸς, τοῦ ἐν ἁγίοις Πατρὸς ἡμῶν Ἰωάννου τοῦ Χρυσοστόμου εἰς τὸ, «Σὲ τὸν μέγαν ἀρχιερέα…»· ἦχος πλ. βʹ «Ἀνευφημοῦντες πόθῳ...» Εἰς τὴν αὐτὴν ἑορτὴν ἕτερος ἀναγραμματισμὸς εἰς τὸ στιχηρὸν τὸ, «Σάλπιγξ χρυσόφωνος…»· τοῦ αὐτοῦ· ἦχος Νενανω «Πυρακτώσεις...» Τῷ αὐτῷ μηνὶ καʹ· ἀναγραμματισμὸς εἰς τὴν εἴσοδον τῆς ὑπεραγίας Θεοτόκου εἰς τὸ, «Μετὰ τὸ τεχθῆναί σε…»· τοῦ αὐτοῦ· ἦχος πλ. αʹ «Ἄλγος τῷ...» Εἰς τὸ αὐτὸ· εἰς τὰ εἰσόδια τῆς ὑπεραγίας Θεοτόκου· τοῦ αὐτοῦ· ἦχος πλ. δʹ «Μετὰ τὸ τεχθῆναί σε...» Μηνὶ Δεκεμβρίῳ εʹ· ἀναγραμματισμὸς εἰς τὸν ὅσιον ἱερέα ἡμῶν Σάβαν τοῦ ἁγιασμένου εἰς τὸ, «Ὅσιε πάτερ, εἰς πᾶσαν τὴν γῆν…»· τοῦ αὐτοῦ· ἦχος πλ. βʹ «Τῶν δαιμόνων...» Τῷ αὐτῷ μηνὶ· ἦχος πλ. αʹ«Πᾶσαν τὴν γῆν ἐξήλθεν...» Ἀναγραμματισμὸς· εἰς τὸν ἅγιον Νικόλαον· εἰς τὸ, «Σαλπίσωμεν…»· ἦχος πλ. αʹ«Πανάγιε Νικόλαε, πρόφθασον ἐξελοῦ...» Ἕτερος ἀναγραμματισμὸς ἑορτὴν (6 Dec., feast of St Nicholas)· εἰς τὸ, «Τῶν ἀνδραγαθημάτων σου…»· τοῦ αὐτοῦ· ἦχος βαρὺς «Τῶν θλιβομένων...» Ἐκ τῶν τροπάριων εἰς τῶν Χριστουγέννων· ἀναγραμματισμὸς εἰς τὸ, «Βηθλεέμ, ἑτοιμάζου…»· ἦχος πλ. δʹ «Ἀδὰμ ἀνανεοῦται...» Ἕτερος ἀναγραμματισμὸς· εἰς τὴν αὐτὴν ἑορτὴν· εἰς τὴν ἑορτὴν εἰς τὸν Ἰωάννη προφήτη· τοῦ αὐτοῦ· ἦχος πλ. αʹ «Ἔτι παρθένος οὐκ ὥρας, Χριστέ...» Εἰς τὴν ἑορτὴν· εἰς τὸν ἁγίον Ἰωσὴφ· τοῦ αὐτοῦ· ἦχος πλ. δʹ «Οὐκέτι στέγω λοιπὸν...» Ἕτερον εἰς τὴν αὐτὴν ἑορτὴν ἀναγραμματισμὸς· τοῦ αὐτοῦ· ἦχος πλ. δʹ Ἕτερον εἰς τὴν αὐτὴν ἑορτὴν· εἰς τὸ, «Εὐφραίνεσθε…»· τοῦ αὐτοῦ· ἦχος γʹ «Μητέρα σε κυρίως...» Μηνὶ Ἰανουαρίῳ αʹ· ἀναγραμματισμὸς εἰς τοῦ μεγάλου Βασιλείου· εἰς τοῦ αὐτοῦ (mode not given) «Μνημόνευε καὶ ἡμῶν παρεστὼς...» Τῷ αὐτῷ μηνὶ ϛ´· ἀναγραμματισμὸς εἰς τὴν Βαπτιστὴν τοῦ Κυρίου ἦμων Ἰησοῦ Χριστοῦ· εἰς τὸ, «Ὡς ἄνθρωπος ἐν ποταμῷ…», ποίημα κὺρ Ἰωάννου Μαΐστορος τοῦ Κουκουζέλη· ἦχος πλ. δʹ «Διὰ τὰς ἁμαρτίας...»

68

245r

EBE 899

Ἕτερος εἰς τὴν αὐτὴν ἑορτὴν τὰ Θεοφάνεια· εἰς τὸ, «Πρὸς τὴν φωνὴν…»· τοῦ αὐτοῦ· ἦχος πλ. δʹ «Ἦλθες, Χριστὲ, μορφὴν...» Ἕτερον εἰς τὴν αὐτὴν ἑορτὴν εἰς τὸ, «Τί ἀναχαιτίζει σου τὰ ὕδατα…»· ποίημα κυρίου 247r Ἰωάννου Μαΐστορος τοῦ Κουκουζέλη· ἦχος πλ. αʹ «Ὁρῶσά σε ἡ φύσις...» Ἕτερος ἀναγραμματισμὸς εἰς τὴν αὐτὴν ἑορτὴν· εἰς τὸ, «Ἔτρεμεν ἡ χεὶρ τοῦ 249v Βαπτιστοῦ…»· τοῦ αὐτοῦ· ἦχος πλ. δʹ «Ἀλλὰ πᾶσαν ἐπλήρωσας…» Ἕτερος εἰς τὴν αὐτὴν ἑορτὴν· εἰς τὸ, «Σήμερον ἡ κτίσις φωτίζεται…»· τοῦ αὐτοῦ· ἦχος 251v πλ. δʹ «Ἴδωμεν πάντες...» Μηνὶ Φεβρουαρίῳ βʹ· ἀναγραμματισμὸς εἰς τὴν ὑπαπαντὴν τοῦ Κυρίου ἡμῶν Ἰησοῦ 253v Χριστοῦ· εἰς τὸ, «Ἀνοιγέσθω ἡ πύλη…»· τοῦ αὐτοῦ· ἦχος γʹ «Ὅλας ἁπωσάμενος...» Ἕτερος ἀναγραμματισμὸς εἰς τὴν αὐτὴν ἑορτὴν εἰς κατ’ ἦχος ... τοῦ αὐτοῦ «Ἰατρὸς γὰρ 255v Θεὸν...» 256r Μηνὶ Μαρτίῳ κεʹ· ἀναγραμματισμὸς εἰς τὸν εὐαγγελισμὸν τῆς ὑπεραγίας Θεοτόκου· εἰς τὸ, «Εὐαγγελίζεται ὁ Γαβριὴλ…» ... τοῦ αὐτοῦ (mode not discernible) «Τὴν πύλην αὐτὴν γὰρ Θεὸν ὡς χερουβικῶς...» Μηνὶ Ἀπριλίῳ κγʹ· ἀναγραμματισμὸς εἰς τοῦ ἁγίου μεγαλομάρτυρος Γεωργίου· εἰς τὸ, 259r «Ἀνέτειλε τὸ ἔαρ…» ... τοῦ αὐτοῦ· ἦχος αʹ «Οὐκ ἐλέησε...» Ἕτερον εἰς τὸν ἁγίον μεγαλομάρτυραν καὶ τροπάριον Γεωργίου ψάλλεται εἰς τὸν 261v ἁγίον Δημητρίον· κὺρ Ἰωάννου ψάλτη· ἦχος πλ. δʹ «Ο το το το...» (teretismata) Ἕτερον στιχηρὸν· τοῦ αὐτοῦ «Τοῦ μεγάλου ἀετοῦ...» 263v Ἕτερον αὐτῷ μηνὶ [14 June, St Methodiοs] ιδʹ· ἀναγραμματισμὸς εἰς ἅγιον ... τοῦ αὐτοῦ· 264r ἦχος δʹ «Ὁ τὸν ἄμωμον ποιμενάρχης...» Τῷ αὐτῷ μηνὶ κθʹ· ἀναγραμματισμὸς εἰς τὸν ἅγιον ἀπόστολον Παῦλον ἀπὸ τὸ, «Παῦλε 266v στόμα Κυρίου…»· τοῦ αὐτοῦ· ἦχος πλ. βʹ «Δεῦτε σὺν ἐμοὶ καὶ τῶν ἀγαθῶν...» Μηνὶ Ἰουλίῳ ιεʹ· ἀναγραμματισμὸς εἰς τὸν ἅγιον Κηρύκον· [for SS Quiricus and Julitta] 269r τοῦ αὐτοῦ· ἦχος πλ. δʹ «Παῦσον, ὦ μῆτερ μου, τὸν ὀδυρμὸν...» Μηνὶ Αὐγούστῳ ϛʹ· ἀναγραμματισμὸς εἰς τὴν Μεταμόρφωσιν τοῦ Κυρίου καὶ Θεοῦ καὶ 271v Σωτῆρος ἡμῶν Ἰησοῦ Χριστοῦ· τοῦ αὐτοῦ· ἦχος βʹ «Οὐρανὸς εὐφραινέσθω...» Μηνὶ Αὐγούστῳ ϛʹ· στιχηρὸν εἰς τὴν Μεταμόρφωσιν τοῦ Κυρίου καὶ Θεοῦ Σωτῆρος 272r ἡμῶν Ἰησοῦ Χριστοῦ· ποιηθὲν παρὰ τοῦ δομεστίκου Κὺρ Θεοδώρου τοῦ Μανουγρᾶ· ἦχος αʹ «Προτυπῶν τὴν Ἀνάστασιν...» Τῷ αὐτῷ μηνὶ ιεʹ· ἀναγραμματισμὸς εἰς τὴν κοίμησιν τῆς ὑπεραγίας Θεοτόκου· τοῦ 275r αὐτοῦ· ἦχος βʹ «Καὶ σὺν αὐτῇ πληροῦται τὰ σύμπαντα χαρᾶς...» Ἕτερος ἀναγραμματισμὸς εἰς τὴν αὐτὴν ἑορτὴν· τοῦ αὐτοῦ· ἦχος πλ. βʹ «Χαῖρε 277v κεχαριτωμένη...» Ἕτερος ἀναγραμματισμὸς εἰς τὴν αὐτὴν ἑορτὴν· τοῦ αὐτοῦ [no mode] «Ὁ Πέτρος δὲ 278v κατιδὼν...» 280v–81r Στιχηρὸν ψαλλόμενον εἰς τὴν κοίμησην τῆς ὑπεραγίας Θεοτόκου· ἦχος πλ. βʹ «Ὁ τριημέρῳ ταφῇ...» Τῷ αὐτῷ μηνὶ κθʹ· ἀναγραμματισμὸς εἰς τὴν ἀποτομὴν τοῦ ἁγίου Προδρόμου ... [mode 282r and composer not discernible] «Ἀλλ᾿ ἡμεῖς τὸν Βαπτιστὴν...» Ἕτερον εἰς τὴν αὐτὴν ἑορτὴν· ἦχος πλ. βʹ «Ὠρχήσατο ἡ μαθήτρια...» 284v Κυριακῇ νυκτικὸν ψαλλόμενον τῷ μʹ (Τεσσαρακοστήν)· ἀναγραμματισμὸς τοῦ 285r Tελώνου καὶ τοῦ Φαρισαίου· ἦχος πλ. δʹ· τοῦ Κορώνη «Παντοκράτορ Κύριε,...» 288r Ἀναγραμματισμὸς τῇ ἁγίᾳ καὶ μεγάλῃ Τεσσαρακοστῇ ἀπὸ τὸ στηχηρὸν τὸ, «Τὴν μετάνοιαν…», ἦχος πλ. δʹ· ποίημα Κὺρ Ἰωάννου Μαΐστορος τοῦ Κουκουζέλη «Ὡς οἰκτίρμων, Κύριε...»

EBE 899

290r 294r 296v 298v

299r 302v 304v 310v 312r 312v

313r 315r 317v 318v 319r 321v 323v 324r 326v 328v

69

Ἀναγραμματισμὸς ψαλλόμενος τῇ Κυριακῇ τῆς Ἀπόκρεως· τοῦ Κουκουζέλη· ἦχος πλ. δʹ «Λοιπὸν, ψυχὴ ὁ χρόνος ἐφέστηκε...» Ἀναγραμματισμὸς ψαλλόμενος τῇ δ´ Κυριακῇ ... τὸ, «Προσκυνήσεως…» (this chant is out of order)· ποίημα κυρίου Ἰωάννου Μαΐστορος τοῦ Κουκουζέλη· ἦχος πλ. αʹ «Ἵνα σώσῃ τὸν κόσμον ἐκ πλάνης...» Ἀναγραμματισμὸς ψαλλόμενος εἰς τὴν ἐξορίαν τοῦ Ἀδὰμ (Cheese Sunday, Expulsion of Adam)· εἰς τὸ, «Ἐκάθισεν Ἀδὰμ ἀπέναντι…»· τοῦ αὐτοῦ· ἦχος πλ. βʹ «Ἄλλον Παράδεισόν σε...» Τῷ αὐτῷ μηνὶ Σεπτεμβρίῳ ιςʹ· ἀναγραμματισμὸς εἰς τὴν ἁγίαν Εὐφημίαν· (This is out of order and should not have been included in the Pentecostarion section.) τὸ, «Ἐκ δεξιῶν τοῦ Σωτήρος…»· ἦχος Νενανω· Κὺρ Ἰωάννου τοῦ λαμπαδαρίου «Αὕτη ἡ κλητὴ...» Στιχηρὸν ψαλλόμενον τῇ Κυριακῇ τῶν βαΐων· ποίημα τοῦ Μανουγρᾶ· mode not given «Κύριε, πιστῶσαι θέλων τοὺς μαθητὰς σου...» Ἀναγραμματισμὸς ψαλλόμενος· ἦχος πλ. αʹ «Πρὸ ἓξ ἡμερῶν τοῦ Πάσχα…» Ἕτερος ἀναγραμματισμὸς εἰς τὸν θεόσωμον ταφὴν· τοῦ Κουκουζέλη (no mode discernible) Πεντηκοστάριον· τοῦ αὐτοῦ· ἦχος πλ. βʹ «Ἀνάστασιν ἀπὸ τὸν τάφον...» Ἕτερον στιχηρὸν· ποίημα τοῦ Γλυκέως ψαλλόμενα τῆς Ἀναλήψεως· ἦχος βʹ «Ἀναλαμβανομένου σου, Χριστέ...» Δόξα σοι ὁ Θεὸς ἡμῶν· τέλος τῶν ἀναποδισμῶν... This is a newer addition in the manuscript written by the scribe Paulos Monachos. The neumes and text are written in a smaller script than the preceding portions of the manuscript. No mode is given for the chant that follows: «Κυκλώσαντες ἐκύκλωσάν με…». Ἀναγραμματισμὸς ψαλλόμενος εἰς τὴν ἁγίαν Πεντηκοστὴν· εἰς τὸ, «Γλῶσσαί ποτε συνεχέθησαν…»· Μαΐστορος τοῦ Κουκουζέλη· ἦχος πλ. δʹ «Τότε κατειργάσθη ἡ ἀφωνία…» Στιχηρὸν ψαλλόμενον τῇ Κυριακῇ τοῦ τυφλοῦ εἰς τὴν ἀναλήψεως· καὶ εἰς τὸν αὐτὸν μεγάλον σὺν Θεῷ ἁγίῳ καὶ ἕτερας ἑορτὰς· ποίημα Κὺρ Ἰωάννου λαμπαδαρίου τοῦ Κλαδᾶ· ἦχος πλ. δʹ «Τίς λαλήσει τὰς δυναστείας σου, Χριστέ...» Θεοτοκίου· ἦχος βαρὺς «Ἄνωθεν οἱ προφῆται...» Τοῦ λαμπαδαρίου· ἦχος πλ. βʹ «Δέξαι Παναγία Μῆτερ Θεοῦ...» Μὴν Αὔγουστος, ϛʹ· εἰς τὴν Μεταμόρφωσιν· ἦχος Νενανω «Οὗτος ἐκ βάθους...» Ποίημα κὺρ Ἰωάννου τοῦ λαμπαδαρίου· ἦχος βαρὺς «Ψυχή, τὸ ἐπιτίμιον συκῆς...» Τοῦ κὺρ Ξένου τοῦ Κορώνη καὶ πρωτοψάλτου [mode not discernible] «Σὲ μεγαλύνομεν τὴν ὄντως Θεοτόκον...» Τοῦ Κουκουζέλη· ἀναγραμματισμὸς εἰς τὸ, «Ἄξιόν ἐστι…»· ἦχος πλ. βʹ «Τὸν ὄντως ὄντα Θεόν...» Ποίημα κὺρ Ἰωάννου Μαΐστορος τοῦ Κουκουζέλη· ἦχος πλ. δʹ «Ἐνέδυσας, Κύριε...» Τὸ προσόμοιον μέλον κράτημα τοῦ κὺρ Ἰωάννου Μαΐστορος τοῦ Κουκουζέλη· ἀναγραμματισμὸς κὺρ Ἰωάννου τοῦ λαμπαδαρίου, τῶν στιχῶν ποιηθέντων ... τοῦ ἁγιωτάτου καὶ οἰκουμενικοῦ πατριάρχη κὺρ Ματθαῖος· ἦχος πλ. δʹ «Ἣν πάλαι προεκήρυξαν...». In this rubric, three names are given: Matthew, the Patriarch of Constantinople, who wrote the poetic verses of an encomium hymn to the Virgin Mary, which in turn was then used by Koukouzeles as a Kratema (Kalophonic) chant, that is referred to as the ‘Viola’ (a string instrument). The version found here is the

70

EBE 899

Anagrammatismos as composed by Kladas the Lampadarios that is based on the Koukouzeles setting. Μηνὶ Μαρτίῳ κεʹ· εἰς τὸν Εὐαγγελισμὸν τῆς Θεοτόκου· μεγαλυνάριον εἰς τὴν θʹ ᾠδὴν 332v (ninth ode) τοῦ Μαΐστρου· ἦχος δʹ «Εὐαγγελίζου γῇ χαρὰν μεγάλην...» Στιχηράριον τριαδικὸν ... (found at bottom of fol.) 333r Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ἕνδεκα ἑωθινῶν· ποιηθέντων παρὰ κυροῦ Λεόντος βασιλέως 335r τοῦ Σοφοῦ· ἦχος αʹ «Εἰς τὸ ὂρος τοῖς μαθηταῖς ἐπειγομένοις...». These eleven Eothina hymns are classified as Stichera Staurotheotokia and are categorized according to the octoechos. Ἐξαποστειλάρια 336r «Μακαρίζομέν σε, ἀθλοφόρε Χριστοῦ, καὶ τιμῶμεν...» 345r 347r Τέλος καὶ τῷ μακαρισμῷ «Ἄξιόν ἐστιν μακαρίζειν...» 347v Τετράφωνος «Καὶ ἁλύσει δεσμούμενοι..» 348r Ποίημα κὺρ Ἰωάννου Μαΐστορος τοῦ Κουκουζέλη 350v Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς παραλλαγῆς μέθοδος ἒντεχνος· ἠχήματα δὲ διάφορα. (This 351r segment of the MS contains the intonation formulae for modes of the octoechos.) 352r This is a continuation of Koukouzeles’ intonation formulae in the format of a diamond diagram. Ἠχήματα καὶ τὸ ἓτερον παρὰ τῶν ἑτέρων 352v Ἠχήματα ... This folio also has a picture of the intonation formulae in a double diamond 353r format (with one diamond placed on top of the other). 353v There are intonation formulae in the top three-fourths of the folio. The lower part has adjoining double circles with modes and their related modes for modulations. This rubric is written by a different hand and appears to be a later addition. Στιχηρὸν εἰς 354r τὸ γεννήσιον τῆς ὑπεραγίας Δεσποίνης ἡμῶν Θεοτόκου καὶ Παρθένας Μαρίας· ποίημα κυρίου πρωτοψάλτου τοῦ Κορώνη· ἦχος πλ. βʹ «Σήμερον στειρωτικαὶ πύλαι...» This chant for the nativity of the Virgin Mary (8 Sept.) is out of order in the MS. 354v On this folio the scribe has listed the 12 major feasts in the left-hand column and the corresponding modal signatures for the hymns in the right-hand column. This appears to have been written with a different script at a later date. Modal signatures are displayed in circles with the rubric «ἕτερα ἠχήματα». 355r Τὸ τροχὸς τοῦ Κουκουζέλη. This is the famous multi-wheel diagram of Ioannes 356r Koukouzeles indicating the modes and all possible modal relationships for modulation purposes. More modes and intonation formulae 356v «Ψυχή, τὰ ὧδε...» 357r This folio displays a double-column listing of types of chants from the offices and 357v liturgies. The appearance and script is similar to fol. 354v and was probably an addition at a later date on what had been a blank folio. Ἦχος Νενανω· τοῦ Κορώνη «Ἳνα τί με ἐγκατέλιπες...» 358r †ἂνετος λεπάς ἄδηλον ... ὀ θάνατος ἐκδέξαται [sic] ... This faded sign of the cross I r and the inscription that follows refers to the death of a scribe and gives a date which cannot be deciphered. I v a folio of teretismata (τι ρι ρι τε ρε ρε) end of MS

EBE 899

71

Notes This is a beautiful late 13th- to early 14th-century manuscript in Middle Byzantine/Round notation. The binding is a reddish-brown leather. The contents are in good to fair condition with an average of thirteen lines of neumes and text per page. Although identified as a Papadike, this rich source also contains a Sticherarion. In both sections attributions and modes are indicated, with many of the great Middle Byzantine composers being included. This MS is rich in attributions. The works of an early 15th-century Cypriot composer, Nicholas Asan, appear in this MS for the first time. Another early Byzantine composer whose works first appear here is Manuel Argyropoulos. Other contributors include Markos (composer, scribe, priest-monk and bishop), Georgios Sgouropoulos, Ioannes Sgouropoulos (domestikos of the Great Church), Theodoros Katakalon, Manuel Korones (son of Xenos) and Manuel ‘Maïstor’ Markos. The first half of the MS, the Papadike, follows the typical order of an Akolouthia MS. As a Papadike, the MS begins on fol. 1r with the ison poem, modal signatures, modulations and intonation formulae. This didactic section for chanters includes a written treatise and accompanying music examples. The chants of the Papadike follow, which include the music for Orthros (Monastic Matins) on fols 23r, 28v, 61v; Great Vespers on fol. 40r; the Liturgy on fol. 103v; various versions of the Amomos (for laymen on fol. 150r, abbreviated on fol. 174r, monks on fol. 174v, and Christ on fol. 183v). After the Amomos there is a special inclusion of the Chanted Vespers (Cathedral Vespers which is sung throughout) on fols 193v and 198v. The Chanted Vespers in this MS is similar to the Chanted Office in MSS 2061 and 2062. The ison song of Koukouzeles has been misplaced on fol. 200v. At fol. 207r the second part of the MS begins with the Sticherarion (which includes the Triodion and Pentecostarion). This Sticherarion contains Anagrammatismos settings. These chants, celebrating the feasts of the liturgical calendar, are set in a more artistic manner with a slower tempo and with nonsensical texts (teretismata) along with the text of the melody utilized. The Anagrammatismos (along with the Anapodismos) take the classic melodies of the major Byzantine composers but do not start with the beginning (the known incipits) but rather the ending or middle sections of the chant. Beginning with fol. 336r the chants are placed out of order and do not follow the liturgical calendar. There are also portions in the second half of the MS that show a different handwriting. Oddly enough, intonation formulae, which are traditionally found in the beginning portion, are placed on fols 352r–356v. Besides the displacement of order in the MS, there are scribal errors and inconsistencies in orthography: e.g., the attribution of Maistoros (for Ioannes Koukouzeles) is sometimes written with an omega, sometimes an omicron. After fol. 359v, there is an added folio written by another hand with the commemoration of a death date of a monk (perhaps the original scribe of the MS). Because of water damage the inscription and date are illegible. Bibliography Anastasios, Τὰ Κρατήματα στὴν Ψαλτικὴ Τεχνὴ. Breslich-Erickson, ‘The Communion Hymn of the Byzantine Liturgy of the Presanctified Gifts’. Chaldaiakis, Ὁ Πολυέλεος. Conomos, Byzantine Trisagia and Cheroubika. —— The Late Byzantine and Slavonic Communion Cycle.

72

EBE 899

Dragoumis, ‘The Survival of Byzantine Chant’. Mpalageorges, Ἡ Ψαλτικὴ Παράδοση, pp. 194–6. Myers, A Historical, Liturgical and Musical Exploration of Kondakarnoie Pienie. Spyrakou, Οἱ Χοροὶ Ψαλτῶν κατὰ τὴν Βυζαντινὴ Παράδοση. Stathis, G., Οἱ Ἀναγραμματισμοὶ καὶ τὰ Μαθήματα τῆς Βυζαντινῆς Μελοποιίας. Strunk, ‘The Byzantine Office at Hagia Sophia’. Touliatos, The Byzantine Amomos Chant. —— ‘The “Chanted” Vespers Service’. —— ‘Nonsense Syllables in the Music of the Ancient Greek and Byzantine Traditions’. Troelsgård, ‘The Development of a Didactic Poem’. Williams, ‘The Kalophonic Tradition and Chants for the Polyeleos Psalm 134’.

EBE 900

73

ΕΒΕ 900 ΑΝΘΟΛΟΓΙΑ – ΣΤΙΧΗΡΑΡΙΟΝ/ANTHOLOGIA – STICHERARION Type of paper: Turkish Measurements: 24 × 16.5 cm Folios: II + 329 + II Notation: Middle to Late Round Byzantine Date: 1692

Ir–IIv 1r 3r 13v

blank Χερουβικὰ (this is a continuation of the Liturgy from the preceding MS, EBE 902) Χερουβὶμ τοῦ Μπαλασίου ἱερέως· ἦχος πλ. βʹ Ἡ Θεία καὶ ἱερὰ Λειτουργία τοῦ ἐν ἁγίους πατρὸς ἡμῶν Ἰωάννου τοῦ Χρυσοστόμου· ἦχος βʹ 15v Ἀρχὴ τῶν ἀλληλουϊαρίων κατ’ ἦχον παρὰ Μανουὴλ τοῦ Χρυσάφη 22v Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον χερουβικῶν τοῦ Κλαδᾶ 75r Τῇ δὲ ἁγίᾳ καὶ μεγάλῃ Πέμπτῃ χερουβικὸν ψάλλεται· τὸ παρὸν ποίημα τοῦ Ἠθικοῦ· ἦχος πλ. βʹ «Τοῦ δείπνου σου...» 77v Τὸ δὲ παρὸν ψάλλεται τῷ ἁγίῳ καὶ μεγάλῳ Σαββάτῳ ἀντὶ τῶν χερουβικῶν ... ποίημα Νικηφόρου Ἠθικου· ἦχος πλ. αʹ «Σιγησάτω...» 80r Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον κοινωνικῶν τοῦ Κλαδᾶ (Then follow Communion hymns in all the modes and then kalophonic Communion hymns.) 119r Κοινωνικὰ τῆς ὅλης ἑβδομάδος· κοινωνικῶν ψαλλόμενα τῇ β´ [Δευτέρα] ἀλλά καὶ εἰς τὴν ἑορτὴν τῶν ταξιάρχων· ποίημα κὺρ Κωνσταντίνου τοῦ Μαγουλᾶ· ἦχος πλ. βʹ 151r Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ ἐν τῇ τῷ Προηγιασμένων· ἡ Θεία Λειτουργία συλλειτουργημάτων μετὰ τὰ ἀναγνώσματα· τὸ παρὸν ἦχος πλ. βʹ 162r end of liturgies 162r Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχον Θεοτοκίων καλωφωνικῶν καὶ τὸ μὲν παρὸν ποίημα κυροῦ Ξένου τοῦ Κορώνη· ἦχος αʹ 242v Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχον ἠχημάτων καὶ τὸ μὲν παρὸν ἐστι ποίημα κὺρ Μανουὴλ τοῦ Χρυσάφη· ἦχος αʹ 248v Κρατήματα ἐθνικά 259v Ἀρχὴ σὺν Θεῷ καὶ μερικῶν μαθημάτων ψαλλομένων εἰς τὰς δεσποτικὰς ἑορτὰς καὶ ἑορταζομένων ἁγίων εἰς τὴν ὕψωσιν τοῦ Σταυροῦ· τοῦ Χρυσάφη τοῦ Νέου· ἦχος αʹ 261r Μηνὶ Ὀκτωβρίῳ 317v Ἄμωμος ψαλλόμενος εἰς κοιμηθέντας ... παρὰ τοῦ Χρυσάφη 320v Καλοφωνικοὶ εἱρμοὶ Ἰδοὺ καὶ ἕτεροι εἱρμοὶ ψαλλόμενοι εἰς εὐθυμίας τῶν ἀρίστων· ποίημα διαφόρων 321r ποιητῶν· ποίημα τοῦ Μπαλασίου 326v From this folio until the end of the MS, there are some later writings by the scribe Paulos. 329r End of MS 329v blank Ir–IIv blank

EBE 900

74

Notes This manuscript is a diptych of two musical MSS written by the scribe Paulos Hiereus from Skopelos in the year of 1692. EBE 900 is the second volume of this two-part series and EBE 902 the first volume. The brownish leather binding of EBE 900 is later than that of EBE 902. The music and text are written in black ink with an average of 15 lines per page. The rubrics, modal signatures and hypostaseis are in an orange/reddish colour. With the exception of the beginning folios, the manuscript is in a fairly clean condition. Since this manuscript is a continuation of EBE 902, it begins where the other manuscript left off. Hence, it continues with hymns for the liturgies. The content is as follows: fol. 1r Cherubic hymns fol. 13v Liturgy of St John Chrysostom fol. 151r Liturgy of Presanctified Gifts fol. 162r Kalophonic Theotokia fol. 242v Echemata according to modes fol. 248v Ethnic Kratemata fol. 259v Mathemata fol. 317v Amomos by Chrysaphes fol. 320v Kalophonic Heirmoi Bibliography Chatzegiakoumes, Μουσικᾶ Χειρόγραφα Τουρκοκρατίας.

EBE 901

75

ΕΒΕ 901 ΠΑΠΑΔΙΚΗ/PAPADIKE ΣΤΙΧΗΡΟΝ ΤΡΙΩΔΙΟΥ ΚΑΙ ΠΕΝΤΗΚΟΣΤΑΡΙΟΥ/STICHERARION TRIODION AND PENTECOSTARION Type of paper: Turkish Measurements: 23.4 × 16 cm Folios: 439 Notation: Late Round Byzantine Date: late 16th–early 17th c.

1r–v 2r

tattered and unreadable «Σιγησάτω πᾶσα σὰρξ βροτεία...» This chant is an alternative to the regular Cheroubikon and is sung on Holy Saturday in the St Basil Liturgy. It is also used as the ordinary offertory chant in the St James Liturgy. Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς Μουσικῆς Τέχνης τῶν τε ἀνιόντων σωμάτων τε 9r καὶ πνευμάτων καὶ πάσης χειρονομίας καὶ ἀκολουθίας συντεθειμένης παρὰ διαφόρων ποιητῶν the trochos (wheels of modes and their relationships) of Ioannes Koukouzeles 12v Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κεκραγαρίων μετὰ τῶν ἀναστασίμων στιχηρῶν 13r καλλωπισθέντων· παρὰ κὺρ Χρυσάφη τοῦ Νέου. This begins with Mode I and proceeds according to the modes of the octoechos. Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ἕνδεκα ἑωθινῶν· τὰ παρόντα ἐποιήθησαν ὑπὸ Λέοντος τοῦ 58v σοφοῦ Βασιλέως· τὸ δὲ μέλος ποίημα κὺρ Ἰωάννου τοῦ Γλυκέως Μὴν Σεπτέμβριος εἰς τήν αʹ· ἀρχὴ τῆς ἰνδίκτου καὶ ἡ σύναξις τῆς ὑπεραγίας Θεοτόκου· 65r εἰς τὸν Ἑσπερινὸν Μὴν Ὀκτώβριος 76r Μὴν Νοέμβριος 80r Μὴν Δεκέμβριος 88v Μὴν Ἰανουάριος 105r Μὴν Φεβρουάριος 123r The indication for the month of March is not discernible. Μὴν Ἀπρίλιος 130r Μὴν Μάϊος 132r Μὴν Ἰούνιος 134r Τριῴδιον σὺν Θεῷ ἁγίῳ Κυριακῇ τοῦ Τελώνου καὶ τοῦ Φαρισαίου 150v Ἀρχὴ σὺν Θεῷ τοῦ Πεντηκοσταρίου· τῇ ἁγίᾳ καὶ τῇ μεγάλῃ Κυριακῇ τοῦ Πάσχα· κὺρ 210r Μανουὴλ τοῦ Χρυσάφου· ἦχος πλ. αʹ Πολυέλεος ψαλλόμενος εἰς δόξαν τῆς Ἁγίας Τριάδος ... κὺρ Χρυσάφου· ἦχος αʹ «Δοῦλοι 226v Κύριον...» 248r Δοξολογία μεγάλη ποιηθεῖσα παρὰ τοῦ ἐντιμωτάτου κυρίου Μπαλασίου ἱερέως· ἦχος δʹ Τρισάγιον εἰς τὴν εἴσοδον τοῦ Σταυροῦ 261v

76

EBE 901

264v 266r 268r

Πολυχρονισμὸς εἰς τὸν μητροπολίτου τοῦ Χρυσάφου· ἦχος δʹ Θεοτόκιον τοῦ Κουκουζέλη Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς θείας καὶ ἱερᾶς Λειτουργίας τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Ἰωάννου ἀρχιεπισκόπου Κωνσταντινουπόλεως τοῦ Χρυσοστόμου· ἦχος βʹ «Ἅγιος ὁ Θεὸς...» Τὸ παρὸν ψάλλεται τῷ ἁγίῳ καὶ μεγάλῳ Σαββάτῳ· διὰ χερουβικὸν, ποιηθὲν παρὰ κὺρ 292r Νικηφόρου τοῦ Ἠθικοῦ· ἦχος πλ. βʹ «Σιγησάτω πᾶσα σὰρξ βροτεία...» Ἀρχὴ καὶ τῶν κοινωνικῶν τοῦ χρόνου ὅλου· Σεπτεμβρίου, ποίημα τοῦ Κορώνη· ἦχος 315v βαρὺς «Εὐλόγησον τὸν στέφανον...» (the Indiction Communion taken from Ps. 64: 12) Ἡ θεία καὶ ἱερὰ Λειτουργία τῶν Προηγιασμένων· ἦχος πλ. βʹ «Κατευθυνθήτω...» 330r 333v Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ μερικῶν Θεοτοκίων μαθημάτων· τὸ παρὸν ποίημα κὺρ Χρυσάφου τοῦ Νέου· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν μαθημάτων τοῦ ἐνιαυτοῦ Σεπτεμβρίου· τὸ γεννέσιον τῆς 346r Θεοτόκου· Μπαλασίου ἱερέως· ἦχος πλ. δʹ «Ἐν εὐσήμῳ ἡμέρᾳ...» Ἄμωμος ψαλλόμενος εἰς τοὺς κοιμηθέντας· τοῦ Χρυσάφου 428r 435v–438v blank folios Doxology 439r end of MS 439v Notes The exterior leather binding and outside folios of this manuscript are in poor condition and unreadable. For the most part, the interior is readable. Although this is a Sticherarion MS that includes hymns for the Triodion and Pentecostarion, it also includes elements of the Papadike on fols 9r–64v, especially the Papadike Techne for the neumes (Somata and Pneumata), accompanying signs, and the famous Trochos of Koukouzeles. It is also unusual that the Amomos chant for laymen is found in this MS, albeit near the end, on fol. 428r. The Amomos is usually found only in Akolouthia/Papadike MSS. The MS is unusual with its beginning chant on fol. 2r: the alternative Cheroubikon hymn for Holy Saturday. Since another version of this hymn appears on fol. 292r, the version at the beginning may be a later addition. There are a few orthographic mistakes due to homophony (ω for ο) and iotacism (αι for ε). With fol. 65r, the regular Akolouthia for the Menologion of the Sticherarion follows. Of interest is the polychronion or acclamation to Metropolitan Chrysaphes. Bibliography Conomos, Byzantine Trisagia and Cheroubika.

EBE 902

77

ΕΒΕ 902 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: Turkish Measurements: 23.2 × 16.2 cm Folios: 283 Notation: Middle to Late Round Byzantine Date: 1692

1r 1 v 2r 6 v 10r 10v

inventory of contents blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς Ψαλτικῆς Τέχνης picture of a diagram of a tree showing modes according to Koukouzeles method by Alyates Τὸ παρὸν τροπάριον πρὸς τὸν θέσειον τῶν μελῶν τῶν μαθέντων, τὴν ἐπιστήμην τῆς μουσικῆς Μέθοδος τῆς μετροφωνίας ὠφελιμοτάτη· ποίημα κὺρ Γρηγορίου Μπούνη τοῦ Ἀλυάτου· 11r ἦχος πλ. δ´ Σημάδια ψαλλόμενα κατ’ ἤχον συντεθέντα ἔντεχνα παρὰ τοῦ Μαΐστορος κὺρ Ἰωάννου 17v τοῦ Κουκουζέλη· ἦχος αʹ end of Psaltike Techne 19r 19v–20v blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ μεγάλου Ἑσπερινοῦ ποιηθὲν τῶν ὑποδιαφόρων ποιητῶν τε 21r παλαιῶν τε καὶ νέων ... ἦχος πλ. δʹ «Ἀνοίξαντός σου τὴν χεῖρα...» Ἀρχὴ τὸ, «Μακάριος ἀνὴρ...» ἦχος πλ. δʹ 32r Στίχοι καλοφωνικοὶ ἐκ τοῦ δευτέρου ψαλμοῦ· ποίημα κὺρ Ἰωάννου τοῦ Κουκουζέλη· 54r ἦχος πλ. βʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κεκραγαρίων· ἦχος αʹ 79r Ἀρχὴ σὺν Θεῷ ἁγίῳ τὰ προκείμενα τῆς ἑβδομάδος ὅλης μετὰ τῶν μικρῶν καὶ μεγάλων 89r πᾶν ἔντεχνῃ δοχὴ ... Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῆς ἀκολουθίας τοῦ Ὄρθρου· ἦχος αʹ «Θεὸς Κύριος...» 100v Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν πολυελέων ... 109r Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ μερικῶν ἀντιφώνων καὶ τὰ μὲν παρόντα ψάλλονται εἰς τὰς 167r ἑορτὰς τῆς Θεοτόκου· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν πασαπνοαρίων τῶν μεγάλων καὶ τὸ μὲν παρόν ἐστι· 183r ποίημα κὺρ Ἰωάννου τοῦ Κουκουζέλη· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχον μεγάλων πασαπνοαρίων· ποιηθέντων παρὰ τοῦ 206r νομοφύλακος κὺρ Μπαλασίου ἱερέως · ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ἕνδεκα ἑωθινῶν ... τὸ δὲ μέλος ἐποιήθη παρὰ κὺρ Ἰωάννου 226v τοῦ Γλυκέως Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχον μεγάλων δοξολογίων· ἦχος αʹ 232r 248r Δοξολογία μεγάλη ποιηθεῖσα παρὰ τοῦ ἐντιμοτάτου κυρίου Μπαλασίου ἱερέως «Πολυχρόνιον...» 263v Ἡ ἀρχὴ τῆς Λειτουργίας (St John Chrysostom Liturgy) 276v 279v Liturgy ends

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280r–282r blank This folio was written at a later time and includes the following date: αψηʹ ἰουνίου 282v Ἐγράφη δὲ ἡ παροῦσα βίβλος παπαδικὴ διὰ χειρὸς ἐμοῦ Παύλου ἱερέως εἰς τὸν ἔτον 283r 1692 Μαρτίου κʹ· εἰς τὸν 1696 ἐμίσευσα ἀπὸ τὴν Κωνσταντινουπόλεως καὶ ἐπῆγα εἰς τὴν Σκόπελον, καὶ ἀπ’ αὐτὴν εἰς τὴν Καλαμάτα εἰς αὐτὴν πλησίον λεγόμενον νησὶ ἔμεινα καὶ ἐσπούδαζα μαθητὴς τὴν μουσικὴν καὶ πάλιν εἰς τὴν Καλαμάτα, καὶ μετέπειτα εἰς τὴν Μονεμβασία χρόνον ἕναν· τέλος πάντων ἔχω ἀπὸ τὸν Μορέαν καὶ εἰς τὴν Μῆλον καὶ ἀπ’ αὐτὴν εἰς τὴν Εὔριπον καὶ ὁ πανάγαθος Θεὸς κατευοδώσει εἰς καλὴν μετάνοιαν Notes This manuscript is a diptych of two musical MSS written by the scribe Paulos Hiereus from Skopelos in the year of 1692 (see notes to MS 900). The dark leather binding of EBE 902 is contemporary with the date of the manuscript. The script and music are in black ink with an average of 15 lines per page. The rubrics are in an orange/reddish colour. Fol. 1r has a border design in the shape of the Greek letter ‘pi’ (π), possibly indicating the scribe Paulos Hiereus (Paul the Priest). Of note are the later additions found in the manuscript on fols 282v and 283v, dated June 1696. The colophon on fol. 283r is dated 1692, but a later addition, which follows on this folio, gives us information on the scribe, his travels and his pursuit of the study of music. With the exception of the beginning and ending folios, the manuscript is in good condition. The MS is traditional in its content. After the ‘Inventory of Contents’, the Papadike begins on fol. 2r. The Great Vespers follows on fol. 21r and Orthros on fol. 100v. The Liturgy of St John Chrysostom is on fol. 276v. Bibliography Chaldaiakis, Ὁ Πολυέλεος. Chatzegiakoumes, Μουσικᾶ Χειρόγραφα Τουρκοκρατίας.

EBE 903

79

ΕΒΕ 903 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: Turkish Measurements: 22 × 15.5 cm Folios: III + 448 + I Notation: Late Round Byzantine Date: 1782

III 1r

blank Στιχηράριον περιέχον τὰ στιχηρὰ τοῦ ὅλου ἐνιαυτοῦ καλλωπισθὲν παρὰ κὺρ Γερμανοῦ· ἀρχὴ τῆς ἰνδίκτου εἰς τὴν πρώτην τοῦ ὁσίου πατρὸς ἡμῶν Συμεὼν τοῦ Στυλίτου καὶ τῶν Γερμανῶν, τοῦ αὐτοῦ· ἦχος αʹ «Ὅσιε πάτερ, καλὴν...» (continues with stichera by Germanos) Μὴν Ὀκτώβριος 43v Μὴν Νοέμβριος 70v Μὴν Δεκέμβριος 105r Μὴν Ἰανουάριος 154r Μὴν Φεβρουάριος 203r Μὴν Μάρτιος 214v Μὴν Ἀπρίλιος 225r Μὴν Μάϊος 231v Μὴν Ἰούνιος 237v Μὴν Ἰούλιος 256v Τῇ Κυριακῇ τοῦ Τελώνου καὶ τοῦ Φαρισαίου· ἦχος α. (This begins the section for the 311v Triodion.) Ἀκολουθία τῶν ἁγίων Παθῶν τοῦ Κυρίου καὶ Θεοῦ ἡμῶν Ἰησοῦ Χριστοῦ· ἀντίφωνον 384v αʹ Ἀρχὴ τοῦ Πεντηκοσταρίου· Κυριακῇ τοῦ Θωμᾶ· ἦχος αʹ «Τῶν θυρῶν κεκλεισμένων...» 405r Τέλος καὶ τῷ Θεῷ δόξα· Ἐτελειώθη τὸ παρὸν χρόνους εἰς τοὺς χιλίους δύο καὶ 444v ὁγδοήκοντα μὲ τοὺς ἑπτακοσίους καὶ μῆνα τὸν Δεκέμβριον ἡμέρᾳ τοῦ Σαββάτου εἶχεν ἡμέρες δεκαεπτὰ καὶ ἐτελειωσάτου παρὰ χειρὸς κἀμοῦ Ἐφραὶμ καὶ ἱερομονάχου ἐκ τῆς μονῆς Δουσίκου τε ὁποῦναι ἡ κουρὰ μου ὅσοι ἀσκούντες ἐν αὐτῇ τῆς μουσικῆς τὴν τέχνην τὸ λάθος διορθώσατε κἀμοῖ δότε συγνώμην 445r From here until the end, there are later additions of lesser importance. end 448v I blank Notes This late manuscript is bound in cardboard and leather. There is an average of 15 lines of text and music per page. The script of this manuscript indicates there are two writers. The colophon, which dates the MS to the year 1782, appears on fol. 444v and indicates that the scribe is Ephraim Hieromonachos from the Monastery of Dousikon. His script is probably a later addition and appears on fols 81r–135v, 168r–175v, 232r–233v, 236r–238v, 255r-v, 262r-v and 271r–444v. The earlier

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unidentified script is on fols 1r–80v, 136r–167v, 176r–231v, 234r–235v, 239r–254v, 256r–261v and 263r– 270v. Three blank folios precede fol. 1r and one blank folio follows fol. 448v. The MS is in good condition. There are rubrics to indicate feast names and modes of chants. Fol. 1r has a coloured and nicely decorated design in the shape of a Greek ‘pi’. The contents of this MS are typical for a Sticherarion by Germanos. The Menologion portion begins with fol. 1r and continues with the Triodion on fol. 311v and the Pentecostarion on fols 405r–444r. Bibliography Chatzegiakoumes, Μουσικᾶ Χειρόγραφα Τουρκοκρατίας. Eustratiades, “Ἡ Ἀκολουθία τοῦ Μεγάλου Σαββάτου”.

EBE 904

81

ΕΒΕ 904 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA ΔΙΔΑΣΚΑΛΙΑ ΤΩΝ ΣΗΜΑΔΙΩΝ ΤΗΣ ΜΟΥΣΙΚΗΣ/PEDAGOGY OF THE SIGNS OF MUSIC Type of paper: bombycinous Measurements: 21 × 14 cm Folios: I + 295 + I Notation: Middle Byzantine Date: 14th–15th c.

Ir–v 1r 15r-v

blank Παπαδικὴ Ἀρχὴ σὺν Θεῷ ἁγίῳ τὸ δὲ μεγάλου Ἑσπερινοῦ Εἶτα ἂρχεται ὁ πρῶτος χορὸς «Εὐλόγει ἡ ψυχή μου…» Ὁ δεύτερος χορὸς ἕτερον στίχον εἰς τὸ αὐτὸ μέλος καὶ τὸν ἦχον «Ἐξομολόγησιν καὶ μεγαλοπρέπειαν…» Ὁ πρῶτος χορὸς «Ἐκτείνων τὸν οὐρανὸν ὠσεὶ δέρριν…» Καὶ λέγονται οὓτως οἱ στίχοι ὅλοι ἕως τὸ, «Ἀνοίξαντός σου…» «Μακάριος ἀνὴρ...» 22r Ἑσπερινὸς λαμβάνω· οὕτως κεκραγάρια κατ’ ἦχον 37r Αἱ δοχαὶ τῆς ὅλης ἑβδομάδος 39r Τέλος μεγάλου Ἑσπερινοῦ καὶ ἀρχὴ τοῦ Ὂρθρου: «Θεὸς Κύριος…», «Πᾶσα πνοὴ…», 50v «Ἀλληλούϊα…» Προκείμενα ψαλλόμενα εἰς μαρτύρους 56v Ἀναγραμματισμὸς τοῦ Μαΐστρου 58v Πολυέλεος ψαλλόμενος ἐν ὀκτώηκος, ὁ λεγόμενος Λατρινός 61r Ἀρχὴ σὺν Θεῷ ἁγίῳ πολυελέου τοῦ λεγομένου Κουκουμᾶ 76r Τὸ λεγόμενον βουλγάρα «Καὶ τὸ μνημόσυνόν σου…» 79r Καλοφωνικὸν· ποίημα τοῦ Κορώνη 93r Ποίημα τοῦ Κουκουζέλη 97r Χερουβικὸν· ποίημα τοῦ Ἀγαλλιανοῦ 102r 107r The preceding and following folios continue with the Cheroubikon hymn but are badly faded and difficult to read, especially this folio. Χερουβικὸν τοῦ Ἀγαλλιανοῦ 112r Κατανικτικὸν· ποίημα κυρίου Γρηγορίου 118r Ἀναγραμματισμὸς τοῦ Μαΐστορος 123v Ἄμωμος ψαλλόμενος εἰς κοιμηθέντας μοναχοὺς· ὁ δομέστικος ἀπ’ ἔξω καὶ ἦχος πλ. 125r α´ «Εὐλογητὸς εἶ, Κύριε…» Τοῦτο ἀπὸ χοροῦ κάτω ὅλοι· ἦχος πλ. α´«Μακάριοι οἱ ἄμωμοι ἐν ὁδῷ…» Ὁ ἕτερος χορὸς· ἦχος πλ. α´ «Μακάριοι οἱ ἐξερευνῶντες…» Ἂλλαγμα ὁ δεξιὸς· ἦχος πλ. α´ «Μερὶς μοῦ εἶ, Κύριε…» [εἶτα] ὁ άριστερὸς

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Ὅμοιον· ἦχος πλ. α´ «Ἡτοιμάσθην καὶ ούκ ἐταράχθην…» This exchange between the Left and Right choirs demonstrates the antiphonal performance practice that was commonly used. end of the version of Amomos for monks 132r blank 132v Ἄμωμος ψαλλόμενος ἐν τῇ Θεσσαλονίκῃ· ἐν ὅλω τῷ κόσμω· ποίημα διαφόρων ποιητῶν· 133r ἀρχὴ, μέσῃ, ὁ δομέστικος ἔξω φωνῆ Πολυέλεος 141r Ἕτερος στίχος ψαλλόμενος εἰς τὸν πολυέλεον 142v Ἀναγραμματισμὸς 145v Κρατήματα 149r Στίχοι καλοφωνικοὶ ψαλλόμενα εἰς Ἑσπερινὸν 165v Ἀναγραμματισμὸς τοῦ Κουκουζέλη 176v Λόγοι κατ’ ἦχον εἰς τὴν ὑπεραγίαν Θεοτόκου 183v Ἀναγραμματισμὸς ψαλλόμενος τῶν Βαΐων 189r Θεοτόκιον τοῦ Μαΐστρου 194r This folio continues with Theotokia but is very difficult to read. 197r Sticheron of 5 July, the feast of St Athanasiοs of Athos, with music by Ioannes 199v Koukouzeles in Mode II Plagal: «Τὸν τῆς ἀθανασίας ἐπώνυμον...» Τὸ αὐτὸ καὶ ὁ ἀριστερός «Ἄνωθεν οἱ προφῆται…» 206v Εἶτα γεγωνοτέρον· ἦχος πλ. δ´ «Ἄνωθεν οἱ προφῆται…» Ἀναγραμματισμὸς 209r Ἀναγραμματισμὸς 213r Στίχοι εἰς τὴν κοίμησην τῆς Θεοτόκου 215v Κρατήματα 221r Ἀναγραμματισμὸς 227v blank 231r 232 Ἀναγραμματισμὸς τοῦ Μαΐστρου Ἐγκώμιον εἰς τὴν Ὑπεραγίαν Θεοτόκον· ποίημα τοῦ Μαΐστρου 237r Ἕτερον ἐγκώμιον τῆς Θεοτόκου· ποίημα Γερασίμου τοῦ Παλαμᾶ 238r Τὰ κόκκινα λέγονται ἦχος πλ. δ´, τὰ δὲ μαῦρα λέγονται ἦχος δ´ «Αἰνεῖτε…» 241r «Αἰνεῖτε τὸν Κύριον…» (the communion hymn) 241v the polyphonic communion hymn by Gazes 242r Στίχοι εἰς κοιμηθέντας 243r blank 244r Ἑωθινὰ 249v blank 252r-v Ἕτερον ἑωθινὸν 256v Ποίημα τοῦ Κλαδᾶ 258r blank 263v Κρατήματα 265r unreadable folio 270r Ἀναγραμματισμὸς 278v 279r Ἀναγραμματισμὸς τοῦ Ῥαιδεστινοῦ Χερουβικὸν τοῦ Ἀγάθωνος ἀδελφοῦ τοῦ Κορώνη 279v Τύπος παπαδικῆς 281r blank 281v

EBE 904

282r 283v 284r 286r 295v Ir–v

83

Ανενανες (listing of Epechemata or intonation formulae) Φθοραὶ Ποίημα τοῦ Κλαδᾶ Ἄμωμος end of Amomos and of MS blank

Notes This Akolouthia is in fair to poor condition, making it quite difficult to read and decipher the contents. The brownish leather binding is severely damaged. Some of the neumes and rubrics have faded because of water damage; however, in its original state this must have been a manuscript with many attributions indicating authorship, types of chants and inscriptions. The beginning and ending folios (marked in Roman numerals) contain neumes with text in a different script from the rest of the MS but are not included in the pagination. According to Dimitri Conomos this manuscript contains music written by two scribes: some music written in the 14th century and a later addition in the 15th century. There is an average of 17 lines of text and music per page. One of the scribes made many errors in orthography (ο for ω) and (υ for ι). This MS is similar to Iviron MS 1120 and Vatopedi MS 1495 in some of its verses, especially the three different versions of Amomos chant. Of interest is the Sticheron for the feast of St Athanasios of Mt Athos by composer Koukouzeles. Also of note are fols 241r–242r. Although there is no composer attribution, this is one of two appearances of Gazes’s Communion hymn for two voices (same as MS 2401, fol. 328r–v). The rubric reads: ‘the red neumes are to be sung in the Fourth Plagal Mode and the black neumes in the Fourth Authentic Mode’. Bibliography Adamis, ‘An Example of Polyphony in Byzantine Music of the Late Middle Ages’. Chaldaiakis, Ὁ Πολυέλεος. Conomos, Byzantine Trisagia and Cheroubika. —— The Late Byzantine and Slavonic Communion Cycle. Komines, “Ἡ χειρόγραφος παράδοσις”. Myers, A Historical, Liturgical and Musical Exploration of Kondakarnoie Pienie. Spyrakou, Οἱ Χοροὶ Ψαλτῶν κατὰ τὴν Βυζαντινὴ Παράδοση. Stathis, G., “Διπλοῦν Μέλος”. Touliatos, The Byzantine Amomos Chant. —— ‘The Three Types of Amomos Chant’. Velimirović, ‘Unknown Stichera’.

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EBE 905

ΕΒΕ 905 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: bombycinous Measurements: 21.3 × 14.3 cm Folios: 183 Notation: Middle Byzantine Date: late 14th c.

1r 6r 12v 16r 18r 20r 22v 24v 25v 28r 29v

Ποιήματα τοῦ Κλαδᾶ «Μακάριος ἀνὴρ...» (continues with chants for Vespers) «Ἐγώ ἐκοιμήθην καὶ ὕπνωσα...» Τέλος τοῦ μεγάλου Ἑσπερινοῦ καὶ ἀρχὴ τῶν κεκραγαρίων «Κύριε ἐκέκραξα...» Προκείμενα τῆς ἑβδομάδος ὅλης κατ’ ἦχον· ἦχος αʹ Ἡ δοχὴ «Ὁ Θεὸς ἐν τῷ ὀνόματί σου σῶσόν με...» «Θεὸς Κύριος...» Μεγαλομάρτυρα Δημητρίου καὶ εἰς τοὺς τάφους ἁγίους «Πᾶσα πνοὴ...» «Αἰνεῖτε τὸν Κύριον...» Πολυέλεος ψαλλόμενος ἐν Κωνσταντινουπόλει, λεγόμενος ὁ Λατρινός· ἦχος α´ «Δοῦλοι, Κύριον…» Ἀρχὴ σὺν Θεῷ τῆς δευτέρας στάσεως τοῦ Λατρινοῦ πολυελέου· ἢχος β´ «Ἐξομολογεῖσθε 37v τῷ Κυρίῳ...» Ἀντίφωνον ψαλλόμενον εἰς ἱεράρχας, ὁσίους· ποίημα διαφόρων ποιητῶν. Ἡ ἀρχὴ 54r Θεσσαλονικαία· ἦχος δ´ «Ὁ φοβούμενος τὸν Κύριον, ἀλληλούϊα…» blank 63v continues with text and music 64r the Amomos for Laymen «Μακάριος ἄμωμοι ἐν ὁδῷ ἀλληλούϊα...» 67r 80v This version of the Amomos ends here. Ἕτερον Ἄμωμον τῆς Θεοτόκου (this version of the Amomos for Theotokos is the same 81r as that for Christ) 87r «Οἱ τὰ χερουβὶμ μυστικῶς...» (this is the Offertory chant also known as the Cherubic hymn or mystic hymn) «Ἄξιόν ἐστιν, ὡς ἀληθῶς, μακαρίζειν σε τὴν Θεοτόκον...» 101r Κρατήματα 104v Ποίημα κυρίου Ἰωάσαφ μοναχοῦ· πλ.δ´ «Τὴν Θεοτόκου Μαριὰμ…» 105v Ποίημα τοῦ Κουκουζέλη 108r Κρατήματα 133r Κρατήματα 139r Ἀρχὴ τὰ κατανυκτικὰ 160r end of music and MS 183v

EBE 905

85

Notes This Akolouthia from the late 14th century is in poor to fair condition. Its binding is a deteriorated brownish leather. For the most part, the script is very light because of fading, which makes this MS difficult to read. Furthermore, there are few titles of rubrics and modal indications present, unlike other sources with many attributions. Similar to the damaged condition of the binding, the exterior folios are also tattered and some even missing. There is an average of about 16 lines of text and neumes per page. There are orthographic errors throughout. The MS follows the typical order of the Akolouthia but includes on fol. 160r the Katanyktika, which were prominent in the 14th- and 15th-century repertory, but not always included in the Akolouthia. The Katanyktika are melodies with a text that refers to death and resurrection and are generally considered part of the Nekrosimon Akolouthia. Many of the lyrics for the Katanyktika have a 15-syllable verse structure that may have roots in Ancient Greek verse. Bibliography Conomos, Byzantine Trisagia and Cheroubika. Myers, A Historical, Liturgical and Musical Exploration of Kondakarnoie Pienie. Stathis, G., Ἡ Δεκαπεντασύλλαβος Ὑμνογραφία ἐν τῇ Βυζαντινῇ Μελοποιίᾳ. Touliatos, The Byzantine Amomos Chant. —— ‘The Three Types of Amomos Chant’.

EBE 906

86

EBE 906 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: bombycinous Measurements: 21.5 × 14.5 cm Folios: 169v + I Noation: Middle Byzantine Date: 14th–15th c.

1r 2 v 8 v 9r 9 v 13v 15r 18r 18v 25r 27v 32v 55r 56r 56v 58v 61r 61v 63r 63v 64v 70r 72v 78r 88v 91v

«Δι᾽ εὐχῶν τῶν ἁγίων Πατέρων ἡμῶν...» Σημαδίων Ψαλτικῆς Τέχνης (this contains Koukouzeles’ Ison song) «Μεγάλυνον, ψυχή μου, τοῦ Κυρίου...» Ἕτερον προκείμενον ψαλλόμενον Ὁ ἀναγνώστης λέγει τοῦτο· Ψαλμὸς τῷ Δαβίδ Ἀπὸ χοροῦ· ἦχος πλ. β´ «Ἀνάστηθι Κύριε, ὁ Θεός μου…» Ἕτερα προκείμενα καὶ αὐτὰ λυχνικὰ· μετὰ τὴν μικρὴν καὶ τὰ μεγάλα Δοχαὶ ἐστιν· ψάλλονται τῇ ἁγίᾳ καὶ μεγάλῃ Κυριακῇ τοῦ Πάσχα Προκείμενα καλοφωνικὰ· ποίημα τοῦ Κουκουζέλη Ἀναγραμματισμὸς· τοῦ αὐτού «Πᾶσα πνοὴ...» Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ Μεγάλου Ἑσπερινοῦ, ποιηθὲν παρὰ διαφόρων ποιητῶν Ἀνοιξαντάρια «Μακάριος ἀνὴρ...» (Ps. 1 and the first stasis (division) of a tripartite) Ἡ δευτέρα στάσις· ὁ πρῶτος χορὸς· ἦχος πλ. δ´ «Ἳνα τί ἐφρύαξαν…» (Ps. 2, the second stasis with verses set by different composers) Καλοφωνικὰ, βʹ στάσιν (Ps. 2 in a kalophonic version) Πρόλογος τοῦ Κουκουζέλη «Δόξα Πατρί, Ανενενε...» Μετὰ τὰ καλοφωνικὰ· ἀρχὴ τὴν τρίτην στάσιν (Ps. 3, the third stasis) «Ἐγὼ ἐκοιμήθην καὶ ὕπνωσα...» Ἓτερον δύχορον [sic] συνοπτικὸν· ἦχος πλ. δ´ «Δόξα Πατρί…» Ὁ ἓτερος χορὸς· ἦχος πλ. δ´ «Καὶ νῦν... ἀλληλούϊα…» Ἕτερον ἀρχαῖον· ποίημα τοῦ Χαλιβούρη λεγόμενον, ἡ λαμπρὰ «Δόξα Πατρί...» καλοφωνικὸν Κεκραγάρια «Θεὸς Κύριος...» and «Ἀλληλούϊα...» «Πᾶσα πνοὴ...» Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν πολυελέων· ὃυτος προσαγορεύεται Κουκουμᾶς· ἦχος α´ «Δοῦλοι Κύριον...» Ἡ βουλγάρα· ἦχος α´ «Καὶ τὸ μνημόσυνόν σου…» Ἀρχὴ τῆς δευτέρας στάσεως· τοῦ αὐτοῦ Κουκουμᾶ, ποίημα τοῦ Μαΐστρου· ψάλλονται δε κατ’ ἦχον· ὁ δεξιὸς χορὸς· ἦχος αʹ Δευτέρα στάσις τοῦ αὐτοῦ πολυελέου τοῦ Λατρινοῦ· ἄλλαγμα ἀρχαῖον· ἦχος β´ «Ἐξομολογεῖσθε τῷ Κυρίῳ…» Ἕτερος πολυέλεος, λεγόμενος Λατρινοῦ...

EBE 906

87

96r

Εἰς τὴν μεγάλην δοξολογίαν λέγονται ταῦτα· ἦχος πλ. β´ «Ἃγιος ὁ Θεὸς… ἐλέησον ἡμᾶς…» Ἀλλάγματα ᾀσματικὰ ἕτερα εἰς τὴν σύναξιν τῶν Ἀσωμάτων καὶ εἰς τὴν Χριστοῦ 100r Γέννησιν καὶ εἰς τὰ ἅγια Φῶτα· ποίημα τοῦ Κουκουζέλη Ἄρχεται ἡ βʹ στάσις· τοῦ αὐτοῦ πολυελέου λεγομένου, τοῦ Λατρινοῦ 101v Οἱ στίχοι ὅλοι εἰς τὸ μέλος αὐτὸ «Ἐξομολογεῖσθε τῷ Κυρίῳ » 108r Στίχοι καλοφωνικοὶ ἀπὸ τὸν πολυέλεον· τοῦ Κουκουζέλη 108v Ἀσματικὰ ἀντίφωνα ψαλλόμενα ἐν τῇ πόλει Θεσσαλονίκῃ· εἰς τὴν ἑορτὴν τῆς 119r Ὑψώσεως τοῦ Τιμίου Σταυροῦ εἰς τὴν Θεσσαλονίκην· ἀπὸ χοροῦ· ᾠδὴ α´· ἦχος πλ. δ´, ποίημα τοῦ Μυστάκωνος «Ἐξομολογεῖσθε τῷ Κυρίῳ ὃτι χρηστός…» Ποίημα τοῦ Μαΐστορος κυροῦ Ἰωάννου τοῦ Κουκουζέλη· ἦχος πλ. δ´ «Τιτιτι …Τὴν 120r οἰκουμένην, ἀλληλούϊα … Ἐξομολογεῖσθε τῷ Κυρίῳ…» Ἕτερον τοῦ αὐτοῦ (τοῦ Κουκουζέλη) 120v Ποίημα τοῦ Ἀνδρειωμένου· ἦχος πλ. δ´ «Ἑτοίμη ἡ καρδία μου, ὁ Θεός…» 121v Παλαιόν· ἦχος πλ. δ´ «Εἶπεν ὁ Κύριος τῷ Κυρίῳ μου…» 122r Τοῦ Ἀνδρειωμένου «Ἐξομολογεῖσθε τῷ Κυρίῳ, ὅτι ἀγαθός…» 123v Ἕτερον τοῦ Δοκειανοῦ· ἦχος πλ. δ´ «Παιδεύσει με, Κύριος…» 124r Ἕτερος στίχος ἀπὸ τὴν ᾠδὴν αὐτὴν· ποίημα τοῦ δομεστίκου κὺρ Μιχαὴλ τοῦ 125v Μυστάκωνος· ἦχος πλ. δ´. Τοῦ Μυστάκωνος· ἦχος πλ. δ´ «Πρός Κύριον ἐν τῷ θλίβεσθαι…» 126r-v Τοῦ δομεστίκου κὺρ Μανουὴλ τοῦ Πλαγίτου, ᾠδὴ η´· ἦχος πλ. δ´ «Ἐν τῷ ἐπιστρέψαι 127r Κύριον…» Παλαιόν, ᾠδὴ θ´· ἦχος πλ. δ´ «Μνήσθητι, Κύριε, τοῦ Δαβὶδ…» 128r Στίχος τῆς αὐτῆς ᾠδῆς· τοῦ Κουκουζέλη «Προσκυνήσωμεν εἰς τὸν τόπον…» 128v Καὶ ἄλλαγμα τοῦ Μαΐστορος· ἦχος πλ. δ´ «Τιτιτι … Τὴν θύραν αὐτῆς εὐλογήσων…» 129r Ἀντίφωνον ἕτερον ψαλλόμενον εἰς ἱεράρχας καὶ ὁσίους· ποιηθὲν παρὰ διαφόρων 139r ποιητῶν Ἀντίφωνον ψαλλόμενον εἰς τὴν Σύναξιν τῶν Ἀσωμάτων μεγάλου Χριστοῦ· ἀλλὰ 146v δὴ καὶ εἰς τὴν Χριστοῦ Γέννησιν καὶ εἰς τὰ ἅγια Φῶτα· ποιηθὲν παρὰ τοῦ δομεστίκου κυροῦ Νικηφόρου τοῦ Ἠθικοῦ· ἦχος πλ. βʹ «Αἰνεῖτε τὸν Κύριον ἐκ τῶν οὐρανῶν...» Ἕτερα ἀντίφωνα ψαλλόμενα εἰς τὴν Μεταμόρφωσιν τοῦ Κυρίου 148v Ἄμωμος ψαλλόμενος εἰς τὴν Θεόσωμον τάφον τοῦ Κυρίου Θεοῦ καὶ Σωτῆρος ἡμῶν 153v Ἰησοῦ Χριστοῦ καὶ εἰς τὴν κοίμησιν τῆς ὑπεραγίας Θεοτόκου καὶ εἰς πάντας τοὺς ἁγίους· ὁ δομέστικος ἀπ’ ἔξω· ἦχος πλ. α´«Εὐλογητὸς εἶ Κύριε, δίδαξόν με τὰ δικαιώματά σου…» Κάτω μελέτη ὅλοι ὁμοῦ· ἦχος πλ. α´ «Μακάριοι οἱ ἂμωμοι ἐν ὁδῷ οἱ πορευόμενοι έν νόμῳ Κυρίου…» Upon its completion this version of the Amomos for Theotokos and Christ continues immediately with only the second portion of the Amomos for Laymen. 169v The MS ends but follows with what had been a blank folio that has writing on it. blank Ir–v Notes The MS is in fair to poor condition. Although the neumes are fairly readable, the rubrics are badly faded and mostly cannot be read. The MS averages about 16 lines of text and music per

88

EBE 906

page. The MS has missing folios at the beginning and ending and appears to have been foliated later. There is an additional folio at the end indicated with a roman numeral. This manuscript follows the order of the Akolouthia MS beginning with explanation of neumes and the Koukouzeles song followed with Orthros, Vespers and the Amomos. It is peculiar that only part of the version of Amomos for laymen is included, while the version for the Theotokos and Christ is complete. The latter is complete, because it also includes the Megalynaria/encomia texts (without music) that are interpolated between the verses with music. Of interest in this MS are portions of the Asmatikos Akolouthia for the Hagia Sophia Cathedral in Thessalonika. This chanted Akolouthia was sung throughout and was considered artistically superior to the monastic version. Some of the references to this cathedral service are indicated as ‘ancient’ (fol. 61v), ‘other Asmatika’ (fol. 100r), ‘Asmatika antiphons chanted in the city of Thessalonika’ (fol. 119r), and others. Moreover, the reference to the chants as ‘kalophonic’, a beautified style of melismatic singing in the 14th and 15th centuries, confirms that the repertory was intended for cathedral services. This MS resembles the Mt Athos, Konstamonitou MS 86, which also contains some of the same compositions of the Asmatikos repertory. Bibliography Antoniades, “Περὶ τοῦ ᾀσματικοῦ ἢ Βυζαντινοῦ”. —— “Περὶ τοῦ Ἀσματικοῦ Τύπου τῶν Ἀκολουθιῶν. Chaldaiakis, Ὁ Πολυέλεος. Mpalageorges, Ἡ Ψαλτικὴ Παράδοση’, p. 205. Myers, A Historical, Liturgical and Musical Exploration of Kondakarnoie Pienie. Spyrakou, Οἱ Χοροὶ Ψαλτῶν κατὰ τὴν Βυζαντινὴ Παράδοση. Stathis, G., Τὰ χειρόγραφα Βυζαντινῆς Μουσικῆς Ἅγιον Ὅρος. Touliatos, The Byzantine Amomos Chant. —— ‘The Three Types of Amomos Chant’.

EBE 907

89

ΕΒΕ 907 ΑΝΘΟΛΟΓΙΟΝ/ANTHOLOGION Type of paper: bombycinous Measurements: 19.5 × 14.2 cm Folios: 326 Notation: Late Byzantine (Round) Date: 17th–18th c.

1r

Ἀνθολόγιον σὺν Θεῷ καὶ τοῦ ὅλου ἐνιαυτοῦ περιέχοντας ἀκολουθία τῶν Δεσποτικῶν ἑορτῶν· ἔχουν δὲ καὶ ἕτερον ἀκολουθία τῆς Δοξαζομένης· μηνὶ Σεμπτεβρίῳ «Ἐπέστη ἡ εἴσοδος τοῦ ἐνιαυτοῦ...». Then follow the feasts of the liturgical calendar, including the Triodion and Pentecostarion, until the end of the MS.

Notes The MS is in fairly good condition and mostly readable. It has a brown leather binding. There are about 15–16 lines of text and music per page. It is difficult to catalogue the contents because it is unfoliated; there are missing folios at the end. Furthermore, composers’ names are not indicated and only some feast days are sporadically identified throughout. Even with the few rubrics that are included, this scribe displays tendencies of a demotic style of grammar. The opening rubric of the manuscript could be translated as follows: ‘Anthology, by the grace of God, of the entire year, containing the akolouthia of the feasts of our Lord. Also included is another akolouthia of the Glorified Lady. In the month of September [is the hymn] “Upon us is the beginning of the year”.’ In the opening rubric, the scribe classifies this MS as an Anthology. However, this is a misnomer, for it does not follow the prescribed music of the Anthologion. It does follow the akolouthia of the Sticherarion MS and lists the feasts for each month according to the liturgical calendar (Sept.–Aug.) along with the feasts of Triodion and Pentecostarion.

90

EBE 908

ΕΒΕ 908 ΣΤΙΧΗΡΑ ΤΟΥ ΤΡΙΩΔΙΟΥ ΠΕΝΤΗΚΟΣΤΑΡΙΟΥ/STICHERARION OF THE TRIODION AND PENTECOSTARION Type of paper: mostly Turkish Measurements: 22 × 14.5 cm Folios: I + 215 Notation: Middle Round Date: late 15th–16th c.

Ir–v 1r 5r–v 89v

blank no rubric indicated blank Ἀκολουθίαν τῶν ἁγίων Παθῶν· ἀντίφωνα αʹ. These are the Stichera for the Passion of Jesus Christ by Sophronios of Jerusalem. 107v–109v neumes without text Τῷ Σαββάτῳ Ἑσπέρας· στιχηρὰ ἀναστάσιμα· ἦχος βʹ 150r Οἱ ἀναβαθμοὶ 151r blank 184v end of MS 215v Notes The MS is in fair condition. Its brownish leather binding has deteriorated. The exterior fols (1r4v and 209r–215v) appear to be earlier, dating from the late 15th century and on different paper, bombycinous. The internal folios are on Turkish paper and date from the 16th century. Fol. 1r is preceded with a blank fol. (I). There are about 17 lines of text and music per page. Composers’ names are not given. Rubrics are rare and are sporadically indicated for some feasts with modal signatures. This Sticherarion contains the music of the Triodion and Pentecostarion. More precisely, the Triodion portion includes the Offices of the ten weeks leading into Easter from the Sunday of the Pharisee and the Publican up to and including Holy Saturday. The Pentecostarion continues with the Proper of the Offices from Easter to the Sunday of All Saints, which is the first Sunday after Pentecost.

EBE 909

91

ΕΒΕ 909 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: Turkish Measurements: 21 × 15.3 cm Folios: III + 263 Notation: Late Round Byzantine Date: 16th–17th c.

Ir–IIIv 1r

blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ Πνεύματος· ἀνθολόγιον εἰς τὴν αʹ Σεμπτεβρίου· στιχηρὰ προσόμοια ... καὶ του ὁσίου πατρὸς ἡμῶν Συμεὼν τοῦ Στυλίτου «Θεία χάρις ἀπῃώρητο...» Μηνὶ Ὀκτωβρίῳ 20r Μηνὶ Νοεμβρίῳ 25r Μηνὶ Ἰανουαρίῳ 62r Μηνὶ Φεβρουαρίῳ 91r Μηνὶ Μαρτίῳ 94v 100r–105v blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τὸ Τριῴδιον ἀπὸ Τελώνου καὶ τοῦ Φαρισαίου· ἦχος δʹ 106r Ἀκολουθία τῶν Ἁγίων Παθῶν τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ· ποίημα τοῦ ἁγίου 164r Σωφρονίου πατριάρχου Ἱεροσολύμων 186v–187v blank Νεκρώσιμα ψάλλονται εἰς τὰς ἀκολουθίας τῶν κεκοιμημένων Χριστιανῶν· ἦχος πλ. 259v δʹ MS ends with writing in Latin 263v Notes This Sticherarion is preceded by three blank folios prior to its first rubric for the Sticheron of 1 Sept. The condition of the brownish leather binding is good. The MS itself is clear and easy to read. There is a range of 14–16 lines of text and music per page. With the exception of fol. 164r (the Passion of Jesus on Holy Friday by Sophronios of Jerusalem), composers’ names are not given. The red rubrics are sporadic and do not designate all the months and only some of the feasts. Modal signatures are indicated in red. The Triodion section (from the Sunday of the Pharisee and the Publican up to and including Holy Saturday) begins on fol. 106r.

EBE 910

92

ΕΒΕ 910 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: Turkish Measurements: 19.4 × 13.8 cm Folios: IV + 319 Notation: Late Round Byzantine Date: 16th–17th c.

Ir–IVv 1r 1 v 2r 3r

45r 58v 83v 147r 198v 212r 226r 232v 236v 263r 276v 319v

blank blank text only that does not belong as part of the original Sticherarion proper Ἦχος πλ. δ´ «Μετὰ τὸ τεχθῆναί σε Θεονύμφε...» (21 Nov., Presentation of the Virgin) Ἀρχὴ σὺν Θεῷ ἁγίῳ στιχηράριον, τοῦ ἀνθολογίου, τῶν δώδεκα μηνῶν, τῶν δεσποτικῶν ἑορτῶν καὶ δοξαζομένων ἁγίων, ἰδιομέλων· τονισθέντα παρὰ κὺρ Χρυσάφου τοῦ νέου, Πρωτοψάλτου τῆς τοῦ Χριστοῦ Μεγάλης Ἐκκλησίας. Μὴν Σεπτέμβριος εἰς τὴν ἀρχὴν τῆς ἰνδίκτου, ἤτοι τοῦ νέου ἔτους, καὶ μνήμῃ τοῦ ὁσίου πατρὸς ἡμῶν Συμεῶν τοῦ Στουδίτου καὶ ἡ σύναξις τῆς Ὑπεραγίας ἡμῶν Θεοτόκοῦ τῶν Μιασηνῶν, καὶ τῶν ἁγίων μαρτύρων γυναικῶν, καὶ Ἰησοῦ τοῦ Ναυῆ, καὶ τῶν ἐν Ἐφέσῳ ἑπτὰ παίδων· στιχηρὰ ἰδιόμελα· ἦχος αʹ Μὴν Ὀκτώβριος Μὴν Νοέμβριος Μὴν Δεκέμβριος Μὴν Ἰανουάριος Μὴν Φεβρουάριος Μὴν Μάρτιος Μὴν Ἀπρίλιος Μὴν Μάϊος Μὴν Ἰούνιος Μὴν Ἰούλιος Μὴν Αὔγουστος end of MS

Notes The rubric on fol. 3r indicates that this Sticherarion MS was composed by Kyr Panagiotes Chrysaphes the New, Protopsaltes of the Great Church. The music begins on fol. 2r and the proper liturgical order commences with fol. 3r. There appears to be a missing folio(s) from the end. The binding of the MS is a dark brown leather on wood and is in fair condition, as is the MS itself. The text and neumes are in black ink, with red used for the rubrics, hypostaseis and modal signatures. There are about 15 lines of text and music per page. The contents include music for the 12 months for feasts of our Lord and saints’ feasts according to the liturgical calendar. The Triodion and Pentecostarion are not included. The authorship and rubrics bear a resemblance to Docheiariou MS 359. No other composer’s name is mentioned. The months and some of the feasts are designated.

EBE 910

Bibliography Stathis, Τὰ χειρόγραφα Βυζαντινῆς Μουσικῆς.

93

EBE 911

94

ΕΒΕ 911 ΑΚΑΘΙΣΤΟΝ ΥΜΝΟΝ ΤΟΥ ΙΩΑΝΝΟΥ ΤΟΥ ΚΛΑΔΑ ΚΑΙ ΚΡΑΤΗΜΑΤΑ/ AKATHISTOS AND KRATEMATARION Type of paper: Turkish Measurements: 20 × 15 cm Folios: IV + 228 + X Notation: Late Round Byzantine Date: 17th c.

Ir–IVv 1r 5r 9r 14r 16r 17r 29r 34v 38r 49r 60v 64v 66r 70r 83v 85v 90v–96v 97r 99v 100r 101r 101v 102r 103v 105r 107r 108r 108v

blank Ἀκάθιστος ποιηθεῖσα παρὰ κυρίου Ἰωάννου λαμπαδαρίου τοῦ Κλαδᾶ, μιμούμενος κατὰ τὸ δυνατόν τὴν παλαιάν, ὡς αὐτὸς γράφει· ἦχος δʹ «Ἄγγελος πρωτοστάτης...». This contains the 24 Oikoi of the Akathistos Hymn by Ioannes Kladas Lampadarios. Ἕτερος, ποιηθεὶς παρὰ λαμπαδαρίου Μανουὴλ τοῦ Χρυσάφη· ἦχος δʹ «Ἄγγελος πρωτοστάτης...» Ἕτερος κὺρ Μπαλασίου· ἦχος αʹ Τοῦ Κυρίου Μανουὴλ τοῦ Χρυσάφη· ἦχος δʹ Ἕτερον Χρυσάφου τοῦ Νέου Τοῦ Κουκουζέλη Τοῦ λαμπαδαρίου τοῦ Κλαδᾶ Ἕτερος κὺρ Μανουὴλ τοῦ Χρυσάφου Ἰωάννου τοῦ Κλαδᾶ Ἰωάννου τοῦ Κλαδᾶ Ἕτερος κὺρ Μπαλασίου ἱερέως· ἦχος δʹ Τοῦ λαμπαδαρίου τοῦ Κλαδᾶ· ἦχος πλ. δʹ Τοῦ λαμπαδαρίου τοῦ Κλαδᾶ Τοῦ λαμπαδαρίου τοῦ Κλαδᾶ Τοῦ λαμπαδαρίου τοῦ Κλαδᾶ Ἕτερον κυρίου Μανουὴλ τοῦ Χρυσάφη blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον μεγάλων κρατημάτων, ἐκ τῶν πολλῶν τὰ ἐκλεκτότερα, ποιήματα διαφόρων ποιητῶν· τὸ παρὸν ἐστι ποίημα κυρίου Ἰωάννου τοῦ Κουκουζέλη καί Μαΐστορος· ἦχος αʹ Τοῦ Κορώνη Τοῦ λαμπαδαρίου, Πέρσικον· ἦχος αʹ Τοῦ Ἠθικοῦ Τοῦ λαμπαδαρίου Τοῦ Δημητρίου τοῦ Δοκειανοῦ Τοῦ Ἰωάννου τοῦ Κλαδᾶ Τοῦ Μανουὴλ τοῦ Χρυσάφη· Πέρσικον Τοῦ Ἠθικοῦ Τοῦ Κλαδᾶ Τοῦ Κουκουζέλη

EBE 911

109r 111r 120v 127v 138r 138v 140r 141v 142v 144r 148v 149v 153v 155r 158v 160v 163r 164r 167r 174r 176r 180r 185v 189r 193r 196r 201v 206r 207r 208r 209v 211r 212v 215v 216v 218r 223r 225r 227v 228r 228v Ir–Xv

95

Τοῦ Κορώνη Ἀρχὴ σὺν Θεῷ καὶ τοῦ δευτέρου ἦχου τοῦ Κορώνη· ἦχος βʹ. This is followed by Kratemata in Mode II by different composers. Kratemata in Mode III Kratemata in Mode IV Ἕτερον λεγόμενον Τρουμπέτα, μελέτη· ἦχος δʹ Ἀρχὴ τοῦ ἦχος πλ. αʹ· τοῦ Κουκουζέλη, Ἡ Σημαντῆρα Ἕτερον καλούμενον Σημαντήριν μικρὸν· ἦχος πλ. αʹ Τοῦ Κουκουζέλη, λεγόμενον Ἀηδών· ἦχος πλ. αʹ Τοῦ Κορώνη, λεγόμενον Ἀηδονᾶτον·ἦχος πλ. αʹ Τοῦ αὐτοῦ, λεγόμενον Ῥοδακινᾶτον· ἦχος πλ. αʹ Τοῦ Κουκουζέλη, τὸ Πολεμικόν· ἦχος πλ. αʹ Τοῦ αὐτοῦ, λεγόμενον Βουλγάρικον· ἦχος πλ. αʹ Τοῦ Κουκουζέλη, λεγόμενον Ὀρφανόν· ἦχος πλ. αʹ Λεγόμενον Τοῦ Μεγάλου Πριμικήρι·ἦχος πλ. αʹ Τοῦ Κορώνη, Τετράφωνον· ἦχος πλ. αʹ Τοῦ αὐτοῦ, Ἀηδών· ἦχος πλ. αʹ Πρόλογος· ἦχος πλ. βʹ. Τοῦ αὐτοῦ, Δεμένον· ἦχος πλ. βʹ Τοῦ Γλυκέως, λεγόμενον Σουρλᾶς· ἦχος πλ. βʹ Τοῦ Κουκουζέλη, λεγόμενον ὁ Ἀνυφαντῆς· ἦχος πλ. βʹ Τοῦ Κορώνη, δεμένον μὲ τὸν ἄριστον· ἤχος πλ. βʹ Τοῦ Κουκουζέλη, Ὁ Δύσκολος· ἦχος πλ. βʹ Ἀρχὴ τοῦ βαρέος ἤχου· τοῦ Κουκουζέλη Μανουὴλ τοῦ Χρυσάφη, τῆς Σερβίας· πάνυ καλὸν Ἀρχὴ τοῦ πλ. δʹ ἢχου· τὸ παρὸν ποίημα τοῦ Κουκουζέλη, λεγόμενον Καμπάνα καὶ Βιόλα· ἦχος πλ. δʹ Τοῦ αὐτοῦ, λεγόμενον Ἡ Παπαδοπούλα· ἦχος πλ. δʹ Τοῦ αὐτοῦ, λεγόμενος Τροχὸς· ἦχος πλ. δʹ Τοῦ Κορώνη, τὸ λεγόμενον Ῥοδάνι· ἦχος πλ. δʹ Τοῦ Κουκουζέλους, λεγόμενον Τοῦ βασιλέως· ἦχος πλ. δʹ Τοῦ λαμπαδαρίου [Ἰωάννου Κλαδᾶ]· ἦχος πλ. δʹ Τοῦ λαμπαδαρίου τοῦ Κλαδᾶ· Πέρσικον,, λέγεται καὶ Ἀνακαρᾶς· ἦχος πλ. δʹ Τοῦ Κορώνη, τοῦ Ἐμπαχούμ·ἦχος πλ. δʹ Τοῦ αὐτοῦ, μετὰ τρίτου· ἦχος πλ. δʹ Τοῦ Χρυσάφη, Ἡ Ἀηδών· ἦχος πλ. δʹ Τοῦ λαμπαδαρίου τοῦ Κλαδᾶ· Φθορικὸν μελέτη· ἦχος πλ. δʹ Τοῦ Κουκουζέλη, πάνυ καλὸν· ἦχος πλ.δʹ Τοῦ αὐτοῦ, λεπτότατον· ἦχος πλ. δʹ Κὺρ Γαβριὴλ ἐκ τῶν Ξανθοπούλων· ἦχος πλ. δʹ Κὺρ Δημητρίου τοῦ Δοκειανοῦ· ἦχος πλ. δʹ Μουσικὸν ὀργανικὸν τοῦ Χρυσάφη· ἦχος δʹ end of Kratemata and MS blank blank

96

EBE 911

Notes This manuscript has two major components: the Akathistos Hymn by Ioannes Kladas (fols 1r–90r) and a Kratematarion (fols 97r–228r). In most instances, each of these could be housed solely within a MS: i.e., the Akathistos by Kladas in Docheiariou MS 309 and the Kratemata in Xiropotaomou MS 287. The MS is clean and easy to read. It has a reddish-brown leather binding. The text and music are in black ink and the rubrics, modal signatures and hypostaseis are in red. There are about 15 lines of text and music per page. The Akathistos Hymn is perhaps the most famous hymn of the Byzantine Church. It belongs to the genre of the kontakion; the original hymnographer was possibly Romanos. The hymn was orginally sung on the feast of the Annunciation on 25 Mar. from the 10th century or earlier and is purported to have been chanted during the final fall of Constantinople in 1453. The textual form of the Akathistos is unique and incorporates an abecedarian acrostic in the incipit of each of the 24 stanzas. The musical version that appears in this source is by Ioannes Kladas, the Lampadarios, but also includes verses composed by Balasios, Manuel Chrysaphes and Ioannes Koukouzeles. The Kratemata according to the octoechos comprise the second half of the MS. The Kratema is one of the most fascinating genres of medieval Byzantine music. The Kratemata are part of the Kalophonic or ‘Beautified style’ of Byzantine chant, also known as teretismos from the sounds te re re, to ro ro, etc. that are chanted as lyrics for the music. The non-sensical syllables found in this manuscript, however, are not always limited to the tau [τ] and rho [ρ] initial consonants. Other syllables include Erre terre [Ερρε τερρε], Ne enee anna [Νε εννε αννα], Anaaa ne [Ανααα νε] and a plethora of further variants which are held (κρατοῦνται). This music is programmatic, with descriptive titles. Among the titles listed in this MS are the following: ‘Persian’, ‘Semantron Bell’ (bells in a wooden construction that are most often found in monasteries), ‘Nightingale’, ‘War-like’ (‘Polemical’), ‘Bulgarian’, ‘Orphan’, ‘Almond’, ‘Tetraphonos’, ‘The Difficult [One]’, ‘The Bundled [One]’, ‘Very Good Serbian’, ‘Little Daughter of the Priest’, ‘Wheel’, ‘Reel’, ‘The King’s’, ‘The Higher [One]’, ‘The Simplist’, ‘The Radiant’, ‘Organ’ (generic for any instrument), ‘Sourlas’ (pipe instrument), ‘Trumpet’, ‘Bell’ and ‘Viola’ (medieval Byzantine bowed stringed instrument). In many instances, the descriptive titles suggest the musical and textual sounds sung in the composition. The composers of the 14th and 15th centuries are Kladas, Koukouzeles, Korones, Ethikos, Glykys, and of the next generation, Chrysaphes the New and Dimitri Dokeianos. The Kratemata section is represented by various composers but there is a slight preponderance of Koukouzeles’ settings. Among Greek scholars, there has also been much debate as to which composer introduced the Kratemata: Koukouzeles, Korones or Glykys. However, there is no conclusive evidence to credit any one composer. Bibliography Abbakoum the monk, “σιος Ἰωάννης Κουκουζέλης”. Anastasios, Τὰ Κρατήματα στὴν Ψαλτικὴ Τεχνὴ. Angelopoulos, “Ἰωάννης Κουκουζέλης ὁ Βυζαντινὸς Μαΐστωρ”. Chatzesolomos, ‘John Koukouzeles the Maistor’. Eustratiades, “Ἰωάννης ὁ Κουκουζέλης ὁ Μαΐστωρ καὶ ὁ Χρόνος τῆς Ἀκμῆς αὐτοῦ”. Gedeon, “Προσθήκη εἰς τὰς περὶ Κουκουζέλη Παραδόσεις”. Jakovljević, “Ὁ Μέγας Μαΐστωρ Ἰωάννης Κουκουζέλης Παπαδόπουλος”. Karas, Ἰωάννης Μαΐστωρ ὁ Κουκουζέλης καὶ ἡ Ὲποχή του. Kretikou, Ὁ Ἀκάθιστος Ὓμνος στἠν Βυζαντινὴ καὶ Μεταβυζαντινὴ Μελοποία.

EBE 911

Mpalageorges, Ἡ Ψαλτικὴ Παράδοση τῶν Ἀκολουθιῶν τοῦ Βυζαντινοῦ Κοσμικοῦ Τυπικοῦ. Petrov and Kodov, Old Bulgarian Musical Documents. Stantschewa-Braschowanowa, ‘Johannes Kukuzeles’. Stathis, G. “ Ὁ Μαΐστωρ Ἰωάννης Παπαδόπουλος ὁ Κουκουζέλης. Ἡ Ζωὴ καὶ τὸ Ἔργο τοῦ”. —— Τὰ χειρόγραφα Βυζαντινῆς Μουσικῆς. Touliatos-Banker, ‘Medieval Balkan Music and Ioannes Koukouzeles’. —— ‘Nonsense Syllables’. Vamvoudakis, “Τὰ ἐν τῇ Βυζαντινῇ μουσικῇ ‘κρατήματα’”. Velimirović, ‘The Bulgarian Musical Pieces in Byzantine Manuscripts’. Wellesz, ‘The Akathistos Hymn’ Werner, ‘The Psalmodic Formula Neannoe and its Origins’. Williams, ‘A Byzantine Ars Nova’. —— ‘John Koukouzeles’ Reform of Byzantine Chanting’.

97

EBE 912

98

ΕΒΕ 912 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: Turkish Measurements: 21 × 14 cm Folios: II + 104 + I Notation: Late Round Byzantine Date: 17th c.

Ir–IIv 1r

10v 12v 19r 31v 43v 46v 50r 52v 54v 61r 65r 77v–78v 79r 103v 104r 104v Ir–v

blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ ἀνθολογίου περιέχων τὴν ἅπασαν ἀκολουθεία τοῦ ὅλου ἐνιαυτοῦ τῶν δεσποτικῶν καὶ θεομητορικῶν ἑορτῶν· τῶν δοξαστικῶν καὶ θεοτοκίων καὶ μὴν Σεπτέμβριος εἰς τὴν πρώτην· ἀρχὴ τῆς ἰνδίκτου, ἤτοι τοῦ νέου ἔτους καὶ τοῦ ἁγίου Συμεών, «Δόξα»· ἦχος πλ. βʹ «Θεία χάρις...» Μὴν Ὀκτώβριος Μὴν Νοέμβριος Μὴν Δεκέμβριος Μὴν Ἰανουάριος Μὴν Φεβρουάριος Μὴν Μάρτιος Μὴν Ἀπρίλιος Μὴν Μάϊος Μὴν Ἰούνιος Μὴν Ἰούλιος Μὴν Αὔγουστος blank Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν στιχηρῶν τοῦ Τριῳδίου τῶν ἀναγκαιοτέρων ἀρχομένων ἐκ τῆς Κυριακῆς τοῦ Τελώνου καὶ τοῦ Φαρισαίου καὶ καθʹ ἑξῆς κατὰ τάξιν, ὀψὲ Σαββάτῳ· στιχηρὸν ἰδιόμελον· ἦχος αʹ blank blank end of MS blank

Notes This is a late Sticherarion manuscript that contains the typical content of the Menologion (fols 1r–77r) with the Triodion and Pentecostarion starting on fol. 79r. The music ends with fol. 103r. Fol. 104v has writing added later. The MS is in fair to good condition and readable, with a newer brownish leather binding. No composers’ names are given. The reddish-coloured rubrics pertain only to feast days and modal signatures. The text and neumes are written in black ink. The scribe has made many orthographic textual mistakes throughout. There are 15–17 lines of text and music per page.

EBE 913

99

ΕΒΕ 913 ΔΟΞΑΣΤΑΡΙΟΝ ΤΟΥ ΤΡΙΩΔΙΟΥ ΚΑΙ ΠΕΝΤΗΚΟΣΤΑΡΙΟΥ/ DOXASTARION OF THE TRIODION AND PENTECOSTARION Type of paper: Turkish Measurements: 21 × 14.5 cm Folios: VII + 114 + II Notation: Chrysanthine, also known as ‘New System’ or ‘Neo Byzantine’ Date: 1882

Ir–VIIv 1r

114r I–IIv

blank Ἀρχὴ τῶν δοξαστικῶν καὶ Τριῳδίων τοῦ Πεντηκοσταρίου μελοποιηθέντων μὲν παρὰ Ἰακώβου Πρωτοψάλτου· ἐξηγηθέντων δὲ παρὰ Χουρμουζίου διδασκάλου τῆς Κοινῆς τοῦ Γένους Σχολῆς τοῦ νέου τῆς μουσικῆς συστήματατος. Τῇ Κυριακῇ τοῦ Τελώνου καὶ τοῦ Φαρισαίου· εἰς τὸν Ἑσπερινόν. «Δόξα»· ἦχος πλ. δʹ. (The beginning of the Doxastikon of the Triodion and Pentecostarion composed by Iakovos Protopsaltes, as interpreted by Chourmouzios, teacher of the new musical system at the Common School for the Greek Nation. The Sunday of the Publican and Pharisee. For Vespers. Doxology, Plagal Mode IV.) end of MS blank

Notes This is a late Doxastarion manuscript containing the music for the Triodion and Pentecostarion. The opening rubric states that the verses are composed by Iakovos Protopsaltes but interpreted (exegesis) by Chourmouzios, a teacher of the new musical system at the Κοινὴ τοῦ Γένους Σχολή that had been set up on Patmos in 1713 by Μακάριος Καλογερᾶς for the education of Greeks under Ottoman rule. The music that follows is in the Chrysanthine notation, named after Chysanthos the Archimandrite, who attempted in the year 1832 to simplify the complex medieval Byzantine notation but greatly altered the neumes, interpretative signs and measurement of intervals. Chrysanthos’ goal was to make the notation easier to understand for the masses who had been under Ottoman rule and had lost the tradition of the art of Music Techne. Ultimately, with simplification, the music could be printed. The MS is quite clear and easy to read. It has a newer brownish-red cloth binding. Only feasts and modal signatures are designated in the traditional red ink. The text and neumes are written in black ink. There are about 13–14 lines of text and music per page. Although dated 1882, fol. 110v has the date 1824 etched in the paper. This early date is not a watermark but simply written on the paper with a fine pen.

EBE 914

100

ΕΒΕ 914 ΔΟΞΑΣΤΙΚΑ ΚΑΙ ΙΔΙΟΜΕΛΑ ΣΤΙΧΗΡΑ/DOXASTIKA AND IDIOMELA STICHERA Type of paper: Turkish Measurements: 22.7 × 15.7 cm Folios: I + 132 + V Notation: Chrysanthine Date: 19th c.

Ir–v 1r 5r 13r 16r 19r 19v 22v 30r 33r 36r 40r 44r 49r 53r 56r 59r 63r 87r 109r 128v 132v Ir–Vv

blank Δόξα Πατρί· ἦχος αʹ Δόξα Πατρί· ἦχος βʹ Δόξα Πατρί· ἦχος πλ. αʹ Δόξα Πατρί· ἦχος πλ. βʹ Δόξα Πατρί· ἦχος βαρύς blank Δόξα Πατρί· ἦχος πλ. δʹ Ἑωθινόν· ἦχος βʹ Ἑωθινόν· ἦχος γʹ Ἑωθινόν· ἦχος δʹ Ἑωθινόν· ἦχος πλ. αʹ Ἑωθινόν· ἦχος πλ. βʹ Ἑωθινόν· ἦχος πλ. δʹ Ἑωθινόν· ἦχος πλ. αʹ Ἑωθινόν· ἦχος πλ. βʹ Ἑωθινόν· ἤχος πλ. δʹ Ὧραι τῶν Χριστοῦ γεννῶν ἰδιόμελα καὶ δοξαστικὰ ἀρχόμεθα ἀπὸ πρώτης σειρᾶς μέχρι τῆς ἐνάτης Ὥρα τῆς παραμονῆς τῶν Φώτων· ὥρα πρώτη· ἦχος πλ. δʹ Ὧραι τῶν ἁγίων παθῶν ἰδιόμελα καὶ δοξαστικὰ μετά, αἱ ὥρα πρώτη· ἦχος πλ. δʹ Δοξαστικὸν τῆς Κοιμήσεως τῆς Θεοτόκου ἐκ τοῦ παλαιοῦ στιχηραρίου, ὀκτώηχον· ἦχος αʹ end of MS blank

Notes This Sticherarion manuscript from the 19th century contains the Lesser Doxology, the Heothina hymns and Stichera idiomela – that is, stichera from the Menaion that have their own melody. For the latter, the MS includes the Hours for Christmas, the Hours for the Holy Passion and the celebration of the Dormition of the Theotokos. The scribe makes many orthographic mistakes and only sporadically includes rubrics for the Lesser Doxology and Heothina hymns. In fact, there are few rubrics in the MS and no composer

EBE 914

101

names are indicated. These rubrics and modal signatures are in red and the text and neumes are written in black. The folios are not numbered, making it difficult to catalogue the contents of the MS. The condition of the MS is clear and readable and it has a newer brown binding. There are about 15-16 lines of text and music per page.

102

EBE 915

ΕΒΕ 915 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: Turkish Measurements: 21.1 × 14.4 cm Folios: 375 + I Notation: Chrysanthine Date: 19th c.

1r 28v 30v–32v 60v

«Ἀνοίξαντός σου τὴν χεῖρα...» Πολυέλεος blank Ἀρχὴ σὺν Θεῷ τοῦ τὰ, Δι Βοῦ μέλους· πολυέλεος κὺρ Πέτρου Βυζαντίου Μπερεκέτη· ἦχος αʹ, Πα Πολυέλεος παρὰ κὺρ Ἰωάννου Πρωτοψάλτου 76v Πολυέλεος παρὰ Πέτρου λαμπαδαρίου τοῦ Πελοποννησίου· ἦχος πλ. αʹ, Πα 86r Πολυέλεος ψαλλόμενος εἰς τὰς ἑορτὰς τῆς Θεοτόκου ὅτις μελουργήθη παρὰ κὺρ 98r Γεώργου τοῦ Κρητός· ἦχος βαρὺς «Λόγον ἀγαθὸν...» Πασαπνοάρια ψαλλόμενα πρὸ τοῦ Εὐαγγελίου· τοῦ Ὄρθρου· τὸ παρὸν μελοποιήθη 124r παρὰ κὺρ Ἰωάννου Πρωτοψάλτου· ἦχος αʹ blank 191r–v Τὰ μεγάλα δοξαστικὰ ... κὺρ Ζαχαρία 192r Τὸ εἱρμολόγιον τῶν καταβασιῶν· μελοποιηθὲν παρὰ Πέτρου λαμπαδαρίου 261r 292v–293r blank 293v–295r text only 295v–353v blank Εἰσαγωγὴ εἰς τὸ θεωρητικὸν καὶ πρακτικὸν τῆς ἐκκλησιαστικῆς μουσικῆς. (This is an 353r explanation of the Chrysanthine notation that ends on fol. 375r.) v r 375 –376 blank blank Ir–v Notes This is an Akolouthia of the 19th century with compositions by Petros Bereketes; Petros the Peloponnesian, the Lampadarios; Ioannes Protopsaltes of Trebizond; Georgios of Crete and others. However, their compositions are interpreted and notated according to the new system of the music teachers Chrysanthos Madytos, Gregorios the Lampadarios and Chourmouzios Chartophylax. Of note is the treatise on the new method on fols 353r–375v entitled ‘Introduction in the Theory and Practice of Church Music’. The MS is clean and easy to read. Its binding is a newer brownish colour cloth. The rubrics and modal signatures are in red and the text and neumes are in black ink. There are about 15–16 lines of text and music per page.

EBE 916

103

ΕΒΕ 916 ΕΙΡΜΟΛΟΓΙΟN ΚΑΛΟΦΩΝΙΚΟΝ/KALOPHONIC HEIRMOLOGION Type of paper: Turkish Measurements: 24.5 × 16 cm Folios: II + 108 + III Notation: Chrysanthine Date: 1832

Ir–IIv 1r

23r 76r 76v

108r Ir–IIIv

blank Εἱρμολόγιον τὸ καλοφωνικόν· ἐμπεριέχονται πάντες οἱ καλοφωνικοὶ εἱρμοί. ὁ ἀκόλουθος κὺρ Ἀρσενίου τοῦ μικροῦ· ᾠδὴ αʹ· ἦχος αʹ, Πα. Then follow various compositions of the ‘newer’ Byzantine composers: Πέτρος Μπερεκέτης, Δημήτριος Δομέστικος, Βαλάσιος Ἱερεύς, Γερμανὸς Νέων Πατρῶν and other composers Τὸ δὲ κράτημα ἐγράφη ἐν τῇ τῶν κρατημάτων σειρᾷ ἐπιφώνημα· τοῦ αὐτοῦ· ἦχος Λέγετος blank Ἀρχὴ σὺν Θεῷ τῇ τῶν κρατημάτων σειρᾷ· Μελοποιηθέντα κατ’ ἦχον παρὰ τῶν νεοτέρων Μουσικοδιδασκάλων· ἕνδεκα τῶν καλοφωνικῶν εἱρμῶν· τὸ ἀλληλούϊα, κὺρ Ἰωάννου Πρωτοψάλτου (ὁ Τραπεζούντιος)· ἦχος αʹ. Then follow Kratemata by several of the newer composers. end of MS blank

Notes This Heirmologion manuscript contains the kalophonic settings of the Heirmoi, the model stanzas to which each of the nine Odes of the Kanons are chanted. The Kratemata begin on fol. 23r and continue through fol. 75v. With fol. 76r, the rubric states that the Kratemata following are by the newer music teachers. The MS is clean and easy to read. It has a newer wine-coloured binding. The rubrics and modal signatures are written in red and the text and neumes are in black ink. There are about 17 lines of text and music per page. The date of the MS, 1832, is the date that Chrysanthos Madytos published his Mega Theoretikon, the first important book on the theory and practice of the Chrysanthine notation. Bibliography Antoniou, Τὸ Ἑιρμολόγιον καὶ ἡ Παράδοση τοῦ Μέλους του. Chrysanthos of Madytos, Θεωρητικὸν Μέγα.

EBE 917

104

ΕΒΕ 917 ΔΙΔΑΣΚΑΛΙΑ ΤΗΣ ΜΟΥΣΙΚΗΣ ΤΕΧΝΗΣ ΚΑΤΑ ΤΟ ΣΥΣΤΗΜΑ ΑΚΑΚΙΟΥ ΧΑΛΚΕΟΠΟΥΛΟΥ/EXEGESIS OF PAPADIKE ACCORDING TO AKAKIOS CHALKEOPOULOS Type of paper: common Measurements: 20.1 × 14 cm Folios: 180 + I Notation: Middle Byzantine Date: 1500–20

1r–2r

2r 15r 23r 24v 26v 36v 46v 55v 59v 60r 73v 76v 85v 93r 105r 111r 119r

Διδασκαλία τοῦ Ἀκακίου Χαλκεοπούλου (Autograph of Akakios Chalkeopoulos with a prose writing): ... νὰ βρίσκῃ καὶ τὰ σφάλματα τῆς μουσικῆς ὁπόχη [leg. prob.: ὁποὺ ἔχει] ... ἀκαταπαύστως λέγομεν ὡς νόες ἐκ τοῦ νοῦ σου. τέλος πάντων τῶν συναξαρίων καμοῦ τοῦ εὐτελοῦς Ἀκακίου Χαλκεοπούλου exegesis of music according to Akakios Chalkeopoulos Τὸ φθόρισμα κάμνει ἐδικό του [sic] μέλος καὶ ἐδική του μετροφωνίαν· καὶ ὅστις οὐ δυναταῖ φθορίζει λέγεται πρωτόσκολος καὶ οὐχὶ τεχνίτης… beginning of the Anastasimatarion of Akakios Chalkeopoulos· ἦχος αʹ «Κύριε ἐκέκραξα...» «Πᾶσα πνοή...» «Αἰνεῖτε...» Τὸ γὰρ μέλος τῶν αὐτῶν στιχηρῶν, Ἀκακίου Χαλκεοπούλου, κατὰ τὸ φρικτὸν αὐτοῦ· εἰς τὸ ἐκκλησιαστικὸν ἐκαλοπήσθησαι καὶ ἐπακολουθοῦσιν Ἀρχὴ τοῦ δευτέρου ἤχου, τῶν ἀναστασίμων Ἀρχὴ τοῦ τρίτου ἤχου, τῶν ἀναστασίμων Ἀρχὴ τοῦ τετάρτου ἤχου, τὰ κεκραγάρια σὺν τὰ ἀναστάσιμα προσόμοια· καὶ τοὺς αἴνους Προσόμοιον αὐτόμελον Τέλος τοῦ τετάρτου ἤχου, καὶ ἀρχὴ τοῦ πλ. αʹ ἤχου· μετὰ τῶν ἀναστασίμων καὶ τερεντισμάτων· προσόμοιόν τε καὶ «Πᾶσα πνοή…»· καὶ τοὺς ὕμνους, μετὰ ἀνατολικά Ὁ πλάγιος τοῦ πρώτου Ἀρχὴ τοῦ πλαγίου δευτέρου ἤχου· τῶν ἀναστασίμων Ψάλλεται καὶ τοῦτο εἰς τερέντισμα, λεγόμενον τὸν ποταμίδα [sic]· ποίημα κὺρ Ἰωάννου λαμπαδαρίου τοῦ Κλαδᾶ· ἐκαλλωπίσθη ἀπὸ τὸ σχῆμα εἰς τὸ κείμενον παρὰ ἐμοῦ Ἀκακίου Χαλκεοπούλου, πρόλογος Ἀρχὴ τοῦ βαρέως ἤχου σὺν τὰ ἀναστάσιμα αὐτοῦ καὶ τοὺς αἴνους· ἄνευ τερεντίσιμα καὶ προσόμοια Ἀρχὴ τοῦ πλαγίου τετάρτου ἤχου· σὲ κάθε ἦχο τὰ κεκραγάρια, τὰ στιχηρά, οἱ αἶνοι, τερεντίσματα καὶ τὰ προσόμοια Τέλος σὺν Θεῷ ἁγίῳ τῶν ὀκτὼ ἤχων· στιχηρὸν ἰδιόμελον ψαλλόμενον Ἰουνίου ... τὸ δὲ μέλος Ἀκακίου Χαλκεοπούλου (Stichera for various feasts follow) Ἀκολουθία νέα ἰαματικήν Παρασκευήν. Εἰς τὸν μέγαν Ἑσπερινὸν (various Stichera beginning with the Anoixantaria)

EBE 917

105

127r

Ἕτερον χερουβίμ, Μανουὴλ λαμπαδαρίου τοῦ Χρυσάφη (possibly written by another scribe) 135r Χερουβικὸν ποίημα Ἀγάθωνος μοναχοῦ ἀδελφοῦ τοῦ Κορώνη λέγεται Δυσικόν· ψάλλετε δὲ δύχορον παρὰ τῶν νάϊων [sic]; ἐκαλλωπίσθη παρ’ ἐμοῦ Ἀκακίου οὗ τὸ ’πίκλην Χαλκεόπουλος μεταβαλθὲν ἀπὸ τὸ τέλειον σχῆμα εἰς τὸ κείμενον ... 137v Τρισάγιον παρὰ τοῦ αὐτοῦ Χαλκεοπούλου 139r Ὁ θρῆνος τῆς πόλεως Ναυπλίου τοῦ Μαλαξοῦ, χῦμα 143r Ἑρμηνεία ὠφέλιμος, περὶ τὰς κδʹ ὥρας τὸ ἡμερονύκτιον ... τὸ Πασχάλιο τοῦ Βλεμμύδη 144r Ἰδιόμελον (Mathemata, Cheroubika, Koinonika, Theotokia, Kalophonic settings, etc.) 145v Χερουβικόν 147v Communion chant, called the Vulgara 148v-149v Τὸ αὐτὸ κοινωνικὸν ἡ Βουλγάρα, μετονομασθεῖσα φράγγικον παρὰ τοῦ ποιοῦντος τὰ σχήματα, ἔστιν δὲ καὶ ὀργανικὸν καὶ ἔχον τὸ μέλος ἴδιον ἡνωμένον τὸ κείμενον μὲ τὸ τενόρε νὰ τὸ ψάλῃ ὁ πρῶτος καὶ μέγας τεχνίτης μόνος τοῦ δίχως συντροφία καὶ μόνος του νὰ κάμνῃ καὶ τὸ τενόρε εἰς τὸν τόπον ὅπου τὸ ζητᾷ, ἤγουν ν᾽ ἀφήνῃ τὸ κείμενον καὶ νὰ κάμνῃ τὸ τενόρε καὶ πάλι ν᾽ ἀφήνῃ τὸ τενόρε νὰ ᾽ρχεται στὸ κείμενον· ἀληθῶς ἔχει πάνυ τὴν ἀκρίβειαν ὅστις βρεθῇ τεχνίτης νὰ μπορέσῃ νὰ τὸ ψάλλῃ δίχως σφάλμα καὶ δίδω τοῦ διορίαν ἡμέρας τρεῖς νὰ τὸ μανθάνη· ἦχος α´ «Αἰνεῖτε τὸν Κύριον…» 153v Ὀργανικὸν συναπτικόν· τὸ μέλος Χαλκεοπούλου Θεοτοκίον 154r Ἕτερον Θεοτοκίον ἐγκωμιαστικόν 158r Ἕτερον Θεοτοκίον ἰδιόμελον· Ἀκακίου 160v From here on, there are different scripts possibly written by different scribes. 162r Ἕτερα ἰδιόμελα ψαλλόμενα εἰς Δεκεμβρίῳ κεʹ 166v Ἕτερα ἰδιόμελα εἰς τὴν σύναξιν τῆς ὑπεραγίας Θεοτόκου 168v «Αἰνεῖτε...» τοῦ αὐτοῦ· ἦχος πλ. αʹ 174r chart of modes and intonation formulae (Epechemata) 180r blank 180v blank Ir–v Notes This valuable autograph manuscript of Akakios Chalkeopoulos contains his exegesis of the Papadike, Theseis and many of his melodies. In fact, the entire MS is interspersed with his music and writings that contain information about him. The MS is dated according to Chatzegiakoumes. In fair condition, it is leather bound, with the beginning folios badly damaged and with wormholes, making it difficult to read. The script is in a dark brown and the rubrics vary from red to orange. There is an average of 13 lines per page. It is possible that fols 162r–179v were written by another scribe. Besides the exegesis of Chalkeopoulos (fols 2r–14v), the MS contains his Anastasimatarion (fols 15r–104v) and his melodies for the Sticherarion (fols 105r–179v) and Papadike (fol. 180r). The MS also has four stichera for the feast of St Athanasios of Mt Athos and is one of three early sources, although it is later than EBE MSS 895 and 2147. These stichera too are interpreted with Chalkeopoulos’ style and embellishment. Besides Chalkeopoulos’ melodic contributions, the MS also contains the early musical tradition of Crete.

106

EBE 917

Of interest is the rubric and Communion chant referred to as the ‘Vulgara/Boulgara’ on fols 147v–148v. This is an example of a double melody, which the rubric indicates could be named as ‘Frankish’ and ‘organum’. The rubric instructs that the lyrics are to be joined to the melody sung by the first chanter along with the ‘tenor’, and the great artist, without accompaniment and alone, provides the tenor where it is required but can also leave the lyrics for the tenor and again leave the tenor for the text. Lastly it is stated that the (technician) artist should be allowed the duration of three days to learn these parts without mistakes. The duple melody of the Communion chant along with the mention of the Latin terms of ‘organum’, ‘tenor’, and ‘Frankish’ is found along with Cretan musical contributions, and the manuscript could be of Cretan provenance; it certainly substantiates a relationship and/or influence between West and East. Bibliography Alygizakes, “Τὸ Θεωρητικὸ τοῦ Ἀκακίου Χαλκεόπουλου”. Chatzegiakoumes, Μουσικὰ Χειρόγραφα Τουρκοκρατίας. Conomos, ‘Experimental Polyphony “According to the Latins”’. Dragoumis, “Ἡ δυτικίζουσα ἐκκλησιαστικὴ μουσική μας στὴν Κρήτη καὶ στὰ Ἑπτάνησα”. Raasted, ‘The Hagiopolites: A Byzantine Treatise on Musical Theory’. Romanou, “Ἕνα ἀρχεῖο “Κρητικῆς” Μουσικῆς στὴ Φιλαρμονικὴ Ἑταιρεία Κερκύρας”. Stancev and Tontscheva, ‘Bulgarskite Pesnopenia bâb Byzantiiskite Akolytii’. Stathis, G., “Διπλοῦν μέλος”. Tontscheva, ‘“Boulgarikon” – Melodien in der Akolouthie des Psalm 135’. Touliatos, “Ἡ πρακτικὴ ἐκτέλεσης τῆς Βυζαντινῆς Μουσικῆς”. Velimirović, ‘Unknown Stichera’.

EBE 918

107

ΕΒΕ 918 ΑΝΘΟΛΟΓΙΟΝ ΣΤΙΧΗΡΑΡΙΟΝ/ANTHOLOGION STICHERARION Type of paper: Turkish Measurements: 17.6 × 12.4 cm Folios: III + 252 + III Notation: Late Round Byzantine Date: 17th c.

Ir–IIIv 1r

blank Ἀνθολόγιον σὺν Θεῷ ἁγίῳ περιέχον ἅπαντα τῶν ἑορτῶν ἔστιν δὲ καὶ ἕτερα δοξαστικὰ διαφόρων ἁγίων· ἀρχὴ δὲ τῆς ἰνδίκτου, Σεμπτεβρίῳ πρῶτον, εἰς τὸ, «Κύριε ἐκέκραξα…», ἦχος βʹ· καλλωπισμένα παρὰ κυρίου Χρυσάφου Πρωτοψάλτου Κωνσταντινουπόλεως «Θεία Χάρις...» Μηνὶ Ὀκτωβρίῳ 30r Μηνὶ Νοεμβρίῳ 49v Μηνὶ Δεκεμβρίῳ 75r Μηνὶ Ἰανουαρίῳ 100r Μηνὶ Φεβρουαρίῳ 128v Μηνὶ Μαρτίῳ 138v Μηνὶ Ἀπριλίῳ 142v Μηνὶ Μαΐῳ 147r Μηνὶ Ἰουνίῳ 150r 163r–164v blank Μηνὶ Ἰουλίῳ 165r Μηνὶ Αὐγούστῳ 172r 192v–196v blank Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τοῦ Τριῳδίου· Κυριακῇ τοῦ Τελώνου καὶ Φαρισαίου. 197r στιχηράριον· ἦχος αʹ. The Triodion ends with fol. 219v. r–v blank 220 Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τοῦ Πεντηκοσταρίου· Κυριακῇ αʹ τοῦ Θωμᾶ· στιχηρά· 221r ἦχος αʹ. The Pentecostarion ends with fol. 249r. v r 249 –251 blank 251v–252r music with text blank 252v blank Ir–IIIv Notes This is a typical Sticherarion manuscript in order and content. The only composer’s name given for the MS is in the rubric of fol. 1r, where the authorship of the melodies is attributed to Chrysaphes Protopsaltes of Constantinople. The remaining rubrics indicate the 12 months of the liturgical calendar, the sections for the Triodion and Pentecostarion, and modal signatures.

108

EBE 918

The MS is clean and legible. It has a dark leather binding. The rubrics and modal signatures are written in red ink and the text and neumes are in a light black ink. There are about 10–11 lines of text and music per page.

EBE 919

109

ΕΒΕ 919 ΔΙΔΑΣΚΑΛΙΑ ΤΗΣ ΜΟΥΣΙΚΗΣ ΣΤΙΧΗΡΑ/AKOLOUTHIA STICHERARION Type of paper: Turkish Measurements: 17 × 11.5 cm Folios: I + 282 + IX Notation: Late Round Byzantine Date: 17th c.

Ir–v 1r

blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς Ψαλτικῆς Τέχνης, τῶν τε ἀνιόντων καὶ κατιόντων σωμάτων καὶ πνευμάτων καὶ πάσης χειρονομίας καὶ ἀκολουθίας συντεθειμένης εἰς αὐτὴν παρὰ τῶν κατὰ καιροὺς ἀναδειχθέντων ποιητῶν, παλαιῶν τε καὶ νέων· «Ἀρχή, μέση, τέλος...» 7v Echemata (intonation formulae for modes) blank 8 v Ἀρχὴ σὺν Θεῷ τοῦ μεγάλου Ἑσπερινοῦ ποιηθέντος παρὰ διαφόρων ποιητῶν· παλαιῶν 9r τε καὶ νέων· ψάλλεται δὲ ἦχον πλ. δʹ· ἀργῶς «Ἀνοίξαντός σου τὴν χεῖρα...» Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν μεγάλων κεκραγαρίων· μετὰ τῶν ἀναστασίμων· ἦχος αʹ 15v Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ δευτέρου ἤχου, τὸ κεκραγαρίων· μετὰ τῶν ἀναστασίμων· ἦχος 23v βʹ Τοῦ γʹ ἤχου 31v Τοῦ δʹ ἤχου 39v Τοῦ πλ. αʹ ἤχου 49r Τοῦ πλ. βʹ ἤχου 60v Τοῦ βαρέως ἤχου 69r Τοῦ πλ. δʹ ἤχου 76v Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ιαʹ ἑωθινῶν, ἅπερ ἐποιήθησαν τὰ μὲν γράμματα, Λέοντος τοῦ 85v σοφοῦ, τὸ δὲ μέλος κὺρ Ἰωάννου τοῦ Γλυκὺ Πολυέλεος τοῦ νέου Χρυσάφου 96v Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς Θείας Λειτουργίας τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Ἰωάννου τοῦ 121v Χρυσοστόμου Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς Θείας Λειτουργίας τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Βασιλείου τοῦ 163r Μεγάλου· ἦχος βʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς Θείας Λειτουργίας τῶν Προηγιασμένων· ἦχος πλ. βʹ 164v Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν καλοφωνικῶν μαθημάτων τῶν ἐπισήμων ἑορτῶν καὶ 189v τῶν δοξαζόμενων ἁγίων· ποιήματα διαφόρων ποιητῶν παλαιῶν τε καὶ νέων· μηνὶ Σεμπτεβρίῳ ἡ γέννησις τῆς ὑπεραγίας Θεοτόκου· ποίημα κυρίου Μανουὴλ τοῦ Χρυσάφη· ἦχος δʹ. (Not all the months are indicated in rubrics below.) 195r Μηνὶ Ὀκτωβρίῳ Μηνὶ Νοεμβρίῳ 197r Μηνὶ Δεκέμβρίῳ 202r Μηνὶ Ἰανουαρίῳ 208v

110

212v 214v 219v 223r 227r 239r 254v 468v 278r 280v 282v Ir–IXv

EBE 919

Μηνὶ Φεβρουαρίῳ Μηνὶ Μαρτίῳ Μηνὶ Ἀπριλίῳ Μηνὶ Ἰουνίῳ Μηνὶ Αὐγούστῳ Στιχηρὸν καλοφωνικὸν τῇ Κυριακῇ τῶν Βαΐων· ποίημα κὺρ Μπαλασίου Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ὡρῶν τῆς γεννήσεως τοῦ Κυρίου· ποίημα κυρίου Σωφρονίου Πατριάρχου Ἱεροσολύμων· ἦχος πλ. δʹ Τροπάρια ψαλλόμενα τῇ ἁγίᾳ καὶ Μεγάλῃ Παρασκευῇ εἰς τὰς ὥρας αʹ· ἦχος πλ. δʹ Εἰς τὸν εὐαγγελισμὸν τῆς Θεοτόκου, κὺρ Μανουὴλ τοῦ Χρυσάφη· ἦχος δʹ Τοῦ ἁγίου καὶ ἐνδόξου μεγαλομάρτυρος Γεωργίου, κὺρ Μανουὴλ τοῦ Χρυσάφη end of MS blank

Notes The manuscript begins with the Akolouthia (fols 1r–189r) and continues with kalophonic Mathemata of the Sticherarion (fols 189v–282v). The MS is clean and legible. The script for the music and text is small, with wide margins on the right, left and bottom. The binding is a dark brown leather, about 2 cm longer than the folios. Some composers’ names are given throughout; older and newer generations are represented.

EBE 920

111

ΕΒΕ 920 ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ ΔΙΔΑΣΚΑΛΙΑΝ ΠΑΠΑΔΙΚΗ/ ANASTASIMATARION Type of paper: Turkish Measurements: 17.3 × 11.1 cm Folios: 139 + IV Notation: Chrysanthine Date: 19th c.

1r

5r 5 v 12v 22v 33r 42v 76v 85v 94r 100r–v 107v 117r 120v 121v 124v 132r 139v IVr–v

Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς Ψαλτικῆς Τέχνης· τῶν τε ἀνιόντων καὶ κατιόντων, σωμάτων καὶ πνευμάτων καὶ πάσης χειρονομίας καὶ ἀκολουθίας συντεθειμένης παρὰ τῶν κατὰ καιροὺς ἀναδειχθέντων ποιητῶν, παλαιῶν τε καὶ νέων· «Ἀρχή, μέση, τέλος...» circle of the parallage Ἀρχὴ τῶν κατ’ ἦχον κεκραγαρίων Ἀρχὴ σὺν Θεῷ καὶ τῶν ἀναστασίμων στιχηρῶν σὺν τοῖς δογματικοῖς ἅπερ ἐκαλλωπίσθησαν ὑπὸ τοῦ νέου Χρυσάφη Ἀρχὴ τοῦ δευτέρου ἤχου τῶν ἀναστασίμων στιχηρῶν· ἦχος βʹ Ἀρχὴ καὶ τοῦ τρίτου ἤχου τῶν ἀναστασίμων Ἀρχὴ τοῦ τετάρτου ἤχου τῶν ἀναστασίμων στιχηρῶν Ἀρχὴ τοῦ βαρὲως ἤχου τῶν ἀναστασίμων Ἀρχὴ τοῦ πλαγίου τετάρτου ἤχου τῶν ἀναστασίμων Ἀρχὴ καὶ τῶν ἑωθινῶν ἰδιομέλων τῶν ἕνδεκα· ἦχος αʹ blank Πολυέλεος· κὺρ Ἰωάννου Πρωτοψάλτου Δοξολογία, κὺρ Πέτρου λαμπαδαρίου τῆς Μεγάλης Ἐκκλησίας· ἦχος αʹ Χερουβικά, κὺρ Πέτρου λαμπαδαρίου Κοινωνικὰ τῆς ἑβδομάδος, τοῦ αὐτοῦ· ἦχος αʹ Πολυέλεος κὺρ Πέτρου Μπερεκέτη τοῦ μελῳδοῦ· ἦχος αʹ Κοινωνικά, τοῦ αὐτοῦ· ἦχος αʹ end of MS blank

Notes This manuscript has some similarities in content to EBE MS 919, though it is written in a later musical notation and contains only the Akolouthia. It opens with the Psaltike Techne as composed by the older and newer composers. The manuscript has been referred to as the ‘Anastasimatarion of Chrysaphes the New’ but there is no designation within the manuscript to infer that it is an autograph. Rather it simply contains the Anastasima Stichera composed by Chrysaphes on fols 12v–99v that are categorized according to modes and which are followed by the Heothina chants. The contents continue with the Polyeleos by Ioannes Protopsaltes (fol. 107v), Doxology by Petros

112

EBE 920

the Lampadarios (fol. 117r), Communion chants for the week according to modes (fol. 121v), the Polyeleos by Petros Bereketes (fol. 124v) and his Communion chant (fol. 132r). The MS is clean and legible and has a newer cloth binding. The rubrics and modal signatures are written in red ink and the text and neumes are in black. There are about ten lines of text and music per page.

EBE 921

113

ΕΒΕ 921 ΔΙΔΑΣΚΑΛΙΑ ΤΩΝ ΣΗΜΑΔΙΩΝ/ANTHOLOGION Type of paper: Turkish Measurements: 19 × 12.5 cm Folios: II + 117 + I Notation: Late Round Byzantine Date: 1794

Ir–IIv 1r

blank Τὸ παρὸν ψάλλεται τῇ Κυριακῇ τοῦ Πάσχα «Δόξα Πατρί...Τὴν Ἀνάστασίν σου, Χριστὲ...» blank 2r–10r The folio has a nice flower design. 10v Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς Ψαλτικῆς Τέχνης· τῶν τε ἀνιόντων καὶ 11r κατιόντων σωμάτων τε καὶ πνευμάτων. Then follows the Psaltike Techne. 13v Psaltike Techne ends with the illustration of the Koukouzelian trochos (wheel) of modes. Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ μεγάλου Ἑσπερινοῦ ποιηθὲν παρὰ διαφόρων ποιητῶν παλαιῶν τε καὶ νέων, ἀργῶς καὶ μετὰ μέλους καὶ ἐν κατανύξει καρδίας· ἦχος πλ, δʹ «Ἀνοίξαντός σου τὴν χεῖρα...». Then follow compositions by various composers. 19r–20v blank Ἀρχὴ σὺν Θεῷ ἁγίῳ δὲ κεκραγαρίων τοῦ ἁγίου Ἰωάννου τοῦ Δαμασκηνοῦ, τῷ Σαββάτῳ 21r Ἑσπέρας· ἦχος βʹ Ἕτερος πολυέλεος, κὺρ Ἰωάννου τοῦ Πρωτοψάλτου· ἦχος δʹ. This is followed by other 43r settings of the Polyeleos. Of note is the rare appearance of a setting by Parthenios of Meteora. Ἕτερος πολυέλεος ποίημα ἐστι κὺρ Παρθενίου Μετεωρίτου· ἦχος β´ «Δοῦλοι Κύριον…» Πασαπνοάρια εἰς τὸν ὄρθρον τοῦ Εὐαγγελίου· ποίημα κὺρ Μπαλασίου· ἦχος πλ. αʹ 48v Κοινωνικὰ τῆς ἑβδομάδος· κὺρ Μπαλασίου· ἦχος δʹ 64r 76r Τὸ παρὸν τὰ κοινωνικὰ ποιηθὲν παρὰ κὺρ Δανιὴλ τοῦ αὐτοῦ Πρωτοψάλτου τῆς Μεγάλης Ἐκκλησίας· ἦχος δʹ Χερουβικὰ τοῦ κὺρ Πέτρου λαμπαδαρίου· ἦχος αʹ 85v Ἕτερος πολυέλεος ποίημα κὺρ Δανιὴλ Πρωτοψάλτου τῆς τοῦ Χριστοῦ Μεγάλης 103r Ἐκκλησίας· ἦχος δʹ end of music 114r blank 114v This folio has another nice flower illumination. 115r 115v–116r blank A few words are written. 116v Ἡ παροῦσα ἀνθολογία παροῦ τοῦ ἁμαρτωλοῦ καὶ ἀμαθοὺς Ἱγνατίου ἱερομονάχου, 117r ἐγκώμια Δουσίκου· 1794, Μαρτίῳ βʹ blank Ir–v

114

EBE 921

Notes The last folio of this manuscript, 117r, is the colophon designating the date, 2 Mar. 1794, and the name of the scribe, Ignatios Hieromonachos, who describes himself as a sinner and unlearned (and in fact for ἀμαθοὺς writes ἀμαθοῦ). Furthermore, the inscription indicates ‘encomia of the Dousikon Monastery’, that outside of Trikala for St Bessarion of Larissa. The contents of the MS are typical for an Anthologion, with newer and older composers represented. The MS is clean and legible with attributions and modal signatures written in red ink. The text and neumes are in black ink. The scribe Ignatios has included two nice illuminations of flowers on fols 10v and 115r.

EBE 922

115

ΕΒΕ 922 ΑΝΘΟΛΟΓΙΟΝ ΣΤΙΧΗΡΑΡΙΟΝ/ANTHOLOGION STICHERARION Type of paper: Turkish Measurements: 17.7 × 11.7 cm Folios: IV + 248 + II Notation: Late Round Byzantine Date: 17th c.

Ir Iv–IIv IIv–IVv 1r

«Δόξα Πατρί...» music without text blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς ἀνθολογίας ταύτης περιέχον ἅπαντα τὰ δογματικὰ ὅλου τοῦ ἐνιαυτοῦ· ὁμοίως ἔχει καὶ ταῖς δεσποτικαῖς ἑορταῖς μὲ ἅπαντα τὰ τροπάρια· Ἀρχὴ Σεμπτεβρίου πρώτην· τῆς ἰνδίκτου καὶ τοῦ ἁγίου Συμεὼν τοῦ Στυλίτου «Θεία χάρις...» Μὴν Ὀκτώβριος 27r Μὴν Νοέμβριος 37r Μὴν Δεκέμβριος 61r Μὴν Ἰανουάριος 95r Μὴν Φεβρουάριος 129v Μὴν Μάρτιος 143v Μὴν Ἀπρίλιος 152r Μὴν Μάϊος 158r Μὴν Ἰούνιος 162r Μὴν Ἰούλιος 175r Μὴν Αὔγουστος 178r Ἀρχὴ τοῦ Τριῳδίου τοῦ Τελώνου καὶ Φαρισαίου 205r 248v The MS ends with the Sunday of Pentecost. blank I–IIv Notes This is a typical Anthologion Sticherarion manuscript. Unusual are the added folios, especially the two in the beginning: Ir with the Lesser Doxology and Iv–IIr with neumes without text. These are obviously later additions to existing blank folios. The Sticherarion and Pentecostarion section begins on fol. 205r. The MS is clear and easy to read and has a newer cloth binding. Composers’ names are not given. The few rubrics indicate selected feast days and are written in red ink. The text and music are in black ink. There are about ten lines of text and music per page.

EBE 923

116

ΕΒΕ 923 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: Turkish Measurements: 17.1 × 12 cm Folios: III + 112 + III Notation: Chrysanthine Date: late 18th–19th c.

Ir–IIIv 1r 17r 21v–22v 23r 31r–36v 37r 67r 92v–93r 95r–96v 97r 104r–v 105r 112v Ir–IIIv

torn folios Κεκραγάρια Πολυέλεος «Δοῦλοι, Κυρίον ...» blank Ἕτερος πολυέλεος κὺρ Πέτρου λαμπαδαρίου τῆς Μεγάλης Ἐκκλησίας· ἦχος πλ. αʹ blank Χερουβικὸν «Αἰνεῖτε τὸν Κύριον...» Kalophonic versions follow. blank blank Τρισάγιον τοῦ Ἀναστασίου Ῥαψανιώτου blank «Χαῖρε, νύμφη φαεινή, Μήτηρ...» MS ends blank

Notes This is a comparatively small Akolouthia manuscript. The reddish brown leather binding is in poor condition. The interior folios are clear and easy to read, but rubrics and composers’ names are rare. Selected items comprise the content of the Akolouthia. Of interest is the Trisagion setting by the little-known composer Anastasios from Rapsanes on fol. 97r.

EBE 924

117

ΕΒΕ 924 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: Common Measurements: 20 × 13.5 cm Folios: III + 20 + IV Notation: Late Round Byzantine Date: 17th c.

Ir–IIIv 1r 8r 14v 20v Ir–IVv

blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ὡρῶν κατὰ σάρκα γεννήσεως τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ. ἦχος πλ. δʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ἀκολουθίας τῶν ὡρῶν τῶν ἁγίων Θεοφανείων στιχηρὰ ἰδιόμελα. ἦχος πλ. δʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τὴν ἀκολουθία τῶν ὡρῶν τῆς Μεγάλης Παρασκευῆς ποίημα κὺρ Σωφρονίου Πατριάρχου, ἦχος πλ. δʹ end of music and MS blank

Notes This is a short Sticherarion of only 20 folios with Stichera for three feasts: the Hours for the Nativity of Christ (fols 1r–7v); the Hours for Epiphany (fols 8r–13v); and the Hours of the Passion for Holy Friday (fols 14v–20v). All are written in the Plagal IV mode. The akolouthia for the Passion of Christ is attributed to Sophronios the Patriarch. Although the MS is fairly readable, it is filled with wormholes and is not in the best condition. Its brown binding is also in tattered condition. There are about 11–12 lines of text and music per page. The few rubrics are written in red ink and the text and neumes in black.

EBE 925

118

ΕΒΕ 925 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: Turkish Measurements: 16.5 × 10.8 cm Folios: III + 104 + VI Notation: Late Round Byzantine Date: 18th c.

Ir–IIIv 1r 6 v 15v 18r 30r 32v 41r 41v 42v 44r 44v 51v 52v 54r 59v 71v 73r 76r 77r 84r 94v 96r 104v Ir–VIv

blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ μεγάλου Ἑσπερινοῦ ποιηθέντων παρὰ ποιητῶν διαφόρων ποιητῶν· ἦχος πλ. δʹ «Ἀνοίξαντός σου τὴν χεῖρα...». The names of various composers follow. Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχον κεκραγαρίων τῶν παλαιῶν ἀρκτέων οὖν κατὰ τῶν ἀκόλουθον· ἦχος αʹ Εὐλογητάρια ψαλλόμενα ἐν ταῖς Κυριακαῖς ὅλου τοῦ χρόνου· ἦχος πλ. αʹ Πολυέλεος τοῦ μουσικοτάτου κὺρ Πέτρου Μπερεκέτη· ἦχος αʹ Πασαπνοάριον εἰς τὸν Ὄρθρον τοῦ Εὐαγγελίου· κὺρ Μπαλασίου· ἦχος πλ. αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τὼν δοξολογιῶν, κὺρ Πέτρου Μπερεκέτη· ἦχος α´ Ἀσματικὸν τοῦ Σταυροῦ· ἦχος δʹ. Τρισάγιον Τρισάγιον νεκρώσιμον· κὺρ Παισίου Εἰς τὴν Λειτουργίαν τοῦ Χρυσοστόμου· ἦχος βʹ Ἀλληλουϊάριον τοῦ Εὐαγγελίου· ἦχος αʹ Ἀρχὴ τῶν χερουβικῶν ὕμνων· κὺρ Χρυσάφου Τῷ ἁγίῳ καὶ μεγάλῳ Σαββάτῳ χερουβικὸν κὺρ Παλατίου· ἦχος πλ. αʹ Εἰς τὴν Λειτουργίαν τοῦ Μεγάλου Βασιλείου Ἀρχὴ τῶν κοινωνικῶν ὕμνων· Χρυσάφου. Other composers’ names follow. Κοινωνικὰ τῆς ὅλης ἑβδομάδος· τὸ παρὸν κὺρ Ἀντωνίου· ἦχος αʹ. Τῇ ἁγίᾳ καὶ Μεγάλη Τεσσαρακοστῇ· ἀντὶ τοῦ Χερουβικοῦ, ψάλλεται τὸ παρὸν κὺρ Ἀντωνίου ἱερέως καὶ οἰκονόμου τῆς τοῦ Χριστοῦ Μεγάλης Ἐκκλησίας· ἦχος πλ. βʹ «Νῦν, δύναμις...» Τοῦ κὺρ Πετράκη λαμπαδαρίου Πελοποννησίου· ἐξήγησις εἰς τὸ παλαιόν· ἦχος αʹ Τὸ παρὸν ψάλλεται εἰς τὰς Θεομητορικὰς ἑορτάς· κὺρ Ἰωάννου τοῦ Κουκουζέλη· ἦχος βαρύς Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ μερικῶν καλοφωνικῶν εἱρμῶν τοῦ κὺρ Πέτρου Μπερεκέτη Εἰδοῦ καὶ τὰ δογματικὰ ἀναστάσιμα· ἦχος αʹ Κράτημα εἰς τομὴ τῆς φθορὰς διὰ πυρᾶς· ἦχος βαρύς Εἰς τὴν Λειτουργίαν τοῦ Χρυσοστόμου «Δύναμις ... Τρισάγιον…» end of MS blank

Notes This is a smaller, yet typical, Akolouthia manuscript of the 17th century with composers of the older and newer generations. The MS is clean and easy to read. It has a brownish leather

EBE 925

119

binding. The rubrics and modal signatures are written in red ink and the text and neumes are in black. There are about eight lines of text and music per page. The scribe has many orthographic mistakes throughout, which leads one to question the attribution on fol. 51v to a Kyr Palatiou; or is this meant to be Paisiou? Nevertheless, the scribe of this MS is the same as that of EBE 926, which is dated 1792.

EBE 926

120

ΕΒΕ 926 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: Turkish Measurements: 17.5 × 12.2 cm Folios: III + 263 + V Notation: Late Round Byzantine Date: 1792

Ir–IIIv 1r 7v–9v 10r 15r 27v 29v 77v 79v 81r 97v 99r 112v 139v 146v 175r 175v 193v 199r 225v 234r 248v 255r 255v 263v

blank Τὸ παρὸν ψάλλεται εἰς τὰς ἀγρυπνίας· κὺρ Πέτρου λαμπαδαρίου· ἦχος πλ. δʹ «Ἀλληλούϊα…» «Μακάριος ἀνήρ...» blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ μεγάλου Ἑσπερινοῦ, ποιηθέντος παρὰ διαφόρων ποιητῶν παλαιῶν τε καὶ νέων, ἀργῶς καὶ μετὰ τὸ δὲ μέλος· ἦχος δ´ «Ἀνοίξαντός σου τὴν χεῖρα...» Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχων κεκραγαρίων τῶν παλαιῶν ἀρκτέων οὖν κατὰ τὸν ἀκόλουθον· ἦχος αʹ Εὐλογητάρια ψαλλόμενα ἐν ταῖς Κυριακαῖς Πολυέλεος τοῦ μουσικολογιωτάτου κὺρ Πέτρου Μπερεκέτη· ἦχος αʹ Τρισάγιον νεκρώσιμον· κὺρ Παλατίου Εἰς τὴν θείαν καὶ ἱερὰν Λειτουργίαν τοῦ ἐν ἁγίοις πατρὸς Ἰωάννου τοῦ Χρυσοστόμου· ἦχος βʹ Ἀρχὴ τῶν χερουβικῶν· κὺρ Χρυσάφου· ἦχος αʹ Εἰς τὴν Λειτουργίαν τοῦ Μεγάλου Βασιλείου· Ἰωάννου τοῦ Κλαδᾶ· ἦχος βʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κοινωνικῶν ὕμνων· τὸ παρὸν κὺρ Χρυσάφου τοῦ νέου· ἦχος αʹ blank Χερουβικὰ τοῦ κὺρ Πετράκη λαμπαδαρίου Πελοποννησίου· ἦχος αʹ Κοινωνικὰ κὺρ Δανιὴλ Προτωψάλτου τῆς τοῦ Χριστοῦ Μεγάλης Ἐκκλησίας, ὡραῖα καὶ πάντερπνα· ἦχος αʹ Νεκρώσιμον κατανυκτικὸν εἰς κοιμηθέντας· ἦχος πλ. δʹ Ἀρχὴ τῶν μεγάλων ὡρῶν τῇ παραμονῇ τῶν Χριστουγέννων εἰς τὰς μεγάλας ὥρας, ὥρα αʹ· ἦχος πλ. δʹ Μάθημα· κὺρ Μπαλασίου εἰς τῆν Θεοτόκον· ἦχος πλ. δʹ Ἀναστασιματάριον συνετμήθη κατὰ τὸ ὕφος τῆς τοῦ Χριστοῦ Μεγάλης Ἐκκλησίας παρὰ κὺρ Πέτρου λαμπαδαρίου Πελοποννησίου· Ἀρχὴ σὺν Θεῷ ἁγίῳ «Κύριε ἐκέκραξα...». This is chanted according to modes of the octoechos. Τὰ ἕνδεκα ἑωθινά· τοῦ κὺρ Πέτρου· ἦχος αʹ Ἀρχὴ καὶ τῶν δοξολογιῶν· τοῦ αὐτοῦ· ἦχος αʹ Ἀρχὴ καὶ τὰ τυπικὰ· τοῦ αὐτοῦ κὺρ Πετράκη· ἦχος πλ. δʹ Inscription «Ἐτελειώθη τὸ παρὸν βιβλίον παρὰ χειρὸς Εὐθυμίου Ἱερομονάχου, ἐν ἔτι 1792.» Τὸ παρὸν χερουβικὸν· ποίημα κὺρ Πέτρου λαμπαδαρίου· ἦχος βαρύς end of MS

EBE 926

Ir–Vv

121

blank

Notes This Akolouthia manuscript has a colophon on fol. 255r that identifies the date as 1792 and the scribe as Euthymios the priest-monk. Although there is no colophon in EBE MS 925, it is written by the same scribe, based on similar content and identical orthographic peculiarities. MS 926 is larger, with over 150 more folios than MS 925. The MS is clear and easy to read. It has a brown binding similar to that of MS 925. The rubrics and modal signatures are in red ink and the text and neumes are in black. There are about eight lines of text and music per page. Older and newer composers are represented and the contents are typical for an Akolouthia.

122

EBE 927

ΕΒΕ 927 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: common Measurements: 17 × 10 cm Folios: 238 Notation: Chrysanthine Date: 19th c.

1r 6r

no rubrics, only music Ἀντίφωνον ἐκ τῆς ὀκτωήχου μελοποιηθὲν εἰς ὕφος καλοφωνικόν, εἱρμὸν παρ’ ἐμοῦ τοῦ ἐν μοναχοῖς Ματθαίου Βατοπαιδινῶν ... Μακάριος ἀνὴρ τοῦ Χουρμουζίου Χαρτοφύλαξ· ἦχος πλ. δʹ 9r Χερουβικὰ σύντομα τὴς ἑβδομάδος κατ’ ἦχον· Πέτρου λαμπαδαρίου· ἦχος αʹ, Πα 19r Χερουβικὰ κατ’ ἦχον Χουρμουζίου Χαρτοφύλακος· ἦχος αʹ, Πα 35r Ἕτερα χερουβικὰ κατ’ ἦχον Γρηγορίου Πρωτοψάλτου· ἦχος αʹ 75r Ἡ θεία καὶ ἱερὰ Λειτουργία τῶν Προηγιασμένων τοῦ Ἰωάννου Πρωτοψάλτου· ἦχος βʹ 106r This is followed by compositions by the new composers of the new system of notation. Ἡ θεία Λειτουργία τοῦ Μεγάλου Βασιλείου τοῦ Ἰακώβου Πρωτοψάλτου· ἦχος βʹ 114r Κοινωνικὰ τῆς ἑβδομάδος· Πέτρου λαμπαδαρίου· ἦχος αʹ, Πα. This is followed by 117v Communion chants by a variety of the new composers. music ends on this folio 237r end of MS 238v Notes This is an Akolouthia manuscript in the Νew Μethod with composers representative of the New School. The rubric on fol. 6r identifies the composer Mathaios, a monk of the Vatopedi Monastery of Mt Athos, as the scribe of the MS as well as the composer of the kalophonic antiphons of the octoechos. The MS is clean and legible and has a newer binding. The rubrics and modal signatures are in red and the text and neumes in black. There are instances in the MS where the modal signatures are indicated side by side in both the Middle Byzantine and Chrysanthine systems. There are about eight lines of text and music per page. Although the music ends with fol. 237r, the MS continues with texts.

EBE 928

123

ΕΒΕ 928 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: Italian or Silesian Measurements: 14.7 × 10 cm Folios: 170 Notation: Middle Byzantine Date: late 15th c. Provenance: probably Matejce Monastery, Skopska Crna Gora in Macedonia

1r 6r 8r 14v 15r 15v 16r 16v 17r 17v 18r 18v 19r 19v 20r 20v 21r 21v 22r 22v 23r 23v

Πολυέλεος τοῦ Κουκουμᾶ· ἦχος αʹ Γλυκεώτου τοῦ Δυσικοῦ «Τὸν Σηὼν βασιλέα τῶν Ἀμοῤῥαίων…» Πολυέλεος τῆς Πούτνας Ἕτερος πολυέλεος καὶ οὗτος λέγεται Λατρινός Πολυέλεος «Αἰνεῖτε τὸ ὄνομα Κυρίου…» Ὁ ἕτερος χορὸς ὅμοιον «Οἱ ἑστῶτες…» «Αἰνεῖτε τὸν Κύριον…» «Ψάλατε τῷ ὀνόματι αὐτοῦ…» Πολυέλεος τοῦ Μαΐστορος· ἕτερον τοῦ Μαΐστορος «Ὅτι τὸν Ἰακώβ…» «Ἰσραὴλ εἰς περιουσιασμόν…» Λατρινόν «Ὅτι ἐγὼ ἔγνωκα…» «Καὶ ὁ Κύριος ἡμῶν παρὰ πάντας τοὺς Θεούς…» Τοῦ Κορώνη «Πάντα ὅσα ἠθέλησεν…» Λατρινόν «Πάντα ὅσα ἠθέλησεν…» Λατρινόν «Ἐν ταῖς θαλάσσαις…» «Ἀνάγων νεφέλας…» Λατρινόν «Ἀστραπὰς εἰς ὑετὸν ἐποίησεν…» Ἕτερον τοῦ Χαλιβούρη «Ἀστραπὰς εἰς ὑετὸν ἐποίησεν…» «Ὁ ἐξάγων ἀνέμους…» Τοῦ Μυστάκωνος «Ὅς ἐπάταξε τὰ πρωτότοκα Αἰγύπτου…» Πολυέλεος τοῦ Κορώνη «Ἐξαπέστειλε σημεῖα καὶ τέρατα…» «Ἐν Φαραὼ καὶ ἐν πᾶσι τοῖς δούλοις αὐτοῦ…» Λατρινόν «Ὅς ἐπάταξεν ἔθνη πολλά…» Πολυέλεος τοῦ Μυστάκωνος «Ὅς ἐπάταξεν ἔθνη πολλά…» Ἕτερον τοῦ Δοκειανοῦ «Ὅς ἐπάταξεν ἔθνη πολλά…» «Καὶ ἀπέκτεινε βασιλεῖς κραταιούς…» Τοῦ Δοκειανοῦ «Τὸν Σηὼν βασιλέα…» «Καὶ τὸν Ωγ βασιλέα…» Πολυέλεος· ἡ Βουλγάρα, Δυσικόν. Γλυκεώτου τοῦ Δυσικοῦ «Τὸν Σηὼν βασιλέα…» This rubric identifies the Polyelos as a Western piece by Glykys of the West for the polyeleos known as ‘Vulgara’ or Boulgarikon. Τοῦ Μυστάκωνος «Καὶ πάσας τὰς βασιλείας Χαναάν…» «Καὶ ἔδωκε τὴν γῆν αὐτῶν…» Τοῦ Κορώνη «Κληρονομίαν Ἰσραήλ…» Τοῦ Μυστάκωνος «Κληρονομίαν Ἰσραήλ…» «Κύριε, τὸ ὄνομά σου…» Τοῦ Μυστάκωνος «Ὅτι κρινεῖ Κύριος…» Πολυέλεος τοῦ κὺρ Γρηγορίου «Ὅτι κρινεῖ Κύριος…» «Τὰ εἴδωλα τῶν ἐθνῶν…» Toῦ Παναρέτου «Στόμα ἔχουσι…» Τοῦ Κορώνη «Στόμα ἔχουσι…» «Ὀφθαλμοὺς ἔχουσι…» Τοῦ Μυστάκωνος «Ὦτα ἔχουσι…» «Οὐδὲ γάρ ἐστι πνεῦμα…» Τοῦ Δοκειανοῦ «Ὅμοιοι αὐτοῖς γένοιντο…» Τοῦ Κορώνη «Ὅμοιοι αὐτοῖς γένοιντο…» Κὺρ Ἀνδρέου «Ὅμοιοι αὐτοῖς γένοιντο…» «Καὶ πάντες οἱ πεποιθότες ἐπ᾽ αὐτοῖς…» Τοῦ Μαΐστορος «Οἶκος Ἰσραήλ…»

124

24r 24v 25v 26v 31r

EBE 928

Τοῦ Μαΐστορος κὺρ Ἰωάννου τοῦ Κουκουζέλη «Οἶκος Ἀαρών… ἁγνὴ Παρθένε…» Τοῦ αὐτοῦ «Οἶκος Λευΐ… τοὺς όρθοδόξους ἄνακτας…» Τοῦ Κορώνη «Οἱ φοβούμενοι τὸν Κύριον…» Τοῦ Μαΐστορος «Εὐλογητὸς Κύριος ἐκ Σιών…» Τοῦ Κορώνη «Δόξα πατρὶ καὶ υἱῷ καὶ ἁγίῳ πνεύματι…» Πολυέλεος τοῦ Κλαδᾶ Πολυέλεος τοῦ Κοντοπετρίου Ἄμωμος (only a few verses from the first Stasis are squeezed in at the bottom of the folio) «Μακάριος ἀνὴρ…» ἦχος πλ. δʹ 31v Πολυέλεος σερβικός, λεγόμενος τετράς· τετράστιχος четворостихоново. Ποίημα 36r Ἱερομονάχου Ἡσαΐου τοῦ Σέρβου· ἦχος βʹ. This Serbian Polyeleos has a Slavonic text and continues until fol. 55r. v Ἕτερον πολυέλεον τοῦ ἱερομονάχου Ἡσαΐα, σερβικόν. This is another version of the 55 Polyeleos referred to as the ‘Serbian’ that has a mixture of Greek and Slavonic text. This ends on fol. 80v. r Ἀναγραμματισμὸς τοῦ Μαΐστορος «Πᾶσα πνοή...» 81 «Ἅγιος ὁ Θεός…» Trisagion. The second Trisagion setting on this folio also includes 84v Slavonic text and melody by Isaiah the Serb. More Slavonic settings by Isaiah the Serb. 88r Χερουβικὸν κὺρ Μανουὴλ λαμπαδαρίου τοῦ Χρυσάφη 88v 93r The margin has the incipit of the Cherubic hymn set to music in Slavonic. There is no complete Slavonic setting. Χερουβικὸν τοῦ Ἠθικοῦ 95v Ἕτερον λεγόμενον παλατιανὸν τοῦ ἁγίου Ἰωάννου τοῦ Δαμασκηνοῦ· ἦχος πλ. βʹ (an 97v old setting of the Cherubic hymn by St John Damascene) Δυσικ(ὸν) τοῦ Ἀγαθώνου [sic] μοναχοῦ· ἦχος πλ. βʹ 100v Χερουβικὸν ποίημα τοῦ Κορώνη 104r Another Cherubic hymn but with no acknowledged composer. 108r Kοινωνικόν 110r Τοῦ Ῥαιδεστινοῦ· ἦχος βαρὺς «Αἰνεῖτε τὸν Κύριον...» 118v Τοῦ Ἀργυροπούλου 119v Κὺρ Μάρκου· ἦχος αʹ 120v 123r Ἰωάννου τοῦ Δούκα· ὀργανικὸν «Αἰνεῖτε...» Τὸ κράτημα 124r «Ἀλληλούϊα...» The Alleluiaria continue to fol. 135r. 126r v «Πᾶσα πνοή...» 135 blank 137r–v «Αἰνεῖτε τὸν Κύριον...», ἦχος βαρὺς τοῦ Φερεντάρη 138r Another communion chant τοῦ Μοσχιανοῦ· ἦχος πλ. βʹ 139r Ὅταν δὲ ἐκτελῆται ἡ Θεία Λειτουργία τοῦ Μεγάλου Βασιλείου· τοῦ Γλυκέως 142v Τοῦ Ἀργυροπούλου 145v Τοῦ Ῥαφαήλ 146r Μάρκου, Ῥαιδεστινοῦ 147r Τοῦ Κλαδᾶ 148v 149r This folio has only text, which ends on fol. 150v. music with Slavonic text 151v

EBE 928

125

155r 157v 159r

«Ἅγιος ὁ Θεός…» τοῦ Ἡσαΐα· πολίτικον. Another Trisagion setting by Isaiah the Serb. Τοῦ Ἡσαΐου ἱερομονάχου· ἦχος δʹ (Slavonic text with music for Trisagion) Another Trisagion by Isaiah the Serb that begins with the Slavonic, followed by a varied version (to accommodate the textual differences) in Greek. Ἀντίφωνα εἰς ἱερὰς καὶ Ὁσίαις; Θεσσαλονικαῖον «Ὁ φοβούμενος...». This is an antiphon 160r for priests and holy women in Thessalonika, This continues with antiphons by various composers as indicated below. Τοῦ Κοντοπετρῆ 161v Τοῦ μοναχοῦ Ἀγάθωνος 162r Ἀγαθώνου μοναχοῦ· τοῦ (Μανουὴλ ) Θηβαίου 163v Τοῦ Ἀνεώτου 164r Ἕτερα ἀντίφωνα· ἦχος γʹ 165v Στιχηρὰ εἰς τὸ φωνῆς τὸν καὶ παρὰ λυσγιστόν 166v 169v The music ends on this folio with a Cherubic hymn. 170r–v Slavonic text only end of MS 170v Notes In the collection of the EBE manuscripts, this Akolouthia is unique for its setting of Cyrillic Slavonic text. According to Pennington, this MS is more than likely from the Matejce Monastery, Skopska Crna Gora in Macedonia. This then leads to the question of the scribe: was he a monk from the Putna school who was well versed in Greek and Slavonic or was this a Greek-educated monk from a Romanian monastery, or was this a MS that was brought to Matejce and recopied with Slavonic entries? It has been surmised that this MS was written, at least in part, by Isaiah the Serb from the Matejce Monastery, who has several compositions in the MS. The MS is in fair to poor condition, making it difficult to decipher at times. It has a brownish leather binding. The folios are overly cluttered with variant melodies in red written above the original black neumes. The lines of text and music are variable because of the inserted texts and melodies. Also, the margins have many additional melodies and texts in red. The Slavonic sections of the MS are noteworthy. On fols 36r–80v there are various settings of ‘Serbikos’ or Serbian Polyeleos. There are various Trisagion settings on fols 84v–88v and 151v, 155r, 157v, 159r. It is interesting to see the variant settings between the Greek and Slavonic texts and how Isaiah adjusted the melodies to accommodate the texts. Although there is no complete Slavonic setting of the Cherubic hymn, it is of note that Isaiah probably inserted a Slavonic incipit setting in the margin of fol. 93r. Also of interest are the designations of ‘Western’ for the Bulgarian Polyeleos on fol. 19r and the Cherubic setting on fol. 100v by Agathon the monk. Along with the more traditional attributions, there are lesser-known composers’ names such as Manuel Thebaios, Pherentarios, Moschianos, Raphael, Ioannes Doukas and, of course, Isaiah the Serb. Bibliography Chaldaiakis, Ὁ Πολυέλεος. Conomos, Byzantine Trisagia and Cheroubika. —— The Late Byzantine and Slavonic Communion Cycle. Jakovljević, ‘The Athens National Library Manuscript 928’.

126

EBE 928

—— Δίγλωσση Παλαιογραφία καὶ Μελῳδοὶ Ὑμνογράφοι τοῦ Κώδικα τῶν Ἀθηνῶν 928 . —— “Ἰωάννης Χαρσιανίτης δομέστικος Σερβίας”. Pennington, ‘A Polychronion in Honour of John Alexander of Moravia’, n. 3. —— ‘Seven Akolouthiai from Putna’. Stefanović, ‘The Earliest Dated and Notated Document of Serbian Chant’. —— ‘The Importance of Rhythm in the Bilingual Polyeleos by Isaiah the Serb (15th century)’. —— ‘The Serbian Chant from the Fifteenth to the Eighteenth Centuries’. —— ‘Two Bilingual Manuscripts’. —— ‘The Works of Stefan the Serb in Byzantine Music Manuscripts of the XVth and XVIth Centuries’. Tontscheva, ‘Isaija’s Anthology (Athens MS. No. 928, XV c.)’. —— ‘Polyeleos- Pripeli im Ms. Athen 928 (Isaija-Anthologie, 15 Jh.)’. —— ‘Über die formelhaftigkeit in der mündlichen Kirchengesangstradition auf dem Balkan’. —— ‘Zur sudslawischen psalmodischen Tradition’. Touliatos-Banker, ‘Medieval Balkan Music’.

EBE 929

127

EBE 929 ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: Turkish Measurements: 15.4 × 9.8 cm Folios: I + 61 Notation: Middle Byzantine Date: late 15th c.

Ir–v 1r 8r 8 v 60v 61r

blank Ἀρχὴ τῶν ἐν Σαββάτῳ καὶ Κυριακῇ ψαλλόμενα στιχηρὰ τῶν ἤχων· τῶν λεγόμενων τῶν ὀγδοήχων [sic] σὺν τὸ εἰ ὡσεί τέσσαρον· ἦχος αʹ «Τὰς ἑσπερινὰς ἡμῶν εὐχάς...» Τῷ Σαββάτῳ Ἑσπέρας· στιχηρὰ ἀναστάσιμα· ἦχος βʹ Ἕτερα στιχηρὰ ἀναστάσιμα· τὰ ἀνατολικά· ἦχος βʹ (listed according to modes) end of music scribbled text

Notes This Anastasimatarion is limited to a few Stichera Anastasima: fol. 1, Stichera for Saturday and Sunday according to modes; fol. 8r, Stichera for Saturday Vespers; and fol. 8v, Anatolika Stichera. The rubrics are limited and composers’ names are not indicated. The MS is in fair condition and the binding is comprised of pieces of wood tied together. There are about eight lines of text and music per page. The MS has an additional text on fol. 61r.

EBE 930

128

EBE 930 ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: Turkish Measurements: 16.5 × 10.5 cm Folios: III + 106 + II Notation: Late Round Byzantine Date: late 17th–18th c.

Ir–IIIv 1r 4r 4 v 5r 10r 24v 29v 95v 96r 106v Ir–IIv

blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων της Ψαλτικῆς Τέχνης, τῶν ἀνιόντων καὶ κατιόντων σωμάτων τε καὶ πνευμάτων ... end of Psaltike Techne blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κεκραγαρίων· ἦχος αʹ. This is followed by κατ’ ἦχον, that is according to modes. Ἀρχὴ σὺν Θεῷ τῶν ἀναστασίμων· ἦχος αʹ. Then follow the Anastasima catalogued according to the division of the eight modes. blank blank end of Plagal 4th mode Ἀρχὴ σὺν Θεῳ ἁγίῳ τῶν ἕνδεκα ἑωθινῶν. οἱ μὲν λόγοι Λέοντος τοῦ σοφοῦ βασιλέως, τὸ δὲ μέλος κὺρ Ἰωάννου τοῦ Γλυκέως· ἦχος αʹ end of MS blank

Notes This Anastasimatarion manuscript begins with a shortened version of the Psaltike Techne (fols 1r–4r), followed with the Kekragaria (fol. 5r), the Anastasimataria (fols 10r–95v) and the Heothina hymns (fols 96r–106v). The MS is easy to read and the average page has about 14 lines of text and music. The dark leather binding is in fair condition. The rubrics, modal signatures and hypostaseis are in a faded orange. The neumes and text are in a lighter shade of black.

EBE 931

129

ΕΒΕ 931 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: Turkish Measurements: 16 × 10 cm Folios: 141 + II Notation: very Late Round Byzantine, verging on Chrysanthine Date: late 18th–early 19th c.

1r 2r 8r 14v 15v 20r 21r

Koukouzelian circle (trochos) «Ἀλληλούϊα...», followed by different chants by different composers Ποίημα κὺρ Μπαλασίου· δοξολογία ἑπτάφωνος (followed by different composers) Στιχηρὸν ἰδιόμελον νεκρώσιμον τοῦ κὺρ Χρυσάφου· ἤχος πλ. δʹ Ἄμωμος νεκρώσιμος· ἦχος βʹ Τρισάγιον νεκρώσιμον σύντομον· κὺρ Μπαλασίου ἱερέως· ἦχος πλ. βʹ Στιχηρὸν κατανυκτικὸν ψαλλόμενον εἰς τὰ πάθη τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ ἤτοι τῇ μεγάλη Παρασκευῇ· ἦχος πλ. αʹ 28r–29v blank Ἀρχὴ τῶν χερουβικῶν ὕμνων ποιηθέντων παρὰ κὺρ Ἀντωνίου ἱερέως καὶ οἰκονόμου· 30r ἦχος δʹ Πολυέλεος τοῦ μουσικοτάτου κὺρ Πέτρου Μπερεκέτη· ἦχος αʹ 49r Πολυέλεος συνοπτικὸν παρὰ κὺρ Ἰωάννου καὶ Πρωτοψάλτου 55r Τῷ ἁγίῳ καὶ μεγάλῳ Σαββάτῳ χερουβικὸν καὶ κοινωνικόν· ἦχος πλ. αʹ 69v Τῶν χερουβικῶν ὕμνων τοῦ κὺρ Ἀντωνίου ἱερέως 70v Τῇ ἁγίᾳ καὶ μεγάλῃ Κυριακῇ τοῦ Πάσχα· ἦχος δʹ «Σῶμα Χριστοῦ μεταλάβετε...» 100r Τὰ παρόντα κοινωνικὰ τοῦ ὅλου ἐνιαυτοῦ συνετέθησαν παρὰ τοῦ μουσικολογιωτάτου 121r κὺρ Δανιὴλ Πρωτοψάλτου τῆς τοῦ Χριστοῦ Μεγάλης Ἐκκλησίας· ἦχος δʹ 135r–138v blank end of MS 141r blank Ir–IIv Notes This is a late Akolouthia manuscript with compositions from the newer generation of composers: Balasios, Antonios the priest, Bereketes and Daniel the Protopsaltes. The contents are selective, with an emphasis on Nekrosimon chants: Idiomela, Amomos, Katanyktika for the Passion of Christ, Communion and Cherubic hymns for Holy Saturday. The MS is fairly clean. It has a newer brown binding. The rubrics, modal signatures and hypostaseis are in red ink and the neumes and text are in black. There are about eight lines of text and music per page.

EBE 932

130

ΕΒΕ 932 ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: Turkish Measurements: 14.6 × 10.2 cm Folios: 77 Notation: Late Round Byzantine Date: 18th c.

1r 1 v 4 v 5r 21r 33r 35r 43r 48v–49r 52r 58r–59v 60r 64r 70v 77v

writing without music Κοινωνικὸν κὺρ Ἀθανασίου πατριάρχου· ἦχος αʹ blank Ἀρχὴ σὺν Θεῷ τῶν δογματικῶν ἐκ τῶν ἀναστασίμων· ἦχος αʹ «Δόξα Πατρί...» Πασαπνοάρια ψάλλεται ἐν ταῖς Κυριακαῖς καὶ δεσποτικὲς ἑορτὲς εἰς τὸ Εὐαγγέλιον τοῦ Ὄρθρου τοῦ κὺρ Μπαλασίου ἱερέως καὶ νομοφύλακος Τὸ παρὸν ψάλλεται εἰς τὸν Ἀκάθιστον ὕμνον· ἦχος πλ. δʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον κεκραγαρίων τοῦ κὺρ Χρυσάφου· ἦχος αʹ Χερουβικῶν ὕμνων ποίημα κὺρ Χρυσάφη τοῦ νέου· ἦχος αʹ blank Τὸ παρὸν ψάλλεται τῇ ἁγίᾳ μεγάλῃ Κυριακῇ τοῦ Πάσχα· ἦχος πλ. αʹ blank Ἡ Λειτουργία τοῦ Χρυσοστόμου· ἦχος βʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῆς θείας καὶ ἱερᾶς Λειτουργίας τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Βασιλείου τοῦ μεγάλου· ἦχος βʹ end of music, but followed by texts end of MS

Notes This is an 18th-century Anastasimatarion that contains repertory of this period, such as Pasapnoaria (fol. 21r), Dogmatika (fol. 5r), Kekragaria (fol. 35r) and Cheroubika (fol. 43r). Also included are truncated versions of the Akathistos hymn (fol. 33r) and the Liturgies of St John Chrysostom (fol. 60r) and St Basil (fol. 64r). It is noteworthy that the MS begins on fol. 1v with a Communion setting by Kyr Athanasios the Patriarch. The MS is in fair to good condition, but there is an excessive number of wormholes that makes transcription difficult. Its brownish binding is also damaged by wormholes. The rubrics and modal signatures have an orange colour and the text and neumes are in a dim black. The folios are small and have about eight lines of text and music per page.

EBE 933

131

ΕΒΕ 933 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: Turkish Measurements: 13.5 × 8.4 cm Folios: 112 Notation: Late Round Byzantine Date: 17th c.

1r 9r 11v 19r

Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν συλλειτουργικῶν τῶν τοῦ ὅλου ἐνιαυτοῦ Ἀκολουθίας τοῦ μεγάλου Βασιλείου· ἦχος βʹ Ἕτερα, ἀκολουθία εἰς τὰς Λειτουργίας τῶν Προηγιασμένων· ἦχος βʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ μεγάλου Ἑσπερινοῦ· ποιηθέντος παρὰ διαφόρων ποιητῶν· ἦχος πλ. δʹ Στιχηρὸν καλοφωνικόν· ποίημα κὺρ Ξένου τοῦ Κορώνη· ἦχος πλ. δʹ 31v Κεκραγάρια 38v Πολυέλεος λεγόμενος Κουκουμᾶς· ποίημα τοῦ αὐτοῦ Κουκουμᾶ· ἦχος αʹ 53r Πασαπνοάρια 70r Ἑωθινὰ τὰ ἕνδεκα· ποίημα κὺρ Λέωντος τοῦ σοφοῦ· ἦχος αʹ 74v Τρισάγιον· ἦχος πλ. δʹ 87r Ἀρχὴ τῶν ἠχημάτων καὶ κατ’ ἦχον· ἦχος αʹ. Intonation formulae are listed according 89r to modes. 103v–104v blank Θεοτοκίον τοῦ Κουκουζέλη· ἦχος πλ. δʹ (followed by other composers) 105r end of MS 112v Notes The opening rubric (fol. 1r) of this manuscript identifies it as Συλλειτουργικά or a Collection of Liturgies. Hence, there are various liturgical services represented: the Liturgy of St Basil (fol. 9r), the Liturgy of Presanctified Gifts (fol. 11v), followed by Great Vespers (fol. 19r) and Orthros (fol. 53r). The placement of the Echemata or intonation formulae (fols 89r–103r) is unusual, especially since they are followed by Theotokia (fol. 105r). The MS is small in its dimensions and its brown binding is in good condition. The text and neumes are in the traditional black ink and the rubrics and modal signatures are in red. There is an average of nine lines of text and music per page that are fairly easy to read.

132

EBE 934

ΕΒΕ 934 ΕΙΡΜΟΛΟΓΙΟΝ/HEIRMOLOGION Type of paper: Turkish Measurements: 15.5 × 10.5 cm Folios: II + 199 + VII Notation: Late Round Byzantine Date: 18th c.

Ir–IIv 1r

blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τὸ εἱρμολόγιον περιέχον τῆς ἁγίας [sic] πάντας τοὺς εἱρμοὺς τῶν δεσποτικῶν, θεομητορικῶν, καὶ δοξολογουμένων ἁγίων ποιηθέντα παρὰ κὺρ Μπαλασίου ἱερέως· ἦχος αʹ. Various odes for feasts follow [9 odes for each feast] but all are in Mode I. Ἀρχὴ τοῦ δευτέρου ἤχου 23r Τοῦ γʹ ἤχου 36r Τοῦ δʹ ἤχου 41v Τοῦ πλ. αʹ ἤχου 64v Τοῦ πλ. βʹ ἤχου 70r Τοῦ βαρέως ἤχου 86r Τοῦ πλ. δʹ ἤχου 91v Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν προσομοίων· κὺρ Μπαλασίου ἱερέως· ἦχος αʹ 105v Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχον καθισμάτων· κὺρ Μπαλασίου ἱερέως· ἦχος αʹ 118r Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τὰ ἀπολυτίκια τὰ ἀναστάσιμα ψαλλόμενα· ἦχος αʹ «Θεὸς 125v Κύριος...» Ἀρχὴ καὶ τὰ ἐξαποστειλάρια· ἦχος αʹ 131r Ἀντίφωνα ψαλλόμενα τῶν δεσποτικῶν ἑορτῶν· ἦχος αʹ 135r Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ μερικῶν πασαπνοαρίων καὶ μαθημάτων· ποίημα κὺρ Χρυσάφου 137r τοῦ νέου· ἦχος αʹ, followed by other composers Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ μερικῶν δοξολογιῶν, παρὰ κὺρ Μελέτιος· ἦχος πλ. αʹ 143v Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ μερικῶν θεοτοκίων, τὸ παρὸν κατὰ κὺρ Χρυσάφου τοῦ νέου· 163v ἦχος αʹ 179r Ἄμωμος ψαλλόμενος εἰς κοιμηθέντας, ποιηθέντος παρὰ διαφόρων ποιητῶν παρὰ κὺρ Χρυσάφου τοῦ νέου Τρισάγιον νεκρώσιμον 185v 187r–191v blank Ἀρχὴ σὺν Θεῷ μερικῶν εἱρμῶν· ἦχος πλ. αʹ 192r music ends 199v blank Ir–VIIv Notes This is a typical Heirmologion manuscript of the 18th century intended for the domestikos, the solo chanter. The MS is in beautiful condition and very legible. It has a newer brownish binding.

EBE 934

133

The rubrics and modal signatures are in red and the neumes and text are in black. The folios are small, with about eight lines of text and music per page. The MS begins on fol. 1r with the Heirmoi or model stanzas and it is to these stanzas that the nine Odes of the Kanons are sung. There are also other types of hymns that are inserted between the Odes of the Kanon: Prosomoia (fol. 105v), Kathisma (fol. 118r), Apolytikia (fol. 125v), Doxologion (fol. 143v), Theotokia (fol. 163v) and others. Somewhat unusual is the inclusion of the Amomos (fol. 179r), Trisagion Nekrosimon (fol. 185v) and more Heirmoi at the end (fol. 192r).

EBE 935

134

ΕΒΕ 935 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: Turkish Measurements: 13.5 × 10 cm Folios: II + 294 + I Notation: Late Round Byzantine Date: 17th c.

Ir–IIv 1r 9 v 20v 23r 25r 26r 29r 35v 51r 63r 67r 70v 71v 75v 96r 107v 111r 115v 119v 142v 165r

blank Ἐρωταπόκρισις περὶ τοῦ τί ἐστι χειρονομία (χειρονομία τοῦ Ἰωάννου τοῦ Δαμασκηνοῦ) Ἑρμηνεία τῆς παραλλαγῆς τοῦ Κουκουζέλη τοῦ τροχοῦ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον ἠχημάτων· ἦχος αʹ (kalophonic intonation formulae) Στίχοι κατανυκτικὰ ψαλλόμενοι κατ’ ἀλφάβητον Μέθοδος παραλλαγῆς πάνυ ὠφέλιμος, κὺρ Γρηγορίου τοῦ Ἀλυάτου· ἦχος πλ. δʹ Σημάδια ψαλλόμενα κατ’ ἦχον μετὰ πάσης χειρονομίας καὶ συνθέσεως ποιηθέντα παρὰ τοῦ Μαΐστορος κὺρ Ἰωάννου τοῦ Κουκουζέλη Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ μεγάλου Ἑσπερινοῦ ποιηθέντας παρὰ διαφόρων ποιητῶν παλαιῶν τε καὶ νέων· ἦχος πλ. δʹ «Ἀνοίξαντός σου τὴν χεῖρα...» Ἀρχὴ τοῦ πρωτοψαλμοῦ «Μακάριος ἀνὴρ...» Ἀρχὴ σὺν Θεῷ τῶν κεκραγαρίων κατ’ ἦχον· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν μικρῶν καὶ μεγάλων δοχῶν πάσης τῆς ἑβδομάδος· τὸ παρὸν τῇ Κυριακῇ Ἑσπέρας· ἦχος πλ. αʹ Ἕτερα προκείμενα καὶ αὐτὰ λυχνικὰ μετὰ τῶν μικρῶν καὶ μεγάλων δοχῶν, ἀντί νὰ ψάλλωνται τῇ ἁγίᾳ καὶ μεγάλη Κυριακῇ τοῦ Πάσχα· ἄλλοι δὲ καὶ εἰς Ἑσπέρας μεγάλας δεσποτικὰς ἑορτάς· ἦχος βαρύς Τὸ παρὸν ψάλλεται τῇ Κυριακῇ τῆς Τυροφάγου· ἦχος πλ. δʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν «Θεὸς Κύριων…» κατ’ ἦχον· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ πολυέλεου τοῦ λεγομένου Κουκουμᾶ, ἦχος αʹ (followed by other composers) Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ἕνδεκα ἑωθινῶν· ποίημα κυροῦ Λέωντος τοῦ σοφοῦ· τὸ δὲ μέλος κυροῦ Ἰωάννου τοῦ Γλυκέως· ἦχος αʹ Τρισάγιον τοῦ Ὄρθρου ψάλλομεν τὰς Κυριακὰς καὶ εἰς τὰς δεσποτηκὰς ἑορτὰς ὅλου τοῦ ἐνιαυτοῦ· ἦχος πλ. βʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς θείας καὶ ἱερᾶς Λειτουργίας τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Ἰωάννου ἀρχιεπισκόπου Κωνσταντινουπόλεως τοῦ Χρυσοστόμου· ἦχος πλ. δʹ Τῶν κατ’ ἦχον, ἀλληλουϊαρίων τοῦ Χρυσάφη· ἦχος αʹ Τῶν κατ’ ἦχον χερουβικῶν· τὸ παρὸν Μανουὴλ τοῦ Χρυσάφη· ἦχος αʹ Τῶν κατ’ ἦχον κοινωικῶν· τὸ παρὸν κυροῦ Κωνσταντίνου τοῦ ἐξ Ἀγχιάλου Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κοινωνικῶν, τῶν δεσποτικῶν, καὶ θεομητορικῶν ἑορτῶν καὶ τῶν δοξαζομένων ἁγίων ὅλου τοῦ ἐνιαυτοῦ· μηνὶ Μαρτίῳ κεʹ, εἰς τὸν εὐαγγελισμὸν τῆς Θεοτόκου· ἦχος πλ. δʹ

EBE 935

181r 186r 216r 254r 265v 268v 277r 287r 294v Ir–v

135

Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς θείας καὶ ἱερᾶς Λειτουργίας τοῦ ἐν ἁγίου πατρὸς ἡμῶν Βασιλείου τοῦ μεγάλου· ἦχος βʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς θείας καὶ ἱερᾶς Λειτουργίας τῶν Προηγιασμένων· ἦχος πλ. βʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον θεοτοκίων. τὸ παρὸν κὺρ Μανουὴλ τοῦ Χρυσάφου· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον ἠχημάτων· τὸ παρὸν κυροῦ Μανουὴλ τοῦ Χρυσάφη· ἦχος αʹ Κρατήματα διαφόρων ποιητῶν, συλλογὴν τὰ ἐκ τῶν πολλῶν τὰ ἐκλεκτότερα· τὸ παρὸν κυροῦ Κωνσταντίνου τοῦ ἐξ Ἀγχιάλου, πάνυ ὡραῖον Κράτημα τοῦ εἱρμοῦ «Ἡ κάμινος σωτήρ…» Καλοφωνικὸν εἱρμὸν· ἦχος πλ. α´ «Ἐν Σιναίῳ τῷ ὄρει…» Ἄμωμος ψαλλόμενος εἰς κοιμηθέντας λαϊκούς· ἦχος πλ. αʹ. This version of the Amomos for Laymen is followed by the Trisagion. end of MS scribbled writings

Notes This Akolouthia manuscript begins (fol. 1r) with a question/answer dialogue on the theory of the cheironomia of John Damascene. It continues with the interpretation of the Parallage of the Koukouzelian (trochos) circle of modes (fol. 9v); the Echemata (fol. 20v); the method of Parallage of Gregorios of Alyates (fol. 25r); and the signs (neumes) of cheironomia as composed in the didactic song of Koukouzeles (fol. 26r). The theory section ends at fol. 29r and the office of Great Vespers follows, continuing with Orthros (fol. 71v), the Liturgies of St John Chrysosotom (fol. 111r), St Basil (fol. 181r) and the Presanctified Gifts (fol. 186r). There are additional Echemata beginning with fol. 254r followed by Kratemata (fol. 265v) and the Amomos for Laymen (fol. 287r). The MS is in good condition and is legible. It has a brownish binding. The rubrics are in a reddish-brown ink and the neumes in a faded grey. After the music has concluded on fol. 294v, there is an unnumbered folio with scribbled writing on the recto and verso. Each page has about seven to eight lines of text and music. The scribe makes many orthographic errors throughout: i.e., one lambda instead of two, an omega instead of omicron, and an epsilon instead of the alpha iota. These are mostly homophonic mistakes.

EBE 936

136

ΕΒΕ 936 ΑΚΟΛΟΥΘΙΑ ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/AKOLOUTHIA ANASTASIMATARION Type of paper: Turkish Measurements: 16.3 × 10 cm Folios: I + 387 Notation: very Late Round Byzantine Date: late 18th c.

Ir–v 1r 387r

blank Ἀκολουθία τοῦ κὺρ Πέτρου λαμπαδαρίου τῆς Μεγάλης Ἐκκλησίας (Akolouthia with compositions by various composers) end of MS

Notes This manuscript is identified as an Akolouthia. More appropriately, it is an Anastasimatarion with the Akolouthia melos that includes the following contents: Kekragaria of Vespers; Exaposteilaria and Heothina hymns of Orthros; Doxologia, Cherubic, Communion and Alleluia chants of the liturgy, especially St Basil’s Liturgy; Nekrosima chants; Heirmoi; and hymns for special feasts. Although Petros Lampadarios, the Peloponnesian, is identified in the opening rubric, there are other composers from the newer generation who are represented, such as Ioannes Protopsaltes, Daniel Protopsaltes and Iakovos Protopsaltes. The MS is in fair condition with a brownish binding. However, the folios are not numbered, making it difficult to catalogue the contents accurately. The rubrics and modal signatures are in a faded red ink and the text and neumes are in a light black shade. The pages have about eight lines of text and music.

EBE 937

137

ΕΒΕ 937 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: Turkish Measurements: 15.6 × 10.5 cm Folios: IV + 301 Notation: Middle to Late Round Byzantine Date: 1552

Ir–IVv 1r

37v 66v 95r 155r 178r 293r–v 294r 301r 301v

blank Μηνὶ Φεβρουαρίῳ· μηνὶ τῷ αὐτῷ βʹ ἡ ὑπαπαντὴ τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ· στιχηράριον τοῦ Ἠθικοῦ ἐκαλλωπισθὲν παρὰ κὺρ Μανουὴλ Μαΐστορος τοῦ Χρυσάφη· ἦχος βʹ (various Anagrammatismoi and Mathemata for feasts of the ecclesiastical calendar from February to August) Μηνὶ Μαρτίῳ Χαλκεόπουλος συνετέθη καὶ παρὰ τοῦ Χρυσάφη· τὸ στιχηράριον παρὰ κὺρ Γερμανοῦ Μηνὶ Ἀπριλίῳ Μηνὶ Ἰουνίῳ Μηνὶ Ἰουλίῳ blank Στιχηρὸν ψαλλόμενον τῇ Κυριακῇ τῆς Τυροφάγου εἰς τὴν ἐξορίαν τοῦ Ἀδάμ· ποίημα κὺρ Μανουὴλ τοῦ Χρυσάφη (this portion is possibly written by another scribe) end of music colophon of 1552 by the scribe Κωνσταντῖνος Χανιώτης

Notes This Sticherarion is the second of a trilogy of manuscripts all dated 1552 and written by the scribe Κonstantinοs Chaniotes. The first Sticherarion of the trilogy is Monastery of the Metamorphosis [Transformation] (Meteora) MS 44, which has been catalogued by Veïs. The third of the trilogy is the Sticherarion MS 938, which follows in this catalogue. Each of the manuscripts has a dark wooden binding. The manuscript is in a very good, clean condition. The script and music are written in black with the rubrics in a brown or coffee-coloured brick. There is an average of 13 lines per page. As volume 2, this Sticherarion continues with the feasts from February to August. Fols 294r– r 301 might have been written by a scribe other than Chaniotes, because there are some peculiar differences in the writing style. The colophon, fol. 301r-v, is identical with that in Metamorphoseos MS 44 and EBE 938. Bibliography Βέης [Veïs], Τὰ χειρόγραφα τῶν Μετεώρων. Chatzegiakoumes, Μουσικὰ Χειρόγραφα Τουρκοκρατίας.

138

EBE 938

ΕΒΕ 938 ΣΤΙΧΗΡΑΡΙΟΝ ΤΟΥ ΤΡΙΩΔΙΟΥ/STICHERARION OF THE TRIODION Type of paper: Turkish Measurements: 15.8 × 10.5 cm Folios: I + 263 + I Notation: Middle to Late Round Byzantine Date: 1552

Ir–v 1r

blank Ποίημα κὺρ Μανουὴλ λαμπαδαρίου τοῦ Χρυσάφη· ἦχος δʹ. (The beginning of the MS to fol. 157r contains Mathemata for the Triodion.) r v blank 4 –7 Τῇ Κυριακῇ τοῦ Τυροφάγου· στιχηρὸν ποίημα κὺρ Μανουὴλ τοῦ λαμπαδαρίου· ἦχος 8r πλ. βʹ Οἶκος ψαλλόμενος εἰς τὸν Ἀκάθιστον ὕμνον· ποίημα τοῦ τιμιωτάτου κὺρ Γαβριὴλ 12r ἱερομονάχου· ἦχος δʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν στιχηρῶν τῆς ἁγίας μʹ, ἀρχόμενον ἀπὸ τῆς Κυριακῆς τοῦ 20r Τελώνου καὶ τοῦ Φαρισαίου κατάγον τὸν μέχρι τῶν ἁγίων Πάντων· στιχηρὸν τῇ Κυριακῇ τοῦ Τελώνου καὶ τοῦ Φαρισαίου· ποιηθὲν παρὰ Μανουὴλ Μαΐστορος τοῦ Χρυσάφη· ἦχος αʹ «Μὴ προσευχώμεθα φαρισαϊκῶς...» (followed by several Anagrammatismata) 144v–145v blank Στιχηρὰ ἀναστάσιμα τοῦ ἁγίου Ἰωάννου τοῦ Δαμασκηνοῦ κατ’ ἦχον ψαλλόμενα 157v τῇ ἁγίᾳ καὶ μεγάλῃ Κυριακῇ τοῦ Πάσχα καὶ ἐν πᾶσα [sic] τῇ Πεντηκοστῇ· καὶ ἐν τὰς ἀναστάσιμας ἡμέραν· παρὰ κὺρ Μανουὴλ τοῦ Χρυσάφη καὶ Μαΐστορος· ἦχος αʹ. (From this folio to fol. 260r are Mathemata for the Pentecostarion.) r Κυριακῇ τῆς Πεντηκοστῆς παρὰ τοῦ Κορώνη· ἦχος βʹ 232 260r–261r These folios contain a dedication by Constantine Chaniotes similar to the other two MSS of the trilogy. blank 261v Προκείμενον ψαλλόμενον τῷ Σαββάτῳ Ἑσπέρας· ποίημα κὺρ Γεωργίου Πρωτοψάλτου 262r [... ?] «Ὁ Κύριος ἐβασίλευσε ... Καὶ γὰρ ἐστερέωσε...» 263r colophon/end of manuscript: Ἐτελειώθη τὸ παρὸν βιβλίον ὑπὸ χειρὸς ἐμοῦ ἁμαρτωλοῦ Κωνσταντὶν[ος] Καπὴν Χανιώτης καὶ εὔχεστέ μοι διὰ τὸν Κύριον τοῦ ἁμαρτωλοῦ ὅτι ἀμαθής εἰμι, ͵αφνβʹ [1552] ἐν μηνὶ Φεβρουαρίῳ εἰς τὰς ιβʹ· εἰς τὸν Γαλατὰ τῆς πόλεως εἰς τὴν κυρὰ τὴν χρυσοπηγήν. This colophon identifies the scribe as the ‘sinner’ Constantine Chaniotes and gives the completion date of the MS as 12 Feb. 1552 in the town of Galata for Our Lady of the Golden Font. blank Ir–v Notes This Sticherarion is the third of a trilogy of manuscripts all dated 1552 and written by the scribe Konstantinos Chaniotes. See the Notes to MS 937. Each of the manuscripts has a dark brown wooden binding. The script is written in black with the rubrics in a brownish colour. There is an

EBE 938

139

average of 13 lines of music and text per page. As volume 3, this Sticherarion continues with the feasts for the Triodion, Pentecostarion and Easter. The colophon on fol. 263r is similar to that in Metamorphoseos MS 44 and EBE 937. The manuscript is in a very good, clean condition. Bibliography Βέης [Veïs], Τὰ χειρόγραφα τῶν Μετεώρων.

140

EBE 939

ΕΒΕ 939 ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: Turkish Measurements: 15 × 10.5 cm Folios: XXVI + 133 + XI Notation: Late Round Byzantine Date: 1806

Ir–XXVIv blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς μουσικῆς ἀθεστημῆς τῶν τε ἀνιόντων καὶ 1r κατιόντων σωμάτων τε καὶ πνευμάτων καὶ πάσης χειρονομίας καὶ ἀκολουθίας συντεθημένης εἰς αὐτήν, παρὰ τῶν κατὰ καιροὺς ἀναδειχθέντων ποιητῶν, παλαιῶν καὶ νέων. circle of intonations 8 v Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς ὀκτωήχου τῷ Σαββάτῳ Ἑσπέρας εἰς τὸ, «Κύριε ἐκέκραξα…», 9 v στιχηρὰ ἀναστάσιμα· ἦχος αʹ Mode II 26r Mode III 40r Mode IV 53v 69v Plagal Mode I 87v Plagal Mode II 100v Barys Mode 112v Plagal Mode IV Εἰς τὰς ιεʹ [Aug.]· ἡ κοίμησις ὑπεραγίας ἐνδόξου Δεσποίνης ἡμῶν Θεοτόκου καὶ 123v ἀειπαρθένου Μαρίας· κὺρ Ἀθανασίου· ἦχος δʹ «Ὡς ὑπὲρ νοῦν σου τὸ θαῦμα...» Κεκραγάρια σύντομα· ἦχος αʹ 126v music ends/colophon in the hand of Δανιὴλ ἱερομονάχου ἐκ μονῆς τοῦ Δουσίκου, 133v 1806 Φεβρουαρίου 17. blank Ir–XIv Notes This is an Anastasimatarion manuscript written before the change to the new system. The first eight folios are dedicated to the methodology of the Psaltike Techne. The Anastasimataria begin on fol. 9v and are categorized according to the modes of the octoechos. On fol. 123v there are verses for the Dormition of the Virgin by Athanasios, followed by a synoptic version of the Kekragaria (fol. 126v). Of interest is the colophon on fol. 133v that dates the MS as 1806 (17 Feb.), written by Daniel, from the Dousikon monastery in Thessaly. The MS is legible and easy to read. The binding is newer and in a brownish colour. The rubrics and modal signatures are in red ink and the text and neumes are in black. The folios have about eight lines of text and music per page.

EBE 940

141

ΕΒΕ 940 ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: Turkish Measurements: 15.4 × 10 cm Folios: II + 88 + I Notation: Late Round Byzantine Date: 18th c.

Ir–IIv blank 1r Μαρτυρίαι (modal signatures) 1v Circle of intonations 2r Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς μουσικῆς ἐπιστήμῆς ἀνιόντων τε καὶ κατιόντων σωμάτων 5r Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ πρώτου ἤχου 15v Ἦχος βʹ 25v Ἦχος γʹ Ἦχος δʹ 35v 45v Ἦχος πλ. αʹ 58v Ἦχος πλ. βʹ 68v Ἦχος βαρύς 76v Ἦχος πλ. δʹ 88v end of MS Ir–v blank Notes This is an abbreviated Anastasimatarion manuscript with few rubrics. After the opening folios of Psaltike Techne (fols 1r–4v), the Anastasimataria are catalogued according to mode (fols 5r–88v). In the few rubrics that exist, there are many orthographic errors on the part of the scribe, especially in the use of the omega and omicron, as well as other homophonic mistakes. The MS is fairly clean to read. It has a newer brown binding. The rubrics and modal signatures are in red ink. The text and neumes are in black. The pages have about eight lines of text and music.

142

EBE 941

ΕΒΕ 941 ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: Turkish Measurements: 13.7 × 9.2 cm Folios: I + 425 + II Notation: Late Middle Byzantine Date: 17th c.

Ir–v blank 1r Psaltike Techne 10v Echemata Παραλλαγῆς 16v Σημάδια ψαλλόμενα κατ’ ἦχον (Koukouzelian Ison song) 18r Τρισάγιον 26v Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ἀναστασίμων πάντων κατ’ ἦχον τῷ Σαββάτῳ Ἑσπέρας· ἦχος 28r αʹ Ἦχος βʹ 37v Ἦχος γʹ 47v Ἦχος δʹ 56v Ἦχος πλ. αʹ 67v Ἦχος πλ. βʹ 80r Ἦχος Βαρύς 90r Ἦχος πλ. δʹ 97r Ἀρχὴ τῶν κεκραγαρίων τῶν ἐκκλησιαστικῶν κατ’ ἦχον 107r Ἀρχὴ σὺν Θεῷ ἁγίῳ τὰς μεγάλας Ἑσπέρας· ποιηθέντας παρὰ διαφώρων ποιητῶν 121r Τὸ «Θεὸς Κύριος» κατ’ ἦχον· ἦχος αʹ 146v Δοξαστικὸν ψαλλόμενον Πάσχα· ἦχος πλ. αʹ 161r Πολυέλεος λεγόμενος Κουκουμᾶς 164r Κοινωνικῶν τῆς ὅλης ἑβδομάδος 197r Χερουβικῶν καὶ ὁμοῦ καὶ κοινωνικῶν τοῦ Κουκουζέλη 204r 228r Τῷ αὐτῷ μηνὶ [June] κδʹ, τὸ γεννέσιον τοῦ τιμίου ἐνδόξου προφήτου προδρόμου βαπτιστοῦ Ἰωάννου· τοῦ Χρυσάφη· ἦχος αʹ. Various feasts follow. Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν συλλειτουργιῶν μετὰ τῆς Θείας Λειτουργίας τοῦ 264r Χρυσοστόμου Καλοφωνικὸν εἰς τὸν μέγαν Ἑσπερινόν· ποίημα κὺρ Ξένου τοῦ Κορώνη· ἦχος πλ. δʹ 321r Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ μεγάλου Ἑσπερινοῦ· ποίημα διαφόρων ποιητῶν· ἦχος πλ. δʹ 352r Εἰς τὴν κοίμησιν τῆς Θεοτόκου· τοῦ Κουκουζέλη 361r Εἰς τὴν κατὰ σάρκα ἡ γέννησιν τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ· Μανουὴλ τοῦ 392r Χρυσάφη Κατανυκτικὸν εἰς κοιμηθέντας τοῦ Ἰωάννου τοῦ λαμπαδαρίου· ἦχος πλ. αʹ 401r end of MS 425v blank Ir–IIv

EBE 941

143

Notes This Anastasimatarion is in fair condition, but some of the interior folios are faded and very difficult to read. The brown binding is also in a worn state. The rubrics, modal signatures and hypostaseis are written in red ink. The text and neumes are in a faded black script. The pages have about seven lines of text and music. There are orthographic errors scattered throughout. The MS begins with the Psaltike Techne that includes the Parallage (fol. 16v), Echemata (fol. v 10 ) and the Koukouzelian Ison song (fol. 18r). The Anastasima for Saturday Vespers start with fol. 28r and proceed according to mode up through fol. 106v and include chants by various composers. There are compositions for various feasts and services interpolated into the MS: fol. 107r Kekragaria fol. 121r Great Vespers fol. 146v Orthros chants fol. 197r Communion chants fol. 204r Cherubic hymns fol. 321r Kalophonic settings for Great Vespers At the end (fols 401r–425v), there is a Katanyktikon for the Deceased by Ioannes Lampadarios.

EBE 942

144

ΕΒΕ 942 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: Turkish Measurements: 15.6 × 10.7 cm Folios: 281 Notation: Late Middle Byzantine Date: 17th c.

1r 82r 126v 209r 263r 281v

chants for Great Vespers Χερουβικῶν· τοῦ κὺρ Χρυσάφη Ἀρχὴ τῶν κατ’ ἦχον, κοινωνικῶν ὕμνων τοῦ Χρυσάφη Κράτημα τοῦ Δαμιανοῦ Ἀγιολαυρίτου· ἦχος πρωτόβαρυς «Α να νε τε…» Κοντάκιον τῆς Θεοτόκου ψάλλετεαι δὲ εἰς τὸν Ἀκάθιστον, δίχορον· ἦχος πλ. δʹ end of MS

Notes This is an Akolouthia, containing a repertory of mostly newer composers. The MS is not in good condition. There are folios missing from the beginning and especially at the end, where folios have been torn. There is also grave water damage in the interior margins near the binding and on the top margins of the folios. This destruction makes the MS very difficult to read. The dark brown leather binding also shows signs of water deterioration. The rubrics are few in number, faded and difficult to read. The text and neumes also demonstrate evidence of destruction from water damage and are a faint grey. The folios average about eight to nine lines of text and music per page. The MS opens with chants for Great Vespers and Orthros (fols 1r–81v) and continues with Cherubic hymns by Chrysaphes (fol. 82r) and Communion hymns according to modes by Chrysaphes (fol. 126v). Τhe Akathistos hymn begins on fol. 263r and continues to the end. Of interest is the rare attribution to the composer Damianos Hagiolaurites who is cited for a kratema on fol. 209r.

EBE 943

145

ΕΒΕ 943 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: Turkish Measurements: 15.6 × 10.2 cm Folios: 212 Notation: Late Round Byzantine Date: 17th c.

1r 6 v 14r 30r 54r 68r 83r 101v 105r 118r 132v

Παπαδικὴ Τέχνη Τῆς Θείας καὶ ἱερᾶς Λειτουργίας τοῦ Χρυσοστόμου Ἀλληλουϊάριον τοὖ Χρυσάφη· ἦχος πλ. δʹ Κεκραγάρια Ἀρχὴ τοῦ Μεγάλου Ἑσπερινοῦ· ἦχος πλ. δʹ Πολυέλεος λεγόμενος Κουκουμᾶς Ἀρχὴ σὺν Θεῷ τῶν ιαʹ ἑωθινῶν Εἰς τὴν εἴσοδον τῆς Ὑπεραγίας Θεοτόκου· ποίημα τοῦ λαμπαδαρίου τοῦ Χρυσάφη Εἰς τὴν γέννησιν Χριστοῦ· τοῦ Χρυσάφη Θεοτοκίον Κοινωνικὸν εἰς τὰς ἑορτὰς τῆς Θεοτόκου· ποίημα κὺρ Γερασίμου ἱερομονάχου τοῦ Χαλκεοπούλου· ἦχος βʹ Κράτημα 149r Text: «ἐπιστολαῖς ὅπως γράφοντες εἰς μητροπολίτα» [leg. prob.: ἐπιστολὲς... 152r γράφονται] «Πᾶσα πνοὴ...» 155r 159v–172v blank Ἄμωμος ψαλλόμενος εἰς κοιμηθέντας λαϊκούς 173r This is written by a different scribe in a smaller script. 205r Ἀλληλουϊαρίον τοῦ Κλαδᾶ· ἦχος πλ. αʹ. Χερουβικῶν ποίημα Μανουὴλ λαμπαδαρίου τοῦ Χρυσάφη· ἦχος αʹ 205v end of music 209v end of MS (After the music has stopped, there is writing which continues through this 212v folio.) Notes In this Akolouthia there are folios that are easily readable but also some where the neumes and rubrics are faded and illegible. There are about eight to nine lines of text and music per page. The MS has a darkish brown leather binding that has worn out over time. The contents are typical but neither as complete nor in the traditional order as other MSS of this genre. The MS begins with a shortened Papadike (fols 1r–6r), followed by the liturgy of St John Chrysostom (fol. 6v), Alleluiaria (fol. 14r), chants from Vespers (fol. 54r), Orthros (fol. 68r), selected Stichera feasts (fols 101v–117v), Theotokia (fol. 118r), Kratema (fol. 149r), Communion (fol. 132v) and Cherubic hymns (fol. 205v), and Amomos for Laymen (fol. 173r). On fol. 132v there is an attribution to the monk Gerasimos Chalkeopoulos, a newer composer and one not frequently found in EBE MSS.

146

EBE 944

EBE 944 ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: Turkish Measurements: 15.5 × 12.8 cm Folios: 133 + VIII Notation: Late Round Byzantine Date: 17th c.

1r Εἱρμὸς κὺρ Παναγιώτου καὶ λαμπαδαρίου τῆς Mεγάλης Ἐκκλησίας· ἦχος αʹ Τῶν σημαδίων τῆς Μουσικῆς Τέχνης 5r chants for Great Vespers 9r 18r The ‘Makarios Anir’ chant (settings of verses of Ps. 1) Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ δευτέρου ἤχου· τὸ κεκραγάριον σὺν τοῖς ἀναστασίμοις αὐτοῦ 18v Τρίτου ἤχου 28v Τετάρτου ἤχου 37v Πλαγίου πρώτου ἤχου 48v Πλαγίου δευτέρου ἤχου 60r Τοῦ βαρέως ἤχου 69v Πλαγίου τετάρτου ἤχου 78r Τὰ ἕνδεκα ἑωθινά· ἦχος αʹ 87r Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν χερουβικῶν ὕμνων· τοῦ Χρυσάφη 98r Δοξολογία μεγάλης ποιηθεῖσα παρὰ κυρίου Μελχισεδὲκ ἐπισκόπου Ῥαιδεστοῦ· ἦχος 105v πλ. αʹ Πασαπνοάρια τοῦ Ἀντωνίου ἱερέως καὶ Σακελλίου· ἦχος δʹ 109v Θεοτοκίον τοῦ Κουκουζέλους· ἦχος βαρύς 111r Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς θείας καὶ ἱερᾶς Λειτουργίας τοῦ Χρυσοστόμου· ἦχος βʹ 114r 129v–130r blank 132v–133r music settings that have been added later end of MS 133r Ir–VIIIv blank Notes This Anastasimatarion begins with an Heirmos by Panagiotes the Lampadarios of the Great Church. The rubric does not specify which Panagiotes, Chalatzoglou or Chrysaphes. The neumes of the Psaltike Techne begin on fol. 5r with chants for Great Vespers on fol. 9r. The contents continue with Cherubic hymns by Chrysaphes (fol. 98r), doxologies by Melchisedek (fol. 105v), Pasapnoaria by Antonios the Priest and a certain Sakellis (fol. 109v), Theotokion by Koukouzeles (fol. 111r), and the Liturgy of St John Chrysostom (fol. 114r). The MS may originally have concluded with fol. 129r, for later settings have been added on fols 132v–133r. The MS is in poor condition with tattered folios and faded neumes, text and rubrics. The dark brown leather binding of the MS is equally deteriorated. The folios have about seven to eight lines of text and music.

EBE 945

147

ΕΒΕ 945 ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: Turkish Measurements: 17 × 10.8 cm Folios: I + 188 + III Notation: Late Round Byzantine Date: 17th c.

Ir–v 1r 7r 11v 14r 102r 113v 141r 165r 184r 188r Ir–IIIv

blank Τὸ ἐξηγητηκὸν ἀλληλούϊα Σύστημα σημαδίων Ἀρχὴ τῶν κατ ’ ἦχον ἠχημάτων· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κεκραγαρίων καὶ τῶν ἀναστασίμων· ἐκαλλωπίσθησαν δὲ τὰ ἀναστάσιμα παρὰ τοῦ κὺρ Γερμανοῦ ἀρχιερέως τοῦ Νέων Πατρῶν, κατ’ ἦχον Τῶν ἑωθινῶν· ἦχος αʹ Σαββάτῳ τῆς Ἀκαθίστου· ἦχος πλ. δʹ Ἀρχὴ τῆς θείας καὶ ἱερᾶς Λειτουργίας· ἦχος βʹ Τῶν κατ ’ ἦχον κοινωνικῶν τοῦ Χρυσάφου· ἦχος αʹ Τρισάγιον νεκρώσιμον end of MS blank

Notes This Anastasimatarion has suffered from water damage. Its dark blackish leather binding is warped and deteriorated. Although there are some readable folios, others are not in good condition. There are few rubrics and even fewer attributions of authorship. The rubrics and modal signatures are written in a faded orange shade. The neumes and text are also in a faded tint of black. The pages have about nine lines of text and music. The MS begins with an exegesis of an Alleluia. The Psaltike Techne starts with fol. 7r and is followed with echemata on fol. 11v. The Anastasima commence with fol. 14r and are attributed to Germanos of New Patras. The contents continue with the following: fol. 102r Heothina chants fol. 113v Akathistos hymn fol. 141 Liturgy fol. 165r Communion chants by Chrysaphes The MS ends with the Nekrosimon Trisagion on fol. 184r.

148

EBE 946

ΕΒΕ 946 ΕΙΡΜΟΛΟΓΙΟΝ ΤΟΥ ΜΠΑΛΑΣΙΟΥ ΙΕΡΕΩΣ/HEIRMOLOGION OF BALASIOS THE PRIEST Type of paper: common Measurements: 14.9 × 9.5 cm Folios: I + 350 + II Notation: Late Round Byzantine Date: 17th c.

Ir–v blank 1r Table of contents for MS. This appears to have been added after the MS was completed. blank 1v–4v Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ Εἱρμολογίου τοῦ Μπαλασίου ἱερέως 7 v Εἱρμοὶ ψαλλόμενοι εἰς τὴν Ὑπεραγίαν Θεοτόκου· ἦχος δʹ 283r Ἕτεραι καταβασίαι ψάλλονται εἰς τὰ ἅγια Θεοφάνεια, ᾠδὴ αʹ· ἦχος βʹ 292v Ἕτεραι καταβασίαι ψαλλόμεναι εἰς τὴν ὑπαπαντὴν τοῦ Χριστοῦ, ᾠδὴ αʹ· ἦχος Νανα 299v Κανὼν ψαλλόμενος τῇ ἁγίᾳ καὶ μεγάλῃ Κυριακῇ τοῦ Πάσχα, ᾠδὴ αʹ· ἦχος αʹ 302v Καταβασίας εἰς τὴν ἁγίαν Πεντηκοστήν· ἦχος δʹ 311v Καταβασίαι ψαλλόμεναι εἰς τὴν ὕψωσιν τοῦ Σταυροῦ· ἦχος πλ. δʹ 315v Κανὼν ψαλλόμενος τῇ ἁγίᾳ καὶ Μεγάλῃ Ἐκκλησίᾳ· ᾠδὴ αʹ· ἦχος πλ. βʹ 326v end of MS 350v blank I–IIv Notes This is a typical 17th-century Heirmologion by Balasios the Priest. The actual music does not begin until fol. 7r; it is preceded by a table of contents added later. Even the foliation appears to have been numbered after the completion of the MS. The MS, with its brownish leather binding, is in fair condition with many of the rubrics, modal signatures, text and neumes faded from their original colour. There are about seven lines of text and music per page. Other than Balasios, no other composer’s name is given. The rubrics indicate only feasts, odes and modes. The contents include the expected Heirmoi (fol. 7v), Katabasiai (fol. 292v) and Kanons for selected feasts (fol. 326v).

EBE 947

149

ΕΒΕ 947 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: Turkish Measurements: 13 × 9.3 cm Folios: 265 Notation: Late Round Byzantine Date: 1680

1r 7r 18r 23v 27v 32v 37r 45v 64r 74v 78v 79r 96r 101r 105r 108r 112v 126v 132r 188v 222r 233r 243v 246r 265r

Kalophonic verses Ἀρχὴ σὺν Θεῷ ἁγίῳ ὁ μέγας Ἑσπερινός· ποιηθὲν παρὰ διαφόρων ποιητῶν· ἦχος πλ. δʹ Καλοφωνία, κὺρ Ξένου τοῦ Κορώνη· ἦχος πλ. δʹ Ἕτερος στίχος ἀπὸ τοῦ αὐτοῦ μαθήματος· ποίημα κὺρ Μανουὴλ τοῦ Χρυσάφου· ἦχος πλ. δʹ Πολυέλεος Στίχος καλοφωνικὸς τοῦ Γαζῆ Ὕμνος τοῦ προφήτου ἄναξ Δαβὶδ τὸ δὲ μέλος ἡμέτερος· ἦχος αʹ Τῶν ἕνδεκα ἑωθινῶν Δοξολογία εἰς δόξαν τῆς ἁγίας Τριάδος· ἦχος πλ. δʹ Ἡ θεία Λειτουργία τοῦ ἐν ἁγίοις πατρὸς ἡμῶν τοῦ Χρυσοστόμου Ἀλληλουϊάριον τοῦ Χρυσάφου· ἦχος βαρύς Χερουβικὸν ὕμνον· ἦχος αʹ Ἡ θεία Λειτουργία τοῦ Βασιλείου τοῦ Μεγάλου Λειτουργίας τῶν Προηγιασμένων· ἦχος πλ. βʹ Μάθημα χαρμόσυνον καὶ ὧραι τοῦ Κουκουζέλους Θεοτοκίον τοῦ Κωνσταντίνου τοῦ ἐξ Ἀγχιαλοῦ· ἦχος αʹ Ἡ ἀκολουθία τοῦ Ἀκαθίστου ὕμνου Θεοτοκίον παρακλητικόν· ἦχος αʹ Μαθήματα Ἰδοὺ καὶ τὰ κοινωνικὰ κατὰ τὸν ἦχον τῶν χερουβικῶν· ἦχος αʹ Μάθημα Θεοτοκίον ὀργανικὸν τοῦ Κουκουζέλους· ἦχος δʹ Δοξολογία μεγάλη· ποιηθεῖσα παρὰ κὺρ Μελχισεδὲκ Ῥαιδεστοῦ· ἦχος πλ. αʹ Ἕτερον τρισάγιον ψαλλόμενον εἰς τοὺς κοιμηθέντας Ἄμωμος ψαλλόμενος εἰς τοὺς κοιμηθέντας καλλωπισμὸς ἡμέτερος· ἦχος βʹ Τὸ παρὸν βιβλίον ἐγράφη παρ’ ἐμοῦ τοῦ εὐτελοῦς Χρυσάφου ἐν ἔτει ͵αχπʹ, μηνὶ Ἰουλίῳ κεʹ διὰ ἐπιμελείας Δημητρίου τοῦ ἐξ Ἀθηνῶν end of MS

Notes This Akοlouthia is in fair condition but still readable. The binding is a dark brownish leather and is also deteriorated. The neumes, text and rubrics are somewhat faded from their original bright hues. The pages average about six to seven lines of music and text. The manuscript contains various melodies:

EBE 947

150

Kalophonic verses (fol. 1r) Mathemata (fols 18r–27r, 105r, 132r, 222r) Polyeleos (fol. 27v) Heothina hymns (fol. 45v) Doxologia (fol. 64r) Alleluiara (fol. 78v) Cherubic (fol. 79r) Communion hymns (fol. 188v) Liturgies of St John Chrysostom (fol. 74v) and Presanctified Gifts (fol. 101r) Theotokia (fol. 108r) Akathistos hymn (fol. 112v) Trisagion Nekrosimon (fol. 243v) Amomos (fol. 246r) The composers represent the older and newer generations, from Koukouzeles, Gazes, Xenos Korones to Manuel Chrysaphes, Melchisedek, Konstantinos from Agchialos and Dimitrios from Athens. The scribe of the MS identifies his compositions (fols 37r and 246r) as ‘ours’ and gives his name in the colophon (fol. 265r), which translates as follows: ‘the present book is written by me, the most miserable Chrysaphes, in the year 1680, the 25th of July, through the care of Dimitrios from Athens’. This identifies the scribe as Chrysaphes [the New]. Patrinelis states that, since there is no identifying title accompanying Chrysaphes’ name, the chanter had probably retired as protopsaltes from the Great Church. Moreover, 1680 may possibly have been the last year of Chrysaphes’ life. Bibliography Patrinelis, ‘Protopsaltae’.

EBE 948

151

ΕΒΕ 948 ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: chartaceous Measurements: 14.6 × 9.5 cm Folios: VI + 138 + VII Notation: Middle Round Byzantine Date: 1551

Ir–VIv Fols Ir–v, Vr and VIv have writing on them. There are folios missing prior to what is now numbered as fol. 1r. r Chants from Vespers and Orthros are categorized according to modes (κατ’ ἦχον) 1 which continue through fol. 130v. Mode I «Τὰς ἑσπερινὰς ἡμῶν...» r With this folio, the Plagal modes of the octoechos begin. Ἦχος πλ. αʹ 53 incomplete trochos (wheel of modes) 55r blank 55v Ἕτερον ποιηθέντα παρὰ τοῦ μακαριωτάτου Mαΐστρου κυρίου Ἰωάννου τοῦ Κουκουζέλη· 85v οἱ καὶ τολμηρὸν ἐκαλλωπισθέντα καὶ ἐπλατυνθέντα μικρὸν παρὰ κυρίου Μανουὴλ τοῦ Χρυσάφου· τοῦ Κουκουζέλη· ἦχος πλ. δʹ «Ὁ δὲ ἀπέστειλεν αὐτούς...» Τοῦ κὺρ Χρυσάφου· ἦχος αʹ «Πᾶσα πνοή...» 108r blank 110v Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ἕνδεκα ἑωθινῶν· ἦχος αʹ 111r black neumes without text 130v Ἄμωμος ψαλλόμενος εἰς τοὺς κοιμηθέντες, τοῦ Χρυσάφη· ἦχος βʹ 131r In the lower half of the folio is the rather obscure ὑπέρουσα ὑπὲρ χειρίαν κἀμοῦ Δανιὴλ 138v ἱερομονάχου. Athough there is more text, it is difficult to read with accuracy. end of MS proper blank Ir–IIIr sporadic writing IIIv sporadic writing IVv sporadic writing Vr Vv sporadic writing sporadic writing VIr–v sporadic writing VIIr–v Notes This Anastasimatarion has a dark brown binding that is in poor condition, with broken clasps. The MS itself is in fair condition but has missing folios. There is an average of nine to eleven lines of text and music per page. The text and neumes are written in black ink. Red ink is utilized for the rubrics, modal signatures and hypostaseis. The attributions are few and pagination has been added later. The contents are typical and include the Anastasima chants for Vespers and Orthros. The last musical selection is the Amomos for Laymen as composed by Manuel Chrysaphes, which is a more simplified and syllabic version of the melodic formulae of the 14th-century version.

152

EBE 948

Chatzegiakoumes has categorized this MS as a ‘Mathematarion Sticherarion’. He considers it as the third part of a larger MS and dates it to the year 1551. Bibliography Chatzegiakoumes, Μουσικὰ Χειρόγραφα Τουρκοκρατίας.

EBE 949

153

ΕΒΕ 949 ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: Common Measurements: 16.3 × 11.3 cm Folios: 208 + II Notation: Chrysanthine Date: 19th c.

1r 3r

in tattered condition Ἀναστασιματάριον σύντομον κατὰ τὸ ὕφος τῆς τοῦ Χριστοῦ Mεγάλης Ἐκκλησίας· συντεθὲν παρὰ τοῦ μουσικολογιωτάτου κὺρ Πέτρου λαμπαδαρίου Πελοποννησίου ... «Κύριε ἐκέκραξα...» The chants are categorized according to modes of the octoechos. Τῶν ἕνδεκα ἑωθινῶν τοῦ κὺρ Πέτρου· ἦχος βʹ 63r Ἕτερα ἑωθινὰ κὺρ Μπαλασίου· ἦχος αʹ 71v Καταβασίας τῶν δεσποτικῶν καὶ θεομητορικῶν ἑορτῶν· κὺρ Πέτρου λαμπαδαρίου τοῦ 85r Πελοποννησίου end of MS 208v blank Ir–IIv Notes This Anastasimatarion with compositions by Petros Lampadarios of the Peloponnesos is in poor condition and very difficult to read. Its dark brown binding is also deteriorated. The top right margin of all folios of the MS are torn throughout. The folios have been numbered afterwards in a different script and allow for two blank folios at the end. There are about 11–12 lines of text and music per page. The rubrics and attributions are few and are written in a faded reddish colour. The neumes and text are also in a lighter hue. The contents are typical, with Anastasima from Vespers (fol. 3r) and Orthros, Heothina chants (fol. 63r), and Katabasia (fol. 85r). Besides Petros Lampadarios from Peloponnesos, Balasios is represented with his compositions of the Heothina chants.

EBE 950

154

ΕΒΕ 950 ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: common Measurements: 16 × 10.5 cm Folios: I + 79 + IV Notation: Late Round Byzantine Date: 18th c.

Ir I v 1r 10r 10v 78v 79r Ir–IVv

writing added later blank Σημαδίων τῆς Ψαλτικῆς Τέχνης blank Κεκραγάρια κατ’ ἦχον blank neumes added later in a different script end of MS blank

Notes This Anastasimatarion has some later additions on fols Ir and 79r. The MS contains nine folios of the Psaltike Techne and then after a blank folio follows the Anastasimataria (fol. 10v), categorized according to modes. The MS is readable and fairly clean, but not significant in content or attributions. Composers’ names are not evident. It has a newer binding and its few rubrics are in red ink, with its text and neumes in the traditional black ink. There are about eight to nine lines of text and neumes per page.

EBE 951

155

ΕΒΕ 951 ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: Turkish Measurements: 17.1 × 11 Folios: II + 73 + II Notation: Late Round Byzantine Date: 1795

I–IIv 1r 6v–8v 9r 66v 73v I–IIv

blank Σημαδίων τῆς Ψαλτικῆς Τέχνης blank Τῶν ἀναστασίμων κεκραγαρίων καὶ τροπαρίων· ἦχος αʹ. The Kekragaria and all the chants that follow are categorized according to modes of the octoechos. Τῶν ἕνδεκα ἑωθινῶν· μέλος τοῦ Γλυκέως· ἦχος αʹ Colophon: ἐγράφη τὸ παρὸν βηβλίον [sic] διὰ χειρὸς Εὐθυμίου ἱερομονάχου· ἔτους 1795 ἐν μηνὶ Μαΐου 4. end of MS blank

Notes This Anastasimatarion is minimal in its contents. It begins with a synoptic Psaltike Techne and then follows with the Anastasima on fol. 9r (listed according to mode) and the 11 Heothina hymns on fol. 66v, the latter being a composition of Glykys. The main interest of the MS is its colophon, which identifies the scribe as Euthymios the Monk, and the date of completion as 4 May 1795. He is also the scribe of MS 926, dated in 1792. The MS is very legible and in fair condition. It has a brown leather binding. The few rubrics and modal signatures are written in red and the text and neumes are in black ink. There are about eight to nine lines of text and music per page.

156

EBE 952

ΕΒΕ 952 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: Turkish Measurements: 15.8 × 10.3 cm Folios: 123 Notation: Late Round Byzantine Date: 16th–17th c.

1r–v alphabetical Greek letters Σημαδίων Ψαλτικῆς Τέχνης 2r blank 9 v Ἀρχὴ σὺν Θεῷ ἁγίῳ τὰ τοῦ μεγάλου Ἑσπερινοῦ· ἦχος πλ. δʹ 10r 21r–25v blank Τῶν κεκραγαρίων κατ’ ἦχον· ἦχος αʹ 26r Τρισάγιον 37v 39v–41v blank Τὸν πολυέλεον τοῦ λεγομένου Κουκουμᾶ· ἦχος αʹ 42r Τῶν ιαʹ ἑωθινὰ· ποίημα Κωνσταντίνου δεσπότου· ἦχος αʹ 50r 60v–61v blank Θεία Λειτουργία (of St John Chrysostom)· ἦχος βʹ 63r Ἡ Λειτουργία τοῦ Μεγάλου Βασιλείου ψαλλόμενα· ἦχος βʹ 67r Ἡ Θεία Λειτουργία τῶν Προηγιασμένων· ἦχος πλ. βʹ 69v Χερουβικὸν καὶ κοινωνικὸν 71v 78v–81v blank «Αἰνεῖτε τὸν Κύριον...» τοῦ Κουκουζέλη 82r 88r–89v blank Κρατήματα 90r Θεοτοκίον 102v Τῇ Κυριακῇ τοῦ Πάσχα, κοινωνικόν· ἦχος Νανα 112r 110r–121r blank 121v–123r text with no music end of MS 123r Notes This Akolouthia is dated between the late 16th and 17th centuries, with portions written at different times. It appears that fols 1r–20v were written earlier, possibly in the late 16th century. These folios have a very wide margin, unlike the remainder of the MS, and the script for music and text is written in a much smaller writing by a different hand. These earlier folios contain the Psaltike Techne. The remaining folios, with the Akolouthia repertory, were probably written in the 17th century; they have regular margins and are written in a larger script for music and text. The MS is readable, with rubrics written in a brownish colour and neumes and text in a greyish black. The number of lines per page is variable because of the different scripts in the MS. The later scribe has left blank folios between distinct sections of the MS.

EBE 952

157

The contents of the MS are typical with the Psaltike Techne (fol. 2r); chants for Great Vespers (fol. 10r); Orthros (fol. 42r); the Liturgies of St John Chrysostom (fol. 63r), St Basil (fol. 67r) and Presanctified Gifts (fol. 69v); Cherubic and Communion hymns (fol. 71v); Kratemata (fol. 90r); and Theotokia (fol. 102v).

158

EBE 953

ΕΒΕ 953 ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: Turkish Measurements: 15.8 × 10 cm Folios: IIr-v + 217 + Ir-v Notation: Late Round Byzantine Date: 1771

I–IIv 1r 9r

blank Τῶν σημαδίων τῆς Ψαλτικῆς Τέχνης Τῶν κεκραγαρίων καὶ τῶν στιχηρῶν ἀναστασίμων τῶν τε καλλωπισμένων ἀπὸ κὺρ Χρυσάφου τοῦ νέου· ἦχος αʹ Δοξολογία κὺρ Μπαλασίου· ἦχος δʹ 133r Χερουβικὰ σύντομα, κὺρ Ἀντωνίου· ἦχος αʹ followed by various Stichoi for feasts 152r Τρισάγιον νεκρώσιμον· ἦχος πλ. βʹ 198r blank 216r 216v–217r These folios are written in a different script for music and text. Colophon: ͵αψοαʹ, Ἰανουαρίου κζʹ 217v blank Ir–v Notes This Anastasimatarion begins with the Psaltike Techne (fol. 1r) and then follows with a typical repertory of Anastasima chants for Vespers and Orthros (fol. 9r), Doxology by Balasios (fol. 133r), a shortened Cherubic hymn by Antonios (fol. 152r), and Nekrosimon Trisagion (fol. 198r). Fols 216v–217r are written by another hand in a different script. On fol. 217v there is a date of 27 Jan. 1771, presumably the colophon. The MS is clear and legible. It has a brownish leather binding. The text and neumes are written in black ink and the few rubrics and modal signatures are in red. There are about nine to ten lines of text and music per page.

EBE 954

159

ΕΒΕ 954 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: common Measurements: 15 × 10.2 cm Folios: I + 92 Notation: Late Round Byzantine Date: late 16th–17th c.

Ir Iv 1r 4v–6v 7r 16r–17v 18r 22r 26r 44r–45v 47r 62r 69v–70v 71r 79r–81v 84v 89r 91r 92r 92v

some scribbled, unclear writing blank «Ἀνοίξαντός σου τὴν χεῖρα...» blank Τὴν ἀκολουθίαν τῆς θείας Λειτουργίας τοῦ Ἰωάννου τοῦ Χρυσοστόμου· ἦχος βʹ blank Τρισάγιον Χερουβικῶν καὶ κοινωνικῶν τοῦ Ἠθικοῦ· ἦχος πλ. βʹ Κεκραγάρια, «Θεὸς Κύριος…» κατ’ ἦχον (other chants are also included and categorized according to modes) blank Τὰ ἀνοιξαντάρια blank blank Πολυέλεος λεγόμενος Κουκουμᾶς· ἦχος αʹ blank blank Ἐγκώμιον τῆς Θεοτόκου παρὰ τοῦ Κουκουζέλη· ἦχος δʹ Χερουβικῶν· ποίημα κὺρ Ἀνθίμου· ἦχος δʹ end of music writing in margins end of MS

Notes This Akolouthia is datable between the late 16th and the 17th century. Different scripts by different hands can be distinguished: scribbled writing on fol. Ir, a different music script on fols 1r–4r, and writing in the margins on fol. 92v. Similar to EBE MS 952, the sections of this Akolouthia (Anastasimatarion) are separated by blank folios. The MS is in fair condition and mostly readable. The binding is a dark black leather. The text and neumes are in a dim shade of black and the rubrics and modal signatures are in a lighter red. Although the lines per page are variable, the average is about nine to ten lines of music and text. The contents are typical: the Anoixantaria (fols 1r, 47r); Kekragaria (fol. 26r); Liturgy of St John Chrysostom (fol. 7r); Polyeleos (fol. 71r); Trisagion (fol. 18r); Cherubic and Communion hymns (fos. 22r, 91r); and Encomium for the Theotokos (fol. 89r). The attributions to composers are few but there are references to Koukoumas and Anthimos.

EBE 955

160

EBE 955 ANAΣTAΣIMATAΡION/ANASTASIMATARION Type of paper: Turkish Measurements: 14.7 × 10.2 cm Folios: I + 143 + V Notation: Late Round Byzantine Date: 18th c.

Ir–v 1r 108r 119v 141v 143v Ir–Vv

blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ἀναστασίμων τοῦ πρώτου ἤχου· τῷ Σαββάτῳ Ἑσπέρας εἰς τὸ, «Κύριε ἐκέκραξα…». The Kekragaria and other chants that follow are categorized according to modes. Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ἀναστασίμων τῷ Σαββάτῳ Ἑσπέρας· ἦχος πλ. δʹ Τῶν ἕνδεκα ἑωθινῶν Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς θείας Λειτουργίας· ἦχος πλ. βʹ end of MS blank

Notes This Anastasimatarion is typical in its repertory, with Anastasima chants from Orthros and Vespers on fols 1–119r, Heothina hymns on fol. 119v and the Liturgy of St John Chrysostom on fol. 141v. The condition of the MS is fair. The binding is dark brown leather. There are few rubrics in red ink and no authors are designated. The text and neumes are written in a greyish-black ink. There are about seven to eight lines of text and music per page.

EBE 956

161

ΕΒΕ 956 ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: Turkish Measurements: 13.5 × 9 cm Folios: 84 Notation: Late Round Byzantine Date: 18th c.

1r 9r 15r 19r 22v 29r 41v 42r 54v 66r 75r 83v 84r 84v

«Εὐφράνθητε, οὐρανοί, σαλπίσατε...». Chants from Vespers and Orthros, and Stichera from feasts follow according to the modes of the octoechos, beginning with Mode I Ἀρχὴ τοῦ δευτέρου ἤχου «Τὸν πρὸ αἰώνων ἐκ Πατρὸς γεννηθέντα...» Εἰς τοὺς αἴνους «Πᾶσα πνοὴ...» Ἀρχὴ τοῦ ἤχου γʹ «Τῷ σῷ Σταυρῷ, Χριστὲ Σωτήρ...» Ἀπὸ στίχου, ἦχος γʹ «Ὁ τὰ πάθη σου, Χριστέ...» Ἀρχὴ τοῦ ἤχου δʹ «Τὸν ζωοποιόν σου Σταυρόν...» blank Ἀρχὴ τοῦ ἤχου πλ. αʹ «Διὰ τοῦ τιμίου σοῦ Σταυροῦ, Χριστὲ...» Ἀρχὴ τοῦ ἤχου πλ. βʹ «Νίκην ἔχων, Χριστὲ...» Ἀρχὴ τοῦ ἤχου βαρέως «Δεῦτε, ἀγαλλιασώμεθα τῷ Κυρίῳ...» Ἀρχὴ τοῦ ἤχου πλ. δʹ «Ἑσπερινὸν ὕμνον καὶ λογικὴν...» Τέλος, ἦχος πλ. δʹ «Πορευθέντος σου ἐν πύλαις ᾅδου...» neumes added later text added later by Hieromonachos Stephanos

Notes This Anastasimatarion manuscript contains chants from Orthros, Vespers and also Stichera of feasts listed according to modes of the octoechos. There are no rubrics, only modal signatures in red ink. Moreover, no composers are indicated. Later additions of text and music are written on fol. 84v by the scribe, Stephen the Hieromonachos, who acknowledges his authorship. The neumes he added on fol. 84r–v are written in a larger script, setting them apart from the rest of the MS. Other additions in a later, larger handwriting in the margins of fos. 44v, 54v, 61v, 62v, 63r and 67v are also probably his. The MS, for the most part legible, is in fair condition with a dark rust-coloured leather binding. The text and neumes are in a lighter black ink. The number of lines per page varies.

162

EBE 957

ΕΒΕ 957 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: parchment Measurements: 26.5 × 18.5 cm Folios: 253 Notation: not fully developed; Early Middle Byzantine Date: 12th–13th c.

1 r

Ἀρχὴ σὺν Θεῷ τὸ Στιχηρὰριον Ἰησοῦ Χριστὲ καὶ τῆς ἁγίας Θεοτόκου· τῆς ἰνδίκτου καὶ μνήμῃ τοῦ ὁσίου πατρὸς ἡμῶν Συμεὼν τοῦ στυλίτου. Μὴν Σεπτέμβριος· ἦχος [?] «Ἐπέστη ἡ εἴσοδος…» Μὴν Ὀκτώβριος 17v Μὴν Νοέμβριος αʹ· τῶν Κοσμᾶ καὶ Δαμιανοῦ 28r Μὴν Δεκέμβριος δʹ· μάρτυρος Βαρβάρας 45v Μὴν Ἰανουάριος αʹ· ἡ περιτομὴ τοῦ Κυρίου καὶ μνήμῃ τοῦ Βασιλείου 69v Μὴν Φευρουάριος αʹ· τοῦ ἁγίου μεγαλομάρτυρας Τρύφωνος 90r Μὴν Μάρτιος αʹ· τῆς Εὐδοκίας 95v Μὴν Ἀπρίλιος αʹ· τῆς Μαρίας τῆς Αἰγυπτίας 100v Μὴν Μάϊος αʹ· φανέρωσις τοῦ τιμίου Σταυροῦ 102v Μὴν Ἰούνιος 104r Μὴν Ἰούλιος 113v Μὴν Αὔγουστος· τῷ αὐτῷ ϛʹ · ἡ μεταμόρφωσις τοῦ Κυρίου ἡμῶν 123r [Aug.] ιεʹ · κοίμησιν τῆς Θεοτόκου 127r Μὴν Ἰανουάριος κζʹ · τῷ λειψάνῳ τοῦ Χρυσοστόμου 135r Ἀπὸ τοῦ Τελώνου καὶ τοῦ Φαρισαίου· Κυριακῇ τοῦ Ἀσώτου 136r 151v–152r written text in the bottom margin 233v–236v With the exception of two lines of neumes on fol. 234r, these folios contain only text. badly damaged 248r–v text in poor condition 253r–v Notes This is an early Sticherarion of large dimension, but unfortunately its dark brown leather binding and folios are badly damaged. The lower part of fol. 48(r–v) is damaged and completely faded. Moreover, water damage affects the margin, and the remaining folios suffer from wormholes, making transcriptions very difficult. The overall MS is in poor condition. The rubrics are sparse and are indicated above. They are in a faded light brown colour and the text and neumes are also extremely pale and indistinct. There is an average of 17 lines of text and music per page. No composers’ names are given but selected feasts and some modal signatures are indicated. The Stichera for feasts are not always in the order of the liturgical calendar: i.e., fol. 135r indicates a January feast after August. However, most of the feasts follow the liturgical calendar from 1 Sept. through to 31 Aug.

EBE 958

163

ΕΒΕ 958 ΗΕΙΡΜΟΛΟΓΙΟΝ/HEIRMOLOGION Type of paper: bombycinous Measurements: cm. 14 × 9.4 cm Folios: 51 Notation: Middle Round Byzantine Date: 14th c.

1r 1 v 5 v 8r

Ἀρχὴ ᾠδὴ αʹ Ἀρχὴ ᾠδὴ βʹ Ἀρχὴ ᾠδὴ θʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τὸν ἕτ(ερον) αὐτοῦ· ἤχου αʹ. The Odes begin in Mode I and are predominantly in Modes I, III and IV. Εἰς τὴν Μεταμόρφωσιν τοῦ Κυρίου. The Odes are in Modes I, III and IV. 11r Ἀρχὴ ᾠδὴ ϛʹ· ἦχος δʹ 28r Ἀρχὴ ἦχος βαρύς 46r Ἀρχὴ τοῦ πλάγιος πρῶτος· Τέλος ἡ λειψάνου, Ἰανουάριος κζʹ· τοῦ ἤχου τοῦ τετάρτου 47r 51v The MS ends with the Plagal I Mode and does not complete the octoechos.

Notes This Heirmologion contains Odes that are categorized according to modes. The MS is incomplete, for not all of the octoechos is represented and, furthermore, some odes for feasts of a different mode are interpolated within another mode, i.e., on fol. 47r. The MS is in poor condition and suffers from severe water damage that makes it nearly impossible to transcribe the notation. It has a brown leather binding that is very damaged. The neumes, text, rubrics and modal indications are faded. Only the legible rubrics have been catalogued above. The Odes, with their numbering, are distinguished in a faded red script. On occasion, one can find an additional later script with black ink in the bottom margins. There are about seven lines of text and music per page. The numeration of the folios has been added in pencil. The MS obviously has missing folios from the ending but also from the beginning.

EBE 959

164

EBE 959 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: Turkish Measurements: 14 × 9.4 cm Folios: 36 + I Notation: Late Round Byzantine Date: 17th–18th c.

1r 4 v 20v 36v Ir–v

Πασαπνοάρια Χερουβικὰ καὶ κοινωνικά Δοξολογία ἑπτάφωνος· ποίημα κὺρ Μπαλασίου· ἦχος βαρύς. The Doxologia is followed by the Eulogetaria and Trisagia chants. music ends writings

Notes This is an incomplete Akolouthia manuscript with missing folios. After the music ends on fol. 36v, there is a fol. I with scribbled writing on its recto and verso. The overall condition of the MS is poor. Its binding is a darkish grey leather, severely deteriorated. The few rubrics are written in red and the text and neumes are in black ink. There are about seven lines of text and music per page. The contents of the Akolouthia are limited to music for the Orthros and include the Pasapnoaria, the Cherubic and Communion chants, Doxologia, Eulogetaria and Trisagia. The composers represented are of the newer post-Byzantine generation. Of interest is the work composed by Kyr Balasios, which is identified in the rubric as a ‘seven-tone’ (heptatonic) Doxologia (fol. 20v).

EBE 960

165

ΕΒΕ 960 ΥΜΝΟΝ ΕΚΚΛΗΣΙΑΣΤΙΚΟΝ ΤΗΣ ΕΥΡΩΠΑΪΚΗΣ ΜΟΥΣΙΚΗΣ/ EUROPEAN CHURCH MUSIC Type of paper: north Italian Measurements: 44 × 29 cm Pages: 24 Notation: Western, on five-line stave in score Date: early to mid-19th c.

1 24

Offertorio coll nye Samysiens maestro coeli. arr. fil. di Bola [?] e aisette nella musica del casinu [s?] di Bologna (the calligraphy of the inscription has the appearance of being in italics) ‘Domine Jesu Christe Rex gloriae libera omnium’ per Canto e coro end of MS

Notes This manuscript of 24 pages is unusual in the EBE collection, for it is one of the few examples of Western European music. On p. 1, the composition is classified as an Offertory from the collection of Samysiens [?], possibly originating from Bologna. The inscription indicates ‘del casinu di Bologna’. It is uncertain whether this is a reference to V. Caussinus, the author of the first methodologies on the bass ophicleide, Solfège-Méthode pour l’ophicléïde basse (Paris, ca. 1840). The composition Domine Jesu Christe Rex gloriae libera omnium, the Offertory in the Requiem Mass in the Latin rite, is arranged for over 20 parts: soprano (canto), chorus, violins, violas, cellos, flutes (flauti), oboes, high trumpets (clarinos) (clarini) in B flat, horns (corni) in F and C, trumpets (trombe), trombones in three parts, officleide [?] (ophicleide, a larger brass instrument in use by 1819), bassoons (fagotti) and timpani in A. The tempo marking is Andante with a 3/4 time signature and a key signature of four flats. The canto, a soprano solo, does not enter until the sixth bar. The 24 pages of music, text and introductory rubric are written with a black pen on white paper. The MS has minor wormhole damage but is still legible. The dimensions of the MS are rather large, with all the parts, instrumental and vocal, included. This MS may have been intended to be used as part-singing by the chorus and canto. The MS is dated around the early to mid-19th century, as indicated by the use of the ophicleide, which was known to be in use by ca. 1819.

EBE 961

166

ΕΒΕ 961 ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: Turkish Measurements: 20.8 × 14.3 cm Folios: I + 52 Notation: Late Round Byzantine Date: 18th c.

Ir–v 1r 5r 52r 52v

blank Σημαδίων τῆς Ψαλτικῆς Τέχνης Κατ’ ἦχον. Chants from Vespers and Orthros follow according to modes. Δοξολογία μεγάλη ψαλλόμενη ἐν τῷ τέλει τοῦ Ὄρθρου· ποιηθεῖσα παρὰ τοῦ θεοφιλεστάτου ἐπισκόπου Ῥαιδεστοῦ· ἦχος πλ. αʹ end of MS

Notes This Anastasimatarion from the eighteenth century is fairly clean and legible but has many missing folios, especially from the end. The MS has a brownish leather binding with no clasps. The few attributions are written in red ink. The neumes and text are in black ink. The folios have 15–16 lines of text and music per page. The first four folios contain the neumes of the Psaltike Techne. With fol. 5r, the chants from Vespers and Orthros begin and are categorized according to the modes of the octoechos. On fol. 52r is the Greater Doxology for the end of Orthros by the composer Bishop Raidestinos.

EBE 962

167

ΕΒΕ 962 ΑΝΘΟΛΟΓΙΟΝ/ANTHOLOGION Type of paper: Turkish Measurements: 17 × 10.5 cm Folios: IX + 358 + VIII Notation: Late Round Byzantine Date: late 18th c.

Ir–IXv 1r 180r 156v 157r 173r 242r 244r 358r 358v Ir–VIIIv

blank Κεκραγάρια ἀρχαῖα, ἅτινα ἐξηγήθησαν τῷ Κυρίῳ Ἀναστασίῳ τῷ Μεσολογγίτῃ κατὰ τὴν παράδοσιν τοῦ μουσικολογιωτάτου Πρωτοψάλτου κὺρ Δανιήλ, τοῦ γνησίου διδασκάλου αὐτοῦ Πολυέλεος συνοπτικὸς σύνθεσις κὺρ Πέτρου Δομεστίκου Πελοποννησίου· ἦχος βαρύς blank Πολυέλεος τοῦ κὺρ Ἰωάννου Πρωτοψάλτου Μεγάλης Ἐκκλησίας· ἦχος αʹ Πολυέλεος τοῦ κὺρ Δανιὴλ Πρωτοψάλτου Κράτημα Κοινωνικά. This section includes Communion hymns for various feast days. Κρατήματα τῶν κοινωνικῶν end of MS sporadic writings

Notes This Anthologion is in fair condition, with a brownish leather binding. The MS is readable, but there are some places throughout where the black and red inks are smudged and do not transmit with clarity the texts and neumes or rubrics. There are eight to nine lines of text and music per page. The opening rubric states: ‘Ancient Kekragaria, as interpreted by Kyrie Anastasios from Messolonghi, the interpreter accordingly of the heritage of the most musical Protopsaltes Kyr Daniel, the genuine teacher.’ This rubric further informs the reader that the MS begins with the Kekragaria. More importantly, the names of Anastasios the interpreter (more than likely being Anastasios Proikonesios) and Daniel Protopsaltes place the date of the MS in the late 18th century. Assuming that Anastasios is the ‘interpreter’ at the Great Church, the date can be placed somewhere between 1789 and 1794. The contents include the chants from Vespers and Orthros (fols 1r–241v), Communion chants (fol. 244r) and Kratemata (fols 242r, 358r), which end with fol. 358v. The added folios at the end have some sporadic writings, added later. Bibliography Chaldaiakis, Ὁ Πολυέλεος.

EBE 963

168

ΕΒΕ 963 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: common Venetian-Cretan Measurements: 14.3 × 9 cm Folios: III + 355 + VIII Notation: Late Round Byzantine Date: first half of 17th c.

Ir–IIIv 1r 4r 5r 13r–14r 14v 51r 60v 71r 77r 79r 84v 86v 105r 112v 120v 121r 121v 122r 122v 123r 123v 124r 124v

blank Σύνθεσις κὺρ Δημητρίου· ἦχος αʹ «Χριστὸς ἀνέστη...» «Φῶς ἱλαρόν...» Τῶν σημαδίων τῆς Ψαλτικῆς Τέχνης blank Ἀρχὴ τοῦ μεγάλου Ἑσπερινοῦ παρὰ κὺρ Βενεδίκτου Ἐπισκοποπούλου καὶ Πρωτοπαπᾶ Ῥεθύμνης. This is followed by the names of other composers from Crete. «Μακάριος ἀνὴρ…» τοῦ κὺρ Δημητρίου· ἦχος δʹ Κεκραγάριον παρὰ κὺρ Δημητρίου Πρωτοψάλτου Κρήτης Ἑσπέρας προκείμενον Κρατήματα· ὁ ἀνακαρᾶς καθὼς γράφεται· ἦχος α´ Ἀηδὼν ποίημα κὺρ Βενεδίκτου· ἦχος β´ Κράτημα τοῦ Γλυκέως· ἦχος πλ. β´ Θεοτοκίον τοῦ κὺρ Βενεδίκτου Πολυελέου παρὰ κὺρ Βενεδίκτου Ἐπισκοποπούλου ... μιμημένου τοῦ μέλους τοῦ λεγόμενου Κουκουμᾶ καὶ Λατρινοῦ Τοῦ αὐτοῦ «Τὸν Σηὼν βασιλέα…» Τοῦ αὐτοῦ «Στόμα ἔχουσι καὶ οὐ λαλήσουσι…» «Λέγε … αἱ νοεραὶ δυνάμεις βοῶσιν ἐν ὑψίστοις…» Τοῦ αὐτοῦ «Στόμα ἔχουσι…» Τοῦ αὐτοῦ «Ὀφθαλμοὺς ἔχουσι καὶ οὐκ ὄψονται…» «Σἐ, Τριάς, δοξάζομεν, ὑμνολογοῦμεν καὶ λατρεύομεν…» Τοῦ αὐτοῦ «Ὦτα ἔχουσι καὶ οὐκ ἐνωτισθήσονται…» «Λέγε… ὑμνοῦμέν σε, εὐλογοῦμέν, βασιλεῦ ἅγιε…» Τοῦ αὐτοῦ «Οὐδὲ γάρ ἐστι πνεῦμα…» «ἄγγελοι ὑμνήσατε καὶ ἄνθρωποι δοξάσατε…» Τοῦ αὐτοῦ «Ὅμοιοι αὐτοῖς γένοιντο οἱ ποιοῦντες…» «ὑμνοῦσιν ἐν ὑψίστοις, χοροὶ τῶν ἀρχαγγέλων…» Τοῦ αὐτοῦ «Καὶ πάντες οἱ πεποιθότες…» «ἀλαλάξατε τῷ Θεῷ, ἐν φωνῇ ἀγαλλιάσεως…» Τοῦ αὐτοῦ «Οἶκος Ἰσραήλ, εὐλογήσατε τὸν Κύριον…» «ἅγιον καὶ φοβερὸν τὸ ὄνομα αὐτοῦ…» Τοῦ αὐτοῦ «Οἶκος Ἀαρών, εὐλογήσατε τὸν Κύριον…» «ἅγιε, ἅγιε, ἅγιε, τρισάγιε…» Τοῦ αὐτοῦ «Οἶκος Λευΐ, εὐλογήσατε τὸν Κύριον…» «σοὶ δόξα πρέπει,τῶ Πατρί…» Τοῦ αὐτοῦ «Οἱ φοβούμενοι τὸν Κύριον, εὐλογήσατε τὸν Κύριον…» «ᾄσατε, τῷ Κυρίῳ ἡμῶν, ᾆσμα πᾶσα ἡ γῇ…»

EBE 963

125r 126r 134r-v 135r-v

136r 137r 137v 138r 138v 139v 140r 140v 141v 142v 149r 175r 188r 201r 238r

169

Τοῦ αὐτοῦ «Εὐλογητὸς Κύριος ἐκ Σιών ὁ κατοικῶν Ἱερουσαλήμ…» «τοὺς ὀρθοδόξους ἄνακτας, τοὺς ἐκ ψυχῆς σε, κόρη…» Τοῦ Δημητρίου (Νταμία)· ἦχος α´ «Εὐλογητὸς Κύριος ἐκ Σιὼν ὁ κατοικῶν Ἱερουσαλήμ» «μέλψωμεν, πάντες, μέλψωμεν, τὴν κεχαριτωμένην…» Τριαδικὸν ὡραιότατον ψαλλόμενον εἰς οἵαν δοχὴν τοῦ πολυελέου βούλεταί τις καὶ τοῦτο καθὼς παρὰ κὺρ Βενεδίκτου τοῦ Ἐπισκοποπούλου γράφεται καὶ ψάλλεται· ἦχος πλ. δ´ καὶ Δημητρίου τοῦ Νταμία Τὸ αὐτὸ τριαδικὸν, καθὼς γράφεται παρὰ κὺρ Δημητρίου τοῦ Νταμία καὶ Πρωτοψάλτου Κρήτης, εἰς ὡραιοτέραν σύνθεσιν τῶν τε φωνῶν καὶ χειρονομιῶν· ἦχος πλ. δ´, τὸ ὁποῖο … συμφώνως πρὸς παλαιά, ὡς εἴδομεν ἀνωτέρω, παράδοσι … παρατίθεται αὐτονόμως, ἄνευ συγκεκριμένου ψαλμικοῦ στίχου, ὡς ψαλλόμενο, ἐνδιαφερόντως, «εἰς οἵαν δοχὴν τοῦ πολυελέου βούλεταί τις… » Πολυέλεος τοῦ Ἰγνατίου Φριέλου «Στόμα ἔχουσι καὶ οὐ λαλήσουσι…» «Λέγε … αἰνεῖτε, δοξολογεῖτε, προσκυνεῖτε…» Τοῦ αὐτοῦ «Ὀφθαλμοὺς ἔχουσι καὶ οὐκ ὄψονται» «Λέγε… δόξα σοι, τῷ ὑπερανάρχῳ Θεῷ…» Τοῦ αὐτοῦ «Ὦτα ἔχουσι καὶ οὐκ ἐνωτισθήσονται…» «Λέγε… σέ, τὴν τρισυπόστατον μονάδα καὶ ὁμοούσιον Τριάδα…» Τοῦ αὐτοῦ «Οὐδὲ γάρ ἐστι πνεῦμα ἐν τῷ στόματι αὐτῶν…» «Λέγε… δόξα, τῷ πλήθει τῆς μεγαλωσύνης σου…» Τοῦ αὐτοῦ «Ὅμοιοι αὐτοῖς γένοιντο οἱ ποιοῦντες αὐτὰ…» «Λέγε… δόξα σοι, τῷ ὑπερανάρχῳ καὶ ἀκαταλήπτῳ…» Τοῦ αὐτοῦ «Καὶ πάντες οἱ πεποιθότες ἐπ᾽ αὐτοῖς…» «Λέγε… σοὶ πρέπει αἶνος, σοὶ πρέπει δόξα…» Τοῦ αὐτοῦ «Οἶκος Ἰσραήλ, εὐλογήσατε τὸν Κύριον…» «Λέγε… φόβῳ σοὶ παρίστανται τὰ Χερουβὶμ καὶ τὰ Σεραφίμ…» Τοῦ αὐτοῦ «Οἶκος Ἀαρών, εὐλογήσατε τὸν Κύριον…» «Λέγε … βασίλισσα τῶν οὐρανῶν, παρθένε Θεοτόκε…» Τοῦ αὐτοῦ «Οἶκος Λευΐ, εὐλογήσατε τὸν Κύριον…» «Λέγε … κυρία, μήτηρ τοῦ παντός, λύτρωσαι σοὺς ἱκέτας…» Τοῦ αὐτοῦ «Οἱ φοβούμενοι τὸν Κύριον, εὐλογήσατε τὸν Κύριον…» «Λέγε… σὲ μεγαλύνομεν, ἁγνή, τὴν τοῦ φωτὸς νεφέλην…» Τοῦ αὐτοῦ «Εὐλογητὸς Κύριος ἐκ Σιὼν ὁ κατοικῶν Ἱερουσαλήμ … σὲ μεγαλύνομεν, τὴν ὄντως Θεοτόκον…» Ἡ μεγάλη δοξολογία ... παρὰ κὺρ Βενεδίκτου Ἐπισκοποπούλου· ἦχος πλ. βʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς Θείας ... Λειτουργίας τοῦ ἐν ἁγίος πατρὸς ἡμῶν Ἰωάννου Ἀρχιεπισκόπου Κωνσταντινουπόλεως τοῦ Χρυσοστόμου ... παρὰ κὺρ Δημητρίου Νταμίαν καὶ Πρωτοψάλτου Χανυδάκου [i.e. Χάνδακος] Κρήτης· ἦχος αʹ Ἕτερον τρισάγιον ὅ λέγουσιν οἱ ἱερεῖς τοῦ βήματος, καθὼς ψάλλεται παρὰ κὺρ Νταμία καὶ Πρωτοψάλτου Χάνδακος Κρήτης· ψάλλεται παρὰ πάντων τῶν ἱερέων ἰσοφώνως (This trisagion ... chanted by Dimitios Damias Protopsaltes of Crete, chanted by the priest ‘isophonos’ [one voice, that is a melody without the isokratema?]) Χερουβικὸν κατ’ ἦχον τοῦ κὺρ Δημητρίου Νταμία καὶ Πρωτοψάλτου Χανυδάκου (Χάνδακα)· ἦχος αʹ. Then follow other Cherubic hymns according to modes by other Cretan composers. Κὺρ Ἰωάννου τοῦ Πλουσιαδηνοῦ· ὡς καὶ παρὰ κὺρ Βενεδίκτου Ἐπισκοποπούλου· ἦχος πλ. δʹ«Μεγαλύνει ἡ ψυχή μου τὸν Κύριον τὸν ποιήσαντα...»

170

266r 269r 273v 293r 293v 294r 294v 295r 295v 296r 296v 297r 297v 298v 303v 313r 335r 335v 341r 345v 347v 349v 350r 355r Ir–VIIIv

EBE 963

Θεοτοκίον· ποίημα κὺρ Κοσμᾶ μοναχοῦ τοῦ Βαράνη· ἦχος αʹ Κοινωνικά, κὺρ Ἀντωνίου Ἐπισκοποπούλου καὶ Πρωτοψάλτη τοῦ Κυδωνίας· ἦχος αʹ «Αἰνεῖτε τὸν Κύριον...» Τοῦ κὺρ Βενεδίκτου καὶ Βουλγάρας· ἦχος αʹ «Αἰνεῖτε τὸν Κύριον...» Other Communion chants follow by different composers. Κὺρ Δημητρίου τοῦ Νταμία καὶ Πρωτοψάλτου· ῆχος πλ. δ´ «Ὁ ἑωρακὼς ἐμὲ…» Τοῦ αὐτοῦ· ἦχος πλ. δ´ «Ὡς ἐμνήσθης Χριστέ…» Τοῦ αὐτοῦ· ἦχος πλ. δ´ «Ὁ τρώγων μου τὴν σάρκα…» Κὺρ Βενεδίκτου Ἐπισκοποπούλου· ἦχος πλ. δ´ «Ὡς ἐμνήσθης Χριστέ…» Τοῦ αὐτοῦ· ἦχος δ´ «Ὁ τρώγων μου τὴν σάρκα…» Κὺρ Δημητρίου τοῦ Νταμία, τῇ Κυριακῇ τοῦ Ἀσώτοῦ· ἦχος α´ «Ἀναστὰς πορεύσομαι…» Τῇ Παρασκευῇ τῆς Ἀναλήψεως, τοῦ κὺρ Βενεδίκτου· ἦχος πλ. δ´ «Ἄνδρες Γαλιλαῖοι…» Τοῦ αὐτοῦ· ἦχος πλ. δ´ «Ὡς ὁ ληστὴς ὁμολογῶ σοι…» Τοῦ αὐτοῦ κὺρ Δημητρίου· ἦχος πλ. α´ «Ὁ ἑωρακὼς ἐμὲ…» Τοῦ αὐτοῦ· ἦχος πλ. α´ «Κύριε σὺν τῷ ληστῇ…» Τοῦ αὐτοῦ· ἦχος πλ. δ´ «Τὴν φωνήν σοι προσάγομεν…» Τοῦ αὐτοῦ κὺρ Δημητρίου· ἦχος α´ «Κύριε σὺν τῷ ληστῇ…» Τοῦ αὐτοῦ κὺρ Δημητρίου· ἦχος πλ. δ´ «Πιστεύω Κύριε καὶ ὁμολογῶ…» Κὺρ Δημητρίου· τῇ Λαμπρᾷ Κυριακῇ· ἦχος α´ «Χριστὸς ἀνέστη…» Κὺρ Ἀνδρέου ἱερέως τοῦ Μοροντζανέττου· ἦχος α´ «Ἐὰν μὴ φάγητε…» Τοῦ αὐτοῦ ποιητοῦ· ἦχος δ´ «Ὡς ὁ ληστὴς ὁμολογῶ σοι…» Κὺρ Δημητρίου τοῦ Νταμία· ἦχος πλ. α´ «Ἡ σάρξ μου ἀληθής ἐστι βρῶσις…» Εἰς τὴν μετάδοσιν τοῦ ἀντιδώρου· τοῦ κὺρ Δημητρίου Νταμίου· ἦχος α´, τρίφωνος δ´ «Εἴν τὸ ὄνομα Κυρίου εὐλογημένου…» Ἡ Θεία Λειτουργία τῶν Προηγιασμένων καθὼς παρὰ κὺρ Βενεδίκτου Ἐπισκοποπούλου γράφεται· ἦχος πλ. βʹ Ἡ Θεία Λειτουργία τοῦ Μεγάλου Βασιλείου καθὼς παρὰ τῶν νέων διδασκάλων ψάλλεται τὸ παρὸν ἔστι δὲ κὺρ Ἰωάννου ἱερέως τοῦ Πλουσιαδηνοῦ ὡς καὶ παρὰ κὺρ Δημητρίου τοῦ Νταμία καὶ Πρωτοψάλτου Χανδάκου· ἦχος πλ. δʹ Χερουβικὸν καὶ κοινωνικόν Δοξολογία μεγάλον καὶ ᾀσματικόν· ποίημα κὺρ Δημητρίου τοῦ Νταμία καὶ Πρωτοψάλτου· ἦχος αʹ Δοξολογία, κὺρ Ἰωάννου τοῦ Πλουσιαδηνοῦ. Κυριακῇ γʹ, τῶν ἁγίων νηστειῶν· κοινωνικὸν ποίημα κὺρ Κοσμᾶ μοναχοῦ· ἦχος δʹ Κυριακῇ τῶν Βαΐων, κὺρ Κοσμᾶ· ἦχος δʹ Κοινωνικόν, Κυριακῇ τοῦ Θωμᾶ· κὺρ Κοσμᾶ· ἦχος πλ. αʹ Θεοτοκίον ... παρὰ κὺρ Κοσμᾶ μοναχοῦ τοῦ Βαράνου· ἦχος πλ. δʹ Τροπάρια ψαλλόμενα ἀπὸ τῇ Κυριακῇ τοῦ Τελώνου καὶ Φαρισαίου μέχρι τῇ εʹ Κυριακῇ τῶν ἁγίων νηστειῶν· παρὰ κὺρ Δημητρίου τοῦ Νταμία γράφονται Ἕτερον τοῦ αὐτοῦ· εἰς τρόπον τῆς μελωδίας δυτικόν «Σὺ ἔπλασάς με Κύριε…» (Another by Dimitrios Damias [?]; in the manner of a Western melody) blank

EBE 963

171

Notes This is a wonderfully rich Akolouthia for the study of the 17th-century Cretan School of composers. The MS is in good condition and legible for the most part, with a light brownish leather binding. The folios are small and contain about seven to nine lines of text and music per page. Coloured ink is used in the MS for borders of rubrics. The attributions, modal signatures and hypostaseis are in red ink, the text and neumes in black ink. There is much non-standard usage in the language. Whereas EBE MS 917 by Akakios Chalkeopoulos has the early Cretan musical traditions of ca. 1500–20, this rich Akolouthia contains repertory from the 15th century (Ioannes Plousiadenos) to the 17th. The composer Dimitrios Damias, who is well represented, was known to have become the Protopsaltes of Chandaka in 1610. Some other composers include Benedictus Episcopopoulos [Episcopoulos], Kosmas Varanes, Andreas, priest from Morontazanettes, and Antonios Episkopopoulos [Episcopoulos]. In several instances, the newer composers take the melodies of Plousiadenos, Koukoumas and Latrinos and compose their own versions. The repertory of the MS begins with Damian’s composition of the Easter troparion. The Psaltike Techne is found between fols 5r and 12v. Beginning with fol. 14v, the chants of Vespers and Orthros in the Cretan tradition follow. Also included are liturgies by Damias (St John Chrysostom and Basil) on fol. 175r and Benedictus Episcopopoulos (Presanctified Gifts) on fol. 298v. Communion hymns (fols 269r, 341r and 347v), Cherubic hymns (fol. 313r) and Troparia (fol. 350r) are represented from the Triodion and Pentecostarion periods. This MS has evidence of possible Western influence on Cretan liturgical music. The most obvious indication is the rubric on fol. 355r that states that this Byzantine melody was to be sung in the manner of the West. But there are further indications with the double melodies that are notated by the various Cretan composers on fols 293r-v, 294 r-v, 295r-v, 296r-v and 297r-v. Bibliography Adamis, ‘An Example of Polyphony in Byantine Music’. Amargianakes, “Ἡ Κρητικὴ Βυζαντινὴ καὶ παραδοσιακὴ μουσικὴ”. Chaldaiakis. Ὁ Πολυέλεος. Conomos, ‘Experimental Polyphony’. Dragoumis, “Ἡ δυτικίζουσα ἐκκλησιαστικὴ μουσική μας στὴν Κρήτη καὶ στὰ Ἑπτάνησα”. Manoussakas, ‘Recherches sur la vie de Jean Plousiadénos (Joseph de Méthone)’. Panagiotakes, Ἡ Μουσικὴ στὴν Κρήτη κατὰ τὴ Βενετοκρατία. —— Ἡ Παιδεία καὶ ἡ Μουσικὴ στὴν Κρήτη κατὰ τὴν Βενετοκρατία. Romanou, “Ἕνα ἀρχεῖο ‘Κρητικῆς Μουσικῆς’ στὴν Φιλαρμονικὴ Ἑταιρεία Κερκύρας”. Schartau, ‘A Checklist of the Settings of George and John Plousiadenos’. Stathis, G., “Διπλοῦν μέλος”. Touliatos, “Ἡ πρακτικὴ ἐκτέλεσης τῆς Βυζαντινῆς μουσικῆς”. —— ‘Ioannes Plousiadenos: The Man, his Music, and his Musical Treatise’.

EBE 964

172

ΕΒΕ 964 ΕΙΡΜΟΛΟΓΙΟΝ ΤΟΥ ΠΕΤΡΟΥ ΠΡΩΤΟΨΑΛΤΟΥ/HEIRMOLOGION OF PETROS PROTOPSALTES Type of paper: thin paper with glossy texture Measurements: 15 × 10.5 Folios: 136 Notation: Late Round Byzantine Date: 1806

1r–v 2r

88v 95r 97v 136v

blank Εἱρμολόγιον σὺν Θεῷ ἁγίῳ περιέχον πάντας τοὺς εἱρμοὺς τῶν τε δεσποτικῶν καὶ τῶν θεομητορικῶν ἑορτῶν καὶ ὅλου τοῦ ἐνιαυτοῦ, ποίημα Πέτρου Πρωτοψάλτου τῆς Ἁγίας τοῦ Χριστοῦ Μεγάλης Ἐκκλησίας τοῦ Βυζαντίου· σύντομον· ἦχος αʹ. Odes are listed according to modes. Ἀρχὴ κατ’ ἦχον καθισμάτων Ἄμωμος Καταβασίαι τοῦ Τριῳδίου, τῇ Κυριακῇ τοῦ Τελώνου καὶ τοῦ Φαρισαίου Τέλος ἐν μηνὶ Αὐγούστῳ, ͵αωσʹ

Notes This manuscript contains the well-known Heirmologion of Petros Protopsaltes, also known as Petros Peloponnesios, the Lampadarios, first domestikos of the Hagia Sophia of Constantinople. The colophon on fol. 136v dates this MS as Aug. 1806. Since Petros the Protopsaltes is purported to have died ca. 1778–84, this MS would not be an autograph. He was known to have been a teacher at the newly founded Patriarchal School of Music in Constantinople, and many examples of his Heirmologion MSS have survived. The MS is in good condition and legible, with a newer binding that is also in decent condition. The rubrics and modal indications are written in red ink. The text and neumes are in black. The folios average from eight to ten lines of text and music per page. The MS contains the Heirmoi and Odes (fols 2r–88r) for most of the major feasts and are categorized according to the octoechos. Then follow the Kathismata according to modes on fol. 88v. There is a synoptic version of the Amomos included on fol. 95r that is followed by the Katabasiai (fol. 97v) for the Triodion period. In comparison with other similar MSS by Petros Protopsaltes, this is a shortened version. Bibliography Patrinelis, ‘Protopsaltae’.

EBE 965

173

EBE 965 ΑΚΡΙΒΕΙΑ ΚΑΤ’ ΕΡΩΤΗΣΙΝ KAI ΑΠΟΚΡΙΣΗΝ ΤΩΝ ΤΟΝΩΝ ΤΗΣ ΠΑΠΑΔΙΚΗΣ ΤΕΧΝΗΣ/MUSIC TREATISE Type of paper: thin and glossy Measurements: 16.3 × 10 cm Folios: 94 Notation: Late Middle Byzantine Date: 18th c.

1r 2r 21r 22v 28v 32r 33r 35r 37v 38r 38v 40r 44v 45v 46v 48v 51r 56r–v 57r 64v 73r 74v 75r 78v 80r 80v 83r 92v

Ἀκρίβεια κατ’ ἐρώτησιν καὶ ἀπόκρισιν τῶν τόνων τῆς Παπαδικῆς Τέχνης Ἑρμηνεία τῶν τόνων Εἰς τῶν ἀνιουσῶν φωνῶν· καὶ ἀρχὴ τῶν κατιουσῶν Μαρτυρία ... κυροῦ Ἰωάννου τοῦ Δαμασκηνοῦ Περὶ δὲ τῶν δύο ἀποστρόφων Περί τῆς διπλῆς Παραλλαγή Περὶ τοῦ κρατήματος Τὸ τζάκισμα Ξηρὸν κλάσμα Ἑρμηνεία τῆς ὑπορροῆς Σείσματος Γοργό Ἑρμηνεία τῶν φθορῶν ὁποὺ εἶναι εἰς τοὺς οἴκους καὶ εἰς τοὺς δοχαῖς· καὶ ἄλλαι τιναί [sic] Ἰδιόμελον· ἦχος πλ. βʹ ἀπὸ τῶν μεγάλων δοχῶν Τὰ προκείμενα τῆς ὅλης ἑβδομάδος Ἑρμηνεία τῶν ὀκτὼ ἤχων, πόθεν ἤχων ἀνεφύησαν καὶ ἀναδείχθησαν καὶ τίς ἄλλον ἀπέτεκε ὡς πῶς καλὰ ταῖς εἰς ἑκάστην ὥρα Μουσικὸν, λαοῦ ἄρχων τυγχάνων πρῶτε. πρώτας σὲ δύο, εὐλογοῦμεν τοῖς λόγοις blank Τοῦ ὁσίου πατρὸς ἡμῶν Ἰωάννου τοῦ Δαμασκηνοῦ. ἐρωτοαπόκρισην τῆς Παπαδικῆς Τέχνης, περὶ σημαδίων καὶ τόνων καὶ φωνῶν καὶ πνευμάτων καὶ κρατημάτων καὶ παραλλαγῶν καὶ ὅσα ἐν τῇ Παπαδικῇ Τέχνῃ· διαλαμβάνουσιν Ἄκουσον καὶ περὶ τοῦ σείσματους Ἑτέρα ἑρμηνεία· σκοπὸν ὅσον τοῦτο Τόνοι μετὰ μέλους ... Περὶ τόνων Περὶ φωνῶν· εἰς ἀνιοῦσαι φωναὶ ἔχουσιν οὕτως, εἶτα ἄρχονται αἱ φωναί Διαίρεσις τῆς μουσικῆς· διαιρεῖται εἰς τρία Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν μικρῶν ἠχημάτων· ἤγουν τοῦ θεμελίου τῶν ὀκτὼ ἤχων Τέλος τῶν ἠχημάτων καὶ ἑρμηνεία αὐτῶν Ἀρχὴ τῆς διπλοφωνίας ἑτέρα μέθοδος· ἑρμηνεία τῆς παραλλαγῆς τοῦ Κουκουζέλη τοῦ τροχοῦ

EBE 965

174

94r 94v

Μέθοδος εἰς μαθητὴν ὠφελιμοτάτη end of MS

Notes This manuscript is a Pseudo-Damaskenos ‘question–answer’ music treatise on the Papadike. Its contents are purported to be similar to but shorter than Koutlousmousi MS 461, which mysteriously disappeared from the Koutloumousi Monastery of Mt Athos but was mentioned by Simon Karas in his Theory: Methodology of Greek Music. The MS also has sections similar to EBE MS 968, Dionysiou MS 570 and Paris Gr. MS 360, the so-called Hagiopolites, a MS from Jerusalem written by Kosmas and John Damascene. The MS is in fairly good condition, with a binding in brownish-red leather. The lines of text and music per page average 15. Orthographic errors occur with homophonic sounds: i.e., use of omicron instead of the omega. There are also many peculiarities of language that could be attributed to the Italo-Greco dialect used in the island during this period. The MS is an 18thcentury recension of an earlier source, a treatise on the notation and musical practice of Middle Byzantine notation. The MS follows the model of the Socratic dialogue between teacher and student. The contents include the interpretation or study of the modes; ascending and descending order of neumes; modal signatures (fol. 22v, where John Damascene’s name is given); information on specific neumes and hypostaseis; Parallage or modal modulations; and modulation signatures. On fol. 57r, the treatise of John Damascene formally begins with his interpretation of the Papadike, which encompasses common topics including Echemata and even ‘division of music into three’ on fol. 80r. The MS also has the ‘interpretation of the Parallage of the Koukouzelian trochos’ (wheel of modes). Bibliography Alygizakes, Ἡ Ὀκταηχία στὴν Ἑλληνικὴ Λειτουργικὴ Ὑμνογραφία. Dragoumis, ‘A Contribution to the Study of the Interpretation of Late Byzantine Notation’, vol. 2, p. 752. Karas, Μέθοδος τῆς Ἑλληνικῆς Μουσικῆς Θεωρητικόν, i. Pseudo-John Damascene, Die Erotapokriseis des Pseudo-Johannes Damaskenos zum Kirchengesang, ed. Wolfram and Hannick. Raasted, ‘The Hagiopolites’. Tardo, L’antica melurgia bizantina.

EBE 966

175

ΕΒΕ 966 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: thin Measurements: 10.8 × 8 cm Folios: 30 + I Notation: Late Round Byzantine Date: early 19th c.

1r 23v 24r 30v Ir–v

Χερουβικὰ κὺρ Θεοδώρου· ἦχος αʹ Τοῦ βήματος· ἦχος βʹ Τρισάγιον νεκρώσιμον, ποίημα κὺρ Μπαλασίου τὸ ἐξηγητόν· ἦχος πλ. βʹ, Νενανω «Ἅγιος ὁ Θεὸς...» end of MS blank

Notes These 30 folios (plus a concluding blank folio) are probably a section from another manuscript. The sparse contents – a Cherubic hymn by Kyr Theodoros (fol. 1r), the ‘vimata’ (steps) of Mode II (fol. 23v) and a Nekrosimon Trisagion interpreted by Kyr Balasios (fol. 30v) – place this MS into the category of an Akolouthia or Anthologia. The miniature MS is very clean and legible, with a newer light brown binding. The rubrics are in a bright red ink and the neumes and text are in black. The small folios allow for about six lines of text and music.

176

EBE 967

ΕΒΕ 967 ΕΙΡΜΟΛΟΓΙΟΝ/HEIRMOLOGION Type of paper: Turkish Measurements: 21 × 15.8 cm Folios: III + 177 Notation: Late Round Byzantine Date: mid-18th c.

Ir–IIIv 1r

blank Εἱρμολόγιον σὺν Θεῷ ἁγίῳ νεωστὶ καλλωπωθὲν παρὰ κὺρ Μπαλασίου ἱερέως καὶ νομοφύλακας [sic] τῆς Μεγάλης Ἐκκλησίας· συνετέθη δὲ ὡς ᾆσμα· μελῳδεῖται ἐκ Κωνσταντινούπολει μετὰ πλείστης ἐπιμελείας· ᾠδὴ αʹ· ἦχος αʹ. All odes are listed according to modes. Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον προσομοίων· ἦχος αʹ 149v Ἀρχὴ σὺν Θεῷ τῶν κατ’ ἦχον καθισμάτων· ἦχος αʹ 157r Ἐξήγησις κὺρ Μπαλασίου ἱερέως· εἰς τὸ ἐξ Ἀθηνῶν νεκρώσιμον· ἦχος πλ. βʹ. This is a 171v Nekrosimon Trisagion from Athens as interpreted by Kyr Balasios. 172v–173r blank Ἄμωμος ψαλλόμενος εἰς κοιμημένους ... ὑπὸ τοῦ Νέου Χρυσάφη· ἦχος βʹ 173v blank 177r end of MS. This folio has a text that appears to be a later addition. 177v Notes This Heirmologion contains the typical musical repertory for this type of MS but as interpreted by Kyr Balasios, the priest and ‘keeper of the laws’ (nomophylax) of Hagia Sophia in Constantinople. The MS is in fair condition and for the most part is readable. It has a newer cloth binding. The rubrics and modal signatures are in a brownish red colour and the text and neumes are in a lighter black. There are about 15–17 lines of text and music per page. Three blank folios precede fol. 1r, which has the main rubric attributing the compositions to Kyr Balasios. The MS begins with the Odes according to modes and continues with the Prosomoia (fol. 149v) and Kathismata hymns (fol. 157r), also according to modes. Of interest is the Nekrosimon Trisagion from the Athens tradition (fol. 171v) as interpreted by Kyr Balasios. The Amomos for Laymen (fol. 173v) is the newer version by Chrysaphes the Younger, but as interpreted by Balasios.

EBE 968 (olim 75)

177

ΕΒΕ 968 (olim 75) ΔΙΔΑΣΚΑΛΙΑ ΜΟΥΣΙΚΗΣ ΤΕΧΝΗΣ/MUSICAL TREATISE Type of paper: Turkish Measurements: 21.3 × 15.5 cm Folios: 184 + III Notation: Middle Byzantine Date: 17th–18th c.

1r 25r 48r 53v 54r 54v 55v 56v 58r 58v 60r 60v 67v 73r 73v 75r 80v 83r 84r 87r 88r 90r 92r 92v 103v 104r 105r

Ἀκρίβεια καὶ διδασκαλία τῆς Μουσικῆς Τέχνης· κατ’ ἐρωταπόκρισιν τῶν τε τόνων καὶ σημαδίων καὶ φωνῶν τῆς Παπαδικῆς Τέχνης. ἀρχὴ τῶν ἀνιουσῶν φωνῶν. Ἀρχὴ τῶν κατιουσῶν φωνῶν Περὶ τοῦ σείσματος τοῦ λεγομένου εἰς τὸ ᾀσματικὸν φρύγιον end of discussion on the signs/neumes (ἑπταφωνίαν) Τί ἐστι προσῳδία names of the modes: Dorian, Phrygian, Lydian, Mixolydian Ὀνόματα πλαγίων· ὑποδώριος, ὑπολύδιος, ὑποφρύγιος, ὑπομιξολύδιος Ὀκτώηχος παρὰ κυροῦ Κοσμᾶ καὶ κυροῦ Ἰωάννου Δαμασκηνοῦ Τοὺς τεσσάρους ἤχους ... ὁ μὲν Δαβὶδ ἐποίησε τοὺς τέσσαρας ἤχους ... ὅτι τέσσαρα ὄργανα χαλκᾶ Ὕμνησε δὲ τὸν καθʹ ἕνα στίχον εἰς ἦχον καὶ διὰ τοῦτο ἐπωσώθησαν εἰς τὸν Ἁγιοπολίτην δέκα ἦχοι Ἤγουν τὸ Νενανω καὶ τὸ Νανα Παραλλαγῆς Ἐπηχήματα μετὰ τοῦ Νενανω γινόμενα δεκαέξ ... Ἐνηχήματα Difference between σημάδια and τόνοι ὅταν γράφωνται λέγονται σημάδια, ὅταν ψάλλωνται λέγονται τόνοι names the σύμφωνα and ἄφωνα Why are there seven tones? ... Comparisons with the seven planets and seven days of the week δʹ πνεύματα compared to the δʹ στοιχεῖα τοῦ κόσμου (four elements of the world): ἀήρ, πῦρ, γῆ, ὕδωρ Πόσα ἡμίφωνα; – τρία· ποῖα ταῦτα; τζάκισμα, ἀπόδερμα, παρακλητική all other σημάδια Ἡ μετροφωνία τῶν ἀνιουσῶν πόσας ἔχουν; ἕκαστος σημαδίων Ἡμίφωνον καὶ ἡμίφθορον ... φθοράν Διφώνους, τριφώνους Τριφώνος Μέθοδος ἡ κριμένη τῶν ἁγίων πατέρων κὺρ Κοσμᾶ καὶ Ἰωάννου τοῦ Δαμασκηνοῦ καὶ Ἰωάννου τοῦ Χρυσοστόμου end of the method begun on fol. 92v Ἑρμηνεία τοῦ Ἰωσὴφ τοῦ ὑμνογράφου Ἑτέρα ἑρμηνεία ὁμοία τοῦ Ἰωσὴφ καὶ ἁπλωτέρα

178

EBE 968 (olim 75)

107r

Περὶ τοῦ πῶς ὀνομάζονται οἱ ὀκτὼ ἦχοι. Uses the Ancient Greek nomenclature for modes: λύδιος, φρύγιος, μιξολύδιος, ὑποδώριος ... ποῖοι ἦχοι ἔχουν μέσους Signs for ἁργίαν εἰς τὸ μέλος ... φθοραί. 107v Ἑρμηνεία τῆς παραλλαγῆς τοῦ Κουκουζέλη, ἤγουν τοῦ θαυμαστοῦ τροχοῦ· ἀρχὴ τῆς 108v διπλοφωνίας Ἑτέρα ἑρμηνεία κὺρ Γαβριὴλ ἱερομονάχου. περὶ τῶν σημαδίων τῆς Ψαλτικῆς Τέχνης, 110r καὶ περὶ ἄλλων τινών, ὁποὺ χρησιμοῦν εἰς τὴν ψαλτικήν, καὶ περιέχουν καὶ τὴν ἐτυμολογίαν αὐτῶν ... The treatise of Gabriel, Hieromonachos from the Monastery of Xanthopoulos. Ἑτέρα ἑρμηνεία τῶν φωνῶν ὅπου εἶναι εἰς τοὺς οἴκους καὶ εἰς ταῖς δοχαῖς [sic] καὶ εἰς 134v ἄλλα τινά 139r Τὰ προκείμενα ὅλης τὴς ἑβδομάδος· πρώτην δοχήν Ἑρμηνεία κὺρ Μανουὴλ τοῦ Χρυσάφη· περὶ τούτη ἐστὶ φθορὰ καὶ διατίθεται καὶ εἰς 142r ποῖον ἦχον καταλήγει μία ἑκάστη τῶν φωνῶν Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς μετροφωνίας τοῦ Ἰωάννη τῶν Πλουσιαδηνῶν· ἀρχὴ τῶν 155v ἀνιοῦσων φωνῶν, ἀρχὴ τοῦ πρώτου Ἑρμηνεία τῆς τέχνης ἣ καὶ παραλλαγὴ μετὰ ταῦτα λέγεται 166v Ἀρχή, μέση, τέλος καὶ σύστημα πάντων τῶν σημαδίων (εἶπεν ὁ ἀρχαῖος ποιητὴς) ... 175v ὅρω παράδειγμα. μὲ ὀκτὼ μέτρα ψάλλεται αὐτὸ τὸ στιχηρόν.... 177r Διότι ὁ ἀρχαῖος ποιητὴς ἐθαρροῦσε πὼς ὁ διδάσκαλός σου νὰ σὲ τὰ διδάξῃ ἐξ ἀρχῆς ὡς τεχνίτης ὁποὺ ὀνομάζεται· καὶ δι᾽ αὐτὸ σὲ τὰ λέγει μὲ συντομίαν. Ὅτι ἀδύνατον εἶναι νὰ μάθῃ τινὰς τέχνην χωρὶς φωνῆς ζώσης, καὶ μόνο διὰ γράμματος. This section of the Papadike contains important information on rhythm and general information on the art of chanting transmitted from the teacher (‘the psalti’) to the student. Σὺ δὲ ὁποὺ ἀγαπᾶς νὰ μάθῃς μουσικήν, ἐρεύνα κάθε μάθημα μὲ πόσα μέτρα δουλεύεται· 177v καὶ ἐξέταζε πᾶσα συλλαβὴ εἰς τί μέτρον εἶναι, κάτω ἤ ἐπάνω ἀπὸ τὸ κύριον ἴσον. Καὶ ὡσὰν τὸ περιλάβῃ ὁ νοῦς σου αὐτὸ, τότε λέγεσαι πὼς ἐκατάλαβες τὰ μέτρα τῆς μουσικῆς. Κι ὕστερα ἔχεις τὴν ἔννοιάν σου τὸ πῶς νὰ μάθεις νὰ τραγωδᾶς ταὶς θέσεις, καθὼς σὲ ταὶς ψάλλει ὁ διδάσκαλός σου … καὶ αὐτὸ ἔχει ἔννοιαν, καὶ ρώτα τὸν διδάσκαλόν σου νὰ τὸ μάθῃς· καὶ ἄν τὸ εἰξεύρῃ εἶναι καλὸς τεχνίτης καὶ φύλαγέ τον· εἰδεμή, φεύγα ὀλίγωρα ἀπ᾽αὐτὸν καὶ μὴ χάνῃς τὸν καιρόν σου. blank 185r end of MS blank Ir–IIIv Notes This manuscript is a later recension of Middle Byzantine musical theory. The treatise or ‘Erotapokriseis’ is in the question–answer format and is very rich in contents. The MS is in good condition and very easy to read. Although mostly text, music examples are interpolated throughout. There is an average of 17 lines per page. The music neumes are written in dark black ink and the text in a reddish ink. The MS opens with the ‘precise teaching of the Mousike Techne’, which includes the pedagogy of the ascending and descending neumes. The modes or echoi are named by their Ancient Greek nomenclature: the Authentics (Dorian, Phrygian, Lydian, Mixolydian) and their Plagals (Hypodorian, Hypophrygian, Hypolydian and Hypomixolydian). On fol. 56v there is

EBE 968 (olim 75)

179

an explanation of the octoechos as it was conceived by Kosmas and John Damascene. In this elaboration, the four authentic modes are compared to four instruments and David’s psalm compositions (fol. 58r). Then follows an explanation of the ten modes of the Hagiopolites (fol. 58v), which includes the Nenano and the Nana modes. After the numbering of the modes, the MS continues with the Parallage, the Epechemata and Enechemata (fol. 67v). On fol. 73r the distinction between signs and tones is explained: signs are the written neumes and tones are the sung neumes. The Symphona (neumes that are sounded) are distinguished from the Aphona (neumes without sound) (fol. 73v). The reason for the heptatonic series is questioned and the seven tones are compared with the seven planets and seven days of the week (fol. 75r). The four Pneumata, neumes that designate leaps, are compared to the four elements of the world: air, fire, earth and water (fol. 80v). The three Emiphona, semitones, are identified as Tzakisma, Apoderma and Paraklitike (fol. 83r). The Metrophonia for ascending neumes is found on fol. 87r and is followed with discussions of Diphonia and Triphonia (fol. 90r). The cryptic method of the Holy Fathers Kosmas, John Damascene and John Chysostom is found on fols 92v–103v. The MS continues with a succession of other important treatises: the treatise of Joseph the Hymnographer (fol. 105r); the treatise on the Parallage by Ioannes Koukouzeles, his trochos, and diplophonia or double melodies (fol. 108v); the treatise of Gabriel Hieromonachos from the Monastery of Xanthopoulos (fol. 110r); the treatise of Manuel Chrysaphes (fol. 142r); and the treatise of Ioannes Plousiadenos (fol. 155v). The MS is part of the group of six MSS (968–74) with consecutive numbers written in the 1780s and possibly from the same locale, with the exception of the late MS 974, which dates from the 13th century. Bibliography Alygizakes, Ἡ Ὀκταηχία. Conomos, Byzantine Trisagia and Cheroubika. —— (ed.), The Treatise of Manuel Chrysaphes, the Lampadarios. Gabriel Hieromonachos, Abhandlung über den Kirchengesang, ed. Hannick and Wolfram. Karas, Μέθοδος τῆς Ἑλληνικῆς Μουσικῆς Θεωρητικόν. Pseudo-John Damascene, Die Erotapokriseis. Raasted, ‘The Hagiopolites’. Touliatos, ‘Ioannes Plousiadenos’.

EBE 969 (olim 976)

180

ΕΒΕ 969 (olim 76) ΑΝΘΟΛΟΓΙΑ/ANTHOLOGIA Type of paper: common Measurements: 20.7 × 15.2 [based on largest fragment] Folios: I + 240 pages [120 fos.] + Ir–v Notation: Late Round Byzantine Date: early 19th c.

Ir–v

blank

First Fragment 1 three lines of music only 2–4 blank 5 Σημαδίων τῆς Ψαλτικῆς Τέχνης 19 Ἀρχὴ σὺν Θεῷ ἁγίῳ ἀναστασίμων στιχηρῶν· ἦχος αʹ Second Fragment 21 Χερουβικόν, κὺρ Ἀντωνίου 23 Πολυέλεος, κὺρ Ἰωάννου Πρωτοψάλτου Third Fragment 41 Κεκραγαρίων δογματικῶν καὶ πασαπνοαρίων, κὺρ Χρυσάφου τοῦ νέου· κατ’ ἦχος 118 blank 119 Χερουβικὰ ἀναστάσιμα 147 Κατ’ ἦχον κοινωνικὰ 202 Ἡ Θεία Λειτουργία τῶν Προηγιασμένων 239 music ends 240 blank end of MS Ir–v blank Notes This manuscript comprises fragments from three different sources with folios in three different sizes, gathered together in a brown binding. The fragments are paginated consecutively. Although amorphous in appearance, the contents of the three fragments encompass a coherent repertory of an Anthologia. The MS formally begins on p. 5 with the pedagogy of the neumes of the Psaltike Techne. On p. 19, the Anastasimon Stichera follow according to modes. The second fragment continues with the Cherubic hymn of Kyr Antonios (p. 21) and the Polyeleos of Ioannes Protopsaltes (p. 23). The third fragment continues with the dogmatic Kekragaria and Pasapnoaria by Kyr Chrysaphes the New, according to modes. More Cherubic chants (p. 119) are included and Communion chants follow according to modes. The Liturgy of Presanctified Gifts begins on p. 202. Even though the MS dates from around the early 19th century, the music is written in Late Round Byzantine notation.

EBE 970 (olim 77)

181

ΕΒΕ 970 (olim 77) ΑΝΑΣΤΑΣΗΜΑΤΑΡΙΟΝ ΠΕΤΡΟΥ ΛΑΜΠΑΔΑΡΙΟΥ ΤΟΥ ΠΕΛΟΠΟΝΝΗΣΙΟΥ ΠΕΡΙΕΧΟΝ ΚΑΙ ΤΑ ΣΤΙΧΗΡΑ ΤΟΥ ΟΛΟΥ ΕΝΙΑΥΤΟΥ/ANASTASIMATARION OF PETROS LAMPADARIOS OF PELOPONNESOS AND THE INCLUSION OF ALL HIS STICHERA Type of paper: common Measurements: 22.2 × 18 cm Folios: IV + 162 + VIII [323 pages] Notation: late Middle Byzantine Date: 1791

Ir–IVv 1

73 81 83–8 89

323 Ir–VIIIv

blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ νέου ἀναστασιματαρίου τοῦ μουσικολογιωτάτου λαμπαδαρίου κυρίου Πέτρου Πελοποννησίου· διὰ προσταγῆς τοῦ Θεοπροβλήτου ἁγίου Προύσης μητροπολίτου κυροῦ Κυρίου Μελετίου διὰ χειρὸς ἐμοῦ ἐλαχίστου καὶ ταπεινοῦ Νεοφύτου· κεκραγαρία κατ’ ἦχον· ἦχος αʹ ιαʹ ἑωθινά [41r] Τὸ μεγάλο Σαββάτῳ εἰς τὸν ἐπιτάφιον θρῆνον· ποίημα Γερμανοῦ τοῦ Νέων Πατρῶν· ἦχος αʹ blank [45r] Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ νέου στιχηραρίου τῶν δοξαστικῶν, φημὶ τοῦ Ἑσπερινοῦ ἀποστίχων τε καὶ αἴνων τοῦ ὅλου ἐνιαυτοῦ τῶν δεσποτικῶν καὶ Θεομητορικῶν ἑορτῶν τῶν τε ἑορταζομένων ἁγίων καὶ ἑπομένως τοῦ Τριῳδίου καὶ ὅλου τοῦ Πεντηκοσταρίου ... παρὰ κυρίου Πέτρου λαμπαδαρίου τῆς τοῦ Χριστοῦ Μεγάλης Ἐκκλησίας. Μὴν Σεπτέμβριος ἐν τὴν πρώτην· ἀρχὴ τῆς ἰνδίκτου ἤτοι τοῦ νέου ἔτους καὶ μνήμῃ Συμεὼν τοῦ Στυλίτου καὶ τῆς Θεοτόκου ... ...ἦχος πλ. αʹ. Followed by various feast days for the eccesiastical year. [162r] colophon: γεγραμμένον χειρὶ Νεοφύτου ἱερομονάχου Δούκα, 1791. music and MS ends blank

Notes The Anastasimatarion, in general, is a late Byzantine manuscript containing the Stichera for Vespers and Orthros according to the modes of the octoechos. This Anastasimatarion is one of many manuscripts containing the Stichera of Petros Lampadarios Peloponnesios (d. 1778–84), Domestikos of the Hagia Sophia of Constantinople. What makes this MS somewhat different is that it was written in 1791 (indicated in the colophon) shortly after the death of the great Domestikos and before the change to the new Chrysanthine notation. The Anastasimataria of Petros Peloponnesios written between 1765 and 1775 are known for being ‘slow and abbreviated’ (ἀργὸ καὶ σύντομο).

182

EBE 970 (olim 77)

The MS, which is very clean in its script and notation, has a nondescript brown binding in good condition. The rubrics and modal signatures are in a reddish colour and the text and neumes are written in black ink. There are about 17 lines of text and music per page. Although folio numbers are indicated above, the MS is paginated as well. The music is written in the late Middle Byzantine notation (not yet in the Chrysanthine notation), which is the system found for many of the sources containing the works of Petros Peloponnesios. The opening rubric (fol. 1r/p. 1) indicates that this is a ‘new Anastasimatarion of that most musical lampadarios, Kyr Petros the Peloponnesian, [written] at the bidding of the holy and God-chosen Metropolitan of Prusa [Bursa], Kyr Meletios, written by my hand, the humble and most miserable Neophytos’. Then follow the Kekragaria and other Stichera according to modes. The rubrics of the MS are not abundant but high points are the Holy Saturday Lamentation (Epitaphios Thrinos) hymns by Germanos of New Patras (fol. 41r) and the new Sticherarion of Petros the Peloponnesian, which begins on fol. 45r with the feast on 1 Sept. for Symeon the Stylite and continues with feasts according to the months of the ecclesiastical calendar and includes the repertory for the Triodion and Pentecostarion. Of further interest is the colophon on fol. 162r, which states that the MS was written by the hand of the monk Neophytos Doukas in the year of 1791.

EBE 971 (olim 78)

183

ΕΒΕ 971 (olim 78) ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: common Measurements: 17 × 11 cm Folios: I + 296 + XIV [591 pp.] Notation: very Late Round Byzantine Date: late 18th c. [ca. 1780s]

Ir–v 1 3 4 5 8–28 29

48 54 65 70 80 87 96 117–18 123 132 151 154 184 190 199 207 210 215 218 223 233 237 245–6

blank rubric: ἐτούτη ἡ ψαλτήριο [sic] εἶναι τοῦ ἐμοῦ· Ἀθανασίου στὴ Δημοκάλη ἱερομονάχου (This psalter is by me the hieromonachos Athanasios at [Demokale?). music begins «Ἐν τῷ ναῷ τῆς ἁγίας δόχης σου...», ἦχος αʹ blank «Κατευθυνθήτω ἡ προσευχή...» ἦχος πλ. αʹ ...«Ὀ ἅγιος Κύριος σαβαώθ...» blank «Θεὸς Κύριος...», ἦχος αʹ. This is followed by other chants κατ’ ἦχον (according to modes) and by various composers such as Germanos (τοῦ Γερμανοῦ Nέων Πατρῶν) and Kyr Balasios (Κὺρ Μπαλασίου). The chants for Orthros and Vespers are not complete, but everything included is listed according to modes of the octoechos. Θεοτοκίον· ποίημα κὺρ Πέτρου· ἦχος δʹ Τὸ παρὸν ποίημα τοῦ Ἰωάννου Κουκουζέλη Τὸ παρὸν Θεοτοκίον· ποίημα κὺρ Ἰωάννου Κλαδᾶ καὶ λαμπαδάριος «Τῇ ἀειπαρθένᾳ καὶ μητρὶ τοῦ Βασιλέως ...» ἦχος αʹ Μάθημα κὺρ Ἀρσενίου ἱερομονάχου· ἦχος πλ. δʹ Μάθημα κὺρ Κλαδᾶ· ἦχος βʹ Μάθημα κὺρ Γερμανοῦ· ἦχος δʹ Πολυέλεος τοῦ Λατρινοῦ· ποίημα κὺρ Μπαλασίου ἱερέως «Δοῦλοι Κύριον...», ἦχος αʹ blank Ἀναγραμματισμὸς τοῦ αὐτοῦ· ἦχος αʹ «Εὐλογητὸς Κύριος...» Ἕτερος πολυέλεος σὺν τὸ μέθοδος [sic] κὺρ Μπερεκέτη· ἦχος αʹ «Δοῦλοι Κύριον...» Πασαπνοάρια· ποίημα κὺρ Πέτρου· ἦχος αʹ, τετράφωνως Πασαπνοάρια· τοῦ Μπαλασίου Πασαπνοάρια· ἦχος βαρύς Πασαπνοάρια· ἦχος πλ. δʹ Πασαπνοάρια· κὺρ Κουκουζέλη· ἦχος αʹ Πασαπνοάρια· τοῦ Γαζῆ· ἦχος πλ. δʹ Ἐγκώμια παρακλητικά διὰ στίχων εἰς τὴν Κυρίαν Θεοτόκον· ποίημα κὺρ Δανιὴλ λαμπαδάριου «Μνήσθητι, Δέσποινά μου...» no mode given Πασαπνοάριον· κὺρ Μπερεκέτη· ἦχος Νανα Πασαπνοάριον· κὺρ Μπαλασίου Πασαπνοάριον· ἕτερος τοῦ Μπερεκέτη, ὡραῖον καὶ πανηγυρικόν· ἦχος δʹ Ἕτερον πασαπνοάριον· κὺρ Ἀντωνίου ἱερέως· ἦχος δʹ Ἕτερον πασαπνοάριον· τοῦ κὺρ Χρυσάφου καὶ πρωτοψάλτου· ἦχος δ blank

184

263 273 320 329 339 348 360 364 365 416 443 447 453 467 469 472 474 482 506 508 518 550 561 523 585–6 587 591 Ir–XIVv

EBE 971 (olim 78)

Εἰς τὴν εἴσοδον· ἦχος δʹ «Φῶς ἱλαρόν...» Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον δοξολογιῶν κὺρ Πέτρου· ἦχος αʹ Δοξολόγιον· κὺρ Γερμανοῦ· ἦχος πλ. βʹ Δοξολόγιον· ἕτερα· τὸ παρὸν λέγεται Βλάχικη· ἦχος πλ. αʹ Δοξολόγιον· κὺρ Μπαλασίου· ἦχος βαρύς Δοξολόγιον, κὺρ Χρυσάφου· ἦχος πλ. δʹ Τοῦ Κορώνη· ἦχος βʹ «Δύναμις...» Ἀλληλουϊάριον· κὺρ Θεόδουλος ἐξήγησις κὺρ Μπαλασίου· ἦχος β᾿ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον χερουβικῶν τοῦ κὺρ Πέτρου Μπερεκέτη (κατ’ ἦχον)· ἦχος αʹ. This Cherubic hymn and the other chants that follow are melismatic and are set to the terirem syllables. Ἀρχὴ τῶν κοινωνικῶν τοῦ κὺρ Πέτρου μελῳδοῦ· ἦχος αʹ Κοινωνικῶν· τοῦ Ἀθανασίου πατριάρχη· ἦχος αʹ Κοινωνικῶν· κὺρ Γερμανοῦ Νέων Πατρῶν· ἦχος αʹ Κοινωνικῶν· τοῦ Δαμιανοῦ Βατοπεδινοῦ· ἦχος δʹ Κοινωνικῶν· Ἀθανασίου πατριάρχη· ἦχος πλ. αʹ Κοινωνικῶν· Ἰωακεὶμ Βιζύης· ἦχος βαρύς Κοινωνικῶν· κὺρ Εὐαγγελινοῦ Σκοπελίτου· ἦχος βαρύς Κοινωνικὰ σύντομα τῆς ἑβδομάδος· κὺρ Πέτρου· ἦχος βʹ Κοινωνικὰ· τοῦ Βιζύης· ἦχος πλ. δʹ «Μακαρίως...» Κοινωνικὰ τοῦ ὅλου ἐνιαυτοῦ· παρὸν κὺρ Πέτρου· ἦχος πλ. αʹ Σεπτεμβρίου ιγʹ· τὰ ἐγκαίνια τοῦ ναοῦ, κὺρ Πέτρου· ἦχος πλ. αʹ «Κύριε ἠγάπησας...» Τὸ κράτημα, ζʹ· εἶτε εἰς τὸ ἔνατο ἐνάτη , εἰς τὰ ἅγια Θεοφάνεια· τοῦ αὐτοῦ· ἦχος αʹ «Ἐξεχύθη ἡ χάρις...» Then follow various verses from the Sticherarion repertory. Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς θείας καὶ ἱερᾶς Λειτουργίας τῶν Προηγιασμένων· ἦχος πλ. βʹ «Κατευθυνθήτω...» Ἀρχὴ σὺν Θεῷ τῶν καλοφωνικῶν εἱρμῶν· τοῦ κὺρ Πέτρου· ἦχος αʹ «Τὴν σὴν εἰρήνην δὸς ἡμῖν...» Μάθημα ψαλλόμενον εἰς τὸ ἅγιον Πάσχα· ἦχος πλ. αʹ «Ἀναστάσεως ἡμέρα...» blank Κὺρ Πέτρου Μπερεκέτη· ἦχος γʹ «Λατρεύειν ζῶντι...» music ends blank

Notes This Akolouthia is from the first part of the 19th century before the change of notation and is an unfoliated MS that has pages numbered in pencil. The rubric on p. 1 identifies the scribe as Athanasios the Monk at Δημοκάλη (a place called Demokale?). This rubric tells us much about the limitations of our scribe. He refers to this MS as a Psalter, not an Akolouthia. Furthermore, his comments are laden with orthographic mistakes throughout the MS. The MS is in a fairly clean condition, with wide margins. It has a newer cloth binding. The rubrics and modal signatures are in red ink and the text and neumes are written in black. The folios have about ten lines of text and music per page. There are blank folios, most noticeably pp. 8–28, preceding the Akolouthia proper. Overall, the MS is legible but with many orthographic mistakes that make it confusing.

EBE 971 (olim 78)

185

The contents of the MS adhere to what is expected in an Akolouthia, but with some items missing and with additions of Stichera that would not usually be included. Since it is a later Akolouthia, there are Mathemata, exegeses, kalophonic verses and Kratemata. The actual music begins on p. 3 with hymns from the liturgy, usually not placed in the beginning. The typical order of the Akolouthia begins on p. 29 with the ‘Theos Kyrios’ and is followed with Theotokia, Polyeleos, Pasapnoaria and other chants from Vespers and Orthros according to modes. The Presanctified Liturgy begins on p. 550 but is preceded with Alleluia (p. 364) and various settings of the Cherubic (p. 365) and Communion hymns (pp. 416–508). Then follow various Stichera and Heirmoi and a Mathema for Holy Pascha (p. 583). The composers that are represented are from older generations (Koukouzeles, Arsenios, Kladas, Gazes, Korones, Germanos, Chrysaphes) but there are even more settings from the newer generations (Petros the Melodist, Bereketes, Balasios, Daniel, Damianos, Ioakeim of Bizye, Germanos of New Patras, Evangelos Skopelites, etc.).

EBE 972 (olim 79)

186

EBE 972 (olim 79) ΠΑΠΑΔΙΚΗ ΤΕΧΝΗ/PAPADIKE TECHNE Type of paper: common Measurements: 13.6 × 9.8 cm Folios: I + 121, but each page is numbered = 242 pages Notation: Late Round Byzantine Date: 1786

Pages Ir–v 1 2 3 5 97–8 113–14 115 193 227 241 242

blank Παπαδικῆς περιέχων μαθήματα. Colophon: 1786, Ἰουνίου 13 γεγραμμένον ὑπὸ Παρθενίου ἱεροδιακόνου Μελογράφος εἰς μόνον ἅπαντα Ἀναστάσιος ὁ ἐκ Ῥαψάνης blank table of contents listed without page numbers Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ μεγάλου Ἑσπερινοῦ, ἄρχεται· ἦχος πλ. δʹ blank blank Πολυέλεος blank Τὰ παρόντα χερουβικὰ ψαλλόμενα κάθε ἡμέραν, καλλωπισμός Ἀντωνίου ἱερέως καὶ οἰκονόμου τῆς τοῦ Χριστοῦ Μεγάλης Ἐκκλησίας· ἦχος αʹ music ends writing end of MS

Notes This is a late Papadike dated 13 June 1786, according to the colophon. The MS is unfoliated and instead has numbered pages. On page 1 the MS is classified as a ‘Papadike containing Mathemata’ and indicates that the scribe Parthenios, a monk-deacon, is ‘only’ a melody writer (a scribe who writes the melodies or one who composes?). Immediately in the same rubric Anastasios of Rapsanes is acknowledged as the composer for the chants that follow. After a blank second page, p. 3 continues with a listing of contents. Rubrics are scarce for the remainder of the MS but the contents are similar to an Anthologia of the late 18th century. Chants follow for the Vespers and Orthros services. There is a rare rubric (p. 227) identifying the Cherubic hymn for daily use composed by the priest Antonios, Oikonomos of the Great Church. The MS is in good condition and generally easy to read, with a clean script. Its binding is newer. The few rubrics are in red ink, and the text and neumes are written in black ink. The folios have an average of eight lines of text and music.

EBE 973 (olim 80)

187

ΕΒΕ 973 (olim 80) ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: common Measurements: 10.8 × 7.2 cm Folios: I + 93, but each page is numbered = 186 Notation: Late Round Byzantine Date: ca. 1780s

Pages Ir–v 1–2 3 24 35 43 61 [31r] 67 94 107 [54r] 145

blank blank Κεκραγαρίων Πασαπνοάρια Εὐλογητάρια Δοξολόγια τοῦ Μπαλασίου· ἦχος αʹ Ἡ θεία Λειτουργία τοῦ Χρυσοστόμου Χερουβικῶν τοῦ Χρυσάφου τοῦ Νέου Κοινωνικῶν τοῦ Χρυσάφου τοῦ Νέου Ἡ θεία Λειτουργία τοῦ Προηγιασμένων Illumination of Ἅγιος Παγκράτιος. Perhaps this illumination of St Pancratios is in reference to Παγκράτιος, the Domestikos and priest/monk of the Iviron Monastery of Mt Athos. 148–51 blank 163 [82r] Ἄμωμος τοῦ Χρησάφη τοῦ Νέου· ἦχος βʹ 183 music ends 184–6 writing (undecipherable) 186 MS ends Notes

This is a late 18th-century Akolouthia containing the chants of Vespers and Orthros, the liturgies and the Amomos of Chrysaphes the New (p. 163). The MS is unfoliated but has page numbers. The music begins on p. 3 with the Kekragaria and continues with Pasapnoaria (p. 24), Eulogetaria (p. 35), Doxologia (p. 43), the Liturgy of St John Chrysostom (p. 61) with Cherubic (p. 67) and Communion chants of Chrysaphes the New and the Amomos psalm set by Chrysaphes the New (p. 163). The music concludes on p. 183, but there is a scribbled writing that continues on pp. 184–6. There are orthographic mistakes by the scribe involving iotacism and homophony: Chrysaphes, i.e., Χρισάφου, Χρησάφη and Χρυσάφη. The binding of the MS is damaged and the general contents are in fair condition. The rubrics and modal signatures are in red ink and the neumes and text are in black. This miniature MS has about five to six lines of text and music per page. This MS is part of the group of MSS [968–74] with consecutive numbers written in the 1780s and possibly from the same locale.

EBE 974 (olim 81)

188

EBE 974 (olim 81) ΣΤΙΧΗΡΑΡΙΟΝ ΤΟΥ ΤΡΙΩΔΙΟΥ KAI ΠΕΝΤΗΚΟΣΤΑΡΙΟΥ ΚΑΙ ΙΑʹ ΕΩΘΙΝΑ/STICHERARION OF THE TRIODION AND PENTECOSTARION AND ELEVEN EOTHINA Type of paper: parchment Measurements: 23 × 16.5 cm Folios: 122; enumerated by a later hand as 244 pages Notation: Very Early Round Byzantine Date: 13th c.

Pages 1 [1v] 6 [3v] 9 17 39 [20r] 50 114 135 152 165 208 223 241–4 244

Stichoi for the month July κʹ [20th]· τοῦ ἁγίου προφήτου καὶ θεόπτου Ἠλίου κβʹ· τῆς ἁγίας Μαρίας τῆς Μαγδαληνῆς κεʹ· ἡ κοίμησις τῆς ἁγίας Ἄννης ... ἦχος δʹ [Aug.] ς´ · ἡ Mεταμόρφωσις τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ Ἀρχὴ τῆς ἁγίας τεσσαρακοστῆς καὶ ἡ παραβολὴ τοῦ Τελώνου καὶ τοῦ Φαρισαίου· ἦχος αʹ «Μὴ προσευχώμεθα φαρισαϊκῶς...» Κυριακῇ τοῦ Τυροφάγου. This is followed by Orthros and Vespers chants for the Lenten period. Τὰ ἅγια πάθη τοῦ Κυρίου καὶ Θεοῦ καὶ Σωτῆρος ἡμῶν Ἰησοῦ Χριστοῦ Τῇ ἁγίᾳ καὶ μεγάλῃ Κυριακῇ τοῦ Πάσχα· ἦχος αʹ Κυριακῇ τοῦ τυφλοῦ Στιχηρὰ ἀναστάσιμα κατ’ ἦχον· ποίημα Ἀνατολίου πατριάρχη Κωνσταντινούπολης· ἦχος αʹ «Εὐφράνθητε, οὐρανοί...» Στιχηρὰ προσόμοια τῆς ἁγίας τεσσαρακοστῆς «Ἐγκρατείᾳ τὴν σάρκα...» Στιχηρὰ δογματικὰ κατ’ ἦχον· ποίημα Ἰωάννου Δαμασκηνοῦ· ἦχος αʹ «Τὴν παγκόσμιον δόξαν...» pages torn off at corners end of MS

Notes This MS can be classified as a Sticherarion of the Triodion and Pentecostarion with the 11 Heothina hymns. However, it does not follow the typical order of the ecclesiastical calendar for the Triodion and Pentecost period. The MS begins with Stichera that appear to have been selected, but not necessarily in the chronology of the ecclesiastical calendar. For instance, fol. 1r (p. 1) begins not in September but with the concluding months of the church calendar, with a verse, Stichos, from 20 July for St Elias the prophet. On fol. 3v follow stichoi for Mary Magdalene on 22 July. On fol. 5r (p. 9) there follow stichoi for the Koimisis (Dormition) of St Anne on 25 July and on fol. 9r (p. 17), the verses for 6 Aug., celebrating the Transfiguration of Our Lord. The Sticherarion portion for the Triodion begins on fol. 20r (p. 39) and culminates with hymns for Easter Sunday

EBE 974 (olim 81)

189

on p. 135. The Anastasima Stichera for the Heothina hymn start on p. 165, followed by Stichera Prosomoia for Holy Lent on p. 208, and Stichera Dogmatika of John Damascene on p. 223. The MS appears to have an abrupt beginning; some folios have probably been lost. It has deteriorated and is unclear: many folios are dark (blackened) and impossible to distinguish with clarity. The MS is unfoliated and page numbers have been added in a later hand, that has also added sporadic writing of text in the bottom margins. Because of its early date in the 13th century, the MS provides information on the development of early neumes and insight into a Sticherarion of this period. However, the rubrics include only sporadic feast days and modes and with the exception of the hymnographer John Damascene there is not even one composer’s name indicated. This MS belongs to the group of six manuscripts with chronological olim numbers 75–82 (MSS EBE 968–75). However, unlike the other MSS of the group, which date from around the late 18th century, this one exceptionally is quite earlier in date, from about the 13th century. The condition of the binding and manuscript folios is poor. Folios are missing at the beginning and the ending, and the top right-hand margin is torn off for the first 13 folios and even the ending folios.

190

EBE 975 (olim 82)

ΕΒΕ 975 (olim 82) ΣΤΙΧΗΡΑΡΙΟΝ ΤΟΥ ΤΡΙΩΔΙΟΥ ΚΑΙ ΠΕΝΤΗΚΟΣΤΑΡΙΟΥ/ STICHERARION FOR THE TRIODION AND PENTECOSTARION Type of paper: Turkish Measurements: 28 × 19.2 cm Folios: I + 339 + II [or 678 pages] Notation: Late Round Byzantine Date: 1774

Pages Ir–v 1 [1r]

blank Στιχηράριον σὺν Θεῷ ἁγίῳ περιέχον τοῦ ὅλου ἐνιαυτοῦ καλλωπισθέντος παρὰ κὺρ Γερμανοῦ ἀρχιερέως Νέων Πατρῶν. εἰς τὴν πρώτην τῆς ἰνδίκτου καὶ τοῦ ὁσίου πατρὸς ἡμῶν Συμεὼν τοῦ Στυλίτου καὶ τῶν λοιπῶν· στιχηρὰ ἰδιόμελα· ἦχος πλ. αʹ. Feast days are listed according to the months of the ecclesiastical year. 234 Ἀρχὴ σὺν Θεῷ καὶ τῶν ὡρῶν τῶν ἁγίων θεοφανείων ποιηθὲν παρὰ Σωφρονίου πατριάρχου τῶν Ἱεροσολύμων· ἦχος πλ. αʹ 447 Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τοῦ Τριῳδίου· ἀρχομένου ἀπὸ τῆς Κυριακῆς τοῦ Τελώνου καὶ τοῦ Φαρισαίου· καλλωπισμὸς τοῦ Νέων Πατρῶν· ἦχος αʹ 674 [337v] Colophon: «Εἴληφε τέλος ἡ παροῦσα ᾆσμα τὸ μελιρρυτόφθογγος βίβλος [grammatica sic], ὀνομαζόμενον στιχηράριον τοῦ Νέων Πατρῶν ἐν ἔτει σωτηρίῳ χιλιοστῷ ἑπτακοσιοστῷ ἑβδομηκοστῷ τετάρτῳ ἐν μηνὶ Ἀπριλίῳ ιβʹ, ἡμέρᾳ Σαββάτῳ. Ἐγράφη δέ παρʹ ἐμοῦ τοῦ εὐτελοῦς ἐλαχίστου τε καὶ ἀμαθοῦς Διονυσίου ἱεροψάλτου ἐκ τῆς μονῆς τοῦ Σωτῆρος ἐν τῇ νήσῳ τῶν Ἰωαννίνων οἰ μελῳδοῦντες εὔχεσθαι ὑπὲρ ἐμοῦ τοῦ ἁμαρτωλοῦ» 675 Ἄθροισμα τῆς συνθέσεως τῶν δεινῶν καὶ δυσκόλων θέσεων· ἦχος πλ. αʹ (ends 676) 677 blank 678 text only: «Τὰ Δύσκολα Τροπάρια...» Ir–IIv blank Notes The MS is clean and easy to read. The brown binding is about two cm larger than the folios. There are about 12 lines of text and music per page. The rubrics and modal signatures are in red ink and the text and neumes are in black. This MS, previously identified as MS 82, is the last of the group of six MSS that were probably transferred from archives in northern Greece to the National Library. This is a typical Sticherarion that includes the Triodion and Pentecostarion and follows the ecclesiastical calendar beginning with 1 Sept. Similar to the other MSS of this group, the folios are unfoliated and page numbers have been added in pencil by a later hand. The MS contains few composer attributions and some rubrics. Of interest is the rubric with the colophon. On fol. 337v, the scribe reiterates the opening rubric that the contents are called ‘a Sticherarion of [Germanos] of New Patras in the year of our Lord 1774, on Saturday the 12th of April. This is written by me your worthless, base

EBE 975 (olim 82)

191

and unlearned Dionysios, priest/chanter from the isle of Ioannina . . .’. Indeed, his profession of illiteracy may not be entirely modesty: see the grammar of p. 674 [337v]). Other annotations of interest include the Hours of Epiphany by Sophronios the Patriarch of Jerusalem, celebrated on the eve of 6 Jan. (p. 234); the beginning of the Triodion as composed by Germanos of New Patras (p. 447); a collection of compositions with the most difficult Theseis, musical phrases of the melos (p. 675); and the texts, with no music, of difficult Troparia (p. 678).

EBE 1062

192

EBE 1062 ΠΙΝΔΑΡΟΥ ΛΥΡΙΚΟΥ ΓΕΝΟΣ/PINDAR’S LYRICAL FORMS Type of paper: common and parchment Measurements: 22 × 15 cm Folios: II + 301 Date: ca. 1453–77 Provenance: probably from the Monastery of Dousikos near Trikala, Thessaly in Greece

Ir–IIv 1 r 226r 226v 227v 228r 228v 229r 229v 230r 230v 231r 231v 232r 232v 233r 233v 235r 235v 236r 236v 237r

blank Περὶ σχεδῶ Πινδάρου λυρικοῦ γένος· διορθώθη δὲ παρὰ τοῦ σοφωτάτου μαγίστρου Παλαιὸν περὶ τῶν κώλων τῶν τε στροφῶν καὶ ἀντιστρόφων τοῦ αʹ εἴδους τῶν Ὀλυμπιονικῶν Περὶ τῶν κώλων τῶν ἐπῳδῶν Παλαιὸν περὶ τῶν κώλων τῶν τε στροφῶν καὶ ἀντιστρόφων τοῦ βʹ εἴδους Περὶ τῶν κώλων τῶν ἐπῳδῶν Παλαιὸν περὶ τῶν κώλων τῶν τε στροφῶν καὶ ἀντιστρόφων τοῦ γʹ εἴδους Περὶ τῶν κώλων τῶν ἐπῳδῶν Περὶ τῶν κώλων τῆς στροφῆς καὶ ἀντιστροφῆς τοῦ δʹ εἴδους Περὶ τῶν κώλων τῆς ἐπῳδοῦ Περὶ τῶν κώλων τῶν στροφῶν καὶ ἀντιστρόφων τοῦ εʹ εἴδους Περὶ τῶν κώλων τῶν ἐπῳδῶν Παλαιὸν περὶ τῶν κώλων τῶν στροφῶν καὶ ἀντιστρόφων τοῦ ςʹ εἴδους Περὶ τῶν κώλων τῶν στροφῶν καὶ ἀντιστρόφων τοῦ ζʹ εἴδους Περὶ τῶν κώλων τῶν ἐπῳδῶν Παλαιὸν περὶ τῶν κώλων τῶν στροφῶν καὶ ἀντιστρόφων τοῦ ηʹ εἴδους Περὶ τῶν κώλων τῶν ἐπῳδῶν Περὶ τῶν κώλων τῶν στροφῶν καὶ ἀντιστρόφων τοῦ θʹ εἴδους Περὶ τῶν κώλων τῶν ἐπῳδῶν [missing rubric title] Τοῦ δεκάτου εἴδους ἡ στροφὴ καὶ ἀντιστροφὴ ἐκάστη κώλων Περὶ τῶν κώλων τῶν ἐπῳδῶν· Ἡ ἐπωδὸς κώλων δέκα τὸ αον ἐγκωμιολογικόν· ἤτοι ἐκ δακτυλικοῦ καὶ ἰαμβικοῦ πενθημιμερῶν ... Περὶ τῶν κώλων τῆς στροφῆς καὶ ἀντιστροφῆς τοῦ ιαʹ εἴδους Περὶ τῶν κώλων τῆς ἐπῳδοῦ Περὶ τῶν κώλων τῆς στροφῆς καὶ ἀντιστροφῆς τοῦ ιβʹ εἴδους Περὶ τῶν κώλων τῆς ἐπῳδοῦ Περὶ τῶν κώλων τῶν στροφῶν καὶ ἀντιστρόφων τοῦ ιγʹ εἴδους Περὶ τῶν κώλων τῶν ἐπῳδῶν Περὶ τῶν κώλων τῆς αʹ μονοστρόφου στροφῆς τοῦ ιδʹ εἴδους τῶν Ὀλυμπιονικῶν Ἐκ τοῦ Ἐγχειριδίου Ἡφαιστίωνος ἐπιτομὴ τῶν ἐννέα μέτρων Δημητρίου τοῦ Τρικλινίου Περὶ τοῦ ἰαμβικοῦ Περὶ τοῦ ἡρωϊκοῦ μέτρου Περὶ τοῦ ἐλεγειακοῦ

EBE 1062

237v 241r 247v 254v 258r 259v 262r 269r 275v 280r 286v 291v 292v 293v 300r 301v



193

Περὶ τοῦ ἀνακρεοντείου Πινδάρου Ὀλυμπιονῖκαι, αʹ. Ode 1, for Hieron of Syracuse: Winner, Single Horse Race in 476 bc Πινδάρου Ὀλυμπιονῖκαι, βʹ. Ode 2, for Theron of Akragas: Winner, Chariot Race in 476 bc

Πινδάρου Ὀλυμπιονῖκαι, γʹ. Ode 3, for Theron of Akragas: Winner, Chariot Race in 476

bc

Πινδάρου Ὀλυμπιονῖκαι, δʹ. Ode 4, for Psaumis of Kamarina: Winner, Chariot Race in 452 bc Πινδάρου Ὀλυμπιονῖκαι, εʹ. Ode 5, for Psaumis of Kamarina: Winner, Mule Race in 448 bc

Πινδάρου Ὀλυμπιονῖκαι, ϛʹ. Ode 6, for Hagesias of Syracuse: Winner, Mule Race in 472/468 bc Πινδάρου Ὀλυμπιονῖκαι, ζʹ. Ode 7, for Diagoras of Rhodes: Winner, Boxing in 464 bc Πινδάρου Ὀλυμπιονῖκαι, ηʹ. Ode 8, for Alkimedon of Aegina: Winner, Boys’ Wrestling in 460 bc Πινδάρου Ὀλυμπιονῖκαι, θʹ. Ode 9, for Epharmostos of Opous: Winner, Wrestling in 468 bc Πινδάρου Ὀλυμπιονῖκαι, ιʹ. Ode 10, for Hagesidamos of Western Lokroi: Winner, Boys’ Boxing in 476 bc Πινδάρου Ὀλυμπιονῖκαι, ιαʹ. Ode 11, for Hagesidamos of Western Lokroi: Winner, Boys’ Boxing in 476 bc Πινδάρου Ὀλυμπιονῖκαι, ιβʹ. Ode 12, for Ergoteles of Himera: Winner, Dolichos in 466 bc

Πινδάρου Ὀλυμπιονῖκαι, ιγʹ. Ode 13, for Xenophon of Corinth: Winner, Stadion and Pentathlon in 464 bc Πινδάρου Ὀλυμπιονῖκαι, ιδʹ. Ode 14, for Asopichos of Orchomenos: Winner, Stadion in 456 bc Τέλος τῶν ὀλυμπίων ὕμνων. Ἀντιπάτρου εἰς Πίνδαρον· «Πιερικὰν σάλπιγγα, τὸν εὐαγέων βαρὺν ὕμνων χαλκευτὰν κατέχει Πίνδαρον ἅδε κόνις, οὗ μέλος εἰσαΐων φθέγξαιό κεν ὡς ἀπὸ μουσέων ἐν Κάδμου θαλάμοις, σμῆνος ἀπεπλάσατο.» (End of the Olympian [Odes]. Antipater [Sidonius’] epigramme on Pindar: ‘This dust below holds that Pierian horn: / Pindar, the weighty smith of radiant hymns, / whose strain if thou shouldst hear, wouldst thou declare, / a swarm of bees forth from the Muses sent / had in the house of Cadmus form’d it so’ [Palatine Anthology 7.34]. end of MS

Notes This 15th-century MS on the genus and forms of Pindar’s lyrical [sung] odes was probably used as a methodology (or in Byzantine terminology, a Mathematarion). The MS has a dark brown leather binding with an imprinted design. It is in good condition and legible throughout, with a newer numeration of folios by a later hand. Of interest is a beautiful red border design at the top of fol. 226r. The rubrics are in red, as are the occasional rhythmic notations and capital letters of incipits. The capital letters that immediately follow the rubrics are larger in size and more decorative than the regular capitals of verses. The text and marginal annotations are written in dark black ink. The number of lines varies per folio. From the start of the MS to fol. 240v, there

194

EBE 1062

are about 33–6 lines of text. With fol. 236r, the metric patterns (poetic feet) are notated in red ink above the text with a macron for a long beat and a breve for a short beat. Red ink distinguishes the metric feet from the accents of the Greek polytonic text in black ink. These same rhythmic notations, chronoi, have been found in some examples of ancient Greek music. Furthermore, in some ways, these red markings resemble early Byzantine musical neumatic signs. This MS was undoubtedly used during Byzantine times as a tool for teaching the Ancient Greek poetic metres. Fol. 1r opens with the rubric ‘On Philological Exercises’ (Περὶ σχεδῶν). (These exercises were usually studies of content, grammar and metres of the verses.) This section (fols 1r–225v) contains the commentary on the poetic metres as interpreted by the Byzantine philologist Manuel Moschopoulos (ca. 1265–1315). The second section (fols 226r–235r) follows with the analysis of these metres by Thomas Magistros (ca. 1285–1346). The next treatise (Enchiridion), by Dimitrios Triklinios (ca. 1280–1340), discusses the nine metres. From fol. 241r to the end, the 14 Olympian lyrical odes by Pindar follow. Although only the text is provided, it is understood that these were sung and the poetic metres were the rhythmic beats for the music of the odes. The formatting of the commentaries changes to two columns. The ancient text is placed in the column nearest to the binding, that is the inner, gutter margin. This text is in black ink with a larger script and with wider spacing between lines. Also in the same column, the ancient text is prefaced with a Byzantine version of the text in a much smaller red script. The commentaries are in the opposite column in a very small black script that can be very dense, with as many as 50 lines or none at all. This MS and the later EBE MS 1081 are very profound and were undoubtedly used in the teaching of musical rhythm, applicable not only to the ancient Olympian hymns of Pindar but also to the musical rhythms of Byzantine hymnography. The similarities between what is indicated in these MSS and Western medieval modal [rhythmic] notation is blatantly apparent. Bibliography Anagnostopoulos, Πινδάρου Ὀλυμπιονικοὶ.

EBE 1081

195

EBE 1081 ΠΙΝΔΑΡΟΥ ΟΛΥΜΠΙΟΝΙΚΑΙ/PINDAR’S OLYMPIAN ODES Type of paper: bombycinous and common Measurements: 21.5 × 15.3 cm Folios: II + 199 + II Date: ca. 1553

Ir IIr 1r 185r 190r 194v 197r 198r 199v Ir I v IIv

Θεὸς ὁ Θεὸς ἡμῶν ὁ τῶν οὐρανῶν ἄρτον τὴν τροφὴν τοῦ παντός μου, τὴν ἀνάστασιν αὐτοῦ ὑπέρδοξος Κῆρυξ ἄφωνος. Ἄγραφον ἐπιστολὴν πάλαι πόλιν κομίζει. Βάθρα μὴ κεκτημένην ... Περὶ σχεδῶν παρὰ Μανουὴλ Μοσχοπούλου Πινδάρου Ὀλυμπιονῖκαι, αʹ. Ode 1, for Hieron of Syracuse: Winner, Single Horse Race in 476 bc Πινδάρου Ὀλυμπιονῖκαι, βʹ. Ode 2, for Theron of Akragas: Winner, Chariot Race in 476 bc

Πινδάρου Ὀλυμπιονῖκαι, γʹ. Ode 3, for Theron of Akragas: Winner, Chariot Race in 476

bc

Πινδάρου Ὀλυμπιονῖκαι, δʹ. Ode 4, for Psaumis of Kamarina: Winner, Chariot Race in 452 bc Πινδάρου Ὀλυμπιονῖκαι, εʹ. Ode 5, for Psaumis of Kamarina: Winner, Mule Race in 448 bc

end of original MS Ἀρχὴ καταστροφῆς ψυχῆς μοναχοῦ, γέλως καὶ παρρησία Ἐσέβην ὁ δῆμος εἰς στὸ σπίτι μας εἰς τὴν πρώτην τοῦ ἡδυλήου καὶ ἐκδοκαί μας καὶ ἄσπρα λʹ Αἴας ... ἡ Μοῦσα Ἀνὴρ ἀσύμβουλος καθ’ ἑαυτοῦ πολέμιος. (taken from the Old Testament) Μακάριος ἀνὴρ ὃς οὐκ ἐπορεύθη ἐν βουλῇ ἀσεβῶν (opening verse from Ps. 1).

Notes This MS is similar to EBE MS 1062 but without as many commentaries and with only five of the Olympian hymns of Pindar. Also, it is dated about one hundred years later. This MS is obviously not as complete as MS 1062. The MS is in good condition and legible throughout. It has a light brown leather binding with an imprint of a three-lined cross in the centre and with small filigree designs in the corners. The clasps of the MS are attached only to the back binding. Most of the MS is written on bombycinous paper but fols 102–41, 162–3 and 166–9 are on common paper, with a different script. Red ink is used only for the rubrics and the numbering of the folios. All other texts, commentaries and Pindar’s Olympian hymns are in black ink. The four folios that frame the MS (two in the beginning and two after the conclusion) have texts with later additions, some of which include Christian texts. Fols 1r–184v contain the commentaries of Manuel Moschopoulos on the poetic metres and their rhythmic applications to music. This part of the MS is in a dense writing across the entire

196

EBE 1081

folio with 33–6 lines per page. With the Olympian Odes of Pindar, beginning on fol. 185r, the format changes to that in EBE MS 1062: two columns with the text of the hymns placed near the inner binding, that is the gutter margin, in a larger black script. The commentaries are in the opposite column and are written in a smaller, dense writing. There are some differences between the five Olympian odes of this MS and those of EBE MS 1062. For instance, the Fourth Ode includes a fifth verse and the Fifth Ode a 24th verse. Neither of these is present in MS 1062. Similar to EBE MS 1062, MS 1081 serves as a source for rhythmic interpretation and its application to verses that were sung. Bibliography Anagnostopoulos, Πινδάρου Ὀλυμπιονικοὶ.

EBE 1865

197

EBE 1865 ΜΑΘΗΜΑΤΑΡΙΟΝ ΑΚΟΛΟΥΘΙΑ/MATHEMATARION AKOLOUTHIA Type of paper: common Measurements: 17 × 11 cm Folios: 318 Notation: Very Late Round Byzantine Date: late 18th–early 19th c.

1r

A later addition of Latin writing indicating a 17th-century dating of the MS, which cannot be correct: Διὰ χειρὸς τοῦ Βελούδου, Liber manualis musicae sacrae in usum Ecclesiae Graecae. Cod. cart. Saec. XVII. in 8° blank 1 v Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κεκραγαρίων ποιηθέντα ὑπὸ παλαιῶν διδασκάλων· ἦχος αʹ. 2r The Kekragaria are categorized according to modes. Πολυέλεος κὺρ Δανιὴλ λαμπαδαρίου· ἦχος δʹ. This is followed by other settings of the 11r Polyeleos with composers such as Petros the Melodist. Μεγαλυνάρια κατ’ ἦχον, Δανιὴλ λαμπαδαρίου 30r Δοξολογία ποίημα κὺρ Μπαλασίου· ἦχος δʹ 33v Δοξολογίαι καὶ ᾀσματικὰ. The Doxologies and Asmatika (Trisagia) are categorized according to modes and include settings by Balasios, Petros of the Peloponnese and Germanos of New Patras. Ἀσματικὸν ὅπερ συνετέθη ἐν τῇ ἀσθενείᾳ· τοῦ Πέτρου Πελοποννησίου (Asmatikon 42r composed [as petitions] in time of sickness) Χερουβικὰ κατ᾿ ἦχον· σύνθεσις κὺρ Πέτρου λαμπαδαρίου Πελοποννησίου· ἦχος α.´ 48r Cherubic hymns follow according to modes. Χερουβικὰ κὺρ Πέτρου λαμπαδαρίου· ἦχος αʹ 61r Κοινωνικὰ τῆς ἑβδομάδος· τοῦ Ἀντωνίου ἱερέως 64v 66v–72v blank Τοῦ Ἰωάννου Κουκουζέλη «Ἄνωθεν οἱ προφῆται...» 73r Μάθημα εἰς τὸν ἅγιον Νικόλαον· σύνθεσις κὺρ Δανιὴλ λαμπαδαρίου 74r Στίχος καλοφωνικὸς· κὺρ Ξένου Κορώνη 78v blank 81v Δοξολογίαι. Settings are included by Balasios, Germanos of New Patras and Petros of 82r the Peloponnese. Εἰς τὸν ἐπιτάφιον θρῆνον· ποίημα κὺρ Γερμανοῦ· ἦχος πλ. βʹ 87r Χερουβικὰ κατ’ ἦχον τοῦ Ἰωάννου Χρυσοβέργη 93v Κοινωνικὰ κατ’ ἦχον· τοῦ αὐτοῦ 101v Εἰς τὴν ἑορτὴν τῆς Θεοτόκου, ὀκτάηχον· τοῦ Ἰωάννου Πρωτοψάλτου 108v Τρισάγιον νεκρώσιμον· ἐξηγήθη παρὰ κὺρ Μπαλασίου 110r Ἕτερον σύντομον· τοῦ αὐτοῦ 111v 112v–113v blank Ἀρχὴ σὺν Θεῷ ἁγίῳ εἰς τῶν καλοφωνικῶν εἱρμῶν· κὺρ Πέτρου Μελῳδοῦ· ἦχος αʹ Other 114r settings follow by Balasios, Panagiotes Protopsaltes and Anastasios Rapsaniotes. 121v–122r blank

198

EBE 1865

129r 130r

Τρισάγιον τοῦ κὺρ Πέτρου Ἀρχὴ σὺν Θεῷ ἁγίῳ· ἅπαντα τὰ τῆς ἀκολουθίας χρειαζόμενα Ἑσπερινοῦ τε καὶ Ὄρθρου καὶ λειτουργείων σύντομα νέων διδασκάλων· Κεκραγάρια σύντομα· κὺρ Δανιὴλ λαμπαδαρίου τῆς τοῦ Χριστοῦ Mεγάλης Ἐκκλησίας· ἦχος αʹ. Kekragaria are chanted according to modes. Δογματικὰ σύντομα· κὺρ Δανιὴλ λαμπαδαρίου 133r Σύντομα τροπάρια καὶ καθίσματα· κατ’ ἦχον 138r Καταβασίαι δεσποτικῶν καὶ θεομητορικῶν ἑορτῶν τοῦ Πέτρου Πελοποννησίου 150v Katabasia continue 159r Εἱρμολόγιον τοῦ Πέτρου Πελοποννησίου 198v Ἀκάθιστον ὕμνον εἰς τὸν Ὄρθρον ἐξηγητὸν 215r 230v–231v blank Χερουβικὰ κατ’ ἦχον· σύνθεσις κὺρ Πέτρου Δομεστίκου Πελοποννησίου· ἦχος αʹ 232r Katanyktika verses according to mode by composers such as John Damascene and 241r Chrysaphes 247v–248r blank Καταβασίαι τοῦ Πέτρου Πελοποννησίου 249r 260r–263v Folios are cut in half. Πασαπνοάρια, τὸ παρὸν τοῦ Γαζῆ· ἐξήγησις Μανουὴλ ἱερέως 261v Δοξολογία τοῦ Μανουὴλ ἱερέως 264r Δοξολογία τοῦ Κοσμᾶ Κοκκίνη 267r Εἰς τὸ γενέσιον τῆς Θεοτόκου· τοῦ Μπαλασίου 270v Εἰς φήμην ἀρχιερέως· τοῦ αὐτοῦ 272r Πασαπνοάρια τοῦ Δανιὴλ Πρωτοψάλτου. Followed by a setting by Ioannes Protopsaltes 273r (most likely, Ioannes Koukouzeleles) Κοινωνικὰ· τοῦ κὺρ Δανιὴλ 279r Ἀσματικὰ Λειτουργίας τοῦ Μέγα Βασιλείου 278r Κοινωνικὰ τῶν ἑορτῶν (settings by Daniel the Lampadarios and Chrysaphes) 279r Προκείμενα εἰς τὴν Μεγάλην Τεσσαρακοστὴν καὶ τὸ Πάσχα· τοῦ Δανιὴλ 289v Πρωτοψάλτου Τὸ παρὸν ἐξηγήθη παρὰ κὺρ Πέτρου λαμπαδαρίου Πελοποννησίου 292r Νεκρώσιμα 295v Δοξολογία τοῦ Πέτρου Πελοποννησίου 312r Εὐλογητάρια τοῦ αὐτοῦ, λεγόμενα τὰ ἁγιορείτικα 316r Μεγαλυνάρια κατ’ ἦχον τοῦ κῦρ Πέτρου, τὸ «Τιμιώτεραι…» σύντομαι 317v Κοινωνικὰ κατ’ ἦχον· τοῦ Πέτρου Πελοποννησίου 318v end of music and manuscript Notes The classification of this MS as a Mathematarion-Akolouthia indicates that it is a ‘newer’ lesson book for the Akolouthia repertory with exegeses of the older melodies by the newer composers. Consequently, the contents and order of the MS are typical for that of a late Akolouthia. The condition of the brown leather binding and MS folios is fair to poor. There are about 12 lines of text and music per page. The script and music are written in a faded reddish-brown colour. Mutilations are evident: i.e., fols 260r–263v, where the folios have been cut in half. Blank folios throughout the MS are utilized as a means of dividing sections of chants.

EBE 1865

199

Fol. 1r begins with the Kekragaria composed by the older composers but then continues with compositions of the newer generation: fol. 11r Polyeleos of Daniel the Lampadarios fol. 33v Doxology by Balasios fol. 48r Cherubic hymn with ‘Theseis’ according to modes by Petros the Lampadarios of the Peloponnese fol. 87r Hymns of lament by Kyr Germanos fol. 114r kalophonic Heirmoi by Petros, the Melodist fol. 130r ‘the necessary repertory’ for Vespers, Orthros and ‘shortened’ Liturgy by the newer teachers fol. 133r Dogmatic hymns of Daniel the Lampadarios fols 150v, Katabasiai 159r fol. 215r an exegesis of the Akathistos hymn for Orthros fol. 232r Cherubic hymns according to modes by Petros of the Peloponnese fol. 279r Communion hymns by Kyr Daniel fol. 292r exegeses of lessons by Petros the Lampadarios Oddly enough, fol. Ir, which precedes the MS proper, has a later Latin inscription that mistakenly attributes this MS to the 17th century. This dating is easily refuted by the 18thcentury composers that are represented in this Mathematarion as the ‘newer generation’.

EBE 1867

200

ΕΒΕ 1867 ΤΕΧΝΟΛΟΓΙΑ ΤΟΥ ΑΠΟΣΤΟΛΟΥ ΚΩΝΣΤΑ ΧΙΟΥ/MUSIC TREATISE OF APOSTOLOS KONSTAS OF CHIOS Type of paper: common Measurements: 16.5 × 11.2 cm Folios: I + 110 + XXVIII Notation: Chrysanthine Date: Sept. 1820

Ir–v 2r 3r 4r 8r

9r 14v 15r 15v–16r 17r 19r 22v 23v 24r 24v 30v 32r 38r 41v 42r–v 43r 46r

blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς τάξεως καὶ παραδώσεως πασῶν τῶν φθόγγων, μὲ τὰς ἀργείας αὐτῶν καὶ ἐνεργείας. Ἔχει δὲ ἕκαστον σημεῖον φθόγγου τὴν φύσιν αὐτοῦ… Ἕκαστον σημεῖον φωνῆς τὸ ἑαυτοῦ μέτρον Τεχνολογία, σὺν Θεῷ ἁγίῳ, περιέχουσα τοὺς ὀκτὼ τρόπους τῆς Μουσικῆς Τέχνης, τῶν τε φθόγγων τε καὶ ἐνεργειῶν, ἀργειῶν τε καὶ σχημάτων, ἤχων τε καὶ φθορῶν, ὀρθογραφίας τε καὶ κανωνικῶν γραμμῶν, συντεθείσης παρὰ τῶν τῆς ἁγίας Mεγάλης Ἑκκλησίας πρωτίστων διδασκάλων τοῦ γένους ἡμῶν· καὶ κατὰ Θεοῦ οἰκονομίας ἐφευρεθήσης ὑπ’ ἐμοῦ Ἀποστόλου υἱοῦ τοῦ ποτὲ Ἰωάννου ἱερέως καὶ νομοφύλακος Χίου τοὐπύκλην Κώνστα. Ἐν ἔτει σωτηρίῳ ͵αωʹ [1800] μετεγράφη δὲ ἐν ἔτη σωτηρίῳ ͵αωκʹ [1820], κατὰ μῆνα Σεπτέμβριον ἐν Κωνσταντινουπόλει εἰς Τὰ ταῦλα, διʹ αἰτήσεως κυρίου Παναγιωτάκη Κουγιουμνζή, υἱοῦ κυρίου Γεωργίου Ἀναγνώστου. Ἀρχὴ ... τῆς τάξεως καὶ παραδόσεως πασῶν τῶν φθόγγων, μὲ τὰς ἀργίας αὐτῶν καὶ ἐνεργείας. Continues discussion and explanation of Chrysanthine notation. Diagram: Ἡ μετροφωνία τοῦ τρίτου ἢχου Diagram: Ἡ μετροφωνία τοῦ τετάρτου ἢχου blank Diagram: Τὸ κανόνιο τοῦ ἀποδέρματος Τρόποι ἀναβάσεως καὶ καταβάσεως Μαθήματα ἀργιῶν Μάθημα κεντημάτων Κατιουσῶν φωνιέντων φθόγγων… Καὶ ταῦτα μὲν περὶ παραδώσεως τῶν φωνιέντων σημεῖων Φθόγγοι ποσότητος Μάθημα φθόγγων Μάθημα τοῦ ἴσου Περὶ τῆς παραδόσεως τοῦ ἴσου καὶ περὶ τῶν τεσσάρων ἐνεργειῶν αὐτοῦ Diagram: Τὸ κανόνιο τῆς κεφαλῆς ‘Η πρώτη τάξη τῶν ἀφώνων blank Περὶ τῆς τετάρτης τάξεως τῆς Μουσικῆς Τέχνης, ἥτις περιέχει τὴν τέχνην τῶν σχηματισμῶν ἁπάντων τῶν ἀφώνων σημείων ἑκάστου σχήματος Ἡ δευτέρα τάξη τῶν ἀφώνων

EBE 1867

47r 49v 56r 59r 60v 61r 64r 67v 75r 75v 84r 87r 92r 93v 94r 101v

102r

102r–v

103r–v

201

Μάθημα ἀφώνων Ἡ τρίτη τάξη τῶν ἀφώνων Diagram: Κανόνιο τῶν πρώτων ἤχων Ἀρχὴ ... πάντων τῶν ἤχων μετὰ τῶν ὀνομασιῶν τῶν κανονίων καὶ δρόμων αὐτῶν Diagram: Κανόνιο τῶν δευτέρων ἤχων Φανερώσεις ἠχῶν Diagram: Κανόνιο τρίτων καὶ βαρέως Diagram: Κανόνιο τῶν τετάρτων ἤχων Περὶ ἑκάστου ἦχου τοῦ σημείου αὐτοῦ κανών· Ἔχει δὲ ἕκαστος ἦχος χωριστὰ τὸ σημεὶον αὐτοῦ τὰ ὁποῖα κανωνικὰ σημεία ἐστὶν ὥδε εἰς τὸν παρόντα κανῶνα οὕτως. Diagram of a wheel of modes: Κανόνιο τῶν καταλήξεων Ἀρχὴ ... τοῦ ἕκτου δρόμου τῆς μουσικῆς ἐπιστήμης, ἥτις περιέχει κατὰ ἀκρίβειαν τὴν τέχνην τῶν φθορῶν καὶ μεταλλαγῶν, μετὰ τῶν κανονίων αὐτῶν Ἑπταφωνίες βαρέως Diagram: Τὸ κανόνιο τῆς πανδουρίδας Diagram: Κανόνιο μισηφωνιῶν ἐν καταβάσει Diagram: Κανόνιο μισηφωνιῶν ἐν ἀναβάσει Λόγος περὶ διαφορὰς ἐξωτέρας καὶ ἐσωτέρας καὶ νότων, καὶ ἑκάστης μουσικῆς τοῦ νῦν καιροῦ. Ἡ μὲν ἐξωτέρα μουσική, συνίσταται ἀπὸ δέκα ἔξη φθόγγους· καὶ βαστᾶται ἡ αὐτῆς μελῳδία, ἀπὸ τὰς ὀνομασίας. διότι δὲν ἔχει οὔτε κανῶνας οὔτε γράψημον, ἀλλὰ τοὺς φθόγγους, τὰς μισηφωνίας, τὴν χειρονομίαν καὶ τὰς ὀνομασίας. καὶ μὲ αὐτὰς τὰς τέσσαρας κλάδους εὑρίσκεται πᾶσα ἡ Ἀραβικὴ μουσική. Οἱ Εὐρωπαῖοι πάντες, ἔχουν ἅπασαν τὴν μουσικὴν αὐτῶν εἰς τριάκοντα ἕξ φθόγγους· καὶ βαστᾶται αὐτῆς ἡ μελῳδία ἀπὸ φθόγγους καὶ μισηφωνίας, ἀπὸ χειρονομίαν καὶ ῥυθμητικὴν. Ἡ τῶν Ἑλλήνων μουσικὴ ἐσμίχθη μὲ τὴν Ἀραβικὴν ἐπὶ καιρὸν Ἰωάννου τοῦ ἐκ Δαμασκοῦ. καὶ ἐβαστάχθη ἕως ἁλώσεως Κωνσταντίνου πόλεως. Καὶ ὕστερον μετὰ καιρὸν ἐχάθη κατὰ κράτος ἀπὸ τὸ γένος, διὰ τὴν αἰτίαν τῆς ἁλώσεως Κωνσταντίνου πόλεως. Μετὰ δὲ τριακοσίους χρόνους, πρῶτος ἐφευρετὴς καὶ αἴτιος ἐγένετο, Πέτρος ὁ Πελοποννήσιος, ἕως ἐμοῦ τοῦ ἁμαρτῳλοῦ Ἀποστόλου. Πεδευόμενος τριάκοντα τρεῖς χρόνους, ἕως νὰ κάμω τοὺς μαθητὰς νὰ ἀξιώνονται τῆς αὐτῆς χάριτος ἕως εἰς διάστημα δέκα ὀκτὼ μηνῶν, νὰ μὴν ἔχουν τινὰ χρείαν ἀπὸ τὴν ἐκκλησιαστικὴν μουσικὴν ἐξ οἱκεῖων μου κόπων. Εἰς Κερ πὴτζ Χάνη. Τὸ γένος ὅμως πρὸς εὺχαρίστησιν ὁποῦ ἐχρεώστη νὰ μὲ δίξη, ἐσμίχθη μὲ τοὺς ὑπεναντίους μου τῷ αιδ´ (sic) ἔτει καὶ ἔκαμε καὶ αὐτὸ σχολίον μόνον τῶν φθόγγων καὶ χειρονομίας, διὰ μέσον τῆς ῥυθμητικὴς. Ἔχασε ὅμως ἀλήμονον τὴν ἀγγελικὴν μελῳδίαν, τὰ ὁκτὼ μέρη τῆς γλυκητάτης ἐπιστήμης· καὶ ἐχάθη καὶ ὑπ᾽ ἐμοῦ ὁ τῶν τριάκοντα τρειῶν χρόνων κόπος. Βλέπωντας δὲ ὅτι ὅποιος ἀνεκατώθη τῆς τοιαύτης ὑποθέσεως ἕφαγε καὶ ἀρώστησε· ἔλαβα θάῤῥος νὰ μὴν παρατήσω τοῦ τοιοῦτου μεγάλου ἔργου τοῦ τοιοῦτου ἀγγελικοῦ θησαυροῦ ἀλλά νὰ προστρέξω εἰς τὸ ἔλεος τοῦ ποιητοῦ μου ὡς Κύριος, νὰ φωτίσει τὸ γένος καὶ τοὺς πρωτίστους αὐτοῦ, εἰς τὸν στολισμὸν τοῦ γένους τῶν έκκλησιῶν. Ὅτι ἄχρι τῆς σήμερον δὲν οἶδα ἄλλον τινὰ νὰ κοποιάσει εἰς αὐτὴν τὴν ὑπόθεσιν ὥσπερ ἐμέ. Λέγω δὲ τὴν ἀνταπόκρισην ἑκάστης μουσικῆς οὕτως. Περὶ πόσους φθόγγους ἔχει ἡ κάθε μουσικὴ: Ἡ μὲν ἐξωτέρα μουσικὴ τῶν Ἀράβων ἐχει δέκα ἕξ φθόγγους· ὅμως ἐκ τοῦ καρποῦ τὸ δέντρον γνωσθήσεται· αὐτῆς ὁ καρπὸς εἶναι διὰ ὄργανα καὶ τραγόδια. Ἡ Εὐρωπαϊκὴ μουσικὴ ἔχει φθόγγους τριάκοντα ἕξ· ὅμως ὁ καρπὸς αὐτῆς εἶναι διὰ ὄργανα καὶ ἀντιφωνίας, ὁποῦ ἡμπορεῖ νὰ κάμη καὶ ἄλλους

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φθόγγους. Ἡ δὲ ἐκκλησιαστικὴ μουσικὴ, ὥσπερ εἰσὶ τὰ γράμματα τὰ ψυφία αῦτων ἠκοσιτέσσαρα, καὶ μερίζονται εἰς ὀκτὼ μέρη τοῦ λόγου, καὶ ἀπὸ τὸν καρπὸν αὐτῶν εὐγένουν τόσοι κλάδοι φιλοσοφίας, ἤγουν ὡσὰν θεολογία φυσικὴ ἀστρονομία, γεομετρία, ἄλγευρα, ῥητορική· καὶ ἄλλα. 103v Οὕτω ἀπαραλλάκτως εἶναι καὶ ἡ τέχνη τῆς μουσικῆς τῶν Ἐλλήνων· εἰς εἰκοσιτέσσαρας φθόγγους συνθεμένη· δώδεκα λέγω ἀνιούσας καὶ δώδεκα κατιούσας. Καὶ ὅποιος ἥθελε συνθέση τινὰ μάθημα, δὲν ἔχει ἐξουσίαν ὡσάν τὰ τραγόδια νὰ κάμη σύνθεσιν μαθήματος τινὸς πλείονα τῶν δώδεκα φθόγγων, ἄν καὶ νὰ ἤθελε εἶναι τὸ πλέον μεγάλο μάθημα, ὅτι φεύγει ἀπὸ τὴν ἑκκλησιαστικὴν μουσικὴν εἱς τὴν ἐξωτερικὴν. 103v–104r Καὶ ἄν βάνη τινὰς γινάτι νὰ κάμη σύνθεσιν μαθήματος πλείονα τῶν δώδεκα φθόγγων, ἤ εἰς τὰ χαμιλὰ δὲν θέλει ἀκούετε τελείως, ἤ εἰς τὰ ὑψιλὰ εἰς τοὺς δέκα ἀνθρώπους ἕνας δὲν θέλει νὰ ὑμπορέσει νὰ εὐγεῖ. Διὰ τοῦτο καὶ οἱ περισσότεροι ἦχοι τῆς ἐκκλησίας, εἰς ὀλίγους φθόγγους εἰσίν. Ὁμοίως 104r τὸ τῆς ἐκκλησιαστικῆς μουσικῆς τέχνης τίμιον μέλος ἐστὶ τὸ σοβαρὸν καὶ σεβάσμιον, οὐχὶ αἱ ξεφωνήσεις, ἀλλὰ τὸ σεβάσμιον. Τὸ λοιπὸν πρῶτος τρόπος τῆς ἐκκλησιαστικῆς μουσικῆς εἶναι οἱ φθόγγοι· δεύτερον αἱ ἄργειαι· τρίτον αἱ ἐνέργειαι· 104v–105r τέταρον οἱ σχηματισμοί· πέμπτον οἱ ἦχοι· ἕκτον αἱ φθοραί· ἕβδομον ἡ ὀρθογραφία καὶ τάξης τῆς συνθέσεως· καὶ ὅγδοον αἱ γραμμαί. Καὶ ὥσπερ εἴπωμεν περὶ τοὺς φθόγγους λέγωμεν δὲ καὶ περὶ τῶν ἀργειῶν, ὅτι, αἱ ἄργειαι τῶν ἐθνῶν ἡ ἐξωτέρας ἤ ῥυθμητικῆς καὶ Εὐρωπαϊκῆς μουσικῆς, στέκεται εἰς τῆς χειρονομίας τὸν ῥυθμὸν. Ἡ δὲ ἐκκλησιαστικὴ στάσις στέκεται εἰς τὴν ἀναπνοὴν, εἰς τὸ μέγα, εἰς τὸ μεσαίον καὶ εἰς τὸ κοντὸν στάσιμον· εἰς μέλοντα εἰς παρακείμενα καὶ εἰς ἐνεστώτα, ὡς ἐπρογράφθησαν. Αἱ ἐνέργειαι τῶν φθόγγων, εἰς τὴν Ἀραβικὴν στέκει εἰς τὴν παράδωσιν τῆς φωνῆς· 105r ὁμοίως καὶ τῆς Εὐρωπαϊκῆς εἰς τὴν ἀπλὴν· οἱ δὲ ἐκκλησιαστικοὶ φθόγγοι, ἔχει σημεῖα φθόγγων, ὁποῦ τὸ καθὲν ποιεῖ φθόγγον ἀπλὸν σχηματισμὸν, εἰς ἕν ῥυθμὸν· καὶ μὴν ἠξεύροντας δὲ οἱ μεγάλοι διδάσκαλοι τὰς τοιαύτας αἱτείας, ἔπεσον μόνον εἰς τὸν ῥυθμὸν καὶ ἐγένετο τὸ μέλος τῆς τέχνης εἰς ῥυθμὸν καὶ μετροφωνίαν. Περὶ δὲ τετάρτου κλάδου σχηματισμοὶ, νὰ ὁποῦ τοὺς ἔβαλον εἰς φθόγγους, οἱ νῦν 105r–v σοφοὶ τοῦ γένους, τὸ λοιπὸν ἀς τοὶ λοίπουν οἱ σχηματισμοὶ ὥσπερ λοίπουν καὶ τῆς Εὐρωπαϊκῆς μουσικῆς, καὶ φθάνει τοὺς ἡ μετροφωνία. Περὶ δὲ πέμπτου κλάδου ἤχων, οἱ ἦχοι εἰς μὲν τοὺς Ἄραβας, ὡραιοτάτη ἡ τέχνη αὐτῶν 105v εἰς τοὺς ἦχους, πρός δὲ τοὺς Εὐροπιάνους ἡ μόνον τὸν τέταρτον κλάδον κοπανίζουν καὶ οὕτω διδάχθουν τοὺς χυδαίους τῶν ῥωμαίων. Περὶ δὲ πάλιν ἕκτου κλάδου τῶν φθορῶν, κατὰ πράξιν ἐπριπαιτοῦν πάντες οἱ διδάσκαλοι τῶν ῥωμαίων· ἀρχὴ δὲ τώρα ἑφάνη ὁ δρόμος αὐτῶν ἐν τῷ παρὸν βιβλίον. 105v-106r Ὅμως εἰς τὸ σχολίον ὁποῦ ἔκαμε τὸ γένος, ἐμετήλαξαν τινὰ σημεῖα φθορῶν, στοχαζόμενοι διὰ καλιότερον. Πρέπει λοιπὸν καὶ τὰς λοιπὰς μεταλαγὰς νὰ τοὺς παρακαλέσουν νὰ φτιάξουν καὶ ἄλλα σημεῖα φθορῶν. Ἕβδομος κλάδος, ἐστὶν ἡ ὀρθογραφία· οἶδαμεν ὅτι αἱ μὲν Ἄραβες δὲν ἔχουν γράψιμον· 106r οἱ δὲ Εὐροπιάνοι ἔχουν ταὶς νότες. Οἱ ῥωμαῖοι ἀπὸ ἀλώσεως Κωνσταντίνου πόλεως ἕως τοῦ νῦν καιροῦ, ὅσοι διδάσκαλοι πρωτοψαλτάδες καὶ λαμπαδαρέοι ἦλθον, τόσων λογιῶν μουσικὰ γράμματα ἔπρεπε νὰ μάθη ὁ κάθε μαθητὴς ὁ ποῦ ἤθελε τύχει εἰς αὐτοὺς· καὶ ἤτι ἤθελε καταλάβη. Διὰ τὸ ὁποὶον ἕως τοῦ νῦν καιροῦ οὕτως ἔχει τὸ πράγμα. Τὸ λοιπὸν ποῖαν ὀρθογραφίαν νὰ εἰπῶ ὁποῦ τὸ γένος τὸ περισσότερον προσκυνῆ ὑπολήψις καὶ οὐχὶ ἀλήθειαν. Ὄγδοος κλάδος εἶπωμεν ὅτι εἶναι αἱ γραμμαὶ.

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106v

Αἱ δὲ γραμμαὶ μόνον καὶ μόνον οἱ ῥωμαῖοι τὰς ἔχουν. Ὅμως οἱ μεταγενέστεροι διδάσκαλοι κάμνοντας ὁ ἕνας καὶ ἄλλος ἄλλαις καὶ ἄλλαις, ἐχάθη κατὰ κράτος αὐτῶν ὁ καρπὸς καὶ ἡ τέχνη. Ὅμως ἡ χάρις αὐτῶν ἐπιθυμεῖτε εἰς κάθε μουσικὸν· διότι ἡ μὲν ἐξήγησις εἶναι διὰ νὰ μήν ξεχαστὴ ἡ γραμμὴ ὅμως λύπη ἀπὸ τὴν λεπτὴν ἐξήγησιν τὸ μέλος τῆς γραμμῆς, ἐπιδεῖ ἡ γραμμὴ ἔχει μέσα της καὶ τὰς μεγάλας φωνὰς καὶ τὰς μικρὰς καὶ τοὺς σχηματισμοὺς καὶ τὰς μισηφωνίας καὶ τὴν χειρονομίαν· διὰ τοῦτο ὅποιος τὴν μάθη τὴν κάθε γραμμήν, τραβὰ μὲν εἰς τὴν ἀρχὴν κόπον, ὅμως εἰς τὸ τέλος ψάλλει χωρὶς τινὰ δυσταγμὸν ὡσὰν νὰ τὴν ἤξευρε ἀπέξω. 106v–107r Ἡ δὲ ἐξήγησις εἶναι εὐκολοτέρα ἡ μάθησις αὐτῆς, ὅμως ὁ ψάλλων χάνει τὰς φύσεις καὶ ἐνεργείας τῆς γραμμῆς καὶ μετρόντας καὶ ψάλλοντας· πρέπει νὰ ἔχει προσοχὴν πολλὴν διὰ νὰ μὴν τὸν φύγη καμία φωνὴ καὶ χάση τὸ πᾶν τοῦ μαθήματος ὁποῦ ψάλλει. Δεύτερον δὲ ὅταν μέλη νὰ συνθέτη εἰς τὸν νοὺν καὶ νὰ ψάλλει ὄτι θέλει συνθέττοντας 107r καὶ ψάλλοντας, μὲ τὴν δύναμιν τῶν γραμμῶν, πρέπει τὸ λοιπὸν εἰς τὴν ἐξηγήσιν νὰ ταῖς ἐξηγήση πρῶτον καὶ ὕστερον βλέποντας καὶ ψάλλοντας. Τρίτον δέ ὅταν μέλη νὰ ἐκτιθήση ἕνα μάθημα γραμμῶν εἰς ἕνα κάρτον τῆς ὥρας ἐκείνος ὁποῦ εἶναι χορτάτος ἀπὸ γραμμάς τὸ ἐκτυθῆ ὁ ἔξω τῆς ἐξηγημένον εἰς μίαν ἡμέραν, ἤ καὶ δύο καὶ τρεῖς, καὶ ἄς ἐγλεντίζη. Τέταρτον δὲ ὅτι ἕνα βιβλιαράκη γραμμῶν γίνεται ἕνα μέγα βιβλίον μὲ τὴν ἀπλὴν 107v ἐξήγησιν. Ἄλλο διάφορον δὲν στοχάζομαι εἰς τὴν ἀπλὴν ἐξήγησιν· μόνον ὁ μαθητῆς ἐκείνος ὁποῦ ψάλλει εἰς τὴν ἐκκλησίαν βαστώντας μέγα βιβλίον ἐγωμιάζεται ὑπὸ τοῦ λαοῦ, ὅτι εἶναι μέγας διδάσκαλος. Ὅμως μὲ τὸ νὰ εἶναι προσταγὴ τοῦ παναγίου πνεύματος λέγοντος, ἄσατε τῷ κυρίῳ ἄσμα καινὸν· παρακινῶ τοὺς ἀδελφοὺς μου νὰ κάμουν περιέργειαν πείραν τε καὶ ἔρευναν μὲ ἀγάπην καὶ ὁμόνοιαν, οἱ διδάσκαλοι τῆς αὐτῆς τέχνης, ἴνα ἐμβὴ εἰς κατάστασιν ἡ τοιαύτη ὑπόθεσις· τὴν ὁποίαν διδάχνω ἀπὸ τὰ αωα´ ἔτος μέχρι τὴν σήμερον μὲ πάσαν μου θέλησιν· ὁ δὲ πανοικτίρμων κύριος νὰ κάμη τὸ πανάγιον αὐτοῦ ἔλεος νὰ οἰκονομήση· 107v–108r Νὰ μὴν χαθῆ ἡ τοιαύτη ἀγγελικὴ τέχνη, ἵνα δοξάζηται τὸ πανάγιον αὐτοῦ ὄνομα εἰς τοὺς αἰῶνας τῶν αἰώνων, ἀμήν. Περὶ τῶν ἐλλιπῶν σημείων ὁποὺ ἧττον μέσα εἰς τὰ παλαιὰ βιβλία· Τώρα δὲ σημειώνω 108r ἐδῶ ὅσα σημεῖα ἧττον μέσα εἰς τὰ βιβλία τῶν μουσικῶν μὲ τὰς γραμμὰς αὐτῶν. Οὕτως... The signs of the Great Hypostaseis follow with explanations. MS ends, followed by 28 blank folios 110r Ir–v folio torn horizontally in the middle blank IIr–XXVIIIv Notes This is a beautifully preserved musical treatise entitled Technologia written by Apostolos Konstas of Chios, the son of Ioannes, the priest of Chios, and contains his teachings. This MS is the first of three volumes by Apostolos and is an important treatise because it promulgates the New Notation system yet precedes the Mega Theoretikon of Chrysanthos (1832) by 12 years. This autograph also gives important information on contemporary sacred and secular music of the Arabs and Europeans. Similar to Docheiariou MS 389, this MS was written in 1820 and represents the culmination of the theoretical teachings of Apostolos Konstas, which had begun about 1787. Although there are similarities to the teachings of the Three Teachers, whose reforms were in place by 1814, there are also concepts that Konstas credits as his exclusively. For

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instance, he considers his teachings on the new music a continuation of the generation before him. Furthermore, he holds some very biased opinions about possible influences of the types music he discusses in the treatise. Apostolos Konstas begins his treatise by stating that his Technologia contains the eight ‘tropoi’ (paths or manners) for Musical Techne (art). Under the rubric on fol. 101v, ‘Words on different external and internal influences and all music of our time’, Konstas states that this external music [in reference to Byzantine music, which he considers an alienated music] consists in 16 modulation tones and this melody consists of the nomenclature [alone], for it has neither rules nor writing, but modal signatures, semitones, cheironomia [subsidiary signs of ornamentation which are reflected in the visual gestures of the choir leader’s hands] and names, and with them the four classifications [maqams] which are found in all Arabic music. All the Europeans have in all their music 36 modal signatures and this melody consists of modulations and microtones of cheironomia and rhythms.

On fol. 102r Apostolos continues: Greek music became mixed with Arabic [music] from the time of John Damascene and remained so until the capture of Constantinople [in 1453]. And after a while it [the music] was thoroughly lost from the public and from its genre [family] due to the capture of Constantinople. After 300 years, the first rediscoverer of such and the cause [of the undiluted, pure, rebirth of Byzantine music] of this revival was due to Petros of the Peloponnese, until even I myself, Apostolos the sinner, made my students worthy after 18 months . . .

Obviously, Konstas is providing some very opinionated views that Byzantine music became corrupted with Arabic influences from the time of John Damascene and remained diluted through the fall of Byzantium and for the following 300 years of captivity. It is interesting that Konstas infers that the changes that begin to take place in the 18th century signal the re-emergence of the true Byzantine music, a resurgence that was initiated by Petros of the Peloponnese but included even the teachings of Apostolos Konstas himself. Much more is included in the treatise – especially comparisons of Byzantine with Arabic music – all of which would light the fires of musical debate for all mentioned: the Arabs, the Europeans and the Greeks. In the description of this MS I have included more of Apostolos’ text on his interpretation of the phthoggous (musical sounds) and the phthorai (modulation signs) as they compare to the European and Arabic music. The incipit on fol. 8r is written in a beautiful gold script. The remaining writing is in a dark black ink and the neumes are written in black and red for the hypostaseis. There is an average of 22 lines of text per page. The lines for music and text are variable. The MS is in beautiful, clean condition throughout. Even the grape-coloured binding is distinguished, with a lovely gold clasp. It should be noted that the recto folios are numbered both in the upper-right hand corners in pencil and in the lower right-hand corners with imprinted, stamped (pressed), characters. The printed numbering system is followed. Apostolos’ writings have some grammatical errors and incorrect spellings.

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Bibliography Apostolopoulos, Ὁ Ἀπόστολος Κώνστας ὁ Χῖος καὶ ἡ Συμβολὴ. Chatzegiakoumes, Μουσικὰ Χειρόγραφα Τουρκοκρατίας, pp. 198–201, 331. —— Χειρόγραφα Ἐκκλησιαστικῆς Μουσικῆς, pp. 189–90. Popescu-Judetz and Sirli, Sources of 18th Century Music. Stathis, G., Ἐξήγησις τῆς Παλαιᾶς Βυζαντινῆς Σημειογραφίας.

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ΕΒΕ 1868 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: common Measurements: 18.5 × 13 cm Folios: II + 426 + XVIII Notation: very early Chrysanthine Date: Nov. 1820

Ir–IIv 1r–5v 6r

6 v 7r 36v 50r 60r 80v 109v 110r 115r 117r 124r 154r 181r 190v 191r 194r 220r 239r 255r

blank blank Βίβλος Μουσικῆς Τέχνης, περιέχουσα τὴν ἅπασαν τάξιν τοῦ Ἑσπερινοῦ συντεθεῖσα παρὰ διαφόρων ποιητῶν παλαιῶν τε καὶ νέων· μεταγραφεῖσα καὶ διορθωθεῖσα, ὑπ’ ἐμοῦ Ἀποστόλου τοὐπίκλη Κώνστα Χίου, υἱοῦ τοῦ ποτὲ Ἰωάννου ἱερέως καὶ νομοφύλακος. ἐν ἔτει σωτηρίῳ ͵αωκʹ κατὰ μῆνα Νοέμβριον, ἐν Κωνσταντινουπόλει ἐν τῇ λεωφόρῳ Ἰς Κέρπιτζ καὶ Χάνη. Ἀρχὴ ... μέλη τοῦ Ἑσπερινοῦ. (These melodies for Vespers continue with settings by composers such as Ioannes Koukouzeles, Ioannes Kladas, Georgios Kontopetres, Manuel Chrysaphes and others, but with the exegesis of Apostolos Konstas.) «Ἀνοίξαντός σου τὴν χεῖρα…» τοῦ Κουκουζέλη Ἕτερα ἀνοιξαντάρια σύντομα· σύνθεσις ἐμοῦ Ἀποστόλου τοῦ ἰδίου γραφέως· ἦχος πλ. δʹ. This version of the Anoixantaria is a shortened version composed by Apostolos, who is also the scribe of the MS. Δόξα· σύνθεσις κὺρ Πέτρου Πρωτοψάλτου τοῦ Βυζαντίου· ἦχος πλ. δʹ Kekragaria as interpreted by Apostolos Konstas. Ἕτερα συντεθειμένα ἐκ τῶν παλαιῶν μετὰ πλείωνος καλλωπισμοῦ· σύνθεσις κὺρ Ἰακώβου Πρωτοψάλτου· ἦχος δʹ blank Ἕτερα κεκραγάρια κατὰ εἱρμολογικὸν δρόμον· σύνθεσις κὺρ Πέτρου Πρωτοψάλτου τοῦ Βυζαντίου κατ’ ἦχον· ἦχος αʹ Ἕτερα κεκραγάρια κατὰ ταχὺν δρόμον τοῦ Πέτρου Πελοποννησίου Προσόμοια εἰρμολογικὰ· σύνθεσις κὺρ Πέτρου λαμπαδαρίου τοῦ Πελοποννησίου· ἦχος δʹ Ἕτερα ... κατὰ σύντομον τρόπον Ἕτερα ... κατὰ ταχὺν δρόμον Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν δοξαστικῶν τοῦ ἐνιαυτοῦ, πάντων τῶν μεγάλων ἑορτῶν τοῦ Ἑσπερινοῦ· μὴν Σεμπτέμβριος εἰς τὴν πρώτην· τὸ γενέσιον τῆς ὑπεραγίας Δεσποίνης ἡμῶν Θεοτόκοῦ· ἦχος πλ. βʹ. Stichera doxastika from September to August follow. blank blank Τῆς ἐξηγήσεως τῶν μεγάλων ὡρῶν ... σύνθεσις κὺρ Χρυσάφου τοῦ Νέου Στιχηρὰ ἰδιόμελα τῶν Χριστουγέννων τοῦ Ἰακώβου Πρωτοψάλτου Σύνθεσις συντομωτέρα τῶν ὡρῶν ὑπ’ ἐμοῦ Ἀποστόλου τοῦ ἰδίου γραφέως Τῇ παραμονῇ τῶν ἁγίων Θεοφανείων εἰς τὰς ὥρας· στιχηρὰ ἰδιόμελα ψαλλόμενα εἰς τὴν πρώτην ὥραν· κὺρ Χρυσάφου τοῦ Νέου· ἦχος πλ. δʹ

EBE 1868

207

279r

Ἕτερα σύνθεσις τῶν ὡρῶν τῶν Θεοφανείων· κὺρ Ἰακώβου Πρωτοψάλτου τῆς ἑκκλησίας· ἦχος πλ. δʹ Ἕτερα σύνθεσις συντομωτέρα· ἐμοῦ Ἀποστόλου 298r blank 335v Χαιρετισμὸς τοῦ Ἀρχαγγέλου πρὸς τὴν ἀειπαρθένον Μαρίαν· σύνθεσις κὺρ Πέτρου 349r καλουμένου Μπερεκέτη· ἐξηγήθη ὑπ’ ἑμοῦ, ὀκτάηχον· ἦχος αʹ Ἕτερον κατὰ εἱρμολογικὸν τρόπον· Ἰακώβου Πρωτοψάλτου 355v Προσόμοια κατὰ σύντομον τρόπον τοῦ Πέτρου Βυζαντίου· κατ’ ἦχον 356v Τῷ Σαββάτῳ Ἑσπέρας· τὰ ἀπόστιχα ἀναστάσιμα τῶν ὀκτὼ ἤχων. ψαλλόμενα κατὰ τὸ 365r ἴδιον ὕφος τῆς Μεγάλης Ἐκκλησίας· ἦχος αʹ blank 384v Τὰ δοξαστικὰ τῶν ἀποστίχων τῶν κυριοτέρων ἑορτῶν τοῦ ἐνιαυτοῦ. (This series of 385r chants also goes from Sept. to Aug.) end of MS and music 426v Ir–XVIIIv blank Notes This manuscript is a new anthology of the Papadike by the scribe and composer Apostolos Konstas. This particular MS is the second volume by Apostolos but is the first volume of his Anthologia and is followed by α second volume of Anthologia, which is EBE MS 1869, both of which are preceded by his Music Treatise, MS 1867. All three volumes provide compositions by Apostolos Konstas and exegeses of compositions by the older composers as interpreted by Konstas in the newer Chrysanthine Notation. This MS is bound in a leather and cardboard binding in a deep red colour. There is an average of 11 lines per page. The script is written in a black ink and the rubrics in a deep red. In fact, the MS is rich in rubrics, written not only in the obvious red but also in golden ink. On the first written folio, fol. 6r, appears a colophon dating this MS Nov. 1820 and identifying the scribe as Apostolos Konstas of Chios – one of the most prolific scribes and composers of music MSS between the years 1791 and 1834. This second volume with the Anthologia contains the music for Vespers; the third volume begins with Orthros and continues with music for the liturgy. This is a very clean, readable MS. There appears to be an error in numbering, with fol. 224r that has been corrected by a later entry. The contents for Vespers that are included in this volume are typical, but with newer settings. The repertory is as follows: Anoixantaria fol. 6v fol. 40v Psalm 1 and Doxologies fol. 60r Kekragaria fol. 117r Prosomoia of the Heirmologion fol. 181r Doxastika Stichera for the liturgical calendar fol. 194r Hours and Stichera for Christmas fol. 255r Stichera idiomela fol. 349r Encomia for the Theotokos fol. 356v short Prosomoia fol. 365r Aposticha fol. 385r Stichera from Sept. to Aug.

208

EBE 1868

Bibliography Apostolopoulos, Ὁ Ἀπόστολος Κώνστας ὁ Χῖος. Chatzegiakoumes, Χειρόγραφα Ἐκκλησιαστικῆς Μουσικῆς, pp. 189–90. —— Μουσικὰ χειρόγραφα Τουρκοκρατίας, pp. 198–201, 331. Psachos (Ψάχου ), ‘Πέτρος ὁ Βυζάντιος Πρωτοψάλτης τῆς Μεγάλης τοῦ Χριστοῦ ᾽Εκκλησίας καὶ τὰ Σωζόμενα Ἰδιόχειρα αὐτοῦ Χειρόγραφα’, nos. 13-14, pp. 2–4.

EBE 1869

209

ΕΒΕ 1869 ΑΝΘΟΛΟΓΙΑ/ANTHOLOGIA Type of paper: common Measurements: 17.2 × 11.5 cm Folios: XII + 519 + XIX Notation: Very Late Round Byzantine, right before the turning point of the newer Chrysanthine notation Date: Jan. 1821

Ir–XIIv 1r

1 v 2r 4r 21v–27v 24v 28v 41r 46v 52v 68v 69r 104r 110v 130r 141r 171r 175r 178r 186r 205r

blank Ἀνθολόγια σὺν Θεῷ ἁγίῳ περιέχουσα τὴν τάξιν τοῦ τυπικοῦ μετὰ τῶν ἀναγκαίων μαθημάτων· τοῦ Ὄρθρου τε καὶ λειτουργίας. συντεθεῖσαι παρὰ τῶν κατὰ καιροὺς ἀναφανέντων ποιητῶν παλαιῶν τε καὶ νέων. ἐξηγήθη δὲ ὑπ’ ἐμοῦ Ἀποστόλου υἱου τοῦ ποτὲ Ἰωάννου ἱερέως καὶ Νομοφύλακος Χίου· τοὐπίκλην Κώνστα. ἐν ἔτει σωτηρίῳ ͵αωκαʹ [1821]· κατὰ μῆνα Ἰανουάριον, ἐν Κωνσταντινουπόλει· δι’ αἰτήσεως κυρίου Παναγιώτου υἱου τοῦ τζελεπῆ Γεωργίου Κάπελα, ἀναγνώστου. illumination Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς τάξεως τοῦ Mεσονυκτικοῦ τῆς Κυριακῇς, κατὰ τὸ σύνηθες τῆς τοῦ Χριστοῦ Μεγάλης Ἐκκλησίας. This begins with text; musical neumes begin on fol. 2v. Τάξεως τοῦ Ὄρθρου ὅταν εἶναι Κυριακῇ text without music Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς τάξεως τοῦ Ὄρθρου εἰς δεσποτικὰς καὶ θεομητορικὰς ἑορτὰς Τάξεως τοῦ Ὄρθρου εἰς τὰς ἑορτὰς τῶν ἁγίων Εἰς τὸν Ὄρθρον· μετὰ τὸν τριαδικὸν κανῶνα· παρὰ κὺρ Πέτρου λαμπαδαρίου· ἦχος βαρὺς, «Ἄξιόν ἐστιν...» Μετὰ τὰ καθίσματα τῆς Κυριακῆς, τὰ εὐλογητάρια· παρὰ Πέτρου Πελοποννησίου· ἦχος πλ. αʹ Ἀντίφωνα τὴν Κυριακὴ τοῦ Ὄρθρου· παρὰ Μανουὴλ Πρωτοψάλτου· διʹ αἰτήσεως Γρηγορίου πατριάρχου· ἦχος αʹ «Ἐν τῷ θλίβεσθαί με...» illumination of a tree outlined in red and filled in with gold colour Πολυελέων παρὰ Δανιὴλ Πρωτοψάλτου· ἦχος δʹ Ἕτερος πολυέλεος εἰς τὰς ἑορτὰς τῆς Θεοτόκου· παρὰ Πέτρου Μπερεκέτη· ἦχος δʹ picture of a flower drawn with black ink in lower half of folio Πασαπνοάριον τοῦ Ὄρθρου· παρὰ Πέτρου Πελοποννησίου· ἦχος βʹ. This is followed by settings by Gazes and other composers. Καταβασίαι εἰς τὴν ἑορτὴν τῆς κοιμήσεως τῆς Θεοτόκου· ἦχος αʹ. Other feasts follow after the Dormition of the Theotokos (Deipara). Κατ’ ἦχον σύνθεσις κὺρ Πέτρου λαμπαδαρίου Πελοποννησίου· ἦχος αʹ «Τὴν τιμιωτέραν χερουβίμ...» Ἐξαποστειλαρίων προσόμοια· κὺρ Πέτρου λαμπαδαρίου· ἦχος αʹ Εἰς τοὺς αἴνους· σύνθεσις Ἰωάννου τοῦ ἐκ Δαμασκοῦ· συνετμήθησαν δὲ μερικαὶ γραμμαὶ παρὰ κὺρ Ἰακώβου Πρωτοψάλτου τῆς Μεγάλης Ἐκκλησίας· ἦχος βʹ Ἑωθινὰ συντετμημένα ἐκ τῶν παλαιῶν παρὰ κὺρ Ἰακώβου Πρωτοψάλτου ...· ἦχος αʹ Ἕτερα [ἑωθινὰ] κατὰ εἱρμολογικὸν δρόμον ὑπ’ ἐμοῦ Ἀποστόλου· ἦχος αʹ

210

EBE 1869

212v

Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν δοξαστικῶν. (These Doxastika are listed according to the various feasts of the ecclesiastical year, from Sept. to Aug.) 252r–264r blank illumination 264v Ἀρχὴ σὺν Θεῷ ἁγίῳ πάντων τῶν δοξολογιῶν ὕμνων τῶν νέων ποιητῶν ... Πέτρου 265r λαμπαδαρίου· ἦχος αʹ. Other settings follow, including composers such as Iakovos Protopsaltes and Balasios. 325v Optional chants are included for the bishop(s), if time allows, as composed by Ioannes Koukouzeles· ἦχος πλ. αʹ «Τὸν δέσποτα ἀρχιερέα...» Ἀσματικὸν εἰς τὴν ἑορτὴν τοῦ Τιμίου καὶ Ζωοποιοῦ Σταυροῦ· ἐξήγησις ἐκ τοῦ παλαιοῦ· 372r ἦχος δʹ «Ἅγιος ὁ Θεὸς...». Settings are by composers Georgios of Crete and Ioannes Koukouzeles. Ἕτερον μάθημα Θεοτοκίον· Δανιὴλ Πρωτοψάλτου· ἦχος αʹ 380v blank 392v Τῆς θείας Λειτουργίας τοῦ Χρυσοστόμου· παρὰ Πέτρου λαμπαδαρίου Πελοποννησίου· 393r ἦχος πλ. δʹ Ἀντίφωνα τῶν δεσποτικῶν καὶ μεγάλων ἑορτῶν· τοῦ Πέτρου Πελοποννησίου 399v Εἰσοδικὰ τῶν δεσποτικῶν ἑορτῶν· παρὰ Ξένου τοῦ Κορώνη 400r illumination of what could be a monastery, on cliffs over water 409v Χερουβικὰ ... τῶν νέων ποιητῶν· τὰ παρόντα σύνθεσις κὺρ Πέτρου λαμπαδαρίου τοῦ 410r Πελοποννησίου, τὰ ἀνέκδοτα λεγόμενα· ἦχος αʹ Χερουβικὰ τῶν Κυριακῶν .. Πέτρου Πελοποννησίου· ἦχος βʹ 431r Ἕτερα χερουβικὰ παρὰ Πέτρου τοῦ Βυζαντίου· ἦχος αʹ 449r Λειτουργία τοῦ Μεγάλου Βασιλείου ... ἐξήγησις ἐκ τοῦ παλαιοῦ 467r Κοινωνικὰ with settings by Daniel Protopsaltes, Apostolos Konstas, Petros of the 472r Peloponnese and Petros Byzantios music ends with this folio 519r end of MS: this last folio has a gold-leaf illumination with a fish at the bottom of 519v the leaf. There is also the inscription «Τέλος καὶ τῷ Θεῷ δόξα, τιμὴ καὶ κράτος εἰς τοὺς αἰῶνας τῶν αἰώνων ἀμήν.» This closing is written by the scribe of the MS, Kyr Apostolos Konstas of Chios. Ir–XIXv blank Notes This manuscript is the third of a series of manuscripts by the scribe and music composer Apostolos Konstas. Although the third in the series, it is Volume 2 of the Anthologia and is preceded by Volume 1 of the Anthologia, EBE MS 1868, and by Theoretikon (Music Treatise), MS 1867. It is bound in leather and cardboard, with the former having a deep burgundy colour and identical gold ornamental designs on the front and back with a lesser gold design on the back binding. The MS has an average of 11 lines of music and text per page. The music and text are written in a black ink and the rubrics, hypostaseis and modal signatures in a deep red. The colophon on fol. 1r dates this MS 10 Jan. 1821 and identifies the scribe as Apostolos Konstas of Chios, one of the most prolific scribes and composers of music MSS between the years of 1791 and 1834. In this second anthology MS, Konstas indicates on fol. 1r that the manuscript was requested by the son of the church reader, George Kapelas, who is identified as Panagiotes. The first volume of the Anthologia, MS 1867, contains music theory and Psaltike Techne; the second

EBE 1869

211

volume, MS 1868, follows with the music for Vespers. Hence, the third volume, MS 1869, begins with the service for Mesonyktikon and continues with Orthros and music for the Liturgy. This MS, written by Apostolos Konstas, also contains various colourful illuminations of flowers and fish on the following folios: 1v, 68v, 170v, 264v, 409v, 471v and 519v. The MS is very clean and readable. Bibliography Apostolopoulos, Ὁ Ἀπόστολος Κώνστας ὁ Χῖος. Chatzegiakoumes, Χειρόγραφα Ἐκκλησιαστικῆς Μουσικῆς, pp. 189–90. —— Μουσικὰ χειρόγραφα Τουρκοκρατίας, pp. 198–201, 331. Stefanović and Velimirović, ‘Peter Lampadarios and Metropolitan Serafim of Bosnia’.

212

EBE 1902

ΕΒΕ 1902 ΜΟΥΣΙΚΟΝ ΤΡΙΩΔΙΟΝ ΣΤΙΧΗΡΑΡΙΟΝ/MUSICAL TRIODION Paper: common Measurements: 21.4 × 15.5 cm Folios: 163 Notation: neumatic style of the very Late Round Byzantine Date: 18th c.

1r

Ἀρχὴ σῦν Θεῷ ἁγίῳ τοῦ Τριῳδίου περιέχον καὶ πάσαν τὴν πρέπουσαν αὐτῷ ἀκολουθίαν· τῇ Κυριακῇ πρώτῃ τοῦ Τελώνου καὶ τοῦ Φαρισαίου καὶ Σαββάτῳ Ἑσπέρας· ἦχος αʹ. Then follow rubrics for the various feasts of the Triodion, especially for Saturdays, Sundays and some Fridays. Although some of the feasts are indicated, composers’ names are not given. For Holy Week, the daily feasts are included but without attributions. Ἀντίφωνα [τῶν ἁγίων παθῶν τοῦ Σωτῆρος] 106v Κυριακῇ δʹ· μετὰ τὴν Ἀνάστασιν (μεσοπεντηκοστῆς). This continues with the various 147r Sundays through Pentecost. music ends with the Sunday of All Saints’ Day 163r 163v This last folio includes writing and even some scribbling that is not easily distinguishable. Notes This is a typical late Triodion MS containing the various weekly feasts leading to the holy Hours of Easter and the Sundays thereafter through All Saints’ Day. Although the contents are similar to other Triodia, the MS serves as a later source for comparison of melodic settings for the postByzantine period, albeit before the change of musical notation. On fol. 1r a seal indicates that this MS originated at the Monastery of Bylizas, [ΜΟΝΑ]ΣΤΗΡΙ BΥΛΙ[ZA]. This is one of several MSS purchased in 1895 by the Ministry of Education for the National Library of Greece from this monastery, located in northern Greece in the region of Epirus at or near the village of Matsouki. This MS is dated in the 18th century but there are newer scripts dating from the late 19th century on fols 2r, 64r and 70v. On the latter folio is an inscription: Ψαλτηκὴ τοῦ μοναστηρίου ἁγίας μονῆς Βύλιζας κιʹ ὅποιος ... (Chants from the monastery of the Holy Monastery Bylizas ...). The MS is in fair to poor condition. The folios are damaged in places and not easily legible. There are about 13 lines of text and music per page. Although there are rubrics that identify various feasts, there are few composers’ names, making this MS less significant than other Triodia MSS. Bibliography Polites, “Παλαιογραφικὰ ἀπὸ τὴν Ἤπειρο”.

EBE 1903

213

ΕΒΕ 1903 ΔΙΔΑΣΚΑΛΙΑ ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/PEDAGOGY OF THE ANASTASIMATARION Type of paper: bombycinous Measurements: 15.2 × 10.8 cm Folios: II + 132 + II Notation: Late Round Byzantine Date: early 18th c.

Ir–IIv 1r 8 v

blank Ἀρχὴ ... σύστημα τῶν σημαδίων τῆς Ψαλτικῆς Τέχνης illumination in black and red of the trochos (wheel) of modes. This trochos is not as nice or complete as the more common Koukouzeles trochos. Κεκραγαρίων κατ’ ἦχον· ἦχος αʹ (fol. 10v, ἦχος βʹ; fol. 11v, ἦχος γʹ; fol. 13v, ἦχος δʹ; fol. 9r 15r, ἦχος πλ. αʹ; fol. 16v, ἦχος πλ. βʹ; fol. 18v, ἦχος βαρὺς; fol. 20r, ἦχος πλ. δʹ) r-v blank 22 Ἀναστασιματάριον τοῦ νέου κατ’ ἦχον· ἦχος αʹ 23r Ἀρχὴ σὺν Θεῷ ἁγίῳ τὰ ἀναστάσιμα· μεταμεληθέντα ὑπὸ κὺρ Χρυσάφη τοῦ Νέου «Tὰς ἑσπερινὰς ἡμῶν…» Εἰς τοὺς αἴνους· ἦχος αʹ «Πᾶσα πνοὴ...» 35v Ἀρχὴ τοῦ δευτέρου ἤχου «Τὸν πρὸ αἰώνων ἐκ Πατρὸς...» 44r Ἀρχὴ τοῦ τρίτου ἤχου «Τῷ σῷ Σταυρῷ Χριστὲ Σωτὴρ...» 64r Ἀρχὴ τοῦ τετάρτου ἤχου «Τὸν ζωοποιόν σου Σταυρὸν...» 83r blank 107v Ἀρχὴ τοῦ πλ. αʹ «Διὰ τοῦ Τιμίου σου Σταυροῦ Χριστὲ...» 108r 128r This folio and the remaining folios are torn at the edges and badly damaged, making them difficult to read. 132r The MS ends with the end of Plagal Mode IV chants. I r «Τὸ παρὸν ὑπάρχει τοῦ ἱεροῦ Μοναστηρίου Βυλίζας» blank Iv–IIv Notes This Anastasimatarion, similar to MS 1902, is one of several MSS from the Monastery of Bylizas that was sold to the National Library of Greece. The contents are typical and begin with the Psaltike Techne, which concludes with a trochos on fol. 8v. Then follow the Kekragaria chants according to modes. After the blank fol. 22, the Anastasimataria or chants for Orthros begin, categorized according to modes. The rubric on fol. 23r attributes the Anastasima chants to Kyr Chrysaphes the New. Although there are rubrics throughout the MS, other composers’ names are not mentioned.

214

EBE 1903

The MS is in poor condition. The binding has deteriorated and the rubrics are in a faded reddish-brown hue. The neumes and text average from eight to ten lines per page and at times are badly faded. In fact, from fol. 128r to the end the folios are almost illegible. Bibliography Polites, “Παλαιογραφικὰ ἀπὸ τὴν Ἤπειρο”.

EBE 1916 (olim 2015)

215

ΕΒΕ 1916 (olim 2015) ΕΙΣΑΓΩΓΗ ΤΗΣ ΕΚΚΛΗΣΙΑΣΤΙΚΗΣ ΜΟΥΣΙΚΗΣ/TREATISE ON CHURCH MUSIC Type of paper: common Measurements: 16.5 × 11.5 cm Folios: 58 + VIII Notation: Chrysanthine Date: 1829

1r

58v

Εἰσαγωγὴ εἰς τὸ θεωρητικὸν καὶ πρακτικὸν τῆς ἐκκλησιαστικῆς μουσικῆς, κατὰ τὴν νέαν τῆς μουσικῆς μέθοδον, συνταχθεῖσα παρὰ Χρυσάνθου τοῦ ἐκ Μαδύτων, μεταφρασθεῖσα δὲ εἰς τὸ ἁπλούστερον καὶ ἐπιδιορθωθεῖσα εἰς πολλὰ ἐλλείποντα παρὰ Χουρμουζίου, χαρτοφύλακος τῆς τοῦ Χριστοῦ Μεγάλης Ἐκκλησίας, ἑνὸς τῶν ἐφευρετῶν τῆς ρηθείσης νέας μεθόδου. Χεὶρ Χουρμουζίου δικασκάλου καὶ χαρτοφύλακος τῆς τοῦ Χριστοῦ Μεγάλης Ἐκκλησίας, αωκθ´ [1829]

Notes This MS is the autograph treatise of Chourmouzios Chartophylax, written in 1829. The opening rubric indicates that this is the ‘Introduction of the Theory and Practice of Church Music’ according to the New Music method written by Chrysanthos from Madytos, but translated into a more simplified format and with corrections of the many matters that Chrysanthos missed, as interpreted by Chourmouzios Chartophylax, of the Great Church of Christ. The autograph, written in red, is found on fol. 58v and is dated 1829. The MS is in excellent condition. The text and music have been written with much care, with an abundance of rubrics along with musical examples. The lines per folio are variable because of the examples. The binding is in brown leather with a thin golden border. The interior of the binding indicates that this MS was purchased from the region of the Ionian in 1896 from an inheritance. Bibliography Dragoumis, ‘The Survival of Byzantine Chant’.

EBE 1943 (olim 2043)

216

ΕΒΕ 1943 (olim 2043) ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: common Measurements: 20.2 × 13.5 cm Folios: I + 71 + I Notation: Chrysanthine Date: ca. 1830–ca. 1850

Ir I v 1r 20v 23v 28r 31r 33v 39r 43v 46v 47v 49v 55r 60v 64v 67r 69v 70r 71r 71v Ir–v

annotation: ‘Chanter Raidestinos has chosen these.’ blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ παπαδικοῦ μέλους· Πολυέλεος κὺρ Πέτρου Βυζαντίου τοῦ Μπερεκέτη· ἦχος αʹ, ΠΑ Πασαπνοάριον τοῦ κὺρ Κλήμεντος Πασαπνοάριον τοῦ Γεωργίου τοῦ Ῥαιδεστινοῦ Δοξολογίαι τοῦ Γερμανοῦ Νέων Πατρῶν Ἀσματικὰ Ἀσματικὸν τοῦ κὺρ Μπαλασίου ἱερέως· ἡ πεντάφωνος Ἀσματικὸν τοῦ κὺρ Πέτρου Μπερεκέτη Τρισάγιον νεκρώσιμον· τὸ ἁγιορείτικον· πλ. βʹ Δύναμις, τὸ ἁγιορείτικον Ἀλληλουϊάριον· κὺρ Μανουὴλ τοῦ Χρυσάφου Χερουβικὸν· κὺρ Ἀγαλλιανοῦ ἔντεχνον· ἦχος βʹ Χερουβικὸν τοῦ Πέτρου Μπερεκέτη Χερουβικὸν τοῦ Κουκουζέλους ἔντεχνον τὸ καλούμενον παλατινὸν Κοινωνικὸν τοῦ κὺρ Πέτρου Μπερεκέτη πεντάφωνον Κοινωνικὸν τοῦ κὺρ Ἰωάννου τοῦ Γλυκέως blank blank blank music without text and MS end blank

Notes This Anastasimatarion is a late compilation of chants notated in the newer system yet represents a few of the older composers, such as Ioannes Koukouzeles, Ioannes Glykes and Manuel Chrysaphes, as interpreted by the newer generations, Clement, Georgios Raidestinos, Petros Bereketes, Balasios, Agallianos and others. The MS has a newer brownish binding and has the typical blackish script for the neumes and text. Each page averages about 14 lines of text and neumes. Rubrics in red are used throughout. Overall, the MS is clean and easily legible. Evidence that this MS was written near the beginning stages of the new notation system is that modal signatures can be found side by side with both the older and newer modal signatures: e.g., ἦχος α ´ and ΠΑ. The contents of the MS are selective and not as complete as other Anastasimataria: i.e.,

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fol. 1r Polyeleos fol. 20v Pasapnoaria fol. 28r Doxologies fol. 31r Trisagia fol. 47v Alleluiaria fol. 49v Cherubic hymns fol. 64v Communion hymns Of interest is fol. Ir, which prefaces the opening. Written in pencil is the phrase: Ψάλτης Ῥαιδεστινὸς τὰ ἐξέλεξεν (Chanter Raidestinos has chosen these). Also in pencil is a cryptographic attribution written in retrograde syllables: δηςάριγογρη κηςράΣταυ τηςψάλ = ψάλτης Σταυράκης Γρηγοριάδης. Fol. 1r has a seal of previous possession by the University Library (MS 13), indicating that it was donated as a gift by Chrystodoulos Konstantinos from Constantinople.

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ΕΒΕ 1944 (olim 2044) ΜΑΘΗΜΑΤΑΡΙΟΝ/MATHEMATARION Type of paper: common Measurements: 20.5 × 14 cm Folios: I + 189 + I Notation: Chrysanthine Date: mid-19th c.

Ir I v 1r

annotation: Ἐκλογὴ Ῥαιδεστινοῦ· Ἀνθολογία ἐμπεριέχουσα ἀνέκδοτά τινα Υἱὸς τοῦ Σταυράκη Πρωτοψάλτου Βεσίκταση blank «Ἀνοίξαντός σου τὴν χεῖρα σου...». After the Anoixantaria, the Exaposteilaria follow with settings by the older composers, Ioannes Koukouzeles (fol. 3r) and Panaretos (fol. 4v). r v blank 5 –8 «Μακάριος ἀνὴρ...» τοῦ Πέτρου λαμπαδαρίου Πελοποννησίου· ἦχος πλ. δʹ 9r 17r Verses from Ps. 1 continue with a setting by Chourmouzios Chartophylax. Τὸ αὐτὸ, συνετμήθη παρὰ Μανουὴλ Πρωτοψάλτου 21r Ἕτερον σύντομον παρὰ Γεωργίου τοῦ Κρητὸς 25r Κεκραγάρια τοῦ Ἰακώβου Πρωτοψάλτου· κατ’ ἦχον 29r Κεκραγάριον εἰς τὸν Ἑσπερινὸν τῆς Κυριακῆς τοῦ Πάσχα· Γεωργίου τοῦ Κρητὸς 38v Τὸ παρὸν ψάλλεται ἐν τῇ ἀρτοκλασίᾳ, δίχορον· τοῦ Πέτρου Μπερικέτου [sic]. 42r Kekragarion chanted in the ceremony of the blessing and breaking of the bread with two choirs, by Petros Bereketes. 46v–52v blank Προκείμενα ψαλλόμενα ἐν ταῖς Κυριακαῖς τῆς Τεσσαρακοστῆς τοῦ Πέτρου λαμπαδαρίου· 53r ἦχος πλ. δʹ Ἕτερον τοῦ Πέτρου λαμπαδαρίου 54r Ἰδιόμελα τῆς μεγάλης Τεσσαρακοστῆς· Ἰακώβου Πρωτοψάλτου· ἦχος δʹ 55r 64v–77v blank Τοῦ Πέτρου Μπερικέτη [sic]· δίχορον «Τῇ ὑπερμάχῳ...» 78r Μάθημα ψαλλόμενον εἰς τὸν Ἀκάθιστον ὕμνον· κὺρ Ἰωάννου τοῦ Κλαδᾶ 79r «Ἄξιόν ἐστιν…» 86r Ψαλμὸς τοῦ πολυελέου μελισθεὶς παρὰ Χουρμουζίου Διδασκάλου 88r Ὁ παρὼν ἐμελοποιήθη παρὰ Πέτρου Μπερικέτου [sic] (another setting of the 93r Polyeleos) 105r–114v blank «Ἐξομολογεῖσθε τῷ Κυρίῳ...» 115r Written in pencil in a more recent script is the attribution to ‘Daniel Protopsaltes, an anecdote’. (Anecdote in this instance refers to something that is previously unpublished or unseen.)

EBE 1944 (olim 2044)

121r 131r 143r 146v 147r 150r 151r 158r 160r 166r 182r 186r 187r 189v Ir–v

219

Πολυέλεος τοῦ κὺρ Πέτρου λαμπαδαρίου Πελοποννησίου. Then follows an exegesis by Chourmouzios Chartophylαχ. Πολυέλεος Χουρμουζίου Χαρτοφύλακος· ἦχος πλ. δʹ, ΝΗ «Ἡ τρισυπόστατος μονάς, πατήρ, υἱὸς καὶ πνεῦμα, Τριὰς ἡ ἀδιαίρετος… Ανενανε… Εριρεμ… σῷζε καὶ διαφύλαττε, ᾑμᾶς τοὺς σὲ ὑμνοῦντας…» «Ἀπείρανδρε, πανάσπιλε, κόρη θεοκυῆτορ… Εριρεμ… ῥῦσαι κολάσεως ἡμᾶς, σαῖς μητρικαῖς πρεσβείαις…» Πολυέλεος τοῦ Γρηγορίου Πρωτοψάλτου blank Γρηγορίου Πρωτοψάλτου «Πᾶσα πνοὴ...» blank Πασαπνοάριον τοῦ Ἰακώβου Πρωτοψάλτου· κατ’ ἦχον Πασαπνοάριον τοῦ Ὄρθρου τοῦ Ἰωάννου Πρωτοψάλτου Ἕτερον τοῦ Πέτρου λαμπαδαρίου Ἕνδεκα ἑωθινὰ Ἰακώβου Πρωτοψάλτου· ἦχος αʹ, ΠΑ Μάθημα Θεοτοκίον ψαλλόμενον εἰς τὰς ἑορτὰς τῆς Θεοτόκου· τοῦ Δανιὴλ Πρωτοψάλτου· ἦχος δʹ, ΔΙ Εἰς τὴν θʹ ὥραν· τῆς παραμονῆς τῶν Χριστουγέννων· τοῦ Ἰακώβου Πρωτοψάλτου· ἦχος πλ. βʹ, ΠΑ Τῶν θεοφανείων music and MS end blank

Notes This Mathematarion, similar to the preceding MS 1943 and following MS 1945, is a 19th-century MS written after the change to the newer notation. Reminiscent of the previous MS, MS 1944 has an attribution on fol. Ir in pencil: Ἐκλογὴ Ῥαιδεστινοῦ (Selection of Raidestinos). Then in ink this phrase follows: Ἀνθολογία ἐμπεριέχουσα ἀνέκδοτά τινα (Anthology containing various anecdotes – items not previously circulated). In a newer script there appears again the attribution but without cryptography: υἱὸς τοῦ Σταυράκη Πρωτοψάλτου Βεσίκταση (son of Staurakes Protopsaltes Besiktases). The MS is in very good condition, with all folios being clean and readable. The binding is newer, as is the MS. There is an average of 13–15 lines of text and music per page. There are rubrics throughout the MS and the modal signatures are at times indicated in the older and newer systems of notation. As a second of a triology of MSS, this MS, as indicated on fol. 1r, was also a gift of Christodoulos Konstantinos from Constantinople to the University Library (MS 13). The contents are typical for this late Mathematarion or anthology of lessons: Anoixantaria, Ps. 1 (beginning of Kathisma I) , Kekragaria, Prokeimena, Idiomela, the Akathistos hymn, Trisagion, Polyeleos, Pasapnoaria, Heothina Hymns, Theotokia, Hours for Christmas and Theophania. What is not typical is the span of generations of composers. The older 14th-century composers are represented, such as Koukouzeles and Panaretos, but there is also an abundance of 18thcentury composers: Bereketes, Iakovos Protopsaltes, Petros of the Peloponnese and others. The MS, furthermore, contains the newer exegeses of the older repertory, with several settings by Chourmouzios Chartophylax and Gregorios Protopsaltes the Lampadarios, two of the initial reformers and followers of Chrysanthos. Of interest is the consistent misspelling of Bereketes’ name from the correct spelling Μπερεκέτης to the incorrect Μερικέτης. The change of an

220

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‘ε’ (epsilon) to a ‘ι’ (iota) indicates a possible MS provenance from Northern Greece, such as Epirus. Bibliography Chaldaiakis, Ὁ Πολυέλεος.

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ΕΒΕ 1945 (olim 2045) ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: common Measurements: 21.2 × 14.5 cm Folios: I +194 + II Notation: Chrysanthine Date: first half of 19th c.

Ir I v 1r 31v 77v 111r 142r 171v 177v 183r 194r Ir–IIv

inscription inscription Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ στιχηραρίου μέλους· δογματικὰ κατ’ ἦχον τοῦ κὺρ Χρυσάφου τοῦ νέου «Δόξα Πατρί...» Ἀρχὴ τῶν ἕνδεκα ἑωθινῶν· κὺρ Ἰωάννου Γλυκέως Ὥρα τῶν ἑορτῶν Χριστουγέννων ἐκ τοῦ παλαιοῦ στιχηραρίου· ὥρα πρώτη· ἦχος πλ. δʹ «Βηθλεὲμ ἑτοιμάζου εὐτρεπιζέσθω...» Ὥραι τῆς παραμονῆς τῶν Φωτῶν παλαιαὶ· ὥρα πρώτη· ἦχος πλ. δʹ, ΝΑ «Σήμερον τῶν ὑδάτων...» Ὥραι τῶν ἁγίων παθῶν ἐκ τοῦ παλαιοῦ στιχηραρίου· ὥρα πρώτη· ἦχος πλ. δʹ, ΝΑ «Σήμερον τοῦ ναοῦ...» Δοξαστικὸν τῆς Κοιμήσεως τῆς Θεοτόκου ἐκ τοῦ παλαιοῦ στιχηραρίου ὀκτάηχον· ἄρχεται δεσποτικὸν ἦχον αʹ, ἔχουν τὴν βάσιν αὐτοῦ [ἤχου] ΠΑ Ἕτερον ὀκτάηχον εἰς τὴν ἀποτομὴν τοῦ Προδρόμου· ἦχος αʹ Τῇ Κυριακῇ τῆς Σταυροπροσκυνήσεως· ἦχος πλ. αʹ, ΠΑ end of music and MS blank

Notes The stamp on fol. 1r documents that this Sticherarion is the third of a trilogy of MSS written in the new Chrysanthine Notation that was bequeathed to the University Library (MS 12) by Christodoulos Konstantinos of Constantinople. As in MSS 1943 and 1944, there are similar attributions on fol. Ir–v preceding the actual MS. On fol. Ir, written in pencil, is a reference to the contents of the MS as an ‘anecdote selected by Raidestinos’ (Ἀνέκδοτον, Ῥαιδεστινὸ τὸ ἐξέλεξεν). On fol. Iv in pencil appears the same cryptographic phrase found in MS 1943: δησάριγοΓρη κησράΣταυ τησψάλ [= ψάλτης Σταυράκης Γρηγοριάδης] or chanter Staurakes Gregoriades. Below this enigmatic inscription in ink is yet another attribution to a priest: Γεώργιος παπᾶς Σ. Οἰκονομίδης (Georgios, the parish priest, S. Oikonomides). The MS is in very good condition and easy to read. The newer binding is in a brownish leather. There are about 13–14 lines of text and music per page. The neumes and text are in a black script with rubrics for the headings, attributions and modal signatures. The latter appear in both the older and newer systems. The musical repertory begins with Stichera dogmatika by Chrysaphes the New. The Heothina hymns follow on fol. 31v as composed by Ioannes Glykes. Other portions of the MS indicate that the repertory is ‘according to the old Sticherarion’:

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fol. 77v fol. 111r fol. 142r fol. 171v

the Hours of Christmas the Hours on the Eve of Epiphany the Hours of the Passion of Christ the Dormition of the Theotokos

The MS closes with Stichera for the Beheading of the Forerunner, fol. 177v, and Sunday of the Veneration of the Cross, fol. 183r.

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ΕΒΕ 1946 WESTERN MUSIC COLLECTIONS Paper: German music paper Measurements: 32 × 25 cm Pages: loose collections of music Notation: Western Date: early 19th c.

Fragment I [Red no. 40] Basso Primo [olim supplement 881] [Red no. 36] ‘Amin, soi Kyrie eleison…’ This fragment consists of a single monophonic melody set to a Greek text which is transliterated into the Western alphabet. The composition (entire Fragment I) is six pages long. Fragment II [Red no. 34] Adagio: ‘Οἱ τὰ χερουβεὶμ...’ This Cherubic hymn is a four-part choral setting for soprano, tenor primo, tenor secondo and falso [male alto]. Largo: ‘Οἱ τὰ χερουβεὶμ...’ Another setting of the Cherubic hymn in a slower tempo. Fragment II is twenty-two pages in length. Fragment III [Red no. 35] ‘Hoi ta cherubim mistikoi ...’ This composition of the Cherubic hymn is written in octaves and the text is in Western transliteration. The beginning of the composition has a dedication for, perhaps, the intended vocalist: Basso Kumundurakis. Fragment III is three pages long. Fragment IV [Red no. 36] This fragment has a date of May 1836 on the opening page. Offertorio, ‘Alto’ part; monophonic; 11 pages ‘Hi ta heruvim mystikos...’ Andantino, ‘Polichronion si Kyrios...’ Moderato, ‘Ascion estin [Ἄξιόν ἐστιν]’; 5 pages Alto: ‘Ἀμὴν. Σοὶ Κύριε ἐλέησον…’; 6 pages Alto: attribution to Papadakis Tutti: ‘Οἱ τὰ χερουβεὶμ…’; 3 pages ‘Domine Deus salutis meae…’; 1 page

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[by Michael J. Haydn] Andantino: ‘Polychronion poiisoi Kyrios...’; 2 pages Moderato: ‘Ascion estin...’; 1 page Tempo ordinario a capella: ‘Αἰνεῖτε τὸν Κύριον...’; 1 page Tempo di Maria: ‘Χαῖρε Πατρὶς...’ 1 page Halliluia [sic]; 1 page ‘Δεῦτε προσκυνήσωμεν...’ ‘Χριστὸς Ἀνέστη...’; 1 page Fragment IV is thirty-two pages in length. Fragment V Piano music (treble and bass clefs) 1. [Red no. 1] Angloise in G major/Trio; 4 pages 2. [Red no. 2] Six Exercises; 3 pages 3. Rondo Scherzando; 1 page 4. [Red no. 3] Ländler in F major (3/8 time); 1 page 5. Der Kleine Matrose in G major; 1 page 6. Angloise and Trio; 2 pages 7. [Red no. 4] Thema di [6] Variations in C major and Cadenza; 4 pages 8. [Red no. 5] Thema di [6] Variations in G major and Cadenza; 4 pages 9. [Red no. 6] Allemande in F major and Trio; 1 page Angloise in D major and Trio in A major; 1 page Allemande in D major and Trio in A major; 1 page Allemande in C major and Trio in F major; 1 page 10. [Red no. 7] Marche di Figaro and Cadenza; 4 pages Andante Adagio 11. [Red no. 8] Allemande and Trio in C major; 1 page Allegretto and Trio; 1 page Angloise and Trio; 1 page Allemande and Trio; 1 page 12. [Red no. 9] Laüfer [Five Exercises]; 1 page Arpeggios in sharp and flat keys

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13. [Red no. 10] Allemande in C dur (seven Allemandes in different keys) Two Cadenzas and 1 Trio; 4 pages 14. [Red no. 11] Ländler; 1 page German Dance; 1 page Polonaiso [Polonaise]; 1 page Ländler/Angloise; 1 page 15. [Red no. 12] Thema di [6] Variations and Cadenza; 4 pages 16. [Red no. 13] Exercises and scales [for each of the sharp and flat keys]; 4 pages 17. [Red no. 14] Allemande and Trio; 1 page Eccossaises; 2 pages Allemande and Trio; 1 page 18. [Red no. 15] Piano Waltzes for Four Hands; 4 pages 19. [Red no. 16] Für initur [sic] (for beginners) system; 4 pages This is an exercise in a music theory lesson that contains note values and corresponding rests; contra-tones (octave lower) of the octave; enharmonic, diatonic and chromatic pitches; and the same notes in different registers. 20. [Red no. 17] Five Keyboard Octave Exercises; 1 page Scales in C major and A minor and their progressions; 3 pages (This is followed by other major and relative minor scales in the same manner.) Fragment V is 69 pages long. Fragment VI Monophonic vocal settings in German and in Latin [Red no. 18] 1. Basso: ‘Wer kennt nicht das schöne Land…’; 3 pages 2. Canon by M. J. Haydn ‘Domine Deus salutis…’, 7 stave lines; 1 page 3. [Red no. 19] Basso: ‘Wer kennt nicht…’; 3 pages (same as above) 4. [Red no. 20] Tenore: Canon by M. J. Haydn ‘Domine Deus salutis…’, 9 stave lines; 1 page 5. [Red no. 21] Tenore: Canon by M. J. Haydn (same as no. 4 above)

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6. [Red no. 22] Tenore: Canon by M. J. Haydn (same as no. 4 above) 7. [Red no. 23] Canto: ‘Wer kennt nicht...’; 4 pages 8. [Red no. 24] Canto: ‘Wer kennt nicht...’ (same as no. 7) 9. [Red no. 25] Alto: ‘Wer kennt nicht...’; 4 pages 10. [Red no. 26] Alto: ‘Wer kennt nicht...’ (same as no. 9) 11. [Red no. 27] Alto: ‘Wer kennt nicht...’ (same as nos. 9 and 10) Canon by M. J. Haydn; 4 pages 12. [Red no. 28] (identical to no. 11 above); 4 pages 13. [Red no. 29] Tenore: Canon by M. J. Haydn ‘Domine Deus salutis…’; 1 page 14. [Red no. 30] Canto settings: ‘Wer kennt nicht…’ Canon by M. J. Haydn; 4 pages 15. [Red no. 31] Basso settings: ‘Wer kennt nicht…’ Canon by M. J. Haydn; 4 pages 16. [Red no. 32] (identical to no. 15 above); 4 pages 17. [Red no. 33] (identical to no. 14 above); 4 pages Fragment VI consists of 55 pages total, including the many duplicate parts. Notes This MS is unusual in several aspects. First, it is a collection of settings in Western staff notation. Secondly, it is not a bound collection but rather a loose compilation of six fragments placed in a cardboard box. All six fragments are notated on large music manuscript paper that have as many as ten staves of music per page. The density of the music paper is very thick, even if it is now somewhat yellowed with age. The music and vocal texts are all written in black ink.

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Although there are similarities of script within a fragment, there are some different scripts among the fragments. The contents of the entire collection is diverse in that there are choral part arrangements as well as solo arrangements; piano compositions – some that are multimovement such as themes and variations as well as dances from suites – exercises for piano; and vocal settings in Latin, German and Greek, with the Greek in transliterated English (and German). The variety, range of difficulty, and quality of compositions suggest student consumption. Based on the acclamation (polychronion) in honour of King Otto in Fragment IV, there is a possibility that all of the music of these fragments was for students at the Lyceum of Monaco that eventually made its way to the National Library of Greece. The fragments have been numbered according to the order of the collections in the National Library of Greece; however, some of the musical compositions have a red number added by a later hand that has been included in the descriptions above. Furthermore, none of the compositions has been numbered, but lengths of pages have been included for every musical work with totals for each fragment. Fragment I is preceded by a blank sheet of music manuscript paper. The music for this section contains six pages of a single melody for a Primo Basso. Of interest is that the Greek text ‘Amin, Soi Kyrie eleison’ is transliterated from the Greek into the Western alphabet. Fragment II contains polyphonic part-settings for soprano, tenor primo and tenor secundo and falso of a Greek setting of the Cherubic hymn. There are two movements: the Adagio precedes the Largo, but both movements set the same text. Fragment III follows with the bass part of the Cherubic hymn but the text is in a transliterated Western alphabet. This setting is written in octaves and has an attribution to the name Kumundurakis, possibly either the intended vocalist or arranger. Fragment IV is dated ‘May 1836’ and is entitled ‘Offertorio’. What follows is a diverse group of part-settings in Greek, Western transliteration of the Greek, and Latin. The Latin text ‘Domine Deus salutis meae’ is part of an Offertorium for choir by Johann Michael Haydn, the younger brother of Franz Joseph Haydn, and could be the reason for identifying this group as an ‘Offertorio’. Further settings of this Haydn work reappear in Fragment VI. This section also contains acclamations (polychronia), one of which is designated for King Otto. The Greek name of Papadakis is written beside the Alto part for the Greek setting of the Cherubic hymn. Other Greek settings include a Communion hymn, Megalynaria, Easter chant ‘Christ has Risen’ and other works. Fragment V is exclusively piano music for or by students. Technique skills are represented by various exercises, arpeggios and scales. This section also has many theme and variation compositions with cadenzas; dance movements such as Ländler, Angloise, Allemande, Polonaise, Ecossaise and a Waltz for four hands; and even a ‘Marche de Figaro’ with cadenza. This fragment is the greatest in length. Fragment VI returns to vocal settings. This section opens with a lied for a bass entitled ‘Wer kennt nicht das schöne Land’ – probably a varied text of ‘Kennst Du das Land’, one of the Goethe poems known as Mignon’s Lieder (Mignon being the young woman who sings them in his novel Wilhelm Meisters Lehrjahre). This section also has other part settings of this German lied for soprano, alto and tenor. Interpolated among the various parts of the ‘Wer kennt nicht das schöne Land’ is the return of the Offertorium for choir, ‘Domine Deus salutis meae’, by Johann Michael Haydn. In this section, there is a clear attribution to J. M. Haydn but the work is referred to as a ‘Canon’. Part-settings for the Haydn work are also for soprano, alto, tenor and bass, with multiple copies of each.

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ΕΒΕ 2056 (olim 55) ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: bombycinous Measurements: 23 × 14.5 cm Folios: 78 Notation: Early Round Byzantine Date: late 13th–early 14th c. Provenance: Gymnasium of Thessalonika [Salonica]

1r 75r 78v

Στιχηράριον· Ἐν ἀρχῇ στιχηρὰ τοῦ ὅλου ἐνιαυτοῦ. The Stichera verses run from 6 Jan. to the end of Aug. Ἀρχὴ σὺν Θεῷ τῆς ἁγίας Τεσσαρακοστῆς· Κυριακῇ τοῦ Τελώνου καὶ τοῦ Φαρισαίου. end of music and MS

Notes This is an early Sticherarion with early Round Byzantine Notation. The date of late 13th to early 14th century is substantiated by the fact that the notation is not a completely developed Round Notation system. Furthermore, the contents of the MS are not complete. The Triodion section contains verses for selected feasts beginning with 6 Jan., the Epiphany, and concluding with the month of August. The Pentecostarion section starts on fol. 75r with the Sunday for the Publican and Pharisee but is also incomplete, with the MS ending on fol. 78v. The binding and folios are in poor condition. Each page has about 19 lines of music and text, but many of the folios are torn. For those that are not, the condition is still dismal, with neumes and text greatly faded, as are most of the rubrics and modal signs. Most of the MS is barely legible but it could still serve as a source for comparative studies of notational development. Bibliography Serruys, ‘Catalogue des manuscrits’.

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ΕΒΕ 2057 (olim 56) ΕΙΡΜΟΛΟΓΙΟΝ/HEIRMOLOGION Type of paper: bombycinous Measurements: 22.5 × 14.5 cm Folios: 45 Notation: Middle Round Byzantine Date: first half of 14th c. Provenance: Gymnasium of Thessalonika

1r 3r 11r 14v 16v 24r 30v 35r 40v 45r

Ἀκολουθία εἰς τῶν ἁγίων νηστειῶν, ᾠδὴ αʹ «Διὰ στύλου πυρὸς καὶ νεφέλης...» Ἀκολουθία εἰς τὰ Εἰσόδια τῆς Θεοτόκου, ᾠδὴ αʹ Καὶ τῶν βασιλείων τῶν Χριστουγέννων, ᾠδὴ αʹ Καὶ τροπάρια τῶν Χριστουγέννων, ᾠδὴ αʹ Ἀκολουθία εἰς τοῦ Θεολόγου Ἀκολουθία εἰς τὴν αὐτὴν, ᾠδὴ αʹ «Στίβει θαλάσσης κυματούμενον...» Ἀρχὴ σὺν Θεῷ τοῦ τρίτου ἤχου «Ὁ τὰ ὕδατα πάλαι νεύματι...» Ἀρχὴ τοῦ τετάρτου ἤχου «Θαλάσσης τὸ Ἐρυθραῖον πέλαγος...» Ἀκολουθία τῶν Βαΐων «Ὤφθησαν αἱ πηγαὶ...» Ἕτερα ἀκολουθία, ᾠδὴ αʹ· ἦχος δʹ

Notes This Heirmologion is a compilation of loose folios that have not been paginated and surely had folios preceding and following the existing contents. The folios and binding are in poor condition, with many wormholes and torn margins. Also, the rubrics are very faded and difficult to read. The MS averages about 14 lines of text and music per page. The music is notated in the Middle Round Byzantine Notation but is largely illegible because of the condition of the folios. Although the MS is not complete, the preserved contents are odes from various Akolouthia and are categorized according to modes (Authentic Modes I–IV): fol. 1r fol. 3r fol. 11r fol. 14v fol. 16v fol. 40v

for Lent the Presentation of the Theotokos the Proëortia (Christmas eve) the Troparia for Christmas the Theologian for Palm Sunday

Bibliography Serruys, ‘Catalogue des manuscrits’.

230

EBE 2061 (olim 58)

ΕΒΕ 2061 (olim 58) ΑΚΟΛΟΥΘΙΑ ΑΣΜΑΤΙΚΩΝ ΨΑΛΛΕΤΑΙ ΕΙΣ ΕΣΠΕΡΙΝΟΝ/CATHEDRAL AKOLOUTHIA FOR VESPERS Type of paper: chartaceous Measurements: 29.7 × 22 cm Folios: 123 Notation: Middle Byzantine Date: 1393–1425

1r

Ἀκολουθία ἀσματικὴ ψάλλεται εἰς Ἑσπερινὸν· ψάλλεται δὲ εἰς τὴν μίαν ἑβδομάδαν· ἦχος β´ «Καὶ ἐπάκουσόν μου, δόξα σοι ὁ Θεός…» ἦχος βαρὺς «Κλῖνον, Κύριε, τὸ οὖς σου, καὶ ἐπακουσόν μου, δόξα σοι ὁ Θεός…» The MS begins with the daily two-week cycle for the ‘Chanted’ Vespers. The cycle for the first week ends with fol. 25r and the second week continues on fol. 25v. v v Ps. 17: «Ἀγαπήσω σε, Κύριε, ἡ ἰσχύς μου, ἀλληλούïα…» 2 –3 Ps. 18: «Οἱ οὐρανοὶ διηγοῦνται δόξαν Θεοῦ, ἐπάκουσόν μου Κύριε…» Ps. 21: «Ὁ Θεός, ὁ Θεός μου, πρόσχες μοι ἵνα τί ἐγκατέλιπές με, ἀλληλούïα…» Ps. 22: «Κύριος ποιμαίνει με, καὶ οὐδέν με ὑστερήσει, ἐλέησόν με Κύριε…» Ps. 24: «Πρὸς σέ, Κύριε, ἦρα τὴν ψυχήν μου, ἀλληλούïα…» Ps. 26: «Κύριος φωτισμός μου καὶ σωτήρ μου, τίνα φοβηθήσομαι, βοήθησόν μοι Κύριε…» Ps. 28: «Ἐνέγκατε τῷ Κυρίῳ, υἱοὶ Θεοῦ, ἀλληλούïα…» Τῇ Γ´ πρωΐ· ἦχος πλ. α´ «Καὶ ὕπνωσα, δόξα σοι ὁ Θεὸς…» 5r–v ὕστερον ἠχίζει ὁ δομέστικος «Ἀμήν, ἐγὼ ἐκοιμήθην καὶ ὕπνωσα, δόξα σοι ὁ Θεὸς…» ἀπὸ χοροῦ· ἦχος πλ. α´ «Ἐγὼ ἐκοιμήθην καὶ ὕπνωσα, δόξα σοι ὁ Θεὸς…» Καὶ γίνεται ἡ εἶσοδος· καὶ ἵστανται μέσον τοῦ ναοῦ· καὶ λέγει τοὺς β´ στίχους τοῦ 5 v ψαλμοῦ «Ἔστρεψας τὸν κοπετόν μου εἰς χαράν…» στίχος ἀριστερὸς «Ὅπως ἄν ψάλλῃ σοι ἡ δόξα μου…» Δόξα καὶ νῦν τὸ αὐτὸ μέλος· καὶ περισσή· καὶ μετὰ τοῦτο τὴν Η´ ᾠδήν. Θυμιατός «Τὴν οἰκουμένην, ἀλληλούïα…» 9r ἐκφώνησις «Ἀμήν, ἀναστήτω ὁ Θεὸς καὶ διασκορπισθήτωσαν οἱ ἐχθροὶ αὐτοῦ…» ἀπὸ χοροῦ «Αἱ χεῖρες σου ἐποίησάν …» Καὶ εὐθὺς λέγει ὁ δομέστικος γεγονωτέρᾳ φωνῇ· τοῦ Παναρέτου κὺρ Γεωργίου «Καιρός τοῦ ποιῆσαι τῷ Κυρίῳ…» Καὶ εὐθὺς λέγει, δόξα καὶ νῦν, καὶ περισσὴν τὸ παλαιὸν «Συνέτισόν με Κύριε…»· εἶτα γίνεται συναπτὴ καὶ εὐθὺς τὸ εἰσοδικὸν. Καὶ μετὰ τὴν εἵσοδον εἰς τὸ μέσον τοῦ ναοῦ, λέγει ὁ δομέστικος τοὺς στίχους τοὺς κατὰ 9v–10r συνήθειαν εἰς ἦχον α´· δόξα καὶ νῦν καὶ διεγερμὸν τὸ εἰσοδικὸν πάλιν· καὶ εὐθὺς τὰ εὐλογητάρια «Εὐλογεῖτε πάντα τὰ ἔργα Κυρίου…» Καὶ λέγει τὴν ᾠδὴν ὅλην, «Εὐλογοῦμεν πατέρα εὐλογοῦμεν καὶ νῦν…» τὸ αὐτὸ· Σὲ τὸ ἀπόρθητον τεῖχος καὶ εὐθὺς τὸ συναξάριον. 18r Καὶ μετὰ τὸ τέλος τούτου πάλιν ἡ ἀρχὴ συνεπαρμένη· ἦχος πλ. β ´ «Ἀγαλλιᾶσθε, δίκαιοι, ἐν Κυρίῳ· Δόξα Πατρὶ καὶ Υἱῷ … Καὶ νῦν καὶ ἀεί … ἀλληλούια…»

EBE 2061 (olim 58)

18v

19r 19v 20v 23r 23v 24r–v 25r 25v 34r 34v 40v 41r 45r 45v

231

Ὠδὴ α´· ἦχος πλ. β´· «Δεδόξασται τῷ Κυριῷ ᾄσωμεν ἐνδόξως γὰρ δεδόξασται…» Ὠδὴ β· ἦχος β´ «Οὐρανὲ καὶ λαλήσω, δόξα σοι ὁ Θεός…» Ὑπαλλαγὴ α· ἦχος β´ «Ὁ ἠγαπημένος, φύλαξόν με, Κύριε…» Ὑπαλλαγὴ β· ἦχος β´ «Ἅδου κατωτάτου, δίκαιος εἶ, Κύριε…» Ὑπαλλαγὴ γ· ἦχος β´ «Ἴδετε, ἴδετε, ὃτι ἐγώ εἰμι, καὶ οὐκ ἔστι Θεός πλὴν ἐμοῦ, δόξα σοι ὁ Θεός…» Ὠδὴ γ´ «Ἀμήν, ἐστερεώθη ἡ καρδία μου ἐν Κυρίῳ ἐλέησόν με, Κύριε…» ἐπὰν δὲ ἔλθη εἰς τὸ, «Μεγαλύνει ἡ ψυχή μου», λέγει καὶ τὸ, «Μήτηρ ἁγία», ἦχος β´, δόξα καὶ νῦν τὸ αὐτὸ, ὕστερον δὲ ἠχίζει ὁ δομέστικος τὸ αὐτὸ ἀπὸ χοροῦ «Νεανεες, Μήτηρ ἁγία τοῦ ἀχράντου φωτός αναγια…» Εἰς δὲ στίχον τοῦτον γίνεται ἡ εἲσοδος καὶ λέγει ὁ δομέστικος ὑψηλωτέρᾳ φωνῇ· Καὶ ἐντράπησαν πάντες οἱ ἐνδεικνύμενοι τοῖς δούλοις σου· Μετὰ δὲ τὴν εἴσοδον εἰς τὸ μέσον τοῦ ναοῦ ψάλλει καὶ τοὺς λοιποὺς στίχους «Εὐλογητὸς εἶ, Κύριε, ὁ Θεὸς τῶν πατέρων ἡμῶν …» Μετὰ δὲ τὸ τέλος τῆς ᾠδῆς ταύτης ἄρχεται ἡ ὀγδόη ἡνωμένη οὕτως· δόξα γὰρ οὐ λέγουσι «Εὐλογεῖτε πάντα τὰ ἔργα Κυρίου…» Μετὰ δὲ τὸ «Δόξα καὶ τὸ νῦν»· «αἰνοῦμεν εὐλογοῦμεν»· εἶτα, «Σὲ τὸ ἀπόρθητον», καὶ εὐθὺς τὸ συναξάριον. Ἦχος γ´· καὶ εὐθὺς τὸ κεκραγάριον «Εἰσάκουσόν μου τὴν σωτήριόν σου ἔγερσιν…» Καὶ λέγει τοὺς στίχους καὶ ὁ δεξιὸς καὶ ὁ ἀριστερὸς χορὸς μὲ τὸ κεκραγάριον καθὼς ἐστὶν ἔθος. first version of the Amomos found in the MS A Verse attributed to Christophoros for the chants of the Amomos for the first week. Ψάλλεται ὅλη ἡ στάσις τὸ αὐτὸ μέλος· ἕως ὧδε εἰς τὸν στίχον τοῦτον διπλάζει ὁ δομέστικος καὶ λέγει· τοῦ Χριστοφόρου· ἦχος πλ. β´ «Καιρὸς τοῦ ποιῆσαι…» ἐκφώνησις· ἦχος πλ. β´ «Ἀμὴν, αἱ χεῖρες σου ἐποίησάν με καὶ ἔπλασάν με, συνέτισόν με Κύριε…» ἡσυχώτερα· «Αἱ χεῖρες σου ἐποίησάν με καὶ ἔπλασάν με, συνέτισόν με Κύριε…» Εἰς δὲ τὸν Νʹ τὸ Πεντηκοστάριον τοῦ ἤχου. (This indicates that Ps. 50, the ‘Pentecostarion’, was to be chanted to the mode for the week.) Τοῦτο δὲ λέγεται ἐντὸς τοῦ ναοῦ εἰς τὸ μέσον μετὰ τὴν εἲσοδον· ἦχος πλ. δ´ «Εἰσελθοῖτο τὸ ἀξίωμά μου ἐνώπιόν σου, Κύριε…» Καὶ λέγει καὶ ὁ ἀριστερὸς χορὸς στίχον τὸ αὐτὸ μέλος· ὁμοίως πάλιν καὶ τοὐς λοιποὺς στίχους οὕτως· «δόξα καὶ νῦν» τὸ αὐτὸ μέλος· ὕστερον δὲ περισσὴν τὸ εἰσοδικὸν πάλιν· ἦχος πλ. δ´ «Ἀλληλούια…» Ἑτέρα Ἀκολουθία τῆς ἑτέρας ἑβδομάδος. Τῇ Κυριακῇ Ἑσπέρας· ἦχος πλ. β´ «Καὶ ἐπάκουσόν μου, δόξα σοι ὁ Θεός…» Καὶ πάλιν ἐκ βου καὶ γίνεται συνεπαρμός· ἦχος δ´ «Ἄσατε τῷ Κυρίῳ ᾆσμα καινόν· Δόξα…» Τοῦ λυχνικοῦ ψαλμοῦ· ἦχος πλ. β´ «Ὅτι πρὸς σέ, Κύριε…» Ἕτερον· ἦχος πλ. β´ «Οὐρανὲ καὶ λαλήσω, δόξα σοι ὁ Θεός…» Ὑπαλλαγὴ αη· ἦχος πλ. δ´ «Ὁ ἠγαπημένος, φύλαξόν με, Κύριε…» Ὑπαλλαγὴ βα· ἦχος γ´ «Ἅδου κατωτάτου, δίκαιος εἶ, Κύριε…» Ὑπαλλαγὴ γη· ἦχος γ´ «Θεός πλὴν ἐμοῦ, δόξα σοι ὁ Θεός…» Τὸ τροπάριο «Μήτηρ Θεοῦ Παναγία, τὸ τεῖχος τῶν χριστιανῶν…» Καὶ πάλιν ἠχίζει ὁ δομέστικος τὴν περισσήν· «Νεανες· Τὴν ζωηφόρον σου ἔγερσιν…» second version of the Amomos chant

232

46r 46v 47v

EBE 2061 (olim 58)

Τοῦ Γεωργίου Παναρέτου «Καιρὸς τοῦ ποιῆσαι τῷ Κυρίῳ…» Ἡ κατακλείουσα τὴν β´στάση τοῦ ἀμώμου μικρὴ δοξολογία· τοῦ Πατρίκη· ἦχος β «Δόξα Πατρί … Καὶ νῦν … συνέτισόν με, Κύριε…» Ἑσπερινὸς ψαλλόμενος τῇ ἁγίᾳ καὶ μεγάλῃ Κυριακῇ Ἑσπέρας· ἦχος α´ «Καὶ ἐπάκουσόν μου, δόξα σοι ὁ Θεός…» Τὸ Πεντηκοστάριον τοῦ ἐνορδίνου ἤχου Εἶτα τὰ εὐλογητάρια· ἦχος πλ. δ´ «Εὐλογεῖτε πάντα τά ἔργα Κυρίου, τὸν Κύριον ὑμνεῖτε…» 48r–50r Settings for Vespers for Easter Sunday and other feasts, ἦχος αʹ the Lesser Antiphons of Chanted Vespers (Pss. 114, 115, 116 Septuagint version), Mode 48v I 49r Εἶτα ἐκφωνεῖ ὁ δομέστικος ἀπ᾽ ἔξω «Ανανανες…» Ὅλοι «Αουαγγαγιος … ὁ Θεὸς…» Ἕτερος ᾀσματικὸς ψαλλόμενος εἰς ἑορτὰς ἐπισήμους· ἦχος πλ. βʹ «Καὶ ἐπάκουσόν μου, 49v δόξα σοι ὁ Θεός…» Κυριακῇ ςʹ· Εἰσοδικὸν ψαλλόμενον πρὸ τῆς Κυριακῆς τῶν ἁγίων Προπατόρων καὶ 51r–v Πατέρων· ἦχος πλ. δʹ «Νεαγιιιιε … ανααααγια…» Τοῦ Γεωργίου τοῦ Κοντοπετρῆ· ἦχος δ´ «Ὠς κραταιός, αααγγια ἐν ἰσχύει σου Κύριε… ἵνα ψάλλομέν σοι, νανα ἀλληλούιααα…» ἀπὸ χοροῦ «Καὶ ἐλέησον με, ἀλληλούια…» Hypakoai settings are found on fols 51r–72v for the proper office chants for Sundays and the Christmas cycle. Ἀκολουθία ψαλλομένη τῷ Σαββάτῳ τῶν ἁγίων Προπατόρων καὶ Πατέρων εἰς τὴν 52r αην ἑβδομάδον· ἐκφωνεῖ ὁ δομέστικος τὸ, «Εὐλόγησον, δέσποτα…»· εἶτα ἄρχεται τὴν ὑπακοήν· καὶ λεγόμενον ἄρρητον Εἶτα γίνεται μεγάλη συναπτὴ καὶ εὐθὺς ἂρχεται ὁ δομέστικος τὸ πρῶτον· ἦχος πλ. β´ 53r–v «Καὶ ὕπνωσα, ανανααγια… δόξα σοι ὁ Θεὸς…» ἦχος πλ. β´ «Ἀγαλλιάσομαι ναανα δό…χοχο…ξα σοι ὁ Θεὸς…» ἐκφώνησις · ἦχος πλ. β´«Ἀμήν, ἐγὼ ἐκοιμήθην καὶ ὕπνωσα … νανααγι...α δόξα σοι ὁ Θεὸς…» «Δεδόξασται τῷ Κύριῳ ᾄσωμεν ἐνδόξως γὰρ δεδόξασται…» 54v ὅλοι «Ἐγὼ ἐκοιμήθην καὶ ὕπνωσα, δόξα σοι ὁ Θεός…» Καὶ γίνεται μικρὰ συναπτὴ καὶ εὐθὺς ἄρχονται τὴν βαν ᾠδήν· ἦχος πλ. β´ «Οὐρανὲ καὶ 55v λαλήσω … αγια … δόξα σοι ὁ Θεός…» Ὑπαλλαγὴ αη· ἦχος πλ. β´ «Ὁ ἠγαπημένος … νανα… φύλαξόν με, Κύριε…» v r 55 –56 Ὑπαλλαγὴ βα· ἦχος πλ. β´ «Ἅδου κατωτάτου …αγια… δίκαιος εἶ, Κύριε…» Ὑπαλλαγὴ γη· ἦχος πλ. β´ «Θεός πλὴν ἐμοῦ… νανα… δόξα σοι ὁ Θεός…» r–v Καὶ ψάλλονται καὶ αἱ λοιπαὶ ᾠδαί· καὶ εὐθὺς τὸ, μεγαλυνάριον· ἦχος βαρὺς «Αανες, 57 Ὁ καρπός τῆς κοιλίας σου… ἄχραντε ἅγια…νανα μεγαλύνομεν Κυρίῳ, ἐλέησον με, Κύριε…» Ἐκφώνησις ὁ δομέστικος· ἦχος βαρὺς «Ἐστερεώθη ἡ καρδία μου, Κύριε, ἐλέησόν με, Κύριε…» Καὶ ψάλλονται καὶ οἱ λοιποὶ στίχοι μέ τὸ τοιοῦτον μέλος· ἕως τὸ, «Μεγαλύνει ἡ ψυχή μου»· εἶτα ἄρχεται τοῦτο λέγει καὶ τὸ, Μεγαλυνάριον. 58r Καὶ τῇ Κυριακῇ πρωΐ· [τῶν ἁγίων Προπατόρων καὶ Πατέρων εἰς τὴν αην ἑβδομάδαν] ἵσταται ὁ ἱερεὺς ἔμπροσθεν τῶν ὡραίων πυλῶν· καὶ ἐκφωνεῖ ὁ δομέστικος τὸ, Εὐλόγησον· ἦχος α´ «Εὐλόγησον, δέσποτα…»

EBE 2061 (olim 58)



233

Εἶτα τὴν ὑπακοὴν, ποίημα τοῦ Κοντοβράκη· ἦχος πλ. δ´ «Ἄγγελος παίδων ἐδρόσισε κάμινον…» Καὶ γίνεται μεγάλη συναπτὴ καὶ εὐθὺς ἄρχεται ὁ δομέστικος τοῦτο· ἦχος πλ. δ´ «Καὶ 59v ὕπνωσα, δόξα σοι ὁ Θεός…» Τοῦ Κουκουζέλη «Σύ δέ, Κύριε, ἀντιλήπτωρ μου εἶ…» 60r Τοῦ Γεωργίου τοῦ Κοντοπετρῆ· ἦχος πλ. δ´ «Ἐγω ἐκοιμήθην καὶ ὕπνωσα· ἐξηγέρθεί ὅτι 60v Κύριος ἀντιλήψεταί μου…» (verse from Ps. 3) Λέγε «Δόξα σοι ἅγιε…» Τοῦ Κουκουζέλη «Ὅτι κρεῖσσον τὸ ἔλεός σου…» Τοῦ Ξένου Κορώνη· ἦχος πλ. δ´ «Ὡς ἐκ στέατος καὶ πιότητος…» 61r Ἦχος πλ. δ´ «Ὅτι ἐγενήθης βοηθός μου καὶ ἐν τῇ σκέπῃ τῶν πτερύγων σου ἀγαλλιάσομαι … Ναανα, δόξα σοι ὁ Θεός…» 61v Τοῦ αὐτοῦ «Ὁ δὲ βασιλεὺς εὐφρανθήσεται ἐπὶ τῷ Θεῷ…» Καὶ γίνεται μικρὰ συναπτὴ καὶ εὐθὺς λέγει ὁ δομέστικος «Τὴν οἰκουμένη, 62r ἀλληλούϊα…» Ἐκφώνησις· ἦχος πλ. δ´ «Ἀμήν, ὅν τρόπον ἐπιποθεῖ ἡ ἔλαφος ἐπὶ τὰς πηγάς τῶν ὑδάτων, ἀλληλούϊα…» ὅλοι ἀπὸ χοροῦ «Ὅν τρόπον ἐπιποθεῖ ἡ ἔλαφος ἐπὶ τὰς πηγὰς των…» Καὶ λέγει ἀλληλουϊάριον εἴπερ ἔχει θέλημα ὁ δομέστικος· εἶτα, Δόξα καὶ νῦν· καὶ λέγει καὶ περισσήν· ἦχος πλ. δ´ «Ἀλληλούϊα…» Καὶ γίνεται μικρὰ συναπτὴ καὶ εὐθὺς τὸν ὑπόψαλμον· ἦχος γ´ «Ἠκούσαμεν, σῶσον 62v ἡμᾶς Κύριε…» Ἑκφώνησις· ἦχος πλ. δ´ «Ἀμήν, Ὁ Θεός, ἐν τοῖς ὠσὶν ἡμῶν ἠκούσαμεν…» Ἄλλαγμα κυροῦ Ἀνδρέου Σιγηροῦ· ἦχος γ´ «Ἐκάκωσας λαοὺς καὶ ἐξέβαλες αὐτούς…» 62v–63r Τοῦ Γεωργίου Παναρέτου· ἦχος γ´ «Οὐ γὰρ ἐν τῇ ῥομφαίᾳ αὐτῶν ἐκληρονόμησαν γῆν…» Τοῦ Ξένου Κορώνη· ἦχος γ´ «Οὐ γὰρ ἐπὶ τῷ τόξῳ μου ἐλπιῶ…» 63r–v Τοῦ αὐτοῦ «Ἀπέδου τὸν λαόν σου, ἄνευ τιμῆς…» «Δόξα Πατρί…» Τοῦ Δημητρίου Δοκειανοῦ· ἦχος γ´ «Ὅτι ἕνεκά σου θανατούμεθα ὅλην τὴν ἡμέραν…» 63v Εἶτα γίνεται μικρὰ συναπτή· καὶ εὐθὺς τὸν ἄμωμον· ἦχος πλ. δ´ «Ἄμωμοι ἐν ὀδῷ, 64r αναγιαααα…» Ἐκφώνησις ὁ δομέστικος· ἦχος πλ. δ´ «Ἀμήν, μακάριοι οἱ ἄμωμοι ἐν ὁδῷ, ανα αγια αα…» Ὅλοι ἀπὸ χοροῦ· ἦχος πλ. δ´ «Μακάριοι οἱ ἄμωμοι ἐν ὀδῷ, ἀλληλούϊα …» (third version of the Amomos chant). This part of the MS contains the daily cycle for the Chanted Akolouthia of the Orthros service. The concluding music for the Orthros is omitted. 66v–67r Καὶ γίνεται μικρὰ συναπτὴ καὶ εὐθὺς ἄρχονται τὴν δευτέραν στάσιν «Καὶ ἔπλασάν με, συνέτισόν με Κύριε…» Ἐκφώνησις «Αἱ χεῖρες σου ἐποίησάν με καὶ ἔπλασάν με Κύριε…» Καὶ ψάλλεται τὸ μέλος ἕως τὸν στίχον τοῦτον· καὶ εὐθὺς λέγει ὁ δομέστικος γεγονωτέρα φωνῇ τὸ, τοῦ Παναρέτου κὺρ Γεωργίου «Καιρὸς τοῦ ποιῆσαι τῷ Κυρίῳ…» Καὶ εὐθὺς λέγει δόξα καὶ νῦν καὶ περισσὴν τὸ παλαιόν «Συνέτισόν με Κύριε, συνέτισόν με Κύριε…» Τοῦ Μοσχιανοῦ Κωνσταντίνου· Ἡ κατακλείουσα τὴν Β´ στάσην τοῦ Ἀμώμου μικρὴ δοξολογία· ἦχος β´ «Καὶ νῦν καὶ ἀεί…»

234

67v–68r 68v

68v–69v 69v–70v 70v 71v 72r–v 73r–93r

EBE 2061 (olim 58)

Εἶτα γίνεται μεγάλη συναπτή καὶ εὐθὺς τὸ εἰσοδικὸν· ἦχον πλ. α´ «Δι᾽ Ἀβραὰμ καὶ Ἰσαὰκ καὶ Ἰακώβ τοὺς ἡγαπημένους ὑπὸ σοῦ τὸν Ἰσραὴλ ἔσωσας, αναγια…, ἐλέησον με, ἀλληλούϊα…» Ἐκφώνησις· ὁ δομέστικος· ἦχος πλ. α´ «Ἐπίβεψον ἐπ᾽ ἐμὲ καὶ ἐλέησόν με, ἀλληλούϊα…» ἀπὸ χοροῦ «Ἐπῖβλεψον ἐπ᾽ ἐμὲ…» Καὶ ἄν ἐστι καιρὸς λέγει ἀλληλουϊάριον εἰς τὸν αὐτὸν ἦχον, ὅσα βούλεται ὁ δομέστικος· εἶτα λέγει πάλιν τὸ εἰσοδικὸν· καὶ εἰσελθόντων ἐν τῷ ναῷ λέγει καὶ τοὺς λοιποὺς στίχους τῆς στάσεως· εἶτα, Δόξα καὶ νῦν, καὶ περισσήν, τὸ αὐτὸ μέλος καὶ εὐθὺς τὰ εὐλογητάρια· Τὰ εὐλογητάρια· ἦχος Νενανω «Εὐλογεῖτε τὰ ἔργα καὶ τὰ ἑξῆς τῆς ἀλολουθίας…» Τοῦτο δὲ λέγεται τῇ Κυριακῇ τῶν ἁγίων Πατέρων ὁποῖον δομέστικον τύχει, εἴτε τῆς πρώτης ἑβδομάδος είτε τῆς δευτέρας· λέγεται μετὰ τὸ τέλος τοῦ εἰσοδικοῦ εἰς ἦχον· ἦχος πλ. δ´ «ῶν Πατέρων ἡμῶν, εὐλογητὸς εἶ, Κύριε, ὁ Θεὸς τῶν Πατέρων ἡμῶν…» Καὶ ψάλλεται καὶ τὸ λοιπὸν τῆς ᾠδῆς ἕως τὸν στίχον τοῦτον· καὶ εὐθὺς ὁ δομέστικος λέγει γεγονωτέρᾳ τῇ φωνῇ· ἦχος πλ. δ´ «Καὶ ἐντράπεισαν πάντες οἱ ἐνδεικνυμένοι τοῖς δούλοις σου…» Καὶ εἰσελθόντων ἐν τῷ ναῷ ψάλλουσι καὶ τοὺς λοιποὺς στίχους· εἶτα ἄρχονται τὰ εὐλογητάρια· εἰς ἦχον πλ. β´ «Νενανω, Εὐλογεῖτε…» Ὑπακοὴ ψαλλομένη εἰς τὸν Ὄρθρον τῇ παραμονῇ τῶν Χριστουγέννων· ἦχος πλ. δ´ «Τὴν ἀπαρχὴν τῶν ἐθνῶν…» «Αναγια, οὐρανός σοι προσεκόμισε…» «Αναγια, τῷ κει … γγει … μένῳ Νηπίχιῳ ἐν φάουάντνῃ…» «Αναγια, δι᾽ ἀστερος τοὺς Μάγους καλέσας… οὕς καὶ κατέπληττεν…» «Αναγια, οὐ σκῆπτρα καὶ θρόνοι…» «Αναγια, ἀλλ᾽ ἐσχάτῃ πτωχείᾳ…» «Νανα, τί γὰρ εὐτελέστερον σπηλαίου…» «Νανα, τί δὲ ταπεινότερον σπαργάνων…» «Αναγια, ἐν οἷς διέλαμψεν ὁ τῆς Θεότητος πλοῦτος σου…» «Νανα, Κύριε, δόξα σοι…» Εἰσοδικόν· ἦχος πλ. δ´ «Αὐλῶν ποιμενικῶν…» Ὑπακοὴ ψαλλομένη τῶν Φώτων εἰς τὸν Ὄρθρον· ἦχος πλ. α´ «Ὅτε τῇ Ἐπιφανείᾳ σου ἐφώτισας τὰ σύμπαντα…» Attributions to composers are plentiful and include the following among others: the Maistor Ioannes Koukouzeles, Korones, Moschianos, Dokeianos, Kyr Andreas, Georgios Panaretos, Kontovrakes, Patrikios the Domestikos, Kontopetres, etc. Εἰς τὴν αὐτὴν ἑορτὴν εἰσοδικόν· ἦχος α´ «Ἐν Ἰορδάνῃ βαπτιζομένου σου, Κύριε…» «Αναγια, ἡ τῆς Τριάδος ἐφανερώθη προσκύνησις…» «Νανα, τοῦ γὰρ Γεννήτορος ἡ φωνὴ προσεμαρτύρει σοι…» «Αγια, ἀγαπητὸν σε Υἱὸν ὀνομάζουσα…» «Αναγια, καὶ τὸ Πνεῦμα εἴδει περιστερᾶς…» «Αναγια, ἐβεβαίου τοῦ λόγου τὸ ἀσφαλές…» «Αναγια, ὁ ἐπιφανεὶς Χριστὲ ὁ Θεὸς ἡμῶν…» «Αναγια, καὶ τὸν κόσμον φωτίσας δόξα σοι…» Μηνὶ Σεπτεμβρίῳ ιδ´· Ἀκολουθία τῆς ὑψώσεως τοῦ Τιμίου καὶ Ζωοποιοῦ Σταυροῦ. (Services for the Exaltation of the Cross for the Metropolis Cathedral of Thessalonika.)

EBE 2061 (olim 58)



235

Εἰς τὸν Ἑσπερινὸν ἡ συνήθης στιχολογία τοῦ ἀσματικοῦ Ἑσπερινοῦ· ἦχος πλ. β´· τὰ ἰδιόμελα καὶ τὰ ἑξῆς τῆς ἀκολουθίας καὶ ἀπόλυσις. Kαὶ δύσαντος τοῦ ἡλίου ἀνέρχονται οἱ ψάλται μετὰ λαμπάδων ἐν τῇ τρούλλῃ τῆς ἐκκλησίας κατέναντι τῶν τοῦ ἀρχιερέως οἶκον· καὶ ἐκφωνεῖ ὁ δομέστικος οὕτως· ἦχος γ´ «Εὐλόγησον, δέσποτα …» καὶ εὐθὺς γίνεται εὐφημία τῶν βασιλέων. Καὶ ὁ δομέστικος τὸ «Εἰς πολλὰ τὰ ἔτη, δέσποτα…» καὶ εὐλογεῖ τούτους. Καὶ πάλιν ὁ ἕτερος δομέστικος «Σῶσοι ὁ Θεὸς τὴν ἁγίαν καὶ δικαίαν καὶ ὁλόφωτόν σου ψυχὴν, ἅγιε ἡμῶν δέσποτα εἰς αἰῶνας…» Ὁ πρωτοψάλτης καὶ λοιποὶ ἀπὸ χοροῦ· ἦχος δ´ «Πολλὰ τὰ ἔτη τῶν βασιλέων…» ἦχος 73r–v πλ. δ´ «Πολλὰ τὰ ἔτη τῶν βασιλέων…» Καὶ πάλιν ὁ πρωτοψάλτης· ἦχος δ´ «Μανουὴλ τοῦ εὐσεβεστάτου βασιλέως καὶ αὐτοκράτορος Ρωμαίων τοῦ Παλαιολόγου καὶ Ἑλένης τῆς εὐσεβεστάτης, πολλὰ τὰ ἔτη…» ἀπὸ χοροῦ· ἦχος πλ. δ´ «Μανουὴλ …» ἦχος δ´ «Πολλὰ τὰ ἔτη τῶν Βασιλέων…» ἧχος πλ. δ´ «Πολλὰ τὰ ἔτη τῶν Βασιλέων…» τὸ τελευταῖον «Πολυχρόνιον ποιῆσαι ὁ Θεὸς τὴν ἁγίαν Βασιλείαν αὐτῶν, εἰς πολλὰ ἔτη…» This has the well-known setting of Kosmas of Jerusalem for the Exaltation. The Kanon contains eight model stanzas that are interpolated after the last eight of the 12 antiphons of the ‘Distributed’ Psalter. This section also includes the acclamation to Emperor Manuel II Palaeologus (1391–1425) and Helena (who became empress in 1393), which dates this MS. Composers represented in this Akolouthia include Andreiomeonos, Michael Mystakonos and Ioannes Koukouzeles. Ἡ ἀκολουθία τοῦ Ὄρθρου τῆς Ὑπώσεως τοῦ τιμίου Σταυροῦ 74r Καὶ τὸν ἀρχιερέα «Τὸν δεσπότην καὶ ἀρχιερέα ἡμῶν, Κύριε φύλαττε…» Καὶ εὐλογεῖ αὐτοὺς καὶ κατέρχονται ἐκ τῆς τρούλλης· στέλει δὲ πρὸς αὐτοὺς χάριν εὐλογίας αὐτῶν ὑπὲρ χρυσοῦν καὶ ἀπέρχονται οἴκαδε. Περὶ δὲ τὸ μεσονύκτιον, ἀπέρχεται ὁ δομέστικος καὶ λέγει καὶ συμαίνει· καὶ συναχθέντων λέγει ὁ δομέστικος ἔξω φωνῇ· ἦχος γ´ «Εὐλόγησον δέσποτα…» καὶ ὁ ἱερεὺς «Εὐλογημένη ἡ βασιλεία…» Καὶ εὐθὺς ὁ δομέστικος ἄρχεται ἀπὸ χοροῦ· ἦχος πλ. δ´ «Νανα… Καὶ ὕπνωσα, δόξα σοι 74r–v ὁ Θεὸς…» Ἐκφώνησις· ἦχος πλ. δ´ «Ἀμήν, ἐγὼ ἐκοιμήθην καὶ ὕπνωσα, δόξα σοι ὁ Θεὸς…» Ἀντίφωνον πρῶτον· ἦχος πλ. δ´ «Εὐλόγει ἡ ψυχὴ μου τὸν Κύριον, ἀλληλούϊα…» 75r ἀπὸ χοροῦ· ἦχος πλ. δ´ «Εὐλόγει ἡ ψυχὴ μου τὸν Κύριον, ἀλληλούϊα…» Ὁ ἀριστερὸς χορὸς τὸ αὐτὸ μέλος· ἦχος πλ. δ´ «Καὶ πάντα τὰ ἐντός μου, τὸ ὄνομα τὸ ἅγιον αὐτοῦ, ἀλληλούϊα…» Τοῦ Κουκουζέλη «Τὴν οἰκουμένην, ἀλληλούϊα…» 75v 79r–80r Ὠδὴ α´· ποίημα κυροῦ Μιχαὴλ τοῦ Μυστάκωνος· ἦχος πλ. δ´ «Ἐξομολογεῖσθε τῷ Κυρίῳ ὅτι, χρηστὸς ἀλληλούϊα· Ἐξομολογεῖσθε τῷ Κυρίῳ ὅτι χρηστὸς … πάλιν … ὅτι εἰς τὸν αἰώνα· ὅτι χρηστὸς … πάλιν…» Ἐπὶ τοῦ ἄμβωνος· ἦχος πλ. δ´«Σταυρὸν χαράξας Μωσῆς…» Ἦχος δ´ «Τὸ ἔλεος αὐτοῦ… ἐξομολογεῖσθε… τιριτιρι, ἀλληλούϊα…» Εἰ βούλει δευτεροῦσι τοῦτο καὶ οὓτως κρατοῦσι στίχους ἕξ· καὶ ψάλλεται ὁ κανὼν ἐπὶ ἅμβωνος· ἦχος πλ. δ´ «Σταυρὸν χαράξας Μωσῆς ἐπ᾽ εὐθείας ῥάβδῳ…» 80 r–82r Καὶ εὐθὺς συναπτή καὶ ὁ δομέστικος· ἦχος πλ. δ´ «Νανα Ανα χα ννα νε… ἡ καρδία μου, βοήθησόν μοι, Κύριε…» Ἐκφώνησις· ἦχος πλ. δ´ «Ἑτοί…μη ἡ καρδία μου ὁ Θεός…»

236

83r 83v–84r 85r 86v

89r–93r 89r–v 90r

90v 91v–92r



EBE 2061 (olim 58)

Εἰ βούλει διπλάζει τοῦτο· εἰ δοῦν καλοφωνίζει ἀντεκείνου τοῦτο· ποίημα τοῦ Μαΐστορος· ὠδὴ γ´, ἦχος πλ. δ´ «Τιτιτι… Ὑψώθητι ἐπὶ τοὺς οὐρανοὺς… Βοήθησόν μοι, Κύριε…» Καὶ λέγει τὸν πρώτον στίχον καὶ μετὰ τὴν πλήρωσιν τῶν τροπαρίων, γίνεται συναπτή ᾽Ωδὴ ε´· παλαιὸν μὲ παρεκβολὴ τοῦ Μυστάκωνος «Ἐν ἐξόδῳ Ἰσραὴλ ἐξ Αἰγύπτου…» Τοῦ Ἀνδρειωμένου· Ὠδὴ στ´ «Ἐξομολογεῖσθε τῷ Κυρίῳ ὅτι ἀγαθὸς μετὰ τοῦ προψάλμα· Τὴν οἰκουμένην, ἀλληλούϊα…» Ὀ δομέστικος «Ἀμήν, Ἐξομολογεῖσθε τῷ Κυρίῳ ὅτι ἀγαθὸς…» Τοῦ Μαΐστορος· ὠδὴ θ´ «Τιτιρρι… Τὴν θύραν αὐτῆς εὐλογῶν εὐλογήσω…» Εἰ βούλει δευτεροῦσι τὸ, «Μνήσθητι Κύριε»· εἰ δοῦν λέγει τὴν καταβασίαν· καὶ εὐθὺς συναπτὴν καὶ οὕτως ἄρχεται ὁ πολυέλεος τοῦ Κουκουμᾶ· καὶ ὁ ἕτερος Κουκουμᾶς τό, «Ἐξομολογεῖσθε»· ψάλλεται δὲ κατ᾽ ἦχον· ὁ δεξιὸς χορός· ἦχος α «Ἐξομολογεῖσθε τῷ Κυρίῳ ὅτι ἀγαθός...» (Polyeleos by the composer Koukoumas) Ἡ τελετὴ τῆς Ὑψώσεως τοῦ τιμίου Σταυροῦ καὶ τὰ τῆς θείας Λειτουργίας … Ψαλλομένων τῶν ἑκατῶν· Πάλιν ὁ δομέστικος ἔξω φωνῇ τὸ, «Κύριε ἐλέησον» ἐκ τρίτου· καὶ ὑψοῦται ὁ Τίμιος Σταυρὸς· καὶ πάλιν ἕτερα τρία γεγονωτέρα φωνῇ καὶ πάλιν τὰ ἑκατόν· καὶ ἵστανται μέχρις ὅτου πληρώσουν τὰ ἕκατόν. Καὶ εὐθὺς ὁ δομέστικος ἔξω φωνῇ τὸ, «Κύριε ἐλέησον» ἐκ τρίτου· καὶ πάλιν γεγονώτερα ἕτερα τρία· καὶ εὐθὺς πάλιν τὰ ρ´. Καὶ γυρίζουν οἱ ἀναγνῶσται· ἐν τῷ πρὸς ἄρκτον μέρει τοῦ ἄμβωνος· καὶ ἵστανται μέχρις ἄν πληρωθῶσι τὰ ρ´καὶ ὁ δομέστικος ἔξω φωνῇ τὸ, «Κύριε ἐλέησον» ἐκ τρίτου· καὶ πάλιν ἕτερα τρία. Εἰθ᾽ οὕτως ἔρχονται ἐν τῷ μέρει τοῦ βήματος καὶ ἵστανται μέσον τῆς σωλέας· καὶ ἄρχονται οἱ ψάλται τροπάριν ἀσματικόν· ἦχος πλ. β´ «Νεανεες, Μόνον ἐπάγη τὸ ξύλον, Χριστὲ…» Καὶ εὐθὺς πάλιν ὡς πρότερον ὁ δομέστικος τὸ, «Κύριε ἐλέησον» ἐκ τρίτου· καὶ ὑψοῦται ὁ τίμιος σταυρός· καὶ πάλιν γεγονώτερα ἕτερα τρία καὶ καθεξῆς ὡς προείπομεν τὰ ἐτερα ἑκατὸν καὶ γυρίζουν πάλιν ἐν τῷ δεξιῷ μέρει τοῦ ἄμβωνος· οἱ τὰς λαμπάδας κατέχοντες ἀναγνῶσται· καταντικρὺ τούτων καὶ ὁ τίμιος σταυρός· καὶ ὁ δομέστικος ἔξω φωνῇ τὸ, «Κύριε ἐλέησον» γ´καὶ πάλιν μεγαλοφωνεῖ τὰ ἕτερα τρία· καὶ εὐθὺς τὰ ἑκατὸν διαβαστά· Καὶ γυρίζουν ὁπισθάμβωνον καὶ πάλιν ἔξω τὸ, «Κύριε ἐλέησον» γ´· καὶ πάλιν ἔξω ἕτερα τρία καὶ πάλιν τὰ ἑκατόν· καὶ ἔρχονται εἰς τὸ εὐώνυμον μέρει τοῦ ἄμβωνος καὶ γίνεται οὕτως ὡς καὶ ἐν τοῖς ἄλλοις μέρεσι καὶ πάλιν τὰ ἑκατόν. Καὶ ἔρχονται μέσον τῆς σωλέας καὶ ἵστανται καὶ εὐθὺς ὁ δομέστικος ἄρχεται τὸ τροπάριν ἀσματικὸν· ἦχος πλ. β´ «Σήμερον τὸ προφητικὸν πεπλήρωται λόγιον…» Καὶ οὕτως ἄρχεται ἡ γ´ ὕψωσις· ὁ δομέστικος ἔξω τὸ, «Κύριε ἐλέησον» γ´· καὶ πάλιν γεγωνότερα ἕτερα τρία καὶ καθ᾽ ἑξῆς ἐν τῷ δεξιῷ μέρει· καὶ ὀπισθάμβωνα· καὶ ἐν τῷ ἀριστερῷ μέρει· καὶ οὕτως, ἔρχονται μέσον τἦς σωλέας· καὶ ὁ δομέστικος γεγωνοτέρᾳ καὶ ἐξωτέρᾳ φωνῇ τὸ, «Κύριε ἐλέησον» γ´· καὶ ἕτερα τρία Καὶ εὐθὺς ἔξω φωνῇ τὸ κοντάκιον, «Ὁ ὑψωθεὶς ἐν τῷ σταυρῷ»· καὶ οὕτως αἵρονται τὰ πέπλα ἀπὸ τοῦ ἄμβωνος καὶ ἵσταται ὁ ἀρχιερεὺς ἐπάνω τοῦ ἀμβωνος· καὶ ῥαντίζει τὸν λαὸν καὶ ἁγιάζει τοῦτον ἐκ τοῦ ἁγιάσματος τῆς θείας ὑψώσεως τοῦ Τιμίου Σταυροῦ καὶ οὕτως κατέρχεται καὶ εἰσέρχεται ἐν τῷ ἁγίῳ βήματι· εἰσελθόντος τοῦ ἀρχιερέως ἐν τῷ

EBE 2061 (olim 58)

92r–93r 93r 95r 95v 96v–97r 97v–99v 99v–100v

237

ἁγίῳ βήματι ἀποτίθενται τὸν τίμιον σταυρόν. Γἰνονται γοῦν ὑψώσεις τρεῖς ἀρχόμεναι ἀπὸ τοῦ πρώτου μέρους ἒναντι τοῦ ἁγίου βήματος καὶ εἰς αὐτὸ καταλήγουσαι… Καὶ ἀρχόμεθα τὴν θείαν λειτουργίαν· γίνεται δὲ συναπτὴ καὶ ἄρχονται ἀντὶ τοῦ «Τρισαγίου », τὸν «Σταυρόν σου προσκυνοῦμεν δέσποτα»· ἦχος β´ «Τὸν Σταυρόν προσκυνοῦμεν…» Καὶ οἱ ἱερεῖς ἐντὸς τοῦ βήματος τὸ αὐτὸ. Καὶ πάλιν οἱ ἕκτος· ἦχος β´ · Τὸ δεύτερον, «Τὸν σταυρὸν σου προσκυνοῦμεν δέσποτα». Καὶ πάλιν τὸ αὐτὸ οἱ ἱερεῖς. Οἱ ἕκτος· Τὸ τρίτον, «Τὸν σταυρὸν σου προσκυνοῦμεν». Καὶ πάλιν οἱ ἱερεῖς. Καὶ εὐθὺς ὁ δομέστικος «Δόξα Πατρί, καὶ νῦν, καὶ τὴν ἁγίαν σου ἀνάστασιν δοξάζωμεν…» Καὶ οὕτως ἀνέρχεται ὁ ἀρχιερεὺς εἰς τὴν ἄνω καθέδραν καὶ εὐλογεῖ τὸν λαὸν· καὶ λέγει τὸν σταυρὸν σου προσκυνοῦμεν δέσποτα. Καὶ εὐθὺς ὁ δομέστικος· ἦχος πλ. β´ «Δύναμις, Τὸν σταυρὸν σου προσκυνοῦμεν…» Καὶ εὐθὺς ὁ πρωταποστολάρης, ἐπὶ ἄμβωνος τὸν ἀπόστολον· καὶ καθεξῆς ἡ θεία Λειτουργία. Ἀκολουθία ψαλλομένη τῷ Σαββάτῳ τῶν ᾁγίων Προπατόρων καὶ Πατέρων· εἰς τὴν δευτέραν ἑβδομάδαν· ἐκφωνεῖ ὁ δομέστικος τοῦτο «Εὐλόγησον, δέσποτα…». Εἶτα ἄρχεται τὴν ὑπακοήν· ἦχος γ´ «Τὸ παράδοξον τοῦ τόκου σου Θεοτόκε…» Composers identified with attributions include the Maistor, Ioannes Koukouzeles; Nicholas the Patriarch; Korones; Theophylaktos the Patriarch; Georgeos Panaretos; and Christophoros, domestikos of the Great Church. Πληρωμένου δὲ τούτου άρχεται ὁ Ὂρθρος Σαββάτῳ τῶν ἁγίων Πατέρων· ἦχος πλ. β´ «Καὶ ὕπνωσα, δόξα σοι ὁ Θεός…» Ἦχος πλ. β´ «Ὡς ἐκ στέατος καὶ πιότητος ἐμπλησθείη ἡ ψυχή μου· καὶ χείλη ἀγαλλιάσεως αἰνέσει τὸ στόμα μου… Αναγια, δόξα σοι ὁ Θεός…» Τοῦ Θεοφυλάκτου πατριάρχου ποίημα· ἦχος πλ. δ´· ὠδὴ α´ «Δεδόξασται ἁγίᾳ τῷ Κυρίῳ ᾄσωμεν ἐνδόξως γὰρ δεδόξασται…» Καὶ ἄρχεται τὴν δευτέραν ᾠδήν· ποίημα Νικολάου πατριάρχου· ἦχος πλ. δ´ «Οὐρανὲ καὶ λαλήσω, να… να, δόξα σοι, να…να, ὁ Θεός…» Ἐκφώνησις· ἦχος πλ. δ´ «Ἀμήν, πρόσεχε οὐρανὲ καὶ λαλήσω, νανα, δόξα σοι, νανα, ὁ Θεὸς…» Ἀπὸ χοροῦ· ἦχος πλ. δ´ «Πρόσεχε οὐρανὲ καὶ λαλήσω δόξα σοι ὁ Θεὸς…» Ὑπαλλαγὴ α· ἦχος γ´ «Καὶ ἔφαγεν Ἰακὼβ καὶ ἐνεπλήσθη καὶ ἀπελάκτισεν ὁ ἠγαπημένος…» Καὶ ἔκτοτε δέχεται ὁ ἀριστερὸς χορὸς τὸν αὐτὸν ἦχον· ἄλλαγμα ἀπὸ χοροῦ· ἦχος Νανα «Ἐλιπάνθη, ἐπαχύνθη, ἐπλατύνθη καὶ ἐγκατέλειπε Θεὸν…» Ὑπαλλαγὴ β «Ὅτι πῦρ ἐκκέκαυται ἐκ τοῦ θυμοῦ…» Καὶ πάλιν δέχεται ὁ ἀριστερὸς χορὸς ἄλλαγμα· εἰς τὸν αὐτὸν ἦχον· ἀπὸ χοροῦ· ἦχος Νανα «Καταφάγεται γῆν καὶ τὰ γεννήματα αὐτῆς…» Ὑπαλλαγὴ γ· ἦχος γ´ «Ἴδετε ὅτι ἐγὼ εἰμὶ καὶ οὐκ ἔστι Θεὸς … Ἐγὼ ἀποκτενῶ…» Καὶ λέγει διεγερμὸν «Δόξα σοι ὁ Θεὸς» τῆς γ´ ὑπαλλαγῆς «Δόξα σοι ὁ Θεὸς…» Ψαλλομένων δὲ καὶ τῶν λοιπῶν ᾠδῶν, ἄρχεται καὶ ψάλλει τὸ μεγαλυνάριν πρὸ τῆς γ´ ᾠδῆς· ἀσματικὸν· ἦχος πλ. δ´ «Τὸν ἀείδιον, νανα, τοῦ πατρὸς ἐν ἀρχῇ λόγον, ανα… αγια σωματωθέντα ἀφράστως… ἐλέησόν με, Κύριε…» Ἀπὸ χοροῦ ἐκφώνησις· ἦχος πλ. δ´ «Ἀμήν, ἐστερεώθη ἡ καρδία μου ἐν Κυρίῳ, ἐλέησόν με, Κύριε…» Καὶ ψάλλουν καὶ τοὺς λοιποὺς στίχους ἕως τό, «Μεγαλύνει ἡ ψυχή μου»· ἀπὸ χοροῦ·

238

101r

EBE 2061 (olim 58)

ἦχος πλ. δ´ «Μεγαλύνει ἡ ψυχή μου τὸν Κύριον…» Ἡ ἀκολουθία τοῦ Ὄρθρου τῆς Κυριακῆς τῶν ἁγίων Προπατόρων καὶ Πατέρων εἰς τὴν βαν ἑβδομάδαν Καὶ τὰ ἐξῆς τῆς ἀκολουθίας· τῇ ἐπαύριον ἤτοι τῇ Κυριακῇ πρωΐ, ἀλλάσσει ὁ ἱερεύς· καὶ ἵσταται ἔμπροσθεν τῶν βασιλικῶν πυλῶν· καὶ ἐκφωνεῖ ὁ δομέστικος τὸ ἦχος πλ. δ´ καὶ ἦχος α´ «Εὐλόγησον, δέσποτα…». Καὶ λέγει ὁ ἱερεὺς τὸ, «Εὐλογημένη ἡ βασιλεία» καὶ εὐθὺς τὴν ὑπακοὴν ὁ δομέστικος· ἦχος β´ «Εἰς δρόσον τοῖς παισὶ…» Τοῦ Κουκουζέλη «Ὅτι ἐγενήθης βοηθός μου…» 103v Ψάλλουσιν γοῦν καὶ ἕτερα τριαδικὰ ἕως τὸ τέλος τοῦ ψαλμοῦ· 104r Τοῦ Γεωργίου Παναρέτου· ἦχος πλ. δ´ «Αὐτοὶ δὲ εἰς μάτην ἐζήτησαν τὴν ψυχήν μου…» Τοῦ Κουκουζέλη «Ἐκολλήθη ἡ ψυχή μου ὀπίσω σου…» 105r–109r fourth version of the Amomos chant demonstrating the detailed rubrics to be followed for the responsorial and antiphonal performance practices Μετὰ δὲ τούτου τοῦ ψαλμοῦ, εὐθὺς ἄρχεται ὁ ἄμωμος· ἦχος πλ. δ´· ὁ δομέστικος «Ἄμωμοι ἐν ὁδῷ ανα αγια, α λε χε λου ι α…» Ἐκφώνησις· ἦχος πλ. δ´ «Ἀμήν, μακάριοι οἱ ἄμωμοι ἐν ὁδῷ ανα… για … λεγε… γε… λουια…» Ἀπὸ χοροῦ «Μακάριοι οἱ ἀμωμοι ἐν ὁδῷ, ἀλληλούϊα …» Καὶ εὐθὺς δέχεται ὁ ἀριστερὸς χορὸς τὸ αὐτὸ μέλος· εἶτα τὸ ἀπὸ χοροῦ πρῶτον· στίχος, «Ἐν ταῖς ἐντολαῖς σου ἀδολεσχήσω». Ὑπαλλαγὴ δεύτερη «Τὰς ὁδούς μου ἐζήγγειλα καὶ ἐπήκουσάς μου…» Ἔκτοτε δέχεται ὁ ἀριστερὸς χορὸς ἄλλαγμα ἀπὸ χοροῦ εἰς ἦχον «Ὁδῶν δικαιωμάτων σου… ἀλληλούϊα…» Ψάλλουσι γοῦν καὶ ἄλλα ἀλληλουϊάρια εἰς αὐτὸν ἦχον «Ὁδὸν ἀδικίας ἀπόστησον…» Τοῦ Κορώνη· ἦχος γ´ «Ὅταν ἐπλάτυνας τὴν καρδίαν μου, ἀλληλούϊα…» «Καὶ φυλάξω τὸν νόμον σου διὰ παντός…» Λέγει δὲ καὶ ἄλλα ἀλληλουϊάρια εἰς τὸν αὐτὸν ἦχον· ᾽Υπαλλαγὴ τρίτη «Στῆσον τῷ δούλῳ σου τῷ λόγιόν σου… ἀλληλούϊα…» Καὶ πάλιν δέχεται ὁ ἀριστερὸς χορὸς τῆς δευτέρας ὑπαλλαγῆς τὸ ἀπὸ χοροῦ εἰς στἰχον «Περίελε τὸν ὀνειδισμόν μου…» 107v Τοῦ Χριστοφόρου τοῦ Μυστάκωνος· ἦχος γ´ «Καὶ ἀποκριθήσομαι τοῖς ὀνειδίζουσί μοι λόγον…» v v 109 –111 Τοῦ Χριστοφόρου τοῦ Μυστάκωνος· ἦχος πλ. β´ «Διεσκέδεσαν τὸν νόμον σου…» λέγει δὲ καὶ ὕστερον διεγερμόν· πρὸς τὸ Μεσονύκτιον ἐξεγειρόμην εἰς ἦχον δ´ «Ἀλληλούια… ανανα… αγια…» Ὑπακοὴ ψαλλομένη εἰς τὸν Ὄρθρον τῇ παραμονῇ τῶν Χριστουγέννων· ἦχος πλ. δ´ 112r «Τὴν ἀπαρχὴν τῶν ἐθνῶν…» Ἕτερον εἰσοδικὸν ἀκολουθία. Fols 93r–114r contain Proper Office Chants for Sundays 113r and the Christmas cycle. These settings are preceded by the Great Doxology. Χερουβικὸν [καὶ κοινωνικὸν] ᾀσματικὸν ψαλλόμενον τῆς Μεγάλης Τεσσαρακοστῆς 114r «Νῦν αἱ δυνάμεις…». The Cathedral Rite repertory for the Divine Liturgy. 116r Ὁ μονοφωνάρης δόξα τὸ αὐτὸ «Ὅσοι εἰς Χριστόν…» Ἡ μεγάλη δοξολογία ἄρχεται ὁ δομέστικος ἀπὸ χοροῦ «Νεανες, Δόξα ἐν ὑψίστοις 117r Θεῷ…» Ἡ διάταξη τῆς ψαλμωδήσεως τῆς μεγάλης δοξολογίας 117r–v

EBE 2061 (olim 58)

118r 118v 119r 119v 120r

123r 123v

239

Καὶ οὕτως ἀνέρχεται ὁ ἀναγνώστης ἐν τῷ ἄμβωνι καὶ λέγει τὸ, ψαλμὸς τῷ Δαβίδ. Εἶτα ἔξωθεν ὁ δομέστικος· ἦχος πλ. δ´ «Νανα, Δόξα Πατρί…» Καὶ πάλιν οἱ ἱερεῖς τὸ τροπάριον· καὶ εὐθὺς ὁ δομέστικος γεγονωτέρα ἠχίζει· καὶ ψαλλομένου τούτου, ἀσπάζονται οἱ ἱερεῖς τὸ ἅγιον εὐαγγέλιον καὶ ἀνέρχονται ἐν τῷ συνθρόνῳ· καὶ ψάλλουν γεγονώτερα τὸ τροπάριον· εὐλογοῦντες ἔξω τὸν λαόν. Θεσσαλονικαῖον ᾀσματικὸν ψαλλόμενον τῇ Λαμπρῇ μέχρι τῆς Ἀναλήψεως· ἦχος γ´ «Ἅγιος ὁ Θεός…» (‘Chanted’ Trisagion which is sung throughout Lent until the Resurrection) blank Τῇ ἁγίᾳ καὶ μεγάλῃ Κυριακῇ Ἑσπέρας· ἦχος βαρὺς· λέγεται δὲ καὶ τῶν Χριστουγέννων εἰς τὴν αὔριον «Τὶς Θεὸς…» ἀπὸ χοροῦ· «Τὶς Θεὸς…» ἡ δοχὴ· «Τὶς Θεὸς…» Προκείμενα (Ἐσπέρας τοῦ Πάσχα, ἑβδομάδος τῆς διακαινησίμου, ἑβδομάδος καὶ Κυριακῆς τῆς Τυροφάγου). Prokeimena for the movable cycle. music ends Ἀπολυτίκια ἀναστάσιμα Πεντηκοστάρια ἀναστάσιμα κατ᾽ ἦχον· Ἦχος α´ «Ὁ εἰς τὸν κόσμον ἐλθὼν καὶ σαρκικῶς Σταυρὸν καταδεξάμενος καὶ ταφὴν καὶ τῇ Ἀναστάσει του τὸν κόσμον σώσας, Κύριε ἐλέησον ἡμᾶς…» Ἦχος β´ «Ἀναστὰς ἐκ τοῦ μνήματος Σωτὴρ τοῦ κόσμου, ἐδωρήσω ἡμῖν τὴν ἐπουράνιον ζωήν…» Ἦχος γ´ «Ἐκ φθορᾶς τὴν ζωήν μου ἐλυτρώσω Κύριε, διὰ τῆς σῆς Ἀναστάσεως, ζωοδότα δόξα σοι…» Ἦχος δ´ «Ὁ τῇ ταφῇ σου σκυλεύσας τὸν θάνατον καὶ ἐν τῇ ἐγέρσει σου ἀναστήσας τὸν ἄνθρωπον, Χριστὲ ὁ Θεός, ἐλέησον ἡμᾶς…» Ἦχος πλ. α´ «Ἐν μνήματι ἐτέθης ἑκουσίως ζωοδότα καὶ τὸν πρωτόπλαστον ἐρρύσω ἐκ θανάτου, Σωτὴρ δόξα σοι…» Ἦχος πλ. β´ «Ἀθάνατε Βασιλεῦ, ὁ τοῦ θανάτου τὴν τυρρανίαν τῇ ἐγέρσει σου καθελῶν Χριστὲ ὁ Θεός, ἐλέησον ἡμᾶς…» Ἦχος βαρὺς «Ὁ τριημέρῳ ταφῇ σου σκυλεύσας τὸν θάνατον καὶ τῇ ἐγέρσει σου ἀναστήσας τὸν ἂνθρωπον, Χριστὲ ὁ Θεός, ἐλέησον ἡμᾶς…» Ἦχος πλ. δ´ «Ἡ ζωὴ τῶν ζώντων καὶ τῶν θανόντων ἀνάστασις, ὡς ἐκ τάφου τῆς ἁμαρτίας ἀνάστησον δέομαι ὁ Θεός, καὶ ἐλέησόν με…» (MS ends with text). Then follow eight Sunday Resurrectional refrains/antiphons without musical notation that have been appended as a conclusion to the MS. Perhaps these were intended to be chanted to the settings of the preceding Resurrectional refrains. Hence there was no need to repeat the notation.

Notes The Asmatikos or ‘Chanted’ Akolouthia, especially the ‘Chanted’ Vespers and ‘Chanted’ Orthros, are the services which were sung throughout and were intended to be used only in the large urban cathedrals of the Empire: the Hagia Sophia of Constantinople and the Hagia Sophia of Thessalonika. EBE MSS 2061 and 2062 are Antiphonaria MSS and were most probably written for the Hagia Sophia of Thessalonika, since other churches were not using this service daily at that time. This MS comes from the Gymnasium of Thessalonika. It contains some lacunae in the Cathedral Rite that perhaps could be attributed to a number of lost folios. The overall condition

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of the MS is fair. The binding is a brownish leather with rectangular borders imprinted on the front and back side. The text and neumes are in a faded black ink. The rubrics, albeit faded, are precise, with much information on feasts and, more importantly, detailed music performance practices for this cathedral repertory. Unfortunately, many of the modal signatures are badly faded and illegible. The pages average about 16–17 lines of text and music. The writing style (script and notation) and explicit performance rubrics are similar to MSS 2444, 2456, 2458 and 2454, all of which came from the Gymnasium of Thessalonika. With few exceptions this MS contains chants that follow a two-week cycle (ordinarium) for the Cathedral Rite propers of the liturgical year. There are some similarities, even repetitions, and subtle differences with MS 2062, which also contains the Thessalonian Chanted Akolouthia. MS 2061 preserves music for certain seasonal and liturgical observances for the Cathedral Rite which are not always included in MSS with the Chanted Rite Akolouthia. Both MSS 2061 and 2062 contain, for the most part, the musical repertory of the liturgical cathedral rite typikon of Symeon of Thessalonika found in EBE MS 2047. The dating of EBE MS 2061 is based on the acclamations (fol. 73r) for Emperor Manuel II Palaeologus and his consort Helen Dragas. These acclamations follow the Vespers for the feast of the Exaltation. The one acclamation is accompanied by orders (liturgical directives) and the other acclamation is for the Archbishop who presides over the service. The MS is the counterpart of the Western Ordinarium. The first folios contain music for the psalms and canticles that are chanted at the daily Vespers and Orthros services throughout the week. This is followed by a second Ordinarium that covers the psalms and canticles of the second week. (This repetition of psalms and canticles means that each is represented twice.) The third section contains some of the ordinary and proper chants of selected feasts: Easter, Feast of the Apostles, two Sundays before Christmas, Epiphany, and for the feast of the Exaltation of the Cross. The fourth section has chants that can be common to either of the practices, Cathedral or Monastic. There are four versions of the Amomos Chant in different places in the MS: fols 23v, 45v, 64r and 105r. Bibliography Antoniades, “Περὶ τοῦ ᾀσματικοῦ”. —— “Περὶ τῶν ἐν ταῖς ἱεραῖς ἡμῶν ἀκολουθίαις”. Arranz, ‘L’Office de l’Asmatikos Hesperinos’. —— ‘L’Office de l’Asmatikos Orthros’. Borgia, ‘Ὡρολόγιον “Diurno” delle chiese di rito bizantino’. Chaldaiakis, Ὁ Πολυέλεος’. Conomos, Byzantine Trisagia and Cheroubika. —— The Late Byzantine and Slavonic Communion Cycle. Georgiou, “Ἡ ἑβδομαδιαία ἀντιφωνικὴ κατανομὴ”. Lingas, ‘Sunday Matins in the Byzantine Cathedral Rite’. Mpalageorges, Ἡ Ψαλτικὴ Παράδοση. Serruys, Catalogue des manuscrits. Spyrakou, Οἱ Χοροὶ Ψαλτῶν κατὰ τὴν Βυζαντινὴ Παράδοση. Strunk, ‘The Byzantine Office at Hagia Sophia’. Touliatos, The Byzantine Amomos Chant. —— ‘The “Chanted” Vespers Service’. Trempelas, Μικρὸν Εὐχολόγιον, vol. 2, pp. 248–74.

EBE 2061 (olim 58)

Wellesz, History of Byzantine Music and Hymnography. Williams, ‘The Treatment of Text in the Kalophonic Chanting of Psalm 2’.

241

EBE 2062 (olim 59)

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ΕΒΕ 2062 (olim 59) ΑΚΟΥΛΟΥΘΙΑ ΑΣΜΑΤΙΚΟΝ/CATHEDRAL RITE AKOLOUTHIA Type of paper: chartaceous Measurements: 22 × 14.3 cm Folios: 391 + V Notation: Middle Byzantine Date: not later than 1385 Provenance: Gymnasium of Thessalonika

1r 1v 3r 3v

4r 4v 5r 5v

Ἀρχὴ τὰ Ἀλληλούϊα (without rubrics) Ἀπὸ χοροῦ «Ὁ ποιῶν τοὺς ἀγγέλους αὐτοῦ πνεύματα… Δόξα… Καὶ νῦν… Εἰσάκουσόν μου…» Καὶ εὐθὺς τὸ ἀκροτελεύτιον «Ἔνδοξε ἀειπαρθένε Θεοτόκε, Μήτηρ Θεοῦ…» Ἀκολουθία τοῦ Ἑσπερινοῦ τῆς Κυριακῆς «Κύριε, ἐκέκραξα πρὸς σέ…» Καὶ μετὰ τὸ εἰπεῖν καὶ τοὺς ἄλλους στίχους, γίνεται εἴσοδος εἰς τὸν αὐτὸν στίχον· ἦχος β´ «Ὅτι πρὸς σε, Κύριε οἱ ὀφθαλμοί μου…» καὶ ὁ ἀριστερὸς χορὸς στίχον «Φύλαξόν…» Καὶ ὁ δεξιὸς στίχον «Πεσοῦνται ἐν ἀμφιβλήστρῳ…» καὶ ὁ ἀριστερός «Κατὰ μόνας…» Δόξα καὶ νῦν· καὶ πάλιν περισσὴν τὸ αὐτὸ «Νεενεανες, Ἔνδοξε ἀειπάρθενε…» The first part of the MS up to fol. 44v is a one-week cycle ordinarium (Monday to Sunday) of psalms for the Chanted Office of Vespers and Orthros. Some of the composers acknowledged include Michael Mystakonos, Priest from Ambelokipos. Ἀρχὴ ἡ ἀκολουθία τοῦ Ὄρθρου· τῇ Δευτέρα πρωΐ γίνεται ἡ ἔναρξις παρὰ τοῦ ἱερέως τὸ, «Εὐλογημένη ἡ βασιλεία»· Καὶ εὐθὺς τὰ διακονικὰ, καὶ ὅτε ἔλθη εἰς τὸ, «Ἀντιλαβοῦ», λέγει ὁ δομέστικος τὸ, «Καὶ ὕπνωσα»· Καὶ ὁ ἱερεὺς, «Τῆς Παναγίας ἀχράντου»· ἦχος βαρὺς «Καὶ ὕπνωσα, δόξα σοι ὁ Θεὸς…» Καὶ τὴν ἐκφώνησιν· καὶ πάλιν ὁ δομέστικος· ἦχος βαρὺς «Ἀμήν, δόξα σοι ὁ Θεὸς…» ᾽Απὸ χοροῦ «Ἐγὼ ἐκοιμήθην καὶ ὕπνωσα…» Δόξα καὶ νῦν πάλιν τὸ αὐτὸ περισσήν· ἦχος βαρὺς «Δόξα σοι ὁ Θεὸς…» Καὶ πάλιν ὁ ἱερεὺς «Ἔτι καὶ ἔτι, Ἀντιλαβοῦ…» Καὶ ὁ δομέστικος· ἦχος βαρὺς «Τὴν οἰκουμένην, ἀλληλούϊα…» Καὶ ὁ ἱερεὺς «Τῆς Παναγίας, ἀχράντου…» καὶ πάλιν ὁ δομέστικος «Ἀμήν, Ἀγαπήσω σε, Κύριε, ἡ ἰσχύς μου, ἀλληλούια, δόξα καὶ νῦν…» καὶ πάλιν περισσὴν τὸ αὐτὸ, ἀλληλούϊα, Ὑπόψαλμος· ἦχος β´ «Δόξαν Θεοῦ, ἐπακουσόν μου, Κύριε…» ἐκφώνησις… καὶ πάλιν περισσήν τὸ αὐτὸ, ἦχος β´ «Ἐπάκουσόν μου, Κύριε…» Τοῦτο τὸ ἀλληλουϊάριον λέγεται ὅταν θυμιᾶ· Ὁ ἱερεὺς καὶ λέγεται τοῦ θυμιατοῦ· ἦχος γ´ «Τὴν οἰκουμένην, ἀλληλούϊα…» … εἰσοδικόν· ἦχος βαρὺς «Τὴν οἰκουμένην, ἀλληλούϊα…» Ἐκφώνησις· ἦχος βαρὺς «Ἐνέγκατε τῷ Κυρίῷ υἱοὶ Θεοῦ, ἀλληλούϊα…» Καὶ γίνεται ἡ εἲσοδος· καὶ ἳστανται μέσον τοῦ ναοῦ· καὶ λέγει τοὺς δύο στίχους τοῦ ψαλμοῦ· ἦχος γ´ «Ἔστρεψας τὸν κοπετόν μου εἰς χαράν…» Στίχος ἀριστερός «Ὅπως ἄν ψάλλῃ σοι ἡ δόξα μου…» Δόξα καὶ νῦν τὸ αὐτὸ μέλος· καὶ περισσή. Καὶ μετὰ τοῦτο τὴν Η´ ᾠδήν· ἦχος γ´ «Εὐλογεῖτε πάντα τὰ ἔργα Κυρίου, τὸν Κύριον…»

EBE 2062 (olim 59)

6r 6 v 9r 19v 30r–35r

243

Καὶ λέγει πληρωμένου τούτου, «Σὲ τὸ ἀπόρθητον τεῖχος» καὶ μετὰ τοῦτο λέγει τὸ συναξάριον· καὶ ἀνισταμένων πάντων, λέγει ὁ ἱερεὺς τὴν συναπτήν· καὶ εὐθὺς ὁ δομέστικος τὸ πεντηκοστάριν· ἦχος γ´ «Τῆς ψυχῆς μου τὸν ῥύπον σὺ γινώσκεις…» Καὶ ὁ ἱερεὺς, «Τῆς Παναγίας ἀχράντου»· καὶ τὴν ἐκφώνησιν καὶ ὁ δομέστικος τὸν Νον λέγων κατὰ στίχον καὶ τὸ παρὸν πεντηκοστάριον «Ἐλέησον με ὁ Θεὸς κατὰ τὸ μέγα ἔλεός σου… Τῆς ψυχῆς μου…» Στίχος «Ἐπὶ πλεῖον πλῦνον με ἀπὸ τῆς ἀνομίας μου καὶ… τῆς ψυχῆς μου…» Στίχος «Σοὶ μόνον ἥμαρτον… τῆς ψυχῆς μου…» Στίχος «Ἰδοὺ γὰρ ἐν ἀνομίαις… τῆς ψυχῆς μου…» Στίχος «῾Ραντιεῖς με … ἀπόστρεψον τὸ πρόσωπόν σου… τῆς ψυχῆς μου…» Στίχος «Μὴ ἀποῤῥίψῃς με ἀπὸ… τῆς ψυχῆς μου…» Στίχος «Διδάξω ἀνόμους τὰς… Κύριε, τὰ χείλη μου ἀνοίξεις…» Τῇ Βα Ἑσπέρας· ἦχος πλ. β´ «Καὶ ἐπάκουσόν μου, δόξα σοι ὁ Θεός…» Ἦχος πλ. β´ καὶ λέγει τὸ, «Προστασία τῶν Χριστιανῶν»· καὶ ὁ ἄλλος χορὸς τὸ, «Ἀγάθυνον, Κύριε» «Ἀγάθυνον, Κύριε, ἐν τῇ εὐδοκίᾳ σου τὴν…» καὶ λέγει τὸ κοντάκιον τοῦ ἁγίου «Τοῖς τῶν αἱμάτων σου … Δόξα, Ὁ Μονογενής· καὶ νῦν Τὴν ὑπερένδοξον…» Καὶ μετὰ τοῦτο λέγει τζ´ αἴνους, «Αἰνεῖτε τὸν Κύριον ἐκ τῶν οὐρανῶν, σοὶ πρέπει ὕμνος τῷ Θεῷ»· καὶ τὰ ἑξῆς τοῦ Ὄρθρου. Τῇ Γ´ πρωΐ· ἦχος πλ. α´ «Ανεαανεες, Καὶ ὕπνωσα, δόξα σοι ὁ Θεὸς…» Εἰς τὸν θυμιατόν, τοῦ Χριστοφόρου τοῦ Μυστάκωνος· ἦχος γ´«Τὴν οἰκουμένην, ἀλληλούϊα…» Καὶ εὐθὺς ἄρχονται αἱ ὠδαί· ὠδή α´· ἦχος πλ. β´ «Δεδόξασται, τῷ Κυρίῷ ᾄσωμεν ἐνδόξως γὰρ δεδόξασται…» Ὠδή β´· ἦχος β´ «Ούρανὲ καὶ λαλήσω, δόξα σοι, ὸ Θεός, πρόσεχε οὐρανὲ καὶ λαλήσω, δόξα σοι ὁ Θεός…» Ὑπαλλαγὴ α´· ἦχος β´ «Καὶ ἔφαγεν Ἰακὼβ καὶ ἐνεπλήσθη καὶ ἀπελάκτισεν ὁ ἠγαπημένος, φύλαξόν με Κύριε…» Ὑπαλλαγὴ β´· ἦχος β´ «Ὅτι πῦρ ἐκκέκαυται ἐκ τοῦ θυμοῦ μου, καυθήσεται ἕως ἅδου κατωτάτου, δίκαιος εἶ Κύριε…» Ὑπαλλαγὴ γ´· ἦχος β´ «Ἴδετε, ἴδετε ὅτι ἐγὼ εἰμί, καὶ ούκ ἔστι Θεός πλὴν ἐμοῦ, δόξα σοι, δόξα σοι ὁ Θεός…» Ὠδή δ´ · ἦχος πλ. δ´ «Καὶ ἐφοβήθην, εἰσάκουσόν μου Κύριε…» Ὠδή ε´· ἦχος β´ «Πρὸς σὲ ὁ Θεός, οἰκτείρησόν με, Κύριε…» Λέγε δὲ τὸ, «Μήτηρ ἁγίᾳ» πρὸ τῆς γ´ ὠδῆς ὅπερ [sic] ἐστὶν γεγραμμένη· μετὰ τοῦτο λέγε τὴν ὠδήν· ἦχος β´ «Μήτηρ ἁγίᾳ τοῦ ἀφράστου φωτός, ἀγγελικαῖς σε ὕμνοις τιμῶντες μεγαλύνομεν…» Ὠδή γ´ «’Η καρδία μου ἐν Κυρίῳ, ἐλέησόν με Κύριε…» Ὅταν δὲ φθάσει εἰς τὴν θ´ ὠδήν, ἤγουν τὸ, «Μεγαλύνει ἡ ψυχή μου τὸν Κύριον»· λέγε κατὰ στίχον τὸ, «Μήτηρ ἁγίᾳ»· «Δόξα καὶ νῦν» τὸ αὐτὸ· καὶ τότε λέγε περισσὶν [sic] τὸ αὐτὸ πάλιν ἀσματικόν· ἦχος β´ «Νεανες… Μήτηρ ἁγίᾳ…» Εὐχὴ Μανασσῆ καὶ Ἐζεκίου τῶν βασιλέων· ἦχος β´ «Ἐν τῷ ὕψει τῶν ἡμερῶν μου, ἱσλάσθητί μοι, Κύριε…» Ὠδή ζ´· ἦχος β´ «Τῶν Πατέρων ἡμῶν, εὐλογητὸς εἶ, Κύριε…» Ὅταν δὲ φθάσωσιν εἰς τὸν αὐτὸν στίχον γίνεται ἡ εἴσοδος· καὶ εἰσελθόντων μέσον τοῦ ναοῦ· ἦχος β´ «Καὶ ἐντραπείησαν πάντες…»

244

35r 35v

40r–41v 42r 44v 45v–46r 46v 47r–49r 47v 49r 49v–50r 50v 50v–51v

EBE 2062 (olim 59)

Ψάλλουν καὶ τοὺς ἑτέρους στίχους στ´ «Εὐλογητὸς εἶ, Κύριε ὁ Θεός τῶν Πατέρων ἡμῶν, ὁ ὑπερύμνητος καὶ ὑπερυψούμενος εἰς τοὺς αἰῶνας, εὐλογητὸς εἶ, Κύριε…» Πληρωμένων δὲ τῶν στίχων τούτων τῶν στ´, εὐθὺς λέγε τὴν η´ ὠδὴν μεμονωμένην· ἦχος β´ «Εὐλογεῖτε πάντα τὰ ἒργα Κυρίου…» Πληρωμένης τῆς η´ ὠδῆς, λέγε «Σέ τὸ ἀπόρθητον τεῖχος…». Καὶ εὐθὺς τὸ συναξάριον. Ὅταν δὲ τύχει δεσποτικὴ ἑορτὴ ἢ ἑορταζόμενος ἅγιος, οὐδὲν λέγε τὸ πεντικοστάριον, ἀλλὰ τὸ ἀπολυτίκιον τῆς ἑορτῆς ὁμοίως καὶ εἰς τὰς ἄλλας ἡμέρας· ἦχος πλ. β´ «Κύριε, τὰ χείλη μου ἀνοίξεις … Προστασία τῶν Χριστιανῶν…» Καὶ ὁ ἄλλος χορὸς τὸ, «Ἀγάθυνον, Κύριε, ἐν τῇ εὐδοκίᾳ σου τὴν Σιών» Καὶ εὐθὺς τὸ κοντάκιον τῆς ἡμέρας· «Δόξα, Ὁ Μονογενὴς υἱὸς, Καὶ νῦν»· «Τὴν ὑπερένδοξον τοῦ Θεοῦ μητέρα». Τὸ πεντηκοστάριον … καὶ εὐθὺς ἄρχονται οἱ αἶνοι· ἦχος δ´ «Αἰνεῖτε τὸν Κύριον ἐκ τῶν οὐρανῶν, σὺ πρέπει ὕμνος ὁ Θεὸς…» Πληρωμένου τούτο, ὑποβάλη καὶ τὴν εὐχὴν Ζαχαρίου τοῦ προφήτου τὸ, «Εὐλογητὸς Κύριος»· λέγει κατὰ στίχον τὸ, «Εὐλογητὸς Κύριος», καὶ ὑπόβαλε στ´ τὸ, «Νῦν ἀπολύεις τὸν δοῦλον». «Δόξα καὶ νῦν» τὸ αὐτὸ· ὕστερον λέγει ἔξω φωνῇ τὸ αὐτὸ «Εὐλογητὸς Κύριος Ἰησοῦς ὁ βασιλεὺς…» Six settings of the first Stasis of the Amomos (Ps. 118) for the Sunday Orthros by George Kontopetris. This MS has only one version of the Amomos chant for the Chanted rite. Τοῦ Κοντοπετρῆ· ἦχος πλ. β´ «Ὡς ἐπὶ παντὶ πλούτῳ, ἀλληλούϊα…» (two settings) Τοῦ αὐτοῦ· ἦχος πλ. β´ «Τὰ δικαιώματά σου, ἀλληλούϊα…» (two settings) Τοῦ αὐτοῦ· ἦχος πλ. β´ «Αὕτη με παρεκάλεσεν ἐν τῇ ταπεινώσει μου…» Τοῦ αὐτοῦ· ἦχος πλ. β´ «Μεσονύκτιον ἐξηγειρόμην τοῦ ἐξομολογεῖσθαί σοι…» Ἦχος πλ. β´ «Καιρὸς τοῦ ποιῆσαι τῷ Κυρίῳ…» [in the margin] ὅδε γίνεται διπλασμὸς τῆς φωνῆς Τοῦ ἁγίου μεγαλομάρτυρος καὶ πολιούχου ἡμῶν Δημητρίου· Τὰ ἐγκαίνια τοῦ ναοῦ τῆς ὑπεραγίας δεσποίνης ἡμῶν Θεοτόκου τῆς Ἀχειροποιήτου Communion hymns Τοῦ Ἀμπελοκηπιώτου τοῦ ἱερέως· ἦχος δ´ «Ποτήριον σωτηρίου λήψομαι…» Τοῦ Γεωργίου Κοντοπετρῆ· ἦχος δ´ «Ποτήριον σωτηρίου λήψομαι…» blank Ἑσπερινὸς ψαλλόμενος στὴν ἁγίᾳ καὶ μεγάλῃ Κυριακὴ Ἑσπέρας (Easter)· ἦχος α´ «Καὶ ἐπάκουσόν μου, δόξα σοι ὁ Θεός…» Ἐκφώνησις· α´ «Ἀμήν, ἀναστήτω ὁ Θεὸς…» ἀπὸ χοροῦ· α´ «Ἀναστήτω ὁ Θεὸς…» Ὕστερον πάλιν ὁ δομέστικος ἔξω φωνῇ τὸ αὐτὸ «Ανανα να νεες, ἅγιος ὁ Θεὸς…» settings for other feasts Ἕτερος Ἐσπερινὸς ψαλλόμενος εἰς ἐπισήμους ἑορτὰς ἀσματικός· ἦχος πλ. β´ «Καὶ ἐπάκουσόν μου, δόξα σοι ὁ Θεός…» «Ὑπερευλογημένη ὑπάρχεις…» Οἱ ἱερεῖς ἐντὸς τοῦ βήματος· ἦχος β´ «Θεοτόκε Παρθένε, διὰ γὰρ τοῦ ἐκ σαρκωθέντος…» Τὸ τέλος ὑψηλότερον «Εὐλογητὸς Χριστὸς ὁ Θεὸς ἡμῶν…» Καὶ ἀνέρχεται ὁ ἀναγνώστης εἰς τὸν ἄμβωνα μετὰ τοῦ Σταυροῦ καὶ ἐκφωνεῖ οὕτως· ἦχος β´ «Δόξα ἐν ὑψίστοις Θεῷ…» Καὶ εὐθὺς ἡ μεγάλη δοξολογία· ὁ δομέστικος μετὰ καὶ τῶν ἄλλων ἀπὸ χοροῦ· ἦχος β´ «Δόξα ἐν ὑψίστοις Θεῷ καὶ ἐπὶ γῆς εἰρήνη…» ὅδε διπλάζει «η … νη … ην … χη … νη … γγη…»

EBE 2062 (olim 59)



245

Καὶ λέγουσιν οἱ ἱερεῖς τὸ ἐπίλοιπον· ἦχος β´ «Ἐν ἀνθρώποις εὐδοκία ὑμνοῦμεν σε, προσκυνοῦμεν σε, εὐχαριστοῦμεν σοι…» καὶ τὰ ἑξῆς μέχρι τέλους· 51v–52r Καὶ ἔκτοτε λέγει ὁ δομέστικος ἔξωθεν οὕτως· ἦχος β´ «Νεανεεες…» ὅλοι «Ἀναστὰς ἐκ τοῦ μνήματος…» Οἱ ἱερεῖς ἐντὸς τοῦ βήματος· ἦχος β´ «Ἀναστὰς ἐκ τοῦ μνήματος…» Καὶ πάλιν οἱ ἐκτὸς ἀπὸ χοροῦ τὸ, «Δόξα», καὶ πάλιν οἱ ἱερεῖς τὸ τροπάριον· καὶ εὐθὺς ὁ δομέστικος γεγονωτέρα φωνῇ «Νε νε ανες, ἀναστὰς…» Καὶ οὕτως ἀνέρχεται ὁ ἀναγνώστης ἐν τῷ ἄμβωνι καὶ λέγει τὸ, ψαλμὸς τῷ Δαβίδ. Ἱστέον δὲ ὅτι τὴν μίαν Κυριακὴν ψάλλεται τὸ, «Ἀναστὰς ἐκ τοῦ μνήματος»· τὴν δὲ 52r–v ἑτέραν τὸ, «Σήμερον σωτηρίαν τῷ κόσμῳ»· ἦχος γ´ «Σήμερον σωτηρίαν τῷ κόσμῳ…» Καὶ οἱ ἱερεῖς τὸ αὐτὸ, ὡς καὶ τὸ, «Ἀναστὰς· ἦχος πλ. α´ «Σήμερον σωτηρίαν τῷ κόσμῳ …» Εἶτα ἒξωθεν ὁ δομέστικος· ἦχος πλ. δ´ «Δόξα πατρί…» Καὶ πάλιν οἱ ἱερεῖς τὸ, «Σήμερον σωτηρίαν τῷ κόσμῳ»· καὶ πάλιν ὁ δομέστικος ἀπὸ χοροῦ· ἦχος πλ. α´ «Ανεανες, Σήμερον…» Καὶ ψαλλομένου τούτου ἀσπάζονται οἱ ἱερεῖς τὸ ἅγιον εὐαγγέλιον καὶ ἀνέρχονται ἐν τῷ συνθρόνῳ καὶ ψάλλουν γεγωνότερα τὸ τροπάριον, εὐλογοῦντες ἔξω τὸν λαόν. Ἀκολουθία τῆς ὑψώσεως τοῦ Τιμίου Σταυροῦ, ἐν τῇ καθ’ ἡμᾶς ἁγιωτάτῃ Μεγάλῃ 53r Ἐκκλησίᾳ. Μηνὶ Σεπτεμβρίῳ ιδ´, ἑορτάζομεν τὴν ὕψωσιν τοῦ Τιμίου καὶ ζωοποιοῦ Σταυροῦ Εἰς τὸν Ἑσπερινὸν ἄρχεται ὁ δομέστικος μετὰ καὶ τῶν ἄλλων «Καὶ ἐπάκουσον ἡμῶν…» This is the cathedral rite settings for Vespers of the Holy Cross. The attributions to composers are as follows: Korones, Kontopetris, Panaretos, Chrystophoros of Mystakonos, Andreiomenos of Laosynaktos, Dokeianos, Ioannes Koukouzeles and Manuel Plagites. Καὶ λέγει ἰδιόμελα τέσσαρα· εἰ δὲ βούλεται λέγει στ´καὶ λέγει στίχους «Ὑψοῦτε 54v Κύριον, … Μνήσθητι τῆς· Χριστὲ ὁ Θεός ἡμῶν…» Εἶτα τὴν δοχὴν καὶ εὐθὺς τὰ μικρὰ ἀντίφωνα. Δόξα καὶ νῦν. Ἀπ᾽ ἔξω ὁ δομέστικος· ἦχος δ´ «Λε γεε γετο, Ἅγιος ἀθάνατος ἐλέησον 55r ἡμᾶς…» Καὶ μετὰ τὸ δύσιν τὸν ἥλιον ἀνέρχονται οἱ δομέστικοι εἰς τὴν τρούλιν μετὰ καὶ τῶν 55v λαοσυνακτῶν καὶ πριμμηκυρίων κρατῶντες … ἕως ὅτου νὰ ἐξέλθει ὁ ἀρχιερεὺς ἀπὸ τὸ κελλίον του. Καὶ ὁ δομέστικος «Ἀμήν, Εἰς πολλὰ ἔτη, δέσποτα … Σῶσοι ὁ Θεός τὴν ἁγίαν καὶ δικαίαν…» καὶ λέγει ταῦτα καὶ ὁ ἕτερος δομέστικος καὶ εὐθὺς γίνεται ἡ εὐφημία. 55v–56r Thessalonian Acclamations in the Trullo. These are Euphemia (Polychronia) for the Emperors Ioannes (1341–91) and Andronikos Palaeologos, his son. Above the name of Ioannes there is a rubric: the name of Manuel, who is also a son of Ioannes. 56r–92r Series of chants for the Asmatikos Orthros follow with settings by Mystakonos, Dokeianos, Manuel Plagites, Koukouzeles, Koukoumas and others. Καὶ περὶ τὴν ὥραν τοῦ μεσονυκτίου ἄρχεται ὁ Ὄρθρος οὕτως· ἦχος β´ «Εὐλόγησον, 56r δέσποτα…» Ὁ δομέστικος ἐκφώνως καὶ εὐθὺς τὸν εὐλογητὸν καὶ τὰ εἰρηνικὰ πάντα, ἕως τὸ ἀντιλαβοῦ. 56r–58r Καὶ εὐθὺς ὁ δομέστικος τὸ, «Καὶ ὕπνωσα»· τοῦ Χριστοφόρου τοῦ Μυστάκωνος· ἦχος πλ. δ´ «Καὶ ὕπνωσα, δόξα σοι ὁ Θεός…»

246

57r

57v

58r 58v 60r–61r 61v 62v–63v 65v 67v 68r 69r 70v 71r 72v

EBE 2062 (olim 59)

ἦχος πλ. δ´ «Ἀμήν, ἐγὼ ἐκοιμήθην καὶ ὕπνωσα, δόξα σοι ὁ Θεός…» ὅλοι «Ἐγὼ ἐκοιμήθην …» Ὁ ἀριστερὸς χορὸς· ἦχος πλ. δ´ «Ἐξηγέρθην ὅτι Κύριος ἀντιλήψεταί μου…» Ὁ δεξιὸς, τοῦ Μαΐστορος· ἦχος πλ. δ´ «Σὺ δὲ, Κύριε, ἀντιλήπτωρ μου…» Ὁ δεξιὸς, τοῦ αὐτοῦ· ἦχος πλ. δ´ «Ἐγὼ ἐκοιμήθην καὶ ὕπνωσα, ἐξηγέρθην ὅτι Κύριος ἀντιλήψεται μου, δόξα σοι ἅγιε…» Ὁ δεξιὸς, τοῦ Κοντοπετρῆ· ἦχος πλ. δ´ «Ἀνάστα, Κύριε, σῶσον με ὁ Θεός μου ὅτι σὺ ἐπατάξας πάντας…» Ὀ δεξιὸς, ἦχος πλ. δ´· τοῦ Μαΐστορος Ἰωάννου τοῦ Κουκουζέλη· ἦχος πλ. δ´ «Ὁ Θεός, ὁ Θεός μου πρὸς σὲ ὀρθρίζω … ἐν γῇ ἐρήμῳ καὶ ἀβάτῳ καὶ ἀνύδρῳ…» Ἦχος πλ. δ´· τοῦ Κοντοπετρῆ «Ὃτι κρεῖσσον τὸ ἔλεός σου ὑπὲρ ζωάς…» Ὁ δεξιὸς· ἦχος πλ. δ´· τοῦ Κορώνη «Ὡς ἐκ στέατος καὶ πιότητος…» Ὁ δεξιὸς· τοῦ Μαΐστορος· ἦχος πλ. δ´ «Ὅτι ἐγεννήθης βοηθός μου…» Ὁ δεξιὸς· τοῦ αὐτοῦ «Αὐτοὶ δὲ εἰς μάτην ἐζήτησαν…» Ὁ δεξιὸς· τοῦ Παναρέτου «Ὁ δὲ βασιλεύς…» Ὁ δεξιὸς τοῦ δομεστίκου κὺρ Μιχαὴλ τοῦ Μυστάκωνος· ἦχος πλ. δ´ «Ἰδοὺ δὴ εὐλογεῖτε τὸν Κύριον…» Εἶτα λέγει καὶ τοὺς λοιποὺς στίχους· Δόξα καὶ νῦν καὶ λέγει περισσήν τὸ πρῶτον. Τοῦ Γεωργίου Παναρέτου· ἦχος πλ. δ´ «Ὁ δὲ βασιλεὺς εὐφρανθήσεται ἐπὶ τῷ Θεῷ…» Τοῦ Κουκουζέλη· ἦχος πλ. δ´ «Ὅτι ἐγενήθης βοηθός μου…» Τοῦ αὐτοῦ «Αὐτοὶ δὲ εἰς μάτην ἐζήτησαν τὴν ψυχήν μου…» Τοῦ Κορώνη·ἦχος πλ. δ´ «Ὡς ἐκ στέατος καὶ πιότητος ἐμπλησθείη ἡ ψυχή μου καὶ χείλη ἀγαλλιάσεως αἰνέσει τὸ στόμα μου…» Λέγε «Δόξα σοι ὁ Θεός…» Τοῦ Μυστάκωνος· ἦχος πλ. δ´ «Ἰδοὺ δὴ εὐλογεῖτε τὸν Κύριον, πάντες οἱ δοῦλοι Κυρίου· δόξα σοι Υἱὲ Θεοῦ, δόξα σοι σοφία καὶ δύναμις…» Ἦχος πλ. δ´· ἀντίφωνον πρῶτον «Τὴν οἰκουμένην, ἀλληλούϊα, ἀμήν, εὐλόγει ἡ ψυχή μου τὸν Κύριον, ἀλληλούϊα…» Ὅλοι «Εὐλόγει ἡ ψυχή μου τὸν Κύριον…» Καὶ λέγει, ἀλληλούϊα, ὅσα βούλεται ὁ δομέστικος· ἦχος πλ. δ´ «Ἀλληλούϊα…» Εἶτα γίνεται μεγάλη συναπτὴ καὶ εὐθὺς ἂρχεται τὴν αην ᾠδήν· ποίημα τοῦ δομεστίκου κὺρ Μιχαὴλ τοῦ Μυστάκωνος· ἦχος πλ. δ´ «Τὴν οἰκουμένην, ἀλληλούϊα…» ὁ δομέστικος «Ἀμήν, ἐξομολογεῖσθε τῷ Κυρίῳ … πάλιν … τιριτιρι … ἀλληλούϊα…» Τὸ αὐτὸ καὶ ὁ ἀριστερὸς χορός. Ὠδὴ γ´ τῆς Ὑψώσεως τοῦ τιμίου Σταυροῦ· τοῦ Ἀνδρειωμένου· ἦχος πλ. δ´ «Ἑτοίμη ἡ καρδία μου ὁ Θεός…» Τοῦ Κουκουζέλη· ἦχος πλ. δ´ «Ὑψώθητι ἐπὶ τοὺς οὐρανοὺς ὁ θεός…» Ὠδὴ ε´, παλαιὸν· τοῦ Μυστάκωνος «Ἐν ἐξόδῳ Ἰσραὴλ ἐξ Αἰγύπτου …» Ὠδὴ στ´· ἐξ αὐτῆς τῆς ὠδῆς στίχος καλφωνικὸς· ποίημα τοῦ δομεστίκου κὺρ Χριστοφόρου τοῦ Μυστάκωνος «Δεξιὰ Κυρίου ἐποίησε δύναμιν …» Ἕτερος στίχος τῆς αὐτῆς ὠδῆς καλοφωνικὸς τοῦ Μυστάκωνος «Παιδεύων ἐπαίδευσέ με ὁ Κύριος…» Ὠδὴ στ´ τῆς Ὑψώσεως τοῦ τιμίου Σταυροῦ· τοῦ Δημητρίου Δοκειανοῦ· ἦχος πλ. δ´ «Παιδεύων ἐπαίδευσέ με ὁ Κύριος…» Ὠδὴ στ´· τοῦ Κουκουζέλη «Αναχα Ἀνοίξατέ μοι πύλας…» Ἕτερος στίχος τῆς αὐτῆς ὠδῆς· τοῦ Μυστάκωνος «Αὕτη ἡ πύλη τοῦ Κυρίου…» Ὠδὴ ζ´· τοῦ Μυστάκωνος «Πρὸς Κύριον ἐν τῷ θλίβεσθαί με ἐκέκραξα…»

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73v

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Ὠδὴ η´, τοῦ Μανουὴλ Πλαγίτου· ἦχος πλ. δ´ «Τὴν οἰκουμένην, ἀλληλούϊα· Ἐν τῷ ἐπιστρέψαι Κύριον τὴν αἰχμαλωσίαν Σιών…» Ἕτερος στίχος τῆς αὐτῆς ὠδῆς· τοῦ Κουκουζέλη «Προσκυνήσωμεν εἰς τὸν τόπον οὗ 76r ἔστησαν οἱ πόδες αὐτοῦ…» Ὠδὴ θ´· τοῦ Κουκουζέλη «Τιτιρρι… Τὴν θύραν αὐτῆς εὐλογῶν εὐλογήσω…» 77r Καὶ μετὰ τὸν εἱρμον γίνεται μικρὰ συναπτή· καὶ εὐθὺς ὁ δομέστικος· ἦχος α´ «Τὴν 78v οἰκουμένην λέγε … ἀλληλούϊα … ἀμήν, αἰνεῖτε τὸ ὄνομα Κυρίου, αἰνεῖτε δοῦλοι Κύριον ἀλληλούϊα…» 79r–91v Πολυέλεος κατ’ ἦχον· Ποίημα τοῦ Κουκουμᾶ καὶ Μαΐστορος. Ὁ δεξιὸς χορὸς «Ἐξομολογεῖσθε τῷ Κυρίῳ ὅτι ἀγαθός, ἀλληλούϊα, ὅτι εἰς τὸν αἰώνα, ἀλληλούϊα…» Ὁ ἀριστερὸς χορὸς· μέλος ἕτερον «Ἐξομολογεῖσθε τῷ Θεῷ τῶν Θεῶν, ἀλληλούϊα…» Ὁ δεξιὸς χορὸς· μέλος ἕτερον «Ἐξομολογεῖσθε τῷ Κυρίῳ τῶν Κυρίων, ἀλληλούϊα…» Ὁ ἀριστερὸς χορὸς μέλος τὸ αὐτὸ «Τῷ ποιήσαντι θαυμάσια μεγάλα…» δεξιὸν ἀναφώνημα «Λέγε νανε…νεϊα, ἀλληλούϊα…» ἀριστερὸν ἀναφώνημα «Λέγε εἰς τὸν αἰῶνα, τὸ ἕλεος αὐτοῦ, ἀλληλούϊα…» Εὐλογητάρια (Eulogetaria and the remaining akolouthia of the Orthros for 14 Sept.) 91v 92r–95r chants for the Divine Liturgy Καὶ εὐθὺς τὸν Ν´· ὁ δομέστικος «Ἀμήν, ἐλέησόν με ὁ Θεὸς… Σῶσον, Κύριε, τὸν λαὸν 92r σου…» Καὶ μετὰ τὸ τέλος τοῦ πεντηκοστοῦ, γίνεται μικρὰ αἴτησις καὶ εὐθὺς τὸ, «Αἰνεῖτε τὸν Κύριον»· ἦχος Νανα «᾽Αμὴν, Αἰνεῖτε τὸν Κύριον ἐκ τῶν οὐρανῶν, σοὶ πρέπει ὕμνος τῷ Θεῷ…» Καὶ κρατίζει [sic] στίχους ἐκ τούτο τέσσαρας καὶ λέγει στιχηρὰ· ἦχος πλ. δ´ «Ὕψώθης ἐν Σταυρῷ Χριστὲ ὁ Θεός…»· καὶ ἕτερα τρία «Δόξα καὶ νῦν … Ἡ φωνὴ τοῦ προφήτου…» Ὧδε ἐγράφην ὁ εἱρμὸς· ὄφειλε γραφῆναι ὄπισθεν 94v Κανόνες εἰς τὸν ἅγιον Δημήτριον. «Ἐν βυθῷ κατέστρωσέ...» There are four kanons 97r celebrating the feast of St Dimitrios. Ἕτερος κανόνας τοῦ ἁγίου μεγαλομαρτύρου Δημητρίου 104v «Σὲ τὸν ἐν θαλάσσῃ δόντα ὁδόν...» 105r «Τῷ μεταστρέψαντι τὴν θάλασσαν...» 113r «Δεῦτε λαοὶ ᾄσωμεν ᾆσμα...». This fourth kanon for St Dimitrios has the text written 120r by Emperor Constantine Porphyrogenetos (913–59) with the music set by Kyr Manuel Plagites, the Protopsaltes of Thessalonika. Ἀκολουθία τοῦ ἁγίου Δημητρίου. More settings for the Feast of St Dimitrios (26 Oct.). 135r Καὶ λέγει καὶ τοὺς ἑτέρους στίχους καὶ ἔπειτα καλεῖ ὁ πρωτοψάλτης τοὺς ἱερεῖς «Νανα, Δεῦτε προσκυνήσωμεν…» 135r–136r Μηνὶ Ὀκτωβρίῳ κστ´ ἑορτάζομεν τὴν μνήμην τοῦ ἁγίου ἐνδόξου μεγαλομάρτυρος, μυροβλήτου καὶ θαυματουργοῦ Δημητρίου· ἦχος πλ. β´ «Καὶ ἐπάκουσόν μου, δόξα σοι ὁ Θεός…» Ἦχος πλ. β´ «Τὴν οἰκουμένην…» followed by the Kekragarion Ἦχος πλ. β´ «Ἑσπερινὴν θυσίαν…» Ἐπὶ τὴν αὔριον εἰς τὴν λειτουργίαν (26 Oct.) ἀνέρχεται ὁ πρωτοψάλτης μετὰ καὶ ἑτέρων καὶ λέγει οὕτως· ἦχος β´ «Ἀγαθὸν τὸ ἐξομολογεῖσθαι τῷ Κυρίῷ καὶ ψάλλειν τῷ ὀνόματί σου Ὕψιστε, Ταῖς πρεσβείαις τῆς Θεοτόκου…»

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Εἶτα αἴτησις καὶ ἐκφώνησις καὶ πάλιν ψάλλουν οὕτως «Ὁ Κύριος ἐβασίλευσεν εὐπρέπειαν ἐνεδύσατο Κύριος δύναμιν καὶ περιεζώσατο, Ταῖς πρεσβείαις τῶν ἁγίων σου σῶσον ἡμᾶς, Κύριε…» «Δόξα καὶ νῦν» καὶ πάλιν αἲτησις καὶ ἐκφώνησις· καὶ πάλιν λέγει οὕτως «Ἀμήν, δεῦτε ἀγαλλιασώμεθα τῷ Κυρίῳ, ἀλλαλάξωμεν τῷ Θεῷ τῷ σωτήρι ἡμῶν, φωστήγηρ ἐφάνη… χης ἐπί γῆς…» Εἶτα λέγουσιν οἱ κάτω· ἦχος πλ. δ´ «Ὀμίχλη θανάτου σκεπάζει κάλαμψιν τοῖς ἐν σκότει μάρτυς χαριζόμενος…» Καὶ λέγει καὶ τοὺς ἑτέρους στίχους. [26 October] Εἶτα γίνεται ἡ εὐφημία τῶν βασιλέων «Πολλὰ τὰ ἔτη τῶν βασιλέων…» 136r Ὁ πρωτοψάλτης ἐκφωνεῖ «Νανα, Κύριε, σῶσον τοὺς βασιλεῖς…» Ἄλλον· ἦχος πλ. δ´ «Καὶ ἐπάκουσον ἡμῶν…» Ὁ πρωτοψάλτης «Δόξα Πατρί, τῶν αἱμάτων σου ῥείθροις, Δημήτριε…» 136v Εἶτα λέγουσιν οἱ κάτω· ἦχος πλ. δ´ «Ὁμίχλη θανάτου σκεπάζει…» Τοῦτο λέγουσιν ἐντὸς τοῦ βήματος· ἦχος πλ. β´ «Ὅσοι εἰς Χριστὸν…» 137r–v Οἱ τοῦ ἄμβωνος· ἦχος πλ. β´, τὸ δεύτερον «Ὅσοι εἰς Χριστὸν…» Ἦχος πλ. α´, τὸ τρίτον «Ὅσοι εἰς Χριστὸν…» Ἦχος πλ. α´ «Δόξα Πατρί…» Ἦχος πλ. δ´ «Καὶ νῦν…» Μαθήματα εἰς τὴν Θεοτόκον «Ἄξιόν ἐστιν...», «Τὴν τιμιωτέραν...». The following 138r are some of the attributions: hagioreitikon, Ioannes Glykes, shortened version by Panaretos and Maistor Ioannes Koukouzeles. Ἀναγραμματισμὸς τοῦ Ξένου Κορώνη· κατ’ ἦχον. The Anagrammatismoi are 142r categorized according to modes. Τὸ μὲν μέλος ἐστὶ τοῦ [?], τὰ δὲ γράμματα Ἰωάννου λαμπαδαρίου. The music is set by 145v Georgeos Kontopetris and Gerasimos Hieromonachos. Ἀναγραμματισμὸς τοῦ Παπᾶ Γερασίμου [τῆς Μονῆς τῶν Ξανθοπούλων] 157v Κατανυκτικὰ κατ’ ἦχον· ποίημα τοῦ Μαΐστορος κυροῦ Ἰωάννου τοῦ Κουκουζέλη καὶ 162r τοῦ πρωτοψάλτου κυροῦ Ξένου τοῦ Κορώνη καὶ ἑτέρων διαφόρων ποιητῶν· Τοῦ Ἰωάννου Κουκουζέλη· ἦχος α´ «Οἴμοι, ψυχή, τί ῥᾳθυμεῖς...» Τοῦ Ξένου τοῦ Κορώνη «Ἰδοὺ ταλαίπωρε ψυχή, τὸ τέλος ἐπὶ θύραις...» 162v Τοῦ Ἰωάννου Κουκουζέλη «Ἁπάσης πλάνης ἄνθρωπε...» 163v Τοῦ Ἰωάννου Κλαδᾶ «Ποία τοῦ βίου τρυφή...» 164v Τοῦ Ἰωάννου Κουκουζέλη «Εἰς νοῦν ὃ ἂν λάβω τῶν ἐμῶν...» 166r Τοῦ Ἰωάννου τοῦ Κλαδᾶ «Οἴμοι οἷον ἀγῶνα ἔχει ἡ ψυχή...» 166v blank 168v Τοῦ Ἰωάννου Κουκουζέλη «Ὄντως φοβερώτατον τὸ τοῦ θανάτου μυστήριον...» 169r Τοῦ Ἰωάννου Κουκουζέλη «Θρηνῶ καὶ κλαίω καὶ πενθῶ...» 170r Τοῦ Ἰωάννου Κουκουζέλη «Τὴν φοβερὰν σου, βασιλεῦ...» 171r Τοῦ Ἰωάννου Κουκουζέλη «Οἴμοι τὸ τέλος ἄνθρωπε...» 172r Τοῦ Ξένου τοῦ Κορώνη «Πρόσκαιρα πάντα πέφυκε...» 173r Τοῦ Ξένου τοῦ Κορώνη «Ὡς ἐπὶ θρόνου φοβεροῦ...» 174r Τοῦ Δημητρίου Δοκειανοῦ «Μὴ μὲ στήσῃς ἐν ὥρᾳ δέσποτα...» 175r Τοῦ Ἰώαννου Κουκουζέλη «Ἰδοὺ ψυχή, προσήγγισε...» 176r blank 177v 178r torn in the lower right corner 179r–232v Στίχοι καλοφωνικοὶ ἀπὸ τὸν μέγαν Ἑσπερινὸν· ποίημα κυροῦ Ἰωάννου Κουκουζέλη καὶ τοῦ πρωτοψάλτου κυροῦ Ξένου τοῦ Κορώνη καὶ ἑτέρων· ἦχος πλ. δ´ «Ἵνα τί ἐφρύαξαν ἔθνη…». These are kalophonic settings for verses of psalms of Great Vespers

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with a variety of attributions: Ioannes Koukouzeles, Ethnikon (National), the so-called Trochos (wheel), Frankish, Georgeos Kontopetris, Ioannes Glykes, Manuel Thebaios (of Thebes) and Laosynaktos of the Great Church, Nikephoros Ethikos, Dimitrios Dokeianos and Tzaknopoulos. (There appears to be a mistake in the numbering of the folios, especially fol. 191r.) v Τοῦ λεγομένου Λατρινοῦ «Εὐλογήσατε τὸν Κύριον…» 194 Ἄρχου χείρ μου ἀγαθὴ, γράφε γράμματα καλὰ, μὴ δαρῇς καὶ λυπηθῇς καὶ ὕστερον 206v πάντων μετανουσῇς. (The scribe to his own hand: ‘write fair letters, lest thou be thrashed and saddened and in the end regretful’.) Λάθος ἐδιπλοεγράφη – a scribal indication of a mistake where the text has been written 210v twice. 218v blank Στίχοι καλοφωνικοὶ ἀπὸ τὸν πολυέλεον. Kalophonic compositions for Pss. 134–6 233r follow with assorted attributions: Maistor Ioannes Koukouzeles, Ioannes Glykes, Xenos Korones, the so-called Nightingale and the so-called Difficult One. blank 261v Στίχοι καλοφωνικοὶ ἁπὸ τὸ, «Ἐπὶ τὸν ποταμὸν Βαβυλῶνος»· τοῦ Ἰωάννου 268r Κουκουζέλη. Κρατήματα κατ’ ἦχον· ποιήματα διαφόρων ποιητῶν. Ποίημα κυροῦ Ἰωάννου 269r Κουκουζέλη καὶ Μαΐστορος· ἦχος α´ «Τετετεερε…». From fols 269r to 391v, the MS contains Kratemata categorized according to modes. The Kratemata are either designated by the composer’s name or with a descriptive title: The Very Difficult One, the so-called Same Voice, Gregorios, Xenos Korones, Ioannes Glykes, the so-called Middle One, the so-called Most Beautiful, Nikephoros Ethikos, Abasiotos, metrios Dokeianos and Tzaknopoulos. Ἡ καμπάνα τοῦ Κουκουζέλη (The Bell/Semantron by Koukouzeles) 311r Τοῦ Κορώνη· ἐκαλλωπίσθη δὲ καὶ συνετέθη οὓτως παρὰ τοῦ Κλωβᾶ 314v Τοῦ Κουκουζέλη· λεγόμενον τὸ ὀρφανόν (by Koukouzeles, the so-called Orphan) 319r Ἀλληλουϊάριν ψαλλόμενον εἰς τῆς ὑπεραγίαν Θεοτόκον 323r Ἀρχὴ τοῦ πλ. βʹ ἤχου· ποίημα κὺρ Ξένου τοῦ Κορώνη 324r end of music and MS 391v blank Ir–Vv Notes EBE MS 2062 is the ‘sister MS’ to EBE MS 2061 and also comes from the Gymnasium of Thessalonika. MS 2062 is considered to be more complete and hence more important than MS 2061. This MS, like its companion, contains the Chanted Akolouthia for Vespers and Orthros, which were especially intended for the large urban cathedrals of the Hagia Sophia in both Constantinople and Thessalonika. These services were known for their elaborate chants that were to be sung throughout the services without recited words – the exceptions being the prayers of the clergy. This Chanted Akolouthia was used until 1204, at which time it began to wane because of the occupation of Constantinople by the Crusaders. The MS is in fair condition and has a brownish binding. The folios are damaged in sections with faded script. For the most part, the text and neumes are in a brownish-black colour. The rubrics are plentiful but faded and not always legible, especially modal indications. The detailed information in the rubrics on musical performance practice for the domestikos (precentor)

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and the two choirs (the right and the left) of the cathedral practice is of great interest and demonstrates the highly ceremonial antiphonal, responsorial and direct performance practices that took place. There are discrepancies in the numbering of the folios, especially at fol. 191r. Other mistakes are acknowledged by the scribe on fols 94v, 206v and 210v. The MS averages about 16–17 lines of music and text per page. Folios are missing at the beginning. The first 137 folios of MS 2962 are devoted to the Chanted Office as it was practised in Thessalonika. Also included is music for the feast of St Dimitrios, the patron saint of Thessalonika. In many respects MS 2062 is a duplicate of MS 2061, but it contains only a single ordinarium for the first week of services. MS 2062 is also considered the earlier of the two: not later than 1385. This date is based on the Polychronia for Andronicus IV. Unlike MS 2061, MS 2062 has several settings of Ps. 50 and also includes music for two of its refrains. It also indicates how the refrains for the canticle of Zacharias were chanted. According to Oliver Strunk, MS 2062 is considered to be the only MS that gives evidence that the Canticle of Zacharias was regularly coupled with the Canticle of Symeon, the Nunc dimittis. In addition to the chanted repertory, MS 2062 also has the Akolouthia and Kanons for St Dimitrios. Fols 162r–178v are devoted to the Katanyktika, stichoi – usually in 15 syllables – pertaining to death, part of the Nekrosimon Akolouthia. Then follow kalophonic verses for Vespers (fol. 179r) and for the Polyeleos (fol. 233r). The last section of the MS is that of the Kratemata (fols 269r–391r), a section set to the kalophonic lessons and which displays settings of nonsense syllables, often instrumental in sound, and which may correspond to the descriptive titles of the compositions. Not all musical settings have attributions to composers. When there are composers’ names they are represented by 14th-century composers such as Andreiomenos, Dokeianos, Koukouzeles, Christophorus Mystakonos, Manuel Plagites, Xenos Korones, Ioannes Kladas, Georgeos Kontopetris, Tzaknopoulos, Ioannes Glykys and Koukoumas the Maistor. Bibliography Antoniades, “Περὶ τοῦ ἀσματικοῦ ἤ Βυζαντινοῦ κοσμικοῦ”. —— “Περὶ τοῦ Ἀσματικοῦ Τύπου τῶν Ἀκολουθιῶν”. Arranz, ‘L’Office de l’Asmatikos Hesperinos’. —— ‘L’Office de l’Asmatikos Orthros’. Borgia, ‘Ὡρολόγιον “Diurno” delle chiese di rito bizantino’. Chaldaiakis, Ὁ Πολυέλεος. Conomos, Byzantine Trisagia and Cheroubika. —— The Late Byzantine and Slavonic Communion Cycle. Georgiou, Ἡ ἑβδομαδιαία ἀντιφωνικὴ κατανομὴ. Lingas, ‘Sunday Matins’. Mpalageorges, “Ἡ Ψαλτικὴ Παράδοση”. Serruys, Catalogue des manuscrits. Spyrakou, Οἱ Χοροὶ Ψαλτῶν κατὰ τὴν Βυζαντινὴ Παράδοση. Stathis, G., Ἡ Δεκαπεντασύλλαβος Ὑμνογραφία. Strunk, ‘The Byzantine Office at Hagia Sophia’. Touliatos, The Byzantine Amomos Chant. —— ‘The “Chanted” Vespers Service’. Trempelas, Μικρὸν Εὐχολόγιον. Wellesz, History of Byzantine Music. Williams, ‘The Treatment of Text’.

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EBE 2063 (olim 60) ΑΝΘΟΛΟΓΙΟΝ ΣΤΙΧΗΡΑΡΙΟΝ/ANTHOLOGION STICHERARION Type of paper: common Measurements: 16.3 × 10.5 cm Folios: [220]; I + 440 pages + I Notation: Late Round Byzantine Date: late 17th c. Provenance: Gymnasium of Thessalonika

Ir–v 1 211 341 344 349 354 357 364 380 389 401 406 421 430 440 Ir–v

blank Ἀνθολόγιον τοῦ στιχηραρίου Σεπτεμβρίου τοῦ γεννησίου τῆς Ὑπεραγίας Θεοτόκου· ἦχος πλ. βʹ. This first section is a typical late Sticherarion that follows the liturgical calendar, beginning on 8 Sept. with the feast for the Nativity of the Theotokos. Τριῴδιον καὶ Πεντηκοστάριον Στιχηρὰ τοῦ Ξένου τοῦ Κορώνη Ἀσματικὰ τῶν ἤχων· ποίημα τοῦ κὺρ Πέτρου τοῦ Μελῳδοῦ· ἦχος αʹ Νεκρώσιμον ἐξηγηθὲν παρὰ κὺρ Παλασίου ἱερέως· ἦχος πλ. βʹ «Ἅγιος ὁ Θεός...» Ἕτερον τοῦ αὐτοῦ, σύντομον Ἕτερον τοῦ βήματος Ἕτερον τοῦ Πέτρου Ἕτερον τοῦ Πέτρου (another setting by Petros the Melodist) Νεκρώσιμον τοῦ κὺρ Ἰωάννου Πρωτοψάλτου τῆς Μεγάλης Ἐκκλησίας· ἦχος βαρὺς Ἕτερον εἰς φήμην ἀρχιερέων Ἕτερον εἰς φήμην πατριάρχου Διονυσίου Λειτουργία τῶν Προηγιασμένων· ἦχος πλ. βʹ. Composers’ names that are acknowledged include Pagkratios, Kladas and Chrysaphes. Εὐλογητάρια ἀναστάσιμα· ἦχος πλ. αʹ last legible page of music an added page that has scratched-out writing

Notes This late Anthology of the Sticherarion contains the regular Menologion, with selected feasts for the liturgical calendar followed by the Triodion and Pentecostarion section (p. 211). At p. 344 begins a variety of settings for the Trisagion (Thrice Holy), Asmatikon, funeral services and Euphemia for bishops and archbishops. Of the Divine Liturgies, only the Liturgy of the Presanctified Gifts is included and is followed by the Eulogetaria Anastasima (Resurrection chants). The binding for this MS is brown leather in newer condition. In each rectangular corner there are imprints of flowers. The MS is in fair condition but worse near the end due to water damage. There is an average of ten lines of text and music per page. The neumes are written in a black script with red ink for the hypostaseis, modal signatures, attributions, etc. The rubrics that are available are usually legible.

252

EBE 2063 (olim 60)

The Euphemia, Polychronia for a clergy – Patriarch Dionysios on p. 406 – gives a point of reference for the dating of the MS. However, the question then remains which Patriarch Dionysios is being acclaimed: Dionysios III of Vardale (1662–5) or Dionysios IV of Mouselime (1671–87). The MS is paginated by a different hand. On p. 216 is the date 24 Jan. 1797. Since this date is later than the tenure of either of the possible patriarchs, it could refer to when the pagination was made. Bibliography Serruys, Catalogue des manuscrits.

EBE 2147 (olim 80)

253

ΕΒΕ 2147 (olim 80) ΑΚΟΛΟΥΘΙΑ ΤΟΥ ΟΣΙΟΥ ΑΘΑΝΑΣΙΟΥ ΤΟΥ ΕΝ ΤΩ ΑΘΩ/ AKOLOUTHIA OF ST ATHANASIOS OF MT ATHOS Type of paper: bombycinous Measurements: 21.5 × 14.5 cm Folios: 179 Notation: Middle Round Byzantine Date: ca. mid-14th c. Provenance: Gymnasium of Thessalonika (not described by Serruys)

1r 10r–24v 10r

21v 25r 179v

Akolouthia for St Athanasios of Mt Athos, beginning with the text of the sixth ode: «Ποίων εὐφημιῶν ἔπαινος...». Then follow more texts from the Old Testament, Stichera, Kathismata, the 9th ode, and Exaposteilaria. Στιχηρὰ ἰδιόμελα κατ’ ἦχον εἰς τὸν Ἀθανάσιον «Στιχηρὰ διάφορα κατ’ ἦχον εἰς τὸν ὅσιον πατέραν ἡμῶν Ἀθανάσιον τὸ μὲν τῷ Ἄθῳ· τροπάριον ἐν Κωνσταντινούπολις [sic] καὶ Θεσσαλονίκην· ἦχος αʹ «Εὐφραίνου ἐν Κυρίῳ στῖφος τῶν μοναζόντων· ἡ ποίμνη δὲ χόρευε Χριστοῦ ἡ ἐν τῷ Ἄθῳ· τὸν μέγιστον Ἀθανάσιον...» Τροπάριον τῷ ἀθανάτῳ σου κοιμήσειν· ἦχος πλ. βʹ «Τῇ ἰσαγγέλλῳ πολιτείᾳ ..» Πολιτεία τοῦ ὁσίου Ἀθανασίου πατρὸς ἡμῶν Ἀθανασίου τοῦ ἐν τῶν Ἀθῶν end of MS

Notes This MS is an Akolouthia, anthology, for the feast of St Athanasios of Mt Athos, celebrated on 5 July. The beginning folios (1r–10r) contain no music and have only the texts for the various Stichera and chants. The musical portion of the MS covers fols 10r–24v. (This would appear to be 15 folios, but between fols 20 and 21 there is another folio numbered 20a, making it 16 folios of music. There is also another misnumbering of the MS with fol. 41r.) These 16 folios include 22 stichera with musical notation. All 22 are in honour of St Athanasios and are arranged according to the series of eight modes, to fol. 24v. These Stichera are significant for they comprise the largest and earliest collection of musically notated Stichera for the feast of St Athanasios of Mt Athos. They have been analysed according to the origins of model Stichera Prosomoia, feasts, and possible composers in the study of Velimirović listed below. The sticheron for St Athanasios of Mt Athos appears in two other music manuscripts of the National Library of Greece: EBE 895 (fol. 247r) and EBE 917 (fol. 118r). Later MSS contain Anagrammatismoi based on the Stichera of St Athanasios that are attributed to the composer Ioannes Koukouzeles. Following the musical portion of the MS, the Vita or life of St Athanasios begins with fol. 25r and continues until the end of the MS on fol. 179r. The MS is in fair to poor condition. The binding is a dark brownish black leather cover with no back. The text and neumes are in a faded brownish black colour. The musical section of the 22 Stichera averages 13–14 lines of text with music per page. The remaining portions of the MS that have only text vary from 20 to 27 lines. Although there are some rubrics throughout, no authors

254

EBE 2147 (olim 80)

are indicated for music or text in the MS. The handwriting and musical notation date from the first half of the 14th century. More precisely, the research of Athanasios Komines has verified that the paper used in the MS was made ca. 1330 and the copying of the music and text dates from about the mid-14th century. Bibliography Komines, “Ἡ χειρόγραφος παράδοσις”. —— “Ὑμνογραφικὰ εἰς Ὅσιον Ἀθανάσιον τὸν Ἀθωνίτην”. Velimirović, ‘Unknown Stichera’.

EBE 2155 (olim 88)

255

ΕΒΕ 2155 (olim 88) ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: parchment and Western paper Measurements: 25.5 × 16.8 cm Folios: 246 Notation: initial stages of Early Round Byzantine Date: late 13th–early 14th c. Provenance: Gymnasium of Thessalonika (not described by Serruys)

1r

Μηνὶ Σεπτεμβρίῳ ηʹ· ἡ γέννησις τῆς ὑπεραγίας δεσποίνης ἡμῶν Θεοτόκου καὶ ἀειπαρθένου Μαρίας· ἦχος πλ. βʹ «Σήμερον τῆς παγκοσμίου χαρᾶς τὰ προοίμια...» Μηνὶ Ὀκτωβρίῳ αʹ· τοῦ ἁγίου ἀποστόλου Ἀνανίου 14v Μηνὶ Νοεμβρίῳ αʹ· τῶν ἁγίων καὶ θαυματουργῶν ἀναργύρων Κοσμᾶ καὶ Δαμιανοῦ· 26r ἦχος αʹ «Τὴν χάριν τῶν ἰαμάτων ἐκ Θεοῦ εἰληφότες...» Μηνὶ Δεκεμβρίῳ δʹ· τῆς ἁγίας μάρτυρος βαρβάρας. This folio is badly tattered. 42v Μὴν Ἰανουάριος εἰς τὴν αʹ· ἡ περιτομὴ τοῦ κυρίου ἡμῶν Ἰησοῦ Χριστοῦ· καὶ μνήμῃ τοῦ 64r ἐν ἁγίοις πατρὸς ἡμῶν Βασιλείου τοῦ μεγάλου Writing: Ὁ Πρωτοψάλτης τῆς ἁγιωτάτης μητροπόλεως Ἁδριανουπόλεως Ἰωάννης. 69v (The Protopsaltes Ioannes of the most holy cathedral of Adrianoupolis.) Μὴν Ἀπρίλιος, αʹ· τῆς ὁσίας Μαρίας τῆς αἰγυπτίας 97v Μὴν Μάϊος, αʹ· ἡ ἐν τῷ οὐρανῷ τῶν ἀστέρων φανέρωσις τοῦ τιμίου Σταυροῦ 100v blank 102v Μηνὶ Ἰουνίῳ ηʹ· τοῦ Θεοδώρου τοῦ στρατηλάτου 103r Μηνὶ Ἰουλίῳ εἰς τὰς βʹ· τὰ καταθέσια τῆς ἐσθῆτος τῆς Θεοτόκου 113v Μὴν Αὔγουστος, αʹ· τῶν ἁγίων ἑπτὰ Μακκαβαίων καὶ τῆς μητρὸς αὐτῶν Σολομόνης 125r καὶ τοῦ διδασκάλου αὐτῶν Ἐλεαζάρου Στιχηράριον τῆς ἁγίας Τεσσαρακοστῆς ἀρχόμενον ἀπό τοῦ Τελώνου καὶ τοῦ Φαρισαίου 139r μέχρι τῶν ἁγίων πάντων 218r–241v This section is palimpsest, with black neumes and black text written over a red Greek text that was possibly extracted from the Canons of Photius. end of MS 246v Notes This is an early Sticherarion dating from the late 13th to early 14th century. There are folios missing from the beginning so that the feasts begin with 8 Sept. The contents are typical but selective for this type of MS, with many feasts not included. The repertory includes selections for each month of the ecclesiastical year and also the Triodion and Pentecostarion, which begin with fol. 139r. The condition of the MS is poor. The brownish leather binding is torn and many of the folios are mutilated, i.e., cut in half and/or the bottom of folios have disintegrated. There are very few rubrics and they only indicate feast days and modes. Composers’ names are not given. The notation is completely in a brownish-black ink with no red markings. This is in keeping with the early stage of notation that is not yet fully developed in this MS.

256

EBE 2155 (olim 88)

There are two distinct types of folios that are interspersed throughout: one is parchment and the other could be categorized as Western paper. In addition to having parchment in the beginning and ending of sections of the MS, this material can also be found from fols 202 to the end of the MS. In contrast, a section of paper is consistent from fols 97r to 126v. In spite of the different types, each page has about 20 lines of text and music. There is an error in the numbering of the folios starting with 156r. In addition to the two types of papers, there are two types of handwriting, the one that is more dominant and the second that appears from fols 64r to 71v. Within these latter folios there is an indication on fol. 69v of a Protopsalte Ioannes from Adrianople, who could be the scribe of this section, with its different script. Of further interest, the MS has a palimpsest from fols 218r to 241v. Here the dominant script of black neumes and text is written over a faded red text which is still somewhat decipherable.

EBE 2166

257

ΕΒΕ 2166 ΕΥΑΓΓΕΛΙΣΤΑΡΙΟΝ/EVANGELIUM Type of paper: parchment Measurements: 31.4 × 23.5 cm Folios: 146 Notation: Ecphonetic Date: late 11th–early 12th c.

1r 2r 3r 26r 43r 54r

101r 139r

142v 146v

Κατὰ τοῦ Ἰωάννου· Παρασκευῇ καὶ Σαββάτῳ τῆς βʹ ἑβδομάδος Κατὰ τοῦ Ἰωάννου· Τρίτῃ ἕως Πέμπτῃ τῆς γʹ ἑβδομάδος Κατὰ τοῦ Ἰωάννου· τοῦ ὄρθρου τῆς Πέμπτης τῆς σʹ ἑβδομάδος Κατὰ τοῦ Ματθαίου· ἀπὸ τῇ Κυριακῇ τῆς δʹ ἑβδομάδος ἕως τοῦ Σαββάτου αʹ τῶν νηστειῶν ἐκ τοῦ Μάρκου. This continues with Gospel readings for Saturdays and Sundays. Slavonic writing cut off at the margin Ἐδέγο [=ἐδῶ ἐγὼ] ἐγένηκα παπὰ Στεφὰν ἀπὸ χρόνια ιεʹ· ἔκαμά με ὁ πούσκοπος [=ἐπίσκοπος] Νεόφυτος προσκη. [=προσκυνητὴς?]. This poorly written statement seems to have been written by a non-Greek Priest Stephan, ordained 15 years earlier by a certain Bishop Neophytus (a pilgrim?). This is in a later hand but not as late as the insertion on fol. 139r. Μηνολόγιον Ὁ Σισανίου καὶ Σιατίστης Ἱερόθεος· τὸ παρὸν εὐαγγέλιον ἔχει φύλλα 145· ἑκατὸν τεσσαράκοντα πέντε. This is in a later hand and refers to a Hierotheos (Anthoulides) who was the Metropolitan of Sisanios and Siatista in Macedonia, Greece from 1909 to 1920. Ταπεινὸς ἱερομόναχος ... Ἰωσὴφ (‘the humble monk Joseph’, who possibly was the scribe of one of the later insertions). MS ends

Notes This Evangelium is of interest, for it is not only a Gospel MS with an abundance of writings in a gold script, but it is also an early source of the Byzantine Ecphonetic Notation, which is in a red script and appears above and below the New Testament Greek, but could easily be confused as prosodic accents of the Greek language. The MS begins with the readings of various weeks of the Lenten period leading to Easter. The first two folios are not bound to this deteriorated MS. Hence, there are two numbering systems: one beginning with fol. 3r and another that takes into account the opening folios. There are lacunae throughout the Lenten period readings after fol. 26r. The readings for the ecclesiastical calendar begin with fol. 101r and proceed according to months. This large MS has double columns with about 21 lines per page and with the ecphonetic neumes interspersed between the lines. Even though the MS is in poor condition, there is still much splendour present, with the rich gold writing and red neumes. The gold writing in the titles has been substituted for rubrics (since the neumes were in red, as opposed to their usual black)

258

EBE 2166

and has been utilized throughout, especially in the beginning of each month for the Menologion portion of the MS. The magnificence of the appearance of gold ink and red neumes in this MS demonstrates its importance. The folios near the end of the MS have deteriorated through water damage. The MS has several later insertions. Of interest is the Slavonic writing on fol. 43r that most likely was added because of the location of the MS near the border of northern Greece. This locale is verified by a later inscription on fol. 139r acknowledging the Metropolitan of the region of Macedonia, Greece, Hierotheos Anthoulides (1909–20), who was associated with the Monastery of Selitsa – now known as Eratyra – in the province of Sisanios, Macedonia. It was probably with the dissolution of this monastery in 1913 that the MS was bequeathed to the National Library of Greece. Bibliography

Aland, Kurzgefaßte Liste der griechischen Handschriften des Neuen Testaments. Chatzenikolaou and Paschou, Κατάλογος μικρογραφιῶν βυζαντινῶν χειρογράφων.

EBE 2168

259

ΕΒΕ 2168 ΕΥΑΓΓΕΛΙΣΤΑΡΙΟΝ/EVANGELIUM Type of paper: parchment Measurements: 33.4 × 25.5 cm Folios: 265 Notation: Ecphonetic Date: 12th c. Provenance: Monastery of Ravenia

1r

Τῇ Τετάρτῃ τῆς διακαινησίμου. This begins with the readings from the Gospel for the Lenten period preceding Easter and continues through to 27 Aug. Τὰ ἕνδεκα ἑωθινὰ 204v Μηνολόγιον 208v Later addition: Εἰς τοὺς χιλίους ὀχτακοσίους δεκα–1810 εἰς τὲς ἡμέρες τοῦ 213v θεοφιλεστάτου αὐθέντη μας Δεσπότου Γαβριὴλ, ἦταν ζαμπιτάδες Ὁμήρετε (ζαμπιτάδες) καὶ Ταῒρ-μπέγης, ἀνεψιός του, καὶ ἐγουμένευεν [=ἡγουμένευε] ὁ Χρύσανθος εἰς μαναστήρηον [sic] Ῥαβένιας εἰς τοὺς χιλίους ὀκτακοσίους δέκα–1810 εἰς τὲς ἡμέρες ποὺ ’γουμένευε Χρύσανθος. There are redundancies and far beyond the ordinary orthographic mistakes in this statement, which reads ‘In 1810, in the days of our master the Despot [here a political title] Gabriel, beloved of God, were Omirte [recte?] and his nephew Tair-beğ [=Tair-abazi?] ζαμπιτάδες [a ζαμπίτης being a policeman or officer, usually Orthodox working for the Ottomans], while Chrysanthos stood as hegumen at the Ravenia monastery: in the year 1810, when Chrysanthos was hegumen’. Later addition: Ἐτοῦτο τὸ εὐαγγέλιο εἶναι τοῦ μοναστηρίου Ῥαβένιας καὶ ὅποιος νὰ 226v τὸ ἀποξενώσῃ ... (This Gospel is from the Monastery of Ravenia, and who so should estrange it therefrom … will be anathematized and cursed by God.) Later addition: Τοῦτο τὸ βαγγέλιο [sic] εἶναι τοῦ μοναστηρίου Ῥαβένια καὶ ὅποιος ... 227r (This Gospel is from the Monastery of Ravenia …) Later addition: Ἐν ἔτεσι 1756· διήγησις πὼς ἤμουν ἐγὼ ὁ Ζωσιμάς διάκονος ἐκεῖνον 260v τὸν καιρόν. (In the year of 1756, a description [narration] of how I Zosimas was a deacon during that time.) 265v End of MS Notes This is an early Evangelion (Gospel) with ecphonetic musical notation. The condition of the MS is poor but portions are legible. The MS is in double-column format, containing about 24 lines per page with the ecphonetic neumes placed above, below and to the side of the text. Because of the gravely damaged condition, folios detached from the spine have been placed out of sequence: i.e., fol. 3r appears before fols 1 and 2; 79r before 78r, etc. Other mistakes occur with fols 12, 13 and 14–19; moreover, there are many lacunae due to deteriorated folios. The readings of the Gospel begin with Thursday of Easter week and proceed through to 27 Aug. The next sections are the eleven Heothina hymns (fol. 204v) and the Menologion or readings for

260

EBE 2168

the calendar year (fol. 208r). Of note are the border designs for titles and initial letters of incipits: there is frequent use of the colours blue, white and red. In some instances, entire paragraphs are written with gold ink. There are later 18th- and 19th-century additions. The ecphonetic musical notation is typical for the 12th century and is an outgrowth of the prosodic accents of the New Testament Greek. Bibliography Aland, Kurzgefasste Liste. Chatzenikolaou and Paschou, Κατάλογος.

EBE 2170

261

ΕΒΕ 2170 ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ ΤΟΥ ΠΕΤΡΟΥ ΠΕΛΟΠΟΝΝΗΣΙΟΥ/ ANASTASIMATARION OF PETROS OF THE PELOPONNESE Type of paper: common Measurements: 28 × 20 cm Folios: 110 Notation: newer Chrysanthine Date: mid-19th c.

1r

Ἕτερα κεκραγάρια ἀργὰ μελοποιηθέντα παρὰ Πέτρου λαμπαδαρίου τοῦ Πελοποννησίου ἤδη ἐπιδιορθωθὲν μετὰ προσθήκης παρὰ Κωνσταντίνου Πρωτοψάλτου· ἤχου αʹ, ΠΑ «Κύριε ἐκέκραξα…» Ἀρχὴ τοῦ δευτέρου ἤχου, Πέτρου Πρωτοψάλτου· ἦχος βʹ, ΔΙ 12r Ἀρχὴ τοῦ τρίτου ἤχου, Πέτρου Πρωτοψάλτου· ἦχος Νανα, ΓΑ 24r Αἴνους· ἦχος Νανα 31r Κεκραγάριον τρίτου ἤχου· ἦχος Νανα, ΔΑ 35r Ἀρχὴ τοῦ τετάρτου ἤχου· τὰ παροῦσα [sic] Πέτρου Πρωτοψάλτου «Κύριε ἐκέκραξα...» 36r Ἕτερον κεκραγάριον τοῦ τετάρτου ἤχου τῷ Σαββάτῳ Ἑσπέρας· ἦχος δʹ, ΠΑ 48v Ἀρχὴ τοῦ πλαγίου πρώτου ἤχου· τὰ παρόντα Πέτρου Πρωτοψάλτου· ἦχος πλ. αʹ, ΠΑ 50r «Κύριε ἐκέκραξα...» Ἕτερον κεκραγάριον 62v Ἀρχὴ τοῦ πλαγίου δευτέρου ἤχου· τὸ παρὸν Πέτρου Πρωτοψάλτου· ἦχος πλ. βʹ, ΠΑ 64r «Κύριε ἐκέκραξα...» Ἕτερον κεκραγάριον 75r Ἀρχὴ τοῦ βαρέως ἤχου· τοῦ Πέτρου Πρωτοψάλτου· ἦχος βαρὺς, ΓΑ «Κύριε 76r ἐκέκραξα...» Εἰς τοὺς αἴνους· Πέτρου λαμπαδαρίου· ἦχος βαρὺς 82v Οἱ μακαρισμοὶ· ἦχος βαρὺς 84v Ἀρχὴ τοῦ πλαγίου τετάρου ἤχου· Πέτρου Βυζαντίου· ἦχος πλ. δʹ, ΝΗ «Κύριε 86r ἐκέκραξα ...» blank 97v Ἐξαποστειλάρια ἀναστάσιμα· ἐξαποστειλάριον αʹ· ἦχος βʹ, ΔΙ «Ἅγιος Κύριος Θεὸς 98r ἡμῶν...». After each Exaposteilarion (of which there are 11), there follows an Heothinon chant for that consecutive number. 107r–109r blank This chant is a later addition: «Ὑπερδεδοξασμένος εἶ, Χριστὲ...». The MS continues 109v with the text of «Ἑτοιμάζου Βηθλεέμ...» table of the diastemata (intervals) 110r As a much later addition, this folio has a text with names and lyrics of demotic 110v music. «Ὄθων Κάρπος Παπαδόπουλος Χαρίλαος Παππάγος, μὴ με δέργῃς μὲ τὴ βέργα γιατὶ μὲ πονεῖ.» Below the last neumes and text on this folio there is written the name Ἰωάννης μοναχὸς Παπαδόπουλος (Ioannes Papadopoulos the monk).

EBE 2170

262



end of MS

Notes The opening rubric of this Anastasimatarion states important information on the contents: ‘Other late Kekragaria composed by Petros the Lampadarios of the Peloponnese; already after much display [the contents] are now interpreted by Konstantinos Protopsaltes.’ Hence, the compositions of Petros the Lampadarios in this MS have an exegesis by Konstantinos Byzantios Protopsaltes. The Anastasimataria of Petros of the Peloponnese were written approximately between 1765 and 1775. This interpretation of Konstantinos Byzantios dates from the mid-19th century. The contents are categorized according to modes and include modal signatures from the older Round Notation and the newer Chrysanthine Notation but with inconsistent peculiarities in the newer modal signatures. The repertory is typical, with Kekragaria, Ainous, Makarismoi, Exaposteilaria, Heothina chants and some odd additions at the end by a later hand. The MS is in good condition, with a newer brown half-leather binding. The spine has the written initials A. P. Since the MS came from Livornos (?) to the National Library ca. 1906, these initials could refer to Antonios Perdikakes, the chanter of the Greek church of that region. There are about 19 lines of text and music per page. Several hands in black ink are interspersed but the most dominant script is the one slanted to the right. The different hands are found on fols 1r, 35r, 48v–49r, 62v–63r, 75r and 109r–110v. The neumes and their hypostaseis are mostly written in black ink, with very few red hypostaseis.

EBE 2175

263

ΕΒΕ 2175 ΠΑΠΑΔΙΚΗ/PAPADIKE Type of paper: common Measurements: 21.3 × 14.4 cm Folios: 868 + V Notation: Late Round Byzantine Date: mid–late 18th c.

1r 1v–9v 10r

14r 16r 18r 19r 20v 23r 23v 26v 33v 38v

44r

Τὸ χειρόγραφον τοῦτο ἐγράφη περὶ τὸ 1791. (This MS was written around 1791.) blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς μουσικῆς συστήματα· τῶν τε ἀνιόντων καὶ κατιόντων τῶν σωμάτων τε καὶ πνευμάτων καὶ πάσας· χειρονομεῖται καὶ ἀκολουθεῖται συντεθημένη εἰς αὐτὴν παρὰ τῶν κατὰ καιροὺς ἀναδειχθέντων ποιητῶν παλαιῶν τε καὶ νέων Μέθοδος τῆς μετροφωνίας ὠφελιμoτάτη· κὺρ Γρηγορίου Μπούνη τοῦ Ἀλυάτου· ἦχος πλ. δʹ Σημάδια ψαλλόμενα κατ’ ἦχον συντεθέντα ἐντέχνως παρὰ τοῦ Maΐστορος, κὺρ Ἰωάννου τοῦ Κουκουζέλου· ἦχος αʹ. This proceeds according to the octoechos. Ὀκτώηχον ἁγιορείτικον. Ἑτέρα μέθοδος τῆς καλοφωνίας, ἅμα δὲ καὶ συνθέσεως τῆς καλοφωνίας· ἦχος αʹ Ἑτέρα μέθοδος τῶν νενανισμάτων καὶ τερετισμάτων· ποίημα κὺρ Ξένου τοῦ Κορώνη· ἦχος πλ. βʹ Ἐπωφελὴς μέθοδος ἡ τοῦ Κορώνη κρατημάτων φέρουσα χειρονομίαν· εἰς ἦχον τερτινὸν, τοῦ πλαγίου δευτέρου· καὶ Νενανοῦ δέματος ἢ κρυβωμένου ... Τὸ δὲ ὄργανον μουσικὸν τερέτισμα καὶ ᾆσμα τερεντίρεμ, τοῖς μουσικοῖς κρούσμασι, οὗτοι κατίθισταν, τὸ λεγόμενον τέρεμ ἀφοῦ τερετίζειν λέγεται τό ᾄδειν ... καὶ τερετίσματα φορᾷ ὁ τέταρτος ἢ τῆς χελιδῶνος Mεθοδικὴ παραλλαγὴ ὠφέλιμος πάνυ ποιηθεὶσαν παρὰ Κυρίου Ἰωάννου ἱερέως τοῦ Πλουσιαδηνοῦ Μέθοδος τοῦ Κορώνη· πάνυ ὠφέλημον τῶν στιχηρῶν· ἦχος αʹ. Papadike ends at fol. 38v. Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ μεγάλου Ἑσπερινοῦ· ποιηθὲν παρὰ διαφόρων ποιητῶν παλαιῶν τε καὶ νέων, ἀρχώμεθα οὖν ἡσύχως καὶ ἀργὸν, μετὰ πάσης εὐλαβείας καὶ κατὰνύξεως καὶ φόβου Θεοῦ· ἦχος πλ. δʹ «Ἀνοίξαντός σου τὴν χεῖρα...». Settings are represented by the following composers: Koukouzeles, Manuel Chrysaphes, Kladas, Panaretos, Kontopetris, Laskaris, Agathon, Xenos Korones and Ambelokipiotes. There is even a setting referred to as ‘ancient’ [ἀρχαῖον]. Πληρουμένου δὲ τοῦ προοιμιακοῦ ψαλμοῦ, εὐθὺς ποεῖ ὁ ἱερεὺς τὴν μεγάλην συναπτὴν, καὶ μετὰ τὴν ἐκφώνησιν βάλει ὁ κανόνας ἀρχῆς· μετάνοιαν τῶν ἑτέρων δομεστίκων τοῦ δευτέρου χοροῦ, καὶ ἄρχεται τὸ πρῶτον ἀντίφωνον τὸ, «Μακάριος ἀνὴρ» γεγωνοτέρᾳ φωνῇ ἀπέξω εἰς διπλασμὸν κατὰ τῷ μελέτῃ [sic] ὅλοι εἰς τὸ ἔσω διπλασμὸν· ἦχος πλ. δʹ. The attributions for the ‘Makarios anir’ [Ps. 1] include Chalivoures, Manuel, Xenos Korones, Kladas, ‘hagiosophitikoi’, Dokeianos, Manuel Chrysaphes, Agallianos and Xeros.

264

49r 53v 60v 65r

65v 69v 78r 85v 89r 91v 93r 96r 109r 114r 119v 120v 136r 143r 155r 161r 164v 170r 173r 182v 188r

EBE 2175

Tὸ «Mακάριος ἀνὴρ» … εἰς τὸ ἔσω διπλασμόν· ἦχος πλ. δʹ Ἀπὸ δὲ τούτων γίνεται καλοφωνία. μετὰ δὲ ταῦτα ἄρχεται ὁ δομέστικος τοῦ πρώτου χοροῦ τὴν δευτέραν στάσιν· ποίημα ἀρχαῖον· ἦχος πλ. δʹ «Ἱνατί ἐφρύαξαν...» [Ps. 2] Τοῦτου δὲ πληρωθέντος· ἄρχεται ὁ δομέστικος τοῦ δευτέρου χοροῦ τὴν τρίτην στάσιν...· ἦχος πλ. δʹ «Κύριε, τί ἐπληθύνθησαν οἱ θλίβοντές με...» [Ps. 3] This folio contains specific rubrics on performance practice with detailed information on which choir (the right or the left) chants which verse antiphonally and when the two choirs can chant together, one with the melody and the other with the under voice. Ἕτερον «Δόξα» ... τοῦ μεγάλου Ἑσπερινοῦ· ποίημα παλαιὸν καὶ ἀσύνηθες ... ἐκαλλωπίσθη παρὰ τοῦ τιμιωτάτου κὺρ Μάρκου τοῦ Εὐγενικοῦ ἐκ τῆς Μονῆς τῶν Ξανθοπούλων Στίχοι καλοφωνικοὶ ἐκ τοῦ δευτέρου ψαλμοῦ· ποιήματα διαφόρων ποιητῶν· τὸ δὲ παρὰ ...τοῦ κὺρ Ξένου τοῦ Κορώνη· ἦχος πλ. δʹ Κὺρ Μανουὴλ τοῦ Χρυσάφου, τὸ καλούμενον Τερπνὸν· ἦχος πλ. δʹ Στίχος ἕτερος ποιηθεὶς παρὰ κὺρ Γαβριὴλ τοῦ Ξανθοπούλου· ἦχος αʹ «Καὶ ἀγαλλιᾶσθε αὐτῷ...» Ἀρχὴ κατ’ ἦχον τῶν Κεκραγαρίων καὶ Κατευθυνθήτω Ἕτερα σύντομα ἁγιορείτικα Ἕτερα σύντομα κὺρ Μπαλασίου Προκείμενα τῆς ὅλης ἑβδομάδος μετὰ τῇ μικρῇ καὶ μεγάλῃ δοχῇ … Ἕτεραι δοχαὶ τῆς ὅλης ἑβδομάδος τοῦ κὺρ Δανιὴλ Μοναχοῦ τοῦ Θεσσαλονικέου· ἦχος πλ. δʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῆς ἀκολουθίας τοῦ Ὄρθρου ... μετὰ τὸν ἐξάψαλμον ἀρχώμεθα ψάλλειν τὸ, «Θεὸς Κύριος» κατὰ ἦχον· ἦχος α´ «Θεὸς Κύριος...». This continues with Triadika and Apolytikia. Τὰ εὐλογητάρια· ἦχος πλ. αʹ Tοῦ πολυελέου τοῦ Κουκουμᾶ καὶ Μαΐστορος· ἦχος αʹ Performance-practice rubric: ἀναφώνημα δεξιὸν καὶ ἀριστερὸν· ὁ ἀριστερὸς χορὸς μέλος (exclamations right and left [choirs alternating], the left choir [has] the melody). Ἕτερος πολυέλεος λεγόμενος λατρινὸς ψαλλόμενος ἐν Κωνσταντινουπόλει· ποιήματα διαφόρων ποιντῶν Ἕτερος πολυέλεος ποιηθεὶς παρὰ κὺρ Μανουὴλ λαμπαδαρίου τοῦ Χρυσάφη· ἦχος αʹ Ἕτερος Χρυσάφου τοῦ Νέου Ἕτερος συνοπτικὸς κὺρ Μπαλασίου Ἕτερος πολυέλεος ποιηθεὶς παρὰ κὺρ Πέτρου [Μπερεκέτη], σύντομος· ἦχος αʹ Ἕτερος πολυέλεος ποιηθεὶς παρὰ κὺρ Πέτρου· ἦχος πλ. δʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ μερικῶν ἀντιφώνων ποιηθέντων παρὰ διαφόρων ποιητῶν· ἦχος αʹ Ἀτίφωνα ψαλλόμενα τὴν Κυριακὴν τῆς ἀπόκρεως· παρὰ διαφόρων ποιητῶν· ἦχος γʹ. The composers represented in the section of antiphons include Andreas, Ioannes Koukouzeles, Gregorios Domestikos, Xenos Korones, Ioannes Glykys, Agallianos, Petros Bereketes, Manuel Thebaios, Andreas Sigeros, Ioannes Kladas, Xenophontos, Dokeianos, Nikephoros Ethikos, Agathon, Michael Ananeotes and Theophylaktos Argyropoulos.

EBE 2175

198r

265

Τῶν πασαπρνοαρίων τοῦ Ὄρθρου· ποιήματα διαφόρων ποιητῶν παλαιῶν τε καὶ νέων· τοῦ Κουκουζέλη· ἦχος αʹ. Besides Koukouzeles, other composers are Κυρίου Κλήμεντος τοῦ Λεσβίου (fols 210r, 213v), Γεωργίου τοῦ Ῥαιδεστινοῦ (fol. 210v), Μπαλασίου (fol. 211v), Ἀθανασίου τοὺ Ἰβηρίτου (fol. 212v), Μπερεκέτη (fol. 213r), Κὺρ Ἀντωνίου ἱερέως τοῦ Βυζαντίου (fol. 219r), Κοσμᾶ Ἰβηρίτου καὶ Μακεδόνος (fol. 221v), and others. r Τὰ παρόντα ψάλλονται τῇ Κυριακῇ ἐν τῷ Ὄρθρῳ μετὰ τὴν ἐκπλήρωσιν τοῦ ἑωθινοῦ 234 εὐαγγελίου τελειωμένου· ἦχος βʹ «Δόξα Πατρί...» 234v The Lesser Doxology continues with settings by Chrysaphes the New and Balasios the Priest. Ψαλλόμενα κατὰ τὴν ἑνάτην ᾠδὴν τοῦ Ὄρθρου· ποιητῶν παλαιῶν τε καὶ νέων. Τὸ δέ 236r ἐστι ποίημα κὺρ Μανουὴλ τοῦ Χρυσάφη· ἦχος αʹ «Καθεῖλε δυνάστας ἀπὸ τῶν θρόνων...» 249v Τῶν ἀναστασίμων ἑωθινῶν καὶ ἰδιομέλων· γράμματα Λέοντος τοῦ σοφωτάτου βασιλέως· τὸ δὲ μέλος τοῦ Γλυκῆ Δοξολογιῶν κατ’ ἦχον· ποίημα κυρίου Μελχισεδὲκ ἐπισκόπου Ῥαιδεστοῦ· ἦχος αʹ. 255v This continues with settings by Chrysaphes the New, Germanos of New Patras (fol. 259r, 264v), Manuel Goutas the Protopsaltes and Tavlarios of Thessalonika, Balasios the Priest (fols 260v, 266v, 270v), Petros Bereketes (fols 262v, 268v) and Giovaskos Vlachos (fol. 278r). r Ἀσματικὰ κατ’ ἦχον 297 Στίχων ᾀσματικῶν καὶ σύντομα, τοῦ κὺρ Πέτρου· ἦχος αʹ «Ἅγιος ὁ Θεὸς...». Other 297v Asmatika follow for various occasions with different attributions: Kyr Gennadios (fol. 298v), Kyr Laloutzos (fol. 299r), Nekrosimon (fol. 299v) and others. r Τὸ παρὸν ψάλλεται ὅταν ὁ ἀρχιερεὺς ἀσπάζεται τὰς ἁγίας εἰκόνας· ἐν καιρῷ τοῦ 302 μέλλοντος ἱερουργίσας, ἀραχαίων· ἦχος αʹ «Τὸν δεσπότην καὶ ἀρχιερέα ἡμῶν, Κύριε, ἐφύλαττε εἰς πολλὰ ἔτη, δέσποτα...» Εἰς τὴν φήμην τοῦ οἰκουμενικοῦ πατριάρχου· τοῦ Χρυσάφου τοῦ Νέου· ἦχος δʹ «Νέο 302v πολυχρόνιον...». This Polychronion is written for Patriarch Neophytes IV of Adrianople (1688–9). Εἰς τὸν θρόνον τῆς Ἀλεξανδρείας· κὺρ Μπαλασίου· ἦχος δʹ «Πολυχρόνιον ποίησε...». 303r This refers to Patriarch Paision of Alexandria (1657–77). Εἰς τὸν θρόνον τῆς Ἀντιοχείας· κὺρ Μπαλασίου· ἦχος δʹ. (For the Patriarch of Antioch, 305r Neophytos (1672–91).) Εἰς τὸν θρόνον τῆς Ἱερουσαλὴμ· τοῦ Μπαλασίου· ἦχος δʹ. (For Meletios.) 306r Φήμη ψαλλομένη εἰς ἀρχιερεῖς· τοῦ Νέου Χρυσάφη· ἦχος δʹ 307r Εἰς τὸν μητροπολίτην. This refers to Metropolitan of Larissa, Iakovos I, who was 307v Metropolitan until 1674. Στίχοι κὺρ Μπαλασίου εἰς τὸν θρόνον τῆς Κωνσταντινουπόλεως· ἦχος δʹ «Λόγε Πατρὸς 308v καὶ συμφυές...» Στίχοι ποιηθέντες παρὰ κὺρ Χρυσάφη τοῦ Νέου εἰς τὸν θρόνον τῆς Ἱερουσαλὴμ· ἦχος 310r δʹ «Δεῦτε χριστοφόροι λαοί...». This was for Patriarch Dositheos (1669–1709). Στίχοι ποιηθέντες παρὰ κὺρ Μπαλασίου· ὀκτώηχος· ἦχος αʹ «Ὕψιστε πάντων 311v δέσποτα...» 317v Ἐγκώμιον πρὸς τὸν εὐσεβέστατον βασιλέα τῆς Μεγάλης Μοσχοβίας· τοῦ Πέτρου Μπερεκέτη· ἦχος αʹ «Δεῦτε χριστοφόροι λαοῖ...». An Encomium for Peter the Great, Czar of Russia, 1682–1725.

266

318v

EBE 2175

Ἡ Λειτουργία τοῦ Χρυσοστόμου· ἦχος δʹ. The liturgy includes compositions by Xenos Korones, Balasios and Chrysaphes the New. Κατ’ ἦχον ἀλληλουϊάριον· Κὺρ Μανουὴλ τοῦ Χρυσάφη 321v 322r The Alleluiaria settings continue according to modes and include settings by many composers: Andreas Sigeros, Pagkratios, Balasios the Priest, Agallianos, Theodoulos Domestikos of Maggana, Ioannes Laskaris, Xenos Korones, Ioannes Koukouzeles, Konstantinos Magoulas, Ioannes Kladas, Manuel Vlatyros, Theodoulos Monachos as interpreted by Ioannes the Protopsaltes, Manuel Korones and Arsenios Kydonias. Κατ’ ἦχον χερουβικῶν ὕμνων … τοῦ Κλαδᾶ· ἦχος αʹ. The settings for the Cherubic 331v hymn proceed according to modes by different composers and specified occasions: i.e., fol. 333r, Pagkratios the monk – Mode I; fol. 343r – Mode II; fol. 350r – Mode III; fol. 358v, Plousiadenos – Mode IV; fol. 365v, λεγόμενον ἡ χελιδὼν (the swallow); fol. 369v, Kyr Gerasimos – Plagal Mode I; fol. 383r, John Damascene – Plagal Mode II; fol. 390v, Manuel Chrysaphes – Mode Barys; fol. 398r – Plagal Mode IV; fol. 409v, Ethikos, for Holy Thursday – Plagal Mode II; fol. 413r, for Holy Saturday. v Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῆς Κυριακῆς τῶν κατ’ ἦχον κοινωνικῶν ὑπὸ διαφόρων 415 ποιητῶν παλαιῶν τε καὶ νέων· ποίημα κὺρ Ἰωάννου του Κλαδᾶ· ἦχος αʹ. The modes continue with the succeeding folios: fol. 424v, Mode II; fol. 428v, Mode III; fol. 432v, Mode IV; fol. 441r, Plagal Mode I; fol. 448v, Plagal Mode II; fol. 450r, Mode Barys; fol. 456v, Plagal Mode IV. There is a rich representation of older and newer composers, some of whose names follow: Georgios Protopsaltes Ganos and Choras, Manuel Chrysaphes, Gerasimos Hieromonachos, Konstantinos from Agchialos, Clement from Lesbos, Georgios Raidestinos, Chrysaphes the New, Germanos of New Patras, Balasios, Petros Bereketes, Athanasios of Adrianople ‘and later Patriarch of Constantinople’, Paulos the Priest, Dimitrios of Mytilene, John Damascene, Markos Metropolitan of Xanthopoulos, Nathaniel Metropolitan, Markos Eugenikos, Georgios Sgouropoulos, Ioannes of Ouranopolis, Michael Priest of Koukoulas, Theophylaktos Argyropoulos, Nicholas Asan, Theodoros Domestikos of Kallikrateia, Ioannes Monk-Deacon Sgouropoulos, Markos Metropolitan of Corinth, Ioannes Laskaris, Manuel Argyropoulos, Damianos Hieromonachos of Vatopedi, Xenos Korones, Kyr Phokas, Ioannes Koukouzeles, Georgios Panaretos, Arsenios the Lesser, Nikiphoros Ethikos, Manuel Vlatyros, Agathon, David, Ioakeim of Bizye, Arsenios of Kydonias, Markos Hieromonachos, Nathaniel of Crete and Gabriel Hieromonachos. 464r Λειτουργίας τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Bασιλείου. The Asmatika settings are by Ioannes Glykys and Xenos Korones. Λειτουργίας κοινωνικῶν τῆς ἑβδομάδος 465r 465v The Communion settings proceed with the following composers: Konstantinos Magoulas, Chrysaphes the New, Balasios the Priest, Antonios the Priest, Manuel Chrysaphes, Germanos of New Patras, Petros Bereketes, Ioannes Kladas, Georgios, Manuel Panaretos, Ioakeim of Bizye and Manuel of Gouta. Κοινωνικὰ τῶν δεσποτικῶν ἑορτῶν· μὴν Σεπτέμβριος εἰς τὴν αʹ τῆς ἰνδίκτου, τοῦ 482r Κορώνη· ἦχοι αʹ καὶ βαρὺς «Εὐλόγησον τὸν Στέφανον τοῦ ἐνιαυτοῦ τῆς χρηστότητος...». This section contains the Menologion – that is, the Communion chants for the feasts of the ecclesiastical year from September to August as well as the Triodion and Pentecostarion periods. The composers represented include Balasios the Priest, Xenos Korones, Pagkratios Hieromonachos, Arsenios Hieromonachos, Chrysaphes the New, Manuel Chrysaphes, Germanos of New Patras, Ioannes Kladas, Petros Bereketes,

EBE 2175

511v

526v

623v

729r

797r

809r 810v 811v 812v

267

Georgios Raidestinos and Markos of Corinth (from the Monastery of Xanthopoulos). There is even a kalophonic setting identified as ‘organikon’. Ἡ Λειτουργία τῶν Προηγιασμένων ... ποιηθὲν δε ὑπὸ πολῶν ποιητῶν παλαιῶν τε καὶ νέων· ἦχος πλ. αʹ «Κατευθυνθήτῳ... Νῦν αἱ δυνάμεις...» settings by Petros Βereketes, John Damascene, Logginos the priest-monk, Ioannes Koukouzeles, Joseph the Younger Koukouzeles, Manuel Chrysaphes, Georgios Raidestinos, Pagkratios, Chrysaphes the New, Balasios the Priest, etc. «Γεύσασθε...» settings by Ioannes Kladas, Markos Eugenikos, Manuel Vlatyros, Dimitrios Raidestinos, Konstantinos Moschianos, Xenos Korones, etc. «Εὐλόγησέ...» identified as Thessalonikaion. «Εἰς τὸ ὄνομα...» settings by Nikephoros Ethikos, Manuel Gazes, Malachias, etc. Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχων θεοτοκίων μαθημάτων· ἦχος αʹ. Lessons of Theotokia categorized according to modes: fol. 541r, Mode II; fol. 547v, Mode III; fol. 557r, Mode IV; fol. 575r, Plagal Mode I; fol. 588r, Plagal Mode II; fol. 599v, Mode Barys; and fol. 605r, Plagal Mode IV. Older and newer composers are represented: Xenos Korones, Ioannes Kladas, Phokas the Lampadarios, Klementos from Lesbos, Chrysaphes the New, Germanos of New Patras, Balasios, Petros Bereketes (also known as Petros Byzantios, the Melodist, the ‘Best Teacher’), Manuel the Lampadarios Chrysaphes, Konstantinos Magoulas, Ioannes Koukouzeles, Konstantinos from Agchialos, Georgios Raidestinos, Theodoros Glavas, John Damascene, Joseph Monachos, Manuel Agyropoulos. Ἀρχὴ σῦν Θεῷ ἁγίῳ τῶν μαθημάτων τῶν δεσποτικῶν καὶ θεομητορικῶν ἑορτῶν, καὶ ἑορταζομένων ἁγίων, τοῦ μηνολογίου, ὅλου τοῦ ἑνιαυτοῦ· Μὴν Σεπτέμβριος, εἰς τὴν πρώτην τῆς ἰνδίκτου, ἤτοι τοῦ νέου ἔτους· τοῦ Κὺρ Πέτρου· ἦχος πλ. αʹ. These Mathemata contain settings by Petros Bereketes, Balasios the Priest, Daniel Monk from Mt Athos, Chrysaphes the New, Daniel Monk from Thessalonika, Germanos of New Patras, Anthimos Hieromonachos, Ioannes Vlachos, Manuel Chrysaphes, Petros [Bereketes] the Melodist, Athanasios of Iviron, Laurentios Hieromonachos of Simonos Petras, Kosma of Iviron. Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν μαθημάτων τοῦ Τριῳδίου καὶ ἐκτὸς Πάσχα· ἀρχόμενα ἀπὸ τῆς Κυριακῆς τοῦ Τελώνου καὶ τοῦ Φαρισαίου μέχρι τῶν Ἁγίων Πάντων τὴν Κυριακὴν τοῦ Τελώνου καὶ Φαρισαίου· τοῦ Κύρ Πέτρου· ἦχος αʹ. The composers who contribute to these settings are Petros Bereketes, Ioannes Kladas, Georgios Raidestinos, Balasios the Priest, Georgios from Athens, Chrysaphes the New, Antonios the Priest, Germanos of New Patras, Manuel Chrysaphes, Daniel the Lampadarios, Palatios Hieromonachos, Kosmas of Iviron. Ἀρχὴ σὺν θεῷ ἁγίῳ τῶν κατ’ ἦχον ἠχημάτων καὶ ἑτέρων κρατημάτων· τὸ παρὸν ἀρχαῖον καλλωπισθὲν ὑπὸ τοῦ κὺρ Μανουὴλ τοῦ Χρυσάφη ἕτερον ἐκαλλωπίσθη ὑπὸ κὺρ Θεοφάνους πατριάρχου τοῦ Καρύκη· ἦχος αʹ. Other composers of Kratemata are as follows: Gabriel Bishop of Hierissos; Ioannes Kladas; Konstantinos from Agchialos; Xenos Korones, ‘The Nightingale’; Markos of Corinth, ‘Organikon’; Germanos of New Patras; Ioannes the Lampadarios, Georgios Raidestinos; Chrysaphes the New; Arsenios; Bereketes; and Gregorios Bounes of Alyates. Κρατήματα τῆς ψαλτήρας καὶ τῆς κινύρας καὶ ἀλλαχόθεν τὰ ἄνθη παρὰ τοῦ Νέων Πατρῶν Κράτημα περσικὸν· τοῦ Ἰωάννου λαμπαδαρίου Κράτημα κὺρ Γεωργίου Μπούνη τοῦ Ἀλυάτη Κράτημα δέμα τῆς ψαλτῆρος· τοῦ Κορώνη

268

814v 816v 817v 821r 821r 826v 828v 829r 833r 835r 835v 840r

859v

868v Ir–Vv

EBE 2175

Κράτημα ἐθνικὸν καὶ ὡραῖον· τοῦ Καρύκη Κράτημα σύριγξ τοῦ κὺρ Ἀρσενίου ἡ ὅπερ [δηλ. ἥπερ] παρὰ Ἰσμαηλιτικὸν λέγεται μισχάλη Κράτημα τοῦ Γεωργίου Ῥαιδεστινοῦ Κράτημα Μουσουλμανικὸν (Muslim Kratema)· ἦχος α´ τετράφωνος Κράτημα ἐθνικὸν ὀνομαζόμενον νάϊ· τοῦ Ἀρσενίου ἱερομονάχου τοῦ μικροῦ Κράτημα τοῦ πρώτου ψάλτη Χρυσάφη τοῦ Νέου Κράτημα δὶς διὰπασῶν (σύριγξ) τοῦ Ἀρσενίου τοῦ μικροῦ Κράτημα τοῦ Γερμανοῦ Νέων Πατρῶν Ἤχημα καλούμενον Ψαλτήρα· ποίημα κὺρ Γρηγορίου Μπούνη τοῦ Ἀλυάτη Κράτημα ὀνομαζόμενον κιννύρα, ποίημα κὺρ Μανουὴλ τοῦ Χρυσάφη καὶ εὐαγοῦς τοῦ βασιλικοῦ κλήρου Ναγμὲς ὁμοῦ μὲ τὸ πεστρέφι· κὺρ Πέτρου Ἕτερον κράτημα ὅπερ ὀνομάζεται μουσχάλη Κράτημα ἀτζέμικον ὡραῖον Εἱρμοὶ μελῳδικοὶ καὶ πάνυ τερπνοὶ· κὺρ Μπαλασίου ἱερέως Ἕτεροι εἱρμοὶ μελῳδικοὶ καλοφωνικοὶ· κὺρ Πέτρου [Μπερεκέτη]· ἦχος αʹ. Then follow other Heirmoi settings by Kyr Panagiotes Chalatzoglou, Meletios of Sinai as interpreted by Manuel Goutas, Chourmouzios the Priest, Germanos of New Patras, Dimitrios and Theonas. Ἄμωμος ψαλλόμενος εἰς λαϊκοὺς κοιμηθέντας· ὁ μιμηνθεὶς [=μὴ μνηθεὶς?] ἐκ τοῦ παλαιοῦ· καὶ ἐκαλλωπίσθη παρὰ κὺρ Χρυσάφη τοῦ Νέου· ἦχος βʹ. This Amomos for Laymen also incorporates settings by Ioannes Kladas the Lampadarios and Gerasimos Hieromonachos from the Monastery of Xanthopoulos. end of music and MS blank

Notes This is a beautifully rich late Papadike from the mid- to late 18th century. It is in very good condition, with a newer brown leather binding with three metallic studs on its exterior and two clasps that are still functioning. There are multicoloured border designs over titled sections of the MS. The rubrics, modal signatures, hypostaseis and capital letters of incipits are in red ink. The neumes and text are in black ink. There is an average of 15 lines of text and music per page. Folio 1r has the date 1791 written in a later hand. Because this is inserted before the MS formally begins, it is unlikely to be the date of the MS. The composers represented are numerous and include the older and newer generations. The contents of the MS are traditional but the Euphemia (Acclamations) for the various Patriarchs and Metropolitans for Alexandria, Antioch, Jerusalem, Larissa, Constantinople and Moscow (fols 302–318r) are unusual. The MS begins on fol. 10r with the Psaltike Techne, with its various methods by the older and newer composers. The repertory continues as follows: fol. 38v chants for Great Vespers fol. 114r chants for Orthros fol. 318v Liturgy of St John Chrysostom fol. 464r Liturgy of St Basil fol. 511v Liturgy of Presanctified Gifts

EBE 2175

fol. 526v Theotokia fol. 623v Mathemata for September–August fol. 729r Mathemata for the Triodion and Pentecostarion fol. 797r Echemata and Kratemata fol. 835v Kalophonic Heirmoi fol. 859v Amomos for Laymen

269

EBE 2213 (olim 771)

270

ΕΒΕ 2213 (olim 771) ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: common Measurements: 20.1 × 15.3 cm Folios: 225 Notation: late 17th-c. Byzantine Date: 1694 Provenance: collection of Ioannes D. Tzetzes, purchased in 1907 together with MSS 2215–2229

1r 29v 50v 59r 60r

149r 173r 192v 199v 206r 225v

Κατ’ ἦχον ἀναστασιματάριον. (Chants of Vespers and Orthros according to modes.) There are folios missing from the beginning; hence, this section begins with Mode II. blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ἕνδεκα ἑωθινῶν· ποίημα κὺρ Λέοντος τοῦ σοφωτάτου καὶ βασιλέως, τὸ δὲ μέλος κὺρ Ἰωάννου Γλυκέος· ἦχος αʹ Τὸ παρὸν βιβλίον ἐγράφη παρ’ ἐμοῦ Καλλίστου ἱερομονάχου, ἐκ τῆς μονῆς Μαρτζηνανίου τῆς Βλαχίας, ἡγεμονεύοντος Ἰωάννου Κωνσταντίνου Μπασαράμπα βοεβόντα, 1694 Δογματάριον σὺν Θεῷ ἁγίῳ περιέχον τὰ δογματικὰ τῶν μεγάλων ἁγίων τοῦ ὅλου ἐνιαυτοῦ· Σεπτεμβρίῳ αʹ· τοῦ ὁσίου πατρὸς ἡμῶν Συμεὼν τοῦ Στυλίτου, δόξα· ἦχος πλ. βʹ. The Dogmatic Stichera begin with this section and continue in accordance with the ecclesiastical calendar. Τριῴδιον, ἀρχὴ σὺν Θεῷ ἁγίῳ τῇ Κυριακῇ τοῦ Τελώνου καὶ τοῦ Φαρισαίου· τῷ Σαββάτῳ Ἑσπέρας Πεντηκοστάριον, ἀρχὴ σὺν Θεῷ ἁγίῳ τῷ Σαββάτῳ Ἑσπέρας, ἡ ψηλάφησις τοῦ ἁγίου ἀποστόλου Θωμᾶ· ἦχος πλ. βʹ Ἀρχὴ τῆς ἀκολουθίας τῶν ὡρῶν τῆς κατὰ σάρκα γεννήσεως τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ· ἦχος πλ. δʹ Παραμονῆς Θεοφανίων Ἀκολουθία τῶν Παθῶν τοῦ Ἰησοῦ end of music and MS

Notes The MS can be divided into two parts: the first, fols 1r–59v, is the Anastasimatarion and the second, fols 60r–225v, is the Sticherarion/Triodion/Pentecostarion section. The second part of the MS is written on heavier-grade paper. The MS is in good condition. The binding is newer, with a brown leather cover that is decorated with blossoms and [peach] trees. The neumes and text are written in black ink while the rubrics, modal signatures and hypostaseis are in a red hue. The folios average 12 lines of text and neumes per page. The Anastasimatarion portion has chants for Vespers and Orthros according to modes but without the Authentic Mode I, which appears to be missing. On fol. 50v the Heothina Chants begin with the melody composed by Ioannes Glykys. Following these chants, a colophon on fol. 59v has the following inscription: ‘This book was written by me, Kallistos the priest-monk from the Martzenani Monastery of Black Wallachia [Moldova], during the reign of Duke (‘Voivode’)

EBE 2213 (olim 771)

271

Ioannes Constantinos Basarab, 1694’. Two other dates, 1698 and 1728, occur in the MS, indicating minor additions in different scripts. The contents of the MS continue with the following: fol. 60r Dogmatic Stichera fol. 149r Triodion fol. 173r Pentecostarion fol. 192v Hours of the Nativity of Christ fol. 199v Eve of Epiphany fol. 206r the Passion of Christ Bibliography Alexandrescu, ‘Kallistos l’Hiéromoine, un musicien d’ époque brancovane’. Chatzegiakoumes, Μουσικὰ Χειρόγραφα Τουρκοκρατίας, p. 306. Touliatos, ‘The Byzantine Orthros’.

EBE 2215 (olim Suppl. 773)

272

ΕΒΕ 2215 (olim Suppl. 773) ΠΑΠΑΔΙΚΗ ΑΝΘΟΛΟΓΙΑ/PAPADIKE ANTHOLOGIA Type of paper: common Measurements: 17.7 × 11.5 cm Folios: I + 90 + I Notation: Late Round Byzantine Date: 1794 Provenance: collection of Ioannes D. Tzetzes, purchased in 1907

Ir–v 1r 5r 5v–6v 7r 23r 30r 35v 40r 41r 58r 64r 70v 75r 79r 81r 88v 90r Ir–v

blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς Μουσικῆς Τέχνης τῶν τε ἀνιόντων καὶ κατιόντων σωμάτων τε καὶ πνευμάτων καὶ πάσης χειρονομίας Παραλλαγῇ blank Χερουβικὰ κατ’ ἦχον τοῦ Πέτρου λαμπαδαρίου· ἦχος αʹ Αἶνοι τοῦ Πέτρου λαμπαδαρίου· κατ’ ἦχον Χερουβικὰ τῆς ἑβδομάδος κὺρ Πέτρου· ἦχος βʹ Κοινωνικὰ τῆς ἑβδομάδος· τοῦ αὐτοῦ Κρατήματα εἰς τὰ κοινωνικὰ τῆς πρώτης στάσεως· τοῦ αὐτοῦ Κοινωνικὰ τοῦ κὺρ Πέτρου λαμπαδαρίου Λειτουργία τοῦ Ἁγίου Βασιλείου· τοῦ αὐτοῦ Πολυέλεος σύντομος τονισθεὶς παρὰ κὺρ Ἰωάννου καὶ Πρωτοψάλτου «Δόξα…» Τὸ παρὸν ἐτονίσθη διʹ αἰτήσεως τοῦ Παναγιωτάτου καὶ ἀοιδίμου Πατριάρχου Κυρίλλου. This doxology was written for Patriarch Kyrillos V. Karakallos, who served 1748–51 and 1752–7. Πασαπνοάρια τοῦ Πέτρου λαμπαδαρίου Ἀλληλουϊάριον πρὸ τοῦ Εὐαγγελίου ἐξηγηθὲν παρὰ κὺρ Πέτρου λαμπαδαρίου Ἐξήγησις τοῦ κὺρ Πέτρου Τέλος καὶ τῷ Θεῷ δόξα. 1794 ἐγράφη διὰ χειρὸς ἐμοῦ Μανουὴλ end of music and MS blank

Notes This is a smaller Anthologia of the Papadike that is in good condition and very legible. The MS has a newer brown leather binding with imprinted botanical designs. Its two clasps are in place and usable. Black ink is used for the text and neumes. Many of the rubrics are in several colours, but red is predominantly used for modal signatures, hypostaseis and some incipit letters. Each page has ten lines of text and music. Most of the music was composed by Petros the Lampadarios. The colophon on fol. 88v reveals that the MS was written by Manuel and was completed in the year 1794. The contents of the MS are fewer but still traditional for an Anthologia. The MS contains the following:

EBE 2215 (olim Supp;l. 773)

fol. 1r the signs of the Papadike fol. 5r Parallage fol. 7r Cherubic hymns according to modes by Petros the Lampadarios fol. 23r the Ainoi chants according to modes by Petros the Lampadarios fol. 30r Cherubic hymns by Petros the Lampadarios fol. 35v Communion chants by Petros the Lampadarios fol. 40r Kratemata of the first Stasis of the Communion chants by Petros fol. 41r more Communion chants by Petros fol. 58r the Liturgy of St Basil by Petros the Lampadarios fol. 64r Polyeleos by Ioannes Protopsaltes fol. 70v Doxology fol. 75r Pasapnoaria by Petros the Lampadarios fol. 79r Alleluia by Petros fol. 81r exegesis by Kyr Petros

273

EBE 2216 (olim Suppl. 774)

274

ΕΒΕ 2216 (olim Suppl. 774) ΑΝΘΟΛΟΓΙΑ ΠΑΠΑΔΙΚΗΣ/ANTHOLOGIA PAPADIKE Type of paper: common Measurements: 17.3 × 11.5 cm Folios: 277 Notation: Late Round Byzantine Date: second half of 18th c. Provenance: collection of Ioannes D. Tzetzes, purchased in 1907

1r 7 v 15r 20v 24v 26r 29v 36v

73v 93v 118v 127v 128v 129v 130r 133v 139r 150v 165v

Ἀνθολογία τῆς Παπαδικῆς ... ἀκολουθίαν παλαιῶν καὶ νέων ποιητῶν ... ἀρχὴ τοῦ μεγάλου Ἑσπερινοῦ· ἦχος πλ. δʹ Τὸ «Μακάριος ἀνὴρ…» τοῦ Πέτρου Πελοποννησίου Ἀρχὴ ... τῶν κεκραγαρίων Ἕτερα ἐκκλησιαστικὰ σύντομα παρὰ Δανιὴλ λαμπαδαρίου Δοχαί Χαιρετισμὸς εἰς τὴν Θεοτόκον· κατ’ ἦχον «Χαῖρε κεχαριτωμένη...» Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς ἀκολουθίας τοῦ Ὄρθρου ... κατὰ τάξιν παλαιῶν καὶ νέων διδασκάλων Πολυέλεος τοῦ Ἀναστασίου τοῦ Ῥαψανιώτου «Λέγε… Ὑμνοῦμέν σε, προσκυνοῦμέν σε, πάτερ ἄναρχε, υἱὲ συνάρχε καὶ πνεῦμα ἅγιον…» Τριὰς ἁγία… «Ανενανε… Ερρετεριρε… ἐλέησον καὶ σῶσον ἡμᾶς…» «Λέγε… Ἄσπιλε, παναμώμητε, ἄφθορε Παναγία, δέξαι δέησιν οἰκέτου, Θεοτόκε Μαρία … Τεμτερρε … καὶ βασιλείας οὐρανῶν τυχεῖν με τοῦ Κυρίου…»  The Polyeleos continues with settings by Ioannes Protopsaltes, Daniel the Lampadarios and Petros of the Peloponnese (καὶ ἡμετέρου διδασκάλου). In the reference to Petros of the Peloponnese on this folio, there is also a citation acknowledging that Petros became Lampadarios in the year 1771. This date suggests that the MS may be dated in or after this year. Πασαπνοάρια τοῦ Πέτρου Μπερεκέτη. Other settings include compositions by Ioannes Protopsaltes and Manuel Gazes. Δοξολογιῶν τοῦ Πέτρου Μπερεκέτου. Other contributors are Iakovos, Balasios, Bartholomaios Hierodiakonos. Τρισάγιον εἰς τὴν εἴσοδον τοῦ Τιμίου καὶ Ζωοποιοῦ Σταυροῦ, κὺρ Πέτρου λαμπαδαρίου· ἦχος δʹ. Οther Asmatika settings are by Balasios and Ioannes Koukouzeles. Ἡ Θεία Λειτουργία τοῦ Βασιλείου τοῦ Μεγάλου Ἑτέρα συντομωτέρα Ἡ Θεία Λειτουργία τῶν Προηγιασμένων· τοῦ κὺρ Ἀντωνίου Ἕτερον ἐξηγημένον καθώς ψάλλεται ἐν Κωνσταντινουπόλει (attributions to Chrysaphes the Νew, Ioannes Kladas and Daniel the Lampadarios) Ἡ Θεία Λειτρουγία τοῦ Χρυσοστόμου (composers acknowledged are Balasios, Petros Bereketes, Xenos Korones and Ioannes the Lampadarios) Κατ’ ἦχον χερουβικῶν· τοῦ Πέτρου λαμπαδαρίου Ἕτερα χερουβικὰ ἀνέκδοτα εὑρεθέντα μετὰ τὸν θανατὸν τοῦ ἐλλείποντα Ἕτερα χερουβικὰ τῆς ἑβδομάδος σύντομα

EBE 2216 (olim Suppl. 774)

170r 177r 215r 273v 277v

275

Χερουβικὰ συνοπτικὰ· τοῦ Ἀντωνίου ἱερέως Κατ’ ἦχον κοινωνικὰ· τοῦ Δανιὴλ. Other rubrics are as follows: τοῦ Πέτρου Δομεστίκου, σύντομα τῆς ἑβδομάδος τοῦ Πέτρου λαμπαδαρίου, τοῦ ἐνιαυτοῦ Δανιὴλ Πρωτοψάλτοῦ. Δεσποτικῶν καὶ Θεομητορικῶν ἑορτῶν· Μαθηματάριον ὅπερ περιέχον πάντα τὰ μαθήματα τοῦ ἐνιαυτοῦ. Various feasts by different composers are included according to the Menologion and the Pentecostarion. Ἰδοὺ καὶ μερικοὶ εἱρμοὶ ψαλλόμενοι εἰς εὐθυμίαν ἀρίστου· ὁ δὲ παρὼν κὺρ Πέτρου Μπερεκέτου. end of music and MS

Notes This MS is an Anthology of the ‘new’ Papadike but contains compositions by new and older composers. Based on the citation on fol. 36v, which gives the date of 1771 when Petros of the Peloponnese became Lampadarios, the MS would have to be dated during or after this time. The binding is in a newer red leather with designs on the front, back and spine of gold seals, the crucifix and the Theotokos with child encircled with flowers, fruit and other objects from nature. The MS is clean and readable and ornamented in its writing style. The text and neumes are written in black ink and red ink is used for rubrics, modal signatures and hypostaseis. However on fols 168r–169v, 172r–173v and 215r–277v there are no red hypostaseis accompanying the music. The pages have about 11 lines of text and music. The contents of the MS are in the traditional order. The MS begins on fol. 1r with the chants for Great Vespers and continues with the following: fol. 26r Encomia for the Theotokos fol. 29v chants for Orthros with (fol. 36v) Polyeleos, (fol. 73v) Pasapnoaria, (fol. 93v) Doxologies and (fol. 118v) Asmatika Trisagia v fol. 127 Liturgy of St Basil fol. 129v Liturgy of Presanctified Gifts fol. 133v Liturgy of St John Chrysostom fol. 139r Cherubic hymns fol. 177r Communion chants fol. 215r Mathemataria for the ecclesiastical year fol. 273v Heirmoi Bibliography Chaldaiakis, Ὁ Πολυέλεος.

EBE 2217 (olim Suppl. 775)

276

ΕΒΕ 2217 (olim Suppl. 775) ΠΑΠΑΔΙΚΗ/PAPADIKE Type of paper: common Measurements: 14.5 × 10 cm Folios: I + 256 + V Notation: Late Round Byzantine Date: first part of 18th c. Provenance: collection of Ioannes D. Tzetzes, purchased in 1907

Ir–v blank Χερουβικὰ τοῦ Χρυσάφη· ἦχος αʹ 1r Ἄμωμος ψαλλόμενος εἰς κοιμηθέντας λαϊκοὺς· τοῦ κὺρ Χρυσάφου τοῦ Νέου 5 v Πολυέλεος, τοῦ Χρυσάφου τοῦ Νέου· ἦχος αʹ 10r Δοξολογία πᾶν τερπνὸς ποιηθέντα παρὰ Γερμανοῦ Νέων Πατρῶν· ἦχος πλ. αʹ 64r Πασαπνοάριον ποιηθὲν παρὰ κὺρ Χρυσάφου τοῦ Νέου· ἦχος αʹ 68r Κοινωνικῶν, ποίημα τοῦ αὐτοῦ· ἦχος αʹ 104v 189v Polychronion for Metropolitan Ioannes Klementos (1680–1716) Χερουβικὰ κατ’ ἦχον 208r 245v–247v blank Τὸ παρὸν εἱρμὸς ἐποιήθη παρὰ κὺρ Παναγιώτου ἔτι ὀνομαζομένου Xαλάτζογλου 248r Πρωτοψάλτης (1728) end of MS. This folio has a fragment of music, but the music really ends on fol. 255v. 256r r v blank I -V Notes This Papadike is in fair condition. It has a newer brown leather binding with ornamental imprints of flowers. The text and neumes are written in black ink and the rubrics, modal signatures and hypostaseis are in red ink. However, fols 129v–130r, 163r–164r and 243v–244r have music without any of the red hypostaseis. Pages have from nine to 12 lines of text and music. The contents of the MS are not in the traditional order. The Papadike begins on fol. 1r with a Cherubic hymn by Chrysaphes the New and continues with the following: Amomos for the funeral of laymen by Chrysaphes fol. 5v fol. 10r Polyeleos by Chrysaphes fol. 64r Doxology by Germanos of New Patras fol. 68r Pasapnoaria by Chrysaphes fol. 104v Communion hymns according to modes by Chrysaphes fol. 208r Cherubic hymns according to modes fol. 248r an Heirmos by Panagiotes Chalatzoglou Protopsaltes. It is the presence of Chalatzoglou’s name that dates this MS, for he was a Protopsaltes around the year 1728.

EBE 2218 (olim Suppl. 776)

277

ΕΒΕ 2218 (olim Suppl. 776) ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ ΑΝΘΟΛΟΓΙΟΝ/ANASTASIMATARION ANTHOLOGION Type of paper: common Measurements: 14.5 × 10.5 cm Notation: Late Round Byzantine Folios: III + 247 + IX Date: 1782 Provenance: collection of Ioannes D. Tzetzes, purchased in 1907

Ir–IIIv 1r

later additions Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ πρώτου ἤχου· τὸ κεκραγάριον σὺν τοῖς ἀναστασίμοις αὐτοῦ· τῷ Σαββάτῳ Ἑσπέρας· ἦχος αʹ Τὰ ἕνδεκα ἑωθηνά, στιχηρῶν ἰδιομέλων· τοῦ Γλυκέως 81v Πολυέλεος (attributions to Chrysaphes and Balasios) 93v Στίχος καλοφωνικός· ποίημα κὺρ Κωνσταντίνου τοῦ Μαγουλᾶ, ἐκαλλωπίσθη παρὰ 96v Γαζῆ· ἦχος αʹ Ἡ Θεία Λειτουργία τοῦ Ἰωάννου Χρυσοστόμου· ἦχος βʹ 135r Κατ’ ἤχων χερουβικῶν 137r Ἡ Θεία Λειτουργία τοῦ Μέγα Βασιλείου 164r Ἡ Θεία Λειτουργία τῶν Προηγιασμένων 166r Κατ’ ἦχον κοινωνικά (settings by Chrysaphes, Balasios and Kosmas) 168v Πολυχρόνιον τοῦ μητροπολίτου Ἀγκύρας Ἰωακείμ. This Polychronion is for 195r Metropolitan Ioakeim (ca. 1698). Mathemata by Chrysaphes the Νew and other composers 197v Εἴληφε τέλος ἡ παροῦσα ᾀσματομεληῤῥητόφθογγος βίβλος διὰ χειρὸς καμοῦ 226r Παρθενίου ἱερομονάχου τοῦ Καρακαλινοῦ, ὅσοι δὲ τῶν Χριστιανῶν ἐντυγχάνοντες τῷ μικρῷ τούτῳ πονήματι ψάλλοντες αἰνεῖτε τὸν ἐπὶ πάντων Θεόν, μέμνησθαι καὶ ὑπὲρ ἐμοῦ τοῦ ἁμαρτωλοῦ συγραφέα. 1782 ἐν μηνὶ Φεβρουαρίου 4 227v–228r blank Κοινωνικὰ τῆς ἑβδομάδος 229r 230r–231r blank blank 233r Ἀρχὴ σὺν Θεῷ ἁγίῳ κατ’ ἦχον καλοφωνικῶν καὶ πανηγυρικῶν εἱρμῶν· ποίημα κὺρ 233v Μπαλασίου ἱερέως· ἤχος αʹ end of music and MS 247v cut with scissors Ir–IXv Notes This is an Anastasimatarion Anthologion attributed to Chrysaphes the Νew. In the colophon, fol. 226r, there is information that dates this MS as being completed on 4 Feb. 1782 by the scribe Parthenios the Priest-Monk of Karakalinos.

278

EBE 2218 (olim Suppl. 776)

The condition of the MS is fair. Parts of the interior are deteriorated because of excessive water damage. The wooden binding is covered in brown leather, much of which has been destroyed, and its two clasps are missing. The nine supplementary folios after fol. 247 appear to have been cut with scissors. These nine concluding folios, along with the three folios that preface the MS proper, are late additions. Furthermore, the sporadic contents on fols 229r–232v are also a later addition and have mostly text without neumes. The pages have about 11 lines of text and music. A light red shade is the current colour for the rubrics, modal signatures and hypostaseis. The text and neumes are in the traditional black ink but its colour has also faded. The contents of the MS are typical for the late 18th century. The Anastasimatarion opens with the typical chants for Vespers and Orthros, listed according to the modes of the octoechos (fols 1r–81r). On fol. 81r follow Heothina chants, and on fols 93v–134v the Polyeleos and its kalophonic settings. Some of the composers represented are Balasios, Chrysaphes (fol. 93v) and Gazes (fol. 96v). The MS continues with the three divine liturgies: fol. 135r – Liturgy of St John Chrysostom, fol. 164r Liturgy of St Basil and fol. 166r Liturgy of Presanctified Gifts. As part of the liturgies, the settings for the Communion chants set by various composers are listed according to modes starting on fol. 168v: Chrysaphes, Kosmas and Balasios. Of interest is the Polychronion for the Metropolitan Agkuras Ioakeim on fol. 195r. On fol. 197v there are Mathemata by Chrysaphes the Younger and other composers. Then follow Communion chants for the week (fol. 229r) and kalophonic festal Heirmoi according to modes (fol. 233v).

EBE 2219 (olim 777)

279

ΕΒΕ 2219 (olim 777) ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ ΑΝΤΗΟΛΟΓΙΟΝ/ANASTASIMATARION ANTHOLOGION Type of paper: common Measurements: 15.3 × 9.5 cm Folios: I + 228 Notation: Late Middle/Round Byzantine Date: second half of 18th c. Provenance: collection of Ioannes D. Tzetzes, purchased in 1907

Ir–v blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τὸ κεκραγάριον τοῦ αʹ ἤχου σὺν τοῖς ἀναστασίμοις· ἦχος αʹ 1r Τὰ ἕνδεκα ἑωθινὰ τοῦ Γλυκέος 87v Ἡ Θεία Λειτουργία τοῦ Χρυσοστόμου· ἦχος βʹ 99r Τῶν κατ’ ἦχον χερουβικῶν· ποίημα Χρυσάφου· ἦχος αʹ 103r Ἡ Θεία Λειτουργία τοῦ Μέγα Βασιλείου 120v Κατ’ ἦχον κοινωνικῶν, τοῦ Χρυσάφου 122r Κοινωνικὰ τῆς ἑβδομάδος, τοῦ Χρυσάφου 133r Ἕτερα τοῦ ὅλου ἐνιαυτοῦ 137v Ἡ Θεία Λειτουργία τῶν Προηγιασμένων 149v Τέλος, καὶ τῷ Θεῷ δόξα 154v Πασαπνοάρια 155r Πασαπνοάρια τοῦ Γαζῆ· ἦχος πλ. δʹ 157r Δοξολογίαι του Μελχισεδέκ. A setting by Chrysaphes the New follows. 158v Δοξολογία τοῦ Χρυσάφου τοῦ Νέου 162r Τρισάγιον 166v Τρισάγιον νεκρώσιμον ἐξ Ἀθηνῶν 167v Ἰδιόμελα Χρυσάφου τοῦ Νέου 168v Πολυέλεος συνοπτικὸς καὶ ἐκκλησιαστικὸς ποιηθεὶς παρὰ κὺρ Πέτρου τοῦ μουσικοῦ 171r Τῇ ἁγίᾳ καὶ μεγάλῃ Κυριακῇ τοῦ Πάσχα 179r Κρατήματα. This folio and the following are in a later script. 188r 195v–207v blank blank 208v 209v–210r blank 214v–221r blank 215v This folio has two seals depicting two lions and a series of upper-case Greek alphabetical letters in pairs followed by a date: ΙΕ ΛC ΙΡ ΛΚ 1804. Ἡ ἀρχὴ τῶν μικρῶν κεκραγαρίων τοῦ Μπαλασίου· ἦχος αʹ 222r music ends 227v 228r–v writing in Slavonic characters: ‘1803 December 3, Sabbas Barbara, psalm of the protector ... the holy cherubic ... your cross .... we venerate’. A marginal annotation is written in Greek by a later hand: Σαρανταλείτουργο τὸ ὄνομα τῆς Πέηκε [=τὶς ποίηκε?] end of manuscript 228v

280

EBE 2219 (olim 777)

Notes This Anastasimatarion Anthologion has been given a compound title. It contains many of the Anastasimataria of Chrysaphes the New, some contents of the older Anthologion, and lesser Mathemata from the newer Anthologion. The MS is in fair condition, with a newer brownish leather binding with imprinted flowers and ornaments. The two clasps are still attached. The text and neumes are written in a black ink and the rubrics, hypostaseis, modal signatures and some incipit letters are in red. Each page has about ten lines of text and music. The MS begins with music from the Anastasimatarion: that is, Vespers and Orthros services, with their chants listed according to modes. On fol. 87v the Heothina chants set by Glykys are found. The MS continues with the following: fol. 99r the Liturgy of St John Chrysostom with the Cherubic hymn of Chrysaphes ( fol. 103r) v fol. 120 the Liturgy of St Basil with a Communion setting by Chrysaphes (fols 122r, 133r, 137v) v fol. 149 the Liturgy of the Presanctified Gifts fol. 155r Pasapnoaria fol. 158v Doxologies fol. 166v Trisagia fol. 168v Idiomela of Chrysaphes the New fol. 171r Polyeleos fol. 179r Sunday of Easter fol. 188r Kratemata fol. 222r the small Kekragaria by Balasios

EBE 2220 (olim Suppl. 778)

281

ΕΒΕ 2220 (olim Suppl. 778) ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟN - ΑΝΘΟΛΟΓΙΑ/ANASTASIMATARION ANTHOLOGIA Type of paper: Turkish Measurements: 15.6 × 10.7 cm Folios: VII + 156 + XI Notation: Late Round Byzantine Date: 1745 Provenance: collection of Ioannes D. Tzetzes, purchased in 1907

Ir–VIIv 1r

7r 7 v 10r 11r 89r 100v 102v 112v 116r 122r 125r 131v 137r 142r 144v 146r

blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς Ψαλτικῆς Τεχνῆς. In addition to the rubric and music that follows, a parenthetical note thrice indicates a previous owner of the MS: Καὶ τὸ παρὸν Κωνσταντίνου παπᾶ [lege παρὰ] Ἀλεξίου οἰκονόμου, διὰ ἀσλάνια ςʹ, ͵αψοςʹ Φεβρουαρίου αʹ ἐν Βοδενοῖς. Καὶ ἥδε Κωνσταντίνου ἰατροῦ μουσικωτάτου. Ἡ παροῦσα ψαλτικὴ ὑπάρχει τοῦ Κωνσταντίνου αὐταδέλφου μου. (‘The present MS is Constantine’s, which he bought for six aslans from Alexius the steward on the 1st of February, 1776 in Bodena [now Edessa]. And this [psalter] belongs to Constantine, the very musical physician: the present psalter belongs to Constantine, my brother german.’) Παραλλαγῆς Ἀρχὴ τῶν κατ’ ἦχον ἠχημάτων Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν μεγάλων κεκραγαρίων σὺν τοὺς ἀναστασίμους, κὺρ Χρυσάφου τοῦ Νέου καὶ Πρωτοψάλτου τῆς Μεγάλης Ἐκκλησίας· ἦχος αʹ (listed according to mode) Θεωρῶν τὸ ἰδιόχειρον κὺρ Χρυσάφου τοῦ Νέου ἐμετέγραψα ταῦτα. ‘Seeing myself the autograph by Kyr Chrysaphes the Younger, I copied these things out.’ This phrase was probably written by the scribe Germanos from the Monastery of the Holy Trinity. Τῶν ἕνδεκα ἑωθινῶν ... τοῦ Γλυκέος· ἦχος αʹ Ἀκολουθία εἰς τὸν Ἀκάθιστον ὕμνον· ἦχος πλ. δʹ Τροπάρια μεγάλης ἑβδομάδος Δοξολογία μεγάλη, κὺρ ἐπισκόπου Ῥαιδεστοῦ· ἦχος πλ. αʹ (melodies for Orthros follow) Doxology by Balasios Ἡ Θεία Λειτουργία τοῦ Χρυσοστόμου Τῶν χερουβικῶν ὕμνων· κὺρ Χρυσάφου τοῦ Νέου Κοινωνικῶν κὺρ Χρυσάφου τοῦ Νέου· ἦχος αʹ Χερουβικὰ σύντομα, καλλωπισμὸς κυροῦ Ἀντωνίου ἱερέως καὶ Οἰκονόμου τῆς Μεγάλης Ἐκκλησίας· ἦχος αʹ Κοινωνικὰ σύντομα τῆς ἑβδομάδος ... Ἀντωνίου ἱερέως καὶ Οἰκονόμου· ἦχος αʹ Ἡ Θεία Λειτουργία τὸν ἐν ἁγίοις πατρὸς ἡμῶν Βασιλείου τοῦ Μεγάλου· τοῦ Ἰωάννου τοῦ Γλυκέος· ἦχος βʹ Ἡ Θεία Λειτουργία τῶν Προηγιασμένων· ἦχος πλ. βʹ

EBE 2220 (olim Suppl. 778)

282

151r 156r

Ir–XIv

Εἱρμοὶ καλοφωνικοὶ διαφόρων ποιητῶν. τὸ παρὸν ποίημα κὺρ Μπαλασίου ἱερέως καὶ νομοφύλακος· ἦχος αʹ (colophon) 1745 Ἰουνίου ιθʹ μέμνησθε δὲ τοῦ γράψαντος Γερμανοῦ ἱερομονάχου τοῦ ἐκ τῆς μονῆς τῆς ἁγίας Τριάδος τῆς ἐν Ὀλύμπῳ· ἔῤῥωσθε τοίνυν οἰ ἐντυγχάνοντες καί μου μνείαν ποιῆσθε τοῦ γράψαντος, διορθώνοντές τε καὶ ἅπερ ὡς ἄνθρωπος ἥμαρτον, εἷς γὰρ μόνος ὁ Θεὸς ἀναμάρτητος. (Memorialize the scribe who wrote this, Germanos the priest monk from the Monastery of the Holy Trinity in Olympus; farewell now to you who come across this, and remember me, who have written this, as you correct those things wherein I, as a mere man, have erred [‘sinned’], for one only is sinless, God.) MS ends blank

Notes This is a late Anastasimatarion Anthologia. The MS is in good condition. It is bound in a wood and brown leather binding that has imprints of angels and the Seraphim. There is an average of 11 lines of music and text per page. The text and neumes are written in a dark brown shade and the rubrics in a light reddish brick colour. What makes this manuscript interesting is the colophon date of 1745 and its scribe, Germanos Hieromonachos from the Monastery of Holy Trinity in Olympus. Of greater interest is the information on fol. 11r, where the scribe writes that the contents of this MS had been written by Chrysaphes the New in his own hand (in another source). Additional writings on fol. 1r concern Constantine, the owner of the MS by the year 1776. Although the Anastasimatarion is by Chrysaphes, other composers are represented, such as Balasios, Antonios the Priest and Oeconomus of the Great Church, Melchisedek Raidestos, and even the older composer Ioannes Glykys. The contents of the MS are typical: Psaltike Techne; Kekragaria and other Anastasima chants; the Heothina chants; the Akathistos hymn; Troparia for Holy Week; Doxologies; the Liturgies of St John Chrysostom and of St Basil, and Presanctified Gifts; and Kalophonic Heirmoi. Bibliography Chaldaiakis, Ὁ Πολυέλεος. Chatzegiakoumes, Μουσικά Χειρόγραφα Τουρκοκρατίας.

EBE 2221 (olim Suppl. 779)

283

ΕΒΕ 2221 (olim Suppl. 779) ΑΝΘΟΛΟΓΙΑ/ANTHOLOGIA Type of paper: common Measurements: 16 × 10.5 cm Folios: 92 Notation: very Late Round Byzantine Date: late 18th c. Provenance: collection of Ioannes D. Tzetzes, purchased in 1907

1r Heothina Hymns [without a rubric] from Mode IV Κεγραγάρια 15r Τῶν προσομοίων (εἱρμολογίων) μετὰ τῶν καθισμάτων· ἦχος αʹ 16v Καθισμάτων, Χερουβικῶν 34r Τῇ ἁγίᾳ καὶ μεγάλῃ Κυριακῇ τοῦ Πάσχα· ἦχος βαρὺς 41r Πασαπνοάρια 43r Θεὸς Κύριος 47v Στιχηρὸν ψαλλόμενον εἰς τὴν λαμπροφόρον ἀνάστασιν· ἦχος πλ. αʹ 53v Τὸ νεκρώσιμον τρισάγιον 56v Ἄμωμος ψαλλόμενος πρὸς κοιμηθέντας καθὼς ψάλλεται ἐν Κωνσταντινουπόλει· 58v ἦχος βʹ Writing: Παλαιὸ ἀναστασιματάρι, τοῦ παπᾶ κὺρ Νικόλα Ποδοχωριανίτη Χρήστου, 64v καὶ ἔστω εἰς ἔνδειξιν καὶ ἀσφάλειαν (‘An old Anastasimatarion of Priest Kyr Nicholas from Podochori [near Kavala], and let the same be for an indication [of intent] and for security ...) Δοξολογία παρὰ Γερμανοῦ ἀρχιερέως τῶν Νέων Πατρῶν 65r Δοξολογία, κὺρ Μελχισεδὲκ Ῥαιδεστοῦ· ἦχος πλ. αʹ 69r Δοξολογία, ποίημα Γιωβάσκου τοῦ Βλάχου· ἦχος δʹ 73v Χερουβικῶν τοῦ Χρυσάφου· ἦχος δʹ 80r Εὐλογητάρια ἀναστάσιμα ἅπερ ψάλλονται ταῖς Κυριακαῖς 81v end of music and MS 92v Notes This is an Anthologia from the late 18th century that is in fair condition. It has a newer brown leather binding and there is evidence of two clasps that were once attached. The binding has a decorative imprint of flowers. The MS has suffered some damage from humidity and water and folios are missing at the beginning and end. On fols 43–7 the music has no red annotations for the hypostaseis signs. The contents of the MS are not all in the traditional order. It begins on fol. 1r with the Heothina hymns and continues with the following: fol. 15r Kekragaria fol. 16v Prosomoia fol. 34r Kathisma and Cherubic hymn

284

EBE 2221 (olim Suppl. 779)

fol. 41r Sunday for Easter fol. 43r Pasapnoaria fol. 47v Theos Kyrios fol. 53v Resurrection Stichera fol. 56v Nekrosimon Trisagion fol. 58v Amomos for the Constantinopolitan Layman fol. 65r various settings of Doxologies fol. 80r Cheroubic hymn of Chrysaphes fol. 81v Eulogetaria

EBE 2222 (olim Suppl. 780)

285

EBE 2222 (olim Suppl. 780) ΑΝΘΟΛΟΓΙΑ ΠΑΠΑΔΙΚΗ/ANTHOLOGION PAPADIKE Type of paper: common Measurements: 15.8 × 10.5 cm Folios: I + 159 + I Notation: Late Round Byzantine Date: 1736 Provenance: collection of Ioannes D. Tzetzes, purchased in 1907

Ir–v 1r 7r 7 v 10r 10v 86v 99r 104v 110v 112v 120r 123r 131r 136r 138r 143v 145r 149v 157v 158r 159r 159v Ir

Iv

blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς Ψαλτικῆς Τέχνης Παραλλαγῆς Ἀρχὴ τῶν κατ’ ἦχον ἠχημάτων Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ πρώτου ἤχου· τὸ κεκραγάριον σὺν τοὺς ἀναστασίμους τοῦ κὺρ Χρυσάφου τοῦ Νέου· ἦχος αʹ. All the chants are listed according to modes. Writing: Εἶχον ἀρχέτυπον ἰδιόχειρον κὺρ Χρυσάφου τοῦ Νέου. (I had the original autograph by Chrysaphes the New.) Τῶν ἕνδεκα ἑωθινῶν ... τοῦ Γλυκέος Φῶς ἱλαρὸν, ἀρχαῖον. Πασαπνοάρια τοῦ Χρυσάφου τοῦ Νέου, Γαζῆ, Μανουὴλ Χρυσάφου Δοξολογίαι τοῦ Μελχισεδὲκ, Ῥαιδεστοῦ, Μπαλασίου Ἀσματικὰ Ἀκολουθία εἰς τὸν ‘Aκάθιστον ὕμνον τῆς Θεοτόκου· ἦχος πλ. δʹ Ἀρχὴ τῆς Θείας Λειτουργίας τοῦ Ἰωάννου τοῦ Χρυσοστόμου Τῶν χερουβικῶν ὕμνων· τὸ παρὸν κὺρ Χρυσάφου τοῦ Νέου Χερουβικὰ σύντομα τοῦ Ἀντωνίου ἱερέως Κοινωνικὰ τῆς ἑβδομάδος· τοῦ αὐτοῦ Κοινωνικῶν ... τοῦ Χρυσάφου τοῦ Νέου Ἡ Θεία Λειτουργία τοῦ Βασιλείου τοῦ Μεγάλου Ἡ Θεία Λειτουργία τῶν Προηγιασμένων· ἦχος πλ. βʹ Εἱρμοὶ καλοφωνικοὶ διαφόρων, ὁ παρὼν κὺρ Μπαλασίου ἱερέως καὶ νομοφύλακος. Colophon: 1736 Μαΐου ιηʹ, μέμνησθε τοῦ γράψαντος Γερμανοῦ ἱερομονάχου τοῦ ἐκ τῆς Ἁγίας Τριάδος, τῆς ἐν Ὀλύμπῳ. (1736, 18 May, memorialize the scribe, Germanos the priest monk, from the Monastery of the Holy Trinity in Olympus.) Ἀλληλουϊάριον· ἐξηγητὸν τοῦ Ἰωάννου Πρωτοψάλτου Πηγὴ ναμάτων, στιχηρὸν end of music and MS 19th-century writing: Κωνσταντίνος Σταρίδας

blank

Notes This is a late Anthologia Papadike in fair condition. It has a newer binding with a brownish leather cover with circular imprints in the corners and centre designs of the Theotokos and

286

EBE 2222 (olim Suppl. 780)

Child on the front and the crucifixion on the back. There is evidence of two clasps. The interior folios are legible but some are missing at the end. Each page has about 12 lines of text and music. The neumes and text are written in black ink and red ink is used for rubrics, modal signatures and hypostaseis. At the end there is an additional folio with a 19th-century insertion of a man’s name, Konstantinos Staridas, perhaps the owner of the MS. The colophon on fol. 157v indicates that the MS was completed on 18 May 1736 by the scribe Germanos the Priest from the Monastery of the Holy Trinity in Olympus. The contents of the MS are typical. It begins on fol. 1r with the signs of the Psaltike Techne, Parallage (fol. 7v) and Echemata (fol. 7v) and continues with the following: fol. 10r Kekrakagia and Anastasimataria according to modes fol. 86v Heothina hymns fol. 99r Fos Ilaron and Pasapnoaria fol. 104v Doxologies fol. 110v Asmatika fol. 112v Akathistos hymn fol. 120r Liturgy of St John Chrysostom fol. 123v Cherubic hymns fol. 136r Communion chants fol. 143v Liturgy of St Basil fol. 145r Liturgy of Presanctified Gifts fol. 149v Kalophonic Heirmoi fol. 158r Alleluiaria

EBE 2223 (olim Suppl. 781)

287

ΕΒΕ 2223 (olim Suppl. 781) ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: common Measurements: 15.7 × 10.2 cm Folios: 422 Notation: Late Round Byzantine Date: early 18th c. Provenance: collection of Ioannes D. Tzetzes, purchased in 1907

1r 159r 422v

feasts of the liturgical year beginning with 8 Sept., with modal indications Τῶν ὡρῶν τῶν Χριστουγέννων (The Hours of Christmas). The other feasts of the year follow through to 29 Aug. end of music and MS Back binding: 1704 Ἰανουάριος 17 εἰς ᾽Ιωάννινα, ἐνθύμησις ὁποὺ ἐγενήθηκα ἐγὼ ὁ Γιάννης Παπαχρήστου ἐν ἡμέρᾳ αʹ. Ἐνθύμησις ὁποὺ ἐμπῆκα στὸ παρὸν στιχιράρι [sic] καὶ ἤμουν χρονῶν δεκαεφτὰ καὶ μῆνας τρεῖς, καὶ ἔστω εἰς ἔνδειξιν. Ἑνετίησιν Ἀπριλίου 13· εἰς Ἰωάννινα ἐν ἡμέρᾳ ὁποὺ μπῆκα, Πέφτη. Ἰωάννης Παπαχρήστου. [1704 + 17 = 1721.]

Notes This is a late Sticherarion in good condition and legible. The MS has a newer brown leather binding. The text and neumes are written in the traditional black ink and the rubrics, modal signatures and hypostaseis are written in red. Each page has about ten lines of text and music. No composers’ names are given. Although the contents are typical, the MS does not begin with the feast of Symeon the Stylite on 1 Sept. but instead with 8 Sept., the Nativity of the Theotokos. The MS continues with feasts according to the liturgical calendar through to 29 Aug. Of note is the celebration of the Hours of Christ for Christmas on fol. 159r. On the interior back binding there is interesting information, the many orthographic errors of which demonstrate the writer’s lack of linguistic proficiency: ‘A memorial that I, John Papachristou, was born on the 17th of January, 1704, the first day of the week, in Ioannina. A memorial that I undertook the present sticherarion when I was 17 years and three months old, and let the same be for a token. At Venice on the 13th of April. Ιn Ioannina on the day I began, [it was a] Thursday. John Papachristou. 1704 + 17 = 1721.’ Thus the scribe began the MS in 1721.

288

EBE 2224 (olim Suppl. 782)

ΕΒΕ 2224 (olim Suppl. 782) ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: common Measurements: 15 × 10.2 cm Folios: 71v + II Notation: Late Round Byzantine Date: late 17th–early 18th c. Provenance: collection of Ioannes D. Tzetzes, purchased in 1907

1r

Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ἀίναστασιμων [sic] τῷ Σαββάτῳ Ἑσπέρας· ἦχος αʹ. The contents are listed according to modes throughout the MS. music and MS end 71v Ir–IIv This folio is not formally part of the MS. There are writings on both the recto and verso dealing with terms for different types of metals. Notes This is an Anastasimatarion attributed to Chrysaphes the New. This MS is in poor condition from extreme water damage. The text and neumes are very faded, as is the numbering of the folios, making the MS largely illegible. There are few rubrics or modal indications and no composers’ names are given. The MS, however, has a new brown leather binding with imprints of flowers and ornaments. The MS begins with chants for Saturday vespers. These are listed according to the order of the octoechos. It ends incompletely on fol. 71v.

EBE 2225 (olim Suppl. 783)

289

ΕΒΕ 2225 (Suppl. 783) ΑΝΘΟΛΟΓΙΑ/ANTHOLOGIA Type of paper: common Measurements: 15.4 × 10.5 cm Folios: 178 Notation: Late Round Byzantine Date: second half of 18th c. Provenance: collection of Ioannes D. Tzetzes, purchased in 1907

1r 8r

39v 74r 79v 91v 95r 97r 119v 120v 127r 132v 140r 143r 145r 148r 150r 150v 153v 155r 156r 163r 169r 175v 176v

Κεκραγάρια Εἱρμοὶ καλοφωνικοὶ· ποίημα κὺρ Μπαλασίου ἱερέως καὶ Νομοφύλακος· ἦχος αʹ. Most of the kalophonic Heirmoi that follow are composed by Balasios. Other composers’ names mentioned are as follows: Kyr Panagiotes, Dimitrios Domestikos, Damianos the Monk from Vatopedi, Meletios the Hieromonachos and Germanos the Archon Priest. Ἕτεροι εἱρμοὶ κατ’ ἦχον· ποίημα κὺρ Πέτρου· ἦχος αʹ. Εἱρμὸς εἰς τὴν ἁγίαν Τριάδα τοῦ Μπαλασίου ἱερέως Ἕτεροι εἱρμοὶ. Compositions follow by Ioannes Vlachos, Meletios the Monk Priest of Sinai, and Germanos the archon priest of New Patras. Εἱρμὸς εἰς τὴν τράπεζαν· φίλου ἀρίστου τοῦ Μπαλασίου ἱερέως Κατανυκτικὰ ποίημα τοῦ Ἰωάννου τοῦ Κλαδᾶ· ἦχος πλ. αʹ Κρατήματα. (The composers of Kratemata are, among others, Chrysaphes, Balasios, Petros and Manuel Gazes.) Τὸ παρὸν ἐρωτικὸν εἰς τουρκικὴν ... τοῦ Μπαλασίου Πολυέλεος· συντομώτερον ποίημα κὺρ Πέτρου τοῦ μελῳδοῦ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον χερουβικῶν, τοῦ κὺρ Ἀντωνίου· ἦχος αʹ Κατ’ ἦχον κοινωνικὰ (settings by Chrysaphes and Balasios) Ἀρχὴ τῶν κατ’ ἦχον κοινωνικῶν τῆς ἑβδομάδος· ποιηθέντα παρὰ κὺρ Ἀντωνίου· ἦχος αʹ Ἀλληλουϊάριον· ἐξηγήθη παρὰ κὺρ Ἰωάννου Πρωτοψάλτου τῆς Μεγάλης Ἐκκλησίας· ἦχος αʹ Κοντάκιον· ἦχος πλ. δʹ Τὸ παρὸν στιχηρὸν ψάλλεται τῇ ἁγίᾳ καὶ μεγάλῃ Παρασκευῇ, εἰς τὸν θρῆνον Τὰ εὐλογητάρια· ἦχος πλ. αʹ Ἕτεροι εὐλογητάρια Ἕτερος τοῦ αὐτοῦ, ὡραῖος καὶ ἔντεχνος Τῇ μεγάλῃ Πέμπτῃ ἀντὶ χερουβικοῦ καὶ κοινωνοικοῦ· ἦχος πλ. βʹ «Τοῦ δείπνου σου μυστικοῦ...» Τῷ ἁγίῳ καὶ μεγάλῳ Σαββάτῳ ψάλλεται τὸ παρὸν ἀντὶ χερουβικῶν· κὺρ Πέτρου· ἦχος πλ. δʹ «Σιγησάτω πᾶσα σὰρξ...» Χερουβικὰ σύντομα τοῦ Ἀντωνίου· τὸ παρὸν ἡμέτερον· ἦχος αʹ Ἕτερον ἐμοῦ Ἀναστασίου (Another by me, Anastasios). From this section to the end, the MS is written by the scribe Anastasios, who identifies himself. Κοινωικὰ τοῦ Δημητρίου Μυτιληναίου· ἦχος βαρὺς Κοινωικὰ σύντομα τῆς ἑβδομάδος· τὸ παρὸν κυρίου Ἀντωνίου· ἦχος αʹ

290

178r 178v

EBE 2225 (olim Suppl. 783)

Κοινωικὰ κὺρ Γερμανοῦ Νέων Πατρῶν· ἦχον δʹ «Ποτήριον σωτήριον...» end of MS and music

Notes This MS is a late Anthologia (Papadike). Its overall condition is fair but still legible. Folios are missing from the beginning and end. The original binding is no longer attached to the exterior. The MS now has parchment as its exterior encasement. The rubrics, modal signatures and hypostaseis are in a faded red and black ink is used for the neumes and text. Each page has about 11–12 lines of text and music. The lost folios at the beginning contained Kekragaria; only a few remain. The MS continues with the following: Kalophonic Heirmoi by various composers and for different occasions fol. 8r fol. 95r Katanyktika by Ioannes Kladas fol. 97r Kratemata fol. 120v Polyeleos fol. 127r Cherubic hymns by Antonios according to modes fol. 132v Communion hymns fol. 143r Alleluiaria by Ioannes Protopsaltes fol. 145r Kontakion fol. 148r Stichera for Holy Friday fol. 150r Eulogetaria fol. 155r substitution for Cherubic and Communion hymns for Holy Thursday, Holy Saturday (fol. 156r) fol. 175r Communion hymns by Dimitrios of Mytilene, Antonios (fol. 176v), Germanos of New Patras (178r–v). The last section of the MS, fols 169r–178v, has been written in a different script by the scribe Anastasios Rapsaniotes. On fol. 169r he notes: ‘another by me, Anastasios’.

EBE 2226 (olim Suppl. 784)

291

ΕΒΕ 2226 (olim Suppl. 784) ΑΝΘΟΛΟΓΙΑ/ANTHOLOGIA Type of paper: common Measurements: 15.3 × 9.6 cm Folios: 296 Notation: Late Round Byzantine Date: 18th c. Provenance: collection of Ioannes D. Tzetzes, purchased in 1907

1r 10v 20r 30v 58r 68v 78r 82r 96r 118v 141v 166r 184v 198r 216v 227r 247v 265v 290v 294v 296v

Ὧραι δεσποτικῶν ἑορτῶν τῶν Χριστουγέννων (Hours for the despotic feasts for Christmas) Τῶν ὡρῶν τῶν ἁγίων Θεοφανείων (Epiphany) Τῶν ὡρῶν τῆς μεγάλης Παρασκευῆς· ποίημα τοῦ Κυρίλλου ἀρχιεπισκόπου Ἀλεξανδρείας· ἦχος πλ. δʹ Κεκραγάρια κατ’ ἦχον Πολυέλεος συνοπτικὸς· ποίημα κὺρ Χρυσάφου τοῦ Νέου Πασαπνοάριον παρὰ Χρυσάφου τοῦ Νέου· ἦχος αʹ Ἑτέρα ὀκτώηχος Κωνσταντίνου τοῦ ἐξ Ἀγχιάλου Τὰ ἕνδεκα ἑωθινὰ τοῦ Γλυκέος· ἦχος αʹ Ἀρχὴ σὺν Θεῷ τῶν πέντε δοξολογιῶν· τοῦ Χρυσάφη. Other attributions acknowledge Germanos of New Patras, Melchisedek, Giovaskos and Balasios. Εἱρμὸς παντερπνὸς· ποίημα κυρίου Πέτρου· ἦχος πλ. δʹ. The MS continues with Heirmoi by other composers: Panagiotes Chalatzoglou, Petros Bereketes, Damianos the priestmonk, Petros Glykes the Younger, Chourmouzios the priest . Θεοτοκίον τοῦ Κουκουζέλη. Other Theotokia follow by different composers, such as Chrysaphes the New. Χερουβικὰ κατ’ ἦχον Κοινωνικὰ κατ’ ἦχον τοῦ Χρυσάφου τοῦ Νέου· ἦχος αʹ Χερουβικὰ κατ’ ἦχον Κατ’ ἦχον κοινωνικῶν· ποίημα τοῦ Μπαλασίου· ἦχος αʹ Κατ’ ἦχον χερουβικῶν παρὰ Γερμανοῦ Νέων Πατρῶν (followed by other Communion chants) Κοινωνικὰ· τοῦ αὐτοῦ Κοινωνικὰ τῆς ἑβδομάδος Ἡ Θεία Λειτουργία τῶν Προηγιασμένων· ἦχος πλ. βʹ Ἀκολουθία τοῦ Ἀκαθίστου ὕμνου· ἦχος πλ. δʹ music and MS end

Notes This is an abridged version of the Anthologia Papadike with selective repertory. The MS is in poor condition, with folios missing from the beginning and end. The only part of the binding that remains is its spine. Because of severe water damage, the red and black ink is faded. There is an average of nine lines of text and music per page.

292

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The synoptic contents are as follows: fol. 1r Hours for Christmas fol. 10v Hours for Epiphany fol. 20r Hours for Holy Friday by Kyrillos, Archbishop of Alexandria fol. 30v Kekragaria fol. 58r shortened Polyeleos by Chrysaphes the New fol. 68v Pasapnoaria by Chrysaphes the New fol. 78r other chants from the octoechos by Konstantinos from Agchialos fol. 82r Heothina hymns by Glykys fol. 96r five Doxologies by Chrysaphes fol. 118v Kalophonic Heirmos by Kyr Petros and others fol. 141v Theotokia by Koukouzeles and others fol. 166r Cherubic hymns (fols 198r, 227r) fol. 184v Communion hymns (fols 216v, 247v, 265v) fol. 290v Liturgy for Presanctified Gifts fol. 294v Akolouthia of the Akathistos hymn

EBE 2227 (olim Suppl. 785)

293

ΕΒΕ 2227 (olim Suppl. 785) ΕΙΡΜΟΛΟΓΙΟΝ/HEIRMOLOGION Type of paper: common Measurements: 15.1 × 10.2 cm Folios: 180 (originally 208) Notation: very Late Round Byzantine, verging on Chrysanthine Date: ca. mid-18th c. Provenance: collection of Ioannes D. Tzetzes, purchased in 1907

1r

begins with the Asmatic Kanons for Palm Sunday and follows with Kanons for Holy Week (no modes are given): «Ἡ ἄπειρα κακὸς πληθῶς...» and «Μετὰ βαΐων σε, Χριστέ...» Τῇ ἁγίᾳ καὶ μεγάλῃ Δευτέρᾳ πρωῒ· ἦχος βʹ 5 v Τῇ ἁγίᾳ καὶ μεγάλῃ Τρίτῃ· ἦχος βʹ 9 v Τῇ ἁγίᾳ καὶ μεγάλῃ Τετάρτῃ· ἦχος βʹ 12r Τῇ ἁγίᾳ καὶ μεγάλῃ Πέμπτῃ· ἦχος πλ. βʹ 17r Τῇ ἁγίᾳ καὶ μεγάλῃ Παρασκευῇ· ἦχος πλ. βʹ 29r Τῷ ἁγίῳ καὶ μεγάλῳ Σαββάτῳ· ἦχος πλ. βʹ 35r 44v–45r These folios have sporadic neumes without text. Ἀντὶ τοῦ εἰς ἁγίους ψάλλεται τὸ παρὸν εἰς τὸν ἐπιτάφιον θρῆνον· ἦχος αʹ «Τὸν ἥλιον 49r κρύψαντα...» This folio has an added later script of the 19th century: «Ἐὰν ποθῇς, ὦ ἄνθρωπε, πολὺν 51v καιρὸν να ζήσῃς, ἔχε τὸν φόβον τοῦ Θεοῦ, ποτὲ μὴν ἁμαρτήσῃς.» 52v–53r These folios are written by a different and probably later hand. blank 53v Ἀρχὴ σὺν Θεῷ ἁγίῳ, καὶ τοῦ κανόνου τῆς ἁγίας καὶ Μεγάλης Κυριακῆς τοῦ Πάσχα· 54r ποίημα Γερμανῶν Νέων Πατρῶν· συντεθὲν δὲ μικρὸν καὶ παρὰ Ἰωάννου Χρυσοβέργη· ἦχος αʹ «Ἀναστάσεως ἡμέρᾳ λαμπρυνθῶμεν λαοί....». The rubric indicates that this is the Kanon for the Holy Sunday of Easter composed by Germanos of New Patras and composed in a lesser way by Ioannes Chrysoverges. The inclusion of the name of Ioannes Chrysoverges suggests that he could be the scribe of this MS. Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ εἱρμολογίου τῶν δεσποτικῶν ἑορτῶν καὶ τῆς ὀκτωήχου· 66r ποιηθὲν παρὰ κὺρ Μπαλασίου· ἦχος αʹ Μηνὶ Αὐγούστῳ ιεʹ· ἡ Κοίμησις τῆς Ὑπεραγίας δεσποίνης ἡμῶν Θεοτόκου· ἦχος αʹ 69r Εἰς τὸ αὐτὸ· σάρκα, γέννησιν τοῦ Κυρίου καὶ Θεοῦ, τοῦ Σωτῆρος ἡμῶν Ἰησοῦ Χριστοῦ· 72v ἦχος αʹ «Χριστὸς γεννᾶται, δοξάσατε...» Τῇ ἁγίᾳ καὶ Μεγάλῃ Κυριακῇ τοῦ Πάσχα· ἦχος αʹ «Ἀναστάσεως ἡμέρα....» 83v Ἀρχὴ σὺν Θεῷ καὶ τοῦ δευτέρου ἤχου· ἦχος βʹ. Different feasts follow, categorized 86v according to modes: fol. 96v, Mode III; fol. 102v, Mode IV; fol. 112r, Plagal Mode I; fol. 117r, Plagal Mode II; fol. 123r, Barys Mode; and fol. 128v, Plagal Mode IV. v 136 Εἱρμοὶ καλοφωνικοὶ συντεθέντες παρὰ Μπαλασίου ἱερέως καὶ Νομοφύλακος τῆς μεγάλης ἐκκλησίας· ἦχος αʹ Διεφθαρμένον πολίτικον τουρκικότερα ἀτζέμικον· ’ξηγητὸν ποίημά τινος Μπερεκέτη. 157r (A slightly obscure comment, which seems to read ‘a corrupted Constantinopolitan

294

EBE 2227 (olim Suppl. 785)

atzem, ἀ la turque, an interpretable poem by a certain Bereketes’. If τουρκικότερα were emended to τουρκικότερον, it would mean ‘a corrupted Constantinopolitan [tune], a very Turkish atzem...’ The atzem (ἀτζέμικο) is a grave (βαρὺς) Arabian maqam, meaning ‘Persian’ or ‘in the Persian style’, though according to P. K­ēltzanidēs it belongs to the fourth mode. In Greek Ἀτζαμής/Ἀτζέμης is the Arabic-derived name for a Persian – in Arabic meaning literally ‘someone unlearned’.) Εἱρμοὶ πανηγυρικοὶ πάνυ ὡραῖοι καὶ εὔμορφοι 173r Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχον καθισμάτων καὶ προσομοίων· ἦχος αʹ 181r Εἰς φήμην ἀρχιερέως. This is an acclamation for the Priest of Naupaktos and the 197v representative diplomat for Metropolitan Ioannikios (1722–7). 202r Polychronion for the Metropolitan of Naupaktos and the exalted diplomat of Neophytos II (1727). Τὸ παρὸν ψάλλεται εἰς τράπεζαν ἀρίστου· ἐκαλλωπίσθη παρὰ Μπαλασίου. (The 206r following is chanted at the ‘Lord’s supper’ = Divine Liturgy [μυστικὸς δεῖπνος], beautified by Balasios.) end of original music and MS 208v Notes This is a Heirmologion of the Triodion period attributed to the composer Balasios. The rubric on fol. 54r suggests that the scribe of this MS is possibly Ioannes Chrysoverges. The MS is in fairly good condition but has some damage due to humidity and water deterioration and extensive use in church services. It has a dark brownish leather binding, but there is no back piece. For subtitles throughout the MS, the traditional red ink is used, but also green. The composers’ names, modal signatures and hypostaseis are in the traditional red ink. Black ink is used for the text and neumes. The pages average about eight lines of text and music. Although the folios have been numbered, some are missing from the beginning. Furthermore, in my most recent examination of the MS, fols 181r–208v were missing. The contents of the MS are as follows: Asmatic Kanons for Palm Sunday and Holy Week fol. 1r fol. 49r substitution chants for the mourning casket fol. 54r Kanons for Easter fol. 66r Heirmologion for despotic feasts in the octoechos fol. 69r dormition of the Theotokos fol. 72v nativity of Christ fol. 83v Easter Resurrection fol. 136v Kalophonic Heirmoi fol. 173r beautiful festal Heirmoi fol. 197v Acclamation fol. 202r Polychronion

EBE 2228 (olim Suppl. 786)

295

ΕΒΕ 2228 (olim Suppl. 786) ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ ΤΟΥ ΠΕΤΡΟΥ ΛΑΜΠΑΔΑΡΙΟΥ ΠΕΛΟΠΟΝΝΗΣΙΟΥ/ANASTASIMATARION OF PETROS LAMPADARIOS OF PELOPONNESOS Type of paper: common Measurements: cm 17.5 × 11.5 cm Folios: 217 (434 pages) Notation: very Late Round Byzantine, not yet classifiable as Chrysanthine Date: late 18th–early 19th c. Provenance: collection of Ioannes D. Tzetzes, purchased in 1907

pp. 1–4 p. 5 p. 12 p. 21

p. 163 p. 178 p. 180 p. 181 p. 271 p. 320 p. 326 p. 351 p. 374 p. 378 p. 386 p. 403 p. 416

missing Kekragaria· ἦχος δʹ «Κύριε, ἐκέκραξα πρός σε· εἰσάκουσον τὴν προσευχὴν...» Ἦχος βʹ «Κατευθυνθήτω μητέρα· τὸ Ὡς εὐλογοῦμεν...» «Ἀναστάσεως ἡμέρα» τοῦ Χρυσάφου τοῦ Νέου· ἐξηγήθη ἐκ τοῦ παλαιοῦ παρὰ κὺρ Νικολάου Μπούα ἀναγνώστη ἐκ πόλεως Πρεβέζης· ἦχος πλ. αʹ Ἀναστασιματάριον σύντομον κατὰ τὸ ὕφος τῆς Μεγάλης Ἐκκλησίας συντεθὲν παρὰ τοῦ κὺρ Πέτρου λαμπαδαρίου Πελοποννησίου διὰ προσταγῆς μητροπολίτου Προύσης Μελετίου κατ’ ἦχον· ἦχος αʹ «Κύριε, ἐκέκραξα...» (Brief anastasimatarion, in the style of the Great Church, composed by Kyr Petros of the Peloponnese, the Lampadarios, by command of Meletios, Metropolitan of Prusa [1760–77].) All the chants are listed according to modes and continue as follows: p. 41, Mode II; p. 60, Mode III; p. 78, Mode IV; p. 99, Plagal Mode I; p. 120, Plagal Mode II; p. 135, Barys Mode; and p. 150, Plagal Mode IV. Τὰ ἕνδεκα ἑωθινὰ Χερουβικὸν συνοπτικὸν τοῦ κὺρ Δωροθέου ἱερομονάχου καὶ ἡμετέρου διδασκάλου· ἦχος αʹ Σύνθησις κὺρ Νικολάου Μπούα ἁγιογράφου· ἦχος πλ. αʹ «Χριστὸς ἀνέστη...» Εἱρμολόγιον καταβασιῶν τῶν δεσποτικῶν καὶ Θεομητορικῶν ἑορτῶν παρὰ τοῦ μουσικολογιωτάτου Πέτρου λαμπαδαρίου τοῦ Πελοποννησίου, ᾠδὴ αʹ· ἦχος αʹ «Πεποικιλμένη τῇ θείᾳ δόξῃ ἡ ἱερὰ...» Τῶν ψυχοφελῶν ᾠδῶν τοῦ τριῳδίου· ἀρχώμεθα γὰρ ὡς ἀπαιτεῖ ἡ τάξις· ἀρχὴ τῶν ᾠδῶν τοῦ Τριῳδίου τῇ ἁγίᾳ καὶ μεγάλῃ Δευτέρᾳ εἰς τὸν Ὄρθρον, ᾠδὴ αʹ· ἦχος βʹ. These Stichera for the Triodion are generally from Holy Monday to Holy Saturday. Εὐλογητάρια Προσόμοια κατ’ ἦχον Καθίσματα κατ’ ἦχον Ἀντίφωνα· ἦχος πλ. αʹ Ἐξαποστειλάρια ἦχος βʹ «Τοῖς Μαθηταῖς συνέλθωμεν...» Χερουβικὰ κατ’ ἦχον, τοῦ Πέτρου λαμπαδαρίου Κοινωνικὰ τοῦ Πέτρου λαμπαδαρίου Ἰδοὺ καὶ τροπάρια ᾀσματικὰ κατ’ ἦχον· ἦχος αʹ «Νῦν αἱ δυνάμεις εἰς τὸν οὐρανὸν...». This is part of the Liturgy of the Presanctified Gifts.

EBE 2228 (olim Suppl. 786)

296

p. 425 p. 434

«Γεύσασθε...» Μακαρισμοὶ end of music and MS

Notes This a late Anastasimatarion of Petros the Lampadarios of the Peloponnese. Although classified as an Anastasimatarion, it also contains sections from the Heirmologion and Papadike. Page 180 contains information suggesting that the scribe was Nicholas Bouas. The text reads: ‘A composition by kyr Nicholas Bouas, and hagiographer [icon painter]’. The MS is in fair to poor condition. The exception is its newer light brown binding. The numbering of the MS is in pages and every page is numbered. Every page also has a black rectangular border surrounding the neumes and text. This type of border is not normally seen in MSS with Byzantine music and could indicate an Eastern influence. The pages, moreover, are very fragile, with some of the neumes and rectangles torn out. The neumes and text are written in black ink that has been smudged throughout, making it difficult to read. Red ink has been used for rubrics, modal signatures, hypostaseis and some incipit letters. Multiple colours have been used in border designs. Four pages are missing at the beginning; several pages are badly faded or illegible: pp. 423, 425, 428, 430, 432 and 434. Some pages are missing at the end, documented by a rubric on p. 240: ἡ μέση εἶναι ἐδῶ (the middle is here). If taken literally, this would mean that the MS originally had (or was intended to have) 480 pages. The pages average about 11 lines of text and music. The contents for the MS are that of the Anastasimatarion, but also include some melodies from the Heirmologion and Papadike. The MS begins on p. 5 with the Kekragaria chants. It continues with the following: p. 12 Resurrection hymn by Chrysaphes the New interpreted by Nicholas Bouas p. 21 more Kekragaria by Petros the Lampadarios p. 163 Heothina hymns p. 178 Cherubic hymns by Dorotheos the priest-monk p. 180 Easter hymn by Bouas p. 181 Heirmologia by Petros of the Peloponnese p. 320 Eulogetaria p. 326 Prosomoia p. 351 Kathismata p. 374 Antiphons p. 378 Exaposteilaria p. 386 more Cherubic hymns p. 403 Communion chants p. 416 Asmatika Troparia p. 434 Makarismoi

EBE 2229 (olim Suppl. 787)

297

ΕΒΕ 2229 (olim Suppl. 787) ΑΝΘΟΛΟΓΙΑ/ANTHOLOGIA Type of paper: common Measurements: 9.1 × 6.2 cm Folios: 139 Notation: Late Round Byzantine Date: 18th c. Provenance: collection of Ioannes D. Tzetzes, purchased in 1907

1r 22v 32r 40v 53r 62v 66r 68r 88r 139v

Καλοφωνικοὶ στίχοι, Πολυέλεοι. Other chants from Orthros follow. Πασαπνοάριων· ἦχος πρῶτος Δοξολογίαι Ἕτερον· δοξολογία· ἦχος δʹ Ἀρχὴ τῶν τριῶν λειτουργιῶν Ἡ Λειτουργία τοῦ Μεγάλου Βασιλείου Ἡ Λειτουργία τῶν Προηγιασμένων· ἦχος πλ. βʹ Μηνολόγιον. Kalophonic settings for feasts of the calendar year Εἰς τὰς ςʹ τοῦ Δεκεμβρίου τοῦ Ἁγίου Νικολάου· ἦχος αʹ end of music and MS

Notes This is a miniature Anthologia. The condition of the MS is poor due to water damage and filth. It has, however, been rebound with a newer reddish leather cover with golden imprints of flowers. There are missing exterior folios, perhaps due to the newer binding or excessive water destruction. A faded black ink is found for the neumes and text and a faded red for the rubrics and modal signatures. There are only seven lines of text and music per page. No composers’ names are given and there are few rubrics. Given the size of the MS, the contents are limited. The MS begins on fol. 1r with kalophonic versions of the Polyeleos. (This chant is found in the Orthros section of the Anthologia, further substantiating that the entire Vespers section is missing.) The MS continues with the following: fol. 22r Pasapnoaria fol. 32r Doxology fol. 53r Liturgy of St John Chrysostom fol. 62v Liturgy of St Basil fol. 66r Liturgy of Presanctified Gifts fol. 68r Menologion with kalophonic settings of feasts beginning with the month of September

298

EBE 2273

ΕΒΕ 2273 ΤΡΙΩΔΙΟΝ ΠΕΝΤΗΚΟΣΤΑΡΙΟΝ/TRIODION PENTECOSTARION STICHERA Type of paper: bombycinous Measurements: 24.7 × 16.8 cm Folios: 110 Notation: undeveloped Early Round Byzantine Date: late 13th–early 14th c. Provenance: purchased by the National Library ca. 1912

1r The beginning is missing, since this folio begins with the middle of a Triodion stichera for the fourth week of Lent. Ἕτερος τῆς Παναγίας, ἢ Θεοτόκου καὶ ἀειπαρθένου Μαρίας· ἦχος βʹ «Ἡ Θεοτόκος, : χάρις τῆς ἐγκρατείας...» Τὸν παρὸν τὸν ὑπὲρ νοῦν ἀγαθὸν· ἦχος βʹ «Τὸν ζωηφόρον Σταυρὸν...» 2 v 4r–6v These folios have grave water damage and wormholes, making them illegible. 11v This appears to have been a blank folio to which writing was added in the 16th or 17th century: Ὁ ταπεινὸς μητροπολίτης Ἐδέσσης Λουκᾶς καὶ ὑπέρτιμος (the humble and most honorable Loukas, Metropolitan of Edessa) Τῷ Σαββάτῳ τοῦ Λαζάρου· ἦχος αʹ «Ἀνάστασις καὶ ζωὴ τῶν ἀνθρώπων...» 12r Ἕτερον· ἡμέραν Λαζάρον, καὶ προκείμενα· ἦχος γʹ 15r Ἀκολουθία τῶν ἁγίων Παθῶν, ἀντίφωνον αʹ· ἦχος πλ. δʹ «Ἄρχοντες λαῶν 24v συνήχθησαν...» Ἀντίφωνον βʹ· ἦχος πλ. δʹ damaged folio with a large wormhole in the centre 29r–v Προκείμενα στιχηράριον ... εὐαγγέλια κατὰ Ματθαῖον.... καὶ κατὰ Λουκᾶν· ἦχος πλ. βʹ 33r Arabic script added in the lower portion of the page 43v 73v This folio also has an inserted Arabic text on the bottom of the page. Στιχηρὰ ἀνατολικὰ τὰ ὀγδοήκοντα· ποίημα Ἰωάννου μοναχοῦ τοῦ Δαμασκηνοῦ, κατ’ 75r ἦχον· ἦχος αʹ «Εὐφράνθητε, οὐρανοί, σαλπίσατε...» 94r This page has a longer Arabic script than the above folios. In this writing, located on the lower portion, there is reference to the Scripture readings of the priest-deacon Germanos Abdos Louphtes, accompanied by the date 1939. Στίχοι κατ’ ἀλφάβητον τῷ Σαββάτῳ Ἑσπέρας· ἦχος αʹ. There are three Greek 94v alphabetical letters for each mode: Mode I for letters A–G [Α, Β, Γ ]; Mode II for letters D–Z, [Δ, Ε, Ζ ], etc. Ἀρχὴ τῶν ἀναβαθμῶν, ἀντίφωνων αʹ· ἦχος αʹ. The Anabathmoi chants proceed 101r according to modes. end of music and MS 110v

EBE 2273

299

Notes This Triodion Pentecostarion is in poor condition and folios are missing at the beginning and end. Furthermore, fols 107r to the end are torn and fragmented. There is also water damage throughout. Despite its condition, the MS has a newer light brown cloth binding. The text and neumes are written in a faded black ink and the rubrics, modal signatures and opening capital letters are in a dim reddish colour. There are about 18 lines of text and music per page. The rubrics indicate some feast days and modes but no composers’ names. This MS has settings of melodies for the Stichoi of the Gospels. The contents are as follows: fol. 1r Stichera for the fourth week of Lent fol. 12r Saturday of Lazarus fol. 15r Prokeimena fol. 24v Akolouthia of the Holy Passion fol. 33r Prokeimena according to the Gospels of Matthew and Luke fol. 75r Stichera Anatolika by John Damascene fol. 94v alphabetical Stichera for Saturday vespers fol. 101r Anabathmoi

EBE 2301

300

ΕΒΕ 2301 ΠΑΠΑΔΙΚΗ ΜΑΘΗΜΑΤΑΡΙΟΝ/PAPADIKE MATHEMATARION Type of paper: common Measurements: 17 × 11.8 cm Folios: I + 208 and/or I + pp. 416 Notation: Late Round Byzantine Date: 1809 Provenance: bequeathed to the National Library from the region of Syros in 1907

Ir–v p. 1 p. 15 p. 24 p. 25 p. 27 p. 46 p. 93 p. 109 p. 121 p. 130 p. 149 p. 175 p. 184 p. 191 p. 199 p. 210 p. 232 p. 233 p. 245 p. 248 p. 273 p. 312 p. 349 p. 351 p. 352 p. 353 p. 354 p. 358 p. 367

blank Τριαδικὰ ψαλλόμενα εἰς τὸν μέγαν Ἑσπερινὸν· ἦχος πλ. δʹ. This rubric refers to the Anoixantaria chants. Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς Ψαλτικῆς Τέχνης Παραλλαγῆς Diagram of a wheel [circle] of intonation formulae Τὸ παρὸν ψάλλεται εἰς τὰς ἀγρυπνίες· ἁγιορίτικον· τὸ, «Μακάριος ἀνὴρ...» Κεκραγάρια παρὰ κὺρ Πέτρου λαμπαδαρίου· ἦχος αʹ Πολυέλεος σύντομος τοῦ Πέτρου Μπερεκέτη· ἦχος αʹ Ἕτερος κὺρ Ἰωάννου Τοῦ αὐτοῦ δι’ αἰτήσεως τοῦ παναγιωτάτου πατριάρχου κυρίου Κυρίλλου «Δόξα Πατρὶ...» Πασαπνοάριον τοῦ αὐτοῦ κὺρ Ἰωάννου· Ἕτερον τοῦ Γαζῆ Ἀρχὴ ... τῶν δοξολογιῶν τοῦ Πέτρου Μπερεκέτη. Ἕτερον τοῦ Μπαλασίου Ἕτερον τοῦ [Γερμανοῦ] Νέων Πατρῶν, καλλωπισθεῖσα παρὰ κὺρ Λαυρεντίου Ἕτερα· δοξολογία κὺρ Μπαλασίου· ἦχος βαρὺς Ἀρχὴ σὺν θεῷ τῆς Θείας Λειτουργίας τοῦ ἁγίου Ἰωάννου τοῦ Χρυσοστόμου· ἦχος βʹ. Τρισάγια τοῦ Ξένου Κορώνη. Εἰς τὴν ὕψωσιν τοῦ Σταυροῦ τοῦ κὺρ Θεοδούλου Χερουβικῶν τοῦ κὺρ Πέτρου λαμπαδαρίου· ἦχος αʹ Ἕτερα συντομηθέντα παρὰ Κυπριανοῦ μοναχοῦ Χιλιανταρινοῦ Ἕτερον τοῦ κὺρ Ἰωακεὶμ ἀρχιερέως Ἕτερον τοῦ κὺρ Ἀντωνίου Ἡ Θεία Λειτουργία τοῦ Μεγάλου Βασιλείου· τὸ, «Ἅγιος Κύριος…», τοῦ ἀρχιερέως τοῦ Μαρμαρινοῦ Κοινωνικὰ, κατ’ ἦχον τοῦ Δανιὴλ Πρωτοψάλτου Κοινωνικὰ κὺρ Πέτρου Πελοποννησίου· ἦχος αʹ Κοινωνικὰ ... τοῦ κὺρ Δανιὴλ Πρωτοψάλτου· ἦχος δʹ. First reference of the colophon: 12 Aug. 1809 Κοινωνικὰ ... τοῦ Κυρίλλου ἀρχιερέως τοῦ Μαρμαρινοῦ Κοινωνικὰ ... ἐξήγησις· τοῦ αὐτοῦ Κοινωνικὰ ... τοῦ κὺρ Ἀναστασίου Κοινωνικὰ εἰς ἀρχιερέα Εἰς τὸ ἅγιον Πάσχα ... κὺρ Μανουὴλ τοῦ Χρυσάφη Ἄμωμος. This Amomos setting is according to the practice of the ‘Great Church’. Τοῦ Ἰωάννου Κουκουζέλη «Ἄνωθεν οἱ προφῆται...»

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p. 371

Ἰδοὺ καὶ μερικοὶ εἱρμοὶ τοῦ Παναγιωτάτου· ἦχος αʹ. Other Heirmoi continue with settings by Petros Bereketes, Meletios of Sinai, Balasios and Damianos. p. 411 Colophon: Ἡ μουσικὴ αὐτὴ πέλει Στεφάνου τ’ εὐνόου, ὄντος ἱερομονάχου δή, ἐκ κώμης Φουρνᾶς τε οὗτος, ὅστις γʹ ἐν τῇ ταύτης μονῇ φιλησύχως τ’ ἐβίου μετὰ λοιπῶν πατέρων, Γαβριὴλ τοῦ σεβασμίου. Ὁ ταύτην δὲ γράψας τυγχάνει τῷδ’ ὁμοχώριος τοὐνόματι ἱεροδιάκονος Γρηγόριος, ὅστις δή ποτε φοιτητὴς τούτου γε καθίστατο τῶνδε διδάκτρων ἕνεκα ταύτην ἀπειργάσατο. Ἐν ἔτει σωτηρίῳ, ͵αωθʹ Αὐγούστου 12. This charming inscription, which despite a false form aspires to a higher register than in most musical manuscripts, reads ‘This music is by the kindly priest-monk Stephen; from the village of Phourna came this man, who in that village’s monastery lived a peaceful life with the other fathers, [including] the reverend Gabriel. It happens that he who wrote this down is his fellow-villager, the priest-deacon Gregorios by name, who was once a student of Stephen’s and wrought this transcription as payment for his tuition. On the 12th of August in the year of our Lord 1809.’ p. 416 end of music and MS Notes This Papadike Mathematarion is in fair condition. The folios have suffered some deterioration from humidity and water damage. The MS has a newer brownish leather binding with its two clasps intact. Some of the rubrics have rich border designs. The text and neumes are written in the traditional black ink. Rubrics, modal signatures and hypostaseis are in red ink. The manuscript is paginated. The pages have about 11 lines of text and music. The colophon on p. 411 dates this MS in the year of 1809 and identifies the scribe as Gregorios, a priest-monk. The order of the MS follows: p. 1 Triadika for Vespers p. 15 Psaltike Techne p. 24 Parallage p. 25 wheel of intonations p. 27 Psalm 1 for Vespers p. 46 Kekragaria of Petros the Lampadarios p. 93 Polyeleos by Petros Bereketes p. 109 Polyeleos by Kyr Ioannes p. 121 Doxology for Patriarch Kyrillos p. 130 Pasapnoaria by Kyr Ioannes Protopsaltes and Gazes p. 149 Doxologies by Petros Bereketes, Balasios p. 175 Doxology by Laurentios p. 191 Liturgy of St John Chrysostom with Cherubic hymns p. 245 Liturgy of St Basil with Communion chants p. 358 Amomos p. 371 Heirmoi

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ΕΒΕ 2329 ΑΝΘΟΛΟΓΙΑ/ANTHOLOGIA Type of paper: common Measurements: 17.9 × 12.3 cm Folios: I + 408 + XXI Notation: newer Chrysanthine, with modal signatures indicated in both the older and newer systems Date: ca. mid-19th c. (after 1817) Provenance: bequeathed to the National Library in 1908

Ir I v 1r–5r 5v–13v 14r 28v 36r 54v 58v 66v 72r 83r 86v 92v 93r 95r 96r 98r 99v 100r 105r 110v 111v 113v

Πέτρου Συμεὼν ἔργα blank music without text blank «Μακάριος ἀνὴρ» ᾀσματουργηθὲν παρὰ Πέτρου λαμπαδαρίου τοῦ Πελοποννησίου· ἦχος πλ. δʹ Ἕτερον τοῦ Μανουὴλ Πρωτοψάλτου· ἦχος πλ. δʹ, ΝΗ Κατ’ ἦχον κεκραγάρια τοῦ Ἰακώβου Πρωτοψάλτου· ἦχος αʹ, ΠΑ Ἕτερον τοῦ Ἰωάννου Δαμασκηνοῦ Στιχηρὰ ἀναστάσιμα ψαλλόμενα εἰς τὸν Ἑσπερινὸν τοῦ Πάσχα Προκείμενα τῆς ἑβδομάδος Δίχορον ᾀσματικὸν Θεοτοκίον τοῦ Πέτρου Μπερεκέτη. This rubric indicates that the Asmatikon Theotokion by Petros Bereketes is to be performed by two choirs. Δοξολογία παρὰ τοῦ Χρυσάφου τοῦ Νέου Κράτημα εἰς τὸ Ἀναστάσεως ἡμέρα παρὰ Χρυσάφη· ἦχος αʹ, ΠΑ Ἡ Θεία Λειτουργία τῶν Προηγιασμένων· ἦχος πλ. βʹ, ΠΑ [with a modulation sign]· μέλος ἀρχαῖον «Κατευθυνθήτω...» Τὸ παρὸν ἐμελοποιήθη παρὰ Ἰωάννου τοῦ Κλαδᾶ· συνετμήθη δὲ παρὰ Ἰωάννου Πρωτοψάλτοῦ· ἦχος πλ. βʹ «Νῦν αἱ δυνάμεις...» Ὅμοιον Ἰακώβου Πρωτοψάλτου· ἦχος βαρὺς Τὸ παρὸν μελουργηθὲν παρὰ Ἰωάννου τοῦ Κλαδᾶ· συνετμήθη δὲ παρὰ Ἰωάννου Πρωτοψάλτου· τετράφωνος, ἦχος αʹ «Γεύσασθε...» Ἕτερον τοῦ Γεωργίου [Κρής] Κρητὸς· ἦχος βαρὺς Κοντάκιον τοῦ μεγάλου κανόνος παρὰ Πέτρου Πρωτοψάλτου καὶ φοιτητοῦ αὐτῶν· ἦχος πλ. βʹ Ὁ Ἀκάθιστος Ὕμνος μελουργηθεὶς παρὰ τοῖς ἀρχαίοις· ἦχος πλ. δʹ, ΝH Δίχορον (with another reference to two choirs chanting) Τὸ παρὸν ψάλλεται τῇ ἁγίᾳ καὶ μεγάλῃ Τεσσαρακοστῇ, τῇ Παρασκευῇ Ἑσπέρας μετὰ τὴν ἀπόλυσιν· ἦχος γʹ «Τὴν ὡραιότητα...» Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς τάξεως τοῦ Ὄρθρου· τὰ παρόντα ψάλλονται τὰς Κυριακὰς μετὰ τὸν τριαδικὸν κανόνα· σύνθεσις κὺρ Πέτρου λαμπαδαρίου· ἦχος βʹ, ΔΙ «Ἄξιόν ἐστιν...» Εἰς τὸν νυμφίον, μέλος ἀρχαῖον παρὰ ἀνωνύμου· ἦχος πλ. δʹ, ΝH. This ancient, anonymous melody set to the parable for the ten bridesmaids is chanted during Holy Week.

EBE 2329

117v 119v 121r 125r

303

For Holy Thursday· ἦχος πλ. δʹ «Ὅτε οἱ ἔνδοξοι μαθηταὶ...» Εἱρμολογικὰ σύντομα συνετέθησαν παρὰ Γρηγορίου λαμπαδαρίου· ἦχος πλ. δ´, ΝH «Ἰδοὺ ὁ νυμφίος...» Εὐλογητάρια ταῖς Κυριακαῖς παρὰ Πέτρου λαμπαδαρίου· ἦχος πλ. αʹ, ΠΑ Ἀντίφωνα ἐν ταῖς ἑορταῖς παρὰ Πέτρου τοῦ Πελοποννησίου· ἦχος λέγετος [=τέταρτος] ΒΟΥ «Ἐκ νεότητός μου...» Πολυελέων τοῦ Πέτρου τοῦ Πελοποννησίου· ἦχος ΠΑ 126v Τοῦ αὐτοῦ· ἦχος βαρὺς 150r Ὁ παρῶν μελουργηθεὶς παρὰ τοῦ μουσικολογιωτάτου κὺρ Χουρμουζίου καὶ ἡμετέρου 171v διδασκάλου· ἦχος πλ. δʹ, ΝH. This rubric indicates that the scribe was a student of Chourmouzios Chartophylax. Πολυέλεος εἰς τὰς ἑορτὰς τῆς ὑπεραγίας δεσποίνης ἡμῶν Θεοτόκου· ἐμελουργήθη 197v παρὰ Γεωργίου τοῦ Κρητὸς· ἦχος βαρὺς, ΖΩ Ἀλληλούϊα ἀντὶ κρατημάτων· ἦχος βαρὺς 221r Ἐκλογὴ ἐκ τοῦ ψαλμοῦ τοῦ πολυελέου τοῦ Ἰακώβου Πρωτοψάλτου· ἦχος δʹ «Δοῦλοι 221v Κύριον...» Πασαπνοάρια τοῦ Ὄρθρου παρὰ Πέτρου Πελοποννησίου· ἦχος πλ. βʹ, ΠΑ 229r Τὰ ἀργὰ παρὰ Πέτρου λαμπαδαρίου· ἦχος βʹ, ΔΙ «Δόξα καὶ νῦν...» 250v Ἕτερον τῆς Τεσσαρακοστῆς τοῦ Πέτρου λαμπαδαρίου· ἦχος πλ. δʹ 251v Ἕτερον τοῦ Γρηγορίου λαμπαδαρίου· ἦχος πλ. δʹ «Τῆς μετανοίας ἄνοιξον...» 253v Τιμιώτεραι κατ’ ἦχον σύντομαι τοῦ Πέτρου λαμπαδαρίου 255v Πασαπνοάρια κατ’ ἦχον παρὰ Ἰακώβου Πρωτοψάλτου 258r Τὰ ἕνδεκα ἑωθινὰ· συνετμήθησαν ἐκ τῶν παλαιῶν μετὰ καλλωπισμοῦ παρὰ τοῦ 272r μακαρίτου Ἰακώβου Πρωτοψάλτου· ἦχος αʹ Καὶ νῦν εἰς κάθε Κυριακὴν· ἦχος βʹ 305r Κατ’ ἦχον σύντομαι δοξολογίαι τοῦ μακαρίτου Πέτρου λαμπαδαρίου· ἦχος αʹ, ΠΑ 305v Κατ’ ἦχον δοξολογία τοῦ Ἰακώβου Πρωτοψάλτου· ἦχος αʹ 338r Ἀσματικὸν παρὰ Γεωργίου τοῦ Κρητὸς· ἦχος δʹ 355v Ἕτερον τοῦ Πέτρου Βυζαντίου, τετράφωνος 357r Ἕτερον τοῦ Ἰακώβου Πρωτοψάλτου 360v Ἕτερον τρισάγιον 368v Ἕτερον τοῦ Γρηγορίου λαμπαδαρίου 373v Ἀσματκὸν τοῦ Σταυροῦ, τοῦ Χρυσάφου· ἦχος δʹ 378v 382r Μάθημα ψαλλόμενον εἰς ἀρχιερέα ὅταν λαμβάνῃ καιρὸν· μέλος παλαιὸν ἐκ τῆς παπαδικῆς· ἦχος αʹ Μάθημα μελοποιηθὲν παρὰ Ἰωάννου τοῦ Κουκουζέλους· ἦχος βαρὺς, ΖΩ «Ἄνωθεν οἱ 383r προφῆται...» Ἐκ τοῦ ψαλμοῦ πολυελέου τῆς Θεοτόκου μάθημα μελοποιηθὲν παρὰ Γρηγορίου 390r λαμπαδαρίου δι’ αἰτήσεως τοῦ γέροντος ἁγίου Ἐφέσου κυρίου Διονυσίου· ἦχος βαρὺς, ͵αωιζʹ «Περίζωσαι τὴν ῥομφαίαν...». This rubric indicates that the scribe of this MS is a Kyr Dionysios, who was a student of the ‘older Gregorios the Lampadarios’ (Chourmouzios). The date of 1817 is written but it is uncertain if this is the exact date or if the MS was completed after this year. «Δύναμις»· τὸ συνηθισμένον, ἦχος βʹ 395r Ἀλληλουϊάριον πρὸ τοῦ εὐαγγελίου παρὰ Ἰωάννου Πρωτοψάλτου· ἦχος αʹ 396r 398v–400v blank

304

EBE 2329

401r

Μέλος ἀρχαῖον παρὰ Ἰωάννου τοῦ Γλυκέος, ἅπερ σηνετμήθησαν παρὰ Ἰωάννου Πρωτοψάλτου καὶ ψάλλονται ἐν τῇ ἱερᾷ Λειτουργίᾳ τοῦ Μεγάλου Βασιλείου· ἦχος βʹ «Ἅγιος, ἅγιος...» 405r–408r only music, with no text end of music and MS 408r Ir–XXIv blank folios Notes This is an Anthologia of the Newer Papadike. The MS is in very good condition and legible. It has a newer brown binding with gold stamps on the front and back pieces and a gold design on the spine. The text and neumes are written in black ink and red ink is used for the rubrics, modal signatures and hypostaseis. The pages average about 12 lines of text and music. The music is notated in the Chrysanthine system – a hint that would usually date a MS after 1832. However, on fol. 390r the rubric identifies the scribe as a Kyr Dionysios, a student of Gregorios Chourmouzios (one of the three teachers of the new system) and gives a date of 1817, which may or may not be the actual colophon of this MS. The MS is rich in its holdings. A summary of its contents follows: fol. 14r Vespers chants, Psalm 1 by Petros of the Peloponnese fol. 36r Kekragaria fol. 58v Stichera Anastasima fol. 66v Prokeimena fol. 72r Asmatikon Theotokion fol. 83r Doxology fol. 86v Kratema for Easter fol. 92v Liturgy for Presanctified Gifts fol. 99v Kontakion fol. 100r Akathistos hymn fol. 111v Orthros chants for Sunday fol. 113v chants for Holy Week fol. 119v Heirmologia fol. 121r Eulogetaria fol. 125r Antiphons fol. 126v Polyeleos fol. 221r Alleluia fol. 229r Pasapnoaria fol. 272r Heothina hymns fol. 305v Doxologies fol. 355v Asmatika fol. 382r Mathemata fol. 401r Liturgy for St Basil The composers represented are of the newer generation and include the following: Petros the Lampadarios, Manuel Protopsaltes, Iakovos Protopsaltes, Petros Bereketes, Chrysaphes the New, Gregorios the Lampadarios Chourmouzios, Georgios the Cretan, Byzantios and Petros of the Peloponnese.

EBE 2354 (olim Pollane 34)

305

ΕΒΕ 2354 (olim Pollane 34) ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: common Measurements: 15.2 × 10.2 cm Folios: 162 Notation: Late Round Byzantine Date: 1755 Provenance: fol. 1r has an older faded reference that this MS was once part of the collection of a priest Pollanes

1 r

Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κεκραγαρίων καὶ ἀναστασίμων τῶν στιχηρῶν· ἦχος αʹ. The Kekragaria and Anastasima chants follow according to modes. This folio has two marginal annotations. In the upper margin the following is written: Ἀναγινώσκεται μόνον. In the lower margin ‘priest-deacon’ (ἱεροδιάκονος) is found. Ἀντώνιος ἱεροδιάκονος ὁ κομι. This folio has the name of Antonios, the holy deacon, 30v written in a later script. There is an additional self-inscription on the back inside binding of the MS in which Antonios describes himself as a ‘lower deacon’. Τέλος καὶ τῷ Θεῷ δόξα· ἐτελειώθη ὡς τοὺς χίλιους ἑπτακοσίους 55 [1755] Μαΐου 9. 95r (The end, and glory to God. This [MS] was finished in 1755, 9 May.) Ἀρχὴ σὺν Θεῷ τοῦ πολυελέου καὶ τῆς κατὰ τάξιν ἀκολουθίας Ὄρθρου· ἦχος αʹ Μαθήματα 100v Ὧραι τῆς Μεγάλης Παρασκευῆς τοῦ Ἰωάννου Γλυκέος 104r Δοξαστικὰ 114r Πασαπνοάριον τοῦ Γαζῆ 115r Τὸ παρὸν κοντάκιον εἶναι πολίτικον· ἦχος πλ. δʹ 116v Εἰς τὴν Λειτουργίαν τοῦ Μέγα Βασιλείου· ἦχος πλ. δʹ 118v Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ἕνδεκα ἑωθινῶν τῶν ἀναστασίμων· ἦχος αʹ 119r «Ἐπὶ τῶν ποταμῶν Βαβυλῶνος....» 134v Πασαπνοάρια, ἦχος αʹ. Δοξαστικὰ, ἦχος αʹ 138r Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν τριῶν λειτουργιῶν μετὰ χερουβικῶν καὶ κοινωνικῶν καὶ 146v ἑτέρων· ἦχος πλ. δʹ 1805 Νοεμβρίου 8 μέρᾳ Τετράδι ἐπέθανε Ἀγγελικὴ κουνιάδα μου. This inscription 151r – probably by Antonios – indicates that on 8 Nov. 1805 his sister-in-law Angelica died. There are further documentations of deaths in this same handwriting found in the front interior binding: 26 May 1806, the son of Kostas Stephanos died. On 2 Feb. 1807 the son of Andreas Tourazes, Anastasios, died. 162r This folio has another death citation by Antonios: On 22 Aug. 1804, the daughter of Genagos Choraphas, Helen, died. 162v This folio has some Latin writing that is not consequent. end of MS and music

306

EBE 2354 (olim Pollane 34)

Notes This is a later Anastasimatarion that is in fair condition. It has a newer brownish binding but its two clasps have been destroyed. The MS has few rubrics relating to music and no composers’ names. Traditional black ink is used for neumes and text and red ink for modal signatures, rubrics and hypostaseis. There is an average of ten lines of text and music per page. The colophon on fol. 95r indicates that this MS was completed on 9 May 1755. The scribe remains anonymous, although in his various inscriptions he identifies members of his family who have died. The scribe’s many orthographic errors, mostly based on homophony, are evidence of his lower level of education. The contents of the MS are ordinary and proceed in this order: Kekragaria and Anastasima chants according to modes fol. 1r fol. 95r Polyeleos fol. 100v Mathemata fol. 104r Hours for Holy Friday by Ioannes Glykys fol. 114r Doxology fol. 115r Pasapnoaria by Gazes fol. 116v Kontakion politikon (Constantinopolitan) fol. 118v Liturgy of St Basil fol. 119r Heothina hymns fol. 138r Pasapnoaria and Doxologies fol. 146v chants of the three liturgies – Cherubic and Communion chants

EBE 2398 (olim 151)

307

ΕΒΕ 2398 (olim 151) ΕΥΑΓΓΕΛΙΣΤΑΡΙΟΝ/EVANGELIUM Type of paper: Parchment Measurements: 20.2 × 16.5 cm Folios: 274 Notation: ecphonetic Date: late 11th–12th c., with later additions Provenance: Monastery of the Forerunner in Serres, north-east of Thessalonika in northern Greece

1r–11v These opening folios contain only the text of the Gospels, not the ecphonetic neumes. Τῇ ἁγίᾳ καὶ Μεγάλῃ Κυριακῇ· ἐκ τοῦ κατὰ Ἰωάννου [sic] ... 3r Διακαινησίμων. With this folio the ecphonetic notation with red neumes begins for 12r the readings of Easter week, the Antipascha, through Pentecost. Σαββάτῳ αʹ· μετὰ τὴν νʹ · ἐκ τοῦ κατὰ Ματθαῖον 69r Ἀρχὴ τοῦ κατὰ Λουκᾶν· εὐαγγέλια, Σαββάτῳ αʹ 101v Σαββάτῳ αʹ τῶν Νηστειῶν· ἐκ τὸν κατὰ Μᾶρκον 139r This folio has a later added text without music. Written in very different and smaller 178v brown script, there is the encomium: «Ἡ ζωὴ ἐν τάφῳ...». Εὐαγγέλιον αʹ· εἰς τὸ Πάθος τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ· ἐν τὸν κατὰ Ἰωάννου. 179r This continues with other Gospel readings for the Passion of Christ. 210r Heothina chants Μηνὶ Σεπτεμβρίῳ αʹ· τοῦ Σωτήρου Πατρὸς ἡμῶν Συμεὼν· ἐκ τὸν κατὰ Λουκᾶν. This 216r section begins the Menologion portion of the MS. Μηνὶ Ὀκτωβρίῳ αʹ ... κατὰ Ματθαῖον 226v Μηνὶ Νοεμβρίῳ αʹ ... κατὰ Ματθαῖον 230v Μηνὶ Δεκεμβρίῳ ... κατὰ Μᾶρκον 231v Μηνὶ Ἰανουαρίῳ. From this folio to the end there is no music. 249r Μὴν Μάρτιος, αʹ 255r Μὴν Μάϊος, αʹ 259v 261v Μηνὶ Ἰουνίῳ αʹ Μηνὶ Ἰουλίῳ αʹ 267v end of MS 274v Notes This Evangelium has ecphonetic notation in the portions the original MS from the 11th–12th century. The overall state of the MS is in poor condition. Only a part of the original brown leather binding remains, with the weathered wood being displayed for the most part. This MS had clasps with the original binding that are now missing and part of the decorative silver studs in the front and back binding have also been destroyed. There are, however, still three of the original five studs displayed in the corners of the front binding and four of the five in the back. The MS has other peculiarities. There are two numberings: the original in the upper right-hand corner and the newer in the lower left-hand corner.

308

EBE 2398 (olim 151)

The first two folios of the MS are a later addition. These parchment folios contain text only and are in a much smaller script than the remaining MS, allowing for 28 lines on each page. Beginning with fol. 3r there is still only text but in a larger script, with 17 lines, with Gospel readings for Saturdays and Sundays for Easter week. This portion of the MS from fols 3r to 11v is still not part of the original, for it has a different black script on chartaceous paper, and appears to be even from a later date than the first two folios – perhaps even as late as the 15th or 16th century. With fol. 12r, the original part of the MS begins; the parchment has a brownish to light black text with red neumes either above or below the 18 lines. The original portion of the MS continues until fol. 249r, when the same black script without musical notation on chartaceous paper found on fols 3r–11v recurs and continues until the end of the MS at fol. 274v. The musical contents of this MS are standard for the Evangelium. The original part contains Gospel readings for Saturdays and Sundays from Pentecost to Palm Sunday. On fol. 179r the Gospel readings for the Passion of Christ begin. This continues with the eleven Heothina chants on fol. 210r. The Menologion part of the MS, where the Gospel readings are listed according to the feasts of the liturgical calendar, begins on fol. 216r for the month of September. This continues through the end, although the musical notation ceases after fol. 249r, with the feasts for the month of January.

EBE 2399 (olim 305)

309

ΕΒΕ 2399 (olim 304) ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: chartaceous Measurements: 27.7 × 19 cm Folios: II + 318 Notation: Early Middle Byzantine Date: late 13th–14th c. Provenance: Monastery of the Forerunner in Serres

Ir–IIr IIv

blank Ἐμίσσευσαν οἱ Σερριεῖς ἀπὸ τὴν πόλην Μαΐου ιβʹ. Ἐστείλαμεν τὸν σαὴ διὰ τὸ μεκτούπι Μαΐου 17 ... (The Serreans went abroad from Constantinople on 12 May. We sent the postman for the letter, 17 May.) 1r This is a later addition with black neumes set to Teretismata. 1v This is another later addition with a faded text in a black script and with Byzantine and arabic numbers. This folio has the seal of the Monastery of Serres: Σερρῶν, πρωτοσύγκελλος Σερρῶν ͵αψνγʹ, Σεπτεμβρίου αʹ· Ἔκαμα σὺν Θεῷ ἁγίῳ νὰ διαβάζω τὰ ψαλτικὰ εἰς τὸν διδάσκαλον 2r ἅγιον λαμπαδάριον· καὶ ἐν πρώτοις ἀρχίνησα στιχηράριον παλαιὸν Σεπτεμβρίου αʹ μέλος. Καὶ ἔδωσα αὐτὸν ἐν πρώτοις γρόσια 80. (1753, 1 Sept., with the help of the Lord, I have read the psalter to the teacher, the holy lampadarios. And at the first I began the old Sticherarion melody of 1 Sept. And I gave to him up front 80 groats [kuruş or piastres: 8/10 of a pound].) This statement is by a student who has used this MS. Above this inscription there also appears a shorter statement: ἀρχίνησα παπαδικὴν Ὀκτομβρίου 11 (I began a Papadike on 11 Oct.). In the same script, the following is written: ͵αψνγʹ Ὀκτωβρίου θʹ ἐστοίχησεν ὁ Μηχάλης διὰ μαγείρας τὸν χρόνον γρόσια 50· χωρὶς ἄλλον τι (1753, 9 Oct., Michael spent 50 groats for food for the year, without anything more). In addition, there are fragments of text and music scattered on this folio. 2v The top fourth of this folio has musical notation and text. 3r This is the beginning of the original portion of the MS. There is evidence that an illumination existed on the top part of this folio but has been removed. The Sticherarion begins with the feast for 1 Sept., the Indiction «Ἐπέστη ἡ εἴσοδος τοῦ ἐνιαυτοῦ...» ἦχος αʹ Μηνὶ Σεπτεμβρίῳ δʹ· τοῦ ἁγίου Βαβύλα· ἦχος πλ. βʹ 6r εʹ· τοῦ ἁγίου προφήτου Ζαχαρίου· ἦχος βʹ 6 v θʹ· τῶν ἁγίων Ἰωακεὶμ καὶ Ἄννης· ἦχος πλ. αʹ 9r ιγʹ· τὰ ἐγκαίνια τῆς Χριστοῦ ἀναστάσεως· ἦχος αʹ 9 v ιδʹ· ὕψωσις τοῦ τιμίου Σταυροῦ· ἦχος αʹ 11v ιεʹ· τοῦ ἁγίου Νικήτα· ἦχος πλ. βʹ 15r ιϛʹ· τῆς ἁγίας Εὐφημίας· ἦχος αʹ 16r κʹ· τοῦ Εὐσταθίου· ἦχος βʹ 18r κβʹ· τοῦ ἁγίου Φωκᾶ· ἦχος δʹ 19v κδʹ· τῆς ἁγίας Θέκλης· ἦχος αʹ 20r

310

22v 25r 25v 26r 27r 30r 32r 32v 33r 33v 34v 35v 37r 38r 38v 39v 40r 43r 43v 46v 48v 49r 50r 53r 54r 56v 57v 58v 60r 61r 64r 65r 66v 67r 69r 70v 71r 74v 75r 75v 76v 79r 80v

EBE 2399 (olim 305)

κϛʹ· τοῦ ἁγίου Ἰωάννου τοῦ Θεολόγου· ἦχος αʹ κζʹ· τοῦ ἁγίου Καλλιστράτου· ἦχος δʹ κηʹ· τοῦ ὁσίου Χαρίτωνος· ἦχος δʹ λʹ· Γρηγορίου τῆς μεγάλης Ἀρμενίας Μηνὶ Ὀκτωβρίῳ αʹ· τοῦ ἁγίου ἀποστόλου Ἀνανίου· ἦχος αʹ βʹ· τοῦ ἁγίου Κυπριανοῦ· ἦχος βʹ ζʹ· τῶν ἁγίων Σεργίου καὶ Βάκχου· ἦχος αʹ ηʹ· τῆς ὁσίας Πελαγίας· ἦχος δʹ θʹ· τοῦ ἁγίου Ἰακώβου τοῦ Ἀλφαίου· ἦχος δʹ ιʹ· τῶν ἁγίων Εὐλαμπίου καὶ Εὐλαμπίας· ἦχος δʹ ιβʹ· τῶν ἁγίων Πρόβου, Ταράχου, καὶ Ἀνδρονίκου· ἦχος αʹ ιδʹ· τῶν ἁγίων Ναζαρίου, Γερβασίου, Προτασίου, καὶ Κελσίου· ἦχος πλ. δʹ ιηʹ· τοῦ ἁγίου Λουκᾶ· ἦχος δʹ κʹ· τοῦ ἁγίου Ἀρτεμίου· ἦχος βʹ καʹ· τοῦ ὁσίου Ἱλαρίωνος τοῦ Μεγάλου· ἦχος βʹ κγʹ· τοῦ ἁγίου Ἰακώβου τοῦ Ἀδελφοθέου· ἦχος αʹ κδʹ· τοῦ ἁγίου Ἀρέθα καὶ τῆς συνοδίας αὐτοῦ· ἦχος δʹ κεʹ· τοῦ ἁγίου Μαρκιανοῦ· ἦχος γʹ κϛʹ· τοῦ ἁγίου Δημητρίου· ἦχος αʹ λʹ· τῶν ἁγίων Ζηνοβίου καὶ Ζηνοβίας· ἦχος πλ. βʹ Μὴν Νοέμβριος αʹ· τῶν ἁγίων Κοσμᾶ καὶ Δαμιανοῦ· ἦχος αʹ βʹ· τοῦ Ἁκινδύνου, Πηγασίου, καὶ Ἐλπιδηφόρου· ἦχος αʹ γʹ· τῶν ἁγίων Ἀκεψιμᾶ, Ἀειθαλᾶ, καὶ Ἰωσήφ· ἦχος βʹ σʹ· τοῦ ὁσίου Παύλου· ἦχος αʹ ηʹ· ἡ σύναξις τοῦ Μιχαήλ· ἦχος αʹ ιαʹ· τῶν ἁγίων Μηνᾶ, Βίκτωρος, καὶ Βικεντίου· ἦχος αʹ ιβʹ· τοῦ ὁσίου Ἰωάννου τοῦ Ἐλεήμονος· ἦχος βʹ ιγʹ· τοῦ Ἰωάννου τοῦ Χρυσοστόμου· ἦχος αʹ ιδʹ· τοῦ ἁγίου Φιλίππου· ἦχος βʹ ιεʹ· τοῦ Γουρία, Σαμωνᾶ, καὶ Ἀβίβου· ἦχος βʹ ιζʹ· τοῦ Ματθαίου· ἦχος βʹ ιζʹ· τοῦ Γρηγορίου· ἦχος δʹ ιηʹ· τοῦ ἁγίου Πλάτωνος· ἦχος πλ. βʹ κδʹ· τοῦ ἁγίου Κλήμεντος (no mode) κεʹ· τῆς ἁγίας Αἰκατερίνης· ἦχος δʹ κζʹ· τοῦ ἁγίου Ἰακώβου τοῦ Πέρσου· ἦχος βʹ κηʹ· τοῦ ἁγίου Στεφάνου τοῦ Νέου· ἦχος πλ. βʹ λʹ· τοῦ ἁγίου Ἀνδρέου· ἦχος αʹ Μὴν Δεκέμβριος, δʹ· τῆς ἁγίας Βαρβάρας· ἦχος αʹ εʹ· τοῦ ὁσίου Σάβα· ἦχος βʹ σʹ· τοῦ ἁγίου Νικολάου· ἦχος αʹ θʹ· ἡ σύλληψις τῆς ἁγίας Ἄννης· ἦχος βʹ ιαʹ· τοῦ Δανιὴλ τοῦ Στυλίτου· ἦχος πλ. αʹ ιβʹ· τοῦ ὁσίου Σπυρίδωνος· ἦχος αʹ ιγʹ· τῶν ἁγίων Εὐστρατίου, Αὐξεντίου, Εὐγενίου, Μαρδαρίου, καὶ Ὀρέστου· ἦχος αʹ ιζʹ· τοῦ ἁγίου Δανιὴλ καὶ τῶν τριῶν παίδων· ἦχος βʹ κβʹ· τῆς ἁγίας Ἀναστασίας· ἦχος βʹ

EBE 2399 (olim 305)

311

81r κγʹ· τῶν ἁγίων ιʹ μαρτύρων τῶν ἐν Κρήτῃ· ἦχος βʹ 87r This folio has seven added lines of text and music written in a smaller script in the lower margin. κεʹ· ἡ Χριστοῦ γεννήσεως· ἦχος αʹ 90v κζʹ· τοῦ ἁγίου Στεφάνου· ἦχος αʹ 97v κθʹ· τῶν ἁγίων νηπίων· ἦχος αʹ 99r Μὴν Ἰανουάριος, αʹ· ἡ περιτομὴ τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ· ἦχος πλ. δʹ 99v Στιχηρὰ προεόρτια τῶν φώτων· ἦχος αʹ 103r Τροπάρια τῶν φώτων· ἦχος πλ. δʹ 106r σʹ· τὰ ἅγια θεοφάνεια· ἦχος αʹ 109r ζʹ· τοῦ ἁγίου προφήτου Προδρόμου· ἦχος δʹ 114r θʹ· τοῦ ἁγίου Πολυεύκτου· ἦχος αʹ 114v ιʹ· τοῦ Γρηγορίου Νύσσης· ἦχος αʹ 115r ιαʹ· τοῦ ὁσίου Θεοδοσίου τοῦ Κοινοβιάρχου· ἦχος βʹ 115v ιδʹ· τῶν ἁγίων Ἀββάδων· ἦχος πλ. δʹ 116v ιεʹ· τοῦ ὁσίου Ἰωάννου τοῦ Καλυβίτου· ἦχος βʹ 117r ισʹ· ἡ προσκύνησις τῆς τιμίας ἁλύσεως· ἦχος δʹ ιζʹ· τοῦ ὁσίου Ἀντωνίου· ἦχος βʹ 118r ιηʹ· τοῦ ἁγίου Ἀθανασίου· ἦχος γʹ 120r ιθʹ· τοῦ ὁσίου Μακαρίου τοῦ Αἰγυπτίου· ἦχος πλ. δʹ 121r κʹ· τοῦ ὁσίου Εὐθυμίου τοῦ Μεγάλου· ἦχος βʹ 121v κβʹ· τοῦ ἁγίου Τιμοθέου καὶ τοῦ ἁγίου Ἀναστασίου· ἦχος αʹ 122v κγʹ· τοῦ ἁγίου Κλήμεντος· ἦχος αʹ 123v κεʹ· τοῦ ἁγίου Γρηγορίου τοῦ Θεολόγου· ἦχος αʹ 124r κζʹ· τῶν Λειψάνων τοῦ Ἰωάννου τοῦ Χρυσοστόμου· ἦχος αʹ 125v κηʹ· τοῦ ὁσίου Εὐφραὶμ τοῦ Σύρου· ἦχος αʹ 126r Μηνὶ Φεβρουαρίῳ αʹ· τοῦ ἁγίου Τρύφωνος· ἦχος βʹ 127r βʹ· ἡ ὑπαπαντὴ τοῦ Ἰησοῦ Χριστοῦ· ἦχος αʹ. (This folio has a marginal annotation in a 127v smaller script.) εʹ· τῆς ἁγίας Ἀγάθης· ἦχος πλ. δʹ 131r θʹ· τοῦ ἁγίου Νικηφόρου· ἦχος πλ. βʹ ιαʹ· τοῦ ἁγίου Βλασίου· ἦχος δʹ 131v ιγʹ· τοῦ ὁσίου Μαρτιανοῦ· ἦχος βʹ 132r 132v ιδʹ· τοῦ ὁσίου Αὐξεντίου· ἦχος πλ. δʹ κδʹ· ἡ τρίτη εὕρεσις τῆς τιμίας κεφαλῆς τοῦ Προδρόμου· ἦχος βʹ 133r Μηνὶ Μαρτίῳ αʹ· τῆς ἁγίας Εὐδοκίας· ἦχος πλ. βʹ 134r ςʹ· τῶν ἐν Ἀμορίῳ 42 μαρτύρων· ἦχος βʹ θʹ· μνήμη τῶν ἁγίων 40 μαρτύρων τῶν ἐν Σεβαστίᾳ· ἦχος αʹ 134v κεʹ· ὁ εὐαγγελισμὸς τῆς Θεοτόκου· ἦχος αʹ 136r Μηνὶ Ἀπριλίῳ αʹ· τῆς ὁσίας Μαρίας τῆς Αἰγυπτίας· ἦχος βʹ 139r κγʹ· τοῦ ἁγίου Γεωργίου· ἦχος αʹ 139v κεʹ· τοῦ ἁγίου Μάρκου· ἦχος πλ. βʹ 142r Μηνὶ Μαΐῳ ζʹ· ἡ ἀνάμνησις τοῦ Σημεὼν τοῦ ἐν οὐρανῷ φανέντος· ἦχος πλ. δʹ 142v κδʹ· τοῦ ὁσίου Συμεὼν ἐν τῷ θαυμαστῷ ὄρει· ἦχος βʹ 144r Μηνὶ Ἰουνίῳ ηʹ· τοῦ ἁγίου Θεοδώρου τοῦ Στρατηλάτου· ἦχος πλ. αʹ 144v ιαʹ· τοῦ ἁγίου Βαρναβᾶ καὶ Βαρθολομαίου· ἦχος πλ. βʹ 145r ιδʹ· τοῦ ἁγίου Μεθοδίου (no mode)

312

EBE 2399 (olim 305)

146r 146v 147r 151v 157r 160v 162r 162v 165v 166r 168r 169r 171r

ιζʹ· τῶν ἁγίων μαρτύρων Μανουὴλ, Σαβὲλ, καὶ Ἰσμαὴλ· ἦχος πλ. δʹ ιηʹ· τοῦ ἁγίου Λεοντίου· ἦχος αʹ καʹ· τοῦ ἁγίου Ἰουλιανοῦ· ἦχος Νανα κδʹ· τὸ γεννήσιον τοῦ Προδρόμου Ἰωάννου· ἦχος αʹ κθʹ· τῶν ἁγίων Πέτρου καὶ Παύλου· ἦχος αʹ Μηνὶ Ἰουλίῳ, βʹ· τὰ καταθέσια τῆς ἐσθῆτος τῆς Θεοτόκου· ἦχος βʹ ηʹ· τοῦ ἁγίου Προκοπίου· ἦχος αʹ ιεʹ· τῶν ἁγίων Κηρύκου καὶ Ἰουλίττης· ἦχος αʹ ιζʹ· τῆς ἁγίας Μαρίνας· ἦχος αʹ κʹ· τοῦ ἁγίου προφήτου καὶ θεόπτου Ἠλιοῦ· ἦχος αʹ κβʹ· τῆς ἁγίας Μαρίας τῆς Μαγδαληνῆς· ἦχος πλ. βʹ κδʹ· τῆς ἁγίας Χριστίνης· ἦχος αʹ κεʹ· ἡ κοίμησις τῆς ἁγίας Ἄννης· ἦχος πλ. δʹ κζʹ· τοῦ ἁγίου Παντελεήμονος· ἦχος αʹ Μηνὶ Αὐγοῦστῳ αʹ· τῶν ἁγίων ἑπτὰ Μακκαβαίων καὶ τῆς μητρὸς αὐτῶν Σολομόνης καὶ τοῦ διδασκάλου αὐτῶν Ἐλεαζάρου· ἦχος αʹ ςʹ· ἡ μεταμόρφωσις τοῦ Ἰησοῦ Χριστοῦ· ἦχος αʹ 172v ιεʹ· ἡ κοίμησις τῆς ὑπεραγίας ἡμῶν θεοτόκου· ἦχος αʹ 177v κβʹ· τοῦ ἁγίου Ἀγαθονίκου· ἦχος αʹ 182v κϛʹ· τῶν ἁγίων Ἀνδριανοῦ καὶ Ναταλίας· ἦχος αʹ 183r λαʹ· τῆς τιμίας ζώνης τῆς Θεοτόκου· ἦχος βʹ 188r 189r End of the Sticherarion portion of the MS. 189v This folio has a Kratema that is a later addition. 189ar–v blank – an error in numbering Τῆς ἁγίας μʹ [Τεσσαρακοστής], ἀπὸ τοῦ Τελώνου καὶ τοῦ Φαρισαίου. The top quarter of 190r this folio has a red Byzantine border encompassing the rubric. Στιχηρὰ ψαλλόμενα εἰς τὴν προσκύνησιν τοῦ τιμίου καὶ ζωοποιοῦ Σταυροῦ· ἦχος βʹ 218r Τροπάρια Στροφανὼς Μωϋσῆς ( the twisted/encircling troparia, in the manner of 224v Moses) · ἦχος γʹ «Ὁ δοὺς ἡμῖν τῆς νηστείας ...» Τροπάρια τῶν ὡρῶν τα ιβʹ τοῦ Σοφρονίου Ἱεροσολύμων· τῇ ἁγίᾳ καὶ μεγάλῃ 274r Παρασκευῇ· ἦχος πλ. δʹ Ἐλθόντος μου εἰς τὸ μοναστήριον ἐπὶ ἔτους ζμγʹ, εἰς πειρασμὸν ἐπὶ ἔτους ζναʹ· 311v ἐχειροτονήθην εἰς πάντας τοὺς ἔτους (with two icons of the crucifix symbolizing death). (Having come to the monastery in the year 7043 [anno mundi = ad 1535], I fell into temptation in the year 7051 [=1543]. I had been ordained for all those years.) This inscription is a later addition to the MS. [The folios near the end are difficult to read and not well marked.] 318r–v This folio is torn vertically in half. MS ends Notes This is a rich Sticherarion from either the late 13th or first half of the 14th century. This MS is important for the many feast days represented for each month; it contains far more feasts than the average Sticherarion. The MS is in poor condition with missing and/or torn folios towards the end. In fact, fol. 318 has been torn vertically in half. Also, there is much water damage throughout the MS. The folios near the end are not marked well and are extremely difficult to read. The binding is a faded light

EBE 2399 (olim 305)

313

brown colour and its spine has been rebound. The red rubrics are faded and difficult to read. The colour of the neumes is a reddish brown shade and the text is in a light black hue. There is an average of 20 lines of text and music per page. Errors in numbering occur on fols 125 and 189, where the additional folio is distinguished from its numbered duplicate with an ‘a’. Other discrepancies are that the MS proper commences on fol. 3r; the preceding two folios are later additions. The contents include the identification of major feasts with their appropriate calendar dates and modes for the stichera. However, no composers’ names are designated. The Menologion section of the MS occupies fols 3r–189r. The lists of months are as follows: fol. 3r fol. 26r fol. 43v fol. 69r fol. 99v fol. 127r fol. 134r fol. 139r fol. 142v fol. 144v fol. 157r fol. 171r

1 September 1 October 1 November 4 December 1 January 1 February 1 March 1 April 7 May 8 June 2 July 1 August

The Triodion and Pentecostarion sections of the MS continue on fol. 190r and comprise the following: fol. 218r Stichera for the Elevation of the Cross fol. 224v Troparia of Moses fol. 274r Troparia for Holy Friday Hours by Sophronios of Jerusalem

314

EBE 2401 (olim 456)

ΕΒΕ 2401 (olim 456) ΠΑΠΑΔΙΚΗ/PAPADIKE Type of paper: chartaceous Measurements: 21.3 × 14 cm Folios: 329 Notation: Middle Round Byzantine Date: 15th c. Provenance: probably from the Monastery of the Forerunner in Serres

1r 2r

Τερερίσματα Εἰς τὴν κοίμησιν τῆς Θεοτόκου· ποίημα τοῦ Ἰωάννου λαμπαδαρίου· ἦχος δʹ «Ἄγγελοι τὴν κοίμησιν τῆς πανάγνου…» Εἰς τὴν ὑπεραγίαν θεοτόκου· τοῦ Κορώνη «Διάσωσον ἀπὸ κινδύνους…» [mode 3v unclear] Ἠχήματα ψαλλόμενα κατ’ ἦχον 5r Ἀρχὴ τῶν κρατημάτων (Echemata continued with tererismata) 6r blank 8 v Παραλλαγὴ τῶν ὀκτὼ ἤχων πάνυ ὠφέλιμος καὶ ἐντεχνοτάτη· ὠφελιμοτάτη ἑρμηνεία 9r τῆς αὐτῆς παραλλαγῆς Μαρτυρίαι (for the modes that descend and ascend) 10r Θὰ ἔρχεσαι ἵνα εὕρῃς ὃν ἐκρεατοῖς [sic, obsc.] ἦχον καὶ οὐχ εὑρίσκεις αὐτόν· εὑρίσκεις δὲ πλ. αʹ · γίνεται δέ οὕτως εἰς ὅλους τοὺς ἤχους. Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς Παπαδικῆς Τέχνης· Ἀκολουθία ψαλλομένη ἐν 11r Κωνσταντινουπόλει συντεθεῖσα παρὰ τῶν κατὰ καιροὺς εὑρισκομένων εἰς αὐτήν, ποιητῶν παλαιῶν τε καὶ νέων· ἡ ἀρχὴ, μέση, τέλος· σημάδια καὶ αἱ τούτων φωναί. (The beginning, with God’s holy grace, of the Papadike Techne. The repertory chanted in Constantinople, composed by poets old and new who were found therein at various times, whereof the beginning, middle and end are the neumes and their pitches.) Ταῦτά σοι τὰ κατιόντα σημάδια. Aἱ τούτων φωναὶ ἐξ αὐτῶν. 11v Ταῦτά εἰσι τὰ ἄφωνα. Τούτων μὲν αἱ χειρονομίαι. 12r 13r Ἀρχὴ τῶν ἀνιουσῶν φωνῶν· μετὰ τῶν κατιουσῶν Ἀρκτέον: ἡ αὐτὴ μέθοδος τῆς χειρονομίας πάνυ συντομοτέρα διὰ τοὺς ἀμαθεῖς «Ἴσον, 14v ὀλίγον, ὀξεῖα…» Καὶ ἐφευρετικὸς χειρονομίαν… παρὰ Μαΐστορος κυρίου Ἰωάννου τοῦ Κουκουζέλη 15r Echemata according to modes follow. Ἦχος Νενανω, τοῦ Ξηροῦ «Ἅγιοι πάντες βοηθήσατε ἐμοῖ…» 17v Ἰωάννου τοῦ Ξηροῦ «Κύριε Ἰησοῦ Χριστὲ ὁ Θεὸς ἡμῶν…» 18r Ἕτερον ποίημα Θεσσαλονικαῖον Τοῦ Κορώνη· ἦχος δʹ «Εν τῷ θλίβεσθαί με εἰσάκουσόν μου…» Σημάδια χειρονομιστὰ ψαλλόμενα κατ’ ἦχον μετὰ πάσης χειρονομίας καὶ συνθέσεως 18v ποιηθέντα παρὰ κυρίου Ἰωάννου Κουκουζέλη. (This is the Koukouzeles ‘School Song’ of the Papadike and includes a faded second melody.) «Ἴσον, ὀλίγον, ὀξεῖα…» Στίχος ψαλλόμενος περιέχων καὶ τοὺς ὀκτὼ ἤχους· ποίημα τοῦ Πρωτοψάλτου κὺρ 20r Ἰωάννου τοῦ Γλυκέως· ἦχος αʹ

EBE 2401 (olim 456)

20v 21r 25v 26r 26v 27v 28v 29r

29v 30r 30v

31r 31v 32r

315

῾Η κυρίως μετροφωνία τῆς παραλλαγῆς Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν μικρῶν προκειμένων μετὰ καὶ τῶν μικρῶν δοχῶν καὶ τῶν μεγάλων, τῇ Κυριακῇ Ἑσπέρας, ὁ ἀναγνώστης· ἦχος αʹ «Ανες … Ἰδοὺ δὴ εὐλογεῖτε τὸν Κύριον…» The Prokeimena progress according to modes. Ἦχος πλ. α´ «Οἱ ἐστῶτες ἐν οἵκῳ Κυρίου…» Ἦχος πλ. α´ «Ἐν ταῖς νυξὶ…» Ἡ μικρά δοχή· ἦχος πλ. α´ «Ἰδοὺ δὴ εὐλογεῖτε τὸν Κύριον…» Ἡ μεγάλη δοχή ἀπὸ χοροῦ· ἦχος πλ. α´ «Ἰδοὺ δὴ εὐλογεῖτε…» Ἕτερα προκείμενα καὶ αὐτὰ λυχνικὰ μετὰ τῶν μικρῶν καὶ μεγάλων δοχῶν ἐστίν· ψάλλονται τῇ ἁγίᾳ καὶ μεγάλῃ Κυριακῇ τοῦ Πάσχα· ἀλλὰ δὲ καὶ εἰς ἑτέρας μεγάλους δεσποτικοὺς ἑορτὰς τῇ Κυριακῇ Ἑσπέρας· ἦχος βαρὺς Τῇ Δευτέρᾳ τῆς Διακαινησίμου Ἑσπέρας· ψάλλεται δε τῆς ἀναλήψεως τῆς Μεταμορφώσεως· ἦχος βαρὺς Τῇ Τετάρτῃ τῆς Διακαινησίμου· ἕτερον στίχον Τῇ Παρασκευῇ τῆς Διακαινησίμου· ἂν λέγεται δὲ μία ἄλλον τῇ βʹ Κυριακῇ τῶν νηστειῶν τῆς ἁγίας ἡμέρας· λέγεται δὲ μίαν Κυριακὴν τοῦτο καὶ ἄλλην τὸ, «Μὴ ἀποστρέψῃς» ἦχος πλ. δʹ. Τῇ Κυριακῇ τῆς Τυροφάγου… Ἕτερα προκείμενα· στιχηρὰ ψάλλονται εἰς τὰς ῾Υπεραγίας τῆς Θεοτόκου· ποίημα τοῦ τιμιωτάτου ἐν ἱερομονάχοις κυροῦ Μάρκου· ἦχος αʹ Ἕτερον … ποίημα τοῦ τιμιωτάτου ἐν ἱερομονάχοις κυροῦ Γαβριήλ· ἦχος πλ. δʹ. Ἀρχὴ σὺν Θεῷ ἁγίῳ … τὸ, «Κύριε ἐκέκραξα» κατ’ ἦχον σὺν τὸ, «Δόξα»· καὶ τὸ, «Θεὸς Κύριος» σὺν τὸ, «Ἀλληλούϊα», … λέγεται τῇ ἁγίᾳ καὶ μεγάλῃ μʹ [40 Day Lent] ἀντὶ τὸ, «Θεὸς Κύριος». Καὶ μετὰ τὸ, «Πᾶσα πνοὴ» τὸ μοναστηριακὸν καὶ τὸ, «Αἰνεῖτε». Καὶ ἑτέρας ἀκολουθίας τοῦ Ὄρθρου. (Begin with the holy God the ‘Kekragarion’ according to modes with the ‘Doxology’ and the ‘Theos Kyrios’ with the ‘Alleluia’, which is chanted for the Holy and Great Lent instead of the ‘Theos Kyrios’. And after the monastic ‘Pasapnoarion’ and the ‘Aineite’. And other repertories of Orthros.) Προκείμενον εἰς τὴν Θεοτόκον παρὰ Μανουὴλ Γαζῆ τοῦ λαμπαδαρίου Μετὰ δὲ τὴν ὀγδόην ᾠδήν· ψάλλομεν «Τὴν Τιμιωτέραν» ἀπὸ χοροῦ· Ὁ ἱερεύς· ἦχος πλ. β´ «Τὴν Θεοτόκον ἐν ὕμνοις μεγαλύνομεν…» Ὁ δομέστικος· ἦχος πλ. β´ «Μεγαλύνει ἡ ψυχή μου τὸν Κύριον… Τὴν Τιμιωτέραν…» Ὁ ἕτερος χορὸς ἄλλον στίχον εἰς τὸ αὐτὸ μέλος· ἦχος πλ. β´ «Ὅτι ἐπέβλεψεν ἐπὶ τὴν ταπείνωσιν…» Καὶ λέγονται τέσσαρες στίχοι εἰς τὸ μέλος τοῦτο. Πεντηκοστάριον τοῦ ἁγίου καὶ μεγάλῃ Κυριακῇ τοῦ Πάσχα· ποίημα τοῦ Μαΐστρου κυρίου Νικολάου τοῦ Κουκουμᾶ· ἦχος δʹ Τῇ ἁγίᾳ καὶ μεγάλη μʹ εἰς τὸ μέγα Ἀπόδειπνον· ἦχος δ´· ποίημα κὺρ Μανουὴλ Γαζῆ τοῦ λαμπαδαρίου «Ἡ ἀσώματος φύσις τῶν χερουβίμ…» Εἶτα ψάλλονται τὰ ἐπίλοιπα γράμματα εἰς τὸ αὐτὸ μέλος, ἕτερον δὲ τὸ τέλος τοῦτο· ἦχος δʹ/πλ. δʹ «Ἅγιε, ἅγιε, ἅγιε, τρισάγιε Κύριε…». Both of the chants on this folio have double (simultaneous) melodies: one notated with black neumes and the other in red. This is one of several polyphonic examples in this manuscript. Ἀρχὴ σὺν Θεῷ τὸ, «Κύριε ἐκέκραξα…». Kekragaria according to modes with the Doxology and other chants of Orthros, beginning with Mode I «Θεὸς Κύριος» Ἦχος α´ «Μεγάλυνον, ψυχή μου, τὴν τιμιωτέραν…» Τοῦτο λέγεται παρὰ τῶν μοναχῶν εἰς τοὺς αἴνους· ἦχος α´ «Πᾶσα πνοή…»

316

32r–v 33v 34v 35r 35v 36v 37r 38v 39v 40r 42v 44v 45v 46v

47r 47v 47v-48v 49r 49v 50v 51r 51v 53r 53v 54r 54v 55r 57r 57v 58r 58v

EBE 2401 (olim 456)

εἰς τοὺς αἴνους λέγουν οἱ λαϊκοὶ τοῦτο· ἦχος αʹ «Αἰνεῖτε τὸν Κύριον…» «Δόξα πατρί…» Ἦχος Νενανες «Κύριε ἐκέκραξα…» This is another notated double melody. Τῶν φώτων· ἦχος πλ. βʹ «Μεγάλυνον ψυχή μου, τὸν ἐν Ἰορδάνῃ…» Εἰς τὸν ῎Ορθρον· ἀπὸ χοροῦ «Θεὸς Κύριος…» «Ἀλληλούϊα…» Μεγαλυνάρια εἰς τὴν Ὑπαπαντὴν τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ (2 Feb.). Music is not written, only text. More texts follow with an attribution to Patriarch Filotheos: Πατριάρχου Κυρίου Φιλοθέου Music resumes with «Ἀκατάληπτόν ἐστι τὸ τελούμενον…» «Ἅγιος ὁ Θεός…» «Πᾶσα πνοή…», «Αἰνεῖτε…» and other chants from Orthros according to the octoechos Ἕτερον σύντομον «Θεὸς Κύριος…» Εἰς τὸν Εὐαγγελισμὸν «Εὐαγγελίζου γῆ χαρὰν μεγάλην…» Εἰς τὴν Κοίμησιν «Ἄγγελοι τὴν κοίμησιν…» Μετὰ τὴν ἐνάτην ᾠδὴν «Ἅγιος Κύριος Θεὸς ἡμῶν…» Εἰς τῶν Ἑωθινῶν Τριαδικὸν «Ἀλληλούϊα…Ἀσωμάτοις στόμασιν, ἀσιγήτοις…» Εἰς τὸ Ἑωθινὸν «Δόξα Πατρί…» Εἰς τὸν Χρυσόστομον Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ Μεγάλου Ἑσπερινοῦ· ποιηθέντων παρὰ διαφόρων ποιητῶν· ἀρχόμεθα οὖν τὴν τοιαύτην ἀκολουθίαν, ἥσυχα καὶ ἀργὰ, μετὰ πάσης πρᾳότητος, προθυμίας τε καὶ εὐλαβείας, καθὼς διατάττεται καὶ ὁ Ἱεροσολυμίτης. Τοῦτο δὲ λέγεται δίχορον· ὁ α´ δομέστικος τοῦ δεξιοῦ χοροῦ μετὰ τοῦ λαοῦ αὐτοῦ, ἄρχεται τὸ, «Δεῦτε προσκυνήσωμεν», λέγοντες αὐτὸ ἐκ τρίτου· πρῶτον χαμηλά, τὸ β´ ὑψηλότερα καὶ τὸ γ´ μέση φωνήν. This rubric has an ornamented Byzantine border design framing the top part. Ὑψηλότερα … ·ἦχος πλ. δʹ «Δεῦτε, προσκυνήσωμεν…» «Ἀνοίξαντος δέ σου τὴν χεῖρα τὰ σύμπαντα…» (Ps. 103) The lower margins of these folios include directives in a newer script. Τοῦ Μαΐστρου «Ἄσωμεν τῷ Κυρίῳ ἐν τῇ ζωῇ μου…» ͅ Τοῦ Ἀγάθωνος Μοναχοῦ τοῦ Κορώνη «Ἄσωμεν τῷ Κυρίῳ ἐν τῇ ζωῇ μου…». (A newer script has been added to the left-hand margin.) Τοῦ Κοντοπέτρου «Ἡδυνθείη αὐτῷ ἡ διαλογή μου…». (The right-hand margin has a newer script.) Κὺρ Ξένου τοῦ Κορώνη «Ἐκλίποισαν ἁμαρτωλοὶ ἀπὸ τῆς γῆς…» (Another newer script is in the right-hand margin.) Τοῦ λαμπαδαρίου (Newer script in right-hand margin) Κὺρ Ἀθανάσιος ἱερομόναχος «Εὐλόγει ἡ ψυχή μου τὸν Κύριον…» Κὺρ Ἰωσὴφ ἱερομόναχος «Εὐλόγει ἡ ψυχή μου τὸν Κύριον…» Κυρίου Ἰωάννου τοῦ λαμπαδαρίου «Ἔθου σκότος καὶ ἐγένετο νύξ…». (Right-hand margin has a newer addition.) Κὺρ Γαβαλᾶς δομέστικος «Ὡς ἐμεγαλύνθη τὰ ἔργα σου, Κύριε…» Ποίημα ἀρχαῖον «Πάντα ἐν σοφίᾳ ἐποίησας…» The first stasis of the first Kathisma begins (Psalm 1).

EBE 2401 (olim 456)

58v–59r 59r

59v 60r 60v 61r 61v 62v 63r 63v 64v 65r 65v 66v 67v 68v 69v 70r 70v 71r 71v 72r 72v 73r 73v 74v 75r

317

Πληροθέντων δὲ τούτων, εὐθὺς ποιεῖ ὁ ἱερεὺς τὴν Μεγάλην Συναπτήν· καὶ μετὰ τὴν ἐκφώνησιν … ὁ κανονάρχος μετάνοιαν, τὸν ἕτερον δομέστικον τοῦ δευτέρου χοροῦ ἄρχονται τὸ, «Μακάριος ἀνὴρ», γεγονωτέραν τὴν φωνὴν εἰς διπλασμόν. «Μακάριος ἀνήρ…» The settings for Ps. 1 are categorized according to modes. More importantly is the rubric ‘εἰς διπλασμόν’ that refers to the double melodies distinguished by red and black. (There are also newer scholia in the right-hand and lower margins of this folio.) Τοῦ Κορώνη· ἦχος πλ. δʹ«Ὃ τὸν καρπὸν αὐτοῦ δώσει…» Τοῦ λαμπαδαρίου «Ἐν καιρῷ αὐτοῦ…» (newer right-hand marginalia) Κυρίου Ἰωάννου τοῦ λαμπαδαρίου «Κατευοδωθήσεται…» Τοῦ Κορώνη «Ἀλλ᾽ ἢ ὡς ὁ χνοῦς…» (newer lower and right-hand marginalia directives) Τοῦ Μαΐστρου [?] «Ἀπὸ προσώπου τῆς γῆς…» Τοῦ λαμπαδαρίου «Ἀλλ᾽ ἢ ὡς ὁ χνοῦς…» Τοῦ Κορώνη «Οὐ δὲ ἁμαρτωλοὶ ἐν βουλῇ…» (newer marginalia) Τοῦ Ἀγαλλιανοῦ «Καὶ ὁδὸς ἀσεβῶν…» Τοῦ λαμπαδαρίου «Καὶ ὁδὸς ἀσεβῶν…» Κυρίου Ἰωάννου τοῦ Ξηροῦ «Καὶ ὁδὸς ἀσεβῶν…» Beginning of Ps. 2 «Ἵνα τί ἐφρύαξαν ἔθνη…» Τοῦ Γλυκέως «Τοὺς δεσμοὺς αὐτῶν…» Τοῦ Μαΐστρου «Ἐκγελάσεται αὐτούς…» Τοῦ Κορώνη [?] «Ἐγὼ δὲ κατεστάθην…» Τοῦ Μαΐστρου [?]· ἦχος πλ. δʹ «Διαγγέλλων τὸ πρόσταγμα…» Τοῦ λαμπαδαρίου «Τὸ πρόσταγμα…» Τοῦτο Σγουροπούλου «Ἐγὼ σήμερον γεγέννηκά σε…» Τοῦ Γεωργίου τοῦ Σγουροπούλου «Ποιμανεῖς αὐτοὺς ἐν ῥάβδῳ…» Τοῦ Κορώνη «Ὡς σκεῦος κεραμέως…» Τοῦ Κουκουζέλη «Οἱ κρίνοντες τὴν γῆν…» Τοῦ Παναρέτου «Παιδεύθητε, πάντες οἱ κρίνοντες…» Τοῦ Βασιλείου [?] «Παιδεύθητε, πάντες οἱ κρίνοντες…» Κυρίου Γεωργίου Σγουροπούλου· ὁ δομέστικος «Ὅταν ἐκκαυθῇ ἐν τάχει…» Στάσις τρίτη· ὁ δομέστικος τοῦ ἀριστεροῦ χοροῦ· ἀρχὴ τὴν τρίτην στάσιν· ἦχος πλ. δ´ «Κύριε, τί ἐπληθύνθησαν…» (Ps. 3) Παλαιὸν «Πολλοὶ λέγουσιν τῇ ψυχῇ…» Τοῦ Μαΐστρου «Σὺ δέ, Κύριε, ἀντιλήμπτωρ…» Τοῦ Δοκειανοῦ· ἦχος πλ. δʹ «Ἐκέκραξα…» Τοῦ Κορώνη· ἦχος πλ. δʹ «Ἐγὼ ἐκοιμήθην καὶ ὕπνωσα…» Παλαιὸν «Ἐγὼ ἐκοιμήθην καὶ ὕπνωσα …» Παλαιὸν «Καὶ ὕπνωσα…» Κυρίου Γεωργίου Σγουροπούλου «Ἐγὼ ἐκοιμήθην καὶ ὕπνωσα…» Τοῦ Μαΐστρου· ἦχος πλ. δʹ «Ἐξηγέρθην, ὅτι Κύριος…» Τοῦ Μαΐστρου «Οὐ φοβηθήσομαι ἀπὸ μυριάδων λαοῦ…» Τοῦ Δοκειανοῦ «Ἀπὸ μυριάδων λαοῦ…» Τοῦ Μαΐστρου Κυρίου Ἰωάννου· ἦχος πλ. δʹ «Οὐ φοβηθήσομαι ἀπὸ μυριάδων λαοῦ…» Τοῦ αὐτοῦ· ἦχος πλ. δʹ «Τῶν κύκλῳ ἐπιτιθεμένων…» Παλαιὸν «Ἀνάστα, Κύριε, σῶσόν με…» «Δόξα πατρί… Καὶ νῦν καὶ ἀεί… Ἀλληλούϊα…»

318

76r 77r 77v 78r 78v 79r 79v 80r 80v 81r 81v 82r 82v 83r 83v 84r 84v 85r 86r 86v

EBE 2401 (olim 456)

Ἕτερον «Δόξα»· ἦχος Νανα (ensues with the setting) «Καὶ νῦν…». Both settings have red neumes above the black notation and are simultaneous double melodies. Πολυέλεος ψαλλόμενος ἐν Κωνσταντινουπόλει καὶ ἐν ὅλῳ τῷ κόσμῳ· ποιήματα διαφόρων ποιητῶν παλαιῶν τε καὶ νέων (chanted antiphonally between two choirs)· ἧχος α´ «Δοῦλοι Κύριον…» «Αἰνεῖτε τὸ ὄνομα Κυρίου…» «Οἱ ἑστῶτες ἐν οἴκῳ…» Τοῦ Μαΐστωρ· ἦχος βʹ«Ὅτι τὸν Ἰακὼβ ἐξελέξατο…» Τοῦ Λατρινοῦ· ἦχος βʹ«Ὅτι τὸν Ἰακὼβ ἐξελέξατο…» Τοῦ Μαΐστωρ «᾽Ισραὴλ εἰς περιουσιασμόν…» Τοῦ Μυστάκωνος «Ἐν τῷ οὐρανῷ…» [?] «Ἐν ταῖς θαλάσσαις…» Τοῦ Δοκειανοῦ «Ἀνάγων νεφέλας ἐξ ἐσχάτου…» Τοῦ Κορώνη «Ἀστραπὰς εἰς ὑετόν…» Τοῦ Μυστάκωνος «Ὁ ἐξάγων ἀνέμους…» Τοῦ Λατρινοῦ «Ὣς ἐπάταξεν τὰ πρωτότοκα…» Τοῦ Λατρινοῦ «Ἀπὸ ἀνθρώπου ἕως κτήνους…» Τοῦ Κουκουμᾶ «Ἀπὸ ἀνθρώπου ἕως κτήνους…» Τοῦ Κορώνη «Ἐξαπέστειλεν σημεῖα…» Τοῦ Κορώνη «Ἐν μέσῳ σου…» Ἰωάννου τοῦ λαμπαδαρίου «Τὰ πρωτότοκα Αἰγύπτου…» Τοῦ αὐτοῦ «Ἐν μέσῳ σου…» Τοῦ Κορώνη «Ἐξαπέστειλεν σημεῖα…» Τοῦ Δοκειανοῦ «Ἐν Φαραὼ καὶ ἐν πᾶσι…» Τοῦ Λατρινοῦ «Ὣς ἐπάταξεν ἔθνη…» Τοῦ Λατρινοῦ· ἦχος α´ «Καὶ ἀπέκτεινεν βασιλεῖς…» Τοῦ Λατρινοῦ· ἦχος α´ «Τὸν Σηὼν Βασιλέα…» Τοῦ Γρηγορίου Μοναχοῦ «Τῶν Ἀμορραίων…» Τοῦ Ἀνδρέου «Τῶν Ἀμορραίων…» Τοῦ Δοκειανοῦ «Καὶ τὸν Ὢγ βασιλέα τῆς Βασάν…» Τοῦ Κορώνη· ἦχος αʹ «Καὶ πάσας τὰς βασιλείας Χαναάν…» Τοῦ αὐτοῦ· ἦχος αʹ «Καὶ ἔδωκεν τὴν γῆν…» Τοῦ Ἀνδρέου [?] «Κληρονομίαν…» Τοῦ Μυστάκωνος «βασιλείας Χαναάν…» Κυρίου Ἰωάννου τοῦ λαμπαδαρίου καὶ Κλαδᾶ· ἦχος πλ. αʹ «Κληρονομίαν Ἰσραὴλ λαῷ αὐτοῦ…» Τοῦ αὐτοῦ· ἦχος αʹ «Κληρονομίαν Ἰσραὴλ λαῷ αὐτοῦ…» Τοῦ Λατρινοῦ «Κληρονομίαν Ἰσραὴλ λαῷ αὐτοῦ…» «Καὶ τὸ μνημόσυνόν σου εἰς γενεάν καὶ γενεάν…» Τοῦ Μυστάκωνος «Κύριε, τὸ ὄνομά σου εἰς τὸν αἰῶνα…» Τοῦ Ἀγαλλιανοῦ· ἦχος αʹ «Κύριε, τὸ ὄνομά σου εἰς τὸν αἰῶνα…» Τοῦ Δοκειανοῦ· ἦχος αʹ «Κύριε, τὸ ὄνομά σου εἰς τὸν αἰῶνα…» Παλαιὸν «Οἰκτείρει Κύριος τὸν λαὸν αὐτοῦ…» Τοῦ Ἀγαλλιανοῦ· ἦχος αʹ «Καὶ ἐπὶ τοῖς δούλοις αὐτοῦ…» Τοῦ Κορώνη· ἦχος αʹ «Καὶ ἐπὶ τοῖς δούλοις αὐτοῦ…» Τοῦ Λατρινοῦ «Στόμα ἔχουσιν καὶ οὐ λαλοῦσιν…» Παλαιόν· ἦχος αʹ «Ὦτα ἔχουσιν καὶ οὐκ ἐνωτισθήσονται…» Τοῦ Κορώνη· ἦχος αʹ «Ὅμοιοι αὐτοῖς γένοιντο…»

EBE 2401 (olim 456)

87r 87v 88r 88v 89r 89v 90r 90r–v

91r 91v 92r 92v 93r 93v 94r 94v

319

Τοῦ Κουκουζέλη «Οἶκος Ἰσραήλ, εὐλογήσατε…» Τοῦ Λατρινοῦ «Οἶκος Ἰσραήλ, εὐλογήσατε…» Ἕτερα ἀλλάγματα· Θεοτοκία τοῦ Κουκουζέλη· ἦχος αʹ «Εὐλογήσατε τὸν Κύριον πάντα…» Τοῦ αὐτοῦ· ἦχος πλ. αʹ «Οἶκος Ἀαρών, εὐλογήσατε τὸν Κύριον…» Τοῦ αὐτοῦ «Οἱ φοβούμενοι τὸν Κύριον…» «Εὐλογήσατε τὸν Κύριον τοὺς ὀρθοδόξους…» Τοῦ αὐτοῦ «Ἐμμανουὴλ παιδίον κατὰ τὸ γεγραμένον…» Τοῦ αὐτοῦ· ἦχος πλ. αʹ «Ὁ κατοικῶν Ἱερουσαλήμ…». Τέλος τοῦ πολυέλεος [sic]. Ἕτερα ἀλλάγματα ᾀσματικά· εἰς τῆν Χριστοῦ γέννησιν τοῦ Κουκουζέλη· ἦχος αʹ «Εὐλογεῖτε τὸν Κύριον…» Τοῦ αὐτοῦ· ἦχος πλ. αʹ «Ἄγγελλοι ὑμνοῦσιν…» Τοῦ αὐτοῦ· ἦχος πλ. αʹ «Αἴνους ἴσα τῶν ἀγγέλων…» Ἕτερον τοῦ Ἠθικοῦ· ἦχος αʹ «Ἀλαλάξατε τῷ Θεῷ ἐν φωνῇ…» Τοῦ αὐτοῦ· ἦχος αʹ «Ἅγιον καὶ αἱ φόβον καὶ φοβερόν…» Παλαιόν· ἦχος αʹ «Εὐλογητὸς Κύριος ἐκ Σιὼν ὁ κατοικῶν…» Τοῦ Μαΐστωρ· ἦχος αʹ «Δόξα πατρί…» Ἰωάννου τοῦ Γλυκῦ «Καὶ νῦν καὶ ἀεί…» Ἀρχὴ τῆς δευτέρας στάσεως· ἄρχεται δὲ ὁ ἕτερος χορὸς ἤτοι ὁ ἀριστερός, ἄλλαγμα· ἀρχαῖον Λατρινόν· ἀπὸ χοροῦ· ἦχος βʹ «Ἐξομολογεῖσθε τῷ Κυρίῳ…» (start of the second stasis of the Polyeleos). This opening verse of Ps. 135 is another example of a setting with double melodies: red neumes are placed underneath the black neumes. Τοῦ αὐτοῦ· ἦχος βʹ «Τῷ ποιήσαντι φῶτα μεγάλα…» Τοῦ Λατρινοῦ· ἦχος βʹ «Τὸν ἥλιον εἰς ἐξουσίαν τῆς ἡμέρας…» Τοῦ Κορώνη «Τὸν ἥλιον εἰς ἐξουσίαν τῆς ἡμέρας…» Ἄλλαγμα Λατρινοῦ· ἦχος πλ. βʹ «Τὴν σελήνην καὶ τὰ ἄστρα…» Λατρινοῦ· ἦχος Νενανω «Καὶ ἐξαγαγόντι τὸν Ἰσραήλ…» Τοῦ Κουκουζέλη· ἦχος Νενανω «Ἐν χειρὶ κραταιᾷ…» Τοῦ Μανούγρα· ἦχος πλ. βʹ «Τῷ καταδιελόντι τὴν ἐρυθράν…» Παλαιόν· ἦχος πλ. βʹ «Καὶ διαγαγόντι τὸν Ἰσραήλ…» Παλαιόν· ἦχος Νενανω «Καὶ ἐκτινάξαντι Φαραώ…» Τοῦ Κουκουζέλη «Εἰς θάλασσαν ἐρυθράν…» Τοῦ Κοντοπετρῆ· ἦχος Νενανω «Εἰς θάλασσαν ἐρυθράν…» Μανουὴλ Κορώνη· ἦχος Νενανω «Εἰς θάλασσαν ἐρυθράν…» Τοῦ Κυρίου Ἰωακεὶμ Μοναχοῦ· ἦχος πλ. β´ Νενανω «Καὶ ἐκτινάξαντι Φαραώ…» Τοῦ Κορώνη· ἦχος Νενανω «Εἰς θάλασσαν ἐρυθράν…» Τοῦ Μαΐστρου· ἦχος Νενανω «Καὶ ἐξαγαγόντι, τὸν Ἰσραήλ…» Ἄλλαγμα ἀρχαῖον· ἦχος γʹ «Τῷ πατάξαντι βασιλεῖς…» Κυρίου Ἀνδρέου τοῦ Σιγηροῦ· ἦχος γʹ «Καὶ τὸν Ὢγ βασιλέα…» Ἕτερον συνοπτικόν· Ἦχος γ´«Κληρονομίαν Ἰσραήλ δούλῳ…» Τοῦ Λατρινοῦ «Ὅτι ἐν τῇ ταπεινώσει…» Τοῦ Ἀγαλλιανοῦ· ἦχος Νανα «Ἡμῶν ὁ Κύριος…» Ἀνατολικόν· ἦχος Νανα «Καὶ ἐλυτρώσατο ἡμᾶς…» Λατρινόν· ἦχος Νανα «Ὁ διδοὺς τροφήν…» Ἕτερος πολυέλεος συνοπτικός· ἦχος Νενανω «Δοῦλοι Κύριον…» Ὁ ἀριστερὸς χορός· ἦχος Νενανω «Οἱ ἑστῶτες ἐν οἴκῳ…»

320

95r

EBE 2401 (olim 456)

Πολυέλεος ᾀσματικός ψαλλόμενος εἰς ἐπισήμους ἑορτάς· ποιθεὶς παρὰ Κυροῦ Ἀνδρέου Στελλῶν τοῦ Κυπρίου, ἐν τῇ πόλει παλαιῶν Πατρῶν καὶ Πρωτοψάλτου· ἦχος αʹ «Δοῦλοι Κύριον…». (Kalophonic settings of the Polyeleos follow without other attributions until fol. 100v.) 100v Στιχηρὸν ἕτερον ἁγίων ἀποστόλου Ἀνδρέου ποίημα· τοῦ αὐτοῦ· ἦχος αʹ «Ὁ τὸ πρωτόκλητος μαθητὴς…» 101v Τοῦ Δοκειανοῦ· ἦχος πλ. β´ 102v Τὰ γράμματα Κυρίου Κωνσταντίνου τοῦ Ἀσάν· τὸ δὲ μέλος Ἰωάννου τοῦ λαμπαδαρίου· ἦχος πλ. δʹ «Ἄνθρωπε, στέναξον πικρῶς…» 103v Τοῦ λαμπαδαρίου· ἦχος βʹ «Οἴμοι, οἷον ἀγῶνα ἔχει…» 105r Πολυέλεος ψαλλόμενος ἐν τῇ Θεσσαλονίκῃ· ποιηθεὶς παρὰ τοῦ Κουκουζέλη καὶ Μαΐστορος· ἄρχεται ὁ δομέστικος ἀπ’ ἔξω· ἦχος αʹ [intonation formula included] «Δοῦλοι Κύριον…» 106r Ἀλληλουϊάριον ψαλλόμενον· εἰς τὸν πολυέλεον τοῦ Κουκουμᾶ· ποίημα κὺρ Κωνσταντίνου τοῦ Μαγούλα καὶ δομεστίκου Θηβῶν· ἦχος αʹ «Ἀστραπὰς εἰς ὑετὸν ἐποίησεν…» 108v Πολυέλεος τοῦ λαμπαδαρίου τὸ λεγόμενον Βουλγάρα· ἦχος αʹ «Καὶ τὸ μνημόσυνόν σου…» 108v–109r Τὰ ψαλλόμενα ταῖς Κυριακαῖς τῆς Ἀπόκρεω καὶ τῆς Τυρινῆς ἀντίφωνα· ἦχος γ´ «Ἐπὶ τῶν ποταμῶν Βαβυλῶνος…» 109v Τοῦ Κορνηλίου· ἦχος αʹ «Στόμα ἔχουσιν καὶ οὐ λαλοῦσιν…» Κυρίου Γρηγορίου· ἦχος αʹ «Στόμα ἔχουσιν καὶ οὐ λαλοῦσιν…» 110r Ἕτερον τοῦ Πλαγίτου καὶ Μανουήλ· ἦχος αʹ «Ὀφθαλμοὺς ἔχουσιν…» 110v Ποίημα τοῦ Χρυστοφόρου τοῦ Μυστάκωνος· ἦχος αʹ «Οἶκος Ἰσραὴλ εὐλογήσατε…» 111r Παλαιόν· ἦχος αʹ «Εὐλογητὸς Κύριος ἐκ Σιών…» Ἀρχὴ τοῦ δευτέρου ψαλμοῦ· ποιηθέντος παρὰ τοῦ αὐτοῦ Κουκουμᾶ καὶ Μαΐστορος· 113r κατ᾽ ἦχον ἄρχεται δὲ καὶ τοῦ αὐτοῦ ψαλμοῦ· ὁ δεξιὸς χορός· ὁ δεύτερος ψαλμὸς τοῦ Κουκουμᾶ· ἦχος αʹ τετράστιχος «Ἐξομολογεῖσθε τῷ Κυρίῳ…» Rubrics follow with specific directives for antiphonal chanting between the two choirs. The more prominent of the two choirs with the upper voice is referred to as the ‘outcry’’ (ἀναφώνησις). Ποίημα τοῦ Χριστοφόρου τοῦ Μυστάκωνος· ᾀσματικόν· τὸ λεγόμενον δΐχορον· ἦχος 120v πλ. δʹ «Ἐξομολογεῖσθε τῷ Κυρίῳ ὅτι ἀγαθός…» Μετὰ δὲ τὸ τέλος τοῦ ἀμώμου ἢ τοῦ πολυελέου γίνεται ἀνάγνωσις· εἶθ’ oὕτως οἱ 121r ἀναβαθμοὶ τοῦ ἤχους εἰ περαστικόν· εἶτα τὰ ἀναστάσιμα προκείμενα κατ’ ἦχον τοῦ εὐαγγελίου· ἦχος αʹ «Νὺν ἀναστήσομαι λέγει Κύριος τὰ λόγια…» 122r Ἕτερον τέλος· ὁ δομέστικος ἀπ᾽ ἔξω μετὰ πάντων «Τόν Κύριον…» Περσικὸς τερετισμός· ἦχος δʹ/πλ. δʹ. This ‘Persian Teretismos’ is a later addition with 122v enlarged margins on all sides and with a much smaller script in order to fit the allotted space. (This page has 24 lines of text and music.) Εἰς ἱεράρχας καὶ ὁσίους· ἦχος βʹ«Ὁ θάνατος τοῦ ὁσίου…» 123r Εἰς τον μεγαλομάρτυρα Δημητρίου [sic]· καὶ εἰς ἑτέρους μάρτυρας· ἐκαλλωπίσθη παρὰ τοῦ Μαΐστρου· ἦχος πλ. αʹ «Καὶ ἐλπίζει ἀπ᾽ αὐτὸν ὁ δίκαιος…» Τοῦ Κουκουζέλη· ἦχος αʹ «Πᾶσα πνοή…» 124r Οἱ Αἴνοι κατ’ ἦχον· ἦχος αʹ «Αἰνεῖτε τὸν Κύριον…» 127r Προλυχνικά· ἀντὶ νὰ λέγωνται τῇ ἑβδομάδᾳ τῆς Διακαινησίμου· καὶ εἰς ἄλλες ἑορτὰς 128v δεσποτικὰς τῇ ἁγίᾳ καὶ μεγάλῃ Κυριακῇ Ἑσπέρας· καὶ τοῦ Χριστοῦ γέννησιν· ἦχος βαρὺς «Τί Θεὸς μέγας…»

EBE 2401 (olim 456)



321

Τῇ Δευτέρᾳ τῆς Διακαινησίμου· καὶ τῶν Φώτων· ἦχος βαρὺς «Ὁ Θεὸς ἡμῶν ἐν τῷ οὐρανῷ…» Ἀναγραμματισμὸς τοῦ Μαΐστωρ· ψαλλόμενα τῇ Κυριακῇ πρωῒ εἰς τὸ ἀναστάσιμον· 129v ἦχος πλ. βʹ «Ἐξομολογήσομαι σοὶ Κύριε ὁ Θεὸς μου…» Πλήρωμεν οὕτω «Πᾶσα πνοὴ» λέγετε τῇ Δευτέρα· εἶτα εὐθὺς τὸν πεντηκοστὸν καὶ 131r εὐθὺς λέγει τοῦτο· ἦχος βʹ «Δόξα Πατρί…» Ὅτε δὲ μέλους καλοφωνήσει τὸ πεντηκοστάριν, ἢ τὸ στιχηρόν, ἀπὸ χοροῦ λέγουσιν τὸ τέλος οὕτως «Τὸ ἀνώνυμό μου…» Ἀπὸ δὲ τοῦ Τελώνου καὶ τοῦ Φαρισαίου· καὶ ἕως τῆς πέμπτης Κυριακῆς τῆς ἁγίας 132r Τεσσαρακοστῆς, λέγομεν τοῦτο τῇ μία Κυριακῇ, καὶ τῷ ἄλλῳ τὸ τῆς μετανοίας «Τὰ πλήθη τῶν πεπραγμένων μοι…» Ἀπὸ τὸ, «Ἅγιος ἀθάνατος» ἕτερον ψαλλόμενον εἰς τὸν Kυρίου τάφον τοῦ Πατριάρχου 133r Κυρίου Ἰωάννου· ἦχος πλ. βʹ «Ἅγιος ὁ Θεός…» Ποίημα τοῦ Κορώνη· ἦχος πλ. βʹ «Μὴ ἐπιλάθῃ τοῦ πένητός σου…» 134r Ἕτερον τέλος ἁγιοσοφίτικον· ἦχος Νανα «Νεανες…» εἰς τέλος πολυχρόνιον 135r Ἕτερον μετὰ ἐπιφωνήματων· τοῦ Μαΐστορος· ἦχος πλ. βʹ «Ἐξομολογήσομαί σοι, Κύριε…» Ἀντίφωνα ψαλλόμενα εἰς τὰς ἑορτάς· τῆς ὑπεραγίας Θεοτόκου· ἦχος αʹ «Λόγον ἀγαθὸν 136r ἀλληλούϊα…» Τοῦ Ἰωάννου τοῦ Γλυκέως· ἦχος αʹ«Θαυμαστῶς ἐνδόξως…» 136v Τοῦ Ἀνδρέου· ἦχος αʹ«Λαοὶ ὑπὸ κάτω σου…» Τοῦ αὐτοῦ· ἦχος αʹ «Ὁ θρόνος σου ὁ Θεὸς εἰς τὸν αἰῶνα…» 137r Τοῦ Κορώνη· ἦχος αʹ «Ἀπό βαρέων…» Τοῦ Βατάτζου· ἦχος αʹ «Παρέστη φησὶν ἡ βασίλισσα…» Τοῦ Ἰωάννου τοῦ Γλυκέως· ἦχος αʹ «Ἄκουσον, θύγατερ, καὶ ἴδε…» 137v Τοῦ Κυρίου Ἀνδρέου· ἦχος αʹ «Καὶ κλῖνόν μοι…» Τοῦ Κορώνη· ἦχος αʹ «Καὶ ἐπιθυμήσει ὁ βασιλεύς…» Τοῦ αὐτοῦ· ἦχος αʹ «Καὶ θυγάτηρ…» 137v-138r Τοῦ Γλυκέως· ἦχος αʹ «Τυροῦ ἐν δώροις…» Τοῦ Κορώνη «Πᾶσα πνοὴ δόξα τῆς θυγατρὸς τοῦ βασιλέως…» 138r Τοῦ αὐτοῦ «Τοῦ βασιλέως, λέγε ἀλληλούϊα…» Τοῦ αὐτοῦ· ἦχος πλ. αʹ«Ἀπενεχθήσονται λέγων τῷ βασιλεῖ…» Ἀπὸ ἐδῷ ἄρχεται οἱ τετραφωνίαι τοῦ Κορώνη· ἦχος αʹ «Ἀπενεχθήσονται λέγων τῷ 138v βασιλεῖ…» Τοῦ αὐτοῦ· ἦχος αʹ «Ἀντὶ τῶν πατέρων σου…» Τοῦ αὐτοῦ· ἦχος αʹ «Μνησθήσομαι τῷ ὀνόματί σου…» Τοῦ Ἰωάννου τοῦ Κουκουζέλη· ἦχος αʹ «Ἐν πάσῃ γενεᾷ…» 139r Τοῦ αὐτοῦ· ἦχος αʹ «Δόξα Πατρί… Καὶ ἁγίῳ… Καὶ νῦν καὶ ἀεί…» Ἀντίφωνα μετὰ τὸν πολυέλεον ψαλλόμενα εἰς ὁσίους καὶ εἰς λιτανείας· ἦχος γʹ «Ἐπὶ 139v τῶν ποταμῶν Βαβυλῶνος…» (Ps. 136) Ἕτερα στιχηρὰ τοῦ Ἰωάννου τοῦ Γλυκέως· ἦχος γʹ «Ἐπὶ τῶν ποταμῶν Βαβυλῶνος…» Παλαιόν· ἦχος γʹ «Ἐν τῷ μνησθῆναι ἡμᾶς…» Τοῦ Ἰωάννου τοῦ Γλυκέως· ἦχος γʹ «Ἡμᾶς τὸν Σιών…» 140r Τοῦ δομεστίκου τοῦ Ἀγαλλιανοῦ· ἦχος γʹ «Τὰ ὄργανα ἡμῶν…» Τοῦ αὐτοῦ· ἦχος γʹ «Καὶ οἱ ἀπαγαγόντες…» Τοῦ Ἀγαλλιανοῦ· ἦχος γʹ «Πῶς ᾄσωμεν τὴν ᾠδήν…» Τοῦ Κορώνη· ἦχος γʹ «Ἐπὶ γῆς ἀλλοτρίας…» 140v

322

141r 142r 142v 143r 143v 144r 144v 145r 145v 146r 146v 147v 148r 148v 149r 149v 150r

EBE 2401 (olim 456)

Τοῦ αὐτοῦ· ἦχος γʹ «Ἐὰν μή σου μνησθῶ…» Τοῦ Κορώνη· ἦχος γʹ «Μνήσθητι, Κύριε, τῶν υἱῶν Ἐδώμ…» Τοῦ Ξενοφῶντος· ἦχος γ´ «Τὴν ἡμέραν Ἱερουσαλήμ…» Τοῦ Κορώνη· ἦχος γʹ «Θυγάτηρ Βαβυλῶνος ἡ ταλαίπωρος…» Τοῦ Δοκειανοῦ· ἦχος γʹ «Ἡ ταλαίπωρος…» Τοῦ Ἰωάννου τοῦ λαμπαδαρίου· ἦχος γʹ «Θυγάτηρ Βαβυλῶνος…» Τοῦ Ξενοφῶντος,· ἦχος γʹ «Τὰ νήπιά σου πρὸς τὴν πέτραν…» Τοῦ Ἰωάννου τοῦ λαμπαδαρίου· ἦχος γʹ «Τὰ νήπιά σου πρὸς τὴν πέτραν…» Τοῦ αὐτοῦ· ἦχος γʹ «Δόξα Πατρί… Καὶ νῦν…» Τοῦ Ἰωάννου τοῦ Κλαδᾶ· ἦχος γʹ «Καὶ νῦν…» Ἀντίφωνα ψαλλόμενα εἰς ἱεράρχας· εἰς μάρτυρας καὶ εἰς ὁσίους· ἄλλα δὲ καὶ εἰς τὸν τίμιον τοῦ Προδρόμου· ποιηθέντα παρὰ διαφόρων ποιητῶν· παλαῖων τε καὶ νέων· ἦχος δʹ, ὁ δομέστικος ἀπ’ ἔξω «Ὁ φοβούμενος τὸν Κύριον…» Ἦχος δ´ «Μακάριος ἀνὴρ ὁ φοβούμενος…» (Ps. 111) Τοῦ δομεστίκου Γρηγορίου· ἦχος δʹ «Γενεὰ τῶν εὐθείων…» Τοῦ Ἰωάννου τοῦ Γλυκέως· ἦχος δʹ«Δόξα καὶ πλοῦτος…» Τοῦ Γρηγορίου δομέστικος· ἦχος δʹ «Ἐν τῷ οἴκῳ αὐτοῦ…» Τοῦ Κορώνη· ἦχος δʹ «Ἐλεήμων καὶ οἰκτίρμων…» Τοῦ Θηβαίου «Χριστὸς ἀνὴρ ὁ οἰκτίρμων…» Τοῦ Γρηγορίου· ἦχος δʹ «Οἰκτίρμων…» Τοῦ Θηβαίου· ἦχος δʹ «Οἰκονομήσει τοὺς λόγους…» Τοῦ αὐτοῦ· ἦχος δʹ «Οὐ σαλευθήσεται…» Τοῦ αὐτοῦ· ἦχος δʹ «Εἰς μνημόσυνον αἰώνιον…» Τοῦ αὐτοῦ· ἦχος δʹ «Ἑτοίμη ἡ καρδία αὐτοῦ…» Τοῦ Ἀγάθωνος· ἦχος δʹ «Ἡ δικαιοσύνη αὐτοῦ…» Τοῦ Μαΐστορος «Τὸ κέρας αὐτοῦ ὑψωθήσεται…» Τοῦ Κοντοπετρῆ· ἦχος δʹ «Τοὺς ὀδόντας αὐτοῦ βρύξει…» Τοῦ Κορώνη· ἦχος δʹ «Ἐπιθυμία ἁμαρτωλῶν…» Ἀντίφωνα ψαλλόμενα τῇ ὀγδόῃ τοῦ Νοεμβρίου· εἰς τὴν σύναξιν τῶν ἀσωμάτων· καὶ εἰς τὴν Χριστοῦ γέννησιν· μέλος τοῦ Ἠθικοῦ· ἦχος πλ. βʹ «Εἶπεν ὁ Κύριος τῷ κυρίῳ μου Κάθου…» (Ps. 109) Τοῦ Μαΐστορος· ἦχος Νενανω «Ὤμοσεν Κύριος καὶ οὐ μεταμεληθήσεται…» Ἦχος Νενανω «Σὺ εἶ ἱερεὺς εἰς τὸν αἰῶνα…» «Δόξα καὶ πατρί…» Ἀντίφωνα ψαλλόμενα εἰς τὴν μεταμόρφωσιν· Τοῦ Ἀνανεώτου· ἦχος βαρὺς «Τὰ ἐλέη σου, Κύριε, εἰς τὸν αἰῶνα…» (Ps. 88) Τοῦ αὐτοῦ· ἦχος βαρὺς «Τὴν ἀλήθειάν σου ἐν τῷ στόματί μου» Τοῦ Κορώνη· ἦχος βαρὺς «Θαβὼρ καὶ Ἑρμωνιείμ…» Τοῦ αὐτοῦ· ἦχος βαρὺς «Ὕψωσα ἐκλεκτὸν ἐκ τοῦ λαοῦ μου…» Τοῦ Ἀθανασίου· ἦχος βαρὺς «Μνήσθητι, Κύριε, τοῦ ὀνειδισμοῦ τῶν δούλων σου…» Τοῦ Ἠθικοῦ· ἦχος βαρὺς «Καὶ ὁ θρόνος αὐτοῦ ὡς ὁ ἥλιος…» Τοῦ Ἰωάννου τοῦ λαμπαδαρίου· ἦχος βαρὺς «Θαβὼρ καὶ Ἑρμωνιείμ…» Τοῦ Μαΐστορος· ἦχος βαρὺς «Μέγας καὶ φοβερός…» Τοῦ Ἠθικοῦ· ἦχος βαρὺς «Τὸν βορρᾶν καὶ θαλάσσας…» Τοῦ Κορώνη «Δόξα Πατρί…» Τοῦ Κορώνη· ἦχος βαρὺς «Καὶ νῦν…» Ἄμωμος ψαλλόμενος εἰς τὴν Θεόσωμον ταφὴν τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ καὶ εἰς τὴν κοίμησιν τῆς πᾶν ὑπεραγνοῦ αὐτοῦ μητρός· καὶ εἰς τὴν ἀποτομὴν τοῦ τιμίου

EBE 2401 (olim 456)

323

Προδρόμου· καὶ εἰς τοὺς ἀποστόλους καὶ εἰς ἱεράρχας καὶ εἰς μάρτυρας· καὶ εἰς ὁσίους ψάλλεται δὲ ἀντὶ τοῦ πολυελέου· ὁ δομέστικος ἀπ’ ἔξω· ἦχος πλ. αʹ«Εὐλογητὸς εἶ, Κύριε, δίδαξόν με…» Ἦχος πλ. α´/δ´«Μακάριοι ἄμωμοι ἐν ὁδῷ… Μεγαλύνομέν σε, ζωοδότα Χριστὲ…» This version of the Amomos includes specific musical settings for the Dormition of the Theotokos, the Forerunner, Apostles, and Prophets. There are also interpolated texts without musical settings. Εἶτα γίνεται μικρὴ συναπτὴ καὶ μετὰ τὴν ἐκφώνησιν ἄρχεται ὁ δομέστικος τοῦ 151v ἀριστεροῦ χοροῦ· ἀρχὴ τῆς δευτέρας στάσεως· εἰς τὸν ἐπιτάφιον «Ἄξιον ἐστὶν…» (Second stasis begins) …Εἶτα ἄρχεται ὁ δομέστικος τοῦ δεξιοῦ χοροῦ τῆς γ´ στάσεως. 152v The third stasis begins on the ensuing folio that is numbered with the same number as 152vb the preceding but with an additional ‘b’. 153v–154v Missing folios Μετὰ δὲ τὸ τέλος τοῦ πολυελέου ἢ τοῦ ἀμώμου, γίνεται ἀνάγνωσις· καὶ οὕτως οἱ 155v ἀναβαθμοὶ τοῦ ἤχου· περισσὴ μετατεθεῖσα παρὰ τοῦ Ἰωάννου τοῦ λαμπαδαρίου ἀπὸ τὸ «Ριφεὶς Ἀδὰμ» εἰς τὸ, «Ἄνωθεν οἱ προφῆται»· ἀπὸ χοροῦ μελέτη· ἦχος αʹ «Ἄνωθεν οἱ προφῆται…» Τὸ αὐτὸ καὶ ὁ ἀριστερός· Εἶτα γεγονωτέρᾳ φωνῇ· ἦχος πλ. δ´ «Ἄνωθεν οἱ προφῆται…» Τὸ αὐτὸ καὶ ὁ ἀριστερός· Εἶτα γεγονωτέρᾳ φωνῇ διὰ τὰ διπλάσματα· ἦχος γ´ «Στάμνον, ράβδον πλάκα…» Τὸ αὐτὸ καὶ ὁ ἀριστερός· Καί ὁ δεξιός· ἦχος γ´ «Ὄρος κατάσκιον…» Τὸ αὐτὸ καὶ ὁ ἀριστερός «Θρόνον τοῦ μεγάλου βασιλέως κόρη … Στάμνον, ράβδον πλάκα…» Ὁ ἀριστερός· ἦχος α´ «Ἐπουράνιον τόμον καὶ κλίμακαν…» Διπλασμός «Ἄνωθεν οἱ προφῆται…» Τὸ αὐτὸ καὶ ὁ ἀριστερός· ἦχος β´ «Οἱ θαυμαστοί…» Τὸ αὐτὸ καὶ ὁ ἀριστερός· Λεγετο ἦχος β´ «Νε, παλάτιον καὶ θρόνον…» Μελέτη εἰς διπλασμόν· ἦχος πλ. β´/β´ «Νεφέλην σὲ κουφὴν φωτινὴν…» Διπλασμόν· ἦχος α´ «Ὄρος ἀλατόμηρον καὶ στάμνον…» Ὁμοίως καὶ τοῦτο· ἦχος β´ «Σὲ προκατήγγειλαν Παρθένε…» Ὅλοι ὁμοῦ «Νη, ἡμεῖς…» ἦχος πλ. α´ «Ἡμεῖς δὲ Θεοτόκον πάντες κηρύττομεν…» Ἦχος δ´ «Πολυχρόνιον ποιῆσαι ὁ Θεός…» 156v Ἄμωμος ψαλλόμενος εἰς κοιμηθέντας κοσμικούς· ὀ δομέστικος ἀπ’ ἔξω· ἦχος βʹ «Μακάριοι ἄμωμοι ἐν ὁδῷ…» The version of the Amomos in memory of laymen ensues with settings from a variety of composers. Music by Ethikos, Phardivoukes, Ioannes Lampadarios 157r Ioannes Lampadarios 158r Ethikos 158v Phardivoukes, Keladinos, Ioannes Lampadarios, Ethikos 159r 159v Ioannes Lampadarios Ioannes Lampadarios 160r Ἀρχὴ τῆς δευτέρας στάσεως· ὁ δομέστικος τοῦ δευτέρου χοροῦ ἀπ’ ἔξω· ἦχος πλ. βʹ The Second Stasis of the Amomos for laymen continues with music by different composers. Phardivoukes 160v Lampadarios, Phardivoukes 161r

324

EBE 2401 (olim 456)

161v Lampadarios, Phardivoukes, Glykys Phardivoukes 162r Lampadarios, Phardivoukes, Ioannes Kladas 162v Phardivoukes 163r Στίχοι τῆς δευτέρας στάσεως τοῦ ἀμώμου· ἔχει ἀλληλουϊάρια· πλάγιος δευτέρος· εἶπε τὸ, «Αἱ χεῖρές σου» τοῦ λαμπαδαρίου· ἔχει καὶ ἕτερα ἀλληλουϊάρια πάνυ ὡραῖα διαφόρων ποιητῶν καὶ διδασκάλων μεγάλων· ψάλλονται Νενανω Manougras, Lampadarios 163v Phardivoukes, Ioannes Glykys, Lampadarios 164r Korones, Phardivoukes 164v Phardivoukes, Ioannes Kladas 165r 165v Manougras Ἀρχὴ τῆς τρίτης στάσεως· ὁ δομέστικος ἀπ’ ἔξω· ἦχος γʹ (Stasis Three) 166v Lampadarios Phardivoukes, Palaion [old] 167r Manuel 167v Ioannes Glykys 168r Phardivoukes 169r Lampadarios 169v 170r Lampadarios (two settings) Ἄμωμος ψαλλόμενος εἰς κοιμηθέντας μοναχούς· ἦχος πλ. αʹ The Amomos for the funeral service for monks. Glykys, Ioannes Lampadarios 170v Korones, Manuel Panaretos 171v Klovas 172r Ioannes Lampadarios Kladas 172v Τοῦ παπᾶ Μανουήλ, Korones 173r Lampadarios 173v Koukouzeles [?] 174r Ἄμωμος ψαλλόμενος Θεσσαλονικὸν εἰς κοιμηθέντας κοσμικούς· ὁ δομέστικος· ἦχος βʹ 175r «Ἄμωμοι ἐν ὁδῷ…» The Thessalonian Amomos for Laymen Στάσις β´ «Καὶ ἔπλασάν με…» 176r Thessalonian setting, Mystakon 176v Ποίημα τοῦ Μυστάκωνος· ποίημα Μανουὴλ ἱερεὺς τοῦ Σπανοῦ 177r Τοῦ Κλοβᾶ 177v Τοῦ Κορώνη 178r Στάσις Τρίτη· ἦχος πλ. δʹ «Ἐπ᾽ ἐμὲ καὶ ἐλεησόν με…» 178v Ποίημα τοῦ Ἠθικοῦ 179r Τοῦ Κορνηλίου Μοναχοῦ 179v Ἄμωμος ψαλλόμενος εἰς μοναχούς· ἦχος πλ. αʹ «Εὐλογητὸς εἶ, Κύριε, δίδαξόν με τὰ 180r δικαιώματά σου, Μακάριοι ἄμωμοι…» Ποίημα τοῦ Ἠθικοῦ, τοῦ Γλυκέως 180v Ἕτερος Ἄμωμος ψαλλόμενος εἰς ἱερεῖς· καὶ ἀρχὴ ἱερεῖς· ἦχος πλ. αʹ 181r Στάσις α´· ἦχος πλ. αʹ «Εὐλογητὸς εἶ· Ἄμωμοι ἐν ὁδῷ…» Στάσις β´· ἦχος πλ. αʹ «Καὶ ἔπλασάν με…» Στάσις γ´· ἦχος πλ. αʹ «Καὶ ἐλέησόν με· ἐπίβλεψον ἐπ᾽ ἐμὲ…»

EBE 2401 (olim 456)



325

Κοντάκιον ψαλλόμενον εἰς κοιμηθέντας· Κυροῦ Ἀνδρέου· ἦχος πλ. δʹ «Αὐτὸς μόνος ὑπάρχεις ἀθάνατος…» In this funeral Kontakion, other settings follow by Asan and Korones. Ἀρχὴ τῆς θείας καὶ ἱερᾶς Λειτουργίας τῶν Προηγιασμένων· ἦχος Νενανω 182v Ἀρχὴ τὰς ἁγίας καὶ ἱερᾶς Λειτουργίας τῶν Προηγιασμένων· Ἀρχὴ πρῶτον τὸν 183r Ἑσπερινὸν καὶ μετὰ τὰ ἀναγνώσματα λεγόμενον τὸ, «Κατευθυνθήτω», ἡ προσευχή μου ὡς θυμίαμα Τοῦ λαμπαδαρίου 183v Ἕτερον ψάλλουν ἐν τῇ Θεσσαλονίκῃ· ἦχος γʹ«Εὐλόγησον τὸν Κύριον ἐν παντὶ 184v καιρῷ…» Χερουβικὸν ψαλλόμενον τῇ ἁγίᾳ καὶ μεγάλῃ Παρασκευῇ· ποίημα Κυρίου Νικηφόρου δομεστίκου τοῦ Ἠθικοῦ· ἦχος πλ. βʹ «Τοῦ δείπνου σου τοῦ μυστικοῦ…» 185r Ἕτερον χερουβικὸν ψαλλὸμενον τῷ ἁγίῷ καὶ μεγάλῳ Σαββάτῳ· ἦχος πλ. αʹ«Σιγησάτω πᾶσα σὰρξ βροτεία…» Τῷ ἁγίῷ καὶ μεγάλῳ Σαββάτῳ· Κυρίου Ἰωάννου τοῦ λαμπαδαρίου· ἦχος αʹ «Ἐξηγέρθη 185v ὡς ὁ ὑπνῶν Κύριος…» Κοινωνικὰ ψαλλόμενα τῇ ἁγίᾳ καὶ μεγάλῃ Κυριακῇ τοῦ Πάσχα· ἦχος πλ. αʹ «Σῶμα Χριστοῦ μεταλάβετε, πηγῆς ἀθανάτου γεύσασθε…» Κοινωνικόν· τῇ λαμπρᾷ Κυριακῇ· τοῦ Μανουὴλ λαμπαδαρίου τοῦ Χρυσάφη «Σῶμα 186r Χριστοῦ μεταλάβετε…» Ποίημα Κυρίου Μανουὴλ Γαζῆ τοῦ λαμπαδαρίου· ἦχος πλ. αʹ «Σῶμα Χριστοῦ…» Both of these Communion settings by Manuel Chrysaphes and Manuel Gazes are examples of double melodies with red neumes notated above the black neumes. Ἕτερον τοῦ Ἰωάννου Κλαδᾶ τοῦ λαμπαδάριου· ἦχος πλ. δʹ «Σῶμα Χριστοῦ…» 186v Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς θείας Λειτουργίας [τοῦ Χρυσοστόμου]· εὐλογήσαντος τοῦ ἱερέως· ἄρχεται ὁ δομέστικος τοῦ δεξιοῦ χοροῦ· ἦχος πλ. δʹ Νανα «Εὐλόγει ἡ ψυχή μου τὸν Κύριον…» Τοῦ λαμπαδαρίου· ἦχος βʹ «Δύναμις ἅγιος ὁ Θεός…» 187v Ἕτερον τοῦ Γλυκέως Τοῦ Μαΐστρου· ἦχος βʹ «Δύναμις ἅγιος ὁ Θεός…» (Kalophonic setting) 188r Ἕτερον τοῦ λαμπαδαρίου. (After this folio the numeration jumps to 199v . Hence, there is a misnumbering from fols 188v to 199r.) v Ἕτερον συνοπτικόν «Ὅσοι εἰς Χριστὸν ἐν βαπτίσθητε…» 199 Τὰ ἀλληλούϊα κατ᾽ ἦχον· τοῦ Σιγηροῦ (As the Alleluia settings progress according to modes, various attributions are indicated). Κυρίου Θεοφυλάκτου, Κυρίου Θεοδούλου, τοῦ Σιγηροῦ 200r Παλαιόν, τοῦ Κορώνη 200v Τοῦ Μαΐστορος, τοῦ λαμπαδαρίου 201r Τοῦ Κωνσταντίνου τοῦ Μαγούλα, Κυρίου Θεοδούλου, τοῦ Μανουὴλ τοῦ 201v Σγουροπούλου Τοῦ ὁσίου πατρὸς ἡμῶν Ἰωάννου τοῦ Δαμασκηνοῦ 202r Τοῦ λαμπαδαρίου τοῦ Χρυσάφη· ἦχος δʹ «Ἀλληλούϊα…» This Alleluia by Manuel Chrysaphes the Lampadarios is another example of double melodies with the red neumes written above the traditional black notation. 202v Another double melody setting of the Alleluia by Chrysaphes continues but this time in Mode Plagal IV. Ἕτερον τοῦ Κορώνη

326

203r 203v 204r 205r 205v 206r 206v 207r 207v 208r 208v

209r 209v 210r 210v 211r 211v 212r 212v 213r 213v 214r 216r 216v 217r 217v 218r 218v 219v 220v

EBE 2401 (olim 456)

Χερουβικὸν ψαλλόμενον ἀπὸ χοροῦ ᾀσματικόν μέχρι καὶ τὴν ζωοποιόν· τὸ δὲ ἕτερον ψάλλεται μονοφωνάρικον ὁ δομέστικος μετὰ τοῦ λαοῦ αὐτοῦ· παλαιόν· ἦχος βʹ «Νεανε, Οἱ τὰ χερουβὶμ μυστικῶς…» Ὁ δομέστικος ἀπ᾽ ἔξω· ἦχος β´ «Ωωωω, τοτοτο…» Τοῦ Ἀνεώτου ἐκαλλωπίσθη παρὰ τοῦ Γλυκέως καὶ τοῦ Κορώνη Ποίημα Θεοδούλου μοναχοῦ Ἀρχὴ τὸν Χερουβικὸν τοῦ ὁσίου πατρὸς ἡμῶν Ἰωάννου τοῦ Δαμασκηνοῦ· ἦχος πλ. βʹ «Οἱ τὰ χερουβὶμ μυστικῶς…» Ἕτερον Κυρίου Ἰωάννου τοῦ Γλυκέως Τοῦ Μανουὴλ τοῦ Ἀγαλλιανοῦ Τοῦ Κατακαλών Τοῦ Ξένου τοῦ Κορώνη Τοῦ Γλυκέως, τοῦ Ἰωάννου τοῦ λαμπαδαρίου Τοῦ Ἀγάθωνος Κυροῦ Μαρκοῦ ἱερομονάχου Ἦχος α´ «Κύριε ἐλέησον, Χριστέ ἐλέησον, Κύριε ἐλέησον…». This ‘Kyrie Eleison’ in Mode I is found at the bottom of the folio and has extended margins to the right, left, and below. G. Stathis indicates that this is a monophonic Western Kyrie or the Latin Kyrie Cunctipotens (the Kyrie trope). Κυρίου Ἀθανασίου ἱερομονάχου Κύπριος Κυρίου Μανουὴλ τοῦ Χρυσάφη Εἰς τὴν Λειτουργίαν τοῦ Μεγάλου Βασιλείου· μετὰ δὲ τοῦ εἰπόντος ἱερεύς· τὸν ἐπινικίον ἡμῶν· ἄρχεται ὁ δομέστικος· ἦχος βʹ «Ἅγιος Κύριος Σαβαὼθ πλήρης…» Κοινωνικὰ κατ᾿ ἦχον Τοῦ Ἰωάννου τοῦ Κλαδᾶ· ἦχος αʹ «Αἰνεῖτε τὸν Κύριον ἐκ τῶν οὐρανῶν…» Τοῦ Κοσμᾶ ἁγίου· ἦχος αʹ «Ποτήριον σωτηρίου λήψομαι…» Attributions for the Communion chant include the following: Τοῦ Κυροῦ Δημητρίου τοῦ δομεστίκου, τοῦ Μανουὴλ τοῦ Ἀγαλλιανοῦ Τοῦ Ἰωάννου τοῦ Σγουροπούλου Τοῦ λαμπαδαρίου Τοῦ Κυροῦ Γερασίμου, τοῦ λαμπαδαρίου Τοῦ Κυροῦ Γερασίμου ἱερομονάχου Τοῦ Μανουὴλ Ἀργυροπούλου, Κυρίου Ἰωάννου λαμπαδαρίου Τοῦ Μοναχοῦ Τοῦ Κυρίου Ἰωάννου λαμπαδαρίου Τοῦ Κυρίου Μανουὴλ Γαζῆ (a monophonic «Αἰνεῖτε» setting in Mode IV) Τοῦ αὐτοῦ (Gazes) Τοῦ αὐτοῦ [Manuel Gazes]· ἦχος δʹ· τὸ κόκκινον εἰς τὸ πλάγιον τοῦ τετάρτου «Αἰνεῖτε τὸν Κύριον…». This Communion chant is another example of double melodies with the black neumes written in Mode IV and the red neumes in Plagal Mode IV. Ἕτερον τοῦ Κορώνη Τοῦ λαμπαδαρίου Τοῦ Κορώνη, τοῦ Κλαδᾶ Τοῦ Μοσχιανοῦ Τοῦ Ἀργυροπούλου Τοῦ Κορώνη, τοῦ λαμπαδαρίου Τοῦ Κορώνη

EBE 2401 (olim 456)

221v

327

Τοῦ λαμπαδαρίου τοῦ Χρυσάφη «Αἰνεῖτε…» Ἦχος Νενανω «Ἅγιος ὁ Θεός, Ἅγιος Κύριος Σαβαώθ…» This is an unusual case of the Thrice Holy (Sanctus) of the Eucharist being placed among the Communion chants. Τοῦ Ἰωσὴφ Μοναχοῦ· ἦχος Νενανω «Σὲ ὑμνοῦμεν…». The chant ‘We Praise Thee’ is an 222r-v unusual insertion and is sung as a response to the preceding Sanctus. Ἡ ἑρμηνεία καὶ παραλλαγὴ τῆς Mουσικῆς Tέχνης. 223r-v Ἑτέρα παραλλαγὴ τῆς Mουσικῆς Tέχνης· σοφωτέρα καὶ ἀκριβεστέρα εἰς ἄκρον· ποιηθεῖσα δὲ καὶ συνταχθεῖσα παρὰ τοῦ Ἰωάννου τοῦ Λάσκαρη. 224r This folio has the diagram of Ioannes Laskaris’ parallage. His modulation scheme contains 20 circles with each circle containing three related modes. The Laskaris treatise ends with this diagram. Κοινωνικῶν τοῦ λαμπαδαρίου· ἦχος βαρὺς «Αἰνεῖτε τὸν Κύριον…» 224v Ἦχος βαρὺς «Εἰς μνημόσυνόν αἰωνίον…» 225r The music is extremely faded and unreadable. Ὣδῃ θ´· ποίημα τοῦ Κορώνη· ἦχος πλ. δʹ«Ἐν Σιναίῳ τῷ ὄρει κατεῖδέ σε…» 225v Αὐτὸ ἁγιορίτικον· ἦχος πλ. β´ (music begins on fol. 226r) r «Ἄξιόν ἐστιν ὠς ἀληθῶς μακαρίζειν σε τὴν Θεοτόκον…» (Megalynaria for the 226 Theotokos) Ἕτερον τοῦ ψάλτη Κυροῦ Ἰωάννου τοῦ Γλυκέως· ἦχος πλ. β´ «Ἄξιόν ἐστιν ὡς ἀληθῶς 226v μακαρίζειν…» Τοῦ Μαΐστρου Κυρίου Ἰωάννου Κουκουζέλη (same text as in fol 226r–v but a more 227r kalophonic setting) «Τὴν τιμιωτέραν τῶν Χερουβίμ…» 227v Ἀναγραμματισμός· ποίημα τοῦ Μαΐστρου Ἰωάννου τοῦ Κουκουζέλη· ἦχος αʹ «Σὲ μεγαλύνομεν τὴν ὄντως Θεοτόκον…» (Megalynarion) Ἕτερον κράτημα 229v Καὶ λέγει ὁ διάκονος μικρὰν συναπτὴν καὶ μετὰ τὴν ἐκφώνησιν λέγει ὁ δομέστικος ἀπ᾽ 232r ἔξω· ἦχος γ´ «Ἠγάπησα, ὅτι εἰσακούσεται Κύριος…Ταῖς πρεσβείαις τῆς Θεοτόκου…» ὁ δεύτερος χορός «Ὅτι ἔκλινε τὸ οὖς αὐτοῦ ἐμοί … Ταῖς πρεσβείαις τῆς Θεοτόκου…» ὁ πρῶτος χορός «Ἐλεήμων ὁ Κύριος καὶ δίκαιος … Ταῖς πρεσβείαις τῆς Θεοτόκου…» ὁ δεύτερος χορός «Φυλάσσων τὰ νήπια ὁ Κύριος … Ταῖς πρεσβείαις τῆς Θεοτόκου…» ὁ πρῶτος χορός «Δόξα … Ταῖς πρεσβείας … Καὶ νῦν … Ταῖς πρεσβείαις…» Καὶ πάλιν ὁ διάκονος μικρὰν συναπτὴν καὶ μετὰ τὴν ἐκφώνησιν ὁ δομέστικος· ἦχος γ´ 232v «Ἐπίστευσα διὸ ἐλάλησα· Σῶσον ἡμᾶς, Υἱὲ Θεοῦ, ὁ ἀναστάς…» Καὶ ψάλλονται πάλιν οὕτως στίχοι δ´· «Δόξα, Ὁ μονογενής· Καὶ νῦν, Τὴν ὑπερένδοξον τοῦ Θεοῦ Μητέραν…»· καὶ ὁ διάκονος συναπτὴν μικρὰν καὶ μετὰ τὴν ἐκφώνησιν πάλιν, λέγει ὁ δομέστικος, ἀπ᾽ ἕξω· ἦχος γ´ «Αἰνεῖτε τὸν Κύριον, πάντα τὰ ἔθνη, ἅγιος ὁ Θεός…» Ψάλλονται δὲ στίχοι δ´, ὁ δεύτερος χορός· ἕτερον στίχον «Ἐπαινέσατε αὐτόν πάντες οἱ λαοί, ἅγιος ὁ Θεός…» Δόξα, ὁ πρῶτος χορός· Καὶ νῦν, ὁ δεύτερος χορός. Καὶ πάλιν ὕστερον ὁ δομέστικος ἤχημα καὶ ὁ διάκονος «Πληρώσωμεν τὴν δέησιν καὶ τὰ λοιπά…» Μεγαλυνάριον· ἦχος πλ. δʹ 234r Ἀσματικοὶ ἐκ τῶν ᾠδῶν εἰς τὴν ὕψωσιν τοῦ τιμίου καὶ ζωοποιοῦ Σταυροῦ· ἦχος πλ. 235r δʹ «Δεξιὰ Κυρίου ἐποίησε δύναμιν…» (Asmatic odes for the special chanted Orthros celebrated on 14 Sept.) Τοῦ Μαΐστρου· ἦχος γʹ «Ἀνοίξατέ μοι πύλας δικαιοσύνης…» 235v

328



EBE 2401 (olim 456)

Ὠδὴ τοῦ Κουκουζέλη «Προσκυνήσωμεν εἰς τὸν τόπον…» Ἦχος πλ. αʹ. A later Megalynarion is added in the lower margin and is notated in a choirbook format across the lower margins of fols 235v–236r. r Ἦχος πλ. αʹ «Μεγαλύνω τὰ πάθη σου…» 236 «Ὅτε τὸ πάθος τὸ φρικτόν…». (This is another example of a double melody where red 237r–v neumes are sporadically included below the black notation.) Ἦχος πλ. δʹ/δ´ «Ἵνα σώσῃ τὸν κόσμον ἐκ πλάνης…». (A double melody with red 237v neumes placed below the black notation with one in Mode IV Plagal and the other in Mode IV.) Ποίημα τοῦ Χαβιάρη ἀπὸ τὴν δύσιν· ἦχος πλ. δʹ «Ἐλέησόν με, εἶπεν ὁ Δαβίδ…» This 238v setting is of interest because the composer is identified as ‘Chaviares from the West’. Ποίημα τοῦ Κουκουζέλη· ἦχος πλ. δʹ «Ὡς οἰκτίρμων κάθαρον εὐσπλάγχνῳ…» 239r Εἰς τὰ ἅγια Πάθη «Παρισταμένη τῷ Σταυρῷ καὶ δακρύουσα…» 240v Ἕτερον τοῦ Μαγούλα· ἦχος δʹ «Ἅγιος ὁ Θεός…» Trisagion/Thrice Holy 241r Ἑσπερινὸς ᾀσματικὸς ψαλλόμενος εἰς τὴν Ὕψωσιν τοῦ τιμίου Σταυροῦ καὶ εἰς ἡμέραν 242r–v Κυριακήν, ἤτοι τῷ Σαββάτῳ Ἑσπέρας. Λέγει οὖν ὁ διάκονος τὸ, «Εὐλόγησον, δέσποτα» καὶ ὁ ἱερεὺς, «Εὐλογημένη ἡ βασιλεία»· εἶτα ὁ διάκονος τὴν μεγάλην συναπτήν, ἕως τὸ, «Ἀντιλαβοῦ», καὶ εὐθὺς ὁ δομέστικος τὸν παρόντα στίχον· ἦχος γʹ ἀργὰ καὶ ἴσα «Καὶ ἐπάκουσόν μου, δόξα σοι ὁ Θεός…» (Cathedral Rite Vespers for the Exaltation of the Holy Cross) Ps. 140, verse 2: «Κατευθυνθήτω ἡ προσευχῆ μου ὡς θυμίαμα…» Εἶτα λέγει ὁ πρῶτος δομέστικος τοῦ πρώτου χοροῦ, «Δόξα…». Καὶ ὁ δεύτερος, «Καὶ νῦν…». Εἶτα ὁ δομέστικος τοῦ πρώτου χοροῦ τὴν περισσήν «Δόξα σοι, ὁ Θεὸς…» This is followed by settings from Ps. 85. «Ἀμήν. Κλῖνον Κύριε, τὸ οὖς σου…» Καὶ ὁ δομέστικος τὸν παρόντα στίχον· ὁπόταν δὲ ἔστι Σάββατον, ψάλλομεν τὸ, «Ἀναστήτω ὁ Θεός»· Ἦχος πλ. δ´καὶ γ´ «Ἀμήν. Ὑψοῦτε, Κύριον, τὸν Θεὸν ἡμῶν…» Ὅλοι ὁμοῦ ἀπὸ χοροῦ· ἦχος γ´ «Ἀμήν. Ὑψοῦτε, Κύριον, τὸν Θεὸν ἡμῶν…» 242v–243r Ὁ πρῶτος χορός, «Δόξα»· ἦχος γ´ «Δόξα Πατρί… Καὶ νῦν… ἀλληλούϊα…» Ἦχος γ´ «Κύριε ἐκέκραξα…» Καὶ ὁ δεύτερος χορός «Κατευθυνθήτω», τὸ αὐτὸ μέλος· ὁ δεύτερος χορός· ἦχος γ´ «Κατευθυνθήτω ἡ προσευχή μου … θυσία ἑσπερινή…» Καὶ ψάλλονται οἱ στίχοι οὕτως· ψαλλομένων δὲ τῶν στίχων, γίνεται εἴσοδος. 243r Ὅταν δὲ ἔλθωσιν τὸ, «Ὅτι πρὸς σὲ Κύριε, Κύριε» βλέπει ὁ δομέστικος πρὸς τὸν ἱερέαν· καὶ ὅταν πληρῶσῃ τὴν εὐχὴν τῆς εἰσόδου, ἐξέρχεται ἀπὸ τὸν τόπον ἐνῷ ἵσταται ὁ δομέστικος μικρόν· καὶ καλεῖ τὴν εἴσοδον λέγων γεγονωτέραν τὴν φωνήν, τὸ «Ὅτι πρὸς σὲ Κύριε, Κύριε». Λέγει καὶ ὁ διάκονος τὸ, «Σοφία ὀρθή»· ὁμοῦ· ἦχος γ´ «Ὅτι πρὸς σέ Κύριε, Κύριε…» Καὶ ὁ ἕτερος χορός εἰς τὴν αὐτὴν φωνὴν «Φύλαξόν με ἀπὸ παγίδος…» Ἕως οὐ ἔλθωσιν, εἰς τοὺς στίχους, ὅσους μέλει νὰ ψάλωσιν τὰ στιχηρὰ· καὶ τότε ἀλλάσσει ὁ δομέστικος τὸν ἦχον, καὶ ψάλλωσιν· καὶ ὁ διάκονος θυμιᾷ. Εἶτα Δόξα ὁ δομέστικος τῆς ἑορτῆς καὶ νῦν τῆς ἡμέρας καὶ συμπληρουμένου τοῦ Θεοτοκίου, λέγει ὁ διάκονος· Εἴπωμεν πάντες καὶ τὰ λοιπά. Καὶ λέγει ὁ διάκονος μικρὰν συναπτὴν καὶ μετὰ τὴν ἐκφώνησιν λέγει ὁ δομέστικος ἀπ᾽ 243r–v ἔξω· ἦχος γ´ «Ἠγάπησα ὅτι εἰσακούσεται … Ταῖς πρεσβείαις τῆς Θεοτόκου…» Ὁ β´ χορός «Ὅτι ἔκλινε τὸ οὔς αὐτῶν … Ταῖς πρεσβείαις…»

EBE 2401 (olim 456)

243v 244r 245r

245v

329

Ὁ α´ χορός «Ἐλεήμων ὁ Κύριος … Ταῖς πρεσβείαις…» Ὁ β´ χορός «Φυλάσσων τὰ νήπια … Ταῖς πρεσβείαις…» Ὁ α´ χορός «Δόξα… Ταῖς πρεσβείαις … Καὶ νῦν … Ταῖς πρεσβείαις…» Ψάλλονται δὲ οὖν εἰς τούτο τὸ μέλος μετὰ τὸ, «Δόξα καὶ νῦν» στίχοι γ´ Καὶ μετὰ τὴν ἐκφώνησιν ὁ δομέστικος· ἦχος γ´ «Ἐπίστευσα διὸ ἐλάλησα … Σῶσον ἡμᾶς, υἱὲ Θεοῦ…» Καὶ ψάλλονται πάλιν οὕτως στίχοι δ´ «Δόξα… ὁ Μονογενής… Καὶ νῦν… Τὴν ὑπερένδοξον τοῦ Θεοῦ Μητέρα…» Καὶ διάκονος συναπτὴν μικράν· καὶ μετὰ τὴν ἐκφώνησιν πάλιν λέγει ὁ δομέστικος, ἀπ᾽ ἔξω· Ἦχος πλ. δ´ καὶ γ´ «Αἰνεῖτε τὸν Κύριον…» Ὅλοι ὁμοῦ· ἦχος γ´ «Αἰνεῖτε τὸν Κύριον πάντα τὰ ἔθνη… Ἅγιος ὁ Θεός…» Καὶ ψάλλονται δὲ στίχοι δ´. Ὁ β´ ἕτερον στίχον «Ἐπαινέσατε αὐτὸν πάντες οἱ λαοί… Ἅγιος ὁ Θεός…» Ὁ α´ χορός τὸ «Ἐκραταιώθη τὸ ἔλεος αὐτοῦ… Ἅγιος ὁ Θεός…» Ὁ α´χορός «Δόξα …» Ὁ β´χορός «Καὶ νῦν…». Καὶ πάλιν ὁ δομέστικος ἤχημα. Ἕτερος Ἑσπερινὸς ᾀσματικός· ψαλλόμενος εἰς ἐπισήμους ἑορτάς, εἰς μεγάλων ἁγίων μνήμας... Καὶ ὁ διάκονος· Πληρώσεν τὴν δέησιν καὶ τὰ λοιπά· καὶ ὁ ἱερεύς· Εἴν τὸ κράτος τῆς βασιλείας. Ὁ διάκονος, «Εὐλόγησον, δέσποτα» καὶ ὁ ἱερεὺς, «Εὐλογημένη ἡ βασιλεία τοῦ Πατρός»· καὶ λέγει ὁ διάκονος τὴν μεγάλην συναπτὴν ἕως τὸ, «Ἀντιλαβοῦ» καὶ εὐθὺς ὁ δομέστικος τοῦ πρώτου χοροῦ· ἦχος πλ. βʹ «Καὶ ἐπάκουσόν μου, δόξα σοι ὁ Θεὸς…» Εἰ δὲ ἔνι ἀναγνώσματα λέγονται πρότερον, μετὰ τὴν περισσήν. Ἀνέρχονται δὲ οἱ ψάλται ἐπὶ ἄμβωνος καὶ ψάλλουσιν τὰ ἀπολυτίκια τῆς ἡμέρας καὶ γίνεται ἀπόλυσις. (Another Chanted Vespers chanted for solemn feasts.) Detailed rubrics for antiphonal, responsorial and direct performance practices are indicated throughout for the Cathedral Rite services. «Τὴν οἰκουμένην, ἀλληλούϊα…» «Κύριε, ἐκέκραξα πρὸς σέ…» Ἕτεραι ᾠδαὶ ᾀσματικαί· γύρισε ὄπισθεν ὡς προεγράφη εἰς τὸν Ἑσπερινὸν τῆς Ὑψώσεως καὶ ψάλλε καθὼς διαλαμβάνεις· ἦχος βʹ «Δόξα πατρί…». Ὠδὴ α´ «Νεανες, Φίλος πιστὸς σὺ ἐχρημάτισας…». This rubric indicates that these are alternate asmatic odes and that the chanter is to return to the above version for the Vespers of the Exaltation of the Holy Cross (fols 242r–243r). Κανὼν ᾀσματικὸς ψαλλόμενος εἰς τoῦ Ἁγίου Δημητρίου τοῦ ἁγίου μεγαλομάτυρος Θεσσαλονικαῖον· καὶ εἰς ἑτέρων ἁγίων μνήμας· (Asmatic Kanon chanted for the feast of the holy martyr St Dimitrios, a ‘Thessalonian’ melody [on 26 Oct.]) Μελισθεὶς παρὰ τοῦ Πρωτοψάλτου Θεσσαλονίκης κυροῦ Μανουὴλ τοῦ Πλαγίτου· Ὠδή α´· ἦχος βʹ «Τῷ Κυρίῳ ἆσωμεν, ἐνδόξως γὰρ…» Ἦχος β´ «Νεανες … Δεῦτε λαοί … Νεανες … ἄσωμεν ἄσμα Χριστῷ τῷ Θεῷ…» Ἦχος β´ «Νεανες … Τῷ διελόντι θάλασσαν…» Ἦχος πλ. δ´ «Νεαγιε … Καὶ ὁδηγήσαντι…» Ἦχος πλ. δ´ «Νενανω … Δουλείας αἰγυπτίων ὅτι δεδόξασται … Δόξα Πατρί καὶ ἁγίῳ πνεύματι…» Ὠδή γ´· ἦχος β´ «Ἄγιος εἶ, Κύριε, σὲ ὑμνεῖ τὸ πνεῦμα μου…» Ὁ δομέστικος· ἦχος β´ «Νεανες … Ἐν πέτρᾳ με τῆς πίστεως στερέωσας…» Ἦχος β´ «Νεανες … Ἐπλάτυνας τὸ στόμα μου ἐπεχθρούς…»

330



EBE 2401 (olim 456)

Ὠδή θ´· ἡ λεγομένη καταβασία· ψάλλεται δὲ πρῶτον τὸ, «Ἵνα τί»· εἶτα λέγει ὁ β´ δομέστικος· ἀπ᾽ ἔξω τοῦτο πρῶτον, ἔπειτα τὸν πρόλογον· ἦχος δ´ «Ερερε» καὶ εὐθὺς τὸν πρόλογον· εἶτα κράτημα πλ. δ´. Some of the attributions included in this Asmatic service include the following 251r anagrammatismoi: Ἀσματικὸν τοῦ Μυστάκωνος· ἦχος γ´ Ἕτερον Κυρίου Ἰωάννου λαμπαδαρίου τοῦ Κλαδα· ἦχος αʹ Ἕτερον Κυρίου Ἰωάννου λαμπαδαρίου τοῦ Κλαδᾶ· ἦχος αʹ 251v Ἀντίφωνα ψαλλόμενα τῇ Κυριακῇ καὶ εἰς ἑτέρας ἑορτάς· ᾀσματικόν· ἦχος πλ. δʹ 253r [bottom of folio] «Ζήτω ὁσίους καὶ τῶν παιδῶν…»· ψάλλονται τὸ δὲ δίχορον… Ἕτερον τοῦ Χριστοφόρου· ἦχος πλ. δʹ«Εἶπεν ὁ Κύριος…» 253v 254v Ἕτερον παλαιὸν «Ἐν ἐξόδῳ, Ἰσραήλ…» Ποίημα ἕτερον τοῦ Ἀνδρειωμένου «Ἐξομολογεῖσθε τῷ Κυρίῳ…» 255v Ἕτερον τοῦ αὐτοῦ· ἦχος πλ. δʹ «Ἀλληλούϊα…» 256v Ἕτερον Μανουὴλ τοῦ Πλαγίτου «Ἐν τῷ ἐπιστρέψαι Κύριον…» 258v Παλαιόν· ἦχος πλ. δʹ«Μνήσθητι, Κύριε, τὸν Δαβίδ…» 259v Τοῦ Κουκουζέλη· ἦχος πλ. δʹ «Τὴν θύραν αὐτῆς…» 260v 262v Faded, illegible folio Ποίημα Μανουὴλ τοῦ Κορώνη· ἦχος πλ. δʹ «Ἵνα τί ἐφρύαξαν…» 263r Ἕτερον «Ἵνα τί ἐφρύαξαν…» 264r Ἕτερον ποίημα τοῦ Κουκουζέλη 265r Τοῦ Μοναχοῦ τοῦ Κασσᾶ· ἦχος πλ. δʹ «Τριὰς ἁπλῆ, ἀμέριστε…» 267r Ποίημα κυρίου Ἰωάννου τοῦ Κουκουζέλη «Δουλεύσατε τῷ Κύριῷ…» 267v v 268 Μέγας Ἑσπερινὸς ποιηθεὶς παρὰ Μανουὴλ λαμπαδαρίου τοῦ Χρυσάφη· ἦχος πλ. δʹ «Ἀνοίξαντος δέ σου τὴν χεῖρα…» Στίχος καλοφωνικὸς τοῦ Μεγάλου Ἑσπερινοῦ· πάνυ ὡραιότατον· ποιηθεὶς παρὰ 271r Μανουὴλ λαμπαδαρίου τοῦ Χρυσάφη· ἦχος πλ. δʹ «Ἐγὼ σήμερον γεγέννηκά σε…» Θεοτοκίον· τὰ μὲν γράμματα τοῦ ἁγίου Θεοδώρου τοῦ Στουδίτου· τὸ δὲ ἰδιόμελον κὺρ 272r Μανουὴλ λαμπαδαρίου τοῦ Χρυσάφη· ἦχος πλ. βʹ «Τὸ θαῦμα τοῦ τόκου σου…» Ἕτερον θεοτοκίον «Ψαλμοῖς καὶ ὕμνοις…» 272v 273v-274r Στιχηρὸν εἰς τὴν σταυροπροσκύνησιν· τοῦ αὐτοῦ [Μανουὴλ Χρυσάφη] «Θνῄσκεις ἐν ξύλῳ σταυρικῷ…» Ποίημα κὺρ Μανουὴλ Γαζῆ τοῦ λαμπαδαρίου· ἦχος πλ. δ «Ὅτι ἐν ταπεινώσει ἡμῶν…» 274r Τῷ αὐτῷ, μὴν Σεπτέμβριος ηʹ· τὸ γεννήσιον τῆς Θεοτόκου, ἀναγραμματισμός τοῦ 274v Μαΐστρου τοῦ Κουκουζέλη· ἦχος πλ. βʹ «Ἐξ ἀκάρπου γὰρ ῥίζης φυτὸν ζωηφόρον…». Other Anagrammatismoi for the Akolouthia of the Sticherarion follow. Τῷ αὐτῷ μηνὶ ιδʹ· ἡ Ὕψωσις τοῦ τιμίου καὶ ζωοποιοῦ Σταυροῦ· ποίημα κυρίου Ἰωάννου 275v τοῦ Γλυκέως «Σύ μου σκέπη κραταιά…» Τῷ αὐτῷ μηνὶ ἓξ καὶ δέκα· τῆς ἁγίας μεγαλομάρτυρος Εὐφημίας· ἀναγραμματισμός, 276v ποίημα κυρίου Ἰωάννου τοῦ λαμπαδαρίου «Αὐτῆς ταῖς ἱκεσίαις…» Τῷ αὐτῷ μηνὶ κγʹ· ἡ μετάστασις τοῦ ἁγίου προφήτου Προδρόμου καὶ εὐαγγελιστοῦ 277r Ἰωάννου· ἦχος πλ. βʹ «Ἐν ἀρχῇ ἧν ὁ Λόγος, καὶ ὁ Λόγος ἧν πρὸς τὸν Θεόν…» Τῷ αὐτῷ μηνὶ [October] κϛʹ· τοῦ ἁγίου ἐνδόξου μεγαλομάρτυρος Δημητρίου τοῦ 278r μυροβλύτου… καὶ ἀναγραμματισμός κυρίου Ἰωάννου Μαΐστρου τοῦ Κουκουζέλη «Φρούρησον, πανεύφημε, τὴν σὴν μεγαλύνουσαν πόλιν…»

EBE 2401 (olim 456)

279v

331

Μηνὶ Νοεμβρίῳ αʹ· τῶν ἁγίων καὶ θαυματουργῶν ἀναργύρων Κοσμᾶ καὶ Δαμιανοῦ· στιχηρὸν ψαλλόμενα· Ἰωάννου τοῦ Γλυκέως· ἦχος βʹ «Μεγάλων ἀξιωθέντες δωρεῶν…» Τῷ αὐτῷ μηνὶ ηʹ· τοῦ ἀρχιστρατήγου Μιχαήλ· ἀναγραμματισμός· Κυρίου Μανουὴλ τοῦ 280v Γαζῆ καὶ λαμπαδαρίου «Ὁ Ταξιάρχης τῶν ἄνω Δυνάμεων…». This setting by Gazes is another example of simultaneous notated melodies with the red neumes placed underneath the more prominent black neumes. Ἕτερον, ἀποδισμός· Ἰωάννου τοῦ Κουκουζέλη «Σκέπασον ἡμᾶς ἐν τῇ σκέπῃ…» 281v Τῷ αὐτῷ μηνὶ ιγʹ· τοῦ … τιμίου Ἰωάννου [ Χρυσοστόμου] ἀρχιεπισκόπου· ποίημα 282v κυρίου Νικηφόρου τοῦ Ἠθικοῦ· ἦχος αʹ«Φωστὴρ Ἰωάννη…» Μηνὶ Νοεμβρίῳ καʹ· ἡ ἐν τῷ ναῷ εἴσοδος τῆς ὑπεραγίας δεσποίνης ἡμῶν Θεοτόκου 285r καὶ ἀειπαρθένου Μαρίας· ποίημα τοῦ Μακαριωτάτου «Ἄσπιλε, ἀμόλυντε, εὐλογημένη Θεοτόκε…» 287v Μηνὶ Δεκεμβρίῳ ϛʹ· τοῦ ἐν ἁγίοις πατρὸς ἡμῶν ἀρχιεράρχη καὶ θαυματουργοῦ Νικολάου· ποίημα Κυρίου τοῦ Γλυκέως «Τῶν ἀνδραγαθημάτων σου, ὅσιε Πάτερ…» Lower half of folio has only neumes without text 288r 289v Neumes have completely faded on entire folio Ἀκολουθία ψαλλομένη τῇ Κυριακῇ τῶν ἁγίων πατέρων πρὸ τῆς Χριστοῦ γεννήσεως 290r (εἰς τοὺς ἁγίους τρεῖς παῖδας τοῦς ἐν καμίνῳ)· ποίημα Μανουήλ· ἦχος πλ. δʹ «Ὁ δὲ ἄγγελος Κυρίου συγκατέβη ἅμα τοῖς περὶ τὸν Ἀζαρίαν εἰς τὴν κάμινον…» Εὐλογητὸς ἀπὸ χόρου· ἀκολουθία τῆς καμίνου εἰς τοὺς ἁγίους τρεῖς παῖδας, Ἀνανία, 290v Ἀζαρία, καὶ Μισαὴλ … οἱ τρεῖς ὕμνοι … ἦχος πλ. δʹ «Εὐλογητὸς εἶ Κύριε…» Ἦχος πλ. δʹ «Τῶν πατέρων ἡμῶν εὐλογητὸς εἶ Κύριε…» Ἦχος πλ. δʹ «Τῶν ἁγίων ὑπερύμνητε ὑπερένδοξε Κύριε ὁ Θεός…» Ἦχος πλ. δʹ «Τὸν Κύριον ὑμνεῖτε τὸν Κύριον τὰ ἔργα, ὑμνεῖτε εὐλογεῖτε καὶ ὑπερυψοῦτε 291r εἰς τοὺς αἰῶνας…» Μηνὶ τῷ αὐτῷ κεʹ· ἡ Χριστοῦ γέννησις τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ· ᾠδὴ «Σὲ μεγαλύνομεν ψυχή μου ἐν τῷ σπηλαίῳ…» Ἦχος πλ. δʹ «Σήμερον γεννᾶται ἐκ Παρθένου…» 291v Another musical setting with a sporadic second melody with red neumes: ἦχος [ ?] 294v «Οὐκέτι φέρω λοιπόν…» Ἀναγραμματισμός· ἦχος πλ. δʹ «Ἀδὰμ ἀνανεοῦται σὺν τῇ Εὔᾳ κράζοντες…» 295r missing 296r–v Μὴν Ἰανουάριος, αʹ· ἡ περιτομὴ τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ· καὶ μνήμῃ τοῦ 297r ἐν ἁγίοις πατρὸς ἡμῶν Βασιλείου τοῦ μεγάλου· ἦχος βαρὺς «Μνημόνευε καὶ ἡμῶν παρεστώς…» Τῷ αὐτῷ μηνὶ ϛʹ· ἀναγραμματισμός εἰς τὰ ἅγια Θεοφάνεια· ἦχος πλ. δʹ «Διὰ τὰς ἁμαρτίας ἡμῶν ἐν ποταμῷ…» Ἕτερον εἰς τὴν αὐτὴν ἑορτὴν· τοῦ αὐτοῦ «Ὁ αἴρων τὴν ἁμαρτίαν τοῦ κόσμου…» 297v Τροπάριον ψαλλόμενον εἰς τὰς ἑορτάς· Ὠδὴ ζʹ· «Δόξα πατρὶ καὶ νῦν»· ἦχος πλ. δʹ «Ὁ 298r Ἰωάννης συμμαρτυρεῖ μοι…» Μὴν Φεβρουάριος, βʹ· ἡ ὑπαπαντὴ τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ «Αὕτη γὰρ θρόνος 300v χερουβικὸς ἀνεδείχθη…» 302r Μὴν Μάρτιος, κεʹ· ποίημα τοῦ Μαγούλα ψάλλεται εἰς ἑορτὴ εὐαγγελισμὸς τῆς Θεοτόκου· ἀναγραμματισμός· ἦχος δʹ«Πανευαγὴς Παντάνασσα…»

332

302v 306v 307v 308r–v 309r 309v 310r

310v 311r 311v 312r 312v 313r-v

314r 314v 315r 316r 316v 317r 318r

EBE 2401 (olim 456)

Ἕτερον· εὐαγγελισμὸς τῆς ὑπεραγίας Θεοτόκου· ποίημα ἱερομονάχου κυρίου Γερασίμου τοῦ Χαλκεοπούλου· μὴν Μάρτιος· κεʹ· ἦχος πλ. δʹ «Εὐφραινέσθωσαν οἱ οὐρανοὶ καὶ ἀγαλλιάσθω ἡ γῆ…» Ποίημα τοῦ Μαΐστρου· ἦχος πλ. δʹ «Ὁ δὲ ἀπέστειλεν αὐτούς…» Τῇ Κυριακῇ τῶν Βαΐων· ἀπὸ τὸ πρὸ ἓξ ἡμερῶν· ποίημα Κυρίου Ἰωάννη τοῦ λαμπαδαρίου Στιχηρὸν τῇ Κυριακῇ τῶν Βαΐων· Μανουὴλ λαμπαδαρίου τοῦ Χρυσάφη «Ἐξέλθετε ἔθνη, ἐξέλθετε…». Double melody with red neumes beneath the black. Στιχηρὸν εἰς τὰ τροπάρια εἰς τῇ ἁγίᾳ καὶ μεγάλῃ Παρασκευῇ· κυρίου Μανουὴλ λαμπαδαρίου τοῦ Χρυσάφη «Τοῖς συλλαβοῦσί σε παρανόμοις…» Λέοντος τοῦ Ἀλμυριώτου· ἐκαλλωπίσθη δὲ παρὰ τοῦ Γλυκέως θαυμαστόν· ἦχος πλ. αʹ «Βοᾷ πρὸς αὐτὸν καὶ ποιήσει…». There are a few sections with red neumes below the black notation. Ὀργανικὸν στιχηρὸν τῇ ἁγίᾳ καὶ μεγάλῃ Παρασκευῇ· παρὰ Μανουὴλ λαμπαδαρίου τοῦ Χρυσάφη· ἦχος πλ. δʹ / ἦχος δʹ «Ἤδη βάπτεται κάλαμος…». This is another double melody by Manuel Chrysaphes with red neumes below the black. The two modes (Plagal IV and Authentic IV) indicate the different but related mode for each melody. Ἕτερον· τοῦ λαμπαδαρίου τοῦ Γαζῆ· ἦχος δʹ/ἦχος πλ. δʹ «Ἤδη βάπτεται κάλαμος…». Double melody of the preceding same text by Manuel Gazes with respective modes for each. Τῇ ἁγίᾳ καὶ μεγάλῃ Κυριακῇ τοῦ Πάσχα «Φωτίζου, φωτίζου, ἡ νέα Ἱερουσαλήμ…». More anagrammatismoi follow. Τῇ ἁγίᾳ καὶ μεγάλῃ Κυριακῇ τοῦ Πάσχα· ποίημα τοῦ λαμπαδαρίου. (Additional music and text in upper, right, and lower margins.) Ποίημα κυρίου Ἰωάννου τοῦ λαμπαδαρίου· ἦχος αʹ Τροπάριον [Πάσχα]· ποίημα τοῦ Κορώνη Τοῦ Κυρίου Ἰωάννου τοῦ λαμπαδαρίου· ἦχος πλ. δʹ Μηνὶ Ἀπριλίῳ κγʹ· τοῦ ἁγίου καὶ ἐνδόξου μεγαλομάρτυρος Γεωργίου· στίχοι εἰς τὸν αὐτὸν ἅγιον ποιηθέντες τε καὶ μελισθέντες παρὰ κὺρ Μανουὴλ λαμπαδαρίου τοῦ Χρυσάφη· ἦχος πλ. δʹ«Θνῄσκεις τῷ ξίφει καρτερῶς…». Double melody with red neumes underneath the black neumes. Στιχηρὸν ἰδιόμελον εἰς τοῦ αὐτοῦ ἁγίου· ποίημα τοῦ αὐτοῦ [Μανουὴλ λαμπαδαρίου τοῦ Χρυσάφη]· ἦχος πλ. δʹ «Δεῦτε φιλεόρτων τὸ σύστημα…». Double melody with black neumes and red underneath. Μηνὶ Ἰουνίῳ κδʹ· ἀναγραμματισμός εἰς τὸ γεννέσιον τοῦ τιμίου Προδρόμου· ποίημα τοῦ Μαΐστορος Ἰωάννου τοῦ Κουκουζέλη· ἦχος βʹ«Οὖτοι γὰρ ἐκήρυξε…». Double melody by Ioannes Koukouzeles with red and black neumes. Τοῦ Μαΐστορος τοῦ Κουκουζέλη· ἦχος δʹ «Ὁ τὸν ἀμνὸν προμηνύων…». Double melody by Maistor Koukouzeles with red and black neumes. Μηνὶ τῷ αὐτῷ κθʹ· τῶν ἁγίων ἀποστόλων Πέτρου καὶ Παύλου· ἦχος δʹ «Ὅθεν πρὸς αὐτὸν ὁ Σωτήρ…». This setting has some instances of double melodies. Ἀναγραμματισμός· εἰς τοὺς ἁγίους ἀποστόλους· τοῦ Μαΐστρου· ἦχος πλ. βʹ «Δεῦτε σὺν ἐμοὶ καὶ τῶν ἀγαθῶν…» Κυριακῇ τῆς ἁγίας Πεντηκοστῆς· ἦχος πλ. δʹ«Τότε κατηργάσθη ἡ ἀφωνία…» Μηνὶ Ἰουλίῳ κʹ· τοῦ ἁγίου προφήτου Ἠλιοῦ· ἦχος δʹ «Ἐν πυρίνῳ ἅρματι…»

EBE 2401 (olim 456)

318v 319v 320r 321v 322r 322v 323r 325v 327r 328r-v

328v 329r 329v



333

Μηνὶ Αὐγούστῳ ϛʹ· εἰς τὴν μεταμόρφωσιν τοῦ Κυρίου καὶ Θεοῦ καὶ σωτῆρος ἡμῶν Ἰησοῦ Χριστοῦ· ποίημα κυρίου Ἰωάννου Μαΐστορος τοῦ Κουκουζέλη· ἦχος αʹ«Οὐρανοὶ ἔφριξαν, γῆ ἐτρόμαξεν…» Neumes and text are present but entire folio is faded and illegible. Μὴν Αὔγουστος, ιεʹ· ἡ κοίμησις τῆς ὑπεραγίας Θεοτόκου· ἀναγραμματιμός· τοῦ Μαΐστορος τοῦ Κουκουζέλη· ἦχος Νενανω «Χαῖρε χαριτωμένη Παρθένε…» Ποίημα κυρίου Μανουὴλ τοῦ λαμπαδαρίου· ἦχος πλ. αʹ, ἀναγραμματισμός Θεοτοκίον· τοῦ αὐτοῦ [Μανουὴλ λαμπαδαρίου] «Τὸν ἐκ πατρός…». A double melody with black and red neumes by Manuel Chrysaphes. Tῷ αὐτῷ μηνὶ ιεʹ· στιχηρὸν εἰς τὴν κοίμησιν· ποίημα τοῦ Ψηρίτζης «Ὅτε ἡ Μετάστασις…» Μηνὶ τῷ αὐτῷ κθʹ· ἡ ἀποτομὴ τοῦ τιμίου Προδρόμου· ποίημα τοῦ Μαΐστορος· ἦχος πλ. βʹ «Ἀλλ᾽ ἡμεῖς τὸν Βαπτιστήν…» Μηνὶ Ἰανουαρίῳ ζʹ· ἡ σύναξις τοῦ τιμίου Προδρόμου βαπτιστοῦ Ἰωάννου· στιχηρὸν ποίημα τοῦ Χρυσάφη· ἦχος δʹ«Ὡς τοῦ Πνεύματος ἐραστής…» Rubric and mode illegible «Ἀνευφημοῦντες πόθῳ δεόμεθα…» Τὸ τοιοῦτον κοινωνικὸν ψάλλουν τὸ δύο, ὁ εἷς τὰ μαῦρα εἰς ἦχον δʹ, ὁ ἄλλος τὰ κόκκινα εἰς ἦχον πλ. δʹ· ποίημα κὺρ Μανουὴλ Γαζῆ τοῦ λαμπαδαρίου «Αἰνεῖτε τὸν Κύριον…». This Communion chant by Manuel Gazes is notated for two voices. The rubric explains that the [black] neumes are chanted in Mode IV and the other [voice] in red neumes is in Plagal Mode IV. Κατεβασίαν· ποίημα κυρίου Νικολάου καὶ Πρωτοψάλτου (Tererismata follow) Τῇ ἁγίᾳ καὶ μεγάλῃ Παρασκευῇ· τοῦ αὐτοῦ [Νικολάου καὶ Πρωτοψάλτου]· ἦχος δʹ«Ἤδη βάπτεται κάλαμος…» (first two lines of black neumes have red neumes underneath and the red neumes reappear near the end) Then immediately following: Τὸ ἴσον· ἦχος πλ. δʹ «Ἤδη βάπτεται κάλαμος…». This setting is for the ‘ison’ or lower undervoice and is probably intended to accompany the above setting in this folio. music ends Diagram of a musical trochos (a modulation wheel of modes). The letter ‘lambda’ in the centre may indicate that it is by Laskaris. (This Trochos is not mentioned in the Bentas article on the Laskaris treatise.) Names written in Slavonic have been added in a later hand: ράττω γκρόζου κε τζεηρέκ[η] σήδιρον· τόδωρ βουλκοφ τζεηρέκη συδυως MS ends

Notes This Papadike is in fair to poor condition. The binding is semi-destroyed; what remains is a brownish leather binding with three clasps that are no longer attached. Folios are missing at the beginning and the end. The MS is not the most legible; some sections are more troublesome to read than others. Errors occur in the numbering of fols 188 and 200. The MS has at least two different scripts, if not a third: fols 1–8 and 89–252 in one style and fols 9–88 and 253–63 in another. Fols 263–329 too could be by another hand. The different handwritings also make the lines per page variable, so that there could be 18–21 lines and sometimes even fewer, e.g., fol. 13r, 16 lines and fol. 12v, ten lines. Reddish ink has been used for rubrics, modal signatures, hypostaseis and some incipit letters. The neumes and text are written in a blackish tint, the exception being the red neumes found in the double melodies that occur throughout the manuscript. There are

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probably far more examples of double melodies than have been identified; the faded folios make it impossible at times to decipher the presence of the faded red neumes. The following are among the folios that contain visible evidence of double melodies: 30v, 76r, 90r-v, 186r, 202r–v, 216v, 237r–v, 280v, 308r–v, 309v, 310r–v, 313r–v, 314r–v, 315r, 316r, 322r, 328r and 329r. The double melodies that are present are predominantly by Manuel Chrysaphes and Manuel Gazes but also include settings by Ioannes Plousiadenos and Ioannes Koukouzeles. For the most part these polyphonic melodies exhibit features of parallelism at the interval of the fourth between the two voices and at times there is use of voice exchange between the two parts. It has been surmised by G. Stathis that the second melody notated in red in this MS was an addition by Andreas Stellos from Cyprus, who might have even been the scribe of the MS. This manuscript has hints of influences or reciprocities with the West: the presence of double melodies; a Byzantine setting of a possible monophonic Western Kyrie eleision (fol. 208v); and even a rare Western attribution – ‘Chaviares from the West’ (fol. 238v). It should be noted that Ioannes Plousiadenos and Manuel Gazes, composers of polyphonic Byzantine music, had lived in and been associated with Crete during its period of Venetian occupation. Even Ioannes Laskaris from Constantinople, whose treatise is in this manuscript (fol. 224r and 329v) had been in Crete during the years 1411 and 1418, when he taught Byzantine music at a school in Chandaka (Candia, modern Iraklion). The composer Ioannes Vatazes (fol. 137r) was a protopsaltes in Chandaka and was influenced by the visit of Manuel ‘Doukas’ Chrysaphes, the Lampadarios, to Crete. It is suspected that the double melodies by Chrysaphes were composed during his tenure in Crete as well as by the other Byzantine composers who flocked to Crete after the fall of Byzantium, since there were more rigid restrictions under the Ottoman Turks and more artistic creativity under the rule of Venetian Crete. The contents of this Papadike are rich: they represent the cathedral (asmatikos) and monastic repertory for the Office, the three Liturgies, the Menologion Stichera of the late 14th and 15th centuries and kalophonic composers of this era. Of interest is the inclusion of the Akolouthia of the Three Children in the Furnace celebrated on the Sunday before the Nativity. The rubrics indicate specific performance practices that distinguish between the roles of the two choirs and precentor. The MS opens on fol. 1r with Tererismata and continues on fol. 2r with a kalophonic setting for the Dormition of the Theotokos by Ioannes Kladas. The contents continue as follows: fol. 1r Teretismata fol. 5r Echemata fol. 6r more Teretismata fol. 9r Parallage fol. 10r Martyriae fol. 11r formal beginning of the Papadike Techne fol. 13r ascending neumes followed by descending fol. 15r Echemata according to modes fol. 18v Koukouzeles’ School Song fol. 20r Stichoi by Glykys according to modes fol. 20v Metrophonia fol. 21r Prokeimena fol. 29r chants from Vespers and Orthros Psalm 1 fol. 59r fol. 63v Kalophonic settings of Psalm 2 fol. 70r Psalm 3

EBE 2401 (olim 456)

fol. 77r Constantinopolitan Polyeleos (Ps. 134) fol. 95r Asmatikos Polyeleos fol. 105r Thessalonian Polyeleos fol. 106r by Koukoumas and Magoulas fol. 108v [Boulgara/Bulgarian] by Lampadarios fol. 113r Second psalm (Ps. 135) of the Polyeleos by Koukoumas fol. 122v Persian Teretismos fol. 124r Pasapnoaria by Koukouzeles fol. 128v Prolychnika fol. 129v Anagrammatismos fol. 136r Antiphons for various occasions fol. 142v Psalm 111 fol. 145v Psalm 109 fol. 147v Psalm 88 fol. 150r Amomos for the funeral of Christ, Theotokos, etc. fol. 156v Amomos for Laymen fol. 170r Amomos for Monks fol. 175r Thessalonian Amomos fol. 180r another Amomos for Monks fol. 180v another Amomos for priests and archpriests fol. 181r Kontakion fol. 182v the Liturgy of Presanctified Gifts with Cherubic and Communion hymns fol. 186v Liturgy of St John Chrysostom with Cherubic hymns fol. 210r Liturgy of St Basil with Communion chants fol. 216v the Polyphonic Communion chant by Plousiadenos fol. 221v Sanctus fol. 223r Text on the interpretation of the Parallage and includes Laskaris treatise fol. 224r Laskaris’ Parallage fol. 227v Anagrammatismoi fol. 234r Megalynaria fol. 235r Asmatic Odes for the Chanted Orthros for the Elevation of the Cross fol. 241r Trisagion fol. 242r Chanted (Asmatikos) Vespers fol. 245v Asmatika Kanons for St Dimitrios (patron saint of Thessalonika) fol. 253r Antiphons fol. 268v Great Vespers [monastic] by Manuel Chrysaphes fol. 272r Theotokia fols 273v– Sticherarion section with Anagrammatismoi settings of various calendar 289r fol. 290r Akolouthia for the Three Children in the Furnace fol. 328r polyphonic Communion chant by Gazes fol. 329v Trochos of Laskaris

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Bibliography Adamis, ‘An Example of Polyphony’. Alygizakes, Ἡ Ὀκταηχία στὴν Ἑλληνικὴ Λειτουργικὴ Ὑμνογραφία, pp. 239–40. Amargianakes, “Ἡ Κρητικὴ Βυζαντινὴ καὶ παραδοσιακὴ μουσική”. Anastasios, Tὰ Κρατήματα στὴν Ψαλτικὴ Τέχνη, pp. 171, 172, 298, etc. Bentas, ‘The Treatise on Music by John Laskaris’. Chaldaiakis, Ὁ Πολυέλεος στὴν Βυζαντινὴ καὶ Μεταβυζαντινὴ Μελοποιία, pp. 417, 436, 561, 722. Chatzegiakoumkes, Μουσικὰ Χειρόγραφα Τουρκοκρατίας, pp. 335–6. —— Χειρόγραφα Ἐκκλησιαστικῆς Μουσικῆς (1453–1820), pp. 24, 81, 83, 110–11. Conomos, ‘Experimental Polyphony “According to the Latins”’. —— The Late Byzantine and Slavonic Communion Cycle. Dragoumis, “Ἡ δυτικίζουσα ἐκκλησιαστικὴ μουσική μας στὴν Κρήτη καὶ στὰ Ἑπτάνησα”, esp. p. 282. Gerzmanus, Manuscripta Graeca Musica Petropolitana: Catalogus, vol. 1, pp. 625–6. Giannopoulos, Ἡ Ἄνθηση τῆς Ψαλτικῆς Τέχνης στὴν Κρήτη, pp. 55–9 and elsewhere. Huglo, ‘L’Introduction en Occident des formules byzantines d’intonation’. Jakovljević, Δίγλωσση Παλαιογραφία, pp. 84–5. Lingas, ‘Medieval Byzantine Chant’, p. 147. Manoussakas, ‘Recherches sur la vie de Jean Plousiadénos’. Mpalageorges, Ἡ Ψαλτικὴ Παράδοση τῶν Ἀκολουθιῶν τοῦ Βυζαντινοῦ Κοσμικοῦ Τυπικοῦ, pp. 101, 136–7, 141, 202-4. Panagiotakes, Ἡ Μουσικὴ στὴν Κρήτη κατὰ τὴ Βενετοκρατία, pp. 18, 22, 42, 51, 56–7. Papadopoulos-Kerameus, ‘Μανουὴλ Χρυσάφης Λαμπαδάριος τοῦ Βασιλικοῦ Κλήρου’. Patrinelis, ‘Protopsaltae, Lampadarii, and Domestikoi of the Great Church’. Raasted, Intonation Formulas and Modal Signatures. Romanou, “Ἕνα ἀρχεῖο ‘Κρητικῆς’ Μουσικῆς στὴ Φιλαρμονικὴ Ἑταιρεία Κερκύρας”. Stathis, G., “’Διπλοῦν Μέλος’”. —— Ἡ Δεκαπεντασύλλαβος Ὑμνογραφία ἐν τῇ Βυζαντινῇ Μελοποιίᾳ, pp. 95–7. —— Οἱ Ἀναγραμματισμοὶ καὶ τὰ Μαθήματα τῆς Βυζαντινῆς Μελοποιίας, pp. 129–30. Strunk, ‘Intonations and Signatures of the Byzantine Modes’. Touliatos, Byzantine Amomos Chant. —— “Ἡ πρακτικὴ ἐκτέλεσης τῆς Βυζαντινῆς Μουσικῆς”. —— ‘Ioannes Plousiadenos’. —— ‘The Application of “Chant sur le livre” to Byzantine Chant’. —— ‘The “Chanted” Vespers Service’. —— ‘The Performance Practice of Byzantine-Kephallonian Chant’. Velimirović, ‘Liturgical Drama in Byzantium and Russia’. —— ‘“Persian Music” in Byzantium?’. —— ‘Two Composers of Byzantine Music’. Wellesz, ‘Kontakion and Kanon’, in Atti del Congresso internazionale di musica sacra (Rome, 1952), pp. 131–3.

EBE 2405 (olim 379)

337

ΕΒΕ 2405 (olim 379) ΚΟΝΤΑΚΑΡΙΟΝ/KONTAKARION Type of paper: chartaceous Measurements: 21.6 × 14.4 cm Folios: 467 Notation: Middle Round Byzantine Date: late 14th c. Provenance: Monastery of the Forerunner in Serres

1r 15v 34v 53r 63r 73v 75r 92v 101r 110v 113v

128v 155r

161v 174r 194r

Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κοντακίων τοῦ ὅλου ἐνιαυτοῦ αʹ· τῆς ἰνδίκτου.... This is a Menologion which lists Kontakia according to the feasts of the liturgical calendar. The neumes and text of this first folio are not legible. Even the rubric is extremely faded. Μηνὶ Σεπτεμβρίῳ ιδʹ· ἦχος δʹ. (There is no rubric indicating the month of October.) Μηνὶ Νοεμβρίῳ Μηνὶ Δεκεμβρίῳ κεʹ· ἦχος γʹ «Ἡ Παρθένος σήμερον...» Kontakion by Ioannes Koukouzeles Κράτημα ὀκτὼ ἤχων· ποίημα τοῦ Πρωτοψάλτου κὺρ Ἰωάννου τοῦ Γλυκέος Μηνὶ Ἰανουαρίῳ ςʹ· ἦχος δʹ Μηνὶ Φεβρουαρίῳ βʹ· ἦχος αʹ, ἰδιόμελον Μὴν Μάϊος, κδʹ · τὸ γεννήσιον τοῦ Προδρόμου· πρὸς τὸ, «Ἡ Παρθένος σήμερον»· ἦχος γʹ Μηνὶ Ἰουλίῳ κʹ · ἦχος πλ. βʹ, ἰδιόμελον Γίνωσκε ὅτι τὸ αʹ σημεῖον δηλοῖ τοῦτο ὅτι, ἐὰν εἴπῃς τὸ μαῦρον, θέλεις εἰπεῖν καὶ τοῦ βʹ σημείου τὸ μαῦρον· εἰ δὲ εἴπῃς τὸ κόκκινον, ἤγουν διπλοτονίαν, θέλεις εἰπεῖν καὶ τὴν κάτω διπλοτονίαν. (‘Know thou that the first sign indicates that if thou sing the black [note], thou shalt also sing the black [note] of the second sign. And if thou sing the red, that is to say the double tone, thou shalt also sing the double tone below.’) This is a very interesting rubric giving a directive that a black-coloured note is the first neume (or first sign) and is given the upper melodic preference, whereas the red note/neume is the secondary lower note in a two-voice composition. Μηνὶ Αὐγούστῳ βʹ· ἦχος πλ. βʹ, ἰδιόμελον Ἀρχὴ τῶν κοντακίων τῆς ἁγίας Τεσσαρακοστῆς τῷ Σαββάτῳ τῆς ἀπόκρεως ἐν ᾗ μνήμην ποιοῦμεν τῶν κεκοιμημένω· ἦχος πλ. δʹ, προσόμιον. On this folio the Triodion and Pentecostarion Kontakia begin. The rubric indicates that the Kontakia for Lent follows beginning with the Saturday of Carnival up to Pentecost. Κοντάκιον ψαλλόμενον τῇ Κυριακῇ τοῦ τυροφάγου ἤτοι εἰς τὴν ἐξορίαν τοῦ Ἀδάμ· ἦχος πλ. βʹ, ἰδιόμελον Ἀμβρώσιος ἱερομοναχὸς. The name of ‘Ambrosios the priest-monk’ is written in a later hand, possibly from the 17th century. Ἐθνικὸν, περσικὸν, μουσικὸν, ξυλικὸν, τεχνικὸν, παπαδικὸν, καλοφωνικὸν· Πρωτοψάλτου ποίημα. This lists descriptive (programmatic) titles for these kalophonic Kontakia: ‘ethnic, Persian, musical, wood-like, technical, priestly, kalophonic, composed by the Protopsalte’.

EBE 2405 (olim 379)

338

196v

216v 228r 311v 381r 383r 400r 408r 413v 424r 429v 436r 444v 451r 467v

Ἀκάθιστος ψαλλόμενος τῷ Σαββάτῳ τῆς πέμπτης ἑβδομάδος τῆς ἁγίας Τεσσαρακοστῆς· ποίημα κὺρ Ἰωάννου Μαΐστορος καὶ Πρωτοψάλτου τοῦ Γλυκέος· μικροτέρα μέν ἐστι παρὰ τὴν μεγάλην Ἀκάθιστον, τεχνικοτέρα δὲ καὶ γλυκυτέρα· ἦχος πλ. δʹ. This is a kalophonic setting with Teretismata. Various Kontakia follow. Ἕτερος Ἀκάθιστος κατ’ ἀλφάβητον ψαλλομένος τῷ Σαββάτῳ τῆς εʹ ἑβδομάδος τῆς ἁγίας Τεσσαρακοστῆς· ποίημα τοῦ δομεστίκου κὺρ Μιχαὴλ τοῦ Ἀνεώτου, ἐκαλλωπίσθη δὲ παρὰ τοῦ Μαΐστορος κὺρ Ἰωάννου τοῦ Κουκουζέλη· ἦχος πλ. δʹ Ἕτερος Ἀκάθιστος· ποίημα τοῦ Πρωτουψάλτου κὺρ Ἰωάννου τοῦ Γλυκέος· ἦχος πλ. δʹ Kontakion by Korones Ἕτερος Ἀκάθιστος ... πόιημα τοῦ Μαΐστρου κὺρ Ἰωάννου Καὶ τὸ μὲν κοντάκιον ἐκαλοφωνήσαμεν ὅλον, τὸν οἶκον δὲ πάλιν ὀφείλομεν καλοφωνῆσαι μετὰ τὸ, «Ἄγγελος πρωτοστάτης, ἡνωμένον…». Κοντάκιον λεγόμενον τῇ ἁγίᾳ καὶ μεγάλῃ Παρασκευῇ· ἦχος πλ. βʹ, ἰδιόμελον Κοντάκιον τῷ ἁγίῳ καὶ μεγάλῳ Σαββάτῳ Κοντάκιον ψαλλόμενον τῇ ἁγίᾳ καὶ μεγάλῃ Κυριακῇ τοῦ Πάσχα· ἦχος πλ. δʹ Κοντάκιον τοῦ Θωμᾷ· ἦχος πλ. δʹ, ἰδιόμελον Κοντάκιον τῇ Κυριακῇ τῶν μυροφόρων· ἦχος βʹ Κοντάκιον εἰς τὴν ἀνάληψιν τοῦ Ἰησοῦ Χριστοῦ· ἦχος πλ. βʹ, προσόμοιον Κοντάκιον τῶν θεοφόρων πατέρων ἐν νικαία· ἦχος πλ. δʹ Κοντάκιον τῇ Κυριακῇ τῆς Πεντηκοστῆς· ἦχος πλ. δʹ, ἰδιόμελον end of music and MS

Notes This Kontakarion is in poor condition. It has a dark reddish brown leather binding. The front and back pieces have indented diamond-shaped seals with designs of flowers, a lion rampant and the two-headed Byzantine eagle. These front and back covers have wormholes and have deteriorated. The opening folios are further damaged with water stains. The interior folios are more legible but the top lines are still faded. The MS has unnumbered folios that have been paginated according to folios in pencil. The neumes and text are in a faded black shade and the rubrics, modal signatures and hypostaseis are in a brownish red. The pages average about 14–15 lines of text and music. The contents of this MS are standard for a Kontakarion. It contains Kontakia Idiomela, Prosomoia and Oikoi with the 14th-century practice of Teretismata and kalophonic settings. The MS opens on fol. 1r with a Menologion of Kontakia from Sept. to Aug. On fol. 155r the Kontakia continue for the Triodion and Pentecostarion periods. On fol. 194r there is a catalogue of kalophonic Kontakia with programmatic titles. The MS continues with the Akathistos hymn by Glykys on fol. 196v and with additional Akathistos hymns (fols 216v and 381r) by Koukouzeles and fol. 228r by Glykys again. On fols 400r–467v are found Kontakia from Holy Friday to the Sunday of Pentecost. Bibliography Velimirović, ‘“Persian Music” in Byzantium?’ Wellesz, ‘Kontakion and Kanon’.

EBE 2406 (olim 455)

339

ΕΒΕ 2406 (olim 455) ΠΑΠΑΔΙΚΗ/PAPADIKE Type of paper: bombycinous Measurements: 21.7 × 14.3 cm Folios: 468 Notation: Middle Round Byzantine Date: 1453 Provenance: Monastery of the Forerunner in Serres (Serres 455)

1r 3r

5r–7v 8r 15v 16r–17v 17v 18r 18v 19r 20r–v

Although untitled, the MS begins with various Kratemata. Τὸ ὠφέλημο· μέθοδος τοῦ Κορώνη· κρατημάτων φέρουσα χειρονομίας· εἰς ἦχον τερπνὸν τοῦ πλαγίου βʹ καὶ Nενανω δέματος ἠκρυβωμένου· ἥδισυον καὶ πάνου τοῦ Νενανω τὸ μέλος· ὡς ἡ τέχνη δείκνυσι τῆς μελουργίας· τὰ γὰρ ἄλλα δὲματα τῶν ἤχων ὀκτῶν (τοῦ πρώτου φημὶ καὶ καθεξῆς τῶν ἄλλων) δένουσι καὶ λύνουσιν, ἐντέχνως πάνυ τὴν μεταβολὴν ὡς ἐν βραχεῖ δεικνύντες, τὸ δὲ Νενανω ἐκτεταμένον μέλος, ὑπὲρ τῶν ὀκτὼ ἔνατος ἦχος πέλει· ἦχος Νενανω. (This obscure and semi-literate comment seems to read ‘“The Beneficial”, a method of Korones, Kratemata accompanying the cheironomia in the pleasant second plagal mode; and the Νenano, arranges the structure precisely, already being a lower or hidden one. And above the Νenano is the melody. Thus the art leads forth the melody. And the other kratemata in all the modes (in the first mode, I mean to say, and then in succession in the others) bind and loosen such, bringing about changes to the art and bringing forth its depth. In short, the Νenano has become a lengthened melody, this being above the [octoecho] as a related ninth mode that goes into action, the mode “nenano”.’) A possible interpretation of this cyptic rubric is that this Kratema is to be chanted with two lines [voices]: the melody in Plagal Mode II and the secondary voice in the Nenano mode, a derivative of the Mode III. However, it is the Nenano mode that becomes the more dominant of the two melodies in its accompaniment of the upper melody. And although the Nenano is a related mode of the octoechos, it is thought of as a ninth mode. Kratemata Μέθοδος εἰς τὸ στιχηράριον· ποιηθέντα παρὰ τοῦ πρώτου ψάλτου τοῦ Κορώνη· ἦχος αʹ Παραλλαγῇ ψαλλόμενος μετὰ μέλους ἀπ’ ἀρχῆς μέχρι τέλους. At the end of the Parallage, there follows: ὅρα δι’ ἔργου τῶν λόγων τὴν πράξιν (‘see, through action, the putting of the words [instruction] into effect’). Ἐρωτήσεις καὶ ἀποκρίσεις τῆς Ψαλτικῆς Τέχνης, πάνυ ὠφέλιμα. After the question/ answer dialogue, the Kratemata follow. Τὸ παρόν ἐστι ποίημα Γρηγορίτζη, δομέστικος, ποιηθὲν παρ’ αὐτοῦ καὶ ψαλθὲν ἐν τῷ παλατίῳ, ὁρισμῷ τοῦ βασιλέως τοῦ τότε καιροῦ ὑποκάτω στέρνης, ὅτε ἀποκρισιάριος ἐγένετο πρὸς τὸν βασιλέα· λεγόμενον «Καμπάνα» Λεγόμενον «Καμπά[να]»· ἦχος δʹ. Λόγος λεγόμενος «Ἡ ὁμόνοια» Ἕτερον· «Ὁμόνοια» τοῦ Γλυκέος «Ὁμόνοια»· συνοπτικὴ ἥτις λέγεται καταβασία blank

340

21r

EBE 2406 (olim 455)

Ἀκολουθίαι συντεθειμέναι ὑπὸ διαφόρων ποιητῶν παλαιῶν τε καὶ νέων· ἀπὸ τῆς ἀρχῆς τοῦ μεγάλου Ἑσπερινοῦ μέχρι καὶ τῆς θείας Λειτουργίας τῶν Προηγιασμένων. Composers represented include: John the Lampadarios, Master John Koukouzeles, George Panaretos, Kamarianos, George Kontopetres, Nicholas the Monk «Ἀνοιξαντάρια», «Κεκραγάρια» καὶ «Δοχές»· ἀκολουθία μεγάλου Ἑσπερινοῦ. The 21v scribe has also written the following directive in an abbreviated rubric: «στίχ κʹ μέλτ ιʹ» (20 verses, practice 10 ). Οὐκ εἶδα τὸν ποιητὴν (I have not seen the poet). This was probably written by the 24v scribe. Composers of the Anoixantaria are: Xenos Korones, Agathon Korones, Ioannes Douka the Laosynaptos (apparently a title attaching him to the folk), Sgouropoulos, Ioakeim the Monk, Gavalas, Michael Mystakonos and Kasianos the Monk. Τοῦ Δημητρίου Μαΐστορος Ῥαιδεστινοῦ [written in a larger, darker script], Δομεστίκου 31r τοῦ Μοσχιανοῦ, Ἰωάσαφ Μοναχοῦ· ἦχος πλ. δʹ Νικολάου τοῦ Καματήρου καὶ Πρωτοψάλτου Χίου· ἦχος πλ. δʹ 32r Τοῦτα ψάλλεται δύο χορῶν, γίνωσκε ὅτι τὰ κόκκινα ἅπαντά εἰσιν θεσσαλονικέα· ἦχος 33r πλ. δʹ «Πάντα ἐν σοφίᾳ ἐποίησας· δόξα Πατρὶ καὶ Υἱῷ...». (These are chanted by two choirs. Know that all the red [neumed] responses are Thessalonian.) «Μακάριος ἀνὴρ...» ἦχος πλ. δʹ. The following composers and rubrics are represented 33v in the settings of Ps. 1 : Chalivoures, Xeros, Agallianos, an old composition, one for the Hagiosophitikoi, Dimitrios Dokeianos, Sigeros, an ancient song, Markopoulos, Pherentares, Tzaknopoulos, Constantine the Laosynaptos of Moschianos, Dositheos the priest-monk from Lavra, Theophylaktos Argyropoulos, Agathon the Monk, and one entitled ‘Frankish’ [= Western]. Another abbreviated scribal rubric: στίχ ιεʹ μέλτ ηʹ (15 verses, practice 8). Τοῦ Κορώνη· ἦχος πλ. δ´ «Ὅ τὸν καρπὸν αὐτοῦ δώσει ἐν καιρῷ αὐτοῦ…» 34v Τοῦ Σιγηροῦ· ἦχος πλ. δ´ «Διαρρήξωμεν τοὺς δεσμοὺς αὐτῶν…» (verse from Ps. 2) 38v Τοῦ Κουκουζέλη· ἦχος πλ. δ´ «Ὁ κατοικῶν ἐν οὐρανοῖς ἐκγελάσεται…» 39r Παλαιὸς· ἦχος πλ. δʹ «Ἐγὼ ἐκοιμήθην καὶ ὕπνωσα, ἀλληλούια...» 47r-v Ὡς λέγουσιν τοῦ Μαΐστορος, πλὴν οὐκ εἶδα. In the margin, written in the hand of the 47v scribe: ἕτεροι γράφουσιν ὅτι τὸ παρὸν ἀλληλουϊάριον ἐστιν ποίημα τοῦ Δομεστίκου κὺρ Χριστοφόρου. Other settings continue and are identified as λεγόμενον «Λαμέρα» and τοῦ Πατρίκη. scribal annotation: ἐπιμελῶς βλέπε (Look with care!) 48v 49v scribal red annotation: Τὰ παλαιὰ κάλλιστα πάντα τυγχάνει (The things of old happen always to be most fine.) «Δόξα Πατρί...» ἦχος πλ. δʹ [Καλοφωνικὸν] 50v Τὸ αὐτὸ, ἐκαλλωπίσθη δὲ καὶ ἐπλατύνθη παρὰ τοῦ ἐν ἱερομονάχοις κυροῦ Μάρκου ἐκ 51v τῆς μονῆς τῶν Ξανθοπούλων Δόξα Πατρί· ἕτερον ᾀσματικὸν· ἦχος πλ. δʹ 54r «Ἀλληλούϊα» ἦχος πλ. δʹ 54v Καὶ εὐθὺς ἄρχεται ὁ δομέστικος τὸ, «Κύριε ἐκέκραξα», κατὰ τὸν ἦχον. Ἦχος α´ 55r «Ανανες… Κύριε ἐκέκραξα…». Settings identified as πολίτικον and Θεσσαλονικαῖον. Ἐξ αὐτοῦ τὸ ἀντιβόλαιον καὶ γράψιμον τοῦ Μοσχιανοῦ ἔγραψα ταῦτα. (I wrote these 55v out from the prototype and autograph of Moschianos himself.) «Θεὸς Κύριος…» κατ’ ἦχον. (Various attributions: συνοπτικὸν, Βατοπεδινὸν, τῆς 56r μεγάλης Τεσσαρακοστῆς.) «Ἅγιος ὁ Θεὸς...» ἦχος αʹ. Τὰς ᾠδὰς κατὰ τὸν ἦχον καὶ τοῦ εἱρμοῦ 57r

EBE 2406 (olim 455)

57v 58r 59v 61r 62v 63v 64r 71v 73v

74r 76r 76v 80r 80v 84r–v 85r 86r 86v 88r 90v

91r

341

«Αἰνοῦμεν καὶ εὐλογοῦμεν καὶ προσκυνοῦμεν τὸν Κύριον...» ἦχος αʹ Μεγαλυνάρια τῶν μεγάλων ἑορτῶν Κεκραγάριον Θεσσαλονικαῖον· ἦχος βʹ Προκείμενα λυχνικὰ τῆς ὅλης ἑβδομάδος, μετὰ τῶν δοχῶν· καὶ αὐτὰ Θεσσαλονικαῖον· ἦχος αʹ. Other settings are by Xenos Korones and Glykys. «Τὸ ἔλεός σου Κύριε...» Μεγάλαι δοχαί· Θεσσαλονικαῖον· ἦχος πλ. βʹ «Ὁ Θεὸς ἀντιλεῖπτωρ μου...» ἦχος βαρὺς Ἀπὸ’ δῶ γίνεται καλοφωνία μετ᾽ ἐπιφωνημάτων· ποίημα κὺρ Μαΐστορος τοῦ Κουκουζέλη· ἦχος πλ. δʹ «Ἐνεδύσατο Κύριος…» Κράτημα· τῶν δοχῶν τοῦ Ἑσπερινοῦ ἠχήματα Ἕτερον «Ἐνεδύσατο» [κράτημα] ἕνα δύσκολο· ποίημα κυροῦ Γρηγορίου ἱερομονάχου τοῦ Ἀλυάτου, παρόμοιον τοῦ Μαΐστορος· ἦχος πλ. β´ «Ἐνεδύσατο Κύριος…» Τέλος εἴληφεν Ἑσπερινὸς ἐνθάδε καὶ ἀρχὴν δὲ λαμπρὰν Ὄρθρος ἤδη λαμβάνει· Πληρωμένου τοῦ ἕξαψάλμου, ψάλλει τὸ, «Ὁδηγήσει με»· Θεσσαλονικαίον· ἦχος δ´ «Ὁδηγήσει με ἐν γῇ εὐθείᾳ…» «Θεὸς Κύριος», «Πασαπνοάρια» τοῦ Ὄρθρου καὶ ἠχήματα κατ’ ἦχον. The chants for Orthros follow according to mode with a variety of attributions: Thessalonian; Monkish; Constantinopolitan; one by John Koukouzeles, an ‘Old’ one of Korones, Kyr Xenos and Protopsaltes; and one by Georgios Kontopetris. «Θεὸς Κύριος…» ἦχος βʹ Εἰς δὲ τὴν ἑβδόμην ᾠδὴν· ὅταν μέλει λέγειν τὸ εὐαγγέλιον, λέγει τὸ προκείμενον τῆς Θεοτόκου· ἤ τοῦ ἁγίου τοῦ τυχόντος, εἰς τὸ μέλος τοῦτο· ἦχος δʹ «Μνησθήσομαι τοῦ ὀνόματός σου…» Στίχος δ´ «Ἄκουσον θύγατερ καὶ ἴδε…» τὸ αὐτὸ πάλιν· ἦχος δ´ «Μνησθήσομαι τοῦ…» Ὁ λαός· ἦχος β´ «Ἐν πάσῃ γενεᾷ καὶ γενεᾷ…» Ὁ μονοφωνάρης καλοφωνίζει εἰς τὸ μέσον· ἦχος β´ «Ἐν πάσῃ γενεᾷ καὶ γενεᾷ…» «Πᾶσα πνοὴ...» Πεντηκοστάριον ψάλλομεν εἰς τὰ ἅγια φῶτα τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ· ἦχος δʹ Ἠχήματα ψαλλόμενον κατ’ ἦχον ἐν τῷ Ἑσπερινῷ εἰς τὴν εἴσοδον· ἦχος αʹ τετράφωνος. Some of the attributions are περσικὸν, Μαΐστορος, Ἰωάννου λαμπαδαρίου. blank Κεκραγάρια, δοχές, πολυέλεοι, ἀντίφωνα· ἦχος γʹ, Νανα «Κύριε ἐκέκραξα...» Ἦχος πλ. β´ «Κατευθυνθήτω ἡ προσευχή μου ὡς θυμίαμα…» (second verse of Ps. 140) Προκείμενα τῆς ὅλης ἑβδομάδος μετὰ τῶν δοχῶν· ἦχος αʹ «Θεὸς Κύριος» κατ’ ἦχον· ἦχος αʹ Ἀρχὴ σὺν Θεῷ τῶν πολυελέων· οὗτος λέγεται Λατρινός «Δοῦλοι, Κύριον…» Ὁ ἕτερος χορὸς ὅμοιον «Οἱ ἑστῶτες…» Attributions follow: Ioannes Koukouzeles, Mystakon, Korones, Agallianos, Dokeianos, Koukoumas, Kyr Andreas, Georgios Panaretos, Gregorios, Kornelios the Monk, Ioannes the Lampadarios, an old song, Kontopetris, an ancient progression, Sigeros, Anatolios. Τοῦ Λατρινοῦ «Ὅτι τὸν Ἰακώβ…» Ἕτερον τοῦ Μαΐστορος «Ὅτι τὸν Ἰακώβ…» Τοῦ Λατρινοῦ «Ἐν ταῖς θαλάσσαις…» «Πάντα ὅσα ἠθέλησεν…» Τοῦ Μαΐστορος «Παρὰ πάντας τοὺς Θεούς…» Τοῦ Κορώνη «Πάντα ὅσα ἠθέλησεν…»

342

91v 92r 92v 93r

93v 94r 94v 95r 95v 95v–96r

EBE 2406 (olim 455)

Τοῦ Μυστάκωνος «Ἐν τῷ οὐρανῷ…» Τοῦ Ἀγαλλιανοῦ «Ἐν ταῖς θαλάσσαις…» Πολυελέου τοῦ Λατρινοῦ «Ὅς ἐπάταξε τὰ πρωτότοκα…» Τοῦ αὐτοῦ «Ἀστραπὰς εἰς ὑετόν…» Τοῦ Κορώνη «Ἀστραπὰς εἰς ὑετόν…» Τοῦ Μυστάκωνος «Ὁ ἐξάγων ἀνέμους…» Τοῦ Δοκειανοῦ «Ἀπὸ ἀνθρώπου ἕως κτήνους…» Τοῦ Κορώνη «Ἐν μέσῳ σου, Αἴγυπτε…» Ἕτερον τοῦ αὐτοῦ «Ἐν μέσῳ σου, Αἴγυπτε…» Ἄλλον τοῦ αὐτοῦ «Ἐν μέσῳ σου, Αἴγυπτε…» Λατρινόν «Ὅς ἐπάταξεν ἔθνη πολλά…» Ἕτερον τοῦ Δοκειανοῦ «Ὅς ἐπάταξεν ἔθνη πολλά…» Τοῦ Κουκουμᾶ «Καὶ ἀπέκτεινε βασιλεῖς κραταιούς…» Λατρινόν «Τὸν Σηὼν βασιλέα…» Κὺρ Ἀνδρέου «Τῶν Ἀμοῤῥαίων…» Τοῦ Δοκειανοῦ «Καὶ τὸν Ὤγ βασιλέα…» Τοῦ Κορώνη «Καὶ πάσας τὰς βασιλείας Χαναάν…» Ἕτερον τοῦ αὐτοῦ «Καὶ πάσας τὰς βασιλείας Χαναάν…» Τοῦ Μυστάκωνος «Καὶ πάσας τὰς βασιλείας Χαναάν…» Κὺρ Γεωργίου τοῦ Παναρέτου «Κύριε, τὸ ὄνομά σου…» Τοῦ Γρηγορίου «Καὶ τὸ μνημόσυνόν σου…» Πολίτικα ᾀσματικὰ· τοῦ Λατρινοῦ «Κληρονομίαν ᾽Ισραήλ…» «Καὶ τὸ μνημόσυνόν σου…» Κὺρ Ἀνδρέου· πολίτικον ᾀσματικόν «Κληρονομίαν ᾽Ισραήλ…» Ἕτερον τοῦ αὐτοῦ «Κληρονομίαν ᾽Ισραήλ…» Κορνηλίου μοναχοῦ «Κληρονομίαν ᾽Ισραήλ…» Τοῦ Κορώνη «Καὶ ἔδωκε τὴν γῆν αὐτῶν…» Ἕτερον τοῦ Λατρινοῦ «Καὶ ἐπὶ τοῖς δούλοις αὐτοῦ…» Ἕτερον τοῦ Κορώνη «Καὶ ἐπὶ τοῖς δούλοις αὐτοῦ…» Τοῦ Ἀγαλλιανοῦ «Καὶ ἐπὶ τοῖς δούλοις αὐτοῦ…» «Κύριε, τὸ ὄνομά σου…» Παλαιόν «Ὅτι κρινεῖ Κύριος…» Είς πολυελέου τοῦ λεγομένου Λατρινοῦ· ἦχος α´ «Δοῦλοι, Κύριον…» «Στόμα ἔχουσι… Ὦτα ἔχουσι…» Τοῦ κὺρ Ἰωάννου τοῦ λαμπαδαρίου· ἦχος α´ «Οἶκος Ἰσραήλ, εὐλογήσατε τὸν Κύριον…» Τοῦ Κορώνη «Ὅμοιοι αὐτοῖς γένοιντο…» Τοῦ Λατρινοῦ «Οἶκος Ἀαρών…» Θεοτοκία «Παντάνασσα, πανύμνητε, ἐλπὶς…» «Ἄσωμεν, πάντες, ᾄσωμεν, τὴν μόνην Θεοτόκον…» «Ἁγνὴ Παρθένε, ἄχραντε κόρη…» Τοῦ Μαΐστορος κὺρ Ἰωάννου τοῦ Κουκουζέλη «Οἶκος Ἀαρών…» Τοῦ αὐτοῦ «Οἶκος Λευΐ…» Τοῦ αὐτοῦ «Οἱ φοβούβενοι τὸν Κύριον…» Τοῦ αὐτοῦ «᾽Υψοῦτε Κύριον τὸν Θεὸν…» Τοῦ αὐτοῦ «Εὐλογήσατε τὸν Κύριον…» Τοῦ αὐτοῦ «Τοὺς ὀρθοδόξους ἄνακτας…» Τοῦ αὐτοῦ «Ἐμμανουὴλ παιδίον, κατὰ τὸ γεγραμμένον…» Ἕτερον «Δεῦτε, τῇ πανάγνω, βοήσωμεν…» Εἰς τὴν Χριστοῦ Γέννησιν «Ἐμμανουὴλ παιδίον, κατὰ τὸ γεγραμμένον…»

EBE 2406 (olim 455)

96r 96v 99v

101r 101v 102r 103v 104v 105r 106r 106v 108r 109r 110r 112v 116v

117r 119r 119v 123r

131r 132v 135r

343

Θεοτοκίον· τοῦ αὐτοῦ [τοῦ Μαΐστορος κὺρ Ἰωάννου τοῦ Κουκουζέλη] «Ἐλπὶς ἁπάντων, ἄχραντε, σῷζε τοὺς σὲ ὑμνοῦντας…» Εἰς τοὺς ἀρχαγγέλους ἤ εἰς τὴν Σύναξιν τῶν Ἀσωμάτων· τοῦ αὐτοῦ «Ἄγγελοι ὑμνήσατε καὶ ἄνθρωποι δοξάσατε…» τοῦ αὐτοῦ «Αἰνοῦσί σε, στρατιαὶ τῶν ἀγγέλων…» τοῦ αὐτοῦ· τετράφωνος α´ «Εὐλογήσατε τὸν Κύριον…» Τοῦ πολυελέου τοῦ Λατρινοῦ· δευτέρας στάσεως· ἦχος βʹ Πολυέλεος ψαλλόμενος ἐν Κωνσταντινουπόλει καὶ ἐν ὅλῳ τῷ κόσμῳ· λεγόμενος Κουκουμᾶς· ἦχος αʹ. The Polyeleos verses continue with various settings: Πλαγίτου, Γλυκεός λεγόμενον Βουλγάρα, κὺρ Χριστοφόρου δίχορον, Μοναχοῦ Σιναῖτου, Μοναχοῦ Σταμενίτζη, Κορώνη, Πρωτοψάλτου Ἰωάννου Γλυκέος. Πολυελέου τοῦ Κουκουμᾶ «Καὶ πάσας τὰς βασιλείας…» Ἕτερον τοῦ Κουκουμᾶ «Κληρονομίαν Ἰσραήλ…» Τοῦ αὐτοῦ «Καὶ ἐπὶ τοῖς δούλοις αῦτοῦ…» Ἕτερον τοῦ Κουκουμᾶ «Ὦτα ἔχουσι…» «Οὐδὲ γὰρ ἐστι πνεῦμα…» Τοῦ αὐτοῦ «Οἶκος Λευΐ εὐλογήσατε…» Ταῦτα τὰ ἀλληλουϊάρια ἔλαθέ μας ἵνα γράψωμέν τὰ εἰς τὸν ὀρδινὸν καὶ ἤδη γράψαμέν τὰ ἐνταῦθα· ἦχος ά «Καὶ ὁ Κύριος ἡμῶν…» The Alleluia settings on this folio are written by the scribe. Πολυέλεος· ἦχος α´ «Ἐξομολογεῖσθε τῷ Κυρίῳ τῶν Κυρίων…» The Polyeleos settings continue with these attributions: σερριώτικον, βατοπεδινὸν, δυσικὸν, βουλγάρικον. Ἦχος πλ. β´ «Καὶ δόντι τὴν γῆν αὐτῶν κληρονομίαν…» Ἀντίφωνα ψαλλόμενα εἰς τοὺς βασιλεῖς· ποίημα τοῦ Κορώνη· τετράφωνος, ἦχος αʹ. Ἕτερον τετράηχον τοῦ κυρίου Γεωργίου Παναρέτου· ἦχος αʹ «Ἐν ἡμέρᾳ θλίψεως...» Ἕτερον ἀντίφωνον ψαλλόμενον εἰς τὴν ὑπεραγίαν Θεοτόκον· ἦχος αʹ Ἀντίφωνα ψαλλόμενα τῇ μεγάλῃ Ἀποκρέας καὶ τῇ Τυρινῇ· ἦχος γʹ. In the margin of this folio, the scribe has written: ἀντιβόλαιον πολίτικον (Constantinopolitan prototype). The following composers have contributed settings: Alexios the Priest, Agallianos, Dositheos the Priest-monk, Gregorios Glykys, Ioannes Glykys, Xenophonos, Ioannes Vatatzes, Andreas Sigeros, Ethikos, Kyr Andreas, Dokeianos, the Lampadarios, Gavras, Mystakonos, Gregorios Kontopetris, Dimitrios Dokeianos, Kyr Michael. Ἀντίφωνον τοῦ Γλυκέως· ἦχος γ´ «Ἐπὶ τῶν ποταμῶν Βαβυλῶνος … ὅτι ἐκεῖ ἠρώτησαν ἡμᾶς οἱ αἰχμαλωτεύσαντες ἡμᾶς…» Ἀντίφωνον τοῦ Κορώνη· ἦχος γ´ «Ἐπὶ τῶν ποταμῶν Βαβυλῶνος … μακάριος ὅς κρατήσει…» Τὰ αὐτὰ ἀντίφωνα, πλὴν ἀντιβόλαιον Θεσσαλονικαῖον Ἕτερον ἀντίφωνον ψαλλόμενον εἰς ἱεράρχας, εἰς ὁσίους, καὶ εἰς μαρτύρας· ποίημα διαφόρων ποιητῶν· ἡ ἀρχὴ Θεσσαλονικαῖον· ἦχος δʹ. Various attributions follow: a Constantinopolitan piece, one by Maistor, Agathon the Monk, Manuel Thebaios, Aneotes, Christophoros the son of Mystakonos, Protostratoros, Nicholas Asan, Ioannes Glykys, Patrikios. Ἕτερον ἀντίφωνον ψαλλόμενον εἰς τὴν σύναξιν τῶν ἀσωμάτων· ποιηθὲν παρὰ τοῦ Δομεστίκου κὺρ Νικηφόρου Ἠθικοῦ «Αἰνεῖτε τὸν Κύριον...» Πολυέλεος ποιηθὲν παρὰ τοῦ Μαίστωρ κὺρ Ἰωάννου τοῦ Κουκουζέλη καὶ τοῦ Πρωτοψάλτου κὺρ Ξένου τοῦ Κορώνη· ἦχος πλ. βʹ «Δοῦλοι Κύριον...» Τοῦ αὐτοῦ· ἦχος πλ. γ´ «Οἶκος …» Δεύτερος ψαλμὸς· ποίημα τῶν προγραφέντων ποιητῶν

344

135v 136r 138r

EBE 2406 (olim 455)

Στίχος τοῦ Κορώνη· ἦχος πλ. β´ «Τῷ ποιήσαντι φῶτα μεγάλα…» Στίχος τοῦ Κορώνη· ἦχος πλ. β´ «Ἐξομολογεῖσθε τῷ Κυρίῳ…» Ἀντίφωνα ψαλλόμενα εἰς τὴν Μεταμόρφωσιν· ποιηθέντα παρὰ διαφόρων ποιητῶν· ἦχος βαρὺς. The following are contributors: Aneotes, Xenos Korones, Gregorios Alyates, Maïstor, Agathon the Monk, Agallianos, Ethikos, the Lampadarios Kladas. Ἕτερον ποίημα Γρηγορίου ἁμαρτωλοῦ Ἀλυάτου· ὡραῖον εἰς τοὺς ὀξυδορκοῦντας. 142v (Another poem by Gregorios, the sinner, Alyates, a beautiful [composition] for the quick-sighted ones.) Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς δευτέρας στάσεως τοῦ πολυελέου ὃς καλεῖται Κουκουμᾶς· 143r ποίημα τοῦ αὐτοῦ Μαΐστορος τοῦ Κουκουμᾶ· ἦχος αʹ Ἀπ᾽ ὧδε, ἄρχονται τὰ ἀναφωνήματα, μετὰ βαστακτῶν· ὁ δεξιὸς δομέστικος, ἀπ᾽ ἔξω· 149r τῆς δευτέρας στάσεως· ἦχος Νενανω «Ετε … τρανε…» τὸ αὐτὸ καὶ ὁ ἀριστερὸς· Καὶ πάλιν ὁ δεξιὸς ἕτερον· ἦχος Νενανω «Ενε … ναϊνε…» 150r Ἀπ’ ὅδε ἄφες τὰ παρόντα καὶ γύρισον τὸ φύλλον, ὅτι λάθος ἐγένετο. This scribal note instructs ‘from this point disregard the present [writings] and turn the page, for a mistake was made’. Ἀκολουθία ψαλλομένη τῇ Κυριακῇ τῶν λυχνῶν τῶν ἁγίων προπατόρων, εἰς τοὺς ἁγίους 151r τρεῖς παῖδας τοὺς ἐν καμίνῳ. Μετὰ τὸ τέλος τοῦ Ὄρθρου, τῆς καμίνου εὐτρεπισθείσης καὶ τῶν παίδων εὐτρεπισθέντων, οἱ ψάλται περὶ τὴν κάμινον ἄρχονται τὸ ἰδιόμελον μετὰ μέλους οὕτως· ἦχος βʹ. This is the Akolouthia for the Three Children in the Fiery Furnace. On fol. 153r the Akolouthia continues without musical neumes. v The Akolouthia for the Three Children concludes. Εἶτα ἡ Θεία Λειτουργία καὶ ἀπὸ 153 λυχνὸν Καὶ μετὰ τὸ τέλος τῆς ἐννάτης ᾠδῆς, ἄρχονται, οἱ «Αἰνεῖται», κατ’ ἦχον. Πασαπνοάρια 154r τῶν αἴνων, Δόξα καὶ Νῦν, τῶν ἑωθινῶν, ἐπιφωνήματα, προκείμενα, ὀ πολυέλεος «Δοῦλοι Κύριον» ἦχος αʹ καὶ τὸ, «Μακάριος ἀνὴρ» κατ’ ἦχον· «Πᾶσα πνοὴ…» κατ’ ἦχον· Δοξαστάρια ἅτινα λέγονται εἰς τὰ ἑωθινὰ 155r Τὰ πρὸ τῆς δοξολογίας ... μετ’ ἐπιφωνημάτων καὶ ἠχημάτων. Settings are by Xenos 156r Korones and Maistor Ioannes Koukouzeles. Καὶ μετὰ τὸ τέλος τοῦ ἑωθινοῦ ἄρχεται ὁ δομέστικος· ἦχος β´ «Καὶ νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων, ἀμήν…» Ἀσματικόν· ἦχος β´ «‘Υπερευλογημένη ὑπάρχεις…» Εἰσοδευόντων τῶν ἱερέων· λέγεται τοῦτο· ἦχος β´ «Θεοτόκε Παρθένε, διὰ γὰρ τοῦ ἐκ σοῦ σαρκωθέντος Θεοῦ…» Καὶ πάλιν ὁ δομέστικος τὸ τέλος ὑψηλότερον· ἦχος β´ «Εὐλογητὸς Χριστὸς ὁ Θεὸς…» Ἕτερον τοῦ κὺρ Ξένου τοῦ Κορώνη· ἀπὸ χοροῦ· ἦχος β´ «Ὑπερευλογημένη ὑπάρχεις, Θεοτόκε Παρθένε…» Εἶτα ἀνέρχεται εἰς τὸν ἄμβωνα ὁ τὸν σταυρὸν κρατῶν· καὶ λέγει μονοφωνάρικον· ἦχος 156v β´ «Δόξα ἐν ὑψίστοις Θεῷ…» Εἶτα ὁ δομέστικος μετὰ τῶν ἄλλων· ἀπὸ χοροῦ· ἦχος β´ «Δόξα ἐν ὑψίστοις Θεῷ καὶ ἐπὶ γῆς εἰρήνῃ…» πολλὰ διπλάζουν ἐνταῦθα· Καὶ λέγουσιν οἱ ἱερεῖς τό «Ὑμνοῦμεν σε, εὐλογοῦμεν σε…» 157v–161r Εἶτα ἀνέρχεται εἰς τὸν ἄμβωνα ὁ ἀναγνώστης καὶ λέγει· ἦχος βαρὺς «Ψαλμὸς τῷ Δαβίδ»· Ἦχος β´ «Ἀνάστηθι Κύριε, ὁ Θεός μου…» Στίχος· ἦχος πλ. β´ «Ἐξομολογήσομαί σοι Κύριε, ἐν ὅλῃ καρδίᾳ μου…»

EBE 2406 (olim 455)

162r 163r 164v 165v 167v 169v 178v 179r

181r

345

Στίχος· ἦχος πλ. β´ «Εὐφρανθήσωμαι καὶ ἀγαλλιάσομαι ἐν σοί…» Ἀπὸ χοροῦ· ἦχος πλ. β´ «Ἀνάστηθι Κύριε, ὁ Θεός μου, ὑψωθήτω ἡ χεὶρ σου, μὴ ἐπιλάθῃ τῶν πενήτων σου εἰς τέλος…» Ἡ δοχὴ ἀπὸ χοροῦ· ἦχος πλ. β´ «Ἀνάστηθι Κύριε, λέγε, ὁ Θεός μου, ὑψωθήτω ἡ χείρ σου, μὴ ἐπιλάθῃ τῶν πενήτων σου εἰς τέλος …» Ἀπὸ ὧδε γίνεται ἡ καλοφωνία· ποίημα τοῦ Μαΐστορος· ἦχος πλ. β´ «Μὴ ἐπιλάθῃ τῶν πενήτων σου εἰς τέλος, ἀνάστηθι Κύριε ὁ Θεὀς μου, ἀνάστηθι, τοτοτοτο, εἰς τέλος μὴ ἐπιλάθη…» ἀπὸ χοροῦ· ἦχος πλ. β´ «Εἰς τέλος … ανανε…» Τοῦ Μαΐστορος μετ᾽ ἐπιφωνημάτων· ἦχος πλ. β´ «Ἐξομολογήσομαί σοι, Κύριε ὁ Θεός μου· ἐν ὅλῃ καρδίᾳ μου διηγήσομαι πάντα τὰ θαυμάσια σου Κύριε…» Ἦχος πλ. β´ «Ἀνάστηθι Κύριε, λέγε, ὁ Θεός μου, ὑψωθήτω ἡ χείρ σου, μὴ ἐπιλάθῃ τῶν πενήτων σου…» Ἐπιφώνημα· ἦχος Νανα «Υψωθήτω ἡ χείρ σου Κύριε, μὴ ἐπιλάθῃ τῶν πενήτων σου εἰς τέλος…» Ἦχος πλ. α´ «Μὴ ἐπιλάθῃ Κύριε τῶν πενήτων σου, τῶν πενήτων σου εἰς τέλος …» Ἀναφώνημα· ἦχος Νανα «῾Υψωθήτω ἡ χείρ σου Κύριε, μὴ ἐπιλάθῃ τῶν πενήτων σου εἰς τέλος…» Ἦχος πλ. β´ «Ὀρφανῶν καὶ πτωχῶν σὺ ἴσθα βοηθὸς…» Ἦχος Νανα «῾Υψωθήτω ἡ χείρ σου Κύριε, μὴ ἐπιλάθῃ…» Ἦχος πλ. α´ «Ἐκάθησα ἐπὶ θρόνου ὁ κρίνων δικαιοσύνην, Κύριε…» Ἦχος Νανα «῾Υψωθήτω ἡ χείρ σου Κύριε, μὴ ἐπιλάθῃ…» Ἦχος πλ. α´ «Ἀνάστηθι Κύριε, ὁ Θεός μου, ὑψωθήτω ἡ χείρ σου, Κύριε, μὴ ἐπιλάθῃ τῶν πενήτων σου…» Ἀπὸ χοροῦ «Ανανε…» ὁ δομέστικος ἀπὸ χοροῦ «Νεανες…» ὅλοι «Οτοτο… λεγετο…» Ἦχος δ´ «Λεγετο…» ὁ βουλόμενος ἀπ᾽ ἔξω· τοῦ Μαΐστορος «Ετετετε…» ἀπὸ χοροῦ «Νεο …τοτο…» Προκείμενα ἀναστάσιμα κατ’ ἦχον. Μεγάλη δοχὴ κατ’ ἦχον· ὅτε λέγονται τὸ ἅγιον εὐαγγέλιον μετὰ τοὺς ἀναβαθμοὺς. Τῆς διακαινησίμου καὶ δεσποτικῶν ἑορτῶν. Τῇ Παρασκευῇ τῆς διακαινησίμου· λέγεται καὶ τῇ ἁγίᾳ Τεσσαρακοστῇ· ἦχος πλ. δʹ Λυχνικὰ καὶ Κυριακῆς τοῦ Πάσχα. These settings are described as Constantinopolitan (πολίτικον) and Thessalonian (θεσσαλονικαῖον). Ἕτερος πολυέλεος προτραπεὶς γενέσθαι παρὰ τοῦ πατριάρχου Ἀλεξανδρείας κὺρ Ἀθανασίου· ποίημα δὲ κὺρ Ἰωάννου καὶ Πρωτοψάλτου τοῦ Γλυκέος· ἦχος δʹ «Δοῦλοι Κύριον...» Ἀλληλουϊάρια κατ’ ἦχον, ψαλλόμενα τῇ ἁγίᾳ καὶ μεγάλῃ Τεσσαρακοστῇ κατὰ Σάββατον. Contributors to these settings include the Maistor Ioannes Koukouzeles, Kontopetrιs, Korones, Konstantinos Moschianos, and Ioannes Glykys. blank Ἄμωμος ψαλλόμενος εἰς τὴν Θεόσωμον ταφὴν τοῦ Κυρίου καὶ Θεοῦ καὶ Σωτήρος ἡμῶν Ἰησοῦ Χριστοῦ· καὶ εἰς τὴν κοίμησιν τῆς Ὑπεραγίας Δεσποίνης ἡμῶν Θεοτόκου καὶ εἰς πάντας ἁγίους· ὁ δομέστικος ἀπέξω· ἦχος πλ. αʹ. Then follow the three Staseis of the Amomos for the funeral of Jesus Christ, the Theotokos, and all saints. This version has the interpolated encomia verses (Megalynaria) that are included but without musical notation. Some of the attributions are as follows: ‘changes’ by Glykys, [works] by Germanos the Patriarch of Constantinople. Ὁ δομέστικος ἀπὸ χοροῦ· ἦχος πλ. α´ «Δόξα Πατρί… Καὶ νῦν…»

346

181v

EBE 2406 (olim 455)

Ἐνταῦθα γίνεται καλιφωνία· εἶθ᾽ οὕτως λέγουσιν ταῦτα οἱ δύο χοροὶ ὁμοῦ· ἦχος πλ. α´«Καὶ τὴν δυναστείαν τοῦ ἅδου καθελόντα…» Γίνεται οὖν πάλιν μικρὰ συναπτή· καὶ μετὰ τὴν ἐκφώνησιν ἄρχεται ὁ πρῶτος χορὸς 182r τὴν τρίτην στάσιν· ἦχος πλ. α´ «Ἥλιε τῆς δόξης…» Ἐσωτέρᾳ φωνῇ· ἦχος πλ. α´ «Ἐπίβλεψον ἐπ᾽ ἐμὲ καὶ ἐλέησόν με…» Εἶτα ἀπολογεῖται ὁ δομέστικος μετὰ τῶν βαστακτῶν αὐτοῦ ἀπ᾽ ἔξω εἰς διπλασμὸν 183v τοῦτο· ἦχος γ´ «Λεγετε… Αἱ γενεαὶ πᾶσαι…» εἰς τὸν ἔσω διπλασμὸν ὅλοι· ἦχος πλ. δ´ «Μακαρίζομέν σε, πᾶσαι αἱ γενεαὶ, Θεοτόκε Παρθένε…» Ἀρχὴ τῶν τε θνητῶν μοναχῶν ἄμωμος· ἦχος πλ. αʹ. This version of the Amomos for 184r the funeral of monks is in two Staseis. 189r The following are some of the attributions for the above Amomos settings: Nikephoros Ethikos (‘others say it is by Glykys’), one by the Protopsaltes Glykys, a Constantinopolitan piece, a Thessalonian, works by Keladenos, Manourgas and Kambanes. 190r Ἅγιος ὁ Θεός, τρισάγιον ... τῷ μεγάλῳ Σαββάτῳ εἰς τὸν ἐπιτάφιον τοῦ θρήνου· ἦχος Νενανω Τέλος σὺν τοῦ μοναχοῦ ἀμώμου. Ἄμωμος· ψάλλομεν εἰς κοιμηθέντας λαϊκοὺς· ἦχος 190v βʹ. Amomos for the funeral of laymen in three Staseis. Εἶθ᾽ οὕτως λέγονται τὰ εὐλογητάρια· ἤτοι, «Τῶν ἁγίων» ὁ χορός. Καὶ τὰ ἐξῆς· τρισάγιον· ὅ ψάλλεται τῷ μεγάλῳ Σαββάτῳ εἰς τὸν ἐπιτάφιον θρῆνον, ἀλλὰ δὴ καὶ εἰς τεθνηκότες, κομιζομένους καὶ εἰσφερομένους παρὰ τῶν ἱερέων εἰς τοὺς πανσέπτους καὶ θείους ναούς «Νενανω… Ἅγιος ὁ Θεός…» Νεκρώσιμον ἀπὸ χοροῦ· ἦχος β´ «Μνήσθητι Κύριε ὡς ἀγαθὸς τοῦ δούλου σου…» Εἶτα πάλιν τοῦτο· «Νενανω… Ἅγιος ὁ Θεός…» 198r Scribal annotation: γύρισε γρήγορα (‘come back quickly’). Στάσις β´ (Stasis II) 199r Εἶτα δόξα οἱ δύο χοροὶ ὁμοῦ· ἦχος πλ. α´ «Δόξα … Καὶ νῦν … ἐλεησόν με, Κύριε…» Στάσις γ´ (Stasis III)· ὁ δομέστικος ἀπ᾽ ἔξω· ἦχος πλ. δ´ «Καὶ ἐλέησόν με, ἀλληλούϊα…» ὅλοι· ἦχος πλ. δ´ «Ἐπίβλεψον ἐπ᾽ ἐμέ καὶ ἐλέησόν με…» ὁ πρῶτος χορὸς κάτω «Νανα … Λύτρωσαί με ἀπὸ συκοφαντίας…» scribal annotation: πρόσχες ἵνα ψάλλῃς ἅπαντα δεμένα (‘take care thou sing them all (bound) together’) Some of the attributions for Staseis I and II are as follows: ἕτερον θεσσαλονικαῖον 200v πλὴν καλὸν, Μυστάκωνος θεσσαλονικαῖον (‘Another piece, a Thessalonian one but a good one’). 204v Stasis III Succeeding attributions are θεσσαλονικαῖον γράφουσιν οἱ Πολῖται, οἱ Θεσσαλονικεῖς 203v δὲ τοῦ Κορώνη· Ἰωάννου Μαΐστορος Κουκουζέλη· Κορνηλίου· Γεωργίου Παναρέτου· Γρηγορίου Γλυκέος θεσσαλονικαῖον. The following are consecutive ascriptions: ἀλλάγματα παλαιὰ θεσσαλονικαῖα· οἱ 207v Θεσσαλονικεῖς γράφουν ὅτι εἰσὶ τοῦ μοναχοῦ Κορνηλίου· Θηβαῖου, Ἰωάννου Γλυκέος θεσσαλονικαῖον, Δημητρίου ἱερέως Συναδινοῦ, Ἀνδρέου ἱερέως, Κωνσταντίνου λαοσυνάκτου τοῦ Μοσχιανοῦ, δομεστίκου Γεωργίου Κοντοπετρῆ, Γεωργίου Μοσχιανοῦ, δομεστίκου κὺρ Ἀνδρέου. 211v Ἕτερος ἄμωμος ψαλλόμενος μετὰ ἀλληλουϊάρια· ἦχος πλ. αʹ Ἄμωμος εἰς κοιμηθέντας (in three Staseis) 212r Κοντάκιον ψαλλόμενον εἰς κοιμηθέντας· ποίημα τοῦ δομεστίκου κυροῦ Ἀνδρέου· 214v

EBE 2406 (olim 455)



347

Ἦχος πλ. δ´ «Μετὰ τῶν ἁγίων…» ἀπὸ χοροῦ· ἦχος πλ. δ´ «Μετὰ τῶν ἁγίων ἀνάπαυσον, Χριστὲ…» Ἦχος πλ. δ´ «Αὐτὸς μόνος ὑπάρχεις ἀθάνατος, ὁ ποιήσας καὶ πλάσας…» Ἦχος πλ. δ´ «Μετὰ τῶν ἁγίων…» ἀπὸ χοροῦ· ἦχος Νανα «Παναγία Παρθένε ἀνύμφευτε, ἡ τεκοῦσα τὸ φῶς τὸ ἀπρόσιτον…» Acknowledged attributions are as follows: λαμπαδαρίου, Νικηφόρου Ἠθικοῦ, Κορώνη, Μάρκου ἱερομονάχου, ἱερέως Μανουὴλ Παναρέτου, Ἀχλάδη Μοναχοῦ, παλαιὸν, Ἰωάννου λαμπαδαρίου, Ἰωάννου Δομεστίκου τοῦ περιφήμου, τοῦ ἱερέως Μανουὴλ τοῦ Ὀρφανοτρόφου, ἱερέως Κωνσταντίνου τοῦ Γαβρᾶ, Φαρδιβούκη. Οἱ παρόντες στίχοι τοῦ ἀμώμου ψάλλονται εἰς κοιμηθέντας μοναχοὺς ἐν τῇ πόλει 215v Σερρῶν· ὡς οἶμαι γοῦν εἰσὶν ποιήματα τῆς αὐτῆς πόλεως, διὰ τὸ ὅτι ἀλλαχόθεν οὐχ εὑρίσκονται· εἰμὶ εἰς τὴν δηλωθεῖσαν πόλιν. Καὶ ἤδη γράφω τα καὶ ἐγὼ ἐνταῦθα· ψάλλονται δὲ δίχορα. (The present verses of the Amomos are chanted for the deceased monks in the city of Serres with compositions from this city. They are, as I believe, poems from the same city, as such are not found elsewhere. I find myself here in this aforementioned city. I myself have already written them here. They are chanted by two choirs.) Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς Θείας καὶ ἱερᾶς Λειτουργίας [Liturgy of St John Chysostom]· ὁ 217r δομέστικος ἄρχεται τὰ τυπικὰ, ἀντίφωνα, μακαρισμοὶ· ἦχος πλ. δʹ 218r Polychronion for Emperor Constantine Palaeologos, who became emperor in 1448. A space is left for the name of the empress, probably because this emperor had two wives during his lifetime and both died before he was made emperor. This acclamation follows with Trisagia and Kratemata with the following attributions: a Constantinopolitan one, one by Ioannes the Lampadarios, one by Korones, by Maïstor and by Glykys the Protopsaltes. 220v-221r Εἰς δὲ τὰς δεσποτικὰς ἑορτάς, ψάλλεται τό, «Ὅσοι εἰς Χριστὸν ἐβαπτίσθητε » ἀντὶ τοῦ τρισαγίου. Ψάλλεται δὲ τῶν Χριστουγέννων, τῶν Φώτων, τῷ Σαββάτῳ τοῦ Λαζάρου, τῇ Λαμπρᾶ Κυριακῇ, καὶ τοῦ ἁγίου Πνεύματος. Ἦχος πλ. α´ «Ἀμήν, Ὅσοι εἰς Χριστὸν…» Οἱ ἐντὸς ἱερεῖς εὐλογοῦντες τὸν λαόν· ἦχος πλ. α´ «Ὅσοι εἰς Χριστὸν…» Οἱ ἐκτὸς· ἦχος πλ. β´ τὸ δεύτερον «Ὅσοι εἰς Χριστὸν…» Καὶ πάλιν οἱ ἱερεῖς τὸ αὐτὸ· Ἦχος πλ. α´ τὸ τρίτον «Ὅσοι εἰς Χριστὸν…» Ὁ μονοφωνάρης· ἦχος πλ. α´ «Δόξα…» Ὁ μέσος «Ανεανες… Δόξα Πατρί… Καὶ νῦν… Χριστὸν ἐνεδύσασθε, ἀλληλούϊα…» Ἕτερον κοινόν· ἦχος πλ. α´ «Ὅσοι εἰς Χριστὸν ἐβαπτίσθητε, Χριστὸν ἐνεδύσασθε, ἀλληλούϊα…» Ὕστερον· ἦχος πλ. α´ «Δύναμις» ἕτερον· ἦχος πλ. α´ «Δύναμις» Ἦχος πλ. β´ «Νεανες … Δόξα Πατρί καὶ τὴν ἁγίαν σου…» 222r Τρισάγια εἰς τὴν ὕψωσιν καὶ προσκύνησιν τοῦ Τιμίου Σταυροῦ Προκείμενα τοῦ Ἰωάννου Μαΐστορος Κουκουζέλη 223r Προκείμενα τῆς ὅλης ἑβδομάδος· τῇ βʹ τῶν ἀσωμάτων· ἦχος δʹ 224v Εἰς τὴν παραμονὴν τῶν Χριστουγέννων· τοῦ Ἠθικοῦ· ἦχος πλ. αʹ 229r Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον ἀλληλουϊάρια· ποίημα τοῦ δομεστίκου Ἀνδρέου τοῦ 233r Σιγηροῦ· ἦχος αʹ. Other attributions for the Alleluia follow: ἁγιοσοφίτικον, Ἀγαλλιανοῦ, Θεοδούλου μοναχοῦ καὶ δομεστίκου τῶν Μαγγάνων, Κορώνη, Μαΐστορος, Δοσιθέου ἱερομονάχου καὶ δομεστίκου ἁγίας Λαύρας, Χριστοφόρου, Ἰωάννου λαμπαδαρίου.

348

235r

EBE 2406 (olim 455)

Ἕτερα ἀλληλουϊάρια· ποίημα κὺρ Κωνσταντίνου Μαγουλᾶ λεγόμενον τὰ λυπηρὰ τῆς λύπης· παρόμοιον τοῦ λαμπαδαρίου· ἦχος Νενανω. Additional settings are identified as τοῦ Ἰωάννου Δαμασκηνοῦ and Μονῆς Βατοπεδίου. Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν χερουβικῶν ... λεγόμενον μεγάλον καὶ ᾀσματικόν· ποίημα 236v παλαιὸν τοῦ Δομεστίκου κυροῦ Μηχαὴλ τοῦ Ἀνεώτου· ἦχος βʹ «Νεανες… Οἱ τὰ Χερουβίμ, μυστικῶς…» Ὁ μονοφωνάρης ἀπ ἔξω· ἦχος β´ «Οτοτο … τερερε…» Ὅλοι ἀπὸ χοροῦ· ἦχος πλ. β´ «Εἰκονίζοντες…» Εἶτα ἀνέρχεται ὁ μονοφωνάρης ἐπὶ ἄμβωνος λέγων· ἦχος πλ. β´ «Καὶ τῇ ζωοποιῷ… ἀλληλούϊα…» Εἶτα τὸ λέγετε άπὸ χοροῦ· ἦχος γ´ «Λέγετε, ἀλληλούϊα…» Ἕτερον ὁ δομέστικος ἀπ᾽ ἔξω· καὶ λέγει κράτημα· ἦχος β´ «Νεανες…» Ποίημα κυροῦ Ἰωάννου τοῦ λαμπαδαρίου· ἦχος β´ «Τοτοτο … τερερε … ἀλληλούϊα…» Cheroubika settings continue by Ioannes the Lampadarios, Moschianos, Anapardas, Manuel Agallianos, Theodoros of Katakalon. Scribal annotation: ἐμετετέθη δὲ εἰς τὸ, «Ἀνάστα ὁ Θεὸς, κρῖνον τὴν γῆν», παρ’ ἐμοῦ· οὕτως γάρ μοι ἐφάνη καλόν. 240r Τὸ αὐτὸ χερουβικὸν· ἐγράψαμέν ταῦτα πολίτικα· γράφωμέν τε καὶ θεσσαλονικαῖα. Καὶ μετὰ τὸ πληρωθήναι τὸ εὐαγγέλιον, λέγει ὁ διάκονος τάς αἰτὴσεις πάσας. Εἶτα ἄρχεται τὸ χερουβικὸν ᾀσματικόν· ἀπὸ χοροῦ· ἦχος βʹ «Νεανες, Οἱ τὰ Χερουβὶμ μυστικῶς…» Ὁ δομέστικος· ποίημα τοῦ Ἀναπαρδᾶ· «Νεανες, ἀλληλούϊα…» Ἕτερον τοῦ Ξένου Κορώνη λεγόμενον μέγα. Another Cheroubikon setting follows by 244r Agathon the Monk. Ἕτερον τοῦ Μάρκου ἱερομονάχου ἐκ τῆς μονῆς τῶν Ξανθοπούλων. Also, in the 246r margin of this folio there is written ‘γιαραμάς’ (the surname Γεραμάς or γιά ἐμὰς?). The following Cheroubikon settings are written by Ιoannes Glykys the Protopsaltes, John Damascene and Palatianos. Ὁ τάδε ἐκτελεῖται ἡ Θεία Λειτουργία τοῦ Μεγάλου Βασιλείου· ψάλλονται ταῦτα μετὰ 248r μέλου οὕτως· ἦχος βʹ «Ἅγιος Σαβαὼθ πλήρης...» Ἀντὶ δὲ τὸ, «Ἄξιόν ἐστιν» ψάλλεται τὸ παρὸν· ποίημα τοῦ Πρωτοψάλτου κὺρ Ξένου 250r τοῦ Κορώνη· ἦχος πλ. δʹ «Ἐπὶ σοὶ χαίρει, Κεχαριτωμένη...» Τοῦ Δομεστίκου Γεωργίου Μοσχιανοῦ «Πατέρα, Υἱόν...» 250v Ἀρχὴ τῶν κατ’ ἦχον κοινωνικῶν· ... διαφόρων ποιητῶν· τοῦ Κλαδᾶ· ἦχος αʹ. Various 251r attributions follow for the Communion chants: Dokeianos; the Lampadarios Manuel Chrysaphes; John Sgouropoulos the Deacon, Domestikos of the Great Church; Markos the Hieromonachos; Georgios Moschianos; Ioakeim, a monk of Charsianites and Domestikos of Serbia; Gerasimos Chalkeopoulos the Hieromonachos from the city of Thessalonika; Theophylaktos Argyropoulos, the Domestikos of the Great Church; and Michael the Priest of Koukoulas. Τοῦ αὐτοῦ Ἰωάννου Κλαδᾶ, τινὲς δὲ λέγουσιν ὅτι ἐστὶν τῆς θυγατρὸς αὐτοῦ. This may 258v be the only preserved example by the 14th-century woman composer. The rubric reads ‘by the same Ioannes Kladas, though some say it is by his daughter’. Kladas was the Lampadarios and cleric to the Emperor. The following are other composers who contributed to Communion settings: Nicholas Asan; Manuel Ambelokipiotes, Hiereus; Moschianos the Domestikos; Theodoros, the Domestikos of Kallikrateias; an instrumental piece by Markos, Hieromonachos from the monastery of Xanthopoulos; a piece by Xenos Korones the Protopsaltes; and one by Phokas, the Constantinopolitan. 262r Τοῦ Φωκᾶ· ἦχος πλ. α´ «Ποτήριον σωτηρίου…»

EBE 2406 (olim 455)

263v

349

More Communion settings follow: τοῦ υἱοῦ αὐτοῦ [Ξένου Κορώνη] κὺρ Μανουὴλ τοῦ Κορώνη, Δομεστίκου Θεοδώρου τοῦ Κατακαλῶν, Ἀγάθωνος μοναχοῦ Κορώνη, Φερεντάρη, Μανουὴλ Μαΐστορος Ἀγυροπούλου, Δημητρίου Ραιδεστηνοῦ, Μανουὴλ Βλατηροῦ, Μοναχοῦ Γρηγορίου Ἀλυάτου. Ἕτερον τοῦ μοναχοῦ Γρηγορίου τοῦ Ἀλυάτου, πρῶτον σχέδιον· ἦχος βαρὺς «Αἰνεῖτε 269v τὸν Κύριον…» Ἕτερον· ὡς λέγουν οἱ Θεσσαλονικεῖς ὅτι ἐστὶν τοῦ λαμπαδαρίου, πλὴν οὐκ εἶδα. 273r Ἰωάννου Δούκα, Ἁγιοσοφίτου Δομεστίκου. Καὶ μεθοῦ εἴπῃ τὸν Ἀπόστολον· λέγει ὁ μονοφωνάρης, εἰς τὸ μέσον τὸ, ἦχος α´ 273v «Ἀλληλούϊα, ψαλμὸς τῷ Δαβίδ» ἦχος β´ «Ἀλληλούϊα, ἀλληλούϊα, ἀλληλούϊα» Τοῦ αὐτοῦ ποιητοῦ [Μανουὴλ Χρυσάφη], ἔλαθαν ἐν τῷ ὀρδίνῳ καὶ ἐγράφησαν ὧδε 275r 276r Ὁ δομέστικος μονοφωνάρις· ἦχος β´ «Κύριε ἐκέκραξα… πρόσχες…» Ἀρχὴ σὺν Θεῷ τῆς Θείας καὶ ἱερᾶς Λειτουργίας τῶν Προηγιασμένων· πολίτικον· ἦχος πλ. βʹ «Κατευθυνθήτω...» 277r–278r Τὰ αὐτὰ προκείμενα· γράψαμέν τα γοῦν πολίτικα· γράφωμέν τα καὶ θεσσαλονικαῖα· Ἦχος πλ. β´ «Κατευθυνθήτω…» Ὁ δομέστικος· ἦχος δ´ «Κατευθυνθήτω ἡ προσευχή μου…» Ὅλοι «Θυσία ἑσπερινὴν…» Τὰ αὐτὰ τροπάρια ἐσυνετμήθησαν καὶ παρ’ ἐμοῦ οὕτως 278r Ἐκκλησιαστικώτερον ... χερουβικὸν 278v Ἕτερον χερουβικὸν ᾀσματικόν· ἦχος πλ. βʹ «Νῦν αἱ δυνάμεις…» 279v Καὶ εὐθὺς ἡσυχώτερον καὶ ἀπὸ χοροῦ· ἦχος β´ «Τῶν οὐρανῶν…». Some of the attributions are παλαιόν, πολίτικον, Λογγίνου μοναχοῦ. Ἕτερον χερουβικὸν τῇ ἁγίᾳ καὶ μεγάλῃ εʹ· τοῦ Νηκηφόρου τοῦ Ἠθικοῦ· ἦχος πλ. βʹ 281v Ἕτερον ἁπλοῦν· ποίημα κυροῦ Ἰωάννου τοῦ λαμπαδαρίου· ἦχος πλ. β´ «Τοῦ δείπνου 282v σου τοῦ μυστικοῦ…» Εἰ βούλει, εἰπὲ τὸ παρὸν ἐκ τρίρου· εἶτα ψάλλε τὸ κείμενον. Ἕτερον χερουβικὸν· ἦχος πλ. αʹ 283v Ἀρχὴ τῶν διαφόρων κοινωνικῶν ᾀσματικῶν· ἦχος αʹ. Various attributions are 284r represented for the Communion and Cherubic hymns: Πρωτοψάλτου Ἰωάννου Γλυκέως, Μαΐστορος Ἰωάννου Κουκουζέλη, Πρωτοψάλτου Ξένου Κορώνη, Γεωργίου Κοντοπετρῆ, Δοκειανοῦ, Νικηφόρου Ἠθικοῦ, Τζακνοπούλου, Μανουὴλ Θηβαίου, Γαβριὴλ ἱερομονάχου ἐκ τῶν Ξανθοπούλων, Γεωργίου Παναρέτου. Ἀπ᾽ ἔξω ὁ δομέστικος· ἦχος δ´ «Λέγετε… Πληρωθήτω τὸ στόμα μου…» 290r Ἀπὸ χοροῦ ἡσυχώτερον· ἦχος δ´ «Ὅπως ἀνυμνήσωμεν… ὅλην τὴν ἡμέραν…» Τέλος τῆς ἀκολουθίας τοῦ μεγάλου Ἑσπερινοῦ· χειρὶ γραφέντος ἐκ Ματθαίου τἄλλα 291r Δομεστίκου τἄλλα τε καὶ ῥακενδύτου. + τὸ παρὸν βιβλίον ἐγράφη παρ’ ἐμοῦ Ματθαίου καὶ παρ’ ἀξίαν μοναχοῦ ἐντὸς τῆς μονῆς τιμίου ἐνδόξου προφήτου Προδρόμου καὶ Βαπτιστοῦ Ἰωάννου τῆς ἐν τῷ ὄρει τοῦ Μενοικέως διακειμένης, μηνὶ Ἰουλίῳ αʹ τοῦ ϚϠξαʹ ἔτους ἰνδικτιῶνος πρώτης· εἰς αὐτὸ γοῦν τὸ ἔτος καὶ εἰς τὴν αὐτὴν ἴνδικτον ἐπαρέλαβεν ὁ Μαχουμὲτ Μπέης τὴν ἐκ Θεοῦ ὀργισθεῖσαν Κωνσταντινούπολιν· πλὴν Μαΐῳ κθʹ· τῆς ἁγίας ὁσιομάρτυρος Θεοδωσίας ἡμέρᾳ τρίτῃ, ὥρᾳ πρώτῃ τῆς ἡμέρας· καὶ ἐγένετο θρῆνος καὶ οὐαὶ εἰς ἅπαντα τὸν κόσμον. In this colophon a supposedly ‘ragamuffin’ monk Matthew identifies himself as having written the MS at the Monastery of John the Baptist on the Mountain of Menoeceus, just over a month after the fall of Constantinople. 291v blank blank 292r–v

350

293r

EBE 2406 (olim 455)

Στίχοι καλοφωνικοὶ, θεοτοκία, κατανυκτικὰ, μεγαλυνάρια κατ’ ἦχον καὶ τριαδικὰ ἀπὸ τὸν μεγάλον Ἑσπερινὸν· διαφόρων ποιητῶν· ἦχος πλ. δʹ. Settings follow by Ioannes Glykys, Ioannes Koukouzeles, Xenos Korones. Ἕτερον λεγόμενον «Ἐθνικὸν» τοῦ Ξένου Κορώνη 298v Κράτημα Κουκουζέλη λεγόμενον παρὰ μὲν τῶν Θετταλῶν «Ζαμάρα», παρὰ δὲ τῶν 299v Πολιτῶν «Βιόλα» attribution to Manuel Chrysaphes 314v Κράτημα τοῦ Ἰωάννου Κουκουζέλη· ἦχος πλ. δ´ «Δόξα Πατρί…» 325r Τοῦ Κουκουζέλη· ἦχος πλ. δ´ «Ρερενεανες… Καὶ νῦν καὶ ἀεί…» 326r Τοῦ Κουκουζέλη λεγόμενον «Τοῦ Βασιλέως» 327v Λεγόμενον «Ἐθνικὸν» καὶ «Μαργαρίτης» 329r 330v Λεγόμενον «βιόλα» Ἐπιβολὴ λαμπαδαρίου 331v Τοῦ Κορώνη λεγόμενον «῾Ροδάνιον» 332v Καταβασία· ποιηθὲν παρὰ τοῦ [Παῦλου ἱερομονάχου] Κασᾶ, Πρωτοψάλτου Κύπρου, 333v καλλωπισθὲν δὲ παρὰ Νικολάου Πρωτοψάλτου τοῦ Ῥεντακινοῦ (in Smyrna?) Σγουροπούλου Τραμουντάνη, «Τοῦ Φούρνου» ἐκ τῆς νήσου Ῥόδου. This is followed by 334r another Kratema by Ioakeim, the monk, Charsianites. Μανουὴλ λαμπαδαρίου τοῦ Χρυσάφη λεγόμενον «Ἀηδών» 337r Τοῦ μακαρίτου Ἰωάννου Κλαδᾶ καὶ λαμπαδαρίου τοῦ εὐαγοῦς βασιλικοῦ κλήρου· ῆχος 338v πλ. δ´ «Τότε λαλήσει…» Τοῦ αὐτοῦ Κλαδᾶ λεγόμενον «Ἀνακαρᾶς». Ἕτερον τοῦ Γρηγορίου Ἀλυάτου 339r Ἰωάννου Κουκουζέλη λεγόμενον «Τροχὸς» 344r Ὁ αὐτὸς στίχος, ποιηθέν καὶ παρὰ τοῦ Μαΐστορος κὺρ Ἰωάννου τοῦ Κουκουζέλη· ἦχος 346v α´ «Στόμα ἔχουσι …» Λεγόμενον «Μέγα Σήμαντρον» 348r Ἕτερον τέλος Θεσσαλονικαῖον 349r Ἕτερον «Σήμαντρον Μικρὸν» τοῦ Ξένου Κορώνη 349v Τοῦ αὐτοῦ λεγόμενον «Ἀηδονᾶτον» 350v Ἐγκώμιον εἰς τὴν Θεοτόκον τοῦ Ἰωάννου λαμπαδαρίου· ἦχος αʹ «Ἄνωθεν οἱ 352v προφῆται...» Καὶ πάλιν ὁ δεξιός· ἦχος πλ. δ´ / β´ «Οἱ θαυμαστοί … προφῆται, σὲ προκατήγγειλαν, 353v ἄνωθεν κόρη…» Στίχοι ἐγκωμιαστικοὶ εἰς τὴν Θεοτόκον· εἰς τὸ κράτημαν τοῦ Κουκουζέλη τὸ λεγόμενον 354r «Βιόλα»· ἦχος αʹ «Ἥν πάλαι προεκήρυξαν τῶν προφητῶν χορεὶαι...» Ἀπὸ τὸν πολυέλεον στίχοι καλοφωνικοί, ποίημα τοῦ Μαΐστορος κὺρ Ἰωάννου τοῦ 357r Κουκουζέλη καὶ ἑτέρων· ἦχος αʹ «Ὀφθαλμοὺς ἔχουσι…» Τοῦ Μαΐστορος λεγόμενος «Τρόχος»· ἦχος α´ «Ὦτα ἔχουσι…». Ἕτερον τοῦ Ξένου 358v Κορώνη 360v–361v Τοῦ αὐτοῦ (Μαΐστορος)· ἦχος πλ. α´ «Ὅμοιοι αὐτοῖς γένοιντο…» Κράτημα Κὺρ τοῦ Ξένου τοῦ Κορώνη· ἦχος πλ. α´ «Τοτοτο…» Κράτημα , ποίημα τοῦ Κορώνη λεγόμενον «Τὰ Ροδάκινα»· ἦχος πλ. α´ «Ανενανε …» 361v Ποίημα κὺρ Ἰωάννου τοῦ Κλαδᾶ καὶ λαμπαδαρίου τοῦ εὐαγοῦς βασιλικοῦ κλήρου· 362v ἦχος βαρὺς «Τετετε…» 364v Ἰωάννου Γλυκέος λεγόμενον «Τοῦ μεγάλου Πριμικηρίου». Ἕτερον τοῦ Νικηφόρου Ἠθικοῦ 365v–366v Κὺρ Νικηφόρου τοῦ Ἠθικοῦ· ἦχος α´ «Ανενανε…»

EBE 2406 (olim 455)



351

Τὸ αὐτὸ κράτημα, ἐπλατύνθη γοῦν παρὰ κὺρ Ἰωάννου τοῦ λαμπαδαρίου οὕτως· ἦχος α´ «Ανενανε…» 366v–368v Κὺρ Ἰωάννου Μαΐστορος τοῦ Κουκουζέλη· ἦχος βαρὺς «Ανενανε…» «Στόμα ἔχουσι…» Κράτημα κὺρ Ξένου τοῦ Κορώνη· ἦχος πλ. α´ «Τοτοτο…» 369r Κράτημα, ποίημα κὺρ Ξένου τοῦ Κορώνη· ἦχος πλ. β´«Νενανω Νενανεννα… Οἱ 371r φοβούμενοι τὸν Κύριον…» scribal annotation: Μηδεὶς μεμφέται περὶ τοῦ προλόγου καὶ τοῦ κρατήματος· οὕτως γὰρ εὗρον ἐν τῷ ἀμφιβόλῳ [sic] τοῦ Μοσχιανοῦ· καὶ εἰ βούλει, ὦ φίλε, ψάλλον τὸν πρόλογον πλ. βʹ, ἵνα εἰσὶ τὰ πάντα ὀρθὰ. (Let none find fault with the prologue and the Kratema; for thus I found it in [the dubious state left by?] Moschianos. And if thou wilt, oh friend, chant the prologue in Plagal II, that all things be correct.) 372r Ἕτερον κράτημα, ποίημα κὺρ Ἰωάννου Μαΐστορος τοῦ Κουκουζέλη λεγόμενον «Ἀνυφαντῆς»· ἦχος πλ. β´ «Αννανε…» Ἕτερον ποίημα τοῦ αὐτοὺ λεγόμενον «Δύσκολον»· ἦχος πλ. β´ «Ερερε…» 373r Τοῦ Μαΐστορος· ἦχος α´ «Τοτοροτο…» 375r Kratema from «Ἐξομολογεῖσθε τῷ Κυρίῳ...». Ποίημα τοῦ Μαΐστορος κὺρ Ἰωάννου τοῦ 376r Κουκουζέλη καὶ ἑτέρων· ἦχος β´ «Τῷ στερεώσαντι τὴν γῆν…» Ἄλλον τοῦ αὐτοῦ (Μαΐστορος)· ἦχος β´ «Τὸν ἥλιον εἰς ἐξουσίαν τῆς ἡμέρας…» 377v Ἕτερον τοῦ αὐτοῦ· ἦχος πλ. β´ «Τῷ καταδιελόντι τἠν Ἐρυθρὰν θάλασσαν…» 378r Ἕτερα τοῦ Κορώνη, «Δύσκολον»· κὺρ Γρηγορίου· Πρωτοψάλτου Ἰωάννου τοῦ 379v Γλυκέος Τοῦ Μαΐστορος· ἦχος πλ. δ´ «Ὅτι ἐν τῇ ταπεινώσει ἡμῶν ἐμνήσθη…» 380v Kratema from «Ἐπὶ τῶν ποταμῶν Βαβυλῶνος...». Settings by Ioannes Koukouzeles 382v and Korones. Ἐκαλλωπίσθη δὲ παρὰ τοῦ Δομεστίκου Νικολάου τοῦ Κλωβᾶ καὶ τοῦ Τζακνοπούλου. Ἕτερον· ἦχος πλ. β´ «Καὶ νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας…» 384r 384r–385v Ἕτερα· Κὺρ Γρηγορίου· ἦχος α´ «Τετετε…» Λόγος λαμπρότατος τοῦ αὐτοῦ· ἦχος πλ. δ´ «Τοτοτο…» Ἕτερος λόγος τοῦ Πρωτοψάλτου κὺρ Ἰωάννου τοῦ Γλυκέος· ἦχος δ´ «Ερρετε…» 385v–387r Τοῦ Μαΐστορος· ἦχος β´ «Τοτοτο … Καὶ νῦν καὶ ἀεί…» 387r–388r Τοῦ αὐτοῦ Μαΐστορος κὺρ Ἰωάννου τοῦ Κουκουζέλη· ἦχος β´ «Τοτοτο…» Λόγος κροτιστικός· ποίημα τοῦ Ἀνδρονίκου· ἦχος δ´ «Ανενανε…». Τέλος τοῦ βʹ 388v καλοφωνικοῦ ψαλμοῦ τοῦ πολυελέου. Θεοτοκίον τοῦ Κορώνη· ἦχος αʹ «Ποίαν σοι ἐπάξιον ᾠδήν...» 389r Τοῦ Ἰωάννου λαμπαδαρίου «Τῇ ἀειπαρθένῳ καὶ μητρὶ τοῦ βασιλέως...» 389v «Οἴμοι οἶον ἀγῶνα ἔχει ἡ ψυχή...» 390r Κατανυκτικὰ τοῦ αὐτοῦ· ἦχος γʹ «Πολλάκις τὴν ὑμνῳδίαν ἐκτελῶν...» 391r «Ποία τοῦ βίου τρυφὴ διαμένει λύπης ἀμέτοχος...» 392r Θεοτοκίον τοῦ Ἰωάννου λαμπαδαρίου· ἦχος πλ. αʹ «Ἠσαΐα χόρευε, ἡ Παρθένος ἔσχεν 392v ἐν γαστρί...». This Theotokion, the ‘Dance of Isaiah’, is chanted by the celebrant in the Sacrament of Marriage and is simultaneously an example of sacred Byzantine dance, for the couple must ‘dance’ (encircle in a gliding stepwise manner) around the table of the sacraments three times. 393v Τοῦ Ξένου Κορώνη «Χαίροις ἡ καλλονὴ Ἰακώβ...» Πόδας ἀπὸ τὸ αὐτὸ θεοτοκίον· ποίημα τοῦ αὐτοῦ, τετραφώνου «Γαστὴρ θεοχώρητε, 394r πεπτωκότων ἀνάστασις ἁγιωτέρα...»

352

394v 395v 396r 397r 398r 398v 399r 400r 400v 401v 402r 403r 404r 404v 405r 410v 413v 418v 421r 422r 423r 424v 425r 426r 427r 428r 429r

EBE 2406 (olim 455)

Κατανυκτικὰ τοῦ Ἰωάννου τοῦ λαμπαδαρίου· ἦχος πλ. βʹ «Ψυχὴ τὰ ᾧδε πρόσκαιρα, τὰ δὲ ἐκεῖθεν αἰώνια...» Κατανυκτικὸν τοῦ Κλαδᾶ «Ἄνθρωπε θρήνησον πικρῶς καὶ στέναξον πρὸ τέλους...» «Ψυχὴ τὸ ἐπιτίμιον συκῆς τῆς ξηρανθείσης...» Κατανυκτικὰ τοῦ Ἰωάννου Μαΐστορος Κουκουζέλη «Θρήνησον, κλαῦσον ὦ ψυχὴ τοῦ τέλους ἐπελθόντος...» «Ἰδοὺ ψυχὴ προσήγγισε τὸ τῆς ζωῆς σου τέλος...» Κατανυκτικὰ τοῦ Ξένου Κορώνη «Τοῖς ἀκαθάρτοις λογισμοῖς παρασυρεὶς ὁ τάλας...» «Ὢ πῶς Χριστέ μου παραστῶ γυμνὸς τῷ βήματί σου...» Θεοτοκίον κατανυκτικὸν· ποίημα Θεοδούλου μοναχοῦ καὶ Δομεστίκου τῶν Μαγγάνων· ἦχος πλ. δʹ «Παναγία Παρθένε Μήτηρ Χριστοῦ...» Θεοτοκίον τοῦ Ἰωάσαφ Μοναχοῦ «Τὴν Θεοτόκον Μαρίαν πάντες τιμήσωμεν...» Κατανυκτικὸν δεκτικὸν εἰς τὴν Θεοτόκον· τοῦ Ἰωάννου λαμπαδαρίου· ἦχος πλ. βʹ «Δέησιν δέξαι Πάναγνε Μῆτερ Θεοῦ τοῦ Λόγου...» Εἱρμὸς τῆς θʹ ᾠδῆς τῆς Κοιμήσεως· τοῦ Κωνσταντίνου Μαγουλᾶ «Ἅπας γηγενὴς σκιρτᾷ τῷ πνεύματι...» Κατανυκτικὰ νεκρώσιμα τοῦ Ἰωάννου Κουκουζέλη «Ἁπάσης πλάνης ἄνθρωπε σχολάσας τῶν φροντίδων...». Scribal annotation: τὰ κόκκινα Θεσσαλονικαῖα (the red [neumes] are Thessalonian). Marginal annotations surround the setting that follows. «Τί μάτην τρέχεις ἄνθρωπε, τί τὰ παρόντα βλέπεις...» Τοῦ Κορώνη «Ἀλλ’ ὅταν ἔλθῃς τὰ κρυπτὰ πάντων ἀνθρώπων κρῖναι...». Scribal annotation: Μὴ καταφρονήσῃς τοῦτο ὡς μικρόν, ἀλλ’ ἔβλεπ’ ἐπιμελῶς (Despise this not as being small, but view it with care). Ἀρχὴ σὺν Θεῷ Ἁγίῳ τῶν κατ’ ἦχον μεγαλυνάριον· ἐγκώμια διαφόρων ποιητῶν· τοῦ Ξένου Κορώνη· ἦχος αʹ. Other settings follow by Ioannes Kladas the Lampadarios and the Maistor Ioannes Koukouzeles. Ἕτερον λεγόμενον ἐγκώμιον Τὸ μὲν μέλος τοῦ αὐτοῦ [Ἰωάννου Κλαδᾶ]· οἱ δὲ λόγοι εἰσὶν κὺρ Γερασίμου ἱερομονάχου τοῦ Χαλκεοπούλου. Another setting follows by Georgios Kontopetris. Ὠδή θʹ, ψαλλόμενα εἰς τὴν ὑπεραγίαν Θεοτόκου· τοῦ Κορώνη· ἦχος αʹ Θεοτοκία καὶ κατανυκτικὰ· τοῦ Ἰωακεὶμ μοναχοῦ τοῦ Χαρσιανίτου. Ἕτερον τοῦ Δομεστίκου Σερβίας «Χαῖρε ἡ τῆς χάριτος πηγή, χαῖρε ἡ κλῖμαξ καὶ πύλη οὐράνιος...» Ἕτερον Θεοτοκίον τοῦ Ἰωάννου Λάσκαρι ἀπὸ Κρήτη· ἦχος γʹ «Τὴν ὡραιότητα τῆς παρθενίας σου...» «Ἐξέστη ἐπὶ τούτῳ ὁ οὐρανός...» Εἱρμὸς τῆς θʹ ᾠδῆς· τοῦ αὐτοῦ· ἦχος πλ. δʹ Θεοτοκίον τοῦ Φωκᾶ καὶ Πρωτοψάλτου Κρήτης· ἦχος βʹ «Πάντα ὑπὲρ ἔννοιαν πάντα ὑπερένδοξα τὰ σὰ Θεοτόκε μυστήρια....» Ἕτερον Θεοτοκίον κατανυκτικὸν· ἀναγραμματισμὸς ἀπὸ τὸ, «Παναγία Παρθένε»· τοῦ αὐτοῦ· ἦχος πλ. δʹ «Σὲ γὰρ ἔχω ἐλπίδα ὁ ἀνάξιος δοῦλός σου Παναγία Παρθένε...» Τριαδικὸν καλοφωνικὸν· τὸ μὲν μέλος Ἰωάννου λαμπαδαρίου τοῦ Κλαδᾶ, τὰ δὲ γράμματα Κωνσταντίνου τοῦ Ἀσάνη· ἦχος πλ. βʹ «Θεὲ τριὰς διαιρετὴ προσώποις οὐ τῇ φύσει...» Ἕτερον τριαδικὸν τοῦ Κλαδᾶ· ἦχος πλ. δʹ «Θεὸν τριάδα οἱ πιστοὶ ὑμνοῦμεν ἀσυγχύτως...» Μέλος τοῦ αὐτοῦ· τὰ δὲ γράμματα τοῦ Ἰωάννου Λάσκαρι τοῦ Συρπαγάνου «Ἐπὶ τοῦ Θεοῦ τοῦ μόνου τρία πρόσωπα δοξάζω...» «Λόγε Πατρὸς καὶ συμφυὲς πνεῦμα ταυτότης μία...»

EBE 2406 (olim 455)

430r 431r 432v 433r 434r 435r 435v 437v 438r 438v 439r 440r 440v 441r 442r 443r 444r 444v 446r 447r 448r 449r 450r 450v 451v 453r

353

Θεοτικίον Ἰωάννου Κλαδᾶ καὶ λαμπαδαρίου τοῦ εὐαγοῦς βασιλικοῦ κλήρου· πάνυ καλὸν καὶ λεπτότατον «Τῶν οὐρανίων ταγμάτων τὸ ἀγαλλίαμα...» Τοῦ αὐτοῦ· ἐγκώμιον «Ἄνωθεν οἱ προφῆται...» Λόγοι κατανυκτικοὶ εἰς τὴν Θεοτόκον· τοῦ Ἰωάννη Λάσκαρι τοῦ Συρπαγάνου, τὸ δὲ μέλος Ἰωάννου λαμπαδαρίου [τοῦ Κλαδᾶ]· ἦχος δʹ «Λαμπάδα φαίδρυνον σεμνὴ πύλη φωτὸς ἀδύτου...» «Ἐσείσθησαν λαοὶ, ἐταράχθησαν ἔθνη...» Τοῦ αὐτοῦ τά τε γράμματα καὶ τὸ μέλος «Ταῖς πολυπλόκοις συμφοραῖς τοῦ πολυμόχθου βίου...» «Ἄνθρωπε στέναξον πικρῶς, κλαῦσον ἀπὸ καρδίας...» Τοῦ αὐτοῦ Ἰωάννου λαμπαδαρίου ἀπὸ τὰς περισσάς, καὶ οἱ λόγοι καὶ τὸ μέλος «Ἡμεῖς δὲ ταῦτα βλέποντες ἔργοις τετελεσμένας...» Κατανυκτικὸν· τοῦ Ἰωάννου Κουκουζέλη «Οἴμοι τὸ τέλος, ἄνθρωπε, ποῦ καταντᾶ τοῦ βίου...» Τοῦ Δημητρίου Δοκειανοῦ «Μή με στήσῃς ἐν ὥρᾳ δέσποτα κρίσεως μετὰ τῶν κατακρίτων...» Κατανυκτικὸν νεκρώσιμον τοῦ Ἰωάννου Κουκουζέλη· ἦχος πλ. δʹ «Στῆθι καὶ βλέψον, ἄνθρωπε, τὸ τῆς ζωῆς σου τέλος...» «Ὢ τοῦ θαύματος· τί τὸ περὶ ἡμᾶς τοῦτο γέγονε μυστήριον...» «Οἴμοι ψυχὴ, τί ῥαθυμεῖς, τί προσδοκᾷς ἀθλία...» Κατανυκτικὸν· τοῦ Ἰωάννου λαμπαδαρίου τοῦ Κλαδᾶ «Ὄντως φοβερώτατον τὸ τοῦ θανάτου μυστήριον...» Κατανυκτικὸν· τὰ μὲν γράμματά εἰσιν κὺρ Ἀνδρονίκου ῥήτορος τοῦ Σγούρου, τὸ δὲ μέλος τοῦ Δομεστίκου Σερρῶν κὺρ Ἀντωνίου· τετράφωνος, νάος «Ἆρον, ψυχὴ, τὸ ὄμμα σου εἰς οὐρανὸν καὶ κλαῦσον...» Ἐγκώμιον εἰς τὴν Θεοτόκον τοῦ Ἰωάννου Κουκουζέλη· ἦχος βαρὺς «Ἄνωθεν οἱ προφῆται...» Κρατήματα τοῦ Ἰωάννου λαμπαδαρίου Στίχοι δεκτικοὶ εἰς τὴν Θεοτόκον τοῦ Κορώνη «Τὰς εἰς ἐμὲ πολλάκις σου πολλὰς εὐεργεσίας...» Μεγαλυνάριν τῆς θʹ ᾠδῆς τοῦ κανόνος· τῆς ὑπεραγίας δεσποίνης ἡμῶν Θεοτόκου· ποίημα κυροῦ Ἰωάννου τοῦ λαμπαδαρίου τοῦ Κλαδᾶ· ἦχος δʹ «Νανενα … Εὐαγγελίζου, γῆ, χαρὰν μεγάλην...» Ἀπὸ χοροῦ· ἦχος δ´ «Ὡς ἐμψύχου Θεοῦ κιβωτοῦ…» Εἰς τὴν Εἴσοδον καὶ τὴν Κοίμησιν τῆς Θεοτόκου· τοῦ Δοσιθέου ἱερομονάχου ἁπὸ τὴν λαύραν τοῦ ἁγίου Ἀθανασίου,τῆς ἐν τῷ ὄρει τοῦ Ἄθωνος διακειμένης· ἦχος δʹ «Ἄγγελοι τὴν εἴσοδον τῆς πανάγνου ὁρῶντες ἐξεπλήττοντο...» Κατανυκτικὸν· τὰ μὲν γράμματα τοῦ ὁσίου πατρὸς ἡμῶν Ἰωάννου τοῦ Δαμασκηνοῦ, τὸ δὲ μέλος τοῦ Ἰωάννου λαμπαδαρίου τοῦ Κλαδᾶ «Πάντα ματαιότης τὰ ἀνθρώπινα...» Θεοτοκίον δογματικὸν· τοῦ Ἰωάννου Δαμασκηνοῦ μελισθὲν δὲ παρὰ Μανουὴλ λαμπαδαρίου τοῦ Χρυσάφη· ἦχος γʹ «Μέγιστον θαῦμα Παρθένος τεκοῦσα...» Θεοτοκίον· τοῦ αὐτοῦ ποιητοῦ τά τε γράμματα καὶ τὸ μέλος «Βασίλισσα πανύμνητε παρθενομῆτορ κόρη...» «Φοβήθητι τὴν φοβερὰν ἡμέραν ὦ ψυχή μου...» «Ψυχὴ πολυαμάρτητε καὶ τετραυματισμένη...» «Ψαλμοῖς καὶ ὕμνοις σε ὑμνῶ παρθενομῆτορ κόρη...» Ἀρχὴ σὺν Θεῷ τῶν ιαʹ ἑωθινῶν· ποίημα Λέοντος τοῦ σοφωτάτου δεσπότου· ἦχος αʹ

354

EBE 2406 (olim 455)

457v

βίᾳ ἐγράφησαν (written with force). This phrase was inserted by the scribe and has nothing to do with the music. Ἀντίφωνα, ᾠδὴ αʹ· τοῦ Μυστάκωνος· ἦχος πλ. δʹ. Additional Asmatika follow by 458r Ioannes the Lampadarios and Antonios, Domestikos of Serres. Στίχοι ἀπὸ τὸ, «Μακάριος ἀνὴρ», χερουβικὰ καὶ στίχοι πολυελέων. The following 460r are attributions: Ἰωάννου λαμπαδαρίου, ὡς γράφουν οἱ πολῖται· Μαΐστορος Ἀμπελοκηπιώτου. This folio has a drawing of a vase with flowers and a bird sketched in black ink. 461v Χερουβικὸν τοῦ Μανουὴλ τοῦ Χρυσάφη· ἦχος αʹ. Other settings are by Manuel 462r Argyropoulos, Theodoulos Monachos, Athasnasios the Athonite monk and Ioannes Koukouzeles. 466r Χερουβικὸν τοῦ Γρηγορίου τοῦ Ἀλυάτου Μπούνη καὶ σκοτενδύτου· ἦχος πλ. δʹ. 467r In a later script (15th–16th century), this folio has an abbreviation for the Forerunner, written in the shape of the crucifix and flanked by the phrase «Τοῦ με νικεως» [sic]. Ἀλληλουϊάρια 467v music ends 468r A later addition written in the same script as fol. 467r: Τοῦ τιμίου Προδρόμου ἐστὶν τὸ 468v Βιβλίον τοῦτο καὶ ὁ συλύσας ἐχέτω ἀράς. (Τhis book belongs to [the monastery of] the venerable Forerunner, and may he who makes away with it have curses upon him.) This scribal annotation further documents the origins of this MS in the Monastery of the Forerunner in Serres. end of MS Notes The beginning folios and binding of this manuscript are torn and damaged. The back binding that remains is dark brown and has copper heart-shaped ornamention in three of its four corners. The manuscript is in fair condition. Many of the folios are torn; fols 3–6 have dismembered lower corners. Water damage makes other portions of the MS difficult to read, especially the rubrics and modal indications. Black ink is used for the text and neumes, with the rubrics, modal signatures and hypostaseis appearing in a light brown ink. Although variable, the pages average 20–23 lines of text and music. Of particular note are the decorative rubrics found on fols 73v, 151r and 276r. In addition, there are various illuminations throughout. For instance, the Polyeleos (Ps. 134) on fols 90v–99v has two interesting designs. For verse 16, ‘They have mouths but they speak not’, there is an open mouth that is incorporated in the initial letter of the sigma (σ) for the word στόμα (mouth). Continuing, verse 17, ‘They have ears but they hear not’, incorporates a large ear in the first letter of the word. This MS is significant for it is the first musical manuscript to be dated (1 July 1453) after the capture of Constantinople. The scribe is Mathaios Monachos and domestikos; the colophon is found on fol. 291r. The Polychronion to Constantine Palaeologos on fol. 218r is further evidence of the time. The watermark, however, is not discernible. This anthology of the old Papadike style is important for its many titled melodies, attributions, rubrics and even scribal annotations. The rich attributions give a listing of composers at the time of the fall of the empire and the MS even includes notated music for two women composers. Of note is the sole composition of the daughter of Ioannes Kladas, who wrote a memorial hymn upon the death of her famous father, the Lampadarios, who was a member of the Royal Clergy (fol. 258v). Even the performance practice directions are well marked, with rubrics indicating

EBE 2406 (olim 455)

355

the solo performances of the Domestikos, the right choir or left choir, or even both choirs. Often when both choirs are chanting together, the neumes for one is written in black and the neumes for the other in red. Bibliography Baud-Bovy, ‘Le Théâtre religieux, Byzance et l’Occident’. Breslich-Erickson, ‘The Communion Hymn’. Chaldaiakis, Ὁ Πολυέλεος. Chatzegiakoumes, Μουσικὰ Χειρόγραφα Τουρκοκρατίας. Conomos, Byzantine Trisagia and Cheroubika. —— The Late Byzantine and Slavonic Communion Cycle. Jakovljević, “Ἰωάννης Χαρσιανίτης δομέστικος Σερβίας”. Morgan, ‘The Musical Setting of Psalm 134—The Polyeleos’. Patrinelis, ‘Protopsaltae’. Stathis, Ἡ Δεκαπεντασύλλαβος Ὑμνογραφία. Touliatos, The Byzantine Amomos Chant. —— ‘Byzantine Dance in Secular and Sacred Spaces’. —— ‘Secular Music of Byzantium’. —— ‘Women Composers of Medieval Byzantine Chant’. Trempelas, Ἐκλογὴ ἑλληνικῆς ὀρθοδόξου Ὑμνογραφίας. Velimirović, ‘Byzantine Composers in MS. Athens 2406’. —— ‘Liturgical Drama in Byzantium and Russia’.

356

EBE 2411 (olim 326)

ΕΒΕ 2411 (olim 326) ΣΤΙΧΗΡΑΡΙΟΝ ΑΚΟΛΟΥΘΙΑ/STICHERARION AKOLOUTHIA Paper: chartaceous. Measurements: 21.5 × 14 cm Folios: 581 Notation: Middle Round Byzantine Date: late 14th–15th c. Provenance: Monastery of the Forerunner in Serres

1r

Κρατήματα. The MS begins with Stichera. The composers acknowledged include Ioannes Maistor Koukouzeles, Ioannes Kladas the Lampadarios, Ioannes Protopsaltes Glykys, Kornelios Monachos, Ethikos, Kambanes and Karvounarios. Ἀπ’ ᾧδε ἄρχεται ἡ Καλοφωνία, ποίημα τοῦ Μανουγρᾶ. A setting by Ioannes Koukouzeles 88r follows. Εἰς τὴν ἀποτομὴν τοῦ Προδρόμου· τὸ δὲ ποίημα τοῦ Μαΐστορος, οἱ δὲ στίχοι τοῦ 97r μοναχοῦ κὺρ Μόσχου. Further attributions include the following: Μιχαὴλ τοῦ Πατζάδος, Ἀνανεώτου, Ἰωάννου τοῦ Γλυκέος, Κορώνη, Εὐνούχου καὶ Πρωτοψάλτου τοῦ Φιλανθρωπηνοῦ, Ἀναπαρδᾶ, Καμπάνη. Ποίημα τοῦ Ψηρίτζη κὺρ Γεωργίου Συμεών 151v With this folio, the Triodion and Pentecostarion section begins with settings by Xenos 154r Korones and Ioannes Glykys. settings by Δομεστίκου κὺρ Φερεντάρη «Ζήτει τὸ Ὢ πόσων τοῦ Δοκειανοῦ ὄπισθεν...» 159r Ἕτερον τοῦ Καρβουναριώτου Τῇ Κυριακῇ τοῦ Ἀσώτου· ποίημα κὺρ Δημητρίου τοῦ Δοκειανοῦ, λάθος ἐγένετο καὶ 169v οὐδὲν ἐτέθη κατὰ στράταν· τοῦ Μαΐστορος Ἰωάννου Κουκουζέλη Ἀπ’ ᾧδε γίνεται ἡ καλοφωνία. Kalophonic settings follow with attributions to Ἰωάννου 171r λαμπαδαρίου τοῦ Κλαδᾶ, Ἰωάννου Μαΐστορος καὶ Πρωτοψάλτου τοῦ Γλυκέος, Ἁλμυριώτου, παλαιόν, Γεωργίου δομεστίκου Κοντοπετρῆ, Νικηφόρος Καλλίστου (Ioannes Lampadarios Kladas, Ioannes Maistor and Protopsaltes Glykys, Almyriotes, ‘old’, Georgios Domestikos Kontopetris, Nikephoros Kallistos). Ποίημα τοῦ Ἁλμυριώτου ἐκαλλωπίσθη δὲ παρὰ τοῦ Δομεστίκου Γεωργίου Κοντοπετρῆ. 196r Other composers: Συμεὼν Ψηρίτζη, Γερασίμου ἱερομονάχου καὶ πνευματικοῦ, Δοκειανοῦ. 204r Various feasts from the Menologion continue. Settings by Glykys follow. Στιχηρὸν τῆς ἁγίας Βαρβάρας· ποίημα τοῦ Κλωβᾶ ἐκαλλωπίσθη δὲ παρὰ τοῦ 212r Mαΐστορος. The next verse is identified as ‘old’ (παλαιόν). Θεοτοκία κατανυκτικὰ. Θεοτοκίον κατανυκτικὸν· ποίημα Μάρκου ἱερομονάχου τοῦ 214v Βλατῆ, τὰ γράμματα· τὸ δὲ μέλος, τοῦ Μαΐστορος ἀπὸ τὰ σημάδια τὰ ψαλτά «Μόνη Παρθένε καὶ μήτηρ...» 216v Τοῦ Κορώνη «Γαστὴρ θεοχώρητε..» «Ποίαν σοι ἐπάξιον ὠδήν...» «Χαῖρε ἡ τῆς χάριτος πηγή...» Τοῦ Ἰωάσαφ Δομεστίκου Βατοπεδινοῦ «Ἡ κεχαριτωμένη μετὰ σοῦ ὁ Κύριος...» 219r Τοῦ Πρωτοψάλτου Ξένου Κορώνη «Σκέπην οὐ κέκτημαι...» «Τὴν ζωοδόχον πηγήν...» 220v

EBE 2411 (olim 326)

223v 224v 225v 226r 227r 228r 229r 232r 233r 235r 236r 238r 239v 240v 241v 244v 246r 247v 249r 250r 251r 252r 254r 256r 260r 262r

357

Τοῦ Ἰωάννου λαμπαδαρίου τοῦ Κλαδᾶ «Ποία τοῦ βίου τρυφή...» Τοῦ Ἠθικοῦ «Ἐν λύπαις σὲ παράκλησιν ἔχω...» Τοῦ Κορώνη «Μνήσθητι δέσποινα κἀμοῦ ἐν τῇ δόξῃ σου...» Σταυροθεοτοκίον· τοῦ Μαΐστορος «Τέκνον μου πλάστα δυνατέ...» Θεοτοκίον τοῦ Κορώνη «Ἐν Σιναίῳ τῷ ὄρει...» Τοῦ Κλαδᾶ «Λαμπάδα φαίδρυνον σεμνή ...» Τοῦ Κορώνη «Σὲ μεγαλύνομεν τὴν ὄντως Θεοτόκον...» «Χαίροις ἡ καλονὴ Ἰακώβ...» Κατανυκτικὸν τοῦ Ἰωάννου Κλαδᾶ «Ταῖς πολυπλόκοις συμφοραῖς...» Κατανυκτικὸν τοῦ Ἰωάννου Κουκουζέλη «Θρηνῶ καὶ κλαίω καὶ πενθῶ...» «Οἴμοι τὸ τέλος, ἄνθρωπε, ποῦ καταντᾷ τοῦ βίου...» Τοῦ Δημητρίου Δοκειανοῦ «Μή με στήσῃς ἐν ὥρᾳ, δέσποτα, κρίσεως...» Θεοτοκίον τοῦ Ἰωάννου Κλαδᾶ «Ἄνωθεν οἱ προφῆται σὲ προκατήγγειλαν κόρη...» Μεγαλυνάριον ποίημα τοῦ αὐτοῦ [Κλαδᾶ] ἀπὸ τὸ Διδάσκαλος λέγει, μεταβληθὲν παρὰ τοῦ ἱερομονάχου κὺρ Γερασίμου «Σὲ μεγαλύνομεν τὴν ὄντως Θεοτόκον...» Θεοτοκίον κατανυκτικὸν· ποίημα τοῦ αὐτοῦ «Δέησιν δέξαι, πάναγνε μήτηρ Θεοῦ τοῦ Λόγου...» Ἄλλον θεοτοκίον· ποίημα τοῦ Κορώνη «Τοὺς Θεοτόκους ἐκ ψυχῆς...» Σταυροθεοτοκίον τοῦ Μαΐστορος «Πάθος σου βλέπων σταυρικόν...» «Τῆς ἀκηράτου σου πλευρᾶς λόγχῃ, Χριστέ, νυγείσης...» «Μήτηρ Παρθένος σταυρικὸν βλέπουσα πάθος Λόγου...» Θεοτοκίον κατανυκτικὸν· ποίημα τοῦ μητροπολίτου Σερρῶν κὺρ Ματθαίου καὶ προέδρου Φιλίππων τὰ γράμματα «Παρθένε ἄχραντε σεμνή, κυρία θεοτόκε...» Θεοτοκίον· τοῦ Κορώνη «Τὰς εἰς ἐμὲ πολλάκις σου πολλὰς εὐεργεσίας...» «Ξύλον ἐξόριστον Ἐδὲμ πρὶν ἀπειργάσατό με...» Θεοτοκίον· ποίημα κὺρ Ἰωάσαφ Δομεστίκου τοῦ Βατοπεδηνοῦ «Τὴν Θεοτόκον Μαρίαν πάντες τιμήσωμεν...» Τοῦ ἱερομονάχου κὺρ Γερασίμου «Τὴν ὄντως Θεοτόκον σὲ μεγαλύνομεν...» Τοῦ λαμπαδαρίου πρὸς τὸ, «Ὁ τρόπος σου», μεταβληθὲν παρὰ τοῦ ἱερομονάχου κὺρ Γερασίμου «Σὲ μεγαλύνομεν τὴν τιμιωτέραν τῶν χερουβείμ...» Κατανυκτικὸν· ποίημα τοῦ Μαΐστορος «Ἐλέησόν με, εἶπεν ὁ Δαβίδ...» Τοῦ Κορώνη «Ὢ πῶς, Χριστέ μου, παραστῶ γυμνὸς τῷ βήματί σου...» «Τοῖς ἀκαθάρτοις λογισμοῖς παρασυρεὶς ὁ τάλας...» Τοῦ Μαΐστορος «Ὢ τοῦ θαύματος, τί τὸ περὶ ἡμᾶς τοῦτο γέγονε μυστήριον...» «Στῆθι καὶ βλέψον, ἄνθρωπε, τὸ τῆς ζωῆς σου τέλος...» Σταυροθεοτοκίον· τοῦ αὐτοῦ «Ὅτε τὸ πάθος τὸ φρικτόν...» «Αἱμοχαρής, ἀπάνθρωπος, προφητοκτόνος δῆμος...» «Ἡ σὲ τεκοῦσα, δέσποτα...» «Παρισταμένη τῷ Σταυρῷ...» «Νεφέλη κούφη σταυρικῷ ξύλῳ σὲ καθορῶσα...» Σταυροθεοτοκία καὶ κατανυκτικὰ κατ’ ἦχον· ποίημα τοῦ Μαΐστορος· ἦχος αʹ, Ανανεανες «Ἰδοὺ γὰρ κτίσις ἅπασα συμπάσχει σοι τῷ κτίσει...» «Τί μάτην τρέχεις ἄνθρωπε...» «Οἴμοι ψυχὴ τί ῥαθυμεῖς...» Τοῦ Κορώνη «Ἰδοὺ ταλαίπωρε ψυχή, τὸ τέλος ἐπὶ θύραις...» «Ἀλλ’ ὅταν ἔλθῃς τὰ κρυπτὰ πάντων ἀνθρώπων κρῖναι...» «Ἁπάσης πλάνης, ἄνθρωπε...»

358

266r 268r 269r 270r 270v 271v 272v 274v 275r 276r 276v 279v 281r 282r 287r 290r 303r–v 304r 319r 320r 327r 362v 365r 381v 383r

EBE 2411 (olim 326)

«Ἐκύκλωσεν ἡμᾶς ἐσχάτη ἄβυσσος...» Κατανυκτικὰ· τοῦ Μαΐστορος «Εἰς νοῦν ἂν λάβω τῶν ἐμῶν...» «Ὄντως φοβερώτατον τὸ τοῦ θανάτου μυστήριον...» «Τὴν φοβεράν σου, βασιλεῦ...» Θεοτοκίον· τοῦ αὐτοῦ «Ἂν βάρος με τῶν λυπηρῶν τῶν ἀμετρήτων θλίβῃ...» Τοῦ Δομεστίκου Γεωργίου τοῦ Κοντοπετρῆ σταυρώσιμον «Παρακοὴ καὶ συμβουλὴ καὶ γεῦσις ἡ τοῦ ξύλου...» Θεοτοκίον· τοῦ Μαΐστορος «Κατανοῶν ἀβύσσους μου πολλῶν παραπτωμάτων...» Κατανυκτικὰ· τοῦ Ἰωάννου Κλαδᾶ «Ἄνθρωπε θρήνησον πικρῶς...» Τοῦ Κορώνη «Ψυχὴ τὰ ᾧδε πρόσκαιρα τὰ δὲ ἐκεῖθεν αἰώνια...» Σταυροθεοτοκία· τοῦ Μαΐστορος «Ὁρῶσα ξύλῳ σε σταυροῦ...» «Σταυρῷ σε προσηλούμενον τὸν κτίσην τῶν ἁπάντων...» Τοῦ Κορώνη «Ἄνανδρος μήτηρ τὸ καινὸν ἐν σταυρικῷ τῷ ξύλῳ...» Κατανυκτικὰ· τοῦ Ἠθικοῦ «Ὄντως δακρύων ἄξια τὰ πράγματα τοῦ κόσμου...» Τοῦ Μαΐστορος «Μετὰ κλαυθμῶν, μετ’ ὀδυρμῶν ἐκτήκω μου τὸν βίον...» Τοῦ Κορώνη «Πρόσκαιρα πάντα πέφυκε, ψυχή μου, τὰ παρόντα...» «Πληθὺς ἀνθρώπων ἅπασα τῶν περὶ γῆν ἐλθοῦσα...» «Ἀδὰμ ὁ φύλαξ τῆς Ἐδέμ...» «Ὡς ἐπὶ θρόνου φοβεροῦ κατανοῶν σε κόρη...» Τοῦ Μαΐστορος «Θρήνησον, κλαῦσον, ὦ ψυχή, τοῦ τέλους ἐπελθόντος...» «Ἰδοὺ, ψυχὴ, προσήγγισε τὸ τῆς ζωῆς σου τέλος...» Τοῦ Κορώνη «Ἰδοὺ ῥομφαίᾳ τῇ ψυχῇ τιτρώσκομαι καὶ σπλάχνα...» Εἱρμοὶ ψαλλόμενοι εἰς τὴν μνήμην τοῦ ἁγίου καὶ ἐνδόξου μεγαλομάρτυρος μυροβλήτου καὶ θαυματουργοῦ Δημητρίου· μελισθέντες παρὰ τοῦ Πρωτοψάλτου Θεσσαλονίκης κυροῦ Μανουὴλ τοῦ Πλαγίτου. Ἀντίφωνα ψαλλόμενα εἰς τὰς ἐπισήμους ἑορτὰς καὶ εἰς τὴν ὕψωσιν τοῦ τιμίου Σταυροῦ, ποιήματα διαφόρων ποιητῶν· Χριστοφόρου δίχορον δομεστίκου Μιχαὴλ τοῦ Μυστάκωνος. Other attributions follow: τοῦ Ἀνδρειωμένου, τοῦ Πλαγίτου, παλαιόν. Ἐπιβολὴ καὶ παρεκβολὴ τοῦ Μυστάκωνος κὺρ Μιχαὴλ τοῦ Χριστοφόρου. There are also successive settings by Domestikos Dimitrios Dokeianos and Ioannes Koukouzeles. blank Πολυέλεος ψαλλόμενος εἰς τὴν Ὕψωσιν τοῦ Τιμίου καὶ ζωοποιοῦ Σταυροῦ· τοῦ Κουκουμᾶ. Other settings for feasts follow, as does a composition by Gerasimos, the priest-monk. This folio makes reference to the feast of Easter with the dates ͵ϛϠιϛʹ-͵ϛϠλγʹ (anno mundi 6916–33, or ad 1408–25). Κρατήματα κατ’ ἦχον· τοῦ Δοκειανοῦ. The following attributions occur over the next 40-plus folios: Δημητρίου Δοκειανοῦ, Ἰωάννου Κουκουζέλη, Κορώνη, Ἠθικοῦ, λαμπαδαρίου, Ἰωάννου Γλυκέος, Ἀβασιώτου, Ἀνδρονίκου, κὺρ Γρηγορίου λεγόμενος «Ἡ Καμπάνα», λεγόμενος «Ἡ Ὁμόνοια», λόγος «Κροτιστικὸς» ποίημα τοῦ Ἀνδρονίκου, λεγόμενον «Τὸ Ὀρφανόν», Τζακνοπούλου. The scribe has written this sideways marginal annotation: Τηρᾶτε με αὐτὸν ὅπου με εἶπες καὶ τὸν Γλυκὺ. Κράτημα λεγόμενον «Πολεμικόν» Κράτημα τοῦ Κορώνη λεγόμενον «Ἀηδὼν» Κράτημα λεγόμενον «Δύσκολος» Κράτημα λεγόμενον «Μέσος»

EBE 2411 (olim 326)

391v

359

Κράτημα λεγόμενον «Πάνυ ὡραῖον». The Kratemata attributions continue: τοῦ Κοντοπετρῆ, τοῦ Κουκουζέλη λεγόμενον «Τροχὸς», τοῦ λαμπαδαρίου Ἰωάννου Κλαδᾶ. Κράτημα τοῦ κὺρ Ξένου τοῦ Κορώνη καὶ Μαΐστορος 408v Κράτημα τοῦ αὐτοῦ κὺρ Πρωτοψάλτου Ξένου τοῦ Κορώνη 409v Κράτημα τοῦ Κουκουζέλη λεγόμενος «Μονόπνους». This is followed by another 411r kratema by Georgios Moschianos. Κράτημα τοῦ Κουκουζέλη λεγόμενον «Τὸ Σήμαντρον» 413v Ἕτερον σήμαντρον, ποίημα κὺρ Ξένου τοῦ Κορώνη, πρόσχες νὰ τὸ πῇς καλά 415r Ἕτερον ποίημα τοῦ Γλυκέος· ἐθνικὸν, περσικὸν, μουσικὸν, ξυλικὸν, τεχνικὸν, 419v παπαδικὸν 420r Ἄλλον κράτημα «Ξυλικὸν Ὀργανικὸν Μουσικὸν»· τοῦ Ἠθικοῦ Κράτημα λεγόμενον «Πέρσικον» 421v Εἰς τὴν ἑορτὴν τῶν Χριστουγέννων, Οἶκος ψαλλόμενος· ποίημα τοῦ Μαΐστρου. A 430r composition by Xenos Korones follows. Κοντάκια ψαλλόμενα εἰς κοιμηθέντας· ὁ Δομέστικος Ἀνδρέας 448v Χερουβικὸν τοῦ Ἀγάθωνος μοναχοῦ τοῦ Κορώνη 450v Τοῦ αὐτοῦ [Κορώνη] «Ἐπὶ σοὶ χαίρει, κεχαριτωμένη, πᾶσα κτίσις...» 451r Τοῦ Ἰωάννου Κουκουζέλη «Τῇ ὑπερμάχῳ...» (Akathistos hymn) 453r Ποίημα Πρωτοψάλτου Ἰωάννου τοῦ Γλυκέος καὶ Μαΐστορος «Ἄγγελος 454r πρωτοστάτης...» a successive verse of the Akathistos with a setting by Ioannes Koukouzeles 455v Στιχηρὸν ψαλλόμενον εἰς τὴν ἁγίαν τοῦ Χριστοῦ ἀνάληψιν· ποίημα τοῦ Πρωτοψάλτου 461r κὺρ Ἰωάννου τοῦ Γλυκέος «Ἀναλαμβανομένου σου Χριστέ...» Another Akathistos hymn begins with the Proemium and continues with the Oikoi 462r (stanzas) for Α to Σ. Ποίημα τοῦ Δομεστίκου κὺρ Νικηφόρου τοῦ Ἠθικοῦ «Βλέπουσα ἡ ἁγία...». Although 468v this version is incomplete, it continues to fol. 553r. v v 553 –561 blank Τερερίσματα τοῦ Κορώνη «Τί εἰς μνῆμα σε πάλιν...» 562r Τοῦ Δαλασινοῦ κὺρ Θεοδώρου ΚΤΠΤʹ [Κοντοπετρῆ] «Φιλάνθρωπε μέγα καὶ ἀνείκαστον 563v πλῆθος τῶν οἰκτιρμῶν σου...». Kontopetris’ name, abbreviated, is a cruciform marginal note. Θεοτοκία τοῦ Ἰωάννου Κουκουζέλη «Ἄνωθεν οἱ προφῆται...» 566r Ἕτερον τοῦ Ἰωάννου Κλαδᾶ «Ἄνωθεν οἱ προφῆται...» 567r «Ὁ βασιλεὺς τῶν οὐρανῶν....» «Θεὲ τριὰς διαιρετή...» Κοντάκιον τῆς Ἀκαθίστου· ποίημα τοῦ αὐτοῦ, πάνυ ἐντεχνέστατον καὶ γλυκύτατον· 570v ἦχος πλ. δʹ Πρόλογος «Ὁ πρωτοστάτης γὰρ ἡμῶν...». Τοῦ Ἰωάννου Κλαδᾶ «Γεύσασθε...» 571v (Communion Hymn). Τοῦ αὐτοῦ ὅμοιος, τετράφωνος «Ἐξηγέρθην ὡς ὁ ὑπνῶν...» Τοῦ αὐτοῦ καὶ τρίτος «Σῶμα Χριστοῦ μεταλάβετε...». With the following setting on 572r this folio, there is a noticeably different handwriting that continues to the end of the MS: «Αἰνεῖτε τὸν Κύριον...» 573r Τοῦ Ἰωάννου λαμπαδαρίου Κλαδᾶ «Ἄνωθεν οἱ προφῆται...», «Ἠσαία χόρευε...», «Τῇ ἀειπαρθένῳ καὶ μητρί...»

EBE 2411 (olim 326)

360

576v 577v 578v 579r 579v 580r 580v 581r 581v

Ποίημα τοῦ Δομεστίκου Μαγουλᾶ «Ἅπας γηγενής...» Μεγαλυνάριον, τοῦ αὐτοῦ Τοῦ Κλαδᾶ «Σὲ μεγαλύνομεν...» Τοῦ Μοσχιανοῦ «Γεύσασθε...» Τοῦ Μοσχιανοῦ κὺρ Κωνσταντίνου καὶ αὐταδέλφου αὐτοῦ «Σῶμα Χριστοῦ μεταλάβετε...» More Communion settings continue by Dimitrios Raidestinos and Gavalas. «Γεύσασθε...» Ἕτερον τοῦ Γερασίμου ἱερομονάχου Ἕτερον τοῦ Γαβαλᾶ «Σῶμα Χριστοῦ...» end of MS and music

Notes This 15th-century MS is a compendium of music with hymns that could be found in Sticherarion, Akolouthia, Heirmologion and Kratematarion MSS. The Easter chant found on fol. 319r indicates a time frame of 1408–25 that could place this MS no earlier than 1425. However, there are different scripts interspersed that could make portions even earlier. The composers represented are from the 15th century and there are many attributions. The binding is in poor condition, with only the back portion preserved with a brown leather cover that has round seals with flowers and lions and four metal studs. The MS too is in poor condition, with tattered folios and extreme water damage that makes most folios almost impossible to read, especially modal signatures. The text and neumes are written in a faint black ink and the modal signatures, rubrics and hypostaseis are a pale, and at times indistinguishable, brown hue. The lines of text and neumes are variable and fluctuate from nine to as many as 15 per page. There is an error in numbering folios: 553 and following. Bibliography Stathis, G., Ἡ Δεκαπεντασύλλαβος Ὑμνογραφία.

EBE 2413 (olim 309)

361

ΕΒΕ 2413 (olim 309) ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: chartaceous. Measurements: 26.6 × 19.3 cm Folios: 279 Notation: Middle Round Byzantine Date: late 13th–early 14th c. Provenance: Monastery of the Forerunner in Serres

1r 22v 34v 50v 73v 95v 102r 108r 111r 112v 122v 132v 148r 234r 273r 279v

Στιχηράριον Μὴν Σεπτέμβριος, αʹ· ὅλου τοῦ χρόνου... ἀρχὴ τῆς ἰνδίκτου καὶ μνήμῃ τοῦ ὁσίου πατρὸς ἡμῶν Συμεὼν τοῦ Στυλίτου. Then follows a Menologion of feasts for the liturgical calendar. Μὴν Ὀκτώβριος, αʹ Μὴν Νοέμβριος, αʹ Μὴν Δεκέμβριος, δʹ Μὴν Ἰανουάριος, αʹ Μὴν Φεβρουάριος, αʹ Μὴν Μάρτιος, αʹ Μὴν Ἀπρίλιος, αʹ Μὴν Μάϊος, ςʹ Μὴν Ἰούνιος, ηʹ Μὴν Ἰούλιος, αʹ Μὴν Αὔγουστος Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς ἁγίας Τεσσαρακοστῆς· ἀρχὴ μηνὶ ἀπὸ Τελώνου καὶ τοῦ Φαρισαίου (beginning of the Triodion and Pentecostarion section) Στιχηρὰ ἀναστάσιμα τῆς ὀκτωήχου Ἀρχὴ τῶν δογματικῶν στιχηρῶν καὶ σταυροθεοτοκίων «Μακαρίζομέν σε αἱ γενεαί...» end of music and MS

Notes This is a typical early Sticherarion, similar to but not as prolific as MS 883. The content is typical, beginning with Stichera for the month of Sept. and continuing through Aug. At fol. 148r, the Triodion and Pentecostarion sections begin. Then follow Resurrection verses (fol. 234r) arranged according to modes and the dogmatic Stichera and Theotokia (fol. 273). The MS is in fair to good condition, with an abundance of rubrics that indicate feasts, modes and composers’ names. The rubrics are often written in the margins. The following are some of the composers represented: Anatolios, Byzantios, Germanos of Jerusalem, Andreas of Jerusalem, Leon the Maistor, Arsenios and Ephraim of Κarias. In some instances, there are even two composers’ names given for one Sticheron. Each page has about 20 lines of text and music. The neumes are written in a brownish-black ink and the rubrics, modal signatures and hypostaseis in a light red. The binding is a brown leather cover with some simple seals. The MS displays a few peculiarities: orthographic errors, incorrect numbering (fol. 233r) and probably a later 15th-century addition on fols 273r–279v.

362

EBE 2417 (olim 467)

ΕΒΕ 2417 (olim 467) ΑΝΘΟΛΟΓΙΑ/ANTHOLOGY Type of paper: Turkish Measurements: 23.3 × 17.1 cm Folios: III + 307 + III Notation: very Late Round Byzantine and Chrysanthine Date: 1817 or 1818 Provenance: Monastery of the Forerunner in Serres

Ir–IIIv 1r

blank Ἀνθολογία περιέχουσα τὴν πρέπουσαν αὐτῆς ἀκολουθίαν· ποιήματα διαφόρων ποιητῶν παλαιῶν τε καὶ νέων. The MS begins with chants for Vespers composed by Ioannes Kladas, Ioannes Koukouzeles, Kontopetris and Korones. This folio has a marginal annotation in a later script: Κτῆμα Ἀζαρίου Δουκίδη (property of Azarios Doukides). Εἰς τὰς ἀγρυπνίας, ποίημα κὺρ Πέτρου λαμπαδαρίου· ἦχος πλ. δʹ 5r Κεκραγάρια κατ’ ἦχον. The Kekragaria follow according to modes and include various 11r composers: Chrysaphes, Kyr Petros, Balasios and Meletios of Sinai, to name a few. Μαθήματα τοῦ Δανιὴλ Πρωτοψάλτου· ἦχος αʹ 28v Μάθημα εἰς τὸν ἅγιον Ἰωάννην καὶ κτήτορα «Ὡς μέγα φρούριον ψυχῶν...» 53v Πολυελέων τοῦ κὺρ Ἰωάννου· ἦχος δʹ. Ἕτερον τοῦ Δανιὴλ· ἦχος δʹ 66v Ἕτερον τοῦ κὺρ Πετράκη ὡραῖον. Other Polyeleos verses follow with settings by 83r Meletios of Sinai, Anastasios of Larissa and Parthenios of the Meteora. Τῶν πασαπνοαρίων· κὺρ Ἰωάννου. There is also an attribution to Petros the 132v Lampadarios that follows. Δοξολογίαι. Various attributions follow for the doxologies: Petros the Lampadarios, 148v Petros the Younger, Daniel, Ioannes [Koukouzeles] and Giakomakes. Ἀσματικὰ τοῦ κὺρ Πέτρου 189r Ἡ θεία ἱερὰ Λειτουργία τοῦ Χρυσοστόμου 196v «Δύναμις» τοῦ Κορώνη· ἐξηγήθη παρὰ κὺρ Πέτρου. «Ἀλληλούϊα» ἐξηγήθη παρὰ κὺρ 197v Ἰωάννου Ἡ θεία ἱερὰ Λειτουργία τοῦ Μέγα Βασιλείου· τοῦ κὺρ Πέτρου 200r Ἡ θεία ἱερὰ Λειτουργία τοῦ Προηγιασμένου· τοῦ αὐτοῦ 201v Τοῦ κὺρ Πέτρου· ἐξήγησις ἐκ τοῦ παλαιοῦ· τοῦ Κλαδᾶ «Γεύσασθε...» 202v Χερουβικὸς ὕμνος τοῦ κὺρ Δανιὴλ· ἦχος αʹ. Other Cherubic hymn settings are by 203v Petros the Lampadarios and Basileios Stephanides of Byzantium. 247r Communion hymn settings by Daniel Protopsaltes and Petros the Lampadarios Κοινωνικὰ τοῦ κὺρ Δανιὴλ· ἦχος δʹ 258v Ἑωθινὰ ιαʹ συντετμημένα ἐκ τῶν παλαιῶν· Ἰακώβου Πρωτοψάλτου τῆς Μεγάλης 286v Ἐκκλησίας 301v Ὥσπερ ξένοι χαίροντες ἡδεῖαν πατρίδα καὶ οἱ θαλλατεύοντες ἡδὺν λιμένα, οὕτου [leg. οὕτω] καὶ οἱ βίβλους γράφοντες ἡδὺν τὸ τέλος. Ἐγράφη διὰ χειρὸς καμοῦ Φιλοθέου Προδρομίτου Σέρρας, 1817 Μαρτίου 20. (The year 1817 has been corrected to 1818.) Ἀλληλουϊάρια τοῦ κὺρ Πέτρου 302v

EBE 2417 (olim 467)

304r 307r 307v Ir–IIIr IIIv

363

Κάθισμα εἰς τὴν ἀποτομὴν τοῦ Τιμίου τοῦ Προδρόμου· σύνθεσις Ἰωάσαφ ἱεροδιακόνου Ἰβηρίτου· ἦχος πλ. δʹ end of music and MS blank blank writing in a later script: Εἰς τοὺς 1821, Σεπτεμβρίου 18 ἄρχησα νὰ διαβάζω (On 18 Sept. 1821, I started to read [this]). ἐκ τῶν τοῦ Ἀζαρίου.

Notes This is a late Anthologion of the new Papadike and is similar to EBE MS 926, also an Akolouthia by Petros the Lampadarios, dated 1792. According to the colophon on fol. 301v, this MS is dated later, on 20 Mar. 1817 (or with the possibly corrected date of 1818). The scribe is identified as Philotheos, the monk, from the Monastery of the Forerunner (Prodromos) in Serres, Greece. The spellings οὕτου for οὕτω and διαβάζου for διαβάζω mark him as a semiliterate northerner. The MS is in good condition and very legible. It has a newer reddish-wine leather binding with an imprinted design of the resurrection centred on the front and seals on the back. The pages average about 15 lines of text and music. Black ink is used for the neumes and text and red ink for the rubrics, modal signatures and hypostaseis. The contents of the MS are typical. It opens on fol. 1r with chants for Vespers and continues as follows: fol. 11r Kekragaria fol. 53v Mathemata fol. 66v Polyeleos settings from Orthros fol. 132v Pasapnoaria fol. 148v Doxologies fol. 189r Asmatika Trisagia fol. 196v Liturgy of St John Chrysostom fol. 200r Liturgy of St Basil fol. 201v Liturgy of Presanctified Gifts fol. 202v Exegesis of Kladas by Petros fol. 203v Cherubic hymns fol. 247r Communion chants fol. 286v Heothina chants fol. 302v Alleluia settings by Petros fol. 304v Mathema for John the Forerunner Bibliography Guillou, Les Archives de Saint-Jean-Prodrome sur le mont Ménecée.

364

EBE 2424 (olim 335)

ΕΒΕ 2424 (olim 335) AΝΘΟΛΟΓΙΟΝ/ANTHOLOGION Type of paper: common Measurements: 22 × 15.8 cm Folios: I + 130 + I Notation: newer Chrysanthine Date: early 19th c. Provenance: Monastery of the Forerunner in Serres

Ir Iv 1r

blank Καὶ τόδε ξὺν τοῖς ἄλλοις Ἀζαριου ἱερομονάχου Ἡ παροῦσα βίβλος ἐμελουργήθη παρὰ Πέτρου λαμπαδαρίου κατὰ τὸ ὕφος τῆς Μεγάλης Ἐκκλησίας· ἐξηγήθη δὲ ἤδη ἐσχάτως κατὰ τὸ νέον σύστημα τῆς μουσικῆς παρὰ κὺρ Γρηγορίου λαμπαδαρίου καὶ διδασκάλου τῆς κοινῆς τοῦ γένους σχολῆς· ἦχος αʹ, ΠΑ´ «Τὰς ἑσπερινὰς ἡμῶν...». This opening rubric serves as a title for the MS: The present book was composed with melodies by Petros the Lampadarios according to the manner of the Great Church. This latest exegesis is according to the new system of music by Kyr Gregorios the Lampadarios and teacher of the common family school, Authentic Mode I, ‘Pa’. Then follow chants for Vespers and Orthros according to modes. Μετὰ τὸν πλαγίου τετάρτου ἦχον ἀρχώμεθα ἀπ’ ἐντεῦθεν τοῦ τρίτου ἤχου ὡς διέταξαν 22v οἱ νέοι διδάσκαλοι· ἦχος Ναναʹ, ΓΑʹ Ἦχος βαρὺς «Ὡραῖος ἦν καὶ καλὸς...» 32v Εἰς τοὺς αἴνους· ἦχος αʹ «Πᾶσα πνοὴ...» 37r Τὰ ἕνδεκα ἑωθινὰ συντεθέντα παρὰ τοῦ αὐτοῦ Πέτρου Πελοποννησίου· ἦχος αʹ 52r Τὰ κεκραγάρια τοῦ αὐτοῦ Πέτρου Πελοποννησίου 58r Ἕτερα κεκραγάρια τοῦ Πέτρου τοῦ Βυζαντίου· ἦχος αʹ 61v Ἕτερα ἑωθινὰ τοῦ Πέτρου 72r Προσόμοια καὶ ἀπολυτίκιον εἰς τὸν Ἑσπερινὸν τῶν ἁγίων πατέρων 87r Δοξαστικὸν τῶν αἴνων τῆς Ἀναστάσεως 89v Αἱ κατ’ ἦχον σύντομαι δοξολογίαι τοῦ μακαρίτου Πέτρου λαμπαδαρίου· ἦχος αʹ, ΠΑʹ 90r Ἕτερον τοῦ Γρηγορίου λαμπαδαρίου 105v Ποίημα παρὰ κὺρ Γεωργίου τοῦ Κρητὸς· ἦχος βʹ, ΖΩʹ «Κύριε, ἐλέησον ἡμᾶς...» 110r Ἕτερον τοῦ Χουρμουζίου· ἦχος αʹ «Κύριε, ἐλέησον ἡμᾶς...» Ἀλληλουϊάριον τὸ πρὸ τοῦ εὐαγγελίου· ἐμελοποιήθη παρὰ Ἰωάννου Πρωτοψάλτου 112v Ἕτερον σύντομον 113v Ἐμελοποιήθη παρὰ Γρηγορίου λαμπαδαρίου εἰς ἦχον πλ. δʹ, ΝΗ´ «Ἄνοδος λαμπροῦ 114r φωστῆρος...». According to Lycourgos Angelopoulos, this chant was sung on the third return of Gregory V to the patriarchal throne, which would date this ca. 1818. Ἀσματικὸν τὸ νεκρώσιμον, μέλος ἀρχαῖον, ἦχος πλ. βʹ, ΠΑʹ «Ἅγιος ὁ Θεὸς...» 114v Ἀπηχήματα τῶν ἤχων... μετὰ ἀκόλουθα διαστήματα. The Epechemata progress 117v through all the modes with their accompanying diastematic neumes. 118r Κύριε ἐλέησον εἰς τὸ δεύτερον· καθὼς ψάλλεται εἰς τὸ Νεχώρι· ἦχος πλ. δʹ, ΝΗʹ 119r–120v blank Τρισάγιον νεκρώσιμον· ἦχος πλ. βʹ, ΠΑʹ (with phthora mark) 121r

EBE 2424 (olim 335)

365

123v This folio continues with chants for the Nekrosimon Akolouthia by Manuel Chrysaphes in Mode Plagal IV. Τοῦ Πέτρου τοῦ Πελοποννησίου· ἦχος πλ. αʹ «Χριστὸς ἀνέστη...» 128r Μελουργηθὲν παρὰ Ἰωάννου τοῦ Κλαδᾶ, συνετμήθη δὲ παρὰ Ἰωάννου Πρωτοψάλτου, 129r ἦχος αʹ, τετράφωνως «Γεύσασθε...» Εἰς νεκρώσιμον τῶν μοναχῶν· ἦχος δʹ «Εὐλογητὸς εἶ Κύριε...» 130v blank Ir–v Notes This Anthologion is similar to EBE MS 2417 and is another MS with the New Chrysanthine notation displaying the chants of Petros the Lampadarios as they have been interpreted in the new system by Gregorios the Lampadarios. Moreover, there are other exegeses of older chants by newer composers interspersed throughout. At the opening of the MS, fol. Iv, there is a later addition: Καὶ τόδε ξὺν τοῖς ἄλλοις Ἀζαρίου ἱερομονάχου. This inscription (with no music) indicates that the MS was the property of Azarios, the Monk, Doukide (?), also found in MS 2417. The MS is in good to fair condition with minimal water damage near the end. The rubrics are a bright red; the neumes and text are in black ink, and modal signatures are in red and are indicated in the old and new system. Each page has 15 lines of text and music. The binding of the MS is in a newer reddish-wine colour and made from leather with a seal centred in the front. The content of this Anthologion is typical; it begins with chants for Vespers and Matins. There are two settings (fols 52r and 79r) of the eleven Heothina verses by Petros Peloponnesos along with Kekragaria (fol. 58r) and Doxastika (fol. 89v). Exegeses by the New Teachers, Chourmouzios and Gregorios the Lampadarios, are included. Of interest is the hymn found on fol. 114r, which was written for the third return of Gregory V to the patriarchal throne in 1818. This would date this MS at or after 1818. Then follow a Nekrosimon Asmatikon (fol. 114v) and Epechemata (fol. 117v) in all eight modes. Further Nekrosima chants (fol. 121r) are included to the end of the MS.

366

EBE 2425 (olim 339)

ΕΒΕ 2425 (olim 339) ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: chartaceous Measurements: 21.8 × 14.9 cm Folios: 148 Notation: Middle/Round Byzantine Date: (second half of the) 14th c. Provenance: Monastery of the Forerunner in Serres

1r Sticherarion. The Menologion begins with 20 Jan. The remaining feasts continue according to the ecclesiastical calendar. Μὴν Ἰανουάριος, κʹ· τοῦ ὁσίου πατρὸς ἡμῶν Εὐθυμίου τοῦ Μεγάλου· ἦχος αʹ Μηνὶ κηʹ· τοῦ ὁσίου πατρὸς ἡμῶν Εὐφραὶμ τοῦ Σύρου 2 v κθʹ· ἦχος αʹ 3r λαʹ· τῶν ἁγίων καὶ θαυματουργῶν ἀναργύρων Κύρου καὶ Ἰωάννου 3 v Μὴν Φεβρουάριος, αʹ· τοῦ ἁγίου μεγαλομάρτυρος Τρύφωνος· ἦχος βʹ 4r Μηνὶ Μαρτίῳ αʹ· τῆς ἁγίας ὁσιομάρτυρος Εὐδοκίας· ἦχος πλ. βʹ 13r Μηνὶ Ἀπριλίῳ αʹ· τῆς ὁσίας Μαρίας τῆς αἰγυπτίας· ἦχος βʹ 20v Μὴν Μάϊος, ζʹ, ηʹ, καʹ· τῶν ἁγίων καὶ θεοστέπτων μεγάλων βασιλέων καὶ ἰσαποστόλων 25v Κωνσταντίνου καὶ Ἐλένης Μὴν Ἰούνιος, θʹ καὶ ιαʹ· τοῦ ἁγίου ἀποστόλου Βαρναβᾶ καὶ Βαρθολομαίου 28v Μὴν Ἰούλιος, βʹ· τὰ καταθέσια τῆς τιμίας ἐσθῆτος τῆς ὑπεραγίας Θεοτόκου 43v Μηνὶ κεʹ· ἡ κοίμησις τῆς ἁγίας ἄννης· ἦχος πλ. δʹ 56v Μὴν Αὔγουστος, αʹ· τῶν ἁγίων ἑπτὰ Μακκαβαίων καὶ τῆς μητρὸς αὐτῶν Σολομόνης 61r καὶ τοῦ διδασκάλου αὐτῶν Ἐλεαζάρου. Μηνὶ ιεʹ· ἡ κοίμησις τῆς ὑπεραγίας Θεοτόκου Μαρίας 69v end of the Menologion portion 82v Σημάδια ψαλλόμενα κατ’ ἦχον, ποίημα τοῦ Μαΐστορος κὺρ Ἰωάννου τοῦ Κουκουζέλη· ἦχος 83r αʹ «Ἶσον, ὀλίγον, ὀξεῖα...» Ἀρχὴ τῶν σημαδίων τῆς Παπαδικῆς 84v Ἑρμηνεῖα τῶν παραλλαγῶν τῶν ὀκτὼ ἤχων 85r 85v This folio gives the names of the hypostaseis. Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς ἁγίας μʹ· ἀρχόμενος ἀπὸ τοῦ Τελώνου καὶ τοῦ Φαρισαίου· ἦχος 86r πλ. δʹ «Παντοκράτορ, Κύριε...». This portion of the MS contains the Triodion section. Κυριακῇ τῆς ἀπόκρεως· ἦχος πλ. βʹ 88v Κυριακῇ τῶν βαίων· ἦχος αʹ 145r end of music and MS. Hymns from the Holy Week are not included. 148v Notes This Sticherarion is in poor condition. Its binding has been torn off and its initial 17 folios have severe water damage. The interior folios are more readable but they are faded, and parts of the MS are impossible to decipher and transcribe. Because of missing portions at the opening, the folios have been renumbered in pencil. The text and music appear in a faded grey shade. The

EBE 2425 (olim 339)

367

rubrics and modal indications are badly faded and not well marked. Although the rubrics indicate the months, feasts and modal indications, they are not always distinguished. Furthermore, few composers’ names are given. There are about 18 lines of text and music per page. Evidence for the 14th-century dating is based on watermarks, type of music notation and the kalophonic setting of some of the chants. The Menologion portion of the MS begins on fol. 1r with the feast for 20 Jan. and continues to fol. 83v for the end of the ecclesiastical year. This is followed by a Papadike on fol. 83r with the Ison song of Koukouzeles and the interpretation of the Parallage on fol. 85r. The Triodion section of the MS starts on fol. 86r and continues to the end of the MS, which is not complete.

EBE 2428 (olim 465)

368

ΕΒΕ 2428 (olim 465) ΑΝΘΟΛΟΓΙΑ ΠΑΠΑΔΙΚΗ/ANTHOLOGIA PAPADIKE Type of paper: common Measurements: 22 × 15.5 cm Folios: III + 1–237 + V Notation: new Chrysanthine Date: early 19th c. Provenance: Monastery of John the Forerunner in Serres

Ir–IIIr IIIv

1r 2r 2v 3r 3v–4v 5r

10v 24r 40r 42v–44v 45v 51r 74r 89v 100v 109r 113r 146r 147v 148r 149r

blank Καὶ τόδε σὺν τὶς ἄλλοις ͵αψζαʹ [1871] καὶ Φιλοθέου μοναχοῦ Προδρομίτου τῷ εὑρισκομένῳ τὸ κατὰ τὰς Σέρρας ἐν τῷ Μενοικίῳ ὄρει κείμενο. This is an addition in a later script and could be a possible reference to the scribe of the MS, Philotheos the monk at the Monastery of the Forerunner at Serres. blank This folio gives the date of ‘1871, 15 January’ in memory of Γεώργιος Μηλούσης Ζαχαρίας ... γέρωντα τοῦ μοναστηρίου Προδρόμου blank Another reference to the date 1871 is noted. blank Τὸ παρὸν ψάλλεται εἰς τὰς ἀγρυπνίας· ποίημα τοῦ κὺρ Πέτρου λαμπαδαρίου· ἦχος πλ. αʹ «Ἀνὴρ, ἀλληλούϊα...». Then follow Mathemata and Megalynaria for various feasts with compositions by Daniel Protopsaltes, Meletios of Sinai and an attribution of ‘organikon’. Μαθήματα τοῦ κὺρ Δανιὴλ μετὰ τὴν λιτὴν· ἦχος αʹ. This chant is very kalophonic. Τῶν Χριστουγέννων μεγαλυνάριον ... τοῦ κὺρ Δανιὴλ Πρωτοψάλτη· ἦχος αʹ. Other feasts follow. Ἡ παροῦσα ἐκλογὴ ψάλλεται τῇ Κυριακῇ τῆς Τυρινῆς «Βαβυλῶνος...» blank Ἀρχὴ πολυελέων τοῦ κὺρ Ἰωάννου· ἦχος δʹ Ἕτερον τοῦ κὺρ Δανιὴλ· ἦχος δʹ. Other composers who have contributed to the Polyeleos are Kyr Petrakes, Meletios of Sinai, Anastasios of Larissa and Parthenios of Meteora. Ἕτερον τοῦ κὺρ Ἰωάννου· ἦχος αʹ Ἕτερον τοῦ κὺρ Ἀναστασίου· ἦχος δʹ, Λέγετος Ἀρχὴ τὰ πασαπνοάρια· τὸ παρὸν κὺρ Δανιὴλ· ἦχος αʹ. Other attributions include Kyr Ioannes and Kyr Petros of the Peloponnese. Ἕτερον τοῦ κὺρ Πέτρου· ἦχος πλ. βʹ Ἀρχὴ καὶ αἱ δοξολογίαις τοῦ κὺρ Πέτρου· ἦχος αʹ. Other doxologies follow by Daniel, Ioannes and Giakomakes. Ἀσματικὰ εἰς τὴν εἴσοδον τοῦ τιμίου Σταυροῦ· ἐξήγησις παρὰ κὺρ Πέτρου· ἦχος βʹ «Ἅγιος ὁ Θεὸς...» This folio has selected encomia honouring bishops as appropriate. «Τὸν δέσποτα...» «Εἰς πολλὰ ἔτη...». Ἡ Θεία Λειτουργία τοῦ Χρυσοστόμου. (This is followed by more Asmatika.) Δύναμις τοῦ Κορώνη· ἐξηγήθη παρὰ τοῦ κὺρ Πέτρου

EBE 2428 (olim 465)

150v 152r 152v 153r 157v 181r 185v 197r 199v 210v 224r 231v 234r 236v 237v Ir–Vv

369

Ἀλληλούϊα· ἐξήγησις τοῦ κὺρ Ἰωάννου. Ἡ Θεία Λειτουργία τοῦ Μέγα Βασιλείου τοῦ κὺρ Πέτρου Ἡ Θεία Λειτουργία τοῦ Προηγιασμένου· τοῦ αὐτοῦ Τοῦ αὐτοῦ· ἐξήγησις ἐκ τοῦ παλαιοῦ τοῦ Κλαδᾶ «Γεύσασθε...» Ἀρχὴ χερουβικῶν ὕμνων τοῦ κὺρ Δανιὴλ, κατ’ ἦχον· ἦχος αʹ Χερουβικὰ τοῦ κὺρ Πετράκη λαμπαδαρίου Ἕτερα τοῦ αὐτοῦ· σύντομα τῆς ἑβδομάδος· ἦχος αʹ Ἀρχὴ κατ’ ἦχον κοινωνικὸν τοῦ Δανιὴλ. Ἕτερον τοῦ Πέτρου Κοινωνικὰ τῆς ἑβδομάδος σύντομα τοῦ κὺρ Πέτρου Ἀρχὴ τῶν κοινωνικῶν τοῦ ἐνιαντοῦ ἅπερ συνετέθησαν παρὰ κῦρ Δανιὴλ, ͵αψλαʹ [1731] ... τὸ παρὸν ψάλλεται εἰς τὰς ἑορτὰς τῆς Θεοτόκου· ἦχος δʹ Ἕτερα τοῦ ἐνιαυτοῦ τοῦ κὺρ Πετράκη· ἦχος αʹ. Then follow Cherubic hymns for celebrated feasts. Ἑωθινὰ ιαʹ συντετμημένα ἐκ τῶν παλαιῶν, ὑπάρχουσι κὺρ Ἰακώβου καὶ Πρωτοψάλτη τῆς Μεγάλης Ἐκκλησίας Εἰς τοῦ ἁγίου Πάσχα· ἦχος πλ. βʹ «Ἀναστάσεως ἡμέρα...» Χαιρετισμὸς τῆς Θεοτόκου, ὀκτώηχος· ἦχος αʹ Τὸ παρὸν ψάλλεται εἰς τὸν ἐπιτάφιον «Τὸν ἥλιον κρύψαντα...» end of music and MS blank

Notes This Anthologia of the New Papadike dates from the early part of the 19th century. The reference on fol. 2r to the year 1871 is associated with the Monastery of the Forerunner at Serres. The condition of the MS is good. The binding is a dark brown leather with a faded imprint design on both the front and back. The gold clasps have been broken. There are about 15–16 lines of text and music per page. The neumes and text are written in a vibrant black and the rubrics and hypostaseis are in red. As a newer MS, the contents are exegeses of the older versions by the newer composers. The MS begins on fol. 5r with Mathemata for various feasts and continues with chants for the vigils: fol. 45r Polyeleos fol. 100v Pasapnoaria fol. 113v Doxologies fol. 146r Asmatikon Trisagion fol. 148r Liturgy of St Chrysostom fol. 150v Liturgy of St Basil fol. 152r Liturgy of Presanctified Gifts fol. 224r the Heothina chants The scribe could be Philotheos, a monk at the Monastery of the Forerunner, who is considered to be the scribe of EBE MS 2417, also written in the newer musical system. Bibliography Guillou, Les Archives de Saint-Jean-Prodrome.

370

EBE 2432 (olim 464)

ΕΒΕ 2432 (olim 464) ΑΝΘΟΛΟΓΙΑ ΠΑΠΑΔΙΚΗ/ANTHOLOGIA PAPADIKE Type of paper: common Measurements: 23 × 16.3 cm Folios: VII + 282 + VIII Notation: newer Chrysanthine Date: 19th c. Provenance: Monastery of the Forerunner in Serres

Ir

This is a later addition: Αὐτὸ τὸ βιβλίο εἶναι τοῦ Χαζῆς Λ. Ἀρσενίου. Below this inscription fol. Ir has Slavonic characters for Ps. 50. v v I –VII blank Τὸ παρὸν ψάλλεται εἰς τὰς ἀγρυπνίας· ποίημα τοῦ κὺρ Πέτρου λαμπαδαρίου· ἦχος πλ. 1 r αʹ «Ἀνὴρ μακάριος...» Τὰ κεκραγάρια μετὰ τὰ δοξαστικὰ ἀναστάσιμα, κατ’ ἦχον· ἦχος αʹ 7 r Καλλωπισθὲν παρὰ Χρυχάφου 11r Κεκραγάρια καὶ δοξαστικὰ ἀναστάσιμα, κατ’ ἦχον· ἦχος αʹ 22v Κεκραγάρια, κομψὰ καὶ σύντομα 34v Τὰ παρόντα μαθήματα ψάλλονται μετὰ τὴν λιτὴν· τὸ παρὸν εἰς τὸν ἅγιον Ἰωάννην καὶ 38r κτήτορα «Ὡς φρούριον ψυχῶν...» Θεοτοκία καὶ μεγαλυνάρια εἰς διαφόρους ἑορτὰς. Settings include compositions by 40r Daniel Protopsaltes, Petros and Meletios of Sinai. Ἐκλογὴ ψάλλεται τῇ Κυριακῇ τῆς Ἀπόκρεως καὶ τῆς Τυρινῆς 65r Ἀρχὴ πολυελέων· κὺρ Ἰωάννου· ἦχος αʹ. There is also a setting by Parthenios of the 71v Meteora. Ὀργανικὸς καὶ ἡδύτατος. More Polyeleoi settings continue by Daniel Protopsaltes and 92v Anastasios Rapsaniotes. Ἕτερον τοῦ κὺρ Πετράκη, ὡραῖος 106v Ἕτερον τοῦ Μελετίου Σιναΐτου Πασαπνοάρια κὺρ Ἰωάννου· ἦχος αʹ 131r Ἕτερον τοῦ κὺρ Πέτρου Ἀρχὴ δοξολογία κὺρ Πέτρου λαμπαδαρίου. 143r Other doxologies are by Daniel Protopsaltes, Ioannes and Iakovos Protopsaltes. Ἀσματικὰ εἰς τὴν εἴσοδον τοῦ Τιμίου Σταυροῦ· ἐξήγησις τοῦ κὺρ Πέτρου 175v Ἀσματικὰ ὅταν εἰσέρχεται ὁ ἀρχιερεὺς εἰς τὴν ἐκκλησίαν· ἐξήγησις τοῦ κὺρ Πέτρου Ἕτερον εἰς χειροτονίαν Ἡ Θεία Λειτουργία τοῦ Χρυσοστόμου 178r «Δύναμις» τοῦ Κορώνη· ἐξηγήθη παρὰ τοῦ κὺρ Πέτρου 178v Ἀλληλουϊάριον τοῦ εὐαγγελίου· ἐξήγησις τοῦ κὺρ Πέτρου 180v Ἡ Θεία Λειτουργία τοῦ Μεγάλου Βασιλείου· τοῦ κὺρ Πέτρου 181r Ἡ Θεία Λειρουγρία εἰς τὴν Προηγιασμένην· τοῦ κὺρ Πέτρου 182r Τοῦ κὺρ Πέτρου ἐξήγησις ἐκ τοῦ παλαιοῦ τοῦ Κλαδᾶ «Γεύσασθε...» 183v Ἀρχὴ τῶν χερουβικῶν τοῦ κὺρ Δανιὴλ Πρωτοψάλτου· ἦχος αʹ 185r Ἕτερον τοῦ Πέτρου λαμπαδαρίου

EBE 2432 (olim 464)

371

199r

Ἕτερα τοῦ αὐτοῦ· ἅπερ καὶ λέγουν ἀνέκδοτα· Ἕτερον τοῦ Στεφάνου Βυζαντίου, κατ’ ἦχον· Ἕτερον τοῦ Στεφάνου Ξηροποταμοῦ συντετμημένα κατ’ ἦχον Ἀρχὴ τῶν κοινωνικῶν τοῦ κὺρ Δανιὴλ Πρωτοψάλτου· ἦχος αʹ 233v Ἕτερον τοῦ κὺρ Πέτρου κατ’ ἦχον· ἦχος αʹ Ἕτερον τῆς ἑβδομάδος σύντομα Πέτρου λαμπαδαρίου Τοῦ Δανιὴλ Πρωτοψάλτου· κοινωνικὰ τοῦ ἐνιαυτοῦ Ἕτερα τοῦ ἐνιαυτοῦ τοῦ Πέτρου λαμπαδαρίου. Ἑωθινὰ συντετμημένα ἐκ τῶν παλαιῶν παρὰ τοῦ κὺρ Ἰακώβου καὶ Πρωτοψάλτου τῆς 269r Μεγάλης Ἐκκλησίας· ἦχος αʹ Δοξαστικὸν τῶν αἴνων τοῦ Πάσχα 276r Χαιρετισμὸς τῆς Θεοτόκου· ὀκτώηχος τοῦ κὺρ Πέτρου Μπερεκέτη 279r 281r Τὸ παρὸν ψάλλεται εἰς τὸν ἐπιτάφιον τοῦ ἀσπασμοῦ «Τὸν ἥλιον κρύψαντα...» 282v End of music and MS blank VIIIr–v Notes This is an Anthologia of the New Papadike. The scribe is Philotheos the Monk, of the Monastery of the Forerunner in Serres, Greece, who also copied EBE MSS 2417 and 2428. The MS is in good condition and legible. It has a newer dark brown leather binding with gold clasps. The front has flowers in the shape of a cross in the centre rectangle. Flowers are also placed in the four corners. Each page has about 15 lines of text and music. The text and neumes are written in a black ink and the rubrics, modal signatures and some incipits are in the traditional red ink. The contents of the MS are similar to EBE MSS 2428 and 2417.

EBE 2441 (olim 336)

372

ΕΒΕ 2441 (olim 336) ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: common Measurements: 21.8 × 15.7 cm Folios: I + 16 + I Notation: very Late Round Βyzantine Date: 1805

Ir–v 1r

7r 9 v 15v 16v Ir–v

blank Μηνὶ Δεκεμβρίου ιβʹ· μνήμῃ τοῦ ὁσίου καὶ θεοφόρου πατρὸς ἡμῶν Ἰωάννου καὶ κτήτορος τῆς ἱερᾶς μονῆς τοῦ τιμίου ἐνδόξου προφήτου Προδρόμου καὶ βαπτιστοῦ Ἰωάννου. Σύνθεσις κὺρ Χριστοφόρου καὶ πρωτοσυγκέλλου τοῦ ἁγίου Σεῤῥῶν, ἐν τῷ Mεγάλῳ Ἑσπερινῷ· ἦχος πλ. δʹ «Τῶν ποιμένων ὁ ποιμὴν καὶ βασιλεὺς τῶν ὅλων...» Μάθημα εἰς τὸν ὅσιον τοῦ κὺρ Χριστοφόρου «Ὡς μέγα φρούριον ψυχῶν...» Ἕτερον εἰς τὸν αὐτὸν ὅσιον τοῦ κὺρ Πέτρου Μπερεκέτη Ἐγράφη τὸ παρὸν παρεμοῦ Ἵωάσαφ ἱεροδιακόνου τοῦ ἐξ Αγράφων τοῦ καὶ μουσικοῦ καὶ ἡ [sic] μελουργούντες αὐτῶ μέμνησθε ὑπερ ἐμοῦ· ἐν ἔτη αωεʹ [1805] Ἰουλίου 23. Τὰ ἐν σκότει κεκαλιμένα, γέγοναν εἰς φῶς τῆς Νέας Μεθόδου. In a later handwriting: Κἄν καὶ βίβλος μικρὰ ἀλλὰ ἔχει σημασίαν ὡς παλαιά blank

Notes In this Sticherarion, the Monastery of the Prodromos catalogue number (336) is found on fol. 16r in a blue ink. Fol. 16v has two later annotations. The first indicates that this MS, hidden in darkness, is in fact the light of the New Method. The second phrase indicates that even if the book is small, it is important for the old [repertory]. The colophon appears on fol. 15v. It indicates that the scribe is Ioasaph (Joseph?) from the town Agraphon and that he is memorializing the music and melodists on 23 July 1805. The handwriting style, however, resembles that of Philotheos Prodromites from Serres, which is notated in EBE MSS 2417, 2428, 2432. The MS is in fair to good condition with some water damage throughout. The binding is a purplish colour leather with plain features. There are about 14 lines of text and music per page. Some of the vibrant colours of the rubrics and notation are faded. This Sticherarion begins on 12 Dec. with an Asmatikon Akolouthia (chanted throughout) in memory of the founder of the Monastery of the Forerunner in Serres, Ioannes, also known as Ioakeim, the Metropolitan of Zichna. The Akolouthia is composed by Christophoros of the first cell in the Monastery of Serres. According to Guillou, Ioakeim was orginally the Metropolitan of Zichna but later relinquished this title to take on the name of Ioannes when he entered the monastery in 1332. Bibliography Guillou, Les Archives de Saint-Jean-Prodrome.

EBE 2442 (olim 338)

373

ΕΒΕ 2442 (olim 338) ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: chartaceous Measurements: 22.5 × 15.3 cm Folios: 82 Notation: Middle/Round Byzantine Date: mid–14th c. Provenance: Monastery of Prodromos [the Forerunner] in Serres, with two shelf marks, 338 (written in blue ink) and 173

1r–v 2r 4r 9r 74v 82v

The MS begins with the Stichera of the Triodion from the first week of Lent to Sunday of All Saints. This folio contains music and then the setting of «Δεῦτε, ἅπαντες πιστοί ...», which ends on fol. 3v. This folio has an illegible red rubric. The setting that follows is from the first week of Lent: «Οἴμοι ὁ Ἀδὰμ ἐν θρήνῳ κέκραγεν....» Τῷ πρώτῳ Σαββάτῳ τῶν νηστειῶν· καὶ μνήμῃ τοῦ ἁγίου μεγαλομάρτυρος Θεοδώρου τοῦ Τύρονος· ἦχος βʹ «Δεῦτε, φιλομάρτυρες πάντες, πνευματικῶς...». After this folio, modal signs follow. Stichera Anastasima [no mode indicated] «Εὐφρανθῆτε οὐρανοὶ σαλπίσατε...» end of music and MS

Notes This Sticherarion has folios missing at the beginning and end and has been renumbered to accommodate the lacunae. The content is basically a Triodion that contains chants from the first week of Lent, including Holy Week, and concludes with Sunday of All Saints. The condition of the MS is fair to poor. There is no front binding and the back that remains is a dark rust-coloured brown leather that is in extremely poor condition. The MS is difficult to read. There are few rubrics indicating modes and occasions of feasts. There are no headings and no attributions for composers. Each page has about 19 lines of text and music.

EBE 2443 (olim 329)

374

ΕΒΕ 2443 (olim 329) ΑΝΘΟΛΟΓΙΟΝ ΣΤΙΧΗΡΑΡΙΟΝ/ANTHOLOGION STICHERARION Type of paper: common Measurements: 21.3 × 16.2 cm Folios: III + 216 + VII Notation: very Late Round Βyzantine Date: 18th c. Provenance: Monastery of the Forerunner in Serres

Ir

Iv–IIIv 1r

47r 137v 164v 173r 195r 200v 216v Ir–VIIv

A top marginal annotation: Σεπτεμβρίου εʹ· Ἡ παροῦσα ἀνθολογία ὑπάρχει τῆς ἱερᾶς μονῆς [τοῦ Ζωγράφου]· καὶ ὅποιος τὴν πάρῃ νὰ ἔχῃ τὴν ἀρὰν τοῦ ἁγίου Γεωργίου, ἀμὴν. Ἀφιερώθη δὲ ἐν τῇ μονῇ τοῦ Ζωγράφου παρὰ τοῦ κυροῦ Πρ. Πορφυρίου Ζωγ· [προηγουμένου Πορφυρίου Ζωγραφίτου] εἰς μνημόσυνόν του. This annotation is a later addition. blank Ἀνθολόγιον τοῦ στιχηραρίου τοῦ Νέων Πατρῶν κὺρ Γερμανοῦ περιέχον τὰ ἰδιόμελα στιχηρὰ τῶν δεσποτικῶν καὶ Θεομητορικῶν ἑορτῶν καὶ τῶν ἑορταζομένων ἁγίων· εἰς τὴν πρώτην τοῦ Σεπτεμβρίου τοῦ ὁσίου πατρὸς ἡμῶν Συμεὼν τοῦ Στυλίτου· ἦχος πλ. βʹ «Θεία χάρις ἀπῃώρητο...». This rubric identifies the beginning of the Menologion; the various feasts of the liturgical calendar follow. Ἀκολουθίας τῶν ὡρῶν τῆς Χριστουγεννήσεως· ἦχος πλ. δʹ The Triodion section begins. Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν ἱδιομέλων στιχηρῶν τοῦ Τριοδίου ἀρχομένων ἀπὸ τῆς κυριακῆς τοῦ Τελώνου καὶ Φαρισαίου· δόξα· ἦχος πλ. δʹ «Παντοκράτωρ, Κύριε, οἶδα...» Ἀρχὴ σὺν Θεῷ τῶν ὡρῶν τῆς ἁγίας καὶ μεγάλης Παρασκευῆς· ὥρα πρώτη· ἦχος πλ. δʹ The start of the Pentecostarion. Ἀρχὴ σὺν Θεῷ καὶ τοῦ Πεντηκοσταρίου ἀρχομένου ἁπὸ τῆς ... Κυριακῆς τοῦ Θωμᾶ τῷ Σαββάτῳ Ἑσπέρας στιχηρά, δόξα καὶ νῦν· ἦχος πλ. βʹ «Τῶν θυρῶν κεκλεισμένων...» Ἀρχὴ καὶ τῶν κατ’ ἦχον προσομοίων στιχηρῶν τοῦ εἱρμολογίου, κατ’ ἦχον· ἦχος αʹ «Τῶν οὐρανίων ταγμάτων...» Καταβασίαι τοῦ ὅλου ἐνιαυτοῦ· καλλωπισμὸς τοῦ Γερμανοῦ τῶν Νεῶν Πατρῶν· ἦχος αʹ, ᾠδή αʹ «Χριστὸς γεννᾶται, δοξάσατε...» end of music and MS blank

EBE 2443 (olim 329)

375

Notes This a typical 19th-century Sticherarion by Germanos of New Patras. The contents include the Menologion (fol. 1r), Triodion (fol. 137v), Pentecostarion (fol. 173r), Prosomoia verses from the Heirmologion (fol. 195r) and Katabasia (fol. 200v). The MS is in good condition with a golden brown binding held by two gold clasps. The front and back of the binding have rectangles centred with a gold inlaid stamp of the Evangelists. The folios have rubrics, modal signatures and hypostaseis in the usual red and the text and neumes are in a vibrant black. There are about 14 lines of text and music per page.

376

EBE 2444 (olim 454)

ΕΒΕ 2444 (olim 454) ΠΑΠΑΔΙΚΗ/PAPADIKE Type of paper: chartaceous Measurements: 21.4 × 14 cm Folios: 364 Notation: Middle Round Byzantine Date: mid-14th c. Provenance: Monastery of the Forerunner in Serres

1r–8r These folios contain various musical examples. 1r no title or rubric: «Οὐράνιε βασιλεῦ φιλάνθρωπε, Κύριε...» 1v Idiomelos of St Panteleimonos «Εὐσεβεῖ φρονήματι Αἶγυπτον θεοστυγῆ βδελυχάμενος...» 2v four verses: «Ὦ Χριστὲ παμβασιλεῦ καὶ κτίστα τῶν ἁπάντων...» «Καὶ σὺ Παρθένε δέσποινα ἁγία Θεοτόκε...» «Σύ μου τὸν νοῦν στερέωσον μαθεῖν τὸ στιχηράριν...» «Ὅπως ὕμνῳ δοξάζειν σε εἰς πάντας τοὺς αἰῶνας...» Other verses continue according to modes with the attributions of ἁγιορείτικον (Athonite) and μέθοδος μετροφωνίας (method of Metrophonia): «Ἀββᾶς ἀββᾶν ὑπάντησεν...» (‘one abbot went out to meet another’). 3r Ἡ θʹ ὥρα τῶν Χριστουγέννων· «Σήμερον γεννᾶται ἐκ Παρθένου...» 4r–5v Ἑρμηνεία τῆς παραλλαγῆς· πῶς δεῖ ταύτην, ἄρχεται «Ἐὰν κατάβῃς ἀπὸ τὸν πρῶτον μίαν φωνὴν...» 5v Στίχον τοῦ Κορώνη «Ἐλέησόν με εἶπεν ὁ Δαβίδ...» 6v Communion hymns: Τοῦ Παναρέτου «Εἰς μνημόσυνον αἰώνιον...» Τοῦ Μαΐστορος «Ποτήριον σωτηρίου λήψομαι...» 7r Mathemata «Δόξα Πατρί...» 7v Πρόλογος τοῦ Μανουὴλ Κούρτης «Τότε κατηργεῖτο ἡ ἀφωνία...» 8r Ποίημα κατανυκτικὸν τῆς Κυριακῆς τῆς Πεντηκοστῆς· τοῦ Μαΐστορος «Οἴμοι ψυχὴ τί ῥᾳθυμεῖς...» 8v Κλῖμαξ τῶν ἤχων 9r Ἀρχὴ τῶν σημαδίων τῆς Παπαδικῆς Τέχνης ψαλλόμενα κατ’ ἦχον 14r Σημάδια ψαλλόμενα κατ’ ἦχον· συντεθέντα παρὰ τοῦ Μαΐστορος κυροῦ Ἰωάννου τοῦ Κουκουζέλη 15v Τὰ ιαʹ ἑωθινά 21r Ἑσπερινὸς· ἀκολουθίαι συντεθειμέναι παρὰ τοῦ Μαΐστορος κυροῦ Ἰωάννου τοῦ Κουκουζέλη καὶ ἑτέρων ποιητῶν· ἀπ’ ἀρχῆς τοῦ Μεγάλου Ἑσπερινοῦ μέχρι καὶ τῆς συμπληρώσεως τῆς Θείας Λειτουργίας· ἄρχεται δὲ ἡσύχως καὶ ἀργῶς καὶ μετὰ πάσης εὐλαβείας 25v Εἶτα γίνεται μεγάλη συναπτὴ καὶ εὐθὺς ὁ δομέστικος ἀπ᾽ ἔξω· ἦχος πλ. δ´ «Μακάριος ἀνήρ, ἀλληλούϊα…» Ἀπὸ χοροῦ ἡσυχωτέρως· ἦχος πλ. δ´ «Μακάριος ἀνήρ, ὅς οὐκ ἐπορεύθη ἐν βουλῇ ἀσεβῶν, ἀλληλούϊα…»

EBE 2444 (olim 454)

34v 35r

55r 55v 59v 63r 65r 77r

79v 87v 99v 109r 115v 116r 117v

125r 126v 129r 129v

377

Τοῦ Χαλιβουρίου, λεγόμενον ἡ Λαμπρά· ἦχος πλ. δʹ Ἀρχὴ τῶν κρατημάτων. Kratemata follow with a variety of attributions: Ἰωάννου Κουκουζέλη, Ξένου τοῦ Κορώνη, ἁγιοσοφίτικον, τὸ λεγόμενον Φράγκικον, τοῦ Παναρέτου, Κοντοπετρῆ, Τζακνοπούλου, τοῦ Βασιλέως, Κωνσταντίνου Μοσχιανοῦ, Ἀγάθωνος μοναχοῦ τοῦ Κορώνη,Ἰωάννου Γλυκέως, τοῦ Θηβαίου. Τοῦ Ἰωάννου Κουκουζέλη· ἦχος πλ. δ´ «Δόξα… Καὶ νῦν…» Ἕτερον λεγόμενον τὸ Ἐθνικὸν· κράτημα ἐθνικὸν τοῦ ᾽Ιωάννου Κουκουζέλη· ἦχος πλ. δ´ «Ἀλληλούϊα…» Προκείμενα τῆς ἑβδομάδος Θεσσαλονικαῖον, ἀπὸ χοροῦ Ὄρθρος· Ἀρχὴν δὲ λαμπρὰν Ὄρθρος ἤδη λαμβάνει. The music for Orthros that follows includes ‘Theos Kyrios’, ‘Alleluia’ and ‘Pasa Pnoe’. The composers are the Maistor, Georgios Panaretos and another attribution identified as ‘Hagioreitikon’ [Athonite]. Πολυέλεοι. The Polyeleos settings are represented according to modes by an array of composers: Κουκουζέλη, Μυστάκωνος, Κορώνη, Πρωτοψάλτου κὺρ Ἰωάννου τοῦ Γλυκέως, Δοκειανοῦ, Γρηγορίου, Γεωργίου Παναρέτου, Μανουὴλ τοῦ Πλαγίτου, Κορνηλίου Μοναχοῦ, Χριστοφόρου, λεγόμενος Λατρινός, [Ἀνδρέου Σιγηροῦ], τοῦ Ἠθικοῦ. Γλυκέος τοῦ Δυσικοῦ «Τὸν Σηὼν βασιλέα τῶν Ἀμοῤῥαίων…» Ἕτερος πολυέλεος ψαλλόμενος ἐν τῇ ἁγίᾳ πόλει Θεσσαλονίκῃ καὶ ἐν ὅλῳ τῷ κόσμῳ, λεγόμενος Κουκουμὰς· ἦχος α´ «Δοῦλοι, Κύριον…» Ἕτερον τοῦ Μανουὴλ τοῦ Κούρτης Ἀντίφωνον ψαλλόμενον εἰς ἱεράρχας καὶ ὁσίους καὶ εἰς βασιλεῖς. (Antiphons chanted for chief priests, holy men and emperors.) Μέλος Θεσσαλονικαῖον· ἦχος δ´ «Ὁ φοβούμενος τὸν Κύριον, ἀλληλούϊα … Μακάριος ἀνὴρ ὁ φοβούμενος τὸν Κύριον, ἀλληλούϊα…» Ἕτερον· ἀρχὴ πολίτικος· ἦχος δ´ «Τὸν Κύριον, ἀλληλούϊα…» Παλαιόν· ἦχος δ´ «Ἐν ταῖς ἐντολαῖς αὐτοῦ θελήσει σφόδρα, ἀλληλούϊα…» Some of the following are the attributions notated for the antiphons: Θεσσαλονικαῖον, Κουκουζέλη, Γρηγορίου, Κορώνη, [Ἀνδρέου Σιγηροῦ], Κοντοπετρῆ, Ἀγαλλιανοῦ, Ἀγάθωνος Μοναχοῦ τοῦ Κορώνη, Θηβαίου, Οἰνεώτου, Παναρέτου. Ἕτερον τοῦ Μανουὴλ τοῦ Κούρτης Ψαλμὸς ἕτερος ψαλλόμενος τῇ Κυριακῇ τῆς Ἀπόκρεως καὶ τῆς Τυροφάγου. (Another psalm chanted for Sunday of Meatfare and Cheesefare.) The settings are composed by Xenos Korones, Ioannes Glykes the Protopsaltes and Dimitrios Dokeianos. Ἄμωμος ψαλλόμενος εἰς κοιμηθέντας, εἰς μοναχούς. (The Amomos [Ps. 118] chanted for those who sleep, for monks.) This is the longest psalm in the Psalter. Some of the verses are set by these composers: Mystakonos, Manuel the Priest of Spanos, Nicholas of Klovas, Korones, Phardivoukes, Gregorios Glykys, Kornelios Monachos, Ioannes Glykys and Nikiphoros Ethikos. Ἕτερος ἄμωμος ψαλλόμενος· ψάλλεται δὲ τὸ μέλος τοῦτο ἕως ἀρχιερεὺς· ποίημα τοῦ Ἰωάννου τοῦ Γλυκέου Κοντάκια ψαλλόμενα εἰς κοιμηθέντας. Attributions include the following settings: Andreou [Sigerou], Korones and Thessalonikaion. Ἕτερος ἄμωμος εἰς τὴν ὑπεραγίαν Θεοτόκον καὶ εἰς ἑτέρους ἁγίους Ἄμωμοι εἰς τὴν Θεοτόκον, εἰς ἱεράρχας, εἰς μαρτύρας, εἰς τὸν Πρόδρομον

378

131r

EBE 2444 (olim 454)

Ἐγκώμια κατ’ ἀλφάβητον τοῦ πατριάρχου κυροῦ Γερμανοῦ· τὸ δὲ μέλος κυροῦ Νικηφόρου τοῦ Ἠθικοῦ «Ἀκατάφλεκτε βάτε, ἀλατόμητον ὄρος...» Ἕτερα ἐγκώμια· ποίημα τοῦ Ἠθικοῦ καὶ τὸ μέλος καὶ οἱ λόγοι «Ἐφύλαξεν ἡ ψυχή μου 131v τὰ μαρτύριά σου...» Δύχορον Θεσσαλονικαῖον. This marginal annotation, ‘Thessalonian piece for two 132r choirs’, indicates the performance practice in the cathedrals of Thessalonika for two choirs and implies a two-voiced [polyphonic] performance. Τέλος τῆς ἀκολουθίας τοῦ Ὄρθρου καὶ ἀρχὴ τῆς Θείας Λειτουργίας· ἄρχονται δὲ 132v πρῶτον τὰ τυπικὰ καὶ καθεξῆς ἡ Θεία Λειτουργία. Λειτουργία Χρυσοστόμου· Τυπικὰ τοῦ Κουκουζέλη Θεοτοκίον τοῦ Γερασίμου ἱερομονάχου 134r Ἀπὸ τὴν περισσὴν παρεκβολὴν τοῦ Μαΐστορος «Ἄνωθεν οἱ προφῆται...» 135r Σταυροθεοτοκίον τοῦ Μαΐστρου. There are also Staurotheotokia by the composers 136r Korones and Ioannes Glykys. Θεοτοκία Theotokia compositions are by Koukouzeles, Ethikos, Korones and 145r Dokeianos. Στιχηρὸν εἰς τὴν Ὁδηγήτριαν· ποιηθὲν παρὰ τοῦ κυροῦ Λάσκαρη τοῦ Συρπαγάνου· 146v μεληθὲν παρὰ τοῦ κυροῦ Ἰωάννου τοῦ Κλαδᾶ 156r–236v Ἀναγραμματισμοί, Κρατήματα, Ἐγκώμια, Μεγαλυνάρια. This section of the MS consists of repertory that can be categorized as Anagrammatismoi, Kratemata, Encomia and Megalynaria. The writing for both the text and neumes is in different scripts, indicating that different scribes contributed to this section, more than likely after the initial commencement of the MS. Τοῦ Ἰωάννου Κουκουζέλη· εἰς τὴν ἁγίαν Θεοδώραν· ἦχος πλ. α´ 156r Κράτημα τοῦ Κουκουζέλη· ἦχος πλ. α´ · Σημαντήρι Ἦχος βαρὺς «Στόμα ἔχουσι…» 165v Κράτημα τοῦ Ἰωάννου Κλαδᾶ· ἦχος α´· Περσικὸν Ἕτερον τοῦ λαμπαδαρίου τοῦ Κλαδᾶ, λεγόμενον Περσικόν 166r Τοῦ Κουκουζέλη, λεγόμενον Τροχὸς 184r Ἕτερον λεγόμενον, Περισσή. These kalophonic settings with nonsense syllables 207v continue with the following attributions: Korones, Glykys, Dokeianos, Ethikos, Ioannes Phokas the Cretan, an old piece and Manuel Chrysaphes. Λειτουργία· Ἀλληλουϊάρια, Χερουβικά. This section contains portions of the Liturgy, 222r such as the Cherubic hymn, the Alleluias, and others – possibly that of St Basil, but not identified as such. The attributions include the following: Κὺρ Ἀνδρέου, λαμπαδαρίου τοῦ Κλαδᾶ, παλατιανόν, Δημητρίου δομεστίκου, Ἰωάννου Πρωτοψάλτου Γλυκέως. Λειτουργία Προηγιασμένων· Κεκραγάρια, τριαδικὰ· ποίημα λαμπαδαρίου τοῦ Κλαδᾶ. 229r This portion continues with chants for the Liturgy of the Presanctified Gifts. After the setting by Ioannes Kladas, there follow settings by Ioannes Glykys, Manougras the Domestikos and Koukouzeles. Στιχηρά, Μεγαλυνάρια, Ἀναγραμματισμοὶ τοῦ ἐνιαυτοῦ. This section contains 237r kalophonic Stichera for movable and fixed feasts beginning with 7 Jan. of the liturgical year. Many attributions are provided and include some of the following: Κουκουζέλη, Γερασίμου ἱερομονάχου, Ἰωάννου λαμπαδαρίου Κλαδᾶ, Ἀλμυριώτου, Ἰωάννου Γλυκέως Πρωτοψάλτου, Πρωτοψάλτου τοῦ Κορώνη, Μανουγρᾶ, Καρβουριώτη, Καμπάνη, Δομεστίκου Φερεντάρη, Συμεὼν Ψηρίτζη.

EBE 2444 (olim 454)

285v 322v

333r

341r 346r 347v 349r 364v

379

Ποίημα βασιλέως κυροῦ Λέοντος τοῦ σοφοῦ· τὸ δὲ μέλος τοῦ Πρωτοψάλτου κυροῦ Ἰωάννου τοῦ Γλυκέως, μαρτυρικὸν Τέλος τῶν στιχηρῶν μετὰ τῶν ἀναγραμματισμῶν τοῦ ὅλου ἐνιαυτοῦ καὶ ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατανυκτικῶν τῆς μεγάλης Τεσσαρακοστῆς· ποίημα κυροῦ Ξένου τοῦ Κορώνη καὶ Πρωτοψάλτου. Ἕτερον τοῦ Πρωτοψάλτου Ἰωάννου τοῦ Γλυκέως. Ἕτερον τοῦ Ἰωάννου Κουκουζέλη. Στιχηρὰ καὶ ἀναγραμματισμοὶ εἰς τὴν Ἀνάληψιν τοῦ Κυρίου ἡμῶν Ἀναλήψεως· τοῦ Πρωτοψάλτου. Τῆς Πεντηκοστῆς ποίημα τοῦ Ἀλμυριώτου· ἐκαλλωπίσθη δὲ παρὰ Δομεστίκου κυροῦ Γεωργίου τοῦ Κοντοπετρῆ. Εἰς τοὺς ἁγίους Ἀποστόλους τοῦ Κουκουζέλη. Ἕτερον τοῦ Εὐγενικοῦ Κανὼν εἰς τοῦ Μεγάλου Δημητρίου· ποίημα τοῦ Πορφυρογεννήτου κυροῦ Κωνσταντίνου· μεληθὲν παρὰ τοῦ Πρωτοψάλτου Θεσσαλονίκης κυροῦ Μανουὴλ τοῦ Πλαγίτου Μεγαλυνάριον τοῦ Μεγάλου Σαββάτου· τοῦ Μαΐστρου Εἱρμὸς ἐνάτης ᾠδῆς ψαλλόμενος τῇ ἁγίᾳ καὶ Μεγάλῃ Κυριακῇ τοῦ Πάσχα· τοῦ Ἰωάννου τοῦ Γλυκέως Ἀντίφωνα τῇ ἁγίᾳ Μεγάλῃ Πέμπτῃ Ἑσπέρας. (Part of this antiphon is without musical neumes.) music and MS end

Notes This is a mid-14th-century Papadike that is rich in information on music theory, performance practice, composers and musical settings of the late Empire. However, the MS is in poor condition. Its brownish leather binding is greatly deteriorated but there is evidence of past designs on the front and of two clasps that are now missing. The MS is difficult to read because of its faded black and red inks, making rubrics, hypostaseis, modal signatures, music and text less distinguishable. There are 15–17 lines of text and music per page. Fols 156r–236r are written in a different style and spacing and possibly by a different scribe. Fol. 340v has a watermark depicting an image of St Dimitrios in a position of prayer. The MS begins with various Mathemata (fols 1r–8v) preceding the Papadike Techne on fols r 9 –15r. The MS continues with the following: fol. 21r chants for Vespers fol. 65r Orthros chants fol. 77r Polyeleos fol. 109r antiphons and Psalms fol. 117v various versions of the Amomos fol. 131r Encomia fol. 132v Liturgy of St John Chrysostom fol. 156r Anagrammatismoi, Kratemata, Megalynaria fol. 229r Liturgy of Presanctified Gifts fol. 322v Katanyktika fol. 341r Kanon for St Dimitrios fol. 347v Heirmoi fol. 349r antiphons without neumes

380

EBE 2444 (olim 454)

Bibliography Chaldaiakis, Ὁ Πολυέλεος. Conomos, Byzantine Trisagia and Cheroubika. —— The Late Byzantine and Slavonic Communion Cycle. Touliatos, The Byzantine Amomos Chant.

EBE 2446 (olim 515)

381

ΕΒΕ 2446 (olim 515) ΑΝΘΟΛΟΓΙΑ ΤΗΣ ΠΑΠΑΔΙΚΗΣ/ANTHOLOGY OF THE PAPADIKE Type of paper: common Measurements: 17 × 10.6 cm Folios: 300 Notation: very Late Round Byzantine Date: 1770 Provenance: Monastery of the Prodromos (Forerunner) in Serres

1r–5v 1v 4r

6r 10r 12r–v 13r 93r 105v 107v 110r 112r 114r 117v 126v 129v 142r 156r

various writings (some undecipherable) and blank folios The phrases in illiterate Greek that are written on this folio also appear on fol. 300r. 1776, Μαρτίου 20 ἐξηγόρασα αὐτὸ τὸ βιβλιάριον ὀνομαζόμενον Ψαλτική, εἰς τὴν ὁποίαν ἔδωσα γρώσια 14 [corrected from the original number of 12] καὶ ὅποιος βουληθεῖ νὰ μοῦ τὴν ἀποξενώσει δίχως τῆς ἐμῆς θελήσεως, οἱ ὀποία ὑπάρχῃ κἀμοῦ Γερμανοῦ ἱερομονάχου [name written over an erased name] καὶ ἀθετήσῃ τὰ ἄνωθεν γεγραμμένα, ἔστω ἀφωρισμένος ... This later inscription indicates that this Psaltike was purchased on 20 Mar. 1776 for the amount of 14 groschen ... and now belongs to Germanos the priest-monk, a curse being laid on him who might take the book away. Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς μουσικῆς Ἠχήματα blank Τὰ κατ’ ἦχον ἀναστάσιμα στιχηρὰ τοῦ Ἑσπερινοῦ καὶ τοῦ Ὄρθρου. Ἀρχὴ τὰ κεκραγάρια, κατ’ ἦχον. The chants for Vespers and Οrthros (Matins) follow according to Akolouthia and modes. Ἀρχὴ τὰ ἕνδεκα ἑωθινὰ κατ’ ἦχον· λόγοι τοῦ Λέοντος τοῦ Βασιλέως· μέλος Ἰωάννου τοῦ Γλυκέως Τροπάρια τοῦ Σαββάτου τῆς Ἀκαθίστου καὶ τῆς μεγάλης ἑβδομάδος «Θεὸς Κύριος...» according to modes Ἡ Θεία Λειτουργία τοῦ Μεγάλου Βασιλείου Ἡ Θεία Λειτουργία τῶν Προηγιασμένων «Κατευθυνθήτω...» «Γεύσασθε...» τοῦ Ἰωάννου τοῦ Κλαδᾶ Πολυέλεος τοῦ Χρυσάφη τοῦ Πρωτοψάλτου· ἦχος αʹ Καλοφωνικὸς στίχος· ποίημα τοῦ Κωνσταντίνου τοῦ Μαγουλᾶ· ἐκαλλωπίσθη παρὰ τοῦ Γαζῆ Εὐλογητάρια ψαλλόμενα τῇ Κυριακῇ μετὰ τὸν ἄμωμον «Πάσα πνοή...» ψαλλόμενα μετὰ τὸ εὐαγγέλιον τοῦ Ὄρθρου. The composers indicated for the Pasapnoaria are Chrysaphes Protopsaltes, Manuel Goutas, Germanos of New Patras and Balasios the Priest. Doxologies by various composers: Germanos of New Patras, Petros Bereketes, Balasios and Melchisedek Νεκρώσιμον ᾀσματικὸν τρισάγιον τοῦ Τιμίου Σταυροῦ· ἐξηγητὸν τοῦ Μπαλασίου· Ἕτερον εἰς φήμην ἀρχιερέως Ἕτερον ὅταν ἐνδύεται ὁ ἀρχιερεύς Ἕτερεον εἰς προϋπάντησιν ἀρχιερέως

382

EBE 2446 (olim 515)

160v Ἡ Θεία Λειτουργία τοῦ Χρυσοστόμου «Ἅγιος ὁ Θεός...» «Δύναμις...» τοῦ Κορώνη Ἀλληλουϊάριον κὺρ Θεοδούλου. Χερουβικὸν κὺρ Χρυσάφη· ἦχος αʹ 163r 163v Cherubic hymns continue according to modes with settings by Germanos of New Patras, Damianos, Karykes and Ioakeim of Bizye. Κοινωνικὰ κὺρ Χρυσάφη, ἦχος αʹ. Settings are contributed by Balasios, Athanasios the 178v Patriarch, Ioakeim of Bizye and Petros Bereketes. Κοινωνικὰ τῆς ἑβδομάδος 188v Κοινωνικὰ τῶν δεσποτικῶν ἑορτῶν τοῦ ὅλου ἐνιαυτοῦ· κὺρ Μπαλασίου· ἦχος αʹ 193r Χερουβικὰ τὴς μεγάλης ἑβδομάδος· τοῦ Χρυσάφη Χερουβικὰ εἰς τὸν Εὐαγγελισμὸν 197v Θεοτοκίων μαθημάτων τοῦ Γερμανοῦ τῶν Νέων Πατρῶν· ἦχος αʹ. Other Theotokia 210v settings are by Balasios, Koukouzeles and Chrysaphes. Ἕτερον εἰς τὴν λαμπροφόρον Ἀνάστασιν (Doxology for Holy Easter) 220r Μερικῶν καλοφωνικῶν εἱρμῶν τοῦ κὺρ Μπαλασίου· ἦχος αʹ. Other contributors to the 222r Kalophonic Heirmoi are the following: Petros Bereketes, Panagiotes the Lampadarios Chalatzoglou, Damianos Vatopedinos, Theophanes Karykes, Manuel Goutas and Germanos of New Patras. Another Kalophonic Heirmos identified as ‘[based?] upon the best’ (ἐπὶ ἀρίστου). 246v Ἄμωμος εἰς κοιμηθέντας ἐκ τοῦ παλαιοῦ Αμικρυνθεὶς παρὰ τοῦ κὺρ Χρυσάφου τοῦ 248v Νέου· ἦχος βʹ Στίχοι εἰς τὸν ἐπιτάφιον θρῆνον 254r Πασαπνοάριον τοῦ Μπαλασίου 255v Δοξολογία τοῦ κὺρ Μπαλασίου 259v

262v 269r

Πολυέλεος τοῦ κὺρ Πέτρου Μπερεκέτη

Χερουβικὸν τοῦ κὺρ Μπαλασίου τετράφωνον Ἀρχή ... τῶν ὡρῶν τῆς παραμονῆς τῆς κατὰ σάρκα Γεννήσεως τοῦ Κυρίου ἡμῶν Ἰησοῦ 272r Χριστοῦ· ἦχος πλ. δʹ Ἀρχή ... τῶν ὡρῶν τῶν Ἁγίων Θεοφανίων· ποίημα τοῦ Σωφρονίου Πατριάρχου τῶν 280r Ἱεροσολύμων· ὥρα αʹ, ἦχος πλ. δʹ Τῶν ὡρῶν της Ἁγίας καὶ Μεγάλης Παρασκευής τῶν ἁγίων Παθῶν τοῦ Κυρίου ἡμῶν 288r Ἰησοῦ Χριστοῦ· ἦχος πλ. δʹ Ἐτελειώθη τὸ παρὸν ἀναστασιματάριον πλούσιον μὲ μερικὰ ἄνθη τῆς παπαδικῆς εἰς 295v τοὺς χιλίους ἑπτακοσίους ἑβδομῆντα ἐν μηνὶ Φεβρουαρίου εἰς τὰς εἰκοσιπέντε, διὰ χειρὸς ἐμοῦ τοῦ εὐτελοῦς καὶ ἁμαρτωλοῦ Μακαρίου προηγουμένου Λαυριώτου καὶ ἡ ἐντυγχάνοντες αὐτῷ μέμνησθε, ἀδελφοί μου, ὅπως εὕρω ἔλεος ἐν ἡμέρᾳ κρίσεως. Ἡ μὲν χεὶρ ἡ γράψασα σήπεται τάφῳ, ἡ δὲ γραφὴ μένει μέχρι τερμάτων. This lengthy colophon dates the MS as being completed on 25 Feb. 1770. The MS is identified as an ‘Anastasimatarion rich with several flowers of the Papadike’. The scribe refers to himself as the humble Makarios a prohegumen at [the monastery of Great] Laura. 296v–297r These folios contain later additions that appear to be letters to a ‘spiritual monk’ and a ‘layman friend’. Ἐτοῦτο εἶναι τοῦ Γιοβάνη τοῦ Γραίγου 300r Ἐτούτη ψαλτικὴ εἶναι τοῦ προηγουμένου Δανιὴλ τοῦ Ἀηδονοχωρινοῦ. Another 300v later addition that states: ‘this Psaltike belongs to Daniel the prohegumen of Aëdonochori’.

EBE 2446 (olim 515)



383

end of MS

Notes The MS is in good condition and legible. It has a newer light brown leather binding with imprints of flowers and seals. The MS originally had two clasps but only one remains. Fols 1r–5v and the last section of fols 296r–300v are not considered to be part of the original MS. There is an average of 12 lines of text and music per page. The rubrics, modal signatures and hypostaseis are written in red ink, the text and neumes in black. The colophon on fol. 295v indicates that the MS was completed on 25 Feb. 1770 by the scribe Makarios, who was previously associated with [the Mt Athos Monastery of Great] Laura. On fol. 4r is a further indication that this MS was sold on 20 Mar. 1776 for 14 [Turkish] groats. The category of the repertory is designated in the MS: Psaltike, Papadike, Anthologia and Anastasimatarion. The MS formally starts on fol. 6r with the neumes of the Psaltike Techne and continues with the following: fol. 13r Anastasima Stichera for Vespers and Orthros fol. 93r Heothina hymns fol. 110r Liturgy for St Basil fol. 112r Liturgy for the Presanctified Gifts fol. 114r Polyeleos fol. 126v Eulogetaria after the Amomos fol. 129v Pasapnoaria fol. 142r Doxologies fol. 156r Asmatikon Trisagion fol. 160v Liturgy of St John Chrysostom fol. 163v Cherubic hymns fol. 178v Communion chants fol. 210v Theotokia fol. 222r Kalophonic Heirmoi fol. 248v Amomos by Chrysaphes the New fol. 259v Doxology by Balasios fol. 272r the Hours for the Nativity of Christ fol. 280r the Hours for the Epiphany fol. 288r the Hours for the Passion of Christ on Good Friday

384

EBE 2447 (olim 482)

ΕΒΕ 2447 (olim 482) ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: chartaceous Measurements: 22.8 × 14.5 cm Folios: 304 Notation: Early Middle Round Byzantine, not as fully developed as what appears by the mid-14th c. Date: early 14th c.

1r

Στιχηρὰ Θεοτοκία τὰ Δογματικὰ λεγόμενα τῶν ὁκτὼ ἤχων· ἦχος αʹ «Παρθενικὴ πανήγυρις σήμερον...» 5r The bottom rubric has been clipped off. 6r The top rubric has been removed. 56r–v The lower portion of the folio has been cut off. 167r With this folio, the Triodion and Pentecostarion section begin: ἦχος αʹ «Μὴ προσευχώμεθα φαρισαϊκῶς...» 227r Ἀκολουθία τῶν Ἁγίων Παθῶν τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ, ἀντίφωνα α´· ἦχος πλ. δʹ «Ἄρχοντες λαῶν συνήχθησαν...» 274r Ἀρχὴ τῶν ὀγδοῆντα στιχηρῶν τῶν ἀνατολικῶν· ἦχος αʹ «Εὐφράνθητε, οὐρανοί, σαλπίσατε...». The Anatolika Stichera are listed for Saturday and Sunday according to modes. 293r Τροπάρια τῶν ἀναβαθμῶν· ἀντίφωνον αʹ· ἦχος αʹ «Ἐν τῷ θλίβεσθαί με εἰσάκουσόν μου...». The Anabathmoi are categorized according to modes. 298r Ἀρχὴ τῶν ἑωθηνῶν στιχηρῶν ἰδιομέλων· ἦχος αʹ [preceded with an Epechema] «Εἰς τὸ ὄρος τοῖς Μαθηταῖς...» 298v blank 303r–304v On these folios the script appears to be later and written slightly larger; all text is black. 304v This folio has an added text in Slavonic, probably inserted in the post-Byzantine era. end of MS Notes This is a Sticherarion that originates from the Monastery of the Forerunner in Serres. The MS is important because it typifies an early (first-quarter) 14th-century Menologion, Triodion and Pentecostarion. The MS is in fair to poor condition with much water damage. The binding is dark brown leather on wood and is badly deteriorated, crumbling and infested with wormholes. The clasps that held the binding together are missing. On the front two decorative brown studs remain as part of the decoration but none have survived on the back binding. The interior of the binding has the original colour of a deep red. Throughout there are faded rubrics, modal signatures and hypostaseis, with brown neumes instead of the traditional black. The rubrics indicate only the feasts and modes, but these are so faded that they are difficult to read. No composers’ names are indicated. The incipit letter for the beginning of the Sticheron text is written with red ink and capitalized. The pages vary in content and can hold an average of 19–22 lines of text and music.

EBE 2447 (olim 482)

385

Fol. 1r begins with Dogmatic Theotokia according to modes. On fol. 6r the Menologion proper begins and indicates the feasts of the liturgical year from Sept. to Aug. (the portion from 20 July to 26 Aug. is missing). The Triodion and Pentecostarion sections are on fols 167r–273v. The MS continues with Anatolika Stichera on fol. 274r, the Anabathmoi on fol. 293r and the Heothina hymns on fol. 298r. The MS has later additions and some peculiarities. Folios are missing and the MS has been renumbered in pencil. Moreover, the back interior binding indicates in large blue writing ‘346 folios’. If this were the original number of folios, it would mean that 42 folios are missing. Certainly there are missing folios at the beginning. Fols 5 and 6 must have had some beautiful Byzantine rubrics, because portions of those folios have been cut out with scissors.

386

EBE 2451 (olim 368)

ΕΒΕ 2451 (olim 368) ΔΟΞΑΣΤΑΡΙΟΝ ΤΟΥ ΤΡΙΩΔΙΟΥ KAI ΠΕΝΤΗΚΟΣΤΑΡΙΟΥ/ DOXASTARION OF THE TRIODION AND PENTECOSTARION Type of paper: common Measurements: 20.9 × 14.7 cm Folios: VII + 95 + VII, or VII + 189 pages + VII Notation: Chrysantine, but the modes are written in the older as well as newer modal signatures Date: 1832 Provenance: Monastery of the Forerunner in Serres

Ir Iv–VIIv 1r

Καὶ τόδε Ἀζαρίου ἱερομονάχου. (And this belongs to Azarios the Priest-Monk.) Καὶ σὺ ἐκ τοῦ Ἀζαρίου Δουκίδου. (And thou from Azarios Doukides.) blank Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τὸ Δοξαστάριον τοῦ Τριῳδίου περιέχοντα ἅπασαν τὴν ἀκολουθεῖαν τοῦ Τριῳδίου καὶ Πεντηκοσταρίου· τὸ παρὸν ψάλλεται τῇ Κυριακῇ τοῦ Τελώνου καὶ τοῦ Φαρισαίου· ἦχος πλ. δ, ΝΗ ´ «Δόξα…» 74v/148 Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τὸ Πεντηκοστάριον τῇ Ἁγίᾳ Κυριαῇ τοῦ Πάσχα· εἰς τοὺς Αἴνους παρὰ Ἰακώβου· ἦχος πλ. αʹ, ΠΑ´ 95r/189 Τέλος καὶ τῷ Θεῷ δόξα· ἐγράφη διὰ χειρὸς ἑμοῦ Ἀζαρίου ἱερομονάχου ἐκ χώρας Τζιρπήστας [sic] τὸ εὑρισκόμενον κατὰ τὴν ἐπαρχίαν Σεῤῥῶν 1832, Νοεμβρίου 12. (End of the Doxologies to God, written by my hand, Azarios the Monk from the town of Tzirpestas found in the region of Serres, 12 November, 1832.) Ir–VIIv blank Notes This Doxastarion is a later MS from the post-Byzantine era containing Doxologies and other praise music such as the Ainoi chants (verses from Pss. 148, 149 and 150 of the Septuagint) for the Triodion and Pentecostarion. This Doxastarion has music composed by Iakovos the Protopsaltes. The MS is in very good condition. The binding is obviously newer and has a light brown leather cover. The MS is very clean with a rich number of rubrics. In the opening fol. Ir, there is a reference to the scribe, Azarios the Monk. There are about 14 lines of text and music on each page. Every page is numbered in Arabic numerals but there are mistakes in the numbering on pp. 181–8 and 190, in addition to many orthographic errors throughout. The contents are typical for a Doxastarion: fol. 1r, Doxologies for the Triodion and Pentecostarion; fols 74v–94v, Ainoi verses for the Pentecostarion of the Holy Sunday of Easter by Iakovos. The colophon appears on fol. 95r and confirms that the scribe was Azarios the Monk and that the MS was completed on 12 Nov. 1832.

EBE 2452 (olim 516)

387

ΕΒΕ 2452 (olim 516) ΑΚΟΛΟΥΘΙΑ ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/AKOLOUTHIA ANASTASIMATARION Type of paper: common Measurements: 15.9 × 11.4 cm Folios: 127 Notation: Late Round Βyzantine, with additions in newer Chrysanthine Date: 18th c. Provenance: Monastery of the Forerunner in Serres

1r

Κτῆμά ἐστι ἐμοῦ τοῦ Γεωργίου Παπᾶ Φωτίου, ἔτος 1888. (The property of Priest Georgios Photios, the year 1888.) (This rubric is written in purple ink.) The following rubric is at the top of the folio and inscribed in black ink: ͵αωλθʹ [1839] 1 v μῆνας Δεκέμβριος 20, ἐνθυμήσῃς τῆς μητρός μου ὅταν ἀπέθανε τὴν τετράδι βράδυ ὥρες 2. (20 Dec. 1839, remember thou my mother, who died on the fourth day [of the month] in the second hour.) Near the bottom of the folio in black ink: the letter ‘x’, ʹαωμʹ [1840], Φεβρουαρίου 5 ἡ κοίμησις τοῦ Νικολάου Ντούμπα. (5 Feb. 1840, the dormition [passing] of Nicholas Doubas.) Centred in the folio, written in a different script in grey ink: Πρὸς ἐνθύμησιν τῆς πυρκαϊᾶς τῶν Σεῤῥῶν, ἡ ὁποία ἔγινε 1849, Ἰουνίου 28, τρίτη ἑσπέρας περὶ τὴν μίαν ὥραν. (In remembrance of the conflagration at Serres that took place on the evening of Tuesday, 28 June 1849, around the first hour.) Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς Μουσικῆς Τέχνης, τῶν τε ἀνιόντων καί τε 2r κατιόντων, σωμάτων τε καὶ πνευμάτων μετὰ πάσης χειρονομίας καὶ ἀκολουθείας συντεθημένης εἰς αὐτὴν παρὰ τῶν κατὰ καιροὺς ἀναδειχθέντῶν ποιητῶν παλαιῶν τε καὶ νέων. «Ἀρχή, μέση, τέλος...» Παραλλαγὴ· Ἀρχὴ τῆς ἡδυτὰτης καὶ ὠφελιμοτάτης παραλλαγῆς 6r 6v This folios contain the Trochos with modes and corresponding Epechemata. Κατ’ ἦχον κεκραγαρίων. Chants for Vespers and Orthros follow according to modes: 7r Mode I Mode II 19v Mode III 32r Mode IV 44r 58v Plagal Mode I 75r Plagal Mode II 87v Plagal Mode III 99r Plagal Mode IV end of section with Middle Byzantine musical notation 109v a later text without neumes 110r–v 111r–127v a later addition of Chrysanthine notation «Μάθημα» blank 114r blank 117v

388

EBE 2452 (olim 516)

118v blank 119r–122v neumes only blank 120r added numbers on this folio 123r 125v–127v neumes only end of MS 127v Notes This Anastasimatarion from the first half of the 18th century has two parts: the original section on fols 2r–109v containing Late Round Notation and the later addition on fols 110r–127v in the newer Chrysanthine musical notation. The original section is considered to be a recension by Chrysaphes the Νew. Fol. 1r–v was probably a blank folio that had later scripts added and the MS was repaginated. Fol. 1 includes references to the following: (1) a property of a priest Georgios Photios in the year 1888; (2) the memorial of a mother’s death in the year 1839; (3) the death of Nicholas Doubas in 1840; and (4) a fire that took place in Serres in 1849. The original portion of the MS begins with the typical Psaltike Techne and Parallage, which explains the typical medieval Byzantine music theory with musical examples. Fols 7r–109v contain the chants of Orthros and Vespers according to the modes of the octoechos. Fols 110r–127v are written in a later script and the music is notated the newer system. The MS is in very good condition. The average page contains 11 lines of text and music. The text and neumes are written in a black ink and the rubrics, modal signatures and hypostaseis are in red. The binding is in a reddish brown colour with gold imprints in the front and back.

EBE 2453 (olim 486)

389

ΕΒΕ 2453 (olim 486) ΣΤΙΧΗΡΑΡΙΟΝ ΚΥΡ ΓΕΡΜΑΝΟΥ ΝΕΩΝ ΠΑΤΡΩΝ/STICHERARION OF GERMANOS NEON PATRON Type of paper: chartaceous Measurements: 21.8 × 16.3 cm Folios: 464 Notation: Late Round Byzantine Date: 18th c. Provenance: Monastery of the Forerunner in Serres

1r

Στιχηράριον σὺν Θεῷ ἁγίῳ περιέχον τὰ στιχηρὰ τοῦ ὅλου ἐνιαυτοῦ καλλωπισθὲν παρὰ κὺρ Γερμανοῦ Ἀρχιερέως Νέων Πατρῶν. Ἀρχὴ τῆς ἰνδίκτου ἤτοι τοῦ νέου ἔτους, καὶ μνήμῃ τοῦ ὁσίου πατρὸς ἡμῶν Συμεὼν τοῦ Στυλίτου καὶ τῶν ἁγίων μαρτύρων· στιχηρὰ ἰδιόμελα· ἦχος πλ. αʹ Τῇ παραμονῇ τῶν Χριστουγέννων εἰς τὰς ὥρας· ποίημα κὺρ Σωφρονίου πατριάρχου 136r τῶν Ἱεροσολύμων· ἦχος πλ. δʹ 304r–305v blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ Τριῳδίου ἀρχομένου ἀπὸ τὴν Κυριακὴ τοῦ Τελώνου καὶ τοῦ 306r Φαρισαίου· κὺρ Γερμανοῦ Ἀρχιερέως· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ Πεντηκοσταρίου καλλωπισθὲν παρὰ κὺρ Γερμανοῦ Ἀρχιερέως· 421v τῇ Κυριακῇ τοῦ Θωμᾶ· ἦχος αʹ end of music 463r Ἐτοῦτο βιβλίον ὑπάρχει κἀμοῦ τοῦ ταπεινοῦ Χαραλάμπου ἱερομονάχου ἐκ πόλεως 464v Σεῤῥῶν. Ἐτελειώθη εἰς τοὺς χιλίους ἑπτακοσίους πενῆντα ἕξη. (This book belongs to me, the humble Charalampos, monk from the city of Serres. It was finished in 1756.) Ἐτοῦτο τὸ στηχηράριον ὑπάρχει κἀμοῦ τοῦ ταπεινοῦ καὶ εὐτελοῦς Μανωλάκη Κωνσταντίνου ἐκ πόλεως Σεῤῥῶν. Τὸ ἐπῆρα διὰ ἀσλάνια 30. Τὸ ἄρχισα μετροφωνία εἰς τοὺς χιλίους ἐπτακοσίους ἐξῆντα ἑπτὰ Δεκεμβρίου ἕξ καὶ τὸ ἐτελείωσα εἰς τοὺς χιλίους ἐπτακοσίως ἑξῆντα ὀκτὼ Μαρτίου δύο, καὶ τὸ ἄρχισα μέλος Μαρτίου τρεῖς. (This Sticherarion belongs to me, the humble and lowly Constantine Manolakis from the city of Serres. I purchased it for 30 aslans. I began the Metrophonia in 1767, Dec. 6 and I completed it in 1768, Mar. 2, and I began the melody on Mar. 3.) Further below on the folio: 1770, Μαΐου 6 Θεόκλητος, ἄρχισα να διαβάζω μήτρουφωνοία [i.e. μετροφωνία]. (I, Theokletos, began to read the Metrophonia on 6 May 1770.) Notes This Sticherarion contains melodies composed by Germanos of New Patras. The MS is typical with the Sticherarion for the liturgical year in the first part of the MS, continuing with the Triodion on fol. 306r and the Pentecostarion on fol. 421v. The MS is in good condition and is bound in a newer brown leather binding with an imprint in the centre front. The pages have about 15 lines of text and music and contain rubrics for feasts and modes. There are orthographic mistakes throughout the original MS and the added texts.

390

EBE 2453 (olim 486)

Fol. 464v has inscriptions with various dates but all in the 18th century, suggesting that the MS originated then. The different dates indicate different owners and students of the book, the final one writing in a pronounced northern accent.

EBE 2454 (olim 337)

391

ΕΒΕ 2454 (olim 337) ΠΑΠΑΔΙΚΗ ΑΚΟΛΟΥΘΙΑ/PAPADIKE AKOLOUTHIA Type of paper: chartaceous Measurements: 22.2 × 15.5 cm Folios: 56 Notation: Middle Byzantine Date: ca. mid-14th c. Provenance: Monastery of the Forerunner in Serres (shelfmark 337, written in blue ink, was corrected to 127 in blue ink above the original)

1r 3r 6r 7r 10r 10v 11r 11v 12r 13v 14r 16r 17r 17v 18v 19v 20r 20v 21v 22r 23v

«Ἀλληλούϊα», Ἄμωμος [no rubric] «Δόξα Πατρί» Τοῦ Ἰωάννου τοῦ Κουκουζέλη· ἦχος πλ. βʹ «Καιρὸς τοῦ ποιῆσαι τῷ Κυρίῳ...» Τοῦ Ἰωάννου τοῦ Κουκουζέλη· ἦχος πλ. αʹ «Ἐπίβλεψον ἐπ᾿ ἐμὲ Κύριε...» Ἕτερος Ἄμωμος εἰς μοναχούς· ἦχος πλ. αʹ Τοῦ Πρωτοψάλτου κὺρ Ἰωάννου τοῦ Γλυκέος· ἦχος πλ. αʹ «Ζήσεται ἡ ψυχή μου πάλιν...» Ἕτερος ἄμωμος καλογερικός· ἦχος πλ. αʹ. This monkish Amomos is unusual: instead of two staseis, this version is in three staseis with one musical verse set to music for each stasis. Τέλος τοῦ ἀμώμου· Ἕτερος ἄμωμος ψαλλόμενος εἰς τὴν Ὑπεραγίαν Θεοτόκον καὶ εἰς τὸν τίμιον Πρόδρομον καὶ εἰς ἑτέρους ἁγίους. Ψάλλεται δὲ πολίτικον· ἦχος δʹ Στάσις δευτέρα· ἦχος πλ. αʹ Στάσις τρίτη· εἰς δὲ τὴν Πόλιν λέγεται ταύτη· ἦχος πλ. δʹ. Θεσσαλονικαῖον, another Amomos identified as Thessalonian· ἦχος Νανα. Ἕτερον τῆς Θεοτόκου· ἦχος Νανα Θεοτοκία κατὰ ἀλφάβητον· ποίημα Γερμανοῦ πατριάρχου «Βάτον καιομένην καὶ μὴ φλεγομένη...» (This text does not have musical notation.) Ἕτερα προσόμοια τοῦ Ἠθικοῦ· ἦχος γʹ. Of the abecedarian verses, only the verses beginning with epsilon and zeta have musical neumes. Λειτουργία τοῦ Χρυσοστόμου· ἄρχονται δὲ τὰ τυπικά· ἦχος πλ. δʹ Φήμῃ τῶν αὐτοκρατόρων Ἀνδρονίκου Παλαιολόγου καὶ Ἄννης· ἦχος πλ. δʹ «Πολλὰ τὰ ἔτη τῶν Ἀνδρονίκου...». Κοντάκιον Τοῦ Ἰωάννου τοῦ Γλυκέως· ἦχος βʹ «Δύναμις...» Ἕτερον τοῦ κὺρ Γρηγορίου· ἦχος βʹ Ἕτερον τρισάγιον ψαλλόμενον εἰς τὴν Σταυροπροσκύνησιν καὶ εἰς τὴν ὕψωσιν τοῦ Σταυροῦ· ἦχος πλ. βʹ Ἕτερον ᾀσματικόν· ἦχος πλ. βʹ Προκείμενα ἄμνημα κατ’ ἦχον· ἦχος αʹ «Γένοιτο, Κύριε, τὸ ἔλεός σου...» Ἀλληλουϊάρια τοῦ Μαΐστορος· ἦχος πλ. αʹ Ἀλληλουϊάρια τὰ ἄμνημα κατ’ ἦχον· ἦχος αʹ Ἀρχὴ τῆς ἑβδομάδος τὰ προκείμενα· ἦχος δʹ

392

24v 25r 25v 26r 28r 30r–v 31r 34r 34v 35r 35v 38r 39r 39v 40r 40v 41r 41v 42r 42v 43v 45r

45v 47r 48r 48v 49v

5 0 r

EBE 2454 (olim 337)

Τῷ Σαββάτῳ τοῦ ἁγίου μαρτύρον Ἀλληλουϊάρια τῶν μεγάλων ἑορτῶν συντεθέντων καὶ καλλωπισθέντων παρὰ τοῦ Μαΐστορος κὺρ Ἰωάννου τοῦ Κουκουζέλη· ἀρχόμενα ἀπὸ τὴν Χριστοῦ Γέννησιν ὡς ἄρχονται καὶ ἐν τῷ ψαλτικῷ βιβλίῳ· ἦχος αʹ Εἰς τὴν Ὕψωσιν τοῦ Τιμίου καὶ ζωοποιοῦ Σταυροῦ· ἦχος αʹ Στίχοι τοῦ Ἁγίου Δημητρίου Στίχοι εἰς Χριστοῦ Γέννησιν Εἰς τὴν παραμονὴν τῶν Χριστουγέννων τοῦ Ἠθικοῦ· ἦχος πλ. αʹ. Then follow verses composed by Koukouzeles in Mode Plagal II. Τῇ ἁγίᾳ καὶ Μεγάλῃ Πέμπτῃ τοῦ Ἠθικοῦ· ἦχος πλ. βʹ Εἰς Χριστοῦ Γέννησιν τοῦ Ἠθικοῦ· ἦχος πλ. βʹ. In the same script as the original MS: Ὁ κανστρίσιος Σεῤῥῶν Ἰωάννης διάκονος ὁ Μελανίας [?] Ἀλληλουϊάρια τοῦ Μοναχοῦ Κορνηλίου· ἦχος βʹ Ἕτερον τοῦ Δομεστίκου κὺρ Ἀνδρέου· ἦχος βʹ Ἕτερον τοῦ Κουκουζέλη· ἦχος πλ. αʹ Ἕτερον τοῦ Ἀλεξίου τοῦ Ἀγάλλωνος καὶ ἱερέως· ἦχος πλ. αʹ Ἀρχὴ τὸ χερουβικὸν ᾀσματικὸν Ἕτερα χερουβικά· ἦχος πλ. βʹ Ἕτερον [Alleluiarion] τοῦ Πρωτοψάλτου κὺρ Ἰωάννου τοῦ Γλυκέως· ἦχος πλ. βʹ. In a later script: Τῷ Ἀμβροσίῳ μέλει πληρώσει τῷ Ἀζαρίῳ Ἕτερον χερουβικὸν κοινὸν ἀπὸ χοροῦ· οὕτω ψάλλεται εἰς τὸ παλάτιον· ἦχος πλ. βʹ Ἕτερον χερουβικὸν ψαλλόμενον τῇ ἁγίᾳ καὶ Μεγάλῃ Πέμπτῃ· ποίημα τοῦ Ἠθικοῦ· λέγεται δὲ ἀντὶ κοινωνικόν· ἦχος πλ. βʹ «Τοῦ δείπνου σου τοῦ μυστικοῦ...» Τὸ αὐτὸ μεθ’ ἑτέρου μέλους, ἁπλοῦν· ἦχος πλ. βʹ Χερουβικὸν τῷ ἁγίῳ καὶ μεγάλῳ Σαββάτῳ· τοῦ Ἠθικοῦ· ἦχος πλ. αʹ Ἕτερον κοινόν· ἦχος πλ. αʹ Ἡ Θεία Λειτουργία τοῦ Μεγάλου Βασιλείου· ἦχος βʹ «Ἅγιος Κύριος Σαβαὼθ...» Κοινωνικὰ· τοῦ παλατίου ἄμνημον· ἦχος βʹ Τῇ ἁγίᾳ καὶ Μεγάλη Κυριακῇ τοῦ Πάσχα· τοῦ Πρωτοψάλτου κὺρ Ἰωάννου τοῦ Γλυκέως· ἦχος πλ. βʹ Τοῦ κὺρ Ξένου τοῦ Κορώνη· ἦχος βαρὺς «Εἰς μνημόσυνον...» Τοῦ Μαΐστορος· εἰς διαφόρους ἑορτὰς [no mode] Τέλος τῆς Θείας καὶ ἱερᾶς Λειτουργίας τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Ἰωάννου τοῦ Χρυσοστόμου καὶ τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Βασιλείου τοῦ Μεγάλου. The following inscription identifies the scribe of the MS as Manuel Agallianos: Ὁ γραφεὺς τοῦ τοιούτου Μανουὴλ ὁ Ἀγάλλων Ἡ Θεία Λειτουργία τῶν Προηγιασμένων· ἦχος πλ. βʹ «Κατευθυνθήτω...». Other traditional chants follow. Χερουβικὰ· ἕτερον ᾀσματικόν· ἦχος πλ. βʹ Τοῦ Μαΐστορος κὺρ Ἰωάννου τοῦ Κουκουζέλη· ἦχος πλ. βʹ Κοινωνικά· ἦχος πλ. αʹ. Τοῦ Μαΐστορος κὺρ Ἰωάννου τοῦ Κουκουζέλη Ἕτερον δυσικόν· ἦχος πλ. δʹ Ἕτερον ὁλόγραφον· ἦχος πλ. δʹ Ἀρχὴ τῶν κατανυκτικῶν μετὰ τῶν σταυροθεοτοκίων κατ’ ἦχον· ποιήματα τοῦ Μαΐστορος κὺρ Ἰωάννου τοῦ Κουκουζέλη· ἦχος αʹ «Ὁ ποταμὸς τῶν δωρεῶν, ἁγνή, τῶν ἀκενώτων...»

EBE 2454 (olim 337)

51r 51v 52v 53v 54v 55v 56v

393

Τοῦ αὐτοῦ, τὰ δὲ γράμματα τοῦ Πεδιασίμου κὺρ Νικηφόρου· ἦχος αʹ «Γεννᾷς υἱὸν τὸν γεννητὸν πατρὸς ἐξ ἀγεννήτου...» Τοῦ αὐτοῦ, τὰ δὲ γράμματα τοῦ Μαργαρίτου· ἦχος αʹ «Μὴ πρὸς τὸ πλῆθος τῶν πολλῶν σφαλμάτων μου, Χριστέ μου...» Τοῦ αὐτοῦ, νεκρώσιμον· τὰ δὲ γράμματα τοῦ Σταχίτζη· ἦχος αʹ «Ἁπάσης πλάνης, ἄνθρωπε, σχολάσας τῶν φροντίδων...» Τοῦ αὐτοῦ, τὰ δὲ γράμματα τοῦ Σταχίτζη· ἦχος αʹ «Τί μάτην τρέχεις, ἄνθρωπε, τί τὰ παρόντα βλέπεις...» Τοῦ αὐτοῦ· ἦχος αʹ «Ἰδοὺ γὰρ κτίσις ἅπασα συμπάσχει σοι, ὦ κτίστα...» Τοῦ αὐτοῦ· ἦχος αʹ «Ῥύπου μεστὸς ὢν τὴν ψυχὴν τῷ πλήθει τῶν σφαλμάτων...» Τοῦ αὐτοῦ, [Mode I?] «Οἴμοι ψυχὴ τί ῥᾳθυμεῖς, τί προσδοκᾷς ἀθλία...» end of music and MS

Notes This MS contains only 56 folios of what must have been at one time a very rich and complete musical repertory of liturgical chants from the first half of the 14th century. From the Polychronion on fol. 17r dedicated to Andronicus III of the Palaeologus dynasty and his wife Anne of Savoy, the MS can be chronologically placed between 24 May 1328 and 15 June 1341. The MS is in poor condition owing to severe water damage. With no binding, the loose folios are kept in a cardboard box. Even within the preserved folios there are missing folios at the beginning and end. The original folios were not paginated and have more recently been numbered in pencil. There are about 20 lines of text and music per page. The neumes and text are discoloured and appear in a faded brown ink. The rubrics, modal signatures and hypostaseis are also in a faded red. On fol. 45r is an interesting rubric that identifies the scribe as Manuel Agallon, one and the same as the composer Manuel Agallianos. This MS is the first documentation that the composer was also a scribe. The MS has similarities with the following Serres EBE MSS: 2406, 2411, 2444, 2456 and 2458. It begins with the Amomos Chant (Ps. 118 in the Septuagint version, the longest psalm in the Psalter). This initial Amomos is for laymen in three staseis. The Amomos for Monks in two staseis follows on fol. 10r. Immediately following on fol. 11r there is yet another Amomos for monks, referred to as ‘kalogerikos’, in three staseis, and another Amomos for the Theotokos and John the Forerunner in three staseis. On fol. 13v is found another version of the Amomos identified as the ‘Thessalonian’. Next on fol. 14r there are abecedarian Theotokia. The Liturgy for St John Chrysostom begins on fol. 16r and continues with Prokeimena (fol. 20v); Alleluiara (fols 21v–25r); Stichera for St Dimitrios, the patron saint of Thessalonika (fol. 26r); Stichera for Christmas Day and Eve (fol. 26r); more Alleluiaria (fol. 34r); Cherubic hymns for various feasts and occasions (fol. 35r), including the ‘common’ Cherubic hymn chanted ‘in the palace’ (fol. 39r). The Liturgy for St Basil appears on fol. 41v and features the Communion chant ‘for the palace’ (fol. 42r). This is followed by the Liturgy for the Presanctified Gifts on fol. 45v. From fols 50r to 56v, the MS concludes with Katanyktika, chants that are associated with the Nekrosimon Akolouthia. The MS features most of the important composers of the first half of the 14th century: Ioannes Koukouzeles, Ioannes Glykys, Xenos Korones, Ethikos, Kornelios, Kyr Andreas, Alexios Agallianos, among others.

394

EBE 2454 (olim 337)

Bibliography Conomos, Byzantine Trisagia and Cheroubika. —— The Late Byzantine and Slavonic Communion Cycle. Chatzegiakoumes, Μουσικὰ Χειρόγραφα Τουρκοκρατίας. Guillou, Les Archives de Saint-Jean-Prodrome. Stathis, G., Ἡ δεκαπεντασύλλαβος ὑμνογραφία. —— Τὰ χειρόγραφα Βυζαντινῆς Μουσικῆς. Touliatos, The Byzantine Amomos Chant.

EBE 2456 (olim 487)

395

ΕΒΕ 2456 (olim 487) ΠΑΠΑΔΙΚΗ/PAPADIKE Type of paper: chartaceous Measurements: 22.2 × 14.5 cm Folios: 238 Notation: Middle Round Byzantine Date: mid-14th–15th c. Provenance: Monastery of the Forerunner at Serres

1r 1v 5r

MS begins with chants for Vespers. Ἦχος πλ. δʹ «Δόξα σοι τὸ πνεῦμα τὸ ἅγιος...» Ἦχος πλ. δʹ «Ἄσωμεν τῷ Κυρίῳ ἐν τῇ ζωῇ...» Εἶτα γίνεται συναπτὴ παρὰ τοῦ ἱερέως μεγάλη καὶ μετὰ τὴν ἐκφώνησιν λέγει ὁ δομέστικος τοῦ ἑτέρου ἀπ᾽ ἔξω· ἦχος πλ. δ´ «Μακάριος ἀνήρ, ἀλληλούϊα…» Ἕτερον ψαλλόμενον ἐν τῇ Θεσσαλονίκη· ἦχος πλ. δ´ «Μακάριος ἀνήρ, ἀλληλούϊα…» Ἔπειτα ὅλοι ἀπὸ χοροῦ χαμηλά· ἦχος πλ. δ´ «Μακάριος ἀνήρ, ὅς ούκ ἐπορεύθη ἐν βουλῇ ἀσεβῶν, ἀλληλούϊα…» Ἦχος πλ. δʹ «Μακάριος ἀνήρ...». The above musical settings include the following attributions: Ioannes the Lampadarios, Ioannes Koukouzeles, Domestikos Kontopetris, Protopsaltes Xenos Korones, Chalivoures, Xeros, Panaretos, Domestikos Agallianos and hagiosophitikon (for the Hagia Sophia – probably in Thessalonika). 8r Ἦχος πλ. δʹ· «Ἀλληλουϊάρια» τοῦ τρίτου ψαλμοῦ. (Kalophonic settings of Ps. 3 beginning with the Alleluiaria by Ioannes Glykys.) 26r Τοῦ Κορώνη, καλλοφωνικόν· ἦχος πλ. δʹ «Ἐγὼ ἐκοιμήθη...» Ἕτερον τοῦ Μαΐστρου· ἦχος πλ. δʹ. Other composers/attributions represented are the following: Ioannes the Lampadarios, Chalivoures, Tzaknopoulos, Georgios Kontopetris, Agathon, Theodoros Argyropoulos, Dokeianos, Koukoumas, hagioreitikon (an Athonite hymn), politikon (Constantinopolitan hymn), and Thessalonikaion (Thessalonian hymn) 30v The Kekragarion follow and are listed according to modes. Ἦχος αʹ «Κύριε ἐκέκραξα...» Ἕτερον παλατιανόν. (Another [as chanted] in the palace.) 33v Προκείμενα· ἦχος πλ. βʹ 34v Ἕτερον τοῦ Ἰωάννου Κουκουζέλη 39r Ἕτερα προκείμενα ἀντὶ νὰ λέγωνται μεγάλα ψάλλονται δὲ τῇ ἑβδομάδα τῆς Διακαινησίμου· τοῦτο δὲ τὸ πρῶτον ψάλλεται τῇ Μεγάλῃ Κυριακῇ Ἑσπέρας· τῇ Μεγάλῃ Κυριακῇ τοῦ Ἁγίου Πνεύματος καὶ τῶν Χριστουγέννων ... καὶ τῇ Κυριακῇ τοῦ Θωμᾶ· ἦχος βαρὺς 43r Τέλος τέτευχεν Ἑσπερινὸς ἐνθάδε Ἀρχὴν δὲ λαμπρὰν Ὄρθρος ἤδη λαμβάνει· ἦχος αʹ. The Akolouthia for Orthros is the monastic version. The following composers have contributed to the Orthros settings: Ioannes the Lampadarios, Gregorios, Koukoumas, Plagites, Korones, Ioannes Glykys, Xenos Korones, Maistor Ioannes Koukouzeles, Domestikos Agallianos, Klovas, Ethikos, Christophoros, Georgios Panaretos and Kyr Andreas.

396

43v 45r 46r 47r 48v 58v 65v

74r

86r 90v 95r

101r 103r 108r

111r 113v 115v 118r 119v

EBE 2456 (olim 487)

«Θεὸς Κύριος» κατ’ ἦχον «Ἀλληλούϊα» κατ’ ἦχον. (Substituted for the Theos Kyrios during Lent.) Ἡ σύνθεσις ἄρχεται ἐκ τοῦ στίχου· τοῦ Ἰωάννου λαμπαδαρίου τοῦ Κλαδᾶ «Ἐν μέσῳ σου, Αἴγυπτε…» Τοῦ Γλυκέος «Καὶ τὸ μνημόσυνόν σου…» Καλλοφωνικὰ τοῦ Κορώνη· ἦχος πλ. αʹ Ἀρχὴ τοῦ δευτέρου ψαλμοῦ· ἦχος βʹ «Ἐξομολογεῖσθε τῷ Κύριῳ..» Πολυέλεος ψαλλόμενος ἐν τῇ Θεσσαλονίκῃ· ποιηθεὶς παρὰ τοῦ Κουκουμᾶ καὶ Μαΐστορος· ἦχος αʹ. Other contributors who are acknowledged are Manuel Plagites, Gregorios the Domestikos, Kornelios the Monk, Christophoros Mystakonos and the Sinai Monk. Ἀρχὴ τοῦ δευτέρου ψαλμοῦ ποιηθέντος παρὰ τοῦ αὐτοῦ Κουκουμᾶ καὶ Μαΐστορος κατ’ ἦχον. Ἀρχαὶ δὲ καὶ τὸν αὐτὸν ψαλμὸν ὁ δεξιὸς χορός· ἦχος αʹ. (This indicates the beginning of the second psalm of the Polyeleos with settings by Koukoumas and the Maistor ordered according to modes. Moreover, the rubric continues with a performance practice directive that this portion is to be initiated by the Right Choir. This infers that there was antiphonal chanting between the Right and Left Choirs.) Ἀντίφωνα ψαλλόμενα εἰς τὰς ἑορτὰς τῆς ὑπεραγίας Θεοτόκου, εἰς ὁσίους καὶ εἰς λιτανείας· ἦχος αʹ. Ἀντίφωνον· ἦχος γ´· ψάλλεται δὲ τὸ μέλος τοῦτο καὶ εἰς ὁσίους καὶ εἰς λιτανείας «Ἐπὶ τῶν ποταμῶν Βαβυλῶνος, ἀλληλούϊα…» Ἑτέρα ἀρχὴ τοῦ Γλυκέως «Ἐπὶ τῶν ποταμῶν Βαβυλῶνος, ἀλληλούϊα…» Παλαιόν «Ἐν τῷ μνησθῆναι ἡμᾶς τὴν Σιών, ἀλληλούϊα…» Ἀντίφωνα ψαλλόμενα εἰς ἱεράρχας, εἰς μαρτύρας εἰς ὁσίους ποιηθὲν παρὰ διαφόρων ποιητῶν παλαιῶν· ἦχος δʹ. Settings follow by Kyr Gregorios the Domestikos, Ioannes Vatatzes, Kyr Andreas the Domestikos, Xenos Korones, Maistor, Ioannes Glykys, Agallianos the Domestikos, Xenophonos, Dokeianos, Ioannes the Lampadarios Kladas, Thebaios, Domestikos Theophylaktos Argyropoulos, Agathon, Kontopetris, Ethikos and Aneotes. Ἀντίφωνον, ψάλλεται τῇ ὀγδόῃ τοῦ Νοεμβρίου εἰς τὴν Σύναξιν τῶν Ἀσωμάτων, μέλος τοῦ Ἠθικοῦ· ἦχος πλ. βʹ «Αἰνεῖτε τὸν Κύριον τῶν οὐρανῶν...» Ἀντίφωνα ψαλλόμενα εἰς τὴν Μεταμορφώσεως· ἦχος βαρὺς Ἄμωμος ψαλλόμενος εἰς τὴν Θεόσωμον τάφον τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ· εἰς τὴν Κοίμησιν τῆς Πανυπεραγίας αὐτοῦ Μητρὸς· εἰς τὴν ἀποτομὴν τοῦ Τιμίου Προδρόμου· εἰς τοὺς ἀποστόλους, εἰς ἱεράρχας, εἰς μάρτυρας καὶ εἰς ὁσίους ψάλλεται δὲ ἀντὶ τοῦ πολυελέου. ὁ δομέστικος ἀπέξω. Ἄλλαγμα τοῦ Ἠθικοῦ. (This section is only text without musical neumes.) Ἕτερα τροπάρια κατ’ ἀλφάβητον τῆς Θεοτόκου, ποιήματα τοῦ πατριάρχου κὺρ Γερμανοῦ «Ἄρχοντες κατεδίωξάν με δωρεὰν...» (No mode is indicated, since this is again text without neumes.) Ἕτερα Θεοτοκία τοῦ Ξανθοπούλου· τὸ δὲ μέλος τοῦ Ἠθικοῦ Μετὰ δὲ τὸ τέλος τοῦ ἀμώμου ἡ τοῦ πολυελέου γίνεται ἀνάγνωσμα τῷ μηνὶ αὐτῷ. οἱ ἀναβαθμοὶ τοῦ ἤχου εἰς στῇ Κυρακῇ καὶ τὰ ἀναστάσιμα προκείμενα κατ’ ἦχον Μετὰ τὸ τέλος τοῦ πολυελέου καὶ τά ἀντίφωνα ἤτοι ὁ ἄμωμος· ἀντὶ τοῦ πολυελέου γὰρ ψάλλεται ὁ ἄμωμος· ψάλλομεν τὸ αʹ ἀντίφωνα τοῦ τετάρτου ἤχου ... καὶ μετὰ τοῦτο λέγομεν προκείμενον τῆς ἑορτῆς· προοῒμιον εἰς μάρτυρας ἢ εἰς ὁσίους, μέλος πρὸς ἐν «Πάσῃ γενεᾷ», ἐκαλλωπίσθη δὲ παρὰ τοῦ Μαΐστορος· ἦχος βʹ

EBE 2456 (olim 487)

119v 120v 123r 124r 125r

127r 129r 129v 140r 140v 143v 145r 145v 148r 150r 173r 175r 183v 188r 190v 192v 195r 196v 198r 200r

397

Amomos verses «Πᾶσα πνοὴ» καὶ «Αἰνεῖτε»· ἦχος πλ. βʹ. Then follow kalophonic settings by the Maistor and Ioannes Koukouzeles. Στίχοι καλλοφωνικοί· ἦχος πλ. βʹ «Τὸ ὄνομά μου...» Στίχοι δὲ τῶν Χριστουγέννων καὶ τῶν Φωτῶν· ἦχος βʹ Τῇ δὲ ἁγίᾳ καὶ μεγάλῃ Τεσσαρακοστῇ γίνεται ἡ στιχολογία οὑτως· ἄρχεται ὁ δομέστικος, «Τῷ Κυρίῳ ᾄσωμεν» εἰς τὸν ἐνεστῶτα ἦχον καὶ ψάλλονται οἱ στίχοι παρ᾽ ἀμφοτέρων τῶν χορῶν ἕως τὸ, «Ἐπάγη ὡσεὶ τεῖχος»· καὶ ἐξ αὐτοῦ ἄρχονται τοὺς κανόνας· ἦχος α´, ὁ δομέστικος «Τῷ Κυρίῳ ᾄσωμεν ἐνδόξως γὰρ δεδόξασται…» Ὅλοι ἀπὸ χοροῦ ἔσω «Ἄσωμεν τῷ Κυρίῳ…» Παλαιόν· ἐκαλλοπίσθη δὲ παρὰ τοῦ Κορώνη Κατ’ ἦχον «Αἰνοῦμεν εὐλογοῦμεν...» Μεγαλυνάρια τῶν μεγάλων ἑορτῶν εἰς Χριστοῦ Γέννησιν· ἦχος αʹ «Μεγάλυνον, ψυχή, τὴν τιμιωτέραν...». Composers with attributions include Ioannes Koukouzeles, Glykys and Korones. Κατ’ ἦχον «Ἅγιος Κύριος...». The Exaposteilaria follow. Τὸ, «Πᾶσα πνοὴ» καὶ τὸ, «Αἰνεῖτε» κατ’ ἦχον Ἦχος αʹ «Δόξα Πατρί...». Verses for the Great Lenten period follow. Τρισάγια ψαλλόμενα εἰς τὴν Μεγάλην Δοξολογίαν· ἦχος βʹ Ἕτερον ψαλλόμενον εἰς τὸν ἐπιτάφιον τοῦ πατριάρχου· τοῦ κὺρ Ἰωάννου Γλυκέως, ἀπὸ τὸ, «Ἅγιος ἀθάνατος». This continues with other verses set by Maistor Koukouzeles, Korones, and others. Ἦχος πλ. βʹ «Ἐξομολογήσομαί σοι Κύριε...» Ἄμωμος ψαλλόμενος εἰς κοιμηθέντας κοσμικούς· ἦχος βʹ. Among the attributions are the following: Phardivoukes, Manougras, Ioannes the Lampadarios, Korones, Glykys, Keladinos, palaion [old], Ethikos, Kyr Papamanuel, Thebaios and Klovas. Οἶκος ψαλλόμενος εἰς κοιμηθέντας κοσμικούς τε καὶ μοναχοὺς· τοῦ Πρωτοψάλτου κὺρ Ξένου τοῦ Κορώνη· ἦχος πλ. δʹ «Αὐτὸς μόνος ὑπάρχεις...» Ἄμωμος ψαλλόμενος εἰς κοιμηθέντας μοναχούς· ἦχος πλ. βʹ Ἀρχὴ τῆς Θείας Λειτουργίας τοῦ Ἰωάννου Χρυσοστόμου· ἦχος πλ. δʹ. The Akolouthia of the Liturgy follows according to the Typika: «Δύμανις...» by Glykys; «Ὅσοι εἰς Χριστὸν ἐβαπτίσθητε...» by Ioannes Kladas the Lampadarios; and a setting by Korones. «Ἀλληλουϊάρια...». Settings for the Alleluiaria are represented by these composers: Kyr Andreas, Domestikos Agallianos, the Lampadarios Ioannes Kladas, Korones, the Maistor and Christophoros. Ἀλληλουϊάρια ἀναστάσιμα· κατ’ ἦχον Ἀρχὴ τῶν χερουβικῶν τοῦ Μανουὴλ τοῦ Ἀγαλλιανοῦ· ἦχος βʹ. Ἕτερον τοῦ Κορώνη Τοῦ ἁγίου Ἰωάννου Δαμασκηνοῦ, λέγεται δὲ καὶ παλατιανὸν Ἕτερον χερουβικὸν· ψαλλόμενον ἀπὸ χοροῦ ᾀσματικόν μέχρι «Καὶ τῇ ζωοποιῷ» τὸ δὲ ἕτερον ψάλλεται μονοφωνάρικον. Ὁ δομέστικος μετὰ τῶν σὺν αὐτῷ· ἦχος β´ «Νεανες… Οἱ τὰ Χερουβὶμ μυστικῶς…» Ὁ δομέστικος ἀπὸ χοροῦ τοῦ Γλυκέως· ἦχος βʹ «Οτοτο… εἰκονίζοντες…» Εἶτα ἄρχεται ὁ μονοφωνάρης τοῦ Ἀνανεώτου· ἐκαλλωπίσθη δὲ καὶ παρὰ τοῦ Κορώνη· ἦχος πλ. β´ «Καὶ τῇ ζωοποιῷ Τριάδι … ἀλληλούϊα, ἀλληλούϊα, ἀλληλούϊα…» Ἀνεώτου ἐκαλλωπίσθη δὲ καὶ παρὰ τοῦ Γλυκέως καὶ παρὰ τοῦ Κορώνη Ἡ Θεία Λειτουργία τοῦ Μέγα Βασιλείου

398

EBE 2456 (olim 487)

201r

Κοινωνικὰ κατ’ ἦχον. Names of composers include Ioannes the Lampadarios, Domestikos Argyropoulos, Korones the Monk, the Maistor, Georgios Panaretos, Dokeianos, Ethikos, Agathon the Korones monk and Domestikos kyr Theophylaktos Argyropoulos. 206v Τοῦ Κορώνη «Αἰνεῖτε τὸν Κύριον...» 210r More Communion chants follow with these attributions: Πρωτοψάλτου Ξένου τοῦ Κορώνη εἰς τὴν Ἀνάληψιν, Ἀγαλλιανοῦ and κὺρ Ἀνδρέου. 213r Ἡ Θεία Λειτουργία τῶν Προηγιασμένων· ἦχος βʹ. 214v The Cherubic and Communion hymns continue with the following composers acknowledged: the Maistor, Logginos the Monk, Korones, Ioannes the the Lampadarios and Nikephoros Ethikos. 218r Χερουβικὸν ψάλλεται τῇ ἁγίᾳ καὶ μεγάλῃ εʹ· παρὰ Νικηφόρος τοῦ Ἠθικοῦ 219r Ἦχος πλ. αʹ· Χερουβικὸν 220v Τοῦ ἐκκλησιάρχου τῶν Στουδίου Δωροθέου ἱερομονάχου 222r Εἱρμοὶ ψαλλόμενοι ἐν τῇ μνήμῃ τοῦ ἁγίου μεγαλομάρτυρος Δημητρίου· μελισθέντες παρὰ τοῦ πρωτοψάλτου Θεσσαλονίκης κὺρ Μανουὴλ τοῦ Πλαγίτου· ἦχος βʹ 228r Ἀπὸ τῶν ὠδῶν· ποίημα τοῦ Ἀνδρειωμένου Ἑτέρα τοῦ κὺρ Χριστοφόρου τοῦ Μυστάκωνος καὶ τοῦ Πλαγίτου 231r Ἐκ τῶν ἀντιφώνων παλαιῶν· τοῦ Δημητρίου τοῦ Δοκειανοῦ 233r Περισσὴ ψαλλομένη ἀπὸ χοροῦ μετὰ τὸ τέλος πάσης ἀκολουθίας· ποίημα τοῦ Καμπάνη· ἦχος πλ. δʹ καὶ ἦχος αʹ 235r Ψάλλομεν εἰς τὰς παρακλήσεις τῆς Θεοτόκου· τοῦ Ἰωάννου λαμπαδαρίου· ἦχος αʹ Ἕτερον τοῦ Κορώνη 238v end of music and MS Notes This Papadike is dated in the late 14th or early 15th century and originates from Serres in northern Greece. The binding is a brownish-black leather on wood that is in poor condition. The interior wooden portion has inscriptions that are difficult to read. The front interior has later writing referring to an exorcism: Ἀρχή ... τοῦ Θεοῦ, σὺ Μηχαὴλ ὁ λαβῶν ... Θεοῦ λύτρωσαι τὸν δοῦλον τοῦ Θεοῦ ὁ δεῖνα ἐκ τοῦ ῥήγου καὶ πυρετοῦ... The rear wooden interior has the name of Gerasimos Krasas (Γεράσιμος Κρασᾶς). The overall condition of the MS is fair to good but with some water damage. Folios are missing at the beginning and end. (Presumably, this MS would have begun with the Psaltike Techne, but this portion is no longer present.) There are 15 lines of text and music per page. The rubrics, modal signatures and hypostaseis have faded to an orange colour. The text and neumes are in a light black colour. The incipit letter for each verse tends to be capitalized. Most modes, composers’ names and some hypostaseis have been indicated. The Deuteros and Tetartos modal signatures predominate and this preference is in keeping with 14th-century MSS. The MS is important for its representation of many of the significant late 14th-century composers. Some attributions identify chants associated with the Hagia Sophia, probably in Thessalonika, or even as παλατιανὸν (fols 30v, 195r), from the Imperial palace. Some rubrics are important for their directives on Thessalonian performance practice, indicating when each of the two choirs sings as well as the role of the celebrant. The MS begins with the Vespers (fol. 1r) and continues with Orthros (fol. 43r). It includes various categories of the Amomos:

EBE 2456 (olim 487)

fol. 108r fol. 119v fol. 150r fol. 175r

399

Amomos for the Theotokos, Jesus Christ, the Forerunner, apostles, martyrs and saints selected verses of the Amomos Amomos for Laymen Amomos for Monks

Next, the liturgies follow: fol. 183v Liturgy for St John Chrysostom fol. 200r Liturgy for St Basil fol. 213r Liturgy of the Presanctified Gifts Of interest are the Heirmoi chants in memory of St Dimitrios, the patron saint of Thessalonika, on fol. 222r and the supplication chants for prayers to the Theotokos on fol. 235r. This MS is similar in content to EBE MSS 2406, 2411, 2454 and 2458. Bibliography Breslich-Erickson, ‘The Communion Hymn’. Chaldaiakis, Ὁ Πολυέλεος. Conomos, The Late Byzantine and Slavonic Communion Cycle. Morgan, ‘The Musical Setting of Psalm 134’. Patrinelis, ‘Protopsaltae’. Touliatos, The Byzantine Amomos Chant.

400

EBE 2458 (olim 490)

ΕΒΕ 2458 (olim 490) ΠΑΠΑΔΙΚΗ/ PAPADIKE Type of paper: chartaceous Measurements: 22.2 × 14.1 cm Folios: 232 Notation: Middle Round Byzantine Date: 1336 Provenance: Monastery of the Forerunner in Serres

1r

Ἀλληλουϊάρια· ἦχος α´· ποίημα τοῦ λαμπαδαρίου τοῦ Κουκουμᾶ «Πάντα ὅσα ἠθέλησεν ὁ Κύριος…» Τοῦ αὐτοῦ [Κουκουμᾶ] «Ἐν τῷ οὐρανῷ…» Τοῦ αὐτοῦ «Ἐν ταῖς θαλάσσαις…» (verses from Ps. 134 follow) 1v Ἄλλον τοῦ αὐτοῦ [Κουκουμᾶ] «Ἀστραπὰς εἰς ὑετὸν ἐποίησεν…» Τοῦ Ξένου τοῦ Κορώνη· ἦχος αʹ «Ἀλληλουϊάρια…» 2r «Ἐν μέσῳ σου, Αἴγυπτε…» (Ps. 134) 2v Τοῦ αὐτοῦ [Κουκουμᾶ] «Καὶ ἐπὶ τοῖς δούλοις αὐτοῦ…» 3r Σημάδια ψαλλόμενα κατ’ ἦχον· ποίημα τοῦ Μαΐστορος κὺρ Ἰωάννου τοῦ Κουκουζέλη. This is the beginning of the Psaltike Techne with the neumes sung according to modes, with a melody and text attributed to Koukouzeles. 4v Parallage: modulations for each mode 5v Τροχὸς τῶν ἤχων τοῦ Κουκουζέλη. (Circle of modes with modal signatures attributed to Koukouzeles.) 6r Ἠχήματα, κατ’ ἦχον. (Intonation formulae according to modes.) 6v Πρόλογοι εἰς ἐπισήμους ἑορτὰς· ποίημα τοῦ Μαΐστορος· ἦχος βʹ Τὸ, «Δόξα» καλοφωνικὸν· κατ’ ἦχον τοῦ Μαΐστορος 8r 9v Kratemata by the Maistor Koukouzeles 11r Ἀκολουθίαι συντεθειμέναι παρὰ τοῦ Μαΐστορος κὺρ Ἰωάννου τοῦ Κουκουζέλη· ἀπ’ ἀρχῆς τοῦ Μεγάλου Ἑσπερινοῦ μέχρι καὶ τῆς συμπληρώσεως τῆς Θείας Λειτουργίας. [«Ἀνοιξαντάρια», «Μακάριος ἀνὴρ»]. (The Akolouthia of Great Vespers by Ioannes Koukouzeles including the Anoixantaria, Makarios Anir [Ps. 1], etc.) The service continues with various attributions for the verses: Koukouzeles, Georgios Panaretos, Korones, a hagiosophitikon [hymn for Hagia Sophia], Tzaknopoulos, Georgios Kontopetris, palaion [old], and Xerοs. 22v Ἀπὸ τὸν Μεγάλον Ἑσπερινὸν· στίχοι καλοφωνικοὶ ἐκ τοῦ βʹ ψαλμοῦ. «Ἵνα τὶ ἐφρύαξαν...» Ποίημα τοῦ Μαΐστρου κὺρ Ἰωάννου [τοῦ Κουκουζέλη]. After Koukouzeles’ settings for Ps. 2, other verses follow as composed by Tzaknopoulos. 36r Τὸ, «Κ[ύρι]ε ἐκέκραξα» κατ’ ἦχον. Kekragaria according to modes. 37v Τὰ λυχνικὰ μετὰ τῶν Δοχῶν· Δοχαὶ μετ’ ἐπιφωνημάτων 41r Θετταλικὸν 41v Τοῦτο ψάλλεται μετ’ ἐπιφωνημάτων· ποίημα τοῦ Μαΐστορος 42v Echemata by Ioannes Koukouzeles 46r Τέλος τέτευχεν Ἑσπερινὸς ἐνθάδε· ἀρχὴν δὲ λαμπρὰν Ὄρθρος ἤδη λαμβάνει. (End of Vespers and beginning of Orthros.)

EBE 2458 (olim 490)

46v 49r

401

Τὸ, «Θεὸς Κύριος» κατ’ ἦχον Τὸ,«Ἀλληλούϊα» κατ’ ἦχον ἀκολουθούμενον ἀπὸ ἄλλα ᾄσματα· ἄλλον κατ’ ἦχον. (Alleluia according to modes followed by other chants.) 49v (Prokeimena) Προκείμενον τῆς Θεοτόκου· ἦχος πλ. β´ «Μνησθήσομαι τοῦ ὀνόματός σου…» ἦχος δ´ «Ἄκουσον θύγατερ καὶ ἴδε…» Καὶ πάλιν «Μνησθήσομαι τοῦ ὀνόματός…» Ὁ λαός· ἦχος β´ «Ἐν πάσῃ γενεᾷ καὶ γενεᾷ…» Ὁ μονοφωνάρης· ἦχος β´ «Ἐν πάσῃ γενεᾷ καὶ γενεᾷ…» 51r Pasapnoaria Τὰ μεγαλυνάρια τῶν μεγάλων ἑορτῶν 54r 55r Mεγαλυνάρια καλοφωνικῶν τοῦ Κουκουζέλη εἰς Χριστοῦ Γέννησιν· ἦχος αʹ. (Kalophonic Megalynaria by Koukouzeles for Christmas.) This continues with a setting by Ioannes Glykys. 57v «Τιμιωτέραι...». Various attributions are indicated for this Megalynarion: ἡ λεγομένη ἁγιορείτικος, Ἰωάννου Πρωτοψάλτου, Γεωργίου Παναρέτου, συναπτική, Ἰκονιάτου, τοῦ Μαΐστορος, καλοφωνικὸν Κουκουζέλη, λαμπαδάριος Ξένου τοῦ Κορώνη. 62v «Ἅγιος Κύριος» κατ’ ἦχον 63r Τὸ, «Πᾶσα πνοὴ» μετὰ τὸ, «Αἰνεῖτε τὸν Κύριον»· κατ’ ἦχον 65r Τὸ, «Δόξα» κατ’ ἦχον, μετὰ τῆς ἁγίας Τεσσαρακοστῆς Ἕτερον τοῦ Μαΐστορος 67r 68r Τοῦ αὐτοῦ μετὰ ἐπιφωνημάτων 69v Ἕτερον ἠχημάτον τοῦ Μαΐστορος· ἦχος γʹ 71v Ἔσχηκεν Ὄρθρος καὶ τελευτὴν ἐνθάδε· Ἤρχθη δὲ καινῆς ἑβδομάδος προκείμενα· ἦχος βαρὺς 73v Προκείμενα ἀναστάσιμα· κατ’ ἦχον 74v Ἕτερον τοῦ Ἀλεξίου ἱερέως τοῦ Ἀγαλλιανός 75r Πολυέλεος ψαλλόμενος ἐν Κωνσταντινουπόλει καὶ ἔν ὅλῳ τῷ κόσμῳ· ποίημα διαφόρων ποιητῶν, παλαιῶν τὲ καὶ νέων· ἦχος αʹ. The following are some attributions for the Polyeleos ‘chanted in Constantinople and in all the world’ (‘in urbe et orbe’): Maistor Ioannes Koukouzeles, Dokeianos, Christophoros, palaion [old], Gregorios, Korones and Georgios Panaretos. Ἄλλον τοῦ Μαΐστορος «Ἰσραήλ εἰς περιουσιασμόν…» 75v Τοῦ αὐτοῦ «Ὅτι ἐγὼ ἔγνωκα…» Τοῦ αὐτοῦ «Καὶ ὁ Κύριος ἡμῶν…» Δοκειανοῦ «Πάντα ὅσα ἠθέλησεν…» 76r Τοῦ Κουκουζέλη «Ἐν τῷ οὐρανῷ…» Τοῦ Χριστοφόρου «Ἀνάγων νεφέλας…» Τοῦ Λατρινοῦ «Ἀστραπὰς εἰς ὑετόν…» 76v Γρηγορίου «Ὁ ἐξάγων ἀνέμους…» Γεωργίου Παναρέτου «Ὅς ἐπάταξε τὰ πρωτότοκα…» Γρηγορίου «Ἀπὸ ἀνθρώπου ἕως κτήνους…» 77r Τοῦ Μαΐστορος «Ἐξαπέστειλε σημεῖα καὶ τέρατα…» Τοῦ Χριστοφόρου «Ἐν Φαραώ…» 77v Τοῦ Χριστοφόρου «Καὶ ἀπέκτεινε βασιλεῖς…» Τοῦ Χριστοφόρου «Καὶ τὸν Ὤγ βασιλέα…» Τοῦ Λατρινοῦ «Καὶ τὸν Ὤγ βασιλέα…» Τοῦ Λατρινοῦ «Τὸν Σηὼν βασιλέα…» 78r Τοῦ αὐτοῦ «Καὶ ἔδωκε τὴν γῆν αὐτῶν…» Τοῦ Μαΐστορος «Κληρονομίαν Ἰσραὴλ…» Τοῦ αὐτοῦ «Κύριε, τὸ ὄνομά σου…» 78v Τοῦ Χριστοφόρου «Ὅτι κρινεῖ Κύριος…» Ἄλλαγμα παλαιόν «Καὶ ἐπὶ τοῖς δούλοις αὐτοῦ…» «Ἄσατε, ψάλατε συνετῶς…» 79r Τοῦ Κορώνη «Ὀφθαλμοὺς ἔχουσι…» Παλαιόν «Ὦτα ἔχουσι … Αἰνεῖτε, ὑμνεῖτε, δοξολογεῖτε…» Τοῦ Κορώνη «Οὐδὲ γάρ ἐστι πνεῦμα…»

402

79v 80r 80v 81r 84v 86r

86v 87r 87v 88r 88v 89r 90r 90v 91r 92v 93v 94r 94r-v 94v 95r 95v 96r 98r 98v

EBE 2458 (olim 490)

Τοῦ Λατρινοῦ «Ὦτα ἔχουσι…» Παλαιόν «Ὅμοιοι αὐτοῖς γένοιντο… Αἰνεῖτε, ὑμνεῖτε, δοξολογεῖτε…» Ἄλλαγμα παλαιόν «Οἷκος Ἰσραήλ … Ὑμνοῦμέν σε, εὐλογοῦμέν σε. Βασιλεῦ ἅγιε…» «Οἷκος Λευΐ… Ὑμνεῖτε καὶ δοξολογεῖτε…» «Δόξα πατρὶ καὶ υἱῷ…» Ἕτερον τοῦ Λατρινοῦ «Οἷκος Λευΐ…» Τοῦ Λατρινοῦ «Εὐλογητὸς Κύριος ἐκ Σιών…»  Ἕτερον· πολυέλεος λεγόμενος λατρινός· ἦχος βʹ. Composers who have contributed to the ‘latrinos’ settings of the Polyeleos are Koukouzeles, Georgios Panaretos and kyr Andreas. Ψαλμὸς ἄλλος [Psalm 136], τοῦ Κορώνη· ἦχος γʹ «Ἐπὶ τῶν ποταμῶν Βαβυλῶνος...». Besides Korones, the following composers have settings for this psalm: Gregorios the Domestikos, the Protopsaltes and Christophoros. Ἕτερος πολυέλεος ψαλλόμενος ἐν τῇ Θεσσαλονίκῃ· ἦχος αʹ «Δοῦλοι Κύριον…» «Αἰνεῖτε τὸν Κύριον…» (‘Another Polyeleos chanted in Thessalonika, Mode I’.) Contributors include Kornelios the monk, Papa Manuel Plagites, Glykys, Maistor Koukouzeles and the Domestikos kyr Christophoros Mystakonos. Ἄλλαγμα «Ὅτι τὸν Ἰακὼβ…» Ἄλλαγμα «Ὅτι ἐγὼ ἔγνωκα…» «Παρὰ πάντας τοὺς Θεούς…» Ἄλλαγμα «Πάντα ὅσα ἠθέλησεν ὁ Κύριος…» Τοῦ Κουκουμᾶ «Ἀστραπὰς εἰς ὑετὸν ἐποίησεν…» «Ὅς ἐπάταξε τὰ πρωτότοκα Αἰγύπτου…» «Ἐξαπέστειλε σημεῖα καὶ τέρατα…» Τοῦ Κουκουμᾶ «Τὸν Σηὼν βασιλέα…» Ἄλλαγμα «Ὅς ἐπάταξεν ἔθνη πολλά…» Ἄλλαγμα «Τὸν Σηὼν βασιλέα…» «Τῶν Ἀμοῤῥαίων…» Ἄλλον τοῦ Κουκουμᾶ «Καὶ πάσας τὰς βασιλείας Χαναάν…» «Κληρονομίαν Ἰσραήλ…» «Ὅτι κρινεῖ Κύριος…» Ἄλλαγμα «Στόμα ἔχουσι…» Ἅλλον Κορνηλίου μοναχοῦ «Στόμα ἔχουσι…» Τοῦ παπᾶ Μανουὴλ τοῦ Πλαγίτου «Ὀφθαλμοὺς ἔχουσι…» Τοῦ Κουκουμᾶ «Ὦτα ἔχουσι…» «Οὐδὲ γάρ ἐστι πνεῦμα…» Τοῦ Κουκουμᾶ «Οἶκος Ἰσραήλ, εὐλογήσατε τὸν Κύριον…» Τοῦ Κουκουμᾶ «Οἶκος Ἀαρών, εὐλογήσατε τὸν Κύριον…» «Ὅμοιοι αὐτοῖς γένοιντο…» Ἅλλον «Οἶκος Ἀαρών…» Τοῦ Γλυκεώτου «Εὐλογήσατε τὸν Κύριον…» Θεοτοκία «Ἁγνὴ Παρθένε, ἄχραντε κόρη, χαῖρε, ἡ τέξασα τὸν Κύριον καὶ Θεὸν ἡμῶν…» «Δεῦτε, τῇ πανάγνῳ, βοήσωμεν συμφώνως, φωνὴν τὴν τοῦ ἀγγέλου…» Ἕτερον τοῦ Μαΐστορος κυροῦ Ἰωάννου τοῦ Κουκουζέλη «Εὐλογήσατε τὸν Κύριον…» Θεοτοκία· τοῦ αὐτοῦ «Παντάνασσα, πανύμνητε, ἐλπὶς ἀπηλπισμένων…» Τοῦ αὐτοῦ τοῦ Μαΐστορος «Τοὺς ὀρθοδόξους ἄνακτας…» Εἰς τοὺς ἀρχαγγέλους ἤ εἰς τὴν Σύναξιν τῶν Ἀσωμάτων· τοῦ Μαΐστορος «Ἄγγελοι ὑμνήσατε καὶ ἄνθρωποι δοξάστε, τὸ φοβερὸν καὶ ἅγιον ὄνομα τοῦ Θεοῦ…» Τοῦ Χριστοφόρου τοῦ Μυστάκωνος «Εὐλογήσατε τὸν Κύριον…» Τοῦ παπᾶ Μανουήλ· δίχορον «Δόξα πατρὶ καὶ υἱῷ καὶ ἁγίῳ πνεύματι…» Ἄλλον παλαιὸν δίχορον· ἦχος πλ. δ´, Νανα «Τῶν αἰώνων, ἀμήν…» Ὅλοι ἀπὸ χοροῦ· ἦχος α´ «Ἀλληλούϊα…» Ἕτερον πολυέλεος λεγόμενος τετράστιχος· ψάλλεται δὲ κατ’ ἦχον. (‘Another Polyeleos, the so-called four-verse, chanted according to modes’.) Ἕτερον· πολυέλεον ὃν ψάλλουν οἱ μοναχοὶ συναπτικόν· ἦχος πλ. βʹ Τοῦ Μαΐστορος

EBE 2458 (olim 490)

99r 99v 100r

403

Ἕτερον· ψαλμὸς καὶ αὐτὸς καλογερικὸς Τοῦ Μαΐστορος. Ψαλμὸς ἄλλος Ἀπὸ τὸν πολυέλεον στίχοι καλοφωνικοί· ποίημα τοῦ Μαΐστορος κὺρ Ἰωάννου τοῦ Κουκουζέλη· ἦχος αʹ. This kalophonic Polyeleos has additional neumes in red with accompanying text found in the right-hand margin beside this version. This red notation may imply the second voice of a two-part composition. A setting by Korones follows. 107v Ποίημα τοῦ Μαΐστορος· ἦχος πλ. α´ «Δόξα Πατρὶ καὶ υἱῷ καὶ ἁγίω πνεύματι … καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων, τῇ ἁγίᾳ Τριάδι πρέπει δόξα…» 108r Ἕτερον· λεγόμενος Ὀρφανὸς 109r Ἐν τέλει τῆς ἑνότητος τῶν ἐκ τοῦ ρλδ´ψαλμοῦ (Ps. 134) καλοφωνικῶν στίχων. Ἀπὸ τὸν ἕτερον ψαλμὸν στίχος· ποίημα τοῦ αὐτοῦ [Maistor Koukouzeles] 110r Τοῦ αὐτοῦ (Μαΐστορος)· ἦχος β´ «Τὸν ἥλιον εἰς ἐξουσίαν τῆς ἡμέρας…» 111r Ἕτερον τοῦ αὐτοῦ (Ἰωάννου Κουκουζέλη)· ἦχος πλ. β´ «Τῷ καταδιελόντι τἠν Ἐρυθρὰν θάλασσαν…» 112r Ἐν τέλει τῆς ἑνότητος τῶν ἐκ τοῦ ρλε´ (Ps. 135) ψαλμοῦ καλοφωνικῶν στῖχων. 113v Ἀντίφωνα ψαλλόμενα εἰς τὴν Ὑπεραγίαν Θεοτόκον· τοῦ Κουκουζέλη· ἦχος αʹ 115v Τοῦ Μαΐστρου· ἦχος αʹ «Ἀντιλαβοῦ τὸ λόγιόν σοῦ...». This antiphon setting by Koukouzeles has both the text and music written in red. 116r Ἕτερα ἀντίφωνα εἰς τὰς ἑορτὰς· ποίημα διαφόρων ποιητῶν · ἦχος δʹ 122v blank Ἕτερα ἀντίφωνα εἰς τοὺς ἀρχιστρατήγους· ἤχους πλ. βʹ. 123r Ἕτερα ψαλλόμενα ἐν τῇ ἁγίᾳ πόλει Θεσσαλονίκῃ· ἀντιφώνων «᾽Εκ τῶν οὐρανῶν … ἀλληλούϊα…» Various composers have contributed to the antiphon settings: Korones, Gregorios, Maistor, Korones the monk, the Lampadarios, kyr Xenos Korones, Georgios Kontopetris, Korones the Ragamuffin (ῥακένδυτος), Domestikos kyr Andreas, Protopsaltes and Christophoros. 123v–125r «Δεῦτε, τῇ πανάγνω, βοήσωμεν συμφώνως, φωνὴν τὴν τοῦ ἀγγέλου…» 125r Ἄμωμος ψαλλόμενος εἰς τοὺς κοιμηθέντας. (Amomos [Ps. 118] chanted for those who sleep). The following are some of the attributions for the melodies: πολίτικον, θετταλικόν, Πρωτοψάλτου κὺρ Ἰωάννου Γλυκέως, Θεσσαλονικαῖον, Ἠθικοῦ, εἰς μοναχοὺς τοῦ Ἠθικοῦ, Κουκουζέλη, μοναχοῦ Ἀχραδίου, Φαρδιβούκη, Γλυκέος κὺρ Γρηγορίου. 135v Οὕτως ψάλλονται ἐν τῇ Κωνσταντινουπόλει· εἰς τοὺς μοναχοὺς 136r Ἕτερον τοῦ Πρωτοψάλτου κὺρ Ἰωάννου 136v Ἕτερον καλογερικὸν Κοντάκιον ψαλλόμενον εἰς τοὺς κοιμηθέντας· ποίημα τοῦ Πρωτοψάλτου κὺρ Ἀνδρέου. 138v Ἄμωμος ψαλλόμενος εἰς τὴν Ὑπεραγίαν Θεοτόκον καὶ εἰς ἑτέρους ἁγίους· ἦχος πλ. αʹ. Ὀ δομέστικος καλοφωνίζει· ἦχος β´ «Τὴν ἀειμακάριστον … τοτοτο…». This Amomos for the most holy Theotokos and the other saints includes the interpolated texts without neumes on fols 140r–142r. 139r Ἕτερον τοῦ ἁγίου [Δημητρίου]. 139v Ἐνταῦθα ἄρχονται τὰ Θεοτοκία τοῦ Γερμανοῦ Πατριάρχου. The abecedarian Theotokia by Germanos include neumes only for the first two verses. With ‘G’ [Γ] and after, there is no music.

404

141v 142r–v 142v 144r



144v 146v 147v 148r 149v 151r 155r 159r 161v 164v 165v 166r 167r 167v 168r 172v 173v 176r 176v 178r–v

EBE 2458 (olim 490)

Ἕτερα τροπάρια· τοῦ Ἠθικοῦ Ἦχος γ´ «Αἱ γενεαὶ πᾶσαι…» Δίχορον· ἦχος γ´ «Αἱ γενεαὶ πᾶσαι…» Οἱ πάντες ἀπὸ χοροῦ· ἦχος γ´ «Μακαρίζομέν σε, πᾶσαι αἱ γενεαὶ…» Ἀρχὴ τῆς Θείας καὶ ἱερᾶς λειτουργίας· ἄρχονται δὲ τὰ τυπικά· ἦχος πλ. δʹ Πληρουμένου τοῦ ἀπολυτικίου ἄρχεται ὁ διάκονος τὴν εὐφημίαν καὶ ἀπολογοῦνται οἱ ἐκτός· ἦχος δ «Πολλὰ τὰ ἔτη τῶν βασιλέων Ἀνδρονίκου τοῦ εὐσεβεστάτου βασιλέως καὶ αὐτοκράτορος Ῥωμαίων τοῦ Παλαιολόγου καὶ Ἄννης τῆς εὐσεβεστάτης Αὐγούστης, πολλὰ τὰ ἔτη». Ἦχος δ´ «Ἰωάννου τοῦ εὐσεβεστάτου βασιλέως τοῦ Παλαιολόγου «Πολλὰ τὰ ἔτη … πολλὰ τὰ ἔτη...». Καὶ λέγει ὁ δομέστικος ἀπ᾽ ἔξω· ἦχος Νανα «Κύριε, σῶσον τοὺς βασιλεῖς…» Καὶ ἀπολογεῖται ἕτερος· ἦχος πλ. δ´ «Καὶ ἐπάκουσον ἡμῶν…» (After the Apolytikion, the deacon begins with this Euphemion and those without respond....) What follows is a Polychronion greeting Emperor Andronikos III the Palaeologos (1328–41), his wife Anne of Savoy, and their son Ioannes V with wishes for a long life. Τρισάγια τοῦ Μαΐστορος Ἕτερον τοῦ Πρωτοψάλτου κὺρ Ἰωάννου τοῦ Γλυκύ Προκείμενα· κατ’ ἦχον Ἀλληλουϊάρια· τοῦ Μαΐστορος Ἕτερον τοῦ Χριστοφόρου Ἀλληλουϊάρια· κατ’ ἦχον Ἀρχὴ τῆς ἑβδομάδος, τὰ προκείμενα· ἦχος δʹ Ἀλληλουϊάρια τῶν μεγάλων ἑορτῶν, συντεθέντα καὶ καλλωπισθέντα παρὰ τοῦ Κουκουζέλη. Ἀρχόμεθα ἀπὸ τὴν Χριστοῦ Γέννησιν...· ἦχος αʹ Ἕτερον τοῦ Ἠθικοῦ Ἕτερον τοῦ Ἀνδρέου Ἀρχὴ τοῦ πλαγίου τετάρτου· «Τὸ γὰρ ἀγαθόν…» ἦχον πλ. δʹ Τὸ χερουβικὸν ᾀσματικὸν ἀπὸ χοροῦ· ἦχος βʹ Ἕτερον, ἀπὸ χοροῦ· τοῦ Πρωτοψάλτου κὺρ Ἰωάννου (τοῦ Γλυκεώς)· ἦχος πλ. β´ «Οἱ τὰ Χερουβὶμ…» Οὔτως Χερουβικὸν· ψάλλεται εἰς τὸ παλάτιν Ἕτερον Χερουβικὸν καὶ Κοινωνικὸν τῆς μεγάλης Πέμπτης· τοῦ Ἠθικοῦ· ἦχος πλ. βʹ Ἕτερον τοῦ μεγάλου Σαββάτου· τοῦ Ἠθικοῦ· ἦχος πλ. αʹ Τρισάγιον στὴν Λειτουργία τοῦ Μεγάλου Βασιλείου· ἦχος βʹ Ἑτέρα κοινωνικά· ἦχος βʹ. Composers represented in these Communion settings are the Maistor, Korones, Dokeianos, Georgios Panaretos, and Andreas. Ἀρχὴ τῶν Προηγιασμένων Ἀκολουθίας, πληρωμένου γὰρ τοῦ Ἑσπερινοῦ ἄρχεται τὸ, «Κατευθυνθήτω». Cherubic hymns composed by Ethikos, Koukouzeles, and one identified as ‘palaion’ [old]. Τέλος σὺν Θεῷ, ἔτος, ͵ϛωμδʹ, ἰνδικτιῶνος δʹ μηνὶ Μαρτίῳ. This is the colophon for the MS and dates this Papadike to the fourth indiction, in March of the year anno mundi 6844 (or ad 1336). Τερερὲμ τοῦ Ἰωάννου Κουκουζέλη blank

EBE 2458 (olim 490)

179r

405

Kατανυκτικὰ κατ’ ἦχον· ποίημα τοῦ Μαΐστορος κύρ Ἰωάννου τοῦ Κουκουζέλου· ἦχος αʹ «Ἁπάσης πλάνης, ἄνθρωπε, σχολάσας τῶν φροντίδων...» 180r Ἕτερον τοῦ αὐτοῦ, οἱ δὲ στίχοι χαρτοφύλακος Ξανθείας· ἦχος αʹ «Οἴμοι, ψυχή, τὶ ῥᾳθυμεῖς, τὶ προσδοκᾷς...» 180v Ἕτερον· ἦχος βʹ «Εἰς νοῦν ἂν λάβω τῶν ἐμῶν ἁμαρτημάτων πλῆθος...» 181v Ἕτερον· ἦχος γʹ «Ὄντως δακρύων ὀχετοὺς ἐξ ὀφθαλμῶν προχέων...» 182r Ἕτερον· ἦχος δʹ «Ὄντως φοβερώτατον τὸ τοῦ θανάτου μυστήριον...» 183r Ἕτερον· ἦχος πλ. αʹ «Τὴν φοβεράν σου, βασιλεῦ, δευτέραν παρουσίαν...» 184r Εἰς ἐξορίαν τοῦ Ἀδάμ· ἦχος πλ. βʹ «Ἀλλ’ ὦ παράδεισε, οὐκέτι σου τῆς τρυφῆς ἀπολαύσω...» 185r Σταυροθεοτοκίον· ἦχος βαρύς «Μήτερ Παρθένος, σταυρικὸν βλέπουσα πάθος Λόγου...» 186r Ἕτερον κατανυκτικὸν τοῦ Κορώνη· ἦχος πλ. δʹ «Ὢ πῶς Χριστέ μου παραστῶ γυμνὸς τῷ βήματί σου...» 187r Τῆς Ἀποκρέῳ ἀπὸ τὸ, «Οἴμοι μέλαινα ψυχὴ»· ποίημα τοῦ Μαΐστορος· ἦχος πλ. δʹ «Λοιπόν, ὦ ψυχή, ὁ χρόνος ἐφέστηκεν...» 187v Κράτημα τοῦ Ἰωάννου λαμπαδαρίου τοῦ Κλαδᾶ «Δύναμις… Ὅσοι εἰς Χριστόν…» 188r Εἰς τὴν Χριστοῦ Γέννησιν, ἀπὸ τὸ, «Τάδε» λέγει Ἰωσὴφ τοῦ Μαΐστορος· ἦχος πλ. δʹ «Οὐκέτι φέρω λοιπὸν τὸ, ὄνειδος ἀνθρώπων...» 189r Ἕτερον τοῦ αὐτοῦ προσόμοιον ἀπὸ τὸ, «Τάδε »λέγει «Κύριος τοῖς Ἰουδαίοις»· ἦχος πλ. δʹ «Οὐκέτι στέγω λοιπὸν καλέσω μου τὰ ἔθνη...» 190v Kratemata by the Lampadarios Xenos Korones· ἦχος πλ. α «Δόξα Πατρί...» Πρόλογος Γεωργίου δομεστίκου τοῦ Κοντοπετρῆ· τὸ κράτημα δὲ κὺρ Ἰωαννου 192r Μαΐστορος τοῦ Κουκουζέλη· ἦχος πλ. δʹ «Κατὰ τοῦ Κυρίου καὶ κατὰ τοῦ Χριστοῦ...» 193v Στίχοι κατανυκτικοὶ· μέλος δὲ κὺρ Νικηφόρου τοῦ Ἠθικοῦ· ἦχος πλ. βʹ «Ὄντως δακρύων ἄξια τὰ πράγματα τοῦ κόσμου...» 195r Ἀκάθιστος ποιηθεὶς παρὰ τοῦ Πρωτοψάλτου κὺρ Ἰωάννου [τοῦ Γλυκέως]· ἦχος πλ. δʹ 201v Kratema by Xenos Korones 202r–202v blank 203r Κρατήματα κατ’ ἦχον· τοῦ Ἰωάννου Κουκουζέλη· τὸ, «Δόξα Πατρί» εἰς τὴν ἁγίαν Βαρβάραν 203v Κράτημα τοῦ Ἰωάννου Κουκουζέλη· ἦχος β´ «Χριστὸν ἱκέτευε καλλιμάρτυς…» 205v Τοῦ Ἰωάννου Κουκουζέλη· ἦχος γ´ «Δόξα… Καὶ νῦν…» 208r Εἰς τὴν Κοίμησιν τῆς Θεοτόκου, τοῦ Ξένου Κορώνη· ἦχος πλ. β´ «Ἀλλ᾽ ὦ Παρθένε…» blank 210v 211r Ἀσματικὸν· δοξαστικὸν θʹ, Ὥρας τῶν Θεοφανείων. This folio is written in a larger script. In the upper and lower portions of the folio, the neumes and text are written in red ink but the middle portion is in the traditional black ink. 212v Ἕτερον τοῦ Κορώνη· τὸ, «Ἔσται δίκαιος» 213r Another Kratema by Xenos Korones in Plagal Mode IV. With this folio the smaller script resumes. 218r Ἀναγραμματισμὸς τοῦ κὺρ Ἰωάννου Μαΐστρου τοῦ Κουκουζέλη· ἦχος Νανα «Ἴδωμεν πάντες...». The Anagrammatismoi continue with compositions by Korones, Dokeianos, Glykys, Kontopetris, and Agathon the monk and Korones. 226v Ἀλληλουϊάριον τοῦ Κορώνη 227r Anagrammatismoi for the Cherubic and Communion hymns with compositions by Korones, Μanuel Agallianos, Christophoros, Dokeianos and Kontopetris.

EBE 2458 (olim 490)

406

230v 231r 231v 232r

blank Kratema end of music end of MS

Notes This magnificent MS is the earliest Akolouthia, dated 4 Mar. 1336. Besides the colophon, the MS is important for its musical content and representation of early 14th-century composers. The dark brown leather binding is damaged, with the back portion missing. However, the interior front binding has a leaf of a Pasapnoarion notated by a later hand. Because of the condition of the binding, some folios are loose (fols 27, 34, 164, 169, etc.). It is probable that fols 1r–2v and 231r–232v were not part of the original MS. The MS is tattered, with wormholes and ripped folios. The modal signatures, hypostaseis, and rubrics have faded to a shade of a light brown. The text and neumes are also lighter, in a grey colour. The text and music, however, are readable. Each page has an average of 18 lines of text and music. The MS contains two instances of chronological documentation: the colophon on fol. 176r and the acclamations on fol. 144r to the Emperor Andronikos III, his wife Anne of Savoy and their son Ioannes V (1328–41). The MS proper begins with the Koukouzelean didactic song on fol. 3r and continues with the Psaltike Techne: fol. 4v, Parallage; fol. 5v, Koukouzeles’ circle of modes; fol. 6r, Echemata – with Koukouzeles’ Echemata on fol. 42v. On fol. 6v, the chants continue with Koukouzeles’ Prologues for high feasts. The service for Great Vespers begins on fol. 11r and is followed by Orthros on fol. 46r. The Orthros service has a rich variety of settings. For instance, the Polyeleos starting on fol. 75r has various versions: fol. 75r, Constantinopolitan and ‘world-known’; fol. 81r, Latrinos; fol. 86r, Thessalonian; fol. 96r, ‘four-verse’ version; fol. 98r, shortened type for monks; and fol. 100r, kalophonic version. Different antiphons by various composers continue: fol. 113v, for the Theotokos, and fol. 123r, for the military generals. Next, the lengthy Amomos chant begins with its various types: fol. 125r, the funeral for laymen; fol. 135v, the Constantinopolitan version for monks; fol. 136v, another type for monks; fol. 138v, the Nekrosimon Akolouthia for Theotokos and saints; and fol. 139r, a version for St Dimitrios, patron saint of Thessalonika. After the Amomos, the abecedarian Theotokia by Patriarch Germanos follow on fol. 139v. The Liturgy of St John Chrysostom begins on fol. 142v and contains the Polychronion on fol. 144r for Andronikos III and his family that presumably would have been acclaimed during the service with a special Cherubic hymn ‘for the palace’, fol. 165v. The Liturgy for St Basil follows on fol. 167v and continues with the Liturgy for the Presanctified Gifts on fol. 172v. After the colophon on fol. 176r and a Tererem by Koukouzeles on fol. 176v, the Katanyktika continue on fol. 179r. The remainder of the MS has the following: fol. 195v, Akathistos hymn by Glykys; fol. 201v, Kratemata – with specified kratemata for the Funeral of the Theotokos on fol. 208r; and fol. 218r, Anagrammatismoi by Koukouzeles and other composers. The MS is important for performance practice and various types of kalophonic compositions transmitted in 1336. This repertory has similarities to that in EBE MSS 2406, 2411, 2454 and 2456.

EBE 2458 (olim 490)

407

Bibliography Breslich-Erickson, ‘The Communion Hymn’. Chaldaiakis, Ὁ Πολυέλεος. Conomos, Byzantine Trisagia and Cheroubika. —— The Late Byzantine and Slavonic Communion Cycle. Chatzegiakoumes, Μουσικά Χειρόγραφα Τουρκοκρατίας. Dragoumis, ‘The Survival of Byzantine Chant’. Lingas, ‘Sunday Matins’. Stathis, G., “Ἡ ᾀσματική διαφοροποίηση ὅπως καταγράφεται στὸν κώδικα ΕΒΕ 2458 τοῦ ἔτους 1336”. —— Οἱ Ἀναγραμματισμοὶ. Stefanović and Velimirović, ‘Peter the Lampadarios and Metropolitan Serafim of Bosnia’. Strunk, ‘The Byzantine Office at Hagia Sophia’. Touliatos, The Byzantine Amomos Chant. —— ‘The Byzantine Orthros’. Williams, ‘The Kalophonic Tradition’.

EBE 2490 (olim 439)

408

ΕΒΕ 2490 (olim 439) ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: bombycinous Measurements: 25.4 × 19.7 cm Folios: 242 Notation: Middle Round Byzantine Date: 14th c. Provenance: Monastery of the Forerunner in Serres

1r

159r 159v

202r 211v 231r 234r 241v 242v

Στιχηράριον σὺν Θεῷ ἁγίῳ ἐν φωνῶν [leg. φωναῖς] τοῦ ὅλου ἐνιαυτοῦ· ἀρχόμενον καὶ μέχρι ... καὶ τῶν Ἁγίων Πάντων· καὶ μνήμῃ αὐτοῦ ὁσίου πατρὸς ἡμῶν Συμεὼν τοῦ Στυλίτου καὶ ἰνδίκτου καὶ τῶν ἁγίων τεσσαράκοντα γυναικῶν καὶ ἡ σύναξις τῆς ὑπεραγίας τῶν Μιασησῶν [?]· ἦχος αʹ «Ἐπέστη ἡ εἴσοδος...» Τὸ μηνολογίου μοι τέλος μικρὰν μοι παῦλαν ἄγοι· τέλος σὺν Θεῷ ἁγίῳ τοῦ μηνολογίου beginning of Triodion and Pentecostarion. Στιχηράριον ἀρχόμενα ἁπὸ τοῦ Τελώνου καὶ τοῦ Φαρισαίου μέχρι τῶν Ἁγίων Πάντων· τῇ Κυρακῇ τοῦ Τελώνου καὶ τοῦ Φαρισαίου· ἦχος αʹ «Μὴ προσευχώμεθα φαρισαϊκῶς...». The top half of this folio has a typical Byzantine border illumination in red and gold ink. At the top of the border there are drawings of fish and birds. Ἀκολουθία τῶν Παθῶν τοῦ Κυρίου καὶ Σωτῆρος ἡμῶν· τῷ ἀντιφώνῳ αʹ· ἦχος πλ. δʹ Τῷ ἁγίῳ καὶ μεγάλῳ Σαββάτῳ, πρωΐ· ἦχος βʹ Ἀρχὴ τῶν ιαʹ ἑωθινῶν· ἦχος αʹ [Λέοντος ] «Εἰς τὸ ὄρος τοῖς μαθηταῖς...» Στιχηρὰ προσόμοια τῆς ἁγίας μʹ · ἦχος βʹ «Ἐγκρατείᾳ τὴν σάρκα...» Στιχηρὰν δογματικὴν· ποίημα τοῦ Ἰωάννου μοναχοῦ [Δαμασκηνοῦ]· ἦχος αʹ «Παρθενικὴ πανήγυρις σήμερον, ἀδελφοί...» end of music and MS

Notes The MS has a dark brown leather binding on wood but is in poor condition. The front and back wooden portions of the binding have later writings that are not related to the contents of the MS, such as a catalogue of accounting expenses, information on priests, etc. Furthermore, there are marginal writings in a smaller script throughout the MS. Some of these marginal annotations are music, text, or both. The overall condition of the Sticherarion is fair but it has been torn, tattered and spotted with water stains. Some folios appear to have been purposely mutilated for their illuminations: fols 177, 188 and 239. There are about 18–21 lines of text and music per page. The folios have been numbered in pencil. This is a typical 14th-century Sticherarion in that there are rubrics for feasts and modal signatures but few or none for composers. The contents are standard, with the Menologion starting with the feast for 1 Sept., the beginning of the liturgical calendar, on fol. 1r. The Menologion proceeds through the end of August and at fol. 159v the Triodion–Pentecostarion section begins. Of interest are the following:

EBE 2490 (olim 439)

fol. 202r fol. 211v fol. 231r fol. 234r fol. 241v

the Akolouthia for the Passion of Christ the service for Holy Saturday morning the eleven Heothina hymns (as composed by Leon) the Prosomoia for Lent the Dogmatic Stichera by the monk John Damascene

409

410

EBE 2500 (olim 442)

ΕΒΕ 2500 (olim 442) ΣΤΙΧΗΡΑΡΙΟΝ ΜΑΘΗΜΑΤΑΡΙΟΝ/STICHERARION MATHEMATARION Type of paper: chartaceous Measurements: 22.3 × 14.8 cm Folios: I + 299 Notation: Middle Round Byzantine Date: mid-14th–early 15th c. Provenance: Monastery of the Forerunner in Serres

Iv This folio has been pasted on the wooden binding and contains a kalophonic musical setting written in the same script as the MS, which perhaps was taken from some other part of the original MS. beginning of the Menologion. Ἀρχὴ τῶν στιχηρῶν τοῦ ὅλου χρόνου ἀπ’ ἀρχῆς τῆς 1 r ἰνδίκτου ἐτῶν Σωτηρίων καὶ τοῦ ὁσίου πατέρα Συμεὼν τοῦ Στυλίτου· ποιήματα διαφόρων ποιητῶν, συνετέθησαν δὲ σαφέστατα παρὰ τοῦ Μαΐστορος κὺρἸωάννου τοῦ Κουκουζέλη, ἐκαλλωπίσθησαν δὲ τὰ παλαιὰ καὶ μόνα, τὰ δὲ νέα ἀσάλευτα μένουσι· στιχηρὸν τῆς ἰνδίκτου, ποίημα τοῦ βασιλικοῦ· ἦχος αʹ «Ἐπέστη ἡ εἴσοδος...». This folio also has the annotation: Χριστὲ προηγοῦ τῶν ἐμῶν πονημάτων Μοναχοῦ Βαρθολομαίου 5 v Γερμανοῦ μοναχοῦ 7 r Τοῦ Μανούγρα (also on fol. 109v) 10v Τοῦ Βασιώτου 12v Τοῦ Νικηφόρου τοῦ Ἠθικοῦ (also on fols 25v, 66r, 70r, 84r). 16r Μηνὶ Σεπτεμβρίῳ ιγʹ· τὰ ἐγκαίνια τοῦ ναοῦ τῆς Ἀναστάσεως· αὐτὴ γὰρ ἡ ἀκολουθία τελεῖται καὶ ἐν τῇ σεβασμίᾳ μονῇ τοῦ ... Προδρόμου καὶ Βαπτιστοῦ Ἰωάννου ἐν τῇ Πέτρᾳ Τοῦ πανηθικωτάτου Δομεστίκου κὺρ Νικηφόρου 18v Τοῦ Ἰωάννου Γλυκέως (also on fols 75r, 85r, 89v) 19v r Θεοδώρου Δαλασσηνοῦ 20 Anagrammatismos based on an older verse by Koukouzeles 32v Μηνὶ Ὀκτωβρίῳ αʹ· τοῦ Ἠθικοῦ· ἦχος πλ. δʹ «Μαθητὰ τοῦ Σωτῆρος, ἀρχιεράρχα...» 34v Κὺρ Ἀνδρέου 35r Δομεστίκου κὺρ Γεωργίου τοῦ Κοντοπετρῆ (also on fol. 111r) 36r r Τοῦ Καμπάνη 40 Τοῦ Κορώνη 44r Μηνὶ Νοεμβρίῳ αʹ· τοῦ κυροῦ Ἰωάννου τοῦ Γλυκέως 53r Τοῦ Γλυκέου 65r Ἀντωνίου Καλλίστου καὶ Μαΐστορος (also on fols 67r, 150r) 68v Μηνὶ Δεκεμβρίῳ δʹ· ποίημα κυροῦ Νικολαοῦ τοῦ Κλωβᾶ, ἐκαλλωπίσθη παρὰ τοῦ 78r Μαΐστορος τοῦ Κουκουζέλη· ἦχος πλ. βʹ 94v Στιχηρὸν πρὸς ἑορτὴν τῆς Χριστοῦ Γέννησιν· τοῦ Κουκουζέλη Τοῦ εὐνούχου καὶ Πρωτοψάλτου τοῦ Φιλανθρωπινοῦ 100v Τοῦ Ἀλμυριώτου κὺρ Λέοντος (also on fol. 148v) 114r Τοῦ Κουκουμᾶ 117v

EBE 2500 (olim 442)

127v 129v 131v 176r 187v 188v 199v 203r 211v 217r 218r 219v 228v 243v 246v 257r 259v 266v 269v 279v 294v 297v 299v

411

Μανουὴλ τοῦ Θηβαίου Καρβουναριώτου Μὴν Ἰανουάριος εἰς τὴν αʹ· ἦχος αʹ Ἀνδρέου Δομεστίκου τοῦ Σιγηροῦ Πρωτασηκρῆτις κὺρ Μανουὴλ τοῦ Νεοκαισαρείτου, τὸ δὲ μέλος ... τοῦ Ἰωάννου τοῦ Γλυκέως Μὴν Φεβρουάριος, αʹ· ἦχος πλ. δʹ Μὴν Μάρτιος, θʹ· ἦχος βʹ Τοῦ Πατζάδος Μὴν Ἀπρίλιος, κγʹ Πεντηκοστάριον εἰς τὴν αὐτὴν ἑορτήν· ἦχος βʹ «Ὡς ῥόδον ἐξήνθησας...» Γεώργιος τοῦ Κοντοπέτρη Μὴν Μάϊος, ιεʹ Μηνὶ Ἰουνίῳ ηʹ Τοῦ Ἠθικοῦ Μηνὶ Ἰουλίῳ βʹ· τοῦ Γλυκέως Τοῦ Γλυκέως Ποίημα Δημητρίου ἱερέως τοῦ Συναδινοῦ Μὴν Αὔγουστος, αʹ· τοῦ Νικηφόρου τοῦ Ἠθικοῦ Οἱ δὲ λόγοι τοῦ Στάχυος Τοῦ κὺρ Μιχαὴλ τῆς Πατζάδος (also on fols 203r, 288v) Πεντηκοστάριον ψαλλόμενον μὲν κατὰ Κυριακὴν τῆς ἁγίας καὶ μεγάλης Τεσσαρακοστῆς· ἀρχόμενον ἀπὸ τῆς Κυριακῆς τῆς Ἀπόκρεω μέχρι τῆς Κυριακῆς τῆς Τυροφάγου· ἦχος πλ. δʹ «Τῆς μετανοίας...» Στιχηρὰ ψαλλόμενα τῇ Κυρακῇ τῆς Τυροφάγου· τοῦ Ξένου τοῦ Κορώνη· ἦχος πλ. βʹ «Ἐκάθησεν Ἀδὰμ ἀπέναντι...» Ἕτερον τοῦ Κουκουζέλη «Ἐκάθησεν Ἀδὰμ ἀπέναντι...» end of music and MS

Notes The Sticherarion has settings for the ecclesiastical year but the settings are kalophonic and many are Anagrammatismoi, which make this MS a pedagogical Mathematarion. The opening rubric (fol. 1r) identifies this Sticherarion as one ‘with the poems of many poets, [the music] composed with great clarity by the Maestro kyr Ioannes Koukouzeles’. These Anagrammatismoi are interpreted in a pedagogical manner by the newer composers (see fols 32v, 50r, 55r, 58r, 73v, 87v, 99r, 100r, 102v, 104v, 112v, 116r, 124r, 133r, 141r, 143v, 159v, 182v, 186v, 194r, 236v, 275v, 281v, 287v, 291r, 298v). Although there are a few verses from the Triodion (fol. 297v) and Pentecostarion (fol. 294v), this MS mainly contains settings for the liturgical calendar from 1 Sept. to 31 Aug. The dark brown leather binding on wood is badly deteriorated. In fact, the wood is extremely damaged with wormholes and is crumbling. Only half the back is present and that is only with a cloth backing. The folios are in fair condition. Rubrics include feasts, modal signatures and composers’ names in a light hue of brown. The text and neumes are also faded, with a grey colour. The folios have been renumbered in pencil. There is an average of 19 lines of text and music per page. The last folio is torn and tattered. Furthermore, fol. 299r has a blue-coloured number.

412

EBE 2500 (olim 442)

The importance of this Sticherarion Mathematarion is the rich catalogue of composers from the 14th and 15th centuries who have contributed to the Mathemata and are represented in the MS. Bibliography Velimirović, ‘Unknown Stichera’.

EBE 2513 (olim 41)

413

ΕΒΕ 2513 (olim 41) ΕΥΑΓΓΕΛΙΣΤΑΡΙΟΝ/EVANGELISTARION Type of paper: bombycinous Measurements: 32.3 × 23 cm Folios: 323v Notation: early Ecphonetic Date: 11th–12th c.

1r–v 2r

missing Triodion and Pentecostarion. Ἄρχεται ἀπὸ τῆς Τρίτης τῆς Διακαινησίμου. The readings from the Books of John, Mark, Luke and Matthew are interspersed. 258r The Menologion begins with readings from the Gospel according to the liturgical calendar. Μηνὶ Σεπτεμβρίῳ Μηνὶ Ὀκτωβρίῳ 265r Μηνὶ Νοεμβρίῳ 270r Μηνὶ Δεκεμβρίῳ 274r Μηνὶ Ἰανουαρίῳ 282v Μηνὶ Φεβρουαρίῳ 290r Μηνὶ Μαρτίῳ 294v Μηνὶ Μαΐῳ 297v Μηνὶ Ἰουνίῳ 301r Μηνὶ Ἰουλίῳ 307v Μηνὶ Αὐγούστῳ 311v end of music and MS 323v Notes This Evangelistarion (Evangelium) originates from the Monastery of the Forerunner in Serres. The MS is in fair to poor condition. The reddish brown binding is worn and tattered. Fol. 1 is missing at the beginning; the MS begins with fol. 2r. There are two numbering systems: the upper right-hand system begins with number 1 and the lower left-hand one with 2. Typical of an Evangelistarion, this MS has double columns of text with an average of 23 lines per each column. The music notation is Ecphonetic and is found above and below the text. The rubrics are in a faded red and are not always present. The text is in a faded brown ink. The musical neumes are in red ink. The MS begins with Gospel readings for the Triodion and Pentecostarion period. The Menologion readings for the Gospel begin on fol. 258r and proceed according to the liturgical calendar. The music is in an early Ecphonetic notation that is typical of the 11th–12th centuries, when the notation had not been fully developed but served as a mnemonic aid to the chanters.

414

EBE 2520 (olim 88)

ΕΒΕ 2520 (olim 88) ΕΥΑΓΓΕΛΙΣΤΑΡΙΟΝ/EVANGELISTARION Type of paper: bombycinous Measurements: 21 × 16.2 cm Folios: I + 149 Notation: early Ecphonetic, above and below the texts Date: 12th–13th c. Provenance: Monastery of the Forerunner in Serres, with an additional number, 158

Ir–v This folio, preceding the MS proper, is tattered and full of wormholes. The number 158 is written on fol. Iv, perhaps a preceding catalogue number. This folio also has a faded, illegible light brown script. 1r Book of John: readings begin for the Lenten period. Ἐν τὸν κατὰ Μαθαῖον· Σαββάτῳ αʹ μετὰ τὴν μʹ 32v Ἐν τὸν κατὰ Λουκᾶν· ἀρχὴ τοῦ νέου ἔτους 47v verses from the Book of Matthew interspersed 66r Ἐκ τὸν κατὰ Μάρκου 68r readings from the Book of Matthew and other books 77v Τὰ ιβʹ [sic] εὐαγγέλια τῶν ἁγίων Παθῶν· ἐκ τὸν κατὰ Ἰωάννην 96v Menologion. Ἀρχὴ τῆς ἰνδίκτου καὶ τοῦ ὁσίου πατρὸς Συμεὼν τοῦ Στυλίτου· κατὰ 115r Λουκᾶν. Besides the Book of Luke other readings from the Gospel are interwoven. Μηνὶ Ἰανουαρίῳ 128v Μηνὶ Φεβρουαρίῳ 133r Μὴν Μάρτιος 134v Μὴν Μάϊος 136v Μὴν Ἰούνιος 137v Μὴν Αὔγουστος 140r Τὰ ιαʹ εὐαγγέλια τὰ ἑωθινά· ἐκ τὸν κατὰ Ματθαῖον 142v added script 146v 147r There are no double columns on this folio. The text and neumes are written across the entire folio. 148r This folio has an added faded script. Across the bottom of fols 148v and 149r there is a large red script that is a later 148v addition. end of MS 149r Notes This Evangelistarion (Εvangelium) is in fair to good condition. It has a reddish-brown leather binding. The folios were originally not numbered. Each folio usually has double columns with 24 lines of text and music in each column. Each capital letter of a verse is written with red ink. The MS, characterized as is the following by a maladroit handling of ancient grammar, begins with the Gospel readings for the Triodion and Pentecostarion periods (fols 1r–114v). Fol. 96v contains the 12 Gospel readings for the Passion of Christ. The Menologion begins at fol. 115r. This

EBE 2520 (olim 88)

415

section represents the various readings of the books of the Gospel for the liturgical calendar. The rubrics do not always indicate every month of readings. Fols 142v–146r have the eleven Resurrection Heothina Gospel readings. The neumes are in a red ink in contrast to the text, which is in a black or mostly faded brownish colour. It should be pointed out that during the medieval period all scriptural readings were intended to be chanted. These early neumes served as a mnemonic guide for chants that were retained for centuries through oral transmission.

416

EBE 2525 (olim 81)

ΕΒΕ 2525 (olim 81) ΕΥΑΓΓΕΛΙΣΤΑΡΙΟΝ/EVANGELISTARION Type of paper: bombycinous Measurements: 28.7 × 20.8 cm Folios: 201 Notation: Ecphonetic Date: 12th c. Provenance: Monastery of the Forerunner in Serres, Greece

1r 13v 45v

Τῇ ἁγίᾳ καὶ μεγάλῃ Κυρακῇ τὸν ἁγίον εὐαγγέλιον· ἐκ τὸν κατὰ Ἰωάννην, κεφ. αʹ Ἐκ τὸν κατὰ Μᾶρκον Σαββάτῳ αʹ, ἐκ τὸν κατὰ Ματθαῖον. The left-hand column has a rectangular border illumination. Σαββάτῳ αʹ, ἐκ τὸν κατὰ Λουκᾶν 64v Ἐκ τὸν κατὰ Ματθαῖον 84v 86v Other books of the Gospel are interspersed with readings for the various feasts. Writing added later in black ink is found in the upper left-hand margin. Σαββάτῳ τῆς Μ´ης [Τεσσαρακοστῆς], ἐκ τὸν κατὰ Μᾶρκον 87r Εὐαγγέλια ιβʹ· τῶν Παθῶν τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστὲ· εὐαγγέλιον αʹ· ἐκ τὸν κατὰ 122v Ἰωάννον Πρωῒ τῇ ἁγίᾳ Παρασκευῇ εἰς τὴν πρώτην ὥραν· ἐκ τὸν κατὰ Ματθαῖον. Readings from 142v other books are included. Εἰς Ἑσπέρας τῇ ἁγίᾳ Παρασκευῇ· ἐκ τὸν κατὰ Ματθαῖον 147r Τῷ ἁγίῳ Σαββάτῳ· λειτουργίαν ἐκ τὸν κατὰ Ματθαῖον 151v Εὐαγγέλια ἀναστάσιμα· ἑωθινὰ ιαʹ. Readings from different books of the Gospel. 152v Μηνὶ Σεπτεμβρίῳ αʹ· ἀρχὴ τῆς ἰνδίκτου καὶ μνήμῃ τοῦ ὁσίου Συμεὼν τοῦ Στυλίτου· ἐκ 153v τὸν κατὰ Λουκᾶν. There is a rectangular border illumination in the right column. Μηνὶ Ὀκτωβρίῳ αʹ 164v Μηνὶ Νοεμβρίῳ αʹ 167r Μηνὶ Δεκεμβρίῳ αʹ 168v Μηνὶ Ἰανουαρίῳ αʹ 176r Μηνὶ Φεβρουαρίῳ αʹ 183v Μηνὶ Μαρτίῳ αʹ 186v Μηνὶ Ἀπριλίῳ αʹ 189r Μηνὶ Μαΐῳ αʹ 190r Μηνὶ Ἰουνίῳ αʹ 191v Μηνὶ Ἰουλίῳ αʹ 196r Μηνὶ Αὐγούστῳ αʹ 197r 201r–v large holes in this last folio Notes This Evangelistarion (Evangelium) has a badly damaged brown binding with a Byzantine cross, centred on the front cover. The MS is in fair condition and has double columns with 23 lines of

EBE 2525 (olim 81)

417

text and music in each column. The text is a black or faded brown colour. The neumes of the Ecphonetic notation are in written in red ink. The opening and closing folios are damaged. Fol. 1r has a faded horizontal coloured rectangular border illumination across the entire top. Smaller illuminations for column borders are used to designate the beginning of months for the ecclesiastical year: fols 168v, 176r, 183v, etc. Throughout the MS capital letters are used for incipit texts in the typical Byzantine decor with much ornamentation. The Evangelistarion begins with various readings of the Gospels during the Triodion and Pentecostarion periods. Fol. 87r has readings from the Book of Mark for Saturday of the Tessarakoste [Great Lent]. On fol. 122v are the 12 readings of the Gospels for the Passion of Christ. The Heothina Anastasima readings are found on fol. 152v. The Menologion portion begins with fol. 153v and proceeds according to the liturgical calendar.

EBE 2526 (olim 9)

418

ΕΒΕ 2526 (olim 9) ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: bombycinous Measurements: 34.5 × 26.2 cm Folios: 171 Notation: Early Round Byzantine, not fully developed Date: 13th c. Provenance: Monastery of the Forerunner in Serres

1r

15r 23r 34v 43r 50r 65r 68v 72r 74r 75r 81v 88v 93v 99r–v 101r 130v 148v 150r 150v 163r 171v

Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς ἰνδίκτου καὶ μνήμῃ τοῦ Συμεὼν τοῦ Στυλίτου. This opening rubric indicates that the Sticherarion celebrates the feast days according to the liturgical calendar beginning with 1 Sept. This rubric and folio are badly damaged. The upper red border design has been completely eradicated and the folio has much browning and deterioration from water damage. Μηνὶ Ὀκτωβρίῳ αʹ· ἦχος αʹ Μηνὶ Νοεμβρίῳ αʹ· ἦχος αʹ Μηνὶ Δεκεμβρίῳ δʹ· ἦχος α´ Τροπάριον σὺν Θεῷ τῶν ὡρῶν τῶν Χριστουγέννων· ἦχος πλ. δʹ Μηνὶ Ἰανουαρίῳ αʹ· ἦχος πλ. δʹ Μηνὶ Φεβρουαρίῳ αʹ· ἦχος πλ. βʹ Μηνὶ Μαρτίῳ αʹ· ἦχος πλ. βʹ Μηνὶ Ἀπριλίῳ κγʹ· ἦχος αʹ Μηνὶ Μαΐῳ καʹ· ἦχος βʹ Μηνὶ Ἰουνίῳ ηʹ· ἦχος πλ. αʹ Μηνὶ Ἰουλίῳ βʹ· ἦχος βʹ Μηνὶ Αὐγούστῳ αʹ· ἦχος αʹ blank writing across the bottom margins Ἀρχὴ σὺν Θεῷ ἁγίῳ ἀπὸ τοῦ Τελώνου καὶ τοῦ Φαρισαίου μετὰ τῶν Ἁγίων Πάντων· ἦχος αʹ. The top of this folio has a border illumination to signify the beginning of the Triodion and Pentecostarion section. lower margin has been cut Κυριακῇ τῶν Ἁγίων Πάντων· ἦχος αʹ faded and illegible Στιχηρὰ ἀναστάσιμα τῶν ἤχων· ἦχος αʹ Ἀρχὴ σὺν Θεῷ τῶν ἀναβαθμῶν· ἦχος αʹ end of music and MS

Notes The exterior of this Sticherarion is in poor condition. Three-fourths of the front cover is missing, as is one-half of the back. What remains is a lighter brown coloured covering, bound by a beige string. Because of the poor condition of the binding, the MS is kept in a makeshift cardboard

EBE 2526 (olim9)

419

covering. In the interior of the front and back exterior coverings, there are verso (front interior) and recto folios (back interior) pasted lengthwise that have Greek texts without neumes. After the initial and ending folios, which are in poor condition with wormholes and water damage, the interior folios are in fair condition and somewhat readable. The folios are large but then so are the dimensions of the whole MS. Each page has an average of 25 lines of text and music. The writing for both text and music is large to accommodate the size of the folio. The text and neumes are in a faded greyish black ink. Red ink is used for the rubrics, modal signatures and capital letters of incipits. The rubrics have deteriorated and at times are illegible. Furthermore, many lower and side margins of folios have been torn off. Composers’ names are not decipherable. The content is typical of a 13th-century Sticherarion. Fol. 1r begins with the Stichera for the feast of 1 Sept. and continues accordingly with the months of the liturgical calendar. The Triodion and Pentecostarion section begins on fol. 101r and continues through the Sunday for All Saints (fol. 148v). Resurrection Stichera are found on fol. 150v and are followed by the Anabathmoi on fol. 163r.

420

EBE 2540 (olim 39)

ΕΒΕ 2540 (olim 39) ΕΥΑΓΓΕΛΙΣΤΑΡΙΟΝ/EVANGELISTARION Type of paper: bombycinous Measurements: 32.4 × 25.4 cm Folios: 353 Notation: late Ecphonetic with red coloured neumes Date: 11th–12th c. Provenance: Monastery of the Forerunner in Serres

1r–2v These folios are in a smaller script than the following folios. 3r Readings from the Book of John, chapter 1, for the Triodion and Pentecostarion period. The upper half of this folio has been cut off and undoubtedly must have had an illumination. Κυριακῇ γʹ, κατὰ τὸν Μᾶρκον. Other readings from the Book of John are interpolated. 15r 45r The Book of Matthew is interspersed with other readings. The upper quarter of this folio has also been cut out for what must have been an illumination for the beginning of the Book of Matthew. Ἀρχὴ σὺν Θεῷ τὸν νέον ἔτος· εὐαγγέλιον ἑκ τὸν κατὰ Λουκᾶν. This section marks the 120r beginning of the Menologion and contains a border illumination. Τῇ γʹ· ιγʹ ἑβδομάδος, Κυρακῇ τοῦ Φαρισαίου· ἐκ κατὰ Μᾶρκον 176v 189r Sunday of the Publican and the Pharisee with readings from the Book of Luke and other readings 217r This folio has added writing in the lower half right column. blank 217v 218r Book of John along with other readings. The top one-fourth of the folio has been cut off, indicating that this must have been a border illumination for the Book of John. Τῇ ἁγίᾳ μεγάλῃ βʹ πρωῒ, κατὰ τὸν Ματθαῖον 230v Εὐαγγέλια τῶν Παθῶν, κατὰ τὸν Ἰωάννην [leg. Ἰωάννην, hic et infra] 257v 272v Book of Matthew interspersed with other readings 305r Gospel readings for the Hours of the Passion 326v Gospel readings for the month of March 329r Gospel readings for the month of April 353r–v Similar to the beginning, this closing folio resumes a smaller script with no music. end of MS Notes The overall condition of this Evangelistarion (Evangelium) is good to fair. The binding is in a green-brownish color. The frontispiece has tarnished golden hearts in each of the four corners. The first folio is faded and destroyed. Fols 1r–2v are written in a smaller script with no music and could be later than the original MS. The MS proper begins with fol. 3r. It should be stated that this MS was originally unfoliated – that is, with no enumeration in the upper right-hand corner. The numbering that does exist is written in pencil in the left-hand lower corner.

EBE 2540 (olim 39)

421

The typical folio has double columns with 27 lines of text and music in each column. The Ecphonetic notation is interspersed typically above and below the texts. The MS and its folios are large in size but the margins compensate with their dimensions: top and lower margins are 5.5 cm and the side margin is 5 cm. The rubrics were originally written in gold but have now faded. The texts of the four Gospels are written in a brownish-black ink and the musical neumes are in red. (Because these neumes are still not developed and could easily be mistaken for prosodic accents of the Greek text, the red ink distinguishes them clearly as musical notation.) Portions of folios have been cut out throughout the MS where illuminations had marked a titled section. The contents of this Evangelistarion are typical. On fol. 3r the MS contains Gospel readings for the Triodion and Pentecostarion period. The Menologion section begins with fol. 120r. This portion contains the Gospel readings with musical neumes for the feasts of the ecclesiastical calendar. At one time this must have been a beautifully illuminated MS, but many of the folios have been mutilated.

422

EBE 2552 (olim 49)

ΕΒΕ 2552 (olim 49) ΕΥΑΓΓΕΛΙΣΤΑΡΙΟΝ/EVANGELISTARION Type of paper: bombycinous Measurements: 30.5 × 21.3 cm Folios: 1r–174r Notation: very early Ecphonetic Date: 11th c. Provenance: Monastery of the Forerunner in Serres

1r Readings commence for the Triodion and Pentecostarion from the Book of John. (The bottom and side margin of this folio has been cut.) This chartaceous folio has been inserted later and the script is decidedly different 8r – larger, dark writing without musical neumes. 9r The orginal script with neumes resumes. 33r Book of Matthew interspersed with other readings. The top half of this folio has been cut off. Most likely there was an illumination to embellish the beginning of this Gospel. blank. There are also missing folios at this point that are not immediately apparent 56v with the new numbering. Ἐκ τὸν κατὰ Λουκᾶν (Book of Luke) 57r blank; folios are missing 79v various readings: Κυριακῇ τῆς Ἀπόκρεω. 81r Εὐαγγέλια τῆς αʹ ἑβδομάδος τῆς ἁγίας Τεσσαρακοστῆς 84r blank 85v Top half of folios is cut (missing illumination?). Readings from the Book of Mark 86r interspersed with other books. Τῇ ἁγίᾳ καὶ μεγάλῃ εʹ [Παρασκευῇ]· εἰς Ὄρθρον, ἐκ τὸν κατὰ Λουκᾶν. This is also 97r interpolated with readings from other books. Τῇ ἁγίᾳ καὶ μεγάλῃ εʹ· εἰς Ἑσπέρας, ἐκ τὸν κατὰ Μᾶρκον 106r Εὐαγγέλια τῶν ἁγίων Παθῶν τοῦ Ἰησοῦ Χριστοῦ 107r Τῇ ἁγίᾳ καὶ μεγάλῃ Παρασκευῇ εἱς τὴν λειτουργία· ἐκ τὸν κατὰ Ματθαῖον 128r 135r Top left-hand corner has been cut out. There was probably a border illumination. Menologion begins. Μὴν Σεπτέμβριος Μὴν Ὀκτώβριος 139v Μὴν Νοέμβριος 140r Μὴν Δεκέμβριος 141v Μὴν Ἰανουάριος 149v Μὴν Φεβρουάριος 155v Μὴν Μάρτιος 157r 159v Μὴν Ἀπρίλιος Μὴν Μάϊος Μὴν Ἰούνιος 160r Μὴν Ἰούλιος 166v

EBE 2552 (olim 49)

423

168r 172r

Μὴν Αὔγουστος Εὐαγγέλια ἀναγινωσκόμενα εἰς διαφόρους μνημίας καὶ λειτουργίας καὶ εἰς ἐγκαινίας· ἐκ τὸν κατὰ Ἰωάννην. Other Gospel readings are interpolated within the Book of John. 173r This folio is cut across the middle. 174r This folio is torn lengthwise down the middle (with the right side missing). end of MS Notes This 11th-century Evangelistarion has a dark brown front and back binding but the side binding is in a lighter brown with a gold design that has perhaps faded with time. The MS has missing folios from the beginning and ending and has been renumbered without the inclusion of the lacunae. With the exception of the beginning and concluding folios, the remaining MS is in decent condition. As is typical of an early Evangelistarion containing readings from the four Gospels, the format is double columns. Each column has an average of 23 lines of text and music. The rubrics are in a faded gold, the text in a light brown script, and the neumes in red. The music is written in a very early stage of the Ecphonetic notation that is dispersed above and below the texts in the shape of hooks, dots and accent marks. It is the red colour that distiguishes these marks as neumes. The MS begins with readings from the Book of John for the Triodion/Pentecostarion period. Other books and interpolated readings follow. On fol. 81r are the readings for Meatfare Sunday. Then follow: fol. 84r readings for the first week of Lent fol. 97r Holy Friday Orthros – Book of Luke fol. 106r Holy Friday Vespers – Book of Mark fol. 107r readings for the Holy Passion of Christ fol. 128r Holy Friday Liturgy – Book of Matthew On fol. 135r, the Menologion begins, with the months of the ecclesiastical calendar designated. On fol. 172r the Book of John and other readings are listed as a catalogue for memorials, liturgies and inaugurations.

424

EBE 2557 (olim 50)

ΕΒΕ 2557 (olim 50) ΕΥΑΓΓΕΛΙΣΤΑΡΙΟΝ/EVANGELISTARION Type of paper: bombycinous Measurements: 29.1 × 21.7 cm Folios: 200 Notation: early Ecphonetic Date: 11th–12th c. Provenance: Monastery of the Forerunner in Serres, Greece

1r Book of John, with the preceding folios missing 3v Τῇ Παρασκευῇ τῆς Διακαινησίμου 6r Κυριακῇ βʹ, τὸ Ἀντιπάσχα, ἐκ τὸν κατὰ Ἰωάννην 11r Κυριακῇ γʹ, τῶν Μυροφόρων, ἐκ τὸν κατὰ Μᾶρκον. Readings from the Book of John are also interspersed. 21v Κυριακῇ εʹ, τῆς Σαμαρείτιδος, ἐκ τὸν κατὰ Ἰωάννην 27r Κυριακῇ ϛʹ, τοῦ Τυφλοῦ, ἐκ τὸν κατὰ Ἰωάννην 28r Torn right-hand margin 31r Torn right-hand margin 32r Torn right-hand margin 33r Torn right-hand margin 39r Torn right-hand margin 42r Torn right-hand margin 42v blank 43r Ἀρχὴ σὺν Θεῷ τῷ Σαββάτῷ καὶ Κυρακῇ· τοῦ εὐαγγελίου τὸν κατὰ Ματθαῖον. The lefthand corner has an illumination that has been torn out. 66r Book of Luke 88r The lower quarter margin has been torn out. 89r The lower quarter margin has been torn out. 90r The lower quarter margin has been torn out. 91r Book of Mark – other readings are interwoven. Σαββάτῳ αʹ, τῶν Νηστειῶν· τοῦ ἁγίου μεγαλομάρτυρος Θεοδώρου. An illumination from the left-hand corner has been cut out. 125v Εὐαγγέλια τῶν ἁγίων Παθῶν τοῦ Κυρίου Χριστοῦ· ἐκ τὸν κατὰ Ἰωάννην. A right-hand corner illumination has been lost. 130r The right-hand margin has been torn and is tattered. 147r Ἀρχὴ σὺν Θεῷ τῶν ὡρῶν· τὰ εὐαγγέλια κατὰ Ματθαῖον 151r The right-hand margin is tattered. 159r Τὰ ιβʹ εὐαγγέλια τῶν Παθῶν 160v blank 161r Μηνὶ Σεπτεμβρίῳ αʹ· ἀρχὴ τῆς ἰνδίκτου καὶ νέου ἔτους· ἐκ τὸν κατὰ Λουκᾶν. Menologion begins. The left-hand column has a border illumination. 168r The right-hand margin is torn. 171r Μηνὶ Ὀκτωβρίῳ 175v Μηνὶ Νοεμβρίῳ

EBE 2557 (olim 50)

425

176v Μηνὶ Δεκεμβρίῳ 184r–v These recto and verso have the texts written horizontally without columns and without musical neumes. The verso folio also has a later black script. Μηνὶ Ἰανουαρίῳ 185r 189r From this folio to the end of the MS there are large wormholes and missing folios. Μηνὶ Ἀπριλίῳ 191r Μηνὶ Ἰουνίῳ 192v Μηνὶ Ἰουλίῳ 195v Μηνὶ Αὐγούστῳ 196v Μηνὶ Φεβρουαρίῳ. This section was placed out of order. 199r lower margin torn off 200r–v end of music and MS Notes This is another typical 11th-to 12th-century Evangelistarion. The MS has a dark brown binding with a gold design on the back piece. There are two numberings: the original found in the upper right-hand corner of the recto folio and the later one, placed in the lower left corner of the same folio. This catalogue follows the original foliation. The overall condition of the MS is poor, with many missing folios at the beginning that are not accounted for in either numbering system. Many parts of the MS are faded due to water damage. There are deteriorated folios in the beginning and most of the folios in the sections with wider lower margins measuring 5.7 cm are torn. The side margins have been repaired somewhat. Each folio typically has double columns of text and neumes. There is an average of 22 lines of text in each column, with the music placed above and below it. The text has a faded brown colour and the neumes a faded red. The music is an early Ecphonetic notation that serves as a guide to the chanter and is distinguished by its red hooks and accents that are interpolated in the text. The content is standard in that the Evangelistarion begins with readings from the Gospel for the Triodion and Pentecostarion period. The readings from the four Gospels are interwoven throughout, even though the four books are differentiated: fol. 1r, John; fol. 43r, Matthew; fol. 66r, Luke; and fol. 91r, Mark. The 12 Gospel readings for the Passion of Christ are found on fol. 159r. The Menologion commences with fol. 161r. Not all the months are indicated and some are out of order according to the calendar of the ecclesiastical year. Unfortunately, many illuminations and border designs have been lost. Of interest are the modal signatures placed in the Book of John. These additions are obviously later and can be found on the following fols: 72r, 73r, 75r, 80r, 81r, 82r, 83r, 84r and 85r.

EBE 2568

426

ΕΒΕ 2568 ΑΝΘΟΛΟΓΙΟΝ ΣΤΙΧΗΡΑΡΙΟΝ/ANTHOLOGION STICHERARION Type of paper: common Measurements: 22.4 × 15.7 cm Folios: I + 280 Notation: newer Chrysanthine, with modal signatures in both the older and newer systems Date: 1832 Provenance: Monastery of the Forerunner in Serres

Ir Iv 1r

75r 94r 102v 149v 159r 172v 179v 188v 195r 202r 215v 249r 278v 280r 280v

Καὶ τόδε ἐκ τῶν τοῦ Ἀζαρίου Μουσικοῦ· 1832, κατ’ Ἰουνίου. (And this one from the works by Azarios the Musician [scribe] on June 1832.) blank Δοξαστικὰ τῶν δεσποτικῶν καὶ θεομητορικῶν ἑορτῶν τῶν ὡς ἑορταζομένων ἁγίου τοῦ ὅλου ἐνιαυτοῦ καί τινα ἰδιόμελα τοῦ Τριῳδίου καὶ Πεντηκοσταρίου ᾁσματουργηθέντα δὲ παρὰ Ἰακώβου Πρωτοψάλτου τῆς τοῦ Χριστοῦ Μεγάλης Ἐκκλησίας ἐξηγηθέντα δὲ τὸ νῦν κατὰ τὸ νέον τῆς μουσικῆς· καὶ σύστημα τοῦ ἀρχαίου μέλους αὐτῶν ἀδιαφθόρου φυλαχθέντος· παρὰ Χουρμουζίου διδασκάλου τῆς μουσικῆς σχολῆς τοῦ ῥηθέντος συστήματος· Μὴν Σεπτέμβριος εἰς τὴν αʹ· ἀρχὴ τῆς ἰνδίκτου· τῆς Θεοτόκου τῶν Μιασηνῶν καὶ Συμεὼν τοῦ Στυλίτου εἰς τὸν Ἑσπερινὸν, δόξα· ἦχος πλ. βʹ, ΠΑʹ «Θεία χάρις...» Εἰς τὰς κδʹ· ἡ παραμονὴ τῶν Χριστουγέννων στιχηρὰ ψαλλόμενα εἰς τὰς ὥρας· ὥρα πρώτη· ἦχος πλ. δʹ, ΝΗʹ Εἰς τὰς [ὥρας?] Μεγάλη ἡ κατὰ σάρκα γέννησις τοῦ Κυρίου· ἦχος βʹ, ΔΙʹ «Αὐγούστου μοναρχήσαντος...» Μὴν Ἰανουάριος, εἰς τὴν αʹ blank folio followed by an unnumbered folio that is torn Μὴν Φεβρουάριος, εἰς τὰς βʹ· ἦχος πλ. βʹ, ΠΑʹ Μὴν Μάρτιος, εἰς τῇ αʹ· ἦχος δʹ, ΠΑʹ Εἰς τὰς θʹ· τῶν ἁγίων τεσσαράκοντα μαρτύρων· ἦχος βʹ, ΔΙʹ Μὴν Ἀπρίλιος, εἰς τὰς κγʹ· ἦχος πλ. βʹ, ΠΑʹ Μὴν Μάϊος, εἰς τὰς βʹ· ἦχος Νανα, ΠΑʹ Μὴν Ἰούνιος, εἰς τὰς κδ´ [?] · ἦχος πλ. βʹ, ΠΑʹ Μὴν Ἰούλιος, εἰς τὰς αʹ· ἦχος πλ. βʹ, ΠΑʹ Μὴν Αὔγουστος, εἰς τὰς αʹ· ἦχος πλ. αʹ, ΝΗʹ Μὴν Αὔγουστος, εἰς τὴν λαʹ· ἡ κατάθεσις τῆς τιμίας ζώνης τῆς ὑπεραγίας Θεοτόκου· ἦχος βʹ, ΔΙʹ music and text end with 31 Aug. blank

Notes This late Anthologion Sticherarion is in good condition: clean and legible. The MS has a light brown binding. The back and front covers have flowers imprinted in the four corners and centre. The folios were unfoliated and have been numbered in pencil. There are 14–15 lines of text

EBE 2568

427

and music per page. Red ink has been used for the rubrics, some capital letters, incipits, modal signatures and hypostaseis. The text and neumes are written in black ink. Fol. Ir indicates either the colophon or ownership of the MS on the date of June 1832 by Azarios the Musician. The MS contains the Stichera Idiomela for the ecclesiastical year. The individual months are not always indicated but the high feast days are usually represented. The rubric on fol. 1r acknowledges that this MS containing Stichera Idiomela for the feasts of the ecclesiastical calendar begins with 1 Sept. The rubric further indicates that the music is composed by Iakovos Protopsaltes of the Great Church but interpreted according to the new musical system by Chourmouzios, the teacher, who has preserved the older melodies. The feasts go through 31 Aug.

EBE 2572 (olim 476)

428

ΕΒΕ 2572 (olim 476) ΑΝΘΟΛΟΓΙΟΝ ΣΤΙΧΗΡΑΡΙΟΝ/ANTHOLOGION STICHERARION Type of paper: common Measurements: 21.2 × 14.9 cm Folios: I + 336 pages [168 fols] + I Notation: Late Round Βyzantine Date: 1715 Provenance: Monastery of the Forerunner in Serres

Ir–v 1

50 63 92 113 139 203 217 228 245 275 293 336

Ir–v

table of contents Ἀρχὴ σὺν Θεῷ ἁγίῳ ἀνθολόγιον καλόφωνον περιέχον ἅπασαν ἀκολουθίαν τοῦ ὅλου ἐνιαυτοῦ ἐκ τῶν δεσποτικῶν καὶ θεομητορικῶν ἑορτῶν καὶ τῶν ἑορταζομένων ἁγίων· ποιηθὲν παρὰ κὺρ Χρυσάφου καὶ Πρωτοψάλτου τῆς Μεγάλης Ἐκκλησίας. Μὴν Σεπτέμβριος· ἦχος βʹ «Ἐκ ῥίζης ἀγαθὴς ἀγαθός...» Μὴν Ὀκτώβριος Μὴν Νοέμβριος Μὴν Δεκέμβριος Κυριακῇ πρὸς Χριστουγεννήσεως· τῶν ἁγίων ὥρων Μὴν Ἰανουάριος Μὴν Φεβρουάριος Μὴν Μάρτιος Μὴν Ἀπρίλιος Μὴν Ἰούνιος Μὴν Ἰούλιος Μὴν Αὔγουστος ... βίβλος ἐν ἔτει ͵αψιεʹ [1715], μηνὶ Σεπτεμβρίῳ ιγʹ ἐγράφη δὲ παρ’ ἐμοῦ Νεκταρίου ἱερομονάχου Συμιακοῦ καὶ Ἁγιορείτου ἐκ τῆς σεβαστίας καὶ βασιλικῆς τῶν Ἰβηρῶν μονῆς ...· ἦχος αʹ «Ἀθλοφόρε τοῦ Χριστοῦ…». (Book written in the year 1715, month of September, the 13th, written by me Nektarios, Monk of Syme and Athos from the reverend and royal Monastery of Iviron.) blank

Notes This Anthologion Sticherarion has a rust brown leather binding on wood with ornamental imprints that have faded. The interior front and back covers of the binding have a light pink background with a gold filigree ornamentation. Each page has an average of 16 lines of text and music. The text and neumes are written in a black colour. A red ink has been used for the rubrics, the initial letter of incipits, modes and hypostaseis. The MS has been paginated. The condition of the MS is good. Fol. Ir–v has a table of contents that was added after the MS was written. The rubric on page 1 identifies this Sticherarion as an Anthologion for feasts composed by Chrysaphes [the New] and Protopsaltes of the Great Church. The Stichera follow according to the feasts of the liturgical calendar. Most of the months are indicated but there is no identification for the month of May. Page 336 has the colophon that identifies the scribe as Nektarios, Monk of Syme and Athos, from the Monastery of Iviron. The date of completion is 13 Sept. 1715

EBE 2575 (olim 396)

429

ΕΒΕ 2575 (olim 396) ΠΑΠΑΔΙΚΗ/PAPADIKE Type of paper: common Measurements: 17.1 × 11.2 cm Folios: 292 Notation: very Late Round Byzantine, supporting an eighteenth-century dating Date: 18th c. Provenance: Monastery of the Forerunner in Serres

1r–v 2r 2 v 3r 9r 138v

blank Σέρρες 396 blank Ἀρχὴ τῶν σημαδίων τῆς Mουσικῆς Tέχνης· κατ’ ἦχον «Κύριε ἐκέκραξα...». Other Anastasimataria chants follow. Ἐκλογὴ ψάλλεται εἰς τὰς ἑορτὰς τῆς Θεοτόκου· παρὰ κὺρ Πέτρου τοῦ Μελῳδοῦ· ἦχος δʹ. (Selections chanted for the feasts of the Theotokos, by Kyr Petros the Melodist, Mode IV.) Music by other composers follows. Ἀρχὴ τῆς Λειτουργίας τοῦ Χρυσοστόμου 182r Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν χερουβικῶν ὕμνων· τὰ παρόντα κὺρ Ἀντωνίου ἱερέως 185v Οἰκονόμου· ἦχος αʹ Λειτουργία τοῦ Μεγάλου Βασιλείου· κὺρ Ἰωάννου τοῦ Γλυκέως· ἦχος β´ 207r Κοινωνικὸν τοῦ κὺρ Δανιὴλ λαμπαδαρίου· ἦχος δʹ 209r Λειτουργία τῆς Προηγιασμένης· κὺρ Ἀντωνίου ἱερέως· ἦχος πλ. βʹ 238v Θεοτοκίων μαθημάτων τοῦ κὺρ Πέτρου Μπερεκέτη· ἦχος αʹ 239v music ends 289v 290r–291v blank A later hand has written ‘1826, May 12th’. 292r scribbled: Τὰ ὅσα δίδου, ἐκ τοῦ διδασκάλου μπαξισιλουμᾶ [?] 292v Notes This 18th-century Papadike is in relatively good condition. It has a rust brown binding and two worn gold clasps that secure the MS. The pages average 13 lines of text and music. The text and neumes are in black ink and the rubrics, modal signatures and hypostaseis are in red. On fol. 2r, there is evidence of the preceding Serres numbering that this MS once had. The MS begins formally on fol. 3r with the neumes of the Psaltike Techne, which categorizes it as a Papadike. On fol. 9r the Kekragaria along with other Anastasimataria chants (from Vespers and Orthros) are catalogued according to the modes of the octoechos. Beginning on fol. 138v are selections for the feast of the Theotokos by Kyr Petros the Melodist and other composers. Next come the three liturgies: fol. 182r, Liturgy of St John Chrysostom; fol. 207r, Liturgy of St Basil the Great with chants by Κyr Ioannes Glykys; and fol. 238v, Liturgy of the Presanctified Gifts with compositions by Kyr Antonios the Priest. Some of the compositions included within the liturgies are as follows: Communion chants by Κyr Daniel the the Lampadarios (fol. 209r);

430

EBE 2575 (olim 396)

Cherubic hymns by Κyr Antonios Oikonomos the Priest (fol. 185v); and Theotokia Lessons by Κyr Petros Bereketes. After the music has ended, there are two later inscriptions. On fol. 292r the date of 12 May 1826 is designated and on fol. 292v the following acknowledgement is written: ‘“All that thou givest”, by the teacher Baksisilouma [?].’ This addendum is obscure and uses the incorrect form of ‘give’ (imperative for the indicative), perhaps from a misunderstanding of the Lord’s Prayer. Even darker is the attribution to the διδάσκαλος. Should this be taken to mean ‘[manuscript] belonging to the master [ruler] Baksisilouma’, with the name as some corruption of the Ottoman Σουλεϊμάν? Such a guess is extremely tenuous, but it is difficult to proffer anything more satisfying.

EBE 2576 (olim 392)

431

ΕΒΕ 2576 (olim 392) ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: common Measurements: 16.5 × 10.4 cm Folios: 302 Notation: Late Round Byzantine Date: 18th c. Provenance: Monastery of the Forerunner in Serres; shelfmark 392 written in blue ink on fol. 1r and on the inner front binding

1r

1765, Μαρτίου 15 καὶ τὸ παρὸν σὺν τελετοῖς, ἐμοῦ τοῦ ἐλαχίστου. στιχηράριον τόμος ἤ στὸ ἀνθολόγιον· ἡ ἐνθύμησις· ὅταν ἐπῆρα τὸ στιχηράριον ἐν ἔτει χιλιοστῷ ἑπτακοσίῳ 1799· ἐγὼ ὡς τοῦ Χριστοῦ ἀναγνώστης. No mode «Ἀποστρέψαντός δε σοῦ τὸ πρόσωπον...» 1 v 3r Only the lower half of the folio is intact. 3v This folio has only neumes. 4r This folio also has only neumes. Ἕτερον [mathema] τοῦ αὐτοῦ· ἦχος βαρὺς «Αἰνεῖτε τὸν Κύριον...» 5r This folio has two different scripts: newer music and text above an older script and 6 v neumes. Hypostaseis and capitals of incipits are in red ink. After the music, the lower portion has marginal annotations in a different, larger 7 v black writing: περὶ ἀνθρώπου ὁτὶ ὀποὶον ἐκλεκτῶν [obsc.]· τὸ παρὸν κείμενον καὶ ἀνθολόγιον ἐγράφεται δασκάλος Δανιὴλ καὶ ἠμὲ [leg. fort. ἐγράφη (ὑπὸ τοῦ) δασκάλου Δανιὴλ καὶ ἐμέ (ἐμοῦ)]. Μὴν Ἰανουάριος, εἰς τὴν πρώτην· Ἡ κατὰ σάρκα περιτομὴ τοῦ Κυρίου καὶ Θεοῦ 8r καὶ Σωτῆρος ἡμῶν Ἰησοῦ Χριστοῦ καὶ μνήμῃ τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Βασιλείου ἀρχιεπισκόπου καὶ Παρίου οὐρανοφάντορος τοῦ μεγάλου. στιχηρὰ τῆς περιτομῆς· ἦχος πλ. δʹ «Σὺ καταβαίνου Σωτὴρ τῶν ἀνθρώπων...». The Stichera Idiomela beginning with 1 Jan. follow according to the rest of the ecclesiastical calendar. Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ὡρῶν τοῦ ἁγίου Θεοφανείων· ποίημα Σωφρονίου πατριάρχου 24r Ἱεροσολύμων· ἦχος πλ. δʹ Μὴν Φεβρουάριος, αʹ· τοῦ ἁγίου μεγαλομάρτυρος Τρύφωνος· ἦχος βʹ 96v Ἰδιόμελα μεθέορτα ἦχος 107r Μὴν Μάρτιος, αʹ· τῆς ἁγίας μάρτυρος Εὐδοκίας· ἦχος πλ. βʹ 119r Μὴν Ἀπρίλιος, αʹ· τῆς ὁσίας μάρτυρος ἡμῶν Μαρίας τῆς Αἰγυπτίας· ἦχος βʹ 137r Μὴν Μάϊος, ϛʹ· τοῦ ἁγίου Ἰὼβ· ἦχος πλ. βʹ 149v Μὴν Ἰούνιος, δʹ· τοῦ Μητροπάνου ἀρχιεπισκόπου Κωνσταντινουπόλεως· ἦχος βʹ 164v Μὴν Ἰούλιος, βʹ· τὰ καταθέσια τῆς τιμίας ἑσθῆτος τῆς Θεοτόκου· ἦχος βʹ 200v Μὴν Αὔγουστος, αʹ· τῶν ἁγίων ἑπτὰ μαρτύρων Μακκαβαίων καὶ τοῦ διδασκάλου 252r αὐτοῦ Ἐλεαζάρου καὶ τῆς μητρὸς αὐτῶν Σολομονῆς καὶ ἡ προσκύνησις τοῦ τιμίου καὶ ζωοποιοῦ Σταυροῦ· ἦχος πλ. δʹ 253v blank blank 262v Ἰδιόμελα μεθέορτα ἦχος 283r

432

EBE 2576 (olim392)

291v

[Aug.] εἰς τὰ κθʹ· ἡ ἀποτομὴ τῆς τιμίας κεφαλῆς τοῦ Προδρόμου· ἦχος πλ. βʹ. The feast for 29 Aug. continues until the end of the MS. music and MS end 302r 302v This folio contains neumes without text but in the lower left-hand corner scribbled writing, not unlike that on fol. 1r: [Τοῦ] Χρυσάφου, νὰ δωθῇ τὸ παρόν μου ἁγίᾳ [?] καὶ γιὰ χάριν τοῦ δασκάλου κὺρ Θεοχάρης, ὅμοιος εἰς Φλάβιον. Notes This is a Sticherarion from the 18th century that does not have feasts for the complete ecclesiastical calendar but only 1 Jan. to 29 Aug. The MS is in good condition, with a dark brown leather binding on wood. The front and back covers have faded gold imprints. There is evidence of latches for two gold clasps that have since disappeared. The interiors of the front and back covers contain palimpsests: both have Latin texts written in a vertical direction over the original Greek. The text and neumes are written in black ink and the rubrics, capital incipits, modal signatures and hypostaseis are in red. Rubrics identifying feasts are abundant but only a very few designate composers’ names. The pages average ten to 11 lines of text and music. Fols 1r–7v have text and music in a later handwriting. Fol. 302v has only neumes, written in this same later hand. Throughout there are many orthographic mistakes by the scribe. The MS proper begins on fol. 8r with the feast for 1 Jan. The remaining months of the ecclesiastical year are indicated and continue to fol. 302r. The notated music is fairly standard for the given feasts. Various later annotations occur in the MS. Fol. 1r makes reference to the date of 15 Mar. 1765 and the later date of 1799 when the chanter/reader received this MS. Fol. 7v infers that the Anthologion was written by the teacher Daniel. Lastly, fol. 302v has a later directive scribbled that the work belonged to a Chrysaphes and was to be given to the teacher Mr Theocharis, the same as Flavios.

EBE 2577 (olim 397)

433

ΕΒΕ 2577 (olim 397) ΠΑΠΑΔΙΚΗ/PAPADIKE Type of paper: common Measurements: 17 × 11 cm Folios: 462 + III Notation: Late Round Byzantine Date: 18th c. Provenance: Monastery of the Forerunner in Serres

1r–v 2r 9r 18r 58r 98v 151v 161v 178r 184r–v 188r–v 201r 222r 278r 289v 290v 363v 368v 462v Ir–IIIv

blank Ἀνθολογίαν, περιέχουσα τὴν πρέπουσαν αὐτῆς ἀνθολογίαν· ποιήματα διαφόρων ποιητῶν παλαιῶν τε καὶ νέων. Ἀρχὴ τοῦ μεγάλου Ἑσπερινοῦ. ὁπόταν γίνεται ἀγρυπνία ἀρχόμεθα ἡσύχως καὶ μετὰ τὸ εὐλαβείας· ἦχος πλ. δʹ «Ἀνοίξαντός σου...» Τοῦ Πέτρου λαμπαδαρίου· ἦχος πλ. δʹ «Μακάριος ἀνήρ...» Κατ’ ἦχον, κεκραγαρίων· ἦχος αʹ Δοχαὶ κὺρ Δανιὴλ μοναχοῦ· ἦχος πλ. δʹ Πολυέλεος κὺρ Δανιὴλ Πρωτοψάλτου Ἐκλογὴ ψαλλομένη εἰς ταῖς ἀγρυπνίαις τῆς κυρίας Θεοτόκου· κὺρ Πέτρου Μπερεκέτη Κατ’ ἦχον, πασαπνοάριον τοῦ Εὐαγγελίου ... κὺρ Πέτρου Μελῳδοῦ καὶ Μπερεκέτη Πασαπνοάρια τοῦ κὺρ Ἰωάννου Πρωτοψάλτου blank blank Ἕνδεκα ἑωθινῶν παρὰ κὺρ Ἰωάννου τοῦ Γλυκέως· ἦχος αʹ Δοξολογίαι διαφόρων ποιητῶν ... τοῦ Πέτρου Μπερεκέτη· τετράφωνος, ἦχος αʹ Ἡ Λειτουργία Ἰωάννου Χρυσοστόμου Ἐξήγησις ἐκ τοῦ παλαιοῦ· κὺρ Πέτρου Χερουβικῶν διαφόρων ποιητῶν ... τὸ παρὸν κὺρ Ἀντωνίου ἱερέως ... κατ’ ἦχον Ἡ Λειτουργία τοῦ Μεγάλου Βασιλείου ... κὺρ Ἰωάννου τοῦ Γλυκέως Κατ’ ἦχον κοινωνικὸν· τοῦ κὺρ Δανιὴλ λαμπαδαρίου music and MS end blank

Notes This Papadike from the 18th century contains music by the older as well as contemporary composers. The MS is in good condition. It is bound in reddish brown leather and has two gold clasps that are still usable. Both the front and back covers have gold ornamentation in the rectangular borders and centre circles. Black ink is used for the text and neumes with red for the rubrics, modal signatures and hypostaseis. There is an average of 11 lines of text and music per page. The contents of this Papadike Anthologion are typical. Fol. 2r begins with chants for Great Vespers and music for Orthros follows. The Liturgy for St John Chrysostom begins on fol. 278r and the Liturgy for St Basil is on fol. 363v. The latter has a setting by an older composer, Ioannes Glykys. The majority of the settings are exegeses (interpretations) by contemporary composers such as Antonios the Priest, Daniel the Lampadarios and Petros the Melodist Bereketes.

434

EBE 2578 (olim 399)

ΕΒΕ 2578 (olim 399) ΜΑΘΗΜΑΤΑΡΙΟΝ/MATHEMATARION Type of paper: common Measurements: 17 × 11.1 cm Folios: 241 + III Notation: Late Round Βyzantine, at the advent of the newer system Date: late 18th–early 19th c. Provenance: Monastery of the Forerunner in Serres

1r–v 2r

blank Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχον Θεοτοκίων· τὸ παρὸν κὺρ Μπαλασίου ἱερέως· ἦχος αʹ «Κόλπῳ οὐκ ἐκστὰς ἀνάρχου Γεννήτορος...» 61v This folio has two red crosses at the end of the section. Τὸ παρόν, τὰ Θεοτόκια· κὺρ Δανιὴλ λαμπαδαρίου· ἦχος αʹ «Προκατιδὼν ὁ 62r Προφήτης...» Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν μαθημάτων τοῦ ἐνιαυτοῦ· μὴν Σεπτέμβριος εἰς τῆς ὀκτώ. τὸ 86v Γεννέσιον τῆς Θεοτόκου· κὺρ Μπαλασίου ἱερέως· ἦχος πλ. δʹ. Then follow Mathemata for the feasts of the liturgical year beginning with 8 Sept. Only selected feast days are included. Μὴν Ὀκτώβριος 97v Μὴν Νοέμβριος 100r Μὴν Δεκέμβριος 112r Μὴν Ἰανουάριος 131r Μὴν Φεβρουάριος 138r Μὴν Ἀπρίλιος 144r Μὴν Ἰούνιος 146v (The month of July is not designated.) Μὴν Αὔγουστος 152v Ἀκάθιστος ὕμνος· κὺρ Ἰωάννου τοῦ Κλαδᾶ· ἦχος πλ. δʹ 159r Ἀκάθιστος ὕμνος· ἐξήγησις τοῦ Πέτρου τοῦ Βυζαντίου· ἦχος πλ. δʹ 162r Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ Πεντηκοσταρίου· ἦχος πλ. αʹ «Χριστὸς ἐκ νεκρῶν ἀθάνατον...». 171r This continues with other exegeses of Mathemata of the Pentecostarion period. Ἕτερον τοῦ Μανουὴλ τοῦ Χρυσάφου 172r Ἕτερον τοῦ Γαβριὴλ ἱερομονάχου τοῦ Μακεδῶνος 174v Ἕτερον τοῦ κὺρ Δανιὴλ 177v Ἕτερον τοῦ Πέτρου τοῦ Μελῳδοῦ 181v Ἕτερον τοῦ Μπαλασίου 184v Ἕτερον τοῦ Πέτρου τοῦ Γλυκῦ 187r Ἄμωμος εἰς κοιμηθέντας· Μηχαὴλ ἱερέως Χιοπολίτου· ἦχος βʹ. This newer version of 199r the Amomos for the deceased is in three staseis. 202v Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ μερικῶν κρατημάτων· τὸ παρὸν κὺρ Παναγίωτου Πρωτοψάλτου· ἦχος βαρὺς «Τεριρεμ» Ἕτερον τοῦ Ἰωάννου Πρωτοψάλτου καὶ φοιτητοῦ 205r Ἕτερον κὺρ Πέτρου 207v

EBE 2578 (olim 399)

209v 225r 241v Ir–IIIv

435

Ἕτερον κυρίου Ἰωάννου Πρωτοψάλτου· εἰς τὸ, Ἡ τρίφωνος οὐσία· ἦχος αʹ. These are all Kratemata based on various chants that are most often identified in the rubric. Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ μερικῶν καλοφωνικῶν εἱρμῶν· ποιηθέντων παρὰ διαφόρων ποιητῶν· τὸ παρὸν κὺρ Μπαλασίου ἱερέως· ἦχος αʹ. These kalophonic Heirmoi are written by various composers but are listed according to modes. end of music and MS blank

Notes This Mathematarion contains a variety of chants from other types of MSS set in pedagogical and kalophonic manner. The MS is in good condition. It has a reddish binding with two gold clasps. The front cover is identical with the back and has golden imprints of saints and Christ within a circle surrounded by a rectangle. The text and neumes are written in black ink with a clean script while red ink is used for rubrics, modal signatures, hypostaseis and some capital incipits. Each page has only 12 lines of text and music in a writing space of only 12 × 7 cm; the margins are wide. Because this is a later MS dating from the late 18th to early 19th century, newer composers are represented in addition to the traditional ones. Some of the contemporary composers are Balasios the Priest, Daniel the Lampadarios, Petros Byzantios, Panagiotes Protopsaltes, Manuel Chrysaphes, Gabriel the Priest-Monk from Macedonia, Petros the Melodist, Petros Glykys, Petros Bereketes and Ioannes Protopsaltes, and Michael the Chian Priest. The MS contains an assortment of chants. It begins on fol. 2r, which has a red border design on the upper part of the folio. This folio contains Theotokia according to modes, beginning with a work by Balasios. The Theotokia continue with various settings and on fol. 62r there is a setting by Daniel the Lampadarios. Fols 86v–158v have a Menologion of Mathemata, that is kalophonic settings of selective feasts according to the ecclesiastical calendar. Fol. 159r has an older setting of the Akathistos hymn by Ioannes Kladas that is immediately followed (fol. 162r) by an exegeses by Petros Byzantios. On fols 171r–198v there are mathemata for the Pentecostarion period by younger composers. A newer version of the Amomos for Laymen by Michael the Chian Priest is found on fol. 199r. Kratemata follow on fols 202v–224v. From fol. 225r till the end, the younger composers contribute kalophonic Heirmoi.

EBE 2579 (olim 258)

436

ΕΒΕ 2579 (olim 258) ΑΝΘΟΛΟΓΙΑ/ANTHOLOGIA Type of paper: common Measurements: 16.4 × 11 cm Folios: 287 Notation: very Late Round Byzantine Date: 1823 Provenance: Monastery of the Forerunner in Serres

1r 21r 31v 83v 120r 174v 200v 231r 231v 232r 245r 263v 265r 270r 287v

Ἀνθολογία περιέχουσα τὴν πρέπουσα αὐτὴν ἀκολουθία ἐκ τε τῷ [sic] Ἑσπερινῷ καὶ τῷ Ὄρθρῳ· τὸ παρὸν ὑπάρχει κὺρ Πέτρου καὶ λαμπαδαρίου τῆς Μεγάλης Ἔκκλησίας· ἦχος πλ. δʹ Ἡ παροῦσα ἐκλογὴ ψάλλεται τῇ Κυριακῇ τῆς Ἀπόκρεω καὶ τῆς Τυρινῆς· ἦχος Νανα Ἀρχὴ πολυελέων ... κὺρ Ἰωάννου Πρωτοψάλτου Ἀρχὴ καὶ δοξολογίαι· παρὸν κὺρ Πέτρου Χερουβικὸν κατ’ ἦχον ... τοῦ Πέτρου λαμπαδαρίου Κοινωνικόν ... τοῦ κὺρ Δανιὴλ Πρωτοψάλτου Ἑωθινὰ ... τοῦ κὺρ Ἰακώβου καὶ Πρωτοψάλτου· ἦχος αʹ Colophon written in red: Ἐγράφη διὰ χειρὸς ἐκ ἐμοῦ Ἀζαρίου ἱερομονάχου 1823, Αὔγουστος. (Written by my hand, Azarios the Monk in Aug. 1823.) blank From this folio to the end there is a different, later script: Τοῦ κὺρ Συνεσίου Ἱβηρίτου· ἦχος αʹ «Θεὸς Κύριος...» Χερουβικὰ τοῦ κὺρ Πέτρου Βύζαντος blank «Κύριε ἐκέκραξα...» Κοινωνικὰ τοῦ Πέτρου λαμπαδαρίου· ἦχος αʹ end of MS

Notes The MS is classified as an Anthologia, a later name for the Akolouthia. The MS is in good condition and is bound in a rust brownish leather on wood. The two gold clasps that fasten the MS are still in place. The texts and neumes are written in black ink and the rubrics (including the colophon), modal Martyria and hypostaseis are in red. There is an average of 11 lines of text and music per page. On fols 232r–287v the music and texts are written in a later hand. The content of the MS is typical. It begins with chants for the anthologies of Vespers and Orthros with the initial composition by Petros the Lampadarios. On fol. 21r there are selections for Meatfare and Cheesefare Sundays. The MS continues with the following: fol. 31v Polyeleos by Kyr Ioannes Protopsaltes fol. 83r Doxology by Kyr Petros fol. 120r Cherubic hymns according to modes by Petros the Lampadarios fol. 174v Communion chants by Daniel Protopsaltes

EBE 2579 (olim 258)

437

fol. 200v Ηeothina chants by Iakovos Protopsaltes The colophon written in red is found on fol. 231r and identifies the scribe as Azarios the Monk and dates the MS as Aug. 1823. After the blank folio on fol. 231v, the remaining chants are later additions: fol. 232r Theos Kyrios fol. 245r Cherubic hymns by Petros Byzantios fol. 265r Kekragaria fol. 270r Communion hymns by Petros the Lampadarios

EBE 2580 (olim 398)

438

ΕΒΕ 2580 (olim 398) ΠΑΠΑΔΙΚΗ ΑΝΘΟΛΟΓΙΑ/PAPADIKE ANTHOLOGIA Type of paper: common Measurements: 17 × 10.7 cm Folios: 374 Notation: very Late Round Byzantine, but not quite in the newer Chrysanthine system Date: 19th c. Provenance: Monastery of the Forerunner in Serres

1r–16v 17r

blank Τὸ παρὸν ψάλλεται εἰς τὰς ἀγρυπνίας· ποίημα τοῦ κὺρ Πέτρου λαμπαδαρίου· ἦχος πλ. δʹ. This rubric has a small border design. Τὰ κεκραγάρια· ἦχος αʹ 28v Τῷ Σαββάτῳ τῆς Ἀκάθιστος Ὄρθρος 49r Ἀρχὴ καὶ τῶν πολυελέων τοῦ κὺρ Ἰωάννου· ἦχος δʹ 60r Χαιρετισμοὺς τῆς Θεοτόκου, ὀκτώηχος· ἦχος αʹ 174v Χερουβικὰ συνετεθημένα· κὺρ Στεφάνου Ξηροποτάμου· ἦχος αʹ 179r Ἑωθινὰ ... κὺρ Ἰακώβου Πρωτοψάλτου 189r Χερουβικὰ τοῦ κὺρ Πετράκη· ἦχος αʹ 202v Ἀκάθιστος ὕμνος 231r Κατ’ ἦχον κοινωνικῶν· κὺρ Δανιὴλ· ἦχος αʹ 250r Κατ’ ἦχον κοινωνικῶν· κὺρ Δανιὴλ 258v Χερουβικὰ Βασιλείου Στεφάνου τοῦ Βυζαντίου· ἦχος αʹ 283v Ἡ Λειτουργία τοῦ Ἰωάννου Χρυσοστόμου 314r Πολυέλεος τοῦ κὺρ Δανιὴλ· ἦχος δʹ 318v Τοῦ κὺρ Δανιὴλ· σύντομα τῆς ἑβδομάδος· ἦχος αʹ, Cherubic hymn setting 334v Τοῦ κὺρ Πέτρου· τῆς ἑβδομάδος κοινωνικά· ἦχος αʹ 340r music and MS ends 350v 351r–374v blank Notes This early 19th-century Papadike Anthologia is in very good condition. It has a reddish binding with gold contrast on the rectangular border decor and a diamond centre found on both the front and back covers. Black ink is used for the text and neumes, with red for the rubrics, modal signatures and hypostaseis. The pages average about 12 lines of text and music. The MS presents the repertory of the later 18th- and early 19th-century composers. The MS is typical in content. It begins formally on fol. 17r and has chants for Vespers composed by Kyr Petros the Lampadarios. On fol. 49r are settings for the Saturday service of the Akathistos (not seated) Orthros. The MS continues with the following chants: fol. 60r Polyeleos fol. 174v Chairetismoi (Praise services) for the Theototkos fol. 179r Cherubic hymns by Kyr Stephanos

EBE 2580 (olim 398)

fol. 189r the Heothina by Kyr Iakovos Protopsaltes fol. 202v Cherubic hymns by Kyr Petrakes fol. 231r the Akathistos hymn fols 250r Communion chants by Kyr Daniel and 258v fol. 283v Communion chant by Basileios Stephanos of Byzantium fol. 314r Liturgy of St John Chrysostom fol. 318v Polyeleos by Kyr Daniel fol. 334v an abridged Cherubic hymn for the week by Kyr Daniel fol. 340r Communion chants for the week by Kyr Petros

439

EBE 2584

440

ΕΒΕ 2584 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: common Measurements: 20.5 × 14.9 cm Folios: 206 Notation: Late Round Byzantine Date: 18th c.

1r 43r 68v 107v 135r 154v 157r 165v 206v

Στιχηράριον καλοφωνικόν, ποιηθὲν παρὰ κὺρ Γερμανοῦ ἀρχιερέως Νέων Πατρῶν· μὴν Σεπτέμβριος εἰς τὴν πρώτην· ἀρχὴ τῆς ἰνδίκτου ἤτοι τοῦ νέου ἔτους καὶ μνήμῃ τοῦ ὁσίου πατρὸς ἡμῶν Συμεὼν τοῦ Στυλίτου, στιχηρὰ ἰδιόμελα· ἦχος πλ. αʹ «Ὅσιε Πάτερ...» Μὴν Ὀκτώβριος εἰς τὴν πρώτην· τοῦ ἁγίου ἀποστόλου Ἀνανίου καὶ τοῦ ὁσίου πατρὸς ἡμῶν Ῥωμανοῦ τοῦ Μελῳδοῦ· ἦχος βʹ. This rubric has a border design at the top. Μὴν Νοέμβριος εἰς τὴν πρώτην· τῶν ἁγίων καὶ θαυματουργῶν ἀναργύρων Κοσμᾶ καὶ Δαμιανοῦ· ἦχος πλ. βʹ. This rubric is framed with a border design. Μὴν Δεκέμβριος εἰς τὰς δʹ· τῆς ἁγίας μάρτυρος Βαρβάρας καί ... τοῦ Ἰωάννου τοῦ Δαμασκηνοῦ· ἦχος πλ. βʹ Εἰς τὰς ὥρας τῶν Χριστουγέννων· ἦχος πλ. δʹ «Βηθλεὲμ ἑτοιμάζουσα...». The rubric has a border design. Μεθέορτα (in reference to chants after a festival/feast) Μὴν Ἰανουάριος εἰς τὴν αʹ· ἡ περιτομὴ τοῦ κυρίου ἡμῶν Ἰησοῦ Χριστοῦ καὶ ἐν ἁγίοις πατρὸς ἡμῶν Βασιλείου· ἦχος πλ. δʹ. The rubric has a border design. Εἰς τὰς ὥρας τῶν Θεοφανείων· ἦχος πλ. δʹ. The rubric has a border design. Music and text end with the feast of 31 Jan.: ἀναργύρων Κυροῦ καὶ Ἰωάννου.

Notes This later Sticherarion contains the Stichera Idiomela for ecclesiastical feasts of the liturgical calendar. In the opening rubric of fol. 1r, this kalophonic Sticherarion is identified as containing works composed by the High Priest Germanos of New Patras. Since no other composers’ names are identified, it is assumed the compositions are all by Germanos. The MS, overall, is in good condition and legible. It has a brownish-black leather binding on wood with gold and leather clasps still intact. The exterior back and front covers have an imprinted rectangular border with a centred ornate diamond design. The interior front wooden cover has a later white paper that is covering a previous text that had been written lengthwise [vertical]. The top part of this interior binding has the following inscription: τοῦτο τὸ στιχηράριον ἦτο τοῦ παπᾶ τοῦ Ἰβήρων 506 (?) (This Sticherarion belonged to the priest of Iviron 506). The lower part has the following: τῷ στῇ γέννησειν ῷ ἀναστάσεως· εἰς τῷ στιχηράριον εἰς τῶν σεπτέμβιων 23 (obsc., leg. fort. τοῦτο στὴ [Χριστοῦ] γέννησιν [ἢ/καὶ] ἀνάστασιν... this is for the birth [of Christ] and for the resurrection, [to be inserted into?] the Sticherarion on 23 Sept.). The MS has been numbered in pencil. The text and music are written in black ink. Red ink is used for the rubrics, modal signatures, hypostaseis and capital letters of incipits. The rubrics indicate feasts and modes. Each page has an average of 14 lines of text and music. The rubric on

EBE 2584

441

fol. 1r is framed with a border design above which the date 1807 is written lightly. There are other border designs in the MS, noted above. The contents for this Sticherarion are typical but incomplete. Fol. 1r begins with the feast for 1 Sept. and proceeds with feasts of Oct. (fol. 43r); Nov. (fol. 68v); Dec. (fol. 107v); the Hours for Christmas (fol. 135r); Jan. (fol. 157r); the Hours for Epiphany (fol. 165v); and the feast for 31 Jan. (fol. 206v). The concluding rubric after the last chant on fol. 206v states that this is the end of the first volume (εἰς τὸ τέλος ὁ πρῶτος τόμος). This rubric explains why this Sticherarion contains only feasts through 31 Jan. and infers that a second volume would begin with Feb. and proceed through the remaining feasts. In a later writing directly below this rubric, the Greek alphabet is written in red ink and then in black ink this text follows: Ἅγιος ὁ Θεός. Below that, the following is in red: 1807, Μαΐῳ 18, ἐγὼ ὁ στενός.

442

EBE 2596

ΕΒΕ 2596 ΠΑΠΑΔΙΚΗ ΑΝΘΟΛΟΓΙΑ/PAPADIKE ANTHOLOGIA Type of paper: common Measurements: 15.4 × 10.5 cm Folios: 417 Notation: very Late Round Byzantine Date: 1812 (or early 19th c.) Provenance: probably Serres, Greece

1r–17v 18r

blank Τὸ παρὸν ψάλλεται εἰς τὰς ἀγρυπνίας· ποίημα τοῦ κὺρ Πέτρου λαμπαδαρίου τῆς Μεγάλης Ἐκκλησίας· ἦχος πλ. δʹ Ἐκλογὴ ψάλλεται τῇ Κυριακῇ τῆς Ἀπόκρεως καὶ τῆς Τυροφάγου, μετὰ τοῦ Πολυελέου· 98r ἦχος Νανα Ἡ Θεία Λειτουργία τοῦ Χρυσοστόμου 279v Ἡ Θεία Λειτουργία τοῦ Μέγα Βασιλείου 285v Ἡ Θεία Λειτουργία τοῦ Προηγιασμένου 288r Ἑωθινὰ 386v 406v The music is discontinued after this folio. blank 407r–v Μεγαλυνάρια. Only the text is given for the Megalynaria. Although there is no music, 408r modal signatures have been indicated. 413r–415v blank «Θεὸς Κύριος...» The music resumes with the Theos Kyrios. 416r end of music 416v 417r This folio contains the date 1812 with an inscription that this MS is from Serres. Notes This Papadike Anthologia may originate from the Monastery of the Forerunner in Serres, Greece. However, there is no distinguishing catalogue number associated with that monastery. On the concluding fol. 417r there is a date of 1812, which could be the colophon date but is not stated outright. This date would be in keeping with the content and appearance of the MS, for it can definitely be placed in the early 19th century. The MS is very clean and legible and the brown binding is also in good condition. The music and text are written in black ink and the rubrics, modal signatures and hypostaseis are in red. The pages average 10–12 lines of text and music. The Papadike anthology begins on fol. 18r. This opening rubric indicates that ‘the following are chanted at the vigil and are composed by Kyr Petros the Lampadarios of the Great Church’. On fol. 98r the rubric identifies the chants as ‘selections chanted on the Sunday of the Carnival and Cheesefare after the Polyeleos’. The three liturgies follow: fol. 279v, Liturgy of St John Chrysostom; fol. 285v, Liturgy of St Basil; and fol. 288r, Liturgy of Presanctified Gifts. The Heothina chants are found on fol. 386v. The music temporarily stops with fol. 406v with the text of the Megalynaria interpolated (fols 408r–412v). The music with text for the ‘Theos Kyrios’ resumes with fol. 416r.

EBE 2599 (olim 491)

443

ΕΒΕ 2599 (olim 491) ΠΑΠΑΔΙΚΗ/PAPADIKE Type of paper: chartaceous Measurements: 21.7 × 14.5 cm Folios: 330 Notation: Middle Round Byzantine Date: late 14th–15th c. Provenance: Monastery of the Forerunner in Serres

1r–7v 8r–16r 9r 10v 16r 16v 17r 23r 29v 31r 32r

33v 36r 39v 42r 45r 47v 52r 54r 59r 60r 62r 63r 64r 65r 66r 67r 68r 71v 73v

Κρατήματα· ἦχος αʹ Κρατήματα. More Kratemata follow by various composers. Κράτημα τοῦ Ἠθικοῦ· ἦχος αʹ Ἀρχὴ τοῦ δευτέρου ἤχου· τοῦ Κορώνη Kratemata are in the Barys Mode and previously in Mode I. Four letters from Korones’ name are placed in the shape of a crucifix: κ, ρ, ν, η. blank Τοῦ Κορώνη· ἦχος πλ. δʹ Τοῦ λαμπαδαρίου· ἦχος πλ. βʹ Δυσικόν· ἦχος πλ. δʹ (Western[-like]) Τοῦ Κορώνη· ἦχος πλ. δʹ Ἀπὸ τὸ, «Οἴμοι παναθλία ψυχή»· ἀναγραμματισμὸς τοῦ Μαΐστρου· ἦχος πλ. δʹ. The Anagrammatismoi are kalophonic settings for portions of verses from a larger hymn. They differ from the preceding Kratemata, which are usually based on nonsense syllables throughout. Ἕτερον τοῦ Κορώνη· ἦχος πλ. δʹ Ἕτερον τοῦ Καμπανοῦ· ἦχος βʹ Ἕτερον τοῦ Μαΐστρου· no mode Ἕτερον τοῦ Κορώνη· ἦχος γʹ Ἕτερον τοῦ Κουκουζέλη· ἦχος βʹ Ἕτερον τοῦ λαμπαδαρίου· ἦχος γʹ Ἕτερον τοῦ Ἰωάννου τοῦ λαμπαδαρίου· ἦχος πλ. δʹ Ἕτερον τοῦ Κουκουζέλη· ἦχος πλ. δʹ Ἕτερον τοῦ Κουκουζέλη· ἦχος πλ. βʹ Ἕτερον τοῦ Κορώνη· ἦχος πλ. βʹ Ἕτερον τοῦ Κουκουζέλη· ἦχος αʹ Ἕτερον τοῦ Κορώνη· ἦχος πλ. αʹ Ἕτερον τοῦ Κουκουζέλη· ἦχος πλ. αʹ Ἕτερον τοῦ Ἰωάννου λαμπαδαρίου· ἦχος πλ. αʹ Ἕτερον τοῦ Κουκουζέλη· ἦχος πλ. αʹ Ἕτερον τοῦ Κορώνη· ἦχος αʹ Σταυροθεοτοκίον τοῦ Κουκουζέλη· λέγεται τοῦ Κορώνη· ἦχος αʹ Τοῦ Ξένου Κορώνη· ἦχος πλ. βʹ Μηνὶ Νοεμβρίῳ, τῷ ιγʹ· τὸ αὐτὸ ἀναγραμματισμὸς εἰς τὸν Μέγαν Χρυσόστομον, τοῦ Κορώνη· ἦχος Νανα

444

74v 77r 78r 80v 81v 82v 85r 89r 90r 91r 92r 94r 95v 96v 98r 99r 100v 102v 103r 104v 107r 110r 111r 112v 113v 114v 117r 117v 118r 119r 120r 121v 122r 122v 123v 126r 127r 128r 129v

EBE 2599 (olim 491)

Τῷ αὐτῷ μηνὶ [August] κθʹ· εἰς τὴν ἀποτομὴν τοῦ Τιμίου Προδρόμου εἰς τὸ τελούμενον γενέθλιον· ἦχος πλ. βʹ Ἀναγραμματισμὸς [13 Oct.?] εἰς τὸ δεκατρεῖς τὴν Τριάδα· τῶν ἁγίων μαρτύρων, κυρίου Κουκουζέλη· ἦχος πλ. δʹ Ἀηδόνι τοῦ Κορώνη, no mode Ὁ τρίτος ποῦς· ἦχος βʹ Φθοριακόν τοῦ Κουκουζέλη· ἦχος πλ. δʹ Ἀλληλούϊα τοῦ Κορώνη· ἦχος δʹ Πρόλογος τοῦ Ἰωάννου τοῦ Πρωτοψάλτου· ἦχος βʹ Ὀκτωβρίῳ κϛʹ· ἀναγραμματισμὸς εἰς τὸν ἅγιον Δημήτριον· τὸ, «Εὐφραίνουμεν»· Κωνσταντινούπολις καὶ Θεσσαλονικῶν τοῦ λαμπαδαρίου· ἦχος αʹ Ἀναγραμματισμός, τῇ αὐτῇ ἡμέρᾳ, τοῦ αὐτοῦ· ἦχος πλ. αʹ Ἀναγραμματισμὸς εἰς τὴν αὐτὴν ἑορτήν, τοῦ Μαΐστρου· ἦχος πλ. αʹ Τὴν αὐτὴν ἡμέραν [1 Nov.]· ἦχος βʹ· ἀναγραμματισμὸς τῶν ἁγίων καὶ θαυματουργῶν ἀναργύρων Κοσμᾶ καὶ Δαμιανοῦ Πρόλογος ψαλλόμενος εἰς δευτέραν στάσιν· ἦχος βʹ Τοῦ Κουκουζέλη· ἦχος Νανα Πρόλογος τοῦ Ἠθικοῦ· ἦχος γʹ Στίχος ψαλλόμενος εἰς τὸν πολυέλεον, τοῦ Ἠθικοῦ· ἦχος αʹ Ἦχος πλ. βʹ· τῷ ἀναγραμματισμῷ τοῦ «Ἀσωμάτων Κυρίου», Κωνσταντινοπόλεως· τὸ μέλος τοῦ Ἰωάννου τοῦ Κλαδᾶ Δεύτερος ποῦς ἀπὸ τὸ, «Ὅτε τῷ σταυρῷ»· ἦχος πλ. βʹ. (Second foot from the ‘Ote to Stavro’ or ‘O quando in cruce’, Mode Plagal II.) Εἰς τὴν Mεταμόρφωσιν τοῦ Κορώνη· ἦχος πλ. βʹ Καλοφωνικὸν τοῦ Κορώνη· ἦχος πλ. δʹ Τοῦ Κουκουζέλη· ἦχος πλ. δʹ Τοῦ Κορώνη· ἦχος πλ. δʹ Στίχος καλοφωνικὸν ἀπὸ τὸν Ἑσπερινὸν· ποίημα τοῦ Πρωτουψάλτου τοῦ Ξένου Κορώνη· ἦχος πλ. δʹ Τὰ μαθήματα τῶν στίχων τοῦ ὅλου τοῦ ἔτους· παρὰ διαφόρων ποιητῶν παλαῖων τε καὶ νέων Ἀναγραμματισμός, στιχηρὸν τῆς γεννήσεως παρὰ τοῦ Ἠθικοῦ· ἦχος πλ. βʹ Ἀναγραμματισμὸς τοῦ Κουκουζέλη· ἦχος βʹ Μὴν Ὀκτώβριος εἰς τὴν κϛʹ· τοῦ ἁγίου μεγαλομάρτυρος Δημητρίου· ἦχος αʹ Εἰς τῷ δʹ τοῦ Νοεμβρίου· ἦχος βʹ Εἰς τὴν σύναξιν τῶν ἀσωμάτων· ἦχος πλ. βʹ Τοῦ Κουκουζέλη· ἦχος βʹ Εἰς τῇ [sic] ιγʹ Νοεμβρίῳ· ἦχος βʹ Ἐκ τὰ καʹ εἰσόδια τῆς Θεοτόκου· ἦχος δʹ Ἀναγραμματισμός, ἰδιόμελα τοῦ Κουκουζέλη· ἦχος πλ. βʹ Τοῦ Δεκεμβρίου μηνὸς δʹ· εἰς τῆς ἁγίας Βαρβάρας· ἦχος βʹ Τῷ αὐτῷ μηνὶ εʹ· τοῦ ὁσίου πατρὸς ἡμῶν Σάβα· ἦχος πλ. βʹ ϛʹ· εἰς τὸν ἅγιον Νικόλαον· ἦχος πλ. βʹ Ἀναγραμματισμός, εἰς τὴν [Dec.] κγʹ· τοῦ Μαΐστρου· ἦχος πλ. δʹ Τροπάρια τοῦ Δεκεμβρίου κεʹ· ἦχος πλ. δʹ Τοῦ Μανούγρα· ἦχος αʹ Ψάλλεται καὶ τῷ [Dec.] κθʹ· τῶν ἁγίων νηπίων· τοῦ αὐτοῦ· ἦχος βαρὺς

EBE 2599 (olim 491)

130v 132r 132v 134v 135v 136v 139r

445

Στιχηρὸν ψαλλόμενον τῶν Χριστουγέννων· ἀπὸ χοροῦ, καὶ τῶν φωτῶν· ἦχος βʹ [Dec.] κζʹ· τοῦ ἁγίου πρωτομάρτυρος καὶ ἀρχιδιακόνου Στεφάνου· ἦχος Νανα Μὴν Ἰανουάριος αʹ· τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Βασιλείου τοῦ μεγάλου Τοῦ Κουκουζέλη· ἦχος πλ. βʹ [1 Jan.] Εἰς τὴν ἀποτομὴν τοῦ πατρὸς ἡμῶν· ἦχος πλ. βʹ Ἀναγραμματισμός, μὴν Ἰανουάριος αʹ· τοῦ Μαΐστορος· ἦχος πλ. αʹ Ἀρχὴ τῶν στιχηρῶν τῆς ἁγίας Τεσσαρακοστῆς· ἀρχόμενα ἀπὸ τῇ Κυρακῇ τοῦ Τελώνου καὶ τοῦ Φαρισαίου· ἦχος πλ. δʹ Τῇ Κυρακῇ τοῦ ἀσώτου· ἦχος βʹ 139v Ἀναγραμματισμός, τῇ Κυρακῇ τῆς βʹ παρουσίας· ἦχος πλ. δʹ 140v Εἰς τὴν ἐξορίαν τοῦ Ἀδάμ· τοῦ Κουκουζέλη· ἦχος πλ. βʹ 141r Κυριακῇ τῶν Βαΐων· τοῦ Κουκουζέλη· ἦχος Νενανω 144v Ἀπὸ τὸ, «Ὅτε τῷ σταυρῷ προσηλούμενον», ἀναγραμματισμὸς τοῦ Μαΐστορος· ἦχος 145v πλ. βʹ Τῇ Ἁγίᾳ καὶ Μεγάλῃ Κυριακῇ τοῦ Πάσχα, τοῦ Ἰωάννου Γλυκέως· ἦχος αʹ 149v Τοῦ Θεοδοσίου μοναχοῦ· ἦχος αʹ 151r Εἰς τὴν ἀνάληψιν τοῦ Ἰησοῦ Χριστοῦ· ἦχος βʹ 153v Ἀπὸ τῶν ἀναστασίμων αἰνῶν τοῦ τρίτου ἤχου, ψάλλεται δὲ τῇ Κυρακῇ τῶν Μυροφόρων· 156v ἦχος γʹ Τῇ Κυρακῇ τοῦ τυφλοῦ· ἦχος πλ. δʹ 158v blank 159v Ἀρχὴ τῶν κρατημάτων κατ’ ἦχον ποιῶμεν δὲ τὴν ἀρχήν, ἀπὸ τοῦ πρώτου ἤχου· Ὁ σὲ 160r τὴν ἀρχὴν εἴληψεν· ἦχος κύριος αʹ Τοῦ Δοκιανοῦ· ἦχος αʹ 163v blank 164v Ἀρχὴ τοῦ δευτέρου ἤχου· τοῦ Μαΐστορος Κουκουζέλη 165r Ἀρχὴ τοῦ τρίτου ἤχου 170r Τοῦ Ἠθικοῦ 170v Ἀρχὴ τοῦ τετάρτου ἤχου· τοῦ Κουκουζέλη 173r Τοῦ Κοντοπέτρου· ἦχος δʹ, στράτα παλαιά 174r 175v Previously a blank folio that now has newer writing. Τοῦ Μαΐστορος· ἦχος πλ. αʹ 176r 178r–179r These folios contain excerpts from the Old Testament Book of Genesis. blank 179v Ὁ πλάγιος δεύτερος· τοῦ λαμπαδαρίου 180r Τοῦ Γλυκέως 181v blank 182v Λαμπρότατος κυρίου Ξένου τοῦ Κορώνη· ἦχος πλ. βʹ 183r Ἀρχὴ τοῦ βαρέως ἤχου· ποίημα τοῦ Κορώνη 185v Τοῦ Μαΐστορος (although this is in the same handwriting, it is in a darker black ink) 187v Ἀρχὴ τοῦ πλαγίου δʹ· τοῦ Κουκουζέλη 189r 190v This folio was previously blank and now has a newer, larger script. Τοῦ Κουκουζέλη λαμπροτάτου· ἦχος πλ. δʹ 191r 194r additional marginal text and neumes in red more marginal text and neumes in red 193v Ἦχος πλ. δʹ, τοῦ Κορώνη· ὁ τὴν φθορὰν ἤχων 196r 197r–198r Κράτημα· ἦχος πλ. δʹ. (This Kratema is in a newer and larger script.)

446

EBE 2599 (olim 491)

198v This formerly blank folio has three lines of added neumes in the upper portion. Ἀρχὴ τῶν κατανυκτικῶν καὶ σταυροθεοτοκίων, κατ’ ἦχον τοῦ Μαΐστορος· ἦχος αʹ 199r Κατανυκτικὰ τοῦ Κορώνη 200v text only 203r formerly a blank folio, with four newer lines of text and music 203v Ἦχος πλ. αʹ, τοῦ Κορώνη 207r Ἦχος πλ. αʹ, τοῦ Κουκουζέλη 208r blank 209r Ἦχος πλ. βʹ, τοῦ Ἠθικοῦ 209v Ἦχος πλ. βʹ, τοῦ Δοκειανοῦ 210r Κατανυκτικὰ τοῦ Κουκουζέλη· ἦχος βαρὺς 212r This folio was formerly blank but has a newer, larger writing: μηνὶ Αὐγούστῳ, τετάρτης· 214v παρεδώκαμεν ὡσεὶ δῶρον, ͵αχμʹ [leg. ͵αχμʹ] πρχ [?] (The month of August, the 4th, we have given him over [betrayed him] as though a gift, 1640. ) Ἦχος πλ. δʹ 215r a blank folio that now has two added lines of text and music 218v blank and cut 219r 219v Three-quarters of this folio has been cut out for what was apparently an illumination. Ψαλλόμενον περὶ τὰ τέλη τῶν οἰκῶν ... τὴν Θεομήτοραν· πόδας βʹ 220r Πόδας βʹ 220v Πόδας γʹ 221r Πόδας δʹ 221v Πόδας εʹ. 222r formerly blank with newer neumes and texts 223r 223v–235v text only Στιχηρὰ εἰς τοὺς αἴνους, ὡς γενναῖον· ἦχος δʹ 226r blank 227r Rubric: ἐκ τοῦ παλαῖου βιβλίου τῶν βασιλείων. Text begins with the Book of Genesis: 227v Ἐν ἀρχῇ ἐποίησαν ὁ θεὸς τὸν οὐρανὸν καὶ τὴν γῆν... Περὶ τῆς κτίσεως τοῦ ναοῦ 228v Ἀκολουθία εἰς τοὺς τρεῖς ἱεράρχας 231r Τῶν Βαΐων· τοῦ Κουκουζέλη· ἦχος δʹ 236r 238r Ἀκολουθία εἰς τὴν ἑορτὴν τοῦ Ἁγίου Προφήτου Δανιὴλ ἐν τῷ μικρῷ Ἑσπερινῷ ... στίχον δʹ Σύναξις τοῦ Μέγα Βασιλείου (text and music) 239r conclusion of the Synaxis, containing text only 244v Ἀνοιξαντάρια· ἦχος πλ. δʹ. The Anoixantarion is preceded with a border design that 245r allows space for an illumination. Πολυέλεος ψαλλόμενος ἐν τῇ πόλῃ Θεσσαλονίκῃ· λεγόμενος ὁ Κουκουμάς· ἦχος αʹ 260r Ἀντίφωνα ἤτοι ἀλλάγματα ψαλλόμενα εἰς τὴν ὑπεραγίαν Θεοτόκον· καὶ εἰς μεγάλους 267r δεσποτικὰ ἑορτὰς· ποιήματα δὲ διαφόρων ποιητῶν, ὁ δομέστικος ἀπὸ χοροῦ, Γρηγορίου τοῦ Γλυκέως· ἦχος αʹ Ἦχος γʹ «Ἐπακούσας ὁ Κύριος ἐν ἡμέρᾳ θλίψεως...» 274r blank 280v Ἀντίφωνον ψαλλόμενον ... παρὰ διαφόρων ποιητῶν, παλαιῶν τε καὶ νέων «Μακάριος 281r ἀνὴρ ὁ φοβούμενος...» (Ps. 111)

EBE 2599 (olim 491)

447

286r 287r 294v 300v 301r

Κατ’ οἶκον ἐν βοηθείᾳ «Δόξα καὶ νῦν, Ἀλληλοῦϊα» Ἄμωμος ψαλλόμενος εἰς κοιμηθέντας κοσμικούς· ἦχος βʹ formerly blank but now with some writing on the bottom portion blank Εἰς τὴν αὐτὴν δευτέραν στάσιν ἕτερας ἀλλαγμάτων τοῦ νενανω· ἄρχεται δὲ ὁ δομέστικος ἢ ὁ πρωτοπαπᾶς τοῦ ἀριστεροῦ χοροῦ· καὶ ψάλλει ἀπὸ τῶν χειρῶν σου καὶ ... οὕτως· ἢ τὴν κατ’ ἀρχὴν τὸ ὑπεράγιον πρῶτον ἕως τέλος μετὰ τὸ δεξιὸν χορὸν εἰς εἰ ῤητὰ [rhetoric?] τοιαῦτα ἀλλάγματα· τὸ Νενανω· ἕως τέλος μετὰ τὸ δεξιὸν χορὸν καθὼς ἐν ταῖς παλλαιοῖς ἐδηλώθησαν· ποίημα κυρίου Ἰωάννοῦ τοῦ λαμπαδαρίου τοῦ Κλαδᾶ· ἦχος Νενανω Στάσις τρίτη· ὁ δομέστικος ἤτοι ὁ πρωτοπαπᾶς τοῦ δεξιοῦ χοροῦ ἀπέξω μετὰ τοῦ λαοῦ 308r αὐτοῦ· ἦχος πλ. δʹ 315r The third stasis of the Amomos is completed. The lower portion of the folio is torn. blank 315v Ἄμωμος ψαλλόμενος εἰς κοιμηθέντας μοναχοὺς 316r end of the version of Amomos for Monks 322r blank 322v Ἀρχὴ σὺν Θεῷ ἁγίῳ ψαλλόμενον, ἄμωμος εἰς τὴν ὑπεραγίαν Θεοτόκον· καὶ εἰς τὴν 323r Θεόσωμον τάφο τοῦ Ἰησοῦ Χριστοῦ· καὶ εἰς ἱεράρχας ἢ εἰς μάρτυρας καὶ εἰς ἑτέρας ἑορτὰς δεσποτικὰς· ὁ δομέστικος ἀπέξω, μετὰ τῶν ἁγίων· ἀπὸ χοροῦ, εἰς ἦχον δʹ, ἔσω. «Εὐλογητὸς εἶ Κύριε...» «Μακαρίζομέν σε Θεοτόκε Παρθένε...». In this version of the Amomos for Theotokos, Christ and others, Encomia are interwoven within the verses of the Amomos. end of MS and music 330v Notes This Papadike is in fair to poor condition but its contents are still very valuable because of its date -- late 14th–15th century. The MS provides information on composers, their works, types of kalophonic compositions and performance practice for this period of decline for the Empire. The MS has a reddish-brown binding on wood with the interior in red; the back cover, however, is badly damaged. Folios are missing at the beginning and the remainder is stained from water damage, difficult to read, and at times completely illegible. Because of the lacunae, the folios have been renumbered in pencil. (This is the numbering system used above.) Most of the writing in the MS is now faded. Hence, the text and neumes are in a brownish-black ink and a light red hue indicates the rubrics, epechemata, modal signatures, hypostaseis and capitals of incipits. The writing is extremely dense, with an average of 25 lines of text and music per page. All these elements make the MS difficult to decipher. Jakovljević states that fols 111–244 are dated as early as ad 1352. Although the MS would have to have been written in the later part of the 14th century, these folios are not in a different handwriting from the remaining MS. Hence, his argument does not support the hypothesis that these folios alone would be earlier. The content of the MS is very rich in the kalophonic repertory. The MS begins with Kratemata on fols 1r–31v. From fol. 32r, the MS continues with Anagrammatismoi, based on selected verses from chants. The Anagrammatismoi do not necessarily follow the calendar of the Menologion: the order and selection of feasts is very free. For instance, the feast for 13 Nov. is on fol. 73v and is followed by the feast for 29 Aug. on fol. 74v. Within the context of a loose order for the ecclesiastical

EBE 2599 (olim 491)

448

calendar, some of the movable Triodion feasts and Easter hymns are also interspersed. On fol. 160r the Kratemata reappear but are categorized according to modes of the octoechos. On fol. 199r there are Katanyktika and Staurotheotokia. Other items of interest are as follows: fol. 245r Anoixantaria fol. 260r Polyeleos as chanted in Thessalonika fol. 267r antiphons for the Theotokos and other feast days fol. 281r Ps. 111 fol. 287r Amomos for the funeral service of laymen fol. 316r Amomos for the funeral of monks fol. 323r Amomos for the Theotokos, Jesus Christ, priests and martyrs The MS also offers information on performance practice. Fol. 301r gives details of antiphonal chanting in the second stasis of the Amomos for Laymen. The rubric indicates that the domestikos or first priest of the left choir chants the first verse of the stasis and afterwards the right choir responds. For the third stasis of the same version of Amomos, fol. 308r states that the domestikos or the first priest for the right choir begins and chants in a responsorial manner with the congregation. This MS is also a source of late 14th- and 15th-century composers who contributed to the embellished chants: kalophonic settings, Kratemata and Anagrammatismoi. Some of the composers represented are as follows: Xenos Korones, Ethikos, the Lampadarios Ioannes Kladas, the Maistor Koukouzeles, Dokeianos, Manougras, Theodosios the Monk, Ioannes Glykys and Gregorios Glykys. Bibliography Conomos, Byzantine Trisagia and Cheroubika. Jakovljević, Δίγλωσση Παλαιογραφία καὶ Μελῳδοὶ Ὑμνογράφοι τοῦ Κώδικα τῶν Ἀθηνῶν 928. Stathis, G., Οἱ Ἀναγραμματισμοὶ. Touliatos, The Amomos Chant.

EBE 2600

449

ΕΒΕ 2600 ΠΑΠΑΔΙΚΗ/PAPADIKE Type of paper: chartaceous Measurements: 19.6 × 14.5 cm Folios: 184 Notation: Middle Round Byzantine Date: 14th c.

1r Originally, but with a later addition in an undiscernible writing along with a drawing in black ink. No mode «Τῶν ἐκ τῶν οὐρανῶν, ἀλληλούϊα...» 1 v Ἀρχὴ τῶν σημαδίων τῆς Ψαλτικῆς Τέχνης 2r Ἀρχὴ τῶν ἀνιόντων φωνῶν ... τὰ σώματα ἀνιόντα (ascending neumes) 3r Ἀρχὴ τῶν κατιόντων φωνῶν (descending neumes) 3 v Ἀπηχήματα (Intonation formulae) 4r end of Psaltike Techne 5 v Ἀρχὴ τῶν μεγάλων Ἑσπερινῶν· ἦχος βʹ «Δεῦτε προσκυνήσωμεν καὶ προσπέσωμεν...» 6r Ἀνοιξαντάρια τοῦ Κουκουζέλη· ἦχος πλ. δʹ «Ἀν τῳ θελεῖς τῷ πνεῦμα αὐτῶν...» 6 v Τοῦ Γεωργίου τοῦ Κοντοπέτρη· ἦχος πλ. δʹ «Καὶ ποῖον αὐτὴ τρέμειν...» 7 v Τοῦ Γεωργίου Κοντοπέτρη· ἦχος πλ. δʹ «Ἤ δυνηθεῖν αὐτὸ οἱ διάλογοί μου...» 8r Ἕτερον τοῦ Παναρέτου Ἦχος πλ. δʹ «Μακάριος ἀνήρ ...» 10r Τοῦ Κουκουζέλη, ἦχος πλ. δʹ «Ἐν καιρῷ αὐτοῦ... ἀλληλούϊα ...» 10v Τοῦ Κουκουζέλη, ἦχος πλ. δʹ «Διὰ τοῦτο οὐκ ἀνάστησον τὰ ἀσεβῆ ...» 11v Τοῦ Λαμπαδαρίου, ἦχος πλ. δʹ «Φωνῇ μου πρὸς Κύριον ἐκέκραξα ...» 12v Τοῦ Γεωργίου Παναρέτου, ἦχος πλ. δʹ «Τὸν Κύριον ἡμῶν συντεθειμένον ...» 13v Τοῦ Λαμπαδαρίου, ἦχος πλ. δʹ «Δόξα Πατρί ...» 14r Ἕτερον τοῦ Χαληβούρη, ἦχος Νενανω «Καὶ ἁγίῳ πνεύματι ...» 15r Ἦχος αʹ, Κεκραγάρια 16r Τέλος τῶν μεγάλων ἑσπερινῶν καὶ ἀρχὴ τῶν ὀρθρῶν· Θεσσαλονικαῖον καὶ πολίτικον, 23v ἐγράφη εἰς τὴν ἐκκλησίαν τῶν ἁγίων πάντων ἐν σοφίᾳ ...· ἦχος δʹ «Διηγήσαντο πάντα τῇ εὐθείᾳ, Δόξα πατρί…» 24r Κατ’ ἦχον· ἦχος αʹ «Θεὸς Κύριος…» Κατ’ ἦχον· ἦχος αʹ «Ἀλληλουϊάρια…» 25v Πολυέλεος ... κατὰ τῆς ἁγίας ἐκκλησίας· ποίημα διαφόρων ποιητῶν παλαιῶν τε καὶ 26r νέων· ἦχος αʹ Τοῦ Κουκουζέλη· ἦχος αʹ, Πολυέλεος 26v Ἕτερον τοῦ Παναρέτου Γεωργίου· ἦχος αʹ 27r Ἕτερον τοῦ Χαλιβούρη· ἦχος αʹ Ἕτερον τοῦ Χριστοφόρου· ἦχος αʹ 28r Ἕτερον τοῦ Λατρινοῦ· ἦχος αʹ Ἕτερον τοῦ Γεωργίου Κοντοπέτρη· ἦχος αʹ

450

29v

EBE 2600

No mode, «Τὸν ἥλιον κρύψαντα...». This chant ends on fol. 30v. The neumes and text are written in a larger and different script so that there are only 13 lines of text and music on these folios. This chant could have been a later addition to blank folios. Ἀλλάγματα· ἦχος αʹ «Ἐξομολογεῖσθε τῷ Κυρίῳ ὅτι ἀγαθόν...» 31r Ἀντίφωνα ψαλλόμενα εἰς Ἑσπέρας· ποιήματα διαφόρων ποιητῶν· ἦχος δʹ «Τὸν Κύριον, 37r ἀλληλούϊα...» «Μακάριος ἀνὴρ ὁ φοβούμενος...» (Ps. 111) 42v–43r «Καὶ σὺν αὐτῇ ... τῶν οὐρανῶν...» This appears to be a faded brown text and music that was added to what may have been blank folio. Ἕτερα τὰ παλαιά· ἦχος δʹ «Ανανε…» (kalophonic) 43v Ἕτερα καλλοφωνικά, ψάλλομεν εἰς ἑορτάς· ἦχος αʹ «Ἐπακούσαι σοῦ Κύριε...» 45r 45r an Asmatikos Orthros· ἦχος δʹ «Μνησθήσομαι τῶν ὀνομάτων...» Ἦχος πλ. αʹ «Πᾶσα πνοή...» 45v «Αἰνεῖτε...» (These chants on fols 45ra and 45va are melismatic versions and are found on the incorrectly numbered folios.) Εἰς τὴν θʹ ᾠδή 48v Ποίημα τοῦ Κουκουζέλη· ἦχος πλ. βʹ «Τὴν ὄντως Θεοτόκον, σὲ μεγαλύνομεν...» 49v The music on this folio is difficult to read. The following is scribbled in the lower 52r portion of the folio: ὡς κύματα θαλάσσης ἐπ’ ἐμὲ εἶπα νηστήσιμον ἡ εὐνομία μου 52v–53r kalophonic, melismatic chants written in a different, lighter script Τοῦ Μαΐστρου· ἦχος αʹ «Πᾶσα πνοή...» 53v «Δόξα πατρί» (various versions of the Doxology follow) 55r–v Τρισάγιον, ἦχος αʹ· ἄρχεται ὁ δομέστικος ἄλλον τρισάγιον. 56r Τελεσθὲν δὲ τὸ γʹ [τρισάγιον ] · ἄρχεται ὁ ἀναγνώστης ἐν τῷ ἄμβῳ καὶ λέγει ἀλληλούϊα 57r ψαλμῷ τοῦ Δαβὶδ· τοῦ Μαΐστρου. When the third [Trisagion] has finished, the reader begins from the pulpit and sings alleluia from a psalm of David; composition by the Maistor [Koukouzeles]. Χερουβικὸν· ποίημα τοῦ ψάλτου· ἦχος πλ. βʹ 58r Χερουβικὸν· τῷ μεγάλῳ Σαββάτῳ· ἦχος πλ. βʹ 61r Κοινωνικὸν τοῦ Μαΐστρου· ἦχος πλ. βʹ 63r 66r This folio has two lines of music added later, as well as scribal writing on the bottom. This folio has a later prayer text in a different handwriting. 66v Κράτημα· ποίημα τοῦ Μαΐστρου Κουκουζέλη· ἦχος πλ. δʹ «Ἱνατί ἐφρύαξαν ἔθνη καὶ 67r λαοί...» (Ps. 2) Τοῦ αὐτοῦ, τερρερίσματα· ἦχος πλ. δʹ «Παρέστησαν οἱ βασιλεῖς τῆς γῆς...» 68v At the end of the section, the scribe has written more prayers. 70v Ἦχος πλ. δʹ «Δουλεύσατε τῷ κυρίῳ...» 71r 72r–72v These folios have added music and text in the lower portion. Τοῦ Μαΐστρου, τερρερίσματα· ἦχος αʹ «Στόμα ἔχουσιν καὶ οὑ λαλεῖ...» 73r Τοῦ Μαΐστρου· ἦχος αʹ «Ὀφθαλὸν ἔχουσι καὶ οὐχ ὑψώνεται...» 75r Χερουβικὸν ᾀσματικόν· ἦχος βʹ 76r Τερρερίσματα 76v Τελεσθιθὲν τὰς τῆς Θείας καὶ ἱερᾶς Λειτουργίας τοῦ ἁγίου Ἰωάννου τοῦ Χρυσοστόμου· 79r ἄρχεται ἡ λειτουργία... ἦχος αʹ «Κατευθυνθήτῳ ...» 80v Τοῦ Κουκουζέλη, ἦχος πλ. δʹ «Κατευθυνθήτῳ...» 82v This was a previously blank folio that has an added Kratema written with larger neumes and text.

EBE 2600

83r 84v–85r

451

Ἦχος πλ. δ´ «Εὐλογητὸς Κύριος...» (melismatic setting) Ἦχος πλ. δʹ «Τὰς μετανοῖας ἀνοῖχον μοι πύλας...» (This is written in a larger script and text.) 85v–86v «Μεγαλύνον ἡ ψυχὴ μου...» Ἀναποδισμῶν τοῦ Κουκουζέλη· ἦχος πλ. δʹ «Ἔχω σαρκοῦ γὰρ τὸν ζωηφόρον...» 87r Τῷ αὐτῷ μηνί, Σεπτέμβριῳ ιδʹ· τοῦ Τιμίου Σταυροῦ· ἦχος πλ. βʹ (kalophonic setting) 87v Τῷ αὐτῷ μηνί, Ὀκτωβρίῳ κϛʹ· τοῦ ἁγίου μυροβλύτου Δημητρίου· ἦχος αʹ 88v Μηνὶ Νοεμβρίῳ ηʹ· ἡ σύναξις τοῦ ἀρχιστρατήγου Μιχαὴλ· ἦχος Νενανω 89v Μηνὶ Νοεμβρίῳ ιγʹ· τοῦ Ἰωάννου ἐπισκόπου Κωνστανινοῦπολη τοῦ Χρυσοστόμου· 90v ἦχος πλ. βʹ Μηνὶ Νοεμβρίῳ καʹ· στίχοι εἰς τὴν εἴσοδος τῆς ὑπεραγίας Θεοτόκου· ἦχος πλ. αʹ 92r 93v Μηνὶ Δεκεμβρίῳ ϛʹ· τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Νικολάου· ἦχος πλ. αʹ Ἦχος πλ. βʹ «Αἰνεῖτε τὸν Κύριον...». This is a melismatic setting of the Aineite. The 94v text and music appear to be a later addition. 95r–96r Τερρερίσματα τοῦ Κουκουζέλη· ἦχος πλ. δʹ «Ε ρρε τε τε...» 96r–v Below the Tererismata, additional music with text has been appended. Ἀναγραμματισμός, Τερρερίσματα τοῦ Μαΐστρου· ἦχος πλ. δʹ 97r Μηνὶ Αὐγούστῳ ϛʹ· εἰς τῇ Μεταμορφώσει τοῦ Ἰησοῦ Χριστοῦ, παρὰ τοῦ Κουκουζέλη· 105v ἦχος αʹ Μηνὶ Αὐγούστῳ ιεʹ· ἡ Κοίμησις τῆς ὑπεραγίας Θεοτόκου, παρὰ τοῦ Κουκουζέλη· ἦχος 107r πλ. βʹ Ἕτερον [for 15 August], τοῦ Κουκουζέλη· ἦχος Νενανω 108v Τῷ αὐτῷ μηνὶ κθʹ· ἡ ἀποτομὴ τῆς τιμίας κεφαλῆς τοῦ Προδρόμου, παρὰ τοῦ Κουκουζέλη· 109v ἦχος Νενανω Τῇ Κυρακῇ τῆς Ἀπόκρεω, ἀπὸ τὸ, «Οἴμοι μέλαινα ψυχὴ»· τοῦ αὐτοῦ τοῦ κυρίου 111r Ἰωάννου τοῦ Μαΐστρου· ἦχος πλ. δʹ «Λοιπὸν ἡ ψυχή, ὁ χρόνος...» Τῇ Κυρακῇ τῆς Τυροφάγου, ἀπὸ τὸ, «Ἐκάθισεν Ἀδὰμ»· τοῦ Κουκουζέλη· ἦχος πλ. αʹ 112r Ἕτερον εἰς τὴν αὐτὴν ἑορτὴν· τοῦ αὐτοῦ Μαΐστρου κυρίου Ἰωάννου τοῦ Κουκουζέλη· 113v ἦχος πλ. αʹ «Μεγαλύνω τὰ πάθη σου...» Τῇ Κυρακῇ τῆς Πεντακοστῆς· ἀναποδισμὸν τοῦ Μαΐστρου· ἦχος πλ. δʹ «Τότε πατὴρ τῷ 115r τάφῳ...» Τῇ ἁγίᾳ καὶ λαμπρᾷ Κυρακῇ τοῦ Πάσχα· ποίημα τοῦ Ἰωάννου τοῦ Γλυκέως· ἦχος αʹ 116v «Φωτίζουν ἡ γὰρ δόξα...» Μεγαλυνάρια εἰς τὴν Χριστοῦ Γέννησιν· τοῦ Κουκουζέλη· ἦχος αʹ «Μεγάλυνόν με ἡ 118r ψυχή...» Ἕτερα μεγαλυνάρια τῶν Φωτῶν· ἦχος βʹ 119r Ἕτερον μεγαλυνάριον τῶν ὑπαπαντῶν τοῦ Κυρίου ἡμῶν Ἰησοῦ· τοῦ Κουκουζέλη· 120r ἦχος γʹ Μηνὶ Νοεμβρίῳ ιγʹ· τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Ἰωάννου τοῦ Χρυσοστόμου, παρὰ τοῦ 121v Γλυκέως· ἦχος πλ. βʹ Μηνὶ Ἰουνίῳ κδʹ· τὸ γεννέσιον τοῦ τιμίου ἐνδόξου προφήτου Προδρόμου, παρὰ τοῦ 123v Πατζάδου· ἦχος πλ. δʹ «Δόξα Πατρί»· τερρερίσματα τοῦ Κουκουζέλη· ἦχος βʹ 126r 128v Ποίημα τοῦ Κουκουζέλη· ἦχος πλ. βʹ «Δόξα Πατρί...» Ἕτερον «Οὐδὲ γὰρ ἔστι πνεῦμα...» 132v 134r–v The bottom portions of the recto and verso have later music and text additions. Ἕτερον· ποίημα τοῦ Κουκουζέλη· ἦχος αʹ (Terererisma) 135r

452

EBE 2600

138v This folio has a later text and music. Κοντάκια ψαλλόμενα τῶν μεγάλων ἑορτῶν καὶ μεγάλων ἁγίων ἑορτάζων τῶν 139r κρατημάτων· οὕτως ἄνευ κρατημάτων· μηνὶ Σεπτεμβρίῳ ηʹ· τὸ γεννέσιον τῆς ὑπεραγίας Θεοτόκου· ἦχος πλ. δʹ Μηνὶ Νοεμβρίῳ ιγʹ· τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Ἰωάννου τοῦ Χρυσοστόμου· ἦχος πλ. 142r βʹ Μὴν Ἰανουάριος αʹ· τοῦ ἁγίου ἐν δόξα Προφήτη Πρόδρομος καὶ Βαπτιστοῦ Ἰωάννου· 145v ἰδιόμελον· ἦχος πλ. βʹ Πρῶτα γίνεται ἡ θεία λειτουργία τοῦ Ἁγίου Νικολάου καὶ μετὰ ταῦτα τοῦ Τιμίου 150r Προδρόμου τὸν Ἰανουάριον, εἰς ζʹ· μετὰ Δεκεμβρίου ϛʹ· τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Νικολάου· πρὸς τὸ, «Ἡ Παρθένος σήμερον»· ἦχος Νανα Μηνὶ Μαρτίῳ κεʹ· ὁ ἀρχάγγελος Γαβριὴλ τῆς ὑπεραγίας δεσποίνης ἡμῶν Θεοτόκου· 153r λέγεται τὸ Ἀκάθιστος, τοῦ Γλυκῦ· ἦχος πλ. δʹ Μηνὶ Ἀπριλίῳ κγʹ· τοῦ ἁγίου Γεωργίου, πρὸς τὸ, «Ὁ ὑψωθεὶς»· ἦχος δʹ 157v Μηνὶ Μαΐῳ καʹ· τῷ ἁγίῳ Βασιλέα καὶ εἱς ἀποστόλους Κωνσταντίνου καὶ Ἑλένης· πρὸς 160r τὸ, «Ἡ Παρθένος σήμερον»· ἦχος Νανα Μηνὶ Ἰουνίῳ κδʹ· τὸ γεννέσιον τοῦ Προδρόμου· ἦχος Νανα 162v Μηνὶ Αὐγούστῳ ιεʹ· ἡ κοίμησις τῆς ὑπεραγίας Θεοτόκου· ἦχος πλ. βʹ 166r Τῷ αὐτῷ μηνὶ [Aug.] κθʹ· τοῦ Τιμίου ἐνδόξου Προφήτη Προδρόμου καὶ Βαπτιστοῦ 169r Ἰωάννου· ἰδιόμελα· ἦχος πλ. αʹ Κατανυκτικὰ ποιήματα τοῦ Μαΐστρου κυρίου Ἰωάννου τοῦ Κουκουζέλη· ἦχος αʹ 173r Ἕτερα κατανυκτικὰ τοῦ λαμπαδαρίου κυρίου Ξένου τοῦ Κορώνη· ἦχος πλ. δʹ 176v Σταυροθεοτοκίον τοῦ Μαΐστρου κυρίου Ἰωάννου τοῦ Κουκουζέλη· ἦχος γ´ «Τέκνον 177v μου πλάστα δυνατέ...» Κατανυκτικὸν ψαλλόμενος εἰς κοιμηθέντας· τοῦ λαμπαδαρίου κὺρ Ξένου Κορώνη· 180v ἦχος πλ. δʹ «Ἄφωνα λέγοντες τὸν προμικρόν...» end of Katanyktika 182r Τοῦ Κουκουζέλη· ἦχος πλ. βʹ «Ἄξιόν ἐστιν...» 182v After the music ends, this folio has an undecipherable writing in light blue ink along 184v with a drawing of a young child’s head. Notes This Papadike MS is in poor to fair condition. The binding is badly deteriorated. It has a faded black cloth on a wood backing that is falling apart on the front cover. The back cover is missing. The MS has suffered much water damage and folios are torn and tattered. Consequently, the folios are faded and very difficult to read. The neumes and text are in a faded grey ink. What must have been red ink is now a light pink for the rubrics, modal signatures, hypostaseis and capital incipit letters. The MS has some incorrect numberings. There are two sets of foliation for the following: 45r–46v and 45ra–46va. The pages vary from 14 to 18 lines of text and music. For instance, fols 1v–5v have fewer lines of text and music but larger spaces between lines. Moreover, the scribe appears to be less literate, with many orthographic mistakes throughout. This MS represents the melismatic style of compositions from the late 14th century: kalophonic – with compositions entitled as Anagrammatismoi, Tererismata, Kratemata and/ or Anapodismos. The composers represented give further evidence of the date. Among the composers named in the MS are Ioannes Koukouzeles, Georgios Kontopetris, Georgios Panaretos, Chalivoures, Latrinos, Christophoros and the Lampadarios Xenos Korones.

EBE 2600

453

After the first folio, the MS begins the Psaltike Techne (fol. 2r) with the ascending neumes (fol. 3r), descending neumes (fol. 3v) and Epechemata (fol. 4r). The chants for Great Vespers begin on fol. 6r, continue with the Orthros service for Thessalonika and Constantinople on fol. 23v and the Asmatikos Orthros on fol. 45ra. Afterwards, chants from the Liturgy of St John Chrysostom follow on fols 58r–84r. Fols 84v–86v contain interpolated kalophonic chants. The Menologion begins on fol. 87v with the feast of 14 Sept. and continues with sporadic feasts that do not always follow the ecclesiastical calendar. The last feast of the Menologion is that of 29 Aug. on fol. 169r. The Katanyktika by Koukouzeles are found on fol. 173r (with a red border design framing the rubric) and continue with Katanyktika by Xenos Korones to fol. 182r. The MS concludes with a Megalynarion on fols 182v–184v. Although this MS might have originated from the Monastery of the Forerunner in Serres, Greece, its deteriorated state affords no visible or definitive evidence of that. Bibliography Chaldaiakis, Ὁ Πολυέλεος. Conomos, Byzantine Trisagia and Cheroubika. —— The Late Byzantine and Slavonic Communion Cycle. Jakovljević, Δίγλωσση Παλαιογραφία.

EBE 2601 (olim 259)

454

ΕΒΕ 2601 (olim 259) ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: common Measurements: 17.6 × 11.8 cm Folios: IX + 752 pages + 608 pages + X Notation: Chrysanthine, with medieval modal signatures, and solfège Date: mid–late 19th c. Provenance: Monastery of the Forerunner in Serres

Ir–IXv 1 210 750 751–2 1 425 587 588 589–92 593–4 595 608 Ir–Xv

blank Ἀναστασιματάριον νέον, ἀργὸν καὶ σύντομον μελοποιηθὲν παρὰ Κωνσταντίνου Πρωτοψάλτου τῆς τοῦ Χριστοῦ Μεγάλης Ἐκκλησίας· κεκραγάρια· ἦχος αʹ, ΠΑ´ Μὴν Σεπτέμβριος εἰς τὴν αʹ. Ἀρχὴ τῆς ἰνδίκτου ἤτοι τοῦ Νέου ἔτους, ἡ σύναξις τῆς Θεοτόκοῦ καὶ Συμεὼν τοῦ Στυλίτου· ἰδιόμελα τοῦ Ἑσπερινοῦ· ἦχος βʹ, ΔΙ´ end of music blank pages With the Doxastarion section, the numbering starts with p. 1 again. Τριῴδιον τῇ Κυριακῇ τοῦ Τελώνου καὶ Φαρισαίου εἰς τὸν Ἑσπερινόν· ἰδιόμελα· ἦχος αʹ, ΠΑ´ Μάθημα ψαλλόμενον εἰς τὸν ὁσιοώτατον κὺρ Ἰωάννην τὸν κτήτορα τῆς ἱερᾶς ἡμῶν Μονῆς τοῦ αὐτοῦ Πρωτοσυγκέλου Χριστοφόρου· ἐξηγηθὲν παρ’ ἐμοῦ τοῦ ἰδίου γραφέως Ματθαῖου Βατοπεδινοῦ· ἦχος πλ. δ´, ΝΗ´ music stops blank table of contents blank Μάθημα ψαλλόμενον ἐν ἐνθυμήσεσι μελοποιηθὲν παρὰ Σ.Π.Ζ.· ἦχος βαρύς, ΖΩ´. Music resumes after the blank folio on p. 594. end of music and MS blank

Notes This Anastasimatarion is dated from about the mid- to late 19th century and is an example of the newer Chrysanthine notation. The MS is in excellent condition with its folios and binding in superb state. The rubrics and modal signatures are in a bright red colour and the neumes and music are in a dark black shade. The MS is paginated rather than foliated, in two separate sections. The first part of the MS is the Anastasimatarion containing the Menologion and is numbered pp. 1–750. Two blank pages follow, serving as a divider. The second section of the MS is the Doxastarion, continuing with the Triodion, and begins numbering again at p. 1. Consequently, the two sections comprise 1,360 pages or 680 folios. Page 1 of the Anastasimatarion section states in the rubric that this is a ‘New Anastasimatarion, slow and short, composed by Konstantinos the Protopsaltes of the Great Church of Christ’. This Anastasimatarion contains chants from Vespers and Orthros and continues to p. 209. The

EBE 2601 (olim 259)

455

Menologion begins on p. 210 with the feast of 1 Sept. and continues with the Idiomela Stichera of Vespers. This Menologion strictly adheres to the ecclesiastical calendar and concludes on p. 750. The renumbering for the Doxastarion or second portion commences with p. 1 for the Triodion on the Sunday of the Publican and the Pharisee with Idiomela Stichera for Vespers. Then the Mathemata follow on p. 425 and are ‘interpreted by the scribe himself, Matthaios Vatopedinos’ (Matthew of the Vatopedi Monastery). The Mathemata end on p. 587. Separated by a blank page 588, there is a table of contents, not uncommon in newer MSS, on pp. 589–94. The Mathemata resume again on p. 595 and continue through to the end of the MS on p. 608. The music is written in the Chrysanthine notation but still incorporates the medieval modal signatures followed by the Chrysanthine nomenclature for these Martyriae. The newer system utilizes a solfège system that coincides with the names of the white notes, based on a scale from d to dʹ. Furthermore, the names contain a Greek alphabetical arrangement indicated above in capital letters: πα, βου, γα, δι, κε, ζω, νη, πα. This manuscript has provenance from the Monastery of Serres and is possibly from the collection of Gregorios, the Priest-Deacon, Protopsaltes. Bibliography Terzopoulos, Ὁ Πρωτοψάλτης τῆς Μεγάλης τοῦ Χριστοῦ Ἐκκλησίας Κωνσταντίνος Βυζάντιος.

456

EBE 2602

ΕΒΕ 2602 ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ ΑΝΘΟΛΟΓΙΑ/ANASTASIMATARION ANTHOLOGIA Type of paper: common Measurements: 16.8 × 10.1 cm Folios: 292 Notation: very Late Round Byzantine Date: early 19th c. Provenance: possibly from the Monastery of the Forerunner in Serres

1r The date 1812 is written on this folio. blank 1 v blank 2r–9v Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κεκραγαρίων ἐξηγηθὲν παρὰ κὺρ Πέτρου ... τὸ ἀναστάσιμον 10r κατ’ ἦχον· ἦχος αʹ 53v–54v blank Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν δόξα Ἰησοῦ ἡμῶν τοῦ ἐνιαυτοῦ καλλωπισθὲν παρὰ 55r κὺρ Γερμανοῦ ἀρχιερεὺς Νέων Πατρῶν. Ἀρχὴ τῆς ἰνδίκτου ἤτοι τοῦ νέου ἔτους εἰς μνήμην τοῦ ὁσίου πατρὸς ἡμῶν Συμεὼν τοῦ Στυλίτου. This continues with feasts of the ecclesiastical year. end of music 283v 284r–292r blank Notes This Anastasimatarion Anthologia dates from the early 19th century, before the newer notation takes hold. Fol. 1r has the number ‘1812’ written but this cannot necessarily be interpreted as a colophon. The MS is in very good condition and legible. The rubrics, modal signatures and hypostaseis are in a deep red and the texts and neumes are in black. From the rubrics it can be determined that the scribe is not very literate, as shown by his orthographic and grammatical mistakes. After some blank folios, the MS proper begins on fol. 10r with the Kekragaria (chants for Vespers) and the Anastasima (resurrection chants for Orthros). These chants are listed according to modes and are ‘interpreted by Kyr Petros’. On fol. 55r the Menologion section begins with the feast of 1 Sept. for Symeon the Stylite as ‘composed by Kyr Germanos the Priest of New Patras’. The remainder of the MS continues with the feasts of the liturgical year.

EBE 2604 (olim 495)

457

ΕΒΕ 2604 (olim 495) ΠΑΠΑΔΙΚΗ/PAPADIKE Type of paper: chartaceous Measurements: 21.6 × 14.4 cm Folios: 373 Notation: Middle Round Byzantine Date: 1463

1r

Ἀκάθιστος ψαλλομένος τῷ Σαββάτῳ τῆς πέμπτης ἑβδομάδος τῆς ἁγίας Τεσσαρακοστῆς καὶ εἰς τὸν εὐαγγελισμὸν τῆς ὑπεραγίας Θεοτόκου (οἱ Οἶκοι τοῦ Ἀκαθίστου) Ἕτερος Ἀκάθιστος τοῦ Ἀνεώτου ἐκαλλωπισθὲν δὲ καὶ παρὰ τοῦ Μαΐστρου κυρίου 13v Ἰωάννου τοῦ Κουκουζέλη (no modal signature indicated) Ἕτερος Ἀκάθιστος τοῦ λαμπαδαρίου 20v Ἕτερος τοῦ Νικηφόρου τοῦ Ἡθικοῦ 29v Ἕτερος Ἀκάθιστος τοῦ Μαΐστρου (another version by Koukouzeles) 33r Ὁ οἶκος τοῦ Ἀκαθίστου τοῦ Ἰωάννου Γλυκέος «Ἔχουσα θεοδόχου…» 44r end of Akathistos hymns 90v (Kontakia for different feasts) Μηνὶ Δεκεμβρίῳ εἰς τὴν Γέννησιν τοῦ Ἰησοῦ Χριστοῦ· 91r ἦχος γʹ «Ἡ Παρθένος σήμερον...» Κοντάκιον· τοῦ Τιμίου Προδρόμου 95v blank (the top of fol. 106r has an incomplete small design of four semi-squares that 106r–v may have been intended to signify a formal termination to the preceding Kontakia) Ἀρχὴ τῶν κατ’ ἦχον κρατημάτων· ποιήματα διαφόρων ποιητῶν. (Kratemata 107r according to modes composed by various composers, such as Koukouzeles on fols 163r, 167v; Korones on fol. 179v; Kladas on fol. 190v, etc.; some attributions are faded and unreadable) blank 179r blank 183v blank 185v end of Kratematarion section 193v Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν λεγομένων περισσῶν ὡς εὕρομεν ἀπὸ τοῦ λαμπαδαρίου 194r ἀνθιβόλιον (rubric is badly deteriorated) (kalophonic Stichoi) a version by Korones 221r Καταβασίαι τοῦ Γλυκῦ· ἦχος δʹ 234r end of section for Kalophonic Stichoi 235r blank 235v Τῶν κατ’ ἦχον Θεοτοκίων· σταυροθεοτοκία τε καὶ εἱρμοὶ τριαδικοῦ ὁμοῦ καὶ στίχοι 236r μετὰ καὶ τῶν κατανυκτικῶν· ποίημα διαφόρων ποιητῶν ... τοῦ Κορώνη· ἦχος αʹ. This section consists of Theotokia, Katanyktika (including many Stichoi dealing with laments and the Nekrosimon repertory) and other types. 277v blank MS continues but with a larger script 278r 278v This is the beginning of the Stichoi for Plagal I Mode with composers and their contributions on various folios in that mode: (fols 280r, 287r, 289r, 291r, 294v, 307r, 316v,

458

293v 302r 304r 309r 319r 327r 329v 332r 335r 339r 340r 348r 350r 352r 354r 355r 358r 360v 363r 366r 371v 372r 373r 373v

EBE 2604 (olim 495)

335r, 343v, 346v – by Koukouzeles; fols 281r, 297v, 310v, 312r, 318r, 322v, 335v, 340r – by the Lampadarios; fols 285r, 292r, 295v, 305v, 313v, 315v, 321r, 325v, 330v, 346r – by Korones; fol. 310r – by Iosef Monachos; fol. 311r – by Markos; fol. 313r – by Kallistos; fol. 315r – by Ethikos; fol. 317r – by Manuel Goutas; fol. 328v – by Gazes the Lampadarios; fol. 333r – by Koukoumas; fol. 341r – by Manuel Argyropoulos; fol. 343r – by Phokas the Domestikos. Στίχοι Θρηνητικοὶ εἰς τὴν ἀπάτην τοῦ βιόυ the beginning of Plagal II Mode with settings by Koukouzeles Theotokia by Xanthopoulos· Plagal II Mode smaller script resumed larger script with 13 lines of music and text resumed smaller script resumed a return to a larger script Ἀρχὴ τοῦ βαρέως ἤχου· τοῦ Κουκουζέλη again a return to the smaller script Κυρίου Ἰωάννου τοῦ λαμπαδαρίου· ἀρχὴ τοῦ ἤχου πλ. δ´ Τοῦ Ἰωάννου τοῦ λαμαπαδαρίου· τὰ δε γράμματα τοῦ Ῥωμανοῦ Στίχοι τριαδικοί· κυρίου Κωνσταντίνου τοὺ Ἀσὰν. τὸ δὲ μέλος κυρίου Ἰωάννου τοῦ λαμπαδαρίου· ἦχος πλ. δʹ (return to a larger script) Μεγαλυνάρια κὺρ Ἰωάννου τοῦ λαμπαδαρίου· ἦχος πλ. δʹ Εἱρμοὶ τῶν Θεοτοκίων τοῦ Κουκουζέλη· ἦχος πλ. δʹ return to a smaller script Κράτημα τοῦ Κουκουζέλη ... return to a larger script Κὺρ Δημητρίου Δοκιανοῦ· ἦχος πλ. δʹ Kratema of Koukouzeles Ἀναγραμματισμὸς εἰς τὴν ἀνάληψιν τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ· ποίημα τοῦ Εὐγενικοῦ· ἦχος δ´. (return to smaller script). This is followed by Anagrammatismoi by various composers. «Ἄνθρωπε θρήνησον πικρῶς καὶ στέναξον πρὸ τέλους…» ἦχος πλ. αʹ· τοῦ Κλαδᾶ (Nekrosimon Katanyktikon) blank music notation ends Ἐγράφη ἐξ ἐμοῦ τοῦ ἁμαρτωλοῦ Ἰγνατίου μοναχοῦ καὶ δομεστίκοῦ ἔτει 1463 καὶ οἱ ἀναγινώσκοντες εὔχεσθαι καὶ μὴ καταρᾶσθαι διὰ τὸν κύριον. Colophon: ‘Written by me the sinner Ignatios, monk and domestikos, in the year 1463; and let them who read wish [me] well, and for the Lord’s sake curse me not.’

Notes This manuscript comes from the area of Serres, Greece. The colophon found on fol. 373v dates this manuscript in the year 1463 and indicates its scribe as Ignatios Monachos and Domestikos. There are, however, differences in the size and style of the scripts. The handwriting reveals that there could possibly be as many as four different scribes: (1) fols 1r–56v, 107, 366r–373r (?); (2) fols 108r–170v, 172r–177v; (3) fols 278r–299v, 301r–308v, 319r–326v, 330r–334r, 348r–353v, 358r–365v; (4) fols 57r–107v, 171, 178r–277r, 293, 300, 309r–318v, 327r–329v, 335r–347v, 354r–357v. In addition, there are added marginal annotations on the folios of writings of music, text, and both music and text: 43r, 61r, 83r, 86v, 89v, 101r, 103v, 110v, 188v, 189v, 193r–v, 200r, 214r, 218r, 219r–v, 222r, 224r, 228v, 240v, 247r,

EBE 2604 (olim 495)

459

267v, 300r, 309v, 312v, 327r–v, 335r, 337r, among other folios. Because of the different sizes and styles of handwritings, the number of lines per page varies. For the most part, it averages 15–24 lines. The manuscript remains bound with its original binding in a brownish leather cover and is in fair condition. Some of the folios are torn in the upper corners. Many of the rubrics, modal signs and hypostaseis are faded to a light red colour. The neumes and text are in a pale grey and are difficult to read. Although classified as a Papadike, the contents of the manuscript appear to be in three parts: Oikematarion (fols 1r–105v), Kratematarion (fols 107r–235r) and Anthologion (fols 236r– 371v). These sections are separated by blank folios, perhaps a further indication that they were compiled by different scribes. The MS begins with various versions of the Akathistos hymn as set by different composers (fols 1r–90v) and continues with various other Kontakia (fols 91r–105v). The Kratematarion section begins on fol. 107r. These are the kalophonic settings of phrases from the standard repertory as set by a variety of composers and categorized in the MS according to modes of the octoechos. Then follow Theotokia, Heirmoi, and the Katanyktika (fols 236r–373r), listed according to modes and by different composers. The music concludes on fol. 373r with the colophon on fol. 373v. Bibliography Chatzegiakoumes, Χειρόγραφα Ἐκκλησιαστικῆς Μουσκικῆς.

EBE 2607

460

ΕΒΕ 2607 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: chartaceous Measurements: 21.5 × 14.8 cm Folios: 277 + II Notation: Middle Round Byzantine Date: 1368 Provenance: region of Serres, originally from the Monastery of the Forerunner before making its way to the Gymnasium of the region

1r 36v 61v 98v 120r 126v 148v 178v 189v 198v 205r 208v 218r–v 228v 250v 277r 277v

IIIv

[Sept.] εἰς τὰς εʹ· τοῦ ἁγίου τροπαρίου Ζαχαρίου· ἦχος βʹ. (This begins near the bottom of the folio.) Μηνὶ Ὀκτωβρίῳ αʹ· τοῦ ἁγίου ἀποστόλου Ἀνανίου· ἦχος αʹ Μηνὶ Νοεμβρίῳ αʹ· τῶν ἁγίων Κοσμᾶ καὶ Δαμιανοῦ· ἦχος αʹ Μηνὶ Δεκεμβρίῳ δʹ· τῆς ἁγίας μάρτυρος Βαρβάρας· ἦχος αʹ Προεόρτια τῆς Χριστοῦ γεννήσεως· ἦχος αʹ (text only) Τροπάρια τῶν Χριστουγέννων, ὦρα αʹ· ἦχος πλ. δʹ Μηνὶ Ἰανουαρίῳ αʹ· ἡ περιτομὴ του Ἰησου Χριστοῦ καὶ μνήμῃ τοῦ ἁγίου Βασιλείου τοῦ Μεγάλου· ἦχος πλ. δʹ Μηνὶ Φεβρουαρίῳ αʹ· τοῦ ἁγίου μεγαλομάρτυρος Τρύφωνος· ἦχος βʹ (text only) Μηνὶ Μαρτίῳ αʹ· τῆς ἁγίας Εὐδοκίας· ἦχος πλ. αʹ Μηνὶ Ἀπριλίῳ αʹ· τῆς ὁσίας Μαρίας τῆς Αἰγυπτίας· ἦχος αʹ Μηνὶ Μαΐῳ ϛʹ· ἡ φανέρωσις τοῦ Τιμίου Σταυροῦ· ἦχος πλ. δʹ Μηνὶ Ἰουνίῳ ηʹ· τοῦ ἁγίου μεγαλομάρτυρος Θεοδώρου τοῦ στρατηλάτου· ἦχος πλ. αʹ blank Μηνὶ Ἰουλίῳ βʹ· τὰ καταθέσια τῆς τιμίας ἐσθῆτος τῆς ὑπεραγίας Θεοτόκου· ἦχος βʹ Μηνὶ Αὐγούστῳ αʹ· τῶν ἁγίων ἑπτὰ Μακκαβαίων καὶ τῆς μητρὸς αὐτῶν Σολομόνης καὶ τοῦ διδασκάλου αὐτῶν Ἐλεαζάρου· ἦχος αʹ Μηνὶ Αὐγούστῳ λαʹ· τῆς τιμίας ζώνης τῆς Ὑπεραγίας Θεοτόκου· ἦχος βʹ Colophon: Τοῦ μηνολογίου ἀμήν. ἐγράφετο παρὰ στιχηράριον διὰ ἐμοῦ τοῦ ἁμαρτωλοῦ· καλλιστιχέρων ταῦτα καὶ πνεύματος Κυρίου καὶ Ἱερομνήμῃ γὰρ ἐμέ· ἐπὶ τῆς βασιλείας τῶν αὐτῶν μητροπόλεως Ἱερουσολὴμ ἡμῶν Ἰωάννου [ καὶ?] Ἀλεξάνδρου· καὶ εἰς τοὺς ὁσίους. εἰς ͵στωοϛʹ. Although the scribe does not identify himself (except as a sinner and possibly from or at Ieromnimi, in the district or nome of Ιoannina), he seems to mean that the MS, dedicated to the blessed saints, was written during the reign at Jerusalem of Ioannes (and?) Alexander in the year 6876 am (1368 ad). blank

Notes In the colophon on fol. 277v, this Sticherarion is dated in the year 1368. The MS is in fair condition with portions faded from water damage, making reading difficult in some sections, but otherwise legibility is fair. Folios are missing at the beginning. This explains why the folios have been numbered in pencil. The MS has a dark brownish-black leather binding on wood. On the front

EBE 2607

461

interior cover is written, with garbled grammar: τὶς Σεπτέμβρην γʹ ὕμνος δʹ· ὑπὸ τῶν ἀπ’ εἰμί, ἡ τιμάτῳ μοναχῷ· Γυμνὸν ὁρῶ τὸ τέλος· ἦλθες, εἶδες, ἀπῆλθες. The rubrics, including the feasts, are in black ink with the exception of some capital letters. Black ink is also used for the texts and neumes. Red ink has been used only for the modal signatures and the capital incipit letters. Although the rubrics indicate feasts, there is no acknowledgement of composers. There are about 13–14 lines of text and music per page. It should be noted that for a MS of this size, the script is larger and there is more space than usual between the lines. Furthermore, the script for both text and neumes has a noticeable forward slant. The Sticherarion begins with the feast for 5 Sept. and continues to 31 Aug. There are sections of the Menologion where texts for feasts are given without the neumes but with the modal signatures: fols 63r–v; 104r–v; 111r–v; 120r–v; and 176r–179v.

EBE 2611

462

ΕΒΕ 2611 ΠΑΠΑΔΙΚΗ/PAPADIKE Type of paper: common Measurements: 21.2 × 15.9 cm Folios: 1012 Notation: late Round Βyzantine Date: 18th c. Provenance: region of Serres in northern Greece

1r 13r 17v 32r 41v 48r 53r 60r 62v 67v 80r 97v 132v 137r 160r 202v 217r 250v 276v 308v 315r 328r 427r 457r 611r 806r 985r

Στίχοι καλοφωνικοί ... παρὰ διαφόρων ποιητῶν· τοῦ Κορώνη Ἕτεροι στίχοι τοῦ Κουκουζέλη· ἦχος πλ. δʹ Ἕτεροι στίχοι παρὰ Μανουὴλ λαμπαδαρίου Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχον κεκραγαρίων· ἦχον αʹ Ἕτερον· προκείμενα τῆς ἁγίας Τεσσαρακοστῆς· ἦχος πλ. δʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τὴν ἀκολουθίαν τοῦ Ὄρθρου· ἦχος αʹ Ὕμνοι τριαδικοὶ ψαλλόμενοι κατ’ ἦχον τῇ ἁγίᾳ καὶ μεγάλῃ Τεσσαρακοστῇ· ἦχος αʹ Πολυέλεον τοῦ Κουκουμᾶ Στίχοι καλοφωνικοὶ· ποίημα κὺρ Κωνσταντίνου τοῦ Μαγουλᾶ· ἦχος αʹ· ὁ Σεῤῥῶν ἐκαλλωπισθὲν παρὰ κὺρ Γαζῆ Ἡ Βουλγάρα τοῦ Κουκουζέλη· ἦχος αʹ Ἀναγραμματισμὸς· ποίημα κὺρ Μπαλασίου ἱερέως Ἕτερον· πολυέλεος λεγόμενος Λατρινός. Then follow various settings for the Polyeleos composed by different composers. Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ μερικῶν ἀντιφώνων καὶ τὰ μὲν παρόντα ψάλλονται ἐκ τὰς ἑορτὰς τῆς Θεοτόκου· ποιήματα διαφόρων ποιητῶν· τὸ παρὸν κὺρ Γρηγορίου Δομεστίκου· ἦχος αʹ Ἕτερα ἀντίφωνα Τῶν πασαπνοαρίων τοῦ Κουκουζέλη· κατ’ ἦχον. Then follow different versions of the Pasapnoaria listed according to modes. Τιμιωτέρα ψαλλομένη πρώτης, ἐνάτης ᾠδῆς· ποίημα κὺρ Μανουὴλ τοῦ Χρυσάφου Ἕνδεκα ἑωθινῶν· μέλοι παρὰ Ἰωάννου Γλυκέως καὶ τοῦ Κουκουζέλη Δοξολογία· κὺρ Μελχισεδὲκ Nεκρώσιμον τρισάγιον Ἀκολουθίας Λειτουργίας τοῦ Χρυσοστόμου Κατ’ ἦχον ἀλληλουϊαρίων τοῦ Χρυσάφου· ἦχος αʹ Τῶν κατ’ ἦχον χερουβικῶν ... διαφόρων ποιητῶν τοῦ Κλαδᾶ· ἦχος αʹ Χερουβικῶν κατ’ ἦχον κὺρ Γεωργίου Πηλουσιώτου· ἦχος αʹ Τῶν κατ’ ἦχον κοινωνικῶν τοῦ Ἰωάννου Κλαδᾶ· ἦχος αʹ Τῶν κατ’ ἦχον καλοφωνικῶν Ἀναγραμματισμὸς· κὺρ Μανουὴλ Χρυσάφου. Then follow other Anagrammatismoi for the different feasts of the liturgical year. Τῶν κατ’ ἦχον τερεματισμὸν [sic] ἠχημάτων. Then follow with Tererismata according to modes by different composers.

EBE 2611

992v 1012v

463

Κρατημάτων κατ’ ἦχον· κὺρ Ἀρσενίου ἱερομονάχου τοῦ μικροῦ· ἦχος αʹ. The Kratemata continue until the end of the MS and are attributed to various composers. end of music and MS

Notes This late Papadike is very large, with over a thousand folios, and contains traditional compositions by the older composers as well as works by the newer generations. The MS and its brown binding are in good condition. The text and neumes are written in black ink; red ink is used for the rubrics, incipit capitals, modal signatures and hypostaseis. There are about 16 lines of text and music per page. The MS begins with kalophonic verses by Korones and continues with other composers such as Koukouzeles (fol. 13r) and Manuel the Lampadarios (fol. 17v). The chants for Great Vespers begin with the Kekragaria on fol. 32r. The Akolouthia for Orthros follows on fol. 48r. The MS continues with the following: fol. 53r Trisagion chants for the Lenten period fol. 60r the Polyeleos by Koukoumas fol. 62v the Polyeleos by Konstantinos Magoulas and Gazes fol. 67v the Boulgara by Koukouzeles, Balasios the Priest (fol. 80r), Latrinos (fol. 97v) fol. 132v antiphons for the Theotokos by Gregorios Domestikos fol. 160r Pasapnoaria fol. 202v Megalynaria fol. 217r Heothina hymns fol. 250v Doxologies fol. 276v Nekrosimon Trisagion fol. 308v Liturgy for St John Chrysostom fol. 315r Alleluiaria fol. 328r Cherubic hymns fol. 611r kalophonic chants according to modes fol. 806r Anagrammatismoi for feasts of the liturgical calendar fol. 985r Tererismata according to modes fol. 992v Kratemata according to modes Furthermore, there is a rich representation of composers, some of whom are as follows: Ioannes Koukouzeles, Manuel Chrysaphes the Lampadarios, Koukoumas, Gazes, Balasios the Priest, Gregorios the Domestikos, Ioannes Glykys, Melchisedek, Ioannes Kladas, Georgios Pilousiotes and Kyr Arsenios, Priest-Monk, the younger. Bibliography Chaldaiakis, Ὁ Πολυέλεος. Vamvoudakis, “Τὰ ἐν τῇ Βυζαντινῇ μουσικῇ ‘κρατήματα’”.

464

EBE 2613

ΕΒΕ 2613 ΣΤΙΧΗΡΑΡΙΟΝ ΤΟΥ ΓΕΡΜΑΝΟΥ ΝΕΩΝ ΠΑΤΡΩΝ/STICHERARION OF GERMANOS NEON PATRON Type of paper: common Measurements: 21.5 × 15.4 cm Folios: III + 503 + I Notation: very Late Round Byzantine Date: early 19th c. Provenance: Monastery of the Forerunner in Serres

Ir I v

blank Written in a black script on a folio that precedes the MS proper: Καὶ τὸ δὲ Ἀζαρίου ἱερομονάχου. This is the inscription of the scribe Azarios the Monk from the Monastery of Serres. blank IIr–IIIv Στιχηράριον σὺν Θεῷ περιέχον τὰ στιχηρὰ τοῦ ὅλου ἐνιαυτοῦ καλλωπισθέντα παρὰ 1r ἀρχιερέως Νέων Πατρῶν κὺρ Γερμανοῦ. ἀρχὴ τῆς ἰνδίκτου ἤτοι τοῦ νέου ἔτους καὶ μνήμῃ τοῦ ὁσίου καὶ θεοφόρου πατρὸς ἡμῶν Συμεὼν τοῦ Στυλίτου· Ἑσπέρας στιχηρὰ ἰδιόμελα «Ὅσιε Πάτερ...». This rubric has a red and black border design on the top to indicate the feast for 1 Sept. At the bottom of this folio there is writing in pencil that confirms the scribe’s name: ἐκ τοῦ Ἀζαρίου Θουκυδίδης. blank 41v Μὴν Ὀκτώβριος αʹ· τοῦ ἁγίου ἀποστόλου Ἀνανίου καὶ τοῦ ὁσίου πατρὸς ἡμῶν Ῥωμανοῦ 45r τοῦ Μελῳδοῦ, «Δόξα»· ἦχος αʹ Μὴν Νοέμβριος αʹ· ἦχος πλ. βʹ 74r Μὴν Δεκέμβριος δʹ· ἦχος πλ. βʹ 110r Μηνὶ τῷ αὐτῷ· Κυρακῇ προεόρτια τῆς Χριστοῦ γεννήσεως· ἦχος αʹ 129v Εἰς τὰς κεʹ· κατὰ σάρκα γέννησις τοῦ Κυρίου Θεοῦ· ἦχος βʹ 145r Μὴν Ἰανουάριος αʹ· ἦχος πλ. δʹ. The rubric is framed with a border design. 161r Τῷ αὐτῷ μηνὶ· τῶν ὡρῶν τῶν ἁγίων Θεοφανείων· ποίημα Σωφρονίου πατριάρχου 169r Ἱεροσολύμων, ὥρα αʹ· ἦχος πλ. δʹ blank 180r–v Μεθέορτον ἦχος 183v 205v This folio has an ornamented border. Μὴν Φεβρουάριος αʹ· ἰδιόμελα· ἦχος αʹ 211v Μὴν Μάρτιος αʹ· ἦχος πλ. βʹ 222v This folio has a border design of flowers and fish. 227v Μὴν Ἀπρίλιος αʹ· ἦχος βʹ 232v Μὴν Μάϊος ϛʹ· ἦχος πλ. βʹ 238v Μὴν Ἰούνιος ηʹ· ἦχος πλ. αʹ. This folio has a border design. 243r 261v Μὴν Ἰούλιος βʹ· ἦχος βʹ Μὴν Αὔγουστος αʹ· ἦχος πλ. δʹ 292v Μεθέορτον ἦχος 309v 322r–323v blank

EBE 2613

465

324r

Τριῴδιον σὺν Θεῷ ἁγίῳ περιέχον τὴν πρέπουσαν αὐτὴν ἀκολουθίαν· τῇ Κυρακῇ, ἐν ᾗ ἀναγινώσκεται· τὸ ἱερὸν καὶ ἅγιον εὐαγγέλιον τῆς παραβολῆς τοῦ Τελώνου καὶ τοῦ Φαρισαίου· Γερμανοῦ ἀρχιερέως Νέων Πατρῶν, ἰδιόμελα· ἦχος αʹ Τῇ Κυρακῇ τοῦ Ἀσώτου· ἦχος αʹ 325v Τῇ ἁγίᾳ καὶ μεγάλῃ Παρασκευῇ· εἰς τὰς ὥρας, ὥρα αʹ· ἦχος πλ. δʹ 441r Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ Πεντηκοσταρίου· τῷ Σαββάτῳ τοῦ Θωμᾶ, Ἑσπέρας· ἦχος αʹ 458r Τῇ Κυρακῇ τῶν Ἁγίων Πάντων· ἦχος πλ. βʹ 495v end of music and text 500v 501r–503v blank Ir This folio has a later addition of one line of neumes. Iv This is another addition with a scribbled writing lengthwise. Notes This is an early 19th-century Sticherarion Idiomelon by Germanos of New Patras. The binding is a light brown leather on wood. Both the front and back covers have a rectangular border that is in gold but alternates with a darker brown flower design. Within the rectangular borders, each cover has a gold imprint in the centre. The MS is in good condition. Ornamental border designs are scattered throughout but are especially apparent for important feasts. Each page has about 15 lines of text and music. Black ink is used for the neumes and text while red is found for the rubrics, capital letters of incipits, modal signatures and hypostaseis. The folios have been numbered in pencil. On fol. Iv, preceding the MS proper, an inscription in black ink identifies the scribe of the MS as Azarios the Priest-Monk, a monk known for having written several MSS for the Monastery of the Forerunner in Serres. In this MS, however, the scribe made errors, e.g., forgetting to copy lines. To rectify the omissions, these lines were added in the lower margins and are indicated in the above lines with markings of a Greek cross and four dots in the angles of the cross. The contents of the MS are standard. After the identification of the scribe on fol. Iv, the MS formally begins with fol. 1r with the feast for 1 Sept. It continues with the feasts of the liturgical calendar. Rubrics identify each month of the Sticherarion, which ends on fol. 321v. The Triodion starts on fol. 324r and continues with the Pentecostarion (fol. 458r), proceeding through the Sunday for All Saints (fols 495v–500v).

466

EBE 2614

ΕΒΕ 2614 ΑΝΘΟΛΟΓΙΑ ΤΟΥ ΠΕΤΡΟΥ ΜΠΕΡΕΚΕΤΗ/ANTHOLOGIA BY PETROS BEREKETES Type of paper: common Measurements: 21.4 × 14.5 cm Folios: 219 Notation: Late Round Βyzantine Date: early 19th c. Provenance: probably from the Serres region in Greece

1r–7v 8r

blank Ἀνθολογία περιέχουσα ἅπαντα τὰ ποιήματα τοῦ μακαρίτου κὺρ Πέτρου. Ὁ πολυέλεος συνοπτικός· ἦχος αʹ Κατ’ ἦχον πασαπνοάρια τοῦ διδασκάλου κὺρ Μπερεκέτη· ἦχος αʹ 31v Tὰ παρόντα ψάλλονται εἰς τὴν ἐνάτην ᾠδὴν εἰς τὴν τιμιωτέραν τοῦ κὺρ Πέτρου· ἦχος 41r αʹ Οἱ δοξολογίαις κατ’ ἦχον τοῦ κὺρ Πέτρου· ἦχος αʹ 45v Ἀναγραμματισμὸς ἀπὸ τὸν πέμπτον ψαλμὸν ὅπερ ψάλλεται εἰς τὴν πρώτην ὥραν· 66r ἦχος πλ. δʹ Τῶν χερουβικῶν ὕμνων τοῦ μακαρίτου κὺρ Πέτρου τοῦ Βυζαντίου· ἦχος αʹ 69r Τῶν κοινωνικῶν ὕμνων τοῦ διδασκάλου κὺρ Μπερεκέτη· ἦχος αʹ 82v Εἰς τὴν Λειτουργίαν τῶν Προηγιασμένων· κὺρ Πέτρου Βυζαντίου· ἦχος πλ. δʹ 101v Τῶν Θεοτοκίων καλοφωνικῶν καὶ πανυγηρικῶν μαθημάτων ποιηθέντων παρὰ τοῦ 103r κὺρ Πέτρου Ἀρχὴ σὺν Θεῷ τοῦ Τριῳδίου καὶ Πεντηκοσταρίου τῇ Κυρακῇ τοῦ Τελώνου καὶ τοῦ 147r Φαρισαίου last folio with music 208r 208v–218v blank 219r This folio, the end of the MS, has a beautiful circle design. Notes This Anthologion, attributed to Bereketes, contains music by Petros Bereketes, the Melodist, and Petros Byzantios – not necessarily two different composers. The MS can be dated in the early 19th century, before the change to the newer notation. The date can be determined by references to Petros Byzantios ‘of blessed memory’ (fol. 69r). It is known that Petros Byzantios was a Domestikos ca. 1771–89 and then later a Protopsaltes 1800–ca. 1805. His death followed shortly thereafter, placing the MS definitively in the early 19th century. The MS is in excellent condition, with a brown binding. Red ink is used for rubrics, modal signatures and hypostaseis. The music and text are written in black ink. There are about 14 lines of text and music per page. The MS proper begins on fol. 8r with a ‘shortened’ Polyeleos, a chant in the Orthros service. It continues with

EBE 2614

fol. 31v Pasapnoaria fol. 41r Odes of the Megalynaria fol. 45v Doxologies fol. 66r Anagrammatismos from Ps. 5 fol. 69r Cherubic hymns fol. 82v Communion hymns fol. 101v Liturgy of the Presanctified Gifts by Petros Byzantios fol. 103r kalophonic Theotokia and Mathemata fol. 147v the Triodion and Pentecostarion chants On the last folio [219r] there is a beautiful circular design.

467

EBE 2618 (olim 458)

468

ΕΒΕ 2618 (olim 458) ΣΤΙΧΗΡΑΡΙΟΝ ΤΟΥ ΓΕΡΜΑΝΩΝ ΝΕΩΝ ΠΑΤΡΩΝ/STICHERARION OF GERMANOS OF NEW PATRAS Type of paper: common Measurements: 21.5 × 14.4 cm Folios: 277 Notation: late Round Byzantine Date: 18th c. Provenance: Monastery of the Forerunner in Serres

1r 12v 23v 30r 36v 55v 88v 106v 117v 222r 232r 246v 263r 266r 272v 273v 277v

Μὴν Φεβρουάριος τὴν πρώτην· τοῦ ἁγίου ἐν δόξᾳ μεγαλομάρτυρος Τρύφωνος, δόξα· ἦχος βʹ Μὴν Μάρτιος αʹ· ἦχος πλ. βʹ Μὴν Ἀπρίλιος αʹ· ἦχος βʹ Μὴν Μάϊος ϛʹ· ἦχος πλ. βʹ Μὴν Ἰούνιος ηʹ· ἦχος πλ. βʹ Μὴν Ἰούλιος βʹ· ἦχος βʹ Μὴν Αὔγουστος αʹ· ἦχος δʹ Μεθέορτον· ἦχος πλ. βʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τὸ Τριῴδιον στιχηρά· ἦχος αʹ «Μὴ προσευχώμεθα φαρισαϊκῶς...» Μεγάλῃ Παρασκευῇ· ὥρας στιχηρά· ἦχος πλ. δʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν Πεντηκοσταρίων· Κυρακῇ τοῦ ἁγίου ἐνδόξου ἀποστόλου Θωμᾶ· ἦχος αʹ Τῇ δʹ τῆς Μεσοπεντηκοστῆς· ἦχος βʹ Μεθέορτον «Δόξα καὶ νῦν»· ἦχος βʹ Κυριακῇ τῆς Πεντηκοστῆς· ἦχος βʹ Μεθέορτον «Δόξα καὶ νῦν»· ἦχος πλ. δʹ Τῇ Κυρακῇ τῶν Ἁγίων Πάντων· ἦχος βαρὺς music and MS end

Notes This MS is a Sticherarion containing Idiomela and Automela Stichera. Although the name of Germanos of New Patras is not indicated in the MS, the melodies in this source are the same as those in EBE MS 2613, which is attributed to the composer Germanos of New Patras. Hence, this MS also contains his compositions. However, this Sticherarion does not begin with 1 Sept. but with 1 Feb.. This could mean that September to January were in a previous volume and that this Sticherarion is a continuation. The MS is in good condition. It has a dark brown wooden binding that once held two clasps that are no longer present. The front cover has a design of a circle within its rectangular borders. In contrast the back cover has a diamond design in the rectangle. There are rubrics indicating the feasts, their respective calendar dates, modes, capital letters of incipits and hypostaseis. There are also small border designs for the beginning of each month of the Sticherarion. Black

EBE 2618 (olim 458)

469

ink is used for the texts and neumes. The folios have been numbered in pencil. Each page has an average of 14 lines of text and music. Fol. 1r begins with the feast of 1 Feb. The feasts continue to the end of Aug. (fol. 117r). The Triodion follows on fol. 117v and the Sunday of Pentecost is found on fol. 266r. The MS concludes with the Sunday of All Saints (fols 273v–277v).

EBE 2619

470

ΕΒΕ 2619 ΑΝΘΟΛΟΓΙΑ ΠΑΠΑΔΙΚΗ/ANTHOLOGIA PAPADIKE Type of paper: common Measurements: 21.3 × 15 cm Folios: III + 274 + VII Notation: very late Round Βyzantine Date: 18th c. Provenance: probably from the Serres region in northern Greece

Ir–IIIv 1r 2 v 9 v 13r 47r 96r 98v 99v 124r 154r 176r 223v 265r 274v Ir–VIIv

blank Ἀρχὴ σὺν Θεῷ ἁγίῳ ἀνθολογία τῆς Παπαδικῆς· τὸ παρὸν κατ’ ἦχον συντεθέντα ἐντέχνως παρὰ Ἰωάννου τοῦ Κουκουζέλη· ἄρχου ἦχος αʹ Ἀρχή ... τοῦ μεγάλου Ἑσπερινοῦ· ἦχος πλ. δʹ Ἀρχὴ τὰ κεκραγάρια· ἦχος αʹ Τὰ ἕνδεκα ἑωθινά Τὰ πασαπνοάρια τοῦ Ὄρθρου· τοῦ Χρυσάφη τοῦ Νέου· ἦχος αʹ Λειτουργία τοῦ ἁγίου τοῦ Χρυσοστόμου· ἦχος βʹ Λειτουργία τοῦ ἁγίου Βασιλείου Ἀρχὴ σὺν Θεῷ ἁγίῳ τὸν χερουβικὸν ὕμνον· τὸ παρὸν ποίημα κὺρ Χρυσάφη τοῦ Νέου καὶ Πρωτοψάλτου· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τὰ κοινωνικὰ· τὸ παρὸν ποίημα κὺρ Χρυσάφη τοῦ νέου καὶ Πρωτοψάλτου· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τὰ θεοτοκία· τὸ παρὸν ποίημα κὺρ Γερμανοῦ ἀρχιερέως Νέων Πατρῶν· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ μερικὰ μαθήματα τῶν ἑορτῶν· τὸ παρὸν τοῦ Τιμίου καὶ Ζωοποιοῦ Σταυροῦ· ποίημα κὺρ Χρυσάφη· ἦχος δʹ Ἀρχὴ σὺν Θεῷ καὶ μερικὰ μαθήματα τοῦ χρόνου· ἀρχὴ τοῦ νέου ἔτους· ποίημα κὺρ Πέτρου τοῦ Μπερεκέτη· ἦχος πλ. αʹ Εἱρμοὶ καλοφωνικοὶ ψάλλονται εἰς εὐθυμίαις· ποίημα κὺρ Πέτρου τοῦ Μπερεκέτη, τὸ παρόν· ἦχος αʹ end of music and MS blank

Notes This MS is a typical Anthology Papadike of the 18th century with compositions by the newer and older composers. The MS is in good condition, with a dark leather binding. The text and neumes are written in black ink and red is used for the rubrics, some capital letter incipits, modal signatures and hypostaseis. There are about 15 lines of text and music per page. The opening rubric identifies the MS as an ‘Anthology of the Papadike’ and, indeed, it is a collection of repertory for a Papadike with music from Great Vespers, Orthros and the liturgies. More precisely, the contents are:

EBE 2619

471

fol. 1r settings of Ioannes Koukouzeles according to modes fol. 2v Great Vespers Kekragaria fol. 9v fol. 13r Heothina chants fol. 47r Pasapnoaria fol. 96r Liturgy of St John Chrysostom fol. 98v Liturgy of St Basil fol. 99v Cherubic hymns fol. 124r Communion hymns fol. 154r Theotokia fol. 176r Mathemata for feasts, the Exaltation of the Cross fol. 223v Mathemata for the liturgical calendar beginning with the new year fol. 265r kalophonic Heirmoi Some of the composers represented are Ioannes Koukouzeles, Chrysaphes the New, Germanos of New Patras, and Petros Bereketes.

EBE 2620 (olim 375)

472

ΕΒΕ 2620 (olim 375) ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: common Measurements: 21.1 × 14.7 cm Folios: 443 + I Notation: very late Round Byzantine Date: 18th c. Provenance: Monastery of the Forerunner in Serres

1r 45v 70v 98r 105r 132v 152v 198r–v 199r 209v 219r 225r 230v 248r 277v 303r 342r 394r 402v 430r 433r 443v



Στιχηράριον καλόφωνον, ποιηθὲν παρὰ κὺρ Γερμανοῦ Ἀρχιερέως Νέων Πατρῶν· μὴν Σεπτέμβριος εἰς τὴν πρώτην· ἀρχὴ τῆς ἰνδίκτου ἤτοι τοῦ νέου ἔτους καὶ μνήμῃ τοῦ ὁσίου πατρὸς ἡμῶν Συμεὼν τοῦ Στυλίτου, στιχηρὰ ἰδιόμελα· ἦχος πλ. βʹ «Ὅσιε Πάτερ...» Μὴν Ὀκτώβριος, αʹ· ἦχος βʹ There is a border design above the rubric. A design of some sort appears for every month of the liturgical calendar. Μὴν Νοέμβριος, αʹ· ἦχος πλ. βʹ Μεθέορτον ἦχος Μὴν Δεκέμβριος εἰς τὰς δʹ· ἦχος πλ. βʹ Εἰς τὰς ὥρας τῶν Χριστουγέννων στιχηρά· ἦχος πλ. δʹ, ὥρα αʹ Μὴν Ἰανουάριος, αʹ· ἦχος πλ. δʹ blank Μὴν Φεβρουάριος, αʹ· ἦχος βʹ Μὴν Μάρτιος, αʹ· ἦχος πλ. βʹ Μὴν Ἀπρίλιος, αʹ· ἦχος βʹ Μὴν Μάϊος, ϛʹ· ἦχος πλ. βʹ Μὴν Ἰούνιος, ηʹ· ἦχος πλ. αʹ Μὴν Ἰούλιος, βʹ· ἦχος βʹ Μὴν Αὔγουστος, αʹ· ἦχος πλ. δʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τὸ Τριῴδιον στιχηρά· ἦχος αʹ «Μὴ προσευχώμεθα φαρισαϊκῶς...» The ninth line of text on this folio has been written in a different, and perhaps newer, handwriting. Τῇ ἁγίᾳ καὶ μεγάλῃ Παρασκευῇ, εἰς τὰς ὥρας στιχηρά· ἦχος πλ. δʹ. This rubric has a nice border design. Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τὸ Πεντηκοστάριον· τῇ Κυρακῇ τοῦ ἁγίου ἐνδόξου καὶ πανευφίμου ἀποστόλου Θωμᾶ· ἦχος βʹ Μεθέορτον ἦχος Τῇ Κυρακῇ τῇς Πεντηκοστῆς ...· ἦχος βʹ Εἰς τοὺς αἴνους, δόξα· τὸ ἑωθινόν· ἦχος αʹ. The Ainoi are not complete. Towards the bottom of the folio, the following is written: τῆς τὸ δὲ τὴν τῆς ἄλλης· παρὰ τοῦ Φιλοθέου μοναχοῦ ἐπὶ τῆς μονῆς τοῦ τιμίου Προδρόμου· τὸ τοῦτο Σέρρας· ἑορταζόμενος· Προφητοῦ. This inscription identifies the scribe as Philotheos the Monk from the Monastery of the Forerunner at Serres. The writing is followed by a single line of neumes. music and MS end

EBE 2620 (olim 375)

Ir–v

473

blank

Notes This Sticherarion Idiomelon is from the 18th century and in good condition. The MS has a dark, rust-like leather binding on wood. One gold and leather clasp is intact but the other has been cut off. The frontispiece has a raised design in the shape of the cross. In each of the four corners of the front border that surrounds the cross, there is an impression of an evangelist. The back cover has a raised oval shape surrounded by a rectangular border in the centre. The folios have been numbered in pencil. There are about 14–15 lines of text and music per page. The text and neumes are written in black ink. The rubrics, modal signatures, capital incipit letters and hypostaseis are written in red. The rubrics, often framed with border designs, usually indicate feasts and modes. The rubric on fol. 1r identifies this MS as a kalophonic Sticherarion composed ‘by Kyr Germanos, the archpriest of New Patras’. The MS begins with the Stichera of the months for the liturgical calendar from Sept. to Aug. on fols 1r–302v. Then follow the Stichera for the Triodion on fol. 303r and the beginning of the Pentecostarion on fol. 402v. As an afterthought, fol. 443v has the beginning of the Heothina, but this was not completed. Fol. 443v identifies both the origin and scribe of the MS as Philotheos the Monk from the Monastery of the Forerunner in Serres, Greece. Bibliography Tillyard, The Hymns of the Pentecostarium.

EBE 2622 (olim 446)

474

ΕΒΕ 2622 (olim 446) ΠΑΠΑΔΙΚΗ/PAPADIKE Type of paper: chartaceous Measurements: 22.2 × 14.5 cm Folios: 423 Notation: Middle Round Byzantine Date: 1341–ca. 1360 Provenance: Monastery of the Forerunner in Serres

1r–v 2r 2 v 3r 8 v 13r 19r 25r 73r 90v 91v 98r 100v 106r 106v 107r-v 109r

missing Kalophonic Stichoi blank chants from Great Vespers by Koukouzeles, Korones, Kontopetris, Kyr Michael Mystakonos, Dimitrios Dokeianos, Georgios Panaretos, including hαgiosophitikon (a chant used in the Hagia Sophia of Constantinople) «Μακάριος ἀνήρ...»· ἦχος πλ. δʹ (Ps. 1 in the Septuagint Psalter) «Ἵνα τί ἐφρύαξαν...»· ἦχος πλ. δʹ (Ps. 2). Verses set by different composers of the 14th century: Palaion, Agallianos, Kontopetris, Athanasios Monachos, Dokeianos, Maistros, Kyr Konstantinos Magoulas. «Κύριε, τί ἐπληθύνθησαν...»· ἦχος πλ. δʹ (Ps. 3). Verses set by Korones, Maistros, ‘Old’, Domestikos Christophoros (fol. 21v), Chalivoures. Στίχοι καλοφωνικοὶ ἀπὸ τὸ μεγάλον Ἑσπερινὸν· ποίημα τοῦ Πρωτουψάλτου κὺρ Ἰωάννου τοῦ Γλυκέως, τοῦ Μαΐστρου κὺρ Κουκουζέλη καὶ τοῦ Πρωτοψάλτου τοῦ Κορώνη. Then follow yet more melismatic settings for Ps. 2, ending with fol. 72v. Ἀρχὴ καὶ τὸ, «Κύριε ἐκέκραξα» κατ’ ἦχον· ἦχος αʹ Τέλος τοῦ μεγάλου Ἑσπερινοῦ· ἀρχὴ τοῦ Ὄρθρου Τὸ, «Θεὸς Κύριος» κατ’ ἦχον· ἦχος αʹ Τὰ Καθίσματα κατ’ ἦχον· ἦχος αʹ Τὸ, «Πᾶσα πνοή...» Καὶ εὐθὺς τὸ, «Ἐλέησόν με, ὁ Θεός», κατ᾽ ἦχον πρὸς τὸ πεντηκοστάριον· ἦχος α´ «Ἐλέησόν με, ὁ Θεός … ἀνόημά μου· Νηστεία τὸν Μωσέα θεόπτην ἀνέδειξε…» Ἦχος β´ «Ἐλέησόν με, ὁ Θεός … ἀνόμημά μου· Τῶν ἱερῶν ἱερά…» Ἦχος γ´ «Ἐλέησόν με, ὁ Θεός … ἀνόμημά μου· Σήμερον τίκτει ἡ Παρθένος τὸν ποιητὴν τοῦ παντός…» Ἦχος δ´ «Ἐλέησόν με, ὁ Θεός … ἀνόμημά μου· Λύει τοῦ Ζαχαρίου τὴν σιωπήν…» Ἦχος πλ. α´ «Ἐλέησόν με, ὁ Θεός … ἀνόμημά μου· Ὡς οἰκτίρμων Κύριε, σπλαγχνίσθητι…» Ἦχος πλ. β´ «Ἐλέησόν με, ὁ Θεός … ἀνόμημά μου· Ἀναστὰς ὁ Ἰησοῦς ἀπὸ τοῦ τάφου…» Ἦχος βαρὺς «Ἐλέησόν με, ὁ Θεός … ἀνόμημά μου· Παράκλητον ἔχοντες πρὸς τὸν Πατέρα, Χριστὸν τὸν Θεόν…» Ἦχος πλ. δ´ «Ἐλέησόν με, ὁ Θεός … ἀνόμημά μου· Τῆς μετανοίας μοι πύλας Ζωοδότα…» Ἕτερον Πεντηκοστάριον ἀναστάσιμον· ἦχος δʹ

EBE 2622 (olim 446)

112r 116r 121v 124r 127v 130r 138v 142r-v

475

Εἰς τὸ εὐαγγελισμὸν τῆς Θεοτόκου Μεγαλυνάρια εἰς τὴν γέννησιν τοῦ Ἰησοῦ· ἦχος αʹ Τῇ ἁγίᾳ καὶ Μεγάλῃ Κυριακῇ τοῦ Πάσχα, ποίημα τοῦ Γλυκέως· ἦχος αʹ «Ἄξιόν ἐστιν» ἁγιορείτικον ἦχος πλ. αʹ Ἀναγραμματισμὸς τοῦ Ξένου τοῦ Κορώνη· ἦχος αʹ Πολυελέου τοῦ Νικολάου τοῦ Κουκουμᾶ· ἦχος α´ «Ὅτι κρινεῖ Κύριος…» Τὸ, «Αἰνεῖτε τὸν Κύριον»· κατ’ ἦχον Καὶ μετὰ τὸ τέλος τοῦ ἑωθινοῦ, ἄρχεται ὁ δομέστικος ἀσματικῶς τὸ, ἦχος β´ «Καὶ νῦν καὶ ἀεί … Ὑπερευλογημένη ὑπάρχεις…» Εἰσοδευόντων τῶν ἱερέων λέγεται τοῦτο· ἦχος β´ «Θεοτόκε Παρθένε διὰ γὰρ τοῦ ἐκ σοῦ σαρκωθέντος Θεοῦ ἡμῶν…» Καὶ πάλιν λέγε τὸ τέλος ὑψηλότερα «Εὐλογητὸς Χριστὸς ὁ Θεὸς ἡμῶν, ὁ οὕτως εὐδοκήσας…» 143r-145r Ἀνέρχεται ὁ ἀναγνώστης, μετὰ τοῦ Σταυροῦ εἰς τὸν ἄμβωνα καὶ λέγει τὸ, «Δόξα ἐν ὑψίστοις Θεῷ»· καὶ ἄρχεται ὁ δομέστικος ἀπὸ χοροῦ· ἦχος β´ «Δόξα ἐν ὑψίστοις Θεῷ καὶ ἐπὶ γῆς εἰρήνῃ…» Καὶ πάλιν οἱ ἱερεῖς τὸ, «Ἀναστάς», μέχρι τέλους … καὶ λέγεται πότε μὲν τὸ, «Ἀναστὰς», πότε δὲ τὸ, «Σήμερον σωτηρία» … καὶ ψαλλομένου τούτο ἀσπάζονται οἱ ἱερεῖς τὸ ἅγιον Εὐαγγέλιον καὶ ἀνέρχονται εἰς τὸ σύνθρονον καὶ λέγουσι ταῦτα κατ᾽ ἦχον εὐλογοῦντες τὸν λαὸν… Anagrammatismos Καλοφώνησιν (more anagrammatismoi of Ps. 9:33) 145v Προκείμενα ἀναστάσιμα· ἅτινα λέγονται τοὺς ἀναβαθμούς, κατ’ ἦχον· ἦχος αʹ 152r Πολυέλεος ... ποίημα διαφόρων ποιητῶν (Pss. 134–5) 157v Πολυέλεος τοῦ λεγομένου Λατρινοῦ «Εὐλογήσατε τὸν Κύριον…» 160v Τὸ βουλγαρικόν· ἦχος πλ. βʹ 185v Τοῦ Γλυκέου τοῦ Δυσικοῦ λεγόμενον ἡ βουλγάρα (Polyeleos, Ps. 135:19) 189r Πολυέλεος κατ’ ἦχον ... τοῦ Κουκουμᾶ Μαΐστρος ...· ἦχος αʹ. The rubrics for this section 197v are so specific that there are antiphonal indications as to which of the two choirs, the right or the left, is to chant each verse. 208v Polyeleos by the Maistor Koukouzeles Ἕτεροι ψαλμοί, ἦχος Νενανώ. Ps. 136 then returns to the Polyeleos again. 216r 218r Ps. 137 followed by the Polyeleos. Ἀπὸ τὸ πολυέλεον, στίχοι καλοφωνικοί· ποίημα τοῦ κὺρ Ἰωάννου τοῦ Κουκουζέλη καὶ 220v ἑτέρων· ἦχος αʹ 238r Ἕτεροι στίχοι καλοφωνικοί ἀπὸ τὸ, «Ἐξομολογεῖσθε τῷ Κυρίῳ»... τοῦ κὺρ Ἰωάννου Κουκουζέλη (based on Ps. 135, music by Koukouzeles) Στίχοι καλοφωνικοὶ ἀπὸ τὸ, «Ἐπὶ τῶν ποταμῶν Βαβυλῶνος» ποίημα κὺρ Ἰωάννου 246v Μαΐστορος τοῦ Κουκουζέλη. Kalophonic stichoi based on Ps. 136, music by Koukouzeles. Ἀντίφωνον ψαλλόμενον εἰς τὴν ὑπεραγίαν Θεοτόκον διαφόρων ποιητῶν· ἦχος αʹ 253r «Λόγον ἀγαθόν...» Ἀντίφωνα ψαλλόμενα εἰς τοὺς βασιλεῖς· τετραφωνία, ποίημα τοῦ Κορώνη· ἦχος αʹ 258r Ἀντίφωνα ψαλλόμενα εἰς ἱεράρχας καὶ ὁσίους ...· ἦχος δʹ 262v Ἀντίφωνα ψαλλόμενα εἰς Ἀρχιεστρατηγούς· ἦχος πλ. βʹ 274r Κατ’ ἦχον ψαλλόμενα τῇ ἁγίᾳ καὶ μεγάλῃ μʹ [Τεσσαρακοστῇ] τοῦ Κουκουζέλη· ἦχος 281v αʹ Ἄμωμος ψαλλόμενος εἰς κοιμηθέντας· ἦχος βʹ 295r

476

EBE 2622 (olim 446)

309v 320v 321r

Ἄμωμος ψαλλόμενος εἰς μοναχούς· ἦχος πλ. αʹ blank Ἄμωμος ψαλλόμενος εἰς ὑπεραγίαν Θεοτόκον καὶ εἰς ἕτερους ἁγίους· ἦχος δʹ Εἰς ἱεράρχας· ἦχος πλ. α´ «Ἄμωμοι ἐν ὁδῷ· μακαρίζομέν σε ἱεράρχα Χριστοῦ καὶ τιμῶμεν τὴν ἁγίαν εἰκόναν σου, ὡς ἀντίτυπον τῆς θείας σου φορφῆς…» Στάσις β´· ὃλοι ἀπὸ χοροῦ· ἦχος πλ. α´ «Καὶ ἔπλασάν με· ἄξιόν ἐστιν, μακαρίζειν σε τὴν 322r Θεοτόκον, τὴν τιμιωτέραν τῶν Χερουβεὶμ καὶ ἐνδοξοτέραν τῶν Σεραφείμ…» Ἀρχὴ τῆς θείας καὶ ἱερᾶς Λειτουργίας· ἦχος γʹ 327v Ἀλληλουϊάρια κατ’ ἦχον τῶν μεγάλων ἑορτῶν ... παρὰ τοῦ Μαΐστρου (other stichoi 336v besides the Alleluia are included) Κοινωνικά, ποίημα κὺρ Δημητρίου τοῦ Δοκειανοῦ 356v 357v Communion hymn by the Priest [Manuel] Ambelokipos 358v Communion hymn by the Maistor 358v Communion by Nikephoros Ethikos 359r Communion by Domestikos Georgios Moschianos 359v Communion by Panaretos and another by Kontopetris 360v Communion by Pherentarios et al. 363v Communion by Manuel Logginos and Korones 364v Communion by Panaretos 365v Communion by Moschianos 366r Communion by Korones 366v Communion by Kontopetris 367r Communion by Manuel Ambelokipos 367v Communion by Moschianos 368r Communion by Domestikos Andrew Ἡ θεία Λειτουργία τῶν Προηγιασμένων ... Includes settings of the Cherubic and 369r Communion hymns by many of the older composers. blank 377r 379r–381v blank Ψαλμὸς ψαλλόμενος εἰς ὕψωσιν τοῦ Σταυροῦ ... τοῦ Μιχαὴλ Μυστακονοῦ 382r Κοινωνικὰ κατ’ ἦχον τῶν νέων ποιητῶν. This section (fols 403v–419v) includes settings 403v of Communion chants by composers unknown before 1336. Some of the newer names are the following: Theophylaktos Argyropoulos, Gerasimos Chalkeopoulos, Ioannes Kladas, Manuel Logginos, Konstantinos Magoulas, Georgios Moschianos, Konstantinos Moschianos, Pherentarios, Phokas tou Politou, Dimitrios Raidestinos, Dimitrios Synadinos and Kassianos. end of music and MS 423v Notes This Papadike is dated somewhere around the mid-14th century (ca. 1341–60). The interior is in fair condition, but with missing folios in the beginning and torn, tattered folios near the end. In spite of its sad condition, it is a significant source of melodies for the newer composers after 1336. The MS is bound in a dark brown leather cover that is in poor condition. The folios are not always legible. The rubrics are faded and now appear in a light pinkish colour. The neumes and text are in a faded grey colour. There is an average of 16 lines of text and music per page.

EBE 2622 (olim 446)

477

The MS begins with chants for Great Vespers. Fol. 8v has the verses of Ps. 1. The kalophonic verses for Great Vespers are found on fol. 25r with settings by Ioannes Glykys, the Maistor Ioannes Koukouzeles and the Protopsaltes Ioannes Korones. On fol. 73r the Kekragaria are listed according to modes. The conclusion of Great Vespers and the start of Orthros are on fol. 90v, with the Theos Kyrios following on fol. 91v and categorized according to modes. The MS continues as follows: fol. 109r the Pentecostarion Anastasimon fol. 121v the Resurrection Hymn for the Sunday of Easter fol. 124r Megalynaria fol. 127v Anagrammatismoi fol. 138v Aineite chants according to modes fol. 145v more kalophonic settings fol. 152r Anastasima Prokeimena fol. 157v Polyeleos by different composers with fol. 185v having the setting known as the ‘Bulgarian’ fol. 253r a variety of antiphons for the Theotokos; fol. 258r, for emperors; fol. 262v, for priests and saints; fol. 274r, for armed forces commanders v fol. 281 hymns chanted for Great Lent fol. 295r Amomos funeral service for laymen fol. 309v Amomos for monks fol. 321r Amomos for Theotokos and other saints fol. 327v Liturgy of St John Chrysostom fol. 336v Stichera according to modes for great feasts fol. 356v Communion hymns fol. 369r Liturgy of Presanctified Gifts fols 403v– Communion hymns by the newer composers unknown before 1336 but active by the mid-14th century 419v This latter section is a catalogue of the newer generation of composers. Bibliography Breslich-Erickson, ‘The Communion Hymn’. Chaldaiakis, Ὁ Πολυέλεος. Conomos, Byzantine Trisagia and Cheroubika. —— The Late Byzantine and Slavonic Communion Cycle. Jakovljević, “Ὁ Μέγας Μαϊστωρ Ἰωάννης Κουκουζέλης Παπαδόπουλος”. Karagkounes, Ἡ Παράδοση καὶ Ἐξήγηση τοῦ Μέλους τῶν Χερουβικῶν. Karas, Ἰωάννης Μαΐστωρ ὁ Κουκουζέλης καὶ ἡ Ὲποχή του. Lingas, ‘Sunday Matins’. Petrov and Kodov, Old Bulgarian Musical Documents. Stancev and Tontscheva, ‘Bulgarskite Pesnopenia bâb Byzantiiskite Akolytii’. Stantschewa-Braschowanowa, ‘Johannes Kukuzeles’. Stathis, G., “Ὁ Μαΐστωρ Ἰωάννης Παπαδόπουλος ὁ Κουκουζέλης”. Tontscheva, ‘“Boulgarikon”’. —— ‘Les Chants “Bulgares”’.

478

EBE 2622 (olim 446)

—— ‘The “Latrinos” Settings of the Polyeleos Psalm 135’. —— ‘The Polyeleos Psalm 135 Based on Sources from 12th–13th Centuries’. —— ‘Das Polyeleos-Gesangwerk Joannes Kukuzeles’. Touliatos, The Byzantine Amomos Chant. Velimirović, ‘The Bulgarian Musical Pieces’. Williams, ‘The Kalophonic Tradition’. —— ‘The Treatment of Text’.

EBE 2625 (olim 315)

479

ΕΒΕ 2625 (olim 315) ΣΤΙΧΗΡΑΡΙΟΝ ΧΡΥΣΑΦΟΥ ΤΟΥ ΝΕΟΥ/STICHERARION BY CHRYSAPHES THE NEW Type of paper: common Measurements: 24.9 × 18.6 cm Folios: 297 + II Notation: very late Round Byzantine Date: 1809 Provenance: Monastery of the Forerunner in Serres

1r

1v–2v 3r

32v 47r 68r 97v 124v 131r 136v 140r 144v 156r 174r 190r 262v 274r 295r 297v Ir–IIv

͵αωθʹ Νοεμβρίου θʹ, Σέρρας· καὶ τόδε σὺν τοῖς ἄλλοις κτῆμα ὑπάρχει ἐμοῦ ὁ ἐξ Ἀζαρίου. This is the colophon and gives the date of the MS as 9 Nov. 1809. It also indicates that it originates from Serres and that the scribe is Azarios, who is known for writing many of the MSS from the Monastery of the Forerunner in Serres. The inscription is written twice: in the upper portion in black ink and in the middle of the MS in red. Furthermore, the name of Azarios has been scratched out and rewritten. blank folios Στιχηράριον· ἀρχὴ σὺν Θεῷ ἁγίῳ περιέχον ἄπαντα τὰ στιχηρὰ ἰδιόμελα. Τοῦ ὅλου ἐνιαυτοῦ ἅτινά ἐκαλλωπισθὲν παρὰ κὺρ Χρυσάφου τοῦ νέου καὶ Πρωτοψάλτου τῆς Μεγάλης Ἐκκλησίας. μὴν Σεπτέμβριος εἰς τὴν πρώτην. ἀρχὴ τῆς ἰνδίκτου ἤτοι τοῦ νέου ἔτους καὶ μνήμῃ τοῦ ὁσίου πατρὸς ἡμῶν Συμεὼν τοῦ Στυλίτου καὶ σύναξις τῆς ὑπεραγίας Θεοτόκου τῶν Μιασηνῶν καὶ τοῦ ἁγίου μαρτύρους ... στιχηρὰ ἰδιόμελα· ἦχος βʹ «Ἐκ ρίζης ἀγαθῆς...» Μηνὶ Ὀκτωβρίῳ αʹ· ἦχος αʹ Μηνὶ Νοεμβρίῳ αʹ· ἦχος πλ. βʹ Μηνὶ Δεκεμβρίῳ δʹ· ἦχος πλ. βʹ Μὴν Ἰανουάριος, αʹ· ἦχος πλ. δʹ Μὴν Φεβρουάριος, αʹ· ἦχος βʹ Μὴν Μάρτιος, αʹ· ἦχος βʹ Μὴν Ἀπρίλιος, αʹ· ἦχος βʹ Μὴν Μάϊος, αʹ· ἦχος πλ. βʹ Μηνὶ Ἰουνίῳ ηʹ· ἦχος βʹ Μηνὶ Ἰουλίῳ βʹ· ἦχος βʹ Μὴν Αὔγουστος, αʹ· ἦχος πλ. δʹ Τριῳδίου σὺν Θεῷ ἁγίῳ περιέχον τῶν στιχηρῶν ἰδιομελῶν τοῦ ὅλου ἐνιαυτοῦ τῆς ἁγίας καὶ μεγάλης Τεσσαρακοστῆς. Κυρακῇ τοῦ Τελώνου καὶ τοῦ Φαρισαίου· ἦχος αʹ Μεγάλῃ εʹ, εἰς τὰς ὥρας· ἦχος πλ. δʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ Πεντηκοσταρίου τὴν ἁγίαν καὶ μεγάλη Κυρακὴ τοῦ Πάσχα Κυριακῇ τῶν Ἁγίων Πάντων· ἦχος πλ. βʹ end of music and text blank

480

EBE 2625 (olim 315)

Notes This Sticherarion with music by Chrysaphes the Νew is very clean, legible and predictable in contents. It has a wooden brown binding with remnants of two gold clasps. The pages have an average of 18 lines of text and music. Red ink has been used for rubrics, modes, incipits and hypostaseis. The neumes and text have been written in the traditional black ink. Modal signatures and feast names are abundant. Only the name of Chrysaphes the New is acknowledged as the composer of the musical repertory. The colophon is found on fol. 1r and indicates the date of the MS as 9 Nov. 1809. Although scratched out and rewritten, the name of Azarios is indicated as the scribe. A series of MSS from Serres are attributed to the scribe Azarios. The MS proper begins with fol. 3r with the feast for 1 Sept. The remaining portions of the Sticherarion follow according to months of the liturgical calendar. The Triodion begins on fol. 190r and the Pentecostarion on fol. 274r. Fol. 262v has the Akolouthia for the Passion of the Hours on Good Friday.

EBE 2627 (olim 310)

481

ΕΒΕ 2627 (olim 310) ΜΑΘΗΜΑΤΑΡΙΟΝ/MATHEMATARION Type of paper: common Measurements: 26.3 × 18.7 cm Folios: II + 250 + III Notation: Late Round Byzantine Date: 18th c. Provenance: Monastery of the Forerunner in Serres

I-IIv 1r 4r 5r 6 v 7r 10r 15r 16v 17v 51r 135r 153a–b 154r 160a 161r

185r 185v 200r 209r 224v 236v 242r 243v

blank Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχον Θεοτοκίων μαθημάτων· τὸ παρὸν ποίημα κὺρ Ξένου τοῦ Κορώνη καὶ Πρωτοψάλτου τῆς Ἁγίας Σοφίας· ἦχος αʹ. After Korones, the Theotokia Mathemata follow with compositions by other composers. Τοῦ Κορώνη· ἦχος αʹ. Ἀναγραμματισμὸς τοῦ Φωκᾶ λαμπαδαρίου· ἦχος αʹ Κλίμεντος ἱερομοναχὸς Τοῦ Γερμανοῦ Τοῦ Μπαλασίου Τοῦ Μανουὴλ Χρυσάφη Τοῦ Κουκουζέλη Τοῦ Κωνσταντίνου ὁ ἐξ Ἀγχιάλου Τοῦ Ἰωάννου Κλαδᾶ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν μαθημάτων τοῦ ὅλου ἐνιαυτοῦ Σεπτεμβρίου, ηʹ, τὸ γεννήσιον τῆς Θεοτόκου, ποίημα κὺρ Μανουὴλ τοῦ Χρυσάφη· ἦχος πλ. αʹ Ἐν ταῦτα συναρχόμεθα καὶ τῶν ἠχημάτων ἄφωνα· τὸ δὲ κυρίου Ἰωάννου τοῦ Κλαδᾶ· καλλωπισθέντα Πράσινος· ἦχος αʹ blank folios Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν καλλοφωνικῶν εἱρμῶν παρὰ διαφόρων ποιητῶν· τὸ παρὸν κὺρ Μπαλασίου ἱερέως καὶ Νομοφύλακος· ἦχος αʹ «Τὴν φωτοφόρον νεφέλην...» blank Ἀρχὴ σὺν Θεῷ ἁγίῳ ἁπάντων τῶν ποιημάτων τοῦ μουσικωτάτου κὺρ Πέτρου τοῦ Κωνσταντινουπολίτου· ὅστις τουρκιστὶ ὀνομάζεται Μπερεκέτης. Πολυέλεος σύντομός τε καὶ τερπνός· ἦχος πλ. αʹ. After the abridged Polyeleos, the Pasa Pnoe and Trisagia follow. Θεοτοκίον εἰς πατριάρχας ὅταν ἐνδύονται εἰς τὴν λειτουργίαν· ἦχος πλ. δʹ «Σὲ μεγαλύνομεν τὴν ὄντως Θεοτόκον...» Ἀρχὴ τῶν κατ’ ἦχον χερουβικῶν ὕμνων· ἦχος αʹ Ἀρχὴ σὺν Θεῷ τῶν κατ’ ἦχον Θεοτοκίων μαθημάτων· ἦχος αʹ Ἕτερα μαθήματα τοῦ ὅλου ἐνιαυτοῦ Σεπτεμβρίου αʹ· ἀρχὴ τῆς ἰνδίκτου· ἦχος πλ. αʹ. Selected Mathemata follow according to the liturgical calendar. Εἰς τὸν Ἀκάθιστον ὕμνον· ἦχος αʹ Ἐγκώμιον εἰς τὸν εὐσεβέστατον βασιλέα τῶν Μοσχοβιτῶν· οἱ μὲν λόγοι ποίημα κὺρ Μιχαὴλ ἱερέως, τὸ δὲ μέλος τοῦ αὐτοῦ· ἦχος αʹ Εἱρμοὶ ἔντεχνοί τε ... τοῦ κὺρ Πέτρου τοῦ Μελῳδοῦ· ἦχος αʹ Καταβασίαι τῇ Κυρακῇ πρὸ τῆς Χριστοῦ γεννήσεως, τοῦ Πέτρου Μελῳδοῦ· ἦχος αʹ

EBE 2627 (olim 310)

482

250r Ir–IIIv

end of music and MS blank

Notes This MS is a Mathematarion dating from the 18th century, in good condition. The binding is in brown and black; gold clasps have been removed. The front cover has a gold inlay in the centre displaying the four evangelists and angels. The back cover also has a gold inlay and has symbols of a past empire – a monarch’s crown and the twin Byzantine eagles. The MS is conventional in that the rubrics, capital letters of incipits, modal signatures and hypostaseis are written in red. The neumes and text are in black ink. Pages have an average of 18–19 lines of text and music. There are a couple of incorrect numerations: fols 153 and 160 are duplicated and are differentiated by the distinctions ‘a’ and ‘b’ or the second numbering that immediately follows. The MS begins with Mathemata for the Theotokos categorized according to modes with an attribution to Xenos Korones, the Protopsaltes for the Hagia Sophia. Anagrammatismoi by various composers continue from fol. 4r. At fol. 51r, the MS continues with Mathemata for the ecclesiastical calendar beginning with the Nativity of the Theotokos for 8 Sept. and proceeding with selected feasts. The music continues with the following: fol. 135r Echemata fol. 154r kalophonic Heirmoi by various composers fol. 161r settings of the Polyeleos, Pasa pnoe, and Trisagia fol. 185r Theotokion for Patriarchs when their placing of garments occurs during the liturgy fol. 185v Cherubic hymns according to modes fol. 191r Communion chants according to modes fol. 200r Theotokia Mathemata fol. 209r other Mathemata beginning with 1 Sept. and other calendar feasts fol. 224v Akathistos hymn fol. 236v Encomium for the Emperor of Moscow fol. 242r Heirmoi by Petros the Melodist fol. 243v Katabasiai for the Sunday before Christmas

EBE 2629 (olim 356)

483

ΕΒΕ 2629 (olim 356) ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: common Measurements: 22.7 × 16.3 cm Folios: 167 + V Notation: newer Chrysanthine Date: 1829 Provenance: Monastery of the Forerunner in Serres

1r

1 v 2r 28r 51v 67r 92r 120r 141v 152v 167v

Ir–Vv

The writing on this once blank folio is a later addition. In blue ink there is written, Σερ 356, which refers to Serres and the previous number of the MS. A little lower in black ink the following is written: «καὶ τόδε ἐκ τῶν τε Ἀζαρίου τοῦ μουσικοῦ, 1832, κατ’ Ἰουνίου» (‘And this is from Azarios the musician, 1832, in June’). blank Ἀναστασιματάριον σὺν Θεῷ ἁγίῳ ᾀσματουργηθὲν μὲν παρὰ τοῦ νέου Χρυσάφου, ἐξηγηθὲν δὲ τὸ νῦν κατὰ τὸ νέον τῆς μουσικῆς σύστημα κατὰ τὴν παράδοσιν Ἰακώβου Πρωτοψάλτου καὶ ἡμετέρου διδασκάλου· ἦχος αʹ, ΝH´ «Τὰς ἑσπερινὰς ἡμῶν...» Ἀρχὴ τῶν στιχηρῶν τοῦ δευτέρου ἤχου βʹ, ΒΟΥ´ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν στιχηρῶν τοῦ τρίτου ἤχου, ἤχου Νανα, ΓΑ´ «Τὸν Σταυρὸν σου Χριστέ...» Ἀρχὴ σὺν Θεῷ τῶν στιχηρῶν τοῦ τετάρτου ἤχου· ἦχος δʹ, ΠΑ´ Ἀρχὴ τὸ στιχηράριον τοῦ πλαγίου πρώτου· ἦχος πλ. α´, ΠΑ´ Ἀρχὴ τῶν στιχηρῶν τοῦ πλαγίου δευτέρου ἤχου· ἦχος πλ. βʹ, ΠΑ´ (with a modulation sign) Ἀρχὴ τῶν στιχηρῶν τοῦ βαρέως ἤχου· ἦχος Αγια Ἀρχὴ τῶν στιχηρῶν τοῦ πλαγίου τετάρτου ἤχου· ἦχος πλ. δʹ, ΝH´ «Τέλος τοῦ ἀναστασιματαρίου ἐγράφη διὰ χειρὸς κἀμοῦ Ἀζαρίου Ἱερομονάχου Σερραίου· 1829, Ἰουνίου ιεʹ. This appears to be the colophon. It is written in red script and is older than the addition found in blue writing on fol. 1r. It states: ‘the end of the Anastasimatarion written by my hand, Azarios the Monk of Serres on 15 June 1829’. blank

Notes This Anastasimatarion is in very good condition, with a light brown binding. Although there are designs on the front and back, they are faded and difficult to distinguish. The MS is typical with black ink for the neumes and text and red ink for the rubrics, modal signs, capital letters of incipits and hypostaseis. The folios have been numbered in pencil. The pages average about 14 lines of text and music. Fol. 1 was originally blank but now has the numbering of the original Serres MS and also a confirmation that the scribe was the musician Azarios. The only discrepancy is the later date of 1832 that differs from the colophon on fol. 167v, where the date of completion by Azarios’ hand is indicated as 15 June 1829.

484

EBE 2629 (olim 356)

The contents begin with fol. 2r, where the opening rubric indicates that the repertory was composed by Chrysaphes the New but with the ‘exegesis according to the newer musical system in the tradition of Iakovos Protopsaltes, our teacher’. The MS continues with chants for Orthros and Vespers, categorized according to modes: Mode I fol. 2r fol. 28r Mode II fol. 51v Mode III fol. 67r Mode IV fol. 92r Plagal Mode I fol. 120r Plagal Mode II fol. 141v the Barys Mode [Plagal Mode III] fol. 152v Plagal Mode IV The modal signatures are designated by the newer and older systems.

EBE 2632 (olim 244)

485

ΕΒΕ 2632 (olim 244) ΠΑΠΑΔΙΚΗ/PAPADIKE Type of paper: common Measurements: 22.9 × 16.2 cm Folios: II + 250 + XV Notation: very Late Round Byzantine Date: 18th c. Provenance: Monastery of the Forerunner in Serres

Ir–IIr blank IIv This folio has a later addition of three lines of music and text. Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς ἀκολουθίας τοῦ Ἑσπερινοῦ· ψάλλεται τὸ παρὸν εἰς τὰς 1r ἀγρυπνίας· ποίημα τοῦ κὺρ Πέτρου· ἦχος πλ. δʹ, τετράφωνος Μαθήματα ψάλλονται μετὰ τὴν λιτὴν τοῦ κὺρ Δανιὴλ· ἦχος αʹ, τετράφωνος. 7r Τῶν Χριστουγέννων, μεγαλυνάριον· ποίημα τοῦ κὺρ Δανιὴλ Πρωτοψάλτου· ἦχος αʹ 21r Ἀκάθιστον ὕμνον τοῦ κὺρ Μελετίου Συναΐτοῦ· ἦχος δʹ 29r Ἀρχὴ ἕν τῶν πολυελέων, ὁ παρὼν τοῦ κὺρ Ἰωάννου· ἦχος δʹ 41v Ἀρχὴ τῶν πασαπνοαρίων, τὸ παρὸν τοῦ κὺρ Ἰωάννου· ἦχος αʹ 100r Ἀσματικὰ εἰς τὴν εἴσοδον τοῦ Τιμίου Σταυροῦ· ἐξήγησις τοῦ κὺρ Πέτρου· ἦχος δʹ 148v «Ἅγιος ὁ Θεός...» Ἡ Θεία Λειτουργία τοῦ Χρυσοστόμου· ἦχος βʹ 151r Εἰς τὴ Λειτουργία τοῦ Μεγάλου Βασιλείου· τοῦ κὺρ Πέτρου 154r Εἰς τὴν Προηγιασμένην· ἦχος πλ. βʹ 155r Ἀρχὴ καὶ τῶν χερουβικῶν ὕμνων· τὰ παρόντα τοῦ κὺρ Δανιὴλ· ἦχος αʹ 156v Ἀρχὴ καὶ τῶν κατ’ ἦχον κοινωνικῶν· ποίημα τοῦ κὺρ Δανιὴλ· ἦχος αʹ 191r Ἀρχὴ καὶ τῶν κοινωνικῶν τοῦ ἐνιαυτοῦ, ἅπερ συνετέθησαν παρὰ τοῦ κὺρ Δανιὴλ 206r Πρωτοψάλτου τῆς Μεγάλης Ἐκκλησίας· τὸ παρὸν ψάλλεται εἰς τὰς ἑορτὰς τῆς Θεοτόκου· ἦχος δʹ «Ποτηρίον σωτηρίου...» Ἕτερα κοινωνικὰ τοῦ ἐνιαυτοῦ· τοῦ κὺρ Πετράκη· ἦχος αʹ. There are also Communion 218v settings by other composers. 234r Ἑωθινὰ συντεμνημένα ἐκ τῶν παλαιῶν ὑπάρχουσι, κὺρ Ἰακώβου καὶ Πρωτοψάλτη τῆς Μεγάλης Ἐκκλησίας· ἦχος αʹ Τὸ παρὸν ψάλλεται εἰς τὴν πρώτην τοῦ Σεπτεμβρίου τοῦ Ἁγίου Συμεών· ποίημα 248r Μεθοδίου· ἦχος αʹ. There are also settings by composers Kyrillos Archiereus and Balasios. end of MS proper 250v I–XI blank later musical settings XIIr–v blank XIIIr–v later musical addition XIVr blank XIVv blank XVr–v

486

EBE 2632 (olim 244)

Notes This 18th-century Papadike is in good condition. The MS has a binding that is dark rust and black in coloration. There are two gold clasps that are intact. The front and back covers have a raised centre with a diamond shape situated within a rectangle. The imprints within the two centres, however, differ. The front has the crucifixion and the back the Theotokos with child. The neumes and text are black; red ink is used for the rubrics, the capital letters of incipits, modal signatures and hypostaseis. The pages usually have 14 lines of text and music. The MS proper begins on fol. 1r with the Akolouthia for Vespers as composed by Kyr Petros. It continues with the following: Mathemata by Kyr Daniel fol. 7r fol. 21r Megalynaria for Christmas by Kyr Daniel fol. 29r the Akathistos hymn by Kyr Meletios of Sinai fol. 41v Polyeleos by Kyr Ioannes fol. 100r Pasapnoarion by Kyr Ioannes fol. 148v chants for the entrance of the Cross by Kyr Petros fol. 151r the Liturgy of St John Chrysostom fol. 154r the Liturgy of St Basil by Kyr Petros fol. 155r the Liturgy of Presanctified Gifts fol. 156v Cherubic hymns by Kyr Daniel fol. 191r Communion chants by Kyr Daniel fol. 206r more Communion chants for various feasts of the liturgical calendar by Kyr Daniel fol. 218v other Communion chants by Kyr Petrakes fol. 234r Heothina chants by Kyr Iakovos fol. 248r Sticheron for Symeon the Stylite by Methodios, Kyrillos Archiereus and Balasios The scribe does not always distinguish the composers by their last names. The attribution to Kyr Petros refers to Petros Bereketes; Kyr Daniel is Daniel the the Lampadarios and the Protopsaltes of the Great Church; Meletios is the Monk Meletios of Sinai also known as the Cretan (ὁ Κρής); Iakovos is Iakovos the Protopsaltes of the Great Church; and Kyr Petrakes is Petros the Peloponnesian. It is uncertain if Kyr Ioannes is the Protopsaltes, Koukouzeles, Kladas, or another composer.

EBE 2633 (olim 505)

487

ΕΒΕ 2633 (olim 505) ΣΤΙΧΗΡΑΡΙΟΝ ΓΕΡΜΑΝΟΥ ΝΕΩΝ ΠΑΤΡΩΝ/STICHERARION BY GERMANOS NEON PATRON Type of paper: common Measurements: 22.8 × 15.5 cm Folios: II + 806 pages [403 fols] + II Notation: very Late Round Byzantine Date: 18th c. Provenance: Xiropotamos Monastery, Mt Athos

Ir I v IIr IIv 1



87 139 207 299 383 403 421 433 443 477 532 578 739 796 803–6 806 Ir–v IIr–v

ἐκ τῆς Μονῆς τοῦ Ξηροποτάμου [505] blank «Δόξα Πατρί». This Greater Doxology is found on the top and bottom of this folio. Neumes are placed only in the centre. Near the bottom, there is an attribution to «Χριστοφόρου Μοναχοῦ» (Christophoros the Monk). blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ στιχηραρίου· περιέχον τὰ στιχηρὰ τοῦ ὅλου ἐνιαυτοῦ, καλλωπισθὲν παρὰ κὺρ Γερμανοῦ Ἀρχιερέως Νέων Πατρῶν· ἀρχὴ τῆς ἰνδίκτου ἤτοι τοῦ νέου ἔτους ἡ σύναξις τῆς Θεοτόκου, τοῦ ὁσίου πατρὸς ἡμῶν Συμεὼν τοῦ Στυλίτου καὶ τῶν ἁγίων μαρτύρων· ἦχος πλ. αʹ «Ὅσιε Πάτερ...» (Μηνὶ Σεπτεμβρίῳ αʹ) Μηνὶ Ὀκτωβρίῳ αʹ Μὴν Νοέμβριος, αʹ Μηνὶ Δεκεμβρίῳ δʹ Μὴν Ἰανουάριος, αʹ Μὴν Φεβρουάριος, αʹ Μὴν Μάρτιος, αʹ Μὴν Ἀπρίλιος, αʹ Μὴν Μάϊος, αʹ Μηνὶ Ἰουνίῳ ηʹ Μηνὶ Ἰουλίῳ αʹ Μὴν Αὔγουστος, αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τοῦ Τριῳδίου, ἀρχόμενον ἀπὸ τῆς Κυριακῆς τοῦ Τελώνου καὶ τοῦ Φαρισαίου, στιχηρά· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ Πεντηκοσταρίου τῇ Κυριακῇ τοῦ Θωμᾷ, στιχηρά· ἦχος αʹ Τῶν Ἁγίων Πάντων table of contents for the MS Καὶ τόδε συντίθηται ἄλλοις Πορφυρίῳ, ἱερῷ Ἀθανάνῳ, Ξηροποτάμου end of MS blank blank

488

EBE 2633 (olim 505)

Notes This is an 18th-century Sticherarion with compositions by Germanos of New Patras. The MS is in good condition, with a dark brownish-black binding. Both the front and back covers have a rectangular border with a raised oval centred within the rectangle. Of the two clasps, only one is still present. The MS is paginated in red ink rather than foliated. The unnumbered folios at the beginning provide information about the MS: fol. Ir states that the MS is from the Monastery of Xiropotamos and fol. IIr indicates the name of Christophoros the Monk, probably the scribe. However, p. 806 seems to say that (another hymn?) was composed by or for others, namely Porphyrios and Holy Athananos, [both of them from?] Xiropotamos or, if the punctuation is to be read otherwise, by Holy Porphyrios and by Athananos. Black ink has been used for the text and neumes. The rubrics, modal signatures and hypostaseis are written in red. The pages average 16 lines of neumes and text. The scribe has made many orthographic mistakes throughout the rubrics and texts. Most of the mistakes involve iotacism and homophony and perhaps the typically northern change of unstressed /o/ to /u/. The contents are typical for a Sticherarion. The MS begins with the Stichera of the liturgical calendar, 1 Sept., and proceeds through the successive months. The Triodion section starts on p. 578 and the Pentecostarion on p. 739. The MS is unusual in having its table of contents on pp. 803–6.

EBE 2643 (olim 643)

489

ΕΒΕ 2643 (olim 643) ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION FRAGMENTS Type of paper: bombycinous Date: late 12th–13th c. Provenance: Monastery of the Forerunner in Serres, with the shelfmark 643

Notes This MS is comprised of seven different Sticheraria fragments that have been placed in a red cardboard binding and tied together with red and brown strings. Each of the seven fragments is in a loose brown paper binding. The fragments have various measurements. Supplement I: STICHERARION (Serres 273) Type of paper: bombycinous Measurements: 24.5 × 21.8 cm Folios: 2 Notation: very Early Round Byzantine (fol. 2r–v) Date: early 13th c.

1r–v These folios contains double columns of text in a minuscule script that allows for 64 lines of text. 2r This folio also has double columns: the left-hand column has text with no neumes; the right-hand column contains the neumes. Sticheron for 1 Sept. «Θεία χάρις...». This folio contains 35 lines of text and music. 2 v Notes This fragment is very faded and difficult to read. It also has a Serres number of 273. Supplement II: TRIODION (Serres 94) Type of paper: bombycinous Measurements: 35.5 × 26.8 cm Folios: 4 Notation: Early Round Byzantine Date: 13th c.

1r 3r 4 v

Τῇ δʹ τῆς γʹ ἑβδομάδος· ἦχος αʹ «Τὸν χαλεπὸν τῶν πταισμάτων μου...» Τῇ Κυρακῇ τῆς ὀρθοδοξίας· ἦχος βʹ «Ἡ χάρις ἐπέλαμψε τῆς ἀληθείας...» Τῇ εʹ πρωῒ· ἦχος δʹ «Ταῖς ληστρικαῖς ἐφόδοις περιπεσοῦσα...»

Notes This fragment is from the Triodion section. The folios are large with ample spacing and contain 24 lines of text and music. Both music and text are written in a brownish-black ink. A faded reddish

EBE 2643 (olim 643)

490

colour is used for rubrics, modes, hypostaseis and capital letters of incipits. The fragment also has a Serres number of 94. Supplement III: STICHERARION (Serres 95) Type of paper: bombycinous Measurements: 26.7 × 19.4 cm Folios: 6 Date: 13th c.

1r 4 v

Τριαδικοὶ κανόνες καὶ τροπάρια εἰς μαρτύρους· Εἰς τὰ στιχηρὰ Μαρτύρους· ἦχος βαρὺς «Τὴν μνήμην τῶν ἁγίων σου ἀθλοφόρων...» Ἕτερα στιχηρὰ Μαρτύρους κατ’ ἦχον· ἦχος αʹ· ψάλλονται κατὰ Σαββάτῳ τῇ ἁγίᾳ μʹ [Τεσσαρακοστῇ]

Notes This is a Sticherarion fragment with text only. Modal indications, however, are indicated. The pages have about 34–5 lines of text in double columns. The fragment has the Serres number of 95. However, this fragment has been extracted from MS Supplement 530 (Serres B14/Fragment 84), which was a Bulgarian MS from which the Greek text was isolated (in the above fragment). Supplement IV: STICHERARION (Serres 96) Type of paper: bombycinous Measurements: 30.6 × 23.8 cm Folios: 10 Date: 13th c.

1 v

Γεωργίου Χαρτοφύλακος· ἐγκώμιον εἰς τὴν ὑπεραγίαν δέσποινα ἡμῶν Θεοτόκου

Notes This fragment contains only an encomium by Georgios Chartophylax to the Madonna. The text is written in a brownish-black ink. Red ink is used for capital letters. The pages average about 30 lines each in double columns. No modal signatures have been indicated. The ten folios of this fragment have been extracted from Serres MS supplemental 522. These ten folios were the sole Greek text in a Bulgarian MS. The lower left-hand corner of the recto folios indicates the older numbering: 136–45. Supplement V: STICHERARION (Serres 97) Type of paper: bombycinous Measurements: 25.6 × 18.5 cm Folios: 13 Date: late 13th c.

1r

Τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Γρηγορίου ἀρχιεπισκόπου Κωνσταντινοπόλεως ... λόγος εἰς τὸν πατέραν

EBE 2643 (olim 643)

491

Notes This fragment has text only. It appears to be a homily by Gregory, Archbishop of Constantinople. The pages have 22 lines of text and no modes are indicated. The original numbering of the folios is still visible: 284r–296v. This fragment was taken from Serres MS 97. Supplement VI: STICHERARION (Serres 98) Type of paper: bombycinous Measurements: 33.7 × 22.5 cm Folios: 8 Date: 13th c.

1r

Μαρτυρίαν τῆς ἁγίας ἐνδόξου μεγαλομάρτυρος τοῦ Χριστοῦ· Ἑκατερίνας Εὐλόγησον ...

Notes This fragment has text only, a Sticheron for the martyrdom of St Katherine. The text is written in a brownish-black ink. The pages have double columns with an average of 34 lines. This Serres MS, with a previous number of Serres 98, might have been extracted from Serres MS 214. Supplement VII: STICHERARION (Serres 99) Type of paper: bombycinous Measurements: 31.5 × 22 cm Folios: 6 Notation: Early Round Byzantine, without red hypostaseis Date: late 12th–13th c.

1r 3r 4r 6r

Ἀντίφωνον αʹ· ἦχος πλ. αʹ «Ἐν τῷ θλίβεσθαί με Δαυϊτικῶς...» Τῇ Παρασκευῇ τῆς αʹ ἑβδομάδος· τὸν φωτισμόν· ἦχος βʹ Κυριακῇ τῆς Τυροφάγου, εἰς τὴν ἐξορίαν τοῦ Ἀδάμ· ἦχος πλ. αʹ Σαββάτῳ αʹ τῶν νηστειῶν· τοῦ ἁγίου μεγαλομάρτυρος Θεοδώρου· ἦχος βʹ «Δεῦτε, φιλομάρτυρες πάντες πνευματικῶς...»

Notes This fragment is from the Triodion portion and contains text and music. The fragment is in fair condition. The folios have a large spacing: there are only about 19 lines of text and music per page. The rubrics are written in red. The text and neumes are written in a brownish-black ink. The fragment has a previous numbering of Serres 99.

492

EBE 2645

ΕΒΕ 2645 ΕΥΑΓΓΕΛΙΣΤΑΡΙΟΝ/EVANGELISTARION Type of paper: bombycinous Measurements: 31.7 × 23.8 cm Folios: 219v Notation: Ecphonetic Date: 1206 Provenance: possibly from the Serres region of northern Greece

1r

Κυριακῇ τοῦ Πάσχα ἐκ τὸν κατὰ Ἰωάννην. Easter Sunday, readings from the Gospel of John, with an illumination. 45v–46r These two folios have an illumination. Σάββατον πρωῒ μετὰ τὸν νʹ [Πεντηκοστάριον] ἐκ τὸν κατὰ Ματθαῖον 46r 67v–68r illumination. Σάββατον πρωῒ μετὰ τὸν νʹ ἐκ τὸν κατὰ Λουκᾶν. Then follow readings from Matthew and Luke. illumination of Mark 93v Σάββατον τῶν νηστειῶν ... τοῦ ἁγίου μάρτυρος Θεοδώρου. This includes other readings 94r besides the Book of Mark. illumination of Jesus Christ 166v Μηνὶ Σεπτεμβρίῳ αʹ· ἀρχὴ τῆς ἰνδίκτου καὶ μνήμῃ τοῦ ὁσίου Συμεὼν τοῦ Στυλίτου· 167r γίνεται δὲ καὶ σύναξις τῆς ὑπεραγίας Θεοτόκου Μιασηνῶν ... ἐκ τὸν κατὰ Λουκᾶν. This is followed by Gospel readings for the liturgical year. 218v This folio has a colophon dated 1206. blank 219r–v Notes This Evangelistarion is dated in the year 1206. It is a typical Evangelistarion, in fair condition. The MS has a newer refurbished light brown binding. The folios, however, are filled with wormholes and are quite tattered. The average page has double columns with 23 lines of text. The text is written in a faded brown ink. The music notation is distinguished from the accents of the Greek text by their distinct shapes but also by their faded red ink. Although there are several illuminations, most are not in good condition. The MS begins with the readings from the Book of John for Easter Sunday. On fol. 46r the readings for Pentecost continue and from fol. 167r the Menologion readings continue to the end of the MS. The colophon is found on fol. 218v.

EBE 2672 (olim Suppl. 672)

493

ΕΒΕ 2672 (olim Suppl. 672) ΕΥΑΓΓΕΛΙΣΤΑΡΙΟΝ/EVANGELISTARION Type of paper: bombycinous Measurements: 29.7 × 22.2 cm Folios: 137 (original number; now only 134 fols) Notation: early Ecphonetic, not easily transcribed Date: 1270 Provenance: probably from the Serres region in northern Greece

1r Book of John with readings according to feasts. This folio is in poor condition and the text is mostly illegible; however, the red ecphonetic neumes are more readable. 10v The folio that follows has been cut out. 11r This is a renumbered folio. The lower portion of the folio has been cut out. The original folio that follows has been torn out. 12r This is another renumbered folio. This folio has not been cut. 14r–v The lower portion of this folio is missing. Τῇ βʹ τῆς νʹ· Κατὰ Ματθαῖον 26r Ἀρχὴ τὰ εὐαγγέλια ἐκ τὸν κατὰ Λουκᾶν 44r 45r This folio has an added text written in red and black ink. These marginal annotations do not contain music and are found in the upper, lower, and side margins. 50r This folio includes readings from the Book of Matthew. The lower margin has been torn off. Κατὰ Μάρκου· Σαββάτῳ εʹ τῶν νηστειῶν 53v 62v–64r These folios do not have music. music resumes 64v 68r Gospel readings for the liturgical calendar Μηνὶ Σεπτεμβρίῳ αʹ missing folio 71v Μὴν Ὀκτώβριος, αʹ 75r Μὴν Νοέμβριος, αʹ 78v 80r Μὴν Δεκέμβριος, αʹ Μὴν Ἰανουάριος, αʹ 86v Μὴν Φεβρουάριος, αʹ 92v Μὴν Μάρτιος, αʹ 95r Μὴν Ἀπρίλιος, αʹ 96v Μὴν Μάϊος, αʹ 97r 100r–v The length of the side margin has been torn. Μηνὶ Ἰουνίῳ αʹ. The lower margin has been cut. 101r Μηνὶ Ἰουλίῳ αʹ 106v Μὴν Αὔγουστος, αʹ 109v Ἑωθινὰ ιαʹ ἀναστάσιμα. The next two folios have been cut out. 115v Εὐαγγέλια ἀναγιγνωσκόμενα εἰς διαφόρους μνήμας καὶ λειτουργείας καὶ παννυχίδα. 117v A table of readings of the Kathismata (groups of psalms) for the Lenten period. 120v After this folio, more cut folios follow. 122r–v

494

134v

EBE 2672 (olim Suppl. 672)

end of music and MS (this folio has been renumbered)

Notes This Evangelistarion has been newly rebound. The MS is in fair to poor condition with many wormholes throughout. The worst destruction, however, is that many folios have been mutilated and cut either in part or in their entirety. This has led to a new numbering in pencil from its original 137 fols to 134 fols, eliminating fols that are no longer a part of the MS. The fols have double columns with 24–6 lines in each column. The text is written in what has become a faded brown ink. The Ecphonetic notation is in red ink and is placed sporadically above the text. Modal signatures written in a different script have been added later on fols 31v, 32v, 33r, 37v, 41r, 42r, and 44r. The MS has orthographic mistakes throughout. The contents of the MS are typical of an Evangelistarion. It begins with Gospel readings for the Lenten period. The readings for the liturgical calendar start on fol. 68r with 1 Sept. After the readings for feasts of the ecclesiastical year, the Heothina chants follow on fol. 115v. The MS continues with Gospel readings for various feasts, memorials and liturgies. Fol. 120v has a table for the readings of the Kathismata during the Lenten period. The colophon is found on fol. 1r.

EBE 2676

495

ΕΒΕ 2676 ΕΥΑΓΓΕΛΙΣΤΑΡΙΟΝ/EVANGELISTARION Type of paper: bombycinous Measurements: 29.7 × 20.7 cm Folios: 239 + I Notation: Ecphonetic Date: late 11th–12th c. Provenance: possibly from the region of Serres in northern Greece

1r

Τῇ ἁγίᾳ καὶ μεγάλῃ Κυρακῇ τοῦ Πάσχα· ἐκ τὸν κατὰ Ἰωάννην. This folio has two sets of numbers. In a newer writing above the illumination in the upper left-hand corner is the number 1903. On the right margin to the left of the illumination, the number 1900 is written in purple ink. 10r–v This folio has a torn margin. Ἐκ τὸν κατὰ Λουκᾶν. This is followed by readings from the Book of John. 43v Ἐκ τὸν κατὰ Ματθαῖον. The top right-hand column has had an illumination cut out. 56r Ἐκ τὸν κατὰ Λουκᾶν 79v Ἐκ τὸν κατὰ Ματθαῖον 81r 85r The length of the right-hand column has been cut out. Κυριακῇ αʹ τοῦ νέου ἔτους· κατὰ Λουκᾶν 86r 93r The middle section of this folio has had a border design cut out. Σαββάτῳ τῆς ἀπόκρεῳ · ἐκ τὸν κατὰ Ματθαῖον 114v Κυριακῇ τῆς Τυροφάγου 118v Τῇ βʹ τῆς αʹ ἑβδομάδος τῶν νηστεῖων Ἑσπέρας εἰς τὴν παννύχιον 119r Τῇ Παρασκευῇ τῆς αʹ ἑβδομάδος εἰς τὴν παραμονὴν τοῦ ἁγίου Θεοδώρου· ἐκ κατὰ 120r Ἰωάννην 121r The top left-hand column had a border illumination that has been cut out. Ἐκ τὸν κατὰ Μᾶρκον. Εἰς τὴν Λειτουργίαν· ἐκ τὸν κατὰ Ἰωάννην. Readings from other books follow as well. 135r Τῇ ἁγίᾳ καὶ μεγάλῃ δʹ, εἰς τὴν Λειτουργίαν· ἐκ τὸν κατὰ Ματθαῖον 156r 157r Τῇ ἁγίᾳ καὶ μεγάλῃ εʹ, εἰς Ὄρθρος...· ἐκ τὸν κατὰ Λουκᾶν Τὴν Λειτουργίαν· κατὰ Ματθαῖον 160r Εὐαγγέλιων τῶν ἁγίων Παθῶν· ἐκ τὸν κατὰ Ἰωάννην. Readings are also from the 168r Books of Matthew and Mark. This folio has an illumination in the lower right-hand column. Μηνὶ Σεπτεμβίῳ αʹ· ἀρχὴ τῆς ἰνδίκτου καὶ μνήμῃ τοῦ ὁσίου πατρὸς ἡμῶν Συμεὼν 202r τοῦ Στυλίτου. γίνεται δὲ καὶ σύναξις τῆς ἁγίας Θεοτόκου ἐν τοῖς Χαλκοπέτρα ὑπὲρ Μιασηνῶν· καὶ ἐν μὲν τῷ φόρῳ καὶ εἰς τῇ λειτουργίᾳ τῆς Μεγάλης Ἐκκλησίας. ἀναγινώσκεται ἐν αʹ· ἐκ τὸν κατὰ Λουκᾶν. Then follow readings from the other books of the Gospel. Μηνὶ Ὀκτωβρίῳ αʹ 205r Μηνὶ Νοεμβρίῳ αʹ...· κατὰ Ματθαῖον 216r Εἰς τὴν Λειτουργίαν· ἐκ τὸν κατὰ Ἰωάννην 218r Μηνὶ Δεκεμβρίῳ αʹ 221r

496

EBE 2676

239v end of the original portion of the MS Ir–v This was a blank folio that has added text and music. The recto and verso are badly faded, with the recto being illegible. Notes This is an Evangelistarion with Ecphonetic musical notation. The MS has a reddish-brown leather binding. The front cover has an ornate Byzantine cross in its centre. The interiors of the front and back covers have added writing in columns. The condition of the MS is fair. The text is formatted in double columns with about 20 lines in each column. The text is written in a brownish-black script and the ecphonetic neumes in red ink. There are no modal indications. The initial letters of incipits are occasionally decorated. Throughout the MS, the margins are consistently wide: the top margin is 3.75 cm, the side margin 4 cm, and the bottom margin 5.75 cm. Many portions of the MS are mutilated where there must have been illuminations or border designs. The MS begins with readings for Easter, even though the readings for Carnival (fol. 114v) and Cheesefare (fol. 119r) follow later. The Gospel readings for the ecclesiastical year start with fol. 202r and continue to the end; however, the MS does not include all the months.

EBE 2711

497

ΕΒΕ 2711 ΕΥΑΓΓΕΛΙΣΤΑΡΙΟΝ/EVANGELISTARION Type of paper: bombycinous Measurements: 27.2 × 20.7 cm Folios: 154 Notation: early Ecphonetic Date: 11th–12th c.

1r

A border illumination surrounds the following rubric: Τῇ ἁγίᾳ καὶ μεγάλῃ Κυρακῇ τοῦ Πάσχα· ἐκ τὸν κατὰ Ἰωάννην. This torn folio also has another rubric: Τῇ τρίτῃ τὴς διακαινησίμου. 4r–5r These folios have a different black script added to what was once blank folios. blank 5v renumbered as fol. 1r 6r r–v 7 This folio is written in a smaller black script. 8r The original numbering is resumed. Τῇ βʹ μετὰ τὴν Νʹ τοῦ Ἁγίου Πν(ευματο)ς· ἐκ τὸν κατὰ Ματθαῖον. The rubric has a 51r border illumination in the left column. blank 83v Σαββάτῳ αʹ· ἐκ τὸν κατὰ Λουκᾶν. This rubric also has a border illumination on the left 84r column. 102v Because the original folio has been torn, the lower margin has been replaced with chartaceous paper. This addition has a strange series of numbers written sideways and placed in two columns. 105r This folio also has an added lower margin patched with chartaceous paper. Σαββάτῳ αʹ· τῆς Νʹ καὶ μνήμῃ τοῦ ἁγίου μεγάλου Θεοδώρου· ἐκ τὸν κατὰ Μᾶρκον. This 114r rubric has a border illumination in the top right column. 125r The right margin is torn. 137r–v The right margin is torn. 145r–v The lower part of the folio is torn. Εὐαγγέλια τῶν ἁγίων Παθῶν...· ἐκ τὸν κατὰ Ἰωάννην. This folio has a faded border on 150r the top left column. The remaining folios are torn. end of music and MS 154v Notes This is a typical Evangelistarion of the 11th–12th century. The contents are traditional, with the various readings from the Gospels beginning with Easter Sunday on fol. 1r. The MS continues with readings for Pentecost (fol. 51r) and the Gospel of John for the Holy Passion (fol. 150r). The condition of the MS is poor. No binding has been preserved. The folios (and their margins) are also in dismal condition; many are torn, mutilated, and faded. The format is traditional in that there are double columns on each folio. There is an average of 21 lines of text and music for each column. The text is written in a faded brownish ink. The ecphonetic music is distinguished from the brown accents of the Greek text with red neumes. The Ecphonetic notation is usually written over the texts of the double columns.

498

EBE 2725

ΕΒΕ 2725 ΠΑΠΑΔΙΚΗ/PAPADIKE Type of paper: chartaceous Measurements: 21 × 13.5 cm Folios: 417 Notation: Middle Byzantine Date: 15th c.

1r–278v These folios contain text only: psalms and odes of the Anabathmoi. Ἄμωμος. This is the text of Ps. 118, the longest psalm in the Psalter. 86r Σημαδίων τῆς Παπαδικῆς Τέχνης. It is only with this folio that the music begins with 279r ‘The signs of the Psaltike Techne’. Ἀρχὴ σὺν Θεῷ τὸ, «Κύριε ἐκέκραξα», τὸ, «Θεὸς Κύριος» κατ’ ἦχον. This is the beginning 280v of the Kekragaria, Theos Kyrios and other chants from Vespers and Orthros that are chanted according to modes, beginning with Mode I. Ἀρχὴ τοῦ πολυελέου λεγόμενον Λατρινοῦ· ἦχος αʹ 310v Ἀρχὴ τῶν ἀλληλουϊαρίων τοῦ ἀντιφώνου, τοῦ Γλυκέως· ἦχος αʹ 315r Ἀρχὴ τῶν κρατημάτων, τοῦ Κουκουζέλη· ἦχος αʹ 345r Ἀρχὴ σὺν Θεῷ τῶν στιχηραρίων τοῦ ἐνιαυτοῦ χρόνου· τῶν Ἁγίων ἑορτῶν τοῦ ὁσίου 379v πατρὸς ἡμῶν Συμεὼν τοῦ Στυλίτου· ποίημα δὲ κὺρ Ἰωάννου τοῦ Πρωτοψάλτου· ἦχος βʹ music and MS end 417v Notes This Papadike of the 15th century is in poor condition, with tattered folios. Furthermore, the top fourth of the MS has suffered water damage, causing the contents to fade and more specifically making the musical neumes impossible to read. Although the text was probably written in black ink, it is greatly faded to a light grey. The neumes are also faded and are not decipherable. The MS has miscellaneous content. From fols 1r to 278v, it contains only text without neumes. The texts are mostly psalms and the odes of the Anabathmoi. The true Papadike portion of the MS with the neumes of the Psaltike Techne begins on fol. 279r. The MS continues with the following: fol. 280v, chants from Vespers and Orthros according to modes; fol. 310v, the Polyeleos; fol. 315r, Alleluiaria; fol. 345r, Kratematarion – these are all kalophonic settings; and fol. 379v, a Sticherarion section beginning with 1 Sept. as composed by Ioannes Protopsaltes. The feasts of the ecclesiastical calendar follow to the end of the MS. In the Sticherarion portion of the MS (fols 379v–417v) the top half of each folio is badly faded from water damage. The MS is usable for comparative purposes only.

EBE 2732 (olim Suppl. 132)

499

ΕΒΕ 2732 (olim Suppl. 132) ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: common Measurements: 22.8 × 19 cm Pages: 146 Notation: newer Chrysanthine notation, with modal signatures in the older and newer signs Date: late 19th c. (1893) Provenance: probably from the region of Serres in northern Greece

1–10 11 30 40 48 52 59 64 65 67–9 70 71 79 80 81 87 88 106 115 122 123 129 134 136 142 146

missing pages Ἦχος πρώτος· εἰς περὶ τὰ σύντομα «Τὰς ἑσπερινὰς ἡμῶν εὐχάς...». Chants from Vespers in Mode I. All the chants are listed according to modes. Εἰς Ἑσπερινόν· ἦχος δεύτερος ἐκ τοῦ ΒΟΥʹ «Τὸν πρὸ αἰώνων ἐκ πατρὸς γεννηθέντα...» Πασαπνοάριον Κεκραγάριον· τρίτον, ἦχος γʹ Ἑσπερινὸν· ἀρχὴ εἰς ἦχον τρίτον Πασαπνοάριον· ἦχος γʹ Τέλος τοῦ τρίτου ἤχου Κεκραγάριον· ἦχος δʹ, ἐκ τοῦ ΠΑ´ blank Χη: 11 Ἀπριλίου, 1893· ὅπου γεννέθηκεν τὸ παιδὶ τοῦ Γιωργίου. (MS: 11 Apr. 1893, when the son of Georgios was born.) This is written in black ink on what was probably a blank folio. Τέταρτος ἦχος δʹ, ΠΑ´ «Τὸν ζωοποιὸν σου Σταυρόν...» Ἀπόστιχα· τοῦ τετάρτου ἤχου «Κύριε, ἀνελθὼν ἐν τῷ Σταυρῷ...» Τέλος τοῦ τετάρτου ἤχου· Ἑσπερινοῦ Πασαπνοάριον· τετάρτος ἦχος, ΠΑ´ Ὁ μακαρισμός (Ps. 1)· τοῦ τετάρτου ἤχου Κεκραγάριον· πλαγίου πρώτου, πλ. αʹ Κεκραγάριον· πλαγίου δευτέρου, ΠΑ´ (with modulation sign) Πασαπνοάριον· πλαγίου δευτέρου, ΠΑ´ (with modulation sign) Κεκραγάριον· ἦχος βαρύς, γʹ Νανα Ἑσπερινά· ἦχος βαρύς, γʹ Νανα Πασαπνοάριον· ἦχος βαρύς, γʹ Νανα Ὁ μακαρισμός (Ps. 1), εἰς τὴν λειτουργίαν· ἦχος βαρύς, γʹ Νανα Εἰς Ἑσπερινά· ἦχος πλ. δʹ, ΝΗ´ «Εἰς ἑσπερινὸν ἡμῶν...» Εἰς τοῦς Αἴνους· ἦχος πλ. δʹ, ΝΗ´ «Πᾶσα πνοή...» Ἦχος πλ. δʹ «Πορευθέντος σου ἐν πύλαις ᾄδου...» last page of music and MS, in Plagal Mode IV

Notes This Anastasimatarion is from the late 19th century. Although there are ten missing folios at the beginning and some interior folios that are torn, the MS is in good condition, with a light brown

500

EBE 2732 (olim Suppl. 132)

binding. The MS has been numbered in pencil on every page in the upper corners. Red ink has been used for the rubrics, modal signs, capital letters of incipits and gorgon signs (acceleration of tempo). The text and neumes have been written in black ink. The pages average 12–13 lines of text and neumes. Orthographic errors are frequent throughout. The MS contains Vespers and Orthros chants categorized according to modes. The divisions of the MS are as follows: p. 11, Mode I; p. 30, Mode II; p. 48, Mode III; p. 65, Mode IV; p. 88, Plagal Mode I; p. 106, Plagal Mode II; p. 122, Barys Mode (Plagal Mode III); and pp. 135–46, Plagal Mode IV. The MS has a previous supplemental number.

1 Illumination, MS 1869, fol. 264v

2 Evangelium, illumination of Matthew, MS 2645, fol. 45v

3

Two-voiced communion chant by Plousiadenos: black neumes in Mode IV; red neumes in Plagal Mode IV, MS 2401, fol. 216v

4 Two-voiced communion chant by Manuel Gazes: black neumes in Mode IV; red neumes in Plagal Mode IV, MS 2401, fol. 328r

5 Example of a 13th-Century early Middle Byzantine notation (chant for the Passion of Christ), MS 974, p. 114

6 Evangelium, border design for the rubric with readings according to Luke (red ecphonetic notation above and below text), MS 2804, fol. 126r

7 Polychronion for the Ecumenical Patriarch, MS 2175, fol. 302v

8 Technologia: Musical Treatise by Apostolos Konstas of Chios, MS 1867, fol. 8r [1]

9 Diagram of the Parallage of Ioannes Plousiadenos, MS 3116, fol. 1r

10 Diagram of modes, MS 948, fol. 55r

11 Self-portrait of the scribe, David of Skopelos, with a lengthy autobiography, MS 893, fol. 5r

12 Parallage; attributed to Koukouzeles: The Trochos [Similar to MS 3116, fol. 2r], MS 893, fol. 4v

13 Study of the Parallage after the Metrophonias, MS 893, fol. 3v

14 Stichera on December 25th for the birth of Christ, MS 2604, fol. 91r

15 Katanyktika by Ioannes [Kladas] Lampadarios, MS 2604, fol. 370v

16 Continuation of the Parallage by Plousiadenos, MS 2175, fol. 27r

17 Chants for the [Easter] Resurrection by Manuel Chrysaphes, MS 2220, fol. 104v

18 Colophon [1692] with biographical information on the scribe, Paulos, the Priest of Skopelos, MS 902, fol. 283r

19 Exegesis of the teachings of Akakios Chalkeopoulos [Anastasimatarion], MS 917, fol. 15r

20 Serbian settings in praise of the Virgin Mary by Isaiah the Serb, MS 928, fol. 65r

21 Plousiadenos’ Treatise: sticheron chanted in eight beats, MS 968, fol. 177r

22 From the Plousiadenos Treatise: Another in the Same Mode – This Melody Functions in the Manner of the Franks and Holds the Isons for Six Staseis, MS 968, fol. 184v

23 Evangelium with Ecphonetic notation for the Book of John, MS 2672, fol.13r

24 Introduction to Parallage [modal modulations indicated with modal signatures below neumes], MS 2839, fol. 7r [13r]

25 Treatise: exegesis of the Anabathmoi, MS 2877, fol. 1r

26 Preparatory exercise for the Theseis according to modes, MS 2175, fol. 29v

27 The beginning of the Triodion, MS 896, fol. 271r

28 End of canto, Wer kennt nicht; followed with canon by M. J. Haydn: Domine Deus salutis, MS 1946, Sec. 33, p. 3

29 Piano Theme and Variation I, MS 1946, Sec. 5, p. A

30 Piano Variations II and III, MS 1946, Sec. 5, p. B

31 Offertory for Voice and Orchestra [with the New Ophicleide], MS 960, fol. 1v

32 Circle of Epechemata and Parallage, MS 3116, fol. 5r

EBE 2733

501

ΕΒΕ 2733 ΠΑΠΑΔΙΚΗ/PAPADIKE Type of paper: common Measurements: 23.4 × 17.1 cm Folios: 303 Notation: very Late Round Byzantine Date: late 17th–18th c. Provenance: probably from the region of Serres in northern Greece

1r 1 v 11r 20r 31r 50v 63v 83r 101v 122v 130v 151v 158r 179r 200r 205v 212r 236v 238v 268v 275r 295r 300v 303v

chants of Orthros Πολυέλεος Ἀναγραμματισμός Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον μεγάλων πασαπνοαρίων· τὰ ὁποῖα ψάλλονται εἰς τὸν ὄρθρον· ἦχος αʹ Τῶν κατ’ ἦχον δοξολογιῶν· ἦχος αʹ Χερουβικά, τοῦ αὐτοῦ κὺρ Πέτρου Μπερεκέτη· ἦχος αʹ Κοινωνικά, τοῦ Πέτρου Μπερεκέτη Γλυκῦ· ἦχος αʹ Θεοτοκία· ἦχος αʹ Ἀρχὴ σὺν Θεῷ καὶ τὸ μηνολόγιον τοῦ αὐτοῦ. Μὴν Σεπτέμβριος, ἀρχὴ τοῦ ἰνδίκτου· ἦχος πλ. αʹ. Then follow selected feasts for the liturgical year beginning with September. Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ μερικὰ καλοφωνικὰ μαθήματα τοῦ Τριῳδίου· Κὺρ Πέτρου Μπερεκέτη· ἦχος αʹ Εἰς τὸν Ἀκάθιστον ὕμνον· ἦχος πλ. δʹ Κράτημα, Ἐθνικὸν ὡραῖον· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον πανιγυρικῶν καὶ καλοφωνικὸν εἱρμόν· κὺρ Πέτρου Μπερεκέτη· ἦχος αʹ Τῶν κατ’ ἦχον ἠχημάτων· τοῦ Μπαλασίου ἱερέως· ἦχος αʹ Μερικὰ ποιήματα τοῦ κὺρ Δαμιανοῦ ἱερομονάχου· ἔντεχνος ὀκτὼ ἦχος· ἦχος αʹ Χερουβικὸν τοῦ Μπαλασίου Κοινωνικὰ κὺρ Ἰωάννου τοῦ Χρυσοβέργου τοῦ Πελοποννησίου· ἦχος αʹ Τῶν μικρῶν κεκραγαρίων τῆς ὅλης ἑβδομάδος· ἦχος αʹ Εὐλογητάρια τοῦ Γερμανοῦ Νέων Πατρῶν· ἦχος πλ. αʹ Τὸ παρὸν ψάλλεται εἰς ταῖς δεσποτικαῖς ἑορταῖς· τὸ ἐγκώμιον· τοῦ κὺρ Μπαλασίου· ἦχος πλ. αʹ Ἀκάθιστον ὕμνον Πολυέλεος συνοπτικὸς τοῦ κὺρ Δανιὴλ λαμπαδαρίου· ἦχος δʹ Μάθημα ὀργανικόν end of music and MS

Notes In spite of the missing folios at the beginning and ending, this MS is in good condition, with a newer brown binding. The text and neumes are written in black ink and the rubrics, modal

EBE 2733

502

signatures and hypostaseis are in red ink. The pages average 16–18 lines of text and neumes. There are orthographic mistakes by the scribe. The contents are mostly typical of a late Papadike MS, but there are some peculiarities. The Papadike opens with chants of Orthros. It can be assumed that the missing folios at the start of the MS must have contained chants from Vespers. The chants from Orthros follow with the remaining chants: fol. 1v Polyeleos fol. 11r Anagrammatismoi fol. 20r Pasapnoaria The MS continues with the following: fol. 31r Doxologies fol. 50v Cherubic hymns fol. 63v Communion hymns fol. 83r Theotokia fol. 101v selected feasts from the Menologion fol. 122v Kalophonic Mathemata from the Triodion fol. 130v Akathistos hymn fol. 151v ‘National’ (Ethnic) Kratema fol. 158r kalophonic Heirmoi fol. 179r Echemata according to modes fol. 200r compositions by Kyr Damianos fol. 205v Cherubic Hymn by Balasios fol. 212r more Communion hymns fol. 236v smaller Kekragarion for the entire week fol. 238v Eulogetaria by Germanos of New Patras fol. 268v Encomium fol. 275r another Akathistos hymn fol. 295v a shorter Polyeleos fol. 303v Organikon Mathema The composers are varied but the majority are from the late 17th to 18th centuries. Some of the attributions represented are the following: Petros Bereketes, Balasios, Ioannes Chrysoverges, Daniel the Lampadarios and Germanos of New Patras.

EBE 2748 (olim Suppl. 748)

503

ΕΒΕ 2748 (olim Suppl. 748) ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: chartaceous Measurements: 26.6 × 15.5 cm Folios: 27 Notation: very Early Round Byzantine Date: late 12th–early 13th c. Provenance: Monastery of the Forerunner in Serres

1r 1 v 3 v 7r 11v 14v 27r

Ἦχος πλ. δʹ «Ἐν τῇ Στοᾷ τοῦ Σολομῶντος...». The modal signature is followed by an intonation formula. Τῇ δʹ τῆς Μεσοπεντηκοστῆς· ἦχος αʹ «Πεντηκοστῆς ἐφέστηκεν...» Κυριακῇ δʹ· τῆς Σαμαρείτιδος Τῇ εʹ· τῆς ἀναλήψεως· ἦχος αʹ. The rubric, which has a border design, is followed by the intonation formula of the mode. Τῇ Κυριακῇ τῶν ἁγίων τιηʹ Θεοφόρων πατέρων ἡμῶν τῶν ἐν Νικαίᾳ Τῇ Κυριακῇ τῶν Ἁγίων Πάντων· ἦχος αʹ Ἀρχὴ τῶν ἀναβαθμῶν, κατ’ ἦχον· ἦχος αʹ «Ἐν τῷ θλίβεσθαί με...». The remaining folios of the MS have been torn out.

Notes This early Sticherarion is a fragment. The MS is in poor condition, with missing portions, and the folios that remain are torn and tattered. The outer edges of the folios have been destroyed, causing loss of incipits and neumes on versos and endings on rectos. The binding is in deplorable condition: only half the length of the back binding exists, a faded brown leather on wood. The text and neumes are written in black. The rubrics, capital letters of incipits, modal signs and Epechemata are in red ink. The preserved folios have about 18 lines of text and music per page. This fragment from a Sticherarion contains scattered portions from the Triodion to the end of the Pentecostarion and the Sunday of All Saints Day (fol. 14v). The Anabathmoi begin on fol. 27r but are incomplete.

504

EBE 2758

ΕΒΕ 2758 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: chartaceous Measurements: 24 × 17 cm Folios: 123 Notation: Early Round Byzantine, not yet fully developed Date: 13th c.

1r 10r 10v 13r 16v 23v 27v

Μηνὶ Δεκεμβρίῳ αʹ· τοῦ ἁγίου προφήτου Ναούμ (mode not discernible) Μηνὶ Ἰουλίῳ αʹ· τοῦ ἁγίου Κοσμᾶ καὶ Δαμιανοῦ· ἦχος πλ. βʹ Μηνὶ Ἰουλίῳ ηʹ· τοῦ ἁγίου Προκοπίου· ἦχος αʹ Μὴν Αὔγουστος, ιεʹ· ἡ κοίμησις τῆς Θεοτόκου· ἦχος αʹ Τῷ αὐτῷ μηνὶ κβʹ· ἦχος αʹ Τῇ Κυρακῇ αʹ τῆς Ἀπόκρεω· ἦχος αʹ. This entry is part of the Triodion section. Τῇ Κυρακῇ τῆς Τυροφάγου· ἦχος πλ. δʹ. This folio and the following interior folios of the MS are badly damaged, with faded texts, rubrics, modes and neumes. Ἀκολουθία τῶμ ἁγίων Παθῶν τοῦ Σωτῆρος ... λέγεται τροπάρια εἰς τῆν Χριστοῦ 59r γέννησιν· ἀντίφωνον αʹ (mode not discernible) «Ἄρχοντες λαῶν συνήχθησαν...» 64v This folio contains a diagram of modal signatures with 24 circles (four circles across and six down). Τῇ Κυρακῇ τοῦ Θωμᾶ 66v Τῇ Κυρακῇ τῶν ἁγίων μυροφόρων· ἦχος αʹ 69r Τῇ Κυρακῇ τῆς Σαμαρείτιδος 73v Τῇ Κυρακῇ τῆς εʹ τῆς ἀναλήψεως τοῦ κυρίου ἡμῶν 75r Στιχηρὰ ἰδιόμελα ἀνατολικὰ κατ’ ἦχον· ἦχος αʹ «Εὐφράνθητε οὐρανοί...» 79r Στιχηρὰ ἀναστάσιμα ἀνατολικὰ· κατὰ ἀλφάβητων· ἦχος αʹ «Ἀγαλλιάσθω ἡ κτίσις, 94r οὐρανοὶ εὐφραινέσθωσαν...» Ἀρχὴ τῶν ἀναβαθμῶν· ἁντίφωνον αʹ· ἦχος αʹ «Ἐν τῷ θλίβεσθαί με εἰσάκουσόν 100r μου...» 105r Στιχηρὰ ἰδιόμελα, ἑωθινά, ποίημα Λέοντας δέσποτα· ἦχος αʹ «Εἰς τὸ ὄρος τοῖς Μαθηταῖς...» Στιχηρὰ προσόμοια· τῇ μεγάλῃ Τεσσαρακοστῇ τοῦ ἀσώτου· ἦχος βʹ «Ἐγκρατεία τὴν 109r σάρκα...». Then follow other Prosomoia Stichoi for the Lenten period. 123v This folio is tattered, with wormholes. end of music and MS Notes This 13th-century Sticherarion is in poor condition. It is badly damaged throughout; folios are torn and deteriorated (fols 34, 35, 38 are shredded) and severe water damage to the interior folios has reduced many to the point of illegibility. Folios have been lost at the beginning and end. The cover is lost and the folios have been loosely tied as a collection, which perhaps explains the erratic order of this Sticherarion.

EBE 2758

505

The original red ink for rubrics, capital letters of incipits and modal signatures is now in a faded brownish colour. (The MS is not developed enough to have hypostaseis, which would have been written in red.) The neumes and text have also deteriorated to a brown shade from the original vibrant black ink. The folios remaining have been numbered in pencil in the lower margins. Although much of the text and music is illegible, text and music cover about 17–18 lines per page. The order of the MS is not the standard listing of the liturgical calendar. The preserved folio that is now fol. 1 begins with the Stichera for the month of Dec. and continues as follows: fol. 10r the month of July; fol. 13r selected Stichera for Aug. fol. 23v selected chants for the Triodion fol. 59r the Akolouthia for the Passion of Christ an inserted diagram of the modal signatures fol. 64v fol. 66v the Pentecostarion with music for the Sunday of Thomas, accompanied by other chants fol. 79r Stichera Idiomela Anatolika fol. 94r Sticherara Anastasima (abecedarian resurrection Stichera) fol. 100r Anabathmoi chants fol. 105r Heothina hymns fol. 109r Stichera Prosomoia This MS can be used for comparative studies.

506

EBE 2773 (olim 525)

ΕΒΕ 2773 (olim 525) ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: bombycinous Measurements: 21.5 × 16.4 cm Folios: 232 Notation: Early Round Byzantine Date: 13th c. Provenance: collection of Christodoulos Konstantinos in Constantinople

1r

Στιχηράριον σὺν Θεῷ περιέχον τὴν πᾶσαν ἀκολουθίαν ἀνελλιπῶς· ἀρχὴ τῆς ἰνδίκτου καὶ μνήμῃ τοῦ ὁσίου πατρὸς ἡμῶν Συμεών. Στιχηράριον ἰδιόμελα· ἦχος αʹ «Ἐπέστη ἡ εἴσοδος τοῦ ἐνιαντοῦ...» Μηνὶ Ὀκτωβρίῳ αʹ· τοῦ ἁγίου ἀποστόλου Ἀνανίου· ἦχος αʹ 22r Μηνὶ Νοεμβρίῳ αʹ· τῶν ἁγίων ἀναργύρων Κοσμᾶ καὶ Δαμιανοῦ· ἦχος αʹ 34r Μηνὶ Δεκεμβρίῳ δʹ· τῆς ἁγίας μάρτυρος Βαρβάρας· ἦχος αʹ 51r Τροπάρια ψαλλόμενα εἰς τὴν παραμονὴν τῶν Χριστουγέννων· ἦχος πλ. δʹ 64r Μηνὶ Ἰανουαρίῳ αʹ· ἡ περιτομὴ τοῦ κυρίου ἡμῶν Χριστοῦ· ἦχος πλ. δʹ 74v The upper margin of this folio has an annotation in a later black script: εἰς μνημόσυνον. 88v This appears before the rubric for 15 Jan. Μηνὶ Φεβρουαρίῳ αʹ· τοῦ ἁγίου μεγαλομάρτυρος Τρύφωνος· ἦχος βʹ 96v Μηνὶ Μαρτίῳ αʹ· τῆς ἁγίας ὁσιομάρτυρος Εὐδοκίας· ἦχος πλ. βʹ 102v Μηνὶ Ἀπριλίῳ αʹ· τῆς ὁσίας Μαρίας τῆς Αἰγυπτίας· ἦχος βʹ 107r Μηνὶ Ἰουνίῳ ηʹ· τοῦ ἁγίου μεγαλομάρτυρος Θεοδώρου τοῦ στρατηλάτου· ἦχος πλ. βʹ 112r 121v–122r The top margins of these folios have a later larger script in black ink. Μηνὶ Ἰουλίῳ αʹ· τῶν ἁγίων Κοσμᾶ καὶ Δαμιανοῦ· ἦχος αʹ 122r 128v–129r The lower margins of these folios have an added black script. Μηνὶ Αὐγούστῳ αʹ· τῶν ἁγίων ἑπτὰ Μακκαβαίων καὶ τῆς μητρὸς αὐτῶν Σολομονῆς 133r καὶ τοῦ διδασκάλου αὐτῶν Ἐλεαζάρου· ἦχος αʹ 138v There is an upper marginal annotation in a later black script. 141v–142r These folios have later marginal annotations in the upper portions. 147r Στιχηρὰ τῷ μεγάλῳ Σαββάτῳ· ποίημα τοῦ Λέοντος Δεσπότης· ἦχος πλ. βʹ Originally this folio was blank but now has three different textual passages by three 148r different scribes. 148v This originally blank folio has later scribbling. Στιχηράριον ἰδιόμελα ψαλλόμενα ἀπὸ τῇ Κυριακῇ τοῦ Τελώνου καὶ τοῦ Φαρισαίου 149r μέχρι σήμερον τῶν Ἁγίων Πάντων· ἦχος αʹ «Μὴ προσευχώμεθα φαρισαϊκῶς...» additional upper marginal annotation 156v Στίχοι τῇ ἁγίᾳ καὶ μεγάλῃ Παρασκευῇ· ἦχος αʹ 189v 190v–191r additional upper marginal annotations Ἀκολουθία τῶν ἁγίων Παθῶν τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ· ἦχος πλ. δʹ 192v Τροπάριον ψαλλόμενον τῇ ἁγίᾳ καὶ μεγάλῃ Παρασκευῇ, τὰ ιβʹ· ἦχος πλ. δʹ «Σήμερον 200v τοῦ ναοῦ καταπέτασμα...» additional upper marginal annotation 208v Στιχηρὰ τῆς Μεσοπεντηκοστῆς· ἦχος αʹ 211r

EBE 2773 (olim 525)

216r 221r 224v 227v 232v

507

Τῆς ἀναλήψεως τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ· ἦχος αʹ Κυριακῆ τῆς Πεντηκοστῆς· ἦχος αʹ Στιχηρὰ τῇ Κυρακῇ τῶν Ἁγίων Πάντων· ἦχος αʹ Στιχηρὰ προσόμοια τῆς ἁγίας μεγάλης μʹ (Τεσσαρακοστῆς)· τροπάριον αʹ· ἦχος βʹ Τῇ βʹ τῆς δʹ ἑβδομάδος· στιχηρὰ προσόμοια (undiscernible mode) end of MS

Notes This early Sticherarion, written in the 13th century, has been rebound in a new light brown cloth covering. The MS is in fair condition, though the beginning folios are severely discoloured. The neumes are faded to brown and the text is less distinct, in a brownish-black hue. In some folios the colour has disappeared and neumes are no longer legible. The unfoliated MS has now been numbered in pencil. Each page averages about 22 lines of text and music. The rubrics in the MS are used only for feasts of the liturgical calendar, incipit capital letters and modal signatures (when discernible). The interior folios of the MS have later additions in a black script either on blank folios or as marginal annotations. The opening rubric (fol. 1r) describes this MS, somewhat contradictorily, as a ‘Sticherarion with God’s [grace] containing the entire Akolouthia incompletely’. As expected, the first part of the MS has selected feasts of the ecclesiastical liturgical calendar. There is no rubric for the month of May. The Triodion section begins with fol. 149r and goes to the Sunday of Pentecost (fol. 221r) and the Sunday of All Saints Day (fol. 224r). What follows is in irregular order. On fol. 227v the Prosomoia Stichera for the 40 days of Lent are found and then on fol. 232v the Stichera continue for Monday of the fourth week of Lent. These last two entries are, at the very least, out of sequence and are normally part of the Triodion section. The only attribution to a composer is on fol. 147r, where the Stichera for Holy Saturday are ascribed to Leon, the Bishop.

508

EBE 2796

ΕΒΕ 2796 ΑΚΟΛΟΥΘΙΑ/AKOLOUTHIA Type of paper: common Measurements: 15 × 10.4 cm Folios: II + 155 + III Notation: Late Round Byzantine Date: 18th c.

Ir–IIv blank 1r This folio has a fragment of only one line of music. blank 1 v Τοῦ μακαριοτάτου καὶ μουσικοτάτου Μαΐστορος κὺρ Μανουὴλ τοῦ λαμπαδαρίου τοῦ 2r Χρυσάφου. Ἑρμηνεία, Τί ἐστι φθορὰ καὶ διατί τίθεται φθορὰ καὶ εἰς ποῖον ἦχον· καταλήγει μιᾷ ἑκάστῃ τῶν φθορῶν. This is part of a treatise by Manuel Chrysaphes. Τοῦ Σταυροῦ· ποίημα τοῦ Ἠθικοῦ· ἦχος αʹ 10r Προκείμενα τῆς ὅλης ἑδβομάδος τῇ Κυρακῇ, Ἐσπέρας, ἡ μικρὴ δοχή· ἦχος αʹ 11r Πασαπνοάρια· ἦχος αʹ 20r Ἀκάθιστος ποιηθεῖσα παρὰ κὺρ Ἰωάννου λαμπαδαρίου τοῦ Κλαδᾶ, μιμούμενος κατὰ 28r τὸν δυνατόν, τὴν παλαιάν· ὡς Μαΐστρος γραφῇ· ἦχος δʹ end of Music and MS 155v blank Ir–IIIv Notes This is a later Akolouthia from the 18th century. The MS is in very good condition with a brownish binding. There are about 10–12 lines of neumes and texts per page. The neumes and text are notated in a brownish-black shade and the rubrics, modal signatures and hypostaseis are in red. Although the rubrics are not abundant, they are legible. After the added line of music on fol. 1r, the MS formally begins with fol. 2r. The first entry is of interest, since it contains the musical treatise, in part, of Manuel Chrysaphes, a 15th-century composer. The treatise is a later recension and is not complete. The rubric reads: ‘By the most blessed and most musical Maistor Kyr Manuel Chrysaphes. Exegesis of what is the phthora and how it is used and how each of the phthorai are resolved in a mode’. The Phthora (lit. ‘decay’) was a means of maneuvering from one melody to another by means of transposition or modulation and was indicated by a modal symbol for each phthora (literally, implying destruction). Manuel Chrysaphes flourished from ca. 1440 to 1463; he is not the later Chrysaphes, who is distinguished as ‘the New’. MS Iviron 1120, which preserves a full version of the treatise, records that Manuel, also known as Emmanuel, Chrysaphes was the the Lampadarios, leader of the left choir, at the Hagia Sophia. He was also acknowledged as ‘Maistor’ – an attribution signifying the lead singer and teacher of chant. (This term was used earlier to identify Ioannes Koukouzeles.) The remaining points of interest in the MS are as follows: fol. 10r, a chant for the Exaltation of the Cross by Ethikos; fol. 11r, Prokeimena for the entire week starting with Sunday Vespers, the small Doche; fol. 20r, Pasapnoaria, according to modes; and fol. 28r, the Akathistos hymn as

EBE 2796

509

composed by Ioannes the Lampadarios Kladas and ‘mimicked’ by others according to the ‘older writing’ (composition), Mode IV. Bibliography Conomos, The Treatise of Manuel Chrysaphes.

510

EBE 2804 (olim 2104)

ΕΒΕ 2804 (olim 2104) ΕΥΑΓΓΕΛΙΣΤΑΡΙΟΝ/EVANGELISTARION Type of paper: bombycinous Measurements: 37.5 × 27.6 cm Folios: II (new) + 370r + II (new) Notation: early Ecphonetic Date: 11th–12th c. Provenance: northern Greece

Ir–IIv 1r 1 v 2r

blank folios that are newer additions on common paper blank illumination of St John (not in good condition) Κατὰ τῇ μεγάλῃ Κυρακῇ τοῦ Πάσχα. Εὐαγγέλιον, ἐκ τὸν κατὰ Ἰωάννην. The upper half of this folio has an illumination. illumination of St Matthew 50v Μετὰ τὴς ἁγίας νʹ [Πεντηκοστῆς ]· Εὐαγγέλια καθημερινὰ ἐκ κατὰ Ματθαῖον 51r Ἐκ κατὰ Μᾶρκον. Daily readings interspersed with passages from the other Gospels. 101r Ἐκ κατὰ Ματθαῖον 123r illumination of St Luke 125v Ἀρχὴ τῶν καθημερινῶν εὐαγγελίων τοῦ Λουκᾶ... (This rubric has a border 126r illumination.) Εὐαγγέλιον τῆς Κυριακῆς μετὰ τὴν ὕψωσιν· τὸ τε γὰρ καθημεριανῇ μετὰ τὸ καλεῖται νέον ἔτος· ἐκ κατὰ τὸν Λουκᾶν. (Gospel for Sunday after the Exaltation of the Cross [14 Sept.] and the daily [readings] for the so-called new [liturgical] year, according to the [Gospel] of Luke.) This is also interspersed with passages from the other Gospels. Τῇ ἁγίᾳ καὶ μεγάλῃ πρωΐ· ἐκ τὸν κατὰ Ἰωάννην. Other readings are also included. 249r 250r–v The lower margin has been torn on this folio. Εὐαγγέλια τῶν ἁγίων Παθῶν τοῦ Κυρίου Ἰησοῦ Χριστοῦ· Εὐαγγέλια ἐκ τὸν κατὰ 262r Ἰωάννην. This folio has a small border illumination. Τῷ ἁγίῳ καὶ μεγάλῳ Σαββάτῳ, Ἑσπέρας πρωΐ· ἐκ κατὰ Ματθαῖον 295v Ἀρχὴ τῆς ἰνδίκτου καὶ μνήμῃ τοῦ ὁσίου Συμεὼν τοῦ Στυλίτου καί ... γίνεται δὲ καὶ 298r σουγιᾶ τῆς ὑπεραγίας Θεοτόκου ἐν τοῖς χαλκοπέτρα Μιασηνῶν· ἐκ κατὰ Λουκᾶν. Μηνὶ Σεπτεμβρίῳ αʹ. This folio has a blue border illumination. The MS continues with readings according to the liturgical calendar taken from all the books of the Gospels. 366r–368v These folios have been sewn upside down. end of music and MS 370r blank 370v blank Ir–IIv Notes This is an extremely large Evangelistarion dating from around the 11th to the late 12th century. The MS is in good condition and has been refurbished with a new light brown binding and two new folios of paper prefacing the beginning and ending of the original bombycinous folios. The

EBE 2804 (olim 2104)

511

expansive measurements allow for generous margins in the folios: 6 cm for the sides and 7.5 cm for the bottom. The folios contain double columns with 24 lines in each column. The text is in a brownish-black ink, the ecphonetic neumes are in red and the rubrics are in gold. The MS has several illuminations, some of which are well preserved. The MS follows the usual format of the Evangelistarion and begins with readings for the Sunday of Easter (fol. 2r). The daily readings for the period after Pentecost start on fol. 51r. Other notable rubrics include the Gospels for the Passion of Christ (fol. 262r) and continue with the readings for Holy Saturday Vespers (fol. 295v). The readings according to the liturgical calendar commencing with 1 Sept. begin on fol. 298r and continue to the end of the MS. EBE MS 2803, numerically preceding this MS, is also an Evangelistarion, dated in the year 1288. It has contents and features similar to this MS. However, the Gospel texts have only polytonic Byzantine accents in black ink, without ecphonetic notation; hence, the MS is not included in the present catalogue.

512

EBE 2811

ΕΒΕ 2811 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: chartaceous Measurements: 25.3 × 16.4 cm Folios: 135 Notation: Early Round Byzantine Date: 13th c.

1r

Μηνὶ Σεπτεμβρίῳ ηʹ· [Nativity of the Virgin Mary]· ἦχος πλ. βʹ «Σήμερον ὁ τοῖς νοεροῖς θρόνοις...» Μηνὶ Σεπτεμβρίῳ ιεʹ· τοῦ ἁγίου μεγαλομάρτυρος Νικήτα· ἦχος πλ. βʹ 8 v Μηνὶ Δεκεμβρίῳ κεʹ· ἡ Χριστοῦ γεννήσεως. ἦχος αʹ· τεχθῇ δὲ μήτηρ Θεοῦ Παρθένον 10r «Οὐρανὸν σήμερον προφῆται...» [26 Dec.] τοῦ ἁγίου Στεφάνου· ἦχος αʹ 14v Μὴν Ἰανουάριος, αʹ· ἦχος πλ. δʹ 17r Τροπάρια τῶν φωτῶν· ἦχος πλ. δʹ 21r Μηνὶ Φεβρουαρίῳ αʹ· ἦχος βʹ. This rubric has a border design. 36v Μηνὶ Μαρτίῳ αʹ· ἦχος πλ. βʹ 41v Μηνὶ Ἀπριλίῳ αʹ· ἦχος βʹ 45v Μηνὶ Μαΐῳ αʹ· ἦχος βʹ 48v Μηνὶ Ἰουνίῳ η´ [?]· ἦχος πλ. βʹ 49v Μηνὶ Ἰουλίῳ αʹ· ἦχος βʹ 59r Μηνὶ Αὐγούστῳ αʹ· ἦχος αʹ. The stichera for the liturgical calendar conclude on fol. 68r 79v. v 79 The Triodion begins with chants in Mode I. (A border design surrounds the rubric.) Τῇ τρίτῃ Κυρακῇ τῶν νηστειῶν· προσκύνησις τοῦ Τιμίου Σταυροῦ· ἦχος βʹ 100r 109r On this folio the neumes are all written in red ink. 110v This folio also has the neumes in red ink as opposed to the traditional black. Κυριακῇ τῶν Βαΐων 113v Στιχηρὰ τῶν ἁγίων Παθῶν τοῦ Ἰησοῦ Χριστοῦ· ἦχος πλ. δʹ «Ἄρχοντες λαῶν 120v συνήχθησαν...». In these Stichera, the antiphons have been interpolated with readings from Scripture. Τῷ ἁγίῳ καὶ μεγάλῳ Σαββάτῳ· ἦχος βʹ 130v Κυριακῇ τοῦ Θωμᾶ· ἦχος αʹ «Τῶν θυρῶν κλεισμένων τῶν μαθητῶν...» 133r Κυριακῇ τῶν ἁγίων μυροφόρων· ἦχος αʹ 135r 135v This folio ends with the verses of music for the Sunday of the Myrrh Bearers. end of music and MS Notes This Sticherarion from the 13th century is in fair to poor condition. The MS has been given a newer brown binding. Folios are missing at the beginning and end and those preserved have been renumbered. The pages average 21 lines of text and music. The text and neumes were originally written in a black ink but some of the rubrics are badly faded. A very light red ink remains for the

EBE 2811

513

rubrics, modal signatures, and capital letters of some incipits. On fols 2r–3v an alternate melody line is notated in red ink and placed over the original black neumes. With the modal signatures, the accompanying Epechemata are sometimes included. Because of the poor condition of some folios, the neumes are very indistinct and almost impossible to read, as in the following folios: 26v–27r, 34v, 42v, 43r, 58v, 59r, 64v, 65r, 66v, 67r, 70v, 71r, 72v, 73r, 76v, 77r, 80v, 81r, 82v, 83r, 84v, 85r, 90v, 100v, 101r, 104v and 105r. The Sticherarion is not complete owing to loss of folios. The Stichera on fol. 1r begin with the feast of 8 Sept. and continue on fol. 8v with the feast of 15 Sept. The next rubric is on fol. 10r, with Stichera for 25 Dec. The months of Oct. and Nov. are not represented. The Stichera for the month of Jan. begin on fol. 17r and the remaining months are included: Feb., fol. 36v; Mar., fol. 41v; Apr., fol. 45v; May, fol. 48v; June, fol. 49v; July, fol. 59r; and Aug., fol. 68r. The Triodion continues at fol. 79v. Some of the remaining feasts represented are Palm Sunday (fol. 113v); the Passion of Christ (fol. 120v); Holy Saturday chants (fol. 130v); Sunday of St Thomas (fol. 133r); and Sunday of the Myrrh Bearers. The Pentecostarion section of the MS is not complete and does not include the Sunday of the Paralytic, the Mid-Pentecost or the Pentecost feasts that follow. Composers’ names have not been included.

EBE 2837 (olim 954)

514

ΕΒΕ 2837 (olim 954) ΠΑΠΑΔΙΚΗ/PAPADIKE Type of paper: chartaceous Measurements: 22 × 14 cm Folios: 211 Notation: Middle Round Βyzantine Date: 1457 Provenance: Gymnasium of Serres in northern Greece; bequeathed to the National Library of Greece in 1903

1r 3r 5r 5 v 6r 8 v 9r 9 v 15v–17r 19r 19v 22v 23v 39r 44r 49v 51v 52r 52v 53v 54r 54v 55r 56r

Παπαδική Ἠχημάτων κατ’ ἦχον τοῦ Κουκουζέλη Ἠχήματα τοῦ Ξηροῦ· ἦχος Νενανώ Ἠχήματα Θεσσαλονικαῖον· ἦχος πλ. αʹ Μετροφωνία· Σημάδια ψαλτικῶν τεχνῶν. μετὰ πάσης χειρονομίας σὺν Θεῷ· ποιηθέντα παρὰ Ἰωάννη τοῦ Κουκουζέλη· ἦχος αʹ «Ἴσον, ὀλίγον...» Στιχηρὰ ψαλλόμενα κατ’ ἦχον τοῦ Γλυκέως Στιχηρὰ, κυρίον μετροφωνίαν μετὰ τῆς παραλλαγῆς· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τὰ προκείμενα τῶν ὅλων ἑβδομάδων, μετὰ τῶν μικρῶν καὶ μεγάλων δοχῶν· ἦχος αʹ Ἀναγραμματισμὸς εἰς τὸ, «Ὁ Κύριος ἐβασίλευσεν»· ἦχος πλ. δʹ Μετὰ ἐπιφωνημάτων· ποίημα κυροῦ Ἰωάννου Μαΐστορος τοῦ Κουκουζέλη· ἧχος πλ. δ´ Ἕτερον προκείμενον καὶ ἅτινα λυχνικὰ ψάλλονται τῆ ἁγίᾳ καὶ μεγάλῃ Κυρακῇ τοῦ Πάσχα· ἦχος βʹ «Τίς Θεός...» Μικρὴ καὶ μεγάλη δοχή Τῆς Τυροφάγου Ἑσπέρας Ἀρχὴ σὺν Θεῷ ἁγίῳ τὸ, «Κύριε ἐκέκραξα», σὺν τὸ, «Δόξα», εἰς τὸ, «Θεὸς Κύριος» σὺν τὸ, «Ἀλληλούϊα» ... τὸ, «Πᾶσα πνοή», τὸ, «Αἰνεῖτε», καὶ ἕτερον ἀκολουθία τοῦ Ὄρθρου· κατ’ ἦχον Ἕτερα Πεντηκοστάρια· ψάλλονται τῆς μεγάλης νʹ Κυριακῆς· ἦχος πλ. βʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τὸν μεγάλον Ἑσπερινόν· ἀρχόμεθα οὖν τὴν τε αὐτὴν ἀκολουθία ἀργὰ καὶ ἥσυχα· εἰς ἦχον πλ. δʹ «Ἀνοίξαντός σου τὴν χεῖρα...» Ἦχος πλ. δʹ «Μακάριος ἀνήρ...» (Ps. 1) Ἁγιοσοφιτικόν· ἦχος πλ. δʹ «Καὶ ὁδὸς ἀσεβῶν ἀπολεῖται...» (Ps. 1:6) ἀπὸ ὦδε γίνεται καλοφωνικά· ἦχος πλ. δʹ «Ἵνα τί ἐφρύαξαν...» (settings of the verses of Ps. 2 follow, by various composers.) Ἕτερον τοῦ Ἀνδρέου Σιγηροῦ Ἕτερον τοῦ Ἰωάννη Κουκουζέλη Ἕτερον τοῦ λαμπαδαρίου τοῦ Τζακνοπούλου Ἕτερον τοῦ Κοντοπετρῆ καὶ μοναχοῦ Ἀγάθωνος Ἕτερον τοῦ Δοκειανοῦ Ἕτερον τοῦ Κορώνη καὶ τοῦ Κουκουζέλη Ἕτερον τοῦ Ξηροῦ

EBE 2837 (olim 954)

57r 59r 60r 60v–61r 61r 61r 61v 63r 65r 66r 67r 68v 73r 74r 75r 77r 79v 81v 82v 84v 85v 87r 91r 95v 98v–99r 108r 132v 143v 144r 145r

515

Ἕτερον τοῦ Ἀργυροπούλου Ἕτερον τοῦ Χαλιβούρη Ἕτερον ᾀσματικὸν· ψάλλομεν τόδε οἱ δύο χοροὶ ἐκ δευτέρου· ποίημα τοῦ Κουκουμᾶ· ἦχος πλ. δʹ «Δόξα...» Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ πολυελέου τοῦ λεγομένου Λατρινοῦ· ψαλλόμενον ἐν τῇ Κωνσταντινουπόλει Ἀντὶ τὸ πολυέλεον· ποιήματα διαφόρων ποιητῶν· ὁ δομέστικος ἀπ᾽ ἔξω· ἦχος αʹ. Settings of the Polyeleos continue by various composers. Τοῦ Λατρινοῦ Τοῦ Κορώνη· ἕτερον τοῦ Ἀγαλλιανοῦ Τοῦ Γρηγορίου Ἕτερον παλαιόν Τοῦ Κουκουζέλη Τοῦ Κλοβᾶ Ἕτερον πολυέλεον· ψαλλόμενος ἐν τῇ Κωνσταντινουπόλει· ποίημα τοῦ Κουκουζέλη· ἦχος αʹ Ἕτερον τοῦ Κορνηλίου Ἕτερον τοῦ Μυστακώνου Ἀρχὴ σὺν Θεῷ ἁγίῳ τὴν δευτέραν στάσιν· ἦχος βʹ. The second stasis of the Polyeleos continues. Ἕτερον τοῦ Μανουγρᾶ Ἕτερον τοῦ Ἀγαλλιανοῦ Ἀρχὴ σὺν Θεῷ τῶν ἀντιφώνων· ποιηθέντα παρὰ διαφόρων ποιητῶν· ἀντίφωνα ψαλλόμενα εἰς τὰς ἑορτάς, ὥρας Θεοῦ· ἦχος αʹ. The antiphons continue with settings by different composers. Ἕτερον τοῦ Βατάτζη· ἕτερον τοῦ Ἀνδρέου Τοῦ Ἠθικοῦ Τοῦ Κορώνη Ἕτερον ἀντίφωνον· ψάλλεται δὲ εἰς ὁσίους καὶ εἰς λιτανείας· ποιήματα διαφόρων ποιητῶν· ἦχος Νανα Ἀντίφωνον ψαλλόμενον εἰς μαρτύρους ἱεράρχας καὶ εἰς ὁσίους· διαφόρων ποιητῶν παλαιῶν καὶ νέων· ἦχος δʹ Ἕτερον ἀντίφωνον ψαλλόμενον εἰς σύναξιν τῶν ἀσωμάτων· ἀλλὰ δὴ καὶ εἰς τὴν Χριστοῦ γέννησιν, τοῦ Νικηφόρου Ἠθικοῦ· ἦχος πλ. βʹ Ἄμωμος ψαλλόμενος εἰς τὴν Θεόσωμον ταφὴν τοῖς Κυρίου καὶ Θεοῦ καὶ Σωτῆρος ἡμῶν Ἰησοῦ Χριστοῦ· καὶ εἰς τὴν ἔνδοξον κοίμησιν τῆς ὑπεραγίας Δεσποίνης μητρὸς Θεοτόκου καὶ ἀεὶ Παρθένα Μαρία καὶ εἰς πάντας τοὺς ἁγίους· ὁ δομέστικος ἀπέξω· ἦχος πλ. β´. This version of the Amomos for the funeral of Christ and the Dormition of the Mother is interpolated with Encomium verses. Ἄμωμος ψαλλόμενος εἰς κοιμηθέντας λαϊκούς· ποιήματα διαφόρων ποιητῶν· συνετέθη δὲ καὶ ἐκκαλωπίσθη παρὰ τοῦ Φαρδιβούκη ἐκείνου καὶ πρωτοπαπᾶ τοῦ ἁγίου Ἀποστόλου· ὁ δομέστικος ἀπὸ χοροῦ· ἦχος βʹ. Versions in two different modes. Ἕτερος ἄμωμος ψαλλόμενος εἰς κοιμηθέντας μοναχούς· ἦχος πλ. βʹ Ἀρχὴ τῆς θείας καὶ ἱερᾶς Λειτουργίας· ἦχος πλ. δʹ Μακαρισμοί· ἦχος αʹ (the Beatitudes) Καὶ εὐθὺς εὐφημίζουν τοὺς βασιλεῖς καὶ τὸν ἀρχιερέα· ἐν τὸ τοῦ βήματος

516

145v 147r 148r 150r 150r–v 154v 160r 161v 162v 175v 183r 187r 193v 200v 203r 204v 211r 211v

EBE 2837 (olim 954)

Πολυχρόνιον. (This is a Polychronion for the Emperor Constantine. The date of the MS is detemined by the Polychronion.) Τρισάγιον τοῦ Κορώνη· ἦχος βʹ Ἕτερον ᾀσματικόν· ἦχος πλ. δʹ (Asmatikon Trisagion) Ἀλληλούϊα· ψαλλόμενος εἰς τῷ ἁγίῳ καὶ μεγάλῳ Σαββάτῳ· ἦχος βαρύς Ἀρχὴ τῶν ἀλληλουϊάρια· ποιήματα διαφόρων ποιητῶν Χερουβικόν Χερουβικόν τοῦ Ἀγάθωνος Κορώνη μὲ ἐξήγησης τοῦ Μάρκου ἱερομονάχου [ἐκ τῆς μονῆς τῶν Ξανθοπούλων]· ἦχος πλ. β´ «Οἱ τὰ χερουβίμ…» Ἀρχὴ σὺν Θεῷ ἁγίῳ ἡ Λειτρουγία τοῦ Μεγάλου Βασιλείου Ἀρχὴ τὸ κοινωνικόν τοῦ Ἰωάννου λαμπαδαρίου· ἦχος αʹ «Αἰνεῖτε τὸν Κύριον…» Κοινωνικόν «Αἰνεῖτε τὸν Κύριον…»» Ἀκολουθία τῆς ἱερᾶς Λειτουργίας τῶν Προηγιασμένων· ἦχος πλ. βʹ Χερουβικόν Κοινωνικόν τοῦ Πάσχα τοῦ Γλυκέως· ἦχος πλ. αʹ Ἕνδεκα ἑωθινὰ ποιηθέντα παρὰ Λέοντος Βασιλέου τοῦ Σοφοῦ· ἦχος αʹ Τρισάγια εἰς κοιμηθέντας· ἐν μνήμη Ἰωάννου πατριάρχου· ἦχος Νενανω 1457 ... ἐγράφτηκε ὑπ’ ἐμὲ χειρός, κὺρ Δημητρίου τοῦ Ἑξακοστῆ = 6965. The rest of the colophon cannot be read accurately. It is faded and has additional scribbling. end of music and MS

Notes This Papadike is in good condition and for the most part legible, though there are several spelling errors and points of non-standard grammar. The exception is the last part of the MS, where the folios have been eaten by worms. The neumes and text are in a faded black ink and the rubrics, hypostaseis and modal signatures are in a light brownish-red shade. In the original state, the folios of the MS were not numbered. In its current status, there are two numbering systems: penciled folio numbers and page numbers written in ink. (The description above uses the foliation.) Each page has about 15 lines of text and music. The colophon appears on the last fol., 211v. It indicates the scribe, Kyr Dimitrios, and the date of AM 6965 (ad 1457). Furthermore, the date of the MS is substantiated by the Polychronion to Constantine the Emperor on fol. 145v. This is an important Papadike written four years after the fall of Byzantium. It undoubtedly preserves the late tradition of the Empire, documenting melodies and performance practice directives. The rich contents begin with the Psaltike Techne, fols 1r–8r, with the pedagogical techniques of Middle Byzantine music, including Echemata, intonation formulae of Ioannes Koukouzeles (fol. 3r), Xeros (fol. 5r) and those formulae preferred in Thessalonika (fol. 5v). The Metrophonia and the neumes according to the pedagogy of Ioannes Koukouzeles continue on fol. 6r. Next follow Stichera according to modes by Glykys (fol. 8v) and Stichera for the Metrophonia after the Parallage (fol. 9r). This is followed by Prokeimena chants for the entire week (fol. 9v), Anagrammatismoi (fol. 15v), and more Prokeimena (fol. 19r). The MS continues as follows: fol. 22v Triodion chants for the Vespers of Cheesefare Sunday fol. 23v Kekragarion chants and the Akolouthia for Orthros fol. 39r Pentecostaria chants for Sunday of Pentecost

EBE 2837 (olim 954)

517

fol. 44r chants for Great Vespers fol. 60v Polyeleos settings fol. 81v antiphons fol. 99r Amomos for the Virgin Mary and Jesus Christ fol. 108r Amomos for Laymen fol. 132v Amomos for Monks fol. 143v Liturgy of St John Chrysostom fol. 144r the Beatitudes fol. 145r–v Polychronion fol. 147r Trisagia fol. 150r Alleluiaria fols 154v, Cherubic hymns 200v fol. 161v Liturgy of St Basil fols 162v, Communion hymns 187r, 203r fol. 193v Liturgy of Presanctified Gifts fol. 204r Ηeothina hymns fol. 211r Trisagion for the memory of Patriarch Ioannes The MS also provides an important catalogue of composers of the late Empire. Some of the prominent names are the following: Andreas Sigeros, Tzaknopoulos, Kontopetris, Monachos Agathon, Dokeianos, Korones, Xeros, Argyropoulos, Chalivoures, Latrinos, Agallianos, Gregorios, Klovas, Kornelios, Mystakonos, Manougras, Vatatzes, and Ethikos. Bibliography Breslich-Erickson, ‘The Communion Hymn’. Conomos, Byzantine Trisagia and Cheroubika. Touliatos, The Byzantine Amomos Chant. Williams, ‘John Koukouzeles’ Reform of Byzantine Chanting’.

EBE 2839

518

ΕΒΕ 2839 ΠΑΠΑΔΙΚΗ/PAPADIKE Type of paper: common Measurements: 22.5 x 16.2 cm Folios: II + 480 + IV Notation: Late Byzantine Date: early 18th c. (possibly 1690–1710)

1r

4r 5v–6v 7 v 10v

11r 13v 17v 22r 22v 24v 25v 27r 29v

Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς Ψαλτικῆς Τέχνης, τῶν τε ἀνιόντων καὶ κατιόντων, σωμάτων τε καὶ πνευμάτων καὶ πάσης χειρονομίας καὶ ἀκολουθίας συντεθειμένης παρὰ τῶν κατὰ καιροὺς ἀναδειχθέντων ποιητῶν, παλαιῶν τε καὶ νέων. «Ἀρχή, μέση, τέλος καὶ σύστημα πάντων τῶν σημαδίων τῆς Ψαλτικῆς Τέχνης τὸ ἴσον ἐστί...». This is only text without musical notation. Ἑτέρα παραλλαγή blank Ἠχημάτων κατ’ ἦχον Μεθοδικὴ παραλλαγὴ ὠφέλιμος πάνυ, ποιηθεῖσα παρὰ κὺρ Ἰωάννου ἱερέως τοῦ Πλουσιαδηνοῦ, ἀρχόμενη κατὰ ἀκριβολογίαν ἀπὸ τοῦ παρόντος τροπαρίου τῷ ἁγίῳ Πνεύματι· εἶτα καὶ τῶν φωνῶν αἱ συνθέσεις κατὰ ἀριθμῶν ἀρεστῶς συντεθεμένων διαφόρων τε καὶ ποικιλοτρόπαις λεπτομερῶς, πῶς δεῖ ἀνέρχεσθαι μίαν καὶ ἑτέραν κατέρχεσθαι, καὶ εἶτα δύο καὶ δύο, τρεῖς καὶ τρεῖς, καὶ εὐθὺς τέσσαρας καὶ τέσσαρας, καθὼς τὰς ἀναβάσεις, καὶ ἀρχὰς μαθημάτων, καὶ συμπερασμάτων. ἔτι δὲ καὶ αἱ ἀρχαὶ καὶ γεννήσεις τῶν ἤχων, κυρίων τε καὶ πλαγίων. ἣν ἄν τις ἐπιστημόνως διέλθῃ, εὑρήση πᾶσαν ὁδὸν διδάσκουσα, καὶ ὁδηγοῦσα αὐτὸν εἰς τὸ εὑρεῖν τιν᾽ ἀπὸ τόνου πᾶν μάθημα. τὸ παρὸν οὐ μόνον ἰσασμός, ἀλλὰ καὶ ἀκριβολογία· ἦχος δʹ «Ἁγίῳ Πνεύματι...» Ἀρχὴ τοῦ προοιμίου· ἦχος πλ. δʹ «Ἐνταῦθα ἀρχόμεθα διδάξαι ὑμᾶς...» Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῆς μετροφωνίας· ἦχος πλ. δʹ «Μία καὶ ἄλλως...» Ἀρχὴ τῆς προπαιδείας τῶν θέσεων ἔντεχνος ἐστι καὶ ὀκτάηχος· σημείωσαι τὰς ἀρχὰς «Τὸν πρῶτον τὸν λεγόμενον Κουκουμᾶν οὕτως ψάλλειν...» Μέθοδος κὺρ Ξένου τοῦ Κορώνη πάνυ ἔντεχνος καὶ ὠφέλιμος τῶν στιχηρῶν· ἦχος αʹ «Ἐπέστη ἡ εἴσοδος...» Ἑτέρα μέθοδος τῆς μετροφωνίας ὠφέλιμος κὺρ Γρηγορίου, ἦχος πλ. δʹ «Ναί, οὕτως οὖν ἀνάβαινε...» Ἑτέρα μέθοδος τῆς καλοφωνίας ὠφέλιμος κὺρ Ἰωάννου τοῦ Κλαδᾶ· ὅλο ἀρχὴ ἀπὸ τὸν αʹ ἕως τὸν πλ. αʹ Σημάδια ψαλλόμενα κατ’ ἦχον ἐντέχνως ποιηθέντα παρὰ κὺρ Ἰωάννου τοῦ Γλυκέως· ἦχος αʹ Ἕτερον κὺρ Ἰωάννου τοῦ Κουκουζέλη ἔντεχνον καὶ ὀκτάηχον· ἦχος αʹ Ἑτέρα μέθοδος τῶν νενανισμάτων καὶ τερεντισμάτων· ποίημα κὺρ Ξένου τοῦ Κορώνη· ἦχος πλ. αʹ Ἐπωφελὴς μέθοδος ἡ τοῦ Κορώνη, κρατημάτων φέρουσα χειρονομίας· εἰς ἦχον τερπνὸν τοῦ πλαγίου δευτέρου, καὶ Νενανὼ δέματος ἠκριβωμένου· ἥδιστον καὶ γάρ ἐστι Νενανὼ τὸ μέλος, ὡς ἡ τέχνη δείκνυσι τῆς μελουργίας. Τὰ γὰρ ἄλλα δέματα τοῦ πρώτου ἤχου καὶ καθεξῆς τῶν ἄλλων, δένουσι καὶ λύνουσιν ἐντέχνως πάνυ τὴν

EBE 2839

33r 37r

45v 46v 62v 63v 66v 85v 93r 100v 104r 106v 109r 116r 138v 156r 156v 160v 166r 169v 180r 196v 241r 246v 279v 280r

519

μεταβολὴν ὡς ἐν βραχεῖ δεικνύντες, τὸ δὲ Νενανὼ ἐκτεταμένον μέλος, ὑπὲρ τῶν ὀκτὼ ἔνατος ἦχος πέλει· ἦχος πλ. βʹ Μέθοδος τῶν νενανισμάτων καὶ τερεντισμάτων· ποίημα κὺρ Ξένου τοῦ Κορώνη καὶ Πρωτοψάλτου τῆς Ἁγίας Σοφίας· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ μεγάλου Ἑσπερινοῦ· ποιηθεὶς παρὰ διαφόρων ποιητῶν παλαιῶν τε καὶ νέων· ἀρχόμεθα οὖν ἡσύχως καὶ ἀργῶς μετὰ κατανύξεως καὶ πάσης εὐλαβείας φόβου Θεοῦ· ἄρχεται ὁ πρῶτος χορός· ἦχος πλ. δʹ «Ἀνοίξαντός σου...». A border illumination decorates the rubric for the beginning of Great Vespers. The rubric indicates that compositions are by the older and newer composers. It also specifies that the ‘first choir’ begins the chanting. «Πάντα ἐν σοφίᾳ ἐποίησας...» «Μακάριος ἀνήρ...» «Δόξα» τοῦ Μάρκου τοῦ Εὐγενικοῦ ἐκ τῆς μονῆς τῶν Ξανθοπούλων· ἦχος πλ. δʹ «Δόξα καὶ νῦν...» Ἕτεραι δοχαὶ ἐκ τοῦ δευτέρου ψαλμοῦ, κὺρ Γενναδίου τοῦ ἐξ Ἀγχιάλου· ἦχος πλ. δʹ Στίχοι καλοφωνικοί, ἐκ τοῦ δευτέρου ψαλμοῦ ποιήματα διαφόρων ποιητῶν· τὸ παρὸν κὺρ Ξένου τοῦ Κορώνη Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον κεκραγαρίων. ἀρκτέον οὖν κατὰ τὸν ἀκόλουθον· ἦχος αʹ Τῶν προκειμένων τῆς ὅλης ἑβδομάδος· ἦχος αʹ Τῇ Κυρακῇ τῆς Λαμπροφόρου ἀναστάσεως· ἦχος βαρύς Ἕτεραι δοχαὶ τῆς ὅλης ἑβδομάδος· ποίημα κὺρ Δανιὴλ Θεσσαλονικέως· ἦχος πλ. δʹ Ἀναγραμματισμὸς ἀπὸ τὸ, «Θεοτόκε Παρθένε» παρὰ κὺρ Ἰωάννου τοῦ Κουκουζέλη· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῆς ἀκολουθίας τοῦ Ὄρθρου, κατὰ τάξιν μετὰ τῶν ἑξάψαλμον ἀρχόμεθα τὸ, «Θεὸς Κύριος» κατ’ ἦχον μέλος ἀρχαῖον· ἦχος αʹ Πολυελέου τοῦ Κουκουμᾶ· ἦχος αʹ. This rubric for the Polyeleos has a border design. Πολυέλεος λεγόμενος Λατρινός· ἦχος αʹ Πολυέλεος τοῦ Χρυσάφου. Polyeleos settings by other composers follow. Ἕτερος πολυέλεος τοῦ κυρίου Χρυσάφη τοῦ Νέου· ἦχος αʹ. This rubric has a border illumination. Πολυέλεος συνοπτικὸς τοῦ κὺρ Μπαλασίου· ἦχος αʹ. Another border illumination surrounds the rubric. Ἕτερος πολυέλεος τοῦ Πέτρου τοῦ Βυζαντίου· ἦχος αʹ. The rubric has a colourful border design. Ἕτερος πολυέλεος τοῦ κὺρ Πέτρου· ἦχος πλ. δʹ. A border design encompasses this rubric. Μερικῶν ἀντιφώνων ποιηθέντων παρὰ διαφόρων ποιητῶν· ἦχος αʹ Πασαπνοαρίων παρὰ διαφόρων ποιητῶν ... τοῦ Κουκουζέλη, κατ’ ἦχον· ἦχος αʹ. A border design decorates this rubric. The Pasapnoaria go through the eight modes. Ἑωθινὰ ὧν τὰ μὲν γράμματα ἐποιήθησαν παρὰ τοῦ σοφοῦ Λέοντος καὶ αὐτοκράτορος Ῥωμαίων· τὸ δέ μέλος κὺρ Ἰωάννου τοῦ Γλυκέως, τὸ παρόν· ἦχος αʹ Δοξολογίαι σὺν Θεῷ ἁγίῳ ὑπὸ διαφόρων ποιητῶν· τὸ παρὸν κὺρ Μελχισεδὲκ ἐπισκόπου Ῥαιδεστοῦ· ἦχος πλ. αʹ Τρισάγιον ᾀσματικόν· ἦχος πλ. δʹ Ἀσματικὰ κατ’ ἦχον· τοῦ κὺρ Πέτρου. Asmatikon Trisagion settings by various composers follow.

EBE 2839

520

285r

Φήμη εἰς τὸν οἰκουμενικὸν πατριάρχην· ἦχος πλ. δʹ «Πολυχρόνιον...». Then follow Euphemia for the Archbishops of Antioch, Alexandria, Jerusalem and other locales. Ἀρχὴ σὺν Θεῷ ἁγίῳ ἡ λειτουργία τοῦ Χρυσοστόμου· ἦχος βʹ. This rubric has a border 301r illumination. Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον ἀλληλουϊαρίων παρὰ διαφόρων ποιητῶν παλαιῶν 303v τε καὶ νέων· τὸ παρὸν ποίημα κὺρ Ἐμμανουὴλ τοῦ Χρυσάφου· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον χερουβικῶν· τὸ παρὸν τοῦ Ἰωάννου τοῦ Κλαδᾶ· ἦχος 310r αʹ. A variety of Cherubic hymns follow composed by the older and newer composers. Also included are the settings for special feasts. Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον κοινωνικῶν ὕμνων· τὸ παρὸν τοῦ Κλαδᾶ· ἦχος αʹ. 380r This rubric has a border design. 425r Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχον κοινωνικῶν τῆς ὅλης ἑβδομάδος ποιηθέντων ὑπὸ διαφόρων ποιητῶν παλαιῶν τε καὶ νέων· τὸ παρὸν ψάλλεται τῇ Δευτέρᾳ, ποίημα κὺρ Κωνσταντίνου τοῦ Μαγουλᾶ· ἦχος πλ. δʹ Καὶ κατ’ ἦχον κοινωνικῶν τῶν δεσποτικῶν ἑορτῶν τῇ πρώτῃ Σεπτεμβρίου τῆς ἰνδίκτου 440r ψάλλεται· τὸ παρὸν τοῦ Ξένου Κορώνη· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς θείας καὶ ἱεράς Λειτουργίας τῶν Προηγιασμένων· τὸ παρόν 469r ἐστι ποίημα τοῦ κὺρ Νικηφόρου τοῦ Ἠθικοῦ· ἦχος πλ. βʹ 480r End of music and original MS. There are four additional later folios. Χειρόγραφον τῆς ιζʹ ἑκατονταετηρίδος ληγούσης περὶ τὰ 1690, ἢ 1710. This later I r inscription indicates that the MS was written around 1690 or 1710. IIIr–IVv blank Notes This Papadike is a late source rich in musical tradition, theory and practice of late Byzantine music as it was practised at the end of the Empire and preserved in the Post-Byzantine era. The MS is in good condition and very legible. The binding is dark brown leather. The rubrics, modal signatures and hypostaseis are written in red ink. The capital letters of the incipits are ornamental and colourful. The neumes and text are in the traditional black ink, with red ink used for optional (and/or additional) lines of music. The original MS was unfoliated; folio numbers were added later. Each page contains about 15 lines of text and music. The MS begins with the neumes of the Psaltike Techne and continues with Echemata according to modes on fol. 7v. The Parallage Method by Ioannes Plousiadenos begins on fol. 10v and continues with a Proimion chant, the application of the Metrophonia (fol. 11r) and the practice of ‘Theseis’ in the octoechos (fol. 13v). The MS continues with more treatises and methodologies in this order: fol. 17r fol. 22r fol. 22v fol. 24v fol. 25v fol. 27r fol. 29v fol. 33r

the methodology of Xenos Korones another methodology for Metrophonia by Kyr Gregorios methodology of Kalophonia by Kyr Ioannes Kladas methodology of chanting neumes according to the modes by Ioannes Glykys another method for the exegesis of modes by Ioannes Koukouzeles another method for chanting Nenanismata and Teretismata by Kyr Xenos Korones another method by Korones on Kratemata bearing Cheironomia signs another method for Nenanismata and Teretismata by Xenos Korones,

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Protopsaltes of St Sophia The section with the treatises ends on fol. 36v. The MS continues on fol. 37r with chants for Great Vespers: fol. 46r Ps. 1 fol. 62v Doxology fol. 63v Dochai for Ps. 2 fol. 66v kalophonic verses for Ps. 2 fol. 85v Kekragaria fol. 93r Prokeimena fol. 100v chants for the Sunday of Easter fol. 104r other Dochai for the entire week by Kyr Daniel of Thessalonika fol. 106v Anagrammatismoi by Ioannes Koukouzeles The Akolouthia for Orthros follows on fol. 109r with the chant ‘Theos Kyrios’ and continues with various versions of the Polyeleos: fol. 116r fol. 138v fol. 156r fol. 156v fol. 160v fol. 166r

by Koukoumas by Latrinos by Chrysaphes another by Chrysaphes the New a shortened version by Kyr Balasios by Petros Byzantios, and other composers

Fol. 180r contains antiphons by various composers and continues with the Pasa Pnoaria (fol. 196v), Heothina hymns (fol. 241r), Doxologies (fol. 246v) and Asmatika Trisagia (fol. 279v). The MS is also a rich source for Polychronia chants (fol. 285r), which were sung as Euphemia for the Archbishops of Antioch, Alexandria, Jerusalem and other cities with patriarchs. The Liturgy for St John Chrysostom starts on fol. 301r and contains the Alleluiaria (fol. 303v), Cherubic hymns (fol. 310r) and Communion chants according to modes (fol. 380r) for the entire week (fol. 425r) and for special feasts according to the liturgical calendar (fol. 440r). The Liturgy for Presanctified Gifts by Nikephoros Ethikos follows on fol. 469r and continues to the end of the MS. The composers in this MS represent the older and newer generations to the 18th century. Along with the rich sources of treatises by older and newer composers, the MS also indicates performance practice, especially as it pertains to the practice of the two choirs. This MS is strikingly similar in content to the Papadike MS Xiropotamou 307 of Mt Athos, which dates ca. 1767–70.

EBE 2840

522

ΕΒΕ 2840 ΜΑΘΗΜΑΤΑΡΙΟΝ/MATHEMATARION Type of paper: common Measurements: 20.1 × 14.7 cm Folios: I + 323 + I Notation: very Late Round Byzantine Date: 18th c.

Ir–v 1r 48v 96r 121v 136v 144r 171r 183v 192r

298r 311v 316r 322r 323v Ir–v

blank Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τὰ κατ’ ἦχον μαθημάτων Θεοτοκίων· ποίημα κὺρ Χρυσάφου τοῦ Νέου· ἦχος αʹ Μηνὶ Σεπτεμβρίῳ ηʹ· τὸ γεννήσιον τῆς Ὑπεραγίας Θεοτόκου τοῦ κὺρ Μπαλασίου· ἦχος πλ. δʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν Θεοτοκίων τῶν παλαιῶν ποιηθέντων παρὰ διαφόρων ποιητῶν· τὸ μὲν παρὸν κὺρ Ἰωάννου τοῦ λαμπαδαρίου τοῦ Κλαδᾶ· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατανυκτικῶν, ἐκλεγομένων· τὸ μὲν παρὸν κὺρ Ἰωάννου του Κλαδᾶ· ἦχος αʹ Κοντάκιον πάνυ ἔντεχνον ψαλλόμενον εἰς τὸν Ἀκάθιστον ὕμνον τῆς Θεοτόκοῦ· ποίημα κὺρ Ἰωάννου τοῦ Κλαδᾶ· ἦχος πλ. δʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν εἱρμῶν παλαιῶν τε καὶ νέων ποιηθέντων παρὰ διαφόρων ποιητῶν· οἱ παρόντες ψάλλονται ἐν τῇ τοῦ Πάσχα ἑορτῇ, ὁ παρὼν τὸ παρὰ κὺρ Ἰωάννου τοῦ Κλαδᾶ· ἦχος αʹ Ἕτεροι εἱρμοὶ πανυγηρικοί ... κὺρ Πέτρου τοῦ Μπερεκέτη· ἦχος αʹ Κράτημα ὀνομαζόμενον σῦριγξ, περὶ δε Ἰσμαηλιτικὸν λέγεται μισχάλι· ποίημα κὺρ Ἀρσενίου ἱερομονάχου τοῦ Νέου· ἦχος πλ. αʹ Μαθηματάριον σὺν Θεῷ ἁγίῳ περιέχον τῶν δεσποτικῶν καὶ Θεομητορικῶν ἑορτῶν ἀνὰ δὲ καὶ τῶν δοξαζομένων ἁγίων ἁπάντων· εἰς τὴν πρώτην τοῦ Σεπτεμβρίου τοῦ ἐν ἁγίου πατρὸς ἡμῶν Συμεὼν τοῦ Στυλίτου· ἦχος βʹ. The feasts of the liturgical calendar follow. Πολυέλεος σὺν Θεῷ ἁγίῳ, ποίημα κὺρ Μπαλασίου ἱερέως, ὁ λεγόμενος παλατιανός· ἦχος αʹ Ἄμωμον ψάλλεται δὲ εἰς κοιμηθέντας· ἦχος βʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχον τερεντιζόντων ἠχημάτων, σμικρυθέντων καὶ παραλλαγέντων, παρὰ τοῦ Νεοφανοῦς Κουκουζέλους κὺρ Ἰωάσαφ· τὸ μὲν παρὸν τοῦ κὺρ Μανουὴλ τοῦ Χρυσάφη· ἦχος αʹ Ἕτερα κρατήματα ... καὶ αὐτὰ κατ’ ἦχον· ἦχος αʹ end of music and MS blank

Notes This is a late Mathematarion MS in excellent condition, even though there are some folios missing at the end. The MS has a newer light brown binding. The neumes and text are written in the traditional black ink and the rubrics, modal signatures, hypostaseis and capital letters of

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incipits are in red ink. The rubrics are not as plentiful as in other MSS of this period. The pages usually average 15 lines of text and music. The contents are typical for an 18th-century Mathematarion, with a representation of older and newer late 17th-century composers. It begins with Theotokia Mathemata according to modes composed by Kyr Chrysaphes the Νew (fol. 1r). On fol. 48v the Menologion of selected feasts pertaining to the Theotokos begins according to the liturgical calendar, with compositions by Kyr Balasios. At fol. 96r follow selected Theotokia from a variety of the older composers as represented by Ioannes Kladas and others. Next follow: fol. 121v selected Katanyktika by Ioannes Kladas fol. 136v Kontakion from the Akathistos hymn by Ioannes Kladas fol. 144r older and newer Heirmoi by various composers including Kladas and (171r) Petros Bereketes fol. 183v Kratema called syrinx, or known as ‘mischali’ of the Ishmaelites, by Arsenios the Younger and monk fol. 192r Mathemata (lessons) for bishops, Theotokos, and feasts for All Saints beginning with 1 Sept. fol. 298r Polyeleos by Balasios, the so-called ‘palatianos’ fol. 311v Amomos for Laymen fol. 316r Terentizing Kratemata according to modes by Kyr Ioasaph, the New Koukouzeles based on the composition of Manuel Chrysaphes fol. 322r other Kratemata The scribe has made orthographic and grammatical mistakes. Some of the errors in spelling may reflect the scribe’s local dialect. There are inconsistencies throughout, particularly with words/ names beginning with ‘mp’, such as Balasios and Bereketes, which are often found as Palasios and Pereketes. At times the word order is awkward. Bibliography Anastasios, Tὰ Κρατήματα στὴν Ψαλτικὴ Τεχνὴ. Vamvoudakis, “Τὰ ἐν τῇ Βυζαντινῇ μουσικῇ ‘κρατήματα’.”

EBE 2847

524

ΕΒΕ 2847 ΠΑΠΑΔΙΚΗ/PAPADIKE Type of paper: common Measurements: 21.2 × 15.5 cm Folios: V + 864 pages [432 fols] + I Notation: Late Round Byzantine Date: 18th c. (first half)

Ir–Vv 1 12 17 50 64 68 71 100 145 160 213 226 328 415 421 449 494 779 811 857 864 Ir–v

blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς Ψαλτικῆς Τέχνης Προθεωρία, σύστημα πάντων τῶν συμαδίων· κύρ Ἰωάννου τοῦ Κουκουζέλη· ἦχος αʹ «Ἴσον, ὀλίγον, ὀξεῖα...» Ἀρχὴ του Ἑσπερινοῦ «Ἀνοίξαντός σου τὴν χεῖρά σου...» Ἀρχὴ τῶν κεκραγαρίων ... ὑπὸ παλαιῶν καὶ νέων· ἦχος αʹ Πολυέλεος παρὰ Χρυσάφου Πρωτοψάλτου τῆς Μεγάλης Ἐκκλησίας· ἦχος αʹ Στίχος καλοφωνικὸς παρὰ κὺρ Κωνσταντίνου τοῦ Μαγουλᾶ· ἦχος αʹ Πολυέλεος τοῦ Κουκουμᾶ· ἦχος αʹ Πασαπνοάρια Τὰ ιαʹ ἑωθινῶν τοῦ κὺρ Ἰωάννου τοῦ Γλυκέως Μεγάλαις δοξολογίαις τοῦ Μελχισεδέκ· ἦχος πλ. αʹ. Compositions of Doxologies by various composers follow. Τρισάγιον τοῦ Χρυσάφη· ἦχος δʹ Κατ’ ἦχον χερουβικῶν τοῦ Χρυσάφη· ἦχος αʹ Κατ’ ἦχον κοινωνικῶν κὺρ Μανουὴλ τοῦ Μεγάλου Ῥήτορος· ἦχος αʹ Ἡ Θείᾳ Λειτουργίᾳ τοῦ Βασιλείου· ἦχος βʹ Ἡ Θείᾳ Λειτουργίᾳ τῶν Προηγιασμένων Κοινωνικὰ τοῦ ὅλου ἐνιαυτοῦ τῶν ἐπισήμων ἑορτῶν. ἀρχὴ Σεπτεμβρίῳ αʹ τῆς ἰνδίκτου, τοῦ Κορώνη· ἦχος βαρύς Κατ’ ἦχον ἠχημάτων, τὸ παρὸν τοῦ Χρυσάφη· ἦχος αʹ. Echemata and Tererismata follow according to modes of the octoechos. Τὸν Ἀκάθιστον ὕμνον τοῦ κὺρ Ἰωάννου τοῦ Κλαδᾶ Ἀρχὴ καὶ μερικῶν κρατημάτων· ποιηθέντα παρὰ κὺρ Ἀρσενίου τοῦ Μικροῦ· μετὰ πολλῆς ἐπιμελείας· τὸ παρὸν ὀνομαζόμενον νάϊ ὅπερ λέγεται σῦριγξ, καὶ μισχάλη παρὰ Ἰσμαηλιτικὸν Προκείμενα εἰς τὰς Κυριακαῖς τῆς ἁγίας καὶ μεγάλης Τεσσαρακοστῆς· ἦχος πλ. δʹ end of music and MS blank

Notes This late Papadike is in very good condition. The binding is a dark brown shade of leather. As is typical, the text and neumes are written in black ink and red ink is used for rubrics, modal signatures, hypostaseis and some capital letters of incipits. The MS is unfoliated and has been paginated in pencil. Pages vary between 14–16 lines of text and neumes.

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The contents of the MS are fairly standard. It begins with the neumes of the Psaltike Techne (p. 1) and continues with a melody for the neumes by Kyr Ioannes Koukouzeles (p. 12). The MS continues in this order: p. 17 Anoixantaria chant for Vespers Kekragaria by older and newer composers p. 50 p. 64 Polyeleos by Chrysaphes, the Protopsaltes p. 68 kalophonic verses by Kyr Konstantinos Magoulas p. 71 Polyeleos by Koukoumas p. 100 Pasapnoaria p. 145 the Heothina Hymns as composed by Ioannes Glykys p. 160 Greater Doxologies by Melchisedek and other composers p. 213 Trisagion by Chrysaphes p. 226 Cherubic hymns by Chrysaphes p. 328 Communion chants by Kyr Manuel p. 415 Liturgy of St Basil p. 421 Liturgy of Presanctified Gifts p. 449 Communion chants for all the high feasts starting with 1 Sept., by Korones p. 494 Echemata and Tererismata by Chrysaphes p. 779 Akathistos hymn by Ioannes Kladas p. 811 some Kratemata composed by Arsenios the Younger p. 857 Prokeimena for the Sundays of Great Lent

EBE 2877 (olim 77)

526

ΕΒΕ 2877 (olim 77) ΕΡΜΗΝΕΙΑ ΕΙΣ ΤΟΥΣ ΑΝΑΒΑΘΜΟΥΣ ΤΩΝ ΟΚΤΩ ΗΧΩΝ/TREATISE OF THE ANABATHMOI OF THE OCTOECHOS Type of paper: common Measurements: 21 × 14 cm Folios: I + 174 + I Notation: Very late Middle Byzantine Date: early 18th c. Provenance: collection of a Monsieur Eustathius in Constantinople; appears to have been bequeathed to the National Library of Greece in 1874

Ir–v 1r 174r 174v Ir–v

blank Πρῶτον Ζήτημα Δᾶ μὲν ὁ οὖν πρὸ τῆς τῶν ἀντιφώνων αὐτῶν ἐξηγήσεως, τούτοις ἐπιστῆσαι τὸν νοῦν καὶ ἀνιχεύεσθαι, τίς τε ὁ τούτων ἐστὶ ποιητής; καὶ πόθεν ἀναβαθμοὶ κέκληνται ... Τίς ὁ τῶν ἀναβαθμῶν τούτων ἐστὶ ποιητής end of MS blank blank

Notes This MS is a recension of the treatise on the Anabathmoi of the octoechos originally written by Nikephoros Kallistos Xanthopoulos in the mid-14th century. The Anabathmoi are the Gradual Psalms (Pss. 119–30 and 132) with their Troparia, which precede the Gospel reading in the Sunday celebration of the office of Orthros. These psalms are grouped into three to four antiphons and are chanted antiphonally between two choirs. There are many points of interest in the MS. It indicates that in the Byzantine Sunday morning office, after the recitation of the Psalter and before the Prokeimenon and morning Gospel, the two choirs alternate singing the Anabathmoi of the mode: a set of three to four little antiphons on the Gradual Psalms (αἱ ᾠδαὶ τῶν ἀναβαθμῶν). The following scheme is given: Pss. 119, 120, 121 Pss. 122, 123, 124 Pss. 125, 126, 127 Pss. 128, 129, 130

Modes I and Plagal I Modes II and Plagal II Modes III and Barys Modes IV and Plagal IV

Within the scheme there are eight sets, one for each of the eight modes and one for each of the eight Sundays of the modal cycle. Nikephoros Kallistos Xanthopoulos, the author of the treatise, states that the composer of the Anabathmoi is not John Damascene but rather Theodore the Studite, who wrote the music for the antiphons sometime between 794 and 797 during his first exile in Thessalonika. Detailed exegesis is included within the 174 folios.

EBE 2877 (olim 77)

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The MS is in good condition and is very clean and legible. It has a black binding with a design on the front cover of a diamond shape centred in the rectangular frame. The original gold clasps of the MS are intact, albeit tarnished. The treatise is written in black ink, with red ink reserved only for the rubric. Each page has about 19 lines of text. Folio 1r has a table of contents in red and then continues with the treatise, which includes a historical musical perspective on the Anabathmoi with information on when they were chanted, who wrote them, where they were found, and information on their modes. This is an excellent treatise that deserves to be translated with accompanying commentary. Bibliography Strunk, ‘The Antiphons of the Oktoechos’. Tillyard, ‘The Antiphons of the Byzantine Octoechus’.

528

EBE 2889

ΕΒΕ 2883 ΣΤΙΧΗΡΑΡΙΟΝ ΙΔΙΟΜΕΛΑ/STICHERARION IDIOMELA Type of paper: common Measurements: 26 × 18.3 cm Folios: 146 Notation: Late Round Byzantine Date: 17th–18th c.

1r

Μὴν Ἰανουάριος, εἰς τὴν πρώτην· ἡ αὐτὰ στιχηράρια περιτομή τοῦ Κυρίου καὶ Θεοῦ καὶ Σωτῆρος ἡμῶν Ἰησοῦ Χριστοῦ καὶ μνήμῃ τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Βασιλείου τοῦ μεγάλου· στιχηρὸν τῆς περιτομῆς· ἦχος πλ. δʹ «Συγκαταβαίνων ὁ Σωτήρ...» Εἰς τὸ βον ´ προεόρτια τῶν φωτῶν καὶ μνήμῃ τοῦ ἐν ἁγίοις...· ἦχος πλ. βʹ «Ἔρχεται πρὸς 4 v τὸν Ἰορδάνην Χριστός...» Ἀρχὴ τῶν ὡρῶν τῆς παραμονῆς τῶν ἁγίων Θεοφανίων ποιηθείσης παρὰ Σωφρονίου 8r Πατριάρχου Ἱεροσολύμων· ἦχος πλ. δʹ «Σήμερον τῶν ὑδάτων ἁγίαζεται...» 8v This folio continues with the Stichera Idiomela for the Epiphany. Of interest is the written indication that the «Δόξα» is sung by the ‘first choir and the left choir in Mode Plagal IV’ ( αʹ χορὸς καὶ ὁ ἀριστερὸς χορὸς· ἦχος πλ. δʹ). Εἰς τὰ θʹ· τοῦ ἁγίου Πολυεύκτου 20v Εἰς τὰς ιʹ· τοῦ ἁγίου Γρηγορίου Νύσσης Εἰς τὰς ιγʹ· τῶν ἁγίων μαρτυρῶν Ἔρμυλος καὶ Στρατόνικος 22r Εἰς τὰς ιεʹ· πατρὸς ἡμῶν Παύλου τοῦ Θηβαίου καὶ Ἰωάννου τοῦ Καλυβίτου 23r Εἰς τὰς ιϛʹ· τῆς ἁλύσεως τοῦ ἁγίου ἀποστόλου Πέτρου, ἦχος δʹ «Σήμερον ἡμῖν ἡ 23v κρηπίς...» Εἰς τὰς ιζʹ· Θεοφόρου πατρὸς ἡμῶν Ἀντωνίου τοῦ Μεγάλου· ἦχος πλ. βʹ 24v Εἰς τὰς ιηʹ· τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Ἀθανασίου καὶ Κυρίλλου Ἀλέξανδρος· ἦχος βʹ 28r «Χριστοῦ τὸν Ἱεράρχην...» Εἰς τὰς ιθʹ· τοῦ ὁσίου πατρὸς ἡμῶν Μακαρίου τοῦ Αἰγυπτίου· ἦχος πλ. δʹ 29r Εἰς τὰς κʹ· τοῦ ὁσίου πατρὸς ἡμῶν Εὐθυμίου τοῦ Μεγάλου· ἦχος βʹ 29v Εἰς τὰς κβʹ· τοῦ ἁγίου ἀποστόλου Τιμοθέου· ἦχος πλ. δʹ 31r Εἰς τὰς κγʹ· τοῦ ἁγίου ἱερομάρτυρος Κλήμεντος καὶ μάρτυρος Ἀγαθαγγέλου Διονυσίου· 33r ἦχος πλ. δʹ Εἰς τὰς κεʹ· τοῦ πατρὸς ἡμῶν Γρηγορίου τοῦ Θεολόγου· ἦχος δʹ 33v Εἰς τὰς κζʹ· ἀρχὴ τοῦ Ἰωάννου τοῦ Χρυσοστόμου ἡ ἀνακομιδή 35v Εἰς τὰς κηʹ· τοῦ ὁσίου Ἐφραίμ· ἦχος πλ. βʹ 37v Εἰς τὰς λʹ· τῶν ἁγίων τριῶν ἱεραρχῶν· ἦχος πλ. βʹ 38r Εἰς τὰς λαʹ· τῶν ἁγίων καὶ θαυματουργῶν ἀναργύρων Κύρου καὶ Ἰωάννου 43v Μὴν Φεβρουάριος εἰς τὴν αʹ· τοῦ ἁγίου μεγαλομάρτυρος Τρύφωνος· ἦχος βʹ 44r Εἰς τὰς βʹ· ἡ ὑπαπαντὴ τοῦ κυρίου ἡμῶν Ἰησοῦ Χριστοῦ· ἦχος αʹ 44v 51v Εἰς τὰς εʹ· τῆς ἁγίας Ἀγάθης Εἰς τὰς ηʹ· τοῦ ἁγίου ... Θεόδωρος τοῦ Στρατηλάτου· ἦχος πλ αʹ 52r Εἰς τὰς θʹ· τοῦ ἁγίου μάρτυρος Νικηφόρου· ἦχος πλ. βʹ 53r Εἰς τὰς ιαʹ· τοῦ ἁγίου ἱερομάρτυρος Βλασίου· ὴχος πλ. βʹ 53v

EBE 2883

54r 55r 55v 56v 57r 57v 61r 66r 71v 72r 72v 73r 73v 74r 75r 78r 78v 80r 80v 81v 82r 82v 83v 89r 94r 95r 98r 99r 101r 103r 105r 109r 112v 115v 116r 119r

529

Εἰς τὰς ιγʹ· τοῦ ὁσίου πατρὸς ἡμῶν Μαρτιανοῦ· ἦχος βʹ Εἰς τὰς ιδʹ· τοῦ ὁσίου πατρὸς ἡμῶν Αὐξεντίου· ἦχος πλ. αʹ Εἰς τὰς κδʹ· ἡ εὕρεσις τῆς τιμίας κεφαλῆς τοῦ τιμίου Προδρόμου· ἦχος πλ. βʹ Μὴν Μάρτιος, εἰς τῇ αʹ· τῆς ἁγίας ὁσιομάρτυρος Εὐδοκίας· ἦχος πλ βʹ Εἰς τὰς ϛʹ· τῶν ἁγίων μαρτύρων ἐν τῷ Ἀμορίῳ, ἦχος βʹ Εἰς τὰς θʹ· τῶν ἁγίων μʹ μαρτύρων τῶν ἐν Σεβαστίᾳ, ἦχος βʹ Εἰς τὰς κεʹ· ὁ εὐαγγελισμὸς τῆς ὑπεραγίας Θεοτόκου, ἦχος πλ. βʹ Μὴν Ἀπρίλιος, αʹ· τῆς ὁσίας Μαρίας τῆς Αἰγυπτίας, ἦχος βʹ Εἰς τὰς κγʹ· τοῦ ἁγίου καὶ ἐνδόξου Γεωργίου, ἦχος πλ. βʹ Εἰς τὰς κεʹ· τοῦ ἁγίου ἀποστόλου καὶ εὐαγγελιστοῦ Μάρκου, ἦχος πλ. βʹ Εἰς τὰς λʹ· τοῦ ἁγίου ἀποστόλου Ἰακώβου, ἦχος πλ. αʹ Μὴν Μάϊος ϛʹ· τοῦ ἁγίου Ἰώβ· ἦχος πλ. βʹ Εἰς τὰς ζʹ· μνήμῃ τοὺς ἐν οὐρανῶν φαρέντοι.... τοῦ Τιμίου Σταυροῦ· ἦχος πλ. αʹ Εἰς τὰς θʹ· τοῦ προφήτου Ἡσαΐου τοῦ ἁγίου μαρτύρου Χριστοφόρου Εἰς τὰς ιʹ· τοῦ ἁγίου ἀποστόλου Σίμωνος τοῦ Ζηλωτοῦ· ἦχος βʹ Εἰς τὰς ιβʹ· τῶν ἁγίων πατρῶν ἡμῶν Γερμανοῦ Κωνσταντινουπόλεως καὶ Ἐπιφανίου Κύπρου· ἦχος βʹ Εἰς τὰς ιεʹ· τοῦ ὁσίου πατρὸς ἡμῶν Παχωμίου τοῦ μεγάλου· ἦχος αʹ Εἰς τὰς καʹ· τῶν μεγάλων θεοστέπτων μεγάλων βασιλέων Κωνσταντίνου καὶ Ἑλένης· ἦχος βʹ Εἰς τὰς κδʹ· τοῦ ἁγίου Συμεὼν τοῦ ἐν τῷ θαυμαστῷ ὄρει· ἦχος βʹ Μὴν Ἰούνιος, α´· ἐν ἁγίοις πατρὸς ἡμῶν Μυροφάνου ἀρχιεπισκόπου Κωνσταντινουπόλεως· ἦχος βʹ Εἰς τὰς ιαʹ· τοῦ ἁγίου ἀποστόλου Βαρναβᾶ καὶ Βαρθολομαίου· ἦχος πλ. βʹ Εἰς τὰς ιδʹ· τοῦ ἁγίου Ἐλισαίου καὶ ἁγίου Μεθοδίου· ἦχος βʹ Εἰς τὰς ιζʹ· τῶν ἁγίων μαρτύρων Ἰσαίρου, Βασιλείου, Μανουήλ, Σαβέλ, καὶ Ἰσμαήλ Εἰς τὰς ιηʹ· τοῦ ἁγίου μάρτυρος Ἰουλιανοῦ· ἦχος αʹ Εἰς τὰς ιθʹ· τοῦ ἁγίου ἀποστόλου Ἰούδα· ἦχος πλ. βʹ Εἰς τὰς καʹ· τοῦ ἁγίου μάρτυρος Ἰουλιανοῦ· ἦχος πλ. βʹ Εἰς τὰς κδʹ· τὸ γεννήσιον τοῦ τιμίου προφήτου Προδρόμου καὶ Βαπτιστοῦ Ἰωάννου· ἦχος αʹ Εἰς τὰς κθʹ· τῶν ἁγίων ἐνδόξων ἀποστόλων καὶ πρωτοκορυφαίων Πέτρου καὶ Παύλου· ἦχος αʹ Μὴν Ἰούλιος, βʹ· τὰ καταθέσια τῆς τιμίας ἐσθῆτος τῆς ὑπεραγίας Θεοτόκου ἐν Βλαχέρναις· ἦχος βʹ Εἰς τὰς εʹ· τοῦ ὁσίου καὶ θεοφόρου πατρὸς ἡμῶν Ἀθανασίου Εἰς τὰς ζʹ· τῆς ἁγίας μεγαλομάρτυρος Κυριακῆς· ἦχος πλ. βʹ Εἰς τὰς ηʹ· τοῦ ἁγίου ἐνδόξου μεγαλομάρτυρος Προκοπίου· ἦχος πλ. βʹ Εἰς τὰς ιεʹ· τῶν ἁγίων μεγαλομαρτύρων Κηρύκου καὶ Ἰουλίττης· ἦχος πλ. βʹ Εἰς τὰς ιζʹ· τῆς ἁγίας μεγαλομάρτυρος Μαρίνας· ἦχος βʹ Εἰς τὰς κʹ· τοῦ ἁγίου ἐνδόξου προφήτου Ἠλίου τοῦ Θεσβίτου· ἦχος πλ. βʹ Εἰς τὰς κβʹ· τῆς ἁγίας Μαρίας τῆς Μαγδαληνῆς· ἦχος πλ. βʹ Εἰς τὰς κεʹ· ἡ κοίμησις τῆς ἁγίας Ἄννης μητρὸς τῆς Θεοτόκου· ἦχος πλ. δʹ Εἰς τὰς κϛʹ· τῆς ἁγίας μεγαλομάρτυρος Παρασκευῆς· ἦχος πλ. βʹ Εἰς τὰς κζʹ· τοῦ ἁγίου μεγαλομάρτυρος Παντελεήμονος· ἦχος πλ. βʹ Εἰς τὰς λαʹ· τοῦ ἁγίου καὶ δικαίου Εὐδοκίμου· ἦχος βʹ

530

119v 121v 129r 136r 138v 146v

EBE 2883

Μὴν Αὔγουστος, αʹ· τῶν ἁγίων ἑπτὰ Μακκαβαίων καὶ τῆς μητρὸς αὐτῶν Σολομόνης καὶ τοῦ διδασκάλου αὐτῶν Ἐλεαζάρου· ἦχος πλ. δʹ Τῷ αὐτῷ μηνὶ ϛʹ· ἡ μεταμόρφωσις τοῦ Κυρίου καὶ Θεοῦ καὶ Σωτῆρος ἡμῶν Ἰησοῦ Χριστοῦ· ἦχος δ´ Τῷ αὐτῷ μηνὶ ιεʹ· ἡ κοίμησις τῆς ὑπεραγίας δεσποίνης ἡμῶν Θεοτόκου· ἦχος αʹ, ὀκτάηχον τοῦ κὺρ Χρυσάφου ἦχος αʹ «Ὦ τοῦ παραδόξου θαύματος...» Εἰς τὰς κβʹ· τοῦ ἁγίου ἱερομάρτυρος Ἀγαθονίκου· ἦχος αʹ. Εἰς τὰς κεʹ· ἡ ἐπάνοδος τοῦ λειψάνου τοῦ ἁγίου ἀποστόλου Βαρθολομαίου· ἦχος πλ. βʹ Εἰς τὰς κθʹ· ἡ ἀποτομὴ τῆς κεφαλῆς τοῦ Προδρόμου end of music and MS

Notes This late Sticherarion MS is in fair condition. The binding is a dark brown reddish cover with two broken gold clasps. Both front and back covers have designs: the front a centrepiece depicting the Byzantine eagle perched on top of a palace, surrounded with a rectangular border of flowers, the back a centrepiece in a diamond shape with a circle in the middle in which is depicted the image of a bishop or emperor with a crown on his head. The back cover also has a rectangular border design of flowers. The MS opens with a design on fol. 1r with a graphic border of two interlocking half circles framing the rubrics on the top one-fourth of the folio. The neumes and text are written in a dark black ink. The rubrics, modal signatures and hypostaseis are in red ink. Each capital letter of incipits is enlarged, ornamented and written in red ink. There is an average of 15 lines of text and music per page. The folios have been numbered twice: the top right-hand folios have been handwritten and the lower-right margins have a printed number. The MS is an incomplete Sticherarion that contains Stichera Idiomela. It opens with the feasts for Jan. and continues to the end of Aug. The months of Sept.–Dec. are missing, as is the Triodion section that is usually found in a Sticherarion. What makes this Sticherarion unusual is that it includes music for far more feasts than are normally represented for the months that have been included. On the other hand, nearly no composers’ names have been designated and in a few instances modal signatures have been omitted.

EBE 2905 (olim Suppl. 809)

531

ΕΒΕ 2905 (olim Suppl. 809) ΑΝΑΣΤΑΣΗΜΑΤΑΡΙΟΝ/ANASTASIMATARION Type of paper: common Measurements: 14 × 9.2 cm Folios: II + 139 Notation: Late Round Byzantine Date: 18th c.

Ir–IIv 1r

blank «Κύριε ἐκέκραξα...» ἦχος αʹ. This Kekragarion chant is followed by the Pasapnoaria and other chants that are listed according to modes. This first folio is a palimpsest with at least two layers of visible writing. The top layer is faded and at times illegible but contains the current Kekragaria chants. The layer beneath contains another script that indicates «ποίημα Ἰακώβου ἱερομονάχου», a poem (composed by) Iakovos Hieromonachos. «Πᾶσα πνοή...» κατ’ ἦχον, ἦχος αʹ 11v «Αἰνεῖτε αὐτὸν πάντες...» The Heothina and other chants from Orthros continue for Mode I. Ἀρχὴ τοῦ δευτέρου ἤχου· τὸ, «Κύριε εἰς τὸν Ἑσπερινόν». The chants for Mode II follow 18r with the office of Vespers with the Kekragarion chant. «Πᾶσα πνοή...» ἦχος βʹ 28r «Κύριε ἐκέκραξα...» ἦχος γʹ 35r «Πᾶσα πνοή...» ἦχος γʹ 43r Τέλος τοῦ τρίτου ἤχου καὶ ἀρχὴ τοῦ τετάρτου· Ἑσπέρας· ἤχου δʹ 51v Εἰς τοὺς Αἰνούς· ἦχος δʹ «Πᾶσα πνοή...» 61r Τέλος τοῦ τετάρτου ἤχου καὶ ἀρχὴ τοῦ πλαγίου πρώτου· Ἑσπέρας· ἦχος πλ. αʹ 68v «Κύριε ἐκέκραξα...» ἦχος πλ. αʹ 69r Εἰς τοὺς Αἰνούς· ἦχος πλ. αʹ «Πᾶσα πνοή...» 78v Τέλος τοῦ πλαγίου πρώτου καὶ ἀρχὴ τὸ πλ. βʹ· Ἑσπέρας· ἦχος πλ. βʹ 88v 89r–94r The vertical margins of these folios have been torn. Εἰς τοὺς Αἰνούς· ἦχος πλ. βʹ 96v «Πᾶσα πνοή...» ἦχος πλ. βʹ 97r Τέλος τοῦ πλαγίου δευτέρου ἤχου καὶ ἀρχὴ τοῦ βαρέως· ἦχος βαρὺς «Κύριε 105r ἐκέκραξα...» Εἰς τοὺς Αἰνούς· ἦχος βαρὺς «Πᾶσα πνοή...» 112v Τέλος τοῦ βαρέως ἤχου καὶ ἀρχὴ τοῦ ἢχου πλαγίου δʹ· Ἑσπέρας· ἦχος πλ. δʹ «Κύριε 119v ἐκέκραξα...» Εἰς τὸ Πᾶσα πνοή· ἦχος πλ. δʹ 128r «Πᾶσα πνοή...» 128v «Αἰνεῖτε αὐτὸν πάντες...» 133r Ἑωθινῶν ὄρθρου· ἦχος πλ. δʹ end of music and MS 139v

EBE 2905 (olim Suppl. 809)

532

Notes This late Anastasimatarion is in poor condition. The folios preceding fol. 1r are tattered. The corners of the remaining folios are torn and there is much damage throughout from wormholes. Transcriptions of the neumes are therefore difficult. This is a miniature MS with a dark brown binding. The front and back sides of the cover have a large cross in the shape of an ‘x’, surrounded with ornate circles. There is writing on the interior binding. The folios are numbered only in multiples of tens, and rubrics are sparse. Red ink has been used for the modal signatures and the hypostaseis. The neumes and text have been written in black ink. The pages have about nine lines of text and music. The contents of this MS are the chants from Vespers and Orthros, each categorized according to modes: fol. 1r Mode I fol. 18r Mode II fol. 35r Mode III fol. 51v Mode IV fol. 68v Plagal Mode I fol. 88v Plagal Mode II fol. 105r Barys Mode fol. 119v Plagal Mode IV The scribe has made various orthographic errors throughout, most of which are homophonic. The MS has a previous catalogue number, but the provenance is not self-evident because of its dismal condition.

EBE 2936

533

ΕΒΕ 2936 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: common Measurements: 22.5 × 14 cm Folios: I + 147 + I Notation: newer Chrysanthine Date: 1823

Ir–v 1r 2r 63r 130r 147v Ir-v

blank Στιχηράριον μελοποιηθέντα παρὰ κὺρ Χρυσάφου τοῦ Νέου καὶ ἐξηγηθέντα κατὰ τὸν νέον τρόπον παρὰ τοῦ κὺρ Γρηγορίου λαμπαδαρίου Χουρμουζίου ἐν ἔτει 1823· ἰδιόχειρον ὁμοῦ τοῦ Γεωργίου Πέτρου Σωζοπολίτου Ἀρχὴ τὰ κατ’ ἦχον δογματικὰ μελοποιηθέντα παρὰ κὺρ Χρυσάφου τοῦ Νέου καὶ ἐξηγηθέντα κατὰ τὸ νέον τρόπον παρὰ τοῦ διδασκάλου· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ὡρῶν τῆς ἑορτῆς τῶν Χριστουγέννων ἐκ τοῦ παλαιοῦ στιχηραρίου Τῇ ιεʹ Αὐγούστου· ἡ κοίμησις τῆς Ὑπεραγίας Δεσποίνης ἡμῶν Θεοτόκου· «Δόξα καὶ νῦν» ὀκτάηχον end of music and MS blank

Notes This Sticherarion is dated in the year 1823. The MS is in very good condition, with a brown binding. The few rubrics are written in red, as are the modal signatures and the hypostaseis. The neumes and text are in black ink. There are between 10 and 12 lines of text and music on a page. The opening rubric indicates that the Sticherarion is composed by Kyr Chrysaphes the New and interpreted according to the new manner by Kyr Gregorios the Lampadarios Chourmouzios in the year 1823 [written] by my hand Georgios Petros Sozopolites’. Hence the contents of the MS are compositions of Chrysaphes but with exegeses in the Chysanthine notation by Gregorios Chourmouzios, the Chartophylax. The MS continues on fol. 2r with Stichera Dogmatika, fol. 63r with the Hours for Christmas from the old Sticherarion, and fol. 130r with the Stichera for the Dormition of the Theotokos.

EBE 2980

534

ΕΒΕ 2980 ΠΑΠΑΔΙΚΗ/PAPADIKE Type of paper: common Measurements: 15 × 10.4 cm Folios: 194 Notation: Middle to Late Round Byzantine Date: 1667

1r 7r 9 v 16v 29v 40v 41r 41v 55v 67r 69v 73r 75r 76v 80v 98r 100v 118r 128r 136r 168r 186v 191r 191v 193v 194r 194v

Σημάδια τῆς Ψαλτικῆς Τέχνης Σημάδια ψαλλόμενα κατ’ ἦχον τοῦ Κουκουζέλη Ἀρχὴ τοῦ μεγάλου Ἑσπερινοῦ ... διαφόρων ποιητῶν «Μακάριος ἀνήρ...» Κατ’ ἦχον κεκραγάρια· ἦχος αʹ «Θεὸς Κύριος...» end of Vespers melodies for Orthros Πολυελέου τοῦ Κουκουμά· ἦχος αʹ Ἕνδεκα ἑωθινὰ ποιηθέντα παρὰ κὺρ Λεόντος τοῦ σοφωτάτου μελισθέντα παρὰ κὺρ Ἰωάννου τοῦ Γλυκέως· ἦχος αʹ Δοξολογίαι ... ποίημα τοῦ θεοφιλεστάτου ἐπισκόπου κυρίου Μελχισεδὲκ Ῥαιδεστοῦ· ἦχος πλ. αʹ Τρισάγιον Ἀρχὴ ἡ Θεία Λειτουργία τοῦ Χρυσοστόμου· ἦχος βʹ Ἀντί τοῦ τρισαγίου· εἰς τὰς δεσποτικὰς ἑορτάς· ἦχος πλ. αʹ «Ὅσοι εἰς Χριστὸν ἑβαπτίσθητε...» Κατ’ ἦχον ἀλληλουϊαρίων τοῦ Χρυσάφη Κατ’ ἦχον χερουβικῶν τοῦ Χρυσάφη Ἡ Θεία Λειτουργία τοῦ μεγάλου Βασιλείου· ἦχος βʹ Κατ’ ἦχον κοινωνικῶν τοῦ Χρυσάφη Ἡ Θεία Λειτουργία τῶν Προηγιασμένων· ἦχος πλ. β´ Ἀκάθιστον ὕμνον· ἦχος πλ. δʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κατ’ ἦχον μαθημάτων τῶν Θεοτοκίων· κὺρ Ἰωάννου τοῦ λαμπαδαρίου· ἦχος αʹ Ἀρχὴ τῶν κατ’ ἦχον ἠχημάτων ... κὺρ Μανουὴλ τοῦ Χρυσάφη· ἦχος αʹ. (Many teretismata follow.) Ἄμωμος εἰς κοιμηθέντας κοσμικούς· ἦχος πλ. αʹ end of Amomos Κεκραγάρια καὶ εἱρμοί Ἐγράφη ἐν ἔτει ͵αχξζʹ [1667] ἐν μηνὶ Μαρτίῳ καὶ διὰ χειρὸς ἐλαχίστου Ἰωσὴφ ἱερομονάχου ὁ καὶ κτῆμα ἐμόν ἐστιν Τοῦ Χρυσάφη· Χερουβικὸν end of Cherubic hymn end of music and MS

EBE 2980

535

Notes Bound in a type of cardboard binding, this Papadike (Anthologia) manuscript is in fair to poor condition with some folios torn and others missing at the end. The neumes and text are written in a grey to black tone. The rubrics, modal signatures and hypostasies are in a light reddish hue. The folios average about 12 lines of neumes and script. What distinguishes this manuscript is the colophon on folio 193v, which identifies the scribe as Iosef (Joseph) Hieromonachos and the date as Mar. 1667. The MS begins on fol. 1r with neumes of the Psaltike Techne and continues on fol. 7r with neumes chanted according to modes by Ioannes Koukouzeles. The MS continues as follows: fol. 9v chants for Great Vespers fol. 41r chants for Orthros fol. 55v Heothina chants as composed by Ioannes Glykys fol. 67r Doxologies by Melchisedek fol. 69v Trisagion fol. 73r Liturgy of St John Chrysostom fol. 98r Liturgy of St Basil fol. 118r Liturgy of Presanctified Gifts fol. 128r Akathistos hymn fol. 136r Mathemata by Ioannes the Lampadarios fol. 168r Echemata by Manuel Chrysaphes fol. 186v Amomos for Laymen fol. 194r Cherubic hymn by Chrysaphes The MS ends abruptly on fol. 194v. Bibliography Chaldaiakis, Ὁ Πολυέλεος. Chatzegiakoumes, Χειρόγραφα Ἐκκλησιαστικῆς Μουσικῆς.

536

EBE 3001

ΕΒΕ 3001 ΑΝΘΟΛΟΓΙΑ/ANTHOLOGIA Type of paper: common Measurements: 19.8 × 12.7 cm Folios: II + 261 Notation: newer Chrysanthine Date: 1823

Ir–IIv 1r–2r 2v–6v 7r

blank Περιεχόμενα (table of contents) blank Ἀνθολογία ἤτοι νέα παπαδικὴ ἐξηγημένη, ἥτις ἄρχεται ἐκ τοῦ μεγάλου Ἑσπερινοῦ, Ὄρθρου τε καὶ λειτουργίας· ποιήματα διαφόρων ποιητῶν, παλαιῶν τε καὶ νέων. ἅτινα ἐξηγήθησαν παρὰ τοῦ μουσικοδιδασκάλου κυρίου Γρηγορίου τοῦ λαμπαδαρίου καὶ Χουρμουζίου· ἔτος 1823, Μαρτίου 28. Ἀρχὴ τοῦ μεγάλου Ἑσπερινοῦ· ἀνοιξαντάρια ... ἐξηγήθησαν κατὰ τὸν νέον τρόπον τῆς 8r μουσικῆς παρὰ Γρηγορίου λαμπαδαρίου καὶ Χουρμουζίου, τὸ ἀκόλουθον ἐμελουργήθη παρὰ Ἰωάννου τοῦ Κουκουζέλους· ἦχος πλ. δʹ, ΝΗ´ «Μακάριος ἀνὴρ» τοῦ Πέτρου λαμπαδαρίου τοῦ Πελοποννησίου 27r Κεκραγάρια κατ’ ἦχον ... τοῦ Ἰωάννου τοῦ Δαμασκηνοῦ 39v Κατ’ ἦχον κεκραγάρια παρὰ Ἰακώβου Πρωτοψάλτου· ἦχος αʹ 57v Τὸ, «Φῶς ἱλαρόν» 68r Τὸ, «Θεοτόκε Παρθένε» ὀκτάηχον τοῦ Πέτρου Μπερεκέτου 70r Πολυέλεος τοῦ Πρωτοψάλτου· ἦχος αʹ 76r Πολυέλεος τοῦ Πέτρου Πελοποννησίου· ἦχος πλ. αʹ 99v Πολυέλεος εἰς τὰς ἑορτὰς τῆς Θεοτόκου παρὰ Γεωργίου τοῦ Κρητός· ἦχος βαρὺς 111r Πασαπνοάριον τοῦ Ἰωάννου Πρωτοψάλτου· ἦχος αʹ 124r Μάθημα Θεοτοκίον 134r Πασαπνοάρια τοῦ Πρωτοψάλτου· ἦχος αʹ 142r Κατ’ ἦχον δοξολογίαι τοῦ Ἰακώβου τοῦ Πρωτοψάλτου· ἦχος αʹ 150r Μαθήματα 176r Χερουβικὰ παρὰ Γρηγορίου Πρωτοψάλτου· ἦχος αʹ 184r Κοινωνικὰ τῶν Κυριακῶν κατ’ ἦχον παρὰ Δανιὴλ τοῦ Πρωτοψάλτου 204r Κοινωνικὰ τοῦ Γρηγορίου Πρωτοψάλτου 214r Κοινωνικὰ εἰς τὴν πρώτην τοῦ Σεπτεμβρίου παρὰ Γεωργίου τοῦ Κρητός. 237v Κοινωνικὰ καὶ χερουβικά. Communion and Cherubic hymns follow for various feasts of the liturgical calendar. music ends 256r 256v–259v blank διὰ χειρὸς Χρυσάνθου καὶ Εὐτυχίου ἐν ἔτει 1823, Ἀπριλίου 8 260r 260v–261r blank

EBE 3001

537

Notes This is a late Anthologia (new Papadike) dated 1823 in two places, 11 days apart: fol. 7r as 28 Mar. 1823 and fol. 260r as 8 Apr. 1823. The first rubric qualifies this date as the time when the chants were ‘interpreted by Gregorios the Lampadarios Chourmouzios’. It is only on fol. 260r, the colophon, that the scribe identifies himself as ‘Chrysanthos and Eutychios’ and gives the date of 8 Apr. 1823. The MS and binding are in excellent condition. The rubrics, hypostaseis and modal signatures (Martyriae) are written in red ink. The modal signatures are designated in the older Late Byzantine system and at times in the newer Chrysanthine system. The neumes and text are written in a dark black ink. There are 10–11 lines of text and music per page. Fols 1r–2r present a catalogue of the contents. The MS proper begins on fol. 7r with the rubric: ‘Anthologia, that is, New Papadike interpreted, beginning with Great Vespers, Orthros, and the liturgies, compositions by various composers old and new. With exegesis [interpreted] by the music teacher Kyr Gregorios the Lampadarios Chourmouzios. Year: 1823: March, 28.’ The MS continues with the following: the start of Great Vespers, interpreted by Chourmouzios from the composition fol. 8r of Ioannes Koukouzeles fol. 27r Ps. 1 by Petros the Peloponnesian fol. 39v Kekragaria by John Damascene and (fol. 57v) by Iakovos Protopsaltes fol. 68r the hymn ‘Fos Hilaron’ fol. 70r ‘Theotoke Parthene’ by Petros Bereketes fol. 76r Polyeleos by the Protopsaltes, (fol. 99v) by Petros the Peloponnesian, (fol. 111r) by Georgios of Crete fol. 124r Pasapnoaria by Ioannes Protopsaltes fol. 134r Theotokion Mathema fol. 142r more Pasapnoaria by Ioannes Protopsaltes fol. 150r Doxologies by Iakovos Protopsaltes fol. 176r Mathema fols 184r– Communion and Cherubic hymns by Gregorios Protopsaltes, Daniel 256r Protopsaltes and Georgios of Crete

538

EBE 3009

ΕΒΕ 3009 ΠΑΠΑΔΙΚΗ/PAPADIKE Type of paper: common Measurements: 16 × 9.2 cm Folios: III + 349 Notation: Late Round Byzantine Date: 1761

Ir–IIIv 1r 6 v

blank Σημαδίων τῆς μουσικῆς Κεκραγαρίων καὶ ἀναστασίμων παρὰ κὺρ Γερμανοῦ Νέων Πατρῶν, ἦχος κατ’ ἦχον· ἦχος αʹ Ἕνδεκα ἑωθινῶν ... κὺρ Ἰωάννου τοῦ Γλυκέως· ἦχος αʹ 110r Ἀκάθιστον ὕμνον 125v Πολυέλεος κὺρ Χρυσάφη· ἦχος αʹ 130v Πασαπνοάρια πανηγυρικά, κὺρ Χρυσάφη· ἦχος αʹ 159r Τρισάγιον νεκρώσιμον· κὺρ Μπαλασίου 209r Ἀρχὴ ἡ Λειτουργία τοῦ Χρυσοστόμου· ἦχος βʹ 211v Χερουβικῶν τοῦ Χρυσάφη· ἦχος αʹ 215v Κατ’ ἦχον κοινωνικῶν τοῦ κὺρ Χρυσάφη· ἦχος αʹ 237v Ἀρχὴ τῶν κοινωνικῶν τῆς ἑβδομάδος· ἦχος πλ. δʹ 246r Ἀρχὴ σὺν Θεῷ τῶν κοινωνικῶν ὕμνων τῶν δεσποτικῶν ἑορτῶν τῇ αʹ Σεπτεμβρίου. 251v Along with the Communion chants for high feasts, there are also Cherubic hymns that follow the liturgical calendar beginning with 1 Sept. Ἡ Θεία Λειτουργία τοῦ Βασιλείου· ποίημα κὺρ Ἰωάννου τοῦ Γλυκέως· ἦχος βʹ 272r Ἡ Θεία Λειτουργία τῶν Προηγιασμένων· ἦχος πλ. βʹ 274r Εἱρμοί· ποίημα κὺρ Πέτρου Μπερεκέτη· ἦχος αʹ 285r Διὰ χειρὸς Χρυσάνθου ... ἐν ἔτει ἐστὶ ͵αψξαʹ (1761) 319r 319v–320r blank 320v–321r Ἀλληλούϊα 321v–325v blank last folio of music in MS 329v 330r–349r blank end of MS 349r Notes This late Papadike, small in scale, is in excellent condition. The brown binding is well maintained. Red ink is used for rubrics, modal signatures and hypostaseis. The neumes and text are written in black ink. The average page contains nine lines of text and music. The colophon found on fol. 319r indicates the date as 1761 and identifies the scribe as Chrysanthos. The contents are standard for a Papadike. The MS proper begins on fol. 1r with the neumes of the Papadike. On fol. 6v, it continues with chants for Vespers and Orthros by Kyr Germanos

EBE 3009

539

of New Patras, listed according to modes, starting with Mode I. The remaining MS proceeds as follows: fol. 110r Heothina chants composed by Ioannes Glykys fol. 125v the Akathistos hymn fol. 130v Polyeleos by Kyr Chrysaphes fol. 159r panegyric Pasapnoaria by Kyr Chrysaphes fol. 209r Nekrosimon Trisagion by Kyr Balasios fol. 211v Liturgy of St John Chrysostom fol. 215v Cherubic hymns by Chrysaphes fol. 237v Communion chants by Chrysaphes according to modes fol. 246r Communion chants for the entire week fol. 251v Communion chants for the feasts of the liturgical calendar fol. 272r Liturgy of St Basil as composed by Ioannes Glykys fol. 274r Liturgy of Presanctified Gifts fol. 285r Heirmoi by Kyr Petros Bereketes The MS appears to end abruptly. After the colophon on fol. 319r, fols 319v–320r contain an Alleluia followed by blank fols 321v–325v. There are later additions on fols 326r–329r and then more blank folios to the end of the MS.

EBE 3011

540

ΕΒΕ 3011 ΔΟΞΑΣΤΙΚΟΝ ΣΤΙΧΗΡΑΡΙΟΝ ΤΟΥ ΓΕΡΜΑΝΟΥ ΝΕΩΝ ΠΑΤΡΩΝ/ DOXASTIKON STICHERARION BY GERMANOS NEON PATRON Type of paper: common Measurements: 17 × 10.9 cm Folios: I + 249 + I Notation: very Late Round Byzantine Date: 1796

Ir–v 1r

49r 249v Ir–v

blank Δοξαστικὰ τοῦ Ἑσπερινοῦ ἀπὸ στίχου τε καὶ αἴνων τοῦ ὅλου ἐνιαυτοῦ τῶν τε δεσποτικῶν καὶ Θεομητορικῶν ἑορτῶν ἐνεορταζομένων ἁγίων ἐκαλλωπισθὲν παρὰ κὺρ Γερμανού, ἀρχιερέως Νέων Πατρῶν· μὴν Σεπτέμβριος, εἰς τὴν αʹ· ἀρχὴ τῆς ἰνδίκτου, ἤτοι τοῦ νέου ἔτους καὶ μνήμῃ τοῦ ὁσίου πατρὸς ἡμῶν Συμεὼν τοῦ Στυλίτου· ἦχος πλ. αʹ «Ὅσιε πάτερ...». Then follow Stichera for the feasts of the liturgical calendar. Εἰς τὴν παραμονὴν τῶν Χριστουγέννων ψάλλονται εἰς τὰς ὥρας· ποίημα Σωφρονίου πατριάρχου Ἱεροσολύμων· ἦχος πλ. δʹ. (The Hours chanted on the eve of Christmas composed by Sophronios Patriarch of Jerusalem. ) «Βίβλος αὐτὴ ἐγράφη διὰ χειρὸς ἐμοῦ τοῦ ταπεινοῦ, Ἰωάννου, ἐν ἔτει 1796, Μαρτίου 14» end of music and MS blank

Notes This is a late 18th-century Sticherarion for the feasts of the liturgical calendar, from Sept. to Aug., as composed by Germanos of New Patras. The contents are similar in some aspects to the following EBE Sticheraria MSS with melodies composed by Germanos of New Patras: MSS 891, 903, 975, 2443, 2453, 2584, 2613, 2618, 2620 and 2633. This MS is in excellent condition. It is smaller in size than most Sticheraria MSS with music by Germanos. The MS has a brown binding and is standard in its layout: red ink for rubrics, modal signatures and hypostaseis and black ink for text and neumes. There are about nine lines of text and neumes per page. The contents are typical. Of interest is the colophon on fol. 249v: ‘This book is written by my hand, the humble Ioannes, in the year 1796, 14 March’.

EBE 3014

541

ΕΒΕ 3014 ΑΝΘΟΛΟΓΙΑ/ANTHOLOGION Type of paper: common Measurements: 20.8 × 14 cm Folios: 383 Notation: very Late Round Βyzantine, verging on Chrysanthine Date: late 18th–early 19th c.

1r

Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ μεγάλου Ἑσπερινοῦ ποιηθέντα παρὰ διαφόρων ποιητῶν παλαιῶν τε καὶ νέων καὶ ἐξηγηθέντα παρὰ τοῦ μουσικολογιωτάτου λαμπαδαρίου τῆς τοῦ Χριστοῦ Μεγάλης Ἐκκλησίας κὺρ Πέτρου τοῦ Πελοποννησίου· ἦχος αʹ «Ἴσον, ὀλίγον, ὀξεῖα...» Ἀνοιξαντάρια τοῦ Κουκουζέλη· ἦχος πλ. δʹ. Settings by other composers follow. 4r Στίχος καλοφωνικὸς ἐκ τοῦ δευτέρου ψαλμοῦ διαφόρων ποιητῶν· ὁ παρὼν κὺρ 87r Ἰωάννου τοῦ Κουκουζέλη· ἦχος πλ. δʹ 141v–144v blank Ἀνθολογία σὺν Θεῷ ἁγίῳ νέων μαθημάτων ποιηθέντων παρὰ τῶν ἡμετέρων 145r διδασκάλων· τὸ παρὸν σύνθεσις κὺρ Πέτρου λαμπαδαρίου τῆς ἁγίας τοῦ Χριστοῦ Μεγάλης Ἐκκλησίας τοῦ Πελοποννησίου· ἦχος πλ. δʹ Ἐκλογὴ ἐκ τοῦ ψαλμοῦ τοῦ πολυελέου σύνθεσις κὺρ Ἰακώβου Πρωτοψάλτου· ἦχος δʹ 194r Πασαπνοάρια, ποιηθέντα παρὰ κὺρ Ἰωάννου Πρωτοψάλτου· ἦχος αʹ 201r Ἀσματικὸν τοῦ Τιμίου καὶ Ζωοποιοῦ Σταυροῦ, ἐξήγησις κὺρ Πέτρου λαμπαδαρίου τῆς 252v τοῦ Χριστοῦ Μεγάλης Ἐκκλησίας· ἦχος δʹ Ἡ Θεία Λειτουργία τοῦ Χρυσοστόμου· ἦχος βʹ 256v Κατ’ ἦχον κοινωνικὸν κὺρ Δανιὴλ Πρωτοψάλτου τῆς Μεγάλης Ἐκκλησίας· ἦχος αʹ 274v Χερουβικὰ κὺρ Δανιὴλ. Cherubic hymn settings by other composers follow. 288v Ἕτερα κοινωνικὰ κὺρ Πέτρου τοῦ Βυζαντίου· ἦχος αʹ 321r Θεοτοκίον ψαλλόμενον εἰς τὰς ἑορτὰς τῆς Θεοτόκου· τοῦ κὺρ Δανιὴλ· ἦχος αʹ 356r Μάθημα ψάλλεται εἰς τὴν ἑορτὴν τῆς Ἁγίας Εὐθυμίας, τοῦ κὺρ Πέτρου· ἦχος γʹ 377r 383v The music and MS end with this folio, even though the MS is not complete. Notes This is a late Anthologion written either in the late 18th or early 19th century. The MS and its brownish binding are in good condition. The traditional red ink is used for rubrics, Martyriae and hypostaseis with the standard blackish hue for text and neumes. The page averages about nine lines of text and music. The contents of this Anthologion are fairly standard. The rubric on fol. 1r indicates that the MS begins with Great Vespers [music] as composed by the different older and newer composers [but] interpreted by the most musical lampadarios of the great church of Christ, Kyr Petros the Peloponnesian. The chant that immediately follows this rubric is the Ison (Oligon, Oxeia) song that is most often found in the Papadike MS. The MS continues as follows: fol. 4r

Anoixantaria settings by Koukouzeles and other composers

542

EBE 3014

fol. 87r kalophonic verses of Ps. 2 by Koukouzeles and other composers fol. 145r new Mathemata by Petros the Peloponnesian fol. 194r selections from the Polyeleos psalms by Kyr Iakovos Protopsaltes fol. 201r Paspnoaria by Kyr Ioannes Protopsaltes fol. 252v Asmatika chants for the exaltation of the Cross by Petros the Peloponnesian fol. 256v the Liturgy of St John Chrysostom fol. 274v Communion chants according to modes by Daniel Protopsaltes fol. 288r Cherubic hymns by Daniel fol. 321r Communion chants by Kyr Petros Byzantios fol. 356r Theotokia for the feast of the Virgin by Kyr Daniel fol. 377r Mathema chanted for the feast of St Euphemia by Kyr Petros The MS ends abruptly on fol. 383v and has missing folios.

EBE 3021

543

ΕΒΕ 3021 ΤΡΟΠΑΡΙΟΝ ΜΕΓΑΛΥΝΑΡΙΑ/TROPARION MEGALYNARION Type of paper: common Measurements: 19.3 × 11.9 cm Pages: 71 Notation: Chrysanthine Date: late mid-19th c.

1 4 6 8 9 11 13 14 16 18 20 23 24 26 27 31 32 34 36 37 38 40 41 43 50 60 67 71

Τὸ παρὸν ἐμελοποιήθη παρὰ Νεκταρίου Μοναχοῦ Βλάχου· ἦχος αʹ, ΠΑ´ «Ἄξιόν ἐστιν...» Τοῦ Σταμούλη Παναγιώτη Ζαρκινοῦ· ἦχος πλ. α´ «Ἄξιόν ἐστιν...» Παρὰ Μελετίου ἱερομονάχου «Ἄξιόν ἐστιν...» Ἕτερον τοῦ Θεοδώρου Φωκαέως Ἕτερον τοῦ Γεωργίου Μπέτσου Καστοριανοῦ Ἕτερον τοῦ Βατοπεδινοῦ Ἕτερον τοῦ Νικολάου Πρωτοψάλτου Ἕτερον τοῦ Γεωργίου ἱερέως τοῦ Ῥυσίου Ἕτερον τοῦ Παναγῆ Γ. Προύσου Εἱρμοὶ εἰς τὴν κοίμησιν τῆς Θεοτόκου Εἱρμοὶ τῶν Χριστουγέννων Εἱρμοὶ τῆς Σταυροπροσκύνησης Εἱρμοὶ τοῦ Πάσχα Εἱρμοὶ τοῦ Θωμᾶ Εἱρμοὶ τῶν Φωτῶν Εἱρμοὶ τῆς Ὑπαπαντῆς Ἕτερον εἰς τὴν Κοίμησιν τῆς Θεοτόκου Ἕτερον τοῦ Εὐαγγελισμοῦ Ἕτερον τῶν Βαΐων Ἕτερον τῆς Πεντηκοστῆς Ἕτερον τῆς Ἀναλήψεως Ἕτερον τοῦ Τιμίου Σταυροῦ Ἕτερον τοῦ Λαζάρου Χερουβικὰ σύντομα παρὰ Νικολάου Πρωτοψάλτου Σμύρνης Τῇ Κυρακῇ τῶν ἁγίων Ὑπὸ Ἀντωνίου Νικολαΐδου, υἱοῦ Νικολάου Πρωτοψάλτου Σμύρνης «Ἄξιόν ἐστιν...» Ἕτερον Γεωργίου Ῥυσίου «Ἄξιόν ἐστιν...» end of music and MS

Notes This late mid-19th-century MS is a Troparion Megalynarion. This title identifies the content of the MS, that is, verses added to a psalm or other verses. In medieval Byzantium, the Megalynarion (Magnificat) was associated specifically with interpolated verses (Troparia) relating to the Virgin Mary, while the term Encomia could refer to the same (or similar) interpolated verses used to

EBE 3021

544

commemorate the Passion and burial of Christ. In post-Byzantium, the distinction between the terms became blurred. The MS is in fair to good condition. The brown binding is lacking the back cover and the last folios are missing. The MS is paginated rather than foliated. Red ink is used for rubrics and hypostaseis. There are very few modal indications in red. The neumes and text are written in a black shade. The pages have nine to ten lines of text and music. The acknowledged composers are from the newer Chrysanthine school and are not as well known as their predecessors. The predominant contents of this MS are the Megalynaria and Heirmoi. The MS proceeds in the following manner: Megalynaria by the monk Nectarios from the Monastery of Wallachia (p. 1), Stamoules Pangiotes Zarkinos (p. 4), Meletios the priest-monk (p. 6), Theodoros Phokaeus (p. 8), Georgios Betsos Kastorianos (p. 9), Vatopedinos (p. 11), Nicholas Protopsaltes (p. 13), Georgios Rysios the priest (p. 14), Panagiotes G. Prousaeus (p. 16). Heirmoi for the Dormition of the Theotokos (p. 18), Christmas (p. 20), Veneration of the Cross (p. 23), Easter (p. 24), Sunday of Thomas (p. 26), Epiphany (p. 27), Purification (p. 31), another for the Dormition of the Theotokos (p. 32), Annunciation (p. 34), Palm Sunday (p. 36), Pentecost (p. 37), Resurrection (p. 38), Exaltation of the Cross (p. 40), St Lazarus (p. 41). Abbreviated Cherubic hymns by Nicholas Protopsaltes of Smyrna (p. 43) and the Sunday of All Saints (p. 50). More Megalynaria by Antonios Nikolaides, son of Nicholas Protopsaltes of Smyrna (p. 60) and by Georgios of Rysios (p. 67). Bibliography Eustratiades, “Ἡ Ἀκολουθία τοῦ Μεγάλου Σαββάτου”. Touliatos, The Byzantine Amomos Chant.

EBE 3022

545

ΕΒΕ 3022 ΜΑΘΗΜΑΤΑΡΙΟΝ/MATHEMATARION Type of paper: common Measurements: 20.8 × 15.2 cm Folios: XX + 142 + I Notation: new Chrysanthine, but modal signatures in the older Round notation as well Date: 1845

Ir blank Iv–IIr Each folio contains a table of three columns listing the year, month and date of month for each occurrence of Easter covering the years 1848–2013. IIv–IIIv blank Text and music for a Terirem written in mode ΖΩ´. IVr IVv–XXIIv blank Μαθηματάριον τοῦ ὅλου ἐνιαυτοῦ μελοποιηθὲν παρὰ διαφόρων ποιητῶν καὶ ἐξηγηθὲν 1r παρὰ τοῦ πανοσιοτάτου κυρίου Νικηφόρου Δοχειαρίτου εἰς τὴν νέαν τῆς μουσικῆς μέθοδον· τὸ παρὸν Βαλασίου, ἱερέας καὶ Νομοφύλακας τῆς τοῦ Χριστοῦ Μεγάλης Ἐκκλησίας· εἰς τὴν γέννησην τῆς Θεοτόκου· ἦχος πλ. δʹ, ΝΗ´. Then follow feasts of the liturgical year by various composers, old and new. This music is very melismatic, with Teretismata. Τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Νικολάου τοῦ θαυματουργοῦ· Χρυσάφου τοῦ Νέου· ἦχος 21v α´, ΠΑ´ Εἰς τὴν γέννησιν τοῦ Κυρίου Ἰησοῦ Χριστοῦ· τοῦ Ἰωάννου τοῦ Κουκουζέλη 23v Τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Βασιλείου τοῦ μεγάλου· τοῦ Πέτρου Μπερεκέτου· ἦχος αʹ, 28v ΝH´ Εἰς τὰ ἅγια Θεοφάνεια· τοῦ Γερμανοῦ Νέων Πατρῶν· ἦχος πλ. δʹ, ΝΗ´ 30v Εἰς τῶν ὑπαπαντῶν τοῦ Ἰησοῦ Χριστοῦ· τοῦ Θεοδούλου μοναχοῦ· ἦχος αʹ, ΠΑ´ 34v Εἰς τὸν εὐαγγελισμὸν τῆς Θεοτόκου· τοῦ Γερμανοῦ Νέων Πατρῶν· ἦχος δʹ 37r Τοῦ Γεωργίου τοῦ τροπαιοφόρου· τοῦ Χρυσάφου τοῦ Νέου· ἦχος αʹ, ΝH´ 40v Τὸ γεννέσιον τοῦ τιμίου προφήτου Προδρόμου καὶ βαπτιστικοῦ Ἰωάννου· τοῦ Κοσμᾶ 44v μοναχοῦ· ἦχος δʹ, ΔΙ´ Τοῦ προφήτου Ἠλίου τοῦ θεόπτου· τοῦ Πέτρου Μπερεκέτου· ἦχος πλ. δʹ, ΝΗ´ 51v Τοῦ ἁγίου Παντελεήμονος ... τοῦ Χρυσάφου, τετράφωνε· ἦχος αʹ 53v Τὴν ἑορτὴν τῆς μεταμορφώσεως· τοῦ Μπαλασίου ἱερέως· ἦχος πλ. δʹ, ΝΗ´ 57v Τὴν ἑορτὴν τοῦ ἁγίου μάρτυρος Ἀρτεμίου· τοῦ Μανουὴλ τοῦ Χρυσάφου· ἦχος δʹ, ΔΙ´ 69r Τὴν ἑορτὴν τοῦ Ἰωάννου τοῦ Χρυσοστόμου· τοῦ Πέτρου Μπερεκέτου· ἦχος πλ. βʹ, ΝH´ 72r Τοῦ ἁγίου ἐνδόξου ἀποστόλου Ἀνδρέου· τοῦ Πέτρου Μπερεκέτου· ἦχος δʹ, ΔΙ´ 74r Τοῦ ὁσίου ... Σάββα· τοῦ Μπαλασίου ἱερέως· ἦχος πλ. δʹ, ΝΗ´ 76r Κυριακῇ τῶν Βαΐων· τοῦ Μπαλασίου ἱερέως· ἦχος πλ. δʹ, ΝΗ´ 87r Κυριακῇ τοῦ Θωμᾶ· τοῦ Πέτρου Μπερεκέτου· ἦχος αʹ, ΠΑ´ 91v 92v blank Κυριακῇ τῶν ἁγίων πατέρων καὶ τρεῖς ἱεράρχας· τοῦ Πέτρου Μπερεκέτου· ἦχος δʹ, ΝH´ 97v Κυριακῇ τῆς Πεντηκοστῆς· τοῦ Μπαλασίου ἱερέως· ἦχος αʹ, ΠΑ´ 99v Κυριακῇ τῶν Ἁγίων Πάντων· τοῦ Πέτρου Μπερεκέτου· ἦχος αʹ, τετράφωνος ΝH´ 102v

EBE 3022

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109v

Τὸ παρὸν μαθηματάριον ἐγράφη διὰ χειρὸς Νεοφύτου ἱερομονάχου τοῦ Σαμίου ἐκ Κώμης Μυτιληνῶν, ἔτος σωτήριον 1845, Φεβρουαρίου αʹ Μάθημα Θεοτοκίον ψαλλόμενον εἰς τὰς ἑορτὰς τῆς Θεοτόκου 113r Τὸ παρὸν συνετμήθη δὲ παρὰ Χουρμουζίου Χαρτοφύλακος· ἦχος αʹ, ΠΑ´ «Θεοτόκε 121r χαῖρε Μαρία...» Ἕτερον Θεοτοκίον ὀκτάηχον μελισθὲν παρὰ Χουρμουζίου Χαρτοφύλακος· ἦχος αʹ 124r 129v–130v blank blank 133r Τὸ παρὸν πολυέλεος τοῦ Πέτρου λαμπαδαρίου τοῦ Πελοποννησίου· ἦχος ΖΩ´ 133v 140v This folio has dotted vertical lines placed among the neumes and above the text that serve as bar lines with a division of four beats for each vertical line. The placement of notes within the lines determines the rhythm. (These vertical lines appear to be a later addition.) 142r end of music and MS blank Ir–v Notes This Mathematarion MS is in good condition as far as its interior is concerned. The exterior has been refurbished; the original binding was a dark brown leather. Although the interiors of the front and back cover are still in their original state, the binding itself has been covered with a newer bluish fabric placed on top of the leather. The rubrics, modal signatures and hypostaseis are in red ink and the neumes and text are in black. The black ink with which the neumes have been written, however, has been smeared, although the notation is still legible. The modal signatures are indicated in both the older and newer systems. There are 12–15 lines of text and music per page. The colophon on fol. 109v dates the MS in the year 1845. It reads as follows: ‘The present Mathematarion is written by the hand of Neophytos the priest-monk of Sami from the township of Mytilene in the year of [our] Saviour 1845, 8 February.’ Fols Iv–IIr indicate the dates for Easter beginning with the year 1848. Since the MS was completed in 1845, this must be a later addition. The formal MS begins with fol. 1r with the following rubric: ‘Mathematarion for the entire year composed by different composers and interpreted by the all holy Kyrios Nikephoros Docheiarites in the new musical method. The present example is by Balasios the priest and Nomophylax [holder of the canons] of the Great Church of Christ. For the birth of the Theotokos, Mode Plagal IV [Chrysanthine Mode] NH.’ The MS continues with Mathemata for selected feasts: fol. 21v fol. 23v fol. 28v fol. 30v fol. 34v fol. 37r fol. 40v fol. 44v fol. 51v fol. 53v fol. 69r

for St Nicholas, the miracle-worker for the Nativity of Christ for St Basil the Great for the Epiphany for the Hypapante of Jesus Christ (‘Meeting of the Lord’) the Annunciation of the Theotokos for St George for the Nativity of St John the Forerunner for the prophet Elias for the Metamorphosis for the Martyr Artemis

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fol. 72r for St John Chrysostom fol. 74r for the Apostle Andrew fol. 76r for St Savvas fol. 87r for Palm Sunday fol. 91v for St Thomas fol. 97v for the Sunday of the three Hierarchs fol. 99v for Sunday of Pentecost fol. 102v for Sunday of All Saints fol. 113r Theotokia fol. 133v Polyeleos Some of the composers represented are Balasios, Chourmouzios, Manuel Chrysaphes, Petros Bereketes, Petros the Peloponnesian, Ioannes Koukouzeles, Germanos of New Patras, Chrysaphes the New and Kosmas the Monk.

EBE 3023

548

ΕΒΕ 3023 ΔΟΞΑΣΤΙΚΑ ΣΤΙΧΗΡΑ/DOXASTIKA STICHERA Type of paper: common Measurements: 19.6 × 14 cm Folios: II + 181 Notation: newer Chrysanthine Date: second half of 19th c.

Ir–IIv blank Δοξολογία μελοποιηθεῖσα παρὰ Ζαφυρίου μοναχοῦ Ζαφυροπούλου· ἦχος πλ. δʹ 1r Ἀσματικὸν μελοποιηθὲν ὑπὸ Γρηγορίου ἱεροδιακόνου· ἦχος πλ. δʹ, ΝΗ´ 5 v 11r–28v blank Τῆς ὁσίας Εὐφροσύνης 29r blank 40r–v Πολυέλεος τοῦ Χουρμουζίου 41r Δοξολογία τοῦ Πέτρου Πρωτοψάλτου Βυζαντίου· ἦχος πλ. αʹ, ΠΑ´ 53r 61v–64v blank Εἰς λειτουργίαν Ἀρχιερέως καὶ εἰς χειροτονίας· ἦχος Νανα 65r 69v–101v blank Πολυέλεος ἐπί τὸν ποταμόν· τοῦ Χουρμουζίου Χαρτοφύλακος· ἦχος Νανα 102r last folio of music and text 109r 109v–181r blank Notes This Doxastikon Sticherarion is in good condition but with many blank folios. The binding is a newer brown cover. The rubrics, modal signatures and few hypostasies are written in red ink. The text and neumes are in the traditional black ink. The Martyriae are written in the older and newer systems of notation. The rubrics are sparse. Each page has about 14–15 lines of text and music. The MS opens (fol. 1r) with the rubric ‘Doxology composed by Zaphyrios Zaphyropoulos, monk, Mode Plagal IV’. Some of the remaining rubrics are the following: Asmatikon composed by Gregorios, the priest/deacon fol. 5v fol. 29r for St Ephrosyne fol. 41r Polyeleos by Chourmouzios fol. 53r Doxology by Petros Protopsaltes Byzantios fol. 65r for the liturgy of the bishop and for the ordination fol. 102r Polyeleos for the river by Chourmouzios Chartophylax The MS remains incomplete; fols 109v–181r are blank.

EBE 3028

549

ΕΒΕ 3028 ΕΥΑΓΓΕΛΙΣΤΑΡΙΟΝ/EVANGELISTARION Type of paper: bombycinous Measurements: 30 × 22.8 cm Folios: 108 Notation: early Ephonetic Date: 11th–12th c.

1r Τῇ βʹ τῆς ιʹ ἑβδομάδος· ἐκ τὸν κατὰ Ματθαῖον 33r Book of Luke (this is not marked as such but most of the readings are from the Book of Luke with some readings from the Book of Mark interspersed) Τῷ Σαββάτῳ δʹ τῶν Νηστειῶν (readings from the Book of Mark) 108v end of music and MS Notes This Evangelistarion is quite large, with ample margins: top 4.5 cm, bottom 7.8 cm and side 6.5 cm. The MS is in poor condition: it has no binding and folios are missing at the beginning and end. Of the folios that remain, many are tattered and/or have serious wormhole damage. Moreover, many of the folios have been cut out, either in whole or in part. Those that remain are in a fragile state. Margins are mutilated throughout, i.e., fols 1, 2, 22, 24, 41, 43–8, 50–2, 56–7, 60, 66, 92, and 99–104. The folios have been renumbered by hand with pencil, undoubtedly due to the loss of original folios. Unlike many of the Evangelistaria of this period, this one does not have double columns. The text and early neumes average about 20 lines per page. The text is written in what is now a brownish ink and the ecphonetic signs in red are placed above and below the text. The MS contains interspersed readings from the Gospels. However, it does not have the standard divisions for each of the four books of the Gospels and the entire Book of John is missing from the opening. The rubrics that remain are sparse: fol. 1r, readings for Monday of the tenth week, according to the Book of Mark; fol. 33r, readings from the Book of Luke with some interspersed readings from Mark; and fol. 108v, fourth Saturday of Lent, with readings according to Mark. There are no illuminations that have been preserved in the MS. The MS is written with the early Ecphonetic music notation of the 11th–12th centuries, a mnemonic system of signs comprised of dots, hooks and lines.

550

EBE 3062 (olim 419)

ΕΒΕ 3062 (olim 419) ΕΥΑΓΓΕΛΙΣΤΑΡΙΟΝ/EVANGELISTARION Type of paper: bombycinous Measurements: 25.2 × 21 cm Folios: II + 142 + II Notation: Ecphonetic Date: 11th–12th c.

Ir

Νήφων Κυριακοῦ μοναχὸς ἐδωρήσατο στὴ βιβλιοθήκη τῆς Ἀστικῆς Σχολῆς Μαραθοκάμπου τῇ 9 Μαΐου, 1905, περιέχει δὲ ἑκατὸν τεσσαράκοντα καὶ ἓν φύλλα. Ὁ ἐπιμελητὴς τῆς βιβλιοθήκης Μ. Γ. Μυρογιάννης (‘The Monk Nifon of Kyriakoú [on Samos] donated this to the library of the Municipal School of Marathókambos on 9 May 1905. It contains 141 folios. The caretaker of the library was M. G. Myrogiannes’) blank Iv–IIv 1r Folios are missing at the beginning. This folio continues with verses from the Book of Matthew. Τῇ βʹ τῆς δʹ ἑβδομάδος 1 v Τῇ δʹ τῆς δʹ ἑβδομάδος 2 v Ἐκ τὸ κατὰ Ματθαῖον ἀπὸ τὸ ιʹ Σαββάτῳ καὶ ἕως ὅταν φθάσῃς εἰς τὸν Σεπτέμβριον μῆνα 21v καὶ καθεξῆς ἀναπληροῖς τὰς ἑβδομάδας· εἰθ oὕτως, ἀρχόμενος ἀπὸ τῇ Κυρακῇ [sic] μετὰ τὴν ὕψωσιν καὶ ἀπέρχεται μέχρι τῇ Κυρακῇ τῆς Ἀπόκρεω· ἐκ τὸ κατὰ Ματθαῖον. 28v The left-hand column of this folio completes the Book of Matthew. It then continues with a smaller, newer script that designates the months and feast days. In the righthand column there is a new rubric framed with a small border design: Ἀρχὴ τὸ κατὰ Λουκᾶν εὐαγγελιοῦ τὸ καθημερινὸν ὅπερ ἀναγινώσκεται ἀπὸ τῇ Κυρακῇ μετὰ τὴν ὕψωσιν· τῇ βʹ τῆς αʹ ἑβδομάδος· ἐκ τὸ κατὰ Λουκᾶν. 47v–48r marginal annotations in a newer script 64r This folio continues marginal annotations in a newer script. Although not acknowledged with the newer pencil numbering, there are several missing folios for the next Book of Mark. Ἐκ τὸ κατὰ Μᾶρκον· τὸ δʹ τῇ ιβʹ ἑβδομάδος 71v–72r These folios resume with readings from the Gospel of Luke. Ἐκ τὸ κατὰ Μᾶρκον· τῇ Παρασκευῇ τῆς ιεʹ ἑβδομάδος 75r Ἐκ τὸ κατὰ Λουκᾶν· τῇ Κυρακῇ τοῦ Ἀσώτου 84v Ἐκ τὸ κατὰ Μᾶρκον· τῇ γʹ τῆς ιθʹ ἑβδομάδος 86r Ἐκ τὸ κατὰ Ματθαῖον· τῇ Κυρακῇ τῆς Ἀπόκρεω 88v Ἐκ τὸ κατὰ Μᾶρκον· τῇ βʹ τῆς Τυρινῆς 89v Marginal annotations in a newer script. There is a border design over the rubric: Ἐκ τὸ 92v κατὰ Μᾶρκον· τῷ Σαββάτῳ τῆς αʹ ἑβδομάδος 95v–96r marginal annotations in a newer script Ἐκ τὸ κατὰ Ματθαῖον· τῇ μεγάλῃ βʹ πρωΐ 101v 106r–v This folio is torn down the middle. This torn folio has a different and newer paper with newer and different writing. 108r–v marginal annotations in a newer script 109r

EBE 3062 (olim 419)

551

119v

Ἐκ τὸ κατὰ Ἰωάννην· εὐαγγέλια τῶν ἁγίων Παθῶν. Then follow readings from Luke, Matthew, and Mark for the Holy Hours of the Passion. 121v–122r marginal annotations in a newer script Τῷ ἁγίῳ Σαββάτῳ πρωΐ· τὰ εὐαγγέλια ιβʹ τῶν ἁγίων Παθῶν· τῷ ἁγίῳ Σαββάτῳ Ἑσπέρας· 140v ἐκ τὸ κατὰ Ματθαῖον Εὐαγγέλια ἀναστάσιμα ἑωθινά· ἐκ τὸ κατὰ Ματθαῖον 141v end of music and MS 142v blank IIr–v

Notes This is a typical Evangelistarion with Ecphonetic notation. The MS is in poor condition and the legibility is dismal. It has a newer navy-coloured binding. The MS suffers from missing folios and many of those that are still present are torn and/or extremely faded in places. The listing above follows the newer foliation. The folios are formatted in double columns, each having an average of 26 lines of text and notation. The text is written in a faded brownish-black ink. The Ecphonetic notation sporadically placed above and below the texts is in a faded red ink to distinguish it from the blackish-brown polytonic accents of the Greek text. The newer caretaker verifies on fol. Ir that the MS was bequeathed in 1905 to the Municipal School of Marathókambos on Samos by the monk Nifon of Kyriakoú. After this addition, the original folios proceed with readings from the Gospel of Matthew but with omissions at the beginning. With fol. 28v, readings from the Gospel of Luke begin. The readings from the Gospel of Mark follow at fol. 64r but are also interspersed with other readings. The readings for the Holy Passion being on fol. 119v. At fols 141v–142v the MS concludes with the Heothina Resurrection readings according to the Gospel of Matthew. The National Library of Greece acquired this MS in 1939.

EBE 3084

552

ΕΒΕ 3084 ΑΝΘΟΛΟΓΙΑ/ANTHOLOGION Type of paper: common Measurements: 16.9 × 11.8 cm Folios: III + 202 Notation: newer Chrysanthine Date: ca. mid-19th c.

Ir–IIIv 1r 3 v 4 v 5r 6r 10r 26r 55r 64v 74r 86v 88r 91r 95r 107r 111r 113v 121r 135r 138r 144r 154r 185v 187v 195r 201r 202r

blank Echemata. This folio begins with intonation formulae for the different modes. «Ἅγιος ὁ Θεός...» τοῦ Γεωργίου τοῦ Κρητοῦ Εἰς δεσποτικὰς ἑορτάς· ἦχος πλ. αʹ Ἀλληλουϊάριον Εὐχὴ ἱκετήριος ὑπὸ Γεωργίου τοῦ Λεσβίου Χερουβικὰ τοῦ Κωνσταντίνου Πρωτοψάλτου· ἦχος αʹ Χερουβικὰ τῶν Κυριακῶν ἑορτῶν Κοινωνικὰ τῆς ἑβδομάδος τοῦ Γεωργίου Ῥυσίου· ἦχος αʹ Ἡ Θεία Λειτουργία τῶν Προηγιασμένων, τοῦ Γεωργίου Ῥυσίου· ἦχος δʹ Κοινωνικὰ κατ’ ἦχον τοῦ Ἰωάννου λαμπαδαρίου· ἦχος αʹ Ὁ πολυχρονισμός Ἡ Θεία Λειτουργία τοῦ Βασιλείου· ἦχος βαρύς Ἐμελοποιήθη παρὰ Οὐγουρλοῦ Γεωργίου τοῦ ἐκ Καισαρείας καὶ μεταφράσθη εἰς τὴν νέαν μέθοδον παρὰ Σπυρίδωνος Ἀναστασίου τοῦ ἐκ Πισιδίου· ἦχος πλ. δʹ Καταβασίαι ψάλλονται ἀντὶ τοῦ «Ἄξιόν ἐστιν» ἐν πάσαις ταῖς δεσποτικαῖς καὶ Θεομητορικαῖς ἑορταῖς τοῦ ὅλου ἐνιαυτοῦ· τοῦ Χουρμουζίου Χαρτοφύλαξ εἰς τὴν ἑορτὴν τοῦ Τιμίου Σταυροῦ· Κοινωνικὰ τοῦ ἐνιαυτοῦ· τὴν πρώτην Σεπτεμβρίου· τοῦ Γεωργίου τοῦ Κρητοῦ· ἦχος αʹ, ΠΑ´ Εἰς τὴν ἑορτὴν τῶν Χριστουγέννων· τοῦ Δανιὴλ Πρωτοψάλτου· ἦχος αʹ Εἰς τὴν ἑορτὴν τῶν Θεοφανείων· τοῦ Δανιὴλ Πρωτοψάλτου· ἦχος αʹ Τῇ ἁγίᾳ καὶ μεγάλῃ Πέμπτῃ· ἀντί χερουβικῶν, κοινωνικῶν· τοῦ Γεωργίου τοῦ Κρητός· ἦχος πλ. β «Τοῦ δείπνου σου...» Τῆς Πεντηκοστῆς· τοῦ Δανιὴλ Πρωτοψάλτου· ἦχος αʹ, ΠΑ´ Τῇ Κυριακῆ τῶν Ἁγίων Πάντων· τοῦ Χουρμουζίου Χαρτοφύλαξ· ἦχος πλ. δʹ, ΝΗ´ Τῶν ἀσωμάτων· τοῦ Γρηγορίου Πρωτοψάλτου· ἦχος δʹ Τῶν ἁγίων ἀποστόλων· τοῦ Χουρμουζίου Χαρτοφύλαξ· ἦχος πλ. δʹ Προκείμενα τῶν δεσποτικῶν ἑορτῶν· τοῦ Νικολάου Πρωτοψάλτου Σμύρνης· ἦχος Νανά, ΓΑ´ Τὸ παρὸν ψάλλεται ἐν τῇ ἡμέρᾳ τῆς Μεταμορφώσεως ἀντὶ τοῦ «Ἄξιόν ἐστιν»· ἦχος πλ. δʹ, ΝΗ´ Ἡ παροῦσα Δοξολογία ἐμελοποιήθη παρὰ τοῦ πανιερωτάτου ἁγίου Δρύστας τοῦ Κυρίλλου· μετ’ ἐξηγήθη δὲ κατὰ τὸν νέον τρόπον παρὰ τοῦ Κυρίου Ἀνθίμου Γανοχωρίτου· ἦχος πλ. βʹ, ΠΑ´ end of music end of MS

EBE 3084

553

Notes This late Anthologia is in very good condition and has its original brownish binding. The MS adheres to the traditional black ink for the text and neumes and uses red ink for the rubrics, Martyriae and some initial letters of incipits. The modal signatures are indicated in the older system and newer Chrysanthine notation. The pages average about 12–13 lines of text and music. Fol. 1r begins with intonation formulae for the different modes. The MS continues with the following: Asmatikon, Agios o Theos fol. 3v chants for high feasts fol. 4v Alleluia chants fol. 5r chant for a blessing by Georgios of Lesbos fol. 6r fol. 10r Cherubic hymns by Konstantinos Protopsaltes fol. 26r for Sunday feasts fol. 55r Communion chants for the week by Georgios Rysios fol. 64v Liturgy for Presanctified Gifts by Georgios Rysios fol. 74r Communion hymn according to modes by Ioannes the Lampadarios fol. 86v Polychronion fol. 88r Liturgy of St Basil fol. 91r as composed by Georgios Uğurlu of Caesarea and transferred into the new system by Spyridonos Anastasiades fol. 95r Katabasiai for high feasts for the entire year; the feast of the exaltation of the Cross by Chourmouzios the Chartophylax fol. 107r Communion chants for the year beginning with 1 Sept. by Georgios Kretikos fol. 111r the same for the feast of Christmas by Daniel Protopsaltes fol. 113v the same for the feast of the Theophania by Daniel Protopsaltes fol. 121r in place of the Cherubic hymn, the Communion hymn for Holy Thursday by Georgios Kretikos fol. 135r the same for Pentecost by Daniel Protopsaltes fol. 138r the same for Sunday of All Saints by Chourmouzios the Chartophylax fol. 144r the same for the feast of the Prodigal Son by Gregorios Protopsaltes fol. 154r the same for the Apostles by Chourmouzios the Chartophlax fol. 185v Prokeimena for despotic feasts by Nicholas, Protopsaltes of Smyrna fol. 187v Prokeimena for the feast of the Metamorphosis fol. 195r Doxology by Kyrillos with interpretation according to the new method by Anthimos Ganochorites

EBE 3085

554

ΕΒΕ 3085 ΣΤΙΧΗΡΑΡΙΟΝ ΑΝΑΣΤΑΣΙΜΑΤΑΡΙΟΝ/STICHERARION ANASTASIMATARION Type of paper: common Measurements: 17 × 11.1 cm Folios: III + 197 + VII Notation: newer Chrysanthine Date: 1828

Ir–IIIv 1r 1 v 2r 34r 197r 197v VIIr–v

blank blank Ἐν ἔτει ͵αωκηʹ [1828] κατὰ μῆνα Ἰανουάριον. Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ στιχηραρίου· μέλους δογματικὰ κατ’ ἦχον μελοποιηθέντα παρὰ κὺρ Χρυσάφου τοῦ Νέου. ἐξηγηθέντα παρὰ Χουρμουζίου διδασκάλου τῆς Καινῆς τοῦ Γένους Σχολῆς· ἦχος ΠΑ´ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ἕνδεκα ἑωθινῶν ὧν τὸ μὲν κείμενον κυρίου Λέοντος τοῦ Σοφοῦ· τὸ δὲ μέλος σύνθεσις κὺρ Ἰωάννου τοῦ Γλυκέως end of music end of MS blank

Notes This Sticherarion Anastasimatarion is in good condition with a nice brownish binding. The opening and closing folios are legible; however, the middle folios are difficult to read because the ink has been smeared. The text and neumes are written in black ink and the rubrics, modal signatures and some incipit capital letters are in red. There are few rubrics. The pages have an average of nine to ten lines of text and music. The colophon on fol. 1v and indicates that the MS was written in Jan. 1828. The contents, Anastasima (Resurrection) Stichera, formally begin with fol. 2r with dogmatic melodies according to modes composed by Kyr Chrysaphes the Νew and interpreted by Gregorios Chourmouzios, the teacher of the new type of music school. The other major rubric is on fol. 34r and specifies the eleven Heothina hymns with the text by Kyr Leon, the Wise, and the melody composed by Kyr Ioannes Glykys. The rest of the MS contains dogmatic stichera.

EBE 3100

555

EBE 3100 ΠAΠAΔIKH MOUΣIKH EΡMHNEIA/PAPADIKE MUSICAL INTERPRETATION Type of paper: common Measurements: 15 × 10.8 cm Folios: 169 Notation: newer Chrysanthine Date: 1826

1 v 22r 23r 63r 82r 87r 90v 100v 104v 109r 112r 115v 119v 122r 125v 130r 169v

Μουσικὴ ἑρμηνεία Τέλος τῆς μουσικῆς ἑρμηνείας· Φιλίππου Ἱερωνύμου μοναχός· τὸ δὲ ἐν τῷ ἔτῳ 1826, Φεβρουαρίου 28 Ἀναστασιματάριον κατ’ ἦχον· ἦχος αʹ «Κύριε ἐκέκραξα...» Εἰς τὴν Κοίμησιν τῆς Θεοτόκου Εἰς τὴν Ἀνάστασιν· ἦχος αʹ Τῇ Κυρακῇ τοῦ Θωμᾶ· ἦχος αʹ Εἰς τῶν ἁγίων Θεοφανείων Εἰς τὴν Ὑπαπαντὴν τοῦ Κυρίου Εἰς τὸν Εὐαγγελισμόν· ἦχος δʹ Εἰς τὴν Μεταμόρφωσιν· ἦχος δʹ Τὴν Κυριακὴν τῶν Βαΐων· ἦχος δʹ Εἰς τὴν Πεντηκοστήν Εἰς τὴν ἀνάληψιν· ἦχος αʹ Τῆς Πεντηκοστῆς· ἦχος βαρὺς Εἰς τὴν ὕψωσιν τοῦ Τιμίου Σταυροῦ Τῇ ἁγίᾳ καὶ μεγάλῃ βʹ τοῦ Ὄρθρου end of music and MS

Notes This is a late Papadike with musical interpretation in the Chrysanthine system. The MS is in very good condition. The neumes and text are written in black ink and the rubrics, modal signatures and the few hypostaseis are in red. The pages average about eight to nine lines of text and music. The colophon appears on fol. 22r–v and identifies the scribe as the monk Philip Jerome, who wrote the MS on 28 Feb. 1826. The MS continues with the following: musical interpretation of the Chrysanthine system fol. 1r fol. 22r end of the musical interpretation and colophon fol. 23r chants of Vespers and Orthros listed according to modes fol. 63r Stichera for the Dormition of the Theotokos fol. 82r for the resurrection fol. 87r for the Sunday of St Thomas

EBE 3100

556

fol. 90v fol. 100v fol. 104v fol. 109r fol. 112r fol. 115v fol. 119v fol. 122r fol. 125v fol. 130r

for Epiphany for the Meeting of the Lord for the Annunciation for the Metamorphosis [Transfiguration of our Lord] for Palm Sunday for Pentecost for the Ascension for Pentecost for the Exaltation of the Cross for Holy Monday of Orthros

EBE 3101

557

ΕΒΕ 3101 ΣΤΙΧΗΡΑΡΙΟΝ/STICHERARION Type of paper: chartaceous Measurements: 20.3 × 15.8 cm Folios: II + 322 + II Notation: Late Byzantine Round Date: 1713

Ir–IIv 1r 51v 76v 111r 122v 123r 138r 155v 202v 214r 224v 232r 240v 262r 292r 322r Ir–IIv

blank Μὴν Σεπτέμβριος, αʹ· εἰς τὴν ἀρχὴν τῆς ἰνδίκτου· ἦχος βʹ «Ἡ τῶν λειψάνων σου θήκη...» Μὴν Ὀκτώβριος ἐν τὴν αʹ· τοῦ ἁγίου ἀποστόλου Ἀνανίου· ἦχος αʹ Μὴν Νοέμβριος, αʹ· τῶν ἁγίων ἀναργύρων Κοσμᾶ καὶ Δαμιανοῦ· ἦχος πλ. βʹ Μὴν Δεκέμβριος εἰς τὰς δʹ· τῆς ἁγίας μάρτυρος Βαρβάρας· ἦχος πλ. βʹ Εἰς τὰς ιβʹ· τοῦ ὁσίου πατρὸς ἡμῶν Σπυρίδωνος Ὀκτάηχον· ποίημα κὺρ Ἐμμανουὴλ τοῦ Χρυσάφου· ἦχος αʹ «Τίς μὴ θαυμάσῃ τῶν θαυματῶν ἱεράρχας Σπυρίδωνας...» Ἀρχὴ τῶν ὡρῶν τῆς γεννήσεως τοῦ Κυρίου· ποίημα κὺρ Σωφρονίου Ἱεροσολύμων, ᾠδὴ αʹ· ἦχος πλ. δʹ «Βηθλεὲμ ἑτοιμάζου...» Μὴν Ἰανουάριος εἰς τὴν αʹ· ἡ περιτομὴ τοῦ Κυρίου ἡμῶν Θεοῦ, ἰδιόμελον· ἦχος πλ. δʹ «Συγκαταβαίνων ὁ Σωτήρ...» Μὴν Φεβρουάριος εἰς τὴν πρώτην· ἦχος βʹ Μὴν Μάρτιος εἰς τὴν πρώτην· ἦχος πλ. βʹ Μὴν Ἀπρίλιος εἰς τὴν αʹ· ἦχος βʹ Μὴν Μάϊος εἰς τὰς ϛʹ· τοῦ δικαίου Ἰώβ· ἦχος πλ. βʹ «Ἐν ἀκριβείᾳ τὸν βίον...» Μὴν Ἰούνιος εἰς τὰς δʹ· ἦχος βʹ «Τὸν ἐν μορφῇ Ἀγγέλου...» Μὴν Ἰούλιος εἰς τὰς βʹ· τῆς ὑπεραγίας Θεοτόκου, ἐν Βλαχέρναις· ἦχος βʹ «Φρένα καθάραντες καὶ νοῦν...» Μὴν Αὔγουστος εἰς τὴν αʹ· ἦχος πλ. δʹ «Οἱ ἅγιοι Μακκαβαῖοι...» 1713, Μαΐου 20 ἐτελειώθη τὸ παρόν end of music and MS blank

Notes This Sticherarion is in fair condition and contains Stichera Idiomela. The binding is dark brownish leather on wood. The front cover has an indented rectangular imprint that has faded. The text and neumes are written in black ink and the rubrics, modal signatures, hypostaseis and the capital letters of incipits are in red ink. The pages have 14 lines of text and music. The colophon appears on fol. 322r and indicates that the MS was completed on 20 May 1713. The MS includes selected feast days according to the liturgical calendar along with some modal signatures. Almost no composers’ names are indicated. The exceptions are on fol. 138r, where the hymnographer’s name Sophronios, the Patriarch of Jerusalem, is indicated and on fol. 123r, where there is an attribution to Manuel Chrysaphes. In addition to the Martyriae, there is also

EBE 3101

558

frequent use throughout of the μεθέορτα ἦχος. This could be interpreted as an ‘after festival mode’. What is certain is that it is used to indicate a change of modes. There is no formal rubric for the beginning of the MS. Instead, fol. 1r begins with Stichera Idiomela for 1 Sept. The contents are typical and follow the months of the liturgical calendar: fol. 51v fol. 76v fol. 111r fol. 155v fol. 202v fol. 214r fol. 224r fol. 232r fol. 240v fol. 262r fol. 292r

1 Oct. 1 Nov. 4 Dec. 1 Jan. 1 Feb. 1 Mar. 1 Apr. 6 May 4 June 2 July 1 Aug.

The contents continue with Stichera for Aug. to the end of the MS.

EBE 3108

559

ΕΒΕ 3108 ΣΤΙΧΗΡΑΡΙΟΝ ΤΡΙΩΔΙΟΝ ΓΕΡΜΑΝΟΥ ΝΕΩΝ ΠΑΤΡΩΝ/ STICHERARION TRIODION OF GERMANOS NEON PATRON Type of paper: common Measurements: 16 × 10.5 cm Folios: I + 173 Notation: Late Round Byzantine Date: 18th c.

Ir–v 1r 82r 129r 159r 171v 173v

blank Ἀρχὴ σὺν Θεῷ τῶν στιχηρῶν τοῦ Τριῳδίου ἐκαλλωπίσθη δὲ παρὰ κὺρ Γερμανοῦ Νέων Πατρῶν· Κυρακῇ τοῦ Τελώνου καὶ τοῦ Φαρισαίου· ἦχος αʹ «Μὴ προσευχώμεθα φαρισαϊκῶς...» Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ ὁ κανὼν τῶν Βαϊοφόρων· ἦχος δʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ὡρῶν τῆς ἁγίας καὶ μεγάλης Παρασκευῆς, στιχηρὰ ἰδιόμελα· τῆς πρώτης ὥρας Εἰς τὴν Λαμπρῶν ἡμῶν ἡμέραν τῆς τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ ἀναστάσεως· ἦχος αʹ end of music end of MS

Notes This is a Sticherarion that contains the Triodion Stichera composed by Germanos of New Patras. The MS and its brown leather binding are in good condition. Black ink is used for writing the text and neumes, while the rubrics, modal signatures and hypostaseis are in red ink. Each page has about nine lines of text and music. There are few rubrics found in the MS and the only ascription to a composer is to Germanos of New Patras. The MS is prefaced with a blank folio that precedes the first rubric on fol. 1r: ‘The beginning with God of the Sticherarion Triodion composed by Germanos of New Patras, Sunday of the Publican and Pharisee, Mode I.’ Some of the few rubrics of the MS are the following: fol. 82r Kanon for the bearers of psalms in Mode IV fol. 129r Stichera Idiomela for the Hours of Holy Friday fol. 159r for the day of the resurrection of Christ [Easter] This MS is similar in content to Docheiariou (Mt Athos) MS 306, which is also a Triodion MS by Germanos of New Patras from the 18th century.

560

EBE 3109

ΕΒΕ 3109 ΑΝΘΟΛΟΓΙΑ/ANTHOLOGIA Type of paper: common Measurements: 24 × 16.7 cm Folios: IV + 196 Notation: newer Chrysanthine Date: 19th c.

Ir–IVv 1r

blank Ἀνθολογία περιέχουσα δοξαστικὰ τῶν δεσποτικῶν καὶ θεομητορικῶν ἑορτῶν καὶ τῶν λοιπῶν ἑορταζομένων ἁγίων, καί τινα ἰδιόμελα τοῦ Τριῳδίου ἐν οἷς προσετέθησαν καὶ τὰ ἐν ταῖς Κυριακαῖς ἰδιόμελα τὰ στιχηρὰ τοῦ κὺρ λαμπαδαρίου, ὡς καὶ ἐν τῇ μεγάλῃ Τετάρτῃ. Τὸ, «Κύριε ἡ ἐν πολλαῖς ἁμαρτίαις» τοῦ αὐτοῦ κὺρ Πέτρου καὶ πεντηκοστάριον συντεθέντα κατὰ συντομότερον τρόπον ἐκ θέσεων στιχηρῶν τε καὶ εἱρμολογικῶν παρὰ τοῦ μουσικολογιωτάτου Πρωτοψάλτου τῆς τοῦ Χριστοῦ Μεγάλης Ἐκκλησίας κὺρ Ἰακώβου δι’ αἰτήσεως τοῦ Ἁγίου Δημητριάδος κὺρ Ἀθανασίου τοῦ ἐκ τῆς νήσου Κύπρου φιλομούσῳ στοργῇ πρὸς καλλωπισμένος ὄφελος. Μὴν Σεπτέμβριος, εἰς τὴν αʹ. Συμεὼν τοῦ Στυλίτου, Δόξα· ἦχος πλ. βʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν δοξαστικῶν καὶ τῶν ἐν ταῖς Κυριακαῖς τῆς μεγάλης 74v Τεσσαρακοστῆς ἰδιομέλων τῶν Τριωδίων τοῦ αὐτοῦ κὺρ Ἰακώβου Πρωτοψάλτου· τῇ Κυριακῇ ἐν ᾗ ἀναγνώσκεται τὸ εὐαγγέλιον τῆς παραβολῆς τοῦ Τελώνου καὶ τοῦ Φαρισαίου, Δόξα· ἦχος πλ. δʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν δοξαστικῶν τοῦ Πεντηκοσρταρίου· τῇ ἁγίᾳ καὶ μεγάλῃ καὶ 96v λαμποφόρῳ Κυριακῇ τοῦ Πάσχα· ἦχος πλ. αʹ Κεκραγάρια τοῦ αὐτοῦ κὺρ Ἰακώβου συντεμνημένα ἐκ τῶν παλαιῶν μέλος 106r καλλωπισμοῦ καὶ θεοτοκία τὰ πρῶτα τῆς ὀκτωήχου τοῦ αὐτοῦ τρόπου καὶ πασαπνοάρια· ἦχος αʹ Δοξολογίας κατ’ ἦχον, παρὰ κὺρ Ἰακώβου· ἦχος αʹ 122v Βιβλίον δεύτερον περιέχον εἱρμοὺς παλαιοὺς τεχνικούς τε καὶ λίαν ἡδεῖς ποιηθέντας 136r παρὰ διαφόρων ποιητῶν καὶ διδασκάλων ... τὸ δὲ προκείμενός ἐστιν Ἀρσενίου τοῦ Μικροῦ· ὦδὴ ὅλοι φάσις Μπαλασίου· ἦχος αʹ Ἕτεροι εἱρμοὶ τοῦ κὺρ Πέτρου Μπερεκέτου· ἦχος αʹ 147v music ends 172v 173r–196v blank end of MS 196v Notes This late Anthologia from the 19th century is in very good condition, with a reddish-brown leather binding. The text and neumes are written in a blackish colour. A reddish hue is used for rubrics, modal signatures and hypostaseis. The pages have about 18–19 lines of text and music. Although the MS is classified as an Anthologia, it is a newer version of a Sticherarion, Triodion and Pentecostarion with some Akolouthia and Heirmoi chants. The MS is divided into two sections: fols 1r–135v, the first part, contains the Stichera for the liturgical calendar with the

EBE 3109

561

Triodion and Pentecostarion and some Kekragaria; and the second part, fols 136r–172v, has the Heirmologion section, which remains incomplete; fols 173r–196v are blank. The opening rubric on fol. 1r states: ‘Anthologia containing Doxastika [Stichera] for despotic and Theotokion feasts and for other celebrated saints and Idiomela [Stichera] of the Triodion, to which were added the Idiomela Stichera for Sundays by Kyr the Lampadarios; and until Holy Thursday. The hymn “Oh Lord, She in Many Sins...” [“The Fallen Woman”, originally by Kassia] by Kyr Petros and a Pentekostarion composed according to an abridged manner from the theseis of stichera and heirmologia by the most musical protopsaltes of the Great Church Kyr Iakovos for beseeching St Dimitriados [Dimitrios?]. Composed in music-loving tenderness by Kyr Athanasios from the island of Cyprus, a benefit to those made beautiful. Month of September the 1st for Symeon the Stylite, Doxa, Mode Plagal II.’ The MS continues with the following: fol. 74v Doxastika Idiomela Stichera for the Sundays of Great Lent of the Triodion by Kyr Iakovos Protopsaltes fol. 96v Stichera of the Pentecostarion, Sunday of Easter, Plagal Mode II fol. 106r Kekragaria and Pasapnoaria by Kyr Iakovos fol. 122v Doxologies according to modes by Kyr Iakovos fol. 136r the second book containing older Heirmoi by different composers and teachers ... this Prokeimenon is by Arsenios the Lesser The odes are all in the manner of Balasios, Mode I; and fol. 147v, other Heirmoi by Kyr Petros Bereketes, Mode I.

EBE 3116

562

ΕΒΕ 3116 ΑΝΘΟΛΟΓΙΟΝ ΣΤΙΧΗΡΑΡΙΟΝ/ANTHOLOGION STICHERARION Type of paper: common Measurements: 26.3 × 18.7 cm Folios: II + 489 + I Notation: Late Round Byzantine Date: 18th c.

Ir–IIv 1r 1 v 2r 2 v 3r 5r 5 v 6 v 7r 8r 11r 12r 12v 14r 16v 22v 29v 33r 42r 45r 58v

blank Diagram of parallage «Ἡ σοφωτάτη παραλλαγή...» blank Koukouzeles’ circle of modes – τροχός blank Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς Ψαλτικῆς Τέχνης τῶν τε ἀνιόντων καὶ κατιόντων σωμάτων τε καὶ πνευμάτων καὶ πάσης χειρονομίας τε καὶ ἀκολουθίας ... ποιητῶν παλαῖων καὶ νέων «Ἀρχή, μέση, τέλος...» Ἰδοὺ καὶ ἡ ὠφελιμότατος παραλλαγὴ (another diagram) Ἀρχὴ τῶν κατ’ ἦχον ἠχημάτων· ἦχος αʹ Μέθοδος μετροφωνία τοῦ Ἰωάννου τοῦ Δαμασκηνοῦ· ἦχος αʹ Κὺρ Ἰωάννου τοῦ Γλυκῦς, κατ’ ἦχον· ἦχος αʹ «Κύριε...» Μέθοδος τῆς μετροφωνίας κὺρ Γρηγορίου Μπούνη τοῦ Ἀλυάτου· ἦχος πλ. δʹ «Νε, Οὕτως οὖν ἀνάβαινε...» Σημάδια ψαλλόμενα κατ’ ἦχον κὺρ Ἰωάννου τοῦ Κουκουζέλη· ἦχος αʹ «Ἴσον, ὀλίγον, ὀξεῖα...» Μέθοδος μετροφωνίας τοῦ Καμπάνη· ἦχος δʹ «Ἁγίων πνεῦμα...» Πρὸς τὰς μαθητὰς τοῦ Πλουσιαδινοῦ· ἦχος αʹ «Ἐνταῦθα ἀρχόμεθα διδάξαι μᾶς, ὦ μαθηταὶ τὴν παπαδικὴν τέχνην...» Τοῦ αὐτοῦ, ὠφέλιμος· ἦχος πλ. δʹ «Μία καὶ μία...» Ἑτέρα μέθοδος τῶν θέσεων, τοῦ αὐτοῦ ὠφέλιμός τε καὶ ὀκτάηχος· ἦχος αʹ «Τὸν πρῶτον τὸν λεγόμενον Κουκουμᾶν οὕτως ψάλλειν...» Στίχοι κὺρ Ἰωάννου λαμπαδαρίου τοῦ Κλαδᾶ· μέθοδος τοῦ Κορώνη· ἦχος πλ. βʹ «Τε τε ρε ρε...» Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ μεγάλου Ἑσπερινοῦ ποιηθέντος παρὰ διαφόρων ποιητῶν παλαιῶν καὶ νέων· ἦχος πλ. δʹ «Ἀνοίξαντός σου τὴν χεῖρα...» Settings by various composers follow. «Μακάριος ἀνὴρ» εἰς ἦχον πλαγίου τετάρτου· πλ. δʹ· τοῦτο πληρωμένου ποιεῖ ὁ ἱερεὺς τὴν μεγάλην συναπτήν· ἄρχεται ὁ δομέστικος τοῦ ἀριστεροῦ χοροῦ Πληρωθέντος δὲ τούτο, γίνεται καλοφωνικόν. εἶτα ἄρχεται ὁ πρῶτος χορός. τὸ παρὸν ἦχος πλ. δʹ «Ἵνα τί ἐφρύαξαν ἔθνη...» Ἕτερον παλαιὸν ἐκαλλωπίσθη δὲ παρὰ τοῦ τιμιωτάτου κὺρ Μάρκου τοῦ Ξανθοπούλου. ἔστι δὲ δίχωρον· ἦχος πλ. δʹ «Δόξα Πατρί...» Στίχοι καλλοφωνικοὶ ἐκ τοῦ δευτέρου ψαλμοῦ, διαφόρων ποιητῶν· τὸ παρὸν τοῦ Ξένου τοῦ Κορώνη· ἦχος πλ. δʹ. Κεκραγάρια κατ’ ἦχον, παλαιὰ ἔντεχνα· ἦχος αʹ

EBE 3116

64r 72r 74r 74v 77r 91v 96r 99v 103v 106r 109v 111r 120r 141v 144v 157v 158v 161r 162v 163v 164r 169v 170v 174v 210r 212r 212v 213v 240r 254v 259r 264v 319r

563

Προκείμενα τῆς ὅλης ἑβδομάδος, ἀκολοθοῦνται δοχαί· ἦχος αʹ «Ἰδοὺ δὴ εὐλογεῖτε τὸν Κύριον...» Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ Ὄρθρου· ἦχος αʹ «Θεὸς Κύριος...» Εἰς τὸν Ἀκάθιστον ὕμνον· ἤχος πλ. δʹ «Τὸ προσταχθὲν μυστικῶς...» Ἀλληλούϊα κατ’ ἦχον· ἦχος αʹ Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ πολυελέου, τοῦ Κουκουμᾶ· ἦχος αʹ Ἕτερος πολυέλεος Λατρινός, παρὰ διαφόρων ποιητῶν· ἦχος αʹ Ἀναγραμματισμὸς κὺρ Ἰωάννου τοῦ Κουκουζέλη· ἦχος αʹ Πολυέλεος ἕτερος τοῦ Μανουὴλ τοῦ Χρυσάφη· ἦχος αʹ Πολυέλεος τοῦ κὺρ Χρυσάφου· ἦχος αʹ Ἕτερος πολυέλεος τοῦ κὺρ Μπαλασίου· ἦχος αʹ. Ἐκλογὴ ἀρμόδιος εἰς τὴν ἁγίαν Αἱκατερίνην ... παρὰ κὺρ Ἀθανασίου Τορνόβου Τὰ παρόντα εἰς τὰς ἑορτὰς τῆς ὑπεραγίας Θεοτόκου· παρὰ διαφόρων ποιητῶν· ἦχος αʹ. Other feasts follow. Πασαπνοάρια σὺν Θεῷ ἁγίῳ διαφόρων ποιητῶν· τὸ παρὸν κὺρ Ἰωάννου Μαΐστορος τοῦ Κουκουζέλη· ἦχος αʹ Τὰ μὲν γράμματα τοῦ Λέοντος τοῦ Σοφοῦ, τὸ δὲ μέλος τοῦ κὺρ Ἰωάννου τοῦ Γλυκέως· ἦχος αʹ «Εἰς τὸ ὄρος τοῖς Μαθηταῖς...» Δοξολογία ἡ παροῦσα κὺρ Μπαλασίου ἱερέως καὶ νομοφύλακος· ἦχος αʹ Ἀσματικὸν τοῦ Τιμίου Σταυροῦ· κὺρ Μανουήλ, τρισάγιον· ἦχος δʹ «Ἅγιος ὁ Θεός...» Νεκρώσιμον τρισάγιον· δύσκολον καὶ ἔντεχνον· ἦχος πλ. βʹ Τὸ παρὸν ψάλλεται ὅταν ἐνδύεται ὁ ἀρχιερεὺς· κὺρ Γεώργιος Ῥαιδεστινοῦ· ἦχος δʹ «Σὲ μεγαλύνομεν τὴν ὄντως Θεοτόκον...» Πολυχρόνιον τοῦ Ῥαιδεστινοῦ· εἰς τὸν Ἀλεξανδρείας· ἦχος δʹ Πολυχρόνιον τοῦ Ῥαιδεστινοῦ· εἰς τὸν Ἀντιοχείας· ἦχος δʹ Τοῦ αὐτοῦ· εἰς τὴν Ἱεροσολύμων· ἦχος δʹ. This is followed by settings of Euphemesis for the various Patriarchates composed by Manuel Chrysaphes. Ἡ Θεία Λειτρουργία τοῦ Χρυσοστόμου· ἦχος βʹ Ἀλληλουϊάρια τοῦ κὺρ Μανουὴλ· ἦχος αʹ. The Alleluias continue according to modes and with settings by different composers. Χερουβικὰ κατ’ ἦχον· διαφόρων ποιητῶν τὸ παρὸν κὺρ λαμπαδαρίου τοῦ Κλαδᾶ· ἦχος αʹ Τῇ ἁγίᾳ καὶ μεγάλῃ Πέμπτῃ· κὺρ Νικηφόρου τοῦ Ἠθικοῦ· ἦχος βʹ «Τοῦ δείπνου σου...» Τῷ μεγάλῳ Σαββάτῳ· τοῦ Ἠθικοῦ· ἦχος πλ. αʹ «Σιγησάτω πᾶσα σάρξ βροτεία...» Ἡ Θεία Λειτουργία τοῦ Μεγάλου Βασιλείου· τοῦ Γλυκέως· ἦχος βʹ Κοινωνικὰ διαφόρων ποιητῶν· τὸ παρὸν κὺρ Ἰωάννου λαμπαδαρίου τοῦ Κλαδᾶ· ἦχος αʹ Κοινωνικὰ τῆς ἑβδομάδος· κὺρ Κωνσταντίνου τοῦ Μαγουλᾶ· ἦχος πλ. δʹ «Ὁ ποιῶν τοὺς ἀγγέλους αὐτοῦ πνεύματα...» Κοινωνικὰ Κυρακῇ τοῦ Ἀντίπασχα· Θωμᾶ ἐκ Ῥαιδεστοῦ· ἦχος αʹ Ἡ Θεία Λειτουργία τῶν Προηγιασμένων· ἦχος πλ. βʹ Ἀρχὴ τῶν κατ’ ἦχον θεοτοκία· τὸ παρὸν κὺρ Ξένου τοῦ Κορώνη· ἦχος αʹ «Ποίαν σοι τὴν ᾠδὴν ἄξιον...». Then follow Anagrammatismoi settings for feasts by various composers. Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν μαθημάτων τοῦ ἐνιαυτοῦ Σεπτεμβρίου ηʹ· τὸ γεννήσιον τῆς ὑπεραγίας Θεοτόκου· κὺρ Μπαλασίου ἱερέως· ἦχος πλ. δʹ

564

347r 364r 377r 385r 395v 402r 411r 414v 421v 432v 456v 461r 478v 484r 488v 489v Ir–v

EBE 3116

Εἰς τὸν Ἀκάθιστον ὕμνον, παλαιόν· ἦχος πλ. δʹ «Τῇ ὑπερμάχῳ...». Different settings follow. Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν κατ’ ἦχον κρατημάτων· τὸ παρὸν παρὰ τοῦ Πρασίνου· ἦχος αʹ Ἀρχὴ σὺν Θεῷ καὶ τῶν εἱρμῶν τῶν καλοφωνικῶν· ὁ δὲ παρὼν κὺρ Ἀρσενίου Ἱερομονάχου· ἦχος αʹ «Ἡ κάμινος Σωτὴρ ἐδροσίζετο...». This is the setting for the ‘Three Children in the Fiery Furnace’. Ἀρχὴ σὺν Θεῷ ἁγίῳ τῆς ἀκολουθίας τοῦ Ὄρθρου ποιηθέντα νῦν νεωστί· παρὰ κὺρ Πέτρου τοῦ μουσικοτάτου καὶ Πρωτοψάλτου τοῦ Ἁγίου Κωνσταντίνου τῆς ἐκκλησίας, πολυέλεος σύντομος· ἦχος πλ. αʹ Ἀρχὴ τῶν κατ’ ἦχον πασαπνοαρίων· ἦχος αʹ Τῶν κατ’ ἦχον δοξασιῶν τοῦ κὺρ Πέτρου· ἦχος αʹ Κατ’ ἦχον ᾀσματικὰ σύντομα [τρισάγια]· ἦχος αʹ Ἀρχὴ καὶ τῶν κατ’ ἦχον χερουβικῶν ὕμνων τοῦ κὺρ Πέτρου· ἦχος αʹ Ἀρχὴ τῶν κατ’ ἦχον κοινωνικῶν τοῦ κὺρ Πέτρου· ἦχος αʹ Ἀρχὴ τῶν κατ’ ἦχον θεοτοκίων μαθημάτων· ἦχος αʹ Ἕτερα μαθήματα, τοῦ Τριῳδίου, Κυρακῇ τοῦ Τελώνου καὶ τοῦ Φαρισαίου· ἦχος αʹ Εἰς τὸν Ἀκάθιστον ὕμνον ὀκτάηχος· ἦχος αʹ Εἱρμοὶ καλοφωνικοὶ πανηγυρικοὶ καὶ ἐντεχνότατοι· ποίημα τοῦ αὐτοῦ κὺρ Πέτρου Μπερεκέτη· ἦχος αʹ «Ὠδὴν ἐπινίκιον ᾄσωμεν...» Δοξολογίαις ... κὺρ Γερμανοῦ Νέων· ἦχος βʹ Ἀλληλουϊάρια τοῦ κὺρ Μπαλασίου· ἦχος αʹ end of music and MS blank

Notes Although this is a late Anthologion-Sticherarion, it is useful and valuable for its information from 14th- and 15th-century Papadike MSS; it also contains the newer music of kalophonic ‘hermeneiai’ (interpretations) of the Mathemata. The MS is in relatively good condition. It is larger in size than many Anthologia and has a dark brownish-black binding. Red ink is used for the rubrics, modal signatures, hypostaseis and incipits of letters. The neumes and text are written in black ink. (An exception is fols 68v and 69r, where the text in some lines is written in red.) Each page has about 18 lines of text and music. This MS has many kalophonic settings throughout. The contents are similar to EBE 2839. Diagrams preface the beginning of the MS: fol. 1r, diagram of the Parallage, and fol. 2r, diagram of Koukouzeles’ trochos or wheel of modes. On fol. 3r, the rubric states that the MS begins with the signs (neumes) of the Psaltike Techne. The MS continues with several theoretical methodologies: another diagram of a Parallage fol. 5r fol. 5v Echemata according to modes methodology of Metrophonia of John Damascene fol. 6v methodology of Metrophonia of Gregorios Bounes Alyates fol. 8r fol. 11r the Koukouzeles School Song fol. 12r methodology of Metrophonia of Kambanes fol. 12v methodology for students by Ioannes Plousiadenos

EBE 3116

565

fol. 14r methodology of Theseis, the so-called, by Koukoumas fol. 16v Stichoi by Ioannes Kladas according to the methodology of Korones The chants for Great Vespers begin on fol. 22v with the Anoixantaria (Ps. 103) and follow with the ‘Makarios Anir’ in three staseis (Pss. 1, 2, 3) with settings by older and newer composers. The MS continues with the following: fol. 58v Kekragaria (Ps. 140) fol. 64r Prokeimena with Dochai fol. 72r Orthros chants according to modes beginning with ‘Theos Kyrios’ fol. 74r portions of the Akathistos hymn fol. 74v Alleluia chants according to modes; Polyeleos by Koukoumas (fol. 77r), Latrinos (fol. 91v), Manuel Chrysaphes (fols 99v, 103v) and Balasios (fol. 106r) fol. 96r Anagrammatismos by Koukouzeles fol. 109v harmonious selections for St Katherine by Athanasios Tornovos fol. 111r chants for feasts of the Theotokos and other feasts fol. 120r the Pasapnoaria fol. 141v text by Leon the Wise with melodic setting by Ioannes Glykes (Heothina chants) fol. 144v Doxology setting by Kyr Balasios fol. 157v Asmatikon Trisagion for the feast of the Holy Cross fol. 158v Nekrosimon Trisagion fol. 162v Polychronion by Georgios Raidestinos for the archbishops of Alexandria and Antioch (fol. 163v) v fol. 169 Liturgy of St John Chrysostom fol. 170v Alleluia by Kyr Chrysaphes and other composers fol. 174v Cherubic hymns according to modes by Kladas, for Holy Thursday by Nikephoros Ethikos (fol. 210r), for Holy Saturday by Nikephoros (fol. 212r) fol. 212v Liturgy of St Basil by Glykys fol. 213v Communion hymns by Ioannes Kladas, for the week by Konstantinos Magoulas (fol. 240r), for the Sunday after Easter by Thomas Raidestinos (fol. 254v) fol. 259r Liturgy of Presanctified Gifts fol. 264v Theotokia according to modes followed by Anagrammatismoi fol. 319r selected Stichera Mathemata of the liturgical calendar beginning with 1 Sept. fol. 347r Akathistos hymn fol. 364r Kratemata according to modes by Prasinos and others fol. 377r Kalophonic Heirmoi by Kyr Arsenios the Monk, ‘Three Children in the Fiery Furnace’ fol. 385r the start of Orthros as composed by the newer composer, Kyr Petros, with an abridged Polyeleos fol. 395v Pasapnoaria according to modes fol. 402r Doxology according to modes by Kyr Petros fol. 411r an abbreviated Asmatikon Trisagion according to modes fol. 414v Cherubic hymn according to modes by Kyr Petros fol. 421v Communion hymn according to modes Kyr Petros fol. 432v Theotokia Mathemata according to modes fol. 456v other Mathemata for the Triodion

EBE 3116

566

fol. 461r fol. 478v fol. 484r fol. 488v

Akathistos hymn according to modes kalophonic Heirmoi for feasts by Petros Bereketes Doxology by Germanos of New Patras Alleluia according to modes by Kyr Balasios

EBE 3117

567

ΕΒΕ 3117 ΣΤΙΧΗΡΑΡΙΟΝ ΓΕΡΜΑΝΟΣ ΝΕΩΝ PATRΩN/STICHERARION OF GERMANOS NEON PATRON Type of paper: common Measurements: 27.1 × 19.7 cm Folios: 263 + I Notation: Late Round Byzantine Date: 18th c.

1r

72r 174v 233r 238v 263v Ir–v

Στιχηράριον τοῦ ὅλου ἐνιαυτοῦ περιέχον ἐν αὐτῷ τὰ τῶν Tριῳδίων καὶ Πεντηκοσταρίων· τὰ στιχηρὰ τοῦ παρόντος ἐστὶ καλλωπισθέντα παρὰ κυρίου Γερμανοῦ ἀρχιερέως Νέων Πατρῶν. Μὴν Σεπτέμβριος εἰς τῇ αʹ· τοῦ ἁγίου Συμεὼν τοῦ Στυλίτου καὶ τῶν λοιπῶν ἁγίων μαρτύρους· ἦχος πλ. αʹ «Ὅσιε Πάτερ...» Ἀρχόμεθα τῶν ὡρῶν τῆς Χριστοῦ Γεννήσεως, ὥρα αʹ· ἦχος πλ. δʹ Ἀρχόμεθα τὰ στιχηρὰ τοῦ Τριῳδίου καλλωπισθέντα παρὰ κὺρ Γερμανοῦ ἀρχιερέως Νέων Πατρῶν «Μὴ προσευχώμεθα φαρισαϊκῶς...» Ἀρχόμεθα τῶν ὡρῶν τῆς ἁγίας καὶ Μεγάλης Παρασκευῆς Ἀρχόμεθα τὰ στιχηρὰ τοῦ Πεντηκοσταρίου νεοστὶ καλλωπισθέντα παρὰ κὺρ Γερμανοῦ ἀρχιερέως Νέων Πατρῶν· ἦχος πλ. αʹ «Ἀναστάσεως ἡμέρα λαμπρυνθῶμεν...» end of music and MS blank

Notes This 18th-century Sticherarion is another recension MS with the music by Germanos of New Patras. The binding is a brownish colour and in fair condition. The interior of the MS is in good condition and is legible. The rubrics, modal signatures and some incipit letters are written in red ink. The neumes and text are in black ink. The average page has about 18 lines of text and music. The contents begin on fol. 1r with the feast of Symeon the Stylite for 1 Sept. and continue with various liturgical feasts according to the ecclesiastical calendar. The Holy Hours for Christmas start on fol. 72r. The Triodion portion of the MS begins on fol. 174v and the Pentecostarion portion follows on fols 238v–263v.

568

EBE 3118

ΕΒΕ 3118 ΑΝΘΟΛΟΓΙΑ ΠΑΠΑΔΙΚΗ/ANTHOLOGION PAPADIKE Type of paper: common Measurements: 20.4 × 14.7 cm Folios: V + 182 + X Notation: Late Round Byzantine, with later additions on fols 181v–182r in Chrysanthine Date: 18th c.

Ir-Vv 1r

blank Ἀρχὴ σὺν Θεῷ ἁγίῳ, ἀνθολογία, περιέχουσα δοξαστικῶν τῶν δεσποτικῶν καὶ θεομητορικῶν ἑορτῶν καὶ τῶν λοιπῶν ἑορταζομένων ἁγίων καί τινα ἰδιόμελα τοῦ Tριῳδίου καὶ Πεντηκοσταρίου συντεθέντα καὶ τὸ συντομότερον τρόπον ἐκ θέσεων παλαιῶν στιχηρῶν τε καὶ εἱρμολογικῶν· παρὰ τοῦ μουσικολογιωτάτου ἡμετέρου διδασκάλου, τῆς τοῦ Χριστοῦ Mεγάλης ‘Eκκλησίας· κὺρ Ἰακώβου δι᾽ αἰτήσεως τοῦ πανιερωτάτου μητροπολίτου Ἁγίου Δημητριάδος [ Ἅγιος Δημήτριος καὶ Τριάδος/ St. Dimitrios with the Trinity] καὶ Ζαγορᾶς κυρίου Ἀθανασίου, πρός πλείονα καλλωπισμόν· μὴν Σεπτέμβριος τὴν αʹ· ἀρχὴ τῆς ἰνδίκτου καὶ μνήμῃ τοῦ ὁσίου πατρὸς ἡμῶν Συμεὼν τοῦ Στυλίτου· δόξα· ἦχος πλ. βʹ. Then follows a listing of feasts according to the liturgical calendar. Κοίμησις τῆς Ὑπεραγίας Δεσποίνης ἡμῶν Θεοτόκου, στιχηρὰ προσόμοια· ἦχος αʹ 101v Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν δοξαστικῶν τοῦ Τριῳδίου· τῇ Κυριακῇ τοῦ Τελώνου καὶ τοῦ 109r Φαρισαίου· δόξα· ἦχος πλ. δʹ Τῇ ἁγίᾳ καὶ μεγάλῃ Παρασκευῇ εἰς τᾶς ὥρας· στιχηρὰ ψαλλόμενα αʹ ὥραν· ἦχος πλ. δʹ 129v Ἀρχὴ σὺν Θεῷ ἁγίῳ καὶ τῶν δοξαστικῶν τοῦ Πεντηκοσταρίου· τῇ ἁγίᾳ καὶ μεγάλῃ 140r Κυρακῇ τοῦ Πάσχα· εἰς τοὺς αἴνους, «Δόξα καὶ νῦν»· ἦχος πλ. αʹ Κεκραγάρια τοῦ αὐτοῦ κὺρ Ἰακώβου Πρωτοψάλτου συντεμνημένα, ἐκ τῶν παλαιῶν 153v καὶ θεοτοκία τὰ πρῶτα τῆς ὀκτόηχου καὶ πασαπνοάρια τῶν αἴνων· ἦχος αʹ Τὰ ἕνδεκα ἑωθινὰ σύνθεσις τοῦ αὐτοῦ κὺρ Ἰακώβου· ἑωθινὸν αʹ· ἦχος αʹ 170r end of music with Round notation 180v blank 181r 181v–182r later addition of Chrysanthine notation but with no text end of music and MS 82r blank Ιr-Xv Notes This is a late Anthologion (Papadike) from the 18th century in good condition with its brown binding intact and folios that are legible. The rubrics and modal signatures are written in red ink and the text and neumes are written in the traditional black ink. The pages average about 12–13 lines of text and music. The opening rubric on fol. 1r indicates that the ‘Anthologia’ (anthologies) are Stichera Doxastika and Idiomela for the Triodion and Pentecostarion and verses for the Heirmologion. These chants, composed by Kyr Iakovos the Protopsaltes, were requested by the Metropolitan of the Hagios Dimitrios and Zagoras, Kyr Athanasios, for further embellishment. The music starts

EBE 3118

569

with Stichera for the liturgical calendar beginning with 1 Sept. and continues to fol. 101r. On fol. 101v there are Prosomoia Stichera for the Dormition of the Virgin Mary. The Stichera for the Triodion begin on fol. 109r. The Hours for Holy Friday begin on fol. 129v. The Pentecostarion continues with the chants for Holy Easter on fol. 140r. The remaining contents follow with Kekragaria, Theotokia and Pasapnoaria according to the modes of the octoechos as composed by Kyr Iakovos, starting with fol. 153v and concluding with the eleven Heothina chants by Iakovos on fol. 170r. The original MS ends with fol. 180v. The remaining contents are later additions.

570

EBE 3324

EBE 3324 ΨΑΛTIKHΣ TEΧNHΣ/PSALTIKE TECHNE Type of paper: chartaceous Measurements: 15 × 11 cm Folios: I + 187 Notation: Late Round Βyzantine Date: 1629

Ir Listing of Martyriae with their corresponding (Ancient Greek) modal names. A parallage follows. Ἦχος πλ. αʹ «Χορὸς τετραδεκαπύρσευτος...» I v Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς Ψαλτικῆς Τέχνης· τῶν τε ἀνιόντων καὶ 1r κατιόντων τῶν σωμάτων τε καὶ πνευμάτων· καὶ πάσης χειρονομίας καὶ ἀκολουθίας συντεθειμένης εἰς αὐτὴν παρὰ τῶν κατὰ καιροὺς ἀναδειχθέντων ποιητῶν, παλαιῶν τε καὶ νέων. «Ἀρχή, μέση, τέλος...» (Only the text of this pedagogical chant is presented.) The neumes (somata and pneumata) are identified by their signs at first in black ink, 1 v with the names of each written below in red ink; later the colours are reversed. 2r This folio contains the signs of the phthorai in black ink, with their textual designation written below in red ink. Οἱ ἀνιοῦσαι φωναὶ ἔχουσιν οὕτως 2 v Οἱ κατιοῦσαι φωναὶ ἔχουσιν οὕτως 3r Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ἠχημάτων· ἦχος αʹ. The Echemata continue according to 4r modes. Μέθοδος τὸ εὑρίσκειν εὐκόλως εἰς τοὺς μαθητάς· ἤχους βʹ 6r Ἦχος πλ. δʹ «Χαῖρε νύμφη ἀνύμφευτε...» 6 v Ἦχος πλ. δʹ «Τῇ ὑπερμάχῳ στρατηγῷ τὰ νικητήρια ὡς λυτρωθεῖσα...» Μετὰ τὸ, «Μακάριος ἀνὴρ» ψάλλονται καὶ τὰ παρόντα ἅπερ ἐκαλλωπίσθην παρὰ τοῦ 7 v κυροῦ Γαβριὴλ τοῦ ἐξ Ἀγχιάλου· ἦχος πλ. δʹ «Ἵνα τί ἐφρύαξαν...» (Ps. 2) 9r Ps. 3 Ἦχος αʹ «Κύριε ἐκέκραξα...». The Kekragaria follow according to modes to fol. 16v. 12r r Ἀρχὴ σὺν Θεῷ ἁγίῳ τοῦ μεγάλου Ἑσπερινοῦ, ποιηθέντος παρὰ διαφόρων ποιητῶν· 17 παλαιῶν τε καὶ νέων· ἦχος πλ. αʹ «Ἀνοίξαντός σου τὴν χεῖρα...» Alleluia settings according to modes 24v Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν κεκραγαρίων· μετὰ τῆς ἐκλογῆς αὐτῶν ἀκολουθίων· ἦχος αʹ 26r Ἦχος αʹ «Θεὸς Κύριος...» The Kekragaria and Theos Kyrios continue according to 26v modes. After the end of the Theos Kyrios for Plagal Mode IV an inscription is written in red: 33r ἐτοῦτο τὸ χαρτὶ εἶναι τοῦ Διονυσίου τοῦ Ἰωαννίνου (this document is by Dionysios from Ioannina). 33v The lower half of this folio has a simple circular trochos (wheel) with one modal signature per diameter; all eight modes are represented. Ἀρχὴ τῶν Σαββάτῳ καὶ Κυρακῇ ψάλλομεν στιχηρῶν τῆς ὀκτωήχου· τῷ Σαββάτῳ 34r Ἑσπέρας· ἦχος αʹ «Τὰς ἑσπερινὰς ἡμῶν εὐχάς...»

EBE 3324

41v 42r 46v 49v 57r 66r 76r 84r 91r 98r

571

Τέλος τοῦ αʹ ἤχου Τέλος τοῦ αʹ ἤχου καὶ ἀρχὴ τοῦ βʹ Εἰς τοὺς αἴνους· ἦχος βʹ «Πᾶσα πνοή...» Τέλος τοῦ βʹ ἤχου καὶ ἀρχὴ τοῦ γʹ ἤχου Τέλος τοῦ γʹ ἤχου καὶ ἀρχὴ τοῦ δʹ ἤχου Τέλος τοῦ δʹ ἤχου καὶ ἀρχὴ τοῦ πλ. αʹ ἤχου Τέλος τοῦ πλ. αʹ ἤχου καὶ ἀρχὴ τοῦ πλ. βʹ ἤχου Τέλος τοῦ πλ. βʹ ἤχου καὶ ἀρχὴ τοῦ βαρὺς ἤχου Τέλος τοῦ βαρὺς ἤχου καὶ ἀρχὴ τοῦ πλ. δʹ ἤχου. Plagal IV Mode ends with fol. 97v. Προσόμοια ἐκκλησιαστικά· ἦχος αʹ «Τῶν οὐρανίων ταγμάτων τὸ ἀγαλλίαμα...». The Prosomoia follow according to modes and end on fol. 113r. v Ἀντίφωνα ψαλλόμενα εἰς τοὺς φωτοειδεῖς καὶ θείους Ἀσωμάτους, τοῦ κὺρ Νικηφόρου 113 τοῦ Ἠθικοῦ· ἦχος πλ. βʹ «Αἰνεῖτε τὸν Κύριον...» 117r This folio was originally blank but has more recent writing on it in a script similar to that of the numbers on the recto folios. blank 117v Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν ιαʹ ἑωθινῶν· ποίημα κυροῦ Λέοντος τοῦ Σοφοῦ· τὸ μέλος 118r κυροῦ Ἰωάννου τοῦ Γλυκὲος· ἦχος αʹ Εἰς τὴν μεγάλην δοξολογίαν· ἦχος πλ. δʹ «Ἅγιος Θεός...» 130r Τὸ παρὸν ψάλλεται εἰς τὸν καιρὸν τοῦ Ἑσπερινοῦ ἐν τῇ ἀγρυπνίᾳ· ἦχος πλ. δʹ (rubric 131v continues to fol. 132r) r Κύρου Μανουὴλ τοῦ Γαζῆ· ἦχος πλ. δʹ «Πᾶσα πνοή...» 132 Τὸ, «Πᾶσα πνοὴ…» τῶν ὀκτὼ ἠχῶν· ἦχος αʹ 133v Ἡ θεία Λειτουργία τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Ἰωάννου τοῦ Χρυσοστόμου 136r Κωνσταντινουπόλεως· ἦχος βʹ Ἀρχὴ τῶν ἀλληλουϊαρίων,· ἦχος αʹ 139r Ἀρχὴ τῶν χερουβικῶν· ἦχος αʹ 140r Χερουβικὸν τοῦ Χρυσάφου· ἦχος γʹ 142r Χερουβικὸν τοῦ Ἄνθιμος ἱερομόναχος [sic]· ἦχος δʹ 143v Ἕτερον ἀνώνυμον· ἦχος πλ. αʹ 144v Τοῦ Λασχάρεως· ἦχος πλ. δʹ «Ἀλληλούϊα...» 149r Κυροῦ Δημητρίου τοῦ ῾Ραιδεστινοῦ· ἦχος αʹ «Αἰνεῖτε τὸν Κύριον...» 150r Ἑτέρα ἀρχὴ τῶν ἀλληλουϊαρίων κατ’ ἦχον τοῦ Χρυσάφου· ἦχος αʹ 152r Ἕτερον τοῦ Συρίγου· ἦχος γʹ. Ἕτερον τοῦ κυροῦ Θεοδούλου ἱερομονάχου· ἦχος δʹ 152v Ἕτερον τοῦ λαμπαδαρίου· ἦχος Νενανώ 153r Τοῦ Χρυσάφου· ἦχος πλ. δʹ «Ἀλληλούϊα...» Ἑτέρα ἀρχὴ τῶν χερουβικῶν 153v Ἀνώνυμον· ἦχος βʹ 154r Ἕτερον ἀνώνυμον· ἦχος πλ. δʹ 155r Ἦχος αʹ «Αἰνεῖτε τὸν Κύριον...» (Communion chants according to modes) 156r Ἕτερον τοῦ αὐτοῦ· ἦχος βʹ 157r Τοῦ αὐτοῦ· ἦχος γʹ 157v Τοῦ κύρου Γαβριὴλ ἱερομονάχου· ἦχος πλ. δʹ «Αἰνεῖτε τὸν Κύριον...» 159r Εἰς τὰς ἑορτὰς τῆς Θεοτόκου· ποίημα κύρου Μανουὴλ τοῦ Χρυσάφου· ἦχος δʹ 160r «Ποτήριον σωτηρίου λήψομαι...» Εἰς τὴν Χριστουγέννησιν· ἦχος δʹ 160v Τοῦ κύρου Μανουήλ· ἦχος βαρὺς «Σῶμα Χριστοῦ...» 163v Εἰς τὸ Εὐαγγελισμός· ἦχος πλ. δʹ 164r

EBE 3324

572

164v 165v 166r 166v 167v

Τῇ Κυρακῇ τῆς ἁγίας Τεσσαρακοστῆς· ἦχος βαρὺς «Τὸ πνεῦμά σου τὸ ἅγιον...» Εἰς τὴν ἁγίαν ἀνάληψιν τοῦ Σωτῆρος· ἦχος βαρὺς «Ἀνέβη ὁ Θεός...» Τῆς μεταφορφώσεως· ἦχος βαρὺς «Ἐν τῷ φωτὶ τῆς δόξης...» Εἰς τὴν προσκύνησιν τοῦ Σταυροῦ· ἦχος αʹ Colophon: Ἐγράφη ἡ παροῦσα παπαδικὴ διὰ χειρὸς κἀμοῦ τοῦ ἁμαρτωλοῦ καὶ ἐλαχίστου Γαλακτίωνος (μον)αχ(οῦ). ἐν ἔτει ͵αχκθʹ [1629], μηνὶ Ἰουνίῳ ἕνδεκα ιαʹ ἡμέρᾳ εʹ (The present Papadike is written by my hand, Galaktion the monk, a sinner and the least of men, in the year 1629, on the 11th of June, a Thursday). Below the colophon is the following inscription, written in a different, larger and later script: Ἐτούτη παπαδικὶ [sic] εἶναι τοῦ Παπᾶ Διονυσίου· τῷ ἀγίον [sic] Πάσχα μας· Ἀπριλίου κεʹ ἔτος ͵αζηθʹ [1789] (This Papadike belongs to Father Dionysios, on our holy Pascha [Easter], 25 April, the year 1789). 168r Ἡ θεία Λειτουργεία τῶν Προηγιασμένων· ἦχος πλ. βʹ Εἰς τὴν θεία Λειτουργεία τοῦ Μεγάλου Βασιλείου· ἦχος βʹ 169v Τῷ ἁγίῳ καὶ μεγάλῳ Σαββάτῳ· ἦχος αʹ 173r Τῇ ἁγίᾳ καὶ μεγάλῃ Κυρακῇ τοῦ Πάσχα· τοῦ Χρυσάφου· ἦχος Νανα 173v Τῇ Κυρακῇ τοῦ Θωμᾶ· ἦχος αʹ 174r Θεοτοκίον· ἦχος βαρὺς 175r «Ἀναστάσεως ἡμέρα καὶ λαμπρῶν Θωμᾶ...» 178v 179v Originally this was a blank folio but it now has later writing. Another setting of «Ἀναστάσεως ἡμέρα...» 180r Ἦχος πλ. δʹ «Πᾶσα πνοή...» 182v 185r Tererismata Τοῦ ἐπισκόπου Ῥαιδεστινοῦ· ἦχος πλ. αʹ «Δόξα σοι τὸ δείξαντι τὸ φῶς...» 186r end of liturgies 187v end of music and MS Notes This Papadike dates from the year 1629. The overall condition of the MS is good and the contents are legible. The binding is a dark brown leather that has suffered some deterioration. The back of the binding is broken. The clasps have been dismembered. Both the front and back covers have a rectangular filigree border with imprinted diamond designs centred within the borders. The number ‘16’ is circled in the interior front binding, with writing in a later, different and larger black script, probably the script of the owner, Father Dionysios (fol. 167v). There is later writing on the interior of the back cover as well. The MS begins with a folio (Ir–v) that probably was blank but now contains pertinent information on the Parallage. Red ink is usually used for modal signatures, rubrics and capital letters of incipits, and black ink for the neumes as well as texts. An exception, however, is found in the opening folios, where the colours have been emphatically alternated for the naming of the neumes and hypostaseis. The pages average 12 lines of text and music. The MS has been numbered in pencil in a larger, later script; however, the original black ink foliation resumes near the end. The opening rubric identifies this Papadike as having compositions by the older and newer composers. Attributions are present, but this MS is not as prolific as other MSS. Among the composers represented are the following: Gabriel from Agchialos (fol. 7v)

EBE 3324

573

Nikephoros Ethikos (fol. 113v) Ioannes Glykys (fol. 118r) Manuel Gazes (fol. 132r) Manuel Chrysaphes (fols 142r–152r, 153v, 160r, 173v) Anthimos the Priest-Monk (fol. 143v) Laskaris (fol. 149r) Dimitrios Raidestinos (fols 150r and 186r) Syrigos and Theodoulos the Priest-Monk (fol. 152v) The Lampadarios (fol. 153r) Gabriel the Priest-Monk (fol. 159r) The contents of the Papadike are traditional. The MS begins with the ascending and descending neumes of the Psaltike Techne and continues on fol. 4r with the Echemata and on fol. 6r with an easy method for students. The MS continues with the following: the Akathistos hymn fol. 6v fol. 7v Ps. 2 (after Ps. 1) and (fol. 9r) Ps. 3 fol. 12r Kekragaria fol. 17r Great Vespers with settings by older and newer composers; the Anoixantaria fol. 24v Alleluia according to modes fol. 26r Kekragaria and Theos Kyrios according to modes fol. 34r Stichera for Saturday and Sunday classified according to modes (not the liturgical calendar) fol. 98r Prosomoia fol. 113v Antiphons, including Ps. 134 fol. 118r Heothina chants fol. 130r Trisagion fol. 131v for a festal Vespers fol. 132r Pasa Pnoe by Gazes fol. 136r Liturgy of St John Chyrsostom fol. 139r Alleluia settings fol. 140r Cherubic hymns by various composers fol. 150r Communion settings for various feasts and by different composers (for the feast of the Theotokos [fol. 160r], for Christmas [fol. 160v], for the Annunciation [fol. 164r], for the Sunday of Pentecost [fol. 164v], for the resurrection [fol. 165v], for the Transfiguration [fol. 166r], and for the Elevation of the Cross [fol. 166v]). After the colophon on fol. 167v, the MS continues with the rest of the anthology: fol. 168r the Liturgy of Presanctified Gifts fol. 169v the Liturgy of St Basil fol. 173r for Holy Saturday and (fol. 173v) for Easter fol. 174r Sunday of St Thomas fol. 175r Theotokia fol. 182v Pasa Pnoe fol. 185r Tererismata

574

EBE 3324

The colophon of the MS is on fol. 167v. The MS is classified as a Papadike; the scribe identifies himself as Galaktion the Monk; and the date is designated as 11 June 1629. Below this inscription there is another later script that gives a later date of 25 Apr. 1789 and identifies the owner of the MS as Priest Dionysios from Ioannina. An earlier reference to Priest Dionysios is on fol. 33r. Bibliography Chaldaiakis, Ὁ Πολυέλεος.

EBE 3469 (olim 7)

575

ΕΒΕ 3469 (olim 7) ΑΝΘΟΛΟΓΙΑ/ANTHOLOGIA Type of paper: common Measurements: 18 × 11.5 cm Folios: VIII + 412 + VII Notation: newer Chrysanthine Date: 1805 Provenance: Merlier Collection, Athens

Ir–VIIIr 1r 3r

blank signs of Papadike and also cheironomia with the Ison Song of Koukouzeles In a circle the following is written: ΧΕΙΡ ΔΗΜΗΤΡΙΟΥ ΧΙΟΥ ΠΡΩΤΟΨΑΛΤΟΥ ΣΜΥΡΝΗΣ (Hand of Dimitrios the Chian Protopsaltes of Smyrna) Ἀνοιξαντάρια παρὰ διαφόρων ποιητῶν παλαιῶν ἤτοι μὲ στίχους τοῦ Ἰωάννου 3r λαμπαδαρίου τοῦ Κλαδᾶ. Settings by Ioannes Koukouzeles, Manuel Chrysaphes and Xenos Korones follow. Δοχαὶ καλοφωνικαὶ ἤτοι τὸ, «Μακάριος ἀνὴρ…» τοῦ Πέτρου Πελοποννησίου· ἦχος πλ. 8r δʹ kalophonic verses by Ioannes Koukouzeles 13v Τὰ μεγάλα κεκραγάρια· ἐξήγησις τοῦ Πέτρου λαμπαδαρίου 15v 24v This entire folio has an inscription by the scribe Dimitrios the Chian to the friendly musically wise chanters in which he states that ‘music, older and newer, begins with the Great Ison of Ioannes Maistor Koukouzeles ...’. Ἀνθολογία σὺν Θεῷ ἁγίῳ περιέχουσα διάφορα ᾄσματα τῇ ἐκκλησιαστικῇ ἀκολουθίᾳ 25r ἀνήκοντα, κατὰ τάξιν συντεθημένα παρ’ ἐμοῦ Δημητρίου Χίου, Πρωτοψάλτου τῆς τῶν Σμυρναίων ἐκκλησίας Κεκραγάρια Χρυσάφη τοῦ Νέου καὶ ἕτερα συνοπτικὰ Ναυπλιώτικα 25r Εἰσοδικὰ καὶ προκείμενα 31v «Θεὸς Κύριος…» κατ’ ἦχον τοῦ Πέτρου λαμπαδαρίου, τὰ τοῦ Ἀκαθίστου, «Θεὸς 33r Κύριος…», «Τὸ προσταχθὲν μυστικῶς…» καὶ «Τῇ ὑπερμάχῳ…», ἦχος πλ. δʹ καὶ τὰ τῆς Μεγάλης Ἑβδομάδος, «Ἀλληλούϊα…», «Ἰδοὺ ὁ νυμφίος…» καὶ «Ὅτε οἱ ἔνδοξοι μαθηταί…» ἦχος πλ. δʹ, ΓΑ´ Τὰ ἀναστάσιμα εὐλογητάρια 36v Polyeleos «Δοῦλοι Κύριον...» . The Polyeleos settings are by the following composers: 38v Petros Bereketes in Mode I; Ioannes Protopsaltes in Mode IV; Daniel Protopsaltes in Mode IV; Petros the Lampadarios in Mode Plagal I and Barys Mode; and Meletios Priest-Monk of Sinai from Crete in Mode Plagal IV. Stasis II of the Polyeleos: τοῦ Πέτρου Μπερεκέτη· ἦχος πλ. β´ «Ἐξομολογεῖσθε τῷ 74v Κυρίῳ...» 78v Polyeleos: τοῦ αὐτοῦ· ἦχος δʹ «Λόγον ἀγαθόν...». This is followed by another setting by Petros Byzantios in Mode Plagal I. 85v Pasapnoaria according to modes set by Ioannes Protopsaltes, Bereketes, Meletios the Priest-Monk, Petros the Lampadarios and Manuel Gazes

576

103v 105r 107r 114v

EBE 3469 (olim 7)

Τὰ μετὰ τὸ ἑωθινὸν Εὐαγγέλιον· τοῦ Πέτρου λαμπαδαρίου Τὰ πασαπνοάρια τῶν αἴνων τοῦ Χρυσάφη τοῦ Νέου Τὰ ἑωθινὰ τοῦ Ἰωάννου τοῦ Γλυκέως Doxologies according to modes by the following: Petros Bereketes, Petros the Lampadarios, Petros Byzantios, Meletios, Ioannes Protopsaltes, Giovaskos Vlachos, Balasios, Germanos of New Patras, Dimitrios the Chian of Lotos, Daniel Protopsaltes, Iakovos the Chian, Athanasios the Priest-Monk and Anastasios Rapsanes. 189r Trisagion for the Holy Cross by Manuel Chrysaphes with exegeses by Petros the Lampadarios. Nekrosimon Trisagion by Balasios. Euphemism: ἦχος βαρὺς «Τὸν δεσπότην...». This has the older version and the exegeses 192r by Petros the Lampadarios. 192v Τοῦ Ἰωάννου Μαΐστορος τοῦ Κουκουζέλη· ἦχος βαρὺς «Ἄνωθεν οἱ προφῆται...» Εἰσοδικά, τρισάγια μὲ ἐξηγήσεις Πέτρου λαμπαδαρίου, Μπαλασίου. Τοῦ Κορώνη 193v «Δύναμις...» 198v Cherubic hymn settings for Sundays set according to modes by the following: Athanasios the Patriarch, Daniel Protopsaltes, Petros the Lampadarios, Petros Byzantios, Kyrillos archpriest of Tinos and Damianos the Priest-Monk. Ἑτέρα στάσις χερουβικῶν, σύνθεσις ἐμοῦ Δημητρίου Χίου, Πρωτοψάλτου Σμύρνης 230r Τὰ συνοπτικὰ κὺρ Πέτρου λαμπαδαρίου αἱ δύο στάσεις, ψαλλόμενα εἰς τὰς 245v καθημερινάς Ἑτέρα σύνθεσις συνοπτικῶν· ἐμοῦ Δημητρίου Χίου 249r 253v Cherubic and Communion hymns for Holy Thursday and Holy Saturday composed by Balasios, Petros the Lampadarios and Dimitrios [Lotos] Ἡ Λειτουργία τοῦ Μεγάλου Βασιλείου ἐκ τῆς παλαιᾶς συνθέσεως συνοπτικῶς μὲ 258r ἐξηγήσεις τοῦ Πέτρου Βυζαντίου καὶ Δημητρίου Λώτου 263v Communion chants for Sunday by Daniel Protopsaltes, Petros the Lampadarios and Dimitrios of Chios Liturgy of Presanctified Gifts by older and newer composers: Petros the Lampadarios, 282v Theodosios the priest-deacon of Chios, Ioannes Kladas and Daniel Protopsaltes 287v Communion chants for the week (and for daily use) by Antonios the priest, Petros the Lampadarios, Theodosios the priest-deacon, Dimitrios Lotos, Daniel Protopsaltes, Kyrillos archpriest of Tinos, Manuel Chrysaphes and Ioannes Protopsaltes 323v Theotokia and Mathemata by Daniel Protopsaltes, Dimitrios Chios, Meletios the priestmonk of Sinai from Crete, Petros the Lampadarios, Ioannes Kladas and Karykes Καλοφωνικοὶ εἱρμοὶ κατ’ ἦχος μὲ κράτημα. The heirmoi settings are by Petros 365v Bereketes, Panagiotes Chalatzoglou, Balasios, Damianos of Vatopedi, Ioannes Protopsaltes, Germanos of New Patras, Manuel Goutas, Meletios of Sinai, Anastasios Rapsanes, Dorotheos, Petros the Lampadarios and Dimitrios Lotos. Ἄμωμος συνοπτικὸς ψαλλόμενος εἰς κοιμηθέντας, κατὰ τὸ ἔθος τῆς ἐκκλησίας 400v Σμύρνης, σύνθεσις ἡμετέρα Τὰ δοξαστικὰ τῶν ἁγίων Πατέρων καὶ τῆς ἁγίας Ματρώνης τῆς ἐν Χίῳ, ἐπίσης τὸ 403r ὀκτάηχο, «Θεαρχίῳ Νεύματι» τοῦ Ἰωάννου Πρωτοψάλτου Τὰ ἰδιόμελα τῶν Κυριακῶν τῆς Μεγάλης Τεσσαρακοστῆς· τοῦ Πέτρου λαμπαδαρίου 405r 408r «Κύριε ἡ ἐν πολλαῖς ἁμαρτίαις…» ἦχος πλ. δʹ· τοῦ Πέτρου λαμπαδαρίου. Other Stichera, unattributed, follow. Ἦχος πλ. αʹ «Σὲ τὸν ἀναβαλλόμενον τὸ φῶς...» Ἦχος πλ. δʹ «Δεῦτε λαοὶ τὴν τρισυπόστατον...»

EBE 3469 (olim 7)

577

Ἦχος πλ. αʹ «Μετὰ τὸ τεχθῆναί σε θεόνυμφε...» first Katabasia for Christmas 411r–412r Colophon: This is an extremely long inscription by the scribe Dimitrios of Chios, also known as Lotos, Protopsaltes of the church of Smyrna. Prayers of thanks are offered by the scribe. Of interest is Dimitrios’ composition of 18 verses with 15-syllable phrases that form an acrostic: ‘it’s Dimitrios Lotos’ (Δημήτριος Λῶτός ἐστι). After the acrostic, Dimitrios gives the date of completion of the MS as 22 Dec. 1805 in Smyrna. Διὰ χειρὸς ἐμοῦ Δημητρίου Χίου, τοῦ ’πίκλην Λώτου, καὶ Πρωτοψάλτου τῆς τῶν Σμυρναίων ἐκκλησίας ... Ἔῤῥωσθε ὑγιαίνοντες, καὶ εὐδοκιμοῦντες Καλλιόπης μαθηταί· ἐν ἔτει σωτηρίῳ ͵αωεʹ, κατὰ τὴν κβʹ τοῦ Δεκεμβρίου. Ἐν Σνύρνῃ 1805. 412r MS ends blank Ir–VIIv Notes This MS has been previously catalogued as part of the Merlier Collection by Manolis Chatzegiakoumes in his Μουσικὰ Χειρόγραφα Τουρκοκρατίας. It is a later Anthologia of the New Papadike, in excellent condition and legible. Its leather binding is intact and has a reddish colour with gold imprints on the front and back. The front cover has the design of the crucifix and the back that of the Theotokos with child. The MS also has clasps. The rubrics, modal signatures, hypostaseis and some incipits are in red. Neumes and text are in a black tint. There are colourful designs in the folios, especially to designate sections. The pages have about seven lines of text and music. This MS is important for being the autograph of Dimitrios Lotos from Chios and Protopsaltes of Smyrna, some of whose compositions are included in it. Two other MSS in the National Library of Greece have musical compositions attributed to Dimitrios Lotos but have not been included in this catalogue because these sources are in liturgical (mixed) MSS that are not perceived as music MSS. The following are the two citations, that are not primarily from music sources, but contain some sporadic music in the new Byzantine system. These music examples are interpreted by Constantine Byzantios, the Protopsaltes, but are possibly written in the hand of Lotos or at least with an exegesis by Lotos. EBE MS 1036 Anastasimatarion (with Chrysanthine notation) p. 172 «Φῶς ἱλαρὸν…» κατ’ ἦχον ὀκτὼ σὺν ἕνα ἦχος λέγετος Βοῦ, ἕνα ἦχος πλ. βʹ , ΔΙ καὶ ἕνα ὀκτάηχον EBE MS 3084 Anastasimatarion (with Chrysanthine notation) fol. 10r «Οἱ τὰ χερουβίμ…»· ἦχος αʹ καὶ πλ. δʹ fol. 149r «Εἰς μνημόσυνον κοινωνικόν…»· ἦχος δʹ In MS 3469, Dimitrios Lotos follows the style of Petros the Lampadarios the Peloponnesian. The MS opens with the Papadike Techne. On fol. 3r the chants for Vespers and Orthros begin, with compositions by the older and exegeses by the newer composers. On fol. 25r the MS continues with chants for Vespers and Orthros according to the manner and typika of Smryna. The MS continues with the following:

EBE 3469 (olim 7)

578

fol. 38v Polyeleos fol. 85v Pasapnoaria fol. 107r Heothina chants fol. 114r Doxologies fol. 189r Trisagia fol. 192r Euphemism for a bishop fol. 193v Eisodika and Trisagia for the Liturgy of St John Chrysostom fol. 198v Cherubic hymns fol. 253v Cherubic and Communion hymns fol. 258r Liturgy of St Basil fol. 282v Liturgy of Presanctified Gifts with more Communion hymns fol. 323v Theotokia and Mathemata fol. 365v Kalophonic Heirmoi fol. 400v Amomos for Laymen fol. 403r Doxologies fol. 405r Idiomela Stichera for Sunday of Great Lent and for Holy Week fols 411r– Colophon and lengthy inscription by Dimitrios Lotos 412r Bibliography Chatzegiakoumes, Μουσικὰ Χειρόγραφα Τουρκοκρατίας. Merlier, “Ἕνα μουσικὸ χειρόγραφο τοῦ Δημητρίου Λώτου, φίλου τοῦ Κοραῆ”. Stathis, P. G., “Ὁ φίλος τοῦ Κοραῆ Δημήτριος Λῶτος καὶ τὰ μουσικὰ χειρόγραφά του”. Terzopoulos, Ὁ Πρωτοψάλτης τῆς Μεγάλης τοῦ Χριστοῦ Ἐκκλησίας Κωνσταντῖνος Βυζάντιος.

Appendix A

Music Manuscripts at the National Library of Greece Listed according to Categories Number Type Date __________________________________________________________________________ Akolouthia

902 Akolouthia 904 Akolouthia (Pedagogy of the Signs of Music) 905 Akolouthia 906 Akolouthia 915 Akolouthia 919 Akolouthia Sticherarion 923 Akolouthia 925 Akolouthia 926 Akolouthia 927 Akolouthia 928 Akolouthia 931 Akolouthia 933 Akolouthia 935 Akolouthia 936 Akolouthia Anastasimatarion 942 Akolouthia 943 Akolouthia 947 Akolouthia 952 Akolouthia 954 Akolouthia 959 Akolouthia 963 Akolouthia 966 Akolouthia 971 Akolouthia 973 Akolouthia 1868 Akolouthia 2061 Chanted Akolouthia for Vespers 2062 Cathedral Rite Akolouthia 2147 Akolouthia of St Athanasios of Mt Athos 2452 Akolouthia Anastasimatarion 2632 Akolouthia 2796 Akolouthia

Anastasimatarion 920 929 930 932

Anastasimatarion Anastasimatarion Anastasimatarion Anastasimatarion

1692 14th–15th c. late 14th c. 14th–15th c. 19th c. 17th c. late 18th–19th c. 18th c. 1792 19th c. late 15th c. late 18th–19th c. 17th c. 17th c. late 18th c. 17th c. 17th c. 1680 16th–17th c. late 16th–17th c. 17th–18th c. first half of 17th c. early 19th c. ca. 1780s ca. 1780s 1820 1393–1425 before 1385 Mid-14th c. 18th c. 18th c. 18th c. 19th c. late 15th c. late 17th–18th c. 18th c.

580

A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece

939 Anastasimatarion 940 Anastasimatarion 941 Anastasimatarion 944 Anastasimatarion 945 Anastasimatarion 948 Anastasimatarion 949 Anastasimatarion 950 Anastasimatarion 951 Anastasimatarion 953 Anastasimatarion 955 Anastasimatarion 956 Anastasimatarion 961 Anastasimatarion 970 Anastasimatarion of Petros Lampadarios of Peloponnesos 1903 Pedagogy of the Anastasimatarion 1943 Anastasimatarion 2170 Anastasimatarion of Petros of Peloponnesos 2213 Anastasimatarion 2218 Anastasimatarion Anthologion 2219 Anastasimatarion Anthologion 2220 Anastasimatarion Anthologion 2224 Anastasimatarion 2228 Anastasimatarion of Petros Lampadarios of Peloponnesos 2354 Anastasimatarion 2601 Anastasimatarion 2602 Anastasimatarion Anthologion 2629 Anastasimatarion 2732 Anastasimatarion 2905 Anastasimatarion

Ancient Greek Treatises

1062 Pindar’s Lyrical Forms 1081 Pindar’s Olympian Odes

Anthologia 894 897 898 900 907 918 921 922 962 969 1869

Anthologia of the Papadike Anthologia Anthologia Anthologion Sticherarion Anthologion Anthologion Sticherarion Anthologion Anthologion Sticherarion Anthologion Anthologia Anthologia

1806 18th c. 17th c. 17th c. 17th c. 1551 19th c. 18th c. 1795 1771 18th c. 18th c. 18th c. 1791 18th c. ca. 1830–50 mid-19th c. 1694 1782 2nd half of 18th c. 1745 late 17th–early 18th c. late 18th–early 19th c. 1755 mid–late 19th c. early 19th c. 1829 late 19th c. (1893) 18th c. ca. 1453–77 ca. 1553 18th c. 1750–1800 1750–1800 1692 17th–18th c. 17th c. 1794 17th c. late 18th c. late 18th c. 1821

Appendix A

2063 Anthologion Sticherarion 2216 Anthologia Papadike 2221 Anthologia 2222 Anthologia Papadike 2225 Anthologia 2226 Anthologia 2229 Anthologia 2329 Anthologia 2417 Anthologia 2424 Anthologion 2428 Anthologia Papadike 2432 Anthologia Papadike 2443 Anthologion Sticherarion 2446 Anthologia Papadike 2447 Sticherarion 2568 Anthologion Sticherarion 2572 Anthologion Sticherarion 2579 Anthologia 2614 Anthologia by Petros Bereketes 2619 Anthologia Papadike 3001 Anthologia 3014 Anthologion 3084 Anthologion 3109 Anthologia 3116 Anthologion Sticherarion 3118 Anthologion Papadike 3469 Anthologia

Doxastarion (Sticherarion) 913 914 2451 3023

Evangelium

Doxastarion of Triodion/Pentecostarion Doxastika/Idiomela Stichera Doxastarion of Triodion/Pentecostarion Doxastika Stichera

2166 Evangelium 2168 Evangelium 2398 Evangelium 2513 Evangelium 2520 Evangelium 2525 Evangelium 2540 Evangelium 2552 Evangelium 2557 Evangelium 2645 Evangelium 2672 Evangelium 2676 Evangelium 2711 Evangelium

581

late 17th c. second half of 18th c. late 18th c. 1736 second half of 18th c. 18th c. 18th c. mid-19th c. (after 1817) 1817 or 1818 early 19th c. early 19th c. 19th c. 18th c. 1770 early 14th c. 1832 1715 1823 early 19th c. 18th c. 1823 late 18th–early 19th c. mid-19th c. 19th c. 18th c. 18th c. 1805 1882 19th c. 1832 2nd half 19th c. late 11th–early 12th c. 12th c. late 11th–12th c. 11th–12th c. 12th–13th c. 12th c. 11th–12th c. 11th c. 11th–12th c. 1206 1270 late 11th–12th c. 11th–12th c.

582

A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece

2804 Evangelium 3028 Evangelium 3062 Evangelium

Heirmologion

916 Kalophonic Heirmologion 934 Heirmologion 946 Heirmologion of Balasios the Priest 958 Heirmologion 964 Heirmologion of Petros Protopsaltes 967 Heirmologion 2057 Heirmologion 2227 Heirmologion

Kontakarion 2405

Kontakarion

Kratematarion (Akathistos) 911

Mathematarion 885 1865 1944 2578 2627 2840 3022

1832 18th c. 17th c. 14th c. 1806 mid-18th c. 1st half 14th c. ca. mid-18th c. late 14th c.

Kratematarion/Akathistos

17th c.

Mathematarion Mathematarion/Akolouthia Mathematarion Mathematarion Mathematarion Mathematarion Mathematarion

15th c. late 18th–early 19th c. mid-19th c. late 18th–19th c. 18th c. 18th c. 1845

Megalynarion

3021 Troparion Megalynarion

Papadike

11th–12th c. 11th–12th c. 11th–12th c.

741 Papadike-Anastasimatarion 899 Papadike 917 Exegesis of Papadike according to Akakios Chalkeopoulos 965 Music Treatise of Papadike Techne 968 Music Treatise of Papadike Techne 972 Papadike Techne 2175 Papadike 2215 Papadike/Anthologia 2217 Papadike 2301 Papadike/Mathematarion 2401 Papadike 2406 Papadike 2444 Papadike 2454 Papadike Akolouthia

mid.-19th c. early 19th c. ca. 1390–1410 1500–20 18th c. 17th–18th c. 1786 mid–late 18th c. 1794 first part of 18th c. 1809 15th c. 1453 mid-14th c. mid-14th c.

Appendix A

2456 Papadike 2458 Papadike 2575 Papadike 2577 Papadike 2580 Papadike Anthologia 2596 Papadike Anthologia 2599 Papadike 2600 Papadike 2604 Papadike 2611 Papadike 2622 Papadike 2725 Papadike 2733 Papadike 2837 Papadike 2839 Papadike 2847 Papadike 2980 Papadike 3009 Papadike 3100 Papadike Musical Interpretation

Psaltike Techne

893 Psaltike Techne 3324 Psaltike Techne

Sticherarion

883 Sticherarion 884 Sticherarion 886 Sticherarion 887 Sticherarion 888 Sticherarion 889 Sticherarion 890 Sticherarion 891 Sticherarion 892 Sticherarion 895 Sticherarion 896 Kalophonic Sticherarion 901 Sticherarion 903 Sticherarion 909 Sticherarion 910 Sticherarion 912 Sticherarion 924 Sticherarion 937 Sticherarion 957 Sticherarion 1945 Sticherarion 2056 Sticherarion 2155 Sticherarion 2223 Sticherarion

583

mid-14th–15th c. 1336 18th c. 18th c. 19th c. 1812 (or early 19th c.) late 14th–15th c. 14th c. 1463 18th c. 1341- c. 1360 15th c. late 17th – 18th c. 1457 ca. 1690–1710 first half of 18th c. 1667 1761 1826 1747 1629 mid–late 13th c. 1341 15th c. 14th c. 14th c. 13th c. late 13th c. 1787 late 13th c. 15th c. 1684 16th–17th c. 1782 16th–17th c. 16th–17th c. 17th c. 17th c. 1552 12th–13th c. first half of 19th c. late 13th–early 14th c. late 13th–early 14th c. early 18th c.

584

A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece

2399 Sticherarion 2411 Sticherarion Akolouthia 2413 Sticherarion 2425 Sticherarion 2441 Sticherarion 2442 Sticherarion 2453 Sticherarion of Germanos Neon Patron 2490 Sticherarion 2500 Sticherarion Mathematarion 2526 Sticherarion 2576 Sticherarion 2584 Sticherarion 2607 Sticherarion 2613 Sticherarion of Germanos Neon Patron 2618 Sticherarion of Germanos Neon Patron 2620 Sticherarion 2625 Sticherarion by Chrysaphes the New 2633 Sticherarion by Germanos Neon Patron 2643 Sticherarion Fragments 2748 Sticherarion 2758 Sticherarion 2773 Sticherarion 2811 Sticherarion 2883 Sticherarion 2936 Sticherarion 3011 Sticherarion Doxastikon by Germanos Neon Patron 3085 Sticherarion Anastasimatarion 3101 Sticherarion 3117 Sticherarion of Germanos Neon Patron

late 13th–14th c. late 14th–15th c. late 13th–early 14th c. second half of 14th c. 1805 mid-14th c. 18th c. 14th c. mid-14th–early 15th c. 13th c. 18th c. 18th c. 1368 early 19th c. 18th c. 18th c. 1809 18th c. 12th–13th c. late 12th–13th c. late 12th–early 13th c. 13th c. 13th c. 17th–18th c. 1823

1867 Music Treatise 1916 Music Treatise of Chourmouzios 2877 Treatise on Anabathmoi of the Oktoechos

1820 1829 early 18th c.

Treatise

Triodion/Pentecostarion (Sticherarion)

908 Sticherarion of the Triodion and Pentecostarion 938 Sticherarion of the Triodion and Pentecostarion 974 Sticherarion of the Triodion and Pentecostarion 975 Sticherarion of the Triodion and Pentecostarion 1902 Musical Triodion Sticherarion 2273 Triodion/Pentecostarion Stichera 3108 Sticherarion Triodion of Germanos Neon Patron

Western Music

960 Church Music 1946 Western Music Collections

1796 1828 1713 18th c.

late 15th–16th c. 1552 13th c. 1774 18th c. late 13th–early 14th c. 18th c. early–mid. 19th c. early 19th c.

Appendix B

Musical MSS from the Library of the Holy Sepulchre in Constantinople now Housed in the National Library of Greece No. Type

Measurement Folios Notation Date

269 Anthologia 270 Sticherarion 281 Sticherarion 341 Heirmologion 377 Heirmologion 378 Kekragarion 379 Anastasimatarion 380 Heirmologion 381 Anthologia 382 Anthologia 383 Anastasimatarion 398 Anthologia 399 Sticherarion 403 Papadike 463 Akolouthia 464 Akolouthia 552 Anthologia 575 Doxastarion of Iakovos 576 Anthologia 623 Anthologia 702 Anastasimatarion 703 Papadike 704 Akolouthia 705 Papadike 706 Mathematarion 707 Sticherarion 708 Akolouthia 709 Akolouthia 710 Akolouthia 711 Akolouthia 712 Akolouthia 713 Akolouthia

27.5 × 19 27.5 × 20.5 23.5 × 18 quadrangle 17.6 × 11.8 17.4 × 12.2 17.2 × 11.8 10.5 × 17.5 17 × 12.7 17 × 11.1 17.2 × 11.7 16.2 × 11.4 16.4 × 10.8 32.5 × 23 25.3 × 19 24.5 × 18.5 20 × 13.8 17 × 11 17.3 × 11.2 23 × 16 24.3 × 16.6 23.2 × 16.4 34.5 × 24.3 24.5 × 17.2 23.2 × 14.8 22.2 × 14.6 22.2 × 14.6 23.2 × 16 21.8 × 15 21.5 × 14.8 21.5 × 17.2 22.6 × 15



 

274 LMB 198 Early MB 406 LMB two papers LMB 155 Chrys. 66 LMB 110 LMB 105 LMB 240 LMB 64 LMB 75 LMB 120 MB 197 LMB 400 MB 56 LMB 90 LMB 262 LMB 412 Chrys. 215 Chrys. 261 Chrys. 158 Chrys. 495 Chrys. 345 Chrys. 228 Chrys. 484 Chrys. 367 Chrys. 337 Chrys. 269 Chrys. 353 Chrys. 395 Chrys. 225 Chrys. 484 Chrys.

MB = Middle Byzantine; LMB = Late Middle Byzantine; Chrys. = Chrysanthine

18th c. 13th c. 18th c. 18th c. 19th c. 18th c. 18th c. 1826 19th c. 19th c. 19th c. 1777 18th c. 1771 18th c. 1758 1705 1820 19th c. 1792 19th c. 1818 19th c. 1829 1819 19th c. 19th c. 19th c. 1817 1817 1837 19th c.

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A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece

714 Akolouthia 715 Sticherarion 716 Kekragarion 717 Akolouthia 718 Anthologia 719 Sticherarion 720 Sticherarion 721 Sticherarion 722 Papadike 723 Papadike 724 Sticherarion 725 Anthologia 727 Mathematarion 728 Mathematarion 729 Mathematarion 730 Mathematarion 731 Mathematarion 733 Mathematarion 734 Mathematarion 735 Anthologia 736 Anastasimatarion 737 Anastasimatarion 738 Anastasimatarion 739 Anastasimatarion 740 Heirmologion 741 Heirmologion 742 Sticherarion 743 Anthologia 744 Akolouthia 745 Doxastarion 746 Doxastarion 747 Sticherarion 748 Sticherarion 749 Sticherarion 750 Sticherarion 751 Anastasimatarion 752 Doxastarion 754 Anthologia 755 Doxastarion 756 Papadike 757 Heirmologion 758 Anastasimatarion 759 Anthologia 760 Cheroubic Hymns 761 Sticherarion 762 Sticherarion 763 Sticherarion 764 Sticherarion

22.8 × 15 216 Chrys. 24.3 × 16.3 274 Chrys. 24.2 × 17.8 59 Chrys. 23.3 × 16.8 82 LMB 23.8 × 16.5 260 LMB 23 × 17.3 414 LMB 22.3 × 17 498 LMB 22.3 × 16.2 952 LMB 22.2 × 15.5 430 LMB 21.4 × 16 519 LMB 22 × 15.8 514 LMB 21.5 × 15.5 212 LMB 23.2 × 15 370 Chrys. 23.2 × 15 349 Chrys. 23.2 × 15 371 Chrys. 23.2 × 15 421 Chrys. 23.2 × 15 393 Chrys. 23.2 × 15 327 Chrys. 23.2 × 15.2 224 Chrys. 22 × 15.2 218 Chrys. 21.4 × 15.6 93 Chrys. 21.5 × 15.6 48 LMB 21 × 13.1 17 Chrys. 19.4 × 13 V + 162 LMB 20 × 13.5 74 LMB 18.5 × 14.5 264 LMB 19.8 × 15 247 LMB 19 × 12 211 LMB 22.2 × 15 336 Chrys. 22.2 × 15 384 Chrys. 22.2 × 15.3 572 Chrys. 18.2 × 11.8 338 Chrys. 18 × 11.3 295 Chrys. 18 × 11.3 458 Chrys. 18.3 × 11.8 352 Chrys. 20.6 × 15 24 LMB 22.1 × 15 359 Chrys. 22.2 × 15 325 Chrys. 22.1 × 15 427 Chrys. 17.9 × 11 154 LMB 17.2 × 11.7 216 LMB 17.4 × 11.3 232 Chrys. 17.6 × 11.8 154 LMB 16.2 × 11.9 18 Chrys. 17.6 × 12.2 401 Chrys. 17.6 × 12.2 348 Chrys. 17.8 × 12 293 Chrys. 17.8 × 12 244 Chrys.

19th c. 19th c. 1815 1798 18th c. 1740 1800 18th c. 1819 1745 18th c. 18th c. 19th c. 19th c. 19th c. 19th c. 19th c. 19th c. 19th c. 1822 19th c. 18th c. 19th c. 2nd h. 18th c. 18th c. 1742 18th c. 18th–19th c. 19th c. 19th c. 19th c. 19th c. 19th c. 1832 19th c. 18th c. 19th c. 1817–18 19th c. 1785 18th c. 1826 18th c. 19th c. 19th c. 19th c. 19th c. 19th c.

Appendix B

765 Sticherarion 766 Doxastika Sticherarion 774 Church Music 785 Doxastika Sticherarion 804 Anthologia 806 Anthologia 807 Anthologia 808 Mathematarion 809 Mathematarion 810 Mathematarion 811 Doxastika Sticherarion 812 Anthologia 813 Kalophonic Heirmoi 814 Church Music 815 Papadike 816 Heirmologion 817 Anthologia 818 Anthologia 819 Sticherarion Anastasimatarion 820 821 Anastasimatarion 822 Church Music 823 Papadike 825 Anthologia 834 Church Music Fragments 845 Heirmologion 890 Music Treatise

17.8 × 12 246 Chrys. 22.8 × 16 168 LMB 18 × 12.5 21 LMB 16 × 10.5 212 LMB 19 × 11 563 LMB 17 × 10.7 272 Chrys. 17 × 10.7 397 Chrys. 17 × 11.2 100 Chrys. 17 × 11 106 LMB 17 × 11 335 LMB 16.2 × 11.2 240 LMB 15.5 × 9.8 218 LMB 15.1 × 10.2 102 LMB 15.8 × 11.5 60 Chrys. 15.3 × 10.5 190 LMB 16.2 × 10.5 101 Chrys. 16.2 × 11 263 LMB 16.1 × 11 244 LMB 16 × 11 369 LMB 16.5 × 11 267 LMB 15.8 × 10.8 209 LMB 16 × 10.6 51 LMB 15.8 × 9.4 I + 130 + II LMB 13.5 × 10 161 LMB 28 × 19.7 65 Chrys. 14 × 9.8 150 LMB 14.9 × 10.1 126 LMB

587

19th c. 18th c. 18th c. 1813 18th c. 1880 1880 19th c. 18th c. 18th c. 18th c. 18th c. 18th c. 19th c. 17th–18th c. 19th c. 18th c. 18th c. 17th c. 17th c. 18th c. 18th c. 16th–17th c. 17th c. 1859 18th c. 18th c.

Q

~

Taylor & Francis Taylor & Francis Group http://taylora ndfra ncis.com

Glossary Aedonaton or Aedon (ἀηδονάτον, ἀηδῶν). A kratema that is a type of kalophonic chant with many nonsense syllables, at times with the voice making instrumental sounds (the medieval approach to ‘scat singing’). This particular title indicates that this kratema mimics the nightingale (the ἀηδόνι). Aineite (Αἰνεῖτε). The opening word of Psalm 134 of the Septuagint Psalter that is often the text of Communion chant settings. Also, it is the opening word of Psalms 148 and 150, known as the ‘Praise’ psalms. Ainoi ( Αἵνει). A chant sung during the Orthros (Morning Office) of the Byzantine rites. The Ainoi chants follow the katabasia of the ninth ode. The texts Πᾶσα πνοὴ αἰνεσάτω and Αἰνεῖτε αὐτὸν οἱ ἄγγελοι αὐτοῦ are often included within the ainoi. The name ‘Ainoi’ derives from the use of the words αἰνεῖτε or αἰνεσάτω, which both mean ‘praise’. On the Sunday reading of Psalms 148, 149 and/or 150, usually eight chanted stichera are selected to accompany these verses: three for the verses of Psalm 148, two for Psalm 149 and three for Psalm 150. The ‘Pasa Pnoe’ hymn was considered a part of the ‘Ainoi’ in early musical manuscripts. Akathistos/Akathistos Hymn. The most famous hymn of the Byzantine Church (dating ca. 6th century) that falls into the genre of the Kontakion. It is debated whether it is anonymous or if its original hymnographer was Romanos. The hymn was originally sung for the feast of the Annunciation on March 25th from the tenth century or earlier and is purported to have been chanted during the final fall of Constantinople in 1453. The earliest notated music for the hymn dates from the thirteenth century. The hymn is still sung during the Great Lent period in the Orthros services of the first, second, third and fourth Sundays and for the fifth Saturday. Its form consists of two prooimia and 23 oikoi (stanzas). The textual form of the Akathistos is unique and follows an abecedarian acrostic for the incipit of each of the 24 stanzas. Akolouthia. A class of manuscript that appears in the late thirteenth to early fourteenth centuries. The title refers to the contents, ‘Order of Services’, of the manuscript and represents an anthology of mixed repertory. The order of a typical Akolouthia is as follows: Theory, which could include the didactic song of Koukouzeles, the identification of neumes, diagrams, modal explanations, schemes for intonation formulae and modes; Evening Office – usually chants for the office of Great Vespers; Morning Office – chants of Matins or Orthros as it was called in Byzantium; the Three Liturgies – Liturgy of St John Chrysostom, Liturgy of St Basil, and Liturgy of Presanctified Gifts; Conclusion, which could include Kratemata. Allelouarion or Alleluiarion. A melody most often chanted in a very slow manner in a lesson or mathema form, found in Papadike manuscripts. It is a praise chant derived from the Hebrew (Hallelû), sung on feast days and very high holy days. It is often substituted by a lesser festive chant during the Lenten period.

590

A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece

Alphabetos (Abecedarian). Abecedarian verses are chanted stichoi/stichera verses in which the first letter of each verse follows an alphabetical order. Amomos. Psalm 118 in the Septuagint version of the Bible. The Amomos, an abecedarian, is the longest psalm in the Psalter and is divided into three staseis. It is sung in a variety of services, but is most often considered part of the Nekrosimon Akolouthia, the funeral service. It is always found in Orthros and in other liturgical rites (i.e., Asmatikos (Chanted) Orthros and the Taking of the Habit). The word ‘amomos’ comes from the first few words of the title of the psalm, ‘Blessed are the undefiled in the way, who walk in the law of the Lord.’ Anabathmoi. The Gradual psalms (Pss. 119–30 and 132) with their troparia that precede the Gospel reading in the Sunday celebration of the office of Orthros. These psalms are grouped into three to four antiphons chanted antiphonally between the two choirs. Anagrammatismos. A melody sung in a kalophonic style with nonsense syllables. The word anagrammatismos originates from the Greek and means ‘illiterate’. The anagrammatismoi chants can be found in the Mathematarion, a later term for a manuscript that contains the Sticherarion and Papadike. They are based on older compositions (by Koukouzeles, Kladas or Chrysaphes from the fourteenth and fifteenth centuries). By substituting the meaningless syllables in later forms of musical lessons, the composition evolves into a theme and variation form based on the older chant. Anakaras (Ἀνακαράς). Another name for a stylistic kratema. It takes its name from a medieval percussive instrument that is perhaps imitated in sound in the composition. Ananeanes. Refers to the intonation formula ‘ananeane’ associated with Authentic Mode I that is chanted to these syllables and intones the modal formula that terminates with the initial pitch of the chant. This same formula was later transmitted to the West and used by the Western medieval theorist Hucbald in a similar manner. Anapodismos. Synonymous at times with the anagrammatismos chant (that is, a musical composition with many nonsense syllables added to it in a form of a lesson or interpretation ‘hermeneia’ of an older or pre-existing chant). The anapodismos is especially known for using meaningless syllables and ‘podes’ (the smallest musical motif), not at the beginning of a preexisting chant but in unusual places farther along where there are either divisions of verses or unusual starting points. This is not necessarily in the middle; it may be the third or fourth verse, and it skips about, using other verses as a starting point for the podes. Anastasimatarion (pl. Anastasimataria). A musical manuscript (book) that contains the Anastasima or Resurrection verses of the octoechos. In its original form it was found in part of the old Sticherarion but in the early thirteenth and fourteenth centuries was separated from the Sticherarion and became an independent manuscript. In its old, original format, it contained verses in each mode: verses for Vespers, the dogmatic Theotokion, the Aposticha, the Doxastikon, the Pasapnoarion, the Ainoi, and the verses of the first Kathisma (Pss. 1, 2, 3). In time, the Anastasimatarion manuscript also added the Kekragaria chants and the eleven Heothina chants. Later it also added the melodies of the Orthros service. The most important melodic compositions found in the Anastasimatarion are the ones before the fall of Constantinople

Glossary

591

(1453). Next in importance follows the anastasimatarion composed by Chrysaphes, the New, of which the autograph manuscript dates from 1671. Lastly, the anastasimatarion (the slow and the faster one) was composed by Petros Peloponnesios between 1765 and 1775. Anatolika Stichera. Stichera of the Octoechos usually associated with Resurrection verses and attributed to Patriarch Anatolios. Anoixantaria. Verses chanted in the monastic Vespers service. The name is derived from verse 28b of Psalm 103 in the Septuagint version: ἀνοίξαντος δὲ σου τὴν χεῖρα. The verses are chanted antiphonally by two choirs in the monastic Vespers service during high feast days. The older version, mostly known from the melody composed by Ioannes Koukouzeles, is normally chanted in a slow manner. The newer and accelerated version was composed by Chourmouzios Chartophylax in the new method of notation. Anthologion (pl. Anthologia). Literally ‘anthology’ or collection. This name becomes a later replacement for the Akolouthia manuscript that contains the chants from Vespers, Orthros, Liturgies and some stichera. In the Late and Post-Byzantine era it is a newer term for the old Papadike manuscript. See Papadike, its synonym. Antiphon (antiphona). The term has a multitude of meanings comprising various chants and has even been identified as a ‘troparion’. Typically the antiphon is used to identify a melody or chant that is sung instead of the normal chant for a service, the Beatitudes or even other chants in high feast days (i.e., the Great Thursday in reading the 12 Gospels). It is replaced or substituted in other services as well. Apolysis. The dismissal prayers. Apolytikion. A troparion that is found near the end of a liturgy or canonical hour. The term is sometimes synonymous with a short troparion. Aposticha. Melodies of the Vespers service that are chanted before the dogmatic Theotokion. The aposticha usually preface another verse. The term comes from the older term ‘ἀπὸ στίχου’ (from the verse). Argosyntomon. A term characterizing musical compositions that have a rhythmic dichotomy in the melody. An example would be that of a slower rhythm in the middle of a composition in antithesis to a faster rhythm. Asmatikon. The etymological origins of the term comes from the Greek word ‘asma’, which means melodious or melody. In the asmatikon music, an artistically written text is united with a beautifully composed musical example. The music is usually the more important element of the asmatikon and the melody is suitably adapted to the meaning and the occasion for which it is required (i.e., a joyful asmatikon for a feast and a sad asmatikon for funerals). A typical example of the asmatikon in Byzantine music is the trisagion. The best-known asmatikon Trisagion is that of the ‘Agios of Theos’ (Ἅγιος ὁ Θεὸς). In olden times this ‘Agios o Theos’ was chanted by two choirs. Very similar asmatika Trisagia are chanted for the Day of the Elevation of the Cross and

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for the Nekrosimon Akolouthia. The latter funeral Trisagion is referred to as the Great or Mega Trisagion. The word asmatikon can also mean ‘sung throughout’ for special chanted services in the Byzantine rite: Asmatikos Orthros, the chanted morning service, and the Asmatikon Vespers. These rites are considered cathedral rites for Orthros and Vespers and are services chanted throughout. Even the Scriptures are chanted, not read. Asmatikos Orthros. Also known as the ‘Chanted Matins’, it is the Constantinopolitan or cathedral office of Matins. This service differed in structure from the monastic Orthros; moreover, it was intended to be sung or chanted in its entirety. Atzemikon (Ἀτζεμικόν). A term found in Byzantine music in the interpretation of chant that is similar in style to the Muslim ‘atzem’. This was known as very heavy-sounding type of music (almost sad-like) and usually in Plagal Mode III, known as the Barys (or heavy) mode. Automela. Verses that have their own particular melody and served as models for other chants. Boulgara or Boulgarikon or Vulgarikon. This term denotes a programmatic content to Byzantine ‘Kratema’ music, some of which could be secular music. Boulgara is the feminine version of ‘Bulgarian’ and could refer to Ioannes Koukouzeles’ mother, who was purported to be Bulgarian by birth. Consequently, Koukouzeles is considered to be the most important composer of the Boulgara or Boulgarikon music, although other composers followed in his footsteps. There is a dispute as to whether Ioannes Koukouzeles had any Bulgarian ties, since his mother’s nationality was not regarded and his father was a Byzantine Greek. Nevertheless, the word Boulgara probably has some association with the area that is now known as Bulgaria. Canonical Hours. The eight hours of the offices of the Byzantine rite: Vespers, Compline (Apodeipnon), Mesonyktikon, Orthros, Prime, Terce, Sext and None. Chairetismoi (Praise services). Salutations that could be associated with the Kontakion and more specifically the Akathistos Hymn where there were 12 Chairetismoi to the Theotokos that date from ca. 431. Chanted Akolouthia. This was a special archaic form referred to as the Cathedral Rite that was known to be practised in the Offices of Vespers and Orthros and the Divine Liturgy in the large cathedrals, such as the Hagia Sophia of Constantinople and the Hagia Sophia of Thessalonika. This Cathedral Rite was known to have been used in Byzantium as early as the ninth century, if not earlier, and remained in practice until 29 March 1430, when Thessalonika finally fell into the possession of the Ottoman Turks. In Constantinople this rite fell into disuse in 1204 because of the occupation by the Crusaders that caused disruption and dislocation of chanters, resulting in a mixture of the Cathedral and Monastic Byzantine Rite. Because this rite was known to have been chanted throughout, it was known as the chanted, choral, or ‘Asmatikos’ Akolouthia or practice and pertained to Vespers, Orthros and the Liturgy. Furthermore, this rite had an additional Chanted Office that was sung between the Third (Terce) and Sixth (Sext) and was called the Tritoekte. The services of the Chanted Akolouthia were sung throughout by a large body of singers, specifically two choirs, the Left and Right choirs, directed by the Domestikos,

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Precentor, that performed in an antiphonal manner. Even the prayers and supplications of the clergy were intoned in a recitation style. This Cathedral Rite differed from the monastic rite, where the services were recited with a minimal amount of singing. Furthermore, this Akolouthia was known to follow a special scheme of psalms and antiphons from the Distributed Psalter that indicated which psalms and accompanying antiphons, a selection of 68, were to be used for each day of the week within a two-week cycle. Cheironomia. A manner of using one’s hands in Byzantine liturgical music. The movement of the hands could indicate more than just conducting the metre. It represented the movement of the melody and, in some instances, the precise solfège notation for the neumes and movement of intervals (not unlike the Guidonian hand, where the pitches were indicated by the position of the joints on the hand). This was a very useful technique and was expected from the main Protopsalte, who directed both the Right and Left choirs with the art of cheironomia. Cherubic Hymn. A hymn sung during the Great Entrance of the Divine Liturgy. It takes its name from the opening Greek phrase: Οἱ τὰ Χερουβὶμ μυστικῶς εἰκονίζοντες. The hymn is found in the Papadike manuscripts. There is an abundance of musical settings with many composers of the time making contributions to this text. Chrysanthine Notation. This is a later stenographic notation known as the ‘New System’ or ‘Neo Byzantine’ notation. The Chysanthine notation was named after Chysanthos Archimandrite, who attempted in the year 1832 to simplify the complex medieval Byzantine notation but instead greatly altered and distorted the neumes, interpretative signs and measurement of intervals. Communion. A chant found in the liturgies sung during the sacrament for the mystery of Communion. It is usually a very slow chant, found in the Papadike manuscripts. The Communion settings are categorized according to several types: the Communion chant for Sunday with the standard text Αἰνεῖτε τὸν Κύριον ‘Praise ye the Lord’; the Communion chant for the week with a different text for each day; Communion chant for a holy feast, for bishops, the Virgin Mary and other saints where the text varies according to the circumstances. The Communion chants are plentiful and of all types and modes and were set by almost every composer of the Byzantine Empire. Dichoron (Δίχορον). Literally, ‘two choirs’. The term refers to a monophonically notated melody not necessarily chanted monophonically. With the dichoron, there are two choirs: one left and one right, named because of their placement in the church. One choir sings the notated melody and the other choir accompanies with an improvised isokratema, drone or other type of accompaniment. With the dichoron there could be an accompaniment in unison, octaves or intervals of fourths or fifths. The term also refers to antiphonal chanting between the left choir and right choirs. Dichoron is one of the oldest performance practices, documented from the earliest Christian centuries. It is especially used in Byzantine hymns chanted according to the octoechos. Distributed Psalter. The Constantinopolitan division of the Psalter consisting of 140 of the 150 psalms, divided into a system of 68 antiphons and refrains.

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Doches (Δοχές). Also known as ‘Prokeimenon’. In older manuscripts, doches was a designation used for the chanting of special celebratory verses for hierarchal feasts, especially at the reception of the Byzantine emperor or arrival of the imperial party. Dogmatic Theotokia. There are eight Dogmatic Theotokia, one for each mode of the ochtoechos. They are chanted during the Vespers services on Saturdays. They are so named because of the reference to a ‘dogmatic’ text with theological teachings concerning the Thetokos or the Virgin Mary. Domestikos. A titled or designated chanter. The Domestikos was usually the helper/assistant to the Protopsaltes (First Chanter or First Domestikos). His counterpart in the second choir would be the Lampadarios or the Second Domestikos. Doxastarion (pl. Doxastaria). A musical manuscript that contains doxologies for feasts, special occasions, and doxologies for the Triodion and the Pentecostarion. This MS was derived from the Doxastika anthologies found in the Sticherarion manuscript of Chrysaphes, which also had compositions by the composer Germanos (dating from the end of the seventeenth century to the beginning of the eighteenth century). The first independent musical Doxastarion MS originated around 1765–75 and was composed by Petros Peloponnesios. A few years later there was a second Doxastarion by Iakovos the Protopsaltes, dating to 1794 or 1795. These two Doxastaria are considered by some musicologists to be the most important musical manuscripts from the post-Byzantine era (ca. the second half of the eighteenth century). Doxastikon. A chant that always begins with ‘Glory to the Father, the Son and the Holy Spirit’ (Δόξα πατρὶ καὶ υἱῷ καὶ ἁγίῳ πνεύματι), also known as the Lesser Doxology. It usually follows another antiphon or troparion. For instance, an apostichon would be followed by the doxastikon of the apostichon; a sticheron by a doxastikon of the sticheron; or the ainoi hymns by a doxastikon of the ainoi, etc. Doxologia. A many-versed hymn that takes its name from the opening words of the Greater Doxology, which in Greek is ‘Glory to God in the highest’ (Δόξα ἐν ὑψίστοις Θεῷ). This doxology almost always finishes with the trisagion Ἅγιος ὁ Θεὸς, ἅγιος ἰσχυρὸς, ἅγιος ἀθάνατος. It is chanted in the Orthros service and usually follows the 11 Heothina hymns. This doxology also lends itself to antiphonal performance by two choirs because of its many verses. It was set by many composers in every possible mode, in simple and complex rhythmic modes, and for small and lesser and greater feast days in the liturgical rites. Dysikon (Δυσικόν). A programmatic title for melodies that perhaps originated in the West or had the character of sounding Western. Echemata (᾽Ηχήματα). Similar to a kratema, these melodic formulae consist of nonsense syllables (nenano, anana, xixi, etc.) interwoven within a kalophonic composition. The word ‘Echemata’ is also written as ‘Apechemata’. The Echemata are also used as intonation formulae to denote the mode of a particular chant and its starting pitch. Ecphonetic Notation. Dating ca. 950–1200, this is the earliest stage of Byzantine medieval notation that is derived from the prosodic signs and serves as a mnemonic guide for chanters.

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This notation does not denote clarity of diastematic movement. The Early Byzantine Notation that follows has several stages of development: Archaic or Palaeobyzantine, which encompasses several stages such as Esphigmenian, Chartres, Andreatic Notations, or varieties of these. Edone (Ἡδονὴ). The feeling of mystical pleasure and spiritual illumination said to be evoked by the chant ‘Theos Kyrios’. Eirmologion. See Heirmologion. Eirmologion melos. See Heirmologion melos. Eirmos. See Heirmos. Eisodika. Chants associated with the entrance of the Holy Gifts. Ekdoche (Ἐκδοχή). A term associated with and/or related to the Parallage, a modulation or transposition of the melody of a musical composition. HEothina. Morning Resurrection hymns found in the Orthros service for Sundays, always after the Lesser Doxology of the Ainoi. The hymns are quite lengthy and deal with Christ’s appearance after His resurrection. There are a total of 11 Heothina chants: one for each of the eight modes and three others in the modes of Plagal I, Plagal II and Plagal III, known as the Barys mode. The Heothina chants are categorized as a sticherarion melos, old and new. The text was believed to have been written by the Emperor Leon VI, the Wise. Epiphonemata (Ἐπιφωνήματα). Musical phrases, very liturgical and joyful, that tend to be repeated three, four or more times in a kalophonic composition, i.e., usually a kalophonic heirmos found in the Vespers or Orthros service. It is definitely a part of the Byzantine musical genres. In later years the epiphonemata have been found after the kratema of a kalophonic heirmos. In this placement, it tends to be a longer, repeated and a more kalophonic version than its predecessor. Eulogetaria. Special praise hymns sung on Saturdays and Sundays that replace the Kathisma hymn that usually follows the reading of the third stichologion. These hymns are in two categories: the Eulogetaria Nekrosima or Praise Hymns for the Dead, which are sung on Saturdays, and the Eulogetaria Anastasima, Praise Hymns of the Resurrection, which are sung on Sundays. Euphemesis (εὐφήμησις). The act of singing a greeting chant that was usually sung antiphonally by two choirs. By the fall of Byzantium, this chant was used as an acclamation to honour the ecclesiastical dignitaries. Euphemia. The name for greeting chants or acclamations. Evangelium (pl. Evangelia). Manuscripts containing sections from the four Gospels for the Liturgy and Offices and special occasions of the liturgical year. In addition, the specified readings for the Triodion and Pentecostal periods were included. The ecphonetic notation was used to intone the text in a recitation manner.

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Exaposteilarion. Any of a group of eleven hymns composed by Constantine Porphyrogenitus. The chosen hymn was sung immediately after the Kanon with Heirmos. Exegesis. An interpretation (hermeneia) or explanation of the older Byzantine melodies. The word ‘exegesis’ came into use around the end of the seventeenth century, especially by the composer Balasios. ‘Exegesis’ continued to be used throughout the eighteenth century, usually in reference to the interpretation of the older melodies by fourteenth- and fifteenthcentury composers. The term continued to be used by composers such as Petros Peloponnesios, Petros Byzantios, Georgios Kres and Gregorios Lampadarios, who applied the term to the new Byzantine notation (also known as Chrysanthine notation) that began around the year 1814 and has continued to the present. Another meaning for the word exegesis as it relates to Byzantine music is its reference to the transcription of the ‘new’ system of chant, which greatly altered, reformed and reduced the neumes of the medieval period. Professor Gregorios Stathis has given ‘exegesis’ another interpretation, using this term to refer to the problems of accurate transcription of the Byzantine diastematic notation onto the five-lined staff notation of the Western system. Exotereiki (Ἐξωτερικὴ). Music ‘outside’ the realm of Byzantine music. This is perceived as secular music but is also used for Western classical music. Heirmologion (pl. Heirmologia). This is among the oldest of musical manuscripts. It contains the heirmoi, or the odes of the kanons, for all the feasts of the liturgical year. The heirmoi are categorized according to modes. At the end of this manuscript are prosomoia (a type of chant), apolytikia, kathismata, antiphons and exaposteilaria. The Heirmologion has a very rich history, especially during the post-Byzantine years, during the time of the Ottoman occupation. From this period there are important titled heirmologia: one is the Heirmologion of Theophanes of Karykes (from the end of the sixteenth century); another the Heirmologion of Iosef (Joseph), the new Koukouzeles (at the beginning of the seventeenth century); the Heirmologion of Balasios (at the end of the seventeenth century); the Heirmologion of Petros Peloponnesios (ca. 1777); and lastly, the abbreviated Heirmologion of Petros Byzantios (dating from the end of the eighteenth century). Heirmologion melos. One of the three types of ecclesiastical melodies in the Byzantine rite: (1) Old Sticherarion, (2) New Sticherarion and (3) Heirmologion–Papadikon. The Heirmologion melos can be fast, slow–fast, or just slow. According to Chrysanthos the Great, in his treatise Mega Theoretikon, the best heirmologia melodies are found in the Heirmologion of Petros Byzantios. These heirmologia melodies are set to various melodies from troparia, apolytikia, anastasima, apostichous kathismata, hypakoe, antiphons, kanons, the odes, heirmoi, kontakia, megalynaria, exaposteilaria, the ainoi, the makarismoi, the doxologies, the katabasia and other types of chants. Heirmos. The opening stanza that sets the melodic and metric pattern of the Kanon and to which each of the consecutive stanzas of the Ode is sung.

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Heptaphonos (Ἑπτάφωνος ). A system of a seven-scale species based on the seven diatonic tones of a mode. If the first pitch was doubled it would produce the octave. This heptaphonos was described by Ptolemy and was transmitted to Antiquity and Byzantium. Hexapsalmos. The group of six psalms (Pss. 3, 37, 62, 87, 102 and 142) that are used in the introduction of Orthros. Hypakoe. A hymn of the Octoechos that has Palestinian origins. This hymn is very similar in manner to that of the Troparion in that it is a refrain of a strophic poetic chant that recurs between verses of the psalms. This hymn is found most often in the office of Orthros, where it occurs after the third ode of the Kanon. Hypostaseis. Also known as the Great Hypostases (Great Signs). These signs generally have no intervallic value but regulate expression, phrasing, ornaments, dynamics and rhythmical nuances of the music. For purposes of distinction, these signs were usually in red. Idiomela. Verses chanted to their own particular melody; they remain unique in that they do not serve as models for other chants. Intonation Formula. A melodic formula associated with one of the eight Byzantine modes that was chanted usually to meaningless syllables (a – na – ne – ha – gi – e). It was the custom that the intonation formula was intoned by the Protopsaltes as an introduction to the notated chant and would end with the starting pitch on which the choir(s) would begin. Ishmaelitikon (Ἰσμαηλίτικον). A kratema that has the character of or origins in a Hebrew melody. Kallopismos (Καλλωπισμός). A longer and more ornamented artistic composition and/or a newer composition derived from an older melody. The technique of kallopismos was prominent in the middle of the seventeenth century and later. Kalophonic Sticherarion. The Mathematarion (or lessons) of a Sticherarion manuscript or of a Sticherarion chant. Kalophonic Stichoi. Verses from psalms, chanted in an artistically embellished or kalophonic manner. These chants are usually found in the Papadike manuscript, specifically in the services of Vespers, Orthros and parts of the Divine Liturgy. The kalophonic verses originated in the Byzantine period and the height of the tradition was in the thirteenth to fifteenth centuries. The kalophonic verses are taken from very prominent psalm verses from Vespers with settings by composers such as Korones, Koukouzeles, Gennadios and Agchialos. Verses also come from the Orthros service and were set by the composers Kornelios the Monk, Korones and Konstantinos from Agchialos. There are also verses from the Polyeleos composed by Koukoumas. Kanon. A poetical genre of the Byzantine liturgy that was comprised of the biblical Odes and was used in the monastic service of Orthros. This genre was unknown to the Constantinopolitan Orthros. Each Ode of the Kanon was introduced by an heirmos, which served as a model stanza for the chanting of the Ode and was followed by the reading of Troparia.

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Kanon of the Octoechos. A diagram with the modes of the octoechos placed within the design. Kanstrisios (κανστρίσιος). The title of a dignitary helping in the Great Church of Christ. The person carrying this title has the function of taking care of the incense during the Divine Liturgy and also helping to dress the priest. Katabasia. The concluding heirmos or Ode of the Kanons. The name is derived from the two choirs as they descend from their stations in the church to come to the centre area while chanting the heirmoi. Katanyktika. Melodies in which the text deals with the theme of death. The term especially refers to the second coming of Christ or the book of Revelation in the Bible. The Katanyktika belong to the repertory of the Nekrosimon Akolouthia and are usually found near the end of an Akolouthia manuscript. Many of these compositions are comprised of 15-syllable verses; others are independent. The purpose of the Katanyktika was to open the soul of the deceased for penitence and mercy. The peak of the Katanyktika came during the fourteenth and fifteenth centuries. Kathisma. A monastic division of the Psalter derived from Palestine. In this division the 150 psalms of the Psalter are divided into 20 sections known as Kathismata; also, a hymn sung at the end of each Kathisma of the Psalter during Orthros. Kekragarion (pl. Kekragaria). A chant that takes its name from the Greek text Κύριε ἐκέκραξα πρὸς σὲ, ‘Lord I cry towards you’, from Psalm 140. These verses are chanted during the Vespers services and are classified according to the octoechos in the older manuscripts. In later centuries, the Kekragaria continue, but are found in the Anastasimatarion manuscript as opposed to the older Papadike manuscript. The more important Kekragaria from the Papadike manuscript were composed by John Damascene and these were referred to as the Great Kekragaria. Other composers of the older Papadike were Ioannes Glykes, Chrysaphes the New, Balasios (who was known for his σύντομα or quick Kekragaria), Antonios Hiereus (known for his abridged Kekragaria), Daniel Protopsaltes and Petros Byzantios. Some of these works are found in the Anastasimatarion of Petros Peloponnesios. Furthermore, Iakovos Protopsaltes is known for taking older versions of the Kekragaria and setting them in the manner of Kallopismos. Kinnyra (κιννύρα). A name for a kratema, usually composed by Manuel Chrysaphes. The Kinnyra probably mimicked the scales and sounds of an instrument known by the same name. Kontakarion. An older musical manuscript containing a collection of Kontakia, a poetical musical form from the ninth century that was categorized according to modes. The most famous example is the Akathistos hymn. Each Kontakion is comprised of 18–30 or more stanzas of similar structure. The stanza, identified as Troparion, can have three to 13 lines. The commonality of the troparia is that they are all based on the Heirmos or model stanza. The structure of the Kontakion is based on the Heirmos specifically composed for it or could be patterned on the poetic metre of another Heirmos from another Kontakion. The Troparion that commences the Kontakion is called the Prooimium or Koukoulion. The Prooimium and the Kontakion are joined together

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by the Ephymnion, a refrain. The initial letters of the stanzas of the Kontakion could form an acrostic or follow an abecedarian form. The older term for Kontakarion was Oikematarion. Kontakion (pl. Kontakia). A hymn of the octoechos that is placed at the end of the sixth Ode of the Kanon with the Heirmos or the preamble of a hymn that follows or is in contrast to the oikoi that follow. The melody of the Kontakion is different from that of the model Heirmos. An example of Kontakion would be the Akathistos hymn that has the famous Kontakion ‘Τῇ ὑπερμάχῳ’. It is followed by another 24 verses in abecedarian form (i.e., for each alphabetical letter the incipit of each oikoi is listed). Originally, the name Kontakion referred to the entire hymn, that is, including the Prooimion (preamble) and the oikoi that follow. The manuscript that contained the Kontakion was referred to as Oikematarion or Kontakarion. Kratema (pl. Kratemata). One of two classifications of Teretismata. One style was used to prolong the melody; in another style it could function as an independent musical selection. Both types are found in the Akolouthia/Papadike manuscripts. The Kratema, either as a prolonged melody or as an independent Byzantine composition, was set to a text of nonsense syllables, such as tototo, tororo, tititi, terirem, terrere, etc. The word ‘kratema’ comes from ‘krato’ (κρατῶ), which means to prolong or sustain. This refers to a kalophonic composition or mathemata (lessons) compositions. It can be found at any place in a composition: the beginning, middle, or end. Also, the echemata, with their nonsense syllables, are considered as part of the kratema. Around the late fourteenth and fifteenth centuries, the Papadike manuscripts had entire sections of kratemata (kalophonic compositions) near the end of the manuscript. These included compositions by Ioannes Koukouzeles, Ioannes Kladas and many others. This continued until the end of the sixteenth century, when the kratemata were considered ethnic (or ethnika) in character. By the seventeenth and eighteenth centuries, the newer kratemata supplemented the older kalophonic kratemata. The kratemata were composed as a relief from the austere, dogmatic compositions required by the Church. Kratemata can also be non-liturgical compositions, considered secular because instrumental music was imitated in the manner of scat singing (where instrumental sounds were made with vocalizations). This was a very popular form allowed by the church fathers, because it was considered part of glossolalia (speaking in tongues). These instrumental vocalizations were part of the Kalophonic or Beautified style of Byzantine chant, also known as teretismos from the sounds, te re re, to ro ro, etc. This music is programmatic, with descriptive titles. Some of the titles for kratemata are: Persian, semantron (elongated bell), nightingale, hammer-like, polemic, Bulgarian, orphan, almond, tetraphonos, sourlas (pipe instrument), trumpet, and klagge (κλαγγῆ) for an instrumental sound, bell, viola and many others. Kratematarion. The name of a music manuscript exclusively containing kratemata. The kratemata were classified according to the eight modes (octoechos). Originally, prior to the Kratematarion manuscript, kratemata were found in the Oikematarion, but by the end of the fifteenth century they could also be found in an independent manuscript such as the Kratematarion. This Kratematarion becomes even more enriched by the middle of the seventeenth century, with manuscripts that have wonderful selections that are considered secular examples as well as liturgical. Even though most of the Kratemataria manuscripts are notated in the Middle or Late Byzantine notation, there are a few examples in the new Chrysanthine notation.

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Lampadarios. A title for a chanter in a patriarchal cathedral. A Lampadarios is the main or head chanter of the left choir during the Byzantine Empire. In the post-Byzantine period, this chanter was simply referred to as the left chanter. Legetos (Λέγετος). A term referring to the Authentic Mode IV, in particular as it relates to the new Chrysanthine notation as the ‘Bou’. The name is derived from the echema Legetos, which translates ‘as stated’. Leitourgika. Literally, ‘liturgical’. The liturgical chants of the Divine Liturgy, the equivalent of the Western Mass. There are three common forms of the Divine Liturgy: that of St John Chrysostom, St Basil, and the Presanctified Gifts. The most popular of the chants are the Communion, Cherubic, Trisagia, and other hymns. These melodies were composed in any of the modes and in different styles by different composers from all periods. The word leitourgika can also refer to the chants of the lesser rites such as the Orthros, the Vespers and all other church services in which texts were sung. Maïstor. The Maïstor, Master, a title that was given to outstanding composers who were also master teachers of composition and in the instruction of chanting. The title of ‘The Maïstor’ was first exclusively associated with Ioannes Koukouzeles. Makarios Anir (Μάκαριος ἀνὴρ). The opening Greek words of Psalm 1 that is the first of three psalms (the others being Psalms 2 and 3) of the first Kathisma that is chanted in the Vespers service. Makarismoi. The original Greek version of the Western Beatitudes. The Makarismoi are troparia chanted in every Sunday liturgy. They are found in the Anastasimatarion (Resurrection hymns) section at the end of each mode. They are also found in the Nekrosimon (funeral) services. They are usually found with the words Μακάριοι οἱ πτωχοὶ τῷ πνεύματι, ‘Blessed are the poor in spirit’. Martyriae. The term for Byzantine modal signatures that were found usually at the beginning of a chant and also medially. These signatures served as the means of correcting or assuring the accuracy of the singing. Mathema. Literally from Greek to English, this word means ‘lesson’. In Byzantine chant, mathema refers to an interpretation of a melody from the Sticherarion or the Papadike manuscripts. It is usually a slow, artistic interpretation. The word ‘mathema’ was used from the fifteenth century in relation to chants that were already well known but were later interpreted in a slower and more artistic manner. Mathemata (miscellaneous). Miscellaneous examples of Byzantine music. Besides liturgical music, it also includes instrumental and ethnic music. The most important composer of this music, appearing around the eighteenth century, is Daniel Zacharias. Mathematarion. A musical manuscript containing the mathemata, or lessons. It can be categorized into two types: the Mathematarion of the Sticherarion and the Mathematarion of the Papadike. The first is popular and contains kalophonic sticheraria (very highly embellished

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stichera), anagrammatismoi for all the feasts and anagrammatismoi for the Triodion and Pentecost periods. The Mathematarion of the Sticherarion began to appear as an independent musical manuscript around the middle of the fifteenth century and continued during the postByzantine period. It was even written in the new Chrysanthine notation by Chourmouzios, who listed the chants according to the octoechos. The second Mathematarion is found in the Papadike and is not an independent manuscript. It is considered to be the second part of a Papadike manuscript. It contains chants of the Theotokia, Mathemata according to modes, and kalophonic Mathemata for all the feasts. This collection was also notated in the Chrysanthine notation, again by Chourmouzios (around 1819). Megalynaria. Interpolations in a pre-existing text and sometimes known as Encomia. More specifically, this term is identified with verses interpolated in Psalm 118, the Amomos, that related to the Virgin Mary because in the first stasis (of three) these verses commence with the word ‘Μεγαλύνομέν’, ‘Megalynomen’, the Magnificat. The word ἐγκώμια (encomia) more appropriately referred to verses commemorating the passion and burial of Christ. Megalynarion. A manuscript containing Megalynaria. Menologion. A classification for Byzantine manuscripts expanded to encompass several categories. Originally, it was limited to a listing of Orthodox calendar days for the feasts of Eastern saints/martyrs (equivalent to the Latin Church’s Martyrologium/Calendarium). The term was also used (or misused) to signify a service book arranged according to the Orthodox calendar (September–August). It became scriptural lessons arranged according to months and saints’ days in the Evangelia and Lectionaries. It was a hagiographic collection of the lives of saints of the Orthodox Church (comparable to the Western Acta Sanctorum). Lastly, it became synonymous with the Menaion, the 12-volume lectionaries of the Eastern Church, used as an Office book for services associated with saints’ feasts (Orthros and other services) that included synaxaries (acts of the saints) with or without designations for music (kanons, troparia) with modal signatures. Metagraphe (Μεταγραφή). A transcription in the Chrysanthine system of an old Byzantine melody from the medieval notation system to the newer Chrysanthine system. Metagraphe can also refer to a transcription from the diastematic neumes to the Western five-line staff notation. Metaphrase (Μετάφραση). Almost synonymous with ‘metagraphe’. Metaphrase usually means ‘interpretation’ but it can also mean transcription (translation) of an older melody written in the medieval notation system into either the Chrysanthine notation or a five-line staff system. Metrophonia (Μετροφωνία). A perplexing term whose meaning is still disputed. According to the medieval Byzantine interpretation, metrophonia was a melos based on the syllables of text and its metre of this text. Based on Chrysanthos and his followers, metrophonia was the chanting of a troparion or any Byzantine chant, interpreted exclusively according to the neumes given for the melody, without including the hypostases (the auxiliary signs that indicate subtle nuances of interpretation) and without the inclusion of theseis. In other words, metrophonia could also mean just the straight melody derived from the black neumes.

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Mourampas (Μουραμπὰς). An unknown musical term found in Byzantine manuscripts. It is thought that ‘mourampas’ was a word associated with a rhythmic drive that was borrowed from another language and inserted to add a rhythmical, textual beat within a melody. Its aim was to make the composition more joyful. Mouschali (Μουσχάλι). Found in kratemata, Mouschali is another word for the syrinx, a reed instrument. It is often referred to as the Mouschali of Ishmael (the Hebrew syrinx). Naia (Ναία Ἐθνικά ). New ethnic kratemata. Nana Mode. A reference to Authentic Mode III. The modal sign for ‘Nana’ was initially used as a medial signature. Nekrosimon Akolouthia. The order of services for the dead that are in several categories: for laymen, monks, priests, Christ and the Virgin Mary. In the Byzantine tradition of the funeral rite, the Amomos chant, Psalm 118 of the Septuagint psalter, was prominently featured in each of the versions. Nenanismaton. The chanting of obscure compound syllables that served as intonation formulae. The Nenano intonation was a derivative of Authentic Mode III and related to the Nana intonation formula. Nenano Mode. A derivative of Authentic Mode III; the term was also linked to a phthora (modulation sign) that was associated with chromaticism. New Method. A new musical Byzantine notation system of Byzantine music initiated in 1814 by Chrysanthos and his colleagues, Chourmouzios Chartophylax and Gregorios. It is still used today in Byzantine churches worldwide. This system was a reform that reduced, eliminated and in some interpretations destroyed the medieval Byzantine notation in order to make it a simpler system that could be read and interpreted by more chanters. The melismatic phthonggos was eliminated, so there are no multiple syllables within this system, rather only single syllables. The reduction of the older neumes resulted in a loss of interpretation. There was also a change in the notation of intervals and their precise measurement of the intervals. Octoechos. The eight modes of the Byzantine musical system. In manuscripts some of the chants are catalogued according to the eight-mode system. The terminology of the modes goes back to Antiquity. In early Byzantine manuscripts the names Dorian, Phrygian, Lydian, Mixolydian, Hypodorian, Hypophrygian, Hypolydian and Hypomixolydian are found, especially in the trochos of Ioannes Koukouzeles. Later the eight modes are identified as Authentic Mode I, Authentic Mode II, Authentic Mode III, Authentic Mode IV, Plagal Mode I, Plagal Mode II, Barys (Plagal Mode III) and Plagal Mode IV. Each mode is accompanied with a martyria (or modal signature) along with sets of formulae that represent this mode. Interestingly, each of the formulae have designated meaningless syllables associated with the intonation formulae of the eight modes (the intonation formula is an introductory modal formula sung by the precentor that precedes the chant and ends with the starting pitch of the melos). Some terms of this system were transmitted to the West: the use of nonsense syllables (noeane, etc.) was absorbed by Hucbald and possibly the melodic formulae.

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Odes. The first nine odes derived from the fourteen biblical canticles collected in the Septuagint Scriptures. These odes are recited during the Kanon of the Orthros. Oikematarion. A musical manuscript containing the oikoi (stanzas) of the Akathistos hymn. In the older form it was known as Kontakarion. There are two types of Oikemataria manuscripts: one that contains the various oikoi or model stanzas and the other the Oikematarion by Ioannes Kladas. The Oikematarion of the latter was hugely influential from the fifteenth century until the beginning of the nineteenth century. The oikoi of the Oikematarion are usually accompanied with a kratema for each echos or mode. Around the middle of the eighteenth century, a new Oikematarion was composed by Anastasios from Rapsanes. Kladas’ Oikematarion was transcribed into the New Method by Chourmouzios (in two volumes). Oikos (pl. oikoi). A term characteristic of all troparia. After the initial preamble of a hymn, 24 stanzas or oikoi usually follow. The structure of the oikos is similar to that of the Kontakion. The first letter of each stanza forms an acrostic or acronym. In other words, the initial letter of each incipit spells a word. If it is not an acrostic, an abecedarian may occur where the incipit of each verse is alphabetically arranged according to the Greek alphabet, as exemplified in the Akathistos hymn. Organikon. A kratema composition that uses nonsense syllables mimicking a musical instrument. The term can also mean ‘organ’, but organikon means any musical instrument in the Greek language. Orthros. The Byzantine office of Matins (combined with the Western counterpart of Lauds), which is preceded by the office of Mesonyktikon and followed by the Prime Hour. Papadike. (1) A musical manuscript from the Byzantine Empire that later will be referred to as the Anthologia (Anthology) of the Papadike. The Papadike had a large and lasting tradition extending past the Byzantine period and continuing mainly in the seventeenth and eighteenth centuries, and even further into the beginning of the nineteenth century. The Papadike usually has the following format and contents. It begins with the theory of the Byzantine musical canons referred to as the Psaltike Techne. Then follow the Akolouthia of Vespers (‘akolouthia’ meaning the service or its repertory), the Akolouthia of Orthros, the Akolouthia of the Divine Liturgy or Liturgies; next come the Theotokia, Mathemata, kalophonic Heirmoi, Kratemata. If it is a complete manuscript, it will also contain, near the end, the Nekrosimon Amomos. The origins of this format can be traced to Athens MS 2458, dated 1336 (one of the earliest Papadike manuscripts). The Anthologia replaced the Papadike by the second half of the eighteenth century. The Anthologia is a modern Papadike containing the recent compositions of contemporary composers. At the same time, it preserves exegeses of the older Byzantine melodies. The Anthologia of the old Papadike was rewritten by Chourmouzios (1818–19) in five volumes. The Anthologia of the New Papadike was notated in the new system by Gregorios (1816) in four volumes. (2) The ‘priestly’ manuscript, or the manuscript to be used by priests, was considered the handbook on the teaching of Byzantine music of the fourteenth and fifteenth centuries. The chanting textbook includes the discussion of the neumes divided into Bodies (σώματα) and Spirits (πνεύματα). It continues with the Great Hypostaseis, Modes, modal signatures and intonation formulae, Phthorai or modulation signs, Parallage, etc. After this introduction of the methodology, the musical repertory follows in a manner similar to the Akolouthia.

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A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece

Papadikon Melos. The third genre of Byzantine ecclesiastical music, the other two being the Sticherarion (Old and New) melos and the Heirmologion melos. The Papadike melos is incorporated in the Communion and Cherubic chants. It is also found in the Anoixantaria, Kekragaria, Dochai, Polyeleoi, Pasapnoaria, Asmatika, Oichoi, Megalynaria, Mathemata, Allelouiaria, Eisodika, Trisagia and Kratemata. In the newer Sticherarion, there are also some Papadike melodies: the doxologies, some verses of the Stichera, and the Makarios anir (Psalm 1). Parallage. Literally, ‘change’. In Byzantine music it has also come to mean ‘modulation’. Prior to 1814, parallage could be interpreted as a means of joining one tetrachord (genus) to another as a multi-syllable melody migrated (modulated). This movement of tetrachords was eventually designated by the phthorai (modulation signs for each mode). As the music continued to be transmitted from the oral tradition through the various stages of written notation, problems arose in interpreting the genera (types) of tetrachords (chromatic, diatonic or enharmonic). In addition there were increasing perplexities in the ascending and descending passages that travelled through various modes. With the development of the octoechos, modal signatures called martyria(e) were developed for each of the modes and were also used to identify tonalities in the middle of compositions. In the new Chrysanthine system, many reforms were initiated in the attempt to simplify the notation. Consequently, the neumes, their intervallic measurements and their many hypostaseis were reduced and/or changed and perhaps even corrupted. Moreover, this system only accommodated the various ascending and descending scales according to the diatonic and chromatic genera. In this newer notation system, Chrysanthos devised a solfège system of Pa, Bou, Ga, Di, etc. which was similar to the Western solfège system. Pasapnoaria. Musical settings of the text of the Pasa pnoe. Named from the verse Πᾶσα πνοὴ αἰνεσάτω τὸν Κύριον (verse 6 of Psalm 150 of the Septuagint version of the Bible), these are compositions according to the Papadike melos found in all modes. They are chanted in the Orthros (Morning) Service. They can also be found in a cycle of octoechos and in this case they are referred to as the Pasapnoaria of the Ainoi. Pasa Pnoe. The first two words of verse 6, the final verse of Psalm 150 of the Septuagint version. The musical setting of this text is chanted in the Orthros. Pentecostarion (pl. Pentecostaria). Named from the Sunday of Pentecost, this manuscript contains the Proper of the Offices from Easter Sunday to the Sunday of All Saints, that is the first Sunday after Pentecost. Pentecostos Psalmos. A chant derived from the verses of Psalm 50. Persikon. Another type of kratema. The name indicates Persian; either the kratema is in a Persian style or it originates from Persia. Phos Ilaron (Φῶς ἱλαρόν). The Evening Song of Vespers ‘Joyous Light of the Holy Glory’ that follows the Vespertine Psalms (Psalmi Lucernarii – Psalms 140, 141, 129, 116 of the Septuagint version).

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Photagogikon. A hymn that is substituted for one of the Exaposteilarion hymns during the season of Lent. Phthora (pl. Pthorai). A musical sign used from medieval times. There are several for each mode, found in the tetrachords of the various genera: chromatic, enharmonic and diatonic. Basically these signs are modulation signatures for the chromatic, enharmonic and diatonic tetrachords. They are found in melodies and signify the move from one genus or mode to another. The Phthora represents modulations. According to Chrysanthos in his Mega Theoretikon, there are a total of 16 phthorai: eight diatonic, five chromatic and three enharmonic. Politikoi Stichoi. Also known as the Constantinopolitan verses. They are characterized as verses that that each have 15 syllables. Polychronia. An acclamation and/or salutation in which one was greeted with chants that extended wishes for long life. Polyeleos. Refers to Psalms 134 and 135 (and the addition of Psalm 136 in newer versions) of the Septuagint version of the Bible, which are substituted for the XVII Kathisma on particular Sundays of the liturgical year. However, in some parts of Byzantium the Polyeleos followed the XVII Kathisma on all Sundays. The Polyeleos usually has verses ending with the doxology Δόξα, Καὶ νῦν. The musical setting could have the style of a slow mathema and in this interpretation the Polyeleos could be a Theotokion or an independent 15-syllable composition. The most common Polyeleos verses are the older ones, composed by Latrinos, Koukoumas, Petros Bereketes, Petros Peloponnesios and Ioannes Protopsaltes: Δοῦλοι Κύριον or Ἐξομολογεῖσθε τῷ Κυρίῳ. In more recent manuscripts, portions of the old melody are taken and applied to newer verses: Ἐπὶ τῶν ποταμῶν Βαβυλῶνος or Λόγον ἀγαθόν. Primikerios. An ecclesiastical title. The primikerios was in charge of other lesser title-holders of the church such as the readers and lesser celebrants. The Primikerios was also known to chant along with the Domestikos and the Protopsalte. Proëortia (προεόρτια). A celebration on the eve of the feast (such as the celebration of Christmas eve). Prokeimenon. A chant that exists in each of the eight tones with verses drawn from the Psalms and sometimes the biblical Odes. This chant is sung in a solemn manner and usually precedes the reading of the lessons; however, it can stand alone. The Prokeimenon corresponds to the Roman ‘responsorium’ and is almost always placed before the readings of a biblical text so that it can be chanted in the manner of a response. In the office of Orthros, the Prokeimenon always precedes the Gospel reading. Prooemium. Also known as a Kontakion, this was the text and music of the introductory strophe that was followed by stanzas referred to as οikoi. A famous Prooemium is the beginning of the Kontakion, the Akathistos Hymn, a stanza with some repetitions or varied similarities.

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A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece

Prosomoia. Chants sung according to the pre-existing melodies and metric patterns of other troparia or Byzantine automela. The automelos consists of the initial melody and metre of the Prosomoion model, in effect a contrafactum in Western terminology. Protheoria. An abridged introduction of the theoretical canons of the Papadike. It is found in most of the Papadike manuscripts and later in many of the Anastasimatarion manuscripts of Chrysaphes the New in which he gives the most basic principles of the theories of the Psaltike Techne (technique of chanting). Protopsaltes. Literally, the ‘first chanter’, who stood in front and between the two choirs (the right and the left). His function was to direct the choirs through the art of cheironomia (the art of conducting the solfège with hand signs) and to initiate the chanting before the choirs joined in the singing. Psaltike Techne. Methodology of the pedagogy of chanting; a type of singer’s instructional manual. Rhythmical Podes (Πόδες Ρυθμικοί). Literally, ‘metrical feet’; the occasional vertical lines found in some later manuscripts. These are vertical lines, either in twos or in threes. Two lines indicate the downbeat, succeeded by three lines for the lesser beat. These lines indicated the thesis followed by the arsis. Sakellios (Σακέλλιος). An ecclesiastical title given most often to a priest, sometimes a deacon. The responsibility of the Sakellios was manifold. He conducted services at nunneries and in the jail cells of the bishopric; he also oversaw, in general, the clerics of the ecclesiastical diocese of his district. Semadia. Literally ‘signs’; the word for neumes in Byzantine terminology. The semadia are the symbolic musical characters of the melody. They are stenographic and represent diastematic intervals. The shapes of the neumes were derived from the prosodic accents of Ancient and New Testament Greek. Semantron (small and large). A title for a kratema. The semantron was a long, linear wooden bell found in monasteries. The length of the semantron determined its name, whether small or large. It was known to have the sound of a bell. Kratemata that imitated this bell sound with instrumental, non-verbal syllables became known as the semantron. Stasis (pl. Staseis). A placement or division within a musical composition. It is used as a further subdivision of the 20 Kathismata into 60 such ‘stations’, containing anywhere from one to five psalms in a composition. More precisely, the term can be interpreted in two ways: first, as a placement of a specific chant, i.e., the Cherubic, in which this placement refers to the listing of cherubic chants according to modes and where each mode is considered a stasis. Second, it can mean a division of a composition such as the Polyeleos, which is traditionally comprised of two psalms, 134 and 135. Hence, the first stasis is comprised of Psalm 134 and the second stasis of Psalm 135. The Amomos chant (Ps. 118), because of its length, is divided into three staseis.

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Staurotheotokion (pl. Staurotheotokia). A Troparion in honour of the Theotokos (Virgin Mary) at the cross that was inserted between the odes of a Kanon. Sticherarion. The Sticherarion is among the oldest manuscript books of music and falls chronologically after the Kanons in the Kontakarion and the Evangelium. It contains the musical settings of stichera (verses) of feasts for the Orthros and Vespers services arranged in the cycle of the liturgical calendar from 1 September to 31 August. It then continues with the Triodion and Pentecostarion sections with the movable feasts for Lent through Easter to the Sunday of All Saints. It can also include Heothina hymns and other types of stichera. Consequently, the Sticherarion is traditionally in two parts: the sticherarion proper with feast days of the liturgical calendar and the sticherarion of the Triodion and Pentecostarion. The composers of the older Sticheraria are anonymous. There have been several types of Sticheraria manuscripts. The Mathematarion (lessons) of the Sticherarion, known as the kalophonic sticherarion, is the embellished version, where the lessons and the anagrammatismoi of the verses are interpreted. This kalophonic sticherarion has been attributed to Manuel Chrysaphes. Newer Sticheraria of the mid-seventeenth century have been written by Chrysaphes the New and Germanos of New Patras . There is also a Sticherarion based on the older manuscripts written in the new Chrysanthine system by Gregorios. The newer manuscripts, Anastasimatarion and Doxastarion, have continued the tradition of the older Sticherarion. Sticherarion Melos. According to Chrysanthos’s Mega Theoretikon, this is the third type of Byzantine church melodies. The other two types are the Papadikon and the Heirmologikon. The Sticherarion melodies are categorized as old and new. The old melos can be found in the old Sticherarion manuscript, the old Anastasimatarion manuscript and the Doxastarion manuscript of Iakovos Protopsaltes. The categories of chants that make use of the old sticherarion melos are the following: Doxastika, the regular Stichera, Anastasima, Anoi, Idiomela, Prosomoia and Heothina. The newer Sticherarion melos is more prominently displayed in the Anastasimatarion of Petros Peloponnesios. This newer Sticherarion melos can be found in the more recent settings of the following: Doxastika, Stichera verses, Anastasima, Exaposteilaria, Anoi, Prosomoia, Idiomela, Kathismata, Heothina, Antiphons and Eisodika. Sticheron (pl. Stichera). A generic term for verses sung in the Akolouthia of Vespers and the Akolouthia of Orthros. It can also refer to verses of any chanted melody. Stichologia. The chanting as well as reading of the verses of the Psalms. The term is often synonymous with Kathismata. This reading of psalms is usually succeeded by the chanting of a troparion or some similar hymn. Syntmesis (σύντμησις). An abridged melody taken from the older and slower melodies. This shortened melody is the basis of the seventeenth-century music comprising the new Sticherarion and Heirmologion meloi. Syrinx. An instrument with reed pipes. Additionally, this term refers to a kratema that mimics the sound of this instrument. Syrinx has also been linked with the kratema of Ishmael.

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A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece

Terentismata (τερεντίσματα). Also known as Teretismata. Meaningless syllables that begin with one of two consonants: τ (ταῦ), representing the Trinity, and ρ (ῥῶ), representing God the Father. In function the terentismata prolong the melismatic melody or separated phrases. A typical text would be this: τερερεμ. Terentizonta. The act of chanting the teretismata. Tererem. Literally the nonsensical, wordless syllables te–re–rem (τε-ρε-ρεμ) known as the terentismata that were found in the kalophonic tradition and were used for a coloratura type of chanting and even to display instrumental vocalizations. The use of the consonants tau and rho were symbolic: the tau in the Byzantine numbering system was equivalent to the number 300, symbolic of the Trinity, and the letter rho stood for the root or source, which is God the Father. Timiotera (τιμιωτέρα). A hymn for the Virgin Mary that always begins with the phrase, Τὴν τιμιωτέραν τῶν Χερουβὶμ. This chant is sung in the ninth ode of the Katabasia. Theoretikon. The Greek word for musical treatise. It is also synonymous with enchiridion. Sometimes the word ‘manuscript’ is used for treatise as well. It mainly refers to musical theoretical writings regarding Byzantine music. Theotokion. In general, a hymn to the Mother of God that exists in each of the eight modes. The hymn usually occurs at the conclusion of a psalm with troparia. Theseis. The melos of a chant based on the tetrachords of the trochos. Theseis are small musical phrases taken from the main groups of the melodies of a composition. Their types are categorized according to genre: Sticherarion, Papadike and Heirmologion. Theseis provide the main inspiration or the principal melodic substance of a liturgical composition. They can be found in the Sticherarion manuscript as a simple setting. Though there are theseis in the Sticherarion, some are comprised of many newer theseis or musical phrases, almost like formulae, but longer. The Sticherarion manuscript composed by Germanos of New Patras at the end of the eighteenth century is the summation of the components of theseis for the Sticherarion genre. Tonizo (τονίζω). A Byzantine term for the notated musical transcriptions of orally transmitted melodies or the notations of prohibited melodies, not traditionally written by scribes. Tree of Parallage by Koukouzeles. The parallage tree is attributed to Ioannes Koukouzeles. This is a diagram of a tree that indicates in its four sections the eight modes of the ochtoechos (four authentic and four plagal) with their parallage, that is their modal relationships, and how one mode modulates to another closely related mode. Triadika (Τριαδικά). A troparion generally referred to as Agia Triada (The Holy Trinity). The Agia Triada is most often chanted in the Orthros service, but it can also be sung after a reading from the Psalter. This chant is part of the octoechos and is sung according to the tone of the week. It has been found in later sources, particularly in the compositions of Petros Peloponnesios. The following is a common text: Ἄξιόν ἐστιν ὡς ἀληθῶς τὴν ὑπέρθεον ὑμνεῖν Τριάδα.

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Triodion (pl. Triodia). The name is derived from the reduction of three odes in Kanons. Specifically, this manuscript contains settings for the movable feasts in the Offices for the ten weeks leading to Easter – from the Sunday of the Pharisee and Publican up to and including Holy Saturday. Trisagion. Literally, ‘Thrice Holy’. The Ἅγιος ὁ Θεὸς, ἅγιος ἰσχυρὸς, ἅγιος ἀθάνατος, ἐλέησον ἡμᾶς (‘Holy God, Holy and Mighty, Holy and Immortal, have mercy upon us’) chant, which is read in the Liturgy before the Prokeimenon, in Orthros at the end of the Great Doxology, and in almost every office as part of the short petitions preceding the Lord’s Prayer. The text is chanted three times in three parts. Today it is found in the Orthros service at the end of the Doxology. It can also be chanted in the liturgy as the Asmatikon Trisagion, before the readings of the Apostles (i.e., Acts or Epistles) and the Gospels, and in the Nekrosimon Akolouthia. Trochos (τροχὸς) by Koukouzeles. A pedagogical diagram representing a large wheel in the centre and pinnacles with smaller wheels in the four corners, attributed to Ioannes Koukouzeles. These wheels represented the four Authentic modes joined to their respective Plagal modes and their various relationships with other modes. More specifically, these circles of modes indicate the tetrachord associations and modulation potential of the modes of the octoechos. Troparion. A strophic poetic chant that reoccurs between verses of the psalms. This chant is often referred to as an apolytikion; in this case, it refers specifically to the final troparion of each office after the Trisagion. The troparion chant is very similar in manner to the Palestinian ‘hypakoe’, the Chaldean ‘onita’, and most likely the Roman ‘antiphon’. This term is also used to refer to the verses of the Kanon and perhaps to other particular pieces. Typikon (pl. Typika). The proper ritual in which verses are to be chanted. For instance, in some Lenten periods joyful verses are substituted for verses not as jubilant. Also, the typika are service books that give instructions for most rituals of the Byzantine church and its liturgical calendar. Xyma (χύμα). A text without melody. In the medieval Byzantine period, all liturgical texts were chanted, whether in recitation tones or with melodies known through oral transmission or melodies that were notated. In the post-Byzantine period and afterwards, many of these texts were simply read without their original melodies.

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Touliatos (Touliatos-Banker; Touliatos-Miles), D., ‘The Application of “Chant sur le livre” to Byzantine Chant: An Examination of Polyphony in Byzantine Chant’, Acta Musicae Byzantinae, 6 (2003), 43–9. —— The Byzantine Amomos Chant of the 14th and 15th Centuries (Thessaloniki, 1984). —— ‘Byzantine Chant Repertory Recovered: The Sources in the National Library of Greece in Athens’, Manuscripta, 38/2 (1994), 171–86. —— ‘Byzantine Dance in Secular and Sacred Spaces’, Archaiologia: The Dance in Byzantium’ (June 2004), 29–36. [MS 2406] —— ‘The Byzantine Orthros’, Byzantina, 9 (1977), 325–83. —— ‘The “Chanted” Vespers Service’, Kleironomia, 8 (1976), 107–26. —— “Ἡ πρακτικὴ ἐκτέλεσης τῆς Βυζαντινῆς Μουσικῆς”, Melurgia: Studies in Eastern Music, 1 (2008), 332–41. —— ‘Ioannes Plousiadenos: The Man, his Music, and his Musical Treatise’, Thesaurismata, 28 (1998), 79–91. —— ‘Kassia’, in Historical Anthology of Music by Women, ed. James Briscoe (Bloomington, Ind., 1987), pp. 1–5. —— ‘Kassia’, in New Historical Anthology of Music by Women, ed. James Briscoe (Bloomington, Ind., 2004), pp. 6–13. —— ‘Kassia (c. 810–c. 843–867)’, in Women Composers: Music through the Ages, ed. Martha Furman Schleifer and Sylvia Glickman, i (New York, 1996), pp. 1–24. —— ‘Medieval Balkan Music and Ioannes Koukouzeles’, Kleironomia, 17 (1985), 377–82. —— ‘Nonsense Syllables in the Music of the Ancient Greek and Byzantine Traditions’, Journal of Musicology, 7 (1989), 231–43. —— ‘The Performance Practice of Byzantine-Kephallonian Chant’, Ὀδυσσεῖα (2001), 75–9. —— ‘Secular Music of Byzantium’, New Grove Dictionary of Music and Musicians, 2nd edn, ed. S. Sadie and J. Tyrrell (London, 2001), iv. 756–7. —— ‘Selected Melodic Formulae of the Standard 19th-Century Amomos as Traced from Early 15th-Century Thessalonian and Constantinopolitan Sources’, Jahrbuch Österreichischen Byzantinisk, 32/7 (1982), 75–84. —— ‘The Three Types of Amomos Chant’, in Actes du XVe Congrès International d’Études Byzantines, ii (Athens, 1976; published 1981), pp. 1011–26. —— ‘Women Composers of Medieval Byzantine Chant’, College Music Symposium, 24/1 (1984), 62– 80. Trempelas, P. N., Ἐκλογὴ ἑλληνικῆς ὀρθοδόξου ὑμνογραφίας (Athens, 1949).

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—— Μικρὸν Εὐχολόγιον, vol. 2 (Athens, 1955). Troelsgård, C., ‘The Development of a Didactic Poem: Some Remarks on the Ἴσον, ὀλίγον, ὀξεῖα by Ioannes Glykys’, in Byzantine Chant: Tradition and Reform, ed. Christian Troelsgård, Monographs of the Danish Institute at Athens, 2 (1997), pp. 69–85. Vamvoudakis, E. G., ‘Τὰ ἐν τῇ Βυζαντινῇ μουσικῇ “κρατήματα”’, Ἐπετηρὶς Ἑταιρείας Βυζαντινῶν Σπουδῶν, 10 (1933), 353–61. Velimirović, M., ‘The Bulgarian Musical Pieces in Byzantine Manuscripts’, Report of the Eleventh Congress, Copenhagen, 1972, vol. 2 (Copenhagen, 1972), pp. 790–6. —— ‘Byzantine Composers in MS. Athens 2406’, in Essays Presented to Egon Wellesz, ed. Jack Westrup (Oxford, 1966), pp. 7–18. —— ‘Liturgical Drama in Byzantium and Russia’, Dumbarton Oaks Papers, 16 (1962), 351–85. —— ‘The Musical Works of Theoleptos, Metropolitan of Philadelphia’, in Studies in Eastern Chant, 2, ed. Miloš Velimirović (1971), pp. 155–9. —— ‘“Persian Music” in Byzantium?’, in Studies in Eastern Chant, 3, ed. Miloš Velimirović (1973), pp. 179–81. —— ‘Two Composers of Byzantine Music: John Vatatzes and John Laskaris’, in Jan LaRue (ed.), Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese (New York, 1966), pp. 318–31. —— ‘Unknown Stichera for the Feast of Athanasios’, in Studies in Eastern Chant, 1, ed. Egon Wellesz and Miloš Velimirović (1966), pp. 108–29. Wellesz, E., ‘The Akathistos Hymn’, in Monumenta Musicae Byzantinae, 9; Transcripta (1957). —— History of Byzantine Music and Hymnography (Oxford, 1961). —— ‘Kontakion and Kanon’, in Atti del Congresso internazionale di musica sacra (Rome, 1952), pp. 131–3. Werner, E., ‘The Psalmodic Formula Neannoe and its Origins’, Musical Quarterly, 28 (1942), 93–9. Williams, E. V., ‘A Byzantine Ars Nova: The Fourteenth-Century Reforms of John Koukouzeles in the Chanting of Great Vespers’, in Aspects of the Balkan Continuity and Change (Contributions to the International Balkan Conference held at UCLA, 23–8, October 1969) (The Hague, 1972), pp. 211–29. —— ‘John Koukouzeles’ Reform of Byzantine Chanting for Great Vespers in the Fourteenth Century’ (Ph.D. diss., Yale University, 1968). —— ‘The Kalophonic Tradition and Chants for the Polyeleos Psalm 134’, in Studies in Eastern Chant, 4, ed. M. Velimirović (1979), pp. 228–41. —— ‘The Treatment of Text in the Kalophonic Chanting of Psalm 2’, Studies in Eastern Chant, 2, ed. M. Velimirović (1971), pp. 173-93.

Index

Ἀβασιώτης (Βασιώτης) [Νικόλαος] - Abasiotos; Avasiotes; Vasiotes 249, 358 Ἀγάθων μοναχὸς, ὁ Κορώνης – Agathonos , Agathon, the monk, Korones 65, 105, 266, 322, 377, 395, 396, 398, 403, 405, 514, 516, 517 Ἀγαλλιανός, Ἀλέξιος ἱερεὺς ὁ Ἀγάλων - Agallianos, Alexios 393 Ἀγαλλιανός (Μανουὴλ Ἀγαλλιανός, Δομέστικος) – Agallianos, Manuel 63, 64, 81, 216, 263, 264, 266, 317, 318, 319, 321, 322, 326, 340, 341, 342, 343, 344, 347, 348, 377, 392, 393, 395, 396, 397, 401, 405, 474, 515, 517 Ἁγιοπολίτης – Hagiopolites 4, 11, 29, 106, 174, 177, 179, 614 Ἀθανάσιος Ἀνδριανουπόλεως (Ἀθανάσιος πατριάρχης Κωνσταντινουπόλεως) – Athanasios Adrianoupoleos/ Athanasios of Adrianople; Athanasios the Patriarch 130, 266, 382, 576 Ἀθανάσιος ἐκ Τορνόβου (Ἀθανάσιος πατριάρχης Κωνσταντινουπόλεως) – Athanasios Tornovos 565, 563 Ἀθανάσιος Ἰβηρίτης μοναχός – Athanasios of Iviron 265, 267 Ἀθανάσιος ἱεροδιάκονος, Κύπριος – Athanasios, Priest-Deacon of Cyprus 326, 560, 561, 568 Ἀθανάσιος ἱερομόναχος – Athanasios Priest-Monk 64, 140, 183, 316, 322, 474, 576 Ἀθανάσιος μοναχὸς ἁγιορείτης – Athanasios, the Athonite monk 354 Ἀθανάσιος πατριάρχης Ἱεροσολύμων – Athanasios, the Patriarch 184, 345, 382 Ἀκάκιος ἱερομόναχος Γαλατζιάνος Ἰβηρίτης Χαλκεόπουλος – Akakios Chalkeopoulos 5, 104, 105, 114, 121, 171, 582, 611, See plate section Ἀλέξιος ἱερεὺς ὁ Ἀγάλων – Alexios the Priest (See Ἀγαλλιανός, Ἀλέξιος) Ἀλμυριώτης (Λέων Ἀλμυριώτης) – Almyriotes, Kyr Leon 332, 356, 378, 379, 410 Ἀμπελοκηπιώτης ἱερεὺς, Μανουὴλ – Ambelokipiotes Hiereus, Manuel 28, 263, 348, 354, 476

Ἀνανεώτης (Μιχαὴλ Ἀνεώτης) or Ἀνεώτης – Aneotes or Ananeotes, Michael 63, 125, 264, 322, 326, 338, 343, 344, 348, 356, 396, 397, 457 Ἀναπαρδᾶς – Anapardas 37, 348, 356 Ἀναστάσιος – Anastasios 289, 300 Ἀναστάσιος ἐκ Μεσολόγγιον – Anastasios from Messolonghi 167 Ἀναστάσιος Προικοννήσιος – Anastasios Proikonesios 167 Ἀναστάσιος Ραψανιώτης (Λαρισαῖος, ἐκ Λαρίσης) – Anastasios Rapsaniotes, Anastasios from Rapsanes, Anastasios from Larises, Anastasios from Larissa 116, 186, 197, 274, 289, 290, 362, 368, 370, 576, 603 Ἀνατόλιος μοναχὸς ἁγιορείτης – Anatolios (Mt Athos monk) 4, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 28, 29, 31, 32, 319, 341, 361 Ἀνατόλιος πατριάρχης – Anatolios, the Patriarch 188, 591 Ἀνδρέας – Andreas 12, 24, 64, 123, 171, 234, 264, 318, 325, 341, 342, 343, 393, 395, 396, 397, 398, 402, 403, 404, 410 Ἀνδρέας ἱερεὺς Μοροντζανέττης – Andreas Priest of Morontzanettes 170, 171 Ἀνδρέας Ἱεροσολύμων – Andrew (Andreas) of Jerusalem; Andrew Hierosolymites 12, 13, 14, 15, 17, 18, 19, 20, 21, 22, 24, 26, 29, 31, 32, 361 Ἀνδρέας Κρίτης – Andreas of Crete 12, 18, 19, 29 Ἀνδρέας Πηρός – Andreas Pyros 4, 11, 13, 14, 15, 16, 22, 25, 26, 27, 29, 31, 32, 42 Ἀνδρέας Σιγηρός, Δομέστικος – Andreas Sigeres, Andreas Sigeros 65, 266, 319, 321, 325, 343, 346, 347, 377, 378, 411, 514, 515, 517, 571, 573 Ἀνδρέας Στελλός, Δομέστικος Πατρῶν – Andreas Stellos from Cyprus, Domestikos of Patras 320, 334, 346, 347, 359, 392, 393, 396, 397, 398, 402, 403, 404, 476 Ἀνδρειωμένος – Andreiomenos 87, 245, 250, 235, 236, 330, 358, 398

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A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece

Ἀνδρειωμένος Λαοσυνάκτης – Andreiomenos of Laosynaktos 245, 246 Ἀνδρόνικος – Andronikos 351, 353, 358 Ἄνθιμος – Anthimos 159 Ἄνθιμος ἁγιορείτης (ἱερομόναχος, ἡγούμενος, δομέστικος τῆς Λαύρας, ἡγούμενος Λαύρας ἐν τῷ Ἄθῳ); Ἄνθιμος «Ἀνθεμίου» Λαυριώτης – Anthimos Hieromonachos 267, 571, 573 Ἄνθιμος Γανοχορείτης – Anthimos Ganochorites 552, 553 Ἀντώνιος, δομέστικος Σερραῖος – Antonios, Domestikos of Serres 354 Ἀντώνιος Ἐπισκοπόπουλος, Πρωτοψάλτης Κυδωνίας – Antonios Episkopopoulos 5, 170, 171 Ἀντώνιος ἱερεὺς – Antonios Priest 118, 129, 146, 158, 180, 266, 267, 290, 300, 429, 433, 576, 598 Ἀντώνιος ἱερεὺς Βυζάντιος – Antonios Priest of Byzantium 265 Ἀντώνιος ἱερεὺς καὶ οἰκονόμος τῆς Μεγάλης Ἐκκλησίας – Antonios Hiereus and Oikonomos of the Great Church [Oeconomus] 59, 118, 129, 183, 186, 197, 274, 275, 281, 282, 285, 289, 290, 300, 429, 430, 598 Ἀντώνιος Κάλλιστος – Antonios Kallistos 410 Ἀντώνιος Νικολαΐδης – Antonios Nikolaides 543, 544 Ἀντώνιος ἐκ Σερρῶν – Antonios from Serres 353, 354 Ἀπόστολος Κώνστας Χῖος (Κρυστάλλας) – Apostolos Konstas; Apostolos Konstas of Chios 5, 200, 203, 204, 205, 206, 207, 208, 209, 210, 211, 611, See plate section Ἀργυρόπουλος (see Μανουὴλ Ἀργυρόπουλος, Μαΐστωρ) – Manuel Argyropoulos, Maistor 65, 71, 124, 266, 354, 458, 515, 517 Ἀργυρὸς (Ἀργυρόπουλος Ρόδιος) – Argyros from Rhodes 64, 65 Ἀρσένιος – Arsenios 4, 15, 22, 23, 29, 183, 185, 267, 268, 361 Ἀρσένιος ἱερομόναχος ὁ μικρὸς (ἐπίσκοπος Κυδωνιῶν) (see Βατοπεδηνός, διδάσκαλος); Arsenios Kydonias; Arsenios the Younger, Priest-Monk; Arsenios the Lesser 103, 183, 185, 266, 268, 462, 463, 522, 523, 524, 525, 560, 561, 564, 565 Ἀρσένιος μοναχός – Arsenios, the Monk 564, 565 Ἀχλάδης, μοναχός – Achlades, the Monk 347 Ἀχραδίος μοναχός – Achradios, the Monk 403

Βαλάσιος (See Μπαλάσιος ἱερεὺς καὶ νομοφύλαξ) – Balasios, Hiereus Βαρθολομαῖος ἱεροδιάκονος μόναχος, Δομέστικος Λαύρας – Bartholomaios Hierodiakonos 40, 274 Βασίλειος – Basileos 317 Βασίλειος Βατάτζης – Basileos Vatatzes 3, 64 Βασίλειος ὁ Βυζάντιος – Basileos, the Byzantios 438, 439 Βασίλειος Σελευκίας– Basileios Seleukos (Seleukios) 14, 29 Βασίλειος Στεφάνου [Στεφανίδης] (ὁ Βυζάντιος) (ἐξ Ἀθηνῶν) – Basileios Stephanos [or Stephanides] 362, 438, 439 Βασιλεύς (see Ἰωάννης ὁ Βατάτζης) – Ioannes Basileos from Vatatzes 321, 343, 377, 396, 517, 617 Βασιλικός – Basilikos 410 Βασιώτης (Ἀβασιώτης) 410 Βατάτζης – Vatatzes 515, 517 Βατοπεδινός – Vatopedinos 348, 382, 543, 544 Βενέδικτος Ἐπισκοπόπουλος – Benedictus Episcopopoulos 5, 168, 169, 170, 171 Βλατηρός (see Μανουὴλ Βλατηρός) – Vlatyros, Manuel 266, 267 Βλεμμύδης – Blemmides 105 Βυζάντιος – Byzantios 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 29, 31, 32, 34, 361 Βυζάντιος, Πέτρος – Petros Byzantios 4, 49, 210, 574, 576, 596, 598 Caussinus, V. 165, 628 Γαβαλᾶς, Δομέστικος Θεσσαλονίκης (see Φίλιππος Γαβαλᾶς) – Gavalas, Domestikos of Thessalonika 340, 360 Γαβριὴλ ἐπίσκοπος Ἱερισσοῦ – Gabriel Bishop of Hierissos 267 Γαβριὴλ ἱερομόναχος – Gabriel Priest-Monk 4, 45, 138, 178, 179, 266, 301, 315, 571, 573, 612 Γαβριὴλ ἱερομόναχος ἐξ Ἀγχιάλου – Gabriel PriestMonk from Agchialos 570, 572 Γαβριὴλ ἱερομόναχος ὁ Μακεδών – Gabriel Hieromonachos of Macedonia 434, 435 Γαβριὴλ ἱερομόναχος, φιλόσοφος τῶν Ξανθοπούλων, ὁ θαυμαστὸς καὶ γλυκύτατος – Gabriel, Hieromonachos from Xanthopoulos 95, 178, 179, 264, 349, 405 Γαζῆς (see Μανουὴλ Γαζῆς) – Gazes [Manuel] 63, 82, 83, 149, 150, 183, 185, 198, 209, 267, 274, 277, 278, 279, 285, 289, 300, 301, 305, 306, 315, 325, 326, 330, 331, 332, 333, 334, 336,

Index 381, 458, 462, 463, 571, 573, 575, See plate section Γαυρᾶς (see Κωνσταντῖνος Γαυρᾶς ἱερεύς) – Constantine Gavras, the Priest 343 Γεννάδιος [Κύρ] – Gennadios 265, 597 Γεννάδιος ὁ ἐξ Ἀγχιάλου – Gennadios from Agchialos 58, 519 Γεράσιμος [Κύρ] – Gerasimos 266 Γεράσιμος ἱερομόναχος – Gerasimos Hieromonachos 248, 266, 326, 356, 357, 358, 360, 378 Γεράσιμος ἱερομόναχος Ξανθόπουλος – Gerasimos Hieromonachos of Xanthopoulos 248, 268, 396 Γεράσιμος ἱερομόναχος Παλαμᾶς – Gerasimos Hieromonachos Palamas 82 Γεράσιμος ἱερομόναχος Χαλκεόπουλος – Gerasimos Hieromonachos Chalkeopoulos 137, 145, 332, 348, 352, 476 Γεράσιμος Κρασσᾶς – Gerasimos Krasas 398 Γερμανός – Germanos 4, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 22, 23, 24, 28, 31, 79, 80, 137, 185, 361, 404, 481, 594 Γερμανὸς ἀρχιερεύς, Νέων Πατρῶν (ὁ νέος μελῳδός) – Germanos, the Archon Priest 103, 289 Γερμανὸς ἱερομόναχος, Ὀλυμπιώτης – Germanos Hieromonachos from Olympus 281, 282, 285, 286 Γερμανός μοναχός – Germanos the Monk 410 Γερμανός Νέων Πατρῶν – Germanos of New Patras; Germanos, Bishop of Patras; Germanos, the Archon Priest of New Patras 6, 29, 45, 61, 147, 181, 182, 183, 184, 185, 190, 191, 197, 199, 216, 265, 266, 267, 268, 276, 283, 289, 290, 291, 293, 300, 374, 375, 381, 382, 389, 440, 456, 464, 465, 468, 470, 471, 472, 473, 487, 488, 501, 502, 538, 540, 545, 547, 559, 564, 566, 567, 576, 584, 594, 607, 608, 614 Γερμανὸς πατριάρχης, Κωνσταντινουπόλεως – Germanos, Patriarch of Constantinople 11, 13, 16, 19, 20, 23, 24, 29, 31, 32, 46, 66, 345, 378, 391, 396, 403, 404, 406 Γεώργιος Ἀργυρόπουλος – Georgios Argyropoulos 49 Γεώργιος ἐξ ᾽ Ἀθηνῶν – Georgios from Αthens 266, 267 Γεώργιος Κοντοπετρῆς, Δομέστικος (see Κοντοπετρῆς) - Georgios Kontopetris, Domestikos 35, 64, 65, 124, 125, 206, 232, 233, 234, 244, 245, 246, 248, 249, 250, 263, 316, 319, 322, 340, 341, 343, 346, 349, 352, 356, 358, 359, 362, 377, 379, 395, 396, 400,

621

403, 405, 406, 410, 411, 445, 449, 452, 474, 476, 514, 517 Γεώργιος Κρής – Georgios Kres [Kretikos], the Cretan 102, 210, 218, 302, 303, 304, 364, 536, 537, 552, 553, 596 Γεώργιος Λέσβιος – Georgios of Lesbos 552, 553 Γεώργιος Μοσχιανός [ Μοριανὸς], δομέστικος – Georgios Moschianos, Domestikos 348, 359, 476 Γεώργιος Μπέτσος Καστοριανός – Georgios Betsos from Kastoria 6, 543, 544 Γεώργιος Νικομηδείας – Georgios Nicomedias [of Nicomedia] 4, 16, 23, 29, 32 Γεώργιος Οὐργουλοῦ – Georgios Uğurlu [Ougourlos] from Caesarea 552, 553 Γεώργιος οἰκονόμος ἐξ Ἀθηνῶν [ἱερεὺς ὁ Πράσινος] – Georgios from Athens 266, 267 Γεώργιος Πανάρετος – Georgios Panaretos 218, 219, 232, 233, 234, 237, 238, 245, 246, 263, 266, 317, 340, 341, 342, 343, 346, 349, 377, 395, 396, 398, 400, 401, 402, 404, 449, 452, 474, 476 Γεώργιος Πηλιουσιώτης – Georgios Pilousiotes 462, 463 Γεώργιος Πρωτοψάλτης Γάνου καὶ Χώρας – Georgios Protopsaltes of Ganos and Choras 266 Γεώργιος ῾Ραιδεστινός, Πρωτοψάλτης Μεγάλης Ἐκκλησίας – Georgios Raidestinos, Protopsaltes of the Great Church 138, 216, 217, 218, 219, 266, 267, 268, 563, 565 Γεώργιος Ρύσιος, ἱερεύς – Georgios, Priest of Rysios 543, 544, 552, 553 Γεώργιος Σγουρόπουλος, Δομέστικος – Georgios Petros Sgouropoulos, Domestikos 71, 266, 317 Γεώργιος Σικελιώτης – Georgios Sykelios 15, 16, 29 Γεώργιος Φώτιος – Georgios Photios 387, 388 Γεώργιος Χαρτοφύλαξ - Georgios Chartophylax 490 Γιακομάκης ( Γιάγκος μαθητὴς) – Giakomakes 362, 368 Γιωβάσκος – Giovaskos 291, 576 Γιωβάσκος Βλάχος – Giovaskos Vlachos 265, 283, 576 Γλαβᾶς (Θεόδωρος Γλαβᾶς) – Theodore Glavas 267 Γλυκὺς (Ἰωάννης) – Glykys, Ioannes (see Ἰωάννης Γλυκὺς) Γρηγόριος – Gregorios 32, 52, 64, 65, 81, 123, 249, 320, 341, 342, 351, 358, 377, 391, 395, 401, 403, 515, 517, 518, 520, 548, 602, 603, 607 Γρηγόριος Γλυκύς – Gregorios Glykys 343, 346, 351, 377, 403, 446, 448, 462, 463

622

A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece

Γρηγόριος Γλυκύς, Δομέστικος (τοῦ Γρηγορίτζη) – Gregoritzes Glykys, the Domestikos 264, 322, 343, 377, 396, 402, 403, 446, 448, 462, 463 Γρηγόριος Γλυκύς, δομέστικος τῶν ἁγίων Ἀποστόλων – Gregorios Glykys, Domestikos of the Holy Apostles 264, 322, 343, 377, 396, 402, 403, 446, 448, 462, 463 Γρηγόριος ἱεροδιάκονος – Gregorios, Priest-Deacon 548 Γρηγόριος ἱερομόναχος ἁγιορείτης – Gregorios, the Priest-Monk 318 Γρηγόριος Κοντοπετρῆς – Gregorios Kontopetris 343 Γρηγόριος λαμπαδάριος – Πρωτοψάλτης τῆς Μεγάλης Ἐκκλησίας [ὁ Βυζάντιος] – Gregorios the Lampadarios 102, 122, 219, 303, 364, 365, 402, 518, 520, 536, 537, 552, 553, 596 Γρηγόριος Μπούνης, ὁ Ἀλυάτης (ἱερομόναχος) – Gregorios Bounes of Alyates 5, 6, 47, 58, 61, 62, 77, 134, 135, 263, 267, 341, 344, 349, 350, 354, 562, 564 Γρηγόριος τοῦ Λογοθέτου – Gregorios of the Dialogue 49 Γρηγόριος Χουρμούζιος – Gregorios Chourmouzios, the Chartophylax 4, 102, 303, 304, 364, 365, 533, 536, 537, 554 Δαβὶδ – David 177, 179, 239, 245, 266, 450 Δαβὶδ βασιλεύς – David the King 177, 179, 239, 245 Δαβὶδ ἐκ Σκόπελος – David Skopelites [of Skopelos] 47, 49, See plate section Δαβὶδ ῾Ραιδεστινός – David Raidestinos 39, 51, 613 Δαλασσινός – Dalasenos 35, 410 Δαμασκηνὸς ( see Ἰωάννης Δαμασκηνός – John Damascene) Δαμασκηνὸς ἱερομόναχος Βατοπεδινός – Damascene, Monk-Priest, Vatopedinos 348, 382, 543, 544 Δαμασκηνὸς ἱερομόναχος Θετταλός – Thettalos (Thettalikon) 400, 403 Δαμιανὸς – Damianos 185, 266, 301, 382, 501, 502 Δαμιανὸς Ἁγιολαυρίτης – Damianos Hagiolaurites 144 Δαμιανὸς ἱερομόναχος Βατοπεδινός – Damianos Hieromonachos of Vatopedi 184, 185, 266, 289, 291, 382, 501, 502, 576 Δανιὴλ – Daniel 140, 151, 185, 199, 362, 368, 431, 432, 433, 439, 485, 486, 542 Δανιὴλ Ἁγιορείτης, μοναχὸς-ἱερομόναχος – Daniel, Monk from Mt Athos 140, 151, 267, 433

Δανιὴλ, λαμπαδάριος – Πρωτοψάλτης τῆς Μεγάλης Ἐκκλησίας – Daniel, the Lampadarios - Protopsaltes of the Great Church 113, 120, 129, 167, 183, 197, 198, 199, 209, 210, 218, 219, 267, 274, 275, 362, 368, 369, 370, 371, 429, 433, 434, 435, 436, 438, 439, 485, 486, 501, 502, 536, 537, 541, 542, 552, 553, 575, 576 Δανιὴλ μοναχὸς Θεσσαλονικαῖος – Daniel, Monk from Thessalonika 264, 267, 519, 521 Δανιὴλ Πρωτοψάλτης – Daniel Protopsaltes 129, 136, 167, 197, 198, 199, 209, 210, 218, 300, 362, 368, 369, 370, 371, 429, 433, 434, 435, 436, 438, 439, 536, 537, 541, 542, 552, 553, 575, 576, 598 Δανιὴλ ῾Ραιδεστινός – Daniel Raidestinos 49 Δανιὴλ Ζαχαρίας – Daniel Zacharias 600 Δημήτριος 335, 268, 561 Δημήτριος Δοκειανός, Δομέστικος – Dimitrios Dokeianos, Domestikos 64, 65, 87, 94, 95, 96, 103, 123, 233, 234, 245, 246, 248, 249, 250, 263, 264, 289, 317, 318, 320, 322, 326, 340, 341, 342, 343, 348, 349, 353, 356, 357, 358, 377, 378, 395, 396, 398, 401, 404, 405, 445, 446, 448, 458, 474, 476, 514, 517 Δημήτριος δομέστικος – λαμπαδάριος – Dimitrios Domestikos; Lampadarios 289, 340 Δημήτριος ἐξ Ἀθηνῶν – Dimitrios from Athens 149, 150 Δημήτριος Λῶτος Χῖος, Πρωτοψάλτης Σμύρνης – Dimitrios Chios of Lotos, Protopsaltes of Smyrna 575, 576, 577, 578 Δημήτριος Μοσχιανός – Dimitrios Moschianos 340 Δημήτριος Μυτιληναῖος, ὁ ἐκ Λέσβου – Dimitrios of Mytilene 266, 289, 290 Δημήτριος Νταμίας – Dimitrios Damias 5, 168, 169, 170, 171 Δημήτριος Νταμίας, Πρωτοψάλτης Χάνδακος – Dimitrios [Damias] Protopsaltes of Crete 5, 168, 169, 170, 171 Δημήτριος Μάρκος ῾Ραιδεστινὸς [ἐκ ῾Ραιδεστοῦ] – Dimitrios Markos Raidestinos 65, 267, 340, 349, 360, 377, 476, 571, (ἐπισκόπος ῾Ραιδεστινὸς – Bishop Raidestinos 572, 573) Δημήτριος Συναδηνός, ἱερεύς – Dimitrios Synadinos, Priest 346, 411, 476 Δημήτριος Τρικλίνιος – Dimitrios Triklinios 194 Διονύσιος ἱεροδιάκονος ἐξ Ἰωαννίνων – Dionysios, Priest-Monk, from Ioannina 190, 570, 574 Διονύσιος πατριάρχης – Dionysios Patriarch 252 Δοκειανός (see Δημήτριος Δοκειανός, Δομέστικος – Dokeianos)

Index Δομέστικος Κοντοπετρῆς – Domestikos Kontopetris 356, 395 Δομέστικος Χριστόφορος – Domestikos Christophoros 474 Δοσίθεος ἱερομόναχος καὶ δομέστικος ἁγίας Λαύρας – Dositheos, Priest-Monk from Lavra 340, 343, 347, 353 Δούκας [Ἰωάννης] – Ioannes Doukas 125 Δυσικός (see Ἰωάννης Γλυκὺς ὁ Πρωτοψάλτης) – Ioannes Glykys, the Protopsaltes, Dysikos 377, 443, 475 Δωρόθεος – Dorotheos 576 Δωρόθεος ἱερομόναχος – Dorotheos, the PriestMonk 296, 295, 398 Εὐαγγελινὸς Σκοπελίτης – Euaggelos Skopelites 184, 185 Εὐγενικός, Μᾶρκος – Markos Eugenikos 266, 267, 379, 458 Εὐθύμιος ἱερομόναχος – Euthymios, the PriestMonk 59, 120, 121, 155 Εὐθύμιος μοναχὸς – Euthymios, the Monk 155 Εὐνοῦχος Πρωτοψάλτης Φιλανθρωπινός – Eunuch Protopsaltes Philanthropinos 356, 410 Ἐφραίμ – Ephraim 4, 11, 29 Ἐφραίμ ἱερομόναχος – Ephraim Hieromonachos from the Monastery of Dousikon 79 Ἐφραίμ Καρίας – Ephraim Karias 11, 12, 13, 15, 16, 17, 22, 24, 25, 29, 31, 361 Ζαφείριος Ζαφειρόπουλος – Zaphyrios Zaphyropoulos, Monk 548 Ζαχαρίας – Zacharias 102 Haydn, Franz Joseph 227 Haydn, Michael Johann 3, 224, 225, 226, 227, See plate section Ἠθικός – Ethikos 38, 64, 94, 96, 137, 159, 323, 343, 344, 378, 393, 396, 397, 398, 404, 458, 508, 517 Ἠθικός Νικηφόρος (see Νικηρόρος Ἠθικός) – Ethikos Nikephoros 35, 36, 49, 53, 64, 65, 66, 73, 76, 87, 94, 96, 124, 137, 159, 249, 264, 266, 267, 319, 322, 323, 324, 325, 331, 343, 344, 346, 347, 349, 350, 356, 357, 358, 359, 366, 377, 378, 391, 392, 393, 396, 397, 398, 403, 404, 405, 410, 411, 443, 444, 445, 446, 448, 457, 458, 476, 508, 515, 517, 520, 521, 563, 565, 571, 573 Ἠσαΐας Σέρβος, ἱερομόναχος – Isaiah, the Serb, Hieromonachos 5, 124, 125, 126, 615, See plate section

623

Θαλασσηνός – Thalassenos or Dalasenos 35, 359 Θεοδόσιος ἱεροδιάκονος Χῖος [ἐκ Σμύρνης] – Theodosios, Priest-Deacon of Chios 576 Θεοδόσιος μοναχὸς – Theodosios, Monk 445, 448 Θεόδουλος – Theodoulos 38, 184, 300, 382 Θεόδουλος Δομέστικος Καλλικρατείας – Theodoulos Kallikrateias 266 Θεόδουλος Δομέστικος Κατακάλου – Theodoulos Katakalon 65 Θεόδουλος ἱερομόναχος –Theodoulos, Priest-Monk 266, 571, 573 Θεόδουλος ἱερομόναχος δομέστικος μονῆς Μαγγάνων – Theodoulos, priest-monk Domestikos of Magganos/Maggana 266, 347, 352, 354 Θεόδουλος μοναχὸς – Theodoulos Monachos 65, 266, 325, 326, 354, 545 Θεόδωρος – Theodoros (Theodore) 19, 175 Θεόδωρος Ἀργυρόπουλος – Theodoros Argyropoulos 395 Θεόδωρος Γλαβᾶς [Κλαβᾶς or Γλαδᾶς] – Theodoros Glavas 267 Θεόδωρος δομέστικος Καλλικρατείας – Theodoros Kallikrateias Domestikos 266, 348 Θεόδωρος Θαλασσινός – Theodore Thalassenos or Dalasenos 359, 410 Θεόδωρος Κατακαλῶν – Theodoros Katakalon 71, 326, 348, 349 Θεόδωρος Μανουγρᾶς – Theodoros Manougras 68 Θεόδωρος Στουδίτης – Theodore the Studite 25, 330, 526 Θεόδωρος Φωκαεύς – Theodoros Phokaeus 6, 543, 544 Θεόκλητος – Theokletos 389 Θεόληπτος – Theoleptos 32, 33, 55 Θεόληπτος Μητροπολίτης Φιλαδελφίας – Theoleptos Metropolitan of Philadelphia 32, 33, 617 Θεοφάνης – Theophanes 4 12, 13, 14, 16, 17, 19, 21, 27, 31 Θεοφάνης ἐπίσκοπος (δεσπότης) – Theophanes, the Bishop 26, 29 Θεοφάνης Καρύκης πατριάρχης – Theophanes Karykes, Patriarch 29, 62, 267, 268, 382 596 Θεοφάνης μοναχὸς ἁγιορείτης – Theophanes, Athonite monk 19 Θεοφάνης πατριάρχης – Theophanes, the Patriarch 12, 21, 29, 31 Θεοφάνης Πρωτόθρονος – Theophanes, Protothronos 24, 27 Θεοφύλακτος Ἀργυρόπουλος, δομέστικος – Theophylaktos Argyropoulos, Domestikos 264, 266, 325, 340, 348, 396, 398, 476

624

A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece

Θεοφύλακτος, πατριάρχης – Theophylaktos, the Patriarch 237 Θεωνᾶς – Theonas 268 Θεωνᾶς ἱερομόναχος Σίμωνος Πέτρας – Theonas, Hieromonachos of Simonos Petras 268 Θηβαῖος, see Μανουὴλ Θηβαῖος – Thebaios, Manuel 125, 249, 264, 320, 322, 343, 346, 377, 396, 397 Θωμᾶς ἐκ ῾Ραιδεστοῦ – Thomas from Raidestinos 563, 565 Ἰάκωβος – Iakovos 274, 386, 486, 569 Ἰάκωβος ἱερομόναχος – Iakovos, Hieromonachos 531 Ἰάκωβος ἱερομόναχος Χῖος – Iakovos, Hieromonachos [of] Chios 576 Ἰάκωβος [Κίτρος;] Κύπρος – Iakovos [(Kitros??) Kypros] from Cyprus 32, 33 Ἰάκωβος Πρωτοψάλτης τῆς Μεγάλης Ἐκκλησίας – Iakovos Protopsaltes of the Great Church 99, 122, 136, 206, 207, 209, 210, 218, 219, 302, 303, 304, 362, 369, 370, 371, 386, 426, 427, 436, 437, 438, 439, 483, 484, 485, 486, 536, 537, 541, 542, 560, 561, 568, 569, 594, 598, 607 Ἰγνάτιος – Ignatios 29, 25, 32 Ἰγνάτιος ἱερομόναχος [ἁγιορείτης] – Ignatios Hieromonachos 113, 114 Ἰγνάτιος μοναχὸς, δομέστικος – Ignatios, Monk and Domestikos 458 Ἰγνάτιος μοναχὸς ἐκ Φριέλος – Ignatios Monk of Frielos 169 Ἰωακεὶμ ἀρχιερεύς – Ioakeim Archon-Priest 300 Ἰωακεὶμ Βιζύης ἀρχιερεύς, ὁ Σαλαμπάσης – Ioakeim of Bizyes 184, 185, 266, 382 Ἰωακεὶμ μοναχὸς – Ioakeim, the Monk 319, 340 Ἰωακεὶμ Χαρσιανίτης, μοναχός – Ioakeim Charsianites, the Monk and Domestikos of Serbia 348, 350, 352 Ἰωάννης – Ioannes 300, 301, 368, 370, 438, 486 Ἰωάννης Βασιλεὺς ὁ Βατάτζης – Ioannes Vatatzes 64, 321, 334, 343, 396, 517, 617 Ἰωάννης Βλάχος, δομέστικος – Ioannes Vlachos, Domestikos 267, 289 Ἰωάννης Γλυκὺς ὁ Πρωτοψάλτης – Ioannes Glykys, Protopsaltes 34, 35, 38, 52, 64, 65, 69, 75, 77, 95, 96, 109, 123, 124, 128, 134, 155, 216, 221, 222, 248, 249, 250, 264, 265, 266, 270, 277, 279, 281, 280, 282, 285, 291, 292, 304, 305, 306, 314, 317, 318, 321, 322, 324, 325, 326, 327, 330, 331, 332, 334, 338, 337, 338, 339, 341, 343, 345, 346, 347, 348, 349, 350, 351, 356, 358, 359, 377, 378, 379, 381, 391, 392,

393, 395, 396, 397, 401, 402, 403, 404, 405, 406, 410, 411, 429, 433, 448, 451, 452, 457, 462, 463, 474, 477, 498, 514, 516, 518, 519, 520, 524, 525, 534, 535, 538, 539, 554, 563, 565, 571, 573, 576, 598, 617 Ἰωάννης Δαμασκηνός – John Damascene 4, 5, 6, 12, 28, 29, 31, 32, 58, 61, 62, 65, 113, 124, 134, 135, 138, 173, 174, 177, 179, 188, 189, 198, 201, 204, 209, 266, 267, 298, 299, 302, 325, 326, 348, 353, 397, 408, 409, 526, 536, 537, 562, 564, 598, 614 Ἰωάννης δομέστικος ὁ Περίφημος – Ioannes, Domestikos, the Proud [perifemos] 66, 347 Ἰωάννης Δούκας ὁ Λαοσυνάκτης, ἁγιοσοφίτης – Ioannes Doukas 124, 125, 340, 349 Ἰωάννης ἱερεῦς ἐκ Χῖος – Ioannes Priest of Chios 203 Ἰωάννης Κλαδᾶς, ὁ λαμπαδάριος – Ioannes Kladas the Lampadarios 34, 48, 52, 53, 54, 58, 59, 61, 62, 65, 66, 69, 70, 73, 82, 83, 84, 94, 95, 96, 104, 120, 124, 142, 143, 145, 183, 185, 206, 218, 248, 250, 251, 263, 264, 266, 267, 268, 274, 289, 290, 302, 314, 316, 317, 318, 320, 322, 323, 324, 325, 326, 327, 330, 331, 332, 334, 335, 340, 341, 342, 343, 344, 347, 348, 349, 350, 351, 352, 353, 354, 356, 357, 358, 359, 360, 362, 363, 365, 369, 370, 378, 379, 381, 395, 396, 397, 398, 403, 405, 434, 435, 443, 444, 445, 447, 448, 449, 458, 462, 463, 476, 481, 508, 509, 516, 518, 520, 522, 523, 524, 525, 534, 535, 552, 553, 562, 563, 564, 565, 571, 573, 575, 576, 590, 599, 603, See plate section Ἰωάννης Κλαδᾶς τῆς θυγαρτὸς – the Daughter of Ioannes Kladas 348 Ἰωάννης Κουκουζέλης ὁ Μαΐστωρ, Παπαδόπουλος – Ioannes Koukouzeles, the Maistor, Papadopoulos 5, 29, 32, 33, 34, 35, 36, 37, 38, 42, 47, 48, 49, 52, 53, 58, 59, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 75, 76, 77, 81, 82, 83, 84, 86, 87, 88, 95, 96, 97, 113, 118, 123, 124, 129, 131, 134, 135, 142, 143, 146, 149, 150, 151, 156, 159, 173, 174, 178, 179, 183, 185, 194, 197, 198, 206, 210, 213, 216, 219, 218, 233, 234, 235, 236, 237, 238, 245, 246, 247, 248, 249, 250, 253, 261, 263, 264, 265, 266, 267, 274, 291, 292, 300, 303, 314, 316, 317, 318, 319, 320, 321, 322, 324, 325, 327, 328, 330, 331, 332, 333, 334, 335, 337, 338, 340, 341, 342, 343, 344, 345, 346, 347, 349, 350, 351, 352, 353, 354, 356, 357, 358, 359, 362, 366, 367, 368, 369, 376, 377, 378, 379, 382, 391, 392, 393, 395, 396, 397, 398, 400, 401, 402,

Index 403, 404, 405, 406, 410, 411, 443, 444, 445, 446, 448, 449, 450, 451, 452, 453, 457, 458, 462, 463, 470, 471, 474, 475, 476, 477, 478, 481, 498, 508, 514, 515, 516, 517, 518, 519, 520, 521, 523, 524, 534, 535, 536, 537, 541, 545, 547, 562, 563, 565, 575, 576, 590, 591, 592, 599, 600, 602, 608, 611, 612, 613, 614, 615, 616, 617, See plate section Ἰωάννης Κουκουμᾶς Μαΐστωρ, ὁ δεινότατος (see Κουκουμᾶς Μαΐστωρ – Koukoumas Maistor) 86, 250 Ἰωάννης Λάσκαρης ὁ Πηγονίτης – Ioannes Laskaris 263, 266, 327, 333, 334, 335, 336, 352, 353, 378 Ἰωάννης λαμπαδάριος – Πρωτοψάλτης τῆς Μεγάλης Ἐκκλησίας [ὁ Τραπεζούντιος] – Ioannes Protopsaltes Trapezountios of the Great Church 103, 143, 251 Ἰωάννης μοναχός (see Ἰωάννης Δαμασκηνός) – Ioannes the Monk; John Damascene 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 40, 61, 62, 408, 409 Ἰωάννης Ξηρός, δομέστικος – Ioannes Xeros, Domestikos 47, 263, 314, 317, 340, 395, 517 Ἰωάννης Οὐρανιώτης Πρωτοψάλτης – Ioannes, Protopsaltes from Ouranopolis 266 Ἰωάννης Παπαδόπουλος – Ioannes Papadopoulos [Ioannes Koukouzeles] 261 Ἰωάννης Πλουσιαδηνός, ἱερεύς – Ioannes Plousiadenos, Hiereus (Joseph de Méthone) 4, 5, 6, 38, 169, 170, 171, 178, 179, 263, 266, 334, 335, 336, 518, 520, 562, 564, 613, 614, 616, See plate section Ἰωάννης Πρωτοψάλτης – Ioannes Protopsaltes 102, 111, 113, 122, 129, 136, 167, 180, 197, 198, 266, 272, 273, 274, 285, 289, 290, 301, 302, 303, 304, 364, 365, 370, 401, 403, 433, 434, 435, 436, 438, 444, 485, 486, 498, 536, 537, 541, 542, 575, 576, 578, 605 Ἰωάννης Πρωτοψάλτης ἐκ Τρεβιζόνος – Ioannes, Protopsaltes of Trebizond 102 Ἰωάννης Πρωτοψάλτης τῆς Ἀδριανουπόλεως – Ioannes from Adrianoupolis 255, 256, 301, 605, 608 Ἰωάννης Σγουρόπουλος διάκονος (καὶ ἄρχων τῶν Ἐκκλησιῶν) – Ioannes Sgouropoulos, Monk-Deacon 71, 266, 326, 340, 348 Ἰωάννης Τζακνόπουλος, Δομέστικος – Ioannes Tzaknopoulos, Domestikos 250, 517 Ἰωάννης Φωκᾶς, Δομέστικος (λαμπαδάριος) – Ioannes Phokas of Crete, Domestikos 266, 378 Ἰωάννης Χαρσιανίτης – Ioannes Charsianites 126, 355

625

Ἰωάννης Χρυσοβέργης – Ioannes Chrysoverges 197, 293, 294, 501, 502 Ἰωάννης Χρυσοστόμος – John Chrysostom 76, 77, 109, 118, 120, 130, 134, 135, 142, 145, 146, 149, 156, 157, 160, 169, 171, 177, 179, 187, 210, 266, 268, 274, 275, 277, 278, 279, 280, 281, 282, 285, 286, 297, 300, 301, 325, 335, 347, 362, 363, 368, 369, 370, 378, 379, 382, 383, 391, 392, 393, 397, 399, 406, 429, 433, 438, 439, 442, 450, 453, 462, 463, 470, 471, 477, 485, 486, 517, 520, 521, 534, 535, 538, 539, 541, 542, 563, 565, 571, 573 Ἰωάσαφ ἰεροδιακόνου Ἰβηρίτου – Iosef (Joseph) Priest-Deacon from Iviron 363 Ἰωάσαφ μοναχὸς ὁ νέος Κουκουζέλης (Βατοπεδινός) – Ioasaph [Iosef]; Joseph, the Younger, Koukouzeles of Vatopedi Monastery 84, 267, 340, 352, 356, 357, 522, 523, 596 Ἰωσὴφ ἱερομόναχος – Iosef (Joseph), Hieromonachos 257, 316, 534, 535 Ἰωσὴφ μοναχός – Iosef (Joseph), the monk 171, 267, 327, 458 Ἰωσὴφ ὁ ὑμνογράφος – Iosef (Joseph), the hymnographer 25, 35, 177, 179, 405 Κάλλιστος ἱερομόναχος, ὁ [Μ]προύσαλης – Kallistos, Hieromonachos from the Monastery from Black Wallachia [Moldova] 270, 458 Κάλλιστος, Νικόλαος – Kallistos, Nicholas 35 Καμαριανὸς – Kamarianos 340 Καμπάνης [Νικόλαος Καμπάνης] – Kambanes [Nicholas] 6, 35, 346, 356, 378, 398, 410, 443, 562, 564 Καναβούρης [Καρβουνάριος, Καρβουνιάρης, Καρβουναριώτης] – Karvounarios; Karvouniares 356, 366, 411 Καρακαλίνος[;] – Parthenios Priest-Monk from the monastery of Karakallou, Mt Athos 277 Καρβουρίτης – Karvourites; Karvouriotes 378 Καρύκης, Θεοφάνης – Karykes, Theophanes 382, 576, 596 Κασιανὸς [Κασσιανὸς] μοναχός – Kassianos, the Monk 330, 340, 476 Κασσᾶς, Παύλου – Paulos Kassas, Protopsaltes of Cyprus 350 Κασσία – Kassia [Kasia, Ikasia, Eikasia] 4, 16, 17, 18, 22, 25, 27, 29, 30, 32, 561, 613, 616 Κατακαλῶν (see Theodoulos Katakalon) 65 Κελαδηνός – Keladinos 65, 323, 346, 397 Κλαδᾶς, Ἰωάννης Κλαδᾶς ὁ λαμπαδάριος (see Ἰωάννης Κλαδᾶς – Ioannes, Kladas)

626

A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece

Κλήμης – Clement [Klementos] 216, 276 Κλήμης ἱερομόναχος ἁγιορείτης, ΜυτιληναῖοςΛέσβιος – Clement [Klementos], Athonite Priest-Monk; Clement, priest-monk, from Lesbos 265, 266, 267 Κλοβᾶς – Nicholas Klovas 64, 66, 249, 324, 356, 377, 395, 397, 410, 515, 517 Κοντοβρακῆς – Kontovrakes 233, 234 Κοντοπετρῆς (see Γεώργιος Κοντοπετρῆς, Δομέστικος) – Kontopetris, Georgios, the Domestikos 35, 64, 65, 124, 125, 233, 234, 244, 245, 246, 248, 249, 250, 263, 316, 319, 322, 340, 341, 343, 346, 349, 352, 356, 358, 359, 362, 377, 379, 395, 396, 400, 403, 405, 410, 411, 445, 449, 452, 474, 476, 514, 517 Κορνήλιος – Kornelios 320, 346, 393, 515, 517 Κορνήλιος μοναχός, ἁγιορείτης – Kornelios, Monk from Mt Athos 64, 324, 341, 342, 356, 377, 392, 393, 396, 402, 597 Κορώνης – Korones 38, 53, 58, 61, 62, 63, 64, 65, 70, 94, 95, 96, 124, 138, 184, 185, 234, 237, 245, 324, 325, 338, 339, 340, 341, 345, 347, 351, 362, 377, 378, 395, 397, 398, 400, 401, 402, 403, 404, 405, 443, 457, 458, 463, 474, 476, 517, 525, 565, 597 Κορώνης, Ἀγάθων μοναχός – Agathon, the Monk, Korones 63, 64, 65, 82, 105, 124, 125, 263, 264, 266, 316, 322, 326, 340, 343, 344, 348, 349, 359, 377, 395, 396, 398, 403, 406, 514, 516, 517 Κορώνης, Γεώργιος – Georgios Korones 63 Κορώνης, Ἰωάννης Πρωτοψάλτης – Ioannes Protopsaltes Korones 477 Κορώνης, Ξένος – Xenos Korones 35, 36, 38, 47, 48, 49, 52, 53, 58, 61, 62, 63, 65, 66, 68, 69, 70, 71, 73, 76, 94, 95, 96, 123, 124, 131, 142, 149, 150, 184, 185, 197, 210, 233, 234, 237, 238, 245, 246, 248, 249, 250, 251, 263, 264, 266, 267, 274, 300, 314, 316, 317, 318, 321, 322, 323, 324, 325, 326, 327, 332, 338, 339, 340, 341, 342, 343, 344, 345, 346, 347, 348, 349, 350, 351, 352, 353, 356, 357, 358, 359, 368, 370, 376, 377, 378, 379, 382, 392, 393, 395, 396, 397, 398, 400, 401, 402, 403, 404, 405, 406, 410, 411, 443, 444, 445, 446, 448, 452, 453, 457, 458, 462, 463, 474, 475, 476, 477, 481, 482, 514, 515, 516, 517, 518, 519, 520, 524, 525, 562, 563, 565, 575, 576, 597 Κορώνης ῾Ρακένδυτος[;] – Korones Rakendytos or Korones the Ragamuffin 349, 403 Κοσμᾶς – Kosmas 4, 20, 26, 27, 174, 177, 179, 277, 278

Κοσμᾶς ἁγιοπολίτης – Kosmas Hagiopolites 4, 19, 20, 24, 29, 174, 177, 179, 326 Κοσμᾶς Βαράνης – Kosmas Varanes 170, 171 Κοσμᾶς Βεστιάριος – Kosmas Bestiarios 20 Κοσμᾶς ᾽Ιβηρίτης – Kosmas of Iviron, Priest-Monk 56, 57, 265, 267 Κοσμᾶς Κοκκίνης – Kosmas Kokkines 198 Κοσμᾶς μοναχὸς – Kosmas, Monk, of Jerusalem [Hagiopolites] 20, 21, 23, 24, 25, 26, 29, 235, 545, 547 Κοσμᾶς ὁ Μακεδών, ἱερομόναχος – Kosmas the Macedonian, Priest-Monk 47, 56-7, 265 Κουκουμᾶς Μαΐστωρ – Koukoumas, Maistor 48, 61, 63, 64, 65, 81, 86, 123, 131, 134, 142, 145, 156, 159, 168, 171, 236, 245, 247, 250, 264, 315, 318, 320, 335, 341, 342, 343, 344, 358, 377, 395, 396, 400, 402, 410, 446, 458, 462, 463, 475, 515, 519, 521, 524, 525, 534, 562, 563, 565, 595, 605 Κυπριανὸς – Kyprianos 4, 11, 12, 13, 14, 15, 17, 18, 20, 23, 31 Κυπριανὸς, μοναχὸς – Kyprianos, the Monk 26, 29, 300 Κυπριανὸς, πατριάρχης – Kyprianos, the Patriarch 23, 29 Κύριλλος – Kyrillos 552, 553 Κύριλλος Μαρμαρινός – Kyrillos, Priest of Marmarinos 300, 614 Κύριλλος πατριάρχης Ἀλεξανδρείας – Kyrillos, Patriarch (Archbishop) of Alexandria 272, 291, 292, 300, 301 Κύριλλος Τήνου, ἀρχιερεύς – Kyrillos of Tinos, Archiereus 485, 486, 576 Κωνσταντῖνος Ἀ[σ]σὰν – Konstantinos Asan 320, 325, 352, 458 Κωνσταντῖνος Bυζάντιος Πρωτοψάλτης – Konstantinos Byzantios, Protopsaltes 262, 454, 455, 577, 578 Κωνσταντῖνος Γαυρᾶς, ἱερεύς, Ἀμπελόκηπος – Konstantinos Gavras, Priest, Ambelokipos 66, 343, 347 Κωνσταντῖνος ἐξ Ἀγχιάλου – Konstantinos from Agchialos 134, 135, 149, 150, 266, 267, 291, 292, 481, 597 Κωνσταντῖνος Μαγουλᾶς, ΔομέστικοςΠρωτοψάλτης – Konstantinos Magoulas, Domestikos-Protopsaltes 61, 73, 266, 267, 277, 320, 325, 328, 332, 335, 348, 352, 360, 381, 462, 463, 474, 476, 520, 524, 525, 563, 564, 565 Κωνσταντῖνος Μοσχιανός, Δομέστικος – Konstantinos Moschianos, Domestikos 124,

Index 125, 233, 234, 267, 327, 340, 345, 346, 348, 351, 360, 377, 476 Κωνσταντῖνος Πορφυρογέννητος – Constantine Porphyrogenitus 156, 247, 596 Κωνσταντῖνος Πρωτοψάλτης τῆς Μεγάλης Ἐκκλησίας – Konstantinos Byzantios Protopsaltes of the Great Church 261, 262, 454, 455, 552, 553 Κωνσταντῖνος Χανιότης – Konstantinos Chaniotes 137, 138 Κωνσταντῖνος Χιονόπουλος – Konstantinos Chionopoulos 38 Λαλοῦτζος [Γεώργιος] – Laloutzos [Georgios] 265 Λάσκαρης (see Ἰωάννης Λάσκαρης ὁ Πηγονίτης) – Laskaris, Ioannes 263, 266, 327, 334, 571, 573, 612 Λατρινός – Latrinos 64, 81, 84, 86, 87, 123, 168, 171, 183, 249, 264, 318, 319, 341, 342, 343, 377, 401, 402, 406, 449, 452, 462, 463, 475, 477, 498, 515, 517, 519, 521, 563, 565, 605, 615 Λαυρέντιος ἱερομόναχος Σιμωνόπετρας – Laurentios Heiromonachos of Simonos Petras 267, 300, 301 Λέοντος τῆς Ἀλεξανδρείας – Leon from Alexandria 38 Λέων – Leon (the Maistor) 29, 361, 408, 409, 507, 565, 595 Λέων Ἀλμυριώτης (see Ἀλμυριώτης- Almyriotes) – Leon, the Almyriotes 332, 356, 378, 379, 410 Λέων δεσπότης – Leon, the Bishop 12, 22, 26, 27, 28, 31, 504, 506, 507 Λέων Μαΐστωρ – Leon, the Maistor 14, 16, 32, 361, 409 Λέων ὁ ἐπίσκοπος – Leon the Bishop 29, 507 Λέων ὁ σοφός – Leon, the Wise 52, 59, 109, 131, 134, 379, 534, 554, 563, 565, 571, 595 Λέων ὁ σοφώτατος Βασιλεύς – Leon, the Wise Emperor 22, 70, 75, 128, 265, 270, 353, 410, 516, 519, 534, 563, 565, 571, 595 Λογγῖνος μοναχὸς (ἱερομόναχος) – Logginos Hieromonachos 267, 349, 398, 476 Μαγουλᾶς – Magoulas, (Konstantinos) 61, 266, 267, 277, 320, 325, 328, 331, 335, 348, 352, 360, 381, 462, 463, 474, 476, 520, 524, 525, 564, 565 Μαλαχίας μοναχὸς – Malachias, the Monk 267 Μαλαξός – Malaksos 105 Μανολάκης Κωνσταντίνος – Manolakis [little Manuel] Konstantinos 389 Μανουγρᾶς Δομέστικος-Λαμπαδάριος – Manougras (Konstantinos), the Domestikos-

627

Lampadarios 64, 65, 319, 324, 346, 356, 378, 410, 444, 515, 517 Μανουγρᾶς (see Θεόδωρος Μανουγρᾶς) – Manougras, Theodore 35, 37, 64, 65, 69, 319, 324, 397, 410, 448, 515, 517 Μανουὴλ Ἀγαλλιανός – Manuel Agallianos 263, 264, 266, 317, 318, 319, 321, 322, 326, 340, 341, 342, 343, 344, 347, 348, 377, 392, 393, 395, 396, 397, 406, 474, 515, 517 Μανουὴλ Ἀμπελοκηπιώτης – Manuel Ambelokipiotes, Priest 28, 263, 348, 354, 476 Μανουὴλ Ἀργυρόπουλος – Manuel Argyropoulos 71, 124, 260, 267, 326, 327, 349, 354, 398, 458, 515, 517 Μανουὴλ Βλατηρὸς [Θεσσαλονικεύς] – Manuel Vlatyros, Thessalonian 266, 267, 349 Μανουὴλ Δούκας Χρυσάφης – Manuel Doukas Chrysaphes, Lampadarios of Crete 334 Μανουὴλ Γαζῆς – Manuel Gazes 63, 149, 267, 274, 277, 278, 279, 285, 289, 300, 301, 305, 306, 315, 325, 326, 330, 331, 332, 333, 334, 336, 381, 458, 462, 463, 571, 573, 575, See plate section Μανουὴλ (Ἐμμανουὴλ) Γούτας, Θεσσαλονικεύς – Manuel Goutas, Protopsaltes 265, 268, 381, 382, 458, 576 Μανουὴλ (Ἐμμανουὴλ) Κορώνης, Πρωτοψάλτης – Manuel Korones, Protopsaltes 63, 71, 265, 266, 319, 324, 330, 349 Μανουὴλ Θηβαῖος – Manuel Thebaios and Laosynaktos of the Great Church 65, 125, 249, 264, 343, 346, 349, 396, 397, 411 Μανουὴλ ἱερεύς Σπανὸς – Manuel, Priest of Spanos 324, 377 Μανουὴλ Κούρτης – Manuel Kourtes 376, 377 Μανουὴλ Μαΐστωρ Μάρκος – Manuel Maistor Markos 65, 71 Μανουὴλ μέγας Ρήτωρ – Manuel, the great Rhetor 524 Μανουὴλ Ὀρφανοτρόφος, ἱερεύς – Manuel Orphanotrophos, Hiereus 65, 66, 347 Μανουὴλ Πλαγίτης – Manuel Plagites 87, 245, 247, 250, 320, 329, 330, 343, 358, 377, 379, 395, 396, 398, 402 Μανουὴλ Πρωτοψάλτης τῆς Μεγάλης Ἐκκλησίας – Manuel Protopsaltes of the Great Church 209, 218, 302, 304 Μανουὴλ Σγουρόπουλος 325 Μανουὴλ Χρυσάφης, ὁ λαμπαδάριος καὶ Μαΐστωρ ( ὁ νέος Κουκουζέλης) – Manuel Chrysaphes, Lampadarios and Maistor (Koukouzeles the Younger) 37, 48, 52, 53, 54, 62, 65, 73, 75, 76, 94, 95, 105, 109,

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A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece

124, 134, 135, 137, 138, 142, 144, 145, 147, 149, 151, 178, 179, 180, 184, 185, 198, 206, 216, 218, 251, 263, 264, 265, 266, 267, 268, 279, 280 283, 284, 285, 291, 292, 300, 303, 325, 326, 327, 330, 332, 333, 334, 335, 336, 348, 349, 350, 353, 354, 362, 365, 378, 381, 382, 434, 435, 462, 463, 481, 508, 509, 519, 520, 521, 522, 523, 524, 525, 530, 534, 535, 538, 539, 547, 557, 563, 565, 571, 572, 573, 575, 576, 590, 598, 607, 612, 613, See plate section Μακρόπουλος (Μαρκόπουλος) 63, 340 Μᾶρκος – Markos (Manuel Maistor Markos) 71, 124, 458 Μᾶρκος ἐκ τῆς μονῆς τῶν Ξανθοπούλων – Markos [Metropolitan] from the monastery of Xanthopoulos 65, 264, 266, 267, 340, 348, 458, 516, 519, 562 Μᾶρκος Εὐγενικός – Markos Eugenikos 264, 266, 267, 519 Μᾶρκος ἱερομόναχος – Markos Hieromonachos 65, 71, 266, 348, 315, 326, 347, 348 Μᾶρκος ἱερομόναχος Βλατῆς – Markos Hieromonachos from Blates 356 Μᾶρκος Κορίνθου, ἐπίσκοπος, μητροπολίτης – Markos of Corinth, Bishop and Metropolitan 266, 267 Ματθαῖος Βατοπεδινός – Matthaios Vatopedinos 122, 454, 455 Ματθαῖος μητροπολίτης Σέρραι – Matthaios, Metropolitan of Serres 357 Ματθαῖος πατριάρχης – Matthaios [Matthew], Patriarch of Constantinople 70 Μαυρολέων – Mauroleon, Mauroleontos, Leon Mauros 23, 29 Μελέτιος ἱερομόναχος – Meletios Hieromonachos 6, 130, 181, 182, 289, 543, 544, 575, 576 Μελέτιος ἱερομόναχος, ὁ Κρής – Meletios Hieromonachos, the Cretan 486, 575, 576 Μελέτιος ἱερομόναχος Σιναΐτης – Meletios Hieromonachos of Sinai 268, 289, 300, 301, 343, 362, 368, 370, 396, 485, 486, 575, 576 Μελχισεδὲκ – Melchisedek 146, 149, 150, 279, 285, 291, 381, 462, 463, 524, 525, 535 Μελχισεδὲκ ἐπίσκοπος Ραιδεστοῦ - Melchisedek Bishop Raidest[in]os 146, 149, 150, 166, 265, 281, 282, 285, 519, 534, 535 Μεθόδιος – Methodios 4, 21, 22, 28, 485, 486 Μεθόδιος πατριάρχης – Methodios, the Patriarch 24, 27, 29 Μητροφάνης Καρύκης (see Θεοφάνης Καρύκης πατριάρχης) – Metrophanes [Theophanes] Karykes, Patriarch 29, 596

Μιχαὴλ Ἀνανεώτης – Michael Ananeotes [Aneotes] 264, 322, 326, 338, 348, 398 Μιχαὴλ Ἀνεώτης – Michael Aneotes 343, 344, 396 Μιχαὴλ ἱερεὺς – Michael, the Priest 481 Μιχαὴλ ἱερεὺς ὁ Κουκουλᾶς – Michael, Priest of Koukoulas 266, 348 Μιχαὴλ ἱερεὺς Χιοπολίτης – Michael, the Chian Priest 434, 435 Μιχαὴλ Μυστάκων – Michael (Mystakon) Mystakonos 87, 235, 236, 242, 245, 340, 476 Μιχαὴλ Μυστάκων, ἱερεὺς Ἀμπελόκηπος – Michael (Mystakon) Mystakonos, Priest from Ambelokipos (vineyard) 242, 244, 245, 246, 263, 340, 476 Μιχαὴλ τῆς Πατζάδος – Michael Patzados 35, 356 Μοσχιανός (see Κωνσταντῖνος Μοσχιανός) – Moschianos, Konstantinos 124, 125, 233, 234, 267, 326, 340, 345, 346, 348, 351, 360, 377, 476 Μόσχος μοναχός – Moschos the Monk 356 Μπαλάσιος ἱερεὺς καὶ νομοφύλαξ τῆς Μεγάλης Ἐκκλησίας – Balasios, the Priest [Hiereus] and Nomophylax 6, 48, 49, 59, 61, 73, 75, 76, 77, 94, 96, 103, 110, 113, 118, 120, 129, 130, 132, 148, 153, 158, 164, 175, 176, 183, 184, 185, 187, 197, 198, 199, 207, 209, 210, 216, 264, 265, 266, 267, 268, 274, 277, 278, 279, 280, 281, 282, 289, 291, 293, 294, 300, 301, 302, 362, 381, 382, 383, 434, 435, 462, 463, 481, 485, 486, 501, 502, 519, 521, 522, 523, 538, 539, 545, 546, 547, 560, 561, 563, 564, 565, 566, 576, 582, 596, 598 Μπερεκέτης, Πέτρος, Βυζάντιος, ὁ Μελωδὸς – Petros Bereketes, Byzantios, the Melodist 6, 48, 49, 53, 102, 103, 111, 112, 118, 120, 129, 153, 158, 164, 183, 184, 185, 197, 198, 199, 207, 209, 216, 218, 219, 251, 264, 265, 266, 267, 268, 274, 275, 279, 289, 291, 293, 294, 300, 301, 302, 304, 371, 372, 381, 382, 429, 430, 433, 434, 435, 466, 467, 470, 471, 485, 486, 501, 502, 519, 521, 522, 523, 536, 537, 538, 539, 545, 547, 548, 560, 561, 564, 565, 566, 575, 576, 581, 615 Μυστάκων – Mystakonos (Mystakon) 64, 65, 87, 123, 245, 318, 324, 330, 340, 341, 342, 343, 346, 354, 377, 515, 517 Μυστάκων, Μιχαὴλ – Michael Mystakonos (Mystakon) 235, 242, 340, 341, 342, 358, 474, 476 Μυστάκων, Χριστόφορος – Christophoros Mystakonos (Mystakon) 245, 250, 343, 396, 402, 358, 377, 403, 404, 406, 449, 452

Index Ναθαναὴλ μητροπολίτης Νικαίας – Nathaniel Nikaias, Metropolitan 266 Ναθαναὴλ ὁ Κρὴς – Nathaniel of Crete 266 Νεκτάριος ἱερομόναχος – Nectarios of the Monastery of Balchom in Wallachia 543, 544 Νεόφυτος – Neophytos 181, 182, 265, 294 Νεόφυτος ἱερομόναχος – Neophytos, Hieromonachos 546 Νικηφόρος Ἠθικὸς Δομέστικος – Nikephoros Ethikos, Domestikos 35, 36, 49, 53, 64, 65, 66, 73, 76, 87, 94, 96, 124, 137, 159, 249, 264, 266, 267, 319, 322, 323, 324, 325, 331, 343, 344, 346, 347, 349, 350, 356, 357, 358, 359, 366, 377, 378, 391, 392, 393, 396, 397, 398, 403, 404, 405, 410, 411, 443, 444, 445, 446, 448, 457, 458, 476, 508, 515, 517, 520, 521, 563, 565, 571, 573 Νικηφόρος ἱερομόναχος Δοχειαρίτης – Nikephoros Docheiarites, Hieromonachos 545, 546 Νικηφόρος Κάλλιστος Ξανθόπουλος – Nikephoros Kallistos Xanthopoulos 4, 356, 458, 526 Νικόλαος – Nicholas 283 Νικόλαος Ἀσσὰν ὁ Κύπριος – Nicholas Asan from Cyprus 71, 266, 325, 343, 348 Νικόλαος Μπούας – Nicholas Bouas 295, 296 Νικόλαος τοῦ Καματήρου, Πρωτοψάλτης Χίου – Nicholas οf Kamateros, Protopsaltes of Chios 340 Νικόλαος ἱερομόναχος Δοχειαρίτης – Nicholas Hieromonachos of Docheiarios 340 Νικόλαος Καμπάνης Δομέστικος (see Καμπάνης – Kambanes) Νικόλαος Κλοβᾶς – Nicholas of Klovas 351, 377 Νικόλαος Κουκουμᾶς Μαΐστωρ (see Κουκουμᾶς Μαΐστωρ) – Nicholas Koukoumas Maistor Νικόλαος, Πατριάρχης – Nicholas, the Patriarch 237 Νικόλαος Πρωτοψάλτης Σμύρνης – Nicholas, Protopsaltes of Smyrna 333, 350, 543, 544, 552, 553 Ξανθόπουλος, Νικηφόρος Κάλλιστος – Nikephoros Kallistos Xanthopoulos 4, 526 Ξένος Κορώνης, Πρωτοψάλτης – Xenos Korones 35, 36, 38, 47, 48, 49, 52, 53, 58, 61, 62, 63, 65, 66, 69, 70, 71, 73, 76, 81, 94, 95, 96, 123, 124, 131, 142, 149, 150, 184, 185, 197, 210, 233, 234, 237, 238, 245, 246, 248, 249, 250, 251, 263, 264, 266, 267, 274, 300, 314, 316, 317, 318, 321, 322, 323, 324, 325, 326, 327, 332, 338, 339, 340, 341, 342, 343, 344, 345, 346, 347, 348, 349, 350, 351, 352, 353, 356, 357, 358, 359, 368, 370, 376, 377, 378, 379, 382, 392, 393, 395, 396, 397, 398, 400, 401, 402,

629

403, 404, 405, 406, 410, 411, 443, 444, 445, 446, 448, 452, 453, 457, 458, 462, 463, 474, 475, 476, 477, 481, 482, 514, 515, 516, 517, 518, 519, 520, 524, 525, 562, 563, 565, 575, 576, 597 Ξενοφὼν μοναχὸς – Xenophon, Xenophonos 343, 396 Ξενοφῶντος – Xenophontos 64, 264, 322 Ξηρός (see Ἰωάννης Ξηρός, Δομέστικος) – Xeros 263, 340, 395, 400, 514, 516, 517 Οἰνεώτης [;] Ἀνεώτης – Oineotes (?) Aneotes 377 Ὀρφανοτρόφος (see Μανουὴλ Ὀρφανοτρόφος, ἱερεύς) Οὐργουλοῦ (see Γεώργιος Οὐργουλοῦ) – Georgios Uğurlu [Ougourlos] from Caesarea 552, 553 Παγράτιος – Pagkratios 251, 266, 267 Παγράτιος Δομέστικος Ἰβήρων, μοναχὸς ἱερομόναχος – Pagkratios, the Priest-Monk, Domestikos of Iviron 187, 266 Παΐσιος – Paisios 118, 119 Παλάσιος (sic) – Palasios 251 Παλάτιος – Palatios Hieromonachos 118, 119, 120, 216 [?] 267, 392 Παλατιανὸς – Palatianos 348, 378, 395, 397, 398, 522, 523 Παναγιώτης Γ. Προυσαεύς – Panagiotes G. Prousaeus 543, 544 Παναγιώτης Πρωτοψάλτης – Pangiotes Protopsaltes 289, 300, 434, 435 Παναγιώτης Χαλάτζογλου, λαμπαδάριος τῆς Μεγάλης Ἐκκλησίας – Panagiotes Chalatzoglou, Lampadarios of the Great Church 146, 382 Παναγιώτης Χαλάτζογλου, Πρωτοψάλτης τῆς Μεγάλης Ἐκκλησίας – Panagiotes Chalatzoglou, Protopsaltes of the Great Church 197, 198, 268, 276, 291, 382, 576, 614 [Παναγιώτης] Χρυσάφης ὁ νέος, Πρωτοψάλτης τῆς Μεγάλης Ἐκκλησίας – Panagiotes, the New Chrysaphes 92, 120, 146, 158, 183, 184, 197, 198, 206, 264 Πανάρετος – Panaretos 63, 64, 123, 218, 219, 245, 248, 263, 395, 476 Πανάρετος, Γεώργιος – Panaretos, Georgios 63, 64, 234, 237, 245, 263, 266, 340, 341, 376, 377, 395, 396, 398, 400, 401, 402, 404, 452, 474 Πανάρετος, Μανουὴλ – Panaretos, Manuel 66, 266, 324, 347 Παρθένιος – Parthenios, Monk-Deacon 186 Παρθένιος ἱερομόναχος Καρακαλίνος – Parthenios, Priest-Monk of Karakalinos 277

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A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece

Παρθένιος ἱερομόναχος Μετεωρίτης – Parthenios, Hieromonachos Meteorites [of Meteora] 113, 362, 368, 370 Πατζάδος, Μηχαὴλ – Patzados, Michael 35, 411, 451 Πατρίκιος Δομέστικος Θεσσαλονικεύς – Patrikios, the Domestikos of Thessalonika 232, 234, 340, 343 Παῦλος ἱερεύς – Paulos Hiereus from Skopelos 73, 74, 78, 266, See plate section Παῦλος μοναχὸς – Paulos, the Monk 69, 73 Πετράκης, λαμπαδάριος – Petrakes, Lampadarios 120, 362, 368, 369, 370, 438, 439, 485, 486 Πέτρος Βυζάντιος – Petros Byzantios 210, 267, 434, 435, 437, 438, 439, 456, 466, 467, 519, 521, 541, 542, 575, 576, 596, 598, 614, 615 Πέτρος Βυζάντιος, λαμπαδάριος-Πρωτοψάλτης, ὁ Φυγάς – Petros Byzantios, LampadariosProtopsaltes 59, 111-12, 113, 116, 120, 122, 136, 206, 207, 208, 210, 261, 267, 302, 303, 304, 362, 364, 382, 434, 435, 436, 437, 438, 439, 456, 466, 467, 481, 482, 485, 486, 519, 521, 522, 523, 541, 542, 548, 560, 561, 564, 565, 566, 575, 576, 577, 580, 582, 596 Πέτρος Γλυκύς (ὁ νέος ) – Petros Glykys, the younger 59, 291, 292, 434, 435, 501 Πέτρος, ὁ νέος, Κωνσταντινουπολίτης καὶ Πρωτοψάλτης – Petros the Younger 362, 481, 564, 565, 566 Πέτρος Μπερεκέτης, ὁ Μελῳδός – Petros Bereketes, the Melodist, Petros Byzantios (see Μπερεκέτης – Bereketes) 267, 429, 433, 434, 435, 436, 437, 438, 439, 456, 466, 467, 470, 471, 481, 482, 485, 519, 521, 522, 523, 536, 537, 538, 541, 542, 548, 560, 561, 564, 565, 566, 575, 576, 577, 580 Πέτρος Πελοποννήσιος, Δομέστικος-λαμπαδάριος (ὁ Λακεδαίμων) (Πετράκης) – Petros Peloponnesios, Domestikos-Lampadarios of the Great Church, Petros of the Peloponnese, Kyr Petrakes 102, 118, 120, 122, 136, 153, 167, 183, 197, 198, 199, 201, 206, 209, 210, 211, 218, 219, 261, 262, 272, 273, 274, 275, 291, 292, 295, 296, 300, 301, 302, 303, 304, 362, 363, 364, 365, 368, 369, 370, 371, 433, 434, 436, 437, 438, 439, 442, 456, 481, 482, 485, 486, 536, 537, 541, 542, 546, 547, 548, 560, 561, 564, 565, 566, 575, 576, 577, 580, 591, 615 Πηγηνός (see Ἰωάννης Λάσκαρης ὁ Πηγονίτης) – Pegenos; Ioannes Laskaris 263, 266, 327, 333, 334, 335, 336, 573, 612, 617 Πίνδαρος – Pindar 5, 192, 193, 194, 195, 196, 580, 611

Πλαγίτης, Μανουὴλ – Plagites, Manuel 245, 247, 250, 343, 395, 396, 402 Πράσινος (see Γεώργιος οἰκονόμος ἐξ Ἀθηνῶν ὁ Πράσινος) – Prasinos 59, 481, 564, 565 Πράσινος Πατζάδος (see Μιχαὴλ Πατζάδος) – Prasinos Patzados 35, 356 Προκόπιος Χαρτοφύλαξ – Prokopios Chartophylax 23, 29 Πρωτοστράτωρ – Protostratoros 343 Πτολεμαῖος – Ptolemy 597 ῾Ραιδεστινὸς – Raidestinos 82, 124 Ραφαὴλ – Raphael 124, 125 ῾Ρωμανὸς – Romanos 96, 454, 589 Σακελλίος – Sakellis/Sakellios 146 Σγουρόπουλος (see Γεώργιος Σγουρόπουλος, Δομέστικος) – Sgouropoulos 71, 266 Σγουρόπουλος, Ἰωάννης 326 Σγουρόπουλος Τραμουντάνης ἐκ ῾Ρόδου – Sgouropoulos, the “Wounded” from Rhodes 350 Σέργιος – Sergios 13, 29, 31 Σέργιος ἁγιοπολίτης – Sergios Hagiopolites 12, 16, 29, 31 Σέργιος λογοθέτης – Sergios Logothetes 27, 31 Σιγηρός (see Ἀνδρέας Σιγηρός) – Andreas Sigeros 65, 233, 234, 264, 266, 325, 340, 341, 343, 517 Σικεώτης – Sykeotes 15, 29, 21, 24 Σπυρίδων Ἀναστασιάδης ἐκ Πισιδίας – Spyridonos Anastasiades from Pisidias 552, 553 Σταμενίτζης, μοναχός – Stamenitzes, the Monk 343 Σταμούλης Παναγιώτης Ζαρκινός – Stamoules Panagiotes Zarkinos 543, 544 Σταυράκης Βεσίκτασης Πρωτοψάλτης – Stavrakes Besiktases Protopsaltes 218 Στέφανος – Stephanos 29, 32 Στέφανος ἁγιοπολίτης – Stephanos Hagiopolites 12, 25 Στέφανος ἁγιοσαβίτης – Stephanos Hagiosabites 25 Στέφανος βυζάντιος – Stephanos Byzantios 371, 438, 439 Στέφανος ἱερομόναχος Ξηροποταμινός, ἁγιορείτης – Stephanos Hieromonachos 161, 301, 371, 438 Στέφανος Σέρβος – Stephan the Serb 126, 631 Στουδίτης – Studites; Stoudios 13, 14, 15, 16, 17, 19, 20, 21, 24, 27, 29, 32 Συμεὼν τοῦ Στυλίτου, τοῦ Θαυμαστορείτου – Symeon the Stylite 15, 182, 287, 456, 486, 561, 567 Συμεὼν Ψηρίτζης – Georgios Symeon Psiritzes 378

Index Συνέσιος μοναχὸς Ἰβηρίτης – Synesios, Iviron monk 436 Συρῖγος – Syrigos 573 Σωφρόνιος ἱεροσολύμων – Sophronios of Jerusalem 19, 90, 91, 312, 313, 557 Σωφρόνιος, Λέοντος – Sophronios, Leon 40 Σωφρόνιος πατριάρχης Ἱεροσολύμων – Sophronios, Patriarch of Jerusalem 27, 110, 117, 190, 191, 382, 431, 540, 557 Ταβ[ου]λάριος ἐκ Θεσσαλονίκη – Tavlarios of Thessalonika 265 Ταράσιος πατριάρχης – Tarasios, the Patriarch 25 Τζακνόπουλος (see Ἰωάννης Δομέστικος Τζακνόπουλος) – Ioannes Tzaknopoulos, Domestikos 249, 250, 340, 349, 351, 358, 377, 395, 400, 514, 517 Φαρδιβούκης, πρωτοπαπᾶς τῶν ἁγίων Ἀποστόλων) – Phardivoukes, first priest of the Holy Apostles 65, 323, 324, 347, 397, 403, 515 Φερεντάρης – Pherentarios 124, 125, 340, 349, 356, 378, 476 Φιλανθρωπινός (see Εὐνοῦχος Πρωτοψάλτης Φιλανθρωπινός) – Philanthropinos Protopsaltes 356, 410 Φίλιππος Γαβαλᾶς (Γαβαλᾶς Δομέστικος θεσσαλονίκης) – Philippos Gavalas, Domestikos of Thessalonika 310, 340, 360 Φιλοθέος πατριάρχης – Philotheos, the Patriarch 316 Φωκᾶς –Phokas 266, 348 Φωκᾶς Δομέστικος – Phokas, the Domestikos 458 Φωκᾶς ἐκ Κρῆτη – Phokas from Crete 352, 378 Φωκᾶς λαμπαδάριος – Phokas Lampadarios 267, 481 Φωκᾶς τοῦ πολίτου – Phokas οf the city – Constantinople 348, 476 Φώτιος πατριάρχης – Photios, the Patriarch 22 Χαλιβούρης – Chalivoures 63, 86, 123, 263, 395, 452, 474, 517 Χαβιάρης – Chaviares from the West 328, 334 Χαραλαμπός – Charalampos 389 Χουρμούζιος ἱερεὺς καὶ ψάλτης – Chourmouzios, the priest and chanter 4, 268, 291, 584 Χουρμούζιος Χαρτοφύλαξ [Γιαμαλῆς] , ὁ διδάσκαλος – Chourmouzios, the archivist, the teacher of the Great Church 99, 102, 122, 215, 218, 219, 303, 426, 427, 546, 547, 548, 552, 553, 554, 584, 591, 601, 602, 603 Χουρμούζιος Γρηγορίου, ἐκ νήσου Χάλκης – Gregorios Chourmouzios 4, 303, 304, 365, 533, 537, 554, 602, 603

631

Χριστόφορος – Christophoros 231, 343, 395, 396, 397, 401, 402, 403, 405, 449, 452 Χριστόφορος ἱερομόναχος [Σερραῖος?] – Christophoros, priest-monk of the Monastery of Serres 372, 449, 487, 488 Χριστόφορος, Δομέστικος τῆς Μεγάλης Ἐκκλησίας – Christophoros, domestikos of the Great Church 237, 340, 343, 347, 358, 377, 402, 474 Χριστόφορος ὁ Μυστάκων, Δομέστικος – Christophoros of Mystakonos, Domestikos 238, 245, 246, 250, 320, 330, 343, 358, 396, 397, 398, 401, 402, 403, 404, 406, 452 Χρύσανθος ἀρχιμανδρίτης – Chrysanthos Archimandrite 99 Χρύσανθος ἐκ Μαδύτων – Chrysanthos of Madytos 99, 102, 103, 203, 215, 219, 596, 601, 602, 604, 605, 607, 612 Χρυσάφης ὁ νέος καὶ Πρωτοψάλτης (Παναγιώτης Χρυσάφης) – Chrysaphes the New and Protopsaltes; Panagiotes, the New Chrysaphes 48, 49, 51, 62, 92, 94, 96, 107, 109, 110, 111, 118, 129, 130, 132, 150, 176, 180, 187, 213, 222, 265, 266, 274, 276, 277, 278, 279, 280, 281, 282, 283, 284, 285, 288, 291, 292, 295, 296, 302, 304, 370, 382, 383, 388, 428, 470, 471, 479, 480, 483, 484, 519, 521, 522, 523, 524, 533, 545, 547, 554, 576, 584, 591, 598, 606, 607 Ψηρίτζης (see Συμεὼν Ψηρίτζης) – Psiritzes, Symeon 356

Other Ascriptions: Ἁγιορείτικον – Hagioreitikon 248, 264, 300, 327, 376, 377, 395, 401 Ἁγιοσοφίτικον – Hagiosophitoi; Hagiosophitikon 63, 263, 321, 340, 347, 377, 395, 400, 474, 514 Ἀηδονᾶτον – Like a nightingale 95, 96, 350 Ἀηδών – Nightingale 95, 96, 249, 267, 358, 444, 589, 599 Ἀρχαῖον - Old 52, 61, 62, 65, 86, 263, 264, 267, 285, 302, 304, 316, 319, 340, 364, 474, 519 Ἀτζέμικον – Muslim sounding 293, 294, 592 Βλάχικον – Silly-like 184 Βουλγάρα – Boulgara/Vulgara 52, 61, 81, 86, 95, 96, 105, 106, 123, 125, 170, 320, 335, 343, 462, 463, 475, 477, 478, 592 Θεσσαλονικαῖον – Thessalonian 5, 65, 84, 125, 239, 240, 245, 324, 329, 335, 340, 341, 343, 345,

632

A Descriptive Catalogue of the Musical Manuscript Collection of the National Library of Greece

346, 352, 378, 391, 393, 395, 398, 402, 403, 406, 444, 446, 448, 449, 453, 515, 516, 616 Ναυπλιώτικα – naval-like 575 Ὀλυμπιονικοὶ – Olympics 5, 192, 193, 194, 195, 196 Ὀργανικὸν – Instrumental, organum 65, 95, 105, 106, 124, 263, 267, 332, 348, 359, 368, 370, 501, 502 Παλαιόν [Palaion] – Old 18, 63, 64, 65, 66, 87, 233, 246, 303, 317, 318, 319, 320, 321, 324, 325, 330, 340, 341, 342, 347, 349, 356, 358, 377, 396, 397, 400, 401, 402, 404, 450, 474, 485, 515, 562, 564

Περσικόν [Persikon] – Persian 94, 95, 96, 267, 294, 320, 335, 336, 337, 338, 341, 359, 378, 599, 604, 617 Πολεμικόν – War-like/Polemic 95, 96, 358, 599 Πολίτικον – Constantinopolitan 125, 293, 294, 305, 306, 335, 340, 341, 342, 343, 346, 348, 349, 377, 391, 395, 403, 406, 437, 444, 449, 453, 515, 592, 593, 597, 605, 616 ῾Ροδακινᾶτον – Peach-like 95, 350 Φραγγικόν – Frankish 106, 249, 340, 377