Chant in the Orthodox Tradition
Transcription
Chant in the Orthodox Tradition
Chant in the Orthodox Tradition Alexander Lingas [email protected] Orthodox Traditions of Chant: • Chant traditions of the Oriental Orthodox Churches (and, where they exist, their counterparts in communion with Rome): Armenian, Coptic, Ethiopian, Syrian, etc. Diastematic (intervallically exact) musical notation has played little or no role in their transmission until modern times. • Chant traditions of churches – linguistically Albanian, Arab, Greek, Slavic, Romanian, etc. – employing the Byzantine rite, all of which trace their origins in some way back to the Eastern Roman (‘Byzantine’) Empire. • Chant traditions of the medieval West. – NB John, Bishop of Kitros (late 12th–early 13th century), who states that the texts and melodies (αἱ µελῳδίαι) of Greek and Latin psalmody are held in common and that the latter is not foreign (ἡ ἐπ’αὐτοῖς ψαλµῳδία οὐκ ἔστιν ἐθνική) Byzantine Chant: • Eastern ‘Sibling’ to Latin Roman Chant • Like the Byzantine Rite, a ‘mongrel’ tradition with roots in the urban and monastic Christian worship of the Eastern Mediterranean • An historical phenomenon and a living tradition. • Earliest notated MSS from the 9th/10th c. • Early Slavonic (Znamenny and Kondakarian) sources based on the ‘Coislin’ and ‘Chartres’ families of early Byzantine notation • Diastematic notation from the 12th c. Periods of Byzantine Chant: • • • • Origins in Late Antiquity (4th to 7th c. AD) Medieval (to ca. 1453) Post-Byzantine (after 1453 to the present) ‘The New Method’ or ‘Chrysanthine Chant’: after the reforms of the ‘3 Teachers’ during the first quarter of the 19th c. to the present. Notated Sources of Byzantine Chant: • Lectionary (Ecphonetic Notation) • Melodic Notations – Palaeo-Byzantine (Theta, Coislin, Chartres) – Middle Byzantine (‘Round’) – ‘The New Method’ from the first quarter of the 19th c. to the present. MS Sinai gr. 213 (‘967’) List of Ecphonetic Signs with Transcription into Palaeobyzantine Melodic Neumes MS Sinai 8 (Prophetologion of 10th/11th c.), f. 303r From the Greek edition of K. Floros, Einführung in die Neumenkunde Late Antiquity The Formation of Christian Liturgical Rites and the 4th-Century AD ‘Psalmodic Movement’ The Rite of the Great Church From the Russian Primary Chronicle Then we went on to Greece, and the Greeks led us to the edifices where they worship their God, and we knew not whether we were in heaven or on earth. For on earth there is no such splendour of beauty, and we are at a loss how to describe it. We know only that God dwells there among men, and their service is fairer than the ceremonies of other nations. For we cannot forget that beauty. Medieval Russia's Epics, Chronicles, and Tales, Serge A. Zenkovsky, ed., 2nd ed. (New York: E.P. Dutton, 1974), 67–68 Kai; eujqu;" oJ Domevstiko" to; kekragavrion Eijsavkousovn mou. Th;n swthvriovn sou e[gersin doxavzomen, filavnqrwpe. OiJ coroi; ejnallavx. Kuvrie ejkevkraxa pro;" sev, eijsavkousovn mou: provsce" th'/ fwnh'/ th'" dehvsewv" mou ejn tw'/ kekragevnai me pro;" sev. Th;n swthvriovn sou e[gersin doxavzomen, filavnqrwpe. Kateuqunqhvtw hJ proseuchv mou wJ" qumivama ejnwpiovn sou: e[parsi" tw'n ceirw'n mou qusiva eJsperinhv. Th;n swthvriovn sou e[gersin doxavzomen, filavnqrwpe. Qou', Kuvrie, fulakh;n tw'/ stovmativ mou, kai; quvran perioch'" peri; ta; ceivlh mou. Th;n swthvriovn sou e[gersin doxavzomen, filavnqrwpe. Mh; ejkklinh/" th;n kardivan mou eij" lovgou" ponhriva", tou' profasivzesqai profavsei" ejn aJmartivai". Th;n swthvriovn sou e[gersin doxavzomen, filavnqrwpe. And immediately the Choir Leader the refrain of Psalm 140. Hear me. We glorify your saving resurrection, Lover of humankind. The Choirs alternately. Lord I have called to you, hear me. Give heed to the voice of my supplication when I call upon you. We glorify your saving resurrection, Lover of humankind. Let my prayer be directed towards you like incense; the lifting up of my hands like an evening sacrifice. We glorify your saving resurrection, Lover of humankind. Set a guard, O Lord, on my mouth: and a strong door about my lips. We glorify your saving resurrection, Lover of humankind. Do not incline my heart to evil words: to make excuses for my sins. We glorify your saving resurrection, Lover of humankind. … 1st Antiphon of the Divine Liturgy for Theophany Ps. 113: 1–5 with Refrain Psaltikon MS Patmos 221, dated between 1162 and 1179 A.D. Refrain and Solo Verses of Saturday Prokeimenon from Psaltikon MS Patmos 221 Alleluiarion from the Psaltikon Ashburnhamensis 64 (1289) Today the Virgin gives birth to him who is above all being, And the earth offers the Cave to him whom no one can approach; Angels with Shepherds give glory, And Magi journey with a star; For us there has been born A little Child: God before the ages. St Romanos the Melodist th (6 Kontakion Prologue for Christmas (Notated in MS St Pb 674, 13th c.) c.): The Urban Rite of Jerusalem The Eight Modes (Octoechos) • Initially codified as a liturgical system probably near Jerusalem, perhaps as early as the late 5th c. • Later exported to Constantinople and the Carolingian West • Used to organise hymnody and psalmody • The Octoechos takes a number of forms in the received traditions of Byzantine chanting Cycle of Modal Intonation s A na nes Ne a nes Na na A gi a A- nes Neche anes A neanes Neagie Ananes The Studite Synthesis Kasia (9th c.), Sticheron for Holy Wednesday (ed. I. Arvanitis) Slide 30 AL1 Alexander Lingas, Friday 19/09/14 The Neo Sabaïtic Synthesis John Glykes teaching St John Koukouzeles and Xenos Korones (MS Koutl. 457, 14th c.) 1a Εὐλόγει ἡ ψυχή µου, τὸν Κύριον 1b Κύριε ὁ Θεός µου ἐµεγαλύνθης σφόδρα. 1c Ἐξοµολόγησιν καὶ µεγαλοπρέπειαν ἐνεδύσω. 2a—Ἀναβαλλόµενος φῶς ὡς ἱµάτιον. 1a Bless the Lord, my soul! 1b O Lord my God, you have been greatly magnified. 1c You have clothed yourself with thanksgiving and majesty. 2a Wrapping yourself in light as in a cloak. Τὰ ἀνοιξαντάρια 28b Ἀνοίξαντός σου τὴν χεῖρα, τὰ σύµπαντα πλησθήσονται χρηστότητος. ∆όξα σοι ὁ Θεός. 29b Ἀντανελεὶς τὸ πνεῦµα αὐτῶν, καὶ ἐκλείψουσι. ∆όξα σοι Πάτερ, δόξα σοι Υἱε, δόξα σοι τὸ Πνεῦµα τό ἅγιον, δόξα σοι. 30a Ἐξαποστελεῖς τὸ πνεῦµά σου, καὶ κτισθήσονται. ∆όξα σοι ὁ Θεός, δόξα σοι. 31a Ἤτω ἡ δόξα Κυρίου εἰς τοὺς αἰῶνας. ∆όξα σοι ἅγιε· δόξα σοι Κύριε· δόξα σοι, βασιλεῦ οὐράνιε. ∆όξα σοι, δόξα σοι ὁ Θεός. 35a Ἐκλείποιεν ἁµαρτωλοὶ ἀπὸ τῆς γῆς. ∆όξα σοι Τριὰς ἄναρχε· δόξα σοι ὁ Θεός. 35c Εὐλόγει, ἡ ψυχή µου, τὸν Κύριον. ∆όξα σοι, δόξα σοι ὁ Θεός. The Anoixantaria 28b When you open your hand all things will be filled with goodness. Glory to you, O God. 29b You will take away their spirit, and they will perish. Glory to you, O Father, glory to you, O Son, glory to you, O Holy Spirit. Glory to you! 30a You will send forth your spirit, and they will be created. Glory to you, Lord, glory to you! 31a May the glory of the Lord endure to the ages. Glory to you, Lord, glory to you, heavenly King, glory to you, glory to you, O God! 35a O that sinners might perish from the earth. Glory to you, Trinity without beginning, glory to you [O] God! 35c Bless the Lord, my soul! Glory to you, glory to you, [O] God! 24b and Doxology Πάντα ἐν σοφίᾳ ἐποίησας. ∆όξα Πατρὶ καὶ Υἱῷ καὶ ἁγίῷ Πνεύµατι. Καὶ νῦν, καὶ ἀεί, καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. Ἀµήν. Ἀλληλούϊα. Ἀλληλούϊα. ∆όξα σοὶ ὁ Θεός. Ἀλληλούϊα. Ἀλληλούϊα. ∆όξα σοὶ ὁ Θεός. Ἀλληλούϊα. Ἀλληλούϊα. ∆όξα σοὶ ὁ Θεός, δόξα σοὶ ὁ Θεός, ὁ Θεός. 24b and Doxology With wisdom you have made them all! Glory to the Father and to the Son and to the Holy Spirit. Both now and for ever, and to the ages of ages. Amen. Alleluia. Alleluia. Glory to you, O God. Alleluia. Alleluia. Glory to you, O God. Alleluia. Alleluia. Glory to you, O God. Glory to you, O God. O God. —Psalm 103 (104) with Triadika Hymn for the Blessing of Water by Sophronios of Jerusalem (7th c.) At the voice of the one crying in the desert, ‘Prepare the way of the Lord’, you came, Lord, having taken the form of a servant, asking for Baptism, though you did not know sin. The waters saw you and were afraid. The Forerunner trembled and cried out, saying, ‘How will the lamp enlighten the Light? The servant place his hand on the Master? Saviour, who take away the sin of the world, make me and the waters holy’. Anagrammatismos for Theophany by St John Koukouzeles (late 13th/early 14th c.) You Lord, who take away the sin of the world, came in the form of a servant asking for baptism, though you did not know sin. The waters saw you and were afraid; again: the waters saw you, Lord, and were afraid, were afraid. The Forerunner trembled and cried out, saying, ‘How will the lamp enlighten the Light? The servant place his hand on the Master? Make me and the waters holy, and the waters, O Saviour; titi…; make me holy, O Saviour, and the waters'. Post-Byzantine Chant Transmission, Renewal and Recodification After Byzantium: The Fragmentation of Byzantine Chant • Western dialects of Byzantine chant in Southern Italy and Eastern Mediterranean lands ruled by Venice (Cyprus, Crete and the Ionian Islands) • The Ottoman Empire and its vassal states • Border traditions to the North and West of the Ottoman sphere of influence Psalm 140: 1 in Western Dialects of Post-Byzantine chanting • Corfu (Mode 1) • Southern Italy (Mode 2) Arad Cathedral, Banat Church of the Dormition, Sadu, Transylvania For Comparison: Psalm 140: 1 • Constantinople/Đstanbul (Mode 1) • Znamenny Chant (Mode 1 Plagal), Choir of the Moscow Representation of the Trinity-St. Sergius Monastery, dir V. Gorbik ‘Psaltic’ and Regional Dialects of Byzantine Chanting in Romania The Emergence of the ‘Central Tradition’ in the Ottoman Sphere of Influence • During the later 16th and early 17th centuries literate traditions of Byzantine chant recover artistic momentum within the Ottoman sphere of influence • Notation and oral performance practices are gradually brought into closer alignment during the 18th century, culminating in the recodifications of the central repertory by Petros Peloponnesios the Lampadarios (d. 1778) and his students. The New Method Notational Reform, Transcription and Creativity The New Method of Byzantine Notation • The first major revision of Byzantine musical notation since the introduction of Middle Byzantine notation in the twelfth century. • Devised by the ‘Three Teachers’ (Chrysanthos of Madytos, Gregorios the Protopsaltes and Chourmouzios the Archivist) in Constantinople The first publications relating to the ‘New Method’ of Byzantine notation: the Short Doxastarion of Petros Lampadarios (Bucharest: 1820); and Chrysanthos of Madytos, Introduction to the Theory and Practice of Ecclesiastical Music (Paris: 1821). The Opening of the Lamplighting Psalms of Vespers in Mode 1: The melody of Petros Peloponnesios in Middle Byzantine Notation (L) and as published in the New Method (R) Late Byzantine composers listed among their successors in the 1851 Mathematarion Lamplighting Psalms, Mode 1 MS Sinai 1255 (15th c), f 164r Constantinople 1868 Edition of the Late Byzantine Anastasimatarion in Long Exegesis A Post-Byzantine Exegesis of a Passage from the Didactic Song of St John Koukouzeles (after Psachos) Oral and Written Tradition in the New Method of Byzantine Notation • Now Specified in Notation: – Rhythmic Subdivision – Tunings of the Modes – Chromaticism • Still Left to Oral Tradition: – Ornamentation – Subtle rhythmic and chromatic inflections Coda: Byzantine Chant and the Reconstruction of Liturgical Pasts Twenty Canons from the Trinity Hirmologium, MMB Transcripta 4 (1952) The Constantinopolitan cathedral offices of Tritekte and Pannychis edited by Ioannis Phountoulis Performing edition and recording of Pannychis with newly composed chants by Gregorios Stathis. Scenes from the Byzantine Cathedral Rite Vespers celebrated at St Peter’s College, Oxford on 26 May, 2001 Sunday Prokeimenon for Divine Liturgy, Mode 1 Psaltikon Patmos MS 221, dated between 1162 and 1179 A.D (ed. Arvanitis) Icons of Sound Project: http://iconsofsound.stanford.edu