THE B Y Z A N T I N E COMMUNION CHANT FOR

IN 14TH-CENTURY

EASTER

MANUSCRIPTS

by

HORST BERNHARD LOESCHMANN

B. Mus., T h e U n i v e r s i t y

of B r i t i s h

Columbia,

1976

A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF

THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF ARTS
in

THE FACULTY OF GRADUATE STUDIES

(Department of Music)

We a c c e p t t h i s

t h e s i s as

to the required

conforming

standard

THE UNIVERSITY OF BRITISH COLUMBIA

October 1982

Horst Bernhard

Loeschmann,

1982

In p r e s e n t i n g

t h i s t h e s i s i n p a r t i a l f u l f i l m e n t of

requirements f o r an advanced degree at the

the

University

o f B r i t i s h Columbia, I agree t h a t the L i b r a r y s h a l l make

it

f r e e l y a v a i l a b l e f o r reference

and

study.

further

agree t h a t p e r m i s s i o n f o r e x t e n s i v e copying of t h i s t h e s i s
f o r s c h o l a r l y purposes may
department or by h i s or her

be granted by

the head o f

representatives.

my

It i s

understood t h a t copying o r p u b l i c a t i o n o f t h i s t h e s i s
f o r f i n a n c i a l gain

s h a l l not be allowed without my

permission.

Department of

Misin

The U n i v e r s i t y of B r i t i s h Columbia
1956 Main Mall
Vancouver, Canada
V6T 1Y3
Date

DE-6

(3/81)

October 18,

1982

written

ABSTRACT

It i s only recently that the attention of musicologists has been

directed to the study of Eastern church music as transmitted in 14th and
15th-century Byzantine manuscripts.

This constitutes a reversal of the

prejudices held by most pioneers in the d i s c i p l i n e , who believed that the

musical oeuvre of the l a t e Byzantine empire was only a p a l l i d r e f l e c t i o n of
a once magnificent s t y l e , and was, t h e r e f o r e , unworthy of d e t a i l e d examination.

In i t s support of the current reassessment of the l a t e Byzantine

musical s t y l e , t h i s study shows t h a t , in s p i t e of the d e c l i n i n g fortunes of

the empire, the composers of that time fashioned a v i t a l and distinguished
culmination to a millenium of l i t u r g i c a l

composition.

The t h e s i s i s l i m i t e d to a c l e a r l y d i s c e r n i b l e e n t i t y w i t h i n
the 14th-century r e p e r t o i r e :

the Easter Koinonikon, or Communion chant,

Euiua xPT-crxou, a hymn conveyed by at l e a s t fourteen manuscripts representing

the works of some seven composers.

The eight settings considered here

comprise the e n t i r e 14th-century c o l l e c t i o n of t h i s chant that has survived

the v i c i s s i t u d e s of time.
The method of i n v e s t i g a t i o n i s both h i s t o r i c a l and a n a l y t i c a l .
Its r e s u l t s reveal a h i t h e r t o unsuspected degree of consanguinity among the
musical materials of a l l seven composers, one which i s delineated by the
establishment of three d i s t i n c t sub-groupings.

These, i n t u r n , f u r t h e r

emphasize the presence of a known thesaurus of musical elements.

l a r i t y of various compositional procedures also becomes evident.

A simiThe most

iii.

s i g n i f i c a n t of these i s the use of a r e f r a i n that i s analagous to the

A l l e l u i a r e f r a i n which occurs in most other Communion hymns.

There a r e ,

n a t u r a l l y , a number of s t y l i s t i c differences that appear in the w r i t t e n

t r a d i t i o n during the course of the century,.and these r e f l e c t a gradual
evolution of the composers' idiom.

Of p a r t i c u l a r i n t e r e s t to future studies

i s the development of a t e n t a t i v e chronology for these seven composers,

since in many cases t h i s supersedes t h e i r c u r r e n t l y accepted d a t i n g .
Most importantly, however, i s the f a c t that t h i s study focusses
a t t e n t i o n and sheds new l i g h t on a neglected area of Byzantine music h i s t o r y ,
and i n d i c a t e s the need for continuing research in t h i s f i e l d .

iv.

T A B L E

O F

C O N T E N T S

Page
ABSTRACT

ii

LIST OF TABLES

LIST OF FIGURES

vi

ACKNOWLEDGEMENTS

vii

INTRODUCTION

SOURCE MATERIAL

TEXT

22

COMPOSERS

32

MUSIC

43

SUMMARY:
A.

Changes

72

B.

Stasis

87

CONCLUSIONS

101

BIBLIOGRAPHY

105

V.

L I S T OF T A B L E S

Table
I
II

III
IV
V
VI
VII
VIII
IX

Page
L i s t of Primary Manuscripts Consulted

Average Frequency of Text-Phrase Endings Coincident

with Musical Cadences

23

Average Text-Element Repetition

24

E a r l i e s t MSS that Contain Any Koinonika by Each Composer

34

Ordering of Settings of Ewya xpi"rou in MSS

39

Modal Assignment of Ecoya xpicnrou in Securely-Dated MSS

40

Length of Ewya xpi-"rou Melodies

73

Interval Usage in Percentages

Proportion of Music in Text and ''Re'frain-'

76
98:

vi.

L I S T OF F I G U R E S

Figure

Page

1:

Refrain Repetition i n Gerasimos's Setting

Text P a r a l l e l i s m in G l y k e ' s

Changing Ambitus in Suya X P T - " ^

TevoaoQe

and ooua

18

xP^ ^ov
a

28
75

vi i .

ACKNOWLEDGEMENTS

I should l i k e t o express a deep sense o f o b l i g a t i o n t o a l l who

have helped me i n t h i s research.

Dr. D i m i t r i Conomos spawned my i n t e r e s t

in Byzantine musicology, and has a s s i d u o u s l y nurtured i t through the course

of a number o f y e a r s .

I am thankful t o him f o r suggesting t h i s t o p i c , and

f o r h i s encouragement and i n v a l u a b l e a s s i s t a n c e during my t r a v a i l s o f a

sometimes f o r b i d d i n g , o c c a s i o n a l l y even vexatious, t e r r i t o r y .
I am g r e a t l y indebted.

To my parents

They have c o n s t a n t l y o f f e r e d t h e i r support t o my

academic endeavours, and have u n s t i n t i n g l y helped me i n innumerable ways.

Above a l l , my w i f e , Diana, has a s s i s t e d i n c a l c u l a b l y a t a l l stages o f t h i s
t h e s i s ; the e d i t i n g and t y p i n g o f the f i r s t d r a f t s i g n a l s but two major
instances.

More importantly, though, her devotion and unceasing love were

an i n e s t i m a b l e support.

Without her t h i s t h e s i s would not.have m a t e r i a l i z e d .

To a l l the above, and t o many other f r i e n d s who o f f e r e d a mult i t u d e o f kindnesses, I can do no b e t t e r than to p r o f f e r the s a l u t a t i o n o f
the Byzantine p o l y c h r o n i o n :
A6a

6ea>

xui 6oaaowxi ae

OUTCQS.

A6a 9eu xw euSoKiiaavxi ouxws ...

ItoAAou vp\v x p o v o i

o f 6epcarovTs xou Kupxou.

1.

INTRODUCTION

For the past two decades musical scholars have devoted increasing
a t t e n t i o n to the vast amount of l i t u r g i c a l

music composed i n the f i n a l

century and a h a l f of the Byzantine Empire (1300-1450).

The pioneers

in the d i s c i p l i n e of Byzantine musicology generally eschewed t h i s

reper-

t o i r e , f o r they considered i t a v i t i a t e d and s u p e r f i c i a l r e f l e c t i o n of

' c l a s s i c a l ' Byzantine music and hymnographyJ

A reassessment of the pro-

digious musical output that manifests i t s e l f i n the d e c l i n i n g years of the

Empire has gradually taken p l a c e , however, and has revealed t h i s period
as c o n s t i t u t i n g a v i t a l and distinguished culmination of a millenium of
liturgical

composition.
The present study focusses on an example of one of the s i g n i f i c a n t

groups of chants f o r the Divine Liturgy i n the.East as transmitted by 14thcentury musical manuscripts the Communion antiphon, Ztoucx. X P ^ T O U .
The Communion hymn, or Koinonikon, comprises the l a r g e s t body of proper
psalmody that i s used in the Mass of the Orthodox Church, and c o n s i s t s of
a cycle of twenty-six t e x t s , each of which i s a l l o c a t e d to one or more
occasions i n the l i t u r g i c a l year.

This c o l l e c t i o n r e f l e c t s a usage that

was f u l l y developed at l e a s t by the 11th century, but which c a n , i n f a c t ,

be traced back to the 9th century, as r e f l e c t i o n s of i t s existence can be

"*"Egon W e l l e s z d i s p a r a g e d t h i s r e p e r t o i r e a s " . . . t h e r a t h e r
s u p e r f i c i a l c o l o r a t u r a s t y l e o f the fourteenth and f i f t e e n t h c e n t u r i e s . "
Such d e p r e c a t i o n i s n o t u n c h a r a c t e r i s t i c o f t h e a t t i t u d e o f most e a r l y
scholars i n the f i e l d .
Egon W e l l e s z , A H i s t o r y o f B y z a n t i n e Music a n d
Hymnography, 2d e d . , r e v . ( O x f o r d :
Clarendon Press, 1961), p. 23.

2.

seen i n the Patmos and Holy Cross t y p i k a .

As with many of the major

hymns i n the Byzantine R i t e , the Koinonikon i s used to cover a l i t u r g i c a l

o

action.

A f t e r the Elevation=and f r a c t i o n o f the Consecrated G i f t s , the

p r i e s t intones the words "Holy things f o r the holy," and the congregation
responds with the chant "One i s holy. . ." Following t h i s , the clergy
3
receive Communion while the choir sings the Communion antiphon..
The antiphon Etoua XPT-"TOO i s used as the proper Koinonikon f o r
Easter.

Its connection with t h i s feast i s c l e a r l y an o l d t r a d i t i o n , as i t

i s without exception s p e c i f i e d by a l l l i t u r g i c a l ordos from Constantinople.

The text o f t h i s hymn i s one of only two non-scriptural Koinonika, and as
5
such the customary pendant A l l e l u i a i s omitted:
Eooua xPT-0"rou

uexaAaBeTe

Trnyns a B a v a x o u

yetioaoQe

("Partake of the body of Christ,

taste the source of
immortality")

It must also be noted:, however, that i n addition to the use of

t h i s hymn f o r the Communion of the clergy a t Easter, i t also seems to have
D i m i t r i Conomos, "Communion Chants i n Magna G r a e c i a and Byzantium,"
JAMS XXXIII (Summer 1980):
24-3; a l s o see idem, "Psalmody and the Communion
C y c l e , " S t . V l a d i m i r ' s T h e o l o g i c a l Q u a r t e r l y 25 (1981): 4-7-48. The Typikon
( T U T T l K O V ) i s a l i t u r g i c a l book which c o n t a i n s t h e Rule f o r t h e S e r v i c e o f
a l l L i t u r g i e s and O f f i c e s f o r the e n t i r e church y e a r .
3
Mother Mary and K a l l i s t o s Ware, The F e s t a l Menaion (London:
and Faber, 1969), p. 80.

Faber

14.

Conomos, "Psalmody and t h e Communion C y c l e , " p. 113. The J e r u s a l e m

ordo o f 1122, and the somewhat e a r l i e r P a l e s t i n i a n p r a c t i c e as r e f l e c t e d i n a
Georgian l e c t i o n a r y , both c o n t r i b u t e unique e x c e p t i o n s t o t h i s p r e s c r i p t i o n
( i b i d . , pp. 11416). N e i t h e r o f t h e s e p r a c t i c e s , h o w e v e r , i s c o n t a i n e d i n
any o f the m u s i c a l MSS under c o n s i d e r a t i o n .
5
The o t h e r n o n - s c r i p t u r a l Koinonikon i s t h e t r o p a r i o n T o u
6lTTVOU OOU f o r Holy Thursday.

3.

been used r e g u l a r l y throughout the l i t u r g i c a l year during the Communion of

the f a i t h f u l .

Currently t h i s i s s t i l l

common p r a c t i c e in the Greek and

S l a v i c churches, and on occasion Too Seiirvou aou i s also chanted for the
same purpose.

This usage, which constitutes an unwritten convention, may

in a l l l i k e l i h o o d be dated to the 12th century.

L i t u r g i c a l documents up

to that time indicate that in both Eastern and Western r i t e s the Communion
hymn was generally used during the people's Communion.

It was only sometime

during that century that the Koinonikon was transferred to i t s customary l o c a t i o n at the Communion of the c l e r g y ; as i f to compensate f o r t h i s , a t r a d i t i o n of using Exoya
l i t u r g i e s evolved.

xPT- ^
a

0 U

the Communion of the l a i t y during most

C e r t a i n l y t h i s p r a c t i c e i s eminently suited to theo-

l o g i c a l precepts, f o r , as Helen B r e s l i c h - E r i c k s o n has pointed out, every

Sunday may be considered as a ' s m a l l ' Easter.
A t o t a l of fourteen manuscripts have been u t i l i z e d as the primary
source material f o r t h i s study.

A l l of these represent a new type of musical

codex that appears with increasing frequency during the 14th and 15th
centuries.

These manuscripts, usually c a l l e d A k o l o u t h i a i , or Orders of

S e r v i c e , c o n s t i t u t e , as Kenneth Levy has noted, a f i r s t attempt to e s t a b l i s h

in a s i n g l e c o l l e c t i o n an anthology containing the bulk of the musical
chants for the Byzantine r i t e . ^

In t h e i r contents these Akolouthiai sup-

planted the e a r l i e r books known as P s a l t i k o n and Asmatikon, the former of

Helen
Liturgy
Milos

of

the

B r e s l i c h - E r i c k s o n , "The

Presanctified

Velimirovic

(London:

Gifts,"
Oxford

in

C o m m u n i o n Hymn o f

Studies

University

in

the

Byzantine

E a s t e r n Chant

Press,

1973),

p.

III,

64,

n.

ed.
37.

7
The f u n d a m e n t a l s t u d y b y K e n n e t h L e v y p r o v i d e s an e x c e l l e n t
e l u c i d a t i o n o f t h e g e n e s i s and c o n t e n t s o f t h i s c l a s s o f MS.
S e e " A Hymn
f o r T h u r s d a y i n H o l y W e e k , " JAMS X V I (Summer 1 9 6 3 ) :
154-57.
See a l s o
O l i v e r S t r u n k , "The A n t i p h o n s o f t h e O k t o e c h o s , " i n E s s a y s on M u s i c i n t h e
B y z a n t i n e W o r l d (New Y o r k :
W.W. N o r t o n C o . , 1 9 7 7 ) , p p . 1 7 0 - 7 2 .

which contained extremely elaborate chants used only by s k i l l e d s o l o i s t s

and the l a t t e r comprised a c o l l e c t i o n of melismatic choral chants.

Included

in these new Akolouthiai i s not only most of the proper and ordinary psalmody,
but also some of the ordinary hymns for the services of Vespers, Matins, and
8
the three Divine L i t u r g i e s .
The following 14th-century manuscripts which transmit the Koinonikon
Eaiya x p x a x o u were consulted.
TABLE I
L i s t o f Primary M a n u s c r i p t s C o n s u l t e d

A.

Dated M a n u s c r i p t s from the 14-th Century

Athens MS.

2458

1336

Athens MS. 2622

1341-ca. 1360

Ambrosiana MS.L. 36 sup. ( g r . 476) 1 3 4 1 - c a . 1360

Ambrosiana MS. Q. 11 sup. ( g r . 665)
c a . 1360-1385
Koutloumousi MS. 4-57
c a . 1360-1385
V a t o p e d i MS. 14-95
ca. 1360-1385
,,
Vienna MS. t h e o l . g r . 185
c a . 1385-1391
10

B.

Undated M a n u s c r i p t s from the 14th Century

Athens MS. .2600
Athens MS. 904
Athens MS. 2454
Athens MS. 2411
S i n a i MS. 1294.
S i n a i MS. 1462
Taphos MS. 425

The c o n t e n t s o f a r e p r e s e n t a t i v e 1 4 t h - c e n t u r y A k o l o u t h i a i ( i n
t h i s c a s e , Vienna MS. t h e o l . g r . 185) a r e g i v e n i n C h r i s t i a n Hannick, "Etude
sur l'&KoAouOia a a u a T i K f ) , " i n Jahrbuch der O e s t e r r e i c h i s c h e n B y z a n t i n i s t i k
19 (1970): 245-46.
For purposes o f convenience t h i s and the f o l l o w i n g MS
will
h e r e a f t e r be c i t e d , r e s p e c t i v e l y , as Ambrosiana MS. L. 36, and Ambrosiana
MS. Q. 11.

"""^Only A t h e n s M S . 2 4 5 8 may b e p r e c i s e l y d a t e d b y i t s
colophon.
T h e f i v e f o l l o w i n g MSS a r e a p p r o x i m a t e l y d a t e d o n t h e b a s i s o f
their
p o l y c h r o n i a ( a c c l a m a t i o n s ) w h i c h r e f e r t o Anne o f Savoy ( r e i g n e d 1341 t o
c a . 1360) o r A n d r o n i c u s IV ( r e i g n e d c a . 1360 t o 1 3 8 5 ) .
See S t r u n k ,
"Antiphons
of the Oktoechos," pp. 170-71.

"'""'"Hereafter c i t e d a s V i e n n a MS. 1 8 5 .
T h i s MS
is usually
dated
as c i t e d h e r e .
See D i m i t r i E. Conomos, B y z a n t i n e T r i s a g i a and C h e r o u b i k a
of the Fourteenth and F i f t e e n t h C e n t u r i e s .
A Study of Late Byzantine
Liturgical
Chant ( T h e s s a l o n i k i :
Patriarchal Institute for P a t r i s t i c Studies, 1974),
p. 47 a n d p . 5 3 .
But H a n n i c k s u g g e s t s 1379 t o 1391 i n s t e a d ( s e e H a n n i c k ,
" E t u d e , " p.
245).
12
T h e s e t h r e e A t h e n s MSS a r e s u m m a r i l y d a t e d a s m C o n o m o s ,
B y z a n t i n e T r i s a g i a and C h e r o u b i k a , p. 48.
A t h e n s MS 9 0 4 , h o w e v e r , a l s o
c o n t a i n s some 1 5 t h - c e n t u r y m u s i c t h a t was a d d e d l a t e r b y a s e c o n d s c r i b e
(see i b i d . , p. 4 8 , n.
30),

been

A t h e n s MS. 2 4 1 1 , Taphos
a s s i g n e d to the 14th century by

MS. 4 2 5 , and t h e
Conomos.

two

Sinai

MSS

have

6.

SOURCE MATERIAL

Some eight d i f f e r e n t musical s e t t i n g s of the Communion hymn

E u u a

xpT-tfTou

are transmitted in 14th-century Byzantine musical manuscripts.

Most of the fourteen manuscripts consulted (see Table I) provide only a

s i n g l e s e t t i n g of t h i s t e x t , but f i v e of the sources give m u l t i p l e v e r s i o n s .
The f o l l o w i n g seven composers are represented:

Ioannes Glykes; Konstantinos

Moschianos; Ioannes Kladas; P h i l i p Gavalos; Ioannes Doukas; Gerasimos

hieromonachos; George Panaretos.

Each of these composers i s c r e d i t e d with

one s e t t i n g except f o r Kladas, to whom two are a s c r i b e d .

The s e t t i n g of Iwua xPi-o"rou a t t r i b u t e d
been by f a r the most popular v e r s i o n .

to Glykes seems to have

It appears at l e a s t once sometimes

15
twice in twelve

of the manuscripts that contain the Easter Communion

hymn (a t o t a l of fourteen i n s t a n c e s ) .

The verson by Moschianos i s a d i s t a n t

second with a t o t a l of f i v e example in four manuscripts.

Each of the r e -

maining composers i s represented in one, or o c c a s i o n a l l y two, manuscripts.

Glykes's s e t t i n g i s in one respect somewhat problematical.

The

twelve manuscripts are in considerable disagreement about the modal

lt+

See

T a b l e V below.

The r e m a i n i n g two, Athens MS.

o n l y a v e r s i o n by K l a d a s .

2411 and Athens MS.

904,

contain

7.

designation f o r the fourteen versions of t h i s hymn, as a t o t a l of four

d i f f e r e n t modes are s p e c i f i e d ,

The d i s t r i b u t i o n i s as f o l l o w s :

Athens MS. 2458 f o l . 169

Ambrosiana MS. L. 36 f o l . 2 6 4
Vienna MS. 185 f o l . 2 8 5
16
Athens MS. 2600 f o l . 6 3
17
S i n a i MS. 1294 f o l . 1 6 7

Mode I P l a g a l .
r e q u i r i n g an
f start

Athens MS. 2622 f o l . 3 6 0

Ambrosiana MS. Q. 11 f o l . 261
V a t o p e d i MS. 1495 f o l . 2 1 7
V a t o p e d i MS. 1495 f o l . 2 1 7
r

Mode I I I A u t h e n t i c ,
requiring
a c_ o r
p o s s i b l y an a s t a r t

S i n a i MS. 1462 f o l . 149 c o n t a i n s a double main s i g n a t u r e o f which t h e f i r s t group i s n o t c o m p l e t e l y

legible.
Most l i k e l y , however, i t denotes e i t h e r
Mode I P l a g a l or Mode I I I A u t h e n t i c .
The second
group s p e c i f i e s the Nana mode (2Z
) that requires a
s t a r t on c.
Athens MS. 2454 f o l . 42
18
Taphos MS. 425 f o l . 1 5 2
r

Koutloumousi MS. 457 f o l .232

Vienna MS. 185 f o l . 2 6 8
r

16
most

likely.

The s i g n a t u r e i s i n d i s t i n c t

Mode I I P l a g a l , r e q u i r i n g a g_ s t a r t
i- -

19

Nana mode ( 2 2 ),
requiring a
or
a g
start

i n the m i c r o f i l m , but t h i s seems

17
Although t h e s i g n a t u r e here i s reckoned from
d_ t h e opening
neume o f t h e hymn i s an a s c e n d i n g t h i r d , which compensates f o r
the modal s i g n a t u r e and thus r e q u i r e s a s t a r t on f_.
18
The s i g n a t u r e i s n o t e n t i r e l y v i s i b l e i n t h e m i c r o f i l m b u t t h i s
i s most p r o b a b l e .
19
The Nana (mesos t e t a r t o s . or Mode IV M e d i a l ) i s one o f two m e d i a l
modes commonly used d u r i n g t h i s p e r i o d .
I t i s p o l y v a l e n t and appears i n
our r e p e r t o i r e i n c o n j u n c t i o n w i t h Mode I I I A u t h e n t i c (it , see S i n a i MS.
1462 f o l . 1 4 9 ) and Mode IV P l a g a l (If
, see Koutloumousi MS. 457 f o l .
2 3 2 and Vienna MS. 185 f o l . 2 6 8 ) .
C o n s t a n t i n F l o r o s has suggested
". . .dass der Mesos t e t a r t o s gewissermassen eine M i t t e l s t e l l u n g zwischen
dem IV. a u t h e n t i s c h e n und dem IV. p l a g a l e n Echos einnimmt. und an b e i d e n
t e i l h a t , ausserdem dass d e r I I I . a u t h e n t i s c h e und der IV. mediale Echos
s i c h annahern oder gar i n mancher H i n s i c h t a n g l e i c h e n . . ." C o n s t a n t i n
F l o r o s , "Die E n t z i f f e r u n g d e r K o n d a k a r i e n - N o t a t i o n ( I I ) , " i n Musik des
Ostens IV, ed. Elmar A r r o and F r i t z Feldmann ( K a s s e l :
Barenreiter Verlag,
1967), p. 26.
r

8.
On the basis of the preceding tabulation one would.* have to assume
that at l e a s t three d i f f e r e n t

p i t c h l e v e l s could be u t i l i z e d f o r the

of t h i s composition, two of which (f and cj predominate.

start

This assumption

seems to be v e r i f i e d by two 15th-century manuscripts, Athens MS. 2406 and

I v i r o n MS. 1120, both of which provide two main signatures f o r t h i s hymn:
Mode I Plagal (nx.fTX.a') and Nana (?z
such double martyriai

As a r e s u l t of duplicate neumation

).

in 14th and 15th-century manuscripts i n v a r i a b l y

indi-

cate progression from the.same p i t c h and seem to have only a confirmatory

21
function.

In t h i s case, however, the f o l l o w i n g neumes do not resolve the

dichotomy and merely provide the opening that i s common to a l l of our 14th22
century versions:Vrs .

It seems probable then, that during the 14th century

both Mode I Plagal and Mode III

f o r t h i s hymn.

Moreover, i t

Authentic (or the Nana) were customarily used

i s i n t e r e s t i n g to note that t h i s disagreement,

which r e s u l t e d in at l e a s t a bi-modal t r a d i t i o n ,

i s already evident in our

two e a r l i e s t sources (Athens MS. 2458 and the v i r t u a l l y

contemporaneous
23
Athens MS. 2622), and i s then continued throughout the 14th century.
20
R e s p e c t i v e l y , A t h e n s MS. 2406 ( ' 1 4 5 3 ' ) f o l . 289Y, and I v i r o n MS.
1120 ( ' 1 4 5 8 ' ) f o l . 5 8 3 .
A l s o , a s was i n d i c a t e d a b o v e , i t i s p o s s i b l e t h a t
S i n a i MS. 1462 c o n t a i n s t h e - i d e n t i c a l d o u b l e s i g n a t u r e .
21
See C o n o m o s , B y z a n t i n e T r i s a g i a a n d C h e r o u b i k a , p p . 3 1 8 - 1 9 , who
c i t e s the f o l l o w i n g example i n w h i c h t h e two d i f f e r e n t main s i g n a t u r e t a k e n
i n c o n j u n c t i o n w i t h t h e i r s u b s e q u e n t n e u m e s i n d i c a t e a n i d e n t i c a l s t a r t o n d.:
r

22
MS.

The o n l y
1294 r e f e r r e d t o

minor
in n.

exception i s ,
17 a b o v e .

of

course, the

opening in

Sinai

23
Although

The two v e r s i o n s i n V i e n n a MS. 185 .add s u p p o r t t o

t h e y a r e i n Mode I P l a g a l a n d t h e N a n a t h e y r e q u i r e ,

this hypothesis.
r e s p e c t i v e l y , an

f_ a n d a s t a r t .
T h e u s e o f Mode I I P l a g a l i n A t h e n s M S . 2 4 5 4 a n d T a p h o s M S .
425 i s somewhat more d i f f i c u l t t o e x p l a i n .
It i s p o s s i b l e , however, that
this
r e f l e c t s a l o c a l v a r i a n t , a n d i n t h e c a s e of. A t h e n s MS. 2454 t h i s i s n o t an
u n u s u a l d i v e r g e n c e from the consensus o f o t h e r MSS. Thus, f o r e x a m p l e ,
A t h e n s M S . 2 4 5 4 i s t h e o n l y o n e o f n i n e 1 4 t h - c e n t u r y MSS w h i c h a s s i g n s t h e
TTaAcaov ( " o l d " ) s e t t i n g o f TeOaaaGe t o M o d e I P l a g a l , i n s t e a d o f t o M o d e
II P l a g a l .
TstioaoQe i s t h e C o m m u n i o n v e r s e f o r t h e P r e s a n c t i f i e d " l i t u r g y .

9.

For the purposes of t h i s study preference has been given to the version in
Athens MS. 2458 while other versions have been consulted when necessary.
Athens MS. 2458 i s not only the e a r l i e s t Akolouthiai that can be dated prec i s e l y ('1336') but in most instances i t also seems to e s t a b l i s h or to follow
24
the modal designation of the majority of 14th-century manuscripts
transmissions are seldom d i s t o r t e d by s c r i b a l e r r o r s .

and i t s

In a d d i t i o n , the

choice of Mode I Plagal i s in accordance with the e a r l i e s t musical sources

25
that transmit the Ecoua x P i '
a T 0 U

The t h i r t e e n remaining transmissions generally follow Athens MS.

2458 but they do d i s p l a y a number of melodic v a r i a n t s .

Such variants usually

c o n s t i t u t e only minor a l t e r a t i o n s to the melodic f a b r i c and comprise both

f i g u r a l expansion and c o n t r a c t i o n .

C e r t a i n l y a cursory examination of these

changes supports the conclusion reached by D i m i t r i Conomos, who notes that

. . . m e l o d i c ornamentation s h o u l d not be viewed
as evidence e i t h e r f o r s t y l i s t i c development,
or
for chronological progression...?^

Thus in the following comparison of two excerpts from Athens MS. 2458 ( f o l .
169 ) and Vienna MS. 185 ( f o l . 2 8 5 ) , the l a t e r manuscript contains in one
r

case a s i m p l i f i c a t i o n and, in the other instance, an elaboration of our

e a r l i e s t source.

24

FeuaaaOe,
with

the

A t h e n s MS. 2458 a l s o c o n t a i n s , f o r i n s t a n c e , t h r e e s e t t i n g s
of
and i n each case t h e s e K o i n o n i k a agree i n t h e i r modal d e s i g n a t i o n
majority of 14th-century sources.
25

26

Conomos,

"Psalmody and the

Conomos,

Byzantine

Trisagia

Communion C y c l e , "
and

p.

C h e r o u b i k a , p.

116.
150.

10.

EXAMPLE 1

Somewhat more substantial differences also occur i n a few manuscripts but

27
the melodic o u t l i n e i s , nevertheless, always c l e a r l y sustained.
There are in addition a few other discrepancies among the various
sources that need to be dealt with here.
i s , as we have seen, assigned to Mode II

The s e t t i n g in Athens MS. 2454

P l a g a l , but immediately preceding

the phrase imyns aGavaxou there i s found a medial signature of the Nana
mode, as f o l l o w s :
[uexaAaBexe]

TTnCyns]

None of the other 14th-century versions contains a medial signature at

t h i s point and therefore the s t a r t i n g note of the new phrase always an
ison i s n a t u r a l l y reckoned from the end of the preceding phrase.

In

t h i s i n s t a n c e , however, the medial signature seems to suggest a s t a r t i n g

note a t h i r d higher (on c_), rather than the same p i t c h as the previous
ending (a_).

There does not appear to be a r a t i o n a l explanation for the use

of t h i s s i g n a t u r e , and i t must be assumed that t h i s anomaly i s due to a

' Such changes i n v a r i a b l y appear i n the music accompanying the

phrase Trnyns aOavaxoU.

11.

scribal e r r o r /

Otherwise, i t could possibly mean that the Nana mode has

a s t a r t i n g note of a_ i n addition to the customary c, but t h i s i s highly

unlikely.
The f i r s t of the two versions of t h i s hymn in Vatopedi MS. 1495
( f o l . 217 ) i s the only example i n the 14th-century r e p e r t o i r e which expands
r

t h i s piece with a complete r e p e t i t i o n of the phrase imyns &8avaTou and i t s

music.

However, a diastematic t r a n s c r i p t i o n of the f i n a l phrase shows an

incongruity which i s again probably the r e s u l t of a s c r i b a l e r r o r .

The

f o l l o w i n g c o r r e c t i o n (marked by an a s t e r i s k ) r e s u l t s in the r i g h t f i n a l i s
for t h i s version and accords with our other sources.

EXAMPLE

A f u r t h e r d i s t o r t i o n that must be a t t r i b u t e d to s c r i b a l e r r o r
occurs in Sinai MS. 1294.

The i n i t i a l

c i t a t i o n of yevoaoQe i s given a

descending t h i r d on the second s y l l a b l e , as opposed to the customary

28
A ' q u e s t i o n a b l e m e d i a l s i g n a t u r e a l s o a p p e a r s i n A t h e n s MS. 2454
i n a number o f o t h e r i n s t a n c e s .
In f a c t , Conomos, i n h i s a n a l y s i s of modal
s i g n a t u r e s , c i t e s A t h e n s ' M S . 2 4 5 4 a s o n e o f t h e f e w MSS . . w h i c h c o n t a i n s
i n e x p l i c a b l e m a r t y r i a i . See Conomos, B y z a n t i n e T r i s a g i a and C h e r o u b i k a ,
p. 320.

12.

descending f o u r t h .

This has been corrected i n order to achieve agreement

with the other v e r s i o n s .

EXAMPLE

The f i v e versions of Moschianos's arrangement demonstrate a s i m i l a r

disagreement concerning modal designation.
s p e c i f i e d here, Mode I Plagal and Mode II

Athens
Vienna

However, only two modes are

Plagal.

Mode I
Plagal,
requiring a
d
start

MS. 2622 f o l .
360
MS. 185 f o l .
285

A m b r o s i a n a MS. Q. 11 f o l .
261
V a t o p e d i MS. 1495 f o l .
217
V i e n n a MS. 185 f o l .
268*

Mode I I
Plagal,
r e q u i r i n g an
e_
start

Once again a l l i n d i c a t i o n s seem to suggest that t h i s s e t t i n g by

Moschianos was not r e s t r i c t e d to a s i n g l e mode.

Particularly

significant,

of course, i s the f a c t that Vienna MS. 185 contains both v e r s i o n s , one in

each mode.

Moreover, i f we look to l a t e r manuscripts i t becomes apparent

that t h i s dichotomy remains unresolved, f o r a l l versions follow the t r a d i t i o n

13.

of u t i l i z i n g e i t h e r Mode I Plagal or Mode II

29

Plagal.

The verson in Athens

MS. 2622 i s the oldest at our disposal and i t has been used as our primary
source.
Aside from Vatopedi MS. 1495, the remaining examples follow Athens
MS. 2622 quite c l o s e l y .

Vatopedi MS. 1495 once again s p e c i f i e s a r e p e t i t i o n

of the phrase mryns aGavaxou with- i t s e n t i r e music, and also contains some
more substantive deviations from our model.

The changes, however,

affect

only i n c i d e n t a l l y the melodic o u t l i n e of t h i s v e r s i o n .

This ambiguity in modal designation does not r e a l l y present a

problem for the remaining versions of Swua xpiaxou, p a r t i c u l a r l y since most
of them are found only in one or two manuscripts.

Two versions a t t r i b u t e d

to Kladas are contained i n the 14th-century r e p e r t o i r e , one of these being

transmitted by two manuscripts:
v

Athens

MS.

Athens

MS. 2411

29
natures

is,

"MS." 1 8 5 " f o l - .
point
medial

where

904

fol.

30

268

fol.

Mode I V P l a g a l ,
requiring
a
g
s t a r t , and Nana

31

572

Mode I V

Plagal

.
.
.
.
.
s h o u l d be n o t e d t h a t t h e c h o i c e o f two d i s t i n c t i v e main s i g two MSS,
confirmed by the m e d i a l s i g n a t u r e s .
Thus V i e n n a
r
A
* L.
285
(trg,') c o n t a i n s a m e d i a l s i g n a t u r e o f g "
..at t h e
identical

It
in

Vlatadon

signature

of

MS. 46

('1591').fol.

109

(jry

) gives

comparable

y'.

30

S i n c e t h i s Etoua X P
melody appears anonymously i n Athens
MS. 9 0 4 , t h e a t t r i b u t i o n h a s b e e n r e s t o r e d b y c o m p a r i s o n w i t h A t h e n s MS.
2411 and l a t e r 1 5 t h - c e n t u r y MSS.
M o r e o v e r , due t o t h e p o o r c o n d i t i o n
of
t h e m i c r o f i l m o f A t h e n s MS. 904 ( a l s o t h e M S ? ) , A t h e n s MS. 899 f o l .
149
v
a n d A t h e n s MS. 2406 f o l . 287
were used t o r e s t o r e obscure or
illegible
i

passages.
31
A microfilm
to
the

Athens

D.

National

assistance.

of

this

MS w a s

copied

Library,

am p l e a s e d t o

and

this

unavailable

Conomos k i n d l y

Koinonikon

to

me,

from

but

the

on a r e c e n t

original

e x p r e s s my g r a t i t u d e

for

MS
this

trip
in

14.

In t h i s case the explanation for the use of the double martyriai in Athens
MS. 904 i s quite simple and may be found in Athens MS. 2411.

There the s c r i b e

has only w r i t t e n the signature for Mode IV Plagal but has added the r u b r i c
". . .KCU T p i x o s "

(= "and in Mode I I I " ) , i n d i c a t i n g that the piece belongs

not only to Mode IV P l a g a l .

The t r a n s i t i o n into the Nana form of Mode

III

i s shown by the medial signature *zz which appears a f t e r the "irdX.iv"

(= " r e p e a t , " "again") ( l i n e 5 ) , and.precedes the r e p e t i t i o n of irrryns a8avaxou.
Moreover, an examination of t h i s hymn shows that a modulation from Mode IV
Plagal to the Nana mode has already occurred in l i n e 2, f o r immediately
before the f i r s t appearance of the word irriYns, the s c r i b e has inserted a
phthora r e q u i r i n g a modulation,to Mode III

Authentic.

This modulation, -

which i s evident from the musical context as w e l l , i s also s i g n i f i e d by the

same phthora in Athens MS. 904, but where Athens MS. 2411 s p e c i f i e d a Nana
medial signature a f t e r the irdXiv, Athens MS. 904 indicates a medial signature
of Mode IV P l a g a l .

E X A M P L E 4>^-~

~
*V

See n .

^ = 5 s - *

-iB

pft
' Tj r
m

32

m ,

LET Lf

f f

m*

w sw m

"
W

' IS U EA

i*
LX ~ \

m.

11

Tfrj

Is*,

77s

below.

A l t h o u g h t h i s s h o u l d p r e s u m a b l y be t r a n s c r i b e d as an o c t a v e ,
t h e r e a r e n u m e r o u s , / i n d i c a t i o n s i n 1 4 t h a n d 1 5 t h - c e n t u r y MSS t h a t t h e r e w a s
a c e r t a i n amount o f c o n f u s i o n c o n c e r n i n g i n t e r v a l s l a r g e r t h a n a s i x t h .
The c o n t e x t i n t h i s c a s e seems t o s u g g e s t a s e v e n t h .

15.

It i s s e l f - e v i d e n t , of course, that the r e p e t i t i o n of the phrase wr\yf\s

aSavaxou (as indicated by

TTOUV)

w i l l be in the i d e n t i c a l mode as that used

33

f o r i t s f i r s t c i t a t i o n (the modulation there being denoted by a phthora),

and the two passages a r e , to a l l intents and purposes, the same.

The d i f -

ference between our two 14th-century sources seems to be that in the case of
Athens MS. 904 Mode IV Plagal i s b r i e f l y r e i t e r a t e d by the irdAxv formula
as well as being s p e c i f i e d by the following medial s i g n a t u r e , before the
melody returns to the Nana mode f o r the r e p e t i t i o n of the irnYns phrase.
In the case of Athens MS. 2411, however, the scribe retains the Nana mode
by v i r t u e of the ascending seventh (see Example 4 and the caveat c i t e d
t h e r e ) , and consequently prescribes the iTaAiv formula in that mode as well
before s p e c i f y i n g the Nana medial signature that indicates a continuation
in the Nana mode.

Both versions subsequently return to Mode IV Plagal and

34
end there with a f i n a l i s on a_.
Another s e t t i n g of Zuua xP*"rou by Kladas i s transmitted by our
14th-century manuscripts but appears only in one of our e a r l i e s t sources:
Athens

MS. 2622 f o l .

417

I n f a c t t h e t w o 1 5 t h - c e n t u r y MSS
A t h e n s M S . 24-06) b o t h i n d i c a t e a p h t h o r a o n l y
s p e c i f y a m e d i a l s i g n a t u r e f o r Mode I V P l a g a l

Mode I I I
Authentic,
q u i r i n g a n ' a_
start

re-

c o n s u l t e d ( A t h e n s MS. 899 and

a f t e r TTaAiV a n d b o t h a l s o
here.

I n A t h e n s M S . 24-11 l i n e 6 - t h e e x a c t l o c a t i o n , i s m a r k e d b y a n
a s t e r i s k i n l i n e 10 o f E x a m p l e 1 1 b e l o w , w h i c h c o n t a i n s t h e e n t i r e hymn the s c r i b e has omitted t h e i s o n from the - f i g u r e T h i s r e s u l t s i n the
remainder of the s e t t i n g b e i n g a tone too h i g h , and has been c o r r e c t e d by
comparison w i t h Athens MS. 904.

16.

The remaining composers are a l l represented by a s i n g l e musical

s e t t i n g of the Easter Koinonikon.

Gerasimos's s e t t i n g occurs in two 14th-

century manuscripts:
Vatopedi

MS. 1495

fol.

217

Mode
a . g_

Vienna

MS. 185

fol.

285

IV

Plagal,

start

requiring

Although the melody of t h i s s e t t i n g i s e s s e n t i a l l y the same i n both manus c r i p t s , the version in Vatopedi MS. 1495 poses a rather unusual problem.
Here the hymn i s not only somewhat longer than in Vienna MS. 185 (by approximately four l i n e s ) , but i t contains an e n t i r e l i n e of music without any
t e x t or teretismata whatsoever.

The reasons for the use of t h i s expansion

w i l l be analyzed i n d e t a i l in the section on t e x t ; at t h i s point the

explanation should s u f f i c e .

following

Due to the absence of the A l l e l u i a in the Easter

Koinonikon, the r e p e t i t i o n of e n t i r e t e x t phrases together with t h e i r

accompanying music was commonly u t i l i z e d in order to f i t
liturgical

action i t had to cover.

the hymn to the

The most frequently repeated phrase

was TiriYns aGavaxou yeuaaaSe and i t i s t h i s phrase which Vatopedi MS. 1495
repeats almost exactly a f t e r the customary iraAiv.

Vienna MS. 185, however,

omits t h i s r e p e t i t i o n and proceeds to another r e p e t i t i o n of t h i s text phrase

(the conclusion of the hymn) with new music, which also concludes the
version in Vatopedi MS. 1495.

Immediately preceding t h i s concluding phrase

i n Vatopedi MS. 1495, however, there occurs the aforementioned l i n e of

t e x t l e s s music.

By comparing these two versions i t becomes evident that

the scribe of the Vatopedi manuscript has c l e v e r l y inserted .a second ending

in order to expand t h i s hymn even f u r t h e r .

17.

This i r r e g u l a r i t y i n Vatopedi MS. 1495 i s perhaps most simply

explained by reference to the following f i g u r e .

The word -rrdXiv ( l i n e s 7-8)

s i g n i f i e s the r e p e t i t i o n (in l i n e s 8-10) of the phrase

YU0aa8e and i t s music (from l i n e s 5-7).

irnyris

aBavaxou

In l i n e 11 the s c r i b e has entered

the music previously used f o r udAiv ( f i g . A), followed by that used f o r

TrriynLs] ( f i g . A ) but has omitted t h i s t e x t .
1

begins with a new ending for [yevoajoQe

music ( f i g .
hymn.

9)

f o r the phrase

TrnYns

The next texted l i n e ( l i n e 12)

( f i g . E ) , and continues with new

aBavaxou ye-ooaoQe which concludes the

By c o n t r a s t , in Vienna MS. 185-only an abbreviated version i s s u p p l i e d ,

with the o r i g i n a l frnyn'...s aSavdxou ( f i g s . A and B, c f . with l i n e s 5-7

i n Vatopedi MS. 1495) being followed by yevaaoBe. (f.ig. E, c f . with l i n e 12
in Vatopedi MS. 1495), and continuing d i r e c t l y with the concluding material
(fig.

e).
On the basis of t h i s comparison the intentions of the s c r i b e in

Vatopedi MS. 1495 become c l e a r .

A f t e r the r e p e t i t i o n contained i n l i n e s

8-10 the singer had the option of yet f u r t h e r r e p e t i t i o n s .

If the

liturgical

action required a d d i t i o n a l music, he would continue with l i n e 11, adding

to the untexted l i n e the text with which he was by now quite f a m i l i a r , v i z . ,
uaAiv

TrriYns.

He would then return to the top of the f o l i o ( l i n e 9) which

c o n s t i t u t e s the exact textual and musical sequel to l i n e 11 . (as well as

l i n e 8 ) , and continue with l i n e 10.
infinitum.

This procedure could be repeated ad

Moreover, whenever the singer approached the end of l i n e 10

he could a l s o e l e c t to s u b s t i t u t e f i g . E (the beginning of l i n e 12) f o r

fig.

T ( l i n e 10) in [yeuaaJaGe and thereby draw the hymn to a close by

continuing with l i n e 12 et seq.

The reason f o r the t e x t omission in l i n e 11

thus becomes obvious, as the text required here would have been nonsensical

18.

with the ordinary sequence of l i n e s ( i . e .

C0E...).

l i n e 11 TraAiv Trnyns l i n e 12

It would have confused both singers and future t r a n s c r i b e r s .

In

addition the t e x t l e s s l i n e provides the singer with an important v i s u a l

cue for the a l t e r n a t e second ending of [yevaa]oQe

in the following

line

( l i n e 12).
FIGURE
Refrain
Vatopedi

Repetition

in

1
Gerasimos's

Setting

M S . 14-95

fol.

- 217

fol. 218
(line 9)

'

R
JJ

M
T

(line 1 0 )

yevoaoQe

a-0a-vd-TOU

(line 5)
Music

(line 1 1 )
A

(=M)

A.
NO

Text

[y]xaAd(3X

(=T)

'wr\yr\-zr\-zr\

(line 6)
M

TEXT

a-

(line 7 )
r

[= TraAiv

Vienna

MS.

-A

Aiv

a8 - U E

ird-

vdxou

etc.

TTriYn

yevoaaQe

A'

irn-Yn-

185
Music

d0a-

A-

yev-aa-aQe

Tm-yn-

;(line 8 )
M

(line 1 3 )

a-vd-Tou

'

HERE

-2ns

A'

(line 12

Text
Music

[yxaAagT]

Text

yevoaoQe

ue

xnY -2n-2n-2ns

otGavaTOU

. ^

Trnyris a0avaxu

yetiaaobe

||

M
T

19.

Only one s e t t i n g of Ewua xptcfrou by Gavalos i s found i n the 14thcentury r e p e r t o i r e and i t

Vatopedi

Vienna

i s transmitted by two manuscripts:

MS. 1495 f o l .

MS. 185

fol.

285

218

Mode IV
quiring

Plagal, rea
g_
start

The version in Vatopedi MS. 1495 seems to contain a number of s c r i b a l

errors and f o r t h i s reason the s l i g h t l y l a t e r version from Vienna MS. 185
i s given precedence.

EXAMPLE

Ex. 5 0>)
_ IT)

185

TOV

I I

I I

l\

1 %

:r fLf tft TLTCJ GirCfr-TCT-f

[a-doQ

[vocrovj

The most readily-apparent error i s the f a c t that the Vatopedi s c r i b e

supplies an i n c o r r e c t ending with a f i n a l i s on
Vienna MS. ends c o r r e c t l y on

e_, whereas that in the

a_ (see Example 5a).

In a d d i t i o n , the major

portion of l i n e 4 in the Vatopedi. MS. ( i . e . following [d]6avaTou) c o n s i s t s

20.

of music that i s extraneous to the Vienna version and to the various 15th35
century manuscripts u t i l i z e d f o r comparative purposes (see Example 5b).
This phrase contains what i s probably a f u r t h e r s c r i b a l e r r o r , for the
succeeding l i n e 5, which corresponds to the music immediately
a8avaxou in the Vienna v e r s i o n , i s a tone'too low.

following

Further support f o r

t h i s assumption may be found in the f i n a l musical phrase of t h i s hymn which

i s an obvious r e p e t i t i o n of the opening phrase and which the Vatopedi s c r i b e
begins a tone too low and then ends a t h i r d too low, as noted above (see
Ex. 5a).

The 15th-century manuscripts that were consulted follow the model

of the Vienna MS. and t h i s was deemed to be the preferable version f o r

our purposes.
Doukas's s e t t i n g of Zwua xpi"rou i s
14th-century

manuscript:

Vatopedi

MS. 1495

fol.

218

Mode IV

Plagal

The phrase

TiriYns

Once again t h i s version i s problematical.

yevoaoQe

unica which appears in the

aGavdxou

( i n l i n e s 3-5) i s repeated (in l i n e s 6-8) a f t e r the word

but a d i g i t a l

t r a n s c r i p t i o n r e s u l t s in the l a t t e r part of t h i s

TraAiv,

repetition

(beginning at l i n e 7) being a t h i r d lower than the o r i g i n a l c i t a t i o n .

3 5

Athens

Iviron

MS. 1120

phrase

but

remaining

it

is

from

marked

fol.

2406

585 .
v

does n o t ,

as

fol.

288 ,

Only

the

is

the

Vat.

last

case

Barb.

MS

with

gr.

392

contains
Vatopedi

fol.

206

suggestion

MS. 1 4 9 5 ,

and
of

this

distort

the

material.
36

oxeia

MS.

Due

Most

the
by

an

likely

unusual

the

error

figure

asterisk

in

is

^s>

Example

due t o

the

near-the
5b.

omission

end

of

line

of
4.

an o l i g o n
The

or

exact

an

location

21.

to i t s d i s t i n c t i v e contours, i t i s almost certain that this r e i t e r a t i o n

constitutes not only a textual but also a musical p a r a l l e l and on this
basis a correction has been effected.

Beginning with l i n e 7, on the s y l l a b l e

-va- of deavaxou, the rest of the hymn has been transposed up a t h i r d .

The f i n a l i s of the text proper then becomes
ending concludes on

d_ whereas the post-cadential

The one remaining example of Zwya XP*" U i s attributed to Panaretos

T

and occurs i n only one manuscript:

K o u t l o u m o u s i MS. 457 f o l .

232

Model I I P l a g a l

Although this setting i s quite unproblematical, i t does pose a question

with respect to medial signatures.

Immediately preceding the phrase Trnyns

aeavarou yeOaaa0e there appears, a signature f o r Mode I Authentic ( g )

which i s followed by an ison above TrnLYHs].
requires the note

This signature normally

a_ and the ison should merely confirm this pitch.

previous phrase, however, ends with an ascending f i f t h (from

The

to b_)

and i t i s a matter of conjecture whether the medial signature or the ison

should take p r i o r i t y .

I t was a r b i t r a r i l y decided that precedence

should be

given to the medial signature, and as such this section begins, and eventually
ends, in Mode I.

22.

T E X T

The text of the Easter Koinonikon has, f o r purposes of musical

structure,

been divided by the Byzantine composers i n t o the

following

phrases:
1.

Euiya xP!- Tou

2.

yexaAaBexe

3.

-rrrpyris aSavaxou

4.

yevoaaBe

This text structure

of four phrases i s a determining f a c t o r in the melodic

organization of the hymn, for the phrase endings r e g u l a r l y coincide with

cadence points in the music.
study of the TevaaoBc, i t

As B r e s l i c h - E r i c k s o n has pointed out in her

i s common p r a c t i c e at t h i s time for major text

37

d i v i s i o n s to be marked by f u l l cadences.

Such cadences occur e i t h e r on

the l a s t text s y l l a b l e of a phrase (or s h o r t l y t h e r e a f t e r ) , or are what

might be termed ' p r o g r e s s i v e ' cadences, in that a rhythmic elongation occurs
on the f i r s t s y l l a b l e of the succeeding word.'
the following word i s the non-textual

In some instances where

term rraAiv or Xeye ( = " s a y ! " ) , such

' p r o g r e s s i v e ' cadences may occur on e i t h e r or both of i t s s y l l a b l e s .

present repertoire

The

shows a remarkable adherence to t h i s p r i n c i p l e as i s

38

demonstrated by these f i g u r e s .
37
Breslich-Erickson,

"Communion Hymn," p.

55.

38
These
of

computations

a phrase; rather,

into

account.

are

unambiguous

not

based merely

phrase repetitions

on t h e
have

initial

a l s o been

citation
taken

23.

TABLE
Average

Frequency

of

with

II

Text-Phrase
Musical

Endings

Coincident

Cadences

phrase

100%

phrase

92%

phrase

77%

phrase

75%

An unusual feature of the Sajya xP "tou s e t t i n g , already alluded

10

39
to above,

i s the .extensive use of textual

phrase r e p e t i t i o n s .

The primary

reason f o r t h i s must be sought in the absence of a concluding A l l e l u i a ,

which i s omitted both from t h i s hymn and from the only other
Koinonikon, Too S E X T T V O U aou for Holy Thursday.

non-scriptural

Since the music of the

A l l e l u i a r e f r a i n often surpasses i n length that of the text verse proper,

other means had to be u t i l i z e d to expand the music of t h i s hymn in order
to cover the same l i t u r g i c a l

action.

A comparison with the other Communion

verses, moreover, reveals that the luiua xP*"rou ">

o n e

of the shorter

texts,

40

whose length in no way compensates f o r the missing A l l e l u i a .

The problem

must have been compounded f u r t h e r due to the p o s i t i o n of the Easter feast

as the culmination of the l i t u r g i c a l

y e a r , a fact which i n e v i t a b l y

would

have required the presence of additional c e l e b r a n t s , e s p e c i a l l y in the major

churches, thereby necessitating ever more music.
39
40
Chants,"

pp.

See

p.

16

The t e x t s
245-48.

The s o l u t i o n , f o r the

above.
of

a l l

Komonika

are

reproduced

in

Conomos,

"Communion

24.
3

majority of our composers, was inherent i n the text i t s e l f ,

and only the

e a r l i e s t example from our group, that a t t r i b u t e d to Glykes, contains

except f o r the transmission i n Vatopedi MS. 1495 f o l . 2 1 7 n o phrase
r

r e p e t i t i o n whatsoever.

The s l i g h t l y l a t e r version by Moschianos i s also

r e t i c e n t about t h i s procedure and contains only a b r i e f r e i t e r a t i o n of the

word

within the same musical phrase.

XP^TOU

Once a g a i n , however, the

Vatopedi s c r i b e (on f o l . 217 ) provides a T r a A i v r e p e t i t i o n of the t h i r d

v

t e x t phrase.
The following table demonstrates the frequency of phrase r e p e t i t i o n in t h i s repertoire, and f o r thxs:purpose the t e x t has been divided i n t o
i t s f i v e elements.

The c a l c u l a t i o n s here are based on eleven examples,

since in three instances the r e p e t i t i o n i n a s p e c i f i c hymn i s varied subs t a n t i a l l y in different

sources, and therefore these have been counted

41
separately.

It must also be emphasized that the r a t i o n a l e behind t h i s

is the presence of a c l e a r and unambiguous r e p e t i t i o n of a s e l f - s u f f i c i e n t

unit of t e x t and i t s music.
word

xpiorou

Thus, f o r example, the r e i t e r a t i o n of the

i n Moschianos's s e t t i n g mentioned above has not been included,

nor has the extension of the word

ye-yexaXd-iieTaAageTe

TABLE
Average

XP

Eqjyq
9%

1 < J T 0

0%

III

Text-Element

ysTaXaBexe
18%

in Panaretos's hymn.

Repetition

: -TTTTYTIS

o/javavoo
73%

ycuQaaGe
36%

41
This a p p l i e s t o the s e t t i n g s o f the f o l l o w i n g composers as ;
t r a n s m i t t e d b y t h e s e MSS:
G l y k e s i n A t h e n s M S . 2458 a n d V a t o p e d i MS.
1 4 9 5 ; M o s c h i a n o s i n A t h e n s MS. 2622 a n d V a t o p e d i MS. 1 4 9 5 ; G e r a s i m o s i n
V a t o p e d i MS. 1495 and Vienna MS. 1 8 5 .

25.

It becomes obvious from these figures that the text-phrase

Trnyns

aGavdxou was the favoured vehicle of repetition u t i l i z e d by the 14th-

century composers of this hymn.

This phrase occurs not only in i t s normal

word order, but in some cases i t also consists of juxtaposed words, a

42
feature that i s quite common in the kalophonic repertoire.

Thus in

Gavalos (according to both of our sources) the order i s inverted as

Trnyns

aBavdxou. a9avaxou Trnyns yeCoaoQe, and in Kladas (according to Athens MS.

2622)

Trnyns

aOavdxou

Trnyns

[yeuaacGe]' i s used as the repetition which follows

the c i t a t i o n of the complete text.

What does not become apparent from the

preceding figures, however, i s that the word yevoaoQe often becomes a part
of the repeated unit.

In f a c t , i n every instance that has been included

43

in these calculations

the repetition of yexxsaoBe occurs in conjunction

with the preceding phrase, as in Trnyns deavdxou yevoaode.

Upon examining this repertoire one.becomes increasingly aware
that this element (Trnyns aOavdxou yevoaoQe),

or on occasion i t s three

constituent words, functions in a manner analogous to the A l l e l u i a r e f r a i n

in other Koinonika.

It appears as a de facto r e f r a i n both by virtue of the

textual and musical elaboration accorded to i t , and because of i t s length

in r e l a t i o n to the rest of the hymn.

Support for this supposition i s , of

"^Edward Vinson W i l l i a m s , "John Koukouzeles' Reform of

Byzantine
Chanting for Great Vespers i n the Fourteenth Century" (Ph.D.
dissertation,
Y a l e , 1 9 6 8 ) , p.
266.

4-3

-*

In P a n a r e t o s ' s v e r s i o n the c o n c l u d i n g r e p e t i t i o n of
ysvoaoBe
constitutes
what i s v i r t u a l l y a p o s t - c a d e n t i a l f o r m u l a .
Although it
is
a c t u a l l y an i n t e g r a l p a r t of the hymn, i t s b r e v i t y and s y l l a b i c
setting
have c a u s e d i t t o be d i s m i s s e d f r o m c o n s i d e r a t i o n
here.

26.

course, evidenced by the figures adduced p r e v i o u s l y , but of greater

interest

here are the versions of Sciua XPICTOO transmitted by one s p e c i f i c manus c r i p t , Vatopedi MS. 1495.

Without exception, every example in t h i s

manuscript contains a r e p e t i t i o n of a l l or part of t h i s unit of t e x t , and

even more importantly, the versions here are i n v a r i a b l y more highly developed
than the same pieces in other 14th-century sources.

In the case of the

versions a t t r i b u t e d to Glykes and Moschianos, Vatopedi MS. 1495 i s the only

source among a t o t a l of nineteen examples which s p e c i f i e s a r e p e t i t i o n of
the phrase

TrTnyris

dBavaxou, and in the s e t t i n g by Gerasimos (see above, p. 1 6 ) ,

t h i s manuscript makes p r o v i s i o n for an i n d e f i n i t e number of r e p e t i t i o n s of

the complete textual unit which i s not r e f l e c t e d even in the l a t e r Vienna
MS. 185.

Presumably the elaboration of these passages in Vatopedi

i s due to reasons of l i t u r g i c a l expediency, but, more s i g n i f i c a n t l y

MS. 1495
for

our purposes, i t becomes c l e a r that a s c r i b e , when required to expand t h i s

hymn, i n v a r i a b l y developed the phrase Trnyns deavdxou yeuaaaee.

This ;

development i s , by i t s very nature, c l o s e l y related to the approach taken

by the composers of other Communion hymns, who generally u t i l i z e d the
A l l e l u i a r e f r a i n when confronted with a s i m i l a r task.

An examination of

other Koinonika, in fact, reveals that elements of the text verse are only
infrequently repeated, and that the expansion of musical material occurs
p r i m a r i l y in the A l l e l u i a .

44

See Conomos, "Communion C h a n t s , " p. 245 and B r e s l i c h - E r i c k s o n ,

"Communion Hymn," p. 67.
An e x a m i n a t i o n o f t h e 1 4 t h - c e n t u r y r e p e r t o i r e o f
TeDOaaQe, s h o w s t h a t l e s s t h a n o n e - t h i r d o f t h e e x a m p l e s r e p e a t a p h r a s e
of the text.
Such r e p e t i t i o n s , - however, are d i s p e r s e d throughout the t e x t
and a r e n o t r e s e r v e d f o r any one p a r t i c u l a r s e g m e n t .

27.

B r e s l i c h - E r i c k s o n ' s study o f f e r s a d d i t i o n a l

support f o r t h i s

suggested consanguinity between A l l e l u i a and the phrase -rrriYns aGav&rou

45
yeuaaaGe.

She draws attention to a version of TevoaoBe

by Glykes that

appears in two 15th-century manuscripts, which i s v i r t u a l l y i d e n t i c a l to

46
our Ewya xpiaxou a t t r i b u t e d to t h i s composer.

This c o r r e l a t i o n , however,

extends beyond musical i d e n t i t y to a close s i m i l a r i t y of text

in comparable musical l o c a t i o n s .

distribution

The following j u x t a p o s i t i o n of these

t e x t s , taken from the previously mentioned manuscripts, shows t h i s

quite

c l e a r l y ; text d i s p o s i t i o n on i d e n t i c a l musical figures being indicated by

beams l i n k i n g the two l i n e s

4 7

(see F i g . 2 on following page).

Here the

45
Breslich-Erickson,

"Communion Hymn,"

pp.

51-73.

46
Ibid., pp. 64ff.
T h e MSS a r e A t h e n s M S . 24-56,
a s s i g n s a 14-th-l5th century date, and S i n a i MS. 1 2 9 3 , which
the early 15th century.
4-7

t o which she
she places i n

~
10 101
T h e i n c i p i t s o f Zcoya XP' " -' r e p r o d u c e d b y B r e s l i c h - E r i c k s o n
on p . 65 o f h e r s t u d y c o n t a i n a n i n e x p l i c a b l e e r r o r .
The o p e n i n g o f SinaiMS. 1 2 9 3 i s a c t u a l l y i d e n t i c a l t o t h a t ? o f A t h e n s M S . 24-56, g i v e n
immediately
above; t h e s o l e d i f f e r e n c e i n these two sources b e i n g , a s she has n o t e d ,
t h a t a m o d a l s i g n a t u r e i s n o t p r o v i d e d i n A t h e n s M S . 24-56.
It has proven
i m p o s s i b l e t o l o c a t e t h e i n c i p i t t h a t she has l a b e l l e d S i n a i MS. 1293 i n
either of these sources.
M o r e o v e r , t h e i n c i p i t t o t h e TevoaoBe
setting
i n A t h e n s M S . 24-56 c o n t a i n s w h a t i s w i t h o u t m u c h d o u b t . a s c r i b a l e r r o r
which
m u s t b e c o r r e c t e d ; t h e s e c o n d neume s h o u l d b e a n i s o n i n s t e a d o f a n a p o s t r o p h o s .
M o s t l i k e l y t h e s c r i b e h a s h e r e c o p i e d f r o m h i s s o u r c e t h e s e c o n d neume o f
the opening t h a t he was t o u s e s h o r t l y t h e r e a f t e r f o r h i s v e r s i o n o f t h e
Euiya X P ' P
( i . e . a n a p o s t r o p h o s ) , b u t h a s t h e n c o n t i n u e d w i t h t h e more
c o m m o n i p o r r o i ( u s e d i n t h i s p l a c e i n t h e s e t t i n g s o f TevoaoBe
in Sinai
M S . 1 2 9 3 a n d Ewya X P T - C f T O U i n A t h e n s M S . 2 4 0 6 , S i n a i M S . 1 4 6 2 , a n d A t h e n s
MS. 8 9 9 ) i n s t e a d o f r e p e a t i n g t h e a p o s t r o p h o s a s r e q u i r e d b y h i s i n i t i a l
use o f an a p o s t r o p h o s .
As a r e s u l t , t h e melody, which i s i n a l l other
r e s p e c t s i d e n t i c a l t o the v e r s i o n i n S i n a i MS. 1 2 9 3 , i s a tone t o o l o w .
This suggestion of s c r i b a l error i s given credence by the opening of the
Zwya X P 1 " T U s e t t i n g i n A t h e n s M S . 2 4 5 6 a n d S i n a i M S . 1 2 9 3 , w h i c h i n b o t h
instances contains the following incipit consisting of successive apostrophoi,
5~'V?>cL>5'0--r ^'^
,
Underneath, however, an alternate version has
been added i n r e d i n k ,
5 ^ - o - T j .
The s u b s i d i a r y neumes a r e o f
c o u r s e i d e n t i c a l t o t h e o p e n i n g u t i l i z e d f o r TetioaoBe
i n S i n a i MS. 1293 and
l

T O U

FIGURE

Text

Texi-oa-oQe

Ken

\<5e-X

i l l
Eco

ya

I.
XP

Parallelism

oxi

Ypi-axo-s

I I

ye-xa

A a 3e

i n Glyk'es's

TetioaoQe

o KU-OIo-os

I
xe

a-AXn

a n d Zoouct

XPi-PTOU

x^AAn-Aoti-'i-^a

za-AAn-Aoi3 'i-a

! J

I , I

Trn-yrjbsja6ava-xou

I , , I I
a

e _ 1 J

aa-a0e

oo

29.

phrase Trrryris

deavdxou yeuaaoi9e i s equated unambiguously with the A l l e l u i a

r e f r a i n , even though this procedure i s not dictated by the s y l l a b i c a l i g n ment of the two verses.

Moreover, the correlation even extends to the

placement of the extraneous x'

in both instances.

versions of melodic migration between

Although no other such

EtLya xpio"rou and any other Koinonika

which u t i l i z e the A l l e l u i a r e f r a i n are known to me, on the basis of the

evidence cited above, i t seems reasonable to assume that the phrase TrrrYns

dGavdxou yeuaaaee f u l f i l l e d a role similar to that of the A l l e l u i a .

More-

over, as a substitute for the customary A l l e l u i a , the repetition of this

phrase was eminently suited to the theological significance of the Easter
feast, a fact which would scarcely have gone unnoticed by the composers or
unappreciated by the l i s t e n e r s .
Another feature of the texting practice in this repertoire i s
what might be referred to as 'word extension', whereby a text-word i s
prolonged by the repetition of i t s s y l l a b l e s .

This may be done by repeating

48

the previous s y l l a b l e (eg. ye-uexaAdgexe or Ye^yeuaaaeer},

or by repeating
49
a larger segment of the \text (eg. yexa-yexaAdgexe: or a0avd-0avdxou).
t h e o t h e r v e r s i o n s o f E a i u a XPICTTOU c i t e d b y B r e s l i c h - E r i c k s o n ( e x c l u d i n g
t h e o p e n i n g l a b e l l e d ' S i n a i MS. 1 2 9 3 ' ) , and p e r m i t a c o r r e c t m e d i a l c a d e n c e
on t h e o p e n i n g p i t c h a t t h e end o f t h e f i r s t l i n e .
Moreover, the
controv e r s i a l s e c o n d neume i n S i n a i MS. 1293 ( a n i s o n ) i s a b n o r m a l l y l a r g e , s u g g e s t i n g t h a t t h e s c r i b e h e r e may a l s o h a v e o r i g i n a l l y u s e d a n e r r o n e o u s
apostrophos and l a t e r covered i t w i t h the i s o n .
F u r t h e r m o r e , i t s h o u l d be
n o t e d t h a t b o t h A t h e n s , - M S . 24-06 a n d S i n a i M S . 1 4 6 2 g i v e d o u b l e m a i n s i g n a tures
f o r t h e i r Eooya XPT-CTOU t r a n s m i s s i o n s , n o t o n l y t h e N a n a s i g n a t u r e
( s e e p. 7 a b o v e ) , a n d t h a t A t h e n s MS. 899 a s s i g n s t h i s hymn t o Mode I
P l a g a l a n d n o t t o Mode I I P l a g a l a s i n d i c a t e d b y B r e s l i c h - E r i c k s o n .
48
218 ),

The f o r m e r e x a m p l e i s f r o m G a v a l o s i n
a n d the l a t t e r i s f r o m M o s c h i a n o s i n A t h e n s

217 ),

and the

^The
V

Vatopedi
MS. 2622

MS. 1495
(fol.
( f o l . 360
).

f i r s t example' i s from .Gerasimos i n Vatopedi'MS. 1 4 9 5 ( f o l .

second i s

from

Panaretos

in

K o u t l o u m o u s i MS. 457

(fol.

232 ).
v

30.
The former method i s distinguished from the l a t t e r by i t s retention of a
s p e c i f i c vowel or diphthong sound, and i s therefore related to the i n t e r c a l a t i o n of foreign l e t t e r s

in the texts of thekalophonic chants during

50

the 14th and 15th c e n t u r i e s .

both non-textual

This extraneous m a t e r i a l , which comprises

l e t t e r s and the non-alphabetical l e t t e r s

'z' and

V ,

seems to have been used p r i m a r i l y as a means of supporting the t e x t s y l l a b l e s

during the lengthy musical melismas.

As suggested by Conomos, t h e i r use

seems to have a dual purpose; being employed

. . . ..in t h e t e x t s o f t h e hymns i n o r d e r t o
facilitate
the c h o i r ' s or s o l o i s t ' s d e l i v e r y of
ornamental
melismata and t o enhance the o t h e r w i s e d i s a g r e e a b l e
sound of an extended v o w e l . '

The most common a p p l i c a t i o n of t h i s procedure i s as f o l l o w s :

TTn-yn-xn-

52
X - x - x s a n d mi-Yn-zn-sn-ans.
n

The non-alphabetical l e t t e r ' u ' func-

t i o n s i n - a s i m i l a r manner but seems to be r e s t r i c t e d

any rate) to instances of minor r e p e t i t i o n , e . g . ,

(in our material

ye-ue-yexaXaftexe

at

and

53
yetioaods-ue.

An unusual foreign l e t t e r occurs in Moschianos's version

in Vatopedi

MS. 1495 ( f o l . 2 1 7 ) , where the word Trrry^s i s twice a l t e r e d to

become

Trnyn-Kn-Kns.

Although uncommon, t h i s i s only another means of pro-

longing the eta sound, and does not depart from the usage discussed previously.

In the f i n a l a n a l y s i s , of course, the extension of the t e x t , whether

50

A d e t a i l e d e x e g e s i s o f t h i s phenomenon i s c o n t a i n e d i n C h a p t e r
F i v e , " I n t e r c a l a t e d L e t t e r s and M e a n i n g l e s s S y l l a b l e s , " i n Conomos, B y z a n t i n e
T r i s a g i a and C h e r o u b i k a , pp. 261-86.
I b i d . , p. 273.
52
v
R e s p e c t i v e l y , f r o m P a n a r e t o s i n K o u t l o u m o u s i M S . 4-57 ( f o l . 2 3 2
),
and G e r a s i m o s i n V a t o p e d i MS. 1495 ( f o l .
217 ).
5

53

v
T h e s e o c c u r , r e s p e c t i v e l y , i n K l a d a s i n A t h e n s MS. 904 ( f o l . 268
),
and G e r a s i m o s i n V a t o p e d i MS. 1495 ( f o l . 2 1 7 ) .
An u n u s u a l u s e o f t h i s
letter
o c c u r s i n K l a d a s ' s s e t t i n g i n A t h e n s MS. 2622 ( f o l . 4 1 7 ) , v i z . , Zcoya-ue-acoya.
Here t h e s y l l a b l e ' u e ' i s e q u i v a l e n t t o 'vat'
(= " y e s " ) , a n d t h e
interpolat i o n f u n c t i o n s as an a f f i r m a t i o n .
v

31.

effected by the r e p e t i t i o n of s y l l a b l e s or larger segments of the word,

and regardless of whether the s y l l a b i c r e p e t i t i o n i s a s s i s t e d by the
i n s e r t i o n of foreign consonants, serves much the same purpose:

that of

accommodating the text to prolonged musical passages and thereby f a c i l i t a t i n g t h e i r performance.

It must also be noted that the i n s e r t i o n of

foreign l e t t e r s was c l e a r l y the prerogative of the s c r i b e , who was usually

also a s i n g e r .

P a r a l l e l versions, of G l y k e s ' s s e t t i n g (taken from Athens

MS. 2458 f o l . 169 and Vatopedi

r

MS. 1495 f o l . 2 1 7 , r e s p e c t i v e l y ) demonr

strate this c l e a r l y :
yetJ-aa-xa
ye

X X
_

Y-Xu-aa-a6e
e

e u

aa-a0e

A feature that i s r e l a t e d to the preceding i n s e r t i o n of

l e t t e r s i s the use of meaningless s y l l a b l e s or t e r e t i s m a t a .

foreign

They are

e n t i r e l y absent from the present body of chants and t h i s i s somewhat surp r i s i n g , for. lengthy t e r e t i s m a t i c passages are found from the 14th century
on in other standard l i t u r g i c a l

chants such as the Trisagion and

54
Cheroubikon.

Conomos,

Byzantine T r i s a g i a and C h e r o u b i k a , pp.

273-86.

32.

COMPOSERS

The composers of Zcoya XP "TOO in t h i s c o l l e c t i o n of 14th-century

10

manuscripts are generally i d e n t i f i e d by r u b r i c , and in the few instances

in which chants appear anonymously, the a t t r i b u t i o n s have been restored by
comparison with other versions.

55

L i t t l e i s known, however, about any of

56

these or other 14th and 15th-century

Byzantine composers.

Usually they are

simply names i n a manuscript, o c c a s i o n a l l y modified by t i t l e s such as

1

protopsaltes

or 'domestikos'; d e t a i l s about t h e i r l i v e s and places of

57

a c t i v i t y are generally unknown.

Even d e t a i l s about a composer's period

of a c t i v i t y are d i s t r e s s i n g l y l i m i t e d .

On occasion, they are provided by a

few t a n t a l i z i n g clues i n the contemporaneous 14th and 15th-century manus c r i p t s themselves, but require in most cases an extrapolation

based on a

composer's i n i t i a l appearance in a securely-dated source.

A t r e a t i s e by the 15th-century

composer and t h e o r e t i c i a n Manuel

Chrysaphes provides the following order of composers:

Aneotes, Glykes,

T h i s was n e c e s s a r y i n t h e f o l l o w i n g c a s e s :
Kladas's
setting
i n A t h e n s M S . 904- ( f o l . 2 6 8 ) ; G l y k e s ' s s e t t i n g s i n A t h e n s . M S . 2 6 0 0
(fol.
6 3 ) , S i n a i M S . 1 2 9 4 ( f o l . l&7 ),
and S i n a i MS. 1462 ( f o l .
149 ).
v

56
Ioannes K o u k o u z e l e s i s the o n l y e x c e p t i o n , and he has been e x s t u d i e d by W i l l i a m s , "John Koukouzeles' R e f o r m . "
57
v
M i l o s V e l i m i r o v i c has produced a v e r y h e l p f u l l i s t of composers
f r o m a 1 5 t h - c e n t u r y MS., i n " B y z a n t i n e C o m p o s e r s i n M S . A t h e n s 2 4 0 6 , " i n
E s s a y s P r e s e n t e d t o Egon W e l l e s z , e d . Jack Westrup ( O x f o r d :
Clarendon Press,
1966), pp. 7-18.
See a l s o t h e p r e l i m i n a r y o b s e r v a t i o n s by A n d r i j a J a k o v l j e v i c ,
" D a v i d R a i d e s t i n o s , Monk a n d M u s i c i a n , " i n S t u d i e s i n E a s t e r n C h a n t I I I ,
ed.
Milos V e l i m i r o v i c (London:
Oxford University Press, 1973), pp. 91-97.
The
p r o t o p s a l t e s and lampadarios d i r e c t e d , r e s p e c t i v e l y , the r i g h t and l e f t
c h o i r s , w h e r e a s t h e p r i n c i p a l s i n g e r o f e a c h c h o i r was t e r m e d t h e d o m e s t i k o s .
tensively

33.

Ethikos, Koukouzeles, K l a d a s . '

JO

Another l i s t i s contained in an introductory

note to Koutloumousi MS. 457 ( f o l . 1 ) and gives t h i s order:

. . .the. . .protopsaltes Glykes and. . .his heirs
and p u p i l s , Xenos Korones p r o t o p s a l t e s and Ioannes
Papadopoulos Koukouzeles, the maistor.
. .
.^9

These at l e a s t provide us with a chronological ordering of the e a r l i e r composers, and when taken i n conjunction with the conclusions about the l i f e
of Ioannes Koukouzeles reached by Edward Williams*^ would c l e a r l y suggest
that a l l of the aforementioned composers (with the possible exception of
Kladas) may be placed in the e a r l y 14th century.
The remaining composers, however, can i n most cases only be dated
approximately by a terminus ante quern of t h e i r a c t i v i t y as provided by the
f i r s t appearance of t h e i r compositions in a datable manuscript.

Naturally

t h i s i s not an i n f a l l i b l e procedure since i t presupposes the absence of l a t e r

additions to a manuscript.

The lack of c o d i c o l o g i c a l studies of A k o l o u t h i a i ,

however, has necessitated the recognition of the generally accepted date of

a manuscript as the date of a l l of i t s p a r t s .

Since the twenty-eight examples

of Ewua XPT-OTOU that have been u t i l i z e d for t h i s study do not present

s u f f i c i e n t data for such an endeavour, the following l i s t i s based on an
index of a l l Koinonika from the 14th and 15th c e n t u r i e s .

A similar

58
A . P a p a d o p o u l o s - K e r a m e u s , " M a v o u r i A X P d 4 > n s - A a u T r a 6 a p x o s TOU
B a a i A l K O U KArjpou," V i z a n t i s k i i V r e m o n n i k V I I I ( 1 9 0 1 ) :
536-37, cited
in
C o n o m o s , B y z a n t i n e T r i s a g i a a n d C h e r o u b i k a , p . 74-.
u a

^-Conomos,
^Williams,

Byzantine

T r i s a g i a and C h e r o u b i k a , p.

"John Koukouzeles' Reform," pp.

379

66.
ff.

61
I w i s h t o t h a n k D i m i t r i C o n o m o s f o r a l l o w i n g me t h e u s e
t h i s i n d e x , w h i c h he c o m p i l e d f o r h i s f o r t h c o m i n g p u b l i c a t i o n on t h e
and S l a v i c K o i n o n i k a .

of
Byzantine

34.

chronology has been attempted by both B r e s l i c h - E r i c k s o n

based on t h e i r respective r e p e r t o i r e s ,
additional

62

and W i l l i a m s ,

but in view of the accumulation

63
of

information here, i t becomes c l e a r that in some cases t h e i r dating

must be advanced considerably.

The f o l l o w i n g i s a t e n t a t i v e chronology of our 14th-century
composers, together with an i n d i c a t i o n of the e a r l i e s t manuscript

that

contains any of each composer's Koinonika.

TABLE
Earliest

1336

MSS t h a t

(Athens

1341-ca.l360

Contain

Any

IV
K o i n o n i k a by

MS. 2458)

(Athens

Each Composer

Glykes
Panaretos

MS. 2622)

Moschianos
Kladas
Gavalas
Gerasimos

ca.1360-1385

(Vatopedi-.MS.

1495)

Doukas

Ioannes Glykes's p o s i t i o n as a protopsaltes

i s attested to by

numerous sources, and, as Conomos has pointed out, whenever a rubic

refers to

TOU TTPOOTOU IJJ&A.TOU

to G l y k e s . ^
62

simply

there i s l i t t l e doubt that the reference

is

According to Milos Velimirovic*, he may have been associated

Breslich-Erickson,

^Williams,

"Communion Hymn," p.

"John Koukouzeles'

Reform,"

p.

54.
146

and p.

215.

64
Conomos, B y z a n t i n e T r i s a g i a and C h e r o u b i k a , p. 416.
BreslichE r i c k s o n ( i n "Communion H y m n , " p. 54) d a t e s G l y k e s t o c a . 1 4 0 0 , and W i l l i a m s
( i n " J o h n K o u k o u z e l e s ' R e f o r m , " p. 215) s u g g e s t s t h e f i r s t h a l f o f the
15th
century.
B a s e d on t h e e v i d e n c e p r o v i d e d by C h r y s a p h e s ' s t r e a t i s e
and
K o u t l o u m o u s i M S . 457 ( s e e p . 33 a b o v e ) , h o w e v e r , a s w e l l a s G l y k e s ' s a p p e a r a n c e
i n A t h e n s MS. 2 4 5 8 , i t becomes c l e a r t h a t he must h a v e l i v e d a t t h e
beginning
of the 14th century at the very
latest.

35.

with the choir of Hagia Sophia in Constantinople

but in view of the con-

clusions reached by Christos P a t r i n e l i s , i t seems more l i k e l y that

Glykes was a member of the 'Royal C l e r g y ' .

6 6

It i s also possible that t h i s

composer may be i d e n t i f i e d with Ioannes XIII Glykes, P a t r i a r c h of Constantinople

from 1315-1319, who i s known to have been "a lover and promoter of arts and
67
letters,"
above.

and such an a s s o c i a t i o n c e r t a i n l y f i t s with the dating suggested

Nothing whatsoever i s revealed about George Panaretos by our sources.

Velimirovic' has noted that t h i s i s a family name from Constantinople, and that
68
i t may also have been the name of-a monastery.
In the case of Moschianos i t
i s also possible that t h i s may be e i t h e r a family name or the name of a
69
monastery.

In our r e p e r t o i r e he i s on one occasion simply referred to as

Konstantinos Aaoauvaicrou (Athens MS. 2622 f o l . 3 6 0 ) , and elsewhere as

v

Velimirovic,

"Byzantine

C o m p o s e r s , " p.

12.

66
C h r i s t o s P a t r i n e l i s , " P r o t o p s a l t a e , L a m p a d a r a i i , and D o m e s t i k o i
of the Great Church during the post-Byzantine Period (14-53-1821)," in Studies
i n E a s t e r n Chant III,
ed. Milos V e l i m i r o v i c (London: Oxford U n i v e r s i t y "Press,
1 9 7 3 ) , pp. 145-4-7.
On t h e b a s i s o f a p a s s a g e i n P s e u d o - K o d i n o s ( J . V e r p e a u x ,
P s e u d o - K o d i n o s , T r a i t e d e s o f f i c e s , P a r i s , 1 9 6 6 , p . 2 6 5 , l i n e 20 f f . ,
quoted
i n i b i d . , p.. 1 4 5 ) , P a t r i n e l i s h a s s u g g e s t e d t h a t i n B y z a n t i n e t i m e t h e
positions
of p r o t o p s a l t e s and lampadarios did not e x i s t i n the Great Church.
He p r o p o s e s
t h a t a l l r e f e r e n c e s t o t h e s e o f f i c e s must be t o s i n g e r s o f p a r o c h i a l o r p r o v i n c i a l c h u r c h e s , o r t o members o f t h e ' R o y a l C l e r g y ' , i . e . t h e ^ p a l a t i n e
choirs.
Conomos,

Byzantine

Trisagia

and

Cheroubika,

pp.

65-66.

68

setting

by

V e l i m i r o v i c , " B y z a n t i n e C o m p o s e r s , " p. 1 3 .
O n l y a IIoTripiov
P a n a r e t o s a p p e a r s i n A t h e n s MS. 2458 ( f o l .
1 7 0 ) , but two
slightly
r

l a t e r MSS ( b o t h d a t e d 1 3 4 0 - c a . 1 3 6 0 )
2622 f o l . 3 5 9
and A m b r o s i a n a MS. L.
v

on F e r i a l Wednesdays and f o r
u s e d on o r d i n a r y S u n d a y s a n d
69
Velimirovic,

contain
36 f o l .

a n Aiveixe m e l o d y ( A t h e n s M S .
264 ).
The f o r m e r t e x t i s u s e d

f e a s t s of the Mother
on F o r e f e a s t s .

"Byzantine

of

Composers," p.

God; the

13.

latter

is

36.

Konstantinos.Moschianos.^
the 'lampadarios

Ioannes Kladas i s often i d e n t i f i e d merely as

or Ioannes lampadarios, and, judging from the amount of

his music transmitted by 14th and 15th-century manuscripts, he must have been
one of the most.prominent composers of the f i r s t h a l f of the 14th
He i s thought to have been a member of the ' i m p e r i a l '

century.^

choir or clergy

in

72

Constantinople but l i t t l e else i s known about him.

Gavalos i s the name
73
of a Cretan family
and the only information provided about Philip- i s that
74
he was a domestikos.

At l e a s t two composers with the surname Gerasimos

are found in the 14th and 15th-century r e p e r t o i r e of Koinonika.

The composer

of the Easter hymn under consideration here (in Vatopedi MS. 1495 and Vienna
MS. 185) i s r e f e r r e d to as Gerasimos hiermonachos, but a comparison of a l l
V l a t a d o n M S . 46 ( ' 1 5 9 1 ' ' ) f o l . 1 0 9
i s the only source which
r e f e r s t o t h i s composer a s M o s c h i a n o s d o m e s t i k o s , b u t i t seems l i k e l y
that
the s c r i b e there has confused K o n s t a n t i n o s w i t h George Moschianos domestikos,
see V e l i m i r o v i c , " B y z a n t i n e C o m p o s e r s , " p. 1 5 .
Williams ("John Koukouzeles'
R e f o r m , " p. 146) dates Moschianos t o the l a t e 14th c e n t u r y / f i r s t
h a l f of
the
1 5 t h c e n t u r y , a c k n o w l e d g i n g , h o w e v e r , on p. 1 4 6 , n . 5 , t h i s
composer's
p r e s e n c e i n A t h e n s MS. 2 6 2 2 .
B r e s l i c h - E r i c k s o n ("Communion Hymn," p.
54)
suggests a mid-fourteenth
century date f o r a Gerontios[.?.] Moschianos.
7

71
Conomos, B y z a n t i n e T r i s a g i a and C h e r o u b i k a , p. 1 4 6 , n o t e s t h a t
the term lampadarios i n v a r i a b l y r e f e r s to Kladas.
L a t e r , however, i n Athens
MS. 2406 t h i s a p p e l l a t i o n i s a l s o a p p l i e d t o t h e 1 5 t h - c e n t u r y
composer
M a n u e l C h r y s a p h e s , s e e V e l i m i r o v i c , " B y z a n t i n e C o m p o s e r s , " p. 10 a n d p. 1 6 .
When " t h e l a m p a d a r i o s " i s u s e d i n i s o l a t i o n , h o w e v e r , i t r e f e r s o n l y t o K l a d a s .
72

~
I n a d d i t i o n t o h i s s e t t i n g o f Itoua X P " " ^ A t h e n s M S . 2 6 2 2 a l s o
c o n t a i n s n u m e r o u s e x a m p l e s o f IToxfipiov, Axveixe, a n d E x s uvnuoauvov ( t h e
C o m m u n i o n f o r f e a s t s o f t h e B a p t i s t ) b y K l a d a s , a n d h i s name a p p e a r s c o n s i s - f
t e n t l y throughout
the remainder of the 14th century.
C l e a r l y , t h e n , he must
have been b o r n c o n s i d e r a b l y e a r l i e r than the end o f the 14th
century/beginning
o f the 15th c e n t u r y as proposed by W i l l i a m s ( " J o h n K o u k o u z e l e s ' R e f o r m , " p.
215).
See a l s o B r e s l i c h - E r i c k s o n , "Communion Hymn," p.
54.
1 0

73
74

Velimirovic,

"Byzantine

C o m p o s e r s , " p.

13.

r
A t h e n s M S . 2 6 2 2 ( f o l . 4 1 8 ) c o n t a i n s o n l y a TeuaaaGe b y P h i l i p
G a v a l o s , b u t he t h e n a p p e a r s more f r e q u e n t l y i n V a t o p e d i MS. 1495 and
A m b r o s i a n a MS. Q. 1 1 , b o t h o f w h i c h a r e d a t e d c a . 1 3 6 0 - 1 3 8 5 .
Williams places
him i n the f i r s t h a l f o f the 15th c e n t u r y ("John K o u k o u z e l e s ' R e f o r m , " p.
215),
and B r e s l i c h - E r i c k s o n s u g g e s t s "by 1 4 5 3 " ("Communion Hymn," p. 5 4 ) .
Both
assignments are obviously far too
late.

37.

Koinonikon melodies a t t r i b u t e d . t o the name 'Gerasimos' reveals that our

composer i s the person elsewhere i d e n t i f i e d as Gerasimos. hiermonachos of
75

Halkeopoulos (from Thessalonika).

Ioannes Doukas was a domestikos of

Unfortunately,
t h e Ecoya.XPICTOU s e t t i n g b y G e r a s i m o s h i e r o monachos i s o n l y t r a n s m i t t e d
i n V a t o p e d i MS. 1495 and V i e n n a MS. 1 8 5 .
V a t o p e d i MS. 14-95, h o w e v e r , a l s o c o n t a i n s a TeuaaaBe ( f o L 2 1 9 ) and a
Floxripiov ( f o l .
1 9 8 ) by Gerasimos hieromonachos, and i n b o t h cases the
c o m p o s e r o f t h e same hymns i s i d e n t i f i e d , e l s e w h e r e a s G e r a s i m o s h i e r o m o n a c h o s
o f H a l k e o p o u l o s ; t h e f o r m e r o c c u r s i n A t h e n s MS. 2406 ( f o l . 2 1 6 ) , and t h e
l a t t e r i n A t h e n s MS. 2622 ( f o l .
4 0 4 ) and A t h e n s MS. 2406 ( f o l .
254 ).
In
f a c t , a l l o f t h e f o l l o w i n g a p p e l l a t i o n s a r e u s e d f o r t h i s same c o m p o s e r i n
v a r i o u s MSS:
Gerasimos hieromonachos of Halkeopoulos (to which i s added
" f r o m t h e c i t y o f T h e s s a l o n i c a " i n A t h e n s MS. 2406 f o l . 2 5 4 ) ; G e r a s i m o s o f
Halkeopoulos.;. H a l k e o p o u l o s ; Gerasimos hieromonachos; Gerasimos .monachos;
G e r a s i m o s d y i o p X T l K o v (= " o f t h e H o l y M o u n t a i n " ) o r G e r a s i m o s a y i o p i T O U
( b o t h o c c u r o n l y i n S i n a i MS. 1 5 2 7 ) ; G e r a s i m o s .
A t e r m i n u s a n t e quern f o r
t h i s composer i s p r o v i d e d by t h e a p p e a r a n c e o f h i s works i n A t h e n s MS. 2622
(1341-ca. 1360).
A Gerasimos from the monastery of Xanthopoulos also occurs
in our sources.
Xanthopoulos, as V e l i m i r o v i c has noted ("Byzantine Composers,"
p . 1 2 ) i s t h e name o f a m o n a s t e r y i n C o n s t a n t i n o p l e a n d t h a t o f a f a m i l y
associated with it.
From the 15th c e n t u r y on t h i s composer o c c u r s m a i n l y
i n S i n a i MSS ( b u t a l s o i n V a t . B a r b . g r . M S . 3 0 0 a n d V l a t a d o n M S . 4 6 ) , a n d
i s r e f e r r e d toas Gerasimos of Xanthopoulos, Xanthopoulos,.Gerasimos, and,
i n one m a n u s c r i p t ( V l a t a d o n MS. 4 6 ) , a s G e r a s i m o s h i e r o m o n a c h o s f r o m t h e
monastery of Xanthopoulos.
The a n o m a l o u s d e s i g n a t i o n o f
'hieromonachos'
f o r t h i s c o m p o s e r i n V l a t a d o n MS. 46 ( ' 1 5 9 1 ' ) i s i n a l l p r o b a b i l i t y a s c r i b a l
error.
S e e m i n g l y t h e s c r i b e o f t h i s l a t e MS- h a s s i m p l y s w i t c h e d t h e a p p e l l a t i o n ' h i e r o m o n a c h o s ' between t h e two c o m p o s e r s , s i n c e he has r e f e r r e d
to
the former as Gerasimos of H a l k e o p o u l o s and has o m i t t e d the r i g h t f u l
t i t l e
o f ' h i e r o m o n a c h o s - ' , w h i c h he h a s , i n s t e a d , added h e r e .
It becomes c l e a r
t h e n , t h a t o n l y t h e G e r a s i m o s f r o m H a l k e o p o u l o s was a p r i e s t - m o n k , a n d t h i s
lends a d d i t i o n a l support to our p r e v i o u s c o n c l u s i o n about the composer of
the
Euya X P - "
melody i n our r e p e r t o i r e .
A further d i f f i c u l t y a r i s e s with the
p r a c t i c e , i n a n u m b e r o f S i n a i MSS ( e s p e c i a l l y S i n a i M S . 1 5 3 2 a n d S i n a i M S .
1463), of i n d i s c r i m i n a t e l y r e f e r r i n g to both .composers simply as Gerasimos.
On t h e b a s i s o f m e l o d i c c o m p a r i s o n s i t h a s g e n e r a l l y b e e n p o s s i b l e t o
ascertain
w h i c h c o m p o s e r t h e s c r i b e was r e f e r r i n g t o .
In t h e c a s e o f one v e r s i o n ,
t h a t i n S i n a i MS. 1463 ( f o l .
2 5 5 ) and S i n a i MS. 1552 ( f o l .
519 ),
however,
n o o t h e r c o p i e s a r e t r a n s m i t t e d by o u r s o u r c e s .
Without, i n t e r a l i a a
stylistic
a n a l y s i s that would.be inappropriate to t h i s paper, i t i s therefore
impossible
t o d e t e r m i n e w h i c h o f t h e two composers t h e s c r i b e had i n m i n d .
Williams
( " J o h n K o u k o u z e l e s ' R e f o r m , " p. 146) s u g g e s t s t h a t G e r a s i m o s h i e r o m o n a c h o s
be dated t o the l a t e 14th c e n t u r y / f i r s t
h a l f of the 15th century,
and
B r e s l i c h - E r i c k s o n ("Communion Hymn," p. 54) s a y s o n l y "by 1 4 5 3 . "
Both of
these estimates are c l e a r l y too
late.
v

1 0 0

38.

Hagia Sophia in Constantinople; he also had the t i t l e of

laosynaktos

1 / u

and his Ewua XPIOTOU melody in Vatopedi MS. 1495 i s one of only a few
Koinonika a t t r i b u t e d to h i m .

7 7

The above dating of composers of t h i s Koinonikon may be v e r i f i e d

by yet another means.

In her study, B r e s l i c h - E r i c k s o n draws a t t e n t i o n to

the way in which the order of the composers of the reOqaa0e text in each
78
manuscript r e f l e c t s the composers' dating.

Only in the case of composers

that are more or less contemporary with one another does the order become
inconsistent.

The following table (see p. 39) demonstrates that in our

r e p e r t o i r e the manuscripts with multiple versions of Ecoua XPT-CTOO

similarly

r e f l e c t the chronology of t h e i r composers.

Having established a t e n t a t i v e chronological ordering of our
r e p e r t o i r e i t now becomes apparent that there e x i s t s not only a c o r r e l a t i o n
between chronology and modal usage, but also a chronological order to the
modal assignment of a composer's work which i s transmitted, in a number of
manuscripts.

This seems to c l a r i f y the seemingly haphazard choice of modes

of Glykes's and Moschianos's settings of Ewua x P T o u (see pp. 7, 8, and 12

t a

above). The following table (see page 40) takes into account only those
manuscripts that can be securely dated, and shows c l e a r l y t h i s progression in
the course of the 14th century.
76
Velimirovic,

" B y z a n t i n e Composers," p. 12.

77
Doukas' K o i n o n i k a seem t o appear o n l y i n V a t o p e d i MS. 1495, and
the dates o f t h i s MS agree w i t h the e a r l i e r d a t i n g suggested by W i l l i a m s ,
i . e . , the l a t e 14th c e n t u r y (not the f i r s t h a l f o f the 15th c e n t u r y ) .
See
W i l l i a m s , "John Koukouzeles' Reform," p. 146.
78
B r e s l i c h - E r i c k s o n , "Communion Hymn," pp. 54-55.

TABLE V
Ordering
Athens
MS.
2622
Glykes

of

Settings

Ambrosiana

Ecouq X P i ~ o Q
T

Q.ll

Vatopedi
MS.
1495

#1.

#1.

. MS.

#1.

of

i n MSS
Koutloumousi
MS.
457

#2.

#1.

Panaretos
#2.

Kladas
#3.
III

#1.

#3.

#2.

#4

#2.

Moschianos

(Mode

Vienna
MS.
185

#2.

#4.

79

80

Auth.)
#6.

'

#5.

Gavalos
#4.

#6.

Gerasimos
#5.
Doukas
79
In

V i e n n a MS. 185

v e r s i o n by Glykes

some s e v e n t e e n

folios

separate

Moschianos's version

(#2.)

and the

(#3.).

80
Moschianos

I n A t h e n s MS. 2622
and t h a t by K l a d a s .

there

are

fifty-seven

intervening

folios

between

the

version

by

second

TABLE VI
Modal Assignment of_ -Eu^a ypyoyoy

Glykes

Athens
2458
'1336'

L.36

I PI.

I PI.

Athens
2622
1341-ca.l360
I l l Auth.

Q.ll

i n S e c u r e l y - D a t e d MSS

Vat.
1495
ca. 1360 - 1385

I I I Auth.

I l l Auth.

Kout.
457

Vienna
Vienna
185-81
185
ca.1385-1391

Nana

Nana

PI.

II PI. O l PI.)

Panaretos
Moschianos

I PI.

Kladas

Ill

I I PI.

II PI.

I I PI.

I PI.

Auth.

Gavalos

IV P I .

IV PI.

Gerasimos

IV P I .

IV PI.

Doukas

IV P I .

81
The s i x s e t t i n g s o f t h i s hymn seem t o form two d i s c r e t e u n i t s i n t h i s MS (see n. 79 above),
and have t h e r e f o r e been c i t e d i n t h i s manner. See a l s o n. 83.

41.

At the beginning o f the century composers seem t o have favoured

Mode I Plagal f o r t h e i r s e t t i n g s o f E w u a

XPICTOU,

and as noted above (see

p. 9) t h i s c h o i c e agrees with the e a r l i e s t musical sources o f t h i s hymn.

I f we consider, f o r example, the e a r l i e s t manuscripts which c o n t a i n the s e t t i n g s
by Glykes and Moschianos, and which probably t r a n s m i t these hymns most
f a i t h f u l l y , we f i n d t h a t Mode I Plagal i s s p e c i f i e d i n both i n s t a n c e s .
The compositions o f such composers as Gavalos and Gerasimos, however, show
that by mid-century Mode IV Plagal had superseded Mode I Plagal as the most
popular c h o i c e o f mode f o r t h i s hymn, and t h i s t r e n d i s confirmed i n the
work o f the l a t e r Ioannes Doukas. Another s e t t i n g o f t h i s t e x t by Kladas,
which appears t o have been the more popular o f h i s two v e r s i o n s , does not
appear i n the preceding t a b l e s i n c e i t occurs only i n manuscripts which
82

cannot be p r e c i s e l y dated;

however, i t a l s o r e f l e c t s t h i s t r e n d with i t s

use o f Mode IV P l a g a l .
The preceding t a b l e a l s o demonstrates t h a t there seems t o be a
c h r o n o l o g i c a l order t o the s e l e c t i o n o f the s e v e r a l d i f f e r e n t modes f o r
Glykes's and Moschianos's s e t t i n g s .

In the case o f the former

composer,

s u c c e s s i v e manuscripts show t h a t there i s a p r o g r e s s i o n from Mode I Plagal

through Mode I I I A u t h e n t i c t o the Nana mode, and with the l a t t e r composer
there i s i n evidence a trend from Mode I Plagal t o Mode II P l a g a l .

I t must

be noted, however, t h a t t h i s p r o g r e s s i o n extends only t o the f i r s t s e c t i o n

A t h e n s MS.

904 ( f o l .

2 6 8 ) and Athens MS.

V

2411 ( f o l .

572 ).
r

42.

in Vienna MS. 185 since i n both instances the second group r e v e r t s , f o r some
83
i n e x p l i c a b l e reason, to the older usage of Mode I P l a g a l .
Continuing i n a s i m i l a r vein i t seems possible to u t i l i z e t h i s
information to extrapolate a somewhat more precise dating of those manuscripts
which are merely assigned to the 14th century.

Having established that

Kladas l i v e d before 1341 (see Table IV) and that by the t h i r d quarter of
the century (ca. 1360-1385) there was a d e f i n i t e trend towards u t i l i z i n g
Mode IV Plagal f o r s e t t i n g s of t h i s Koinonikon (see Table V I ) , i t does not
seem unreasonable to propose that both Athens MS. 904 and Athens MS. 2411
must have been w r i t t e n post ca. 1360. S i m i l a r l y , i t seems that both Athens
MS. 2600 and S i n a i MS. 1294 might, on the basis of t h e i r i n c l u s i o n of
Glykes's Ewua XPIOTOU melody i n Mode I P l a g a l , conceivably be dated between
1336 and ca. 1360. N a t u r a l l y t h i s i s i n s u f f i c i e n t data upon which to propose
the dating of an e n t i r e manuscript,

but i t does suggest an avenue which,

with the accumulation of enough information, might allow such manuscripts to

be placed w i t h i n a more s p e c i f i c chronological context.
the

scribes

written
group
this

by

examination

of

this

two

(fols.
hymn,

Thursday
285[?] ).
on

fol.

of

St.

different
r

It
of

is

this

268

in

by

attributed

occur

scribe

earlier

The

modal

B (fols.

whereas

different

other

than

those

versions

Easter.
of

(Hannick,

of

scribe

devoted

A who

section

of
of

the

least

is

This
in

schemepossibly

he

(p.

plausible
was

2),

Easter

this

actually

latter

for

these

octoechal
text
fond

was

second

282 r

for

G l y k e s and

contains
the

the

of

for

Holy

responsible

portion

intimates

explanation

particularly,

This

(fols.

Liturgy

which

was

this

that

MS

Koinonika

at

(?)-*-was

u s e d on

also

on

is

that

in

his

each

of

pre-

Easter,
other

Sundays-

scribe

section

the

Moschianos

possibility

used

to

V I ) were

designation

T h e s s a l o n i c a , where

utilized

regards

Cheroubika of

MS - t h a t

the

in

Table

p. .245).
modal

to
of

(see

laJua X P ^ ^ t o u by

233V-276 ),

been

earliest

Koinonikon

versions

above

A less
which

MS

conclusions

sections

"Etude.,",

the

261 -276 ).

have

modal
noted

the

and the

a s s i g n m e n t a t

originated-^-may
As was

(fols.

Hannick'.s

t h e s e , tvjo

retains

to

two

within

sumably

occasions.

scribes

Saturday,

MS.

that

section

John Chrysostom

written

Christian

which

and E a s t e r

majority

of

MS-, r e v e a l s

285 -286 ),

occurs

the

An

the

included
MS.

43.

M U S I C

It seems appropriate to begin by considering the three settings

of Ecoua xPT-tfToO by Glykes, Panaretos, and Moschianos as a group.

Glykes

and Panaretos a s was noted above a r e the e a r l i e s t composers represented

in our r e p e r t o i r e , and the choice of mode in Moschianos s s e t t i n g suggests
1

a chronological proximity to t h e i r two v e r s i o n s .

Moreover, as w i l l become

apparent in the following s e c t i o n , a l l three Koinonika embody s i m i l a r s t r u c t u r a l procedures, and u t i l i z e much the same musical m a t e r i a l .

The complete

t r a n s c r i p t i o n s appear in Examples 6, 7, and 8, and in each case the c o n s t i tuent phrases have been v e r t i c a l l y

aligned so that t h e i r

interrelationship

becomes obvious.
The opening of G l y k e s ' s composition consists of a s i n g l e phrase
immediately repeated (Example 6, phrase A, l i n e s 1 and 2 ) , the focus of
which i s f i g u r e a.

This phrase d i s c l o s e s the f i r s t t e x t - u n i t (Euiya XPICTOU),

and i s r e s t r i c t e d to the lower tetrachord of the mode, d-f_ ( a j .

In the other

two settings theopening i s very s i m i l a r , and in each case f i g u r e a plays a

determining r o l e .

Panaretos also uses an opening which spans the i n t e r v a l

of a t h i r d , but only sets the f i r s t word of the text to i t ,

manner:

Ew-xw-ya.

in the following

Moschianos u t i l i z e s much the same opening which, however,

has been expanded s l i g h t l y by the lower a u x i l i a r y n o t e , and which, in i t s

r e p e t i t i o n (phrase A ' ) , shows a f u r t h e r increase in range by the consistent

44.

EXAMPLE

6 -

(a)
(b)

G l y k e s , A t h e n s MS.'" 2 4 5 8 , f o l . 1 6 9 ( T r g " )
G l y k e s ( e x c e r p t ) , V a t . ' M S . 1 4 9 5 , f o l . 2 1 7 (r~*
[ t r a n s p o s e d down a f i f t h ]
r

46.

EXAMPLE 8

(a) Moschianos, Athens MS/.2622, f o l . 360 (TT q )

(b) Moschianos ( e x c e r p t ) , V a t . MS. 1495, f o l . 2 1 7 (try
[ t r a n s p o s e d down a second]
A

T h i s s i g n i s used t o i n d i c a t e t h e omission;pf p a r t o f t h e melody.

>;>

47.

use of the .

Both phrases A and A' nevertheless c l e a r l y remain in this

lower region of the mode, and once again comprise the entire f i r s t phrase
of the

text, i . e . Ewya XPI"TOU.

A l l three versions show a considerable augmentation of range in

phrase B.

In essence, the very r e s t r i c t e d ambitus of phrase A i s here

extended upwards and eventually revolves around the note a^, with only an
occasional excursion up to b_ and c_.

Even Moschianos, who develops the upper

range most consistently, does not venture beyond c_.

i t i s possible to see this phrase as constituting

In his version, however,

a shift

albeit brief

to the upper tetrachord of Mode I Plagal ( i . e . a_-d_), whereas the e a r l i e r

settings by Glykes and Panaretos show this s h i f t only i n c i p i e n t l y , in e f f e c t
an expansion in range of phrase A.

This i s p a r t i c u l a r l y evident by the

fact that in most instances phrase B in Glykes and Panaretos begins from and
returns to the lower tetrachord of the mode, while this occurs less frequently
in Moschianos.
indication

Glykes's original use of phrase B actually gives every

of being merely a development

of phrase A (see l i n e 3 in which

this phrase only spans a t h i r d from e-aj, and i t i s only after successive
versions that the character of the phrase becomes s u f f i c i e n t l y well defined
and i t s identity c l a r i f i e d (see l i n e 7).

In addition, figure b often functions

as the closing element of phrase B both here (cf. lines 3, 5, and. 7) and'
in the other two versions; thus i t s use in l i n e 3 adds support to our
i d e n t i f i c a t i o n of this l i n e with phrase B.
The texting of phrase B at i t s i n i t i a l appearance i s quite similar
in a l l three versions and shows evidence of a change that seems to constitute
a progression from Glykes through Moschianos.

Glykes begins this phrase

with the f i r s t s y l l a b l e of y e T a A a B e x e whereas Panaretos, who does not repeat

48.

phrase A as the other two composers do, sets the i n i t i a l c i t a t i o n of the

word

XP^O-TOU

to phrase B.

Moschianos begins with a r e p e t i t i o n

of t h i s

word, and reaches the apogee of the phrase with the f i r s t s y l l a b l e of

yexaXaBete.

Example 9 i l l u s t r a t e s the f i r s t use of phrases A and B in a l l

three versions and allows the various s i m i l a r i t i e s of the openings to become

readily

apparent.

EXAMPLE

'see

n.

84

below

A f t e r having thus expanded the compass of the melody i n phrase B,

both Glykes (Example 6, l i n e 4) and Panaretos (Example 7, l i n e 2) return
to phrase A before proceeding to a middle section which consists of phrase
B; the l a t t e r uses t h i s return to the

lower tetrachord f o r his

initial

s e t t i n g of yeLxaXaBexe]., and the former uses i t for the continuation

t h i s word.

of

This r e p e t i t i o n does not occur in Moschianos, who continues

d i r e c t l y with phrase B.

Transposed to

Mode I

Plagal for

ease of

comparison.

49.

In a l l three settings a great deal of s i m i l a r i t y may be observed

between the various versions of phrase B.

This i s p a r t i c u l a r l y

evident,

of course, i n the general ambitus and contours of the phrase, as well as in

the use of figures b and c.

Also noteworthy, however, i s the unusually

consistent placement of the pelaston within the melodies.

This neume occurs

85
somewhat infrequently

i n 14th-century manuscripts,

and i t i s here reserved

not only f o r the same musical f i g u r e , but i n v a r i a b l y f o r the same p i t c h

(i.e. bj.

In Glykes's s e t t i n g the pelaston i s used as the peak of phrase

B i n l i n e 7, and occurs i n the word

A l l other manuscripts which

yevoacQe.

transmit Glykes's hymn use a pelaston at t h i s p o i n t , i r r e s p e c t i v e of whatever

other differences i n modal assignment or notation they may transmit.
In Moschianos's s e t t i n g the pelaston i s used at the i d e n t i c a l place i n the
text but occurs only i n Vatopedi MS. 1495 and Vienna MS. 185 and not i n our
model from Athens MS. 2622.
the word

aOavdxou,

Moreover, at the same place i n phrase B, at

Vatopedi MS. 1495 adds an additional pelaston ( c f . Example

8b, l i n e s 6' and 5 ' ) .

Panaretos also uses the pelaston only i n phrase B,

but u t i l i z e s i t f o r both the words

aGavdxou

and x p i c r x o u ( c f . Example 7,

87
l i n e s 6 and 1 ) .

It i s d i f f i c u l t to deduce the s i g n i f i c a n c e of t h i s

remarkably consistent usage of the p e l a s t o n , but i t does serve to emphasize

8 5

use

Sinai

an a d d i t i o n a l

note
to

Hannick,

M S . 1462

255.

In

M S . 1294

e_ ( s e e E x a m p l e

p.

( f o l . 149 )

pelaston.

g_, a n d i n S i n a i

the note

"Etude,"

it

a n d S i n a i M S . 1294

S i n a i M S . 1462
i s used during

it

occurs

( f o l . 167 )
r

t o aGavdxou

the post-cadential

both
on the

formula

21).

87
Although i n line 1 the pelaston
e q u i v a l e n t , by v i r t u e o f t h e use of,Mode II
note b as i t i s used i n l i n e
6.

o c c u r s o n a c_, t h i s n o t e i s
Plagal in this section, to the

50.

the s i m i l a r i t y of phrase B in a l l three versions and might conceivably

indicate a common o r i g i n or at l e a s t the existence of a s i m i l a r model
u t i l i z e d by a l l three composers.
Of greater s i g n i f i c a n c e than these various f e a t u r e s , however, i s
the s i m i l a r i t y in o v e r a l l structure that i s revealed by a l l three s e t t i n g s .
A f t e r a middle section that i s devoted to phrase B, a l l three composers
eventually return to phrase A and i t s lower area of the mode, thereby giving
t h e i r compositions the semblance of a large t r i p a r t i t e form.

In each case

the l a s t element of t h i s structure constitutes an amalgamation of the two

phrases and t h e i r respective regions of the mode, so that the scheme appears
as A + B + (A + B ) .

This r e c a p i t u l a t i o n i s e s p e c i a l l y obvious in Glykes's

hymn where i t i s highlighted by the v i r t u a l l y exact r e i t e r a t i o n of f i g u r e a

(see Example 6, l i n e s 6, 7, and 8) and f i g u r e b (see Example 6, l i n e 7 ) .
Panaretos i s s i m i l a r l y unequivocal about the return to phrase A and B (see
Example 7, f i g u r e a in l i n e s 6 and 7, and figures c and b in l i n e 7) and
although Moschianos obscures f i g u r e s a and b somewhat through embellishment,
they are s t i l l

d i s t i n c t i v e enough to permit t h e i r i d e n t i f i c a t i o n

Example 8, f i g u r e a in l i n e 7 and compare t h i s with l i n e 2 ) .

(see

It i s of

p a r t i c u l a r i n t e r e s t that t h i s reappearance of phrase A, and i t s subsequent

combination with phrase B, i s relegated to much the same place i n the t e x t
of a l l three v e r s i o n s .

Panaretos and Glykes both associate t h i s r e c a p i t u l a -

t i o n with the music which separates Trnyfis and deavatou,. and return to

it

again for the music which accompanies or immediately precedes the l a s t word,
yeOoaoQe.
word.

Moschianos applies i t only to the f i r s t s y l l a b l e of t h i s l a s t

51.

It should also be noted that in a l l three versions the lower

tetrachord i s u t i l i z e d for the f i n a l cadence.

Glykes makes d i r e c t use

here of the opening f i g u r e a , and Panaretos follows t h i s procedure, a l b e i t

through a lengthening of the f i g u r e .

Moschianos does not revert to the

opening f i g u r e but merely returns to t h i s area of the mode by circumscribing

the f i n a l i s d and i t s upper neighbouring tone.
The o v e r a l l form that emerges in a l l three versions then i s a
very simple one that i s constructed with a minimum of musical m a t e r i a l s .
The use of only two phrases underlines the s i m i l a r i t y of these e a r l y settings
of laiua

XPITOU

and segregates them, quite c l e a r l y from the more elaborate

structures of the l a t e r 14th-century composers.

Examples 6 and 8 also reproduce a number of p a r a l l e l musical
phrases from the l a t t e r section of Glykes's and Moschianos's settings as
found in Vatopedi MS. 1495.

This manuscript, i t w i l l be remembered, contains

a r e p e t i t i o n in both settings of the phrase

O c c a s i o n a l l y , Vatopedi

Tnyyns

dSavdxou and i t s music.

MS. 1495 i s s l i g h t l y more elaborate than our models

of Glykes's and Moschianos's settings from Athens MS. 2458 and Athens MS.
2622 ( r e s p e c t i v e l y ) , and i t i s g r a t i f y i n g to observe that Vatopedi MS. 1495
i n v a r i a b l y supports our d i v i s i o n of the phraseology ( e . g . compare l i n e

from Athens MS. 2458 and l i n e 5' from Vatopedi MS. 1495 in Glykes' hymn).
In Vatopedi MS. 1495 the word TraAiv i s , i n both instances, used to introduce
the r e p e t i t i o n of the phrase Tnryns aQavdxou and i t i s i n t e r e s t i n g to note
the manner in which t h i s word i s set to music.

It i s not merely given an

a r b i t r a r y musical f i g u r e ; rather i t comprises an integral part of the

structure and f u l f i l s the musical l o g i c of i t s context.

Consider, for

example, the ending of the musical phrase which follows the word dSavdxou

52.

in Glykes's hymn (as given in Athens MS. 2458, l i n e 7) and which cadences
on c_ immediately p r i o r to the leap of a f i f t h to that begins the word
yetioaoQe. At the i d e n t i c a l l o c a t i o n in Vatopedi MS. 1495 ( l i n e 7')

the

notes of t h i s f i f t h are f i l l e d i n , a musical elaboration which i s also

f u l f i l l e d by the word -ndXw at the equivalent point in l i n e 7.

A comparison

of l i n e s 6 and 6' of Moschianos's s e t t i n g from Vatopedi MS. 1495 (Example 8a)

shows that much the same procedure i s followed there.
The text s e t t i n g i s quite s i m i l a r i n a l l of these three versions
by Glykes, Panaretos, and Moschianos.

It amounts to a decidedly conserva-

t i v e treatment that i s b a s i c a l l y s y l l a b i c or neumatic and i s only i n f r e quently expanded into melismas.

The longest melisma i s i n v a r i a b l y w r i t t e n

under the second s y l l a b l e of TnrYns, and in Moschianos's and G l y k e s ' s hymns

the f i r s t , and the f i r s t two s y l l a b l e s of yeOoaoQe ( r e s p e c t i v e l y ) are also
prolonged.

In g e n e r a l , however, i t appears that a maximum e f f o r t has been

made to preserve the i n t e l l i g i b i l i t y

of the text by according to most words

a s y l l a b i c or neumatic musical s e t t i n g .

This i s p a r t i c u l a r l y evident i n

the composers' treatment of the words awua and TrriYns, the former opening
the hymn and the l a t t e r beginning the second major s e c t i o n .

The word

Tnryris i s always set to two successive notes of the same p i t c h , and t h i s

gives i t a somewhat h e r a l d i c q u a l i t y .

Panaretos and Moschianos both delay

the f i n a l consonant of t h i s word by the use of i n t e r c a l a t e d material but

t h i s only obviates the lengthy unsupported melisma on the f i n a l
that occurs i n Glykes's s e t t i n g in Athens MS. 2458.

syllable

A s i m i l a r procedure i s

u t i l i z e d f o r the word acoya. Only in Panaretos's hymn are the two s y l l a b l e s

of t h i s word not set to successive notes.

Instead, he introduces a r e p e t i -

t i o n of the opening vowel by using the i n t e r c a l a t e d s y l l a b l e 'xw'

after

53.

an intervening upper neighbouring tone, but this i s at most a minor departure

from the nature of the opening used by the other two composers.
The two works by Kladas

one in Mode III Authentic, the other in

Mode IV Plagal (hereafter, respectively, Kladas r and Kladas A) comprise

a second category for the Easter Communion hymn.

Chronologically, and to

some extent s t y l i s t i c a l l y , they show a connection with the preceding three

versions, whereas the choice of mode suggests.

at least i n one case

a link with the remaining settings in Mode IV Plagal..

In f a c t , a close

examination reveals that they exhibit a f a r greater s i m i l a r i t y to one another

than to either the e a r l i e r or l a t e r settings, and w i l l therefore be treated
independently.
The two hymns are reproduced in Examples 10 and 11, and their
i n t e r r e l a t i o n s h i p , as well as t h e i r divergence from the e a r l i e r settings,
is immediately apparent.

It i s evident that the structure here has been

expanded somewhat, and both works are now constructed with three musical
phrases rather than two as had been u t i l i z e d by the e a r l i e r composers.
Within each version the f i r s t two phrases (A and B) are decidedly s i m i l a r ;
occupying much the same tessitura and displaying l i k e contours.

Their

distinctiveness, however, i s manifested by the generally d i s s i m i l a r opening

or closing notes, and by the correlation of some s i g n i f i c a n t musical elements.
Compare, f o r instance, figure e which dominates the cadence of most examples
of phrase B in Example 10, but i s not present in phrase A.

Similarly, in

Example 11, the descending motion of phrase A i s usually i n i t i a t e d by a

combination of figures f and g, whereas this descent i s generally avoided
in phrase B by the use of figure h.

Phrase C, on the other hand, i s in

54.

EXAMPLE 10

K l a d a s , A t h e n s MS. 2622, f o l . 417

(f " ")

55.

56.

both versions completely at variance with the two preceding phrases and forms
an e a s i l y i d e n t i f i a b l e

group.

The following Example 12 contains the f i r s t l i n e of a l l

three

phrases, and t h i s j u x t a p o s i t i o n h i g h l i g h t s an astonishing s i m i l a r i t y

between

both of Kladas's s e t t i n g s .

identical

Not only are the three phrases v i r t u a l l y

in both settings but t h e i r i n i t i a l

appearance occurs at equivalent points

in the t e x t , i . e . each phrase coincides with one of the f i r s t three text

divisions.

It i s s c a r c e l y an exaggeration, then, to suggest that both hymns

are fashioned from the same m a t e r i a l s , f o r although some differences are

evident, the degree of i d e n t i t y

i s f a r too great to permit i t to be sum-

marily dismissed.
The two hymns are o r i g i n a l l y assigned to d i f f e r e n t modes that
s t a r t a second apart, and Example 12 shows that phrase A in each version i s
a t r a n s p o s i t i o n , by an i n t e r v a l of a second, of i t s companion.

In Kladas

r the opening phrase i s longer, and i s more highly developed by v i r t u e

of

i t s two d i s t i n c t upward curves (cf. phrase A " and A' i n Example 12), but
t h i s only shows the s l i g h t divergence in compositional approach that i s also
apparent elsewhere in t h i s s e t t i n g .

This d i s s i m i l t u d e i s revealed, i n

p a r t i c u l a r , by the unusual and extended melisma on the f i r s t s y l l a b l e of

Ecoya, as well as by the r e p e t i t i o n of t h i s e n t i r e word, a feature which occurs
in no other 14th^century example.

More than twice as much music i s a c t u a l l y

devoted to the f i r s t phrase of the t e x t in Kladas r than in Kladas A, and

a s i m i l a r change of proportions i s also evident i n the second phrase.
A modulation to Mode IV Authentic, which i s v e r i f i e d by the

inter-

polation of a medial signature of that mode, occurs at the beginning of

phrase B in Kladas r and r e s u l t s in t h i s version acquiring the same p i t c h

EXAMPLE 12

58.

level as Kladas A.

This phrase, together with the second unit of text, i s

again given a more extensive musical treatment in the former hymn, occurring
there three times, and only once in Kladas A.

At i t s f i r s t repetition in

Kladas r this phrase i s preceded by a medial signature of the Nana mode,

a signature that i s somewhat puzzling for i t s context suggests that i t must
be reckoned from 9_ and not i t s customary c_.

Moreover, except f o r the somewhat

lower tessitura in i t s central part, this phrase i s equivalent to the previous one, which had been introduced with the signature of Mode IV Authentic.
In Kladas r the beginning of phrase C i s introduced by the word
Xeye which i s set to a musical fragment that i s similar to the intonation
po

formula for the Nana mode (Mode IV Medial),

signature of this mode.

and i t i s followed by a medial

The use of the word Xiye

at this point i s rather

unusual, for ostensibly i t does not mark either a musical or textual repet i t i o n , and i s set to the identical figure that i s used s l i g h t l y later f o r
the

word TT&AXV which introduces a .'repetition of the phrase rrriYris a6avdxou.

Although the word Xye may s i g n i f y an unnotated and as yet unrecognized

r e i t e r a t i o n of previous material, i t s most apparent role i s that i t acts as
an abstract of the opening of the succeeding phrase.

After the repetition

of phrase C there occurs a b r i e f musical phrase (Example 10, l i n e 8) that i s

our f i r s t indication of the practice of word inversion

in this case, word

g

elision

that became increasingly popular among the composers of this era.

See
and

Signatures

World,

p.

the
of

formulae

the

24- e x a m p l e s

89

See

p.

25

of

Byzantine
'#10

Mode

Modes,"

and #11,

above.

IV

and

Plagal
in
p.

in

Essays
33.

Oliver
on

Strunk,

Music

in

the

"Intonations
Byzantine

59.

It i s obvious, however, that the phrase TrriYns yetfoaoBe i s merely a paraphrase that conveys the idea of the complete phrase in a somewhat more
succinct but equally i n t e l l i g i b l e and possibly more emphatic manner.
A phthora of Mode III

Authentic marks the beginning of phrase C

in Kladas A but t h i s only confirms a t r a n s p o s i t i o n that i s evident from the

music i t s e l f .

The r e p e t i t i o n of t h i s textual and musical unit i s introduced

by the word irdAxv (Example 11, l i n e 7 ) , and as was the case in our three
e a r l i e r s e t t i n g s , t h i s word i s set to an organic part of the phraseology
of t h i s hymn.

In Example 4 above (p.. 14), we noted the divergent approach

taken by the two scribes of Athens MS. 2411 and Athens MS. 904 f o r the
s e t t i n g of the word TrdAxv, but Example 12 reveals that the l a t t e r , in e f f e c t ,
substitutes phrase B where the former uses phrase C.

Preceding the r e i t e r a -

t i o n of TTriYns deavdxou the s c r i b e in Athens MS. 2411 also i n t e r p o l a t e s a

signature of the Nana mode (zz),

whereas Athens MS. 904 u t i l i z e s a martyriai

of Mode IV P l a g a l .
In the three e a r l y versions of Zwya

XP'LOTOU

we observed in each

case the r e c a p i t u l a t i o n of phrase A towards the close of the hymn, and t h i s

feature resulted in a l l settings acquiring the appearance of a t r i p a r t i t e
structure.

A s i m i l a r tendency appears in the examples by Kladas, but the

symmetrical scheme i s no longer v i s i b l e .

Kladas r uses a phrase (Example

10, l i n e 7) that i s reminiscent, both by i t s t e s s i t u r a and i t s use of f i g u r e

d , of phrase A (see e s p e c i a l l y l i n e 3).

As in our e a r l i e r s e t t i n g s , t h i s i s

then followed by the remaining phrases:

the ending only of phrase B, and

the TrdAxv r e p e t i t i o n of phrase C in i t s e n t i r e t y .

In a d d i t i o n , the conclusion

of t h i s hymn u t i l i z e s a portion of phrase A ' , as does the post-cadential

material.

However, i n s p i t e of t h i s , a s u b s t a n t i a l l y d i f f e r e n t

form r e s u l t s

60.

and the r e i t e r a t i o n of material from phrase A seems p r a c t i c a l l y

to i t .

The difference in form i s caused mainly by the

incidental

disproportionately

greater amount of musical emphasis placed on the f i r s t two phrases (A and

B) and t h e i r music, an imbalance which i s furthered by the b r e v i t y of
phrase C.
Kladas A demonstrates a rather complex structure i n which a great
deal of a l t e r n a t i o n of phrases B and C takes p l a c e , and in which phrase A
plays a s i g n i f i c a n t , i f i n t e r m i t t e n t , r o l e .

The r e c a p i t u l a t i o n of phrase

A i s a c t u a l l y considerably more d i s t i n c t i v e here than in the former Kladas

example, and i t occurs with the word a9av&Tou (Example 11, l i n e s 7 and 12),
a placement that i s analagous to that i n Glykes's and Panaretos's v e r s i o n s .
Moreover, as was the case with our e a r l i e r s e t t i n g s , phrase A i s immediately
followed by phrases B and C (see Example 11, l i n e 12, since t h i s omits the
ndXxv phrase that follows i n l i n e 7).

In Kladas r, however, the reappearance

of phrase A i s set to the f i r s t s y l l a b l e of yevoaaQe and t h i s usage i s

s i m i l a r to Moschianos's v e r s i o n , as well as the second occurrence of the
phrase in Glykes's and Panaretos's hymns.
A completely d i f f e r e n t
two works.

approach to t e x t s e t t i n g i s seen in Kladas's

In Kladas r, except for a few instances notably the lengthy

melismas on Eto-ua, and that which occurs at the i n i t i a l

use of yetioaoQe

the preference i s f o r a r e p e t i t i o n of words, or o c c a s i o n a l l y parts of words,

rather than lengthy, unsupported melismas.

Again there seems to be a maximum

emphasis on the comprehensibility of the text and the remaining melismas

generally occur on the l a s t or penultimate s y l l a b l e s of a word, thereby ensuring
that the nature of the word has been c l e a r l y expressed, e . g . , yeTaAd-gexe
or a0avd-xou.

In Kladas A, however, t e x t words, are not repeated b a r r i n g ,

61.

of course, the r e p e t i t i o n associated with the -ndXiv and t h i s requires

the more frequent use of the lengthy melismas, e s p e c i a l l y since i t i s the
longer of the two hymns.

Since most of the text receives a n e u m a t i c / s y l l a b i c

s e t t i n g t h i s does not a f f e c t i t s i n t e l l i g i b i l i t y

to any great extent, and

the longest melisma occupies a f a m i l i a r place on the second s y l l a b l e of

Tiryyns.

Only in the word yetioaoBe

are a l l of the s y l l a b l e s widely dispersed

by the i n s e r t i o n of melismatic passages.

The s e t t i n g of the words Ewua and Trnyns i s also subtly a l t e r e d
in the two s e t t i n g s .

In Kladas r the f i r s t words i s as we have already

seen subjected to a lengthy melisma, but the word Trnyns i s set s y l l a b i cally.

Both s y l l a b l e s of t h i s word are i n i t i a l l y set to two i d e n t i c a l notes,

but when the word i s r e i t e r a t e d the repeated p i t c h of the second s y l l a b l e i s

presaged by both lower and upper neighbouring tones.

The second r e p e t i t i o n

is yet again d i f f e r e n t and there the second s y l l a b l e i s set a t h i r d higher

than the f i r s t .

A l s o , i n contrast to both Kladas A and the e a r l i e r versions

discussed above, only a moderate melisma i s w r i t t e n to the second s y l l a b l e

of -rrnYns, and t h i s occurs s o l e l y at i t s second c i t a t i o n .
initial

use of

Tnyyns,

Except f o r the

Kladas A also continues the p r a c t i c e of s e t t i n g both

s y l l a b l e s of the two words to successive notes of the same p i t c h .

It

is

p o s s i b l e , though, that in the former instance the unusual d i s p o s i t i o n of

the s y l l a b l e

yris

i s p r i m a r i l y meant to s i g n i f y the placement of the sigma

consonant, in a manner analagous to TrnYn-xns which occurs frequently i n our

repertoire.

In that case the s c r i b e would have assumed that the two vowels

of Trnyns would be sung i n the customary manner to the two consecutive notes
at the beginning of the phrase, s i m i l a r l y to that which he notated for the
r e p e t i t i o n of the word in l i n e 8 (Example 11).

62.

EXAMPLE 13

G a v a l o s , V i e n n a MS. 1 8 5 ,

fol.

284

(7T <5"

63.

64.

EXAMPLE 1 5 D o u k a s , Vat. MS. 1495, f o l . 2 1 8

(TT3

65.

The openings of the remaining settings in Mode IV Plagal by Gavalos,

Gerasimos, and Doukas immediately suggest a s i m i l a r i t y between these three
v e r s i o n s , and t h i s i s v e r i f i e d by a c l o s e r examination of the complete
hymns.

Example 16 shows the f i r s t use of phrases A and B, and there the r e -

l a t i o n s h i p becomes r e a d i l y apparent.

(The complete settings are contained

in Examples 13, 14, and 15).

EXAMPLE

Phrase.A
GCLUZIOS L

fJ-st

line)

16

'

f2
/UOC

Gerasimos

Phmsc B C i s t

C7)

n ''^ f

yUOC

(7)

line)

Gavalos
\<x.

_a

Gerasimos

fie,

Te,

(7\

fit.. ToC

Gerasimos
(3rd Une)

m
Mi.

Aoi

Doukas
TCC

XOL

pe.

66.

The unique o u t l i n e of the opening phrase displayed most c l e a r l y

in the examples by Gavalos and Doukas suggests that the hymn may have
acquired not only a common modal usage but also a standard opening by the
l a t t e r part of the 14th century, i . e . post-Kladas.

In i t s most basic form

t h i s opening comprises the notes -a_-c_-a_-a_ and t h i s may also be seen i n

90
other Koinonika.

Moreover, the s i m i l a r i t y

c l e a r l y extends also to phrase

B, and in both cases i s associated with the i d e n t i c a l

text phrases. A

s i m i l a r approach to phrase C in Gavalos i s also taken by Doukas i n phrase

D but by t h i s point a divergence i n text s e t t i n g has occurred, as i s seen
in Example 17.
EXAMPLE 17

PhrascC -i P
/\ (?)
Gavalos

Doukas tfa ' F

era

In s p i t e of t h i s obvious use of the same musical material a l l

three versions show a number of unique features.

Returning once again to

the opening, i t can be observed that the r e p e t i t i o n of t h i s phrase A ( l i n e

90
T h i s o p e n i n g i s v a g u e l y s i m i l a r t o t h e Mode IV. P l a g a l o p e n i n g
o f t h e 1 3 t h - c e n t u r y AiveiTE melody p r o v i d e d b y Conomos, "Communion C h a n t s , "
p . 2 5 6 . I n a d d i t i o n , t h e t w o 1 4 t h - c e n t u r y e x a m p l e s o f TevoaoQe i n t h i s m o d e
t h a t a r e known t o m e , b o t h u t i l i z e a n o p e n i n g t h a t i s c l e a r l y b a s e d on t h a t
found i n Example 16.
The s e t t i n g s b y Gerasimos and R a i d e s t i n o s a composer
w h o m a k e s a f i r s t a p p e a r a n c e i n t h e s a m e MS a s G e r a s i m o s , i . e . A t h e n s M S .
2622 c o n t a i n o p e n i n g s t h a t a r e somewhat more o r n a t e t h a n t h o s e
illustrated
h e r e , b u t whose s i m i l a r o u t l i n e s a r e e a s i l y v i s i b l e .
(Gerasimos i n Vatopedi
MS. 1 4 9 5 f o l . 2 1 9 - 2 2 0 - a n d R a i d e s t i n o s i n A t h e n s M S . 2622 f o l . 4 1 9 : )
v

67.

2 in a l l three versions) i s subtly varied by each composer.

Only in Gerasimos

does the phrase now ascend to the o r i g i n a l c_, whereas both Gavalos and
Doukas l i m i t i t s upward movement to b_.

A comparison with phrase A in l i n e

3 of Gavalos's s e t t i n g (Example 13) c l a r i f i e s the r e l a t i o n s h i p of l i n e 2

both here and in Doukas's hymn w i t h l i n e 1.

The presence there of

f i g u r e i within the standard opening formula reveals that i n l i n e 2 we are

dealing with a simiiiar, a l b e i t s l i g h t , v a r i a t i o n of phrase A that i s chara c t e r i z e d by the omission of the c_ and the s u b s t i t u t i o n of f i g u r e i which
i n i t i a t e s the phrase's descent.

I n t e r e s t i n g l y enough, f i g u r e i also occurs

in Kladas r (Example 10, l i n e 1, phrase A ' ) where i t f u l f i l s

function.

a similar

In that case, however, i t i s merely a r e p e t i t i o n of phrase A

and in no way a l t e r s the contours of the opening phrase.

Another minor

d i f f e r e n c e between these three settings i s that Gavalos sets the f i r s t

s y l l a b l e of uexaXdpexe to a second r e p e t i t i o n of phrase A , whereas the two
other composers only repeat t h i s phrase once and u t i l i z e i t s o l e l y for the
f i r s t text u n i t .
The congruity of phrase B in a l l three versions has already been
shown in Example 16 but various differences in i t s use may also be observed.
Gavalos i n i t i a l l y employs t h i s phrase only f o r the remainder of [ye]xaXdST
and then proceeds to phrase C for the subsequent t e x t .

Conversely, both

Gerasimos and Doukas l a v i s h a great deal of attention on t h i s phrase.

the former version i t

In

i s o r i g i n a l l y repeated four times and used only f o r a

number of r e i t e r a t i o n s of the word yexaXdftexe (Example 14, l i n e s 2 - 6 ) ,

while the l a t t e r composer immediately reuses t h i s musical phrase for the
e n t i r e middle section of the .text, v i z . , yexaXdftexe TrriYns aGavdxou
(Example .15, l i n e s 2-4).

68.

A f t e r phrase B the approach of the three composers diverges substantially.

Phrase C in Doukas's s e t t i n g i s v i r t u a l l y

the same as phrase

D of Gavalos's v e r s i o n , but Gavalos set t h i s to the word aQavdxou rather

than to yeuaaaGe as set by Doukas.

Moreover, i t i s only at the second un-

texted occurrence of phrase D (Example 13, l i n e 5) that i t s s i m i l a r i t y

to

Doukas's phrase C r e a l l y becomes evident, f o r i t s i n i t i a l appearance in

l i n e 4 conveys at most an a f f i n i t y based on t e s s i t u r a and contours.

Phrase C

in Gavalos, however, i s equivalent to the t h i r d phrase used by Gerasimos but

once again they are used for d i f f e r e n t purposes in the t e x t .

EXAMPLE 18
Phrase C*

Oerasimos
Gerasimos
V

71^

Jjr)

In Gavalos the phrase i s set to the word Trnyns (Example 13, l i n e s 3 and 6 ) ,
whereas Gerasimos uses i t as the musical adjunct of the d i r e c t i o n s
and TrdAxv (Example 14, l i n e s 4 and 8 ) .

It

Xeye

i s only l a t e r in the hymn that

t h i s phrase also serves as a r e i t e r a t i o n of the word Trnyris and subsequently,

aQavdxou (Example 14, l i n e s 13 and 14).

This once again demonstrates that

the words rrdAxv and Xeye are set to an integral

part of the hymn's

structure.

69.

Gerasimos extends his hymn yet further by the introduction of two

a d d i t i o n a l phrases, which bear no resemblance to any of the material in the
s e t t i n g s of Gavalos and Doukas.

Phrase D i s e s s e n t i a l l y a lengthy melisma

to the word Trnyns but i t s most i n t e r e s t i n g feature i s that i t concludes with

the c i t a t i o n of an abbreviated version of phrase A.

This i s followed by

phrase E which i s repeated f o r the f i r s t s e t t i n g of the two words deavdxou

and ye-CaaoQz,

Snd' functions" as a cadential figure of t h i s s e c t i o n .

It i s obvious that these three versions d i s p l a y somewhat more

elaborate structures than our e a r l i e r settings but in s p i t e of t h i s a
number of s i g n i f i c a n t features are held in common.

As was the case with

the majority of the previous s e t t i n g s , a r e i t e r a t i o n of the opening phrase

A occurs towards the end of these examples.
l a t i o n i s v i s i b l e to the word yetioaoBe

The most d i s t i n c t i v e r e c a p i t u -

in l i n e 8 of Gavalos's version

(Example 13), for here i t consists of a v i r t u a l l y exact r e p e t i t i o n of l i n e

1.

This r e p e t i t i o n i s preceded by a r e i t e r a t i o n of phrases B and C to the

t e x t of dQav&Tou and mryns,

analagous to a Bogen form.

a n

d r e s u l t s in a symmetrical structure that i s

This sequence also shows once again the p r a c t i c e

of text e l i s i o n and i t occurs here i n the same manner as in Kladas r.

Doukas u t i l i z e s a form that i s scarcely more complex although i t s
are somewhat d i f f e r e n t .

proportions

The expansive middle s e c t i o n , which comprises phrase

B and the two middle units of the t e x t , has been alluded to above, and i s
followed by a b r i e f s e t t i n g of yetioaoBe

in phrase C.

This f i n a l word i s

immediately repeated but by music that reverts to phrase A (see Example 15,
l i n e 5 ) , and a f t e r t h i s the e n t i r e l a t t e r h a l f of the text recurs to the
music that had been u t i l i z e d p r e v i o u s l y , i . e . phrases B and C.

Only in

the case of phrase C does t h i s c o n s t i t u t e an exact r e p e t i t i o n of the foregoing

70.

music.

The versions of phrase B are c l e a r l y related to the o r i g i n a l example

in line 2, but show signs of embellishment and v a r i a t i o n .

Also s i g n i f i c a n t ,

however, i s that this repetition i s introduced by a TrdAiv unit that evidences

the same integration into the phraseology that had been observed in previous
examples.

Here i t f u l f i l s the ascent from g_ to d with which phrase B

begins.
The setting by Gerasimos demonstrates the most complex and protracted structure of our group.

We have noted above the manner in which a

compact r e i t e r a t i o n of phrase A functions here as a closing figure to phrase

D and i s then followed by i t s c o r o l l a r y , phrase E.

Subsequently, however,

a somewhat more concise setting of the l a s t two text phrases i s appended,

and these constitute a curious amalgamation of the previous musical material.
The word

a e a v d t o u i s set to a b r i e f fragment that resembles phrase C which

had e a r l i e r been employed for A e y e , T T & A I V , and Trrryris, and the word y e u a a a O e
contains a r e i t e r a t i o n of phrase B which reverts once again to phrase A
for i t s conclusion.

It i s clear that Gerasimos has u t i l i z e d . h i s o r i g i n a l

musical material to the utmost, but has returned, invariably, to the opening
phrase in a manner that seems to have been customary f o r most composers of
this hymn.

Moreover, in agreement with a l l but one of the preceding versions,

this recapitulation occurs in proximity to the word ye-OoaoBe.

The text setting of these three Koinonika shows some major changes
from a l l

previous examples.

P a r t i c u l a r l y obvious i s a trend towards a

melismatic o c c a s i o n a l l y neumatic

treatment of the text, in contrast

to the e a r l i e r hymns which generally evince a syllabic-neumatic text setting.

Although Gerasimos i s usually somewhat more conservative in this respect
with a considerably greater amount of s y l l a b l i c usage t h e r e i s a marked

71.

tendency, e s p e c i a l l y in the versions by Gavalos and Doukas, in favour of

lengthier melismas for each text s y l l a b l e .

Such melismatic passages intrude

i n c r e a s i n g l y upon the f o r t h r i g h t exposition of the t e x t , but seldom a f f e c t

i t s l u c i d i t y , and never show an expansion into the unrestrained melismas that
c o n s t i t u t e a feature of the kalophonic repertory.

It i s also i n t e r e s t i n g to

note that the s y l l a b l e s of the two introductory words of each s e c t i o n ,

Zwya and Trnyns are now seldom set to successive notes of the same p i t c h
as had been -the case in most e a r l i e r versions of t h i s hymn.

In f a c t , only

the f i r s t s e t t i n g of the word Trnyns in Gerasimos's s e t t i n g receives t h i s

treatment, and even at i t s second occurrence there the s y l l a b l e s of t h i s word
are separated.

Gerasimos and Doukas, however, s t i l l

r e t a i n the longest

melismatic passage for the l a t t e r s y l l a b l e of Trnyns, and in Gerasimos's

version t h i s i s a very expansive m e l i s m a t h a t i s supported by the i n t e r c a l a t i o n of non-textual vowels.

A l l three settings also separate the two

s y l l a b l e s of acoua by the i n s e r t i o n of melismas of varying length.

Gerasimos,

i n p a r t i c u l a r , u t i l i z e s a lengthy melismatic passage at t h i s p o i n t , and in

t h i s he seems to be following a p r a c t i c e that was f i r s t observed i n Kladas r.

72.

SUMMARY

A.

Changes
With a t o t a l of only eight settings of the proper Koinonikon for

Easter i t

i s n a t u r a l l y impossible to a r r i v e at any d e f i n i t i v e

about the development of t h i s hymn during the 14th century.

conclusions
Nevertheless,

a number of o v e r a l l trends become v i s i b l e and these w i l l be dealt with in

this section.
The most obvious change in our repertoire of

EaJya X P I C T O U

i s that

the dimensions of the settings are progressively expanded in the course of

the century.

In the following table (see f o l l o w i n g page) two c r i t e r i a were

u t i l i z e d in order to e s t a b l i s h the length of the eight v e r s i o n s :

a note

count of the e n t i r e hymn (excluding the post-cadential formulae), and an

enumeration of the number of l i n e s devoted to the piece in<a s p e c i f i c manu91
script.

The c a l c u l a t i o n s are based on the models that have been used

throughout t h i s

study.

""""Each o f t h e s e m e t h o d s i s s o m e w h a t p r o b l e m a t i c a l , b u t t a k e n i n
c o n j u n c t i o n t h e y produce a r e a s o n a b l e measurement of t h e ^ l e n g t h o f the hymns.
A simple count of a l l the notes t h a t the s c r i b e has w r i t t e n does not take
i n t o a c c o u n t t h e c h e i r o n o m i a t h a t w e r e f r e q u e n t l y a d d e d , a n d w h i c h , i n some
c a s e s , seem t o d e n o t e an u n w r i t t e n p r a c t i c e o f m e l o d i c e l a b o r a t i o n ( s e e
Conomos, T r i s a g i a a n d C h e r o u b i k a , p. 367 a n d p p . 351 f f . ) .
In t h a t sense a
n o t e count i s a t b e s t a r e l a t i v e gauge o f l e n g t h .
On t h e o t h e r h a n d , a l i n e
c o u n t d e p e n d s o n t h e s c r i b e ' s c a l l i g r a p h y a n d e v e n t h e s i z e o f h i s MS f o r
its
accuracy.
The i m p r e c i s i o n o f t h i s method i s c l e a r l y d e m o n s t r a t e d by t h e two
v e r s i o n s o f K l a d a s i n A t h e n s MS. 2622 and A t h e n s MS. 2 4 1 1 .
The t w e l v e l i n e s
u t i l i z e d by t h e s c r i b e i n A t h e n s MS. 2622 s u g g e s t t h a t K l a d a s Y i s c o n s i d e r a b l y l o n g e r t h a n K l a d a s A, w h i c h i s f i t t e d i n t o 9 1 / 4 l i n e s i n A t h e n s M S .
2411.
In a c t u a l f a c t , however, a note count r e v e a l s t h a t the l a t t e r example
' i s ' , s l i g h t l y , l o n g e r . ( . C l e a r l y '-an e n u m e r a t i o n " o f - l i n e s " i s o n l y ; a n a c c e p t a b l e
e s t i m a t e o f t h e l e n g t h o f a h y m n i f we a r e d e a l i n g w i t h o n l y o n e s c r i b e a n d
one s p e c i f i c MS.
:

>

73.

TABLE,
Length

of

V.II

Etoyq XPIQ~TQU M e l o d i e s

NOTE C O U N T

S
t
S
n
s

HS. 2*58)

Panaretos
(Koutlouraousi
Moschianos
( A t h e n s MS.
Kladas

457)

2622)

(Athens

MS.

MS.

2622)

MS. 2411)

Gavalos
(Vienna

MS.

Gerasimos
(Vatopedi

LINES

1 1 5 )

(140)

129

(136)

223

(237)

12

184

185)

<

'

138

264

9 3

'

1/4
/

(164)

324

MS. 1495)

Gerasimos
( V i e n n a MS.
Doukas
(Vatopedi

(246)
*

(Athens

9 2

185)

MS.

1495)

(333)
or
,
402 ( 4 1 1 ) " "

14

244

(254)

10

156

(166)

This table reveals that the length of our settings increases gradual
from the e a r l i e s t group of composers (Glykes, Moschianos, and Panaretos) to

92

93
p.

81

The b r a c k e t e d

The

figures

presence of

include

the

a post-cadential

post-cadential

figure

is

phrase.

uncertain

here

(see

ff.).
94

The s e c o n d s e t o f f i g u r e s t a k e s i n t o a c c o u n t
complete r e p e t i t i o n of the second h a l f of the text that
the a l t e r n a t e
ending.

the a d d i t i o n of a
i s made p o s s i b l e b y

74.

the t h i r d group (Gavalos, and Doukas).

The version by Gerasimos, although

i t is not the l a t e s t example, surpasses a l l the others and stands as the

culmination of t h i s progression.

S i m i l a r l y , the two hymns by Kladas occupy

an intermediate p o s i t i o n in the chronological order of the r e p e r t o i r e ,

but t h e i r length suggests a placement between the l a t e s t group of settings
and Gerasimos's v e r s i o n .

Conversely, of course, i t i s somewhat s u r p r i s i n g

that the l a s t example the s e t t i n g by Doukas which occurs only in one of

the l a t e s t manuscripts, Vatopedi 1495 does not continue the expansion
evidenced by the e a r l i e r hymn of Gerasimos's,:but reverts to a more concise
musical

format.
Another facet of the changing dimensions of our r e p e r t o r i e i s the

i n c r e a s i n g l y l a r g e r ambitus encompassed by the d i f f e r e n t

examples.

The f o l -

lowing Figure provides f i r s t the t o t a l range of each hymn, and then the span
of each section of the melody.

Whenever an obvious s h i f t in t e r r i t u r a occurs

w i t h i n a section t h i s has been noted.

Once again i t becomes evident that

there e x i s t s a c l e a r c o r r e l a t i o n between chronology and the ambitus of a

melody.

Thus, for example, the melody of our e a r l i e s t hymn by Glykes spans

the i n t e r v a l o f . a seventh whereas the l a s t s e t t i n g by Doukas encompasses a

range that has been expanded to an eleventh.

A necessary adjunct to t h i s

c r i t e r i a , however, i s the s h i f t in t e s s i t u r a within the sections of a hymn.

This i s i l l u s t r a t e d in the l a t t e r part of the f i g u r e , f o r i t places the
increased range of the pieces within t h e i r context.

This i s

particularly

necessary since a c o r o l l a r y of the expanding ambitus i s the changes in

t e s s i t u r a that become more pronounced during the course of the century.
At i t s most extreme t h i s can be observed.by comparing the hymns of Glykes
and Doukas.

In the former case the e n t i r e melody b a s i c a l l y remains w i t h i n the

FIGURE 3
Changing Ambitus i n Itouq XPT-CTOU
TOTAll

2.U1/10C
fU\UGE\

VJtTHitJ

SECTIONS

JffLCTTOV

/USTOcXk/SST^

OlSol.W.TO'O

^ITH^

-ytVCTOLGdt.

Panaretos
9

IF

V\osch\anD5

Kladas r

2fc
LutTKXoi/isTe ,,
' MtraHL~
1

Kladas A

g_ .
P

A
_ * -

& aval os

7rrjjfj<;
OerasmioS

1+95

r^r;

d(jBa.l/tt,ToV
7Tr)tfs

7
im

fxi

7y - acccrde>
Doukas
1*35 Org)

A
^tv/rxcrdt, ir\d. postOC&ttl'OCJTOV

cad'er>tia\

76.

f i f t h from d-a_ and on occasion i s b r i e f l y expanded by one note in each d i r e c tion.

The s e t t i n g by Doukas, on the other hand, shows a number of

definite

t r a n s p o s i t i o n s , the most obvious of which may be seen by comparing the opening

phrase with the i n i t i a l c i t a t i o n of yetiaaaGe:.
The melodies of our examples also reveal that the use of i n c r e a s i n g l y
larger i n t e r v a l s becomes commonplace as the 14th century advances.

In the

e a r l i e s t group of settings the melody progresses mainly by conjunct

motion

and, to a l e s s e r extent, by the i n t e r v a l of a t h i r d .

The largest

those of a fourth and a f i f t h , are used rather i n f r e q u e n t l y .

may be seen in Table V I I I , the i n t e r v a l

TABLE
Interval

VIII

Usage i n

Percentages

3rd

4th

5th

Glykes

86%

11%

2%

1%

Panaretos

86%

10%

' 2%

2%

Moschianos

90%

9%

1%
; 4%

9 5

Kladas

85%

11%

Kladas

86%

9%

84%

14%

88%

8%

2%

2%

90%

7%

1%

2%

78%

19%

1%

1%

Gavalos
Gerasimos
(Vatopedi

MS.

Gerasimos
( V i e n n a MS.
Doukas

1495)

185)

In f a c t , as

of a f i f t h does not even occur in two

2nd

INTERVALS:

intervals,

3.5%

6th

7th

1%

8th

.5%

2%

1%

95

tion

.
None o f t h e p 6 s t - e a d e n t i a T " m a t " e r i a l h a s b e e n - t a k e n ' i n t o
when, a r r i v i n g a t ' - t h e s e f i g u r e s . " - ~ V

considera-

96
as

The c a l c u l a t i o n s a r e b a s e d o n one r e p e t i t i o n
p r o v i d e d by t h e s e c o n d e n d i n g .

of

the

latter

section

77.

s e t t i n g s , those of Moschianos and Kladas r.

The l a t e r settings c o n s i s t e n t l y

employ the f i f t h , and in two versions even exceed that to u t i l i z e the

i n t e r v a l s of a seventh"and an octave.

On the whole, however, the propor-

tionate use of most i n t e r v a l s remains reasonably constant throughout our

repertoire.

The majority of movement i s always:'by conjunct i n t e r v a l

(an

average of 86% of the melody), and the u t i l i z a t i o n of t h i r d s also remains

much the same (an average of 11%).

It i s only the actual use of i n c r e a s i n g l y

larger i n t e r v a l s in the l a t e r settings of Eoiya xpiorou that constitutes a

difference in the i n t e r v a l l i e u t i l i z a t i o n of our r e p e r t o i r e .

The r e l a t i v e

use of most i n t e r v a l s , on the o t h e r h a n d , does not.change to any appreciable

degree.
In conjunction with the increasing length of the Etoya

XPT-PTOU"

during the 14th century some major change in form are also evident.

The

e a r l i e s t settings by Glykes, Panaretos, and Moschianos are quite simple s t r u c t u r e s , arranged with a minimum of m a t e r i a l s .

Two compact phrases were deemed

s u f f i c i e n t f o r the e n t i r e hymn by these composers.

The l a t e r v e r s i o n s ,

however, evidence a form that',becomes i n c r e a s i n g l y complex.

Not only do the

composers now u t i l i z e additional phrases, but they combine them in considerably

more complicated ways.

The culmination of t h i s trend i s c l e a r l y shown by

the s e t t i n g of Gerasimos.
A necessary c o r o l l a r y of the burgeoning complexity and extended
ambitus of the melodies i s the need f o r a more careful organization of the
material.

C l e a r l y there existed a danger of the settings becoming e s s e n t i a l l y

rhapsodic and somewhat formless.

In order to counteract t h i s the l a t e r

composers devote greater a t t e n t i o n to i n t e r n a l cadences and u t i l i z e more

sequential passages in the construction of t h e i r melodies.

The profusion of

78.

cadences i s obviously imperative i f a semblance of order i s to be r e t a i n e d ,

and an examination of our r e p e r t o i r e shows that composers from Kladas
on i n c r e a s i n g l y subdivide t h e i r expanded melodic flow by the regular i n s e r t i o n of medial cadences.

In addition i t can be observed that the melodies

are f u r t h e r organized throughout the 14th century by the growing use of

successively more complex sequences.

EXAMPLE 19

The e a r l i e r composers favoured sequential passages that comprise simple two '
and three note groups which only subtly expand the melodic f a b r i c of the
hymn.

A representative of the most common procedure may be seen above in

the example taken from Moschinaos's s e t t i n g .

When compared to the l a t e r

examples e s p e c i a l l y those from Kladas A and Doukas i t becomes obvious

that not only the length of the sequences but also t h e i r nature has been
somewhat a l t e r e d .

In addition to extending the melody they now c o n s t i t u t e

a very e f f e c t i v e means of regulating i t s progression.

79.

Most of the Koinonika of our r e p e r t o i r e conclude with some type

of post-cadential phrase, which i s appended to the music u t i l i z e d f o r the
text verse proper.

The function of t h i s appendage i s not f u l l y understood

but i t seems l i k e l y that i t was some sort of cue for the domestikos,
. . . i n f o r m i n g h i m t h a t t h e c h a n t was c o m p l e t e d , a n d
p o s s i b l y g i v i n g him a note f o r h i s exclamation i n v i t i n g the people to approach and r e c e i v e the E u c h a r i s t .

The f o l l o w i n g example i l l u s t r a t e s these post-cadential formulae from the

s e t t i n g s of Ewua

XP^"TOU

that were used as the models f o r t h i s study.

The e a r l i e s t hymns by Glykes and Panaretos employ the i d e n t i c a l

ascending f i g u r e that c o n s i s t s merely of the i n t e r v a l of a t h i r d followed
by that of a second.

Gradually, however, the post-cadential phrase becomes

longer and more complex.

The a n a l y t i c a l t r a n s c r i p t i o n s of our r e p e r t o i r e

show, in f a c t , that in conjunction with these developments, the post-cadential

formulae are i n c r e a s i n g l y fashioned from s i g n i f i c a n t musical elements

present in e a r l i e r phrases of the hymn.

This i s p a r t i c u l a r l y evident in

the Koinonika by Gavalos and Doukas ( r e s p e c t i v e l y , Examples 13 and 15).

In the l a t t e r case, f o r i n s t a n c e , the descending f i g u r e from to
(see Example 20) had previously functioned as .the connection between two
c i t a t i o n s of yeCaaaOe (Example 15, l i n e 5 ) .

S i m i l a r l y , in Gavalos's

hymn the beginning of the post-cadential phrase had occurred in an i d e n t i c a l

manner to the word Trnyns(Example 13, l i n e 6 ) , and the l a t t e r part of the
formula i s an amalgamation of material previously used in l i n e s 2 and 3
(see Example 13).

Conomos,

"Communion C h a n t s , "

p.

254.

80.

EXAMPLE 20

Glykes

Panaretos fl

(7)

Moschianos
4"

Kladas
^f,

r"
Kladas
X $r

7Tb

QsrasiMos
tig (Vienna ify)

Doukas

A V 7Th

77Z-

See n . 9 8 .

cussed below

This bracketed
i n n. 101.

addition

reflects

the 15th-century

usage

dis-

81.

Except for our two e a r l i e s t settings by Glykes and Panaretos,

most subsequent composers support the post-cadential f i g u r e with the f o l l o w 99

ing l e t t e r s :

&

(= superposition of omikron ' o ' and upsilon 'u.'

y y e , and sometimes followed by e

l e t t e r s , and i t

1 0 0

), e,

. Kladas A omits these extraneous

i s a c t u a l l y uncertain whether the appended phrase

illustrated

in Example 20 i s intended to be a post-cadential formula or the f i n a l phrase

of the hymn.

In Athens MS. 2411 the s e t t i n g appears devoid of both text

and l e t t e r s , but i n l a t e r manuscripts the s y l l a b l e s [y]eO-aa-a0 are repeated

to the l a s t three notes of t h i s p h r a s e . ^

If the evidence of the l a t e r

sources i s accepted, then t h i s Koinonikon (Kladas A) would be the only

version i n our r e p e r t o i r e that dispenses with the post-cadential

formula.

In most of our versions a c l e a r d i s t i n c t i o n i s made between the

music of the t e x t verse and the post-cadential material by the use of an
unambiguous cadence at the conclusion of the texted music.

Only i n Moschianos

and Kladas r i s t h i s d i v i s i o n somewhat obscured and there a d i v i d i n g

line

based on the musical context has been proposed in Example 20.

When a Koinonikon i s repeated i n d i f f e r e n t manuscripts the l a t e r
s e t t i n g s also generally show an expansion of the post-cadential m a t e r i a l .
99
B.A. van Groningen, Short Manual of
(Leyden:
A . W . S y t h o f f , 1 9 6 3 ) , "p". 4 4 , f i g .

rev.

Greek Paleography,
9.

3d e d . ,

^ G a v a l o s ' s s e t t i n g i n V i e n n a MS. 185 f o l . 2 8 5

provides a rather
unusual a l t e r n a t i v e but i n other 14th and 15th-century v e r s i o n s of
this
hymn t h a t w e r e c o n s u l t e d ( V a t o p e d i M S . 1495 f o l . 2 l 8 , B a r b . g r . M S . 293 f o l .
2 0 6 , I v i r o n M S . 1 1 2 0 f o l . 2 8 5 ) t h e m o r e common u s a g e d i s c u s s e d h e r e i s u t i l i z e d .
1 0

" " A t h e n s MS. 904 i s c o m p l e t e l y i l l e g i b l e a t t h i s p o i n t a n d was t h u s

useless in clarifying this situation.
T h e f o l l o w i n g 1 5 t h - c e n t u r y MSS w e r e
therefore consulted:
A t h e n s MS. 899 f o l . 1 4 9
(dated to the f i r s t h a l f
of
t h e 1 5 t h c e n t u r y ) ; A t h e n s MS. 2406 f o l . 2 8 7 - 2 8 8
( d a t e d 1 4 5 3 ) ; A t h e n s MS. 2837
fol. 203
(dated 1457).
I n a l l c a s e s t h e w o r d yetioaoQe, m i n u s . i t s i n i t i a l
cons o n a n t , i s r e p e a t e d a t . t h e e n d o f . t h e hymn a n d t h e e x t r a n e o u s l e t t e r s t h a t seem
t o i n d i c a t e p o s t - c a d e n t i a l m a t e r i a l do n o t a p p e a r a t a l l .
1

0 1

82.

Example 21 i l l u s t r a t e s the progressive augmentation of the endings in Glykes's

hymn, and the major changes that occur between Athens MS. 2458, Vatopedi
MS. 1495 f o l . 2 1 7 , and Sinai MS. 1462 or Sinai MS. 1294 become r e a d i l y
r

apparent.
EXAMPLE 21

T r a n s p o s e d down a s e c o n d .

In one respect, however, a l l l a t e r versions follow the e a r l i e s t example in

Athens MS. 2458, as the extraneous l e t t e r s are always omitted from the post-,
cadential phrase of Glykes's hymn, even in the. two l a t e ; S i n a i manuscripts.
The expansion of the endings n a t u r a l l y magnifies t h e i r . r e l a t i o n s h i p
important s t r u c t u r a l

to

elements of the hymn, i n much the same manner as was

observed above in Gavalos's and Doukas's Koinonika.

Consider, for example,

83.

the prominent use in the Sinai manuscripts and in Athens MS. 2406 of

figure

a , a figure which constitutes a d i s t i n g u i s h i n g feature of phrase A in Glykes's

s e t t i n g (see Example 6 ) .

The mid-15th century Athens MS. 2406 also c o n t a i n s ,

in a d d i t i o n , a unique s y l l a b i c r e p e t i t i o n of the f i n a l word ye-CaaoQe at

the conclusion of t h i s purported post-cadential phrase.

This i s analagous
102

to the procedure r e f l e c t e d i n 15th-century sources of Kladas A,

and once

again r a i s e s the question of whether t h i s appendage should be considered

as being a^post-cadential phrase or an, organic part of the Koinonikon.
Another p o s s i b i l i t y , however, i s that in c e r t a i n cases when the extraneous
l e t t e r s were omitted the s y l l a b l e s of the f i n a l text word were s u b s t i t u t e d ,
and functioned in a manner s i m i l a r to the post-cadential formula.

Certainly

t h i s would account for the unusual usage i n Athens MS. 2406, the 15thcentury versions of Kladas A, and the decidedly s i m i l a r a p p l i c a t i o n of the
103
repeated yeO*aaaee in Panaretos's Koinonikon.
A rather curious feature which emerges from the post-cadential
phrases i l l u s t r a t e d in Example 20, i s t h a t , i r r e s p e c t i v e of the mode selected
by each composer, the model versions of a l l eight Koinonika end on the note
.

Glykes's and Moschianos's hymns are the only examples in our r e p e r t o i r e

that receive various ( l a t e r ? ) t r a n s p o s i t i o n s and in those instances the

f i n a l note of the post-cadential formula i s usually transposed by an equiva-104
lent degree.
102

See

103

See

The settings of
n.

Glykes's chant that are transmitted by

101.

Example

7.

104
See f o r example t h e e n d i n g s o f G
M S . 2 6 2 2 , A m b r o s i a n a M S . Q. 1 1 , V a t o p e d i ' M S .
MS. 4 5 7 , V i e n n a MS. 185 f o l . 2 6 8 , i n E x a m p l e
s e t t i n g i n V a t o p e d i MS. 1495 f o l . 2 1 7 , (Mode
r

l y k e s ' s versions in Athens

1495 f o l . 2 1 7 , K o u t l o u m o u s i
21.
However, G l y k e s ' s
III
Authentic), which is
the
v

84.

the two Sinai manuscripts

do not end on even though both are in the

'standard' mode, ( i . e . Mode I Plagal).

Instead, they contain a rhythmic

elongation on that i s produced by a kratema on the f i n a l note of the

b r i e f ascending figure that follows the conclusion of the text.

This

short figure spans the interval of a fourth and occurs i n a l l post-cadential

material that i s added to the numerous recensions of Glykes's hymn. In
most settings this r i s i n g passage constitutes the entire post-cadential
phrase; in others i t comprises only the opening of this appended matter. It
i s quite possible then that this ascending figure (see figure k in Example 21)
is the nucleus of the p o s t s c r i p t , and that the remaining material

i s merely

an embellishment provided by each scribe.

Moreover, i f this hypothesis i s compared to the post-cadential
phrases in the rest of our repertoire (see Example 20) i t becomes apparent
that an abstract of f i g u r e k i s u t i l i z e d f o r the end of this phrase in the
majority of Koinonika.

The exceptions are the hymns by Gavalos and Doukas,

and possibly Kladas A.

In these cases figure j seems to have been sub-

s t i t u t e d f o r figure k.

This figure i s marked by the prominent use of an

e n c i r c l i n g motion of at least two intervals of a f i f t h , from -d_-. In

both Gavalos's setting and i n Kladas A this alternation of f i f t h s begins
on the f i n a l i s of Mode IV Plagal () a f t e r the conclusion of the text, and
o n l y e x a m p l e t h a t h a s b e e n ' e x p a n d e d b y a TT&AlV r e p e t i t i o n o f t h e p h r a s e
Trr)YTJs aSavctSou, c o n t a i n s a l e n g t h y p o s t - c a d e n t i a l p h r a s e w h i c h b e g i n s
s i m i l a r l y to the other transposed versions that s t a r t fromc_, but eventually
a l s o e n d s o n t h e n o t e g_. The n u c l e u s o f t h e p h r a s e ( s e e E x a m p l e 2 1 ) ,
t h o u g h , e n d s o n ci, a n d t h i s c o d i c i l t h e r e f o r e seems e q u i v a l e n t t o t h e o t h e r
transposed s e t t i n g s d i s c u s s e d above.
'These a r e i l l u s t r a t e d

i n E x a m p l e 21.

85.

i n s t a n t l y encompasses the leap of a f i f t h to d before returning to at

the end.

Doukas's hymn provides an unconventional ending f o r the text

verse on d a f i f t h higher than the customary f i n a l i s of t h i s mode on .

Most l i k e l y the composer has here merely delayed the standard f i n a l i s on
u n t i l the superposed l e t t e r s

' o ' and ' u ' of the post-cadential phrase and

has then commenced the e n c i r c l i n g f i f t h s of f i g u r e j with the subsequent

extraneous

letters.^

The reason for t h i s change i n post-cadential phrases, r e f l e c t e d

by the presence of f i g u r e j , i s uncertain.

It seems s i g n i f i c a n t , however,

that in Gavalos and Doukas the f i n a l note i s approached from above and never
from below, as was the case i n a l l the other e n d i n g s . ^

P o s s i b l y then t h i s

material i s r e l a t e d to the t e s s i t u r a of the preceding music, for in both

Doukas's hymn and Kladas A the word yeOaaaGe, or a s i g n i f i c a n t portion of
it,

i s set to the upper r e g i s t e r of the mode ( r e s p e c t i v e l y , Example 15 and

Example 11).

In Gavalos (Example 13) the word yedaaaGe has a c t u a l l y been

transposed to the lower t e s s i t u r a but a major part of the central section of

the hymn i s set in the higher range.

emendation

to

This
the

Conversely, Gerasimos u t i l i z e s the

i d i o s y n c r a c y , i f a c c e p t e d , c e r t a i n l y adds support
d i g i t a l t r a n s c r i p t i o n o f t h i s hymn ( s e e a b o v e , p .

Kladas A c o n s t i t u t e s a minor e x c e p t i o n by v i r t u e of
f i g u r e that incorporates the lower neighbouring note f, but t h i s
be a r e s u l t of the amalgamation of both f o r m u l a e .
Or i t may r e f l
v a r i a n t usage that i s a s s o c i a t e d with the r e p e t i t i o n of the t e x t
yedaaaGe t o t h e f i n a l n o t e s o f t h i s e n d i n g .

for our
21).

a :closing
may s i m p l y
ect
a
word

86.

older post-cadential formula and there the f i n a l word yedaaaGe comprises a

conscious r e i t e r a t i o n of previous music i n the lower area of Mode IV Plagal
(see Example 14).

It seems p l a u s i b l e then that t h i s variant post-cadential

ending was devised by l a t e r composers in order to r e l a t e i t to the musical

s t y l e and higher t e s s i t u r a used towards the end of t h e i r Koinonika.

In

that respect, of course, i t served a function analagous to that of the

e a r l i e r formula.
The evolving r e l a t i o n s h i p between text and music that i s evinced
by our r e p e r t o i r e has been alluded to p e r i o d i c a l l y throughout t h i s study.
The most obvious change, the growing use of lengthier neumatic and m e l i s matic passages, generates within i t s e l f an equally important development
concerning the actual placement of these passages.

In a l l eight versions

the majority of text s y l l a b l e s i n v a r i a b l y receive a s y l l a b i c treatment.

Composers from Kladas on, however, begin to write melismas not only between
the various words of the text but interspersed among the s y l l a b l e s of
the words.

Occasionally such embellishments become quite s i z e a b l e , giving

r i s e to s i t u a t i o n s where the s y l l a b l e s of a word are separated by twenty

or more notes.

An e x c e l l e n t example of t h i s may be seen i n the lengthy

melismatic passages that occur between the two s y l l a b l e s of the

initial

word Iwua in the settings of Gerasimos and Kladas (see Kladas r in Example
10, and Gerasimos in Example 14).

A s i m i l a r procedure i s displayed by the

i n t e r c a l a t i o n of melismas or neumatic sections within the word Trnyns in

Kladas A (Example 11, l i n e 3 ) , and Gavalos and Gerasimos ( r e s p e c t i v e l y ,
Example 13, l i n e 3, and Example 14, l i n e 13).

This shows evidence of a

considerable change when compared to the e a r l i e s t settings o f Ewya

f o r there

XP^PTOUJ

the opening words of the two sections generally receive a s y l l a b i c

87.

treatment.

In f a c t , melismas do not occur within any words in the e a r l i e s t

versions of this hymn.

In conjunction with this development there i s also

a tendency, by composers from Kladas on, to accord a neumatic treatment to

more ' i n t e r i o r ' s y l l a b l e s than had previously been the case.

Thus, f o r

example, in both Gavalos's and Doukas's Koinonika (see respectively Examples

13 and 15) the number of neumatic passages within the text words i s nearly
as great as the number of s y l l a b l e s that receive a s y l l a b i c treatment.

It

becomes evident then that the e a r l i e r emphasis on the clear enunciation of

the text was gradually superseded by a growing interest in musical elaboration and

B.

embellishment.

Stasis
In contrast to the numerous changes that were discussed in the

preceding pages, this c o l l e c t i o n of Communion chants also displays a number

of stable elements.

Perhaps the most interesting c h a r a c t e r i s t i c i s melodic

s t a b i l i t y ; the degree of melodic migration that i s evident amongst the d i f ferent settings of Ewya x P

i a T

ou .

The analytical transcriptions used in the course of this study

to i l l u s t r a t e the eight examples of our hymn are based on the premise that
the composers used only a limited amount of musical material in the construction of their works, such material, then being repeated with various modifications.

Inherent in this supposition therefore i s a compositional technique

that u t i l i z e s similar melodic phrases f o r diverse sections of the text.

Such melodic r e p e t i t i o n within a Koinonikon i s seldom verbatim.

Instead

i t seems to r e s u l t from the selection of a basic model phrase that undergoes

88.

subsequent a l t e r n a t i o n s and permutations during the exposition of the complete melody.

N a t u r a l l y , such r e i t e r a t i o n r e s u l t s i n d i f f e r e n t

gradations

of i d e n t i t y between musical phrases, but i t also occurs to varying degrees

throughout the examples of our r e p e r t o i r e .

In the e a r l i e s t settings a

greater number of r e p e t i t i o n s are obviously necessary due to the use of

only two basic musical phrases f o r the e n t i r e hymn.

Later t h i s

procedure

becomes somewhat less apparent by v i r t u e of the increased number of phrases

that are used to construct these s e t t i n g s .
In addition to the recurrence of musical phrases w i t h i n each
Koinonikon, however, we have also observed an i n t e r r e l a t i o n s h i p of hymns
based on the use of a number of s i m i l a r phrases w i t h i n the three groups
that were e s t a b l i s h e d .

None of t h i s , however, prepares us for the s u r -

p r i s i n g amount of melodic s i m i l a r i t y betweeen a l l eight versions of t h i s

hymn.
The following examples i l l u s t r a t e the s i m i l a r i t y between various
musical phrases taken from the e n t i r e r e p e r t o i r e .

In general the r e l a t i o n s h i p

i s more pronounced i n phrases that are u t i l i z e d for i d e n t i c a l sections of

the t e x t , but on occasion the musical resemblance also extends to the use
of d i f f e r e n t text elements.

The majority of the l a t t e r i n s t a n c e s , however,

have already been i d e n t i f i e d and are not considered here.

It must be noted, though, that such musical s i m i l a r i t y seldom
c o n s t i t u t e s unpremeditated copying of another composer's work.

In f a c t , the

suggested consanguinity i s manifested f o r the most part by the use of equivalent contours, the d i s p o s i t i o n of text s y l l a b l e s on the same or c l o s e l y
r e l a t e d notes, and the u t i l i z a t i o n of uniform musical f i g u r e s .

Moreover, in

89:
some cases the correspondence does not even depend on the same pitch levels
and whenever this became apparent such phrases were transposed f o r ease of
comparison.

For the purpose of these comparisons, musical phrases that

only contain partial text words have also been included.

Where composers

u t i l i z e such fragments, i t i s generally i n the guise of an introduction to

109
a complete c i t a t i o n of the word, e.g. ye-yeTaXdBexe.

Such preceding

s y l l a b l e s , however, often receive an entire musical phrase of t h e i r own

and are thus s i g n i f i c a n t in this context.
Probably the greatest uniformity occurs in the setting of the
word yeTaAdBexe.

Examples 22 and 23 reveal that two s l i g h t l y d i f f e r e n t

schemes are employed f o r the major occurrence of this word i n a l l

eight

versions of this hymn.

The word Trnyns i s used in the same manner in f i v e of the Koinonika
(see Example 24).

Gerasimos actually u t i l i z e s t h i s word as an occasion f o r

a somewhat extended melisma, but' the outlines of this elaboration agree with
the basic form of the phrase as used by e a r l i e r c o m p o s e r s . ^
108

Interestingly

The d i r e e t i o n ' . a n d t h e d e g r e e o f ' t r a n s p o s i t i o n f r o m t h e

original
have always been i n d i c a t e d i n the f o l l o w i n g manner:
T R + 5, i . e . . t h e
p h r a s e h a s b e e n t r a n s p o s e d down b y t h e i n t e r v a l o f a f i f t h .
In a d d i t i o n ,
the a f f i n i t y between m u s i c a l phrases i s not n e c e s s a r i l y r e t a i n e d f o r
a l l
occurrences of a s p e c i f i c t e x t element i n each s e t t i n g .
This has been
e x p r e s s e d b y t h e u s e o f t w o n u m e r a l s b e n e a t h t h e c o m p o s e r ' s n a m e , e . g . [2/3J.
The l a t t e r r e f e r s t o t h e t o t a l number o f c i t a t i o n s o f t h e s p e c i f i c t e x t
p h r a s e , and the former i n d i c a t e s the p o s i t i o n o c c u p i e d . b y the phrase under
c o n s i d e r a t i o n , i . e . 2/3;
the second of three r e p e t i t i o n s .
I t d o e s n o t mean
t h a t two out o f t h r e e c i t a t i o n s o f t h i s p h r a s e f o l l o w the i l l u s t r a t e d p r o c e d u r e .

109
The o n l y e x c e p t i o n o c c u r s m P a n a r e t o s ' s e t t i n g .
There t h e .
composer r e p e a t s the middle p a r t of the word w i t h o u t , however,
reiterating
i t s b e g i n n i n g , v i z . , dGavd-Gavdxou.
"'""^See t h e t e x t p u n c t u a t i o n o f t h e o r i g i n a l m a n u s c r i p t t h a t h a s
been i n s e r t e d i n our t r a n s c r i p t i o n s by the use of short v e r t i c a l l i n e s .
In
a d d i t i o n , G a v a l o s a c c o r d s t h i s p h r a s e a .somewhat r e s t r a i n e d t r e a t m e n t ,
and
the r e l a t i o n s h i p t o the r e s t o f the group i s b a s e d p r i m a r i l y on the
similarity
of contours.
In view of the h i g h t e s s i t u r a o f t h i s phrase i n the o r i g i n a l ,
though,

it

is

scarcely surprising

that

it

extends

no

further

than

g_.

EXAMPLE 22

91.

EXAMPLE 23

Moschianos
A

'
Ml

Toe

A
/2c

\tf
Xoc

n
Kladas r
TMSTTCC^XOC

r"
CH3/3]

A_
Toc

Kladas
A

"TT

Gavalos

XAft,
A

92.

E X A M P L E 2i

Moschianos
TTr/

Panaretos
Cli-2/z]

t i / i ]
TR

f 1

Kladas

TTfe

TR. + 3

S e r a si mo5
^&
C x or

, _,

z/3 3

TR t 1
Kladas

To.

Kittle

**

93.

enough, both here and in the other examples, the greatest s i m i l a r i t y

n e c e s s a r i l y between contemporaneous composers.

i s not

In f a c t , the c l o s e s t r e l a -

tionship may on occasion be seen between the e a r l i e s t and the l a t e s t composers.

In Kladas r the second occurrence of the word Trnyns i s set to a phrase that
bears a likeness to the beginning of the phrase i l l u s t r a t e d

in Example 24.

However, the long melisma which t h i s composer sets to the i n i t i a l

syllable

of the word Ewya i s f a r more c l o s e l y related to the phrase used elsewhere

for

the word Trnyns.

Example 25 i l l u s t r a t e s

the decidedly s i m i l a r treatment of the

word deav&xou in a l l eight versions of Ewua xP*"tou. Only Kladas r presents

a rather d i f f e r e n t approach.

There the phrase, which i s r e s t r i c t e d to a

high t e s s i t u r a , i s analagous to the development of a portion of Doukas's

phrase, and thus a c e r t a i n resemblance i s e s t a b l i s h e d .
the musical s i m i l a r i t y

However, besides

of a l l settings of t h i s word, the d i s p o s i t i o n of text

s y l l a b l e s i s also c l o s e l y r e l a t e d .

Except in Panaretos's and Gavalos's

hymns, the f i r s t three s y l l a b l e s are set s y l l a b i c a l l y , and i f a short melisma

i s used w i t h i n the word, i t occurs to the penultimate

syllable,

i.e.

otGava-xou.

The most obvious s i m i l a r i t i e s

yevaaode

are shown in Examples 26 and 27.

in the s e t t i n g of the f i n a l word

The use of. e i t h e r of the two forms

i s c l e a r l y independent of the chronology, as both examples occur

throughout the e n t i r e r e p e r t o i r e .

alternately

In Example 27 the preceding phrase from

Gerasimos's hymn has also been added for comparative purposes since i t and
the music u t i l i z e d for yevaaoQe are c l o s e l y r e l a t e d , and occur in
succession.

immediate

94.

EXAMPLE 25

Glykes

Panaretos
C l +2./Z]

Moschianos

Kladas

11-/2-1
Gerasi

mos

Cl t X

31

Doukas

0.(*lV2.1
_A

C3/33

3?
A_

rov

C1/2.J
TR
f 5

The n o t e s w i t h a downward s t e m , a n d t h a t w i t h t h e
t h e V a t o p e d i v e r s i o n ( f o l . 217 ) o f t h i s hymn.
v

pelaston

( v ) , are

from

EXAMPLE 26

EXAMPLE 27

96.

Example 28 i l l u s t r a t e s the beginning of the f i n a l setting of

yeCaaaBe

in Gerasimos's

hymn, which i s here revealed as being identical to

the middle portion of the phrase used by Kladas (Kladas A) f o r the same word.

EXAMPLE 28
Kkdas

A*

r elf crcif^i

Gerasi mos
A . vC3/3J

7&y

In addition to the musical s i m i l a r i t i e s that occur at identical "

points in the text, i t must be kept in mind that most of these phrases are
also u t i l i z e d i n a modified form f o r various other text words.

Thus the

musical likeness i s even more substantial than that established by the

preceding examples.

Moreover, this resemblance

not only crosses modal

boundaries but i t occurs at various levels of transposition within the d i f ferent modes.

The inescapable conclusion seems to be that the composers of

those Koinonika used, f o r the most part, a thesaurus of standard melodic

formulae in the construction of t h e i r works.
evidence adduced in the preceding paragraphs
explanation.

Certainly the weight of the

lends credence to no other

This procedure, however, never devolves into slavish copying;

rather i t permits the composer's inspiration to be exercised within certain

established

parameters.

In his study of the 13th-century repertory of Koinonika Conomos

suggested that i t i s quite conceivable

97.

. . .that the o r i g i n a l melodic f a b r i c of

was a s i n g l e s y l l a b i c c h a n t s u i t a b l e f o r

t h i s psalmody
congregational

use.111

It i s not possible at t h i s juncture to suggest that the 14th-century

of Ewua xPT-crtou allow the same conclusion.

In f a c t , due to the

scope of t h i s i n v e s t i g a t i o n , we do not seek to propose t h i s .

analysis has concentrated on various s p e c i f i c and r e a d i l y

settings

different

Rather, our

identifiable

s i m i l a r i t i e s on a more immediate s c a l e , and has not considered t h e i r r a m i f i c a tions in a macroscopic sense.

do so.

To a large extent i t would be premature to

Not only have we dealt with a very l i m i t e d r e p e r t o i r e but i t seems

that our 14th-century composers had a somewhat more subjective conception of

t h e i r task than did those of the previous century.

This increasing i n d i v i -

dualism, c l e a r l y concomitant with the i n t r o d u c t i o n s the Akolouthia in the

112

e a r l y 14th century, governs many facets of t h i s type of manuscript.

Nevertheless, s u f f i c i e n t evidence has been brought to l i g h t to permit us
to q u a l i f y the above statement and to suggest instead that t h i s

similarity

between the phrases of a l l eight s e t t i n g s ,

. . . i s more t h a n m e r e l y a m a t t e r o f b o r r o w i n g ;
surely
i t i s a q u e s t i o n o f common o r i g i n a n d t h e c o n s e r v a t i v e
r e t e n t i o n of a strong melodic-.tradition."'^ ^

A number of s i g n i f i c a n t s t r u c t u r a l features are u t i l i z e d c o n s i s t e n t l y

throughout t h i s r e p e r t o i r e of Communion hymns.

It was suggested previously

that the second h a l f of the text verse (Trnyns deavdxou yevaaoQe) seems to

"'""''"'"Conomos,

"Communion C h a n t s , " p.

253.

112
Byzantine

S e e L e v y , " A Hymn f o r T h u r s d a y , " p p . 1 5 5 - 5 6

T r i s a g i a a n d C h e r o u b i k a , p . 37 a n d p . 4 4 .
113

Conomos,

"Communion C h a n t s , " p.

255.

and Conomos,

98.

function in a manner analagous to the A l l e l u i a r e f r a i n i n other Koinonika.

One of the c h a r a c t e r i s t i c s of t h i s A l l e l u i a r e f r a i n i s that i t
receives the bulk of the musical a t t e n t i o n .

invariably

The following table shows t h a t ,

114

with the exception of Kladas r,

t h i s purported r e f r a i n of Ecoua xpt"tou

also receives a more elaborate musical treatment than the rest of the t e x t .
In f a c t ,

in some cases the proportion of musical material

i s overwhelmingly

Proportion

of

Music

in

IX
Text

and

'Refrain'

,115

TEXT
A t h e n s MS. 2458
V a t o p e d i . M S . 1 4 9 5 (TrdXlv)
K o u t l o u m o u s i MS. 457
A t h e n s MS. 2622

Panaretos
Moschianos
Kladas T
Kladas A
Gavalos

V a t o p e d i , M S . 1 4 9 5 (TrdXiv)
A t h e n s M S . 2 6 2 2 -(TTCtXlv)
A t h e n s M S . 2 4 1 1 (TrdXiv)
V i e n n a MS. 185
MS. 1495
Vatopedi

Gerasimos

Vatopedi

M S . 1 4 9 5 (TfdXlV)

V i e n n a MS. 185
Vatopedi
MS.

Doukas

'refrain'

greater.
TABLE

Glykes

in the

1 4 9 5 (TTdXlV)

38%
27%
46%

REFRAIN'

116

62%
73%
54%
59%
71%
46%
81%
64%
68%

41%
29%
54%
19%
36%
32%
35%
28%
48%
33%

72%
52%
67%

1 1 7

114
the
106

possibility
below.

of

T h e u n u s u a l u s e h e r e o f t h e w o r d Xeye s u g g e s t s ,
further unnotated repetitions of this r e f r a i n ,

however,
see note

115
The p e r c e n t a g e s i n t h i s t a b l e a r e b a s e d on a n o t e
count
of both s e c t i o n s of the hymns.
Moreover, t h i s table contains not only the
m o d e l v e r s i o n s o f o u r hymn b u t a l s o r e f l e c t s t h o s e i n V a t o p e d i ; ; M S . 1 4 9 5 .
In t h i s m a n u s c r i p t t h e p r o p o r t i o n s o f t h e two s e c t i o n s a r e somewhat
different
due t o t h e i n e v i t a b l e r e p e t i t i o n i n t h e r e f r a i n .
Both here and i n
other
e x a m p l e s w h e r e t h i s r e p e t i t i o n i s d e s i g n a t e d b y t h e w o r d TrdXiv o r Xeye,
these words have been i n d i c a t e d w i t h i n the
table.

been

taken

into

"^The post-cadential
account here.

material

(actual

or

presumed)

has

not

99.

Further support f o r t h i s suggested functionrof the phrase Trnyns

aeav&xou yeOaaaOe i s also evidenced by t h e u s e o f the words Xiye and -rrdAiv,

two terms that are always associated with musical and/or textual

repetition.

In her study of the Koinonikon, TeOaaa0e, B r e s l i c h - E r i c k s o n noted that these

d i r e c t i o n s occur p r i m a r i l y i n the A l l e l i a r e f r a i n .

118

S i m i l a r l y , i n our

c o l l e c t i o n of chants the two words c o n s i s t e n t l y appear in conjunction with

t h i s l a t t e r phrase of the text and the only exception may be seen i n
119
Gerasimos's hymn.
Even the s e t t i n g of the f i r s t word of t h i s phrase, Trnyns, implies
the presence of a r e f r a i n .

Invariably a long melisma i s w r i t t e n to the

second s y l l a b l e of the word and with a few exceptions t h i s c o n s t i t u t e s the

most extensive musical e f f u s i o n of the e n t i r e Koinonikon.

Only i n Kladas

r and in Gavalos's hymn does the word Trnyns generally receive a s y l l a b i c

treatment, but even in the former case a moderate melismatic passage i s
used f o r the f i r s t r e p e t i t i o n of t h i s word.

Such consistent musical em-

bellishment of the opening of t h i s s e c t i o n gives i t an improvisatory nature

t h a t i s in c o n t r a d i s t i n c t i o n to the conservative text s e t t i n g usually
117

.
..
T h i s second s e t o f f i g u r e s takes, i n t o account one a d d i t i o n a l
r e p e t i t i o n o f the ' r e f r a i n ' as p r o v i d e d by t h e second ending i n t h i s
manuscript.
118
Breslich-Erickson,
"Communion Hymn," pp. 68-70.
119
In a d d i t i o n t o a r e p e t i t i o n o f t h e r e f r a i n , Gerasimos uses
t h e s e terms t o s p e c i f y a r e i t e r a t i o n o f t h e phrase yeTa-ueTaAdfteTe.. The
usage h e r e , i n c i d e n t a l l y , - s u g g e s t s t h a t t h e s e two words were used i n t e r changeably. I n V i e n n a MS. 185 t h e s c r i b e has used t h e word TrdA.lV t o i n t r o duce t h i s r e p e t i t i o n , whereas i n V a t o p e d i MS. 1495 the' word Aeye has been
s u b s t i t u t e d a t t h e i d e n t i c a l p l a c e . Moreover, e l s e w h e r e . i n our r e p e r t o i r e
t h e two words a r e g e n e r a l l y s e t t o s i m i l a r o r i d e n t i c a l m u s i c a l f i g u r e s .
The
s i g n i f i c a n c e o f t h e unique placement o f t h e word Aeye b e f o r e t h e r e f r a i n i n
K l a d a s I" i s u n c l e a r , s i n c e o s t e n s i b l y i t does n o t d e s i g n a t e a m e l o d i c o r
textual repetition.
Moreover, i t i s m u s i c a l l y i d e n t i c a l t o t h e word TTdAiV
used i n t h e r e f r a i n .

100.

employed elsewhere in the hymn.

Moreover, t h i s rhapsodic character not

only delineates our ' r e f r a i n ' from the preceding text but i s equivalent to
the nature of most A l l e l u i a r e f r a i n s i n other Koinonika.
One of the most i n t e r e s t i n g features of the design of a l l
Koinonika in our r e p e r t o i r e i s the consistent r e c a p i t u l a t i o n of the opening
phrase of music towards the end of the chant.

This has been commented on

throughout the study and need only be mentioned b r i e f l y here.

every case where t h i s r e i t e r a t i o n of the i n i t i a l

In nearly

phrase occurs, i t

associated with the f i n a l word of the t e x t , yevoaoQe.

is

Only in Kladas A

i s . t h i s word not set to a r e p e t i t i o n of the f i r s t phrase; instead the

preceding word aQavmrou i s used.

The reason for the reappearance of t h i s

melodic material i s not r e a d i l y apparent.

It i s p o s s i b l e , of course, that

i t formed part of the t r a d i t i o n that was associated with the composition

of t h i s Koinonikon.

In any case, i t provided the composer with a means

of f u l f i l l trig an elementary musical law, that of symmetry.

101.

CONCLUSIONS

This a n a l y t i c a l and h i s t o r i c a l examination of the 14th-century

Byzantine r e p e r t o i r e of Communion chant melodies f o r Easter allows a
number of important conclusions.
One aspect of t h i s study, which was undertaken as an i n v e s t i gation a n c i l l a r y to the main i n q u i r y , may conceivably have the greatest
ramifications.

It

i s an excursus which o f f e r s by i t s r e s u l t s a t e n t a t i v e

redating of some seven Byzantine composers, based on the appearance of any

of t h e i r Koinonika s e t t i n g s in the e a r l i e s t securely-dated A k o l o u t h i a i .
At the very l e a s t t h i s chronology should f u r n i s h future studies of l a t e
Byzantine hymnography with a more secure basis than has h i t h e r t o been the
case.
Equally s i g n i f i c a n t , but of a more immediate a p p l i c a t i o n to the
Byzantine composers' s e t t i n g s of the antiphon

Eooya

c l u s i o n s reached with respect to the ' r e f r a i n .

1

XPICTOU, are the con-

From the evidence adduced

i n the course of t h i s study i t becomes c l e a r that the l a t t e r h a l f of our

text i s equivalent to the musical and textual function performed by the
A l l e l u i a r e f r a i n in other Communion chants.

C e r t a i n l y t h i s i s supported

by the meaning of the t e x t - p h r a s e , as i t i s eminently suited to serve as a

unique Easter replacement of the more t r a d i t i o n a l A l l e l u i a .

Moreover, the

protracted musical development that i s associated with t h i s phrase permits

no other l o g i c a l c o n c l u s i o n , f o r i t follows the procedure used in the r e f r a i n
of a l l other Koinonika.

102.

The eight musical settings that comprise our r e p e r t o i r e have

been organized into three separate groups involving contemporaneous composers, thus providing a s p e c i f i c context f o r a s t y l i s t i c a n a l y s i s of comp o s i t i o n a l a c t i v i t y during the 14th century.

Within each of the groups a

close r e l a t i o n s h i p of music, text s e t t i n g , and structure i s evident.

In

f a c t , some of these f e a t u r e s , p a r t i c u l a r l y the s t r u c t u r a l and musical

ones, remain reasonably consistent in a l l of the composers' works.

It

was noted, for instance, that a musical r e c a p i t u l a t i o n i s generally a l l o cated to the f i n a l word of the t e x t .

Only in one instance i s t h i s sup-

planted by a musical r e i t e r a t i o n that occurs on the penultimate word.

In

a d d i t i o n , the u t i l i z a t i o n of s i m i l a r musical phrases by most composers

suggests the existence of a thesaurus of musical material as the basis of
the compositional process.

Each composer n a t u r a l l y l e f t his own imprint

on the s p e c i f i c a p p l i c a t i o n of such material but the musical consanguinity

leaves l i t t l e doubt about the v e r a c i t y of such a c o n c l u s i o n .
A number of f e a t u r e s , however, are used c o n s i s t e n t l y only within
each of the three groups.

Probably the most s i g n i f i c a n t of these i s the

use of standard openings by the f i r s t and l a s t groups of composers; one in

Mode I Plagal and the other in Mode IV P l a g a l .

Such standard openings are

not merely reserved f o r the Easter Koinonikon but receive a wider a p p l i c a t i o n

in the chants of the 14th century.

Text s e t t i n g , and p a r t i c u l a r l y

the

musical r o l e performed by s p e c i f i c text words, also remains reasonably constant within each group.

It becomes obvious, f o r example, that the e a r l y

composers have an equally conservative a t t i t u d e towards text s e t t i n g , and

that the l a t e r composers a l l favour a somewhat more expansive neumatic
and melismatic approach.

Even the use of post-cadential formulae seems to

103.

be determined by the c o n t i g u i t y of composers, f o r the nucleus of t h i s

appendage r e f l e c t s both an e a r l y and l a t e usage.
More important, though, i s a progressive develpment of most
features of t h i s r e p e r t o i r e in the course of the 14th century.

Immediately

apparent i s the change in modal assignment of t h i s hymn as the century progresses, the o u t l i n e s of which are best i l l u s t r a t e d by the e a r l i e s t and
l a t e s t groups.

Without exception the l a t e r composers s u b s t i t u t e Mode IV

Plagal where Mode I Plagal was used for the e a r l i e s t settings of t h i s t e x t .

Aside from t h i s overt innovation, there i s also evidence of a progression in
modal assignment during the 14th century that encompasses Mode III
the Nana, and Mode II P l a g a l .

Authentic,

A gradual expansion of the o v e r a l l dimen-

sions of the eight versions i s also revealed.

This includes such elements

as the length of the s e t t i n g s , the increasing ambitus of the music, and

the more frequent use of larger i n t e r v a l s in the melodies.

Once a g a i n , t h i s

change also a f f e c t s the post-cadential m a t e r i a l , which gradually becomes

longer and more complex.

The l a t t e r t r a i t i s shown e s p e c i a l l y by i t s grow^

ing i n t e g r a t i o n into the musical f a b r i c of the s e t t i n g s , f o r the repeti-?

t i o n of s i g n i f i c a n t musical elements becomes f a r more apparent i n these
appendages to the l a t e r hymns.

In conjunction with these developments the

r e l a t i o n s h i p between text and music also undergoes various a l t e r a t i o n s .

This i s a somewhat more subtle evolution and i s revealed both by the l a t e r
composers' greater i n t e r e s t in neumatic and melismatic t e x t s e t t i n g , and,
e s p e c i a l l y , by the increasing use of
words.

such

passages within

Although t h i s p r a c t i c e connotes a decrease i n textual

the

text

intelligibility,

i t seems, conversely, to be evidence of a greater concern with musical

elaboration.

I n e v i t a b l y , t h i s concern i s also r e f l e c t e d in the increasing

104.
structural

complexity of the s e t t i n g s .

As the century progresses the com-

posers are l e s s w i l l i n g to r e s t r i c t themselves to only a minimum of musical

phrases f o r t h e i r settings and instead prefer a greater number of phrases,
combining them in more complicated ways.

The e a r l i e r use of simple and

symmetrical form i s abrogated i n favour of gradually more i n t r i c a t e

tures.

struc-

In s p i t e of t h i s a careful organization of the musical material

i s retained by a l l composers and the hymns never degenerate i n t o unconsidered musical e f f u s i o n s .

In many respects the conclusions reached in the course of t h i s
inquiry are n e c e s s a r i l y of a preliminary nature.

The musical idiom of the

l a t e Byzantine composers i s only gradually being understood and many lacunae

s t i l l e x i s t in our knowledge of the 14th-century Byzantine musical s t y l e .
Various questions have been recognized, addressed, and, in some instances,
resolved.

More importantly, however, a number of s i g n i f i c a n t avenues

for future research have been adumbrated.

105

BIBLIOGRAPHY

Beck, Hans-George. Kirche und theologische L i t e r a t u r im byzantinischen

Reich. Munich: Beck, 1959.
B r e s l i c h - E r i c k s o n , Helen. "The Communion Hymn of the Byzantine Liturgy
of the P r e s a n c t i f i e d G i f t s . " In Studies in Eastern Chant I I I ,
pp. 51-73. Edited by Milos V e l i m i r o v i c .
London: Oxford
U n i v e r s i t y Press, 1973.
Conomos, D i m i t r i E. Byzantine T r i s a g i a and Cheroubika of the Fourteenth
and F i f t e e n t h Centures. A Study of Late Byzantine L i t u r g i c a l
Chant. T h e s s a l o n i k i : P a t r i a r c h a l I n s t i t u t e f o r P a t r i s t i c Studi
1974.
. "Communion Chants in Magna Graecia and Byzantium."
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