Catalogul manuscriselor muzicale de tradiţie bizantină din secolul al XVII-lea:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Romanian Greek English |
| Veröffentlicht: |
Bucureşti
Ed. Arvin Press
2005
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Einl. in eng. Sprache |
| Beschreibung: | 292 S. |
| ISBN: | 9737849299 |
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Datensatz im Suchindex
| _version_ | 1804135431936147456 |
|---|---|
| adam_text | Cuprins
Cuvântul autorului
.......................................................................................................................5
Acknowledgements
.....................................................................................................................6
CUVÂNT ÎNAINTE
...................................................................................................................7
FOREWORD
...............................................................................................................................9
INTRODUCERE
.......................................................................................................................11
INTRODUCTORY NOTE
........................................................................................................21
1.
Ms.
gr.
1096
BAR
...............................................................................................................29
2.
Ms.
gr.
1477
BAR
...............................................................................................................38
3.
Ms.
gr.
793
BAR
.................................................................................................................46
4.
Ms.
gr.
791
В
AR
.................................................................................................................49
5.MS. gr.
564
BAR
.................................................................................................................64
6.
Ms.
gr.
832
BAR
.................................................................................................................72
7.
Ms.
gr.
867
BAR
.................................................................................................................79
8.
Ms.
gr.
670
BAR
...............................................................................................................102
9.
Ms.
gr.
102
BAR
...............................................................................................................112
10.
Ms.
gr.
1499
BAR
.............................................................................................................118
ll.Ms.gr.
899
В
AR
...............................................................................................................159
12.
Ms.
gr.
41
BAR
.................................................................................................................175
13.
Ms.
gr.
660
BAR
...............................................................................................................187
14.
Ms.
gr.
663
BAR
...............................................................................................................197
15.
Ms.
1-20
BCU Iaşi
.............................................................................................................198
16.
Ms.
1-22
BCU Iaşi
.............................................................................................................201
17.
Ms. I-40
BCU Iaşi
.............................................................................................................204
18.
Ms. I-39
BCU Iaşi
.............................................................................................................207
19.
Ms.
Ш-93
BCU Iaşi
..........................................................................................................207
20.
Ms.
O.
365
BAR Cluj
.......................................................................................................221
21.
Ms.
O.
356
BAR Cluj
.......................................................................................................223
22.
Ms.
99
Mz. O. Cr
..............................................................................................................231
23.
Ms.
52
Mz. O. Cr
..............................................................................................................235
24.
Ms.
73
Mz. O. Cr
..............................................................................................................249
25.
Ms.
94
Mz. O. Cr
..............................................................................................................264
26.
Ms.
27
Ar. S. Cr
................................................................................................................267
27.
Ms.
17478
BNR
................................................................................................................269
28.
Ms.
397
BCU
.....................................................................................................................282
29.
MS.26MNAR
..................................................................................................................284
Indice de nume
.........................................................................................................................287
Cuprins
....................................................................................................................................291
291
INTRODUCTORY NOTE
Byzantine tradition music is to be found in today s Romanian fund in
over
250
manuscripts ranging from the
1
1th century to the beginning of the 19th
century. This valuable collection bears testimony to the constant concern for
cultivating Byzantine tradition music, thus proving the importance of music for
the Romanian culture.
Notated manuscripts and the oral tradition supported both liturgical music
as well as the process of handing down the art of music from generation to
generation. Notated manuscripts existing in Romania are for the most part
anonymous, undated and make no reference to their place of origin. The
codices are either put together on Romanian teritory or brought from the
Orthodox cultural space, mainly from Greece. Furthermore, Romanian notated
manuscripts are to be found in various collections abroad.
For the Romanian musical history, the time between the end of the 15 th
and the end of the 16th century represents the period of the Musical School of
Putna,
thus called because all manuscripts from this period known so far have
been compiled in
Putna
or in other monastic centers in the surrounding area1
.
Towards the end of the 16th century, no more documents originated in the
Musical School of
Putna
have been found, so it is possible that an unfavorable
historical context might have contributed to the decline of the Moldavian
centers. In the centuries that followed, the activity related to liturgical music
develops mostly in Wallachia. Given the replacement of the Old-Slavonic by
Greek, in the 17th century the characteristic feature of the Romanian culture
was the coexistance of two cultural trends, one expressed in Romanian, the
other in Greek2. Due to this fact and also due to shared Orthodox faith, cultural
enterprises in the Romanian Provinces were sometimes carried out by Greeks
and those in Greece by Romanians. Thus, the scholar belonging to both Greek
and Romanian cultures represents the common South-Eastern European type in
the 17th- 18th centuries. An example of this type is the renowned calligrapher,
who, between
1583-1603
was bishop of
Buzău,
the place where he formed a
scriptorium. He is known as
Louka
the Cypriote or
Louka
Bozeu, or
Louka
1
Titus Moisescu,
Putna
-
un puternic centru de cultură muzicală medievală
românească, in: Muzica bizantină în spaţiul cultural românesc, Bucureşti
1996,
p.
8-18.
2
Cornelia Papacostea-Danielopolu
-
Lidia
Demeny, Carte şi tipar în
societatea românească şi
sud-est
europeană (secolele XVII-XDQ,
Ed.
Eminescu, Bucureşti,
1985,
p.
148-151.
21
Ungrovlahias
because between
1603-1629
he held the highest ecclesiastical
rank in the country, that is the
Métropolites
of Ungrovlahia3. During this time,
one of his disciples was Iakobos, a monk from
Simonpetra
monastery,
promoted to arhiereos in Bucharest and who, afterwards, returned to Greece
and became bishop of Sides till
1637,
and later on bishop of
Ganos-Horas
(1637-1639).
According to Greek catalogues, besides being a copyist he was
also a setting author4. The first of the three notated manuscripts
-
out of a total
of
11
signed by Iakobos
-
was put together in
1624
in Bucharest. Among the
29
manuscripts that survive from the 17th century in Romania, the one from
1624
is the oldest and represents a standard for the Anthology prototype which
remained valid throughout the whole century. Moreover, being written entirely
in Greek, Iakobos notated manuscript from
1624
demonstrates the fact that
during the 17th century in the Romanian Provinces the liturgical music was to
be included among the Romanian cultural events relying on Greek, being
performed exclusively in Greek. We are emphasizing this aspect due to the fact
that, in the first half of the 17th century, in Wallachia the Old-Slavonic was still
used as the cultured language5. The very presence of Iakobos Anthology
pinpoints that the situation was totally different in what the Byzantine tradition
music is concerned. The following two manuscripts in chronological order
were dated based on the owners inscriptions: an Anthologion before
1664
and
an Irmologion before
1665.
The assertion, that music was given due attention
in the Romanian culture at the time and that it was practiced in an organised
fashion, has further support. It is known that about
1665,
Germanos
Neon
Patron, a famous authority in the 17th century music, came to Wallachia where
he continued to work to the end of his life. As the documents reveal, he was
under the protection of the High Spatharus
Mihail Cantacuzino.
The
renowened author, whose impressive musical output is comprised in the
majority of the collections from the second half of the 17th century and the
beginning of the 18th, had a Romanian disciple by name of Iovaskos Vlahos or
Nikos A. Bees,
Les manuscrits des Météores. Catalogue descriptif des
manuscrits conservés dans les monastères des Météores, vol.
II:
Les
manuscrits du Monastère de Barlaam,
Atena,
1984,
p.
43,
p.
87.
Demetrios
Z.
Sofianos,
Les manuscrits des Météores. Catalogue descriptif
des manuscrits conservés dans les monastères des Météores, vol.
III:
Les
manuscrits du Monastère Hagios
Stephanos,
Atena,
1986,
p.
317.
К.
Chatzegiakoumes, Mousïka cheirographa tourkokratias,
1453-1832,
vol.
I,
Atena
1975,
pp.
298-299.
P. P. Panaitescu,
Contribuţii
la
istoria culturii româneşti,
Ed Minerva,
Bucureşti,
1971,
p.
26.
22
loan
Vlahos6.
A most valuable volume from the 17th century, preserved at the
Royal Library in Copenhagen (Denmark), provides us with a piece of
information of utmost importance regarding the Romanian author. Since it
contains four polyhronion-settings dedicated to the prince
Şerban Cantacuzino,
we have considered the volume to be compiled between
1678
and
1688,
the
span of time when Cantacuzino ruled. According to this volume, as well as to
other two from Mount
Athos,
lovaskos
Vlahos
was at the time the most
prominent musician in the country, bearing the title of Protopsaltes of the
Wallachian Court. His contemporaries recognized the value of his work which
became part of the standardized repertory. As a result, the chants of the
Romanian author circulated more than half a century in the South-Eastern
European area. Nowadays, manuscripts mentioning his name can be found in
Greece
-
mostly at Mount
Athos
-
but also in Romania, Bulgaria, Austria and
Denmark. Besides the Doxology
(4
authentic mode) which was the most
circulated, there are a few settings less copyied. We would like to point out
that, in a manuscript from the National Library in Athens, we have found such
a less copyied setting atributed to loan Vlahos7. Comparing the written
versions of another chant ascribed in one volume to Iovaskos Vlahos and in
another to loan Vlahos, we have ruled out the existence of two different
authors; Iovaskos Vlahos and loan Vlahos are the two variants of the same
author s name. The Copenhagen volume provides us, in addition, with other
two names of authors whose musical output did not circulate in the chant-
selections of the period; one is Ioannes
„o grapheus
who partially compiled
the volume and also signed a few of the chants, the other is
Konstantinos.
Another notated manuscript originated from Wallachia but preserved abroad, at
the National Library in Vienna, contains, besides a singular setting by Iovaskos
Vlahos, a setting by another Romanian author, Vlad the Grammarian. He was
the psaltes who owned the manuscript between
1681-1691
and who wrote
down at the end of the volume a „troparion nekrosimon , a chant not found in
any other manuscript. A similar situation can be noticed in another volume
belonging to the 17th century, namely a Doxology attributed to the author
Ianake from Bucharest. Although Vlad the Grammarian, Ioannes
„o grapheus ,
Konstantinos
and Ianake from Bucharest are names which did not occur in
other manuscript, their chants suggest that Romanian musicians were not
always merely copyists and performers. Skilled in the appropriate
6
Sebastian Barbu-Bucur,
Iovaşcu Vlahul protopsaltul Curţii Ungrovlahiei şi
epoca sa în manuscrise psaltice de la Muntele
Athos, BOR,
an CVI
(1988)
nr.7-8, p.
62-104.
7
Ozana Alexandrescu, Un manuscris inedit din secolul al XVII-lea, Muzica
nr.4,
1998,
p.
135-142.
23
compositional techniques, Romanian musicians have enriched the standardized
repertory with musical versions of their own.
In Wallachia, the end of the 17th century and the beginning of the
18
were marked by the reign of a highly cultivated prince,
Constantin
Brâncoveanu
(1688-1714).
This period known as the „Brancovenian epoch
represented a time during which Romanian culture flourished to a degree
unknown before. Fine arts, architecture, literature, music, translation and
printing, all were highly supported and promoted. For this reason, this period is
known in the Romanian culture as the Brancovenian Renaissance.
As far as our field of interest is concerned, one of the musicians known to
be active during the Brancovenian epoch was Kallistos the Hieromonk. He was
the owner of a large musical library which contained one of the only two
Medio-Byzantine notated volumes extant in Romania. His authority as a
musician is also confirmed by the attribution formula „Kallistos the hieromonk
and our theacher since the quality of „didaskalos was not automatically
granted to all psaltae. As copyist he compiled and signed three volumes: the
first manuscript, dated
1694,
preserved at the National Library in Athens, was
unknown to Romanian musicologists before the research carried out by
ourselves; the second manuscript, dated
1695,
is in Romania, at the Museum in
Craiova; the third volume, dated
1705
as mentioned in Greek and Romanian
sources, is nowadays lost8. As chant author however, it is difficult to
reconstruct his output, given the fact that Greek catalogues mention several
authors by the name of Kallistos. Helpful is the attribution found in a
manuscript from Mount
Athos,
which specifies not only the ecclesiastical rank,
but also the ethnic origin, i. e. arhimandrites Vlahobogdanos, meaning the
Romanian. On the basis of a careful inquiry of the available data, we have
decided on a number of five or six chants by this author which circulated in
various manuscripts
.
Although relatively few, these pieces were compiled
together with those of renowned Greek authors, a fact which suggests their
relevance in the context of the contemporaneous repertory.
Out of the total amount of notated manuscripts compiled before the
implementation of the hrysanthic system in
1814,
we have decided upon
29
volumes as pertaining to the 17th century. The first dating criterion, the one
which offers certitude, is the presence of the colophon. The scribe s final note,
in a complete formula, makes a mention about the date when it was put
together, the name and function of the copyist and the place where the codex
ortodox B«™*ti,
1937,
p.137,
iŽÄÍrT^
P n Epeir°
în
EpiBttLnü»
¿Догів
sPhüosophikesScholes.PanepistemionThessalonikes
12(1973)
p
334-336
Ozana Alexandrescu, Kallistos
ieromonahul, Muzica
nr.
1,1998
p
Λ
10-118
24
was written (ex. Ms. Gr.
1096
BAR, Ms. III-85 BCU
Iaşi,
Ms.
204
Ar.S.Iaşi).
Sometimes only the author s name is mentioned (Ms.
1-20
BCU
Iaşi)
or only
the place where the codex has been compiled (Ms.
206 Ar.
S.
Iaşi),
without a
date. The second dating criterion is given by the notes made by the owner
which contain an accurate date. In the case of such a dated note, the manuscript
is generally dated before that date (ex. Mss. Gr.
670
and
832
BAR). Some
manuscripts, especially the Anthologies, offer an extra dating criterion, that is
the inclusion of some polyhronion-setting in their contents. These settings
dedicated to the ruler or to some prelates sometimes mention the name of the
personality, thus facilitating a fairly accurate dating. For example, Ms. Gr.
564
BAR bears an owner notice from
1709
and contains a polyhronion-setting
dedicated to
Constantin Brâncoveanu,
so that we can estimate that this volume
was compiled before
1700,
as the reign of this ruler starts in
1688.
Nevertheless, the setting with the name of the ruler or prelate can not be taken
as dating element on its own. It is possible that a polyhronion is copied
entirely, the name of the personality included, in a much later collection (ex.
Ms. Gr.
693
BAR), in which case the inaccuracy regarding the historical period
of the volume s compiling is signaled by other elements taken into account
with a view to dating.
Another dating criterion is given by the paper watermark. It is a
secondary,
aproximate
criterion since it is highly probable that the paper has
been kept in storage for a long time. There is also a multitude of resembling
watermarks, not all of them recorded in the watermarks catalogues. The dating
according to watermark is valid for older manuscripts. For the 17th and
18
centuries the catalogues in the
Monumenta
Chartáé
Papyraceae [MCP] series
(vol. I Edward Heawood) no longer record quite a few of the watermarks
existing in the manuscripts.
An important dating criterion is given by the authors of the settings. This
criterion is applied especially to the category of Anthology, the collection in
which many authors names are mentioned. The Byzantine tradition music was
handed down by means of copying older models, the setting of a certain author
circulating sometimes for centuries. Dating is guided by considering the
authors who are roughly contemporary with the epoch of the manuscript s
compiling, the period of their activity being the lower time limit. In applying
this criterion we have followed two Greek catalogues:
Gregorios
Stathis,
Les
manuscrits
de musique
bzyantine
du Mont
Athos.
Catalogue descriptif des
manuscrits de musique bzyantine conservés dans les bibliothèques des
monastères et des scètes du Mont
Athos
and Manoles K. Chatzegiakoumes,
Mousika heirographa tourkokratias
(1453-1832),
Athens,
1975.
If all these elemens are missing, the strictly
musical
criteria may guide
the dating, the semiography and the stylistical aspects being determinant. In
25
order
to follow the musical semiography, we focused our attention upon the
settings which circulated for centuries, the copies. By means of parallel reading
of the musical text existing in manuscripts from different periods, roughly
distributed during one century, we surveyed the extent to which the accuracy of
the copy has been observed. We emphasize that the identity of any handwritten
copy is not the one realized by mechanical means, so that the insignificant
differences due to the scribe s own manner of writing may be overlooked. The
appliance of the parallel reading upon the one and the same setting
-
for
exemple,
one of the
11
Eothinals ascribed to the 13th century author, included
even
ín
volumes from the 18th century
-
has revealed the evolution at the
notation level marked by semiographical changes. The procedure applied to
one genre of setting
-
for
exemple
the Heroubikon Hymn
-
with the same
literary text, the same compositional frame and the same mode, but ascribed to
different authors from different epochs, reveals the change in point of
aesthetics. This change is due to the updating of the repertory, a phenomenon
materialized in the practice of reshaping a setting according to new stylistical
views.
We stress the fact that codicological criteria as well as musical ones are
inoperant
taken separately. That is why it is necessary to corroborate these
elements in order to obtain the most accurate result possible. Our research,
carried out taking into account all these elements, has as a result the ascribing
of
29
notated manuscripts to the 17th century, without taking the year
1700
as a
fixed limit. Because of the irrelevance of a few years between two copies, it is
possible that some of the included manuscripts have been compiled at the
beginning of the 18th century. Furthermore, we included the volumes which
bear dated notices from the first quarter of the 18th century, because a longer
time span is supposed to have elapsed from the moment of compiling till the
date the manuscript reached an owner.
The literature published so far, includes in the 17th century some
manuscripts which we consider to be from the 18th as well as inaccurate
information °. Thus, two volumes from BAR bear a date overlooked till our
personal inquiry: Ms. Gr.
832
the date
1701
and Ms. Gr.670 the date
1711;
also
in BAR there is the Ms. Gr.
564
which may be dated in the last decade of the
10
Nicu Moldoveanu,
Izvoare
ale cintarti psaltice
în Biserica Ortodoxă
Română. Manuscrisele muzicale vechi bizantine din România (greceşti
româneşti şi româno-greceşti), pînă la începutul secolului al
Ш-Іеа,
BOR
XCII, 1974, 131-280.
Extras, Bucureşti
1974;
Sebastian Barbu-Bucur,
Cultura
muzicala de tradiţie bizantină pe teritoriul României în secolul XVIII şi
începutul secolului
Ш
şi aportul original al culturii autohtone, Bucureşti
26
century (even starting
1688);
Mss. Gr.
136, 686, 760, 693, 762
are from the
18th century. At the BCU Library in
Iaşi,
Ms. III-73 dated
1626
comprises only
literary texts, so that the inclusion in this catalogue is not justified; Ms.
ΙΠ-85
has a colophon with the date
1723
and not
1703;
Ms. III-96 bears an inscription
in which the year is crossed out, but as far as one can see, it is obvious a figure
pointing to a year after
1700;
Mss.
1-24,1-19,
III-86, III-89 are from the 18th
century. At the BAR Library in
Cluj
Ms. O.
356
bears an inscription dated
1758
and not
1712.
Also from the 18th century are Ms.
27822
from the
Biblioteca Naţională
(National Library) Bucharest and Ms.
203
from the
Arhivele Statului
(State Archives) in
Iaşi.
Besides the
29
volumes included in
our catalogue, there are four manuscripts which we consider to be from the 17th
century, compiled in Romania, nowadays kept abroad11. Two volumes in
Greece: at the National Library in Athens
-
EBE
2213
(Linos Politis and Maria
Politi,
Katalogos cheirographon
tes
Ethnìkes
Bibliothekes
tes
Hellados,
Atena
1991
[Pragmateiai
tes Akademias
Athénon,
54],
р.246)
and at the monastery in
Leimonos
258
(M. K. Chatzegiakoumes, Mousika cheirographa tourkokratias,
vol. I, pp.
31-33).
Ms. Suppl. gr.
100
from the National Library of Austria in
Viena
(Herbert Hunger,
Katalog der griechischen Handschriften der
Österreichischen Nationalbibliothek. Supplementum graecum, Wien 1957
[Biblos-Schriften, 15], p. 68) was
described by the Romanian musicologist
Nicu Moldoveanu in the publication
Biserica Ortodoxă Română
СП,
1984,
nr.
3-4,
pp.
238-245
{Cercetări asupra manuscriselor în
notatie
bizantină
existente în Biblioteca Naţională din
Viena).
Ms.
4466
from the Royal Library
of Denmark, in Copenhagen, was included by the Danish researcher
Bjarne
Schartau
in Chaiers
de l Institut du Moyen Âge grec et latin
48, 1984,
p.
21-39.
*
* *
The present
catalogue
is structured according to the place the material is
kept, in the following order:
1.
The Romanian Academy Library in Bucharest [BAR]
- 14
volumes
2.
The Central University Library Mihai Eminescu in
Iaşi
[BCU
Iaşi]
- 5
volumes
3.
The Romanian Academy Library in
Cluj Napoca
[BAR
Cluj] -
2
volumes
11
We have studied these volumes, one in original
(EBE
2213)
and the other
three on microfilm.
27
4.
The Oltenia
Museum in Craiova [Mz.
0.
Cr.]
- 4
volumes
5.
The State Archives in Craiova
[Ar.
S.
Cr.]
- 1
volume
6.
The National Library of Romania in Bucharest
[BNR]
-1
volume
7.
The Central University Library in Bucharest [BCU]
-1
volume
8.
The National Art Museum of Romania in Bucharest [MNAR]
-1
volume
The volumes belonging to the same fund are presented in the
chronological order established by the author. For the BAR fund, besides the
chronological order we have also taken into account the type of the manuscript,
i.e. the Anthology-type and the Sticherarion-Triodion-Pentekostarion one,
because we deemed such a presentation to be favourable to the comparison
between volumes of the same kind. The Sticherarion-Triodion-Pentekostarion
manuscripts
-
or only sections of this category
-
is to be found in an integral
form, as there are no identical volumes regarding the contents; there are slight
differences, sometimes only a few settings, which could be relevant to the
comparative research. We did not present in
extenso
the repertory of the
Anastasimatarion section of all the volumes containing it, as it is an invariable
one.
As regards the rendition of the Greek text, we adopted a way of writing
as close as possible to the original form: the beginnings of the settings
-
the
literary text beneath the neumes
-
appears without diacritical signs and capital
letters; the text expressing various indications is rendered with diacritical signs
and capital letters (we have chosen the capital letters on the basis of such a
reference work as
N.
Nilles,
Kalendarium manuale
utriusque
Ecclesiae,
orientalis
et occidentalis, Innsbruck, voll [1879],
vol.II
[1881]).
|
| adam_txt |
Cuprins
Cuvântul autorului
.5
Acknowledgements
.6
CUVÂNT ÎNAINTE
.7
FOREWORD
.9
INTRODUCERE
.11
INTRODUCTORY NOTE
.21
1.
Ms.
gr.
1096
BAR
.29
2.
Ms.
gr.
1477
BAR
.38
3.
Ms.
gr.
793
BAR
.46
4.
Ms.
gr.
791
В
AR
.49
5.MS. gr.
564
BAR
.64
6.
Ms.
gr.
832
BAR
.72
7.
Ms.
gr.
867
BAR
.79
8.
Ms.
gr.
670
BAR
.102
9.
Ms.
gr.
102
BAR
.112
10.
Ms.
gr.
1499
BAR
.118
ll.Ms.gr.
899
В
AR
.159
12.
Ms.
gr.
41
BAR
.175
13.
Ms.
gr.
660
BAR
.187
14.
Ms.
gr.
663
BAR
.197
15.
Ms.
1-20
BCU Iaşi
.198
16.
Ms.
1-22
BCU Iaşi
.201
17.
Ms. I-40
BCU Iaşi
.204
18.
Ms. I-39
BCU Iaşi
.207
19.
Ms.
Ш-93
BCU Iaşi
.207
20.
Ms.
O.
365
BAR Cluj
.221
21.
Ms.
O.
356
BAR Cluj
.223
22.
Ms.
99
Mz. O. Cr
.231
23.
Ms.
52
Mz. O. Cr
.235
24.
Ms.
73
Mz. O. Cr
.249
25.
Ms.
94
Mz. O. Cr
.264
26.
Ms.
27
Ar. S. Cr
.267
27.
Ms.
17478
BNR
.269
28.
Ms.
397
BCU
.282
29.
MS.26MNAR
.284
Indice de nume
.287
Cuprins
.291
291
INTRODUCTORY NOTE
Byzantine tradition music is to be found in today's Romanian fund in
over
250
manuscripts ranging from the
1
1th century to the beginning of the 19th
century. This valuable collection bears testimony to the constant concern for
cultivating Byzantine tradition music, thus proving the importance of music for
the Romanian culture.
Notated manuscripts and the oral tradition supported both liturgical music
as well as the process of handing down the art of music from generation to
generation. Notated manuscripts existing in Romania are for the most part
anonymous, undated and make no reference to their place of origin. The
codices are either put together on Romanian teritory or brought from the
Orthodox cultural space, mainly from Greece. Furthermore, Romanian notated
manuscripts are to be found in various collections abroad.
For the Romanian musical history, the time between the end of the 15 th
and the end of the 16th century represents the period of the Musical School of
Putna,
thus called because all manuscripts from this period known so far have
been compiled in
Putna
or in other monastic centers in the surrounding area1
.
Towards the end of the 16th century, no more documents originated in the
Musical School of
Putna
have been found, so it is possible that an unfavorable
historical context might have contributed to the decline of the Moldavian
centers. In the centuries that followed, the activity related to liturgical music
develops mostly in Wallachia. Given the replacement of the Old-Slavonic by
Greek, in the 17th century the characteristic feature of the Romanian culture
was the coexistance of two cultural trends, one expressed in Romanian, the
other in Greek2. Due to this fact and also due to shared Orthodox faith, cultural
enterprises in the Romanian Provinces were sometimes carried out by Greeks
and those in Greece by Romanians. Thus, the scholar belonging to both Greek
and Romanian cultures represents the common South-Eastern European type in
the 17th- 18th centuries. An example of this type is the renowned calligrapher,
who, between
1583-1603
was bishop of
Buzău,
the place where he formed a
scriptorium. He is known as
Louka
the Cypriote or
Louka
Bozeu, or
Louka
1
Titus Moisescu,
Putna
-
un puternic centru de cultură muzicală medievală
românească, in: Muzica bizantină în spaţiul cultural românesc, Bucureşti
1996,
p.
8-18.
2
Cornelia Papacostea-Danielopolu
-
Lidia
Demeny, Carte şi tipar în
societatea românească şi
sud-est
europeană (secolele XVII-XDQ,
Ed.
Eminescu, Bucureşti,
1985,
p.
148-151.
21
Ungrovlahias
because between
1603-1629
he held the highest ecclesiastical
rank in the country, that is the
Métropolites
of Ungrovlahia3. During this time,
one of his disciples was Iakobos, a monk from
Simonpetra
monastery,
promoted to arhiereos in Bucharest and who, afterwards, returned to Greece
and became bishop of Sides till
1637,
and later on bishop of
Ganos-Horas
(1637-1639).
According to Greek catalogues, besides being a copyist he was
also a setting author4. The first of the three notated manuscripts
-
out of a total
of
11
signed by Iakobos
-
was put together in
1624
in Bucharest. Among the
29
manuscripts that survive from the 17th century in Romania, the one from
1624
is the oldest and represents a standard for the Anthology prototype which
remained valid throughout the whole century. Moreover, being written entirely
in Greek, Iakobos' notated manuscript from
1624
demonstrates the fact that
during the 17th century in the Romanian Provinces the liturgical music was to
be included among the Romanian cultural events relying on Greek, being
performed exclusively in Greek. We are emphasizing this aspect due to the fact
that, in the first half of the 17th century, in Wallachia the Old-Slavonic was still
used as the cultured language5. The very presence of Iakobos' Anthology
pinpoints that the situation was totally different in what the Byzantine tradition
music is concerned. The following two manuscripts in chronological order
were dated based on the owners' inscriptions: an Anthologion before
1664
and
an Irmologion before
1665.
The assertion, that music was given due attention
in the Romanian culture at the time and that it was practiced in an organised
fashion, has further support. It is known that about
1665,
Germanos
Neon
Patron, a famous authority in the 17th century music, came to Wallachia where
he continued to work to the end of his life. As the documents reveal, he was
under the protection of the High Spatharus
Mihail Cantacuzino.
The
renowened author, whose impressive musical output is comprised in the
majority of the collections from the second half of the 17th century and the
beginning of the 18th, had a Romanian disciple by name of Iovaskos Vlahos or
Nikos A. Bees,
Les manuscrits des Météores. Catalogue descriptif des
manuscrits conservés dans les monastères des Météores, vol.
II:
Les
manuscrits du Monastère de Barlaam,
Atena,
1984,
p.
43,
p.
87.
Demetrios
Z.
Sofianos,
Les manuscrits des Météores. Catalogue descriptif
des manuscrits conservés dans les monastères des Météores, vol.
III:
Les
manuscrits du Monastère Hagios
Stephanos,
Atena,
1986,
p.
317.
К.
Chatzegiakoumes, Mousïka cheirographa tourkokratias,
1453-1832,
vol.
I,
Atena
1975,
pp.
298-299.
P. P. Panaitescu,
Contribuţii
la
istoria culturii româneşti,
Ed Minerva,
Bucureşti,
1971,
p.
26.
22
loan
Vlahos6.
A most valuable volume from the 17th century, preserved at the
Royal Library in Copenhagen (Denmark), provides us with a piece of
information of utmost importance regarding the Romanian author. Since it
contains four polyhronion-settings dedicated to the prince
Şerban Cantacuzino,
we have considered the volume to be compiled between
1678
and
1688,
the
span of time when Cantacuzino ruled. According to this volume, as well as to
other two from Mount
Athos,
lovaskos
Vlahos
was at the time the most
prominent musician in the country, bearing the title of Protopsaltes of the
Wallachian Court. His contemporaries recognized the value of his work which
became part of the standardized repertory. As a result, the chants of the
Romanian author circulated more than half a century in the South-Eastern
European area. Nowadays, manuscripts mentioning his name can be found in
Greece
-
mostly at Mount
Athos
-
but also in Romania, Bulgaria, Austria and
Denmark. Besides the Doxology
(4
authentic mode) which was the most
circulated, there are a few settings less copyied. We would like to point out
that, in a manuscript from the National Library in Athens, we have found such
a less copyied setting atributed to loan Vlahos7. Comparing the written
versions of another chant ascribed in one volume to Iovaskos Vlahos and in
another to loan Vlahos, we have ruled out the existence of two different
authors; Iovaskos Vlahos and loan Vlahos are the two variants of the same
author's name. The Copenhagen volume provides us, in addition, with other
two names of authors whose musical output did not circulate in the chant-
selections of the period; one is Ioannes
„o grapheus"
who partially compiled
the volume and also signed a few of the chants, the other is
Konstantinos.
Another notated manuscript originated from Wallachia but preserved abroad, at
the National Library in Vienna, contains, besides a singular setting by Iovaskos
Vlahos, a setting by another Romanian author, Vlad the Grammarian. He was
the psaltes who owned the manuscript between
1681-1691
and who wrote
down at the end of the volume a „troparion nekrosimon", a chant not found in
any other manuscript. A similar situation can be noticed in another volume
belonging to the 17th century, namely a Doxology attributed to the author
Ianake from Bucharest. Although Vlad the Grammarian, Ioannes
„o grapheus",
Konstantinos
and Ianake from Bucharest are names which did not occur in
other manuscript, their chants suggest that Romanian musicians were not
always merely copyists and performers. Skilled in the appropriate
6
Sebastian Barbu-Bucur,
Iovaşcu Vlahul "protopsaltul Curţii Ungrovlahiei" şi
epoca sa în manuscrise psaltice de la Muntele
Athos, BOR,
an CVI
(1988)
nr.7-8, p.
62-104.
7
Ozana Alexandrescu, Un manuscris inedit din secolul al XVII-lea, Muzica
nr.4,
1998,
p.
135-142.
23
compositional techniques, Romanian musicians have enriched the standardized
repertory with musical versions of their own.
In Wallachia, the end of the 17th century and the beginning of the
18
were marked by the reign of a highly cultivated prince,
Constantin
Brâncoveanu
(1688-1714).
This period known as the „Brancovenian epoch"
represented a time during which Romanian culture flourished to a degree
unknown before. Fine arts, architecture, literature, music, translation and
printing, all were highly supported and promoted. For this reason, this period is
known in the Romanian culture as the Brancovenian Renaissance.
As far as our field of interest is concerned, one of the musicians known to
be active during the Brancovenian epoch was Kallistos the Hieromonk. He was
the owner of a large musical library which contained one of the only two
Medio-Byzantine notated volumes extant in Romania. His authority as a
musician is also confirmed by the attribution formula „Kallistos the hieromonk
and our theacher" since the quality of „didaskalos" was not automatically
granted to all psaltae. As copyist he compiled and signed three volumes: the
first manuscript, dated
1694,
preserved at the National Library in Athens, was
unknown to Romanian musicologists before the research carried out by
ourselves; the second manuscript, dated
1695,
is in Romania, at the Museum in
Craiova; the third volume, dated
1705
as mentioned in Greek and Romanian
sources, is nowadays lost8. As chant author however, it is difficult to
reconstruct his output, given the fact that Greek catalogues mention several
authors by the name of Kallistos. Helpful is the attribution found in a
manuscript from Mount
Athos,
which specifies not only the ecclesiastical rank,
but also the ethnic origin, i. e. arhimandrites Vlahobogdanos, meaning the
Romanian. On the basis of a careful inquiry of the available data, we have
decided on a number of five or six chants by this author which circulated in
various manuscripts
.
Although relatively few, these pieces were compiled
together with those of renowned Greek authors, a fact which suggests their
relevance in the context of the contemporaneous repertory.
Out of the total amount of notated manuscripts compiled before the
implementation of the hrysanthic system in
1814,
we have decided upon
29
volumes as pertaining to the 17th century. The first dating criterion, the one
which offers certitude, is the presence of the colophon. The scribe's final note,
in a complete formula, makes a mention about the date when it was put
together, the name and function of the copyist and the place where the codex
ortodox' B«™*ti,
1937,
p.137,
iŽÄÍrT^
P n Epeir°'
în
EpiBttLnü»
¿Догів
sPhüosophikesScholes.PanepistemionThessalonikes
12(1973)
p
334-336
Ozana Alexandrescu, Kallistos
ieromonahul, Muzica
nr.
1,1998
p
Λ
10-118
24
was written (ex. Ms. Gr.
1096
BAR, Ms. III-85 BCU
Iaşi,
Ms.
204
Ar.S.Iaşi).
Sometimes only the author's name is mentioned (Ms.
1-20
BCU
Iaşi)
or only
the place where the codex has been compiled (Ms.
206 Ar.
S.
Iaşi),
without a
date. The second dating criterion is given by the notes made by the owner
which contain an accurate date. In the case of such a dated note, the manuscript
is generally dated before that date (ex. Mss. Gr.
670
and
832
BAR). Some
manuscripts, especially the Anthologies, offer an extra dating criterion, that is
the inclusion of some polyhronion-setting in their contents. These settings
dedicated to the ruler or to some prelates sometimes mention the name of the
personality, thus facilitating a fairly accurate dating. For example, Ms. Gr.
564
BAR bears an owner notice from
1709
and contains a polyhronion-setting
dedicated to
Constantin Brâncoveanu,
so that we can estimate that this volume
was compiled before
1700,
as the reign of this ruler starts in
1688.
Nevertheless, the setting with the name of the ruler or prelate can not be taken
as dating element on its own. It is possible that a polyhronion is copied
entirely, the name of the personality included, in a much later collection (ex.
Ms. Gr.
693
BAR), in which case the inaccuracy regarding the historical period
of the volume's compiling is signaled by other elements taken into account
with a view to dating.
Another dating criterion is given by the paper watermark. It is a
secondary,
aproximate
criterion since it is highly probable that the paper has
been kept in storage for a long time. There is also a multitude of resembling
watermarks, not all of them recorded in the watermarks catalogues. The dating
according to watermark is valid for older manuscripts. For the 17th and
18
centuries the catalogues in the
Monumenta
Chartáé
Papyraceae [MCP] series
(vol. I Edward Heawood) no longer record quite a few of the watermarks
existing in the manuscripts.
An important dating criterion is given by the authors of the settings. This
criterion is applied especially to the category of Anthology, the collection in
which many authors' names are mentioned. The Byzantine tradition music was
handed down by means of copying older models, the setting of a certain author
circulating sometimes for centuries. Dating is guided by considering the
authors who are roughly contemporary with the epoch of the manuscript's
compiling, the period of their activity being the lower time limit. In applying
this criterion we have followed two Greek catalogues:
Gregorios
Stathis,
Les
manuscrits
de musique
bzyantine
du Mont
Athos.
Catalogue descriptif des
manuscrits de musique bzyantine conservés dans les bibliothèques des
monastères et des scètes du Mont
Athos
and Manoles K. Chatzegiakoumes,
Mousika heirographa tourkokratias
(1453-1832),
Athens,
1975.
If all these elemens are missing, the strictly
musical
criteria may guide
the dating, the semiography and the stylistical aspects being determinant. In
25
order
to follow the musical semiography, we focused our attention upon the
settings which circulated for centuries, the copies. By means of parallel reading
of the musical text existing in manuscripts from different periods, roughly
distributed during one century, we surveyed the extent to which the accuracy of
the copy has been observed. We emphasize that the identity of any handwritten
copy is not the one realized by mechanical means, so that the insignificant
differences due to the scribe's own manner of writing may be overlooked. The
appliance of the parallel reading upon the one and the same setting
-
for
exemple,
one of the
11
Eothinals ascribed to the 13th century author, included
even
ín
volumes from the 18th century
-
has revealed the evolution at the
notation level marked by semiographical changes. The procedure applied to
one genre of setting
-
for
exemple
the Heroubikon Hymn
-
with the same
literary text, the same compositional frame and the same mode, but ascribed to
different authors from different epochs, reveals the change in point of
aesthetics. This change is due to the updating of the repertory, a phenomenon
materialized in the practice of reshaping a setting according to new stylistical
views.
We stress the fact that codicological criteria as well as musical ones are
inoperant
taken separately. That is why it is necessary to corroborate these
elements in order to obtain the most accurate result possible. Our research,
carried out taking into account all these elements, has as a result the ascribing
of
29
notated manuscripts to the 17th century, without taking the year
1700
as a
fixed limit. Because of the irrelevance of a few years between two copies, it is
possible that some of the included manuscripts have been compiled at the
beginning of the 18th century. Furthermore, we included the volumes which
bear dated notices from the first quarter of the 18th century, because a longer
time span is supposed to have elapsed from the moment of compiling till the
date the manuscript reached an owner.
The literature published so far, includes in the 17th century some
manuscripts which we consider to be from the 18th as well as inaccurate
information °. Thus, two volumes from BAR bear a date overlooked till our
personal inquiry: Ms. Gr.
832
the date
1701
and Ms. Gr.670 the date
1711;
also
in BAR there is the Ms. Gr.
564
which may be dated in the last decade of the
10
Nicu Moldoveanu,
Izvoare
ale cintarti psaltice
în Biserica Ortodoxă
Română. Manuscrisele muzicale vechi bizantine din România (greceşti
româneşti şi româno-greceşti), pînă la începutul secolului al
Ш-Іеа,
BOR
XCII, 1974, 131-280.
Extras, Bucureşti
1974;
Sebastian Barbu-Bucur,
Cultura
muzicala de tradiţie bizantină pe teritoriul României în secolul XVIII şi
începutul secolului
Ш
şi aportul original al culturii autohtone, Bucureşti
26
century (even starting
1688);
Mss. Gr.
136, 686, 760, 693, 762
are from the
18th century. At the BCU Library in
Iaşi,
Ms. III-73 dated
1626
comprises only
literary texts, so that the inclusion in this catalogue is not justified; Ms.
ΙΠ-85
has a colophon with the date
1723
and not
1703;
Ms. III-96 bears an inscription
in which the year is crossed out, but as far as one can see, it is obvious a figure
pointing to a year after
1700;
Mss.
1-24,1-19,
III-86, III-89 are from the 18th
century. At the BAR Library in
Cluj
Ms. O.
356
bears an inscription dated
1758
and not
1712.
Also from the 18th century are Ms.
27822
from the
Biblioteca Naţională
(National Library) Bucharest and Ms.
203
from the
Arhivele Statului
(State Archives) in
Iaşi.
Besides the
29
volumes included in
our catalogue, there are four manuscripts which we consider to be from the 17th
century, compiled in Romania, nowadays kept abroad11. Two volumes in
Greece: at the National Library in Athens
-
EBE
2213
(Linos Politis and Maria
Politi,
Katalogos cheirographon
tes
Ethnìkes
Bibliothekes
tes
Hellados,
Atena
1991
[Pragmateiai
tes Akademias
Athénon,
54],
р.246)
and at the monastery in
Leimonos
258
(M. K. Chatzegiakoumes, Mousika cheirographa tourkokratias,
vol. I, pp.
31-33).
Ms. Suppl. gr.
100
from the National Library of Austria in
Viena
(Herbert Hunger,
Katalog der griechischen Handschriften der
Österreichischen Nationalbibliothek. Supplementum graecum, Wien 1957
[Biblos-Schriften, 15], p. 68) was
described by the Romanian musicologist
Nicu Moldoveanu in the publication
"Biserica Ortodoxă Română"
СП,
1984,
nr.
3-4,
pp.
238-245
{Cercetări asupra manuscriselor în
notatie
bizantină
existente în Biblioteca Naţională din
Viena).
Ms.
4466
from the Royal Library
of Denmark, in Copenhagen, was included by the Danish researcher
Bjarne
Schartau
in "Chaiers
de l'Institut du Moyen Âge grec et latin"
48, 1984,
p.
21-39.
*
* *
The present
catalogue
is structured according to the place the material is
kept, in the following order:
1.
The Romanian Academy Library in Bucharest [BAR]
- 14
volumes
2.
The Central University Library "Mihai Eminescu" in
Iaşi
[BCU
Iaşi]
- 5
volumes
3.
The Romanian Academy Library in
Cluj Napoca
[BAR
Cluj] -
2
volumes
11
We have studied these volumes, one in original
(EBE
2213)
and the other
three on microfilm.
27
4.
The "Oltenia"
Museum in Craiova [Mz.
0.
Cr.]
- 4
volumes
5.
The State Archives in Craiova
[Ar.
S.
Cr.]
- 1
volume
6.
The National Library of Romania in Bucharest
[BNR]
-1
volume
7.
The Central University Library in Bucharest [BCU]
-1
volume
8.
The National Art Museum of Romania in Bucharest [MNAR]
-1
volume
The volumes belonging to the same fund are presented in the
chronological order established by the author. For the BAR fund, besides the
chronological order we have also taken into account the type of the manuscript,
i.e. the Anthology-type and the Sticherarion-Triodion-Pentekostarion one,
because we deemed such a presentation to be favourable to the comparison
between volumes of the same kind. The Sticherarion-Triodion-Pentekostarion
manuscripts
-
or only sections of this category
-
is to be found in an integral
form, as there are no identical volumes regarding the contents; there are slight
differences, sometimes only a few settings, which could be relevant to the
comparative research. We did not present in
extenso
the repertory of the
Anastasimatarion section of all the volumes containing it, as it is an invariable
one.
As regards the rendition of the Greek text, we adopted a way of writing
as close as possible to the original form: the beginnings of the settings
-
the
literary text beneath the neumes
-
appears without diacritical signs and capital
letters; the text expressing various indications is rendered with diacritical signs
and capital letters (we have chosen the capital letters on the basis of such a
reference work as
N.
Nilles,
Kalendarium manuale
utriusque
Ecclesiae,
orientalis
et occidentalis, Innsbruck, voll [1879],
vol.II
[1881]). |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Alexandrescu, Ozana |
| author_facet | Alexandrescu, Ozana |
| author_role | aut |
| author_sort | Alexandrescu, Ozana |
| author_variant | o a oa |
| building | Verbundindex |
| bvnumber | BV021633322 |
| ctrlnum | (OCoLC)162295293 (DE-599)BVBBV021633322 |
| era | Geschichte 1600-1700 gnd |
| era_facet | Geschichte 1600-1700 |
| format | Book |
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| genre | (DE-588)4163417-2 Katalog gnd-content |
| genre_facet | Katalog |
| geographic | Rumänien (DE-588)4050939-4 gnd |
| geographic_facet | Rumänien |
| id | DE-604.BV021633322 |
| illustrated | Not Illustrated |
| index_date | 2024-07-02T14:57:58Z |
| indexdate | 2024-07-09T20:40:24Z |
| institution | BVB |
| isbn | 9737849299 |
| language | Romanian Greek English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-014848193 |
| oclc_num | 162295293 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 292 S. |
| publishDate | 2005 |
| publishDateSearch | 2005 |
| publishDateSort | 2005 |
| publisher | Ed. Arvin Press |
| record_format | marc |
| spelling | Alexandrescu, Ozana Verfasser aut Catalogul manuscriselor muzicale de tradiţie bizantină din secolul al XVII-lea Ozana Alexandrescu Bucureşti Ed. Arvin Press 2005 292 S. txt rdacontent n rdamedia nc rdacarrier Einl. in eng. Sprache Geschichte 1600-1700 gnd rswk-swf Byzantinischer Gesang (DE-588)4304873-0 gnd rswk-swf Musikhandschrift (DE-588)4040847-4 gnd rswk-swf Rumänien (DE-588)4050939-4 gnd rswk-swf (DE-588)4163417-2 Katalog gnd-content Rumänien (DE-588)4050939-4 g Musikhandschrift (DE-588)4040847-4 s Byzantinischer Gesang (DE-588)4304873-0 s Geschichte 1600-1700 z DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=014848193&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=014848193&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Alexandrescu, Ozana Catalogul manuscriselor muzicale de tradiţie bizantină din secolul al XVII-lea Byzantinischer Gesang (DE-588)4304873-0 gnd Musikhandschrift (DE-588)4040847-4 gnd |
| subject_GND | (DE-588)4304873-0 (DE-588)4040847-4 (DE-588)4050939-4 (DE-588)4163417-2 |
| title | Catalogul manuscriselor muzicale de tradiţie bizantină din secolul al XVII-lea |
| title_auth | Catalogul manuscriselor muzicale de tradiţie bizantină din secolul al XVII-lea |
| title_exact_search | Catalogul manuscriselor muzicale de tradiţie bizantină din secolul al XVII-lea |
| title_exact_search_txtP | Catalogul manuscriselor muzicale de tradiţie bizantină din secolul al XVII-lea |
| title_full | Catalogul manuscriselor muzicale de tradiţie bizantină din secolul al XVII-lea Ozana Alexandrescu |
| title_fullStr | Catalogul manuscriselor muzicale de tradiţie bizantină din secolul al XVII-lea Ozana Alexandrescu |
| title_full_unstemmed | Catalogul manuscriselor muzicale de tradiţie bizantină din secolul al XVII-lea Ozana Alexandrescu |
| title_short | Catalogul manuscriselor muzicale de tradiţie bizantină din secolul al XVII-lea |
| title_sort | catalogul manuscriselor muzicale de traditie bizantina din secolul al xvii lea |
| topic | Byzantinischer Gesang (DE-588)4304873-0 gnd Musikhandschrift (DE-588)4040847-4 gnd |
| topic_facet | Byzantinischer Gesang Musikhandschrift Rumänien Katalog |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=014848193&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=014848193&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT alexandrescuozana catalogulmanuscriselormuzicaledetraditiebizantinadinsecolulalxviilea |