Musicologie Médiévale

Resources for medieval musicology and liturgy

The first Iadgari manuscript which was published entirely online. I would like to thank Andrew Wade who exchanged with me some precious observations on this source.

Add MS 11282

Hesperinos for Monday and Tuesday (f. 221r)

About 1000 • Incomplete (the title galobani "canon" seems to be an invention, since the first folia are missing) New Iadgari (or abridged Iadgari or Tveni?) in Nuskhuri script with maiuscules in Asomtavruli script, without musical notation and only in parts with modal signatures. This Iadgari contains mainly hymns of the parakletike (Oktoechos for weekdays). The book is not organised in oktoechos order (it is a week-day oktoechos according to the New Iadgari with a few additions, in the Old Iadgari the Sunday oktoechos was part of the book) and it has also prosomoia composed over the idiomela of the menaion.

Some of the rubrics:

  • Fol. 1r  Stichera of the holy Mother of God
  • Fol. 1r Vespers for Monday
  • Fol. 2v Vespers for Friday
  • Fol. 6r Antiphons for Sunday matins
  • Fol. 9r Kontakia for Easter
  • Fol. 23v Monday of the holy Archangels
  • Fol. 47v Thursday of the holy Apostles
  • Fol. 65r Sunday hymn to the holy Mother of God
  • Fol. 67r Monday of the holy Archangels
  • Fol. 69r Hymn of repentance on Monday
  • Fol. 73v Tuesday of St John the Baptist
  • Fol. 76r On the same Tuesday hymn of repentance
  • Fol. 79r On the same Tuesday hymn to the holy Mother of God
  • Fol. 96v On the same day hymn to the holy Mother of God
  • Fol. 208r Supplicatory hymn to God and St Julian for July
  • Fol. 210r Supplicatory and thanksgiving hymn to Jesus Christ
  • Fol. 212v Hymn of consecration
  • Fol. 213r Hymn of the Apostles
  • Fol. 214r Hymn of the Lord’s day
  • Fol. 215r Hymn of repentance
  • Fol. 220v Sticheron of the Holy Mother of God for Vespers with ornamental initial
  • Fol. 221r Vespers for Monday, Vespers for Tuesday, Vespers for Wednesday
  • Fol. 221v Vespers for Thursday, Vespers for Friday.

For the modal signatures, see the prosomoia on folio 11 verso:

Prosomoion in the first tone, second prosomoion according to the devteros idiomelon SAV 350? (f. 11v)

We see in the margin A, B, G, D (= 1, 2, 3, 4) for a set of 10 prosomoia organised according to the kyrioi of the oktoechos. At the end of the line before B we have in red qh[ma]y (= modern Georgian khma [the unvoiced fricative uvular qh corresponding to the plosive q has become kh, which is the palatal fricative corresponding to the aspirated plosive k, and the y is the nominative ending that has dropped off nouns ending in vowels] = Greek ēchos = Slavonic glas. Qhmay means literally "voice" like the Slavonic term glas) and in black Nuskhuri y, while the following B' (bani) in red ink ("2nd voice") refers to the prosomoion that follows:

After "B" (numeral of the prosomoion), we have what seems to be the incipt of an idiomelon: Dgh[ey]s K[rist']e iq[o]... (= "Today Christ was..." Σήμερον ὁ Χριστός, SAV 350? in echos devteros). What follows is the hymn text of the prosomoion.

The same system is repeated for the third and fourth prosomoion, with different incipits of the avtomela or idiomela whose melody was the base of the hymn composition. The sequence of tones of the 10 prosomoia is (ff. 11r-12v): protos, devteros, tritos, tetartos, protos, devteros, tritos and three prosomoia in tetartos.

Tags: Georgia, Manuscrits, Oktoechos, Tropologion

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