Resources for medieval musicology and liturgy
This manuscript is knows as Yale fragment, written by Peter Lampadarie for archbishop of Sarajevo, written on Church Slavic with Greek letters. Written for service in Serbian Orthodox Churh.
Вечерния наша молитвы приими, Святый Господи, a voskresnik usually opens with Господи воззвахъ к т7бе ...
But I know this hand from the manuscript Birmingham Mingana Gr. 7 (the Doxastarion syntomon by Petros, but in Greek). It is Anastasios Prokeinesios! There are some weaknesses concerning the Greek orthography of the hymns which could be explained that the scribe was a Slavonic from the Balkans.
And by the way Mingana Gr. 8 is also an Anastasimatarion, although already transcribed according to the New Method, which opens with Τὰς ἑσπερινὰς ἡμῶν in echos protos.
Thank you Oliver! Description followed M. Velimirovic and D. Stefanovic text “Peter Lampadarios and Metropolitan Serafim of Bosnia”, Studies in Eastern Chant, (London: Oxford University Press, 1966), 71–78
This is very interesting suggestion. Why you think about Greek ortograpthy?
I never do... but it was mentioned in descriptions at Birmingham (although they are very scarce) and also at the Stavropoleos Monastery in Bucharest (Ms. 48m).
One more remark about the content, there are just 21 pages with notation which you can download as pdf, the other parts were treatises about quite different subjects. This part is dated 1818, and Petros did not live anymore at that time.
I did not check now every title and how it did transliterate the Old Church Slavonic texts of the hymns, but all the pieces are composed in echos protos, except of the last with a long kratema which is in fact a Greek sticheron kalophonikon about a section of a sticheron idiomelon composed for the feast of Saint Dionysios (in echos plagios tetartos). My question is, why should Petros compile all these treatises with a transliterated section of Old Church Slavonic taken from an Anastasimatarion collection which included compositions attributed to him together with those of his follower Petros Vyzantios (see Mingana Gr. 8)?
But you can check here:
Usually wikipedia is bullshit, but this article was reworked by myself and the manuscripts of the Psachos Music Library of the National and Kapodistrian University in Athens are since more than a year fully available, although only in the weakest resolution. Those who belong to the Gregorios the Protopsaltes Archiv (which means to his leavings) and with Petros' compositions are usually Petros' own hand (I have written there which are). Gregorios owned a lot of autographs by Petros' hand and I recommend to copy them by your own hand and you will see yourself that you become soon able to recognise Petros' own hand which is quite characteristic.
This one is not, although it copied the exegetic notation which was used by Petros himself. Thus, I understood from your description an attribution of the content which I believe is correct, but it was not written by Petros himself for many reasons.
Great! Thank you!
I found another text Vesna Sara Peno, "About Petros Peloponnesios and musical relationships of the Balkan... where she claim, on comparative basis with another manuscripts from that period, that scribe was Petros Byzantios. Include Anastasios Prokeinesios is interesting. I'll search this fragment again with this new informations.
The link goes to Marković... I know Sara personally and appreciate her contributions.
I am sorry it was my typo "Anastasios Proikonesios" (προικονήσιος) says the kolophon of Mingana Gr. 7. I am not sure about Mingana Gr. 8, it is not a very elegant hand, but it could be well Petros Vyzantios or somebody else from Petros' cycle, but the strong resemblance (also in the flags and ornamentation of the majuscules) is between these pages here and Mingana Gr. 7.
Thank you, you might be interested to understand that this is the whole volume 21 of Muzyka where Vesna Sara published her article about Petros Peloponnesios.
Okay, I will just insert here the bibliographical data according the Chicago Manual of Style (CMS):
The article was published in Serbian, but has a detailed summary in English:
Greek musician Petros Peloponnesios is known to have lived in the third quarter of the 18th century. He had the title of Lampadarios - chanter in the left choir of the Great Church in Constantinople and was also one of the chanting teachers in the music school founded in 1776 by the Sophronius the Second - Patriarch of Constantinople. The name of this prolific composer and reformer of the late-Byzantine neum notation may be found in a substantial number of neum manuscripts of the late eighteenth century, as well as in the published chanting books from the first decades of the nineteenth century onwards. He is also reported to have had close music relations with the Mevlevi Dervishes in Constantinople. Recent research has showed that he composed about hundred secular songs using Greek text, late-Byzantine music notation and Ottoman makam. The socalled Yale musical fragment–eleven sheets with neum notation from the collection consisting of four different parts, which was discovered in the library of old and rare books at Yale University by musicologist Miloš Velimirović, confirmed the correlation of Petros Peloponnesios with Balkan Slavs. According to the inscription of the said fragment “the most learned musician, Kyr Petros Lampadarios of Peloponnese” has adopted melodies from the “old Anastasimatarion, at the request of the Very Reverend and Holy Metropolitan of Bosnia, Kyr Seraphim, for the use of the Slavs…” The melodies of the thirteen stichera of Mode I of the Octoëchos (in Greek Anastasimatarion) were set in Church-Slavonic in such a way that scribe used Greek letters for Slavonic words. The fragment contains also the melismatic hymn in honour of St. Dionysios of Olympos in Greek of the Mode IV. Velimirović in cooperation with other Serbian musicologist Dimitrije Stefanović published in 1966 the first and so far the only scientific article on Yale fragment. New insight into this rare and important source for Church-chant tradition of the Balkan Slavs has provided an updated and corrected data, but also imposed new issues which need to be resolved in future research. There are two key conclusions that have been reached in a re-analysis of Yale fragment. Music model that Petros Peloponnesios used for the adaptation of the stichera melodies to the Church Slavonic text was not the version of Manuel Doukas Chrysaphes, the most prominent Byzantine musician of the 15th century, as D. Stefanović claimed, but his younger namesake Panagiotes the new Chrysaphes whose main approach was based on the recomposition of the late medieval sticherarion as it was described by Manuel Chrysaphes in his famous treatise about psaltic art. Chrysaphes the New made also a so called kalophonic recomposition of the simple psalmody of the Byzantine Octoechos – Anastasimatarion which was used in church services under the name “old Anastasimatarion”. A precise attribution of the Yale fragment was carried out for the first time. It was found that its scribe was not actually Petros Peloponnesios (as suggested in Velimirović and Stefanović’s article), but Petros Byzantios, Peloponnesios’s younger contemporary and disciple. Based on recently conducted historical research, the paper presented the new findings in connection with the Bosnian Metropolitan Seraphim, who was originally a Bulgarian and was bound for Bulgarian Rila Monastery.