The Byzantine Turks, 1204-1461
http://www.brill.com/products/book/byzantine-turks-1204-1461
Rustam Shukurov, Moscow State University
nouveautés livres (6)
Manuscript reproduction on the cover
Gritsanis 8, 323 (17th c.):
Ἐντεύθεν ἄρχονται καὶ μερικὰ τραγώδια καὶ μουραμπάδες
From here start some songs and murhabbas
Kalaitzidis, Kyriakos (Engl. translation by Kyriaki and Dimitris Koubaroulis)
Post-Byzantine Music Manuscripts as a Source for Oriental Secular Music (15th to Early 19th Century)
Istanbuler Texte und Studien, 28.
Orient-Institut Istanbul
Würzburg: Ergon, 2012.
356 pages with many reproductions from manuscripts – 170 x 240 mm. Hardcover
ISBN 978-3-89913-947-1
http://www.ergon-verlag.de/orientali...en/band-28.php
Contents:
http://www.ergon-verlag.de/downloads/9783899139471.pdf
Martin Greve (Orient-Institut):
The idea for this English edition of Kyriakos Kalaitzidis’ Ph.D. thesis came into being during the conference entitled "Writing the History of "Ottoman Music," which was organized by the Orient-Institut Istanbul in cooperation with the State Conservatory for Turkish Music of the Technical University Istanbul in November 2011. It was planned to invite Kyriakos Kalaitzidis to share his experience as a performing musician, but he proposed a paper on Ottoman music in post-Byzantine music manuscripts. As it turned out almost none of the Turkish and international experts on Ottoman music in attendance had ever heard about this research and these sources. The paper itself caused a true sensation: By mining diverse post-Byzantine manuscript collections in libraries and monasteries for the first time, Kyriakos Kalaitzidis discovered about 4,200 pages of previously unknown notations of secular Greek, Ottoman and Persian music. After the publication of two known collections of Ottoman art music prior to the 19th century, Ali Ufki’s Mecmua and the collection of Cantemir, these new sources promise a third outstanding historical corpus of compositions.
Presentation in 2013:
http://www.musikidergisi.net/?p=2398
http://panagiotisandriopoulos.blogspot.gr/2013/02/blog-post_2.html
I would like to announce another important publication which, unfortunately, follows a symposium with 5 years delay!
Wolfram, G. & Troelsgård, Chr. eds., 2013. Tradition and Innovation in Late Byzantine and Postbyzantine Liturgical Chant II: Proceedings of the Congress held at Hernen Castle, the Netherlands, 30 October - 3 November 2008. In Eastern Christian Studies 17. Leuven, Paris, Walpole: Peeters.
It is already the second conference dedicated to the topic (see the proceedings of 2005 at the publisher Peeters and at Google Books), and Christian Troelsgård wrote in the foreword about these two symposia:
The question of the relationship between the actual musical traditions of the Greek Church of today and the melodies contained in the medieval manuscripts with Byzantine neumatic notation, has very often been raised, and a qualified answer can only be given through a precise study of the transmission and transformations of the melodies and the whole musical heritage during the intermediate centuries. At the 2005 symposium, more general studies of the development of Byzantine chant repertoires and a number of case studies spanning the 14th through the 19th centuries were presented. In this volume, the study of the development of Byzantine-Greek Church music is supplemented with a handful of papers on the development of yet other genres, and with a focus on the education of cantors (psaltai). It is precisely the role of the master cantors, the so-called maïstores, their teachings, treatises, innovations and their relations with the pupils, that is treated in a number of papers in the present volume. As has been learned from these symposia, the evolution of the didactic tradition appears to be one of the key points for understanding phenomena of transmission and development in Byzantine chant in general.
Summary:
What is the relation between the Greek ecclesiastical chant traditions of today and Byzantine chant? That question can only be answered through a meticulous study of the transmission and transformation of both the melodies, the genres, and the whole musical culture of Late Byzantium and the subsequent centuries.
This book presents a handful of studies focussing on both the development of new musical styles, such as the ornamented Kalofonia ('Beautiful sound'), and on the education of the cantors, the psaltai. The role of the master cantors, the maïstores, their teachings, treatises, traditions, innovations, compositions, and the various modes of interpretation (exegesis) are among the topics covered by this collection of papers, written by specialist scholars of Byzantine chant history.
Table of Contents
See pdf at the publishers page: http://www.peeters-leuven.be/toc/9789042927483.pdf
Achilleas Chaldaiakis' contribution about the Eunuch Protopsaltis Philanthropinos
Here with facsimiles in colour: http://www.academia.edu/3308858/
Emmanouil Giannopoulos' contribution about chant treatises in 17th- and 18th-century manuscripts
Please visit his homepage: http://users.auth.gr/mangian/Emm.%20Giannopoulos,%20Hernen%202008.pdf
Review
Gerlach, O., 2014. Review: Gerda Wolfram – Christian Troelsgård, ed. Tradition and Innovation in Late- and Postbyzantine Liturgical Chant II: Proceedings of the Congress Held at Hernen Castle, the Netherlands, 30 October - 3 November 2008. Eastern Christian Studies 17. Leuven, Paris, Walpole: Peeters, 2013. Jahrbuch der Österreichischen Byzantinistik, 64, pp.315–318. doi:10.1553/joeb64s285
Here a quotation:
These are the second proceedings on the same topic, which includes the bridge between Byzantine chant and the living traditions of Orthodox chant, a bone of contention between “Occidental” and “Greek” scholars. And unlike the first time, its focus is on the education of the cantor (1–122) and on more specific studies of chant (123-316), indeed with two exceptions mainly of the sticheraric genre (the sticherarion was the first notated chant book created since the end of the 10th century by the reformers of the Studiu Monastery). [...]
The latter (“the new embellishment of the sticherarion”, gr. καινοφανής καλλωπισμός) is the topic of Flora Kritikou’s philological study of 4 layers (215–251): 14th-century sticheraria, 15th- and 16th-century sticheraria ascribed to Manuel Chrysaphes (GR-AOi 950, 954), 17th-century sticheraria ascribed to Georgios Raidestinos I (GR-AOka 220), and those ascribed to his pupil Panagiotes the New Chrysaphes (ET-MSsc gr. 1238–1239). Unlike Wolfram and Wanek her study is less focussed on a comparison of individual compositions than a study of how the great signs had been transcribed. The intention to keep the old method to do the thesis of the sticheraric melos created a new combination of hypostaseis which cannot be found in the earlier manuscripts. During the process of 200 years, these very signs became “innovative composers”. One might miss a comparison with the transcription of the old sticherarion by Chourmouzios whose exegeseis were so long, that abridgements had to be invented between Petros Peloponnesios and Konstantinos Pringos (another 200 years). [...]
The proceedings of the symposium in 2008 are a striking document, how experts of Byzantine chant have finally proceeded with scruples and with an increasing questioning of historiographical constructions referred to those periods, which connect Byzantine traditions with the living ones of Orthodox chant. [...] The vivid exchanges between various traditions of religious chant and across the borders of different religions, as they do still exist within the traditional communities around Galata and other districts of Istanbul are definitely one source of inspiration. A more profound understanding of the Byzantine heritage presumes, that both sides put away cut and dried opinions which had far too often been an obstacle within the study of “post-Byzantine chant”, insofar as they did not simply prevent to study it at all.
A collection of essays was published by Nicolae Gheorghiţă:
"Byzantine Chant between Constantinople and the Danubian Principalities"
Bucarest: Editura Sophia, 2010.
Presentation of the book:
Please use this link to buy the book directly at the publisher:
I. Byzantine Chant in the Romanian Principalities during
the Phanariot Period (1711 – 1821): 1
COMPOSING AND CHANTING IN THE ORTHODOX CHURCH,
Proceedings of the Second International Conference on Orthodox
Church Music, The International Society of Orthodox Church Music &
University of Joensuu, Eds. Ivan Moody and Maria Takala-Roszczenko,
Finland (2009), pp. 65-97
II. Secular Music at the Romanian Princely Courts during
the Phanariot Epoch (1711 – 1821): 37
NEW EUROPE COLLEGE YEARBOOK (2008-2009 [forthcoming])
III. Dionysios Photeinos (Moraitēs) (b. 1777 – d. 10 Oct 1821): 83
THE CANTERBURY DICTIONARY OF HYMNOLOGY, UK
(forthcoming)
IV. Nikēphoros Kantouniarēs (Nautouniarēs)
(b. c. 1770 – d. c. 1830): 87
THE CANTERBURY DICTIONARY OF HYMNOLOGY, UK
(forthcoming)
V. The Anastasimatarion of Dionysios Photeinos (1777 – 1821): 91
ACTA MUSICAE BYZANTINAE 4 (May 2002),
The Iaşi Centre for Byzantine Studies, pp. 99 – 109
VI. Διονύσιος Φωτεινός: Τὸ Ἀναστασιματάριον: 103
ΠΟΛΥΦΩΝΙΑ (POLYPHONY) 16 (Spring 2010), Athens, pp. 88 – 111
VII. Συντακτικές καὶ μορφολογικές παρατηρήσεις στὸ
Ἀναστασιματάριο τοῦ Διονυσίου Φωτεινοῦ· ἦχος βαρύς: 127
THEORIA AND PRAXIS OF THE PSALTIC ART: THE
OKTAECHIA, Acta of the Third International Congress of Byzantine
Musicology and Psaltic Art, Ed. Gregorios Stathis, Athens, 17-21
October 2006, Holy Synod of the Church of Greece, Institute of Byzantine
Musicology, Athens (2010), pp. 351 – 366
VIII. Byzantine Music Treatises in the Manuscripts Fund in
Romania. The Case of Gr. MS no. 9 from the National
Archives in Drobeta Turnu – Severin: 135
TRADITION AND INNOVATION IN LATE- AND
POSTBYZANTINE LITURGICAL CHANT. Acta of the Congress
held at Hernen Castle, the Netherlands [30 October – 3 November 2008]
(forthcoming)
IX. Οι καλλιτεχνικές και μουσικολογικές σπουδές
Βυζαντινής Μουσικής στη Ρουμανία: 163
ΚΕΝΤΡΟ ΕΚΚΛΗΣΙΑΣΤΙΚΗΣ ΜΟΥΣΙΚΗΣ, ΒΥΖΑΝΤΙΝΗ
ΛΕΙΤΟΥΡΓΙΚΗ ΣΚΗΝΗ, Β’ ΔΙΕΘΝΕΣ ΣΥΝΕΔΡΙΟ ΒΥΖΑΝΤΙΝΗΣ
ΜΟΥΣΙΚΗΣ. ΔΙΑΠΑΝΕΠΙΣΤΗΜΙΑΚΗ ΣΥΝΕΡΓΑΣΙΑ. Επιμόρφωση
– Εξομοίωση – Μεταπτυχιακές Σπουδές, Thessaloniki, 9 – 10 December
2004 (forthcoming)
X. Tradition and Renewal in the Romanian Byzantine Music
Education: 167
ΚΕΝΤΡΟ ΕΚΚΛΗΣΙΑΣΤΙΚΗΣ ΜΟΥΣΙΚΗΣ, ΒΥΖΑΝΤΙΝΗ
ΛΕΙΤΟΥΡΓΙΚΗ ΣΚΗΝΗ, Α’ ΔΙΕΘΝΕΣ ΣΥΝΕΔΡΙΟ ΒΥΖΑΝΤΙΝΗΣ
ΜΟΥΣΙΚΗΣ. ΔΙΑΠΑΝΕΠΙΣΤΗΜΙΑΚΗ ΣΥΝΕΡΓΑΣΙΑ. Έρευνα –
Εκπαίδευση – Καλλιτεχνικό έργο, Thessaloniki, 30 – 31 October 2003
(forthcoming)
XI. Some Observations on the Structure of the «Nouthesia pros
tous mathitas» by Chrysaphes the Younger from the Gr. MS no.
840 in the Library of the Romanian Academy (A.D. 1821): 171
ACTA MUSICAE BYZANTINAE 7 (May 2004), The Iaşi Centre for
Byzantine Studies, pp. 47 – 59. Republished in THEORY AND PRAXIS
OF THE PSALTIC ART. THE GENERA AND CATEGORIES OF
THE BYZANTINE MELOPOEIA, Acta of the Second International
Congress of Byzantine Musicology and Psaltic Art, Ed. Gregorios Stathis,
Athens, 15-19 October 2003, Holy Synod of the Church of Greece, Institute of
Byzantine Musicology, Athens (2006), pp. 271 – 289
XII. The kalophonic Idiom in the Second Half of the 18th Century.
The Koinonika Αἰνεῖτε τὸν Κύριον in the First Authentic
Mode: 191
ACTA MUSICAE BYZANTINAE 5 (May 2003), The Iaşi Centre for
Byzantine Studies, pp. 45 – 50
XIII. The Structure of Sunday Koinonikon in the Post – Byzantine
Era: 201
TRADITION AND INNOVATION IN LATE- AND
POSTBYZANTINE LITURGICAL CHANT. Acta of the Congress
held at Hernen Castle, the Netherlands, in April 2005. EASTERN
CHRISTIAN STUDIES, vol. 8 (ed. by Gerda WOLFRAM), A. A. Bredius
Foundation. PEETERS (Leuven – Paris – Dudley), MA (2008), pp. 331-
355
XIV. Observations on the Technique of Transcription (εξήγησις)
into the New Method of Analytical Music Notation of the
Sunday Koinonikon of the 18th Century: 225
“Festschrift zu Gerda Wolframs 70. Geburtstag”. “Edition Praesens,
Wien” (forthcoming 2011)
I would like to announce another publication of this year in the field of Byzantine and Orthodox Chant.
You can buy or review this book here:
http://www.praesens.at/praesens2013/?p=4120
The sticherarion is one of the most important chant books since its creation as a fully notated chant book during the 10th century (the genre of the chant sticheron is much older and can even be traced back to the earliest papyrus fragments of the 6th century) until today, when it still represents one of the main genres of Orthodox chant, defined according to the New Method by its own formulaic repertory within the Octoechos and its own tempo.
Because the study is focussed on the late period (since the reform of Ioannes Koukouzeles and his creation of an alternative kalophonic method during the 14th century), it is of particular interest for Orthodox chanters who would like to understand the connection between the "old sticherarion", a mysterious voluminous book called "mathematarion" ("exercise book" as the alternative name for the sticherarion kalophonikon), and the printed editions of the doxastaria today, which are differentiated between a "short" (syntomon), a "moderate" (argosyntomon), and a "long version" (argon). The author does treat the arrangements of the "old sticherarion" by the 17th-century composers Panagiotes the New Chrysaphes and Germanos of New Patras who became the most representative agents of the Byzantine sticherarion for Chourmouzios the Archivist's transcription according to the New Method (around 1814).
Hopefully the book will answer a lot of open questions. The sticherarion represents a very huge collection of chant, so Nina-Maria Wanek's study has its focus on the sticheraria of August (menaion) concerning the repertory and on the collections of three libraries concerning the sources: the National Libraries of Austria (Vienna), Greece (Athens), and the Bayerische Staatsbibliothek (Munich, a reproduction of cgm 626, fol. 305r, is already presented on the hard cover).
Maintenant le libre est arrivé!!!
Il s'agît d'une collection des articles. Visitez ma nouvelle page, svp. Vous trouvez aussi quelques extraits:
http://ensembleison.de/current.htm
Et si vous avez intéresse, là vous pouvez aussi ordonner le livre.
Il contient aussi un CD supplément avec les enregistrements au champs que j'ai fait en Bulgarie.
Je voudrais remercier pour tous les échanges que je pourrais faire dans ce réseau. Ils m'ont aidé beaucoup dans la révision de mes articles.
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