Liturg. Music over Aegean, ed. 2016.pdf

Orthodoxȱliturgicalȱmusic’sȱbreezeȱblowsȱȱ overȱtheȱAegean:ȱ OverȱoneȬthousandȱyearsȱofȱmusicalȱtraditionȱinȱaȱseaȱwithȱ overȱaȱthousandȱislandsxȱ ȱ ȱ Yourȱgraceȱ Reverendȱclergyȱ EsteemedȱFacultyȱ Dearȱfriendsȱofȱmusicȱ Iȱ wouldȱ likeȱ toȱ thankȱ theȱ Maryȱ Jaharisȱ Centerȱ forȱ Byzantineȱ Artȱ andȱ Musicȱ andȱ alsoȱ Professorȱ Meniosȱ Caranosȱ forȱ theȱ kindȱ invitationȱ toȱ comeȱ andȱ speakȱ todayȱinȱthisȱhistoricalȱplace.ȱ ȱ TheȱByzantineȱEmpire.ȱAnȱEmpireȱthatȱneverȱexistedȱbyȱthatȱname,ȱaȱStateȱ whichȱ lastedȱ 1123ȱ yearsȱ Ȭfromȱ ADȱ 330ȱ whenȱ itsȱ capitalȱ Constantinopleȱ wasȱ foundedȱ byȱ Constantineȱ theȱ Great,ȱ untilȱ 1453ȱ whenȱ thisȱ famous,ȱ uniqueȱ Cityȱ (withȱ aȱ capitalȱ “C”)ȱ fellȱ intoȱ theȱ Ottomans’ȱ hands.ȱ Butȱ atȱ noȱ timeȱ throughoutȱ thisȱperiodȱdidȱanyȱofȱtheȱEmpire’sȱcitizensȱcallȱitȱ“Byzantium”.ȱThisȱnomenclaȬ tureȱwasȱgivenȱoverȱ100ȱyearsȱafterȱtheȱFallȱofȱConstantinopleȱbyȱaȱWesternȱhisȬ torian1.ȱSo,ȱwhatȱwasȱtheȱnameȱandȱtheȱbasicȱcharacterȱofȱthisȱEmpire?ȱAccordȬ ingȱtoȱrespectedȱresearchersȱandȱhistorians,ȱitȱwasȱtheȱ“EasternȱRomanȱEmpire”,ȱ theȱ“EmpireȱofȱConstantinople”,ȱ“Romania”,ȱorȱtheȱ“GreekȱEmpire”,ȱwhichȱhadȱ twoȱfundamentalȱelements:ȱtheȱOrthodoxȱfaithȱcombinedȱwithȱGreekȱlanguageȱ ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ xȱ ̇΍ΣΏΉΒ΋ȱΗΘΓȱBostonȱByzantineȱMusicȱFestivalȱ2014ȱΘ΋Αȱ̇ΉΙΘνΕ΅ȱ24Ȭ2Ȭ14ȱΗΘΓȱMaliotisȱCulȬ turalȱCentreȱ(HellenicȱCollege,ȱHolyȱCross,ȱGreekȱOrthodoxȱSchoolȱofȱTheology,ȱBoston).ȱ̖΋Αȱ Έ΍ΣΏΉΒ΋ȱΎ΅ΘΣȱΘ΋ΑȱΓΔΓϟ΅ȱΜΣΏΌ΋Ύ΅ΑȱϾΐΑΓ΍ȱΗΛΉΘ΍ΎΓϟȱΐΉȱΘΓȱΌνΐ΅ȱ΅ΔϱȱΘ΋ΑȱΛΓΕΝΈϟ΅ȱΘΓΙȱHolyȱ Crossȱ(Έ΍Έ΅ΗΎ΅Ώϟ΅ȱΘΓΙȱΗΙΑ΅ΈνΏΚΓΙȱΎ΅Ό΋·΋ΘφȱΎ.ȱ̏νΑ΍ΓΙȱ̍΅ΕΣΑΓΙ,ȱΈ΍ΉϾΌΙΑΗ΋ȱ̈ΐΐ.ȱ̆΍΅ΑȬ ΑϱΔΓΙΏΓΙ),ȱΈ΍ΓΕ·ΣΑΝΗΉȱΘΓȱȈTHEȱMARYȱJAHARISȱCENTERȱforȱByzantineȱArtsȱandȱCultureȈ.ȱ ̖΅ȱΐΓΙΗ΍ΎΣȱΎΉϟΐΉΑ΅ȱΗΘ΋ΑȱΔ΅ΕΓϾΗ΅ȱΈ΋ΐΓΗϟΉΙΗ΋ȱΔΏ΋ΎΘΕΓΏΓ·φΌ΋Ύ΅Αȱ΅ΔϱȱΘΓΑȱΔ΅Ώ΅΍ϱȱΐΓΙȱ ΚΓ΍Θ΋Θφ,ȱΐΓΙΗ΍ΎΓΏΓ·΍ЏΘ΅ΘΓȱΐΓΙΗ΍ΎΓΈ΍ΈΣΗΎ΅ΏΓȱΎ.ȱ̅΅ΗϟΏΉ΍Γȱ̏΅ΙΕΣ·Ύ΅ΑΓ,ȱΘΓΑȱΓΔΓϟΓȱΌΉΕȬ ΐΣȱΉΙΛ΅Ε΍ΗΘЏ.ȱ 1.ȱ«̖ΓΑȱϱΕΓȱ«̅ΙΊ΅ΑΘ΍ΑϱΖ»ȱΔΕΝΘΓΛΕ΋Η΍ΐΓΔΓϟ΋ΗΉȱΘΓȱ1562ȱΓȱHieronymusȱWolfȱ(1516Ȭ1580),ȱ ΐ΅Ό΋ΘφΖȱΘΓΙȱ̏ΉΏΣ·ΛΌΓΑΓΖ,ȱΓȱΓΔΓϟΓΖȱΉΒνΈΝΗΉȱΘϲȱ«CorpusȱByzantinaeȱHistoriae»ȱ(ΗΙΏΏΓ·φȱ νΕ·ΝΑȱ«̅ΙΊ΅ΑΘ΍ΑЏΑ»ȱ΍ΗΘΓΕ΍ΎЏΑȱȬȱ«̙ΕΓΑ΍ΎϱΑ»ȱ̌ΝΣΑΑ΋ȱ̉ΝΑ΅ΕΣ,ȱ«̌ΗΘΓΕϟ΅»ȱ̐΍ΎφΘ΅ȱ̙ΝΑ΍ΣΘ΋,ȱ «̌ΗΘΓΕϟ΅»ȱ̐΍Ύ΋ΚϱΕΓΙȱ̆Ε΋·ΓΕΣ).ȱ̒΍ȱϟΈ΍Γ΍ȱΓ΍ȱΔΓΏϟΘΉΖȱΘ΋Ζȱ̄ΙΘΓΎΕ΅ΘΓΕϟ΅Ζȱ«̅ΙΊΣΑΘ΍Γ»ȱΓΑϱΐ΅Ȭ Ί΅Αȱ Θ΋Αȱ ΔΕΓΎΝΑΗΘ΅ΑΘϟΑΉ΍΅ȱ ΔϱΏ΍ȱ (ΓΕ΍ΗΐνΑΓ΍ȱ ΅ΕΛ΅ϬΊΓΑΘΉΖȱ ΍ΗΘΓΕ΍ΎΓϟȱ Ύ΅΍ȱ Θ΋Αȱ ̍ΝΑΗΘ΅ΑΘ΍Ȭ ΑΓϾΔΓΏ΍),ȱ «̅ΙΊ΅ΑΘϟΓΙΖ»ȱ ΈΉȱ ΐϱΑΓΑȱ ΘΓΙΖȱ Ύ΅ΘΓϟΎΓΙΖȱ Θ΋Ζȱ ΅ΕΛ΅ϟ΅Ζȱ ΔϱΏΉΝΖȱ φȱ ΘΓΙΖȱ Ύ΅ΘΓϟΎΓΙΖȱ Θ΋Ζȱ ̍ΝΑΗΘ΅ΑΘ΍ΑΓΙΔϱΏΉΝΖ,ȱ ΐΉȱ ΅ΙΗΘ΋ΕЏΖȱ ΘΓΔ΍Ύφȱ νΑΑΓ΍΅.»ȱ (Δ.ȱ ̇΋ΐφΘΕ΍ΓΖȱ ̍ΝΑΗΘ΅ΑΘνΏΏΓΖȱ «̏΅ΕΘΙΕϟΉΖȱΎ΅΍ȱΉΑΈΉϟΒΉ΍ΖȱΘ΋ΖȱΉΏΏ΋ΑΓΛΕ΍ΗΘ΍΅Α΍ΎφΖȱΘ΅ΙΘϱΘ΋Θ΅Ζ»,ȱhttp://pheidias.antibaro.gr/ȱ Hellas_names/Byzantines.html).ȱ 396ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̗̈̏̏̄̐̒̊̎ȱ̖̕.ȱ̗̗̆̌̄̐̐̒̓̒̎̒,ȱ̊ȱ̖̄̎̌̍̊̚ȱ̖̙̈̐̊,ȱ̖̒̏.ȱ̅’ȱ ȱ andȱthought,ȱtheȱancientȱGreekȱcultureȱwhichȱhadȱbeenȱfilteredȱthroughȱChrisȬ tianity2.ȱAndȱmanyȱsourcesȱfromȱthatȱperiodȱidentifyȱaȱcitizenȱofȱthisȱEmpireȱasȱ anȱ«̺ΏΏ΋Α΅Ζ»Ȭ“Greek,ȱmanȱorȱwoman”3.ȱ Throughoutȱ thisȱ Empire’sȱ longȱ durationȱ weȱ canȱ observeȱ andȱ admireȱ theȱ flourishingȱ ofȱ almostȱ allȱ theȱ Arts,ȱ stronglyȱ basedȱ onȱ theȱ ancientȱ Greekȱ protoȬ types,ȱwithȱslightȱinfluencesȱfromȱvariousȱotherȱsidesȱwhichȱtheȱEmpireȱincorȬ poratedȱ becauseȱ ofȱ itsȱ culturalȱ virtue.ȱ Allȱ theseȱ artsȱ hadȱ aȱ clearȱ orientationȱ inȱ theȱserviceȱofȱGod.ȱThus,ȱtodayȱByzantineȱhistory,ȱByzantineȱhymnographyȱandȱ Poetry,ȱ Byzantineȱ literatureȱ andȱ Philosophy,ȱ Byzantineȱ Paintingȱ andȱ MarqueȬ try,ȱByzantineȱPalaeographyȱandȱCalligraphy,ȱArchitectureȱandȱChurchȱArchiȬ tecture,ȱSculptureȱandȱWoodȱSculpture,ȱEmbroideryȱandȱmanyȱothers,ȱareȱacaȬ demicȱsubjectsȱofȱtheȱGreatȱUniversitiesȱallȱoverȱtheȱworld.ȱAmongȱthem,ȱisȱmuȬ sic,ȱbothȱsecularȱbutȱprimarilyȱecclesiastical,ȱi.e.ȱByzantineȱmusicȱor,ȱtoȱbeȱmoreȱ preciseȱtheȱ“̏usicalȱscience”,ȱChantingȱorȱtheȱ“PsalticȱArt”4.ȱHavingȱitsȱoriginȱ inȱ Greekȱ musicȱ andȱ theȱ poetryȱ ofȱ theȱ Psalms,ȱ theȱ Psalticȱ Artȱ featuresȱ anȱ unȬ breakableȱunityȱbetweenȱlyricsȱȬtheȱversesȱofȱtheȱhymnsȬȱandȱmusic,ȱwhichȱhasȱ theȱ purposeȱ ofȱ glorifyingȱ God,ȱ supplicatingȱ Him,ȱ celebratingȱ Ȭespeciallyȱ theȱ ResurrectionȱofȱtheȱLordȱandȱtheȱGreatȱFeastsȬ,ȱspreadingȱdevoutnessȱtoȱsouls,ȱ narratingȱ theȱ importantȱ eventsȱ ofȱ Christ’sȱ life,ȱ andȱ thoseȱ ofȱ hisȱ Mostȱ Holyȱ Motherȱ andȱ hisȱ Saintsȱ duringȱ theȱ Holyȱ Services.ȱ Asȱ theȱ hymnographersȱ wereȱ producingȱnewȱandȱadmirableȱhymns,ȱtheȱcomposersȱalsoȱwereȱcomposingȱtheȱ appropriateȱmelodiesȱtoȱhighlightȱtheȱhymns’ȱmeaning.ȱAndȱinȱmanyȱcases,ȱtheȱ hymnographerȱ andȱ theȱ composerȱ wereȱ theȱ sameȱ person.ȱ Fromȱ theȱ foundationȱ ofȱtheȱChurchȱonȱtheȱdayȱofȱPentecostȱandȱforȱalmostȱ800ȱyearsȱthereafter,ȱthisȱ musicȱwasȱquiteȱsimple,ȱalthoughȱitȱgraduallyȱacquiredȱsomeȱtheoreticalȱcharacȬ teristics,ȱlikeȱtheȱeightȱdifferentȱmusicalȱwaysȱ–modes,ȱtonesȱorȱtunesȬȱtoȱchantȱaȱ hymn.ȱ Thisȱ isȱ whatȱ weȱ callȱ inȱ theȱ Greekȱ languageȱ φΛΓΖȱ orȱ inȱ theȱ pluralȱ φΛΓ΍,ȱ andȱweȱcanȱcommentȱhereȱthatȱweȱsurelyȱhaveȱmoreȱmusicalȱ“ways”ȱorȱmodesȱ thatȱweȱcanȱapplyȱtoȱanȱecclesiasticalȱpoem,ȱbutȱtheȱnumberȱ“eight”ȱhasȱaȱsymȬ bolicȱmeaningȱinȱOrthodoxȱTheology.ȱȱ FromȱtheȱfifthȱcenturyȱADȱonwardsȱsomeȱmusicalȱsignsȱwithȱvagueȱinterȬ valȱmusicalȱvalueȱhadȱbeenȱusedȱtoȱhelpȱtheȱclergyȱwhoȱreadȱtheȱexcerptsȱfromȱ theȱHolyȱGospelȱtoȱraiseȱorȱlowerȱtheirȱvoiceȱinȱorderȱtoȱbetterȱexpressȱtheȱmeȬ ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ 2.ȱ̈ΏνΑ΋ȱ̆ΏϾΎ΅ΘΊ΋Ȭ̄ΕΆΉΏνΕ,ȱ̆΍΅ΘϟȱΘΓȱ̅ΙΊΣΑΘ΍Γ,ȱΗΗ.ȱ17Ȭ20,ȱ24Ȭ25,ȱ64,ȱ100.ȱ 3.ȱΔ.ȱ̇΋ΐφΘΕ΍ΓΖȱ̍ΝΑΗΘ΅ΑΘνΏΓΖ,ȱ«̏΅ΕΘΙΕϟΉΖȱΎ΅΍ȱΉΑΈΉϟΒΉ΍ΖȱΘ΋ΖȱΉΏΏ΋ΑΓΛΕ΍ΗΘ΍΅Α΍ΎφΖȱΘ΅ΙȬ ΘϱΘ΋Θ΅Ζ»,ȱ http://pheidias.antibaro.gr/Hellas_names/Konstantelos1.htmlаȱ Idem,ȱ «̏΅ΕΘΙΕϟΉΖȱ ·΍΅ȱΘ΋ΑȱΘ΅ΙΘϱΘ΋Θ΅ȱΘΝΑȱ̅ΙΊ΅ΑΘ΍ΑЏΑȱΎ΅΍ȱΘΝΑȱ̔Νΐ΍ЏΑȱΗΉȱΉΏΏ΋Α΍ΎνΖȱΔ΋·νΖ»,ȱ̓ΉΐΔΘΓΙΗϟ΅,ȱΘ.ȱ 7,ȱ8,ȱ9,ȱ̇ΉΎ.ȱ2001ȱȬȱ̐Γνΐ.ȱ2002ȱ(http://pheidias.antibaro.gr/Hellas_names/Konstantelos2.html).ȱ 4.ȱ CONOMOS,ȱ Theȱ treatiseȱ ofȱ Manuelȱ Chrysaphes,ȱ 1985,ȱ pp.ȱ 36:ȱ «...ΘϜȱ Μ΅ΏΘ΍ΎϜȱ ΘνΛΑϙ...»,ȱ «...ΔΉΕϠȱΘЗΑȱΘϛΖȱΜ΅ΏΘ΍ΎϛΖȱΘνΛΑ΋Ζ...»аȱpp.ȱ38:ȱ«̽ȱ....ȱΜ΅ΏΘ΍ΎχȱπΔ΍ΗΘφΐ΋...».ȱ ̎̒̆̒̕ȱ̍̄̌ȱ̏̈̎̒̕ȱ̖̊̕ȱ̖̎̄̔̈̌̄ȱ̖̊̕ȱ̒̔̋̒̇̒̑̊̕ȱ̈̍̍̎̊̌̄̕̕ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ397ȱ ȱ aningȱofȱtheȱtext.ȱTheseȱekphoneticȱnotationsȱderiveȱfromȱtheȱspecialȱsignsȱtheȱ ancientȱ philologistsȱ inventedȱ toȱ salvageȱ theȱ rightȱ pronunciationȱ ofȱ theȱ Greekȱ language,ȱ andȱ theȱ evolutionȱ ofȱ theseȱ signsȱ broughtȱ forthȱ anȱ almostȱ completeȱ musicalȱnotationȱbyȱaboutȱtheȱendȱofȱtheȱninthȱorȱtheȱbeginningȱofȱtheȱtenthȱcenȬ tury.ȱTheȱcreationȱofȱaȱwrittenȱmusicalȱnotationȱinȱaboutȱ10thȱcenturyȱwasȱaȱdeȬ cisiveȱ point,ȱ sinceȱ gaveȱ wingsȱ toȱ theȱ ecclesiasticalȱ musiciansȱ toȱ serveȱ theȱ worȬ shipȱofȱGodȱthroughȱtheirȱcompositions,ȱbutȱalsoȱtoȱdevelopȱanȱartȱofȱhighȱaesȬ theticȱvalue.ȱIndeed,ȱespeciallyȱafterȱ1300,ȱmanyȱofȱtheȱEmpire’sȱmaistorsȱorȱexȬ pertȱmusiciansȱcomposed,ȱsideȱbyȱsideȱwithȱtheȱmostȱsimpleȱmelodies,ȱmusicalȱ piecesȱ whichȱ areȱ unprecedented,ȱ longȱ andȱ expressive,ȱ withȱ specialȱ melodicȱ movementsȱ andȱ shiftsȱ betweenȱ theȱ variousȱ modes.ȱThisȱ musicalȱcreativityȱ hasȱ lastedȱ moreȱ thanȱ sevenȱ centuriesȱ upȱ toȱ ourȱ days,ȱ althoughȱ itȱ isȱ clearȱ thatȱ theȱ brieferȱ melodiesȱ calledȱ πΎΎΏ΋Η΍΅ΗΘ΍ΎΣ»ȱ (“ecclesiasticalȱ musicalȱ pieces”Ȭmoreȱ appropriateȱforȱtheȱChurch)ȱhaveȱtheirȱcentralȱpositionȱinȱtheȱChurch’sȱservices.ȱ TheȱcentreȱofȱtheȱcultivationȱofȱthisȱmonophonicȱmusicalȱtraditionȱwasȱalȬ waysȱtheȱcapitalȱCity,ȱConstantinople,ȱbutȱinȱtheȱsameȱtimeȱtheȱuniqueȱmonasticȱ stateȱofȱMountȱAthos,ȱwhichȱhasȱalsoȱexistedȱforȱoverȱaȱthousandȱyears,ȱandȱtheȱ neighbouringȱ cityȱ ofȱ Thessaloniki,ȱ alsoȱ broughtȱ forthȱ famousȱ composersȱ andȱ aweȬinspiringȱmelodies.ȱTheȱmusicalȱpoemsȱofȱnumerousȱskilfulȱmusiciansȱspȬ readȱ toȱ allȱ theȱ countriesȱ andȱ placesȱ whereȱ Orthodoxȱ peopleȱ livedȱ andȱ whereȱ theseȱ peopleȱ builtȱ churchesȱ andȱ monasteriesȱ andȱ organizedȱ theȱ worship.ȱ Theȱ wealthȱ ofȱ thisȱ musicalȱ expressionȱandȱ itsȱ impressiveȱ renditionȱ byȱ wellȱ trainedȱ andȱorganizedȱchoirs,ȱmadeȱaȱgreatȱimpressionȱonȱtheȱforeignȱofficialsȱwhoȱvisȬ itedȱConstantinople,ȱandȱalsoȱprovidedȱrichȱmaterialȱtoȱtheȱsecularȱmusicȱcomȬ posers.ȱȱ AfterȱtheȱFallȱofȱConstantinopleȱinȱ1453ȱandȱtheȱbeginningȱofȱtheȱOttomanȱ occupation,ȱculturalȱactivityȱonȱallȱlevelsȱinȱthisȱCityȱstoppedȱforciblyȱbutȱconȬ tinuedȱinȱtheȱislandsȱofȱtheȱAegeanȱseaȱwhichȱwereȱfreeȱorȱunderȱtheȱVenetianȱ occupation,ȱespeciallyȱCyprusȱandȱCrete.ȱFromȱtheȱancientȱeraȱthisȱseaȱwasȱalȬ waysȱaȱcrossroadȱofȱdifferentȱcivilizations;ȱitȱwasȱaȱgeographicalȱplaceȱinȱwhichȱ Eastȱ andȱ West,ȱ Southȱ andȱ Northȱ hadȱ theirȱ fruitfulȱmeetingsȱ andȱ contacts.ȱ Theȱ Aegeanȱsea,ȱwhichȱwasȱtheȱbirthplaceȱofȱtheȱMinoanȱandȱtheȱCycladicȱcivilizaȬ tionsȱinȱantiquity,ȱisȱalsoȱtheȱplaceȱinȱwhichȱtodayȱsomeoneȱcanȱvisitȱandȱadmireȱ theȱ sanctuariesȱ builtȱ byȱ theȱ ancientȱ Greeksȱ(suchȱasȱonȱ Delosȱ island)ȱandȱ thenȱ kneelȱ insideȱ theȱ adjacentȱ medievalȱ monasteryȱ orȱ churchȱ whichȱ wasȱ foundedȱ duringȱtheȱEmpire’sȱdays,ȱseeȱtheȱChristianȱmonuments,ȱandȱhearȱtheȱecclesiasȬ ticalȱ music.ȱ Thisȱ musicȱ carriesȱ inȱ itsȱ notesȱ andȱ melodiesȱ archaicȱ chantingȱ eleȬ ments,ȱ justȱ asȱ theȱ Byzantineȱ Iconographyȱ tookȱ elementsȱ fromȱ ancientȱ illustraȬ tions,ȱ Byzantineȱ Hymnographyȱ assumedȱ expressiveȱformsȱ fromȱ theȱ Greekȱ anȬ cientȱpoets,ȱandȱtheȱgreatȱHelleneȱ(Greek)ȱphilosophersȱofȱtheȱ3rdȱandȱ5thȱcenturyȱ BCȱareȱpaintedȱonȱtheȱoutsideȱwallsȱofȱChristianȱchurches.ȱȱ 398ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̗̈̏̏̄̐̒̊̎ȱ̖̕.ȱ̗̗̆̌̄̐̐̒̓̒̎̒,ȱ̊ȱ̖̄̎̌̍̊̚ȱ̖̙̈̐̊,ȱ̖̒̏.ȱ̅’ȱ ȱ TheȱseaȱroutesȱbetweenȱtheȱAegeanȱislandsȱandȱtheȱwindȱledȱtheȱshipsȱandȱ theȱpeopleȱfromȱConstantinopleȱtoȱVenice,ȱfromȱItalyȱandȱSpainȱtoȱKythiraȱandȱ Cyprusȱ andȱ thenȱ toȱ theȱ Holyȱ Landȱ ofȱ Jerusalem,ȱ fromȱ Mountȱ Athosȱ toȱ Creteȱ andȱ viceȱ versa.ȱ Andȱ theȱ moreȱ orȱ lessȱ wellȬknownȱ artistsȱ whoȱ transmittedȱ thisȱ cultureȱwereȱpracticing,ȱteachingȱandȱapplyingȱtheirȱartȱinȱallȱplaces,ȱbutȱespeȬ ciallyȱtoȱtheȱAegeanȱislands.ȱTheseȱislandsȱwereȱaȱrefugeȱforȱtheȱartistȱafterȱtheȱ catastropheȱ ofȱ 1453.ȱ Itȱ isȱ thrillingȱ toȱ readȱ todayȱ aȱ lyricalȱ demoticȱ poemȱ whichȱ wasȱwrittenȱinȱthoseȱyears,ȱinȱwhichȱtwoȱshipsȱareȱmeetȱveryȱcloseȱtoȱtheȱislandȱ ofȱTenedosȱ(inȱtheȱnorthȱAegean)ȱandȱtheȱfirstȱshipȱnarratesȱtoȱtheȱotherȱtheȱsadȱ messageȱ ofȱ theȱ Fallȱ ofȱ Constantinople.ȱ Twoȱ hundredȱ andȱ eightyȱ yearsȱ laterȱ aȱ hieromonkȱ(priestȬmonk)ȱwhoȱcameȱfromȱtheȱsameȱislandȱwroteȱanȱecclesiastiȬ calȱmusicalȱmanuscriptȱwhichȱisȱnowȱlost5.ȱAccordingȱtoȱaȱresearcherȱwhoȱhadȱ studiedȱ itȱ beforeȱ 1922ȱ inȱ Smyrnaȱ (todayȱ Izmir),ȱ theȱ scribeȱ finishedȱ hisȱ volumeȱ withȱtheseȱwords:ȱ“I,ȱMeletiosȱtheȱhieromonkȬpriestȱmonkȱwhoseȱbirthplaceȱisȱ theȱ islandȱ ofȱ Lephkofrysȱ ofȱ Troyȱ wroteȱ thisȱ bookȱ inȱ 1733”6.ȱ Accordingȱ toȱ theȱ Greekȱmythologyȱ“Lephkofrys”ȱwasȱtheȱnameȱofȱTenedosȱislandȱwhichȱliesȱopȬ positeȱancientȱTroy,ȱandȱwhichȱweȱreadȱaboutȱinȱHomer’sȱ“Iliad”.ȱ ThereȱisȱalsoȱanotherȱrealȱnarrationȱofȱhowȱtheȱresidentsȱofȱCreteȱwereȱinȬ formedȱofȱtheȱFallȱofȱConstantinople,ȱwhichȱchangedȱtheȱcourseȱofȱartisticȱcreaȬ tion:ȱ inȱ Greekȱ manuscriptȱ Add.ȱ 34060ȱ ofȱ theȱ Britishȱ Library,ȱ thereȱ isȱ aȱ noteȱ aboutȱwhatȱhappenedȱexactlyȱaȱmonthȱafterȱtheȱFall:ȱ“1453,ȱJuneȱ29,ȱthreeȱCreȬ tanȱshipsȱcameȱfromȱtheȱCityȱofȱConstantineȱandȱtoldȱusȱthatȱonȱtheȱ29thȱofȱMay,ȱ whichȱwasȱtheȱFeastȱofȱSaintȱTheodosia,ȱTuesday,ȱtheȱthirdȱhourȱofȱtheȱday,ȱtheȱ Ottomansȱ managedȱ toȱ invadeȱ Constantinople,ȱ andȱ killȱ theȱ Emperorȱ ConstanȬ tineȱPalaeologos.ȱAndȱthereȱwasȱgreatȱsadnessȱandȱweepingȱonȱallȱtheȱislandȱofȱ Creteȱ becauseȱ nothingȱ worseȱ happenedȱ orȱ willȱ happen,ȱ andȱ mayȱ Lordȱ giveȱ mercyȱtoȱusȱandȱsaveȱusȱfromȱthisȱterribleȱthreat”.ȱȱ Becauseȱofȱtheȱlimitedȱtime,ȱitȱisȱimpossibleȱtoȱpresentȱallȱtheȱavailableȱandȱ fascinatingȱevidence,ȱsoȱallowȱmeȱpleaseȱtoȱreferȱtoȱsomeȱoutstandingȱcasesȱconȬ cerningȱtheȱecclesiasticalȱmusicalȱtraditionȱofȱthisȱgeographicalȱarea.ȱȱ Theyȱ wereȱ manyȱ famousȱ ecclesiasticalȱ musiciansȱ whoȱ cameȱ fromȱ theȱ AeȬ geanȱ seaȱ islandsȱ andȱ livedȱ andȱ composedȱ theirȱ melodiesȱ beforeȱ 1453,ȱ suchȱ asȱ ManouilȱArgyropoulosȱfromȱRhodes.ȱArgyropoulosȱwasȱaȱskilfulȱcomposerȱandȱ probablyȱaȱpoetȱwho,ȱaccordingȱtoȱtheȱwrittenȱevidence,ȱhadȱaȱcooperationȱwithȱ anotherȱcontemporaryȱfamousȱcomposerȱandȱmusicȱteacherȱwhoȱtravelledȱfromȱ Constantinopleȱ toȱ Creteȱ andȱ foundedȱ aȱ musicȱ schoolȱ there.ȱ Thisȱ wasȱ Ioannesȱ Lascares,ȱwhoȱalsoȱcreatedȱanȱenormousȱbodyȱofȱworkȱduringȱtheȱfirstȱyearsȱofȱ ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ 5.ȱManuscriptȱofȱSmyrnaȱ̅Ȭ56.ȱ 6.ȱ̗̗̓̄̓̄̇̒̓̒̎̒Ỡ̄̍̈̔̄̏̈̕,ȱ«̍΅ΘΣΏΓ·ΓΖȱΛΚΚȱ̈Ι΅··.ȱ̕ΛΓΏφΖȱ̕ΐϾΕΑ΋Ζ»,ȱ1877,ȱ pp.ȱ46Ȭ47.ȱ ̎̒̆̒̕ȱ̍̄̌ȱ̏̈̎̒̕ȱ̖̊̕ȱ̖̎̄̔̈̌̄ȱ̖̊̕ȱ̒̔̋̒̇̒̑̊̕ȱ̈̍̍̎̊̌̄̕̕ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ399ȱ ȱ theȱ15 ȱcentury.ȱInȱtheȱsameȱeraȱinȱwhichȱArgyropoulosȱfromȱRhodesȱlived,ȱorȱ perhapsȱaȱfewȱdecadesȱlater,ȱsomeȱotherȱchantersȱfromȱtheȱsameȱislandȱareȱmenȬ tionedȱinȱtheȱmusicalȱmanuscripts.ȱTheyȱareȱNikolaosȱTramountanes,ȱfirstȱchanȬ terȱ (inȱ Greekȱ “ΔΕΝΘΓΜΣΏΘ΋Ζ”)ȱ andȱ Ioannesȱ Savastosȱ “domestikos”ȱ (aȱ musicalȱ office)ȱofȱtheȱislandȱofȱRhodes.ȱȱ InȱtheȱsouthernȱAegeanȱitȱseemsȱthatȱtheȱidyllicȱislandsȱofȱRhodesȱandȱKosȱ (whichȱisȱveryȱcloseȱtoȱRhodes)ȱhadȱanȱuninterruptedȱmusicalȱtraditionȱbeforeȱ andȱafterȱ1453.ȱManouilȱArgyropoulosȱ(composerȱandȱpoet)ȱNicolaosȱTramounȬ tanesȱfirstȱchanter,ȱIoannesȱSavastosȱtheȱdomestikosȱ(aȱmusicalȱoffice)ȱareȱsomeȱ ofȱtheȱgreatȱmusiciansȱinȱtheseȱislands.ȱAcademicȱresearchȱalsoȱrevealsȱtheȱfigȬ ureȱofȱGeorgiosȱ(George),ȱtheȱprotopsaltesȱofȱKos,ȱwhoȱwasȱalsoȱaȱskilfulȱmusiȬ calȱscribeȱandȱlivedȱduringȱtheȱ17thȱcentury,ȱwhileȱinȱaboutȱ1700ȱaȱveryȱfruitfulȱ composerȱ namedȱ Ioakeimȱ whoȱ wasȱ aȱ metropolitanȱ ofȱ Vizyis,ȱ toȱ theȱ Northȱ ofȱ Constantinople,ȱwasȱbornȱinȱtheȱtraditionalȱvillageȱofȱLindosȱonȱRhodes.ȱ CreteȱandȱCyprusȱwereȱtheȱbigȱneighbouringȱislandsȱinȱwhichȱallȱtheȱeccleȬ siasticalȱ artsȱ experiencedȱ remarkableȱ growth.ȱ Speakingȱ aboutȱ music,ȱ weȱ canȱ alsoȱsayȱthatȱinȱtheseȱplacesȱweȱhaveȱfoundȱclearȱevidenceȱofȱhowȱecclesiasticalȱ musicȱinfluencedȱsecularȱmusic.ȱEvenȱnowadaysȱinȱCreteȱthereȱisȱaȱstrongȱmusiȬ calȱtraditionȱandȱsomeoneȱcanȱhearȱcommonȱvillagersȱrecitingȱandȱsingingȱpoȬ emsȱwhichȱhaveȱfifteenȱsyllablesȱinȱeveryȱverse,ȱcalledȱΐ΅ΑΘ΍ΑΣΈΉΖ.ȱTheseȱkindȱ ofȱ poems,ȱ bothȱ ecclesiasticalȱ andȱ secular,ȱ wereȱ veryȱ popular,ȱ andȱ weȱ canȱ alsoȱ readȱ themȱ inȱ Psalticȱ manuscriptsȱ fromȱ theȱ 15thȱ centuryȱ onwards,ȱ orȱ perhapsȱ evenȱearlier.ȱȱ Inȱ theȱ collectionȱ atȱ Dukeȱ Universityȱ inȱ Northȱ Carolina,ȱ Iȱ haveȱ foundȱ andȱ publishedȱaȱmusicalȱmanuscriptȱwrittenȱinȱaboutȱ1500Ȭ1520ȱbyȱtheȱCretanȱmusiȬ cianȱAngelosȱGregorios7.ȱThisȱwellȬeducatedȱmanȱwroteȱmanyȱhymns,ȱcompoȬ sedȱvariousȱmelodies,ȱandȱcopiedȱmanuscripts,ȱbothȱmusicalȱandȱofȱnonȬmusiȬ calȱcontent,ȱsuchȱasȱMs.ȱLudwigȱXVȱ2ȱ(previousȱmumberȱ83.MR.172)ȱofȱtheȱPaulȱ GettiȱMuseumȱinȱMalibou,ȱwhichȱcontainsȱaȱdescriptionȱofȱvariousȱanimalsȱandȱ alsoȱsomeȱreligiousȱsubjects.ȱȱ Amongȱtheȱotherȱveryȱinterestingȱelements,ȱthatȱweȱcanȱstudyȱinȱtheȱDukeȱ manuscriptȱareȱsomeȱplaintiveȱversesȱtoȱbeȱchantedȱonȱHolyȱFridayȱinȱtheȱchurȬ ch.ȱGregoriosȱcomposedȱtheȱfirstȱverseȱandȱthenȱwroteȱtheȱothers,ȱinȱwhichȱweȱ areȱtoȱapplyȱtheȱsameȱmelody.ȱTheseȱverses,ȱwhichȱagainȱeachȱhaveȱ15ȱsyllables,ȱ alsoȱhaveȱaȱfolkȱversion.ȱResearchȱinȱtheȱsmallȱvillagesȱofȱCreteȱhasȱlocatedȱandȱ recordedȱtheȱsameȱpoemȱbutȱwithȱaȱmoreȱextensiveȱnumberȱofȱversesȱandȱsimȬ plerȱ languageȱ toȱ beȱ sungȱ byȱ ordinaryȱ peopleȱ onȱ theȱ sameȱ dayȱ outsideȱ ofȱ theȱ churchȱasȱaȱlament.ȱItsȱmelodyȱisn’tȱtheȱsameȱwithȱtheȱoneȱGregoriosȱcopiedȱinȱ th ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ 7.ȱ ̗̗̆̌̄̐̐̒̓̒̎̒,ȱ ̖΅ΐΉϧΓΑȱ ΛΉ΍ΕΓ·ΕΣΚΝΑ,ȱ 2005,ȱ pp.ȱ 76Ȭ85.ȱ Seeȱ alsoȱ ̗̆̌̄̐̐̒̓̒Ȭ ̗̎̒,ȱ̊ȱ̚΅ΏΘ΍Ύφȱ̖νΛΑ΋,ȱ2008,ȱpp.ȱ244Ȭ245,ȱ342ȱ(=ȱPlatesȱ42Ȭ43,ȱ140).ȱ 400ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̗̈̏̏̄̐̒̊̎ȱ̖̕.ȱ̗̗̆̌̄̐̐̒̓̒̎̒,ȱ̊ȱ̖̄̎̌̍̊̚ȱ̖̙̈̐̊,ȱ̖̒̏.ȱ̅’ȱ ȱ hisȱ manuscriptȱ inȱ theȱ beginningȱ ofȱ theȱ16thȱ century,ȱbutȱ itȱ isȱ clearȱ thatȱ itȱ hasȱ aȱ strongȱrelationȱwithȱanotherȱmodeȱofȱtheȱPsalticȱArt.ȱ Allowȱmeȱpleaseȱtoȱsingȱit,ȱjustȱtoȱgiveȱyouȱanȱideaȱofȱthisȱfolkȱlamentȱwhiȬ chȱderivesȱfromȱanȱecclesiasticalȱpoem.ȱ ȱ Inȱgeneral,ȱthereȱwasȱaȱuniqueȱflourishingȱofȱtheȱPsalticȱartȱinȱCreteȱduringȱ theȱ15th,ȱ16thȱandȱ17thȱcenturiesȱwhichȱwasȱbasedȱonȱtheȱtraditionȱofȱConstantiȬ nopleȱbutȱalsoȱembodiedȱsomeȱWesternȱelementsȱbecauseȱofȱtheȱVenetianȱoccuȬ pationȱofȱtheȱislandȱwhichȱlastedȱalmostȱ500ȱyearsȱ(1204Ȭ1669)8.ȱTheȱfieldȱofȱecȬ clesiasticalȱ musicȱ featuredȱ famousȱ composersȱ suchȱ asȱ Ioannesȱ Plousiadenos,ȱ whoȱ wasȱ alsoȱ aȱ skilfulȱ manuscriptȱ scribeȱ andȱ producedȱ manyȱ newȱ compositiȬ ons,ȱandȱlaterȱAntoniosȱEpiscopopoulosȱandȱhisȱsonȱVenediktos.ȱTheseȱtwoȱmenȱ andȱ theirȱstudentsȱ wereȱ theȱ outstandingȱ scholarsȱofȱ theirȱ eraȱand,ȱ atȱ theȱ sameȱ time,ȱ veryȱ productiveȱ composersȱandȱ sweetȬvoicedȱchanters.ȱ Justȱ likeȱAngelosȱ Gregoriosȱ andȱ Ioannesȱ Plousiadenosȱ inȱ theȱ 15thȱ century,ȱ Antonios,ȱ Venediktosȱ andȱotherȱwellȱknown,ȱeducatedȱmenȱinȱtheȱ16thȱandȱ17thȱcenturiesȱusedȱtoȱtravelȱ byȱshipȱviaȱtheȱAegeanȱtoȱConstantinople,ȱtoȱMountȱAthosȱandȱtoȱotherȱinsularȱ destinationsȱlikeȱCyprus.ȱItȱisȱalsoȱimpressiveȱthatȱtheyȱusedȱtoȱtravelȱtoȱtheȱothȬ erȱsideȱofȱtheȱMediterraneanȱSea,ȱtoȱSicily,ȱtoȱVenice,ȱtoȱSpain,ȱbecauseȱtheyȱweȬ reȱwellȬrespectedȱcopiersȱofȱancientȱandȱmedievalȱGreekȱtexts.ȱTodayȱtheirȱmaȬ nuscriptsȱareȱtreasuredȱinȱmanyȱEuropeanȱlibraries,ȱandȱtheirȱworks,ȱincludingȱ music,ȱshowȱusȱtheȱheritageȱofȱtheȱByzantineȱcultureȱandȱitsȱbeneficialȱinfluenceȱ notȱonlyȱonȱtheȱplacesȱofȱtheȱformerȱEmpireȱbutȱalsoȱonȱtheȱwesternȱandȱMiddleȱ Europeanȱcountries.ȱ Inȱ Cyprusȱ weȱ canȱ alsoȱ admireȱ manyȱ skilfulȱ musiciansȱ beforeȱ andȱ afterȱ 1453,ȱ andȱ weȱ canȱ alsoȱ traceȱ theirȱ workȱ throughȱ writtenȱ evidence.ȱ Aȱ veryȱ oldȱ musicalȱ manuscriptȱ preservedȱ inȱ theȱ Nationalȱ Libraryȱ ofȱ Franceȱ inȱ Parisȱ (AnȬ cienȱfondsȱGrecȱ261)ȱhasȱbeenȱdatedȱtoȱthisȱislandȱinȱ1289ȱ(13thȱc.),ȱandȱofȱcourseȱ hundredsȱofȱotherȱvolumesȱwereȱalsoȱwrittenȱthereȱduringȱtheȱfollowingȱcentuȬ ries.ȱCreteȱandȱCyprusȱhaveȱmanyȱcommonȱfeatures,ȱtheirȱcitizensȱhaveȱaȱmusicȱ giftȱfromȱnatureȱandȱthat’sȱwhyȱmanyȱhymnsȱwereȱcomposedȱandȱrecordedȱinȱ theȱ manuscripts,ȱ toȱ beȱ chantedȱ andȱ taught.ȱ Composersȱ suchȱ asȱ Thomasȱ (firstȱ chanterȱ ofȱ Nicosia)ȱ andȱ Ioannesȱ Cordokotos,ȱ Nicolaosȱ Assanȱ andȱ Pavlosȱ theȱ protopsaltesȱofȱCyprusȱ(whoȱlivedȱbeforeȱ1453),ȱIeronymosȱTragodistes,ȱGlavas,ȱ Flanges,ȱandȱmanyȱothersȱinȱtheȱfollowingȱdecadesȱcreatedȱanȱenormousȱmusiȬ calȱ work.ȱ Inȱ someȱ limitedȱ cases,ȱ suchȱ asȱ theȱ caseȱ ofȱ theȱ 16thȱ centuryȱ musicianȱ Ieronymos,ȱ thereȱ wasȱ anȱ effortȱ toȱ transcribeȱ theȱ Byzantineȱ neumesȱ (musicalȱ signs)ȱtoȱstaffȱnotationȱorȱtoȱuseȱstaffȱnotationȱinȱorderȱtoȱrecordȱByzantineȱmelȬ ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ 8.ȱ ̗̗̆̌̄̐̐̒̓̒̎̒,ȱ ̊ȱ ̰ΑΌ΋Η΋,ȱ 2004ȱ (=ȱ Emmanouilȱ Giannopoulos,ȱ Theȱ flourishingȱ ofȱ PsalticȱArtȱinȱCreteȱ(1566Ȭ1669),ȱInstituteȱofȱByzantineȱMusicologyȬStudiesȱ11,ȱAthensȱ2004).ȱ ̎̒̆̒̕ȱ̍̄̌ȱ̏̈̎̒̕ȱ̖̊̕ȱ̖̎̄̔̈̌̄ȱ̖̊̕ȱ̒̔̋̒̇̒̑̊̕ȱ̈̍̍̎̊̌̄̕̕ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ401ȱ ȱ odies,ȱ orȱ toȱ inventȱ andȱ useȱ inȱ theȱ Byzantineȱ notationȱ newȱ signsȱ inspiredȱfromȱ staffȱnotation.ȱThusȱweȱhaveȱmusicalȱrecordsȱfromȱIeronymosȱbothȱinȱbyzantineȱ neumesȱandȱstaffȱnotation,ȱasȱyouȱcanȱseeȱinȱthisȱmanuscriptȱfromȱtheȱmonasȬ teryȱofȱMountȱSinai.ȱ WeȱalsoȱhaveȱoldȱCypriotȱmanuscriptsȱinȱwhich,ȱamongȱtheȱlocalȱmusicalȱ tradition,ȱ weȱ findȱ Cretanȱ melodiesȱ recordedȱ inȱ theȱ wayȱ theȱ Cypriotȱ usedȱ toȱ chantȱthemȱinȱtheȱchurch.ȱAndȱweȱhaveȱecclesiasticalȱmelodiesȱinȱCretanȱmanuȬ scriptsȱfromȱtheȱ17thȱcenturyȱwhichȱweȱfindȱinȱtoday’sȱCypriotȱfolkȱmusic.ȱGenȬ erallyȱspeaking,ȱtheȱstrongȱmusicalȱtraditionȱinȱtheseȱislandsȱhasȱbothȱanȱeccleȬ siasticalȱandȱaȱsecularȱside.ȱTheȱEmpire’sȱmelodiesȱandȱtheȱcontinuityȱofȱtheȱgifȬ tedȱ people’sȱ creativity,ȱ underȱ certainȱ circumstancesȱ graduallyȱ formedȱ aȱ deepȱ artisticȱexpression.ȱWeȱobserveȱtheȱsameȱmusicalȱmodes,ȱinȱsomeȱcasesȱmaybeȱ byȱtheȱsameȱperson,ȱbutȱinȱtheȱfolkȱmusicȱwithȱtheȱuseȱofȱinstrumentsȱandȱinȱaȱ moreȱfreeȱvoicedȱexpression,ȱandȱweȱcanȱfindȱmanyȱsimilaritiesȱbetweenȱtheȱvaȬ riousȱmelodies.ȱ LetȱmeȱpleaseȱsingȱtwoȬthreeȱversesȱfromȱaȱveryȱpopularȱCretanȱloveȱpoemȱ writtenȱinȱtheȱbeginningȱofȱtheȱ17thȱcentury,ȱthenȱfromȱaȱCypriotȱhistoricalȱfolkȱ songȱand,ȱfinally,ȱaȱwellȬknownȱandȱsimpleȱecclesiasticalȱhymnȱdedicatedȱtoȱtheȱ MostȱHolyȱVirgin.ȱ ȱ TΓΙȱ̍ϾΎΏΓΙȱΘ΅ȱ·ΙΕϟΗΐ΅Θ΅,ȱΔΓΙȱ΅ΑΉΆΓΎ΅ΘΉΆ΅ϟΑΓΙΑ,ȱ Ύ΅΍ȱΘΓΙȱ̖ΕΓΛΓϾ,ȱΔΓΙȱЏΕΉΖȱΜ΋ΏΣȱΎ΍ȱЏΕΉΖȱΗΘ΅ȱΆΣΌ΋ȱΔ΋΅ϟΑΓΙΑȉȱ Ύ΅΍ȱΘΓΙȱ̍΅΍ΕΓϾȱΘ΅ȱΔΕΣΐ΅Θ΅,ȱΔΓΙȱ΅Α΅Δ΅΋ΐϱȱΈΉΑȱνΛΓΙΑ,ȱ ΐ΅ȱΗΘΓȱK΅ΏϱȱΎдȱΉ΍ΖȱΘΓȱK΅ΎϱȱΔΉΕ΍Δ΅ΘΓϾΑȱΎ΅΍ȱΘΕνΛΓΙΑȉȱ Ύ΅΍ȱΘΝΑȱ̄ΕΐΣΘΝдȱΓ΍ȱΘ΅Ε΅ΛνΖ,ȱϱΛΌΕ΋ΘΉΖ,ȱΎ΅΍ȱΘ΅ȱΆΣΕ΋,ȱ ΘΓΙȱ̺ΕΝΘΓΖȱΓ΍ȱΐΔϱΕΉΗΉΖȱΎ΅΍ȱΘΗ΋ȱ̘΍Ώ΍ΣΖȱ΋ȱΛΣΕ΋ȉȱ ΅ΙΘΣΑ΅ȱΐдȱΉΎ΍ΑφΗ΅Η΍ȱΘ΋ȱΗφΐΉΕΓΑȱ΋ΐνΕ΅Α,ȱ Αȇȱ΅Α΅Ό΍ΆΣΏΝȱΎ΅΍ȱΑ΅ȱΔΝȱΘΣȱΎΣΐ΅ΑȱΎ΅΍ȱΘΣȱΚνΕ΅Αȱ ȱ ȬȬȬȬȬȬȬȬȬȬȬȱ ȱ ̖νΗΗΉΕ΅ȱΘΊ΅΍ȱΘνΗΗΉΕ΅ȱ·ϟΑΓΙΑΘ΅΍ȱΓΎΘЏ,ȱȱ ΘνΗΗΉΕ΅ȱΔ΅Ώ΍ΎΣΕΎ΍΅ȱΔΣΗ΍ȱΗΘΓΑȱΔϱΏΉΐΓȱ ̕Θ΋ΑȱΗΘΕΣΘ΅ȱΔΓΙȱΔ΅νΑ΅Η΍ȱΉΔΉ΍ΑΣΗ΅Η΍ȱȱ Ύ΅΍ȱΎΣΘΗ΅Η΍ȱΑ΅ȱΚΣΗ΍ȱΐ΅ȱΉΈ΍ΜΣΗ΅Η΍ȱ ̆ΙΕΉϾΓΙΑȱΑΣȱΆΕΓΙΑȱΆΕϾΗ΋ȱ΅ΔΣΑΝȱΗΘΓȱΆΓΙΑϱȱȱ ΎφȱΆΕΣΗ΍ΑȱνΑ΅ΑȱΏΣΎΎΓΑȱΘΝΑȱΉΎ΅ΘϱȱΓΕΎЏΑȱ ȱ ȬȬȬȬȬȬȬȬȬȬȬȱ ȱ 402ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̗̈̏̏̄̐̒̊̎ȱ̖̕.ȱ̗̗̆̌̄̐̐̒̓̒̎̒,ȱ̊ȱ̖̄̎̌̍̊̚ȱ̖̙̈̐̊,ȱ̖̒̏.ȱ̅’ȱ ȱ ȱ ȱ Forȱallȱtheseȱreasons,ȱtodayȱweȱcanȱfindȱandȱstudyȱmanyȱmanuscriptsȱpreȬ servedȱ bothȱ inȱ Creteȱ andȱ Cyprus,ȱ althoughȱ paradoxicallyȱ theȱ majorityȱ ofȱ theȱ volumesȱwhichȱcontainedȱtheȱlocalȱtraditionȱareȱnowȱpreservedȱinȱotherȱplaces,ȱ suchȱ asȱ theȱ variousȱ librariesȱ ofȱ Greece,ȱ theȱ monasteryȱ ofȱ Saintȱ Catherineȱ onȱ MountȱSinai,ȱorȱevenȱinȱEuropeȱand,ȱasȱIȱtoldȱyou,ȱinȱtheȱUnitedȱStates.ȱYouȱcanȱ seeȱ hereȱ anȱ excellentȱ manuscriptȱ Iȱ discoveredȱ atȱ theȱ Sydneyȱ Jonesȱ Libraryȱ inȱ LiverpoolȬUKȱ someȱ yearsȱ ago.ȱ Itȱ wasȱ writtenȱ inȱ Creteȱ inȱ 1662ȱ andȱ itȱ containsȱ musicȱ forȱ theȱ Divineȱ Liturgy.ȱ Youȱ canȱ discernȱ itsȱ monumentalȱ character,ȱ theȱ ̎̒̆̒̕ȱ̍̄̌ȱ̏̈̎̒̕ȱ̖̊̕ȱ̖̎̄̔̈̌̄ȱ̖̊̕ȱ̒̔̋̒̇̒̑̊̕ȱ̈̍̍̎̊̌̄̕̕ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ403ȱ ȱ goldȱandȱotherȱcoloredȱinks,ȱandȱtheȱneatlyȱtrimmedȱcalligraphy,ȱwhichȱareȱbaȬ sicȱelementsȱofȱtheȱgreatȱByzantineȱtradition9.ȱ InȱtheȱislandsȱofȱtheȱNorthȬEastȱAegeanȱthereȱwasȱalsoȱanȱadmirableȱflourȬ ishingȱ ofȱ theȱ Musicalȱ Scienceȱ evenȱ moreȱ directlyȱ connectedȱ toȱ theȱ traditionȱ ofȱ Constantinopleȱbecauseȱofȱtheȱgeographicalȱvicinity.ȱLesvosȱ(alsoȱknownȱasȱMyȬ tilene)ȱ andȱ Chiosȱ wereȱ theȱ twoȱ mainȱ islandsȱ whichȱ hadȱ andȱ stillȱ haveȱ aȱ deepȱ musicalȱtradition.ȱThisȱtraditionȱwasȱalsoȱgreatȱinfluencedȱbyȱtheȱvariousȱmusiȬ calȱtrendsȱfromȱtheȱcoastsȱofȱMinorȱAsia,ȱanȱareaȱwhichȱgaveȱmanyȱartistsȱdurȬ ingȱ theȱ imperialȱ era,ȱ andȱ alsoȱ inȱ theȱ followingȱ centuriesȱ duringȱ theȱ Ottomanȱ occupation.ȱAsȱanȱexampleȱofȱtheȱveryȱrichȱtraditionȱofȱLesvos,ȱIȱwouldȱlikeȱtoȱ mentionȱtwoȱveryȱproductiveȱecclesiasticalȱmusiciansȱwhoȱhaveȱtheȱsameȱnameȱ butȱlivedȱaȱcenturyȱapart.ȱSeraphimȱtheȱpriestȬmonkȱfromȱtheȱoldȱmonasteryȱofȱ LeimonosȱonȱLesvos,ȱwhoȱthrivedȱinȱaboutȱtheȱthirdȱquarterȱofȱtheȱ17thȱcentury,ȱ andȱtheȱbrilliantȱmusicianȱandȱscribeȱSeraphimȱfromȱLesvosȱwhoȱlivedȱonȱMouȬ ntȱAthos.ȱTheȱsecondȱoneȱcomposedȱandȱtaughtȱmusicȱandȱwroteȱdozensȱofȱmaȬ nuscripts,ȱ tryingȱ toȱ collectȱ theȱ mostȱ mellifluousȱ compositionsȱ ofȱpastȱandȱ conȬ temporaryȱ ecclesiasticalȱ composers.ȱ Theȱ formerȱ travelledȱ toȱ Constantinopleȱ toȱ see,ȱhear,ȱandȱlearnȱmusicȱfromȱtheȱfamousȱmusiciansȱwhoȱlivedȱthere,ȱasȱwellȱ asȱtoȱcopyȱmusicalȱbooks,ȱwhileȱtheȱlatterȱisȱoneȱofȱtheȱmostȱwonderfulȱrepreȬ sentativeȱ Athoniteȱ (monksȱ ofȱ theȱ Mountȱ Athos)ȱ musiciansȱ ofȱ hisȱ era.ȱ Weȱ canȱ assumeȱthatȱtheȱfirstȱSeraphim’sȱworkȱonȱLesvosȱIslandȱhadȱanȱinfluenceȱonȱtheȱ secondȱone.ȱHereȱyouȱcanȱadmireȱsomeȱofȱtheȱsecondȱSeraphim’sȱmanuscriptsȱ inȱwhichȱweȱcanȱascertainȱthatȱheȱwasn’tȱonlyȱaȱgiftedȱmusicianȱbutȱalsoȱanȱartȬ istȱ inȱ calligraphy,ȱ andȱ anȱ extremelyȱ educatedȱ man.ȱ That’sȱ whyȱ oneȱ ofȱ hisȱ stuȬ dentsȱonȱMountȱAthosȱnotedȱinȱaȱmusicalȱmanuscript:ȱ“Iȱhaveȱbeenȱtaughtȱbyȱ theȱmostȱmusicalȱmanȱandȱexcellentȱcomposerȱSeraphim”ȱ(insteadȱofȱ“excellentȱ composer”ȱ theȱ exactȱ wordȱ inȱ theȱ manuscriptȱ isȱ «ΐΉΏ΍ΕΕΙΘΓΔΓ΍ϱΖ»,ȱ aȱ Greekȱ compoundȱwordȱwhichȱmeans:ȱ“theȱmanȱwhoȱcomposesȱmelodiesȱasȱsweetȱasȱ honey”).ȱ Onȱ Chiosȱ Island,ȱ weȱ haveȱ someȱ commonȱ characteristicsȱ withȱ Lesvosȱ butȱ weȱ alsoȱ haveȱ someȱ uniqueȱ elements.ȱ Ecclesiasticalȱ musiciansȱ thereȱ hadȱ aȱ cusȬ tomȱ ofȱ composingȱ musicȱ toȱ poemsȱ orȱ versesȱ writtenȱ byȱ scholarlyȱ men.ȱ Inȱ aȱ manuscriptȱIȱhaveȱlocatedȱinȱaȱprivateȱcollection,ȱthereȱareȱsuchȱversesȱwrittenȱ byȱscholarsȱfromȱChiosȱIsland,ȱwhichȱwereȱcomposedȱbyȱmusiciansȱofȱtheȱsameȱ Islandȱinȱtheȱmiddleȱorȱtheȱsecondȱhalfȱofȱtheȱ17thȱcentury.ȱIt’sȱaȱuniqueȱmanuȬ scriptȱandȱitȱisȱtheȱfirstȱtimeȱIȱmentionȱitȱandȱdisplayȱitȱtoday.ȱOneȱofȱtheȱmenȱ whoseȱversesȱhaveȱbeenȱincludedȱinȱthisȱmanuscriptȱwasȱaȱdoctor,ȱbutȱheȱwasȱ alsoȱaȱpoetȱwithȱaȱdeepȱtheologicalȱtraining,ȱandȱthat’sȱwhyȱheȱparticipatedȱinȱaȱ ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ 9.ȱ ̗̗̆̌̄̐̐̒̓̒̎̒,ȱ ̊ȱ ̰ΑΌ΋Η΋,ȱ 2004,ȱ pp.ȱ 722Ȭ740ȱ andȱ Platesȱ ̆’Ȭ̇’.ȱ Seeȱ alsoȱ ̆̌̄̐̐̒Ȭ ̗̗̓̒̎̒,ȱ̊ȱ̚΅ΏΘ΍Ύφȱ̖νΛΑ΋,ȱ2008,ȱpp.ȱ235Ȭ237,ȱ343ȱ(=ȱPlatesȱ33Ȭ35,ȱ141).ȱ 404ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̗̈̏̏̄̐̒̊̎ȱ̖̕.ȱ̗̗̆̌̄̐̐̒̓̒̎̒,ȱ̊ȱ̖̄̎̌̍̊̚ȱ̖̙̈̐̊,ȱ̖̒̏.ȱ̅’ȱ ȱ Synodȱ inȱ Constantinopleȱ inȱ 1635.ȱ Hisȱ versesȱ inȱ thisȱ manuscriptȱ expressȱ someȱ dogmaticȱtruthsȱaboutȱtheȱnatureȱofȱtheȱHolyȱTrinityȱandȱaȱmusicianȱcomposedȱ themȱtoȱbeȱchantedȱinȱtheȱVespers.ȱTheȱprimaryȱpurposeȱofȱecclesiasticalȱmusicȱ isȱtoȱexpressȱtheȱmeaningȱofȱtheȱhymnsȱandȱthisȱisȱwhyȱweȱuseȱtheȱmusic.ȱInȱthisȱ manuscript,ȱandȱofȱcourseȱinȱmanyȱothers,ȱweȱcanȱseeȱhowȱtheology,ȱpoetryȱandȱ musicȱworkȱtogetherȱtoȱteachȱtheȱfaithful.ȱ Duringȱtheȱ18thȱcenturyȱtheȱIslandȱofȱChiosȱwasȱtheȱbirthplaceȱofȱveryȱimȬ portantȱmusiciansȱwhoȱinfluencedȱnotȱonlyȱtheirȱinsularȱgeographicalȱareaȱbutȱ alsoȱtheȱPsalticȱArtȱofȱConstantinople.ȱOneȱofȱthem,ȱnamedȱTheodosios,ȱwasȱtheȱ firstȱ teacherȱofȱ Petrosȱfromȱ Peloponnesos.ȱ Althoughȱ Petrosȱ wasȱ aȱ trulyȱ geniusȱ musicianȱ (someȱ scholarsȱ sayȱ thatȱ heȱ wasȱ theȱ “Beethoven”ȱ ofȱ theȱ Psalticȱ Art)ȱ whoȱactedȱasȱaȱchanterȱandȱmusicȱteacherȱ(bothȱecclesiasticalȱandȱsecular)ȱinȱtheȱ EcumenicalȱPatriarchateȱofȱConstantinople,ȱweȱnowȱknowȱthatȱsomeȱveryȱpopuȬ larȱ elementsȱ ofȱ hisȱ enormousȱ workȱ wereȱ inheritedȱ fromȱ Theodosiosȱ Chios.ȱ Inȱ oneȱmanuscriptȱofȱtheȱ18thȱcentury,ȱwhichȱtoȱthisȱpointȱisȱunique,ȱIȱhaveȱfoundȱ Theodosios’ȱcompositionsȱofȱsomeȱResurrectionȱhymnsȱwrittenȱbyȱEmperorȱLeȬ onȱtheȱSixth,ȱwhoȱhadȱtheȱdesignationȱ“theȱWise”.ȱDuringȱtheȱEmpire’sȱcentuȬ riesȱthereȱwereȱmanyȱEmperorsȱandȱotherȱofficialsȱwhoȱusedȱtoȱwriteȱecclesiasȬ ticalȱpoems,ȱandȱmanyȱofȱtheseȱhymnsȱareȱstillȱinȱuseȱinȱtheȱworship.ȱTodayȱweȱ areȱ goingȱ toȱ chantȱ theȱ firstȱ ofȱ theseȱ elevenȱ hymns,ȱ transcribedȱ fromȱ theȱ olderȱ notationȱtoȱthatȱinȱuseȱtoday,ȱbyȱ“yoursȱtruly”,ȱor,ȱasȱtheȱByzantineȱandȱPostȱByȬ zantineȱmusiciansȱusedȱtoȱwriteȱinȱtheirȱmanuscriptsȱ“byȱmyȱhumility”.ȱ Youȱ canȱ followȱ theȱ verseȱ ofȱ theȱ hymnȱ bothȱ inȱ Greekȱ andȱ Englishȱ onȱ theȱ display.ȱ ̈ϢΖȱ Θϲȱ ϷΕΓΖȱ ΘΓϧΖȱ ̏΅Ό΋Θ΅ϧΖȱ πΔΉ΍·ΓΐνΑΓ΍Ζ*ȱ Έ΍Τȱ ΘχΑȱ Λ΅ΐϱΌΉΑȱ σΔ΅ΕΗ΍Α*ȱ πΔνΗΘ΋ȱϳȱ̍ϾΕ΍ΓΖаȱȱ Whenȱ theȱ Disciplesȱ approachedȱ theȱ mountainȱ forȱ hisȱ raisingȱ fromȱ theȱ earth,ȱ theȱ Lordȱcameȱtoȱthemȱȱ Ύ΅Ϡȱ ΔΕΓΗΎΙΑφΗ΅ΑΘΉΖȱ ΅ЁΘϲΑ*ȱ Ύ΅Ϡȱ ΘχΑȱ ΈΓΌΉϧΗ΅Αȱ πΒΓΙΗϟ΅Α*ȱ Δ΅ΑΘ΅ΛΓІȱ Έ΍Έ΅Ȭ ΛΌνΑΘΉΖ,*ȱȱ andȱtheyȱworshippedȱhim;ȱandȱbeingȱtaughtȱthatȱallȱpowerȱhadȱbeenȱgivenȱhimȱeveȬ rywhereȱȱ ΉϢΖȱΘχΑȱЀΔдȱΓЁΕ΅ΑϲΑȱπΒ΅ΔΉΗΘνΏΏΓΑΘΓ*ȱΎ΋ΕІΒ΅΍ȱΘχΑȱπΎȱΑΉΎΕЗΑȱ̝ΑΣΗΘ΅Η΍Α*ȱ Ύ΅ϠȱΘχΑȱΉϢΖȱΓЁΕ΅ΑΓϿΖȱΦΔΓΎ΅ΘΣΗΘ΅Η΍Αа*ȱȱ theyȱ wereȱ sentȱ toȱ allȱ thatȱ liesȱ beneathȱ theȱ heavensȱ toȱ proclaimȱ hisȱ Resurrectionȱ fromȱtheȱdeadȱandȱhisȱrestorationȱtoȱheaven.ȱȱ ΓϩΖȱΎ΅ϠȱΗΙΑΈ΍΅΍ΝΑϟΊΉ΍Α*ȱϳȱΦΜΉΙΈχΖȱπΔ΋··ΉϟΏ΅ΘΓ,*ȱȱ Heȱpromisedȱalsoȱtoȱremainȱwithȱthemȱforȱever,ȱheȱtheȱUnerring,ȱ ̙Ε΍ΗΘϲΖȱϳȱ̋ΉϱΖ*ȱΎ΅Ϡȱ̕ΝΘχΕȱΘЗΑȱΜΙΛЗΑȱψΐЗΑ.ȱ ChristȱourȱGodȱandȱtheȱSaviourȱofȱourȱsouls.ȱ ȱ ̎̒̆̒̕ȱ̍̄̌ȱ̏̈̎̒̕ȱ̖̊̕ȱ̖̎̄̔̈̌̄ȱ̖̊̕ȱ̒̔̋̒̇̒̑̊̕ȱ̈̍̍̎̊̌̄̕̕ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ405ȱ ȱ ȱ ȱ ȱ 406ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̗̈̏̏̄̐̒̊̎ȱ̖̕.ȱ̗̗̆̌̄̐̐̒̓̒̎̒,ȱ̊ȱ̖̄̎̌̍̊̚ȱ̖̙̈̐̊,ȱ̖̒̏.ȱ̅’ȱ ȱ ȱ ȱ Asȱyouȱcanȱhear,ȱitȱisȱaȱbriefȱandȱsolemnȱmelodyȱwhichȱhasȱbeenȱwrittenȱtoȱ expressȱ theȱ meaningȱ ofȱ theȱ hymn,ȱ whatȱ weȱ callȱ inȱ Greekȱ «ΘΓΑȱ Ώϱ·Γ»,ȱ “theȱ word”.ȱ Everyoneȱ whoȱ isȱ familiarȱ withȱ theȱ subsequentȱ andȱ stillȱ popularȱ composiȬ tionȱ ofȱ theȱ sameȱ hymnȱ byȱ Petros,ȱ canȱ seeȱ thatȱ Petrosȱ followedȱ Theodosios’ȱ work,ȱ bothȱ inȱ manyȱ melodicȱ formulas,ȱ asȱ wellȱ asȱ inȱ theȱ typeȱ ofȱ notationȱ andȱ compositionȱheȱused,ȱandȱthisȱisȱaȱveryȱimportantȱrealizationȱforȱtheȱhistoryȱandȱ theȱevolutionȱofȱthisȱmusic.ȱ Theȱ interactionȱ betweenȱ ecclesiasticalȱ andȱ secularȱ musicȱ isȱ evenȱ clearerȱ whenȱweȱstudyȱaȱspecialȱelementȱofȱtheȱPsalticȱArt,ȱaȱcategoryȱofȱcompositionsȱ calledȱ ΎΕ΅Θφΐ΅Θ΅.ȱ Theȱ kratemataȱ areȱ compositionsȱ whichȱ don’tȱ useȱ specificȱ words,ȱ phrases,ȱ andȱ versesȱ butȱ ratherȱ someȱ syllablesȱ whichȱ meanȱ nothingȱ (neȱ na,ȱteȱriȱrem,ȱetc),ȱjustȱtoȱgiveȱaȱbaseȱtoȱtheȱcomposerȱtoȱcreateȱaȱmusicalȱpieceȱ withoutȱthinkingȱtoȱexpressȱtheȱmeaningȱofȱaȱspecificȱhymn.ȱItȱisȱanȱopportunityȱ forȱtheȱartistȱtoȱfeelȱfree,ȱtoȱletȱhisȱimaginationȱleadȱhimȱtoȱtheȱmusicȱitself,ȱandȱ becauseȱofȱthisȱweȱdon’tȱoftenȱsingȱthemȱinȱtheȱServicesȱ(actually,ȱweȱrarelyȱsingȱ them).ȱ Theȱ artisticȱ breezesȱ ofȱ theȱ Aegeanȱ seaȱ gaveȱ lifeȱ toȱ thisȱ field,ȱ too.ȱ Inȱ theȱ centralȱAegeanȱCycladesȱIslands,ȱwasȱbornȱanȱexcellentȱmusicianȱwhoȱlaterȱbeȬ cameȱaȱmonkȱonȱMountȱAthos.ȱHisȱmonkȱnameȱwasȱArsenios,ȱhisȱacmeȱcoversȱ theȱ firstȱ halfȱ ofȱ theȱ 17thȱ centuryȱ andȱ hisȱ birthplaceȱ wasȱ theȱ lushȱ Islandȱ ofȱ AnȬ dros,ȱ inȱ which,ȱ stillȱ today,ȱ areȱ preservedȱ someȱ veryȱ importantȱ collectionsȱ ofȱ musicalȱmanuscripts.ȱArsenios,ȱwasȱalsoȱtheȱteacherȱofȱtheȱfamousȱConstantinȬ opolitanȱ chantersȱ andȱ composersȱ ofȱ theȱ 17thȱ centuryȱ whoȱ inȱ theirȱ manuscriptsȱ callȱhimȱ“theȱnewȱandȱrealȱteacher”.ȱArseniosȱcomposedȱfiveȱkratemataȱwhichȱ alsoȱ containȱ someȱ secularȱ musicalȱ formulasȱ writtenȱ withȱ theȱ Psalticȱ notation,ȱ haveȱanȱextensiveȱambitusȱandȱthisȱisȱtheȱreasonȱtheȱmusicalȱscribesȱnamedȱtheȬ seȱcompositionsȱ(theseȱkratemata)ȱ“melodiesȱofȱtheȱotherȱnations”,ȱorȱ“composiȬ tionsȱbasedȱonȱtheȱmusicȱweȱuseȱoutsideȱofȱtheȱchurch”.ȱȱ ̎̒̆̒̕ȱ̍̄̌ȱ̏̈̎̒̕ȱ̖̊̕ȱ̖̎̄̔̈̌̄ȱ̖̊̕ȱ̒̔̋̒̇̒̑̊̕ȱ̈̍̍̎̊̌̄̕̕ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ407ȱ ȱ NowȱweȱwillȱchantȱforȱyouȱaȱpartȱofȱArsenios’ȱkratema,ȱaȱcompositionȱwhiȬ chȱ belongsȱ toȱ theȱ firstȱ modeȱ ofȱ Psalticȱ Art,ȱ andȱ hasȱ aȱ freeȱ melodicȱ movementȱ influencedȱbyȱsecularȱmusic.10ȱ ȱ ȱ ȱ ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ 10.ȱIȱhaveȱcopiedȱthisȱmelodyȱfromȱtheȱmanuscriptȱofȱtheȱNationalȱLibraryȱofȱGreeceȱ(colȬ lectionȱofȱ“Methochion”)ȱ722,ȱff.ȱ84rȬ86vȱ(writtenȱbyȱGeorgiosȱChourmouziosȱ“theȱChartophyȬ lax”ȱinȱtheȱyearȱ1819,ȱwhoȱtrancribedȱitȱfromȱtheȱolderȱByzantineȱmusicalȱnotation).ȱ 408ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̗̈̏̏̄̐̒̊̎ȱ̖̕.ȱ̗̗̆̌̄̐̐̒̓̒̎̒,ȱ̊ȱ̖̄̎̌̍̊̚ȱ̖̙̈̐̊,ȱ̖̒̏.ȱ̅’ȱ ȱ ȱ ȱ ̎̒̆̒̕ȱ̍̄̌ȱ̏̈̎̒̕ȱ̖̊̕ȱ̖̎̄̔̈̌̄ȱ̖̊̕ȱ̒̔̋̒̇̒̑̊̕ȱ̈̍̍̎̊̌̄̕̕ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ409ȱ ȱ ȱ ȱ Whatȱ weȱ haveȱ hereȱ isȱ againȱ aȱ triangleȱ betweenȱ Constantinople,ȱ Mountȱ AthosȱandȱanȱAegeanȱseaȱisland.ȱTheȱmusicalȱoeuvreȱproducedȱinsideȱthisȱgeoȬ graphicalȱ area,ȱ whichȱ includesȱ aȱ partȱ orȱ theȱ wholeȱ Aegean,ȱ isȱ ofȱ greatȱ imporȬ tanceȱ forȱ theȱ ecclesiasticalȱ repertoire,ȱ and,ȱ asȱ theȱ caseȱ ofȱ Arseniosȱ shows,ȱ alsoȱ forȱtheȱsecularȱone.ȱWeȱhaven’tȱhadȱtheȱpleasureȱtoȱfindȱsomeȱmanuscriptsȱwritȬ tenȱbyȱArsenios,ȱbutȱoneȱofȱhisȱstudentsȱnamedȱDemetriosȱIoannou,ȱwroteȱtwoȱ excellentȱandȱwellȱdecoratedȱvolumesȱinȱWallachiaȱ(todayȱRomania)ȱwhichȱareȱ preservedȱ onȱ Lesvosȱ islandȱ andȱ inȱ theȱ monasteryȱ onȱ Sinai.ȱ Arsenios’ȱ secularȱ melodiesȱ“travelled”ȱotherȱroutesȱandȱplacesȱasȱanȱartisticȱcreationȱinspiredȱbyȱ theȱvariousȱsoundsȱsomeoneȱcouldȱhear,ȱadmireȱandȱmaybeȱevenȱimitateȱinȱanȱ Aegeanȱisland,ȱinȱwhichȱmanyȱpeopleȱfromȱotherȱnationsȱandȱculturesȱusedȱtoȱ pass.ȱ Itȱ isȱ indicativeȱ thatȱ someȱ decadesȱ afterȱ Arsenios’ȱ acme,ȱ someȱ theoreticalȱ essaysȱwereȱwrittenȱwhichȱtriedȱtoȱexplainȱtheȱrelationsȱbetweenȱtheȱPsalticȱartȱ andȱEasternȱsecularȱmusic,ȱtheȱrelationshipsȱbetweenȱsomeȱecclesiasticalȱmodesȱ andȱsomeȱmakams,ȱwhichȱareȱtheȱmusicalȱwaysȱorȱmodesȱofȱthisȱsecularȱkindȱofȱ music.ȱ Oneȱ ofȱ theseȱ essays,ȱ theȱ mostȱ importantȱ duringȱ theȱ 18thȱ century,ȱ wasȱ writtenȱbyȱaȱmanȱwhoȱwasȱaȱbishopȱinȱTenosȱisland,ȱtheȱneighboringȱislandȱtoȱ Arsenios’ȱbirthplace.ȱHisȱnameȱwasȱCyrillos,ȱand,ȱasȱwithȱallȱtheȱskillfulȱmusiȬ cians,ȱ heȱ alsoȱ spentȱ aȱ longȱ periodȱ ofȱ hisȱ lifeȱ inȱ Constantinople.ȱ Inȱ hisȱ treatise,ȱ Cyrillos,ȱwhoȱwasȱanȱimportantȱcomposerȱofȱecclesiasticalȱmusicȱandȱalsoȱrecorȬ dedȱEasternȱsecularȱmusic11,ȱgivesȱinȱparallelȱmanyȱexamplesȱofȱtheȱmodesȱandȱ musicalȱformulasȱfromȱbothȱtheȱholyȱandȱtheȱworldlyȱmusic.ȱȱ Weȱ haveȱ toȱ admitȱ thatȱ bothȱ theseȱ musicalȱ traditionsȱ borrowedȱ manyȱ eleȬ mentsȱfromȱoneȱother,ȱmanyȱchantersȱwereȱalsoȱspecialistsȱofȱtheȱotherȱmusicalȱ stream,ȱ theyȱ playedȱ instrumentsȱ andȱ composedȱ secularȱ poems.ȱ Onȱ theȱ otherȱ handȱtheȱPsalticȱartȱwasȱtheȱoldestȱmusicalȱtraditionȱinȱallȱthisȱgeographicalȱarȬ ea,ȱtheȱexistenceȱofȱByzantineȱmusicalȱnotationȱwasȱsomethingȱthatȱtheȱforeignȱ musiciansȱ admiredȱ andȱ thisȱ notationȱ gaveȱ theȱ potentialȱandȱ theȱ frameworkȱ inȱ whichȱtheȱrecordingȱofȱtheȱsecularȱmusicȱtooȱbecameȱpossible.ȱTheȱgreatȱecclesiȬ asticalȱchanters,ȱregardlessȱofȱtheirȱdeepȱandȱwideȱmusicalȱknowledgeȱandȱperȬ hapsȱbecauseȱofȱthis,ȱalwaysȱknewȱhowȱtoȱdiscriminateȱbetweenȱtheȱPsalticȱartȱ andȱtheȱnonȬecclesiasticalȱmusic.ȱ Theȱ overȱ oneȱ thousandȱ islandsȱ ofȱ theȱ Aegeanȱ sea,ȱ theirȱ inhabitantsȱ andȱ theirȱoutstandingȱmusiciansȱhadȱaȱgreatȱcontributionȱtoȱtheȱhistoryȱofȱthisȱmusiȬ ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ 11.ȱMsȱMountȱAthosȬPanteleimonȱ994,ȱf.ȱ323vȱ(̖̄̋̊̕,ȱ̖΅ȱΛΉ΍Εϱ·Ε΅Κ΅ȱ̅’,ȱ1976,ȱp.ȱ379).ȱ 410ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̗̈̏̏̄̐̒̊̎ȱ̖̕.ȱ̗̗̆̌̄̐̐̒̓̒̎̒,ȱ̊ȱ̖̄̎̌̍̊̚ȱ̖̙̈̐̊,ȱ̖̒̏.ȱ̅’ȱ ȱ calȱ traditionȱ whichȱ isȱ overȱ oneȱ thousandȱ years’ȱ old.ȱ Theȱ islandsȱ alreadyȱ menȬ tioned,ȱasȱwellȱasȱParos,ȱScopelos,ȱHydra,ȱtheȱfamousȱvolcanoȬislandȱofȱSantoriȬ ni,ȱ Lemnos,ȱ Skiathos,ȱ Skyros,ȱ Astypalaea,ȱ Syros,ȱ Samos,ȱ Sifnos,ȱ allȱ haveȱ theirȱ traditions.ȱWeȱfindȱtheirȱgreatȱmusiciansȱinȱtheȱpagesȱofȱtheȱoldȱmanuscripts,ȱweȱ learnȱtheirȱnames,ȱweȱtraceȱtheirȱmusicalȱpieces,ȱweȱchantȱthemȱinȱourȱServices,ȱ weȱ studyȱ andȱ weȱ compareȱ themȱ withȱ otherȱ musicalȱ traditions.ȱ Andȱ weȱ oftenȱ seeȱ thatȱ theseȱ greatȱ musiciansȱ hadȱ theȱ selfȬawarenessȱ thatȱ theȱ Aegeanȱ breezeȱ andȱ theȱ variousȱ routesȱ andȱ soundsȱ ofȱ thisȱ sea,ȱ gaveȱ themȱ theȱ giftȱ ofȱ learningȱ andȱfeedingȱtheirȱsoulsȱwithȱthisȱart.ȱThat’sȱwhyȱinȱtheȱbeginningȱofȱaȱmusicalȱ manuscript,ȱoneȱofȱthem,ȱbeforeȱtheȱcompositionsȱofȱtheȱResurrectionȱhymnsȱinȱ everyȱmode,ȱpaintedȱaȱbigȱshipȱofȱhisȱeraȱandȱaȱsmallerȱone,ȱwhichȱseemsȱtoȱbeȱ inȱtheȱtypeȱofȱanȱancientȱGreekȱshipȱcalledȱtrieres.ȱHeȱwasȱAnthimosȱfromȱtheȱ islandȱofȱKythnosȱinȱtheȱCyclades,ȱandȱheȱwroteȱthisȱexcellentȱdecoratedȱmusiȬ calȱvolume,ȱwhichȱisȱnowȱpreservedȱonȱMountȱSinai,ȱinȱ1720.ȱ Andȱnow,ȱasȱaȱlastȱoffering,ȱweȱareȱgoingȱtoȱchantȱanȱextendedȱmusicalȱpieȬ ceȱ composedȱ duringȱ theȱ 17thȱ centuryȱ byȱ Klemesȱ fromȱ theȱ islandȱ ofȱ Lesvos,ȱ aȱ veryȱ productiveȱ composer.ȱ Weȱ haveȱ toȱ commentȱ thatȱ accordingȱ toȱ theȱ Psalticȱ art’sȱ livingȱ traditionȱ everyȱ hymnȱ canȱ beȱ composedȱ inȱ aȱ brief,ȱ inȱ aȱ semiȬslowȱ (΅Ε·ΓΗϾΑΘΓΐΓ)ȱandȱinȱaȱslowȱway.ȱThatȱmeansȱthatȱeveryȱsyllableȱofȱtheȱhymnȱ versesȱcanȱlastȱoneȱorȱtwoȱbeats,ȱthreeȱorȱfourȱbeats,ȱorȱmanyȱbeatsȱofȱtheȱmeloȬ dy.ȱTheȱcompositionȱyouȱwillȱhearȱbelongsȱtoȱtheȱthirdȱcategoryȱandȱitȱisȱaȱmarȬ velousȱ compositionȱ whichȱ emanatedȱ fromȱ theȱ richȱ Byzantineȱ tradition.ȱ Theȱ composerȱKlemesȱusedȱtwoȱversesȱfromȱPsalmsȱ148ȱandȱ150ȱandȱcreatedȱaȱbeauȬ tifulȱmusicalȱpieceȱinȱtheȱthirdȱmodeȱofȱtheȱByzantineȱmusic12.ȱ ȱ TheȱcultureȱandȱlegacyȱofȱsoȬcalledȱByzantiumȱgivesȱusȱaȱwayȱofȱlife,ȱaȱwayȱ ofȱthought,ȱaȱstableȱbaseȱtoȱwalkȱinȱtheȱmodernȱworld.ȱMusicȱisȱoneȱofȱtheȱgreȬ atestȱartisticȱachievementsȱofȱthisȱculture,ȱandȱIȱhopeȱthatȱtodayȱyouȱhaveȱbeenȱ enrichedȱwithȱsomeȱinterestingȱandȱusefulȱelementsȱandȱsoundsȱfromȱthisȱart.ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ 12.ȱSeeȱthisȱcompositionȱinȱtheȱmusicalȱbookȱ̖̓̄̐̇̈̍̊,ȱ1850Ȭ1851ȱ(ΘϱΐΓΖȱ2.ȱ̓ΉΕ΍νΛΝΑȱ Θ΅ȱΐ΅Όφΐ΅Θ΅ȱΘΓΙȱͥΕΌΕΓΙ.ȱ̈Αȱ̍ΝΑΗΘ΅ΑΘ΍ΑΓΙΔϱΏΉ΍ȱ‚΅ΝΑ΅’ȱ[1851],ȱpp.ȱ438Ȭ445).ȱ