Author(s): H. J. W. Tillyard
Source: The Musical Quarterly, Vol. 23, No. 2 (Apr., 1937), pp. 201-209
Published by: Oxford University Press
Stable URL: http://www.jstor.org/stable/738676
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ERRATA SLIP
MEDIEVAL BYZANTINE MUSIC
The Musical Quarterly,April 1937
p. 206 The example belonging with "2. Hymn from the Octoechuzs.Mode III ...." is the LaudamusSalvator
P. 207 " ' " "3. A Proper Hymn for Christmas.Mode IV . . ." is the Huc adeste, can
.. .." ." " "4. A Polychronism .... Mode IV" is the Multi sint anni, printed on
p. 208 " " " 5. Hymn from the Octoechts. Mode I ...." is the Auctorem summum,
....." " " ""6. .Canon for Saturdayin Holy Week. Mode II, plagal. . ." is the Flu
7. . . hymn for the last Sunday after Epiphany.Mode IV, plagal .. " is t
East-, it is clear that each sectionhas gone its own way and only a
generallikenessremains.This also appliesto the Russianneumes. In
the eleventhand twelfthcenturiesthey seemto be almosta copyof the
Byzantine.Butwhen theyreachthefully intelligiblestage-namely the
Late Sematicnotation(or Kryuki,i.e. "Hooks")-, the melodiesshow
the strongestdivergencefrom the Byzantineoriginals.
The Round or Middle Byzantinesystem,inventedin the twelfth
century,survivedthe Latin conquestof Constantinople and flourished
the
throughout age of the In
Palaeologi. this long stretchof time the
whole hymnodyof the churchwas recordedin a notationthat can be
read with virtualcertaintyin all its main features. The fall of Con-
stantinoplein I453 and the Turkishconquestbroughta suddenend to
the productionof musicalmanuscripts.It is not until the laterseven-
teenthcenturythata notablerevivalcanbe seen,bothin the copyingof
old hymnsand in the compositionof new tunes. In the eighteenthcen-
tury the Greekmusiciansat Constantinople were the minstrelsof the
Sultan'scourt,and theirwork had a thoroughlyorientalquality. This
naturallyspreadto musicintendedfor Greekaudiences.Thus, about
I82I, when the ArchimandriteChrysanthusand his associateswere
reformingthe notation,they found a music in use whose theoryand
practicewere mainly Arabo-Persian.The new notation,adaptedfor
print and providedwith a speciesof sol-fa,soon establisheditself; the
more easilyas the previousor Late Byzantinesystemwas falling into
disuse. Butthey did not try to reformthe musicitself;and theirtheory
is a strangemixture of Easternnotions with ill-digestedscraps of
ancientGreektreatises. Therefore,when anyone speaksof the con-
temporaryGreekmusicas "Byzantine," this meansonly that it is non-
European. The Greek church music of the MiddleAges, resembling
Gregorian,properlydeservesthe name Byzantine;and in this senseI
shalluse it.
The folk-songsof modernGreece(of which Greekscholarssuch as
Mme. Merlier,Prof. Psachos,and M. Pachtikoshave publishedad-
mirablecollections)aremidwaybetweenthe two traditions-lessorien-
tal than ChrysanthineChurchmusic,becausethey were the work of
simplemen,not courtminstrels,andlessdiatonicthanByzantinemusic
had been,becausethe centuriesof Turkishswayleft theirmarkon the
songsas on the languageof Greece.
It need scarcelybe pointedout that the modernharmonizedmel-
odiesof someGreekcity churchesare a loan from the West. They are
MediaevalByzantineMusic 203
muchdeploredby Prof.Psachosandhis followerswho wish to standfast
by the I82I tradition.So, too, in the MiddleAges, Byzantinemusicwas
unisonicand unaccompanied.No instrumentalmusicfromthosetimes
has come down to us.
* *
i. The first ode of a Canon for Christmas by St. John of Damascus, from the
Hirmologus at Grottaferrata. Mode I. (Crypt. date 128I.) The iambic meter is
ignored by the composer. The accentual correspondence is carried through every
ode, and possibly St. John intended this and not the quantities to be the basis of
the music. A final cadence on d is very frequent in this mode.
3 Any attempts to add vocal harmonies would be out of place, but a simple accompaniment
may be a help to some singers. It is also useful to have a Latin version in readiness for a singer
ignorant of Greek.
_ -
Allegro
X> >
z~_
xo - ov q - -V - tv- v xa' o6 o - -
TI-l ; av
coe - li red- di- dit no - bis; quem per sub - stan- ti - am
2. Hymn from the Octoechus. Mode III. This mode is very difficult, and is
mostly avoided in the Proper Hymns, where the composer could choose his own
mode.
Andante
A
V 6 - 1 -
6a - oL Xi -ov- noX Te - T - v.
re - gum, mul - ti sint an - ni re - gum.
'I- v6v - - vv F -
o Io Fo - a--TO-
o V C1-
-Co; - xal av - TO-
I- o - han - nis pi- is- si-mi re-gis et im-per-a-tor-is Ro -
Av- yow-Tr
Au-gus-tae
noAX-X
mul - ti sint
Ta& - Tn
an-ni;
'I
I -
-
o
-
-
cp
seph -
TcOU
i
a YL
sane-tis-si
-
-o
-
p p p p p-h h ..
4 Ta
5p
et O
oe - Xcu- pm - ni- ci pa - tri - ar- chi mul - At to
J
E - I-.
1
3. A Proper Hymn for Christmas. Mode IV. The tune, being in the lower
region of the mode, borrows b-flat from the fourth plagal.
Adagio molto
Om - ni-po-tensDo-mi-ne, no - - vi quan-tumprae-va - le -
t)e
,w Li e,t I
....
ant la- cri- mae, He-ze-chi-amquae a fo- ri-bus mor-tis re- de - ge - rint,
Allegro
X,;; 2ffi ;ffi J '. 0-_; r
Hue ad - es - te, ca - ni - te ma - trem sal - va - to - ris,
quae postpar-tum rur-sus ap-pa - ru-it_vir - go; sal-ve urbs vi-vi- fi- ca
Adagio nontroppo
- 4wrf-?
.Jh2 -
IJ--n ^
-"I f I
Fluc-ti-bus qui ma - ris o-per-u - it-quon-damper-se-cu-to-rem re -gem,
>:~ * I r pii
j vivace
A , . _.
*eIV
-^ h
t<J
_d
I ~~J7i
Ii -z-M Irj-r h I
-j__~ J, AiI IJ r I) op. - ^F _
rF*, rr
ter-ra i - unt re-demp-to-rum fi - li - i; nos au-tem sic - ut mu -
o-per-
*
+*_S f >n;
; rall.
6. The first ode of a Canon for Saturdayin Holy Week. Mode II, plagal.
Words ascribedto Casia.
A . ' .
km
7
,rL
r r7 r
- ? . . r _
If r ru P L
- vov
P P
.
,t.
- xo
p
(l)'YL -vo - lev TO 0)- Tq - Qa, (2) TOv Ex TYi; {-
aaQ- Ea@
Lan-da-mus Sal- va - to- rem, Is_ e - nim e pu - el - la in - car
Allegro moderato