The Anastasimatarion of Dionysios Photeinos

Nicolae Gheorghi!"
#. Introduction
Among the great orientalists of his time (Sp!tarul Milescu, Dimitrie Cantemir and Ien!chi"!
V!c!rescu), Dionysios Photeinos-Moraites (#$%&'($%) *+,-$&%)) was one of the outstanding Greek
musicians who took up his abode in Wallachia at the beginning of the .9
th
century
$
. He belonged to the last
generation of Byzantine scholars whom the flow of Balkan civilization had brought into Romanian land.
2
According to his own words, Dionysios Photeinos was born in Patras - Peloponnesus in .777
3
. In
Constantinople, his father, Athanasios Photeinos, was both the personal physician of the sultan Abdul Hamit
4
and a well known psaltakis(/01,023))
5
. After the death of the sultan, about .789, his family returned to
Peloponnesus where Athanasios had important estates
6
and Dionysios who was .2 years old at the time,
prepared to leave again for Constantinople to continue his studies
7
.

We do not know exactly when he left the Patriarchal School in Constantinople or the Peloponnesus
in order to settle in Wallachia. In addition to other data, there is also a statement by the author in the !"#$%&'
#() *'+$& ,'-&'), #' ./. 0%'."&+1'.&'), 2+'3&') -'& 4$+5$1&') (Vienna, .8.8-.8.9) referring to the fact
that he was in the country about .800: after my 68 years experience in this country
8

Throughout this time he proved to be an excellent historiographer, painter and exquisite poet but
above all a very talented musician who taught young theologians and church singers at the Monastery of
C!ld!ru4ani (.800-.809) and later in Bucharest (.809-.8.6)
9
. As a pedagogue, he trained two of the greatest
proponents of Romanian Byzantine music Anton Pann and Bishop Chesarie of Buz!u.
He passed away on October .0, .82. and was buried with a great funeral procession in the Church
of the Saints in Bucharest.
$0
%. The musical oeuvre of Dionysios Photeinos
Just like his father Athanasios, (a well-known psalm singer in the Fanar), Dionysios may have begun
his musical training at home. Later, at the Patriarchal School in Constantinople he continued to study this art
under the guidance of two great teachers, Iakovos Protopsaltes and Petros Byzantios. In the words of Anton
Pann, his close apprentice: Far I have spoken about the writers of music that I know only by their works.
Thus it is time to speak about those still alive in my time. First of all about my good Teacher, the Serdar
Dionisie Fotino, born in the city of the Peloponnesus Palea Patra. He came over and settled in Bucharest


$
Victor Papacostea, Vie7ile sultanilor. Scriere inedit8 a lui Dionisie Fotino, essay published in Civiliza7ie romneasc8 9i civiliza7ie
balcanic8, Editura Eminescu, Bucure4ti, .983, p. 43..

2
Ibidem, p. 43..

3
On page 324 of his Anastasimatarion (:.'"#'"&'%&$. .;$.), completed in .809, Dionisie Fotino wrote: 5+ 16 -,%) ,3) -3)
31$2$0) (in the 32
nd
year of my life); quoted from Victor Papacostea, Date nou8 despre via7a 9i opera lui Dionisie Fotino, a study
published in the work Civiliza7ie romneasc8 9i civiliza7ie balcanic8, Editura Eminescu, Bucure4ti, .983, p. 465.

4
Ilie Fotino, 73-$+0,08$%&, p. 3: 3 3,38 %', %&%09%-&3 :0(;01$,(0, %%$+) -;-$ <0,-80 ,%& =>0&0($%& *+,-$&%& 0<%
?-9380 ,3) :-1%<%&&3(%', -<$(3%& $0,8%& ,%& 7%'1,0& @0$,3 , in Victor Papacostea, Vie7ile sultanilor, p. 437, n. 32.

5
Ibidem, p. 3: %(,$) -<+&%09-,% 20$ A08B0(3), 20$ C01,023), 20$ :%1$,023), B$%,$ -$;- B$0,8$/-$ ;8%&%') $20&%') -$)
A+&(,0&,$&%'<%1$&, 20$ 3,% -$B3+& ,3) ,- D>+0&$23) B$01-2,%', 20$ -<8%E-8- ('&-;+) ,%, 208B0($ 20$ ,3) F%'($23)
-<$(,33) /011+& <0&,%,- -$) ,3& -2213($0&, in Victor Papacostea, Vie7ile sultanilor, p. 437, n. 33.

6
Ilie Fotino, op. cit., p. 5.

7
Ibidem, p. 5: B$%,$ % '$%) ,3) #$%&'($%), % >-$%) %', -$;-& 0&0;+83 (-$ B$0 A+&(,0&,$&%'<%1$& $&0 (<%'B0(3 , in Victor
Papacostea, Vie7ile, p. 437, n. 36.

8
Dionysios Photinos, G(,%8$0 ,3) <01%$ #02$0), ,0 &'& 580&($160&$0), H10;$0) 20$ F%1B%6$0) (3 ,%.), Vienna, .8.8-.8.9.
(Istoria general8 a Daciei sau a Transilvaniei, <8rii Muntene9ti 9i a Moldovei).

9
Gheorghe C. Ionescu, Lexicon al celor care s-au ocupat cu muzica bizantin8 pe teritoriul Romniei, Editura Diogene, Bucure4ti,
.994, p. .38.
$0
Ilie Fotino, op. cit., p. 8.
98 Acta Musicae Bizantinae IV

where he wrote The History of Wallachia in three volumes, a rhymed Erotokrit and other original poems,
showing his qualities as Historian, Poet and Rhetorician.
Concerning the art of Church Music he acknowledges his debt to his teachers Iakovos Protopsaltes
and Petros Byzantios whom he also imitated.
$$
. He seems to have been a refined connoisseur of oriental as
well as occidental music: He was extremely skillful with the Drum and the Kemam and he even played the
Piano forte.
$2
. The same Anton Pann who asserts he also wrote a musical treatise The Theoretical
and Practical Didascalia for Church Music (especially for drum and kemam)
$3
.
The most important musical works that Dionysios Photeinos left to Byzantine culture are grouped in
a volume entitled Livre de musique. In .944, the manuscript was in the archive of the Photeino family,
namely to that of Dr. Elie Photeino (a great-grandson of the musician). It consists of 49. pages of which 54
are blank (I-VIII, 329-343, 464-49.)
$4
.

Here is the content of the manuscript according to Victor Papacostea:
$. Greek manuscript, XIX century (.809), written n al 32-lea an al vie7ii mele (#= +1 ;#$) #()
;() (+&-&') :.'"#'"&'%&$. .;$. p. 324). 2. p. I-VIII white pages ; 3. p. XI-XIII preface dedicated
to the great vistiernic Constantin Filipescu; 4. A page containing a dialogue in verse between the author and
the book; 5. pp. .-220 ,$>'"#&-'%&$. .;$." containing all glories of the feasts of the year, composed in the
meditative style, with a good rhythm and phtoric by myself, I, Supervisor Dyonisios of old Patras of Achaea,
Chief Treasurer, to My Lord Constantin Filipescu, my Protector and Benefactor. Given in Bucharest of
Wallachia in the year 6809, the month of September, that of Saint Simeon the Pillar-Like.; 6. p. 22.-293
0%&=5&$.; 7. p. 294-323 :.'"#'"&'%&$. .;$. (p. 323 : #;+$) #= 5; ?;= 5$>' ,Sfr9itul, lui Dumnezeu
slav8 ); 8. p. 325-328-table of contens (musical pieces for every month, according to the month); 9. p. 329-
343- white pages ; $0. p. 344-456-:.'"#'"&'%&$. .;$. (another ?) + #' ;.5;-' &5&=;+' ;=@&.' , at the end
of them, Dionysios make a short characterization of his musical genre :
0$5; /*'%3;& "/.@;' , ;$/ ,&$./"&$/
;- #=. A'#%=. #() A$+;=) , #$/ A;+$*$.("&$/ .
$*;% *%$) 3'%&. B;B$.; , #=. C&+$$/"=. $.=. ,
$&#&.;) -%&.$/"&. $%@=) -'& .$(' -'& #$.$..
0$ /C$) ;3;& "/.#$$. , ;@%/@$/) #') "/.@;";&) ,
#$ ;+$) -'#' .$(' , ; C@$%&-') #; @;";&)
4'.@'.;&. ;>;"#& +$&*$., +$B&$&) -'+$C=.$&),
a++ $/ #$&) ''@;"& 5;, '' -'& -'-$C=.$&).
D'& ;"#= ;&) .($"/.$., #$/ C&+$$/"$/ $.#=),
:&#&$/ #; -'& *%$#%;*#$/ -'$/ #$/ -$*&=.#$).
$$. p. 464-49.- white pages.

The Anastasimatarion and the Doxastarion were translated into Romanian and published by Anton
Pann.
These important volumes are accompanied by other works: heruvika (gr. ms. 768, B.A.R.), kinonika,
doxologies, etc., works that enjoyed a great popularity in the Romanian countries throughout the entire .9
th

century.
&. '(#)*#)+#,+-( $809
We have presented some information about the musician Dioyisios Photeinos because on the one
hand, very few things are known about his personality and on the other hand, because the understanding of a
type of exegetic analysis for the New Anastasimatarion would not be possible without these historical
considerations.
At this moment nothing is known about the manuscript Victor Papacostea refers to in .944. It may
have been lost or estranged. In .975, the Byzantinist Nicu Moldoveanu found another Anastasimatarion
belonging to Photeinos in the Library of the Romanian Patriarchate but this disappeared as well. Moreover,

$$
Anton Pann, Bazul teoretic 9i practic al Muzicii Biserice9ti, Bucure4ti, .845, p. XXV-XXVI.
$2
Anton Pann, op. cit., p. XXVII, n. ..
$3
Anton Pann, Bazul teoretic, p. XXVII.
$4
Victor Papacostea, Date nou8, p. 464. As far as we know this is the most elaborate study on Dionisie Fotino as a musician. This
ms., discovered by V. Papacostea in the archive of the Fotinos, will supply most of the data quoted in the present essay.
Nicolae Gheorghi!" The Anastasimatarion of Dionysios Photeinos 99

even Anton Pann, the apprentice of Dionysios Photeinos, foreshadowed the uncertain faith of these works in
the preface of the New Anastasimatarion - translated and published in Romanian in .854: this
Anastasimatarion, being composed after the old system by the Serdar Dionisie Fotino about 6809, was
taught to young people until 6866 and the Greek Anastasimatarion burned in 6847 in the Church of
Saint Dimitrie; and the Romanian one remained waiting for someone who wanted to bring it to light
$5
.
What we know for certain is that inspite of the hard times these Anastasimataria went through, there
are still two manuscripts, one in the old notation and the other in the new one, with an exegesis made by
Anton Pann himself, i.e.: 0. Greek manuscript .3.0, B.A.R., .809; 6. Greek manuscript 74. (527), B.A.R.,
.853-.854.
In order, we present the content of the two manuscripts and the analysis made of some exegesis
formulae in the Romanian tradition of Anton Pann structured in the authentic modes (I-IV). At the same
time, the study will be combined with the formulae given by the reformist tradition of .8.4.

$. Greek manuscript $3$0, B.A.R.,$809 92 f.; 26 .7 cm.;
- f .r

$5
Anton Pann, Noul Anastasimatar tradus 9i compus dup8 sistima cea veche a Serdarului Dionisie Fotino, Bucure4ti, .854.
6809, 5 E;/#;1%&$), :.'"#'"&'%&$.
.;$., "/.#$$., ;/%/@$., -'& -'#' .$('
"/.#;@;., *'% ;w ,&$./"&w 1'#'Cw #w
;- *'+'&=. *'#%=., #() ;- *;+$*$..("=
'3'&') *%$#$*( # '%3$. *'3'%.(-w
E#;C'.w *;+&w *%$) 3'%&. , #=. ;- #= #()
FBB%$1+'3&' 1w-w%;"#&= C&+$ w "=. -'#'
(.' ";/#;1%&$) #w '=@ ;#$)
Nou Anastasimar sintomon <pe scurt >, cu
ritm bun 9i dup8 n7eles alc8tuit <compus>de
mine Dionisie Vataful din Palaia Patra, a
regiunii Achaia din Pelopones, la ndemnul
boierului Gtefan Paharnicu Peliu pentru <de
dragul >iubitorii de muzic8 din Bucure9tii
Ungrovlahiei; n luna septembrie a anului
6809 ;
- f .r-35r- the echos I-IV;
- f 36r-38v- #' ;.5;-' &5&$;+' ;=@&.' ( only the first five eothina anastasima);
- f 39r-7.v- the echos I pl.- IV pl.;
- f 64v- the name of the copyist is writed -!"#$%!&;
- f 7.v-The end , echos IV pl.( glas VIII), in the Romanian language;
- f 72r-74v- the others six eothina anastasima ;
- f74v -
0;+$) .0$5; /*'%3;& "/.@;' , ;$/
,&$./"&$/ ;- #=. A'#%=. #() A$+;=) ,
#$/ A;+$*$.("&$/ . $*;% *%$) 3'%&.
B;B$.; , #=. C&+$$/"=. $.=. , $&#&.;)
-%&.$/"&. $%@=) -'& .$(' -'& #$.$.. 0$
/C$) ;3;& "/.#$$. , ;@%/@$/) #')
"/.@;";&) , #$ ;+$) -'#' .$(' , ;
C@$%&-') #; @;";&) 4'.@'.;&. ;>;"#&
+$&*$., +$B&$&) -'+$C=.$&), a++ $/ #$&)
''@;"& 5;, '' -'& -'-$C=.$&). D'&
;"#= ;&) .($"/.$., #$/ C&+$$/"$/
$.#=), a&#&$/ #; -'& *%$#%;*#$/ -'$/
#$/ -$*&=.#$).
Sfr9it. Iar aceasta este alc8tuirea
mea<f8cut8 de mine> Dionisie din Cetatea
Patrelor din Pelopones, care s-a f8cut numai
de dragul iubitorilor de muzic8 care judec8
drept (apreciaz8) 9i n7elesul (sensul) 9i tonul.
Stilul este sintomon , are alc8turi bine ritmate
, melosul dup8 n7eles cu locurile ftoralelor
<puse pentru a da sens >. Se cuvine ca s8 fie
spre nv87are celor nv87a7i 9i care au glas
bun , 9i nu celor nenv87a7i care, totodat8 ,
sunt 9i kakofoni (f8r8 de glas, cu glas prost,
urt) . Gi, ca s8 fie spre pomenirea celui cu
adev8rat iubitor de muzic8, acestea sunt
cnt8rile 9i ndemnul meu, celui care m- am
ostenit ;
- f 74v-And I Kostake wrote this Anastasimatarion on the prompting of the respected
didaskalos for , who is now a didaskalos at Antim Monastery as of the year .8.., May
28
th
. And I wrote this with an earthly hand, so that he who will read this will remember me
to his last hour. And I wrote this I, Kostake the disciple. -text of the copyist in the
Romanian language;
- f 76r-77v-H;/"'"@;,echos III, Makarios Hieropsaltes Golgothanos;
- f 77v-0$. *'#;%' , echos I;
- f 79v- Prayers;
- f 80r-84v, white pages;
$00 Acta Musicae Bizantinae IV

- f 85r I*& #$. *$#'$. 2'1/+=.$) - Dionysios Photeinos, echos IV pl., writed at .8.4;
- f 89r ,/.'&), 'B&$) , II pl.;
- f 9.r a figure drawn in pen representing a a man dressed in Western clothes and wearing a
top-hat;
- f 9.v-92v a few fragments of various prayers, pen sketches, calculations, etc.

2. Greek manuscript 74$ (527), B.A.R., $853-$854; 83f; 27,5 x 2.,5 cm; paper; cardboard. From
the Library of Metropolitan Iosif Naniescu; autograph manuscript, Anton Pann.
- f .r
:.'"#'"&'%&$. .;$., "/.#$$.,
;/%/@$., -'& -'#' .$(' "/.#;@;.,
*'%' E;%5'% ,&$./"& J=#;&.=, ./.
5; ;>(B(@( -'#' #=. .;$. ;@$5$. *'%'
; :.#=.& A'.. .
Nou Anastasimar sintomon <pe scurt >, cu
ritm bun 9i dup8 n7eles alc8tuit <compus>de
Serdarul Dionisie Fotino 9i t8lm8cit
(exighisit) n noua metod8 de mine, Antoniu
Pann;
- f .r-58v Anastasimar (I-VIII);

- f 8 v This book, the Anastasimatarion of Dionisake Fotino, rendered by Sire Anton Pann from
the system of church chanting using the old intricate notes, into the new system using same notes simplified,
is translated by Sire Anton Pann himself, in his own hand during 6853 6854, for me, the undersigned,
according to our agreement; thus I wrote here for memory eternal in the year of 6899.
Iosif Naniescu, the Metropolitan Bishop of Moldavia, in the year 6899, May 29th (Romanian text)
- f 59r-64v #' ;.5;-' &5&$;+' ;=@&.';
- f 64v the same text as like that from the manuscris .3.0, f. 74v, in the Greek language;
- f 65r-83v white pages.
Also, in both Anastasimataria Dionysios exhibited at the beginning of every echos the ethos of
the eight mode, as follows in the Octoechos of Saint John Damascene (c. 675-749) .

Unfortunately we do not have the necessary time to present and analyze these Anastasimataria and
their writers in detail. Our material is just part of a concentrated attempt to investigate the contribution made
by the musician Dionysios Photeinos on his way towards the Reform of .8.4 and the reception his works
met with in the Romanian countries .
Bibliographical notes:
.. Papacostea, Victor Vie7ile sultanilor. Scriere inedit8 a lui Dionisie Fotino, studiu publicat n lucrarea
Civiliza7ie romneasc8 9i civiliza7ie balcanic8, Editura Eminescu, Bucure4ti, .983, p. 43.
2. Idem - op. cit., p. 43.
3. La pagina 324 a Anastasimarului s!u (:.'"#'"&'%&$. .;$.), alc!tuit la .809, Dionisie Fotino scrie: 0=
+1 ;#$) #() ;() (+&-&') (n al 32-lea an al vie7ii mele); citat din Victor Papacostea Date nou8 despre
via7a 9i opera lui Dionisie Fotino, studiu ap!rut n vol.: Civiliza7ie romneasc8 9i civiliza7ie
balcanic8, Editura Eminescu, Bucure4ti, .983, p. 465
4. Fotino, Ilie - E(;&='#'%&$., p. 3: ( (#(% $/, $.$'K$;.( A'"3'+&#"', $$&=) ;3;& *'#;%' #$.
:@'.'"&$. J=#;&.$. '*$ L;K(%' #() A;+$*$..("$/, ;*&"($. &'#%$. #$. E$/+#'. M'&#( ; n:
Victor Papacostea Vie"ile sultanilor, p. 437, n. 32
5. Idem - op. cit., p. 3: $"#&) ;*=.$'K;#$ -'& D'%5'"(), -'& N'+#'-(), -'& A$+&#'-(), 5&$#& ;&3;
5&'#%&O;& 3%$.$/) &-'.$/) ;&) D=."#'.#&.$/*$+&., -'& (#$ ;&5(=. #() #; P@='.&-() 5&'+;-#$/, -'&
;*%$C;%; "/.;3=) #$, -'%5'"& -'& #() 4$/"&-() ;*&"#(() O'++=. *'.#$#; ;&) #(. ;--+("&'.; n:
Victor Papacostea Vie7ile sultanilor, p. 437, n. 33
6. Fotino, Ilie op. cit., p. 5
7. Idem - op. cit., p. 5: 5&$#& $ /&$) #() ,&$./"&$), $ @;&$) $/, ;&3;. '.'3=%( ";& 5&' D=."#'.#&.$/*$+&.
&.' "*$/5'"( ; n: Victor Papacostea Vie7ile , p. 437, n. 36
8. Dionysios Photinos !"#$%&' #() *'+$& ,'-&'), #' ./. 0%'."&+1'.&'), 2+'3&') -'& 4$+5$1&') (3 ,%.),
Viena, .8.8-.8.9. (Istoria general8 a Daciei sau a Transilvaniei, <8rii Muntene9ti 9i a Moldovei)
9. Ionescu, Gheorghe C. Lexicon al celor care s-au ocupat cu muzica bizantin8 pe teritoriul
Romniei, Ed. Diogene, Buc., .994, p. .38
.0. Fotino, Ilie op. cit., p. 8
Nicolae Gheorghi!" The Anastasimatarion of Dionysios Photeinos $0$

... Pann, Anton Bazul teoretic 9i practic al Muzicii Biserice9ti, Bucure4ti, .845, p. XXV-XXVI
.2. Pann, Anton op. cit., p. XXVII, n. .
.3. Pann, Anton Bazul teoretic , p. XXVII
.4. Papacostea, Victor Date nou8 , p. 464. Acest studiu este, dup! cte cunoa4tem, cel mai complet
demers nchinat muzicianului Dionisie Fotino. Marea majoritate a datelor cu privire la ms. descoperit de
V. Papacostea n arhiva familiei Fotino, vor fi citate din acest studiu.
.5. Pann, Anton Noul Anastasimatar tradus 9i compus dup8 sistima cea veche a Serdarului Dionisie
Fotino, Bucure4ti, .854.
.6. Papacostea, Victor Vie7ile sultanilor. Scriere inedit8 a lui Dionisie Fotino, studiu publicat n lucrarea
Civiliza7ie romneasc8 9i civiliza7ie balcanic8, Editura Eminescu, Bucure4ti, .983, p. 43.
.7. Idem - op. cit., p. 43.
.8. La pagina 324 a Anastasimarului s!u (:.'"#'"&'%&$. .;$.), alc!tuit la .809, Dionisie Fotino scrie: 0=
+1 ;#$) #() ;() (+&-&') (n al 32-lea an al vie7ii mele); citat din Victor Papacostea Date nou8 despre
via7a 9i opera lui Dionisie Fotino, studiu ap!rut n vol.: Civiliza7ie romneasc8 9i civiliza7ie
balcanic8, Editura Eminescu, Bucure4ti, .983, p. 465
.9. Fotino, Ilie - E(;&='#'%&$., p. 3: ( (#(% $/, $.$'K$;.( A'"3'+&#"', $$&=) ;3;& *'#;%' #$.
:@'.'"&$. J=#;&.$. '*$ L;K(%' #() A;+$*$..("$/, ;*&"($. &'#%$. #$. E$/+#'. M'&#( ; n:
Victor Papacostea Vie"ile sultanilor, p. 437, n. 32
20. Idem - op. cit., p. 3: $"#&) ;*=.$'K;#$ -'& D'%5'"(), -'& N'+#'-(), -'& A$+&#'-(), 5&$#& ;&3;
5&'#%&O;& 3%$.$/) &-'.$/) ;&) D=."#'.#&.$/*$+&., -'& (#$ ;&5(=. #() #; P@='.&-() 5&'+;-#$/, -'&
;*%$C;%; "/.;3=) #$, -'%5'"& -'& #() 4$/"&-() ;*&"#(() O'++=. *'.#$#; ;&) #(. ;--+("&'.; n:
Victor Papacostea Vie7ile sultanilor, p. 437, n. 33
2.. Fotino, Ilie op. cit., p. 5
22. Idem - op. cit., p. 5: 5&$#& $ /&$) #() ,&$./"&$), $ @;&$) $/, ;&3;. '.'3=%( ";& 5&' D=."#'.#&.$/*$+&.
&.' "*$/5'"( ; n: Victor Papacostea Vie7ile , p. 437, n. 36
23. Dionysios Photinos !"#$%&' #() *'+$& ,'-&'), #' ./. 0%'."&+1'.&'), 2+'3&') -'& 4$+5$1&') (3 ,%.),
Viena, .8.8-.8.9. (Istoria general8 a Daciei sau a Transilvaniei, <8rii Muntene9ti 9i a Moldovei)
24. Ionescu, Gheorghe C. Lexicon al celor care s-au ocupat cu muzica bizantin8 pe teritoriul
Romniei, Ed. Diogene, Buc., .994, p. .38
25. Fotino, Ilie op. cit., p. 8
26. Pann, Anton Bazul teoretic 9i practic al Muzicii Biserice9ti, Bucure4ti, .845, p. XXV-XXVI
27. Pann, Anton op. cit., p. XXVII, n. .
28. Pann, Anton Bazul teoretic , p. XXVII
29. Papacostea, Victor Date nou8 , p. 464. Acest studiu este, dup! cte cunoa4tem, cel mai complet
demers nchinat muzicianului Dionisie Fotino. Marea majoritate a datelor cu privire la ms. descoperit de
V. Papacostea n arhiva familiei Fotino, vor fi citate din acest studiu.
30. Pann, Anton Noul Anastasimatar tradus 9i compus dup8 sistima cea veche a Serdarului Dionisie
Fotino, Bucure4ti, .854.


:.'"#'"&'%&$. .;$. by Dionysios Photinos and translated (exegeseis) in the New Method by Anton
Pann
.. Ms. gr. .3.0 B.A.R. .809
2. Ms. gr. 74. (527) B.A.R. .853.854
Formulas
./-0 #
New Method
PreChrysanthic notation
Cadences on 1# (Re)
Total
Partial
% Cadences on 23 (La)
Total
Partial
%
&
.

.
Q .6( (Q) $ R
$.
26 20 76,9
&

.
$.

3 3 $00
#
!." (6)
or

#
D
."(6)
&

.
!. 6( (Q) . R $
2.
26 6 23


$02 Acta Musicae Bizantinae IV

./-0 #
New Method
%
$

$$"(6)
&

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!. 6( (Q) . R $
$.

27 27 $00


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2

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&

.
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2 2 $00




Cadences on 45 (Si)
Total
Partial
% Cadences on 1# crom. (Re)
Total
Partial %
#
!." (6)
or

#
D
."(6)
&

.
!. .6&(Q) $ R
$.

2 2 $00
&
#
#
b
b

.
!. .67(Q) $ R
$.

3 3 $00

./-0 %
New Method
PreChrysanthic notation
Cadences on 6+ (Sol)
Total
Partial
% Cadences on %-7 (Mi)
Total
Partial
%
#
&
D
."(6)
or

#
D
."(6)
&
b
.

.
.63(Q) $ R
$.
23 20 86,9
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b

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Q .6(Q) $ R
$.
9 8 88,8


&
b

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2.
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23 3 $3
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2.
5 2 40


Cadences on (8 (Do)
Total
Partial
%
Total
Partial
%
#

!."'(6)
&

b
.

b

.
$.
5 5 $00


%
$

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3

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$ $ $00



Nicolae Gheorghi!" The Anastasimatarion of Dionysios Photeinos $03

./-0 &
New Method
PreChrysanthic notation
Cadences on 9# (Fa)
Total
Partial
% Cadences on :# (Re)
Total
Partial
%
#
$

!." (6)
&

.
b
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$ $ $00
&

b
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5 5 $00



Cadences on <3 (La)
Total
Partial
% Cadences on 6+ (Sol)
Total
Partial
%
#
!.6
&
b
.

$.

5 2 40
&
b
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2.

5 3 60


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Cadences on 45 (Si)
Total
Partial
%
Total
Partial
%
#
-V
&
b

. b







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$ $ $00



$04 Acta Musicae Bizantinae IV

./-0 ;
New Method
PreChrysanthic notation
Cadences on %-7 (Mi)
Total
Partial
% Cadences on 6+ (Sol)
Total
Partial
%

&

.



b
j

$.

$3 2 $5,3
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$3 9 69,2



Cadences on 1# crom. (Re)
Total
Partial
% Cadences on (8 (Do)
Total
Partial
%
#
!.6'
&
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b

$.

$ $ $00


%
$$6'
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4 4 $00


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Cadences on <3 (La)
Total
Partial
%
Total
Partial
%
#
.$6

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$ $ $00



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Total
Partial
%
Total
Partial
%
&
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2.

$3 $4 30,7



Cadences on 1# (Re)
Total
Partial
% Cadences on 6+ crom. (Sol)
Total
Partial
%
&
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$8 $$ 6$,$
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Nicolae Gheorghi!" The Anastasimatarion of Dionysios Photeinos $05

./-0 ;
New Method
%
$$6
or
,.$6
&

$.

$4 $4 $00
&



b

$.

$ $ $00

New Method
./-0 I
PreChrysanthic notation
Cadences on 1# (Re)
Total
Partial
% Cadences on 23 (La)
Total
Partial
%
#
!."
&
.

.
$.

9 9 77,7
&
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j
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5 5 $00

New Method
./-0 IV =*-0
PreChrysanthic notation
Cadences on 6+ (Sol)
Total
Partial
% Cadences on %-7 (Mi)
Total
Partial
%
&

.

.
$.

3 $ 33,3


#
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2.

3 2 66,6
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5 5 $00
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$2 $2 $00

New Method
./-0 II 1=.
PreChrysanthic notation
Cadences on 1# (Re)
Total
Partial
% Cadences on 23 (La)
Total
Partial
%
&
#
#
b
b
.

.
$.

$3 $2 92,3
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3 3 $00


$06 Acta Musicae Bizantinae IV

New Method
./-0 II 1=.
%
2

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&
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b
b

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3 3 $00



Cadences on 6+ (Sol)
Total
Partial
% Cadences on >8 diat. (Do)
Total
Partial
%
&
#
#
b
b
.

.
$.

6 4 66,6
&
#
#
b
b n
n

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$ $ $00
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b
b

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2.

6 2 33,3


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b

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4 4 $00


%
2

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#
b
b

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$ $ $00



New Method
./-0 IV 1=.
Prechrysanthic notation
Cadences on >8 (Do)
Total
Partial
% Cadences on 6+ (Sol)
Total
Partial
%
&

.

.
$.

20 $9 90,5
&

.

.
$.

$2 $2 $00
#
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2.

20 $ 5


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6 6 $00
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$ $ $00


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2 $ 50
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2.

2 $ 50
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$ $ $00
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$ $ $00

./-0 #
Dionysio Photinos
(D.++1.*I*I#.1U(>S!.
A' - 8$ - - - - 2- ____ 280 ____ I0 ___ <8%) __ (- ___ -$ (0 _______
..1!*>Q(P++1.>T#.$
Nicolae Gheorghi!" The Anastasimatarion of Dionysios Photeinos $07

__ 2%' (% _______ %& %' -$ (0 2%' (% ___ %& %' A' _____ 8$ _____
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"R.*=&=.*.+=R..>+S1.Q
(% ___ %& %' ___ <8%) -;-) ,3 E+ - &3 ___________ ,3 ___ 3) B- 3 ____ (-
UR$.Q(@.++1.*>*>!.1
+ _______ +) %' -& ,+ 2- 280 J- ____ &0$ ___ 0$ ___ - ______ <8%-%)
1U*%++1.>T#.$.6(
(- ____ -$ (0 2%' (% ___ %& %' A' _____ 8$ ________ -.
>++=...S!...1!*>Q(*+
A0 ,-' >3& >3 ___ ,% 3 <8% __________ (-' @3 ________ %' +) >'
1..*3&P>!.R1.mS*
$ ______ 0 ___ 0 ___ - &+ ____ <$ ______ % ____ %& (%' ______
Sx<.#..4>1..VS$..>QiP
- ____ <0 - 08 ($ ___ $) ,+ ___________ %& ;-$ 8+ ____ + ___ +& %' >'
Sw1#VSw.1U*>++-.>T
($ __________ 0 ______ - (<- 8$ ___ &3 ____ -$ (0 - 2%' (% ___ %& %'
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A' _____ 8$ ________ -.