The IILatrinos" Settings of the Polyeleos

Psalm 135
To the Typological Problems of the Late Byzantine
Psalmody

EIend Tonceva
It is wea known that at the beginning of the fourteenth century a new type
of music manuscript was being used. in the services of Byzantine Church the musicat manusaipts of the Akolouthiai type.' They are connected with
the predominance of the mixed Jerusalem Typikon on the Balkans which
replaced the Typika of the Constantinople centre: the monastic Studios
Typikon and the cathedral Typikon of Hagia Sophia. 2 Among the richest
collections of psalmodic melodies in the Akotauthiai is the repertory of the
Polyeleos, performed on spedal feast morning offices (OrthroS).3 We may
recoHect that the term polyeleos arose in connection with the repeated use of
the word "deos" in the refrain text after each of the 26 verses of Psalm 135:
eJ
:> r 'tov
\
>,...
r uu'tOU
'
...., ("for h"IS mercy IS
. et ema.
1")4 Th e lat e
Ott Et~
UUilVU
to" ~'\EM:.O~
Byzantine Polyeleos repertory includes several secticns among which the
melodic cycles of Psalm 134 and 135 take central position,S the cycle of
WilIiams, E. John Koukouzeles' Refonn of Byzantine Chanting for (jreat Vespers
in the Fourteenth Centuries. Ph. D. Thesis, Yale Vniversity, 1968, Chapter UI:
AKOA.OOetUt = Order of Service. See Strunk, O. The Antiphones of the
Octoechos. - Journal of American Musicological Society, XIII (1960), p. 53.
2 Williams, E. Op. ciL, Chapter I, p.11, 73-74.
3 Touliatos-BankeT, D. The Byzantine OrthTos. Byzantina, IX (1977) 323-3B3,
With Bibl.

A
5

nOA.UAOS. MBY<X.A.U EA.A.llVlKl1 EYI(t)KA.07tUlOtU, XX, 496-497.

MOTgan, M. The Musical Setting of Psalm 134 - the Polyeleos. - Studies in
Eastern Chant, Vol,3 (Oxford, 1973) 112-170, T 0}{1JeB8! E.'h3pO)l()leHCKaTa

BepCIDI Ha "IIOJmerreli Ha 6bJlI'8pK8Ta" OT tt08H Kyxy3eJI rfhe Revival

Version of the Po/ye/eos "of the Bulgarian Woman" by John Koukouzeles) MY3HKamm XOPH30HTH (= Musical Horizons), 1988, No 17/18 (Sofia) 6-27/
38 nOJllleJIeH 1t6'hrrrapKaTa" - B1.3MO)l(JtO B38HMo)leHCTBHe Me)l()l)' U'LpKoBeH
H cpOJIKJIOpeH npo41ecHoH8JD13'hM (On the Polyeleos Tes Boulgaras: A Possible
Interaction Between Church and Folk Singing ProfessionalismJ - Musical
Horizons, 1989, No 12/13 (Sofia) 147-165, 38 p8HH8T8 nOIDIeJIeliH8 neceffil3
Cantus Planus '9:3 - Eger, Hungary

473

psalm 136 is added to them - they are Psalms which belong to the 19th
Kathisma according to the Jerusalem monastic distrtbution of the Psalter.
The chant tradition of Psalm 135 has the advantage of several available
sources before the fourteenth century. The earliest of them is the Russian
Blagovescensky Kondakar (of the Asmatikon Type) of the twelfth century.?
't introduces, by means of a special rubric, octoechos arranged melodic

npaICTHK8 H8 namcamne (About Early Balkan's Polyeleos Practice (on Sources

from Xllth and Xlllth cc.) - D'hJIr8PCKO MY3H1<03HaHHe (= Bulgarian
MusicologyL 1985, N3 (Sofia) 3~291 3a CTap06'bJIrapCK8Ta nOJrneJIeifHa
neceHHa np8KTHKa (HOBOOTKpHT paHeH HeBMeH 3arrnc Ha nOJrneJ1eH
"BYJIrapHKOH" (About the Oldbulgarian Polyeleos Singing Practice - a Newly
Discovered Neumed Copy of the Po/yeleos "Boulgarikon") - In: KHpHJIo-Mero.IlHeBCKH CTY.llIDI (= Cyrillo~Methodian Studies), No 4 (Sofia, 19B7) 340364 1HoBH <t>aKTH H H3Crre)lOB3TeJICKH acnpeKTII B MY3HJ<aJIHaTa CTapo6'bJII'apHCTHKa (New Facts and Aspects of Research in the Musical Oldbulgaristics) - Ruls.arian Musicology, 19B2, No 4 (Sofia) 3-41/ nOJDIerreihlOTo
TBOpqeCTBO Ha HoaH KYKY3err B KOHTeKCT8 Ha 6aJll(8HCK8T8 l{bPKOBHOneceffila npalCTHKa (The Polyeleos Work of John Koukouzeles in the context of
the Balkan Church Chant Practice). - In: Acts of the 2nd International Congress
of Bulgarian Philology and History, Vol. 17. Sofia, 19B6, 224-262. About the
latebyzantine Polyeleos see Ton~eva, E. TIoJrneJ1emrn MeJIOmrn, 0603HaQeHlt
KaTO 6'bJIrapCKH B 6aJIKaHCK8T8 neBQecK8 npaKUlKa (ncaJIM 135 no H3BOPH
OT 12/13 - 14/15 B.) Wolyeleos Settings, DeSignated as "Bulgarian" in the Balkan
Chant Practice (psalm 135 Based on Sources from 12th/13th and 14th/15th cc.!).
Second Ph.D. Thesis, Institute of Arts Studies (Bulgarian Academy of Sciences),
1993.
6 rn the monastic rite the entire Psalter was used in divisions known as
Kathismata. The "chanted" cathedral rite {'acrJ..La'tlKl1 aKoA.ou8taJ had another
important distinction: the selection and distribution of psalmody. Dliver Sfrunk
was the first to use the term "distributed Psalter" . See Strunk, D. Byzantine Office
at Hagia Sophia. - Dumbarton Oaks Papers IX-X (1955-1956) 177-202, Touliatos-Banker, D. The Chanted Vespers Service. - nl1poV0J.1tCX, VIIr IThessalonikL
1976J 107-126, With Bib!.
7 Der altrussische Kondakar. Blagovdcenskij Kondakar. Facsimiliausgabe. Herausgegeb. v. A. Dostal u. H. Rothe. qiesse, 1976. See RoTOs, C. die Entzifferung der
Kondakarien-NotaUon. - Musik des Ostens, 3 (Kassel, 1965) 7-711 4 (Kassel,
1967) 12-44, Myers, yr. The Asmatic Troparia, Hypakoai and Katavasiai Cycles
in Their Paleoslavonic Recensions. - Bulgarian Musicology 1993, No .2 (Sofia) 336, With bib!.
474

repertory,
the 26 verses of
psalm are
groups of four
group is intoned
one of the eight modes, while the Byzantine type of modal systematization is
followed (although the Slav kind of numeric designation of the echoi from 1
to 8 is used). As it can be seen from Table 1, in the tetrastichos groups two
melodies are noted for the odd verses, the even verses are noted in short
(onLy their beginning) which means that they were being intoned after the
for the previous
manner of notation
same
connected
two-choir antiphonal
where the
groups were
the choir on the
melodies
while th
left intoned th
the same
9
modeL
The Polyeleos chants in the Blagovd~ensky Kondakar10 are highly
melismatic compositions, follOwing a composition scheme of the comma
type11 (the term is according to P. Ferretti) - scheme ABeD, in which A
intones the text line, B is the section of the traditional for the psalm alleluiarefrain, C intones the refrain verse, and D is the traditional finai aUeluia (see
Example
source of the same
paleobyzantine manu~
script
notation) Sinai 1
the same tetrastichos
oktoechos
f melismatic m
- 6v) see Table
However
additionally
the rubric introducing
the Polyeleos)
34 (verses 1a,
1
f.1v). These are
earliest record of melodies of this psalm known to us (the gradual binding of
Psalm 134 with the designation "polyeleos" is testified by the Typikon of the
a

'tE'tpucr-nxol;

= lJeTBepOCTHXOHOBO = ("Fourversed"). See Stefanovit, D. Old

-2. Beograd 1974-1
Ton~eva, E. The Polyelcos

Serbian
Work
.. ; The Polyeleos
Designated as "Bulgarian~,
Chapter
o The
related to the type
Psalter
cathedral). See
psalmodie dans
byzantine. - Proche Orient Chretien, T. XV Uerusa[em 1 (65) 107-120. Petit, L
L'Antiphone dans la Liturgie greque. - Dictionnaire d'Archeologie Chretienne et
de la Liturgie, T. I, 2me partie 1461-248B.
10 The composition type is analysed on the basis of the comparative study of the
neumed versions.
11 FerrettL p,
gregorienne.
1
p. 90-91. # fragment
incise.
segment;
12 Kamil,
of All Manuscripts
of Saint Catheri
, Wiesbaden, 1970 No
on Mount
221 f.
l

St. Salvatore Monastery near Messina).13 Chronologically the next source is

Ms Messina 161 of the 13th c. (with repertory of type A;ma,14 neumed
with mediobyzantine notation). The manuscript presents again an oktoechos
cycle only of Psalm 135. 15 But unlike earlier sources, the cycle here is
constructed on the basis of groups of three verses, for each of the three-verse
groups only one melody for the initial verse in the groups is neumed (see
Table 1). The melodic stylistics however remains the same: greatly melismatic chants follow a comma-type composition scheme. 16 (Ex. 1c) The study of
the so described early melodic cycles of Psalm 135 in the context of the data,
presented by the typica, made possible their characterization as
representatives of the liturgical practice of the Constantinople type, in which
Psalm 135 was perfonned as a special antiphone. 17
A particularly valuable source for Psalm 135 is the fourth early
manuscript - the so called Bachkovo Fragment with melismatic chants of
about 1281. 18 The Fragment is foliated to Sticherarion No. 818 of the same
Toncev3, E. The Polyeleos Settings Designated as "Bulgarian" ... In Ms. Sinai
1273 immediately after the Polyeleos an Octoechos Alleluianon cycle is neumed
- a selection of the following Psalm verses: 1,1, 4,1 f 7,1/ 9,2, 11,2/ 14,1/ 17,1/
18,1, 21,1. The selection can by identified as the Allelourion, attributed to st.
Theodore of Soudios (d. 826), according to the Typikon of Patriarch Alexis (10251043). For the A1exine Typikon see Arranz, M. Les premieres etapes. - Orientalia
Christiane Periodice 38 11972). For the Typikon of the Sf. Salvatore Monastery
see: Le Typicon du monastere du Saint-Sauveur a Messine Codex Messinensis gr.
115 A. d. 1131. Intr., texte critique et notes M. Arranz. Rome, 1969.
14 Salvo, B. D1. Cjli asmata nella musica bizantina. - Bolletino della Badia greca di
Cjrottaferrata, 13, New Serie, 1959,45-50,127-145 / 14,1960,145-178. Moran,
N. The Ordinary Chants of the Byzantine Mass, Vol. 1-2. Hamburger Beihiige
zur MusikwissenschaFt, Bd. 12 (1975).
15 Salvo, B. D1. Op. cit., 13, 1959, p. 45.
10 Toncheva, E. The Polyeleos Psalmos 135 Based on Sources from 12th and 13th
cc. - Bulgarian Musicology, 1993, No 1 (Sofia) 3-31.
17 After the A1exine Typikon the first Doxa of the 19th Kathisma, named
Polyeleos ought to have been sung in a very solemn manner. According to
Skaballanovic, this manner of singing is under the influence of the "akolouthia
asmatike". See CK86aJlJl8HOBWI, M. TOJIKOBbm THIlHKOH, T.1-2. KHeB, 1910,
1913 r. Taft, R. Mount Athos: A late Chapter in the History of the Byzantine
Rite. - Dumbarton Oaks Papers, 42 (19B8). Arranz, M. Les premieres etapes ... 1
Le Typikon du monastere du Saint-Sauveur .. ,
18 Toncheva, E. Middle Byzantine Fragment with Melismatic Chant in the Bachkovo Monastery Musical Manuscript Collection - Musica Antiqua (BydgoslCZ,
Polska, 1985) 109-134.
13

476

year, and belongs to the musical manuscript coUection of the Bachkovo

Monastery (the monastery is situated in South Bulgaria near the contemporary town of Assenovgrad; it was built in the 11 th century as a centre
of the Byzantine-Cieorgian culture).19 The Fragment records - under the
common designation "Polyeleos" - a repertory already of the two Polyeleos
Psalms 134 and 135, that is a repertory of the latebyzantine type. Its
comparative study in the context of the latebyzantine Polyeleos melodies
identifies the cycle after Psalms 135 as a repertory, continuously designated
in the latebyzantine Akolouthiai as "latTinos"20 - a mysterious designation, to
which some sources of the 15th century add the attribute "tes Constantinopoleos" 21 In the latebyzantine Akolouthiai the latrinos repertory takes central
position and heads a series of chant cycles of Psalm 135. Table 2 presents the
repertory proportion between the Bachkovo Fragment and the earliest
available to us dated anthology - Akolouthiai manuscript Athens 2458 of
1336 A. D. As it can be seen from the Table the Bachkovo Fragment has a
limited number of latrinos melodies. 22
The first feature of the latrinos-repertory - in comparison with earlier
sources for Psalm 135 - is that it isn't of oktoechos type (see Table 1). The
latrinos-melodies complise mainly two modal areas: of the second and the
third modes, although the modal arranging again is mainly of the tetrastichos kind. The first two groups of four verses are intoned in second
authentic echos; with the initial melody of group
begins second pLagal
echos, which, however, even in the same group (from the odd verse in
second position) is replaced by medial second echos nenano. Third authentic
echos begins in four-verse group V, though again its medial echos nana
appears immediately. In the same group third authentic and nana echos
mingle with plagal Tetartos, and single melodies have double opening

I"

TOH'.leBa, E. MY3HKaJrnaTa rpa)])1l..{HSI npe3 BeKOBeTe B n8q](OBCKIDJ

MaHaCTHp. Ea'lKOBCKa
MY3HKa.rrno-pbKonHcHa C6HPK8 - H8qaJlliH Ha6mo.lleHHSI (The Musical Tradition Through the Centuries in the Rachkovo

19

Monastery. The Bachkovo Musical Manuscript Collection - Preliminary Observations.) - Musical Horizonts, 1987, No 6 (Sofia) 54-70.
20 ProL M. Ve!imirovic is the firsC who noticed the designation "'atrinos" in
relation with the latcbyzantine repertory. See Vetimirovic, M. Byzantine
Composers in Ms. Athens .2406. - In: Essays Presented to Egon Wellesz. Oxford,
1966,7-18.
111

112

See for example Ms Athens NO 899, f. 61 V.

Toncheva, E. Middle Byzantine Fragment. .. / The Polyelcos Psalm 135 ...
477

modal signatures for 4th plagal and nana modes. The final DoxoLogy is
usually in 4th PlagaL 23
According to the data of the latebyzantine sources , have consulted 24
the latrinos-cycle undergoes further repertory enrichment - a process also
evident from the correlation between the Bachkovo Fragment and the early
Athens anthology. The investigation of this process has revealed following
of certain norms. As Table 3 shows, in the four-verse groups at least one
melody is neumed (for the initial verse) or two melodies (for the two odd
verses). The possible position for the appearance of a third melody in the
group is the last even verse, it seems that only after that the appearance of a
fourth melody is "allowed" - for the even verse in second position. Usually
the initial melodies (or the melodies for the two odd verses) in the four-verse
groups are introduced through the term "aHagma,,25 - change (change in the
melodic pattern); the term evidently designates the main melodic patterns
with which the four verses in the groups could be intoned. But when a
second mdodies for the same verses appear, they are most often
accompanied by the designation "eteron" - meaning "other",26 designating
most probably a second possible pattern, alternative for the performance of
the fourversed group. The same designation also accompanies the melodies
for the even verses, evidently offering new melodic alternatives. And one
more observation: Table 3 shows that certain tetrastichos groups as well as
some of their verses seem to be connected with an increased number of
different melodies. Such are tetrastichos groups IV and VI, as weH as verses
15 and 23. And verse 24, the last one in group VI, actively intoned in the
14th century, was not so popular in the 15th century. It is difficult to
interpret the described preferences but most probably they are connected
with the semantics of the psalm and respectively with the actuality of its
main ideas.S!7
23 Some Doxa copies have a double modal signature for plagal Tetartos and nana
modes. See for example MsAthens No 2622, f. 165v-166r.
24 In the investigation 22 of the latebyzantine manuscripts have been consulted: 10
from the 14th c. (Sinai 1256, Sinai 1257, Athens 2458, Athens 2422, Wien
theo!. gr. 185, Vat. Pal. gr. 243, Taphos 425, Sinai 1311, Sinai 1294, Sinai
1462), and 12 from the 15th c. (Athens 2406, Athens 899, Wien phil.gr. 194,
Wien Suppl. gr. 110, Sinai 12501 Sinai 1293, Sinai 13291 Sinai 1552, Sinai 1463,
Sinai 13.26, Barb. gr. 300, Athens 928)
25 <X.A.A.ay~ - <X.A.AacratV. See Mateosl J. La psalmodie dans le rite byzantine p.
115. Velimirovic, M. Byzantine composers ...
26 Idem.
27 Ton~va, E. Polyelcos Settings, Designated.", Chapter IX.
478

Unlike the Bachkovo Fragment the latebyzanhne sources of the 14tn

and the 15th centuries, along with the traditional (anonymous) melodic
repertory report a number of newly-composed author chants. So out of the 45
melodies in the cycle (consulted in this study), 24 are attributed to 8
composers. The most famous latebyzantine composer of the first half of the
14th century John Koukouzeles (a Bulgarian by birth}28 is presented with 8
melodies. His contemporaries Koronis (Xenos) and Manuel Agatianos rank
second with 5 melodies each. Manuel Kourtesis follows - with 3 melodies;
the remaining authors (also of the 14th century) (jeorgl0s Kontopems,
(jeorgios Panaretos, John the Monk and Andrew are represented with one
melody each. 2Q In principle the author melodies don't take initial positions in
the tetrastichos groups and don't affect the first two groups in the series.
They appear mainly in the position of "eteron" that is alternative versions,
and intone mainly even verses. 3D The above mentioned tetrastichos groups
IV and VI are especially actively recreated by the authors, special attention
being paid to verse 15 again. Interesting observations can be made on the
practice of the so called migrating melodies (the tenn is after E. Williamsf',
that is melodies which, having become popular, function like preferred
melodic patterns for intoning different verses. Such is one of the anonymous
melodies for verse 15 which also intones verses 16, 14, 13, 11 and 17. 32
Some versions of John Koukouzeles enjoy great popularity. For example, one
of them (Example 3) seems included in aH latebyzantine cycles of Psalm 135
known to me, intoning verses in the zone of tetrastichos group IV.
The latebyzantine sources reveal special dynamics in the development
of the Polyeleos repertory. A summit is reached in the first half of the 15th
century. During the second half of the 15th century a tendency appears
towards reduction of the repertory and limiting it to traditional chant series,
predominantly anonymous melodies, only some alJthor patterns are accepted
mainly of the early latebyzantine composers such as John Koukouzeles and
Xenos Koronis.
Because of the limited place I have no possibility to present in detail the
musical stylistics of the lamnos-psalmody - I'll mention only some of its
Williams, E. Op. cit., Chapter VIII.
2Q Velimirovic, M. Byzantine Composers ...
30 Only some settings by the most authoritative authors like John Koukouzeles and
Xenos Korones had the favour of being neumed as matn models in the tetrastichos-groups.
28

31

Williams, E. Op. cit., p. 168-169.

32

Tonceva, E. Polyeleos Settings Designated ... Chapter VII. 1, Table 4.

479

main characteristics. Vnlike the mel1smatic compositions in the earlier

sources, the latrinos repertory includes mainly syllabic~neumatic chants of a
strophic type: 55 according to scheme ABA'B, that is the verse text and its
allelouia refrain expose the melodic modet which intones the second tine of
the refrain text and the final aUelouia. Example 2 presents a melody especially typical for the strophic composition scheme. It is in second authentic echos
and is designated in the sources as "old" (palaion).54 Section A is a recitation
of the verse text with opening pitch at Ci (theoretical second Tonic of the
echos),35 the main pitch of recitation is b natural (the first theoretical TonicL
which is achieved by the ascending figure of Darta,36 upon the first accented
syllable of the text. On the fourth syllable from the end of the line (halfverse
I/) occurs neumatic expansion which introduces the Dominant of the echos d. In this manner emerges the basic tonical axis of the ecnos: two
consecutive thirds q~b-d, which are 'rded through traditional melodic
figures-formulae raccording to the latebyzantine melodic-lexical - thesis
classificationJ37: Bareia+eteron Parakalesma and a combination of Darta
33 Ferretti, P. Op. dt., p. 89. Tontscheva, E. Der Strophe-Kompositionstyp in der
byzantinischen und slavischen mittelalterlichen Musik. Einige Beobachtungen. Internationale Symposion anlal3lich der 100 Wiederkehr des (jeburtstages von
Egon Wellesz. Wien, 28-31 Oktober, 1985.
34 Williams, E. Op. cit., p. 124, 72.
35 Raasted, ). Intonation Fonnulas and Modal Signatures in Byzantine Musical
Manuscripts. - Monumenta Musicae Byzantinae, S. Subs., Vol. 7. Copenhagen,
1960.
:so .. 8aJYtex. -rex.m;ex. ex. nex.v-rex. j..!-rex. f.mcycp~ex.-roS ... See Devai, Ci. The Musical
Study of Cucuzelcs in a manuscript of Debrecen. - Acta Antiqua Academiae
Scientiarum Hungaricac, .2 (Budapest, 1955) 151-179; The Musical Study of
Koukouzeles in a Fourteenth Century manuscript. - Acta Antiqua Academiae
Scientiarum Hungaricae, 4 (Budapest, 1958) 213-235. TOHqeBa, E. XHpOHOMHqeCKOTO. neBqeCKO ynpa)l(}{eIDfe Ha fioaH KYXY3eJI (The Cheironomic Chant
Study of John Koukouzeles) - In: MoaH Kyxy3eJI )l(}{BOT, TBpqecTBO, enoxa
Uohn Koukouzeles - life, Work, Epocn). - Musical Horizonts, 1981, No 18/19
(Sofia) 74-101.
37 Cia bri el Hieromonachos. Abhandlung ober den Kirchengesang. Herausgeg. v.
Chr. Hannick u. Ci. Wolfram. - Monumenta Musicae Byzantinac, Corpus
Scriptorum De Re Musica, Vol. 1. Wien, 1985. The Treatise of Manuel
Chrysaph es, the lAmpadarios. Ed. by D. Conomos. Monumenta Musicae
Byzantinae, Corpus Scriptorum De Re Musica, Vo!. 2. Wien, 1985. Toncheva, E.
lsaija's Anthology (Athens Ms No 928, 15th c.) as a Source for the Latcbyzantine
Melodical Lexicology (Thesis). - Musica Antiqua (BydgOSlCZ, Polska, 1988)
1025-1046 .

480

figures with cadential function, which introduces a modal axis of fourth area of un stability (the fourth a - d)' leading to the tonic I-b. In section B
(the aLLelouia refrain) the second Dominant of the echos is reached - the tone
e (a fourth above the Tonic' b); the next two figures (Psefiston and Piasma)
build the cadence of the melodic model. In section AI the recitation of the
refrain verse-text uses other possible intonations typicized for the echos. This
is typical for sections AI. Special mention should be made of the realization
of the melodic culmination in the composition upon the word "deos" which
is the key word for the semantics of the psalm. As evident in the example,
upon the first accented syllable of "eleos" - the Culminant of the melos is
achieved, a brief vocalise upon the second syllable "le" follow - according to
the well-known rule for me1.ismatic extension of the 4th (5th or 3rd) syllable
of the end of the verse line; after that the metos of the melodic model is
repeated without changes.
The melody reported in the example is one of the basic prototypes in the
repertory of 2nd authentic echos. It appears in three more extensive
(metismatic) realizations, which also reveal basic rules of melodic extension troping 38 in the latebyzantine psalmody (I'll mention that the latebyzantine
psalmodic practice presents exceptionally rich and diverse manifestations of
melodic troping, but this is a topic worth special studies). Thus the version in
line 2 of the example indudes an important melodic addition between the
medial cadence at the end of the text line and the alLeluia-refrain of the
psalmodic phrase-model. Here it is a vocalise of the Coda type, but in other
copy of the melody this and similar intonations (see line 5 of Example 2) are
texted with the module "lege" (say, sing), well-known in the tatebyzantine
music,39 suggesting the possibility of responsorial singing of the melody.
Line 4 of the example presents another manner of melodic-compositional
expansion: the introduction of a second alleluia episode. With the increase of
the atleluia-episodes also appears a characteristic initial ali-anena-melisma - a
melodic expansion upon the second syllable IIle" of the allelouia-texC often
joined to the characteristic meaningless syllables "anane ... ""O It is dear that
while aHelufa I embellished the alleluia cadence known to us from the
prototype, alleluia " adopts a new melodic area - of the subtonical third,
Raasted, J. Troping Techniques in Byzantine Chant. Kungl. Vitterhets Historie
och Antikvitcts Akademiens. Konferenser 8,1981,89-98.
JQ WilIiams, E. Op. cit., p. 183-185.
40 Touliatos-Banker, D. Solmization in the Ancient Greek and Byzantine Traditions. - Musica Antiqua, Acta Scientifica VII (Bydgoszcz, Polska, 1985) 553-573,
With Bibl.

39

481

introducing a second traditionaL for the melos of the mode axis - the fourth
q-c - again an area of unstabHity, leading towards the Tonic b. The next
version (line 5 of the example) shows even more extensive alleLuia melodic
development with increased embelishments. 41 The versions presented in the
example reveal "weak" places open to melodic expansion in the psalmodic
composition: 1 - in section A this is the melisma upon syllable 4 (or 5, or 3)
from the end of the verse linel 42 2 - in section B: introduction of the echemata of the "lege" type. increase of the alleluia-episodes, ali-anane melismata
upon the second syllabLe of the alleluia-refrainl 3 - in section A':
melismaticalIy treated word "eleos" (in other settings in this section it seems
possible melismatic accentuation of a second key word for the refrain text:
"eona" - see Example 4)1 melismatic expansion appears to be possible on the
initiaL word of the refrain text - "oti"-melisma; see ExampLe 4, line 3); this
very section aHows considerable melodic troping, texted by means of
manipulation of the refrain verse (repetition of words, word series); 4 continuous ali-anane melismata upon the second syllable of the final
alleluia. 43
As a result of so-caned procedures of troping, the strophic psalmodic
composition undergoes modifications. IIU mention only the so caned mixed
strophic fonn 44 , with scheme ABCB, where C designates the troped part of
the refrain text, which acquires a number of melodic innovations. This
compositional fonn appears to be transitional between the strophic and the
comma type of psalmodic composition. And while as a rule the comma compositions are more melismatic, the above-mentioned composition schemes
differentiate basic stages of meLodic-compositional expansion-troping of
syllable-neumatic prototypes. 45 In the latrinos-cyde the comma versions are
single and predominate in the new composed author repertory. In this
respect 'Id like to point out that the most famous composer John Koukouzeles
appears to be especially strict about observing the tradition, which is
probably one of the reasons for his popularity (a fact pointed out in the well-

The analytical system, which is used in this study, is worked out on musical
materials from the Bulgarian Folklore. See Pa1JeB8, H. 3a IDIKOH pa3Bomrn
reH,lleHlum Ha na.ll8 B 6'hJII'apCK8T8 Hapo,llH8 neceH (Rateva, I. About Some
Evolution Tendencies in the Modal System of the Bulgarian Folk Song). Musical HOTllonts, 1989, No 11 (Sofia) 11-41.
42 Williams, E. Op. cit., p. 162-163.
43 Ton&va, E. Polyclcos Settings, Designated ...} Chapter IX.
44 Idem, Chapter V. 2, VL VII.
45 Idem, Chapter VI, VII.
41

482

known
tatebyzantine
5th century Manuel
Chrysaphes)
Lahinos-psalmody aUows a great number of observations upon the
modal system - which has become evident from the above analysis of the
melodic versions of Example 1. In the same manner, on the basis of analysis
of the melodic repertory it becomes possible to deduce analogous characteristics of the other modes comprised in the cycle - a problem I am not
47 I'lt mention only
modal problems
it
able to
hasn't been
solved up to now; 4S
of the double
modal
case designating
and nana modes.
The
melodies of 3rd
3rd medial
suggested
interpretation of
The melos of
chants seem too similar which account for the numerous divergent readings
of their interpretation (presented by the latebyzantine sources). However,
some characteristic differences can be established. Thus the versions in 3rd
authentic echos more frequently "modulate" towards the 1 st echoi, while in
the nana-melodies the deviations towards the plagios Tetartos are more
frequent:
deviations, which
meaning in the
interpretation
account for the
e modal designation
(see Example
I'll
enumerated
the latrinos-Polyeleos
(1)

the presence of echos arrangement with predominance of the 2nd and

3rd modes; 49

(2)

predominance of medial echoi (nenano, nana);

(3) 'modal

The
chant

causing differences
modal signatures.

modal designations,

modal features of
to single
. And the massive
modes (authentic and nana) attests to closeness to

The Treatise of Manuel Chrysaphes ... p. 43.

For more details about the modal characteristics and about the modal evolution
of the Polyeleos psalmody see in: Tonteva, E. Polyeleos Settings, Designated ...,
Chapter VI, VII.
48 Raasted,
Formulas ..., p. 23.
4Q It seems
European type
systematisation is followed:
respectively medial)
appearance
after the respective
authentic

.16

47

Jerusalem tradition for which the presence of the third echoi is characteristic
(11ll remind you of the assessment of Chr. Thodberg about the modal system
of the short Psaltikon style of the AHeluarion} 50, unlike the early
Constantinople modal codification where the third echoi are missing. 51 The
aforesaid directs us to the assumption that the latrinos-repertory contains,
even preserves rdics from an older monastic psalmodic chant tradition,
connected with JerusaLem, reproduced until then in an oral way. The
predominant so-called "classical" psalmodic compositional stylistics directs us
to the same supposition - syllabic versions, following compositional strophic
structure. These conclusions confirm the hypothesis of Prof. Milo~ Velimirovi6 conceming the localization of the latrinos repertory52 - in the
monastic centre of the mountain Latros in Asia Minor; a centre whose
tradition is connected with the ascetic monastic practice in the region of
Palestine and Jerusalem as early as the 8th and the 9th century. 53 With the
estabLIshment of the Jerusalem Typikon on the Balkans, after the Nikea
period in the Byzantine Empire, this archaic monastery practice is updated
again in Constantinople taking central position in the Byzantine capital. In
this respect lid like to add only the follOwing: along with the lamnos-cycle
the Latebyzantine .Akolouthiai present a second main Polyeleos cycle of
Psalm 135, caned in the sources octoedws and tetrastichos 54 similarly to
earlier versions of the Polyeleos. Its investigation in the context of the
Polydeos repertory made possible its localisation in the region of
Thessaloniki 55- a region, where older Constantinople traditions are kept
Thodberg, Chr. Der byzantinische Alleluarionzyldus. Studien im kunen
Psaltikonstil. - Monumenta Musicae Byzantinae, S. Subs., Vol. B. Kopenhagen,

50

1960, p. 35.

Idem.
52 Velimirovic, M. Byzantine Composers ...
5J Ahrweiler, H. Llhistoire et la geographie de la region de Srnima entre les deux
occupations turques (1 OB1-1317). - Travaux et memoires, 1. Centre de recnerches
d'histoire et dvilisation byzantines. Paris, 1965, pp. 5, 13, 22, 91, 99. Nikephores
B1emmydes. A Partial Account. - Introduction, Translation and Notes by J. a.
Munitz. Leuven, 1988. p. 64, 76. Hotz, W. Die Mittelmehrkiiste Anatoliens. Handbuch der Kunstdenkmaler. Dannstadt, 19B9, p. 83-87, 152-155.
~ Tontscheva, E. HBoulgarikon Melodien in der Akoloutnie des Psalms 135. Musica Antiqua (BydgoslCl, Polska, 1982) 93-114/ Polyeleos Settings,
Designated.", Chapter VII. 2.
65 Hannick, CnT. Thessalonique dans llhistoire de la musique ecdkiastique
byzantine. - In: H 8f:Oocx.A.OVUCl ~'tcx.Su cx.V(l'tOA110 Kat 8UOCJ)O Thessalonike,
61

1982, 111-120.
4B4

alive as the famous archbishop Simeon of Thessaloniki points out in the 15th
century. 56
The aforesaid confirms the great value of the latebyzantine sources of
th I\kolouthiai
for the investigation of
Byzantine psalmody; at
same time it affirms the importance of these musical sources for the study of
the complicated liturgical development in the orthodox region an importance which hasn't
appreciated enough until now. 57 Finally I'll
that probably the comparative investigations in the West and the East of
central aspects
Christian singing such as the psalm singing could
contribute to understanding the relationship between these two cultural
worlds,
cultural traditions, nd especially of the II
known world
of the East Orthodoxy, where - unlike the West with its exact musicattheoretical reflection, music remains as exegesis, as theology until the 20th
century... This
is especially necessary now,
us
the
Europeans, in our striving for European unity.

Symoon
Thcssalonike. Treatise on Pra~r. Transl. by H. L. N, Simmons.
Massachusettes, 1981.
57 Ta ft, R. Review of D. E. Conomos. Th Late Byzantine and Slavonic

5lI

Communion Cyclc; Liturgy and Music, (Washington

Christiana Periodical 54 (1988) 244-2.40.

c.,

985).

Orientalia

485

EXAMPLE 1 a
BLAGOVE~CENSKIJ KONDAKAR, Psalm 135, vers 1

A B -

HCI10BE,L(AHTE CR rOCrrO,l(EBI1
IAKO EJlAID
AJIEHAHEOYrIIA
AJIEHAHEHAHErI AHEJIOYfIIA

C - IAKO Bb BEKbI
- MUfIHJIOCTb IEfO
D - AJIEHEnOyrIA

(Halfvers I)
(Halfvers 11 = Refrain)
(Allelouia I)
(Allelouia 11 with ALENANE Melisama)
(Refrain Halfvers I)
(Refrain Halfvers
(Allelouia)

In

EXAMPLE 1 b
Ms SINAI No 1273, Psalm 135, Vers 1
A - 'E~ojlOAoy;t(JeE
Cl

'!m KUptW

- on 'ayae{)~

B - ALENANE ... LOUIA

- ALE ... LOUIA
C.I
C - on

~r'"

...
'tov I atmva
- 'to'EABOs'aUTou

C,,"-:>
I

<I<J

D - ALLENANE ... LOUIA

(Halfvers I)
(Halfvers Il)
(Allelouia I)
(Allelouia 11)
(Refrain Halfvers I)
(Refrain Halfvers 11)
(Allelouia)

EXAMPLE 1 c
Ms MESSINA No 161, Psalm 135, Vers 1
A - 'E~OjlOAO'YtcreE Tql KUptW
C./,

e/

- on aya Os

B - ALENANE ... LOUIA

- ALE ... LOUIA

cl

C - on ...

'tl;'
- E
tov'atUJva
...
,...
- 'to 'E'AEo~'aUTOU
D - aAAEva ...
I aAA.sAOuta
- aVEva
I aA./..sA.Outa
IV

480

(Halfvers I)
(Halfvers 11)
(Allelouia I)
(Allelouia II)
(oti-Melisma)
(Refrain Ha1fvers I)
(Refrain Halfvers 1I)
(anena-Melisma)
(Allelouia I)
(anena-MeJisma)
(Allelouia 11)

~ 1i

I,

II1 011

:~

d
- I

Cl

" .
>,,:,\
H
-I

......
D

- .9'~

.:t

co
~')

,;....I'"
J

J
J

;:::

i;1

-:r
GO.

.r-

~.:
en

~-H1'"

..+
~-

co

-))\ .

-;.
>

~I
cl

~T::J'

"'"'

487

00
00

EXAHPLE

r;

KOuli.olJ~e!.c ~
~. ..,."
.
Y~--.I
J.,n"'-"?'-".()"V,,-CI~~ I~ CA u.. ~..... '1-...-,
-z..
--.
G-"

-;,.,~,
r1'7

r /"./

-=-"?

r--J

..-

~
=-'-'\'J,.Jn"1\-'
/
\.......,
~/ s ~

..
?

=--~')')"'~
r.../

c.

'/"

_...) ..

\c:....J

".::>,,::> ..... , .. ty7-:

r.

""-'

, !4l :; B:; 0'; pn.:! p, ;g ;'tij rrn~j ~ !,; J} j)'j ;o~;; p !; ~f''; ;1 rn!yIJfj i
T~ ~'J. r~. rW\lT, TOll ~O.uJ-uTH;v

A1.4Ob ,9h

'(,

"-.....,,,

tl')

pI ,U'f W

".d~~ci

'~,9
EXA.}lPLE 4

I~

~ 7J

lfu

c.- '-

V...)

<-

1/

n" .: ~7_.

c-c.-\:::.. -'1-'.,? ~ -

I')~

-L"
7
J

-=~

A~

'Vl

~ 1.4

Vi fN

i <-c..""
rl'.. "
~ .J
+_ .....\L..,
. . .-'*'/ \:?~S
t'":'

...;;

?r

Itn \' f ;, nP;?J :! j tr~ n;, J~ PlG!: ;'3 0:; r 1,lt)' l ; ion ~ ! :j
-,

.,

c..

---,

...

*"i"'\#~
..

J?

A2'1~:nt T;v<rt.-l~r~yVJ.i -r}s.J..

'"

_'\_,7

/,,"

tJ).sl~t.~.l'cri

<Tit..

\;

:;

'\~"I)IJ

0S"u.t~ ~ CLH~b

DD

Q..o..VT;)'Y!)

r.....

c- .. "

., ')' -

(j.

-n

('I'

CL

.k liT] ~J 1 J ; pH~;'J
J
i }x
t t:ta...

0.... A t

g<"'? -;
n

~ -

\.Lt

7 s \-sr

0.

,...J

...
-.J

~ _LJL A~ I ~ ,

RI"V
I

Ij'
.

, I. j ;71' I. I
,

.,f) c.. - - - . '

<,

I ;

..'

op eLl

'd,......

Ivy

:p ~ 1i
;.
1'1'1

TO

,., v I ,

f)

)f

E.

t.;:

.... ', -

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i ' ' v. .

I ,' .

."

.. ~

\ c..... -

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'7
~

'1v

' ,
1--+""V

TI , ""\ T~

I 1

IJ} ,lJci

..,

\-

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\::.
"\.S7 -;-:;/

I lOP , 2

tU'"
II
1>

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".L

'"

"s",' .
...
~~S TO

"I

I I',

DQ Q ': t .,I: I'~ ~I

.J ,

1t1

i":
I'
)

f;.

l:J'

&,'

Cb"
...
I

F i~
i.

"I',

OS

l'jJ
?

G"

./

..-,
.. r.I ~ F l

L'-5
.. /,

()JJ

"V

* I, * , *, I

.,

tu

y.H.!S10V.L1
v

flJ..

~ ...-

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~ _. ---\ .... / / \ "7""..)5

,~
7 , ; , . i . .I ;:'~ 1 I

"'/~ "ljI,"q

"I ' ~
\.

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7./

\..

I ,~ r.,.

; : \,

i f!",,'CfI.,,""':
/

r,!L' (\.

I,

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., 'f ~ \ . ..;J..
.:.. /.,
...)
->-'c... r 'I. S \.5",t) :::;n~
c.. 7 ? v ~.:;' , -

'.

.,..

J..-....)

,v
.,
, :

..

DV J I

1'\

1s\..-~~?f')<",?,?-=-C-s __ ?~

\,,?.....

0,..

Al ~ ~

"I

15

I It

>,01

, CL.,

,
\
\

=-a

')\~

I. :
~

- 7

)d

C-

o.

"

.. I'

\ ').
~'

~;;.s'

---

.~

- --<

cl

I"
~c.

1'('-

'~1
'"

I~

I
,0:-

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d
,..

."""
)C)
::..J

......:

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L \

I \\

,'"C

:\ C

489

TABLE
CYCLES OF PSALM 135 - MODAL ARRANGEMENT

Musica! manuscripls
from the 12.th and 13th
centuries
Vers
S 1273
161
I
.1
3
4
w"_

:2

7
8
9

.1

.1

.1

11'"

PI

J3
14

15

1 PI l.
__ .1 PI

.1 PI I

19

.1 PI

20
21

2 PI Il..

4 PI

J7

I PI

18

26
Doxo
logia

" 3 PI
!(

24

25

4 PI

.1

:?

.1

:2 PI

2PI

nenano
2 PI nenano
2Plnenano
:2 PI nenano
nenano
nenano
:' nana
4 PI+nana

nana

3
3

.1 PI,4

3,nana
4 PI+nana
3
3,4 PI
nana

!t"" 4 PI

22
B

.1

.1

I'

16

490

tetrastichos

.1

5
6

10
11
12

Ir

latrinos

Musical manuscripts
from the 14th and 15th
centuries - cycles:
Koukoumas

:2 PI

4
I PI

1 PI

1 PI
I PI

.1 PI

2 PI

nana
4 PI
nana
4 PI

nenan
4 PI

.1 PI

2
nana

--

nana
nana,4 PI
4 PI+nana
3,4 PI
~~~.

4 PI+nana

4 PID PI!
nana
nana 4 PI
4 PI+nana
4

4 PI
4 PI

TABLEl
PSALM 135 - CYCLE "LATRINOS"
MS. ATHENS No 2458 (f 8Ir)

BACKOVO-FRAGMENT (F. 268v)

Vers
1
2
3
4

Mode

2 authentic

2 authentic

Vers
1
2
3
4
6

7
2 authentic
2 plagal

2 authentic" allaRmA"
1257. verse 5)
2 plagal

(= Sinai No

10

10
11
12

2 authentic "allagma"lOU

6
8
9

Mode

2 authenticXl

II

2 plagal

12

(Athens No 2458. cycle

13
14

2 nenano "allagma"

"tetrastichos")-'

IV

~(

13
14
IS

2 plagal

16

2 naneno (medial)

=/

17
18
19

3 nana (medial)

2 nenano "allagma"
nenano "allon"
nenano "eteron" Koukouzeles
nenano
Koukouzeles
nenano
Panaretos

16
4 plagal + nana "allagma"

17

18
19
oM

20
21
22
23
24

3 nana

3 nana

="

/'"

/~
21
22
23
24

25

25
26

3 nana "allon"
4 plaaal + nana "allagma"
4

pl~al

4
4
3
4

pl~al

"allagma"

+ nana "allon"
plagal + nana Andre
nana "anon" Koukouzeles
pla2al "allagma"

26
Total: 10 settings

Total: 18 settings

xl The same melody is neumed in the second main cycle of Psalm 135 (designated in the sources as Hoktoechos" and ''tetrastichos''); it intones verse 7.
DJ The same melody is neumed in the second main cycle of Psalm 135 ("oktoechos" and ''tetrastichos"); it
intones verse 5.
""'" The melody is neumed only in the "oktoechos" cycle, for vers 21.

491

TABLE 3
PSALM 135 - "Latrinos" cycle: distribution oflhe melodic versions
Sources from the end of the XlIIth, and from the XlVth and XVth cc.

Bfr

Vers

[-~
3

x-

A
2458
x

Sin

Tllph

1257 42S
x

VIII

18S

243

~~

11

111

[+
[

VI

"
[

l(

Sin

Sin

1311

1552

x-

x,

194
x

x-

x
K

1I.

x,
X

)(

1I.

xx,
XKX,
X,

X.

X.

X.

x,
x,
x
x
xxx
xxxx

X, X,

x,

)(

XX

xx

x
x

xx

xx
xxxx

Xll.X

xx

x,

"

X,x

xx

11

12

13
14

x,

x
x

18
19

20
21
22
23

24

25
26
00",o

logia

492

899

10

"- 16
17

x
x,

IS

IV

2622 2406 2401

x
x

xXX,X,

x
x,
X
x

x.

lI.X

xx
xxx

:I(l(

xx
xxx

xx

xx

xx,

xx

x,

"

"

xx

xx

X)(

xx

xx

xx
x
x

x-

x,
xx
x.x
x

xx

ItX

xx
x

It"

xxx

x.x

"x

XXXll.

x
X

X
X

xx

xxx
x

X,x

xx

X,x

x
x

x,

xxx