Στίχοι-σχόλια σὲ ἐπιλογὴ τραγουδιῶν Βυζαντινῆς
καὶ μεταβυζαντινῆς περιόδου.
Περιέχεται σὲ ἐκδηλώσεις Συνεδρίου, Θεσσαλονίκη 1997
Μὲ γκρίζο χρῶμα σημειώνεται ὁ ἑρμηνευτὴς κατὰ τὴν παρουσίαση
στὸ συνέδριο.
| Θέμα προσφιλὲς στοὺς μουσικολόγους προερχόμενο ἀπὸ τὸ χῶρο τῆς βυζαντινῆς ἁγιογραφίας εἶναι ἡ ἀπεικόνιση «τῆς μεταφορᾶς τῆς Κιβωτοῦ». Στὴν Παλαιὰ Διαθήκη ἡ Κιβωτὸς μεταφερόταν «ἐν χορδαῖς καὶ ὀργάνοις». Ἀπὸ παλαιὰ μέχρι σήμερα ἡ Παναγία μεταφέρει στὸ καράβι της, τὸ Ἅγιον Ὄρος, ὡς μικρὸ θησαυρὸ κοντὰ στοὺς ἄλλους πολλοὺς καὶ μεγάλους ποὺ ὁ τόπος καὶ ὁ τρόπος τοῦ Περιβολιοῦ Της διαφύλαξε, μερικὲς ἀπὸ τὶς πλέον πολύτιμες πληροφορίες γιὰ τὴν γνώση τῆς ἐκτὸς τοῦ Ἱεροῦ Ναοῦ καὶ τοῦ Ἁγίου Ὄρους μουσικῆς μας παράδοσης. | One of the most favourite themes to musicologists is coming from the area of Byzantine hagiography and is the representation of the «transportation of the Ark». In the Old Testament is written that the Ark was carried «with stringed instruments and organs». Since the ancient times until nowadays, Holy Mary is carrying her ship, the Holy Mount, as a small treasure beside the others ones, many and of great importance, that were preserved at this certain place due to the way of living that was followed at her Garden. This treasure offers the most important piece of information for the learning of our musical tradition that had been developed outside the Holy Temple and Mount Athos. |
| Καθὼς τὸ Ἅγιον Ὄρος βιώνει πράγματα αἰώνιας ἀξίας, καθὼς προστάτεψε πράγματα μὲ ἀξία, ὅπως τὰ γράμματα καὶ οἱ τέχνες ποὺ ἀναδεικνύουν τὸ «σωτήριον κάλλος», καθὼς στὸ Ἅγιον Ὄρος δύσκολα «παραδίδεται» κάτι φτηνὸ ἢ ἄχρηστο, ὅ,τι διασώθηκε ἐκεῖ φέρει κατὰ κάποιον τρόπο πιστοποιητικὸ ποιότητος ἢ ὁπωσδήποτε κάποιας ἀξίας. | Mount Athos experiences eternal values, as it has given protection to things of real value, e.g. letters, crafts and arts, which show forth the «salutary beauty». That happens because it is difficult to «give» Mount Athos anything cheap or useless. On the contrary, whatever is preserved there, has a «certification» of high quality and authentic value. |
| Καὶ ἂς ἀφήσουμε τὸ τεράστιο σὲ ὄγκο καὶ ἀξία ὑλικὸ τῆς Βυζαντινῆς Ἐκκλησιαστικῆς Μουσικῆς, ποὺ εἶναι ἀποθησαυρισμένο στὰ διόμισυ χιλιάδες περίπου μουσικὰ χειρόγραφά του Ἁγίου Ὄρους, ἀπὸ τὴ μελέτη τοῦ ὁποίου κυρίως ἑδραιώθηκε στὴν Ἑλλάδα ἡ Βυζαντινὴ Μουσικολογία μὲ τὴν ἐγκυρότερη καὶ πλέον τεκμηριωμένη διεθνῶς φωνή. Ἡ Βυζαντινὴ Μουσικὴ ἀποτελεῖ μιὰ αἰσθητικά, μορφολογικὰ καὶ ἱστορικὰ ὁλοκληρωμένη παραγωγή, μὲ κύριο γνώρισμά της τὸν ἱερὸ χαρακτῆρα, ἀκόμα καὶ ἂν ἀνιχνεύονται σ᾿ αὐτὴν ἐπιδράσεις ἀπὸ τὴν κοσμικὴ μουσικὴ (ὅπως π.χ. στὸ μέλος τῶν «κρατημάτων»). Ἀκόμα ἂς ἀντιπαρέλθουμε τὴν περίπτωση τῶν μὴ λατρευτικοῦ χαρακτῆρα «Μεθόδων» ἐκμάθησης τῆς ψαλτικῆς, ὅπου μελοποιοῦνται κείμενα ὅπως τὸ «ἀββᾶς ἀββᾶν ἀπήντησεν», Μέθοδος ποὺ ἀποκαλεῖται μάλιστα «ἁγιορείτικον». Τὸ Ἅγιον Ὄρος συμβάλλει στὴ Μουσικὴ Τέχνη καὶ μὲ τὴ διαφύλαξη αὐτούσιων γραπτῶν κειμένων ἐξωεκκλησιαστικῆς μουσικῆς. | It is not only the great material - evaluating its shape and value - of Byzantine Ecclesiastical Music that is treasured in the nearly 2500 musical manuscripts of Mount Athos. The study of this material has greatly led to the consolidation of Byzantine Musicology in Greece, which has been recognized as having the most valid and proven voice all over the world. Byzantine music is an esthetically, morphologically and historically complete production. Its main feature is its holy character, even if it is sometimes influenced by secular music (as in the case of the tune of «kratemata»)*. Also, we should avoid to mention the case of «Methods» for learning the art of chanting, which have not any worshiping character. In this case, texts, like the wellknown «an abbot met an abbot» (avas avan apendese), are set to music. This method is also called «agioreitikon». Mount Athos contributes to the art of music, preserving unaltered written texts of secular music. |
| Μέσα σὲ ὀγκώδεις Ψαλτικές, δίπλα σὲ Καταβασίες Εἱρμολογιῶν ἢ σὲ δεκαπεντασύλλαβα Ἔξαποστειλάρια, φιλοξενήθηκαν καὶ διασώθηκαν οἱ ἀρχαιότερες μουσικὲς καταγραφὲς δημοτικῶν τραγουδιῶν μὲ Βυζαντινὴ Παρασημαντική (κώδικες Ἰβήρων 1203, Ἰβήρων 1054, Ἰβήρων 1189 καὶ Ξηροποτάμου 262). Δὲν εἶναι λίγες ἐπίσης οἱ ἔμμεσες μαρτυρίες γιὰ ὄργανα, τοπικὰ μέλη κτλ. σὲ κείμενα, εἰκόνες, τοιχογραφίες καὶ εἰκονογραφημένα χειρόγραφα. Ἡ σπουδαιότητα τοῦ γεγονότος εἶναι αὐτονόητη, τόσο γιὰ τὴν αὐτοτελῆ μελέτη τοῦ δημοτικοῦ τραγουδιοῦ, ὅσο καὶ γιὰ τὴ σχέση του μὲ τὸ ἐκκλησιαστικὸ μέλος, καθὼς αὐτὰ τὰ δυὸ ἀποτελοῦν τὸν κύριο κορμὸ τῆς ἑλληνικῆς παραδοσιακῆς, τῆς ἐθνικῆς μας μουσικῆς. Ἔτσι δὲν θὰ ἐπεκταθοῦμε περισσότερο ἐδῶ γιὰ τὸ θέμα, ἐξάλλου αὐτὸ ἔχει ἀρκούντως μελετηθεῖ ἀπὸ φιλολόγους καὶ μουσικολόγους, μὲ μόνο ἴσως κενὸ τὴν ὀρθότητα ἐξήγησης τῆς παρασημαντικῆς τῶν τραγουδιῶν. | Among voluminous material concerning the art of chanting («Psaltikes»), next to «Katavasies Eirmologion»*, as well as to 15 syllables poems or songs called «Exaposteilaria», are kept the most ancient musical recordings of demotic (folk) songs written in Byzantine musical notation («Byzantene Parasemanteke») (codices: Iviron 1203, 1054, 1189 and Xiropotamou 262). Also, there are indirect evidences refering to musical instruments, local melodies e.t.c. Those evidences come from texts, icons, wall-paintings and illustrated manuscripts. Their significance for the study of demotic songs itself as well as for the evaluation of their relationship to the ecclesiastical music is obvious. This happens because those two elements, demotic songs and ecclesiastical music, consist the backbone of Greek traditional music, our national music. It is not necessary to say any more about this theme, as it has already been studied by several philologists and musicologists, although there is, probably, one point under dispute, the accuracy of the explanation given to the system of Byzantine musical notation («Parasemanteke») of these songs. |
| Μιὰ ἄλλη ἑνότητα κοσμικῶν μελῶν ποὺ σῴζονται σὲ κώδικες τοῦ Ἁγίου Ὄρους ἀφοροῦν τὴ λεγόμενη «λόγια μουσικὴ τῆς Κωνσταντινούπολης». Αὐτὸ τὸ εἶδος σχετίζεται ἄμεσα μὲ τὴ μουσική μας παράδοση. Πρόκειται γιὰ «ἐπώνυμη» μουσική, συνοδευόμενη ἡ ἀποκλειστικὰ ἑρμηνευομένη ἀπὸ μουσικὰ ὄργανα ἱκανὰ νὰ ἀποδίδουν τὴν ποικιλία τῶν διαστημάτων καὶ τὸ ἰδιαίτερο ὕφος της. Γεννήθηκε καὶ ἀναπτύχθηκε στὸν εὐρύτερο χῶρο τῆς Ἀνατολικῆς Μεσογείου μὲ κέντρο τὴν Κωνσταντινούπολη. Ἑνοποιημένη πολιτικὰ καὶ πολιτισμικὰ γιὰ αἰῶνες ἡ ἀνατολικὴ Μεσόγειος ἀποτελεῖ χῶρο, στὸν ὁποῖο ἡ Βυζαντινὴ Μουσικὴ ἔπαιξε καὶ παίζει κυρίαρχο ρόλο λόγω τῆς γεωγραφίας, ἀλλὰ καὶ τῆς δυναμικῆς ποὺ διαθέτει νὰ διαμορφώνει φόρμες, νὰ ὑποδεικνύει τὰ κατάλληλα μουσικὰ ὄργανα γιὰ τὴν κοσμικὴ μουσική, νὰ διατηρεῖ ἕνα ὑψηλὸ αἰσθητικὰ ἐπίπεδο ἐκτέλεσης καὶ δημιουργίας καὶ νὰ συγκινεῖ μὲ τὴν ἐξ ἀνατολῶν ἄποψή της γιὰ τὸν ἄνθρωπο καὶ τὰ πράγματα. | Another unit of secular melodies preserved in Mount Athos᾿ codices refers to the so-called «learned music of Constantinople». That kind of music is directly connected to our musical tradition. It is an «eponymous» music, accompanied or presented exclusively with such musical intsruments that can offer the variety of musical intervals* and the particular style of this music. This one was born and developed all over the broader area of the Eastern Mediterranean sea, having as its centre the city of Constantinople. For centuries the Eastern Mediterranean area has been politically and culturally united. In this area, Byzantine Music had played and still does a dominant role, due to the geographical location as well as to the dynamism it has to give shape to musical forms, to suggest the proper musical instruments to secular music, to keep a high esthetic level of performance and creativity and to move us with its eastern point of view concerning human being and things around us. |
| Ἡ πολυπολιτισμικὴ Κωνσταντινούπολη τοῦ 17ου μέχρι καὶ τοῦ 20οῦ αἰῶνα, ἔδωσε τὴν ἔμπνευση σὲ μιὰ πλειάδα Ῥωμηῶν τῆς Πόλης καὶ τῶν μεγάλων ἀστικῶν κέντρων ποὺ εἶχαν ἐπαφὲς μαζί της (Θεσσαλονίκη, Ἀλεξάνδρεια, Παραδουνάβιες πόλεις), ὥστε νὰ ἀναδειχθοῦν σὲ κορυφαίους συνθέτες, ἐκτελεστὲς καὶ κατασκευαστὲς ὀργάνων μεταξὺ πολλῶν ἀλλοεθνῶν ὁμοτέχνων τους γι᾿ αὐτὴ τὴ μουσική. Μεταξύ τους πολλοὶ σπουδαῖοι Πρωτοψάλτες καὶ Λαμπαδάριοι τοῦ Πατριαρχικοῦ Ναοῦ, ὅπως ὁ Πέτρος ὁ Πελοποννήσιος, ὁ Ἰάκωβος Πρωτοψάλτης καὶ ὁ Γρηγόριος Πρωτοψάλτης, εὐγενεῖς καὶ μορφωμένοι Φαναριῶτες, ἀκόμα καὶ ἱερωμένοι τῶν πιὸ ὑψηλῶν βαθμίδων. Στὴν ἱστορία τῆς Βυζαντινῆς Μουσικῆς αὐτῆς τῆς ἐποχῆς εἶναι γνωστοὶ πάνω ἀπὸ τριάντα μεγάλοι ψάλτες ἢ μουσικοδιδάσκαλοι, οἱ ὁποῖοι ταυτοχρόνως εἶναι χειριστὲς μουσικῶν ὀργάνων καὶ κάτοχοι τῆς «ἐξωτερικῆς μουσικῆς». Στὸν περιβάλλοντα χῶρο, οἱ Δερβίσηδες Μεβλεβὶ (μουσουλμανικὸ μοναστικὸ τάγμα μὲ νεοπλατωνικὲς ἐπιρροές) χρησιμοποιοῦν αὐτὴ τὴ μουσικὴ στὶς τελετές τους, στὴν ὁποία ἐπιδίδονται καὶ Ῥωμηοί, Ἀρμένιοι. Ἑβραῖοι καὶ φυσικὰ Μουσουλμάνοι, μὲ πρωταγωνιστικὸ τὸν ρόλο τῆς ἀραβοπερσικῆς παράδοσης. | Multicultural Constantinople of the 17th until the 20th century gave inspiration to many Greeks of this certain city as well as of other urban centres connected to Constantinople (Thessaloniki, Alexandria and other cities all around Danube), so that they became distinguished among many others as prominent composers, organ players or singers and manufacturers of musical instruments. Among them there were many great Precentors («Protopsaltes» at the right-hand lectern) and Lambatharioe (the left-hand lectern) of the Patriarchal Temple, as Petros the Peloponnesian, Iakovos Protopsaltis and Gregorios Protopsaltis, nobles and well-educated Phanariotes (residents of the renowned neighbourhoud of Phanari), even several members of the highest ranks of the clergy. In the history of Byzantine Music of this certain time, more than thirty great chantors or music masters are known. At the same time, those ones played musical instruments and knew very well the «external music» (secular music). At the same environment, Mevlevi Dervish (a muslim monastic order with neoplatonic influnces) played this certain kind of music during their services, the same music Greeks, Armenians, Jews and of course Muslims played. At this point, the role of Arabopersian tradition had been leading. |
| Δυστυχῶς, ἐνῷ στὴν Κωνσταντινούπολη οἱ Τοῦρκοι σφετεριζόμενοι αὐτὸ τὸ προϊὸν τὸ διδάσκουν στὸ Πανεπιστήμιο ὡς κλασική τους μουσική, στὴν Ἑλλάδα μόλις τὰ τελευταῖα χρόνια ἀνακαλύψαμε τὴν ὕπαρξή της καὶ τὴ σημασία της, παρόλο ποὺ ἡ βυζαντινὴ σημειογραφία ἦταν ἡ πρώτη ποὺ χρησιμοποιήθηκε ἀπὸ τὸν 16ο ἤδη αἰῶνα γιὰ τὴν καταγραφή της (Κώδικας Ἰβήρων 1189 μὲ περσικὸ τραγοῦδι τῆς ἐποχῆς), καὶ παρόλο ποὺ ἦταν γνωστὰ στοὺς φιλολόγους τουλάχιστον τὰ κείμενα τῶν φαναριώτικων τραγουδιῶν («μισμαγιές»). Σήμερα εἶναι γνωστοὶ κώδικες καὶ ἔντυπες ἐκδόσεις μὲ τουλάχιστον διόμισυ χιλιάδες σελίδες τέτοιας μουσικῆς καταγραμμένης μὲ Βυζαντινὴ Παρασημαντική. Αὐτὸ τὸ γεγονὸς ἔχει τὴ σημασία τοῦ ὅσον ἀφορᾷ τὸ πῶς ἀντιμετώπισαν αὐτὸ τὸ εἶδος οἱ ψάλτες καὶ οἱ ἄλλοι ἐκκλησιαστικοὶ ὑπεύθυνοι, ἀφοῦ διαπιστώνει κανεὶς μία φροντίδα σχεδὸν ἀνάλογη μὲ ἐκείνη ποὺ ἐπιδεικνύεται γιὰ τὴ διάσωση τοῦ δημοτικοῦ τραγουδιοῦ μὲ τὴ χρήση τῆς σημειογραφίας τοῦ ἐκκλησιαστικοῦ μέλους. | Unfortunately, while in Constantinople the Turks, usurping this musical production, teach it in their Universities as being their own music, in Greece it is only recently that we discovered its existence and significance, although Byzantine notation was the first one that had been used since the 16th century for its recording (Codex of Iviron 1189 containing a Persian song of that time) and despite the fact that this musical production was known to philologists - at least the texts concerning the Phanariotian songs («mismagies»). Today, we know codices and editions of at least 2500 pages of this musical production written in Byzantine musical notation («Parasemanteke»). That fact has its own importance concerning the way the other chantors and ecclesiastical men faced this kind of music, as one can notice that there had been a special care from their part in order to preserve this music using the Byzantine notation, as it happened in the case of demotic (traditional) songs. |
| Ἡ «λόγια μουσικὴ τῆς Πόλης» εἶναι μεταβυζαντινὸ δημιούργημα στὸ χῶρο τῆς ὀθωμανικῆς αὐτοκρατορίας. Ὡστόσο εἶναι ἡ μόνη μαζὶ μὲ τὴν ἑλληνικὴ δημοτικὴ μουσική, ποὺ μπορεῖ νὰ διεκδικήσει μία συγγένεια μὲ τὴν κοσμικὴ μουσικὴ τοῦ Βυζαντίου, καθὼς εἶναι αὐτὴ ποὺ παραδίδεται στὸν ἴδιο χῶρο καὶ κυρίως μὲ μιὰ ἱστορικὴ συνέχεια στὴ χρήση τῶν τεχνικῶν στοιχείων, ὅπως ὄργανα, ταυτότητα θεωρητικοῦ συστήματος ποὺ ἀνάγεται στὴν ἀρχαία ἐλληνικὴ μουσική, στενὴ σχέση μὲ τὸ βυζαντινὸ μέλος καὶ χαρακτηριστικά, ὅπως ἑτεροφωνία, ποικιλία διαστημάτων, τροπικότητα καὶ πολυηχία, ἡ ὁποία μελετᾶται μὲ βάση τὰ «μακάμια», τὴν ἀραβοπερσικὴ δηλαδὴ ἐκδοχὴ τῆς τροπικότητας. Ἡ παράδοση πάλι τοῦ Μεβλεβισμοῦ ποὺ συντηρεῖ αὐτὴ τὴ μουσικὴ ἐγκαινιάζεται ἀπὸ τὸν Τζελαλεντὶν Ρουμί, καὶ μαρτυρεῖται ἀδιάσπαστη ἀπὸ τὸν 13ο αἰῶνα μέχρι σήμερα. Οἱ φόρμες ποὺ ἀνέπτυξε (σαρκί, μπεστέ, πεσρέφ, σεμάϊ κτλ.) μαρτυροῦν ἐπίδραση ἀπὸ τὴν ἀραβοπερσικὴ ἀλλὰ καὶ ἀπὸ τὴ βυζαντινὴ μουσικὴ παράδοση. Χαρακτηριστικὸ παράδειγμα εἶναι ἡ ἐπιβολὴ ἐναρκτήριου αὐτοσχεδιασμοῦ (ταξίμ) σὲ ἀναλογία μὲ τὰ βυζαντινὰ «ἀπηχήματα» ἢ «ἐνηχήματα» καὶ ἡ κατανομὴ τοῦ κομματιοῦ σὲ μέρη ποὺ ἀποκαλοῦνται «χανέ» (=οἶκοι καὶ «τεσλίμ», ὅροι ποὺ παραπέμπουν στὸ βυζαντινὸ Κοντάκιο μὲ τοὺς «Οἴκους» καὶ τὶς «Ἐπῳδούς». | «Learned music of Constantinople» is a post-Byzantine work developed at the area of the Ottoman Empire. However, it is the only one, accompanied by the Greek traditional music, that can claim to have a relationship with the secular music of Byzance. That happens because it is the one that is offered at the same area, having a historical continuation in using technical elements such as instruments, identity of theoretical system, close relationship to Byzantine melody and characteristics e.g. eterophonic and not polyphonic way of singing («eterophonia»), variety of musical intervals, diversity of modes (modality*) and great variety of melodies, which is studied according the «maqams», namely the arabopersian understanding of modes, (modality*). The tradition of Mevlevism, that has followed this music, had been initiated by Gelalendin Rumi and has a steadily continuation since the 13th century until today. This tradition has developed many musical forms (sarqi, beste, pesref, sema'i etc.) that show it has been influenced by the Arabopersian as well as the Byzantine musical tradition. A characteristic example is the establishment of an opening improvisation (taqsim), similar to the byzantine «apichimata» or «enichimata» and the allocation of a musical piece into parts called «khane» (=oikoe) and «teslim», are terms that are quotations from the Byzantine «kontakion» with its «homes» («oikous» = a set of verses) and «Epodous» («Ἐπῳδούς»=refren). |
| Στὸν τομέα τοῦ ποιητικοῦ λόγου ποὺ χρησιμοποιεῖ δὲν ἔχει νὰ ἐπιδείξει κάτι τὸ ἀξιόλογο, τουλάχιστο στὰ ἑλληνόγλωσσα ποιήματα. Μέτριοι ἕως κακοὶ στίχοι ἀστῶν μὲ ἔντονες γαλλικὲς ἐπιδράσεις, ποιήματα μὲ κοινότυπα θέματα καὶ μὲ γυναικεῖα ὀνόματα ὡς ἀκροστιχίδες, πολλὲς φορὲς ἀδικοῦν τοὺς συνθέτες καὶ τὸ κῦρος τους, ἰδίως ὅταν πρόκειται γιὰ ὀφφικιάλιους τοῦ σεπτοῦ Πατριαρχικοῦ Ναοῦ. Στὸν καθαρὰ μουσικὸ τομέα ὅμως μπορεῖ κανεὶς νὰ μιλήσει γιὰ μιὰ ἀριστουργηματικὴ διαχρονικὴ παραγωγὴ ποὺ βασίστηκε κυρίως στὴν ἐκμετάλλευση τοῦ στοιχείου τῆς πολυηχίας. Ἡ εὐρηματικότητα στὸ χτίσιμο τῶν μελῳδικῶν σχημάτων ἀγγίζει πολλὲς φορὲς τὰ ὅρια τῆς τελειότητας. Ἀποτελεῖ καύχημα γιὰ τὴν παράδοσή μας τὸ γεγονὸς πὼς ὁ κορυφαῖος συνθέτης αὐτῆς τῆς μουσικῆς μέχρι σήμερα, θεωρεῖται, κατὰ κοινὴ ὁμολογία, ὁ Χανεντὲς Ζαχαρίας, Ῥωμηὸς φίλος καὶ μαθητὴς τοῦ Δανιὴλ Πρωτοψάλτου (ἀρχὲς 18ου αἰ.). | Concerning the poetic part of the «learned music of Constantinople», it has not anything remarkable, at least in the case of Greek-speaking poems. They are bad of less bad verses written by bourgois having been strongly influenced by the French way of thinking, poems with trite themes and female names forming an acrostic. Actually, most of these ones had certain titles of honour given to them by the Ecumenical Patriarchate. Concerning its musical part, it is fair to characterize them as master-pieces of everlasting production, that was based mainly on the development of the element of variety of melodies. The inspiration that led to the composition of musical shapes touches in many cases the limit of perfection. The fact that the prominent composer of this music is considered by everybody to be Zacharias Chanentes, a Greek, friend and student of Daniel Protopsaltis (early 18th century), is a good reason to be proud of our tradition. |
| Τὸ Ἅγιον Ὄρος ὑπῆρξε μεγάλος θεματοφύλακας και γι᾿ αὐτὸ τὸ εἶδος τῆς μουσικῆς. Ἕνας ἄπό τους παλαιότερους καὶ σπουδαιότερους κώδικες μὲ ἀποκλειστικὰ φαναριώτικη μουσικὴ εἶναι ὁ Βατοπαιδίου 1428, ποὺ γράφτηκε τὸ 1818 ἀπὸ τὸν ἱεροδιάκονο Ἀντιοχείας Νικηφόρο Καντουνιάρη καὶ φέρει τὴν ἐπιγραφὴ «Μελπομένη». Σποραδικὰ σὲ ἄλλους κώδικες συναντῶνται τραγούδια καὶ μέλῃ τοῦ Γρηγορίου Πρωτοψάλτου (Κώδικας Δοχειαρίου 322), τοῦ Πέτρου Πελοποννησίου (Κώδικας Ξηροποτάμου 305) καὶ τοῦ Κυρίλλου τοῦ Μαρμαρηνοῦ (Κώδικας Παντελεήμονος 994). Ἁγιορεῖτες πάλι συνδράμουν ἐπωνύμως στὴν ἔκδοση τῶν κυριοτέρων συλλογῶν «ἐξωτερικῆς» μουσικῆς, ὅπως εἶναι ἡ «Πανδώρα» τοῦ Θεοδώρου Φωκαέως καὶ τὸ «Μουσικὸ ἀπάνθισμα» τοῦ Κέϊιβελη, καὶ τὰ ὀνόματά τους παρατίθενται πρὸς διηνεκὲς μνημόσυνο στοὺς καταλόγους συνδρομητῶν τῶν βιβλίων. | Mount Athos has been a great depositor for this kind of music as well. One of the most ancient and the greatest codex containing only Phanariotian music is Vatopediou 1428 that was written in 1818 by the deacon of Antiochia, Nikiphoros Kantouniaris, under the title «Melpomeni». Once a while we find in other codices songs and melodies written by Gregorios Protopsaltis (codex Docheiariou 322), Petros the Peloponnesian, (codex Xiropotamou 305) and Cyrille Marmarenou (Codex Panteleimonos 994). Monks of Mount Athos contributed once more and eponymously in the edition of the most important collection of «external» (secular) music, as it is «Pandora» by Theodoros Fokaeos and «Musical Selection» by Keiveli. Their names are included in the catalogues of subscribers, in order to be eternally commemorated during the memorial services. |
| Ἀπὸ τὰ φαναριώτικα τραγούδια ὅσα προέρχονται ἀπὸ τὸν Κώδικα Δοχειαρίου 322, ἦταν ἐξαρχῆς γραμμένα στὴ Νέα Μέθοδο Βυζαντινῆς Παρασημαντικῆς καὶ δημοσιευμένα στὴν «Πανδώρα». Ὅσα προέρχονται ἀπὸ τὴ «Μελπομένη», ἐκεῖ εἶναι γραμμένα στὴ λίγο πρὶν τὴ Νέα Μέθοδο σημειογραφία καὶ ἐδῶ χρησιμοποιήθηκε κατόπιν ἀντιπαραβολῆς ἡ ἐξήγησή τους ἀπὸ τὸ βιβλίο «Πανδώρα». Εἰδικὰ γιὰ τὸ «Τρέξετ᾿ ἔρωτες» ἡ ἐξήγηση εἶναι πρωτότυπη καὶ ἀνέκδοτη. | Concerning the Phanariotian songs, the ones coming from codex Docheiariou 322, were from the beggining written following the New Method of Byzantine notation («Parasenamteke») and published in «Pandora». The others, coming from «Melpomeni», were written following the system of notation that existed before the above-mentioned New Method. For this collection, their explanation is based on a comparative study from the «Pandora» book. Especially for the song «Run my loves, come» («Τρέξετ᾿ ἔρωτες ἐλᾶτε») we must add that it was unpublished up to now and it is explained for the first time in this collection. |
| Τὰ δυὸ δημοτικὰ τραγούδια πάρθηκαν ἀπὸ τὸν Κώδικα Ἰβήρων 1203, σὲ συνδυασμὸ μὲ τὴν καταγραφὴ τοῦ ἑνὸς ἀπὸ αὐτὰ καὶ στὸν Κώδικα Ξηροποτάμου 262. Ἐκεῖ εἶναι γραμμένα μὲ παλαιὰ σημειογραφία. Ἐδῶ ἐπιχειρήθηκε ἐξήγηση, ὄχι ὅμως μὲ βάση τὶς μέχρι τώρα ἀπόπειρες ἐξήγησής τους, ἀλλὰ μὲ βασικὲς ἀρχὲς τὸν προσδιορισμὸ τοῦ εἴδους μελοποιίας μὲ τοὺς κανόνες τοῦ ὁποίου καταγράφονται, τὴν ἐξήγηση τῶν συνοπτικῶν θέσεων ποὺ ἐμφανίζουν χειρονομικὰ σημάδια (ἀφοῦ πρῶτα ἔγινε ἀποκατάσταση τοῦ ἀρχικοῦ κειμένου ὅπου ὑπῆρχαν σαφῆ λάθη ἡ διφορούμενα σημεῖα), καὶ τέλος, τὴ σύγκριση μὲ παρόμοια τραγούδια, τὰ ὁποῖα κατ᾿ εὐτυχῆ συγκυρία σῴζει ἀκόμα ἡ προφορικὴ παράδοση. Καθὼς βρίσκεται σὲ ἐξέλιξη μιὰ εὐρύτερη ἔρευνα καὶ σὲ ἄλλα τραγούδια γραμμένα στην παλαιὰ σημειογραφία, πιθανὸν νὰ ὑπάρξουν μικροαλλαγὲς στὴν τελικὴ κατάστρωση τῆς ἐξήγησης, οἱ ὁποῖες ὅμως ὁπωσδήποτε δὲν θὰ θίγουν τὰ βασικὰ μουσικὰ χαρακτηριστικὰ τῶν τραγουδιῶν, δηλαδὴ τὸν χαρακτῆρα τους ὡς ἀργῶν καθιστικῶν (ἢ τῆς «τάβλας») τραγουδιῶν, μὲ καλοφωνικὴ ἀπόδοση καὶ σαφεῖς καταληκτικὲς θέσεις τῶν ἤχων τους, δεμένες μὲ τὰ στροφικὰ σχήματα, πράγματα ποὺ ὑφίστανται ἀκόμα ὡς πράξη στὸ ἀργὸ δημοτικὸ τραγούδι. Ἡ ἀντίστροφη πορεία ἔρευνας ποὺ ἰσχύει γιὰ τὴν σπουδὴ τῆς Βυζαντινῆς Μουσικῆς καὶ Παρασημαντικῆς, δηλαδὴ ἀπὸ τὰ ἐπιζῶντα καὶ γνωστὰ πρὸς τὰ παλαιότερα καὶ ἄγνωστα, πρέπει νὰ θεωρηθεῖ ὡς ἡ ἀσφαλέστερη καὶ γιὰ τὴ μελέτη τοῦ δημοτικοῦ ἢ πάντως κοσμικοῦ μέλους. | The above-mentioned two demotic songs were taken from codex Iviron 1203. We combined them with another recording coming from the codex Xeropotamou 262. In this codex they are written following the old notation. In this case, we tried to give an explanation having as basic principles not the allready known efforts of explanation, but the determination of this kind's musical composition, taking into consideration its rules of notation, the explanation of abbreviations refered to signaling marks (after the restoration of the original text and in cases where there were obvious mistakes or points of double meaning) and finally, the comparison with other songs that fortunately are saved due to verbal tradition. We should notice that a broader research is going on concerning other songs as well, written in old notation; soil is likely to have a few changes at the final explanation. Certainly, these changes will not alter the basic musical characteristics of these songs, namely their character as slow songs (sung while people are sitting) and their beautiful sound, things that still exist in our slow folk songs. The vice-versa research followed for the study of Byzantine Music and notes (Parasemanteke), namely from the surviving and well-known songs to the older and unknown ones, should he considered as being the right one to follow for the study of folk or secular melody. |
| Πιστεύουμε πὼς στὸ ὁδοιπορικό της ἀναζήτησης
τῶν τερπνῶν καὶ ὠφελίμων στοιχείων τῆς παραδόσεώς μᾶς, τὸ Ἅγιον Ὄρος, μᾶς
φιλεύει μὲ ἕνα ἐξαίσιο κέρασμα ποὺ συγκροτεῖται ἀπὸ μουσικὰ ἔργα ὅπως τὰ
παραπάνω καὶ προσφέρει σὲ κάθε φιλόμουσο τὸ ἐρέθισμα γιὰ τὴν «ἀτέλεστον»
πρὸς τὸ κάλλος πορεία καὶ ἔρευνα. Θωμᾶς Ἀποστολόπουλος |
We believe that during our quest for the good
and nice elements of our traditions. Mount Athos gives us a splendid offering
consisted by musical works as the above-mentioned and it offers to everyone
who loves music the excitement to follow the never-ending study and process
that leads to beauty. Thomas Apostolopoulos |