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Византийский репертуар Супрасльского ирмологиона на примере Херувимской Иоанна Глики. Сравнительный анализ нотолинейной записи херувимской с её невменными аналогами из сербских и византийских рукописей XV–XVII веков

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Скурат Е.

Latopisy Akademii Supraskiej

2022

vol. Hymnografia i śpiew cerkiewny w Rzeczypospolitej

issue 13

93-131

This report was the result of a study of the Middle Byzantine compositions included in the Suprasl irmologion. As an example, we chose the Cherubic song 521r–522v, which is part of the cycle of four Cherubic songs, located in Irmologion in their tonal order. Our initial goal was to study the Tsaregradskaya Cherubiс song (519r–521r) and the reception of this melody in Russian polyphonic manuscripts with neumatic (RGB f218 No. 343) and staff notation (GIM Syn. Pevch. 1099 & 657). In these manuscripts there are Cherubim songs with a similar melody, having such titles as “Old Greek” and “Greek Sovereign’s” (arranged by Pyotr Noritsyn). However, the melodic similarity of the “Greek” Cherubic song of Russian “constant” polyphony with the Tsaregrad Cherubic song of Irmologion turned out to be only external. Research in this area had to be abandoned. Subsequently, we managed to identify the following Greek cherubic songs of Irmologion with the composition of Johannes Glyka (XIII–XIV centuries), which we deciphered by using the Byzantine manuscripts of the XV century back in June 2022. The possibility of comparing the Middle Byzantine repertoire with its staff notated analogues can shed light on many aspects of the studies of Byzantine music that have not been fully explored. From this point of view, the staff-notated manuscripts such as the Octoechus of Calistratus or the Sinaitic manuscript Gr. 1477 reflect the post-Byzantine traditions of the late 18th century, traditions on the verge of the musical reform of the three teachers. The Cherubic songs of the Supraslsky irmologion are almost 150 years older, and their musical transcription can tell us much more about the Byzantine musical traditions not only of the pre-reform, but also of the pre-Ottoman periods. The most complex and not fully understood aspect of Middle Byzantine notation, which can be clarified thanks to Irmologion’s stave notation, are: 1) rhythm 2) analysis and reading of phrases accompanied by Great Hypostases 3) musical ἐξήγησις precisely of the 16th–17th centuries (and not the ἐξήγησις of the “New Method”). Let us also try to find out whether the chromatic scale was used then in the second plagal tone. And, thanks to the Middle Byzantine neumes themselves, we can draw some conclusions about the Kyiv notation of Irmologion and about the specifics of musical transpositions when changing keys.

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1 Latopisy Akademii Supraskiej

1 Скурат Е.

1 2022

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