SUBBTO 61, no. 1 (2016): 233-253 (RECOMMENDED CITATION) MACARIE THE HIEROMONK AND THE TRANSLATION OF HYMNS INTO ROMANIAN. CASE STUDY: HEIRMOS OF PENTECOST* DANIEL MOCANU * ABSTRACT. The goal of our paper is to explain the special importance which the Pentecost Heirmos has within Macarie, the Hieromonk’s creation (1750-1836), one of the most outstanding figures of the ecclesiastical Byzantine music in the Romanian area. We intend to undertake a comparative musical-literary analysis of Heirmos IX at the Feast of Pentecost, composed by Petros Lampadarios and translated by Macarie the Hieromonk. We will inventorize the solutions that Macarie found for solving the prosodic and metric differences between Greek and Romanian. He noticed the impact those solutions had on the melodic path of the Heirmos (the place of the cadential formulas). In addition to the version based on Petros Lampadarios’ composition, Macarie the Hieromonk, also wrote an original Pentecost Heirmos. It was based on Byzantine bases, which, due to its melodic and composition particularities, has been considered a masterpiece of the Romanian Byzantine church music. Keywords: Macarie the Hieromonk, Heirmos, Pentecost, musical analysis, Romanianisation Introduction Although Macarie the Hieromonk’s entire creation had an essential importance for the Romanian musical culture at the beginning of the 19 th century, nowadays, very few of his hymns are heard on the lecterns in churches from parishes and monasteries. The monumental work that the Hieromonk undertook, that is Romanianisation of Greek hymns performed within services, was preserved in manuscripts and printed works, which are studied only by skilled singers, who still use the Anastasimatar at Saturday evening services, or the Heirmologhion, at Great Feasts, and also by experts in Byzantine lore, who examine Macarie’s work in order to highlight the way he translated the Greek hymns into Romanian. * PhD Candidate, Babes-Boyai University, Faculty of Orthodox Theology, Email: [email protected].
MACARIE THE HIEROMONK AND THE TRANSLATION OF HYMNS INTO ROMANIAN.
CASE STUDY: HEIRMOS OF PENTECOST*
DANIEL MOCANU*
ABSTRACT.ThegoalofourpaperistoexplainthespecialimportancewhichthePentecost Heirmos haswithinMacarie, theHieromonk’s creation (1750-1836),oneofthemostoutstandingfiguresoftheecclesiasticalByzantinemusicintheRomanianarea.Weintendtoundertakeacomparativemusical-literaryanalysisofHeirmos IX at theFeast of Pentecost, composed byPetros Lampadarios andtranslated by Macarie the Hieromonk. We will inventorize the solutions thatMacarie found for solving the prosodic andmetric differences betweenGreekandRomanian.HenoticedtheimpactthosesolutionshadonthemelodicpathoftheHeirmos (the place of the cadential formulas). In addition to the versionbasedonPetrosLampadarios’composition,MacarietheHieromonk,alsowroteanoriginal Pentecost Heirmos. ItwasbasedonByzantinebases,which,duetoitsmelodicandcompositionparticularities,hasbeenconsideredamasterpieceoftheRomanianByzantinechurchmusic.Keywords: Macarie the Hieromonk, Heirmos, Pentecost, musical analysis,RomanianisationIntroduction Although Macarie the Hieromonk’s entire creation had an essentialimportance for the Romanian musical culture at the beginning of the 19thcentury,nowadays,veryfewofhishymnsareheardonthelecternsinchurchesfrom parishes and monasteries. The monumental work that the Hieromonkundertook, that isRomanianisation ofGreekhymnsperformedwithinservices,was preserved in manuscripts and printed works, which are studied only byskilledsingers,whostillusetheAnastasimataratSaturdayeveningservices,ortheHeirmologhion, atGreat Feasts, and alsoby experts inByzantine lore,whoexamineMacarie’swork in order to highlight thewayhe translated theGreekhymnsintoRomanian.
ThepresentpaperaimsatanalyzingoneofMacarie’sworks,whichhasstood the testof time.Thus, it is sungeachyear,at theFeastofPentecost.Wehavechosen to analyze theHeirmos of theninthhymn from theCanonof thefeastday,forseveralreasons.Firstly,itisthehymnthatreplacestheMegalynarion“Itistrulymeet...”,attheDivineLiturgy.Secondly, inadditiontothetranslationofPetrosLampadarios’original,MacarietheHieromonkdecidedto write two more versions on the same Heirmos. The Heirmoi at Great Feast,composedbyMacarie,canbeconsideredanunequalledmasterpiecebelongingtotheRomanianByzantinemusicalcreation.
The Heirmologhion of Macarie the Hieromonk Inthebeginning,weintendtooutlineMacarietheHieromonk’sportrait.Then,theHeirmologhionwillbepresented,withitsHeirmosoftheninthhymnattheFeastofPentecost.Afterthat,wewillanalysethemusicalversionscomparatively,whiletakingintoaccountelementsoftheliteraryformandthoseofthemusicalone. Macarie the Hieromonk1was the greatest psalm singer inWallachia. It is1 Macarie the Hieromonk is known as a composer, a psalm book teacher, a typographer. “PiousMacarietheHieromonk,theprotopsaltesoftheMetropolitanChurchinBucharest,wasthemostfamousmusicteacher,atthebeginningofthelastcenturyandagreatfounderofoursacredmusic.PiousMacariewas also a humble and spiritualmonk, a good servant of Christ’s Church and adistinguishedorator.Both the song andhis sermonwere inspiredby theHoly Spirit andwereperformedwithallpietyandrightconsideration.”Cf.ArhimandritIoanichieBălan,Patericul Românesc(EdituraMănăstirea Sihăstria, 2005), 356. For information aboutMacarie theHieromonk’s life,workandactivity,see:Conf.Univ.Dr.NicolaeGheorghiță,“MacarieIeromonahul,”inDicționar de muzică bisericească românească(București:Basilica,2013),seealso:MacarieIeromonahul;NicolaePopescu,Macarie Psaltul. La o sută de ani de la moartea lui (1836-1936)(București,1936);NicolaePopescu, “Ştiri noi despreMacarie Ieromonahul, dascălulde cântări și directorul tipografiei dinMănăstireaCăldărușani,”BOR9(1915):967-968;10(1916):1101-1109;C.Erbiceanu,“DedicațialuiMacariecântărețulcătreMitropolitulGrigorie,”BOR1(1908):37-43;MihailGr.Poslușnicu,Istoria muzicii la români(București,1928),28-34;NifonPloieșteanul,Carte de muzică bisericească, pe psaltichie și pe note liniare(București,1902),54-59;GheorgheCiobanu,“Muzicabisericeascălaromâni,”inStudii de etnomuzicologie și bizantinologie (București, 1974) 339 and 392-394; TitusMoisescu,Macarie IeromonahulOpere I, Teoriticonul (București:EdituraMuzicală,1976);Octavian-LazărCosma,Hronicul muzicii româneștiVolumeII(București:EdituraMuzicală,1974),84-98;IerodeaconMarinDionisie,“MacarieIeromonahulla120deanidelamoartealui1836-1956,”MMS3-4(1956):169;TitusMoisescu,Prolegomene BizantineVolumeI(București:EdituraMuzicală,1985),23;NicuMoldoveanu,“MacarieIeromonahul(1770-1836)–traducător,compozitor,copist,tipograf,”BOR7-12(1997):279-293;GheorgheIonescu,“MacarieIeromonahul,dascăldepsaltichieșiepistatalșcolilordemuzichiedinŢaraRomânească,”in:Studii și cercetări de istorie a artei(București:EdituraAcademieiRomâne, 1992), 73-83; Viorel Cosma,Muzicieni din România Volume V (București: EdituraMuzicală,2002),216-222;GheorgheC.Ionescu,Muzica bizantină în România. Dicționar cronologic(București: Editura Sagittarius, 2003), 87-92; CostinMoisil, “Studiu introductiv,” inAnastasimatarul Cuviosului Macarie Ieromonahul, cu adăugiri din cel al Paharnicului Dimitrie Suceveanu (București:EdituraBizantină,2002);CostinMoisil,„AnastasimatareleînlimbaromânătipăriteînprimajumătateasecoluluialXIX-lea:conținut,surse,autori,”Acta Musicae BizantinaeVolumeIV(Iași,2002),144-153.
Macarie the Hieromonk that we owe the printing of the first books of sacredmusicwithhrisanticnotationandCyrillicalphabet inRomanian.HisbooksthatwereprintedatViennain1823–theTheoreticon,theAnastasimatarionandtheHeirmologhion - laid the groundwork for the introduction of Romanian sacredmusicinliturgicalservice,butalsointeachingactivitiescarriedoutintheologicalseminaries and schools of singers. The Hieromonk’s entire musical creationincludes over 2000hymnswhichwere adapted to theRomanian language andmorethan150originalsongs;mostofthemwereleftinmanuscripts2.HishymnsservedasaninspirationforlatercomposersanddevelopedtheRomaniansacredmusicheritage.TheHeirmologhion3(τοΕιρμολογιον)isoneofthemostillustrativebooksof Eastern hymnography. It was a music book, which allowed the singers tomemorizethemelodyoftheheirmoiandthentheyappliedittothetropariafromthecanon.Nevertheless,itwasalsoabookofworshipthatwasusedinliturgicalserviceofthemorningoffice4.TheHeirmologhionwasmeantforsingersonly. Itcontainedtheheirmoi5ofcanonswithorwithouttheirownmelodyandheirmoi6that established the melody for those troparia that succeeded each ode. Theearliest manuscripts of the Heirmologhion date back from the IXth and Xthcenturies7andtheyaremajorsourcesforknowingthefirstdevelopmentstagesof2Pr.Asist.drd.NicolaeGiolu,“MacarieIeromonahul,”inDicționar de muzică…,andthefollowing
Macarie Ieromonahul.3AbouttheemergenceandevolutionoftheIrmologhion,see:SimonHarris,“TheCanonandtheIrmologhion,”Music & Letters 85, no. 2 (May, 2004): 175-197; Constantin Secara, “O tipologie aIrmologhionului,”inMuzica bizantină—doxologie și înălțarespirituală(Bucuresti:EdituraMuzicala,2006), 164-215; EgonWellesz,History of Byzantine Music and Hymnography (Oxford at theClarendonPress,1998),141-142;MilosVelimirovic,“TheByzantineHyrmosandtheIrmologhion,”inGattungen der Musik in Einzeldarstellungen,(Munchen:GedenkschriftLeoSchrade,1973),192-244.VelimirovicdoestheclassificationandcatalogingoftheIrmologhionsintotwogroups,KaOandOdO,dependingoninternalorganisationoftheCanonsandonorganizationofthetimbres,asfundamentalelementsofconstruction.4Harris,“TheCanonandtheIrmologhion,”178.5SebastianBarbu-Bucur,“Automelă,”inDicționar de muzică…,andthefollowingAutomelă.6SebastianBarbu-Bucur,“Asemănândă,”inDicționar de muzică…,andthefollowingAsemănândă.7TheoldestandmostimportantmanuscriptsoftheIrmologhionwerepublishedintheseriesentitled“MonumentaMusicaeByzantine”:Hirmologium Athoum Volume2 (Copenhague: “CarstenHøeg”PublishingHouse,1938), (full copyofCodex Monasterii Hiberorum 470);Hirmologium CryptenseVolume3“LaurentiusTardo”(Rome:PublishingHouse,1951), (fullcopyofCodex Cryptensis Epsilon. gamma.II);Hirmologium SabbaiticumVolume8(Copenhague:“Jørgen”PublishingHouse,1968-70)Raasted 1. Pars Suppletoria 2.1. Pars Prima: Toni Authentici 2.2. Pars Secunda: Toni Plagales(Copenhague:“Jørgen”PublishingHouse1968-70)(fullcopyofCod. Saba 83);Volume6The Hymns of the Irmologhion Part I transcribed by A. Ayoutanti & M. STohr, reviewed and annotated byCarstenHøeg,(Copenhagen,1952);Volume8.The Hymns of the IrmologhionPartIII2transcribedbyA.Ayoutanti,reviewedandannotatedbyH.J.W.Tillyard,(Copenhagen,1956);Volume4Twenty Canons from Trinity Irmologhion, transcribedbyH.J.W.Tillyard(Boston,Paris,London,Copenhagen,1952).
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hymnographyandByzantinemusic.MacarietheHieromonk’sHeirmologhion8isbasedonPetrosPeloponessiouLampadarios’9one10,whichwasprintedwithaNeo-Byzantinenotation(Koukouzelian),theso-calledshortened Heirmologhionthat,beginningwiththe17thcentury,hasbeencalled“BookofKatavasiae”11.Asstatedinthepreface,Macarie’sworkincludes“KatavasiaeofGreatFeastsandofMother of God, of the Triodion and of the Pentecostarion, as they are sungwithintheHolyGreatChurchofGod”.Macarie’sHeirmologhionhasthefollowingcontent:KatavasiaeatGreatFeasts;KatavasiaeoftheTriodionandofthePentecostarion;Hymnscomposedby Gregorios Protopsaltes12 for the Compline Canon of Saint and RighteousLazarus;Hymns4,6,8attheAnnunciation;Ode7forVirtuousCross;Canonsof8Irmologhion sau catavasieriu musicesc, care cuprinde în sine catavasiile praznicilor împărătești și ale Născătoarei de Dumnezeu, ale Triodului și ale Penticostariului, precum să cîntă în sfînta lui Hristos Dumnezeu beserica cea mare. Acumîntîiașidatătipăritînzilileprea-luminatuluișiprea-înălțatuluinostrudomnșiighemonatoatăUngrovlahia,IoGrigorieDimitrieGhicavoevod,întruîntîiulanaldomnieisale.Cuvoiașiblagosloveniaprea-o-sfințituluimitropolita toatăUngrovlahiakyriokyrGrigorie(înedițiapentruMoldova:IoannSandulSturzavoevodîntruîntîiulanaldomnieisale,cuvoiașiblagosloveniaprea-o-sfințieisalepărinteluiarhiepiscopșimitropolitalMoldavieikyriokyrVeniamin).AlcatuitromanestepreasazamıntulsistimiiceiinoaoduprecelgrecescdesmeritulMacarieIeromonahul,portariealSfinteiMitropoliiaBucurestilor,dascalulscoaleidemusichie. 1823.Traducător,editorșitipograf:MacarieIeromonahul,întipografiaarmenilormechitariștidinViena,1823.9PetrosLampadariosPeloponessiou(Πέτρου Λαμπαδαρίου του Πελοποννησίου)(1730-1778)isthemostimportantcomposerof18thcentury,whoactivatedbetween1764and1778.Herecomposedalmosttheentirerepertoireofhymns.Owingtohim,theinfluenceofOrientalmusicpenetratedtheecclesiasticalmusicmorethanever.“PetrosPeloponnesios”The Canterbury Dictionary of Hymnology.CanterburyPress,accessedApril,27,2016<http://www.hymnology.co.uk/p/petros-peloponnesios>.10Ειρμολόγιον των καταβασιών Πέτρου του Πελοποννησίου μετά του συντόμου Ειρμολογίου Πέτρου Πρωτοψάλτου του Βυζαντίου: Εξηγημένα κατά την νέαν της μουσικής μέθοδον μετά προσθήκης ικανών μαθημάτων, ων εστερούντο εις το παλαιόν. Επιθεωρηθέντα ήδη, και ακριβώς διορθωθέντα παρά του Διδασκάλου Χουρμουζίου Χαρτοφύλακος.PetrosPeloponnesiosLampadarios;Ed.PetrosByzantios,ChourmouziosChartophylakos(Istanbul,1825).11Secara,“OtipologieaIrmologhionului...”,66.12ProtopsalterGregory,alsoknownasThe Levite(becausehisfatherwasapriest)orVizantie(afterhisbirthplace)(1777/78?;diedonthe23rdofDecember1821)wasapsalmsinger,acomposer,anexighisitor,atheoristandateacher.HewasoneofProtopsalterJacob’spupils.HewasalsoadiscipleofPetrosVyzantiosandGeorgeofCrete.Hisnameislinkedtotheintroductionandtheorizationofnew systems. He brought contributions in connection with modal steps, modulations andtranscriptionfromoldtonewmusicalnotation.Hetranscribed20volumesfromoldtonewnotation.Moreover,healsocomposednumerouspersonalworks.Hetranscribedthefollowingpiecesinnewnotation:theAnastasimatar,theIrmologhionandPetruLampadarie’sDoxastar(translatedandprintedin Romanian by HieromonkMacarie in 1823, respectively by Dimitrie Suceveanu, in Sticherarion[Idiomelar], 1856-1857). CostinMoisil, “Grigorie Protopsaltul,” inDicționar de muzică bisericească românească... andthefollowingGrigorie Protopsaltul;“ProtopsaltesGregory”,The Canterbury Dictionary of Hymnology.CanterburyPress,accessedApril,27,2016 <http://www.hymnology.co.uk/g/gregorios-protopsaltes>.
the HolyWeek; Melodies (sl. Podobije) sung in Holy Churches of God duringGreatVespers;Melodies(sl.Podobije)sungashymns(sl.sedelina)duringearlyservices;Antiphons,firstplagiosmode-hymnssungattheendofearlyservices.HieromonkMacarie’sHeirmologhionwascomposedaccordingtoPetrosLampadarios’collectionofhymns13.Thosehymnshadbeenputincirculationasmanuscriptsatthebeginningofthe19thcentury.Then,ProtopsaltesGregoryandHourmouziosHartofilaxtranscribedtheminthenewsystem.PetrosLampadarios’workappearedtwoyearsafterthatofMacarie.Thus,onecouldstress the idea thatHieromonkMacarieusedPetros’works thatcirculated inmanuscripts inorder todrawuphisHeirmologhion.He mainly used the version that Protopsaltes Gregory transcribed in 1816.Thisfactisprovenbytheanalysisofthecontentsofthetwobooks:Macarie’sversion lacks theKatabasiae and the other hymns that belonged toHurmuzandthatwerepublishedinhisvolumein182514.WithregardtotheserviceofPentecost,oneaspectworthmentioningreliesinthedifferencesfoundbetweenMacarie’sversionandPetros’one.ItisaboutthestructureoftheHeirmosinOdeIX.Macariewasdissatisfiedwiththeheirmoi inOde IXat theKatavasiaeofGreatFeasts thathadbeen translatedaccordingtoPetrosLampadarios.Consequently,hehascomposedthoseheirmoi.Hedidn’ttakethemplainlyuponhimself,buthecalledthemconcisely:«another».Theseheirmoiare justlyconsideredthemostsuccessfulcompositionsof thisskilledteacher.They are pieces of a raremelodic beauty,which are sung absolutelyunchangedeventoday.Thehymnsof theHeirmologhionareanadaptationoftheGreekmelodytoanhymnographicexistingtext:Macariedidnottranslatethetext,butheusedthetextofthePentecostservice,whichFilotheisinAgaiJipeiutilizedintheRomanian Psalter15.We’ll take into considerationHeirmos IX from the two Collections of Heirmoi.Heirmos IXisalsousedduringtheDivine Liturgy,whenitreplacesthehymn “It is truly meet...”. The Heirmos of the ninth hymn at the Feast ofPentecostwaswrittenbyJohnDamascusanddestinedtobesunginthefourthmode,leghetos. 13FortheanalysisofPetrosPeloponisiu’sIrmologhion,seeConstantinSecara,“Elementestilisticesideformaprezente ınIrmologhionul luiPetrisLampadariosPeloponissiou,” inMuzica bizantină…,224-285.14Secara,“OtipologieaIrmologhionului…”,208.15SebastianBarbu-Bucur,Filothei sin Agăi Jipei, Psaltichia rumănească,Volume IV, Stihirar-Penticostar, in Izvoare aleMuziciiRomanestiVolumeVIID (Bucuresti: EdituraEpiscopieidinBuzau, 1992),211-215.
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Elements of Literary Form Structural,metric,modalandsyntacticanalysisoftheheirmoiofthePentecost,fourthmode,leghetos.
The comparative analysis16 of the versions of heirmoi at the Feast ofPentecost, which were composed by Petros Lampadarios17 and HieromonkMacarie18,emphasizesthefollowingaspects:elementsoftheliteraryform(thecomparative macrostructural analysis, including elements of prosodicstructure);andelementsofthemusicalform(themodalfunctionalsystem;thecadentialsystem;themusicalphrases:themelodicambitus;melodicintervals;therhythmicsofthemelody).The heirmoi presented synoptically within the list of elements ofliteraryformaredividedaccordingtotheideationalstructureofthetext.Themodalanalysis (byoutlining thecadences)reproduces thecadences throughthe cadential sound; the perfect cadences are rendered into capital letters,whiletheimperfectonesarerenderedintosmallletters.
Elements of Musical Form Modal Functional System When taking the modal functional system into account, one couldperceivethatbothauthorswrotetheheirmoiofthePentecostintheirmologicform,whichusedthediatonicscaleofvoiceIV,startingfromVU,alsoknownasLeghetos.TheLeghetosvoiceistheirmologicformofVoiceIV.Duetothespecialroleithas,soundVUisfirsttone,basewithinthismodalscale.16Thecomparativemusicalanalysiswasadaptedafterhavingbeenadoptedfrom:Alexandru,M.&Tsougras,“OnMethodologyofStructuralAnalysisinByzantineandClassicalWesternMusic-AComparison”.Proceedings fromthe4thConferenceon InterdisciplinaryMusicologyCIM08(Thessaloniki,3-6July2008)[bothpublishedonCD-ROMandontheconference'swebpage:http://cim08.web.auth.gr].MariaAlexandru,“PalaeographyofByzantineMusic:BriefIntroductionwith Some Preliminary Remarks onMusical Palimpsests”, [El palimpsesto grecolatino como
fenómeno librario y textual],Institucion«FernandoelCatolico»(C.S.I.C.),Excma.DiputaciondeZaragoza,(Zaragoza,2006):113–130.O.Strunk,“IntonationsandSignaturesofByzantineModes,”Musical Quarterly(1945):339–355;GeorgiosN.Konstantinou,Teoria și practica Muzicii Bisericeștivolumul I, editia a II-a revizuita si adaugita, traducere din limba greaca, exemplemuzicale,exemplificariaudio(melos)siıngrijireeditiedeAdrianSırbu,ındrumatortraducereProf.univ.dr.MariaAlexandru,(Iasi:AsociatiaCulturala“Byzantion”,2012);VictorGiuleanu,Melodica bizantină: studiu teoretic și morfologic al stilului modern neo-bizantin, (Bucuresti: EdituraMuzicala, 1981);CostinMoisil,“TheRomanianVersionofPetrosLampadarios’Anastasimatarion.ObservationsRegardingthePrinciplesofMusicAdaptation,”inCantus Planus;papersreadatthe12thmeetingoftheIMSStudyGroup,Lillafured/Hungary,23-28August2004.PrintedbytheMusicologyInstituteofHungarianAcademyofSciences,(Budapest,2006),151-171;IArvanitis,“RythmicalandMetricalStructure of Byzantine Hyrmoi and Stichera, as Method and Result of A New RhythmicalInterpretationofByzantineHymn,”Acta Musicae Byzantinae6(2003):14-29.17Ειρμολόγιον των καταβασιών…,68-73.18Irmologhion sau catavasieriu musicesc…,81-87.
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TheLeghetosvoicehasthefollowingmaintones:VU,DIandsuperiorZO.ThecadentialsystemincludesbothimperfectcadencesonPA,DI,superiorZO and superior PA, and perfect and final cadences on VU. Some musicalcreationsmaycontainmelodicattractionsonPAtoVU,onGAtoDIandonKEtosuperiorZO.Zoreceivestheifes,whenthemelodyreachesitsheigth;then,itdescendsanditbecomesnatural,whenthemelodypassesZO,whileascending,and,whiledescending, ZO receives the ifes again.Atother times,naturalZOturnsintoZOifes.Theheirmologichymnsofvoiceleghetosrarelytouchtheheptaphonyofthe scale (superiorVU).When themelodic line reaches superiorVU, and, then,descends, VU receives ifes, and when the melodic line ascends and stays onsuperiorVU,VUisnatural.Whenthehymnsareprecededbyverses,thelatteraresungontheVUsound;then,theyclimbuptoDIandendwithacadentialformulathatcorrespondstothevoice,culminatingonVU19.TheKatavasiaethatarepresent intheworkofPetrosLampadariosandthatwereRomanizedbyHieromonkMacarie,arecomposedintheargonirmologicstyle20,whichcombines featuresborrowedfromboththe irmologic formof thevoiceandthesticheraricone.Bothexaminedversionslackmodulationsinothervoices.ThemelodictextrespectsthestructureofmodeIVLeghetos.In terms ofmusical form elements,melodico-rhythmic formulaswithincadencesarethosethatunderlietheByzantinehymns.VictorGiuleanusaysthat:“...regarding the Byzantine music, melodic formulas take a modal aspect, thuscreating those compositions that have typical structures,which the performer-composer combines and associates masterly, in order to create and expresshimselfinthatspecificmanner”21.Inmodalandsyntacticanalysisofmusicalformelements,wewillmakeuse of the analysis type suggested by Constantin Secară22, which takes intoaccounttheidentificationofthreetypesofformulasthataretypicalfortheargo-syntomonstyle:beginnings (lat. incipit), cadential formulas, and inter-cadentialformulas.Thesetypesofformulasrepresentthebasisofsemanticpronunciationsheardattheanalytical-structuralandmetriclevel,assetforthinthelistabove.In19Konstantinou,Teoria și practica Muzicii Bisericești…,156-157;VictorGiuleanu,Melodica bizantină,(Bucuresti:EdituraMuzicala,1981),351-352;GrigorePantiru,Notația și ehurile muzicii bizantine,(Bucuresti:EdituraMuzicalaaCompozitorilor,1971),227-228;NicolaeLungu,Pr.Prof.Gr.PriestProf.Gr.Costea,Prof.I.Croitoru,Gramatica muzicii bisericești „psaltice”,(Bucuresti,1997),64.20Theargo-syntomonstyle(αργoν–vast)thatdefinedtheIrmologhion-Katavasiae from the17th-18thcenturies,designated the trendofkallopoismoswithinahistoricalperiodwhenpersonalities inthefieldofByzantinemusicbecameemancipated.Theprocessindiscussionstartedasearlyasthe16thcentury.Secara:“Elementestilisticesideforma…”,232.21Giuleanu,Melodica bizantină…,186.22Secara,“OtipologieaIrmologhionului…”,233.
addition, throughthe identificationandpresentationof theseformulas,onecaneasierperceivetheprocessesthatHieromonkMacarieusedwhenheromanizedtheHeirmosoftheninthhymnatthefeastofPentecost.The Beginnings(lat.incipit)In terms of the VU, DI, KE symbols, they are representing the initialnotes that thebeginningsarebuiltwith,while theRomannumeralsrepresentthenumberoftheodefromtheCanonofthePentecost.Thebeginningsintroducethemselves intheformofsomeintroductorymelodic fragments,whichsecurethemodalmarksfordeploymentofmelodictext.
The Heirmologhion...[Heirmologhionul…],84-87Whengettingintouchwiththebeginningsofthetwoversions,onecouldobservethefollowing:a) Whencomposing,MacarieremainsfaithfultotheGreekmelody;hence,thestructuralsimilaritiesbetweenthephrasesofthetwoversions.b) Inthelasttwoversions,MacariedepartsfromthetheoriginalGreekandcomposesnewbeginnings,whichhaveamorehigh-profileopeningandopenthethematicframeworkoftheHeirmos.c) ThemelodiclinethatispresentinPetrosLampadarios’beginninghasasmallopening.Ithasjustafewnotesanditleavesthewideningandtheextensionofthephraseonaccountofsubsequentdevelopments.
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Cadential System: The cadential system found within the two analysed versions can bedivided into two sections:perfect cadences and imperfect cadences. InPetrosLampadarios’versionweencounteraperfectcadenceonVU,inseveralversionsofcadentialformula,andtwoimperfectcadencesonPAandDI,also,inseveralversionsofcadentialformula.Incomparison,inMacarie’sversion,thecadenceshavethesamestructureasinPetrosLampadarios’one.Whenwehave analysed themusical versions23,wehave resorted to asynoptic overview for each Heirmos, in which we have noted the cadentialformulasthatweencountered:PetrosLampadarios,Ειρμολογιοντωνκαταβασιων…,72
MacarietheHieromonk,The Heirmologhion... [Heirmologhionul…],84-8723 The transcript from chrysanthic notation on stave-pentagram ignores ornamental signs, heightdifferences of sounds in the system of Byzantine andWestern intonation and, sometimes, themeter.Thelegatoindicatesthatthenotesitunitesaresungonthesamesyllable.
Inter-cadential formulas are presented in the form of melodico-rhythmicformulasthatarespecifictovoiceIVleghetos-theargo-syntomonstyle,whichcoversthehymnographictextinmelismaticformulasofsmallorlargedimensions,beingininterdependencewiththeideationalandsyntacticstructureofthetext.PetrosLampadarios,Ειρμολογιοντωνκαταβασιων…,72
MacarietheHieromonk,The Heirmologhion... [Heirmologhionul…],84-87Ifthetwoexamplesofinter-cadentialformulasaretakenintoconsideration,onewillobservethattheHieromonkMacarieutilizestheformulaspresentinPetrosLampadarios’HeirmologhioninordertoRomanianisedtheHeirmosoftheninthhymn.Thus,MacarieusedimitationasamethodofcomposingandcreatedasymmetryattheleveloftheHeirmos,byusingthesamemelodicpatternsfortheRomanianhymnographic text.Furthermore,asnoted in theprefaceof theHeirmologhion24,MacarieprioritizedtheRomanianwordandaccent:“Formingthewordbecomestheultimatepurpose...asitseemsnonsensetohaveaccentmarksdestinatedfordoubled-in-sizewords(tooshortortoolong)incontrastwithGreekones;thetimbreofGreekworddoesnotdependontheflowofmelody(sl.Podobije).Moreover,estrangementfromtheflowofmelodybyreasonofthelengthoftheword...isdefinitelyanerrorandasin”.Thus,inter-cadentialformulasaretakenfromtheoriginalGreek,withthenecessaryadjustmentstothesyllabicstructureofthewordandthesyntaxofthephraseinRomanian.24MacarieIeromonahul, Irmologhionul…,VI.
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MacarietheHieromonk’sfirstHeirmostriedtobeasfaithfulaspossibleto the structure of the Greek original. Nevertheless, the next two heirmoi derivatedfromtheoriginalandtheHieromonkcreatednewmelodicformulasofa greater length.Musical articulations are farmore ornamented and they getintothesyntacticalregisterofthesticheraricidiom.Melodic Ambitus Generally,whenonetakesintoconsiderationthetwoauthors’hymns,onenotices that the heirmoi exceed the octaval framework, reaching ZO in a graveregister(atPetrosLampadarios)andNI(atMacarietheHieromonk).Theydonotexceed step PA in a high register. The heirmoi come to expand even within anambitusof10ma.
Melodic Intervals Considering the analysed heirmoi, throughout the melodic course, bothauthors particularly use two-step intervals (3m, 3M) or three-step ones (4 p).Longer intervallic steps, four-stepones (5p) or five-step ones (6m), areused tohighlightthemainideaofthetext.Rhythmics of Melody Theargo-syntomonstylefromByzantinemusicisdefinedbyabeatgivenby the sequence of durations that compose the melody. Diversity of rhythmicformulasisobtainedbycombiningsyllabicformulaswithmelismaticones,whichconfersasyllabic-melismaticbeat.Inordertounderstandhowtempochangesintorhythm,wearegoingtocompare the four sequences of musical phrases morphologically. These phrasescontainbothsyllabicandmelismaticformulas.
MacarietheHieromonk,Example:Heirmologhion or Musical Book of Katavasiae... [Heirmologhion sau catavasieriu musicesc…],84-87Thetwofeaturedexamplesillustratehowthemelodicpathdevelopsinapeaceful,moderatemovement.Owingtotheirasymmetry,presentrhythmicformulasprovidethemelodywithfulldevelopmentfreedom.Rhythmicsisheterogeneousasitisdeterminedbystressedsyllables(tone)andunstressedones(atone)ofeachword.Thepresenceofdottedrhythms,ofthetriolet,givesacertaindynamismtothemelodicline.Acomparativeanalysisofthetwoversionsonthelevelofbothliteraryelementsandmusicalones,revealsanumberofstructuralfeaturesofargon-syntomonhymn. Inaddition, theprinciplesusedbyHieromonkMacariewithintheprocessofRomanianisation arebeinghighlighted.Actually,MacarieadaptedPeterthePeloponnesios’HeirmosoftheninthhymntoRomanian.Theseprinciplesofadaptationcouldbesubdividedintothreecategories:
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a) Hymns Adapted to Romanian TheHeirmosoftheninthhymnatthefeastofPentecostthatweexamined,was composed by Macarie by adapting the original melody to the Romanianhymnographic text.Thehymnographic textsofheirmoiemployedbyMacariearealmostidenticaltothoseofFilotheisinAgaiJipei25,andofHieromonkJosephfromNeamt26.Thesmallphilologicaldifferencesareeffectsoftheevolutionoflanguage,asthelinguisticprocessisvividandsusceptibletochanges.AccordingtoSebastianBarbu-Bucur,fromthemusicalpointofview,thehymnsoftheHeirmologhionthatwas Romanianised by Monk Macarie, tend to approach Hieromonk Macarie’sversion.ItwasmadepossiblebyRomanianisationofsimilarhmynsanditdenotesastylisticcontinuitywithinthetranscriptionprocessofoldhymns27.Asregardstheplacetheaccentsoccupywithinthemelodictextandthehymnographicone,Macarieusedanumberofmethodstoresolvethemismatchescausedbyprosodicandmetricdifferencesbetweenthetwolanguages.Thefirstmethod employed to adapt the text to themelodywas the replacement of theoriginalcadencewithanotherone,atthesamepoint,inordertomatchwiththeaccentsfromRomanianprosodictext.Thissolutionchangesthemelodiccourseoftheoriginalmelody.Inbroadlines,where languageallowed,Macarieusedthecompositionalrule fromGreekmelodics, which defended the following principle: each beat corresponds to asyllablewithinthefirstpartofthephrase;stressedsyllablesareplacedwithastepor a third above the dominant syllable, which, often, is repeated. For mostexamples,withinthefirstsection,themelodyappearsasasuccessionofsimpleascendingmotifs,withanincipitonVUtowardsDI-thedominantstepofVoiceIV,leghetos-whileacadentialformulaconstitutesthesecondpartofthefirstsection.Thesecondsectionofthephraseismorevariedthanthefirstonemelodicallyandithasatwo-strokebeatorafour-strokebeat.Itconsistsofacadentialformula28.25SebastianBarbu-Bucur,Filothei, Sin Agăi Jipa, Pslatichie Rumânească, Vol. IV, Stihirar-Penticostar. 26TherearecurrentlythreemanuscriptsthatcontainPeterthePeloponnesos’hyrmoi,belongingtoMonkJosephfromNeamtMonastery:GreekManuscript101BAR;Ms.gr.38BMN,Ms.gr.30BMS.Cf.Secara“OtipologieaIrmologhionului…”,200.27SebastianBarbu-Bucur,“ManuscrisepsalticeromanestisibilingveınnotatiecucuzelianaınmarilebibliotecidinRomania,”inStudii de muzicologieVolumeXII(Bucuresti:EdituraMuzicala,1976),141.28TheserulesofByzantinecompositionbelongtoPeterfromEphesus,whonotedthemwithintheprefaceoftheAnastasimatar,(ΝεονΑναστασιματαριονμεταφρασθενκατατηνΝεοφανηΜεθοδοντηςΜουσικηςΥποτωνενΚωνσταντινουπολειμουσικολογιωτατωνΔιδασκαλωνκαιεφευρετωντουΝεουΣυστηματος,νυνπρωτονειςφωςαχθενδιατυπογραφικωνχαρακτηρωντηςΜουσικης,επιτηςθεοστηρικτουΗγεμονιαςτουΥψηλατουημωναυθεντουπασηςΟυγγροβλαχιαςκυριουκυριουΑλεξανδρου Νικολαου Σουτζου Βοεβοδα, αρχιερατευοντος του πανιερωτατουμητροπολιτουΟυγγροβλαχιας κυριου Διονυσιου. Εκδοθεν σπουδη μεν επιμονω τουΜουσικολογιωτατου κυρΠετρου του Εφεσιου, φιλοτιμω δε προκαταβολη του πανευγενεστατου αρχοντος μεγαλουΒορνικουκυριουΓρηγοριουΜπαλλιανου.ΕντωτουΒουκουρεστιουνεοσυστατωΤυπογραφειω,1820), printedatBucuresti,in1820;therulesrefertothestructureofamusicalpiecewritteninastihiraricstyle,buttheycanalsoapplytosongswritteninanirmologicpatternthatismoderatelymelismatic.CostinMoisil,“TheRomanianVersion…”,156
b) Cadential Formulas Inbroadlines,MacarieusesthesamemotifsandcadentialformulasastheGreek original. He keeps the same succession rules of musical phrases andcorrelationrulesofsyllablesthatarestressedbystrongmeasuresofbeatsfromcadentialphrases.WhentheRomanianphraseismuchlongerthantheGreekone,Macarie removes or adds new cadences, in order to avoid shortening orlengtheningthephrasewithnewwords.Thus,thecomposedmelodiclinediffersfromtheoriginal.As it arises from theabove lists, cadential formulas canbedivided intoperfectandimperfectones.Asarule,formulasofperfectcadencesarelocatedattheendofthosephrasesanddistancesthatarepermanent;thatis,theyexpressanideaorasequenceofmusicalideasexhaustivelyandcorrespondtotheendofan ideafromthe literarytext.Formulasofperfectcadencescontain from4to7syllablesandendonVU.Commonly,formulasofimperfectcadencesarelocatedattheendofphrasesthatareincourseofdevelopment,inthesensethattheyappealforcontinuationofmusicalideasandtheyusuallycorrespondtoacommainthetext.Formulasofimperfectcadencescontainbetween3and5syllablesandtheyendonPAorDI.Likewise, thedifferencesbetween the twoversionscouldbeputon theaccount of literary accents related to perfect and imperfect cadential formulas.Consequently, Macarie was constrained to run various changes. In terms ofdifferences at the level ofmelodic structureof formulas, one canascertain thattheyarealsogeneratedbythelinguisticdifferences,thenumberbothofsyllablesandofaccents.The twoversions are, largely, similar, at the level of cadential formulas,but,intermsofthenumberofsyllablesinaparticularperiodorHeirmos,thingsaredifferent.ThereasonliesintheliterarystyleemployedbySaintJohnofDamascuswhenhewrotethecanonofthePentecost.St.JohnofDamascususedtherulesofancientGreekprosody.Hemadeuseofiambicformulasand,thus,thereisasyllabicequalitybetweentheversesofanodeandbetweenodesthemselves.TheRomaniantranslation no longer kept the syllabic equality and the textswere interpretedunconstrainedlyfromfixedpoeticforms.c) Musical Adaptation: Constraints and Freedom of Choice Fromanarchitecturalpointofview,Macarie’sheirmoiglideawaywithadynamic rhythm. As a result, there is a number of specific aspects: themusicalphrases,whichformtheHeirmos,unfoldasasuccessionofconjunctsteps,throughtonesandsemitones,withtheexceptionofthefewthirdandfourthsteps.Throughoutthe melodic track, almost all sounds from the intervallic instrument of modaldiapasonbecomeactive,whilethesoundsfromthelowerpartofthediapasonare
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moreoftenused,throughsmallmelodicsteps.Theascendingmeaningsofbeginningsleadtodominantstep,DI.Descendingmeaningsleadtothebase,VU.Attheendofeachmusicalphrase,rhythmicslowersitstuneduetovaluesthatarehigherthanthosethroughout themelody; theyconferarelativestability tocadentialmelodicformulas,ifimperfect,anddefinitivestability,ifperfectcadences.Despitethesemethodsoftranscriptionused,theauthorassumesthelibertytoestrangealotfromtheoriginalmelodictextandwritesnewmelodies, likethetwoversionsoftheHeirmosfromtheninthhymn.Theyaremelodiesthathighlightthecomposer’smastery.On the other hand, in certain circumstances, the author turns to otherproceduresof compositionandemploysdifferent formulasordifferentcadences.Analysis of incipit, of cadences and of intercadential formulas explainsMacarie’sprocedure of estranging from the Greek original. Such an intervention may bereferredtoasamethodofreplacingtheoriginalcadencewithoneanother,onthesame,butwithahighmelodiccomplexity.Cadential formulasthatheuseswithinthetwoheirmoiarecompletelydifferentfromtheGreekoriginalandhighlighttheauthor's skill. Likewise,when theRomanian text is shorter or longer, the authorremovesoraddsnewcadentialformulas.Whendifferencesintextaresignificant,themelodiclineisentirelychanged.However,theauthorhasacertaincareforthepreservationofrareGreekformulas.Conclusions MacarieadaptedtheHeirmosoftheninthhymnatthefeastofPentecostto theRomanianhymnography.Nevertheless, he tried tokeep composition rulesfromtheoriginalGreekasmuchaspossible.SometimesMacarieturnedtoamiddlesolution, in order to keep theRomanianmelodic text as close as possible to theoriginal. Thus, he added or removed certain imperfect cadential formulas andsometimesheentirelysubstitutedthecadentialformulasfromtheGreektext.TheRomanianhymnographictexthasbeensubdividedinsuchawayastocorrespondtothefinalcadencesintheGreektext.Forrhetoricalreasons,certainformulashavebeenusedtohighlightthetextidea.Withartisticgenius,Macariebrokethemelodicline of the Greek original and introduced new formulas. He even created othermelodiesforthesametexts,asitwasthecaseofHeirmosIX.The Romanianisation process undertaken by Hieromonk Macarie - seePetruPeloponisiu’sHeirmologhion,ingeneral,andtheHeirmosoftheninthhymnatthe feast ofPentecost, in particular – implies conserving the Greekmelody,withcertaindistinctionsbetweentheGreektextandtheRomanianone,whicharegivenbydifferences regarding the accents, the number of syllables and the amount ofwords.
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Πέτρου Πρωτοψάλτου του Βυζαντίου: Εξηγημένα κατά την νέαν της μουσικής μέθοδον μετά προσθήκης ικανών μαθημάτων, ων εστερούντο εις το παλαιόν. Επιθεωρηθέντα ήδη, και ακριβώς διορθωθέντα παρά του Διδασκάλου Χουρμουζίου Χαρτοφύλακος.Petros Peloponnesios Lampadarios; Ed. Petros Byzantios, ChourmouziosChartophylakos,Istanbul,1825.
Νέον Αναστασιματάριον μεταφρασθέν κατά την Νεοφανή Μέθοδον της Μουσικής Υπό των εν Κωνσταντινουπόλει μουσικολογιωτάτων Διδασκάλων και εφευρετών του Νέου Συστήματος, νυν πρώτον εις φως αχθέν διά τυπογραφικών χαρακτήρων της Μουσικής, επί της θεοστηρίκτου Ηγεμονίας του Υψηλάτου ημών αυθέντου πάσης Ουγγροβλαχίας κυρίου κυρίου Αλεξάνδρου Νικολάου Σούτζου Βοεβόδα, αρχιερατεύοντος του πανιερωτάτουμητροπολίτου Ουγγροβλαχίας κυρίου Διονυσίου. Εκδοθέν σπουδή μεν επιμόνω του Μουσικολογιωτάτου κυρ Πέτρου του Εφεσίου, φιλοτίμω δε προκαταβολή του πανευγενεστάτου άρχοντος μεγάλου Βορνίκου κυρίου Γρηγορίου Μπαλλιάνου. Εν τω του Βουκουρεστίου νεοσυστάτω Τυπογραφείω, 1820, printedatBucuresti,in1820.
