15 The Kalophonic Sticherarion Sinai gr. 1251 Introduction and Indices Clara Adsuara L INTRODUCTION’ The manuscript Sinai 1251 is a kalophonic Sticherarion from the 15th century. Since it almost exclusively contains complete cycles of the kalophonic stichera for the fixed (Menaia) and the movable feasts (Triodion and Pentekostarion) of the Orthodox ecclesiastical year, it is a clear example of its type. It is very plausible that the MS was written by the Byzantine composer Ioannes Plousiadenos, as suggested by Schartau on the basis of paleographic criteria”. His activity as a scribe of musical manuscripts can be dated to the period between 1455 and 1469°. "His large subscribed autograph...Sinai gr. 1234" was written in 1469 in Venice’, although other scholars point to 1467 as the date for his stay in Venice’. Also two other unsubscribed autographs by Plousiadenos have been preserved: MS Athos Dionysiou 570 and Sinai gr. 1547°. The youngest ‘composers mentioned in Sinai 1251 are Manuel Chrysaphes, Gregorios Alyates Bounes, Georgios ‘Sgouropoulos and Gerasimos Chalkeopoulos (see Index of composers), and this confirms that the MS should be assigned to the second half of the 15th cent. ‘The contents of Sinai 1251 divides into three cycles, two different cycles of the Menaia and one containing the combined Triodion and Pentekostarion: a) First cycle of the Menaia (2-276v) b) Second cycle of the Menaia (2801-378) ©) Triodion and Pentekostarion (380r-440v)’ The first cycle consists on kalophonic pieces by different composers. Its heading (cf. Index of headings and first lines, fol. 2t) gives us some important, but also puzzling pieces of information. We are here told that Koukouzeles was responsible for this collection of stichera (over é@noav 8% cadéotata nap& t08 Matozwpoc.), that only the old ones were ‘beautified’ (Exakionio@noay nev t& rakav& wdve, see below), and that the new ones were left ‘unshaken' (& 58 véa &odAevta pévovar). The core of this cycle is in fact compositions by Toannes Koukouzeles, his contemporaries and disciples (beginning and first half of the 14th century) and by composers from the generation before (second half of the 13th century). “This study is based on a microfilm in the collestion of the Monuments Musicae Copenhagen. ‘Bjame Schartau, Codices Sinsitici, Mikrofilmaufnahmen im Besitz von MMB, Copenhagen 1991 (unpublished). °Dates according to Prosopographisches Lexikon der Palaiologenzeit, 10. Faszikel. Ed E. Trapp. Wien 1990, 37. ‘Bjame Schartau, A checklist ofthe settings of George and John Plousiadenos inthe Kalophomic Sticherarion Sinai gr. 1234. Cahiers de LInstitut du Moyen-Age Grec et Latin 63, Université de Copenhague. Copenhagen 1993, 298. ‘See Prosopographisches Lexikon...10.Fas., 37. ‘Fox these two unsuscribed manuscripts see Bjame Scharau, A checklist. 298. For more information on Dionysiou 570 seoI'pnyépi0g @. Era6nc, Te zerpoypada BuCavriviig Movoixiig “Ayiov “Opog. Tépos B. Athens 1976, 698. "The folia between the end of one cycle and the beginning of the following are blank.16 Nevertheless, we find also works ascribed to composers from the first half of the 15th century, and even during the last decades of the Byzantine Empire some pieces were added to the first cycle. Besides the kalophonic stichera, this oycle includes a few chants of other types, among which there are two polychronismoi for the great feasts of Christmas and Epiphany (113v and 140v). The first of these is dedicated to John VIII Palaiologos and his wife Mary, daughter of the king Alexios of Trapezount, while the second only mentions the emperor. John and Mary married before he ascended the throne in 1433, but she died already December 17, 1439°. To sum up, the repertoire of the first cycle accumulates at least three different layers: 1) The oldest of these is probably Koukouzeles' version of the kalophonic Sticherarion. It embraces works by his predecessors, by himself, and by his contemporaries and disciples. It must be dated to the first half of the 14th century. 2) In the beginning of the 15th century, this cycle had been slightly enlarged, and this stage of development probably reflects an exemplar of the kalophonic sticherarion from between 1433-39 (cf. polychronismoi). 3) Finally, a few compositions from the years up to ca. 1453 were interpolated. The first and third cycles are closely related. The third cycle consists of a selection of composers (cf. Index of headings and first lines, fol. 380r) comparable to that of the first one and, besides, the Triodion and Pentekostarion of the third cycle make up a complete sticherarion kalophonikon together with the first cycle of the Menai? AA further indication of multiple layers is provided by the information that "only the old compositions were 'beautified” (21). Wherever we find the words "ExaAAwnio@n napé... or similar expressions, we must suppose a considerable span of time between these compositions and the original melodies. Otherwise, the original pieces were not likely to qualify for the designation ‘nadax6v', The ‘beautified’ melodies also give us some clues to @ relative chronology of the composers”, In the following, I have listed all the occurrences of "ExaAhon(o@n rapy... and similar expressions from the first and third cycle", distributed on the three layers mentioned above: "December 17, 1439, is the date for er death according to the chronicle of Ducas: Duca, Historia Turcobyzantina (1341- 1462), ex recensione Basil Grecu. Scriptores Byzantini I, Editio Academiae Reipublicae Popularis Romanicae 1958, 26920-21. CE.also, Georgios Sphrantzes, Memorii 1401-1477, ex recensione Basilii Grecu. Scriptores Byzantini V. Editio ‘Academie Reipublicae Socialistae Romaniae 1966, 629 and 332113. To illustate the prevailance of composers up to and around Kovrouté2n< in the first and third cycles, I give the ofthe three layers mentioned above: 1) Second half ofthe 13th century - first half ofthe 14th: the Koukouzelean, layer, 2) First half of the 15th century and 3) ea. 1453. First eyele: Third cycle: 185% 169% 211% 231% 34% 30% (have taken into account only the main pieces (without indentation in the Index of headings and first lines, see below) ‘with an explicit authorship and the SeGrepor 65¢c ascribed to a composer different from the one of the main piece. See Index of composers. "There :s only one case in the second cycle: (3111) Kayxévng, beautified by Xpuo&énc. As we will see, there is only one layer in the second cyele, namely the times of Xpvagdne, so this point docs not give us any further information.17 First Cycle: a. (191) ABaordtng beautified by Kovxov¢éAnc: first layer. b. (291) xadheonropévov by Xpvaddnc: third layer. ©, (36r) Hahax6v beautified by Kovxovléins: first layer. 4d. (64v) KovxovléAng beautified by ‘ApyvpéxovAoc: second layer. e. (83r) KAov Bac beautified by KovxovléAn¢: first layer. £ (203r) Hevtnxoatépiy ped.oBév” by KovxonléAng: first layer. 8. (240v) beautified by KovrovléAnc: first layer. h, (256r) Mavovypaxe beautified by Kop vnc: first layer. Third Cycle: i, (397) Hadarév beautified by KovxovléAng: first layer. j. 4061) "Adpupradtn beautified by PAvxts, Kopdvng and KovxovCéAng: first layer. k. (420r) Mav ovy pac” beautified by Kovzoner pic: first layer. L (430r) AaAaconvéc beantified by Kovtonetpijc: first layer. m. (437v) Ha haréy beautified by Mépxoc tig Koptv@ov: third layer. Tt seems that the term maAax6v (see heading of the first cycle, fol. 2r) covers both the works of known composers and anonymous pieces. In addition, there is a third group of pieces called wadaré, but are not ‘beautified'. These appear only in the first and third cycles: 194v"*, 395y'* and 429r'6, Finally, the second cycle consists mainly of works by Mavovi\a Xpvoddne (cf. Index of headings and first lines, 280r)"”. The heading of this cycle does not reflect the fact that there are few works ascribed to other composers, namely, Nixé aoc Kapnévnc (3111)!", Mapxog BitporoAttyg tic KoptvOow (353v), Iadvung Kiadé&c (3341) and Ppnydproc Mnosvng ‘Advarng (335r and 3611). Even ifthe rubric says nothing about “beautification”, the kalophonic style ofthis piece does not difer from thet of the ‘other "beatified" piones. in the margin ofthe same folio, 420r, the adjective na.Aa16v characterizes this piece. “The incipit of this sticheron until Pa- (of the word Taf pa ) is the same in, for example, MS Ambrosiamus ssup.139 (gy.44), MMB XI Pars Principalis. Copenbagen 1992, 123v. Then it changes slightly, but keeps the syllabic style, The real difference is the word oviuepov, tat hs long mons i Si 1251. After that comes the rubric xa LAigwvte, which indicates the eal beginning of "This isa rea aloponi stichee, wih 0 resemblmce of syle counter ik inthe precoding cas) “The tet for this sticheron does not occur in the indices of Henrica Follieri, Eoolesiae Graocae. Vatican City, 1960-66. It seems that this sticheron was not part of the old standard repertoire of the Sticherarion. Besides, itis kkalophonic from the very beginning. The designation ‘ra Aa 6v' seems to be added by a later hand, For his exact dates, of Index of composers. "See note 1118 I. INDEX OF COMPOSERS Note: For the dating of the composers mentioned in the MS, I have made use of the works by Stathes” (S), Jakovljevic” (J) and Trapp” (I). Folio references of the pieces belonging to each composer are included in parentheses. 1. "ABaordens, @€680p0¢ (191): Belongs to the first generation of kalophonic composers in the second half of the 13th century (S)* 2. ‘Adwvprdtng, Aéwv (1091, 136v, 406r): Second half of the 13th century (S)*. 3. "Avanapdic (‘Avananapd ac) (122v): 14th century or before (T). 4, "Avé pévixoc (1451): He is mentioned by Trapp” and Thibaut”*, but none of them gives a date for this composer. He seems to belong to the first generation of kalophonic composers from the second half of the 13th century. He might be identified with the "Av pévexog mentioned in the Asma repertoire of Ty. VIL, 951: Kp &tnpa “AvSpovixov and xopoo™ 5. ‘Avedrng (54v): It seems more likely to refer to Mizar ‘Avedtng, 13th century, SopéorrKos and Aapradé&proc (T)”. 6. "Apyitng, Anurizptos (184v): 15th century or before (7). 7. “Apyopénovdog (‘Apyvp 6c), Mavovrj A (64v and 173v): ca.1400-25 (S). He had the title of Matotwp, (cf. MS Athos, Xer. 291, 651), came from Rhodes (cf. MS Athos, Iberon 975, 1011) and was a disciple of "Iodvvng Adoxapng of Crete (cf. MS Athens 2604, 268v)”. "Tpnyépr0c ©. BréOn¢, Oi avaypayperiopod val T& yaOhwere tHi¢ BuCaveiviig pehoxoriac. “Ib pune BoCavriviig MovorxoAoy fac 3. Edd, Atovooros KoCévng and Fenyépioc @. Zt46nc, Athens 1979, 76 and 125-30. ®" Avé pag Jakovijevic, AryAGoon xadaroypadia Kai pehObor-iuvoypapor 100 Kodixa tov “ABIVOY 928. Kévepo wedetav iepag yoviic Kéxov. “Epevvnrixd xévrpo xvEpiaxiic woveotnprohoyiac Kai iotopiac. Leucosia 1988. ™Prosopographisches Lexicon der Palaiologenzeit. Ed. Trapp. Wien 1976.94. "Before KoveouCéing (see 191) Before Furic, KopGvn¢ and KouxovgéAns (see 4061). See Prosopographisches.. 1, 90. Jean-Baptiste Thibaut, Monuments dela Notation Ekphonétique et Hagiopolite. Saint Petersbourg 1913, 123. *Bartolomeo Di Salvo, Gli Asmata nella musica bizantina, Bolletino della Badia Greca di Grottaferratz XIV (2nd volume). Grottaferrata (Rome) 1960, 165. Trapp also mentions to 8e55.wpoc "AveGtn¢, before 1430. Prosopographisches..1, 92. Jakovijevie, onthe other hand, gives for Mrzafi2 the date ca.1250-ca.132030 a.D. He was contemporary with Phoxic and KovrouGéinc, who “éuehonoinoe" his ofxog "“Ayyehoc xputaotérns”. See AtyAGoon... 44 It is sure that he had the title of Bousorixoc, according to the following rubric: ""Exowi@noay Hey xapé tod Soueotikov Exefvov xupot MizaiA ‘Avedrou". See Tony 6piog O.ErG0n¢, 'H bexanevtacshraBoc duvoypadia ev tH Bucavtivy peXoxorig. “ISprue BuCaveiviic Movorxohoytac, 1. Edd. A.KoCévnc and 'p.0.Era0n¢. Athens 1977, 100, note 6, afer KovxouGéAng (see 64%). See Jakovljevie, ALyAGoon..., 4519 8, BupSoAopaios povaxs (Sv): Sopéatixos Aadpac, second half of the 13th cent. (S). 9, Baordixés (21): 15th century (T) 10. Pepéorpoc povaxé¢ (2601): 14th-15th centuries. The problem of identification is not solved. He could be either Tep&oipog Hadapare™ or Pep&oipog Xadnedx ovdoc (1). 11. Teppavds povayss (6v and 17v): Second half of the 13th century (S). 12, PAvxés, 'pnydpro¢ (124v): Second half of the 13th century (S). 13. PAvxés, ‘loevvns (4v, 25v, 29v, 314, 351, 44v, 57v, 59r, 60r, 66v, 74v, 88v, Dv, 92r, 93r, 94r, 95v, 142r, 150r, 152v, 160r, 169r, 174r, 180v, 203v, 213v, 2351, 2391, 243v, 247v, 250r, 383r, 389v, 396v, 400r, 401v, 406r, 415v and 4271): First half of the 14th century (S)" 14. P'pn-y6p10¢ (390v); It is uncertain to which composer this ascription refers. Jakovijevic® suggests that he could be Tpnyép10¢ Mapiavéc, also referred to in fols. 11v and 192v of Athens 2622. He could also be identified with Tpny 5 proc dopéatixoc (Athens 2456, 70r), from the 14th century. Finally, we must take icpopévaxoc I'pnyépioc Mrotvng “Advatng and Ppny pros iepopovaxoc and Sopéatixos tov “Ayiov ‘AnootéAwv (who is the same person according to Xat{ny.aKovpt¢™) into account. 15. Aakavonvéc, Oc68ap0¢ (or @akaconvsc) (26r and 430r): First half of the 14th century or before™. 16. Aoxeravdc, Anuitprog (4081): First half of the 14th century (S)* 17. Edyevixdg (28v and 4274): He could be Tes pytog Ebyevinds (ca 1400) (1) 18, "HOixd¢, Nixnh6po¢ (23r, 23v, 24r, 24v, 25r, 32v, 39v, 42r, 70r, 7Ov, 83v, 1554, 176r, 232r, 2381 242v, 251r, 254r, 267v, 275v and 393v): second half of the 13th century-beginning of the 14th (S)”. 19. @c650vA0g pova76c (I54r and 412r): This composer has been identified by Jakovijevic™ as @c65ovd0g povaxss and Sougotixog TAG Mey&Ang BaowAintig Moviig (rod ‘Ayiov Tewpytov) tov Mayyévev in Constantinople. Probably his floruit was in the first half of the 15th century (J). Trapp places this composer around 1430 or before. Prosopographisches.9, 108, >'See Jakovljevic, Ary A@aon... 66-68. See Jakovljevic, Ary AG009... 49-50. SMavéAng Xer(nytaxovuiic, Movoweé Xeipsy pada Tov proxpariac (1453-1832)A\ Athens 1975, 112. Trapp places him inthe 15th century or before (of Prosoporaphisches..4, 2). Here, we can, however, place him before Kovroxerprig (See 4301). Jakovjevic, AryAGon,.. 50-51. “The other Ebyevix6s, ic. Méproc, has been identified with Mé prog éx tév SevBoxoéAuv: see number 35. See Jakovijevie, AtyA@oon... 9495. "See Jakovijevic, AtyAGaay,_, 56-57.20 20, OnBaiog, MavovsiA (1201): Second half of the 14th century (J). He was Laoovvartng stg MeyéAnc “ExxAnotag (Athens 2062, 210v)”. 21. ‘Iwéoad, untponodseng "Eéoou (2261). He is only the author of the text™. He was metropolite of Ephesus from about 1433-1437 (T).. 22. KéAAvat 0G, NixéAaoc (67y, 691, 137v and 409v): Second half of the 13th century (S). 23. Kaynévng, NixéAaog (50v and 3111): Second half of the 13th century (S)*. 24. KapBovvapiérng (121v and 384r): Second half of the 13th century (S). 25. Kaabdatc, ‘lwévuns (21r, 32r, 76r, 781, 161r, 1821, 1844, 197v, 226r, 3341, 399v, 404r, 412v, 413v, 4151, 425v, 434r, 434v and 435v): ca.1400-25 (S)". 26. KhovBac, NixéAaos (or KioBitc, Kaafitc, Kawpag and Kawoas) (831): Bopéorixos, 14th century (T)*. 27. Kovtonetp tic, Pedpytog (407r, 420r and 430r): First half of the 14th century (S)*. 28. Kopavng, Eévoc (33y, 42v, 45v, 47v, 48r, 49, Sv, 53r, 97v, 1154, 148r, 1514, 1574, 170r, 206r, 234r, 244v, 256r, 380r, 385v, 387v, 395t, 406r, 416r, 417v, 4211, 423v, 424v, 432r and 4331): First half of the 14th century (S)**. 29. KovkovféAng, ‘loevwng (3r, 7v, 9v, 10v, Ilr, 12r, 15r, 16r, 20r, 274, 281, 36r, 36v, 37, 39r, 53v, 54r, S6v, 57r, Oly, 63v, 64v, 65v, 7lv, 73v, 75v, 83r, 86r, 88r, 90v, 97r, 99r, 10Ir, 102v, 108v, 1111, 116v, 117r, 117, 120v, 124r, 1265, 130v, 132v, 1411, 144v, 147r, 149r, 150v, 156r, 158r, 159r, 164r, 165r, 166v, 167v, 168v, 178r, 180r, 181v, 185v, 1874, 195r, 200r, 202r, 2031, 209v, 210v, 211v, 214v, 218v, 220v, 223v, 225r, 228r, 229r, 229v, 23 1r, 233r, 2361, 237V, 2AOr, 240v, 252r, 253v, 2591, 261r, 262v, 264v, 266v, 271r, 273r, 381r, 385r, 386v, 388r, 389r, 393r, 397r, 397v, 405v, 406r, 407v, 409r, 411r and 431): First half of the 14th century (S)** 30. Adoxapng, ‘Iwavvng (118v, 382r, 416v and 436v): ca. 1400-25 (S)”. 31. Aéwv 6 Zodéc (57v): He is Leo VI, emperor from July 886 until his death in May 912% He is only the author of the text”. See Jakovljevic, Aty2G00n... 57-58. “In this case, the expression used to int atthe text of the piece is "Tt pew y pampeva" “Before Xpvaddns (see 3111). ‘See Jakevijevic, AryAGoan,... 70-71 “Before KovxouC# Ans or, at least, contemporary (see 831). “Sec Jakovljevic, AvyAGoon.., 48-49 “See Jakovijevic, AryAGoan,., 79-81 “See Jakovijevic, AryAGoan.., 72-76 "See Jakovijevic, AryA@aon,... 76-79. “The Oxford Dictionary of Byzantium, 2. New York-Oxford 1991, 1210. “The expression used to hint at the text of the piece is "Ho tmp", a term which normally refers to both text and music of a piece.21 32, Afuvng, Nix6A.c0¢ (1881). The identification of this composer is uncertain, He could be any of the following: Nixéhaog KAovBac, Nixédaog péyac oixévouoc tH Meyéans *ExxAnotag (15th century or before), NixdAaoc patotep (15th century or before) and NixéAaoc mpwropadtne Chios (before 1453) (1). 33. Mayoudatc, Kovoravtivos (77v): Second half of the 13th century (S) or 14th century (D. We also know that he had the title of 50néottxoc tig T6Aews tov OnBav (Athens 2401, 1061)”. 34, Mavovypitg, O€65 wpog (14r, 106v, 256r, 420r and 422v): Second half of the 13th century o". 35. Mépxoc untponodirng Kopiv6ou éx tov ZavBonosiov (353v, 437v and 4394): T think this is the same composer as Mépxog &pxtepedc (258r and 428v). The identification seems very likely by means of the heading ..nap& tod &pxrepég Kupod Mépxou tig Koptv6ov....( 437v), Jakovijevic, on the other hand, gives us two more denominations for this composer: iepopdvazog Mépxog (Athens 2604, 253v) and Mé.pxoc Evyevixés (Mss. ‘Metamorph. 192 and Athens 893, 260v). Second half of the 14th century - frst half of the 15th century (J)*. 36. Mno6vng ‘Advérns, Ppny prog (335r and 3611): ca. 1453 (S). 37, Marl&Snc, Mizar (190r, 263r, 269r and 4011): ca. 1439-40 or before (T). 38, Hepionuog, ‘lodvvng (2241): ca. 1430 or before (T). 39. Lyovpéxovdog, Pedpyrog (194r and 2191): ca. 1453 (S). 40. Ziynpdc, "Avd péac (441°, 153r, 162r and 1631); Jaklovijevic places him between ca. 1280 and 1350* 41. Lovpréc, "Iwavvne¢ (207v): I have not found any information about this composer. 42, Beaxiténg (or B4xve) (12r and 253v): Hei the author of the text’ First half of the 14th century (S)*. "See Jakovijevio, AvyAGoan... S485. "Before Ko povng and Kovroxer pric (see 256r and 420%). "See Jakovijevio, AtyAGo0n.., 90-91. On this folio, the rubric only says "Toinua xvpod ‘Avb pé ov" *Jakovljovie identifies the composer “Avd péac with “Avépéac Erynpéc, Souéorixes tic Meyéing “ExxAnoiag and xpotowaarns. See AtyAGoon... 43-44 Maybe "Toévvng By ovpris (2), 13th century (1). In the case ofthis poet, two different expressions are used to hint at the text of the sticheron: "Oi pv oxéz01" (12r) and "Oi pv 1601" (253v). These two cases and the other two mentioned above (ef. 57v and 226r) are the only four ‘occasions in which the manusoript distinguishes between the author of the text and the composer. In all four cases, the ‘expression used for the musi isthe same: "TS 5& wéLoc". STpnyépr0¢ @.Et46n¢, 'H dexaxcvraobAAeBoc Spvoypadic... 92.