functions and images in greek art music utilizing...

Functions and images in Greek art music utilizing Byzantine choi

Kostas Chardas Department of Music Studies, Aristotle University of Thessaloniki, Greece

[email protected]

Maria Alexandru Department of Music Studies, Aristotle University of Thessaloniki, Greece

[email protected]

Proceedings of the fourth Conference on Interdisciplinary Musicology (CIM08) Thessaloniki, Greece, 3-6 July 2008, http://web.auth.gr/cim08/

Background in Music Analysis. In the theoretical / analytical approaches to the large-scale formal articulation of Western tonal music two premises are salient for the understanding of the notion of telos: the leading note motion and the structural fifth harmonic motions. The difficulty in perceiving under these tonal terms music which utilizes materials other than the major and minor scales have been discussed in theoretical and analytical accounts of such music (e.g. Schulenberg 1985-86, 2003 and McNamee 1985).

Background in Byzantine Musicology. The formal articulation and thus the musical structure of the vocal, monophonic or heterophonic Byzantine chant is mainly determined by the following factors: a. the poetical text, b. the mode (chos), c. the genre and category of the piece together with its liturgical function and d. the style. All these elements form the generic frame in which the composer, the singer and the listener creates, performs and perceives this kind of music. More specifically, with regard to chos, far from being only a scale it emerges in the newer theory of Greek music (19th-20th cent.) as a highly refined concept, embracing: 1. scales and scale systems, 2. hierarchical classification of tones: a. main tones b. attractions, i.e. microtonal ascendent or descendent movements of the secondary tones of the mode towards the main ones, 3. intonation formulas, which introduce singers and congregation into the idea of the respective mode, 4. characteristic melodic formulas, especially cadential figures.

Aims. The present paper aims to interpret how the Byzantine choi operate in conjunction, or in juxtaposition, with tonal elements within the large-scale unfolding of the form both within harmonised settings of Byzantine chant and instrumental music utilizing Byzantine choi as scale material. The discussion starts with the reference to the composers own writings (e.g. 1901, 1935) or sketches (of Yannis A. Papaioannou) which demonstrate their basic ideas on the problem of giving a polyphonic setting in the Byzantine monophonic / heterophonic material. However, the focus of the discussion is on the functional elements related with the notion of formal articulation in both cultures. In this repertoire these elements are heard within a different context to which they are generically associated, becoming aural images which, however, do play a decisive role in the listeners understanding of formal articulation. The music of Papaioannou (1910-1989) of the years 1944-1948 is an adequate repertoire for this discussion since it represents different stages of the use of the Byzantine-music material: from the harmonised settings of Byzantine chant to the almost unrecognizable presence of this material in his instrumental music. Although the present research does not include listener tests, it assumes its salient methodological tool by a notion derived from theories of perception, that of the associative structure. As summarized by Nicola Dibben (2003: 196): listeners make associative links between musical elements that are present in any given piece, and at the same time make associations with similar or functionally equivalent elements or gestures in the wider repertoire of music with which they are familiar.

Main contribution. The theoretical writings of both composers Kalomiris (1935) and Lambelet (1901) on the harmonic setting of Greek musical material draw on the notion of the leading note, while both see the plagal cadence as an adequate solution for the harmonic settings of Byzantine hymns. Papaioannous harmonic settings of hymns demonstrate this solution in action. His various sketches which contain harmonic cadences derived from the use of Byzantine choi as scalic material and his instrumental music using the same material shows an adherence to the notion of the leading note, encompassing, however, also the downwards semitonal motion. Indeed, many of the cadences of these pieces are achieved through semitonal upwards or downwards motions towards what emerges as the central tone, motions that are part of the intervallic properties of the used scalic patterns derived from choi. Thus the leading-note motion can be seen to arise contextually and make reference both to the Western cadences and the semitonal / microtonal attraction towards the structural notes in Byzantine music; on the other hand, the plagal cadence as well as the picardy ending act metonymically, carrying with them the image of their function of closure at the endings of Western church music. On a wider scope, the harmonization of Byzantine chant, because of the inescapable reference to tonal functions, adds an extra layer of meaning in the articulation and unfolding of the form. In some cases this meaning enhances functions derived from the Byzantine tradition and in others it provides an alternative way of interpreting the text.

Implications. Through the analytical lenses of Western tonal and Byzantine modal musical cultures, the present paper aims to lay the foundation for a future critical appraisal of the tensions between the images of West and East in what musically constituted the idea of national within the Greek context up to 1950.

The Greek art music utilizing the modes of the Byzantine chant, called choi, forms an interesting repertoire from different angles. Firstly, this repertoire is of historical significance since the choi of the Byzantine chant constituted an important repository of what was considered traditional material for the creation of music which was concerned with the idea of national in Greece the historians of Greek art music have underlined the continuing importance of this idea from the beginning of the 20th century up, at least, to 1950.i More specifically, as discussed by Demetre Yannou, the issue of the harmonisation of Byzantine chant was central in the change of the conception of the idea of national that took place in Greece at the end of the nineteenth century and the beginning of the twentieth: in source-texts of the last thirty years of the nineteenth century the notion of national music was identified with the monophonic folk and church music while in source-texts of the beginning of the twentieth century national music is conceived as a future aspiration that will encompass elements of Greek musical tradition and European music (Yannou 1996: 2-5). Secondly, this repertoire raises crucial questions regarding the theoretical and aural understanding of the articulation of form, because materials generically associated with different traditions are juxtaposed in a new environment. As will be discussed in more detail below, the Byzantine chant is a monophonic / heterophonic and musicopoetic tradition in which the formal articulation depends on the text and resides, mainly, on melodic behaviour. Thus the harmonisation of this music on the basis of triadic harmony poses a priori the question of its dual understanding: against the Byzantine tradition and / or against the harmonic tonal tradition. The present paper discusses this issue in two ways. Firstly, the focus is on the composers own ideas on the harmonisation of Byzantine material, which reflect, mainly, a western way of thinking: in the core of their

discussion lie fundamental functional elements of the tonal tradition. Moreover, in its main body, the present paper aims to interpret how the Byzantine choi operate in conjunction, or in juxtaposition, with tonal elements within the large-scale unfolding of the form both within harmonised settings of Byzantine chant and instrumental music utilizing Byzantine choi as scale material. In this respect, the music of Yannis A. Papaioannou (1910-1989) of the years 1944-1948 is an adequate repertoire since it represents different stages of the use of the Byzantine-music material: from the harmonised settings of Byzantine chant to the almost unrecognizable presence of this material in his instrumental music.ii iii

Greek composers ideas on the harmonisation of Byzantine choi

The following two texts by the composers Manolis Kalomiris and Georgios Lambelet are representative of the Greek composers approach to the traditional material: Lambelets article National Music of 1901 and Kalomiris The Harmonisation of Greek Melody, a chapter in his textbook on harmony of 1935. Lambelet and Kalomiris were strongly associated with the formation and dissemination of the idea of national music in Greece throughout the first half of the twentieth century. They both studied western music abroad. In both texts there is no special discussion of the Byzantine choi, but these are explicitly included within the wider discussion of the harmonisation of modes from Greek tradition. Although the two writers underline that the harmony must derive from the content of the modes,iv they both focus on how a cadence can be provided. More specifically, the notion of the leading note is at the core of the discussion. In fact Kalomiris lists the modes from Greek tradition on the premise of having or not a leading note, or multiple leading notes, the latter meaning the presence of semitonal relationships between the seventh and first degrees but also between other consecutive

CIM08 - Conference on Interdisciplinary Musicology - Proceedings

3

degrees (e.g. in the mode: D, Eb, F#, G, A, Bb, C#, D the motions C#-D and F#-G). In other words, Kalomiris lists the modes on the basis of them being able to function according to tonal harmony in providing hierarchy, and also in delineating the formal structure, since the cadence is the quintessence of the sense of closure in the tonal system. Lambelet also discusses the harmonisation of Greek modes against the presence or not of the leading note ( 1901: 231). Lambelet sees the absence of the leading note as the only obstacle which the composer can skip with allunisono in harmony when he will meet the seventh degree [in the melody] ( 1901: 235). He also proposes: When there is a need to add a leading note in the harmonic setting in cases in which it is not included in the melody, then the harmony can use the leading note according to the European system,without a danger for the melody to be adulterated ( 1901: 238). Especially with regard to the modes lacking the leading note, both Lambelet and Kalomiris suggest the plagal cadence as an adequate solution. Lambelet refers to the use of the plagal cadence as a means of avoiding the leading-note motion and thus reserving the character of the traditional melody ( 1901: 235). Kalomiris also refers in more general terms in the plagal cadence: The plagal cadences in the harmonisation of the Greek melody are very common and they usually sound very well ( 1935: 188).v Although Papaioannou did not record his ideas on this issue in theoretical writings, his numerous sketches also show an adherence to the notion of the leading note in providing cadences in the modal environment of Byzantine choi. Papaioannou belongs to the Greek composers of a later generation, who were at some point attracted by the ideas on national music.vi His many extant notes on the Byzantine chant demonstrate a systematic and diligent approach to the Byzantine material, and an attempt to understand this tradition from within, through the study of theoretical books on Byzantine music. However, as shown in the sketches reproduced in Example 1, the notion of the leading note remains the main agent of the

progression towards the tonic triad and for Papaioannou this notion also encompasses the downwards semitonal movement. In the sketches of Example 1 Papaioannou derives cadential progressions within the scale produced by the wheel, a system in Byzantine music which is based on conjoined identical pentachords. In this case the wheel has been applied to the first pentachord of the Second Plagal Byzantine chos. The cadences are towards the centric triadic pole utilizing the semitonal leading-note relationships inherent in the scale produced. While the motion from a dissonant sonority towards the stability of the triad surely derives from a tonal way of thinking, taking into account Papaioannous knowledge of Byzantine music the expanded notion of the leading note hints at two possible motivations. The first might be a concern to transform and multiply the notion of attraction of the secondary tones of chos by its main notes (as discussed later, in choi some tones are more stable than the other). However, Hugo Riemann might well have also been a possible influence, since Papaioannou studied his treatise on harmony.vii In Riemanns theory of tonal harmony the notion of the leading-note movement includes both the ascending and descending semitonal motions (Riemann 1902: 27).

Example 1. Polychords, cadences and the wheel reproduced from Papaioannous sketches (Papaioannou Archive, File 39)

Functional aspects in formal

articulation in Byzantine chant Byzantine liturgical music issues from the sacred wordviii and constitutes one of the main expressions of Christian orthodox worship. The formal articulation and thus the musical structure of this vocal, monophonic or heterophonic chantix is mainly determined by the following factors: a. the poetical text (meaning, syntactical and metrical structure), b. the mode (chos), c. the genre and category of the piece, together with its


4

liturgical function (e.g. a sticheron, belonging to the sticheraric genre, to be sung during Vespers or Mattins)x and d. the style (e.g. old Byzantine, kalophonic, new embellished Renaissance-style or newer classical).xi All these elements are strongly knitted together. They form the original generic frame in which the composer, the singer and the listener creates, performs and perceives this kind of music.

Here we shall focus on the concept of mode-chos in Byzantine chant, in order to investigate how some of its basic elements change when incorporated into Greek art music.xii The system of eight modes ( or ) represents the structural axis of Greek liturgical hymnography and music, as well as one of the fundamental elements in Byzantine neumatic notation and music theory.xiii

In musical manuscripts and printed editions, the modes are indicated by the so-called martyriai (signatures or keys), both at the beginning of each piece (main signatures) and inside the pieces (medial signatures, at beginnings or ends of musical & poetical units, the kola).xiv Byzantine theoretical treatises list the specific intonation formulas (or )of the modes, display the old solmisation system () in different graphic representations (wheel, tree a.o.),xv refer to the specific acoustic idea or color (,) of the modesxvi and their ethical connotations,xvii and explain the use of modulation-signs, the phthorai.xviii

In the newer theory of Greek music (19th-20th cent.), chos emerges as a highly refined concept, embracing: 1. scales and scale systems, 2. hierarchical classification of tones: a. (main tones, namely the ground tone or finalis of the mode, on which also the isokratema usually rests, and two or three other gravitational points, mostly the fifth and the third or fourth degree of the respective scale. The despozontes are used as structural tones in the melodies, on which cadences and other important movements of the melos, like embellished prolongations and skips, occur), b. (attractions, i.e. microtonal ascendent or descendent movements of the secondary tones of the mode towards the despozontes), 3. intonation formulas, which introduce singers and congregation into the idea of the respective mode (apechemata), 4. characteristic melodic formulas (), especially cadential figures. The modes are explicitly classified into genres (diatonic,

chromatic, enharmonic), the two former being further refined by some theoreticians into soft or hard colorations ( ).xixIt should be stressed, that each chos may have a multiple set of scales, used according to the poetical and musical genre of the piece (heirmologic, sticheraric or papadic).xx

As to the cadences, they fall into four categories: 1. perfect and 2. imperfect, occurring inside the piece, 3. final and 4. definitive, occurring at the end of the piece or of the whole complex of pieces belonging to the same liturgical unity.xxi We could mention the following criteria for the evaluation of cadences: a. the cadential tone, b. the weight of the cadential formula and c. the poetical text (as to its meaning and its structure, which might be also reflected by the interpunctuation-marks)xxii. Furthermore, imperfect cadences can be divided into resting and leading-on cadences, the former staying on the cadential tone, the latter moving through embellishments to the next phrase.xxiii The most frequent, usually perfect or final, cadential formula which occurs in almost all the modes, is the one marked with kylisma in the old notation.xxiv

The repertory of Greek Church music used during the 19th and 20th cent. draws mainly on the works of the new classical composers Petros Peloponnesios (ca. 1735- 1778) and his pupil Petros Byzantios ( 1808), followed, at some distance, by Iakobos Protopsaltes ( 1800)xxv and other composers from the late 17th-19th cent. Petros Peloponnesios is praised by the famous 19th-cent. theoretician Chrysanthos for his simple and well-structured compositions, characterized by a tight relation between text and music and the balanced use of choi, with few modulations only.xxvi In fact, Petros Peloponnesios style, which is grounded on the tradition of Ioannes Trapezountios and other great musicians of the first half of the 18th cent., played a catalytic role for the subsequent development of musical composition. Some of his pieces were selected by Papaioannou and transformed into Greek art music.

During the 20th century, analytical investigations of the Byzantine modes were mainly concentrated on the extraction of characteristic melodic formulas and frames /


5

registers from different repertories of the Old Byzantine chant.xxvii During the last decades, comparative research on Byzantine choi and oriental makamat has been conducted independently by Zannos and Mavrodis. The descriptions of the modes found in theoretical sources, are held against evidence from musical compositions and explored also according to their musical perception. Thus, Mavrodis ( 1999: 89) states that there exist two axes which compose the definition of chos: 1. the modal structure, corresponding to the tones, their order and their functional relations, and 2) the actual melodic habitus ( ) corresponding to the functional value of each tone of the scale in the development of the melody. Zannos (1994: 203) proposes, in his turn, the investigation of the essence of modal melodics both on conceptual and perceptional level.

Issues of analytical approach The difficulty in perceiving under tonal terms music which utilizes materials other than the major and minor scales has been discussed in theoretical and analytical accounts of such music (see, for example, Schulenberg 1985-1986). Interesting approaches to such music having as their point of analytical departure properties of and behaviours related with the used modal material have been undertaken by Costas Tsougras (2003) and Ann McNamee (1985).xxviii However, the formation of a widely accepted structural model of perceiving music utilizing Byzantine choi faces an important problem: in the Byzantine chant the hierarchical behaviour of choi varies even between the use of the same chos in hymns belonging to different genres (heirmologic, sticheraric, papadic). Although the present research does not include listener tests, it assumes its salient methodological tool by a notion derived from theories of perception, that of the associative structure. As summarized by Nicola Dibben (2003: 196): listeners make associative links between musical elements that are present in any given piece, and at the same time make associations with similar or functionally equivalent elements or gestures in the wider repertoire of music with which they are familiar. The focus of the discussion is on the

functional elements associated with the notions of ending and formal articulation in the Byzantine and tonal traditions. The examined harmonisations of Byzantine chant by Papaioannou affords, we believe, such a theoretical approach, having in mind the listener who is familiar with both traditions: the chant has been transcribed by Papaioannou in European notation almost faithfully thus asking to be heard against its monophonic archetype and its structural elements, while the aural understanding against the tonal system is inescapable because of the triadic harmony. Thus in this music the functional elements of both cultures are heard within a different context to which they are generically associated, becoming aural images which, however, do play a decisive role in the listeners understanding of formal articulation . In Papaioannous instrumental music utilizing Byzantine choi as scalic material the reference to the generic melodic environment of the modes is considerably less evident. For this music the short discussion focuses on the emphasis on the notion of the leading note as a means of providing local cadential motions, but also important large-scale support to the overall centric chord. Analyses of Papaioannous music

utilizing Byzantine choi Harmonisations of Byzantine chant The harmonisations of the following three Byzantine chants by Papaioannou will be discussed: Blessed art Though, O Lord, The Voice of the Lord and A Woman Approached. The first is Papaioannous first extant attempt on this issue from 1944. In fact Papaioannou has isolated only the psalm verse and the first troparion from Eulogetaria (see Figure 3). With an addition of an instrumental prelude which hints at the introductory function of the chorale-prelude of the protestant church because of the melodic relationship of this prelude to what follows,xxix Papaioannou makes an autonomous new work. Thus, with regard to the perception of the formal structure as a closed form, this work is not based on the original Byzantine hymn. The last two harmonisations belong to a series of


6

Four Harmonisations that were completed in 1947 and 1948. The following discussion of the harmonised chants will not follow the chronological order of their composition; the harmonisations of 1947 will be discussed first, following the criterion of the proximity of the transcription in European notation with the Byzantine chant. In fact, as shown in the seventh and eighth columns of the tables in Figures 1 and 2, there is an almost faithful transcription as regards the rhythm reflected in the often change of time signature in order to follow the rhythm of the text. Documentary evidence of Papaioannous intention for a faithful and careful transcription is given by the extant manuscripts:xxx a monophonic transcription of the same hymns by Papaioannou possibly acted as an intermediate stage towards the harmonization of the hymns, while a further intermediate stage is shown by the sketch for the harmonisation of A Woman Approached reproduced as No. II2 of the Appendix. Following Riemanns harmonic notation, Papaioannou notes the adequate harmonies by their names, demonstrating that he was thinking of triadic harmonies and not of their traditional tonal function. In opposition, the continuous 24 of the transcription of Blessed art Though, O Lord seems to function as a Procrustean bed regarding the rhythm (see Figure 4). Taking into account the difference of the two cultures regarding the notion of improvisation, in all transcriptions Papaioannou incorporates a possible realisation of melismata, the improvisational melodic embellishments which are an important and interesting part of the Byzantine chant as not only a written but also an oral musical tradition. The Voice of the Lord is based on the Fourth plagal chos of the Byzantine chant transposed on F (see No. I3 of the Appendix). This chos contains the notes of the F major scale or of the Ionian mode on F. Papaioannous harmonisation makes use of these notes, and only in three cases there is a local presence of the same chromatic note (C# or Db). Because of this strong relationship with tonal materials, The Voice of the Lord provides a convenient start for our

analytical discussion. As listed in Figure 1, the poetic and musical structure of The Voice of the Lord is divided in six kola. Each kolon is demarcated by a type of a melodic cadence on the main tones or the finalis of chos. More specifically, in the second minim of bar 2, and the second minim of bar 8 the cadences are on A, one of the two main notes of chos, the other being C in the present transposition. Perfect cadences on the finalis of the mode are heard in the last minims of bars 5 and 11 and at the very end. These cadences incorporate kylisma, the characteristic melodic formula which is associated with the notion of ending (e.g. in bar 5: A-G-F-G-F-F). Another imperfect cadence is heard at the melodic climax of the chant in the first minim of bar 14.

Figure 1. The Voice of the Lord: Comparative analysis of the Byzantine chant with Papaioannous harmonisation


7

The perception of these points as cadential is enhanced by their harmonization with cadential motions of tonality. The first imperfect melodic cadence on A is reached through the Phrygian cadence towards the A minor chord, which in the bass is the final outcome of the stepwise downwards movement from F to A on the notes of F major. The perfect melodic cadences are harmonised by plagal cadences. Very interestingly, the climactic sense which is announced by the melodic leap of the upward major sixth in bars 11 to 12 (the largest melodic leap so far) and the passage to the highest melodic region throughout the hymn is also created harmonically by the used type of chord and cadence. Thus, although the motion in the bass is Bb-F, the final chord of bar 13 is the first occurrence of the tonally most unstable chord of the diminished seventh on the leading note E, taking part in the only cadence utilizing the notion of the leading note. Thus, in this case the climax which underlines the spirit of the fear of God is perceived against both melodic and harmonic means. The harmonisation also makes reference twice to the isokratema / pedal of the Byzantine chant, possibly also as a means of enhancing the meaning and the form of the text. In bars 6-8 the pedal on F highlights the start of the voice of the Lord, while possibly also emphasizing, through tonal stability, the wideness of the call of the Lord (come and take all of you). The reiteration of F in the bass in the fifth kolon (bars 12-13) contrasts the faster harmonic rhythm of the previous kolon which incorporates the directional sense of the cycle of fifths (bar 10), being another musical delineation of the spirit of the fear of God. On a wider scope, the large-scale emphasis on the tonic, even in the imperfect melodic cadences, can be heard as a transformation of the notion of isokratema in tonal terms. While the plagal cadence is an important harmonic cadential motion in The Voice of the Lord, in A Woman Approached the fourth degree gets melodic and harmonic emphasis mainly in the macrostructure. Most of the imperfect cadences are made on A (in kola 1, 2, 4, 7, 8 and 10, see Figure 2), which is the

fourth degree and one of the main tones of the used Second plagal chos on E: E-F-G#-A-B-C-D# (see No. II3 of the Appendix). In fact, the content of this chos as well as the harmonic support of the first melodic cadence on A, which can be heard as a dominant-tonic harmonic motion in A minor, create a general sense of being in A minor and that E arises only later as an important centre. (In this reading the harmony of bars 9 and 10 is heard as d: augmented sixth chord dominant tonic). In fact, because the first 4 bars of what was intended as an instrumental introduction have not been survived, we cannot tell if these bars would function like the intonation formula apechema of the Byzantine chant; in other words, as preparing the finalis of chos to function as such in the chant. In that case, the centricity of E would have been asserted from the outset.

Figure 2. A Woman Approached: comparative analysis of the Byzantine chant with Papaioannous harmonisation

Because, as listed in Figure 2, Papaioannou in his setting follows almost faithfully the content of the used choi, traditional tonal cadential progressions towards the centric E are not possible. Thus,


8

in bars 16-17, the first motion towards a perfect melodic cadence which incorporates the melodic concluding formula kylisma is highlighted by the unstable augmented fifth chord on C in the last minim of bar 16 and the harmonisation of the upper leading note F by the D minor chord. However, what emerges as a contextual cadential formula towards E is the change to unison texture, which emphasizes the kylisma in bars 25, 34 and partly in 37-38. At a local level, the perception of the melodic imperfect cadences on A is enhanced by the plagal harmonic cadences in kola 7 and 10 and the motion of the augmented sixth on Bb towards A in kolon 2. The change of chos in the sixth and seventh kola exemplifies such modulations in the Byzantine chant which delineate the meaning of the text. Here the defiled woman begs the Saviour to raise her from the depths where she is dead. The lowest melodic register in the sixth kolon and the rise to the highest in the seventh reflect this rising motion, which is emphasized by the change of chos. Here Papaioannou also uses in the harmonisation the notes of each chos which is implied by the melodic motion. However, the most interesting aspect of the resulted harmony is, we think, that the sixth kolon is perceived as a differentiated entity within the unfolding of the overall form: the two passing choi essentially give material to the delineation of a new centre, the D major triad, which emerges through a clear-cut perfect cadential motion (V-ii-V-I). This sense of tonal stabilization can be seen as depicting the certainty of death, essentially adding a new layer of meaning to the uncertainty created by the unusual for the Byzantine tradition fast changes of choi in the Byzantine chant. Moreover, the local emphasis on the major subdominant (A major) of the overall E centre, in kola 6 and 7, further delineates these kola in the overall formal structure and possibly acts as a musical depiction of the resurrection from the death. In Blessed art Thou, O Lord, the final harmonised chant to be discussed, the addition of a Prelude seems to compensate for the function of apechema, since it introduces (admittedly on a much larger scale

and making reference, as already mentioned, to the introductory function of the chorale prelude of the protestant church) the used First Plagal chos through both melodic and harmonic means.xxxi The characteristic kylisma melodic formula is heard three times: at the end of the introductory melody by the double basses and the cellos (bars 3-4), and at both endings of the two variants of the melody of the ensuing troparion (second violins, bars 14-15 and first violins, bars 22-23). While the initial ascending perfect fourth A-D of the violins hints at the priority of D in tonal terms, this is further delineated by the pedals on D in bars 4-5, 13-15 and 22-24 and the harmonic cadences iv-I in bars 12-13 and v7-I in bar 22. The Prelude is based on the First plagal chos, the same as the ensuing harmonised psalm verse and troparion (see Figure 3). The distinctiveness of this chos resides in the fact that its sixth degree is either a Bb or a B, depending on the direction of the local melodic motion (see No. III3 of the Appendix). The main notes of chos are G, A and these are the notes where imperfect or perfect melodic cadences are made, as listed in Figure 4. Despite the recurrent melodic ending on A, which might be heard as a perfect melodic cadence in this chos, the harmonisation delineates these cadences by cadential motions towards the centric D minor chord (plagal cadence in the third kolon of the psalm verse and v-I motions in the third and seventh kola of the troparion). The imperfect melodic cadences on G are either assimilated within a wider harmonic motion (as in the cycle of fifths towards F at the end of kolon 2 and the beginning of 3) functioning equivalently to the leading-on type of melodic cadence in the Byzantine chant, or their instability is also understood by what can be heard as local harmonic imperfect cadences in F major in kola 2 and 5. In this chant Papaioannou changes three times the original melody slightly but decisively regarding the perception of the overall formal structure. In the Byzantine troparion, as shown in the analysis included as No. III3 of the Appendix, the climax is heard at the fourth kolon, by the melodic ascent to the highest D. In Papaioannous


9

version the climax has been transferred to the sixth kolon of the troparion, in which the melody has been seriously altered. Being highlighted by the unison, a texture associated with the Byzantine chant, this transfer, however, results to an important large-scale change in the overall harmony, since it implies a short harmonic digression towards the subdominant. With this digression this harmonized version provides a new emphasis on the text.

Figure 3. Comparison of the large-scale form of the Eulogetaria of the Resurrection with Papaioannous Blessed art Though, O Lord

The second instance of a change is also highlighted by a unison texture and also alters the perception of the text. In the Byzantine chant the eighth kolon (and from hell) is depicted, as already mentioned above, by a melodic formula that includes a large melodic leap to the finalis of chos (A-G-A-D), as a musical representation of hell. In Papaioannous harmonised version this characteristic formula has been replaced by a melodic figure that resembles the opening melodic figure of the troparion. Moreover, this melodic figure is heard against the beginning

of a pedal on D, which essentially announces the process of ending, making reference to this large-scale function of the pedal on the tonic in many tonal works, such as in many fugues by Bach.

Figure 4. Blessed art Though, O Lord: comparative analysis of the verse and the first troparion of the Eulogetaria of the Resurrection with Papaioannous harmonisation

In fact the changes made in the last two kola seem to have to do with the notion of closure. The avoidance of the above-mentioned melodic formula seems to derive from its strong associations with definite closure in tonal tradition (G-A-D); moreover, the third instance of a change is technically the most interesting, since it juxtaposes elements functionally associated with the notion of closure in the Byzantine and tonal traditions. More specifically, the F# in kolon 9 is a melodic semitonal attraction towards the local ending on the main note G of chos in the Byzantine tradition. As shown in the


10

transcription of the troparion in European notation in No. III2 of the Appendix, the first troparion ends on an imperfect melodic cadence on G reflecting its place in the large-scale articulation of the Eulogetaria of the Resurrection. As demonstrated in Figure 3, the form of the Eulogetaria concludes with the Alleluia, which only in its third, and last, repeat ends with a definite melodic cadence on the ground tone of chos. In Papaioannous harmonised version, the F# essentially announces the picardy third of the last chord losing its function in the Byzantine tradition, since the melody ends on A, in order for a closed tonal structure to be achieved. In fact, the inconclusiveness of this melodic ending in both Byzantine and tonal traditions is counterbalanced by the strong sense of closure associated with the picardy third especially within the Baroque sacred music.xxxii The Chorale of this Prelude and Chorale is also heard by the orchestral resources of Papaioannous symphonic poem Vassilis Arvanitis. There it is used in order to depict musically a communal scene and particularly the litany of the epitaph.xxxiii While this section is based on the harmonization of the Byzantine hymn of the Prelude and Chorale, the addition of the tympani works in further delineating the role of the subdominant as the main secondary harmonic emphasis beyond the tonic throughout the chorale.xxxiv Instrumental music utilizing Byzantine choi In Papaioannous instrumental music of the years 1944-48 the Byzantine choi function as an abstract repository of material, because everything that has to do with function in the Byzantine chant is affiliated with melodic behaviour and its relationship to the poetic text. Thus, the perception of this material in this music is quite different with that described above in the harmonisation of Byzantine hymns. Even in the opening melody of the First Symphony, which, according to Papaioannou, is on the second chos,xxxv the melodic behaviour is not that of this chos in Byzantine chant.xxxvi The interesting aspect here is that the announcement of the hierarchical superiority

of E, which is important in the understanding of the overall formal structure both of the sonata form design of the first movement and of the whole work, is asserted by the tonal pattern E-B-E in the lowest register (see Example 2). Moreover, the ostinato on the whole content of the used chos giving emphasis on the lowest E might be understood, as George Kokkonis has pointed out, as a transformation of the isokratema in Byzantine chant ( 1999).

Example 2. Yannis A. Papaioannou: the opening of the Symphony No. 1

In general, Papaioannou often uses the content of another chos of the chromatic genre, the 2nd Plagal, as a well of deriving melodic and harmonic material. The property of chos to include both the chromatic notes (C# and Eb) encircling the finalis D, is being exploited in providing harmonic cadences from polychords containing elements of the F# minor and Eb major triads to D-rooted triads. For example, the sketches of the Imaginary Dance for solo piano are replete with notes on this cadence.xxxvii In the work this progression and its variants is repeatedly heard at important points of formal articulation supporting local cadential motions towards a D-rooted harmony.xxxviii In another work for solo piano of the same period, the Spring Fantasy, the same sonority gains a large-scale emphasis by taking part to the only background harmonic motion towards a D-rooted harmony, the overall tonal pole.xxxix The sonority including both the chromatic leading notes towards the centric D is essentially an augmented sixth chord which in tonal music is associated with the preparation of the dominant. However, this generic


11

meaning of this motion changes radically within the context of the Second plagal. While in the Spring Fantasy it functions as a large-scale dominant substitute which can be perceived as such because of the opening consistent use of chos in both melody and harmony, in the Imaginary Dance this motion can be perceived as cadential because it becomes contextually associated with cadential processes trough its repeated appearances in such situations. Both the Imaginary Dance and the Spring Fantasy also exemplify an important change in the overall formal structure in Papaioannous music since his turn towards the Byzantine choi: despite their sectional structure, most sections revitalize the priority of the same centre (D). This turn towards an overall tonal simplicity is discerned in many large-scale works of Papaioannou of this period and possibly reflects his own perception of the Byzantine chant:xl more specifically, in the programme note for the first performance of the Chorale and Prelude Papaioannou refers to the imposing simplicity of the Byzantine chant.xli In the same line of thought, it is interesting to note the predilection of his music of this period for a large-scale harmonic emphasis on the subdominant, which locally is realized through the preponderance of plagal cadences.xlii It is worth noting that these aspects are understood only on the level of deciphering a possible compositional intention. However, these observations might be of value in trying to find common threads within the composers that were attracted by the ideology of creating a national music in Greece and elsewhere. Thus, although much analysis has to be done in the Greek music of this orientation, Papaioannous predilection for the subdominant on the one hand echoes the views of Lambelet and Kalomiris for the use of the subdominant, creating a link between Greek composers of different generations sharing the same ideals, and, on the other, creates a link with the notion of plagalism which is associated, not without skepticism, with the Russian nationalist music.xliii

Epilogue Conclusively, the music of Greek composers utilizing Byzantine choi carry multiple associations with both tonal and Byzantine traditions and the perception of this music depends on the interaction of these associations. Thus, while the leading-note cadential motions can be seen to arise contextually making reference both to the Western cadences and the semitonal / microtonal attraction towards the structural notes in choi, the plagal cadence and the picardy ending act metonymically, carrying with them the image of their function of closure at the endings of Western church music. Moreover, the harmonisation of Byzantine chant because of the inescapable reference to tonal functions adds an extra layer of meaning in the articulation and unfolding of the form. In some cases this meaning enhances a function derived from the Byzantine melodic tradition and in others it provides an alternative way of interpreting the text. The same seems to hold for the harmonic material of the tonal tradition: for example, the cadential motions within the Second plagal chos provide a new way of understanding a familiar motion. Through the approach at music utilizing Byzantine choi the present paper aims to lay the foundation for a future critical appraisal of the tensions between the images of West and East in what musically constituted the idea of national within the Greek context up to 1950. However, there is an important aspect that one cannot underestimate in problematizing the reading proposed above. As in all the theoretical approaches in the perception of music, the problematic issue is the existence of the ideal listener who is familiar with both musical cultures. Moreover, since the harmonisations of the hymns are essentially concert music not assimilated in the liturgical cycle of Greek Orthodox Church, there are great differences between the way this music and the original Byzantine chant are experienced, which have not been taken into account in the present paper. Thus an anthropological approach might finally give us different results, although, the interaction of associations with strongly differentiated musical cultures discussed above will be


12

always there to be listened and experienced.xliv

Acknowledgments. We would like to thank Mr. Adamidis and his pupils for the performance of Papaioannous harmonised chants and Dr. Liakos and his pupils for their performance of the Byzantine chants. Moreover, we would like to thank Mrs Irini Papaioannou, the widow of Yannis A. Papaioannou, and Mrs Valentini Tselika, the director of the Historical Archives of the Benaki Museum, for the copies of Papaioannous manuscripts and their general support.

References , (1995). .

. . 16 (Greek newspaper, Sunday 16th April 1995): 22-23.

Alexandru, Maria (1998). Zur Analyse byzantinischer Musik. Eine historische Sichtung des Formelbegriffs. Studia Musicologica Academiae Scientiarum Hungaricae, 39, 155-185.

Alexandru, Maria (2004). Zum Neumenkomplex kylisma, antikenokylisma, lygisma in der byzantinischen Musik. Palaeobyzantine Notations III. Acta of the Congress held at Hernen Castle, The Netherlands, in March 2001. Ed. G. Wolfram. Leuven-Paris-Dudley, MA: A.A. Bredius Foundation Peeters. Eastern Christian Studies, 4, 243-297.

, (2006 a). . . , , . . , 29.09.-1.10. 2006, . d. . Thessaloniki: 317-329.

Alexandru, maria (2006 b). Preliminary Remarks on the Historiography of Byzantine Music and Hymnography. Bolletino della Badia Greca di Grottaferrata, terza serie, vol.3, 13-48.

, (1995). . Thessaloniki: . .

Amargianakis, George (1977). An Analysis of Stichera in the Deuteros Modes. 2 vols. Cahiers de l Institut du Moyen-ge Grec et Latin 22 & 23.

, (1995). . . 16 Greek newspaper, Sunday 16th April 1995): 6-7.

, , ed, (2006). . . . , 15-19 2003. . Athens: . . .

Chardas, Kostas (2006). Yannis A. Papaioannou: The Music for Solo Piano up to 1960. Unpublished PhD dissertation. University of Surrey.

, (1999). (1453-1820). . thens: & .

(1832). . Ed. . . Trieste: . Repr. Athens: .

Conomos, Dimitri (ed.) (1985). The Treatise of Manuel Chrysaphes the Lampadarios: On the Theory of the Art of Chanting and on Certain Erroneous Views That Some Hold About it. MMB, CSRM, vol. 2. Vienna: Verlag der sterreichischen Akademie der Wissenschaften.

Cook, N. (1990). Music, imagination and culture. Oxford: Oxford University Press.

, (1997). . . 2nd ed. .

Dibben, Nicola (2003). Musical Materials, Perception and Listening in The Cultural Study of Music, ed. by Martin Clayton, Trevor Herbert, Richard Middleton. New York and London: Routledge, 193-203.

Dobszay, Lszl. Chant and Analysis. Handout given at the 16th International Congress of the IMS, Study Group Cantus Planus. London 1997.

Doda, Alberto (1995). Coislin Notation. Problems and Working Hypotheses. Palaeobyzantine Notations. A Reconsideration of the Source Material. Eds. J. Raasted & Chr. Troelsgrd. Hernen: A.A. Bredius Foundation, 63-79.

, (1998). . . . . . . . . . Thessaloniki: .

Frolova-Walker, Marina (1997). On Ruslan and Russianness. Cambridge Opera Journal, 9, 1, 21-45.

Hannick, Christian/Wolfram, Gerda (eds.) (1985). Gabriel Hieromonachos. Abhandlung ber den Kirchengesang. MMB, CSRM, vol. 1. Vienna: Verlag der sterreichischen Akademie der Wissenschaften.

Giannelos, Dimitri (1996). La musique byzantine. Le chant ecclsiastique grec, sa notation et sa pratique actuelle. , Montral: L Harmattan.

Jammers, Ewald (1962). Musik in Byzanz, im ppstlichen Rom und im Frankenreich: Der Choral als Musik der Textaussprache. Abhandlungen der Heidelberger Akademie der Wissenschaften, Phil.- hist. Kl. Heidelberg.

, (1935). , . Athens: .

, . . . 2 vols. Athens: .

Kazhdan, Alexander (1991). John of Damascus. ODB: II, 1063-1064.

, (1999), . . . Paper delivered in the Conference Issues of Neohellenic History of Music, Ionian University, Department of Music Studies, Corfu


13

2628 November 1999. Available: http://www.ionio.gr/~Greekmus/anakoinoseis/kokkonis.htm

, (1996). . Thessaloniki.

, (1901). . , 8290, 126131, reproduced in -, (1990). , . Athens: , 217-240.

Makris, Eustathios (1996). Die musikalische Tradition des Anastasimatarion im 16. und 17. Jahrhundert. Dissertation, University of Vienna.

Marshal, L. Robert, Chorale Prelude, in Macy L. (ed.) Grove Music Online. Available: http://www.grovemusic.com

, (1999). . , , . Ed. . . Athens: Fagotto.

McNamee, Ann K. (1985). Bitonality, Mode, and Interval in the Music of Karol Szymanowski. Journal of Music Theory, 29, 1, 6184.

, (2001). . : -.

(1996): . Ed. . 3rd ed. Athens: .

(2002). 2nd ed. Athens: .

Moschos, Kostas / Xanthoudakis, Haris / Deniosos, Anargyros (1999). Yannis A. Papaioannou, Complete Catalogue of Works 2nd ed. Athens: Philippos Nakas The Music House.

, (2004). 10 16 . Dissertation, Ionian University, Corfu.

MMB: Monumenta Musicae Byzantinae, Copenhagen. ODB: Oxford Dictionary of Byzantium (1991). Eds. A.

Kazhdan/A.-M. Talbot/A. Cutler/T.E. Gregory/N. evenko. 3 vols. New York-Oxford: Oxford University Press.

, .. (2003). . 7th ed. Athens: " ".

, (1890). . Athens: & .

Papathanassiou, Ioannis (1994). Il Quarto Modo Autentico nella Tradizione Medievale Irmologica. 3 vols (1, 2a & 2b). Dissertation, University of Copenhagen.

Papathanasiou, Ioannis (1996). An Aridged nalysis of Heirmologion and Sticherarion Melodies of the Fourth Authentic Mode. Report at the 19th International Congress of Byzantine Studies, Copenhagen, August 1996. Available: www.igl.ku.dk/MMB/papers/papathan.html

, .. (1999). . - . ; .

6. Athens: .

, (1820). . Ed. . Bucharest. Repr. .

, & (1914). . 10th ed. Constantinople: .

Perria, Lidia/Raasted, Jrgen, eds. (1992). Sticherarium Ambrosianum. Pars Principalis & Pars Suppletoria. Monumenta Musicae Byzantinae XI. Copenhagen: Munksgaard.

, (1941). . Athens.

Raasted, Jrgen (1966). Intonation Formulas and Modal Signatures in Byzantine Musical Manuscripts. M, Subsidia VII. Copenhagen: Ejnar Munksgaard.

Raasted, Jrgen (1994). A Method of structuralization, demonstrated by three examples. Handout given during a class at Copenhagen University (11.11.1994).

Riemann, Hugo (1902), Manuel de lharmonie, traduit sur la troisime dition allemande. Leipzig: Breitkopf and Hrtel.

, (2006), . Athens: .

Rushton, Julian (2001). Pirce de picardie in Macy L. (ed.), Grove Music Online. Available: http://www.grovemusic.com

Schulenberg, David (19851986). Modes, Prolongations, and Analysis. The Journal of Musicology, 4, 3, 303329.

, (1980). (1735 .-1778). , 4. . . Athens. LP records and booklet.

(1988). (1270 - ' . ). , 6. " ". : . . Athens. LP records and booklet.

, (1992). . , 3. 2nd ed. Athens: . . .

(2006): . 5th ed. Holy Mountain: .

Tardo, Lorenzo (1938). L' antica melurgia bizantina nell' interpretazione della Scuola Monastica di Grottaferrata. Grottaferrrata.

Triodion (1978): The Lenten Triodion. Transl. by Mother Mary and Archimandrite Kallistos Ware. London & Boston: Faber and Faber.

, (2003). 44 . Thessaloniki: University Studio Press.

Wellesz, Egon (1962). A History of Byzantine Music and Hymnography. 2nd ed. Oxford: Clarendon Press.


14

Wolfram, Gerda (1997). Oktoechos. Musik in Geschichte und Gegenwart, 7, colums 613-616.

Yannou, Demetre (1996). The Idea of National Music in Greece at the End of the 19th and the Beginning of the 20th Century: Some Remarks on its Conceptual Consistency. Unpublished paper read at the conference Music and Lifeworld - Otherness and Transgression in the Culture of the 20th Century. In memoriam Lopes-Graia (19061994), Cascais (Portugal), 1417 December 1996. Available: http://www.yannou.gr/

Zannos, Ioannis (1994). Ichos und Makam. Vergleichende Untersuchungen zum Tonsystem der griechisch-orthodoxen Kirchenmusik und der trkischen Kunstmusik. Orpheus-Schriftreihe zu Grundfragen der Musik. Bonn: Orpheus-Verlag GmbH, Verlag fr systematische Musikwissenschaft GmbH.

i For a concise overview of the history of Greek art music in English see Leotsakos 2001. See also 2006 (in Greek).

ii For Papaioannous life and music up to 1960, with emphasis on his works for piano, see Chardas 2006. For the complete list of his works and a concise biographical note see Moschos / Xanthoudakis / Deniosos 1999. All the primary sources related to Papaioannous music and life used in the present paper are kept in Papaioannou Archive of the Historical Archives of Benaki Museum in Athens. iii Not only composers of Greek art music have been influenced by the ecclesiastic chant, but also viceversa, Byzantine liturgical music has been deeply affected by Western homophonic and polyphonic music during the second half of the 19th and the first half of the 20th cent., a phenomenon which arose many polemics. An original way of enriching the Byzantine monophonic chant, by exploiting its traditional performance practice and without disturbing the internal coherence of the eight-mode-system, was promoted by Konstantinos Psachos, with the so-called , i.e. the parallel use of two (or three) isokratemata (pedals), on main tones of the mode: cf. 1941. iv Cf. 1901: 226 and 1935: 178.

v For a detailed identification and discussion of the used modes in Kalomiris music see 2001.

vi Papaioannou used consistently elements of the Greek musical tradition (folk and church) in his music of the years 1944-1948 (see Chardas 2006: 70-81). His ideals of these years are succinctly expressed in the programme note for the first performance of his First Symphony in 1947: The music climate of this Symphony is the Modes of Greek music and particularly the choi of our church (Byzantine) music, which I steadily believe are the resources from which we have to draw in order to create an authentic Greek music (see Papaioannou Archive, Box 2, file Concert Programmes 1941-1950).

vii Papaioannou acquired the French translation of Riemanns treatise on harmony (Riemann 1902) either in

1925 or in 1934 (both dates are inscribed in his own copy kept in Papaioannou Library, which is a part of the Library of the Department of Music Studies of the Ionian University in Corfu, Greece).

viii Cf. Jammers 1962: 11-30, 41, 55-72, 84-92. ix Heterophony is produced when the melodic line is supplied with the so-called isokratema (= pedal) during performance. Amargianakis (1995: 7) compares the isokratema with the golden background used in Byzantine icon-painting.

x Cf. 1992: 37-46. 1999: 179-194. 1999: 10-11, 20-30. 1997. See also the articles on different genres & categories included in (ed.) 2006.

xi Cf. 1998: 107-111. 1992. 1999. Alexandru 2006 b. See also Dobszay 1997.

xii On the different approaches in the use of traditional tunes (ecclesiastic or folk music) in Greek art music, see 1995.

xiii Cf. 1985: 13, 292. The system of eight modes is related genetically to the modal system of Ancient Greek music and theologically, to the Eighth Day, the Second Coming of Our Lord Jesus Christ. The use of eight modes in Christian chant is attested documentary since the 3rd/4th cent. Crucial steps in the further development of the oktaechia are connected to prominent musicians like St. John of Damascus (ca. 675-753/4) and St. John Koukouzeles (ca. 1270- before 1341): cf. A 1985: 82-113 et passim. Kazhdan 1991. 1988. For the medieval eight-mode-system, cf. Raasted 1966. Wolfram 1997. For subsequent developments during the post-Byzantine period, cf. Makris 1996: 54-63. For the systematization of the oktaechia by the Three Teachers (1814) and newer theoreticians, cf. 1832: 217-387. 2003: 47-52, 79-113. 1982: , 223-360, , passim. Giannelos 1996: 58-147. 1999. Some of the most important elements of the eight-modes-system according to the newer theoreticians are going to be summarized in the next paragraphs.

xiv For the role of medial signatures in the formal articulation of Byzantine chant, and the tendency to distribute heavy and light cadences according to the metrics of the poetical text, i.e. with punctuating melismata at the mid-verse stops and either full cadences or leading-on cadences at the verse ends, cf. Raasted 1966: 60-66. The same scholar (Raasted 1994) suggested the division of stichera into kola, joined to verses and to periods: cf. the figures of the present paper and a summary for this type of structural and metrical analysis in Alexandru 2006 a: 320.

xv See e.g. Tardo 1938: 156-158, 176-178, 257-259. xvi Cf. Gabriel Hieromonachos (eds. Hannick/Wolfram 1985): lines 429-431.

xvii Cf. 1985: 47-48 and 119-121.


15

xviii Cf. Conomos 1985: lines 216-538.

xix Cf. 1982: , 237. 1999: 24, 29-35, 58.

xx Karas describes 51 scales in his treatise ( 1982: I & II), which represent the eight modes with their multiple, older and newer branches ()or variants: cf. the overview in Zannos 1994: 192-194.

xxi Cf. 2003: 80, . As a thumb rule, although with enough exceptions, the finalis and, more seldom, the fifth degree of a mode are chosen for perfect cadences. The fifth degree or other main tones of the mode (more seldom including also the finalis), are used for the imperfect ones. Final cadences usually occur on the ground tone of the mode. In the case of triphonic or tetraphonic variants of a mode, the definitive cadence returns to the ground tone of the mode (this occurs in the Byzantine Anastasima eulogetaria, at the end of the third Allelouia).

xxii Thus, imperfect cadences stand often at places where the text has a comma, and perfect ones reflect the caesurae marked by semikola or dots: cf. 1832: 414. Zannos 1994: 191.

xxiii This distinction doesnt occur in treatises about the New Method, but rests on analytical research on the old Byzantine repertory: cf. Raasted 1966: 60-61 and Amargianakis 1977: I, 12-13.

xxiv The occurrence of this formula is mentioned in the figures below and in the transcriptions and analyses included in the Appendix. Cf. also Alexandru 2004: 285, ex. 5 et passim.

xxv Cf. 1980. 1999: 76-84.

xxvi Cf. 1832: 415. According to the same theoretician, a composer should avoid the frequent use of phthora. Instead, he could exploit the melodic and structural potential which is inherent in the main mode of a given piece (cf. also Zannos 1994: 242). Modulation, if used economically, is one of the most important means by which the composer can depict the sense of the text. Skips can also be used in order to illustrate the content of the poetical words, e.g. in the Anastasima eulogetaria, the notions of death and redemption are rendered with an abrupt leap of a falling and rising fifth on the finalis and the fifth degree of the mode: cf. in the transcription and analysis in No. III2 of the Appendix, kolon 8. (The same falling and rising 5th leap is connected with the word hades [underworld] and anastasis [resurrection] in the Anastasimatarion of & 1914: 143, and further similar places p. 115 & 268. See also the mimetic musical rendition of the words [de profundis]&in the sticheron (cf. the transcription and analysis in No. I2 of the Appendix, kola 6-7). For musical rhetorics in Byzantine chant, cf. 1832: 421 (about [= musical imitation of the textual meaning]), and 2003: 159-165, especially p. 332-333, 336-337. About the composition according to the sense of the text [

] speaks also 1890: 315-316, in connection with Iakobos Protopsaltes.

xxvii Cf. e.g. Wellesz 1962: 325-348. Amargianakis 1977. Doda 1995. Papathanassiou 1994 & 1996. 2004.

xxviii Tsougras, in his adaptation of the Generative Theory of Tonal Music in the modal idiom of the 44 Greek Miniatures for piano by Yannis Constantinidis, makes decisions on pitch hierarchy taking into account the pitch stability criteria of the modes in their use within the Greek folk tradition. In analyzing Karol Szymanowskis piano Mazurkas Op. 50, McNamee develops a theoretical model based on the intervallic properties of the traditional Polish Podhalean mode.

xxix Cf. Marshall 2001.

xxx Cf. Papaioannou Archive, File No. 11.

xxxi This chos is transcribed in European notation in No. III3 of the Appendix.

xxxii Cf. Rushton 2001.

xxxiii Vassilis Arvanitis is the work that signals Papaioannous turn towards elements of the Greek musical tradition after the end of World War II. It is a symphonic legend in eleven pictures, based on the novel of the same title by Stratis Myrivilis.

xxxiv However, what counts more for the organic presence of this Chorale within the unfolding of the overall form of Vassilis Arvanitis is that the troparion shares the same opening motive with the theme that Papaioannou regarded as the generative theme of the whole oeuvre (see his own thematic analysis in Papaioannou Archive, file No. 8). For the notion of organicism in Papaioannous music see Chardas 2006.

xxxv See the programme note for the first performance in 1947 in Papaioannou Archive, Box 2, file Concert Programmes 1941-1950.

xxxvi For example, see the uncharacteristic leap D#-G in the melodic ending of the second phrase one bar before rehearsal No. 1.

xxxvii The manuscript of the Imaginary Dance gives information on aspects of the compositional process as it includes Papaioannous notes presumably made parallel to the writing of the piece since many pages contain both a section of the piece and various notes (see Papaioannou Archive, File 11). Many notes concern Papaioannous experimentation with the cadences towards a D major triad involving the sonority that combines elements from Eb major and F# minor triads (Eb-F#-Bb-A-C#): in the page entitled cover the sonority is described as in D; page V contains a list of various textural dispositions of the cadence, while on page X the progression is shown to be derived from the Second plagal Byzantine mode.

xxxviii This harmony is heard at the very opening (b. 1iii) and gains more textural emphasis in bb. 3iii4, but in the introduction it is not immediately succeeded by a D-rooted harmony as in bb. 32/r.h., 8586, 93ii, 111i, 141


16

142 and 210ii. However, the potential semitonal voice leading of these successions is in most cases concealed by register transfers.

xxxix While the first three sections of the work centre on a D-rooted harmony, the fourth section gives emphasis to the harmony including members of F# minor and Eb major chords, functioning as a large-scale upbeat for the repeat of the opening as a final fifth section (see Chardas 2006: 81-90).

xl For example, seven out of eleven pictures of Vassilis Arvanitis centre on D-rooted triads.

xli See the programme note for the first performance of the work in 1955 in Papaioannou Archive, Box 3, file Concert Programmes 1951-1960.

xlii Although much detailed analysis of Vassilis Arvanitis, Symphony No. 1 and the Sonata for violin and piano, Papaioannous large-scale works of the years 1944-47, remains to be made, in all of them foreground plagal cadences are among the recurring cadential progressions, while background moves to a subdominant-based modal collection predominate: in the first movement of the Sonata and the first picture of Vassilis, both in sonata form, the modal areas of the second theme centre on the subdominant; in the First Symphony, the Scherzo and the Trio are fourth-related; in Vassilis the only pictures in which D is not emphasized as the pole of tonal attraction (II and VI) are centred on G (D: IV), while pictures IX and XI start by emphasizing G and finally consolidate D-based modal areas.

xliii As discussed in detail by Marina Frolova-Walker, the notion of plagalism was, and in some cases is still linked with the idea of Russianness from the time of the critical reception of Glinkas Ruslan (Cf. Frolova-Walker 1997). xliv A key to Figs. 1-4 Abbreviations: Aug.: augmented chord Byz.: Byzantine cf.: confer (see and compare) cl.: climax fin.: final cadence harm.: harmonic imp.: imperfect cadence kyl.: kylisma mel.: melodic nr.: number Pap.: Yannis Papaioannou perf.: perfect cadence syll.: syllables tr.: transposed unis.: unison Indication of the Byzantine, melodic cadences: 1. In the 5th column: together with the text, there is also the indication of signatures and phthorai, as occurring in Peloponnesios compositions 2. In the 11th column, the cadential notes of the Byzantine tune are indicated as follows: i. Name according to the solmisation system of the New Method/ ii. Alphabetical transnotation of the relative pitch. Capitals are used for notes of the lower register, minuscules for the higher register: ,G A B C D E F G a b c d e f g a

, , . Cf. Raasted 1966: 7, 11, note 18a. iii. (If Papaioannou transposed the original Byzantine tune, the new pitch is indicated in brackets). iv. An arrow indicates leading-on cadences, e.g. -> points to G as the main cadential tone and F as the tone were the interpunctuating melisma ends. V. In cases of modulations involving transpositions already inside the Byzantine melody, where the singers apply the so-called pseudoparallage (= false solmisation), the cadential tone is given both with its real name and its pseudonym (see Fig. 2, kolon 6). Note: For the indication of the corresponding harmonic cadences in Papaioannous settings, the degree of the final chord is indicated, using capitals for Major and minuscules for minor chords.

functions and images in greek art music utilizing...

Documents