Τοις εν σκότει by Simon Karas

[basil]

I have uploaded the idiomelon of the Second Sunday of Lent Τοις εν σκότει composed by Simon Karas and typeset by John Michael Boyer in bilinear format alongside a Western notation transcription.

I noticed that in the line Ανάστα ο Θεός, Karas employs a lengthy diatonic cadence on Ke. The cadence is somewhat similar (although not identical) to the 0100 formula on page 453 of Papa Ephraim's collection of Byzantine music formulae. In particular, Karas' line rests on dhi for two beats, does not employ any syllable repetition, and is used with a 010001 syllabic pattern rather than a 0100 pattern.

I find this line rather creative, but I would like to ask if it is within the formulaic rules to have such a lengthy diatonic cadence on ke in Plagal Second Mode. I was only able to find two instances of diatonic cadences on ke in Plagal Second Mode in Papa Ephraim's collection of formulae: the first two 010 formulae on page 575 and the 100010X formula on page 582. If diatonic cadences on ke are allowed in Plagal Second Mode, what is the appropriate context for their use?

I would also appreciate if other people could share any other recent compositions by Simon Karas.

 

[herron.samuel]

If I may give my personal thoughts on it:

1) As I am sure you know and Papa Ephraim has readily admitted several times, his compilations of formula are hardly comprehensive. His choices for the places to pull his formula from were wise choices, but provide the most basic range of formula. I would say they would represent the "ground floor" for formula in Byzantine Music. I personally have found several creative and beautiful formulae in different books that contain Idiomela that one would never find in Mousiki Kypsele and the Anastasimatarion, or the Doxastarion of Petros Lampadarios for that matter. But as Papa Ephraim is one man, it would take forever to find every valuable formula from the wide range of classical anthologies in Byzantine Music. Perhaps one day we will get there, or with the advent of technology it will speed up the process of searching.

2) I assume the significance of the phrase Ανάστα ο Θεός is not lost on you, and to me would hint at the answer. Phrases with prolonged diatonic cadences on Ke, in my limited experience, deal with "Arising" and "rising", etc., etc. I do not have proof at hand (as I am at work and have no reference materials), but I recall noticing this in a few places. When I get home I will try to find some other firm examples for you.

Now whether it is limited to phrases dealing with some form of Resurrection and Arising, I do not know. Nor do I know how often it is used with terms of Resurrection and Arising, for if it was used every time that would get a bit monotonous and formulaic. If I have learned one thing from studying Papa Ephraim's method and work over the past 3 years it is that nothing in Byzantine Music is done exactly the same way every single time.

Basil, as you are much more learned in these matters then myself, I imagine you knew all of what I just said. This is my own limited opinion on the matter, I hope it helps in some little way.