Πώς μπορούμε να δούμε τα χειρόγραφα; Υπάρχει κάποιο link; Μπήκα στο site της βιβλιοθήκης αλλά δεν μπορώ να τα βρω.
Your expectation was caused by anonymous moving actions which are beyond me. This post was intended by myself for:
https://analogion.com/forum/index.php?forums/Μουσικά-Χειρόγραφα.70/
Thank you, Maximos, for restoring my former answer, because I already expected this question.
Of course, there is an official portal with reproductions, but from my experience it is unlikely they will publish any of the Greek music manuscripts during the next years (whatever might be the period or provenance of the manuscript):
https://digital.staatsbibliothek-berlin.de
I proposed to make a catalogue for Greek music manuscripts of all collections. They were not interested at all (for the simple and dull reason that basics of Greek music palaeography are currently not taught at German universities after the emeritation of Constantin Floros at Hamburg unless they invite me or any other of my colleagues familiar with the issue). I assure you that this lack of such a fundamental knowledge was not known from earlier generations of German musicologists from Hugo Riemann to Iannis Zannos' return to Greece.
But I can tell you, how this collection was found. About 2000 a friend of mine, Thealinde Reich, a Romanian German who sang in my ensemble and learnt many notations, told me about her training at the library, and since the former director of the music department was a good friend (he taught at my institute and I did guide students of this Institute, because you need a lot to know to search the music collection of the Staatsbibliothek) we made an appointment together. She said she looked into a box sent by the Orient department which was already there for some years and the music department wanted to send them back, but Thea explained, why they were sent to them.
There were manuscripts as well as prints (even an introduction into Lesvian notation). You find the whole list at the excel file. The acquisition were made by several orientalists, you find the surname sometimes behind the inventory no. Our meeting resulted that they did the proper job, each manuscript got an official collocation, and some of them were restaurated and/or rebound.
The menaion of the sticherarion kalophonikon is extreme and has almost 1900 pages (all print editions of stichera kalophonika together do not reach to this vast repertory), it was bought by Kierski (a Polish surname which is pronounced "Kyerski"). You can compare it with
Add MS 28821 at the British Library (since many months not available due to a cyber-attack) which is much more plausible in its way it is organised (many hands, openly organised with many pages left blank, mainly for important feasts and also with heirmoi kalophonkoi on exceptional occasions). But Gabriel of Yeniköy (if the datation is correct, he could have been someone of the circle of Petros Peloponnesios' students around Petros Vyzantios) just copied about 600 stichera kalophonikoi (cutting a sticheron into 2, 3 or 4 sections) and anagrammatismoi and had a focus on Byzantine composers in the narrow sense, but he went systematically through the menaion and notated them one by one in the correct menaion order. The author tried to see them in the context of Chourmouzios' efforts to transcribe the Byzantine heritage, but this focus on Byzantine composers and their kalophonic notation based on Mega Ison is unique and was probably not aiming at print editions of the New Method which had a courageous focus on the creative contribution of contemporary teachers as exegetes of the tradition. Please acknowledge the author's work that just to describe these 15 Constantinopolitan manuscripts briefly, takes a long article. I spent months to study this huge manuscript (I lived in Berlin, when I made this table), but you find an own table for it where the content is entirely described which sticheron was embellished by whom, who composed the kratema etc. It has also concordances with the local sticherarion Mus. ms. 40587 and references to SAV numbers (if possible). I apologise that it is in German, but it was made for the librarians in Berlin and the transliterated Greek refers to the relevant terms and the untransliterated incipits have no diacritics like Troelsgård's SAV list (which is all you need).
The heirmologion kalophonikon transcribed by Chrysanthos was bought by Schimmel (I could not identify the person, the famous Sufi expert Annemarie Schimmel was still a young girl, when the manuscript was bought). The other one Mus. ms. 25046 by Rescher. Oskar Rescher who called himself Osman Reşer after having become a Turkish citizen, was an expert on semitic languages and made his doctorate about an Arabic grammarian. He knew many languages and in 1937 it is understandable, that he left Germany as a scholar with a Jewish background (the truth is, he had already a very traumatic time during WW1 and had not lived in Germany for many years). He bought manuscripts for many huge libraries in Yale, Halle, Berlin and Munich
. Among them music manuscripts like Ottoman divans (Mecmue):
Güler Doğan Averbek, 'The Manuscripts Oskar Rescher Sold to the Berlin State Library Between 1913-1936
,' İslam Tetkikleri Dergisi - Journal of Islamic Review, 11–2 (2021), pp. 477–568. doi:
10.26650/iuitd.2021.958080.
