"Joseph was amazed" (Κατεπλαγή Ιωσήφ) - Soft Chromatic vs. Nenano

[GabrielCremeens]

Hello,

Blessed Feast of Pentecost to all!

I've had a question on my mind that I've been somewhat idly wondering about for a while, that perhaps someone on this forum can answer: why are there two forms of the prosomion "Joseph was amazed" -Κατεπλαγή Ιωσήφ? Not just two melodic variants, but using two entirely different scales (soft chromatic fourth versus "nenano" hard chromatic fourth or plagal second, depending on whom you ask)? I've noticed that Papa Ephraim's Divine Music Project, specifically, the Apolytikia and Kontakia for the entire year, uses the hard chromatic nenano version even for apolytikia.

http://www.stanthonysmonastery.org/music/Menaion/b5705.pdf

Example above.

Any ideas? How did these two different versions originate?

 

[Nikolaos Giannoukakis]

Dear Gabriel,

There is no clear, single "rational" answer to your specific question, at least not an answer with manuscript witness (that I know of; others may have substantive and evidence-based responses).

There are a number of hymns in the church year (the pre- and post-Christmas period comes to mind) that, although preceded by the first few words of their template melody in the Menaion, do not (by oral tradition) follow the melodic structure of that stated template. This is very evident when apolytikia are preceded by the first few words of a template melody normally found in, and reserved for the kathismata.

The argument that I propose, in discussions with psaltai of old time, is that KATEPLAGI IOSIF (Joseph was amazed)-directed melody was strictly-reserved for troparia of the orthros kathismata. More specifically, the tone weaved by KATEPLAGI IOSIF (nennano) was not one of the eight and therefore it could not subserve a troparion considered to be a dismissal or introductory troparion to a service (i.e. apolytikion) which always followed the original tones (anannes, neanes, aanes, agia and so on....). Thus, another melodic structure had to be found for the apolytikia to be melodically in line with the eight tones and not the excluded nennano (even though there is evidence that at some time between the 14th-16th century, nennano was referred to as a "ninth tone").

The fact that what is clearly a troparion metered along the lines of kathisma found its way as an apolytikion also raises other interesting possibilities: 1) Was there no apolytikion for the specific services initially and a kathisma troparion was subsequently used as a substitute? 2) Was there an error during manuscript reproduction (by hand or typesetting)? 3) Was nenanno as a tone in more general use in the past than what manuscript and oral evidence provide to us today?

Perhaps some early manuscripts might shed clearer light on this matter....

From an oral tradition practice, however, the apolytikia preceded by the phrase "Kateplagi Iosif" have their own melody which follows fourth tone of a soft chromatic variation (like all major apolytikia of fourth tone).

NG

 

[GabrielCremeens]

Thanks for your insight, Dr. Giannoukakis. Could you maybe give some examples of hymns that, as you say, "although preceded by the first few words of their template melody in the Menaion, do not (by oral tradition) follow the melodic structure of that stated template"? I'm having a little trouble thinking of any on my own, most likely because I haven't been around experienced chanters for the greater part of my life (especially around Christmas-time, when I am expected to chant at my own parish! ), who would be aware of this oral tradition.

So, this melody is to be used for Apolytikia...

but this one for Kathismata?

If that is the case, then I'm beginning to wonder why Papa Ephraim uses only the hard chromatic "nenano" version in his book. Perhaps he could explain and shed some light on the questions you've mentioned.

 

[emakris]

Well, this phenomenon is found not only in connection with "Kateplagi Iosif" and nenano, but also with "Ton taphon sou Sotir". If an apolytikion is composed according to this kathisma, is will not be sung with the phthora of the second mode (like the original kathisma), but like the other apolytikia of the echos, in "normal" first mode from Pa. Even the apolytikia that follow the kathisma "O ypsotheis en to Stavro", which is in fourth mode, are not chanted exactly like this, but like the other apolytikia of the mode (same scale, different melody).
It seems that the tradition required that all apolytikia of each mode should have the same "sound". Georgios Rigas wrote against this traditional practice. He believed that the original melodies of the kathismata should be used instead.

 

[Nikolaos Giannoukakis]

Dear Gabriel,

As Professor Eystathios Makris writes above there are also additional situations and I concur with his note.

To address your specific questions:

Between the 20th- the 24th of December, this is what we see in the Menaion, either as a singular apolytikion or one of 2 or 3 apolytikia:

Ἀπολυτίκιον Ἦχος δ'
Κατεπλάγη Ἰωσὴφ

Ἀπεγράφετο ποτέ, σὺν τῷ πρεσβύτῃ Ἰωσήφ, ὡς ἐκ σπέρματος Δαυΐδ, ἐν Βηθλεὲμ ἡ Μαριάμ, κυοφοροῦσα τὴν ἄσπορον κυοφορίαν. Ἐπέστη δὲ καιρὸς ὁ τῆς Γεννήσεως, καὶ τόπος ἦν οὐδεὶς τῷ καταλύματι· ἀλλ' ὡς τερπνὸν παλάτιον τὸ Σπήλαιον, τῇ Βασιλίδι ἐδείκνυτο. Χριστὸς γεννᾶται τὴν πρὶν πεσοῦσαν, ἀναστήσων εἰκόνα.

The words "Kateplagi Iosif" are above the troparia on each of the days (20-24th)

On the 3rd of January:

Ἀπολυτίκιον Προεόρτιον

Ἦχος δ'
Κατεπλάγη Ἰωσὴφ

Ἐτοιμάζου Ζαβουλών, καὶ εὐτρεπίζου Νεφθαλείμ. Ἰορδάνη ποταμέ, στῆθι ὑπόδεξαι σκιρτῶν, τοῦ βαπτισθῆναι ἐρχόμενον τὸν Δεσπότην. Ἀγάλλου ὁ Ἀδὰμ σὺν τῇ Προμήτορι, μὴ κρύπτετε ἑαυτούς, ὡς ἐν Παραδείσῳ τὸ πρίν· καὶ γὰρ γυμνοὺς ἰδὼν ὑμᾶς ἐπέφανεν, ἵνα ἐνδύσῃ τὴν πρώτην στολήν, Χριστὸς ἐφάνη, τὴν πᾶσαν κτίσιν, θέλων ἀνακαινίσαι.


YET, the first time we encounter the apolytikion above (the 2nd of January), there is NO INDICATION before the hymn that it is to follow a template. In fact, from the Menaion this is what is seen:

Ἀπολυτίκιον Ἦχος δ'

Ἑτοιμάζου Ζαβουλών, καὶ εὐτρεπίζου Νεφθαλείμ. Ἰορδάνη ποταμέ, στῆθι ὑπόδεξαι σκιρτῶν, τοῦ βαπτισθῆναι ἐρχόμενον τὸν Δεσπότην. Ἀγάλλου ὁ Ἀδὰμ σὺν τῇ Προμήτορι, μὴ κρύπτετε ἑαυτούς, ὡς ἐν Παραδείσῳ τὸ πρίν· καὶ γὰρ γυμνοὺς ἰδὼν ὑμᾶς ἐπέφανεν, ἵνα ἐνδύσῃ τὴν πρώτην στολήν, Χριστὸς ἐφάνη, τὴν πᾶσαν κτίσιν, θέλων ἀνακαινίσαι.

As for the template "Η αμνάς Σου Ιησού", it follows its own melody. It is considered an aytomelon. And everything that is modeled on it follows the melody of the aytomelon. And the aytomelon (and all prosomoia of H amnas sou..) follow the soft chromatic fourth tone variant, like all apolytkia of 4th Tone.

Last, to answer more specifically your question:

So, this melody is to be used for Apolytikia (http://byzantine-music.gr/mp3/mp3_K...orosXaniwn_IoannisKastrinakis_Automela-35.mp3)

The answer (traditional practice) is YES.

but this one for Kathismata? (http://byzantine-music.gr/mp3/mp3_K...orosXaniwn_IoannisKastrinakis_Automela-32.mp3)

The answer (traditional practice) is, again, YES.

Why Fr. Ephraim has it otherwise for the particular apolytikion, I do not know. Perhaps he could shed some light on this.

NG

 

[GabrielCremeens]

Thank you, professor Makris and Dr. Giannoukakis. Could either of you possibly direct me to music for the apolytikia versions of Τον ταφον Σου, Σωτηρ and Κατεπλαγη Ιωσηφ?

I'm especially curious about the first one - I've never heard or seen music for an apolytikion in normal first mode to this prosomion. Again, Papa Ephraim uses the soft chromatic version for Apolytikia in his book.

 

[basil]

Thank you, professor Makris and Dr. Giannoukakis. Could either of you possibly direct me to music for the apolytikia versions of Τον ταφον Σου, Σωτηρ and Κατεπλαγη Ιωσηφ?

See, for example, three versions by Stephanos the First Domestikos in Mousike Kypsele (Constantinople, 1882) and a version recorded by Angelos Boudouris in Volume 7 of «Κώδικες της Ορθοδόξου Βυζαντινής Εκκλησιαστικής Ασματωδίας» (Constantinople, 1938).

 

[Nikolaos Giannoukakis]

Additionally, volumes 5 and 6 of "Mousikos Pandektis" by ZOE Publishers (Menaion 1 and 2) have the above melodies essentially identical to that of Stephanos (they used the classic music texts of the late 1800s as sources)

And, most editions by older psaltae (from the 1950s onward) that feature these specific festive periods also have these melodies very similar to those above with some interpretative ornaments here and there.

NG

 

[emakris]

The examples of Apolytikia composed according to "Kateplagi Iosif" and chanted otherwise are very good. Thank you, Dr. Giannoukakis and Mr. Crow. Regarding those following the templates "Ton taphon sou Sotir" and "O ypsotheis en to Stavro", they can be found only in "small" feasts, for which is difficult to find any musical transcriptions. See, for example, 22nd July (St. Mary Magdalene) and 6th September (The Miracle at Colassai of Archangel Michael) respectively.

 

[Shota]

I also remind the fact that the kathisma of Annunciation "O megas strategos" (prosomoion of "Ton taphon sou Soter") in its slow kollybadic version is diatonic. For the English adaptation see here.

 

[emakris]

"Kollybadic"? Wow!

 

[basil]

Why Fr. Ephraim has it otherwise for the particular apolytikion, I do not know. Perhaps he could shed some light on this.

Since Boudouris recorded the soft chromatic melody for the apolytikia «Ετοιμάζου Βηθλεέμ» and «Ετοιμάζου Ζαβουλών», it is reasonable to assume that the soft chromatic melody was also used at the Patriarchate for other apolytikia to the melody «Κατεπλάγη Ιωσήφ» during the time of Nafpliotis. I would imagine that this is still the case there today. On the other hand, it is my understanding that at Philotheou monastery the nenano melody is always used for both kathismata and apolytikia (I don't know why). Since Papa Ephraim studied under Hieromonk Hierotheos at Philotheou, perhaps that is why he used the nenano version for both kathismata and apolytikia. As an aside, I also have a CD of Christmas Hymns by the Choir of the Eparchy of Tripoli in Lebanon, and on that CD «Ετοιμάζου Βηθλεέμ» is also chanted, in Arabic, in nenano (again, I don't know why).

If so, I would still question Papa Ephraim's use of the nenano version for apolytikia in his book Apolytikia and Kontakia for the Entire Year. In light of the fact that the soft chromatic melody has been employed in Constantinopolitan practice (both inside and outside the Patriarchate) for at least the past century as well as the fact that this version is employed in Mousike Kypsele (the model for melodic style throughout Papa Ephraim's Divine Music Project), it seems strange to employ the local tradition of a particular Athonite monastery in a work that is intended to be used throughout the English-speaking world.

Regarding those following the templates "Ton taphon sou Sotir" and "O ypsotheis en to Stavro", they can be found only in "small" feasts, for which is difficult to find any musical transcriptions. See, for example, 22nd July (St. Mary Magdalene) and 6th September (The Miracle at Colassai of Archangel Michael) respectively.

Can musical versions of these apolytikia be found in the Mousikon Menologion of either Georgios Syrkas (presumably one of the "older psaltæ from the 1950s onward" mentioned by Dr Giannoukakis above) or Fr Konstantinos Papagiannis? If so, can someone please share them with us?

I also remind the fact that the kathisma of Annunciation "O megas strategos" (prosomoion of "Ton taphon sou Soter") in its slow kollybadic version is diatonic. For the English adaptation see here.

The original Greek version can, of course, be found in Γεωργίου Α. Ρήγα, «Μελωδήματα Σκιάθου» (Athens, 1958). But now, now, let's not get too far off topic.

 

[Nikolaos Giannoukakis]

Dear Basil,

it is reasonable to assume that the soft chromatic melody was also used at the Patriarchate for other apolytikia to the melody «Κατεπλάγη Ιωσήφ» during the time of Nafpliotis. I would imagine that this is still the case there today.

Correct.

On the other hand, it is my understanding that at Philotheou monastery the nenano melody is always used for both kathismata and apolytikia (I don't know why).

No. I knew Fr. Panaretos of blessed memory and had many discussions on many issues relevant to theory and practice. One thing was very clear regarding these particular troparia: Fr. Panaretos was in line with what you posted earlier (http://analogion.com/forum/showpost.php?p=115578&postcount=7) and what traditional oral practice has left us with. Unfortunately, I did not spend much time with Fr. Ierotheos since it was Fr. Panaretos who was the Dexios psaltis at the monastery in the 80s....

I will look through Syrkas' menaia later this evening and get back to you on the specific troparia you mention, and where (if) available I will scan and post. I will also look in some other books and see if there is anything else...

NG.

 

[Nikolaos Giannoukakis]

Dear Basil:

Regarding those following the templates "Ton taphon sou Sotir" and "O ypsotheis en to Stavro", they can be found only in "small" feasts, for which is difficult to find any musical transcriptions. See, for example, 22nd July (St. Mary Magdalene) and 6th September (The Miracle at Colassai of Archangel Michael) respectively.


Can musical versions of these apolytikia be found in the Mousikon Menologion of either Georgios Syrkas (presumably one of the "older psaltæ from the 1950s onward" mentioned by Dr Giannoukakis above) or Fr Konstantinos Papagiannis? If so, can someone please share them with us?

Unfortunately, I could not find any music for the aforementioned examples (St-Mary Magdalene and the Miracle of the Archangel Michael) in any Menaia/Doxastaria from psaltae that were published 1950 and onward.....


NG.

 

[Ηλίας Παπαδόπουλος]

"Kollybadic"? Wow!

"Kollybadic" or "Skiathiotic" Oh yeah !

 

[Shota]

"Kollybadic"? Wow!

"Kollyvadic Movement" and "Kollyvadic Fathers" are accepted terms in the Western literature.

 

[emakris]

"Kollyvadic Movement" and "Kollyvadic Fathers" are accepted terms in the Western literature.

OK!

 

[domesticus]

I also remind the fact that the kathisma of Annunciation "O megas strategos" (prosomoion of "Ton taphon sou Soter") in its slow kollybadic version is diatonic. For the English adaptation see here.

The original text from here.

Sound by I. Arvanitis, Στὴ σκιὰ τοῦ Ἄθω / Μελωδήματα τῶν κολλυβάδων ἀπὸ τὴν Σκιάθο τοῦ Παπαδιαμάντη

You can buy it or you can download the whole cd with torrent (google στη σκια του αθω αρβανίτης).

track 6.

 

[basil]

Well, this phenomenon is found not only in connection with "Kateplagi Iosif" and nenano, but also with "Ton taphon sou Sotir". If an apolytikion is composed according to this kathisma, is will not be sung with the phthora of the second mode (like the original kathisma), but like the other apolytikia of the echos, in "normal" first mode from Pa.

Can you please provide some evidence to support this claim?

 

[emakris]

Can you please provide some evidence to support this claim?

The only written evidence I know is an article by Fr. Georgios Rigas (1884-1960), who was a notable expert in Typikon. It was published in the music journal "Forminx" at the beginning of the 20th century. I cannot find it right now, sorry...
He describes it as a current practice for all three model-kathismata I mentioned, but he speaks against it from a historical and hymnographical perspective.