Musical Romania and the Neighbouring Cultures

Traditions – Influences – Identities- Proceedings of the International Musicological Conference- July 4–7 2013, Iaşi (Romania)

by Laura Vasiliu (Volume editor) Florin Luchian (Volume editor) Loredana Iatesen (Volume editor)
©2014 Edited Collection 368 Pages


This book represents the volume of the International Musicological Conference «Musical Romania and Neighbouring Cultures. Traditions, Influences, Identities», which took place in Iaşi (Romania) and was organised by the George Enescu University of Arts Iaşi in collaboration with the International Musicological Society. The volume includes 35 papers of 38 authors who represent academic centres in Croatia, Bulgaria, Serbia, Greece and Romania. The diverse topics include ancient Romanian, Balkan or East-European music, music iconography, Byzantine and folkloristic traditions, as well as modern and contemporary music. The articles propose theoretical and methodological documentation on the interactions between liturgical, folkloric and academic works within this multicultural space.

Table Of Contents

  • Cover
  • Title
  • Copyright
  • About the author
  • About the book
  • Forword
  • Table of contents
  • I. Byzantine Liturgical Music and Music of Byzantine Tradition
  • The Doxastikon of the Aposticha of St. John Damascus “Λαμπρῶς πανηγυρίσωμεν σήμερον ὦ φιλέορτοι”, a composition of Panayiotis Chrysafis
  • The sticheron Uşile pocăinţei after the Gospel of Matins during the Lent period, by Filothei sin Agăi Jipei in the exegesis of Mihalache Bucureşteanul
  • The Overbalance of Greek Chanting in the Psaltic Manuscripts at the National Archives of Iaşi
  • The Principles of Byzantine Iconography in Byzantine Musical Art
  • Manuscript Iaşi 160/IV-34: a new look at the history of the codex
  • The Chant’s Exegesis at Anton Pann, Reflected by his Anastasimatarion’s Translation Activity (1854)
  • Serbian Chant on the Threshold: the Dialogue between Orality and Literacy
  • Gregorian Melos in the Catholic Environment in 20th Century Moldova
  • Hidden modulations in the Old Sticherarion
  • The musics of the Prince: Music, ceremonies and representations of the Princely power at the courts of Walachia and Moldavia during the 17th and 18th centuries (first part)
  • When music theory becomes a chant: The protheory of the Papadike in two Sinaitic musical manuscripts of the late 15th century
  • II. Ethnomusicology
  • Traditional Music in Eastern and South-eastern Transylvania
  • Pre-modal and Multifunctional Musical Structures in Folkloric Expressions from Villages around Rădăuţi Region
  • Melodic aspects in contemporary popular dance from Moldavia
  • Music Therapy: From Shamanic Rite to the Romanian Rite of Căluş
  • Musical Culture of Minorities in the Romanian Music; Dynamics, Evolution, Role and Interaction in the Surrounding Areas
  • III. Romanian Musical Output
  • Psalm and Psalmody. Continuity & Discontinuity. Tradition & Novelty. Unity & Diversity – with references at Psalmus by Ştefan Niculescu
  • The Requiem Genre in the Romanian Composers Output of the 20th Century
  • Women composers in Iaşi: Mansi Barberis and Elise Popovici-Goia
  • The Valorisation of the Universal Saloon Music in the Romanian Music Works
  • The Romanian Carol between Harmony and Polyphony. A Comparative Approach to the Views of Two Composers: Sigismund Toduţă and Sabin Drăgoi
  • Romanian Music Festival, the New Series: 2007–2012. An Overview
  • Overlapping of Forms, Modern Style and Aesthetic Interpretation in Sonata for Piano by Vasile Spătărelu
  • Sabin Păutza – Sinfonietta (divertimento for orchestra), a Stylistic Melting Pot
  • East-West Interferences, Adaptations, Reinventions in Dan Dediu’s Music
  • Dan Dediu’s Artistic Identity Reflected in Frenesia and Mantrana
  • “Free” Rhythm in Romanian Music. From Parlando-rubato to Heterophony
  • Pascal Bentoiu’ Symphony no. 8, Images. The originality, the poetic and philosophical expressiveness of the orchestral textures
  • Tradition and modernity in the author’s work The Aquarium of Dreams for two pianos and chamber orchestra
  • Coincidentia Oppositorum – An Ontological Premise for a Universal Musical Grammar
  • IV. The Classical Output in the Balkans and the Eastern Europe
  • Missiriotissa and Chaide Chourde – songs for voice and piano by Manolis Kalomiris (1883–1962) and independently by Emilios Riadis (1880–1935), composers of the Greek National Music School
  • Some aspects of the Vocal Music of Transylvanian German Ethnic (Saxonian) Composers: Rudolf Lassel, Paul Richter and Hans Peter Türk
  • The Cycle of 24 Preludes and Fugues. Modern Interpretations in the Russian Music
  • Fantasy 29/8 ‘Opening’ the Boundaries of Social Space and Time through Improvisation, Communication and Jouissance Experience. A Dialogue in/about Dialogue between/in Music and Words
  • Towards a Bottomless Pit: The Dramaturgy of Silence in the String Quartet Play Strindberg by Ivana Stefanović

I.  Byzantine Liturgical Music and Music of Byzantine Tradition

← 13 | 14 →

← 14 | 15 →

The Doxastikon of the Aposticha of St. John Damascus “Λαμπρῶςπανηγυρίσωμενσήμερον ὦ φιλέορτοι”, a Composition of Panayiotis Chrysafis

Dimos A. Papatzalakis
School of Music Studies
Aristotle University of Thessaloniki
54124 University Campus Thessaloniki


This paper examines some aspects of the so-called Sticherarion of the New Embellishment (Neos Kallopismos) as it has been written down during the second half of the 17th century by Panayiotis Chrysafis the Younger. After a brief presentation of the life and works of this author, the paper concentrates on a multi-level musicological analysis of the Doxastikon of the Aposticha for the feast of St. John of Damascus “Λαμπρῶς πανηγυρίσωμεν σήμερον ὦ φιλέορτοι(Let’s celebrate brightly today, oh friends of the feasts) which was set to music by Panayiotis Chrysafis, firstly in the original composition according to the manuscript MS87 of Duke University, North Carolina, USA1, and secondly, by comparing the old notation to its slow exegesis in new-Byzantine notation by Chourmouzios Chartophylax, according to the manuscript Sancti Sepulcri MPT 762. The analysis comprises several approaches, such as textual, music-architectural, modal, micro-syntactical, rhetorical, macro-syntactical, generative, and comparative. Through these analyses we aim at understanding the main idea of the musical composition of the Old Sticherarion at the era which we are examining.


Panayiotis Chrysafis, doxastikon, New Embellishment, Sticherarion, St. John Damascene

1.  Introduction

The time period between the mid 17th and early 18th centuries is characterized as the great golden age of post Byzantine music. It’s distinctively known as the period of the “New Embellishment” (Neos Kallopismos). A prominent figure during this time, amongst other important composers, is Panayiotis Chrysafis the Younger. ← 15 | 16 →

Not much is known about the life of Panayiotis Chrysafis, for the evidence is not very clear. What is known to us from sources is that the melodist flourished between 1650–1685 (Chatziyiakoumis 1999: 41). His birth is estimated by researchers to be around 1620–1625, while the last attestation mentioning him as Protopsaltes of the Patriarchal Church in Constantinople dates back to the year 1682. Fact is though, that in a manuscript of the Monastery of Great Lavra in Mount Athos (I 172), written in 1700 A.D. by Arsenios Kydonias, Chrysafis is referred to as deceased “makarites” (Stathis 1996: 10).

He was a student of Georgios Raidestinos, a Protopsaltes of The Great Church (Patrinelis 1973: 150), whereas from the year 1655 until at least 1682, he served as Protopsaltes himself at the Patriarchal Church. Amongst his students were Germanos Neon Patron, hieromonk Dionysios, Ioannis Kampazournas, and others. Moreover, Dionysios in one of his autographs (Iviron 961) from the end of the 17th century, records his teachers’ chants inscribing in many parts his name as “Panayiotou” (Stathis 1996: 12).

The work of Chrysafis the Younger is multifarious and voluminous. His most important contribution consists in the development and the dissemination of a new style of composition, based always on the tradition’s old standards that the great composers used, for the Sticherarion and Anastasimatarion. The value of this contribution is supported by the fact that the Anastasimatarion of Chrysafis was in use even after its new musical setting by Petros Peloponnesios, a century later (Chatziyiakoumis 1999: 41–43).

Chrysafis dealt with all the genres of Byzantine composition. He wrote the New embellished Sticherarion, the New embellished Anastasimatarion, heirmologic compositions, papadic melodies (Theotokia, Polyeleos, Cherubic Hymns, Communion Hymns, Amomos, Pasapnoaria of Mattins etc.), whilst important was also his codicographic activity, with 8 autograph codices. He was the Protopsaltes and melodist who managed to enforce the renewal of the traditional melody and to facilitate the release and expression of musical concerns of his time, as is stated by musicologist Manolis Chatziyiakoumis (1999: 41–43).

2.  The Doxastikon Λαμπρῶς πανηγυρίσωμεν σήμερον ὦ φιλέορτοι

In this article we deal with the doxastikon of the aposticha of the feast of St. John Damascene Λαμπρῶς πανηγυρίσωμεν σήμερον ὦ φιλέορτοι, who is commemorated by the Orthodox Church on the 4th of December, in a musical setting by ← 16 | 17 → Panayiotis Chrysafis. The reason for our preoccupation with this composition was, first and foremost, to honor a great saint of our church, and on the other hand an important hymnographer-melodist, who is one of the founders of our church’s poetry and music.

Another important reason we dealt with the examination of this doxastikon is its text, which is not included in the service of the saint that is found in the Menaia of modern times, nor is it included in the Standard Abridged Version of the Sticherarion (SAV) (Troelsgård 2003: 3–20), but is encountered in handwritten codices of the time of Manuel Chrysafis (Flourished ca. 1440–1463) (Conomos 1985: 11) and is a poem of his, as testified in the Manuscript Sancti Sepulcri 729, where at folio 107r we read the following: First sticheron to this saint; text and melody by Manuel Chrysafis2 (Stathis 2003: 174). The text runs as follows3:

[1]   Λαμπρῶς πανηγυρίσωμεν σήμερον ὦ φιλέορτοι· πάλιν καὶ
λαμπρῶς πανηγυρίσωμεν σήμερον ὦ φιλέορτοι·

[2]   χορεύσωμεν ἐν ὕμνοις καὶ σκιρτήσωμεν ἀγαλλόμενοι λέγε

[3]   ἐπὶ τῇ πανενδόξῳ πανηγύρει

[4]   τοῦ χαριτωνύμου Ἰωάννου.
Λαμπρῶς πανηγυρίσωμεν καὶ χορεύσωμεν
ἐπὶ τῇ πανενδόξῳ πανηγύρει τοῦ χαριτωνύμου Ἰωάννου
τοτο τερε τεριρι τερεε τρρε τερερε αῑαῡεῑαῡε τερε τερερε
ἐπὶ τῇ πανενδόξῳ πανηγύρει τοῦ χαριτωνύμου Ἰωάννου.

[5]   Οὖτος γὰρ ἀνεδείχθη μουσικώτατος κύκνος, πάλιν, οὖτος γὰρ ἀνεδείχθη μουσικώτατος κύκνος, λέγε,

[6]   τερετί – τιρρι τιτι τιρι ριρι – τερετίζων ᾄσματα καὶ ὑπὲρ μέλιτος γλυκύτερα·

[7]   λύρα παναρμόνιος καὶ εὐκελάδητος κιθάρα,

[8]   ὄργανον κρουόμενον ταῖς θεϊκαῖς ἐπιπνοῖαις

[9]   τοῦ Ἁγίου Πνεύματος·

[10]   καὶ σάλπιγξ χρυσόφωνος καὶ χελιδὼν ὡραιοτάτη

[11]   καὶ εὔλαλος ἀηδών, δαυιτικὴ κιννύρα,

[12]   καί ψαλτήριον δεκάχορδον

[13]   καὶ σηρήνιος γλώσσα πολύφθογγος,

[14]   στόμα χρυσοστόλιστον καὶ πυρίπνουν, ← 17 | 18 →

[15]   καταφλέγων ἅπασαν τῶν αἱρετικῶν κακόνοιαν,

[16]   καταφωτίζων δὲ πᾶσαν τὴν ἐκκλησίαν τοῦ Θεοῦ

[17]   τοῖς μελιρρύτοις καὶ χρυσοφαέσιν ᾄσμασι – τιτιτι τιρριῑτιῑ τιρρι τιτι… τερερε… – χρυσοφαέσιν ᾄσμασι.


ISBN (Hardcover)
Publication date
2014 (September)
Musikethnologie liturgische Musik zeitgenössische Musik Byzanz
Frankfurt am Main, Berlin, Bern, Bruxelles, New York, Oxford, Wien, 2014. 368 pp., 122 b/w fig., 21 tables, 23 graphs

Biographical notes

Laura Vasiliu (Volume editor) Florin Luchian (Volume editor) Loredana Iatesen (Volume editor)

The editors are academic members of George Enescu University of Arts Iaşi (Romania). Laura Vasiliu is Professor and Dean of the Faculty of Music. Florin Luchian is Assistant Professor of Music Management. Loredana Iaţeşen is PhD Lecturer of History of Music. Diana-Beatrice Andron is PhD Lecturer of Music Theory.


Title: Musical Romania and the Neighbouring Cultures
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370 pages