12th International Conference on Eastern Chant
16th–19th May 2005
Transmission and Reconstruction of Christian Musical Heritage
Gothic Hall of Three Hierarchs Monastery
Iasi, Roumania
Monday 16th May 2005
Morning session. Moderator: Traian Ocneanu
09:30 Opening
Sirli Adriana, Dr., Paris, In Memoriam Grigore Panţiru
Ocneanu Gabriela, Prof., Iaşi, In Memoriam Gr. Panţiru and Gh. Ciobanu
Ocneanu Traian, Iaşi, In Memoriam Jørgen Raasted
10:30 Bucca Donatella, Dr., Messina, I manoscritti con notazione mediobizantina del SS. Salvatore di Messina
Chircev Elena, Conf. Dr., Cluj-Napoca, Cîntări ale stilului papadic în manuscrisul nr. 365 de la BAR Cluj-Napoca
Georgieva Slava, Dr., and Marinov Yanko, Dr., Sofia, Codex EHAI 816 (Sofia) in the Context of 16th Century Moldavian Musical Manuscript Traditions
Stan Teofil, Fr. Dr., Baia Mare, Cîntarea bisericească în Maramureş. Varianta "după Rusie"
12:30 Discusssions
13:00 Lunch break
Afternoon session. Moderator: Adriana Sirli
15:00 Haralam Clement, Fr. Archim., Iaşi, Sfînta Filofteia de la Argeş: tradiţie bisericească şi slujbe
Bucescu Florin, Fr. Prof., Iaşi, Viaţa şi opera p. Grigore Panţiru
Barnea Alexăndrel, Fr. Prof., Iaşi, Muzica de tradiţie bizantină în învăţămîntul teologic
16:30 Grăjdian Vasile, Fr. Prof., Sibiu, Concluzii la încheierea unui proiect de cercetare a oralităţii cîntării bisericeşti de origine bizantină din Sudul Transilvaniei
Ştefan Ştefania, Bucureşti, Manuscript No. 207 from Văratec Monastery
Ştefan Răzvan, Fr., Bucureşti, Aspecte teoretice şi teologico-estetice cu privire la ehurile muzicii bizantine
Discussions
18:30 Dinner break
Tuesday 17th May 2005
08:00 Special liturgical service with commemoration of Grigore Panţiru and Gheorghe Ciobanu
10:30 Plemmenos John, Dr., Corfu. Public conference, The Greek Contribution to the Development of Romanian Music: the Case of Nikephoros Kantouniares of Chios
Morning session. Moderator: Traian Ocneanu
12:00 Romanou Katy, Prof., Athens, Keyboards for the Eight Echoi
Ocneanu Gabriela, Prof., Iaşi, Imnul Sfintei Parascheva de Evstatie, protopsaltul Putnei – o posibilă interpretare a transcrierii lui de către Grigore Panţiru (Evstatie's Hymn to St. Paraskiva of Epivata. A Possible Interpretation of Grigore Panţiru's Transcription)
13:00 Discussions: Perspectives of research on Eastern chant. International cooperation.
13:30 Lunch break
15:00 Visit to the Botanical Gardens and Sfinţii Chiril şi Ciprian Monastery
18:00 Concert in the Metropolitan Cathedral. 16 monastic, theological and lay choirs of psaltic music take part
View Programm
21:30 Festive dinner
Wednesday 18th May 2005
Morning session. Moderator: Katy Romanou
9:30 Mychailiuk Iaroslav, Dr., Poltava, Moldavian and Wallachian Chants in Transcriptions Done in "Kievan" Five-Line Staff Notation
Ocneanu Traian, Iaşi, C.S.B.I.-Initiated Research on the Putna School of Medieval Chant: Current Status and Perspectives
Vasile Vasile, Prof., Bucureşti, Cîntările Triodului de Nectarie, Protopsaltul Sfîntului Munte Athos
11:00 Buta Mircea, Fr. Dr., Arad, Cîntările glasurilor bisericeşti la vecernie şi esenţa lor intonaţională în notaţiile lui Trifon Lugojan
Stanciu Petru, Fr. Prof. Dr., Cluj-Napoca, Un nou manuscris muzical bizantin la Cluj-Napoca
Varga Laura, Braşov, Gheorghe Ciobanu's Personality in a Few Epistolary Images and Unknown Documents
12:30 Discussions: Attracting and encouraging young researchers.
13:00 Lunch break
Afternoon session. Moderator: Elena Chircev
15:00 Ionaşcu Stelian, Fr. Prof., Bucureşti, The First Variant of Paul Constantinescu's Easter Oratorio and the Question of its Double Authorship
Suceava Daniel, Bucureşti, Unele precizări asupra operei muzicale a lui Dionisie Fotino (1777-1821)
Stanciu Vasile, Fr. Prof., Cluj-Napoca, Teologie şi imnografie în liturghiile bizantine
Closing assessment debate. Evaluation of conference. International cooperation.
Thursday 19th May 2005
08:30 Cultural excursion to some North Moldavian monasteries and centres of ecclesiastical culture
Concert in the Metropolitan Cathedral
1. Altarul, Mitropolia Moldovei şi Bucovinei, cond. pr. arhim. Dosoftei Şcheul
1. Hristos a înviat, gl. 5, melodie grecească
2. Eclogaria, psalmi din Stihirile Paştilor
3. Slava la Laude a Sf. Cuvioase Parascheva, gl. 8, de Dimitrie Suceveanu
4. Troparul Sf. Gheorghe, gl. 4, de Dimitrie Suceveanu
5. Troparul Sf. Cuvioase Parascheva, gl. 1
2. Corul elevilor Liceului de Artă "Octav Băncilă", cond. prof. Petronela Dîrţu
1. Pre Tine Te lăudăm, de Grigore Panţiru
2. Paraclisul Maicii Domnului, gl. 8
3. De Tine se bucură, gl. 8, de protopsaltul Visarion Duhovnicul de la Neamţ (1794)
3. Grupul psaltic Cuvioasa Macrina al mănăstirii Miclăuşeni
1. Axionul Bunei Vestiri, gl. 4, de Macarie Ieromonahul
2. Cu trupul adormind (Luminînda Sf. Paşti), gl. 3, de Ion Popescu-Pasărea
3. Stihirile Paştilor, gl. 5, de ieromonaul Visarion Nemţeanul
4. Filothei, Seminarul teologic "Sf. Gheorghe" din Botoşani, cond. elev Paul Loghin
1. Abecedarul monahului, gl. 5, anonim
2. Marie, Domnul este cu tine, gl. 3, fragment din Troparul Născătoarei de Dumnezeu Fecioară pe 8 glasuri de Petru Berechet Melodul
3. Cratima tererem, gl. 3, după Theodoros Vasilicos
5. Cuviosul Rafail de la Agapia, mănăstirea Agapia, cond. monahia Ignatia Colonescu
1(?). Hristos a înviat, gl. 1, dintr-un manuscris de la mănăstirea Agapia
2. Să trîmbiţăm, slava la Izvorul Tămăduirii de la Stihoavna la Vecernie, gl. 5, de Dionisie Fotino, tradus de Anton Pann
3. Canonul Sîmbetei celei mari, gl. 6, de Dimitrie Suceveanu, cîntările I şi IV
4. Ceata Sfinţilor Părinţi, gl. 8, de Dimitrie Suceveanu
5. O, dumnezeiescul, irmos calofonic cu cratimă, gl. 1, de Petru Berechet, tradus de ierodiaconul Ioan
6. Basileus, Seminarul teologic "Sf. Vasile cel Mare", cond. Constantin Nechifor Hrestic, îndrumător pr. prof. dr. Florin Bucescu
1. Veniţi să ne închinăm, gl. 2, de Mitropolit Veniamin
2. Apărătoare Doamnă, gl. 8, de Ioan Zmeu
3. Lăudaţi pre Domnul, chinonic în gl. 1, de Ioan Cucuzel
4. Tatăl nostru, gl. 3, de pr. Florin Bucescu
7. Grupul psaltic de la mănăstirea Văratec
1. Hristos a înviat, gl. 3, de Florin Bucescu
2. Luminînda Învierii, gl. 3, din tradiţia mănăstirii Văratec
3. Slava la Duminica slăbănogului, din tradiţia mănăstirii Văratec, de Filothei Moroşanu
4. Sedelna Cămara Ta, de Cuciureanu
5. Axion, gl. 3 agem sirian, de ierom. Macarie
6. Troparul Pogorîrii Sf. Duh, de Dimitrie Suceveanu
7. Psalmul 145 Laudă suflete al meu pre Domnul, gl. 8, de arhid. prof. Sebastian Barbu-Bucur
8. Anghelos, mănăstirea "Sfinţii Trei Ierarhi", cond. Daniel Popa
1. Tatăl nostru, cîntare din sec. XIII transcrisă de I. D. Petrescu
2. Slavă la Stihoavnă la Sf. Filofteia de la Argeş, gl. 5, de Gheorghiţă Alexandru
3. Aliluia, gl. 4, de Petru Berechet
9. Seminarul teologic "Sf. Parascheva" – Agapia, cond. prof. Nicoleta Iftimie
1. Stihirile Paştilor, gl. 5 tetrafon, de Anton Pann
2. Slava la Stihoavnă a Sf. Cuvioase Parascheva, gl. 5, de arhim. Partenie Apetrei
3. Axion, gl. 3, de Nectarie Schimonahul
10. Makarios, biserica "Sf. Nicolae", de pe lîngă Spitalul Judeţean din Suceava, cond. Constantin Hurjui
1. Cîţi în Hristos, gl. 1, de schimonahul Nectarie
2. Iubi-Te-voi Doamne, gl. 2, de Iacob Protopsaltul
3. Axion, gl. 1, de Petre Efesiul
11. Mira, biserica "Sf. Nicolae Domnesc", cond. prof. Petronela Dîrţu
1. Voscreasna a VII-a, protovaris, de T. V. Stupcanu, transcriere de Grigore Panţiru, solistă Mirabela Iuşcă
2. Cîntarea a IX-a din Canonul Învierii, gl. 1, de I. Popescu-Pasărea, soliste Cristina şi Nicoleta Honciuc
3. Cinei Tale, gl. 6, de Visarion Duhovnicul, solo Oana Guguian
4. Slava la Litie la Sf. Cruce, gl. 1, de Andrei Ierusalimitul
5. Slava la Cuvioasa Parascheva, gl. 1, de Sebastian Barbu-Bucur
12. Theologus, Facultatea de Teologie din Iaşi, cond. pr. lector dr. Alexăndrel Barnea
1. Se imnumen (Pre Tine Te lăudăm), gl. 5, de Evstatie Protopsaltul, ms. 350 Putna, transcriere de Titus Moisescu (în limba greacă)
2. Aliluia, gl. 4, de Evstatie Protopsaltul, ms. 1102 Putna, transcriere de Titus Moisescu
3. Paharul mîntuirii, gl. 5, de Evstatie Protopsaltul, ms. 1102 Putna, transcriere de Titus Moisescu
4. Aliluia, gl. 5, de Evstatie Protopsaltul, ms. 350 Putna, transcriere de Gheorghe Ciobanu
13. Macarie Ieromonahul, mănăstirea Râşca
1. Chinonicul Paharul mîntuirii, gl. 1, de Petru Lampadarie
2. Eclogarie cu stihuri din Acatistul Bunei Vestiri, gl. VIII, de ieromonahul Grigorie de la mănăstirea Simonospetra
14. Corul Cassia, Seminarul Teologic "Sf. Vasile cel Mare" din Iaşi
1. Cel ce eşti purtat pre heruvimi, stihira gl. 8 de la Stihoavna la Vecernie din Duminica Floriilor
2. Şi a răsturnat pe faraon, în limba slavonă, din polieleul Utreniei
3. Amin, gl. 5, de la Sfînta Liturghie, înainte de Pre Tine Te lăudăm
4. Aliluia după Apostol
15. Grupul psaltic al Universităţii de Arte "George Enescu" din Iaşi
1. Psalmul 102 din tradiţia athonită, gl. 8, de Danielei
2. Lăudaţi pre Domnul, chinonic duminical, gl. 1, de Ioan Cucuzel
16. Ison, Seminarul Teologic Ortodox Bucureşti, cond. prof. Ştefan Răzvan
1. Aghios o Theos, de Evstatie Protopsaltul Putnei
2. Fericit bărbatul, de Nectarie Vlahul
3. Dogmatica, glas 5, de Ghelasie Basarabeanul
4. Hristos a înviat
17. Roman Melodul, cond. Amarinii Ionuţ
1. Prohodul Domnului, gl.V, în sistema veche
2. Chinonic duminical, de Daniil Protopsaltul, tradus de Nectarie Schimonahul, gl. 8
4. Hristos a înviat, tradiţional aghioritic, gl. 5 şi 2
5. Hristos a înviat
CALL FOR PAPERS — first announcement
The twelfth International Conference on Eastern Chant, organized by the Centre for Byzantine Studies at Iasi will provide a forum for the discussion of up-to-date research results and insights into the Transmission and Reconstruction of Christian Musical Heritage.
As in the past, we shall endeavour to bring together scholars who represent different methodological, disciplinary, chronological perspectives. Contributions will deal with topics related to the following
Conference themes
1. Autochtonous Schools of Ecclesiastical Chant of the 14th – 17th centuries.
Christian life experience was disseminated together with the accompanying Christian culture (such as music and visual arts) from monasteries, sketes, other religious communities towards centres of contact, whereby sometimes links in the chain used in transmitting Christian values were destined to grow and strengthen to the point of becoming themselves new centres radiating the received qualities in a pure or altered form towards next-level recipients. Reconstructing the existence and influence of autochtonous schools from their very beginnings to the state of things in our own days appears now to be the only viable way open towards understanding the evolution of the whole in its constituent parts.
2. Mount Athos - Spiritual and Cultural Centre of the Christian Orthodox World. Musical and Iconographic Heritage.
From a sufficient number of historical reports it has become known that Mt. Athos was the one important source for the renewal of mystical Christianity in the whole Orthodox East. Between Athos and the rest of the world a continuous stream of bearers of Christian spirituality and culture carried back and forth the traditions of hesychasm, church service, and Christian culture, in which ecclesiastical music played a leading part. During the period of Ottoman rule the Athonite monasteries were compelled to resort to outside help for their very survival. Thus for about five centuries the pressures of worldly life took care that the talants of Christian spirituality were invested elsewhere in the world. When the huge repository of worldly artefacts sheltered in the Athonite monasteries will be finally inventoried and correlated with other similar, albeit smaller inventories elsewhere, the image may emerge of the loss suffered by mankind during all those troubled centuries and the urgency of renewing the Christian message. Reconstructing Christian chant with a higher degree of certainty, while remaining welcome as a scholarly pursuit, continues to be a hope of reaching to the essence of Christian culture.
3. Conservatism and innovation of Byzantine and Gregorian chant in Christian Europe.
The continuous superimposition of unpredictable worldly influences on the quietude of ascetic life lead to the adoption of innovations and consequent changing of the course of tradition. The nearer we come to our own times the less it seems that it was possible to withstand alterations in tradition, a process which led to a mixing of influences from a variety of spiritual and lay backgrounds. Byzantine and Western chant have been constantly part of this process, whereby Western chant appears to have been the most conservative, if and where the tradition of the latter was nurtured and renewed. Within each of these two main branches of Christian chant regional or local traditions have intermittently changed places as to favouring tradition or innovation.
4. Methodologies, research tools: cataloguing, editing, publishing, IT applications, information interchange.
Accumulation of data, improvement in knowledge reliability based on quantitative criteria but especially the advent of the IT age have not yet been sufficient to achieve the much hoped-for qualitative jump in cultural insight, especially with respect to the ecclesiastical musical culture of the earlier centuries. But IT-based tools and methodologies are creating a much better basis for researching and reconstructing the activities of regional and local centres, which in turn may improve our knowledge of quantitative musical culture. It still remains to be seen that by collating and merging electronic catalogues, using sophisticated IT applications to sort out semeiography, script, linguistic patterns across a variety of ethnic backgrounds, mentalities and spiritual sensitivities will be enough to achieve the much-expected breakthrough in reconstructing reliably genuine musical interpretation, but that certainly remains to be one of the big prizes one is striving for, and we, at the Centre for Byzantine Studies in Iasi are no exception to this.
5. Commemoration of the birth centenary of Fr. Grigore Panţiru (10.01.1905 – 18.12.1981), and of the 10th anniversary of the deaths of prof. Gheorghe Ciobanu (4.02.1909 – 29.06.1995) and prof. Jørgen Raasted (19.03.1927 – 5.05.1995), respectively.
Fr. Grigore Panţiru was one of the outstanding Roumanian pioneers in the research of the early ecclesiastical chant of the Byzantine tradition. His two seminal books, Notaţia şi ehurile muzicii bizantine (Notation and Ekhoi of Byzantine Music), Bucureşti, Editura Muzicală 1971, and Lecţionarul evanghelic de la Iaşi cu notaţie ecfonetică (The Iasi Gospel Lectionary with Ekphonetic Notation), Bucureşti, Editura Muzicală 1982 are models of in-depth analyses of concepts and MSS of early chant. He has also transcribed widely from Roumanian MSS of the 15th – 16th centuries, such as those belonging to the Putna School.
Prof. Gheorghe Ciobanu was a reputed scholar with equally profound knowledge of the theory and practice of both ecclesiastical and folklore music. One of the most gifted disciples of Fr. I. D. Petrescu in the research of the early chant, Gheorghe Ciobanu was one of the founding members of the celebrated Bucharest research team, to which Fr. Grigore Panţiru, Marin Ionescu and Titus Moisescu also belonged, who dedicated most of their lives to the work on the MSS belonging to the Putna School of ecclesiastical chant. He was also the author of some of the most important studies in the series Izvoare ale muzicii româneşti (Sources of Roumanian Music) – Documenta and Transcripta. An accomplished ethnomusicologist, he was thoroughly familiar with Roumania's popular musical traditions, and thus eminently suited to distinguish interrelationships between non-religious folk-songs and folk-wise traditions of Roumanian psalmody. His detailed studies of the musical folklore of the South- and East-European countries have become compulsory reading for all serious researchers, and his numerous articles on the interrelationship between ecclesiastical chant of the Byzantine tradition and musical folklore deserve to be better known and valued today.
Prof. Jørgen Raasted "had obvious talent as a palaeographer. In his edition of the 'Saba Heirmologion' he was able to show in detail how the palaeobyzantine notation had been converted into a fully diastematic Middle Byzantine one. He characteristically described not only the MSS themselves, but delved deeper to study processes that could have produced them. He also combined knowledge, curiosity, and imagination in his work on fragments: identifying tiny pieces of parchment was a game he played with great skill and great pleasure. In addition to his work on Byzantine music, he pioneered the cataloguing of fragments of medieval Latin codices in Danish archives. Jørgen Raasted left few aspects of Byzantine music untouched and, as one of the finest scholars and teachers in the field, attracted several students and scholars from Denmark and abroad to Copenhagen." (excerpt from Christian Troelsgård's introduction, titled In memoriam Jørgen Raasted, to issue No. 65 of CIMAGL, Copenhagen 1995)
6. General Musicological and Iconographical Byzantinology.
With conference attendance expected to grow and with a view towards attracting more contributions from young scholars, the organizing committee is proposing this year a broader range of themes to also encompass iconography besides the traditional Byzantine and Gregorian musicology.
7. New projects.
a). Reassessing the spiritual and musical legacy of the School of Ecclesiastical Chant at the Monastery of Putna, in 15th - 17th century Northern Moldavia;
b). The reconstruction of the musical environment at the beginning of the 19th century in the Ottoman-dominated Orthodox East. The life and work of Nikephoros Cantuniaris born at Chios, archdeacon of the Patriarchate of Antiochia. Written in the Monastery of Golia at Iaşi, his collections of lay songs, comprising besides Turkish, Arabic and Gypsy "semagia, sarkia, bestedes", also a few French and Italian tunes, constitute a most interesting testimony to the epoch's musical tastes and prevailing mentalities.
SPECIAL EXHIBIT OF MUSICAL MSS
In conjunction with the conference a special exhibition of Iaşi MSS will be set up in the Central Library of Iaşi University.
The submitted papers will be reviewed by a panel of two scholars. The papers accepted to be delivered at this conference will be published as conference proceedings in the next available issue of our centre's journal, Acta Musicae Byzantinae IX.
Papers are welcome from both established scholars and research students, and should not exceed – by too big a margin! – 20 minutes' duration.
With a view to having the special liturgical service and concert on 17th May benefit from the participation of other choirs besides the traditional ones from Roumania no efforts would be spared to provide affordable accomodation for the members of such choirs, and secure a number of places for them on the cultural trip to be organized after the conference.
Vă rugăm să trimiteţi corespondenţa cu caracter general la adresa:
(Ana Chiribuţă), tel.: 0232 475313
Vă rugăm să trimiteţi corespondenţa cu caracter ştiinţific la adresa:
(Gabriela Ocneanu), tel.: 0232 476827, 0232 277730