The Sui Generis Cretan Chant (16th-17th c.): a Case Study on the Settings by Venediktos Episkopopoulos
(2023) Series Musicologica Balcanica — Vol. 4, n° Musical and Cultural Osmoses in the Balkans II, p. 184-202 (2023)
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- Abstract
- The compositions included in the musical manuscripts known as “Cretan manuscripts” of the 16th and 17th centuries can be distinguished in two main categories: the first one includes the Cretan works composed according to the “classical” Byzantine tradition or/and arrangements of older Byzantine works, usually entitled by their composers “…as it is written and chanted by me …” or “… as it is chanted by the Cretans”, in order to indicate the re-working of older compositions. The second category includes compositions that are clearly different from the classical Byzantine tradition, and are thus considered as “particular Cretan compositions”. The latter settings can be described as “mixed” given that they echo some Western liturgical traditions without, however, being completely deprived of the techniques of Byzantine composition. Since these compositions do not entirely fit the Byzantine custom, one must assume the existence of specific Cretan idiosyncrasies. In this perspective, a case study of different kinds of composition by the well-known composer Venediktos Episkopopoulos will give the opportunity to put into light various unnoticed features (whether morphological or notational) of the Cretan tradition.
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Thoraval, F., & Kritikou, F. (2023). The Sui Generis Cretan Chant (16th-17th c.): a Case Study on the Settings by Venediktos Episkopopoulos. Series Musicologica Balcanica, 4(Musical and Cultural Osmoses in the Balkans II), 184-202. https://doi.org/10.26262/smb.v0i4.8178 (Original work published 2023)