Saint Macarie the Hieromonk and the Technique of Adapting Byzantine Stichera in Second and Third Mode

Abstract

This study aims to explore the reasons behind the differences between the original Greek version of the Anastasimatarion and its Romanian translation by Macarie Ieromonahul (the Hieromonk). I undertake a musicological analysis of the 2nd and 3rd Mode stichera, taking into account the method proposed by Costin Moisil and applying it to these two modes. One of the most important compositional rules, which is also a crucial factor in the adaptation process, is the relationship between a cadence formula and the position of the accented syllable in the text to which it corresponds. This factor – along with other aspects discussed in the article – helps explain why Macarie’s melodic line differs from the original. I argue that a good adaptation does not primarily mean melodic identity, but rather keeping the Byzantine compositional rules and, as much as possible, the final cadence note. To support this claim, I propose the hypothesis of the set of cadences: formulas that share approximately the same melodic structure but develop differently depending on the accentuation of the literary text for which they are used.