of the content of this page appears in analogion.com, on this particular webpage (imitating EBX), accompanied by an elogious
text written by the website's author and student of Lycourgos
Angelopoulos, Dr. Dimitrios Koubaroulis on this website (EBX), and has been commented here by GKM in an effort to
INFORM international readers about the most TERATOGENIC, LETHAL and INFECTIOUS
MUSICAL IDIOSYNCRASY that is DESTROYING the last remnants of our PRECIOUS
GKM: Σύγχρονες ιλαροχορευτικές χορωδίες κατευθυνόμενες υπό ακαδημαϊκούς «ερευνητάς», «μαθητάς» και ερμηνευτάς της ιδιομορφου και ψαλτικως ανορθοδόξου μεθόδου Καρά
GKM: Contemporary sissying « happy-go-lucky » choirs, directed by universitary «researchers», followers and «performers» of the UNORTHODOX Simon Karas methodology
Imitating the performance style
of the Greek Byzantine Choir (EBX)
Σχολή Σίμωνος Καρά / The Simon Karas « school »
There is a special tribute page on the Greek Byzantine Choir on the Analogion. This page here, studies the influences of the style of Lykoyrgos Angelopoulos (and ultimately Simon Karas) and the Greek Byzantine Choir to other choirs in Greece and around the world.
Here is websitededicated to the Greek Byzantine Choir .
by Lycourgos Angelopoulos,
GKM: he is the ONLY Archon Protopsaltis of the Archdiocese of Constantinople to follow the INNOVATIVE and NON-TRADITIONAL system and theory of Simon Karas, which is REJECTED by ALL the remaining Archons (Protopsaltis and Mousikodidaskalos) of the Oecumenical Patirarchate (see here and here.)
The style of the EBX originates from the
Choir of the Association for the Dissemination of National Music
(Χορωδία του Συλλόγου προς Διάδοσιν της Εθνικής Μουσικής)
directed by S. Karas
Here is a sample:
Doxastikon of Christmas "Augoustou Monarchesantos"
(text and music written by nun Kassiani in the Byzantine times, transcribed by Karas from the old method?)
[asx] (from ecclesia.gr)
GKM : listen to the TYPICAL « happy-go-lucky » vocal jumping style («hilachoreutikon hyphos »), FALTSO vocalisations, NON-traditional intervals, hypertrophied (exagerrated) « rhythm » counting (« computer-like), etc. More on these pathologies here and ESPECIALLY here
According to analogion.com: The following choirs are close in style to the EBX often because they are directed by students of S. Karas or L. Angelopoulos. Some people think that imitating EBX is a good thing, others don't. It is a controversial issue.
According to GKM: These are the choirs one should AVOID listening to and imitating, because not only they interpret our sacred music with INEXISTANT, EXTRA-TERRESTRIAL theories (as compared to those transmitted by tradition) on intervals, attacks, rhythm, chronos and vocalisation, but they CONTAMINATE as well all novice ears with their MUSICAL IDIOSYNCRASY, thus putting to peril of EXTINCTION whatever has thus far been brought down to us by our forefathers with GREAT precision and dedication, which is in TOTAL agreement with ALL traditional music of ALL peoples on Earth, and which we call Authentic PSALTIC TRADITION, which Simon Karas NEVER had, which he CONSTANTLY refutes as existing in the interpretaions of such great psaltis as Iakovos NAFPLIOTIS, and which his followers try to IMPOSE throughout the planet.
Orthodox Hellenic Byzantine Choir (Ορθόδοξη Ελληνική Βυζαντινή Χορωδία, ΟΕΒΧ)
directed by Michalis Makris, student of L. Angelopoulos.
directed by Georgios Remoundos, student of L. Angelopoulos.
Romeiko Ensemble (Ρωμέικο)
directed by Yorgos Bilalis, student of L. Angelopoulos.
directed by Alexander Lingas, student of L. Angelopoulos.
Byzantion (Romanian choir)
Vatopedi Monastery Fathers Choir (Χορωδία Πατέρων Ι. Μ. Μ. Βατοπεδίου, Αγ. Όρους)
directed by Konstantinos Angelidis, student of L. Angelopoulos.
directed by Ioannis Arvanitis, student of S. Karas
Byzantine Choir of the Municipality of Paiania, Athens
directed by Konstantinos Markos, student of S. Karas
directed by Konstantinos Bilalis, student of S. Karas
"Agios Niketas o Neos" choir
directed by Ioannis Papachronis, student of L. Angelopoulos?
Musical Ensemble "Simon Karas"
directed by Tasos Fotopoulos, student of S. Karas?
Serbian choir "Moisey Petrovich"
Kovilj monastery choir
Choir of Agrinion
directed by Andreas Lanaras, student of L. Angelopoulos
Choir "Maistores" (Χορωδία Μαίστορες)
directed by Prof. Gregorios Stathis (read more about him below)
Maistores have imitated the EBX in doing the ancient (long) apechemata of the modes, in doing an entrance/exit hymn in their concerts, in placing the director in the middle of the choir and other respects.
According to analogion.com: The following sample tracks are from EBX's and OEBX's Christmas CDs respectively. (...) If I recall correctly, EBX's CD was published in the early 80s whereas OEBX's CD was published in the late 90s. Note that the style of the EBX has undergone significant change in the past 20 years so these recordings of the EBX are quite different than their more recent ones.
According to GKM: We are not to BABY-SIT and give credit to the slow EVOLUTION of IDIOSYNCRATIC
interpretations of our PSALTIC tradition, but to COMPLETELY ERRADICATE this
type of singing from our Holy Churches, for it represents a CASTRATION and
MUTATION of our Psaltic heritage. The slow progression from TOTALLY effeminate
to lesser so interpretations is NO SIGN of ADHESION to tradition, which
requires that one BEND one's head so as to listen to a TRADITIONAL psaltis, and
so as to learn PSALTIKI not only by chicken-scratching on palepographical
manuscripts, but by LIVING the TRUE practice of this chant, on the ANALOGION,
next to one's teacher.
Furthermore, it is a PITY that the official website of the Church of Greece enlists SIMON KARAS and some of his followers as « GREAT psaltis », without providing even a SINGLE recording of Iakovos NAFPLIOTIS. Finally, the official recognition of members of this school by the Patriarch of Constantinople gives them even more arrogance in their IDIOSYNCRATIC interpretations, and only a COMMON resistance and PETITION by the international community will help RE-ESTABLISH the CRITERIA of TRADITIONAL psaltiki, which the Simon Karas followers CONSTANTLY TRAMPLE upon.
of the Archangels by Ioannis
EBX [mp3, 1.7 Mb]
OEBX [wma, ]
Kratema (First Mode) by Ioannis Protopsaltis
EBX [mp3, 1 Mb]
OEBX [wma, ]
Kathisma of Christmas "Deute Idwmen Pistoi"
EBYX [mp3, 360 Kb]
OEBX [wma, ] (from ecclesia.gr)
Other recordings by choirs imitating or influenced by EBX
Pieces by the OEBX (from ecclesia.gr)
Koinonikon "O poiwn tous Angelous" [wma]
Pieces by the Kalophonarides (from ecclesia.gr)
Aineite (by Iakovos Protopsaltis) [asf]
Alleluarion (composed by S. Karas) [asf]
And more Easter pieces from ecclesia.gr
Pieces by Byzantion (Romanian) choir
(official site of the choir)
Lots of recordings of the choir [html] (from resurse-ortodoxe.com)
Pieces by Romeiko Ensemble
Maria (verse from Theotoke Parthene of P. Bereketis)
[wma] (from axionestin.org)
Pieces by Cappella Romana
St. Basil Apolytikion
Troparia for the Blessing of the Waters
Pieces by the Vatopedi Fathers
All tracks from their Holy Saturday CD
Pieces by Hagiopolites Choir
Byzantine Katavasiai of the Resurrection (transcribed from the old notation by I. Arvanitis from a manuscript of the 13th cent)
[mp3, 387 Kb]
(broadcasted by L. Angelopoulos and K. Angelidis on Greek radio)
Pieces by the Byzantine Choir of Paiania
Katavasiai of the Theofaneia by Panagiotis Chrysaphes (transcribed from the old notation by Konstantinos Markos)
[mp3, 635 Kb]
(broadcasted by L. Angelopoulos and K. Angelidis on Greek radio, low sound quality)
Extract from a CD published by the choir in 2004.
Pieces by Melodountes Choir
Katavasiai "Anastaseos Emera" (by G. Raidestinos) [wma]
9th Ode of Easter (by G. Raidestinos) [wma]
Christos Anesti (by G. Raidestinos) [wma]
Pieces by Choir "Moisey Petrovich" (Serbian)
Recordings of the choir can be found in their home page [html]
Pieces by Kovilj monastery choir (Serbian)
Recordings of the choir can be found in their home page [html]
Pieces by "Agios Niketas o Neos" choir
can be bought here [html]
Pieces by Musical Ensemble "Simon Karas"
can be bought here [html]
A CD of Tasos Fotopoulos can be bought here [html] (new)
Pieces by Choir of Agrinion
Σχολή Σίμωνος Καρά / Simon Karas' school
GKM: The INNOVATIVE, NON-TRADITIONAL and completely psaltically UNORTHODOX « systematic » approach to chanting, which has led to the COMPLETE destruction of our psaltic heritage, as developped by the « genius »
Simon Karas [html]
GKM: Some of the NUMEROUS followers of this COMPLETELY UNAUTHENTIC and UNORTHODOX and SECTARIAN « methodology » and « interpretation » of our Holy psaltic art are the following:
Lykourgos Angelopoulos, Archon Protopsaltis of the Archdiocese of Constantinople, the director of the Greek Byzantine Choir.
Georgios Kakoulidis, psaltis, director of choir "Georgios Kakoulidis" [html]
Konstantinos Markos, musicologist, director of the choir of the Municipality of Paeania, Attiki
Panayiotis Pappas, high school teacher of traditional music
(+) Marios Mavroeidis, University professor in musicology
Ioannis Arvanitis, musicologist, director of choir "Agiopolitis" (tribute by Ivan Moody)
Yiorgos Bilalis, psaltis, director of Choir "Romeiko Ensemble". [html]
Nikolaos Klentos, director of the choir of the Association for the Dissemination of National Music after Karas' death
Vasileios Nonis, psaltis (Eothinon "Meta Myron", Second Mode [wma, 1.8 Mb]
Anastasios Fotopoulos, musicologist, director of choir "Simon Karas" [html]
Georgios Sarris, psaltis
Yiorgos Bilalis, psaltis, director of Choir "Romeiko Ensemble".
Nikolaos Konstantinopoulos, psaltis (audio samples at ieropsaltis.com)
Hronis Aidonidis, folk music singer Chronis Aedonides
Domna Samiou, folk music singer
Theodora Varsou, folk music singer.
GKM: And many others, since this « methodology » is a RAVAGING our traditional music like a PANDEMIC.
People who have studied and have been influenced by the work of Simon Karas:
Prof. Gregorios Stathis has adopted many of Simon
Karas' teachings regarding the Modes, the stage appearance of a Byzantine
choir, the apechemata and other. Stathis also read an obituary speech at Karas'
GKM: Here's one fellow who can no longer keep his intervals and analyseis straight ever since confusing PALEO-ORNITHO-SKALISMATOLOGY and PSALTIKI (what he chants besides Archon Thrasyvoulos Stanitsas has NOTHING to do with his most contemporary renderings of psaltiki).
Dimitrios Nerantzis, Archon Didaskalos of the
Apostolic Reading, in his book regarding the analysis of the notation of the
Three Teachers, the influence of Karas' work on his research is evident.
GKM: Here's another fellow who cannnot chant a SIMPLE Cheroubikon without dragging it like a DRUNKEN sailor, and who is in need of Simono-karaïtic « paleo-ornithoskalismlatological » methodology so as to try to « decorate » his DECADENT singing style (especially as concerns Papadic hymns).
Dr. Georgios Konstantinou has written a theory book
which is a simplified version of Simon Karas' theory.
GKM: Now here is a « university » expert on the matter, who, with the help of Nerantzis, has re-edited the books by Konstantinos Pringos and has made them barely RECOCOGNISEABLE as to the original versions offered by Archon Protopsaltis Konstantinos Pringos and Archon Mousikodidaskalos Abraham Euthymiades.
Theodoros Vasileiou, psaltis. [html]
GKM: Here is another ACHRONOS singer [listen to this], who dares comment on the CHOICES of analyseis made by Iakovos Nafpliotis, based on the results of some « scientific » research, as he dares call his work.
It's no use commenting extensively the REST of the list, because we have anything from sentimentalist « synkinisis » singing to lyrical art .
Dimitrios Galanis, psaltis.
Nektarios Thanos, psaltis [html].
Vasileios Zacharis, psaltis.
GKM: Typical lyrical art singer, with a hypetrophic rendering of notes, filled with unestimable ASSURANCE and CONVICTION of « Patriarchal St. Sophia singin », accompanied by an additioanl set of FALTSO trills and vocalisations that CHARACTERISE the Simon Karas school's IGNORANCE of psaltiki (listen here).
Anastasios Mentakis, psaltis.
Panayotis Koutras, psaltis.
Nektaria Karantzi, folk music singer [html]
GKM: (.... and, what is even more so, « teacher » of « Byzantine music »). Now, here is a beautiful voice that has explored the area of a « sensuality » in her duo with Chronis Aedonides (epitrapezion singer) on « Erchomenos o Kyrios », filled with « synkinisis » [vocal, respiratory, and vestimentary], second in compare only to Ancient Greece's priestess, Olympia. Many young girsl feel that, since whe has had some special « blessing » by father Porphyrios, that they should be « praying » with this typical hysteric DEFORMATION of our praying PSALTIKI.
Many have been influenced indirectly following the example of the Greek Byzantine Choir of Lykourgos Angelopoulos (see above as well as here: [html]).
Many recent PhD dissertations and papers published by
the Institute of Byzantine Musicology, the University of Athens and Western
Universities heavily reference the work of Karas.
GKM: THIS is EXACTLY what is killing the few REMNANTS of TRADITIONAL folk music and psaltic art that managed to reach our times: Karas IMPOSED his group's interpretations of « traditional » musicover the national Greek radio, and influenced all those who today have become « university experts » on matters that can be learned ONLY by LIVE o/aural and visual psaltic, folksinging and folkdancing traditons.
This type of NON-SCIENTIFIC research by MUSCIOLOGISTS has led to the COMPLETE destruction of the VERY conception or our HELLENIC music.
It's pretty sure they probably all « dance » just as they sing: like a bunch of effeminate sissies or as drunken sailors.
Read all about the completely INNOVATIVE and NON-traditional theory of Simon Karas and his followers and .
Key words: Sissy choir Hypermachos Υπερμάχων Υπερμάχω Υπέρμαχος Simon Karas Σίμων Καράς αίρεσις αίρεση IDIOSYNCRASY heretic heretical ψαλτική τέχνη psaltiki psaltic art happy-go-lucky choir choirs ιλαροχορευτικές χορωδίες