Psaltopedia (Recordings) 
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Courtesy of our Russian brothers and friends
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Last update: 14 Feb 2006 (see “NEW” below…)
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Information per line / Informations contenues par ligne / Plirophories ana grammi
Book Service Hymn Date Text Score Language Interpretation Link Size
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HIGHLIGHTS – APERCU -
EPISKOPISIS
Men_12 12/25 Apostolos 1970 Hel Fr Eng Arabic TSOLAKIDIS, Stylianos, Proto
canonarchos mp3
Theia
Leitrougia Cheroubikon Argosyndomon, Mode
01, English 2005 Eng Adaptation GKM Hel Fr Eng Arabic GKM wma 2.5M
Triodion Apostichon3
Sun Lent/Kyr Nisteion Atenisai - Petros Pelop
Solo + Isson Pandekti Esperinos Mousiki
Bibliothiki Hel Fr Eng Arabic GKM wma 1.3M
Triodion Apostichon3
Sun Lent/Kyr Nisteion Atenisai - Petros Pelop Home
Choir. Pandekti Esperinos Mousiki
Bibliothiki Hel Fr Eng Arabic GKM wma 1.3M
Triodion Prokeimeon Mi Apostrepseis Pandekti Esperinos Mousiki
Bibliothiki Hel Fr Eng Arabic GKM mp3
Theia
Leitrougia Epistle Reading,
"paedagogical" recording 2005 Hel Fr Eng Arabic GKM mp3
Triodion Acathistos Kondakion Te Hypermacho Petros
Byzantios Protopsaltis 2003 Hel
Fr Eng Arabic GKM mp3 6.3M
Orthros Polyeleos Au Bord Fleuves _ Epi
Potamon-Chourmouzios Scr_pdf Hel Fr Eng Arabic GKM rm 1.6M
Polychronion Mpl01 200x Hel Fr Eng Arabic
Kyr KHOURY Elie Choir mp3 640k
Div. Lit Grande Ecténie + Kyrie (composition GKM)
Hel Fr Eng Arabic GKM wma 4.0M
New additions – Nouveautés – Nees Prosthikes
updated : 23 Feb. 2006
The Simonokaraïtiki psaltopathetic « worse than avian » INFLUENZA PANDEMIC is spreading VERY quickly, not only via classical editions of those who cannot defend themselves because they’re no longer in life, but also in via editions of books of those who completely rejected the Karas theories and interpretations, such as Iakovos Nafpliotis and his followers, of whom Constantinos Pringos was an Antaxios = worthy » student :
Iakovos Nafpliotis : Karas is a « Logios » = well-educated.. ; thiasiotis = fan of the psaltic art, EAN KAI DEN GNORIZEI autin = even though he is NOT familiar with it (brought to us by Angelos Boudouris in his 18-volume transcriptions of this great teacher).
So as help vaccinate those who are CONSTANTLY bombarded with this school’s psaltoCIDAL (as concerns traditional psaltic « ears ») interpretations (faltso from A TO Z...), I’m trying my best to record the Anastasimatarion of Pringos as QUICKLY as possible.
I don’t really have the time to scan the 1952 edition. If someone can do so, the ENTIRE world will be grateful, because the new edition contains « hyphesis and diesis » = the usual added garbage one can find in ANY decent manuscript this school has put their hands on...
Help vaccinate... and also do your best to help DECONTAMINATE the Hellenic genos (as for the rest of the world , I don’t really care.. they might really enjoy sissy singing, and that is a fundamental right... however, messing TRADITION by using the label « TRADITION » is a complete LIE and SACRILEGE.
There are many Hellenic syntactical errors in my “homelies”.and comments: someday, I’ll put all this in corrected, written form..; for the time being, just try to go to the ESSENCE of all I’m sharing with you.
Every time I complete a service, I will be adding it to the list below.
The classification logic is as follows :
Mode 01 to 08
001 = Comments/Scales +/- parallagi
002 = Parallagi
003 = Vespers
005 = Orthros
Orthr_Eothin O_x ==Eothinons
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Anti-Karas et al. HOMELIA: “They’re now contaminating PRINGOS!!!)
Mode 00 GKM Homelia Apologia 23-Feb-2006 23:55 2.8M
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Mode 01 Comments Scale Klimax 23-Feb-2006 23:58 3.0M
Mode 01 Parallagi 23-Feb-2006 23:58 1.5M
Mode 01 Esperinos Melos 23-Feb-2006 23:57 9.7M
Mode 01 Orthros Melos 25-Feb-2006 00:54 7.7M
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Mode 02 Comments Scales Parallagi 25-Feb-2006 00:55 4.1M
Mode 02 Esperinos Melos 25-Feb-2006 00:57 8.0M
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Feb
20 2006
Stoudion
March 20th, 2002.
as translated from the bibical languages.
Andrea ATLANTI
musicologist
Damien POISBLAUD, Gregroian chant specitalist
Hellenic
Psaume 134
Mode 3, Chourmouzios
direction : GKM
monophonarios : Dr. Dionysios TSIROS
_______________________________
wma
_______________________________
Psalms 19 and 20
Arabic
Canonarchisma (appaggelia)
Mode pl. 4
Elie KHOURY
_______________________________
wma
_______________________________
Psalm 20
French
Canonarchisma (appaggelia)
Mode pl. 4
Damien POISBLAUD
_______________________________
wma
_______________________________
Psalms 22 and 92
Arabic
Elie KHOURY, Dr. Ibrahim ISSID
_______________________________
wma
_______________________________
Psalm 134
Arabic
based on the Polyeleos by Petros of Peloponnesos
Elie KHOURY, Dr. Ibrahim ISSID
_______________________________
wma
_______________________________
Psalm 001
« Fericit », makarios (monk)
Mode pl. 4
St. jean Damascène Rumanian choir.
_______________________________
wma
_______________________________
Psaume 135
French
« Confessez le Seigneur »
Néo-Athonite.
Ada^ted in french by Andrea ATLANTI
direction ; GKM and Dr. Ibrahim ISSID
_______________________________
wma
_______________________________
Psaume 076
Slavonic, Hellenic
Great Paschal Prokeimenon
Fr. Pierre Simeonov
monophonarios : Dr. Dionysios TSIROS
_______________________________
wma
_______________________________
In the above « Epi ton Potamon », GKM was aked to provide something "soft", so as not to have people running out of the concert.
I blended in:
SLOW TEMPO, whcih is the way is should be, instead of the "high speed performances"...
parestigmenon analyseis, but with minimal flunctations around a polarised note, unlike what I'd really chant according to Patriarchikon hyphos.
lower volume than usual.
Less attack and vowel explosion.
Now, all this is allowed in tradition... So, where did we go wrong?
No one was able to sustain my chronos and slow tempo... they were all "speeding up" =="trechousin", and I had to "catch up" so as to "slow down"... Many times, I am preceeded, and I have to "make up for the error"... this led to highly IRREGULAR LOSSES in TEMPO. This is fatal in a chant with softened attacks, because tempo regularity is even more important.
The intervals are more or less correct, but Kato Pa , Bou, Di , Ke and Ano Pa are sometimes low (diatonic). The kliton isn't satisfactory, because the Bou equivalent is low (the Ga equivalent was performed differently andmy voice,was covered by a ven lowern note (which is EXACTLY where it was int he first place, without fthora)..
The monophonarios is of exceptional quality, but the hyphos isn't exactly patriarchal.
The Rumanians doing isson had already extenuated because they could not understand "progressive" isson changes vs "mechanical" changes.
All in all, the onely interesting element here is the isson « orchestration »
We might say that it boils down to "Solemnisation" because of lack of chronos. However the melisms are decent, and one may use this + the isson and, using much better chronos, may come up with a very beautiful interpretation of this piece.
After this experience, I finally understood that exceptionally talented psaltis do not suffice to bring out all of hyphos..
Ever since, I started working and recording alone because NO ONE listens, and that NO ONE is eithe willing or even CAPABLE of doing as I ask (except for my friend Nicolaos Pantelopoulos, with whom there is excellent psaltic "osmosis").
Never again will I direct a group..... just myself.. and I will therefore have no excuses for anything bad...
I'll try doing a full version here at home (including the kratema).
Feb 14 2006
Div. Lit Grande Ecténie + Kyrie (composition GKM)
Hel Fr Eng Arabic GKM wma 4.0M
Div. Lit Ecphonèses-Credo-Réponses (Chantziathanasiou, Kanellidou: adaptation Andréa ATLANTI) Hel Fr Eng Arabic GKM wma 9.0M
Triodion Apostichon3
Sun Lent/Kyr Nisteion Atenisai - Petros Pelop
Solo + Isson Pandekti Esperinos Mousiki
Bibliothiki Hel Fr Eng Arabic GKM wma 1.3M
Triodion Apostichon3
Sun Lent/Kyr Nisteion Atenisai - Petros Pelop Home
Choir. Pandekti Esperinos Mousiki
Bibliothiki Hel Fr Eng Arabic GKM wma 1.3M