Byzantine Music / Preface: These new CDs are not being introduced as a simple addition to the consumer mark

et, as they were produced with the consciousness that authentic Byzantine melody is not music intended for popular consumption, nor can it become an object of c ommercialization. On the contrary, Byzantine music belongs to the realm of trans cendence. It is word [logos] in musical form, the word of revelation and disclos ure of truth and the experience of the Church that is not related to the provoca tion of the senses, emotion, pleasure, or delight. The beauty, therefore, of Byz antine music does not have an aesthetic basis, but rather an ontological one, wh ich imprints and defines this beauty in both an iconic and Eucharistic fashion i n the Divine Services. In this way, Byzantine music with its archetypal and beauty-loving [philokalic] models is the witness of the worlds transfiguration towards the image of Christ a nd the petition of all creation to the Uncreated One, which in return gives to h umanity imperishability, eternity, and divine beauty. Further, Byzantine music i s the unceasing song of Angels, and humanitys expectation of resurrection and the life of the age to come. Given these premises, Byzantine music can exist and be understood only in the context of the Holy Services of the Church. In this case, these new CDs reflect specific scholarly proposals that may be stu died further for the experiential and ecumenical nature of the antiphonal and ch oral liturgical melody, with the conviction that it will return to its plain and authentic formulations. In particular, these CDs present to the music-loving public the chanting traditi on of the Holy and Great Church of Christ of Constantinople, the center of the O rthodox Church, to which all other local Orthodox churches throughout the world follow in stride and conform to. From this position, we express our deepest resp ect and gratitude to His All Holiness the Ecumenical Patriarch Bartholomew for h is assistance and paternal love during the implementation of our scholarly resea rch over the past year 2007-2008 at the Phanar so that the above mentioned work might be brought to fruition, a work that is offered and dedicated to the achiev ement of the goals set by the Association of Friends of Music in Pera, Constanti nople. The promotion of scientific research and the utilization of the audio material o f the phonographic records that were recorded by the Protopsaltis of the Great C hurch, Iakovos Nafpliotis, was realized with the contribution of the European pr ograms INTERREG and EPEAEK, programs actualized at the Patriarchal Institute for Patristic Studies of Thessaloniki [19972000] under the supervision of the author . The costs of the production were kindly covered by the entrepreneur Nikolaos E . Manos. The following people also contributed to this project: Miltiadis Pappas , 1st Domestikos of the Great Church and Dr of Historical Musicology, Stelios Be rberis, Assistant of Patriarchal Choir, and Georgios Patronas, Musico-pedagogue, Doctoral Candidate of the Department of Music Science and Art of the University of Macedonia. Antonios E. Alygizakis Archon Hymnodos of the Holy Great Church of Chrst Unversty Professor Byzantine Music / Epilogue: The Great Church of Constantinople is the center of Orthodoxy, around which a mi ghty cultural center was established. In this way, the Church and the State esta blished together a common ecumenical and supranational institution of friendship and cooperation in the entire duration of the Byzantine period. Within this framework, the Byzantine musical culture was developed, a culture th

at spread throughout the Mediterranean basin, the Balkans and the West. The hyphos of the Great Church is not an aesthetic category, but an ontological one, determined by the Eucharistic experience, which is a communion of love, rev elation of the truths of the world, the relationship of the created and the uncr eated and the coming of the end of days. The music of the Great Church and the entire Orthodox world serves ecumenical an d existential realities and enshrines the entire mystery and life of those in co mmunion with Christ. Its beauty, therefore, and its hyphos is one of thanksgivin g and its mission is to bring us the knowledge of the new world of grace. The Patriarchal chanting hyphos is assimilated after long and persistent trainin g at the Patriarchal musical choirs. The Protopsaltis is the central personality who attunes to and directs the entire ecclesiastical typikon. The Protopsaltis Iakovos Nafpliotis completes an era in the Patriarchal chanting tradition. His beautiful voice and many years of service contributed to the sys tematization of the method of interpretation during the second and third decades of the 20th century, that become a school. Then, he recorded a great series of Ecclesiastical hymns. These recordings constitue a monumental work and an intern ational storehouse of invaluable cultural and scholarly value. Iakovos Nafplioti s left his mark on the subsequent training and bringing to light the work of cha nters with his active work in the musical associations of Constantinople. ANTONIOS E. ALYGIZAKIS

. Byzantne Musc Byzantine Music is the eternal song of the East, inspired by the ancient hymns t o Yahweh, the psalms of David, the spirit-bearing, new, resurrectional hymns of the Church, of the communion in the cup of eternal life, of the unwaning light, of the unaging eon; Byzantine Music is the Song of Songs, sung thousands of time s from the gates and shrines of Zion, Damascus, and Antioch; the catacombs, mart yria, and holy wells of Rome; the hermitages of the desert, the high vaults of t he Hagia Sophia, the litanies of the Book of Ceremonies, of the Patriarchal Cour t and Palace, the all-night vigils of the Holy Mountain of Athos, the gathering of the multitudes for the vigils of Thessaloniki and the quadrophonal alliteratio n of the Slavic churches; all these represent expressions of Byzantine music. Byzantine music is also the philokalic, monastic, and kalophonic psaltic melody of Angel-voiced melodists and masters of the Byzantine tradition: Romanos, Sever us, John of Damascus, Xenon Koronis, Emmanuel Chrysafis, John Plousiadinos, Akak kios Chalkeopoulos, Theophanes Karykis, Joseph the Monk, Demetrius Damia, George Radestinos, Panagiotis Chrysafis, Germanos of Neon Patron, Balasios the Priest, Kosma Makedonas, Damian of Vatopedi, Petros Bereketis, and many others. Further, Byzantine music is the Patriarchal hyphos [style] of the First Chanters [Protopsaltoi] and Second Chanters [Lampadarioi] of the Holy and Great Church o f Christ in Constantinople. Among the most famous are: Panagiotis Chalatzoglu, J ohn of Trabzon, Daniel, Peter the Peloponnesian, James, Peter the Byzantine, Emm anuel, Gregory, Constantine, John, Stephanos, Gregory Redestinos, and Nicholas L ampadarios. The righteous voices of our Athonite fathers and teachers Matthew of Vatopedi, Daniel of Docheiariou, and Joasaph of Dionysiou, also followed this h yphos. Byzantine music, in the end, is the global melody of nations and peoples that in terprets and brings forth values of universal scope, such as freedom, justice, a nd human rights. Byzantine music has been sung by different peoples, races, and

languages: Greeks, Egyptians, Libyans, Thebans, Palestinians, Arabs, Phoenicians , and Syrians to name a few. They translated the music into both ancient and mod ern languages: such as Slavonic, Georgian, Arabic, Finnish, and English. It has been sung by old chanters, newer musicians, and Ottoman troubadours, each in the ir own manner. Above all, however, Byzantine music is the mysatgogy of the thearchic and precio us hymnody of the Angels. It is the authentic existential expression that exalts one to the immaterial archetypes of beauty and goodness and whose melodies come to the material world as a resonance of noetic propriety. Undoubtedly, therefore, Byzantine music is itself the very testimony of life, de ath, and eternity, as well as the ecumenical destination of Church. With these presuppositions the history of the Byzantine melody is intertwined wi th the liturgical experience, within which the art of composition [melurgy] is f ashioned. The melurgist, that is the melodist and musician, is the ecclesiastica l composer, whereas, melurgy signifies the process of setting to music the texts of the Psalter and of other early Christian poetical forms that came to be call ed troparia and that define the eight modes [tropoi] of melodic composition. Con sequently, the syllabic models of the Psalms and troparia made up the initial co ntent of Byzantine Music. Subsequently, the evolutionary forms of the sticherari c and hiermologic melodies were formulated. All of the above musical creations d raw their names from their place in the typikon, which records in detail the str ucture of each church service. In the end, Byzantine Music is one of the richest, independent, musical traditio ns. Its content is wholly ecclesiastical. Its internal elements, however, are as sociated with the artistic and philosophical perceptions of Greek antiquity, suc h as the tropic musical system, the choral parts of tragedy, the ontological con siderations of beauty and of the world, which are realities that are liberated f rom corruption and death. For all of the above reasons, the multiple interest of scientific research in Byzantine Music is readily comprehensible. . The Patrarchal Style Hypos of the Great Church of Constantnople The Ecumenical Patriarchate and the Great Church of Christ are identical and int erwoven concepts that indicate that the Church of Constantinople is the Mother C hurch and first throne within the hierarchy of the Orthodox Church. Its authority is clearly spiritual and its identity is authentically Apostolic. In particular, every aspect of its function derives directly from the Eucharistic synaxis and the Churchs liturgical typikon, which is entirely unique throughout the world and axiomatic hyphos of the Great Church of Christ. The concepts, therefore, of the Ecumenical Patriarchate and the hyphos of the Holy and Great Church of Christ o r Patriarchal hyphos are not natural or aesthetic categories, that is, they do n ot describe a physical or geographical dimensions, nor artistic or literary styl es or rhythms. Rather, they are ontological categories which refer to ecumenical , historical, and existential realities, such as the relationship between create d and uncreated, the Eucharistic transfiguration of the in abited world into the person of Christ and the worlds reference to eternity and the triune communion. Consequently, the chief aspect of the Patriarchal hyphos is the way in which the liturgical rites and particularly the holy Eucharist are experienced. This way be ars no relation to the satisfaction of the senses or the submission of our emoti ons, but rather it is the revelation of the new world of grace, the experience o f the Church and reflection of the expectation of the end times [eschata]. The dimension of this liturgical act is formulated with inspiration in the Patri archates publication, The Ecclesiastical Typikon according to the Hyphos of the Gr eat Church of Christ. Ultimately, then, the hyphos of the Great Church is the exe mplary organization of all those elements which compose the holy services and li

turgical assemblies and that comprise the experience and the catholicity of the Great Church of end times. In this way the Patriarchal hyphos of the Great Church of Constantinople saturat es an entire array of ecclesiastical activity with one powerful cultural core. T his core shapes a variety of expressions and formulations of Christian teaching and art, such as architecture, liturgical theology, holy readings, word [both dr awn and musical], the staged adornment of the ecclesiastical typikon, vestments, miniatures, ecclesiastical choirs, liturgical vessels, litanies, the kinesiolog y, lamp-lighting, the offering of incense, and many others. The Great Church of Constantinople, according to the ancient tradition as expres sed by St Romanos the Melodist, is the ground upon which lays the throne of the C hurch. The same position is formulated in the Book of Ceremonies, written by the emperor Constantine VII Porphyrogenitos. From the descriptions the majestic fest al assemblies it is clear that the Byzantine state and Church had an ecumenical mission with stable supranational institutions of friendship and cooperation. Th e Great Church was the established epicenter of the brilliant, royal, festal cel ebrations, which obviously promoted a type of league of nations, a global novelt y of Byzantine civilization. Today, in the Phanar, the Ecumenical Patriarchate has the same goals and fulfill s its mission, while at the same time safeguarding traditions of the Great Churc h in the most luminescent and venerable Patriarchal Cathedral of St. George in C onstantinople. These institutions honor the entire international community and, especially, the Turkish Nation. Indubitably, the Byzantine and post-Byzantine musical culture is born and shines forth from within the Great Church and the Byzantine palaces. This culture deep ly influenced the musical traditions of the entire Mediterranean basin, both eas tern and western. Key elements, however, are detected in the functional mechanis ms of Byzantine, Ottoman and Turkish classic music. The Patriarchal hyphos may be approached only after arduous preparation and trai ning in the distinctive and unique artistry of the ecclesiastical melodies, whic h are selected for the liturgical needs of the Great Church. Certainly, the comp rehensive study of and familiarization in the Patriarchal hyphos can be realized only after a lengthy period of apprenticeship at the choirs of the Patriarchal Cathedral and in the various ranks of the choristers: Canonarch, Assistant, 1st and 2nd Domestikos, Lampadarios, and finally, Protopsaltis [First Chanter]. The program of musical education is both prescribed and inviolable. Similarly, the a ccommodation of the member of the Patriarchal choir to this particular musical e xpression, which is not related to the personal peculiarities of ones vocal abili ty, but rather to the sanctity and gravity of the ecclesiastical melodies. Given this, the Patriarchal hyphos is bound by specific stances of the body, movement s, expressions of respect, colorations, rhythm, restrictions of the phonetic ran ge of pitch, but also the strict observance the liturgical typikon. Among the mo st inviolable of rules of the Patriarchal psaltic hypos is the faithful assimila tion to the ways of rendering the liturgical melodies as inherited from older te achers. The Patriarchal hyphos, however, does not constitute an rigid reality, as is the case with the liturgical rubric of the West. In the East, with the Ecumenical P atriarchate as the focal point, the Orthodox experience shapes an intense cosmop olitan character from within the various local traditions. This phenomenon is fo und as early as the period of St Basil the Great [4th century], when this great Father of the Church spoke of one common tradition that had been established whi le simultaneously assigning its multi-nationalism and the regions in which the v arious tendencies would, before long, manifest themselves, something that is ind icative of their integrity and vigor. These tendencies will in suit feed the var

ious regional traditions which, as regards liturgical chanting, will become crys tallized in the form of local idioms and particularities of the local typikon. These local liturgical are formulated in a similar manner and are projected in a greater, yet specific and official rite of a greater area. In this way, the typ ikon is presented as a codification and certification of the good order of the C hurch. Consequently, the liturgical rites constitute an indication of the cathol icity of the Church and are nothing more than variants or idioms of the Churchs s ingle tradition. Such variations are the Byzantine, the Antiochian and the Alexa ndrine liturgical rites. Their mutual and reciprocal influence upon one another as well as internal motivations of the life of the Church created the traditions of the cathedral and monastic rites. It is evident that these forms closely fol low the development of liturgical music. The Sung Office, with its elaborate system of psalmody consisting of 68 antiphon s accompanied by a great number of refrains, is the great privilege of the Great Church of Constantinople. On the other hand, the Monastic Rite alternatively di vides the 150 Psalms into twenty kathismata and sixty stanzas. Here, chanting is limited to a small number of psalms, the rest being read. The effects of these two different systems on liturgical tradition were decisive, despite the fact th at the Monastic Rite has taken the place of the Sung Office, which, in turn, bec ame more oriented to song than the Sung Office. It is easy for one to observe how the chanting tradition of the Great Church bec ame fixed, since this tradition influenced the entire Orthodox East. The specifi c characteristics of the liturgical melody in Constantinople were finalized with the advent of notation, which receives a local flavor from the acclaimed compos ers of the City, grafting even the Jerusalemite liturgical practice. The general reception of the Constantinopolitan chanting system and its particular idioms t hat were crystalized from the time of the Master John Koukouzelis [12th century] , as compared to the other local traditions of the Holy Mountain of Athos, Thess aloniki, Thessaly, Crete, and Cyprus, is a tangible reality that is further cert ified by the late-Byzantine manuscript tradition and even that of the Ottoman pe riod. However, in the 18th and 19th centuries the chanting style of Constantinople dev elops its own exclusive traits, which relate to all of the music of the feast da ys of the Church. During the same time period, the term hypos also appeared, a ter m that follows the titles of the collections of the Eirmologion, the Anastasimat arion, the Doxastarion etc. Evidently, the same title is entered in the Patriarc hal edition of the Typikon edited by Constantine Protopsaltis. This special trai t of chanting, which was to become in later years as the Patriarchal hypos, cons titutes the exclusive technique of the Protopsaltes [First Chanters] of the Grea t Church of Constantinople, a technique respected throughout all the local Ortho dox Churches. In conclusion, the hypos of the Great Church is a broad ecclesiological concept that projects the meaning of liturgical and Eucharist experience and the eschato logical perspective of the Church. The epithet, Great, of the primatial Church of Constantinople emphatically interprets the icon of the Great Church of the end t imes and the recapitulation of the entire world in the person of the incarnate W ord. Consequently, the hypos of the Great Church is one of Eucharistic and doxol ogical; it is the Thrice-holy hymn sung to the life-giving Trinity that is simul taneously offered by Angels and humans at the Divine Liturgy and that admonishes the faithful to leave aside all worldly concerns in order to receive the King o f all. . Iakovos Naufplots, Protopsalts of the Great Church [ 1910-1939 ] Iakovos Nafpliotis, endowed with rich vocal talent and a deep knowledge of the a

ncient Patriarchal hyphos, was a watershed in ecclesiastical music, by creating a special school of interpretation that has been disseminated to the entire Orth odox Church. This, on the one hand, is due to Iakovos long-lasting and successful tenure at the Patriarchal Cathedral, and, on the other hand, to his coordinated efforts to codify the old musical practice, many of which he wisely recorded on a phonograph with the encouragement of the Patriarch. This monumental work cons titutes an important deposit on a global scale of great scholarly and cultural v alue. Iakovos Nafpliotis, whose family came from the Island of Naxos, was born in 1864 . At a young age, he went to Constantinople and became a student at the Great Sc hool of the Nation. He was a descendant of a large and old family of Naxos and o f Santorini, dating back to the 13th century, that had both Byzantine and Veneti an roots. During the Ottoman period and after the establishment of the Hellenic State, his predecessors and relatives attained many high political and ecclesias tical offices of the local society. His father served for an extended period of time as Protopsaltes of the Metropolitan Cathedral of Naxos but subsequently ret urned to the Imperial City. Iakovos, at a young age, served as a canonarch at th e Holy Church of the Savior, Galata, from where Patriarch Joachim transferred hi m to the Patriarchal Cathedral. Thus an early age he began his musical activitie s, studying and simultaneously serving the choirs of the authentic chanting stan ds, the Patriarchal choirs, his teachers being his predecessors, the protopsalte s, lambadarioi, and domestikous. Thereby, he served for sixty consecutive years, having covered all the ranks of the Patriarchal; Two of his predecessors teachers contributed mainly to the shaping of the musica l personality of Iakovos, the Lampadarios Nikolaos and the Protopsaltis Georgios Violakis. His first teacher taught him the older selections of music and oriented Iakovos solidly towards the sophisticated artistry of the slight nuances and interpretat ions of the Patriarchal hypos. This teaching was completed after many years of s ystemic practice at the Patriarchal services. Nikolaos the Lampadarios was the l ast person to use the musical script of Peter the Peloponnesian. Conversely, Iak ovos chanted the same music using the new notation. In this way, he understood m ore completely interpretations of Nikolaos, who, as all the Patriarchal chanters , enriched his music with calculated analyses, without distancing himself from t he classical line of musical formulae and the general morphological icon of comp osition. This achievement of analyzing the music in such a fashion was never wri tten analytically, but was meticulously memorized, so that it would not be corru pted with excesses, something that the Patriarchal typikon never permitted. At t his point, we can see the true strand of the approach of the Patriarchal musical tradition. From this point of view, Iakovos service at the Patriarchal chanters s tands was especially successful, exemplary, and fruitful. Iakovos second teacher, Georgios Violakis, inspired in his pupil the love and res pect for the simple lines of the holy hymnody. He initiated Iakovos in the syste matic study and research of ecclesiastical and secular music. Thanks to the cosm opolitan environment of Constantinople, these subjects were highly developed due to the especially high educational and cultural standard of the City. In partic ular, as first Domestikos, with the help of the Protopsaltis, Iakovos contribute d greatly to the operation and development of the Ecclesiastical Music Associati on. He participated in the administrative, artistic and scholarly activities of this important cultural institution of Constantinople, which had its headquarter s at the Patriarchate. In this period, one of the most important works of Iakovo s was his paper read during the activities of the Association and the publicatio n of manuscript of the theoretical tract written Panagiotis Chatzaoglu, the Prot opsaltis of the Great Church himself. This publication also included extensive n otes by Iakovos. The comparative research of Chatzaoglu, as well as the methodol ogical systems of Arabo-persian and Ecclesiastical music, and the prefatory rema

rks of Iakovos are among the most important scholarly musicological material fro m this period. In 1899, Iakovos, as the first Domestikos, along with the second Domestikos, K. Klabbas, undertook the publication of the Doxastarion of the Prot opsaltis G. Violakis. Iakovos also systematically occupied himself with musical education, a work whic h was both rich and complex. He taught first at the School of the Ecclesiastical Music Association and after that in different schools: the theological school o f Halki, the Great School of the Nation, the Elementary School of the Phanar, th e Zappeion, the Iokakeimeio School for Girls and others. His program included a selection of school and ecclesiastical music, issues of the typikon, and musical theory. The fruit of his educational work was the musical book Phormix, which w as published in 1894 at the Patriarchal printing house. It includes musical scri pts of the author in the Byzantine musical notation, so that he could have used it as an aid in the schools in which he taught in Constantinople. Even more important were the attempts of Iakovos to enhance the role of chanter through the establishment of a union. To this end, together with the Lampadarios Eustathios Viggopoulos and other distinguished musicians, he founded in 1819 th e League of Chanters of Constantinople, which of course was put under the high p rotection of the Patriarchate. The Association was short lived, and lasted only until 1923. The constitutional provisions that were implemented for the foundati on of this organization were used as a basis for a wider corporate and unionist activation of the branch that was rekindled in 1948 with the foundation of the A ssociation of Friends of Ecclesiastical Music, which later became the Associatio n of Friends of Music in Constantinople. Approved by the city officials on the 2 0th of March 1953, this organization continues to work as a recognized legal bod y today. The Associations offerings and actions continued until the end of the 20 th century, but it is constantly renewed based on the contemporary standards of our time. Due to a fortunate consequence, at the initiative of the Association I akovos established and cared for 90 years ago, the greatly significant phonograp hs of the Protopsaltis Iakovos Nafpliotis are once again being released. The Protopsaltis of the Great Church Iakovos Nafpliotis was duly honored for the work he offered. However, he was also criticised, as often happens to all peopl e who hold important positions. In particular, two Patriarchal Pittakia, one by the Patriarch and the other by the Holy Synod, which express high regard and gra titude. The first such document was written on the occasion of the completion of fifty years of service of Iakovos. It was was given during the tenure of Patria rch Basil III in 1929. The second was given at the time of his death in 1939 dur ing the tenure of Patriarch Benjamin, in honor of the Accomplishments and disting uished service for sixty years at the holy Center. It was given for all of his as siduous efforts to correctly observe the ancient hyphos, which he inherited from his predecessors and teachers upon his accession to rank of protopsaltis, and g enerally on account of his sanctified and disciplined dedication to the Mother Ch urch. Indubitably, the perseverance of Iakovos to the tradition of Liturgical mus ic and his refusal to create polyphonic choirs with many members or even with im pressive monophonic interpretations was the reason for certain isolated criticis ms against him, none of which had any basis. Related to these criticisms, are th e articles of G. Pachticos in the periodical Mousike, which note a temporary suspe nsion of Iakovos by Patriarch Meletios IV and Iakovos appearance at the Metropoli tan Cathedral of Athens during a Vespers Service, towards the end of his life, a t the invitation of Archbishop Chrysanthos, and old friend and admirer. All in all, Iakovos Nafpliotis during his lengthy tenure in the Great Church sys tematically worked for the organization and application of the rules concerning the Patriarchal musical hyphos. Along with this, he also was interested in music al education, upgrading the ranks of the chanters and seeing to the promotion of their training through various cultural and scholarly activities of the musical organizations of Constantinople. Iakovos kept a rich library with many importan

t old musical manuscripts, which were photographed by Simon Karas and his team i n 1939. v. The Recordngs of Iakovos Nafplots The phonographic recordings of Iakovos Nafpliotis constitute a monumental work o f special cultural and scholarly value. Their production became a reality under the Blumental Record and Talking Machine-Orfeon Record, by way of gramophone rec ordings, from 1914-1926. Afterwards, they were offered by Odeon on 78 speed reco rds. The quality of the second production was noticeably improved and demonstrat es the true characteristics of Iakovos voice. The future protopsaltis, Konstantin os Priggos, participated as a helper on many of the records under the Orfeon lab el. He also performs the Allelouarion of the Apostolic Reading. The research into the discography of the above 78 speed records, related to the collection, recordings of contents, listing, digitalization of photographs and s ound recordings, as well as the retouching of the sound and pictures lasted abou t two decades and was materialized within the framework of the scholarly endeavo rs of the author. In particular, the recordings were collected and fifty eight [58] phonographic r ecords were examined: fifty from Orfeon and eight from Odeon [along with two sou nd recordings]. Additionally, related recorded material that had been recorded i n the US was also studied, evaluated, and utilized. In this way, from the above described original means [discs, film reels] the analogical sound material was t ransferred to digital medial [DAT] and then to CD. All in all, the recording und erwent editing for the deletion of outside sound and the improvement of the soun d signal by means of PC and was finally archived on CDs. Based on the data cited on the records of Orfeon and the information collected f rom the recorded material that was not documented on the records with precision, an extensive alphabetical catalogue was created, indicating the incipits of the hymns, two hundred one [201] titles in total. In particular, the catalogue incl udes, first and foremost, the information of the labels, which pertain to the ti tles of the work: ORFEON RECORD [ORF], the incipits of the hymns and the full na me of the Protopsaltis, and his assistant, whenever one participated in the reco rding. The four and five digit numbers engraved on the vinyl were also registere d, as well as the five and three digit numbers of the labels. From the above research the results are as follows: 1. the discs were released in four groups. The first three groups are designated by a four digit serial number insert, engraved on the vinyl, whereas the fourth group has a five digit engraved number. Specific to both categories, the first number shows the movement of the products from the factory in four groups corres ponding to four time periods. 2. In the first, second and third period, the numb ers correspond as described above, but in the fourth period the second digit is unified with the first. 3. Furthermore, the second number on the label documents the movement of the production of the factory in the four periods mentioned. It is observed, however, that the second number does not always follow the serial, as does the first number. 4. The numbers designate the recordings which are reg istered on the two labels of the two sides of each disc with the incipits of eac h hymn. 5. Each recording encompasses one or more hymns, when they are short in duration, or only one lengthy hymn, such as the Cherubic hymn, the Communion hym n, the Epi soi chairei Kecharitomeni, and others. These longer recordings procee d on the second side of the disc. Consequently, each recording makes up one side of the record. 6. Numerous recordings of similar content is included on the two sides of the records, in an absolute ascending order such as the above mentione d lengthy hymns, the double proemium Te hypermacho stratigo, To prostachthen mys tikos, the kontakion of the Akathist Hymn, the antiphons, the Apostolic Readings

, the allelouaria, the Gospel Readings and other recordings from the Divine Litu rgy, the Small Paraklisis, and others. On the remaining discs the recordings do not follow the pattern of having the serial numbers correspond to their release from the factory, and as a consequence it is not possible to draw up a cohesive numerical list of records. 7. From the serial numbers of the recordings, it is a pparent that the period of record production is traced back to the years 1914-19 26. According to an unpublished discographic study of Miltiades Pappas, which was br ought to our attention, the information regarding the recording industry during the first quarter of the 20th century is meager. This information has to do main ly with the Blumental brothers, who were the owners of Orfeon Records during the years 1911-1912. Thus the recordings of Iakovos may have commenced at that time . They last, of course, until 1926 -because that is when the company closed its doors- and they continue at Odeon with the new technology that used a microphone and a preamplifier. At this point, it must be mentioned that the relevant studies about the phonogra phic recordings, the recordings, and the factory copies of the Orfeon and Odeon discs have not yet been completed. This is due to the difficulties in gathering all pertinent material. Yet, Hugo Strtbaum has brought about relevant discographi c research in a Christian Zwarg database, in which 46 phonographic recordings of hymns with 61 titles from Orfeon have been classified. From the seven discs of Odeon that were collected [together with two recordings] six belong to the Protopsaltis Iakovos Nafpliotis and one to Constantinos Prigg os. Particularly, the data of the labels which were documented in the alphabetic catalogue bear the inscription of the work of ODEON [ODE], the incipits of the hymns, and three numbers: one six digit number with an abbreviated citation at t he beginning and the numbering of side one or two at the end. The second three d igit number on the right side of the label is also inscribed on the vinyl. From the above, the following results are observed: 1. The engraved number that is wr itten as the third number on the label shows, as is the case with Orfeon, the pr oduction movement of the factory. 2. The other numbers of the label designate th e recordings and refer to the respective time frame that belong to the interwar years, that is, the late 1930s to the 1940s. 3. On the labels of the Odeon recor ds Germany is noted as the place of production, whereas Greece is noted on the o ne record of Priggos. The last record was not included in this work; it was prod uced later as a separate recording. To summarize, the phonographic records of Orfeon and Odeon collect an extensive repertoire of Byzantine music, which is considered to be one of the most importa nt cultural productions which to a great degree still affects the studies in thi s form of ecclesiastical art. The collection, classification, editing, and the r elease of this phonographic material will contribute to a broader familiarity wi th the tradition of the Great Church. v. Morphologcal Observatons of the Phonography The selection of the hymns, which Iakovos chose to record, demonstrates above al l the educational characteristic of the work. That is, the most important forms of liturgical music were used. Thus, from the plain musical syllabic forms of th e troparia - which are nonetheless characterized by a complex internal melodic u nity within the framework of the variable mechanisms of the tropic system of the ecclesiastical music and the arrangement of the liturgical typikon - the follow ing were used: dismissal hymns, kontakia, kathismata, kanones, magnific hymns to the virgin, exaspolitaria, antiphons, entrance hymns, verses, femes of hierarch s, etc. The rendition of these hymns demands a high level of theoretical knowled ge and many years of chanting and and much experience with the rites of the Chur ch. From the compound forms of ecclesiastical music, the structure of which repr

esents an exceptionally large catalogue of developed melodies and formed designs , slow and slow-fast pieces of the musical repertoire were interpreted: versions of Psalm 140 [kekragaria], idiomelic doxastica, Blessed art Thou hymns, eothina , prosomia, lauds, prayers for the hierarch, Christ is risen, slow sticheraric h ymns, dynamis, Cherubic hymns, Communion hymns, responses of the Liturgy, It is meet to praise thee, Allelouaria, Hail, unwedded bride, Alleluia, the Akathist, sl ow prokeimena, the epistle reading and others. The artistic planning of these pi eces of music, because of the calophonic and melismatic qualities, indeed, the f requent changes of their systematic method and voice systems [diphonic, triphoni c, tetraphonic, etc.] require a deep knowledge of musical theory, as well as a b eautiful voice, experience and an expanded vocal range. Generally, the interpretation of all the musical forms by Iakovos follows the Pa triarchal tradition using the characteristic analysis of the melody. Every analy sis is obligated to follow strict rules which give emphasis to the particular pi ece of music. In this way, the musical and poetic rhythms are completely identif ied, without the need to seek any conceptual or grammatical planning of the text . The powerful development of the continuation of the melodic phrase, without the interruptions of abbreviations, assumes a well-trained breathing system and cont inuous practice. Both of these are ensured at the frequent rich and long patriar chal services. These characteristic traits of chanting expertise that is closely connected to the written musical tradition are assembled in Iakovos memory, as w e can deduce from his effortless phonographic interpretations. From the quick syllabic melodies Iakovos interpreted the entire Canon of the Sma ll Paraklesis. This recording is indeed important because it imprints the scenic layout of that service. In an exemplary fashion, Iakovos demonstrates the range of the different single-strophe and many-strophe troparaic forms of Byzantine h ymnography amongst the common structure of the monastic morning service with the hymns, Theos Kyrios, the dismissal hymns, the kathismata, the canon, the Gospel , the Magnificant, the Exaspolitaria, and the Panton Prostateueis Agathe at the dismissal. The slow-fast and slow interpretations of Iakovos convey a clearly antique tradi tion. Iakovos truly interprets the figurativeness of the Byzantine melody and it s power to adapt to every time period. He understood the axiom that every good f orm of art is buttressed by the convergent power of its past, its present, and i ts future. In particular, his return to the beautiful-voiced melodies from the h ymn of Kassiani to the Idi vaptetai kalamos, the solemn hymns of Holy Week, the Haima kai pyr and the Antenise to omma are characteristically classic forms of B yzantine music and tradition which were recorded phonographically in a natural s tyle without any form of accompaniment, such as a ground bass. Iakovos did not u se the written score of these hymns, but kept them in his memory, considering hi mself as simply one link in the chain of tradition. This dimension of his work w as not properly understood, to the point that some scores were mistakenly attrib uted to him. Besides, he did not publish any books, an action that would have fo rced him to standardize the Byzantine tradition, diminishing its authenticity, w hich, in the realm of the Orthodox East, does not allow for any subjective eleme nt, as well as the development of the personal artistic ability, to enter therei n. In his recordings Iakovos interprets old and new hymns of distinguished hymnogra phers and poets, both known and unknown. Amongst them one can find the great Byz antine poets: Romanos the Melodist, John of Damascus, Kosmas the Melodist, Kassi ani the Nun, the Emperors Justinian and Leo the Wise. Distinguished composers an d teachers wrote their music: John Kladas, Daniel the Protopsaltis, Peter the La mpadarios, and Iakovos the Protopsaltis. The hymns from the anonymous musicians comprise the feme Ton despoti kai archierea, and the Christ is Risen, but even mor

e important solemn melodies are chosen, such as the Great Prokeimena, the Psyche mou, psyche mou, Allala ta cheli, the Panton prostateveis Agathe, and the Idi v aptetai kalamos. Finally, interesting melodies from the Thrice-holy hymn are als o recorded, as well as the Synithismenon and the Dynamis of Georgios Kritos, and a Communion hymn of John the Protopsaltis. At this point, it must be mentioned that historic circumstances forced Iakovos t o reconsider to some degree his stance on the severe observance of the old eccle siastical repertoire. In this way, a novel interpretation of Byzantine music app eared at the Patriarchate, which however grafted the proper general style of the Great Church. It is possible to observe this mostly in the hymns of the Divine Liturgy, such as the Cherubic hymn and other liturgical hymns, on which the youn g canonarchs whose voices have not yet changed offer assistance. It is known, th at the Protopsaltis Iakovos endured powerful confrontations over issues of eccle siastical music because of his attachment to the ascetic and modest nature of th e music. This resulted in his various initiatives that came as a response to the exhortations to create larger choirs in the Patriarchal Cathedral. The Patriarc hal liturgical hymns he recorded on the phonograph in Pl. 4th mode and the Cheru bic hymn [Pl. 1st mode] clearly demonstrate his unwavering respect to the liturg y. These melodies comprise the standard for the regeneration of Byzantine music, which to this day are the most popular and pleasing pieces. The truly ingenious musicianship of Iakovos appears, along with others, in his r ecordings of the Apostolic and Gospel Readings. We had the good fortune that the Epistle Reading of the Sacrament of Holy Baptism and the First Resurrectional G ospel were salvaged. Unfortunately, we found the Gospel reading from the Small P araklesis and the hymns Doxsa Patri, Pater Loge Pnevma, kai nyn, Tes tis Theotok ou, Mi katapistefsis me on a shattered disc. The unique and very important phonographic recordings preserve the authentic tra dition of ekphonetic melodies, just as it has been preserved at the Great Church . It is thus possible to have a technique which is essentially supported by a co nstant and austere melodic form which is governed by a precise design, rather th an to have either chanted-reading or plain reading, excluded from worship on acc ount of its subjective or ostentatious element. It can be observed from the phonographic recordings that Iakovos Nafpliotis adhe red to the ancient tradition of the Patriarchal hyphos. He refrains from every n ew attempt of enrichment of the musical repertoire and systematically occupies h imself with the classification of the interpretations by the chanters of the pas t. His exemplary efforts to display Byzantine music, as he inherited it from his predecessors and his rich phonetic qualifications rendered him a chief interpre ter and a preeminent teacher. Of course, the fact that he did not work on compos ing himself is due to his conscious choice to work exclusively and deeply with t he art of the interpretation of Byzantine music, which of course he imprinted in his phonographic works. This indicates that the methodology and the educational outlook of his work, which he demonstrates with his voice on the phonographs, c hanting by heart together with one of his best students and successor of his wor k, Konstantinos Priggos, who in fact succeeded him as Protopsaltis in 1939. It s eems as though Konstantinos Priggos was pressured by his students to produce mus ical collections, such as Great Week, the Anastasimatarion, and the Doxastarion. He himself expressed his hesitation for undertaking this initiative, a hesitati on that stemmed from his absolute respect for the chanting tradition that he rec eived from his teacher Iakovos Naupliotes and that he handed down to his student s, who were to become Protopsaltes. It is concluded from the researched done on the phonographic records that the current most learned musicologist the Archon P rotopsaltis Leonidas Asteris unwaveringly chants their melodies within the same framework of memorization of the Patriarchal hyphos.

v. Professor Antonos E. Alygzaks Antionios Alygizakis is a professor of Byzantine Chant and Musicology at the Uni versity of Macedonia. He is also the choir director of the University Byzantine Choir, Artistic and Scholarly Head of the Center of Ecclesiastical Music-Byzanti ne Liturgical Choir. He is a Protopsaltis, interpreter, composer, and researcher of Byzantine music and author of many musical works and scholarly musicological discourses. He was born in Heracleion, Crete in 1946. He studied Byzantine music at the Hell enic Conservatory, theology at the University of Thessaloniki with a scholarship from the Government Scholarship Foundation [IKY], where he specialized in Byzan tine music and received his Ph.D. with honors. He then continued his post-doctor ate work in England. He participated in international musicological, Byzantine s tudies and theological conferences, presenting papers of original and unpublishe d material. His studies and publications deal with topics related to historical, theoretical, morphological, musicological, liturgical and hymnological issues t hat pertain to the Byzantine and post-Byzantine chanting traditions. As the Scientific Coordinator of the European programs INTERREG II and EPEAEK, h e established scientific research and teaching groups of Byzantine music, as he organized and equipped respective experimental workshops, thus realizing the reedition of eight tomes of old printed musical books in the series Psaltica Blata don of the Patriarchal Institute for Patristic Studies. He annotated and recorded on disc and CD hymns of the Divine Liturgy and parts o f the works of the post-Byzantine musicians Germanos of New Patra and Joasaph th e Teacher of Dionysios Monastery. The University Byzantine Choir chants in the a bove recordings. Furthermore, he chanted in many choirs in Greece and abroad. He organized international scientific conferences, within the framework of the In ternational Association of Byzantine Music. He is in editor and contributor of th e scholarly publication Melourgia. His recordings of the Anastisamatarion are soon to be released. He is also preparing his work, Byzantine Music, the Art of Musi cal Creation: History, Theory and Morphology. He was a student of esteemed teachers of Byzantine music in Thessaloniki and lat er a Protopsaltis in various churches. He taught Byzantine music from 1972-1992 at the Theological School and from 1992-1998 at the Department of Musical Studie s of the Aristotle University of Thessaloniki. He was honored with the title of Archon Hymnodos of the Great Church of Christ. v. Alphabetcal Lst of Recordngs [ see p. 40 ] v. Appendx: Notaton Sample Two of the most important recordings of Iakovos Nafpliotis: 1. the Cherub Hymn a nd 2. the liturgical rubrics. Basic music hymns of the Orthodox Liturgy, adapted to childrens voices that chant together with the Protopsaltis with limited inter ventive ground bass. These melodies are models of recreation of the Byzantine mu sic and are some of the most popular ones. Recordings from discs to post-Byzanti ne tablature. [ see pp. 49-52 ] Tracklist: CD1 : 01-Khristos gennatai 02-Esose Iaon 03-Megalynon psyhe mou, Mysterion ksenon 04-Theos on eirenes

05-Epeskepsato emas, Osoi eis Khriston 06-Me aporstrepses 07-Erkhomenos o Kryios 08-Khristos gennatai 09-Megalynon psyhe mou, Mysterion ksenon 10-Esose laon, To pantanaktos 11-Epeskepsato emas 12-Aima kai pyr 13-To prostahthen, Hallelouja 14-Te Ypermaho, Khere Nymfe 15-Tin Oraioteta 16-Atenisai to omma 17-Hallelouja, Idou o Nymfios 18-Ta pathe ta septa, E porne en klauthmo 19-Pasa pnoe, Erhomenos o Kyrios 20-En tais lamprotesi, O te psyhe rathymia 21-Ton nymfona sou blepo 22-Hallelouja, Ote oi endoksoi mathetai 23-Semeron krematai 24-Ede vaptetai kalamos 25-Ote ek tou ksylou CD2: 26-To pantanaktos 27-Ten Oraioteta 28-Se ton tes Parthenou, Ote e amartolos 29-Kyrie Erkhomenos pros to pathos 30-Ton pathon tou Kyriou 31-Me apostrepses 32-E zoe en, Aksion estin, Ai geneai, Kathelon tou ksilou, Erranan 33-Eulogetos ei, Ton Aggelon o Demos, Ti ta myra 34-Tis Theos megas, O Theos emon, Agapeso se 35-Deute labate fos, Ten Anastasin Sou 36-Khristos Aneste (argon) 37-O Aggelos eboa, Photizou photizou 38-Anastaseos emera 39-Kyrie ekekraksa argon, (B anastaseos) 40-Kateuthyntheto argon, (B anastaseos) 41-To Soteri Theo, Ekyklose me, Se ten yper noun 42-Eis to oros 43-Dynamis synethismenon 44-Dynamis G. Kretos 45-Osoi eis Khriston, Dynamis 46-Aksion estin (tou gamau) 47-Aksion estin (enarmonion) 48-Epi soi khairei, ten gar sen metran CD3: 49-Ten pagkosmion doksan 50-En te Erythra 51-Ton pathon tou Kyriou 52-Edokas kleronomian (Orfeon) 53-Edokas kleronomian (Odeon) 54-Hallelouja, Idou o Nymfios 55-Se ton tes Parthenou, Ote e amarttolos 56-Atenisai to omma 57-Nyn ai Dynameis A 58-Nyn ai Dynameis B 59-Psyhe mou, psyhe mou, Ten pasan elpida mou 60-Bouleuterion Soter

61-Porne 62-Doksa 63-Kyrie 64-Theos 65-Pasha

proselthe soi kai nyn, Kyrie e en pollais ekekraksa, Pasa e ktisis Kyrios, O eushemon losef, Ote katelthes ieron, Deute apo theas, Ai myroforoi gynaikes, Pasha to terpnon

CD4: 66-Semeron o Khristos en Bethleem 67-E gennesis Sou, E Parthenos semeron ton Yperousion tiktei 68-Ten heira sou ten apsamenen 69-En lordane, Epephanes semeron, En tois reithrois semeron 70-Sygkatavainon o Soter, Ouk epeshynthe 71-Semeron proerhetai 72-Ai geneai pasai, Nenikentai 73-Ton Agion Pateron A 74-Ton Agion Pateron B 75-Ton despoten (varys) 76-Kyrie eleison, Tais presveiais, Sosom emas, O monogenes Yios 77-Deute proskynesomen, Soson emas, Eulogetos ei 78-Kyrie soson tous eusebeis, Kai epakouson emon, Konstantinou tou Panagiotatou 79-Adelfoi, osoi ois Khriston, Hallelouja 80-To kairo ekeino, Doksa soi, Eis polla 81-Oi ta Khereuveim, os ton basilea, tais aggelikais, Eis polla 82-Oi ta Khereuveim, tais aggelikais, Eis polla (B recording) CD5: 83-Agapeso se Kyrie, Patera Ion, Eleon eirenes, Kai meta, Ekhomen, Aksion, Agios agios, Amin, amin, Se ymnoumen 84-Aineite koinonikon A 85-Aineite koinonikon B 86-Eidomen to phos, Eie to onoma, Ton despoten 87-Os ton ekhmaloton, Eulogetos ei, Ou siopesomen pote 88-Theos Kyrios, Te Theotoko 89-Ygran diodeusas, Pollois synehomenos, Pathon me, Sotera tekousan, Nosounta 90-Ouranias apsidos, Prostasian ke skepen, Iketeou, Euergeten, Khalepais, Diasos on, Epiblepson 91-Presbeia therme, Eisakekoa, Ton pathon mou, Eusplaghnias, Apolauontes, Oi elp ida, Akhrante 92-Photison emas, Empleson Agne, Lytrosai emas, Lyson ten ahlyn, Iasai Agne 93-Ten deisin, Thanatou, Os teikhos 94-Diasoson, Epiblepson, Akhrante, Prostasia 95-Oi ek tes loudaias, Ten emon soterian, Thesauron, Somaton 96-Metavole ton thlivomenon, Kyrie eleison 97-Ton Basilea, Tous boetheias, Ton iamoton, Tas astheneias mou, Ton peirasmon s y 98-Kyrios Theotokon, Roen mou, Kharas mou, Limen kai prostasia, Photos sou, Kako seos 99-Aksion estin, Ten ypseloteran, Apo ton polion mou, Desponia kai Meter, Psallo men, Alala ta kheilei, Pasai ton Aggelon 100-Apostoloi ek peraton, O glykasmos ton Aggelon 101-Deute teleutaion aspasmon