Analogion

Georgios K. Michalakis

A supporter of Patriarchal chanting tradition

ORIGINAL VERSION / VERSION ORIGINALE

(last updated : may 2007)

Georgios K. MICHALAKIS (GKM) was born in Montreal, Canada, and was a student (primarily) of kyr Stylianos TSOLAKIDIS [+1987] [html], the Protocanonarchos of Protopsaltis Iakovos NAFPLIOTIS. He also studied with kyr Alekos BARDAS [html], as well as uncle, kyr Nicolaos XERODEMAS (Greece, +1987]. He also studied sporadically under the late Archon Matthaios ANDREOU [html], and the actual Protopsaltis of Canada, Constantinos LAGOUROS [html], and was lucky to have chanted along the many talented and traditional psaltis of Montreal, as well as many visiting Athonite spiritual fathers. He has also benefited from the exceptional knowledge of occidental musicologist Andrea ATLANTI [html], student mainly of Zacharias PASCHALIDES, whose acoustic research has led to significant contributions with regard to elements that are indispensable for the correct interpretation of psaltiki.

The recording lessons made by the late Constantinos KATSOULIS [html], who very generously provided Georgios with 5 hours of Iakovos NAFPLIOTIS [html] recordings, were most beneficial, and are highly recommended to all those wishing to learn, “re-learn” or perfect their chronos attacks.

He is a staunch supporter of Patriarchal tradition according to the style of Iakovos NAFPLIOTIS.

Georgios' auto-biography can be found in ieropsaltis.com [html] (in Greek), and a good synopsis of his various teachers is given here [mp3] by Cretan psaltis, Evangelos LINARDAKIS (Cretan choir works = here, first choir presented in [html]).

Georgios has created the web site "Psaltopedia" [html] to express his views on Psaltiki.

Among his other contributions he has offered a large number of rare recordings, published on analogion.com and on graeca.canto.ru [html]. In the past, Georgios has written a lot about psaltiki in the discussion forum byzantinechant [html]. He now comments on his own discussion forum, psaltopedia [html]. His main concerns are about chronos, intervals and laryngismos, which he considers, in that very order, as being the very essence of paedagogy and common prayer.

He has studied and taught Greek folk (demotic) dance (12 years of practice). He has also taught Religion at the Aristotelis Hellenic High School of Montreal, and Cathechism (following church akoloutheies).

Georgios now lives France, where he’s studying medicine, molecular biology and musicology, and where he is contributing to psaltic adaptations and interpretation in French. He no longer chants in a church (ever since 1991). He has suffered of pharyngeal paresthesia, due to an episode of vocal strain in 1991, and is only now starting to slowly recover and use his voice regularly, in his apartment, so as to provide recordings, as a means of reviving his memory, learning new pieces, and sharing for free with all those interested in the very particular methodology of Patriarchal tradition, as he was taught by the Protocanonarchos, as well as the other traditional psaltis. He hopes that some young psaltis will be inspired, so as to listen to the great psaltis (his teachers and, in turn, their teachers and followers ), and make abstraction of the various errors made by GKM, so as to fill the churches with majestic psalmody, devoid of all superficial sentimentalism, which is finding its way into many spheres of everyday life, art and, at a rather alarming rate, in common church prayer as well, due to recordings that are made to listen in “car stereos” rather than reflect the true essence of psaltiki in church.

According to Georgios, the axioms of Patriarchal hyphos are as follows:

“Chronos and engagement into chronos”

(“Chronos kai lipsis chronou” or “Chronos aki palin chronos”)

“moderate use of equilibrated vocalisations”

“intervals are to be learned by means of slow parallagi along a competent teacher”

formular composition and interpretation,

using the system of the three teachers, which is self sufficient when complemented with correct paedagogy.
As far as composition is concerned, formular dictionaries will contribute extensively to correct composition, using classical formulae neumatic orthography.

“chronos is not rhythmos”
one has to do with interpretation, and the other with composition.
There are many ways to count chronos (simple, double, complex or “syneptigmenos”, “free = eleutheros”, slow attack = “kalophonikos”...).
As far as composition is concerned, there are many rhythmic variations possible to a given paleographic formula: from very extensive, with a certain regularity, to syllabic, with rhythmic irregularity, yet with an overall “rhythmoeides” construction.
Although some maintain that abbreviated formulae are a fundamental criterion of Patriarchal hyphos, Georgios maintains that the term “hyphos” should be limited to its constituents of correct interpretation, and that more extensive compositions should not be neglected: one should be able to chant them using Patriarchal hyphos.

“there are many rhythmic (composition), embelishments (analyseis = developments » and chronos variations »”:
their combinations lead to a vast repertoire that can cover anything from Gregorian chant, ecphoeseis of the clergy to papadic melos
There are many levels of chronos, and formular interpretation complexity, all must be learnt by means of o/aural tradition only (not using instruments).

“ena einai to ison” = “one is the ison : its very same self…
it is to remain invariable, and provides the very essence of diastemactic “harmony” and “context”. All intervals (= diastematics) are to be based on this ISON and not on theoretical books that give numeric approximations of what must actually be learnt by parallagi, ison tenure as well as chanting along beside a competent teacher

the paedagogy of psaltiki cannot and should not be different from the formular paedagogy of our Lord, and of His Ecclesia (master to student memory transmission, non-instrumentalisation of the human person, freedom of expression in line with continuity of common prayer tradition.

Vocal talent is good to have, but not indispensable: what counts is how each and everyone fructifies a God-given talent.

Below we present highlights of some of Georgios' recordings, some of them commented by himself.

Comments by Georgios (in his own terms) :

By the age of 10, I had heard many recordings of the most renowned psaltis, but had yet to hear the true Patriarchal psaltis. I had already learnt psaltic semeiography, and was « content » with my « progress »... and that's where I met Stylianos TSOLAKIDIS. From then on, all I wanted to do was « imitate » this God-sent tape-recorder of the Patriarcheion. The most representative recording of those years is the « Aineite », mode 4 Agia, which I chanted in Greece in 1986.

Later on, experienced psaltis such as Matthaios ANDREOU suggested that I find my own, personal « equilibrium », so a to « free » myself from mimetism. Having heard Stanitsas (« filtered » vocals) and Xerodemas (« super abbreviated formulae »), I decided to « explore » this path: that is the « style » you hear from 1991 (one year as « lonesome » right chanter in Montreal) and on.

I then came to France, and chose a city where I could « isolate » myself from psaltiki, a bit like the prophet Jonas. However, God put various French orthodox monasteries in my path, and, since I now had to « explain » things, I found myself having to « organise » my knowledge in some « clearer » terminology. Andrea ATLANTI contributed to this, and the end result is a whole set of « criteria » that allow one to analyse a psaltic interpretation. I « rediscovered » my voice, and « dug up » from my memory many of the things I had heard, especially from Stylianos Tsolakidis.

In the meanwhile, my trips to Greece for family reasons gave me an insight of present day so called « psaltic tendencies and schools », each more “delabrate” than its « competitor ». Although I always felt that our Orthodox Church has supported « decentralisation » and « personal » interpretation, there are bounds which, once transgressed, lead to anti-orthodox philosophy and practice.

It is thus that I came back, even more « fanatically » so, this time around, to the « Jacobian » Patriarchal style, which is the only authentic Patriachal hyphos: ever since a long way back, all those who have chanted or who still chant in the Patriacheion did not or do not necessarily have Patriarchal hyphos. Complete Patriachal hyphos put on record stops at Iakovos NAFPIOTIS... even Pringos had diverged, namely as concerns the Divine Liturgy (he is very true to his teacher, however, as concerns the remaining services, especially those of Holy Week, and the Anastasimatarion).

This « hyphos » has deep religious and philosophical roots, that have not as yet been understood by contemporary church singers and researchers, both groups which I attack overtly, because they have favoured either sentimentalism or intellectual « self-satisfaction » over « disciplined » learning beside a competent psaltis, which requires a lot of humility.

Given the psaltic chaos that exists in Greece, and the alarming spreading rate of contagious pathological singing throughout the world, it is through the means of our generous Russian friends as well as this website, analogion.com, both of which provide server space, that I hope to help awaken the planet as to what are the elements of authentic and traditional psaltiki.

My only hope is that the French monasteries and some of the clergy here in France, who have realised what psaltiki is all about, will help continue this long tradition, as it was taught in the past:
«akoue kai manthane = listen and learn ». In other words, the situation in Greece is even more hopeless than at the time of Iakovos and Boudouris.

Here is a « taste » of my « caustic » texts as concerns modern « castration » of psaltiki and demotic music, as well as «drunken sailor » singing: [html]. There is more in the Greek version of « psaltikomatheia and psaltikopatheia » homelia (see below), with examples of the pathological singers themselves in the French version.

My work for traditional psaltiki has been blessed in the past with a personal letter from the behalf of his Holiness Patriarch Bartholomeos and, as concerns psaltic applications to Gregorian chant, by two letters from the behalf of his Holiness, the Pope Benedictus XVI (see Nov. 30 2006 tribute page, below). My hope is that, with a return to older traditional chant, there will be a parallel awakening for older theological dogmas and traditions: we, as Orthodox Christians, must keep the doors of ecclesiastic dialogue open, all in being careful as to not betray our traditions and philosophy, as is the case for psaltiki: complete betrayal and occidentalisation in terms of conception and interpretation.

My latest recordings (« extensive mathimata of Holy Week », Jan. 2007) herald this return of mine to « essential, patriachal hyphos », as I have been taught, and must serve to counter those who feel that I did not « imitate my teacher ».

Stylianos TSOLAKIDIS had given me a « certificate » in which he refers to my learning as follows
« apo pleuras hyphous hyparchei exairetos » = from the point of view of « hyphos », he is « exceptional ». He had simply called himself « A Canonarchos »... I had insisted that he add « Domestichos », since he was a helper domestichos to Iakovos a couple of months before fleeing Constantinople... he added this « title » to please me... Stylianos TSOLAKIDIS wrote the certificate himself, because, after six years of my asking him « what is hyphos », he responded: « chant for me the following... » and I chanted by heart whatever he asked me to chant. He then told me: « that is hyphos! You've understood it. You are in line with tradition. You resemble my chanting. to a level of approximately 95%. You'll continue listening to Iakovos and me, and when you grow up, you'll reach a very good level... and you will contribute significantly to psaltiki, in your way ». He then wrote out the certificate, just so as to put down the final line: « apo pleuras hyphous hyparchei exairetos ». This is the best « diploma » I have ever received, because it connects me with the prayer and tradition of my ancestors.

Here's a very important comment concerning “close-up” recordings of this “school”: the way of expressing words, at times “chewing” while at others chanting “too abruptly” should not be evaluated in car stereos: - one should take the recordings and play them from the analogion position of some Greek Orthodox church having classical ecclesiastical architecture, while standing far away. This is the only way to understand the reason “why” Iakovos and his followers chanted the way they did: their objective was simply “complete comprehension” of the text, even for those standing in the “furthest away position”. The “nasal” effect is simply “absorbed” by the church resonance, and all the consonants are clearly understood, especially when there is choir chanting, because the consonants are in contrast with their accompanying vowels. Also keep in mind that they did not have “amplifiers” back then. This has nothing to do with contemporary “sentimentalist” singing, which focuses on the output of “nice sounds”, which reflects a typical “hysteric attitude” in an attempt to “seduce” the listener at all cost.

Some occidentals feel that “Oriental music”, especially “psaltiki” (which they simply classify as “oriental”), sound “old”, as if the “older generation” was getting some sort of perverse satisfaction in obliterating anything that sounds “young”. Even as a teenager (“koinonikon = Aineite, 1986) I sound “old”. This is a choice everyone wishing to do serious learning has to make. I chose to “imitate”. I then tried to “explore” vocal “filtering”. Finally, I came to the conclusion that psaltiki is chanted as it is because

a) old psaltis are not “kicked out... they are, instead, valorised. The “old man” vocals provid choral homogeneity. There is no “old age prima-dona = Maria Callas” phenomenon on the analogion”. A master is a master, and recognised as such, until his very last breath upon this world.

b) this is the “clearest”, “steadiest”, “most homegeneous”, “most sober” technique of chanting, and this can only be evaluated as well as appreciated within its liturgical and architectural context, as described above.

Finally, contemporary research on psycho-acoustics, such as that provided by the late Dr. Alfred TOMATIS [html1] [html2] [html3] [html4], will prove the merits of Patriarchal paedagogy, which was attained by empirical means.

As far as translations are concerned, nothing comes to match the excellent and traditional English translations of the officially non-recognised old-calendar “Holy Transfiguration Monastery”. Those who feel that there is “need for meter” in translations have not looked into Greek to Latin/Slavonic/Rumanian translations. If they feel that they know better than Saints such as Kyrillos and Methodios, then we are in deep trouble.

I make known here that I was baptised in the official new calendar Church, but that I spent my teenager years in the “ officially non-recognised old-calendar”. There lies the “context” within which I would chant full,everyday services, while learning how to make candles, do federal “income taxes”, straighten out rusted nails, leave the analogion so as to make a meal for a homeless person, kneel and pray during an exorcism, and much, much more. There, too, is where Stylianos TSOLAKIDIS “stepped in” to light a candle, and where I heard him chant for the first time. Had there been no such churches in Canada, I admit that I would not have had the opportunity to learn anything about reading and chanting full liturgical services. I'd also like to point out that many serious psaltis have come out from such “unofficial” churches. I was never fanatical about the “old calendar” cause, and have left it ever since 1989, and given that the only positive elements I ever received were those of getting to “practice” - more or less- my psaltiki: I'm behind Patriarchis Bartholomaios regardless of some “fervent” voices that rise against him, and in spite of some psaltic “titles” his All-Holiness has distributed lately.

If you really care about this hyphos, listen to Iakovos and his students. Then, read everything I have written about this hyphos. If you pay attention, you do not need to listen to any musicologists or « school s»: everything is within what Iakovos chants.

The future is psaltic paedagogy lies in

- the new program "melodos", created by Savvas Papadopoulos [html1] [html2], whom I consider as “modern day Koukouzelis” as far as his paedogogical contributions are concerned,

- the Contemporary Psaltic Notation OCR program I helped create (see "technology, below),

-a complete formular dictionary that will be integrated in "melodos"

and, of course,
- the humble learning that accompanies the prayers of the various monasteries that have discovered the traditional hyphos of

Iakovos NAFPLIOTIS.

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Useful citation:

Saint Benedict of Nursia

(ca. 480 - ca. 547)

Patriarch of Western Monasticism

XIX DE DISCIPLINA PSALLENDI

1 Ubique credimus divinam esse praesentiam et oculos Domini in omni loco speculari bonos et malos, 2 maxime tamen hoc sine aliqua dubitatione credamus cum ad opus divinum assistimus. 3 Ideo semper memores simus quod ait propheta: Servite Domino in timore, 4 et iterum: Psallite sapienter, 5 et: In conspectu angelorum psallam tibi. 6 Ergo consideremus qualiter oporteat in conspectu divinitatis et angelorum eius esse, 7 et sic stemus ad psallendum ut mens nostra concordet voci nostrae.

1.We believe that God is present everywhere and that the eyes of the Lord behold the good and the bad in every place (cf Prov 15:3). 2. Let us firmly believe this, especially when we take part in the Work of God. 3.Let us, therefore, always be mindful of what the Prophet saith, "Serve ye the Lord with fear" (Ps 2:11). 4. And again, "Sing ye wisely" (Ps 46[47]:8). 5. And, "I will sing praise to Thee in the sight of the angels" (Ps 137[138]:1). 6. Therefore, let us consider how it becometh us to behave in the sight of God and His angels, and let us so stand to sing, that our mind may be in harmony with our voice.

[translation]

Orthodox celebration: March 14^th [text]

Catholic celebration March 21^st [text]

Read ode VII Troparion III and compare to biography, based on St. Gregorios Dialogos [text]

Recordings in line with Patriarchal hyphos,
using classical texts (not those used in the Patriarchate), so as to demonstrate that “hyphos” is learnt my mimetism, and that it can be applied to all classical compositions.

Note how I differentiate “long” from “short” vowels in some cases (especially when I chant the verses... try to distinguish, for instance, an “epsilon with oxeia = sharp accent = short” from an “eta with perispomeni = circumflex accent = long”), by slightly changing my vocal positioning and labial overture.

Jan. 2007, Patriarchal hyphos « comeback »

Idou o Nymphios Argon (Haplos -Kata chronon), Syndomon (Haplos,)
Argon (kata rhythmon), Syndomos (Gregorios -kata rhythmon) [mp3]

Ote oi endoxoi mathitoi Argon [mp3]

Alleluia of Nymphios argon [mp3]

Alleluia of Nymphios abbreviated sydomon (usual melody) [mp3]

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Home “artificial” Choir works:

(Notice the constant ison, [“ena einai to ison” = “the ison is unique and invariant” according to the Protocanonarchos] with additional helping ison on tri- tetra phonic intervals)

Polyeleos, psalm 136, Chourmouzios, mode 3 (France, 2007) [mp3]

Ti hypermacho, dichoron, mathima argon (France, 2006) [mp3]

« Atenisai » Petros of Peloponnesos (France,2005) [wma]

Anoixandaria Georgios of Raidestos (France, 2006) [mp3]

Koinonikon “Eis mnemosynon “ Petros of Peloponnesos, Barys diatonic [mp3]

English Cheroubikon [wma]

Mode 1, adapted using classical formulae (Theodoros, Constantinos, etc.)

psaltic text [pdf]

occidental music transcription (GKM method) [jpg]

French Ecphoneses

Part 1 [wma] Part 2 [wma]

French Doxologia, Barys enharmonios Ga [mp3]

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« To Tritto », Iakovos Protopsaltis (France, 2007) [mp3]

« To Tritto », Iakovos Protopsaltis [Case study]

Gregorian Chant

Tribute [html]
Pope Benedictus XVI – Patriarch Bartholomeos I
Constantinople (Istanbul, Turkey), Nov. 30, 2006

Offertory “Benedixisti Domine” [mp3]

Beautiful composition, Psalm 84

Gradual “Dominus Dixit” [mp3]

Latin original; Greek, French adaptations;

Note the way differences compositional rhythmic emphasis, used for the same melodic, gives final melodies that are classified today as being as “different” as Gregorian and so called “Byzantine”. All this is one and the same thing: psaltiki!

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Live performances

Most of these performances are not truly representative of the Patriarhcal hyphos as I learned it from Stylianos TSOLAKIDIS. I've put them here so as to illustrate that I've "explored" various horizons in my attempt to provide something that is "praying". My conclusion is that "nothing beats Iakovos and his methodology". In my view, my best recording to date is the 1986 Koinonikon "Aineite", and the Jan. 2007 "Megali Hebdomas argon mathimata": I "explored" and found out that there is absolutely no need to change a "iota" in whatever Stylainos TSOLAKIDIS brought down to me...

(NB: I’m not the one banging my foot… that is a "contribution" by one of the other psaltis)

« Idou skotia », [wma] Montreal 1995

Barys enharmonios heptaphonos, before « Deute labete phos », Pascha,

Pascha, lights out before « Deute labete phos ». Improvisation, by heart (no books = lights out). Echos Barys enharmonios.. some concluding lines have the Pa bit low for enharmonios (the Zo-Ni is usually all right). Adding a few more « diminished intervals » can lead to turning this to « plagal fourth heptaphonos ».

GKM, Evangelos_, Ioannis_,

Exaposteilarion, Apostoloi [wma], Montreal, 1991

Koinonikon “Aineite”, [wma] 1986

an example of patriarchikon "hyphos", right after getting my "certicficate" from Protocanonarchos Stylianos TSOLAKIDIS. Most of the lines come from things I heard from him. :Mode 4 Agia, Improvisation, 1986 (teens) Alepochori, Laconia, Greece

Pasapnoarion, Eis to mnema [mp3] Montreal 1995

(This was not chanted in the Patriarcheion at the time of the Protocanonarchos. Version inspired by Georgios Binakis)

Theia Metalipsis excerpts. [wma], Montreal 1995

Listen to the eleutheros chronos of the Soma Christo during Theia Koinonia. Listen to the way the canon « flows ». I change the mode back to first at the end of the canon. GKM, Evangelos_, Ioannis_,

Osoi Eis Christon -GKM, Evangelos_, Ioannis_ [wma], Montreal 1995

Notice the beautiful intervals by the isokratis to Stanitsas and Pringos, Evangelos, who honoured our analogion (listen to the beautiful Di he does… which is not always my case, given that I chant sporadically ever since 1991)

Leitourgika, [wma], Montreal 1995

Personal composition of improvised on the spot, so as to make things flow, because the priest knowns nothing about mode, and because he’s always on plagal first. I’ve put it in notes and it’s available on the server. GKM, E_, X_,

Eisodos. [wma] Montreal 1995

Listen to the Tempo of Christos anesti, as well as to the Kondakion (the melodyuwritten out in Kypseli is in Di .. I heard the plagal fourth version from monks). GKM, E_ , X_

Doxa soi,- GKM, Evangelos_, Ioannis_, [wma] Montreal 1995

Apolysis Pascha. [wma] Montreal 1995

Note the Christos anesti in 2nd mode…. The ending « Alithos anesti o Kyrios » comes from a monk. It makes sense. It beats repeating « zoen charisamenos » or just saying “Amin”… for once, we can give the Greek version of what Amin means = Alithos, - GKM, Evangelos_, Ioannis_,

Pasapnoarion and Paschal Sticherons, GKM, Evangelos_, Ioannis_, [wma] Montreal 1995

Doxa soi Evangeliou, GKM, Evangelos_, Ioannis_ _, [wma] Montreal 1995

Meg Sabbaton, Apostolos, GKM, [wma] Montreal 1995

Meg Sabbaton, Ainoi. [wma] Montreal 1995

I had never heard Fr. Alexios of Xenophondos before 2006. Try comparing some trills… GKM, Evangelos_, Ioannis_,

Exaposteilarion Pasapnoarion [wma] Montreal 1995

GKM, with Andreas Panagiotopoulos, Constantinos, Nicolaos Makris. The exaposteilarion is “shaky”, and is not really a good “example”. I allow myself a bit of “extravagance” upon starting the Pasapnoarion.

Paschal Canon…[wma] Montreal 1995

Free interpretation (I did not use the more classical formulae, because I didn’t want everyone to get confused… I did a « Stanitsas/Athonite » hybrid), GKM, Evangelos_, Ioannis__, Simple interpretation. I’m not content with all the intervals (especially Di and Ga… slightly off key due to many years of no chanting… )

Evangelical Conclusions [mp3], Montreal 1991

Listen to the beautiful conclusions as interpreted by Fr. Constantinos Chalkias, student of Constantinos Pringos. He loved chanting with me (the appreciation was mutual), and he would come along with a little tape recorder so as to "save some sounds that reminded him of the patriacheion"...

Apostolos, Alleluia, Paris, [wma] 1996

GKM, LA, and Charalambos. Fr. Panagiotis (+2001). This priest also told me that I had « understood » things. Yet, our styles have nothing in common… Fr. Panayiotis inissted that the PAtriarchikon hyphos I chanted had "nothing to do with the amanedes of Stanitsas"... back then, I did not really understand, given that Fr. Panayiotis chanted in a "contemporary" style... today, however, I do...

Doxa en hypsistois Theo, Montreal, Dec. 26 Vespers, 2000 [mp3]

Here I am chanting with Cypriot psaltis and engineer, kyr Andreas Panayiotopoulos, now member of the clergy. He is a very generous man, who offered me my first psaltic notation and book, who gave me a handwritten table of the various scales, and who taught me my first psaltic neumes. He encouraged me to chanted, and never gave me a "teacher" attitude. Ever since 1995, he always gives the middle seat, and I always respectfully listen to any comment he feels is necessary so that I may improve. Listen to his beautiful, crisp voice.

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Live recordings, with brotherly friend, Nicolaos I. Pantelopoulos

Kathisma Eulogetaria [wma], Montreal 1997

GKM, Nicolaos Pantelopoulos, X_ Nicolaos loves Stanitsas, so I tried to give a bit of Stanitsas blend.

Katavasiai Argai Anoixo [wma] Montreal 1997

GKM, Nicolaos Pantelopoulos, X_

Epinikios Hymnos [wma] Montreal 1997

GKM, Nicolaos Pantelopoulos, X_

Polyeleos “Douloi”, [mp3] mode pl. 4, Chourmouzios, Montreal 1997

Directed by Nicolaos I. Pantelopoulos (no practice, first time ever chanting together ever since 1987… listen below)

Kekragarion Argon, Iakovos, excerpt, mode 1 [mp3] Montreal 1987 (teens).

This is one of my favorite recordings, because it shows how tow teenagers had to fight against the overwhelming sentimentalist mentality that is even more preponderant today. We finally got “kicked out” from that analogion, because the community preferred some “bel canto” singer (he's there, beside me during this recording, mumbling away some borborygmic isson at faltso notes).

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Live choral recordings, as a chorist

With the late Archon Protopsaltis of North and South America, Matthaios ANDREOU, Montreal 1997, Cathedral of St. Georgios, mp3

The entire service is here:

[Kyr Matthaios ANDREOU]

Notice his excellent chronos and exemplary articulation. He was suffering of laryngeal cancer, to which he succumbed some years later. There was no “choir” practice for this recording. The two chorists, Kyr Evangelos and I, are reading the Archon’s score for the very first time. The choral directorship of this student of Emmanuel Bamboudakis is the epitome of correct chronos counting as concerns a choir in the learning phase.

Offertory “Super Flumina” [mp3]

Chanted by Damien POISBLAUD; isson Antoine SICOT and GKM ( isson direction)

Transitorium “Te laudamus”, Ambrosian [ra]

Director: Francis GAYTE

Although I did not chant in this particular piece, I was chanting and recording that day, and feel that it is a masterpiece, in composition, direction and overall interpretation. Francis GAYTE is a very good friend, who has done post-graduate studies on Psaltiki.

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Live recordings, with his teachers

With Protocanonarchos kyr Stylianos Tsolakidis

Stylianos Tsolakidis (at the age of 80), Protocanonarchos of IN:
[mp3]

An example of "vivid" haplos chronos (or very, very simple "kata
rhythmon")

My first Megali Hebdomada with Stylainos Tsolakidis. He was
recuperating from pneumonia. That and his advanced age (80 years
old), as well as the fact that he could not read print and that he
had not chanted in a church for over 10 years explain some
inconsistencies. I will later on put the following year's (1982)
recordings… superb

ST, GKM, Emmannuel [+2006), Phanourios, Constantinos, Nicolaos Makris, Fr.
Viktor (the monk who messes up the conclusion of « erchomenos o
Kyrios ».

You can listen to my way of reading (as I had learned form various
monks). I got the « patriarchal » reading style later on.

I did not do canonarchisma… given the « accident » on the 8th ode,
where St. Tsol. memory had a little “lapsus”, I started doing serious
conanarchisma from then on. Sometimes I help my colleages in the
1995 recordings (if you wish to hear a « mature canonarchisma).

ST had told me that he wouldn't come to church that night. When he
showed up, we all rushed to get some recording material. An old
man who was in charge always thought he had to stop the machine to check "if it
was working"! So, please don't ask for CD quality…

With kyr Alekos Bardas (Montreal, 1997)

“Theos opou bouletai” mode pl. 2, Annunciation hymn, heirmologic, [mp3]

Doxologia Petros Byzantios, mode pl. 1 [mp3]

kyr Alekos Bardas is the by far "the best one alive"....
those who heard him on the recent radio program in Crete (Jan. 2007) called up to confirm this very view of mine [mp3].

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Live recordings (French, English, etc)

It is very difficult to chant in languages other than those of initial instruction. Let’s hope these beautiful hymns inspire those chanting in languages than Greek to do better one day.

Ainos, “Exedysan me”, Idi Baptetai, Holy Friday Matins Fr [mp3] France, 2006

“Simeron Krematai”, Fr [mp3] France 2006

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“Gregoriano-psaltic” adaptations in French (1995):

In this style I developed, I tried to blend “Corsica = island of Kyrsos, France” singing, and Gregorianised (in terms of rhythmic emphasis) formulae of known hymns. Notice that he “skeleton” is that of traditional psaltic melodies. I used a high-pitched voice, and this is what attracted most of the French to psaltiki, because they were told until then by many contemporary “experts” of present-day dominant schools, that psaltiki in French is either impossible or not “good enough”. Those who heard the following recordings continued their “research” and read the various web pages. Once they heard Iakovos, as well as the Homelies, they all understood that psaltiki is possible in their language, but that this can be achieved only by “traditional patriachal methodology", and not contemporary abstract theory based on extravagant extrapolations.

I do not wish to make a new “trend”, and I will no longer compose in this style. The only reason I did it was because I was getting constant complaints that traditional psaltiki, as I interpreted it in French, was too “rough” for occidental ears. Finally, I think I have found the correct “equilibrium” for psaltiki in the more recent “live” recordings of Holy Week in French (2006), and the style below should no longer be used. Nevertheless, it is what initially “attracts” occidentals.

Theotoke Parthene Artoklasias [rm]

Phos Hilaron [rm]

Dosastikon, Glorificat Ste. Radegonde, Fr [mp3]

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Lessons, Psaltic Paedagogy

Apostolos Readings [mp3]

A special Greek text has been developed, so as to demonstrate how melodic formulae are used to read the Apostolos in traditional Kliton Chroa of Fourth mode. Notice that, sometimes, there are plagal fourth Di-Ni intervals, especially when the Kliton Pa is low…

Anoixandaria Georgios of Raidestos Solfegio Parallagi