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Links for Byzantine Music

Dominika

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Medley of Byzantine hymns in Arabic with instruments: O Lord of Hosts, Lamentations of Great Sautrday, Paschal troparion

 
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I can't read Arabic so I don't know what this is called but an interesting chant in pl. 2nd.
 

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I can't read Arabic so I don't know what this is called but an interesting chant in pl. 2nd.
Doxasticon of Vespers of the feast of Ascension, the 6th tone. Performed by monk Seraphim from Hamatoura
 

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Nativity chants in Spanish from Mexico
 

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Matins, liturgy and The Great Blessing of Waters in the Byzantine derived style common to the former patriarchate of Carlovitz , at the old cathedral of Arad.
From min. 03,07 .26 thé troparia of The great blessing of Waters.
 

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Vesperal Idiomelon (Samoglasen) for the Feast of the Baptism of our Lord in the Jordan, after Ioannis Balassios the priest (+1770) in Mode Pl. of 4th, chanted by the Assistant Professor of the Department of Theology and Christian Civilisation (Aristotelian University of Thessaloniki), Ioannis Liakos:

Σήμερον ἡ κτίσις φωτίζεται· σήμερον τὰ πάντα εὐφραίνονται, τὰ οὐράνια ἅμα καὶ τὰ ἐπίγεια. Ἄγγελοι καὶ ἄνθρωποι συμμίγνυνται· ὅπου γὰρ Βασιλέως παρουσία, καὶ ἡ τάξις παραγίνεται. Δράμωμεν τοίνυν ἐπὶ τὸν Ἰορδάνην· ἴδωμεν πάντες τὸν Ἰωάννην, πῶς βαπτίζει κορυφὴν ἀχειροποίητον καὶ ἀναμάρτητον. Διὸ Ἀποστολικὴν φωνὴν προσᾴδοντες, συμφώνως βοήσωμεν· Ἐπεφάνη ἡ χάρις τοῦ Θεοῦ, ἡ σωτήριος πᾶσιν ἀνθρώποις, καταυγάζουσα, καὶ παρέχουσα πιστοῖς τὸ μέγα ἔλεος.

Today all creation is enlightened. Today all nature is glad, things of Heaven and things upon earth. Angels and men mingle with one another, for where the King is present there His army also goes. Let us run then to the Jordan. Let us all see how John baptizes a sinless and uncreated Head. Therefore let us cry aloud with one accord, echoing the voice of the Apostle: the grace of God that brings salvation to all men has appeared, shining upon the faithful and granting them great mercy.
 

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Dominika

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It seems that, as the neumes are written left to right, so the Arabic text is written 'backwards' - also left to right. is-Th st-mu ke-ta em-so ill-sk to pret-er-int!
Arab Orthodox write text for neumes from left to right and syllabes, meanwhile Arab Greek Catholic (Melkites) from right to left and as far I remember, the whole words.
 

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Doxastikon for the Sixth Hour from the Theophany Royal Hours in Mode Pl. of 1st after Peter Philanthides (+1915), chanted by Constantine Bousdekis:

Τὶ ἀναχαιτίζεις σου τὰ ὕδατα ὦ Ἰορδάνη; τὶ ἀναποδίζεις τὸ ῥεῖθρον, καὶ οὐ προβαίνεις τὴν κατὰ φύσιν πορείαν; Οὐ δύναμαι φέρειν, φησί, πῦρ καταναλίσκον· ἐξίσταμαι, καὶ φρίττω τὴν ἄκραν συγκατάβασιν· ὅτι οὐκ εἴωθα τὸν καθαρὸν ἀποπλύνειν, οὐκ ἔμαθον τὸν ἀναμάρτητον ἀποσμήχειν, ἀλλὰ τὰ ῥερυπωμένα σκεύη ἐκκαθαίρειν. Ἀκάνθας φλέγειν με ἁμαρτημάτων διδάσκει, ὁ ἐν ἐμοὶ βαπτιζόμενος Χριστός· ὁ Ἰωάννης συμμαρτυρεῖ μοι· ἡ Φωνὴ τοῦ Λόγου βοᾷ· ἴδε ὁ Ἀμνὸς τοῦ Θεοῦ, ὁ αἴρων τὴν ἁμαρτίαν τοῦ κόσμου. Αὐτῷ πιστοὶ βοήσωμεν· ὁ ἐπιφανεὶς Θεός, εἰς τὴν ἡμῶν σωτηρίαν, δόξα σοι

Why are thy waters troubled, O Jordan, and why turnest thou backward, not proceeding forward according to thy natural flow? It shall answer, saying: I cannot bear a consuming fire. Therefore do I marvel and tremble at Thine exceeding condescension; for I am not accustomed to wash the Pure; I have not learned to purify the sinless One, but to purify impure vessels. Christ, who baptized in me, doth teach me to burn the thorns of sins. And John, the voice of the Word, doth testify with me, crying: Behold the Lamb of God Who beareth the sin of the world. Let us believers therefore cry unto Him, saying: O God Who hath appeared for our salvation, glory to Thee.
 

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Α Kalophonic heirmos (Ode 9 from the Great Paraklesis) after George-Eutychius Ugurlus (+1866) in Mode 1st. Porphyrios Fotopoulos is the chanter:

Πρὸς τίνα καταφύγω ἄλλην Ἁγνὴ; ποῦ προσδράμω λοιπὸν καὶ σωθήσομαι; ποῦ πορευθῶ; ποίαν δὲ ἐφεύρω καταφυγήν; ποίαν θερμὴν ἀντίληψιν; ποῖον ἐν ταῖς θλίψεσι βοηθόν; εἰς σὲ μόνην ἐλπίζω, εἰς σὲ μόνην καυχῶμαι, καὶ ἐπὶ σὲ θαρρῶν κατέφυγον.

O pure one, unto whom else am I to flee? Where am I now to run? Where shall I be saved? Where shall I go? Where am I to find any other place of refuge, other fervent aid, or another helper in my distress? My hope is in you only. In you alone I glory. And taking courage, I have fled to you.

The extended 5th Ode from the katavasias for the Meeting of the Lord in Mode Third, after Thrasyboulos Stanitsas (+1987), the chanter is Nicholas Karanicholas:

Ὠδή ε'
Ὡς εἶδεν Ἡσαΐας συμβολικῶς, ἐν θρόνῳ ἐπηρμένῳ Θεόν, ὑπ'ἀγγέλων δόξης δορυφορούμενον· Ὢ τάλας ἐβόα ἐγώ! πρό γάρ εἶδον σωματούμενον Θεόν, φωτός ἀνεσπέρου, καί εἰρήνης δεσπόζοντα.

Ode 5.
In a figure Isaiah saw God upon a throne, lifted up on high and borne in triumph by angels of glory; and he cried: "Woe is me! For I have seen beforehand God made flesh, Lord of the light that knows no evening and King of peace."

Channel: https://www.youtube.com/c/SholeionPsaltikisgr/videos
 

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Kratema in Mode First after Ioannes the Protopsaltes (+1770) chanted by Spyridon Kizirides, Dimitris Kalpakides (from 02:53), live recording in a concert (2009):

Kratema in Mode First after Petros the Peloponnesian (+1777), performed by the Orthodox-Byzantine Vocal Ensemble, directed by the Archon-Protopsaltes in the Orthodox Cathedral of the Ecumenical Patriarchate of Constantinople, Panaghiotes Neochorites, performed live at the Carnegie Hall ("The Millenarian Venice: Gateway to the East" concert, February 2017):
 

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Τhe 'O Virgin Theotokos' from the artoklasia service after Dimitrios Sourlandzis (+2006) in Mode Pl. of 1st, chanted by Marios Antoniou (live recording, March 2022):

Θεοτόκε Παρθένε, Χαῖρε κεχαριτωμένη Μαρία, ὁ Κύριος μετὰ σοῦ, εὐλογημένη, σὺ ἐν γυναιξί, καὶ εὐλογημένος ὁ καρπὸς τῆς κοιλίας σου, ὅτι Σωτῆρα ἔτεκες τῶν ψυχῶν ἡμῶν.

Rejoice O Virgin Theotokos, Mary full of grace, the Lord is with thee, blessed art thou among women and blessed is the fruit of thy womb, for thou hast borne the Saviour of our souls.

Τhe kontakion 'the Champion General' after George 'Rhaedestinos' Efstratiades (+1889) in Mode Pl. of 4th, chanted by the ensemble Ἐν Ψαλμοῖς/En Psalmois:

Τῇ ὑπερμάχῳ στρατηγῷ τὰ νικητήρια, ὡς λυτρωθεῖσα τῶν δεινῶν, εὐχαριστήρια, ἀναγράφω σοι ἡ Πόλις σου, Θεοτόκε· ἀλλ’ ὡς ἔχουσα τὸ κράτος ἀπροσμάχητον, ἐκ παντοίων με κινδύνων ἐλευθέρωσον ἵνα κράζω σοι· Χαῖρε, Νύμφη ἀνύμφευτε.

To thee, the Champion General, we thy servants dedicate a feast of victory and of thanksgiving as ones rescued out of sufferings, O Theotokos; but as thou art one with might which is invincible, from all dangers that can be do thou deliver us, that we may cry to thee; Rejoice, O Unwedded Bride!
 

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Τhe 'O Virgin Theotokos' from the artoklasia service after Dimitrios Sourlandzis (+2006) in Mode Pl. of 1st, chanted by Marios Antoniou (live recording, March 2022):

Θεοτόκε Παρθένε, Χαῖρε κεχαριτωμένη Μαρία, ὁ Κύριος μετὰ σοῦ, εὐλογημένη, σὺ ἐν γυναιξί, καὶ εὐλογημένος ὁ καρπὸς τῆς κοιλίας σου, ὅτι Σωτῆρα ἔτεκες τῶν ψυχῶν ἡμῶν.

Rejoice O Virgin Theotokos, Mary full of grace, the Lord is with thee, blessed art thou among women and blessed is the fruit of thy womb, for thou hast borne the Saviour of our souls.

Τhe kontakion 'the Champion General' after George 'Rhaedestinos' Efstratiades (+1889) in Mode Pl. of 4th, chanted by the ensemble Ἐν Ψαλμοῖς/En Psalmois:

Τῇ ὑπερμάχῳ στρατηγῷ τὰ νικητήρια, ὡς λυτρωθεῖσα τῶν δεινῶν, εὐχαριστήρια, ἀναγράφω σοι ἡ Πόλις σου, Θεοτόκε· ἀλλ’ ὡς ἔχουσα τὸ κράτος ἀπροσμάχητον, ἐκ παντοίων με κινδύνων ἐλευθέρωσον ἵνα κράζω σοι· Χαῖρε, Νύμφη ἀνύμφευτε.

To thee, the Champion General, we thy servants dedicate a feast of victory and of thanksgiving as ones rescued out of sufferings, O Theotokos; but as thou art one with might which is invincible, from all dangers that can be do thou deliver us, that we may cry to thee; Rejoice, O Unwedded Bride!
Why is Rejoice, O Virgin Theotokos in the Plagal 1st Tone (Tone 5) here? The liturgical books typically have it as Tone 4, or at least they do in Russian practice. The ROCOR Horologion explicitly states "If it be a Sunday Vigil only, without Litia, after Our Father, we chant thrice, in the Fourth Tone:
Chanters: O Theotokos and Virgin rejoice!..."
 

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Why is Rejoice, O Virgin Theotokos in the Plagal 1st Tone (Tone 5) here? The liturgical books typically have it as Tone 4, or at least they do in Russian practice. The ROCOR Horologion explicitly states "If it be a Sunday Vigil only, without Litia, after Our Father, we chant thrice, in the Fourth Tone:
Chanters: O Theotokos and Virgin rejoice!..."
Why did Petros Bereketis (17th-early 18th centuries) set it in all eight modes/tones, line by line?!
 

Dominika

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Why is Rejoice, O Virgin Theotokos in the Plagal 1st Tone (Tone 5) here? The liturgical books typically have it as Tone 4, or at least they do in Russian practice. The ROCOR Horologion explicitly states "If it be a Sunday Vigil only, without Litia, after Our Father, we chant thrice, in the Fourth Tone:
Chanters: O Theotokos and Virgin rejoice!..."
E.g in my Arabic Horologion there is written the 5th tone ;)
 

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Interesting. Another Byzantine-Slavic difference in liturgical practice. This bears further investigation.
 

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Why did Petros Bereketis (17th-early 18th centuries) set it in all eight modes/tones, line by line?!
I would wager that as it did not initially have a set tone, there was some period of experimentation where different churches and composers had it performed in different tones. Then, in specific churches, a certain practice became standard through common use, and that use became fixed in the liturgical books. That is why ROCOR and the Moscow Patriarchate books have it as 4th tone, while the Byzantine books most often have it as 5th tone. I'm curious about what processes led to each group choosing that specific tone.

By comparison, the default setting for "Bless the Lord, O My Soul" at the Divine Liturgy in Russian churches is troparion Tone 1, even though it has no explicit tone markings. If you listen to
(Obikhod Typical Antiphons). This link contains Antiphons 1 and 2 as usually performed in Russian practice. In a similar way, the default Russian setting for Axion Estin (It is Truly Meet) is Tone 8, even though it has no explicit tone marking either.
 

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Why did Petros Bereketis (17th-early 18th centuries) set it in all eight modes/tones, line by line?!
I would wager that as it did not initially have a set tone..........
It was a rhetorical question, posited in jest (although the same might be asked regarding the first doxastikhon for vespers at the Dormition of the Theotokos).
 

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Calophonic Eirmos for the Saturday of Lazarus, in Romanian, by Petru Berechet
 

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Paschal troparion chanted by Balamand (Lebanon) students in various languages
 
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Bravo. The languages just flowed easily from one to another. What excellent chanting.
 

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Bravo. The languages just flowed easily from one to another. What excellent chanting.
And I know those guys in person ;) Ofc the 1st one is not Russian, but Church Slavonic - Arabs do not see/know any difference.
 

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Well, usual chant, but nice video - troparion of st. Thomas Sunday (Antipascha) in Arabic
 

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Doxasticon "The Day of Resurrection" in Church Slavonic, chanted by Polish Orthodox, Bulgarian Byzantine chant
 

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Paschal troparion in Latin, Byzantine chat - Serbian choir Moisije Petrović
 

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I see also this recording contains Polish :)
 

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Psalm 50 sung in Romanian by Maria Coman and protopsaltis Gabriel Rădășanu.

Filmed at UNESCO World Heritage Site Hurezi Monastery.

 
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