Kyr. George Papanikolaos from Samos, Greece

GabrielCremeens

Music Director at St. George, Albuquerque, NM
Hello all,

Here are some recordings of a chanter whose recordings I have recently discovered: Kyr. George Papanikolaos from Samos, Greece.

There are a ton of recordings of him on YouTube; I think all of them are courtest of a user called vagos2006:
http://www.youtube.com/results?search_query="George+Papanikolaos"&aq=f

Does anyone know anything about this chanter? From what I have been told by vagos2006, he has a huge set of CDs (59... reminds me of Ketsetzis), 7 of which are for teaching Byzantine notation, and the remaining are recordings of him chanting.

They're all really good, but here are some favorites:
http://www.youtube.com/watch?v=IF1FATlYGjk&feature=related ...Great Doxology, Enharmonic Grave Mode from Zo, from the Pandekte series. If I progress in my chanting, someday I would love to compose an English version of this.

http://www.youtube.com/watch?v=GvdQ2mZe6pM Logon Agathon- polyeleos for Panagia

http://www.youtube.com/watch?v=N51Hjww0GoQ (Epi Ton Potamon Babylonos - polyeleos for Lent)

http://www.youtube.com/watch?v=-BpBgU-gUMA&feature=related (Trisagion Hymn - pl. 1st, I think it's Kalogerou, but I haven't listened to the whole thing. Also, I thought Kalogerou was in first, not pl. 1st.)
 

basil

Παλαιό Μέλος
Great Doxology, Enharmonic Grave Mode from Zo, from the Pandekte series. If I progress in my chanting, someday I would love to compose an English version of this.

This Doxology was composed by Chourmouzios the Archivist, and the musical score is available on this forum. I've also attached to this post a recording of the same Doxology by Stanitsas. This past summer, I composed the music in English for the even-numbered verses. At some point, I'll finish composing the music for the odd-numbered verses and post the score to this forum.

Trisagion Hymn - pl. 1st. I think it's Kalogerou, but I haven't listened to the whole thing. Also, I thought Kalogerou was in first, not pl. 1st.

This Trisagion was indeed composed by Kyriakos Ioannidou "Kalogerou," and the musical score is available on this forum. This modern composition technically does not adhere to the formulaic rules of First Mode. Two particular cadences which illustrate this are the Ke cadence for «άγιος ισχυρός» and the Ga cadence for «των αιώνων. Αμήν.» In sticheraric First Mode, Ga cadences are used as imperfect cadences, but this composition uses a Ga cadence as a perfect cadence for «των αιώνων. Αμήν.» Furthermore, I have not yet encountered a classical composition in sticheraric First Mode which has a cadence on Ke, so the cadence for «άγιος ισχυρός» is not a valid sticheraric First Mode cadence.
 

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Dimitri

Δημήτρης Κουμπαρούλης, Administrator
Staff member
More info on G. Papanikolaou in Greek on thread Παπανικολάου Γεώργιος.

This Trisagion was indeed composed by Kyriakos Ioannidou "Kalogerou," and the musical score is available on this forum. This modern composition technically does not adhere to the formulaic rules of First Mode. Two particular cadences which illustrate this are the Ke cadence for «άγιος ισχυρός» and the Ga cadence for «των αιώνων. Αμήν.» In sticheraric First Mode, Ga cadences are used as imperfect cadences, but this composition uses a Ga cadence as a perfect cadence for «των αιώνων. Αμήν.» Furthermore, I have not yet encountered a classical composition in sticheraric First Mode which has a cadence on Ke, so the cadence for «άγιος ισχυρός» is not a valid sticheraric First Mode cadence.

The Dynamis (as well as the slow doxologies) I believe are considered to belong to the Papadic genre though clearly there are compositional differences with other Papadic pieces like Cheroubika etc.

The Dynamis of Kyriakos Ioannides (Kalogeros) seems to be based on an older one by Petros Ephesios, a student of the Three teachers, found in the Kokkinogorgousa Anthologia, 1846 which also cadences on KE. See

http://analogion.com/Kokkinogorgousa-Anthologia-1846/target186.html
http://analogion.com/Kokkinogorgousa-Anthologia-1846/target187.html
http://analogion.com/Kokkinogorgousa-Anthologia-1846/target188.html
 
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basil

Παλαιό Μέλος
The Dynamis of Kyriakos Ioannides (Kalogeros) seems to be based on an older one by Petros Ephesios, a student of the Three teachers, found in the Kokkinogorgousa Anthologia, 1846 which also cadences on KE. See

http://analogion.com/Kokkinogorgousa-Anthologia-1846/target186.html
http://analogion.com/Kokkinogorgousa-Anthologia-1846/target187.html
http://analogion.com/Kokkinogorgousa-Anthologia-1846/target188.html

Thank you for sharing that piece with us. Since this Ke cadence was used in a sticheraric First Mode composition by Petros Ephesios (a student of the Three Teachers), it is undeniably a part of the tradition. But since this Ke cadence does not appear in any other classical compositions by Petros Ephesios in sticheraric First Mode, it remains an anomaly. One might infer that Petros made an exception in the case of this particular Trisagion composition for creative purposes. Petros seems to struggle with this exception even in this very composition for the «και νυν» and «Άγιος αθάνατος,» where in both cases he has no way to return to the conventional Ga to Pa cadences without an awkward slide from Ke to Ga. Furthermore, Petros' original compositions (at least in this particular edition) seem at least partially suspect: In the «Όσοι εις Χριστόν» on the following pages (also by Petros Ephesios), there is an orthographical mistake on line 9 of page 372 (the vareia should be a petaste). Even if we accept the theory that Petros Ephesios used this exceptional Ke cadence for creative purposes in this Trisagion composition, the appropriateness of the same cadence in other sticheraric compositions in First Mode (for example, stichera at "Lord, I have cried" or the Praises) remains questionable.
 

basil

Παλαιό Μέλος
An even more basic question is: In which form of First Mode should a Trisagion (or Anti-Trisagion) be composed? The standard melody for «Όσοι εις Χριστόν» is in heirmologic First Mode (either in its syllabic form or in the short melismatic form). Given this prototype, why did Petros Ephesios (and Manuel Protopsaltis) use cadences on Ga at all (which are not part of the heirmologic First Mode) as opposed to cadences on Di (as in, for example, the Asmatikon at the end of Manuel's First Mode Great Doxology)?

Since at this point I've thoroughly derailed this thread, I would appreciate it if the moderators could move the last few posts to a new thread entitled "First Mode Trisagion or Anti-Trisagion compositions."
 
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