Another score for this by Ioannis Protopsaltis' Heirmologion (1905) has been uploaded by Georgios K. Michalakis in the past. It is almost identical to the above. The file was been removed since then.

Iakovos Nafpliotis and Konstantinos Pringos [ mp3] Unusual ending in low GA in the middle of the piece. Pringos can't follow and does that thesis in the upper octave. Notice the Patriarchal style analysis of the classical text.

Thrasyvoulos Stanitsas [rm] (from cmkon.org)

Yiorgos Bilalis [mp3] Yorgo Bilalis (if I have got it right), unlike his brother, does a high KE a la Nafpliotis in the first cadence.

Georgios K. Michalakis [wma]

Boudouris' score [pdf] transcribing note for note what the Patriarch and the first domestichos would chant in his time in the Patriarchate.

Simon Karas' score [pdf] (scanned from S. Karas' Theoretikon tes Ellenikes Mousikes, Vol I, p. 354) Karas says that Plagal Fourth Triphonos is another name for Third soft diatonic, therefore distinguishes it from Third mode hard diatonic (aka enharmonic). So, according to Karas, only diatonic intervals in this piece, as in Plagal Fourth, but with KE=BOY slightly lowered at places. He doesn't explain how these places are chosen, probably because there is no rule for it and depends on the meaning of the text and the choice of the psalti. In his score he choses to do a high DI and natural KE at the end of the first phrase ("kekosmimenon") but not at the final cadence where he puts a small flat sign on KE.

The following were scanned by S. Gugushvili.

This one from Fr Dionysios (Machaira Monastery, Cyprus). This one implies a high (enharmonic) KE at the final cadence. Notice how he turns GA to a DI on the second line and does KE as if it was ZW flat and moreover enharmonic. This is quite unusual for this Mode. The second version of the same piece is notated in Plagal Fourth Triphonos (no idea why have the two versions in different mode!) and there are at least a couple of typographical errors there.