Other arguments expressed by other people (see also discussion below) supporting the validity of a high KE are:
Isokratema stays on ZW (BOY of supposed Second Mode throughout the relevant part
of the piece. If it was Second Mode, then ison would move to PA (DI of supposed
Second Mode).
There is no fthora or other sign of Chromaticism in the Old Notation manuscript (see below for a sample).
The soft chromatic fthora is placed at different places by different publishers
of the piece in the New Notation. (see below for samples)
The same fthora appears in other pieces of Barys mode (like Anothen Oi Profitai
) but no Patriarchal psaltis does a low KE there, even those that do a low KE in "Ton Despotin". See relevant page on Analogion about Anothen ([html]).
The same fthora is placed in other pieces of Barys mode (like in the Anthologia
of Petros Ephesios) where it clearly has nothing to do with affecting KE and it
is obviously placed to denote a high GA. The issue has been studied and presented
by Lykourgos Angelopoulos in the introduction of that Anthologia, republished a
few years ago by the Greek Byzantine Choir.
Here is what Simon Karas wrote in support of the traditional chanting of this piece:
Scan from Karas' theory book (in Greek) [pdf, 284 Kb]. Simon Karas' two volume Theoretikon is available for sale at major bookstores (see Buy section).
And here is what Thrasyvoulos Stanitsas had to say (in Greek) about it, disagreeing with Karas and supporting the non-traditional view:
This recording is from an interview of Stanitsas given to Christos Tsiounis in 1987 [mp3, 820 Kb]
The whole interview has been published by Christos Tsiounis and is available at major bookstores (see Buy section).
Μουσικά Κείμενα / Scores
Old Notation
Antonios Lambadarios' score (from book "Byzantine Ekklesiastike Mousike kai Ymnodia" by Fillipos Oikonomou) [jpg, 1.26 Mb]
New Classical Notation
Classical score from "Neon Mousikon Egcheiridion" by Dimitrios Protopsaltis [zip, 220 Kb]
Simon Karas' score (with his special signs) [pdf, 284 Kb]
New Analytic Notation
[pending]
Ηχογραφήσεις / Recordings
Patriarchal style
Iakovos Nafpliotis (1910s)
[mp3] (offered by G. K. Michalakis)
Konstantinos Pringos
(1950s) [rm]
(from cmkon.org)
Basileios Nikolaidis
[mp3] (broadcasted by L. Angelopoulos and G. Kyriakakis)
Leonidas Asteris
(1990s) [rm]
(from users.hol.gr)
Constantinopolitan
style
Nikolaos Nikolaidis [wma] (broadcasted by S. Kissas)
Chios style
Leonidas Sfikas [wma] (recorded off L. Angelopoulos' radio broadcast by G. Monostori)
Thessaloniki style
Harilaos Taliadoros (1980-90s) [rm]
(from ieropsaltis.com)
Hrysanthos Theodosopoulos
(1980s) [wma] (offered by S. Gugushvili)
Angelos Kounas
(Pyrgos, Ilia, 2005) [mp3] (private recording)
Hatzis Staikosrm]
(from ieropsaltis.com)
Eleftherios Eleftheriadis[mp3]
(from ieropsaltis.com)
Athanasios Bourlis[ra]
(from ieropsaltis.com)
Athonite style
Athonite Fathers (Millenium of Xenophontos Monastery, 1998) [mp3]
(from www.inathos.gr)
Academic (University) Style
Maistores of Psaltic Art
(director Achilleus Chaldaiakis) [wma] (offered by B. Zacharis. Live recording from the 2nd Psaltic conference (Athens, 2003). "Eis polla" is done by the choir
of Herakleion chanters)
Simon Karas style
style
Greek Byzantine Choir (director Lykourgos Angelopoulos) [wma] (offered by S. Gugushvili)
Σύγκριση εκτέλεσης του ΚΕ / Comparison of interpretations of the controversial interval
Iakovos Nafpliotis's KE is quite high (compared to what most chanters do today)
[mp3] (1910s)
Konstantinos Pringos seems to be almost identical to Nafpliotis [mp3] (1950s)
| Thrasyvoulos Stanitsas has inconsistently performed the controversial interval (see discussion below) during his last years at the Patriarchate. Compare the following excerpts: Initially, in his oldest recordings, he is very close, if not identical to the older versions by Pringos/Nafpliotis [mp3] (1961, Patriarchate) Two years later KE is lower [mp3] (Sunday of Orthodoxy, 1963, Patriarchate) And even lower here [mp3] (from cmkon.org) However, in "Anothen oi Profetai" ([html]) which is composed in the same mode he clearly does KE higher than all the above (even though he puts a chromatic fthora in his version of the text (see his score [jpg] from cmkon.org) absent in the classical. Here is the recording [mp3]. Also worth noting here is that Konstantinos' Anthologia has the fthora from the first sign. |
Stanitsas' successor Basileios Nikolaidis' KE is somewhere in the middle [mp3] (1980)
The current protopsaltis Leonidas Asteris
seems to be different from all the above, closer to the low KE done by Stanitsas
in his last example [mp3] (2001)
Manolis Xatzimarkos's version of
the same interval is closer to Nafpliotis/Pringos [mp3] (1963)
Harilaos Taliadoros seems to be doing
KE even higher than Nafpliotis [mp3] (1980s) Some versions interpret the "vareia" sign and do ZW-KE-ZW-DI where KE is
even higher.
This is a live recording of Konstantinos
Bilalis. [mp3] (2003) (broadcasted on ecclesia.gr radio)
The same really small interval is performed
by the Athonite Fathers at Xenophontos Millenium
Vigil. [mp3] (1998)
Georgios K. Michalakis, also does a high
KE, [mp3] (2005) even higher after interpreting vareia [mp3] (2005)
Angelos Kounas, a student
of Taliadoros, follows Taliadoros and does a high KE. [mp3] (2005)
Chrysanthos Theodosopoulos. Unlike
his teacher Pringos and "neighbour" Taliadoros he does a low KE.
[wma]
Athanasios Bourlis, unlike his teacher (Taliadoros), does a very low KE. [mp3]