January 10: Eastern Liturgies 17 - Iakovos Nafpliotis (1864-1942)

And finally I also would like to announce my first collaboration with Geert Maessen.

We had a struggle with it, because it was originally dedicated to Iakovos Nafpliotis, but they did not like the idea that the audience will listen one hour to the earliest recordings during "prime time". So this episode is, as so often, dedicated to the Old Patriarchal school, the old recordings of Nafpliotis are mixed with recordings of the 50s, made from his student (already from the generation of the grandchildren) Konstantinos Pringos.

While Iakovos Nafpliotis and his master at the Patriarchate were against the liturgical performance of Petros Bereketis' Koinonikon oktaechon "Theotoke parthene" (listen to Bonum est 89 dedicated to the interpretation of Frédéric Tavernier-Vellas) and opposed to the school of Galata and the students of Georgios Raidestinos II and their concept to integrate the makamlar into the Octoechos as proposed by Panagiotes Keltzanides (Μεθοδική διδασκαλία θεωρητική τὲ καὶ πρακτική πρὸς ἐκμάθησιν καὶ διάδοσιν τοῦ γνησίου ἐξωτερικοῦ μέλους τῆς καθ᾿ ἡμᾶς Ἑλληνικῆς Μουσικῆς κατ᾿ ἀντιπαράθεσιν πρὸς τὴν Ἀραβοπερσικήν, Thessaloniki 1881), Konstantinos left us also recordings of "Theotoke parthene".

He composed several Leitourgika in makamlar for the dialogue around the Holy Anaphora, including the concluding heirmos Ἄξιον ἐστίν. I leave here for you (to sing together) Konstantinos Pringos' composition in the phthora acem kürdî. It uses in the echos plagios protos the same ambitus as the Carolingian Plagi proti, but with the finalis on a κε. Acem kürdî means that this is a certain way of using a Persian dastgah among Kurdish musicians in Iran. Some phrases of the melody remind of Üsküdara, the main protagonist in Adela Peeva's documentary "Whose is the song?":

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