Author Topic: Byzantine secular & post-Byzantine Classical Ottoman music  (Read 3881 times)

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Offline Apostolos

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Byzantine secular & post-Byzantine Classical Ottoman music
« on: October 08, 2016, 11:56:01 AM »
Cappadocian Acritic song. Its theme is the duel between the Ἀκρίτης (border-guard) and Χάρος (personification of death in Byzantine folklore, the pre-Christian Charon):
Ἀκρίτης Κάστρον ἔκτισε-A border-guard built a Castle
https://www.youtube.com/watch?v=8PCxqKOF3Z8

Post-Byzantine Constantopolitan traditional song. Its theme is about a young newly-wed woman singing on top of a castle about her husband who has embarked as a sailor and hasn't heard of him since:
Κοράσιον ἐτραγούδαγε-A young woman was singing
https://www.youtube.com/watch?v=2gcdVdzIqOU

An instrumental piece composed by the 18th c. Orthodox Christian secular and ecclesiastical composer Peter the Peloponnesian (known to the Ottomans as Petraki i Kebir, "Peter the Great") in Mode 4th of the hard diatonic genus (Arabo-Persian: Nihavend Peşrev) performed by Yannis Panayotopoulos (Constantinopolitan lyra):
https://www.youtube.com/watch?v=HHrlVeulCUw

The secular song "Στὸ ταξεῖδι τῆς ζωῆς μου-In the journey of my life" composed by Peter the Peloponnesian perofrmed by "Ἐν Χορδαῖς" (En Khordais):
https://www.youtube.com/watch?v=4v4cZJJgIPg
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

Offline Dominika

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #1 on: October 09, 2016, 06:42:45 AM »
Thank you Apostolos for this thread.

Could you also post there from time to time Byzantine or maybe quasi-Byzantine paraliturgical songs like the carol Anarchos Theos and maybe some other Christmas songs, for Pascha, Lazarines and for other feasts, and some other?
I have quite a lot recordings, but I certainly not all (especially for feasts beyond Nativity and Holy Week-Pascha) and most of them are not translated into English, so even translated titles of these songs would enrich me and other forumers ;)
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Offline IreneOlinyk

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #2 on: October 09, 2016, 08:34:13 AM »
 ;D  Thank you Apostolos:  you have opened up a whole new area of music to me.

Offline Apostolos

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #3 on: October 09, 2016, 04:12:30 PM »
Thank you Apostolos for this thread.

Could you also post there from time to time Byzantine or maybe quasi-Byzantine paraliturgical songs like the carol Anarchos Theos and maybe some other Christmas songs, for Pascha, Lazarines and for other feasts, and some other?
I have quite a lot recordings, but I certainly not all (especially for feasts beyond Nativity and Holy Week-Pascha) and most of them are not translated into English, so even translated titles of these songs would enrich me and other forumers ;)
A couple of Christmas carols:
Byzantine Carol (circa 10th-11th c.)
https://www.youtube.com/watch?v=re65neOw9u8

Ἄναρχος Θεὸς καταβέβηκεν καὶ ἐν τῇ Παρθένῳ κατῴκησεν
Βασιλεὺς τῶν ὅλων καὶ Κύριος, ἦλθε τὸν Ἀδὰμ ἀναπλάσασθαι
τεριριριρεμ-τεριριριρεμ-τεμ καὶ ἀνανες, Χαῖρε Δέσποινα.
Γηγενεῖς σκιρτᾶτε καὶ χαίρετε, τάξεις τῶν ἀγγέλων εὐφραίνεσθε
Δέξου Βηθλεέμ τὸν Δεσπότην σου, Βασιλέα πάντων καὶ Κύριον
τεριριριρεμ-τεριριριρεμ-τεμ καὶ ἀνανες, Χαῖρε Δέσποινα.
Ἐξ ἀνατολῶν Μάγοι ἔρχονται, δῶρα προσκομίζοντες ἄξια.
Φῶς ἐν τῷ σπηλαίῳ ἀνέτειλεν καὶ ἐν τῇ Παρθένῳ κατῴκησεν
τεριριριρεμ-τεριριριρεμ-τεμ καὶ ἀνανες, Χαῖρε Δέσποινα (x2)

The God Who is without beginning has descended and dwelt in the Virgin
Thou art the King of all and the Lord, Thou came to refashion Adam
Teriririrem-teriririrem-tem and ananes, Rejoice O Sovereign-Lady
Ye mortals rejoice and be glad, ye angelic hosts jubilate
Receive O Bethlehem thy Master, the King and Lord of all
Teriririrem-teriririrem-tem and ananes, Rejoice O Sovereign-Lady
Magi from the East are coming, bearing noble gifts
Light shone in the manger, and dwelt in the Virgin
Teriririrem-teriririrem-tem and ananes, Rejoice O Sovereign-Lady (x2)

Pontian Carol (more specifically from Kerasous circa 13th-14th c.):
https://www.youtube.com/watch?v=vorP24n1tD8

Χριστός γεννέθεν χαράν σόν κόσμον
χὰ καλή ὥρα, καλή σ'ἡμέρα
χὰ καλόν παιδίν ὀψέ γεννέθεν.

Ὀψέ γεννέθεν οὐράνοστάθεν
τὸν ἐγένεσεν ἡ Παναΐα
τὸν ἐνέστεσεν ἀεὶ Παρθένος

Ἐκαβάλκεψεν χρυσόν πουλάριν
κι ἐκατῆβεν σὸ σταυροδρόμι
σταυροδρόμι καὶ μυροδρόμι

Ἔρπαξάν'ατον οἱ χίλ' Ἑβραῖοι
χίλ' Ἑβραῖοι καὶ μύρι' Ἑβραῖοι (x2)

Ἀ‘σὰ ἀκροντικὰ κι ἀ‘σήν καρδίαν
αἷμαν ἔσταξεν, χολῆ κ' ἐφάνθεν
οὖμπ' ἄν ἔσταξεν καῖ μύρος ἔτον
μύρος ἔτον καὶ μυρωδία

Ἐμυρίστεν ‘ἀτό ὁ κόσμος ὅλεν
γιὰ μυρίστ' ἀτό καὶ ἐσὺ ἀφέντα
σὺ ἀφέντα μ' καλέ μ' ἀφέντα

Ἔρθαν τὴ Χριστοῦ τὰ παλληκάρεα
καὶ θυμίζνε τὸ νοικοκύρην
νοικοκύρην καὶ βασιλέαν 
 
Δέβα σὸ ταρέζ κι ἔλα ‘σὴν πόρταν
δόσ' μας οὔβας καὶ λεφτοκάρεα
κι ἄν ἀνοίεις μᾶς χαρά ‘σὴν πόρτας. 

(I'm afraid I cannot translate the lyrics word for word, the Pontian dialect is strange, and idiosyncratic, with many archaic features, the main theme is that Christ is born and brought joy to the world but the Jews (a thousand Jews and ten thousand Jews as it says) captured Him and crucified Him)
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

Offline Apostolos

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #4 on: October 10, 2016, 05:07:28 AM »
Concert of Ottoman Orthodox Christian secular composers performed by "The Romana Ensemble" (the music starts at 00:41):
https://www.youtube.com/watch?v=YNhwiSrZf6U

00:00-09:00
An instrumental piece composed by the 17th c. composer Angeli Tanburi (Angelos the tanbur-player) in Mode Grave of the hard diatonic genus (Arabo-persian: makam Αcemaşiran Peşrev)

09:15-14:52
An instrumental piece composed by the 19th c. composer Nikolaki Κemençeci (Nicholas the lyra-player) in Mode 4th of the hard diatonic genus (Arabo-persian: makam Buselik Peşrev)

15:50-end
An instrumental piece composed by the 18th c. composer Petraki Tiryaki (Petros "the Passionate" who according to some scholars is Peter the Peloponnesian) in Mode 4th of the hard diatonic genus (Arabo-persian: Nihavent semai followed by Nihavent longa)

An instrumental piece composed by the 16th c. Orthodox Christian secular composer Papaz (the priest/presbyter quite possibly he was an Orthodox priest) in Mode Grave of the soft diatonic genus (Arabo-Persian: makam Irak Peşrev) performed by "The Romana Ensemble" (the music begins at 02:06):
https://www.youtube.com/watch?v=EFUBG-y8PKI   
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

Offline Apostolos

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #5 on: October 11, 2016, 05:27:45 PM »
An instrumental piece performed by "The Romana Ensemble" after Nikolaki Kemençeci (Nicholas "the Lyra-player") who lived in late 19th c. in Mode Pl. of 4th of the soft chromatic genus (Arabo-Persian: makam Suzinak Saz Semai):
https://www.youtube.com/watch?v=X4WyGc1hBbg

An instrumental piece after Nikolaki Kemençeci in Mode Pl. of 4th of the hard diatonic genus (Arabo-Persian: makam Mahur Saz Semai), performed by Socrates Sinopoulos (Constantinopolitan lyra), Ara Dinkjian (Oud), Zohar Fresco (percussion):
https://www.youtube.com/watch?v=J5qfJLnRGeg
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

Offline Apostolos

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #6 on: October 13, 2016, 05:50:50 AM »
Byzantine secular instrumental piece called "Φραγκικόν κράτημα" (Frankish kratema) after Xenos of Koroni (11th c.) in Mode Pl. of 4th:
https://www.youtube.com/watch?v=1x1BcQL9t3I

Instrumental piece of Ottoman Classical music composed by the Voevode of Moldavia-Wallachia Dimitrie Cantemir (aka Dimitri Kantemiroğlu +1723) in Mode 1st tetraphonic (Arabo-Persian: makam Hüseyni Peşrev):
https://www.youtube.com/watch?v=HWv6X6ezCZ4
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #7 on: October 15, 2016, 05:16:36 AM »
"The Classical secular music of Constantinople in Byzantine Church music tradition" a concert that took place in Patras, Greece, on November 9, 2008, the two singers are Demetrios Galanes & Chrestos Tsiamoules while Socrates Sinopoulos plays the Constantinopolitan lyra & Eugenios Voulgaris the Yayli Tanbur:
https://www.youtube.com/watch?v=awBj-NFl-nQ

00:00-06:47
Verses from the Great Doxology in Mode 2nd (Arabo-Persian: Makam Hicaz Zirgüleli) after James the Protopsaltis (+1800)

06:57-09:19
Improvisation by Socrates Sinopoulos on the Constantinopolitan lyra in Mode 4th "Agia" of the hard diatonic genus (Makam Buselik)

09:19-14:38
The three troparia (pentecostaria) following the 50th Psalm in Mode 4th "Agia" of the hard diatonic genus (Makam Buselik) after Christodule Georgiades Kessanieus (last half of 19th c.)

14:57-17:27
Improvisation by Chrestos Tsiamoules on the Ney in Mode 4th heirmologic "Legetos" (Makam Segah)

17:27-20:50
The Trisagion hymn after the Metropolitan of New Patras Germanos (last half of 17th c.) in Mode 4th heirmologic "Legetos" (Makam Segah)

20:57-23:37
Improvisation by Eugenios Voulgaris on the Yayli Tanbur in Mode 1st diphonic of the soft chromatic genus "Naos" (Makam Sabah)

23:38-27:22
"O Gladsome Light" in Mode 1st diphonic of the soft chromatic genus "Naos" (Makam Sabah) after Christodule Georgiades Kessanieus (last half of 19th c.) 

27:30-29:31
Improvisation by Senih Ündeger on the viola in Mode 1st tetraphonic (Makam Hüseyni)

29:33-33:20
Kratema in Mode 1st tetraphonic (Makam Hüseyni) after Peter the Peloponnesian (+1778)

33:31-35:32
Improvisation by Socrates Sinopoulos on the Constantinopolitan lyra in Mode Grave pentaphonic "Phthoric" (makam Ferahnak)

35:35-39:52
The Trisagion's Dynamis after Thrasyboulos Stanitsas (+1987) in Mode Grave pentaphonic "Phthoric" (makam Ferahnak)

40:13-50:47
Calophonic Heirmos from the Holy and Great Friday "Then the earth in terror shook" with kratema after Panagiotes Haladzoglou (+1748) in Mode Plagal of 1st Pentaphonic (makam Acem)   

51:07-54:09
Improvisation by Chreston Tsiamoules on the Ney in Mode Grave heptaphonic "Phthoric" (Makam Sultaniyegah)

54:10-end
"We praise Thee" & Axion Estin in Mode Grave heptaphonic "Phthoric" (Makam Sultaniyegah) abridged by the hieromonk Panaretos (+1993) of the Holy Monastery of Philotheou, Mount Athos, after Misael Misaelides (last half of 19th c.)
« Last Edit: October 15, 2016, 05:27:53 AM by Apostolos »
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

Offline Apostolos

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #8 on: October 16, 2016, 09:58:41 AM »
Pontian Acritic song "Ἀκρίτας ὄντες ἕλαμνεν-A border-guard is plowing" (circa 10th-12th c.):
https://www.youtube.com/watch?v=FgJG4qa_VCE

Ἀκρίτας ὄντες ἕλαμνεν,
σὴν παραποταμέαν.
 
Ἐπέγνεν κι ἔρτον κι ἕλαμνεν,
τὴν ὥρα πέντ'αὐλάκια.
 
Ἐπέγνεν κι ἔρτον κι ἔσπερνεν,
ἐννέα κότια σπόρον.
 
Ἔρθεν πουλίν κι ἐκόνεψεν,
σὴ ζυγονὶ τὴν ἄκρα.
 
Σκοῦται καὶ καλοκάθεται,
σὴ ζυγονὶ τὴν μέσεν.
 
- Ὀπίσ'πουλίν, ὀπίσ'πουλίν,
μὴ τρῶς τὴν βουκεντρέαν.
 
Καὶ τὸ πουλίν κελάηδησεν,
σ'ανθρωπινόν λαλίαν.
 
- Ἀκρίτα μου, ντὸ κάθεσαι,
ντὸ στέκεις καὶ περμένεις;
 
Τὸ ἔνοικο σ'ἐχάλασαν,
καὶ τὴν καλή σ'ἐπαῖραν.
 
Τ'ὅλον καλλίον τ'ἄλογό σ',
παῖρνε καὶ καβαλκεῦνε.
 

(Εnglish translation found @ lyricstranslate.com)

A border-guard is plowing,
the land near the riverbanks.
 
He comes and goes and plows,
five drains in one hour.
 
He comes and goes and seeds,
9 kotis* of seeds.
 
A bird flies close and sits
onto his wooden plough.
 
Comes round and settles
onto his wooden plough's center.
 
-Go away bird, go away,
don't you eat the ploughman's stick.
 
And the bird chirped,
in a human voice:
 
-My border-guard, why d' you sit and stay,
why d' you stand and await?
 
They ruined your home,
they took your wife.
 
Onto your finest horse
they put a saddle and rode on.

*9 kotis is about 40 kilos or 88 lbs
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #9 on: October 17, 2016, 05:13:04 AM »
Post-Byzantine Ottoman Greek secular song "Ἔλπιζα καὶ πάλι ἐλπίζω" (I hoped and I still hope) after Gregory the Protopsaltis (+1821) in Mode Pl. of 1st "Sabre" (Σπάθιον Μέλος).
"Σπάθη" or "Sabre" is a chroa placed on Ke (occasionally found also on Di or Ga) that makes the note above it flat and the note below it sharp; Arabo-Persian makam Hisar Buselik, performed by "Ἐν Χορδαῖς" (En Khordais):
https://www.youtube.com/watch?v=pXulM2pKB1M   

An Ottoman Turkish song considered a classic after the Armenian violin virtuoso Kemani Tatyos Ekserciyan (Tatyos Ekserciyan "the violin-player" +1913) "Gamzedeyim Deva Bulmam" (I'm a survivor of sorrows) the singer is the famous Melihat Gülses in Mode 1st (Arabo-Persian: makam Uşşak Şarkı):
https://www.youtube.com/watch?v=ZGTds-WRsNQ   
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #10 on: October 18, 2016, 02:09:44 PM »
Post-Byzantine Kalymnian (from the island of Kalymnos) Lazarus Carol (traditionally sang on Lazarus Saturday) in Mode 1st (the singer is Anastasia Hadzipavlou):
https://www.youtube.com/watch?v=6Jiu3RPxwzI

Εἰς τὴν πόλη Βηθανία, Μάρθα κλαίει καὶ Μαρία,
Λάζαρον τὸν ἀδελφό τους, τὸν γλυκύ καὶ καρδιακό τους.

Τὸν μοιρολογοῦν καὶ κλαῖνε, τὸν μοιρολογοῦν καὶ λένε,
τρεῖς ἡμέρες τὸν θρηνοῦσαν, καὶ τὸν ἐμοιρολογοῦσαν.

Τὴν ἡμέρα τὴν τετάρτη, κίνησε ὁ Χριστός γιὰ νὰ’ρθει,
καὶ ἐβγῆκεν ἡ Μαρία, ἔξω ἀπό τὴν Βηθανία.

Καὶ ἐμπρός Του γόνυ κλίνει, καὶ τούς πόδας Του φιλήνει,
-Ἄν ἐδῶ ἤσουν Χριστέ μου, δὲν θ’ἀπέθνησκε ὁ ἀδελφός μου.

-Χαῖρε πίστευε Μαρία, ἄγωμεν εἰς τὰ μνημεῖα,
τότε ὁ Χριστός δακρύζει, καὶ τὸν Ἄδη φοβερίζει.

-Ἄδη, Τάρταρε και Χάρο, Λάζαρο θἐ 'νὰ σοῦ πάρω,
δεῦρο ἔξω Λάζαρέ μου, φίλε καὶ ἀγαπητέ μου.

Παρευθύς ἀπό τὸν Ἄδη, ὡς ἐξαίσιον σημάδι,
Λάζαρος ἀπελυτρώθη, ἀνεστήθη κι ἐσηκώθη (x2)

In the town of Bethany, Martha and Mary weep
their brother Lazarus, their sweet and beloved brother.

They weep and lament, they weep and grieve
for three days they weep for him and lament for him.

On the fourth day Christ does arrive
and finds Mary outside Bethany.

And before Him she bows the knee and kisses His feet
-If you were here my Christ, my brother wouldn't die.

-Rejoice and believe Mary, let's go to the tombs
then Christ sheds a tear and compels Hades.

-Hades, Tartarus* and Charon, I'll take Lazarus from you
Come forth Lazarus, my dearest friend.

And immediately an extraordinary sign
Lazarus comes forth from Hades, he was redeemed and raised (x2)

*Tartarus in ancient Greek mythology was the deep abyss where the souls received divine punishment

Post-Byzantine secular Constantinopolitan song "Τhe petals of the rose bush" in Mode 1st diphonic of the soft chromatic genus "Naos" (makam Sabah) performed by "Ἐν Χορδαῖς-En Chordais":
https://www.youtube.com/watch?v=niwSu3Lvwfc

Τῆς τριανταφυλλιᾶς τὰ φύλλα θὰ τὰ κάμω φορεσιά
Νὰ περάσω νὰ τὰ βάλω νὰ σοῦ κάψω τὴν καρδιά

Τῆς τριανταφυλλιᾶς τὰ φύλλα μόνο ἐγώ θὰ τὰ φορῶ
Γιὰ νὰ κάψω τὴν καρδιά σου ἀπὸ 'μπρός σου ὄταν περνῶ

Πάντα θὰ σὲ βασανίζω μὲ αὐτή τὴν φορεσιὰ
Θὰ σἐ κάνω νὰ χτικιάσεις νὰ μήν βρίσκεις γιατρειά

The petals of the rose bush, I will make into a dress
To wear them and pass by to burn your heart

I alone will wear the leaves of the rose bush
And burn your heart when I pass by you

Seeing me in this dress will prey on your mind
I'll make you fall ill, with an incurable illness (i.e. love)
« Last Edit: October 18, 2016, 02:11:19 PM by Apostolos »
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #11 on: October 21, 2016, 03:51:34 PM »
Lazarus Carol sang on Lazarus Saturday from the Greek rural area of Eurytania (midwestern Greece):
https://www.youtube.com/watch?v=FFqqhE1FUds

Τὸ ἐμάθατε τὶ ‘γίνη σήμερα στὴν Παλαιστίνη,
καὶ στὴν πόλη Βηθανία, Μάρθα κλαίει και Μαρία

Have you heard what happened today in Palestine?
in the town of Bethany, Martha and Mary weep

Λάζαρον τὸν ἀδελφόν της καὶ γλυκύ καρδιακό της
Τρεῖς ἡμέρες τὸν θρηνοῦσαν καὶ τὸν ἐμοιριολογοῦσαν.

for their sweet and beloved brother, Lazarus
they mourned him and lamented him for three days

Τὴν ἡμέρα τὴν τετάρτη κίνησε ὁ Χριστός γιὰ νά ΄ρθει
καὶ ἐβγῆκε ἡ Μαρία ἔξω ἀπό τὴ Βηθανία

On the fourth day Christ arrived
and found Mary outside Bethany

-Ἄν ἐδῶ ἤσουν, Χριστέ μου, δὲ θὰ πέθαινε ὁ ἀδελφός μου,
μὰ καὶ τώρα ἐγώ πιστεύω καὶ καλώτατα ἡξεύρω

-If you were my Christ, my brother wouldn't die
yet even now I believe and know well 

ὅτι δύνασαι ἄν θελήσεις, καὶ νεκρούς νὰ αναστήσεις.
-Λέγε, πίστευε, Μαρία, ἄγωμεν εἰς τὰ μνημεῖα.

that if you will it, even the dead will rise.
-Speak out, and believe Mary, let's go to the tombs.

Τότε κι ὁ Χριστός δακρύζει καὶ τὸν Ἅδη φοβερίζει:
-Ἅδη, Τάρταρε και Χάρο, Λάζαρέ μου νὰ σὲ πάρω,

Then Christ sheds a tear and compels Hades:
-Hades, Tartarus, and Charon, my Lazarus I'll take you

δεῦρο ἔξω, Λάζαρέ μου, φίλε μου κι ἀγαπητέ μου.
Παρευθύς ἀπό τὸν Ἅδη, ὡς ἐξαίσιον σημάδι,

Come forth my Lazarus, my beloved friend.
And immediately an extraordinary sign

Λάζαρος ἀπελυτρώθη, ἀναστήθη καὶ σηκώθη,
ζωντανός, σαβανωμένος καὶ μὲ τὸ κερί ζωμένος.

Lazarus was redeemed, risen and raised
alive, shrouded and smeared with wax.

Τότε ἡ Μάρθα κι η Μαρία, τότε ὅλη ἡ Βηθανία,
μαθηταί καὶ ἀποστόλοι, τότ΄εὑρέθησάνε ὅλοι,

Then Martha, and Mary, and the whole of Bethany,
disciples and Apostles, then they all gathered around

Δόξα τῷ Θεῷ φωνάζουν καὶ τὸν Λάζαρο ΄ξετάζουν
-Πές μας, Λάζαρε, τί εἶδες, εἰς τὸν Ἅδη πού ἐπῆγες;

Glory to God they shout and question Lazarus
-Tell us Lazarus what did you see when you descended to Hades?

-Εἶδα φόβους, εἶδα τρόμους, εἶδα βάσανα καὶ πόνους,
Δῶστε μου λίγο νεράκι, νὰ ξεπλύνω τὸ φαρμάκι,
τὸ φαρμάκι τῶν χειλέων καὶ μὴ μέ ρωτᾶτε πλέον.

I saw fears, I saw horrors, I saw torments and pains,
give me some water to wash out the bitterness,
the bitterness from my lips, and stop questioning me more.
« Last Edit: October 21, 2016, 03:52:39 PM by Apostolos »
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #12 on: October 23, 2016, 07:43:08 AM »
Post-Byzantine kratema "Περσικόν Γιελελελί" (Persian Yeleleli) in Mode Pl. of 2nd. This magnificent work belongs to the long tradition of Byzantine kratemata which are derived from ancient auletic and kitharodic "nomi". Apart from the Pl. of 2nd, the melody also moves within the scale of the 1st Mode:
https://www.youtube.com/watch?v=BfbnrZI4-Ck

Classical Ottoman instrumental piece in Mode Pl. of 2nd Tetraphonic (makam Uzzal Yürük Semai) after Hanende Zaharya (Zacharias "the skilful singer" +1750; he was one of the most talented composers of secular music* he was loved by the Ottomans who called him Μir Cemil, "the sublime one"); Yiannis Panayiotopoulos plays all the instruments:
https://www.youtube.com/watch?v=0foMnVNrV5I

*He has also composed Church hymns like the Vesperal Theotokion "The Universal Glory" in Mode 1st.
« Last Edit: October 23, 2016, 08:00:33 AM by Apostolos »
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #13 on: October 25, 2016, 05:50:39 AM »
Byzantine secular kratema "Ὁ πάνυ ὡραῖος" (The most handsome) after Manuel Chrysaphes (+1463) in Mode Grave:
https://www.youtube.com/watch?v=kOhCB4RUc8U


Α Pontian (Τrapezuntian) lament song about the fall of Constantinople to the Ottoman Turks from the Romanian Byzantine Μusic Choir "Byzantion":
https://www.youtube.com/watch?v=n4Qmo7INzI0

Ἕναν πουλίν, καλὸν πουλὶν ἐβγαίν᾿ ἀπὸ τὴν Πόλιν,
οὐδὲ στ᾿ ἀμπέλια κόνεψεν οὐδὲ στὰ περιβόλιαν,
ἐπῆγεν καὶ ἐκόνεψεν, σ᾿ Ἁγιά-Σοφιᾶς τὴν πόρταν.
Ἔδειξεν τ᾿ ἕναν τὸ φτερόν, στὸ αἷμα βουτεμένον,
καὶ σ᾿ ἄλλον τὸ φτερὸν μαθέ, χαρτὶν βαστᾷ γραμμένον,
ἀτό, κανεὶς κι ἀναγνῶθ᾿, κανεὶς καὶ ξέρ᾿ντὸ λέγει,
μηδὲ κι ὁ Πατριάρχης μου, μ᾿ ὅλους τοὺς πουπᾶδες.
Κ᾿ ἕνα παιδίν, καλὸν παιδίν, πάει κι ἀναγνώθει,
σίτ' ἀναγνώθ', σίτα κλαίει, σίτα κλούει τὴν καρδίαν:
- Νὰ ἠλὶ ἐμᾶς, καὶ βάι ἐμᾶς, πᾶρθεν ἡ Ῥωμανίαν

Ν'ἀϊλί ἑμᾶς καὶ βάι ἑμᾶς πᾶρθεν ἡ Ῥωμανίαν
ἐπαῖραν τὸ βασιλοσκάμ' κι ἐλάεν Αὐθεντίαν.
Μοιρολογοῦν τὰ ἐκκλησιάς κλαῖγνε τὰ μοναστήρεα
κι Ἅι Γιάννες ὁ Χρυσόστομον κλαίει, δερνοκοπᾶται.
- Μἠ κλαῖς, μἠ κλαῖς, Ἁγιάννε μου μἠ δερνοκοπᾶσαι
ἡ Ῥωμανίαν 'πέρασεν, ἡ Ρωμανίαν 'πᾶρθεν.
- Ἡ Ῥωμανίαν κι ἀν πέρασεν ἀνθεῖ καὶ φέρει κι ἄλλον.

A bird, a good bird, flew away from the City
it didn't sit on the grape, neither on the orchard
it went and sat on the door of Hagia Sophia.
It showed one wing, it was dipped in blood,
and a written paper was attached on its other wing
but no-one could read it, no-one knows what it's written
Neither my Patriarch knows, neither all the priests.
Only a child, a good child, steps in and reads it
and when it reads it, and weeps, it cries with a broken heart:
-Woe is me, woe is me, Rhomania's taken

Woe is me, woe is me, Rhomania's taken
the throne is taken, the King's gone.
Churches lament, Monasteries weep
and Saint John Chrysostom, cries and weeps.
-Don't cry, don't cry my dear Saint John, don't weep
Rhomania's gone, Rhomania's taken.
-Rhomania's gone and yet she flourishes and grows.
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #14 on: October 28, 2016, 07:03:51 AM »
Βyzantine secular kratema "Περσικόν Γιελεγιελελί" (Persian Yeleyeleli) in Mode Grave:
https://www.youtube.com/watch?v=Da9FeNoFIm0

An instrumental piece composed by Dimitrie Cantemir in Mode 1st tetraphonic (makam Hüseyni Saz Semai):
https://www.youtube.com/watch?v=ou-ZMYyKvxg
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #15 on: October 29, 2016, 01:24:24 PM »
Αn instrumental piece composed by the Voevode of Moldavia-Wallachia Dimitrie Cantemir (+1723) in Mode 2nd (Arabo-Persian: makam Hicaz Uşuleş):
https://www.youtube.com/watch?v=mndwAhXGXKI

Post-Byzantine Smyrnean traditional song "Sea have mercy" in Mode 2nd (makam Hicaz) performed by "Ἐν Χορδαῖς-En Chordais" (vocals: Sophia Neochoritou):
https://www.youtube.com/watch?v=sH5umLg61Us

Κλαίγω βαριαναστενάζω
Καὶ τὴ θάλασσα φωνάζω
Γιὰ δυὸ μάτια ζαχαρένια
Πού μοῦ λείπουνε στὰ ξένα

Θάλασσα λυπήσου
Λίγο πιὰ καὶ 'μένα
Φέρε τὴν ἀγάπη μου
Ἀπό τὰ ξένα

Ἐ ρὲ θάλασσα τὶ κάνεις;
ὅλους μας θὰ μᾶς τρελλάνεις
Πῆρες τὴν παρηγοριά μου
Μέσα ἀπό τήν ἀγκαλιά μου

Θάλασσα λυπήσου
Λίγο πιὰ καὶ 'μένα
Φέρε τὴν ἀγάπη μου
Ἀπό τὰ ξένα

Θάλασσα φαρμακωμένη
τὴν καρδιά μού 'χεις καμμένη
Μοῦ ξελόγιασες πλανεύτρα
Τἠν ἀγάπη μου βρὲ ψεύτρα

Θάλασσα λυπήσου
Λίγο πιὰ καὶ 'μένα
Φέρε τὴν ἀγάπη μου
Ἀπό τὰ ξένα

Ι cry and sigh
And shout at the sea
About two sweet eyes
Who are in foreign lands
And I miss

O Sea have mercy on me
Bring home my love
From the foreign lands

What are you doing Sea?
You'll drive us all crazy
You've taken my solace
From my embrace

O Sea have mercy on me
Bring home my love
From the foreign lands

You poisonous Sea
You've burnt my heart
You enchantress 've seduced my love
You deceiver Sea

O Sea have mercy on me
Bring home my love
From the foreign lands
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

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Pray for persecuted Christians, especially in Serbian Kosovo and Raška, Egypt and Syria

My Orthodox liturgical blog "For what eat, while you can fast" in Polish (videos featuring chants in different languages)

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #17 on: November 10, 2016, 07:16:16 AM »
Αn instrumental piece composed by the Ottoman lute virtuoso Andon Lavtaci (Anthony "the lute-player") or Antonios Kyriazis who lived in late 18th c. in Istanbul, in Mode Pl. of 1st (Arabo-Persian: makam Hüseyni Saz Semai) under the title "Bosphorus":
https://www.youtube.com/watch?v=NjiM-q9NdcU

An instrumental piece by the Ottoman lute virtuoso Andon Lavtaci (Anthony "the lute-player") or Antonios Kyriazis who lived in late 18th c. in Istanbul, in Mode Pl. of 1st (Arabo-Persian: makam Hüseyni Peşrev) performed by Eugenios Voulgaris with Yayli Tanbur:
https://www.youtube.com/watch?v=dehdMeSgXAE
« Last Edit: November 10, 2016, 07:22:42 AM by Apostolos »
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #18 on: November 15, 2016, 09:20:28 AM »
Classical Ottoman instrumental piece in Mode 1st diphonic of the soft chromatic genus "Naos" (makam Sabah Saz Semai) after Hanende Zaharya (Zacharias "the skilful singer" +1750), performed by "Ἐν Χορδαῖς" (En Chordais):
https://www.youtube.com/watch?v=pnfV0N4A51I

An instrumental piece in Mode Deuteroprotos (i.e. a fusion of Second soft chromatic and First soft diatonic, Arabo-Persian makam Karciğar Peşrev) after the Armenian violin virtuoso Kemani Tatyos Ekserciyan (Tatyos Ekserciyan "the violin-player" +1913) performed by the musical ensemble of the Department of musical science & art, Uni of Macedonia, Greece:
https://www.youtube.com/watch?v=AHSOO9VMg6I
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #19 on: November 18, 2016, 06:57:25 AM »
An instrumental musical piece of Ottoman classical music in Mode Pl. of 2nd (makam Kürdili Hicazkar Peşrev) after Vasilaki Kemençeci (Basil "the lyra-player" +1907): 
https://www.youtube.com/watch?v=sa8ezaMycWk

An instrumental piece in Mode Pl. of 2nd (makam Kürdili Hicazkar Saz Semai) after the Ottoman Armenian violin virtuoso Kemani Tatyos Ekserciyan (Tatyos Ekserciyan "the violin-player" +1913):
https://www.youtube.com/watch?v=xBGoEkPkiQk

An improvisation (taxim) after the Armenian oud virtuoso Udi Hrant Kenkulian (Hrant Kenkulian "the Oud-player" +1978) in Mode Pl. of 2nd (Kürdili Hicazkar Taksim):
https://www.youtube.com/watch?v=1XMdl8Te1wo
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #20 on: November 20, 2016, 08:31:48 AM »
A couple of traditional post-Byzantine musical pieces from the Aegean Anatolian town of Aydin (the Byzantine Tralles) the first (00:00-04:16) is an instrumental piece called "Aydinikos" (from Aydin), the second is a song called "Ἀμυγδαλάκι τσάκισα-I cracked an almond" in Chroa Zygos (makam Müstear) performed by the musical ensemble of the Department of musical science & art, University of Macedonia, Greece:
https://www.youtube.com/watch?v=r-W0AELvDe0

Χίλια καλωσορίσατε φίλοι μου ἀγαπημένοι.
Παρέα μου χαρούμενη καὶ καλοκαρδισμένη.

Ἀμυγδαλάκι τσάκισα καὶ μέσα σὲ ζωγράφισα
ἀμυγδαλοτσακίσματα σοῦ στέλνω χαιρετίσματα.

Ἀς τραγουδήσω κι ἀς χαρῶ τοῦ χρόνου ποιός τὸ ξέρει.
Ἄν θὰ πεθάνω ἤ θὰ ζῶ ἤ θἀ 'μαι σ' ἄλλα μέρη.

Ἀμυγδαλάκι τσάκισα καὶ μέσα σὲ ζωγράφισα
ἀμυδγαλοτσακίσματα σοῦ στέλνω χαιρετίσματα (x2)

A thousand welcomes, my dear friends,
happy and cheerful company.

I cracked an almond, I painted your picture,
broken almond, I send you my greetings.

I shall sing and be merry, who knows what next year will bring,
whether I'll be dead or alive, or somewhere else.

I cracked an almond, I painted your picture,
broken almond, I send you my greetings (x2)
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #21 on: December 31, 2016, 11:28:35 AM »
Cappadocian Christmas Carol in Mode 1st (16th-17th c.) :
https://www.youtube.com/watch?v=jAos2vrtigs

Kαλὴν ἐσπέραν ἄρχοντες κι ἄν εἶναι ὀρισμός σας
Χριστοῦ τὴν θείαν γέννησιν νὰ πῶ στ'ἀρχοντικό σας (x2)
Χριστός γεννᾶται σήμερον ἐν Βηθλεέμ τῇ πόλει
οἱ οὐρανοὶ ἀγάλλονται χαίρει ἡ φύσις ὁλη (x2)
Ἐν τῷ σπηλαίῳ τίκτεται ἐν φάτνῃ τῶν ἀλόγων
Ὁ βασιλεύς τῶν οὐρανῶν καὶ ποιητής τῶν ὅλων (x2)
Ἐκ τῆς Περσίας ἔρχονται τρεῖς μάγοι μὲ τὰ δῶρα
ἄστρον λαμπρόν τοὺς ὁδηγεῖ χωρίς νὰ λείψῃ ὥρα (x2)
Τοῦ Ἰησοῦ μας τοῦ Χριστοῦ γέννησιν τὴν ἁγίαν
Χρόνους πολλούς νὰ χαίρεστε πάντα μὲ εὐλογία (x2)
Δῶστε κι ἐμᾶς στὸν κόπον μας ὅ.τι εἶν'ὁ ὀρισμός σας
Καὶ ὁ Χριστὸς μας πάντοτε νὰ εἶναι βοηθὀς σας (x2)

Good evening noble men may I sing at your mansion
this day celebrating Christ's holy birth (x2)
Christ's being born today in the town of Bethlehem
Heavens rejoice the whole nature is happy (x2)
In the cave He is being born in the horses' manger
the king of heavens and maker of everything (x2)
Three magi are coming from Persia bearing gifts
a bright star is showing them their way without delay (x2)
Always celebrate the holy birth of Jesus Christ
Εnjoy the blessed feast for many years (x2)
May you give us something for our labour
And may you always have Christ as your helper (x2)

Cappadocian New Year's Carol (from Farassa, st. Arsenios' & st. Paisios' hometown) in Mode 1st (judging by the language, probably from 15th-16th c.):
https://www.youtube.com/watch?v=RD0u9fdfmug


Ἅγιε Βασίλειε ὅσιε, φύλαξον καὶ σῶσον τὴν ποίμνην σου
Ἄστρον ἀνεφάνῃς Βασίλειε ἐν τῇ Καισαρίᾳ Μητρόπολῃ
Ἅγιε Βασίλειε ὅσιε, φύλαξον καὶ σῶσον τὴν ποίμνην σου
Βασίλειος ὁ Μέγας Ἀρχιερεύς, ὅλον του τὸν κόσμον ἐφώτισε
Ἅγιε Βασίλειε ὅσιε, φύλαξον καὶ σῶσον τὴν ποίμνην σου
Ἰουλιανός ὁ παραβάτης θέλει ἵνα ἀπέλθῃς Καισάρειαν
Ἅγιε Βασίλειε ὅσιε, φύλαξον καὶ σῶσον τὴν ποίμνην σου
Σύνοδον ἐπῆγεν Βασίλειος, τιμαλφή χρουσία συνέλεξεν
Ἅγιε Βασίλειε ὅσιε, φύλαξον καὶ σῶσον τὴν ποίμνην σου
Καὶ συναπαντᾶ τὸν Μερκούριον, ὡς ἐν άγαλλιάσει καὶ λέγει του:
Ἅγιε Βασίλειε ὅσιε, φύλαξον καὶ σῶσον τὴν ποίμνην σου
Δὸς ἡμῖν τὰ φῶτα τὰ κάλαντα, ἵνα καὶ ἡμεῖς ἀγαλλόμεθα
Ἅγιε ὅσιε,
Ἁγιε Βασίλειε,
φύλαξον καὶ σῶσον τὴν ποίμνην σου.

Saint and righteous Basil, guard and save thy flock
You shone as a beacon O Basil, at the Metropolis of Caesarea
Saint and righteous Basil, guard and save thy flock
Basil the Great hierarch, enlightened the whole world
Saint and righteous Basil, guard and save thy flock
Julian the apostate wished you to leave Caesarea
Saint and righteous Basil, guard and save thy flock
Basil called of the people and gathered a precious treasure
Saint and righteous Basil, guard and save thy flock
And encountered Mercurius, who elated, said to him:
Saint and righteous Basil, guard and save thy flock
Fill us with light and festive songs, so that we may rejoice as well
Saint and righteous,
Saint Basil,
Guard and save thy flock.
« Last Edit: December 31, 2016, 11:33:39 AM by Apostolos »
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #23 on: January 07, 2017, 03:28:05 PM »
Byzantine Theophany Carol in Mode 1st:
https://www.youtube.com/watch?v=cxXxtzF_KaE

Ἀπὸ τῆς ἐρήμου ὁ Πρόδρομος ἦλθε τοῦ βαπτίσαι τὸν Κύριον.
Ἐρουρέμ, ἐρουρέμ, ἐρουρέρου, ρερουρέμ, χαῖρε Πρόδρομε.
Βασιλέα πάντων ἐβάπτισε εἰς τὸν Ἰορδάνην ὁ Πρόδρομος.
Ἐρουρέμ, ἐρουρέμ, ἐρουρέρου, ρερουρέμ, χαῖρε Πρόδρομε.
Γηγενεῖς σκιρτᾶτε καὶ χαίρεσθε, τάξεις τῶν Ἀγγέλων εὐφραίνεσθε.
Ἐρουρέμ, ἐρουρέμ, ἐρουρέρου, ρερουρέμ, χαῖρε Πρόδρομε.
Δέξου Ἰορδάνη τὸν Κτίστην σου πρίν ἀναχαιτίσεις τὰ ὕδατα.
Ἐρουρέμ, ἐρουρέμ, ἐρουρέρου, ρερουρέμ, χαῖρε Πρόδρομε.
Εἰς τὸν Ἰορδάνην βαπτίζεται ὑπὸ Ἰωάννου ὁ Κύριος.
Ἐρουρέμ, ἐρουρέμ, ἐρουρέρου, ρερουρέμ, χαῖρε Πρόδρομε.

The Forerunner came from the desert to baptise the Lord,
Erurem, erurem, erureru, rerurem, rejoice O Forerunner.
The Forerunner baptised the King of all in the Jordan,
Erurem, erurem, erureru, rerurem, rejoice O Forerunner.
Ye mortals rejoice and be glad, ye angelic hosts jubilate,
Erurem, erurem, erureru, rerurem, rejoice O Forerunner.
Receive O Jordan thy Builder before you reverse the flow,
Erurem, erurem, erureru, rerurem, rejoice O Forerunner.
The Lord is baptised in the Jordan, by John,
Erurem, erurem, erureru, rerurem, rejoice O Forerunner.
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

Offline Apostolos

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #24 on: January 08, 2017, 07:35:28 AM »
Α post-Byzantine traditional Thracian (originally Anatolian) song of the table, "Τ'ἀηδόνια τῆς Ἀνατολῆς-The nightingales of the East" in Mode 3rd:
https://www.youtube.com/watch?v=JSHiM36GmkY

Τ᾿ἀηδόνια τῆς Ἀνατολῆς καὶ τὰ πουλιὰ τῆς Δύσης,
στοῦ Φιλαδέλφου τὸν βουνόν, στοῦ Φιλαδέλφου τ᾿ὄρος
γιὰ συναχθῆτε μιὰν μεριάν, νὰ ποίσῳ περιβόλι
νὰ κόψῳ μῆλο τῆς φιλιᾶς, κυδώνι τῆς ἀγάπης
δαμάσκηνο μὲ τὸ κλαδί, σταφύλι μὲ τὸ κλῆμα.
Κι ἐκ᾿ ηὗρα τὴν πολλαγαπῶ μέσα στὸ περιβόλι,
βασιλικὸν ἐπότιζεν νὰ ποίσῃ ὡραῖο στεφάνι.

The nightingales of the East and the birds of the West
come and gather at the Philadelphia's hillock, the Philadelphia's mount
and help me plow an orchard and harvest the apple for friendship, the quince for love
the plum tree, and the grapevine.
There I've found the woman I love very much,
she was watering the basil to make a handsome wreath.

An instrumental piece composed by Dimitrie Cantemir (+1727) the Voevode of Wallachia-Moldavia in Μode Pl. of 1st of the hard diatonic genus (Arabo-Persian: makam Büselik Peşrev) performed by "Ἐν Χορδαῖς-En Chordais":
https://www.youtube.com/watch?v=Fcc_YhhjHSE
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #25 on: January 08, 2017, 01:08:43 PM »
Is "Erurem" like "Terirem"?
"May the Lord our God remember in His kingdom all Holy Catholic Apostolic Church, which heralds the Word of Truth and fearlessly offers and distributes the Holy Oblation despite human deficiencies and persecutions moved by the powers of this world, in all time and unto the ages of ages."

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #26 on: January 08, 2017, 03:52:00 PM »
I am so grateful for this thread.  Thank you, Apostolos;D
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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #28 on: January 12, 2017, 03:26:07 PM »
Is "Erurem" like "Terirem"?
Indeed it's an altered form of terirem.

Four post-Byzantine traditional instrumental pieces from the Aegean islands performed by the musical ensemble of the Department of musical science & art, University of Macedonia, Greece:
https://www.youtube.com/watch?v=aDq2o9NkgDo

00:00-03:46
"Kavodoritiko" (i.e. "of Cavo d'Oro" the southernmost point on the island of Euboea)

03:47-05:23
"Of Marriage" (performed at the wedding after party) traditional of the island of Naxos

05:24-06:40
"Woods" (a tune accompanied with wooden spoons) traditional of the island of Lesbos

06:41-end
"Balos" (traditional dance, hallmark of the music perfomed on the Aegean islands)

The culmination festival after the Dormition Liturgy (August 15) at the town of Langada on the eastern Aegean island of Ikaria, the dance and the tune are called "Ikariotikos" (of Ikaria), the people are dancing in front of the town's little church (can be seen at 0:05 behind the musicians):
https://www.youtube.com/watch?v=edwvUO9GquM
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

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« Last Edit: January 15, 2017, 08:10:00 AM by Dominika »
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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #30 on: April 08, 2017, 03:39:25 PM »
The Lazarines are usually young girls who on Lazarus Saturday visit houses and sing the "Lazarus' song" in exchange for sweets and eggs:
https://www.youtube.com/watch?v=RwTQ6ghJCM4

Ήρθ' ο Λάζαρος ήρθαν τα βάγια
Ήρθ' η Κυριακή που τρών’ τα ψάρια

Ξύπνα Λάζαρε και μην κοιμάσαι
ήρθ' η μάνα σου από την Πόλη

σού 'φερε χαρτί και κομπολόι

γράψε Θόδωρε,
γράψε Δημήτρη
γράψε Λεμονιά και Κυπαρίσσι
 
Οι κοτούλες σας αβγά γεννάνε
Δώσ' τε μας κι εμάς να τα χαρούμε

Για το Λάζαρο που τραγουδούμε
-----
"The Lazarus (day) has arrived, the bay leaves are here
The fish-eating Sunday has arrived

Wake up Lazarus and don't fall asleep
your mother came from the town

she brings you paper and prayer-beeds (alt. "paper and inkstand")

write Theodore,
write Demetrius,
write Lemon tree and cypress

Your hens lay eggs, give us some
we're feasting our eyes on them

We'll sing again next year"

The custom up until the mid 1950's was more elaborate:
https://www.youtube.com/watch?v=7MLeukwM3mQ

In Beroea, Kozani, and Grevena (NW Greece) after the Liturgy on Lazarus Saturday, the yiayias sing the traditional Lazarines' song before the Bishop:
https://www.youtube.com/watch?v=lqXbPuzXIk0
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #32 on: April 08, 2017, 06:05:45 PM »
^^ thanks for sharing the videos, I haven't seen these ones before :) And the custom of singing in front of the bishop is an interesting thing.

I like the lazarinese given below:

Εβρίτικα Κάλαντα Του Λαζάρου ( Αμπελάκια)

ΚΑΛΑΝΤΟ ΛΑΖΑΡΟΥ ΛΕΣΒΟΥ - ΜΑΡΙΝΑ ΜΑΝΩΛΑΚΟΥ

Κάλαντα Λαζάρου Άμπλιανης Ευρυτανίας

Πέτρος Γαϊτάνος - Το τραούδιν του Λαζάρου
The first one is the Thracian Lazarus' carol from the Hebros region (NE Greece, next to Bulgaria & Turkey)

The second one is the Lazarus' carol from the island of Lesbos

The third is from rural Eurytania (see my post #11)

The last one is the traditional Cypriot Lazarus' song (after all st. Lazarus after his resurrection moved to Cyprus and became bishop of Kition, which after his...second death, was renamed Larnaca i.e. sarcophagus, after st. Lazarus' tomb)
...apologies but I do not like Gaitanos' singing, I prefer a more "traditional" and reserved performance:
https://www.youtube.com/watch?v=gTXog4Oy9ZE
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

Offline Brigidsboy

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #33 on: April 11, 2017, 01:26:57 AM »
I'm really enjoying this thread. Thanks to all who are posting here!
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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #34 on: May 02, 2017, 08:33:20 AM »
A post-Byzantine secular urban Constantinopolitan song performed by "Ἐν Χορδαῖς-En Chordais":
https://www.youtube.com/watch?v=PR9-X43wb8k

Ἀμάν!, ἀμάν!, ἡ Πόλη καὶ ὁ Βόσπορος, ἀμάν!, εἶναι τὸ ὄνειρό μου,
Ἀμάν ! ἀμάν!, άχ αμάν! 
Αμάν!, εἶναι τὸ ὄνειρό μου,
ἐκεῖ μένει ἡ ἀγάπη μου, ἀμάν!, ἐκεῖ τὸ βάσανό μου, ἀμάν! ἀμάν!, ἀχ ἀμάν.

Sigh! the City (i.e. Constantinople) and Bosphorus, sigh, are in my dream
Sigh!
Sigh! they're in my dream,
Sigh! for there's my love, sigh, there's my anguish too, sigh.

A post-Byzantine secular table-song of the Greeks of Eastern Rumelia; the singer is Alexandra Papastergiopoulos:
https://www.youtube.com/watch?v=WEyS5Zzg4oA

Μαῦρο μου χελιδόνι ἀπὸ τὴν Ἀραπιά
ἄσπρο μου περιστέρι ἀπὸ τὸν τόπο μου.
Ἐσεῖς ψηλά πετᾶτε, γιὰ χαμηλώσετε
κι ἀνοῖξτε τὰ φτερά σας καὶ τὰ φτερούδια σας
νὰ γράψω ἕνα γράμμα κι μιὰ ψηλή γραφή
στὴ μάνα μ' καὶ στ' ἀδέρφια μ' καὶ στὴν ἀγάπη μου.

My black swallow from the Arab lands,
and my white dove from my homeland,
you fly too high, lower your flight
and open your wings, your little wings,
for me to write a letter and an epistle
to my mother, my siblings, and my love.
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #35 on: May 02, 2017, 11:48:57 AM »
Subscribed
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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #36 on: May 02, 2017, 04:45:08 PM »
Apostolos, do you have any Paschal music? I know only Simera Hristos anesti and a Cypriot Easter carol from Romeiko's album (if I'm not mistaken).
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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #37 on: May 04, 2017, 11:17:14 AM »
Apostolos, do you have any Paschal music? I know only Simera Hristos anesti and a Cypriot Easter carol from Romeiko's album (if I'm not mistaken).
Hi Dominika, I'm afraid I don't have any Paschal carols, Ι have a couple of songs for st. George though:

St. George's carol from Cappadocia in Mode Pl. of 1st (the singer is Katerina Papadopoulos):
https://www.youtube.com/watch?v=Ku30aiE33JE

Ἁγιώρ-Ἁγιώρ ἀφέντη μου κι ἀφέντη καβαλλάρη
ἀρματωμένε μὲ σπαθί καὶ μὲ χρυσό κοντάρι.
Άγγελος εἶσαι στὴ θωριά καὶ ἅγιος στὴ θεότη,
παρακαλῶ σε βόηθα μας, ἅγιε στρατιώτη.
Απὸ τὸ ἄγριο θεριό τὸ δράκοντα μεγάλο,
ποὺ δὲν ἀφήνει ἄνθρωπο, κάθε πρωί καὶ ἄλλο.


St. Geor' st. Geor' my master, and squire knight
armed with a sword and with a golden spear.
You're as handsome as an angel, and as holy as God,
please, help us, and save us O saint soldier,
from the wild beast, the big dragon
who doesn't spare men, each day (it feasts on) another one.

Ἐῤῥίξανε τὰ μπουλετιά, σὲ μιὰ Βασιλοπούλα…
ὅπου τὴν εἶχε ἡ μάννα της, μία καὶ ἀκριβούλα.
"Σήκω Ἁγιώρ ἀφέντη μου, καὶ τὸ νερό ἀφρίζει,
καὶ δράκος τὰ δοντάκια του, γιὰ 'μένα τ’ ἀκονίζει".

Τhey cast lot and it fell on a Princess...
her mother's only and precious daughter.
"Rise st. Geor' my master, it squirts water bubbles from the mouth,
the dragon snaps its teeth for me."

Σηκώθηκε κι’ Ἁη-Γιώργιος σὰν παραλλογισμένος,
Μιὰ κονταριὰ τοῦ χτύπησε, σὰν πού 'ταν μαθημένος,
Μιὰ κονταριά τὸ χτύπησε, τὸ πῆρε μές στὸ στόμα,
Καὶ παρ’ εὐθύς τὸ ξάπλωσε, χάμω στὴ Γῆς τὸ χῶμα!

St. George rose infuriated,
he hits it with one stroke of the spear, as he was trained to do,
he hits it with one stroke of the spear, inside the beast's mouth,
and immediately it fell down, on the ground, dead.   

Γεώργιο μὲ λέγουνε κι’ ἀπ’ τὴν Καππαδοκία,
κι ἀν θὲς νὰ κάμεις χάρισμα, χτίσε μιὰν ἐκκλησία!
Βάλε δεξιά τὴν Παναγιά, ζερβά ἕναν καβαλλάρη
ἁρματωμένο μὲ σπαθὶ καὶ μὲ χρυσό κοντάρι! (x2)

My name's George, I'm from Cappadocia,
and if you wanna make me a gift, built me a church!
Put on the right side the Theotokos, and on the left (side) a knight
armed with a sword and with a golden spear (x2)

A Cypriot St. George's carol (the singer is Alcinous Ioannides):
https://www.youtube.com/watch?v=m9CBok9B3cU

The lyrics are in the Cypriot dialect which is it a bit different from Standard Greek, so it's difficult for me to translate it verbatim, the message is similar to the previous Cappadocian one, st. George saves a kingdom from a dragon, the king's daughter survives, and the king wants to give to the saint his daughter as bride, but the saint doesn't want anything, he asks of the king to built a church dedicated on him, to celebrate st. George's day on April 23rd.
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

Offline Apostolos

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #38 on: May 05, 2017, 10:45:44 AM »
An improvisation (taxim) after the Armenian blind oud virtuoso Udi Hrant Kenkulian (Hrant Kenkulian "the Oud-player" +1978) in Mode 2nd (makam Hicaz Taksim):
https://www.youtube.com/watch?v=uk6vIL6Vc0M

A traditional "Ayvaliotikos" zeybekiko tune and dance of Lesbos island, named after Ayvalik (the Byzantine Cydoniae) a town on the western Anatolian coast in Mode 2nd (makam Hicaz):
https://www.youtube.com/watch?v=6FhLbFV76xM
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #39 on: May 07, 2017, 06:36:46 AM »
A traditional zeybekiko tune and dance of Cyprus (the second dancer is the local priest):
https://www.youtube.com/watch?v=O8fF1ngiaHw

Α traditional "Konyali" zeybekiko tune and dance of Cappadocia, named after Konya (the Byzantine Konion) a city in western Anatolia:
https://www.youtube.com/watch?v=TigOtSXCB44

The zeybekiko rythmic pattern of 9/8 became so popular in late 19th c. in mainland Greece and Ionia (western Anatolian coast with significant Greek population) that it spread in urban areas (especially the ports of Piraeus & Thessaloniki in Greece, and Smyrna on the opposite side of the Aegean sea) and gave birth to the musical genre of rebetika (a kind of urban music of the lower casts or underground).
Αn urban song after George "Katsaros" (=Curly) Theologites (Dimitris Mystakides-guitar, Christos Mastelos-voice).
Theologites was born in 1888 on the Greek island of Amorgos, and in 1913 moved to America where he composed urban songs just with a guitar:
https://www.youtube.com/watch?v=gkKA7LT_xHg

Τῆς θάλασσας βαστῶ κακιά, ἀμάν!, ἀμάν!
τοῦ βαποριοῦ ἀμάχη (x2)
ποὺ πῆρε τὴν ἀγάπη μου, ἀμάν!, ἀμάν!
καὶ τὴν ἐχαίρονται ἄλλοι.

Καὶ γιατὶ δὲ μᾶς τὸ λές (x3)
τὸν πὸνο πού ’χεις κι ὅλο κλαῖς
καὶ γιατὶ δέ μ’ ἄνοιξες (x3)
παρὰ τὸ τζάμι σφάλισες

Ἀνάθεμά τη τὴν στιγμή – καρδούλα μου
ἀνάθεμα τἠν ὥρα (x2)
ὄπου σὲ πρωτογνώρισα - μικρούλα μου
σὲ τούτη ἐδῶ τὴ χώρα.

Καὶ γιατὶ δὲ μᾶς τὸ λές (x3)
τὸν πὸνο πού ’χεις κι ὅλο κλαῖς
καὶ γιατὶ δέ μ’ ἄνοιξες (x3)
παρὰ τὸ τζάμι σφάλισες
----
I hold a grudge against the sea, sigh
and feel enmity for the ship (x2)
that took my love, sigh
and others feel joy in her presence

And why don't you tell us (x3)
your pain that makes you keep crying
and why didn't you open the door (x3)
but instead fastened the window

Curse the moment - my little heart
curse the hour (x2)
in which I first met you - my little one
in this here country

And why don't you tell us (x3)
your pain that makes you keep crying
and why didn't you open the door (x3)
but instead fastened the window.
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

Offline Apostolos

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #40 on: May 09, 2017, 07:06:58 AM »
A traditional Zeybekiko "Aptaliko" (=rhythmic pattern of 9/8 with the fourth 1/8 = 1/16 + 1/16) from the island of Lesbos, originally of Chios island (the recording was made in 1933, the singer is Rosa Eskenazy):
https://www.youtube.com/watch?v=8vnZRnDavVE

Ἀχ δώδεκα χρονῶ κορίτσι,
ἄντε χήρα πάει στὴν μάνα του,
ἄντε τὰ στεφάνια στήν ποδιά του
κι ἔκλαιγε τὸν ἄντρα του.

Ἄντε σῶπα κόρη μου μὴν κλαίγεις,
ἄντε καὶ ξαναπαντρεύεσαι,
ἄντε καὶ τὰ μαῦρα θα πετάξεις
κι ἔτσι ἐλευθερώνεσαι.

Ἄντε μὴ μοῦ λές καημένη μάνα,
ἄντε γιὰ νὰ ξαναπαντρευτῶ,
ἄντε σὰν τὸν πρῶτο μου τὸν ἄντρα
ἄντε δὲ θὰ τόνε ξαναβρῶ.

Ἀχ χήρα ἡ κακομοίρα μικρὴ-μικρὴ!

Ἄντε ἐγώ τὰ μαῦρα δὲν τὰ βγάζω,
ἄντε θὰ κλειστῶ σ’ ἕνα κελλί,
ἄντε πές κι ἐσύ καημένη μάνα
πώς δὲν ἔχεις πιά παιδί.

Ah, a twelve-year old girl
haide, goes to her mother as a widow
haide, with the wedding crowns
crying about her husband (x2)

Haide, don't cry my girl
haide, you're gonna marry again,
haide, you're gonna quit wearing black (clothes)
and you'ill be free (x2)

Haide, my poor mother
haide, don't tell me to marry again
haide, I won't find anyone
like my first husband.

Ah, such a small child a widow, how unfortunate!

Haide, I won't quit wearing black,
haide, I'll become a nun,
haide, and you my poor mother,
'll say that you don't have a kid any more (x2)

Traditional Zeybekiko "Antikrystos" (Turk: karşılama) from the town of Alatsata (present-day Alaçatı, the town was established in the 17th c. by Greek salt harvesters in the salt marshes of Erythraia, a peninsula opposite the island of Chios on the western anatolian coast), in Mode 1st:
https://www.youtube.com/watch?v=ieiBvlOMsGw

Ἐγώ 'λεγα νά σ’ ἀγαπῶ Γιωργίτσα μου
κανείς νὰ μὴν τὸ ξέρει
τώρα τὸ μάθανε οἱ δικοί Γιωργίτσα μου
τὸ μάθανε κι οἱ ξένοι

Ἔλα Γιούλα Γιούλα ἔλα πάρε με
ἄνοιξε τσὶ δυὸ ἀγκάλες μέσα βάλε με

Τὸ γιασεμί στὴν πόρτα σου Γιωργίτσα μου
ἄνθισε καὶ θὰ δέσει
τ’ ἀγγελικό σου τὸ κορμί Γιωργίτσα μου
στὰ χέρια στὰ χέρια μου θὰ πέσει

Ἔλα Γιούλα Γιούλα ἔλα πάρε με
ἄνοιξε τσὶ δυὸ ἀγκάλες μέσα βάλε με

Μάζεψε σὺ τὰ γιασεμιά Γιωργίτσα μου
κι ἐγώ τὰ βελονιάζω
πούλησε τήν ἀγάπη σου Γιωργίτσα
κι εγώ τὴν ἀγοράζω

Ἔλα Γιούλα Γιούλα ἔλα πάρε με
ἄνοιξε τσὶ δυὸ ἀγκάλες μέσα βάλε με

I wished I loved you my Georgitsa
and no-one would know,
but now your next-of-kin knows, my Georgitsa,
everybody knows.

Come Yula*, Yula, take me
open your arms and hug me

When the jasmine on your doorstep, my Georgitsa
will grow and bloom,
your angelic beauty, my Georgitsa,
will be mine.

Come Yula, Yula, take me
open your arms and hug me

You pick the jasmine flowers, my Georgitsa,
and I'll secure them to the wreath,
Sell your love, my Georgitsa,
to me, I'll buy it.

Come Yula, Yula, take me
open your arms and hug me

(*Yula is one of the familiar forms of the name Georgia/Georgitsa).
« Last Edit: May 09, 2017, 07:23:29 AM by Apostolos »
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

Offline Apostolos

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #41 on: May 11, 2017, 03:09:07 PM »
Traditional Zeybekiko "Pergamon" from the island of Lesbos named after the Ionian town of Pergamon in western Anatolia, with significant Greek population in early 20th c. The singer is Solon Lekkas:
https://www.youtube.com/watch?v=XTdgy7ZqDhE

Ἀμάν, ἀμάν, ἀμάν, ἀμάν, Ἀϊβαλί (x2)
ἀχ Αϊβαλί,
Πέργαμο καὶ Δικελί (x2)

Ἀμάν, ἀμάν, ἀχ ὡραία Πέργαμο (x2)
ἀχ Πέργαμο,
Πέργαμο δὲ σὲ ξεχνῶ,
ἀχ Πέργαμο,
σὲ θυμᾶμαι καὶ πονῶ

Ἀμάν, ἀμάν, ἀμάν, ἀμάν, Πέργαμε
φεύγαμε
καὶ γιὰ σένα λέγαμε
ἀχ Πέργαμε
φεύγαμε καὶ λέγαμε
ἀχ Πέργαμε
καὶ γιὰ σένα κλαίγαμε

Ἀμάν, ἀμάν, ἀμάν, ἀμάν, Φωκιανοί (x2)
ἀχ Φωκιανοί
ἡ καρδιά μου σᾶς πονεῖ (x2)

Ἀμάν, ἀμάν, ἀμάν, Σμύρνη καὶ Βουρλὰ (x2)
ἀχ καὶ Βουρλἀ
βγάζεις ἄντρες λεβεντιὰ
ἀχ καὶ Βουρλἀ
ἔχεις ἄντρες λεβεντιὰ

Ἀμάν, ἀμάν, ἀμάν, ἀμάν, θὰ στὸ εἰπῶ
ἀχ θὰ στὸ εἰπῶ
Πόλη μου σὲ ἀγαπῶ (x2)

Sigh, O Ayvalik
ah, Ayvalik
Pergamon and Dikeli (x2)

Sigh, O handsome Pergamon (x2)
ah, Pergamon
Pergamon I won't forget you,
ah, Pergamon
I'm thinking of you and it hurts

Sigh, O Pergamon
we were leaving
and we were talking about you
ah, Pergamon
we were leaving
and we were talking about you
ah Pergamon
and we were crying for you

Sigh, O Phocaeans (x2)
ah, Phocaeans
my heart aches for you (x2)

Sigh, Smyrna and Vourla (x2)
ah, and Vourla
you produce stand-up guys
ah, and Vourla
you have stand-up guys

Sigh, I'll tell you this
ah, I'll tell you this
my City I love you (x2)

-Ayvalik is a town on the western anatolian coast (Byzantine Cydoniae) with majority Greek population before 1922.
-Dikeli (present-day Dikili) was the sea-port of Pergamon.
-Phocaea (present-day Foça) on the western anatolian coast had a significant Greek population until the Phocaean massacre in 1914, which forced the entire Christian population of the town to abandon it.
-Smyrna (present-day Izmir) was the capital of Greek Ionia, a major commercial, financial, cultural centre of the Greeks of Asia Minor.
-Vourla (=marshlands) is the Byzantine name of the ancient Clazomenae with majority Greek population before 1922.
-City is Constantinople (The City-Ἡ Πόλις) in the vernacular.

A traditional tune and dance from Cappadocia (from Pharassa, st. Paisios' home-town) in Mode 1st, called "Great Pascha" ("Di Paska" in the Karamanlian dialect). It was danced on Pascha Sunday. Socrates Sinopoulos plays the Constantinopolitan Lyra:
https://www.youtube.com/watch?v=ZMfYE8QKqQ0

A traditional song from Cappadocia called "Konyalı" (=the resident of Konya, the Byzantine Konion), of the Karmanlides, who were Turkish-speaking Orthodox Christians and used the Greek alphabet for writing. This song was known besides Cappadocia, in Pontus (performed by the "Bafralis" the Turcophone Orthodox Christians of Bafra* where it was also danced), even in the Armenian Cilicia where it was played by both Christians and Muslims. The kanun-player and singer is Manos Koutsangelides: 
https://www.youtube.com/watch?v=P5650flOFHY

Aman, hani ya da benim elli dirhem bastırmam bastırmam
Konyalı'dan başkasına bastırmam vay vay
Konyalım yürü, yürü yavrum yürü, aslan yarim yürü
Aldattılar beni, vermediler seni

*Bafra is the Turkish name of the Byzantine town of Paphra, near Sampsous. Bafralis were forced by the Ottomans to choose either to keep their Greek language or their Orthodox religion in the 1700's, and they chose to keep their Orthodox religion. Since then, anyone heard or caught, speaking or conversing in Pontian Greek, was put to death. Despite the forced Turkification of the area, in 1914 and in 1918 the Bafralis revolted against Ottoman oppression. At least 75,000 Bafralis died in the Pontian Genocide.
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

Offline Apostolos

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #42 on: May 14, 2017, 06:39:52 AM »
A couple of Τraditional tunes from Marmara & the Prince's islands.
00:00-03:15
"O Theotokos of Stylari"
03:15-end
"Huzzam" (makam Huzzam, roughly identified with the Byzantine 2nd Mode, yet with some differences), an instrumental piece which has become popular in the Cycladic islands too:
https://www.youtube.com/watch?v=RhHUg9EHU9w

Ὦ Παναγιά, Στυλαρινή, μὲ τὸ μονογενή σου,
μέσ’ στὴ γριποσαντάλα μας νὰ δώσεις τὴν εὐχή σου.

Η σαντάλα κάνει βόλτα μπρος στ' Ἅη-Γιαννιοῦ τὴν πόρτα

Ἀπὸ τὸν "Πύργο" Παναγιά βοήθησε καὶ σῶσε
καὶ στὴ γριποσαντάλα μας τήν εὐλογία δῶσε

Η σαντάλα βόλτα κάνει στὰ παλάτια στὸ λιμάνι

Ἁρμάτωσ' ἡ σαντάλα μας καὶ πάει γιὰ τὴν Πόλη
νὰ τὴν φυλάει ἡ Παναγιὰ κι οἱ δώδεκα Ἀποστόλοι

Ἡ σαντάλα βόλτα κάνει στὰ παλάτια στὸ λιμάνι

Ο Theotokos of Stylari with your only-begotten son
give your blessings to us and to the sandala*

The sandala is cruising at the gate of st. John

Oh Theotokos of the Tower** help us and save us
and bless our sandala

The sandala is cruising at the palaces and the harbour

We rigged our sandala and off to the City
may the Theotokos and the twelve Apostle bless her

The sandala is cruising at the palaces and the harbour

*Sandala was a long skiff used by the Greeks of Marmara and the Prince's islands for fishing and coastal navigation. The name obviously derives from the Byzantine merchant ship "Sandalion".
**The Galata Tower   

A traditional pastoral tune from the mountainous region of Epirus the clarinet-player is the virtuoso Petroloukas Khalkias, the lute-player is Christodoulos Zoumbas, and the violin-player is Achilles Khalkias:
https://www.youtube.com/watch?v=SWI1-KKgGz0
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.

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Pray for persecuted Christians, especially in Serbian Kosovo and Raška, Egypt and Syria

My Orthodox liturgical blog "For what eat, while you can fast" in Polish (videos featuring chants in different languages)

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Re: Byzantine secular & post-Byzantine Classical Ottoman music
« Reply #44 on: May 19, 2017, 06:50:22 AM »
Today, May 19, is the remembrance day of the Pontian Genocide.

Α Pontian dirge for the loss of their historic homeland, in the Pontic Greek dialect:
https://www.youtube.com/watch?v=9835AnLaEiM

Τὴν πατρίδα μ' ἔχασα,
ἔκλαψα καὶ πόνεσα (x2)
λύουμαι κι ἀροθυμῶ, ὄϊ-ὄϊ, ὄϊ-ὄϊ
ν' ἀνασπάλω κι ἐπορῶ (x2)

Μίαν κι ἄλλο σὴν ζωή μ'
σὸ πεγάδι μ' σὴν αὐλή μ' (x2)
νέροπον ἀς ἔπινα, ὄϊ-ὄϊ, ὄϊ-οϊ
καὶ τ' ὀμμάτεα μ' ἔπλυνα (x2)

Τὰ ταφία μ' ἔχασα
ντ' ἔθαψα κι ἐνέσπαλα (x2)
τ' ἐμετέρτς ἀναστορῶ, ὄϊ-ὄϊ, ὄϊ-ὄϊ
καἰ 'ς σὸ ψυόπο μ' κουβαλῶ (x2)

Μίαν κι ἄλλο σὴν ζωή μ'
σὸ πεγάδι μ' σὴν αὐλή μ' (x2)
νέροπον ἀς ἔπινα, ὄϊ-ὄϊ, ὄϊ-ὄϊ
καὶ τ' ὀμμάτεα μ' ἔπλυνα (x2)

Ἐκκλησίας ἔρημα,
μοναστήρεα ἀκάντηλα (x2)
πόρτας καὶ παράθυρα, ὄϊ-ὄϊ, ὄϊ-ὄϊ
ἐπέμναν ἀκράνυχτα (x2)

Μίαν κι ἄλλο σὴν ζωή μ'
σὸ πεγάδι μ' σὴν αὐλή μ' (x2)
νέροπον ἀς ἔπινα, ὄϊ-ὄϊ, ὄϊ-ὄϊ
καὶ τ' ὀμμάτεα μ' ἔπλυνα (x2)

I lost my homeland,
I cried and felt pain (x2)
I'm crying and I'm longing, oh-oh, oh-oh
I can't forget it (x2)

Another time in my life
(I wish I could be) in my well, in my yard (x2)
I wish I could drink water, oh-oh, oh-oh
and wash my eyes (x2)

I lost my graves
the people I buried but I didn't forget (x2)
I remember my people, oh-oh, oh-oh
and I'm carrying them in my soul (x2)

Another time in my life
(I wish I could be) in my well, in my yard (x2)
I wish I could drink water, oh-oh, oh-oh
and wash my eyes (x2)

Empty churches,
monasteries without candles (x2)
doors and windows, oh-oh, oh-oh
are left wide open (x2)

Another time in my life
(I wish I could be) in my well, in my yard (x2)
I wish I could drink water, oh-oh, oh-oh
and wash my eyes (x2)

Α Pontian dirge for the loss of the Pontian warrior in the Pontic Greek dialect:
https://www.youtube.com/watch?v=YvT0Xz_Y_8A

Ἀητέντς' ἐπαραπέτανεν (x2)
Ψηλά 'ς σὰ ἐπουράνια
οὔϊ ἀμάν, ἀμάν, οὔϊ ἀμάν, ἀμάν (x2)

Εἶσεν τσιαγκίαν κόκκινα (x2)
Καὶ τὸ τσαρκούλ' νατ μαῦρον
οὔϊ ἀμάν, ἀμάν, οὔϊ ἀμάν, ἀμάν (x2)

Ἐκράτ' νεν καὶ 'ς σὰ κάρτσια του (x2)
Παλληκαρί' βρασιόνιας
οὔϊ ἀμάν, ἀμάν, οὔϊ ἀμάν, ἀμάν (x2)

-Ἀητέ μ' γιὰ δός μ' ἀς σὸ κρατεῖς (x2)
Γιὰ πέ με ὄθεν κεῖται
οὔϊ ἀμάν, ἀμάν, οὔϊ ἀμάν, ἀμάν (x2)

Ἀς' σὸ κρατῶ 'κι δίγω σὲ (x2)
Ἀρ' ὄθεν κεῖται λέγω
οὔϊ ἀμάν, ἀμάν, οὔϊ ἀμάν, ἀμάν (x2)

Ἀκεῖ 'ς 'σὸ πέραν τὸ ρασίν
Σ' ἐλάτια 'πεκεῖ μέρος
Τραντέλλεναν* ἐσκότωσαν
καὶ κεῖται 'ματωμένος.

Μαῦρα πουλία τρώγν' ἀτὸν
Καὶ ἄσπρα τριγυλίσκουν.
Φατέστε πούλεα μ', φατέστε
φατέστε τὸν καρίπην**

'Σ σὴν θάλασσαν κολυμπετῆς
σ' ὀμάλεα πεχληβᾶνος***

'Σ σὸν πόλεμον τραντέλλενας (x2)
Ρωμέϊκον παλληκάρι 
οὔϊ ἀμάν, ἀμάν, οὔϊ ἀμάν, ἀμάν (x2)

An eagle was flying (x2)
high up in the sky
oh sigh, oh sigh (x2)
 
He had his legs red coloured (x2)
and his back was black
oh sigh, oh sigh (x2)

He was holding in his claws (x2)
the arms of a lad
oh sigh, oh sigh (x2)
 
-Eagle, give us what you hold (x2)
tell us where the body lies
oh sigh, oh sigh (x2)

I won't give you what I am holding (x2)
but I'll tell you where he's lying
oh sigh, oh sigh (x2)

In those slopes over there,
among the trees,
they've killed a brave man*
and he's lying down in (a pool of) blood.

Black crows are eating him,
and white birds fly above him.
Feast, ye birds, feast
feast on the garip*

Who was an able sea swimmer
and a fighter*** on the battlefild

He was a brave man in war (x2)
a true Roman lad
oh sigh, oh sigh (x2)

The war-dance of the Pontians, called "Σέῤῥα" Serrha, named after the eponymous river near Trabzon (including the "Pitsak" the sword-dance):
https://www.youtube.com/watch?v=Z25ZfkN45G0

*Τραντέλλενας/trantellenas in the Pontic dialect is the brave man/warrior, it literally means thirty-times-Greek.

**Garip (Gr. Kαρίπης-Karipes) was the horseman of the Kapıkulu (mercenary) Ottoman cavalry and was considered the lowest class of the mounted cavalry, as they were so poor, they were lightly armed and did not wear any decorated uniforms. Christians were often employed as garips.
Here it has the meaning of the poor one, or the ill-fated man.

***Pehlivan (Gr. πεχλιβάνης/pekhlivanes or in Pontic πεχληβᾶνος/pekhlevanos) is the wrestler who competes in matches of traditional Turkish oil-wrestling, here's the fighter.
Ἦχος Βαρύς

Ὁπλιτικῆς φάλαγγος οἰκεῖον μέλος
ὁ τοῦ βάρους σὺ κλῆσιν εἰληφῶς φέρεις.
Ἧχον τὸν ἁπλοῦν τὸν βάρους ἐπώνυμον
ὁ τοὺς λογισμοὺς ἐν βοαῖς μισῶν φιλεῖ.
Ἀνδρῶν δὲ ἄσμα δευτερότριτε βρέμεις.
Ὧν ποικίλος δὲ τοὺς ἁπλούς ἔχεις φίλους.