Author Topic: Byzantine secular & post-Byzantine Classical Ottoman music  (Read 1078 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 ;)
Pray for persecuted Christians, especially in Serbian Kosovo and Raška, Egypt and Syria

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

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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.

Offline Dominika

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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"?
"He that dwelleth in the secret place of the most High shall abide under the shadow of the Almighty." (Psalm 90:1)

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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
Worship is theology, so a church which brings Evangelical and Charismatic "praise & worship" into its corporate life is no longer Orthodox.  It is, by definition, heterodox.  Those "Orthodox" leaders who make theological arguments for the incorporation of heteropraxis into the life of the Church are heretics.

http://returntoorthodoxy.com/

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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.

Offline Dominika

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« Last Edit: January 15, 2017, 08:10:00 AM by Dominika »
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