C. Carathéodory, K. Psachos and Byzantine Music: the Letters of Carathéodory to Psachos

Πάπυροι - Επιστημονικό Περιοδικό τόμος 3, 2014

Papyri - Scientific Journal volume 3, 2014

MARIA K. PAPATHANASSIOU, Professor Emerita of the Department of Mathematics at the National and Kapodistrian University of Athens. Hellas . , , . EΜmail:ΑΡΩ Κ[email protected]ΠΑΠΑΘΑΝΑΣΙΟΥ Ὁμότιμος Καθηγήτρια τοῦ Τμήματος Μαθηματικῶν τοῦ Ἐθνικοῦ καὶ Καποδιστριακοῦ Πανεπιστημίου Ἀθηνῶν Ελλάς

– Thessaloniki 2014

Θεσσαλονίκη 2014 ISSN:2241-5106

Πάπυροι - Επιστημονικό Περιοδικό Papyri - Scientific Journal τόμος 3, 2014 volume 3, 2014 www.academy.edu.gr [email protected] C. Carathéodory, K. Psachos and Byzantine music: The letters of Carathéodory to Psachos

C. Carathéodory, K. Psachos and Byzantine music: The letters of Carathéodory to Psachos ( )

MARIA K. PAPATHANASSIOU

Summary The renowned mathematician C. Carathéodory (1873-1950) was a highly cultured man with excellent knowledge of the fine arts and of the classical music. In this article we present C. Carathéodory’s interest in the Byzantine music as we can deduce from his three letters written in 1905, 1909 and 1924, that were addressed to Konstantinos Psachos (1869-1949), a famous ethnomusicologist and professor of Byzantine music. In 1904 K. Psachos has been sent by the Oecumenical Patriarchate from Constantinople to Athens in order to restore the teaching of the traditional Byzantine music in the Greek Orthodox Church. In this article we publish Carathéodory’s letters fully annotated and we show his special interest in this subject, as follows from his encouraging letter to Psachos so that the latter plans and constructs an Instrument, which could reproduce the musical intervals of the Byzantine music. Moreover two of these letters are the only evidence of two unknown trips of Carathéodory, one to Constantinople and one to Athens. What could the famous mathematician Constantin Carathéodory (1873-1950) and the prominent ethnomusicologist and teacher of Byzantine music, Konstantinos Psachos (1869- 1949), have in common? It is their Greek origin from Constantinople and their love for Greek tradition, with Byzantine music being its main ambassador. In the rich bibliography and the published records concerning the works and overall activities of C. Carathéodory, there is nothing showing his interest in Byzantine music. The references revolving around his knowledge and interests in art topics mainly concern his deep knowledge of painting and classical music.1 However, the existence of three letters that C. Carathéodory sent to K. Psachos reveals another, not widely known aspect of his personality. The first two letters, written in 1905 and 1909 respectively, were never published. The third letter (during a visitation), written in 1924, was recently published by lead cantor-musicologist Th. Ε. Akridas.2

(*) Published in Greek in NEUSIS 20 (2011-12), 25-61, and republished in this volume. The letters are held by lawyer Mrs. Eleni Dourogianni-Ntalla, niece and goddaughter of Amalia, the spouse of K. Psachos. I thank her from the bottom of my heart not only for entrusting me to publish the letters and comment on them, but also because she handed me notes and files from her personal record in order to write this paper. So, I dedicate this work to her as a gift in return for her appreciation and love towards me during these forty years we have known each other. 1 Μ. Georgiadou, Constantin Carathéodory. A Mathematician under the protection of the State (in Greek), Crete University Press, Crete 2007, p. 410-413. (Originally published as Constantin Carathéodory, Mathematics and Politics in Turbulent Times, Springer-Verlag, 2004.) 2 Th. Ε. Αkridas, Criticism of the musical dysplasias (malformations) of S. Karas (in Greek), Mesologgi 2009, p. 20.

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In the present paper, the publishing of the letters is accompanied by the research on their content and relevant comments, while an effort is being made to revive the political, scientific and artistic environment of the first quarter of the 20th century, from which the letters date.

The first letter

In his first letter to K. Psachos, C. Carathéodory writes:

Peran of the Reigning City, Tuesday, May 10th, 1905

My highly esteemed and learned Sir,

It is with great interest that we, the healthy part of music-lovers, have been watching the devout efforts of His Eminence the Metropolitan of Athens and your works and contribution towards the correction of the unsettled situation in our ecclesiastical music. Ignorance, prejudice and foolishness from the part of the dissenters, large unawareness and incompetence from the part of Byzantine cantors, brought musical chaos the treatment of which will require plenty of time, struggle, incomparable patience and willpower. The best of luck! May the venerable and God-protected Church of Greece prove that they own all the necessary skills with a view to correct the irregularities! We all heartily applaud each and every success of your! Besides, great results [the correction of our ecclesiastical music or rather the restoration of its archaic-forme chant, is a major achievement!] require maximum efforts and lots of studies. You did very well in publishing a special newspaper to support the devout cause and in that respect, I am sending you without any delay my humble annual subscription to Forminx. Take care in sending the copies to the wise lead cantor Eustratios, asking him to pay for his subscription. He is ready to send payment to you. Of course, you must have in mind the construction of an instrument suitable to reproduce the songs. It is absolutely necessary for us to return to the Byzantine instrument, like the one that was used at the Palace and the hippodrome. We will be illumined in such a way as to achieve the best results in executing the aforementioned task. The rhythmic reading of the Gospels and the Apostles and simple chanting might be easy to achieve. However, this is not the case for slow and long melodies, like Cherubic hymns and Koinonika! Those require an instrument for special study, catharsis, a proper harmonic unison and retraction. You, a scholar of music, know these things better than anyone else, and your wise action is expected to bear fruit worthy of your keen desire and the hopes of Orthodox Greeks who are dispersed around the world.

I wish you all the best

Const. St. Carathéodory

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I will start with an observation that is valid for all three letters of Carathéodory to Psachos. It is the fact that they were written in fluent Greek, and what is more, in archaic “katharevousa” (a puristic form of Modern Greek). Given the fact that Carathéodory was born in Berlin, was raised in Brussels where he attended French-speaking schools and had a German nanny, one can easily wonder how he had such an excellent command of the Greek language, besides conversations at home. I guess the answer would be the one given by his daughter, Despina Rodopoulou, to a relevant question: Herself and her brother Stefanos were taught Greek at home by the archimandrite of the Greek Orthodox Church of Munich. Her father probably learned Greek the same way, and he must have had a foreign accent of course, as is implied by the incident during his teaching at the Chemistry Department of the University of Athens (1923-1924), when his students complained that “their professor’s Greek was too poor and they couldn’t understand him,”3 but his written Greek was truly impeccable. Let’s go back to the first letter now, highlighting that C. Carathéodory mentions “Peran of the Reigning City (Basilevousa)” as the place it was written at, instead of “Peran of Constantinople,” something that brings to mind the “Queen of all Cities” of the Byzantine Empire. This letter dated Tuesday, the 10th (23rd) of May 1905, means that it was written 23 days after the celebration of the Orthodox Easter, which, in 1905, was celebrated on Sunday, the 17th (30th) of April. 1904 and 1905 were very important years for C. Carathéodory. On October 1st 1904, he received his Ph.D.4 and in January 1905, he had already completed his habilitation thesis, which he submitted at the University of Göttingen on the 5th of March (20th of February according to the Julian calendar), entitled “Über die starken Maxima und Minima bei einfachen Integralen” (On the Strong Maxima and Minima in the Case of Simple Integrals). That gave him the right to teach, even though he was still in the tenth semester of his studies. He spent the Easter holidays of 1905 with his father and his sister in Isthmia, being guests to his uncle Tilemachos.5 A question is what kind of Easter did he spend in Isthmia, the Orthodox or the Catholic one? In 1905, the Orthodox Easter was celebrated on the 17th (30th) of April, while the Catholic Easter on the 23rd of April. So, if we carry both dates forward to the new calendar, then the Orthodox Easter was celebrated on the (17th+13 days) 30th of April, meaning a week after the Catholic Easter. Consequently, Carathéodory really had the chance to spend his Easter holidays in Isthmia, based on its celebration date according to both doctrines. His letter to K. Psachos, written in “Peran of the Reigning City” on Tuesday, the 10th (23rd) of May 1905, shows that Carathéodory, right after his Easter holidays in Greece, went to Constantinople and not straight to Germany, as is suggested, and this is the only testimonial for this trip of his. He returned to Göttingen later on in order to replace professor Brendel who was very ill and work as an unremunerated lecturer until Easter, 1908.6 Let's get down to the content of the letter now, which proves his vivid interest in Byzantine music. If we want to understand his references to “the correction of the unsettled

3 Georgiadou, as note 1, 379, 973 note 118. 4 He signed his doctoral thesis entitled “Über die diskontinuierlichen Lösungen in der Variationsrechnung” (On Discontinuous Solutions in the Calculus of Variations) as “Constantin Carathéodory from Constantinople.” Geor- giadou, idem, 849, 882. 5 Engineer Tilemachos Carathéodory (1845-1927) was the son of doctor C. Ant. Carathéodory (1802-1879). Georgiadou, idem, 88, 870-873. 6 Georgiadou, idem, 143, 145, 146.

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situation in our ecclesiastical music,” “the restoration of its archaic-forme chant,” the “Byzantine instrument” and the necessary design and construction of a new Instrument by Psachos etc., we must be aware of the condition of ecclesiastical music in Athens and Constantinople in the late 19th and the early 20th century.

Ecclesiastical music in the late 19th and the early 20th century

In 1814, the Ecumenical Patriarchate adopted the reform of the Greek ecclesiastical notation, called New Method, which was suggested by Chrysanthos of Madytos, Gregory Levitis (Lampadarios) and Chourmouzios Giamalis (the Chartophylax). The “Three Teachers” taught the New Method at the Third Patriarchal Music School (1815-1821) and its graduates taught it, in their turn, in Greece and the Greek communities abroad.7 However, in the mid- 19th century the Western-style “four-voice” harmonized ecclesiastical music was adopted by churches of Greek communities in Europe (Haghios Georgios, Haghia Trias of Vienna, Haghios Georgios of Venice). In Athens, the four-voice style is introduced at the palatial chapel of Haghios Georgios (1870) and later on at the Metropolitan Cathedral of Athens (1875) “until ecclesiastical music is improved”, Haghia Eirini, Chrysospiliotissa and Haghios Georgios Karytsi, where it continues until now. As was written, “The danger lies in the four-voice transcriptions of ecclesiastical hymns adopted consecutively by Greek churches in cities of Western Europe (officially since 1844) and the weak-willed attitude of Greek ecclesiastical authorities towards the introduction of that fashion in the country.”8 Therefore, in 1886, the Holy Synod under the Metropolitan of Athens Prokopios I (1874-1889) has asked the Ministry of Religious Affairs to order the administrative and municipal authorities to impose on the councils of parish churches the prohibition of the four-voice style in churches. Three years later (1889), the Metropolitan of Athens Germanos II (1889-1896), seeing the danger of Byzantine music being replaced by the Westernized four-voice style at Orthodox churches, entrusted a committee to examine the musical question.9 A prerequisite, however, if the “monophonic” ecclesiastical music wanted to compete with the harmonized “four-voice” style was the existence of a systematic and uniform training of cantors. To this end, Patriarch Joachim III (1878-1884 and 1901-1912) founded in Constantinople in 1881 a committee, whose task was to free ecclesiastical music “from every foreignism and arbitrariness”. One of its duties was “the specification of intervals in ecclesiastical music and the construction of an instrument to render them, because the inherited intervallic sensitivity was at risk of deterioration from the expansion of piano and equal temperament”. For the specification of the intervals, the members of the committee would empirically use the monochord and right after that, mathematician Andreas Spatharis would express them in mathematical relations. In fact, when the latter, wanting to test the musical sensitivity of the members of the committee, would secretly move the signs on the chord, they would immediately notice. In June 1882, based on instructions by the committee,

7 Κ. Romanou, Greek Art Music in Modern Times (in Greek), Cultura, Athens 2006, p. 35-36. 8 Κ. Romanou, Greek National Music 1901-1902 (in Greek), Parts I and II, Cultura, Athens 1996, part ΙΙ, p. 413 (NF. 15), 640 (K. Psachos, Byzantine ecclesiastical music is sacred tradition (in Greek), Nea Forminx, year 1, No. 2, April 1921, p. 1-2). Κ. Papadimitriou, The music question in the Greek Church (in Greek), Athens 1921. 9 Romanou, Gr. Nat. Music, part Ι, 237, 239, 243-245, 247, 249.

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the “Ioakeimio (Joachimian) psaltery” was constructed, with two octaves and an ecclesiastical organ mechanism, which was balky and used for teaching during the few months the Sixth Music School operated. In 1898, at the expense of Patriarch Constantine V (1897-1901) the “Konstantinio (Constantinian) psaltery” was constructed (and cylinders with imprinted ecclesiastical melodies), on designs probably by Leonidas Nikokleous, which was donated to the Ecclesiastical Musical Association, where it was used for teaching until at least 1903.10 Meanwhile in Athens, the Musical Association “Ioannes Damaskenos” (founded in December 1899) presented a memorandum (January 26th 1901) to the Holy Synod, calling for the application of all circulars it had issued against the four-voice style practitioners. The following year, ex-minister N. Levides ceased the examinations at the Byzantine music department of the Musical Society which were accompanied by piano and the presence of an audience (May 12th 1902), calling them an “outrage”, something that launched new recriminations between the two opposing parties, the followers of four-voice chant and those of monophonic chant. But the remarkable thing is that nearly all cantors, even those of the churches where two liturgies were performed (a monophonic and a four-voice one), were in favor of monophonic ecclesiastical music.11 In this context, upon a proposal of the Metropolitan of Athens Theokletos I (1902-1917 and 1920-1922), the Board of the Athens Conservatory, at its meeting on July 6th 1903, with M. Dragoumis as the proponent, decided to establish a School of Byzantine music and they turned to the Ecumenical Patriarchate in order to fill the position of its Director. After receiving a recommendation letter by Theokletos, Georgios Nazos, the director of the Athens Conservatory, went to Constantinople. Patriarch Joachim III requested an extraordinary meeting of the members of the Ecclesiastical Musical Association, held on July 25th with the participation of G. Nazos. After the Patriarch briefed by letter (September 3rd 1903) the Metropolitan of Athens relatively to the results of this meeting, the Holy Synod wrote to the Patriarch (October 1st 1903) asking him to send to Athens a professor for the school to be established, and in fact he suggested Eustratios Papadopoulos, who had succeeded as professor the resigned K. Psachos to the music school of the Ecclesiastical Musical Association. For family reasons, Papadopoulos was forced to decline this position.12 The patriarch suggested “at the meeting of the Holy Synod” sending K. Psachos to Greece. The Holy Synod accepted the patriarchal suggestion “agreeing unanimously.”13 Thus, by order of King George I, a Greek warship sailed to Constantinople and received K. Psachos in honor, in order to take him to Piraeus. Once settled in Athens in September 1904, Psachos founded essentially the School of Byzantine Music at the Athens Conservatory and already on the 23rd (October 6th), the School began operating. Yet in the first year of operation, the work and importance of the School show.14 What is more, in 1905, the Great Church of

10 Romanou, Gr. Art Music, 127-128. 11 Romanou, Gr. Nat. Music, part Ι, 31, 37, 40. 12 Romanou, idem, part Ι, 98-99, 104-105, 106. 13 Nea Hellenike Skene, year A, No. 17 (25/9/1904), p. 3. 14 An abstract from the Report (1906) on the activities of the Administration Board of the Music and Drama Association, from September 1st 1904 to August 31st 1905, which was read by the president Leonidas Deligior- ges: “Finally, we would like to say the following concerning the School of Byzantine Ecclesiastical Music we established, which was embrassed with such affection since the beginning by His Eminence, the Metropolitan of Athens Theokletos. This School, having amid its professors Mr. K. Psachos, the scholar cantor, who, upon the request of His Eminence the Metropolitan, was quickly sent from Constantinople by His Holiness the Ecumenical Patriarch, intends to set and adjust Byzantine music based on tradition. The Conservatory’s effort regards the deliverance of ecclesiastical tradition from invasive musical impurities in the course of time, in breach of the

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Constantinople expressed their satisfaction to G. Nazos and K. Psachos for the establishment of the School of Byzantine music by sending them special letters (pittakia).15 But, who was Konstantinos Psachos?16 K. Psachos was born on the 19th (31st) of May 1869 in Mega Revma of Bosporus of Constantinople.17 He was a philologist, a theologian and an ethnomusicologist. He studied at the Central Seminary of Constantinople, where he was taught Psaltiki (Byzantine chant) by the School’s teacher and housekeeper, Archimandrite Theodoros Mantzouranis. On the 19th (31st) of May 1887, he begins his career as a psaltis (cantor), perfecting his art besides renowned protopsaltes (lead cantors) of major churches in Constantinople. At the same time, he taught senior-level Greek and Theology at the All-Girl School of the Dependency of the Holy Sepulchre in Constantinople. Besides Byzantine music, Psachos was also an excellent connoisseur of both Oriental (Persian, Arabic and Turkish) and Western music. He was a founding member and the special secretary of the Patriarchal Musical Association, in the school of which he taught, he assumed the presidency of the “Nine Muses” Fellowship and was a member of other associations, and he also gave lectures and wrote articles regarding Byzantine music and other topics.18 Psachos did not only engage in activities amongst literary and musical circles with publications etc., but he also took great action for the sake of the nation at the risk of his own life. From the letter of C. Carathéodory, it becomes obvious that he had perfect knowledge of all the issues that arose in the Ecumenical Patriarchate, especially the one of the teaching of Byzantine music followed by the “healthy side of music-lovers” of Constantinople. His phrase “Of course, you must have already contemplated the making of an instrument suitable for the reproduction of songs”, shows that he was aware of the previous attempts to make a Byzantine Instrument, namely the “Joachimian” (Ioakeimio) and the “Constantinian” (Konstantinio) psaltery, for proper teaching of Byzantine music. Furthermore, as the Carathéodory family had close relations with the Patriarchate since the 19th century,19 it seems highly unlikely that he had not met Psachos during previous visits to Constantinople, as

most fundamental rules of musical art, and the teaching of it, both on a theoretical and a practical level, in a uniform way and towards a more artistic direction ... Based on this principle, we teach the original tradition to the cantors we train, and we have reasons to hope that our Conservatory will be able to provide in a short while a great service to our Church through the training of appropriately educated cantors”. 15 Romanou, Gr. Nat. Music, part ΙΙ, 455 (FΒ.75, FΒ.81), 664 (Forminx, Season B, year 1, No. 11-12, August 15th and 31st 1905, p. 1: “The expression of the Patriarch’s gratification”; p. 5: “Questions and thoughts”.) 16 The most comprehensive biography of K. Psachos is found in the preface (p. 13-41) of the second edition (1978) of Psachos’ Notation of Byzantine Music, edited by G. Chatzitheodorou. In brief, in Romanou, Gr. Nat. Mu- sic, idem, 14-15, note 26. Τ. Κalogeropoulou, K. Psachos, A Dictionary of Greek Music, Giallelis, Athens 2001, 6th volume (Τ-Ω), p. 647-649. Also, relevant webpages http://www.megarevma.net/Psachos.htm, http://constantinople.ehw.gr/Forms/fLemmaBody.aspx?lemmaid=11060. 17 Upon a piece of information provided by Eleni Ntalla, Psachos’ father, Alexandros, and Dr. C. Ant. Carathéodory (1802-1879), the uncle of mathematician C. Carathéodory, were members of a group of “enlighters”, which changed names in order to avoid trouble. At times, the group was known as “Phoebus” or “Apollo” or “Phaethon”. Among the members of this group were also Konst. Logiadis, Dragoumis and others. Alexandros Psachos, a con- fectioner in profession, supplied the Sultan’s Court with sweets and in return, they always offered him pilaf as a treat. However, because of his participation in this organization, they offered him poisoned pilaf at the palace and upon returning to his home, he died in terrible agony. Becoming an orphan, young Konstantinos was raised by his mother and relatives. 18 Romanou, Gr. Nat. Music, part ΙΙ, 441 (FΑ.175 K. Psachos’ lecture on harmony in Mnemosyne Club of Constantinople), 655 (Forminx, year 2, No. 2, January 30th 1903, p. 4: “News of the past two weeks”.) 19 Georgiadou, as note 1, 45-50.

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a founding member and special secretary of the Patriarchal Musical Association, and a teacher at the association's school. Carathéodory stresses that it takes great effort and many studies for the “maximum” achievement, which is the “correction of our ecclesiastical music or rather the restoration of its archaic-forme chant”. His reference to the “archaic-forme chant” shows that Carathéodory was aware of and agreed with the theory of Psachos on Greek influence in the East. Indeed, six months later (November 27th 1905), Psachos gave a lecture at the Municipal Theater of Piraeus, in the presence of university professors and religious and political authorities, with the following topic: “The spreading of Greek music to Eastern countries through Greek culture, and especially on contemporary Byzantine music.”20 The reference of Carathéodory to “the publication of a special newspaper that will support the sacred cause” by Psachos and the immediate payment of his annual subscription to “Forminx” confirms his deep interest in the matter.21 Closing his letter with the words “You, a scholar of music, know these things better than anyone else, and your wise action is expected to bear fruit worthy of your keen desire and the hopes of Orthodox Greeks who are dispersed around the world”, Carathéodory shows the size and the geographical extent of the ecclesiastical music problem at that time. Of course, K. Psachos was also acquainted with other prominent members of the Carathéodory family. On January 24th (February 6th) 1907, representing the Administration Board of the “Anatoli” Association of Greeks from Asia Minor along with lawyer E. Kolokotronis, signed a contract with the State of the Principality of Samos, which was represented by MPs Them. Sofoulis,22 S. Ioannidis, Emm. Κ. Chatzidakis and D. Konstantinidis, according to which the State takes the obligation to build at their own expense, within 1907, a Seminary at the location “Repanas” of Limenas (Port) of Vathy. In 1906-1907, the Governor was Constantine St. Carathéodory (1841-1922), who, on the day of signature, invited Psachos to dinner at the Governor’s Palace, as evidenced by the relevant invitation bearing the Governor’s coat of arms.23 The interest of the Governor is also shown three days later, when he sent Psachos a personal visitation hand-note reading: “Limenas of Vathy, January 27th 1907”. THE GOVERNOR “wishes you a good trip”. The contract was published on June 12th (25th) June 1907 in the Official Gazette of the Principality of Samos, and upon a decision of the General Assembly of Samians, it was ratified and signed by the Governor C. Carathéodory on June 6th (19th) 1907 (prot. No. 3052). Note that six years earlier, in 1901, the subsequent

20 In this lecture, Psachos characterized the Arabo-Persian music as an “artistic masterpiece” in terms of tech- nique, “and this because it preserves many elements of ancient Greek music and rhythmical structure ... Asian music preserves in whole the concentrated diatonic descent of ancient Greeks ... and Asian music is of Greek origin, having its origins in the Hellenization of the entire Asian continent by Alexander the Great.” Romanou, Gr. Nat. Music, part Ι, 60-62; part ΙΙ, 458 (FΒ.123), 666 (Forminx, Season Β, Year 1, No. 17-18, November 15th and 30th 1905, p. 1-2: “The musical lecture of K. A. Psachos in Piraeus”.) 21 Note that in the late 19th and the early 20th century, the following music magazines were in circulation in Ath- ens: Mousiki Ephimeris (1893-1896), Forminx (1901-1912, season A up to January 31st 1904, season Β from March 15th 1905 on), Apollon (1904-1907 or 1909), Ethniki Mousa (1909-1910). In Alexandria, there was Or- pheus (1910-1912) and Mousiki (1912-1915) in Constantinople. Romanou, Gr. Nat. Music, part Ι, p. xi· part IΙ, 660-661. Carathéodory refers to season B of Forminx, dominated by the personality of K. Psachos. 22 In 1930, Them. Sofoulis became the second husband of Lucia, the daughter of Governor C. Carathéodory and cousin of Euphrosyne, the wife of mathematician C. Carathéodory. See Georgiadou, as note 1, 814, 873. 23 “The Governor and his wife would like to invite Professor Psachos to attend the dinner that will be held at the Governor's Palace on the evening of Wednesday, the 24th of January 1907, at 19.30 In Limenas of Vathy, on the 24th of January 1907. (By the Governor's Palace)”

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Governor C. Carathéodory had been elected, along with Z. Hatzopoulos, representative of the Archdiocese of Constantinople to the National Assembly for the election of the Patriarch (Joachim III).24 The office of the Governor of Samos was a family affair of the Carathéodory. Since 1834, when the Porte declared Samos as an “Autonomous Principality” under a Christian governor appointed by the Sultan, eight governors were relatives of the Carathéodory family until 1913. C. Carathéodory himself, even before he graduated from the Military Academy of Belgium in May 1896 with an engineer specialization, he collaborated with his cousin Ioannis Aristarchis in the design of the road network of Samos from 1895 to 1897. His name as the project’s contractor was officially mentioned in the minutes of the General Assembly of Samians in 1897. At the time, Stefanos Moussouros, first cousin of the wife of his uncle Alexandros C. Carathéodory (brother of Tilemachos), was the governor of Samos. The project, however, was not carried out due to the Greco-Turkish war of 1897.25

The second letter

The second letter of Carathéodory to Psachos, written in Athens on Saturday, the 2nd (15th) of May 1909, is as follows:

My most valued friend! How could I possibly console myself for my imposed, unintended absence from to- morrow’s musical, historic and intellectual celebration? Family reasons force me to go to Kifissia early in the morning and stay there until noon! I am deeply sorry and my sorrow is becoming even bigger by the contents of your im- pressive program, which includes brilliant melodies! There is only one hope that can ease my sorrow: the hope of the upcoming repetition of the rehearsals, which will be fully successful without any doubt.

May the Lord be with you! The sincere appreciator of your efforts Const. Stef. Carathéodory

In Athens on the 2nd of May 1909 (Saturday evening)

The year 1909 was also very important for both the personal life and the career of Carathéodory. On February 3rd 1909, he requested permission from the University of Bonn to complete his courses before the end of the semester (February 12th) in order to make a trip. On February 18th (March 3rd), in the community of Xirokrini in Constantinople, he married Euphrosyne Carathéodory, but why was Carathéodory in a rush to take a leave and get married? In 1909, the Orthodox Easter was celebrated on March 29th (April 11th) and the Catholic Easter on April 11th, which means that both Easters were celebrated on the same day. He

24 Georgiadou, as note 1, 872. 25 Georgiadou, idem, 91-93, 871, 881-882.

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should, therefore, manage to get married early as possible during Lent! And he made it mar- ginally! A question is if the newlyweds celebrated Easter with their families in Constantinople and rushed off to Bonn right afterwards. Because on the 20th April, 1909, the administration of the University of Bonn informed the Faculty of Letters that Carathéodory was appointed professor (on April 16th, with retroactive effect from April 1st) in the chair of Higher Mathematics at the Royal Polytechnic of Hanover, and on the same day he notifies the Faculty himself. On June 7th, he takes the established oath in the presence of the Rector of Hanover Polytechnic. Nevertheless, the letter of Carathéodory to Psachos was written hastily, on “Saturday evening” of May 2nd (15th) in Athens. So, in the meantime between the publication of his appointment at Hanover Polytechnic and the taking of the oath for the new position, Carathéodory traveled to Athens for family (as he wrote) reasons; especially, he went to a familiar house in Kifissia. This is definitely the house of his sister, Julia Streit. This trip of Carathéodory is not recorded anywhere, and the only piece of evidence, thereof, is his letter to Psachos. What kind of “music, historical and spiritual feast” of Psachos was it on Sunday 3rd (16th) of May, that C. Carathéodory was unable to attend and for which he expresses its deep regret? A research on the content of the music magazines of May 1909 shows that it is the second official in Church appearance of the fifty-members chorus of the School of Byzantine Music of the Athens Conservatory during the Holy Liturgie of the Sunday of the Blind (6th Sunday of Easter) in the church of Chrysospiliotissa where the chorus sang under K. Psachos and led them the Archpriest of Elis, Damascenos. In the same month, the Brotherhood of the Holy Sepulchre awarded to K. Psachos the Cross of the Holy Sepulchre.26 The following year, in February 1910, K. Psachos traveled to Constantinople. As mentioned in newspaper Chronicles from Constantinople, K. Psachos arrived there on February 20th and the very next day, on the 21st, he visited His All Holiness, the Ecumenical Patriarch. Two days later, on the 22nd, K. Psachos “attended lunch at the Patriarchal Table at noon”. On February 26th and March 2nd, K. Psachos visited the Patriarch again. All visits of K. Psachos to the Patriarch coincided with those of advisor P. Carathéodory, obviously a member of the wider Carathéodory family.27 Meanwhile, immediately after the birth of their son Glaucos in 1909, Angelos and Eva Palmer-Sikelianos28 go to Leukada and later to Paris. It’s a bit unlikely Eva had the opportunity to meet Psachos in Athens. Their acquaintance took place much later, after Eva got to know all about Psachos from her friend Penelope29 in Paris, who had decided to study Byzan- tine music under him. Taking into account that Penelope mentions Psachos was honored with the title of “Archon cantor-teacher and clergyman of the Patriarchal Court of the Great Church

26 Romanou, Gr. Nat. Music, part Ι, 134; part ΙΙ, 502 (FB.687, FΒ.693), 691 (“The second official in-church performance of the Conservatory's Byzantine chorus”), 692 (“Mousiki kinisis”) Forminx, season B, year 5, No 3-4, May 15th and 31st, p. 4, 8. 27 Newspapers from Constantinople: “Nea Patris” and “Proodos” (February 22nd, 23rd, 27th and March 3rd 1910), “Tharros” (February 22nd 1910). 28 Our great poet Angelos Sikelianos (1884-1951) and Eva Palmer (1874-1952) got married on September 9th 1909 in the USA. 29 Penelope was the sister of Angelos Sikelianos and had married Raymond Duncan, the brother of Isadora Dun- can (1877-1927).

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of Christ”,30 which was awarded to him in June 1911,31 this discussion is placed after this year. In 1915, Eva was already taking intensive Byzantine music lessons with Psachos and in 1919 Psachos hired her to teach ecclesiastical music to first-year students of the School of Byzan- tine Music at the Athens Conservatory.32 Psachos’ dream was to have an instrument manufactured that could faithfully render the very small intervals of ecclesiastical, demotic and Greek music in general when teaching it with a keyboard instrument, without the defects and disadvantages of the aforementioned “psaltery” instruments, which had been constructed in the 19th century in Constantinople by Patriarchs Joachim III (1882) and Constantine V (1889). Because of them, they were used only for a short period of time. As we will see, this dream came true later upon a sponsorship by Eva Palmer-Sikelianos. The first letter of Carathéodory also proves that the acquaintance of Carathéodory with Psachos precedes by many years the acquaintance of Psachos with Eva Palmer-Sikelianos.

The years of war

We must point out that the latest events took place during the Balkan Wars (1912- 1914) and World War I (1914-1918). In Greece, following the assassination of George I, the next crowned king was his first-born son Constantine XII, whose name was associated with the liberation of Macedonia and Thrace, but also with the National Schism due to his disa- greements with El. Venizelos. The reign of Constantine XII spread over two periods, from March 18th 1913 to June 11th 1917, and from December 19th 1920 to September 27th 1922, while during the interim period, reign was assumed by his second son, Alexander I. In 1911 Eleutherios Venizelos had asked Carathéodory’s advice for the appointment of professors at the Faculty of Physics and Mathematics of the University of Athens. In Septem- ber 1919 El. Venizelos, who was elected Prime Minister for the second time in 1917, met with Carathéodory in Paris. After that, Carathéodory submitted to the Greek government a detailed written memorandum (October 20th 1919) for the establishment of a second Greek university,33 having predicted everything regarding staffing with professors, teaching, workshops,

30 Ε. Palmer-Sikelianos, Upward Panic, Introduction-translation in Greek-comments by John P. Anton, Exantas, Athens 1992, p. 112. 31 Romanou, Gr. Nat. Music, part ΙΙ, 519 (FΒ.876 The Holy Synod of Constantinople accepted a proposal by the Ecumenical Patriarch to grant K. Psachos an ecclesiastical office), p. 700 (Forminx, season Β, year 6, No. 9-10, November 15th and 30th 1910, p. 8: “Mousiki kinisis”.) 32 It has been written that Eva Sikelianos “will be the first woman to be entrusted by the Patriarch with the right to teach “Ecclesiastical music” at the Conservatory’s first class in 1919” [Lia Papadaki, Intellectual encounter (in Greek), Kathimerini, July 6th 1997 (Epta Imeres: Angelos Sikelianos, the visionary, p. 15-17, here p. 15]. Also, that “she takes Byzantine music lessons under Professor Psachos and her performance is so good that it won’t take her long to be granted a Byzantine music diploma by the Patriarch of Constantinople, an honor that had never been given by the Greek Church to a woman until then” [Angelos Sikelianos, Eva Palmer-Sikelianos, Del- phic Festivals. A special feature by IOS magazine, 2nd edition, Papadimas, Athens 1998, p. 269.] However, in his reply to Eleni Ntalla dated June 25th 2010, the Archivist of the Ecumenical Patriarchate writes: “We received your letter addressed to the Chief Secretariat, whereby you ask information about the award of a Byzantine Mu- sic diploma to Eva Palmer-Sikelianos by an Ecumenical Patriarch. In reply to your request, I would like to inform you that after the research we made, unfortunately no relevant elements were found.” 33 C. Carathéodory, Plan to establish a new University in Greece, submitted to the Greek Government, Paris, Octo- ber 20th 1919. Republished in E. Spandagos, The life and work of C. Carathéodory (in Greek), Aithra, Athens 2000, p. 206-229.

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examinations, the execution plan etc. Finally, he suggested three possible seats (Smyrna, Thessaloniki, Chios) and cited the necessary criteria in favor of each case, stressing at the same time the necessity to establish a university in Constantinople as well. Three months later, on December 31st, he left Germany accepting the invitation of Venizelos to come to Greece and organize the University of Smyrna. On June 2nd (15th) 1920, Carathéodory was appointed professor of Analytic and Higher Geometry at the Faculty of Physics and Mathematics of the University of Athens by decree of the Ministry of Education and Religious Affairs. But even on October 23rd, neither had he taken his oath nor had he assumed his duties, as shown by the minutes of a meeting of the Faculty on October 23rd (November 5th) 1920, where professor Chondros states that “Mr. Carathéodory will hold off taking office because he intends to go in Europe for several months.” Meanwhile, after the enactment of Law 2251/14-07-1920 “On the establishment and the operation of a Greek University in Smyrna”, Venizelos, Carathéodory and the High Com- missioner of Smyrna, Aristides Stergiades, discussed about the practical aspects of establish- ing the Ionian University aboard a warship called Hierax, which was docked at the port of Smyrna. By a decision signed by Stergiades on October 28th (November 10th), and with retroactive effect from July 15th (28th) 1920, C. Carathéodory was appointed the administrator of the University of Smyrna and an ordinary professor of mathematics for a period of five years, with a monthly fee of 4,000 drachmas. However, a few days later at the parliamentary elec- tions of the 1st (14th) of November 1920, Venizelos lost and the royalists came to power. One of the first measures they took immediately in December was to restore some of their own professors and dismiss other professors, who were pro-Venizelos, at the University of Athens. One of the later was Carathéodory, who maintained his position at the Ionian University.34 For two years, Carathéodory worked on the organization of the Ionian University. The opening of its Library and Hygiene Institute was scheduled for October 10th 1922. However, the university would never function. On September 8th 1922, the eve of the occupation of Smyrna by the Turkish troops, Carathéodory, together with the university’s treasurer, boarded a ship called “Naxos” to Athens, having previously loaded the university’s books and a part of its instruments.35 The previous day, he had taken care to send his family with a small sailboat to Samos, the first stop of their voyage before arriving in Athens. On September 2nd, Carathéodory had been reappointed an ordinary professor at the University of Athens, so after his return he participated at the meeting of the Faculty of Phys- ics and Mathematics on October 6th. In 1923, Carathéodory was appointed professor of engi- neering at the Technical University of Athens, where he taught for the academic year 1923- 1924, since he went to Germany in the summer of 1923. In May 1924, Carathéodory wrote the Preface of “Elements of Analytic Geometry” by N. Sakellariou and on May 19th, he gave a lecture “On mathematics in secondary education” at the Greek Mathematical Society, Athens branch.36 During those years of teaching at the University of Athens and the National Tech- nical University, Carathéodory stayed at his sister’s house in Kifissia.37 Note that Carathéodory’s sister, Julia (1875-1942), had married lawyer and politician George Streit (1868-1932), who served as Foreign Minister in 1914. Streit, being a confidant

34 Georgiadou, as note 1, 328-330, 334-336, 342-344. 35 Georgiadou, idem, 383-384. Chr. Symeonidis, The Museum of Natural Sciences and Technology, Technology. A Bulletin of the ETBA Cultural-Technological Foundation, issue 10-11 (2001), p. 67-68. 36 Both are republished in Ε. Spandagos, as note 33, 240-247, 286-290. 37 Georgiadou, as note 1, 372-373, 376-382.

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to King Constantine during the National Schism, was in his favor along with his wife Julia, while the rest of the family was in favor of Venizelos. This did not disturb family relationships and the friendship between Carathéodory and Streit.38 During the Balkan Wars and the World War I, K. Psachos continued to teach Byzantine music at the Athens Conservatory. Psachos, who was pro-king, was a friend of G. Streit. Never- theless, King Constantine himself showed great interest in demotic music, as evidenced by a relevant publication. Specifically, in May 1915, and while King Constantine had just entered the stage of recovery, G. Nazos, as the director of the Athens Conservatory, organized daily concerts in the Palace “in order to offer delight and relief to the confined to bed Great King”. On May 19th 1915, “a nice concert featuring demotic Greek songs was given”, with the songs being performed by a forty-member mixed chorus comprising monody female students and Byzantine music male students, under the teaching and direction of K. Psachos. These were the following four demotic songs: “Kato sto valto” (Down in the swamp), “Tis Artas to giofyri” (The bridge of Arta), “Ta Kleftopoula” (The young klephts), and “Patrinia” (The woman from Patras). As written, “His Majesty the King, who was very pleased, requested the repetition of the first song and through Mrs. Kontostavlou, the lady-in-waiting, expressed to Mr. Psachos his great satisfaction and his gratitude for this Greek musical delight”.39 Psachos had informed King Constantine about his wish and plans to construct his “In- strument”, and the king assured him that a “golden” Instrument would be placed in the Palace, like Byzantine emperors did.40 Later, in 1919, while King Constantine was still at his first exile, Psachos clashed with the director of the Athens Conservatory, withdrew from it along with Manolis Kalomoiris (1882-1962) and on October 20th, he founded the “National Music Con- servatory”, which included three Schools: Byzantine music, Demotic music and Asian music.41 In fact, the then Minister of Education acted in order to bestow roof to the Conservatory of Psachos.42 This obviously happened after the return of King Constantine XII, from his first exile and during his second period of reign, i.e. from December 19th 1920 to September 27th 1922. This opinion is reinforced by the fact that in May 1921, K. Psachos published the “Poly- chronion” of the king in Byzantine notation on one hand and at the same time he was admit- ted to see the king, to whom he detailed his thoughts on national ecclesiastical matters.43 Eva Sikelianos, convinced of the inestimable value of Byzantine music, decides to help K. Psachos have the instrument constructed by the German Music House Steinmeyer. Before that, in order to specify the intervals of Byzantine ecclesiastical music, a Report was written on February 2nd (15th) 1921 at the house of Psachos by the members of the “National Music Conservatory” Committee,44 according to the presented works of K. Psachos and S. Vrachamis. According to the Report,

38 Georgiadou, idem, 519-521. 39 “A concert in the Palace,” Ieros Syndesmos, July 1st 1915. 40 According to the narrations of Psachos to his niece, Eleni Ntalla. 41 The teaching of Oriental Music was intended to demonstrate the influence of Greek Music thereon. The Conservatory’s course list (1919) shows the integrated teaching, which included subjects such as “Physiology of the voice”, “Acoustics”, “Aesthetics”, “Theory of sounds and rhythms”. 42 An information by El. Ntalla. 43 Romanou, Gr. Nat. Music, part ΙΙ, 415 (NF. 33, NF. 37), 641 (Nea Forminx, No. 3, May 1921, p. 5: K. Psachos, “Polychronism to the King of Greeks, Constantine XII”, p. 8: “News”.) 44 K. Psachos, S. Vrachamis (professor of natural sciences), M. Papathanassopoulos (doctor), Κ. Ι. Sfakianakis (musician), S. Α. Pezopoulos (professor), Eva Sikelianos.

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“First of all, K. Psachos, summing up all the information he developed during previous meetings, exposed his extended and long-standing studies, as well the findings on the intervals of our music, as preserved by oral tradition and prevailed throughout the East – and at the same time, he indicated in detail their positions and subdivisions on the monochord. He also stated that according to the taken decision of the Committee, those proportions and the specified intervals were received by the member of the Committee S. Vrachamis, in order to study them and specify by means of mathematical calculations their mathematical and acoustic accuracy, so as to reveal the law followed by our music. That way, the mathematically figured data will be consolidated and established through the construction of a special instrument, the division and the order of the monochord of which was indicated by Mr. Psachos ... Then Mr. Vrachamis stated that he received all the aforementioned presented information and the entire system specified by Mr. Psachos, whose relevant work is familiar to him for years now, confirmed that the positions and the relations of these various intervals on the monochord are mathematically accurate and follow the Pythagorean System, and high- lighted that the specified positions of Mr. Psachos are followed not only by our ecclesiastical music, but also by our demotic music and the Oriental music in general. Mr. Psachos is a perfectly knowledgeable of Oriental music, that is why he was elected by the Great Church and sent to Athens as an expert of tradition, both written and oral, to teach and preserve it.”

Because the exact amount of money required for the construction of the instrument was not known, a fundraiser committee was set up. The MP from Florina, Phil. Dragoumis, agreed to become the treasurer of the committee “because his late brother, Ion, was inter- ested in the instrument”.45 In May 1922, all relevant prearrangements had been completed and Psachos, along with Emm. A Pezopoulos, Professor of Ancient Greek Philology of the Faculty of Philosophy of the University of Athens and co-director of the Nea Forminx magazine,46 left for Germany, where Psachos will stay for a month in order to place the order at the Steinmeyer Organ Builders in Oettingen, Bavaria. During this trip, Psachos and Pezopoulos had contacts with personalities like August Heisenberg, the successor of K. Krumbacher at the chair of “Medieval and Modern Greek Philology” at the University of Munich, and the professor of Ancient His- tory Ludwig Bürchner (1858-1927), an honorary citizen of Samos.47 Psachos departed with Vrachamis for the second trip to Germany between September and December 1922, to super- vise the construction of the instrument; Psachos would also visit Paris and Rome.48 But, on October 27th, his wife Evanthia died, whom he had married on September 4th 1905, so he re-

45 G. Baltatzis (Foreign Minister), Xen. Stratigos (Major General and Deputy Chief of Staff), Maximos (Head of the National Bank), Phil. Dragoumis (MP from Florina, Ion’s brother). In Egypt the Patriach of Alexandria Fotios promises to support the project. Eva Sikelianos was appointed secretary of the committee. An abstract from the lecture of Eva Sikelianos entitled “Greek music”, on February 14th 1921, at the Archaeological Society, p. 73-75. 46 Since March 1921, K. Psachos had begun publishing, together with Emm. A. Pezopoulos, the music magazine “Nea (New) Forminx” which was released up to the quadruple issue of the last four months of 1922. 47 Romanou, Gr. Nat. Music, part ΙΙ, 422-423, (NF. 128, NF. 136, NF. 148), 645 (Nea Forminx, No. 15, May 1922, p. 4: “News”. Nea Forminx, No. 16-17-18, June-July-August 1922, p. 5-6: “Mr. Psachos in Germany”, where both his lecture in Munich and Leipzig are described, and p. 12: “News”). 48 Romanou, idem, part ΙΙ, 425 (NF. 166), 647 (Nea Forminx, No. 19-20-21-22, September-October-November- December 1922, p. 12: “News”).

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turned to Bavaria after two months. The construction of the instrument was completed two years later, in June 1924. Psachos named it the “Evion Panharmonium” (in honor of the main sponsor Eva Palmer-Sikelianos), a name that has not prevailed, and the instrument remains known as simply “Panharmonium”. The instrument was 3.40-meters high and had 660 pipes. Along with them, two smaller harmonia were also constructed. The “small one” had only two octaves and it was constructed first in order to be used as a model; after its approval, the other two were constructed based on it, meaning the “great” instrument (Orgel, i.e. Organ) and the “medium” harmonium with four octaves, which had tabs. On June 29th 1924 in Oettingen, Bavaria, there was the inauguration of the new great instrument of Byzantine music, and Professor L. Bürchner wrote about it.49 Right after that, K. Psachos published in Neue Musik Zeitung of Stuttgart, on December 1st 1926, an article about “the order of the 42 parts, included in the Panharmonium’s Diapason, to each one of which belongs one of its equally numbered keys”. As explained in the preface of this article translated into Greek and republished in the Mousika Chronika (Music Chronicles), he rushed to publish these data in order to safeguard the originality of his ideas.50 It should be reminded that the piano, as “a well-tempered clavier”, has thirteen keys for the 12 semitones of each octave of it. However, the great instrument of Psachos is not a big piano, but an Organ (Orgel) with pipes and its tune of it contains subdivisions smaller that the semitone, so that one octave of it includes 42 keys, appropriately positioned for comfortable playing. Overall, its four octaves include 65 keys. Although “an automatic organola machine was constructed, which, adapted on the instrument, will execute, by means of special tapes of a brand new system, all the melodies of Byzantine, demotic Greek, generally Oriental, Western and any other kind of music”,51 Eva Palmer-Sikelianos did not consider the Panharmonium to be balky for those who know Byzantine music and piano. As noted in her autobiography: “The installation of the keyboard invented by Professor Psachos is very satisfactory, because the instrument looked like a piano as much as it would make it easy for every pianist to play it. The white keys form an octave, as in a piano. The black ones, instead of being five in an octave, are subdivided into very small keys, easily reachable by the fingers. The total number of intervals in each octave is forty-two.”52 We can derive the same conclusion from an instrumental demonstration of Byzantine music with the “Panharmonium” at a Christmas event in 1965 in the Parnassos concert hall.53

49 L. Bürchner, The instrument of Professor Psachos for Byzantine and Oriental Music, Neue Musik Zeitung, Issue 2, September 1924. 50 Greek translation of the article in Neue Musik Zeitung (December 1st 1926) of Stuttgart: K. Α. Psachos, “The “panharmonium” instrument and the system it was constructed with, Mousika Chronika, year 4, issue 1 (37), January 1932 (or volume 4, July-September 1932), p. 177-182. Here p. 177: I published this order of 42 parts right after the construction of my instrument, trying to prevent any misuse or deduction, as I had strong reasons to believe. Even more because in Germany a patent is not provided for intellectual work, but in combination with technical means, as would be the case later on by a joint application of mine and Mr. Steinmeyer, at whose factory, located in Oettingen, Bavaria, the “Panharmonium” was constructed in two forms: an Orgel and a small and a big harmonium. Pages 180-182 include the order of the 42 parts of Byzantine music. 51 Tsamo(?), Greco-Byzantine Music. The “Panharmonium” of Mr. Psachos, “Eleuthero Vima” newspaper, Decem- ber 14th 1922. The article’s author ends with the wish to find shelter for the “Panharmonium” and it be trans- ferred from Germany. 52 Ε. Palmer-Sikelianos, as note 30, 116, footnote 4. 53 On Christmas Eve. An intellectual event by “Fysiolatris”. “Byzantine Music”. An instrumental demonstration of Byzantine music with the “Panharmonium”. Sunday, December 12th (1965), 7 p.m., Parnassos concert Hall. The second part of the event included, among other things, an introduction to K. Psachos’ “Panharmonium” instru-

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In 1925, N. Vergotis in his excellent article in the “Kathimerini” newspaper (December 5th 1925) writes about the publication in the serious “Music” magazine of Stuttgart of an important article by Von Esslin, a distinguished philosopher and scholar of the laws of music, who praises K. Psachos for this inspired instrument (Orgel). N. Vergotis mentions the disap- pointment of K. Psachos from his futile efforts to find sponsors for the transportation of the Panharmonium to Greece.54

The third letter

The third letter of C. Carathéodory to K. Psachos is as follows:

Munich, October 20th, 1924. Amalienstr. 4.

My dear friend, Mr. Psachos,

It was with great joy that I found, upon my return from a short trip in Switzerland, the two books you were so kind to send me. Above all, the notation of Byzantine music seems to me of great scientific importance for the history of our music. I hope that you will have the opportunity to write a whole system for our music, which will not only allow the reading and the execution of the older musical manuscripts, but, above all, it will attract interest in Byzantine music from larger parts of our society. Only then Greece will begin having real progress, when we will stop ignoring the treasures handed over to us by our ancestors. There is no other way to develop our own culture.

With a great deal of friendship

Yours truly,

C. Carathéodory

ment by music critic-composer Joseph Papadopoulos-Grecas and an instrumental demonstration of Byzantine music with the “Panharmonium”, performed by musicologist-lead cantor N. Kakoulidis. 54 What was ultimately the fate of the big Panharmonium and the two smaller ones? The small harmonium- model, which was donated along with wax musical cylinders to the Academy of Athens by Eleni Ntalla, was re- paired by Georgios Paraschos, a music instruments maker, it is now at the Hellenic Folklore Research Centre of the Academy of Athens, at 3, Ipitou Street. The Panharmonium (Orgel) was located until recently at the construction factory, preserved by the Steinmeyer family, without the latter having any interest. When the factory was sold, it was located in its warehouse in working condition. However, the Greek Government (Ministry of Culture) on one hand did not express any interest in bringing it here from Germany, and the University of Athens (Faculty of Philosophy) on the other hand stated through Professor Gr. Stathis that they lacked adequate space for its installation. It has been recently confirmed that Konstantinos Psachos’ Panharmonium instrument still remains at the place of its construction, the organ building company Steinmeyer in Oettingen, Bavaria [Socrates Loupas, The digitization of the archive of Konstantinos Psachos, Acts of one-day Conference: Konstantinos Psachos: the Musi- cian, the Intellectual, ed. E. Karamanes (In Greek with English summaries), Hellenic Folklore Research Centre of the Academy of Athens, Athens, 2013, p. 317.] The medium harmonium, which was in full operating condition, was donated by Psachos’ widow Amalia to the “Hestia” in Nea Smyrni. Unfortunately, as there was no due dili- gence, it is now completely destroyed.

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The third letter of C. Carathéodory was written in Munich on October 20th 1924. As Munich is in Bavaria, it seems unlikely that C. Carathéodory had not been aware of the inauguration of the great Instrument (Orgel) of K. Psachos on June 29th 1924, which was acclaimed by the music circles of Germany. However, the content of the letter makes no reference to this fact and the intervals related to the instrument. It is a warm thank-you note for two books sent to him by K. Psachos, and he even makes particular reference to the “Notation of Byzan- tine music”, which “seems to him of great scientific importance for the history of our music”. What impresses to a great extent is the fact that K. Psachos sends to Carathéodory his book on the Notation of Byzantine music only in 1924, meaning seven years after its publication in 1917! We can therefore assume that between 1909 (second letter) and 1924 (third letter), there was no written personal communication between Psachos and Carathéodory. When asked why Psachos did not send immediately his “Notation of Byzantine music” to Carathéodory after its publication, I presume that this is due to the aforementioned political and war events that sealed the fate of Greece during the 7-year period from 1917 to 1924 on one hand, and on the other hand to the dedication of each of them to their different activities, without forgetting the fact that each of them supported a different political party: Carathéodory was in favor of Venizelos, Psachos was in favor of the king. In the years 1921- 1922, Carathéodory made tireless efforts and undertook activities for the establishment and operation of the University of Smyrna, while Psachos traveled to Germany for the construction of his Instrument. As mentioned before, in 1923-1924, C. Carathéodory was located in Athens and taught as an ordinary professor at the National Technical University of Athens, staying at his sister’s house in Kifissia. Yet, already from May 1st 1924, he was appointed ordinary professor of Mathematics at the Faculty of Philosophy, Department II, of the University of Munich, where he taught until October 1st 1938. As mentioned, C. Carathéodory bought a three-storey house at Rauchstrasse 8, Munich 27, where he settled permanently and stayed until the end of his life.55 Obviously, before settling permanently at Rauchstrasse 8, C. Carathéodory resided for some time in another house at Amalienstrasse 4, from where he wrote this letter to K. Psachos. Of course, under such conditions, a possible concern about the Instrument of Psachos would not figure amid his priorities. However, which cause made Psachos send his “Notation of Byzantine music” - which was published in 1917 - to Carathéodory in 1924? A possible and plausible answer is that Psachos, not having a written expression of Carathéodory’s opinion about the recent inauguration of his “Panharmonium” in Bavaria, discreetly reminded him of his musical presence, sending him his excellent theoretical work that Carathéodory had acclaimed. For that reason, I consider as totally unfounded the opinion of Th. Akridas for the alleged support of Carathéodory to Psachos and Vrachamis concerning the specification of the tonic intervals of the “Panharmonium”,56 because nothing in the letter follows such an opinion. What follows is an expression of hope that K. Psachos will write a “whole system of our music”, which will not only allow the reading and the execution of the older musical manuscripts, but, above all, it will attract interest in Byzantine music from larger parts of our society. That, in combination with what he says in his first letter of 1905 regarding the presence of Byzan-

55 Georgiadou, as note 1, 400, 403, 885. 56 Th. Ε. Αkridas, as note 2, 19-21: “The late Psachos and Vrachamis had the views on physics and mathematics and the scientifc support of a genuine Greek, a zealot and expert of Greek music, the great mathematician (and teacher of the great Einstein) Constantine Carathéodory. The following letter of the top-notch mathematician to Psachos is characteristic ... Therefore, if there was the slightest doubt as to the specification of tonal intervals by Psachos and Vrachamis, undoubtedly the great Carathéodory would take care of the matter”.

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tine music not only in the religious but also in the social life of Byzantine people demonstrate the strong interest of Carathéodory for the overall preservation of Greek musical tradition. Moreover, his last phrase “Only then Greece will begin having real progress, when we will stop ignoring the treasures handed over to us by our ancestors” shows that he was aware of the all-time inestimable value of the different aspects of Greek cultural tradition. Two years later, on December 13th 1926, C. Carathéodory was elected an ordinary member of the Academy of Athens, and in 1927, G. Streit, his sister’s husband, was also elected an Academician. In the meantime, K. Psachos cooperates with the Eva Palmer-Angelos Sikelianos couple for the Delphic Festival. At the first Delphic Festival (May 9th-10th 1927), “Prometheus Bound” by Aeschylus was put on and K. Psachos had set to music the choral and lyrical parts,57 which were both critically and non-critically acclaimed in Greek and foreign press.58 Poet I. N. Gryparis (1872-1942), whose translation of “Prometheus Bound” was presented, said that “whoever was not moved by this revelation has no right to humanism”, while the director of the orchestral, F. Oikonomides, said that “The music of Mr. Psachos was the most appropriate for the play. It becomes a great landmark for phrases, tones and measures”. It is worth citing in particular the words of the great Greek lead musician D. Mitropoulos (1896-1950) for Psachos’ music: “The whole thing was great and compact. It would be hard for someone to imagine this absolute success. I am so excited I cannot speak. Nothing stood out in particular. The unity was incomparable”. Last, composer Felix Petyrek described the play as a “real ritual”.59 Those days precisely, on May 9th 1927, C. Carathéodory requested a six-month paid leave by the Bavarian Ministry of Education and Cultural Affairs in order to travel to the USA, where he was invited by Harvard University to teach in the spring and summer of 1928, re- placing George Birkhoff.60 Therefore, it was impossible for him to travel to Greece and attend the Delphic Festival. But in the summer of that year, C. Carathéodory represented the Univer- sity of Athens at the event celebrating the centenary of the death of Philhellene poet Wilhelm Müller (1794-1827), who, as publisher of “Songs of Greeks” (Griechenlieder) during the period 1821-1826, financed Greek organizations with the proceeds from sales.61 The electoral victory of Venizelos in August 1928 excited Carathéodory, who in a letter to Pe- nelope Delta, expresses his excitement for “the final defeat of the monarchists”.62 A few months later, in January 1930, Prime Minister Eleutherios Venizelos and the Minister of Edu- cation Georgios Papandreou (January 2nd 1930 - May 26th 1932) invited C. Carathéodory to Greece in order to propose specific measures for the reorganization of the University of Ath-

57 C. Α. Psachos, Chorales of “Prometheus Bound” by Aeschylus, translated by Ι. Ν. Gryparis, Mousika Chronika, issue 33, (9-10 (1931)), a score with Western notation. 58 The music of the chorales of “Prometheus Bound”, Mousika Chronika, 1927, p. 224: “There’s no denying it was the element that gave this whole mystic ambience to the plays in Delphi ... K. Psachos based the music of the chorales on the ways and rhythms of ancient Greek music he is profoundly knowledgeable of, and many parts of the music bring to mind musical phrases of the masterpiece found in Delphi, the Hymn to Apollo, which will be performed as a pre-introduction by the orchestra”. He then lists some of “the enthusiastic reviews from internation- ally renowned critics of art who attended the Delphic Festival”: the scholar Mario Meunier, Morgan (a regular dramatic critic of “The Times”), the newspaper PHOS of Berlin, and the known composer Felix Petyrek, who wrote that “the music of the chorales by Mr. Psachos is the first one to be written in the genre since Wagner”. 59 Vradini, May 10th 1927, (D. S. Vevaris). 60 Georgiadou, as note 1, 467. 61 Georgiadou, idem, 464. 62 Georgiadou, idem, 394.

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ens.63 As he wrote to Hellmuth Kneser (February 1st 1930), he was preparing to go to Athens during the Easter holidays so as to take part in the reform of the university upon request of the Government, with a view to return to Munich in mid or late May. Finally, he managed to take a leave from March 15th to May 15th 1930, and after his arrival in Athens, he was proclaimed an honorary member of the National Technical University on April 7th 1930.64 Since in 1930 the Orthodox and the Catholic Easter coincided on the same day (Sunday, April 20th), the proclamation of C. Carathéodory as an Honorary Professor of the National Technical Univer- sity took place one week before Easter holidays began for schools (Palm Sunday, April 13th – Low Sunday, April 27th). However, K. Psachos also presented on March 15th 1930 choruses from “Prometheus Bound” and other works at the “Olympia” Theatre. It is therefore very likely C. Carathéodory attended this event on March 15th, or maybe right after the Easter holidays he attended the first performances at the second Delphic Festival (May 1th-3th, 6th-8th, 11th-13th 1930), where apart from “Prometheus Bound”, "Hiketides" (Suppliants) by Aeschylus was also put on, again with the choral and lyrical parts being set to music by K. Psachos.65 Of course, in the summer of 1930, C. Carathéodory returned to Athens where he was proclamed honorary president of the Greek Mathematical Society. Since late September, after a trip to Budapest on the 24th, he was in Thessaloniki until October 3rd and then, in Athens until October 30th 1930. Next year, C. Carathéodory took a new leave and came to Athens where he stayed from March 25th till late April 1931. Fifteen days later, on May 15th 1931, the Greek Delegation in Berlin announced to the German Foreign Ministry that C. Carathéodory would assume the post of Government Commissioner during the fall semester of the academic year 1931-1932, possibly to that of 1931- 1932. The appointment of C. Carathéodory as Government Commis- sioner came to effect by decree on October 3rd 1931. The Minister of Education G. Papandreou drew heavy criticism because the proposed reform would have abolished the university’s au- tonomy, since C. Carathéodory assumed an office “granted to him” by the government and was not elected by the university community, even though he was a world-renowned personality. In any case, the text of Carathéodory’s suggestions, with some improvements, formed the ba- sis for Law 5343/23.03.1932 on Universities, which was in effect until Law 1268 in 1982 was introduced. The last time C. Carathéodory attended a meeting of the Senate of the University

63 C. Caratheodory, The reorganization of the University of Athens, In Athens, By the National Printing House, 1930. Republished in Ε. Spandagos, as note 33, 248-286. 64 Georgiadou, as note 1, 524-525 and 993 (footnote 293), 528. 65 George Bourlos, “interpreter and the first who taught” the role of Prometheus Bound at the First Delphic Festi- val of 1927, writes about the stunning music of the chorales of Psachos in his article “The music in Aeschylus’ “Suppliants””, suggesting that the music of Psachos should be used at the presentation of the “Suppliants” at Epi- dauria in 1964: I had no part in the play of the “Suppliants” and I was among the spectators of that unforgettable performance ... That wonderful artistic result, which will never be forgotten by those who were fortunate enough to attend that divine ritual, was due only to the orchestral movement of the hundred-member chorus (50 Suppli- ants and 50 servants) that Eva Sikelianos managed to create, inspired by the exquisite music of the late Konstan- tinos Psachos, to which music - as also happened with the music of the chorus of the Oceanids in “Prometheus Bound” – was due, according to my opinion, the religious shiver the revival of ancient tragedy managed to convey for the very first time ... None of our brilliant composers, not even remotely, managed to capture the secret religious character of our ancient tragedy. Only Psachos managed to capture and convey it with his beautiful archaic-Byzantine melodies, sung by the spectators after the end of the performance. In fact, many of the survivors, after 35 whole years, still remember them! ... This is undoubtedly a masterpiece and nothing similar has ever been written before. And it is the only music that transfuses immediately the religious texture and the full artistic sense of this work of Aeschylus. A religious texture, I repeat, without which the performance of the “Suppliants” does not present any particular theatrical interest...”

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of Athens was on April 9th 1932. On July 26th of that year, he resigned from his post as Gov- ernment Commissioner, while G. Streit dies. In 1931, the article-entry “Mathematics” of Carathéodory was published in the Great Greek Encyclopedia Pyrsos.66 Meanwhile, on September 27th 1931, the Ancient Drama Organization put on “Prome- theus Bound” by Aeschylus at the Panathenaic Stadium, with the choral and lyrical parts set to music by K. Psachos. So, C. Carathéodory could have possibly attended that performance. Then, in February 1932, the Minister of Education G. Papandreou, in order to promote genuine Byzantine ecclesiastical music, established a special service and appointed K. Psachos as “Supervisor of music in the churches of the Orthodox Church of Greece”, with the rank of 1st degree secretary. It is important to underline the fact that G. Papandreou attended the Delphic Festival67 and various other musical events of Psachos. Although they were partisants of different political parties, there was always great mutual respect between them. There is a characteristic funny story that Psachos narrates:68 When G. Papandreou announced him his appointment as “Supervisor”, he replied: “Sir, I am grateful, but I am not going to vote for you on the next election because we are in favor of different parties.” And G. Papandreou retorted: “But, Professor, in this case you are not the voter. I am the voter and I vote for Konstantinos Psachos!” After returning to his position at the University of Munich, C. Carathéodory kept coming to Athens almost every year. He participated in the Interbalkan Conference of Mathemat- ics on September 2nd-9th 1934, being nominated its honorary president. It is not known ex- actly when he came to Athens. If he had been since August, then he would have been able to hear the choral and lyrical parts of Euripides’ “Phoenissae”, set to music by K. Psachos and performed by a chorus on August 11th, 12th and 15th 1934 in Athens. From March to May 1936, Carathéodory was in Athens and on May 14th, he gave a lecture at the Academy of Athens. On the same day, May 14th, at the hall of the Archaeological Society, the 40 years of Psachos’ ac- tivity were celebrated! Carathéodory’s interest in special measurements of the architectural members of ancient monuments had already occurred as early as 1900, when he was working for the British Colonial Service in Egypt. The results of his measurements of the Pyramid of Cheops (April 2nd 1900) were published on the following year.69 An unpublished work of his entitled “The tem- ples of Ancient Greece” has not yet been traced. However, in 1937, the 100th anniversary of the founding of the Athens Archaeological Society was celebrated and the anniversary volume featured the Greek translation of Carathéodory’s study entitled “On the curves of the Parthe- non’s pillar and on the spacing of its columns”, which had been published in English three years previously,70 where he proves that these curves are circles of a very large radius, and

66 Georgiadou, as note 1, 531-536, 541. 67 Eleutherios and Elena Venizelos also attended the Delphic Festival at the ancient theater of Delphi. Ε. Palmer Sikelianos, as note 30, a section of pictures between p. 176-177. 68 An information by Eleni Ntalla. 69 C. Caratheodory, Nouvelles mésures du mur sud de la grande galerie de la Grande Pyramide de Chéops, Hayez, Bruxelles 1901. Georgiadou, as note 1, 102-103. 70 C. Caratheodory, Concerning the curvature of the steps of the Parthenon, American Journal of Archaeology 38 (1934), No. 4. C. Caratheodory, On the curves of the Parthenon’s pillar and on the spacing of its columns, Archae- ological Journal, 1937 (centenary volume), p. 120-124. Republishing of the article in E. Spandagos, as note 33, 322- 330. The German translation of the same article by Stefanos Carathéodory was included in the “Complete Works” of his father: Über die Kurven am Sockel des Parthenon und die Abstände seiner Säulen, in C. Carathéodory: Gesammelte Mathematische Schriften. Bayerische Akademie der Wissenschaften. München, Beck, 1952, vol. V, p. 257-281. (Thanks to E. Spandagos, who gave me a copy of the German article).

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not paraboles, as claimed by Penrose and Stevens. In the summer of 1937, Carathéodory was once again in Greece lecturing at the National Technical University. A year later, a Royal De- cree dated July 20th 1938 ratified the decision of the Faculty of Physics and Mathematics (May 30th) and proclaimed him honorary professor of the University of Athens, and he becomes the honorary president of the Greek Mathematical Society.71 The stay of K. Psachos in Delphi for the organization of the Delphic Festival had pleas- ant consequences in his life. Delphi was the place of residence of Amalia Armao, whose father Alcibiades was from Constantinople and among other activities, he had built the first hotel in Delphi, the “Pythios Apollon”.72 K. Psachos married Amalia Armao (his second marriage) on December 1st 1932 in Delphi, and developed a very close friendship with his brother-in-law, Athanassios Dourogiannis, who died in 1935.73 Since 1936, Psachos lived with his wife, the widow Iphigenia and her daughter Eleni Dourogianni74 in Patissia, at 58, Kyprou Street, near Haghia Zoni. In the summer of 1937, the whole family moved to Nea Smyrni, at the corner of Magnesias and Mainemenis Streets, where he spent the rest of his life. According to the testimony of musicologist Joseph Papadopoulos-Grecas to the niece of K. Psachos, Eleni Dourogianni-Ntalla, during one of his pre-war trips to Athens, C. Carathéodory, accompanied by Dimitrios Kappos, a former student of his in Germany and a later Professor of Mathematics at the University of Athens, he visited K. Psachos at his house in N. Smyrni. The Asia Minor Catastrophe in 1922 had deeply shocked K. Psachos, and since then he treated with great skepticism and distrust our “Allies” and their declarations. Therefore, during the German Occupation in World War II, secretly listening on the radio (which was not declared to the authorities, as was required by the relevant law) the Greek broadcasts on BBC, with the promises to give Cyprus to Greece and other big words of the Allies, he expressed doubts and reservations regarding their implementation. Psachos may have had many fierce conflicts with colleagues in his public life, however, in his private life, he showed great affection and dedication not only to his family but also to his friends.75 In 1946, K. Psachos, almost blind, dictated correspondence and articles76 to his wife and niece. Psachos endured patiently the intolerable pain of his illness and died on July 8th 1949, whispering with all the strength he had left, “Let every breath praise the Lord”.

71 Georgiadou, as note 1, 682, 887-889. 72 Their house (that later became a police station) was located in the street opposite to “Pythios Apollon” hotel. There lived Amalia with her sister Kalomira and her mother Eleni. Psachos lived in the house next door. Their front doors were side by side, while the kitchen window of Amalia overlooked the courtyard of the house of Psachos. 73 Athan. Dourogiannis, though a lawyer, had excellent knowledge of theology and could chant traditionally very well. His father, Ioannis, was a graduate of the Rizarios School and the Faculty of Theology of the Othonio Univer- sity of Athens, founder and director of an all-girl school in Pyrgos, Elis. However, his mother was the daughter and sister of priests. 74 Psachos lost his father at a very young age and did not have children from his first marriage. That’s why he felt and raised like his own child his wife’s niece, Eleni Dourogianni, whom we know ever since she was a small child in Delphi. According to her own testimony, when in 1929 she went to school for the first time to the first grade of the primary school of Delphi, her teacher (Pagonitsa Varzakanou) taught children to dance singing (besides the well-known children’s dances) “don’t be totally afraid, it’s us friends coming to this rock”, that is, Psachos’ chorales for “Prometheus Bound”! 75 According to a testimony by El. Ntalla, Psachos was very honest and did not hesitate to change his mind would he find that something was not right. He was also extremely merciful, so he strictly followed the law of “dekati”, giving 1/10 of his revenue in charities, something that is not widely known because he did not want to. 76 The last article of K. Psachos was On Ancient Greek Music (in Greek), in the Encyclopedia of Helios, volume “Greece,” p. 1016-1023.

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Unfortunately, the Greek State did not honor Psachos with any promotion ever since we was hired as a “Supervisor” in 1932. After his death, however, the Ministry of Finance awarded “to Amalia, the widow of Konstantinos Psachos, a lifelong, personal basic pension... as a token of honor to the memory of her deceased husband, for his reforming and creative action in the field of Byzantine music”.77 The Academy of Athens intended to establish a chair of Byzantine music for Psachos. But Psachos was already seriously ill and this was never done. In fact, in 1947 the Academy of Athens invited in writing (March 15th) Psachos to its solemn meeting on Monday, the 24th of March at 6 p.m., “in order to receive the relevant titles of the Silver Medal awarded to him”. A handwritten note of Psachos is saved on the invitation: “I replied on the 22nd of the same month, not accepting this honor!! Ps[achos]”. More than half a century after his death, the Academy of Athens honored K. Psachos with the organization of a workshop by the Hellenic Folklore Research Centre of the Academy of Athens on November 30th 2007, entitled: “Konstantinos Psachos: The Musician, the Intellectual”. The end of the workshop was sealed by a concert featuring works by K. Psachos and a presentation of the re- paired “small” harmonium-model.78 Already in 1930 Psachos, who held in his possession “a unique and valuable collection of numerous manuscripts of Byzantine music and other related materials, representing the history, art and notation from the ninth to the nineteenth century”, found himself “in the diffi- cult position to sell. And the truth is that many individuals, mostly foreign, made bids in order to acquire it in part or in its entirety but Mr. Psachos, wishing for the collection to remain in Greece in one piece and unbroken, did not consent to this. Because his persistent desire was to have it preserved in one of the libraries of the State ... The initial value of this collection was estimated by specialists, and especially by the memorable Spyridon Lambros, to one hundred and twenty thousand golden drachmas ... Everyone understands the significance of this valuable and one of a kind collection, for the manuscripts of which the Faculty of Philosophy of the National University expressed unanimously the wish “to remain in Greece, bought by the State and preserved in our library” (Minute, December 22nd 1930)”.79 In the end, the wish of K. Psachos was realized several years after his death. Part of his personal library, rich in manuscripts, codices of Byzantine music, rare musical editions and books, which he had spent his entire fortune on, was sold by his wife Amalia and Eleni Ntalla to the University of Athens and now is the Collection of K. Psachos’ Music Library at the Li- brary of the Music Studies Department.80 However, apart from the items sold, upon a request of the professors of the Music Studies Department C. Amargianakis (1938-2003) and Gr. Stathis, 300 manuscripts and old books were granted to the Department without additional fees, including two autographed books of Byzantine music by Nikolaos Planas.81

77 Kingdom of Greece. The Ministry of Finance. General Secretariat of Public Accounting. Directorate IV. Certifi- cate of a personal pension grant, imm. number 138, December 13th 1949. 78 Academy of Athens, Workshop “Konstantinos Psachos: The Musician, the Intellectual”. Friday, November 30th 2007, The Academy of Athens House, East Hall, Hellenic Folklore Research Centre. In the afternoon session, the last one to speak was Georgios Paraschos, a music instruments maker, on: “The repair of the small panharmonium.” Moreover, Eustathios Makris and Ioannis Arvanitis made the presentation of panharmonium. 79 Ι. Grecas, A valuable collection of ancient Byzantine manuscripts, Mousika Chronika, 1931, p. 256. 80 In the Collection of K. Psachos’ Music Library at the University of Athens, 216 manuscripts are preserved, most of which are musical. The codices date from the 14th to the 19th century. It includes Eirmologia, Anastasimataria, Stichiraria, Papadikes, Anthologies, theoretical works and collections of songs. See PERGAMOS Digital Library of the University of Athens (http://pergamos.lib.uoa.gr). 81 Referenced on a handwritten additional note of Gr. Stathis on the delivery protocol of the bought books.

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On the other hand, C. Carathéodory remained in Germany during World War II. His own reservations concerned the royalty institution. Probably, this was due to the unfair dis- missal of his father Stefanos by Sultan Abdul Hamid II in November 1900, while he served as an ambassador of the Ottoman Empire in Brussels, where he stayed until the end of his life (October 14th 1907).82 As evidenced his daughter, Despina Rodopoulou, was offered to become the lady-in-waiting of Queen Frederica, when her husband Pavlos succeeded to the throne his brother George II on April 1st 1947. But C. Carathéodory categorically denied his daughter to accept this position and expressed his views on kings and democracy as follows: “Kings come and go, but democracy remains”.83 In the same year, 1947, C. Carathéodory became seriously ill from uremia and despite surgery and temporary improvement, he passed away on February 2nd 1950.84 His personal library, a real treasure, was essentially dissolved after his death. Only in recent years has there been detailed research to find the traces of its scattered parts. However, it is comforting to know that according to Carathéodory himself, “the most precious part of the library” is located at the Academy of Athens.85 In the turbulent times of the first quarter of the 20th century, the paths of C. Carathéodory and K. Psachos, two charismatic personalities of science and music respectively, crossed at least three times, as evidenced by the surviving letters of Carathéodory to Psachos. These letters are unique evidence not only of their personal acquaintance and mutual appreciation, but also of the common point of their interests: the preservation of Byzantine musical tradition in Athens and Constantinople.

82 Carathéodory passes over this event in silence in his Autobiographical Notes. Georgiadou, as note 1, 78, 883. 83 Georgiadou, idem, 814. 84 Georgiadou, idem, 819-824, 829. 85 Georgiadou, idem, 833-844.

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Appendix (Illustrations)

Fig.1. Konstantinos Psachos

Fig.2. Constantine Carathéodory

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Fig. 3a and 3b. The two pages of Carathéodory’s first letter

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’s first letter ’sfirst

Carathéodory Fig. 3a and 3b. The two pages of of pages two The 3b. and Fig.3a

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Fig. 4. Carathéodory’s second letter

102 ISSN:2241-5106 Πάπυροι - Επιστημονικό Περιοδικό Papyri - Scientific Journal τόμος 3, 2014 volume 3, 2014 www.academy.edu.gr [email protected] C. Carathéodory, K. Psachos and Byzantine music: The letters of Carathéodory to Psachos

Fig. 5. Carathéodory’s third letter

103 ISSN:2241-5106 Πάπυροι - Επιστημονικό Περιοδικό Papyri - Scientific Journal τόμος 3, 2014 volume 3, 2014 www.academy.edu.gr [email protected] C. Carathéodory, K. Psachos and Byzantine music: The letters of Carathéodory to Psachos

Fig. 7. Psachos’ manuscript design showing the tonic intervals of the keyboard of Panharmonium

Fig. 6. The Panharmonium of Psachos at Steinmeyer Organ Building Company, in Oettingen, Bavaria

Fig. 8. The two keyboards of Panharmonium. The small black keys of the lower one correspond to the intervals of Byzantine music

Fig. 9. The medium panharmonium Fig. 10. The small panharmonium (Hellenic Folklore Research Centre of the Academy of Athens)

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Fig. 11. The first page of Psachos’ chorale of Prometheus bound.

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Fig. 12. Manuscript of Psachos’ chorale of Suppliants in Byzantine notation.

Fig. 13. Photo from an excursion to Acrocorinth (May 7th 1933). From left to right, the archaeologist F. de Waele, Ifigeneia Dourogianni, Von Peske and his wife, Athanasios Dourogiannis, his daughter Eleni (Ntalla), Amalia and K. Psachos

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