IΔΡΥΜA ΜΕΙΖΟΝΟΣ ΕΛΛΗΝΙΣΜΟΥ Συγγραφή : Αναστασίου Γρηγόριος Μετάφραση : Τσοκανή Άννα Για παραπομπή : Αναστασίου Γρηγόριος , "Konstantinos Psachos", Εγκυκλοπαίδεια Μείζονος Ελληνισμού, Κωνσταντινούπολη URL:
Περίληψη : Teacher and musicologist from Constantinople that produced a vast and versatile corpus of work. He involved himself with ecclesiastical and folk music, as well as ancient Byzantine notation, while also composed chants of ecclesiastical music and music for ancient drama. Τόπος και Χρόνος Γέννησης 1866?-Constantinople
Τόπος και Χρόνος Θανάτου 1949-Athens
Κύρια Ιδιότητα Teacher and musicologist
1. Birth, upbringing, education
Constantine Psachos’time of birth is, essentially, unknown and quite hard to define. In an autobiographical text he mentions himself the 19th of May 1876 as the date of his birthday and many of those who wrote about his life and work accept it as true. Strong evidence, however, lead Georgios Chatzitheodorou, his most significant biographer and publisher,1 to the assumption that his year of birth is 1866; Achilles Chaldaiakis agrees on this assumption.2
Consequently, Constantine Psachos was born to an urban family sometime in the middle of the 1860s, in the Mega Revma (Μέγα Ρεύμα) district of Bosporos in Constantinople. His father, Alexander, who originated from Cephalonia and worked as a pastry cook, was a victim of political assassination because of his secret anti-establishment activity; subsequently, his young mother Irine-Eriphylli, twenty four years of age at the time, undertook Constantine’s and his brother Georgios’upbringing, with the help of their grandfather and other relatives, mainly his uncle Dimitrakis Papadopoulos who also was his first ever music teacher.
His education started at the school of the Mega Revma where he was taken, as he confesses himself, by force on the shoulders of his neighbourhood grocer. In complete contrast, a few years later he forced his entry as a redundant student in the Central Hieratic School of Constantinople insisting on seeing Patriarch Joachim III on that matter. In the Central Hieratic School Psachos completed his formal training and, at the same time, was taught the art of chant by the chorale teacher and housekeeper of the school, archimandrite Theodoros Mantzouranis (†1906).
2. Psachos’career as a chanter and his activity in Constantinople
As early as 1887 (May 19th, Sunday of the Samaritan Woman) he takes the position of 1st domestikοs to the celebrated Georgios Sarantaecclesiotis, protopsaltes (lead chanter) of the Church of Transfiguration of Christ Savior in Galata. Later on, in 1891, he is appointed as 1st domestikos to the Church of the Presentation of the Virgin Mary in Pera, under the direction of Eystratios Papadopoulos, the great theoretician and protopsaltes, also called “the hunchback”(καμπούρης). As his pupil, Psachos perfected his knowledge in both theory and practice of Byzantine, external Eastern, but also Western music. Since then, he served the chorale music-stands of Constantinople, its outskirts, but also Smyrna and possible Kavala.
A significant period in his career began with his appointment in 1896 as protopsaltes and professor of religion and Greek language in
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Beyond chant, however, he had developed a greater spiritual and social activity. He participated in the foundation and operation of the Patriarchal Musical Association, he assumed the presidency of the “Nine Muses”Fellowship, he gave lectures and wrote articles regarding byzantine music, he taught in the school of the Patriarchal Musical Association and participated in its numerous committees.
3. Psachos’arrival in Athens
In the break of the 20th century in Athens, while the so-called “Musical Question”was dominating the foreground, the archbishop of the time Theoclitos I in collaboration with Georgios Nazos, Director of the Athens Conservatory, decided to establish a school of byzantine music and appealed to the patriarchate in order to fill the position of the director. Patriarch Anthimos VII responded to their request and recommended Constantine Psachos as the most suitable candidate for the position. So, Psachos travelled to Athens and located there in September 1904 and on the 23rd of the same month, the school opened its doors. All of his professional and family activity is from then on localised in Athens. On September 4th 1905, he married Evanthia Amerikanos, originating from Smyrna.
4. His teaching activity at Athens Conservatory
In the meantime, the school of byzantine music within the Conservatory had been in operation with Psachos as its director and its first event took place on March 22nd 1906. In 1907 he compiles an analytical programme of the school’s instruction, modelled on the corresponding programme of the musical school of Constantinople. He remained in his position until 1919, when his relations with the directorate were ruptured; he subsequently departed and along with Manolis Kalomoiris on October 20th of the same year established the Conservatory of National Music, including three Schools: byzantine, folk and Asian.
5. His auctorial and publishing activity and his involvement in his time’s debate on the Musical Question
Psachos had displayed his auctorial skills since his days in Constantinople, mainly in the context of the Ecclesiastical Musical Association, publishing his own work or presenting treatises written by others in the Association’s journal "Ekklisiastiki Alitheia"
In Athens his name appears an editing committee member of the musical journal Forminx, on the 1st issue of the 1st year of period 2nd, in March 15th 1905. Forminx as well as other musical journals of his time often published his articles on the history, theory and execution of Greek music.
The themes of Psachos’articles, however, even though for most part regard issues of Byzantine and folk music, present both breadth and variety, revealing his manifold, well-read and scholarly personage. He recorded himself in a catalogue he composed, about 500 of his publishings, brief or extended studies, articles and treatises, interviews, letters and notes in various journals and newspapers of his time regarding music, musicology, history, politics, international affairs, society, church, linguistics, folklore, etc. He usually signed his works as C.A. Psachos or with his initials C.A.P, rarely in whole and on many occasions under different aliases, such as An Orthodox, Sionite Jeremiah, Musical Telephilos, Terpandros, Costaras, Geron erasitechnis (Old amateur), Paroikos (Emigrant), Paraxenos (Strange), Mathimaticos (Mathematician), Ypodoulos lytrotheis (Slave liberated) etc.
On March 1921 along with the professor of ancient Greek in Athens University Emmanuel Pezopoulos, he began publishing the journal New Forminx. In the meantime, in 1917, he had published in Athens his most significant musicological study, a book titled Parasimantiki tis byzantinis mousikis (Parasemantics of Byzantine Music).
6. Musicology
The Parasemantics book constitutes “a lengthy and detailed historical and technical review of the notation in byzantine music, since the early Christian years until our times”.3 By studying the manuscript tradition of the same compositions transcribed in the notation system of each period, Psachos proved that the notation in byzantine music from the 10th to the 19th century was “symbolic”, meaning
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Psachos deals with old byzantine music notions in a few more of his shorter essays, articles or unpublished work. Besides that, however, he is concerned with issues of byzantine music history4, aesthetics and interpretation,5 musical folklore-ethnomusicology,6 as well as byzantine music theory.
His most significant theoretical work is To Octaichon Systima tis Byzantinis musikis, Ecclesiastikis kai Dimodous kai to tis Armonikis Synichisis (The eight-mode system of Byzantine music, Ecclesiastical and Folklore, and the system of harmonic assonance), written in Athens in 1941, but published mush later, as late as 1980, in Neapolis Crete, edited and introduced by Georgios I. Chatzitheodorou.
7. Chant composition-system of assonance
Psachos involved himself, among other things, with hymnography and choral music. Some of his music sheets were indeed published, although most were not. He set to music several sticheraric and doxastic melodies of liturgies of more recent saints and feasts, mainly working on Divine Liturgy (Mass) hymns. The three most significant of his published compositions are the following:
Leitourgikon (Liturgical), Athens 1905 (reprint from Forminx, period 2nd, year 1st), that includes what was announced by the deacon and the priest during the Divine Liturgy.
Leitourgia (Mass), vol. I (Athens, 1909), that includes hymns during the Divine Liturgy in a double assonating line.
Leitourgikoi Ymnoi (Liturgical Hymns) (Athens, 1912), including two complete series of Cherub Hymns according to the eight-mode, Communion Hymns, Polychronisms and the Liturgical Hymns.
The conception and implication of a double assonating line – a system of two harmonic lines under the chant – which, according to his own wording, produce “a sound of complete harmonic, though Greek, assonance”, is also relevant to his composing activity.7 Psachos elaborated on the theory of his system on a separate chapter titled “On harmonic assonance”, in his work The eight-mode system of byzantine music, ecclesiastical and folklore, and the system of Harmonic Assonance,8 instead of just filling-in score sheets according to it. His assonating lines were not met with any particular reaction or critique. In fact, the first ever presentation of Vespers performed in Psachos’music system in the Monastery of Virgin Mary Chrisospiliotisa (of the Golden Cave) on January 29th 1908 by a 40-strong chorus coached and directed by himself, was welcomed by contemporary Press, both before and after, as a grand cultural event.
Besides ecclesiastical music, Psachos composed several orchestral pieces, canti, and mainly chorals for ancient Greek drama performances.
8. Musical recordings
Another of Psachos activities was the musical recordings of folk songs in byzantine and simultaneous five-line staff notation. As early as 1908, he published a collection of 18 Turkish songs, 1Arabic and 1 Kurdish under the title Asiatiki Lyra (Asian Lyre) in Athens. A year later, on 1909, he visited the island of Skyros in order to record the local traditional folk music.9
In the meantime, the Athens Conservatory showed interest in Psachos’recordings and assigned him with a similar mission in the area of Aigion, equipping him with a state-of-the-art phonograph. Easter of the year 1911, Psachos continued recording in the village Lakkoi of Crete.10 In the summer of 1915 he visited the rural district of Gortynia, where he recorded 67 local songs.11 Also memorable, however, are the recordings by Psachos of the melodies inspired to him by some of the verses of Theotokarios by the Dean of Rizarios Hieratic School of the time (1905), St Nectarios (Kefalas), bishop of Pentapolis.
9. Panharmonium and Eva Palmer-Sikelianos
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Psachos’theoretical involvement in the study of tonal intervals in byzantine music aimed, among other things, in constructing a musical instrument that could play them. With the help of his friend and student Eva Palmer-Sikelianos, Psachos embarked on a quest to collect the funds for the manufacturing of this instrument, of his conception and design. May 1922 he visited Oettingen in Bavaria in order to supervise its manufacture by the Steinmeyer House. On October 27th 1922, however, his wife passed away, an event that stopped his activities abroad, to which he returned after going back to Bavaria about two months later. Finally, on June 1924, the instrument was completed, as were two smaller ones; it was named “Evean Panharomium”in honour of its sponsor Eva Sikelianos.
10. Delphic Festivals
On May 1927 the Delphic Festivals, which were to become an institution during the following years, were organised for the first time by Angelos and Eva Sikelianos. The main part of the festivities regarded performances of ancient Greek drama. This time it was Aeschylus’Prometheus Bound that was presented to the public, translated in modern Greek by Gryparis. The composition of the music score was assigned to Constantine Psachos–and it is apparent that Eva Sikelianos’appreciation for him and his Greek mode- music lead towards that decision. Since then his musical compositions played an active part in Delphic Festivals until 1930, when he wrote the score for Aeschylus’Suppliants . It appears though, that during that time his relation to Mr and Mrs Sikelianos were disturbed and their collaboration ceased.
Nonetheless, Psachos continued to produce music for ancient drama. On March 15th 1930 he presented corals from Prometheus Bound, along with other works, in the “Olympia”theatre in Athens; and on September 27th 1931 the Ancient Drama Association played Prometheus Bound, Psachos’music included, in the Panathenaic Stadium. On August 11th, 13th and 15th 1934 he successfully presented the music for Euripides’Phoenician Women.
In the meantime, on December 1st 1932, in Delphi he got married to his second wife, Amalia Armaos.
11. Greater intellectual and socio-political activity, relations to institutional centres-honours and awards
Constantine Psachos’presence in the social life of his time was not limited to music. As early as his arrival in Athens he connected himself to eminent personages, such as Palamas, Kontoglou, Drosinis, Xenopoulos, Levidis, countess Riancour etc.
He was interested in the political situation, more so regarding the Liberal Party, and was personally acquainted with Eleftherios Venizelos and the King Constantine. Moreover, he developed intense social and intellectual action either driven by his own accord or after being appointed to sever committees and offices of importance. In 1902 he was one of the founding members of “Fanari (Fener) Charitable Association” and during the same year held the presidency of the “Nine Muses”Educational Fellowship, located at the Xyloporta district of Chalcedon.
In 1905 in Athens, he was one of the pioneers in the establishment of the “Central Musical Committee”. A year later, in 1906, and just nine months after the beginning of his tenure in the Athens Conservatory, the patriarchate sent him a special gratification document congratulating him on the progress made by the school of byzantine music. In fact, in 1911, he received from the patriarchate the title of “Master music teacher and cleric of the Great Church of Christ”; moreover, in 1912 the patriarch of Jerusalem Damianos IV presented him with the Golden Cross and the title of “Justice-keeper and Knight of the Holy Sepulchre”. On March 3rd of the same year (1912), he was also honoured by his students, who organised a celebration of his 25-year old career.
Between 1914 and 1916 he showed, among other things, intense activity in trade-unionism serving as president of the “Professors and Teachers Association of the Athens Conservatory”, he founded himself. In January 1919 he participated in the Grand Committee for byzantine music, which was organised on the occasion of the 100 year jubilee from the Greek Revolution. On February 1932, he was appointed by the Minister of Education of the time, Georgios Papandreou, as a “Provost for Music in the Churches of the Orthodox Church of Greece”. Finally, on May 14th 1936, his forty-year career was celebrated in the Athens Archeological Society auditorium.
12. His passing
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Ten years after the grand celebration of his forty-year career, in 1946, Psachos is already isolated and forgotten by friends and students, facing severe problems with his vision and dictating his last papers to his wife and his niece Eleni Douroioanni (Dalla). That year yet another event in his honour took place in the auditorium of “Parnassos”Association. However, he retreats again and after a while falls seriously ill, diagnosed with cancer. On July 9th 1949, he passed away having listened for the last time his composition “Vasileu ton Vasileon”( King of all Kings), executed by the present S. Georgantas, and having endured patiently and with remarkable lucidity the last and extremely painful phase of his illness that stretched over many months.
1. «Η ζωή και το έργον του Κωνσταντίνου Αλεξάνδρου Ψάχου», introductory study in Psachos’book, Η Παρασημαντική της Βυζαντινής Μουσικής2 (Αθήνα 1978), pp. ια΄-νζ΄.
2. «Σημειώματα Κ.Α. Ψάχου επί των εντύπων μουσικών εκδόσεων της βιβλιοθήκης του, Α΄,1820-1882», in Οι δύο όψεις της ελληνικής μουσικής κληρονομιάς – Αφιέρωμα εις μνήμην Σπυρίδωνος Περιστέρη, Πρακτικά της Μουσικολογικής Συνάξεως that took place November 10th and 11th 2000 in the Academy of Athens building (Αθήνα 2003), p. 105.
3. In the Foreword of the second edition of Parasemantics, Ψάχος, Κ.Α., Η Παρασημαντική της Βυζαντινής Μουσικής2 (Αθήνα 1978), p. 2.
4. See «Η Ελληνική Παιδεία και η Μουσική εν τη Μικρά Ασία και τη άλλη Ασία», Μικρασιατικά Χρονικά Β΄ (Αθήναι 1938).
5. See Περί ύφους (Off-print of Φόρμιγξ, year Ε΄, period Β΄ 1908, Αθήναι 1908).
6. See Τα δημώδη ελληνικά άσματα κατά τους αρχαίους, τους βυζαντινούς και τους νεωτέρους χρόνους (Off-print of the Νέα Πολιτική 12, Αθήναι 1937).
7. Ψάχος, Κ.Α., «Σκέψεις τινες επί της καταστάσεως της καθ’ημάς Βυζαντινής Εκκλησιαστικής Μουσικής», Φόρμιγξ Β΄, n. 15‑16, 15 & 30 November 1908, p. 83.
8. Ψάχος, Κ.Α., Το Οκτάηχον σύστημα της Βυζαντινής Μουσικής, Εκκλησιαστικής και Δημώδους και το της Αρμονικής Συνήχησης (Νεάπολις-Κρήτης 1980), pp. 81-86.
9. See Δημώδη άσματα Σκύρου, συλλογή α΄ (Αθήνα 1910).
10. See 50 Δημώδη άσματα Πελοποννήσου και Κρήτης (Αθήναι 1930)
11. See Δημώδη άσματα Γορτυνίας (Αθήναι 1923)
Βιβλιογραφία : Δραγούμης Μ., "Κωνσταντίνος Α. Ψάχος. Συμβολή στη μελέτη της ζωής και του έργου του", Λαογραφία, 29, 1974, 311-322
Μαμώνη Κ., "Κωνσταντίνος Ψάχος· ένας διαπρεπής Κωνσταντινουπολίτης μουσικοδιδάσκαλος και λόγιος (1866[;]-1949)", Πρακτικά Συμποσίου Ο Έξω Ελληνισμός, Κωνσταντινούπολη και Σμύρνη 1800- 1922· πνευματικός και κοινωνικός βίος (30 και 31 Οκτωβρίου 1998), Αθήνα 2000, 89-104
Ρωμανού Κ., Εθνικής Μουσικής Περιήγησις 1901-1912, Μέρος Ι, (Κουλτούρα), Αθήνα 1996
Στάθης Γ., "Η μουσική βιβλιοθήκη Κ. Α. Ψάχου", Αθηνά, 4, Απρίλιος 1997, 18-19
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Χαλδαιάκης Α., Ο Άγιος Νεκτάριος και η αγάπη του για την Ποίηση και την Μουσική, Αθήνα 1998
Χαλδαιάκης Α., "Σημειώματα Κ. Α. Ψάχου επί των εντύπων μουσικών εκδόσεων της βιβλιοθήκης του, Α΄,1820 1882", Οι δύο όψεις της ελληνικής μουσικής κληρονομιάς – Αφιέρωμα εις μνήμην Σπυρίδωνος Περιστέρη, Πρακτικά της Μουσικολογικής Συνάξεως στις 10 και 11 Νοεμβρίου 2000 στο Μέγαρο της Ακαδημίας, Αθήνα 2003, 103-150
Χατζηθεοδώρου Γ., Η ζωή και το έργον του Κωνσταντίνου Αλεξάνδρου Ψάχου. Μελέτη προτασσόμενη στο έργο του Ψάχου «Η Παρασημαντική της Βυζαντινής Μουσικής», Αθήνα 1978
Δικτυογραφία : Συλλογή Μουσικής Βιβλιοθήκης Kωνσταντίνου A. Ψάχου http://pergamos.lib.uoa.gr/dl/navigation?pid=col:psachos
Γλωσσάριo : domestikos A term that during Byzantine times denoted a wide array of ecclesiastic, civil and military officials. In church hierarchy the domestikoi were in charge of special groups connected with liturgical rites, such as lectors, sub-deacons but mainly cantors. In the military chain of command during the 6th, 7th and 8th century the domestikoi were the commanders of the tagmata, the regiments under the direct command of the Emperor.
Χρονολόγιο 1866: Possible year of birth
May 19th 1887: 1st domestikos in the Transfiguration of Christ Savior of Galata
1891: 1st domestikos in the Presentation of the Virgin Mary of Pera
1892: Protopsaltes (Lead Chanter) in St Charalambos of Smyrna
1894: Protopsaltes in St Theodoroi of Vlaga
1896: Protopsaltes and professor in the all ‑girls school of the Dependency of the Holy Sepulchre
1901: Protopsaltes (again) in St Theodoroi of Vlaga
December 1903: Protopsaltes in St Nicholas of Galata
September 23rd 1904: Director of the Byzantine School of Music in the Athens Conservatory
1905: Leitourgikon is published
March 15th 1905: Becomes an editing committee member of the musical journal Forminx
September 4th 1905: Marries Evanthia Amerikanos
March 22nd 1906: First event of the School
1906: Gratification document by the Patriarch on the Schools ’ progress
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January 29th 1908: Presentation of his assonating system in the Vespers performed in Virgin Mary Chresospeliotissa
1908: the Asian Lyre is published
1909: Musical recordings in Skyros
1910: the musical recordings of Skyros are published
Easter 1911: Musical recordings in Crete
1911: Presented with the title “Master music teacher and cleric of the Great Church of Christ ”
March 3rd 1912: Celebration of his 25‑year career
1912: Presented with the title “Justice‑keeper and Knight of the Holy Sepulchre ” by Damianos IV, Patriarch of Jerusalem
1915: Musical recordings in Gortynia and Crete
1917: The Parasemantics of Byzantine Music is published
October 20th 1919: Conservatory of National Music founded
March 1921: the New Forminx is published
May 1922: Travels to Oettingen in Bavaria to manufacture a musical instrument capable of executing the tonal intervals of Byzantine music
October 22nd 1922: His wife Evanthia passes away
1923: the musical recordings of Gortynia are published
June 1924: Manufacture of the musical instrument, called “Evean Panharmonium” in honour of its sponsor, Eva Palmer‑ Sikelianos, completed
May 1927: Delphic Festivals – presentation of his musical score for Aeschylus ’ Prometheus Bound
March 15th 1930: Presentation of his compositions in the “Olympia” theatre in Athens
1930: Delphic Festivals – presentation of his musical score for Aeschylus ’ Suppliants
1930: the musical recordings of Crete are published
September 27th 1931: Presentation of his musical score for Aeschylus ’ Prometheus Bound in the Panathenaic Stadium
February 1932: appointed as “Provost for Music in the Churches of the Orthodox Church of Greece ” by Georgios Papandreou, the Minister of Education
December 1st 1932: Marries Amalia Armaos
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August 1934: Presentation of his musical score for Euripides ’ Phoenician Women
May 14th 1936: Celebration of his 40‑year career in the Athens Archeological Society auditorium.
July 9th 1949: Passing of Constantine Psachos
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