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Περίληψη : Teacher and Musicologist from Constantinople That Produced a Vast and Versatile Corpus of Work

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Περίληψη : Teacher and Musicologist from Constantinople That Produced a Vast and Versatile Corpus of Work IΔΡΥΜA ΜΕΙΖΟΝΟΣ ΕΛΛΗΝΙΣΜΟΥ Συγγραφή : Αναστασίου Γρηγόριος Μετάφραση : Τσοκανή Άννα Για παραπομπή : Αναστασίου Γρηγόριος , "Konstantinos Psachos", Εγκυκλοπαίδεια Μείζονος Ελληνισμού, Κωνσταντινούπολη URL: <http://www.ehw.gr/l.aspx?id=11407> 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 Δημιουργήθηκε στις 29/9/2021 Σελίδα 1/8 IΔΡΥΜA ΜΕΙΖΟΝΟΣ ΕΛΛΗΝΙΣΜΟΥ Συγγραφή : Αναστασίου Γρηγόριος Μετάφραση : Τσοκανή Άννα Για παραπομπή : Αναστασίου Γρηγόριος , "Konstantinos Psachos", Εγκυκλοπαίδεια Μείζονος Ελληνισμού, Κωνσταντινούπολη URL: <http://www.ehw.gr/l.aspx?id=11407> the all-girls school of the Dependency of the Holy Sepulchre, where he was presented with the opportunity to study the musical manuscripts, which would be of utter importance for his subsequent treatises, in the dependency’s library. 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 Δημιουργήθηκε στις 29/9/2021 Σελίδα 2/8 IΔΡΥΜA ΜΕΙΖΟΝΟΣ ΕΛΛΗΝΙΣΜΟΥ Συγγραφή : Αναστασίου Γρηγόριος Μετάφραση : Τσοκανή Άννα Για παραπομπή : Αναστασίου Γρηγόριος , "Konstantinos Psachos", Εγκυκλοπαίδεια Μείζονος Ελληνισμού, Κωνσταντινούπολη URL: <http://www.ehw.gr/l.aspx?id=11407> that the signs connoted to whole-and sometimes long-musical phrases. 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.
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