Musicaeterna Χορωδία Βυζαντινής Μουσικής - Musicaeterna Byzantina

"ΤΕ ΡΙ ΡΕΜ" 

Πέτρος ο Γλυκης (1715) “Γευσασθε κ Ιδετε” ήχος Αγία

Πέτρος Εφεσιος (1840) “Όσοι εις Χριστον” ήχος Α

Ιάκωβος Πρωτοψάλτης (1800) “Αγαπησωσε Κύριε” ήχος Β’

Πέτρου Εφεσιου (1840) “Οκταηχος Πολυέλαιος”

Ιακωβου Πρωτοψαλτου (1800) “Αινειτε” ήχος Γ

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"Te Ri Rem"

Petrou Bereketou:

Taste and see

Athanasiou Karamanis:

Every breath – Praise

Harilaou Taliadorou:

A prostitute came to you

Peter of Ephesus:

Those in Christ with Power

Petros Lampadariou (ca. 1735-1778):

Cherubicon Detention Petro Bereketou: Mary (from octave Theotoke Parthene) Petros Lampadariou (ca. 1735-1778): Antiphon D’Icho (From my youth) Grigoriou Protopsaltos: I love You Lord my strength Georgiou Tsatsaronis: Retention 

Under the supervision and the guidance of the great Maestro, Teodor Currentzis,  Musicaeterna Byzantina Choir has won the most demanding audiences and making its debut in Salzburg’s festival two years ago. The choir is under the musical disciplined knowledge of choir master Antonio Koutroupi, charismatic and gifted vocalist and conductor graduate of Saint Petersburg conservatory. The beautiful sound of the choir consists of of the most beautiful Mediterranean male voices together with exceptional execution of melusmas, and accurate execution notes of Byzantine music, made “Sony Classical” to propose its label for the first recording. Recently the Ecumenical Patriarch  Mr.  Bartolomeo has nominated Maestro Koutroupi with the a rare Byzantine timperial title of “Achon Maistor of the Ecumenical Throne”.

Byzantine music represents one of the oldest and richest musical traditions in the Orthodox Christian world. The last concert of the Patmos Sacred Music Festival 2024 will be dedicated to three of its greatest composers: Petros Bereketis, Peter of Ephesus and Iakovos Protopsalts. Each of them contributed significantly to the development and perpetuation of this tradition, creating works that continue to inspire and to spiritually elevate the faithful. Petros Bereketis is a central figure in 17th century Byzantine music. Known for his complex and innovative style, Bereketis introduced new techniques and melodic structures that enriched the Byzantine liturgical repertoire: an example is Γευσασθε και Ιδετε [Taste and See]. The composition, in tonos agía, uses the fifth plagal tone, which conveys a sense of solemnity and sacredness, inviting the faithful to experience divine beauty through liturgical song. Peter of Ephesus (1770-1840) contributed greatly to the codification and expansion of the Byzantine musical repertoire. His compositions are known for their rigorous structure and melodic beauty, such as Όσοι εις Χριστον [Those in Christ with Power], a baptismal hymn performed in ‘tone Α’ (first tone), celebrating the entrance into the Christian community with a clear and declarative melody, reflecting the joy of the act of faith. The Οκταηχος Πολυέλαιος [Polyeleos of the Eight Tones] is one of his most elaborate compositions: each section explores one of the tones, offering a comprehensive overview of the different types of organisation of sound space used in the Byzantine liturgical tradition, built on a modal scalar system. Iakovos Protopsalts (1740-1800) was one of the most influential cantors of the 18th century, and his hymn Αγαπησωσε Κύριε [I love You Lord my strength] is a true declaration of love and devotion to God. The piece, built on the second tone, is characterised by a serene and contemplative melodic progression, inducing introspection and prayer. Αινειτε [Praise], on the other hand, is a hymn of praise composed on the third tone of a lively and dynamic character, marked by an ascending melody that moves to celebration and divine praise. Byzantine music bears witness to a spiritual and cultural tradition thousands of years old, thanks to which we are able to experience the richness and depth of this sacred art, with its capacity to lead us to a greater awareness of the divine and a deeper appreciation of our spiritual heritage.