Michael Adamis

Michael Adamis. Photo taken from the artist's site: https://www.adamis.gr

Michael Adamis (Μιχάλης Αδάμης, born 19th May 1929 in Piraieus, Greece - died 21th January 2013) was a Greek composer, musician, conductor, researcher and teacher.

Biography

A graduate of Theology at the University of Athens, he completed his studies in both Western (composition with Y.A. Papaioannou) and Byzantine music, and pursued advanced studies in Composition, Electroacoustic music and Byzantine music paleography at Brandeis University in Boston, MA.

Adamis started his career in 1950, when he founded the Greek Royal Palace Chapel Boys’ Chorus, which he directed until 1967. In 1958 he founded the Athens Chamber Choir which he directed until 1961. From 1961 to 1963 he taught Byzantine Music and directed the choir of the Orthodox Theological College “The Holy Cross” in Boston USA. In 1965 he founded the first electronic music studio in Athens. From 1968 to 1999 he was Head of the Music Department and Director of the Choir at Pierce College in Athens.

He was president of the Greek Society for Contemporary Music for a decade (1975 - 1985) before becoming president of the Committee for Choral Development hosted by the Greek Ministry of Culture (between 1981 and 1984). From 1979 onwards he was the president of the Greek Byzantine Choir, and a member of the Board of Directors of the Ionion University between 1990 - 1994, in which capacity he planned the curriculum and the organisation of the School of Musical Studies (founded in 1992) where he also taught and which conferred upon him an honorary doctorate in 1999. He was also proclaimed an honorary doctor of the University of Athens in 2004.

Renowned as a major composer of his generation, Adamis has been repeatedly commissioned by international festivals and cultural organisations and his works are widely performed and broadcast. His choral pieces are established in the repertoire of Greek choral music. Besides composition he has engaged himself in choral direction and in research in Byzantine musicology; active in projects aiming at a reconception of the rationale, the scope and the actual practice of music education, also a forerunner in the promotion of Byzantine music as a great musical culture, as well as one of the leading figures for the establishment of contemporary music creation in Greece.

In his studies and his general musical endeavours Adamis sought to combine the inquisitiveness of contemporary creative music with his insights in Byzantine music, two fields that were brought together in his compositional work giving it a characteristic identity in the international avant-garde. By developing a way of composing which draws from the functional quality of several structural and morphological features of Byzantine music and maintains integral references to its aesthetics and its ethos, Adamis regarded his native musical tradition as the field of generative ideas for the development of a new musical experience within contemporary musical conception.

The role of micro-tonal intervals in the organisation of the musical phrase, the acoustics of traditional percussion, the particularity of the musical articulation of the chanter (psaltis), whom he first introduced as a soloist in contemporary works, with its quality of expression which reflects and promotes a special ethos, the fundamental logic of the art of drone which underlines the melodies and supports their movement, the melismatic character and the finely ornate melodic formation, are basic features that he integrates and elaborates upon in his idiom.

Adamis produced more than three hundred pieces in his lifetime, including pieces for orchestra, instrumental ensembles, solo instruments, voice and choir, multimedia, pure electronic or in combination with instruments and/or voices, also works for church services, the theatre and TV. Broadly speaking, they fall under one of two parallel approaches:

An investigation within the framework of the recognisable symbolic material, well depicted in works with direct references to their musical source as, for example, in the choral “Byzantine Passion” (1967), “In Bethleem” (1988) for orchestra and choir, “Tetelestai” - It Is Finished (1971) for psaltis, choir and electronic music, “Rodanon” (1983) for psaltis, byzantine chorus and intrumental ensemble, “Kalophonikon” (1988) for sax quartet, “Os Thesavron” - As a Treasure (1994) for choir and chamber orchestra, “Theoptia” (1997) for two psaltes, mixed choir and orchestra.

A tendency to move beyond the symbolic musical material and promote it to its more abstract consequences in the ideal of absolute music, which was already apparent in “Apocalypsis” (1967) for choral groups, narrator and electronic music, became clearer in “Kratema” (1971) for voice, oboe, tuba and electronic music, was characteristically realised in “Photonymon” (1973) for psaltis, choir and traditional percussion, and further developed in “Hirmos” (1975) for six solo voices, “Quartet” (1977) for flute and string trio, “7 Automela” (1990) for string orchestra, the orchestral “Evolutiones” (1980) and “Epallelon” (1985), the “Visions from the Apocalypse” (1993) for barytone and chamber orchestra, “En Yi Erimo” - On Desert Land (1994) for trombone and percussion, the choral "Bright Cloud" (1999), and the orchestral "Kymorroos" (2001) and "Restless Geology" (2002).

Along the same line, from within symbolism to abstraction, yet drawing mainly from the Greek Demotic-Folk Tradition, are such works as “Gennesis” (1968), “Orestes” (1972), the choral “Prometheion” (1983) and the instrumental “Alloiostrofa” (1986), a number of chamber music pieces - “Eptaha” (1989) for cl and vla, “Nine Yirismata” (1989) for piano, “Paga Laleousa” - Purling Spring - (1992) for wind quintet, “Moiroloi tis Panayias” - Virgin Mary’s Lament - (1994) for choir, Nefeli Fotini-Bright Cloud, for Eight-Voices Mixed Choir (1999). “Hellenion” (1995) for woodwinds, “Mayema I Fysis” - Magic is Nature - (1998), for soprano and woodwind quintet, "Tis Avyis"" - Of Dawn - (2003) for choir, and also several Song Cycles for choir, "Nyfiatica" -Bridal- (1979), "Koitica" (1982), "Hiotica" (1989).

Among his musicological works, the most important and widely known are his transcription and reconstitution of the Office of the Three Youths in the Furnace (the only example of an Eastern Church Office with staging elements that is preserved in the manuscripts with its music) and also his discovery and transcription of the two-part “Aineite” by Manuel Gazis, the oldest so far example of the rare “polyphonic” writing in the Mid-Byzantine Era.

Works

Chamber Music

1954-2000, Litouryiki Imni 2 (Liturgical Hymns), Saxophone quartet : S., A., T., Bar., 15'.00
1958, Two Pieces for Violin and Piano, Vl., Pf., 06'.40
1958, Variations for String Trio, Vl., Vla., Vc., 12'.00
1959, Suite in Ritmo Antico, Piano, 06'.50
1961, Duo for Violin and Piano, Vl., Pf.
1962, Three Pieces- for Double bass & Piano, Db., Pf., 06'.50
1964, Anakyklesis, Fl., Ob., Cel.,Vla.,Vc., 07'.00
1965, Epitymbio (Epitaph), Piano, 03'.30
1965, Prooptiki (Perspective), Fl. and Picc., Perc. (2 performers), 08'.00
1974, Ihima (sonance), Tuba, 07'.30
1974/89, Ihima 2, Vc solo, 07'.00
1976, Paegma (Game), Fl., Cl., Trp., Tba., Vl., Vc. and Percussion, 11'.50
1977, Quartet, Fl., Vl., Vla., Vc., 10'.42
1981, Melisma, Fl., Alto voice / Fl., Sopr. / Fl-Ten / Cl. in A, Sopr., 06'.00
1985, Metallaxis (Alteration, Mutation), Fl., Ob., 2 Cl., 2 Bssn., 2 Hrns., Trp., 13'.01
1986, Alliostrofa (Irregular patterns), Fl., Cl., Vl., Vla., Pf. and percussion, 14'.21
1988, Kalophonikon, 4 Saxes: Sopr.1, Sopr.2, Alto1, Alto2, 11'.43
1988, Periakton (Revolving), Fl., Ob., Cl., Bssn., Vl., Vla, Vc, Perc. : vibr., temple blocks, wood chimes, glass chimes, 12'.00
1988, Strofikon, 2 Guitars, 12'.00
1989, 4 Koitika 1, Fl., Cl., Vl., Vc, 08'.00
1989, 4 Koitika 3, Sax .Quartet (S., A., T., Bar.), 08'.00
1989, Eptaha (In Seven Parts), Cl. in A + Vla, 16'.00
1989, Ihima 2, Vc solo, 07'.54
1989, Yirismata (Variations) on a Folk Song from Hios, Piano, 13'.00
1990, Seven Automela, String Quartet, 17'.30
1991, Enestota (In Present Tense), Fl., Ob., Cl., Bssn., Vl., Vla., Vc., 13'.00
1991, Esothen (From Within), Fl., Ob., Cl., Hrn., Bssn., 13'.00
1992, Paga Laleousa (Purling Spring), Trp.1, Trp.2, Hrn, Trb., Tba, 10'.00
1994, Dragon, Double Base 1, 2, 3, 04'.00
1994, En Yi Erimo (On Desert Land), Tromb., Vibr., Timp., Tam-tam, 06'.00
1995, Hellenion, Fl. do and Fl. sol, Ob. and Cor Anglais, Cl.Sib and Cor di Bassette, 12'.00
1998, E.NA.Γ.E., Cl. Sib, Cor di Bassette, Vla, Harp, 10'.00
1998, Evimnon (Well Praised), Sax. Quartet : Sopr.1,2, Alto, Tenor, 10'.00
1998, Mayema i Fisis (Enchanting Nature), Soprano, Fl., Ob., Cl., Bassn, 17'.00
1998, Yini Perivevlimeni ton Ilion (A Woman Clothed with the Sun), M. Soprano - Gong la, Piano, 06'.50
2003, Aneligma 2 (Upward Movement), Violin, Viola, 07'.00
2003, En Eni (In One), Flute or Oboe solo, 06'.30
2003, Three pieces for piano, Piano, 07'.00

Chamber Music solo

2000, Molpe Yia tin Agne (Melos for Agnes), Alto Saxophone, 08'.14
2000, Aneligma 1 (Upward Movement), Vc Solo (with Bachbogen), 07'.00

Folk Songs

1959, Kalanda Hristouyenon (Folk Christmas Carol), S., A., T., B.
1959, Kalanda HristouyenonThrakis (Christmas Carol from Thrace), S., A., T., B.
1959, Kalanda Propondidos (Christmas Carol from Propontis [Black Sea]), S., A., T., B.
1959, Kalanda Protohronias (Carol for New Year's Eve), S., A., T., B.
1966, Kalanda HristouyenonThrakis 2 (Carol from Thrace), S., A., T., B.
1969, Kalokeraki (Little summer), S., A., T., B.
1969, Perdika (Grouse), S., S., A., A., 02'.13
1970, Poumbara 1, S., A., B., 01'.14
1975, Tillirkotissa, S., A., 01'.54
1977, Karavi 1 (Ship), S., A., 01'.44
1977, Karavi 2 (Ship), S., A., T., B., 01'.44
1977, Klossa (Sitter), S., A., A.
1977, Tessera ke Pende (Four and Five), S., A., 01'.30
1977, To Perivolin (The loom), S., A., 02'.26
1979, Peristeraki 1, S., A., 03'.00
1981, Peristeraki 2 (Little dove), S., A., T., B., 03'.00
1982, 4 Koitika, S., A., T., B.
1982, Aspro mou Triandafyllo (White Rose of Mine), S., A., T., B.
1982, Nifi (Bride), S., A., T., B.
1982, Ondes Se Protoagapisa (When I First Loved You), S., A., T., B.
1982, Stolisamen ton Gambro (We Dressed The Bridegroom), S., A., T., B.
1984, Dili-Dili, S., A., 05'.44
1984, Poumbara 2, S., A., T., B., 01'.14
1984, Poumbara 3, S.1,2, A, 01'.14
1987, Ena Karavi apo ti Hio 1 (A ship from Chios), S., A., T., B.
1988, O Voskos kio Vasilias (The shepherd and the king), S., S., A., A.
1988, Susta Tragoudisti, S., A., T., B., 03'.00
1991, Pia Mana (Which Mother), S., A., T., B., 03'.00
1992, Aide Maro (Come on, Maro), S., A., B., Recorder, Piano, 02'.50
1992, Hristouyena-Protouyena 2, Fl., Ob., Cl., Vc., Perc., Male Choir (2 Bar., 2 Bass), 00'.30

Instruments - Choir

1992, Hristos Yenethen (Christ has been born), Fl, S., A., Tambouro, 03'.00

Choir - Instruments

1994, Os Thissavron (Like treasure), Ten. solo, Mixed Choir, Ob., Cl., Trb., Vc.,Chimes, 10'.00
1998, Ainde Maro, Fl., Cl.,Choir S., A., B., 02'.50

Choir, a capella

1953, Kassiani, Solo Bas., S., A., T., B., 14'.02
1954, Cherubic Hymn, S., A., T., B.
1954, Aineite - Communion (Let's praise [the Lord] - from the Communion), S., A., T., B.
1954, Aksion Esti 2 ("It is worth" from Magnificat to the Holly Mary), S., A., T., B.
1954, Ayios o Theos (Holy God), S., A., T., B.
1954, Ayios-Ayios (Sanctus), S., A., T., B.
1954, Kyrie Eleison, S., A., T., B.
1954, Se Ymnoumen (We sing for Thee), S., A., T., B.
1958, Kyrie Eleison, S., A., T., B.
1959, Fones (Voices), S., A., T., B., 03' .45
1962, Psalms Ode, S., A., T., B., 06'.40
1966, Megan Evrato 1, S., A., T., B.
1967, 1. Doxa En Ypsistis Theo (Glory to God in the Highest), S., A., T., B., 02'.10
1967, 2.Simeron o Hristos (Today, Christ [Is Born]), S., A., T., B., 03'.18
1967, 3. Mayi Person Vasilis (wise men, Kings of Persia), S., A., T., B., 02'.40
1967, 4. Simeron Dechete i Bethlehem (Today Bethlehem welcomes [Him]), S., A., T., B., 02'.54
1968, A' Stasimon, S., S., A., A.,
1968, Byzantine Passion, 6 Psaltes, 2 male and 2 mixed Choirs, Bells, Talanda and Simandra, 65'.10
1968, Holy God 2, S., A., T., B.
1968/93, O Mira (Oh destiny), T., B., B.
1969, Anastasimi Ode (Resurrection Ode), S., A., T., B. and T-solo (psaltis), 07'.00
1969, Hristos Anesti (Christ is Risen), S., A., T., B.
1970, Iphigenia in Aulis, Chorals, S., A., A.
1971, I Treis Paedhes en Kamino (The Fiery Furnace), Solo Psaltes and Male Choir, 25'.00
1972, Enite (praise), M. Gazis - Transcription, T., B., 04'.00
1975, Hirmos, S.,S., A., A., T., T., B. And three metallic Idiophones, 08'.25
1979, Afkrastite mou, S., A., T., B., 12'.00
1979, Mana (Mother), S., S., A., A., T., B.
1979, Nyfiatika Dodecanesou (Bridal Folk Songs from the Dodecanese)
1979, Paraklesis 1, S.1,2, A.1,2
1979, Paraklesis 2, S., A., T., B.
1979, Saranda Palikaria (40 brave men), S., A., T., B.
1979, Stolisma (Ornamentation), S., A., T., B.
1979, Ta Votania (The herbs), S.A.T.b.+Bar.solo
1983, Prometheion, S., S., A., A., T., T., B., B., Bass Solo, 20'.00
1986, Efrenou Thessaloniki (Rejoice Salonica), S., S., A., T., B., 09'.40
1988, Anetilas Hriste 2, S., A., A.
1988, Lathon Etehthis 2, S., A., A.
1988, Os Iden Isaias (As Hesaia saw), S., A., T., B., 03'.00
1989, Afkristite, S., A., T., B.
1989, Arkisse Glossa Mou, S., A., T., B.
1989, Hiotika Dimotika Tragoudia (Folk Songs from Chios), S., A., T., B.
1989, Karavi apo ti Hio (Ship from Chios), S., A., T., B.
1989, Kimate Aitos (Eagle is sleeping), S., A., T., B.
1989, Liyeri (lissome girl), S., A., T., B., 14'.00
1989, Markella, S., A., T., B.
1989, Militsa (Little apple tree), S., A., T., B.
1989, Nani (Lullaby), S., A., T., B.
1989, Numbers, S., S., A., A.
1989, Omorfi nifi (beautiful bride), S., A., T., B.
1989, Pandodymame Dia (Omnipotent Zeus), S., S., A., A., 01'.25
1989, Parakatalogi, S+Perc.
1989, Petroperdika (Stone partridge), S., A., T., B.
1989, San Arouskisou, S., A., T., B.
1989, Zourlathika (I got crazy), S., A., T., B.
1993, O Mira 1 (Oh, Destiny), T., B.1, B.2, 03'.00
1993, Thrinos Yia Ton Promethea 1 (Lamentation for Prometheus), S., A., T., B., 03'.00
1993, Xenitemeno (Emigrant), S., A1., A2, 03'.00
1994, To Miroloyi Tis Panayias (Our Lady's Lament), S.1, S.2, A.1, A.2, T.1, T.2, B.1, B.2, 10'.00
1999, Nefeli Fotini (Bright Cloud), S., S., A., A., T., T., B., B., 07'.15
1999, O glikasmos ton Angelon (The salve of Angels), S., A., T., B., 03'.00
1999, Ode A ' Ton Lipirοn Epagoge, S. 1, S. 2, A., 02'.10
1999, Oti meth' imon o Theos 2 (God is with us), S., A., T., B., 03'.00
1999, Ti Ypermaho 1 (To the defender), S., A., T., B., 01'.45
1999, Tis Theos Megas 3 (Who is as great as God), S., S., A., 02'.45
2003, Thrinos Yia Ton Promethea 2 (Lamentation for Prometheus), S.1,2, A.1,2, 03'.00
2003, Thrinos Yia Ton Promethea 3 (Lamentation for Prometheus), S.1,2, A.1,2, 02.'35
2003, Tis Avyis (Dawn), S.1,2,3, A.1,2, 03'.15

Choir, Solo and instr.

1973, Photonymon (Name made up of light), Psaltis solo, T. Bells, Talanda, Simandra, 12 S-A and 8 T-B, 14'.25

Electronic Music

1964, Piece One, Tape
1964, Piece Two, Tape
1966, Minyrismos (Whimpering), Tape, 04'.15
1967, Metaschematismoi (Transformations), 2 Tapes
1969, Electronic Piece
1969, Tape
1970, Iphigenia in Aulis, Suite, Tape, 10'.30'
1972, Metallica Glypta (Metallic Sculptures), Tapes 1 and 2, 60'.00
1972, Mettalika Glypta 3 (Metallic Sculptures 3), Tape, 08'.00
1973, Coriolanos Suite, Tape, 05'.46
2002, Theofano 2, Tape (electronic), 10'.30

Multimedia

1964, Proschemata (Pretexts), Narr (female voice), tape, 07'.00
1967, Apokalypsis - 6th Seal, Narr., 5 Vocal groups, Tape, 14'.02
1968, Genesis, Narr., 3 mixed Choires, Tape, dance group, 22'.42
1970, Miroloi (Lament) in memoriam Y. Christou, 2 Psaltes, Isocrates (vocal drone) Perc., tape., 14'.00
1971, Iketirion (entreaty), 2Narr.,30 female voices, idiophones, 15'.00
1971, Kratema, Psaltis, Oboe, Tuba, Tape, 11'.43
1971, Tetelestai 1 (It is Finished), 1 Psaltis, Mixed Choir (3 vocal groups), Chimes, Tape, 20'.20
1972, Orestes, Bar., Daouli, Electronic Reverb Unit, and tape, 16'.00
1973, Miroloi 2 (Lament), 2 psaltes, 2 isocrates (vocal drone), mixed choir and tape, 14'.00
1978, Glaros 2 (Seagull), Fl.(+pic.), Db, Glockenspiel, 5 Temple Blocks and Tape., 16'.25
1984, O Aftos (the same), Multimedia- Theatrical Performance
2001, Endon (Inward), Sax Alto & Tape, 09'.30

Orchestra

1955, Liturgical Concert, Ob., Cl., Bsoon., Vl. 1,2, Vla., Vc., 00'.17
1961, Sinfonietta, Fl., Cl., Hrn., Trp., Perc., -3 Sn. Dr., Bs dr., 3 Cym., Gong, Tam-Tam, Xyl., Mtal., Pf., Strings, 17'.00
1966, Variations for String Orchestra, Vl.1,2, Vla., Vc., Db, 12.00
1980, Evolutiones, 3 Fl.-Pic..,3 Ob. -Cor Angl., 3 Cl., 2 Bsn., 4 Hrns., 2 Trp., 2 Trb., Harp, Str., 12'.00
1985, Epallelon (Overlay), 2 Fl., 2 Ob., 2 Cl., 1 Bass Cl., 2 Bssn., 1 Contra Bssn., 4 Hrns., 2 Trp., 2 Trb., 1 Tba., Perc., 3 Performers, 12'.40
1988, In Bethlehem, Fl., Ob., Cl., Bssn., Perc. (timp., chimes, bongos, triangle), Strings, Mixed Choir and Baritone solo, 24'.20
1989, 4 Koitika 2, Vl.1, Vl.2, Vla, Vc, 08'.00
1990, Seven Automela 1, Vl.1, Vl.2, Vla., VC., Db., 17'.30
1993, Ke Idon Ke Idou (And I saw and there is, Visions from the Revelation), Bar. solo, Fl., Ob.,Cl. Sib, Bsson, Hrn Fa, Tr., Vl. 1,2, Vla., Vc., Db., Perc., Tape, 27'.00
1994/2003, Pendahee (In Five Parts) - Suite for Orchestra, 2 Fl, 2 Ob., 2 Cl., 2 Bssn, Fr. Hrn., Trp., Trb., Vl.1,2, Vla, Vc, Db, 17'.00
2001, Kymorroos ( Wave Flow), Pic, 2 Fl, 2 Ob, E.Hrn, 2 Cl, 2 Bssn, 2Hrn in F, 2 Trp, 2 Tbn, Cel., Pno., Vib., Strings, 22'.00
2002, Anisihi Geoloyia (Restless Geology), Pic, 2 Fl, 2 Ob, 2 Cl, 2 Bssn, 4 Hn in F, 2 Tpt, 2 Tbn, Tba, 2 perc., Strings, 10'.40

Orchestra - Byzantine Choir

1983, Rodanon, Fl., Ob., Cl., Tb., Vl1., Vl2., Vla., Vc., Solo Tenor and Male Choir, 13'.20

Orchestra - Choir

1987, Tetelestai 2 (It is finished), 2 Fl., Ob., Cl., 2 Hrns, Trp., Trb., Perc. - 3 perf., Strings, Tenor solo and Double Chorus in 22 parts, 25'.00
1997, Theoptia (To Behold God), Fl., Ob., Cl. in Bb, Bssn, Hrn in F, Trp., Perc., Strings, Mix.Choir, Ten. and Bass solo, 80'.00
1998, En Kimvalis (With cymbals), S., A., T., B., Fl., Perc., 03'.00

Theatre Music

1960, Ajax, Tape, 10'.00
1960, Symposium, Tape
1961, Phaedrus, Tape
1968, Seven Against Thebes, Tape, 20'.08
1970, Iphigenia in Aulis, Tape
1971, O Drakos (The Dragon), Tape
1971, Orestes, Tape
1971, Orestes
1971, Theophano, Tape
1973, Coriolanus, Tape
1973, Love and the Devil, Tape
1973, Troilus and Chressida, Tape
1974, Prometheus Bound, Tape and Voices

Theatre Music-Television

1987, Dromoi Ellinikis Tehnis (Routes of Hellenic Art), Electronic Instruments

Church Music

1950, Anikso to Stoma mou ("I will open my mouth" from the Holy Mary hymn), S., A., T., B.
1950, Halleluia, S., A., T., B., 00'.55
1950, I Zoi en tafo (The life in tomb), S., A., T., B., 03'.20
1950, Tous sous Hymnologous (Your extoller), S., A., T., B.
1950, Aksion esti ("It is worth" from Magnificat to the Holy Mary), S., A., T., B., 03'.30
1950, Apas Yiyenis ("Everey born"), S., A., T., B.
1950, Eksesti ta Symbanda ("The univers stired"), S., A., T., B.
1950, Evloyitaria (Blessing songs), S., A., T., B., 02'.37
1950, I AsomatosFysis (The bodiless nature), S., A., T., B., 00'.40
1950, Idou o Nymfios (Behold the groom), S., A., T., B., 02'.03
1950, Kyrie Ton Dinameon (Oh, Lord of powers), S., A., T., B.
1950, Meth' imon o Theos (God is with us), S., A., T., B., 01'.33
1950, O Kathimenos (The sitting [in glorry]), S., A., T., B.
1950, Ouk Elatrefsan (they didnt adore), S., A., T., B.
1950, Panayia Despina (Holly Lady), S., A., T., B., 00'.40
1956, Aineite - Communion, S., A., T., B.
1956, Aksion Esti, S., A., T., B.
1956, Angelike Dynamis (Angelic forces), S., A., T., B.
1956, E Genee Pase (All the Generations), S., A., T., B., 04'.30
1956, Efrenestho Ta Ourania (The heaven must Jubilate), S., A., T., B.
1956, Eii To Onoma Kyriou (The name of Lord should be [blessed]), S., A., T., B.
1956, En Tis Rithris Simeron, S., A., T., B.
1956, Epefanis Simeron (You appeared today), S., A., T., B.
1956, Ex Ipsous katilthes (You have descent from high above), S., A., T., B.
1956, Idomen to Fos (We saw the real light), S., A., T., B.
1956, Is Ayios (Saint), S., A., T., B.
1956, Katelyssas (You have catalyzed), S., A., T., B.
1956, O Katharotatos Naos (the cleanest Temple), S., A., T., B.
1956, Ote Katilthes (When You descent [to thedeath]), S., A., T., B.
1956, Prostasia Ton Hristianon (Protection of the christians), S., A., T., B.
1956, Se Ymnoumen (We sing for Thee), S., A., T., B.
1956, Simeron Ton Idaton (Today [is the day of] the waters'), S., A., T., B.
1956, To Fedron (The joyful [kerygma of Easter]), S., A., T., B.
1956, Ton Synanarhon Logon (The Word without beginning), S., A., T., B.
1957, Eksigorasas imas, S., A., T., B.
1957, Afraston Thavma (Wordless miracle), S., A., T., B., 01'.12
1957, Anelifthis en Doxi (You have ascended in Glory), S., A., T., B.
1957, Ayiou Georgiou (Hymn to St. Georges), S., A., T., B.,
1957, Ayiou Grigoriou (Hymn to St. Gregory), S., A., T., B.
1957, Ekstithi fritton (Astound shudderd [heaven]), S., A., T., B., 01'.07
1957, En Si Miter (In You, Oh Mother), S., A., T., B.
1957, Esfrayismenou Tou Mnimatos (On the sealed tomb), S., A., T., B.
1957, Evloyitos I Hhriste (Bless you, oh Christ), S., A., T., B.
1957, Farisseou Fygomen (Lets go, come away from Pharisee), S., A., T., B.
1957, I Ke En Tafo (Even if you descend into tomb), S., A., T., B.
1957, Kymati Thalassis (With sea wave), S., A., T., B., 00'.49
1957, Messoussis Tis Eortis (In the middle of fest), S., A., T., B.
1957, Mi Tis Fthoras (not the damage), S., A., T., B.
1957, O Angelos Evoa (The angel cried), S., A., T., B.
1957, O Efschimon Iosif (The gentle Joseph), S., A., T., B.
1957, O Efschimon, Tes Myroforis, S., A., T., B., 00'.41
1957, Orthodoxias O Fostir (The leading light of Orthodoxy), S., A., T., B.
1957, Os Aparhas Tis Fyseos (As from the beginning of nature), S., A., T., B.
1957, Ote Katavas Tas Glossas (when you descend [you...] the tongues), S., A., T., B.
1957, Se Tin Faeenin Lambada (You, the luminus candle), S., A., T., B.
1957, Symfonos Parthene, S., A., T., B.
1957, Syneschethi, S., A., T., B., 00'.50
1957, Syntafendes, S., A., T., B.
1957, Tes Ton Dakrion Σou Roes (Yoyr teardrop), S., A., T., B.
1957, Theos Kyrios (God Lord), S., A., T., B.
1957, Theos Kyrios (God Lord), S., A., T., B., 00'.28
1957, Thofanias sou (Your Theopphany), S., A., T., B., 00'.50
1957, Tin Ahrandon Ikona Sou (Your immaculate immage), S., A., T., B.
1957, Tin En Stavro Sou, S., A., T., B., 00'.45
1957, Tin Iper Imon Plirosas Economian, S., A., T., B.
1957, Tis Patroas Doxis Sou, S., A., T., B.
1957, Tis Sofias Odiye (Leader of wiseness), S., A., T., B.
1957, To Throno En Ourano (To the throne on heaven), S., A., T., B.
1957, Ton En Olo To Kosmo, S., A., T., B.
1957, Yperdedoxasmenos (Fully Glorified), S., A., T., B.
1958, Apostolou Pavlou (Hymn to Ap. Paul), S., A., T., B.
1958, Ayion Apostolon (Hymn to Sts Apostles), S., A., T., B.
1958, Evangelismou (Hymn to the Annunciation), S., A., T., B.
1958, Ton Stavron Sou (Your Cross), S., A., T., B.
1959, Tou Lithou Sfrayisthendos (the sealed stone), S., A., T., B.
1959, Aksios (Competent [from the ordination ceremony]), S., A., T., B.
1959, Anetilas Hriste (You have risen, Christus), S., A., T., B.
1959, Arhondes laon (Lords of people), S., A., T., B.
1959, Ayii Anargiri, S., A., T., B.
1959, Cherubic Hymn, echos 2nd plagal, S., A., T., B.
1959, Fimi Archiepiscopou (Archbishop's Acclamation), S., A., T., B.
1959, I Yenissis sou (Your birth), S., A., T., B.
1959, Kyrie Soson (Lord Save [the pious]), S., A., T., B.
1959, Lathon Etehthis 1 (You were born out to our attention), S., A., T., B.
1959, Mystagogon sou, S.A.T.B solo Ten., 05'.08
1959, Simeron Ton Idaton (Today [is the the day of] the waters'), S., A., T., B.
1959, Tais Presvies (Through the intervantion), S., A., T., B.
1959, Ton Despotin (The Bishop), S., A., T., B.
1960, Ayiou Konstandinou (Hymn to St. Constantin), S., A., T., B.
1960, Mi Epodirou mou Miter (Dont wail for Me Mother), S., A., T., B., 01'.00
1960, O Theos Andiliptor Mou I (God understands me), S., A., T., B.
1960, Se ton epi idaton (You on the waters), S., A., T., B., 00'.49
1960, Tin Kinin Anastasin (The common resurrection), S., A., T., B.
1967, Dia Lazarou, S., A., T., B., 02'.46
1967, Eksedysan me [They took off my clothes], S., A., T., B. +solo Bar., 03'.11
1967, Estisan ta triakonda, S., A., T., B., 01'.00
1967, O Mathitis irnisato (The pupil has denied), S., A., T., B.
1967, Simeron Se Theorousa (I was considering of you, today), S., A., T., B., 03'.13
1967, Simeron tou Naou (Today the tempel's [screen]), S., A., T., B., 00'.34
1968, Ayiou Andeou (Hymn to St. Andrew), S., A., T., B.