(b ?1620–25; d after 1682). Romaic (Greek) composer, cantor and hymnographer. As prōtopsaltēs of the Ecumenical Patriarchate of Constantinople from about 1655 to 1682, he helped bring to fruition the revival of Byzantine chanting initiated by his predecessor, Theophanes Karykes. He was a student of the patriarchal prōtopsaltēs Georgios Raidestinos, at whose suggestion he claims to have embarked on the recomposition of the late medieval stichērarion popularly attributed to Manuel Chrysaphes. This task, described by Panagiotes as ‘beautification’ (kallopismos), was accomplished through the incorporation of novel melodic formulae (theseis) hitherto transmitted orally in the patriarchal chapel. He also revised in similar manner the entire anastasimatarion and excerpts from the heirmologion. Among his other chants for the Divine Office are a modally ordered series of eight kekragaria for Hesperinos, responsories, acclamations, troparia, idiomela and megalynaria for Orthros, and a modally ordered series of eight pasapnoaria for Lauds (‘Hoi ainoi’). For the eucharistic liturgies, he wrote Cherubic Hymns, and numerous communion verses for Sundays, weekdays and feasts of the liturgical year. His miscellaneous chants include several kalophonic stichēra, and a didactic song, Ho thelōn mousikōn mathein (‘He who wishes to learn music’), that illustrates the performance of common theseis. (For a fuller list of works see Stathis, 1995.)
Panagiotes' musical achievements, which his contemporaries regarded as comparable to those of late Byzantine masters, led to his becoming known during his own lifetime as ‘the New Chrysaphes’. Nearly all musical manuscripts transmitting his works – including his eight surviving autographs – employ this sobriquet to the exclusion of his Christian name, which is attested only by his student Dionysios the Hieromonk. Whereas Panagiotes' Stichērarion was soon overtaken in popularity by that of his pupil Germanos of New Patras, his Anastasimatarion remained in widespread use until it was replaced a century later by the collections of Petros Peloponnesios and Petros Byzantios. The few works later printed in Chrysanthine editions include an Easter Sunday doxastikon (ed. Phōkaeus) and four kalophonic hymns transcribed by Gregorios the Protopsaltes (ed. Lampadarios and Stephanos the First Domestikos).
Critical assessment of Panagiotes' works is complicated by scholarly disagreements over their realization in performance. According to Stathēs, his theseis were interpreted melismatically in a manner congruent with the transcriptions made by Chourmouzios the Archivist of his Stichērarion (GR-An MPT 761–5) and Anastasimatarion (An MPT 758). However, this view has been challenged by Karas and Arvanitis, who generally favour a less florid approach to their realization.
T. Phōkaeus, ed.: Tameion anthologias [Treasury of an anthology] (Constantinople, 1824), ii, 357–65 [transcr. Chourmouzios the Archivist]
I. Lampadarios and Stephanos the First Domestikos, eds.: Pandektē (Constantinople, 1850–51), i, 337–41, 344–50; iii, 45–54, 254–68, 294–306 [transcr. Gregorios the Protopsaltes]
S.I. Karas: ‘Hē orthē hermēneia kai metagraphē tōn byzantinōn mousikōn cheirographōn’ [The correct interpretation and transcription of Byzantine musical MSS], Hellēnika, ix (1955), 140–49 [repr., with an afterword, Athens, 1990]
C.G. Patrinelis: ‘Protopsaltae, Lampadarioi and Domestikoi of the Great Church during the Post-Byzantine Period (1453–1821)’, Studies in Eastern Chant, iii, ed. M. Velimirović (London, 1973), 141–70
G.T. Stathēs: Ta cheirographa byzantinēs mousikēs: Hagion Oros [The MSS of Byzantine Music: Holy Mountain] (Athens, 1975–93)
G.T. Stathēs: Hē dekapentasyllabos hymnographia en tē byzantinē melopoiïa [15-syllable hymnography in Byzantine composition] (Athens, 1977) [with Fr. summary]
M. Chatzēgiakoumēs: Cheirographa ekklēsiastikēs mousikēs (1453–1820) [MSS of ecclesiastical music] (Athens, 1980)
G.T. Stathis: ‘The “Abridgements” of Byzantine and Post-Byzantine Compositions’, Cahiers de l'Institut du Moyen-Age grec et latin, no.44 (1983), 16–38
A. Şirli: The Anastasimatarion: the Thematic Repertory of Byzantine and Post-Byzantine Musical Manuscripts (the 14th-19th centuries), i (Bucharest, 1986)
G.T. Stathēs: ‘Panagiōtēs Chrysaphēs ho Neos kai Prōtopsaltēs’, Melourgoi tou iz aiōna [Composers of the 17th century], ed. E. Spanopoulou (Athens, 1995), 7–16, 23–7
ALEXANDER LINGAS