Iakovos Nafpliotis As Opposed To Other Schools of Chant (Galatan, Kamarados, Etc.)
Although Iakovos Nafpliotis' chanting was characterised as "unique", it could be classified into what is commonly known as the "Πατριαρχικὸν ὕφος |Patriarchal Style". This very category is part of a current debate as well, given that some musicologists do not consider Patriarchal chanting in the 1800s as being similar to that which existed before the fall of Constantinople (1453). Notwithstanding the foregoing, the best representative of the "Πατριαρχικὸν ὕφος |Patriarchal Style" as referred to by Boudouris, was Iakovos Nafpliotis.
In his works, Angelos Boudouris remains very critical, and depending on the issue upon which he was focused upon, he would describe a given psaltis as being traditional at times while being non traditional in others. A case in point is a supposed rivalry between the "school of Galata" (centered upon Georgios Raidestinos II, and perpetuated by his son, Nikolaos Raidestinos) and the Old Patriarchal School as represented by Iakovos' teacher, the lambadarios Nikolaos Stoyianovitz. Although some unpleasant scenes between Georgios Raidestinos II and lambadarios Nikolaos Stoyianovitz could be interpreted as a clash between the two schools, the differences between them were minute, the proof being that Boudouris claims elsewhere that Georgios Binakis (student of the so-called "Galatan" school) was an excellent and traditional psaltis, such an elogy being very rare in his memoirs. Further proof is that Stylianos Tsolakis, student of Iakovos, recognised patriarchal chanting ("πατριαρχικὰ ἀκούσματα") in the chanting of Alexandros Mardas (student of Nikolaos Chantzistamatis, student of Georgios Binakis, whom Stylianos had as a teacher as well).
Differences between the "Πατριαρχικὸν ὕφος |Patriarchal Style" of Iakovos Nafpliotis and the "Kamarados" school (as represented by Nileus Kamarados and his student Antonios Syrkas and followers such as the late Georgios Syrkas and the current Archon Protopsaltis of Canada, Constantinos Lagouros) are slightly greater, and Angelos Boudouris' criticisms were restrained to knowledge of how and when particular hymns were to be chanted.
As concerns the "Πατριαρχικὸν ὕφος |Patriarchal Style" of Iakovos Nafpliotis and what later on became known as the school of "Simon Karas", Angelos Boudouris, as opposed to the aforementionned schools, quotes Iakovos' unilateral opinion as far as music is concerned, even though merit was granted for Karas' intentions and initiatives.
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