Petros Peloponnesios

He also taught Petros Byzantios he chose as second domestikos after being announced as lampadarios, and composed many exercises (mathemata) for his students.

The term "mathemata" usually referred to the kalophonic way to embellish the old stichera (sticheron kalophonikon, anagrammatismos), the old heirmoi (heirmos kalophonikos), certain theotokia or kontakia.

[10] These innovations of Orthodox chant had been written during his last years and parts of it were likely continued by his second domestikos Petros Byzantios who followed him as lampadarios, but also as teacher at the New Music School of the Patriarchate.

According to Chrysanthos, Petros Peloponnesios' realisations for the Anthology of the Divine Liturgies (like the Papadic cherubikon, and koinonikon cycles) were already written, while he was still second domestikos and not supposed to contribute with own compositions.

[12] Although it is not clear, whether Georgios Papadopoulos was right that Petros stole makam music, since the author rather compiled earlier Ottoman anecdotes in his biography of Petros, the latter had a certain reputation to usurp the contribution to the hyphos by other composers like Ioannes the Protopsaltes and Daniel the Protopsaltes as his own work, especially of those he was charged to transcribe as a second domestikos.

Petros Peloponnesios' abridged Doxastarion was one of the first transcriptions of idiomela according to a new simple "hyphos"-style which was created by Ioannes Trapezountios.

The necessity for such an abridgement followed a request by Patriarch Cyril V in 1756, after the melos of the old sticherarion in the tradition of 17th-century composers like Georgios Raidestinos, Panagiotes the New Chrysaphes, and Germanos of New Patras had become too elaborated.

Petros' reputation was not limited to the field of Orthodox chant, he also "composed" and transcribed other genres of Armenian and Ottoman (even composers of the 14th century), including Ottoman makam genres like Peşrev, Taksim and Saz semai which were usually included in cyclic compositions known as Fasıl, but also makam compositions following usul rhythms over Greek texts (Tragodia rhomaïka).

The recent research by Kyriakos Kalaitzidis has analysed 72 manuscripts which have makam music transcribed into Greek neumes between the 15th and the 19th centuries.

In the current tradition of Orthodox chant, known as "Psaltike" (the heritage of Byzantine psaltic art), the contributions of Petros Peloponnesios (his Katavasies for the Heirmologion, his Doxastarion and many of his compositions for the Anthology of the liturgies) are dominant in the neumed editions of Orthodox chant in Bulgaria, Romania, Macedonia, Serbia and Greece.