. . . . . . . . . . . . . . "Petros Bereketis (griechisch \u03A0\u03AD\u03C4\u03C1\u03BF\u03C2 \u039C\u03C0\u03B5\u03C1\u03B5\u03BA\u03AD\u03C4\u03B7\u03C2; * 1680 in Konstantinopel; \u2020 1715 ebenda) war ein griechisch-orthodoxer Kirchenmusiker und Komponist von Hymnen."@de . "Petros Bereketis"@fr . "Petros Bereketis (griechisch \u03A0\u03AD\u03C4\u03C1\u03BF\u03C2 \u039C\u03C0\u03B5\u03C1\u03B5\u03BA\u03AD\u03C4\u03B7\u03C2; * 1680 in Konstantinopel; \u2020 1715 ebenda) war ein griechisch-orthodoxer Kirchenmusiker und Komponist von Hymnen."@de . . . . . . . . . . "Petros Bereketis (Greek: \u03A0\u03AD\u03C4\u03C1\u03BF\u03C2 \u039C\u03C0\u03B5\u03C1\u03B5\u03BA\u03AD\u03C4\u03B7\u03C2) or Peter the Sweet (\u03A0\u03AD\u03C4\u03C1\u03BF\u03C2 \u03BF \u0393\u03BB\u03C5\u03BA\u03AE\u03C2) was one of the most innovative musicians of 17th-century Constantinople (Ottoman period). He, together with Panagiotes the New Chrysaphes, Balasios the Priest and Germanos Bishop of New Patras was one of the most influential figures in the evolution of the Byzantine psaltic art following the fall of Constantinople in 1453, although he never was associated with the Patriarchate in Fener. For many years, he served as the protopsaltis (first cantor) of church St. Constantine of the Hypsomatheia district close to the Marmara coast."@en . . . . . . . . . . . . . . . "Petros Bereketis"@en . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "\u039F \u03A0\u03AD\u03C4\u03C1\u03BF\u03C2 \u0393\u03BB\u03C5\u03BA\u03CD\u03C2 \u03AE \u039C\u03C0\u03B5\u03C1\u03B5\u03BA\u03AD\u03C4\u03B7\u03C2 \u03AE\u03C4\u03B1\u03BD \u03BC\u03BF\u03C5\u03C3\u03B9\u03BA\u03BF\u03B4\u03B9\u03B4\u03AC\u03C3\u03BA\u03B1\u03BB\u03BF\u03C2 \u03BA\u03B1\u03B9 \u03B1\u03C3\u03BC\u03B1\u03C4\u03BF\u03B3\u03C1\u03AC\u03C6\u03BF\u03C2 \u03C4\u03B7\u03C2 \u03BC\u03B5\u03C4\u03B1\u03B2\u03C5\u03B6\u03B1\u03BD\u03C4\u03B9\u03BD\u03AE\u03C2 \u03B5\u03C0\u03BF\u03C7\u03AE\u03C2. \u03A0\u03BF\u03BB\u03BB\u03AC \u03B1\u03C0\u03CC \u03C4\u03B1 \u03AD\u03C1\u03B3\u03B1 \u03C0\u03BF\u03C5 \u03C8\u03AC\u03BB\u03BB\u03BF\u03BD\u03C4\u03B1\u03B9 \u03C3\u03AE\u03BC\u03B5\u03C1\u03B1 \u03B5\u03AF\u03BD\u03B1\u03B9 \u03B4\u03B9\u03BA\u03AC \u03C4\u03BF\u03C5. \u03A4\u03BF \u03BF\u03BA\u03C4\u03CE\u03B7\u03C7\u03BF \u00AB\u0398\u03B5\u03BF\u03C4\u03CC\u03BA\u03B5 \u03A0\u03B1\u03C1\u03B8\u03AD\u03BD\u03B5\u00BB, \u03C4\u03B7\u03C2 \u03B1\u03C1\u03C4\u03BF\u03BA\u03BB\u03B1\u03C3\u03AF\u03B1\u03C2, \u03B4\u03B9\u03AC\u03C6\u03BF\u03C1\u03BF\u03B9 \u03BA\u03B1\u03BB\u03BB\u03BF\u03C6\u03C9\u03BD\u03B9\u03BA\u03BF\u03AF \u0395\u03B9\u03C1\u03BC\u03BF\u03AF, \u03BA\u03B1\u03B9 \u03AC\u03BB\u03BB\u03B1 \u03C0\u03BF\u03BB\u03BB\u03AC. \u03A4\u03B1 \u03AD\u03C1\u03B3\u03B1 \u03C4\u03BF\u03C5 \u03B2\u03C1\u03AF\u03C3\u03BA\u03BF\u03BD\u03C4\u03B1\u03B9 \u03C3\u03B5 \u03C7\u03B5\u03B9\u03C1\u03CC\u03B3\u03C1\u03B1\u03C6\u03B1."@el . . "\u039F \u03A0\u03AD\u03C4\u03C1\u03BF\u03C2 \u0393\u03BB\u03C5\u03BA\u03CD\u03C2 \u03AE \u039C\u03C0\u03B5\u03C1\u03B5\u03BA\u03AD\u03C4\u03B7\u03C2 \u03AE\u03C4\u03B1\u03BD \u03BC\u03BF\u03C5\u03C3\u03B9\u03BA\u03BF\u03B4\u03B9\u03B4\u03AC\u03C3\u03BA\u03B1\u03BB\u03BF\u03C2 \u03BA\u03B1\u03B9 \u03B1\u03C3\u03BC\u03B1\u03C4\u03BF\u03B3\u03C1\u03AC\u03C6\u03BF\u03C2 \u03C4\u03B7\u03C2 \u03BC\u03B5\u03C4\u03B1\u03B2\u03C5\u03B6\u03B1\u03BD\u03C4\u03B9\u03BD\u03AE\u03C2 \u03B5\u03C0\u03BF\u03C7\u03AE\u03C2. \u03A0\u03BF\u03BB\u03BB\u03AC \u03B1\u03C0\u03CC \u03C4\u03B1 \u03AD\u03C1\u03B3\u03B1 \u03C0\u03BF\u03C5 \u03C8\u03AC\u03BB\u03BB\u03BF\u03BD\u03C4\u03B1\u03B9 \u03C3\u03AE\u03BC\u03B5\u03C1\u03B1 \u03B5\u03AF\u03BD\u03B1\u03B9 \u03B4\u03B9\u03BA\u03AC \u03C4\u03BF\u03C5. \u03A4\u03BF \u03BF\u03BA\u03C4\u03CE\u03B7\u03C7\u03BF \u00AB\u0398\u03B5\u03BF\u03C4\u03CC\u03BA\u03B5 \u03A0\u03B1\u03C1\u03B8\u03AD\u03BD\u03B5\u00BB, \u03C4\u03B7\u03C2 \u03B1\u03C1\u03C4\u03BF\u03BA\u03BB\u03B1\u03C3\u03AF\u03B1\u03C2, \u03B4\u03B9\u03AC\u03C6\u03BF\u03C1\u03BF\u03B9 \u03BA\u03B1\u03BB\u03BB\u03BF\u03C6\u03C9\u03BD\u03B9\u03BA\u03BF\u03AF \u0395\u03B9\u03C1\u03BC\u03BF\u03AF, \u03BA\u03B1\u03B9 \u03AC\u03BB\u03BB\u03B1 \u03C0\u03BF\u03BB\u03BB\u03AC. \u03A4\u03B1 \u03AD\u03C1\u03B3\u03B1 \u03C4\u03BF\u03C5 \u03B2\u03C1\u03AF\u03C3\u03BA\u03BF\u03BD\u03C4\u03B1\u03B9 \u03C3\u03B5 \u03C7\u03B5\u03B9\u03C1\u03CC\u03B3\u03C1\u03B1\u03C6\u03B1."@el . . . "30476"^^ . "1114901588"^^ . . . . . . . . . "Petros Bereketis (en grec : \u03A0\u03AD\u03C4\u03C1\u03BF\u03C2 \u039C\u03C0\u03B5\u03C1\u03B5\u03BA\u03AD\u03C4\u03B7\u03C2, ou \u03A0\u03AD\u03C4\u03C1\u03BF\u03C2 \u03BF \u0393\u03BB\u03C5\u03BA\u03AE\u03C2 ; n\u00E9 en 1665 (?) et mort en 1725 (?) \u00E0 Constantinople) est un chantre et compositeur byzantin du XVIIe si\u00E8cle."@fr . . . . . . . "Petros Bereketis"@de . . . . . . . . . . . . . . . . . . . . "33858108"^^ . . . . . . "Petros Bereketis (en grec : \u03A0\u03AD\u03C4\u03C1\u03BF\u03C2 \u039C\u03C0\u03B5\u03C1\u03B5\u03BA\u03AD\u03C4\u03B7\u03C2, ou \u03A0\u03AD\u03C4\u03C1\u03BF\u03C2 \u03BF \u0393\u03BB\u03C5\u03BA\u03AE\u03C2 ; n\u00E9 en 1665 (?) et mort en 1725 (?) \u00E0 Constantinople) est un chantre et compositeur byzantin du XVIIe si\u00E8cle."@fr . . "Petros Bereketis (Greek: \u03A0\u03AD\u03C4\u03C1\u03BF\u03C2 \u039C\u03C0\u03B5\u03C1\u03B5\u03BA\u03AD\u03C4\u03B7\u03C2) or Peter the Sweet (\u03A0\u03AD\u03C4\u03C1\u03BF\u03C2 \u03BF \u0393\u03BB\u03C5\u03BA\u03AE\u03C2) was one of the most innovative musicians of 17th-century Constantinople (Ottoman period). He, together with Panagiotes the New Chrysaphes, Balasios the Priest and Germanos Bishop of New Patras was one of the most influential figures in the evolution of the Byzantine psaltic art following the fall of Constantinople in 1453, although he never was associated with the Patriarchate in Fener. For many years, he served as the protopsaltis (first cantor) of church St. Constantine of the Hypsomatheia district close to the Marmara coast. During his lifetime, which is approximately supposed to be between 1665 and 1725, while Chrysanthos mentioned that he served there in the time of the Archon Protopsaltis at the Great Church of Christ of Panagiotis Halatzoglou and his Lampadarios John Trapezountios (1727-1748)."@en . "\u03A0\u03AD\u03C4\u03C1\u03BF\u03C2 \u0393\u03BB\u03C5\u03BA\u03CD\u03C2"@el . . . . . . . .