MaximilIan Steinberg Passion Week ALEXANDER LINGAS

Maximilian Steinberg: Passion Week, Opus 13 WORLD PREMIERE RECORDING Nikolai Rimsky-Korsakov:1 Chants for Holy Week • Maximilian Steinberg (1883-1946) Passion Week Op. 13 based on Early Russian Chants for large mixed choir a cappella (1923) Максимилиан Штейнберг (1883-1946) Страстная седмица древних распевов для большого смешанного хора a cappella, соч. 13 (1923) World Premiere Recording From the “Bridegroom” Orthros of Great Monday to Great Wednesday 1 Аллилуя / Alleluia (Znamenny chant) 2:09 Soloist: Adam Steele (bass), celebrant 2 Troparion: Се Жених грядет / Behold, the Bridegroom comes (Znamenny chant) 2:52 3 Exaposteilarion: Чертог Твой / Your bridal chamber (Kievan chant) 4:29 Soloist: Mark Powell (baritone) From the Orthros of Great Thursday 4 Troparion: Егда славнии ученицы / When the glorious disciples (Znamenny chant) 4:29 Soloist: Kerry McCarthy (alto) 5 Canon, Ode 9, Heirmos: Странствия Владычня / Come believers (Znamenny chant) 3:08 Soloist: Catherine van der Salm (soprano) From the Vesperal Divine Liturgy of Great Thursday 6 Great Entrance and Communion Chant: Вечери Твоея тайныя / Of your mystical supper (Znamenny chant) 4:40 From the Vespers of Great Friday and Orthros of Great Saturday 7 Troparion: Благообразный Иосиф / The noble Joseph [of Arimathea] (Bulgarian chant) 4:38 From the Passion Orthros of Great Friday 8 Exaposteilarion: Разбойника благоразумнаго / The Wise Thief (original composition) 2:43 Trio: Catherine van der Salm (soprano), Rebekah Gilmore (soprano), Kerry McCarthy (alto) Soloist: Joseph Michael Muir (tenor)

2 From the Orthros of Great Saturday 9 Canon, Ode 9, Heirmos: Не рыдай Мене, Мати / Do not weep for Me, Mother (Znamenny chant) 2:44 Soloist: Leslie Green (tenor) From the Vespers of Great Saturday (the Ancient Paschal Vigil) 10 Воскресни, Боже / Arise, O God 6:14 Soloists: Theodor Dumitrescu (bass), Rebekah Gilmore (soprano) 11 Great Entrance Chant: Да молчит всякая плоть / Let all mortal flesh keep silence 8:27 (Znamenny chant) Soloist: Jo Routh (alto) 47:04 • Nikolai Rimsky-Korsakov (1844-1908) Chant Arrangements for Holy Week Николай Римский-Корсаков (1844-1908) Духовно-музыкальные переложения из Страстной Седмицы From the “Bridegroom” Orthros of Great Monday to Great Wednesday 12 Аллилуя / Alleluia 2:11 Soloist: Alexander Lingas (tenor), celebrant 13 Troparion: Се Жених грядет / Behold, the Bridegroom comes 3:06 14 Exaposteilarion: Чертог Твой / Your bridal chamber 2:03 Soloist: Joseph Michael Muir (tenor) From the Orthros of Great Saturday 15 Canon, Ode 9, Heirmos: Не рыдай Мене, Мати / Do not weep for Me, Mother 1:58 From the Vespers of Great Saturday (the Ancient Paschal Vigil) 16 Great Entrance Chant: Да молчит всякая плоть / Let all mortal flesh keep silence 5:13 Soloists: LeaAnne DenBeste (soprano), Jo Routh (alto), Leslie Green (tenor), Theodor Dumitrescu (bass) 14:43 total time 61:57 3 •

CAPPELLA ROMANA Alexander Lingas, founder and artistic director

soprano alto tenor bass LeaAnne DenBeste Laura Beckel Thoreson Blake Applegate Gustave Blazek Rebekah Gilmore Kristen Buhler Chris Engbretson Theodor Dumitrescu Maria Karlin Renée Favand-See Tim Galloway Benjamin Kinkley Stephanie Kramer Susan Hale Leslie Green David Krueger Margaret Lingas Kerry McCarthy Michael Hilton Patrick McDonough Catherine van der Salm Jo Routh Joseph Michael Muir Mark Powell Adam Steele David Stutz

4 5 in Russian Orthodox liturgical music, the best- known product of which is the All-Night Vigil, Opus 37 by (1873–1943). The course of the New Direction was set during the late nineteenth and early twentieth centuries by an influential and productive group of Russian Orthodox churchmen, , and conductors who turned away from the Italian and German styles istorians of Orthodox Christianity have of polyphonic choral music that had developed in charted the emergence of a “Russian H Russian Orthodoxy since the reign of Catherine the Religious Renaissance” out of the so-called Great (1762 until her death in 1796). Instead, they “Silver Age” of , the culturally fruitful but found inspiration for the creative renewal of church politically turbulent decades immediately prior music in Slavonic monophonic chant and native to the Bolshevik takeover in 1917. This movement traditions of polyphonic singing, both historic and encompassed a broad range of efforts aimed at living, thereby forming a movement that Vladimir various forms of spiritual, ecclesial, cultural, Morosan (1994) has called the “New Russian Choral and national renewal within the traditions of School.” Slavic Orthodoxy. Overlapping with such other contemporary cultural phenomena as pan-Slavism, Despite their professions of musical nationalism the Russian Religious Renaissance was advanced by and religious Orthodoxy, in their church music intellectuals and artists who made creative and often the advocates of the New Direction proved to be as eclectic use of diverse ancient and modern sources. eclectic as their colleagues in theology and religious Many of them placed the recovery of the roots of philosophy. In works of the New Russian Choral and/or Eastern Orthodoxy at the School one regularly finds seemingly contradictory forefront of their agendas even, as Paul Gavrilyuk styles reconciled: traditional chant motives set to (2013) and other scholars are now beginning late Romantic harmonies, for example, or imitative to show, as they drew openly or surreptitiously (the sixteenth-century Western style on German idealism and other expressions of of part-writing then being revived in the Roman contemporary Western European culture. Following Catholic West by the Caecilian Movement with its the imposition of Soviet Communism in Russia, exaltation of Italian Renaissance Giovanni continued work along these lines soon became Pierluigi da Palestrina), dissolving into polyphonic possible only in exile. textures redolent of Russian (or at least its The analogue to the Russian Religious Renaissance in the field of sacred music was the “New Direction” 6 customary representation in contemporary Russian even Smolensky could not rescue it during his brief art music) in their parallelisms and open sonorities. tenure as its Director (1901–3). Accounts of the origins and progress of the New Scholarship published over the last two decades, Direction have tended to emphasize the importance however, has led to a needed reassessment of of developments in over those in the contributions made by musicians based in the imperial capital of . The former Tsarist capital to the development and dissemination begin with the seminal contributions of Peter of the work of the New Russian Choral School. Tchaikovsky (1840–93) and continue with the Marina Rakhamnova has argued convincingly that reformation of the Moscow Synodal School of Rimksy-Korsakov’s legacy of forty sacred works Church Music under the choral director Vasily has been underrated and is in fact “comparable to Orlov (1856–1907) and the musicologist Stepan that of his contemporary” Tchaikovsky (1999, xxi). Smolensky (1848–1909). A younger generation Pauline Fairclough (2012, 73–75) has shown how of composers associated with the Synodal School Mikhail Klimov, a graduate of the Moscow Synodal including Rachmaninoff, Alexander Grechaninov School who became an assistant conductor of the (1864–1956), and Alexander Kastalsky (1856–1926) Imperial Court Capella in 1902 and then served as then bring the New Russian Choral School to its Principal Conductor from 1913 to 1935 (during its creative height in the decade before the 1917 which its name changed repeatedly), strove to revolution. Soon after the Bolshevik takeover the pursue the agenda of the New Direction into the infrastructure for sacred music in Moscow was early Soviet period. During the years 1919–21, when dismantled, leaving the pursuit of the New Direction the Moscow Synodal School was being dismantled, to émigré musicians and scholars. In such narratives Klimov actually increased the amount of Russian the musical importance of the appointment in 1883 sacred music performed by his ensemble. It was of Mily Balakirev and Nikolai Rimsky-Korsakov only from 1922 that Klimov was required to submit to the posts of, respectively, Director and Assistant his programs for state approval, a demand that Director of the Imperial Court Capella in Saint heralded escalating restrictions on the singing of Petersburg is minimized since only a handful of Russian religious music that culminated in 1928 the works they composed for worship entered the when the Capella was finally forced to cease its repertories of other choirs. In subsequent years annual performances of Rachmaninoff’sVigil, the the promotion of the music of the New Direction last Orthodox liturgical item in its repertory. Finally, in Saint Petersburg was left to such ensembles as through a series of studies published between 2005 that of the Mariinsky Theatre and those conducted and 2012, Oksana Lukonina has drawn attention by Alexander Archangelsky, the Imperial Court to the little-known fact that Maximilian Steinberg, Capella having entered into a decline from which a composer who figures nowhere in the standard

7 histories of Russian liturgical music, completed in of Communism, Steinberg decided to remain in Petrograd (as Saint Petersburg was then known) Russia, where he had a long and illustrious career during the early years of Communist rule a sacred as a composer and served in a variety of leadership masterpiece that matches the best work of the New roles at what eventually became the Leningrad Russian Choral School in its scale, technique, and Conservatory, dying in that city in 1946. inspiration. Although Steinberg composed no liturgical music when the New Russian Choral School was at its apogee, during the politically turbulent Passion Week, Opus 13 by Maximilian Steinberg second decade of the twentieth century he turned aximilian Oseyevich Steinberg was born toward symbolism and mysticism with settings of Min 1883 in the Lithuanian city of , Maeterlinck and Byron (respectively, incidental at that time a part of the . Raised music for Princess Maleine, Op. 11 and the “opera- in a cultured Jewish family, he moved to Saint mystery” Heaven and Earth, Op. 12, both of 1916). Petersburg to continue his education in both Only in 1921, when Klimov and his ensemble science and music, enrolling simultaneously in (by then renamed the Petrograd People’s Choral the Faculty of Natural Sciences at the University Academy) were still performing Slavonic chant of Saint Petersburg and at the Conservatory. At the latter he studied under illustrious teachers including Rimsky-Korsakov, who welcomed him (along with his classmate ) into the social circles of his family. Steinberg soon became a trusted assistant to Rimsky-Korsakov, traveling with him to in April 1907 for the Saison Russe organized by Sergei Diaghilev and, a few days before Rimsky-Korskov's death in June 1908, marrying his daughter Nadezhda Nikolaevna in the Orthodox Church (an act that would have required In the living room of Nikolai Rimsky-Korsakov, L-R: Igor Stravinsky, Nikolai Rimsky- Steinberg to be baptized a Christian). Korsakov, his daughter Nadezhda Rimsky-Korsakova, her fiancé Maximilian Steinberg, Unlike Stravinsky, after the advent and Ekaterina Stravinsky, Stravinsky’s first wife, in 1908, shortly before the death of Nikolai Rimsky-Korsakov. 8

and a broad range of Russian sacred choral music, generically penitential texts used throughout the did Steinberg commence writing his Passion Week period of Great Lent, but every text Steinberg (Страстная Седмица), Opus 13, completing it on selected is directly tied to the historical narrative 15 November 1923. A musically sophisticated setting of Holy Week, thereby tightening its focus on the of hymns in the Church Slavonic language from Passion of Christ. Steinberg also adhered more the services of Holy Week—for a chorus divided closely to the musical ideals of Smolensky and at times into twelve parts—Steinberg’s Opus 13 is Kastalsky by basing all but one movement of his indebted for its form to an earlier Passion Week, Opus 13 directly on traditional chants, almost all of Opus 58 by Grechaninov that was first performed in which are drawn from the foundational repertory 1912. Both works begin their narratives shortly after of Russian church singing known as Znamenny the arrival of in Jerusalem with chants sung chant. Using chant in this manner helped Steinberg in the Byzantine rite during the first three days of to endow his own Passion Week with comparative Holy Week at matins, services of morning prayer objectivity as he tempered the sonic luxuriance in which Christ is likened to the bridegroom from of late Romantic harmonies with open sonorities the Parable of the Ten Virgins (Matthew 25: 1–13). mildly spiced with diatonic dissonance and They continue in a similar manner with selections occasional passages of imitative counterpoint. from services celebrated later in Holy Week On 12 December 1923, less than a month after he commemorating the betrayal and Passion of Jesus had completed his Opus 13, Steinberg wrote in his before concluding with the same two items from the diary that Divine Liturgy of St. Basil celebrated on the eve of Easter Sunday: the psalm response “Arise, O God” Today I learned from Klimov that all sacred and the Great Entrance hymn “Let all mortal flesh music has been banned, with the exception of keep silence.” The former is sung instead of the usual two classic works. That means there is no hope Alleluia before a gospel reading announcing Christ’s of hearing Passion Week…new values are not Resurrection, whereas the latter accompanies the created, while the old are humiliated.1 solemn procession of the unconsecrated gifts of Lacking viable alternatives at home for its bread and wine from the table of their preparation performance and publication, Steinberg turned to the altar, a liturgical action that Byzantine west and, probably as a result of an agreement liturgical commentators interpreted also as a representation of the burial procession of Christ. 1 Notebook of M. Steinberg No. 6 (RUS-SPit., Steinberg There are, however, significant differences between Archive, fond 28, op. 3, No. 871), partially cited in (Lukonina the two Passion Weeks in their design and use of 2012), 83. The crucial opening statement identifying Klimov as the source of this unhappy news is from its transcription source materials. Grechaninov had set several in (Dansker 1998) kindly relayed as noted above by Morosan and Rakhmanova. 9 made during a trip to France and Germany in 1925, American conductor Igor Buketoff (1915–2001), the émigré firm of W. Bessel in Paris undertook the son of a Russian Orthodox priest and a lifelong the publication of his Opuses 12–15, a group of champion of Russian and contemporary music. compositions that also included Heaven and Earth Buketoff’s daughter Barbara Mouk relates that in and song cycles setting texts by Rumi and Tagore. the late 1990s her father, having sought for years Around 1927, the year of Steinberg’s last trip to without success to find an American choir capable Western Europe, Bessel released a trilingual edition of performing Steinberg’s Opus 13, enlisted his niece of Passion Week that provided each choral number Tamara (née Turkevich) Skvir and her husband, with its original Church Slavonic text, a fine Latin the Very Rev. Daniel Skvir of Princeton, New translation by Vsevolod Bakhtin, a classicist based Jersey, to assist with this quest. The Skvirs, in turn, at the Russian National Library in Leningrad, and a shared with me an electronic copy of the Bessel looser English translation by Robert Burness, who edition in the autumn of 2012 when I was attending had provided similar translations for Russian works the Orthodox Chapel of the Transfiguration at by Stravinsky and others. Princeton University. The generous support of an anonymous donor wishing to honor the Skvirs hortly after Steinberg’s return to the Soviet enabled the creation of a new edition of Passion Union a fierce new wave of persecution was S Week by Musica Russica, what we believe to have unleashed on the , leading been its world premiere performance by Cappella in Leningrad to the arrests of intellectuals with Romana on 11 April 2014 in Portland, Oregon, and religious interests including the same Vsevolod the present recording by the same ensemble. In this Bakhtin, who is today honored as a martyr by the way the hopes of Steinberg and Buketoff for choirs Russian Orthodox Church. In this repressive climate outside Russia to take up this work were finally Steinberg abandoned artistic engagement with fulfilled, rescuing this beautiful and profound sacred subjects that ran counter to Stalinist ideology. Thus choral work from over 90 years of undeserved Passion Week became a nearly mythical forbidden obscurity. work known only to a handful of musical insiders in Russia. For about a decade it fared somewhat better abroad, with French periodicals of the interwar Chants for Holy Week by Nikolai Rimsky-Korsakov period recording partial performances of Passion Week in its Latin translation. The achievements of Rachmaninoff, Steinberg, and other composers of the mature New Russian Today the Parisian edition of Passion Week is Choral School were made possible by the pioneering extremely rare, but several copies made their way work of Tchaikovsky and Rimsky-Korsakov in across the Atlantic into libraries and private hands. fashioning choral works from Slavonic chant. Best One such score came into the possession of Russian- 10 known today as composers of lengthy works for Rimsky-Korsakov employed the simpler melodies the concert hall, both were essentially miniaturists of this repertory for all three of his settings and in the field of chant-based liturgical music. Their also chose a Kievan melody over its more complex elegant choral settings of chant melodies are for Znamenny counterpart for his choral arrangement the most part modest in scale and harmonically of the Great Entrance chant for Holy Saturday simple, often being tinged with modal harmonies. “Let all mortal flesh keep silence.” Exploiting its Tchaikovksy offered his arrangements of chant in repetitive periodic structure, Rimsky-Korsakov a single publication: the All-Night Vigil, Op. 52 of created alternations between soloists and chorus 1881 subtitled “An essay in harmonizing liturgical that recall contemporary approaches to the choral hymns.” Shortly thereafter Rimsky-Korsakov setting of Russian folk songs (Preobrazhensky composed most of his twenty-two chant settings 1924, 109–10). At the same time, as Rakhmanova during his first two years as Assistant Director of the (Morosan and Rakhmanova 1999, 312–13) notes, its Imperial Court Capella (1883–84). A few of them patterns of call and response echo those between were published alongside original compositions cantor and choir in traditional Orthodox liturgical in 1886 in a slim volume of liturgical music that practice. At all events, it is likely that the simplicity Rimsky-Korsakov later designated Opus 22-bis. and elegance of these arrangements of Kievan chant Yet if one discounts any works offered without contributed to their relative popularity. They were individual attribution in the collaborative setting of among the few liturgical works of Rimsky-Korsakov The All-Night Vigil Based on Ancient Chants (1888), to have achieved immediate currency through a volume overseen by Balakirev but, according to public performances in Tsarist Moscow and Saint Rimsky-Korsakov, actually completed by himself, Petersburg and, in the case of the Bridegroom Anatoly Liadov, Evstafy Azeyev, and Alexander Matins chants, rapid publication in the 1886 Kopylov (Rakhmanova 1999, xxxiii), the majority collection. Today they occupy a secure place in the of Rimsky-Korsakov’s chant settings remained repertories of Russian parish and concert choirs unpublished during his lifetime, appearing only in a (Plotnikova 2001). posthumous collection of 1914 edited by Azeyev. Far less well known are Rimsky-Korsakov’s settings o conclude the present disc, we offer five chant- of Znamenny chants, represented on the present disc Tbased works from the 1886 and 1914 anthologies by his arrangement of the model stanza (heirmos) in which Rimsky-Korsakov sets liturgical texts of the Ninth Ode of the Kanon (a strophic form of for Holy Week that his son-in-law Steinberg later hymn) for the matins of Holy Saturday. Employing included in his Passion Week. Whereas Steinberg the same melody later set by Steinberg as the ninth chose to base only one of his settings for the movement of his Passion Week, it was composed as Bridegroom Matins of Holy Week on Kievan chant, the conclusion to a setting of all eight Holy Saturday

11 heirmoi published posthumously by Azeyev. Its Portions of these notes are derived from my introduction to the text is attributed in most service books to Kosmas Musica Russica edition of Steinberg’s Passion Week, Opus 13, of Jerusalem (8th c.) but was actually, according to to which the reader should refer for additional bibliography. I the Byzantine scholar Theodore Prodromos (12th gratefully acknowledge the support of the following individuals and organizations: Father Daniel and Matushka Tamara c.), partially composed by the nun Kassia (9th c.). Skvir; Barbara Mouk of the Clarion Society (Steven Fox, Originally created for performance as tropes to the Artistic Director); the Center for Hellenic Studies of Princeton Magnificat (Luke 1:46–55), the stanzas troparia( ) of University (Dimitri Gondicas, director) for a Visiting its Ninth Ode depict Christ speaking from the Cross Fellowship; the Stavros Niarchos Foundation, for research to his Mother. Rimsky-Korsakov’s musical technique leave from City University London during the academic year for arranging the Znamenny melodies of the Holy 2012–13; Dr. Irina Chudinova and Galina Kopytova who Saturday kanon resembles his approach to Kievan graciously facilitated my study of Steinberg’s autograph scores chant, featuring parts moving in parallel motion and at the Cabinet of Manuscripts of the Russian Institute of the History of Arts in Saint Petersburg; Professor Oksana Lukonina doublings of thirds in low registers. His use of such of the Volgograd Institute of Culture and Arts; Dr. Vladimir unusual scorings was inspired by his encounters Morosan; Dr. Marina Rakhmanova; Mark Powell and Leslie with the partially improvised harmonized singing Simmons of Cappella Romana; Bogdan Đaković; the Rev. of Russian monks (Morosan and Rakhmanova 1999, Dr. Ivan Moody; and the anonymous donor who, in honor of 312–14). Father and Matushka Skvir, generously supported my research in Saint Petersburg and the present recording. —Alexander Lingas

Dr. Alexander Lingas at the Russian Institute of the History of Arts in Saint Petersburg, with the autograph manuscripts of Steinberg’s Passion Week. 12 •

Select Bibliography

Dansker, Olga Lvovna. 1998. “Из записных книжек М. Morosan, Vladimir, and M. P. Rakhmanova. 1999. Nikolai О. Штейнберга 1919-1920-х годов.” In Из фондов Rimsky-Korsakov: The Complete Sacred Choral Works, кабинета рукописей. Публикации и обзоры, edited by Monuments of Russian Sacred Music. Series III. Madison, Galina V. Kopytova, 88–132. Saint Petersburg: Russian Conn.: Musica Russica. Institute of Art History. Plotnikova, Natalia Yurevna. 2001. “Духовная музыка Н. А. Fairclough, Pauline. 2012. “‘Don’t Sing It on a Feast Day’: Римского-Корсакова.” Accessed 23 January 2015. http:// The Reception and Performance of Western Sacred www.rimsky-korsakov.ru/sacred.html. Music in Soviet Russia, 1917–1953.” Journal of the Preobrazhensky, Antonin Viktorovich. 1924. Культовая American Musicological Society 65 (1):67-111. doi: 10.1525/ Музыка в Росии. Leningrad: Academia. jams.2012.65.1.67. Rakhmanova, Marina P. 1999. “The Sacred Choral Works of Gavrilyuk, Paul L. 2013. Georges Florovsky and the Russian Nikolai Rimsky-Korsakov.” In Nikolai Rimsky-Korsakov, Religious Renaissance, Changing Paradigms in Historical The Complete Sacred Choral Works, edited by Vladimir and Systematic Theology. Oxford: Oxford University Morosan and Marina P. Rakhmanova, xxxi–xli. Madison, Press. Conn.: Musica Russica. Lukonina, Oksana Igorevna. 2012. Максимилиан Штейнберг : Художник и время : Монография. Volgograd: Волгоградское научное издательство.

Morosan, Vladimir. 1994. Choral Performance in Pre- revolutionary Russia. reprint ed., revised and corrected ed. Madison, Conn.: Musica Russica.

13 14 15 Church Slavonic Russica™ Transliteration “Bridegroom” Orthros of Great Monday – Great Wednesday

Аллил҆ yїа 1 & 12 Alleluia (Znamenny chant) ˜ ˜ ллилyїа, аллил҆ yїа, llilúiyа, аllilúiyа, lleluia, alleluia, ˜ ҆Ааллил҆ yїа. Aаllilúiyа. Aalleluia. Стjхъ №: T н0щи ќтренюетъ St˜ih 1: Ot nóshchi útr˜ е ñ ı uyet Verse 1. From nightfall my spirit ˜ ˜ дyхъ м0й къ тебЁ б9е: занE dúh móy k Tebé Bózhe: zаñé is awake for You, O God, for ˜ свётъ повелBніz тво‰ на sv˜ét pov˜еléñiya Tvoyá nа Your commands are light upon ˜ земли2. z˜еmlí. the earth. ˜ Стjхъ в7: Прaвдэ научи1тесz St˜ih 2: Právde nаuchít˜es˜ ıa Verse 2. Learn justice, inhabitants ˜ живyщіи на земли2. zhïvúshchii nа z˜еmlí. of the earth.

Стjхъ G: Зaвисть пріи1метъ St˜ih 3: Záv˜ i st˜ pr˜iím˜ е ˜t Verse 3. Jealousy will seize an ˜ ˜ лю1ди ненак†занныz. lıúdi ñenаkázаnnïya. untaught people. ´ Стjхъ д7: Приложи2 и5мъ ѕлA St˜ih 4: Pr˜ilozhï ím zlá Verse 4. Bring evils upon them, ˜ ´ гDи, приложи2 ѕлA сл†внымъ Ghóspodi, pr˜ilozhï zlá slávnïm O Lord, bring evils upon them, ˜ земли2. z˜еmlí. the glorious ones of the earth.

—Isaiah 26:9, 11, 15

Troparion: Behold, the Bridegroom comes СE жени1хъ грzдeтъ 2 & 13 (Znamenny chant) ˜ E жени1хъ грzдeтъ въ é Zhеñíh g r˜ ıadét f ehold, the Bridegroom полyнощи, и3 бlжeнъ рaбъ, S˜ polúnoshchi, i blаzhén ráb, Bcomes in the middle of the С ˜ є3г0же њбрsщетъ бдsща: yegózhе obrıáshchеt bdıáshchа : night, and blessed is that servant недост0инъ же пaки, є3г0же ñedostóin zhе páki, yegózhе whom He finds watching; but 16 њбрsщетъ ўнывaюща. o b r˜ ıáshchеt unïváyushchа. unworthy is the one whom He ˜ ˜ блюди2 ќбw душE моS, не Blıudí úbo dushé moyá, ñe finds slothful. Take care then, сн0мъ њтzготи1сz, да не snóm ot˜ıagot˜í s˜ ıa, dа ñe my soul, not to be overcome ˜ смeрти преданA бyдеши, и3 sm˜ért˜i pr˜еdаná búdeshï, i with sleep, lest you be given up цaрствіz внЁ затвори1шисz, tsár s t v˜ i ya vñe zаtvor˜íshïs˜ıa, to death, and be shut out of the но воспрzни2 зовyщи: свsтъ, no v o s p r˜ ıañí zovúshchi : s v˜ ıát, kingdom; but rouse yourself and свsтъ, свsтъ є3си2 Б0же, s v˜ ıát, s v˜ ıát y e s˜ í Bózhе, cry: Holy, holy, holy are You, O ˜ Богор0дицею поми1луй нaсъ. Bogoródits˜eyu pom˜íluy nás. God; through the Mother of God, have mercy on us.

Exaposteilarion: Черто́гъ тво́й 3 & 14 Your bridal chamber

ерто́гъ тво́й ви́жду Hеrtóg Tvóy v˜ízhdu our bridal chamber, O my Спа́се мо́й CS p á s˜ e moy YSavior, I see all adorned, but Ч ˜ ўкраше́нный, и҆ ѻ҆ де́жды ukrаshénnïy, i odézhdï I have no garment so that I may не и4мамъ, да вни́ду в о́нь, ñe ímаm, dа vñídu v oñ, enter it. Make bright the mantle ˜ ´ просвћтѝ ѻ҆ дћѧ́ нїе душѝ моеѧ̀ prosv˜et˜í odeyáñiyе dushï moyеyá of my soul, O Giver of light, and свѣтода́вче, и҆ спаси́ мѧ. Sv˜etodávchе, i spаs˜í m˜ıá. save me!

Orthros of Great Thursday

Troparion: When the glorious ʼЄ҆гда̀ сла́внїи ѹ҆ченицы 4 disciples (Znamenny chant)

гда̀ сла́внїи ѹ҆ченицы̀ на Egdá slávñii uchеñitsï´ nа hen the glorious disciples ʼЄ҆ѹ҆мове́нїи ве́чери Yumov˜éñii v˜échеr˜ i Wwere enlightened at the просвѣща́хусѧ, тогда̀ ʼІyда prosv˜eshcháhu s˜ ıa, togdá Іúdа washing of the feet, then Judas ˜ ˜ ѕлочести́вый сребролю́бїемъ zlochеst˜ívïy sr˜еbrolı úbiyеm the ungodly was stricken and недyговавъ ѡ҆мрача́шесѧ, ñedúgovаv omrаcháshеs˜ıa, darkened with the love of money; ˜ ˜ и҆ беззакѡ́ ннымъ судїѧ́мъ i bеzzаkónnïm sudiyám and to lawless judges he delivered ˜ ˜ ˜ тебѐ пра́веднаго ус дїю̀ Tebé práv˜еdnаgo sudiyú You, the just judge. O lover of ˜ ˜ предае́тъ. Ви́ждь и҆мёнїй pr˜еdаyét. Vízhd im˜éñiy money, look upon him who for ˜ ˜ ˜ рачи́телю, си́хъ ра́ди ѹ҆давле́нїе rаchít˜elyu, s˜íh rádi udаvléñiyе its sake hanged himself; flee from 17 ˜ ˜ ´ ´ ѹ҆потреби́вша! бѣжѝ несы́тыѧ u p o t r˜ е b ívshа! Bezhï ñesïtïya the insatiable soul, which dared ´ ˜ души, ѹ҆чи́телю такѡва́ѧ dushï, uchít˜elyu tаkováya such things against the Teacher. ˜ дерзнyвшїѧ : и4же ѡ҆ всѣ́хъ derzúvshïya : ízhе o fs˜éh O You who are good to all, Lord, ˜ ˜ благі́й, Го́споди сла́ва тебѣ̀. blаgíy, Ghóspodi slávа ˜tebé. glory to You.

Come believers Стра́нствїѧ влады́чнѧ 5 (Znamenny chant) ˜ Пѣ́снь ѳ҃ . ʼІрмо́съ: Pésñ 9. Іrmós: Ode 9, Eirmos: ´ тра́нствїѧ влады́чнѧ, и҆ trán s t v˜ i ya Vlаdïchñıa, i ome believers, let us enjoy ˜ Сбезсме́ртныя трапе́зы на Sbеzsm˜értnïya trаp˜ézï nа Cthe Master’s welcome and го́рнѣмъ мѣ́стѣ, высо́кими górñem m˜ é s ˜te, vïsók i m˜ i the immortal table in the upper ´ ˜ ѹ҆мы̀, вѣ́рнїи прїиди́те umï, v˜érñii pr˜ i idít˜e place, with minds raised high, ˜ наслади́мсѧ, возше́дша сло́ва, nаslаdí m s˜ ıa, vozshédshа slóvа, having learned a transcendent ѿ сло́ва научи́вшесѧ, є҆го́же ot Slóvа nаuchífshеs˜ıa, yegózhе word from the Word, whom we ˜ велича́емъ. v˜еlicháyеm. magnify.

Vesperal Divine Liturgy of Great Thursday

Great Entrance and Commu- nion Chant: Of Your mystical Ве́чери твоеѧ̀ та́йныѧ 6 supper (Znamenny chant)

е́чери твоеѧ̀ та́йныѧ дне́сь, échеr˜i Тvoyеyá táynïya dñés˜ , f Your mystical Supper, Son ˜ ´ ВСы́ не Бо́жїй, прича́стника VSïñe Bózhїy, pr˜ i chástñikа Oof God, receive me today as мѧ̀ прїимѝ : не бо̀ врагѡ́мъ m˜ıá pr˜ i i m˜ í : ñe bó vrаgóm a communicant; for I will not tell твои̑мъ та́йну повѣ́мъ, ни Tvoím táynu pov˜ém, ñi of the Mystery to Your enemies; ˜ лобза́нїѧ тѝ да́мъ ѩ4кѡ ʼІyда, lobzáñiya Tí dám yáko Іúdа, I will not give You a kiss, like но ѩ4кѡ разбо́йникъ и҆сповѣ́даю no yáko rаzbóyñik ispov˜édаyu Judas; but like the Thief I confess ˜ ˜ тѧ̀ : помѧни́ мѧ, Го́споди во Tıá : pom˜ıаñí m˜ıá, Ghóspodi vo You: Remember me, Lord, in ца́рствїи твое́мъ. Tsárstv˜ii Tvoyém. Your Kingdom. 18 19 Vespers of Great Friday and Orthros of Great Saturday

Troparion: The noble Joseph [of Благоѡ́ бра́зный ʼІѡ́сифъ 7 Arimathea] (Bulgarian chant)

лагоѡ́ бра́зный ʼІѡ́сифъ, съ lаgoóbráznïy Іós˜if, s he noble Joseph, taking ˜ Бдре́ва сне́мъ пречи́стое тѣ́ло Bdr˜évа sñém pr˜еchístoyе Télo Tdown Your most pure Body твоѐ, плащани́цею чи́стою Tvoyé, plаshchаñíts˜eyu chístoyu from the Tree, wrapped it in a ˜ ѡ҆бви́въ, и҆ вонѧ́ ми во гро́бѣ o b v˜ í v , i voñıám˜ i vo gróbe clean shroud with sweet spices ´ но́вѣ покры́ въ положѝ. nóv˜ e pokrïv polozhï´. and laid it for burial in a new grave.

Passion Orthros of Great Friday

Ра з б о́йника благоразyмнаго 8 Exaposteilarion: The Wise Thief

азбо́йника благоразyмнаго, аzbóyñikа blаgorаzúmnаgo, Lord, who in a single ˜ во є҆ди́номъ часѣ̀ ра́еви Rvo yedínom chаs˜é ráyеv˜i Omoment made the wise Р ˜ ˜ сподо́билъ є҆сѝ, Го́споди, и҆ менѐ spodóbil yes˜í, Ghóspodi, i m˜ е ñ é thief worthy of Paradise, so by дре́вомъ кре́стнымъ просвѣтѝ, dr˜évom kr˜éstnïm prosv˜et˜í, the tree of the Cross enlighten и҆ спаси́ мѧ. i spаs˜í m˜ıa. and save me.

Orthros of Great Saturday

Do not weep for Me, Mother Не рыда́й менѐ Ма́ти 9 & 15 (Znamenny chant)

˜ Пѣ́снь ѳ҃ . ʼІрмо́съ: Pésñ 9. Іrmós: Ode 9, Heirmos: ˜ е рыда́й менѐ Ма́ти, е rïdáy Mеñé Мát˜i, o not weep for Me, Mother, ˜ зрѧ́ щи во гро́бѣ, є҆го́же Ñz r˜ ıáshchi vo gróbe, yegózhе Das you see in a tomb the Н ˜ во чре́вѣ без̾ сѣ́мене зачала̀ vo chr˜év˜e bеz sém˜еñe zаchаlá Son whom you conceived in your 20 ´ є҆сѝ Сы́на : воста́ну бо и҆ yes˜í Sïnа : vostánu bo i womb without seed; for I shall ˜ просла́влюсѧ и҆ вознесY со proslávlıus˜ ıa i vozñesú so arise and be glorified, and I shall сла́вою, непреста́ннѡ ѩ҆ кѡ slávoyu, ñepr˜еstánno yáko as God exalt in glory without ˜ Бо́гъ, вѣ́рою и҆ любо́вію тѧ̀ Bóg, v˜éroyu i lıubóv˜ і yu ˜tıá ceasing those who with faith and ˜ велича́ющыz. v˜еlicháyushchiya. love magnify you.

Vespers of Great Saturday (the Ancient Paschal Vigil)

Воскреснн̀ Бо́же 10 Arise, O God ˜ ˜ оскреснн̀ Бо́же, судѝ землѝ, oskr˜еsñí Bózhe, sudí z˜emlí, rise, O God, judge the ˜ ˜ ѩ4кѡ ты̀ наслѣ́диши во Vyáko Tï naslédishï vo Aearth; for You shall have an В ´ всѣ́хъ ҆ зы́цѣхъѩ : f s˜ é h yazïtseh: inheritance among the nations.

Стjхи : St˜ihi: Verses (Megalynaria) Христо́съ но́ваѧ па́сха, Hr˜istós nóvaya Pás’ha, Christ is the new Passover, the живоже́ртвеннаѧ же́ртва, zhïvozhértv˜ennaya zhértva, living sacrificial victim, the Lamb ˜ а4гнецъ Бо́жїй взе́млѧй грѣхѝ Ágñets Bózhïy vz˜émlıay gr˜ e hí of God, who takes away the sin of ми́ра. m˜ í ra. the world. ˜ ´ Теча́ху жены̀ возвѣсти́ти Techáhu zhenï vozv˜est˜ít˜i The women were running to ˜ апо́столѡмъ : дерза́йте yбѡ apóstolom: derzáyt˜e úbo proclaim to the Apostles: Be bold и҆ возопїи́те, ѩ4кѡ воскре́се i vozopiít˜e, yako voskr˜és˜e therefore and exclaim, for the ˜ Госпо́дь. Ghospód. Lord has risen.

Ѓггелъ вопїѧ́ше благода́тнѣй : Ángel vopiyáshe blagodát˜ñéy: The Angel cried to her that is full ˜ чи́стаѧ Дѣ́во, ра́дуйсѧ, ҆ и па́ки chístaya Dévo, ráduys˜ ıa, i páki of grace, “Pure Virgin, rejoice!, рекY, ра́дуйсѧ : тво́й бо Сы́нъ r˜ekú, ráduys˜ ıa: tvóy bo Sï´n And again I say, Rejoice! For ˜ воскре́се тридне́венъ ѿ гро́ба. voskr˜ é s˜e tr˜idñév˜en ot gróba. your Son has risen from the tomb on the third day.”

21 Great Entrance Chant: Let all mortal flesh keep silence Да молчи́тъ всѧ́ каѧ пло́ть 11 & 16 (Znamenny chant)

а молчи́тъ всѧ́ каѧ пло́ть а molchít f s˜ ıákаya plót˜ et all mortal flesh keep Дчеловѣ́ча, и҆ да стои́тъ Dchеlov˜échа, i dа stoít Lsilence, and stand with со стра́хомъ и҆ тре́петомъ, so stráhom i tr˜ép˜еtom, fear and trembling, and take ˜ и҆ ничто́же земно́е въ себѣ̀ i ñichtózhе z˜еmnóyе f s˜ e b e no thought for any earthly да помышлѧ́ етъ : Ца́рь бо dа pomïshlıáyеt : T s á r˜ bo thing; for the King of kings ˜ ца́рствующихъ, и҆ Госпо́дь tsárstvuyushchih, i Ghospód and Lord of lords comes to ˜ го́сподствующихъ, прихо́дитъ ghóspodstvuyushchih, pr˜ i hódit be slain and given as food закла́тисѧ и҆ да́тисѧ въ zаklát˜i s˜ ıa i dát˜i s˜ ıa f for the faithful. Before him ˜ снѣ́дь вѣ̑рнымъ.Предх о́дѧтъ snéd v˜érnïm. P r˜ е d hódıat go the choirs of Angels, ˜ ˜ же семY ли́цы Ѓггельстїи со zhе s˜emú lítsï Ángеlst˜ii so with every Principality всѧ́ кимъ нача́ломъ и҆ вла́стїю, f s˜ ıákim Nаchálom i Vlást˜iyu, and Power; the many-eyed многоѻчи́тїи херуви́ми, и҆ mnogoóchít˜ii Hеruv˜ím˜i, i Cherubim and the six- ˜ ˜ шестокрила́тїи серафи́ми, ли́ца shеstokr˜ i lát˜ii Serаfím˜i, lítsа winged Seraphim covering закрыва́юще, и҆ вопію́ще zаkrïváyushchе, i v o p˜ і yúshchе their faces and crying out ˜ ˜ пѣ́снь : аллил҆ yїа, аллил҆ yїа, p˜ésñ: Allilúiyа, Allilúiyа, the hymn: Alleluia, Alleluia, ˜ аллил҆ yїа. Allilúiyа. Alleluia.

22 23 Cappella Romana oikoumene (inhabited world), which embraced Rome and Western Europe, as well as the Byzantine Its performances “like jeweled light flooding the Empire of Constantinople (“New Rome”) and its space” (Los Angeles Times), Cappella Romana is Slavic commonwealth. a vocal chamber ensemble dedicated to combin- ing passion with scholarship in its exploration of Flexible in size and configuration according to the the musical traditions of the Christian East and demands of the repertory, Cappella Romana is West, with emphasis on early and contemporary based in the Pacific Northwest of the music. Founded in 1991, Cappella Romana’s name of America, where it presents annual concert series refers to the medieval Greek concept of the Roman in Portland, Oregon, and Seattle, Washington. It

24 regularly tours in Europe and North America, hav- Alexander Lingas, artistic director ing appeared at venues including the Metropolitan Alexander Lingas, founding artistic director of Museum of Art, Trinity Wall Street and Music Cappella Romana, is a Reader in Music at City Before 1800 in New York, the J. Paul Getty Center University London and a Fellow of the University in Los Angeles, St. Paul’s Cathedral in London, the of Oxford’s European Humanities Research Centre. Pontificio Istituto Orientale in Rome, the Sacred He received his Ph.D. in Historical Musicology from Music Festival of Patmos, the University of Oxford, the University of British Columbia. His present Princeton University, and Yale University. work embraces not only historical study but also Cappella Romana has released over twenty compact ethnography and performance. Formerly Assistant discs, including recent releases Good Friday in Professor of Music History at Arizona State Univer- Jerusalem; Tikey Zes: Divine Liturgy; A Time for Life sity’s School of Music, Dr. Lingas has also served as by Robert Kyr; and Arctic Light: Finnish Orthodox a lecturer and advisor for the Institute of Orthodox Music. Other releases include Mt. Sinai: Frontier of Christian Studies at the University of Cambridge. Byzantium; Epiphany: Medieval Byzantine Chant; His awards include Fulbright and Onassis grants for Byzantium 330–1453 (the official companion CD to musical studies with cantor Lycourgos Angelo- the Royal Academy of Arts Exhibition); Byzantium poulos, the British Academy’s Thank-Offering to in Rome: Medieval Byzantine Chant from Grottafer- Britain Fellowship, research leave supported by the rata; The Fall of Constantinople, Richard Toensing: Stavros Niarchos Foundation, and the St. Romanos Kontakion on the Nativity of Christ; Peter Mi- the Melodist medallion of the National Forum for chaelides: The Divine Liturgy of St. John Chrysostom; Greek Orthodox Church Musicians (USA). Having The Divine Liturgy in English: The Complete Service contributed articles to The New Grove Dictionary in Byzantine Chant; and more. Forthcoming record- of Music and Musicians, and The Oxford Handbook ings include Greek and Latin music from medieval of Byzantine Studies, Dr. Lingas is now completing Cyprus, medieval Byzantine chant from the Great two monographs: a study of Sunday Matins in the Church of Christ at Hagia Sophia in Constantinople, Rite of Hagia Sophia for Ashgate Publishing and a and select choral works of Michael Adamis. historical introduction to Byzantine Chant for Yale University Press. In 2010 it became a participant in the research project “Icons of Sound: Aesthetics and Acoustics of Hagia Sophia, Istanbul,” a collaboration between Contact and Booking Information the Center for Computer Research in Music and Acoustics and the Department of Art & Art History Cappella Romana at Stanford University, where the ensemble also 1017 SW Morrison St Ste 315, Portland, or 97205 usa performed in 2013 and will return in 2016-17. tel +1.503.236.8202 cappellaromana.org 25 The N. A. Rimsky-Korsakov Saint Petersburg State Conservatory, c. 1900.

26 Dedicated to Igor Buketoff (1915-2001) Вечная память Αἰωνία ἡ μνήμη Memory eternal

This recording is made possible by the generous support of an anonymous donor to thank and honor Father Daniel Skvir and Matushka Tamara (Turkevich) Skvir, niece of Igor Buketoff, for their efforts to bring this work to life.

PRODUCTION CREDITS at the Russian Institute of the History of Arts: Galina Kopytova. The N. A. Rimsky-Korsakov Saint Petersburg State Producer: Mark Powell (Cappella Romana). Conservatory c. 1900: public domain. Recording, Mixing, and Mastering Producer; Digital Booklet content and design: g2015 by Cappella Romana, Editor: Steve Barnett (Barnett Music Productions, Inc. All rights reserved. Minneapolis, Minn.). Acknowledgements: Recording, Mixing, and Mastering Engineer: Preston Smith (Perfect Record, Saint Paul, Minn.). Blake Applegate and Kelly Thorsell, Cantores in Ecclesia Dr. Irina Chudinova and Galina Kopytova, Russian Institute Performing editions: Musica Russica. of the History of Arts, Saint Petersburg Diction and performance coach: Dr. Vladimir Morosan. Prof. Stephen Cottrell, Department of Music, City University London g Original recordings: &P 2015 by Cappella Romana, Inc. Archimandrite Ephrem (Lash) All rights reserved. Recorded at St. Stephen Catholic Church, Dimitri Gondicas, Center for Hellenic Studies, Princeton Portland, Oregon, 14–19 July 2014. University Graphic design/booklet editor: Mark Powell. Rev. Petrus B.Hoang and Veronikka Mayer, St. Stephen Catholic Church English translations: Very Rev. Archimandrite Ephrem Gail Marsom, School of Arts and Social Sciences, City (Lash), Dr. Alexander Lingas. University London French and German translations: Jutta Tagger. Dr. Vladimir Morosan, Musica Russica Barbara Mouk Transliterations: The Russica™ Transliteration System, used Fr. Paul Paris and Gail Morris, Holy Trinity Greek Orthodox by permission. Cathedral, Portland Leslie Simmons, Operations Manager, Cappella Romana Photography: Cover, the Icon of the Crucifixion: Lynette The Very Rev. Daniel and Matushka Tamara Skvir Hull, used by permission. Images of ensemble and recording sessions at St. Stephen Catholic Church: Presbytera Victoria Pavlatos, toriavaphotography.com. Dr. Alexander Lingas

27 These and other titles atcappellaromana.org or your favorite retailer

Good Friday in Jerusalem Tikey Zes: The Divine CR414-CD “simply, Medieval Byzantine chant for Liturgy for mixed choir with “exceptionally irresistible” commemorations of Great and organ achieves a balance of beautiful music” —Audiophile Holy Friday in the Church of splendor with restraint that is, Audition Leitourgia the Holy Sepulchre, invoking in an inculturated and digni- an elaborate stational liturgy fied musical idiom, thoroughly that encompassed the sacred Byzantine. Frs. John Bakas and Christian topography of the city John Kariotakis sing the parts of of Jerusalem. the clergy.

The Divine Liturgy in English Live in Greece: From Constan- in Byzantine Chant The tinople to California Ancient complete service on two CDs, Byzantine chants, encounters featuring music drawn from the with Crusaders and Venetians, most authoritative traditions and music by Californians “a of Byzantine chanting. 40-page “music Frank Desby and his peers and gift to the of endless Orthodox world” booklet with extensive essays on fascination” Athenian composer Michael Again liturgy and Byzantine chant. Gapplegate Adamis (1929–2013).

The Fall of Constantinople Arctic Light: Finnish Cappella Romana’s critically Orthodox Music Original acclaimed program of Byzantine works composed in Finnish in “a the 20th century that marry captivating chant and polyphony c. 1453 recital” and motets by Guillaume Dufay “adventurous a shining Northern clarity of Gramophone music … recom- sound with a sonic richness explores the musical legacy of mended” New Rome—caught between Fanfare clearly linked to the traditions Latin West and Islamic East. of Russian choral singing. Directed by Ivan Moody.

Michaelides: Divine Liturgy Byzantium in Rome: This outstanding choral Medieval Byzantine Chant setting combines elements of Led by Ioannis Arvanitis, this Byzantine chant with modern 2-CD set bears witness to neo-classicism to create Constantinopolitan music from “an American ideal unaccompanied liturgical Record Guide before the Latin conquest of performance” music of uncommon elegance Critic’s Choice 1204, as recorded at the Abbey 2008 Gramophone and spiritual depth. of Grottaferrata near Rome (founded 1004). 28