November 14 & 15, 2014

The second BOSTON FESTIVAL LECTURES Friday, November 14 | Archbishop Iakovos Library Reading Room

2:00 p.m. Greeks, Latins, and the Musical Culture of Late Byzantium Dr. Alexander Lingas

3:30 p.m. Reform and Notation in Early Nineteenth-Century Istanbul Dr. Mehmet Ali Sanlıkol

CONCERT Friday, November 14 | 7:30 p.m. | Maliotis Cultural Center

The Fall of Constantinople

WORKSHOPS Saturday, November 15 | Archbishop Iakovos Library Reading Room

9:45 a.m. Mediterranean Percussion: Styles and Techniques George Lernis

10:45 a.m. Greek Ensemble Workshop Beth Bahia Cohen

1:15 p.m. Principles of Conducting a Byzantine Choir John Michael Boyer

2:15 p.m. Singing Classical Ottoman Songs in Usul Dr. Mehmet Ali Sanlıkol

3:15 p.m. Composing Byzantine Music in English Timothy Gabriel Cremeens

CONCERT Saturday, November 15 | 7:30 p.m. | Maliotis Cultural Center

Petros the Peloponnesian: Portrait of a Musical Genius Greek Orthodox Archdiocesan Byzantine Choir

A Fasıl for a Phanariot Beyzade DÜNYA

1 Raise a song, strike the timbrel, the sweet sounding lyre with the harp. Psalm 81:2

The Mary Jaharis Center for Byzantine Art and Culture is dedicated to promoting and advancing knowledge about the rich heritage of the , which lasted for more than a thousand years and spanned three continents. The Center’s mission is to create academic and educational Dear Beloved, resources that engage the wider public, scholars, and the Orthodox Christian community. Its programs encourage awareness and appreciation of Byzantium and its legacy. We are uplifted with spiritual joy to welcome you to the Second Boston Byzantine Music Festival. Once again, for the glory of God and His Church, the Mary Jaharis Center for Byzantine Art and Founded in 2010 through a generous gift from the Jaharis Family Foundation, the Mary Jaharis Culture through its partnership with the New York Life Center for the Study of Hellenism in Pontus Center is established at Hellenic College Holy Cross, an Orthodox Christian institution of higher and Asia Minor at Hellenic College Holy Cross celebrates the music that is central to the Orthodox education in Brookline, Massachusetts. The Center’s association with Hellenic College Holy Cross Christian tradition and that can elevate the soul and nourish the spirit. provides a singular opportunity to address Byzantine culture from the perspective of Orthodox scholarship, theology, and the arts. We welcome the internationally recognized vocal ensemble Cappella Romana, the Archdiocesan Byzantine Choir of the Greek Orthodox Archdiocese of America, and the Grammy-nominated DÜNYA. We are honored that our own Holy Cross St. Byzantine Choir, under the direction of Dr. Grammenos Karanos, performs among this illustrious gathering of musicians. We rejoice in the opportunity to explore the music of the Byzantine Empire and its points of contact with the music of Western Europe and the Ottoman Empire. May this event be an inspiration to our institution to reach out to other communities of faith in a spirit of mutual cooperation and understanding.

On behalf of the entire Hellenic College Holy Cross community, we thank you for joining us on campus for this wonderful festival and hope that you find it intellectually and spiritually edifying. The New York Life Center for the Study of Hellenism in Pontus and Asia Minor fosters the Furthermore, we thank Brandie Ratliff, Director of the Mary Jaharis Center for Byzantine Art and academic study of modern Hellenism in Asia Minor. Culture, for her sterling diakonia, energy, creativity, and vision in planning this event.

In His Service,

Rev. Nicholas C. Triantafilou President

Hellenic College Holy Cross is the intellectual, educational, and spiritual formation center of the Greek Orthodox Archdiocese of America. With undergraduate and graduate programs for both men and women, HCHC prepares Christ-centered leaders for the Church and the world.

2 3 Friday, November 14 THE FALL OF CONSTANTINOPLE CAPELLA ROMANA

Directed by Alexander Lingas, Founder and Artistic Director

with Spyridon Antonopoulos Blake Applegate John Michael Boyer Aaron Cain Leslie Green David Krueger Mark Powell Melanie Downie Robinson Catherine van der Salm

Program Hierarchical Entrance Rite with Imperial Acclamations Anonymous (c. 1450) Εἰσοδικόν (Introit for Sundays) MS Athens 2406 Ἀπολυτίκιον (Apolytikion of the Resurrection) Mode I MS Vatopaidi 1493 Πολυχρονισμὸς τῶν Βασιλέων (Imperial Acclamations for Constantine XI Palaiologos) MS Athens 2406 Δόξα. Καὶ νῦν (Glory. Both now) Κοντάκιον τῆς Θεοτόκου ( of the Mother of God) MS St. Petersburg gr. 674 Τρισάγιον (Hierarchical Trisagion) MS 1120 Δύναμις (Dynamis) Manuel Chrysaphes the Lampadarios (fl. ca. 1440–63) MS Iviron 1120 4 5 Vasilissa ergo gaude NOTES Guillaume Dufay (c. 1400–74) Greeks and Latins had lived uneasily together is relatively elaborate and was meant Hymn for Great Compline in the Eastern Mediterranean ever since the to accompany a blessing given by the Manuel Gazes the Lampadarios (early 15th century) sack and occupation of Constantinople celebrating bishop. The Trisagion concludes MS Athens 2401 (1204–61) by crusader knights. During the with a Dynamis coda, a new composition by 14th and 15th centuries, however, the shrunken Chrysaphes in which he subtly elaborates upon Apostolo glorioso Byzantine Empire and the remaining Western the hymn’s traditional melody. Guillaume Dufay (c. 1400–74) colonies were often forced to cooperate in desperate attempts to defend themselves Vasilissa ergo gaude Kyrie Cunctipotens genitor against the Ottoman Turks. This situation is Bereft of significant financial or military Latin Chant (from Byzantine notation) reflected in this evening’s concert, which begins resources, the last Byzantine emperors MS Athens 2401 with music that would have been heard in attempted to consolidate their remaining Sunday worship by the last Roman Emperor territory while balancing the competing Ecclesiæ militantis of Constantinople, Constantine XI Palaiologos interests of Italians and Ottomans through Guillaume Dufay (c. 1400–74) (r. 1449–53), and ends with two laments for the diplomacy and dynastic marriages. These Fall of Constantinople in 1453. concerns are reflected in Vasilissa ergo gaude, a Latin motet by the Franco-Flemish composer INTERMISSION (15 Minutes) Hierarchical Entrance Rite Guillaume Dufay (ca. 1400–74). Written while with Imperial Acclamations Dufay was employed by the papal ally, Though the realm of Constantine XI consisted general, and diplomat Carlo Malatesta da of little more than the capital and the Rimini, the work celebrates the marriage in in Honor of Thomas Aquinas: Ode 1 Peloponnesos, the majestic chants of the 1421 of Cleophe Malatesta da Pesaro to John Plousiadenos (ca. 1429–1500) Entrance Rite for a Divine Liturgy retain the Theodore Palaiologos, Despot of the Morea MS Vatopedi 1529 acclamations to the imperial family. After a (Peloponnesos) and son of the Emperor series of processional antiphons (omitted in Manuel II (r. 1391–1425). Verse this performance), the clergy would enter the John Plousiadenos (ca. 1429–1500) sanctuary as the Introit was sung. On Sundays, Hymn for Great Compline MS Docheiariou 315 a hymn in honor of Christ’s resurrection Apostolo glorioso (Apolytikion of the Resurrection) from the Kyrie Cunctipotens genitor Canon for the Council of Florence: Ode 5 weekly cycle of the eight modes was followed In the 15th century, the Peloponnesian port John Plousiadenos (ca. 1429–1500) by acclamations to the reigning emperor of Patras was an important meeting point MS Vatopedi 1529 (taken here from the manuscript Athens 2401) between the Greek East and the Latin West. and one or more seasonal hymns known as The Byzantine musical manuscript Athens Lament for the Fall of Constantinople kontakia. The Kontakion of the Mother of 2401, written in the city of Patras, is an Manuel Chrysaphes (fl. ca. 1440–63) God selected for this program was probably Akolouthia (Order of Service) providing music MS Iviron 1120 written after Constantinople’s deliverance from for the main services of the . It an Arab siege in the seventh century and recalls is an important witness to the vibrant cultural Lamentatio Sanctæ Matris Ecclesiæ Constantinopolitanæ the Mother of God’s role as chief protectress of interchange in the city of the Apostle Andrew’s Guillaume Dufay (c. 1400–74) the City. This section of tonight’s performance martyrdom. The manuscript’s contents include concludes with the ancient “Thrice-Holy” works by the city’s Protopsaltis (first ) (Trisagion) hymn, which was sung in Andreas Stellon of Cyprus and examples of alternation by choirs in the nave and clergy efforts by Byzantine musicians to employ some in sanctuary. The melody is taken from the of the simpler and usually improvised types of manuscript Iviron 1120. Dated 1458, this polyphony practiced by their Italian colleagues. manuscript is in the hand of Manuel One of these efforts at polyphony is the two- Chrysaphes (fl. ca. 1440–63), a prolific part Hymn for Great Compline by Manuel theorist and composer who served as a lead Gazes the Lampadarios (early 15th century). singer (Protopsaltis) in Constantine XI’s Its homorhythmic texture and open sonorities chapel. The setting for “Glory to the Father…” reflect the contemporary Western tradition of 6 7 cantus planus binatim (plainchant twice). Canon in Honor of Thomas Aquinas: Ode 1 TEXTS Despite their absence from Athens 2401, elite Communion Verse forms of mensural (measured) polyphony were Canon for the Council of Florence: Ode 5 Hierarchical Entrance Rite not unknown in the eastern Mediterranean, The aid promised by the West at Florence for a Byzantine Divine Liturgy was never delivered and public opposition having been cultivated most notably at the Εἰσοδικόν Introit court of the Lusignan Kings of Cyprus. Shortly delayed the official promulgation of the union—the terms of which were viewed as Ὁ διάκονος: Σοφία. Ὀρθοί. Deacon: Wisdom, let us attend. before Patras reverted to Byzantine rule (1430), Ὁ χορός: Δεῦτε προσκυνήσωμεν καὶ Choir: Come, let us worship and bow before total capitulation to Papal supremacy and Pandolfo Malatesta da Pesaro served as the προσπέσωμεν Χριστῷ. Σῶσον ἡμᾶς, Υἱὲ Θεοῦ, ὁ Christ. Son of God, risen from the dead, save us who other Latin doctrines—in Constantinople until Latin archbishop of Patras and in 1426 presided ἀναστὰς ἐκ νεκρῶν, ψάλλοντάς σοι Ἀλληλούϊα. sing to you: Alleluia. over the rededication of a church honoring St. December of 1452, after which most Orthodox refused to attend services at Hagia Sophia. Andrew. Dufay marked the event with his Ἀπολυτίκιον ( Ἦχος a΄) Apolytikion (Mode I) Nevertheless, there remained a number of radiant Italian motet Apostolo glorioso/Cum tua Τοῦ λίθου σφραγισθέντος ὑπὸ τῶν Though the Jews had sealed the tomb with a stone prominent Byzantine converts to the Latin doctrina/Andreas Christi. Ἰουδαίων, καὶ στρατιωτῶν φυλασσόντων and soldiers guarded your pure body, you arose, cause, among whom was the composer and τὸ ἄχραντόν σου σῶμα, ἀνέστης τριήμερος Σωτήρ, O Savior, on the third day, giving life to the world. theorist John Plousiadenos (ca. 1429–1500). δωρούμενος τῷ κόσμῳ τὴν ζωήν. Διὰ τοῦτο αἱ Therefore, O Giver of life, the heavenly powers The ubiquity of the Latin rite in Greek lands Plousiadenos, who became bishop of Δυνάμεις τῶν οὐρανῶν ἐβόων σοι Ζωοδότα· Δόξα praise you: Glory to your resurrection, glory to your is further indicated by the inclusion in Athens Venetian-held Methone, displayed his uniate τῇ ἀναστάσει σου Χριστέ, δόξα τῇ Βασιλείᾳ σου, kingdom, glory to your plan of redemption, O only 2401 of the Gregorian Kyrie Cunctipotens sympathies in a number of literary works δόξα τῇ οἰκονομίᾳ σου, μόνε Φιλάνθρωπε. friend of humankind. genitor transcribed in Byzantine neumes. including the Canons in honor of Thomas Discovered in modern times by Michael Aquinas and the Council of Florence. Both Πολυχρονισμὸς τῶν Βασιλέων Imperial acclamations Adamis, it further demonstrates the interest canons are set to melodies from well-known Οἱ ἐντὸς τοῦ βήματος: Πολλὰ τὰ ἔτη [The Clergy] in the sanctuary: May the of Byzantine cantors in the music of their works by (ca. 675–749), τῶν Βασιλέων. Kings have many years. Western colleagues. Perhaps of greater transcribed here from the manuscript Οἱ ἐκτός: Πολλὰ τὰ ἔτη τῶν Βασιλέων. [The Choir] outside: May the Kings have many years. significance is the way in which the scribe Vatopedi 1529. Like the Hymn for Great Οἱ ἐντός: Κωνσταντίνου τοὺ εὐσεβεστάτου Clergy: To Constantine Palaiologos, translated what he heard into Byzantine Compline by Manuel Gazes, the Western βασιλέως καὶ αὐτοκράτορος Ῥωμαίων τοῦ the most faithful King and Emperor of the Romans, notation, providing valuable information tradition of cantus planus binatim is reflected Παλαιολόγου, πολλὰ τὰ ἔτη. many years! about the way contemporary Gregorian chant in the Communion Verse by Plousiadenos. Οἱ ἐκτός: Κωνσταντίνου τοὺ εὐσεβεστάτου Choir: To Constantine Palaiologos, the most faithful βασιλέως... King… was being performed. For this performance, This setting for Mid-Pentecost is from a Οἱ ἐντός: Πολλὰ τὰ ἔτη τῶν Βασιλέων. Clergy: May the Kings have many years. the chant is sung both unadorned and with manuscript presently located in the Athonite monastery of Docheiariou (Docheiariou 315), Ὁ δομέστικος: Κύριε, σῶσον τοὺς βασιλεῖς. 1st Domestikos: Lord, save the Kings. unwritten extra voices reflecting contemporary Ὁ ἕτερος: Καὶ ἐπάκουσον ἡμῶν. 2nd Domestikos: And hear us. techniques of polyphonic improvisation. in which the upper part is labeled τὸ τενώρει (the tenor) and the lower part is described as τὸ κείμενον (the text). Δόξα. Καὶ νῦν Glory. Both now Ecclesiæ militantis Δόξα Πατρὶ καὶ Υἱῷ καὶ Ἁγίῳ Πνεύματι. Glory to the Father and to the Son and to the Holy Spirit. While the separation of the Orthodox and Lament for the Fall of Constantinople Καὶ νῦν, καὶ ἀεὶ, καὶ εἰς τοὺς αἰῶνας τῶν αἰῶνων. Ἀμήν. Both now and forever and to the ages of ages. Amen. Roman Catholic churches is mentioned only Lamentatio Sanctæ Matris Ecclesiæ briefly in Dufay’s motet for St. Andrew Constantinopolitanæ Κοντάκιον τῆς Θεοτόκου Kontakion of the Mother of God (Apostolo glorioso), negotiations for reunion This program concludes with two threnodies Τῇ ὑπερμάχῳ στρατηγῷ τὰ νικητήρια, ὡς To you, the Champion Leader, I, your City, dedicate became more urgent as the Ottoman threat for the fall of New Rome to Mehmed II on 29 λυτρωθεῖσα τῶν δεινῶν εὐχαριστήρια, ἀναγράφω a feast of victory and thanksgiving, as one rescued σοι ἡ Πόλις σου, Θεοτόκε. Ἀλλ’ ὡς ἔχουσα τὸ out of sufferings, O Mother of God. But as you have grew. This movement culminated in the May 1453. The first is a setting of verses from Psalm 78 by Manuel Chrysaphes, transcribed κράτος ἀπροσμάχητον, ἐκ παντοίων με κινδύνων invincible might, set me free from every peril, that I Council of Florence, at which a small ἐλευθέρωσον, ἵνα κράζω σοι· Χαῖρε Νύμφη ἀνύμφευτε. may cry out to you: Hail, Bride unwedded. Byzantine delegation of bishops and by Markos Vasileiou from the manuscript Iviron 1120. Dufay composed four laments theologians assented to union with the Roman Τρισάγιον Trisagion to mark the Fall of Constantinople. The Catholic Church on 5 July 1439 in return for Ὁ διάκονος: ... καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. Deacon: ...and unto the ages of ages. military aid. Dufay was a member of the papal Lamentatio Sanctæ Matris Ecclesiæ Ὁ α΄ δομέστικος: Ἀμήν. 1st Domestikos: Amen. chapel during the 1430s, and it has recently Constantinopolitanæ is the only one to survive. Ὁ χορός: Ἅγιος ὁ Θεός, ἅγιος Ἰσχυρός, ἅγιος Choir: Holy God, Holy Strong, Holy These works were probably written in 1455 been proposed that his imposing five-part Ἀθάνατος, ἐλέησον ἡμᾶς. Immortal, have mercy on us. as part of an effort to convince Pope Callixtus motet Ecclesiae militantis was written not for Οἱ ἱερεῖς: Ἅγιος ὁ Θεός… Clergy: Holy God... III (r. 1455–58) to mount a crusade against the coronation of Pope Eugenius (r. 1431–47), Ὁ β΄ δομέστικος: Τὸ δεύτερον. 2nd Domestikos: The second [Trisagion]. the Turks, one of many such schemes that was Ὁ χορός: Ἅγιος ὁ Θεός… Choir: Holy God… as generally believed, but to commemorate the never realized. search for union at Florence. Οἱ ἱερεῖς: Ἅγιος ὁ Θεός… Clergy: Holy God… Ὁ α΄ δομέστικος: Τὸ τρίτον. 1st Domestikos: The third [Trisagion]. Alexander Lingas 8 Cappella Romana 9 Ὁ χορός: Ἅγιος ὁ Θεός… Choir: Holy God… Apostolo glorioso Οἱ ἱερεῖς: Ἅγιος ὁ Θεός… Clergy: Holy God… Ο μονοφωνάριος: Εὐλογήσατε, κηρύττω δόξα. Monophonarios: Bless, I proclaim the Glory. Triplum Triplum Ὁ α΄ δομέστικος: Νεάγιε. 1st Domestikos: Neagie [intonation]. Apostolo glorioso, da Dio electo Glorious Apostle, chosen by God Ὁ χορός; Δόξα Πατρὶ καὶ Υἱῷ Choir: Glory to the Father, and to the Son, A evangelegiare al populo greco to preach to the Greek people καὶ Ἁγίῳ Πνεύματι. and to the Holy Spirit. La sua incarnacion, ché v’era ceco, His incarnation, for it was blind to it, Ὁ β΄ δομέστικος: Εὐλογήσας. 2nd Domestikos: Bless! Et cusí festi senza alcun suspecto, and (who) didst so without any blame, Ὁ χορός: Καὶ νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν Choir: Both now, and ever, and unto the ages Et elegisti Patrasso per tuo lecto, and chosest Patras for thy resting-place αἰώνων. Ἀμήν. of ages. Amen. Et per sepulcro questo sancto specco: and for thy tomb this holy cave; Ἅγιος ἀθάνατος, ἐλέησον ἡμᾶς. Holy Immortal, have mercy on us. Prego te, preghi me retrove teco, I pray thee, pray that I may find myself with thee, Per li tuoi merci, nel devin conspecto. by thy mercies, in the sight of God. Δύναμις Dynamis Ὁ α΄ δομέστικος: Δύναμις. 1st Domestikos: [With greater] power. Motetus Motetus Ὁ χορός: Ἅγιος ὁ Θεός, ἅγιος Ἰσχυρός, ἅγιος Choir: Holy God, Holy Strong, Holy Cum tua doctrina convertisti a Cristo With thy teaching thou didst convert to Christ the Ἀθάνατος, ἐλέησον ἡμᾶς. Immortal, have mercy on us. Tuto el paese, et cum la passione et morte whole country, and with the passion and death that Che qui portasti in croce in su lo olivo, thou borest here on the cross above the olive tree. Vasilissa, ergo gaude Mo’ è prolasso in errore et facto tristo, Now it hath slipped into error and is made evil; Si che rempetraglie gracia sí forte wherefore win grace for it again by prayer so strong Triplum and Motetus Triplum and Motetus Che recognoscano Dio vero et vivo. that they may recognize the true and living God. Vasilissa, ergo gaude, Empress, therefore rejoice, Quia es digna omni laude, for you are worth of all praise, Tenor Tenor Cleophe, clara gestis Cleophe, glorious from the deeds Andrea Christi famulus. Andrew the servant of Christ. A tuis de Malatestis, of your Malatesta kin, In Italia principibus leading men in Italy, Kyrie Cunctipotens genitor Magnis et nobilibus. great and noble. Κύριε ἐλέησον. Χριστὲ ἐλέησον. Lord, have mercy. Christ, have mercy. Ex tuo viro clarior, More glorious from your husband, Κύριε ἐλέησον. Lord, have mercy. Quia cunctis est nobilior: for he is nobler than all; Romeorum est despotus, he is despot of the Rhômaioi, Quem colit mundus totus; he whom the world reveres; In porphyro est genitus, he was born in the purple, A deo missus celitus. sent by God from heaven.

Juvenili etate In youthful bloom you abound Polles et formositate and in beauty, Ingenio multum fecunda very fertile [in your wits] Et utraque lingua facunda and eloquent in both tongues, Ac clarior es virtutibus and you are more glorious for your virtues Præ aliis hominibus. above other human beings.

Tenor Tenor Concupivit rex decorem tuum The King hath conceived desire for thy beauty; Quoniam ipse est dominus tuus. for he is thy Lord.

Hymn for Great Compline

Ἡ ἀσώματος φύσις, τὰ Χερουβείμ, The bodiless nature, the Cherubim, ἀσιγήτοις σὲ ὕμνοις, δοξολογεῖ, glorifies you with never silent hymns, Ἑξαπτέρυγα ζῷα τὰ Σεραφείμ, ταῖς The six-winged living creatures, the Seraphim, ἀπαύστοις φωναῖς σὲ ὑπερυψοῖ. [...] exalt you with unceasing voices. [...] Ἅγιε, ἅγιε, ἅγιε, τρισάγιε Κύριε, ἐλέησον καὶ Holy, Holy, Holy, Thrice-holy Lord, have mercy and σῶσον ἡμᾶς. save us.

10 11 Ecclesiæ militantis

Superius Motetus Superius Motetus Ecclesiæ militantis Sanctorum arbitrio Let Rome, seat of the By the holy clerks’ own Roma, sedes Clericorum proprio Church Militant of the judgment that mediates triumphantis Corde meditanti, Father who triumphs in their hearts; the just Patris sursum sidera Equum genus atrio above the stars bring race approaches the hall, Carmen cleri resonantis Accedit ludibrio forth with free voice a an object of mockery for Laudem pontifici dantis Umbre petulanti. song of the clergy praising the wanton shade. Promat voce libera. the Pope.

Gabrielem quem vocavit, Nam torpens inertia Him whom the taking up For sluggish idleness, Dum paternum crimen Longa querens otia in baptism called Gabriel seeking prolonged rest, lavit Nescivit Eugenium; when it washed away an- did not know Eugenius; Baptismatis sumptio Sed iuris peritia cestral sin, papal election but skill in the law and Eugenium revocavit, Cum tota iustitia renamed Eugenius, which all-round justice are his Bonum genus quod Sunt eius ingenium. marked his good race. nature. notavit Pontificis lectio.

Quod consulta contio — Hinc est testimonium: Which the well-advised The proof of this, that he Que nam sancta ratio — Pacem querit omnium, assembly — O what holy seeks peace for all, hating Sic deliberavit Exosus piaculi; reasoning — has so sin and his triple dominion Ut sola devotio Et trinum dominium determined, that devotion defeats the pomp of Regnet in palatio Demonis et carium alone may reign in the the devil, the flesh and Quod deus beavit. Pompam vincit seculi. palace that God blessed. the world.

Certe deus voluit Quam color ipse poli Certainly God willed it, Say: As is the very Et in hoc complacuit Dic scutum quod attuli and in this gave pleasure color of the heaven, is the Venetorum proli; Tibi, pater optime, to the Venetian stock, shield that I have brought Sed demon indoluit Sacrum dat, quod oculi but the devil was grieved thee; it makes a sacred Quod peccatum defuit Tui instar speculi that sin was absent from object that thine eyes see Tante rerum moli. Cernunt nitidissime. an affair of such great most brightly, like a moment. mirror.

Dulcis pater populi Eia tu pulcherrime, Sweet father of the Hail, most beauteous Qui dulcorem poculi Querimur, tenerrime people, who abhorrest one, we bewail, most Crapulam perhorres; Moram longi temporis. the sweetness of the cup, tender one, the delay of Pone tento consuli Ducimur asperrime, namely drunkenness, a long time; we are led Rem gregis pauperculi Nescio quo ferrime, entrust to a cautious most harshly we know Ne nescius erres. Ad fulmentum corporis. counselor the business not whither, most cruelly, of thy poor little flock, to the support of the lest thou go astray in body. ignorance.

Pater herens filio Una tibi trinitas Let the Father ever God, the One Trinity, the Spiritus confinio Vera deus unitas cleaving to the Son in the true Unity, grant thee the Det prece solemni Det celi fulgorem, neighborhood of the blaze of heaven, whom Gaudium Eugenio, Quem linea bonitas, Spirit give by our linen goodness and silver Perfuncto dominio, Argentea castitas, solemn prayer joy to chastity regularly In vita perenni. Secernit in morem. Eugenius, when his reign distinguish. Amen. Amen. is over, in eternal life! Amen. Amen. Contratenor Contratenor Bella canunt gentes, querimur, pater optime, tempus: The nations [or heathen] sing of wars; we complain, Expediet multos, si cupis, una dies. O best of fathers, of our time. One day will dispatch Nummus et hora fluunt magnumque iter orbis agendum many, if thou so desire. Money and time are pouring Nec suus in toto noscitur orbe deus. away, and the great journey must be made over the Amen. earth, but nowhere in the whole world is its God known. Amen.

Tenors Tenors Gabriel. Gabriel. Ecce nomen domini. Behold the name of the Lord. 12 13 Canon in Honor of Thomas Aquinas: Ode 1 Lament for the Fall of Constantinople

Θεολογίας τὸν κλεινὸν διδάσκαλον ἀνευφημῆσαι Longing to praise the famous teacher of theology, I Ὁ Θεὸς ἤλθοσαν ἔθνη εἰς τὴν κληρονομίαν σου, O God, the heathen have come into your inheritance; ποθῶν, ὡς ἀσθενὴς λόγου σοί, Χριστέ, προσέρχομαι approach You, O Christ, as one of infirm utterance. ἐμίαναν τὸν ναὸν τὸν Ἅγιόν σου, Κύριε. Ἔθεντο they have defiled your holy temple, O Lord. They λόγον σοφίας πνεῦσαί μοι, ὅπως τοῦτον ἀξίως κατα- Inspire me with wise speech so that I may worthily τὰ θνησιμαία τῶν δούλων σου, βρώματα τοῖς have given the dead bodies of your servants to be meat κοσμήσω τοῖς ᾄσμασι καὶ χαρμονικοῖς μελῳδήμασι. adorn him by songs and harmonious melodies. πετεινοῖς τοῦ οὐρανοῦ, τὰς σάρκας τῶν ὁσίων σου for the birds of the air and the flesh of your saints to τοῖς θηρίοις τῆς γῆς ἐξέχεαν τὸ αἵμα αὐτῶν ὡσεὶ the beasts of the earth. They have shed their blood Ὥσπερ ἀστὴρ ἀπὸ δυσμῶν ἐξέλαμψε τῇ ἐκκλησίᾳ As a star from the West he illumined the church of ὕδωρ κύκλῳ Ἱερουσαλὴμ καὶ οὐκ ἦν ὁ θάπτων. like water round about Jerusalem and there was no one Χριστοῦ ὁ μουσικὸς κύκνος καὶ λεπτὸς Christ: the musical swan and subtle teacher, Thomas the Ἐγενήθημεν ὄνειδος τοῖς γείτοσιν ἡμῶν. Ἔως to bury them. We have become a reproach to our διδάσκαλος, Θωμᾶς ὁ παμμακάριστος ὁ Ἀγχίνους wholly blessed, called Aquinas (=sagacious). πότε, Κύριε· πάλιν· ἕως πότε, Κύριε, ὀργισθήσῃ neighbors, subjected to scorn and derision from those τῇ κλήσει, ᾧ συνελθόντες βοήσωμεν· χαίροις, Coming before him let us cry: Hail, teacher of the εἰς τέλος· ἐκκαυθήσεται ὡς πῦρ ὁ ζῆλός σου; around us. How long, O Lord?—Again—How long, οἰκουμένης διδάσκαλε. universe. Ἔκχεον τὴν ὀργήν σου ἐπὶ τὰ ἔθνη τὰ μὴ O Lord? Will you be angry forever? How long shall γινώσκοντά σε, καὶ ἐπὶ βασιλείας τὸ ὄνομά σου your jealousy burn as fire? Pour out your wrath on the Μῦρον εὐῶδες καὶ τερπνὸν ἐξέβλυσεν ἐκ τῆς τιμίας Sweet-smelling and pleasant myrrh gushed forth the οὐκ ἐπεκαλέσαντο. Μὴ μνησθῆς ἡμῶν ἀνομιῶν nations that do not know you, and on kingdoms which σοροῦ, ἐν ᾗ σεμνῶς κεῖται τὸ παναγιώτατον precious coffin in which your all-holy and lawgiving ἀρχαίων, ἀλλὰ βοήθησον ἡμῖν ταχύ, καὶ ἐλέησον have not called upon your name. Do not remember our καὶ θεσμοφόρον σῶμά σου, ἱερώτατε πάτερ, τῆς body reposes, most reverend father, teacher of piety ἡμᾶς. old sins, but quickly help us, and have mercy on us. εὐσεβείας διδάσκαλε καὶ τῆς ἀσεβείας ἀντίπαλε. and the opponent of impiety. —Adapted from Psalm 78 (LXX)

Ἀνερμηνεύτως τὸν Θεὸν συνέλαβες, παρθενομήτορ Inexplicably you conceived God, pure Virgin Lamentatio Sanctæ Matris Ecclesiæ ἀγνή, ἄνευ σπορᾶς τοῦτον Mother, above reason you brought Him forth without Constantinopolitanæ ὑπὲρ λόγον τέτοκας, παρθένος διαμείνασα ὥσπερ seed, and in giving birth remained a virgin, even ἦς πρὸ τοῦ τόκου, καὶ ἐν τῷ τίκτειν πανάμωμε· as you were before childbirth, O all-blameless one, Triplum and Duplum Triplum and Duplum ὅθεν Θεοτόκον σὲ σέβομεν. wherefore we honor you as Theotokos. O tres piteulx de tout espoir fontaine, O most merciful fount of all hope, Father of the Pere du filz dont suis mere esploree, son whose tearful mother I am, I come to lay my Communion Verse Plaindre me viens a ta court souveraine, complaint before your sovereign court, in that your De ta puissance et de nature humaine, power and human nature, have allowed such Ὁ ἐωρακὼς ἐμὲ ἐώρακε τὸν Πατέρα, καὶ ὁ τρώγων He who has seen me has seen the Father, and he who Qui ont souffert telle durte villaine grievous harm to be done to my son, who has μου τὴν σάρκα, καὶ πίνων μου τὸ αἷμα ἐν ἐμοὶ eats my flesh and drinks my blood dwells in me and Faire a mon filz, qui tant ma hounouree. honored me so. μένει κἀγὼ ἐν αὐτῷ, εἶπεν ὁ Κύριος. I in him, says the Lord. —John 14:9 and 6:56 Dont suis de bien et de joye separee, Now I am bereft of goodness and joy, without Canon for the Council of Florence: Ode 5 Sans qui vivant veulle entendre mes plains. anyone alive to hear my laments. To you, the only God, A toy, seul dieu, du forfait me complains, I submit my complaints, of the grievous torment and Τὴν σεβάσμιον ταύτην καὶ ἁγίαν σύνοδον πιστῶς With faith we honor this venerable and holy synod, Du gref tourment et douloureulx oultrage, sorrowful outrage, which I see the best of men suffer γεραίρομεν, τὴν ἐν Φλωρεντίᾳ ἱερῶς συναχθεῖσαν devoutly gathered in the Spirit in Florence, to set Que voy souffrir au plus bel des humains without any comfort from the whole human race. ἐν πνεύματι καὶ τὰς ἐκκλησίας διερρηγμένας aright in unity the desperately divided churches. Sans nul confort de tout humain lignage. ἀνιάτως ἐν ἑνώσει αὐτὰς κατευθύνασαν. Tenor Tenor Ἡ φωνὴ τοῦ Σωτῆρος ἀληθῶς πεπλήρωται, ἡ πάλαι The voice of the Savior is truly fulfilled, which said Omnes amici ejus spreverunt eam, All her friends have dealt treacherously with her; φήσασα ἱερῷ τῷ Πέτρῳ· Ἐπιστρέψας στηρίξεις εἰς long ago to blessed Peter: “Having returned, support Non est qui consoletur eam ex omnibus caris ejus. there is not one of her lovers to comfort her. ἕνωσίν σου τοὺς ἀδελφούς σου. Ἐγὼ γὰρ, Πέτρε, your brethren in your unity; for I prayed, Peter, that you ἐδεήθην, ἵνα μήποτε λείψῃ ἡ πίστις σου. may never be lacking in faith.”

Νῦν ὁ Ῥώμης προστάτης· ὁ κλεινὸς Εὐγένιος, Now the protector of Rome, the glorious Eugenius, πάντας συνήθροισε ἐν τῇ Φλωρεντίᾳ ὡς τὴν in order to uphold the faith unshaken, gathered πίστιν κατέχων ἀκλόνητον, καὶ στηρίξας πάντος, everyone in Florence, and supporting all and conducting καὶ πρὸς αὐτὴν καθοδηγήσας, τοῦ Σωτῆρος τὸν them toward that faith, he fulfilled the word λόγον ἐκπλήρωσε. of the Savior.

Συνελθόντες ἐν πίστει, πάντες μακαρίζομέν σε Gathered in faith we all bless you, most-pure Virgin, τὴν πανάμωμον, τὴν τὰ διεστῶτα παραδόξως, who once miraculously joined the separated things Παρθένε, συνάψασαν τῷ σεπτῷ σου τόκῳ, ἀλλὰ [i.e. humanity and divinity] through your sacred καὶ νῦν ταῖς ἐκκλησίαις τὴν εἰρήνην καλῶς Offspring, but who have now rightly secured peace for προξενήσασαν. the churches.

14 15 Saturday, November 15: Act I PETROS THE PELOPONNESIAN: PORTRAIT OF A MUSICAL GENIUS ARCHDIOCESAN BYZANTINE CHOIR OF THE GREEK ORTHODOX ARCHDIOCESE OF AMERICA

Directed by Demetrios Kehagias

Program

Κύριε ἐκέκραξα – Στιχηρά (Lord I have cried to you - Stichera) Mode I

Μακάριος ἀνήρ (Blessed is the man) Mode plagal IV

Τριαδικὰ Μεγαλυνάρια Μεσονυκτικοῦ (Trinitarian hymns for Midnight Office) Mode plagal II

Θεαρχίῳ νεύματι (By divine command) Octaechon (Modes I through plagal IV)

Μὴ ἀποστρέψῃς (Do not hide your face) Mode plagal IV

Ἀπόσπασμα Κανόνος Ἀκαθίστου Ὕμνου (Excerpt from Kanon for Hymn) Mode IV

Εἰς μνημόσυνον (The righteous will be) Mode varys

Μεγάλη Δοξολογία (Great Doxology) Mode III

INTERMISSION (15 Minutes)

16 17 NOTES Κύριε ἐκέκραξα – Στιχηρὰ Ἑσπερινοῦ served as Lampadarios (later Protopsaltis) at the (Lord, I have cried – Vespers Stichera) patriarchal church of Saint George. Petros the Peloponnesian is widely regarded as As a cantor and composer of sacred works and Psalms 140, 141, 129 and 116 are chanted daily Ἀπόσπασμα Κανόνος Ἀκαθίστου Ὕμνου the greatest Greek ecclesiastical musician after a distinguished performer and teacher of in the Vespers service with hymns known as (Excerpt from Kanon for Akathist Hymn) the Fall of Constantinople in 1453. A prolific classical Ottoman music, Petros was well stichera interpolated between the verses. The composer with an austere and highly refined known outside Greek Orthodox musical stichera for Saturday evening, which praise The rite of the Salutations to the Theotokos is celebrated on Fridays of Great Lent. It includes compositional style, he contributed to the circles. The great respect he enjoyed across Christ’s Resurrection, were written by Saint John of Damascus (ca. 675–749). Petros set them in the reading of the daily Small Compline service, simplification of the notational system and was Constantinople is evidenced by the account of the chanting of a kanon (i.e., a poem consisting instrumental in the transcription of the oral his funeral*: an unadorned fashion with very few text- painting flourishes. of a number of odes that are patterned after the tradition of his time. No other musician has nine Biblical Canticles) in the fourth mode by exerted as great an influence on the music of At the funeral of [Petros], which took place in Μακάριος ἀνήρ (Blessed is the man) Saint (9th century), and the intonation of the Akathist Hymn, an the Greek Orthodox Church in the past two the patriarchal church, the following incident Psalms 1–3 are read every Saturday evening in hundred and fifty years. occurred: The Dervisai [Dervishes] from all the early Byzantine literary masterpiece of unknown Vespers. On feast days, they are chanted in the authorship that is traditionally attributed to Tekkedes [Sufi meeting places] of the queen city plagal fourth mode. This excerpt from a Born around 1735 in the Peloponnesos, came and asked for the permission of Patriarch Saint Romanos the Melodist (5th–6th century). popular setting by Petros inspired revisions and This setting of the first and ninth odes of the Petros and his family moved, first, to Smyrna Sophronios II that they might also sing their own similar settings by subsequent composers. kanon is by Chrysanthos Theodosopoulos and, then, to Constantinople, where he studied funeral songs to the dead, as a sign of respect to The final vowel of each verse is set to a more (1920–88), Protopsaltis of the Saint music under Ioannis Trapezountios, the teacher. The Patriarch answered: “I also feel extended, melismatic musical phrase, followed Demetrios Cathedral of Thessaloniki. At the Protopsaltis (chief cantor) of the your great sadness, which was caused to all of us by the standard Alleluia refrain. end of each ode, the heirmos (introductory Ecumenical Patriarchate. From 1764 until by the death of the blessed teacher. I do not say Τριαδικὰ Μεγαλυνάρια Μεσονυκτικοῦ stanza) is repeated in a slower, more ornamental 1771, Petros served as Domestikos (assistant you no; but so that the Government does not get (Trinitarian Hymns for Midnight Office) setting by Petros. to the Protopsaltis) of the patriarchal church embittered, please could all of you follow us to These hymns to the Holy Trinity are chanted Εἰς μνημόσυνον (The righteous will be) of Saint George in the Phanar district of the grave and there perform your duty towards every Sunday in the Midnight Office, which, The second half of verse 6 of Psalm 111 is Constantinople. He was promoted to him.” The Dervisai obeyed to these words of the especially in monastic practice, precedes the Lampadarios (leader of the left choir) in Patriarch and followed in tears the dead, and chanted in a slow, melismatic fashion as Orthros (morning) service. The melody in the Communion Verse of the Divine Liturgy. It 1771 and remained in this position until his after the chanted trisagion and the deposition of plagal second soft chromatic mode is derived is chanted every Tuesday, in memory of Saint untimely death from the plague in 1778. He the dead in the grave, they chanted passionately. from the traditional setting of the most popular John the Baptist, and on feast days of major taught, along with Daniel (d. 1789), One of them descended into the grave bringing hymn to the Theotokos, It is truly meet (Ἄξιόν saints. The classical setting by Petros is in the Protopsaltis, and Iakovos (d. 1800), in his hands his flute and said in Turkish: “O ἐστιν). diatonic varys mode, whose scale and Domestikos and later Protopsaltis, in the blessed teacher, receive this from us, your orphan Θεαρχίῳ νεύματι (By divine command) intervallic structure are generally unfamiliar Second Patriarchal Musical School, which was students, this last gift, so that with it you might to western audiences. Consistent with the founded in 1776 by Patriarch Sophronios II. sing in the Paradise with the Angels.” And This hymn is chanted in Vespers of the traditional morphology of Communion Verses, Dormition of the Theotokos, celebrated on deposing the flute in the hands of the dead, he the composition starts in the lower register, August 15. Its popularity among cantors is due Petros composed a great number of works in came out with tears. Then the Christians buried gradually ascends and climaxes, and, through a to its unique musical morphology. Rather than descending motif sequence, returns to the lower almost all the genres of ecclesiastical music as Peter as prescribed. staying within a single musical mode, it starts register and is concluded with a Kratima (i.e., a well as secular songs and works of classical in the first mode, goes through the remaining passage of meaningless syllables set to music) Ottoman music. Most of his compositions, Tonight the Archdiocesan Byzantine Choir of modes of the Psaltic Art, and finally returns and the Alleluia refrain. especially his settings of the Anastasimatarion the Greek Orthodox Archdiocese of America is to the first mode. The hymn is performed (Sunday hymnal), the Doxastarion (collection performing popular masterpieces by Petros and antiphonally by two choirs. The right choir Μεγάλη Δοξολογία (Great Doxology) of hymns for major feast days), and the some of his lesser-known works, all of which chants the parts in the authentic modes and the The Great Doxology consists of the hymn Heirmologion (collection of hymns for Othros), comprise the portrait of a musical genius. left choir the parts in the plagal ones. “Glory to God in the highest and on earth peace, are used in Greek Orthodox churches to this Μὴ ἀποστρέψῃς (Do not hide your face) goodwill among men” and a series of psalmic day. The publishing history of Greek Grammenos Karanos, Ph.D. verses along with other non-biblical verses. It is Psalm 68:18–19 is chanted in a slow, solemn, ecclesiastical music attests to the popularity Assistant Professor of Byzantine Liturgical Music chanted at the end of the Orthros service on and melismatic style during Vespers of Clean Sundays and on major feast days. Beginning in of his hymns. His Anastasimatarion and Holy Cross Greek Orthodox School of Theology Monday, marking the beginning of the the early 17th century, a great number of Doxastarion were the first notated musical penitential period of Great Lent. The classical composers have set the Great Doxology in all scores of the genre to be published (Bucharest, *This story is preserved on the official website of the setting in the plagal fourth mode by Petros is eight modes and various compositional styles. 1820). Ecumenical Patriarchate here performed in an arrangement by Thra- The bright and majestic quality of this setting by (http://www.ec-patr.net/en/history/petros-lambadarios.htm). syvoulos Stanitsas (1910–87), one of the greatest Petros in the third mode makes it suitable for cantors of the 20th century who, like Petros, festive occasions. 18 19 TEXTS* Ἄξιόν ἐστιν ὡς ἀληθῶς τοῦ δοξάζειν σε τὸν Θεὸν It is truly right to glorify you, God the Word, Λόγον. Ὃν φρίττει καὶ τρέμει τὰ Χερουβείμ, καὶ at whom the Cherubim quail and tremble and Κύριε ἐκέκραξα – Στιχηρά Lord, I have cried – Stichera δοξολογοῦσιν αἱ Δυνάμεις τῶν οὐρανῶν, τὸν whom the Powers of heaven glorify. ἐξαναστάντα τριήμερον ἐκ τάφου, Χριστὸν τὸν Christ, the giver of life, who rose from Κύριε ἐκέκραξα πρὸς σέ, εἰσάκουσόν μου, εἰσάκουσόν Lord, I have cried to you, hear me; hear me, O Lord. ζωοδότην, φόβῳ δοξάσωμεν. the grave on the third day, with fear let us glorify. μου, Κύριε. Κύριε, ἐκέκραξα πρὸς σέ, εἰσάκουσόν μου, Lord, I have cried to you, hear me. πρόσχες τῇ φωνῇ τῆς δεήσεώς μου, ἐν τῷ κεκραγέναι με Give heed to the voice of my supplication when I cry to Ὑμνήσωμεν πάντες θεοπρεπῶς, ᾄσμασιν ἐνθέοις, τὸν As befits God, let us all praise with songs inspired the πρὸς σέ, εἰσάκουσόν μου, Κύριε. you. Hear me, O Lord. Πατέρα καὶ τὸν Υἱὸν καὶ Πνεῦμα τὸ θεῖον, Father and the Son and the divine Spirit, τρισυπόστατον κράτος, τὴν μίαν Βασιλείαν καὶ three-personned might, one kingship and dominion. Κατευθυνθήτω ἡ προσευχή μου ὡς θυμίαμα ἐνώπιόν Let my prayer be directed like incense before you; Κυριότητα. σου, ἔπαρσις τῶν χειρῶν μου θυσία ἑσπερινή, the lifting up of my hands be an evening sacrifice. εἰσάκουσόν μου, Κύριε. Hear me, O Lord. Ἐκ νεκρῶν ἰδοῦσα τὸν σὸν Υἱόν, ἄχραντε Παρθένε, Immaculate Virgin, all creation seeing your Son risen ἀναστάντα θεοπρεπῶς, χαρᾶς ἀνεκφράστου ἡ κτίσις from the dead, as befits God, has been filled with Τὰς ἑσπερινὰς ἡμῶν εὐχὰς πρόσδεξαι Ἅγιε Receive our evening prayers, O Holy Lord, and grant us ἐπληροῦτο, αὐτὸν δοξολογοῦσα καὶ σὲ γεραίρουσα. unspeakable joy, as it glorifies him and honors you. Κύριε, καὶ παράσχου ἡμῖν ἄφεσιν ἁμαρτιῶν, ὅτι μόνος forgiveness of sins; because you alone made known the εἶ ὁ δείξας ἐν κόσμῳ τὴν ἀνάστασιν. Resurrection in the world. Θεαρχίῳ νεύματι By divine command Κυκλώσατε λαοὶ Σιών, καὶ περιλάβετε αὐτήν, καὶ δότε Go around Sion, you peoples, and encompass her, and δόξαν ἐν αὐτῇ τῷ ἀναστάντι ἐκ νεκρῶν· give glory in her to him who rose from the dead; Ἦχος α΄ Mode I ὅτι αὐτός ἐστιν ὁ Θεὸς ἡμῶν, ὁ λυτρωσάμενος ἡμᾶς ἐκ for he is our God, who has redeemed us from our Θεαρχίῳ νεύματι πάντοθεν οἱ θεοφόροι Ἀπόστολοι ὑπὸ By divine command the god-bearing Apostles were τῶν ἀνομιῶν ἡμῶν. iniquities. νεφῶν μεταρσίως αἰρόμενοι. caught up from all over the world by clouds on high.

Δεῦτε λαοὶ ὑμνήσωμεν καὶ προσκυνήσωμεν Χριστόν, Come you peoples, let us hymn and worship Christ as Ἦχος πλάγιος α΄ Mode plagal I δοξάζοντες αὐτοῦ τὴν ἐκ νεκρῶν ἀνάστασιν· ὅτι αὐτός we glorify his Resurrection from the dead; because he is Καταλαβόντες τὸ πανάχραντον καὶ ζωαρχικόν σου Reaching your all-immaculate body, source of life, they ἐστιν ὁ Θεὸς ἡμῶν, ὁ ἐκ τῆς πλάνης τοῦ ἐχθροῦ τὸν our God, who has redeemed us from the error of the foe. σκῆνος, ἐξόχως ἠσπάζοντο. kissed it with mighty honor. κόσμον λυτρωσάμενος. Ἦχος β΄ Mode II Μακάριος ἀνήρ Blessed is the man Αἱ δὲ ὑπέρτατοι τῶν οὐρανῶν Δυνάμεις σὺν τῷ οἰκείῳ The highest Powers of heaven stood by with their own Μακάριος ἀνήρ, ὃς οὐκ ἐπορεύθη ἐν βουλῇ ἀσεβῶν. Blessed is the man who walks not in the counsel of the Δεσπότῃ παραγενόμεναι. Master. Ἀλληλούϊα. ungodly. Alleluia. Καὶ ἐν ὁδῷ ἁμαρτωλῶν οὐκ ἔστη. Ἀλληλούϊα. Nor stands in the path of sinners. Alleluia. Ἦχος πλάγιος β΄ Mode plagal II Διὰ τοῦτο οὐκ ἀναστήσονται ἀσεβεῖς ἐν κρίσει. Therefore the ungodly shall not stand in judgment. Τὸ θεοδόχον καὶ ἀκραιφνέστατον σῶμα προπέμπουσι, Seized with dread they accompanied your inviolate body Ἀλληλούϊα. Alleluia. τῷ δέει κρατούμεναι, ὑπερκοσμίως δὲ προῴχοντο καὶ that had contained God; while they went on before in a Οὐδὲ ἁμαρτωλοὶ ἐν βουλῇ δικαίων. Nor sinners in the congregation of the righteous. ἀοράτως ἐβόων ταῖς ἀνωτέραις ταξιαρχίαις· ἰδοὺ ἡ manner not of this world and crying out, unseen, to the Ἀλληλούϊα. Alleluia. παντάνασσα θεόπαις παραγέγονεν. ranks above them: See, the Queen of all, God’s Child, Ὁ κατοικῶν ἐν οὐρανοῖς ἐκγελάσεται αὐτούς. He who sits in the heavens shall laugh. has come. Ἀλληλούϊα. Alleluia. Καὶ ἐν τῷ θυμῷ αὐτοῦ ταράξει αὐτούς. Ἀλληλούϊα. And distress them in his deep displeasure. Alleluia. Ἦχος γ΄ Mode III Δουλεύσατε τῷ Κυρίῳ ἐν φόβῳ. Ἀλληλούϊα. Serve the Lord with fear. Alleluia. Ἄρατε πύλας καὶ ταύτην ὑπερκοσμίως ὑποδέξασθε τὴν Lift up the gates, and in a manner not of this world Σὺ δέ, Κύριε, ἀντιλήπτωρ μου εἶ. Ἀλληλούϊα. But you, O Lord, are a shield for me. Alleluia. τοῦ ἀενάου φωτὸς Μητέρα. receive the Mother of the everlasting light. Φωνῇ μου πρὸς Κύριον ἐκέκραξα. Ἀλληλούϊα. I cried to the Lord with my voice. Alleluia. Ἦχος βαρύς Mode varys Ἀλληλούϊα, Ἀλληλούϊα, Ἀλληλούϊα. Δόξα σοι ὁ Θεός. Alleluia, Alleluia, Alleluia. Glory to you, O God. Διὰ ταύτης γὰρ ἡ παγγενὴς τῶν βροτῶν σωτηρία For through her the salvation of all mortals has come. (δίς) (twice) γέγονεν, ᾗ ἀτενίζειν οὐκ ἰσχύομεν καὶ ταύτῃ ἄξιον γέρας We have not the strength to gaze on her, and it is not Τριαδικὰ Μεγαλυνάρια Μεσονυκτικοῦ Κυριακῆς Trinitarian Hymns for Sunday Midnight Office ἀπονέμειν ἀδύνατον. possible to render her worthy honor.

Ἄξιόν ἐστιν ὡς ἀληθῶς τὴν ὑπέρθεον ὑμνεῖν Τριάδα, It is truly right to praise the divine Trinity, Ἦχος δ΄ Mode IV Ἄναρχον Πατέρα καὶ παντουργόν, Συνάναρχον Λόγον, the Father without beginning and Maker of all, the co- Ταύτης γὰρ τὸ ὑπερβάλλον ὑπερέχει πᾶσαν ἔννοιαν. For her excellence outstrips all understanding. πρὸ αἰώνων ἐκ τοῦ Πατρὸς ἀρρεύστως τεχθέντα, eternal Word, born without change from the Father καὶ τὸ Ἅγιον Πνεῦμα, τὸ ἐκ τοῦ Πατρὸς ἀχρόνως before the ages, and the Holy Spirit, proceeding Ἦχος πλάγιος δ΄ Mode plagal IV ἐκπορευόμενον. timelessly from the Father. Διὸ ἄχραντε Θεοτόκε, ἀεὶ σὺν ζωηφόρῳ Βασιλεῖ καὶ Therefore, immaculate Mother of God, as you live for τόκῳ ζῶσα, πρέσβευε διηνεκῶς περιφρουρῆσαι καὶ ever with the life-bearing King, your Offspring, pray *English translations of liturgical texts are from Archimandrite Ephrem Lash’s website (www.anastasis.org.uk) and The Akathist σῶσαι ἀπὸ πάσης προσβολῆς ἐναντίας τὴν νεολαίαν without ceasing that he guard and save from every Hymn, Preceded by the Brief Compline, The Original Greek Text with a New Translation by Father George Papadeas (Patmos σου· τὴν γὰρ σὴν προστασίαν κεκτήμεθα. hostile assault your new people; for we have gained Press, 1994). Spellings have been Americanized. Archaic pronouns have been modernized. Biblical references are from the your protection. Orthodox Study Bible. The numbering of Psalms is according to the Septuagint. 20 21 Ἦχος α΄ Mode I Ὤφθης φωτισμὸς ἡμῶν καὶ βεβαίωσις· ὅθεν βοῶμέν You have appeared as our illumination and our Εἰς τοὺς αἰῶνας ἀγλαοφανῶς μακαρίζοντες. As to the ages with splendor we call you blessed. σοι· Χαῖρε ἄστρον ἄδυτον, εἰσάγον κόσμῳ τὸν μέγαν confirmation; wherefore we declare unto you: Hail! O Ἥλιον, χαῖρε Ἐδὲμ ἀνοίξασα τὴν κεκλεισμένην Ἁγνή, star that does not set, but brings the Great Sun to the Μὴ ἀποστρέψῃς Do not hide your face χαῖρε στῦλε πύρινε, εἰσάγουσα εἰς τὴν ἄνω ζωὴν τὸ world. Hail! O pure one, who re-opened Eden. Hail! O ἀνθρώπινον. fiery pillar, leading the earthly to the heavenly life. Μὴ ἀποστρέψῃς τὸ πρόσωπόν σου ἀπὸ τοῦ παιδός σου, Do not hide your face from your servant, for I am in ὅτι θλίβομαι, ταχὺ ἐπάκουσόν μου, πρόσχες τῇ ψυχῇ trouble; hear me speedily. Draw near to my soul, and Στῶμεν εὐλαβῶς ἐν οἴκῳ Θεοῦ ἡμῶν καὶ ἐκβοήσωμεν· Let us stand reverently in the temple of our God and let μου, καὶ λύτρωσαι αὐτήν. redeem it. Χαῖρε κόσμου Δέσποινα, χαῖρε Μαρία, Κυρία πάντων us cry out: Hail! O Queen of the world. Hail! O Mary, ἡμῶν, χαῖρε ἡ μόνη ἄμωμος ἐν γυναιξὶ καὶ καλή, χαῖρε Lady of us all. Hail! You who are the purest and the Ἀπόσπασμα Κανόνος Ἀκαθίστου Ὕμνου Excerpt from Kanon for Akathist Hymn σκεῦος, μύρον τὸ ἀκένωτον ἐπὶ σὲ κενωθὲν fairest amongst all women. Hail! O vessel, who received εἰσδεξάμενον. within you the inexhaustible myrrh poured out upon you. ᾨδὴ α΄ Ode 1 Ἀνοίξω τὸ στόμα μου καὶ πληρωθήσεται πνεύματος, καὶ I shall open my mouth, and filled with Spirit, I shall Ἡ περιστερὰ ἡ τὸν ἐλεήμονα ἀποκυήσασα, χαῖρε Hail! O Ever-Virgin, the dove that gave birth to the λόγον ἐρεύξομαι τῇ βασιλίδι Μητρί, καὶ ὀφθήσομαι speak to the Queen Mother; and I shall be seen gladly ἀειπάρθενε, Ὁσίων πάντων χαῖρε τὸ καύχημα, τῶν Compassionate one. Hail! You who are the pride of the φαιδρῶς πανηγυρίζων, καὶ ᾄσω γηθόμενος ταύτης τὰ rejoicing, and shall sing with delight all her marvels. Ἀθλητῶν στεφάνωμα, χαῖρε ἁπάντων τε τῶν Δικαίων righteous, and the crown of the martyrs. Hail! O divine θαύματα. θεῖον ἐγκαλλώπισμα, καὶ ἡμῶν τῶν πιστῶν τὸ adornment of the just, and the salvation of us faithful. διάσωσμα. Χριστοῦ βίβλον ἔμψυχον, ἐσφραγισμένην σε Πνεύματι, When the great Archangel saw you, O pure one, the ὁ μέγας Ἀρχάγγελος, Ἁγνὴ θεώμενος, ἐπεφώνει σοι· living Bible of Christ, sealed by the Spirit, he cried unto Φεῖσαι ὁ Θεὸς τῆς κληρονομίας σου, τὰς ἁμαρτίας ἡμῶν O Christ, have mercy on your inheritance; overlook our Χαῖρε χαρὰς δοχεῖον, δι’ ἧς τῆς Προμήτορος ἀρὰ you: Hail! O vessel of gladness, through whom the curse πάσας παραβλέπων νῦν, εἰς τοῦτο ἔχων ἐκδυσωποῦσάν sins, since the one who gave birth to you upon earth λυθήσεται. of the first mother is loosed. σε τὴν ἐπὶ γῆς ἀσπόρως σε κυοφορήσασαν, διὰ μέγα without seed pleads with you; you, O Christ, who ἔλεος θελήσαντα μορφωθῆναι, Χριστέ, τὸ ἀλλότριον. because of your great mercy chose to be fashioned in a Ἀδὰμ ἐπανόρθωσις, χαῖρε Παρθένε Θεόνυμφε, τοῦ Hail! O Virgin-Bride of God, the restorer of Adam and nature other than your divine one. ᾍδου ἡ νέκρωσις, χαῖρε πανάμωμε, τὸ παλάτιον τοῦ the death of Hades. Hail! O blameless one, the palace μόνου Βασιλέως, χαῖρε θρόνε πύρινε τοῦ of the only King. Hail! O fiery throne of the Almighty. Ἅπας γηγενὴς σκιρτάτω τῷ πνεύματι Let all humanity rejoice in spirit as in a torch- Παντοκράτορος. λαμπαδουχούμενος, πανηγυριζέτω δὲ ἀΰλων Νόων procession. Let the host of Celestial Beings celebrate φύσις γεραίρουσα τὴν ἱερὰν πανήγυριν τῆς Θεομήτορος, and glorify the solemn festival of the Mother of God, Ῥόδον τὸ ἀμάραντον χαῖρε ἡ μόνη βλαστήσασα, τὸ Hail! You who alone blossomed the unwilting rose. καὶ βοάτω· Χαίροις παμμακάριστε, Θεοτόκε Ἁγνή, saying: Hail! O most-blessed, pure, Ever-Virgin, μῆλον τὸ εὔοσμον χαῖρε ἡ τέξασα, τὸ ὀσφράδιον τοῦ Hail! You who did bear the fragrant apple so pleasing to ἀειπάρθενε. Theotokos. πάντων Βασιλέως, χαῖρε ἀπειρόγαμε, κόσμου the King of all. Hail! O unwedded Maiden, the salvation διάσωσμα. of the world. Εἰς μνημόσυνον The righteous will be

Ἁγνείας θησαύρισμα, χαῖρε δι’ ἧς ἐκ τοῦ πτώματος ἡμῶν Hail! O treasure of purity, through whom we rose from Εἰς μνημόσυνον αἰώνιον ἔσται δίκαιος. The righteous will be in everlasting remembrance. ἐξανέστημεν, χαῖρε ἡδύπνοον κρίνον Δέσποινα, our fall. Hail! O Lady, sweet-scented lily pleasing all the Ἀλληλούϊα. Alleluia πιστοὺς εὐωδιάζον· θυμίαμα εὔοσμον, μύρον πολύτιμον. faithful. Hail! O fragrant incense, and priceless myrrh. Μεγάλη Δοξολογία Great Doxology Ἀνοίξω τὸ στόμα μου καὶ πληρωθήσεται πνεύματος, καὶ I shall open my mouth, and filled with Spirit, I shall λόγον ἐρεύξομαι τῇ βασιλίδι Μητρί, καὶ ὀφθήσομαι speak to the Queen Mother; and I shall be seen gladly Δόξα σοι τῷ δείξαντι τὸ φῶς, δόξα ἐν ὑψίστοις Θεῷ καὶ Glory to you who have shown us the light. Glory to God φαιδρῶς πανηγυρίζων, καὶ ᾄσω γηθόμενος, ταύτης τὰ rejoicing, and shall sing with delight all her marvels. ἐπὶ γῆς εἰρήνη, ἐν ἀνθρώποις εὐδοκία. in the highest, and on earth peace, goodwill among men. θαύματα. Κύριε βασιλεῦ, ἐπουράνιε Θεέ, Πάτερ παντοκράτορ, Lord, King, God of heaven, Father almighty, Lord, only- Κύριε Υἱὲ μονογενές, Ἰησοῦ Χριστέ, καὶ Ἅγιον Πνεῦμα. begotten Son, Jesus Christ, and Holy Spirit. ᾨδὴ θ΄ Ode 9 Καθ’ ἑκάστην ἡμέραν εὐλογήσω σε καὶ αἰνέσω τὸ ὄνομά Every day I will bless you, and praise your name for Ἅπας γηγενὴς σκιρτάτω τῷ πνεύματι Let all humanity rejoice in spirit as in a torch- σου εἰς τὸν αἰῶνα καὶ εἰς τὸν αἰῶνα τοῦ αἰῶνος. ever and to the ages of ages. λαμπαδουχούμενος, πανηγυριζέτω δὲ ἀΰλων Νόων procession. Let the host of Celestial Beings celebrate Εὐλογητὸς εἶ, Κύριε, ὁ Θεὸς τῶν Πατέρων ἡμῶν, καὶ Blessed are you, O Lord, the God of our fathers, and φύσις γεραίρουσα τὴν ἱερὰν πανήγυριν τῆς Θεομήτορος, and glorify the solemn festival of the Mother of God, αἰνετὸν καὶ δεδοξασμένον τὸ ὄνομά σου εἰς τοὺς praised and glorified your name to the ages. καὶ βοάτω· Χαίροις παμμακάριστε, Θεοτόκε Ἁγνή, saying: Hail! O most-blessed, pure, Ever-Virgin, αἰῶνας. Ἀμήν. Amen. ἀειπάρθενε. Theotokos. Κύριε, καταφυγὴ ἐγενήθης ἡμῖν ἐν γενεᾷ καὶ γενεᾷ, ἐγὼ Lord, you have been our refuge from generation to εἶπα· Κύριε, ἐλέησόν με, ἴασαι τὴν ψυχήν μου, ὅτι generation. I said, Lord, have mercy on me, heal my Ἵνα σοι πιστοὶ τὸ Χαῖρε κραυγάζωμεν οἱ διὰ σοῦ τῆς In order that we may greet you, with ‘Hail,’ O Maiden, ἥμαρτόν σοι. soul, for I have sinned against you. χαρᾶς μέτοχοι γενόμενοι τῆς ἀϊδίου, ῥῦσαι ἡμᾶς deliver all the faithful and partakers of everlasting joy, Παράτεινον τὸ ἔλεός σου τοῖς γινώσκουσί σε. Continue your mercy towards those who know you. πειρασμοῦ, βαρβαρικῆς ἁλώσεως, καὶ πάσης ἄλλης from all temptations, barbaric sieges and every other Ἅγιος ὁ Θεός, Ἅγιος Ἰσχυρός, Ἅγιος Ἀθάνατος, Holy God, Holy Strong, Holy Immortal, have mercy πληγῆς, διὰ πλῆθος, Κόρη, παραπτώσεων, ἐπιούσης affliction that befalls us mortals, because of the ἐλέησον ἡμᾶς. upon us. βροτοῖς ἁμαρτάνουσιν. multitude of our transgressions.

22 23 Friday, November 15: Act II A FASIL FOR A PHANARIOT BEYZADE DÜNYA

Directed by Mehmet Ali Sanlıkol

with Mehmet Ali Sanlıkol Robert Labaree Beth Bahia Cohen Burcu Güleç George Lernis Bertram Lehmann

Program Rast Taksim Improvisation

Terennümlü Rast Peşrev Benli Hasan Ağa (1607–64) Μουσικὸν Ἀπάνθισμα (Mousikon Apanthisma) (1872)

Rast Nakış Attributed to Hoca Abdülkadir Meragi (ca. 1360–1435) Μουσικὸν Ἀπάνθισμα (1856)

Nihavend Şarkı Classical Ottoman song, Anonymous Εὐτέρπη (Euterpe) (1830)

Nühüft Phanariot song, attributed to Nikiforos Kantouniaris (early 19th century)

Terennümlü Rast Semai Benli Hasan Ağa (1607–64)

Hicaz Taksim Improvisation

Hicaz Şarkı Şivelioğlu Kemani Yorgi (18th century) Εὐτέρπη (1830) 24 25 Hicaz Yürük Semai TEXTS Acem Salih Ağa (d. 1725) Εὐτέρπη (1830) Terennümlü Rast Peşrev A classical instrumental piece preserved in Byzantine notation as a textless vocal piece sung on the syllables Tempolu Müşterek Gazel “le”, “ne”, and “re.” Collective vocal improvisation Rast Nakış Amed nesim-i subh-u dem, Feeling the morning breeze, Hisarbuselik Şarkı tersem ki azareş kuned. I am afraid that it will awaken my beloved. Classical Ottoman song, Numan Ağa (d. 1725) Nihavend Şarkı Εὐτέρπη (1830) Yitirdim gül-i ranamı el aman. I have lost my rose-like beauty. Başıma dar olmuştur şimdi cihan. I cannot bear this life anymore. Hisarbuselik Tragoudi Phanariot song, Gregorios Protopsaltis (1778–1822) Nühüft A Phanariot song that typifies the secular art music enjoyed by the aristocratic Greek families of Εὐτέρπη (1830) Constantinople’s Phanar district. Accompanied by the Holy Cross St. Romanos the Melodist Byzantine Choir Μὲ τὰς ζωηρὰς ἀκτίνας With the vivacious rays Nişaburek Yürük Semai τῶν ὡραίων σου ματιῶν, of your beautiful eyes, ποὺ ἀστράπτουν θαυμασίως which flash so wonderfully Phanariot song, Georgios Soutzos (18th century) καὶ τιτρώσκουν ἐξαισίως. and exquisitely impose themselves. Πανδώρα (Pandora) (1843) Accompanied by the Holy Cross St. Romanos the Melodist Byzantine Choir Terennümlü Rast Semai A continuation of the classical instrumental piece that opened this program. It is sung on the syllables “le” an d “re .”

Hicaz Şarkı A classical Ottoman song composed by the well-known Ottoman-Greek musician Şivelioğlu Kemani Yorgi, NOTES who is credited with popularizing the Western violin in Istanbul. Most musical traditions within the greater neumes, the Greek alphabet to record the texts Var mı sen gibi beyaz ten Is there another snow-white like you Ottoman cultural zone have used oral tradition of the compositions, which were in the sine güya yasemenden? with a chest as if made out of jasmine? as their principal method of learning and Turkish language. This combination of the Hicaz Yürük Semai teaching. The neumatic notation system of Greek alphabet and the Turkish language was Parts of this classical Ottoman composition resemble the aesthetics of the contemporary version of Hicaz Byzantine ecclesiastical music, primarily used traditionally used by most Anatolian Greeks songs. to preserve the sacred liturgy of Greek and is usually referred to as Karamanlidika in Seyreyle o gülruyi ki nev-afet-i candır Take a look at this rose-faced young beauty, Orthodoxy, is the exception. Although Greek or Karamanlıca in Turkish. ebrusu güzel çeşmi siyah, kaddi fidandır. what beautiful eyebrows, black eyes and a sapling significant attempts were made to adopt like figure. a variety of notation systems to classical Our program showcases music from these Hisarbuselik Şarkı Be generous to your servant and don’t make him cry. Ottoman/Turkish music beginning as early publications with an emphasis on the first of Ah eyle kerem uşakına ağlatma aman. Teşrif eyle bezmimize bir gice heman. Join our feast some night before it’s too late. as the mid-17th century, until 1875, when the these printed publications, entitled Εύτέρπη earliest examples of publications using western [Euterpe] (1830). The selections, all transcribed Hisarbuselik Tragoudi staff notation for classical Ottoman/Turkish and edited by Mehmet Ali Sanlıkol, are Ἔλπιζα καὶ πάλι ἐλπίζω μὲ ἐλπίδα σταθερά, I hoped, and I still hope steadfastly, music appeared, none of these systems found modeled after the classical Ottoman suite or ἐπειδὴ καὶ ἡ καρδιά μου ἦταν πάντα καθαρά. because my heart was always pure. general acceptance. However, from the end of fasıl, consisting of a set of songs often framed Ὑποφέρω μέχρι τέλους κάθε εἶδος ταραχῆς, I suffer to the end every sort of trouble, the 14th century, Byzantine notation was used by instrumental preludes and postludes. γιατ’ ἐλπίζω νὰ συζήσω μὲ ἐσένα εὐτυχῆς . because I hope to live with you happily. to preserve secular music, and the first printed Tonight’s program aims at recreating a recital collection of hundreds of Ottoman/Turkish that would have been enjoyed by a Phanariot Nişaburek Yürük Semai One of the oldest examples of a Phanariot song with Greek lyrics. classical music pieces, notated in Byzantine Beyzade (a Greek-Ottoman prince) in neumes, was published as early as 1830. The 19th-century Istanbul. Ἤστραπτε στὸ πρόσωπόν σου καλλονὴ ἀγγελική, Angelic beauty shone on your face, published repertoire was almost exclusively διὰ τοῦτο κὶ ἡ μορφή σου μὲ ἀγγέλους κατοικεῖ. and that’s why your shape resides with the angels. classical Ottoman/Turkish vocal music. The Mehmet Ali Sanlıkol Τὸ λοιπὸν μέσα στὸν ᾅδην, τάρταρα τὰ ζοφερὰ, From now on, in the dark confines of Hades, publications used, in addition to Byzantine Director, DÜNYA πρέπει πλέον νὰ γυρεύω τὴν ὡραίαν μου κυρά. I must search for my beautiful lady.

26 27 BIOGRAPHIES Cappella Romana the Church of the Anastasis (The Holy Greek Orthodox Archdiocesan Ecumenical Patriarch Bartholomew expressed Sepulcher) in Jerusalem, and the large-scale Byzantine Choir his appreciation of the choir: “There is Its performances “like jeweled light flooding Slavonic choral work Passion Week by something uniquely inspiring about a concert the space” (Los Angeles Times), Cappella Maximilian Steinberg (1883–1946), a student The Archdiocesan Byzantine Choir of the with authentic traditional religious music. Romana is a vocal chamber ensemble and son-in-law of Rimsky-Korsakov and Greek Orthodox Archdiocese of America was For when it is genuinely and respectfully dedicated to combining passion with teacher of Shostakovich. formed in 2010 after His Eminence Archbishop performed as it was tonight by the scholarship in its exploration of the musical Demetrios of America expressed a desire for Archdiocesan Byzantine Choir of the Greek traditions of the Christian East and West, In 2010, Cappella Romana joined the the formation of a choir to promote the rich Orthodox Archdiocese of America, not only with emphasis on early and contemporary research project Icons of Sound: Aesthetics and Byzantine musical heritage of the Orthodox does it unite heaven and earth, but it also music. Founded in 1991, Cappella Romana’s Acoustics of Hagia Sophia, Istanbul (http:// Church. The choir consists of clergy and young connects all of humanity—above and beyond name refers to the medieval Greek concept iconsofsound.stanford.edu/), a collaboration men. The majority of the choir members are any racial, cultural, and religious distinctions of the Roman oikoumene (inhabited world), between the Center for Computer Research in established head-chanters (protopsaltae) in and differences. It is this harmony and concord which included Rome and Western Europe, as Music and Acoustics and Department of Art & churches from across the greater New York that we are grateful to experience.” well as the Byzantine Empire of Constantinople Art History at Stanford University. area. (“New Rome”) and its Slavic commonwealth. Contact and Booking Information Each program reflects in some way the Cappella Romana’s founder and artistic The choir’s primary mission is to share the Archdeacon Panteleimon Papadopoulos musical, cultural, and spiritual heritage of director, Alexander Lingas is Reader in Music beauty of Byzantine music beyond the borders Managing Director, Archdiocesan this ecumenical vision. at City University London and a Fellow of the of Orthodox churches and reveal the spiritual Byzantine Choir University of Oxford’s European Humanities depth of this ancient form of ecclesiastical 8 East 79th Street Flexible in size according to the demands of Research Centre. Formerly Assistant Professor chant, which was cultivated in Constantinople, New York, NY 10075 the repertory, Cappella Romana is based in of Music History at Arizona State University’s on , and other centers of TEL. +1.212.570.3590 the Pacific Northwest, where it presents School of Music, he received his Ph.D. in Orthodox spirituality throughout the [email protected] annual concert series in Portland and Seattle. Historical Musicology from the University of Byzantine period and continues to thrive to www.asbm.goarch.org It regularly tours in Europe and North British Columbia. His awards include Fulbright this day. America, having appeared at venues including and Onassis grants for musical studies with The Metropolitan Museum of Art in New the late cantor Lycourgos Angelopoulos, the Since its inception, the choir has been directed York, the J. Paul Getty Center in Los Angeles, British Academy’s Thank-Offering to Britain by Demetrios Kehagias. Dr. Kehagias was DÜNYA St. Paul’s Cathedral in London, the Pontificio Fellowship, research leave supported by the awarded a Byzantine Music Teaching Diploma Instituto Orientale in Rome, the Sacred Music Stavros Niarchos Foundation, and the St. with highest distinction from the National DÜNYA (the Turkish, Arabic, Persian, and Festival of Patmos, the University of Oxford, Romanos the Melodist medallion of the Conservatory of Athens and studied jazz and Greek word for “world”) is a musicians’ Princeton University, and Yale University. National Forum of Greek Orthodox Church composition at Long Island University in collective based in Boston, Massachusetts. Musicians (USA). Having contributed articles Brooklyn, New York. For ten years, he served Its goal is to explore a cosmopolitan view of Cappella Romana has released over twenty to The New Grove Dictionary of Music and as Protopsaltis at St. Demetrios Cathedral the world through the lens of a wide range of compact discs, including recent releases Tikey Musicians and The Oxford Handbook of of Astoria, New York, serving the world’s Turkish traditions, alone and in Zes: Divine Liturgy, Arctic Light: Finnish Byzantine Studies, Dr. Lingas is now completing largest Greek community outside of Greece. conversation with the musics of the formerly Orthodox Music, and Robert Kyr: A Time for two monographs: a study of Sunday Matins in In October 2010, His Eminence Archbishop Ottoman peoples—Greeks, Jews, Life. Other releases include Mt. Sinai: Frontier the Rite of Hagia Sophia for Ashgate and a Demetrios appointed Dr. Kehagias first Armenians, Arabs, Kurds, and mystics— of Byzantium, Epiphany: Medieval Byzantine historical introduction to Byzantine Chant for instructor for the newly established as well as with western and other world Chant, Byzantium 330–1453, Byzantium Yale University Press. Archdiocesan School of Byzantine Music. traditions. The DÜNYA collective includes in Rome: Medieval Byzantine Chant from He currently serves as Protopsaltis at the specialists in Ottoman music, early European Grottaferrata, The Fall of Constantinople, Contact and Booking Information Dormition of the Theotokos Greek Orthodox music, Middle Eastern Christian and Jewish Richard Toensing: Kontakion on the Nativity of Mark Powell, Executive Director Church in Brooklyn, New York. music, ethnomusicology, jazz, contemporary Christ, Peter Michaelides: The Divine Liturgy Cappella Romana composition, and popular music. In DÜNYA of St. John Chrysostom, and The Divine Liturgy 3131 NE Glisan Street The choir has performed in some of New York’s projects, research, and translation combine in English: The Complete Service in Byzantine Portland, OR 97232 most prestigious spaces and in the historic with original composition, improvisation, Chant. Forthcoming recordings include a disc [email protected] Hagia Irini Church in Istanbul. After its and musical experimentation to create lively of medieval Byzantine chant for Holy Friday at www.cappellaromana.org concert in this ancient church, His All Holiness presentations, recordings, and publications 28 29 aimed at engaging contemporary audiences. Yayınları, 2011), explores the organization and Greek Orthodox Archdiocese of America and DÜNYA works with a wide range of cultural music of Ottoman Janissary Bands. He has received a Certificate of Byzantine Music and religious organizations and relies on no taught at Berklee College of Music and the Studies with highest distinction in 2002. particular political, governmental, or religious New England Conservatory and is currently In 2011, he completed his studies under the affiliation or support of any kind. a faculty member at Emerson College and guidance of world-renowned musicologist College of the Holy Cross and a research Gregorios Stathis and was awarded a Ph.D. in The DÜNYA Musicians’ Collective records fellow at Harvard University’s Center for Byzantine Musicology and Psaltic Art at the multilingual, pluralistic projects featuring Middle Eastern Studies. University of Athens, Greece. His primary ensembles from three to thirty-five musicians research interests include the morphology performing a diverse repertoire extending from Contact and Booking Information and evolution of Byzantine and post-Byzantine Ottoman classical music to jazz and Byzantine DÜNYA chant, the history and exegesis of neumatic chant to Turkish pop music. Its catalogue 343 School St. notational systems, the dissemination of the includes seven CDs, two double CDs, and a Belmont, MA 02478 psaltic tradition outside the Greek-speaking DVD. [email protected] world, and the relationship between religious www.dunyainc.org and secular musical traditions in the Balkans. President of the DÜNYA Musicians’ At Hellenic College Holy Cross, Dr. Karanos Collective and director of the DÜNYA teaches courses in Byzantine chant and history ensemble’s Boston Byzantine Music Festival of music. performance, Dr. Mehmet Ali Sanlıkol began Holy Cross St. Romanos the Melodist the study of western classical piano at an early Byzantine Choir Contact and Booking Information age. He continued his study of classical and jazz Dr. Grammenos Karanos piano throughout his early career, winning Holy Cross St. Romanos the Melodist Director, Holy Cross St. Romanos the a scholarship to Berklee College of Music, Byzantine Choir is a vocal ensemble of Melodist Byzantine Choir where he won the Clare Fischer Award. While students and alumni of Hellenic College Holy Hellenic College Holy Cross at Berklee, Dr. Sanlıkol founded with Onur Cross. It is named after the 6th-century saint 50 Goddard Avenue Türkmen the band AudioFact, which toured Romanos the Melodist and is dedicated to Brookline, MA 02445 internationally and with whom he released two performing Byzantine and post-Byzantine CDs. He went on to study at the New England sacred musical works in the style created and Conservatory of Music, earning his Doctor of preserved at the Ecumenical Patriarchate in Musical Arts Degree in Composition in 2004. Constantinople. The choir regularly performs in liturgical services as well as at concerts, Dr. Sanlıkol is a founding member of DÜNYA. conferences, lectures, fundraising events, state He is the director of many of the collective’s and national holiday celebrations, and school projects, including its celebrated A Story of the ceremonies. In addition to Byzantine chant, City: Constantinople-Istanbul, a two-disc CD its repertoire includes Greek folk music, and concert commissioned as part of Istanbul popular and art songs, and modern English 2010—European Culture Capital. The project adaptations and original settings of sacred included a largely Boston-based cast of thirty- texts. The choir is directed by Dr. Grammenos five musicians who, after recording the double Karanos, Artistic Director of the Boston CD, performed the program in the 4000 seat Byzanine Music Festival. open air Harbiye Açıkhava Tiyatrosu in Istanbul. This critically acclaimed project was Dr. Karanos joined the faculties of Hellenic nominated for a World Music Grammy in College Holy Cross in 2007 and is currently 2011. Assistant Professor of Byzantine Liturgical Music. He has served as protopsaltis of several An internationally recognized composer churches in the greater Boston area and is and performer, Dr. Sanlıkol is also an currently Protopsaltis of the Holy Cross authority on Ottoman music. His book, Chapel. He studied Byzantine music under The Musician Mehters (ISIS Press & Yapı Kredi Photios Ketsetzis, Archon Protopsaltis of the 30 31 WORKSHOP PRESENTERS George Lernis Classical Harmonies. Mr. Boyer coached “A composer with limitless imagination” (Jazz Chanticleer for their Grammy award-winning Inside), George Lernis is a noted drummer and recording of John Tavener’s Lamentations and percussionist. He studied at Berklee College Praises. Mr. Boyer is an active composer, of Music and the Longy School of Music. In producing music for Cappella Romana’s The 2011, Mr. Lernis formed the George Lernis Jazz Divine Liturgy in English and Holy Cross Greek Quartet. The band released its first record, The Orthodox School of Theology’s All Shapes of Nature, the same year. Creation Trembled. He is currently collaborating on a project for the St. John of Damascus Society with composers Matthew Beth Bahia Cohen Arndt, Alexander Khalil, Kurt Sander, Richard Beth Bahia Cohen has spent years exploring Toensing, and Tikey Zes. John Michael Boyer the ways the violin and other bowed string recently graduated with his Master’s of Divinity instruments are played in Greece, Turkey, as a seminarian at Holy Cross Greek Orthodox Hungary, and the Middle East. Trained as School of Theology. a classical violinist, she plays many bowed instruments, including several Greek lyras, the Turkish bowed tanbur and kabak kemane, the Timothy Gabriel Cremeens Egyptian rababa, and the Norwegian hardanger Timothy Gabriel Cremeens is an accomplished fiddle. Beth Bahia Cohen performs and teaches composer who specializes in traditional throughout the U.S. and Europe. She is the Byzantine melodies for liturgical texts in recipient of numerous travel and study grants English. His work is available for liturgical use and the Radcliffe Bunting Fellowship. She has on his website, EnglishMenaion.com. He has a Masters degree in Violin Performance from written musical scores for the liturgical services Manhattan School of Music and is currently on of the Orthodox Church, including the feast the World Music faculty at Tufts University. days of Christ, the Theotokos, and the Saints of the Menaion, Vespers, and the Divine Liturgy, as well as of saints canonized in more recent John Michael Boyer years or saints unknown to the Greek Menaia John Michael Boyer has been a professional (e.g., Saint John of Kronstadt). Mr. Cremeens singer and conductor for more than fifteen trained in the art of composition with Papa years. His early training in music was in Ephraim, Hieromonk and Protopsaltis at St. Gregorian Chant and Renaissance polyphony Anthony’s Monastery in Florence, Arizona. He in the renowned ensemble Cantores in also studied with Dr. Grammenos Karanos, Ecclesia. He began studies in Byzantine Music Assistant Professor of Byzantine Liturgical at age fourteen under musicologist Alexander Music at Hellenic College Holy Cross, and Lingas and studied with the late Lycourgos Mr. John Michael Boyer, Protopsaltis of the Anglopoulos and Dr. Ioannis Arvanitis. For his Metropolis of San Francisco and member of degree in music from UC Berkeley, he studied the Cappella Romana vocal ensemble. He is a orchestral, choral, and operatic conducting. recent graduate of Hellenic College, where he As Protopsaltis (First Cantor) of the Greek was a member of the Holy Cross St. Romanos Orthodox Metropolis of San Francisco and the Melodist Byzantine Choir and among the an expert Byzantine cantor, he lectures on first group of candidates to receive a Certificate liturgical music across the United States and of Byzantine Music from the school. Mr. abroad. He is a member of Cappella Romana, Cremeens is now an adjunct instructor in and he was artistic director of the Josquin Byzantine Music at Hellenic College Holy Singers and associate conductor of Bay Area Cross. 32