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Photo: The Times/James Estrin

Maximilian STEINBERG Passion Week

Clarion wishes to express heartfelt gratitude to Barbara Mouk and her father, Igor Buketoff (1915-2001), for being the custodians of this lost masterpiece. Thank you also to the Clarion Music Society Board of Directors, Christine Stonbely, president, and to Louisa Sarofim, for making this recording possible. Thank you to the Archdiocesan Cathedral of the Holy Trinity, New York, Rev. Fr. John Vlahos, Dean, and Alexandra Yiannakos Antoniadis, The Clarion Choir for allowing us to make this recording in their glorious sanctuary. Steven Fox 8.573665 16 573665 bk Steinberg EU.qxp_573665 bk Steinberg EU 01/06/2016 08:48 Page 2

Maximilian Steven Fox STEINBERG (1883-1946) Steven Fox is Artistic Director of The Clarion Orchestra and The Clarion Choir and Founder of Musica Antiqua St Petersburg, which he established as ’s first period-instrument orchestra at the age of 21. Recognised as a Страстная cедмица • Passion Week leading conductor of his generation, he has recently appeared as a guest conductor with San Francisco’s Philharmonia Baroque Orchestra, Boston’s Handel and Haydn Society, Juilliard415 at , the Charleston 1 Аллилуйя (Alleluia) 1:58 Orchestra, L’Orchestre Symphonique de Québec, L’Opéra de Québec and Chicago’s Music of the Baroque. From 2008 Philip Cutlip, Bass to 2013 he was an Associate Conductor at Opera, and he has served as an Assistant Conductor for the 2 Се Жених грядет (Behold, the Bridegroom Comes) 3:36 Lindemann Young Artists Program and Juilliard Opera. Steven Fox is a graduate of and the Royal Academy of Music, London, where he was named an Associate in 2010. He has led master- 3 Чертог Твой - Киевского распева (Thy Bridal Chamber – Kievan Chant) 1:47 classes and clinics at Dartmouth, Juilliard and Yale, where he served as preparatory conductor of the Yale Schola 4 Чертог Твой (Thy Bridal Chamber) 2:52 Cantorum. Timothy Krol, Baritone 5 Егда славнии ученицы (When the Glorious Disciples) 4:58 Kate Maroney, Mezzo-soprano 6 Странствия Владычня - Знаменного распева (The Master’s Hospitality – Znamenny chant) 2:00 7 Странствия Владычня (The Master’s Hospitality) 3:17 Estelí Gomez, Soprano 8 Вечери Твоея тайныя - Знаменного распева (Of Thy Mystical Supper – Znamenny chant) 2:44 9 Вечери Твоея тайныя (Of Thy Mystical Supper) 3:58 0 Благообразный Иосиф (The Noble Joseph) 4:44 ! Разбойника благоразумнаго (The Wise Thief) 2:32 Molly Netter and Sarah Brailey, Sopranos • Luthien Brackett, Mezzo-soprano Michael Steinberger, Tenor @ Не рыдай Мене, Мати - Знаменного распева (Do Not Lament Me, O Mother – Znamenny chant) 2:16 # Не рыдай Мене, Мати (Do Not Lament Me, O Mother) 2:47 Michael Steinberger, Tenor $ Воскресни, Боже - Знаменного распева (Arise, O God – Znamenny chant) 0:56 % Воскресни, Боже (Arise, O God) 6:36 Molly Netter, Soprano • Timothy Krol, Baritone ^ Да молчит всякая плоть (Let All Mortal Flesh Keep Silence) 7:51 Kate Maroney, Mezzo-soprano

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The Clarion Choir Maximilian Steinberg (1883-1946) Passion Week Established in 2006 to complement The Clarion Orchestra, The Clarion Choir has become one of the leading professional vocal ensembles in the . With members equally at home on the solo stage and in ensemble singing, The The achievements of the ‘new Russian choral school’ in Tcherepnin (1873-1945), and Alexander Chesnokov (1880- Clarion Choir has performed in many of the great halls and festivals of North America, including the Lincoln Center White the late nineteenth and early twentieth centuries have 1941), whose contributions to sacred choral music have yet Light Festival, The Tully Scope Festival, Weill Recital Hall at Carnegie Hall, The Metropolitan Museum of Art, The Frick been widely recognised in the musical world. In the to be thoroughly explored. Even less known is the Collection, Miller Theatre at , the Quebec International Festival of Sacred Music, The Twelfth Night course of this veritable renaissance of new compositions remarkable work featured on the present recording – Festival, and Bargemusic with The Knights chamber orchestra. The Clarion Choir premièred Passion Week in a critically- and arrangements for unaccompanied choral voices, a Passion Week, composed by Rimsky-Korsakov’s favourite acclaimed performance in October 2014, shortly before this recording was made. pleiad of , spearheaded by Pyotr Tchaikovsky, student and son-in-law, Maximilian Steinberg (1883-1946). and followed by Alexander Kastalsky, Pavel Chesnokov, Rimsky-Korsakov’s involvement with the choral church Alexander Gretchaninov, Viktor Kalinnikov, Alexander music of the dates from his Nikolsky, and Sergey Rachmaninov, to name just a few, tenure at the Imperial Court Chapel from 1883 to 1894, as Soprano Alto Tenor Bass explored the sonorous and expressive capabilities of the assistant to Mily Balakirev. While there, he was involved Sarah Brailey Luthien Brackett Marc Day Kelvin Chan choral instrument to an unprecedented degree. They with producing polyphonic arrangements of traditional Megan Chartrand BJ Fredericks Andrew Fuchs Joseph Chappel sought out new ways of evoking the splendour of the unison chants, and also wrote a number of compositions in Lianne Coble Marguerite Krull Brian Giebler Philip Cutlip ‘Kingdom of God on earth,’ joining the spiritual depth of a deliberately simple yet original style, in accordance with Estelí Gomez Kate Maroney Lawrence Jones Scott Dispensa ancient Christian liturgical texts and chants with the emerging national character of Russian church music. Linda Jones Timothy Parsons Oliver Mercer Timothy Krol transcendently beautiful choral polyphony. Although after leaving the Chapel, Rimsky-Korsakov wrote Molly Netter Heather Petrie Riley Kyle Soter Scott Lefurgy Generally speaking, this school is associated with the no more choral music for the church, he evidently Sherezade Panthaki Kirsten Sollek Michael Steinberger Glenn Miller city of , and in particular with the Moscow Synodal transmitted his exploration of early chants, as well as some Jessica Petrus Virginia Warnken Joshua South School of Church Singing and Moscow Synodal Choir. degree of familiarity with the sources of ecclesiastical Melanie Russell Charles Perry Sprawls Indeed, many of the composers – Kastalsky, Kalinnikov, melodies, to his students. Some fifteen years after his Nikolsky, and Chesnokov – were affiliated with the Synodal death, this knowledge manifested itself most wondrously in School, and important premières such as Rachmaninov’s Maximilian Steinberg’s Passion Week. All-Night Vigil and Gretchaninov’s Passion Week, took Maximilian Oseyevich Steinberg (pronounced place in Moscow. Less known is the role played in this Shteynberg in Russian) was born into a Jewish family in movement by composers whose primary sphere of activity , Lithuania, and moved to Russia to study at St was in St Petersburg, regarded as a more Western-looking Petersburg Conservatory with such esteemed composers bastion of modernity and the avant-garde. as Liadov in harmony, Glazunov in orchestration, and Nonetheless, St Petersburg was not altogether Rimsky-Korsakov in composition. Rimsky took the young unaffected by the general movement in the liturgical arts Steinberg and his classmate under his towards the recovery of a more traditional, nationally wing, treating them both as extended family, but it was Russian and Eastern Orthodox style. In the realm of church Steinberg who accompanied him to for Diaghilev’s architecture, this was reflected by the construction of such Saison Russe; and it was Steinberg who, on June 4, 1908, edifices as the Dormition Cathedral, the Church of the four days before Rimsky’s death, married the latter’s Saviour on the Blood, and the Naval Cathedral of St daughter, Nadezhda Nikolaevna, a sacrament that required Nicholas in Kronstadt, all completed in the early twentieth him to be baptized into the Russian Orthodox Church. century. In the realm of Russian Orthodox sacred choral Steinberg would also prove to be Rimsky-Korsakov’s music, the most important figure was Nikolay Rimsky- heir apparent academically and professionally, Korsakov (1844-1908), and a number of composers who recommended by him to teach the orchestration class at were in one way or another connected with him: Anatol the Conservatory, and entrusted with editing several of Liadov (1855-1914), Sergey Liapunov (1859-1924), Nikolay his compositions and textbooks after his death. Joining

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the Conservatory faculty in 1908, he became, in 1915, On closer examination, Passion Week can be seen as $/% Arise, O God Professor of Composition and Orchestration, a post held a logical extension of the ’s interest in the sacred by his father-in-law, and eventually was appointed the and the mystical, as evidenced by some of his works Arise, O God, and judge the earth, vice-rector of the Conservatory. One of his most illustrious composed in the 1910s – his settings of Maeterlinck for Thou shalt inherit all the nations. students was Dmitry Shostakovich. (incidental music for Princess Maleine, Op. 11, 1916), Byron Although Steinberg’s early works were closely (the ‘opera-mystery’ Heaven and Earth, Op. 12, 1916) – and Christ is the new Passover, a living sacrifice, connected with the intellectual currents of Russia’s ‘Silver those immediately following Passion Week – Rabindranath the Lamb of God, who takes away the sins of the world. Age,’ he largely rejected the modernist direction of his Tagore (the song cycles Opp. 14 and 15, 1925), and Omar fellow-student Stravinsky, and became recognised, in the Khayyam and Rumi (the song cycle From Persian Poetry, Refrain: Arise, O God… words of Boris Asafiev, as ‘the overall perpetuator of Op. 17, 1926). It was only after the persecution of the Rimsky-Korsakov’s compositional school, [who also] was Russian Orthodox Church intensified in 1928 that Steinberg The women hastened to tell the Apostles: close in his way of thinking to his other teacher, Alexander shifted the focus of his compositional activities to safer, non- ‘Be of good courage and cry out joyfully, Glazunov’.1 He wrote mostly programmatic symphonic spiritual subjects closely aligned with the tenets of ‘socialist for the Lord is risen!’ music, with close ties to literary and artistic themes, as realism’. But in the early 1920s, Steinberg’s turning to well as music exploring some of the Soviet Union’s ethnic traditional Russian ecclesiastical chants and to the theme of Refrain: Arise, O God… cultures, such as those of and Armenia. Christ’s Passion can be regarded as the artist’s response to At first glance, Steinberg’s Passion Week, Op. 13, an anguished search for identity and meaning in a nation The angel cried to the Lady Full of Grace: composed over a three-year period between 1920 and and society that had lost their compass. ’Rejoice, O pure Virgin, and again I say 1923, may appear as somewhat of an enigma. Bearing the Even so, Steinberg was not willing to see his Passion “Rejoice”, for Thy Son is risen subtitle ‘Based on early church chants,’ it is his only known Week languish in oblivion. Once it became obvious that on the third day from the tomb.’ sacred choral work, with ten of its eleven movements performances of the work in the Soviet Union would be based on thematic material drawn from the standard chant impossible, he took advantage of his privileged status as Refrain: Arise, O God… books (Obikhod) of the Russian Orthodox Church. It was conservatory professor, which allowed him to travel to composed in St Petersburg during the turbulent years of France, Holland, and Germany in 1925 and 1927, as well the Bolshevik Revolution and , in an as his contacts with the publishing firm of W. Bessel and ^ Let All Mortal Flesh Keep Silence environment where repression against the Church was Company, which had relocated from Russia to Paris in already being felt, and arrests of nobility, clergy, artists, 1918. Through Bessel he published Passion Week in Let all mortal flesh keep silence intellectuals, as well as ordinary believers, were 1927, with a text in Church Slavonic, Latin, and English, and stand with fear and trembling, commonplace: Steinberg’s own brother-in-law, Vladimir hoping thereby to stimulate performances of the work in and lift itself above all earthly thought. Rimsky-Korsakov, a professional violist, was arrested. the West. The first complete performances, however, For the King of kings and Lord of lords, Shortly after the work was completed, the performance of would not take place until April 2014, in an open reading Christ our God, all sacred music was banned by the Bolshevik cultural by The Clarion Choir in New York City, and the concert cometh forth to be our oblation, commissars. On December 12, 1923, Steinberg made the première in Portland, Oregon, by . and to be given for food to the faithful. following entry in his diary: ‘Today I learned from Klimov2 In the realm of choral cycles written on sacred Before Him come the choirs of angels that all sacred music has been banned, with exception of Orthodox texts, Steinberg’s Passion Week follows upon with every principality and power; two classic works. That means there is no hope of hearing the precedent of Alexander Gretchaninov’s Passion the Cherubim with many eyes, Passion Week… new values have not yet been created, Week, Op. 58, which premièred in 1912. In that work, and wingèd Seraphim, while the old are humiliated.’ The question arises: why, in Gretchaninov chose thirteen hymns from different who veil their faces the midst of a successful academic and musical career, services of Orthodox Holy Week and assembled them into as they shout exultingly the hymn: did the composer produce a work that was clearly at odds a single cycle, composing large-scale, extended settings Alleluia! Alleluia! Alleluia! with the prevailing political climate and could have that were clearly intended for performance in the context seriously jeopardized his standing with the authorities? of a sacred concert, rather than a church service. — Habakkuk 2:20

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$/% Воскресни, Боже $/% Voskresni, Bozhe Although Gretchaninov’s Passion Week was certainly Rachmaninov’s All-Night Vigil became a repertoire the precedent that Steinberg had in mind when creating standard of the Kapella before the ban on sacred music. Воскресни, Боже, суди земли, Voskresni, Bozhe, sudi zemli, his own cycle some ten years later, he did not replicate Steinberg’s Passion Week shares with these works яко Ты наследиши во всех языцех. yako Tï nasledishï vo vseh yazïtseh. Gretchaninov’s choice of titles exactly. He omitted four the rich and colourful use of choral textures, employing selections and added two, resulting in a total of eleven divisi in as many as twelve parts. But in some respects, Христос новая пасха, живожертвенная Hristos novaya pas’ha, zhïvozhertvennaya movements. Steinberg builds upon and supersedes the achievements жертва, Агнец Божий, вземляй грехи мира. zhertva, Agnets Bozhïy, vzemliay grehi mira. The liturgical Church Slavonic texts are all drawn of his predecessors: for one thing, he uses more Great from the Orthodox services of Holy Monday, Tuesday, Znamenny chants, which are more complex and richer in Припев: Воскресни, Боже … Pripev: Voskresni, Bozhe… and Wednesday (Nos. 1, 2, and 3), Holy Thursday (Nos. terms of melodic content than the recitative-like Kievan 4, 5, and 6), Holy Friday (Nos. 7 and 8), and Holy and Lesser Znamenny chants favoured by Rachmaninov; Течаху жены возвестити Апостолом: Techahu zhenï vozvestiti Apostolom: Saturday (Nos. 9, 10, and 11). Each of the hymns and he is freer and more creative in his approach to and ‘Дерзайте убо и возопийте, ‘Derzayte ubo i vozopiyte, prayers brings to mind in the consciousness of the listener utilisation of contrapuntal and imitative textures; and яко воскресе Господь.’ yako voskrese Ghospod.’ the particular scriptural event or liturgical occasion with although he never departs entirely from conventional which they are connected: Christ’s eschatological tonality, Steinberg’s harmonic palette is more diverse and Припев: Воскресни, Боже… Pripev: Voskresni, Bozhe … preaching in the Temple during the days following his daring in some instances. triumphal entry into Jerusalem; the Mystical Supper and Following its publication in 1927, Steinberg’s Passion Ангел вопияше Благодатней: Angel vopiyashe Blagodatney: Judas’ treachery; the Crucifixion and the promise of Week did not see the public exposure the composer had ‘Чистая Дево, радуйся, и паки реку, ‘Chistaya Devo, raduysia, i paki reku, salvation to the thief on his right hand; the deposition from hoped for. A copy of the score likely was given to the “радуйся”, Твой бо Сын воскресе “raduysia”, Tvoy bo Sïn voskrese the cross and Jesus’ burial; his foretelling to his mother of Russian-American conductor Igor Buketoff (1915-2001) in тридневен от гроба.’ tridneven ot groba.’ his resurrection on the third day; and his resting on the the course of a meeting, in 1957, with Dmitry Shostakovich, Sabbath, while ‘all mortal flesh keeps silence’. who visited the United States as part of a cultural Припев: Воскресни, Боже … Pripev: Voskresni, Bozhe … While Gretchaninov’s work was almost entirely freely exchange and passed on the score of his one-time composed, using pre-existing chant melodies in only three mentor, Maximilian Steinberg. From that point on, movements, Steinberg’s use of pre-existing chants in ten Buketoff sought to find a chorus that would be able to do ^ Да молчит всякая плоть ^ Da molchit fsiakaya plot out of eleven movements is, in many respects, the defining justice to the music, but he died before such a characteristic of this work: it is a true tour de force in its performance could be arranged. The quest passed on to Да молчит всякая плоть человеча, Da molchit fsiakaya plot chelovecha, systematic and extensive use of ancient chants, several of his daughter, Barbara Mouk, and his niece, Tamara Skvir, и да стоит со страхом и трепетом, i da stoit so strahom i trepetom, which are performed on this disc preceding Steinberg’s who brought the work to the attention, respectively, of и ничтоже земное в себе да помышляет. i nichtozhe zemnoye v sebe da pomïshliayet. settings of those melodies. Yet Steinberg wasn’t simply Steven Fox, conductor of The Clarion Society, and Царь бо царствующих Tsar bo tsarstvuyushchih arranging chants polyphonically for use in a worship Alexander Lingas, conductor of Cappella Romana. A new и Господь господствующих i Ghospod ghospodstvuyushchih service; he was writing sacred music for concert edition of the work was prepared and published by Musica приходит заклатися и датися в снедь верным. prihodit zaklatisia i datisia f sned vernïm. performance, fashioning eleven musical movements, each Russica of San Diego, California. with distinctive and powerful expressive content, using Предходят же Сему лицы ангельстии Predhodiat zhe Semu litsï angelstii medieval unison chants that are in their raw, original form. Vladimir Morosan со всяким началом и властию, so fsiakim nachalom i vlastiyu, Another important precedent to Steinberg’s work was www.musicarussica.com многоочитии херувими mnogoochitii heruvimi Sergey Rachmaninov’s All-Night Vigil, Op. 37, also и шестокрылатии серафими, i shestokrïlatii serafimi, conceived for and premièred in concert, in which the 1 Cited in Gnesin, M. “Maksimilian Steynberg,” Sovetskaya muzyka, лица закрывающе litsa zakrïvayushche composer makes extensive use of pre-existing chant 1946, No. 12. и вопиюще песнь: i vopiyushche pesn: melodies and employs various techniques of weaving 2 Mikhail Klimov (1881-1937) was the conductor of the St Petersburg Аллилуйя, Аллилуйя, Аллилуйя. Alliluiya, Alliluiya, Alliluiya. them into polyphonic choral textures. Steinberg State Kapella, formerly the Imperial Court Chapel, the leading choral undoubtedly knew both works, as Gretchaninov’s cycle ensemble in St Petersburg (known at the time as Petrograd, and later — Аввакум 2:20 — Habakkuk 2:20 had been performed in St Petersburg in 1913, and renamed Leningrad).

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1 Аллилуйя 1 Alliluiya 8/9 Of Thy Mystical Supper

Аллилуйя, аллилуйя, аллилуйя. Alliluiya, alliluiya, alliluiya. Of Thy Mystical Supper, O Son of God, accept me today as a communicant! Стих 1: От нощи утренюет дух мой к Тебе, Stih 1: Ot noshchi utrenniuyet duh moy k Tebe, Bozhe, For I will not speak of Thy Mystery to Thine enemies, Боже, зане свет повеления Твоя на земли. zane svet poveleniya Tvoya na zemli. neither like Judas will I give Thee a kiss, but like the thief will I confess Thee: Припев: Аллилуйя, аллилуйя, аллилуйя. Pripev: Alliluiya, alliluiya, alliluiya. ‘Remember me, O Lord, in Thy Kingdom!’

Стих 2: Правде научитеся, живущии на земли. Stih 2: Pravde nauchitesia zhïvushchii na zemli. 0 The Noble Joseph Припев: Аллилуйя, аллилуйя, аллилуйя. Pripev: Alliluiya, alliluiya, alliluiya. The noble Joseph, Стих 3: Зависть приимет люди ненаказанныя. Stih 3: Zavist priimet liudi nenakazannïya. when he had taken down Thy most pure body from the tree, wrapped it in a clean linen shroud, and, Припев: Аллилуйя, аллилуйя, аллилуйя. Pripev: Alliluiya, alliluiya, alliluiya. having anointed it with spices, placed it in a new tomb.

Стих 4: Приложи им зла, Господи, Stih 4: Prilozhï im zla, Ghospodi, приложи зла славным земли. prilozhï zla slavnïm zemli. ! The Wise Thief

Припев: Аллилуйя, аллилуйя, аллилуйя. Pripev: Alliluiya, alliluiya, alliluiya. The wise thief in a single moment — Исайя 26:9, 11, 15 — Isaiah 26:9, 11, 15 didst Thou make worthy of paradise, O Lord. By the wood of Thy cross illumine me as well, and save me. 2 Се Жених грядет 2 Se Zhenih griadet

Се Жених грядет в полунощи, Se Zhenih griadet f polunoshchi, @/# Do Not Lament Me, O Mother и блажен раб, егоже обрящет бдяща; i blazhen rab, yegozhe obriashchet bdiashcha; недостоин же паки, nedostoin zhe paki, Do not lament me, O Mother, егоже обрящет унывающа. yegozhe obriashchet unïvayushcha. seeing me in the tomb, Блюди убо, душе моя, Bliudi ubo, dushe moya, the Son conceived in the womb without seed; не сном отяготися, ne snom otiagotisia, for I shall arise and be glorified; да не смерти предана будеши, da ne smerti predana budeshï, and, as God, I shall unceasingly exalt with glory и Царствия вне затворишися; i Tsarstviya vne zatvorishisia; all who magnify Thee in faith and in love. но воспряни зовущи: no vospriani zovushchi: ‘Свят, Cвят, Cвят еси, Боже, ‘Sviat, Sviat, Sviat yesi, Bozhe, Богородицею помилуй нас!’ Bogoroditseyu pomiluy nas!’

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8/9 Вечери Твоея тайныя 8/9 Vecheri Tvoyeya taynïya 1 Alleluia

Вечери Твоея тайныя днесь, Сыне Божий, Vecheri Tvoyeya taynïya dnes, Sïne Bozhïy, Alleluia, alleluia, alleluia. причастника мя приими: prichastnika mia priimi; не бо врагом Твоим тайну повем, ne bo vragom Tvoim taynu povem, Verse 1: From nightfall my spirit is awake for Thee, O God, ни лобзания Ти дам яко Иуда, ni lobzaniya Ti dam yako Iuda, for Thy commands are a light upon the earth. но яко разбойник исповедаю Тя: no yako razboynik ispovedayu Tia: ‘помяни мя, Господи, во царствии Твоем.’ ‘pomiani mia, Ghospodi, vo tsarstvii Tvoyem.’ Refrain: Alleluia, alleluia, alleluia.

Verse 2: Learn justice, ye inhabitants of the earth. 0 Благообразный Иосиф 0 Blagoobraznïy Iosif Refrain: Alleluia, alleluia, alleluia. Благообразный Иосиф, Blagoobraznïy Iosif, с древа снем пречистое тело Твое, s dreva snem prechistoye telo Tvoye, Verse 3: Jealousy shall seize an untaught people. плащаницею чистою обвив, plashchanitseyu chistoyu obviv, и вонями во гробе нове покрыв, положи. i voniami vo grobe nove pokrïv, polozhï. Refrain: Alleluia, alleluia, alleluia.

Verse 4: Bring evils upon them, O Lord, ! Разбойника благоразумнаго ! Razboynika blagorazumnago bring evils upon the glorious ones of the earth.

Разбойника благоразумнаго Razboynika blagorazumnago Refrain: Alleluia, alleluia, alleluia. во едином часе vo yedinom chase раеви сподобил еси, Господи; rayevi spodobil yesi, Ghospodi; — Isaiah 26:9, 11, 15 и мене древом крестным просвети i mene drevom krestnïm prosveti и спаси мя. i spasi mia. 2 Behold, the Bridegroom Comes

@/# Не рыдай Мене, Мати @/# Ne rïday Mene, Mati Behold, the Bridegroom comes at midnight, and blessed is the servant whom He shall find vigilant; Не рыдай Мене, Мати, Ne rïday Mene, Mati, and, again, unworthy is the servant зрящи во гробе, zriashchi vo grobe, whom He shall find heedless. Егоже во чреве без семене Yegozhe vo chreve bez semene Keep watch, therefore, O my soul, зачала еси Сына; восстану бо и прославлюся, zachala yesi Sïna; vosstanu bo i proslavliusia, do not be weighed down with sleep, и вознесу со славою непрестанно яко Бог, i voznesu so slavoyu neprestanno yako Bog, lest you be given over to death, верою и любовию Тя величающия. veroyu i liuboviyu Tia velichayushchiya. and lest you be shut out of the Kingdom; but rouse yourself, crying: ‘Holy, holy, holy, art Thou, O God! Through the Theotokos have mercy on us!’

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3/4 Чертог Твой 3/4 Chertog Tvoy 3/4 Thy Bridal Chamber

Чертог Твой вижду, Спасе мой, украшенный, Chertog Tvoy vizhdu, Spase moy, ukrashennïy, Thy bridal chamber I see adorned, O my Saviour, и одежды не имам, да вниду в онь. i odezhdï ne imam, da vnidu v on. and I have no wedding garment that I may enter it. Просвети одеяние души моея, Prosveti odeyaniye dushï moyeya, Enlighten the raiment of my soul, Светодавче, и спаси мя. Svetodavche, i spasi mia. O Giver of Light, and save me.

5 Егда славнии ученицы 5 Yegda slavnii uchenitsï 5 When the Glorious Disciples

Егда славнии ученицы Yegda slavnii uchenitsï When the glorious disciples were enlightened на умовении Вечери просвещахуся, na umovenii Vecheri prosveshchahusia, at the washing of their feet before the supper, тогда Иуда злочестивый togda Iuda zlochestivïy then the impious Judas сребролюбием недуговав омрачашеся, srebroliubiyem nedugovav omrachashesia, was darkened, ailing with avarice, и беззаконным судиям i bezzakonnïm sudiyam and to the lawless judges Тебе праведнаго Судию предает. Tebe pravednago Sudiyu predayet. he betrayed Thee, Righteous Judge. Виждь имений рачителю, Vizhd imeniy rachiteliu, Behold, O lover of possessions, сих ради удавление употребивша! sih radi udavleniye upotrebivsha! this man who because of money hanged himself. Бежи несытыя души, Bezhï nesïtïya dushï, Flee from the greedy soul Учителю таковая дерзнувшия: uchiteliu takovaya derznuvshiya; that dared such things against the Teacher. Иже о всех благий, Господи, Izhe o vseh blagiy, Ghospodi, O Lord, Who art good towards all men, слава Тебе. slava Tebe. glory to Thee.

6/7 Странствия Владычня 6/7 Stranstviya Vladïchnia 6/7 The Master’s Hospitality

Странствия Владычня Stranstviya Vladïchnia The Master’s hospitality и безсмертныя Трапезы I bezsmertnïya Trapezï and the Banquet of Immortality на горнем месте высокими умы, na gornem meste vïsokimi umï, in the upper chamber with uplifted minds, вернии, приидите, насладимся, vernii, priidite, nasladimsia, come, O faithful, let us enjoy. возшедша слова, от Слова научившеся, vozshedsha slova, ot Slova nauchivshesia, Having learned transcendent words from the Word, Егоже величаем. Yegozhe velichayem. let us magnify Him.

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