Icons of Sound: Hagia Sophia Reimagined Cappella Romana, Jonathan Abel, and Bissera Pentcheva, co-creators Alexander Nemerov and Chris Chafe, hosts

Friday, November 4, 2016 at 7:30pm Bing Concert Hall, Stanford University

CAPPELLA ROMANA For the Feast of the Exaltation of the Holy Cross at Hagia Sophia, before 1204 Alexander Lingas Performed in the acoustical imprint of Hagia Sophia Founder and Artistic Director developed by CCRMA at Stanford University

Spyridon Antonopoulos From the Office of Sung John Michael Boyer Kristen Buhler Final (Teleutaion) Antiphon before the Entrance, MS Athens 2062 Aaron Cain (Ps. 98:9), Mode Plagal 2 Photini (Mel) Downie Robinson Theodor Dumitrescu Psalm 140 with Refrain (Kekragarion) MS Athens 2062 Constantine Kokenes From the Office of Sung Stelios Kontakiotis David Krueger Antiphon 7 MSS Athens 2061 Emily Lau (selected verses of Ps. 109–112, “Palaion”), Mode Plagal 4 Kerry McCarthy Mark Powell Ode 4 of the Kanon Mt. Athos Iveron 470 Catherine van der Salm David Stutz From the Ceremony of the Exaltation of the Holy Cross Troparion: “Lord, save your people” (Syllabic melody) MS Athens 2062 cappellaromana.org (Asmatikon melody) MSS Lavra Γ 3 & Kastoria 8

Kontakion: “Lifted Up on the Cross,” short melody, Mode 4 MS St. Petersburg 674

Please kindly silence Sticheron, for the Adoration of the Cross MSS Vienna Theol. Gr. 181 your electronic devices. by Emperor Leo VI “The Wise:” “Come believers, let us worship the live-giving Cross,” Mode 2

INTERMISSION

Selections from the

Troparion instead of the “Your Cross we Worship” MS Athens 2458 Glory. Both now. MSS Lavra Γ 3 & Kastoria 8 Dynamis MS Athens 2062 Asmatikon MSS Lavra Γ 3 & Kastoria 8, & MSS Athens 2061 & 2062

Prokeimenon: (, Ps. 98:9, 1-2), Barys Mode MSS Patmos 22, Grott. Γ.γ. 3 & Sinai Gr. 1314

Asmatikon Cherubic Hymn Part 1: Choir MS Grott. Γ.γ.1 Part 2: Solo (Akolouthia tradition) & Parts 3 & 4: Solo (Asma tradition) MS Messina gr. 161 Part 5: Choir MS Grott. Γ.γ.1

Communion Verse, “The Light of your Countenance,” Mode 4 MS Grott. Γ.γ.1

1 Singing in the Rite of the Great Church Between its opening in the sixth century and the of Hagia Sophia interruption of its traditions brought about by the Fourth Crusade in 1204, the Great Church featured the singing of choirs from such other institutions as the imperial orphanage and monastic communities located nearby. Ordinary members The construction of the extant basilica of Holy of the congregation had their own musical roles Wisdom (Hagia Sophia) by Emperor Justinian I as they sang responses to the litanies, prayers, and (527-65) inaugurated what Robert Taft has called the blessings of deacons and priests, as well as by joining “Imperial Phase” of Christian liturgy in Byzantium. in with the refrains of and hymns chanted Justinian not only provided his imperial capital of by choirs and soloists. Taken together, the singing of Constantinople with a monumental Great Church professional and amateur singers, clergy and laity, to serve as its cathedral, but also decreed in 535 A.D. men, women, and children provided worship at that worship at it and its three dependent churches Hagia Sophia with considerable sonic and musical was to be sustained by no fewer than 425 people—60 variety. Particularly remarkable for listeners used to priests, 100 deacons, 40 deaconesses, 90 subdeacons, the sound of modern male choirs singing Byzantine 110 readers, and 25 cantors (psaltai)—a number chant is the preference for mixing high and low that was increased to 525 by his successor Heraclius voices, a feature of medieval church singing in I (610–41).The relatively small group of cantors Constantinople that was noted with approval in the formed a musical elite, singing at times as a group twelfth century by the visiting French cleric Odo of but also providing the institution with soloists, some Deuil. of whom were eunuchs (castrati, as they would be known centuries later in Italian opera), and directors During the centuries prior to 1204, the liturgical skilled in the lost Byzantine art of choral conducting staff of Hagia Sophia celebrated the services that (cheironomia). Most of the other liturgical personnel constituted the cathedral’s daily, weekly, and seasonal at Hagia Sophia sang at least occasionally, with the cycles of worship, while gaps between these official numerous readers and the deaconesses each forming services were frequently filled by other devotions. their own choirs. These cycles of worship unfolded mainly through three kinds of services: 1) those belonging to a

2 sequence of services celebrated daily at particular format that such ancient bishops as Ambrose, Basil, hours of the day known collectively in English as and John Chrysostom had promoted in order to the “Divine Office” or “Liturgy of the Hours” that encourage congregational participation in psalmody. was dominated by Vespers (at sundown) and Matins (Greek “ O r t h r o s ,” at dawn); 2) the Eucharist or While the Spanish pilgrim Egeria had observed Communion Service, known to modern Orthodox popular psalmody within the context of cathedral and Byzantine-Rite Catholic Christians as the worship in early fifth-century Jerusalem, by the sixth “Divine Liturgy”; and 3) what modern scholars call century the Holy City had begun to substitute sets of the “stational liturgy” of Constantinople, a system newly composed hymns for many of the invariable of processions that linked Hagia Sophia to churches refrains of the older responsorial and antiphonal and civic sites located throughout the imperial psalmody. The hymnody that developed around capital. the Book of the Hours (Horologion) of Jerusalem was eventually adopted by some churches and The three forms of the Divine Liturgy celebrated monasteries in Constantinople, thereby forming at Hagia Sophia are essentially those maintained the basis for the Divine Office of the Byzantine by churches of the : one attributed Rite. Yet until 1204, long after the Rite of the Holy to St. Basil the Great of Caesarea that served as City (Hagiopolites) had become entrenched at the primary form of Eucharist through the tenth the monastery of St. John Stoudios and in the century; another attributed to St. John Chrysostom chapels of the Great Palace, the Sung Office of that is structurally identical to that of St. Basil, Hagia Sophia retained its archaic character as it differing mainly in the relative concision of its continued to be dominated by biblical psalmody prayers; and the Liturgy of the Presanctified Gifts, punctuated by refrains. The ritual conservatism a penitential service celebrated only during periods of the Constantinopolitan cathedral was balanced of fasting. Although the public stational liturgy somewhat by musical development as the archaic of Constantinople disappeared with the Ottoman call-and-response framework of its psalmodic conquest of 1453, elements of its characteristic antiphons was, especially on major feasts, selectively service of three antiphonal psalms have survived in embellished with elaborate music. contemporary Byzantine worship, most notably as an introductory section to the Divine Liturgy. Sources with musical notation for the chant repertories developed at Hagia Sophia prior to The Divine Office of Hagia Sophia, originally called 1204 are few in number, with many of the surviving the Ecclesiastikos but known in later Byzantium manuscripts coming from the edges of the Byzantine as the Asmatike akolouthia (“Sung Office”), also world. Most extant copies of the Asmatikon and the disappeared with the fall of Byzantium, but it Psaltikon, respectively the collections of choral and has left fewer audible traces on modern Eastern solo chants for the Rite of the Great Church, were Christian worship. While the presidential prayers produced in southern Italy for Greek monasteries of Constantinoplitan Sung Office are regularly used that combined elements of the liturgical traditions during the modern Byzantine offices of Vespers and of Constantinople and Jerusalem in their worship. It Matins, most of them are usually recited silently by is also in manuscripts from peripheral regions that the celebrant while texts unrelated to their content we find, especially in a collection called the Asma are being sung or said. Yet each of these prayers (“Song”), early examples of musically elaborate occupied originally a particular place in the daily chants in the sophisticated “beautiful sounding” cycles of the Ecclesiastikos of Hagia Sophia, the (kalophonic) style that came maturity in Byzantium services of which long remained faithful to patterns during the later thirteenth and early fourteenth of public worship formed in the great urban basilicas centuries with the works of St. John Koukouzeles and of Late Antiquity. Their music consisted mainly his colleagues. of psalms and other biblical songs performed in permutations of call and response (the main ones One characteristic of kalophonic composition is being responsorial and antiphonal psalmody, with the extensive use of vocables, which are syllables the latter featuring alternating groups of singers), a without evident semantic meaning that were already 3 common in Byzantine chant. Apechemata, the The Exaltation of the Holy Cross at Hagia Sophia musical formulas employed by soloists to intone the modes of chants (for example, the intonation Ananes The present concert offers chants for the Exaltation outlines the basic scale of Mode 1), were made of of the Precious and Holy Cross, celebrated on 14 vocables, while the choral works of the Asmatikon September and one of the greatest solemnities of the feature them as points of articulation within yearly cycle of worship at the Constantinopolitan melodic extensions of a syllable of text (melismata). Great Church of Hagia Sophia. The background to Composers of kalophonic chant built on existing this feast is summarized in the brief notice for the usages by inserting teretismata, passages of vocables day contained in the modern Orthodox Horologion: such as “te-re-re” or “to-to-to,” into texted works, The blessed Helen, mother of Constantine the as well as by writing freestanding abstract musical Great, looked for the Cross in Jerusalem and found works often calledkratemata (“holders”). it buried in the earth about the year 325. Then the After the Byzantine recovery of Constantinople from people, seeing it elevated on the ambo by the then the Crusaders in 1261, only some of the musical patriarch of Jerusalem Makarios, cried out, “Lord, repertories and practices of the historic Rite of the have mercy!” Note that after its finding part of the Great Church were restored. The archaic Sung Office precious Cross was taken to Constantinople as a was replaced on ordinary days at Justinian’s basilica blessing, while the rest was left in Jerusalem. There with a hybrid version of the Palestinian Divine it remained until the year 614, when the Persians, Office, while the old solo and choral repertories of ravaging Palestine, took it back to their own country the Asmatikon and Psaltikon were gradually crowded (22 January). But later, in the year 628, Herakleios out by newer works created by Koukouzeles and the led an army against them, took the precious Cross other composers of what Edward Williams has called back again and brought it to Constantinople. (Trans. “a Byzantine ars nova.” Nevertheless, through the Archimandrite Ephrem Lash) fifteenth century we find some scribes continuing to As indicated here, the origins of the feast are to be copy selected chants from the Constantinopolitan found in the establishment of Jerusalem as a site cathedral rite and even a few composers occasionally of Christian pilgrimage by Emperor Constantine I writing or arranging works in its musical genres. (272–337) and his mother Helen, who is credited with The last church to celebrate the Sung Office on a finding relics of the Cross upon which Jesus Christ daily basis was the cathedral of Hagia Sophia in was crucified. Annual commemoration of the Cross Thessalonica, which maintained it until the city was on 14 September was an outgrowth of the celebration conquered by the Ottomans in 1430. It is thanks to of the anniversary of Constantine’s founding of the the persistence of the Thessalonians in preserving Church of the Resurrection (known today as the ancient liturgical traditions through the Crusades Holy Sepulchre) in Jerusalem on 13 September 335. and into the early fifteenth century that we possess Although a piece of the Cross was apparently taken key information for reconstructing the Rite of the to Constantinople in the fourth century, it was only Great Church of Constantinople in its heyday. as a result of seventh-century events described in Athens National Library of Greece 2061 and 2062, part above that a distinctly Constantinopolitan for example, the only two manuscripts containing tradition of the “Exaltation” (Hypsosis) of the musically notated versions of the ordinary two-week Cross emerges. Less than a decade after Heraclius cycle of psalmody for the Sung Office, were copied recovered the Cross from the Persians, the southern for use in Thessalonica during, respectively, the provinces of the East Roman (Byzantine) Empire early fifteenth and early fourteenth centuries. Also were overwhelmed by Arab invaders and Jerusalem priceless for their rich witness to the form, content, surrendered to Caliph Umar. Transferred to the and meaning of the Sung Office are the service Great Palace, the Cross became both an object books and liturgical commentaries of Saint Symeon, offered for veneration at certain times of the year in a Constantinopolitan who served as Archbishop of Hagia Sophia along with other relics of the Christ’s Thessalonica from 1416/17 to 1429. Passion, and a symbol of imperial power deployed in

4 court ritual and on military campaigns. In the Rite uniquely transmitted in Athens 2062, however, of the Great Church the services of 14 September that transmits a more sober setting in Mode Plagal marked the climax of a five-day period of public 2 that seems to reflect older musical usages and veneration of the Cross, when the patriarch of is appointed for this occasion in Athens 2047, a Constantinople recalled the actions of Makarios of manual of cathedral liturgy edited by Symeon of Jerusalem by performing a ceremony during which Thessalonica. TheKekragarion begins with a solo he slowly lifted the Cross over his head in blessing rendition of the refrain, a brief hymn also used for as Kyrie eleison was chanted hundreds of times. Two the same purpose on ordinary Thursday evenings, historical and thematic layers may be discerned which the choirs—and, originally at least, the in the psalms and hymns for the Exaltation: a congregation—repeated after each verse of the stratum focussing exclusively on the Passion and psalm. Near the end of the psalm, the choirs pause as Resurrection of Christ traceable to traditions of a procession of the presiding bishop and other higher Jerusalem; and texts reflecting the situation of clergy proceed into the sanctuary of the cathedral, Byzantium after the events of the early seventh after which the psalm resumes (abbreviated in this century. performance) and the soloist sings a concluding version of the refrain. We begin our concert with two items of antiphonal psalmody from the service of vespers celebrated on Like the music of Sung Vespers, chant for the the eve of the feast of the Exaltation. Evening prayer morning office of in the rite of Hagia Sophia in the Rite of the Great Church began with a series of consisted mainly of antiphonal psalmody. From at antiphons begun and usually concluded by soloists, least the twelfth century, however, on 14 September who in a melodically elaborate style announced the churches using the Constantinopolitan cathedral rite refrain of the antiphon during the preceding litany, celebrated a special hybrid version of morning prayer intoned the opening line of biblical text, and then that integrated hymnody from the rite of Jerusalem. often chanted an extended version of the refrain as The anonymous “old” palaion( ) setting of the seventh a coda. The bulk of an antiphon’s text was rendered of its series of twelve antiphons is a kalophonic by two choirs singing in alternation, with each verse composition that extends the musical formulas of punctuated by a refrain. On feast days the Final its solo intonations with textual repetitions and (Telutaion) Antiphon of introductory psalmody teretismata. We follow this elaborate opening with of Sung Vespers featured a text appropriate to the selections from Psalms 109–111 with the refrain occasion, in this case Psalm 98:9: “Exalt the Lord “,” the melody of which was embedded in the our God: and fall down before his footstool, for he preceding kalophonic setting. Near the midpoint is holy.” It is likely that originally, as in thirteenth- of Psalm 111 the cathedral refrain is replaced by century manuscripts containing the Sung office hymnody from the rite of the Holy City: Ode 4 of the of Pentecost vespers, that the entire psalm would Kanon of the Exaltation by Kosmas of Jerusalem (ca. have been sung, but in late Byzantine manuscripts 674–ca. 752), consisting of a model stanza (heirmos) the Teleutaia of festal vespers move straight to its and a series of metrically identical troparia. concluding doxology (“Glory to the Father…”). The ceremony of the Exaltation of the Cross occurred The Late Antique origins and historic conservatism at the end of the morning office. Interspersed of the Sung Office are more fully revealed in design throughout it were hymns that reflected the range and musical simplicity of the Kekragarion, an of theological, political, and devotional meanings of antiphonal rendering of the invariable Lamplighting the relic of the Cross in medieval Constantinople. Psalm 140. Most manuscripts containing music From these we have selected two chants that are for Sung Vespers of the Exaltation transmit for the prayers for the security of the Byzantine state and Kekragarion tuneful melodies in something like its emperors: “Lord, Save Your People” and the the key of C major that are designated variously “Lifted Up on the Cross.” We also sing the as belonging to Mode 3 or Mode Plagal 4 and first of a series of hymns for the following veneration accompanied by a refrain also used for Saturday of the Cross by Emperor Leo VI (“the Wise,” reigned vespers. Instead we have chosen to perform a version 886–912), whose text alternates between the themes 5 of salvation through the Passion and Resurrection of Hymn, like the other ancient ordinary chants Christ on the one hand, and the wars of Byzantium of the Divine Liturgy, feature melodies centered with the Arabs (“the people of Ishmael”) on the around the notes E and G that are classified as being other, before closing with a collective plea for divine either in Mode 2 or Plagal 2. The most elaborate mercy. of these ancient settings is labelled “Asmatikon” in manuscripts of the fourteenth and fifteenth The ceremony of the Exaltation was followed by centuries. Possessing a complex textual tradition and the Divine Liturgy. Since everyone was already in transmitted with many variants and insertions by late their appointed place within the basilica, the service Byzantine composers, this setting divides the hymn commenced directly with the ancient Jerusalem between choirs and soloists. The version we are hymn “Your Cross We Worship.” This hymn, which singing in this concert is drawn mainly from choral on feasts of the Cross replaced the usual Trisagion and solo sections transmitted separately in South Hymn (“Holy God, Holy Strong, Holy Immortal, Italian copies of, respectively, the Asmatikon and the have mercy on us”) was performed in alternation Asma. between the higher clergy in the sanctuary and the choirs stationed at the ambo, a raised platform in The final chant of the Divine Liturgy that is the nave. Byzantine musical manuscripts transmit to the celebration of the Exaltation of the Cross is two kinds of settings of this chant: a simple one for the Communion Verse, a single line from a psalm “common” (koinon) use and a more florid choral that originally served as a refrain for an antiphonal version in the style of the Asmatikon. Of the cues performance of the entire psalm from which it was sung by the choir leaders to guide their singers drawn. Service books of the tenth century offer two through their performance of “Your Cross We Communion Verses for 14 September. The first and Worship,” only the final exhortationDynamis is still apparently original text is that for ordinary Sundays, heard in modern Greek practice. “Praise the Lord from the Heavens” (Ps. 148:1). The other, melodies for which are transmitted in the At the conclusion of the Trisagion or its festal Asmatikon, is “The light of your countenance, Lord, substitutes, a soloist ascended the ambo to chant the has been signed on us” (Ps. 4:7b). Prokeimenon of the day “Exalt the Lord Our God,” which is drawn from the same psalm as the Final —Alexander Lingas Antiphon of the vespers celebrated the previous evening. Similar in form to a Roman Gradual, the Prokeimenon was responsorial chant sung as N.B. Following this performance, this program will a prelude to a solemn reading from one of the be recorded at CCRMA in the acoustic imprint of , for this feast the First of Paul to the Hagia Sophia for a future release. If you would like Corinthians. This was followed by theAlleluiarion to support this exciting project, contact Mark Powell, (another florid responsorial chant with verses from Executive Director of Cappella Romana, at mark@ Psalm 73), the chanting by a deacon an abbreviated cappellaromana.org or 503-236-8202. version of the Passion of Christ drawn from the of John, several litanies, and the dismissal of the catechumens. The Cherubic Hymn is an ordinary chant of the Divine Liturgies of Saints Basil and John Chrysostom that accompanies the “Great Entrance,” a solemn procession of the unconsecrated gifts of bread and wine from the place of their preparation to the altar. Set in a musically florid style, its text exhorts worshippers to “lay aside every care of this life” as heavenly and earthly liturgy become united “in a mystery.” The oldest notated versions of the Cherubic

6 TEXTS AND TRANSLATIONS

Ἐκ τοῦ ᾈσματικοῦ Ἑσπερινοῦ τῆς Ὑψώσεως From the sung office of Vespers of the Exaltation

Τὸ Τελευταῖον Ἀντίφωνον καὶ τὸ Κεκραγάριον The final antiphon before the entrance and kekragarion

Ὁ Διάκονος. Ἕτι καὶ ἔτι, ἐν εἰρήνη τοῦ Κυρίου Deacon: Again and again in peace, let us pray to the δεηθῶμεν. Lord. Ὁ Χορός. Κύριε, ἐλέησον. Choir: Lord, have mercy.

Ὁ Διάκονος. Ἀντιλαβοῦ, σῶσον, ἐλέησον καὶ Deacon: Help us, save us, have mercy on us, and διαφύλαξον ἡμᾶς, ὁ Θεός, τῇ σῇ χάριτι. keep us, O God, by your grace.

Ὁ Δομέστικος. Τὴν οἰκουμένην· ἀλληλούϊα. Domestikos: The Universe. Alleluia.

Ὁ Διάκονος. Τῆς Παναγίας, ἀχράντου, Deacon: Commemorating our all holy, pure, ὑπερευλογημένης, ἐνδόξου, Δεσποίνης ἡμῶν most blessed and glorious Lady, Mother Θεοτόκου καὶ ἀειπαρθένου Μαρίας, μετὰ πάντων of God and Ever Virgin Mary, with all the τῶν ἁγίων μνημονεύσαντες, ἑαυτοὺς καὶ ἀλλήλους Saints, let us entrust ourselves and one καὶ πᾶσαν τὴν ζωὴν ἡμῶν Χριστῷ τῷ Θεῷ another and our whole life to Christ our παραθώμεθα. God. Ὁ Χορός. Σοί, Κύριε. Choir: To you, O Lord.

Ὁ Ἰερεύς. Ὅτι πρέπει σοι πᾶσα δόξα, τιμὴ καὶ Priest: For to you belong all glory, honor and προσκύνησις, τῷ Πατρὶ καὶ τῷ Υἱῷ καὶ τῷ Ἁγίῳ worship, to the Father, the Son and the Holy Πνεύματι, νῦν καὶ ἁεὶ καὶ εἰς τοὺς αἰῶνας τῶν Spirit, now and for ever, and to the ages of αἰώνων. ages.

Ὁ Δομέστικος. Ἀμήν. Ὑψοῦτε Κύριον τὸν Θεὸν ἡμῶν The Choir Leader:Amen. Exalt the Lord our God: καὶ προσκυνεῖτε τῷ ὑποποδίῳ τῶν ποδῶν αὐτοῦ, ὅτι and fall down before his footstool, for he is holy. ἅγιός ἐστι. Ἀλληλούϊα. Alleluia.

Οἱ χοροὶ. Ὑψοῦτε Κύριον τὸν Θεὸν ἡμῶν καὶ The choirs.Exalt the Lord our God: and fall down προσκυνεῖτε τῷ ὑποποδίῳ τῶν ποδῶν αὐτοῦ, ὅτι before his footstool, for he is holy. Alleluia. Glory ἅγιός ἐστι. Δόξα Πατρὶ καὶ Υἱῷ καὶ Ἁγίῳ Πνεύματι, to the Father and to the Son and to the Holy Spirit. καὶ νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων· Both now and for ever, and to the ages of ages. Ἀμήν. Ἀλληλούϊα. Amen. Alleluia.

Καὶ εὐθὺς ὁ Δομέστικος And immediately the Choir Leader the refrain of τὸ κεκραγάριον Psalm 140. Δέσποτα Κύριε, σοὶ μόνῳ ἀναπέμπωμεν ἑσπερινὸν It is only to You, O Lord and Master, that we send ὕμνον· ἐλέησον ἡμᾶς. up our evening hymn: have mercy on us.

Οἱ χοροὶ ἐναλλάξ. The choirs alternately Κύριε ἐκέκραξα πρὸς σέ, εἰσάκουσόν μου· πρόσχες Lord I have called to you, hear me. Give heed to the τῇ φωνῇ τῆς δεήσεώς μου ἐν τῷ κεκραγέναι με voice of my supplication when I call upon you. It is πρὸς σέ. Δέσποτα Κύριε, σοὶ μόνῳ ἀναπέμπωμεν only to You, O Lord and Master, that we send up ἑσπερινὸν ὕμνον· ἐλέησον ἡμᾶς. our evening hymn: have mercy on us.

7 Κατευθυνθήτω ἡ προσευχή μου ὡς θυμίαμα ἐνωπιόν Let my prayer be directed towards you like incense; σου· ἔπαρσις τῶν χειρῶν μου θυσία ἑσπερινή. the lifting up of my hands like an evening sacrifice. Δέσποτα Κύριε, σοὶ μόνῳ ἀναπέμπωμεν ἑσπερινὸν It is only to You, O Lord and Master, that we send ὕμνον· ἐλέησον ἡμᾶς. up our evening hymn: have mercy on us.

Θοῦ, Κύριε, φυλακὴν τῷ στόματί μου, καὶ θύραν Set a guard, O Lord, on my mouth: and a strong περιοχῆς περὶ τὰ χείλη μου. Δέσποτα Κύριε, σοὶ door about my lips. It is only to You, O Lord and μόνῳ ἀναπέμπωμεν ἑσπερινὸν ὕμνον· ἐλέησον Master, that we send up our evening hymn: have ἡμᾶς. mercy on us.

[Μὴ ἐκκλινῃς τὴν καρδίαν μου εἰς λόγους πονηρίας, Omitted in this performance [Do not incline my τοῦ προφασίζεσθαι προφάσεις ἐν ἁμαρτίαις. heart to evil words: to make excuses for my sins. It Δέσποτα Κύριε, σοὶ μόνῳ ἀναπέμπωμεν ἑσπερινὸν is only to You, O Lord and Master, that we send up ὕμνον· ἐλέησον ἡμᾶς. our evening hymn: have mercy on us.

Σὺν ἀνθρώποις ἐργαζομένοις τὴν ἀνομίαν, καὶ οὐ With those who work iniquity: let me not unite with μὴ συνδυάσω μετὰ τῶν ἐκλεκτῶν αὐτῶν. Δέσποτα their elect. It is only to You, O Lord and Master, Κύριε, σοὶ μόνῳ ἀναπέμπωμεν ἑσπερινὸν ὕμνον · that we send up our evening hymn: have mercy on ἐλέησον ἡμᾶς. us.

Παιδεύσει με δίκαιος ἐν ἐλέει καὶ ἐλέγξει με· ἔλαιον The just will chastise me with mercy and reprove me: δὲ ἁμαρτωλοῦ μὴ λιπανάτω τὴν κεφαλήν μου. but let not the oil of sinners anoint my head. It is only Δέσποτα Κύριε, σοὶ μόνῳ ἀναπέμπωμεν ἑσπερινὸν to You, O Lord and Master, that we send up our ὕμνον · ἐλέησον ἡμᾶς. evening hymn: have mercy on us.

Ὅτι ἔτι καὶ ἡ προσευχή μου ἐν ταῖς εὐδοκίαις αὐτῶν· For yet my prayer shall be in their pleasures: their κατεπόθησαν ἐχόμενα πέτρας οἱ κριταὶ αὐτῶν. judges have been swallowed up near the rock. It is Δέσποτα Κύριε, σοὶ μόνῳ ἀναπέμπωμεν ἑσπερινὸν only to You, O Lord and Master, that we send up ὕμνον · ἐλέησον ἡμᾶς.] our evening hymn: have mercy on us.]

Ἀκούσονται τὰ ῥήματά μου, ὅτι ἡδύνθησαν· ὡσεὶ They will hear my words for they are sweet: as a clod πάχος γῆς ἐῤῥάγη ἐπὶ τῆς γῆς, διεσκορπίσθη τὰ of earth is crushed upon the ground; their bones ὀστᾶ αὐτῶν παρὰ τὸν ᾅδην. Δέσποτα Κύριε, σοὶ have been scattered at the mouth of Hell. It is only μόνῳ ἀναπέμπωμεν ἑσπερινὸν ὕμνον · ἐλέησον to You, O Lord and Master, that we send up our ἡμᾶς. evening hymn: have mercy on us.

Καὶ ψαλλομένου τοῦ στίχου Ἀκούσονται τὰ ῥήματά Having sung the verse They will hear my wordsthe μου, σιωπῶσιν οἱ ψαλται, καὶ ὁ διάκονος διὰ τοῦ chanters quiet themselves, and the deacon, gesturing θυμιαματηρίου σφραγίζων, ἐν μέσῳ ἐκφωνεῖ· with the censor in the middle [of the church], exclaims:

Σοφία, ὀρθοί. Wisdom, arise. Ὁ πρῶτος δομέστικος, προσκυνήσας τὰς ἁγίας The first choir leader, venerating the holy icons and εἰκόνας καὶ τὸν ἀρχιερέα καλεῖ τοὺς ἱερεῖς καὶ the hierarch, summons the priests and chants aloud ἐκφώνως ψάλλει το εἰσοδικόν· the introit:

Ὁ Δομέστικος. Ὅτι πρὸς σέ, Κύριε, Κύριε, οἱ Choir leader: For my eyes look to you, O Lord, my ὀφθαλμοί μου· ἐπὶ σοὶ ἤλπισα, μὴ ἀντανέλῃς Lord: I have hoped in you, do not take away my soul. τὴν ψυχήν μου. Δέσποτα Κύριε, σοὶ μόνῳ It is only to You, O Lord and Master, that we send ἀναπέμπωμεν ἑσπερινὸν ὕμνον· ἐλέησον ἡμᾶς. up our evening hymn: have mercy on us.

8 Ἐκ τοῦ ᾈσματικοῦ Ὄρθρου τῆς Ὑψώσεως From the sung morning Office of the Exaltation

Ἀντίφωνον Ζ’ · ᾨδὴ Δ’, Ἦχος πλ. δ’ Antiphon 7 with Ode 4 of the Kanon [of the Feast by Kosmas of Jerusalem], Mode plagal 4

Ὁ Διάκονος. Ἕτι καὶ ἔτι, ἐν εἰρήνη τοῦ Κυρίου Deacon: Again and again in peace, let us pray to the δεηθῶμεν. Lord.

Ὁ Χορός. Κύριε, ἐλέησον. Choir: Lord, have mercy.

Ὁ Διάκονος. Ἀντιλαβοῦ, σῶσον, ἐλέησον καὶ Deacon: Help us, save us, have mercy on us, and διαφύλαξον ἡμᾶς, ὁ Θεός, τῇ σῇ χάριτι. keep us, O God, by your grace.

Ὁ Δομέστικος. Τὴν οἰκουμένην· Ἀλληλούϊα. Domestikos: The Universe. Alleluia

Ὁ Διάκονος. Τῆς Παναγίας, ἀχράντου, Deacon: Commemorating our all holy, ὑπερευλογημένης, ἐνδόξου, Δεσποίνης ἡμῶν pure, most blessed and glorious Lady, Θεοτόκου καὶ ἀειπαρθένου Μαρίας, μετὰ πάντων Mother of God and Ever Virgin Mary, τῶν ἁγίων μνημονεύσαντες, ἑαυτοὺς καὶ ἀλλήλους with all the Saints, let us entrust ourselves καὶ πᾶσαν τὴν ζωὴν ἡμῶν Χριστῷ τῷ Θεῷ and one another and our whole life to παραθώμεθα. Christ our God. Ὁ Χορός. Σοί, Κύριε. Choir: To you, O Lord.

Ὁ Ἰερεύς. Εἴη τὸ κράτος τῆς βασιλείας σου Priest: Blessed and glorified be the might of εὐλογημένον καὶ δεδοξασμένον, τοῦ Πατρὸς καὶ τοῦ your Kingdom, of the Father, the Son and the Υἱοῦ καὶ τοῦ Ἁγίου Πνεύματος, νῦν καὶ ἁεὶ καὶ εἰς Holy Spirit, now and for ever, and to the ages τοὺς αἰῶνας τῶν αἰώνων. of ages.

Ἀντίφωνον Ζ’ Ψαλμός 109ος Antiphon 7, Psalm 109 Ὁ δομέστικος· Ἀμήν. Εἶπεν ὁ Κύριος τῷ Κυρίῳ μου· The Choir Leader:Amen. ℣. Τhe Lord said to my κάθου ἐκ δεξιῶν μου. Ἀλληλούϊα. Lord, “Sit at my right hand.” ℟. Alleluia.

Οἱ χοροί· Εἶπεν ὁ Κύριος τῷ Κυρίῳ μου· κάθου ἐκ The Choirs alternately. ℣. Τhe Lord said to my Lord, δεξιῶν μου. Ἀλληλούϊα. “Sit at my right hand.” ℟. Alleluia. Ἕως ἂν θῶ τοὺς ἐχθρούς σου ὑποπόδιον τῶν ποδῶν ℣. “Until I make your enemies a footstool for your σου. Ἀλληλούϊα. feet.” ℟. Alleluia. … ... [Ψαλμός. 110ος] [Psalm 110] … ... Ψαλμός. 111ος Psalm 111 Δόξα καὶ πλοῦτος ἐν τῷ οἴκῳ αὐτοῦ, καὶ ἡ ℣. Glory and wealth are in his house, and his justice δικαιοσύνη αὐτοῦ μένει εἰς τὸν αἰῶνα τοῦ αἰῶνος. abides to age on age. Ἀλληλούϊα. ℟. Alleluia.

Ἐξανέτειλεν ἐν σκότει φῶς τοῖς εὐθέσιν ἐλεήμων ℣. Light dawned in darkness for the upright, he is καὶ οἰκτίρμων καὶ δίκαιος. χρηστὸς ἀνὴρ ὁ merciful, compassionate and just. A good man is οἰκτείρων καὶ κιχρῶν· Ἀλληλούϊα. one who is compassionate and lends. ℟. Alleluia.

9 Οἰκονομήσει τοὺς λόγους αὐτοῦ ἐν κρίσει, ὅτι εἰς ℣. He will manage his words with judgment, for he τὸν αἰῶνα οὐ σαλευθήσεται· will never be shaken.

Ὁ Εἱρμὸς τῆς Δης ᾨδῆς Ode 4. Heirmos. «Εἰσακήκοα Κύριε, τῆς οἰκονομίας σου τὸ I have heard, Lord, the mystery of your dispensation, μυστήριον, κατενόησα τὰ ἔργα σου, καὶ ἐδόξασά I heard and was afraid. I have meditated on your σου τὴν Θεότητα». works and exalt and glorify your Deity.

℣. The just will be held in everlasting memory, he Εἰς μνημόσυνον αἰώνιον ἔσται δίκαιος. ἀπὸ ἀκοῆς will not be afraid of an evil report πονηρᾶς οὐ φοβηθήσεται· Ode 4. Troparion 1. Moses, in the wilderness of old, by means of wood Πικρογόνους μετέβαλε, ξύλῳ Μωϋσῆς πηγὰς ἐν changed springs of water that bred bitterness, ἐρήμῳ πάλαι, τῷ Σταυρῷ πρὸς τὴν εὐσέβειαν, τῶν foreshadowing the passage of the nations to true ἐθνῶν προφαίνων τὴν μετάθεσιν. religion by the Cross.

Ἑτοίμη ἡ καρδία αὐτοῦ ἐλπίζειν ἐπὶ Κύριον. ℣. His heart is ready to hope in the Lord, his heart ἐστήρικται ἡ καρδία αὐτοῦ, οὐ μὴ φοβηθῇ, ἕως οὗ has been established, he will not be afraid until he ἐπίδῃ ἐπὶ τοὺς ἐχθροὺς αὐτοῦ looks upon his enemies.

Ode 4. Troparion 2. Ὁ βυθῷ κολπωσάμενος, τέμνουσαν ἀνέδωκεν Jordan, that had embraced an axe in its depths, by Ἰορδάνης ξύλῳ, τῷ Σταυρῷ καὶ τῷ Βαπτίσματι, τὴν wood gave it back, so witnessing to the cutting off of τομὴν τῆς πλάνης τεκμαιρόμενος. error by the Cross and Baptism.

Ἐσκόρπισεν, ἔδωκε τοῖς πένησιν· ἡ δικαιοσύνη ℣. He has distributed, he has given to the poor, his αὐτοῦ μένει εἰς τὸν αἰῶνα τοῦ αἰῶνος. justice abides to age on age.

Ode 4. Troparion 3. Ἱερῶς προστοιβάζεται, ὁ τετραμερὴς λαὸς The people in four divisions marched as a sacred προηγούμενος, τῆς ἐν τύπῳ μαρτυρίου σκηνῆς, army in close array before the Tabernacle of Witness σταυροτύποις τάξεσι κλεϊζόμενος. in a figure, made glorious by their ranks in the form of the Cross.

Τὸ κέρας αὐτοῦ ὑψωθήσεται ἐν δόξῃ · ἁμαρτωλὸς ℣. His horn will be exalted in glory. The sinner will ὄψεται καὶ ὀργισθήσεται, τοὺς ὀδόντας αὐτοῦ see and be enraged, he will gnash his teeth and melt βρύξει καὶ τακήσεται· away.

Ode 4. Troparion 4. Θαυμαστῶς ἐφαπλούμενος, τὰς ἡλιακὰς βολὰς Wondrously unfurled, the Cross shot forth rays like ἐξηκόντισεν, ὁ Σταυρός· καὶ διηγήσαντο, οὐρανοὶ the sun, and the heavens declared the glory of our τὴν δόξαν τοῦ Θεοῦ ἡμῶν. God.

10 Τροπάρια ἐκ τῆς τελετῆς τῆς ὑψωσεως τοῦ τιμιου Hymns from the Ceremony of the Exaltation of καὶ ζωοποιοῦ σταυροῦ the Precious and Lifegiving Cross

Τροπάριον · Ἦχος α’ Troparion, Mode 1 Σῶσον Κύριε τὸν λαόν σου καὶ εὐλόγησον τὴν Lord, save your people, and bless your κληρονομίαν σου, νίκας τοῖς Βασιλεῦσι κατὰ inheritance, granting to the Kings victory βαρβάρων δωρούμενος καὶ τὸ σὸν φυλάττων διὰ over their enemies, and guarding your τοῦ Σταυροῦ σου πολίτευμα. commonwealth by your Cross.

Κοντάκιον · Ἦχος Δ’ Kontakion, Mode 4 Ὁ ὑψωθεὶς ἐν τῷ Σταυρῷ ἑκουσίως, τῇ ἐπωνύμῳ Lifted up on the Cross of your own will, to the σου καινῇ πολιτείᾳ, τοὺς οἰκτιρμούς σου δώρησαι, new commonwealth that bears your name grant Χριστὲ ὁ Θεός. Εὔφρανον ἐν τῇ δυνάμει σου, τοὺς your mercies, Christ God; make our faithful Kings πιστοὺς Βασιλεῖς ἡμῶν, νίκας χορηγῶν αὐτοῖς, κατὰ glad by your power, granting them victories over τῶν πολεμίων· τὴν συμμαχίαν ἔχοιεν τὴν σήν, ὅπλον their enemies; may they have your help in battle: a εἰρήνης ἀήττητον τρόπαιον. weapon of peace, an invincible trophy.

Ποίημα Λέοντος Δεσπότου, Ἦχος β’ Sticheron by the Emperor Leo. Mode 2. Δεῦτε πιστοὶ τὸ ζωοποιὸν Ξύλον προσκυνήσωμεν, Come believers, let us worship the life-giving ἐν ᾧ Χριστὸς ὁ Βασιλεὺς τῆς δόξης ἑκουσίως Cross, on which Christ the King of glory, willingly χεῖρας ἀπλώσας ὕψωσεν ἡμᾶς εἰς τὴν ἀρχαίαν stretching out his hands, raised us up to our ancient μακαριότητα, οὓς πρὶν ὁ ἐχθρός, δι΄ ἡδονῆς blessedness, whom the enemy of old had defrauded συλήσας, ἐξορίστους Θεοῦ πεποίηκε. Δεῦτε πιστοὶ through pleasure and made exiles from God. Ξύλον προσκυνήσωμεν, δι’ οὗ ἠξιώθημεν, τῶν Come believers, let us worship the Wood, through ἀοράτων ἐχθρῶν συντρίβειν τὰς κάρας. Δεῦτε πᾶσαι which we were found worthy to crush the heads of αἱ πατριαὶ τῶν ἐθνῶν τὸν Σταυρὸν τοῦ Κυρίου invisible foes. Come all the families of the nations, ὕμνοις τιμήσωμεν. Χαίροις Σταυρὲ τοῦ πεσόντος let us honor in hymns the Cross of the Lord, “Hail, Ἀδὰμ ἡ τελεία λύτρωσις, ἐν σοὶ οἱ πιστότατοι O Cross, the complete redemption of fallen Adam. Βασιλεῖς ἡμῶν καυχῶνται ὡς τῇ σῇ δυνάμει, In you our faithful Kings boast, as by your power Ἰσμαηλίτην λαόν, κραταιῶς ὑποτάττοντες. Σὲ νῦν they mightily subdue the people of Ishmael. We μετὰ φόβου, Χριστιανοὶ ἀσπαζόμενοι, καὶ τὸν ἐν σοὶ Christians now greet you with fear, and glorify the προσπαγέντα Θεὸν δοξάζομεν λέγοντες· Κύριε ὁ God who was nailed to you, as we say, ‘Lord, who ἐν αὐτῷ σταυρωθείς, ἐλέησον ἡμᾶς ὡς ἀγαθὸς καὶ was crucified on it, have mercy on us, as you are φιλάνθρωπος. good and love humankind’.”

INTERMISSION

11 From the Divine Liturgy of the Exaltation

Ἀντὶ δὲ τοῦ Τρισαγίου, Ἦχος πλ. β’ In place of the Trisagion, Mode Plagal 2 Οἱ ἐκτός: Τὸν Σταυρόν σου προσκυνοῦμεν Δέσποτα, Those outside:Your Cross we worship, O Master, and καὶ τὴν ἁγίαν σου Ἀνάστασιν δοξάζομεν. your holy Resurrection we glorify. Οἱ ἐντός: Τὸν Σταυρόν σου προσκυνοῦμεν… Those inside:Your Cross we worship… Ὁ δομέστικος: Τὸ δεύτερον. Domestikos: The Second [rendition]. Οἱ ἐκτός: Τὸν Σταυρόν σου προσκυνοῦμεν Δέσποτα, Those outside: Your Cross we worship, O Master, and καὶ τὴν ἁγίαν σου Ἀνάστασιν δοξάζομεν. your holy Resurrection we glorify. Οἱ ἐντός: Τὸν Σταυρόν σου προσκυνοῦμεν… Those inside:Your Cross we worship… Οἱ ἐκτός: Τὸν Σταυρόν σου προσκυνοῦμεν Δέσποτα, Domestikos: The Third [rendition]. καὶ τὴν ἁγίαν σου Ἀνάστασιν δοξάζομεν. Those outside:Your Cross we worship, O Master, and Οἱ ἐντός: Τὸν Σταυρόν σου προσκυνοῦμεν… your holy Resurrection we glorify. Ὁ δομέστικος: Τὸ τρ ίτο ν. Those inside:Your Cross we worship… Ὁ δομέστικος: Δόξα τὸ αὐτόν. Domestikos: Glory: the same [mode]. Δόξα Πατρί, καὶ Υἱῷ, καὶ Ἁγίῳ Πνεύματι · καὶ νῦν καὶ Glory to the Father and to the Son and to the Holy Spirit. ἀεί, καὶ εἰς τούς αἰῶνας τῶν αἰώνων. Ἀμήν. Both now and for ever, and to the ages of ages. Amen. Καὶ τὴν ἁγίαν σου Ἀνάστασιν δοξάζομεν. And your holy Resurrection we glorify. Δύναμις. Τὸν Σταυρόν σου προσκυνοῦμεν Δέσποτα, Dynamis. Your Cross we worship, O Master, and καὶ τὴν ἁγίαν σου Ἀνάστασιν δοξάζομεν. your holy Resurrection we glorify.

Προκείμενον τοῦ Ἀποστόλου Prokeimenon of the Apostle (Ps 98: 9, 1–2) Διάκονος: Πρόσχωμεν. Deacon: Let us attend. Ἱερεῦς: Εἰρήνη πᾶσι. Priest: Peace to all. Λαός: Καὶ τῷ πνεύματί σου. People: And to your spirit. Διάκονος: Σοφία. Deacon: Wisdom. Δομέστικος: Ψαλμὸς τῷ Δαβίδ. Domestikos: A psalm of David. Διάκονος: Πρόσχωμεν. Deacon: Let us attend. Ἦχος βαρὺς: Ὑψοῦτε Κύριον τὸν Θεὸν ἡμῶν. Barys Mode: Exalt the Lord our God. Στίχ. Ὁ Κύριος ἐβασίλευσεν, ὀργιζέσθωσαν λαοί. Verse: The Lord has reigned, let peoples rage Στίχ. Κύριος ἐν Σιὼν μέγας. Verse: The Lord is great in Sion

Ὁ Χερουβικὸς Ὕμνος. Ἦχος πλ. β’ Cherubic Hymn. Mode plagal 2, with rubrics for the Asmatikon Setting Ἀπὸ χοροῦ - ᾀσματικόν The Choir – In the Style of the Asmatikon Οἱ τὰ Χερουβεὶμ μυστικῶς εἰκονίζοντες, We, who in a mystery represent the Cherubim… Μονοφωνάρικον · ὁ δομέστικος μετὰ τῶν σὺν αὐτῷ In the Solo Style – The domestikos and those with him Καὶ τῇ ζωοποιῷ Τριάδι And sing the thrice holy hymn Tον τρισάγιον ύμνον προσάδοντες, πάσαν την to the life giving Trinity, let us now lay aside βιοτικήν αποθώμεθα μέριμναν. every care of this life. Ὡς τὸν Βασιλέα τῶν ὅλων ὑποδεξόμενοι ταῖς For we are about to receive the King of all invisibly ἀγγελικαῖς ἀοράτως δορυφορούμενον τάξεσιν. escorted by the angelic hosts. Ἀλληλούϊα. Alleluia. Ἀπὸ χοροῦ - ᾀσματικόν The Choir – In the Style of the Asmatikon Εἶπε ·Αλληλούϊα. Say: Alleluia.

Κοινωνικὸν τῆς Ὑψώσεως, . Ἦχος Δ’ Communion verse of the Exaltation, Mode 4 Ἐσημειώθη ἐφ᾿ ἡμᾶς τὸ φῶς τοῦ προσώπου σου The light of your countenance, Lord, has been signed Κύριε. Ἀλληλούϊα. upon us. Alleluia. (Ps. 4:7b).

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