November 11 & 12, 2016

The fourth BOSTON BYZANTINE MUSIC FESTIVAL

CAPPELLA CLAUSURA

HOLY CROSS ST. ROMANOS THE MELODIST BYZANTINE CHOIR

KOL AREV SYMPOSIUM Friday, November 11 | 9:30 a.m. | Archbishop Iakovos Library Reading Room

Liturgical and Paraliturgical Hymnology in East and West Richard Barrett, Brian Mayer, Sarah Jenks, and Nick Giannoukakis

WORKSHOP Saturday, November 12 | 9:30 a.m. | Archbishop Iakovos Library Reading Room

Practical (Vocal and Psycho-Acoustic) Matters of the Chromatic Genus Nick Giannoukakis

WORKSHOP Saturday, November 12 | 10:30 a.m. | Archbishop Iakovos Library Reading Room

Western Chant Immersion Amelia LeClair

WORKSHOP Saturday, November 12 | 11:30 a.m. | Archbishop Iakovos Library Reading Room

Basic Nusach: Jewish Liturgical Chanting Lynn Torgove

WORKSHOP Saturday, November 12 | 12:30 p.m. | Archbishop Iakovos Library Reading Room

The Tradition of the Taxis in Hierarchical Liturgies and Services Apostolos Combitsis

CONCERT Saturday, November 12 | 7:30 p.m. | First Church in Cambridge

Sacred Voices, Sacred Traditions Cappella Clausura Holy Cross St. Romanos the Melodist Byzantine Choir Kol Arev

1 sponsored by

The Mary Jaharis Center for Byzantine Art and Culture is dedicated to promoting and advancing knowledge about the rich heritage of the Byzantine Empire, which lasted for more than a thousand years and spanned three continents. The Center’s mission is to create academic and educational resources that engage the wider public, scholars, and the Orthodox Christian community. Its programs encourage awareness and appreciation of Byzantium and its legacy.

Founded in 2010 through a generous gift from the Jaharis Family Foundation, the Mary Jaharis Center is established at Hellenic College Holy Cross, an Orthodox Christian institution of higher education in Brookline, Massachusetts. The Center’s association with Hellenic College Holy Cross provides a singular opportunity to address Byzantine culture from the perspective of Orthodox scholarship, theology, and the arts.

The New York Life Center for the Study of Hellenism in Pontus and Asia Minor fosters the academic study of modern Hellenism in Asia Minor.

2 3 sponsored by

Hellenic College Holy Cross is the intellectual, educational, and spiritual center of the Greek Orthodox Church in America–two schools, one community, deeply rooted in faith. The mission of Hellenic College Holy Cross is the formation and the education of the person within the life of the Orthodox Christian community. To that end, it educates men for the holy priesthood of the Greek Orthodox Archdiocese and other Orthodox Christian churches, as well as men and women for roles of service and leadership in both Church and society.

As the higher education ministry of the Greek Orthodox Archdiocese, HCHC is the educational center for leaders of the Church and the society at large. HCHC is also home to several centers, institutes, and programs that serve the greater Orthodox and scholarly community.

4 5 Raise a song, strike the timbrel, the sweet sounding lyre with the harp. Psalm 81:2

Welcome to the fourth Boston Byzantine Music Festival!

As President of Hellenic College Holy Cross Greek Orthodox School of Theology, I am pleased by the superb lectures and concert presented on our campus and at the First Church in Cambridge (Congregational).

The Mary Jaharis Center for Byzantine Art and Culture of Hellenic College Holy Cross Greek Orthodox School of Theology, in partnership with the New York Life Center for the Study of Hellenism in Pontus and Asia Minor, has once again created a stellar series of events that explores paraliturgical music—written on sacred themes but performed outside formal worship—in Byzantine and post-Byzantine chant, Medieval and Renaissance Europe, the Jewish tradition, and contemporary composition.

This year’s concert, “Sacred Voices, Sacred Traditions,” includes performances by our school’s Holy Cross St. Romanos the Melodist Byzantine Choir, under the direction of the festival’s artistic director and our esteemed professor, Dr. Grammenos Karanos, along with Nektarios Antoniou, Protopsaltis (Chief Cantor) of Holy Trinity Cathedral in New York City.

Also performing in the concert are a number of other distinguished Protopsaltes, Cappella Clausura, and Hebrew College’s Chamber Choir Kol Arev. In addition to the concert, the festival includes a symposium on paraliturgical music in the Christian and Jewish traditions and a series of workshops with some of the performers.

Thank you for joining us to celebrate the extraordinary musical legacy of Byzantium and other rich sources! I hope that you will find these offerings uplifting, engaging and illuminating.

I also encourage you to take advantage of the opportunity to learn more about Hellenic College Holy Cross Greek Orthodox School of Theology—its academic offerings, community service and witness to Jesus Christ and the Orthodox Christian Faith.

Sincerely,

With Love in Christ,

Rev. Christopher T. Metropulos President

6 7 Saturday, November 12 SACRED VOICES, SACRED TRADITIONS CAPPELLA CLAUSURA

Amelia LeClair, Director

Soprano Alto Tenor Bass Roberta Anderson Janet Ross Alexander Nishibun Peter Schilling Shannon Larkin Claire Shepro Fausto Miro Will Prapestis Adriana Repetto Elizabeth Mitchell Frank Campofelice Lawson Davies Agnes Coakley Lisa Hadley Richard Barrett Anthony Garza

HOLY CROSS ST. ROMANOS THE MELODIST BYZANTINE CHOIR

Grammenos Karanos, Director

Catherine Alexandres Alexandra Drechsler Matthew Jouthas Sophia Petrou John Anton Peter Elgohary Katherine Ketchum Anastasia Rauch Alex Avgeris Alex Eliades Christos Koulatsos Ross Ritterman James Balidis Nikos Eliadis Irene Koulianos* Nicholas Roumas Richard Barrett Dean Franck Sophia Kyrou Michael Sellas Niko Birbilis Vasileios Grigoriadis* Konstantinos Loukas Sarah Stewart Savvas Bournelis Irene HajiGeorgi Xenia Lundeen Bailey Despina Thabit Anna Cornett Markella Hatzakis Antonios Papathanasiou* Elizabeth Thomas Gabriel Cremeens Samuel Herron* Jordan Parro Christopher Zaferes Theophania Cremeens Andreas Houpos Sarah Parro *Soloist Peter Dogias Sarah Jenks* Despina Petrides

with Nektarios Antoniou Apostolos Combitsis Demetrios Kehagias Georgios Theodoridis Spyridon Antonopoulos Nick Giannoukakis Vasileios Lioutas

joined by Panagiotis Aivazidis, kanun Vasilis Kostas, laouto Beth Bahia Cohen, violin George Lernis, percussion Stephanos Karavas, oud

8 9 KOL AREV

Amy Lieberman, Music Director Cantor Lynn Torgove, Artistic Director

Dayna Bailen Shmuel Dorr Aviva Orenstein Marc Stober Melanie Blatt^ Maayan Harel Janet Penn~ Joseph Strassler Cantor Sarah Bolts Jacob Harris Judith Pinnolis Cantor Lynn Torgove Jennifer Boyle Rabbi Daniel Lehmann Dara Rosenblatt* *Soloist Elaine Bresnick* Wendy Linden Jinny Sagorin ^Soloist and tof Avi Davis Sam Luckey Alan Sherman ~Cello

with Yaeko Miranda Elmaleh, violin Michael McLaughlin, accordion Becky Khitrik, clarinet Cantor Elías Rosemberg, soloist

joined by Dr. Janet Hunt, organ

Program PSALMS, HYMNS, SPIRITUAL SONGS HOLY CROSS ST. ROMANOS THE MELODIST BYZANTINE CHOIR

Κύριε ἐκέκραξα (O Lord, I have cried to you) Ioannis Vyzantios (d. 1866) Mode varys

Εὐλογήσω τὸν Κύριον (I will bless the Lord) Gregory of Simonopetra Modes I, III, plagal I

Ἀγνὴ Παρθένε Δέσποινα (O Virgin pure, immaculate) Gregory of Simonopetra Mode plagal I

Ὁ σπίνος (The swallow) Demetrios Peristeris (1855–1951) Mode I Nektarios Antoniou and Spyridon Antonopoulos, soloists

10 11 Music of the Spheres – Kassia, Sulpitia Cesis, and Arvo Pärt THE SWEET SOUND OF JEWISH MELODY AND CHANT CAPPELLA CLAUSURA KOL AREV

Αὐγούστου μοναρχήσαντος (Augustus, the monarch) , Kassia (c. 810–c. 867) Sholem, velt der gantser (Peace to the whole world) Traditional with drone Ben Yomen (1901–1970) Arranged by Deb Strauss & Jeff Warschauer | Cantor Becky Khitrik & Amy Lieberman Ὄλβον λιποῦσα πατρικόν (Leaving the wealth of her family) Melanie Blatt, soloist | Michael McLaughlin, accordion | Kassia (c. 810–c. 867) Yaeko Miranda Elmaleh, violin Modern arrangement by Amelia LeClair

Κύριε, ἡ ἐν πολλαῖς ἁμαρτίαις (The fallen woman) L’Chu N’ran’na (Come, let us sing) Kassia (c. 810–c. 867) Psalm 95: 1–4, set to the Koydonover Nign Modern solo arranged by Amelia LeClair Musikalischer Pinkas #215 (1927) Arranged by Jeff Warschauer | Cantor Brian Mayer | Cantor Becky Khitrik Ὅπου ἐπλεόνασεν ἡ ἁμαρτία (Hymn to the pious Pelagia) Kassia (c. 810–c. 867) Dara Rosenblatt and Elaine Bresnick, soloists | Michael McLaughlin, accordion | Modern arrangement by Amelia LeClair Yaeko Miranda Elmaleh, violin | Becky Khitrik, clarinet | Janet Penn, cello | Melanie Blatt, tof Hic est beatissimus (This is the most blessed) Sulpitia Cesis (1577–1619?) Gas Nign #81 (Street melody) Puer qui natus est nobis hodie (A child is born to us today) Beregovsky Collection Sulpitia Cesis (1577–1619?) Michael McLaughlin, accordion | Yaeko Miranda Elmaleh, violin | Maria Magdalena et altera Maria (Mary Magdalene and the other Mary) Becky Khitrik, clarinet | Janet Penn, cello | Melanie Blatt, tof Sulpitia Cesis (1577–1619?)

I am the True Vine Va Tomer Rut (And Ruth replied) Arvo Pärt (b. 1930) Cantor Joseph Ness (b. 1954) Amy Lieberman and Cantor Lynn Torgove, soloists | Becky Khitrik, clarinet

Shir Hashirim (Song of Songs) Lazare Saminsky (1882–1959) Arranged by Cantor Becky Khitrik Sopranos and Altos of Kol Arev | Michael McLaughlin, accordion

V’Lirushalayim Ircho (To Jerusalem, Your city) Yossele Rosenblatt (1882–1933) Arranged by Cantor Charles Osborne Cantor Elías Rosemberg, soloist

12 13 Κράτημα τὸ Πάντερπνον (Most delightful Kratima) Rozo d’Shabbos (Mystery of Shabbat) Panagiotis Chalatzoglou (d. 1748) Pierre Pinchik (1900–71) Mode plagal I pentaphone Yaeko Miranda Elmaleh, violin | Michael McLaughlin, accordion Ἅγια Μαρίνα καὶ κυρά (Saint Marina, holy maiden) Cypriot lullaby Enosh (As for man) Mode I Psalm 103: 15–17 Irene C. Koulianos, soloist Louis Lewandowski (1821–94) Dr. Janet Hunt, organ Παντάνασσα πανύμνητε (All-praised Queen of all) Germanos of New Patras (17th century) Mode IV Mizmor L’ David (A Psalm of David) Psalm 29: 1–11 Apostolos Combitsis, soloist Shlomo Carlebach (1925–94) Arranged by Joshua Jacobson Τώρα τὰ πουλιά (Now the birds) Folk song Becky Khitrik, clarinet | Melanie Blatt, tof Mode II Vasileios Lioutas, soloist

INTERMISSION (15 Minutes) Ἱκετεύομεν οἱ δοῦλοί σου (We your servants beseech you) Georgios Syrkas (1923–2003) Mode I CHANTS, LAMENTS, AND FESTIVE SONGS Nick Giannoukakis, soloist

HOLY CROSS ST. ROMANOS THE MELODIST BYZANTINE CHOIR Στὸν τάφο σου, μπεκρῆ – Ὢ Βάκχε, τὰ φυτά – Στὸν τάφο τοῦ μπεκρῆ (From your tomb, O drunkard, wine is streaming) Ἀββᾶς ἀββᾶν ὑπήντησεν (An abbot met an abbot) Anonymous (20th century) Anonymous (14th century) Mode I soft chromatic Octaechon (Modes I through plagal IV) Demetrios Kehagias and Georgios Theodoridis, soloists Grammenos Karanos, Samuel Herron, and Vasileios Grigoriadis, soloists

Ὁ Θεός, ἤλθοσαν ἔθνη (O God, the nations have come) Ἡ προσευχὴ τοῦ ψάλτη (The cantor’s prayer) Manuel Dukas Chrysaphes (15th century) Vasileios Katsifis (1923–2015) Mode plagal IV Mode II Spyridon Antonopoulos, soloist Georgios Theodoridis, soloist

Σήκω καημένε Κωνσταντή (Rise, poor Konstantis) Σὰν τὰ μάρμαρα τῆς Πόλης (Like the marble of the City) Folk song Traditional of Constantinople Mode plagal IV hard chromatic Mode I heptaphone Sarah Jenks, soloist Antonios Papathanasiou and Nektarios Antoniou, soloists

Ἔφριξε γῆ (The earth shuddered) Ἔχε γειά, Παναγιά (Farewell, O Virgin Mary) Panagiotis Chalatzoglou (d. 1748) Traditional of Constantinople Mode plagal I pentaphone Mode plagal II Demetrios Kehagias, soloist

14 15 NOTES In tonight’s concert, Cappella Clausura, Holy Εὐλογήσω τὸν Κύριον (I will bless the Lord) Cross St. Romanos the Melodist Byzantine In the early Church, Psalm 33 was chanted as Choir, and Kol Arev present the medieval, a communion hymn during the distribution post-medieval, and contemporary liturgical of Holy Communion in the Divine Liturgy. and paraliturgical music of Eastern and In the Greek-speaking Church, it was replaced Western Christianity and Judaism. in the medieval period by a melismatic chanting Accompanied by acclaimed vocalists and (the singing of a single syllable of text while instrumentalists, they will perform works by moving between several different notes sung the ninth-century Byzantine nun Kassia, in succession) of a single psalmic verse that the Renaissance lutenist Sulpitia Cesis, the was deemed appropriate to the feast or post-Byzantine Greek Orthodox master liturgical occasion. Recently, the practice of cantor Panagiotis Chalatzoglou, the German chanting entire psalms as communion hymns composer of Jewish liturgical music Louis has been revived. This fast-paced, syllabic Lewandowski, and the contemporary setting (each syllable is matched to a single composers Joseph Ness and Arvo Pärt. The note) of Psalm 33 by Hieromonk Gregorios main theme explored by this impressive range of the Monastery of Simonopetra on Mount of styles and idioms is paraliturgical music— Athos in the first, third, and plagal first modes music and song written on or inspired by is occasionally chanted as a communion hymn sacred themes but performed outside of or, more frequently, as a paraliturgical hymn the formal liturgy. Tonight’s performances following the end of services. The composer showcase a variety of paraliturgical genres, has added the refrain “Alleluia” at the end of including religious poetry, wedding and each verse. funeral songs, laments, lullabies, textless vocal works, settings of Psalms, ornamental Ἀγνὴ Παρθένε Δέσποινα compositions sung at banquets, and humorous (O Virgin pure, immaculate) songs on ecclesiastical melodies. The concert O Virgin pure, immaculate is an excerpt from the illustrates features shared by the three great most popular paraliturgical hymn in the Eastern musical traditions represented, among them Orthodox Church. It was composed by Saint the importance of the Psalms both within Nectarios of Aegina (1846–1920) and included and outside formal worship, the significant in his Theotokarion, a collection of hymns to contributions made by female composers, the Virgin Mary. The setting by Gregorios of the art of contrafaction (the adaptation of Simonopetra in the plagal first mode and in pre-existent melodies and popular tunes to triple meter, somewhat reminiscent of the tune of other texts), and the virtuosity displayed in Greensleeves, quickly gained international fame. controlled vocal improvisation on biblical It has been translated into several languages and and hymnographic texts. is frequently performed after liturgical services. Ὁ σπίνος (The swallow) Psalms, Hymns, Spiritual Songs The lyrics and original melody of The swallow Holy Cross St. Romanos the Melodist Byzantine Choir were composed by Alexandros Katakouzinos (1824–92). Later, Demetrios Peristeris (1855– Κύριε ἐκέκραξα (O Lord, I have cried to you) 1951) set the lyrics to a new melody in the In the Greek Orthodox Church, paraphrases manner of Greek folk songs—in the first mode 7 of the first two verses of Psalm 140 are chanted and in /8 meter—characteristic of the popular daily during Vespers while the priest offers Kalamatianos dance. Its theme of music as a incense.1 This setting in the varys sticheraric divine gift and the quasi-ecclesiastical character mode is by Ioannis Vyzantios (d. 1866), of its melody have made it very popular among Protopsaltis (chief cantor) of the Great cantors as well as priests and monastics. Church of Christ (Ecumenical Patriarchate of Constantinople). - Grammenos Karanos Holy Cross St. Romanos the Melodist Byzantine Choir

1 In the Greek sections of the program, the numbering of the Psalms is according to the Septuagint. 16 17 Music of the Spheres - Kassia, Sulpitia Cesis, and number.” Music was audible numbers. of an earthly one.” True to her spirit, Kassia be occasionally performed in the convents Arvo Pärt By making it, we participate in the universe. was more than a quiet nun living in obscurity. of nuns, in praise of our common Lord.” Her Cappella Clausura His teacher Plato taught that “rhythm and Sherry continues, “In the most important words to Anna Maria, whose family held more harmony find their way into the inward places religious and political issue of her day, sway in the world of music and publishing, All human beings at some point ask the eternal of the soul, on which they mightily fasten, Iconoclasm, Kassia showed herself to be a reveal an understanding of the politics of music questions what is out there and why are we imparting grace and making the soul of him committed partisan, visiting an imprisoned making, the risks involved in the creation here? On our centuries-spanning journey who is rightly educated graceful.” Iconophile monk, even being herself flogged— of her art, and the boundaries that her work from Byzantium to Renaissance Italy to and this while still a teenager.” pressed against. contemporary Estonia, we find similar efforts The most perfectly proportioned musical to express and understand the unknown in the intervals are, in Pythagoras’ order of perfection, Sulpitia Cesis (1577–1619?) Despite being written in the early seventeenth souls of the composers we will hear tonight. the octave, the fifth, and the fourth. When In 1563, the Council of Trent decided to century at the beginning of the Baroque period, these intervals are sung or played perfectly systematically impose clausura (encloisterment) Cesis’s motets are Renaissance in character. The ancient concept of Musica universalis, in tune, there are no impeding vibrations, on all female religious communities, thus They are clearly written by someone whose or Music of the Spheres, posited that the sun, no interferences, the air in the room quiets. overriding individual rules, privileges, and musical thoughts are more harmonic than moon, and planets revolved around the Earth Notice when a violinist tunes her instrument, exemptions of each order. This decision was melodic. As such, they present difficulties in their proportional spheres, which were the the arrival of perfection is a quieting of noise, met with many years of protest from virtually to the singer because some of the melodic same as the ratios of pure musical intervals, a perfect line of sound. The same is true of every order. Nonetheless, during the Counter- movement is choppy and some is flat, giving creating musical—and universal—harmony. voices, even with vibrato. Reformation, it was incumbent on the Church preference to the harmonic movement. All of Cicero asked, “What is that great and pleasing both socially and politically to have living this, however, becomes moot when the final sound?” He answers, “The concord of tones In most of the music performed tonight, metaphors of an inviolate church. The Church grand sonority of her motets comes to the ear. separated by unequal but nevertheless carefully you will hear spacious, ethereal, gradually overcame the protests with the help of The overall sound is lush and spacious, the text proportional intervals, caused by the rapid shifting perfect intervals that reach deep local patriarchs. In an age Michel Foucault has deeply spiritual. It is music that serves a double motion of the spheres themselves.” into our souls and set sympathetic vibrations termed “the Great Confinement,” living saints purpose: it is meant to be sung within the through our bodies. were locked up along with prostitutes, orphans, cloister walls, bouncing off all that stone and This idea is found throughout ancient thought. spinsters, badly married women, poor women, stucco, and it is meant to be heard as it soars In “The Music of the Spheres, or the Metaphysics Kassia (c. 810–c. 867) begging women, abused women, and immoral through the walls to the public chiesa (church). of Music”, Robert R. Reilly writes, “According Wealthy and well-educated, Kassia was a women. Being a source of great anxiety to the to tradition, the harmonic structure of music Byzantine hymnographer, poet, and abbess. patriarchs, controlling them became the key to It is the research of Candace Smith of Cappella was discovered by Pythagoras about the fifth Hers is the oldest surviving music composed by controlling society. Artemisia in Bologna that makes our century B.C. Pythagoras experimented with a woman. She was a prolific composer whose performance possible. She unearthed the work a stretched piece of cord. When plucked, the sophisticated and beautiful music was so well It is remarkable that so many creative voices of Cesis and turned the Renaissance partbooks cord sounded a certain note. When halved in known that it was mentioned in medieval came out of these cloisters and doubly (manuscripts or printed books that contain length and plucked again, the cord sounded chronicles. Kassia is rare among medieval remarkable that they managed to publish their music for only one voice of a composition) into a higher note completely consonant with the authors and composers in that so many of her work. Tonight, we present the work of Sulpitia performer’s editions. first. In fact, it was the same note at a higher works, both music and poetry, have survived. Cesis, one of the cloistered voices, who was pitch. Pythagoras had discovered the ratio, 2:1, Many of her hymns are still chanted as part of renowned in her time but ignored by history. Arvo Pärt (b. 1930) of the octave. Further experiments, pluck- Orthodox liturgy. Through the scholarship of Estonian composer Arvo Pärt, one of the most ing the string two-thirds of its original length musicologist Dr. Diane Touliatos, fifty musical In 1593, Sulpitia Cesis, daughter of Count performed composers of our time, is renowned produced a perfect fifth in the ratio of 3:2. compositions have been ascribed to Kassia. Annibale Cesis, took her vows at San for his sacred music. His early work, however, When a three-quarters length of cord was Geminiano, an Augustinian convent in was quite different, showing the influence plucked, a perfect fourth was sounded in the Upper-class women in Byzantium, not unlike Modena known for its musical versatility and first of Dmitri Shostakovich (1906–75) and ratio of 4:3, and so forth…Pythagoras thought upper-class women throughout history, had skill. Cesis’s musicianship thrived and she Sergei Prokofiev (1891–1953) and later that that number was the key to the universe. When the small luxury of choice: marriage or the became a well-known lutenist and composer. of the twelve-tone school and serialism. These he found that harmonic music is expressed in monastery. Kassia, upon rejection by the Her only surviving work is the Motetti Spirituali. influences led to criticism by the Soviet regime; exact numerical ratios of whole numbers, he Emperor Theophilos (r. 829–42), established they also proved to be a creative dead-end. concluded that music was the ordering principle her own monastery in Constantinople and Cesis dedicated her Motetti Spirituali to her When Soviet censors banned his early works, of the world [emphasis LeClair].”2 became its first abbess. In his monograph relative Anna Maria Cesis, a nun at the convent Pärt entered a period of contemplative silence on Kassia, Kurt Sherry writes, “The Great of Santa Lucia in Rome, another important in which he returned to the roots of Western Aristotle wrote in his Metaphysics that the Synaxaristes describes her as elated by her musical center. “With the splendor and nobility music. He studied Medieval and Renaissance Pythagoreans “supposed the elements of rejection by Theophilos, as it freed her to of your name,” she wrote, “these few musical music, immersed himself in plainsong and numbers to be the elements of all things, and pursue her desire to be a bride to the King of labors may be defended against the meanness early polyphony, and converted to the Russian the whole heaven to be a musical scale and a Kings, to receive the heavenly kingdom instead of their detractors, and also that they might Orthodox faith. The music that emerged from 2 First published in the Intercollegiate Review (Fall 2001). 18 19 this eight-year hiatus is radically different, communities, such as those in New York City cycle. Klezmorim, Jewish folk musicians, played a kind of holy minimalism, at once austere where Yiddish literature and music flourished. L’Chu N’ran’na (Come, let us sing) these melodies as the wedding party moved and sensuous, like Guillaume de Machaut Composers like Lazar Weiner (1897–1982) and L’Chu N’ran’na, a setting of the opening verses from one house to another. The melody is an (c. 1300–77), Guillaume Dufay (c. 1397–1474), Ben Yomen (1901–70) set the words of Yiddish of Psalm 95, is an example of contrafaction— example of a dance form called a slow hora, and Hildegard of Bingen (1098–1179). poets to music, which often reflected folk-like the conjunction of a pre-existing melody with which may have developed from non-Jewish melodies and Jewish cultural and religious a new or different text. This ubiquitous process Moldavian folk music. Its basic, insistent Pärt’s music composed since the 1990s is themes as well as references to Jewish chant has enriched the body of Jewish music by rhythm is built on the beats ONE-rest-THREE, known for its use of simple triads, which he and trope. Sholem, velt der gantser, composed adapting popular tunes to liturgical texts.4 ONE-rest-THREE or NOTE-silence-NOTE, came to call “tintinnabulation,” evoking the during this period by Ben Yomen, with lyrics NOTE-silence-NOTE and so on. The silence— ringing of bells. by his brother Israel Goichberg, takes on the TheKoydenov or Koydanovo Nign (melody) the hesitation between the pitches—gives this affect of a stately, loving procession, as the was collected from a Belarusian man who form its charm. “Tintinnabulation is an area I sometimes congregation welcomes the arrival of Shabbat. reported its source as the Hasids (members wander into when I am searching for answers of a pious Jewish religious sect) of Koydanovo - in my life, my music, my work. In my dark Ben Yomen, born Ben Goichberg, in Uman, in Belarus, who sang the nign upon the Va Tomer Rut (And Ruth replied) hours, I have the certain feeling that everything Ukraine, set the poems of many of the most outgoing of the Sabbath, at twilight between And Ruth replied is a contemporary Jewish outside this one thing has no meaning. The well-known Yiddish poets of the early and the afternoon and evening prayers.5 It is Nign composer’s interpretation of a biblical text. complex and many-faceted only confuses me, middle years of the twentieth century to music. #215 in Musikalischer Pinkas: A Collection of It echoes an older tradition while moving into and I must search for unity. What is it, this one He worked in New York City Yiddish schools Zemirot and Folk Melodies (Vilna, 1927). more contemporary harmonies. In Va Tomer thing, and how do I find my way to it? Traces and summer camps. Yomen died in Miami Pinkas comes from Rabbinic Hebrew and Rut, the clarinet weaves an improvisational, of this perfect thing appear in many guises - Beach, FL. Israel Goichberg (1894–1970) was a in this context means “notebook.” Abraham cantorial-style line above the more stable and everything that is unimportant falls away. trained engineer who instead wrote poetry and Moshe Bernstein (1866–1932), the Vilner rhythms of the two female singers. The two Tintinnabulation is like this. . . . The three notes taught Yiddish to children in the secular Hazzan (Cantor of Vilna /Vilnius, Lithuania), soloists represent the female characters, Rut of a triad are like bells. And that is why I call it Yiddish schools of New York City. Much of assembled the collection of Eastern European and Naomi. The clarinet unites their tones tintinnabulation.” Israel’s work was set to music by his brother Ben. Jewish folk melodies, which was reprinted by and reflects on the text in much the same -Arvo Pärt3 the Cantors Assembly of America in 1958. way that a cantor expresses and interprets Memorable Jewish tunes and lyrics like through improvisation. Tintinnabulation evokes the bells’ sonorous Sholem, velt der gantser are often re-interpreted, The text of L’Chu N’ran’na is the first four lines mass of overtones as they unfold, revealing re-arranged, and performed by various of Psalm 95, which is recited as part of the Cantor Joseph Ness (b. 1954) is the composer, first the so-called consonant intervals and artists, in the true folk tradition. These songs Kabbalat Shabbat service. The Jewish mode orchestrator, and arranger of hundreds of moving to the dissonances that occur toward are handed down over the decades and often for the service is a major mode, often with a pieces of music spanning both the liturgical and the end of the sound itself, like the ninth. become known as ‘traditional’ melodies, even lowered 7th scale degree. The Koydenov Nign concert genres. He has been commissioned by Because his music moves in a slow, unmetered when they were composed by well-known is in a major mode and thus is appropriate for acclaimed musical figures, among them Lukas time that allows for these sounds to reveal composers and poets. In that tradition, the service. Foss (1922–2009) and Fred Sherry (b. 1948), themselves, it feels static, but the slow revealing Sholem, velt der gantser was adopted by the and continues to compose and arrange for the Tonight’s version was arranged by Jeff of overtones renders its movement constant, international klezmer duo Jeff Warschauer and leading cantors of our time. Ness is well known Warschauer and later by Cantor Brian Mayer like sound waves. Deb Strauss, who arranged it for voice, guitar, as a conductor and has conducted performances of Temple Emanu-el in Providence, RI, and and violin on their CD Rejoicing with the of many choral-orchestral masterpieces. Hebrew College. -Amelia LeClair composer and poet noted. In 2010, Cantor Ness appeared in the Cappella Clausura national film 100 Voices: A Journey Home. Cantor Becky Khitrik and Kol Arev Music Gas Nign #81 (Street melody) This documentary, based on an historic Director, Amy Lieberman, have further Gas Nign #81 is from a compilation of music mission to Poland in 2009 by members of the The Sweet Sound of Jewish Melody and Chant transformed the song into a choral piece with by Moisei Iakovlevich Beregovsky (1892–1961), Cantors Assembly, chronicles a performance Kol Arev klezmer instrumental accompaniment. a Soviet-era Jewish folklorist who has been given by the National Polish Opera Orchestra called the foremost ethnomusicologist of and Choirs of pre-Holocaust music arranged , Sholem, velt der gantser is the opening melody Eastern European Jewry. His research gathered and conducted by Cantor Ness. Sholem, velt der gantser of Kol Arev’s Klezmer Kabbalat Shabbat melodies and words of Yiddish folk songs, (Peace to the whole world) service, the Jewish service that welcomes the wordless melodies (nigunim), as well as Eastern Va Tomer Rut, with a text from the Book of At the turn of the nineteenth century, Sabbath before evening prayers on Friday. It is European Jewish dance melodies (klezmer music). Ruth (chapters 1:16, 17 and 4:13), was written Yiddish-speaking Eastern European Jews referred to liturgically as the Queen and Bride. as a dedication for Cantor Lynn Torgove’s immigrating to the United States built vibrant A gas nign is a street tune with no known text cantorial ordination at Hebrew College in 2012. that was played as part of a wedding ritual

3 Richard E. Rodda, liner notes for Arvo Pärt Fratres, I Fiamminghi, The Orchestra of Flanders, Rudolf Werthen 4 Marsha Bryan Edelman, Discovering Jewish Music (University of Nebraska Press, 2007), p. 337. (Telarc CD-80387). 5 Chana Mlotek and Mark Slobin, eds., Yiddish Folksongs from the Ruth Rubin Archive (Wayne State University Press, 2007), p. 185. 20 21 The text of Shir Hashirim is taken from Song the meaning and emotion of the text. Louis Lewandowski (1821–94) was one of Shir Hashirim (Song of Songs) of Songs 1:1–4. It is based on traditional Traditionally, the cantor was accompanied by the principal architects of this new learned Ukrainian-born Lazare Saminsky (1882–1959) Georgian biblical cantillation. The original a male choir singing chordal harmonies that approach to modern synagogue music that was a leading early proponent of the Jewish Art solo is arranged here for women’s choir by supported the melodic line and sentiment of was based on Western classical or art music Music movement born in the late nineteenth Cantor Becky Khitrik. the soloist. models. His impact upon Eastern European century in St. Petersburg, Russia. It was here repertoires and tastes was formidable. Extant that Jewish composers were first allowed into Tonight, Kol Arev performs an arrangement choral books reveal that by the late nineteenth the music conservatory and were encouraged V’Lirushalayim Ircho of Rosenblatt’s V’Lirushalayim Ircho by Cantor century Lewandowski’s compositions were to explore their national musical identity, (To Jerusalem, Your city) Charles Osborne, himself a prominent cantor in use in synagogues throughout eastern and which included Yiddish and Hebrew texts The years between World Wars I and II were and composer. middle Europe. and subjects. the Golden Age of Hazzanut (cantorial performance). During this period, hazzanim— As a young boy, Lewandowski moved from Saminsky entered the St. Petersburg or cantors—were celebrated musical personalities, Rozo d’Shabbos (Mystery of Shabbat) his Polish hometown of Wreschen to Berlin Conservatory in 1906, where his principal not just in their own communities where they Pierre Pinchik (1900–71) is another giant where he became a singer in the prominent teachers were Nikolai Rimsky-Korsakov led religious services but also on the concert of the Golden Age of cantors. Born near Cantor Asher Lion’s choir. There, Alexander (1844–1908), Anatoly Liadov (1855–1914), stage and in recording studios. Kiev in the Ukraine as Pinchas Segal, he Mendelssohn (1798–1871), cousin of Felix and Nikolai Tcherepnin (1837–1945). Sergei later changed his name to Pinchik before Mendelssohn (1809–47), recognized his Prokofiev (1891–1953) was a classmate. Josef “Yossele” Rosenblatt (1882–1933) is emigrating to the United States in 1926. musical talents. With his help, Lewandowski regarded by many as the greatest of the Golden His poetic interpretations and beautiful voice became the first Jewish student to attend the After graduation, his career as a composer Age cantors. Born in the Ukraine in 1882, brought him almost immediate fame. While Berlin Academy of Arts. He later devoted flourished. During this time, he became a Rosenblatt emigrated to the United States in he sang in cities and congregations across the himself to Jewish synagogue music, becoming member of the Gesellschaft für Jüdische 1912 to take a position at the synagogue Ohab country, he made his home in Chicago where the first musician to serve the Jewish Volksmusik (Society for Jewish Folk Music) Tsedek in Harlem. He then moved from he conducted many services. synagogue in the position of a choirmaster. in St. Petersburg. As an important member Chicago to Minneapolis and finally settled He was appointed choirmaster first at the of the Society, he was part of the An-ski down with a congregation in Borough Park, No discussion of Pinchik is possible without Heidereutergasse Temple and later at the Jewish Historical-Ethnographic Expedition Brooklyn. Later in life, he traveled to Palestine reference to Rozo d’Shabbos, his most famous newly completed Oranienburgerstrasse to collect folklore, artifacts, music, and other where he died at the age of 51. recitative composition on a mystical Aramaic Temple, which was equipped with an organ. documentation of Jewish life from through- text, considered a masterpiece of its day. The This position gave him the opportunity to out the Pale of Settlement (territories in the By the 1920s, Rosenblatt was one of the best- text is from the Jewish mystical book the Zohar compose religious liturgical music for four-part western regions of the Russian Empire in which known cantors in the United States; however, (a commentary on the chapters of the Torah).7 choir with organ accompaniment. Jews were permitted permanent settlement; his fame extended beyond the Jewish world. It is part of the Sephardi Sabbath liturgy. settlement restrictions were in place from His extraordinary voice earned him large Enosh, Psalm 103:15–17, is a moving example about 1790 until 1917). The project aimed to concert fees, a singing role in the 1927 film Rozo D’Shabbos has been sung by many well- of Lewandowski’s liturgical musical style, preserve a cultural world that modernity and The Jazz Singer, and the nickname “The Jewish known cantors since it was written nearly a one greatly influenced by the music of Felix urbanization would eventually render extinct. Caruso.” He was also a prolific composer. century ago. Tonight, violinist Yaeko Miranda Mendelssohn. It was written as part of a Over one hundred eighty of his compositions Elmaleh “sings” her own version, with Michael memorial service. Saminsky’s contribution to the project was are preserved. McLaughlin’s accordion taking the part of the the collection of biblical cantillations, prayer original organ. For tonight’s performance, Kol Arev is using chants and melodies, and other sacred music V’Lirushalayim Ircho is the fourteenth prayer an edition of Enosh, based on the 1882 print, traditions of the Georgian and Persian Jews in of Shemoneh Esrei (Eighteen Prayers), or the edited by Joshua Jacobson. In Jacobson’s Transcaucasia. Some of these he later published weekday Amidah (Standing Prayers), the Enosh (As for man) edition, musical stylistic elements are more in simply accompanied and mildly stylized central prayer of Jewish services. Rosenblatt’s Enosh is a powerful and deeply felt example clearly notated and the original transliterations versions in his Song Treasury of Old Israel setting of the text is in the style of music that of mid-nineteenth-century Jewish liturgical of the Hebrew are replaced for English (1951). His work with these communities was sung in the synagogue, where it was choral music. For the first time, Jewish speakers. Modern Israeli Hebrew differs from confirmed his attraction to vintage synagogal performed a cappella. Later, it was transferred musicians were allowed to study at European the Hebrew spoken by Lewandowski and his chant (biblical and prayer) and its perceived to the concert hall with organ and sometimes conservatories. The result was a flowering of contemporaries. In the nineteenth century, aura of antiquity. full orchestral accompaniment. This genre of Jewish choral music in conversation with many Hebrew was spoken with an Ashkenaz Jewish liturgical music is dependent on the of the great non-Jewish classical composers of pronunciation in which vowels are more At the end of 1920, Saminsky emigrated to the cantor’s ability to use his or her knowledge of the nineteenth century. rounded and certain consonants are United States where he served as the Music the modes and motifs of Jewish liturgical chant pronounced differently. Director of New York City’s Temple Emanu-el to improvise on a liturgical text, using for thirty-four years.6 coloratura and vocal ornamentation to express 7 The text is Terumah 136a/135b: “The Lord is One, and His Name is One.” It is the mystery of Shabbat, which is united 6 “Lazare Saminsky.” Milken Archive of Jewish Music, http://www.milkenarchive.org/artists/view/lazare-saminsky/. with this mystery of the One, so that it may be the instrument of this Oneness. In the prayer before the entrance of the Sabbath, the Throne of Glory is prepared for the Holy Heavenly King. 22 23 Chants, Laments, and Festive Songs at the end of formal liturgical services, such Παντάνασσα πανύμνητε Mizmor L’ David (A Psalm of David) Holy Cross St. Romanos the Melodist Byzantine Choir as the Divine Liturgy, as well as at banquets, (All-praised Queen of all) Mizmor L’David is the joyous concluding psalm visits of secular or religious dignitaries, and This paraliturgical hymn in political (15-syllable of the Kabbalat Shabbat service on Friday Ἀββᾶς ἀββᾶν ὑπήντησεν other festive occasions. Kalophonic heirmoi are iambic) verse comes from a longer poem in nights. Tonight, Kol Arev performs a setting (An abbot met an abbot) frequently infused with elements from secular honor of the Virgin Mary by Matthaios Tzigalas of Mizmor L’David written by the charismatic An abbott met an abbot is a pedagogical music, among them movement of the melody of Cyprus (d. 1653), parts of which derive from spiritual leader Shlomo Carlebach (1925–94). exercise used by students of the Psaltic Art at the extremes of the musical scales, unusual a fourteenth-century poem by Koukoulas or Born in Berlin, Shlomo Carlebach and his (Byzantine chant) to learn the melodic note alterations, use of non-ecclesiastical scales Xenos Koronis. All-praised Queen of all is family moved to Baden, near Vienna, and then formulae in all eight modes. It is referred to reminiscent of Ottoman makams (modes), and another example of kalophonic heirmos. Six to New York City in 1939 to escape the Nazis. as the Athonite Method. The anonymous a freer development of the melodic line, which musical settings written by five composers from Disillusioned with his Jewish upbringing, he fourteenth-century composition was recently can sound like improvisation. the seventeenth to the nineteenth centuries found a spiritual home with the Lubavitch transcribed into modern psaltic notation by attest to the hymns great popularity. Tonight, Hasidic Jewish sect. Inspired by his new musicologist Nikolaos Mezis. Each verse is in a Theearth shuddered by Panagiotis Chalatzoglou you hear a setting by Germanos Bishop of New spiritual family, he became a musical different mode. (d. 1748), Protopsaltis of the Great Church of Patras (fl. 1660–85) in the fourth mode agia. messenger for a religious life based on Christ in Constantinople, is the best-known love, compassion, and forbearance. Ὁ Θεός, ἤλθοσαν ἔθνη kalophonic heirmos. It is a setting of a hymn Τώρα τὰ πουλιά (Now the birds) (O God, the nations have come) by St. John of Damascus (d. 749) written in This love song in the second mode is from Carlebach wrote hundreds of songs and Manuel Dukas Chrysaphes (fl. 1440–63) was the plagal first pentaphone mode. The the Arcadia region in the Peloponnese. It recorded over 25 albums. During the 1960s the last Lampadarios (leader of the left choir) setting performed tonight is an abbreviated belongs to the genre of table songs—slow and 70s, he traveled across the country, of the imperial palace in Constantinople. arrangement of Chalatzoglou’s composition songs characterized by a free flow of rhythmic performing for large audiences. His musical A prolific composer, scribe, and theorist, by Konstantinos Pringos (1892–1964), patterns meant to be performed at the table style was influenced by gospel and American Chrysaphes is widely regarded as the greatest Protopsaltis of the Great Church of Christ. rather than the dance floor. folk music as well as Jewish musical modes. Greek Orthodox ecclesiastical musician of the Carlebach eventually moved to Israel, where fifteenth century. This setting of an excerpt Κράτημα τὸ Πάντερπνον According to the historian and philologist he established a center and community that from Psalm 78 in the plagal fourth mode is (Most delightful Kratima) Claude Fauriel (1772–1844), the subject of the spread his musical and religious teachings. the earliest known lament for the Fall of A kratima is an ecstatic, textless vocal song is a warrior who comes back from a battle Constantinople in 1453. piece sung on meaningless syllables such as late at night and does not want to wake up This version of Carlebach’s melody is arranged terirem, tenena, etc. The practice of composing despite his wife’s caresses and pleas. The slow, for chorus, clarinet, and percussion by Joshua Σήκω καημένε Κωνσταντή kratimata goes back to the fourteenth century. meditative character of the song and the vocal Jacobson. In the introduction to his edition, (Rise, poor Konstantis) It derives from the quasi-improvisatory virtuosity required for its performance evoke a Jacobson writes, “In this arrangement, I have Rise, poor Konstantis is the most popular melismatic prolongation of vowels by solo similar aesthetic to that of kalophonic heirmos. endeavored to capture the intensity, the joy, lament for the Fall of Constantinople. It is sung cantors of the Byzantine palace. It is and the spiritual connection (“dveykut”) that in a number of textual variants to different considered the musical equivalent of the Jesus Ἱκετεύομεν οἱ δοῦλοί σου I experienced when I visited the Carlebach prayer (“Lord Jesus Christ, Son of God, have (We your servants beseech you) 8 melodies in different regions of Greece. The moshav in 2005.” melody performed tonight in the plagal fourth mercy on me, a sinner”), which in ascetic This hymn from the Kanon of the Akathist hard chromatic mode is from the neighboring practice often replaces the formal words of the Hymn, composed by St. Joseph the -Cantor Lynn Torgove mainland regions of Sterea Ellas and Thessaly. liturgy as a means of more direct communion Hymnographer (9th century), is chanted in Kol Arev with the divine. Panagiotis Chalatzoglou a fast, syllabic melody of the fourth mode on Ἔφριξε γῆ (The earth shuddered) (d. 1748) composed this kratima as an Fridays of Great Lent in the Greek Orthodox Thekalophonic heirmos is the most popular appendix to his kalophonic heirmos The earth Church. Georgios Syrkas (1923–2003), one paraliturgical genre in the Greek Orthodox shuddered. Its immense popularity in cantorial of the most famous cantors of the twentieth Church. Derived primarily from the circles has earned it the title “τὸ πάντερπνον” century, composed the ornate setting in the hymnographic form of the kanon (a liturgical (“most delightful”). first mode that you hear tonight. Syrkas’s poem made up of nine odes, based on setting belongs to the slow sticheraric genus, biblical canticles; each ode begins with a model Ἅγια Μαρίνα καὶ κυρά but it is often inaccurately characterized as a stanza, or heirmos), the kalophonic heirmos is (Saint Marina, holy maiden) kalophonic heirmos because of its paraliturgical a melismatic setting of a liturgical text often Saint Marina, holy maiden is a traditional function, the technical demands it presents for followed by a kratima (an ornamental musical lullaby from Cyprus. It tells of a mother who singer, and its imaginative text-painting. setting of meaningless syllables). The genre is asks Saint Marina (a third-century martyr in not intended for use in liturgical services but Pisidian Antioch) and the Virgin Mary to rather for performance by virtuoso soloists put her baby to sleep. The simple, low, and repetitive tune in the first mode is reminiscent of syllabic ecclesiastical melodies. 8 Transcontinental Music Publications, 2008. 24 25 Στὸν τάφο σου, μπεκρῆ – Ὢ Βάκχε, τὰ φυτά – Ἔχε γειά, Παναγιά (Farewell, O Virgin Mary) TEXTS Στὸν τάφο τοῦ μπεκρῆ This joyful Constantinopolitan song in the 4 (From your tomb, O drunkard, wine is plagal second mode and in hasapiko meter ( /4) Κύριε ἐκέκραξα O Lord, I have cried to you streaming) praises love, joy, drinking, and the beauty of In the Middle Byzantine period, a curious the city’s Yedikule, Tarabya, Tatavia, and Nihori Κύριε ἐκέκραξα πρὸς σέ, εἰσάκουσόν μου, O Lord, I have cried to you, hear me, category of poems emerged. Composed districts, which used to be heavily populated εἰσάκουσόν μου Κύριε. hear me, O Lord. in hymnographic meters but having a by Greeks. Κύριε ἐκέκραξα πρὸς σέ, εἰσάκουσόν μου, O Lord, I have cried to you, hear me. πρόσχες τῇ φωνῇ τῆς δεήσεώς μου, ἐν τῷ Attend to the voice of my supplication when non-liturgical content, this genre was named 9 11 parahymnography by Kariophilis Mitsakis -Grammenos Karanos κεκραγέναι με πρὸς σέ, εἰσάκουσόν μου Κύριε. I cry to you, hear me, O Lord. (b. 1932), a scholar of Byzantine literature. Holy Cross St. Romanos the Melodist Κατευθυνθήτω ἡ προσευχή μου ὡς θυμίαμα Let my prayer be set forth as incense Like other hymnographic genres, these poems Byzantine Choir ἐνώπιόν σου, ἔπαρσις τῶν χειρῶν μου before you, the lifting up of my hands can be sung to ecclesiastical model melodies. θυσία ἑσπερινή, εἰσάκουσόν μου Κύριε.10 as the evening sacrifice. Hear me, O Lord.12 Their content varies greatly: some are moralistic, others are intended as mnemonic Εὐλογήσω τὸν Κύριον I will bless the Lord devices to be used by teachers, and others are comical or even malignant satires directed Εὐλογήσω τὸν Κύριον ἐν παντὶ καιρῷ, I will bless the Lord at all times, his against figures of authority. διὰ παντὸς ἡ αἴνεσις αὐτοῦ ἐν τῷ στόματί μου. praise shall continually be in my mouth. ἐν τῷ Κυρίῳ ἐπαινεθήσεται ἡ ψυχή μου· My soul shall make its boast in the Lord; the Tonight, we perform a humorous set of three ἀκουσάτωσαν πρᾳεῖς, καὶ εὐφρανθήτωσαν. humble shall hear of it and be glad. parahymnographic poems to be sung “in μεγαλύνατε τὸν Κύριον σὺν ἐμοί, καὶ ὑψώσωμεν Oh, magnify the Lord with me, and let us exalt memory of a deceased drunkard.” The metric τὸ ὄνομα αὐτοῦ ἐπὶ τὸ αὐτό. ἐξεζήτησα τὸν Κύριον, his name together. I sought the Lord, pattern and melody in the first soft chromatic καὶ ἐπήκουσέ μου καὶ ἐκ πασῶν τῶν θλίψεών μου and he heard me, and delivered me from all my mode are borrowed from the hymn Τὸν τάφον ἐῤῥύσατό με. προσέλθετε πρὸς αὐτὸν καὶ fears. They looked to him and σου, Σωτήρ (The soldiers guarding your tomb, φωτίσθητε, καὶ τὰ πρόσωπα ὑμῶν οὐ μὴ were radiant, and their faces were not O Savior), which is chanted in the Epitaphios καταισχυνθῇ. οὗτος ὁ πτωχὸς ἐκέκραξε καὶ ὁ Κύριος ashamed. This poor man cried out, and the (Funeral) Service of Christ on Good Friday εἰσήκουσεν αὐτοῦ καὶ ἐκ πασῶν τῶν θλίψεων αὐτοῦ Lord heard him, and saved him out of all his night in the Greek Orthodox Church. ἔσωσεν αὐτόν. παρεμβαλεῖ ἄγγελος Κυρίου κύκλῳ troubles. The angel of the Lord τῶν φοβουμένων αὐτὸν καὶ ῥύσεται αὐτούς. encamps all around those who fear him, and Ἡ προσευχὴ τοῦ ψάλτη (The cantor’s prayer) γεύσασθε καὶ ἴδετε ὅτι χρηστὸς ὁ Κύριος· μακάριος delivers them. Oh, taste and see that the Lord Psaltotragouda are songs with scales and ἀνήρ, ὃς ἐλπίζει ἐπ᾿ αὐτόν. φοβήθητε τὸν Κύριον is good; blessed is the man who trusts in him! Oh, melodic motifs similar to those of ecclesiastical πάντες οἱ ἅγιοι αὐτοῦ, ὅτι οὐκ ἔστιν ὑστέρημα τοῖς fear the Lord, you his saints! There is no want to hymns. They are often performed by cantors at φοβουμένοις αὐτόν. πλούσιοι ἐπτώχευσαν καὶ those who fear him. The young lions banquets and other festive occasions. Vasileios ἐπείνασαν, οἱ δὲ ἐκζητοῦντες τὸν Κύριον οὐκ lack and suffer hunger; but those who seek the Katsifis (1923–2015), a distinguished cantor, ἐλαττωθήσονται παντὸς ἀγαθοῦ. δεῦτε, τέκνα, Lord shall not lack any good thing. Come, you composer, and music teacher, composed this ἀκούσατέ μου· φόβον Κυρίου διδάξω ὑμᾶς. τίς ἐστιν children, listen to me; I will teach you the fear of the psaltotragoudo in 1991. It expresses the poet’s ἄνθρωπος ὁ θέλων ζωήν, ἀγαπῶν ἡμέρας ἰδεῖν Lord. Who is the man who desires life, and fervent prayer to become again a cantor in ἀγαθάς; παῦσον τὴν γλῶσσάν σου ἀπὸ κακοῦ καὶ loves many days, that he may see good? Keep heaven and chant in eternity alongside the χείλη σου τοῦ μὴ λαλῆσαι δόλον. ἔκκλινον ἀπὸ your tongue from evil, and your lips from speaking great cantors of the twentieth century. κακοῦ καὶ ποίησον ἀγαθόν, ζήτησον εἰρήνην καὶ deceit. Depart from evil and do good; seek peace δίωξον αὐτήν. ὀφθαλμοὶ Κυρίου ἐπὶ δικαίους, καὶ and pursue it. The eyes of the Lord are on the Σὰν τὰ μάρμαρα τῆς Πόλης ὦτα αὐτοῦ εἰς δέησιν αὐτῶν. πρόσωπον δὲ Κυρίου righteous, and his ears are open to their cry. The (Like the marble of the City) ἐπὶ ποιοῦντας κακὰ τοῦ ἐξολοθρεῦσαι ἐκ γῆς τὸ face of the Lord is against those who do evil, to cut Like the marble of the City is one of the most μνημόσυνον αὐτῶν. ἐκέκραξαν οἱ δίκαιοι, καὶ ὁ off the remembrance of them from the earth. The Κύριος εἰσήκουσεν αὐτῶν, καὶ ἐκ πασῶν τῶν righteous cry out, and the Lord hears, and delivers popular traditional songs of Constantinople. 9 θλίψεων αὐτῶν ἐῤῥύσατο αὐτούς. ἐγγὺς Κύριος τοῖς them out of all their troubles. The Lord is near to It is set in the first heptaphone mode and in /8 συντετριμμένοις τὴν καρδίαν καὶ τοὺς ταπεινοὺς τῷ those who have a broken heart, and saves meter. The anonymous poet likens the beauty of πνεύματι σώσει. πολλαὶ αἱ θλίψεις τῶν δικαίων, καὶ such as have a contrite spirit. Many are the a woman to that of the holiest shrine of Eastern ἐκ πασῶν αὐτῶν ῥύσεται αὐτοὺς ὁ Κύριος· φυλάσσει afflictions of the righteous, but the Lord delivers him Christendom, the Church of Hagia Sophia, a Κύριος πάντα τὰ ὀστᾶ αὐτῶν, ἓν ἐξ αὐτῶν οὐ out of them all. He guards all his bones; not one of religious and cultural symbol of Hellenism.

9 Liturgical paraphrase of Psalm 140:1. 10 Liturgical paraphrase of Psalm 140:2. 11 Liturgical paraphrase of Psalm 140:1 (Orthodox Study Bible). 12 Liturgical paraphrase of Psalm 140:2 (Orthodox Study Bible). 26 27 συντριβήσεται. θάνατος ἁμαρτωλῶν πονηρός, καὶ οἱ them is broken. Evil shall slay the wicked, and Αὐγούστου μοναρχήσαντος Augustus, the monarch μισοῦντες τὸν δίκαιον πλημμελήσουσι. λυτρώσεται those who hate the righteous shall be condemned. Κύριος ψυχὰς δούλων αὐτοῦ, καὶ οὐ μὴ The Lord redeems the soul of his servants, and Αὐγούστου μοναρχήσαντος ἐπὶ τῆς γῆς, When Augustus reigned alone on the earth, πλημμελήσουσι πάντες οἱ ἐλπίζοντες ἐπ᾿ αὐτόν. none of those who trust in him shall be condemned.13 ἡ πολυαρχία τῶν ἀνθρώπων ἐπαύσατο, the many kingdoms of mankind came to an end; καὶ σοῦ ἐνανθρωπήσαντος ἐκ τῆς Ἁγνῆς, and when you became man from the pure Virgin, ἡ πολυθεΐα τῶν εἰδώλων κατήργηται. the many gods of idolatry were destroyed; Ἁγνὴ Παρθένε Δέσποινα O Virgin pure, immaculate Ὑπὸ μίαν βασιλείαν ἐγκόσμιον αἱ πόλεις The cities of the world passed under one single Ἁγνὴ Παρθένε Δέσποινα, ἄχραντε Θεοτόκε, O Virgin pure, immaculate, O Lady Theotokos, γεγένηνται· rule; [Χαῖρε νύμφη ἀνύμφευτε.] (Rejoice, O Unwedded Bride!) καὶ εἰς μίαν δεσποτείαν θεότητος, τὰ ἔθνη and the nations came to believe in one single παρθὲνε μὴτηρ ἄνασσα, πανένδροσέ τε πόκε, O Virgin Mother, Queen of all and fleece which is ἐπίστευσαν. Godhead; [Χαῖρε νύμφη ἀνύμφευτε.] all dewy, (Rejoice, O Unwedded Bride!) Ἀπεγράφησαν οἱ λαοὶ τῷ δόγματι τοῦ Καίσαρος, the peoples were enrolled by decree of Caesar; ὑψηλοτέρα οὐρανῶν, ἀκτίνων λαμπροτέρα, more radiant than the rays of sun and higher than ἐπεγράφημεν οἱ πιστοὶ ὀνόματι Θεότητος, we the faithful were enrolled in the name of the [Χαῖρε νύμφη ἀνύμφευτε.] the heavens, (Rejoice, O Unwedded Bride!) σοῦ τοῦ ἐνανθρωπήσαντος Θεοῦ ἡμῶν. Godhead, when you became man, O our God. χαρὰ παρθενικῶν χορῶν, ἀγγέλων ὑπερτέρα, delight of virgin choruses, superior to angels, Μέγα σου τὸ ἔλεος, Κύριε, δόξα σοι. Great is your mercy, Lord; glory to you! [Χαῖρε νύμφη ἀνύμφευτε.] (Rejoice, O Unwedded Bride!) ἐκλαμπροτέρα οὐρανῶν, φωτὸς καθαρωτέρα, much brighter than the firmament and purer than Ὄλβον λιποῦσα πατρικόν Leaving the wealth of her family [Χαῖρε νύμφη ἀνύμφευτε.] the sun’s light, (Rejoice, O Unwedded Bride!) τῶν οὐρανίων στρατιῶν πασῶν ἁγιωτέρα. more holy than the multitude of all the heav’nly Ὄλβον λιποῦσα πατρικόν, Χριστὸν δὲ ποθοῦσαι Deserting her father’s richness and fervently [Χαῖρε νύμφη ἀνύμφευτε.] armies. (Rejoice, O Unwedded Bride!) εἰλικρινῶς, desiring Christ, δόξαν εὕρατο ἡ μάρτυς καὶ πλοῦτον οὐράνιον, the female martyr found glory and heavenly wealth, Σὲ ἱκετεύω Δέσποινα, σὲ νῦν ἐπικαλοῦμαι, I supplicate you, Lady, now do I call upon you, καὶ τῇ παντευχίᾳ περιπεφραγμένη τῆς χάριτος, and surrounded by the blessedness of grace, [Χαῖρε νύμφη ἀνύμφευτε] (Rejoice, O Unwedded Bride!) τῷ ὅπλῳ τοῦ Σταυροῦ κατεπάτησε τὸν τύραννον· through the weapon of the Cross, stepped on the tyrant; σὲ δυσωπῶ Παντάνασσα, σὴν χάριν ἐξαιτοῦμαι. and I beseech you, Queen of all, I beg of you your ὅθεν Ἄγγελοι τοὺς ἀγῶνας θαυμάζοντες, ἔλεγον· therefore, angels, admiring her struggles, were [Χαῖρε νύμφη ἀνύμφευτε] favor. (Rejoice, O Unwedded Bride!) πέπτωκεν ὁ ἐχθρός, ὑπὸ γυναικὸς ἡττηθείς, saying: the enemy has fallen, defeated by a Κόρη σεμνὴ καὶ ἄσπιλε, Δέσποινα Παναγία, Majestic maiden, spotless one, O Lady Panagia, στεφανῖτις ἀνεδείχθη ἡ μάρτυς, woman, [Χαῖρε νύμφη ἀνύμφευτε] (Rejoice, O Unwedded Bride!) καὶ Χριστὸς εἰς τοὺς αἰῶνας βασιλεύει ὡς Θεός, and Christ rules forever as God, the one who gives θερμῶς ἐπικαλοῦμαί σε, ναὲ ἡγιασμένε. I call upon you fervently, O sacred, hallowed ὁ παρέχων τῷ κόσμῳ τὸ μέγα ἔλεος. great mercy to the world. [Χαῖρε νύμφη ἀνύμφευτε] temple. (Rejoice, O Unwedded Bride!) Ἀντιλαβοῦ μου, ῥῦσαί με ἀπὸ τοῦ πολεμίου Assist me and deliver me, protect me from the Κύριε, ἡ ἐν πολλαῖς ἁμαρτίαις The fallen woman [Χαῖρε νύμφη ἀνύμφευτε] enemy, (Rejoice, O Unwedded Bride!) καὶ κληρονόμον δεῖξόν με ζωῆς τῆς αἰωνίου. and make me an inheritor of blessed life eternal. Κύριε, ἡ ἐν πολλαῖς ἁμαρτίαις περιπεσοῦσα γυνή, Lord, when the woman who had fallen into many [Χαῖρε νύμφη ἀνύμφευτε] (Rejoice, O Unwedded Bride!)14 τὴν σὴν αἰσθομένη θεότητα, sins perceived your divinity, μυροφόρου ἀναλαβοῦσα τάξιν, she assumed the role of a myrrh-bearing woman, Ὁ σπίνος The swallow ὀδυρομένη μύρα σοι and lamenting brought fragrant oils to anoint you πρὸ τοῦ ἐνταφιασμοῦ κομίζει. before your burial. Σὲ φουντωμένο δέντρου κλωνάρι κάθεται σπίνος High on the treetops amid the branches there sits a Οἴμοι! λέγουσα, “Woe is me,” she says. καὶ κελαηδεῖ. swallow chirping away. ὅτι νὺξ μὲ συνέχει, οἶστρος ἀκολασίας “Night for me is a frenzy without restraint, very dark Τόσην ἀκούει τέχνη καὶ χάρη καὶ πλησιάζει ἕνα Just then a small child, all curls and smiles, turns ζοφώδης τε καὶ ἀσέληνος, ἔρως τῆς ἁμαρτίας. Δέξαι and moonless, a sinful love-affair. παιδί. his attention as if to praise. μου τὰς πηγὰς τῶν δακρύων, Accept the fountains of my tears, ὁ νεφέλαις στημονίζων τῆς θαλάσσης τὸ ὕδωρ· you who draw out from the clouds the water of the Σπίνε, μ’ ἀρέσει τὸ ψάλσιμό σου, τὰ λέγεις ὅλα, ὅλα “Swallow, your singing is so delightful! May I κάμφθητί μοι πρὸς τοὺς στεναγμοὺς τῆς καρδίας, sea. Take pity on me, and incline to the sighing of καλά, inquire, how is this so? ὁ κλίνας τοὺς οὐρανοὺς τῇ ἀφάτῳ σου κενώσει· my heart, you who bowed the heavens by your μὰ πές μου ποιὸς εἶναι ὁ δάσκαλός σου ποὺ σὲ Please tell me, dear bird, who is your teacher, the καταφιλήσω τοὺς ἀχράντους σου πόδας, ἀποσμήξω ineffable self-emptying. I shall cover your unstained μαθαίνει τὰ μουσικά. one that taught you this song? τούτους δὲ πάλιν feet with kisses, and wipe them dry again with the Μὰ πές μου ποιὸς εἶναι ὁ δάσκαλός σου ποὺ σὲ Please tell me, dear bird, who is your teacher, the τοῖς τῆς κεφαλῆς μου βοστρύχοις, locks of my hair; those feet, whose sound at twilight μαθαίνει one that taught you ὧν ἐν τῷ Παραδείσῳ Εὔα τὸ δειλινόν, in Paradise echoed in Eve’s ears, and she hid in Πα΄ Νη΄ Ζω΄ Κε Δι Γα Βου Πα. ‘Pa΄ Ni΄ Ζο΄ Ke Di Ga Vou Pa.’ ”15 κρότον τοῖς ὠσὶν ἠχηθεῖσα, τῷ φόβῳ ἐκρύβη. fear. Ἁμαρτιῶν μου τὰ πλήθη Who can reckon the multitude of my sins or fathom Μάθε, παιδί μου, διδάσκαλός μου ποὺ μὲ μαθαίνει “Your question, my child, is quite a good one, and if καὶ κριμάτων σου ἀβύσσους τίς ἐξιχνιάσει, the depths of your judgments, O my life-saving τὴ μουσικὴ I may point, point out the way: ψυχοσῶστα Σωτήρ μου; Μή με τὴν σὴν δούλην Savior? Do not despise me, your servant, since εἶναι ὁ Πλάστης ὅλου τοῦ κόσμου, ἡ εὔνοιά του ἡ Gracious is our God, and in his mercy, he gave me παρίδῃς, ὁ ἀμέτρητον ἔχων τὸ μέγα ἔλεος. without measure is your mercy. στοργική. this voice with which to pray.” 13 New King James Bible. 14 Translation by Holy Nativity Convent, Saxonburg, PA. 15 This is the descending scale in the first mode (roughly equivalent to a descending D minor scale) in the neo-Byzantine solfège system, which was invented in 1814. 28 29 Ὅπου ἐπλεόνασεν ἡ ἁμαρτία Hymn to the pious Pelagia , Sholem velt der gantser Peace to the whole world Ὅπου ἐπλεόνασεν ἡ ἁμαρτία, Wherever sin has become excessive, ὑπερεπερίσσευσεν ἡ χάρις, grace has abounded even more, , All week you have worked hard, καθὼς ὁ Ἀπόστολος διδάσκει· as the Apostle teaches; ἐν προσευχαῖς γὰρ καὶ δάκρυσι, Πελαγία, for with tears and prayers, Pelagia, . , , Now, Man, you are a prince. τῶν πολλῶν πταισμάτων τὸ πέλαγος ἐξήρανας, you have dried up the vast sea of sins, , , Come, beloved, and greet καὶ τὸ τέλος εὐπρόσδεκτον τῷ Κυρίῳ, διὰ and through penitence offered a pleasing end . , - Your Princess, Shabbat Peace. τῆς μετανοίας προσήγαγες, to the Lord, καὶ νῦν τούτῳ πρεσβεύεις ὑπὲρ τῶν ψυχῶν ἡμῶν. and now you intercede with him on behalf of our souls. , Peace, peace to the whole world And a friendly mood Hic est beatissimus Apostolus This is the most blessed Apostle Let us Glow together . In a heartfelt Shabbat song. Hic est beatissimus Apostolus16 This is the most blessed Apostle et evangelista Ioannes qui privilegio amoris praecipui and evangelist John who by privilege of a special favor , Quiet evening has descended, caeteris altius a Domino meruit honorari deserved to be honored by the Lord more highly than the . Peaceful now is the hour. hic discipulus ille quem diligebat Iesus qui supra pectus rest. That is the disciple whom Jesus loved who reclined , ” Let us go, my beloved, to meet the bride, Domini in caena recubuit. upon the breast of the Lord at supper. “. And let us welcome the presence of Shabbat.

Puer qui natus est nobis hodie A child is born to us today … , Peace, peace to the entire world…

Puer qui natus est nobis hodie17 A child is born to us today, plusque propheta est hic, est enim, de quo Salvator ait: more than a prophet is he, this is he of whom the Savior inter natos mulierum non surrexit maior Ioanne Baptista. spoke: among those born of woman there has risen no L’Chu N’ran’na20 Come, let us sing Alleluia. one greater than John the Baptist. Alleluia. ; 1 1 O come, let us sing unto the LORD; Maria Magdalena et altera Maria Mary Magdalene and the other Mary . let us shout for joy to the Rock of our salvation. Maria Magdalena et altera Maria18 Mary Magdalene and the other Mary went to the place , 2 2 Let us come before His presence with thanksgiving, ibant di lucolo ad monumentum. “Iesum, quem quaeritis, of the sepulcher. “Jesus, whom you seek, is not here; He . let us shout for joy unto Him with psalms. non est hic: surrexit sicut dixit, precedet in Galileam, ibi is risen, as he said. He goes before you into Galilee: eum videbitis.” There you shall see him.” , 3 3 For the LORD is a great God, I am the True Vine19 . - - and a great King above all gods; I am the true vine, and my Father is the husbandman. If ye abide in me, and my words abide in you, ye shall ask what ye will, and it shall be done unto you. ; - 4 4 In whose hand are the depths of the earth; Every branch in me that beareth not fruit he . the heights of the mountains are His also. taketh away: and every branch that beareth fruit, Herein is my Father glorified, that ye bear much fruit; he purgeth it, that it may bring forth more fruit. so shall ye be my disciples. Va Tomer Rut21 And Ruth replied Now ye are clean through the word which I have As the Father hath loved me, so have I loved you: spoken unto you. continue ye in my love. 16 But Ruth replied, “Do not urge me to leave you, If ye keep my commandments, ye shall abide in my to turn back and not follow you. Abide in me, and I in you. As the branch cannot bear For wherever you go, I will go; fruit of itself, except it abide in the vine; no more can love; even as I have kept my Father’s commandments, wherever you lodge, I will lodge; ye, except ye abide in me. and abide in his love. your people shall be my people and your God my God. These things have I spoken unto you, that my joy I am the vine, ye are the branches: He that abideth might remain in you, and that your joy might be full. in me, and I in him, the same bringeth forth much 17 Where you die, I will die, and there I will be buried. fruit: for without me ye can do nothing. This is my commandment, That ye love one another, Thus and more may the Lord do to me as I have loved you. If a man abide not in me, he is cast forth as a branch, if anything but death parts me from you.” and is withered; and men gather them, and cast Greater love hath no man than this, that a man lay them into the fire, and they are burned. down his life for his friends. 13 So Boaz married Ruth; she became his wife, and he cohabited with her. Ye are my friends, if ye do whatsoever I command you. The Lord let her conceive, and she bore a son.

16 John 21:20 (King James Bible). 18 Matthew 28:1, 6–7 (King James Bible). 20 Psalm 95:1–4, set to the Koydonover Nign. 17 Matthew 11:9–11 (King James Bible). 19 John 15:1–14 (King James Bible). 21 Book of Ruth, 1:16, 17 and 4:13. 30 31 Hebrew #5 Shir Hashirim22 Song of Songs Mizmor L’ DavidMizmor24 L’A David Psalm24 of DavidA Psalm of David

. 1 1 The song of songs, which is Solomon’s. 1 A Psalm of1 David. A Psalm Ascribe of David. to Ascribe Adonai, to Adonai, O ye Osons ye sons of might, of might, ascribe ascribe to the Adonaito glory the Adonai and strength. glory and strength. , 2 2 Let him kiss me with the kisses of his mouth— . for thy love is better than wine. 2 Ascribe to 2the Ascribe Adonai to the the glory Adonai of God’sthe glory name; of God’s name; bow down tobow Adonai, down majestic to Adonai, in holiness. majestic in holiness. ; 3 3 Thine ointments have a goodly fragrance; ; thy name is as ointment poured forth; 3 The voice 3of The Adonai voice ofis Adonaiupon isthe upon waters; the waters; the theGod God of of gloryglory thunders,thunders, . therefore do the maidens love thee. Adonai over Adonaithe mighty over waters. the mighty waters.

; 4 4 Draw me, we will run after thee; 4 The voice 4of The Adonai voice isof power;Adonai isthe power; voice the of voiceAdonai of isAdonai majesty. is majesty. ; the king hath brought me into his chambers; , we will be glad and rejoice in thee, 5 The voice 5of The Adonai voice breaks of Adonai cedars; breaks cedars; , we will find thy love more fragrant than wine! Adonai breaksAdonai in pieces breaks the incedars pieces of the Lebanon. cedars of Lebanon. . sincerely do they love thee.

6 God makes6 LebanonGod makes skip Lebanon like a calf; skip like a calf; Sirion like a youngSirion likewild-ox. a young wild-ox.

V’Lirushalayim Ircho To Jerusalem, Your city 7 The voice 7of The Adonai voice kindles of Adonai flames kindles of fire. flames of fire.

And to Jerusalem, Your city, in compassion may You return 8 The voice 8of The Adonai voice convulses of Adonai the convulses wilderness; the wilderness; . and may You rest with it, as You have spoken. Adonai convulsesAdonai the convulses wilderness the of wilderness Kadesh. of Kadesh. , May You build it soon and in our days as a structure that is eternal, . And the throne of David, speedily, within it may You establish. 9 The voice 9of The Adonai voice ofcauses Adonai hinds causes to hinds calve, to calve,and stripsand strips forests forests bare;bare; . , Blessed are You, our Adonai, Builder of Jerusalem. while in God’swhile temple in God’s all say: temple ‘Glory.’ all say: ‘Glory.’

10 Adonai sat10 enthroned Adonai sat enthroned at the flood; at the flood;Adonai Adonai sits sitsas Sovereignas Sovereign forever.

Enosh23 As for man 11 May Adonai11 Maygrant Adonai strength grant to the strength people; to may the people;Adonai maybless the people with peace.Adonai bless the people with peace. 15 As for man, his days are as grass; as a flower of the field, so he flourisheth. Ἀββᾶς ἀββᾶν ὑπήντησεν An abbot met an abbot

16 For the wind passeth over it, and it is gone; Ἀββᾶς ἀββᾶν ὑπήντησεν An abbot met an abbot and the place thereof knoweth it no more. καὶ οὕτως τὸν ἐχαιρέτησεν and greeted him thus: Πόθεν ἔρχεσαι, ὦ αββᾶ; Where do you come from, O abbot? 17 But the mercy of the LORD Ἀπὸ Ἀνδριανούπολιν. From Adrianople. is from everlasting to everlasting upon them that fear Him, Τί ἔμαθες ἐκ τοὺς ἐμοὺς γονεῖς; What did you learn concerning my parents? and His righteousness unto children’s children. Ἀπέθανεν ἡ μάνα σου, Your mother died ψυχομαχεῖ καὶ ὁ κύρης σου. and your father is on his deathbed also. Καὶ ὁ Θεὸς μακαρίσει αὐτούς. And may God forgive them.

Ὁ Θεός, ἤλθοσαν ἔθνη O God, the nations have come Ὁ Θεός, ἤλθοσαν ἔθνη εἰς τὴν κληρονομίαν σου, O God, the nations have come into your ἐμίαναν τὸν ναὸν τὸν ἅγιόν σου. ἔθεντο τὰ inheritance, your holy temple they have defiled. θνησιμαῖα τῶν δούλων σου βρώματα τοῖς πετεινοῖς The dead bodies of your servants they have τοῦ οὐρανοῦ, τὰς σάρκας τῶν ὁσίων σου τοῖς given as food for the birds of the heavens, the flesh θηρίοις τῆς γῆς· ἐξέχεαν τὸ αἷμα αὐτῶν ὡσεὶ ὕδωρ of your saints to the beasts of the earth. Their blood κύκλῳ ῾Ιερουσαλήμ, καὶ οὐκ ἦν ὁ θάπτων. they have shed like water all around Jerusalem,

22 Song of Songs 1:1–4. 23 Psalm 103:15–17. 24 Psalm 29:1–11. 32 33 ἐγενήθημεν ὄνειδος τοῖς γείτοσιν ἡμῶν, and there was no one to bury them. We have Ἐπάρ’ το πέρα, γύρισ’ το Take it away, give it back, μυκτηρισμὸς καὶ χλευασμὸς τοῖς κύκλῳ ἡμῶν. ἕως become a reproach to our neighbors, a scorn and καὶ στράφου πίσω φέρ’ μου το, return and bring it back to me, πότε, Κύριε, ὀργισθήσῃ εἰς τέλος, ἐκκαυθήσεται ὡς derision to those who are around us. How long, νὰ δεῖ τὰ δέντρη πῶς ἀθθοῦν to see how the trees blossom πῦρ ὁ ζῆλός σου; ἔκχεον τὴν ὀργήν σου ἐπὶ τὰ ἔθνη Lord? Will You be angry forever? Will Your jealousy καὶ τὰ πουλιὰ πῶς κηλαδοῦν. and hear how the birds sing. τὰ μὴ γινώσκοντά σε καὶ ἐπὶ βασιλείας, αἳ τὸ ὄνομά burn like fire? Pour out your wrath on the nations σου οὐκ ἐπεκαλέσαντο. μὴ μνησθῇς ἡμῶν ἀνομιῶν that do not know you, and on the kingdoms that do Πῶς χαίρουνται, πῶς πέτουνται How they are merry and fly high, ἀρχαίων· ἀλλὰ βοήθησον ἡμῖν ταχύ, καὶ ἐλέησον not call on your name. Oh, do not remember former καὶ πάσιν πέρα κι’ ἔρκουνται. how they go far and come back again. ἡμᾶς. iniquities against us; but help us and have mercy Νὰ δεῖ τοῦ Μάη τραντάφυλλα, To see the roses of May on us.25 τ’ Ἀούστου μήλα κόκκινα. and the red apples of August.

Σήκω καημένε Κωνσταντή Rise, poor Konstantis Κι’ ἂ Παναγία Δέσποινα, O Lady Mary, O blessed Queen, ποὺ ποκοιμίζεις τὰ μωρά, who lull the babies to sleep, Σήκω καημένε Κωνσταντή, στὴν ἐκκλησιὰ νὰ πᾶμε. Rise, poor Konstantis, so we can go to church. νάννι ναννὰ ναννούδκια του Nani, nani, hush to sleep, Σήκω καὶ ψέλνουν οἱ ἐκκλησιές, ψέλνουν τὰ Rise, the churches are chanting, the monasteries κι’ ὕπνον εἰς τὰ μματούδκια του. let sleep fall upon the baby’s eyes. μοναστήρια. are chanting. Ψέλνει καὶ ἡ Αγιὰ Σοφιὰ μὲ τὶς χρυσὲς καμπάνες. Hagia Sophia with its golden bells is chanting too. Παντάνασσα πανύμνητε All-praised Queen of all Σιμὰ νὰ βγοῦνε τὰ ἱερά, σιμὰ νὰ βγοῦνε τ’ ἅγια, As the holy and sacred gifts were about to come φωνὴ τοὺς ἦρθε ἀπ’ oὐρανοῦ, ’ποὺ μέσα ἀπ΄ τὰ out, a voice came from above, a voice came down Παντάνασσα πανύμνητε, Παρθενομήτορ Κόρη, All-praised Queen of all, Virgin, Mother, and Maiden, οὐράνια: from heaven: ἐμῶν ῥημάτων ἄκουσον καὶ πρόσχες μου τοῖς λόγοις, hear my utterance and attend to my words, Πάψετε τὸ Χερουβικὸ καὶ τὴν Τιμιωτέρα, Cease chanting the Cherubic Hymn, cease ἴδε δακρύων σταλαγμούς, ἴδε ψυχῆς τὴν λύπην, see the flow of my tears, see the sorrow of my soul, παπάδες πάρτε τὰ ἱερά, ψαλτάδες τὰ χαρτιά σας, chanting “More honorable,” priests, take the holy ἴδε καὶ μὴ παρίδης με, ὢ Δέσποινα Θεοτόκε. see and do not despise me, O Lady Theotokos. ’τὶ σήμερα πατήσανε τὴν Πόλη μας οἱ Τοῦρκοι. things, and you cantors, take your books, for today Ἡ Παναγιὰ ἡ Δέσποινα τ’ ἄκουσε καὶ δακρύζει. the Turks have taken the City. The Holy Lady Τώρα τὰ πουλιά Now the birds Σώπα, Κυρά μου Δέσποινα, καὶ μὴν Panagia heard this and started crying. Hush, my πολυδακρύζεις, Lady and Queen, and do not weep, do not mourn, Τώρα τὰ πουλιά, τώρα τὰ χελιδόνια, Now the birds, now the swallows, πάλι μὲ χρόνους μὲ καιρούς, πάλι δικά σου θά’ναι. with the years, with time, they shall be yours again. τώρα οἱ πέρδικες συχνολαλοῦν καὶ λένε: now the partridges speak and say: Ξύπνα, ἀφέντη μου. Wake up, my lord. Ἔφριξε γῆ The earth shuddered Ἱκετεύομεν οἱ δοῦλοί σου We your servants beseech you Ἔφριξε γῆ, ἀπεστράφη ἥλιος, καὶ συνεσκότασε τὸ The earth shuddered, the sun was turned back and φῶς, διερράγη τὸ τοῦ Ναοῦ θεῖον καταπέτασμα, with it the light was darkened, the sacred veil of the Ἱκετεύομεν οἱ δοῦλοί σου καὶ κλίνομεν γόνυ We your servants beseech you and bend the knee of πέτραι δὲ ἐσχίσθησαν· διὰ Σταυροῦ γὰρ ᾖρται ὁ Temple was rent in two and the rocks were split; for καρδίας ἡμῶν. Κλῖνον τὸ οὖς σου Ἁγνή, καὶ σῶσον our heart to you. O pure one, lend us your ear in δίκαιος, ὁ αἰνετός τῶν πατέρων Θεὸς καὶ the Just One had been made away with through a τοὺς θλίψεσι βυθιζόμενους ἡμᾶς, καὶ συντήρησον afflictions and your City preserve, O Theotokos, ὑπερένδοξος. Cross; the God of our fathers, praised and glorified πάσης ἐχθρῶν ἁλώσεως τὴν σὴν Πόλιν Θεοτόκε. from any destruction by the enemies. above all. Στὸν τάφο σου, μπεκρῆ – Ὢ Βάκχε, τὰ φυτά – From your tomb, O drunkard, wine is streaming Κράτημα τὸ Πάντερπνον Most delightful Kratima Στὸν τάφο τοῦ μπεκρῆ Τετετε... Τεριρεμ... Tetete… Terirem… Στὸν τάφο σου, μπεκρῆ, ἀναβλύζει κρασάκι, From your tomb, O drunkard, wine is streaming, δὲν ἔπινες ποτὲ στὴ ζωή σου νεράκι, you never in your life drank a drop of water, Ἅγια Μαρίνα καὶ κυρά Saint Marina, holy maiden παρὰ ῥετσίνα ἄδολη μὲ κοῦπα κατοστάρικη. but only guileless retsina by the glass. Σὲ γεραίρουσι τῶν βαρελίων οἱ πίροι, The spigots of the barrels honor you, Ἅγια Μαρίνα καὶ κυρά, Saint Marina, holy maiden, γιὰ σένα ἔγινε τὸ μεγάλο ποτήρι, the big glass was created for you, ποὺ ποκοιμίζεις τὰ μωρά, who lull babies to sleep, Ἀρχιμπεκρούλιακα! O archdrunkard! ποκοίμησ’ τὸ κορούδιν μου, lull my baby too τὸ πκιὸ γλυκὺν τραούδιν μου. to my sweet song. Ὢ Βάκχε, τὰ φυτὰ καὶ τὰ φύλλα τῶν δέντρων O Bacchus, change the plants and the leaves of the trees ἡμῶν τῶν μεθυστῶν τῶν πινόντων ἐνταύθα that belong to us drunkards who here are drinking Κι’ ὕπνε ποὺ παίρνεις τὰ μωρά, Oh sleep who take the babies, μετάβαλον εἰς κλήματα, τοὺς ἀκάνθας εἰς ῥύακας, into vines, and change the thorns into streams of wine, πάρε κι’ ἐμέναν τοῦτο. take this baby from me. διὰ νὰ πίνωμεν κὶ ἑμεῖς διὰ νὰ εὐφρανθῶμεν, so that we can drink and rejoice Μικρὸν-μικρὸν σοῦ τό ‘δωκα. So little, so small, I give it to you, τὸ μόνον φάρμακον ποὺ θεραπεύει τὰς νόσους, in the only medicine that heals all diseases, μεάλον φέρε μού το. older bring it back to me. ὢ Βάκχε παμμακάριστε! O all-blessed Bacchus! Στὸν τάφο τοῦ μπεκρῆ ἀναβλύζει κρασάκι, From the tomb of the drunkard wine is streaming, ποτὲ δὲν εἶχε πιεῖ στὴ ζωή του νεράκι, he never in his life drank a drop of water,

25 Excerpt and paraphrase from Psalm 78 (New King James Bible). 34 35 ὅταν ζοῦσε δὲ ἔλεγε, Μεγαλοδύναμε, κέλευσον, and when he was alive he used to say, O Almighty One, BIOGRAPHIES ἡ μὲν θάλασσα εἶθε νὰ γίνει κρασάκι, command the sea to become wine, νὰ τὸ πίνουμε μὲ γλύκα καὶ μὲ μεράκι∙ so we can drink it in sweetness and good spirit; Cappella Clausura Currently, Ms. LeClair serves as director of choirs αὐτὸ μὲ διέλυσε! this is what destroyed me! Cappella Clausura was founded in 2004 by at the Church of St Andrew in Marblehead and of Amelia LeClair to research, study, and Vermilion, a quartet singing a unique Unitarian Ἡ προσευχὴ τοῦ ψάλτη The cantor’s prayer perform the music of women composers. Vespers service she created for the First Unitarian Θεέ μου σὲ παρακαλῶ, ὅταν θὲ νὰ πεθάνω, My God, I beseech you, when I die, The core of the vocal ensemble is a group of Society in Newton. ἂς ξαναγίνω ψάλτης σου, στὸν κόσμο τὸν ἐπάνω. let me once again be your cantor in the world on high. eight-to-twelve singers who perform a cappella, Γιατὶ οἱ ψάλτες εἶν’ τ’ ἀηδόνια ποὺ σὲ ὑμνολογοῦνε, For the cantors are the nightingales who praise you, with continuo, and with chamber orchestra, as Holy Cross St. Romanos the Melodist ἀπ’ τὴ γῆ τοὺς διάλεξες, νὰ σὲ δοξολογοῦνε. you chose them from on earth to always glorify you. the repertoire requires. Over the last ten years, Byzantine Choir the ensemble has performed an ever-widening Holy Cross St. Romanos the Melodist Καὶ μέσα στὸν παράδεισο, στὴ σιγαλιά τὴ θεία, And in the midst of Paradise, in silence divine, repertoire for enthusiastic audiences in concert Byzantine Choir is a vocal ensemble of students μὲ πατριάρχες θά ’στηνα οὐράνια λειτουργία. with patriarchs a celestial liturgy will I design. halls, churches, and academic settings. and alumni of Hellenic College Holy Cross. Τοὺς λαμπροὺς ἀπ’ τὸ συνάφι θὰ συνάξω, From cantors will I gather the best of all, This repertoire includes music by medieval It is named after the sixth-century saint δυὸ χοροὺς μὲς στὸν παράδεισο, ὅπως στὴ γῆ θὰ φτιάξω. and two choirs in Paradise like on earth will I install. composers Hildegard von Bingen, Kassia, Romanos the Melodist and is dedicated to Τὸν Ἰάκωβο Ναυπλιώτη θά ’χω Πρωτοψάλτη, I will have Iakovos Nafpliotis as my protopsaltis and the anonymous Trobairitz/Trouvères performing Byzantine and post-Byzantine τὸν σεβάσμιο τὸν γέρο Πάντα κανονάρχη. and the venerable old Pantas as my kanonarchis. (troubadours); Renaissance composers sacred musical works in the style created and Καμπανίδη καὶ Μουτάογλου καὶ τὸν Πετρίδη, At the chant stand Moutaoglou and Petrides Vittoria Aleotti and Sulpitia Cesis; Baroque preserved at the Ecumenical Patriarchate in θά’ βαζα νὰ βόηθαγαν τὸν γέρο στὸ στασίδι. will help the old man, along with Kampanides. composers Isabella Leonarda, Barbara Strozzi, Constantinople. The choir regularly performs and Elizaberth Jacquet de la Guerre; Classical in liturgical services as well as at concerts, Στὸ ζερβὶ τὸ ἀναλόγι, Πρίγγο καὶ Δουκάκη, At the left stand will be Pringos and Doukakis composer Marianna von Martines; Romantic conferences, lectures, fundraising events, state καὶ τὸν μελιστάλαχτο τὸν Κανακάκη. along with the most mellifluous Kanakakis. composer-performers Clara Wieck Schumann and national holiday celebrations, and school Δίπλα θά ’ναι ὁ Καραμάνης, ὁ Στανίτσας κὶ ὁ Βιγγάκης, Next to them will be Karamanis, Stanitsas, and Vingakis, and Fanny Mendelssohn Hensel; and the ceremonies. In addition to Byzantine chant, its ὁ Σύρκας καὶ ὁ Χρύσανθος, ὁ Μῆτρος κὶ ὁ Σωκράτης. Syrkas, Chrysanthos, Mitros, and Sokratis. twentieth- and twenty-first-century’s Rebecca repertoire includes Greek folk music, popular Clarke, Erna Woll, Patricia Van Ness, Abbie and art songs, and modern English adaptations Τὴν προσευχή μου ἂν ἄκουγες, ὢ πλάστη καὶ Θεέ, If, O Creator and God, you heard my prayer and my cry, Betinis, Sinta Wuller, and Emma Lou Diemer. and original settings of sacred texts. οἱ ψάλτες δὲν θὰ πέθαιναν ποτέ! cantors would surely never die! Cappella Clausura’s discography includes Vespers of Cozzolani, Italian Style (2008), The choir is directed by Grammenos Karanos, Σὰν τὰ μάρμαρα τῆς Πόλης Like the marble of the City Passionately UnConventional (2011), and artistic director of the Boston Byzantine Music Σὰν τὰ μάρμαρα τῆς Πόλης πού ’ναι στὴν Ἁγιὰ Σοφιά, Your eyes and brows and hair are arranged beautifully Love Songs of a Renaissance Teenager (2014). Festival. Dr. Karanos joined the faculties of ἔτσι τά ’χεις ταιριασμένα μάτια, φρύδια καὶ μαλλιά. like the marble of the City that is in Hagia Sophia. Hellenic College Holy Cross in 2007. He is Amelia LeClair, Resident Scholar at the currently Assistant Professor of Byzantine Ἀποφάσισα νὰ γίνω στὴν Ἁγιὰ Σοφιὰ κουμπές, I decided to become a dome in Hagia Sophia, Brandeis University Women’s Studies Research Liturgical Music, director of the Holy Cross νά ’ρχονται νὰ προσκυνᾶνε Τουρκοποῦλες καὶ Ῥωμιές. for Turkish and Greek girls to come and bow down Center, received her BA in Music Theory Certificate in Byzantine Music Program, and before me. and Composition from UMass Boston and director of the St. John of Damascus School her MM in Choral Conducting from New of Byzantine Music of the Greek Orthodox Ἔχε γειά, Παναγιά Farewell, O Virgin Mary England Conservatory, studying with Simon Metropolis of Boston. He studied Byzantine Carrington. She made her conducting debut in music under Photios Ketsetzis, Archon Στὸ Γαλατὰ ψιλὴ βροχὴ καὶ στὰ Tαταύλα μπόρα, In Galata a gentle mist, and in Tatavla a storm, Boston’s Jordan Hall in March of 2002. Protopsaltis of the Greek Orthodox βασίλισσα τῶν κοριτσιῶν εἶναι ἡ Mαυροφόρα. the queen of the girls wore black. Archdiocese of America. He has a BA in Ἔχε γειά, Παναγιά, τὰ μιλήσαμε, Farewell, O Virgin Mary, we have said it all. In addition to her work with Cappella Government from Harvard University, an ὄνειρο ἤτανε, τὰ λησμονήσαμε. it was a dream, and now it is forgotten. Clausura, Ms. LeClair has conducted workshops MBA from Boston University, and a PhD in Στὸ Γαλατὰ θὰ πιῶ κρασί, στὸ Πέρα θὰ μεθύσω, In Galata I will drink wine, in Pera I’ll be drunken, for the Syracuse Schola Cantorum, Concord’s Musicology from the University of Athens, καὶ μὲσ’ ἀπ’ τὸ Γεντὶ Kουλὲ κοπέλα θ’ ἀγαπήσω. and in Yedi Kule I shall fall in love with a girl. Ars & Amici, and Greater Boston Choral where he completed his doctoral dissertation Ἔχε γειά, Παναγιά, τὰ μιλήσαμε, Farewell, O Virgin Mary, we have said it all, Consortium. As a Brandeis Visiting Scholar, titled “The Kalophonic Heirmologion” under ὄνειρο ἤτανε, τὰ λησμονήσαμε. it was a dream, and now it is forgotten. she has presented lecture demonstrations at the the guidance of renowned musicologist Brandeis Women’s Studies Research Center and Gregorios Stathis. Γεντὶ Kουλὲ καὶ Θαραπειά, Ταταύλα καὶ Nιχώρι, Yedi Kule and Tarabya, Tatavla and Nihori, at Regis College. She is former director of Schola αὐτὰ τὰ τέσσερα χωριὰ ’μορφαίνουνε τὴν Πόλη. these four boroughs beautify the City. Nocturna, a compline choir at the Episcopal Since 1998, Dr. Karanos has served as Ἔχε γειά, Παναγιά, τὰ μιλήσαμε, Farewell, O Virgin Mary, we have said it all, Parish of the Messiah in Newton, of Coro protopsaltis of churches in the greater Boston ὄνειρο ἤτανε, τὰ λησμονήσαμε. it was a dream, and now it is forgotten. Stella Maris, a Renaissance a cappella choir in area and is currently Protopsaltis of the Holy Gloucester, and of the children’s choirs for First Cross Chapel and director of Holy Cross St. Unitarian Society in Newton. Romanos the Melodist Byzantine Choir, with

36 37 which he has produced two CDs. He has Boston Lyric Opera, Emmanuel Music, For five years, Ms. Lieberman was Director Nektarios Antoniou, soloist lectured and performed as a soloist or member Boston Camerata, Aston Magna, Saint Louis of Choral Activities at New England Nektarios Antoniou (DMA) chairs the of various ensembles, including the Symphony Orchestra, Portland Symphony Conservatory of Music, where she led Department of Greek Music and Chant for Archdiocesan Byzantine Choir of the Greek Orchestra, Tallahassee Symphony, performances with the Chamber Chorus, the Conservatory of Northern Greece and is Orthodox Diocese of America, Psaltikon, and Springfield Symphony (Ohio), American Concert Choir, Sinfonietta, Symphony, Bach the Artistic Director of Schola Cantorum, a the Byzantine Choir of the Greek Orthodox Repertory Theater, Berkshire Choral Festival, Ensemble, Percussion Ensemble, and Jazz founding member of the Grammy-nominated Metropolis of Pittsburgh, in universities, and the Masterworks Chorale. As a stage Orchestra. She has been Visiting Assistant DÜNYA musicians’ collective, and Protopsaltis concert halls, churches, and other venues director, she has directed Hans Krása’s Professor of Conducting at Berklee College of the Archdiocesan Cathedral of the Holy throughout the United States and Europe. Brundibár with the Cantata Singers, Edward of Music, and she was Director of Choral Trinity in New York City. Mr. Antoniou made His primary research interests include the Cohen’s The Bridal Night with Collage New Activities and Music Director of the his NPR debut in 2003, conducting Schola morphology and evolution of Byzantine and Music, Lukas Foss’ Griffelkin with Boston Musical Theater program at Wilkes University Cantorum live from the Beinecke Rare Book post-Byzantine chant, the history and exegesis Modern Orchestra Project, Gianni Schicchi at in Pennsylvania. Ms. Lieberman has appeared and Manuscript Library at Yale University in of neumatic notational systems, the dissemination the Boston University Opera Institute, and The as guest conductor with Boston Cecilia, Zamir a joint performance of Credo Settings with of the psaltic tradition outside the Greek- Magic Flute, The Daughter of the Regiment, and Chorale of Boston, Cappella Clausura (MA), Yale Schola Cantorum directed by Simon speaking world, and the relationship between The Barber of Seville for Opera New England/ Lexington Symphony (MA), Portsmouth Carrington. He has produced concerts for religious and secular musical traditions in the Boston Lyric Opera, among others. Symphony (NH), Tallahassee Symphony major universities, installed soundscapes at Balkans. At Hellenic College Holy Cross, Dr. Orchestra (FL), Boston Summer Sings, Aliento the Harvard Fogg Art Museum, and curated Karanos teaches Byzantine chant, history of Ms. Torgove has over 15 years of experience Chamber Players (NH), and New Music New Gallery Quest: The Alternative Guide to the music, and liturgical service rubrics. teaching acting, stage movement, and vocal Haven. She has served as assistant conductor Yale University Art Gallery while editor of studies at New England Conservatory, for the Rhode Island Philharmonic, Cantata Palimpsest, Yale’s literary and arts magazine. Kol Arev Boston Conservatory, the Boston University Singers, and Boston University Tanglewood Kol Arev, the chamber choir of Hebrew Tanglewood (Opera) Institute, Tufts University, Institute’s Young Artists Orchestra. Since 2007, he has been a Tutor, researching College, is composed of students, faculty, staff, Brandeis University, the Walnut Hill School at Aristotle University of Thessaloniki, and and alumni with a wide range of experience, for the Arts, and Longy School of Music. Ms. Lieberman has presented pre-concert editing and curating at the Mount Athos from the beginner to the seasoned choral Since 2005, she has been on the faculty of lectures for Cantata Singers, Boston Symphony Center in Thessaloniki, continuing the legacy singer. Founded in 2012 by Artistic Director Hebrew College School of Jewish Music, where Orchestra, Concord Chamber Music Society, that brought forth the exhibition Treasures Lynn Torgove, Kol Arev serves as an artistic she serves as head of Vocal Arts and Adjunct and the Rhode Island Philharmonic. Her music of Mount Athos. Mr. Antoniou taught music ambassador of Hebrew College and its School Instructor of Jewish Music. degrees are from Stanford University, Boston at Holy Cross Greek Orthodox School of of Jewish Music. The choir explores Jewish University, and the Yale School of Music, where Theology for ten years. He founded the Holy choral music, both sacred and secular. Under In 2012, she was ordained as Cantor from she was Assistant Conductor of the Yale Glee Cross Women’s Byzantine Choir, which opened Music Director Amy Lieberman, Kol Arev Hebrew College. Ms Torgove is co-founder Club and a frequent guest conductor on the the exhibition Faces of Eternity. has performed as part of the Boston Jewish of the communications training firm New Music New Haven series. During the Music Festival and at area synagogues, Gabriel Communications. spring of 2015, Ms. Lieberman was Visiting Spyridon Antonopoulos, soloist including Ohabei Shalom in Brookline and Director of Choruses at Northeastern University. Spyridon Antonopoulos is an Honorary Temple Emanuel in Providence, RI. Kol Arev Conductor Amy Lieberman is equally at home Research Fellow at City University London, has premiered compositions by Joseph Ness in choral, orchestral, and chamber music and Panagiotis Aivazidis, kanun where he completed a dissertation on the and Charles Osborne and Hebrew College in musical theater. She is on the faculty of the Panagiotis Aivazidis was born in Greece in fifteenth-century Constantinopolitan graduates Rabbi Shoshana Friedman and School of Jewish Music at Hebrew College, 1993. He completed his elementary and high composer, theoretician, and choir director Cantor Richard Lawrence. Meaning “sweet where she conducts Kol Arev, coaches art song, school education at the Music School of Serres, Manuel Chrysaphes. He is founder and sound,” Kol Arev is committed to interfaith and teaches musicianship and conducting. Greece, with honors. His BA is from the musical director of Psaltikon, a vocal collaborations, having performed with the Ms. Lieberman is also Artistic Director of University of Macedonia, Thessaloniki, where ensemble dedicated to the preservation and Andover Newton Theological Seminary, ArtsAhimsa, a performance series dedicated he majored in kanun in the Folk Department dissemination of Byzantine chant of all periods. both in concert and in worship, the Seraphim to the promotion of non-violence through of Musical Science and Art. Mr. Antonopoulos has performed and lectured Singers, and in the Boston Theological the arts. She conducts the chorus at the throughout the United States and Europe and Institute’s Choirfest. ArtsAhimsa summer festival in the Berkshires, Mr. Aivazidis has played the kanun at appears regularly as a singer with Cappella and she has given concerts and master classes festivals throughout Europe. For six years, Romana. He is a singer on Cappella Romana Mezzo-soprano, stage director, and teacher, with ArtsAhimsa in Calcutta and New Delhi, he accompanied the Ioasaf o Dionysiatis and Stanford University’s “Icons of Sound” Cantor Lynn Torgove (MAJS’11, Can’12) has India. She is also a founding member and Byzantine Choir (Serres) under the maestro project, as well as a singer and researcher toured Europe, North America, and Japan as Music Director of Vocollage, an ensemble of and president Ioannis Papachronis. He also for UCLA/USC’s “Bodies and Spirits: a singer, worked with acclaimed directors and three artists who present, in live performance performed with the Orchestra of Greek World Soundscapes of Byzantium.” Both projects conductors, and recorded on the Erato and and radio broadcast, theatrical works that Music and George Patronas for three years. He are multidisciplinary collaborations focusing Telarc labels. She is a member of the Cantata interweave words, music, and drama. is continuing his study of the kanun at Berklee on acoustics and the interplay of sound, space, Singers and has appeared as a soloist with College of Music. and liturgy in the Middle Ages.

38 39 Melanie Blatt, Kol Arev - soloist, tof University and has been the recipient of Boston Jewish Music Festival, Vilna Shul, Tufts In 2006, he spent three months studying under Melanie Blatt, a second year student in the many grants, including the Radcliffe Bunting University, and Granoff Hall. Lycourgos Angelopoulos, Archon Protopsaltis cantorial ordination program at Hebrew Fellowship. She teaches privately in her studio in of the Archdiocese of Constantinople, College, was raised in Baltimore, MD. Watertown, MA, and leads ensemble workshops Nick Giannoukakis, soloist Protopsaltis of Hagia Irini in Athens, and Ms. Blatt graduated with a BA from the of Balkan and Middle Eastern music throughout Dr. Nick Giannoukakis is Protopsaltis of director of the Greek Byzantine Choir, which University of Maryland at College Park’s North America and Europe. St. Nicholas Greek Orthodox Cathedral in Samuel performed with while living in Athens. School of Engineering; she also earned a MA Pittsburgh, PA. He completed the Royal Upon returning to the United States, he served in Jewish Education from Towson University. Apostolos Combitsis, soloist Diploma Program in piano at the Royal as the Lampadarios of Holy Trinity Greek She has taught music in Hebrew schools, Apostolos Combitsis is the Protopsaltis of Conservatory of Music in Canada and holds Orthodox Church in Nashville, TN. He also administered youth programs at Beth El St. Barbara Greek Orthodox Church in Toms a Certificate and Diploma in Byzantine Music served as Protopsaltis of Annunciation Greek Congregation in Baltimore, and served as River, NJ. He is the founder and director of from the Musical Conservatory of Attica in Orthodox Church in Chattanooga, TN, from Jewish Life Specialist at Jewish summer camps. the Byzantine Choir of Greater Philadelphia, Athens. He received personal training from 2010 to 2015. Samuel received his Certificate She is a certified personal trainer and Romanos o Melodos, which forms the core of well-known cantors Constantinos Lagouros in Byzantine Music with a grade of Excellent enjoys hiking, biking, dancing, yoga, and the Byzantine Choir of the Metropolis of New (Canada), Georgios Syrkas (Greece), and in 2015 from Holy Cross Greek Orthodox meditation. Ms. Blatt leads a rich musical Jersey, and is a professor at the Metropolis’s Manolis Hatzimarkos (Greece). School of Theology. After working for several life, which includes singing with the Zamir School of Byzantine Music. years as a Certified Sommelier, in August 2015, Chorale of Boston and Kol Arev, playing the Dr. Giannoukakis directs the School of he moved to Boston with his wife Christina guitar, oboe, and piano, and arranging music Mr. Combitsis received his first lessons in the Byzantine Music and the Byzantine Choir and baby girl Alexis and is pursuing a BA in for chorus. psaltic art while he was very young from his of the Metropolis of Pittsburgh, the oldest Classics at Hellenic College. He currently is a father, the Rev. Dr. Constantine Combitsis, an choir of its kind in continuous existence in the member of the Psaltikon Ensemble directed Elaine Bresnick, Kol Arev - soloist active priest in the United States and a student United States. Since its founding in 1998, the by Dr. Spyridon Antonopoulos as well as Holy Elaine’s first instrument is piano, which she of the great Protopsaltis of the Ecumenical choir has performed at universities and in Cross St. Romanos the Melodist Byzantine studied starting at age five. When she moved Patriarchate Konstantinos Pringos. He holds a parishes across the country and is the first Choir directed by Dr. Grammenos Karanos. to Boston after college, she sang with several Diploma of Byzantine Music from the music Byzantine choir to perform on a national Samuel serves as Protopsaltis of Annunciation local choruses. She began to develop her voice conservatory Mousiko Kollegio in Thessaloniki television network (CBN). His Eminence Greek Orthodox Cathedral of the New England as an instrument under the tutelage of Luellen and has chanted in many parishes throughout Metropolitan Maximos honored him with Metropolis in Boston. Best. A mezzo-soprano, Elaine especially enjoys the United States and Greece. Mr. Combitsis the distinction of Protopsaltis of the Pittsburgh performing twentieth-century century art is also a student of classical music, opera, jazz, Diocese (now Metropolis of Pittsburgh) in Janet Hunt, organ songs. She has sung with Chorus Pro Musica, and international music and plays a variety 1998. Dr. Giannoukakis appears in two Dr. Janet E. Hunt is Director of Music at Tanglewood Festival Chorus, Spectrum Singers, of instruments, including the bouzouki, oud, Who’s Who of cantors (Phillipos Oikonomou St. John’s Seminary in Brighton, MA, where King’s Chapel Choir, and Temple Emmanuel in guitar, and mandolin. and Takis Kalogeropoulos) and in the Great during term time, she accompanies fifteen Andover, MA. She currently is a member of Kol Orthodox Christian Encyclopedia. weekly liturgies, leads the men’s schola, and Arev and Cantata Singers. Fluent in German, Yaeko Miranda Elmaleh, violin lectures on sacred music. She holds degrees Elaine is a retired technology executive. She Yaeko Miranda Elmaleh received a BA in music Vasileios Grigoriadis, HCHC - soloist in both organ and harpsichord performance holds degrees from the University of Michigan, from the New England Conservatory of Music Vasileios Grigoriadis was born in Xanthi, from Oberlin College Conservatory of Harvard University, and Boston University. in contemporary improvisation. She studied Greece, and raised in Istanbul, Turkey. He Music, Southern Methodist University, and She has one grown daughter and lives in under Ran Blake and Hankus Netsky. Since studied Byzantine Music for eight years in University of North Texas. She has been a Newton, MA. 2002, Yaeko has been a member of the world the Ecumenical Patriarchate under Leonidas finalist in several competitions and has renowned Klezmer Conservatory Band (KCB), Asteris, the renowned Archon Protopsaltis of performed in many significant recital venues, Beth Bahia Cohen, violin performing throughout the country in such the Great Church of Christ. Mr. Grigoriadis including a regional AGO Convention in Beth Bahia Cohen is of Syrian Jewish and venues as Avery Fischer Hall and Walt Disney has served as a cantor at St. George’s Patriarchal Fort Worth, TX, the Methuen, MA, Memorial Russian Jewish heritage. Inspired early by the Concert Hall. As a part of the KCB, Yaeko has Church in the Phanar District of Istanbul, Music Hall series, and Holy Cross Cathedral sounds she heard at family gatherings, she had the honor of working with Itzhak Perlman Protopsaltis of St. Phocas Church on the in Boston. later studied with master musicians from and Cantor Yitzchak Meir Helfgot on Eternal Bosphorus, Istanbul, and Protopsaltis of the Hungary, Greece, Turkey, and the Middle East. Echoes: Songs and Dances for the Soul. Holy Trinity Church in Taksim, Istanbul. Dr. Hunt has recorded two albums of works She plays many bowed instruments, including He is currently an undergraduate student by César Franck and Louis Vierne, which the violin, various Greek lyras, and the Turkish In 2011, Yaeko recorded her debut album, in Religious Studies at Hellenic College and were broadcast on National Public Radio’s bowed tanbur. Yaeko Miranda Elmaleh. The Yaeko Miranda First Domestikos (chief cantorial assistant) Pipedreams. Her interest in the sacred music Elmaleh Group –Michael McLaughlin in the Holy Cross Chapel, Brookline, MA. of English Catholic composers led to the For years, Beth has focused on the Greek (accordion), Grant Smith (percussion), publication of Peter Philips: 75 Motets for violin. She performs as a soloist and with Ehud Ettun (bass), Brandon Seabrook Samuel Herron, HCHC - soloist Two Solo Voices and Organ Continuo [Editions] Ziyiá, Orkestra Keyif, Édessa, and many others. (mandolin/guitar)—has played throughout Samuel Herron began studying Byzantine in 2015. Beth is on the World Music faculty of Tufts Boston at venues such as Club Passim, Music under Leonidas Kotsiris in 2002.

40 41 Sarah Jenks, HCHC - soloist and, at the age of 20, passed his examinations record with such renowned artists as Simon Vasileios Lioutas, soloist Sarah Jenks is a doctoral student studying and obtained a Certificate of Byzantine Music Shaheen, Petroloukas Halkias, Christos Zotos, Dr. Vasileios Lioutas holds a Diploma in Liturgical Studies in the Department of from the National Conservatory of Athens with Areti Ketime, Antonio Serrano, and Grammy- Byzantine and Traditional Music from the Theology at the University of Notre Dame. the grade of Excellent. winning producer Javier Limón. In September Municipal Conservatory of Thessaloniki. She received her ThM and MTS degrees 2016, he started his MM in Contemporary He studied Byzantine Music under Fr. Spyridon from Holy Cross Greek Orthodox School of In 2009, Dr. Kehagias obtained the Diploma Performance with a concentration on the Antoniou and Dr. Emmanouil Giannopoulos. Theology. Previously, she received her BA in (advanced degree) in Byzantine Music from laouto at Global Jazz Institute of Berklee He was a leading member of the choir of the Physics at Harvard University. Her research the National Conservatory of Athens also with College of Music. monastery of Holy Trinity in Panorama, interests include late antique hymnography a grade of Excellent. He is fluent in western Thessaloniki, for several years, and has and the liturgical reception history of the Bible. music having studied jazz and composition at Irene C. Koulianos, HCHC - soloist participated in many concerts and recordings. Long Island University in Brooklyn, NY. Dr. Irene C. Koulianos, a native of Tarpon Springs, He currently serves as the Protopsaltis of Saint Ms. Jenks studied violin and piano as a child Kehagias previously served as Protopsaltis at FL, made her way to Brookline, MA, five years John the Baptist Church in Boston. at the Cleveland Institute of Music and voice St. Demetrios Cathedral in Astoria, NY, for ago to complete her BA in Religious Studies at the Cleveland Music School Settlement. 10 years. with a minor in Classics and her MTS at Dr. Lioutas is a graduate of the Medical School She also studied and sang Gregorian Chant at Hellenic College Holy Cross. During her of Aristotle University of Thessaloniki. He the Order of Julian of Norwich in White Lake, Becky Khitrik, clarinet studies, Irene was an active member of Holy trained in Neurology at Boston University WI, and Byzantine Music at Holy Cross Greek Cantor Becky Khitrik was ordained in 2014 Cross St. Romanos the Melodist Byzantine Medical Center and subspecialized in Orthodox School of Theology, where she at Hebrew College (Newton Centre, MA). Choir, Holy Cross St. Kassia Women’s Cerebrovascular Diseases at Beth Israel served as Domestikaina (chief cantorial Originally from Washington, D.C., she holds Byzantine Choir, and St. Kassiani Women’s Deaconess Medical Center of Harvard assistant) at Holy Cross Chapel and received a BA in Music and Religious Studies from Byzantine Choir of All Saints Monastery. One Medical School. He is currently a staff physi- her Certificate in Byzantine Music. She has Macalester College (St. Paul, MN), a of her greatest achievements was receiving her cian at Beth Israel Deaconess Medical Center sung with the Cleveland Orchestra Children’s certificate of study from the Zoltán Kodály Certificate in Byzantine Music in the spring of and an Instructor of Neurology at Harvard Chorus, the Cleveland Orchestra Youth Chorus, Institute (Kesckemét, Hungary), a MA in 2015. Irene currently lives in Stoneham, MA. Medical School. the Blossom Festival Chorus, Holy Cross St. Religion from the Yale Institute of Sacred She recently returned to Hellenic College Romanos the Melodist Byzantine Choir, Holy Music (New Haven, CT), and a MA in Jewish Holy Cross as an adjunct instructor and Michael McLaughlin, accordion Cross St. Kassia Women’s Byzantine Choir, and Studies from Hebrew College. assistant to Dr. Grammenos Karanos. During Michael McLaughlin has been a part of the the St. Kassiani Byzantine Women’s Choir of Irene’s spare time, she studies traditional Greek Boston Klezmer and Jewish music scene since All Saints Monastery. Ms. Jenks is currently a Becky maintains an active performance career folk songs and dances, especially those from 1995 as a performer, arranger, and composer cantor at St. Andrew Greek Orthodox Church as a klezmer clarinetist. She has performed the Dodecanese and Cyclades islands. for the Shirim Klezmer Orchestra and Naftule’s in South Bend, IN. internationally and has received acclaim for Dream. He has worked with members of the her technical mastery, warm tone, and unique George Lernis, percussion Klezmer Conservatory Band and The Stephanos Karavas, oud use of vibrato. On stage, she has performed George Lernis (drummer, world percussionist) Klezmatics and has brought Klezmer music Stephanos Karavas is a recent graduate with the Boston-based group Klezwoods, the specializes in a number of world percussion to the New England with Klezwoods and the from Tufts University aspiring to a career in international Lithuanian Empire, and many instruments, including Darbuka, Bendir, Daire, Yaeko Miranda Quintet. He has performed at International Law. With family roots in Chios other established musicians. She has created Riq. He holds a BA from Berklee College of the Helsinki Klezmer Festival, Berlin Jazz and having majored in the History of the and led special klezmer-inspired Shabbat Music in Jazz Performance and a MM from Festival, Texaco Jazz Festival in New York City, Middle East, he developed a passion for the services for Temple Emanu-El (Providence, Longy Conservatory in Modern American and the Ashkenaz New Jewish Music Festival. oud. He has played with Tufts Arabic Music RI), Temple Ahavat Achim (Gloucester), Music. Currently, George resides in Boston Ensemble, Boston Meyhanesi, and at various KlezKanada, and Yale University. In addition where he regularly performs and teaches music. Mr. McLaughlin performs klezmer music, cultural events throughout the Greater to her position at Temple Beth Zion, Cantor Over the last few years, George has recorded Americana, and jazz throughout the United Boston Area. Becky holds a part-time pulpit at Temple Sinai and collaborated with such prominent figures as States and Europe. His compositions have been in Sharon, MA. Dave Liebman, Anat Cohen, Antonio Sanchez, used for film, stage, and public radio and have Demetrios Kehagias, soloist Tiger Okoshi, Jerry Leake, Bertram Lehmann, won many accolades, including a Mass Cultural Dr. Demetrios Kehagias is Protopsaltis at Vasilis Kostas, laouto Mehmet Ali Sanlıkol, and Robert Labaree. Council Artist Grant in 2001. His recordings the Kimisis Theotokou Greek Orthodox Vasilis Kostas specializes in laouto performance can be found on the Accurate, Tzadik, Elipsis Church, Brooklyn, NY, and Director of the and composition. He has an undergraduate In 2011, George released his first album as Arts, Knitting Factory Records, Rykodisc, and Archdiocesan Byzantine Choir of the Greek degree in Philosophy and Pedagogy from a bandleader, Shapes of Nature, featuring Innova labels. Orthodox Diocese of America. He began Aristotle University of Thessaloniki and a the George Lernis Jazz Quartet. He is also studying Byzantine Music at the age of 14 Diploma in Jazz Guitar from Philippos Nakas the percussionist of the big band ensemble Michael McLaughlin teaches music theory and under the tutelage of Nikolaos Steliaros, Archon Conservatory. Vasilis began his studies at Whatsnext?, DÜNYA ensemble, the Greek leads the Klezmer Ensemble at Tufts University. Teacher of Music of the Great Church of Christ. Berklee College of Music in Boston in 2013, Music Ensemble, Synavlis, Esthema, Organic He holds a DMA in Music Composition from Being one of his top students both in theory concentrating on the Greek lute. At Berklee, World Jazz, and Somerville Community Baptist the New England Conservatory (’09), a MA and praxis, he quickly advanced in his studies Vasilis had the opportunity to perform and Church Jazz-Gospel Band. in Music Composition from Tufts University

42 43 (’99), and a BM from Berklee College of (cantor) and his father was a clarinetist in a a leader of her Jewish a cappella group, Greece’s most renowned teachers and chanters. Music (’93). Klezmer band. In 1988 at the age of 18, the Chaimonics. She has been a cantorial He holds an honors degree in Byzantine Music, Cantor Rosemberg started to work as a Hazzan soloist at many Reform and Conservative as well as the Music Teacher Diploma, from the Antonios Papathanasiou, HCHC - soloist at Chaim Weitzman community in San Martin, synagogues. Currently, she is a student cantor Conservatory of Egaleo in Athens. Antonios Papathanasiou is from Ioannina, Buenos Aires, Argentina. By 1991, he studied at Temple Beth Am in Framingham. This is Ms. Greece. He has a BA from Hellenic College at Seminario Rabinico Latinoamericano, and, Rosenblatt’s second year singing with Kol Arev. As choir director, Mr. Theodoridis has and a MA in International Relations/Politics in 1994, he obtained the degree of Hazzan and conducted Byzantine choirs in events and from City College of New York. He has Singing Professor. Georgios Theodoridis, soloist liturgical services in many European cities, worked for the Permanent Mission of Greece Georgios Theodoridis is Protopsaltis and including Athens, Venice, Rome, and Vatican to the United Nations Organization and the For ten years, Cantor Rosemberg served the Director of Musical Arts at Saint Sophia Greek City. He has been an invited lecturer on the Greek Parliament. He is currently a MDiv congregation at Lamroth Hakol Synagogue Orthodox Cathedral of Washington, D.C. Psaltic Art and Byzantine Music at Hellenic candidate at Holy Cross Greek Orthodox in Buenos Aires and later worked at Adath During his early university years, he studied College Holy Cross, The Catholic University of School of Theology. Shalom Synagogue in Morris Plains, NJ. From Byzantine Music under the tutelage of some of America, and Georgetown University. 2001–07, he was the Cantor at Temple Emeth Mr. Papathanasiou took his first music lessons in Chestnut Hill, MA. In 2007, from his father, Fr. Athanasios Papathanasiou. Rosemberg became the fourth cantor in the He studied Byzantine music at the School history of Temple Emanuel in Newton, MA. of Byzantine Music of the Metropolis of Cantor Rosemberg enhances synagogue life Ioannina under Sotirios Tattis, Protopsaltis not only as a Hazzan but also through musical of St. Athanasios Cathedral of Ioannina, programs and concerts, including the Shabbat and Nikolaos Karavidas. While at Hellenic Alive! service. College working on his undergraduate degree, he studied under Photios Ketsetzis, Archon Cantor Rosemberg’s repertoire includes Protopsaltis of the Greek Orthodox Cantorial, Israeli, Yiddish, and Ladino Archdiocese of America. He is a member of music, as well as opera and Broadway. True the Archdiocesan Byzantine Choir of the to his Argentinean roots, he also enjoys singing Greek Orthodox Archdiocese of America and Tango. In February 2002, he was invited to Protopsaltis of Holy Trinity Greek Orthodox sing the memorial prayer at the Holocaust Church in Lowell, MA. Museum in Washington, D.C., at the Cantors Assembly Convention. Janet Penn, Kol Arev - cello Janet Penn has actively engaged in performing Cantor Rosemberg is currently the New Jewish music for more than two decades. She England Region Chair for the Cantors was lead soprano in the Temple Emanuel choir Assembly and also serves on the national in Providence, RI, for 25 years and is currently Executive Council of the same organization. cellist and singer in their Klezmer Kabbalat He is the past president of the New England Shabbat (Friday evening) service. Janet has Board of Cantors and has served on the faculty performed several Jewish Art Song recitals, at Hebrew College as a Cantorial Coach. He is including a performance of Simon Sargon’s Five featured on two Cantors Assembly CDs— Poems of Primo Levi for the South Area Jewish Encore and The Spirit of Jewish World Music— Community Commemoration of Holocaust and released his own CD entitled My Beloved Remembrance Day. She currently sings with Prayers and Songs. Kol Arev and the Spectrum Singers. An active 50 Goddard Avenue chamber musician, she has performed with the Dara Rosenblatt, Kol Arev - soloist Brookline, MA 02445 Brockton Symphony Orchestra and the Sharon Dara Rosenblatt is in her second year in Community Chamber Orchestra. Janet is a the Cantorial Ordination for Spiritual and former Coordinator of the Jewish Music Educational Leadership (COSEL) program [email protected] Institute at Hebrew College. at Hebrew College. Prior to moving to Boston, www.maryjahariscenter.org Ms. Rosenblatt worked at the Hillel at the Elías Rosemberg, soloist College of Charleston in South Carolina. Follow us: @mjcbac & Cantor Elías Rosemberg was born in Buenos Dara has been an avid choral singer for much Aires, Argentina. He comes from a family of her life. During her undergraduate years at facebook.com/maryjahariscenter of musicians. His grandfather was a Hazzan Muhlenberg College in Pennsylvania, she was

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