DOCSLIB.ORG

Contents Part I

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Contents Part I Contents Sigla and Abbreviations..........................................................................13 List of Tables ........................................................................................... 15 Prefatory Remarks and Acknowledgements.........................................17 Part I Chapter 1: Introduction ......................................................... 21 Chapter II: Slavia Orthodoxa in the 13th Century - at a Liturgical Crossroads: Cathedral vs. Monastery - Jerusalem or Constantinople............................................................25 The Typikon: Identifying the Liturgical Authority Determining the Musical Praxis...............................................26 A. The Copies of the Typikon of the Great Church:............. 29 (a) Holy Cross No. 40 and Patmos No. 266.....................29 (b) Dresden Ms A104........................................................ 30 B. The Studite Fusion..............................................................31 (a) TAS-OCS - The Typikon of Alexius Studite, Church Slavonic.......................................................... 32 (b) The Typikon of the Monastery of the Theotokos Evergetis.................................................... 34 (c) The Athonite-Studite Redaction ................................. 35 (d) The Typikon of San Salvatore of Messina..................36 (e) The Neo-Sabbaitic or Jerusalem Typikon..................37 Menaia and Triodia.................................................................................38 1. Definition and Development ............................................... 38 2. Triodion and Pentecostarion ............................................... 42 Reconciling Non-Constantinopolitan Elements in Medieval Slavic Service Books............................................43 Chapter III: Manuscript Profiles...........................................................47 (a) The Enina Apostol, NBKMNo. 1144 ........................ 47 (b) The Bitola or Kicevo Triodion, Sofia BAN No. 38..... 48 (c) The Orbelski Triodion (OrbTr) - South Slavic Archetype of the Studite Synthesis............................ 49 (d) Apostol No. NBKM 882.............................................. 51 (e) The Zografski Trifologion or Draganov Menaion..... 51 (f) Other Slavonic Liturgical Sources: 15th and 16th Centuries................................................. 53 East Slavic Witnesses................................................................ 54 RGADA Nos. 131 and 137 - The II ’ina Kniga and the Triodion of Moisei Kianin.........................................................54 The Corollary Musical Sources................................................ 55 First Generation Musical Sources............................................. 57 Tipografsky Ustav (TU) and Blagoveshchensky Kondakar (BK)...........................................57 Second Generation Musical Sources........................................59 The Lavrsky (LK), Uspensky (UK) and Sinodalny (SK) Kondakaria.................................................................................. 59 Psaltikon and Asmatikon...........................................................60 Kastoria 8 ................................................................................... 62 The Sticheraric Repertory.........................................................64 Chapter IV: The Chant Types: Troparion, Katavasie, and Hypakoe.....67 Working Definitions................................................................... 67 Stational or Sessional................................................................. 68 The Sessional Hymn: Poetic Kathisma, Hypakoe, orSedelen ....68 Processional Genres: Music for theLitiya .............................. 71 (a) The Katavasie or Hymn of Descent........................... 72 (b) The Kontakion as Processional Hymn Type..............73 (c) The Exapostilarion and Photagogikon, as Processional Chants................................................74 (d) The Trisagion as a Processional Chant...................... 75 On the Multi-Functionality of Hymn-Types: Relabeling, Recasting and Redefining Function......................76 Chapter V: Performance Style and Practice.........................................81 (1) Antiphonal vs. Responsorial.......................................81 (2) Perisse and Akroteleuteon...........................................84 (3) Who was Singing? - Congregational participation.................................................................88 Part II Chapter VI: The Feast of the Exaltation of the Honorable Cross - September 14 .......................................................... 93 Liturgical Context: A. The Order of Service...........................93 B. The Place of the Hymnody in the Liturgical Sources..... 94 C. The Oldest South Slavic Witness:......................................99 a. The Enina Apostol ....................................................... 99 D. Later South Slavic Witnesses of the Exaltation Rite within the Studite Orbit: Three Sources from Zografou Monastery..........................................................102 a. Raikov Ms. No. 54 - theDraganov Menaion..........102 c. Raikov Ms. No. 53- A Service Menaion for September, October and November, Serbian Redaction.......................................................104 d. Raikov 63: Resurrection Oktoechos, 15th-century, Serbian Redaction.................................104 e. NBKM Ms. No. 522, TheSkopski Menaion.............105 f. Apostol Ms. No. NBKM 882....................................105 g. Apostol Ms. No. NBKM 880...................................105 h. From the Lenten Triodion: The Bitolski Triodion.....106 i. OrhTr..........................................................................106 E. East Slavic Transmissions and Other Sources................107 The Prefatory Rituals: The Bringing Out of the Holy Cross from the Skeuophylakion, the Washing, and the Veneration.....109 The Identification of an Unidentified Antiphon .................... 117 The Singing of the Troparia for the Exaltation of the Holy Cross on Other Occasions...............................................117 A. The Third Sunday of Great Lent and the Week of the Holy: The Lesser Elevation of the Holy Cross.............................................................. 118 The Prescription for the Singing of the Antiphons for the Royal Hours on Tuesday in Holy Week According to the Tipografsky Ustav....................................... 125 B. Good Friday: The Chanted Royal Hours........................ 128 Music for the Antiphons and their Performance ................... 131 The Chanting of the Good Friday Royal Hours According to OrbTr..................................................................135 PartHI Chapter VII: The Music - Introduction............................................. 141 The Oral-Written Binary and the Template for Performance Manuscript - Repertory - Notation........................................ 141 The Musical Settings: The Reconstruction of the Antiphons and Stichoi for Performance.................................143 The Music, Division of Labor and the Elements of Style.......144 The Troparia of the Holy Cross...............................................146 Techniques and Devices for Musical Cohesion in Performance; Formulaic Correspondence and Melodic Construction.............................................................. 148 I. Antiphon 1 (Hypakoe): £i)pepov to npotpr^TiKov TreTrXppwxai ~A^HhCk npopOYKCKoe ........................... 149 II. Antiphon 2 (Hypakoe): Mövov E7idyr| to ^uXov Xpioretoo oraupou aou ~ ThK/Ho BK^pysH ca Ap-fcao.........................................152 III. Antiphon 3 (Hypakoe): 'H ’EKKA.r)aia ßo<jc aoi ~IIpKKBH BTillHrrh TH Xt fie....................................153 IV The Kontakion of the Feast: O ü\]/a>0ei^ evtw Sraupco EKouaico<; ~ Erh3N(ccrh.H ca Nd Kp KpcTK bmea, Mode IV .........................................154 V The Troparion of the Veneration/Festal Trisagion: Tov (Txaupov aou TtpoaKuvoupevSectttotoc ~ KpecToy TBoemoy, Mode II Plagal/Mode VI..............155 The Musical Settings of the Stichera The Stichera for the Exaltation of the Holy Cross, September 14 and Select Stichera-Idiomela for the Good Friday Royal Hours............158 The Accompanying Sticheron-Idiomelon in OrbTr...............161 Chapter VIII: Summation and Concluding Remarks....................... 163 Texts and Translations...........................................................................165 Unpublished Sources.............................................................................171 Secondary Literature.............................................................................179 Musical Examples................................................................................ 205 First Troparion for the Exaltation of the Holy Cross............205 Second Troparion for the Exaltation of the Holy Cross....... 211 Third Troparion for the Exaltation of the Holy Cross.......... 214 Kontakion for the Exaltation of the Holy Cross, from the Tipografsky Ustav.................................................... 210 Festal Trisagion for the Exaltation of the Holy Cross........... 218 Transcription of the Kontakion for the Exaltation of the Holy Cross, from Codex Ashbumhamensis 6 4.....................219 Stichera-Idiomela for the Good Friday Royal Honrs..............220 Name Index........................................................................................... 223 Subject Index........................................................................................ 227.
Load more

Recommended publications
  • A Byzantine Christmas
    VOCAL ENSEMBLE 26th Annual Season October 2017 Tchaikovsky: All-Night Vigil October 2017 CR Presents: The Byrd Ensemble November 2017 Arctic Light II: Northern Exposure December 2017 A Byzantine Christmas January 2018 The 12 Days of Christmas in the East February 2018 Machaut Mass with Marcel Pérès March 2018 CR Presents: The Tudor Choir March 2018 Ivan Moody: The Akáthistos Hymn April 2018 Venice in the East A Byzantine Christmas: Sun of Justice 1 What a city! Here are just some of the classical music performances you can find around Portland, coming up soon! JAN 11 | 12 FEB 10 | 11 A FAMILY AFFAIR SOLO: LUKÁŠ VONDRÁCˇEK, pianist Spotlight on cellist Marilyn de Oliveira Chopin, Smetana, Brahms, Scriabin, Liszt with special family guests! PORTLANDPIANO.ORG | 503-228-1388 THIRDANGLE.ORG | 503-331-0301 FEB 16 | 17 | 18 JAN 13 | 14 IL FAVORITO SOLO: SUNWOOK KIM, pianist Violinist Ricardo Minasi directs a We Love Our Volunteers! Bach, Beethoven, Schumann, Schubert program of Italy’s finest composers. n tns to our lol volunteers o serve s users ste re o oe ersonnel osts PORTLANDPIANO.ORG | 503-228-1388 PBO.ORG | 503-222-6000 or our usns or n ottee eers n oe ssstnts Weter ou re ne to JAN 15 | 16 FEB 21 us or ou ve een nvolve sne te ennn tn ou or our otent n nness TAKÁCS QUARTET MIRÓ QUARTET WITH JEFFREY KAHANE “The consummate artistry of the Takács is Co-presented by Chamber Music Northwest ou re vlue rt o te O l n e re rteul simply breathtaking” The Guardian and Portland’5 Centers for the Arts FOCM.ORG | 503-224-9842 CMNW.ORG | 503-294-6400 JAN 26-29 FEB 21 WINTER FESTIVAL: CONCERTOS MOZART WITH MONICA Celebrating Mozart’s 262nd birthday, Baroque Mozart and Michael Haydn string quartets DEC 20 concertos, and modern concertos performed by Monica Huggett and other PDX VIVALDI’S MAGNIFICAT AND GLORIA CMNW.ORG | 503-294-6400 favorites.
    [Show full text]
  • Durham E-Theses
    Durham E-Theses Methodios I patriarch of Constantinople: churchman, politician and confessor for the faith Bithos, George P. How to cite: Bithos, George P. (2001) Methodios I patriarch of Constantinople: churchman, politician and confessor for the faith, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/4239/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 METHODIOS I PATRIARCH OF CONSTANTINOPLE Churchman, Politician and Confessor for the Faith Submitted by George P. Bithos BS DDS University of Durham Department of Theology A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Orthodox Theology and Byzantine History 2001 The copyright of this thesis rests with the author. No quotation from it should be published in any form, including' Electronic and the Internet, without the author's prior written consent All information derived from this thesis must be acknowledged appropriately.
    [Show full text]
  • Parish Typikon:Ii
    Chart II 29 Chart II th th rd nd st PARISH 5 CLASS 4 CLASS 3 CLASS 2 CLASS 1 CLASS SIMPLE DOXOLOGY VIGIL/POLYELEOS MOTHER OF GOD THE MASTER TYPIKON: II COMMEMORATION COMMEMORATION COMMEMORATION GREAT FEAST GREAT FEAST SUNDAY SUNDAY SUNDAY SUNDAY ANY DAY Vespers Great Great Great Great Great Opening “Blessed is our “Blessed is our “Blessed is our “Blessed is our “Blessed is our Exclamation God…” God…” God…” God…” God…” Psalm 103 Yes Yes Yes; may chant Yes; may chant Yes; may chant anoixantaria anoixantaria anoixantaria Litany of Peace Yes Yes Yes Yes Yes Psalter Kathisma I Kathisma I Kathisma I Kathisma I No, except on (Psalms 1-8) (Psalms 1-8) (Psalms 1-8) (Psalms 1-8) Palm & Thomas Sundays, & when 9/14 is a Sunday Little Litany "For thine is the "For thine is the "For thine is the "For thine is the Only if the Psalter might…" might…" might…" might…" was read. Lord, I have cried Octoechos=7 Octoechos=6 Octoechos=6 Octoechos=4 Menaion Menaion=31 Menaion=4 Menaion=42 Menaion=6 (for a Double Simple it is 2+1=3 from the Menaion) 1 When a Simple (5th Class) Commemoration with two doxastika (one on Lord, I have cried and another on the aposticha) coincides with a Sunday, the following changes to the above-listed rubrics are observed. GREAT VESPERS: At Lord, I have cried chant 6 from the Octoechos and 4 for the commemoration from the Menaion (doubling the first if necessary), Glory from the Menaion and Both now from the Octoechos in the tone of the week.
    [Show full text]
  • Dictionary of Religious Terms
    IMPORTANT INFORMATION – Please Read! his lexicon began as a personal project to assist me in my efforts to learn more about my faith. All too often in my T readings I was coming across unfamiliar words, frequently in languages other than English. I began compiling a “small” list of terms and explanations to use as a reference. Since I was putting this together for my own use I usually copied explanations word for word, occasionally making a few modifications. As the list grew I began having trouble filling in some gaps. I turned to some friends for help. They in turn suggested this lexicon would be a good resource for the members of the Typikon and Ustav lists @yahoogroups.com and that list members maybe willing to help fill the gaps and sort out some other trouble spots. So, I present to you my lexicon. Here are some details: This draft version, as of 19 December 2001, contains 418 entries; Terms are given in transliterated Greek, Greek, Old Slavonic, Ukrainian, and English, followed by definitions/explanations; The terms are sorted alphabetically by “English”; The Greek transliteration is inconsistent as my sources use different systems; This document was created with MS Word 97 and converted to pdf with Adobe Acrobat 5.0 (can be opened with Acrobat Reader 4.0); Times New Roman is used for all texts except the Old Slavonic entries for which I used a font called IZHITSA; My sources are listed at the end of the lexicon; Permission has not been obtained from the authors so I ask that this lexicon remain for private use only.
    [Show full text]
  • Anti-Judaism in the Present-Day Byzantine Liturgy
    1783-08_JECS_18_Groen 31-03-2009 14:05 Pagina 369 Journal of Eastern Christian Studies 60(1-4), 369-387. doi: 10.2143/JECS.60.1.2035289 © 2008 by Journal of Eastern Christian Studies. All rights reserved. ANTI-JUDAISM IN THE PRESENT-DAY BYZANTINE LITURGY BERT GROEN* 1. INTRODUCTION In a short but significant chapter in a Dutch manual on Eastern Christian- ity, Adelbert Davids describes the rise and expansion of anti-Judaism and anti-Semitism in the Early Church. He outlines the process of alienation between Christianity and Judaism, the self-concept of the Church and the Christian State as the True Israel, the hatred of several ecclesiastical leaders (e.g., John Chrysostom) of Judaism, their promotion of anti-Jewish state leg- islation and forced conversions of Jews to Christianity.1 The phenomena of theological anti-Judaism and profane anti-Semitism have not only been serious historical problems in the relations between Judaism and Christianity, but they are also important issues in present-day contacts and dialogue between the two religions. Furthermore, one might ask the question if these notorious phenomena do not deny the universality of salvation. In the Byzantine rite, for example, Easter is the “Feast of Feasts”, the festival of the Resurrection of Christ that brings about salvation and for- giveness for all people. Of course, such redemption primarily concerns those who believe in Christ – in a free act of faith and in relation with the com- munity of believers, viz. the Church. However, according to several texts of the Byzantine liturgy, it looks as if one people will never share in the joy of the salvation of mankind, viz.
    [Show full text]
  • Hymnographic Terminology
    Hymnographic Terminology The beginning of wisdom is to call things by their right names. Before proceeding to other introductory topics it is necessary that a preliminary understanding of the basic hymnological terminology be attained, since this terminology will be continuously encountered. Parallel to the Scriptural 3 the fear of the Lord is the beginning of wisdom (Prov. 9,10) is the ancient proverb the beginning of wisdom is to call things by their right name. If we are to comprehend any subject, it is imperative that we know the key words well. Naturally, we will not extend ourselves to scholastic interpretations and analyses, with etymological references and linguistic notations, as would be necessary in a specialized study of hymnographic terminology. For the purpose of giving a practical overview, what follows is a list of the most common terms, in alphabetical order, used in hymnology and afterwards, the basic liturgical books of our Church. These books are referred to often, and in them the great majority of the ecclesiastical hymns are preserved. Akolouthia (liturgical service). Every ecclesiastical ritual, whether performed daily (i.e. Orthros, Vespers, Hours, etc.) or irregularly (i.e. water blessings, mysteries, special processions), is accompanied by hymns, prayers and readings, as dictated by the Typikon (see below). Today we also refer to the Phyllada as Akolouthia. This book contains the hymnography and Synaxarion for a particular Saint or feast not found in the other liturgical books or a service that has been composed by another hymnographer for some particular miracle, such as newly-revealed Saint or other events.
    [Show full text]
  • 2021 Rubrics Устав
    Ustav: The Liturgical Order of Services for the year of the Incarnate Lord 2021 If you have any questions regarding the Ustav for the year 2021, please feel free to contact me by email or by phone. Fr. Haralampij Linsinbigler For those who wish to review the Slavonic Typikon, an online edition can be found here: http://www.orthlib.info/Typikon/Typikon.html CONTENTS: PAGE 1 LITURGICAL VESTMENT COLORS PAGE 2 ABBREVIATIONS AND MEANINGS PAGE 4 RUBRICS FOR 2021 Liturgical Vestments The Slavonic Typikon calls for either “bright” vestments or “dark” vestments (in older forms of St. Sabbas, however, it does specify white for Pascha). This generally can be interpreted to mean “bright/decorated” vs “dark/limited in decoration.” In other words, if a darker shade of a color is greatly ornamented in a vestment, then it is considered “bright,” since bright does not necessiarly mean “light in color.” This leaves the rest up to custom and local tradition. One could assign meanings to the different colors: white for the pure light of God’s energy; green, the color of life, for the Holy Spirit and the wood of the cross; purple for the suffering of Christ; deep red for the blood on the Cross, blood of the martyrs; blue for the Mother of God, angels, and heavenly things; and gold for the richness of the gifts of the Holy Spirit, and bright red for the fiery flame of the Spiritual Host. Black is traditionally the color of death and mourning in the West, but in the East white is the color of funerals as it is the color of resurrection.
    [Show full text]
  • The Sticherarion of Hieromonk Macarie (Ms. Bar 1690)
    The Sticherarion of Hieromonk Macarie (Ms. Bar 1690) Florian Mircea PĂDUREAN Abstract: Hieromonk Macarie is one of the reforming worthy persons of our church music who adapted the songs according to the Romanian taste, its compositions being characterized by simplicity, clarity and sweetness. The Sticherarion, given to the Library of the Romanian Academy by Moldova Metropolitan Iosif Naniescu, is part of the work of Macarie, remaining in the manuscript and is a Greek translation of the Anthology of Sticherarion, by Gregory Protopsaltes, who, with Hurmuz Hartofilax, transposed in the new graphy the Sticherarion of Chrysaphes the New in the seventeen century. The songs in this work, written in argon style, are broadly addressed to all religious people who have reached a hot stage of prayer that falls within the rigors of time. Keywords: Sticherarion, stichera, idiomelon, manuscript, melos, Hieromonk Macarie, Gregory Protopsaltes, Chrysaphes the New. Sticherarion. Stichera. Sticheraric The Sticherarion is a book that includes the stichera for morning and evening sermons throughout the church year. Stichera in Greek (gr. στιχηρα /stihira, what is composed of „styhos”) is a troparion preceded by a styhos used in the day's PhD, „Isidor Todoran” PhD School Faculty of Orthodox Theology at „Babeș- Bolyai” University, Cluj- Napoca, Romania. Florin Mircea PĂDUREAN sermons. These troparia can be found in the books of Mina, Octoechos, Triodion, Catavasier, books that support, maintain the public divine worship in the Orthodox Church. In Greek, στιχηρον may mean which is in connection with a verse (στιχ). So, the book called Sticherarion, groups the songs that are played alternately with the styhos of the Psalms.
    [Show full text]
  • Sin 319 and Voskr 27 and the Triodion Cycle in the Liturgical Praxis in Russia During the Studite Period
    SIN 319 AND VOSKR 27 AND THE TRIODION CYCLE IN THE LITURGICAL PRAXIS IN RUSSIA DURING THE STUDITE PERIOD Svetlana Poliakova ___________________________________________________ A Thesis Presented to the Faculty of Social and Human Science of the Universidade Nova de Lisboa in Candidacy for the Degree of Doctor of Philosophy in Musicology JUNE, 2009 i Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Ciências Musicais, realizada sob a orientação científica do Professor Doutor Manuel Pedro Ferreira (FCSH-UNL), com a co-orientação do Professor Doutor Christian Troelsgard (Universidade Copenhaga). ii Apoio financeiro da FCT e do FSE no âmbito do III Quadro Comunitário de Apoio. Bolsa de Investigação com a referência SFRH / BD / 16486 / 2004. iii iv To my daughter Taísia v ACKNOWLEDGEMENTS The completion of this thesis was made possible thanks to the assistence of a number of institutions and individuals in Eastern and Western Europe, and in North America. I gratefully acknowledge the Fundação para a Ciência e a Tecnologia (FCT) of the Ministério da Ciência, Tecnologia e Ensino Superior for its award of a Doctoral Fellowship (2004-2008), and the support of the Centro de Estudos de Sociologia e Estética Musical (CESEM) at the Universidade Nova de Lisboa. I would like to express my deep gratitude to my two supervisors, Manuel Pedro Ferreira and Christian Troelsgard. Among Russian scholars, the writing of this thesis benefited from multiple and constant consultations, as well as the human support, of M. A. Momina and T. F. Vladyshevskaia, who inspired and supervised the preliminary stages of my research, carried out as part of the masters' course at the Tchaikovsky Higher Conservatoire in Moscow.
    [Show full text]
  • Standardization of Liturgical Terminology Used in the English Typicon
    Standardization of Liturgical Terminology Used in the English Typicon Aleksandr Andreev PONOMAR GREEN PAPER* Executive Summary of Changes since Version 1 e present document aempts to codify rules for transliteration of Greek and Slavonic terms and other standards of usage in the English-language edition of the Typicon and other liturgical manuals. e paper defends use of the classical system of transliterating Greek and presents a list of liturgical terms with their standard names in English. 1 Introduction It is clear that the liturgical terminology used throughout the English edition of the Typicon needs to be standardized both for internal consistency and for reference purposes for external use. e laer is important because the Typicon, as the liturgical manual par excellence, should serve as a model for other liturgical manuals in English. While it may be too ambitious to hope that the English-speaking world can enjoy uniformity across editions of liturgical texts in the proximate future, coming up with a set of conventions of use in the English-language Typicon may be a confident first step in that direction. e present document, the fruit of considerable discussion of this maer, presents a list of liturgical terms and other conventions used in the Typicon with proposed standardized orthography and rendition. e transliteration of liturgical terms into English is guided by the following principles: • Greek terms should come into English from Greek and not via Slavonic or other Languages (in other words, “Troparion”, not “Tropar”). Also, Greek terms that have Slavonic counterparts should still be rendered according to the Greek prototype (in other words, use “Photagogicon,” not “Svetilen”; “Prosomœon”, not “Podoben”).
    [Show full text]
  • Priest's Message
    HolyTrinityGreekOrthodoxChurch Volume 16 Issue 9 December 2016 Fr. Peter Day–Proistamenos Priest’s Message Today is born of a Virgin, he who holds cre- ation in the hollow of his hand. As a mortal he is wrapped in swaddling rags, he who in his being cannot be handled. God lies in a manger, who of old established the heavens in the beginning. He is nourished with milk from the breast, he who rained Manna on the People in the desert. He summons Magi, the Bridegroom of the Church. He accepts their gifts, the Son of the Virgin. We worship your birth, O Christ. Show us also your divine Epiphany. from the Idiomelon of the Ninth Hour of Nativity. Dear Brothers and Sisters in Christ, hat a joyous event we celebrate on December 25th – the Nativity of our Lord and Savior Jesus Christ. We celebrate with caroling and with feasting – the signs of “good cheer.” Christmas parties, gift swaps, house decorations, and the gathering together of family and friends give us a warming in our hearts that brings out the magic of the season. But there is more to the season than magic - there is mystery. What an awesome mystery it is, that the Son Table of Contents of God becomes man, for our salvation. The Father’s Message ...........................1 Christmas Stories ...................... 13 magic and the merry times of the season often Church News ...............................3 Pastry Sale ................................ 14 get in the way of our sensing the deep mystery St. Spyridon ..................................5 Stewardship .............................. 15 Dance in Portland ........................8 Memorials ................................ 16 that is contained within the Babe wrapped in Baptism-Johnson ...........................9 Calendar..................................
    [Show full text]
  • Kassia's Hymn on the Sinful Woman and the Biblical Mosaic Of
    chapter 7 The Tears of a Harlot: Kassia’s Hymn On the Sinful Woman and the Biblical Mosaic of Salvation Andrew Mellas Stories of harlots who transformed their lives and transfigured their eros were powerful images of conversion in Byzantium.1 One of these stories was most poignantly experienced during the liturgical journey through Holy Week, where the performance of hymns, Scripture and homilies devoted to the theme of the sinful woman who anointed Jesus, enshrined the harlot in the Christian imagination as a paragon of repentance and an exemplar of how human desire could become divine passion.2 This chapter will explore how hymnody expli- cated and amplified the biblical reading associated with Holy Wednesday.3 One of these hymns in particular—On the Sinful Woman—a sticheron idiomelon4 composed by the ninth-century hymnographer Kassia5 and sung on Holy Wednesday, evokes a curious tension between paradisal nostalgia and the es- chaton, enacting the transformation of the woman who had fallen into many sins. The tears of the harlot who is the protagonist of the hymn, her repentance at the feet of Christ and her elevation to a myrrhbearer, open a liminal space where Creation, Fall, Incarnation and Passion are glimpsed. Although Kassia’s hymn echoes the biblical story associated with Holy Wednesday, the liturgical performance of her song extends beyond this tale, evoking a visual and sonic intertextuality. Kassia begins with a moment in the history of salvation but her textual strategy steps beyond this, giving her audience a panoramic view of the divine 1 On this theme, see Ward 1987; Karras 1990, 3–32; Krueger 2014, 46–48, 152–158.
    [Show full text]