PAGE 1 The BYZANTINE ECHO - www.mefgox.orgA News Publication MAY of the2010 Mid-Eastern Federation of Greek Orthodox Church Musicians

MAY 2010 www.mefgox.org Official Treatise on Greek Canonsburg Orthodox Church Music from Parish Getting Ready for a Great 1820 Published in English Convention

Book Review: Great Theory of Music by Chrysanthos of Madytos, The All Saints Greek Orthodox Newly Translated by Dr. Ekaterina Romanou Church in Canonsburg, Pennsylvania is

enthusiastically preparing for what will by Stanley J. Takis certainly be a memorable 63rd MEFGOX

Annucal Convention on July 15 through Music theory is a dry topic. People like to think of music as an art form and not a science. However, for anyone interested in the correct application of music, the study July 18. Canonsburg, a small town of music theory is a must. This means that all musicians—composers, arrangers, southwest of Pittsburgh and just east of conductors, performers, and directors—would benefit greatly from the study of music the Ohio border, is nestled in the foothills theory. Musicians must make choices that will affect the key element of the of the beautiful Allegheny Mountains. appropriate application of music in any particular situation. For example, in the The church, picturesquely situated in the application of art music, that is, pure music created as art only, it would be most side of a tall hill, features beautiful appropriate to perform the music the way the iconography, a bell tower, a high dome, composer intended. In this case, then, the most and the longest icon screen in America. concern about music theory falls upon the The convention committee of All composer, and the role of the performers is in Saints has been working hard to make interpreting what the composer’s intentions are. this year’s convention worshipful, But even in this situation, knowledge of music educational, and fun. The convention theory by the performers would help them to hotel sits atop another high hill opposite understand how composers use the medium of that of the church, and the view is music to artistically express their creations, stunning. In addition to the usual which would help them in their interpretations. workshops, rehearsals, church services, Church music is a different matter from meetings, and social activities, this year’s secular art music, and particularly so in the convention will feature a picnic in the Greek Orthodox Church. The appropriate park and a poolside dance. application of music in the Church relies on the The music selected for the role of music that was decided upon by the convention offers a one-year-only Fathers of the Church and the traditions that opportunity to sing much of the liturgical developed from it. These traditions have been music in a traditional chant form, canonized, and therefore have become the arranged by Nancy Takis specifically for official music of the Church. Specifically, the use in Greek and English by American role of music in the Church amounts to support of the texts of Church services and Greek Orthodox choirs. In addition to the rituals. This support comes in the form of applying music to enhance the clarity the traditional chant, there are several of texts. The Church expects that everyone in attendance of these services and rituals Nancy’s four-part choral arrangements will participate actively in them, and music is a way to help participants concentrate inserted for this special occasion. The on the words, which will enlighten them, teach them, and sanctify them in their convention choir will be conducted by spiritual journey through life. Therefore, the theory of this music differs much from Nancy’s husband, Stan. the theories of art music in the various cultures throughout the world. It establishes All in all, this will be a unique event Orthodox ecclesiastical music as exclusively vocal, being, in actuality, musically not to be missed by all Federation church enhanced speech without excessive emotion or art that may induce faulty musicians and their families. interpretations. (Continued on page 6) MORE INFORMATION INSIDE

PAGE 2 The BYZANTINE ECHO - www.mefgox.org MAY 2010 — A MESSAGE FROM THE PRESIDET —

Christos Anesti! This is my last chance before Ascension to extend to you this greeting. Indeed and truly, He is Risen. I hope you all had a beautiful and spiritually fulfilling Holy Week and Pascha. It has been a busy Spring for all I think. In March, the Executive Board held its third meeting of the year. Behind the scenes we really are working. There are always ongoing efforts to raise money so that we can continue this wonderful ministry. You have received reminders about your Stewardship for MEFGOX and the National Forum. I hope you will give this your serious consideration. It is only through your donations that we can continue to support these musical arms of the church. The funds raised allow us to sponsor workshops, support important transcription projects, the training of directors, chanters, choir members, and preserve our musical legacy in America. Please do your part! There is also our “Friends Program” which is an appeal to our family and friends who appreciate our talents and also want to perpetuate this ministry. Also, in March I had the privilege to represent the Federation at the meeting of the Presidents of the National Forum in San Diego. Every year prior the Clergy Laity all the Presidents of the Federations across the country convene to exchange ideas and provide counsel to the National Forum President, our own Vicki Pappas. We had a rewarding few days together. It is always interesting to learn what colleagues are doing in other parts of the country and how they deal with common situations. Most of them have had youth participate in their conventions in some fashion, or have had separate “conventions” for their youth. We seem to have a long way to go in that regard. On May 15, we will be coming together for our second meeting of the entire Federation Council, not just the Executive Board. I remind you that you are all welcome to attend any of these meetings. The Governance Committee has worked very hard to complete the revisions of our constitution and we are almost there. At the coming meeting we will also complete some of the details for the forthcoming convention in Canonsburg, Pa. July 15-18th. You won’t want to miss it, I promise you.

With Love in Christ,

Irene Georgantas MEFGOX President

EDITOR’S OTE…

This month’s issue of the BYZANTINE ECHO is focused upon the preparations for the Annual MEFGOX Convention, to be held at All Saints Church in Canonsburg, Pennsylvania on July 15-18. All Saints choir director Stephanie Zeremenko and her fellow convention committee members have been working very hard and diligently to make this a wonderful event, and I hope all of their hard work will be rewarded with a large turnout. I have the distinct honor of serving as the guest conductor of the convention choir this year. I promise that the rehearsals will be informational, fun, and not overly long. My goal is for everyone to have some time to relax and enjoy the beautiful area around Canonsburg as well as the hospitality of our hosts. Here’s to seeing all of you there in July!

THE BYZANTINE ECHO is published by the Mid-Eastern Federation of Greek Orthodox Church Musicians, www.mefgox.org. Please send all correspondence to the editor: Stan Takis, 1900 Burkley Rd., Williamston, MI 48895 — [email protected]

PAGE 3 The BYZANTINE ECHO - www.mefgox.org MAY 2010

PAGE 4 The BYZANTINE ECHO - www.mefgox.org MAY 2010

PAGE 5 The BYZANTINE ECHO - www.mefgox.org MAY 2010 Mid-Eastern Federation of Greek Orthodox Church Musicians 63 RD ANNUAL CONVENTION Individual Special Event/Meal Tickets Available to Non-Registrants

Thursday, July 15, 2010 Saturday, July 17, 2010 Welcome Night Social and Buffet, 6:30 PM Grand Banquet, 6:30 PM Price: $30$20 Appetizers and Sit-Down Dinner Price: $35 Friday, July 16, 2010 An Evening at Angel’s Acres, 6:30 PM Sunday, July 18, 2010 Meatless buffet; Music and dancing poolside Farewell Luncheon after Divine Liturgy Price: $30$20 Price: $10

Please send attached completed registration form with check made out to ALL SAINTS CHURCH CHOIR to: Stephanie Pankas Zeremenko, 1009 Second St., Canonsburg, PA 15317, no later than June 30, 2010. Tickets will be held at registration or event door. RESERVATIONS REQUIRED---NO TICKET SALES AT DOOR ______ORDER FORM FOR NON-REGISTRANT SPECIAL EVENT AND MEAL TICKETS

NAME ______

ADDRESS ______

PHONE ______

PARISH______

Thursday # of tickets @ $30$20 ______

Friday # of tickets @ $30$20______Saturday # of tickets @ $35 ______

Sunday # of tickets @ $10______

TOTAL ______

PAGE 6 The BYZANTINE ECHO - www.mefgox.org MAY 2010

(Continued from page 1) Chourmouzios were referred to, were controversial and not The book being reviewed here has become the most immediately or universally accepted. However, because of important book of musical theory for the Greek Orthodox Chrysanthos’ sincere intention to accurately preserve the Church. While there are other volumes written about the subject, ancient musical traditions of the Church, his volume has this book by far has formed the basis of the music that the vast become widely acknowledged as the main starting point for majority of Greek Orthodox parishes in the world use in their understanding the theory behind the official music of Greek services. Until recently, this book had never been translated into Orthodoxy. Practice today still varies amongst classically- English, thus leaving non-Greek speaking Church musicians in trained chanters, but it is not so much the diversity of the pre- America pretty much in the dark about the theory of music in Chrysanthine period, but rather a diversity on the interpretation their tradition. They had to draw their own conclusions about the of Chrysanthos’ work. role of music in the Church based upon observations of those In her introduction, Dr. Romanou gives a short history of who were trained in the Greek Orthodox musical tradition, the New Method, a biography of Chrysanthos, and an overview (which is referred to technically as Byzantine chant). The of the Great Theory of Music. The translation begins with the problem with this was that the level of education and knowledge Introduction to the First Edition by Panagiotis Pelopides, a amongst traditionally trained American chanters was uneven and student of Chrysanthos. This is followed not by the original limited in many cases, thus creating varying levels of ignorance autograph version of the book of 1816, but by a version which and confusion among those who would serve in the musical was published after 1820 and included more chapters, which ministry of the Church. This confusion still exists, and thus, it is are likely to have come from Chrysanthos’ additional writings. a most welcome development that the translation and publication The book is divided into two parts, the first being concerned of Chrysanthos’ seminal work has at last become a reality for with the theory and practice of music and the second entitled English-speaking people. “Narration on the Origin and Progress of Music.” The first part In 1972, Ekaterina (Katy) Romanou was a young Greek is itself divided into five books. student studying music in America at Indiana University. She The first book of Part One is concerned with the definition chose for her master’s degree dissertation to translate the Great and subdivision of music. Music to the Greeks was not just an Theory of Music by Chrysanthos into English. This was a art and a science; it was also considered a philosophy. daunting task and far more difficult than the average master’s Chrysanthos delves deeply into this and what he refers to as the thesis, but Romanou accomplished it and also managed to “quantity” of music. This includes introducing the neumes of include in her preface a very valuable history of the development the notation, the division of the three genera, diatonic, of Byzantine music notation. Romanou’s paper, unfortunately, enharmonic, and chromatic, which we in the West might refer was buried in the archives of Indiana University until around to as scales and scale intervals. Other notational devices are 2007, when it somehow emerged and was published on the introduced that deal with the theory of subdividing music into Internet. It caught the attention of a few people interested in its various aspects and values. The second book is dedicated to Byzantine music, including Angelo Lampousis, the founder of what Chrysanthos calls the “quality” of music and how it is the Axion Estin Foundation, an organization in New York notated. This focuses on rhythm, feet, meter, and dedicated to the teaching and advancement of traditional Greek ornamentation. It is here where the music establishes its place Orthodox music in America. Lampousis contacted Dr. in the fabric of the text, since text has its own accent patterns, Romanou, who is now a professor of music history at the rhythms, and inflections. The third book addresses the details University of Athens, and offered to publish her dissertation as a of the genera, that is, the various scale subdivisions, the hardcover book. Dr. Romanou joyously accepted, but she differing intervals, and the various shadings of pitch that are wanted to revise the work to correct errors and to add employed. information that she had acquired through her years of learning The fourth book is about the Octoechos, the eight-tone and teaching since the 1970’s. She did this, and the book was system established by St. John of Damascus in the 8th Century. published and released at Axion Estin’s annual conference in Its origins are in the ancient music of Jerusalem, Syria, and New York City in January of this year, 2010. Greece, and these eight families of musical modes are deeply Chrysanthos of Madytos, along with Gregorios Protopsaltes entrenched in the tradition of the Church. In this book, and Chourmouzios Chartophylax, in Constantinople in the early Chrysanthos delves deeply into the characteristics and qualities 19th Century, helped to formulate a “New Method” of notation of each echos, devoting a chapter to each. The fifth book is a for Byzantine music, simplifying it from earlier methods and manual for melodic composition in the Byzantine system. making to possible to be printed and distributed widely through Melodic formulas for each echos, which are attached to the the world. This New Method was officially adopted by the various rhythmical patterns of speech, are the heart and soul of Church in 1814, prior to which there was an uneven and diverse Byzantine chant, and Chrysanthos offers theories on how application of music throughout the realm of the Greek melodies are traditionally created from these formulas. He also Orthodox Church, because the music had evolved from ancient offers chapters in this book on musical instruments, the times and there was no uniform way to perpetuate it on paper. dispositions of the listeners of music, thoughts on the use of The tradition was still largely taught by rote, which motivated music, and Western harmony. These last four chapters are Chrysanthos to write his book. In putting the theory of Byzantine particularly interesting to Western musicians, because they are music into print, Chrysanthos had to make many serious expressed from an opposite viewpoint of someone in the Greek decisions, such as reducing the quantity of neumes from earlier Byzantine tradition addressing his compatriots in that system. scores and introducing some notational tools which he learned His transcription of an example of Western polyphony by from his study of Western European music. In their time, the French composer Alexandre Choron into Byzantine notation is reforms of the “Three Teachers,” as Chrysanthos, Gregorios, and particularly fascinating. (Continued on page 10)

PAGE 7 The BYZANTINE ECHO - www.mefgox.org MAY 2010

Mid-Eastern Federation of Greek Orthodox Church Musicians

SCHOLARSHIP APPLICATIO Application Deadline is Midnight, June 15th

The Mid-Eastern Federation of Greek Orthodox Church Musicians (MEFGOX) recognizes the importance of education and training to its church musicians. Education develops a higher level of musical expertise in music theory and composition, voice, choral music, Byzantine chant, choral conducting, piano and organ accompaniment and music education. To encourage its Church musicians in its Federation Parishes to seek musical education and training, the MEFGOX offers financial assistance through its Memorial Scholarship Program.

To accomplish this, the Federation established a Memorial Scholarship Fund designed to grant scholarships to parishioners of the Greek Orthodox Metropolises of Detroit and Pittsburgh in the Greek Orthodox Archdiocese of America. Scholarships are to be used for private lessons, classroom instruction, tuition, books, and instructional materials in the areas of music noted above. It is expected that scholarship recipients will one day utilize this training of their talents, in part, in service to the Greek Orthodox Church and its ministries.

Please read through the entire document before completing it. Type or print responses

______Applicant's Full Name Applicant's Social Security No.

______(______)______Applicant's Street Address Applicant's Telephone No.

______Applicant's City, State, Zip Code Applicant's E-Mail Address

______Applicant's Parish Name Applicant's Parish City and State

Financially dependent applicants must complete the information below

______Applicant's Father or Male Guardian's Name Applicant's Mother or Female Guardian's Name

______Street Address Street Address

______City, State, Zip City, State, Zip

(______)______(______)______Telephone No. Telephone No.

______Father’s Occupation Mother’s Occupation

Financial Status Net annual Family Income, if Applicant is financially DEPENDENT ______

Net annual Income, if Applicant is financially INDEPENDENT ______

Applicant’s contribution towards Family Income ______

Applicant’s estimated school expenses per year ______

Will Applicant live ___ at home, or ___ away from home? Will Applicant work at school? ____Yes ____ No

PAGE 8 The BYZANTINE ECHO - www.mefgox.org MAY 2010

On a separate sheet of paper, please provide the following information:

1. Explain any extenuating family circumstances the Scholarship Committee should consider regarding dependencies, illness or special needs.

2. Explain if other siblings in the family are enrolled in tuition-based schools and the estimated expenses Applicant's family will incur this academic year.

3. When did (or will) Applicant graduate from high school?

4. Most recent diploma or degree earned by applicant (offer degree name, date of issue, conferring institution); include major(s) and minor(s) areas of study.

5. List music-related extra-curricular activities, affiliations, or awards and the years of participation in these activities.

6. List non-music related extra-curricular activities and the years of participation in these activities.

7. Statement of Applicant. Give a brief biographical sketch of yourself, including your ambitions regarding music, your reasons for seeking musical training, your benefit to parish life (GOYA, YAL) and its church music programs (i.e. choir, youth choir, chant) and any special circumstances relevant to this application.

This completed application form must be accompanied by:

• a notarized school transcript, including current SAT or ACT scores, • three (3) letters of recommendation from non-family members, including one from either your parish priest, choir director, chanter, or a key church musician of your parish. • a statement (100 words), typed/printed ,on how you the MEFGOX scholarship will be used,

NOTE: Your application will be processed only when all the requested documents are received. Please attach all requested docu- ments together and return them no later than Midnight, June 15th to:

Mr. Dan Packis, MEFGOX Memorial Scholarship Program 4651 Greenview Court. Avon, Ohio 44011

Home (440) 937-9531 or E-mail: [email protected]

In processing your application, a member of the Scholarship Committee may contact you for a personal interview, either by phone or in person. Please indicate the best time to contact you. ______am/pm

* * * * * * * * * * * * * * * * * * * * I hereby apply for a scholarship offered by the Mid-Eastern Federation of Greek Orthodox Church Musicians and its Scholarship Program to assist me in advancing my musical career at the college, university, or training program of my choice during the aca- demic year ______- ______. The foregoing statements are true and the information is correct to the best of my knowledge. Fab- ricated information will disqualify me as a candidate.

______Applicant's Signature Print Name Date

In the event I am selected to receive a MEFGOX Scholarship, please send my award to:

______College, University, Training Program

______(______)______Office or Department Telephone No.

______Attention: Mailing Address

______City, State, Zip Code Administrator’s Name

PAGE 9 The BYZANTINE ECHO - www.mefgox.org MAY 2010

PAGE 10 The BYZANTINE ECHO - www.mefgox.org MAY 2010 NEWS ITEMS PANPAN----ORTHODOXORTHODOX CHOIRS OF GRAND RAPIDS HOLD SECOND ANNUAL CHRISTMAS CONCERT

Elizabeth Serafis, choir director of the Holy Trinity Greek Orthodox Church in Grand Rapids, Michigan reports that the second annual Pan-Orthodox Christmas concert, held on December 13, 2009, was a huge success. Groups who performed in the concert in addition to the Holy Trinity Choir were the St. George Church Choir (Antiochian), the St. Nicholas Church Choir (Antiochian), and the Porter Hills Singers. There were also a combined children’s choir from the three churches and a youth orchestra. The program included Orthodox Nativity hymns, traditional carols, contemporary Christmas songs, and the Hallelujah Chorus from Handel’s Messiah. A free-will offering of over $3,000 was collected and sent to the International Orthodox Christian Charities.

NEW FACEBOOK PAGE ON GREEK ORTHODOX MUSIC

Young Nicholas Bodle of Independence, Ohio has taken the initiative to create a Facebook page for Greek Orthodox music The enterprising 14-year-old hopes that it will become a place to share ideas and files amongst choir members, directors, chanters, and anyone interested. Bodle, for one so young, exhibits an enthusiasm and intelligence that marks him as an important contributor to our Federation in the future. To see the page or join, go to facebook.com and search Groups for “Greek Orthodox Music”.

NEW CHURCH FOR FLINT PARISH OPENS ITS DOORS

The long awaited opening of the new church building for the Flint, Michigan Assumption parish finally happened on St. Thomas Sunday, April 10, 2010, with the first Divine Liturgy celebrated within its doors, Fr. Angelo Mago, presiding. The opening of the new church had originally been scheduled for September. The church is in a rural setting south of Flint in Grand Blanc, Michigan. The red brick structure is of a traditional Byzantine Design with a social hall connected to the church by offices, meeting rooms, storage rooms, and classrooms. Choir director Nancy Chinonis has been busy re-establishing the choir in the new building, the most difficult part being the moving of the electronic Baldwin church organ from the choir loft of the old church to the floor of the new one, which is without a loft. There is no iconography in the new church yet, but the old icons from the first Assumption building have been transferred and will be set when the new icon screen is built. (Continued from page 6) The second part of the Great Theory of Music contains only two chapters. The first is an extensive listing of musicians from the Bible and Greek Mythology through to Chrysanthos’ day. Included in his descriptions are Moses, David, Solomon, Pythagoras, Plato, Aristotle, the Muses, Orpheus, Hesiod, Homer, Sappho, Anacreon, and, in the Christian era, John of Damascus, John Damascene, Petros the Lacedamonian, Iakovos Peloponnesios, Ioannes Phokas, Kassiane, Petros Lambadarios, Romanos, and hundreds of others that most Western people have never heard of. The last chapter is a short essay on how music should be approached. In it, Chrysanthos makes the following tantalizing observation that raises a myriad of questions about the modern application of his musical theory: “…the chanter should have a mimetic disposition…because every place has its own customs regarding the articulation of melody and the pronunciation of the text, and in many cases the chanter is obliged to say not only the melodies but the words of the verses also following the melodies in use in each place, or rather, the traditions of the inhabitants; if he is able to imitate them, he is successful, if not, he achieves nothing.” This book is heavily notated. The footnotes alone would make a long, interesting, and valuable volume themselves. All of the footnotes are Chrysanthos’ and not the translator’s. They are a valuable asset to the understanding of the book. In many cases in the text proper, there are no words in English that correspond to Greek terms, in which case, Dr. Romanou was forced to transliterate the Greek words. This causes a bit of tough sledding in trying to understand some chapters of the book, because the reader must rely on the context and on the footnotes to discern the meaning of the Greek terms. Adding to the confusion, there are some terms that are shared in Western musical theory that have a completely different meaning in the context of Byzantine theory. Despite these problems, the translation is, with a little work on the part of the reader, understandable and of great value to anyone studying the Byzantine system of music. Also, a slight disappointment to this reviewer is that the history of Byzantine notation that was in the original master’s thesis is missing from the published book. Perhaps it can be published somewhere as a separate essay. It is the opinion of this reviewer that this English translation of the Great Theory of Music by Chrysanthos of Madytos should become a part of the libraries of every native English-speaking individual that is interested in the proper application of Greek Orthodox Church music and of every parish and institution of the Greek Orthodox Church in all English-speaking countries. Dr. Romanou has provided a valuable tool to understanding where we have come from in the Church’s music ministry, where we have been, and where we ought to go as Orthodox Christianity becomes a mission to all races and nationalities of the world. The Orthodox Church is 2000 years old, but its mission is still relatively young and unknown to many people of different languages and cultures. English-speaking people of Western European origins are part of this, and the publication of this book is a significant event and provides a valuable resource to Church musicians in America, most of whom are unaware of the theory behind the sacred music of Greek Orthodox Christianity.

The Great Theory of Music by Chrysanthos of Madytos and translated by Katy Romanou is published by the Axion Estin Foundation in New Rochelle, New York. Publication was made possible by the The Rev. Peter N. Kyriakos Endowment Fund. Partial funding was also provided by the National Forum of Greek Orthodox Church Musicians. It may be purchased either on the Axion Estin Foundation website—www.axionestin.org/store —or by writing to: The Axion Estin Foundation, Holy Trinity Greek Orthodox Church, 10 Mill Road, New Rochelle, NY 10804-2119. The price of the book is $20, plus $10 for shipping and handling.

PAGE 11 The BYZANTINE ECHO - www.mefgox.org MAY 2010

WITH HYMNS WE PRAISE YOU (Σε Υνούεν)

Lento ( =60) N. Takis G f 4 j z 6 k k k a 4 j j k k k k k k k djz k j k k 4 k k k j k k A- men. A- men. With hymns we praise you. We j j j k k dk k jz k j j j j j bf 4 j j k k k k jz k j j 46 j j j

f 4 k k k j k a 4 k k k k dj k dk k k k k k k k k k k j k k bless you. Un to- you we give our thanks, O j k j j j j j k k ek j bf 4 k k j k j j j

f j k ekk k k k k k k k j j k k k k k i a j k k k k k j k dk k k k k k i Lord. And we pray un- to you, our God, to you. dj k ek j k k k j j j k k k k i bf k k k k k k fk k k k i

This is one of the four-part choral arrangements that will be chanted at the 63rd MEFGOX Annual Convention Divine Liturgy in Canonsburg, Pennsylvania. Permission is granted by the author to reproduce and use this arrangement unaltered.

Copyright © 2010 by Nancy Chalker Takis — www.newbyz.org

PAGE 12 The BYZANTINE ECHO - www.mefgox.org MAY 2010 ORDER YOUR DIVINE LITURGY BOOKS FOR THE CONVENTION NOW

The Divine Liturgy Setting by N. Takis Available now in print for only $10 per book (plus $2 shipping).

Yes, you can download it for free on the Internet (www.newbyz.org), but after printing out all 122 pages double-sided, you may appreciate having all the work already done for you instead. If you do not plan on attending the convention, you may still find this book useful in your parish worship as a companion to your other music books. This is a complete Sunday liturgy book in Greek and Modern English with the complete text and music (both major and minor settings) side- by-side in both languages. Hymns are in Western staff notation and include the Resurrectional apolytikia, kontakion to the Theotokos, Trisagion substitutions, four Cherubic hymns, the megalynarion for the St. Basil Liturgy (Epi Si Cheri), hierarchical music, the memorial service, and the Artoklasia service. Included with your order are the special hymns for the MEFGOX Annual Convention in Canonsburg, Pennsylvania.

ORDERING INSTRUCTIONS

Send a check for $10 x Number of Books + $2 shipping to: Stan Takis, 1900 Burkley Rd., Williamston, MI 48895 or Send a transfer or credit card payment with return address via PayPal to [email protected] or Call Stan Takis at 517-980-3830 or 517-655-2060 and make your order over the phone.

NON-PROFIT ORG. St. George Greek Orthodox Church U.S. POSTAGE 16300 Dix-Toledo Highway P A I D Southgate, MI 48195 WYANDOTTE, MI PERMIT #68