Troparia and Kontakia for Sunday, November 23
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THO 3347 (H 2015) – Glossary of Terms
THO 3347 (H 2015) – Glossary of Terms Akathist Literally, “not standing.” A hymn dedicated to our Lord, the Theotokos, a saint, or a holy event. Aposticha The stichera sung with psalm verses at the end of Vespers and Matins. These differ from the stichera at Psalm 140 (Vespers) and at the Praise Psalms (Matins), which are sung with fixed psalms, in that the psalm verses used (pripivs) vary with the day or feast, and do not end the singing of the whole psalm. See also stichery na stichovnych. Archieratikon Тhе book containing texts and rubrics for the solemn Hierarchical (a.k.a. Pontifical) Divine Liturgy. The Archieratikon also contains the sacrament of Ноlу Orders and special blessings and consecrations. Canon A system of nine odes (the Second Ode is sung only during Great Lent) sung at Matins after Psalm 50 and before the Praises. Each ode is connected traditionally with a scriptural canticle (see below for the nine scriptural canticles) and consists of an Irmos, a variable number of troparia and, on feasts, a katavasia. After the Third Ode a sidalen is usually sung, and after the Sixth Ode a kontakion and ikos, and after the Ninth Ode, the Svitelen is sung. The Canon has its own system of eight tones. Domatikon A theotokion sung after “Now…” (or “Glory… Now…”) at the end of Psalms 140, 141, 129, and 116 at Vespers on Friday and Saturday evenings, and on the eve of a Polyeleos saint or saints with a vigil in the same tone as the last sticheron of the saint (at “Glory…”). -
Sacred Song in the Late Antique and Byzantine East: Comparative Explorations 3-6 May, 2015 Brown University
Sacred Song in the Late Antique and Byzantine East: Comparative Explorations 3-6 May, 2015 Brown University Spyridon Antonopoulos City University, London “ 'We shall clearly hear him say 'Rejoice!' as we sing': Hearing, Intelligibility, and Performance in Byzantine Chant" The complex strophic poems known as the Kanons were first composed during a flourishing of literary creativity that took place in and around the Palestinian monastery of St Sabas in the seventh and eighth centuries. Kanons typically consisted of eight or nine textually and melodically unique heirmoi, to which multiple thematically linked troparia (contrafacta) were adapted. The heirmoi formed the basis for the notated musical collection of the Heirmologion, which can be found in its most archaic form as early as the tenth century. The heirmoi found in medieval Heirmologia were unascribed, brief, and mostly syllabic. By the fourteenth century, while traditional styles of psalmody continued to be sung and written, a new style of singing and composition – kalophonia – had begun to touch nearly every genre of liturgical poetry, including the Kanon’s heirmoi. Thus, elaborate kalophonic heirmoi, composed by named musicians, appear at least by the fourteenth century, characterized by long, melismatic phrases, text troping, insertion of non-textual elements, modal variety, and an expanded melodic range. This paper shall provide an analysis of select kalophonic heirmoi in contrast to their syllabic forebears in order to confront questions of aural reception, intelligibility, and performance. Thomas Arentzen University of Oslo “Voices Interwoven: Refrains and Vocal Participation in Late Ancient Kontakia” The refrain constitutes an indispensable element of the kontakion. It ties the stanzas together, but it also contributes to a sort of repetitive concentration in these songs; whichever spirals and ellipses the narratives move in, the refrain remains a gravity center. -
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. -
A Concise Glossary of the Genres of Eastern Orthodox Hymnography
Journal of the International Society for Orthodox Church Music Vol. 4 (1), Section III: Miscellanea, pp. 198–207 ISSN 2342-1258 https://journal.fi/jisocm A Concise Glossary of the Genres of Eastern Orthodox Hymnography Elena Kolyada [email protected] The Glossary contains concise entries on most genres of Eastern Orthodox hymnography that are mentioned in the article by E. Kolyada “The Genre System of Early Russian Hymnography: the Main Stages and Principles of Its Formation”.1 On the one hand the Glossary is an integral part of the article, therefore revealing and corroborating its principal conceptual propositions. However, on the other hand it can be used as an independent reference resource for hymnographical terminology, useful for the majority of Orthodox Churches worldwide that follow the Eastern Rite: Byzantine, Russian, Bulgarian, Serbian et al., as well as those Western Orthodox dioceses and parishes, where worship is conducted in English. The Glossary includes the main corpus of chants that represents the five great branches of the genealogical tree of the genre system of early Christian hymnography, together with their many offshoots. These branches are 1) psalms and derivative genres; 2) sticheron-troparion genres; 3) akathistos; 4) canon; 5) prayer genres (see the relevant tables, p. 298-299).2 Each entry includes information about the etymology of the term, a short definition, typological features and a basic statement about the place of a particular chant in the daily and yearly cycles of services in the Byzantine rite.3 All this may help anyone who is involved in the worship or is simply interested in Orthodox liturgiology to understand more fully specific chanting material, as well as the general hymnographic repertoire of each service. -
Kassia: a Female Hymnographer of the 9Th Century SPYROS PANAGOPOULOS
Proceedings of the 1st International Conference of the ASBMH page 111 Kassia: A female hymnographer of the 9th century SPYROS PANAGOPOULOS Introduction For over 1.000 years many men and a few women wrote hymns in Byzantium. Their contribution to world literature and to Greek letters constitutes a vast and priceless treasure of sacred poetry. It’s impossible to exaggerate the value of this hymnography, since it expresses, as nothing else can, the spiritual riches, faith and beauty of Eastern Christendom. Some of these hymns are still chanted today in many languages in Orthodox Churches in every part of the world. Others remain unknown. Hidden in manuscripts stored in monastic libraries, they wait to be discovered and to be edited.78 It’s obvious that the Byzantine female hymnography was not flourished especially in Byzantium. We have the names of hundreds male hymnodists who came from all parts of the oikoumene, from Greece, Italy, Palestine, and Syria, as well as from the islands of Cyprus, Crete and Sicily. These hymnodists came of all classes of Byzantine society, from the obscure man who signed his hymn ὁ ἀμαρτωλός (the sinner) to the Emperor Justinian (527‑565), who wrote in imperial red ink the troparion ὁ μονογενὴς υἱός, and then ordered its insertion into the Divine Liturgy. Despite the great number of male hymnodists, we know only six feminine names that composed hymns: Γρηγορίς, Μάρθα, Θεοδοσία79, Θέκλα80, Κασσία and Παλαιολογίνα.81 The fame of Kassia the Melodist outshines by far all other women writers in both medieval and Modern Greek writers. 78 For an introduction in Bzyantine Hzmnography there is a vast bibliography. -
The Last Judgment Is Coming!
Saint Joseph Melkite Greek Catholic Church 130 North Saint Francis Cabrini Avenue Scranton, PA 18504 Rev. Father Michael Jolly— Pastor E-Mail: [email protected] 570-213-9344 Web: http://melkitescranton.org Webmaster: Sal Zaydon Parish Office 570-343-6092 February 8, 2015 Meat Fare – The Last Judgment Tone 2 and Orthros Gospel 2 Liturgy Schedule: Sunday Orthros 8:55 am Saturday Vesper Liturgy 4 pm Sunday Divine Liturgy 10:00 am Compline Weds. 8:30PM Holy Confession—before Saturday Liturgy, after Compline and by appointment Parish Notes: Liturgy Intentions The Qurban consecrated at this weekend's liturgies was baked by Joanna Simon. Thank you Joanna. February 8, 2015 Whenever bread you bake is offered at the Divine Genevieve (Boots) Zaydon Liturgy, you and your intentions are specially remembered in the Prosthesis and the Liturgy itself. Yolande Haddad 2014 Contribution recognition letters have been sent to our contributors. Contact the parish office if you have February 15, 2015 any questions. Genevieve (Boots) Zaydon Fr. Michael will commemorate the newly deceased at all Yolande Haddad Liturgies until their 40 Day Memorial. At that point we will commemorate them according to liturgy requests. Next Sunday is Cheesefare Sunday. Today is the last day Today’s Icon: Today’s Gospel reading is Matthew that you can eat meat if you are 25:31-46, the parable of the Last Judgment. It observing the full Lenten fast. reminds us that while trusting in Christ’s love and We will have an Ice Cream mercy, we must not forget His righteous judgment when He comes again in glory. -
6 Jan Tropar Obikhod.67.Mus
Menaion: 6 January THEOPHANY OF OUR LORD AND SAVIOR JESUS CHRIST Troparion - Tone 1 Russian Imperial Court Chant arr. from L’vov/Bakhmetev . Soprano & b œ ˙ ˙. œ œ œœ œ ˙.˙ ˙ œ Alto œ ˙ When You,_ O Lord, were baptized in the Jor - dan, the ˙ ˙. œ ˙.˙ œ ? œ ˙. œ œ œ œ ˙ ˙. œ Tenor b ˙ ˙ ˙. Bass & b œ œ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ œ œ ˙ ˙ œ worship of the Trinity was made man - i - fest, for the voice_ of œ œ ˙ ˙ ˙ œ œ w ˙ œ ? b ˙ ˙ ˙ b . & œ œ œœ œ ˙ œ œ.œ ˙ œ œ ˙ the Fa - ther bore wit-ness to You, and called You His be - loved ˙ œ œ.˙ œ œ œ œ ˙ œ œ ˙. œ œ ˙ ? b ˙ œ œ ˙. ˙ b ˙. œ ˙ œ œ & ˙ œ œ ˙ ˙. œ œ œœ œ ˙ œ œ Son, and the Spir - it, in the form of a dove, confirmed the ˙ ˙. œ ˙ œ œ ˙ œ œ ˙. œ œ œ œ œ œ ? b ˙ ˙ b . ˙. œ ˙. & ˙. œ œ œ œ ˙. œ ˙ ˙. œ œ œ œœ œ.˙ truth-ful-ness of His word. O Christ_ our God, You have re-vealed . ˙. ˙. œ œ œ œ.˙. œ ˙ ˙. œ œ œ œ œ ? b ˙. œ œ œ œ ˙ ˙. © 2003 Orthodox Church in America. Permission is granted to duplicate for liturgical use only. All other rights reserved. Theophany Troparion - Imperial Chapel Chant & b œ ˙. œ œ ˙ œ œ œ.˙ œ œ ˙ œ œ w Your - self and have enlightened the world, glo - ry to You! œ.˙ œ œ œ œ ˙ œ œ w ? b œ ˙. ˙ œ œ w GOD IS THE LORD TONE 1 Deacon: In the First Tone - God is the Lord and has revealed Himself to us. -
Byzantine Hymnography and the Quest for Orthodox Unity: Notes on the Liturgical Commemoration of the Council of Chalcedon, Towar
Byzantine Hymnography and the Quest for Orthodox Unity: Notes on the Liturgical Commemoration of the Council of Chalcedon, Towards the Reconciliation of “Eastern” and “Oriental” Churches Gregory Tucker* Among the issues remaining to be addressed along the path to reconciliation between the “Eastern” and “Oriental” Orthodox is the characterisation of Oriental teachers as heretics in the liturgical texts of the Byzantine Rite. The mere suggestion of liturgical revision to reflect the agreement that multiple theological vocabularies are legitimate and therefore theologians associated with them should not be anathematized or deprecated has been met with fierce opposition from some Eastern Orthodox. This paper considers what might actually be involved in such a revision, taking as an example the texts for the commemoration of the Council of Chalcedon. It suggests that the extent of necessary revision would be far less than is perhaps feared. Keywords: Chalcedon, liturgy, liturgical revision, Byzantine Rite, Eastern Or- thodox, Oriental Orthodox Introduction From an Orthodox perspective, one of the great fruits of modern ecumen- ism1 has been the inauguration of a new phase in the relationship between the “Eastern” and “Oriental” Orthodox churches.2 An unofficial bilateral dialogue began in 1964, which became an official dialogue in 1985. Initial conversations correctly prioritised discussion of contested points in Chris- tology (disagreement over which contributed significantly to and, to a large * Gregory Tucker, Universität Regensburg, Universitätsstr. 31, 93503 Regensburg, Germa- ny, [email protected] 1 This paper will not address opposition on principle to ecumenical dialogue (including dialogue between separated Orthodox groups) which is a common–indeed, characteristic– feature of some traditions within contemporary Eastern Orthodoxy. -
Hymnographica & Liturgica
Hymnographica & Liturgica 1 Downloaded from Brill.com09/27/2021 04:01:58AM via free access . 2 Downloaded from Brill.com09/27/2021 04:01:58AM via free access Roman Krivko Moscow, Russia [email protected] A TYPOLOGY OF BYZANTINE OFFICE MENAIA OF THE NINTH — FOURTEENTH CENTURIES* I. Introduction I.1. The Research Goal and Classifi cation Criteria This article aims at describing the structure of Byzantine offi ce Menaia of the 9th–14th cc. from a historical point of view. The typo- logical classifi cation of sources will be based on a) genre content, and b) structure, i. e. the order in which the genres are arranged. The fol- lowing classifi cation criteria are taken into consideration: 1) the use of (*) This article was wri en as a part of the research project “Sprache der altkirchenslavischen liturgischen Denkmäler” carried out at the Seminar für Slavische Philologie der Georg-August-Universität Gö ingen (2009-2010) and fi nanced by the Alexander von Humboldt Foundation. For the invitation to Gö ingen and for every support provided during my research stay in Göt- tingen, I am deeply grateful to Prof. em. Dr. Dr. h.c. Werner Lehfeldt. The manuscripts from the collections of the Bibliotheca Apostolica Vaticana were consulted according to the microfi lms held by the Vatican Film Library — Center for Medieval and Renaissance Studies at St. Louis University (St. Louis, MO, USA); the research in the Vatican Film Library was supported by the NEH — National Endowment for the Humanities Fellowship (October 2008). For numerous bibliographical consultations regarding Vatican manuscripts I am obliged to Dr. -
The Holy Hieromartyr Joseph of Damascus and His Companions
the akolouthia for the commemoration of The Holy Hieromartyr Joseph of Damascus and his Companions (+ 10 July 1860) The work of the Nun Mariam (Zaka) Abbess of the Holy Monastery of St John the Baptist Douma El-Batroun Lebanon Original Arabic Text 1993 – English Translation 2008 TYPIKON If the commemoration FALLS ON a Sunday AT GREAT VESPERS on Saturday evening, after the Proëmiakon (Ps. 103) Bless the Lord, O my soul and the 1st Kathisma of the Psalter (Pss. 1-8) Blessed is the man, we chant Lord, I have cried in the tone of the week with six stichera for the Resurrection in the tone of the week from the Octoëchos and four stichera for the Saints, Glory for the Saints, and Both Now and the first Theotokíon in the tone of the week from the Octoëchos. After the Entrance with the censer we chant O gladsome Light followed by the Prokeimenon of the day The Lord is King and the three lessons for the Saints. At the Aposticha we chant all of the stichera for the Resurrection in the tone of the week from the Octoëchos, Glory for the Saints, and Both Now and the Theotokíon in tone 8 from the Octoëchos. At the Apolytikia we chant that of the Resurrection in the tone of the week from the Octoëchos, Glory and that of the Saints, and Both Now and the Resurrectional Theotokíon in tone 5 from the Octoëchos. The Great Dismissal as usual. AT THE MIDNIGHT OFFICE on Sunday morning, we chant the Triadikos Canon in the tone of the week from the Octoëchos, the Litiya Troparia for the Saints, followed by It is truly meet to laud the transcendent Trinity and the other Megalynaria. -
Caecilia V84n04 1957
A .. It '.•... _b /J_J.L_'~- /JL.~'...._L m. .' ~ fIlIWDUIJ.&If-- (,"Uw-UC·~UUu.lLo . AdLC (lal.ici.I~·.Polyphony IlItatholic:Worship . Francis A. Brunner,e.Se.R. IheRolllanChoirs ... ..... ... .. Rev. Richard' J.Schuler votUME84,. NO.·. 4 DECEMBER,., .19.57 CAECILIA Published four times a year, February, May, August and December. Second-Class Mail Privileges authorized at Omaha, Nebraska. Subscription price-$3.00 per year; ~'.OO for two years. All articles for publication must be in the hands of the editor, P. o. Box l012t Omaha 1, Nebraska, 30 days before month of publication. Business Manager: Norbert Letter Change of address should be sent to the drcu1ation manager: Paul Sing, P. O. Box 1012, Omaha 1, Nebraska Postmaster: Form 3579 to Caecilia, P. O. Box IOU, Omaha 1, Nebr. s »as Ab-undAIlssrJu'eiben von Partitur und Sthumen 1st (emii8 § 15 des Gesetzes Sub tuum praesidium yom 19.Juni1901 verboten. AuffiihrUDgsreeht vorbehaltcD Zeitdauer: itMin. FLOR PEETERS, Op. 64 II Mdt~,ra 0 assaI =60 1\ r. -== ~ Sopran . ..... tJ - - . S';.b tu - um prae - si - di-um COD - fu - gi • mus san· eta mf = Alt ,_P ::All . ., ..- ~ 4- c.I """ too" 0 .... Sub tu - um prae - si - di-um COD - ~- gi,;. mus saD eta fl. 'ItJ£ . .,.= Tenor fir' ~ ... r.J r:J r.J ... r-; __CL-. ~ Sub tu - um prae - si - di- um COD- - fu - gi- mus saD - eta mf -:-= : I Ba8 ~ta 1\ Sub tu - um prae - si -eii - um COD - fu - gi . MUS ~an - fJ Modera~ssai ~ ---r-....r, .-----:--- I ... ,., ..-I _. .. - .... .... .- ..,. , tJ - Reductio ~ r r I V- r -r r r I (z_ellfassungl~ nit r ~ I J J J J. -
Kontakion on the Nativity of Christ
St. Romanos the Melodist Kontakion on the Nativity of Christ From St. Romanos the Melodist, On the Life of Christ: Kontakia (Archimandrite Ephrem Lash, tr.: Harper, San Francisco, 1995), pp. 1-12. Introduction A “kontakion” is a poetic form frequently encountered in Byzantine hymnography. It was probably based in Syriac hymnographical traditions, which underwent an independent development in Greek-speaking Byzantium. We can perhaps best describe it as a “sermon in verse accompanied by music”. In character it is similar to the early Byzantine festival sermons in prose, but meter and music have greatly heightened the drama and rhetorical beauty of the speaker’s often profound and very rich meditation. The form generally consists of 18 to 24 metrically identical stanzas (called “oikoi”, or “houses”), preceded, in another meter, by a short prelude (called a “koukoulion”, or “cowl”) . The first letters of the stanzas form an acrostic, which frequently includes the name of the poet; the last line of the prelude introduces a refrain, which is repeated at the end of all the stanzas. This form became especially popularl after the magnificent work of St. Romanos the Melodist during the 6th century. The main body of a kontakion was chanted from the pulpit by the preacher after the reading of the gospel, while a choir, or even the whole congregation, joined int he refrain. The length of many kontakia, and the epic character of some, point to a kind of recitative, but unfortunately, the original music which accompanied the kontakia is now all lost. The oldest datable kontakia are those of St.