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City Research Online: http://openaccess.city.ac.uk/ [email protected] CYPRVSΚΥΠ ΡΟC BETWEEN GREEK EAST & LATIN WEST 1

Cappella Romana Alexander Lingas Cyprus: Between Greek East & Latin West

1 Responsory: Letare, Ciprus florida (from the Office of St. Hilarion, MS Torino J.II.9) 3:59 2 Motet 8 Gemma florens/Hec est dies (MS Torino J.II.9) 4:51 3 Prosomoion for St. Hilarion in Mode 4 (Melody MS Mt. Athos Vatopedi 1493) 3:07 Ὁ ἱλαρὸς τὴν ψυχήν · Ἦχος δʹ 4 Sticheron Doxastikon for St. Hilarion in Mode 2 (MS Sinai Gr. 1471) 3:47 Ἐκ νεότητός σου φέρων τελειότητος φρόνημα · Ἦχος βʹ 5 Motet 17 Magni patris/Ovent Cyprus (MS Torino J.II.9) 3:09 6 Trisagion of / Τρισάγιον τοῦ ὄρθρου (MS Sinai Gr. 1313) 3:05 7 Trinitarian Kalophonikon / Τριαδικὸν καλοφωνικόν (MS Athens EBE 2406) 12:07 by Konstantine Asan & John Kladas the Lambadarios Κωνσταντίνου τοῦ Ἀσάνη & Ἰωάννου λαμπαδαρίου τοὺ Κλαδᾶ 8 Kyrie for St. Hilarion (from the Mass of St. Hilarion, MS Torino J.II.9) 3:54 9 Gloria 10 (MS Torino J.II.9) 4:08 10 Alleluia: Ave Sancte Ylarion (from the Mass of St. Hilarion, MS Torino J.II.9) 3:57 11 Sequence for St. Hilarion (from the Mass of St. Hilarion, MS Torino J.II.9) 5:37 12 Communion Verse for Saints / Κοινωνικόν «Εἰς μνημόσυνον αἰώνιον» (MS Athens EBE 2406) 4:53 by Nicholas Asan / Νικολάου τοῦ Ἀσάνη 13 A Short Kratema (MS Athens EBE 2406) by Paul Kasas, Protopsaltes (First-Cantor) of Cyprus 5:29 as beautified by Nicholas, Protopsaltes of Rentakinos, in Mode 4 Καταβασία ποιηθεῖσα παρὰ τοῦ [Παύλου] Κασᾶ, πρωτοψάλτου Κύπρου· καλλωπισθεῖσα δὲ παρὰ κυροῦ Νικολάου, πρωτοψάλτου Ρεντακινοῦ · Ἦχος δʹ 14 Motet 33 Da, magne pater/Donis affatim perfluit orbis(MS Torino J.II.9) 2:29 total time: 64:46

2

Cappella Romana

Alexander Lingas, artistic director

Spyridon Antonopoulos Richard Barrett John Michael Boyer Aaron Cain David Krueger Emily Lau Kerry McCarthy Mark Powell Melanie Downie Robinson Catherine van der Salm David Stutz

3 Jerusalem by the Muslim reconquest of the Holy City led by Saladin in 1187. The dynasty founded by Guy governed the island for nearly two centuries, with the later period marked by ever-closer relations with the city-states of Italy. In 1489 the Republic Medieval Cyprus between East and West of Venice added Cyprus to its empire, of which it Located at a strategic point in the Eastern remained a part until the Ottoman conquest of 1571. Mediterranean close to the coasts of Asia Minor Greek-speaking Orthodox Christians remained in (modern Turkey) and the Middle East, the island the majority under Lusignan rule, but the island of Cyprus has been a site of commercial and cultural interchange since the dawn of civilization. Christianity came to The present recording offers a the island with the apostles Paul and Barnabas, the latter of whom was himself sampling of the Byzantine and a Cypriot and, according to local legend, the island’s first bishop. The Church of Latin sacred music that someone Cyprus was granted the right of self- governance (autocephaly) by the Emperor could have encountered during Zeno (474–91) and remained a powerful the fifteenth century by walking institution after the island came under joint Byzantine and Arab rule in the late the short distance between the seventh century. Greek Orthodox and Roman reasserted full control over Cyprus in the tenth century, but by Catholic cathedrals of Nicosia. the early twelfth century it had become a way station for Crusaders journeying to the Holy Land. During the Third Crusade (1189–92), also hosted significant minority communities of King Richard I the Lionhearted of England diverted Armenians, Syriac Christians, Jews, and Western his fleet to Limassol in 1191, captured the island, Europeans. The latter included traders and and promptly sold it to the Knights Templar. The refugees from Crusader states recently captured Templars soon proved incapable of administering by the Arabs, some of whom came to occupy Cyprus, so in 1192 Richard sold it to Guy de positions of power in the island’s feudal system Lusignan, who had been displaced as Latin King of of governance. Whereas early members of this

4 imported aristocracy attempted to suppress the vocal parts to a chant according to basic rules of Orthodox Church of Cyprus, toleration became consonance – that is, the performance practices of the rule in succeeding generations marked by organum and cantus planus binatim (‘plainchant increasing rates of intermarriage between the Greek twice’) – to be adopted in some circumstances by and Latin communities. In both the capital of Greek cantors, especially those serving regions with Nicosia (Leukosia) and the coastal city of Famagusta religiously mixed populations. (Ammochostos), Roman Catholic cathedrals in the Even as these traditional styles of chanting Gothic style were constructed in close proximity to continued to dominate Latin and Greek worship their Eastern Orthodox counterparts. throughout the Middle Ages, during the fourteenth TheArs nova and its Byzantine Counterpart century the musical elites of West and East developed strikingly different approaches to the Latin and Greek sacred music of the Middle Ages composition of technically advanced music. In the shared both roots in the Christian psalmody of West, circles of theorists and composers fostered Roman Late Antiquity and a common inheritance what some of them labelled a ‘New Art’ (Ars nova) of Ancient Greek musical theory. Despite centuries of writing music in multiple parts that further of troubled relations between Byzantine Christianity distanced the practice of polyphony from its origins and the Church of Rome that went from bad to in improvisation. They accomplished this through worse with the Crusader sack and occupation of the introduction of French and Italian systems of Constantinople in 1204, Western and Greek writers ‘mensural’ (‘measured’) musical notation that were continued to describe favourably encounters capable of recording the relative durations of sounds with the music of their counterparts well into the with unprecedented precision, thereby allowing fifteenth century (Lingas 2006). One reason for privileged groups of court musicians to create this is that musical expression in the two traditions sacred and secular polyphonic works of great formal of worship remained, at base, stylistically similar. sophistication and rhythmic complexity. Although differing in liturgical language and the particularities of their respective systems of worship, Currents of artistic renewal in the Greek East music in the Roman and Byzantine rites consisted took a markedly different route, being channelled mainly of the unaccompanied singing of psalms into the elaboration of Byzantine chant. The most and other sacred texts, a practice that we call today influential figure in the musical revolution that ‘chant’, or ‘plainchant’. Furthermore, the ways in Edward Williams (1972) called ‘A Byzantine Ars which Byzantine and Roman (Gregorian) chant were nova’ was the composer, editor, music theorist, and sung seem to have been aurally compatible, even to Saint, John Koukouzeles (late 13th–early 14th c.). the point of allowing simple techniques practiced by His Life identifies him as a native of Dyrrhachium Western singers of spontaneously adding unwritten (modern Dürres, ) who was educated in 5 Constantinople, where he became a musician at medieval Greek and Latin chanting noted above. the imperial court. Koukouzeles eventually left Their vocal aesthetic is further informed by the oral the capital to take up the life of a contemplative traditions of received forms of Byzantine chanting (‘hesychast’) monk of the Great Lavra on Mount (including those practiced on the Ionian Islands, Athos. He subsequently spent his weekdays in which remained under Venetian control after the solitude practicing hesychia (literally ‘quietude’), Ottoman conquest of Crete in 1649; see Dragoumis but returned to his monastery for weekends and 1978), as well as the documentary evidence for feasts to assist with the chanting of the All-Night melodic ornamentation and other forms of Vigil. Byzantine musical manuscripts reveal that embellishment in sacred music of the Western Koukouzeles contributed to the codification of older Middle Ages (McGee 1998). repertories while pioneering a new kalophonic (‘beautiful sounding’) idiom of chanting that spread rapidly throughout the Orthodox world. Kalophonic Latin Music in Cyprus singing is characterised generally by vocal virtuosity, Literary witnesses to the cultivation of music by but individual chants may display different the French kings of Cyprus are found in a variety combinations of the following techniques: textual of sources, but nearly all of the surviving music repetition, the addition of new texts (troping), associated with the Lusignan court is contained in melisma (the melodic extension of a single vowel), a single manuscript: Torino Biblioteca Nazionale and the composition of teretismata, wordless Universitaria J.II.9. This remarkable document was, passages on such strings of vocables as ananenes according to Karl Kügle (2012), evidently copied and terirem. between 1434 and 1436 under the supervision of The present recording offers a sampling of the Jean Hanelle, one of two priest-musicians from Byzantine and Latin sacred music that someone Cambrai (the other was Gilet Velut) who arrived could have encountered during the fifteenth in Cyprus in 1411 with Charlotte of Bourbon, the century by walking the short distance between the second wife of King Janus I (1398–1432). Whereas Greek Orthodox and Roman Catholic cathedrals Velut appears to have soon left the island, Hanelle of Nicosia. Selections of Byzantine and Latin remained in the service of the Lusignan family for chant in traditional genres are situated among decades, becoming a scribendaria of the Roman kalophonic and polyphonic works representing the Catholic cathedral of Nicosia in 1428 and also, at most technically advanced forms of vocal music some point, master of the Cypriot king’s chapel. performed on the island. The singers of Cappella Probably travelling to Italy in 1433 as part of the Romana render this music in the light of the literary Cypriot delegation for the marriage of Anne of and musical witnesses to the aural compatibility of Lusignan to Louis of Savoy, Hanelle then seems to

6 have supervised the production of Torino J.II.9 for whose biography was written by St Jerome. Born the Avogadro family of Brescia, whose coat of arms in Gaza in 291, he learned asceticism in Egypt as is on the first folio of the codex. a disciple of St Anthony the Great and completed his earthly life as a hermit near the city of Paphos Since all of the music in J.II.9 is anonymous and in Cyprus. St Hilarion was thereafter regarded as a there are no known melodic concordances with patron of the island; the castle in Kyrenia that served other sources, Kügle has suggested that its contents as the Lusignan summer residence was dedicated may be largely the work of Hanelle, and, perhaps, to him. In 1414 the court of King Janus marked of some of his colleagues at the Lusignan court. the feast of St Hilarion (21 October) with newly The Torino manuscript opens with a section of composed services that the Avignon Pope John Latin plainchant (a rhymed Office and Mass for St XXIII had recently approved for celebration with Hilarion, a rhymed Office for St Anne, and six sets the issuance of a papal bull that is copied at the very of chants for the ordinary of the Mass), followed beginning of codex J.II.9. by a fascicle of polyphonic music for the Mass ordinary, and then another section containing 41 The responsoryLetare Ciprus mixes praise polytextual motets (33 in Latin and 4 in French). The for St Hilarion with supplication for the island, remainder of the codex is devoted almost entirely themes that the verse of the Mass Alleluia Ave Sancte to polyphonic French secular song (ballades, Ylarion recalls amidst a stream of Greek terms. virelais, and rondeaux), the exception being a Detailed references to the life of the saint enrich the single polyphonic Mass cycle inserted by a later encomia and entreaties of the following Sequence hand after the fascicle of ballades. The polyphony Exultantes collaudemus in a manner similar to the of J.II.9 ranges in idiom from technically advanced texts of Motet 17 Magni patris/Ovent Cyprus, one compositions displaying the rhythmic complexity voice of which, the motetus, directly asks Hilarion to characteristic of the so-called ars subtilior (‘subtler intercede for King Janus. art’) cultivated in France and northern Italy during The medieval motet is a form of polyphony in which the later fourteenth and early fifteenth centuries to upper voices, each of which may be provided with works in comparatively simple styles. An example its own text, are supported by a foundational part of the latter is the largely homophonic Gloria in (the ‘tenor’) that is either taken from a pre-existing excelsis 10 for three voices, which features textures melody (often a piece of plainchant) or, as is the not entirely unlike those that could be produced by case with all but two of the motets in the Torino polyphonically elaborating chant in performance (as manuscript, newly composed. Nearly all of the parts in the preceding Kyrie for St Hilarion). in the motets of J.II.9 feature what modern scholars Interspersed throughout the present recording is call ‘isorhythm’, namely the repetition of a rhythmic music for St Hilarion, an early Christian monk pattern (talea) one or more times following its initial 7 statement. This repetition may be literal or, as in from standard collections of medieval Orthodox the case of Motet 8 Gemma Florens/Hec est dies, hymnody and, like all the Greek chants on this disc, involve patterns of diminution (in this case, a talea have been edited by Dr Ioannis Arvanitis in the repeated twice in 3:1 diminution for a total of four light of his groundbreaking research on rhythm in statements). Byzantine chant of the Middle Ages (2010). One of our sources is the Sticherarion Sinai Greek 1471, a Gemma Florens/Hec est dies is one of several volume that consists mainly of through-composed motets commemorating milestones in the life of hymns (stichera idiomela) that Oliver Strunk (1977) the Lusignan family, evidently having been written identified as having been copied on Cyprus during to mark the baptism in 1418 of John, the son of the fourteenth century and, perhaps because of the Janus and Charlotte of Bourbon. Its triplum voice island’s proximity to the Middle East, includes rarely emphasises kinship with the French royal family notated hymns associated with the rite of Jerusalem. into which Charlotte was born, mentioning a ‘Macarius’ who is probably to be understood as Cypriot cantors from the period of Lusignan rule being St Denys of Paris. Its motetus, on the other not only maintained existing traditions of Byzantine hand, speaks of the birth of John the Baptist to chanting, but also contributed works in the new Elizabeth before invoking Christ’s protection on kalophonic style to musical anthologies copied King Janus. Although differing in their wording, on the mainland. What little we know about these both upper voices of Motet 33 Da magne Pater/Donis musicians comes mainly from brief headings to affatim are hymns of praise to God featuring the their compositions mentioning their names, the acrostic ‘Deo gratias’, the concluding response for fact that they were from Cyprus, and perhaps also the Mass of the Roman rite. their musical or clerical posts. For the present recording we have selected three works partially or wholly attributed to Cypriot composers from in Cyprus the manuscript Athens, National Library of Greece 2406, an encyclopedic volume of Byzantine service Manuscripts of Byzantine chant copied through the music copied in the northern Greek town of Serres middle of the fifteenth century show that Cyprus and dated to the fateful year of 1453. remained closely tied to the musical mainstream of Byzantium. The two hymns stichera( ) from the Byzantine musical manuscripts record the musical Greek office for St Hilarion included on the present activities of three members of the Asan family of recording are excerpts from a longer sequence of Cyprus, two of whom appear in Athens 2406 (the hymns interpolated on the eve of his feast between third is the priest Manuel Asan, whose works are the verses (stichoi) of the Lamplighting Psalms of transmitted in other early fifteenth century sources). Byzantine Vespers. Their melodies have been taken To Konstantinos (Constantine) Asan are ascribed 8 several texts set to music in the kalophonic style by a musically independent kratema (‘holder’), a John Kladas, a Lambadarios of the Great Church of composition consisting entirely of teretismata. Hagia Sophia and the leading Constantinopolitan Although their vocables were rendered exclusively composer of the late fourteentfh and early fifteenth with the human voice, kratemata could serve centuries. The present recording offers one of their liturgical functions analogous to those of the two hymns that honour the Holy Trinity in fifteen- organ preludes, interludes, and postludes found in syllable verse, a metre employed widely in Byzantine later Western liturgical traditions. On the present sacred and secular poetry. The music of Kladas is recording we demonstrate this by appending to generally meditative in character, but gradually the Communion Verse a kratema by Paul Kasas, a builds in tension through a series of textual priest-monk who was Protopsaltes (First-Cantor) of repetitions. This tension is released with teretismata Cyprus during the early fifteenth century. Copied that culminate in vocal imitations of brass fanfares in Athens 2406 among festal psalms for evening that herald the final exclamation: ‘Save me, Holy prayer, this kratema is labelled a katavasia by its Trinity: Father, Son and Holy Spirit!’ scribe. This technical term denoting some kind of descent was traditionally applied in Byzantine In Athens 2406 the Communion Verse for Saints liturgy either to the concluding stanzas of poetic (and ordinary Tuesdays) by Nicholas Asan follows canons at the morning office or, in the old rite of another setting of the same text attributed to the Jerusalem, the short festal hymns known in modern daughter of Kladas. Nicholas begins with a brief use as apolytikia (‘dismissal [hymns]’). Composers quotation of a formula for the syllabic rendering of kalophonic chant, however, tended to use the of psalms, after which he shifts into a melodically term to refer to short kratemata that could be added florid style for the remainder of the piece, about as codas to other works (Anastasiou 2005). The two thirds of which is devoted to repetitions of the katavasia of Kasas is divided musically into three refrain ‘Alleluia’ extended through the intercalation large sections of melodically related material, each of consonants within the melismas and the insertion of which is formed of sequences of phrases that of the command ‘Λέγε!’ (‘Say!’). These extensions climax an octave above the base of the mode. Athens not only helped to fill the time required for the 2406 includes two endings for this kratema: a lightly distribution of Communion, but also reflected ornamented version of Neagie, the intonation for the sonically the Byzantine theological understanding Fourth Plagal Mode (not recorded); and an alternate of earthly worship as an icon of that celebrated version in which this intonation is dramatically perpetually by the angels. stated in octaves, labelled ‘doubling’ (‘diplasma’) in Byzantine cantors who wished to further prolong the manuscript, after which the upper voice executes a liturgical moment were able to do so by inserting a gentle descent to the base of the mode.

9 During the final decades of the Lusignan dynasty of the Byzantine morning office of Orthros. This and then subsequently under the administration hymn appears amid the older musical layers of Sinai of Venice, Greek Orthodox cantors in Cyprus Greek 1313, a Cypriot manuscript of the sixteenth began to shadow the musical developments of century featuring the hands of multiple scribes. their colleagues in Venetian-ruled Crete. While Probably the latest of these scribes is Hieronymos continuing to transmit the central repertories of Tragodistes, a composer and theorist who left Byzantine chant, Cypriot musicians also wrote new Cyprus in the middle of the sixteenth century for chants and selectively arranged older compositions Venice where he became a pupil of Gioseffo Zarlino in ways that reflected shifting musical sensibilities. (Strunk 1974). As in Crete, the changes included alterations of —Alexander Lingas melodic style and the extension of modal variety to a broader range of liturgical genres. An example of these new directions in melody and modality is the Trisagion (‘Thrice Holy’) Hymn composed as a conclusion to the Great Doxology (Gloria in excelsis)

10 Works Cited and Selected Bibliography from the 36th Spring Symposium of Byzantine Studies, edited by Andrew Louth and Augustine Casiday, 131-150. Anastasiou, Gregorios. 2005. Τὰ κρατήματα στὴν ψαλτικὴ Aldershot: Ashgate. τέχνη. Institute of Byzantine Musicology Studies 12. edited by Gregorios Th. Stathis. Athens: Institute of McGee, Timothy J. 1998. The Sound of Medieval Song: Byzantine Musicology. Ornamentation and Vocal Style According to the Treatises. Oxford and New York: Oxford University Press. Arvanitis, Ioannis. 2010. ‘Ὁ ῤυθμὸς τῶν ἐκκλησιαστικῶν μελῶν μέσα ἀπὸ τὴ παλαιογραφικὴ ἔρευνα καὶ τὴν Romanou, Katy, Kenneth Owen Smith, Vasilis Kallis, and ἐξήγηση τῆς παλαιᾶς σημειογραφίας—Ἡ μετρικὴ καὶ Nicoletta Demetriou. ‘Cyprus’. Grove Music Online. ῥυθμικὴ δομὴ τῶν παλαιῶν στιχηρῶν καὶ εἱρμῶν’, Ph.D. Oxford University Press. Accessed 25 October 2015. diss. (Ionian University). http://0-www.oxfordmusiconline.com.wam.city.ac.uk/ subscriber/article/grove/music/40747 Data, Isabella Fragalà, and Karl Kügle, eds. 1999. Il codice J.II.9: Torino, Biblioteca nazionale universitaria. Edizione Strunk, Oliver. 1974. ‘A Cypriot in Venice’, Essays on Music in in facsimile. Lucca: Libreria musicale italiana. the Western World. New York: W.W. Norton & Company. 79-93. Dragoumis, Mark Ph. 1978. ‘Ἡ δυτικίζουσα Ἐκκλησιαστική μας μουσικὴ στὴν Κρήτη καὶ τὰ Ἑπτάνησα’. Λαογραφία ______. 1977. Essays on Music in the Byzantine World. New 31 (1976–78). York: W. W. Norton & Company..

Günther, Ursula, and Ludwig Finscher, eds. 1995. The Williams, Edward V. 1972. ‘A Byzantine Ars Nova: The 14th- Cypriot-French repertory of the manuscript Torino J.II.9: Century Reforms of John Koukouzeles in the Chanting Report of the International Musicological Congress, Paphos of Great Vespers’. In Aspects of the : Continuity 20-25 March, 1992. Neuhausen-Stuttgart: American and Change: Contributions to the International Balkan Institute of Musicology. Conference held at UCLA, October 23–28, 1969, edited by Henrik Birnbaum and Speros Vryonis, Jr., 211-29. The Kügle, Karl. 2012. ‘Glorious Sounds for a Holy Warrior: New Hague and Paris: Mouton. Light on Codex Turin J.II.9’. Journal of the American Musicological Society 65 (3):637-690.

Jakovljević, Άνδρέας [Andrija]. 1984–1987. ‘Κύπριοι Μελῳδοί, Ὑμνογράφοι καὶ Ἀντιγραφεῖς τῶν Βυζαντινῶν Μουσικῶν Χειρογράφων τοῦ ΙΕ´- ΙΖ´ Αἰώνα’. Ἐπετηρὶς τοῦ Κέντρου Ἐπιστημονικῶν Ἐρευνῶν XIII–XVI (1):469–77.

Lingas, Alexander. 2006. ‘Medieval Byzantine Chant and the Sound of Orthodoxy’. In Byzantine Orthodoxies, Papers

11 Responsorium Responsory

Letare, Ciprus florida, Rejoice, flourishing feta sanctis odoribus, Cyprus, rich with holy et fertilis et rorida scents, fertile and watered sanctis compta corporibus. with the bodies of saints: Propter quod et Ylarion Therefore Hilarion, in the fide sancte matris Syon faith of holy mother Zion, est tibi pater proprius. is your own father.

Verse Verse Nam inter tuos ceteros For among the other saints quos sanctos genuisti you have begotten, you huic isti solum regios have granted him alone custodes tribuisti. the protection of kings. Propter… Therefore…

Verse Verse: Glory be to the Father, and to the Son and to Gloria Patri et Filio et Spiritui Sancto. the Holy Spirit. Propter… Therefore…

12 Motet 8 Hierusale, Armenia, Motet 8 Cyprus, and those Cipri regem, Uranie who praise him, in Triplum Clementia Triplum the presence of God Gemma florens militie, Numinis in presentia, Flourishing jewel of today in heavenly Palma nitens iusticie: the heavenly host, peace, radiant with Magnalia Laurea fulgens glorie, shining palm of the crown of glory. Macharii preconia Locet ovantes hodie, justice: the people of In patria, Paris and of France Motetus Depromat plebs Lutetie, Tempe donans celestia. proclaim as offerings This is the glori- Odulis pro leticie, Amen. of joy the great works ous day on which Cum Gallia, of Macarius, through Elizabeth bore the Quo preclaruit Grecia, Motetus whom Greece was noble offspring who Hec est dies gloriosa ennobled with a blots out sin; he Refulgentis prosapie in qua fructum people of illustrious fulfilled the pledge Genere. Gentis impie generosa birth. He did not fear of the law, unlocking Feralia Elysabeth genuit, the deadly torments the mystery. He is Non veretur supplicia; Delens improperium; of a wicked nation adorned with virtues, Votum legis implevit, fallen into idolatry; strengthened with Quo ruunt ydolatrie Reserans misterium. he strengthened true holiness, before his Cultu roborat latrie Virtutibus decoratur, worship, fruitful as an birth; the precursor, Olivia Sanctitate roboratur, olive tree. The shep- not yet born, truly Suggerentis frugalia. Ante puerperium. herd of innocence recognized the king, Nondum preco taught a thousand announcing the Populis diffidentie nascebatur life-giving things kingdom in gloomy Pastor innocentie Vere regem fatebatur, to his unbelieving darkness. May he Per milia Predicens imperium people, who bore out who made all things Ediserit vitalia, Caligine tenebrosa. prophecy and rushed clean in the River Janum regem speciosa into wickedness, Jordan preserve King Eminent quo prophetie Veram lucem que pavit sacrificing to pagan Janus for the true Et corruunt nequitie, preservet dans gaudium gods. May the mercy light he has wor- Gentilia Celi qui cuncta lavit of the Heavenly One shipped, giving him Numinum sacrificia. In Jordanis fluvium. place the king of Jeru- the joy of heaven. Amen. salem, Armenia, and Amen.

13 Stichera for St. Hilarion

Στίχ. Ἕνεκεν τοῦ ὀνόματός σου ὑπέμεινά σε, Κύριε· Verse: For your name’s sake I have waited for you, O ὑπέμεινεν ἡ ψυχή μου εἰς τὸν λόγον σου, ἤλπισεν ἡ Lord. My soul has waited on your word. My soul has ψυχή μου ἐπὶ τὸν Κύριον. hoped in the Lord.

Ἦχος δ’ Mode 4 Ὁ ἐξ ὑψίστου κληθεὶς [to the melody] Called from on high

Ὁ ἱλαρὸς τὴν ψυχὴν καὶ τὴν καρδίαν, ὅτε σε ὁ Joyful [hilarós] in heart and soul, when divine love ἔνθεος ἔρως κατέτρωσε, καὶ ἱεραῖς ἀναβάσεσιν, wounded you and your holy ascents persuaded you ἐπαναστῆναι, τῶν κοσμικῶν σε θορύβων ἔπεισε, to rise above the distractions of the world, and thus τότε ὁπλισάμενος Σταυροῦ τὴν δύναμιν, πρὸς equipped with the power of the Cross, you went out τὴν δαιμόνων ἐχώρησας, Παμμάκαρ πάλην, καὶ to wrestle with the demons and wove a wreath of ἀνεπλέξω νίκης διάδημα, καὶ νῦν αὐλίζῃ, ταῖς victory, O most Blessed One, who now dwell in the λαμπρότησι, τῶν Ἁγίων· μεθ’ ὧν ἡμῖν αἴτησαι, splendor of the Saints; with them ask that we receive φωτισμὸν καὶ εἰρήνην, καὶ πταισμάτων ἀπολύτρωσιν. illumination and peace, and deliverance from errors.

Δόξα. Ἦχος β’ Glory. Mode 2 Ἀνατολίου By Anatolios

Ἐκ νεότητός σου φέρων τελειότητος φρόνημα, From your youth possessing perfect understanding, ὑπέθου σεαυτὸν Ἱλαρίων τῷ Σταυρῷ τοῦ Χριστοῦ, you placed yourself under the Cross of Christ, O Hi- καὶ τὸν βίον ζηλώσας τοῦ θείου Ἀντωνίου, τοῖς larion; and emulating the life of the divine Anthony, ἴσοις μέτροις τῆς ἀρετῆς ἀφομοιούμενος, κατέτηξας you were made like him in equal measure of virtue τὴν σάρκα, σκιρτῶσαν ὥς περ πῶλον, ὡς ὤφειλε by the wearing away of your flesh, which bolted τῇ ψυχῇ καθυποτάσσεσθαι, καὶ τῆς ἀσκήσεως as though it were a foal, and which you subjected δρόμον ἐξετέλεσας· Ἀλλ’ ὦ μακαριώτατε Πάτερ, dutifully to your soul, completing the course of as- καὶ θαυματουργὲ θεοφόρε, τοῖς τὴν μνήμην σου ceticism. O most blessed Father and wonderworking ἐκ πόθου τελούντας, αἴτησαι ἱλασμὸν καὶ τὸ μέγα God-bearer, ask that reconciliation and great mercy ἔλεος. be given them who keep your memory with longing.

14 Motet 17 Motetus Motet 17 Motetus Ovent Cyprus, Let Cyprus, Palestine, Triplum Palestina Triplum Egypt and rejoice Magni patris magna mira Egyptus et Trinacria, May we sing worthily that divine destiny has Hylarionis promere Quas dotavit sors in sweet song the great given them the grace Ut queamus dulci lira, divina deeds of the great father of such a great saint. Superno decor munere. Tam magni sancti Hilarion, adorned with Hilarion did wondrous gratia. heavenly gifts. Born of works in these lands in Diis litabant qui parents who sacrificed ancient times, filling prophanis Hylarion provinciis to profane gods, he the wide world with his Hic ortus de parentibus, His prisco fecit seculo blossomed like a rose praises. Now Cyprus, Velut rosa, spretis vanis Mira signa, preconiis from thorns, rejecting which possesses his Effloruit de vepribus. Orbe repleto patulo. vain things. As a child, body and honors it with wise in speech, he came worthy titles, earns the Puer gnarus eloquendi Nunc autem Cyprus to Anthony, eager in place of honor among Perrexit ad Anthonium, obtinet soul to share his life of these miracles. Happy Huius vitam Primatum in miraculis, contemplation. Soon the land gifted with contemplandi Que sacrum corpus returning home, he such a noble jewel; Mente ferens studium. detinet gave his inheritance happy the people for Et dignis colit titulis. to the poor and his whom such a shepherd Mox repatrians, paterna brethren: left naked, rules the flock. Oh, Egenis dat et fratribus, Felix terra tam preclaro he longed for heavenly good father, save King Nudus manens ad Que dotata stat monili, things with all his Janus, who praises you superna Felix populus cui baro senses. He was the first in these songs, and Totis anhelat sensibus. Talis presidet ovili. who dared to inhabit satisfy this company the deserts of Pales- with happy fortune. Palestine primus tesca Eya, pater bone, regem tine, living more from Ausus fuit incolere, His te laudantem spiritual food than Spritali vivens esca cantibus, from rich fruit. From Quam frugum magis Salva Janum huncque that time on, he shel- ubere. gregem tered as many monks Letis imple successibus. in his hermitage as the Inde tot anachoritas cloisters of the Jacobites Heremi clausit latebris enclosed in the dark- Quot vix claustra ness of night. Iacobitas Noctis recludunt tenebris. 15 Τρισάγιον τοῦ ὄρθρου Trisagion for Orthros

Ἅγιος ὁ Θεός, Ἅγιος Ἰσχυρός, Ἅγιος Ἀθάνατος, Holy God, Holy Strong, Holy Immortal, have mercy ἐλέησον ἡμᾶς. on us.

Τριαδικὸν καλοφωνικόν· Trinitarian Kalophonikon τὸ μὲν μέλος, κυρίου Ἰωάννου λαμπαδαρίου τοὺ The melody is by Mr. John Kladas the Lambadarios, Κλαδᾶ· τὰ δὲ γράμματα, κυρίου Κωνσταντίνου τοῦ while the text is by Mr. Constantine Asan. Ἀσάνη. Ἦχος πλ. β´. Mode Plagal 2.

Θεέ, Τριὰς διαρετὴ προσώποις, οὐ τῇ φύσει· O God, [you are] Trinity distinguishable in persons, Ἕν γὰρ τὰ τρία τῇ μορφῇ, but not in nature, for the three in appearance [are] οὐσία καὶ θεότης. one essence and divinity. — πάλιν — Again Θεέ, Τριὰς διαρετὴ προσώποις, οὐ τῇ φύσει· O God, [you are] Trinity distinguishable in persons, Ἕν γὰρ τὰ τρία τῇ μορφῇ, but not in nature, for the three in appearance [are] οὐσία καὶ θεότης. one essence and divinity. Ὀφθαλμὸς γὰρ σὺ καὶ πηγὴ καὶ ποταμὸς For you, O Father, Word, and Spirit, are source σὺ πέλεις, ὦ Πάτερ, Λόγε καὶ Πνεῦμα. [lit. ‘eye’], spring, and river. Σοὶ γὰρ λόγῳ τὰ πάντα εὖ συντετήρηται τάξεις, For by your command everything is kept in good order, καὶ σοὶ ὑποτέτακται, And made subject to you, Χριστέ μου, Λόγε, Θεέ μου. my Christ, O Word, my God. Σὸν πλἀσμα μὴ παρίδῃς ὁ καθαρὸς ἀπὸ ρύπου. Do not abandon your creature, O Spotless One. ‘Υπερούσιε φύσις—πάλιν—ὑπερούσιε φύσις, σῶσόν Nature above all being—again—Nature above all με, Τριὰς ἁγία· being, save me, Holy Trinity: Πάτερ, Υἱὲ καὶ Πνεῦμα! Father, Son and Spirit! Τερερερερε… Terererere… Σῶσόν με, Τριὰς ἁγία· Πάτερ, Υἱὲ καὶ Πνεῦμα! Save me, Holy Trinity: Father, Son, and Spirit!

Kyrie Kyrie Κύριε, ἐλέησον. Χριστέ, ἐλέησον. Κύριε, ἐλέησον. Lord, have mercy. Christ, have mercy. Lord, have mercy.

16 Gloria Gloria Gloria in excelsis Deo Glory to God in the highest, Et in terra pax hominibus bone voluntatis. and peace on earth to men of good will: Laudamus te. Benedicimus te. Adoramus te. Glo- We praise you, we bless you, we worship you, we rificamus te. glorify you: Gratias agimus tibi propter magnam gloriam tuam. We give you thanks for your great glory, Lord God, Domine deus, rex celestis, deus pater omnipotens. heavenly King, God the Father almighty: Domine fili unigenite Jesu Christe. Domine deus, Lord, only-begotten Son, Jesus Christ, Lord God, agnus dei filius patris. Lamb of God, Son of the Father: Qui tollis peccata mundi, miserere nobis. Qui tollis Who takes away the sins of the world, have mercy peccata mundi, suscipe deprecationem nostram. on us; who takes away the sins of the world, receive our supplications: Qui sedes ad dexteram patris, miserere nobis. Who sits at the right hand of the Father, have mercy Quoniam tu solus sanctus. Tu solus dominus. Tu on us; for you alone are holy, you alone are Lord, solus altissimus. you alone are Most High: Jesu Christe. Cum sancto spiritu, in gloria dei patris. Jesus Christ, with the Holy Spirit, in the glory of Amen. God the Father. Amen.

Alleluia. Alleluia. Alleluia. Alleluia. Ave sancte Ylarion, Hail, holy Hilarion, joyful qui tot letatus filijs, with so many sons: pray the ora sanctum Aelion Holy One that we may be ut laureamur lilijs, adorned with lilies, and lead et fer nos per Achatheon us through the underworld ab mundi his exilijs. from the exile of this world.

Nam cordis dyathessaron For with harmony of heart laudamus te et cymbalis, we praise you on the cymbals, Dei almus tethagramaton gracious Name of God, in seculorum seculis. for ages of ages.

17 Sequentia Primus hic in Palestina Cella huius fuit bustum, fulsit, in quo lux divina, lentes aqua scedant bustum, Exultantes collaudemus monacus in Syria. semper post crepusculum. mira sancti personemus eiusque solemnia. Duodenum hic agebat, Panis, radix, ficus, olus Xρistum scire cum querebat sextus illi fuit bolus Hic vocatur Ylarion, quadam in cemeria. sepe post quatriduum. quem duxit tethagramaton regna in perennia. Cella, stratus et vestitus, Cecam curat, stuprum fugat, metus vanus, sal et ficus, pauper durat, celum mirat Paternis ab erroribus huius sunt delicie. vivis ex lapidibus. ne pravaretur sordibus, destitit ab ydolis. Delibantes facit vivos, Deum orat, Cyprum rorat, sanat gentes, haurit rivos, quando plorat tunc honorat Audiens hic Anthonium, eius sunt divitie. Christum cum virtutibus. reliquit patrimonium, puer bone indolis. Regia fit hic camuca, Extraxit hortum parvulum, qui vult nobis sed tunica quo suum stat corpusculum Hic descendit a prophanis, sancti Ylarionis. alma continentia. flevit puer non inanis pro baptismi gloria. Qui sanat energuminos, Quod fragrat in odoribus depellit spiritus malos, cum toga fert Hieronimus, Artem hausit Scripturarum, proficit in donis. sanctaque constantia. querens lumen doctrinarum mox in Alexandria. Abicit mulierculam, Sancte pater, tende manum, dicit oratiunculum, salva cetum Ciprianum Mox, ut se fecit monacum, dando Deo gratias. in pace prospera. hic tempus post bimensium ad propria meavit. Accensis quinque digitis, Regni fructus da fecundos, et ait cum iniuriis: aufer pestes, et iocundos Defunctis iam parentibus, cede retro, sathanas. omnes duc ad supera. datis rebus pauperibus, monacos cumulavit.

18 Sequence He shone first in Palestine, where His cell was his tomb, he was a divine light, and as a with lentils and water only after Let us exult and rejoice together: monk in Syria. sunset. let us proclaim the wonders and the commemoration of this saint. He spent twelve years here in a He took six ounces of bread, dwelling as he sought to know herbs, figs, and oil, often after He is called Hilarion, whom the Christ. four days. Holy One has led to the eternal kingdom. His cell, bed, and clothing, herbs, He heals the blind, drives out im- salt, and figs, purity, encourages the poor, gazes Lest he be corrupted by the are a delight to him. on a heaven of living stones. sordid errors of his parents, he kept himself from idols. He gives life to detractors, heals He prays to God and rain falls the nations, on Cyprus; when he weeps, he Hearing Anthony, the good- drinks at the streams: honors Christ with his powers. natured boy left behind his inheritance. all riches are his. The tunic of He built a little garden where holy Hilarion is to us a royal his body remained in gentle He separated himself from garment. continence, profane things, and wept, not in vain, for the glory of baptism. He heals the possessed, disperses with the mantle of Jerome the evil spirits, makes progress in sweet fragrance and holy He devoured knowledge of the in gifts. constancy. Scriptures, soon seeking the light of doctrine in Alexandria. He sends away the woman, says Holy father, stretch forth your a little prayer, giving thanks to hand, keep the people of Cyprus Desiring to become a monk, he God. in peace and prosperity. returned to his own house after two months. With his five fingers aflame, he Give fertile fruit to the kingdom, responds to curses: Get behind drive away plagues, and lead us His parents having died, he me, Satan. all happily to the heavens. gave his goods to the poor, and increased the number of monks.

19 Κοινωνικών. Communion [for saints]. Ποίημα κυροῦ Νικολάου τοῦ Ἀσάνη· [ἦχος] δ´. by Nicholas Asan, Fourth Mode.

[Εἰς μνημόσυνον αἰῶνιον] ἔσται δίκαιος. Ἀλληλούϊα. The just will be held in eternal memory. (Ψαλμ. 6) Alleluia. (Psalm 6)

Καταβασία. Katavasia [Kratema]. ποιηθεῖσα παρὰ τοῦ [Παύλου] Κασᾶ, πρωτοψάλτου by Paul Kasas, Protopsaltes (First-Cantor) of Κύπρου· καλλωπισθεῖσα δὲ παρὰ κυροῦ Νικολάου, Cyprus, beautified by Nicholas, protopsaltes of πρωτοψάλτου Ρεντακινοῦ· ἦχος δ´. Rentakinos. Fourth mode.

Ερερρερε τερρετεεκεενα…νεαγιε. Ererrere terreteekeena…neagie.

20 Motet 33 Motet 33

Triplum Triplum Da, magne pater, rector Olimpi, Grant, great Father, ruler of Olympus, Empireo stans cunta gubernans standing in the firmament and Ordine miro, pie, da, nate, governing all in wondrous order: Gremio patris semper inherens, grant, kind Son, forever in the bosom Rerum conditor omni creator, of the Father, creator and maker of Almeque nobis, da quoque, flamen, all things: grant also, Spirit, three Tres, deus unus, deitas una, and one God, one Godhead: let our Iubilet noster chorus, ut semper chorus sing joyfully, that we may Animo puro pangitet hymnos always proclaim hymns with a pure Supplexque deo gratias dicat. soul, and humbly give thanks to God.

Motetus Motetus Donis affatim perfluit orbis, The good and most high Creator, Erogat uno generi summus abundantly lavishing gifts on the Opifex queque iugiter illo world, by a great flood of mercy, Gurgite magno de pietatis, perpetually restores the ungrateful Recreans gratis bonus ingratos. without cost. Therefore let the human Agitet ergo genus humanum, race sing songs of praise to him, as Tanquam meriti memor accepti, in memory of the gift accepted, that Illius odas referat grates, finally we may climb with swift foot Ad regna poli queat ut tandem to the kingdom of heaven, with you as Scandere prepes, te duce, Christe. leader, O Christ.

21 This recording is made possible by the generous support of the following donors:

The Fred W. Fields Fund of the Oregon Community Foundation The A.G. Leventis Foundation Anonymous Carole Alexander Katharine Babad, in memory of Shirley Babad

22 PRODUCTION CREDITS Oil landscape in Cyprus, “Sky, Sea, Land,” by Stephen Hayes, collection of Timothy and Anne E. Hayes, used by Producer: Mark Powell (Cappella Romana). permission; Stephen Hayes is represented by the Elizabeth Recording, Mixing, and Mastering Producer; Digital Leach Gallery (Portland, Oregon) and David Richard Gallery Editor: Steve Barnett (Barnett Music Productions, (Santa Fe, New Mexico). Minneapolis, Minn.). Booklet content and design: g2015 by Cappella Romana, Recording, Mixing, and Mastering Engineer: Preston Smith Inc. All rights reserved. (Perfect Record, Saint Paul, Minn.). Acknowledgements:

Editing Plot Preparation: John Michael Boyer. Dr. Spyridon Antonopoulos Performing editions: The performing editions of chant and Blake Applegate and Kelly Thorsell, Cantores in Ecclesia polyphony from MS Torino J.II.9 are based upon “Cypriot- Dr. Ioannis Arvanitis French Repertory (15th c.) of the Manuscript Torino, Richard Barrett Biblioteca Nazionale, J.II.9,” vols. 1-2, ed. Richard H. Hoppin, Rev. John Boyle, JCL, pastor; St. Stephen Catholic Church, Corpus mensurabilis musicae (Rome: American Institute of Portland Musicology, 1960, 1961), with emendations by Dr. Alexander Dr. Achilleas Chaldaiakis Lingas. The performing editions of the medieval Byzantine Dr. Dimitri Conomos chants are by Dr. Ioannis Arvanitis. Very Rev. Archimandrite Ephrem (Lash) Pavlos Erevnidis Original recordings: g&P 2015 by Cappella Romana, Inc. All Aikaterini Kordouli & the staff of the National Library of Greece rights reserved. Recorded at St. Stephen Catholic Church, Flora Kritikou Portland, Oregon, 26–31 July 2015. Dr. Miguel Mera, Prof. Stephen Cottrell, Department of Graphic design/booklet editor: Mark Powell. Music, City University London Gail Marsom, School of Arts and Social Sciences, City Proofreading: Spyridon Antonopoulos, Kerry McCarthy, University London Leslie Simmons, Maria Boyer. Fr. Paul Paris, proïstámenos; and Gail Morris, executive secretary; Holy Trinity Greek Orthodox Cathedral, English translations: Very Rev. Archimandrite Ephrem Portland (Lash) with assistance from Dr. Spyridon Antonopoulos Prof. Christian Troelsgård, University of Copenhagen and Mark Powell (Stichera for St. Hilarion, Trisagion); Dr. Alexander Lingas (Kalophonikon); Dr. Kerry McCarthy Contact and Booking Information (Latin texts). Cappella Romana Images: Fresco icon of St. Hilarion from the Church Mark Powell, Executive Director of Panagia tou Arakou, Lagoudera, Cyprus, detail of Leslie Simmons, Operations Manager photograph by SvetlanaTomeković, from the Princeton 1017 SW Morrison St Ste 315, Portland, or 97205 usa University Index of Christian Art, used by permission. tel +1.503.236.8202 cappellaromana.org Inscription: Ἀδελφοὶ ὅσιν ἔχη ὁ Θ[ΕΌ]Σ ἀγαθώ(ό)τηταν μὴ ἀπελπίσο(ω)μεν + “How great is God’s goodness, brothers! Despair not!” 23 These and other titles atcappellaromana.org or your favorite retailer

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