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Home , Cappella Romana, Cherubikon, Dominus (title), Manuel Chrysaphes, Nenano, Paschal troparion

presents VENICE IN THE EAST: Renaissance Crete & Cyprus

Wednesday, 8 May 2019, 7:30 p.m. Touhill Performing Arts Center, University of Missouri, Saint Louis Friday, 10 May 2019 at 7:30 p.m. Alexander Lingas Christ Cathedral, Vancouver, British Columbia Founder & Music Director Presented by Vancouver Saturday, 11 May 2019 at 8:00 p.m. St. Ignatius Parish, San Francisco Spyridon Antonopoulos John Michael Boyer Kristen Buhler PROGRAM Aaron Cain Photini Downie Robinson PART I David Krueger Emily Lau From the Byzantine and Venetian Commemorations of the Kerry McCarthy The Crucifixion and Deposition Mark Powell Catherine van der Salm Venite et ploremus Johannes de Quadris David Stutz soloists: Aaron Cain, Mark Powell Liber sacerdotalis (1523) of Alberto Castellani Popule meus Liber sacerdotalis soloist: Kerry McCarthy Sticherón for the Holy Passion: Ἤδη βάπτεται (“Already the pen”) 2-voice setting (melos and “ison”) Manuel Gazēs the Lampadarios (15th c.) soloists: Spyridon Antonopoulos, MS Duke, K. W. Clark 45 John Michael Boyer Traditional Melody of the Sticherarion Mode Plagal 4 Cum autem venissent ad locum de Quadris Liber sacerdotalis soloists: Aaron Cain, Mark Powell O dulcissime de Quadris Liber sacerdotalis soloists: Photini Downie Robinson, Kerry McCarthy Verses of Lamentation for the Holy Passion “Corrected by” Angelos Gregoriou MS Duke 45, Mode Plagal 2 Sepulto Domino de Quadris Liber sacerdotalis The Resurrection Attollite portas (“Lift up your gates”) Liber sacerdotalis celebrant: Mark Powell Ἄρατε πύλας (“Lift up your gates”) Anon. Cypriot (late 15th c.?), MS Sinai Gr. 1313 Attollite portas … Quem queritis … Liber sacerdotalis Χριστὸς ἀνέστη (“Christ has risen”) Cretan Melody as transcribed by Ioannis Plousiadenós (ca. 1429–1500), MS Dionysiou 570 Venetian : Surrexit Christus! Liber sacerdotalis Thank you for attending today! celebrant: Mark Powell Χριστὸς ἀνέστη Cantus grecus Christus surrexit, MS Faenza 117 Learn more about Cappella Romana’s programs at cappellaromana.org INTERMISSION

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New Greek Chants of the Gloria in excelsis, sung in Greek Gazēs and Plousiadenós Mode 1 The Nicene-Constantinopolitan Creed, sung in Greek The “New” Cantors of Crete Alexander Lingas MS Sinai 1552, Mode Plagal 4 Founder & Music Director Verse for : Σῶμα Χριστοῦ μεταλάβετε Ioannis Laskaris (15th c.) (“Receive the Body of Christ”) Mode Plagal 2 “” Spyridon Antonopoulos John Michael Boyer Communion Verse: Ὁ ἑωρακὼς ἐμέ An Old [Cretan] Melody Embellished by Kristen Buhler (“One who has seen me”), John 14:9 Hieronymos Tragodistēs of Cyprus (16th c.) Aaron Cain MS Sinai Gr. 1313, Mode Plagal 4 Melanie Downie Robinson Byzantine Hymns to the Mother of God David Krueger Emily Lau A Tropárion from the 9th Ode of the Paschal Hieronymos Tragodistēs Kerry McCarthy by St. : Ὢ Πάσχα τὸ μέγα (“O Great Pascha”) in polyphony Mark Powell Káthisma “as sung on the Holy Mountain” Angelos Gregoriou Catherine van der Salm MS Dionysiou 570, Mode Plagal 4 David Stutz Kalophonic Theotokíon for Cardinal Bessarion Plousiadenós soloists: Spyridon Antonopoulos, John Michael Boyer

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4 of the church of San Giorgio dei Greci. Cyprus fell to the Ottomans in 1571, followed by Crete in 1669, after which the Ionian Islands were the only Greek lands to remain continuously under Venetian rule (even as it sporadically regained footholds in the Peloponnesus). The arrival of Cretan refugees in the seventeenth century bolstered cultural life on VENICE AND HER GREEK COLONIES the larger Ionian islands of Corfu, Zante, Lefkada, From her emergence as a significant political entity and Cephalonia, which to this day retain Italianate in the sixth century under the rule of the Eastern linguistic, artistic, and musical traditions. Roman (“Byzantine”) Empire to the dissolution of The split that had occurred between the Roman her Serene Republic by Napoleon in 1797, the city Catholic and Eastern Orthodox Churches at the of Venice remained closely tied to the Greek East. beginning of the second Christian millennium Following the diversion of the Fourth Crusade to caused varying degrees of friction between Venice sack in the year 1204, the Venetians and her Greek subjects. The Orthodox of Crete, for not only seized for themselves priceless treasures example, were allowed to retain their own lower that to this day adorn their Byzantine- church but forbidden to consecrate their own bishops, of San Marco, but also began to acquire colonies in placing them nominally under a hierarchy. the Eastern Mediterranean. The empire amassed by Music, however, was not an area of significant Venice subsequently waxed and waned relative to the conflict (Lingas 2006) and the general trend over fortunes of its military and economic competitors time was toward greater religious toleration. that included Western powers such as the Genoese and the French, as well as the Byzantines, and— In the fifteenth century, religious tensions especially from the fourteenth century onwards—the temporarily relaxed when Venice and her colonies Ottoman Turks. served as waystations for the delegation of Byzantine civil and ecclesiastical officials, headed by Emperor Crete, acquired by Venice in 1204, was for over John VIII, that journeyed to in an attempt four hundred years the Serene Republic’s most to reunify the churches at the Council of Ferrara- important and prosperous Greek colony. The island Florence (1438–39). Grand Ecclesiarch of Hagia developed a flourishing Greco-Italian Renaissance Sophia Sylvester Syropoulos, although personally culture that it came to share with Cyprus, control opposed to the Union of Florence, was among the of which passed in 1489 from the French Lusignan chroniclers to report occasions when Venetian hosts to the Venetian Republic. Meanwhile, Venice and Greek Orthodox travelers experienced the herself came to host a prominent Greek minority worship of the other in a positive way. Syropoulos, that had gained a measure of cultural and religious for example, expressed admiration for a celebration autonomy in the sixteenth century with the building of Latin at the Venetian monastery of 5 San Giorgio on 23 February 1438, attended by in both learned and folk poetry, and set to music Ecumenical Patriarch Joseph II. After the council the stylistically resembling Greek folk song. Venetians warmly received a full celebration of the Even stronger congruences between Greek and Latin Byzantine at San Marco in September practice under Venetian rule are apparent in the 1439. While the Union of Florence ultimately failed ceremonies marking the Resurrection of Christ on to reconcile the churches, it retained some notable Easter morning. As in the , it was the Greek supporters. Prominent among these was the custom in Venice for an outdoor to be former Metropolitan of Nicea, Bessarion (1403–72), confronted by the closed doors of an empty church. an intellectual who became a Cardinal of the Roman In Castellani’s Liber sacerdotalis the opening of the Church and in 1468 donated to Venice his valuable doors is heralded by the proclamation of verses from collection of books, now contained in the Biblioteca Psalm 23 (lxx), a text traditionally employed in both Marciana. the Byzantine and Roman rites for the consecration The music on this program witnesses to interactions of churches. The use of this text on Easter morning between Greeks and within the shared cultural was also known in Byzantium, where it was listed in space of Venetian rule. It begins by demonstrating the fourteenth-century manual of court ceremony the similar ways in which they enriched their by Pseudo-Kodinos as a practice not observed in the respective ancient liturgical traditions for the imperial palace. Although still excluded from most Paschal Triduum, the period from Orthodox service books, “Lift up your gates” has in to Easter Sunday marking the Crucifixion and some regions remained a feature of Easter celebrated Resurrection of Christ. On Good Friday both according to the Byzantine rite until the present day, communities rendered Christ physically present— the Roman Catholics with a consecrated host and the Greek Orthodox through the , a cloth embroidered with an of the dead Jesus surrounded by angels—in rituals of burial and lamentation. The Latindepositio ceremony observed in Venice during the fifteenth and sixteenth centuries is contained in books compiled for use at San Marco, as well as in the Liber sacerdotalis (1523), edited by the Dominican Alberto Castellani and widely distributed in Northern Italy. As Susan Rankin (1997:171) notes, it involved an “extremely elaborate” procession that allowed much of the city’s population to participate alongside “the ducal retinue, clerics of St. Mark’s, and foreign ambassadors.” On this program we offer excerpts of two-voice music for these devotions in the Liber sacerdotalis by Johannes de Quadris, a composer active at San Marco during the second quarter of the fifteenth century. This music is echoed by the simple polyphony of his contemporary Manuel Gazēs, a and composer who served in the Byzantine imperial chapel before retiring to Crete. The Latin laments of the Virgin Mary for her crucified Son find a Greek counterpart in a manuscript of Byzantine liturgical music recorded by the Cretan composer Angelos Gregoriou, a pupil of Gazēs. Provided in addition to the traditional chants for the Passion, this lament is a poem cast in fifteen-syllable verse, a meter employed Ἄρατε πύλας (Lift up your gates) 6 ex MS Sinai Gr. 1313 (344r) normally taking the form of a dialogue spoken between clerics outside and inside the church doors (Phountoules 1997: 174– 79). Here we offer the beginning of this exchange (sung second on this program) as set to exuberant music, probably in the late fifteenth century, by an anonymous composer in Sinai Gr. 1313, a manuscript containing Byzantine chant from Venetian Cyprus. Proclaimed outside the church without a response, “Attollite portas” was followed in sixteenth-century Venice by the musical dialogue “Quem queritis.” Originating as a set of tropes prefacing the Roman Easter mass introit “Resurrexi” and then Codex Faenza 117 (30) incorporated into the Visitatio sepulchri liturgical dramas of the Latin West, it Johannes Bonadies in the autumn of 1473 “in or paraphrases the words exchanged between the reasonably close to Mantua.” The uppermost voice myrrhbearing women and the angel at the empty sings what I identified as a variant of a melody for tomb of the risen Christ. Following the dialogue’s the Paschal in the manuscript Mount conclusion at San Marco with the invitation, Athos Dionysiou 570. For comparison, we sing also “Come and see where the was placed, Alleluia, the original Byzantine version listed by its scribe, Alleluia!,” the procession entered the basilica and John Plousiadenós (ca. 1429–1500), as the version proceeded to a symbolic “sepulchre” at the end of “sung on Crete by the common [people]” («Τὸ the north transept. Finding the tomb empty, the ᾀδόμενον ἐν Κρήτῃ παρὰ τοῦ κοινοῦ»). celebrant proclaimed three times at successively Plousiadenós was a Cretan priest, music theorist, higher pitches the Paschal greeting “Christ has scribe, and composer who lived in Venice for risen!” (“Surrexit Christus!”), to which the choir significant portions of his life. On his native island responded “Deo gratias.” The celebrant then he became a convinced advocate of the Union of exchanged this greeting individually with the Doge, Florence even while as a musician he, like the monk followed by civic and religious officials in descending Angelos Gregoriou mentioned above, cultivated order of seniority. Rankin has identified this traditions brought there by cantors escaping the ceremony as a Venetian adaptation of the traditional collapse of the , prominent among Byzantine Easter greeting «Χριστὸς ἀνέστη!» / whom were the Imperial Lampadarioi Manuel Gazēs «Ἀληθῶς ἀνέστη!» (“Christ has risen!” / “He has and . In Italy Plousiadenós risen indeed!”), the beginning of which also features became a protégé of Cardinal Bessarion, who prominently as the incipit of the famous Paschal commissioned the hymn in fifteen-syllable verse Troparion «Χριστὸς ἀνέστη ἐκ νεκρῶν» (“Christ has to the Virgin Mary that concludes this program. risen from the dead”). Announcing the name of its patron in an acrostic Pedro Memelsdorff has recently (2014) noted and set in the sophisticated “kalophonic” (“beautiful a previously overlooked synthesis of these two sounding”) style of late medieval Byzantine chant, traditions in the Codex Faenza 117, a manuscript the work climaxes musically as its text dissolves best known for its early instrumental music. This into nonsemantic vocables (tititi – terere) known as is a polyphonic setting for four voices of the Greek teretismata. It is currently known to survive only in , written in Latin characters, that Mt. Athos Koutloumousiou 448, a manuscript copied ends with the Latin response “Deo gratias.” Labeled in the late sixteenth or early seventeenth century by “Cantus grecus Christus surrexit,” it was copied, the Cretan composer Benedict Episkopopoulos. according to Memelsdorff, by the Carmelite Friar 7 Plousiadenós continued the legacy of Gazēs in the same mode and employ the rhythmic signs of two direct ways: by also composing, as may be Byzantine chant notation in unconventional ways heard on Cappella Romana’s recording The Fall of to approximate the capabilities of contemporary Constantinople, simple polyphony in two parts; and Western mensural (measured) notation. This allowed by completing Gazēs’ partial setting in Greek of the them to create rhythmically complex melodies in ancient hymn Gloria in excelsis as it was used in triple time, thus producing Greek equivalents of the mass of the Roman rite (the Byzantine rites of what was known in Latin as cantus fractus. Jerusalem and Constantinople employed a longer The remaining selections on this program survey form of the text in the morning office of ). other ways in which developed Although Byzantine adaptations of the Roman mass during the fifteenth and sixteenth centuries under circulated in southern Italy under the name of “The Venetian rule. Gazēs was among a small group of Divine Liturgy of St. Peter,” it is more likely that late Byzantine musicians to imitate their Western Gazēs composed his version, which sets the first counterparts in writing fully melodic settings—in half of the Roman text, for one of the joint religious Greek and without the controversial Latin addition observances that Greeks and Latins occasionally of the phrase “filioque” to its clause on the procession celebrated following the Union of Florence. of the —of the Nicene-Constantinopolitan Presumably the impetus for Plousiadenós to set the Creed, a text that in the Orthodox East had remainder of the Gloria was his own participation, previously lacked a notated musical tradition as a unionist Greek cleric, in such celebrations (he is (Kritikou 2011). This practice was taken up by known, for example, to have chanted the gospel in composers on Crete, including the unnamed “New Greek at the papal mass in on 25 December [Teachers]” who created the setting on this program 1498). Other opportunities could have arisen after he transmitted by the scribe Theodore Rhodakinos in was named Roman Catholic bishop of the Venetian two late fifteenth-century manuscripts (Sinai Greek outpost of Methone in the Peloponnesus in 1490. 1463 and 1552). Confirmed in this post by the Senate of the Serene Republic, Plousiadenós died in a Turkish siege Ioannis Laskaris was another cantor, composer, and ministering to his mixed Christian flock. Viewed music theorist who left Constantinople to settle from a musical perspective, the settings of Gazēs and in Candia (Chandax) on Crete in 1411. His career Plousiadenós are highly congruent. Both are set in there as a teacher of Byzantine chant is documented by contracts in the Venetian archives, as are his

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“A sound world of unique beauty” gramophone “kept the audience holding their breath” crescendo, namur, belgium “simply, beautiful” the new york times “You’d have to have ice water in your veins to not be moved” willamette week

This profoundly moving and powerful music bears witness to how ancient Greek and Latin liturgical traditions were richly embellished during the Renaissance on the islands of Crete and Cyprus, all within the shared cultural space of Venetian rule. First performed by Cappella Romana at the Early Music Festival in Utrecht (Netherlands).

8 activities as an agitator for the rights of the Orthodox Works Cited Church (Markopoulos 2008 and Markouris 2009). Agapitos, Panagiotis. 2000. “Hieronymos Tragodistēs: Ein Although the latter led to what was intended to be zypriotischer Musiker der Spätrenaissance.” In Zypern: Insel his permanent expulsion from the island in 1418, im Brennpunkt der Kulturen, edited by Sabine Rogge, 249–67. Venetian records indicate that by 1421 Laskaris had Münster: Waxmann. resumed teaching in Candia. His many musical Kritikou, Flora. 2011. “The Byzantine Compositions of works are well represented in manuscripts copied on the ‘Symbolon of Faith’.” In Psaltike: Neue Studien zur Byzantinischen Musik. Festschrift für Gerda Wolfram, edited by both Crete and the Greek mainland. We offer here Nina-Maria Wanek, 167–86. Vienna: Praesens. a brief setting of the communion verse for Easter Lingas, Alexander. 2006. “Medieval Byzantine Chant and the in Sinai Greek 1566, a manuscript copied by Gazēs’ Sound of .” In Byzantine Orthodoxies, Papers from student Angelos Gregoriou. the 36th Spring Symposium of Byzantine Studies, edited by The heading for a hymn in Sinai Greek 1547, an Andrew Louth and Augustine Casiday, 131–150. Aldershot: Ashgate. autograph of Plousiadenós, provides evidence for Gregoriou’s own ties to the mainland. Honoring the Markopoulos, Athanasios. 2008. «Ἰωάννης Λάσκαρης. Ἕνας Κωνσταντινουπολίτης μουσικὸς στὴν Κρήτη.» In Παιδεία και Virgin Mary as Mother of God (), the chant πολιτισμὸς στὴν Κρήτη, Βυζάντιο- Βενετοκρατάα: Μελέτες is a intended for the office of Orthros. Set ἀφιερωμένες στὸν Θεοχάρη Δετοράκη, edited by Ἰωάννης in the Fourth Plagal Mode, it features a variant of the Βάσσης, Στέφανος Κακλαμάνης and Μαρίνα Λουκάκη, 91–98. model melody «Τὴν σοφίαν καὶ λόγον» as then “sung Ἡράκλειο & Ρέθυμνο: Πανεπιστημιακὲς Ἐκδόσεις Κρήτης - on the Holy Mountain” of Athos and “written down Εκδόσεις Φιλοσοφικῆς Σχολῆς Πανεπιστημίου Κρήτης. by Kyr Angelos Gregoriou” as directed by a monk of Markouris, Ioannis. 2009. “Apprenticeships in Greek Orthodox the “venerable” Athonite “monastery of the Most- chanting and learning in Venetian Crete Holy Mother of God.” (14th–15th century).” In I Greci durante la venetocrazia: Uomini, spazio, idee (XIII-XVIII sec.). Atti del convegno The latest composer represented on this program internazionale studi: Venezia, 3-7 dicembre, 2007, edited is the mid-sixteenth-century Cypriot musician by Chrysa A. Maltezou, Angeliki Tzavara and Despina Hieronymos Tragodistēs (Agapitos 2000), who wrote Vlassi, 233–49. Venice: Istituto ellenico di studi bizantini e a significant yet hitherto poorly studied body of postbizantini di Venezia. musical works for the Byzantine rite using traditional Memelsdorff, Pedro. 2014. Cantus“ grecus: Greek liturgy ‘more Latinorum’ in the Codex Faenza 117.” In Mondo latino e civiltà forms of notation. Among them is a communion bizantina: Musica, arte e cultura nei codici del ’400, edited by verse based on a text from John 14:9 that had been Antonio Lovato and Dilva Princivalli, 203–223. Padova: Cleup. set previously both by Gazēs and, for two voices, Phountoules, Ioannes. 1997. Ἀπαντήσεις εἰς Λειτουργικὰς by Plousiadenós. Writing in his own hand in Sinai Ἀπορίας. 5th ed. Vol. 1. Athens: Ἀποστολικὴ Διακονία. Greek 1313, Hieronymos describes his version as an Rankin, Susan. 1997. “From Liturgical Ceremony to Public embellishment of an “old” melody. Ritual: ‘Quem queritis’ at St. Mark’s, Venice.” In Da Bisanzio a Hieronymos is today better known as a scribe active San Marco: Musica e liturgia, edited by Giulio Cattin. Bologna: in Germany and Venice, where he studied with Il mulino. Gioseffo Zarlino (1517–1590), the noted theorist of Schartau, Bjarne, ed. 1990. Hieronymos Tragodistēs – Über das Erfordernis von Schriftzeichen für die Musik der Griechen, Western music and maestro di cappella at San Marco Monumenta musicae Byzantinae. Corpus scriptorum de re from 1565 until his death. Under the influence of musica 3. Vienna: Verlag der Österreichischen Akademie der Zarlino, Hieronymos wrote a treatise proposing a Wissenschaften. reform of Byzantine notation that is followed in its sole manuscript copy (Sinai Greek 1764) by a brief motet for four voices in Renaissance style that sets a stanza from Ode Nine of the Paschal Canon for Easter by John of Damascus (Schartau, ed., 1990). Hieronymos gives three of its parts in staff notation, recording the remaining voice in his own reformed system of Byzantine neumes. —Alexander Lingas 9 TEXTS AND TRANSLATIONS

The Crucifixion and Deposition

Versus: Venite et ploremus ante Dominum, qui Verse: Come and let us lament before the Lord, who passus est pro nobis dicens: suffered for us saying:

Chorus: Popule meus, quid feci tibi? Aut in quo Chorus: O my people, what have I done to you? contristavi te? Responde mihi. How have I saddened you? Answer me.

Στιχηρόν εἰς τὰ Ἅγια Πάθη for the Holy Passion Ἤδη βάπτεται κάλαμος ἀποφάσεως, παρὰ κριτῶν Already the pen of sentence is being dipped in ink by ἀδίκων, καὶ Ἰησοῦς δικάζεται, καὶ κατακρίνεται unjust judges, and Jesus is being convicted and con- σταυρῷ, καὶ πάσχει ἡ Κτίσις, ἐν σταυρῷ καθορῶσα demned to the Cross; and creation, seeing its Lord τὸν Κύριον. Ἀλλ᾽ ὁ φύσει σώματος δι᾽ ἐμὲ πάσχων, on the Cross, is suffering. But loving Lord, who for ἀγαθὲ Κύριε δόξα σοι. me suffer in your bodily nature, glory to you!

Cum autem venissent ad locum, But when they came to the place ubi crucifigendus erat filius meus, where my Son was to be crucified, statuerunt eum in medio omnis populi, they set him in the midst of all the people, et vestibus expoliatis, and, stripped of his garments, nudum dimiserunt corpus sanctissimum. they sent away his most holy body naked.

O dulcissime filie Syon, O sweetest daughters of Zion, O dulcissime, videte dolorem meum. O sweetest ones, see my pain. Inspicite nudum in medio omnis populi Look upon him naked in the midst of all the people, filium meum dulcissimum; my sweetest Son; vulneratus est in medio eorum. he was wounded in the midst of them.

Θρηνικοὶ στίχοι εἰς τὰ Ἅγια Πάθη Verses of Lamentation for the Holy Passion Θρηνικοὶ στίχοι ψαλλόμενοι εἰς τὰ Ἅγια καὶ Τίμια Verses of Lamentation sung at the Holy and Precious Πάθη τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ, ἐδιορθώθησαν Passion of our Lord Jesus Christ, corrected by me παρ᾽ ἐμοῦ [Ἀγγέλου Γρηγορίου], ἦχος πλ. β´ [Angelos Gregoriou] mode plagal 2

Παρισταμένη τῷ Σταυρῷ ἡ Πάναγνος Παρθένος Standing by the Cross and seeing the Savior καἰ τὸν Σωτῆρα βλέπουσα κρεμάμενον ἐν ξύλῳ, Hanging on the wood, the immaculate Virgin, θρηνοῦσα σπλάχνα μητρικά, ὀδύρετο βοῶσα· Lamenting in her motherly heart, in mourning cried out: τέκνον ἐμὸν γλυκύτατον, παμφίλτατόν μου τέκνον, My Child most sweet, my Child most beloved, πῶς ὑπομένεις έμπτυσμούς, ῥαπίσματα καὶ ὕβρεις, How do you endure the spittings, the blows, the outrages? πῶς ὑπομένεις τὸν σταυρὸν, τοὺς ἥλους καὶ τὴν λόγχην, How do you endure the Cross, the nails and the lance, τὸν σπόγγον καὶ τὸν κάλαμον, τὸν τίτλον τοῦ Πιλάτου, The sponge and the reed, the inscription of Pilate, εἰς τοῦ Πιλάτου τὴν αὐλήν, εἰς τὴν ἄρνησιν τοῦ Πέτρου. The denial of Peter in the courtyard of Pilate? Ἐξέστη γῆ καὶ οὐρανός, ἐπὶ τῇ σῇ σταυρώσει, Earth and Heaven were amazed at your Crucifixion, ὁ ἥλιος ἐσκότασεν, ἐῤῥάγησαν αἱ πέτραι, The sun darkened, the rocks split,

10 τότε τὸ καταπέτασμα, τὸ τοῦ ναοῦ ἐσχίσθη, Then the curtain of the temple was torn, ἰδοὺ λοιπὸν πεπλήρωται, τοῦ Συμεὼν ὁ λόγος, And thus the prophecy of Symeon was fulfilled. ἀλλὰ ἀνάστα Κύριε, τριήμερος ἐκ τάφου, But rise, Lord, from the tomb on the third day, καὶ σπεῦσον σῶσον εἰς ἐμέ, τἠν Κεχαριτωμένην. And hurry to me, the One Full of , and save me.

Sepulto Domino, signatum est monumentum ad When the Lord was buried, the tomb was sealed at ostium monumenti: ponentes milites, qui the , custodirent illud. with soldiers placed to guard it: Ne forte veniant discipuli et furentur eum, et dicant Lest his disciples come and steal him, and say to the plebi: Surrexit a mortuis. people that he has risen from the dead.

The Resurrection

Et dum pervenerint ad fores ecclesie… sacerdos paratus And when they have arrived at the doors of the pulsat ad ostium manu vel cum cruce dicens sonora church… the priest, who is ready there, knocks at the voce in tono lectionis: door with his hand or with the cross, chanting with a sonorous voice in the tone for readings: Attollite portas, principes, vestras, et elevamini porte Lift up your gates, you rulers, and be lifted up, you eternales, et introibit rex glorie. eternal gates, and the king of glory will enter.

11 Et pro ista prima pulsatione illi deintus nihil And those who are inside do not respond to this first respondent. Et facto modico intervallo sacerdos iterum knocking. And after a brief interval the priest knocks vehementius pulsat ad ostium dicens voce altiori [in again more vehemently at the door, chanting again in a tono lectionis]: higher voice [in the tone for readings]:

Οἱ ἐκτός Those outside Ἄρατε πύλας, οἱ ἄρχοντες ὑμῶν, πύλας ὑμῶν ἄρατε, Lift up your gates, you rulers; your gates, lift them up! ἄρατε πύλας, οἱ ἄρχοντες ὑμῶν, ἄρατε καὶ ἐπάρθητε, Lift up your gates, you rulers, and be lifted up, you πύλαι αἰώνιοι, καὶ εἰσελεύσεται ὁ βασιλεὺς τῆς eternal gates, and the king of glory will enter, lift δόξης, ἄρατε! them up!

Οἱ ἐντός Those inside Τίς ἐστιν οὗτος ὁ βασιλεὺς τῆς δόξης; Τίς ἐστιν; Who is this king of glory? Who is he?

Et illi deintus nihil respondent. Et tunc sacerdos And those within do not respond. And then the priest, modico intervallo facto iterum in eodem tono sed after a brief interval, chants once again in the same altius quam secundo pulsans fortiter ostium ecclesie tone but higher than the second time, knocking strongly dicit: at the door of the church: Attollite portas, principes, vestras, et elevamini porte Lift up your gates, you rulers, and be lifted up, you eternales, et introibit rex glorie. eternal gates, and the king of glory will enter.

Tunc illi cantori deintus statim cantando respondent: Then the cantors inside immediately respond, singing: Quem queritis in sepulchro, Whom do you seek in the tomb, O Christicole? O followers of Christ?

Et illi de foris respondent: And those outside respond: Iesum Nazarenum crucifixum, o celicole. Jesus the crucified Nazarene, O Heavenly One.

Et iterum illi deintus respondeant: And once again let those inside respond: Non est hic, surrexit sicut predixerat; Ite, nuntiate, He is not here, but has risen as he foretold. quia surrexit a mortuis. Go, announce that he has risen from the dead. Venite et videte locum, ubi positus erat Dominus, Come and see where the Lord was placed, alleluia, alleluia. alleluia, alleluia.

Χριστὸς ἀνέστη ἐκ νεκρῶν, θανάτῳ θάνατον Christ has risen from the dead, by death he has tram- πατήσας, καὶ τοῖς ἐν τοῖς μνήμασι, ζωὴν χαρισάμενος. pled on death, and to those in the graves given life.

Tunc celebrans ascendit ad sepulcrum…et cantat: Then the celebrant goes up to the sepulchre…and sings: Surrexit Christus! Christ has risen!

Et chorus respondet: And the choir responds: Deo gratias. Thanks be to God.

Et exaltet vocem altius quam primum et dicat: And raising his voice higher than before he says: Surrexit Christus! Christ has risen!

12 Et chorus respondet: And the choir responds: Deo gratias. Thanks be to God.

Et exaltata voce adhuc altius quam secundo dicat: And raising his voice even higher than the second time he says: Surrexit Christus! Christ has risen!

Et chorus respondet: And the choir responds: Χριστὸς ἀνέστη ἐκ νεκρῶν, θανάτῳ θάνατον Christ has risen from the dead, by death he has πατήσας, καὶ τοῖς ἐν τοῖς μνήμασι, ζωὴν trampled on death, and to those in the graves given χαρισάμενος. Deo gratias. life. Thanks be to God.

New Greek Chants of the Eucharist

Gloria in excelsis Τοῦ Γαζῆ By Gazēs Δόξα ἐν ὑψίστοις Θεῷ, καὶ ἐπὶ γῆς εἰρήνη, ἐν Glory to God in the highest, and on earth peace, ἀνθρώποις εὐδοκία. goodwill among men. Αἰνοῦμέν σε, εὐλογοῦμέν σε, προσκυνοῦμέν σε, We praise you, we bless you, we worship you, we δοξολογοῦμέν σε, εὐχαριστοῦμέν σοι, διὰ τὴν glorify you, we thank you for your great glory. μεγάλην σου δόξαν. O Lord, heavenly King, Κύριε βασιλεῦ, ἐπουράνιε Θεέ, Πάτερ παντοκράτορ, God the almighty Father. Κύριε Υἱὲ μονογενές, Ἰησοῦ Χριστέ, καὶ Ἅγιον O Lord, only-begotten Son, Jesus Christ and the Πνεῦμα. Holy Spirit.

Τοῦ Πλουσιαδηνοῦ By Plousiadenós Κύριε ὁ Θεός, ὁ ἀμνὸς τοῦ Θεοῦ, ὁ Υἱὸς τοῦ Πατρός, Lord God, lamb of God, Son of the Father, who takes ὁ αἴρων τὴν ἁμαρτίαν τοῦ κόσμου, ἐλέησον ἡμᾶς. away the sin of the world, have mercy upon us. Ὁ αἴρων τὰς ἁμαρτίας τοῦ κόσμου, πρόσδεξαι τὴν You who take away the sins of the world, receive our δέησιν ἡμῶν, ὁ καθήμενος ἐν δεξιᾷ τοῦ Πατρός, καὶ prayer, you who sit on the right hand of the Father ἐλέησον ἡμᾶς. and have mercy upon us. Ὅτι σὺ εἶ μόνος Ἅγιος, σὺ εἶ μόνος Κύριος, σὺ For you alone are holy, you alone are Lord, you alone εἶ μόνος ῞Υψιστος, Ἰησοῦ Χριστέ, σὺν τῷ Ἁγίῳ are the Most High, Jesus Christ, with the Holy Spirit, Πνεύματι, εἰς δόξαν Θεοῦ Πατρός. to the glory of God the Father. Ἀμήν. Amen.

13 Τὸ Σύμβολον τῆς Πίστεως The Nicene-Constantinopolitan Creed Πιστεύω εἰς ἕνα Θεόν, Πατέρα, Παντοκράτορα, I believe in one God, Father almighty, Maker of ποιητὴν οὐρανοῦ καὶ γῆς, ὁρατῶν τε πάντων καὶ heaven and earth, and of all things visible and ἀοράτων. invisible. Καὶ εἰς ἕνα Κύριον Ἰησοῦν Χριστόν, And in one Lord, Jesus Christ, τὸν Υἱόν τοῦ Θεοῦ τὸν Μονογενῆ, the only-begotten Son of God, τὸν ἐκ τοῦ Πατρὸς γεννηθέντα πρὸ begotten from the Father before all ages. πάντων τῶν αἰώνων. Φῶς ἐκ φωτός, Θεὸν ἀληθινὸν Light from Light, true God from true God, begotten ἐκ Θεοῦ ἀληθινοῦ γεννηθέντα, οὐ ποιηθέντα, not made, consubstantial with the Father; through ὁμοούσιον τῷ Πατρί, δι᾽ οὗ τὰ πάντα ἐγένετο. him all things were made; Τὸν δι᾽ ἡμᾶς τοὺς ἀνθρώπους καὶ διὰ τὴν ἡμετέραν For our sake and for our salvation σωτηρίαν κατελθόντα ἐκ τῶν οὐρανῶν καὶ he came down from heaven, and σαρκωθέντα ἐκ Πνεύματος Ἁγίου καὶ Μαρίας was incarnate from the Holy Spirit and the Virgin τῆς Παρθένου καὶ ἐνανθρωπήσαντα. Mary and became man; Σταυρωθέντα τε ὑπὲρ ἡμῶν ἐπὶ Ποντίου Πιλάτου he was crucified also for us under Pontius Pilate, and καὶ παθόντα καὶ ταφέντα. Καὶ ἀναστάντα τῇ τρίτῃ suffered and was buried; he rose again on the third ἡμέρᾳ κατὰ τὰς Γραφάς. day, in accordance with the Scriptures, Καὶ ἀνελθόντα εἰς τοὺς Οὐρανοὺς καὶ καθεζόμενον and ascended into heaven and is seated at the right ἐκ δεξιῶν τοῦ Πατρός. Καὶ πάλιν ἐρχόμενον μετὰ hand of the Father; he is coming again in glory to δόξης κρῖναι ζῶντας καὶ νεκρούς οὗ τῆς βασιλείας judge the living and the dead; and his kingdom will οὐκ ἔσται τέλος. have no end. Καὶ εἰς τὸ Πνεῦμα τὸ Ἅγιον, τὸ Κύριον, τὸ Ζωοποιόν, And in the Holy Spirit, the Lord, the Giver of life, τὸ ἐκ τοῦ Πατρὸς ἐκπορευόμενον, τὸ σὺν Πατρὶ καὶ who proceeds from the Father, who together with Υἱῷ συμπροσκυνούμενον καὶ συνδοξαζόμενον, τὸ Father and Son is worshiped and together glorified; λαλῆσαν διά τῶν Προφητῶν. who spoke through the Prophets. Εἰς Μίαν, Ἁγίαν, Καθολικὴν καὶ Ἀποστολικὴν In One, Holy, Catholic, and Apostolic Church; I Ἐκκλησίαν. Ὁμολογῶ ἕν Βάπτισμα εἰς ἄφεσιν confess one Baptism for the forgiveness of sins; I ἁμαρτιῶν. Προσδοκῶ ἀνάστασιν νεκρῶν. Καὶ ζωὴν await the resurrection of the dead and the life of the τοῦ μέλλοντος αἰῶνος. age to come. Ἀμήν. Amen.

Κοινωνικὸν τοῦ Πάσχα Communion Verse for Easter Σῶμα Χριστοῦ μεταλάβετε, πηγῆς Receive the Body of Christ; taste ἀθανάτου γεύσασθε. from the immortal fount.

Κοινωνικόν Communion Verse Ὁ ἑωρακὼς ἐμέ, εἶπεν ὁ Κύριος, ἑώρακεν τὸν “One who has seen me,” says the Lord, “has seen the Πατέρα. Father.” – John 14:9

Byzantine Hymns to the Mother of God

Ὁ Κανών τοῦ Πάσχα, ποίημα Ἰωάννου τοῦ A Tropárion from the Ninth Ode of the Paschal Δαμασκηνοῦ. Τροπάριον ἐκ τῆς θ´ ᾠδῆς Canon by John of Damascus Ὢ Πάσχα τὸ μέγα, καὶ ἱερώτατον Χριστέ· ὤ σοφία O great and most sacred Pascha, Christ! O Wisdom καὶ Λόγε, τοῦ Θεοῦ καὶ δύναμις· δίδου ἡμῖν and Word and Power of God! Grant that we may ἐκτυπώτερον, σοῦ μετασχεῖν, ἐν τῇ ἀνεσπέρῳ, ἡμέρᾳ partake of you fully in the day that has no evening of τῆς βασιλείας σου. your Kingdom.

14 Κάθισμα καθὼς ψάλλεται εἰς τὸ Ἅγιον Ὄρος Káthisma “as sung on the Holy Mountain” Ἦχος πλ. δʹ Πρὸς «Τὴν Σοφίαν καὶ Λόγον» Mode Plagal 4, to the tune of “The Wisdom and the Word” Χαῖρε Θρόνε πυρίμορφε τοῦ Θεοῦ· Hail, throne of God, formed of fire. Χαῖρε Κόρη Καθέδρα βασιλική, Hail, Maiden, royal seat, couch strewn with purple Κλίνη πορφυρόστρωτε, χρυσοπόρφυρε Θάλαμε, and gold, and purple bridal chamber, cloak of sea Χλαμὺς ἀλουργόχροε, τιμαλφέστατον Τέμενος, purple dye, most costly sanctuary, lightning-bearing ἀστραπηφόρον Ἅρμα, Λυχνία πολύφωτε· chariot, lampstand of many lights. Χαῖρε Θεοτόκε, δωδεκάτειχε Πόλις, καὶ Πύλη Hail, Mother of God, twelve-walled city, gate of χρυσήλατε, καὶ Παστὰς ἀγλαόμορφε, ἀγλαόχρυσε beaten gold, beauteous inner chamber, fair gilded Τράπεζα, θεοκόσμητον Σκήνωμα· table, tabernacle adorned by God. Χαῖρε ἔνδοξε Νύμφη ἡλιοστάλακτε· Hail, glorious Bride, bedecked with the sun. Χαῖρε μόνη ψυχῆς μου εὐπρέπεια. Hail, only loveliness of my soul.

Θεοτοκίον καλοφωνικὸν Kalophonic Theotokíon πρὸς τὸν Καρδινάλιο Βησσαρίωνα for Cardinal Bessarion Ἕτερον Θεοτοκίον τοῦ αὐτοῦ [Ἰωάννου Alternate Theotokion with words and melody Πλουσιαδηνοῦ] γράμματα καὶ μέλος, ποιήμα τοῦ by John Plousiadenós, with the acrostic αὐτοῦ· ἡ ἀκροστιχὶς Βησσαρίων. Τοῦτο ἐποίησα διὰ Bessarion. I composed this for the Cardinal, τὸν Καρδινάλιν [ἦχος] δʹ Mode 4.

Βασίλισσα τῶν οὐρανῶν, Παρθένε Θεοτόκε, Queen of Heaven, Virgin Mother of God, Ἡ τέξασα τὸν οὐρανοῦ καὶ γῆς παμβασιλέα, Birthgiver of the King of Heaven and Earth, πάλιν· Again: Βασίλισσα τῶν οὐρανῶν, Παρθένε Θεοτόκε, Queen of Heaven, Virgin Mother of God, Ἡ τέξασα τὸν οὐρανοῦ καὶ γῆς παμβασιλέα, Birthgiver of the King of Heaven and Earth, Σωτῆρα, ῥύστην, λυτρωτὴν ἀπελπισμένοις πᾶσιν, Savior, Deliverer, Redeemer of all the hopeless, πᾶσιν ἀπελπισμένοις· Of all the hopeless. Σῶσον, συντήρησον τοὺς σοὺς ἱκέτας, Παναγία, All-holy One, save and preserve your supplicants, Τοὺς δούλους σου, Πανύμνητε, λύτρωσαι πάσης O All-hymned One, release your servants from all βλάβης, harm, Ἀπὸ παντοίων συμφορῶν, ἀνάγκης τε καὶ νόσου, From every misfortune, need and illness, Ῥῶσιν ψυχῆς καὶ σώματος παράσχου καὶ ὑγείαν, Grant health and strengthening of soul and body, Ἵνα ὑμνῶμεν εὐσεβῶς σὲ τὴν εὐλογημένην, So that we may reverently praise you, the Blessed One, πάλιν· Again: Ἵνα ὑμνῶμεν εὐσεβῶς σὲ τὴν εὐλογημένην, σὲ τὴν So that we may reverently praise you, the Blessed δεδοξασμένην· and Glorified One, Ὣ χαίροις Μητροπάρθενε, κράξωμεν ὁλοψύχως· O Virgin Mother, wholeheartedly shall we cry out “Hail,” Ναί, ναί, Παντάνασσα σεμνή, χαῖρε δεδοξασμένη, Yes, yes, pure Queen of All, Hail Glorified One, τιτιτι – τερερερε… tititi – tererere… Ναί, ναί, Παντάνασσα σεμνή, χαῖρε δεδοξασμένη. Yes, yes, pure Queen of All, Hail Glorified One.

15 ’s Thank-Offering to sound, space, and liturgy in late Britain Fellowship, research medieval churches. leave supported by the John Michael Boyer (baritone) Stavros Niarchos Foundation, is the associate music director and the St. Romanos the of Cappella Romana, and is Melodist medallion of the well known for his expertise in National Forum for Greek Byzantine Chant and Orthodox Orthodox Church Musicians music and liturgy, lecturing at (USA). Having contributed conferences, workshops, and articles to The New Grove seminars on Eastern Orthodox Dictionary of Music and liturgical music across the Musicians, and The Oxford United States and abroad. He Handbook of Byzantine has served as specialty coach Studies, Dr. Lingas is now for both and the completing two monographs: Minnesota Symphony for a study of Sunday Matins world première performances in the Rite of and recordings of works by for Ashgate and a historical John Tavener, including introduction to Byzantine Chanticleer’s Grammy-winning Chant for Yale University recording Lamentations and Press. Praises. He has conducted THE SINGERS operas, chamber music, and orchestral works as associate Spyridon Antonopoulos CAPPELLA ROMANA and the UK. Critics have director of Bay Area Classical (tenor) is the Founder and consistently praised Cappella Harmonies (BACH), and Its performances “like jeweled Director of Psaltikon vocal Romana for their unusual was artistic director of the light flooding the space” (Los ensemble. He is Honorary and innovative programming, vocal chamber ensembles Angeles Times), Cappella Research Fellow at City, including numerous world the Josquin Singers and the Romana is a professional University of London, where and American premieres. Metropolis Ensemble of vocal ensemble dedicated he obtained his PhD in Cappella Romana has released Liturgical Orthodox Singers to combining passion with Musicology in 2015, completing more than 20 recordings. (MELOS). John Michael Boyer scholarship in its exploration a thesis on the fifteenth- is Protopsaltis (First Cantor) of of the musical traditions of cappellaromana.org century Constantinopolitan the Greek Orthodox Metropolis the Christian East and West, composer and theorist Manuel (Diocese) of San Francisco, with emphasis on early and Chrysaphes. A graduate of and studied Byzantine Chant ALEXANDER LINGAS contemporary music. The Brown University (Music with Alexander Lingas, ensemble is known especially Music Director & Founder and Classics) and the New Ioannis Arvanitis, and the for its presentations and England Conservatory (Vocal late Lycourgos Angelopoulos Alexander Lingas is a recordings of medieval Performance), he is a regular (+2014). He holds a Master Reader in Music at City, Byzantine chant, Greek member of Cappella Romana, in Divinity from Holy Cross University London and a and Russian Orthodox with whom he has sung in Greek Orthodox School of Fellow of the University choral works, and other concerts and festivals across Theology and is a graduate of Oxford’s European sacred music that expresses Europe and the US. A student in music from University of Humanities Research Centre. the historic traditions of a of the late Edward Zambara California, Berkeley, where He received his Ph.D. in unified Christian inheritance. (NEC) and Robert Dean he studied choral, orchestral, Historical Musicology from Founded in 1991, Cappella (Guildhall), he has appeared and operatic conducting with the University of British Romana has a special as tenor soloist in operas and Marika Kuzma and David Columbia. His present work commitment to mastering the recitals of classical music, Milnes. His latest projects embraces not only historical Slavic and Byzantine musical in addition to performing include the CD recording study but also ethnography All repertories in their original with a variety of world music from Holy and performance. Formerly Creation Trembled languages, thereby making ensembles, in the US and the Cross School of Theology, in Assistant Professor of Music accessible to the general UK. He has spoken at dozens which he is featured both as History at Arizona State public two great musical of international academic composer and as soloist. traditions that are little known University’s School of Music, conferences and is currently in the West. The ensemble Dr. Lingas has also served a singer on Stanford’s Kristen Buhler (alto) is a presents annual concert as a lecturer and advisor for of Sound project as well native Oregonian and lover series in Portland, Oregon, the Institute of Orthodox as a singer and researcher of music from all genres. Seattle, Washington, and Christian Studies at the for UCLA/USC’s Bodies Praised for her “smooth and San Francisco, California, in University of Cambridge. His and Spirits: Soundscapes of heartfelt” singing (Artslandia), addition to touring nationally awards include Fulbright and Medieval Byzantium. These she has performed with many and internationally, most Onassis grants for musical multidisciplinary projects professional ensembles. Kristen recently to Hungary, Serbia, studies with cantor Lycourgos focus on the interplay of is the Artistic Director of the Angelopoulos, the British genre-defying female vocal 16 quartet, The Julians and enjoys 2007 and has served on the Early Music Performance from composer/arranger for Greek arranging music for them. Board of Directors since 2016. Longy School of Music of Bard Orthodox churches in Seattle She earned B.A. degrees from A native of the Midwest, she College. and Portland. He and his wife George Fox University in earned her bachelor’s degree Kerry McCarthy (alto) Brigid Kathleen, a singer, Newberg in both Vocal Music from DePauw University in has sung with Cappella music educator, and conductor, Performance and Writing/ Indiana with a double major in Romana since 1994. She is a are parents of two teenage Literature, then went on to Computer Science and Vocal musician and author known daughters. Portland State University as Performance. Since then, she for her work on the English Catherine van der Salm an Oregon Graduate Laurels has maintained a dual career in Renaissance. She sings in the (soprano) is a versatile Scholar where she garnered both technology and the arts. Gregorian chant group at musician praised for her “agile, a M.M. degree in Choral She is a full-time programmer, Holy Rosary in Portland and supple and richly expressive” Conducting and a M.S. degree specializing in data architecture is a regular collaborator with voice (The Oregonian). She is in Special Education. By day, and Electronic Data many ensembles. Her current an active collaborative artist she teaches braille to visually Interchange. Additionally, she research project is a book about singing with Cappella Romana, impaired students. She has is an avid learner of Byzantine Thomas Tallis for Oxford In Mulieribus, The Ensemble of been a co-author of a national Chant and Orthodox Liturgics University Press. This will be Oregon, Cantores in Ecclesia, braille curriculum entitled and hopes one day to pursue a companion volume to her Portland Baroque Orchestra, Building on Patterns for the last a master’s degree in Theology recent book about William Resonance Ensemble and ten years. In her spare time, she with the goal of building a Byrd, which was given the 2014 Oregon Catholic Press. She is always up for a spur of the second career around the ASCAP Slonimsky Award for has appeared as a guest artist moment trip to anywhere, pub education, advocacy, and composer biography of the with 45th Parallel, Newport quiz, or dinner party. pastoral application of liturgical year. She also enjoys cooking, Symphony Orchestra, Third Aaron Cain (baritone) music. She is a parishioner at bicycling, and her multilingual Angle, Willamette Master obtained his Bachelor of Music Holy Greek Orthodox duties as Cappella’s music Chorus, Musica Maestrale in Voice with Additional Focus Cathedral where she serves as librarian. and Bach Cantata Vespers at in Orchestral Conducting and a chanter and member of the St. James Lutheran Church. parish choir. Photini lives in David Krueger (bass) Sound Engineering from the is grateful to have been Catherine makes her home in University of Iowa in Iowa Portland with her husband Vancouver, Washington, with Roger and teenage son Paul. peforming, touring, and City, Iowa, where he studied recording with Cappella her husband, Ruud, and their Emily Lau with John Van Cura, Robert (alto) is known Romana since 1997, as a bass daughters Juliana and Annelies. Eckert and Albert Gammon; as a composer, singer, and II and isokrat. His experience David Stutz (bass) is a his Master of Music degree performance artist who fuses includes theater, jazz, folk, professional singer, composer, in Conducting: Choral from elements of ancient music with world, and sacred music, and and recording artist. He has the University of Oregon in contemporary techniques to he has worked with a number distinguished himself as a Bach Eugene, where he studied voice tell unique aural and visual of fine ensembles throughout cantata specialist, in early opera with Eric Mentzel; and his stories. Through the process the Northwest. He loves roles, in specialized chamber D.M.A. in Music Performance: of music-making and sharing, traveling and being a dad. ensembles, and as an oratorio Voice with with a specialization she fosters social and personal Mark Powell (baritone) has soloist. As a composer and in Historical Performance conversations that inspire computer musician, David is Practice from the University of compassion and actions, sung with Cappella Romana since 1995, and also serves as its currently exploring some of the Oregon. Cain has performed especially in the realms of many intersections between and recorded with a variety homelessness, lgbtq rights, executive director. He earned a B.A. in music from Seattle music and the abstract world of instrumental and vocal gender issues, and prison of pure mathematics. Most ensembles, most of which have reform. As singer and director, Pacific University and an M.A. in musicology from the recently, he composed a set made early music their focus. she has toured domestically of pieces to accompany Neal Groups with whom he has and internationally with University of Washington with a thesis on the music of Arvo Stephenson’s book Anathem. performed as a soloist include various ensembles. Since 2011, David also collaborates the Philharmonic her compositions have been Pärt. Devotion to the choral art and to early music form the regularly with sound artist Perri Orchestra, Portland Baroque heard on network TV shows, Lynch to create live ambient Orchestra, Ensemble VIII, NPR, and concert series of twin pillars of his career both as performer and executive. soundscapes using laptop and Cappella Romana. He has grammy-winning ensembles computers and field recordings. also sung with the Los Angeles such as Conspirare and True As a singer, he has toured and recorded extensively with David has sung, composed, Master Chorale, Musica Concord. Emily is the founding and produced incidental music Angelica, Cascade Consort, artistic director of early music Cappella Romana and with a number of professional vocal for plays, ballets, and films, Los Angeles Chamber Singers, ensemble The Broken Consort, and he is a founding member Vox Resonat and the Berwick co-founder of Disobedient ensembles in the US and in Europe, including The Tudor of Seattle’s Tudor Choir. In Chorus of the Oregon Bach Femmes, and a board member his younger days, he would Festival. of Early Music America. She Choir, Seattle; the Chœur de Chambre de Namur, Belgium; sometimes sing countertenor, Photini Downie Robinson tours and records with Cappella but he has seen the error in his Romana and directs chamber and Wakefield Cathedral Choir, (soprano) has performed England. He has also served as ways, and now sticks to parts with Cappella Romana since ensembles at Big Mouth for low voice. Society. She holds an M.Mus. in a choir director, cantor, and

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Fred Troutman Douglas Schneider Dorothy Jones Ann Wetherell Kaye Van Valkenburg Sue & Dick Schubert Thomas LaBarge Kiyomi Yoshida & David Maier Ann Richel Schuh Emily Lau Lisa Volle Stephanie Scripps Brian Lew Thank you! Please call the Leslie Simmons & Nik Walton Gwen & Alan Shusterman Michelle & Haynes Lund office if you are interested in Rita Warton Zachary & Vasiliki Stoumbos Cynthia Markum volunteering opportunities Michael Weidemann Mauna Arnzen Tarlson Kerry McCarthy in both Portland and Seattle, Arisha Wenneson Valerie Ann Taylor Linda Mendez including housing musicians, John & Joan Whittler White Cynthia Trumpower Shanti Michael ushering, and help in the Kathleen Worley Norman & Jessica Wakefield Jean Murray office. Peter & Claire Warton Kevin O’Connor INTROIT ($35+) Marjorie Wazeka Wendy Beth Oliver Anonymous Elaine Weeks Ann Osterberg Jeanette Agrian James Whiting Anna Quinn-Smith Irene & Tom Alderman David Streatfield Peter & Genevieve Angelides & Madeline E. Wilde Susan Armitage Frederick & Judy Williams Nan Artman Jeff Winslow Georgianna Askoff Mona Yurk E. Anthe Barbas Roy Bergstrom Your gifts help us continue Mark Powell, M.A. Alexander Lingas, Ph.D. Tom Bird our mission, giving you the Executive Director Music Director & Founder Elise Bodtke opportunity to hear exquisite John Michael Boyer Marilyn Bruya vocal programming. Brian Edwards Associate Music Director Christopher Bunker Operations Manager James Buskirk VOLUNTEERS AND USHERS Board of Directors 2019-2020 Aileen Cavalli Caroline Alexander Allison Silverberg Glenn N. Chinn Mary Ellen Andre Subscription Campaigns Metropolitan Thomas & Irene Christy Steve Bilow Manager +Gerasimos of the Greek Orthodox Jill Cole Maria Boyer Metropolis of San Francisco, Dennis & Noelle Cox Gracie Campbell Kerry McCarthy, Ph.D. Honorary Chairman of the Board Mary Egan Diane Cherry Librarian William Evans Robert Clark Nancy Retsinas, J.D., President Jennifer Rauch Rebecca Clodfelter Shannon Hoke Wendy Beth Oliver, J.D., & Michael Fanuzzi Pam Cogswell Intern Vice President Nicholas & Vasiliki Fkiaras Trilby Coolidge Diane Cherry, Secretary Julie Frantz Marilee Davies Robert Clark, Treasurer Angela Fyri Beth Davis Juanita Doerksen, M.D. Richard W. Goepfert Juanita Doerksen John Eisemann 620 SW Main St Ste 714 Patrick & Myrtle Gunning Photini Downie Robinson Thomas LaBarge, J.D. Portland OR 97205 Curtis Hanson & Roger Robinson Shanti Michael, M.S.Mus. Telephone 503-236-8202 Sue Ellen Hays Anne Draper Photini Downie Robinson www.cappellaromana.org Corey Hays John Eismann Edward Tenny Email: [email protected] Wendy Jackson Renée Favand-See S. Keith Walters, Ph.D. Carl Johansen Laura Fay

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