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Citation: Lingas, A. ORCID: 0000-0003-0083-3347 (2004). : Medieval Byzantine Chant. Portland, USA: .

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City Research Online: http://openaccess.city.ac.uk/ [email protected] medieval byzantine chant EPIPHANY Cappella Romana Ioannis Arvanitis • Alexander lingas

for the feasts of january 1st and 6th  EPIPHANY medieval byzantine chant for the feasts of january 1st and 6th

From the of January 1st 1 ��������Εἰσοδικόν �������Introit: ���������Anonymous, �MS ������ ���2406 �(�1����453) 1:02 2 Ἀπολυτίκιον Ὁ θρόνῳ πυριμόρφῳ Apolytikion “You who sit on a fiery throne” 1:40 ����Text: �MS ������Messin�a ��gr. ���115 �(��11�3�1�), �MS �V�a��to�p��edi��� 1��493� �(�1��5th� �c.)�� 3 ��Kον��τ����άκιον� �Ὄ��φθ�ης ����βάσις �����ἄσεισ�τ�ος ����Kont��ak�on���� “Y�ou����� app�e�a��red������� as an ����unsh��ak�e�a�b��le �����found�a����tion�” 4:39 Anonymous, MS Florence, Ashburnhamensis 64 (1289) 4 �Τ�ρ������ισάγιον ����Tris�a����gion: ���������Anonymous, �MS �L�a��vr�a �Γ. �3 �(�1��4th� �c.)�� �7:0���1 5 Προκείμενον Τὸ στόμα μου λαλήσει σοφίαν Prokeimenon () 4:12 “My tongue will speak wisdom”: Psalm 48: 3, 1, MS Vaticanus gr. 345, f. lr 6 Ἀλληλουϊάριον Ὁ ποιμαίνων τὸν Ἰσραὴλ πρόσχες. Alleluiarion “Attend O Shepherd of Israel” 10:15 Psalm 79: 1, 2, MS Florence, Ashburnhamensis 64 (1289) 7 Κοινωνικόν Εἰς μνημόσυνον αἰώνιον ἔσται δίκαιος verse “The just will be held 4:19 in everlasting memory”: Psalm 111: 6, MS Grottaferrata Γ.γ.I (13th c.)

From the Services of January 6th 8 �Κ�ον��τ����άκιον �τ�ῶν ���Θεο���φανε���ίων ����Kont��ak��ion� �of���� Th��eo�p�h�a��ny: �St.� ���Rom�a��nos� ��the� ��Me�l����odist� �(6th��� �c.),�� �� 1:39�� MS Konstamonitou 86 9 Αʹ Κανὼν τῶν Θεοφανείων ᾨδὴ αʹ First Kanon for Theophany, 1 4:19 St. Kosmas of Maïouma (8th c.), MS Grottaferrata Ε.γ.II 10 ᾨδὴ εʹ Ode 5 5:05 11 Ἑορταστικὸν Τρισάγιον (Ὅσοι εἰς Χριστὸν) 10:53 Festal (“As many of you as have been baptized”): Xenos Korones (14th. c.) MS Athens 2456 (15th c.) Δύναμις Dynamis: John Kladas the Lampadarios (fl. ca. 1400) 12 Τροπάρια εἰς τὸν Ἁγιασμόν Troparia for the Blessing of the Waters: St. Sophronios, 6:29 Patriarch of Jerusalem (d. 638), MSS Vienna Theol. gr. 181 & Ambrosianus A 139 sup. 13 Ἀναγραμματισμός Anagramatismos: St. (14th c.), MS Sinai 1566 (15th c.) 9:3���1�

Total time 71:14  Cappella Romana alexander lingas, artistic director

Ioannis Arvanitis, guest director Alexander Lingas John Michael Boyer Kendrick Perala John S. Boyer Mark Powell David Krueger Adam Steele Christopher Kula David Stutz

Musical editions: 3 & 5-13 by Dr. Ioannis Arvanitis; 1, 2, & 4 by Dr. Alexander Lingas

In memory of Dr. R. Wallace Boyd  about the music: Medieval Byzantine chant

Byzantine Chant: in the calendar of the Constantinopolitan at The Liturgical Music of New Rome a relatively early stage due to its coincidence with the anniversary of the death of one of its greatest In the year 330 AD the Roman Emperor Constantine regional : the Cappadocian bishop, theologian I moved the capital of his empire to an ancient city and ascetic St. , who died on on the strategic shores of the Bosphorus named January 1st in the year 379. Byzantium, which he renamed “ and New Rome.” The Eastern Roman Empire not only The later expansion of the annual celebration of survived the downfall of (Old) Rome by a thousand Christ’s birth to include such subsidiary feasts years, but also created a musical tradition that is as the —instituted in the sixth commonly known today as “Byzantine chant.” Its century as a celebration held nine months before origins, like those of its Western siblings (Gregorian on March 25th—led to the establishment chant, Ambrosian chant, etc.), are to be found in on January 1st of a feast commemorating Christ’s the oral traditions of ’s first millennium. Circumcision eight days after the Nativity. Yet this These were codified and further developed with the new feast never fully eclipsed the commemoration aid of Byzantine , which appears of St. Basil, a beloved figure whose role in popular in Greek sources from the tenth century onwards. tradition as the giver of gifts to children on January The present recording features Byzantine chant 1st is comparable to that of St. Nicholas in the edited from medieval sources for January 1st and West. Liturgical sources from the medieval period 6th, two of the major feasts of the Christmas cycle of to the present day have therefore mixed the two commemorations. commemorations, with the relative priority of one celebration over the other often varying significantly Byzantine Celebrations on January 1st from source to source. One such mixture may be January 1st was an important day in the calendar of heard on the portion of this disc that is devoted to pagan Rome that eventually came to be observed in chants for the Divine Liturgy of January 1st, the West as the beginning of the New Year. It was on which day the Orthodox Church celebrates the not, however, adopted as such by the churches of eucharistic formulary attributed to St. Basil. Rome and Constantinople. The liturgical cycles of The compact melodies of the Introit ( the former began with the pre-Christmas season of Chant) and Apolytikion (a technical term referring Advent, while those of the latter started either on to a short sung for the first time during a (in the case of its cycles of scriptural readings) given liturgical day at the of ) for or September 1st (Indiction, the civil New Year). the Circumcision were first recorded in manuscripts Nevertheless, January 1st became an important day  of the fourteenth and fifteenth centuries, presumably  because they were too familiar to warrant being The Trisagion is a Constantinopolitan processional committed to writing. Sung to the melody of a chant that at one time served also as the ordinary well-known hymn in Mode I for ordinary Sundays introit of the Divine Liturgy. Even after the addition (Τοῦ λίθου σφραγισθέντος), taken here from MS of a series of psalmodic antiphons shifted its Vatopedi 1493, the Apolytikion is drawn from the position further into the service, the singing of twelfth-century (“ordo”) of the monastery the Trisagion retained considerable solemnity as it of the Savior in Messina, a community located in the covered two liturgical actions: the blessing of the historically Greek-speaking portion of Italy known congregation during the singing of “Glory to the as Magna Graecia that remained largely under Father,” which occurred when a bishop officiated; Byzantine rule until the eleventh century. and the movement of the higher at the conclusion of the hymn to their assigned places in The is a Constantinopolitan form of the apse’s synthronon (the seats located in the apse hymnography based on Syriac prototypes that was for the celebrant and his assistants). The musical perfected by St. (6th c.). setting sung here is from the fourteenth-century Essentially a narrative , a kontakion consists manuscript Lavra Γ. 3, one of only two extant of one or more prologues (“koukoulia”) followed by mainland Greek copies of the Asmatikon, a volume a series of metrically identical stanzas (“oikoi”). In containing the Great Church’s choral chants. Of later usage, when the custom of chanting the poems interest are the sung cues guiding the singers in their entirety all but disappeared, it became through the Trisagion’s execution, of which only the customary to sing only their prologues and—only exclamation before the final repetition (“Δύναμις”) at the dawn office of (equivalent to is still heard in modern Greek practice. Western and Lauds)—first oikos. Medieval manuscripts transmit two melodic traditions At the conclusion of the Trisagion in the Rite of for these prologues: a syllabic tradition that was , a soloist would ascend the ambo primarily oral; and the florid tradition of the (a freestanding in the nave) and chant the Psaltikon, a book of solo chants from the cathedral Prokeimenon of the day from the Psaltikon. This tradition of the Great Church of Hagia Sophia. responsorial chant, which is similar in form to The Kontakion for St. Basil recorded here is taken the Roman Gradual, was sung as a prelude to from the Psaltikon Florence Ashburnhamensis 64, the solemn reading of the Apostolos, a scriptural a manuscript copied in 1289 at the monastery of lection from either the Acts of the Apostles or Grottaferrata near Rome. Since its text is metrically the New Testament . The conclusion of identical to that of the Kontakion for Theophany the reading was followed by the Alleluiarion, by St. Romanos, it could also have been sung to the another responsorial chant from the Psaltikon that syllabic melody heard on track eight of this disc. accompanied two actions: a censing of the church

 manifesting symbolically the glory of God (cf. the they chose to celebrate Epiphany in different ways. literal meaning of , “glory to God”); and In the East, January 6th became Theophany, a the procession of the to the ambo for the feast devoted exclusively to Christ’s Baptism in the chanting of the appointed lection. Jordan by John. Although not unknown in the West (especially in Gaul), the theme of Christ’s Baptism The rubrics of the pontifical diataxis British Library was overshadowed in Rome by the visit of the Magi. Add. 34060 would seem to indicate that the Late It is in this latter guise that the feast became popular Antique custom of accompanying the distribution of in the West as the “twelfth day of Christmas.” Holy Communion with the singing of a responsorial psalm was maintained in Byzantium until the tenth The Kontakion for Theophany is the prologue century. Yet soon thereafter Byzantine communion to a lengthy hymn by St. Romanos. Its musical were reduced textually to the verses that setting, which was recorded in a fifteenth-century had formerly served as their refrains. The degree to manuscript currently located at the monastery which radical textual abridgement was musically of Konstamonitou on , is a rare offset by melodic elaboration is evident from the monument to the mainly oral tradition of syllabic Communion verse for St. Basil transmitted in the kontakion melodies. Interestingly, it is astonishingly Asmatikon MS Grottaferrata Γ.γ. I. Typical of the similar to the received Greek melody published in Asmatikon’s florid repertories is its intercalation nineteenth-century Constantinople by Stephanos of consonants to assist with the phrasing of long Lampadarios. passages on a single vowel. In the seventh and eighth centuries Palestinian Epiphany in the Byzantine East church musicians enriched the and psalms of their cycles of prayer with proclaiming The Feast of the Epiphany (literally, “manifestation”) the significance of events in the Christian History originated during Late Antiquity in the Roman of Salvation with a specificity that had hitherto been Empire’s eastern provinces as a general celebration reserved for . Their crowning achievement on January 6th of the appearance of God on earth as was a complex musico-poetic form in eight or nine Jesus Christ, including commemorations of both his sections (“”) known as the kanon, the stanzas of nativity in Bethlehem and his baptism in the Jordan. which were interpolated between the verses of the By the end of the fourth century, this feast had morning prayer’s biblical canticles. Each ode begins spread to the western parts of the Empire, which with a model , or heirmos, followed by a had meanwhile transmitted to the East their own series of metrically identical troparia. Nativity feast of Christmas (December 25th). While both the Greek East and the Latin West eventually Recent research by Ioannis Arvanitis on came to celebrate Christ’s Birth on December 25th, Heirmologia, the oldest musical manuscripts

 containing the melodies of kanons, has supported syllables (“ti ti ri ri…”). Known as teretisms, these J. van Biezen’s suggestion that they were originally constitute a form of wordless prayer that may be composed primarily in duple meter. In particular, viewed as a kind of institutionalized Pentecostalism. Arvanitis has shown how the composer-poets One of the most picturesque elements of the (“melodists”) accounted for accentual shifts between Orthodox Church’s celebration of Theophany is the the isosyllabic stanzas of each ode with melodic annual Blessing of the Waters. Recalling the cosmic ascents on accented syllables sung on weak beats. significance of Christ’s baptism in the Jordan, this These principles may be seen at work in the first service heralds the renewal and restoration of and fifth Odes of St. Kosmas the Melodist’s Kanon all creation. It opens with a series of four hymns for Theophany, which is sung in a transcription by composed by Patriarch Sophronios of Jerusalem (d. Arvanitis from the thirteenth-century Heirmologion 638), one of the founders of the school of Palestinian Grottaferrata Ε.γ.II. hymnography. Their melodies are taken from two Xenos Korones, a church musician in fourteenth- copies of the medieval Byzantine Sticherarion, a century Byzantium, was one of a group of singers volume mainly containing hymns known as stichera and composers who renewed Byzantine chant (so-called because of their intended use between through the introduction of new and distinctly the verses (“stichoi”) of psalms from the Palestinian personal styles of melodic composition. His setting cycle of daily prayer). of the ancient baptismal hymn “As many as have The last of Sophronios’s troparia is followed by been baptized into Christ”—which replaces the a coda written for it by the fourteenth-century Divine Liturgy’s Trisagion on great Feasts of the composer, singer, theorist, and St. John Lord—is based on an anonymous setting labeled Koukouzelis. Possibly a contemporary of St. Gregory “short” in musical manuscripts. The new version Palamas at the on Mount Athos, by Korones remains faithful to tradition both Koukouzelis was the preeminent figure in the Late in the relative proportions of its parts and in its Byzantine musical revolution mentioned above. inclusion of sung cues. On the present recording His coda is labeled an anagrammatismos because this framework is expanded considerably by the it re-arranges the words of the original hymn in inclusion of a setting of the command Δύναμις the manner of an anagram. The result is a musical composed for optional insertion in Korones’s work meditation on a text familiar to worshippers that by Ioannes Kladas the Lampadarios, a singer for temporarily escapes the confines of human speech the Byzantine Imperial court from around the year with an ecstatic climax marked by teretisms. 1400. Not only is the word itself repeated several times, but it is further elongated with passages —Alexander Lingas of essentially abstract music set to meaningless

 texts and translations

1 Εἰσοδικόν Introit (Entrance chant) Δεῦτε προσκυνήσωμεν καὶ προσπέσωμεν Χριστῷ. Σώσον Come let us worship and fall down before Christ. ἡμᾶς Υἱὲ Θεοῦ, ὁ σαρκὶ περιτμηθείς, ψάλλοντάς σοι· Son of God, circumcised in the flesh, save us who sing to Ἀλληλούϊα. you: Alleluia!

2 Ἀπολυτίκιον Apolytikion (Dismissal hymn) Ὁ θρόνῳ πυριμόρφῳ ἐν ὑψίστοις καθήμενος, σὺν Πατρὶ You—who sit on a fiery throne in the highest places with the τῷ ἀνάρχῳ καὶ τῷ θείῳ σου Πνεύματι, εὐδόκησας τεχθῆναι Father who is without beginning and your divine Spirit— ἐν σαρκὶ, ἐκ κόρης ἀπειράνδρου σου μητρός, διὰ τοῦτο were well pleased to be born in the flesh from your mother, περιετμήθης ὡς ἄνθρωπος ὀκταήμερος· δόξα τῇ παναγάθῳ an unwedded maiden; therefore you were circumcised as a σου βουλῇ, δόξα τῇ ἐπιφανείᾳ σου, δόξα τῇ πρὸς ἡμᾶς ἄκρᾳ man on the eighth day. Glory to your all-good will! Glory to συγκαταβάσει σου. your manifestation! Glory to your extreme condescension toward us! 3 Kοντάκιον τοῦ Ἁγίου Bασιλείου· Kontakion for St. Basil Ὄφθης βάσις ἄσειστος τῇ Ἐκκλησίᾳ, νέμων πᾶσιν ἄσηλον, You appeared as an unshakeable foundation for the Church, τὴν κυριότητα βροτοῖς, ἐπισφραγίζων σοῖς δόγμασιν, maintaining its authority as a sure refuge for mortals, sealing Οὐρανοφάντορ Βασίλειε Ὅσιε. it by your doctrines, venerable Basil, Revealer of heaven.

4 Τρισάγιον Trisagion Ἀμήν. Ἅγιος ὁ Θεός, ἅγιος ἱσχυρός, ἅγιος ἀθάνατος, Amen. Holy God, Holy Strong, Holy Immortal, ἐλέησον ἡμᾶς. have mercy on us. Τὸ δεύτερον. Ἅγιος ὁ Θεός… The second. Holy God… Τὸ τρίτον. Ἅγιος ὁ Θεός… The third. Holy God… Εὐλογήσατε· κηρύττω δόξα. Bless! Proclaim the Glory! Δόξα Πατρί, καὶ Υἱῲ, καὶ Ἁγίῳ Πνεύματι· καὶ νῦν, καὶ ἀεὶ καὶ Glory to the Father, and to the Son, and to the Holy Spirit: εἰς τοὺς αἰῶνας τῶν αἰώνων. Ἀμήν. Both now and for ever, and to the ages of ages. Amen. Ἅγιος ἀθάνατος, ἐλέησον ἡμᾶς. Holy Immortal, have mercy on us. Δύναμις. Ἅγιος ὁ Θεός, ἅγιος ἱσχυρός, ἅγιος ἀθάνατος, [With] power. Holy God, Holy Strong, Holy Immortal, ἐλέησον ἡμᾶς. have mercy on us.

5 Προκείμενον Prokeimenon (Gradual, Ps. 48: 3, 1) Τὸ στόμα μου λαλήσει σοφίαν. My mouth will speak wisdom. Στιχ. Ἀκούσατε ταῦτα πάντα τὰ ἔθνη. V. Hear this, all you Nations. Στιχ. Οἵ τε γηγενεῖς καὶ οἱ υἱοὶ τῶν ἀνθρώπων. V. Both you peoples born of earth, and you sons of men.  6 Ἀλληλουϊάριον Alleluiarion (Ps. 79: 1-2) Ἀλληλούϊα. Alleluia. Στιχ. Ὁ ποιμαίνων τὸν Ἰσραὴλ πρόσχες, ὁ ὁδηγῶν ὡσει V. Attend, O Shepherd of Israel, πρόβατα τὸν Ἰωσήφ, ὁ καθήμενος ἐπὶ you who guide Joseph like a flock: You who are enthroned on τῶν χερουβεὶμ, ἐμφανήθι. the cherubim, appear. Ἀλληλούϊα. Alleluia. Στιχ. Ἐναντίον Ἐφραὶμ καὶ Βενιαμὶν καὶ Μανασσῆ V. Before Ephraim and Benjamin and Manasse, ἐξέγειον τὴν δυναστείαν σου καὶ ἐλθὲ εἰς τὸ σῶσαι ἡμᾶς. raise up your power and come to save us. Ἀλληλούϊα. Alleluia.

7 Κοινωνικόν Communion verse (Ps. 111: 6) Εἰς μνημόσυνον αἰώνιον ἔσται δίκαιος. Ἀλληλούϊα. The just will be held in eternal memory. Alleluia.

8 Κοντάκιον τῶν Θεοφανείων Kontakion for Theophany (Epiphany) Ἐπεφάνης σήμερον τῇ οἰκουμένη, καὶ τὸ φῶς σου Κύριε, Today you have appeared to the inhabited world, and your ἐσημειώθη ἐφ’ ἡμᾶς, ἐν ἐπιγνώσει ὑμνοῦντας σε· |Ηλθες light, O Lord, has been signed upon us, who with knowledge ἐφάνης τὸ φῶς τὸ ἀπρόσιτον. sing your praise: You have come, you have appeared, the unapproachable Light. —Romanos the Melodist (6th c.) 9 Αʹ Κανων τῶν Θεοφανείων The First Kanon of Theophany ᾨδὴ αʹ — Ὁ Εἱρμός Ode 1 — Heirmos Βυθοῦ ἀνεκάλυψε πυθμένα, καὶ διὰ ξηρᾶς οἰκείους ἕλκει, The Lord mighty in battle uncovered the foundations of the ἐν αὐτῷ κατακαλύψας ἀντιπάλους ὁ κραταιός, ἐν πολέμοις deep and led His servants on dry ground; but He covered Κύριος· ὅτι δεδόξασται. their adversaries with the waters, for He has been glorified.

Τροπάρια Troparia Ἀδάμ τὸν φθαρέντα ἀναπλάττει ρείθροις Ἰορδάνου καὶ The Lord, King of the ages, in the streams of the Jordan δρακόντων, κεφαλὰς ἐμφωλευόντων διαθλάττει, ὁ Βασιλεὺς formed Adam anew, who was fallen into corruption, and He τῶν αἰώνων Κύριος· ὅτι δεδόξασται. broke in pieces the heads of the dragons that were hidden there: for He has been glorified.

Πυρὶ τῆς Θεότητος ἀΰλῳ, σάρκα ὑλικὴν ἠμφιεσμένος, The Lord, incarnate of the Virgin, having clothed material Ἰορδάνου περιβάλλεται τὸ νᾶμα, ὁ σαρκωθεὶς ἐκ Παρθένου flesh with the immaterial fire of His divinity, wraps Himself Κύριος· ὅτι δεδόξασται. in the waters of the Jordan, for He has been glorified.

10 Τὸν ρύπον ὁ σμήχων τῶν ἀνθρώπων, τούτοις καθαρθεὶς ἐν The Lord who purges away the filth of men was cleansed Ἰορδάνῃ, οἷς θελήσας ὡμοιώθη ὃ ἦν μείνας, τοὺς ἐν σκότει in the Jordan for their sake, having of His own will made φωτίζει Κύριος· ὅτι δεδόξασται. Himself like unto them, while still remaining that which He was; and He enlightens those in darkness, for He has been glorified. 10 ᾨδὴ ε’ — Ὁ Εἱρμός Ode 5 — Heirmos Ἰησοῦς ὁ ζωῆς ἀρχηγός, λῦσαι τὸ κατάκριμα ἥκει, Ἀδὰμ τοῦ Jesus, the Prince of Life, has come to set loose from πρωτοπλάστου· καθαρσίων δέ, ὡς Θεὸς μὴ δεόμενος, τῷ condemnation Adam the first-formed man; and though as πεσόντι καθαίρεται ἐν τῷ Ἰορδάνῃ· ἐν ὧ τὴν ὲχθραν κτείνας, God He needs no cleansing, yet for the sake of fallen man He ὑπερέχουσαν πάντα νοῦν, εἰρήνην χαρίζεται. is cleansed in the Jordan. In the streams He slew the enmity and grants the peace that passes all understanding.

Τροπάρια Troparia Συνελθόντων ἀπείρων λαῶν, ὑπὸ Ἰωάννου βαπτισθῆναι, A multitude without number came to be baptized by John; αὐτὸς ἐν μέσῳ ἔστη, προσεφώνει δὲ τοῖς παροῦσι· Τίς ἔδειξεν and standing in their midst he raised his voice, saying: “Ye ἀπειθεῖς, τὴν ὀργὴν ὑμῖν ἐκκλῖναι τὴν μέλλουσαν; καρποὺς disobedient, who has warned you to shun the wrath to come? ἀξίους Χριστῷ ἐκτελεῖτε· παρὼν γὰρ νῦν, εἰρήνην χαρίζεται. Offer worthy fruits to Christ, for He is present now and grants peace.”

Γεωργὸς ὁ καὶ Δημιουργός, μέσος ἐστηκὼς ὡς εἷς ἀπάντων, The Husbandman and Creator stands in men’s midst as one καρδίας ἐμβατεύει· καθαρτήριον δὲ πτύον χειρισάμενος, of them and searches their hearts. In His hand He has taken τὴν παγκόσμιον ἅλωνα πανσόφως διΐστησι, τὴν ἀκαρπίαν the winnowing fan, and in the fullness of His wisdom He φλέγων, εὐκαρποῦσιν αἰώνιον, ζωὴν χαριζόμενος. cleanses the threshing floor of the whole world, dividing wheat from chaff, burning the barren and granting eternal life to those that bring forth good fruit.

11 Ἑορταστικὸν Τρισάγιον Festal Trisagion Ἀμήν. Amen. Ὅσοι εἰς Χριστὸν ἐβαπτίσθητε, Χριστὸν ἐνεδύσασθε. As many of you as have been baptized into Christ, have put Ἀλληλούϊα. on Christ. Alleluia. Το δευτερον. Ὅσοι… The second. As many… Το τριτον. Ὅσοι… The third. As many… Δόξα Πατρί, καὶ Υἱῷ, καὶ Ἁγίῳ Πνεύματι. Glory to the Father, and to the Son, and to the Holy Spirit. Καὶ νῦν, καὶ ἀεί, καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. Ἀμήν. Both now, and ever, and unto the ages of ages. Amen. Χριστόν ἐνεδύσασθε. Ἀλληλούϊα. You have put on Christ. Alleluia. Δύναμις. Ὅσοι εἰς Χριστὸν ἐβαπτίσθητε, Χριστὸν [With] power. As many of you as have been baptized into ἐνεδύσασθε. Ἀλληλούϊα. Christ, have put on Christ. Alleluia. —Gal. 3:27

12 11 12 Τροπάρια εἰς τὸν Ἁγιασμόν Troparia for the Blessing of the Waters Φωνῇ Κυρίου ἐπὶ τῶν ὑδάτων βοᾷ λέγουσα· Δεῦτε λάβετε The voice of the Lord upon the waters cries out, saying, πάντες, Πνεῦμα σοφίας, Πνεῦμα συνέσεως, Πνεῦμα φόβου “Come all of you, receive the Spirit of wisdom, the Spirit of Θεοῦ, τοῦ ἐπιφανέντος Χριστοῦ. understanding, the Spirit of the fear of God, of Christ who has appeared.”

Σήμερον τῶν ὑδάτων, ἁγιάζεται ἡ φύσις· καὶ ρήγνυται ὁ Today the nature of the waters is made holy, and Jordan is Ἰορδάνης, καὶ τῶν ἰδίων ναμάτων ἐπέχει τὸ ρεῦμα, Δεσπότην parted and holds back the flow of its waters as it sees the ὁρῶν ρυπτόμενον. Master washing himself.

Ὡς ἄνθρωπος ἐν ποταμῷ, ἦλθες Χριστὲ Βασιλεῦ· καὶ As man, Christ King, you came to the river, and in your δουλικόν Βάπτισμα λαβεῖν, σπεύδεις ἀγαθέ, ὑπὸ τῶν τοῦ goodness you hasten to accept the baptism of a servant at Προδρόμου χειρῶν, διὰ τὰς ἁμαρτίας ἡμῶν φιλάνθρωπε. the hands of the Forerunner, on account of our sins, O Lover of mankind.

Πρὸς τὴν φωνὴν τοῦ βοῶντος ἐν τῇ ἐρήμῳ Ἑτοιμάσατε At the voice of the one crying in the desert, “Prepare the τὴν ὁδὸν τοῦ Κυρίου· ἦλθες Κύριε, μορφὴν δούλου λαβών, way of the Lord,” you came, Lord, having taken the form Βάπτισμα αἰτῶν, ὁ μὴ γνοὺς ἁμαρτίαν. Εἴδοσάν σε ὕδατα, καὶ of a servant, asking for Baptism, though you did not know ἐφοβήθησαν· σύντρομος γέγονεν ὁ Πρόδρομος, καὶ ἐβόησε sin. The waters saw you and were afraid. The Forerunner λέγων· Πῶς φωτίσει ὁ λύχνος τὸ φῶς; πῶς χειροθετήσει trembled and cried out, saying, “How will the lamp enlighten δοῦλος τὸν Δεσπότην; ἁγίασον ἐμὲ καὶ τὰ ὕδατα Σωτήρ, ὁ the Light? The servant place his hand on the Master? Savior, αἴρων του κόσμου τὴν ἁμαρτίαν. who take away the sin of the world, make me and the waters holy.” 13 Ἀναγραμματισμός Anagrammatismos

Ὁ αἴρων τὴν ἁμαρτίαν του κόσμου, ἦλθες Κύριε, μορφὴν You Lord, who take away the sin of the world, δούλου λαβών, Βάπτισμα αἰτῶν, ὁ μὴ γνοὺς ἁμαρτίαν. came in the form of a servant asking for baptism, though Εἴδοσάν σε ὕδατα, καὶ ἐφοβήθησαν· πάλιν· εἴδοσάν σε you did not know sin. The waters saw you and were afraid; ὕδατα, Κύριε, καὶ ἐφοβήθησαν, ἐφοβήθησαν· σύντρομος again: the waters saw you, Lord, and were afraid, were afraid. γέγονεν ὁ Πρόδρομος, καὶ ἐβόησε λέγων· Πῶς φωτίσει ὁ The Forerunner trembled and cried out, saying, “How will λύχνος τὸ φῶς; πῶς χειροθετήσει δοῦλος τὸν Δεσπότην; the lamp enlighten the Light? The servant place his hand on ἁγίασον ἐμὲ καὶ τὰ ὕδατα, καὶ τὰ ὕδατα Σωτήρ· τιτι; · the Master? Make me and the waters holy, and the waters, ἁγίασον ἐμε, Σωτήρ, καὶ τὰ ὕδατα; ὁ αἴρων του κόσμου τὴν O Savior; titi…; make me holy, O Savior, and the waters, ἁμαρτίαν. [returning to the original hymn by Sophronios:] who take away the sin of the world.”

12 Alexander Lingas Musicians (USA). Having contributed articles to The New Grove Dictionary of Music and Musicians, and The Oxford Cappella Romana’s founder and artistic director Alexander Handbook of Byzantine Studies, Dr. Lingas is now completing Lingas, is a Senior Lecturer in Music at City University two monographs: a study of Matins in the Rite of London and a Fellow of the University of Oxford’s European Hagia Sophia for Ashgate and a historical introduction to Humanities Research Centre. F�ormer�����l��y Assist������a�nt���� Professor�������� of�� Byzantine Chant for Yale University Press. Music History at Arizona State University’s School of Music, he received his Ph.D. in Historical Musicology from the Ioannis Arvanitis University of British Columbia. His awards include Fulbright Ioannis Arvanitis received his Ph.D. from the Ionian and Onassis grants for musical studies with Lycourgos University (Corfu) for a thesis on rhythm in medieval Angelopoulos, the British Academy’s Thank-Offering to , his BSc in Physics from the University Britain Fellowship, and the St. Romanos the Melodist medal- of Athens, and a Teacher’s Diploma of Byzantine Music lion of the National Forum for from the Skalkottas Conservatory under the supervision of 13 Lycourgos Angelopoulos. He also studied Byzantine music providing it with performing editions of medieval Byzantine at the Conservatory of Halkis, as well as Byzantine and folk chant, most recently for Cappella Romana’s recording of music under Simon Karas at Society for the Dissemination of chants from Mt. Sinai. His editions of medieval chant have National Music. also been sung or recorded by the Romeiko Ensemble (Yiorgos Bilalis, dir.), the Greek Byzantine , and Dr. He has taught Byzantine music at the Ionian University, Arvanitis’ own ensemble Hagiopolites. He has sung Western received a research fellowship at the University of Athens, and plainchant and Parisian organum with Marcel Pérès and served as a guest lecturer for the Irish World Music Centre his Ensemble Organum and has composed many chants in at the University of Limerick. An accomplished performer contemporary post-Byzantine style. on various Greek folk instruments (tambura, ud and laouto), Dr. Arvanitis was a founding instructor at the Experimental Music Gymnasium and Lyceum of Pallini. He is member of the International Musicological Society’s Cantus Planus Study Group and has published scholarly articles in Greek Cappella Romana and English. Its performances “like jeweled light flooding the space” In 2001 Dr. Arvanitis collaborated with Dr. Lingas and the (Los Angeles Times), Cappella Romana is a vocal chamber Greek Byzantine Choir (dir. Lycourgos Angelopoulos) on the ensemble dedicated to combining passion with scholarship in reconstruction of Vespers according to the Cathedral Rite of its exploration of the musical traditions of the Christian East Hagia Sophia, a service performed in the Chapel of St. Peter’s and West, with emphasis on early and contemporary music. College Oxford and later broadcast on Greek national radio. Founded in 1991, Cappella Romana’s name refers to the For the last decade he has contributed regularly to the work concept of the Roman oikoumene (inhabited of Cappella Romana, participating so far in four recording world), which embraced Rome and Western Europe, as well projects as a singer or guest director—Epiphany, Byzantium as the of Constantinople (“New Rome”) in Rome and The Divine Liturgy in English—and regularly

14 and its Slavic commonwealth. Each program in some way PRODUCTION CREDITS reflects the musical, cultural and spiritual heritage of this ecumenical vision. Executive Producer: Mark Powell (Cappella Romana) Flexible in size according to the demands of the repertory, Sessions producer: W. Kellogg Thorsell Cappella Romana is based in the Pacific Northwest of the Recording Engineer: Roderick Evenson United States of America, where it presents annual concert series in Portland, Oregon, and Seattle, Washington. It Editing and post-production: Roderick Evenson, regularly tours in Europe and North America, having ap- Alexander Lingas peared at venues including the Metropolitan Museum of Art Mastering: Roderick Evenson, Bill Levey in New York, the J. Paul Getty Center, St. Paul’s Cathedral in London, the Pontificio Istituto Orientale in Rome, the Sacred Graphic design: Mark Powell Music Festival of Patmos, the University of Oxford, Princeton University, and Yale University. Booklet text editors: Mark Powell, Jennifer Fanning Cappella Romana has released over a dozen compact discs, Translations of tracks 1, 3–13: © The Reverend including Byzantium 330–1453 (the official companion CD Archimandrite Ephrem (Lash), by kind permission (website: to the Royal Academy of Arts Exhibition), Byzantium in www.anastasis.org.uk) Rome: Medieval Byzantine Chant from Grottaferrata, The Photography: Cappella Romana photo credit: Carter Fall of Constantinople, Richard Toensing: Kontakion on the LeBlanc. Cover art: photo of the Theophany from Holy Nativity of Christ, Peter Michaelides: The Divine Liturgy Greek Orthodox Cathedral, Portland, Oregon, by of St. , The Divine Liturgy in English: The kind permission, photo by Kim Tyburski. Complete Service in Byzantine Chant and Mt. Sinai: Frontier of Byzantium. Forthcoming recordings include a live record- Original recordings: This editiong&P 2012 by Cappella ing made in of medieval Byzantine and contemporary Romana, Inc. All rights reserved. First edition previously Greek-American choral works, a choral setting of the Divine released as Epiphany: Medieval Byzantine Chant g&P 2004 Liturgy in Greek by Tikey Zes, a disc of choral works of by Cappella Romana, Inc. Recorded at St. Mary’s Cathedral, the Finnish Orthodox Church directed by Ivan Moody, the Portland, Oregon, January 7–10, 2003. Booklet content and environmental oratorio A Time for Life by Robert Kyr and a designg2011 by Cappella Romana, Inc. All rights reserved. disc of 15th-century Greek and Latin music from the island CONTACT AND BOOKING INFORMATION of Cyprus. Mark Powell, Executive Director In 2010 it became a participant in the research project “ Cappella Romana of Sound: Aesthetics and Acoustics of Hagia Sophia, Istan- 3131 ne Glisan Street bul,” a collaboration between Stanford University’s Center for Portland, or 97232 � Computer Research in Music and Acoustics and Department tel +1.503.236.8202 of Art & Art History. cappellaromana.org

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The Divine Liturgy in Michaelides: Divine English in Byzantine Chant Liturgy This outstanding The complete service on two choral setting combines CDs, featuring music drawn elements of Byzantine chant from the most authoritative combine with modern traditions of Byzantine neo-classicism to create chanting. 40-page booklet unaccompanied liturgical with extensive essays on music of uncommon liturgy and Byzantine chant. elegance and spiritual depth. The Fall of Constantinople Kontakion on the Nativity Cappella Romana’s most American composer in-demand program, Richard Toensing creates a of Byzantine chant and vibrant musical synthesis polyphony c.1453 and motets of East and West with new by Guillaume Dufay, explores settings of ancient Orthodox the musical legacy of New Christmas texts, especially Rome—caught between Latin the dramatic words of St. West and Islamic East. Romanos the Melodist. Music of Byzantium Byzantium in Rome: With over 14,000 copies Medieval Byzantine Chant sold, this disc was released Led by Ioannis Arvanitis, for the Metropolitan this 2-CD set bears witness Museum of Art’s 2004 to Constantinopolitan exhibit “Byzantium: Faith music from before the Latin and Power.” Features conquest of 1204, as recorded Byzantine music from 1261 at Abbey of Grottaferrata to 1557. near Rome (founded 1004). Lay Aside All Earthly Tikey Zes Choral Works Cares: Orthodox Choral A collection of sacred Works in English and secular compositions Russian-styled music in in Greek and English by English by the visionary Greek-American composer, priest, composer, and Tikey Zes. Includes his teacher Fr. Sergei Glagolev elegant choral setting of (b. 1927). Conducted by “Soma Christou.” Vladimir Morosan.