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City Research Online City, University of London Institutional Repository Citation: Lingas, A. ORCID: 0000-0003-0083-3347 (2004). Epiphany: Medieval Byzantine Chant. Portland, USA: Cappella Romana. This is the published version of the paper. This version of the publication may differ from the final published version. Permanent repository link: http://openaccess.city.ac.uk/21535/ Link to published version: Copyright and reuse: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. 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 Divine Liturgy of January 1st 1 ��Εἰσοδικόν ��Introit: ��Anonymous, �MS ��Athens� ��2406 �(1�� 1:02 � Ἀπ�λυτίκιον Ὁ θρόνῳ πυρ�μ�ρφῳ �p�lytikion “You who sit on a fiery throne” 1:40 ��Text: �MS ��Messina ��gr. ��11� ��11�1�� a��top��edi�� 1��493� �(1��5th� �c.)� � ��Kον��τ��άκιον �Ὄ��φθ�ης ��βάσις ��ἄσειστ�ος ��Kont��ak�on�� “Y�ou�� app�a��red�� a� an ��unsh��ak�a�l�le ��founda��tion”” 4:39 Anonymous, MS Florence, Ashburnhamensis 64 (1�8�� ρ��ισάγιον ��Trisa��gion: ��Anonymous, �MS �La��vra � � �� 1��4th� �c.)� ��1 � Προκείμενον Τὸ �τ�μα μ�υ λαλήσει σοφία Prokeimenon (G�adual� �1� “My tongue w�ll �p�ak wisdom” P�al� �8 � 1 � �aticanus gr. 345, f. l� Ἀλλ�λ�υϊ�ριον Ὁ ποιμαίω τὸ Ἰ�ραὴλ πρόσχες. All�l��arion “Attend O Shepherd of Isra�l” 1�1� P�al� �� 1 � � Florence, Ashburnhamensis 64 (1�8�� Κοινωνικόν Εἰς μνημόσυνον α�ώνιον ἔ�τα� �ί�αιος Communion verse “Th� just w�ll be hel� �1� in everlasting memory” P�al� 111 � Grottaferra�a �� 13th c.) From the Services of January 6th 8 Κ�ον��τ��άκιον τ�ῶν ��Θεο��φανε��ίων ��Kont��ak��ion� �of�� Th��eop�a��ny: St.� ��Roma��nos� ��the� ��Mel��odist� �(6th�� c.),� 1 1:39�� MS Konstamonitou 8 � Αʹ Καὼ τῶν Θεοφανείω ᾨ�ὴ αʹ First Kanon for Theop�any, O�� 1 �1� St. Kosmas of Maïouma �8th c.), MS Grottaferra�a �� 1� ᾨ�ὴ �ʹ O�� 5:05 11 Ἑ�ρτα�τ��ὸ �ρισάγιον (Ὅσοι εἰς Χριστὸ� 1�� Festal Trisagion (“As many of you a� �ave been baptized”� Xenos Korones (14th. c.) MS Athens 2456 (15th c.) Δύαμις Dynamis: John Kla�as the La�pa�arios (fl �a 1400) 1� �ρ�π�ρ�α εἰς τὸ Ἁγια�μόν 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 1� Ἀα�ραμματισμός Anagra�atismos: St. John Koukouz�lis (14th c.), MS Sina� 1566 (15th c.) ��1 �otal time �11� CappeLLA ROMANA ALEXANDER LINGAS, ARTISTIC DIRECTOR Ioannis Arvanitis, guest director �lexander Linga� John Micha�l Boyer Kendrick Perala John S. Boyer �a�k P�w�ll David Krueger Adam Steel� 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 Constantinop�litan church a� The Liturgical Music of New Rome a relativel� �a�ly stage due to its coincidence with the anniversary of the death of one of its greatest In the year 330 AD the Roma� E�peror Constantine regional �aints: the Cappadocian bishop, theologia� I moved the capital of his empire to a� ancient city and ascetic St. Ba��l of Ca��area who died on on the strategic shores of the B��phorus named January 1st in the yea� �� B�zantium, which he renamed “Constantinopl� and N�w Rome.” Th� Eastern Roma� E�pire not onl� Th� later expansion of the annual ��lebration of survived the dow��all 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 Annunciation—instituted in the sixth commonl� known toda� a� “B�zantine chant.” Its century a� a ��lebration held nine months before origins, l�ke those of its Western siblings (Gregoria� Christmas on March 25th—led to the esta�lishment chant, Ambrosian chant, etc.), are to be found in on January 1st of a feast commemorating Christ’� the oral traditions of Christianity’� first millennium. Circumcision eight da�� after the Nativity. Yet this These were codified and further devel�ped with the new feast never fully ecl�psed the commemoration aid of B�zantine musical notation, which app�ars of St. Ba��l a beloved figure whose rol� �� p�p�la� �� Greek sources from the tenth century onwards. tradition as the giver of gifts to children on January Th� present recording features B�zantine chant 1st is compa�a�le 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 da� �ave therefore mixed the tw� commemorations. commemorations, with the relative priority of one ��lebration over the other oft�� arying signifi�antl� Byzantine Celebrations on January 1st from source to source. One such mixture may be January 1st wa� a� ��portant day in the calendar of heard on the portion of this disc that is devoted to pa�an Rome that eventuall� �ame to be observed in proper chants for the Divine Liturgy of January 1st, the West as the beginning of the N�w Y�ar. It wa� on which day the Orthodox Church celebrates the not, however, a��pted as such by the churches of eucharistic formulary attributed to St. Ba��l Rome and Constantinople. Th� liturgical cycles of The compact melodies of the Introit (Entrance the former bega� with the pre-Christmas season of C�ant) and Apolytikion �a technical term referring Advent, w��le those of the latter started either on to a short hymn sung for the first time during a Easter (in the case of its cycles of scriptural readings) given liturgical �a� at the dismissal of Vespers) for or September 1st (Indiction, the civil N�w Y�a�� the Circumcision were first recorded in manuscrip�� Nevertheless, January 1st became a� ��portant da� of the fourteenth and fifteenth centuries, presuma�l� because they were too fa��l�ar to warrant being Th� Trisagion is a Constantinop�lita� processional committed to writing. Sung to the melody of a chant tha� at one time served also as the ordinary w�ll-known hymn in Mode I for ordinary Sunda�� introit of the Divine Liturgy. Even after the addition (Τοῦ λίθ�υ �φραγισθέτος), taken here from MS of a series of p�almodic antiphons shifted its �atopedi 1493, the Ap�lytikion is drawn from the position further into the service, the singing of �w�lft�-century Typ�kon (“ordo”) of the monastery the Trisagion retained considera�le solemnity as it of the Savior in Messina a community located in the covered tw� liturgical actions: the blessing of the historicall� Greek-�p�aking portion of Ital� know� congregation during the singing of “Glory to the a� �agna G�aecia that remained largely under Father,” which occurred when a bishop �ffi��ated; B�zantine rule until the eleventh century. and the movement of the higher clergy at the conclusion of the hymn to their assigned pla�� Th� kontakion is a Constantinop�litan form of the apse’� synthronon (the sea�� located in the apse hymnography based on Syria� prototypes tha� wa� for the celebrant and his assistants). The musical perfected by St. Romanos the Melodist (6th c.). setting sung here is from the fourteenth-century Essentiall� a �arrative sermon, a kontakion consists �anuscrip� �avra Γ. 3, one of onl� �w� ��ant of one or more prol�� “koukoul�a”) foll�wed by �a��land Greek ��pies of the Asmatikon a volume a series of metrically identical sta�za� �“oikoi”). In containing the Grea� Church’s choral chants. O� later usage, when the custom of chanting the poems interest are the sung cues guiding the singers in their entirety all but disapp�ared, it became through the Trisagion’s execution, of which only the customary to sing only their prol�� and—onl� excla�ation before the fi�al repetition (“Δύαμις”� at the daw� �ffice of Orthros (equivalent to is still heard in modern Greek p�actice. Western Matins and Lauds)—first oikos. Medieval �anuscripts transmit two melodic traditions At the conclusion of the Trisagion in the Rite of for these prol�� a ��llabic tradition tha� wa� Hagia Sop��a a soloist woul� ascend the ambo primarily oral; and the florid tradition of the �a freestanding p�lpit in the nave) and chant the P�altikon, a book of solo chants from the cathedral Prokeimenon of the day from the P�altikon. This tradition of the Grea� Church of Hagia Sop��a responsorial chant, which is similar in form to The Kontakion for St. Ba��l recorded here is tak�� the Roma� G�adual was sung a� a prelude to from the P�altikon Florence Ashburnhamensis 64, the solemn reading of the Apostolos a scriptural a �anuscrip� ��pied in 1�8� at the monastery of lection from either the Acts of the Apostles or Grottaferra�a near Rome. Since its text is metricall� the N�w Testament Epistl�� The conclusion of identical to that of the Kontakion for Theop�any the reading was foll�wed by the Alleluiarion by St.

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