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Citation: Lingas, A. (2015). in , Medieval Byzantine from the of the Holy Sepulchre. Portland, USA: .

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City Research Online: http://openaccess.city.ac.uk/ [email protected] Cappella Romana Good Friday in JeRUsalem Medieval Byzantine Chant from the Church of the Holy Sepulchre Alexander Lingas 1 Great and Holy Friday in Jerusalem ( of the Anastasis) Medieval Byzantine Chant from the Church of the Holy Sepulchre 7 ᾨδὴ η´ 8 8:06 8 ᾨδὴ θ´ Ode 9 5:27 CAPPELLA ROMANA 9 Ἐξαποστειλάριον αὐτόμελον Ἦχος γ´ Exaposteilarion automelon in Mode 3 1:10 Τὸν Λῃστὴν αὐθημερόν / O Lord, who on that very day Alexander Lingas, artistic director and soloist Stelios Kontakiotis, principal soloist Spyridon Antonopoulos, John Michael Boyer, Constantine Kokenes, Mark Powell, melodists 10 Αἴνοι Ἦχος δ´ ( 148–50, selected verses) in Mode 4 4:54 Theodor Dumitrescu, David Krueger, Adam Steele, David Stutz,isokrates John Michael Boyer, Stelios Kontakiotis, domestikoi Ioannis Arvanitis, performing editions 11 Στιχηρὸν Προσόμοιον Ἦχος δ´ Ἔδωκας σημείωσιν 2:16 prosomoion in Mode 4, [to the melody] You have given us a sign In Procession to the Mount of Olives Ὅτε σε σταυρούμενον, ἡ κτίσις πᾶσα ἑώρακεν / When all creation saw you crucified 1 Ἀντίφωνον Αʹ Ἦχος πλ. δʹ Antiphon 1 in Mode Plagal 4 4:47 Στιχηρά Ἰδιόμελα Θεοφάνους τοῦ Πρωτοθρόνου (9ος αἰῶνας) Ἄρχοντες λαῶν συνήχθησαν / Λόγον παράνομον / Τὰς αἰσθήσεις ἡμῶν Stichera idiomela by Theophanes Protothronos (9th c.) Rulers of the peoples / They laid a lawless charge / Let us bring our senses 12 Πᾶσα ἡ Κτίσις / All creation was changed Ἦχος α´ Mode 1 2:20 At the Pavement (Lithostroton) in 13 Λαὸς δυσσεβὴς καὶ παράνομος / Impious and lawless people Ἦχος β´ Mode 2 4:06 2 Ἀντίφωνον ΙΕʹ Ἦχος πλ. βʹ Antiphon 15 in Mode Plagal 2 5:46 14 Στιχηρὸν Ἰδιόμελον Ἦχος β´ Λέοντος ΣΤ´ τοῦ Σοφοῦ (866–912) 3:17 Σήμερον κρεμᾶται ἐπὶ ξύλου, ὁ ἐν ὕδασι τὴν γῆν κρεμάσας Sticheron in Mode 2 by Leo VI the Wise (866–912) Today he who hung the earth upon the waters is hung upon a Tree Ἐπὶ ξύλου βλέπουσα / When she saw you (hanging on a cross) Ὁ Σταυρός σου Κύριε / Your Cross, Lord 15 Στιχηρὸν Ἰδιόμελον Ἦχος γ´ Βυζαντίου 4:23 In Procession to Golgotha (the Place of the Skull) Sticheron idiomelon in Mode 3 by Byzantios 3 Εἰς τὴν λιτὴν στιχηρόν Ἦχος πλ. δ´ Processional Sticheron in Mode Plagal 4 3:02 Δύο καὶ πονηρὰ ἐποίησεν / Israel my firstborn son Ὁ ἐν Ἐδὲμ Παράδεισος / The Paradise in Eden 16 Δοξαστικόν ἧχος ὁ αὐτός τοῦ Στουδίτου (9ος αἰ.;) 5:02 At Golgotha in the same mode by a Stoudite (9th c.?) 4 Τριῴδιον Ἦχος πλ. β´ Ποίημα Κοσμᾶ Μοναχοῦ (8ος αἰώνας) ᾨδὴ ε´ 5:05 Ἕκαστον μέλος τῆς ἁγίας σου σαρκός / Each member of your holy flesh Three-Ode Kanon () in Mode Plagal 2 by Kosmas the Melodist (8th c.) Ode 5 At the Chapel of the Holy Custody (Hagia Phylake) Κοντάκιον εἰς τὸ Πάθος τοῦ Κυρίου, Ρωμανοῦ τοῦ Μελωδοῦ (6ος αἰώνας) Ἦχος πλ. δ´ 17 Προκείμενον Ἦχος πλ. α´ in Mode Plagal 1 7:33 on the Passion of the Lord, by (6th c.) Mode Plagal 4 Σύ, Κύριε, φυλάξαις ἡμᾶς / May you, Lord, guard us 5 Syllabic melody 1:42 Mark Powell, ; Stelios Kontakiotis, domestikos 6 Psaltikon melody Stelios Kontakiotis, domestikos 5:39 total time 74:38

2 3 Great and Holy Friday in Jerusalem gather on Saturday evening and Sunday morning Cathedral complex to remember the Passion and of the Holy Selpulchre, 4th c. 1 with readings, prayers, and psalmody performed 3 at historically appropriate locations within the 1 Basilica cathedral compound. These same events of sacred 2 Inner atrium history were commemorated annually in a more 3 Rotunda of the Anastasis 2 elaborate fashion during Great and , 4 Baptistry which climaxed with Easter Sunday (Pascha). In the year 637 AD the orthodox Christian Patriarch Holy Week services in Jerusalem incorporated Sophronios (d. 638) surrendered Byzantine the buildings on Golgotha into a larger system Jerusalem to the Arab Caliph Umar, inaugurating a 4 of stational that made full use of the city’s period of Muslim rule in the Holy City that would sacred topography. last until its conquest by Latin Crusaders in 1099. Although subject to tribute, Jerusalem’s Christian The musical repertories created for in the inhabitants retained the right to continue celebrating Holy City developed gradually over the centuries Until the recent discovery of a few Greek sources for integrated with by writers working within both for themselves and for visiting pilgrims their out of patterns of interaction between the secular the urban rite of Jerusalem among the New Finds the traditions of the Constantinopolitan distinctive forms of worship. These services made (urban church) and monastic singers of Jerusalem of the Holy Monastery of St Catherine on Mount of Stoudios. The latter had, at the behest of its extensive use of the shrines associated with life, and those of other ecclesiastical centres. Sinai, the most important surviving Greek witness Theodore, adopted a variant of the monastic liturgy death, and resurrection of Jesus Christ that had been from the monastery founded by St Sabas (439–532) to cathedral worship in the Holy City was the so- of St Sabas at the beginning of the ninth century. created with imperial patronage in the years that in the desert southeast of Jerusalem became active called Typikon of the Anastasis. Copied in 1122, The resulting Stoudite synthesis of Palestinian and followed the official legitimation of by participants in worship at the Holy Sepulchre, which this manuscript (Greek Orthodox of Constantinopolitan traditions was a crucial stage in Roman Emperor Constantine I in 313. maintained a resident colony of ascetics later known Jerusalem MS Hagios Stauros 43) contains services the formation of the cycles of worship employed in as the spoudaioi. Responsorial and antiphonal Constantine and his mother Helen had sponsored for the seasons of Lent and Easter as celebrated prior the modern . settings of biblical psalms and formed the the most important of these edifices: the cathedral to the destruction of the Holy Sepulchre complex by base of cathedral and monastic liturgical repertories. The present recording features excerpts from the complex of the Holy Sepulchre built on the accepted the Fatimid Caliph Al-Hakim in 1009 (and probably Palestinian poet-singers subsequently increased Service of the Holy Passion of our Lord Jesus Christ as site of Jesus’ crucifixion and entombment. Its major also, according to recent research (Galadza 2013), for the number, length, and musical complexity of the it would have been celebrated in Jerusalem during components were a large basilica (the Martyrium), many decades after its Byzantine reconstruction). refrains sung between the biblical verses, leading the transitional period of its ritual Byzantinisation. an inner atrium incorporating the hill of Golgotha, Older and newer presented without musical by the sixth century (and possibly earlier) to the An archaic cousin of the service celebrated in the the Rotunda of the Anastasis (Resurrection) over notation coexist in the Typikon of the Anastasis. creation of hymnals organised according to a modern Byzantine rite on Holy Thursday evening, Christ’s tomb, and a baptistry. Egeria, a Spanish Thus works from the apogee of Christian Palestinian system of eight musical modes (the ). The this is a stational version of the office of early pilgrim of the late fourth century, describes in hymnody—a period initiated by the liturgical contents of the earliest hymnbooks from Jerusalem morning prayer ( or , literally ‘dawn’) her diary how every week the , monastics, works of Sophronios and continued by the eighth- are preserved today only in Armenian and Georgian in which eleven readings narrate the events and of late fourth-century Jerusalem would century poet-composers , John translations. of the Passion of Jesus in a beginning with of and Kosmas the Melodist—are 4 5 his Last Discourse to his disciples (John 13:31–18:1) of the Holy Wisdom (Hagia Sophia) built on the 68–79)—were appointed for Lenten Fridays, a florid one transmitted in the Psaltikon, a musical and ending with his burial (John 19:38–42). The texts reputed site of the Pavement (Lithostroton) in the leading Kosmas to echo their themes in his musical collection created for the soloists of Justinian’s Great and rubrics of the Typikon of the Anastasis form palace of Pontius Pilate. After this, the assembly meditation on the betrayal and trial of Jesus. Church of Hagia Sophia in . On the the basis of our reconstruction, supplemented by processed to the atrium of the church of the present disc we sing both the simple and elaborate At the conclusion of Ode 9 the Typikon of notated musical settings for its chants transmitted Anastasis (known in medieval times as the ‘Centre melodies of the prologue to this kontakion from the Anastasis mandates the chanting of two in manuscripts ranging in date from the tenth to of the Earth’), where the Beatitudes and other thirteenth-century manuscripts, with the former exaposteilaria, representatives of a form of hymnody the fourteenth centuries. Manuscripts with archaic hymns were sung before the reading of the Seventh from MS Petersburg Russian National Library that appears originally to have heralded the coming and intervallically imprecise forms of Byzantine Gospel (Matt. 27:33–54). 674 and the latter from MS Sinai gr. 1280. of dawn. Included on the present recording is the musical signs (neumes) were consulted alongside The service approached its climax with ‘The first exaposteilarion, a text still used in the modern In both and Constantinople daybreak was the earliest available versions of Passion chants in Paradise in Eden’ (MS Mt Athos Vatopedi 1493, 14th Byzantine rite that MS Hagios Stauros 43 labels an marked in daily prayer by the singing of Psalms 148– the readily decipherable Middle Byzantine Notation, c.), a chant sung on the way to Golgotha, the Place original melody (idiomelon) in Mode 3 and is sung 150, known collectively as Lauds. Sets of melodies a system that was employed from the later twelfth of the Skull. Upon arrival the Eighth Gospel (Luke here from MS Sinai gr. 1471 (14th c.). This would for cathedral and monastic use in all eight modes century until the notational reform by the ‘Three 23:32–49) was read, followed by the singing of a have been followed immediately by the second for these and other psalmodic chants Teachers’ (Chrysanthos of Madytos, Chourmouzios Three-Ode Kanon by Kosmas the Melodist (MS Mt exaposteilarion, a borrowing the metrical of Byzantine daily prayer first appear in musical the Archivist, and Gregorios the Protopsaltes) Athos Iveron 470, a Heirmologion of the 12th c.). scheme and melody of a Sunday resurrection anthologies of the fourteenth and fifteenth centuries first introduced in 1814. Dr Ioannis Arvanitis, a Kosmas was a contemporary of hymn (‘Τοῖς μαθηταῖς συνέλθωμεν’/‘With the labelled Akolouthiai, the initial compilation of leading authority on medieval Byzantine musical who according to (problematic) later sources was Disciples let us go’) by Emperor Constantine VII which is ascribed to St John Koukouzeles. On the rhythm and performance practice, then edited and born either in Jerusalem or Damascus around 675 Porphyrogennetos (d. 959), and the chanting of the present recording we sing cathedral melodies for transcribed the chants into the Chrysanthine ‘New AD. He joined the community of monks from the Ninth Gospel (John 19:25–37). the psalms from National Library of Method’ of Byzantine notation for use by the singers Monastery of St Sabas () stationed in 2401, a manuscript of the mid-fifteenth century. of Cappella Romana. It was (and remains) customary to insert other Jerusalem, and was elected to the post of chants and readings at certain points within a Whereas the Late Antique custom of chanting The Jerusalem Passion Office began in the middle Maïouma around 735 AD (Kalogeras 2010). Each kanon. Thus the Typikon of the Anastasis places psalms throughout with simple refrains was of the night on the Mount of Olives, which served ode by Kosmas consists of a model stanza (heirmos) between 5 and 8 the prologue and first stanza retained in the Constantinopolitan cathedral as the point of departure for a series of processions and a series of metrically and melodically identical of the Kontakion on the Passion of the Lord (in rite, churches associated with Jerusalem began taking worshippers to shrines at Gethsemane and stanzas (troparia), the sequence of which is sealed by the voice of Mary at the Cross) by Romanos the interpolating hymns known as stichera between other sites associated with the betrayal, trial, and a reprise of the heirmos (the katavasia). The poetic Melodist. Romanos was a deacon from who their concluding verses (‘stichoi’). From the ten . This portion of the service was odes of kanons were originally composed to provide settled in Constantinople during the early sixth hymns appointed by the Typikon of the Anastasis dominated musically by an anonymous series of thematically appropriate theological commentary century. There he distinguished himself as the for Lauds on Holy Friday we select six. The first is fifteen antiphons that accompanied and commented for the invariable sequence of nine biblical canticles greatest composer of the multi-stanza hymns that one of three anonymous hymns sung to a standard on events recounted in the first six gospel readings. or ‘odes’ sung at Palestinian morning prayer. Three came to be known, after the scrolls on which they model melody (taken here from MS Vatopedi We include two of these antiphons on the present biblical odes—Isaiah 26:9–20 (Ode 5), the Hymn were copied, as kontakia. By the tenth century two 1493) and assigned in modern service books to disc: the Antiphon 1, which was sung on the Mount of the Three Youths from Daniel 3 (Ode 8), and the melodic traditions had been developed for kontakia: Thursday evening prayer. The remaining five of Olives; and Antiphon 15, chanted at a Church and Benedictus (Ode 9=Luke 1:46–56, a simple one consigned mainly to oral tradition, and stichera are through-composed works known as 6 7 idiomela, the melodies of which are drawn primarily chant from the Constantinopolitan repertories of Bibliography and Further Reading Galadza, Daniel (2013), ‘Sources for the Study of Liturgy in Post-Byzantine Jerusalem (638–1187 CE)’, Dumbarton from Vienna National Library theol. gr. 181, a the Psaltikon, the deacon led the faithful in a final Anonymous (1894), ‘Τυπικὸν τῆς ἐν Ἱεροσολύμοις Ἐκκλησίας. Oaks Papers, 67, 75–94. manuscript copied in 1221 by John Dalassenos. A litany that culminated in a blessing from Διάταξις τῶν ἱερῶν ἀκολουθιῶν τῆς μεγάλης ἑβδομάδος hymn in Mode 1 evoking the cosmic dimensions of the patriarch that marked the end of the morning τοῦ κυρίου ἡμῶν Ἰησοῦ Χριστοῦ, κατὰ τὸ ἀρχαῖον τῆς Hintze, Gisa (1973), Das byzantinische Prokeimena-Repertoire Christ’s crucifixion by Theophanes Protothronos, Office of the Holy Passion. Worship would then ἐν Ἱεροσολύμοις ἐκκλησίας ἔθος, ἤτοι τὸ ἐν τῷ ναῷ τῆς Untersuchungen und kritische Edition (Hamburger Archbishop of Caesarea (9th c.), is followed by have continued at Golgotha with the chanting by Ἀναστάσεως’, in Athanasios Papadopoulos-Kerameus Beiträge zur Musikwissenschaft 9; Hamburg: Verlag der another written by the same composer in Mode monks of the Hours of Great and Holy Friday, a (ed.), Ἀνάλεκτα Ἱεροσολυμιτικῆς Σταχυολογίας ἢ Συλλογὴ Musikalienhandlung). Ἀνεκδότων καὶ σπανίων ἑλληνικῶν συγγραφῶν περὶ 2 commenting on his abandonment to execution. service attributed in the Typikon of the Anastasis to Janeras, Sebastià (1988), Le Vendredi-Saint dans la tradition τῶν κατὰ τὴν Ἑῴαν ὀρθοδόξων ἐκκλησιῶν καὶ μάλιστα The Byzantine Emperor Leo VI the Wise (reigned Sophronios of Jerusalem. liturgique byzantine: Structure et histoire de ses offices τῆς τῶν Παλαιστινῶν (2; St Petersburg: Αὐτοκρατικὸς 886–912) contributes a moving portrayal of the (Studia Anselmiana 19; Analecta Liturgica 13; Roma: —Alexander Lingas Ὀρθόδοξος Παλαιστίνος Σύλλογος), 1–254. Virgin Mary lamenting at the foot of the Cross set in Pontificio Ateneo S. Anselmo). Arvanitis, Ioannis (2010), ‘ Ὁ ῥυθμὸς τῶν ἐκκλησιαστικῶν Mode 2. Another hymn on the rejection of Jesus by Kalogeras, Nikos (2010), ‘The (Purported) Teacher of John μελῶν μέσα ἀπὸ τὴν παλαιογραφικὴ ἔρευνα καὶ τὴν an anonymous ‘Byzantine’ author in Mode 3 leads to of Damascus and Kosmas Melodos’, Byzantinoslavica, 68 The author gratefully acknowledges the following individuals ἐξήγηση τῆς παλαιᾶς σημειογραφίας—Ἡ μετρικὴ καὶ (1–2), 101–14. the final chant of Lauds, a meditation on the Passion and institutions for supporting in various ways the tasks of ῥυθμικὴ δομὴ τῶν παλαιῶν στιχηρῶν καὶ εἱρμῶν’, Ph.D. by an unnamed from the Constantinopolitan researching, editing, and performing the musical selections on diss. (Ionian University). Wilkinson, John (1999), Egeria’s Travels (3rd edn.; monastery of Stoudios. the present disc: Warminster: Aris & Phillips). Frøyshov, Stig Simeon R. (2012), ‘The Georgian Witness to Following the conclusion of Lauds, the Typikon of The Stavros Niarchos Foundation for supporting a year of the Jerusalem Liturgy: New Sources and Studies’, in Bert the Anastasis provides a series of prayers, readings, research leave from City University London; the Seeger Groen, Steven Hawkes-Teeples, and Stefanos Alexopoulos and hymns leading to the Eleventh (and final) Center for Hellenic Studies at Princeton University (Dimitri (eds.), Inquiries into Eastern Christian Worship: Selected Gospel of the Passion, which offers John’s account Gondicas, dir.) for a Visiting Fellowship (Autumn 2012); papers of the Second International Congress of the Society Darwin F. Scott of the Arthur Mendel Music Library of of Oriental , , 17-21 September 2008 (Eastern of the burial of Christ. It then indicates that, after Princeton University for his assistance with the Kenneth Christian Studies 12; Leuven: Peeters), 227–67. a few more prayers and a litany, the patriarch Levy microfilm collection; Dr Sandra Martani for providing and processed to a reliquary chapel facsimiles of gospel ; and Dr Spyridon behind Golgotha. From this chapel the patriarch Antonopoulos and Prof. Christian Troelsgård for copies retrieved the cross, which he then carried on his from the archives of the Monumenta Musicae Byzantinae in shoulders to the Chapel of the Holy Custody that Copenhagen. was located on the other side of the atrium. At this second chapel a short series of chants and a brief reading from Zechariah (11:10–13) were sung, followed immediately by the Prokeimenon ‘May you, Lord, guard us’, edited for this recording from the manuscripts Patmos 221 (ca. 1162–79) and Vat. gr. 345 (13th c.). After this elaborate responsorial

8 9 1 1 Ἥλοις προσηλώθη, ὁ Νυμφίος τῆς Ἐκκλησίας. The Bridegroom of the Church is transfixed with nails. Ἀντίφωνον Αʹ Ἦχος πλ. δʹ Antiphon 1. Mode Plagal 4 Λόγχῃ ἐκεντήθη, ὁ Υἱὸς τῆς Παρθένου. The Son of the Virgin is pierced by a lance. Ἄρχοντες λαῶν συνήχθησαν, κατὰ τοῦ Κυρίου, καὶ Rulers of the peoples were gathered together against Προσκυνοῦμέν σου τὰ Πάθη Χριστέ. We worship your Sufferings, O Christ, κατὰ τοῦ Χριστοῦ αὐτοῦ. the Lord and against his Christ. Δεῖξον ἡμῖν, καὶ τὴν ἔνδοξόν σου Ἀνάστασιν. Show us also your glorious Resurrection.

Στίχ. Παρέστησαν οἱ βασιλεῖς τῆς γῆς, καὶ οἱ Verse The kings of the earth stood up and the rulers Στίχ. Ὥρυξαν χεῖράς μου καὶ πόδας· ἐξηρίθμησαν Verse They have dug my hands and my feet; all my ἄρχοντες συνήχθησαν ἐπὶ τὸ αὐτό [κατὰ τοῦ were assembled together against the Lord and πάντα τὰ ὀστᾶ μου, αὐτοὶ δὲ κατενόησαν καὶ bones have been numbered; they have observed Κυρίου καὶ κατὰ τοῦ χριστοῦ αὐτοῦ]. against his Christ. (Ps. 2:2) ἐπεῖδόν με. me and gazed at me. (Ps. 21:17b–18)

Λόγον παράνομον, κατέθεντο κατ’ ἐμοῦ, Κύριε, They laid a lawless charge against me. Lord, Lord, do Τρ οπάριον Κύριε, μὴ ἐγκαταλίπῃς με. not abandon me. Ὁ Σταυρός σου Κύριε, ζωὴ καὶ ἀντίληψις ὑπάρχει Your Cross, Lord, is life and help for your people; τῷ λαῷ σου, καὶ ἐπ’ αὐτῷ πεποιθότες, σὲ τὸν and putting our trust in it, we praise you our Στίχ. Ἐγὼ δὲ κατεστάθην [βασιλεὺς ὑπ᾿ αὐτοῦ Verse But I was established as king by him, on σταυρωθέντα, Θεὸν ἡμῶν ὑμνοῦμεν. Ἐλέησον ἡμᾶς. crucified God. Have mercy on us. ἐπὶ Σιὼν ὄρος τὸ ἅγιον αὐτοῦ (διαγγέλλων τὸ Sion his holy mountain (announcing the Lord’s πρόσταγμα Κυρίου)]. decree). (Ps. 2:6, 7a) 3 3 Ψάλλομεν εἰς τὴν λιτὴν We sing during the procession Τὰς αἰσθήσεις ἡμῶν, καθαρὰς τῷ Χριστῷ Let us bring our senses pure to Christ, and as his τὸ αὐτὸ στιχηρόν ἦχος πλ. δ´ this sticheron in Mode Plagal 4. παραστήσωμεν, καὶ ὡς φίλοι αὐτοῦ, τὰς ψυχὰς ἡμῶν friends let us sacrifice our souls for him, and let us Ὁ ἐν Ἐδὲμ Παράδεισος ποτέ, τὸ ξύλον τῆς γνώσεως, The Paradise in Eden once blossomed with the θύσωμεν δι’ αὐτόν, καὶ μὴ ταῖς μερίμναις τοῦ βίου, not, like Judas, be suffocated by the cares of life; but ἀνεβλάστησεν ἐν μέσῳ τῶν φυτῶν, ἡ Ἐκκλησία σου tree of knowledge in the midst of the plants; your συμπνιγῶμεν ὡς ὁ Ἰούδας· ἀλλ’ ἐν τοῖς ταμείοις in our inner chambers let us cry, “Our Father in Χριστέ, τὸν Σταυρόν σου ἐξήνθησε, τὸν πηγάσαντα Church, O Christ, has flowered with your Cross, ἡμῶν κράξωμεν· Πάτερ ἡμῶν ὁ ἐν τοῖς οὐρανοῖς, heaven, deliver us from the evil one.” τῷ κόσμῳ τὴν ζωήν, ἀλλὰ τὸ μὲν ἐθανάτωσε, which is a fount of life for the world; but the former ἀπὸ τοῦ πονηροῦ ῥῦσαι ἡμᾶς. βρώσει φαγόντα τὸν Ἀδάμ, τὸ δὲ ἐζωοποίησε, πίστει put Adam to death through eating when he fed from σωθέντα τὸν Λῃστήν, οὗ τῆς ἀφέσεως, κοινωνοὺς it, while the latter gave life to the Thief through 2 2 ἡμᾶς ἀνάδειξον, Χριστὲ ὁ Θεός, ὁ τῷ πάθει σου faith when he was saved; make us also partakers of Ἀντίφωνον ΙΕʹ Ἦχος πλ. βʹ Antiphon 15. Mode Plagal 2 λύσας, τὴν καθ’ ἡμῶν μανίαν τοῦ ἐχθροῦ, καὶ his forgiveness, Christ God, who by your passion Σήμερον κρεμᾶται ἐπὶ ξύλου, ὁ ἐν ὕδασι τὴν γῆν Today he who hung the earth upon the waters is ἀξίωσον ἡμᾶς, τῆς βασιλείας σου Κύριε. abolished the frenzy of the foe against us, and make κρεμάσας. hung upon a Tree, us worthy of your heavenly Kingdom, Lord. Στέφανον ἐξ ἀκανθῶν περιτίθεται, ὁ τῶν Ἀγγέλων He who is King of the Angels is arrayed in a crown Βασιλεύς. of thorns. Ψευδῆ πορφύραν περιβάλλεται, ὁ περιβάλλων τὸν He who wraps the heaven in clouds is wrapped in οὐρανὸν ἐν νεφέλαις. mocking purple. Ῥάπισμα κατεδέξατο, ὁ ἐν Ἰορδάνῃ ἐλευθερώσας He who freed Adam in the Jordan receives a blow τὸν Ἀδάμ. on the face.

10 11 4 4 5, 6 5, 6 Ὁ Κανών The Kanon. Κοντάκιον. Ἦχος πλ. δʹ Kontakion. Mode Pl. 4. Ποίημα Κοσμᾶ Μοναχοῦ A work of Kosmas the Monk. [τοῦ Ῥωμανοῦ] [By Romanos] ᾨδὴ εʹ Ἦχος πλ. βʹ Ὁ Εἱρμός Ode 5. Mode Plagal 2. Heirmos. Τὸν δι’ ἡμᾶς Σταυρωθέντα, δεῦτε πάντες Come, let us all praise him who was crucified for «Πρὸς σὲ ὀρθρίζω, τὸν δι’ εὐσπλαγχνίαν σεαυτόν, «I rise for you at dawn, who through compassion ὑμνήσωμεν· αὐτὸν γὰρ κατεῖδε Μαρία ἐπὶ τοῦ us; for Mary looked upon him on the Tree and said: τῷ πεσόντι κενώσαντα ἀτρέπτως, καὶ μέχρι παθῶν, without change emptied yourself for the one who ξύλου, καὶ ἔλεγεν· Εἰ καὶ σταυρὸν ὑπομένεις, σὺ “Though you endure the Cross, yet you are My Son ἀπαθῶς ὑποκύψαντα, Λόγε Θεοῦ. Τὴν εἰρήνην had fallen, and impassibly bowed yourself to the ὑπάρχεις ὁ Υἱὸς καὶ Θεός μου. and my God.” παράσχου μοι φιλάνθρωπε.» Passion, O Word of God. Grant me peace, O Lover of humankind.» 7 7 ᾨδὴ ηʹ Ὁ Εἱρμός Ode 8. Heirmos. Τρ οπάρια Troparia. «Στήλην κακίας ἀντιθέου, Παῖδες θεῖοι «The godly youths made a spectacle of the monu- Ῥυφθέντες πόδας, καὶ προκαθαρθέντες, μυστηρίου When their feet had been washed and they had been παρεδειγμάτισαν, κατὰ Χριστοῦ δὲ φρυαττόμενον ment of ungodly evil; while Sanhedrin of the lawless μεθέξει, τοῦ θείου νῦν Χριστέ, σοῦ οἱ ὑπηρέται, cleansed by participation in the divine Mystery, O ἄνομον συνέδριον, βουλεύεται κενά, κτεῖναι μελετᾷ, raged and took vain counsel against Christ; thought ἐκ Σιὼν ἐλαιῶνος, μέγα πρὸς ὄρος συνανῆλθον, Christ, your servants went with you from Sion up to τὸν ζωῆς κρατοῦντα παλάμῃ· ὃν πᾶσα κτίσις to slay the One who holds life in his palm; whom all ὑμνοῦντές σε φιλάνθρωπε. the great Mount of Olives, singing your praises, O εὐλογεῖ δοξάζουσα εἰς τοὺς αἰῶνας». creation blesses and glorifies to the ages». Lover of humankind. Τρ οπάρια Troparia Ὁρᾶτε ἔφης, φίλοι μὴ θροεῖσθε· νῦν γὰρ ἤγγικεν “See, my friends,” you said, “Do not be afraid, for Ἀπὸ βλεφάρων Μαθηταί, νῦν ὕπνον ἔφης Χριστὲ “Now shake sleep from your eyelids, my disciples,” ὥρα, ληφθῆναί με κτανθῆναι χερσὶν ἀνόμων, πάντες now the hour is near for me to be taken and to be τινάξατε· ἐν προσευχῇ δὲ γρηγορεῖτε, πειρασμῷ you said, O Christ, “But watch with prayer, lest you δὲ σκορπισθήσεσθε, ἐμὲ λιπόντες, οὓς συνάξω, slain by the hands of transgressors; while you will μήπως ὄλησθε, καὶ μάλιστα Σίμων· τῷ κραταιῷ slip into temptation; especially you, Simon: for to κηρῦξαί με φιλάνθρωπον. all be scattered and leave me; whom I shall gather to γὰρ μείζων πεῖρας· γνῶθί με Πέτρε, ὃν πᾶσα κτίσις, the mighty comes the greater temptation. Know proclaim me the Lover of humankind.” εὐλογεῖ δοξάζουσα εἰς τοὺς αἰῶνας. me, Peter, whom all creation blesses and glorifies to the ages.” Καταβασία. Katavasia. «Πρὸς σὲ ὀρθρίζω, τὸν δι’ εὐσπλαγχνίαν σεαυτόν, «I rise for you at dawn, who through compassion Βέβηλον ἔπος τῶν χειλέων, οὔ ποτε προήσομαι “I will never utter a profane word from my lips, τῷ πεσόντι κενώσαντα ἀτρέπτως, καὶ μέχρι παθῶν, without change emptied yourself for the one who Δέσποτα, σὺν σοὶ θανοῦμαι ὡς εὐγνώμων, κἂν οἱ Master; I will die with you gladly, though all deny ἀπαθῶς ὑποκύψαντα, Λόγε Θεοῦ. Τὴν εἰρήνην had fallen, and impassibly bowed yourself to the πάντες ἀρνήσωνται, ἐβόησε Πέτρος, σάρξ οὐδὲ you,” cried Peter, “Neither flesh nor blood, but your παράσχου μοι φιλάνθρωπε». Passion, O Word of God. Grant me peace, O Lover αἷμα, ὁ Πατὴρ σου ἀπεκάλυψέ μοι σέ, ὃν πᾶσα Father revealed you to me; you whom all creation of humankind.» κτίσις εὐλογεῖ δοξάζουσα εἰς τοὺς αἰῶνας. blesses and glorifies to the ages.”

12 13 Στίχ. Εὐλογοῦμεν Πατέρα, Υἱὸν καὶ Ἅγιον Πνεῦμα, Verse We bless Father, Son and Holy Spirit, 8 8 τὸν Κύριον· ὑμνοῦμεν καὶ ὑπερυψοῦμεν αὐτὸν the Lord; we praise and exalt them ᾨδὴ θʹ Ὁ Εἱρμός Ode 9. Heirmos. εἰς τοὺς αἰῶνας. to all the ages. Τὴν τιμιωτέραν τῶν Χερουβίμ, καὶ ἐνδοξοτέραν, «Greater in honor than the Cherubim and beyond ἀσυγκρίτως τῶν Σεραφίμ, τὴν ἀδιαφθόρως, compare more glorious than the Seraphim, without Βάθος σοφίας θεϊκῆς, καὶ γνώσεως οὐ πᾶν “You have not searched out the whole depth of Θεὸν Λόγον τεκοῦσαν, τὴν ὄντως Θεοτόκον, σὲ corruption you gave birth to God the Word; truly ἐξηρεύνησας, ἄβυσσον δέ μου τῶν κριμάτων, divine wisdom and knowledge; you have not, my μεγαλύνομεν. the Mother of God, we magnify you.» οὐ κατέλαβες ἄνθρωπε, ὁ Κύριος ἔφη· Σάρξ οὖν friend, grasped the abyss of my judgments,” said the ὑπάρχων, μὴ καυχῶ· ἀρνήσῃ τρίτον γάρ με, ὃν πᾶσα Lord. “Being flesh then, do not boast; for you will Τρ οπάρια Troparia. κτίσις, εὐλογεῖ δοξάζουσα εἰς τοὺς αἰῶνας. three times deny me, whom all creation blesses and Ὀλέθριος σπεῖρα θεοστυγῶν, πονηρευομένων, A destructive band of wicked men, hateful to God; glorifies to the ages.” θεοκτόνων συναγωγή, ἐπέστη Χριστέ σοι, καὶ an assembly of slayers of God came upon you, O ὡς ἄδικον εἷλκε, τὸν Κτίστην τῶν ἁπάντων, ὃν Christ, and dragged away as a malefactor you, the [Καὶ νῦν, καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. Ἀμήν.] [Both now and for ever and to the ages of ages. Amen.] μεγαλύνομεν. Creator of all things, whom we magnify.

[Ἀπαγορεύεις, Σίμων Πέτρε, ὅπερ πείσῃ τάχος ὡς [“You protest, Simon Peter, against what you will Νόμον ἀγνοοῦντες οἱ ἀσεβεῖς, φωνὰς Προφητῶν The impious, ignorant both of the Law and the εἴρηται· καὶ σοὶ παιδίσκη, οἷα θᾷττον προσελθοῦσα speedily be persuaded to do, as it has been foretold, τε, μελετῶντες διακενῆς, ὡς πρόβατον εἷλκον, voices of the Prophets, meditating vain things, πτοήσει σε, ὁ Κύριος ἔφη· πικρῶς δακρύσας, ἕξεις and a maid servant suddenly approaching will σὲ τὸν πάντων Δεσπότην, ἀδίκως σφαγιάσαι· ὃν unjustly dragged away to slaughter as a sheep you, ὅμως εὐΐλατόν με, ὃν πᾶσα κτίσις, εὐλογεῖ δοξάζουσα frighten you. Weeping bitterly you will nevertheless μεγαλύνομεν. the Master of all things, whom we magnify. εἰς τοὺς αἰῶνας.] find me merciful, whom all creation blesses and glori- fies to the ages.”] Τοῖς ἔθνεσιν ἔκδοτον τὴν ζωήν, σὺν τοῖς The priests with the scribes, wounded by envious Γραμματεύσιν, ἀναιρεῖσθαι οἱ Ἱερεῖς, παρέσχον, malice, handed over to the nations, to be done away Στίχ. Αἰνοῦμεν, εὐλογοῦμεν, καὶ προσκυνοῦμεν τὸν Verse We praise, bless and worship the πληγέντες, αὐτοφθόνῳ κακίᾳ τὸν φύσει Ζωοδότην, with, the One who by nature is Life, and the Giver of Κύριον· ὑμνοῦμεν καὶ ὑπερυψοῦμεν αὐτὸν εἰς Lord; praise and exalt him to all ὃν μεγαλύνομεν. life, whom we magnify. τοὺς αἰῶνας. the ages. They surrounded you like many dogs, Sovereign Καταβασία Katavasia. Ἐκύκλωσαν κύνες ὡσεὶ πολλοί, ἐκρότησαν, Ἄναξ, Lord; they struck your cheek with a blow; they «Στήλην κακίας ἀντιθέου, Παῖδες θεῖοι «The godly youths made a spectacle of the monu- σιαγόνα σὴν ῥαπισμῷ, ἠρώτων σε, σοῦ δέ, ψευδῆ questioned you, they bore false witness against you, παρεδειγμάτισαν, κατὰ Χριστοῦ δὲ φρυαττόμενον ment of ungodly evil; while the lawless Sanhedrin κατεμαρτύρουν, καὶ πάντα ὑπομείνας, ἅπαντας and you, enduring all things, saved us all. ἄνομον συνέδριον, βουλεύεται κενά, κτεῖναι μελετᾷ, raged and took vain counsel against Christ; thought ἔσωσας. τὸν ζωῆς κρατοῦντα παλάμῃ· ὃν πᾶσα κτίσις to slay the One who holds life in his palm; whom all εὐλογεῖ δοξάζουσα εἰς τοὺς αἰῶνας». creation blesses and glorifies to the ages». Καταβασία Katavasia. «Τὴν τιμιωτέραν τῶν Χερουβίμ, καὶ ἐνδοξοτέραν, «Greater in honor than the Cherubim and beyond ἀσυγκρίτως τῶν Σεραφίμ, τὴν ἀδιαφθόρως, compare more glorious than the Seraphim, without Θεὸν Λόγον τεκοῦσαν, τὴν ὄντως Θεοτόκον, σὲ corruption you gave birth to God the Word; truly μεγαλύνομεν». the Mother of God, we magnify you». 14 15 9 9 ναοῦ, φόβῳ ἐσχίσθη ὑβριζομένου σου, καὶ πέτραι was rent by fear when you were mocked, and rocks Ἐξαποστειλάριον Exaposteilarion. διερράγησαν, ἀπὸ τοῦ φόβου καὶ ἥλιος, τὰς ἀκτῖνας were split from fear and the sun withdrew its rays, Τὸν Λῃστὴν αὐθημερόν, τοῦ Παραδείσου ἠξίωσας O Lord, who on that very day made the Thief wor- συνέστειλε, ποιητήν σε γινώσκοντα. knowing you their Maker. Κύριε, κᾀμὲ τῷ ξύλῳ τοῦ Σταυροῦ, φώτισον καὶ thy of Paradise, so by the tree of the Cross enlighten σῶσόν με. and save me. 12 12 Στίχ. Τοῦ ποιῆσαι ἐν αὐτοῖς κρῖμα ἔγγραπτον, δόξα Verse To execute upon them the judgment that is 10 10 αὕτη ἔσται πᾶσι τοῖς ὁσίοις αὐτοῦ. decreed; such glory will be for all his holy ones. Αἴνοι Ἦχος δʹ Ψαλμὸς ΡΜΗʹ Lauds. Mode 4. Psalm 148 Ὁ δομέστικος· Αἰνεῖτε τὸν Κύριον ἐκ τῶν οὐρανῶν. Leader: Praise the Lord from the heavens. To Ἰδιόμελα Idiomela. Σοὶ πρέπει ὕμνος, τῷ Θεῷ. you praise is due, O God. Ἦχος αʹ Mode 1. Πᾶσα ἡ Κτίσις, ἠλλοιοῦτο φόβῳ, θεωροῦσά σε, ἐν All creation was changed by fear when it saw you Ὁ χορός· Αἰνεῖτε τὸν Κύριον ἐκ τῶν οὐρανῶν, αἰνεῖτε Choir: Praise the Lord from the heavens; praise him σταυρῷ κρεμάμενον Χριστέ. Ὁ ἥλιος ἐσκοτίζετο, hanging on the Cross, O Christ; the sun was dark- αὐτὸν ἐν τοῖς ὑψίστοις. Σοὶ πρέπει ὕμνος, τῷ Θεῷ. in the highest. To you praise is due, O God. καὶ γῆς τὰ θεμέλια συνεταράττετο, τὰ πάντα ened and the foundations of the earth were shaken; συνέπασχον, τῷ τὰ πάντα κτίσαντι, ὁ ἑκουσίως δι’ all things were suffering with you, the Creator of them Αἰνεῖτε αὐτόν, πάντες οἱ Ἄγγελοι αὐτοῦ, αἰνεῖτε αὐτόν, Praise him, all his angels: Praise him, all his Powers. ἡμᾶς ὑπομείνας, Κύριε δόξα σοι. all. You endured willingly for us. Lord, glory to you! πᾶσαι αἱ δυνάμεις αὐτοῦ. Σοὶ πρέπει ὕμνος, τῷ Θεῷ. To you praise is due, O God. 13 13 Αἰνεῖτε αὐτόν, ἥλιος καὶ σελήνη, αἰνεῖτε αὐτόν, πάντα Praise him, sun and moon; praise him, all you stars Ψαλμὸς ΡΝʹ Psalm 150 τὰ ἄστρα καὶ τὸ φῶς. Σοὶ πρέπει ὕμνος, τῷ Θεῷ. and light. To you praise is due, O God. Αἰνεῖτε τὸν Θεὸν ἐν τοῖς ἁγίοις αὐτοῦ, αἰνεῖτε αὐτὸν Praise God in his ; praise him ἐν στερεώματι τῆς δυνάμεως αὐτοῦ. in the firmament of his power. Αἰνεῖτε αὐτόν, οἱ οὐρανοὶ τῶν οὐρανῶν, καὶ τὸ ὕδωρ Praise him, you highest heavens and you waters that τὸ ὑπεράνω τῶν οὐρανῶν. Αἰνεσάτωσαν τὸ ὄνομα are above the heavens. Let them praise the name of Ἦχος βʹ Mode 2. Κυρίου. Σοὶ πρέπει ὕμνος, τῷ Θεῷ. the Lord. To you praise is due, O God. Λαὸς δυσσεβὴς καὶ παράνομος, ἵνα τί μελετᾷ κενὰ; Impious and lawless people, why do you meditate ἵνα τί τὴν ζωὴν τῶν ἁπάντων, θανάτῳ κατεδίκασε; vain things? Why have you condemned the life of 11 11 Μέγα θαῦμα! ὅτι ὁ Κτίστης τοῦ Κόσμου, εἰς χεῖρας all to death? O great marvel! That the Creator of the Ψαλμὸς ΡΜΘʹ Psalm 149 ἀνόμων παραδίδοται, καὶ ἐπὶ ξύλου ἀνυψοῦται world, who loves humankind, is betrayed into the Αἱ ὑψώσεις τοῦ Θεοῦ ἐν τῷ λάρυγγι αὐτῶν, καὶ The high praises of God in their mouths, and two- ὁ φιλάνθρωπος, ἵνα τοὺς ἐν ᾍδῃ δεσμώτας hand of transgressors and lifted up on a tree, that he ῥομφαῖαι δίστομοι ἐν ταῖς χερσὶν αὐτῶν. edged swords in their hands. ἐλευθερώσῃ, κράζοντας· Μακρόθυμε Κύριε δόξα may free the prisoners in Hell. Long-suffering Lord, σοι. glory to you! Στιχηρὸν Προσόμοιον Ἦχος δ´ Sticheron prosomoion in Mode 4 Ἔδωκας σημείωσιν [to the melody] You have given us a sign Ὅτε σὲ σταυρούμενον, ἡ κτίσις πᾶσα ἑώρακεν, When all creation saw you crucified, O long- ἠλλοιοῦτο καὶ ἔτρεμεν, ἡ γῆ δὲ ἐσείετο, ὅλη suffering Word, it was changed and trembled, while κλονουμένη, μακρόθυμε Λόγε, τὸ καταπέτασμα the earth, all shaken, quaked; the veil of the temple 16 17 14 14 στόμα τὴν ἐν ὄξει κερασθεῖσαν χολὴν τῇ γεύσει, taste of gall mixed with vinegar; your ears the impi- Στίχ. Αἰνεῖτε αὐτὸν ἐν ἤχῳ σάλπιγγος, αἰνεῖτε αὐτὸν Verse Praise him in the blast of the trumpet: praise τὰ ὦτα τὰς δυσσεβεῖς βλασφημίας. Ὁ νῶτος τὴν ous blasphemies; your back the scourge and your ἐν ψαλτηρίῳ καὶ κιθάρᾳ. him upon the lute and harp. φραγγέλωσιν, καὶ ἡ χεὶρ τὸν κάλαμον, αἱ τοῦ hand the reed; your whole body the stretching on ὅλου σώματος ἐκτάσεις ἐν τῷ σταυρῷ, τὰ ἄρθρα the Cross; your joints the nails and your side the Ἐπὶ ξύλου βλέπουσα, κρεμάμενον Χριστέ, σὲ When she saw you, O Christ, the Creator and God of τοὺς ἥλους, καὶ ἡ πλευρὰ τὴν λόγχην. Ὁ παθὼν lance. You suffered for our sake, and freed us from τὸν πάντων Κτίστην καὶ Θεόν, ἡ σὲ ἀσπόρως all, hanging on the Cross, she who bore you without ὑπὲρ ἡμῶν, καὶ παθῶν ἐλευθερώσας ἡμᾶς. Ὁ passions, you stooped down to us in your love for τεκοῦσα, ἐβόα, πικρῶς· Υἱέ μου, ποῦ τὸ κάλλος seed, cried bitterly: My Son, where has the beauty συγκαταβὰς ἡμῖν φιλανθρωπίᾳ, καὶ ἀνυψώσας ἡμᾶς, humankind, and raised us up. All powerful Savior, ἔδυ τῆς μορφῆς σου; οὐ φέρω καθορᾶν σε, ἀδίκως of your form departed? I cannot bear to see you un- παντοδύναμε Σωτήρ, ἐλέησον ἡμᾶς. have mercy on us. σταυρούμενον· σπεῦσον οὖν ἀνάστηθι, ὅπως ἴδω justly crucified; hasten then, arise, that I too may see κᾀγώ, σοῦ τὴν ἐκ νεκρῶν, τριήμερον ἐξανάστασιν. your resurrection from the dead on the third day. 17 17 Προκείμενον Ἦχος πλ. αʹ Ψαλμὸς ΙΑʹ Prokeimenon. Mode Plagal 1. Psalm 11. 15 15 Διάκονος· Σοφία. Deacon: Wisdom. Στίχ. Αἰνεῖτε αὐτὸν ἐν κυμβάλοις εὐήχοις, αἰνεῖτε Verse Praise him on fine-sounding cymbals: praise Ἀναγνώστης· Ψαλμὸς τῷ Δαβίδ. : A psalm of David. αὐτὸν ἐν κυμβάλοις ἀλαλαγμοῦ. Πᾶσα πνοὴ him on cymbals of gladness. Let everything that Διάκονος· Πρόσχωμεν. Deacon: Let us attend. αἰνεσάτω τὸν Κύριον. has breath praise the Lord. Ἀναγνώστης· Προκείμενον. Ἦχος πλάγιος τοῦ Reader: The prokeimenon in the Plagal of the First πρώτου. A]ea]ej. Mode. Aneanes. Ἦχος γʹ Mode 3. Δύο καὶ πονηρὰ ἐποίησεν, ὁ πρωτότοκος υἱός Israel my firstborn son has done two wicked things: Σύ, Κύριε, φυλάξαις ἡμᾶς May you, Lord, guard us, μου Ἰσραήλ, ἐμὲ ἐγκατέλιπε, πηγὴν ὕδατος ζωῆς, he has abandoned me, source of the water of life, καὶ διατηρήσαις ἡμᾶς. and protect us. καὶ ὤρυξεν ἑαυτῷ φρέαρ συντετριμμένον, ἐμὲ ἐπὶ and dug for himself a broken well. He has crucified Στίχ. Σῶσόν με, Κύριε. Verse Save me, Lord. ξύλου ἐσταύρωσε, τὸν δὲ Βαραββᾶν ᾐτήσατο, καὶ me on a tree, but asked for Barabbas and released Στίχ. Μάταια ἐλάλησε ἔκαστος πρὸς τὸν πλησίον Verse Each one has spoken empty vanities to his ἀπέλυσεν· ἐξέστη ὁ οὐρανὸς ἐπὶ τούτῳ, καὶ ὁ ἥλιος him. Heaven was amazed at this and the sun hid its αὐτοῦ. neighbor. τὰς ἀκτῖνας ἀπέκρυψε· σὺ δὲ Ἰσραὴλ οὐκ ἐνετράπης, rays; while you, Israel, felt no shame, but handed me [Ψαλ. ΙΑʹ β,γ] (Psalm 11: 8, 2–3) ἀλλὰ θανάτῳ με παρέδωκας. Ἄφες αὐτοῖς Πάτερ over to death. “Forgive them, holy Father, for they ἅγιε· οὐ γὰρ οἴδασι τί ἐποίησαν. do not know what they have done.”

16 16 Δοξαστικόν Doxastikon. Δόξα Πατρί, καὶ Υἱῷ, καὶ Ἁγίῳ Πνεύματι. Καὶ νῦν, Glory to the Father and to the Son and to the Holy καὶ ἀεί, καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. Ἀμήν. Spirit. Both now and ever and to the ages of ages, Amen.

Ἕκαστον μέλος τῆς ἁγίας σου σαρκός, ἀτιμίαν Each member of your holy flesh endured dishonor δι’ ἡμᾶς ὑπέμεινε, τὰς ἀκάνθας ἡ κεφαλή, ἡ ὄψις for our sake: your head the thorns; your face the τὰ ἐμπτύσματα, αἱ σιαγόνες τὰ ῥαπίσματα, τὸ spittings; your cheeks the blows; your mouth the 18 19 Cappella Romana ficial companion CD to the Royal Academy of Arts Exhibition), Byzantium in Rome: Medieval Byzantine Its performances “like jeweled light flooding the Chant from Grottaferrata, The , space” ( Times), Cappella Romana is Richard Toensing: Kontakion on the Nativity of a vocal chamber ensemble dedicated to combin- Christ, Peter Michaelides: The of St. ing passion with scholarship in its exploration of and The Divine Liturgy in English: the musical traditions of the Christian East and The Complete Service in Byzantine Chant. Forthcom- West, with emphasis on early and contemporary ing recordings include music from medieval Cyprus, music. Founded in 1991, Cappella Romana’s name medieval Byzantine chant from the Great Church refers to the concept of the Roman of Christ at Hagia Sophia, Constantinople, and the oikoumene (inhabited world), which embraced large-scale Slavonic choral work Passion Week by Rome and Western Europe, as well as the Byzantine (1883–1946), a student and Empire of Constantinople (“New Rome”) and its son-in-law of Rimsky-Korsakov and teacher of Slavic commonwealth. Shostakovich. Flexible in size and configuration according to the In 2010 it became a participant in the research demands of the repertory, Cappella Romana is project “ of Sound: Aesthetics and Acoustics based in the Pacific Northwest of the United States of Hagia Sophia, Istanbul,” a collaboration between of America, where it presents annual concert series the Center for Computer Research in Music and in Portland, Oregon, and Seattle, Washington. It Acoustics and the Department of Art & Art History regularly tours in Europe and North America, hav- at Stanford University, where the ensemble also ing appeared at venues including the Metropolitan performed in 2013 and will return in 2016-17. Museum of Art, Wall Street and Music Before 1800 in New York, the J. Paul Getty Center Alexander Lingas, artistic director in Los Angeles, St. Paul’s Cathedral in London, the Alexander Lingas, founding Artistic Director of Pontificio Istituto Orientale in Rome, the Sacred Cappella Romana, is a Reader in Music at City Music Festival of Patmos, the University of Oxford, University London and a Fellow of the University Princeton University, and Yale University. of Oxford’s European Humanities Research Centre. Cappella Romana has released over twenty compact He received his Ph.D. in Historical Musicology from discs, including recent releases Tikey Zes: Divine the University of British Columbia. His present Liturgy and Arctic Light: Finnish Orthodox Music. In work embraces not only historical study but also addition to the present disc, other releases include ethnography and performance. Formerly Assistant Mt. Sinai: Frontier of Byzantium, : Medieval Professor of Music History at Arizona State Univer- Byzantine Chant and Byzantium 330–1453 (the of- sity’s School of Music, Dr. Lingas has also served as

20 21 a lecturer and advisor for the Institute of Orthodox Gymnasium and Lyceum of Pallini. He is a member tory of Athens with Mr. Lazarus Kouzinopoulos concerts in the Washington-Metro area, in churches Christian Studies at the University of Cambridge. of the International Musicological Society’s Cantus and the late Spyros Peristeris as his teachers, on a and at venues such as Catholic University, the US His awards include Fulbright and Onassis grants for Planus Study Group and has published scholarly scholarship from the Greek Orthodox Archdiocese Capitol, the Smithsonian Institution and the Greek musical studies with Lycourgos Angelo- articles in Greek and English. of Greece. In 1994 he took his first degree in Chant- Embassy. He also gave the first con- poulos, the British Academy’s Thank-Offering to ing from the Conservatory of Athens, and in 2000 cert at Duke University Chapel in 2004. In 2001 Dr. Arvanitis collaborated with Dr. Lingas Britain Fellowship, research leave supported by the his Diploma in Byzantine Music from the National and the Greek Byzantine Choir (dir. Lycourgos From 2000 to 2006 he collaborated with the Stavros Niarchos Foundation, and the St. Romanos Conservatory of Greece. Angelopoulos) on the reconstruction of Romeiko Ensemble chanting in religious services, the Melodist medallion of the National Forum for according to the Cathedral Rite of Hagia Sophia, a He has served as a professional chanter since 1992 concerts, and CD recordings. Greek Musicians (USA). Having service performed in the Chapel of St. Peter’s College in the churches of Saint George (Palaio Iraklio), contributed articles to The New Grove Dictionary of Mr. Kontakiotis founded and still leads the Byzan- Oxford and later broadcast on Greek national radio. Nativity of Christ (Paiania) and Holy Trinity (Am- Music and Musicians, and The Oxford Handbook of tine Choir of the Metropolis of Syros on the island For the last decade he has contributed regularly belokipoi) in Greater Athens. He also founded and , Dr. Lingas is now completing two of Tinos. He is also a member of the ensemble to the work of Cappella Romana, participating in conducted the Byzantine Music Choir, consisting of monographs: a study of Sunday Matins in the Rite of “MELIDRON” performing a varied repertory rang- four prior recording projects as a singer or guest young adults, which performed in many concerts Hagia Sophia for Ashgate and a historical introduc- ing from East to West, balanced between traditional director—Epiphany, Byzantium in Rome, The and services throughout the greater Athens area. tion to Byzantine Chant for Yale University Press. and modern, old and new. Divine Liturgy in English, and Mt. Sinai: Frontier of During the years 1990-2000, he took classical voice Ioannis Arvanitis, editor of musical editions Byzantium—and regularly providing it performing His voice can be heard in songs in animated films lessons and he joined the National Radio Choir editions of medieval Byzantine chant. His editions translated into Greek from the English original, such Ioannis Arvanitis received his Ph.D. from the Ion- (ERT) as a tenor. With the ERT Choir he took of medieval chant have also been sung or recorded as The Prince of Egypt (DreamWorks), Pinocchio, The ian University (Corfu) for a thesis on rhythm in part in numerous operas, oratorios, and concerts by the Romeiko Ensemble (Yiorgos Bilalis, dir.), Little Mermaid, Cinderella, and Pocahontas (Disney). medieval Byzantine music, his BSc in Physics from throughout Greece and Europe. He also participated the Greek Byzantine Choir, and Dr. Arvanitis’ He also recorded the male voice for the Rosetta the University of Athens, and a Teacher’s Diploma of in other and vocal ensembles such as the own ensemble Hagiopolites. He has sung Western Stone Learning Software. Byzantine Music from the Skalkottas Conservatory choir of The Athens Megaron concert hall in Athens, plainchant and Parisian organum with Marcel Pérès under the supervision of Lycourgos Angelopoulos. Emmeleia choir of Athens, the vocal ensemble Poly- Since 2006 he has collaborated with Cappella and his and has composed many He also studied Byzantine music at the Conservatory fonia of Athens, and the choir of Leivadeia. Romana as principal soloist in concerts throughout chants in contemporary post-Byzantine style. of Halkis, as well as Byzantine and folk music under the United States and Europe, appearing also as In 2000, he was appointed to the position of Pro- Simon Karas at the Society for the Dissemination of Stelios Kontakiotis, principal soloist principal soloist on Cappella Romana’s recording topsaltis (first chanter) and Choir Director at Saint National Music. of medieval Byzantine chant from St. Catherine’s Stelios Kontakiotis is protopsaltis (first chanter) of Sophia Greek Orthodox Cathedral in Washington, Monastery at Mt. Sinai. He has taught Byzantine music at the Ionian Univer- the Holy Temple of the Annunciation of the Virgin DC, where he served until 2008 when he auditioned sity, received a research fellowship at the University Mary on the sacred island of Tinos, Greece, one of for and was awarded his current post at Tinos. Spyridon Antonopoulos of Athens, and served as a guest lecturer for the Irish the most prominent pilgrimage sites in Greece. During his stay in the USA he gave lectures, master- Spyridon Antonopoulos recently obtained his World Music Centre at the University of Limerick. Mr. Kontakiotis was born in Athens and grew up on classes and performed at concerts with the Saint doctorate in Musicology from City University Lon- An accomplished performer on various Greek folk the island of Amorgos (Cyclades-Greece). He began Sophia Greek Orthodox Cathedral Choir as well as don, completing a thesis on the fifteenth-century instruments (tambura, ud, and laouto), Dr. Arvanitis his studies in Byzantine Music at the Conserva- chanting at Eastern Orthodox religious services and composer and theorist and the was a founding instructor at the Experimental Music 22 23 Figure of Composer in Late Byzantium. Dr. Anto- medieval churches of , featuring many of Theology and is currently pursuing a doctorate president of its board of directors from 1999-2002, nopoulos, a graduate of Brown University and the of his own transcriptions of medieval chant. in Musicology from the University of Athens. His and since 2002 as its executive director. He is also New England Conservatory, is director of St. Mark’s textbook, Byzantine Chant: The Received Tradition is director of development and marketing for Portland John Michael Boyer Byzantine Choir and regularly performs with the ac- forthcoming from Holy Cross Press. Baroque Orchestra and an independent consultant claimed vocal ensemble Cappella Romana as well as John Michael Boyer is a specialist in Byzantine in board development, fundraising, and marketing. Constantine Kokenes the London-based Byzantine Melodists. A student of Music and is in high demand as soloist, conductor, He received a bachelor’s degree in music from the late Edward Zambara (NEC) and Robert arranger, composer and teacher of the art form. Constantine Kokenes M.D. began his studies of Seattle Pacific University and a master’s degree in (Guildhall), Dr. Antonopoulos has appeared as tenor A principal member of Cappella Romana since the notation and yphos (style) of Byzantine chant musicology from the University of Washington with soloist in concerts and recitals of art song, opera, 1999, he can be heard on the majority of the group’s with Nicholas Kakoulides, Archon Protopsaltes a thesis on the music of Arvo Pärt. As a baritone, and fully staged operas with several ensembles in recordings and has conducted the ensemble on of the Archdiocese of North and South America, he has toured and recorded extensively with the US and UK. His versatility as performer extends several occasions. As composer and arranger, he has from 1980 until his death in 1981, after which he Cappella Romana and with a number of professional beyond Western Classical art music and Byzantine produced transcriptions of Byzantine Chant in both continued with Konstantinos Katsoulis, protopsaltis, ensembles in the US and in Europe, including The chant, having appeared in numerous performances Byzantine and Western notations as well as numer- Athens Greece. From 1992 to 2003 he was a student Tudor Choir, Seattle; the Chœur de Chambre de with the rebetiko ensemble, Plastikes Karekles, the ous original settings and compositions, primarily of George Bilalis and an associate with the Romeiko Namur, Belgium; and Wakefield Cathedral Choir, Boston-based Greek Music Ensemble, and the SOAS in the English language. These settings have been Ensemble performing modern and medieval England. He appears on most of Cappella Romana’s Rebetiko Band, with appearances at the Royal Fes- recorded on Eikona’s disc Great Vespers, Cappella transcriptions of Byzantine chant in dozens of recordings, both of choral works and of Byzantine tival Hall in London as well as the celebrated world Romana’s double CD The Divine Liturgy in English, concerts in the US and Europe and in four published chant. He was received into the Orthodox Church music site, Green Note Café, in Camden. Since 2010 and on the Hellenic College Holy Cross recording recordings. In addition he has performed Ottoman in 1995, and served thereafter as a choir director he has spoken at dozens of international academic All Creation Trembled. court music, Sufi devotional music, and Turkish folk and a cantor at the Greek Orthodox churches in conferences in Greece, Cyprus, England, and the songs with Romeiko and instrumentalists from the Seattle, Washington, and Portland, Oregon. He Mr. Boyer is Protopsaltis (First Cantor) of the Greek US, and in 2013, Dr. Antonopoulos organized and Istanbul Conservatory. He began performing with was tonsured a reader by His Eminence the late Orthodox Metropolis of San Francisco, under chaired an international symposium on Byzantine Cappella Romana in 2006 and has appeared with Metropolitan +Anthony of San Francisco, and was whose auspices he founded the St. chant at the Hellenic Centre London, featuring a the ensemble in North America and abroad. a student of the Rev. Dimosthenis Paraskevaïdes in Institute for Liturgical Arts, an educational institu- panel of renowned scholars, as well as performances Byzantine chant. tion dedicated to the strengthening of liturgical He holds the ecclesiastical rank of Ieropsaltis by Cappella Romana (including selections that programs, primarily musically, in the parishes of the bestowed on him by the late Metropolitan +Philip appear on this present recording) and the Choir of Greek Orthodox Metropolis of San Francisco. He of Atlanta. He served as Byzantine Chant Instructor the Archdiocesan School of Byzantine Chant. Dr. also conducts the Metropolis Ensemble of Liturgical for the Metropolis of Atlanta in the 1990s and early Antonopoulos is a researcher for Bodies and Spirits: Orthodox Singers (MELOS), focusing on choral 2000s. Today he chants at the Metropolis Cathedral Contact and Booking Information Soundscapes of Medieval Byzantium, a multidiscipli- excellence in Byzantine Music presented in liturgical of the Annunciation, Atlanta, Georgia as lampa- nary project led by researchers at UCLA and USC, Cappella Romana context. darios (left chanter). which focuses on the interplay of sound, space, and 1017 SW Morrison St Ste 315, Portland, or 97205 usa liturgy in late medieval churches. For this project’s He holds a Bachelor of Arts degree in Music from Mark Powell tel +1.503.236.8202 cappellaromana.org first phase, Dr. Antonopoulos directed a choir of the University of California, Berkeley and a Master Mark Powell has served Cappella Romana in in a week of onsite recordings in seven late of Divinity from Holy Cross Greek Orthodox School multiple capacities, as a singer since 1995, as 24 25 PRODUCTION CREDITS Acknowledgements:

Executive Producer: Mark Powell (Cappella Romana). Jonathan Abel, CCRMA, Stanford University Jenny Bilfield, Stanford Live (formerly) Recording, Remixing and Mastering Producer; Digital Prof. Stephen Cottrell, Department of Music, City University Editor: Steve Barnett (Barnett Music Productions, London Minneapolis, Minn.). Ephrem (Lash) Recording Engineer: Andy Greenwood (Audio Software Helen C. Evans, the Mary and Michael Jaharis Curator for Engineer, Sennheiser Research Lab; Center for Computer of the Metropolitan Museum of Art Research in Music and Acoustics, Stanford University). Stig Simeon Frøyshov Daniel Galadza Remixing and Mastering Engineer: Preston Smith (Perfect Dimitri Gondicas, Director of the Seeger Center for Hellenic Record, Saint Paul, Minn.). Studies, Princeton University Editing Plot Preparation and Mastering Advisor: Gail Marsom, Department of Music, City University London John Michael Boyer. Sandra Martani Bissera Pentcheva, Professor of Art History, Stanford Performing editions: Ioannis Arvanitis University Original recordings: g&P 2015 by Cappella Romana, Inc. Darwin F. Scott, Arthur Mendel Music Library, Princeton All rights reserved. Recorded at Stanford Memorial Church, University Stanford, California, 4–7 February 2013, with thanks to Limor Tomer, director, Met Museum Presents Stanford University: Stanford Live, the Department of Art Prof. Christian Troelsgård, Monumenta Musicae Byzantinae, and Art History, the Center for Computer Research in Music University of Copenhagen and Acoustics (CCRMA), and the Office for Religious Life. City University London Graphic design/booklet editor: Mark Powell. The Hellenic Centre, London The Priory Church of St-Bartholomew-the-Great, London English translations: Very Rev. Archimandrite Ephrem (Lash). This recording is made possible in part Photography: Cover, the current Rotunda of the Anastasis, by the generous support Jerusalem: iStockphoto.com. Ensemble at Stanford Memorial of the following donors: Church: Center for Computer Research in Music and Acoustics (CCRMA), Stanford University. Map of “The Holy The Virginia H. Farah Foundation City of Jerusalem,” , 6th c., Madaba, Jordan: public The Cottonwood Foundation domain. at Stanford Memorial Church: Mark Powell. The National Forum of Booklet content and design: g2015 by Cappella Romana, Musicians Inc. All rights reserved. Dr. Constantine Kokenes 26 27 These and other titles atcappellaromana.org or your favorite retailer

The Divine Liturgy in English Tikey Zes: The Divine CR413-CD in Byzantine Chant The Liturgy for mixed choir with “exceptionally complete service on two CDs, organ achieves a balance of beautiful music” featuring music drawn from the Leitourgia splendor with restraint that is, most authoritative traditions in an inculturated and digni- “a of Byzantine chanting. 40-page fied musical idiom, thoroughly gift to the Orthodox world” booklet with extensive essays on Byzantine. Frs. John Bakas and Again liturgy and Byzantine chant. John Kariotakis sing the parts of the clergy.

The Fall of Constantinople Live in Greece: From Constan- Cappella Romana’s critically tinople to California Ancient acclaimed program of Byzantine Byzantine chants, encounters “a chant and polyphony c. 1453 with Crusaders and Venetians, captivating recital” and motets by Guillaume Dufay and music by Californians Gramophone explores the musical legacy of “music Frank Desby and his peers and of endless New Rome—caught between fascination” Athenian composer Michael Latin West and Islamic East. Gapplegate Adamis (1929–2013).

Voices of Byzantium: Medi- Arctic Light: Finnish eval Byzantine Chant from Orthodox Music Original Mt. Sinai Byzantine musical works composed in Finnish in treasures from cathedrals and the 20th century that marry preserved from “adventurous a shining Northern clarity of “robust music … recom- destruction in the Egyptian sound with a sonic richness and intriguing mended” music” Wash- desert at the Greek Orthodox Fanfare clearly linked to the traditions ington Post Monastery of St. Catherine at of Russian choral singing. Mt. Sinai. Directed by . Michaelides: Divine Liturgy Byzantium in Rome: This outstanding choral Medieval Byzantine Chant setting combines elements of Led by Ioannis Arvanitis, this Byzantine chant with modern 2-CD set bears witness to neo-classicism to create Constantinopolitan music from American “an unaccompanied liturgical before the Latin conquest of ideal Record Guide performance” music of uncommon elegance Critic’s Choice 1204, as recorded at the Abbey Gramophone and spiritual depth. 2008 of Grottaferrata near Rome (founded 1004). 28

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