Saint John the Baptist Orthodox Church
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
UNIVERSITY of CALIFORNIA Los Angeles Byzantine Liturgy and The
UNIVERSITY OF CALIFORNIA Los Angeles Byzantine Liturgy and the Primary Chronicle A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Slavic Languages and Literatures by Sean Delaine Griffin 2014 ABSTRACT OF THE DISSERTATION Byzantine Liturgy and the Primary Chronicle by Sean Delaine Griffin Doctor of Philosophy in Slavic Languages and Literatures University of California, Los Angeles, 2014 Professor Gail Lenhoff, Chair The monastic chroniclers of medieval Rus’ lived in a liturgical world. Morning, evening and night they prayed the “divine services” of the Byzantine Church, and this study is the first to examine how these rituals shaped the way they wrote and compiled the Povest’ vremennykh let (Primary Chronicle, ca. 12th century), the earliest surviving East Slavic historical record. My principal argument is that several foundational accounts of East Slavic history—including the tales of the baptism of Princess Ol’ga and her burial, Prince Vladimir’s conversion, the mass baptism of Rus’, and the martyrdom of Princes Boris and Gleb—have their source in the feasts of the liturgical year. The liturgy of the Eastern Church proclaimed a distinctively Byzantine myth of Christian origins: a sacred narrative about the conversion of the Roman Empire, the glorification of the emperor Constantine and empress Helen, and the victory of Christianity over paganism. In the decades following the conversion of Rus’, the chroniclers in Kiev learned these narratives from the church services and patterned their own tales of Christianization after them. The ii result was a myth of Christian origins for Rus’—a myth promulgated even today by the Russian Orthodox Church—that reproduced the myth of Christian origins for the Eastern Roman Empire articulated in the Byzantine rite. -
(Pokróv) of Our All-Holy Lady, Theotokos, and Ever-Virgin Mary
The 1st Day of October The Protection (Pokróv) of our All-holy Lady, Theotokos, and Ever-Virgin Mary Note: If the Temple is dedicated to the Mother of God, or the Rector so desires, the All-Night Vigil is served. Note: The Commemoration of St. Romanos the Melodist is also on this date. His service immediately follows this.— incomplete as of 7/2016 Small Evening Service At “Lord, I have called...,” 4 stikhera, in Tone 1: To the regular melody. God, who alone rests upon the thrones on-High / Was pleased that a man who had found favor with Him, / Should behold thee, O Lady, standing above the earth / Stretching out thy divine hands in supplication / Praying for the city and the people. / Protect us now, O Lady /// Under the veil of thy mercy. (Twice) Thou, O most-pure Lady / Ever protects with thy precious veil / The city [and people] that honor and worthily praise thee, / Keeping them safe from the assaults of the enemy, / From famine, and earthquake, and civil war, /// O Virgin, Bride unwedded, thou protectress and defender of mankind. O living abode of Christ, / Thou art a wall, a haven, and a stronghold for the faithful. / Through thee, O Mother of God, [are they and] thy city saved; / Through thy help the kings of the true Faith are crowned; / In thee do they rejoice as they gain victories over the heathens, /// For thou ever protects us under the veil of thy mercy. Glory..., now and ever…, in the Tone 5: Come, ye assemblies of those who love the feasts of the Church, / And let us sing the praises of the most-holy Virgin! / For today -
GRAMMENOS KARANOS 83 Sherman Road, Brookline, MA 02467 Telephone: 617-850-1236 E-Mail: [email protected], [email protected]
REV. DR. GRAMMENOS KARANOS 83 Sherman Road, Brookline, MA 02467 Telephone: 617-850-1236 E-mail: [email protected], [email protected] Curriculum Vitae Last updated August 22, 2018 Education National and Kapodistrian University of Athens, Athens, Greece School of Philosophy, Department of Musical Studies • Ph.D. in Byzantine Musicology and Psaltic Art (2011) • Dissertation: Τὸ Καλοφωνικὸν Εἱρμολόγιον [The Kalophonic Heirmologion] • Advisors: Gregorios Stathis, Achilleus Chaldaeakes, Demetrios Balageorgos Boston University, Boston, MA Graduate School of Management • Master of Business Administration (2004) Harvard University, Cambridge, MA Harvard-Radcliffe Colleges • Bachelor of Arts cum laude in Government (1997) • Senior Thesis: The Concept of Moderation in the Theories of Plato and Aristotle • Advisor: Petr Lom Greek Orthodox Metropolis of Boston, Boston, MA School of Byzantine Music • Certificate of Byzantine Music with highest distinction (2002) • Studied under Professor Photios Ketsetzis, Archon Protopsaltis of the Greek Orthodox Archdiocese of America. Teaching Experience / Appointments Hellenic College/Holy Cross Greek Orthodox School of Theology, Brookline, MA Assistant Professor of Byzantine Liturgical Music (September 2011 – present) Mathimata, Kratimata, and Deinai Theseis The Kalophonic Heirmologion History of Western Music History of Byzantine Music Directed Study in Byzantine Music Instruction for Beginners Directed Study in Advanced Ecclesiastical Composition in English Service Rubrics Byzantine Music for Clergy Byzantine Music X – Papadike, Old Sticherarion, and Kalophonic Heirmoi Byzantine Music IX – Papadike and Old Sticherarion CV of Grammenos Karanos Byzantine Music VIII – Divine Liturgy Byzantine Music VII – Doxastarion & Slow Heirmologion Byzantine Music VI – Holy Week Byzantine Music V – Prosomoia and Music for Sacraments Byzantine Music IV – Anastasimatarion: Modes II, Pl. II & Varys Byzantine Music III – Anastasimatarion: Modes III, IV & Pl. -
A Comparison of the Two Forms of the Roman Rite
A Comparison of the Two Forms of the Roman Rite Mass Structures Orientation Language The purpose of this presentation is to prepare you for what will very likely be your first Traditional Latin Mass (TLM). This is officially named “The Extraordinary Form of the Roman Rite.” We will try to do that by comparing it to what you already know - the Novus Ordo Missae (NOM). This is officially named “The Ordinary Form of the Roman Rite.” In “Mass Structures” we will look at differences in form. While the TLM really has only one structure, the NOM has many options. As we shall see, it has so many in fact, that it is virtually impossible for the person in the pew to determine whether the priest actually performs one of the many variations according to the rubrics (rules) for celebrating the NOM. Then, we will briefly examine the two most obvious differences in the performance of the Mass - the orientation of the priest (and people) and the language used. The orientation of the priest in the TLM is towards the altar. In this position, he is facing the same direction as the people, liturgical “east” and, in a traditional church, they are both looking at the tabernacle and/or crucifix in the center of the altar. The language of the TLM is, of course, Latin. It has been Latin since before the year 400. The NOM was written in Latin but is usually performed in the language of the immediate location - the vernacular. [email protected] 1 Mass Structure: Novus Ordo Missae Eucharistic Prayer Baptism I: A,B,C,D Renewal Eucharistic Prayer II: A,B,C,D Liturgy of Greeting: Penitential Concluding Dismissal: the Word: A,B,C Rite: A,B,C Eucharistic Prayer Rite: A,B,C A,B,C Year 1,2,3 III: A,B,C,D Eucharistic Prayer IV: A,B,C,D 3 x 4 x 3 x 16 x 3 x 3 = 5184 variations (not counting omissions) Or ~ 100 Years of Sundays This is the Mass that most of you attend. -
Little Compline for Akathist Saturday
The Office of Little Compline with the Akathist Canon and Hymn **As served on the fifth Friday of Great Lent** **Instructions** An icon of the Theotokos (preferably the one described in the Synaxarion below) is placed on a stand in the middle of the solea. The candles are lit and the church is semi-illumined. The censer is used only for the stases of the Akathist Hymn. The curtain and Holy Doors are closed until the priest begins the first stasis of the Akathist Hymn. The priest wears a blue epitrachelion over his exorasson and starts Little Compline in front of the icon. Priest: Blessed is our God always, now and ever, and unto ages of ages. Choir: Amen. Priest: Glory to Thee, O God, glory to Thee. O heavenly King, the Comforter, Spirit of Truth, Who art in all places, and fillest all things, Treasury of good things, and Giver of life, come, and dwell in us, and cleanse us from every stain; and save our souls, O good One. People: Holy God, Holy Mighty, Holy Immortal: have mercy on us. (THRICE) Glory to the Father, and to the Son, and to the Holy Spirit; both now and ever, and unto ages of ages. Amen. All-holy Trinity, have mercy on us. Lord, cleanse us from our sins. Master, pardon our iniquities. Holy God, visit and heal our infirmities for Thy Name’s sake. Lord, have mercy. (THRICE) Glory to the Father, and to the Son, and to the Holy Spirit; both now and ever, and unto ages of ages. -
Sacred Song in the Late Antique and Byzantine East: Comparative Explorations 3-6 May, 2015 Brown University
Sacred Song in the Late Antique and Byzantine East: Comparative Explorations 3-6 May, 2015 Brown University Spyridon Antonopoulos City University, London “ 'We shall clearly hear him say 'Rejoice!' as we sing': Hearing, Intelligibility, and Performance in Byzantine Chant" The complex strophic poems known as the Kanons were first composed during a flourishing of literary creativity that took place in and around the Palestinian monastery of St Sabas in the seventh and eighth centuries. Kanons typically consisted of eight or nine textually and melodically unique heirmoi, to which multiple thematically linked troparia (contrafacta) were adapted. The heirmoi formed the basis for the notated musical collection of the Heirmologion, which can be found in its most archaic form as early as the tenth century. The heirmoi found in medieval Heirmologia were unascribed, brief, and mostly syllabic. By the fourteenth century, while traditional styles of psalmody continued to be sung and written, a new style of singing and composition – kalophonia – had begun to touch nearly every genre of liturgical poetry, including the Kanon’s heirmoi. Thus, elaborate kalophonic heirmoi, composed by named musicians, appear at least by the fourteenth century, characterized by long, melismatic phrases, text troping, insertion of non-textual elements, modal variety, and an expanded melodic range. This paper shall provide an analysis of select kalophonic heirmoi in contrast to their syllabic forebears in order to confront questions of aural reception, intelligibility, and performance. Thomas Arentzen University of Oslo “Voices Interwoven: Refrains and Vocal Participation in Late Ancient Kontakia” The refrain constitutes an indispensable element of the kontakion. It ties the stanzas together, but it also contributes to a sort of repetitive concentration in these songs; whichever spirals and ellipses the narratives move in, the refrain remains a gravity center. -
Pna 35/2020 109 Artiklar
“THE GREAT INITIATE OF GOD’S GRACE”: A KONTAKION ON ST NICHOLAS BY PSEUDO-ROMANOS Uffe Holmsgaard Eriksen ([email protected]) University of Southern Denmark Abstract: During the ninth and tenth centuries, St Nicholas of Myra became increasingly popular as a saint, eventually rising to rank of the apostles in veneration. This article presents an investigation into the monastic piety which brought St Nich- olas onto the stage of the Byzantine liturgical storyworld as one of the most im- portant saints. Through a closer examination of how he was presented from the ninth century onwards in hagiography in general, the main focus of the article is a kontakion on the saint attributed to the great poet Romanos the Melodist (ca. 485–560) in particular. The question of authorship, time and place of origin of the kontakion is discussed. The article finally brings a new translation of the kontakion into English. Key words: Keywords: pseudo-Romanos, Romanos the Melodist, kontakion, kanon, Byzan- tine hymnography, St Nicholas of Myra, St Nicholas of Sion, hagiography PNA 35/2020 109 ARTIKLAR Hagiographical Hymns in General Scholarly work on Byzantine hymns devoted to saints is still a desider- atum. This goes not only for a large amount of unedited hagiographical kanons,1 but also for the kontakia2 on saints’ lives. Most of these hagio- graphical kontakia, several hundred,3 remain unedited, but because of the high esteem and popularity of Romanos the Melodist among Byz- antinists we have 20 kontakia devoted to apostles or saints attributed to him in a critical edition. The edition was originally prepared by Paul Maas but it was his collaborator, Constantine Trypanis, who finished the volume after Maas’ death based on his notes and personal commu- nication.4 Maas and Trypanis regarded all the kontakia in this edition spurious, and Trypanis’ verdict on the quality of the hymns could easily scare away interested scholars (see below). -
Service Books of the Orthodox Church
SERVICE BOOKS OF THE ORTHODOX CHURCH THE DIVINE LITURGY OF ST. JOHN CHRYSOSTOM THE DIVINE LITURGY OF ST. BASIL THE GREAT THE LITURGY OF THE PRESANCTIFIED GIFTS 2010 1 The Service Books of the Orthodox Church. COPYRIGHT © 1984, 2010 ST. TIKHON’S SEMINARY PRESS SOUTH CANAAN, PENNSYLVANIA Second edition. Originally published in 1984 as 2 volumes. ISBN: 978-1-878997-86-9 ISBN: 978-1-878997-88-3 (Large Format Edition) Certain texts in this publication are taken from The Divine Liturgy according to St. John Chrysostom with appendices, copyright 1967 by the Russian Orthodox Greek Catholic Church of America, and used by permission. The approval given to this text by the Ecclesiastical Authority does not exclude further changes, or amendments, in later editions. Printed with the blessing of +Jonah Archbishop of Washington Metropolitan of All America and Canada. 2 CONTENTS The Entrance Prayers . 5 The Liturgy of Preparation. 15 The Divine Liturgy of St. John Chrysostom . 31 The Divine Liturgy of St. Basil the Great . 101 The Liturgy of the Presanctified Gifts. 181 Appendices: I Prayers Before Communion . 237 II Prayers After Communion . 261 III Special Hymns and Verses Festal Cycle: Nativity of the Theotokos . 269 Elevation of the Cross . 270 Entrance of the Theotokos . 273 Nativity of Christ . 274 Theophany of Christ . 278 Meeting of Christ. 282 Annunciation . 284 Transfiguration . 285 Dormition of the Theotokos . 288 Paschal Cycle: Lazarus Saturday . 291 Palm Sunday . 292 Holy Pascha . 296 Midfeast of Pascha . 301 3 Ascension of our Lord . 302 Holy Pentecost . 306 IV Daily Antiphons . 309 V Dismissals Days of the Week . -
HYMNS of KASSIANÍ on April 16Th Cappella Records Is Proud to Present the Release of Hymns of Kassianí Performed by Cappella Romana, Alexander Lingas, Music Director
New release by Cappella Romana The earliest music by a female composer HYMNS OF KASSIANÍ On April 16th Cappella Records is proud to present the release of Hymns of Kassianí performed by Cappella Romana, Alexander Lingas, music director. Discover the world’s earliest music by a female composer: 9th-century nun, poet, and hymnographer Kassianí (Kassía). The same men and women of Cappella Romana who brought you the Naxos of America -‐ New Release Submission Handbook V1.0 9 Lost Voices of Hagia Sophia bestseller (43 weeks on Billboard), now sing the earliest music we have by a female composer, including long- suppressed hymns recorded here for the first time. They close with two medieval versions of her beloved hymn for Orthodox Holy Week (Orthodox Easter in 2021 is May 2nd). Cappella Romana is the world’s leading ensemble in the field of medieval Byzantine chant. Building on its extensive catalogue of this repertoire, Hymns of Kassianí is its 25th release. This is the first of a planned series to record all of Kassianí’s surviving works. SALES POINTS • The earliest music by a female composer, three centuries before THIS IS AN EXAMPLE OF A TYPICAL ONE SHEET. Hildegard von Bingen. Label You do not need to follow this exact layout, but please include as much of Logo this information as possible in your sales sheet and submit it to • Ecstatic, never-before recorded works for Christmas and Lent Naxos of America. • Illuminated by the latest research on historically informed RELEASE DATE: 4/16/2021 performance of medieval Byzantine chant. • In high-res for downloads, multi-channel surround sound, produced by multi-GRAMMY® Award winner Blanton Alspaugh and the team at Soundmirror (100+ GRAMMY® nominations and awards). -
Γένος Μέν Ἐξ Ἑβραίων Or the Jewish Origin of Romanos the Melodist: from Overestimations to Underestimations and Finding Bridges Between the West and the East
Γένος μέν ἐξ ἑβραίων or the Jewish Origin of Romanos the Melodist: From Overestimations to Underestimations and Finding Bridges between the West and the East Alexandru Prelipcean* This study focuses on ananalysis of a Jewish genus expression, found in a kontakion with a still doubtful paternity. This expression gave rise to an entire academic discussion, often with contradictory opinions, on the Jewish origin of Romanos. This study contributes to this debate by bringing forth new evidence from both West and East, which can make up a new tool for evaluating the expression itself. Keywords: Saint Romanos the Melodist, kontakia, Jewish, hymnography, Ori- ent, West, origin, γένος μέν ἐξ ἑβραίων It is not known whether Romanos, the Byzantine hymnographer of the sixth century, enchanted the scholarly world starting already with the 19th cen- tury, when his writings first began to be edited1. Their reading gave rise, certainly, to the first scholarly observations regarding the Byzantine hym- nographer. Questions emerged on various historical-philological-theological themes such as the time of his birth, the time of his arrival in the city of Constantinople, the historical context in relation to his work, the theological content of his kontakia, whether the hymnographer was an original author or a “second-hand” poet, etc. One of these subjects, which is still embraced today by the scholarly world and which has not received a consensus, is Ro- manos’ Jewish origin, originating from the expression γένος μέν ἐξ ἑβραίων (β3; “one of the Hebrew race”)2, contained in an encomiastic hymn, con- * Alexandru Prelipcean, Associate assistant at the Dumitru Stăniloae Faculty of Orthodox Theology, Iaşi. -
Bulletin January 26 2014
St. George Antiochian Orthodox Church The Reverend Father Michael Corbin, Pastor Saturday Vespers: 5:00 PM Sunday: Matins 9:00 AM Divine Liturgy 10:00 AM Great Feast Days: 6:30 PM (on eve of Feast) 1118-1122 Cherry Ave. N.E. Canton, Ohio 44704 - 1036 Church Office Phone: (330) 455-8482 Fax: (330) 455-8489 Email: [email protected] Website: stgeorgecanton.com Office Hours: Monday through Friday - 9 AM to 1 PM Fr. Michael Corbin - Home: 330-494-2261 Cell: 724-234-7562 Email: [email protected] Welcome Visitors Thank you for coming and praying with us today. In the Orthodox Church, Holy Communion is reserved for Orthodox Christians who have prepared themselves through prayer, fasting and regular confession. We invite you to introduce yourself to Fr. Michael at the end of the Liturgy and receive a piece of the blessed bread (Antidoron). We look forward to seeing you again and encourage you to learn more about the Orthodox Faith. January 26, 2014 Thirty-Second Sunday of Pentecost & Fifteenth Sunday of Luke (“Zacchaeus”) Venerable Xenophon, his wife, Mary, and their two sons, Arkadios and John, of Constantinople; Translation of the relics of Venerable Theodore the Studite Holy Bread is offered by: Sadie Gazil and Samira Abood for the health of Sadie M. Gazil, Samira, Fahid and Kelly Abood, Darleen, Pete, Mila and Luke Schiavo, Abood Family and Rizkallah Family. In memory of: George, Asaff, Rashidie, Dr. Samuel Abood, Joseph Gazil, George and Rasmie Rizkallah and John Hoaud. Prayers at the table of oblation are offered by: Shafeeka Shaheen for the health of the children of the late Naseeb and Jenna Shaheen and their family. -
The Entrance Prayers ...2
THE ENTRANCE PRAYERS AND THE VESTING CONTENT When the priest desires to celebrate the Divine Mystery, he must first be at peace with all and hold nothing against any person, The Entrance Prayers .......................................................................... 2 keep his heart, insofar as he is able, from deceitful distractions, and keep himself in abstention and sobriety from the prior evening, Divine Liturgy of Saint John Chrysostom .......................................... 7 even to the time of the sacred service. When the time comes, he enters the temple, and together with the deacon, facing east, they Prayers in Preparation for Holy Communion ................................... 65 bow before the Royal Doors three times, and say: DEACON: Bless, Master. Prayers of Thanksgiving ................................................................... 74 PRIEST: Blessed is our God, always, now and ever, The Third Hour ................................................................................. 77 and unto ages of ages. DEACON: Amen. The Sixth Hour.................................................................................. 88 О Heavenly King, the Comforter, the Spirit of Truth; Who art everywhere and fillest all things. Treasury of Blessings, and Giver of Life: Come and abide in us, and cleanse us from every impurity, and save our souls, О Good One. Holy God! Holy Mighty! Holy Immortal! Have mercy on us! (3) Glory to the Father, and to the Son, and to the Holy Spirit, now and ever, and unto ages of ages. Amen. Most Holy Trinity have mercy on us; Lord, cleanse our sins; Master, pardon our trans- gressions; Holy One, visit and heal our infirmi- ties, for Thy Name’s sake. Lord, have mercy. (3) Glory to the Father, and to the Son, and to the Holy Spirit, now and ever, and unto ages of ages.