CAPPELLA ROMANA

Desert and City: Medieval of the Holy Land

Thursday, March 29, 2012

Lecture: 2:30 p.m. at the Maliotis Cultural Center 50 Goddard Avenue, Brookline, MA 02445

Concert: 7:30 p.m. at the Annunciation Greek Orthodox Cathedral of New England 514 Parker Street, Boston, MA 02120 From Jerusalem to : Byzantine Music for St. Catherine and Epiphany

II. From the Services of Theophany

Kontakion of Theophany: St. (6th c.), MS Konstamonitou 86 (15th c.) First Kanon for Theophany: Odes 1 & 5, St. Kosmas of Maïouma (8th c.): MS Grottaferrata Ε.γ. II Festal Trisagion (“As many of you as have been baptized”), Xenos Korones (14th c), MSS Athens 2456 (15th c.) Dynamis, John Kladas the Lampadarios (fl. ca. 1400) Troparia for the Blessing of the Waters, St. Sophronios, Patriarch of Jerusalem (d. 638) MSS Vienna Theol. gr. 181(13th c.) and Ambrosianus A 139 sup. Anagrammatismos, St. John Koukouzeles (14th c.): MS Sinai 1566 (15th c.)

2 Alexander Lingas, artistic director

Program

I. Great and Holy Friday in Jerusalem

Processional : “The Paradise in Eden,”Mode Plagal 4

Three-Ode Kanon (): Kosmas the Melodist (8th c.),Mode Plagal 2 Ode 5

Kontakion on Mary at the Cross (Psaltikon melody): Romanos the Melodist (6th c.) Ode 8 Ode 9

Lauds (initial verses), Mode 4

Sticheron Prosomoion: “When all creation saw you crucified,”Mode 4

Sticheron : Theophanes Protothronos (9th c.), “All creation was changed,” Mode 1

Sticheron Idiomelon: Leo VI the Wise (866–912), “When she saw you, O Christ,” Mode 2

Sticheron Idiomelon: Stoudites, “Each member of your holy flesh,” Mode 3 From Jerusalem to Constantinople: Byzantine Music for St. Catherine and Epiphany

II. The of St. Catherine

Invitatorium: Traditional, MS Sinai 1257 (dated 1332), Mode plagal 4

II. From the Services of Theophany Proemium: Excerpts from Psalm 103 (Septuagint), Traditional, Mode plagal 4

Anoixantaria: St. John Koukouzeles (late 13th–early 14th c.) Kontakion of Theophany: St. Romanos the Melodist (6th c.), MS Konstamonitou 86 (15th c.) MSS Sinai 1257, Sinai 1527 (late 15th c.), Athens 2458 (dated 1336), Mode Plagal 4

First Kanon for Theophany: Odes 1 & 5, Doxology of the Anoixantaria: Traditional, MS Sinai 1257, Mode 2 St. Kosmas of Maïouma (8th c.): MS Grottaferrata Ε.γ. II From the Lamplighting Psalms, the Kekragarion: Traditional, MS Sinai 1255 (15th c.), Festal Trisagion (“As many of you as have been baptized”), Mode 1 Psalm 140: 1, 2 & 3-5 Xenos Korones (14th c), MSS Athens 2456 (15th c.) Dynamis, John Kladas the Lampadarios (fl. ca. 1400) Three Stichera Prosomoia for St. Catherine: Traditional, MS Sinai 1250 (15th c.), Mode 1

Troparia for the Blessing of the Waters, St. Sophronios, Patriarch of Jerusalem (d. 638) Doxastikon: Sticheron Idiomelon, Mode 2 MSS Vienna Theol. gr. 181(13th c.) and Ambrosianus A 139 sup. Part 1, Traditional, MS Ambrosianus 139 A sup. (14th c.) Part 2, the Lampadarios (mid-15th c.) Anagrammatismos, St. John Koukouzeles (14th c.): MS Sinai 1566 (15th c.) MS Sinai 1234 (autograph of John Plousiadenos, dated 1469), Mode Plagal 2

All performing editions by Ioannis Arvanitis

3 NOTES between the secular and monastic singers of Jerusalem and those of other Great and Holy Friday in Jerusalem ecclesiastical centers. Monks from the monastery founded by St. Sabas (439–532) In the year 637 A.D. the orthodox in the desert southeast of Jerusalem Christian Patriarch Sophronios (d. 638) became active participants in worship at surrendered Byzantine Jerusalem to the the Holy Sepulchre, which maintained a Arab Caliph Umar, inaugurating a period resident colony of ascetics later known of Muslim rule in the Holy City that would as the spoudaioi. Responsorial and last until its conquest by Latin Crusaders antiphonal settings of biblical psalms and in 1099. Although subject to tribute, formed the base of cathedral and Jerusalem’s Christian inhabitants retained monastic liturgical repertories. Palestinian the right to continue celebrating both poet-singers subsequently increased the for themselves and for visiting pilgrims number, length and musical complexity their distinctive forms of worship. These of the refrains sung between the biblical services made extensive use of the shrines verses, leading by the sixth century (and associated with life, death and resurrection possibly earlier) to the creation of hymnals of Jesus Christ that had been created organized according to a system of eight with imperial patronage in the years that musical modes (the ). These followed the legalization of Christianity by early hymnbooks from Jerusalem exist the Emperor Constantine in 313. today only in Armenian and Georgian translations. Constantine and his mother Helen had sponsored the most important of these The earliest surviving Greek witness to edifices: the cathedral complex of the cathedral worship in the Holy City is the Holy Sepulchre built on the accepted site so-called of the Anastasis. Copied of Jesus’ crucifixion and entombment. in 1122, this manuscript (Hagios Stauros Its major components were a large 43) contains services for the seasons of basilica (the Martyrium), an inner atrium Lent and Easter as celebrated prior to the incorporating the hill of Golgotha, the destruction of the Holy Sepulchre complex Rotunda of the Anastasis (Resurrection) by the Fatimid Caliph Al-Hakim in 1009. over Christ’s tomb, and a baptistry. Egeria, Older and newer chants presented without a Spanish pilgrim of the late fourth musical notation coexist in the Typikon of century, describes in her diary how every the Anastasis. Thus works from the apogee week the clergy, monastics and laity of late of Christian Palestinian hymnody—a fourth-century Jerusalem would gather on period initiated by the liturgical works Saturday evening and Sunday morning to of Sophronios and continued by the remember the Passion and Resurrection of eighth-century poet-composers Andrew Jesus with readings, prayers and psalmody of Crete, and Kosmas performed at historically appropriate the Melodist—are integrated with hymns locations within the cathedral compound. by writers working within the traditions These same events of sacred history of the Constantinopolitan monastery of were commemorated annually in a more Stoudios. The latter had, at the behest elaborate fashion during Great and Holy of its abbot Theodore, adopted a variant Week, which climaxed with Easter Sunday of the monastic liturgy of St. Sabas at (Pascha). Holy Week services in Jerusalem the beginning of the ninth century. The incorporated the buildings on Golgotha resulting Stoudite synthesis of Palestinian into a larger system of stational liturgy and Constantinopolitan traditions was that made full use of the city’s sacred a crucial stage in the formation of the topography. cycles of worship employed in the modern . The musical repertories created for worship in the Holy City developed gradually over The first half of today’s concert features the centuries out of patterns of interaction excerpts from the “Service of the Holy 4 Passion of our Lord Jesus Christ” as it Beirut who settled in Constantinople would have been celebrated in Jerusalem during the early sixth century. There on Holy Friday morning during the tenth he distinguished himself as the greatest century. The texts and rubrics of the composer of the multi-stanza hymns that Typikon of the Anastasis are supplemented came to be known, after the scrolls on by notated musical settings for its chants which they were copied, as kontakia. By transmitted in later manuscripts. Extant the tenth century two melodic traditions sources with Byzantine melodic notation had been developed for kontakia: a simple date from the tenth century, with readily one consigned mainly to oral tradition, and decipherable versions available in a florid one transmitted in the Psaltikon, a chantbooks copied from in the late twelfth musical collection created for the soloists century onwards. Dr. Ioannis Arvanitis, a of Justinian’s Great Church of Hagia leading authority on medieval Byzantine Sophia. On the present concert we sing musical rhythm and performance practice, the Psaltikon version of the kontakion’s edited the scores used today by Cappella prologue. Romana. In both Palestine and Constantinople Morning prayer on Holy Friday began the arrival of dawn was marked in daily on the Mount of Olives and featured a prayer by the singing of Psalms 148–150, series of processions taking worshippers known collectively as . Whereas the to shrines at Gethsemane and other sites Late Antique custom of chanting these associated with the betrayal, trial and psalms throughout with simple refrains crucifixion of Jesus. Our concert joins the was retained in the Constantinopolitan service near its climax with “The Paradise cathedral rite, churches associated in Eden,” a chant sung on the way to the with Jerusalem began interpolating Place of the Skull. Upon arrival at Golgotha hymns known as stichera between their there was a reading from the Gospel of concluding verses (stichoi). From the ten Luke (omitted), followed by the Three- hymns appointed by the Typikon of the Ode Kanon by Kosmas the Melodist. Each Anastasis for Lauds on Holy Friday we ode consists of a model stanza (heirmos), select four. The first is an anonymous a series of metrically and melodically hymn sung to a standard model melody identical stanzas (troparia), and a reprise and assigned in modern service books to of the heirmos (the katavasia). The poetic Thursday evening prayer. The remaining odes of kanons were originally composed three stichera are through-composed to provide thematically appropriate works known as idiomela: a hymn in theological commentary for the invariable Mode 1 commenting on the cosmic sequence of nine biblical canticles or dimensions of Christ’s crucifixion written “odes” sung at Palestinian morning prayer. by Theophanes Protothronos, Archbishop Three biblical odes—Isaiah 26:9–20 (Ode of Caesarea (9th c.); a portrayal of the 5), the Hymn of the Three Youths from Virgin Mary lamenting at the foot of the Daniel 3 (Ode 8), and the Magnificat and Cross in Mode 2 by the Byzantine Emperor Benedictus (Ode 9=Luke 1:46–56, 68– Leo VI the Wise (reigned 886–912); and a 79)—were appointed for Lenten Fridays, meditation on the suffering of Jesus by an leading Kosmas to echo their themes in unnamed Stoudite. his musical meditation on the betrayal and trial of Jesus. Byzantine Chant Manuscripts on Mt. Sinai

It was (and remains) customary to insert Between 548 and 565 the East Roman other chants and readings at certain points (Byzantine) Emperor Justinian I within a kanon. Thus theTypikon of the constructed the Holy Monastery of St. Anastasis places between Odes 5 and 8 the Catherine at the foot of Mount Sinai, prologue and first stanza of theKontakion a place already revered by pilgrims as on the Mary at the Cross by Romanos the the site of God’s appearance to Moses Melodist. Romanos was a deacon from in the Burning Bush. Monastic life and 5 pilgrimage have continued through the repertories preserved on Mount Sinai (the centuries without significant interruption first volume of a three-volume catalogue of at St. Catherine’s, providing its living its musical manuscripts appeared only in community with a rich inheritance of 2008), we chose to offer excerpts from two spiritual traditions and material treasures. services—Great Vespers for St. Catherine The latter include a priceless collection (the eve of November 25) and the Service of artworks, among which are rare of the Furnace, a musical retelling of the examples of Byzantine icons created prior tale of the three Hebrew Youths in the to the destruction of images resulting Fiery Furnace from the Book of Daniel—as from the imperially sponsored policy of they might have been celebrated during Iconoclasm (730–843). Equally precious the twilight years of the . are the contents of the monastery’s library, (N.B. The selections from theService of a collection of over 4,700 manuscripts the Furnace, while not sung tonight, are in Greek, Arabic, Georgian, Latin, included on Cappella Romana’s recording Slavonic, Syriac and other languages. Mt. Sinai: Frontier of Byzantium). From November 2006 to March 2007 a Subsequently, performing editions of selection of these items was featured at the these selections in modern notation were J. Paul Getty Center in in an prepared by Dr. Ioannis Arvanitis, the exhibition entitled Holy Image, Hallowed author of a pioneering dissertation on Ground: Icons from Sinai. rhythm in medieval Byzantine chant and a frequent collaborator with Cappella More than 350 of the manuscripts held at Romana. the monastery contain hymns and psalms of the Byzantine rite notated with musical Although marked politically by the signs (“neumes”) for melodic chanting terminal decline of the East Roman state, (as opposed to the intoned recitation of the two centuries before the Ottoman scripture from medieval Greek , conquest of Constantinople in 1453 which feature a distinct system of so-called were also a time of spiritual and artistic “ecphonetic” notation). The earliest Sinaïte renewal, bringing forth in music what chantbooks from a thousand years ago musicologist Edward V. Williams has called employ only a small number of musical a “Byzantine ars nova.” The most influential signs to remind singers of melodically figure in this musical revolution was the elaborate passages, thus reflecting the composer, editor and music theorist Saint emergence of Byzantine notation from John Koukouzeles (late 13th–early 14th a primarily oral musical culture. Later c.). His Life portrays him ending his life musical manuscripts contain more precise as a contemplative (“hesychast”) monk forms of notation, with a system of neumes of the Great Lavra on who capable of unambiguously recording a spent weekdays in solitude practicing melody’s succession of intervals (“Middle “hesychia” (literally “quietude”) but Byzantine” or “Round Notation”) returned to chant the All-Night Vigil at appearing toward the end of the twelfth his monastery on weekends and feasts. century and remaining in use until the From attributions in musical manuscripts early nineteenth century, after which it was it is evident that at an earlier stage of his replaced by the even more precise “New career Koukouzeles helped to codify older Method” of Byzantine notation. repertories of hymns while pioneering a new “beautiful sounding” (“kalophonic”) The selections from Sinaïte manuscripts idiom of chanting that spread throughout sung on the present concert are the result the Orthodox world. This style of liturgical of a request from the organizers of Holy singing was characterized generally by Image, Hallowed Ground that Cappella vocal virtuosity, encompassing also the Romana prepare a concert of music addition of new texts to existing chants related to the exhibition for performance (“troping”), highly florid melodies, and at the Getty Center. After considering the even textless vocalizations on nonsense vast and still largely unexplored musical syllables (“teretisms”). 6 The Vespers of St. Catherine three from Sinai 1257 (the oldest source to contain any of his Anoixantaria); one Our concert continues with excerpts from from Sinai 1527 (15th century); and one the service of Great Vespers that formed from Athens 2458, a manuscript dated the first part of the late Byzantine vigil for “1336” and the oldest complete copy of the feast of St. Catherine of Alexandria, the Koukouzelian musical anthology of the patron of the Sinaïte monastery. A music for the and daily blessing by the celebrant (omitted here) offices known as theAkolouthiai (“Orders both opened the service and signaled of Service”). that the choirs should begin singing the Invitatorium “Come let us worship,” the At an actual vigil, Psalm 103 is followed by second and third invocations of which are a litany and the chanting of Psalms 1–3 in notated at successively higher pitches. The a style similar to that of the Anoixantaria. Invitatorium served as a for an We proceed directly to an abbreviated antiphonal rendering of Psalm 103 (104 in version of the Lamplighting Psalms. Sung the Hebrew Bible), the fixed opening psalm at sunset, Psalms 140, 141, 129 and 116 of vespers in the , the “Book (Septuagint numbering) together form the of the Hours” employed in the urban ancient and invariable core of Palestinian and monastic Christian rites of Palestine. evening prayer. Known collectively as the During its performance choirs situated Kekragarion, their opening two verses (Ps. on the right and left sides of the church 140:1–2) are sung in a solemn manner employed the same melodic formula in that contributes an atmosphere of reverent Mode Plagal 4 to alternate at the half-verse supplication representative of its text and (for reasons of space, only the initial four complementary to the offering of incense half-verses are included tonight). The during its second verse (“Let my prayer original Byzantine practice appears to have be directed like incense before you…”). been to complete Psalm 103 in this manner At the conclusion of the second verse a with the interpolation of a few modest change of tempo initiates the stichologia: refrains, a custom maintained today by the completion by the choirs of the Russian Old Believers and dimly echoed Lamplighting Psalms chanting in a simpler in the choral settings of Tchaikovsky and musical style. Rachmaninoff. From the sixth century it became Modern Greek Orthodox festal usage, on customary in the region around Jerusalem the other hand, concludes Psalm 103 with to adorn the final verses stichoi( ) and the Anoixantaria, embellished settings of doxology of the Lamplighting Psalms with its final verses composed by Koukouzeles, hymns (stichera) proper to the liturgical his colleagues and successors. They day or season. Despite early opposition begin with verse 28b—“When you open from Sinaïte ascetics who rejected the your hand…” (Greek “Ἀνοίξαντός σου musical elaboration of the , such τὴν χείρα…”) from which their name is hymnody eventually became standard in derived. The opening verse and concluding Byzantine worship. The first three stichera doxology of the Anoixantaria are set sung here in honor of St. Catherine are anonymously in what Edward V. Williams prosomoia, metrically identical texts sung has labeled a “quasi-traditional” style of to a model melody (an automelon, in this florid melody. Koukouzeles and other late case a hymn praising the angels). Listeners Byzantine composers took this anonymous accustomed to the received tradition of material as a point of departure for the Byzantine singing may notice that this original music they supplied for the fifteenth-century melody from Sinai 1250 intervening verses, the refrains of which is virtually identical to the modern tune. are extended by short texts glorifying the Holy Trinity known as “Triadika.” This disc The finalSticheron Doxastikon—thus features all five of theTriadika attributed named because it follows the doxology in medieval manuscripts to Koukouzeles: “Glory to the Father”—is an idiomelon, a 7 through-composed hymn with a unique of Athens, and a Teacher’s Diploma of melody. Its first half is sung from the Byzantine Music from the Skalkottas Koukouzelian edition of the Sticherarion, Conservatory under the supervision of a hymnal containing mainly stichera in Lycourgos Angelopoulos. He also studied traditional syllabic and semi-florid melodic Byzantine music at the Conservatory of styles. The second half of this sticheron is Halkis, as well as Byzantine and folk music taken from a bipartite kalophonic setting under Simon Karas at Society for the by Manuel Chrysaphes the Lampadarios, Dissemination of National Music. a composer and theorist who served in the chapel of Constantine XI Palaeologos, He has taught Byzantine music at the the last Byzantine Emperor. Chrysaphes’ Ionian University, received a research composition was edited from Sinai fellowship at the University of Athens, 1234, a manuscript copied in Venice by and served as a guest lecturer for the Irish John Plousiadenos, who was himself an World Music Centre at the University of important composer and theorist. Limerick. An accomplished performer on various Greek folk instruments (tambura, ud and laouto), Dr. Arvanitis was a founding instructor at the Experimental Alexander Lingas Music Gymnasium and Lyceum of Pallini. He is member of the International Cappella Romana’s founder and artistic Musicological Society’s Cantus Planus director Alexander Lingas, is a Senior Study Group and has published scholarly Lecturer in Music at City University articles in Greek and English. London and a Fellow of the University of Oxford’s European Humanities Research In 2001 Dr. Arvanitis collaborated with Centre. Formerly Assistant Professor of Dr. Lingas and the Greek Byzantine Choir Music History at Arizona State University’s (dir. Lycourgos Angelopoulos) on the School of Music, he received his Ph.D. reconstruction of Vespers according to the in Historical Musicology from the Cathedral Rite of , a service University of British Columbia. His awards performed in the Chapel of St. Peter’s include Fulbright and Onassis grants for College Oxford and later broadcast on musical studies with Lycourgos Greek national radio. For the last decade Angelopoulos, the British Academy’s he has contributed regularly to the work of Thank-Offering to Britain Fellowship, Cappella Romana, participating so far in and the St. Romanos the Melodist four recording projects as a singer or guest medallion of the National Forum for director—Epiphany, Byzantium in Greek Orthodox Church Musicians (USA). and The Divine Liturgy in English—and Having contributed articles to The New regularly providing it with performing Grove Dictionary of Music and Musicians, editions of medieval Byzantine chant, most and The Oxford Handbook of Byzantine recently for Cappella Romana’s recording Studies, Dr. Lingas is now completing two of chants from Mt. Sinai. His editions monographs: a study of Sunday in of medieval chant have also been sung the Rite of Hagia Sophia for Ashgate and a or recorded by the Romeiko Ensemble historical introduction to Byzantine Chant (Yiorgos Bilalis, dir.), the Greek Byzantine for Yale University Press. Choir, and Dr. Arvanitis’ own ensemble Hagiopolites. He has sung Western plainchant and Parisian organum with Marcel Pérès and his Ioannis Arvanitis and has composed many chants in contemporary post-Byzantine style. Ioannis Arvanitis received his Ph.D. from the Ionian University (Corfu) for a thesis on rhythm in medieval Byzantine music, his BSc in Physics from the University 8 Cappella Romana

Its performances “like jeweled light Orthodox Church directed by , flooding the space” Los( Angeles Times), the environmental oratorio A Time for Life Cappella Romana is a vocal chamber by Robert Kyr and a disc of 15th-century ensemble dedicated to combining passion Greek and Latin music from the island of with scholarship in its exploration of Cyprus. the musical traditions of the Christian East and West, with emphasis on early In 2010 it became a participant in and contemporary music. Founded in the research project “Icons of Sound: 1991, Cappella Romana’s name refers Aesthetics and Acoustics of Hagia Sophia, to the medieval Greek concept of the Istanbul,” a collaboration between Stanford Roman oikoumene (inhabited world), University’s Center for Computer Research which embraced Rome and Western in Music and Acoustics and Department Europe, as well as the Byzantine Empire of Art & Art History. Cappella Romana of Constantinople (“New Rome”) and its will take up a residency at Stanford again Slavic commonwealth. Each program in in 2013. some way reflects the musical, cultural and spiritual heritage of this ecumenical vision.

Flexible in size according to the demands of the repertory, Cappella Romana is based in the Pacific Northwest of the CONTACT AND BOOKING United States of America, where it presents INFORMATION annual concert series in Portland, Oregon, Mark Powell, Executive Director and Seattle, Washington. It regularly Cappella Romana tours in Europe and North America, 3131 ne Glisan Street having appeared at venues including the Portland, or 97232 usa Metropolitan Museum of Art in New tel +1.503.236.8202 York, the J. Paul Getty Center, St. Paul’s cappellaromana.org Cathedral in London, the Pontificio Istituto Orientale in Rome, the Sacred Music Festival of Patmos, the University of Oxford, Princeton University, and Yale University.

Cappella Romana has released over a dozen compact discs, including Byzantium 330–1453 (the official companion CD to the Royal Academy of Arts Exhibition), Byzantium in Rome: Medieval Byzantine Chant from Grottaferrata, The , Richard Toensing: Kontakion on the Nativity of Christ, Peter Michaelides: The Divine Liturgy of St. John Chrysostom, The Divine Liturgy in English: The Complete Service in Byzantine Chant and Mt. Sinai: Frontier of Byzantium. Forthcoming recordings include a live recording made in Greece of medieval Byzantine and contemporary Greek- American choral works, a choral setting of the Divine Liturgy in Greek by Tikey Zes, a disc of choral works of the Finnish 9 Part I: Holy and Great Friday in Jerusalem (Typikon of the Anastasis)

Ψάλλομεν εἰς τὴν λιτὴν We sing during the procession στιχηρόν· Ἤχος πλ. δ´ this sticheron in Mode Plagal 4

Ὁ ἐν Ἐδὲμ Παράδεισος ποτέ, τὸ ξύλον The Paradise in Eden once blossomed with τῆς γνώσεως, ἀνεβλάστησεν ἐν μέσῳ the tree of knowledge in the midst of the τῶν φυτῶν, ἡ Ἐκκλησία σου Χριστέ, τὸν plants; your Church, O Christ, has flowered Σταυρόν σου ἐξήνθησε, τὸν πηγάσαντα with your Cross, which is a fount of life τῷ κόσμῳ τὴν ζωήν, ἀλλὰ τὸ μὲν for the world; but the former put Adam ἐθανάτωσε, βρώσει φαγόντα τὸν Ἀδάμ, to death through eating when he fed from τὸ δὲ ἐζωοποίησε, πίστει σωθέντα τὸν it, while the latter gave life to the Thief Λῃστήν, οὗ τῆς ἀφέσεως, κοινωνοὺς ἡμᾶς through faith when he was saved; make ἀνάδειξον, Χριστὲ ὁ Θεός, ὁ τῷ πάθει σου us also partakers of his forgiveness, Christ λύσας, τὴν καθ’ ἡμῶν μανίαν τοῦ ἐχθροῦ, God, who by your passion abolished the καὶ ἀξίωσον ἡμᾶς, τῆς βασιλείας σου frenzy of the foe against us, and make us Κύριε. worthy of your heavenly Kingdom, Lord.

Ποίημα Κοσμᾶ Μοναχοῦ A work of Kosmas the Monk ᾨδὴ ε´ Ἦχος πλ. β´ Ὁ Εἱρμὸς Ode 5. Mode Plagal 2. Heirmos

«Πρὸς σὲ ὀρθρίζω, τὸν δι’ εὐσπλαγχνίαν “I rise for you at dawn, who through σεαυτόν, τῷ πεσόντι κενώσαντα ἀτρέπτως, compassion without change emptied καὶ μέχρι παθῶν, ἀπαθῶς ὑποκύψαντα, yourself for the one who had fallen, and Λόγε Θεοῦ. Τὴν εἰρήνην παράσχου μοι impassibly bowed yourself to the Passion, φιλάνθρωπε». O Word of God. Grant me peace, O Lover of humankind.”

Τροπάρια Troparia

Ῥυφθέντες πόδας, καὶ προκαθαρθέντες, When their feet had been washed and they μυστηρίου μεθέξει, τοῦ θείου νῦν Χριστέ, had been cleansed by participation in the σοῦ οἱ ὑπηρέται, ἐκ Σιὼν ἐλαιῶνος, μέγα divine Mystery, O Christ, your servants πρὸς ὄρος συνανῆλθον, ὑμνοῦντές σε went with you from Sion up to the great φιλάνθρωπε. Mount of Olives, singing your praises, O Lover of humankind.

Ὁρᾶτε ἔφης, φίλοι μὴ θροεῖσθε· νῦν γὰρ “See, my friends,” you said, “Do not be ἤγγικεν ὥρα, ληφθῆναί με κτανθῆναι afraid, for now the hour is near for me χερσὶν ἀνόμων, πάντες δὲ σκορπισθήσεσθε, to be taken and to be slain by the hands ἐμὲ λιπόντες, οὓς συνάξω, κηρῦξαί με of transgressors; while you will all be φιλάνθρωπον. scattered and leave me; whom I shall gather to proclaim me the Lover of humankind.”

Καταβασία Katavasia

«Πρὸς σὲ ὀρθρίζω, τὸν δι’ εὐσπλαγχνίαν “I rise for you at dawn, who through σεαυτόν, τῷ πεσόντι κενώσαντα ἀτρέπτως, compassion without change emptied καὶ μέχρι παθῶν, ἀπαθῶς ὑποκύψαντα, yourself for the one who had fallen, and Λόγε Θεοῦ. Τὴν εἰρήνην παράσχου μοι impassibly bowed yourself to the Passion, φιλάνθρωπε». O Word of God. Grant me peace, Lover of m an k i n d .” 10 Κοντάκιον Ἦχος πλ. δ´ Kontakion. Mode Plagal 4. [By St. Romanos]

Τὸν δι’ ἡμᾶς Σταυρωθέντα, δεῦτε πάντες Come, let us all praise him who was ὑμνήσωμεν· αὐτὸν γὰρ κατεῖδε Μαρία crucified for us; for Mary looked upon ἐπὶ τοῦ ξύλου, καὶ ἔλεγεν· Εἰ καὶ σταυρὸν him on the Tree and said: “Though you ὑπομένεις, σὺ ὑπάρχεις ὁ Υἱὸς καὶ Θεός endure the Cross, yet you are my Son and μου. my G o d .”

ᾨδὴ η´ Ὁ Εἱρμὸς Ode 8. Heirmos

«Στήλην κακίας ἀντιθέου, Παῖδες “The godly youths made a spectacle of θεῖοι παρεδειγμάτισαν, κατὰ Χριστοῦ the monument of ungodly evil; while δὲ φρυαττόμενον ἄνομον συνέδριον, Sanhedrin of the lawless raged and took βουλεύεται κενά, κτεῖναι μελετᾷ, τὸν ζωῆς vain counsel against Christ; thought to κρατοῦντα παλάμῃ· ὃν πᾶσα κτίσις εὐλογεῖ slay the One who holds life in his palm; δοξάζουσα εἰς τοὺς αἰῶνας». whom all creation blesses and glorifies to the ages.”

Τροπάρια Troparia

Ἀπὸ βλεφάρων Μαθηταί, νῦν ὕπνον “Now shake sleep from your eyelids, my ἔφης Χριστὲ τινάξατε· ἐν προσευχῇ δὲ disciples,” you said, O Christ, “But watch γρηγορεῖτε, πειρασμῷ μήπως ὄλησθε, καὶ with prayer, lest you slip into temptation; μάλιστα Σίμων· τῷ κραταιῷ γὰρ μείζων especially you, Simon: for to the mighty πεῖρας· γνῶθί με Πέτρε, ὃν πᾶσα κτίσις, comes the greater temptation. Know εὐλογεῖ δοξάζουσα εἰς τοὺς αἰῶνας. me, Peter, whom all creation blesses and glorifies to the ages.”

Βέβηλον ἔπος τῶν χειλέων, οὔ ποτε “I will never utter a profane word from προήσομαι Δέσποτα, σὺν σοὶ θανοῦμαι my lips, Master; I will die with you gladly, ὡς εὐγνώμων, κἂν οἱ πάντες ἀρνήσωνται, though all deny you,” cried Peter, “Neither ἐβόησε Πέτρος, σάρξ οὐδὲ αἷμα, ὁ Πατὴρ flesh nor blood, but your Father revealed σου ἀπεκάλυψέ μοι σέ, ὃν πᾶσα κτίσις you to me; you whom all creation blesses εὐλογεῖ δοξάζουσα εἰς τοὺς αἰῶνας. and glorifies to the ages.”

Εὐλογοῦμεν Πατέρα, Υἱὸν καὶ Ἅγιον We bless Father, Son and Holy Spirit; praise Πνεῦμα, τὸν Κύριον· ὑμνοῦμεν καὶ and exalt them to all the ages. ὑπερυψοῦμεν αὐτὸν εἰς τοὺς αἰῶνας.

Βάθος σοφίας θεϊκῆς, καὶ γνώσεως οὐ “You have not searched out the whole πᾶν ἐξηρεύνησας, ἄβυσσον δέ μου τῶν depth of divine wisdom and knowledge; κριμάτων, οὐ κατέλαβες ἄνθρωπε, ὁ Κύριος you have not, my friend, grasped the abyss ἔφη· Σάρξ οὖν ὑπάρχων, μὴ καυχῶ· ἀρνήσῃ of my judgments,” said the Lord. “Being τρίτον γάρ με, ὃν πᾶσα κτίσις, εὐλογεῖ flesh then, do not boast; for you will three δοξάζουσα εἰς τοὺς αἰῶνας. times deny me, whom all creation blesses and glorifies to the ages.”

11 Καὶ νῦν, καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν Both now and for ever and to the ages of αἰώνων. ages. Amen.

Ἀπαγορεύεις, Σίμων Πέτρε, ὅπερ πείσῃ “You protest, Simon Peter, against what τάχος ὡς εἴρηται· καὶ σοὶ παιδίσκη, οἷα you will speedily be persuaded to do, as θᾷττον προσελθοῦσα πτοήσει σε, ὁ Κύριος it has been foretold, and a maid servant ἔφη· πικρῶς δακρύσας, ἕξεις ὅμως εὐΐλατόν suddenly approaching will frighten you. με, ὃν πᾶσα κτίσις, εὐλογεῖ δοξάζουσα εἰς Weeping bitterly you will nevertheless find τοὺς αἰῶνας. me merciful, whom all creation blesses and glorifies to the ages.”

Αἰνοῦμεν, εὐλογοῦμεν, καὶ προσκυνοῦμεν We praise, bless and worship the Lord; τὸν Κύριον praise and exalt him to all the ages.

Καταβασία Katavasia

«Στήλην κακίας ἀντιθέου, Παῖδες “The godly youths made a spectacle of θεῖοι παρεδειγμάτισαν, κατὰ Χριστοῦ the monument of ungodly evil; while the δὲ φρυαττόμενον ἄνομον συνέδριον, lawless Sanhedrin raged and took vain βουλεύεται κενά, κτεῖναι μελετᾷ, τὸν ζωῆς counsel against Christ; thought to slay the κρατοῦντα παλάμῃ· ὃν πᾶσα κτίσις εὐλογεῖ One who holds life in his palm; whom all δοξάζουσα εἰς τοὺς αἰῶνας». creation blesses and glorifies to the ages.”

ᾨδὴ θ´ Ὁ Εἱρμὸς Ode 9. Heirmos

Τὴν τιμιωτέραν τῶν Χερουβίμ, καὶ Greater in honor than the Cherubim and ἐνδοξοτέραν, ἀσυγκρίτως τῶν Σεραφίμ, beyond compare more glorious than the τὴν ἀδιαφθόρως, Θεὸν Λόγον τεκοῦσαν, Seraphim, without corruption you gave τὴν ὄντως Θεοτόκον, σὲ μεγαλύνομεν. birth to God the Word; truly the Mother of God, we magnify you.

Τροπάρια Troparia

Ὀλέθριος σπεῖρα θεοστυγῶν, A destructive band of wicked men, hateful πονηρευομένων, θεοκτόνων συναγωγή, to God; an assembly of slayers of God came ἐπέστη Χριστέ σοι, καὶ ὡς ἄδικον upon you, O Christ, and dragged away as εἷλκε, τὸν Κτίστην τῶν ἁπάντων, ὃν a malefactor you, the Creator of all things, μεγαλύνομεν. whom we magnify.

Νόμον ἀγνοοῦντες οἱ ἀσεβεῖς, φωνὰς The impious, ignorant both of the Law and Προφητῶν τε, μελετῶντες διακενῆς, the voices of the Prophets, meditating vain ὡς πρόβατον εἷλκον, σὲ τὸν πάντων things, unjustly dragged away to slaughter Δεσπότην, ἀδίκως σφαγιάσαι· ὃν as a sheep you, the Master of all things, μεγαλύνομεν. whom we magnify.

Τοῖς ἔθνεσιν ἔκδοτον τὴν ζωήν, σὺν τοῖς The priests with the scribes, wounded by Γραμματεύσιν, ἀναιρεῖσθαι οἱ Ἱερεῖς, envious malice, handed over to the nations, παρέσχον, πληγέντες, αὐτοφθόνῳ κακίᾳ to be done away with, the One who by τὸν φύσει Ζωοδότην, ὃν μεγαλύνομεν. nature is Life, and the Giver of life, whom we magnify.

12 Ἐκύκλωσαν κύνες ὡσεὶ πολλοί, ἐκρότησαν, They surrounded you like many dogs, Ἄναξ, σιαγόνα σὴν ῥαπισμῷ, ἠρώτων σε, Sovereign Lord; they struck your cheek σοῦ δέ, ψευδῆ κατεμαρτύρουν, καὶ πάντα with a blow; they questioned you, they ὑπομείνας, ἅπαντας ἔσωσας. bore false witness against you, and you, enduring all things, saved us all.

Καταβασία Katavasia

Τὴν τιμιωτέραν τῶν Χερουβίμ, καὶ Greater in honor than the Cherubim and ἐνδοξοτέραν, ἀσυγκρίτως τῶν Σεραφίμ, beyond compare more glorious than the τὴν ἀδιαφθόρως, Θεὸν Λόγον τεκοῦσαν, Seraphim, without corruption you gave τὴν ὄντως Θεοτόκον, σὲ μεγαλύνομεν. birth to God the Word; truly the Mother of God, we magnify you.

Αἶνοι Ἦχος δ´ Lauds. Mode 4 Ψαλμὸς ΡΜΗ´ (148) Psalm 148

Ὁ δομέστικος Choir Leader: Αἰνεῖτε τὸν Κύριον ἐκ τῶν οὐρανῶν. Σοὶ Praise the Lord from the heavens. To you πρέπει ὕμνος, τῷ Θεῷ. praise is due, O God.

Ὁ χορός Choir: Αἰνεῖτε τὸν Κύριον ἐκ τῶν οὐρανῶν, αἰνεῖτε Praise the Lord from the heavens; praise αὐτὸν ἐν τοῖς ὑψίστοις. Σοὶ πρέπει ὕμνος, him in the highest. To you praise is due, O τῷ Θεῷ. God.

Αἰνεῖτε αὐτόν, πάντες οἱ Ἄγγελοι αὐτοῦ, Praise him, all his angels: Praise him, all his αἰνεῖτε αὐτόν, πᾶσαι αἱ δυνάμεις αὐτοῦ. Σοὶ Powers. To you praise is due, O God. πρέπει ὕμνος, τῷ Θεῷ.

Αἰνεῖτε αὐτόν, ἥλιος καὶ σελήνη, αἰνεῖτε Praise him, sun and moon; praise him, all αὐτόν, πάντα τὰ ἄστρα καὶ τὸ φῶς. Σοὶ you stars and light. To you praise is due, O πρέπει ὕμνος, τῷ Θεῷ. God.

Αἰνεῖτε αὐτόν, οἱ οὐρανοὶ τῶν οὐρανῶν, Praise him, you highest heavens and you καὶ τὸ ὕδωρ τὸ ὑπεράνω τῶν οὐρανῶν. waters that are above the heavens. Let them Αἰνεσάτωσαν τὸ ὄνομα Κυρίου. Σοὶ πρέπει praise the name of the Lord. To you praise ὕμνος, τῷ Θεῷ. is due, O God.

Ψαλμὸς ΡΜΘ´ (149) Psalm 149

Αἱ ὑψώσεις τοῦ Θεοῦ ἐν τῷ λάρυγγι αὐτῶν, The high praises of God in their mouths, καὶ ῥομφαῖαι δίστομοι ἐν ταῖς χερσὶν and two-edged swords in their hands, αὐτῶν.

Ἦχος δ´ Stichera Prosomoia– Mode 4. Ἔδωκας σημείωσιν To the melody “You have given as a sign”

Ὅτε σε σταυρούμενον, ἡ κτίσις πᾶσα When all creation saw you crucified, O ἑώρακεν, ἠλλοιοῦτο καὶ ἔτρεμεν, ἡ γῆ long-suffering Word, it was changed and δὲ ἐσείετο, ὅλη κλονουμένη, μακρόθυμε trembled, while the earth, all shaken, Λόγε, τὸ καταπέτασμα ναοῦ, φόβῳ quaked; the veil of the temple was rent by ἐσχίσθη ὑβριζομένου σου, καὶ πέτραι fear when you were mocked, and rocks 13 διερράγησαν, ἀπὸ τοῦ φόβου καὶ ἥλιος, were split from fear and the sun withdrew τὰς ἀκτῖνας συνέστειλε, ποιητήν σε its rays, knowing you their Maker. γινώσκοντα.

Τοῦ ποιῆσαι ἐν αὐτοῖς κρῖμα ἔγγραπτον, To execute upon them the judgment that is δόξα αὕτη ἔσται πᾶσι τοῖς ὁσίοις αὐτοῦ. decreed; such glory will be for all his holy ones.

Ἰδιόμελα Ἦχος α´ Idiomela – Mode 1

Πᾶσα ἡ Κτίσις, ἠλλοιοῦτο φόβῳ, θεωροῦσά All creation was changed by fear when it σε, ἐν σταυρῷ κρεμάμενον Χριστέ. Ὁ saw you hanging on the Cross, O Christ; ἥλιος ἐσκοτίζετο, καὶ γῆς τὰ θεμέλια the sun was darkened and the foundations συνεταράττετο, τὰ πάντα συνέπασχον, τῷ of the earth were shaken; all things were τὰ πάντα κτίσαντι, ὁ ἑκουσίως δι’ ἡμᾶς suffering with you, the Creator of them all. ὑπομείνας, Κύριε δόξα σοι. You endured willingly for us. Lord, glory to you!

Ψαλμὸς ΡΝ´ (150) Psalm 150

Αἰνεῖτε αὐτὸν ἐν ἤχῳ σάλπιγγος, αἰνεῖτε Praise him in the blast of the trumpet: αὐτὸν ἐν ψαλτηρίῳ καὶ κιθάρᾳ. praise him upon the lute and harp.

Ἐπὶ ξύλου βλέπουσα, κρεμάμενον Χριστέ, When she saw you, O Christ, the Creator σὲ τὸν πάντων Κτίστην καὶ Θεόν, ἡ σὲ and God of all, hanging on the Cross, she ἀσπόρως τεκοῦσα, ἐβόα, πικρῶς· Υἱέ μου, who bore you without seed, cried bitterly: ποῦ τὸ κάλλος ἔδυ τῆς μορφῆς σου; οὐ My Son, where has the beauty of your form φέρω καθορᾶν σε, ἀδίκως σταυρούμενον· departed? I cannot bear to see you unjustly σπεῦσον οὖν ἀνάστηθι, ὅπως ἴδω κᾀγώ, crucified; hasten then, arise, that I too may σοῦ τὴν ἐκ νεκρῶν, τριήμερον ἐξανάστασιν. see your resurrection from the dead on the third day.

Ἦχος γ´ Mode 3 Δόξα.. Καὶ νῦν... Glory… Both now…

Ἕκαστον μέλος τῆς ἁγίας σου σαρκός, Each member of your holy flesh endured ἀτιμίαν δι’ ἡμᾶς ὑπέμεινε, τὰς ἀκάνθας dishonor for our sake: your head the ἡ κεφαλή, ἡ ὄψις τὰ ἐμπτύσματα, αἱ thorns; your face the spittings; your cheeks σιαγόνες τὰ ῥαπίσματα, τὸ στόμα τὴν ἐν the blows; your mouth the taste of gall ὄξει κερασθεῖσαν χολὴν τῇ γεύσει, τὰ ὦτα mixed with vinegar; your ears the impious τὰς δυσσεβεῖς βλασφημίας. Ὁ νῶτος τὴν blasphemies; your back the scourge and φραγγέλωσιν, καὶ ἡ χεὶρ τὸν κάλαμον, αἱ your hand the reed; your whole body the τοῦ ὅλου σώματος ἐκτάσεις ἐν τῷ σταυρῷ, stretching on the Cross; your joints the τὰ ἄρθρα τοὺς ἥλους, καὶ ἡ πλευρὰ τὴν nails and your side the lance. You suffered λόγχην. Ὁ παθὼν ὑπὲρ ἡμῶν, καὶ παθῶν for our sake, and freed us from passions, ἐλευθερώσας ἡμᾶς. Ὁ συγκαταβὰς ἡμῖν you stooped down to us in your love for φιλανθρωπίᾳ, καὶ ἀνυψώσας ἡμᾶς, humankind, and raised us up. All powerful παντοδύναμε Σωτήρ, ἐλέησον ἡμᾶς. Savior, have mercy on us.

14 Part II: From the Vespers of St. Catherine

Invitatorium Δεῦτε, προσκυνήσωμεν καὶ προσπέσωμεν Come, let us worship and fall down before τῷ βασιλεῖ ἡμῶν Θεῷ. the King, our God. Δεῦτε, προσκυνήσωμεν καὶ προσπέσωμεν Come, let us worship and fall down before Χριστῷ, τῷ βασιλεῖ ἡμῶν Θεῷ. Christ the King, our God. Δεῦτε, προσκυνήσωμεν καὶ προσπέσωμεν Come, let us worship and fall down before αὐτῷ Χριστῷ, τῷ βασιλεῖ καὶ Θεῷ ἡμῶν. Christ himself, the King and our God.

Proemium Ἀπό Ψαλμὸς ΡΓ´ (103, lxx) from Psalm 103 (Septuagint)

1a Εὐλόγει ἡ ψυχή μου, τὸν Κύριον 1a Bless the Lord, my soul! 1b Κύριε ὁ Θεός μου ἐμεγαλύνθης 1b O Lord my God, you have been greatly σφόδρα. magnified. 1c Ἐξομολόγησιν καὶ μεγαλοπρέπειαν 1c You have clothed yourself with ἐνεδύσω. thanksgiving and majesty. 2a Ἀναβαλλόμενος φῶς ὡς ἱμάτιον. 2a Wrapping yourself in light as in a cloak.

Τὰ ἀνοιξαντάρια The anoixantaria

28b Ἀνοίξαντός σου τὴν χεῖρα, 28b When you open your hand all things τὰ σύμπαντα πλησθήσονται will be filled with goodness.Glory to χρηστότητος. Δόξα σοι ὁ Θεός. you, O God. 29b Ἀντανελεῖς τὸ πνεῦμα αὐτῶν, καὶ 29b You will take away their spirit, and ἐκλείψουσι. Δόξα σοι they will perish. Glory to you, O Πάτερ, δόξα σοι Υἱέ, δόξα σοι τὸ Father, glory to you, O Son, glory to Πνεῦμα τό ἅγιον, δόξα σοι. you, O Holy Spirit. Glory to you! 30a Ἐξαποστελεῖς τὸ πνεῦμά σου, καὶ 30a You will send forth your spirit, and κτισθήσονται. they will be created. Δόξα σοι ὁ Θεός, δόξα σοι. Glory to you, Lord, glory to you! 31a Ἤτω ἡ δόξα Κυρίου εἰς τοὺς αἰῶνας. 31a May the glory of the Lord endure to the Δόξα σοι ἅγιε· δόξα σοι Κύριε· δόξα ages. Glory to you, holy One, glory to σοι, βασιλεῦ οὐράνιε. you, Lord, glory to you, heavenly King. Δόξα σοι, δόξα σοι ὁ Θεός. Glory to you, glory to you, O God!

35a Ἐκλείποιεν ἁμαρτωλοὶ ἀπὸ τῆς γῆς. 35a O that sinners might perish from the Δόξα σοι Τριὰς earth. Glory to you, Trinity without ἄναρχε· δόξα σοι ὁ Θεός. beginning, glory to you, O God! 35c Εὐλόγει, ἡ ψυχή μου, τὸν Κύριον. Δόξα 35c Bless the Lord, my soul! Glory to you, σοι, δόξα σοι ὁ Θεός. glory to you, O God!

15 24b and Doxology 24b and Doxology

Πάντα ἐν σοφίᾳ ἐποίησας. With wisdom you have made them all! Δόξα Πατρὶ καὶ Υἱῷ καὶ Glory to the Father and to the Son and to ἁγίῳ Πνεύματι. the Holy Spirit. Καὶ νῦν, καὶ ἀεί, καὶ εἰς τοὺς αἰῶνας Both now and for ever, and to the ages of τῶν αἰώνων. Ἀμήν. Ἀλληλούϊα. ages. Amen. Alleluia. Ἀλληλούϊα. Δόξα σοὶ ὁ Θεός. Ἀλληλούϊα. Alleluia. Glory to you, O God. Alleluia. Ἀλληλούϊα. Δόξα σοὶ ὁ Θεός. Ἀλληλούϊα. Alleluia. Glory to you, O God. Alleluia. Ἀλληλούϊα. Δόξα σοὶ ὁ Θεός, δόξα σοὶ ὁ Alleluia. Glory to you, O God. Glory to Θεός, ὁ Θεός. you, O God, O God.

From the Lamplighting Psalms

Ψαλμὸς PM´ (140, lxx), Ἦχος α´ Psalm 140 (Septuagint), Mode 1

Κύριε ἐκέκραξα πρὸς σέ, εἰσάκουσόν μου. Lord, I have cried to you, hear me; Εἰσάκουσόν μου, Κύριε. Κύριε, ἐκέκραξα hear me, O Lord. Lord, I have cried to you, πρὸς σέ, εἰσάκουσόν μου· πρόσχες τὴ hear me. Give heed to the voice φωνῇ τῆς δεήσεώς μου, ἐν τῷ κεκραγέναι of my supplication when I cry με πρὸς σέ. Εἰσάκουσόν μου, Κύριε. to you. Hear me, O Lord.

Κατευθυνθήτω ἡ προσευχή μου, ὡς Let my prayer be directed like incense θυμίαμα ἐνώπιόν σου· ἔπαρσις τῶν χειρῶν before you; the lifting up of my hands be an μου θυσία ἑσπερινή. evening sacrifice. Εἰσάκουσόν μου, Κύριε. Hear me, O Lord.

Θοῦ, Κύριε, φυλακὴν τῷ στόματί μου, καὶ Set a guard, O Lord, on my mouth, and a θύραν περιοχῆς περὶ τὰ χείλη μου. strong door about my lips.

Μὴ ἐκκλίνῃς τὴν καρδίαν μου εἰς λόγους Do not incline my heart to evil πονηρίας, τοῦ προφασίζεσθαι προφάσεις words; to make excuses ἐν ἁμαρτίαις. for my sins.

Σὺν ἀνθρώποις ἐργαζομένοις τὴν ἀνομίαν, With those who work iniquity, καὶ οὐ μὴ συνδυάσω μετὰ τῶν ἐκλεκτῶν let me not unite with their elect. αὐτῶν.

Ψαλμὸς ΡΚΘ´ (129) Psalm 129

Στίχος· Ὅτι παρὰ τῷ Κυρίῳ τὸ ἔλεος καὶ Verse: For with the Lord there is mercy, and πολλὴ παρ’ αὐτῷ λύτρωσις· καὶ αὐτὸς with him plentiful redemption, and he will λυτρώσεται τὸν Ἰσραὴλ ἐκ πασῶν τῶν redeem Israel from all his iniquities. ἀνομιῶν αὐτοῦ.

Τῶν οὐρανίων ταγμάτων To the melody “The ranks of heaven”

Σήμερον τέρπεται πόλις ἡ Ἀλεξάνδρεια, Today the city of Alexandria rejoices, for in τὰ σπάργανά σου Μάρτυς, ἐν τῷ θείῷ your temple it willingly keeps your grave ναῷ σου, κατέχουσα προφρόνως, διὸ καὶ clothes, and so we too, Catherine, devoutly ἡμεῖς, εὐσεβῶς ἑορτάζομεν, Αἰκατερῖνα τήν celebrate your revered memory. Pray μνήμην σου τὴν σεπτήν, ὑπερεύχου τῶν earnestly for those who honor you. τιμώντων σε. 16 Ψαλμὸς ΡΙΣΤ´ (116) Psalm 116

Στίχος· Αἰνεῖτε τὸν Κύριον πάντα τὰ ἔθνη, Verse: Praise the Lord, all you nations. ἐπαινέσατε αὐτόν πάντες οἱ λαοί. Praise him all you peoples.

Αἰκατερίνης τὴν μνήμην νῦν ἑορτάσωμεν, Let us now celebrate Catherine’s memory, αὐτὴ γὰρ ὄντως πάσας, τοῦ ἐχθροῦ τὰς for truly by word and deed she has stoutly δυνάμεις, ἐν λόγῳ τε καὶ ἔργῳ, καθεῖλε destroyed all the enemy’s powers and στερρῶς, καὶ Ῥητόρων τὴν ἔνστασιν, Ἀλλὰ the opposition of the Rhetors. But at her δεήσεσι ταύτης ῥύσαι ἡμᾶς, ὁ Θεὸς ἐκ τῶν intercessions deliver us, O God, from αἱρέσεων. heresies.

Στίχος· Ὅτι ἐκραταιώθη τὸ ἔλεος αὐτοῦ ἐφ’ Verse: For his mercy has been mighty ἡμᾶς, καὶ ἡ ἀλήθεια τοῦ Κυρίου μένει εἰς towards us, and the truth of the Lord τὸν αἰῶνα. endures to the ages.

Χαίροις πανένδοξε Μάρτυς Αἰκατερῖνα Hail, all-glorious Martyr holy Catherine, σεμνή, ἐν τῷ Σινᾷ γὰρ ὄρει, ἐν ᾧ εἶδε τὴν for on Mount Sinai, where Moses saw βάτον, Μωσῆς μὴ φλεγομένην, ἐν τούτῳ the bush that was not burned, and where Χριστός, τὸ θεάρεστον σκῆνός σου, νῦν Christ has now translated your body μεταθεῖς σὲ φυλάττει ἕως καιροῦ, τῆς pleasing to God and keeps you until the δευτέρας παρουσίας αὐτοῦ. moment of his second coming.

Ἦχος β´ Mode 2

Δόξα Πατρὶ καὶ Υἱῷ καὶ Ἁγίῳ Πνεύματι. Glory to the Father, and to the Son, and to the Holy Spirit.

Χαρμονικῶς τῇ πανηγύρει, τῆς θεοσόφου Lovers of martyrs, let us joyfully run Μάρτυρος Αἰκατερίνης, συνδράμωμεν ὦ together for the festival of the Martyr φιλομάρτυρες, καὶ ταύτην τοὶς ἐπαίνοις, Catherine, wise in God, and let us garland ὡς ἄνθεσι καταστέψωμεν, Χαίροις βοῶντες her with praises as with flowers, as we αὐτῇ, ἡ τῶν φληνάφων Ῥητόρων, τὴν shout, “Hail, you that confounded the θρασυστομίαν ἐλέγξασα, ὡς ἀπαιδευσίας insolence of the chattering Rhetors, as ἀνάπλεων, καὶ τούτους πρὸς πίστιν θείαν infected with stupidity, and led by the hand χειραγωγήσασα. to divine faith.”

Δεύτερος πούς· Ποίημα κυροῦ Μανουὴλ Second foot, a composition by Mr. Manuel μαΐστορος τοῦ Χρυσάφη Chrysaphes the Lampadarios

Χαίροις ἡ τὸ σῶμα πολυπλόκοις βασάνοις Hail, you that surrendered your body to ἐκδοῦσα, δι’ ἀγάπην τοῦ Ποιητοῦ σου, καὶ countless torments through love of your μὴ καταβληθεῖσα, ὡς ἄκμων ἀνάλωτος, Maker, and like an unassailable anvil you Χαίροις ἡ ταῖς ἄνω μοναῖς, ἀντάξια τῶν were not cast down. Hail, you that dwell πόνων εἰσοικισθεῖσα, καὶ δόξης αἰωνίου in the dwelling places on high, worthy of κατατρυφήσασα, ἧς ἐφιέμενοι οἱ ὑμνῳδοί your pains, and enjoy eternal glory. Would σου, τῆς ἐλπίδος μὴ ἐκπέσοιμεν. that we who, and who long for it, sing your praise, might not fail in our hope.

Translations by Archimandrite Ephrem (Lash) 17 CAPPELLA ROMANA

Its performances “like jeweled light flooding the space” Los( Angeles Times), Cappella Romana is a vocal chamber ensemble dedicated to combining passion with scholarship in its exploration of the musical traditions of the Christian East and West, with emphasis on early and contemporary music.

Founded in 1991, Cappella Romana’s name refers to the medieval Greek concept of the Roman oikoumene (inhabited world), which embraced Rome and Western Europe, as well as the Byzantine Empire of Constantinople (“New Rome”) and its Slavic commonwealth. Each program in some way reflects the musical, cultural and spiritual heritage of this ecumenical vision.

CONTACT AND BOOKING INFORMATION Mark Powell, Executive Director Cappella Romana 3131 ne Glisan Street Portland, or 97232 usa tel +1.503.236.8202 cappellaromana.org