C!PRVS ΚΥΠΡΟC BE'îN G)EK ê+ & ,-N WE+

CappeLLa Romana A/xander 0ngas Cyprus: Between Greek East & West

1 Responsory: Letare, Ciprus florida (from the Office of St. Hilarion, MS Torino J.II.9) 3:59 2 Motet 8 Gemma florens/Hec est dies (MS Torino J.II.9) 4:51 3 Prosomoion for St. Hilarion in Mode 4 (Melody MS Mt. Athos Vatopedi 1493) 3:07 Ὁ ἱλαρὸς τὴν ψυχήν · Ἦχος δʹ 4 Sticheron Doxastikon for St. Hilarion in Mode 2 (MS Sinai Gr. 1471) 3:47 Ἐκ νεότητός σου φέρων τελειότητος φρόνημα · Ἦχος βʹ 5 Motet 17 Magni patris/Ovent Cyprus (MS Torino J.II.9) 3:09 6 Trisagion of / Τρισάγιον τοῦ ὄρθρου (MS Sinai Gr. 1313) 3:05 7 Kalophonic Hymn to the Trinity / Τριαδικὸν καλοφωνικόν (MS Athens 2406) 12:07 by Konstantine Asan & John Kladas the Lampadarios Κωνσταντίνου τοῦ Ἀσάνη & Ἰωάννου λαμπαδαρίου τοῦ Κλαδᾶ 8 Kyrie for St. Hilarion (from the Mass of St. Hilarion, MS Torino J.II.9) 3:54 9 Gloria 10 (MS Torino J.II.9) 4:08 10 Alleluia: Ave Sancte Ylarion (from the Mass of St. Hilarion, MS Torino J.II.9) 3:57 11 Sequence for St. Hilarion (from the Mass of St. Hilarion, MS Torino J.II.9) 5:37 12 Communion Verse for Saints in Mode 4 / Κοινωνικόν «Εἰς μνημόσυνον αἰώνιον» · Ἦχος δ´ 4:53 (MS Athens 2406) by Nicholas Asan / Νικολάου τοῦ Ἀσάνη 13 A Short Kratema (MS Athens 2406) by Paul Kasas, Protopsaltes (First-Cantor) of Cyprus 5:29 as beautified by Nicholas, Protopsaltes of Rentakinos, in Mode 4 Καταβασία ποιηθεῖσα παρὰ τοῦ [Παύλου] Κασᾶ, πρωτοψάλτου Κύπρου· καλλωπισθεῖσα δὲ παρὰ κυροῦ Νικολάου, πρωτοψάλτου Ρεντακινοῦ · Ἦχος δʹ 14 Motet 33 Da, magne pater/Donis affatim perfluit orbis (MS Torino J.II.9) 2:29 total time: 64:46

2

Cappella Romana

Alexander Lingas, artistic director

Spyridon Antonopoulos Richard Barrett John Michael Boyer Aaron Cain David Krueger Emily Lau Kerry McCarthy Mark Powell Melanie Downie Robinson Catherine van der Salm David Stutz

3 Lusignan, who had been displaced as Latin King of Jerusalem by the Muslim reconquest of the Holy City led by Saladin in 1187. The dynasty founded by Guy governed the island for nearly two centuries, with the later period marked by ever-closer relations with the city-states of Italy. In 1489 the Republic Medieval Cyprus between East and West of Venice added Cyprus to its empire, of which it remained a part until the Ottoman conquest of 1571. Located at a strategic point in the Eastern Mediterranean close to the coasts of Asia Minor Greek-speaking Orthodox Christians remained in (modern Turkey) and the Middle East, the island the majority under Lusignan rule, but the island of Cyprus has been a site of commercial and cultural interchange since the dawn of civilization. Christianity came to The present recording offers a the island with the apostles Paul and sampling of the Byzantine and Barnabas, the latter of whom was himself a Cypriot and, according to local legend, Latin sacred music that someone the island’s first bishop. The Church of Cyprus was granted the right of self- could have encountered during governance (autocephaly) by the Emperor Zeno (474–91) and remained a powerful the fifteenth century by walking institution after the island came under the short distance between the joint Byzantine and Arab rule in the late seventh century. Greek Orthodox and Roman reasserted full control Catholic cathedrals of Nicosia. over Cyprus in the tenth century, but by the early twelfth century it had become a way station for Crusaders journeying to also hosted significant minority communities of the Holy Land. During the Third Crusade (1189–92), Armenians, Syriac Christians, Jews, and Western King Richard I the Lionhearted of England diverted Europeans. The latter included traders and his fleet to Limassol in 1191, captured the island, refugees from Crusader states recently captured and promptly sold it to the Knights Templar. The by the Arabs, some of whom came to occupy Templars soon proved incapable of administering positions of power in the island’s feudal system Cyprus, so in 1192 Richard sold it to Guy de 4 of governance. Whereas early members of this Western singers of spontaneously adding unwritten imported aristocracy attempted to suppress the vocal parts to a chant according to basic rules of Orthodox Church of Cyprus, toleration became consonance – that is, the performance practices of the rule in succeeding generations marked by organum and cantus planus binatim (‘plainchant increasing rates of intermarriage between the Greek twice’) – to be adopted in some circumstances by and Latin communities. In both the capital of Greek cantors, especially those serving regions with Nicosia (Leukosia) and the coastal city of Famagusta religiously mixed populations. (Ammochostos), Roman Catholic cathedrals in the Even as these traditional styles of chanting Gothic style were constructed in close proximity to continued to dominate Latin and Greek worship their Eastern Orthodox counterparts. throughout the Middle Ages, during the fourteenth The Ars nova and its Byzantine Counterpart century the musical elites of West and East developed strikingly different approaches to the Latin and Greek sacred music of the Middle Ages composition of technically advanced music. In the shared both roots in the Christian psalmody of West, circles of theorists and composers fostered Roman Late Antiquity and a common inheritance what some of them labelled a ‘New Art’ (Ars nova) of Ancient Greek musical theory. Despite centuries of writing music in multiple parts that further of troubled relations between Byzantine Christianity distanced the practice of polyphony from its origins and the Church of that went from bad to in improvisation. They accomplished this through worse with the Crusader sack and occupation of the introduction of French and Italian systems of Constantinople in 1204, Western and Greek writers ‘mensural’ (‘measured’) musical notation that were continued to describe favourably encounters capable of recording the relative durations of sounds with the music of their counterparts well into the with unprecedented precision, thereby allowing fifteenth century (Lingas 2006). One reason for privileged groups of court musicians to create this is that musical expression in the two traditions sacred and secular polyphonic works of great formal of worship remained, at base, stylistically similar. sophistication and rhythmic complexity. Although differing in liturgical language and the particularities of their respective systems of worship, Currents of artistic renewal in the Greek East music in the Roman and Byzantine rites consisted took a markedly different route, being channelled mainly of the unaccompanied singing of psalms into the elaboration of Byzantine chant. The most and other sacred texts, a practice that we call today influential figure in the musical revolution that ‘chant’, or ‘plainchant’. Furthermore, the ways in Edward Williams (1972) called ‘A Byzantine Ars which Byzantine and Roman (Gregorian) chant were nova’ was the composer, editor, music theorist, and sung seem to have been aurally compatible, even to Saint, John Koukouzeles (late 13th–early 14th c.). the point of allowing simple techniques practiced by His Life identifies him as a native of Dyrrhachium 5 (modern Dürres, ) who was educated in and musical witnesses to the aural compatibility of Constantinople, where he became a musician at medieval Greek and Latin chanting noted above. the imperial court. Koukouzeles eventually left Their vocal aesthetic is further informed by the oral the capital to take up the life of a contemplative traditions of received forms of Byzantine chanting (‘hesychast’) monk of the Great Lavra on Mount (including those practiced on the Ionian Islands, Athos. He subsequently spent his weekdays in which remained under Venetian control after the solitude practicing hesychia (literally ‘quietude’), Ottoman conquest of Crete in 1649; see Dragoumis but returned to his monastery for weekends and 1978), as well as the documentary evidence for feasts to assist with the chanting of the All-Night melodic ornamentation and other forms of Vigil. Byzantine musical manuscripts reveal that embellishment in sacred music of the Western Koukouzeles contributed to the codification of older Middle Ages (McGee 1998). repertories while pioneering a new kalophonic (‘beautiful sounding’) idiom of chanting that spread rapidly throughout the Orthodox world. Kalophonic Latin Music in Cyprus singing is characterised generally by vocal virtuosity, Literary witnesses to the cultivation of music by but individual chants may display different the French kings of Cyprus are found in a variety combinations of the following techniques: textual of sources, but nearly all of the surviving music repetition, the addition of new texts (troping), associated with the Lusignan court is contained in melisma (the melodic extension of a single vowel), a single manuscript: Torino Biblioteca Nazionale and the composition of teretismata, wordless Universitaria J.II.9. This remarkable document was, passages on such strings of vocables as ananenes according to Karl Kügle (2012), evidently copied and terirem. between 1434 and 1436 under the supervision of The present recording offers a sampling of the Jean Hanelle, one of two priest-musicians from Byzantine and Latin sacred music that someone Cambrai (the other was Gilet Velut) who arrived could have encountered during the fifteenth in Cyprus in 1411 with Charlotte of Bourbon, the century by walking the short distance between the second wife of King Janus I (1398–1432). Whereas Greek Orthodox and Roman Catholic cathedrals Velut appears to have soon left the island, Hanelle of Nicosia. Selections of Byzantine and Latin remained in the service of the Lusignan family chant in traditional genres are situated among for decades, becoming scribendaria of the Roman kalophonic and polyphonic works representing the Catholic cathedral of Nicosia in 1428 and also, at most technically advanced forms of vocal music some point, master of the Cypriot king’s chapel. performed on the island. The singers of Cappella Probably travelling to Italy in 1433 as part of the Romana render this music in the light of the literary Cypriot delegation for the marriage of Anne of

6 Lusignan to Louis of Savoy, Hanelle then seems to Interspersed throughout the present recording is have supervised the production of Torino J.II.9 for music for St Hilarion, an early Christian monk the Avogadro family of Brescia, whose coat of arms whose biography was written by St Jerome. Born is on the first folio of the codex. in Gaza in 291, he learned asceticism in Egypt as a disciple of St Anthony the Great and completed Since all of the music in J.II.9 is anonymous and his earthly life as a hermit near the city of Paphos there are no known melodic concordances with in Cyprus. St Hilarion was thereafter regarded as a other sources, Kügle has suggested that its contents patron of the island; the castle in Kyrenia that served may be largely the work of Hanelle, and, perhaps, as the Lusignan summer residence was dedicated of some of his colleagues at the Lusignan court. to him. In 1414 the court of King Janus marked The Torino manuscript opens with a section of the feast of St Hilarion (21 October) with newly Latin plainchant (a rhymed Office and Mass for St composed services that the Avignon Pope John Hilarion, a rhymed Office for St Anne, and six sets XXIII had recently approved for celebration with of chants for the ordinary of the Mass), followed the issuance of a papal bull that is copied at the very by a fascicle of polyphonic music for the Mass beginning of codex J.II.9. ordinary, and then another section containing 41 polytextual motets (33 in Latin and 4 in French). The The responsory Letare Ciprus mixes praise remainder of the codex is devoted almost entirely for St Hilarion with supplication for the island, to polyphonic French secular song (ballades, themes that the verse of the Mass Alleluia Ave Sancte virelais, and rondeaux), the exception being a Ylarion recalls amidst a stream of Greek terms. single polyphonic Mass cycle inserted by a later Detailed references to the life of the saint enrich the hand after the fascicle of ballades. The polyphony encomia and entreaties of the following Sequence of J.II.9 ranges in idiom from technically advanced Exultantes collaudemus in a manner similar to the compositions displaying the rhythmic complexity texts of Motet 17 Magni patris/Ovent Cyprus, one characteristic of the so-called ars subtilior (‘subtler voice of which, the motetus, directly asks Hilarion to art’) cultivated in France and northern Italy during intercede for King Janus. the later fourteenth and early fifteenth centuries to The medieval motet is a form of polyphony in which works in comparatively simple styles. An example upper voices, each of which may be provided with of the latter is the largely homophonic Gloria in its own text, are supported by a foundational part excelsis 10 for three voices, which features textures (the ‘tenor’) that is either taken from a pre-existing not entirely unlike those that could be produced by melody (often a piece of plainchant) or, as is the polyphonically elaborating chant in performance (as case with all but two of the motets in the Torino in the preceding Kyrie for St Hilarion). manuscript, newly composed. Nearly all of the parts

7 in the motets of J.II.9 feature what modern scholars hymns interpolated on the eve of his feast between call ‘isorhythm’, namely the repetition of a rhythmic the verses (stichoi) of the Lamplighting Psalms of pattern (talea) one or more times following its initial Byzantine Vespers. Their melodies have been taken statement. This repetition may be literal or, as in from standard collections of medieval Orthodox the case of Motet 8 Gemma Florens/Hec est dies, hymnody and, like all the Greek chants on this disc, involve patterns of diminution (in this case, a talea have been edited by Dr Ioannis Arvanitis in the repeated twice in 3:1 diminution for a total of four light of his groundbreaking research on rhythm in statements). Byzantine chant of the Middle Ages (2010). One of our sources is the Sticherarion Sinai Greek 1471, a Gemma Florens/Hec est dies is one of several volume that consists mainly of through-composed motets commemorating milestones in the life of hymns (stichera idiomela) that Oliver Strunk (1977) the Lusignan family, evidently having been written identified as having been copied on Cyprus during to mark the baptism in 1418 of John, the son of the fourteenth century and, perhaps because of the Janus and Charlotte of Bourbon. Its triplum voice island’s proximity to the Middle East, includes rarely emphasises kinship with the French royal family notated hymns associated with the rite of Jerusalem. into which Charlotte was born, mentioning a ‘Macarius’ who is probably to be understood as Cypriot cantors from the period of Lusignan rule being St Denys of Paris. Its motetus, on the other not only maintained existing traditions of Byzantine hand, speaks of the birth of John the Baptist to chanting, but also contributed works in the new Elizabeth before invoking Christ’s protection on kalophonic style to musical anthologies copied King Janus. Although differing in their wording, on the mainland. What little we know about these both upper voices of Motet 33 Da magne Pater/Donis musicians comes mainly from brief headings to affatim are hymns of praise to God featuring the their compositions mentioning their names, the acrostic ‘Deo gratias’, the concluding response for fact that they were from Cyprus, and perhaps also the Mass of the Roman rite. their musical or clerical posts. For the present recording we have selected three works partially or wholly attributed to Cypriot composers from in Cyprus the manuscript Athens, National Library of Greece 2406, an encyclopedic volume of Byzantine service Manuscripts of Byzantine chant copied through the music copied in the northern Greek town of Serres middle of the fifteenth century show that Cyprus and dated to the fateful year of 1453. remained closely tied to the musical mainstream of Byzantium. The two hymns (stichera) from the Byzantine musical manuscripts record the musical Greek office for St Hilarion included on the present activities of three members of the Asan family of recording are excerpts from a longer sequence of Cyprus, two of whom appear in Athens 2406 (the 8 third is the priest Manuel Asan, whose works are Byzantine cantors who wished to further prolong transmitted in other early fifteenth century sources). a liturgical moment were able to do so by inserting To Konstantinos (Constantine) Asan are ascribed a musically independent kratema (‘holder’), a several texts set to music in the kalophonic style by composition consisting entirely of teretismata. John Kladas, a Lampadarios of the Great Church of Although their vocables were rendered exclusively Hagia Sophia and the leading Constantinopolitan with the human voice, kratemata could serve composer of the late fourteenth and early fifteenth liturgical functions analogous to those of the centuries. The present recording offers one of their organ preludes, interludes, and postludes found in two hymns that honour the Holy Trinity in fifteen- later Western liturgical traditions. On the present syllable verse, a metre employed widely in Byzantine recording we demonstrate this by appending to sacred and secular poetry. The music of Kladas is the Communion Verse a kratema by Paul Kasas, a generally meditative in character, but gradually priest-monk who was Protopsaltes (First-Cantor) of builds in tension through a series of textual Cyprus during the early fifteenth century. Copied repetitions. This tension is released with teretismata in Athens 2406 among festal psalms for evening that culminate in vocal imitations of brass fanfares prayer, this kratema is labelled a katavasia by its that herald the final exclamation: ‘Save me, Holy scribe. This technical term denoting some kind Trinity: Father, Son and Holy Spirit!’ of descent was traditionally applied in Byzantine liturgy either to the concluding stanzas of poetic In Athens 2406 the Communion Verse for Saints canons at the morning office or, in the old rite of (and ordinary Tuesdays) by Nicholas Asan follows Jerusalem, the short festal hymns known in modern another setting of the same text attributed to the use as apolytikia (‘dismissal [hymns]’). Composers daughter of Kladas. Nicholas begins with a brief of kalophonic chant, however, tended to use the quotation of a formula for the syllabic rendering term to refer to short kratemata that could be added of psalms, after which he shifts into a melodically as codas to other works (Anastasiou 2005). The florid style for the remainder of the piece, about katavasia of Kasas is divided musically into three two thirds of which is devoted to repetitions of the large sections of melodically related material, each refrain ‘Alleluia’ extended through the intercalation of which is formed of sequences of phrases that of consonants within the melismas and the insertion climax an octave above the base (final) of the mode. of the command ‘Λέγε!’ (‘Say!’). These extensions Athens 2406 includes two endings for this kratema, not only helped to fill the time required for the the second of which is recorded on this disc: a distribution of Communion, but also reflected lightly ornamented version of Neagie, the intonation sonically the Byzantine theological understanding for the Fourth Plagal Mode; and an alternate version of earthly worship as an icon of that celebrated in which this intonation is dramatically stated perpetually by the angels.

9 in octaves, labelled ‘doubling’ (‘diplasma’) in the century featuring the hands of multiple scribes. manuscript, after which the upper voice executes a Probably the latest of these scribes is Hieronymos gentle descent to the base of the mode. Tragodistes, a composer and theorist who left Cyprus in the middle of the sixteenth century for During the final decades of the Lusignan dynasty Venice where he became a pupil of Gioseffo Zarlino and then subsequently under the administration (Strunk 1974). of Venice, Greek Orthodox cantors in Cyprus began to shadow the musical developments of —Alexander Lingas their colleagues in Venetian-ruled Crete. While continuing to transmit the central repertories of Byzantine chant, Cypriot musicians also wrote new chants and selectively arranged older compositions in ways that reflected shifting musical sensibilities. As in Crete, the changes included alterations of melodic style and the extension of modal variety to a broader range of liturgical genres. An example of these new directions in melody and modality is the Trisagion (‘Thrice Holy’) Hymn composed as a conclusion to the Great Doxology (Gloria in excelsis) of the Byzantine morning office of Orthros. This hymn appears amid the older musical layers of Sinai Greek 1313, a Cypriot manuscript of the sixteenth

10 Works Cited and Selected Bibliography from the 36th Spring Symposium of Byzantine Studies, edited by Andrew Louth and Augustine Casiday, 131-150. Anastasiou, Gregorios. 2005. Τὰ κρατήματα στὴν ψαλτικὴ Aldershot: Ashgate. τέχνη. Institute of Byzantine Musicology Studies 12. edited by Gregorios Th. Stathis. Athens: Institute of McGee, Timothy J. 1998. The Sound of Medieval Song: Byzantine Musicology. Ornamentation and Vocal Style According to the Treatises. Oxford and New York: Oxford University Press. Arvanitis, Ioannis. 2010. ‘Ὁ ῥυθμὸς τῶν ἐκκλησιαστικῶν μελῶν μέσα ἀπὸ τὴ παλαιογραφικὴ ἔρευνα καὶ τὴν Romanou, Katy, Kenneth Owen Smith, Vasilis Kallis, and ἐξήγηση τῆς παλαιᾶς σημειογραφίας—Ἡ μετρικὴ καὶ Nicoletta Demetriou. ‘Cyprus’. Grove Music Online. ῥυθμικὴ δομὴ τῶν παλαιῶν στιχηρῶν καὶ εἱρμῶν’, Ph.D. Oxford University Press. Accessed 25 October 2015. diss. (Ionian University). http://0-www.oxfordmusiconline.com.wam.city.ac.uk/ subscriber/article/grove/music/40747 Data, Isabella Fragalà, and Karl Kügle, eds. 1999. Il codice J.II.9: Torino, Biblioteca nazionale universitaria. Edizione Strunk, Oliver. 1974. ‘A Cypriot in Venice’, Essays on Music in in facsimile. Lucca: Libreria musicale italiana. the Western World. New York: W.W. Norton & Company. 79-93. Dragoumis, Mark Ph. 1978. ‘Ἡ δυτικίζουσα Ἐκκλησιαστική μας μουσικὴ στὴν Κρήτη καὶ τὰ Ἑπτάνησα’. Λαογραφία ______. 1977. Essays on Music in the Byzantine World. New 31 (1976–78). York: W. W. Norton & Company.

Günther, Ursula, and Ludwig Finscher, eds. 1995. The Williams, Edward V. 1972. ‘A Byzantine Ars Nova: The 14th- Cypriot-French repertory of the manuscript Torino J.II.9: Century Reforms of John Koukouzeles in the Chanting Report of the International Musicological Congress, Paphos of Great Vespers’. In Aspects of the : Continuity 20-25 March, 1992. Neuhausen-Stuttgart: American and Change: Contributions to the International Balkan Institute of Musicology. Conference held at UCLA, October 23–28, 1969, edited by Henrik Birnbaum and Speros Vryonis, Jr., 211-29. The Kügle, Karl. 2012. ‘Glorious Sounds for a Holy Warrior: New Hague and Paris: Mouton. Light on Codex Turin J.II.9’. Journal of the American Musicological Society 65 (3):637-690.

Jakovljević, Άνδρέας [Andrija]. 1984–1987. ‘Κύπριοι Μελῳδοί, Ὑμνογράφοι καὶ Ἀντιγραφεῖς τῶν Βυζαντινῶν Μουσικῶν Χειρογράφων τοῦ ΙΕ´- ΙΖ´ Αἰώνα’. Ἐπετηρὶς τοῦ Κέντρου Ἐπιστημονικῶν Ἐρευνῶν XIII–XVI (1):469–77.

Lingas, Alexander. 2006. ‘Medieval Byzantine Chant and the Sound of Orthodoxy’. In Byzantine Orthodoxies, Papers

11 Responsorium Responsory

Letare, Ciprus florida, Rejoice, flourishing feta sanctis odoribus, Cyprus, rich with holy et fertilis et rorida scents, fertile and watered sanctis compta corporibus. with the bodies of saints: Propter quod et Ylarion Therefore Hilarion, in the fide sancte matris Syon faith of holy mother Zion, est tibi pater proprius. is your own father.

Verse Verse Nam inter tuos ceteros For among the other saints quos sanctos genuisti you have begotten, you huic isti solum regios have granted him alone custodes tribuisti. the protection of kings. Propter… Therefore…

Verse Verse: Gloria Patri et Filio Glory be to the Father and to the Son et Spiritui Sancto. and to the Holy Spirit. Propter… Therefore…

12 Motet 8 Hierusale, Armenia, Motet 8 Cyprus, and those Cipri regem, Uranie who praise him, in Triplum Clementia Triplum the presence of God Gemma florens militie, Numinis in presentia, Flourishing jewel of today in heavenly Palma nitens iusticie: the heavenly host, peace, radiant with Magnalia Laurea fulgens glorie, shining palm of the crown of glory. Macharii preconia Locet ovantes hodie, justice: the people of In patria, Paris and of France Motetus Depromat plebs Lutetie, Tempe donans celestia. proclaim as offerings This is the glori- Odulis pro leticie, Amen. of joy the great works ous day on which Cum Gallia, of Macarius, through Elizabeth bore the Quo preclaruit Grecia, Motetus whom Greece was noble offspring who Hec est dies gloriosa ennobled with a blots out sin; he Refulgentis prosapie in qua fructum people of illustrious fulfilled the pledge Genere. Gentis impie generosa birth. He did not fear of the law, unlocking Feralia Elysabeth genuit, the deadly torments the mystery. He is Non veretur supplicia; Delens improperium; of a wicked nation adorned with virtues, legis implevit, fallen into idolatry; strengthened with Quo ruunt ydolatrie Reserans misterium. he strengthened true holiness, before his Cultu roborat latrie Virtutibus decoratur, worship, fruitful as an birth; the precursor, Olivia Sanctitate roboratur, olive tree. The shep- not yet born, truly Suggerentis frugalia. Ante puerperium. herd of innocence recognized the king, Nondum preco taught a thousand announcing the Populis diffidentie nascebatur life-giving things kingdom in gloomy Pastor innocentie Vere regem fatebatur, to his unbelieving darkness. May he Per milia Predicens imperium people, who bore out who made all things Ediserit vitalia, Caligine tenebrosa. prophecy and rushed clean in the River Janum regem speciosa into wickedness, Jordan preserve King Eminent quo prophetie Veram lucem que pavit sacrificing to pagan Janus for the true Et corruunt nequitie, preservet dans gaudium gods. May the mercy light he has wor- Gentilia Celi qui cuncta lavit of the Heavenly One shipped, giving him Numinum sacrificia. In Jordanis fluvium. place the king of Jeru- the joy of heaven. Amen. salem, Armenia, and Amen.

13 Στιχηρὰ Αγίου Ἱλαρίωνος Stichera for St. Hilarion

Στίχ. Ἕνεκεν τοῦ ὀνόματός σου ὑπέμεινά σε, Κύριε· Verse: For your name’s sake I have waited for you, O ὑπέμεινεν ἡ ψυχή μου εἰς τὸν λόγον σου, ἤλπισεν ἡ Lord. My soul has waited on your word. My soul has ψυχή μου ἐπὶ τὸν Κύριον. hoped in the Lord.

Ἦχος δ’ Mode 4 Ὁ ἐξ ὑψίστου κληθεὶς [to the melody] Called from on high

Ὁ ἱλαρὸς τὴν ψυχὴν καὶ τὴν καρδίαν, ὅτε σε ὁ Joyful [hilarós] in heart and soul, when divine love ἔνθεος ἔρως κατέτρωσε, καὶ ἱεραῖς ἀναβάσεσιν, wounded you and your holy ascents persuaded you ἐπαναστῆναι, τῶν κοσμικῶν σε θορύβων ἔπεισε, to rise above the distractions of the world, and thus τότε ὁπλισάμενος Σταυροῦ τὴν δύναμιν, πρὸς equipped with the power of the Cross, you went out τὴν δαιμόνων ἐχώρησας, Παμμάκαρ πάλην, καὶ to wrestle with the demons and wove a wreath of ἀνεπλέξω νίκης διάδημα, καὶ νῦν αὐλίζῃ, ταῖς victory, O most Blessed One, who now dwell in the λαμπρότησι, τῶν Ἁγίων· μεθ’ ὧν ἡμῖν αἴτησαι, splendor of the Saints; with them ask that we receive φωτισμὸν καὶ εἰρήνην, καὶ πταισμάτων ἀπολύτρωσιν. illumination and peace, and deliverance from errors.

Δόξα. Ἦχος β’ Glory. Mode 2 Ἀνατολίου By Anatolios

Ἐκ νεότητός σου φέρων τελειότητος φρόνημα, From your youth possessing perfect understanding, ὑπέθου σεαυτὸν Ἱλαρίων τῷ Σταυρῷ τοῦ Χριστοῦ, you placed yourself under the Cross of Christ, καὶ τὸν βίον ζηλώσας τοῦ θείου Ἀντωνίου, τοῖς O Hilarion; and emulating the life of the divine ἴσοις μέτροις τῆς ἀρετῆς ἀφομοιούμενος, κατέτηξας Anthony, you were made like him in equal measure τὴν σάρκα, σκιρτῶσαν ὥς περ πῶλον, ὡς ὤφειλε of virtue by the wearing away of your flesh, τῇ ψυχῇ καθυποτάσσεσθαι, καὶ τῆς ἀσκήσεως which leapt as though it were a foal, and which δρόμον ἐξετέλεσας· Ἀλλ’ ὦ μακαριώτατε Πάτερ, ought to be subjected to the soul, completing the καὶ θαυματουργὲ θεοφόρε, τοῖς τὴν μνήμην σου course of asceticism. O most blessed Father and ἐκ πόθου τελούντας, αἴτησαι ἱλασμὸν καὶ τὸ μέγα wonderworking God-bearer, ask that reconciliation ἔλεος. and great mercy be given them who keep your memory with longing.

14 Motet 17 Motetus Motet 17 Motetus Ovent Cyprus, Let Cyprus, Palestine, Triplum Palestina, Triplum Egypt, and rejoice Magni patris magna mira Egyptus, et Trinacria, May we sing worthily that divine destiny Hylarionis promere Quas dotavit sors in sweet song the great has given them the Ut queamus dulci lira, divina deeds of the great father grace of such a great Superno decor munere. Tam magni sancti Hilarion, adorned with saint. Hilarion did gratia. heavenly gifts. Born of wondrous works in Diis litabant qui parents who sacrificed these lands in ancient prophanis Hylarion provinciis to profane gods, he times, filling the wide Hic ortus de parentibus, His prisco fecit seculo blossomed like a rose world with his praises. Velut rosa, spretis vanis Mira signa, preconiis from thorns, rejecting Now Cyprus, which Effloruit de vepribus. Orbe repleto patulo. vain things. As a child, possesses his body and wise in speech, he came honors it with worthy Puer gnarus eloquendi Nunc autem Cyprus to Anthony, eager in titles, earns the place Perrexit ad Anthonium, obtinet soul to share his life of of honor among these Huius vitam Primatum in miraculis, contemplation. Soon miracles. Happy the contemplandi Que sacrum corpus returning home, he land gifted with such a Mente ferens studium. detinet gave his inheritance noble jewel; happy the Et dignis colit titulis. to the poor and his people for whom such Mox repatrians, paterna brethren: left naked, a shepherd rules the Egenis dat et fratribus, Felix terra tam preclaro he longed for heavenly flock. Oh, good father, Nudus manens ad Que dotata stat monili, things with all his save King Janus, who superna Felix populus cui baro senses. He was the first praises you in these Totis anhelat sensibus. Talis presidet ovili. who dared to inhabit songs, and satisfy this the deserts of Pales- company with happy Palestine primus tesca Eya, pater bone, regem tine, living more from fortune. Ausus fuit incolere, His te laudantem spiritual food than Spritali vivens esca cantibus, from rich fruit. From Quam frugum magis Salva Janum huncque that time on, he shel- ubere. gregem tered as many monks Letis imple successibus. in his hermitage as the Inde tot anachoritas cloisters of the Jaco- Heremi clausit latebris bites enclosed in the Quot vix claustra darkness of night. Iacobitas Noctis recludunt tenebris. 15 Τρισάγιον τοῦ ὄρθρου Trisagion for Orthros

Ἅγιος ὁ Θεός, Ἅγιος Ἰσχυρός, Ἅγιος Ἀθάνατος, Holy God, Holy Strong, Holy Immortal, have mercy ἐλέησον ἡμᾶς. on us.

Τριαδικὸν καλοφωνικόν· Kalophonic Hymn to the Trinity τὸ μὲν μέλος, κυρίου Ἰωάννου λαμπαδαρίου τοὺ The melody is by Mr. John Kladas the Lampadarios, Κλαδᾶ· τὰ δὲ γράμματα, κυρίου Κωνσταντίνου τοῦ while the text is by Mr. Constantine Asan. Ἀσάνη. Ἦχος πλ. β´. Mode Plagal 2.

Θεέ, Τριὰς διαρετὴ προσώποις, οὐ τῇ φύσει· O God, [you are] Trinity distinguishable in persons, Ἕν γὰρ τὰ τρία τῇ μορφῇ, but not in nature, for the three in appearance [are] οὐσία καὶ θεότης. one essence and divinity. — πάλιν — Again Θεέ, Τριὰς διαρετὴ προσώποις, οὐ τῇ φύσει· O God, [you are] Trinity distinguishable in persons, Ἕν γὰρ τὰ τρία τῇ μορφῇ, but not in nature, for the three in appearance [are] οὐσία καὶ θεότης. one essence and divinity. Ὀφθαλμὸς γὰρ σὺ καὶ πηγὴ καὶ ποταμὸς For you, O Father, Word, and Spirit, are source σὺ πέλεις, ὦ Πάτερ, Λόγε καὶ Πνεῦμα. [lit. ‘eye’], spring, and river. Σοὶ γὰρ λόγῳ τὰ πάντα εὖ συντετήρηται τάξεις, For by your command everything is kept in good order, καὶ σοὶ ὑποτέτακται, And made subject to you, Χριστέ μου, Λόγε, Θεέ μου. my Christ, O Word, my God. Σὸν πλἀσμα μὴ παρίδῃς ὁ καθαρὸς ἀπὸ ρύπου. Do not abandon your creature, O Spotless One. ‘Υπερούσιε φύσις—πάλιν—ὑπερούσιε φύσις, σῶσόν Nature above all being—again—Nature above all με, Τριὰς ἁγία· being, save me, Holy Trinity: Πάτερ, Υἱὲ καὶ Πνεῦμα! Father, Son and Spirit! Τερερερερε… Terererere… Σῶσόν με, Τριὰς ἁγία· Πάτερ, Υἱὲ καὶ Πνεῦμα! Save me, Holy Trinity: Father, Son, and Spirit!

Kyrie Kyrie Kyrie eleyson. Χρiste eleyson. Lord, have mercy. Christ, have mercy. Kyrie eleyson. Lord, have mercy.

16 Gloria Gloria Gloria in excelsis Deo Glory to God in the highest, Et in terra pax hominibus bone voluntatis. and peace on earth to men of good will: Laudamus te. Benedicimus te. Adoramus te. Glo- We praise you, we bless you, we worship you, we rificamus te. glorify you: Gratias agimus tibi propter magnam gloriam tuam. We give you thanks for your great glory, Lord God, Domine deus, rex celestis, deus pater omnipotens. heavenly King, God the Father almighty: Domine fili unigenite Jesu Christe. Domine deus, Lord, only-begotten Son, Jesus Christ, Lord God, agnus dei filius patris. Lamb of God, Son of the Father: Qui tollis peccata mundi, miserere nobis. Qui tollis Who takes away the sins of the world, have mercy peccata mundi, suscipe deprecationem nostram. on us; who takes away the sins of the world, receive our supplications: Qui sedes ad dexteram patris, miserere nobis. Who sits at the right hand of the Father, have mercy Quoniam tu solus sanctus. Tu solus dominus. Tu on us; for you alone are holy, you alone are Lord, solus altissimus. you alone are Most High: Jesu Christe. Cum sancto spiritu, in gloria dei patris. Jesus Christ, with the Holy Spirit, in the glory of Amen. God the Father. Amen.

Alleluia. Alleluia. Alleluia. Alleluia. Ave sancte Ylarion, Hail, holy Hilarion, joyful qui tot letatus filijs, with so many sons: pray the ora sanctum Aelion Holy One that we may be ut laureamur lilijs, adorned with lilies, and lead et fer nos per Achatheon us through the underworld ab mundi his exilijs. from the exile of this world.

Nam cordis dyathessaron For with harmony of heart laudamus te et cymbalis, we praise you on the cymbals, Dei almus tethagramaton gracious Name of God, in seculorum seculis. for ages of ages.

17 Sequentia Primus hic in Palestina Cella huius fuit bustum, fulsit, in quo lux divina, lentes aqua scedant bustum, Exultantes collaudemus monacus in Syria. semper post crepusculum. mira sancti personemus eiusque solemnia. Duodenum hic agebat, Panis, radix, ficus, olus Xρistum scire cum querebat sextus illi fuit bolus Hic vocatur Ylarion, quadam in cemeria. sepe post quatriduum. quem duxit tethagramaton regna in perennia. Cella, stratus et vestitus, Cecam curat, stuprum fugat, metus vanus, sal et ficus, pauper durat, celum mirat Paternis ab erroribus huius sunt delicie. vivis ex lapidibus. ne pravaretur sordibus, destitit ab ydolis. Delibantes facit vivos, Deum orat, Cyprum rorat, sanat gentes, haurit rivos, quando plorat tunc honorat Audiens hic Anthonium, eius sunt divitie. Christum cum virtutibus. reliquit patrimonium, puer bone indolis. Regia fit hic camuca, Extraxit hortum parvulum, qui vult nobis sed tunica quo suum stat corpusculum Hic descendit a prophanis, sancti Ylarionis. alma continentia. flevit puer non inanis pro baptismi gloria. Qui sanat energuminos, Quod fragrat in odoribus depellit spiritus malos, cum toga fert Hieronimus, Artem hausit Scripturarum, proficit in donis. sanctaque constantia. querens lumen doctrinarum mox in Alexandria. Abicit mulierculam, Sancte pater, tende manum, dicit oratiunculum, salva cetum Ciprianum Mox, ut se fecit monacum, dando Deo gratias. in pace prospera. hic tempus post bimensium ad propria meavit. Accensis quinque digitis, Regni fructus da fecundos, et ait cum iniurijs: aufer pestes, et iocundos Defunctis iam parentibus, cede retro, sathanas. omnes duc ad supera. datis rebus pauperibus, monacos cumulavit.

18 Sequence He shone first in Palestine, where His cell was his tomb, he was a divine light, and as a with lentils and water only after Let us exult and rejoice together: monk in Syria. sunset. let us proclaim the wonders and the commemoration of this saint. He spent twelve years here in a He took six ounces of bread, dwelling as he sought to know herbs, figs, and oil, often after He is called Hilarion, whom the Christ. four days. Holy One has led to the eternal kingdom. His cell, bed, and clothing, herbs, He heals the blind, drives out im- salt, and figs, purity, encourages the poor, gazes Lest he be corrupted by the are a delight to him. on a heaven of living stones. sordid errors of his parents, he kept himself from idols. He gives life to detractors, heals He prays to God and rain falls the nations, on Cyprus; when he weeps, he Hearing Anthony, the good- drinks at the streams: honors Christ with his powers. natured boy left behind his inheritance. all riches are his. The tunic of He built a little garden where holy Hilarion is to us a royal his body remained in gentle He separated himself from garment. continence, profane things, and wept, not in vain, for the glory of baptism. He heals the possessed, disperses with the mantle of Jerome the evil spirits, makes progress in sweet fragrance and holy He devoured knowledge of the in gifts. constancy. Scriptures, soon seeking the light of doctrine in Alexandria. He sends away the woman, says Holy father, stretch forth your a little prayer, giving thanks to hand, keep the people of Cyprus Desiring to become a monk, he God. in peace and prosperity. returned to his own house after two months. With his five fingers aflame, he Give fertile fruit to the kingdom, responds to curses: Get behind drive away plagues, and lead us His parents having died, he me, Satan. all happily to the heavens. gave his goods to the poor, and increased the number of monks.

19 Κοινωνικόν Communion [for saints] Ποίημα κυροῦ Νικολάου τοῦ Ἀσάνη· [ἦχος] δ´. by Nicholas Asan, Fourth Mode.

[Εἰς μνημόσυνον αἰώνιον] ἔσται δίκαιος. Ἀλληλούϊα. The just will be held in eternal memory. (Ψαλμ. 6) Alleluia. (Psalm 6)

Καταβασία Katavasia [Kratema] ποιηθεῖσα παρὰ τοῦ [Παύλου] Κασᾶ, πρωτοψάλτου by Paul Kasas, Protopsaltes (First-Cantor) of Κύπρου· καλλωπισθεῖσα δὲ παρὰ κυροῦ Νικολάου, Cyprus, beautified by Nicholas, protopsaltes of πρωτοψάλτου Ρεντακινοῦ· ἦχος δ´. Rentakinos. Fourth mode.

Ερερρερε τερρετεεκεενα…νεαγιε. Ererrere terreteekeena…neagie.

20 Motet 33 Motet 33

Triplum Triplum Da, magne pater, rector Olimpi, Grant, great Father, ruler of Olympus, Empireo stans cunta gubernans standing in the firmament and Ordine miro, pie, da, nate, governing all in wondrous order: Gremio patris semper inherens, grant, kind Son, forever in the bosom Rerum conditor omni creator, of the Father, creator and maker of Almeque nobis, da quoque, , all things: grant also, Spirit, three Tres, deus unus, deitas una, and one God, one Godhead: let our Iubilet noster chorus, ut semper chorus sing joyfully, that we may Animo puro pangitet hymnos always proclaim hymns with a pure Supplexque deo gratias dicat. soul, and humbly give thanks to God.

Motetus Motetus Donis affatim perfluit orbis, The good and most high Creator, Erogat uno generi summus abundantly lavishing gifts on the Opifex queque iugiter illo world, by a great flood of mercy, Gurgite magno de pietatis, perpetually restores the ungrateful Recreans gratis bonus ingratos. without cost. Therefore let the human Agitet ergo genus humanum, race sing songs of praise to him, as Tanquam meriti memor accepti, in memory of the gift accepted, that Illius odas referat grates, finally we may climb with swift foot Ad regna poli queat ut tandem to the kingdom of heaven, with you as Scandere prepes, te duce, Christe. leader, O Christ.

21 This recording is made possible by the generous support of the following donors:

The Fred W. Fields Fund of the Oregon Community Foundation The A.G. Leventis Foundation Anonymous Carole Alexander Katharine Babad, in memory of Shirley Babad John & Emilie John Olympia Tachopoulou

22 PRODUCTION CREDITS Oil landscape in Cyprus, “Sky, Sea, Land,” by Stephen Hayes, collection of Timothy and Anne E. Hayes, used by Producer: Mark Powell (Cappella Romana). permission; Stephen Hayes is represented by the Elizabeth Recording, Mixing, and Mastering Producer; Digital Leach Gallery (Portland, Oregon) and David Richard Gallery Editor: Steve Barnett (Barnett Music Productions, (Santa Fe, New Mexico). Minneapolis, Minn.). Woodcut map of Cyprus, based on that by Ptolemy: Recording, Mixing, and Mastering Engineer: Preston Smith Xylandro, Gulielmo. Στράβωνος Γεωγραφικῶν βίβλοι Ἑπτά (Perfect Record, Saint Paul, Minn.). καί Δέκα. Basle: 1571. 779.

Editing Plot Preparation: John Michael Boyer. Booklet content and design: g2015 by Cappella Romana, Inc. All rights reserved. Performing editions: The performing editions of chant and polyphony from MS Torino J.II.9 are based upon “Cypriot- Acknowledgements: French Repertory (15th c.) of the Manuscript Torino, Dr. Spyridon Antonopoulos Biblioteca Nazionale, J.II.9,” vols. 1-2, ed. Richard H. Hoppin, Blake Applegate and Kelly Thorsell, Cantores in Ecclesia Corpus mensurabilis musicae (Rome: American Institute of Dr. Ioannis Arvanitis Musicology, 1960, 1961), with emendations by Dr. Alexander Richard Barrett Lingas. The performing editions of the medieval Byzantine Rev. John Boyle, JCL, pastor; St. Stephen Catholic Church, chants are by Dr. Ioannis Arvanitis. Portland Dr. Achilleas Chaldaiakis Original recordings: g&P 2015 by Cappella Romana, Inc. All rights reserved. Recorded at St. Stephen Catholic Church, Dr. Dimitri Conomos Portland, Oregon, 26–31 July 2015. Very Rev. Archimandrite Ephrem (Lash) Pavlos Erevnidis Graphic design/booklet editor: Mark Powell. Aikaterini Kordouli & the staff of the National Library of Greece Proofreading: Spyridon Antonopoulos, Steve Barnett, Kerry Flora Kritikou McCarthy, Leslie Simmons, Maria Boyer. Dr. Miguel Mera, Prof. Stephen Cottrell, Department of Music, City University London English translations: Very Rev. Archimandrite Ephrem Gail Marsom, School of Arts and Social Sciences, City (Lash) with assistance from Spyridon Antonopoulos and University London Mark Powell (Stichera for St. Hilarion, Trisagion); Alexander Fr. Paul Paris, proïstámenos; and Gail Morris, executive Lingas (Kalophonic Hymn to the Trinity); Kerry McCarthy secretary; Holy Trinity Greek Orthodox Cathedral, Portland (Latin texts). Prof. Christian Troelsgård, University of Copenhagen Images: Fresco icon of St. Hilarion from the Church Contact and Booking Information of Panagia tou Arakou, Lagoudera, Cyprus, detail of Cappella Romana photograph by Svetlana Tomeković, from the Princeton Mark Powell, Executive Director University Index of Christian Art, used by permission. Leslie Simmons, Operations Manager Inscription: Ἀδελφοὶ ὅσιν ἔχη ὁ Θ[ΕΌ]Σ ἀγαθώ(ό)τηταν μὴ 1017 SW Morrison St Ste 315, Portland, or 97205 usa ἀπελπίσο(ω)μεν + “How great is God’s goodness, brothers! tel +1.503.236.8202 cappellaromana.org Despair not!” 23 These and other titles at cappellaromana.org or your favorite retailer -CD 416 Steinberg: Passion Week Tikey Zes: The Divine CR Maximilian Steinberg’s profoundly Liturgy for mixed choir with moving work extends the musical “exceptionally organ achieves a balance of beautiful music” splendor with restraint that is, language of Rachmaninoff’s Leitourgia “simply All-Night Vigil. With Holy Week in an inculturated and digni- beautiful” The New York motets by Steinberg’s teacher and fied musical idiom, thoroughly Times father-in-law Rimsky-Korsakov. Byzantine. Frs. John Bakas and Also available on 180g vinyl. John Kariotakis sing the parts of the clergy.

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