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City Research Online City, University of London Institutional Repository Citation: Lingas, A. ORCID: 0000-0003-0083-3347 (2008). The Divine Liturgy of St John Chrysostom according to the Byzantine Tradition: A New Musical Setting in English. Portland, USA: Cappella Romana. This is the published version of the paper. This version of the publication may differ from the final published version. Permanent repository link: http://openaccess.city.ac.uk/21533/ Link to published version: Copyright and reuse: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. City Research Online: http://openaccess.city.ac.uk/ [email protected] CAPPELLA ROMANA THE DIVINE LITURGY OF OUR FATHER AMONG THE SAINTS JOHN CHRYSOSTOM IN ENGLISH IN BYZANTINE CHANT 2 CDS: THE COMPLETE SERVICE the DIVINE LITURGY • CAPPella Romana The Very Revd Archimandrite Meletios (Webber), priest · The Revd Dr John Chryssavgis, deacon DISC ONE: the LITURGY DISC TWO: the LITURGY of the CATECHUMENS 46:55 of the FAITHFUL 60:5 Opening Blessing, Litany of Peace, Cherubic Hymn in Mode Plagal IV, after and Prayer of the First Antiphon 5:4 Petros Peloponnesios (d. 1778) : First Antiphon :4 Opening Section 7:59 3 Short Litany and The Great Entrance : Prayer of the Second Antiphon :6 3 After the Entrance 3:0 4 Second Antiphon 3:00 4 Litany of the Precious Gifts and Kiss of Peace 3:4 5 Short Litany and 5 The Creed :35 Prayer of the Third Antiphon :37 The Holy Oblation (Anaphora) 7:4 6 Third Antiphon :40 6 The Dialogue before the Anaphora :0 7 Entrance with the Holy Gospel :53 7 The Anaphora (the Eucharistic Prayer) 6: 8 Apolytikia 8 Megalynarion (of the day and of the local church) :6 and Conclusion of the Anaphora 5:9 9 Kontakion of the Season :4 9 Litany of the Lord’s Prayer 3:4 0 Trisagion 4:37 0 The Lord’s Prayer 3:0 Dynamis (Perisse) of the Trisagion after Communion of the Clergy Nileus Kamarados (1847–1922) 5:04 and Antiphonal Psalm 5:05 Prokeimenon :53 Distribution of Holy Communion 0:33 3 Apostle :3 Communion of the Laity : 4 Alleluiarion 3:09 3 ‘Praise the Lord from the Heavens’ after 5 Gospel :48 St John Koukouzelis (ca 1280–1341) 0: 6 Litany of Fervent Supplication 3:8 Post-Communion Hymns :50 7 Litany for the Catechumens :03 4 We have seen the true light :47 8 Litanies of the Faithful : 5 Let our mouth be filled :03 6 Thanksgiving and (Constantinopolitan) Dismissal :58 7 Prayer behind the Ambo :06 A large-type version of this booklet Final (Monastic) Dismissal :40 is available online at 8 Blessed be the name of the Lord :43 www.cappellaromana.org 9 Final dismissal :58 Total time 07:0 Psalmody and the worship of Almighty God have been inex- worship, commissioned a translation of tricably linked for many centuries and countless traditions the Liturgy of St John Chrysostom into have been enabled to reach heights of spirituality through the a dignified form of current English that rhythmic and melodic use of words and music. As a recent would be suitable for liturgical use. This writer on this subject observes, ‘Chanting has been used in work was prepared by the Very Reverend religious ceremonies since mankind first learnt to vocalise’ Archimandrite Ephrem Lash. (Colin R. Shearing). It is this text which Cappella Romana has Byzantine Chant, the liturgical music of the Eastern Ortho- chosen to use in its recent recording of dox Church, was once the preserve of ascetic monks and the Divine Liturgy of our Father among pious cantors in parts of south-east Europe and the eastern the Saints John Chrysostom. Its artistic Mediterranean area, with the music being cultivated during director, Dr Alexander Lingas, is one the Byzantine era. Safeguarded by the Oecumenical Patriar- of those teachers of Byzantine music chate of Constantinople to the present time, it is today uni- who over the years has contributed versally recognised as being one of the supreme expressions to its promotion, in particular by stressing its uniqueness of religious chant and has reached an appreciative audience and importance in deepening our spiritual life. In addition in western Europe, the Americas and elsewhere – in part to congratulating him on his initiative in promoting this through the dispersion of Orthodox Christians who use this recording, I should also like to thank all those who have in form of chanting, in part through studies written by eminent any way been involved in producing this CD – whether their scholars, and in part through the medium of recordings. contribution be vocal, technical or to translating the text. Without doubt, the most solemn and meaningful of all acts I therefore welcome this dignified rendition of a celebra- of Orthodox worship is the celebration of the Divine Liturgy tion of the Liturgy which is part of the life-blood of every – the offering of Bread and Wine which, through the invoca- Orthodox Christian; and I commend it as contributing to the tion of the All-Holy Spirit, become for us ‘the precious Body ‘savour of spiritual fragrance’ – this being one of the reasons … and … Blood’ of our Lord and Saviour Jesus Christ. In this for which we hymn the Triune God – with the confidence service is concentrated the entire theology of the Orthodox that it will increase the understanding and appreciation of Church concerning our Redemption and it is the cornerstone both the spirituality of Orthodox worship and the heights of on which our Church depends and continues its mission musical expression to which its chanting aspires. throughout the world. The Archdiocese of Thyateira and Great Britain, which I have the honour and privilege to lead in the name of His All-Holiness the Oecumenical Patriarch of Constantinople Gregorios Archbishop of Thyateira and Great Britain Vartholomaeos I, anxious that there should be a deeper and more comprehensive understanding of this profound act of 3 The Genesis of this Project But non-Orthodox brethren also who are well- disposed to our Orthodox Church will, through by Alexander Lingas this translation, come to know the wealth of our In 1995, the Archdiocese of Thyateira and Great liturgical tradition and to appreciate properly the Britain published its bilingual (Greek-English) edi- treasures of the faith, which are guarded like the tion of The Divine Liturgy of Our Father Among the apple of the eye and which, through the streams Saints John Chrysostom (Oxford: Oxford University of the texts of the Fathers, water the flock, saved Press; henceforth the Thyateira Translation), the by God, of our Lord and God and Saviour, Jesus ordinary form of the Eucharist celebrated by Ortho- Christ. dox Christians. His Eminence Archbishop Gregorios Therefore the Holy Great Church of Christ chaired a committee of eminent scholars and pastors rejoices as by this means it bears its witness in that produced both its edition of the Greek text and the world and continues through this translation its official translation into reverent contemporary the work of the translation of its liturgical texts English. Their approach was rigorous, collaborative, that began from it when many centuries ago and transparent, leading them to publish discussions its chosen children, the Sacred Missionaries, of major liturgical and translation problems. These brothers from Thessalonika, Cyril and Methodios issues are summarised elsewhere in this booklet by and their disciples with godly zeal devoted them- Archimandrite Ephrem (Lash), who served as lead selves to the translation of the Holy Scriptures translator for the committee and continues to offer and the sacred liturgical texts into the language his own work online (http://www.anastasis.org.uk). of the Slavs. The Father of Lights blessed their In his Letter of Commendation for the Thyateira labours thereafter, and from then many peoples, Translation, His All-Holiness Bartholomew I, Arch- tribes and tongues have praised and still praise bishop of Constantinople, New Rome and Ecumeni- the mighty acts of God, initiated into under- cal Patriarch, elaborates on the pastoral, educational, standing and taking their part in the universal and missionary ramifications of its translation: glorification of the Holy Trinity. Through it the whole body of the Most Holy May the Lord God through this translation into Church that dwells in English-speaking countries the contemporary international language open and that does not know at all, or not adequately, gates of knowledge and faith for his scattered the original language of the sacred liturgical texts children throughout the world, so that ‘with one of our Holy Orthodox Church will be able to voice and one heart’ they may glorify and praise comprehend easily and to take part ‘in spirit and his all-holy Name and build up his Church, truth’ and understanding in what is being cel- which he purchased from among the nations ebrated and, in the words of the divine Apostle, through his precious Blood (Thyateira Transla- to answer ‘Amen’ to the Church’s thanksgiving. tion, pp. iv–vi). 4 Since every celebration of the Divine Liturgy is a postdoctoral fellow at the University of Oxford sung, a full realisation of this bold vision necessarily (1996–2001), during which I had the immense depends on the creation of musical settings of the pleasure of working closely with Archimandrite translated hymns, psalms, and responses that are Ephrem and Dr Melling on several projects. Oppor- consonant with the musical traditions of Orthodox tunities to lead Byzantine-style services in English Christianity.
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    https://doi.org/10.5771/9783956506734, am 26.09.2021, 20:13:18 Open Access - http://www.nomos-elibrary.de/agb https://doi.org/10.5771/9783956506734, am 26.09.2021, 20:13:18 Open Access - http://www.nomos-elibrary.de/agb Post-Byzantine Music Manuscripts as a Source for Oriental Secular Music (15th to Early 19th Century) © 2016 Orient-Institut Istanbul https://doi.org/10.5771/9783956506734, am 26.09.2021, 20:13:18 Open Access - http://www.nomos-elibrary.de/agb ISTANBULER TEXTE UND STUDIEN HERAUSGEGEBEN VOM ORIENT-INSTITUT ISTANBUL BAND 28 © 2016 Orient-Institut Istanbul https://doi.org/10.5771/9783956506734, am 26.09.2021, 20:13:18 Open Access - http://www.nomos-elibrary.de/agb Post-Byzantine Music Manuscripts as a Source for Oriental Secular Music (15th to Early 19th Century) by Kyriakos Kalaitzidis Translation: Kiriaki Koubaroulis and Dimitri Koubaroulis WÜRZBURG 2016 ERGON VERLAG WÜRZBURG IN KOMMISSION © 2016 Orient-Institut Istanbul https://doi.org/10.5771/9783956506734, am 26.09.2021, 20:13:18 Open Access - http://www.nomos-elibrary.de/agb Umschlaggestaltung: Taline Yozgatian Umschlagabbildung: Gritsanis 8, 323 (17th c.): “From here start some songs and murabba’s” Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de. ISBN 978-3-95650-200-2 ISSN 1863-9461 © 2016 Orient-Institut Istanbul (Max Weber Stiftung) Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt.