CAPPELLA ROMANA. Desert and City: Medieval Byzantine Music of the Holy Land. Thursday, March 29, 2012

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1 CAPPELLA ROMANA Desert and City: Medieval Byzantine Music of the Holy Land Thursday, March 29, 2012 Lecture: 2:30 p.m. at the Maliotis Cultural Center 50 Goddard Avenue, Brookline, MA Concert: 7:30 p.m. at the Annunciation Greek Orthodox Cathedral of New England 514 Parker Street, Boston, MA 02120

2 From Jerusalem to Constantinople: Byzantine Music for St. Catherine and Epiphany II. From the Services of Theophany Kontakion of Theophany: St. Romanos the Melodist (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

3 CAPPELLA ROMANA Alexander Lingas, artistic director Program I. Great and Holy Friday in Jerusalem Processional Sticheron: The Paradise in Eden, Mode Plagal 4 Three-Ode Kanon (Triodion): 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 Idiomelon: Theophanes Protothronos (9th c.), All creation was changed, Mode 1 Sticheron Idiomelon: Leo VI the Wise ( ), When she saw you, O Christ, Mode 2 Sticheron Idiomelon: Stoudites, Each member of your holy flesh, Mode 3 II. The Vespers of St. Catherine Invitatorium: Traditional, MS Sinai 1257 (dated 1332), Mode plagal 4 Proemium: Excerpts from Psalm 103 (Septuagint), Traditional, Mode plagal 4 Anoixantaria: St. John Koukouzeles (late 13th early 14th c.) MSS Sinai 1257, Sinai 1527 (late 15th c.), Athens 2458 (dated 1336), Mode Plagal 4 Doxology of the Anoixantaria: Traditional, MS Sinai 1257, Mode 2 From the Lamplighting Psalms, the Kekragarion: Traditional, MS Sinai 1255 (15th c.), Mode 1 Psalm 140: 1, 2 & 3-5 Three Stichera Prosomoia for St. Catherine: Traditional, MS Sinai 1250 (15th c.), Mode 1 Doxastikon: Sticheron Idiomelon, Mode 2 Part 1, Traditional, MS Ambrosianus 139 A sup. (14th c.) Part 2, Manuel Chrysaphes the Lampadarios (mid-15th c.) MS Sinai 1234 (autograph of John Plousiadenos, dated 1469), Mode Plagal 2 All performing editions by Ioannis Arvanitis 3

4 4 NOTES Great and Holy Friday in Jerusalem In the year 637 A.D. the orthodox Christian Patriarch Sophronios (d. 638) surrendered Byzantine Jerusalem to the Arab Caliph Umar, inaugurating a period of Muslim rule in the Holy City that would last until its conquest by Latin Crusaders in Although subject to tribute, Jerusalem s Christian inhabitants retained the right to continue celebrating both for themselves and for visiting pilgrims their distinctive forms of worship. These services made extensive use of the shrines associated with life, death and resurrection of Jesus Christ that had been created with imperial patronage in the years that followed the legalization of Christianity by the Emperor Constantine in 313. Constantine and his mother Helen had sponsored the most important of these edifices: the cathedral complex of the Holy Sepulchre built on the accepted site of Jesus crucifixion and entombment. Its major components were a large basilica (the Martyrium), an inner atrium incorporating the hill of Golgotha, the Rotunda of the Anastasis (Resurrection) over Christ s tomb, and a baptistry. Egeria, a Spanish pilgrim of the late fourth century, describes in her diary how every week the clergy, monastics and laity of late fourth-century Jerusalem would gather on Saturday evening and Sunday morning to remember the Passion and Resurrection of Jesus with readings, prayers and psalmody performed at historically appropriate locations within the cathedral compound. These same events of sacred history were commemorated annually in a more elaborate fashion during Great and Holy Week, which climaxed with Easter Sunday (Pascha). Holy Week services in Jerusalem incorporated the buildings on Golgotha into a larger system of stational liturgy that made full use of the city s sacred topography. The musical repertories created for worship in the Holy City developed gradually over the centuries out of patterns of interaction between the secular and monastic singers of Jerusalem and those of other ecclesiastical centers. Monks from the monastery founded by St. Sabas ( ) in the desert southeast of Jerusalem became active participants in worship at the Holy Sepulchre, which maintained a resident colony of ascetics later known as the spoudaioi. Responsorial and antiphonal settings of biblical psalms and canticles formed the base of cathedral and monastic liturgical repertories. Palestinian poet-singers subsequently increased the number, length and musical complexity of the refrains sung between the biblical verses, leading by the sixth century (and possibly earlier) to the creation of hymnals organized according to a system of eight musical modes (the Octoechos). These early hymnbooks from Jerusalem exist today only in Armenian and Georgian translations. The earliest surviving Greek witness to cathedral worship in the Holy City is the so-called Typikon of the Anastasis. Copied in 1122, this manuscript (Hagios Stauros 43) contains services for the seasons of Lent and Easter as celebrated prior to the destruction of the Holy Sepulchre complex by the Fatimid Caliph Al-Hakim in Older and newer chants presented without musical notation coexist in the Typikon of the Anastasis. Thus works from the apogee of Christian Palestinian hymnody a period initiated by the liturgical works of Sophronios and continued by the eighth-century poet-composers Andrew of Crete, John of Damascus and Kosmas the Melodist are integrated with hymns by writers working within the traditions of the Constantinopolitan monastery of Stoudios. The latter had, at the behest of its abbot Theodore, adopted a variant of the monastic liturgy of St. Sabas at the beginning of the ninth century. The resulting Stoudite synthesis of Palestinian and Constantinopolitan traditions was a crucial stage in the formation of the cycles of worship employed in the modern Byzantine rite. The first half of today s concert features excerpts from the Service of the Holy

5 Passion of our Lord Jesus Christ as it would have been celebrated in Jerusalem on Holy Friday morning during the tenth century. The texts and rubrics of the Typikon of the Anastasis are supplemented by notated musical settings for its chants transmitted in later manuscripts. Extant sources with Byzantine melodic notation date from the tenth century, with readily decipherable versions available in chantbooks copied from in the late twelfth century onwards. Dr. Ioannis Arvanitis, a leading authority on medieval Byzantine musical rhythm and performance practice, edited the scores used today by Cappella Romana. Morning prayer on Holy Friday began on the Mount of Olives and featured a series of processions taking worshippers to shrines at Gethsemane and other sites associated with the betrayal, trial and crucifixion of Jesus. Our concert joins the service near its climax with The Paradise in Eden, a chant sung on the way to the Place of the Skull. Upon arrival at Golgotha there was a reading from the Gospel of Luke (omitted), followed by the Three- Ode Kanon by Kosmas the Melodist. Each ode consists of a model stanza (heirmos), a series of metrically and melodically identical stanzas (troparia), and a reprise of the heirmos (the katavasia). The poetic odes of kanons were originally composed to provide thematically appropriate theological commentary for the invariable sequence of nine biblical canticles or odes sung at Palestinian morning prayer. Three biblical odes Isaiah 26:9 20 (Ode 5), the Hymn of the Three Youths from Daniel 3 (Ode 8), and the Magnificat and Benedictus (Ode 9=Luke 1:46 56, 68 79) were appointed for Lenten Fridays, leading Kosmas to echo their themes in his musical meditation on the betrayal and trial of Jesus. It was (and remains) customary to insert other chants and readings at certain points within a kanon. Thus the Typikon of the Anastasis places between Odes 5 and 8 the prologue and first stanza of the Kontakion on the Mary at the Cross by Romanos the Melodist. Romanos was a deacon from Beirut who settled in Constantinople during the early sixth century. There he distinguished himself as the greatest composer of the multi-stanza hymns that came to be known, after the scrolls on which they were copied, as kontakia. By the tenth century two melodic traditions had been developed for kontakia: a simple one consigned mainly to oral tradition, and a florid one transmitted in the Psaltikon, a musical collection created for the soloists of Justinian s Great Church of Hagia Sophia. On the present concert we sing the Psaltikon version of the kontakion s prologue. In both Palestine and Constantinople the arrival of dawn was marked in daily prayer by the singing of Psalms , known collectively as Lauds. Whereas the Late Antique custom of chanting these psalms throughout with simple refrains was retained in the Constantinopolitan cathedral rite, churches associated with Jerusalem began interpolating hymns known as stichera between their concluding verses (stichoi). From the ten hymns appointed by the Typikon of the Anastasis for Lauds on Holy Friday we select four. The first is an anonymous hymn sung to a standard model melody and assigned in modern service books to Thursday evening prayer. The remaining three stichera are through-composed works known as idiomela: a hymn in Mode 1 commenting on the cosmic dimensions of Christ s crucifixion written by Theophanes Protothronos, Archbishop of Caesarea (9th c.); a portrayal of the Virgin Mary lamenting at the foot of the Cross in Mode 2 by the Byzantine Emperor Leo VI the Wise (reigned ); and a meditation on the suffering of Jesus by an unnamed Stoudite. Byzantine Chant Manuscripts on Mt. Sinai Between 548 and 565 the East Roman (Byzantine) Emperor Justinian I constructed the Holy Monastery of St. Catherine at the foot of Mount Sinai, a place already revered by pilgrims as the site of God s appearance to Moses in the Burning Bush. Monastic life and 5

6 6 pilgrimage have continued through the centuries without significant interruption at St. Catherine s, providing its living community with a rich inheritance of spiritual traditions and material treasures. The latter include a priceless collection of artworks, among which are rare examples of Byzantine icons created prior to the destruction of images resulting from the imperially sponsored policy of Iconoclasm ( ). Equally precious are the contents of the monastery s library, a collection of over 4,700 manuscripts in Greek, Arabic, Georgian, Latin, Slavonic, Syriac and other languages. From November 2006 to March 2007 a selection of these items was featured at the J. Paul Getty Center in Los Angeles in an exhibition entitled Holy Image, Hallowed Ground: Icons from Sinai. More than 350 of the manuscripts held at the monastery contain hymns and psalms of the Byzantine rite notated with musical signs ( neumes ) for melodic chanting (as opposed to the intoned recitation of scripture from medieval Greek lectionaries, which feature a distinct system of so-called ecphonetic notation). The earliest Sinaïte chantbooks from a thousand years ago employ only a small number of musical signs to remind singers of melodically elaborate passages, thus reflecting the emergence of Byzantine notation from a primarily oral musical culture. Later musical manuscripts contain more precise forms of notation, with a system of neumes capable of unambiguously recording a melody s succession of intervals ( Middle Byzantine or Round Notation ) appearing toward the end of the twelfth century and remaining in use until the early nineteenth century, after which it was replaced by the even more precise New Method of Byzantine notation. The selections from Sinaïte manuscripts sung on the present concert are the result of a request from the organizers of Holy Image, Hallowed Ground that Cappella Romana prepare a concert of music related to the exhibition for performance at the Getty Center. After considering the vast and still largely unexplored musical repertories preserved on Mount Sinai (the first volume of a three-volume catalogue of its musical manuscripts appeared only in 2008), we chose to offer excerpts from two services Great Vespers for St. Catherine (the eve of November 25) and the Service of the Furnace, a musical retelling of the tale of the three Hebrew Youths in the Fiery Furnace from the Book of Daniel as they might have been celebrated during the twilight years of the Byzantine Empire. (N.B. The selections from the Service of the Furnace, while not sung tonight, are included on Cappella Romana s recording Mt. Sinai: Frontier of Byzantium). Subsequently, performing editions of these selections in modern notation were prepared by Dr. Ioannis Arvanitis, the author of a pioneering dissertation on rhythm in medieval Byzantine chant and a frequent collaborator with Cappella Romana. Although marked politically by the terminal decline of the East Roman state, the two centuries before the Ottoman conquest of Constantinople in 1453 were also a time of spiritual and artistic renewal, bringing forth in music what musicologist Edward V. Williams has called a Byzantine ars nova. The most influential figure in this musical revolution was the composer, editor and music theorist Saint John Koukouzeles (late 13th early 14th c.). His Life portrays him ending his life as a contemplative ( hesychast ) monk of the Great Lavra on Mount Athos who spent weekdays in solitude practicing hesychia (literally quietude ) but returned to chant the All-Night Vigil at his monastery on weekends and feasts. From attributions in musical manuscripts it is evident that at an earlier stage of his career Koukouzeles helped to codify older repertories of hymns while pioneering a new beautiful sounding ( kalophonic ) idiom of chanting that spread throughout the Orthodox world. This style of liturgical singing was characterized generally by vocal virtuosity, encompassing also the addition of new texts to existing chants ( troping ), highly florid melodies, and even textless vocalizations on nonsense syllables ( teretisms ).

7 The Vespers of St. Catherine Our concert continues with excerpts from the service of Great Vespers that formed the first part of the late Byzantine vigil for the feast of St. Catherine of Alexandria, the patron of the Sinaïte monastery. A blessing by the celebrant (omitted here) both opened the service and signaled that the choirs should begin singing the Invitatorium Come let us worship, the second and third invocations of which are notated at successively higher pitches. The Invitatorium served as a preface for an antiphonal rendering of Psalm 103 (104 in the Hebrew Bible), the fixed opening psalm of vespers in the Horologion, the Book of the Hours employed in the urban and monastic Christian rites of Palestine. During its performance choirs situated on the right and left sides of the church employed the same melodic formula in Mode Plagal 4 to alternate at the half-verse (for reasons of space, only the initial four half-verses are included tonight). The original Byzantine practice appears to have been to complete Psalm 103 in this manner with the interpolation of a few modest refrains, a custom maintained today by Russian Old Believers and dimly echoed in the choral settings of Tchaikovsky and Rachmaninoff. Modern Greek Orthodox festal usage, on the other hand, concludes Psalm 103 with the Anoixantaria, embellished settings of its final verses composed by Koukouzeles, his colleagues and successors. They begin with verse 28b When you open your hand (Greek Ἀνοίξαντός σου τὴν χείρα ) from which their name is derived. The opening verse and concluding doxology of the Anoixantaria are set anonymously in what Edward V. Williams has labeled a quasi-traditional style of florid melody. Koukouzeles and other late Byzantine composers took this anonymous material as a point of departure for the original music they supplied for the intervening verses, the refrains of which are extended by short texts glorifying the Holy Trinity known as Triadika. This disc features all five of the Triadika attributed in medieval manuscripts to Koukouzeles: three from Sinai 1257 (the oldest source to contain any of his Anoixantaria); one from Sinai 1527 (15th century); and one from Athens 2458, a manuscript dated 1336 and the oldest complete copy of the Koukouzelian musical anthology of music for the Divine Liturgy and daily offices known as the Akolouthiai ( Orders of Service ). At an actual vigil, Psalm 103 is followed by a litany and the chanting of Psalms 1 3 in a style similar to that of the Anoixantaria. We proceed directly to an abbreviated version of the Lamplighting Psalms. Sung at sunset, Psalms 140, 141, 129 and 116 (Septuagint numbering) together form the ancient and invariable core of Palestinian evening prayer. Known collectively as the Kekragarion, their opening two verses (Ps. 140:1 2) are sung in a solemn manner that contributes an atmosphere of reverent supplication representative of its text and complementary to the offering of incense during its second verse ( Let my prayer be directed like incense before you ). At the conclusion of the second verse a change of tempo initiates the stichologia: the completion by the choirs of the Lamplighting Psalms chanting in a simpler musical style. From the sixth century it became customary in the region around Jerusalem to adorn the final verses (stichoi) and doxology of the Lamplighting Psalms with hymns (stichera) proper to the liturgical day or season. Despite early opposition from Sinaïte ascetics who rejected the musical elaboration of the Psalter, such hymnody eventually became standard in Byzantine worship. The first three stichera sung here in honor of St. Catherine are prosomoia, metrically identical texts sung to a model melody (an automelon, in this case a hymn praising the angels). Listeners accustomed to the received tradition of Byzantine singing may notice that this fifteenth-century melody from Sinai 1250 is virtually identical to the modern tune. The final Sticheron Doxastikon thus named because it follows the doxology Glory to the Father is an idiomelon, a 7

8 8 through-composed hymn with a unique melody. Its first half is sung from the Koukouzelian edition of the Sticherarion, a hymnal containing mainly stichera in traditional syllabic and semi-florid melodic styles. The second half of this sticheron is taken from a bipartite kalophonic setting by Manuel Chrysaphes the Lampadarios, a composer and theorist who served in the chapel of Constantine XI Palaeologos, the last Byzantine Emperor. Chrysaphes composition was edited from Sinai 1234, a manuscript copied in Venice by John Plousiadenos, who was himself an important composer and theorist. Alexander Lingas Cappella Romana s founder and artistic director Alexander Lingas, is a Senior Lecturer in Music at City University London and a Fellow of the University of Oxford s European Humanities Research Centre. Formerly Assistant Professor of Music History at Arizona State University s School of Music, he received his Ph.D. in Historical Musicology from the University of British Columbia. His awards include Fulbright and Onassis grants for musical studies with cantor Lycourgos Angelopoulos, the British Academy s Thank-Offering to Britain Fellowship, and the St. Romanos the Melodist medallion of the National Forum for Greek Orthodox Church Musicians (USA). Having contributed articles to The New Grove Dictionary of Music and Musicians, and The Oxford Handbook of Byzantine Studies, Dr. Lingas is now completing two monographs: a study of Sunday Matins in the Rite of Hagia Sophia for Ashgate and a historical introduction to Byzantine Chant for Yale University Press. Ioannis Arvanitis 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 of Athens, and a Teacher s Diploma of Byzantine Music from the Skalkottas Conservatory under the supervision of Lycourgos Angelopoulos. He also studied Byzantine music at the Conservatory of Halkis, as well as Byzantine and folk music under Simon Karas at Society for the Dissemination of National Music. He has taught Byzantine music at the Ionian University, received a research fellowship at the University of Athens, and served as a guest lecturer for the Irish World Music Centre at the University of Limerick. An accomplished performer on various Greek folk instruments (tambura, ud and laouto), Dr. Arvanitis was a founding instructor at the Experimental Music Gymnasium and Lyceum of Pallini. He is member of the International Musicological Society s Cantus Planus Study Group and has published scholarly articles in Greek and English. In 2001 Dr. Arvanitis collaborated with Dr. Lingas and the Greek Byzantine Choir (dir. Lycourgos Angelopoulos) on the reconstruction of Vespers according to the Cathedral Rite of Hagia Sophia, a service performed in the Chapel of St. Peter s College Oxford and later broadcast on Greek national radio. For the last decade he has contributed regularly to the work of Cappella Romana, participating so far in four recording projects as a singer or guest director Epiphany, Byzantium in Rome and The Divine Liturgy in English and regularly providing it with performing editions of medieval Byzantine chant, most recently for Cappella Romana s recording of chants from Mt. Sinai. His editions of medieval chant have also been sung or recorded by the Romeiko Ensemble (Yiorgos Bilalis, dir.), the Greek Byzantine Choir, and Dr. Arvanitis own ensemble Hagiopolites. He has sung Western plainchant and Parisian organum with Marcel Pérès and his Ensemble Organum and has composed many chants in contemporary post-byzantine style.

9 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. Flexible in size according to the demands of the repertory, Cappella Romana is based in the Pacific Northwest of the United States of America, where it presents annual concert series in Portland, Oregon, and Seattle, Washington. It regularly tours in Europe and North America, having appeared at venues including the Metropolitan Museum of Art in New York, the J. Paul Getty Center, St. Paul s Cathedral in London, the Pontificio Istituto Orientale in Rome, the Sacred Music Festival of Patmos, the University of Oxford, Princeton University, and Yale University. Orthodox Church directed by Ivan Moody, the environmental oratorio A Time for Life by Robert Kyr and a disc of 15th-century Greek and Latin music from the island of Cyprus. In 2010 it became a participant in the research project Icons of Sound: Aesthetics and Acoustics of Hagia Sophia, Istanbul, a collaboration between Stanford University s Center for Computer Research in Music and Acoustics and Department of Art & Art History. Cappella Romana will take up a residency at Stanford again in CONTACT AND BOOKING INFORMATION Mark Powell, Executive Director Cappella Romana 3131 ne Glisan Street Portland, or usa tel cappellaromana.org Cappella Romana has released over a dozen compact discs, including Byzantium (the official companion CD to the Royal Academy of Arts Exhibition), Byzantium in Rome: Medieval Byzantine Chant from Grottaferrata, The Fall of Constantinople, 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

10 Part I: Holy and Great Friday in Jerusalem (Typikon of the Anastasis) 10 Ψάλλομεν εἰς τὴν λιτὴν στιχηρόν Ἤχος πλ. δ Ὁ ἐν Ἐδὲμ Παράδεισος ποτέ, τὸ ξύλον τῆς γνώσεως, ἀνεβλάστησεν ἐν μέσῳ τῶν φυτῶν, ἡ Ἐκκλησία σου Χριστέ, τὸν Σταυρόν σου ἐξήνθησε, τὸν πηγάσαντα τῷ κόσμῳ τὴν ζωήν, ἀλλὰ τὸ μὲν ἐθανάτωσε, βρώσει φαγόντα τὸν Ἀδάμ, τὸ δὲ ἐζωοποίησε, πίστει σωθέντα τὸν Λῃστήν, οὗ τῆς ἀφέσεως, κοινωνοὺς ἡμᾶς ἀνάδειξον, Χριστὲ ὁ Θεός, ὁ τῷ πάθει σου λύσας, τὴν καθ ἡμῶν μανίαν τοῦ ἐχθροῦ, καὶ ἀξίωσον ἡμᾶς, τῆς βασιλείας σου Κύριε. Ποίημα Κοσμᾶ Μοναχοῦ ᾨδὴ ε Ἦχος πλ. β Ὁ Εἱρμὸς «Πρὸς σὲ ὀρθρίζω, τὸν δι εὐσπλαγχνίαν σεαυτόν, τῷ πεσόντι κενώσαντα ἀτρέπτως, καὶ μέχρι παθῶν, ἀπαθῶς ὑποκύψαντα, Λόγε Θεοῦ. Τὴν εἰρήνην παράσχου μοι φιλάνθρωπε». Τροπάρια Ῥυφθέντες πόδας, καὶ προκαθαρθέντες, μυστηρίου μεθέξει, τοῦ θείου νῦν Χριστέ, σοῦ οἱ ὑπηρέται, ἐκ Σιὼν ἐλαιῶνος, μέγα πρὸς ὄρος συνανῆλθον, ὑμνοῦντές σε φιλάνθρωπε. Ὁρᾶτε ἔφης, φίλοι μὴ θροεῖσθε νῦν γὰρ ἤγγικεν ὥρα, ληφθῆναί με κτανθῆναι χερσὶν ἀνόμων, πάντες δὲ σκορπισθήσεσθε, ἐμὲ λιπόντες, οὓς συνάξω, κηρῦξαί με φιλάνθρωπον. Καταβασία «Πρὸς σὲ ὀρθρίζω, τὸν δι εὐσπλαγχνίαν σεαυτόν, τῷ πεσόντι κενώσαντα ἀτρέπτως, καὶ μέχρι παθῶν, ἀπαθῶς ὑποκύψαντα, Λόγε Θεοῦ. Τὴν εἰρήνην παράσχου μοι φιλάνθρωπε». We sing during the procession this sticheron in Mode Plagal 4 The Paradise in Eden once blossomed with the tree of knowledge in the midst of the plants; your Church, O Christ, has flowered with your Cross, which is a fount of life for the world; but the former put Adam to death through eating when he fed from it, while the latter gave life to the Thief through faith when he was saved; make us also partakers of his forgiveness, Christ God, who by your passion abolished the frenzy of the foe against us, and make us worthy of your heavenly Kingdom, Lord. A work of Kosmas the Monk Ode 5. Mode Plagal 2. Heirmos I rise for you at dawn, who through compassion without change emptied yourself for the one who had fallen, and impassibly bowed yourself to the Passion, O Word of God. Grant me peace, O Lover of humankind. Troparia When their feet had been washed and they had been cleansed by participation in the divine Mystery, O Christ, your servants went with you from Sion up to the great Mount of Olives, singing your praises, O Lover of humankind. See, my friends, you said, Do not be afraid, for now the hour is near for me to be taken and to be slain by the hands of transgressors; while you will all be scattered and leave me; whom I shall gather to proclaim me the Lover of humankind. Katavasia I rise for you at dawn, who through compassion without change emptied yourself for the one who had fallen, and impassibly bowed yourself to the Passion, O Word of God. Grant me peace, Lover of mankind.

11 Κοντάκιον Ἦχος πλ. δ Τὸν δι ἡμᾶς Σταυρωθέντα, δεῦτε πάντες ὑμνήσωμεν αὐτὸν γὰρ κατεῖδε Μαρία ἐπὶ τοῦ ξύλου, καὶ ἔλεγεν Εἰ καὶ σταυρὸν ὑπομένεις, σὺ ὑπάρχεις ὁ Υἱὸς καὶ Θεός μου. ᾨδὴ η Ὁ Εἱρμὸς «Στήλην κακίας ἀντιθέου, Παῖδες θεῖοι παρεδειγμάτισαν, κατὰ Χριστοῦ δὲ φρυαττόμενον ἄνομον συνέδριον, βουλεύεται κενά, κτεῖναι μελετᾷ, τὸν ζωῆς κρατοῦντα παλάμῃ ὃν πᾶσα κτίσις εὐλογεῖ δοξάζουσα εἰς τοὺς αἰῶνας». Τροπάρια Ἀπὸ βλεφάρων Μαθηταί, νῦν ὕπνον ἔφης Χριστὲ τινάξατε ἐν προσευχῇ δὲ γρηγορεῖτε, πειρασμῷ μήπως ὄλησθε, καὶ μάλιστα Σίμων τῷ κραταιῷ γὰρ μείζων πεῖρας γνῶθί με Πέτρε, ὃν πᾶσα κτίσις, εὐλογεῖ δοξάζουσα εἰς τοὺς αἰῶνας. Βέβηλον ἔπος τῶν χειλέων, οὔ ποτε προήσομαι Δέσποτα, σὺν σοὶ θανοῦμαι ὡς εὐγνώμων, κἂν οἱ πάντες ἀρνήσωνται, ἐβόησε Πέτρος, σάρξ οὐδὲ αἷμα, ὁ Πατὴρ σου ἀπεκάλυψέ μοι σέ, ὃν πᾶσα κτίσις εὐλογεῖ δοξάζουσα εἰς τοὺς αἰῶνας. Εὐλογοῦμεν Πατέρα, Υἱὸν καὶ Ἅγιον Πνεῦμα, τὸν Κύριον ὑμνοῦμεν καὶ ὑπερυψοῦμεν αὐτὸν εἰς τοὺς αἰῶνας. Βάθος σοφίας θεϊκῆς, καὶ γνώσεως οὐ πᾶν ἐξηρεύνησας, ἄβυσσον δέ μου τῶν κριμάτων, οὐ κατέλαβες ἄνθρωπε, ὁ Κύριος ἔφη Σάρξ οὖν ὑπάρχων, μὴ καυχῶ ἀρνήσῃ τρίτον γάρ με, ὃν πᾶσα κτίσις, εὐλογεῖ δοξάζουσα εἰς τοὺς αἰῶνας. Kontakion. Mode Plagal 4. [By St. Romanos] Come, let us all praise him who was crucified for us; for Mary looked upon him on the Tree and said: Though you endure the Cross, yet you are my Son and my God. Ode 8. Heirmos The godly youths made a spectacle of the monument of ungodly evil; while Sanhedrin of the lawless raged and took vain counsel against Christ; thought to slay the One who holds life in his palm; whom all creation blesses and glorifies to the ages. Troparia Now shake sleep from your eyelids, my disciples, you said, O Christ, But watch with prayer, lest you slip into temptation; especially you, Simon: for to the mighty comes the greater temptation. Know me, Peter, whom all creation blesses and glorifies to the ages. I will never utter a profane word from my lips, Master; I will die with you gladly, though all deny you, cried Peter, Neither flesh nor blood, but your Father revealed you to me; you whom all creation blesses and glorifies to the ages. We bless Father, Son and Holy Spirit; praise and exalt them to all the ages. You have not searched out the whole depth of divine wisdom and knowledge; you have not, my friend, grasped the abyss of my judgments, said the Lord. Being flesh then, do not boast; for you will three times deny me, whom all creation blesses and glorifies to the ages. 11

12 Καὶ νῦν, καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. Ἀπαγορεύεις, Σίμων Πέτρε, ὅπερ πείσῃ τάχος ὡς εἴρηται καὶ σοὶ παιδίσκη, οἷα θᾷττον προσελθοῦσα πτοήσει σε, ὁ Κύριος ἔφη πικρῶς δακρύσας, ἕξεις ὅμως εὐΐλατόν με, ὃν πᾶσα κτίσις, εὐλογεῖ δοξάζουσα εἰς τοὺς αἰῶνας. Αἰνοῦμεν, εὐλογοῦμεν, καὶ προσκυνοῦμεν τὸν Κύριον Καταβασία «Στήλην κακίας ἀντιθέου, Παῖδες θεῖοι παρεδειγμάτισαν, κατὰ Χριστοῦ δὲ φρυαττόμενον ἄνομον συνέδριον, βουλεύεται κενά, κτεῖναι μελετᾷ, τὸν ζωῆς κρατοῦντα παλάμῃ ὃν πᾶσα κτίσις εὐλογεῖ δοξάζουσα εἰς τοὺς αἰῶνας». ᾨδὴ θ Ὁ Εἱρμὸς Τὴν τιμιωτέραν τῶν Χερουβίμ, καὶ ἐνδοξοτέραν, ἀσυγκρίτως τῶν Σεραφίμ, τὴν ἀδιαφθόρως, Θεὸν Λόγον τεκοῦσαν, τὴν ὄντως Θεοτόκον, σὲ μεγαλύνομεν. Τροπάρια Ὀλέθριος σπεῖρα θεοστυγῶν, πονηρευομένων, θεοκτόνων συναγωγή, ἐπέστη Χριστέ σοι, καὶ ὡς ἄδικον εἷλκε, τὸν Κτίστην τῶν ἁπάντων, ὃν μεγαλύνομεν. Νόμον ἀγνοοῦντες οἱ ἀσεβεῖς, φωνὰς Προφητῶν τε, μελετῶντες διακενῆς, ὡς πρόβατον εἷλκον, σὲ τὸν πάντων Δεσπότην, ἀδίκως σφαγιάσαι ὃν μεγαλύνομεν. Τοῖς ἔθνεσιν ἔκδοτον τὴν ζωήν, σὺν τοῖς Γραμματεύσιν, ἀναιρεῖσθαι οἱ Ἱερεῖς, παρέσχον, πληγέντες, αὐτοφθόνῳ κακίᾳ τὸν φύσει Ζωοδότην, ὃν μεγαλύνομεν. Both now and for ever and to the ages of ages. Amen. You protest, Simon Peter, against what you will speedily be persuaded to do, as it has been foretold, and a maid servant suddenly approaching will frighten you. Weeping bitterly you will nevertheless find me merciful, whom all creation blesses and glorifies to the ages. We praise, bless and worship the Lord; praise and exalt him to all the ages. Katavasia The godly youths made a spectacle of the monument of ungodly evil; while the lawless Sanhedrin raged and took vain counsel against Christ; thought to slay the One who holds life in his palm; whom all creation blesses and glorifies to the ages. Ode 9. Heirmos Greater in honor than the Cherubim and beyond compare more glorious than the Seraphim, without corruption you gave birth to God the Word; truly the Mother of God, we magnify you. Troparia A destructive band of wicked men, hateful to God; an assembly of slayers of God came upon you, O Christ, and dragged away as a malefactor you, the Creator of all things, whom we magnify. The impious, ignorant both of the Law and the voices of the Prophets, meditating vain things, unjustly dragged away to slaughter as a sheep you, the Master of all things, whom we magnify. The priests with the scribes, wounded by envious malice, handed over to the nations, to be done away with, the One who by nature is Life, and the Giver of life, whom we magnify. 12

13 Ἐκύκλωσαν κύνες ὡσεὶ πολλοί, ἐκρότησαν, Ἄναξ, σιαγόνα σὴν ῥαπισμῷ, ἠρώτων σε, σοῦ δέ, ψευδῆ κατεμαρτύρουν, καὶ πάντα ὑπομείνας, ἅπαντας ἔσωσας. Καταβασία Τὴν τιμιωτέραν τῶν Χερουβίμ, καὶ ἐνδοξοτέραν, ἀσυγκρίτως τῶν Σεραφίμ, τὴν ἀδιαφθόρως, Θεὸν Λόγον τεκοῦσαν, τὴν ὄντως Θεοτόκον, σὲ μεγαλύνομεν. Αἶνοι Ἦχος δ Ψαλμὸς ΡΜΗ (148) Ὁ δομέστικος Αἰνεῖτε τὸν Κύριον ἐκ τῶν οὐρανῶν. Σοὶ πρέπει ὕμνος, τῷ Θεῷ. Ὁ χορός Αἰνεῖτε τὸν Κύριον ἐκ τῶν οὐρανῶν, αἰνεῖτε αὐτὸν ἐν τοῖς ὑψίστοις. Σοὶ πρέπει ὕμνος, τῷ Θεῷ. Αἰνεῖτε αὐτόν, πάντες οἱ Ἄγγελοι αὐτοῦ, αἰνεῖτε αὐτόν, πᾶσαι αἱ δυνάμεις αὐτοῦ. Σοὶ πρέπει ὕμνος, τῷ Θεῷ. Αἰνεῖτε αὐτόν, ἥλιος καὶ σελήνη, αἰνεῖτε αὐτόν, πάντα τὰ ἄστρα καὶ τὸ φῶς. Σοὶ πρέπει ὕμνος, τῷ Θεῷ. Αἰνεῖτε αὐτόν, οἱ οὐρανοὶ τῶν οὐρανῶν, καὶ τὸ ὕδωρ τὸ ὑπεράνω τῶν οὐρανῶν. Αἰνεσάτωσαν τὸ ὄνομα Κυρίου. Σοὶ πρέπει ὕμνος, τῷ Θεῷ. Ψαλμὸς ΡΜΘ (149) Αἱ ὑψώσεις τοῦ Θεοῦ ἐν τῷ λάρυγγι αὐτῶν, καὶ ῥομφαῖαι δίστομοι ἐν ταῖς χερσὶν αὐτῶν. Ἦχος δ Ἔδωκας σημείωσιν They surrounded you like many dogs, Sovereign Lord; they struck your cheek with a blow; they questioned you, they bore false witness against you, and you, enduring all things, saved us all. Katavasia Greater in honor than the Cherubim and beyond compare more glorious than the Seraphim, without corruption you gave birth to God the Word; truly the Mother of God, we magnify you. Lauds. Mode 4 Psalm 148 Choir Leader: Praise the Lord from the heavens. To you praise is due, O God. Choir: Praise the Lord from the heavens; praise him in the highest. To you praise is due, O God. Praise him, all his angels: Praise him, all his Powers. To you praise is due, O God. Praise him, sun and moon; praise him, all you stars and light. To you praise is due, O God. Praise him, you highest heavens and you waters that are above the heavens. Let them praise the name of the Lord. To you praise is due, O God. Psalm 149 The high praises of God in their mouths, and two-edged swords in their hands, Stichera Prosomoia Mode 4. To the melody You have given as a sign Ὅτε σε σταυρούμενον, ἡ κτίσις πᾶσα ἑώρακεν, ἠλλοιοῦτο καὶ ἔτρεμεν, ἡ γῆ δὲ ἐσείετο, ὅλη κλονουμένη, μακρόθυμε Λόγε, τὸ καταπέτασμα ναοῦ, φόβῳ ἐσχίσθη ὑβριζομένου σου, καὶ πέτραι When all creation saw you crucified, O long-suffering Word, it was changed and trembled, while the earth, all shaken, quaked; the veil of the temple was rent by fear when you were mocked, and rocks 13

14 διερράγησαν, ἀπὸ τοῦ φόβου καὶ ἥλιος, τὰς ἀκτῖνας συνέστειλε, ποιητήν σε γινώσκοντα. Τοῦ ποιῆσαι ἐν αὐτοῖς κρῖμα ἔγγραπτον, δόξα αὕτη ἔσται πᾶσι τοῖς ὁσίοις αὐτοῦ. Ἰδιόμελα Ἦχος α Πᾶσα ἡ Κτίσις, ἠλλοιοῦτο φόβῳ, θεωροῦσά σε, ἐν σταυρῷ κρεμάμενον Χριστέ. Ὁ ἥλιος ἐσκοτίζετο, καὶ γῆς τὰ θεμέλια συνεταράττετο, τὰ πάντα συνέπασχον, τῷ τὰ πάντα κτίσαντι, ὁ ἑκουσίως δι ἡμᾶς ὑπομείνας, Κύριε δόξα σοι. Ψαλμὸς ΡΝ (150) Αἰνεῖτε αὐτὸν ἐν ἤχῳ σάλπιγγος, αἰνεῖτε αὐτὸν ἐν ψαλτηρίῳ καὶ κιθάρᾳ. Ἐπὶ ξύλου βλέπουσα, κρεμάμενον Χριστέ, σὲ τὸν πάντων Κτίστην καὶ Θεόν, ἡ σὲ ἀσπόρως τεκοῦσα, ἐβόα, πικρῶς Υἱέ μου, ποῦ τὸ κάλλος ἔδυ τῆς μορφῆς σου; οὐ φέρω καθορᾶν σε, ἀδίκως σταυρούμενον σπεῦσον οὖν ἀνάστηθι, ὅπως ἴδω κᾀγώ, σοῦ τὴν ἐκ νεκρῶν, τριήμερον ἐξανάστασιν. Ἦχος γ Δόξα.. Καὶ νῦν... Ἕκαστον μέλος τῆς ἁγίας σου σαρκός, ἀτιμίαν δι ἡμᾶς ὑπέμεινε, τὰς ἀκάνθας ἡ κεφαλή, ἡ ὄψις τὰ ἐμπτύσματα, αἱ σιαγόνες τὰ ῥαπίσματα, τὸ στόμα τὴν ἐν ὄξει κερασθεῖσαν χολὴν τῇ γεύσει, τὰ ὦτα τὰς δυσσεβεῖς βλασφημίας. Ὁ νῶτος τὴν φραγγέλωσιν, καὶ ἡ χεὶρ τὸν κάλαμον, αἱ τοῦ ὅλου σώματος ἐκτάσεις ἐν τῷ σταυρῷ, τὰ ἄρθρα τοὺς ἥλους, καὶ ἡ πλευρὰ τὴν λόγχην. Ὁ παθὼν ὑπὲρ ἡμῶν, καὶ παθῶν ἐλευθερώσας ἡμᾶς. Ὁ συγκαταβὰς ἡμῖν φιλανθρωπίᾳ, καὶ ἀνυψώσας ἡμᾶς, παντοδύναμε Σωτήρ, ἐλέησον ἡμᾶς. were split from fear and the sun withdrew its rays, knowing you their Maker. To execute upon them the judgment that is decreed; such glory will be for all his holy ones. Idiomela Mode 1 All creation was changed by fear when it saw you hanging on the Cross, O Christ; the sun was darkened and the foundations of the earth were shaken; all things were suffering with you, the Creator of them all. You endured willingly for us. Lord, glory to you! Psalm 150 Praise him in the blast of the trumpet: praise him upon the lute and harp. When she saw you, O Christ, the Creator and God of all, hanging on the Cross, she who bore you without seed, cried bitterly: My Son, where has the beauty of your form departed? I cannot bear to see you unjustly crucified; hasten then, arise, that I too may see your resurrection from the dead on the third day. Mode 3 Glory Both now Each member of your holy flesh endured dishonor for our sake: your head the thorns; your face the spittings; your cheeks the blows; your mouth the taste of gall mixed with vinegar; your ears the impious blasphemies; your back the scourge and your hand the reed; your whole body the stretching on the Cross; your joints the nails and your side the lance. You suffered for our sake, and freed us from passions, you stooped down to us in your love for humankind, and raised us up. All powerful Savior, have mercy on us. 14

15 Part II: From the Vespers of St. Catherine Invitatorium Δεῦτε, προσκυνήσωμεν καὶ προσπέσωμεν τῷ βασιλεῖ ἡμῶν Θεῷ. Δεῦτε, προσκυνήσωμεν καὶ προσπέσωμεν Χριστῷ, τῷ βασιλεῖ ἡμῶν Θεῷ. Δεῦτε, προσκυνήσωμεν καὶ προσπέσωμεν αὐτῷ Χριστῷ, τῷ βασιλεῖ καὶ Θεῷ ἡμῶν. Come, let us worship and fall down before the King, our God. Come, let us worship and fall down before Christ the King, our God. Come, let us worship and fall down before Christ himself, the King and our God. Proemium Ἀπό Ψαλμὸς ΡΓ (103, lxx) 1a Εὐλόγει ἡ ψυχή μου, τὸν Κύριον 1b Κύριε ὁ Θεός μου ἐμεγαλύνθης σφόδρα. 1c Ἐξομολόγησιν καὶ μεγαλοπρέπειαν ἐνεδύσω. 2a Ἀναβαλλόμενος φῶς ὡς ἱμάτιον. from Psalm 103 (Septuagint) 1a Bless the Lord, my soul! 1b O Lord my God, you have been greatly magnified. 1c You have clothed yourself with thanksgiving and majesty. 2a Wrapping yourself in light as in a cloak. Τὰ ἀνοιξαντάρια 28b Ἀνοίξαντός σου τὴν χεῖρα, τὰ σύμπαντα πλησθήσονται χρηστότητος. Δόξα σοι ὁ Θεός. 29b Ἀντανελεῖς τὸ πνεῦμα αὐτῶν, καὶ ἐκλείψουσι. Δόξα σοι Πάτερ, δόξα σοι Υἱέ, δόξα σοι τὸ Πνεῦμα τό ἅγιον, δόξα σοι. 30a Ἐξαποστελεῖς τὸ πνεῦμά σου, καὶ κτισθήσονται. Δόξα σοι ὁ Θεός, δόξα σοι. 31a Ἤτω ἡ δόξα Κυρίου εἰς τοὺς αἰῶνας. Δόξα σοι ἅγιε δόξα σοι Κύριε δόξα σοι, βασιλεῦ οὐράνιε. Δόξα σοι, δόξα σοι ὁ Θεός. 35a Ἐκλείποιεν ἁμαρτωλοὶ ἀπὸ τῆς γῆς. Δόξα σοι Τριὰς ἄναρχε δόξα σοι ὁ Θεός. 35c Εὐλόγει, ἡ ψυχή μου, τὸν Κύριον. Δόξα σοι, δόξα σοι ὁ Θεός. The anoixantaria 28b When you open your hand all things will be filled with goodness. Glory to you, O God. 29b You will take away their spirit, and they will perish. Glory to you, O Father, glory to you, O Son, glory to you, O Holy Spirit. Glory to you! 30a You will send forth your spirit, and they will be created. Glory to you, Lord, glory to you! 31a May the glory of the Lord endure to the ages. Glory to you, holy One, glory to you, Lord, glory to you, heavenly King. Glory to you, glory to you, O God! 35a O that sinners might perish from the earth. Glory to you, Trinity without beginning, glory to you, O God! 35c Bless the Lord, my soul! Glory to you, glory to you, O God! 15

16 24b and Doxology Πάντα ἐν σοφίᾳ ἐποίησας. Δόξα Πατρὶ καὶ Υἱῷ καὶ ἁγίῳ Πνεύματι. Καὶ νῦν, καὶ ἀεί, καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. Ἀμήν. Ἀλληλούϊα. Ἀλληλούϊα. Δόξα σοὶ ὁ Θεός. Ἀλληλούϊα. Ἀλληλούϊα. Δόξα σοὶ ὁ Θεός. Ἀλληλούϊα. Ἀλληλούϊα. Δόξα σοὶ ὁ Θεός, δόξα σοὶ ὁ Θεός, ὁ Θεός. 24b and Doxology With wisdom you have made them all! Glory to the Father and to the Son and to the Holy Spirit. Both now and for ever, and to the ages of ages. Amen. Alleluia. Alleluia. Glory to you, O God. Alleluia. Alleluia. Glory to you, O God. Alleluia. Alleluia. Glory to you, O God. Glory to you, O God, O God. From the Lamplighting Psalms 16 Ψαλμὸς PM (140, lxx), Ἦχος α Κύριε ἐκέκραξα πρὸς σέ, εἰσάκουσόν μου. Εἰσάκουσόν μου, Κύριε. Κύριε, ἐκέκραξα πρὸς σέ, εἰσάκουσόν μου πρόσχες τὴ φωνῇ τῆς δεήσεώς μου, ἐν τῷ κεκραγέναι με πρὸς σέ. Εἰσάκουσόν μου, Κύριε. Κατευθυνθήτω ἡ προσευχή μου, ὡς θυμίαμα ἐνώπιόν σου ἔπαρσις τῶν χειρῶν μου θυσία ἑσπερινή. Εἰσάκουσόν μου, Κύριε. Θοῦ, Κύριε, φυλακὴν τῷ στόματί μου, καὶ θύραν περιοχῆς περὶ τὰ χείλη μου. Μὴ ἐκκλίνῃς τὴν καρδίαν μου εἰς λόγους πονηρίας, τοῦ προφασίζεσθαι προφάσεις ἐν ἁμαρτίαις. Σὺν ἀνθρώποις ἐργαζομένοις τὴν ἀνομίαν, καὶ οὐ μὴ συνδυάσω μετὰ τῶν ἐκλεκτῶν αὐτῶν. Ψαλμὸς ΡΚΘ (129) Στίχος Ὅτι παρὰ τῷ Κυρίῳ τὸ ἔλεος καὶ πολλὴ παρ αὐτῷ λύτρωσις καὶ αὐτὸς λυτρώσεται τὸν Ἰσραὴλ ἐκ πασῶν τῶν ἀνομιῶν αὐτοῦ. Τῶν οὐρανίων ταγμάτων Σήμερον τέρπεται πόλις ἡ Ἀλεξάνδρεια, τὰ σπάργανά σου Μάρτυς, ἐν τῷ θείῷ ναῷ σου, κατέχουσα προφρόνως, διὸ καὶ ἡμεῖς, εὐσεβῶς ἑορτάζομεν, Αἰκατερῖνα τήν μνήμην σου τὴν σεπτήν, ὑπερεύχου τῶν τιμώντων σε. Psalm 140 (Septuagint), Mode 1 Lord, I have cried to you, hear me; hear me, O Lord. Lord, I have cried to you, hear me. Give heed to the voice of my supplication when I cry to you. Hear me, O Lord. Let my prayer be directed like incense before you; the lifting up of my hands be an evening sacrifice. Hear me, O Lord. Set a guard, O Lord, on my mouth, and a strong door about my lips. Do not incline my heart to evil words; to make excuses for my sins. With those who work iniquity, let me not unite with their elect. Psalm 129 Verse: For with the Lord there is mercy, and with him plentiful redemption, and he will redeem Israel from all his iniquities. To the melody The ranks of heaven Today the city of Alexandria rejoices, for in your temple it willingly keeps your grave clothes, and so we too, Catherine, devoutly celebrate your revered memory. Pray earnestly for those who honor you.

17 Ψαλμὸς ΡΙΣΤ (116) Στίχος Αἰνεῖτε τὸν Κύριον πάντα τὰ ἔθνη, ἐπαινέσατε αὐτόν πάντες οἱ λαοί. Αἰκατερίνης τὴν μνήμην νῦν ἑορτάσωμεν, αὐτὴ γὰρ ὄντως πάσας, τοῦ ἐχθροῦ τὰς δυνάμεις, ἐν λόγῳ τε καὶ ἔργῳ, καθεῖλε στερρῶς, καὶ Ῥητόρων τὴν ἔνστασιν, Ἀλλὰ δεήσεσι ταύτης ῥύσαι ἡμᾶς, ὁ Θεὸς ἐκ τῶν αἱρέσεων. Στίχος Ὅτι ἐκραταιώθη τὸ ἔλεος αὐτοῦ ἐφ ἡμᾶς, καὶ ἡ ἀλήθεια τοῦ Κυρίου μένει εἰς τὸν αἰῶνα. Χαίροις πανένδοξε Μάρτυς Αἰκατερῖνα σεμνή, ἐν τῷ Σινᾷ γὰρ ὄρει, ἐν ᾧ εἶδε τὴν βάτον, Μωσῆς μὴ φλεγομένην, ἐν τούτῳ Χριστός, τὸ θεάρεστον σκῆνός σου, νῦν μεταθεῖς σὲ φυλάττει ἕως καιροῦ, τῆς δευτέρας παρουσίας αὐτοῦ. Psalm 116 Verse: Praise the Lord, all you nations. Praise him all you peoples. Let us now celebrate Catherine s memory, for truly by word and deed she has stoutly destroyed all the enemy s powers and the opposition of the Rhetors. But at her intercessions deliver us, O God, from heresies. Verse: For his mercy has been mighty towards us, and the truth of the Lord endures to the ages. Hail, all-glorious Martyr holy Catherine, for on Mount Sinai, where Moses saw the bush that was not burned, and where Christ has now translated your body pleasing to God and keeps you until the moment of his second coming. Ἦχος β Δόξα Πατρὶ καὶ Υἱῷ καὶ Ἁγίῳ Πνεύματι. Χαρμονικῶς τῇ πανηγύρει, τῆς θεοσόφου Μάρτυρος Αἰκατερίνης, συνδράμωμεν ὦ φιλομάρτυρες, καὶ ταύτην τοὶς ἐπαίνοις, ὡς ἄνθεσι καταστέψωμεν, Χαίροις βοῶντες αὐτῇ, ἡ τῶν φληνάφων Ῥητόρων, τὴν θρασυστομίαν ἐλέγξασα, ὡς ἀπαιδευσίας ἀνάπλεων, καὶ τούτους πρὸς πίστιν θείαν χειραγωγήσασα. Mode 2 Glory to the Father, and to the Son, and to the Holy Spirit. Lovers of martyrs, let us joyfully run together for the festival of the Martyr Catherine, wise in God, and let us garland her with praises as with flowers, as we shout, Hail, you that confounded the insolence of the chattering Rhetors, as infected with stupidity, and led by the hand to divine faith. Δεύτερος πούς Ποίημα κυροῦ Μανουὴλ μαΐστορος τοῦ Χρυσάφη Χαίροις ἡ τὸ σῶμα πολυπλόκοις βασάνοις ἐκδοῦσα, δι ἀγάπην τοῦ Ποιητοῦ σου, καὶ μὴ καταβληθεῖσα, ὡς ἄκμων ἀνάλωτος, Χαίροις ἡ ταῖς ἄνω μοναῖς, ἀντάξια τῶν πόνων εἰσοικισθεῖσα, καὶ δόξης αἰωνίου κατατρυφήσασα, ἧς ἐφιέμενοι οἱ ὑμνῳδοί σου, τῆς ἐλπίδος μὴ ἐκπέσοιμεν. Second foot, a composition by Mr. Manuel Chrysaphes the Lampadarios Hail, you that surrendered your body to countless torments through love of your Maker, and like an unassailable anvil you were not cast down. Hail, you that dwell in the dwelling places on high, worthy of your pains, and enjoy eternal glory. Would that we who, and who long for it, sing your praise, might not fail in our hope. Translations by Archimandrite Ephrem (Lash) 17

18 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 usa tel cappellaromana.org

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