The use of cameras or recording equipment during the 

performance is not allowed. Please be sure that cell phones,

pagers, and other electronic devices are turned off.

Please note that late entry or reentry ofthe 

West Building after 6:30 pm is not permitted.

For the convenience of concertgoers, 

the Garden Cafe remains open for light refreshments

until 6:00 pm on Sundays.

Music Department

National Gallery of Art

Sixth Street and Constitution Avenue nw

Washington, DC

www.nga.gov

Concerts are made possible in part through the generosity of donors

to the National Gallery of Art through The Circle. Reserved seating is

available in recognition oftheir support. Please contact the development 

office at (202) 842-6450 or circk@nga.gov for more information.

cover: Table Support with Orpheus amid Animals and Birds,

4th century, Byzantine and Christian Museum, Athens

The Seventy-second Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery ofArt

2,961st Concert

Cappella Romana

Alexander Lingas, founding artistic director

Presented in honor of

Heaven and Earth: Art ofByzantiumfrom Greek Collections

October 27, 2013

Sunday, 6:30 pm

West Building, West Garden Court

Admissionfree
Program

Anonymous (c. 1453)

Hierarchical Entrance Rite with Imperial Acclamations

Manuel Gazes the Lampadarios (early fifteenth century)

Sticheron 'Already the pen”

Two-voice prologue

Medieval Byzantine Chant

Angelos Gregoriou (fifteenth century)

"Standing by the Cross”

John Plousiadenos (c. 1429-1500)

Kontakionfor Saint Thomas Aquinas

Franghiskos Leontaritis (c. 1518-c. 1572)

Motet: Ad Dominum cum tribularer

Parthenios Sgoutas (Seventeenth or early eighteenth century)

Polyphonic chants for the Divine Liturgy

INTERMISSION

Michael Adamis (1929-2013)

Apolytikionfor Saint Demetrios

Adamis

From The Great Supplicatory Service to the Mother ofGod

First Ode ofthe Canon

Adamis

Radiant Cloud

Frank Desby (1922-1992)

Apolytikion ofthe Holy Cross

Desby

Kyrie eleison (fortyfold)

Theodore Bogdanos (b. 1932)

Kontakion ofthe Dead

Peter Michaelides (b. 1930)

O Joyful Light

Steven G. Cardiasmenos (b. 1958)

Lauds

Tikey Zes (b. 1927)

One is Holy

Zes

Communion for Sundays: Praise the Lord
The Musicians

CAPPELLA ROMANA

With compelling performances that the Los Angeles Times has described as

“jeweled light flooding the space,” Cappella Romana combines passion and 

scholarship to explore the musical traditions ofthe Christian East and West.

Founded in 1991, the group derived its name from the medieval Greek concept

ofthe Roman oikoumene (inhabited world), which embraced Rome and 

Western Europe, as well as the Byzantine Empire ofConstantinople (New

Rome) and its Slavic commonwealth. Each program in some way reflects the

musical, cultural, and spiritual heritage ofthis ecumenical vision.

In its annual concert series in Portland, Oregon, and Seattle, Washington, the group frequently performs United States and world premieres of

choral music written especially for it. Among the guest conductors and

composers with whom it has collaborated are Marcel Peres of Ensemble 

Organum, chant specialists Ioannis Arvanitis and Achilleas Chaldaiakis,

and Ivan Moody, a composer, conductor, and president ofthe International

Society for Orthodox Church Music. The choir’s tours in North America

have included appearances at the J. Paul Getty Center, the Metropolitan 

Museum of Art, and Princeton and Yale universities. In Europe, venues

have included Saint Paul’s Cathedral and the Priory of Saint Bartholomewthe-Great in London, the Pontificio Istituto Orientale in Rome, and the 

University of Oxford, as well as Greece’s Sacred Music Festival of Patmos 

and Gennadius Library in Athens.

Cappella Romana has released more than a dozen compact discs,

including Tikey Zes: The Divine Liturgy of St. John Chrysostomfor Choir and

Organ 1991-1996 and The Divine Liturgy in English: The Complete Service

in Byzantine Chant. 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 its department of art and art history. More

information about the choir is available at www.cappellaromana.org.

4

ALEXANDER LINGAS

The founder and artistic director of Cappella Romana, Alexander Lingas is

currently a lecturer in music at City University in London, England, a fellow

ofthe University of Oxford’s European Elumanities Research Center, and a

lecturer and advisor for the Institute of Orthodox Christian Studies at the 

University ofCambridge. He was formerly an assistant professor of music

history at Arizona State University’s School of Music. Recipient of a PhD

in historical musicology from the University of British Columbia, he has

won numerous awards, including Fulbright and Onassis grants for musical 

studies with cantor Lycourgos Angelopoulos, the British Academy’s ThankOffering to Britain Fellowship, and the Saint Romanos the Melodist medallion ofthe National Forum for Greek Orthodox Church Musicians in the 

United States. Having contributed articles to The New Grove Dictionary of

Music and Musicians and The Oxford Handbook ofByzantine Studies, 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.

5
Program Notes

In 330 ce, Emperor Constantine the Great moved the capital ofthe Roman

Empire from Rome to the east, near the site ofthe ancient Greek city of

Byzantium on the Bosporus Strait linking the Aegean and Black Seas.

Renamed Constantinople (now Istanbul), the city became the largest and 

wealthiest in the Christian world. It remained the dominant power in the 

eastern Mediterranean region for more than 1,000 years until it fell to the 

Ottoman Turks in 1453. In Heaven and Earth: Art ofByzantiumfrom Greek

Collections, the first-ever exhibition of Byzantine art at the National Gallery

ofArt, masterpieces from Greek collections, many never before lent to the 

United States, are on view—among them mosaics, icons, manuscripts,

jewelry, and ceramics. Organized by the Hellenic Ministry of Culture and 

Sports with the collaboration ofthe Benaki Museum in Athens, and in

association with the National Gallery ofArt and the J. Paul Getty Museum, 

the exhibition remains on view in the West Building until March 2, 2014.

The Eastern Roman Empire—commonly called Byzantium, after the 

ancient name ofits capital Constantinople— not only survived the downfall

of Rome by a millennium, but also created a musical tradition that remains

both alive and influential today. In this evening’s program, Cappella Romana

follows interactions between the sacred musical traditions of Byzantium and

the Western tradition from the Medieval period to the present.

GREEKS AND LATINS IN THE EASTERN MEDITERRANEAN

The Crusades transformed the eastern Mediterranean region into a multicultural patchwork ofshrinking remnants ofthe once mighty Byzantine

Empire. The concert begins with chants from the twilight of Byzantium:

the Hiercharical Entrance Rite for a Sunday Divine Liturgy (Eucharist) as

it might have been celebrated in Justinian’s Great Church of Hagia Sophia

during the reign (1449-1453) ofthe last emperor, Constantine xi Palaiologos. Embedded in this rite are chants recalling bygone days ofimperial

triumph: Roman acclamations wishing the emperor “many years” and

6

a hymn ofthanksgiving addressed to the Virgin Mary by a personified Constantinople, which proclaims her as the city’s “Champion and Commander.”

Following their capture ofConstantinople in 1453, the Ottomans greatly

reduced the number ofWestern outposts in the Eastern Mediterranean.

Ofthose that remained, the most prosperous was Crete, which developed a

flourishing Greek Renaissance culture under Venetian rule. Active on the 

island during the fifteenth century were the composers Manuel Chrysaphes 

and Manuel Gazes, both ofwhom had held the title of Lampadarios (leader

of a group ofsingers) in the Byzantine imperial chapel. In addition to being

skilled in the florid kalophonic (beautiful sounding) style of chant pioneered

by Saint John Koukouzeles, Chrysaphes and Gazes were evidently intrigued

by the simple, usually improvised, forms of polyphony practiced by their

Western colleagues. Gazes composed several two-part works notated in

parallel lines of Byzantine musical signs (neumes), among which is a

prologue to the Passion hymn Already the Pen. In a manuscript copied by

Gazes’ Cretan pupil Angelos Gregoriou, Gazes’ prologue appears alongside 

two other works performed this evening: the standard medieval melody of

Already the Pen and the vernacular lament Standing by the Cross. Written in

fifteen-syllable verse, this song in demotic Greek presents the Virgin Mary

lamenting the crucifixion of her son in words often echoing those of Byzantine liturgical texts.

The prolific Cretan composer, theorist, and scribe John Plousiadenos 

went much further than Gazes in his embrace ofthe Latin West, actively

promoting union between the Orthodox and Roman Catholic churches as

a cleric—he eventually became uniate Bishop of Methone in the Peloponnese— and hymnographer. The Kontakionfor Saint Thomas Aquinas is part 

of a complete festal office that Plousiadenos composed to honor the scholastic theologian.

The son of a Greek mother and an Italian father, Franghiskos Leontaritis

was one of a small number ofCretans known to have immersed themselves 

fully in the musical culture ofthe Latin church. Ordained a Roman Catholic

priest on the island, he worked as an organist for some years at the cathedral 

of Saint Titus in Heraklion. In 1544 Leontaritis moved to Venice in order to

7
sing at San Marco under Adrian Willaert, later relocating to Munich to work

under Orlando di Lasso. Leontaritis composed a significant body of polyphonic sacred and secular works, including the five-voice motet Ad dominum

cum tribularer (In my distress I cry to the Lord), a setting of Psalm 119

(numbered as Psalm 120 in the Western tradition).

Musical manuscripts and literary sources provide incomplete data about

polyphonic singing in Byzantine services on Renaissance Crete, but its echoes 

may perhaps be discerned in a manuscript by the enigmatic post-Byzantine 

composer Parthenios Sgoutas that contains simple four-part sacred music in

Byzantine notation. This is the source for the polyphonic chants sung at the

end ofthe first halfofthe program, which come from the Divine Liturgy of

Saint John Chrysostom: the conclusion to the Nicene Creed (not normally

sung in Greek practice, but set by Gazes and several ofhis successors); choral

responses for the Eucharistic Prayer; and the pre-communion acclamation

One is Holy. Here we encounter unusual parallelisms that derive from the

spontaneous harmonization practiced in various parts ofthe post-Byzantine 

Eastern Mediterranean and Balkan choral traditions.

CHORAL MUSIC OF THE CONTEMPORARY GREEK ORTHODOX CHURCH

Greek Orthodox polyphonic choral singing, firmly established in mainland

Greece with the founding of a male choir for the chapel of King George 1

and his Russian-born Queen Olga by Alexandras Kantakouzenos (1824-

1892), reached its apogee in the first decades ofthe twentieth century and

then gradually began to decline after World War 11 with the revival of

Byzantine chanting.

Michael Adamis (1929-2013) has bridged the worlds of Byzantine and

Western music throughout a distinguished career that has included conducting and teaching in Greece and Brookline, Massachusetts as well as musicological research (including the first study of polyphony by Gazes) and the

presidency ofthe Greek Section ofthe International Society for Contemporary

Music (1975-1985). In his mature works, Adamis shuns Western functional

harmony, cultivating instead a free approach to polyphony inspired by Byzantine chant and Greek folk music. Straightforward applications ofthis style

occur in the Apolytikion (dismissal hymn)for Saint Demetrios (1970) and the

First Ode ofthe Great Supplicatory Canon to the Mother ofGod (1999), the chant

melodies ofwhich often appear in lines moving in parallel or contrary motion

against sustained notes reminiscent of isokratema (the practice of holding a

drone in Byzantine chanting).

Dedicated to the memory ofThessalonian choral conductor Yannis

Mantakas, Adamis’ Radiant Cloud (2003) is based on two hymns for the

feast of Christ’s Transfiguration. In his transformation oftraditional chants,

the composer evokes through his superimposition ofhighly ornamented

melodic lines both the divine radiance on Mount Tabor—believed by many

Christians to be the site ofthe transfiguration ofJesus— and the sound

world of Greek cantorial practice.

Frank Desby served as director ofmusic at Saint Sophia Cathedral in Los

Angeles from its opening in 1952 until his death in 1992. He employed his

knowledge of Byzantine, Russian, and Western music to reshape Greek

American liturgical singing. He began by creating harmonizations inspired

by Renaissance prototypes and borrowing from the style of Gregorian chant

developed by the monks ofthe French Abbey of Solesmes. How these

approaches differed from traditional Byzantine chanting may be heard in

tonight’s performance oftwo versions ofthe Apolytikion ofthe Holy Cross: as

published in a Constantinopolitan anthology of 1882 and as transcribed into

staff notation and harmonized by Desby in 1948. His forty-fold Kyrie eleison

for the Litany ofthe Holy Cross, published in 1979, is harmonized in a more

modern style and includes a brief episode of polytonality.

This evening’s concert concludes with music by Greek Americans who

were colleagues or students of Desby, often working together with him in

the Federation of Greek Orthodox Choirs ofthe Western State (now the

Church Music Federation ofthe Greek Orthodox Metropolis of San Francisco). By academic training a specialist in medieval literature, Theodore

Bogdanos (b. 1932) has served the Orthodox Church as a cantor and choirmaster. In his setting ofthe Kontakion (hymn) ofthe Dead, Bogdanos re9
works Byzantine chant in a manner reminiscent ofthe ways in which late

nineteenth-century European composers appropriated Renaissance style.

Peter Michaelides (b. 1930) received his doctorate in composition from the 

University of Southern California and composed a small body ofsettings of

Byzantine chants in Greek and English. Among those he wrote during the 

1960s is his arrangement of Sakellarides’ melody for the ancient vesper 

hymn Phos hilaron (O Joyful Light).

Serving since 1985 as choir director at the Greek Orthodox Church of

the Eloly Cross in Belmont, California, Steven G. Cardiasmenos (b. 1958)

has in recent years enriched the legacy of Greek Orthodox music with

harmonic colors reminiscent ofjazz. Hints ofthis later style may be heard

in his harmonization of a chant melody in Mode 111 for the introductory

verses of Lauds (Ps. 148:1-2), a movement of his choral music for the 

Matins of Great and Holy Friday.

Like Peter Michaelides, Tikey Zes (b. 1927) received his doctorate in

composition from the University of Southern California. A professor of

music at San Jose State University from 1964 to 1991, he is a prolific composer of Greek Orthodox liturgical music in both Greek and English, In

addition to multiple settings ofthe Divine Liturgy of St. John Chrysostom 

(one ofwhich was dedicated to and recently recorded by Cappella Romana),

he has provided arrangements of many proper chants for the liturgical

year. One is Holy is sung in the Byzantine rite at the fraction of consecrated 

host, prior to the reception of Holy Communion. Uttered in response to

the celebrant’s exclamation, “The Holy Things for the Holy,” it serves to express humility, corresponding to the dialogue “Ecce Agnus Dei.... Domine, 

non sum dignus” (Behold the Lamb of God.... Lord, I am not worthy) in

the Roman rite. In a service, One is Holy is followed immediately by the

communion chant ofthe day, represented in this program by Zes’ Communion Versefor Sundays, composed in 1984 and dedicated to Frank Desby.

Program notes by Alexander Lingas

10
CAPPELLA ROMANA

TEXTS AND TRANSLATIONS

1. EutoSikov

O SiaKOVoq• Zocpia. ’Op0oL

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tyaXXovxac; aot AXXr]Xoui'a2. AttoXuxIkiov/Hxoc; a’.

T

ou Xl0ou ocppayio0£vxoc; utto tcuv’IouSauuv, Kal

oxpaxiioTtDv (puXaooovxtov to axpavxov GOU

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£(3oo)v goi Zcoodoxa- Ao^a xfj avaGTaGa gou Xpioxc,

5o^a xrj BaoiXda gou, 6o^a Trj oiKovopla gou, povc

OiXav0pa)TT£.

3. noXuxpoviopoc; xd)v BaoiXciov

OI ivroq rov Pqparoq- IloXXd xa £xr|

xd)v BaoiXccuv.

Oi EKToq- IloXXd xa £xrj xcuv BaoiXccov.

Oi evToq- Kcovoxavxlvou xou £UG£(3£Gxaxou paoiXctoc;

Kal auxoKpaxcopoc; Pcopalcov xou naXaioXoyou,

TioXXa xa cxty

Oi sktoc;- Kcovoxavxlvou

xou £UG£p£Gxaxou PaoiXccoc;...

Oi evrog rioXXa xa £xrj xcov BaoiXctov.

O SopeariKog Kupic, ocuaov xouc; PaoiXcic;.

O erepog Kal £TT(xkougov pptov.

4. Kovxcuaov xfjc; ©eoxokou

Ao^a Ilaxpl Kal Yuo Kal Aylip nvcupaxi.

Kal vuv, Kal ad, Kal clc; xouc; aicovac; xcov aicuvcov. Apf|v.

T

rj UTt£ppaxco Gxpaxr)-y(p xa viKrjxrjpia, cbc;

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goi r] IIoXic; gou, 0£oxok£. AXX’ cbc; cxouoa xo

Kpaxoc; anpoGpaxrjxov, £K navxoltov pc Kivduvcov

£X£u0£pcooov, tva Kpa(io goi- Xalp£ Nupcprj avupcpcuxE.

Hierarchical Entrance Rite

for a Byzantine Divine Liturgy

1. Introit

Deacon: Wisdom, let us attend.

Choir: Come, let us worship and bow before Christ.

Save us, O Son ofGod, who rose from the dead, to you

we sing: Alleluia.

2. Apolytikion (Mode 1)

T

hough the Jews had sealed the tomb with a stone

and soldiers guarded your pure body, you arose,

O Savior, on the third day, giving life to the world.

Therefore, O Giver oflife, the heavenly powers praise

you: Glory to your resurrection, glory to your

kingdom, glory to your plan of redemption, O only

friend of humankind.

3. Imperial acclamations

[The Clergy] in the sanctuary: May the Kings have

many years.

[The Choir] outside: May the Kings have many years.

Clergy: To Constantine Paleologos, the most faithful

King and Emperor ofthe Romans,

many years!

Choir: To Constantine Paleologos,

the most faithful King...

Clergy: May the Kings have many years.

1st Domestikos: Lord, save the Kings.

2nd Domestikos: And hear us.

4. Kontakion ofthe Mother of God

Glory to the Father and to the Son and to the HolySpirit.

Both now and forever and to the ages of ages. Amen.

T

o you, the Champion Leader, I, your city, dedicate

a feast ofvictory and thanksgiving, as one rescued

out of sufferings, O Mother of God. But as you have

invincible might, set me free from every peril, that I

may cry out to you: Hail, Bride unwedded.

1
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6q |3d7TT8Tai KaXapoc; dnocpdaecoc;, Tiapd Kpixuw

adiKCOv, Kal’Iqaouc; 6iKd(exai, Kal KaxaKpfvExai

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tov Kupiov. AAA’ 6 cpuaei acopaxoc; 6i’ epe Tiaaxcov,

aya0£ Kupi£ 5o£;a aoi.

«napiaxap£vq Tip axaupcp»

apiaxapevq xcp axaupcp q Tiavayvoc; riap0£voc; *

Kal tov Zcuxqpa pXeTTouaa Kpepapevov £V £;uAcp *

T£KVOV £pOV YXuKOTaTOV, Hap9lXTaTOV pou T£KVOV.

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aq aip£a£i(; £Tp£\|/ac; 0£ioic; aou Xoyoic;, Kal ttiotouc;

£90)TKjac; op0d)v SoYpaTCOV didaxalc;, 0a)pa 616

oe Y£palpop£v, Trjc; oiKOup£vr|c; 6i6aaKaX£ pEyicnx.

«Ad Dominum cum tribularer»

d Dominum cum tribularer clamavi, et exaudivit

me. Domine libera animam mem a labiis iniquis

et a lingu dolosa. Quid detur tibi, aut quid aponatur

tibi ad linguam dolosam? Sagittae potentis acut, cum

carbonibus deslotoriis.

eu mihi! Quia incolatus meus prolongatus

est, habitavi cum habitantibus Cedar: multum

incol fuit anima mea. Cum his qui oderunt pacem,

eram pacificus: cum loquebar illis, impugnabant me

gratis.

Sticheron «Already the pen»

heady the pen ofsentence is being dipped in ink

by unjust judges, and Jesus is being convicted and

condemned to the Cross; * and creation, seeing its Lord

on the Cross, is suffering. But loving Lord, who for me

suffer in your bodily nature, glory to you!

«Standing by the Cross»

tanding by the Cross and seeing the Savior hanging

on the wood, the immaculate Virgin cried out: My

Child most sweet, my Child most beloved.

Kontakion for St. Thomas Aquinas

ince you routed the heresies by your divine words

and enlightened the faithful by your teaching of

correct doctrines, we honor you, O Thomas, greatest

teacher ofthe inhabited world.

«Ad Dominum cum tribularer»

hen I was afflicted I called to the Lord, and he

heard me. O Lord, deliver my soul from unjust

lips and from a deceitful tongue. What should be given

you, what added to you against a treacherous tongue?

The sharpened arrows ofthe powerful, with the coals

of desolation.

W

oe is me! For my sojourning has been prolonged,

I have camped among the encampments of

Kedar; my soul has long been a sojourner. With those

who hate peace I was peaceable; when I spoke with

them, they made war on me for nothing.

Psalm 119 LXX

n

poc; Kupiov £v T(I) 0Xi(3£O0ai p£ £K£Kpa^a, Kal

£iaf]KOua£ pou. Kupi£, puaai xqv \|n>xf|v pou ano

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aoi Kal t1 7TpoaT£0£iq aoi 7Tpo<; yXcoaaav 6oXiav; Ta

PeXq tou duvaxou f|Kovqp£va, auv tolc; av0pa^i toIc;

£pqpiKoI<;.

O

l'poi, oti f] TiapoiKia pou £paKpuv0q, KateaKqvcoaa

p£Ta T(I)V GKqvcopaTurv Kqdap- rroAXa 7iapq)Kqa£V

f| \\iv\r\ pou. Mexa xwv piaouvxcov xqv dpqvqv qpqv

dpqviKoc;* oxav eXaXouv auxolc;, cnoXcpouv p£ dcopeav.

2
rioAixptoviKd p.eXr| xrjc; 0dac; Aerroupylac; Polyphonic chants for the Divine Liturgy

And to ZvpfioAov Tfjq FUorecoc;-

E

ic; piav, ayiav, * KaOoXiKpv Kal a7ioaToXiKT]v

EKKXr|aiav. * 'OpoXoyd) §v (3d7rnapa * eic; acpEaiv

apapTiuiv. * IIpoa6oK(i) avaataaiv v£Kpd)v. * Kal ftorjv

tou peXXovtoc; aitovoc;. Aprjv.

From the Nicene Creed

I

n one, holy, * catholic and apostolic Church * I

confess one baptism * for the forgiveness ofsins. * I

await the resurrection ofthe dead * and the life ofthe

age to come. Amen.

And Trjv evyocpionaK^v avacpopav•

'l£p£i)c;- 'H xapic; tou Kupiou riptov’Iriaou Xpiaxou Kal f)

ayaTir) tou 0eou Kal IlaTpoc; Kal r| Koivama tou Aylou

IIveupaToc; dr\ p£Ta navTcov upuiv.

Aaoc;- Kal p£Ta tou nveupaToc; aou.

lepeuc;- Avto axcopev tck; KapSiac;.

Aaoc;- "EyopEV npoc; tov Kupiov.

'l£p£uc;- EuxapiGTf|aa)|i£v tco Kuplcu.

Aaoc;- A^iov Kal dncaiov eoti TipoaKuveiv IIaT£pa, Yiov

Kal'Ayiov Elveupa, Tpiada opoouaiov Kal axcbpiGTov.

lepeuc;- ...tov £7iiviKiov upvov adovTa, (3od)VTa,

K£KpayoTa Kal XeyovTaAaoc;- Ayioc;, ayioc;, ayioc; Kupioc; EaPacoG, TtXf)pr]c;

6 oupavoc; Kal r| yfj Trjc; do^rjc; oou. Doavva £v toIc;

u\|/laToic;- £uXoyr|p£vo<; 6 epxopevoc; £V ovopaTi

Kupiou. 'Qaavva 6 £v toIc; u\|a<jtou;.

(lepeuc;- Adp£T£, cpay£T£, touto pou £ctti to ocopa, TO

U7i£p fjpcuv KXcupevov, £ic; acpeaiv apapTicuv.)

Aaoc;- Aprjv.

(lepeuc;- ni£T£ £^ auTou 7idvT£c;, touto £OTi to aipa

pou, to Tpc; Kaivpc; 6ia0f|Kr|c;, to U7i£p upcuv Kal noXXcuv

£Kxuvop£vov, etc; acpcaiv apapTicuv.)

Aaoc;- Apf|v.

(lepeuc;- Ta ad £K tcuv acuv aol TtpoacpepovTcc; — KaTa

navTa Kal Sia rtavTa — )

Aaoc;- — a£ upvoupev, a£ euXoyoupev, aol

£UxapiaToup£v, Kupi£, Kal deopeGa aou, 6 0£oc; ppcbv.

Zol euxapiGToupev, Kupie, Kal 6£op£0a aou, 6 0£oc;

f]pd)v. Xol euxapiaToupev, Kupie, Kal deopeGa aou, 6

©£oc; fjpcuv....

AiaKOvoc;- npoaxcopev.

lepeuc;- Ta ayia toIc; ayioic;.

Aaoc;- Eic; Ayioc;, etc; Kupioc;,’Ipaouc; XpiaToc;, eic; 6o^av

0£ou flaTpoc;. Appv.

From the Anaphora (Eucharistic Prayer)

Priest: The grace ofour Lord Jesus Christ, and the love

of God the Father, and the communion of the Holy

Spirit be with you all.

People: And with your spirit.

Priest: Let our hearts be on high.

People: We have them with the Lord.

Priest: Let us give thanks to the Lord.

People: It is meet and right to worship

Father, Son and Holy Spirit, Trinity consubstantial

and undivided.

Priest: ... singing, crying, shouting the

triumphal hymn, and saying:

People: Holy, holy, holy, Lord of hosts;

heaven and earth are full of your glory.

Hosanna in the highest. Blessed is he who

comes in the name ofthe Lord. Hosanna in the highest.

(Priest: ... Take, eat; this is my body, which

is broken for you, for the forgiveness ofsins.)

People: Amen.

(Priest:... Drink from this, all ofyou; this is my blood

of the New Testament, which is shed for you and for

many for the forgiveness ofsins.)

People: Amen.

Priest: Offering you your own of your own —

in all things and for all things —

People: we praise you, we bless you, we give thanks to

you, O Lord, and we pray to you, our God. We give 

thanks to you, Lord, and we pray to you, our God.

We give thanks to you, Lord, and we pray to you, our

God....

Deacon: Let us attend.

Priest: The Holy Things for the Holy.

People: One is holy, one is Lord: Jesus Christ, to the

glory of God the Father. Amen.

INTERMISSION

3
AttoXutIkiov tou Aylou Ar|pTyrplou

eyav eupato ev toIc; kivSuvou;, ae imeppaxov

f) oiKOupevr), A0Xo(pop£ to. £0vr| TpoTioupevov.

'Qq ouv Aualou Ka0£i\£c; xr]v enapaiv, ev tcI) aia6ia)

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f]plv to peya eXeoc;.

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npdq Trjv Qcotokov

A' ’Q6r\ too Kavovoc;

7Hxoc; ttX. 6\ ’nbfl A 'O Eippoc;

A

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ttot£, McoaaiKf] pa(36oc;, axaupoTimtoc; 7i\r]^aaa,

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ofiiTrjv Sieacoaev, aapa xcp ©£(I) dvapeXnovxa.

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cuv Xu7ir|pd)v £7iaycuyai xeipd(ouai, tt]v xa7T£ivf)v

pou \|/uXnv- Kal oupcpopcuv v£9r|, xr|v £pf]V

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uv 7i£Tioi0(uc; £Ttl tt\v arjv Kax^uyov, avTiXr|9iv

Kpaxaiav, Kal Tipoc; xr|v or\v aK£7ir|v, oXo\|/uxcu<;

edpapov, Kal yovu kXIvcu AeaTioiva, Kal 0pr|vd) Kal

ax£vd(u), pf] p£ 7iapl6r|c; tov a0Xiov, tcuv Xpiaxiavdrv

KaTa9uyiov.

Kal vuv Kal ad Kal eic; xouc; alcuvac; tcuv aicuvcuv. Apf|v.

u aicuTiriacu tou Poav xpavarraxa, xa p£yaXda

xa aa- £lpf| yap au Kopr|, Trdvxoxe TTpoiaxaao,

U7t£p £pou Ttpeapeuouaa, tcu Yicu Kal 0£(I) aou, r\q

£K toooutou p£ kXuScovoc;, Kal dciVCOV kiv6uvcuv

£ppuaaTo;

Apolytikion for St. Demetrios

he whole world has found you as a mighty

champion in dangers, O victor, who rout the

nations. Therefore as you destroyed the pride of

Lyaios in the stadium by giving Nestor courage,

holy great Martyr Demetrios, implore Christ God to

grant us his great mercy.

From the Great Supplicatory Canon

to the Mother ofGod

ist Ode ofthe Canon

Mode Plagal 4. Ode 1. Eirmos.

he charioteer ofPharaoh was sunk in olden times

by Moses rod, which worked a mighty wonder

when, in the Cross’s form, it struck the sea, dividing

it in two; and it led into safety sojourning Israel that

fled by foot, chanting to the Lord God a song ofpraise.

Most Holy Theotokos save us. 

y humble soul is troubled by the rising storms of

afflictions and woes; and clouds of misfortunes

overcome me, bringing darkness to my heart, O Bride

ofGod. Butsince thou art the Mother ofthe Divine and

Eternal Light,shine thygladsome Light and illumineme.

Most Holy Theotokos save us. 

rom countlesstrials and afflictions, grievous woes,

and from misfortunes oflife have I been delivered

by thy mighty strength, O spotless and pure Maiden.

I extol and I magnify thine immeasurable sympathy,

and the loving care that thou hast for me.

Gloryto the Father and to the Son and to the Holy Spirit,

aving my hope now in thymightyhelp, O Maiden,

I flee for refuge unto thee. Unto thy shelter have

I run wholeheartedly, O Lady, and I bow my knee;

and I mourn and cry weeping: Do not disdain me, the

wretched one, for thou art the refuge ofChristians.

Both now and ever and to the ages of ages. Amen,

shall not cease from making known most manifestly

thy great deeds, Maiden ofGod; for ifthou wast not

present to intercede on my behalf and importune thy

Son and God, who would free and deliver me from

such storms and turbulence, and surmount the perils

that trouble me?

4
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Kupi£, KaXov £cmv f|pac; tbde elvai* Zclrrep Xpicni 6

@£oc;, to cpd)c; aou Xap\|/a<;, cpdmaov tcic; \|/uxac; f)pd)v.

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avapeaov ’HXiou Kal Miouaetoc; tcov aocptbv auv

’IaKcbpco Kal ri£Tpa) Kaila)dvvr|- 'O nexpoc; 6k auvtbv

Tauxa aoi eXeye- KaXov cude eoti Tioifjaai Tpelc; aKr|vd(;,

plav Mtoael, Kal piav’HXia Kal piav aol tcu A£a7ioTr|

XpiaTO). 'O tot£ toutoic;, to cptijc; aou Xapxf/ac;, cpdmaov

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Kupi£, KaXov £OTiv rjpac; cude elvai.

’Em to opoc; to 0apd)p, p£T£popcpd)0r|<; 6 0£o<;,

Kal V£Cp£Xr| cpu)T£ivf|, £(pr|7rXu>|i£vr| cbc; aKr|vf|, touc;

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yr|v £va7T£pX£7tov, pf] cpepovTec; opav tt]v Xap7ipOTr|Ta,

Trjc; aTTpoaiTou So^rjc; tou TTpoadmou aou, avap^e

Xd)T£p XpiaT£ 6 0£oc;, 6 tote toutoic;, to cpcbc; aou

Xap\|/ac;, cpdmaov Tat; \puxdc; f|pd)v.

—And rdv'OpOpov rfjqMerapopycboecoq tovZooTfjpoq.

AtioXutikiov tou Tipiou Xxaupou

cuaov Kupi£ tov Xaov aou Kal £uXoyr|aov ttjv

KXr|povopiav aou, vucac; tou; BaaiXeuai Kaxa

(Sappdptov dcopoupevoc; Kal to aov cpuXamov did tou

Xraupou aou TroXfreupa. (’Ek Tpfrou)

Kupi£ eXepaov (p')

N£Kpd)aipov Kovtcikiov

£Ta tcuv Aylcov avaTiauaov, Xpiaxe, xac; vj/uxac;

tcov douXcov aou, £v0a ouk eoti ttovoc;, ou Xurrr|,

ou amvaypoc;, aXXa (cor) aT£X£UTr)Toc;.

O

dx; iXapov ayiac; do£;r|<;, a0avaTou riaxpoc;,

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£X0ovt£c; £tt1 tt|v rjXlou duaiv, idovmc; cpdx; £a7T£pivov,

upvoupev riaT£pa, Yiov, Kal ayiov Hveupa, 0£ov.

A£iov a£ £v Tiaai Kaipolc; upvela0ai cpcovaic; aialaic;, Yie

0£ou, (cor]v 6 didouc;- dio 6 Koapoc; ok dol;d(£i.

Radiant Cloud

radiant cloud, spread out like a tent, covered the

Apostles with your glory.

Lord, it is good for us to be here. O Savior, Christ God,

having shone your light, illumine our souls.

On the mountain of Tabor you were transfigured O 

God, between Elias and Moses the wise, in the presence

of James and Peter and John; and Peter, as he stood

there, said to you: “It would be good to make three

tents here, one for Moses and one for Elias and one for

you, Master Christ.” You shined your light on them:

now illumine our souls.

A radiant cloud covered them.

Lord, it is good for us to be here.

On the mountain of Tabor you were transfigured O 

God, and a radiant cloud spread out like a tent, covered

the Apostles with your glory, at yourshining light their

gaze fell to the ground, for they could not bear to look

on the brightness ofthe unapproachable glory ofyour

face, O Savior without beginning, Christ our God. You

shined your light on them: now illumine our souls.

—From the Byzantine matinsfor the Transfiguration

Apolytikion ofthe Holy Cross

ord, save your people, and bless your inheritance,

granting to the Kings victory over their enemies,

and guarding your commonwealth by your Cross.

(Three times)

Lord, have mercy (fortyfold)

Kontakion for the Dead

ith the saints give rest, O Christ, to the souls of

your servants, where there is no toil, nor grief,

nor sighing, but life everlasting.

O

joyful light of the holy glory of the immortal,

heavenly, holy, blessed Father, O Jesus Christ.

Now that we have come to the setting ofthe sun and

see the evening light, we sing the praise ofGod, Father,

Son and Holy Spirit. It is right at all timesto hymn you

with holy voices, Son of God, giver of life. Therefore

the world glorifies you.

5
Alvoi

daa Tivor) aiveadtco tov Kupiov. Aivelte tov

Kupiov £K t<uv oupavurv aiverre cxutov £v tolc;

u\|/iaToi<;- Xol npemi upvoc; t<I) @£(I).

AiveIte cxutov TTctvixc; oi AyyEXoi ciutou- cuveIte

ciutov, Ttaaai al AuvapEic; cxutou- Sol 7ip£7i£i upvoc;

T(U @£(I).

E

lc, Ayioc;, dc, Kupioc;, ’Ir|aou<; Xpiatoc;, £ic; 6o^av

@eou riaTpoq. Appv.

Koivcovikov tfjc; KupiaKrjc;

Iveite tov Kupiov £K Ttbv oupavtov.

AXXr|Xouia.

At Lauds

et everything that has breath praise the Lord.

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.

O

ne is holy, one is Lord: Jesus Christ, to the glory

of God the Father. Amen.

Communion Verse for Sundays

raise the Lord from the heavens.

Alleluia.

AAEHANAPOZAirKAI

AIEY0YNTHI

ALEXANDER LiNGAS 

DIRECTOR

ON PAROS. GREECE I T S

70NTANH HXOTPAftHTH —jp1 *

CAPPELLA ROMANA FROM CONSTANTINOPLE TO CALIFORNIA ADO THN KONXTANTINOYnOAH ETWN KAAIOOPNIA

LIVE IN GREECE

A majority of works on this program

can be heard on Cappella Romanas

release “Live in Greece: From

Constantinople to California.” This

and other titles are available at the

National Gallery ofArt shops.

6