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 60:15
1 Opening Blessing, Litany of Peace, Cherubic Hymn in Mode Plagal IV, after
and Prayer of the First Antiphon 5:14 Petros Peloponnesios (d. 1778) 12:11
2 First Antiphon 1:42 1 Opening Section 7:59
3 Short Litany and 2 The Great Entrance 1:12
Prayer of the Second Antiphon 1:26 3 After the Entrance 3:01
4 Second Antiphon 3:00 4 Litany of the Precious Gifts and Kiss of Peace 3:41
5 Short Litany and 5 The Creed 1:35
Prayer of the Third Antiphon 1:37 The Holy Oblation (Anaphora) 7:42
6 Third Antiphon 1:40 6 The Dialogue before the Anaphora 1:20
7 Entrance with the Holy Gospel :53 7 The Anaphora (the Eucharistic Prayer) 6:22
8 Apolytikia 8 Megalynarion
(of the day and of the local church) 1:16 and Conclusion of the Anaphora 5:29
9 Kontakion of the Season 1:24 9 Litany of the Lord’s Prayer 3:24
10 Trisagion 4:37 10 The Lord’s Prayer 3:01
11 Dynamis (Perisse) of the Trisagion after 11 Communion of the Clergy
Nileus Kamarados (1847–1922) 5:04 and Antiphonal Psalm 5:05
12 Prokeimenon 2:53 Distribution of Holy Communion 10:33
13 Apostle 2:31 12 Communion of the Laity :22
14 Alleluiarion 3:09 13 ‘Praise the Lord from the Heavens’ after
15 Gospel 2:48 St John Koukouzelis (ca 1280–1341) 10:11
16 Litany of Fervent Supplication 3:18 Post-Communion Hymns 1:50
17 Litany for the Catechumens 2:03 14 We have seen the true light :47
18 Litanies of the Faithful 2:22 15 Let our mouth be filled 1:03
16 Thanksgiving and
(Constantinopolitan) Dismissal 1:58
17 Prayer behind the Ambo 1:06
A large-type version of this booklet Final (Monastic) Dismissal 2:40
is available online at 18 Blessed be the name of the Lord :43
www.cappellaromana.org 19 Final dismissal 1:58
 Total time 107:10
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

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).

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. For the faithful of the Archdiocese of at my home parish of the Holy Trinity, Oxford and
Thyateira and Great Britain, as well as for all those elsewhere in Britain and the USA (mainly while
tracing their spiritual heritage to a vast geographic on tour with Cappella Romana) stimulated me to
area stretching from Bucharest to Beirut, the attempt settings that adhered to the ‘classical’ norms
foremost traditional idiom is that of Byzantine of Byzantine chanting. This process continued
chant (‘psalmodia’, literally ‘psalmody’), especially during my years as choir director at St Katherine’s
as represented today by the received traditions of Greek Orthodox Church in Chandler, Arizona
the Great Church of Constantinople and the Holy (2001–2003), by which time my Cappella Romana
Mountain of Athos. colleague John M Boyer had begun deploying his
expertise toward the same ends.
The late David Melling was the first to offer adapta-
tions of Byzantine chant for use with the Thyateira In early 2004, Cappella Romana received a grant
Translation in Let Our Hearts be On High (Wallasey, from the Virginia H Farah Foundation for a three-
Wirral: The Anargyroi Press, [1996]). Dr Melling’s part project entitled ‘Excellence for Orthodox Litur-
adaptations have proven pastorally invaluable for gical Music in English’, the overall purpose of which
over a decade, but they only go part of the way was to create high-quality recorded and printed
toward representing the received traditions of materials in collaboration with the Pan-Orthodox
Byzantine chanting. Printed only in staff notation, Society for the Advancement of Liturgical Music
the settings of Let Our Hearts be On High did not (PSALM) for worship, education, and devotional
fully take into account the official tunings for the contemplation. Two of its components were record-
octoechos (the system of ‘eight modes’ or ‘tones’) ings of liturgical works for mixed chorus by pio-
established by the Patriarchal Music Commission of neering composers of English-language Orthodox
1881, the notation and vocal realisation of qualita- music in America: Fr Sergei Glagolev (Lay Aside All
tive signs (petaste, vareia, antikenoma, etc.), and the Earthly Cares, CR401-CD), and Peter Michaelides
finer points of correlating a text’s syllable count and (The Divine Liturgy of St John Chrysostom, CD to
accentual pattern with melodic formulas. be released in 2009). Far more ambitious was its
third part, which proposed the creation, recording,
Cappella Romana’s Byzantine Divine Liturgy Project
and publication of a bi-notational musical setting
The seeds for the present musical setting of the of the Thyateira Translation. Adapted from the
Divine Liturgy were sown during my five years as central repertories of Byzantine chant, the result-

ing Divine Liturgy would seek to be as faithful as major musical items. At the request of Archimand-
possible to carefully chosen Greek prototypes, both rite Ephrem, who thought it desirable to create not
in its melodic construction and in its treatment of only a musical but also a liturgical model, we have
‘performance practice’, a technical term denoting recorded the complete service. All litanies included
(among other things) the relationship between in the Thyateira Translation, including the Litany of
musical notation and sound. the Catechumens and the other items between the
Gospel and the Cherubic Hymn often omitted in
After receiving the blessings of His Eminence Arch-
Greek parochial practice, are therefore rendered in
bishop Gregorios to proceed with Archimandrite
full. Presidential prayers pertaining, as demonstrat-
Ephrem as his representative on this project, we be-
ed by their content or use of the first-person plural,
gan to form the editorial team and procedures nec-
to the entire Eucharistic assembly are restored to
essary for its completion. Most of the responsibility
their original audibility, in general accord with the
for the creation of the musical settings in their final
practice recommended in 2004 by the Holy Synod
form has rested with Mr Boyer, now Protopsaltes of
of the Church of Greece (Encyclical 2784, ‘On
the Greek Orthodox Metropolis of San Francisco.
the Manner of Reading the Prayers of the Divine
He has typeset the chants in Byzantine neumatic and
Liturgy’). On the other hand, private or exclusively
Western staff notations, recast my preliminary Eng-
clerical devotions such as the Prayer of the Cherubic
lish settings, adapted the Cherubic Hymn and other
Hymn (‘Οὐδεὶς ἄξιος…’), in which the celebrant
large-scale chants from Greek originals, composed
prays for his own worthiness ‘to offer these gifts’, are
stylistically appropriate new music, and provided
passed over in silence, allowing one to perceive the
the staff-notation transcription of each chant with
textual and musical elements of the Divine Liturgy
a parallel staff showing a possible sonic realisation
in their proper sequence. When combined with
informed by the oral traditions of Byzantine per-
a comparable recognition of the close correlation
formance practice (for further particulars, see Mr
between musical form and liturgical function in the
Boyer’s essay below). At the same time this has been
best traditions of Byzantine chanting, such respect
a corporate effort, with comments from our interna-
for the text’s integrity reveals a degree of coherence
tional Editorial Committee stimulating the produc-
that corresponds perfectly to the Divine Liturgy’s
tion of multiple drafts for most items. The results of
self-description as ‘Λογικὴ λατρεία’ (simultaneously
this process, which we do not claim are definitive,
‘spiritual’ and ‘reasonable worship’).
have been made possible by additional major grants
from the AG Leventis Foundation, the Fellowship of Musical Repertories for the Byzantine Divine Liturgy
St Alban and St Sergius, and the National Forum of
Until the beginning of the nineteenth century,
Greek Orthodox Church Musicians (USA).
Byzantine melodies for the Divine Liturgy were
This recording of the Divine Liturgy was originally handed down through a combination of written and
envisioned as a single disc devoted primarily to its oral means. Manuscripts employing various forms

of neumatic notation were used mainly to record the and eponymous composers gradually assembled
more elaborate chants. Oral tradition assisted with cycles of the latter two chants in all eight modes,
the proper rendering of notated melodies while also the Trisagion continued to be performed mainly
serving almost exclusively to transmit the service’s in Mode II. This is significant, because notated
simpler chants, responses and refrains. During the medieval responses for the Eucharistic Prayer of St
second and third decades of the nineteenth century Basil and oral tradition indicate that Mode II (and in
a reform promulgated by the Ecumenical Patriar- some cases its close relative, Plagal II) served histori-
chate and authored by the so-called ‘Three Teach- cally as the default option for rendering the Divine
ers’—Chrysanthos of Madytos, Chourmouzios the Liturgy’s short hymns and dialogues.
Archivist and Gregorios the Protopsaltes—led to the
The chant repertories of mid-nineteenth-century
transcription of nearly the entire received repertory
Constantinople diverge significantly from their
of liturgical chant into their ‘New Method’ of Byzan-
medieval forbears at only two points in the service,
tine notation. Much of this material soon found its
one at the climax of the Liturgy of the Catechumens
way into print in collections that are today viewed
and the other in the latter half of the Anaphora. The
by knowledgeable cantors as bearers of the ‘classic’
ancient responsorial psalmody of the Prokeimenon
repertories of Byzantine psalmody. In such books as
and the Alleluiarion, which had once prefaced the
the Divine Liturgy (Μουσικὴ Πανδέκτη, IV) edited
solemn recitation of Holy Scripture from the ambo
by Ioannis Lampadarios and Stephanos Domestikos
in the rites of the Great Church of Hagia Sophia
(Constantinople: Patriarchal Press, 1851), we can
and of the monastery of Stoudios, had been drasti-
discern a network of relationships between musical
cally abbreviated, their dialogues and psalm verses
form, repertorial depth (the number of alternate
shortened, and their music usually reduced to recita-
settings supplied for a given chant), and liturgical
tion. Corresponding to the Gradual and Alleluia
placement that, regardless of any changes in melodic
of the Roman Rite, these chants fared somewhat
contour that may have occurred during the Ottoman
better in Slavic lands and are now being restored in
period, for the most part reflect traditions stretching
some Greek churches. The second change was the
back to the thirteenth century and beyond.
introduction of a fully melodic hymn (‘Megaly-
Furthermore, one may observe that musical weight narion’) to the Mother of God that was borrowed
in the Divine Liturgy of St John Chrysostom was, from morning prayer and now used to cover part of
from the earliest sources of Byzantine musical nota- the Anaphora’s silent recitation. The Megalynarion
tion until the 1850s, concentrated mainly in three for normal days is the generic Marian troparion
elaborate chants that were explicitly or implicitly ‘It is truly right’, for which the received tradition
invested with symbolism as aural icons of angelic offers a standard (‘συνειθισμένον’) melody in Mode
worship: the Trisagion, the Cherubic Hymn, and II. Gregorios the Protopsaltis and Chourmouzios
the Communion Verse. Even though anonymous each transcribed variants of this standard tune, sup-

plementing them with alternate and musically more Having been maintained in the patriarchal chapel
exuberant settings of their own in other modes. of Constantinople and certain other institutions as a
form of liturgical ‘best practice’, these ancient norms
For most of the last millennium, the occasional
have been rediscovered in recent years as part of a
composition of chants in untraditional forms or
wider revival of Byzantine chanting.
unusual modes did little to alter the relative propor-
tions of text and music in the central traditions of Among the Orthodox of Western Europe and North
psalmodia for the Divine Liturgy. The Byzantine America, the ability to distinguish between different
Eucharist remained, especially when compared to forms of Byzantine singing and to recognise certain
the Neo-Sabaïtic offices of Vespers and Orthros, ones as more authoritative than others remains com-
musically conservative. This all changed when paratively rare. Reasons for this include the weak-
the tentative moves towards greater variety by ness of oral transmission in areas where it is not
Gregorios and Chourmouzios gave way during supported by compatible forms of secular music, the
the later nineteenth and twentieth centuries to coincidence of the early waves of Greek emigration
an intense musicalisation of the Greek Orthodox with the zenith of attempts in Greece to Westernise
Divine Liturgy. Aided at first by the printing press Orthodox liturgical music, and the dearth of liturgi-
and later by modern recording technology, this cal singers fluent in Byzantine notation. During
compositional movement radiated outwards from the first half of the twentieth century, all of these
the district churches of Constantinople, Smyrna, factors converged to heighten the influence abroad
and other cities of the Ottoman Empire to Mount of John Sakellarides (d. 1938), an Athenian cantor
Athos and the kingdom of Greece. Musical and who sought to purge Byzantine chant of allegedly
textual focus in the Divine Liturgy gradually blurred ‘oriental’ or ‘Turkish’ traits by publishing in both
as its straightforward short hymns, dialogues, neumatic and staff notations a supposedly purified
and call-and-response structures in Mode II were repertory of his own devising. Whereas in Greece
replaced by idiosyncratic settings in a kaleidoscopic his settings were, with the notable exception of his
array of Byzantine modes, Turkish makamlar, and still ubiquitous Phos hilaron, gradually abandoned
Western tonalities. Thus, for example, the formerly in favour of more traditional forms, in the United
simple responses of the Anaphora and its preceding States, Sakellarides’ chants and rudimentary harmo-
litany were collectively transformed into the new nisations formed the basis for a polyphonic choral
compositional genre of Leitourgika, the introduc- tradition. Despite using technical means that differ
tion of which was initially condemned by the radically from those of some ostensibly traditionalist
Ecumenical Patriarchate. The ancient traditions of cantors, Greek-American composers of multi-voiced
restricted modal variety and singing primarily from choral settings have generally followed the modern
the ‘classic’ central repertories did not, however, trend of musically enriching the entire Byzantine
completely die out in the Balkans and Middle East. Divine Liturgy.

The Present Recording and Its Music in sequence with the celebrant’s recitations one is
led to a deeper appreciation of the thematic unity
Rather than offer discs packed with aesthetically
and spiritual power of the great Eucharistic Prayer
stimulating items appropriate for feasts, we have
attributed to St John Chrysostom.
chosen to present the Divine Liturgy as a priest and
a deacon might celebrate it on an ordinary Sunday. The traditional Second Mode is used throughout
Recording sessions were held in a natural church for the Divine Liturgy’s ordinary (invariable or
acoustic and the aural positions of the higher clergy non-festal) short hymns, psalmodic antiphons, and
shift occasionally to reflect liturgical actions. The Trisagion. Sets of three psalms with short refrains
musical settings are drawn mainly from the ‘classic’ to facilitate congregational participation were origi-
repertories of the Byzantine chant, with variable nally characteristic of the ancient cathedral Rite of
items reliant on the eight-week cycle of the Resur- the Great Church of Hagia Sophia, which employed
rection sung in the Plagal Fourth Mode (‘Tone them in stational processions through the streets
Eight’). While a single group of singers chants of Constantinople, at the end of ‘Sung’ Vespers,
throughout, some elements of the traditional inter- and (at first only on processional days) to begin
change between two choirs are preserved through the Divine Liturgy. Due to later influence from the
the use of alternating soloists (domestikoi). Our monasteries of Palestine, Byzantine worship came
musical consultant and valued colleague Ioannis to recognise an alternate tradition of beginning the
Arvanitis appears only on Disc Two as conductor Divine Liturgy with psalmody drawn from the brief
and soloist (monophonarios) in the Communion office of the Typika, formerly a monastic service for
Verse attributed to St John Koukouzelis. presanctified communion. The modern Typikon
of the Great Church edited by the Protopsaltes
The opening Litany of Peace features an adapta-
George Violakis officially mandates the use of the
tion of the well-known sequence of six responses
Palestinian Typika on Sundays, reserving Con-
in Mode Plagal IV, but all subsequent instances of
stantinopolitan antiphons for weekdays and major
liturgical dialogue are left melodically unembel-
feasts. Nevertheless, many Greek parishes continue
lished. This serves to clarify their textual structures
to follow the older urban practice of employing
and could also, if one so desires, facilitate the
antiphons on Sundays. In order to accommodate
restoration of congregational participation in their
this, the Church of Greece has sought to harmonise
responses. The liturgical utility of simplicity is espe-
the two usages by proffering textually hybrid sets
cially notable in the Anaphora, for which we sing an
of Sunday antiphons with psalm verses drawn from
English adaptation of the so-called kliton or chyma
the Typika. We follow here the mixed order given by
responses preserved by the oral tradition of the
Protopresbyter Konstantinos Pagagiannis in his new
Great Church of Christ. At first their austerity may
edition of the Ἐγκόλπιον ἀναγνώστου καὶ ψαλτοῦ
be disconcerting to listeners accustomed to tuneful
(Athens: Apostoliki Diakonia, 2005).
or virtuosic Leitourgika, but when they are placed

A set of variable hymns for the day, the local church, echumens. Not long after the dismissal of the latter
and the season immediately precede the Trisagion, occurs the Great Entrance, a procession conveying
which is adapted here from the standard chant for the unconsecrated Gifts of bread and wine from
Sundays (a similar but simpler melody in Mode II is their place of preparation to the altar. This action
traditionally employed on ordinary weekdays). Of is accompanied musically by the solemn chanting
the commands once sung by the domestikoi to signal of the Cherubic Hymn, the text of which explicitly
each choral rendition of ‘Holy God…’, only ‘Dyna- stresses the angelic symbolism of liturgical song.
mis’ has been retained in modern practice (compare The melody sung at the beginning of Disc Two is
the present setting with the medieval Trisagia on our adapted from a Cherubic Hymn for weekdays by
previous discs Epiphany and The Fall of Constantino- Petros Peloponnesios (d. 1778), Lampadarios of the
ple). It introduces the hymn’s coda (perisse), which Great Church and the main codifier of the received
may consist of either a da capo repetition of the repertories of Byzantine chant.
opening music or, as on this recording, a more elab-
For Holy Communion, authoritative collections of
orate setting that shifts the liturgical function of the
‘classic’ Byzantine melodies provide only musically
Trisagion from the proclamation of God’s holiness
elaborate settings of single verses coupled in most
toward its contemplation. This perisse was written
cases to the refrain ‘Alleluia’. These compositions
by the Constantinopolitan cantor Nileus Kamarados
have often been neglected in recent times, with the
(1847–1922) and adapted by Mr Boyer, whose newly
appointed psalmody giving way to a hodgepodge of
composed music for the Prokeimenon we present
liturgically unrelated chants. Modern scholarship,
with its prefatory dialogue fully restored. After the
however, offers those unable or unwilling to chant
solemn cantillation of the Apostle by the reader, the
florid verses with the musically simpler alternative
Alleluiarion re-establishes the Prokeimenon’s ethos
of the liturgical practice of Late Antiquity, when
of meditative joy with a melody by Simon Karas
the distribution of the sacrament was accompanied
(1903–99). In an actual service, the Alleluiarion ac-
by antiphonal renditions of psalms incorporating
companies the symbolically rich act of censing and,
congregational participation.
in larger spaces, covers the procession of the deacon
to the ambo for the chanting of the Gospel. Recognising the range of current pastoral needs,
we present examples of both usages. For the Com-
The Gospel and sermon (omitted) represent the
munion of the Clergy we sing an antiphonal setting
climax of the portion of the Divine Liturgy devoted
of Psalm 148 in the Fourth Plagal Mode that begins
mainly to teaching, praise, and intercession, which
with a choral setting of the usual Sunday Com-
in Late Antique and early medieval times was
munion Verse (Ps. 148:1) by Ioannis Arvanitis. Like
attended by both the baptised faithful and those
the intonations of psalmodic antiphons employed
receiving instruction for baptism, namely the cat-
in the medieval Rite of the Great Church, this
10
composition establishes the mode and announces the saint living the life of a hesychast, monks and
the ‘Alleluia’ refrain of the following syllabic render- other Byzantine churchgoers of the fourteenth and
ing of the remaining verses, here adapted from fifteenth centuries would have heard a great deal of
Petros Byzantios and supplied a refrain suitable for his music.
congregational use. We follow the received tradition
of florid psalmody for the Distribution of Holy
Communion to the faithful, for which we chant Further Reading
a work in the First Plagal Mode attributed to the Boyer, John M. ‘The Transcription, Adaptation and Com-
Athonite monk St John Koukouzelis (ca 1280–ca position of Traditional Byzantine Chant in the English
1341), his only Sunday communion verse to appear Language: An American’s look at the United States’.
Forthcoming in the proceedings of the American Society of
in published collections. Each musical setting fosters
Byzantine Music & Hymnology’s First International Confer-
a different but ultimately complementary liturgical ence: Byzantine Musical Culture.
ethos. Antiphonal psalmody, which was promoted
Giannelos, Dimitri. La musique byzantine: Le chant ecclé-
vigorously by the Fathers of the Early Church, enacts
siastique grec, sa notation et sa pratique actuelle. Paris and
a form of musical communion between the soloists, Montréal: L’Harmattan, 1996.
the choir(s), and the laity. Florid chanting, on the
Hieromonk Ephraim. ‘Byzantine Music Formulae’.
other hand, raises psalmody to the level of angelic
http://www.stanthonysmonastery.org/music/Formula.html
song, aurally uniting the assembly’s Eucharist with
the perpetual heavenly liturgy. _________. ‘Concerning Adaptation’.
http://www.stanthonysmonastery.org/music/
The propriety of asserting the interpenetration of Adaptation.htm
human and divine worship on the one hand, and _________. ‘106 Rules of Byzantine Orthography’.
then linking it to the physical reception of the Body http://www.stanthonysmonastery.org/music/
and Blood of Christ on the other, finds visual con- ByzOrthography.pdf
firmation in late and post-Byzantine depictions of Ἱερατικόν, 5th ed. Athens: Apostoliki Diakonia, 2004.
the Communion of the Apostles (a twelfth-century
Levy, Kenneth and Christian Troelsgård, ‘Byzantine Chant’,
example is featured on the cover of this recording).
in S. Sadie and J. Tyrrell, eds., The New Grove Dictionary of
Both psalmody and iconography thus reassert God’s Music and Musicians 4, 734–756. London: Macmillan, 2001.
immanence with an audacity that was echoed in
Lingas, Alexander. ‘Hesychasm and Psalmody’ in Anthony
late Byzantium by hesychast monks, who insisted
Bryer and Mary Cunningham, eds., Mount Athos and Byz-
on the possibility of beholding the Uncreated Light antine Monasticism, 155–68. Aldershot: Ashgate, 1996.
with one’s physical eyes. All this should not be too
_________. ‘Tradition and Renewal in Greek Orthodox Psal-
surprising if one considers that while the (admit-
mody’, in H.W. Attridge and M.E. Fassler, eds., The Psalms
tedly problematic) Life of Koukouzelis portrays in Community: Jewish and Christian Textual, Liturgical
11
 and Artistic Traditions, 341–56. Atlanta: Society of Biblical The Liturgy is ‘public service’ — the meaning of
Literature, 2003. leitourgia, from laos, ‘people’, and ergon, ‘work’, in
McKinnon, James. Music in Early Christian Literature. Cam- both Ancient and Modern Greek — in which all the
bridge: Cambridge University Press, 1987. members of the Church are the workers. To put it
Patriarchal Commission of 1881. Στοιχειώδης διδασκαλία another way: it is not a ‘spectator sport’ in which the
τῆς ἐκκλησιαστικῆς μουσικῆς ἐκπονηθεῖσα ἐπὶ τῇ βάσει τοῦ Priest, Deacon, Servers and Singers are the players
ψαλτηρίου ὑπὸ τῆς μουσικῆς ἐπιτροπῆς τοῦ Οἰκουμενικοῦ and the congregation the audience or viewers.
Πατριαρχείου ἐν ἔτει 1883. Constantinople, 1888; repr. ed. Nearly all the prayers of the Liturgy are in the first-
Athens: Koultoura, 1978.
person plural. The Priest and the Deacon address
Stathes, Gregorios Th. ‘Ἡ ψαλτικὴ ἔκφραση τοῦ Μυστηρίου the whole congregation: ‘Peace to all’, ‘Let us pray to
τῆς Θείας Εὐχαριστίας’, in Τὸ Μυστήριο τῆς Θείας the Lord’. And it is the People who answer ‘And to
Εὐχαριστίας· Πρακτικὰ Γ´ Πανελληνίου Λειτουργικοὺ
your spirit’, ‘Lord, have mercy’. Together we proclaim
Συμποσίου), 253–75. Athens: Apostoliki Diakonia, 2004.
our Faith, together we call on God as ‘Our Father’.
Taft, Robert F. Beyond East and West: Problems in Liturgical We do not come to the Liturgy as isolated individu-
Understanding, 2nd ed. Rome: Pontificio Istituto Orientale,
als; we are there as the limbs, as the members of the
2001.
Body of Christ. We come to hear together the words
_________. Through Their Own Eyes: Liturgy as the Byzan- of the Apostles, to listen together to the words of the
tines Saw It. Berkeley, CA: InterOrthodox Press, 2006.
Lord himself in the holy Gospel. And finally, when
http://www.analogion.com/ we approach the Chalice at Communion, we share
http://www.anastasis.org.uk/obiter_scripta.htm together in one Bread, we drink from one Cup. By
the rules of the Church a priest may not celebrate
http://www.ecclesia.gr/greek/holysynod/commitees/
the Liturgy alone; there must always be a least one
liturgical/liturgical.htm
person with him, one person who represents the
People of God, whose work the Liturgy is.
On the Translation of The present situation
the Divine Liturgy
But today there are problems. The Liturgy is cele-
by Archimandrite Ephrem (Lash) brated in Ancient Greek, which many of our people,
especially, but by no means only, the young, do not
The mission of Orthodox Christians is to proclaim
understand fully, or even do not understand at all.
God’s Kingdom, and this is done above all by the
That is why, in 1979 shortly before he died, the late
celebration of the holy Liturgy. Through the celebra-
Archbishop Athenagoras published an edition of the
tion of the Liturgy, Christ and his love for mankind
Liturgy in Greek and English and why, soon after his
are made present in the world. This celebration is
enthronement, the present Archbishop decided that
the common task of all the members of the People
a revised edition should be prepared and published,
of God. 12
in order that all the people might be able to have completed, the Holy Monastery of Simonos Petra
for themselves the text of the Liturgy in Greek and published a new Hieratikon in three volumes, to
English both easily and cheaply. which Professor Phountoulis wrote the Introduc-
tion. The committee was able to take into account
We Orthodox have been entrusted with the Tradi-
this excellent and scholarly work in preparing the
tion of Orthodoxy, a priceless treasure, a pearl of
final draft of the present translation.
great price; but not one that is to be kept under
wraps, hidden in a bank vault, as some people do The Greek Text
with works of art. We have to make it accessible to all
The Greek text taken as the basis of this version was
our people, and to those who are not yet Orthodox,
that published in Athens by the Apostoliki Diakonia
but who are longing for the truth. Tradition is some-
in 1950 and frequently reprinted. The more recent
thing that is handed on. Our ancestors, from the
edition of 1977 by the same press, though lavishly
days of the Apostles, have handed it on to us. It is for
provided with rubrics, is in many respects highly
us to hand it on to our children, to make them know
idiosyncratic, particularly in the Proskomidi. Since
it and love it, so that they in their turn can hand it on
the translation was published, the Apostoliki
to the generations to come. In the words of the Arch-
Diakonia has issued, in 2002, a radically revised
bishop, ‘we must bring this tradition of ours closer to
and greatly improved Hieratikon, edited by Father
the new generation and to our people in general. The
Constantinos Papayiannis, and it is worth remarking
use of the English language in our diakonia is also
that many of the improvements included or referred
becoming more necessary and obligatory’.
to in this edition had already been adopted in the
The translation text and translation the Archdiocese of Thyateira.
Among the other editions of the Liturgy which were
This translation of the Divine Liturgy of St John
consulted, particular attention was given to the older
Chrysostom was prepared by a committee ap-
Greek text printed in the Mega Euchologion and the
pointed by his Archbishop Gregorios of Thyateira
Slavonic Sluzebnik. The latter is of some importance,
and Great Britain. At the request of his Eminence
since Slav use in a number of places preserves a bet-
the late Metropolitan Anthony of blessed memory,
ter text and tradition than current Greek practice.
two members of the committee were priests of the
diocese of Sourozh. The translation was made from The Translation
the Greek original, though the translators had before
At its first meeting, the committee, after a long dis-
them the work of their numerous prede­cessors since
cussion, decided that archaic grammatical pronouns
the eighteenth century. They were also able to take
and verbal forms should be dropped in favour of
into account the work of recent scholars, in particu-
contemporary usage. This decision was taken for
lar Professor Trembelas and Professor Phountoulis.
pastoral, theological, and linguistic reasons. The
Shortly before the main work of translation was
13
Orthodox churches belonging to the Ecumenical two places: the greetings which open and close
Patriarchate in the United States of America and in the Anaphora. The rubrics at this point allow
Australia have already taken this step, as have other for the Prokeimenon and Alleluia to be done in
jurisdictions in America. either the Greek or Slav manner.
This apart, the translation is conservative both in 2. The rubrics require the Deacon to cense during
text and rubrics. It is hoped that sufficient rubrical the chanting of the Alleluia and its verses as a
material has been provided, but it should be borne preparation for the proclamation of the Gospel,
in mind that a living Tradition is not absolutely rather than during the Apostle. This is also what
petrified in all its details. The Hellenic and Slav the new Hieratikon from Athens proscribes.
traditions are not identical; each monastery has
3. The ancient and traditional place for the homily
its own typikon; each diocese and church its own
is after the Gospel and a rubric, which deliber-
customs. In general one could say that there is no
ately does not limit this ministry to the clergy,
absolute right or wrong typikon, only good and bad
has been included to encourage preaching here,
ones. Priests and Deacons learn to celebrate from
rather than at the end, or, which is worse, during
their fellow celebrants, whether in seminaries,
the Communion of the clergy. A similar rubric is
monasteries, or parishes. The same is true for Read-
to be found in the new Hieratikon.
ers and Singers.
4. Although in current Greek parochial practice
In the course of its work, the committee discussed
everything between the Gospel and the Cherubic
numerous drafts, most of which had been provided
hymn is normally omitted — though everything
with detailed annotation on points of particular inter-
is in fact read silently by the celebrant —, all this
est and difficulty. A certain number of omissions or
material has been included, since the translation
changes to familiar words or rubrics were made. Some
is of the complete Liturgy. In the Litany of Fer-
of the more notable ones may be mentioned here.
vent Supplication after the Homily, the possibility
1. The greeting by the priest before the Prokeime- of adding individual names of the living and
non, one of the most ancient in the Liturgy, and departed has been allowed for. This has also been
one to which St John Chrysostom gives particu- adopted in the new Hieratikon.
lar importance, has been restored. This has never
5. The opening dialogue of the Eucharistic Prayer,
disappeared from the Slavonic text and it was
or Anaphora, was the subject of much thought
felt that it should be included. The greeting is
and discussion, and the translation proposed,
translated literally, ‘Peace to all’, without further
which may at first feel unfamiliar, is an attempt
addition, such as ‘be with you’. One reason for
to represent more accurately the sense of the
this is that the greeting includes ‘be with’ in only
original. It has already been adopted by a recent
14
 American bilingual edition of the Liturgy, with 8. Before the Prayer behind the Ambon, the transla-
due acknowledgement of the Thyateira version. tion restores the correct dialogue: Priest: Let
us go forth in peace. People: In the name of the
6. After the Anamnesis, that is the Recalling of the
Lord. Priest: Let us pray to the Lord. People: Lord,
events of the Passion and Glorification of the
have mercy. The new Hieratikon does the same.
Lord, we have restored the participle ‘Offering’, in
As with the Dismissal, Priests have to remember
place of the indicative ‘We offer’. This is the text
not to interrupt the Singers in their haste to bring
of the Greek manuscripts almost without excep-
the Liturgy to an end.
tion and it has been preserved in the Slavonic.
The main verb of the sentence is in the People’s
reply. This stresses the important theological
On Byzantine Chant in English
point that the action of the Liturgy is one, by
Priest and People together. This last explains why by John Michael Boyer
in this recording all the prayers traditionally said
Adaptation from Greek to English
mystikos are said audibly. This was certainly the
ancient practice, but it was disappearing by the Our adaptation process for setting English text to
sixth century. Justinian issued a novella forbiding Byzantine chant begins both with a good translation
the silent recitation of the prayers of the Liturgy as well as with melodic models from the central
and the other Mysteries, but it was subsequently repertories of the received tradition. The English text
widely disregarded. Like the revival of the the is set in the same manner as the original Greek, not
practice of frequent Communion, the audible by using the same melody, but by following the same
recitation of the prayers of Liturgy is a sign not of process: by applying the melodic formulae of the
reform or innovation but of revival and renewal model’s musical mode and genre to the text’s syllabic
in the spirit of the holy Fathers and universal patterns, and by adhering to the rules and tendencies
Teachers of the Church. of the classic Byzantine musical tradition, a new
melody is composed. In addition, in order to provide
7. After the Chalice has been taken back to the
an appropriate counterpart to the model chant, we
Prothesis, we included the troparion Plerotheto
attempt to follow the general contour and rhetoric
(‘Let our mouth’), to be sung by the Singers. This
of its melodic and phrasal structure, thus evoking
is not only an ancient practice, which has been
a ‘memory’ of the original. At times, the latter goal
restored in the new Hieratikon, but it also gives
must be compromised if an idiomatic rendering of
the Priest, especially when there is no deacon,
the text is to be achieved. In some cases, we must
time to return to the Holy Table and fold up the
abandon the original melody completely, while
Antimension before starting the litany.
remaining faithful to the mode, genre, and style in
15
which it was written. The result is a new chant, pos- The Trisagion was not as easily adapted, primarily
sibly unlike the original in its melodic content, yet because there are 25 syllables in the original Greek
comparable in mode, style, rhetoric, and spirit. text compared to 16 in the translation. This was
a challenge, especially with so familiar a hymn.
One example of this process may be seen in the
However, the Thyateira Trisagion helps to solve this
refrain to the First Antiphon: ‘At the prayers of the
problem by retaining, as does the Greek original, a
Mother of God, O Saviour, save us’. In the original
parallel syllabic structure for the first two phrases:
Greek text, ‘Ταῖς Πρεσβείαις τῆς Θεοτόκου, Σῶτερ,
‘Ho-ly God, Ho-ly Strong’. This lends itself perfectly
σῶσον ἡμᾶς’, the phrase ‘σῶσον ἡμᾶς’ has four syl-
to AAB phrase structure, found in virtually every
lables, set to the familiar cadence (fig. 1).
traditional setting of the Trisagion, but lost in
Figure 1. the more familiar translation ‘Ho-ly God, Ho-ly
Migh-ty’.
Even so, we originally considered abandoning the
traditional AAB format in favor of using more of the
original melody. Since the first line of the original
Greek (Ἅγιος ὁ Θεός) has the same syllabic pattern
However, in the classic sources of syllabic Byzantine
as the first two lines of the translation (Holy God,
chant, this melodic figure only appears with three-
Holy Strong), it seemed logical to apply the original
or four-syllable phrases. Since this musical cadence
music for one Greek line to two English lines (fig. 3).
on the text ‘save us’ would not conform to the
However, in order to conform to traditional phrase
traditional rules of the melodic formulae, we must
format, the middle section of the melodic line was
turn instead to a different musical formula (fig. 2).
removed, leaving the beginning and the end (fig. 4).
Figure 2.
The third line could then remain largely the same
as the Greek model. Although this final adaptation
uses less of the original Greek melody, it conforms
to the overall structure and form of the Trisagion
better than our first attempt.
Although this melody differs from the original, it
uses the appropriate melodic figure for the text, and
so remains closer in style and spirit to the original
than if the model melody had been used verbatim.   In the Thyateira Translation, ‘mighty’ is reserved for the
Greek ‘κραταιός’, whereas ‘strong’ (‘крепкий’ in Slavonic and
  The syllabic genre employs one to three, and occasionally ‘fortis’ in Latin) is used for ‘ἰσχυρός’. See
four, notes or rhythmic beats per syllable of text. http://www.anastasis.org.uk/the_trisagion.htm
16
original melody.
same syllabic Sinceas
pattern thethe
first linetwo
first of the original
lines of theGreek (̢·΍ΓΖ(Holy
translation ϳ ̋ΉϱΖ)
God,hasHoly
the
same syllabic
Strong), pattern
it seemed as the
logical first two
to apply lines ofmusic
the original the translation (Holy
for one line God,
to two Holy
lines:
Figure
Strong), 3. logical to apply the original music for one line to two lines: text—that formed the adaptation process.
it seemed
In general, we gave priority to rendering the
4 A !ga gg
 gi i 4goG oj 4(o dLg o]LQe 4Lo Ego ] oj 4Q
o 
4 A !g
-a gg i 4goG oj 4(o d- Lg
o- o]Lly 4Lo Eg
o ] oj 4Q
o 
text according to the rules of Byzantine mu-
o o
Ho ly__
gi God______,
o Ho -Qe Strong________, sical composition over retaining the original
However, Ho in
- order
ly__ to
God______, Ho -
conform to traditional -phrase- lyformat, the middle section melodies
Strong________, of exactly. The result is a collection of
However,
the melodic in line
order
wasto removed,
conform to traditional
leaving phrase format,
the beginning and the the chants that follow closely the liturgical and
middle section of
end:
Figureline
the melodic 4. was removed, leaving the beginning and the end: musical genres of the received Byzantine
4 g
! 8 4
   E g ]  4
 Q
 g
! 8 4
   E g ]  4
 Q 
4 !g- 8ly 4 Eg]4Q !g- 8 4 Eg]4Q a greater or lesser degree, specific model
musical tradition, while also echoing, to
Ho - ly God_________, Ho - ly Strong________,
The third Holine could God_________,
then remain largely the Hosame aslyin theStrong________,
Greek. Although this
melodies.
The
finalthird line could
adaptation usesthen
less remain largely Greek
of the original the same as in the
melody, Greek. Although
it conforms this
to the overall
final The and
structure Cherubic
adaptation uses
form Hymn
ofless
the of onoriginal
the
Trisagion this recording
better Greek was
firstadapted
melody,
than our it conforms to the overall
attempt. Transcription into Staff Notation
structure
from and
theform
melody Trisagion
of the for weekdays betterin than
theour first attempt.
Plagal Fourth
The Cherubic Hymn on this record was adapted from Plagal Fourth
Mode by Petros Peloponnesios. With few excep- We decided
Mode early on that the scores accompanying
The
melodyCherubic Hymn onbythis
for weekdays record
Petros was adapted from
Peloponnesios. With Plagal Fourth
little exception,Modethe
this recording would be published in both Byzantine
melody tions,
for the melodic
weekdays by materials
Petros in the adaptation
Peloponnesios. With
melodic material in the adaptation is taken directly from the original. The arelittle exception, the
taken directly and Western notations. Our method of presenting
melodic
original material
melodic in from
the are
phrases, thenotoriginal,
adaptation in the but presented
is original
taken directly in theInoriginal.
from
order, however. this caseThewe
were aable
original different
melodic order.
phrases,
to take Inarethis
advantage case
notofin theweoriginal
the were
fact thatable tohowever.
order,
some take
phrases in
the English
In this Western
the case we transcription therefore went through
were able to
translation have
advantage take
the advantage
same
of the fact of some
syllabic
that the fact
pattern asthat some
in thephrases
the original
phrases in the
Greek, althoughseveral
Englishstages of development as we considered the
rarely
translation
English
have the
in corresponding same syllabic
phrases.
translation
pattern as the original Greek, although
For instance:
have the same syllabic pattern as practical
rarelyand pedagogical advantages of several
in corresponding phrases. For instance: formats, including 1) a single staff displaying only
the original Greek, although We who rarely ̒ϡ in ΘΤ
corresponding
phrases. For instance: the unornamented structural melody (‘metro-
in aWe who ΉϢΎΓΑϟΊΓΑΘΉΖ
mystery ̒ϡ ΘΤ
inrepresent
a mystery ΉϢΎΓΑϟΊΓΑΘΉΖ
µΙΗΘ΍ΎЗΖ
phonia’), with symbols above corresponding to
We who represent
cherubimΟἱ τὰ µΙΗΘ΍ΎЗΖ
ΛΉΕΓΙΆϟµ certain ornamental signs from Byzantine notation
in a mystery cherubim εἰκονίζοντες
etc. ΛΉΕΓΙΆϟµ (essentially the format advocated by the late Frank
represent etc.
μυστικῶς Desby, who modified the transcription method of
cherubim χερουβίμ the Monumenta Musicae Byzantinae for post-Byz-
etc. antine chant); 2) the same, but with occasional ossia
This allowed us to retain most of the original me- measures above to show realisations of ornamental
lodic material by Petros in the adaptation, making it figures and 3) a fully realised transcription of the
both evocative of the original as well as stylistically melody as it might be sung in the light of oral
appropriate in its rendition of the translated text. tradition (the ‘melos’), on a smaller staff and with
its own line of text above the structural melody.
It was this balancing act­­—being faithful both to It became clear that a complete line of Byzantine
the original musical models as well as to stylisti- notation above the transcription was the best way
cally correct musical expression of the translated to show correlation between the two notations. We
17
Figure 5.
on this recording, incorporat-
ing details of ornamentation,
tuning, and expression that one
might hear from any number
of traditional cantors. When
using this second staff, it is
important to remember that
agreed upon a format that includes all the necessary Byzantine qualitative signs are
information while printing only a single line of text not necessarily realised the same way every time,
(fig. 5). and that many ornaments are written out approxi-
As seen here in the excerpt from the Trisagion, the mately, especially with respect to their exact rhythm.
format includes three lines of music: the top line, Similarly, although care was taken to represent the
a copy of the Byzantine notation; next, a simple intricacy of Byzantine tunings accurately, in some
‘dry-voiced’ (un-ornamented) transcription of the cases key signatures and accidentals must be taken
metrophonia; below the text, one possible realisation as approximate.
of the melos. We also created editions in exclusively Ornamentation and tonal attraction (elxis) are
Byzantine notation with all line and page breaks practices still best learned aurally from a skilled
in parallel with their transcriptions, in order to teacher. Nevertheless, we hope that this recording
facilitate their simultaneous use on facing pages for and its accompanying scores and transcriptions will
study or performance. both demonstrate that Byzantine chant with all of its
Notation and Performance Practice expressive elements can be well executed in the Eng-
lish language as well as help to make the Byzantine
Oral tradition is an essential part of Byzantine Mu- musical tradition in its fullness more accessible to
sic. Since there are different schools of performance the English-speaking world.
practice, however, we thought it important that our
transcriptions include a ‘dry-voiced’ line without
ornamentation. Beginners may follow this first line
exactly, and more advanced singers may embellish
it according to their training and taste. The second
staff, as one possible interpretation of the metro-
phonia, features a transcription of the melos as sung   Signs for microtones—accidentals to create intervals
greater or smaller than a tempered semitone or half-step—
  This term is not to be conflated with ‘concert’ or ‘recital’, were borrowed from Ethnomusicology and Middle-Eastern
but simply refers to the carrying out of an action. music.
18
19
disc one: the liturgy Help us, save us, have mercy on us, and keep us, O God, by
your grace.
of the catechumens Commemorating our all-holy, pure, most blessed and glorious
1 Lady, Mother of God and Ever-Virgin Mary, with all the
Deacon: Master, give the blessing. Saints, let us entrust ourselves and one another and our
Priest: Blessed is the Kingdom of the Father, and of the Son, whole life to Christ our God.
and of the Holy Spirit, now and for ever, and to the ages People: To you, O Lord.
of ages. The Priest, in a low voice, reads the
People: Amen. Prayer of the First Antiphon
Litany of Peace Lord, our God, whose might is beyond compare and whose
Deacon: In peace, let us pray to the Lord. glory is beyond understanding, whose mercy is without
People: Lord, have mercy. And so after each petition. measure and whose love for mankind is beyond all telling,
Deacon: For the peace from on high and for the salvation of look upon us and upon this holy house, Master, according
our souls, let us pray to the Lord. to your loving kindness, and bestow on us and on those who
For the peace of the whole world, for the welfare of the holy pray with us your acts of rich mercy and compassion.
Churches of God, and for the union of all, let us pray to (aloud) For to you belong all glory, honour and worship, to
the Lord. the Father, the Son and the Holy Spirit, now and for ever,
For this holy house, and for those who enter it with faith, and to the ages of ages.
reverence and the fear of God, let us pray to the Lord. People: Amen.
For all devout and Orthodox Christians, let us pray to the 2
Lord. First Antiphon (Ps. 102)
For our Archbishop Gregorios, for the honoured order of 1st Domestikos: Bless the Lord, O my soul, and all that is
presbyters, for the diaconate in Christ, for all the clergy and within me, bless his holy name.
the people, let us pray to the Lord. People: At the prayers of the Mother of God, O Saviour, save us.
For our Sovereign Lady, Queen Elizabeth, the Royal Family, 2nd Domestikos: Bless the Lord, O my soul, and forget none
her Government and all in authority, let us pray to the Lord. of his benefits.
For this city, for every city, town and village, and for the People: At the prayers of the Mother of God, O Saviour, save us.
faithful who dwell in them, let us pray to the Lord. 1st Domestikos: The Lord has prepared his throne in heaven,
For favourable weather, an abundance of the fruits of the and his kingdom rules over all.
earth, and temperate seasons, let us pray to the Lord. People: At the prayers of the Mother of God, O Saviour, save us.
For those who travel by land, air or water, for the sick, the 2nd Domestikos: Bless the Lord, all you his works, in every
suffering, for those in captivity, and for their safety and place of his dominion.
salvation, let us pray to the Lord. People: At the prayers of the Mother of God, O Saviour, save us.
For our deliverance from all affliction, wrath, danger and 1st Domestikos: Glory to the Father, and to the Son, and to
constraint, let us pray to the Lord. the Holy Spirit. Both now and for ever, and to the ages of
ages. Amen.
People: At the prayers of the Mother of God, O Saviour, save us.
  Except as noted below, the service follows the Archdiocese
of Thyateira and Great Britain, The Divine Liturgy of Our
Father Among the Saints John Chrysostom (Oxford: Oxford
University Press, 1995), henceforth ‘Thyateira (1995)’.   Thyateira (1995:6) prints only the first three verses.
20
3 People: Son of God, risen from the dead, save us who sing to
Short Litany you: Alleluia!
Deacon: Again and again in peace, let us pray to the Lord. 2nd Domestikos: Glory to the Father, and to the Son, and to
People: Lord, have mercy. the Holy Spirit.
Deacon: Help us, save us, have mercy on us, and keep us, O Singers: Both now and for ever, and to the ages of ages. Amen.
God, by your grace. Only-begotten Son and Word of God, who, being immortal,
People: Lord, have mercy. accepted for our salvation to take flesh from the holy
Deacon: Commemorating our all-holy, pure, most blessed and Mother of God and Ever-Virgin Mary, and without change
glorious Lady, Mother of God and Ever-Virgin Mary, with became man; you were crucified, Christ God, by death
all the Saints, let us entrust ourselves and one another and trampling on death, being one of the Holy Trinity, glorified
our whole life to Christ our God. with the Father and the Holy Spirit: save us!
People: To you, O Lord. 5
The Priest, in a low voice, reads the Short Litany
Prayer of the Second Antiphon Deacon: Again and again in peace, let us pray to the Lord.
Lord, our God, save your people and bless your inheritance; People: Lord, have mercy.
protect the fullness of your Church, sanctify those who love Deacon: Help us, save us, have mercy on us, and keep us, O
the beauty of your house, glorify them in return by your God, by your grace.
divine power, and do not forsake us who hope in you. People: Lord, have mercy.
(aloud) For yours is the might, and yours the kingdom, the Deacon: Commemorating our all-holy, pure, most blessed and
power and the glory, of the Father, the Son and the Holy glorious Lady, Mother of God and Ever-Virgin Mary, with
Spirit, now and for ever, and to the ages of ages. all the Saints, let us entrust ourselves and one another and
People: Amen. our whole life to Christ our God.
4 People: To you, O Lord.
Second Antiphon (Ps. 145) The Priest, in a low voice, reads the
2nd Domestikos: Praise the Lord, O my soul: while I live I will Prayer of the Third Antiphon
praise the Lord; while I have any being, I will praise my God. You have given us grace to make these common and united
People: Son of God, risen from the dead, save us who sing to prayers, and have promised that when two or three agree
you: Alleluia! in your name you will grant their requests; fulfil now the
1st Domestikos: Blessed are those whose helper is the God of petitions of your servants as is expedient, granting us in this
Jacob; whose hope is in the Lord their God. present age the knowledge of your truth and in the age to
People: Son of God, risen from the dead, save us who sing to come eternal life.
you: Alleluia! (aloud) For you, O God, are good and love mankind, and to
2nd Domestikos: The God who made heaven and earth, the you we give glory, to the Father, the Son and the Holy Spirit,
sea, and all that is in them. now and for ever, and to the ages of ages.
People: Son of God, risen from the dead, save us who sing to People: Amen.
you: Alleluia! 6
1st Domestikos: The Lord will be king for ever: your God, O Third Antiphon (Ps. 117)
Sion, will reign throughout all generations. (Intonation) [a[a [Nana].
1st Domestikos: This is the day which the Lord has made; let us
  Thyateira (1995:8) prints the first, second, and fourth rejoice and be glad in it.
verses. Then the Resurrection Apolytikion of the current mode (Plagal IV).
21
You came down from above, O Compassionate, you 9
accepted burial for three days, that you might free us from (Intonation for Mode II) ]ea]ej [Neanes].
the passions. Our life and resurrection, Lord, glory to you! 1st Domestikos: Glory to the Father, and to the Son, and to
2nd Domestikos: Let the heavens and the earth sing his praise. the Holy Spirit. Both now and for ever, and to the ages of
The Resurrection Apolytikion of the current mode. ages. Amen.
Entrance with the Holy Gospel Kontakion of the Season.
When the celebrants’ entrance prayer is finished, the Deacon, Protection of Christians that cannot be put to shame,
in a low voice, says to the Priest: unfailing mediation with the Maker, do not despise the
Master, bless the holy Entrance. voices of us sinners as we pray; but, in your love, be quick
And the Priest, blessing the entrance, says, in a low voice: to help us who cry to you with faith: Hasten to intercede,
Blessed is the entrance of your holy ones, now and for ever, make speed to entreat, O Mother of God, for you ever
and to the ages of ages. Amen. protect those who honour you.
7 10
The Deacon, standing in the middle of the church in front of Deacon: Let us pray to the Lord.
the Priest and raising the sacred Gospel, says aloud: People: Lord, have mercy.
Wisdom. Stand upright. The Priest, in a low voice, reads the
Then the Deacon, followed by the Priest, enters the Sanctuary Prayer of the Trisagion
through the Holy Doors and places the Gospel on the Holy Holy God, at rest in the holy place, hymned by the Seraphim
Table. with the thrice holy song, glorified by the Cherubim and
The People sing the Entrance Chant as follows: worshipped by every heavenly Power, out of non-existence
Come, let us worship and fall down before Christ. Son of you brought the universe into being and created male and
God, risen from the dead, save us who sing to you: Alleluia! female according to your image and likeness, adorning
8 them with every gift of your grace. You give wisdom and
Then the Resurrection Apolytikion of the current mode (Plagal IV). understanding to those who ask, and you do not reject
(Intonation) [a[a [Nana]. the sinner, but for our salvation you have established
You came down from above, O Compassionate, you accepted repentance. You have counted us, your humble and
burial for three days, that you might free us from the unworthy servants, worthy to stand at this time before the
passions. Our life and resurrection, Lord, glory to you! glory of your holy altar, and to offer you due worship and
The Apolytikion for the dedication of the church praise. Accept, Master, the thrice holy hymn even from the
Blessed are you, Christ our God, who revealed the fishermen mouth of us sinners, and visit us in your goodness. Pardon
to be most wise by sending down to them the Holy Spirit, us every offence, voluntary and involuntary; sanctify our
and so through them catching the whole world in a net. souls and bodies, and grant that we may worship you in
Lover of mankind, glory to you. holiness all the days of our life; at the prayers of the holy
Mother of God and of all the Saints who have been well
pleasing to you in every age.
  This phrase was revised from Thyateira (1995:62) by (aloud) For you, our God, are holy, and to you we give glory,
Archimandrite Ephrem. to the Father, the Son and the Holy Spirit, now and for ever,
Deacon (coming near the Holy Doors and facing the People):
  The Apolytikion of Pentecost, patronal hymn of the and to the ages of ages.
Greek Orthodox Cathedral of Hagia Sophia in London, People: Amen.
England. Holy God, Holy Strong, Holy Immortal, have mercy on us.
22
Holy God, Holy Strong, Holy Immortal, have mercy on us. God said, ‘I will live in them and walk among them, and I
Holy God, Holy Strong, Holy Immortal, have mercy on us. will be their God, and they shall be my people. Therefore
Glory to the Father, and to the Son, and to the Holy Spirit. come out from among them, and be separate from them,
Both now and for ever, and to the ages of ages. Amen. says the Lord, and touch nothing unclean; then I will
Holy Immortal, have mercy on us. welcome you, and I will be your father, and you shall be my
11 sons and daughters, says the Lord Almighty.’ Since we have
1st Domestikos: (Intonation) ]e [Ne] Du1namij [Dynamis]. these promises, beloved, let us cleanse ourselves from every
People: Holy God, Holy Strong, Holy Immortal, have mercy defilement of flesh and spirit, making holiness perfect in
on us. the fear of God.
12 Priest: Peace to you.
The Readings from the New Testament Reader: And to your spirit.
Prokeimenon (Ps. 75: 12, 2, & 3) 14
At the end of the Trisagion the Deacon comes out in front of Alleluiarion (Ps. 94: 1–2)
the Holy Doors and says: While the Alleluiarion is being sung, the Deacon, taking the
Let us attend. censer with incense, approaches the Priest, and having
Priest: Peace to all. received a blessing for the incense he censes the book of the
Reader: And to your spirit. Gospel, the Holy Table all round, the whole Sanctuary, the
Deacon: Wisdom. Priest and, coming out a little from the Holy Doors, the
Reader: A psalm of David. principal icons and the People.
Deacon: Let us attend. Deacon: Wisdom. Let us attend.
Reader: The prokeimenon of the Apostle in the Plagal of the Reader: Alleluia. A psalm of David.
Fourth Mode, (Intonation) ]eagie [Neagie]. Deacon: Let us attend.
Singers: Make your vows to the Lord, our God, and pay them. Reader: (Intonation of the mode of the day, Plagal IV)
1st Domestikos: God is known in Judea, in Israel his name ]eagie [Neagie].
is great. Singers: Alleluia, alleluia, alleluia.
Singers: Make your vows to the Lord, our God, and pay them. 1st Domestikos: Come, let us sing with joy to the Lord; let us
2nd Domestikos: His place has been established in peace; and shout with joy to God our Saviour.
his habitation in Sion. Singers: Alleluia, alleluia, alleluia.
Singers: Make your vows to the Lord, our God, and pay them. 2nd Domestikos: Let us come before his face with
13 thanksgiving; and shout for joy to him with psalms.
Apostle Singers: Alleluia, alleluia, alleluia.
Deacon: Wisdom. 15
Reader: The Reading is from the Second Epistle of Paul to the Gospel
Corinthians. [6:16 – 7:1] Then the Priest at the Holy Doors, facing west, says:
Deacon: Let us attend. Wisdom. Stand upright. Let us listen to the Holy Gospel.
Reader: Brethren, you are the temple of the living God. As Peace to all.
People: And to your spirit.
  Thyateira (1995:14) presents both this dialogue as well as Deacon: The reading is from the Holy Gospel according to
the one preceding the Alleluiarion in a manner compatible Matthew [17th Sunday of Matthew — 15: 21–28]
with modern Slavic practice. Here we restore their original People: Glory to you, O Lord, glory to you.
Greek forms. Priest: Let us attend.
23
Deacon: At that time Jesus withdrew to the region of Tyre for the beauty of this holy and venerable house, for those
and Sidon. Just then a Canaanite woman from the district who labour in its service, for those who sing, and for the
came out and shouted to him, ‘Have mercy on me, Lord, people here present, who await your great and rich mercy.
Son of David! My daughter is tormented by a demon’. But Meanwhile the Priest, in a low voice, says the following
he did not say a word to her in answer. His disciples came Prayer of Supplication
up and urged him, ‘Send her away, because she keeps Lord, our God, accept this fervent supplication from your
shouting after us’. But he said, ‘I was sent only to the lost servants, and have mercy on us according to the multitude
sheep of the house of Israel’. But coming forward, she of your mercy; and send down your pity on us and on all
bowed down before him and said, ‘Lord, help me!’ But he your people, who await your rich mercy.
answered, ‘It is not good to take the children’s food and (aloud) For you, O God, are merciful, and love mankind, and
throw it to the dogs’. She said, ‘Yes, Lord, but even the dogs to you we give glory, to the Father, the Son and the Holy
eat from the crumbs that fall from their lords’ table’. Then Spirit, now and for ever, and to the ages of ages.
Jesus answered her, ‘Woman, great is your faith! Let it be as People: Amen.
you wish’. And her daughter was healed from that hour. 17
People: Glory to you, O Lord, glory to you. The Litany for the Catechumens, that is, those preparing
16 for Baptism.
Then the Deacon, standing in his usual place, says the following To each petition the People answer: Lord, have mercy.
Litany of Fervent Supplication Deacon: Catechumens, pray to the Lord.
Deacon: Let us all say, with all our soul and with all our Believers, let us pray for the catechumens;
mind, let us say That the Lord will have mercy on them;
People: Lord, have mercy. Instruct them in the word of truth;
Deacon: Lord almighty, the God of our fathers, we pray you, Reveal to them the Gospel of righteousness;
hear and have mercy. Unite them to his Holy, Catholic and Apostolic Church.
People: Lord, have mercy. Save them, have mercy on them, help them and keep them, O
Deacon: Have mercy on us, O God, according to your great God, by your grace.
mercy, we pray you, hear and have mercy. Catechumens, bow your heads to the Lord.
People: Lord, have mercy. Three times. And so after the People: To you, O Lord.
remaining petitions. Meanwhile the Priest, in a low voice, says the
Deacon: Also we pray for our Archbishop Gregorios. Prayer for the Catechumens
Also we pray for our Sovereign Lady, Queen Elizabeth, the Lord, our God, dwelling on high and beholding things
Royal Family, her Government and all in authority. below, who for the salvation of mankind sent forth your
Also we pray for mercy, life, peace, health, salvation, only-begotten Son, our Lord and God, Jesus Christ, look
visitation, pardon and forgiveness of sins for the servants of upon your servants the catechumens, who have bowed their
God, all devout and Orthodox Christians, those who dwell necks to you; and count them worthy in due time of the
in or visit this city and parish, the wardens and members of washing of rebirth, the forgiveness of sins and the garment
this church and their families. of incorruption; unite them to your holy, Catholic and
Also we pray for the blessed and ever remembered founders Apostolic Church, and number them with your chosen flock.
of this holy church, and for all our brothers and sisters who (aloud) That they also with us may glorify your all honoured
have gone to their rest before us, and who lie asleep here in and majestic name, of the Father, the Son and the Holy
the true faith; and for the Orthodox everywhere. Spirit, now and for ever, and to the ages of ages.
Also we pray for those who bring offerings, those who care People: Amen.
24
Deacon: As many as are catechumens, depart; catechumens,
depart; as many as are catechumens, depart. None of the
catechumens!
18
Litanies of the Faithful
Deacon: As many as are believers: again and again in peace,
let us pray to the Lord.
People: Lord, have mercy.
Deacon: Help us, save us, have mercy on us, and keep us, O
God, by your grace.
People: Lord, have mercy.
Deacon: Wisdom.
Priest (after the unfolding of the antimension and the First
Prayer of the Faithful): For to you belong all glory, honour
and worship, to the Father, the Son and the Holy Spirit,
now and for ever, and to the ages of ages.
People: Amen.
Deacon: Again and again in peace, let us pray to the Lord.
People: Lord, have mercy.
Deacon: Help us, save us, have mercy on us, and keep us, O
God, by your grace.
People: Lord, have mercy.
Deacon: Wisdom. And he enters the Sanctuary.
Meanwhile the Priest, in a low voice, says the
Second Prayer of the Faithful
Again and many times we fall down before you and pray you,
who are good and the lover of mankind, that heeding our
prayer you will cleanse our souls and bodies from every
defilement of flesh and spirit, and will grant us to stand
without guilt or condemnation before your holy altar. Give
also to those who pray with us the grace of progress in right
living, in faith and spiritual understanding. Grant that they
may always worship you with fear and love, may partake of
your holy mysteries without guilt or condemnation, and be
counted worthy of your heavenly kingdom.
(aloud) That being always guarded by your might, we may
give glory to you, the Father, the Son and the Holy Spirit,
now and for ever, and to the ages of ages.
People: Amen.

  The Liturgy of the Faithful begins here. 25

disc two: the liturgy People: Grant this, O Lord. And so after each of the following
petitions.
of the faithful Deacon: An angel of peace, a faithful guide, a guardian of our
1 souls and bodies, let us ask of the Lord.
Cherubic Hymn and Great Entrance Pardon and forgiveness of our sins and offences, let us ask
with the Gifts of Bread and Wine of the Lord.
The Singers begin the Cherubic Hymn to a slow and solemn Those things which are good and profitable for our souls, and
melody, in the dominant mode of the day: (Intonation for peace for the world, let us ask of the Lord.
Mode Plagal IV) ]eagie [Neagie]. That we may live out the rest of our days in peace and
We, who in a mystery represent the Cherubim and sing the repentance, let us ask of the Lord.
thrice holy hymn to the life-giving Trinity, let us now lay A Christian end to our life, painless, unashamed and
aside every care of this life. peaceful, and a good defence before the dread judgement
2 seat of Christ, let us ask.
When the Singers reach the end of the first part of the Cherubic Commemorating our all-holy, pure, most blessed and
Hymn, the Deacon and the Priest come out from the north glorious Lady, Mother of God and Ever-Virgin Mary, with
door of the Sanctuary, preceded by exapteryga, lights and all the Saints, let us entrust ourselves and one another and
incense, and pass through the north aisle and the middle of our whole life to Christ our God.
the Nave as they make the Great Entrance. As they process People: To you, O Lord.
they proclaim, one after the other: Priest: Through the compassion of your only-begotten Son,
May the Lord God | remember you all in his Kingdom | with whom you are blessed, together with your all-holy,
always, now and for ever, | and to the ages of ages. good and life-giving Spirit, now and for ever, and to the
Singers: Amen. ages of ages.
3 People: Amen.
And they complete the Cherubic Hymn. For we are about to Priest: Peace to all.
receive the King of all, invisibly escorted by the angelic People: And to your spirit.
hosts. Alleluia. Deacon: Let us love one another, that with one mind we may
4 confess:
Litany of the Precious Gifts and the Kiss of Peace People: Father, Son and Holy Spirit, Trinity consubstantial
Deacon: Let us complete our prayer to the Lord. and undivided.
People: Lord, have mercy. And so after each of the following 5
petitions. The Creed
Deacon: For the precious gifts here set forth, let us pray to Deacon: The doors, the doors. With wisdom let us attend.
the Lord. People: I believe in one God, Father almighty, | Maker of
For this holy house and those who enter it with faith, heaven and earth, | and of all things visible and invisible. |
reverence and the fear of God, let us pray to the Lord. And in one Lord, Jesus Christ, | the only-begotten Son of
For our deliverance from all affliction, wrath, danger and God, | begotten from the Father before all ages, | Light
constraint, let us pray to the Lord. from Light, true God from true God, | begotten not made,
Help us, save us, have mercy on us and keep us, O God, by consubstantial with the Father, | through him all things
your grace. were made. | For our sake and for our salvation he came
That the whole day may be perfect, holy, peaceful and sinless, down from heaven, | and was incarnate from the Holy
let us ask of the Lord. Spirit and the Virgin Mary and became man. | He was
26
 crucified also for us under Pontius Pilate, | and suffered and hidden.
was buried; | he rose again on the third day, in accordance We thank you also for this liturgy which you have been
with the Scriptures, | and ascended into heaven | and is pleased to accept from our hands, though there stand
seated at the right hand of the Father. | He is coming again around you thousands of Archangels and tens of thousands
in glory to judge the living and the dead, | and his kingdom of Angels, the Cherubim and the Seraphim, six-winged and
will have no end. | many-eyed, soaring aloft upon their wings,
And in the Holy Spirit, the Lord, the Giver of life, | who (aloud) singing, crying, shouting the triumphal hymn, and
proceeds from the Father, | who together with Father and saying:
Son is worshipped and together glorified; | who spoke People: Holy, holy, holy, Lord of hosts; heaven and earth
through the Prophets. | In one Holy, Catholic and Apostolic are full of your glory. Hosanna in the highest. Blessed is
Church. | I confess one Baptism for the forgiveness of sins. he who comes in the name of the Lord. Hosanna in the
| I await the resurrection of the dead | and the life of the age highest.
to come. Amen. Priest (in a low voice): With these blessed Powers, Master,
6 Lover of mankind, we also cry aloud and say: Holy are you
The Holy Oblation (Anaphora) and all-holy, you and your only-begotten Son and your
Deacon: Let us stand with awe; let us stand with fear; let us Holy Spirit; holy are you and all-holy, and magnificent is
attend, that we may offer the holy oblation in peace. And he your glory. This is how you loved your world: you gave
re-enters the Sanctuary. your only-begotten Son, so that everyone who believes
People: Mercy and peace: a sacrifice of praise. in him might not perish, but have eternal life. And, when
Priest, blessing the People: The grace of our Lord Jesus Christ, he had come and had fulfilled the whole dispensation for
and the love of God the Father, and the communion of the us, in the night in which he was given up, or rather gave
Holy Spirit be with you all. himself up, for the life of the world, he took bread in his
People: And with your spirit. holy, most pure and unblemished hands and, when he had
Priest, raising his hands: Let our hearts be on high. given thanks, and had blessed, sanctified and broken it,
People: We have them with the Lord. gave it to his holy Disciples and Apostles, saying:
Priest, turning to the east: Let us give thanks to the Lord. (aloud) Take, eat; this is my body, which is broken for you,
People: It is right and fitting. for the forgiveness of sins.
7 People: Amen.
Priest (in a low voice): Priest (in a low voice): Likewise after supper he also took the
It is right and fitting to hymn you, to bless you, to praise you, cup, saying:
to give you thanks, to worship you in every place of your (aloud) Drink from this, all of you; this is my blood of the
dominion; for you are God, ineffable, incomprehensible, New Testament, which is shed for you and for many for the
invisible, inconceivable, ever existing, eternally the same; forgiveness of sins.
you and your only-begotten Son and your Holy Spirit. You People: Amen.
brought us out of non-existence into being, and when we Priest (in a low voice): Remembering therefore this our
had fallen you raised us up again, and left nothing undone Saviour’s command and all that has been done for us: the
until you had brought us up to heaven and had granted us Cross, the Tomb, the Resurrection on the third day, the
your Kingdom that is to come. Ascension into heaven, the Sitting at the right hand, the
For all these things we give thanks to you, and to your Second and glorious Coming again;
only-begotten Son and your Holy Spirit; for all the benefits
that we have received, known and unknown, manifest and
27
The Deacon crosses his hands and elevates the Chalice and People: It is truly right to call you blessed, who gave birth to
Paten as the Priest says aloud: God, ever-blessed and most pure, and Mother of our God.
Offering you your own of your own—in all things and for Greater in honour than the Cherubim and beyond compare
all things— more glorious than the Seraphim, without corruption you
People: we praise you, we bless you, we give thanks to you, O gave birth to God the Word; truly the Mother of God, we
Lord, and we pray to you, our God. magnify you.
Priest, bowing his head with great compunction, says in a The Priest continues in a low voice: For the holy Prophet,
low voice: Forerunner and Baptist John, the holy, glorious and all-
Also we offer you this spiritual worship without shedding of praised Apostles, for the Saints whose memory we keep
blood, and we ask, pray and implore you: send down your today, and for all your Saints, at whose prayers visit us,
Holy Spirit upon us and upon these gifts here set forth, O God.
Then the Deacon, pointing to the holy Bread with his orarion, Remember too all those who have fallen asleep in hope of
says in a low voice: resurrection to eternal life, and give them rest where the
Master, bless the holy Bread. light of your countenance watches.
The Priest stands upright and blesses the holy Bread, saying in Also we beseech you: Remember, Lord, all Orthodox bishops,
a low voice: who rightly proclaim the word of your truth, the whole
and make this bread the precious Body of your Christ, order of presbyters, the diaconate in Christ, all the clergy
Deacon, in a low voice: Amen. and the whole monastic order.
Then the Deacon, pointing to the Chalice with his orarion, says Also we offer you this spiritual worship for the whole world,
in a low voice: for the holy, Catholic and Apostolic Church, for those
Master, bless the holy Cup. who live in chastity and holiness of life; for our faithful
The Priest blesses the Chalice, saying in a low voice: Christian rulers, and all their household. Grant them, Lord,
and what is in this Cup the precious Blood of your Christ, a peaceful reign, so that in their tranquillity we too may live
Deacon, in a low voice: Amen. calm and peaceful lives in godliness and holiness.
Then the Deacon, pointing to them both, says in a low voice: (aloud) First of all, remember, Lord, our Archbishop,
Master, bless them both. Gregorios, and grant that he may serve your holy churches
Priest, blessing both the Chalice and Paten, says in a low voice: in peace, safety, honour, health, and length of days, rightly
changing them by your Holy Spirit, proclaiming the word of your truth.
Deacon, in a low voice: Amen, Amen, Amen. Deacon: Remember too, Lord, those whom each one has in
They both bow profoundly and the Priest continues in a low mind, and each and all.
voice: so that those who partake of them may obtain People: And each and all.
vigilance of soul, forgiveness of sins, communion of the The Priest continues in a low voice: Remember, Lord, the city
Holy Spirit, fulness of the Kingdom of heaven, freedom to in which we dwell, and every city, town and village, and the
speak in your presence, not judgement or condemnation. faithful who dwell in them. Remember, Lord, those who
Also we offer you this spiritual worship for those who have travel by land, air, or water, the sick, the suffering, those in
gone to their rest in faith, Forefathers, Fathers, Patriarchs, captivity, and their safety and salvation. Remember, Lord,
Prophets, Apostles, Preachers, Evangelists, Martyrs, those who bring offerings, those who care for the beauty
Confessors, Ascetics and every righteous spirit made of your holy churches, and those who remember the poor,
perfect in faith;
8
Priest: Above all for our most holy, pure, most blessed and   Thyateira (1995:35) reads ‘…the diaconate in Christ and
glorious Lady, the Mother of God and Ever-Virgin, Mary.
28 every order of clergy.’
 and send down upon us all your rich mercies. seat of Christ, let us ask.
(aloud) And grant that with one voice and one heart we may Having asked for the unity of the faith and the communion
glorify and praise your all-honoured and majestic name, of of the Holy Spirit, let us entrust ourselves and one another
the Father, the Son and the Holy Spirit, now and for ever, and our whole life to Christ, our God.
and to the ages of ages. People: To you, O Lord.
People: Amen. The Priest, in a low voice:
Priest: And the mercies of our great God and Saviour, Jesus To you, Master, Lover of mankind, we entrust our whole
Christ, shall be with all of you. life and our hope, and we entreat, pray and implore you:
People: And with your spirit. count us worthy to partake of your heavenly and awesome
9 Mysteries at this sacred and spiritual Table with a pure
The Preparation for Holy Communion conscience, for the forgiveness of sins and pardon of
Litany of the Lord’s Prayer offences, for communion of the Holy Spirit, for inheritance
The Deacon comes out and stands in his usual place. of the Kingdom of heaven and for boldness before you; not
Deacon: Having commemorated all the saints, again and for judgement or condemnation.
again in peace let us pray to the Lord. 10
People: Lord, have mercy. And so after each of the following (aloud) And count us worthy, Master, with boldness and
petitions. without condemnation to dare to call upon you, the God of
Deacon: For the precious gifts here set forth and sanctified, heaven, as Father, and to say:
let us pray to the Lord. The Lord’s Prayer
That our God, who loves mankind, having accepted them People: Our Father in heaven, | may your name be hallowed,
on his holy and immaterial Altar above the heavens, as a | your kingdom come, | your will be done | on earth as in
savour of spiritual fragrance, may send down upon us in heaven. | Give us today our daily bread, | and forgive us our
return his divine grace and the gift of the Holy Spirit, let debts, as we forgive our debtors; | and do not lead us into
us pray. temptation, | but deliver us from the evil one.
For our deliverance from all affliction, wrath, danger and Priest (aloud): For yours is the Kingdom, the power and the
constraint, let us pray to the Lord. glory, of the Father, the Son and the Holy Spirit, now and
Help us, save us, have mercy on us and keep us, O God, by for ever, and to the ages of ages.
your grace. People: Amen.
That the whole day may be perfect, holy, peaceful and sinless, Priest: Peace to all.
let us ask of the Lord. People: And to your spirit.
People: Grant this, O Lord. And so after each of the following Deacon: Let us bow our heads to the Lord.
petitions. People: To you, O Lord.
Deacon: An angel of peace, a faithful guide, a guardian of our Priest: Through the grace and compassion and love towards
souls and bodies, let us ask of the Lord. mankind of your only-begotten Son, with whom you are
Pardon and forgiveness of our sins and offences, let us ask blessed, together with your all-holy, good and life-giving
of the Lord. Spirit, now and for ever, and to the ages of ages.
Things good and profitable for our souls, and peace for the People: Amen.
world, let us ask of the Lord.
That we may live out the rest of our days in peace and  The prayer preceding this ecphonesis does not mention
repentance, let us ask of the Lord. Holy Communion, being a generic text for dismissing the
A Christian end to our life, painless, unashamed and
congregation at the conclusion of a service. We have chosen
peaceful, and a good defence before the dread judgement
29 to pass over this liturgical anomaly in silence.
Priest (in a low voice): Give heed, Lord Jesus Christ our A hymn for all his holy ones, for the children of Israel, a
God, from your holy dwelling place and from the glorious people that draws near him.
throne of your kingdom; and come to sanctify us, you 12
who are enthroned on high with the Father and invisibly Distribution of Holy Communion
present here with us. And with your mighty hand grant The Holy Doors are opened and the Priest hands the Chalice to
communion in your most pure Body and precious Blood to the Deacon, who comes out through the Holy Doors, holding
us, and through us to all the people. the Chalice, and says:
Deacon: Let us attend. With fear of God, with faith and love, draw near.
Priest: The Holy Things for the Holy. People: Blessed is he who comes in the name of the Lord. The
People: One is holy, one is Lord: Jesus Christ, to the glory of Lord is God and has appeared to us.
God the Father. Amen. 13
11 (Intonation) A]ea([a)]ej [Anea(na)nes].
Communion of the Clergy and People Praise the Lord from the heavens. Alleluia.
The Singers continue with the Communion Chant (Ps. 148). 14
(Intonation) ]eagie [Neagie]. Priest: O God, save your people, and bless your inheritance.
Praise the Lord from the heavens, praise him in the highest. People: We have seen the true light; we have received the
Alleluia. heavenly Spirit; we have found the true faith, as we worship
Choral /Solo Verses: the undivided Trinity; for the Trinity has saved us.
Praise the Lord from the heavens, praise him in the highest. 15
Refrain: Alleluia. The Priest bows, takes the Chalice and says in a low voice:
Praise him, all his angels, praise him, all his Powers. Blessed is our God, and then turns to the People, shows
Praise him, sun and moon: praise him, all you stars and light. them the Chalice and continues, aloud:
Praise him, you highest heavens, and you waters that are Always, now and for ever, and to the ages of ages.
above the heavens. People: Amen. Let our mouth be filled with your praise, O
Let them praise the name of the Lord, for he spoke and they Lord, that we may sing of your glory, for you have counted
came into being; he commanded and they were created. us worthy to partake of your holy, divine, immortal and
He established them for ever and ever, he made an ordinance, life-giving Mysteries; keep us in your holiness, that we may
and it shall not pass away. meditate on your righteousness all the day long. Alleluia,
Praise the Lord from the earth, praise him, you sea monsters alleluia, alleluia.
and all deeps; 16
Fire and hail, snow and ice, and storm-wind, things that do Thanksgiving and (Constantinopolitan) Dismissal
his word. The Deacon comes out through the Holy Doors, goes to his
Mountains and all hills, fruiting trees and all cedars; usual place and says:
Beasts of the wild, and all cattle, creeping things and winged birds; Stand upright. Having received the divine, holy, pure,
Kings of the earth and all peoples, rulers and all judges of immortal, heavenly, life-giving and dread Mysteries of
the earth; Christ, let us give worthy thanks to the Lord.
Young men and maidens, old men and youths together, let People: Glory to you, Lord. Glory to you.10
them praise the name of the Lord, for his name alone has Deacon: Help us, save us, have mercy on us, and keep us, O
been exalted. God, by your grace.
His praise is above earth and heaven, and he will exalt the
horn of his people. 10 Athonite use. Thyateira (1995:48) reads ‘Lord, have mercy’.
30
People: Lord, have mercy. 18
Deacon: Having asked that the whole day may be perfect, Final (Monastic) Dismissal
holy, peaceful and sinless, let us entrust ourselves and one People: Blessed be the name of Lord, from this time forth and
another and our whole life to Christ our God. for evermore (three times).
People: To you, O Lord. 19
The Priest, in a low voice, says the Deacon: Let us pray to the Lord.
Prayer of Thanksgiving People: Lord, have mercy.
We thank you, Lord, lover of mankind, benefactor of our The Priest, coming out through the Holy Doors and blessing
souls, that you have counted us worthy today of your the People, says:
heavenly and immortal Mysteries. Make straight our way, The blessing of the Lord be upon you, by his grace and love
establish us all in the fear of you, watch over our life, and for mankind, always, now and for ever, and to the ages
make firm our steps, through the prayers and intercessions of ages.
of the glorious Mother of God and Ever-Virgin Mary, and People: Amen.
of all your Saints. Priest: Glory to you, Christ God, our hope, glory to you.
(aloud) For you are our sanctification, and to you we give Reader: Glory to the Father, and to the Son, and to the Holy
glory, to the Father, the Son and the Holy Spirit, now and Spirit; both now and for ever, and to the ages of ages.
for ever, and to the ages of ages. Amen. Lord, have mercy. Lord, have mercy. Lord, have
People: Amen. mercy. Holy Master, give the blessing.
Dismissal Priest: May he who rose from the dead, Christ our true God,
Priest: Let us go forth in peace. through the prayers of his all pure and holy Mother, by the
People: In the name of the Lord. power of the precious and life-giving Cross, through the
17 protection of the honoured, Bodiless Powers of heaven,
Deacon: Let us pray to the Lord. through the intercessions of the honoured, glorious
People: Lord, have mercy. Prophet, Forerunner and Baptist, John, of the holy,
The Priest comes out through the Holy Doors and standing in glorious and all-praised Apostles, of the holy, glorious and
front of the icon of Christ, or below the Solea in the middle of triumphant Martyrs, of our venerable and God bearing
the Church, reads: Fathers and Mothers who have shone forth in the ascetic
Prayer Behind the Ambo life, of our Father among the Saints John Chrysostom,
O Lord, you bless those who bless you, and sanctify those Archbishop of Constantinople, of the holy and righteous
who have put their trust in you: save your people and bless forebears of God, Joachim and Anna, and of all the Saints,
your inheritance; protect the fullness of your Church; have mercy on us and save us, for he is good and loves
sanctify those who love the beauty of your house; glorify mankind.
them in return by your divine power, and do not forsake Priest: Through the prayers of our holy fathers, Lord Jesus
us who hope in you. Give peace to your world, to your Christ, our God, have mercy upon us.
churches, to the priests, to our rulers, and to all your People: Amen.
people. For every good gift and every perfect gift is from
above, coming down from you, the Father of lights; The End of the Divine Liturgy of John Chrysostom
(aloud) and to you we give glory, thanksgiving and worship,
to the Father, the Son and the Holy Spirit, now and for ever,
and to the ages of ages.
People: Amen.
31
 a number of the ensemble’s performing editions
from original sources. In the field of contemporary
music, Cappella Romana has taken a leading role
in bringing to West Coast audiences the works of
such European composers as Michael Adamis, Ivan
Moody, Arvo Pärt, and John Tavener, as well as
promoting the work of North Americans such as Fr.
Sergei Glagolev, Christos Hatzis, Peter Michaelides,
and Tikey Zes.
The ensemble presents annual concert series in
Portland, Oregon and Seattle, Washington. Critics
Its performances ‘like jeweled light flooding the
have consistently praised these for their unusual
space’ (Los Angeles Times), Cappella Romana is a
and innovative programming, including numerous
vocal chamber ensemble dedicated to combining
world and American premieres. The group has
passion with scholarship in its exploration of the
also frequently collaborated with such artists as
musical traditions of the Christian East and West,
conductor Paul Hillier, chant-specialist Ioannis
with emphasis on early and contemporary music.
Arvanitis, and composer Ivan Moody.
Founded in 1991, Cappella Romana’s name refers
to the medieval Greek concept of the Roman Cappella Romana tours regularly and made
oikoumene (inhabited world), which embraced its European début at the 2004 Byzantine
Rome and Western Europe as well as the Byzantine Festival in London with concerts at the Queen
Empire of Constantinople (‘New Rome’) and its Elizabeth Hall, St Paul’s Cathedral, and the Greek
Slavic commonwealth. Each program in some way Orthodox Cathedral of St Sophia. The same year
reflects the musical, cultural and spiritual heritage of the Metropolitan Museum of Art in New York
this ecumenical vision. presented the ensemble and released its CD Music
of Byzantium for the exhibit Byzantium: Faith and
Flexible in size according to the demands of
Power 1261–1557. The J. Paul Getty Center has
the repertory, Cappella Romana is one of the
presented Cappella Romana twice, commissioning
Pacific Northwest’s few professional chamber
a newly researched programme of Sinaïte chants for
vocal ensembles. It has a special commitment to
the exhibit Holy Image, Hallowed Ground: Icons from
mastering the Byzantine and Slavic repertories
Sinai. Other appearances include concerts for such
in their original languages, thereby making
academic institutions as Princeton, Yale, and the
accessible to the general public two great musical
Pontificio Istituto Orientale (Rome), in addition to
traditions that are little known in the West. Leading
music festivals in Canada, Ireland, Italy, the United
scholars have supplied the group with their latest
Kingdom, and the USA.
discoveries, while its music director has prepared
32
Cappella Romana has previously released nine in the region around Newcastle-upon-Tyne. From
other compact discs: Tikey Zes Choral Works and 1984–­1987 he lived as a rasophore in the Monastery
When Augustus Reigned (Gagliano Records); of Docheiariou, Athos.
The Akáthistos Hymn by Ivan Moody, Epiphany:
Fr Ephrem holds degrees in humanities, theology,
Medieval Byzantine Chant, and Gothic Pipes: The
and languages from St John’s College, Oxford; the
Earliest Organ Music (Gothic); Music of Byzantium
Seminary of St-Sulpice, Paris; S.T.B. Paris; and the
(in cooperation with the Metropolitan Museum
École Pratique des Hautes Études of the Sorbonne.
of Art, selling over 12,000 copies); Lay Aside All
He has held academic positions at the Institut
Earthly Cares: Music by Fr. Sergei Glagolev, The Fall
Catholique, Paris (Biblical Greek, Hebrew, and New
of Constantinople, and Byzantium in Rome: Medieval
Testament); Oxford University (Oriental Studies);
Byzantine Chant from Grottaferrata (CR Records).
University of Newcastle-upon-Tyne (Biblical and
Forthcoming recordings include The Divine Liturgy Patristic Studies); and at Manchester Univer-
of St John Chrysostom set by Peter Michaelides, the sity (honorary research fellow in Middle Eastern
Kontakion of the Nativity and Carols by Richard Studies). His publications include a number of the
Toensing, Mt Sinai: Frontier of Byzantium (Medieval Homiliae Cathedrales of Severos of Antioch in the
Byzantine Chant from the Monastery of St Patrologia Orientalis; On the Life of Christ: Kontakia
Catherine, Sinai), and a disc of 15th-century Greek by Saint Romanos the Melodist (HarperCollins
and Latin music from the island of Cyprus. International Sacred Literature Trust); and An Or-
thodox Prayer Book (Oxford University Press). He
ARCHMANDRITE EPHREM (LASH)
presently serves the parish of the Greek Orthodox
The Very Reverend Father Ephrem (Lash), Ar- Church of St Anthony the Great and St John the
chimandrite of the Ecumenical Throne, has been Baptist in Islington, London.
appointed as translator of the Bible by His All-Holi-
ARCHIMANDRITE MELETIOS (WEBBER)
ness the Ecumenical Patriarch Bartholomew I and
was the principal translator, appointed by His Emi- The Very Reverend Archimandrite Meletios
nence Archbishop Gregorios of Thyateira and Great (Webber), the priest on this recording, was born in
Britain, of the English edition of the Divine Liturgy London of Scottish background. He was educated
of St John Chrysostom, issued with the blessing of at Dulwich College, St Peter’s College (Oxford Uni-
the Patriarch. He was ordained presbyter in 1978 by versity), and the School of Theology in Thessalonica,
Archbishop Athenagoras (Kokkinakis), serving first Greece. He also holds a doctorate in Psychotherapy
from the University of Montana, Missoula. Received
  Archbishop Athenagoras (Kokkinakis) (1912-1979) in to the Orthodox Church by Metropolitan Kallis-
served as primate of Great Britain, as an auxiliary bishop tos (Ware) in 1971, he was ordained priest in 1976.
in Canada and in the United States as well as dean of Holy Fr Meletios was tonsured a monk at the Community
Cross Greek Orthodox School of Theology in Boston, of St John on the island of Patmos in 1978. He
Massachussets.
33
has served as parish priest in England, Greece, the Currently, he serves as theological advisor to the
United States (where he was also Chancellor of the Ecumenical Patriarch on environmental issues.
Greek Orthodox Metropolis of San Francisco), and
The author of several books and numerous articles
the Netherlands.
in several languages on the Church Fathers and
Actively involved in counseling, psychotherapy and Orthodox Spirituality, Fr. John’s most recent
teaching, he is keenly interested in the possibilities publications include Soul Mending: The Art of
of personal transformation through spiritual Spiritual Direction (Holy Cross Press, 2000), Letters
means, and the exercise of traditional wisdom in from the Desert: A Selection from Barsanuphius
straightforward and practical ways. Fr Meletios and John (St. Vladimir’s Press, 2003), Cosmic
has written two books for Conciliar Press Steps Grace, Humble Prayer: The Ecological Vision of the
of Transformation: An Orthodox Priest Explores Green Patriarch (Eerdmans, 2003), Light Through
the Twelve Steps of Alcoholics Anonymous (2003), Darkness: the Orthodox tradition (Orbis Books,
and Bread and Water, Wine and Oil; an Orthodox 2004), John Climacus: From the Egyptian Desert
Christian Experience of God (2007). to the Sinaite Mountain (Ashgate, 2004), The
Ecumenical Patriarchate: A Brief Guide (Ecumenical
DEACON JOHN CHRYSSAVGIS
Patriarchate, 2005), and Beyond the Shattered Image:
The Reverend Dr John Chryssavgis, deacon on Insights into an Orthodox Christian Ecological
this recording, was born in Australia, where he Worldview (Light and Life, 2nd ed. 2007), In the
matriculated from The Scots College (1975). He Heart of the Desert: The Spirituality of the Desert
received his degree in Theology from the University Fathers and Mothers (World Wisdom Books, 2nd ed.
of Athens (1980), a diploma in Byzantine Music 2008). He lives with his family in Bath, Maine.
from the Greek Conservatory of Music (1979),
ALEXANDER LINGAS
and completed his doctoral studies in Patristics
at the University of Oxford (1983). After several Alexander Lingas, Cappella Romana’s founder and
months in silent retreat on Mt Athos, he served as artistic director, is currently a Lecturer in Music at
Personal Assistant to the Greek Orthodox Primate City University in London and a Fellow of the Uni-
in Australia (1984-94) and was co-founder of St versity of Oxford’s European Humanities Research
Andrew’s Theological College in Sydney (1985), Centre. He was formerly Assistant Professor of
where he was Sub-Dean and taught Patristics and Music History at Arizona State University’s School
Church History (1986-95). He was also Lecturer of Music. Dr Lingas has also served as a lecturer and
in the Divinity School (1986-90) and the School advisor for the Institute of Orthodox Christian Stud-
of Studies in Religion (1990-95) at the University ies at the University of Cambridge.
of Sydney. In 1995, he moved to Boston, where he
He has received a number of academic awards,
was appointed Professor of Theology at Holy Cross
including Fulbright and Onassis grants for musical
School of Theology and directed the Religious
studies with Lycourgos Angelopoulos, a postdoctoral
Studies Program at Hellenic College until 2002.
34
fellowship from the Canadian government for sociate conductor and assistant director of Bay Area
theological study under Metropolitan Kallistos Classical Harmonies. He began learning Byzantine
(Ware) of Diokleia, and a British Academy Chant at age 14 under Alexander Lingas at Holy
Postdoctoral Research Fellowship held at St Peter’s Trinity Greek Orthodox Church in Portland, Oregon,
College, Oxford. During the academic year 2003– deepening his knowledge in Greece under Lycourgos
2004, Dr Lingas lived in Princeton, New Jersey with Angelopoulos in 1996 and 1999. He has since re-
a membership in the School of Historical Studies of turned to Athens to study advanced Byzantine theory
the Institute for Advanced Study and as a recipient and orthography with Ioannis Arvanitis, and sung
of an NEH Area Studies Fellowship from the with Angelopoulos at the church of Saint Irene.
American Council of Learned Societies. In January
Mr Boyer contributes to workshops and seminars
2004, he gave the annual Alexander Schmemann
on Orthodox liturgical music across the United
Memorial Lecture at St Vladimir’s Orthodox
States, while his forthcoming publications include
Theological Seminary in New York. His publications
‘The Transcription, Adaptation and Composition
include articles for the New Grove Dictionary of
of Traditional Byzantine Chant in the English
Music and Musicians and The Oxford Handbook
Language: An American’s Brief Look at the United
of Byzantine Studies. He is currently working on
States’ in the proceedings of the First International
a study of Sunday Matins in the Rite of Hagia
Conference on Byzantine Musical Culture organised
Sophia for Ashgate and a historical introduction to
by the American Society of Byzantine Music and
Byzantine Chant for Yale University Press.
Hymnology. Under his direction, the female vocal
JOHN MICHAEL BOYER group Eikona recorded a CD featuring a number
of his English-language adaptations of Byzantine
John Michael Boyer was the leading adapter, notat-
chant. He recently coached Chanticleer and the
er, and compiler of the chants sung on the present
Minnesota Symphony for world première perform-
recording. Appointed Protopsaltes (First Cantor) of
ances and recordings of works by John Tavener,
the Greek Orthodox Metropolis of San Francisco by
including the Grammy-Award-winning CD Lamen-
His Eminence Metropolitan Gerasimos in 2006, he
tations and Praises.
has recently become cantor and resident instructor
of Byzantine chant at Annunciation Greek Ortho- IOANNIS ARVANITIS
dox Church in Sacramento, California. Mr Boyer
Ioannis Arvanitis received his BSc in Physics
develops educational and performance programs
from the University of Athens and a Teacher’s
in the liturgical arts for the Metropolis of San Fran-
Diploma of Byzantine Music from the Skalkottas
cisco as director of its Koukouzelis Institute (www.
Conservatory under the supervision of Lycourgos
koukouzelis.org).
Angelopoulos. He also studied Byzantine music at
A graduate in music of the University of California, the Conservatory of Halkis, as well as Byzantine
Berkeley, Mr Boyer is artistic director of the Bay and folk music under Simon Karas at Society for
Area-based ensemble The Josquin Singers and as- the Dissemination of National Music. Mr Arvanitis
35
has been an instructor of Byzantine music at the University and a master’s degree in musicology
Ionian University of Corfu and offered lectures for from the University of Washington. In addition to
the Irish World Music Centre at the University of his work with Cappella Romana, he has performed
Limerick. An accomplished performer on various in a number of professional ensembles in the US
Greek folk instruments (tambura, oud and laouto), and in Europe, including The Tudor Choir, Seattle;
Mr Arvanitis has taught at the Experimental Music the Chœur de Chambre de Namur, Belgium; and
Gymnasium and Lyceum of Pallini, the School of Wakefield Cathedral Choir, England. He was
the Society for the Dissemination of National Music received into the Orthodox Church in 1995, and
and the Philippos Nakas Conservatory. served thereafter as choir director and subcantor
at Greek Orthodox Church of the Assumption in
Now a researcher in Music at the University of
Seattle, where he wrote or adapted a number of
Athens, he is completing a doctoral thesis for the
chant and choral settings in Greek and English.
University of Copenhagen on rhythm in medieval
He later served as cantor at Holy Apostles Greek
Byzantine music. He has sung with Marcel Pérès
Orthodox Church in Shoreline, Washington. He
and his Ensemble Organum and is a member of
lives with his wife, Brigid Kathleen (a music teacher
the International Musicological Society’s Cantus
at the Orthodox parochial school, Agia Sophia
Planus Study Group, publishing on topics from the
Academy) and their two daughters in Portland,
tenth to the twentieth centuries AD. Since 2001,
Oregon, where they are members of St John the
Mr Arvanitis has been a frequent collaborator with
Baptist Greek Orthodox Church. Mr Powell
Cappella Romana, recording two other CDs with
was tonsured a reader by His Eminence the late
the ensemble (Epiphany and Byzantium in Rome)
Metropolitan Anthony of San Francisco.
and frequently providing it with editions of medi-
eval Byzantine chant. Other groups that have per-
formed his transcriptions include his own ensemble
Cappella Romana
Hagiopolites, as well as the Greek Byzantine Choir
(Lycourgos Angelopoulos, dir.) and the Romeiko Priest: The Very Revd Archimandrite Meletios
Ensemble (Yiorgos Bilalis, dir.). The composer also (Webber)
of new Byzantine chants, Mr Arvanitis designed a
font with Byzantine musical characters for his 1997 Deacon: The Revd Dr John Chryssavgis
publication The Akathist Hymn. Artistic Director and Conductor: Alexander Lingas
MARK POWELL Artistic Advisor: Ioannis Arvanitis
Mark Powell has served Cappella Romana in 1st Domestikos: John Michael Boyer
multiple capacities, as a singer since 1995, as
president of its board of directors from 1999-2002, 2nd Domestikos: Mark Powell
and since 2002 as its executive director. He holds Guest Conductor and Monophonarios:
a bachelor’s degree in music from Seattle Pacific Ioannis Arvanitis
36
Singers: Ioannis Arvanitis, John Michael Boyer, Athanasios, The Very Revd Archimandrite Ephrem (Lash),
John S Boyer, Andrew Gorny, Leslie Green, David The Very Revd Archimandrite John (Maitland Moir), The
Krueger, Kendrick Perala (†2006), Mark Powell, Very Revd Protopresbyter Dr George Dragas, The Very
Revd Protopresbyter Dr Columba Flegg, Revd Professor
Adam Steele, David Stutz
Andrew Louth DD, Mr Gregory Atkin (secretary). For the
Solo credits: Ioannis Arvanitis (cd 2: 13), John Diocese of Sourozh His Grace Bishop Basil of Sergievo, The
Michael Boyer (cd 1: 2, 4, 6, 12, 13, 14; cd 2: 11), Revd Father Alexander Fostiropoulos. Texts not included in
the 1995 edition © Archimandrite Ephrem (Lash), used by
Alexander Lingas (cd 1: 12, 14), Mark Powell (cd 1:
permission.
2, 4, 6; cd 2: 11)
Editions: © Cappella Romana. Prepared by John Michael
Boyer, in consultation with the editorial committee.
PRODUCTION CREDITS Editorial Committee for the Production of Musical
Executive Producer: Mark Powell Scores: Ioannis Arvanitis, Mark Bailey, John Michael
Boyer, Archimandrite Ephrem (Lash), Alexander Lingas
Producer and Digital Editor: Steve Barnett, Barnett Music (chairman), Vladimir Morosan, Mark Powell, and Jessica
Productions (Minneapolis, MN) Suchy-Pilalis
Recording Engineer: Bill Levey, Via Audio (Seattle, Photography: Communion of the Apostles (wall painting,
Washington) 12th c), Church of the Virgin at Asínou (Παναγία
Φορβιώτισσα) founded 1105, Asínou, Troodhos, Cyprus.
Editing preparation: John Michael Boyer, Alexander Lingas
© Dumbarton Oaks, Image Collections and Fieldwork
Mastering Producer: Steve Barnett Archives, Washington, DC. Used by permission. Interior of
the Greek Orthodox Cathedral of Hagia Sophia, Bayswater,
Mastering Engineer: Preston Smith (Perfect Record, Saint London. Photo credits: Steve Eck, used by permission.
Paul, MN)
Booklet content and design g2008 by Cappella Romana. All
Mastering supervision: John Michael Boyer rights reserved. Original recordings Pg2008 by Cappella
Graphic design: Mark Powell Romana, Inc. All rights reserved. Recorded at Holy Rosary
Church, West Seattle, 6–11 August 2005 and 20–24 August
Booklet editors: Mark Powell, Alexander Lingas 2007.
Booklet text proofreader: Maria Boyer

Translation: The text of the Divine Liturgy in the official

translation of the Archdiocese of Thyateira and Great Britain
is printed by kind permission of His Eminence Archbishop
Gregorios. © 1995 The Greek Orthodox Archdiocese of
Thyateira and Great Britain. Used by permission. Translation
committee: His Eminence Archbishop Gregorios of Thyateira
and Great Britain (chairman), His Eminence Metropolitan
Kallistos of Diokleia, His Grace Bishop Aristarachos of
Zenoupolis, The Very Revd Chancellor Archimandrite
37
ACKNOWLEDGEMENTS CONTACT AND BOOKING INFORMATION

His Eminence Archbishop Gregorios of Thyateira Mark Powell, Executive Director

and Great Britain Cappella Romana
His Eminence Metropolitan Gerasimos of the Greek 3131 ne Glisan St
Orthodox Metropolis of San Francisco (Honorary Chairman Portland, or 97232 usa
of Cappella Romana’s Board of Directors) tel +1.503.236.8202
www.cappellaromana.org
His Eminence the late Metropolitan Anthony of the Greek
Orthodox Metropolis of San Francisco (Αἰωνία ἡ μνήμη) Cappella Romana is a 501(c)(3) non-profit organisation.
View public documents at guidestar.org
The Revd Presbyter Vassilios Papavassiliou, The Revd Deacon
Meliton Oakes (The Archdiocese of Thyateira and Great
Britain)

Fr Stephen Platt, The Fellowship of St Alban and St Sergius

Holy Trinity Greek Orthodox Church, Portland, Oregon.

Revd Paul Schroeder, pastor; Revd James Retelas, pastor Cappella Romana wishes to thank the following
emeritus institutions, whose generous support has made this
Hieromonk Ephrem of St Anthony’s Monastery, Arizona recording possible:

The Virginia H. Farah Foundation

The AG Leventis Foundation
Lycourgos Angelopoulos
The Fellowship of St Alban and St Sergius
Dimitri Conomos The National Forum of Greek Orthodox Church Musicians

David Edmonds

David Melling (Αἰωνία ἡ μνήμη)

The Virginia H. Farah
Vicki Pappas, the National Forum of Greek Orthodox
Church Musicians (Greek Orthodox Archdiocese of Foundation
America)

Valerie Yova Sheets, Executive Director, PSALM

With very special appreciation to Melissa Tuthill, Special

Events, Holy Rosary Church, West Seattle, for her invaluable
and extraordinary assistance with the recording sessions for
this project

38
 Cappella Romana on CD
Tikey Zes Choral Works Music of Byzantium
A collection of sacred With over 12,000 copies
and secular compositions sold, this disc was released
in Greek and English by for the Metropolitan
Greek-American composer, Museum of Art’s 2004
Tikey Zes. Includes his exhibit ‘Byzantium: Faith
elegant choral setting of and Power’. Features
‘Soma Christou’. Byzantine music from 1261
to 1557.
When Augustus Reigned: Byzantium in Rome:
Christmas Music from the Medieval Byzantine Chant
Byzantine Tradition Led by Ioannis Arvanitis,
Features a cappella this 2-CD set bears witness
choral works by Adamis, to Constantinopolitan
Michaelides, Desby, Zes, music from before the Latin
and Vergin, and medieval conquest of 1204, as recorded
Byzantine chant. at Abbey of Grottaferrata
near Rome (founded 1004).
Lay Aside All Earthly The Fall of Constantinople
Cares: Orthodox Choral Cappella Romana’s most
Works in English in-demand program,
Russian-styled music in of Byzantine chant and
English by the visionary polyphony c.1453 and motets
priest, composer, and by Guillaume Dufay, explores
teacher Fr Sergei Glagolev the musical legacy of New
(b. 1927). Conducted by Rome—caught between Latin
Vladimir Morosan. West and Islamic East.
The Akáthistos Hymn
British composer (and
Orthodox priest) Ivan
Moody blends Byzantine
These and other recordings
chant with richly textured are available at
Russian style choruses in
this 2-CD set of the hymn
www.cappellaromana.org
in English with its refrains
in Greek. 39
THE AKÁTHISTOS HYMN
40