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Cappella Romana presents the West Coast début of

the GREEK BYZANTINE CHOIR eëëhnikh bõzantinh xoñùäia

lycourgos angelopoulos, director


THE GREEK BYZANTINE CHOIR Lycourgos ANGELOPOULOS, director Rev. Father Thomas CHRYSSIKOS, priest Antonios AETOPOULOS Ilias FRANGAKIS Vasileios GEORGARAS Artemios GIANNAKOS Nikolaos KALYVINOS Georgios KONSTANTINOU Christos KONSTANTIS Panayiotis KOUTRAS Konstantinos LANARAS Anastasios MENTAKIS Ioannis PANOUSAKIS Charalampos RIMPAS Damianos SEREFOGLOU Ioannis TSIOTSIOPOULOS Anastasios VASILOPOULOS Vasileios ZACHARIS Dimitrios ZAITIDIS TOUR SPONSORS Cappella Romana expresses its deepest thanks to the following generous sponsors who have made these concerts possible: Portland American Hellenic Educational Progressive Association (AHEPA) Association of Greek Restaurant Owners (AGRO) Maria Boyer Christos Efthimiadis Holy Trinity Greek Orthodox Church Choir Isidoros Garifalakis Katchis LLC Edward Maletis The New Copper Penny, Saki and John Tzantarmas The Father Elias Stephanopoulos Memorial Fund Seattle The John P. Angel Foundation Greek Orthodox Church of the Assumption Diane Leonidas Artemios and Rebecca Panos Steve Panos The Nick and Nancy Vidalakis Family Foundation

Refreshments provided at the intermission by the Choirs of Holy Trinity Greek Orthodox Church and St. Demetrios Greek Orthodox Church


The Greek Byzantine Choir

Monday, 28 November 2005, 7:30pm Holy Trinity Greek Orthodox Church, Portland, Oregon Tuesday, 29 November 2005, 7:30pm St. Demetrios Greek Orthodox Church, Seattle, Washington Preconcert lectures by Dr. Alexander Lingas, 6:45pm

PROGRAM Kontakion of the Akáthistos Hymn (Entrance) --Anonymous (7th c.)

Communion Verse for the Transfiguration (6 August) --St. Ioannis (John) Koukouzelis (c.1280­c.1360) Psalm Verses for the Transfiguration --Transcribed by the priest G. Rigas (d. 1960) from the oral tradition of the Mount Athos fathers Festal Psalm for Vespers The Short Polyeleos (Psalm 136) Krátima in the First Mode INTERMISSION (Refreshments are in the hall) Three Heirmoi from the Canon for the Sunday before Christmas --Petros Bereketis (fl.1680-1715) Doxastikon for the Sunday before Christmas --Iakovos (James) the Protopsaltis (d. 1800) Three Prosomoia for the Forefeast of Christmas (20 December) --texts by St. Romanos the Melodist (5th-6th c.) Communion Verse for Christmas Day Psalm Verses for Matins on Christmas Day --Music composed by Lycourgos Angelopoulos From Ode 3 of the Canon for the Forefeast of Christmas --Balasios the Priest (fl. 1670 ­1700) Krátima in the First Mode --Ioannis (John) Trapezountios (d. 1700) --Daniel Protopsaltis (d. 1789) --Anonymous --Transcribed by Lycourgos Angelopoulos, as sung by Dionysios Firfiris (d. 1990) --St. John Koukouzelis

Please kindly withhold your polite applause until the end of each half. The Greek Orthodox parishes of Holy Trinity and St. Demetrios welcome you.

Please ensure that all mobile telephones, pagers, and beeping watches have been silenced. Thank you.


AN INTRODUCTION TO BYZANTINE CHANT In the year 330 AD the Roman Emperor Constantine I moved his capital eastwards to an ancient city named Byzantium, which he renamed "Constantinople and New Rome." The Eastern Roman Empire not only survived the downfall of (Old) Rome by a thousand years, but also created a musical tradition that is commonly known today as "Byzantine chant." Spread over a vast geographic area, this tradition underlies the singing of virtually all Eastern Christians who employ the comprehensive system of public worship known to modern scholars as the "Byzantine rite." The Byzantine rite underwent a vigorous development that lasted a millennium, drawing on such regional traditions of Christian worship as those of Jerusalem, Antioch, and Asia Minor to produce a vibrant synthesis encompassing: a) three Eucharistic liturgies (those of St. Basil, St. John Chrysostom, and the Presanctified Gifts) of primarily Constantinopolitan origin; and b) cycles of daily and weekly prayer (the "Divine Office" or "Liturgy of the Hours") derived initially from the urban and monastic traditions of Palestine. Poets and musicians enriched the psalmody of the latter with hymns organized by musical mode, thereby creating both vast repertories of hymnody (modern service books contain approximately 50,000 hymns) and a system of eight musical modes (the "Octoechos") that was also adopted by the Carolingian West.

Developed forms of musical notation for chant appear in Byzantium during the ninth and tenth centuries and become fully capable of showing a melody's succession of intervals during the twelfth century. One notable characteristic of both medieval and modern Byzantine notation is the use of a variety of qualitative symbols indicating ornaments and other nuances, the realization of which is transmitted primarily by oral means. The politically turbulent final centuries of the Byzantine Empire were also a time of renewed artistic creativity. The leading musical figure was St. John Koukouzeles (ca.1280­ca. 1360), a cantor, theorist, and monk who not only re-edited the central chant repertory, but also pioneered a virtuosic new style of singing. Characteristics of this beautified or "kalophonic" style include modifications to liturgical texts through repetition or troping, wide vocal ranges, and the insertion of passages on nonsense syllables ("teretisms"). The triumph of the Muslim Ottoman Turks in 1453 appears to have caused only a temporary lull in the musical creativity of their Christian subjects. A revival of the central tradition during the 17th and 18th centuries produced both original compositions and embellished versions of medieval works. The latter were enriched through the application of orally transmitted melodic phrases ("theseis") that were later written out more fully in what scribes labelled "exegeses." This trend toward greater


notational precision culminated in 1814 with the "New Method," a musical reform introduced at the Ecumenical Patriarchate of Constantinople by the "Three Teachers" Chrysanthos, Gregorios, and Chourmouzios. One result of this reform was the transcription of vast numbers of earlier works into the reformed notation according to the conventions of melodic "exegesis." All of the medieval and post-medieval works on this evening's program are sung from such transcriptions. --Alexander Lingas TRANSLATIONS ________________________________________________________________ Kontakion of the Akáthistos Hymn, in the Fourth Plagal Mode (Entrance) To you my Champion and Commander I your city,* saved from disasters, dedicate, O Mother of God, hymns of victory and thanksgiving; but as you have unassailable might, from every kind of danger now deliver me, that I may cry to you: Hail, Bride without bridegroom! *Constantinople --Anonymous (7th c.) ________________________________________________________________ Communion Verse for the Feast of the Transfiguration (6 August), in the Third Plagal Mode Lord, we will walk in the light of your face, to the ages; Day after day they rejoice in your presence. (Psalm 88:15b-16a) --St. Ioannis (John) Koukouzelis (c.1280­c.1360)

This communion verse is an unpublished composition by the renowned Byzantine Maistor (Maestro) John Koukouzelis. Koukouzelis also had the surname Papadopoulos, as attested in manuscripts of the beginning of the 14th century. He is a saint of the Orthodox Church (his feast is on 1 October), and is one of the primary known composers of Byzantine music. He is known as the second wellspring of Greek music, the first being St. John of Damascus. His vast output is, on the most part, unpublished today, and exists only in manuscript form. The Greek Byzantine Choir has begun issuing a series of recordings which aim to include (to the extent that this is possible) all the works of John Koukouzelis. ________________________________________________________________ The Psalms that Introduce the Transfiguration, in the Second Plagal Mode (a selection) In His Holy Mountain. Alleluia. Who settest fast the mountains by Thy strength. Alleluia. Praise and beauty are before Him. Alleluia. The mountain of God is a butter mountain, a curdled mountain. Alleluia. O send out Thy light and Thy truth. Alleluia. Thou shinest wondrously from the everlasting mountains. Alleluia. Thine is the day and Thine is the night. Alleluia. The north and the sea has Thou created. Alleluia. Tabor and Hermon shall rejoice in Thy Name. Alleluia. This mountain which His right hand had gained as a possession. Alleluia. But Thy right hand, and Thine arm, and the light of Thy countenance. Alleluia. O Lord, in the light of thy face shall they walk. Alleluia.


And in thy Name shall they rejoice all the day long. Alleluia. And let the brightness of the Lord our God be upon us, from henceforth and for evermore. Alleluia. --Transcribed by the priest G. Rigas (d. 1960) from the oral tradition of the Mount Athos fathers at Evangelistria The Mount Athos fathers established the Evangelistria Monastery on Skiathos island in 18th century. ________________________________________________________________ Festal Psalm for Vespers (the First Half-verse of Psalm 2:5), in the Fourth Plagal Mode Then he will speak to them in his anger, *say* alleluia, *again* alleluia, alleluia. --Anonymous This composition belongs to the first káthisma of the Orthodox Psalter. A káthisma is a group of three psalms; there are 20 kathísmata in the Orthodox Psalter, which are sung throughout the week at Vespers. The structure of the verse is marked by melismatic development over its full length; embellishment is applied as well to the threefold Alleluia which follows the verse. The distinctive words "Leghe" (say), and "Palin" (again) are audible rubrics--words of command--that link the different sections together. "Leghe" begins the Alleluia section; after "Palin" the composition reaches its peak, as much by the diversity of changing modes as by the extended tessitura and the virtuosity of the melody. ________________________________________________________________ The Short Polyeleos (Psalm 136) in Syllabic Style, in Four Modes (excerpt) Give thanks to the Lord, for he is good, alleluia: for his mercy endures forever, alleluia. Give thanks to the God of gods, alleluia: for his mercy endures forever, alleluia. Give thanks to the Lord of lords, alleluia: for his mercy endures forever, alleluia. To him who set the earth on the waters, alleluia: for his mercy endures forever, alleluia. To him who alone made the great lights, alleluia: for his mercy endures for ever, alleluia. The sun to rule the day, alleluia: for his mercy endures for ever, alleluia. And led Israel out of their midst, alleluia: for his mercy endures forever, alleluia. To him who divided the Red Sea in two, alleluia: for his mercy endures forever, alleluia. And led Israel through its midst, alleluia: for his mercy endures forever, alleluia. Give thanks to the Lord, for he is good, alleluia: for his mercy endures forever, alleluia. Give thanks to the God of gods, alleluia: for his mercy endures forever, alleluia.


________________________________________________________________ Three Heirmoi (model melodies), from the 1st, 5th, and 9th Odes of the Canon for the Sunday before Christmas, in the First Mode 1st Ode: Christ becomes a little Child in the town of Bethlehem. In his mercy he renews our nature. Come, let us all rejoice, with all our heart let us sing to the Lord a melodious song, for he has been glorified forever. 5th Ode: O You who sees everything. Glory of Kings: who would fail to wonder on your love for mankind? For you have appeared on earth as man without leaving the bosom of the Father. You renew the entire creation and You gratify us with your peace, O You, the only Lord of peace. 9th Ode: Rejoice, O Mary most pure, receptacle of God. Rejoice, O immaculate support of those who have fallen, for in you has the Lord appeared. O Wonder! He renews those who were slaves of corruption and draws them back to the eternal light! O Virgin ! --Petros Bereketis (fl.1680-1715, Constantinople) The texts of these pre-festal heirmoi with music by Petros Bereketis are no longer in use today in the services of Orthodox Church; their music exists only in manuscript form. In total there were eight heirmoi that used to be chanted the Sunday before Christmas. The texts of these heirmoi are included in the Heirmologion (book of model melodies) by Sofronios Efstathiadis, Bishop of Leontoupolis, in the codex Coislin 220 (Nat. Library Paris). Here they are chanted in syllabic (heirmologic) style. The melodies of Bereketis's settings exhibit great modal flexibility, employing variously: soft and hard diatonic scales in the lower tetrachords (groupings of four notes in sequence) of the first and fourth modes; short excursions to the first mode's upper tetrachord (on "a"); and a recurring phrase in the plagal fourth mode that precedes every stanza's final cadence on the first mode's lower final of "D." ________________________________________________________________ Doxastikon for the Sunday before Christmas in the Fourth Plagal Mode The collected teachings of the Law reveal the divine Nativity of Christ in the flesh to those who heard the good tidings of Grace before the Law, as by faith they surpassed the Law. Therefore they proclaimed beforehand to the souls held fast in Hell that through the Resurrection it is the cause of escape from corruption. Lord, glory to you. --Iakovos (James) the Protopsaltis (d. 1800) The melody of this doxastikon (a hymn following the small doxology in Orthodox hours) is from the Doxastarion (a book of such hymns) by Iakovos Protopsaltis, embellished further (i.e., in long exegesis--see the introduction in this program by Alexander Lingas) by Chourmouzios Hartofylax (d. 1840), one of the three founders of the New Musical Method. In brief, the New Method was a set of musical notational reforms instituted by the

Give thanks to the Lord of lords, alleluia: for his mercy endures forever, alleluia. --Transcribed by Lycourgos Angelopoulos, as sung by the protopsaltis of the Protaton (Central Church) of Karyes on Mount Athos, the deacon Dionysios Firfiris (d. 1990) ________________________________________________________________ Krátima in the First Mode --St. John Koukouzelis This krátima is a striking and impressive composition, found in the Codex 711 MPT. Kratímata (plural) are free compositions, in which meaningless syllables, like te-ri-rem, to-ro-ro, etc., are used instead of actual text. Thus the composer, having no obligation to a certain text, may advance to the composition of abstract music. The learned Metropolitan of Philadelphia, Gerasimos Vlachos the Cretan (17th c.), writes that: "according to theological symbolism, the te-re-re does not wish to signify anything other than the incomprehensibility of the Godhead." The composer Michel Adamis has observed that: "the krátima is the Byzantine form of pure music, which is expressed in works that exist in themselves." INTERMISSION (refreshments in the hall)


Patriarch of Constantinople in 1814 that resulted in a higher degree of notational precision, both in terms of rhythm and pitch. In this doxastikon the listener will hear skillful and methodical alternation of the fourth plagal mode with the first mode. This piece also displays a high degree of musical "word painting," a well-known tendency during the 18th century. For example, on the word "adis" (Hades), the descent to the underworld is presented musically with the descent of the melody to the lowest vocal register of this mode, using hard chromatic shadings. ________________________________________________________________ Three Prosomoia (Contrafacta) for the Forefeast of Christmas (20 December) Angelic Powers, advance; people of Bethlehem, prepare the Manger; for the Word is born; Wisdom goes forth; Church, receive greeting; peoples let us say for the joy of the Mother of God: Blessed is he who has come; our God, glory to you. The Star of Jacob rises in the Cave. Come, and as we celebrate the Forefeast, let us hasten with the Magi, let us gather with the Shepherds; let us see God in swaddling clothes; let us see a Virgin giving suck. O awesome sight! The King of Israel is at hand.

Hills drop down sweetness; for see, God has come from Theman, Nations be defeated; Prophets and Patriarchs leap for joy; mankind dance inspired by God; the strong and great Prince, Christ is brought to birth; on earth the King of heaven is at hand. --texts by St. Romanos the Melodist (5th-6th c.) This automelon (a through-composed melody) is performed in quick heirmological (syllabic) chant at the beginning and in slow heirmological chant at the end. Three prosomoia (contrafacta), poems by Saint Romanos the Melodist (5th-6th century), are performed within the automelon in quick heirmological chant in the plagal second mode "tetraphonos," i.e., transposed up a fifth. ________________________________________________________________ Communion Verse (Koinonikon) for Christmas Day, in the First Mode transposed at the fifth ("tetraphonos") The Lord has sent deliverance to His people, Alleluia! (from Psalm 110) --Daniel Protopsaltis (d. 1789) The protopsaltis is the first singer of a church, in this case of Church of the Ecumenical Patriarchate in Constantinople (modern-day Istanbul). In this communion chant, Protopsaltis


Daniel (d. 1789) exploits the whole spectrum of the first mode in extremely melismatic style, skillfully combining brief alternations in the fourth and the plagal fourth mode. The structure of this koinonikon is organized into five balanced musical sections. At the end of the fourth section, the melody reaches strong culmination intonating the words "to His People." The last part of this koinonikon is a krátima, which here uses the syllables a-ne-a-ne, to-ro-ro, ne-e-ne-na and na-a-ne as teretisms. ________________________________________________________________ Psalm Verses for Matins on Christmas Day (a selection) Sing to the Lord all the earth. Alleluia. Sing to his name. Alleluia. Give glory in his praise. Alleluia. Recount all his wonders. Alleluia. Say to God: How awesome your works. Alleluia. Let the heavens rejoice and let the earth be glad. Alleluia. Sing to God, sing to his name. Alleluia. Make a way for him who rides upon the sunset. Alleluia. The Lord is his name, and be glad before him. Alleluia. Splendor and majesty his work. Alleluia. And his justice abides from age to age. Alleluia. The Lord has sent redemption to his people. Alleluia. Holy and fearful his name. Alleluia. The Lord's right hand has wrought power. Alleluia. The Lord's right hand has exalted me. Alleluia. A man will say: Mother Sion, and: A man has been born in her. Alleluia. Fair in beauty beyond the sons of men. Alleluia. The Most High has founded her. Alleluia. From Sion the loveliness of his beauty. Alleluia. Our God is in heaven and on earth, has done whatever he willed. Alleluia. Your mercies, O Lord, I will sing forever. Alleluia. To generation and generation I will announce your truth with my mouth. Alleluia. That you may say for ever mercy will be established. Your truth will be prepared in the heavens. Alleluia. His seed abides for ever. Alleluia. And his throne is as the sun before me. Alleluia. And like the moon fixed for ever. Alleluia. And I will establish his seed for ever, Alleluia. And his throne as the days of heaven. Alleluia. And he will rule from sea to sea, Alleluia. And from the ends of the world to its ends. Alleluia. He will call to me: You are my Father, Alleluia. My God and helper of my salvation. Alleluia. And I will establish him as first born, high beyond all the kings of the earth, Alleluia. And all the kings of the earth will worship him. Alleluia. What god is great as our God? You are the God who alone works wonders. Alleluia. By the arm of your power you have scattered your foes. Alleluia. You will shepherd them with an iron staff. Alleluia.


As a potter's vessels you will smash them. Alleluia. Gird your sword upon your thigh, O powerful one, in your beauty and loveliness. Alleluia. Your arrows are sharpened, O powerful one. Alleluia. Peoples will fall beneath you, in the heart of the king's enemies. Alleluia. From the womb before the morning star I have begotten birth. Alleluia. The Lord has sworn and he will not repent. Alleluia. You are a priest for ever, according to the order of Melchisedek. Alleluia. The Lord said to me: You are my son, today I have begotten you. Alleluia. Ask of me, and I will give you nations as your inheritance. Alleluia. And the ends of the earth as your possession. Alleluia. At the head of the book it is written of me. Alleluia. Your throne, O God, is from age to age. Alleluia. A staff of right is the staff of your kingdom. Alleluia. You have loved justice, and hated iniquity. Alleluia. Therefore God, your God, has anointed you with the oil of gladness beyond your fellows. Alleluia. For you will inherit among all the nations. Alleluia. Blessed is God for ever. So be it. So be it. --Music composed by Lycourgos Angelopoulos

________________________________________________________________ From Ode 3 of the Canon of the Forefeast of Christmas, in the First Mode A Star has already dawned from the tribe of Juda; knowing which Kings of the East are moving and hastening to arrive that they may contemplate Christ, who is being brought to birth in Bethlehem. --Balasios the Priest (fl. 1670 ­1700) This kalophonic heirmos (a "beautiful sounding" model melody) creates a very melismatic and free unfolding of the heirmos of the canon. One of the most important composers of kalophonic heirmoi is Balasios the Priest; this example is among his most beautiful.

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________________________________________________________________ Krátima in the Fourth Plagal Mode --Ioannis (John) Trapezountios (d. 1700) This kratima is a composition by Ioannis Trapezountios, Protopsaltis (first Singer) of the Ecumenical Patriarchate of Constantinople.

All translations © Archimandrite Ephrem (Lash), except the Psalms for the Transfiguration (from Holy Transfiguration Monastery, Brookline, Mass.) and the medieval heirmoi from the Canon for the Sunday before Christmas (provided by the Greek Byzantine Choir). Notes edited by Mark Powell.

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ABOUT THE ARTISTS THE GREEK BYZANTINE CHOIR The Greek Byzantine Choir was founded in 1977 by Lycourgos Angelopoulos with the aim of presenting to the public traditional Byzantine Music as it has been transmitted by both oral and written tradition to the present day. The Choir also aims at preserving genuine Byzantine tradition by distinguishing it from the influences of western European classical music, which are extraneous to it. The appearance of this Choir marks an important step in Lycourgos Angelopoulos's effort to protect Byzantine musical heritage and preserve a unique Byzantine musical identity. During its 20 years of existence, the Greek Byzantine Choir has taken part in more than 600 concerts, liturgies, and other events in Greece and in 22 other countries in Europe, Asia, America, and Africa. Among them, particular highlights were the All-Night Vigils at Mount Sinai Monastery, at Cologne, at the Mega Spilaion Monastery, at the Monastery of Vatopedi on Mount Athos, and at the Cathedral of Saint Demetrios in Thessaloniki. The Choir has participated in the Athens Festival and numerous international festivals abroad. Beginning in 1989, it performed once a year for three years at the ancient theater of Epidavros. It also participated in the premiere of the contemporary work Rodanon by Michael Adamis and has presented, in concerts and recordings, fragments of ancient Greek music and Old Roman Chant. The choir has appeared regularly in the Athens Concert Hall (Megaro Mousikis). The Greek Byzantine Choir has made several recordings of Byzantine Music including six CDs published in France on the Jade label. From 1990, it initiated the recording of the works of the great Byzantine "Maistor" (Maestro) John Koukouzelis and, in 1995, published a volume of music, Ioannis Koukouzelis: Selected Works. LYCOURGOS ANGELOPOULOS, director Lycourgos A. Angelopoulos was born in Pyrgos, Peloponnese in 1941. He studied Byzantine Music at the School of National Music, under the tutelage of the great musician and musicologist, Simon Karas, and Law at the University of Athens. For many years he has been the Protopsaltis (first chanter) at the Church of Saint Irene in Athens (first Cathedral). He is the founder and director of the

Greek Byzantine Choir and professor of Byzantine Music at the Nikos Skalkotas Conservatory and at the Philippos Nakas Conservatory in Athens. He is the founder-director of the Children's Byzantine Choir of the Archdiocese of Athens and the director of the School of Byzantine Music at the Diocese of Helias. He has collaborated with the Athens Radio Broadcast on programs related to Byzantine Music and has performed contemporary music composed by M. Adamis, D. Terzakis and K. Sfetsas. He is a member of the research team--headed by Marcel Pérès in France--that studies ancient Western chants and their relationship to their Byzantine counterparts. He has performed Byzantine, Old Roman, Ambrosian, and other Old Western chants in recordings with the Ensemble Organum in France. In 1994, he was honored by His All-Holiness Ecumenical Patriarch Bartholomew I with the Patriarchal Offikion and was


named Archon Protopsaltis (First Chanter) of the Holy Archdiocese of Constantinople. Also, he has been honored by his Beautitude the Patriarch of Jerusalem Diodoros, by the Orthodox Church of Finland, and by the Diocese of Patras in Greece. ALEXANDER LINGAS, pre-concert lecturer Alexander Lingas is Cappella Romana's founder and artistic director and is currently an Assistant Professor of Music History at Arizona State University's School of Music and a Fellow of the University of Oxford's European Humanities Research Centre. In January 2006 he will take up a new academic post as Lecturer in Music at City University in London. Dr. Lingas has received a number of academic awards, including Fulbright and Onassis grants for musical studies in Greece with noted cantor Lycourgos Angelopoulos, a Junior Fellowship in Byzantine Studies at Harvard University's Dumbarton Oaks in Washington, D.C., and a two-year Postdoctoral Fellowship from the Social Sciences and Humanities Research Council of Canada for study in Oxford under Bishop Kallistos (Ware) of Diokleia. From Michaelmas Term (Autumn) of 1998 until Trinity Term (Spring) of 2001 he was British Academy Postdoctoral Research Fellow at Oxford University's St. Peter's College. He has also served as a lecturer and advisor for the Institute of Orthodox Christian Studies at the University of Cambridge. During the academic year 2003­2004 Dr. Lingas lived in Princeton, New Jersey as the recipient of two prestigious awards: a membership in the School of Historical Studies of the Institute for Advanced Study and an NEH Area Studies Fellowship from the American Council of Learned Societies. In January 2004 he presented the annual Alexander Schmemann Memorial Lecture at St. Vladimir's Orthodox Theological Seminary in New York. His upcoming projects include a study of Sunday Matins in the Rite of Hagia Sophia for Ashgate Publishing, as well as a general introduction to Byzantine Chant for the Yale University Press. CAPPELLA ROMANA, presenter Founded in 1991, Cappella Romana is a vocal chamber ensemble dedicated to combining passion with scholarship in its exploration of the musical traditions of the Christian East and West, with emphasis on early and contemporary music. Cappella Romana presents the Greek Byzantine Choir in sympathy with its mission to make, on this occasion, the Byzantine vocal repertory accessible to the general public.

Acknowledgements: His Eminence Metropolitan Gerasimos of the Greek Orthodox Metropolis of San Francisco, Fr. Gerasimos Markopoulos, Fr. Photios Dumont, Fr. Paul Schroeder, The Boston Early Music Festival (Kathy Fay, Shannon Canavin), The Office of Senator Edward M. Kennedy, Carla O'Reilly, Maria Boyer, Great International Travel (Martha Sewell), Dr. Georgios Konstantinou, John T. John, Christos Pamboukas, Town Hall Seattle, The Early Music Guild, Trilby Coolidge, B. Kathleen Powell, John M. Boyer. Tour manager: Mark Powell.

COMING SOON BALKAN EPIPHANY Music to Warm the Winter Season from Serbia and Bulgaria Conducted by guest director Ivan Moody, known to Cappella Romana audiences as the composer of Passion and Resurrection and The Akáthistos Hymn 13-14 January 2006 A PEARL OF AN EVENING Our annual benefit dinner, recital, and auction at Eleni's 26 February 2006 THE FALL OF CONSTANTINOPLE Music at the Twilight of the Byzantine Empire Cappella Romana's most requested program reprised in time for the release of its new recording produced by multiple Grammy-award winner Steve Barnett 12-13 May 2006

(Also in the Early Music Society of the Islands Series, Victoria, BC, Canada, 11 March 2006)

SECOND TOUR TO LONDON, UK Music of Byzantium Performances in the frame of the 21st International Congress of Byzantine Studes, London, England 21-26 August 2006 FOR INFORMATION CALL 503-236-8202 or 866-822-7735

CAPPELLA ROMANA, INC. Alexander Lingas, Artistic Director Mark Powell, Executive Director 3131 NE Glisan St, Portland OR 97232 Telephone 503-236-8202 Toll-free 866-822-7735 Email: [email protected]




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