The texts and music of the Christian East, particularly the Orthodox churches, are not very well known in the Western Churches: the Roman Catholic Church and the churches of the
Reformation. Exceptions include Russian choral works, a number of which have been published with English texts for use as anthems or as concert pieces. The words, however, aren’t always translations of the original liturgical texts, so an important aspect of these hymns may be missing. Two texts from the Byzantine liturgy, recast as strophic hymns, are found in some Western hymnals. Phos Hilaron (O Gladsome Light), one of the earliest Christian hymns, dates from around 300 A.D. and is still sung today in the Byzantine vesper service. Let All Mortal Flesh Keep Silent, originally from the Liturgy of St. James, replaces the Cherubic Hymn in the Vesperal Divine Liturgy of Holy Saturday morning.

The works in this collection are intended to make some of the texts and music of the Byzantine tradition more accessible to the Western Churches. Some of the choral pieces are based on Byzantine chant melodies, as are the organ works. Others are new musical settings of significant hymns of the Byzantine liturgy.

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Chant-based choral pieces

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Today the Virgin Gives Birth (SSA unacc.)* The Kontakion for Christmas. Both music and
text attributed to St. Romanos the Melodist (6th C.) The lovely melody is used for several other
kontakia during the liturgical year. Music and text are sung three times (unison, SA, SSA). In
English, with optional Greek text for the unison verse. From OCP Publications
(www.ocp.org/compositions/85156).

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Agni Parthene (SSABar unacc.)* A very popular strophic hymn to Mary the Mother of God by
St. Nektarios of Aegina (1846-1920). Greek text.  O Virgin Pure (English version) from Swirly Music (swirlymusic.org) Cat. # ADY-044.

*These pieces were performed by the Contra Costa Children’s Chorus at the 2011 Festival of the Aegean, Siros Island, Greece.

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Byzantine texts in new settings

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Hymn to the Holy Spirit (SATB, optional soprano solo, organ) A beautiful text from the
mystical poetry of St. Symeon the New Theologian (949-1022), translated by Sohia Bekakos.
From OCP Publications (www.ocp.org/compositions/86143).

From Your Nativity (SATB unacc.) The Troparion of Christmas, with a theme of light and
enlightenment, and the paradox of the Magi: “Those who worshiped the stars were taught by a
star to adore you.” From Swirly Music (swirlymusic.org) Cat. # ADY-025

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Four Pieces from Byzantine Vespers (SSA unacc.). Hear Me, O Lord; O Gladsome Light (Phos
Hilaron); Graciously Hear Us, O Lord; the Canticle of Simeon. Though these settings aren’t
specifically intended for liturgical use, they express the tone and mood of the Vesper service.
From Swirly Music (swirlymusic.org) Cat. # ADY- 037.

Let My Prayer Arise (SATB, flute, organ). In this passage from Psalm 140/1, the psalmist sees
rising incense smoke and lifted hands as a visual metaphor for prayer ascending to God. The
music echoes this image with rising vocal lines and an ascending ostinato figure from the organ,
while the flute takes the place of the incense. The text figures in the Byzantine vespers service of
the Orthodox Church. From Swirly Music (swirlymusic.org) Cat. # ADY-035.

Heavenly King (SATB, organ). This prayer is said at the beginning of many services of the
Byzantine Rite, invoking the Holy Spirit as Comforter and Spirit of Truth to dwell in us for our
healing and salvation. From H.T. FitzSimons Cat. # F2385

Cherubic Hymn "Aghia Sophia" (Holy Wisdom) (SABar unacc. English text). This beautiful text is sung during the Byzantine Divine Liturgy in conjunction with the Great Entrance procession with the Gifts (the bread and wine for Holy Communion). Choral settings are also used as motets or anthems in churches of the Western tradition as well as in choral concerts. Aghia Sophia, meaning Holy Wisdom, is the name of the great patriarchal cathedral in Constantinople (modern Istanbul, Turkey), turned into a mosque by the Ottoman Turks and now a museum.

Cherubic Hymn "Zoodotos Pighi" (Lifegiving Spring) Unis.or SABar unacc. English text. Another setting in a modal style.

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Works for organ

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Variations on “Christos anesti" (Christ is risen). The triumphal Easter hymn, first heard at midnight during the Great Pascha Service, and then sung repeatedly at all services for the next forty days: “Christ is risen from the dead, by death trampling down death, and to those in the tombs giving life.” The theme in the final section is the melody of the Alleluia from the hymn sung on Easter and other great feasts of Christ: “Those who have baptized in Christ have put on Christ. Alleluia.” From Swirly Music (swirlymusic.org) Cat. # ADY-009

Fantasia on “Agni Parthene" (O Pure Virgin). The melody of the much-loved hymn to the Theotokos (Mother of God) by St. Nektarios of Aegina (1846-1920) explored in varied textures and rhythms. From Swirly Music (swirlymusic.org) Cat. # ADY-039