Northwest Focus features Machaut: Messe de Nostre Dame

In the lead-up to our Machaut: Messe de Nostre Dame series, Seattle’s KING FM will be previewing the performance with Cappella Romana recordings on the Northwest Focus program! See the schedule:

Date

Time

Music

Mon, Jan 29
9:00pm
Byzas: Sticheron Apostichon Idiomelon for St. Basil
Tues, Jan 30
9:21pm
Dufay: Lamentatio Sanctae Matris Ecclesiae Constantinpolitanae
Wed, Jan 31
8:34pm
Machaut: La Messe de Nostre Dame


Following his Cappella Romana début in 2012 leading powerful chants from Santiago de Compostela, international early music star Marcel Pérès from Paris directs the earliest known Mass setting by a single composer, Guillaume de Machaut (1300-1377), with chants for Candlemas.

“a highly distinctive timbre and approach” —Gramophone Magazine

EUGENE

Sun 4 Feb, 3:00pm
Central Lutheran Church
TICKETS
FREE CONCERT co-sponsored by the OHC’s Endowment for Public Outreach in the Arts, Sciences, and Humanities.

Marcel Pérès Returns for Machaut: Messe de Nostre Dame

Marcel Pérès

Marcel Pérès

Following his Cappella Romana début in 2012 leading powerful chants from Santiago de Compostela, international early music star Marcel Pérès from Paris directs the earliest known Mass setting by a single composer, Guillaume de Machaut (1300-1377), with chants for Candlemas.

Widely considered an iconoclast in the early music movement, Medieval Latin chant specialist Marcel Pérès has developed a robust and vibrant, expressive and energetic style of singing plainchant, challenging audiences and fellow scholars and performers to reconsider how to approach ancient repertories from throughout the Christian world.

After studying organ and composition at the Nice Conservatory, Pérès pursued his musical education in Great Britain and Canada. Upon his return to Europe in 1979, he began to specialize in medieval music and in 1982, he founded Ensemble Organum for the purpose of undertaking a methodical exploration of medieval liturgical repertoires.

In 1984 he founded a research centre at the Royaumont Foundation for the performance of medieval music: the CERIMM (Centre Européen pour la Recherche sur l’Interprétation des Musiques Médiévales – European Medieval Music Research and Performance Centre) where he was director until 1999.

Under his direction, Ensemble Organum has released numerous highly acclaimed recordings. Their awards include: Diapason d’or, Classical Awards, Choc de l’année of the Monde de la Musique, and New York Times’ Essential Records of the 20th Century. Pérès is also the composer of over thirty works.

In 2001, at the former Abbey of Moissac, Pérès created the CIRMA (Centre Itinérant de Recherche sur les Musiques Anciennes – Itinerant Centre for Early Music Research), designed to examine historical movement and experiential knowledge from past centuries in order to develop a mutually informative approach between living traditions and musical archaeology.

In 1990, Monsieur Pérès was awarded the Leonardo da Vinci Prize by the French Secretary of State. In 1996, he received the distinction of Knight of the Order of Arts and Letters (Chevalier de l’Ordre des Arts et des Lettres) from the French Ministry of Culture, and in 2013 the distinction of Officer of the Order of Arts and Letters (Officier de l’Ordre des Arts et des Lettres). He is godfather of the “Marcel” bell, which was built in 2012 and consecrated on February 2, 2013 for the 850th anniversary celebration of the Cathedral of Notre Dame in Paris.

Machaut: Messe de Nostre Dame Tickets

EUGENE

Sun 4 Feb, 3:00pm
Central Lutheran Church
TICKETS
FREE CONCERT co-sponsored by the OHC’s Endowment for Public Outreach in the Arts, Sciences, and Humanities.

Alexander Lingas and Arvo Pärt!

Alexander Lingas and Arvo Pärt

Alexander Lingas and Arvo Pärt
Many, many thanks to the gracious staff of the Arvo Pärt Centre for making a hastily arranged research trip turn out to be a visit full of human warmth, productive study, and spiritual reflection. Special thanks to Arvo and Nora Pärt, who gave selflessly of their time to enrich my understanding and experience. I leave Estonia today deeply thankful for all these blessings and looking forward to returning before too long.

—Alexander Lingas

12 Days of Christmas on Northwest Focus

In the lead-up to our 12 Days of Christmas in the East series, Seattle’s KING FM will be previewing the performance with Cappella Romana recordings on the Northwest Focus program! See the schedule:

Date

Time

Music

Mon, Jan 1
9:00pm
Zes: Cherubic Hymn
Tues, Jan 2
8:08pm
Zes: The Divine Liturgy of St. John Chrystostom
Wed, Jan 3
9:16pm
Adamis: Great Paraklesis to the Mother of God – Radiant Cloud
Thurs, Jan 4
8:24pm
Michaelides: Cherubic Hymn


Music director Alexander Lingas leads Cappella Romana in a program of early and contemporary music from the Greek Orthodox tradition for the 12 Days of Christmas. Medieval Byzantine chant, choral works by Greek-Americans Frank Desby, Tikey Zes, and Peter Michaelides, and by Michael Adamis and Sir John Tavener. Originally performed in the Twelfth Night Festival at Trinity Church Wall Street, New York.

West Coast Performances

SAN FRANCISCO

Sun 7 Jan, 2:30pm
St. Ignatius Parish, San Francisco
TICKETS

Midwest Performances

MINNEAPOLIS, MN

Tues 9 Jan, 2018, 7:30pm
Presented by The Rose Ensemble
Twelfth Night Festival
The Basilica of St. Mary
TICKETS

NORTHFIELD, MN

Wed 10 Jan, 7:30pm
Carleton College
Kracum Performance Hall
Sponsored by Arts at Carleton
TICKETS

Byzantine Christmas: Sun of Justice – Taking the Journey


The ecclesiastical feast day celebrating the Nativity of Jesus Christ – which came to be called simply “Christ’s Mass,” or “Christmas” in English – was added to the calendar in the Eastern Church somewhat later than other major feasts. Originally, Christ’s Nativity and Baptism were celebrated on the same day: Epiphany (January 6). Much has been said concerning the origins and influences – whether Pagan, Persian, or Christian – of December 25th becoming the feast day of the Nativity of Christ; suffice it to say that the late Roman Pagan holiday of the Birth of the Unconquered Sun, the ancient Persian celebration of the birth of Mithras – the “Sun of Justice,” – and the celebration of the birth of Jesus Christ were each to one extent or another in the mind of the Roman populace during the development of the Christian calendar. This may account for the fact that one of the main hymnological themes for Christmas is that of light in general and the sun specifically: Orthodox hymnography refers to Christ “dawning from a Virgin,” to his Nativity making “the light of knowledge dawn on the world,” calls him the “Dayspring from on high,” or “Dayspring from the east,” and even applies the title “Sun of Justice” for Jesus Christ. Christians seemed to say, “You all worship the sun in the sky or call this false god Mithras the ‘Sun of Justice,’ whereas we worship the true God, the spiritual, noetic ‘Sun of Justice’: Jesus Christ, the Son of God and true giver of light and life.”

This theme permeates the hymnography of Christmas, along with the paradox of God becoming man and of the Virgin giving birth; the humility of the Son of God in his Incarnation; the sanctification of the earth, deification of humanity, and the reconciliation of God and Man in the God-Man, Jesus Christ. The hymns reflect on all these themes, culminating in the universal exultation of creation: “Now Christ is born: therefore glorify!” “Sing your praise to the Lord, all the earth!” “Glory to God in the highest!”

We present our program of a Byzantine Christmas in liturgical order, spending a moment or two in each worship service of the Orthodox Church for Christmas Eve and Christmas Day. The liturgical journey begins with the service of Great (or “Royal”) Hours, celebrated on Christmas Eve morning or afternoon. Structured around the traditionally monastic rite of the First, Third, Sixth, and Ninth Hours, the Great Hours are now most often celebrated together as a single service. Each Hour begins with Psalm readings, after which the choirs sing a series of three Idiomela (through-composed pieces of hymnography) that reflect on the significance of the holiday. In particular, they focus on the fulfillment of Old Testament prophecies and on the inherent paradoxes of Christmas: God becoming human, a virgin giving birth, and the King of Kings being born in a cave and laid in a manger. Sung hymnography is followed by declamation of an Old Testament prophecy, chanting of a New Testament Apostolic epistle, and chanting of a Gospel pericope. With this structure, the Hours function like the Orthodox equivalent to a Lessons and Carols service. The climax of the Hours is the Idiomelon “Today born of a virgin is he who held all creation in the hollow of his hand,” a poetic exploration of the paradoxes of Christmas. Our program presents this piece first in Arabic virtuosic improvisation by Dn. John El Massih, and then repeated by the whole ensemble in English, chanting in the “hard chromatic” Plagal Second Mode.

The next stop on our liturgical journey is Great Vespers, celebrated on Christmas Eve. This Vespers service is more joyful in character, being the first liturgical experience of the holiday itself. The hymnography includes a series of Idiomela interpolated into last eight verses of Psalms 140, 141, and 129, which are sung at every Vespers. Our program presents the first and last of these Idiomela: the first in English, composed in the traditional medium-texture sticheraric genre, and the last in Greek, composed in the “old” or slow sticheraric genre by the monks of Vatopaidi Monastery on Mt. Athos. The first half of our program ends with two simpler, more “syllabic” offerings: the first Troparion sung at the prophecy readings at Vespers, sung in English, which tells the story of the Star of Bethlehem and the adoration of the Magi; and the Apolytikion (Dismissal Hymn) of Christmas Day, sung in Arabic, English, and Greek, in which we hear the imagery of Christ as the Sun of Justice.

John Michael Boyer

John Michael Boyer

The second half of our program takes us later into the night on Christmas Eve, beginning with select verses from both the Biblical Psalter and from Old Testament prophecies, sung during the Great Compline service. Sung in Greek, English, and Arabic, every verse of this piece ends with the refrain, “For God is with us,” the translation of “Emmanuel.” Musically, the each verse of the original Greek setting asks a melodic question, to which the refrain gives the perfect melodic answer. Both the Arabic and English adaptations of this piece endeavor to create the same relationship between verse and refrain.

Our first piece from the Matins (“Orthros”) service is a similar collection (“Eklogë”) of Psalm verses, specifically assembled to celebrate Christmas. This time employing the refrain “Alleluia,” this Eklogë was set in the Authentic Fourth Mode “Agia” by my teacher, the great cantor and choirmaster, Lycourgos Angelopoulos. We continue in the Orthros service with the first ode of the first Canon for Christmas Day, in Greek and English, with the “Eirmos” (first stanza) repeated as the “Katavasia” (ending stanza) in the slow version of the same melody.

Orthros leads into the central, eucharistic service for Christmas: the Divine Liturgy, during which we hear one of the earliest examples of Orthodox Christian hymnography, the Kontakion (literally, “scroll”) for Christmas Day, attributed to St. Romanos the Melodist (4th c.). Sung in both Greek and Arabic, the melody of the received tradition bears a striking resemblance to the more ancient melody we find in medieval manuscripts, and is adapted beautifully to Arabic by Fr. Romanos Joubran of Beirut.

John Rassem El Massih

John Rassem El Massih

Sung in the same mode and genre as the Katavasia from the first ode of the Canon, the Megalynarion and Eirmos “Magnify, O my soul” and “A strange mystery” are sung in the Divine Liturgy on Christmas Day instead of the usual Hymn to the Mother of God, “Truly it is right to call you blessed.” Introduced by the Megalynarion sung solo, the Eirmos is sung by the whole ensemble in Arabic, both composed by the late Mitri El Murr (20th c.), the most prolific composer of Byzantine Music in Arabic.

The celebration of Christmas does not stop in the church building, of course: our program’s final piece, the Kalophonic Eirmos “Christ is Born,” by musicologist, cantor, composer, and friend of Cappella Romana, Ioannis Arvanitis, belongs to a genre designed to be sung in the banquet hall during the feast. It is a prime example of a contemporary composer writing in a classical style, highlighting the virtuosity of Byzantine Music, as well as its elegance. This is followed by a classical Kratema by Balasios the Priest (17th c.), meditating on the text of the well-known Eirmos while exploring the limits of the First Mode, using nonsensical syllables as a kind of musical instrument. We then come home to the final line of the text of the Eirmos, composed in the melismatic genre: “All you peoples, sing the hymn: for he is glorified!”
Our program’s liturgical journey gives us just a taste of the breadth and depth of the Orthodox Christian celebration of the birth of the Messiah, Jesus Christ. It is a journey from the Old Testament to the New, from the fasting and repentance of Advent to the joy and feasting of Christmas, from the darkness of the night to the brightness of the Sun of Justice.

– John Michael Boyer

Sun of Justice Concert Series Tickets

SALEM

Thu 14 Dec, 7:30pm
Greek Orthodox Mission Church of Salem
at Blanchet High School
TICKETS Add to Calendar

SEATTLE

Fri 15 Dec, 8:00pm
St. Demetrios Greek Orthodox Church
TICKETS
Add to Calendar

Sun of Justice on Ancient Faith Radio

John Michael Boyer and John El Massih join the Ancient Faith Radio podcast to talk about the debut PRÓTO release, Sun of Justice! Listen and subscribe at AncientFaith.com

Sun of Justice: Byzantine Chant for Christmas in Greek, Arabic, and English

Cappella Romana Media combines passion with scholarship in its exploration of early and contemporary music of the Christian East and West.

Featuring classical chants in Greek primarily by Petros Peloponnesios (1730–1778). Adaptations into Arabic primarily by Mitri El Murr (1880–1969) and those into English by John Michael Boyer (b. 1978) closely echo the originals in form, style, and grace.

This debut release by PRÓTO presents traditional chants for the Byzantine celebration of Christmas, including selections from The Royal Hours, Vespers, Matins, and the Divine Liturgy. A deluxe 32-page booklet is included with full texts in Greek, Arabic, and English.

Also Available via CD, Download, and Streaming At

iTunes Amazon Spotify Arkiv primephonic

Sun of Justice Concert Series

Cappella’s Associate Music Director John Michael Boyer directs exhilarating Byzantine chants for Christmastide in Greek, Arabic, and English. Featuring Lebanon-born guest soloist, Rev’d Deacon John (Rassem) El Massih, and the release of a new CD of the program.

With performances in Seattle, Portland, Salem, and Sacramento.

SALEM

Thu 14 Dec, 7:30pm
Greek Orthodox Mission Church of Salem
at Blanchet High School
TICKETS Add to Calendar

SEATTLE

Fri 15 Dec, 8:00pm
St. Demetrios Greek Orthodox Church
TICKETS
Add to Calendar

Now Available — Sun of Justice: Byzantine Chant for Christmas in Greek, Arabic, and English

Sun of Justice: Byzantine Chant for Christmas in Greek, Arabic, and English

Cappella Romana Media combines passion with scholarship in its exploration of early and contemporary music of the Christian East and West.

A Holiday Record Unlike Any Other
Disc 1: Traditional Chants in Greek and Arabic
Disc 2: Traditional Chants in English

Featuring classical chants in Greek primarily by Petros Peloponnesios (1730–1778). Adaptations into Arabic primarily by Mitri El Murr (1880–1969) and those into English by John Michael Boyer (b. 1978) closely echo the originals in form, style, and grace.

This debut release by PRÓTO presents traditional chants for the Byzantine celebration of Christmas, including selections from The Royal Hours, Vespers, Matins, and the Divine Liturgy. A deluxe 32-page booklet is included with full texts in Greek, Arabic, and English.

PRÓTO is a collaboration of two protopsaltes (“first cantors”): John Michael Boyer, Protopsaltis of the Greek Orthodox Metropolis of San Francisco; and the Reverend Deacon John Rassem El Massih, Protopsaltis of the Antiochian Orthodox Christian Archdiocese of North America. Their shared vision is excellence in traditional Byzantine Music as well as the advancement, development, and composition of traditional Byzantine Music in the English language.

Also Available via CD, Download, and Streaming At

iTunes Amazon Spotify ArkivMusic primephonic

Sun of Justice: A Two-Fold Offering – Part Two

Sun of JusticeWith this two-fold offering of traditional Byzantine Music, we seek to give the listener two distinct yet complementary experiences: first, that of being in a traditional Orthodox church somewhere in the Middle East, wherein one choir sings in Greek and the other in Arabic; and second: that of being in a traditional Orthodox church in the United States with highly trained and proficient chanters singing traditional Byzantine Music in straightforward, clear, properly translated English. The first experience is not uncommon today; the second is less common, but we have hope that it will soon become the liturgical standard—hand-in-hand with the continued development of Byzantine Music in Greek and Arabic—for Orthodox Christian parishes in America. Presented in liturgical sequence, each disc jumps from one moment to another, giving a taste of the entire experience of praying the Great (Royal) Hours on Christmas Eve morning, Vesperal Liturgy on Christmas Eve, and Orthros (Matins) and Divine Liturgy on Christmas morning.

Back in the United States…

I have written elsewhere concerning my general approach to the composition of Byzantine Music
in English. For this project, I was blessed to have the opportunity to set the excellent translations of my late spiritual father, the Very Reverend Archimandrite Ephrem (Lash) (+ 2016). In rendering his translations, I focused on three areas: first, setting the medium-textured Idiomela (through-composed hymns) in the most traditional way possible; second: rendering the syllabic-textured Troparia in traditional forms that lend themselves to memorization and congregational singing; and third: metering Fr. Ephrem’s translations to fit the melodies of the Greek Eirmoi for the Odes of the Canon. Each of these tasks is comparably challenging, vastly different, and equally important.

In composing the Idiomela, I may choose to follow the general contour of the Greek prototypes, but more often than not I simply allow the text to direct me where to go. Sometimes this yields a result much like the Greek, other times the result is very different. At its heart, however, are the structure and content of the text itself. I departed from the middle texture of Petros’s Doxastarion for the double-choir Doxastikon of the Ninth Hour, opting for a style closer to the slow or “old” sticheraric genre. This showcases a more melismatic style in English, for which I sought to emulate the works of Stephanos Lambadarios, Konstandinos Protopsaltis, and the newly released Doxastikarion of the Athonite monastery of Vatopaidi.

The syllabic Apolytikion and Troparia of the Prophecies in general require a process similar to that of the Idiomela: compose for the text. However, I also make an attempt to create melodies that will linger in the listener’s mind and lend themselves to memorization.

The Canon melodies, being modeled after the Eirmos of each Ode, require a metered translation in order to be sung correctly; otherwise, the Ode loses its strophic melodic pattern, and the whole structure falls away. Having been given free reinby the late Fr. Ephrem to adapt his translations as I see fit, I dedicated significant time and energy to the metering process. Rather than attempting to find the most polysyllabic synonyms possible for each translated word, I rather erred on the side of elaboration, clarification, and paraphrase—while staying within the spirit and content of each hymn text and within the bounds of Orthodox theology—and worked toward a text that is clear and theologically sound, sounds like proper English, and fits the given melody.

In undertaking these three main compositional challenges, I strove to create a series of hymns that not only would complement their Greek originals and Arabic counterparts, but that would stand also on their own merits.

John Michael Boyer (Read Part One)

Order the Recording

Sun of Justice Concert Series

Cappella’s Associate Music Director John Michael Boyer directs exhilarating Byzantine chants for Christmastide in Greek, Arabic, and English. Featuring Lebanon-born guest soloist, Rev’d Deacon John (Rassem) El Massih, and the release of a new CD of the program.

With performances in Seattle, Portland, Salem, and Sacramento.

SALEM

Thu 14 Dec, 7:30pm
Greek Orthodox Mission Church of Salem
at Blanchet High School
TICKETS Add to Calendar

SEATTLE

Fri 15 Dec, 8:00pm
St. Demetrios Greek Orthodox Church
TICKETS
Add to Calendar

Sun of Justice: A Two-Fold Offering – Part One

Sun of JusticeWith this two-fold offering of traditional Byzantine Music, we seek to give the listener two distinct yet complementary experiences: first, that of being in a traditional Orthodox church somewhere in the Middle East, wherein one choir sings in Greek and the other in Arabic; and second: that of being in a traditional Orthodox church in the United States with highly trained and proficient chanters singing traditional Byzantine Music in straightforward, clear, properly translated English. The first experience is not uncommon today; the second is less common, but we have hope that it will soon become the liturgical standard—hand-in-hand with the continued development of Byzantine Music in Greek and Arabic—for Orthodox Christian parishes in America. Presented in liturgical sequence, each disc jumps from one moment to another, giving a taste of the entire experience of praying the Great (Royal) Hours on Christmas Eve morning, Vesperal Liturgy on Christmas Eve, and Orthros (Matins) and Divine Liturgy on Christmas morning.

Somewhere in the Middle East…

Not showcasing particularly extravagant or virtuosic music, Disc One of Sun of Justice is a selection of standard, traditional settings of hymns from classical musical sources in both Greek and Arabic. The main source for the material in Greek is the Doxastarion of Petros Peloponnesios, the Archon Lambadarios (leader of the left choir), of the Patriarchal Church of St. George in Constantinople in the mid-18th century. Considered a modern father of Byzantine Music, his “New Sticheraric” genre and texture—simpler and more elegant than much of what came before—became the standard repertoire in the Greek Orthodox Churches from the 18th century on; it also served as the model for how most Byzantine Music would be adapted to other languages. In some cases, there is slight discrepancy between the hymn texts in the Doxastarion and those in the standard Menaion of the Greek Orthodox Church; where they differ, we opted to favor the Doxastarion, as this was clearly what was in use when Petros was composing.

Mitri El Murr, the composer of most of the Arabic selections on this record, emulated and evoked the style of Petros in many ways. He also incorporated some less conservative elements, however: modulations, chromaticism, and some melodic turns all his own; yet his style remains firmly within the received tradition.

In addition to these two main compositional sources, Disc One includes work in Greek by Stephanos the Lambadarios and Ioannis Vyzantios the Protopsaltis, who both emulated the style of Petros into the 19th century; the Monk Chrysostom Agiographos, a composer on Mt. Athos in the early 20th century; and my teacher and friend, Dr. Ioannis Arvanitis, who composed the Prokeimenon at the end of the disc and also the Kalophonic Eirmos which closes Disc Two.

The Arabic melody for the Kontakion is a composition by the Very Reverend Father Romanos Joubran, Dean of St. George Cathedral in Beirut, and emulates the traditional Greek melody beautifully. In addition, our own Deacon John Rassem El Massih took it upon himself to compose both the Prophecy Troparia and the Troparia of Ode I of the Canon; he also masterfully adapted Arvanitis’s melody for the Prokeimenon to the Arabic text. All in all, shifting back and forth between Greek and Arabic feels virtually seamless, and the two languages—as well as their respective melodies—complement each other beautifully.

John Michael Boyer (Read Part Two)

Order the Recording

Sun of Justice Concert Series

Cappella’s Associate Music Director John Michael Boyer directs exhilarating Byzantine chants for Christmastide in Greek, Arabic, and English. Featuring Lebanon-born guest soloist, Rev’d Deacon John (Rassem) El Massih, and the release of a new CD of the program.

With performances in Seattle, Portland, Salem, and Sacramento.

SALEM

Thu 14 Dec, 7:30pm
Greek Orthodox Mission Church of Salem
at Blanchet High School
TICKETS Add to Calendar

SEATTLE

Fri 15 Dec, 8:00pm
St. Demetrios Greek Orthodox Church
TICKETS
Add to Calendar

Why “Sun of Justice”?

Sun of Justice

John Michael Boyer explains the meaning behind the name of our Sun of Justice concert series and the new PRÓTO ensemble recording:

Sun of Justice The ecclesiastical feast day celebrating the Nativity of Jesus Christ—which came to be called simply “Christ’s Mass,” or “Christmas” in English—was added to the calendar in the Eastern Church somewhat later than were other major feasts. Originally Christ’s Nativity and Baptism were celebrated on the same day: Epiphany (January 6th). Much has been written concerning what influences—Pagan, Persian, or Christian—led to December 25th becoming the feast day of the Nativity of Christ. All three—the late Roman Pagan holiday of the Birth of the Unconquered Sun, the ancient Persian celebration of the birth of Mithras (the “Sun of Justice”), and the celebration of the birth of Jesus Christ—were each in the mind of the Roman populace to one extent or another during the development of the Christian calendar. This may explain why one of the main hymnological themes for Christmas is light in general and the sun specifically: Orthodox hymnography refers to Christ “dawning from a Virgin,” to his Nativity making “the light of knowledge dawn on the world,” and to him as the “Dayspring from on high,” or “Dayspring from the East.” The hymns even apply the title “Sun of Justice” to Jesus Christ. Christians seemed to say, “You all worship the sun in the sky or call this false god Mithras the ‘Sun of Justice,’ whereas we worship the true God, the spiritual, noetic ‘Sun of Justice’: Jesus Christ, the Son of God and true giver of light and life.”

This imagery permeates the feast’s hymnography, which also explores the paradox of God becoming man and the Virgin giving birth; the humility of the Son of God in his Incarnation; and the sanctifcation of the earth, the deification of humanity, and the reconciliation of God and Man in the God-Man Jesus Christ. The hymns culminate in creation’s universal exaltation: “Shout with joy, to the Lord, all the Earth!” “Glory to God in the highest!”

John Michael Boyer

Order the Recording

Sun of Justice Concert Series

Cappella’s Associate Music Director John Michael Boyer directs exhilarating Byzantine chants for Christmastide in Greek, Arabic, and English. Featuring Lebanon-born guest soloist, Rev’d Deacon John (Rassem) El Massih, and the release of a new CD of the program.

With performances in Seattle, Portland, Salem, and Sacramento.

SALEM

Thu 14 Dec, 7:30pm
Greek Orthodox Mission Church of Salem
at Blanchet High School
TICKETS Add to Calendar

SEATTLE

Fri 15 Dec, 8:00pm
St. Demetrios Greek Orthodox Church
TICKETS
Add to Calendar