Communion of the laity
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herron.samuel
Ieropsaltis
Personally, I only chant the Koinonikon. I usually break it up by doing a short one before the Communion of the Laity, and then use a long one for the Laity.
Is this strictly required by the Typikon, or is it just the current practice at the Ecumenical Patriarchate (or on Mount Athos, or in parishes in Greece)? Some further explanation, historical background, and specific references would be helpful to me.
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At the Ecumenical Patriarchate, they chant the slow Koinonikon verse during the communion of the clergy, they interrupt it and repeat many times the nearly recitativo version of the communion hymn of Holy Thursday "Tou Deipnou Sou tou Mystikou / Of Thy Mystical Supper (?)" until communion has finished. There are live videos from the Patriarchate available to watch the practice if you are interested (I think they include it from memory).
I chant the slow Koinonikon, make a small pause when the priest calls the people to come forward and continue the slow melos. I add a kratema if more time is required.
I chant the slow Koinonikon, make a small pause when the priest calls the people to come forward and continue the slow melos. I add a kratema if more time is required.
From the comments above, it seems that singing the slow Koinonikon is the most authentic practice. Is this practice specifically mentioned in the Typikon? And how widespread is this practice among the parishes in Greece? Can someone confirm my impression that in some parishes, other pieces are sung during the Communion of the laity (for example, Psalms)? If so, at what point did this development take place, and what are the guidelines used in selecting a piece? For example, I understand that some people sing Agni Parthene during the Communion of the laity, which I find inappropriate because it is a nonliturgical piece. I also understand that some people sing Psalm 135 (Exomologisthe), which seems at least more appropriate given the context.
tsak77
Χρῆστος Τσακίρογλου
No. This is a point, the typikon of Biolakis doesen' t write a word. It's writen about the koinonikon, the Divine society (blank) and the "Eidomen to Fos...".
It's true (and a shame also if you ask me) that at this time of the service, chanters sing enything
. I personaly agree with Dimitri, this is the time of koinonikon, because we sing the Apolytikion at it's time, we sing the doxologia at it's time atc. There isn't any time at the service that anybody can sing anything from his mind (you know "free style" ). I think that this blank point of typikon lead us to this reallity, and i believe this is a good time for the Oikoumeniko Patriarheio to make a session and make some changes and some corrections. 
Shota
Παλαιό Μέλος
The most comprehensive paper treating the issue of the communion hymn that I've seen is R. F. Taft, "The origins and development of the Byzantine communion psalmody" I: Studi sull'oriente cristiano 1/1-2 (1997) 108-134; II: 2/1 (1998) 85-107. The paper is reproduced in Taft's book "The Precommunion Rites". Notice, this is a scholarly work without pastoral implications.
Nikolaos Giannoukakis
Παλαιό Μέλος
According to the excellent compendium on the Typikon "Σύστημα Τυπικού" by Protopresvyter Father Konstantinos Papagiannis the Koinonikon (page 90, sections 128 and 129, Apostliki Diakonia tis Ekklhsias tis Ellados, First Edition 2006; I am translating and paraphrasing with some explanatory notes from this point onwards):
"The Koinonikon refers to the hymn chanted at and during the period of the Holy Communion in the service of the Holy Liturgy. In earlier times, the koinonikon consisted of an entire psalm whereupon a characteristic efymnion [verse] ending with Alleluiah would follow each of the psalmic verses. In this manner, the chanting of the koinonikon would cover the entire time in which the faithful would receive communion. With time, however, the psalmic verses fell into disuse and what remained was the characteristic efymnion that was chanted in a slow manner once and only at the time where the clergy received communion. The invocation "Tou Deipnou sou tou mystikou" was then used at the time at which the faithful received communion."
Papagiannis footnotes this section (footnote 118) with the following observation and opinion (again translated and paraphrased):
"Today, many chanters, in violation of formality, have replaced the koinonika with verses of Polyeleoi or other quasi-psalmic or psalm-inspired verses (e.g. Που πορευθω απο του πνευματος σου....Κυριε ο Κυριος ημων) which has no relation to the context of the celebration (the day) or the feast. It is more correct and appropriate to return to the old practice, to chant the koinonikon in a brief manner, repeating the specific efymnion verse with the Alleluiah after each of the psalmic verses or those psalmic verses of relevance to the feast and to continue the chanting of the psalm in this manner throughout the period at which the faithful receive communion".
I append a scan of the page for those who wish to view the original Greek text.
SOME THOUGHTS, especially for those outside of Greece (and maybe some inside Greece!).
The comments by Fr. Papagiannis are indeed correct and this is what we should all strive for.
However at the same time, let us consider the following:
1) The Polyeleos is omitted at the orthros for certain feasts in almost all churches in Greece and to my knowledge in all the churches outside Greece
2) The Canon (especially the Canon of the celebrating saint in the Minaion, or of the day in the Triodion) is omitted in its entirety in almost all churches outside of Greece and maybe even some in Greece
3) Most faithful come to church at the end of the Orthros and at the Liturgy
Given the high didactic value, especially of the Canon, perhaps consideration could be given to permit chanting of as many troparia of the odes as possible during the communion of the faithful, keeping in place the koinonikon prior to "Meta fovou Theou".
A lot worse is happening now (kratimata-some self-composed that are outside any tradition, unrelated chants including the Agni Parthene where an edict by the Ecumenical Patriarchate has frowned on its use and so on).
I am not taking a position for or against the polyeleoi or anything else, but I share these thoughts for discussion. I am "guilty" of polyeleos from time to time at the communion of the faithful, although the choice is in context of the day (or the feast).
Ultimately, the Ecumenical Patriarchate will have to sit and seriously consider and reconsider what is appropriate. Until then, it is safest and historically prudent to seriously adopt what Fr. Papagiannis (and tradition) writes.
NG
"The Koinonikon refers to the hymn chanted at and during the period of the Holy Communion in the service of the Holy Liturgy. In earlier times, the koinonikon consisted of an entire psalm whereupon a characteristic efymnion [verse] ending with Alleluiah would follow each of the psalmic verses. In this manner, the chanting of the koinonikon would cover the entire time in which the faithful would receive communion. With time, however, the psalmic verses fell into disuse and what remained was the characteristic efymnion that was chanted in a slow manner once and only at the time where the clergy received communion. The invocation "Tou Deipnou sou tou mystikou" was then used at the time at which the faithful received communion."
Papagiannis footnotes this section (footnote 118) with the following observation and opinion (again translated and paraphrased):
"Today, many chanters, in violation of formality, have replaced the koinonika with verses of Polyeleoi or other quasi-psalmic or psalm-inspired verses (e.g. Που πορευθω απο του πνευματος σου....Κυριε ο Κυριος ημων) which has no relation to the context of the celebration (the day) or the feast. It is more correct and appropriate to return to the old practice, to chant the koinonikon in a brief manner, repeating the specific efymnion verse with the Alleluiah after each of the psalmic verses or those psalmic verses of relevance to the feast and to continue the chanting of the psalm in this manner throughout the period at which the faithful receive communion".
I append a scan of the page for those who wish to view the original Greek text.
SOME THOUGHTS, especially for those outside of Greece (and maybe some inside Greece!).
The comments by Fr. Papagiannis are indeed correct and this is what we should all strive for.
However at the same time, let us consider the following:
1) The Polyeleos is omitted at the orthros for certain feasts in almost all churches in Greece and to my knowledge in all the churches outside Greece
2) The Canon (especially the Canon of the celebrating saint in the Minaion, or of the day in the Triodion) is omitted in its entirety in almost all churches outside of Greece and maybe even some in Greece
3) Most faithful come to church at the end of the Orthros and at the Liturgy
Given the high didactic value, especially of the Canon, perhaps consideration could be given to permit chanting of as many troparia of the odes as possible during the communion of the faithful, keeping in place the koinonikon prior to "Meta fovou Theou".
A lot worse is happening now (kratimata-some self-composed that are outside any tradition, unrelated chants including the Agni Parthene where an edict by the Ecumenical Patriarchate has frowned on its use and so on).
I am not taking a position for or against the polyeleoi or anything else, but I share these thoughts for discussion. I am "guilty" of polyeleos from time to time at the communion of the faithful, although the choice is in context of the day (or the feast).
Ultimately, the Ecumenical Patriarchate will have to sit and seriously consider and reconsider what is appropriate. Until then, it is safest and historically prudent to seriously adopt what Fr. Papagiannis (and tradition) writes.
NG
Nikolaos Giannoukakis
Παλαιό Μέλος
Check this link:
http://www.myriobiblos.gr/texts/english/taft_evolution_6.html
Rev. Dr. Taft is one of the most eminent ecclesiologists of our time.
NG
http://www.myriobiblos.gr/texts/english/taft_evolution_6.html
Rev. Dr. Taft is one of the most eminent ecclesiologists of our time.
NG
domesticus
Lupus non curat numerum ovium
Thank you for your reply. I have a great deal of respect for Fr. Constantine Papagiannis, and I read his comments with great interest.
Does anyone have specific instructions for this practice for a typical Sunday (i.e., for the Koinonikon "Praise the Lord from the heavens")? Knowing that Fr. Constantine Papagiannis is a prolific editor and composer, it seems likely that he has prepared either text or music.
Does anyone have specific instructions for this practice for a typical Sunday (i.e., for the Koinonikon "Praise the Lord from the heavens")? Knowing that Fr. Constantine Papagiannis is a prolific editor and composer, it seems likely that he has prepared either text or music.
Π. Δαβίδ
Γενικός συντονιστής
Fr C. Papagiannis has indeed prepared a book called "Antiphonarion" which has music for all prokeimena and koinonika of the entire church year.
This is the second time someone mentions an official decision about this issue. Can someone, please, give more details: who issued this resolution, when, to whom and what exactly did it say.
In Russian I've read the following decrees of the Holy Synodos of the Russian Church:
June 8, 1797: Instead of concerts one should chant an appropriate psalm or the usual Koinonikon.
April 19, 1850: Musical compositions of the recent time, printed or manuscripts, that are known under the name "concerts" should not be allowed instead of the Koinonikon during the sacred Liturgy.
Π. Δαβίδ
Γενικός συντονιστής
http://www.imml.gr/webpages/egkyklioi/2006/16_hieropsaltes.htm
This is an encyclical letter of Mgr. Nikolaos, Metropolitan of Mesogaia, which bans the singing of Agni Parthene & concert like pieces in divine worship.
This echoes my own intuition; namely, while the koinonikon is to be preferred of course, other psalms (if chosen with consideration to the context of the day or the feast) still fall within the general realm of appropriateness. The polyeleos of the day seems like a good candidate, especially in parishes where it is not chanted during the Orthros. My intuition tells me that hymnody (as opposed to psalmody) is less appropriate, due to its potential to distract one's attention from the sacred act that is taking place. I would appreciate any other thoughts about this.
Shota
Παλαιό Μέλος
The point is that the Polyeleos content most often will not bear any relationship to the feast or the day. Also on many Sundays there will not be any Polyeleos. Are we supposed to chant the Amomos then?
The koinonikon of the Great Thursday "Tou deipnou sou" is a nonscriptural hymn, as well as the koinonikon of Pascha "Soma Christou".
domesticus
Lupus non curat numerum ovium
A sample from Fr. Constantine Papagiannis' ''Menologion'', February 10th, st. Charalampos feast.
Koinonikon, The righteous shall be in eternal memory; Alleluia
Nine appropriate verses (in this occasion from various psalms) are following. After each verse the koinonikon is repeated. At the end ''Glory ... Now and ..''
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dimskrekas
Δημήτρης Σκρέκας
Being in accordance with that, he bans also from any liturgical occasion at his Diocese the mixed choirs , the choir singing in an ornamented tetraphony ( ie the four-part harmony), as well as the melodies that are full of emotion.
Οἱ μεικτὲς χορωδίες, οἱ ἐπιτηδευμένες τετραφωνίες, τὰ γεμάτα συναίσθημα μελίσματα, τὰ ἐκκλησιαστικὰ τραγουδάκια ποὺ δὲν ἔχουν καθιερωθεῖ ὡς λειτουργικοὶ ὕμνοι, ὅπως τὸ ῾Αγνὴ Παρθένε Δέσποινα ἢ τὸ Ἕνας εἶναι ὁ Κύριος, δεύτερη εἶναι ἡ Παναγιὰ καὶ τὰ συναφῆ, ὅπως καὶ κάθε αὐθαίρετη καινοτομία, ἀπαγορεύονται ἀπὸ τὴν λατρεία στὴ Μητρόπολή μας.
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Nikolaos Giannoukakis
Παλαιό Μέλος
For example:
http://www.youtube.com/watch?v=foI18iNpZL8&feature=related
Theodoros Vasilikos, as talented as he is (well, was), overstepped the boundaries many many times in his service to the church. He is not unique. There are many others who take the liberty of the period of the communion to step outside the bounds of seriousness and "ιεροπρέπεια". One can be talented and yet remain within the bounds of ecclesiastic respect.
Also, please note my comment in its entirety, otherwise some other readers may take it out of its intended context and it can become misrepresented. I have followed way too many dialogues in the Psaltologion over the years that are based on cropped quotations, paraphrasings etc. which unfortunately end up with unintended consequences
Thank you,
NG