Agni Parthene
O Virgin Pure (Greek: Ἁγνὴ Παρθένε, today posted Αγνή Παρθένε, German: Pure Virgin ) is a in almost all Orthodox churches widespread Marien - hymn , that of Nektarios of Pentapolis was written, an Orthodox saints of the 19th century.
The original Greek text was printed in the booklet Theotokarion mikron , a collection of Marian hymns from the pen of Saint Nectarius. The hymn was later translated into numerous other languages.
Origin and Distribution
One night the Blessed Mother is said to have appeared to Saint Nectarios and asked him to write a special hymn in her honor. The hymnographer, who later composed the melody for the text of Saint Nectario, is said to have been honored before the melody of an apparition of the Blessed Mother was written. The lyrics were printed in the booklet Theotokarion mikron . The melody is known to come from monks of the Simonos Petras monastery .
“The hymn is popular with the monks of Simonos Petras Monastery and it spread among Orthodox believers in Greece and around the world. It was also O Virgin Pure later translated into many languages and the original Byzantine original melody was adapted to the respective usual tradition of church singing. One such variant of the song is the melody for the Russian translation from the Valaam monastery . “Russian translation” here means a translation into New Church Slavonic , the current level of Russian Church Slavonic .
The structure of the hymn
The hymn (hymn of praise) Agni Parthene is, like the hymn Akathistos, which is considered the oldest Marian poem, an antiphon (alternating song ). The 24 invocations of Mary are followed by the same refrain: Χαίρε Νύμφη Ανύμφευτε ( Greetings ("Rejoice"), unwed bride! ), Which is reminiscent of the Lauretan litany with its refrain ora pro nobis! ( please for us! ) remembered.
The 24 invocations are divided into four stanzas, each with three melody parts, each of which is sung twice. Only the last part of the melody changes when repeated at the end. The melody follows the Aeolian mode ( minor key ), but the middle melody part of each stanza leads over to the Doric mode .
The fourth and final stanza is very different from the first three stanzas. These emphasize the sublime qualities of the Mother of God so strongly that the requests to her contained only in the last stanza appear like a privilege granted to the citizen of the world, which one hardly dares to use. The Greek singer Kabarnos Panagiotis, for example, illustrates the transition to the fourth stanza by briefly reducing the tempo ( ritenuto ) and changing chords as early as the second full bar of this stanza.
Original text, transcription, translation and transmission
The widespread sung text
Greek text
St. Nektarios 1905
1.
Αγνή Παρθένε Δέσποινα,
Άχραντε Θεοτόκε, R
Παρθένε Μήτηρ Άνασσα,
Πανένδροσέ τε πόκε. R
Υψηλοτέρα Ουρανών,
ακτίνων λαμπροτέρα, R
Χαρά παρθενικών χορών,
αγγέλων υπερτέρα, R
Εκλαμπροτέρα ουρανών,
φωτός καθαροτέρα, R
Των Ουρανίων στρατιών
πασών αγιωτέρα, R
2
Μαρία Αειπάρθενε
κόσμου παντός Κυρία, R
Άχραντε Νύμφη Πάναγνε,
Δέσποινα Παναγία, R
Μαρία Νύμφη Άνασσα ,
χαράς ημών αιτία, R
Κορή σεμνή Βασίλισσα,
Μήτηρ υπεραγία, R
Τιμιωτέρα Χερουβείμ,
υπερενδοξοτέρα R
Των ασωμάτων Σεραφείμ,
των Θρόνων υπερτέρα, R
3
χαίρε το άσμα Χερουβείμ,
χαίρε ύμνος Αγγέλων, R
χαίρε ωδή των Σεραφείμ,
Χαρά των Αρχαγγέλων, R
Χαίρε ειρήνη και χαρά,
λιμήν της σωτηρίας, R
Παστάς του Λόγου ιερά,
άνθος της αφθαρσίας, R
Χαίρε Παράδεισε τρυφής
ζωής τε αιωνίας, R
Χαίρε το ξύλον της ζωής,
πηγή αθανασίας, R
4.
Σε ικετεύω Δέσποινα,
Σε νυν, επικαλούμαι, R
Σε δυσωπώ Παντάνασσα,
Σην χάριν εξαιτούμαι, R
Κορή σεμνή και άσπιλε,
Δέσποινα Παναγία, R
Θερμώς επικαλούμαι Σε,
Ναέ ηγιασμένε, R
Αντιλαβού μου, ρύσαι με,
από του πολεμίου, R
Και κληρονόμον δείξον με
ζωής της αιωνίου. R
R (refrain):
Χαίρε Νύμφη Ανύμφευτε.
Phonetic transcription
1.
Agní parθéne ðéßpina,
áchrante θeotóke, R
parθéne mítir ánaßßa,
panénðroßé te poke, R
ipßilotéra Uranon,
aktínon lamprotéra, R
Chará parθenikón CHORON,
Angelon ipertéra, R
eklamprotéra Uranon,
fotóß kaθarotéra, R
ton Uranion ßtratión
Passon agiotéra, R
. 2
Maria ai-párθene
kóßmu pantóß KIRIA, R
áchrante nímfi pánagne,
ðéßpina Panagía, R
Maria nímfi ánaßßa,
charáß Imon etia, R
Kori ßemní waßílißßa,
mítir iperagía, R
timiotera cheruwím,
iperenðoxotéra R
ton Assomaton ßerafím,
ton θrónon ipertéra, R
. 3
chére to Assma cheruwím,
chére ímnoß Angelon, R
chére ODI ton ßerafím,
Chará ton archangélon, R
chére Irini ke Chara
Limín ßotiríaß TISS, R
paßtáß tu LOGU iera,
ánθoß TISS afθarßíaß, R
chére Paradisse trifíß
soíß te eoníaß, R
chére to Xilon TISS soíß,
Pigí aθanaßíaß, R
4
SSE iketéwo ðéßpina,
SSE, nin, epikalúme, R
SSE ðißopó pantánaßßa,
ssin Charin exetúme R
Kori ßemní ke áßpile,
ðéßpina Panagia R
θermós epikalúme SSE,
na-é igiasméne, R
antilawú mu , ríße me
apó tu polemíu, R
ke klironómon ðíxon me
soíß tiß eoníu. R
R (refrain):
chére nímfi anímfefte.
Literal translation
1.
Pure virgin, mistress,
immaculate
Theotokos ,
virgin, mother, ruler
and everyday fleece:
higher than heaven,
brighter than (sun) rays,
joy of virgin choirs,
standing above angels, more
illustrious than heaven,
purer than light,
holier than all the
heavenly hosts.
2.
Mary, eternally virgin
mistress of the whole world,
immaculate, all pure bride,
all holy mistress,
Mary, bride, ruler,
cause of our joy,
dear daughter, queen,
most holy mother,
honored as cherubim,
incomparably more glorious
than the disembodied seraphim,
greater than the thrones.
3.
Rejoice, song of the cherubs!
Rejoice, hymn of angels!
Rejoice, Ode of the Seraphim,
joy of the Archangels!
Rejoice, peace and joy,
haven of salvation!
Room, consecrated to the word,
blossom of immortality,
rejoice, paradise of bliss
and eternal life!
Rejoice, tree of life,
source of immortality!
4.
I beg you, mistress,
I call to you now.
Pleading softly, All Saints,
I ask your grace.
Dear
and flawless daughter,
holy mistress,
I call you heartily ("warm"),
sacred temple:
Help me, attract me to you
(protectively) from the enemy!
And show me as heir
of eternal life!
R (refrain):
Rejoice, unwed bride!
Metric rhyme transmission
Martin Bachmaier 2015
1.
O purest virgin, ruler,
bearer of God the Son! R
O virgin, mother, queen
and adornment of his throne! R
Soar high above the sky,
shining brighter than the sun. The
joy of the holy virgin choir,
the angels increase their joy. R
the heavens fall to your splendor;
Light bleaches from your purity. R
You surpass
all Heavenly Army units in holiness . R
2.
Mary, virgin always pure
and mistress of all the world there! R
without flaws, without the seed of sin,
the river of grace delta. R
Mary, bride and ruler
and the source of our joy! R
Holy Mother, Queen
and Wife in Eve's place! R
Are more honored than cherubims,
are greater than thrones. R
Gar the glory of the Seraphim gives way to
the dignity of your crown. R
3.
O rejoice, song of the cherubs!
An angel sound picking! R
O rejoice, Sang the Seraphim,
the Archangels Delight! R
O peace, joy, rejoice today,
O rejoice, Savior's gate! R
robe of immortality,
chamber, consecrated to the word! R
You are
paradise, so beautiful always,
you are the tree of life in Eden. R
And immortality
sprouts from you, eternal life smells. R
4.
To implore you, oh dear bride,
I now dare in humility! R
Lower your eyelids trust!
I just want your grace! R
, ruler so graciously always,
want, virgin, to look at me! R
You temple of noble prayer,
mother, my trust! R
So help me, take me, protect me
from enemy anger and wooing! R
And do - I ask you heartily! -
I inherit eternal life! R
R (refrain):
Rejoice, unwed bride! (*)
Remarks:
- (*)This German refrain, which literally translates the Greek, calls for a slightly different rhythm, namely Freu (1) -e (1) dich (1), un (2) -ver (1) -mähl (2) -te (1 ) Bride (3)! The numbers in brackets after the respective syllables indicate their length in quarter notes.
- To understand the transcription, reference is made to the pronunciation of modern Greek .
- Martin Bachmaier comments on the original text, the above transcription, translation and transcription and suspects that the only repetitive verse in the middle melody part of the last stanza, Δέσποινα Παναγία, could have been created by accidentally printing a previous verse; namely, together with the verse Ναέ ηγιασμένε, it forms the only pair that does not rhyme.
The rhyme-preserving modification of a version sung to an original melody
The previous widespread sung text lacks the fourth stanza of a rhyme in the middle. But this is present in a text sung to an original melody, a text that is the same as the above version except for the middle section. The middle part is as follows:
Greek text
. St. Nektarios 1905
fourth stanza,
medium melody part:
Κορή σεμνή και άσπιλε,
Δέσποινα Παναγία, R
Επάκουσόν μου, άχραντε,
κόσμου παντός Κυρία, R
Phonetic transcription
4th stanza,
middle melody part:
korí ßemní ke áßpile,
ðéßpina panagía, R
Epákusón mu, áchrante,
kósmu pantós kiría, R
Literal translation
4th stanza,
middle melody part:
values and flawless daughter,
all holy mistress / ruler,
hear me, immaculate,
mistress of the whole world,
These verses are also part of the Ωδή Δευτέρα ( second ode ), a collection of Nektarios odes to the Most Holy Theotokos. This Ωδή Δευτέρα begins with the first stanza of Αγνή Παρθένε, but then deviates from it.
Notes and chords
An original notation of the hymn can be found at New Byzantium Publications. Martin Bachmaier created the notation for the three melody parts A, B and C with the corresponding refrain and matching chords after listening to different versions of the hymn.
Links to lyrics and chants in different languages
Tabular links to the texts and chants in the individual languages
| language | Beginning of the song with a link to the lyrics | Singer linked to the vocals | Remarks |
|---|---|---|---|
| Balkan Indo-European languages | |||
| Original language: Greek, language level Koiné (an official language on Mount Athos ) |
Αγνή Παρθένε (Agní Parthéne) |
Monks of the Greek monastery Simonos Petras | From here the Agni Parthene spread. |
| Greek singer Kabarnos Panagiotis | the 4th verse begins with a ritenuto and a chord change soon | ||
| Greek singer Petros Gaitanos | the 4th verse begins with a particularly powerful ritenuto | ||
| Serbian singer Divna Ljubojević | sings verses 1, 2 and 4; has the most YouTube views | ||
| A singer | sings the original Byzantine melody in the rhymed text version throughout | ||
| Albanian | A choir | ||
| Slavic languages | |||
| Old Church Slavonic | Владычице Пречистая | A choir | 3-verse |
| Russian New Church Slavonic | Марие, Дево Чистая | Valaam Brethren Choir from Valaam Monastery (Russia) | 3-verse, very nice recording |
| Ukrainian New Church Slavonic | Маріє, Діво Чистая | Greek Catholic monks from Univ Lawra | 3-verse, very nice recording |
| Serbian | Чиста Дјево Владичице | A choir | 3-verse |
| Czech | Čistá Panno | 4-verse, rhyming text | |
| Romance languages | |||
| Romanian | Fecioara Maica Maria | A soloist with a choir | very clear voice, sings 6 out of 7 stanzas (1–5, 7)! |
| A soloist with a choir | 3-verse | ||
| Spanish | Señora, oh purísima | Choir of the San Jorge Orthodox Cathedral, Mexico | Song title: Virgen Madre alegrate (refrain); rhymed text |
| Oh pura y virgen señora | only translation, not singable | ||
| Portuguese | Ó Virgem Pura | rhymed text | |
| French | O Vierge Pure | Nana Péradzé & Harmony Choir | delicate female voices, beautiful pictures |
| Italian | O senza macchia pura | Irini Pasi Ensemble | Chorus and 2nd – 4th Verse sung in Greek |
| Latin | Deique casta genetrix | Rhymed and accentuating as well as quantifying metric text: Martin Bachmaier | |
| Germanic languages | |||
| English | O Virgin Pure | Boston Byzantine Choir | Text: Holy Nativity Convent, Saxonburg |
| O Pure and Virgin Lady | Teen Soyo (Antiochene Orthodox youth group) | Text: Bishop Basil | |
| German | O pure virgin | Text: Monastery of John the Forerunner, Chania 2008 | |
| O purest virgin | Metrically rhymed text: Martin Bachmaier 2015 | ||
| Semitic languages | |||
| Arabic |
عذراء يا أم الإله ('adhrāu yā umma-l-ilāh) |
A choir | |
| Reema Rahbany (Monastery of John the Baptist) | sings 1A, 3B, 1B Arabic, verse 4 Greek, verse 4 Arabic; nice shot | ||
|
أم الإله يا بتول (umma-l-ilāhi yā batūl) |
Shabibat Al Mokhalles (instruments, soloist, women, men) | rhythmic alternating singing: 1st soloist, R: women; 2. Men, R: women; 3. Women, R: men; 4. Soloist & Men, R: Women | |
| Sino-Tibetan languages | |||
| Classic Chinese | 潔 貞 君 后 兮 無 玷 誕 神女 | Written language in Northeast Asia until the 19th century | |
| Altaic languages | |||
| Korean | 순결 하신 동정녀 시여 | ||
| Austronesian languages | |||
| Indonesian | Ya Perawan Murni junjungan | ||
The available texts for the different languages on a single website
- Agni Parthene - a hymn to Mary in different languages (all texts with links to the most beautiful chants)
Individual evidence
- ↑ a b Θεοτοκάριον μικρόν, Αθήνα, 1905 ( Little Theotokos , Athens, 1905).
- ↑ Το συγγραφικό έργο του Αγίου Νεκταρίου ( The literary work of Saint Nectarius )
- ↑ a b Orthodox parishes of Balingen and Albstadt
- ↑ “¡Virgen Madre alégrate!” Himno de San Nectario. ("Virgin Mother, Rejoice!" Hymn of Saint Nectarius.) (English)
- ↑ Αγνή Παρθένε (Agni Parthene). The original Greek text of St. Nektarios.
- ↑ a b c d e f g h Martin Bachmaier: Agni Parthene in German - O purest virgin, ruler. Greek text, transcription, translation, transcription, annotations, notes and chords.
- ↑ Ἁγνὴ Παρθένε Δέσποινα (Agni Parthene Despoina). The authentic original Greek text of St. Nektarios.
- ↑ Ωδαί Α. έως Γ. εις την Υπεραγίαν θεοτόκον - Οσίου Πατρός ημών Νεκταρίου Επισκ. Πενταπόλεως του θαυματουργού (Oden Alpha to Gamma to the Most Holy Theotokos - our holy father Nektarios, the miraculous bishop of the Pentapolis).
- ↑ The original notation of Agni Parthene on newbyz.org (New Byzantium Publications)