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Written with easy-to-read calligraphic elements according to the two-color standards of the old Code Writers, with notated Isokratima (vocal drone) and with full Typical Order, in the spirit of tradition, as it has been continuously shaped from the past to the present day, the ‹Musical Anthology of Orthros› is distinguished for the essential characteristic of a work of art: that is, it has nothing superfluous and lacks nothing necessary. And this is because it aims to replace the pile of all those musical and liturgical manuals, which the chanter needs, in order to cope with the various needs of the Service of Orthros, a service that is introductory to the Divine Liturgy, but particularly unstable from a Typical Order point of view, due to its direct configuration from the (fixed or movable) liturgical calendar of the day.

Although it is the center of the Divine Worship, the Service of the Divine Liturgy is not distinguished by its hymnography richness, as it was formed in the first Christian centuries, that is, long before the appearance of the great hymnographers. But even the masterful prayers, in which its authors exhausted all their theological and poetic sensitivity, are not pronounced aloud, but secretly. These archaic elements were respected to the fullest by the Church, who however made sure to brighten up the “holiday of holidays” with the musical accompaniment, which reaches its most dazzling glory in the “first of the Sabbaths”. The most representative examples of this glory, such as the slow Papadike compositions of the Cherubic Hymn and the Communion Hymn as well as the excellent ‹Dynamis› and the elaborate ‹Liturgicals› of the newer and modern composers, parade on the pages of the ‹Musical Anthology of the Divine Liturgy›.