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The Akathist is also known by the first three words of its prooimion (preamble), Te upermacho stratego (Τῇ ὑπερμάχῳ στρατηγῷ, “To you, invincible champion“) addressed to Holy Mary (Panagia Theotokos, “The all-holy birth-giver of God“). The akathist par excellence is the one written during the seventh century for the feast of Annunciation of the Theotokos (25 March). This kontakion was traditionally attributed to Romanos the Melodist since kontakia of Romanos dominated the classical repertoire 80 kontakia sung during the cathedral rite of the Hagia Sophia, though recent scholarship rejects this authorship like in case of many other kontakia of the core repertoire. The exceptional case of the Akathist is that the Greek original consists of 24 oikoi, each one beginning with the next letter of the alphabet.[1] Due to the excessive length the kontakion became truncated like the others, but even the earliest chant books with musical notation (the Tipografsky Ustav, for instance) have the complete text of all 24 oikoi written out, but the last 23 oikoi without musical notation.[2] Since the 14th century the Akathist moved from the menaion to the moveable cycle of the triodion, and the custom established that the whole hymn was sung in four sections throughout Lent. As such it became part of the service of the Salutations to the Theotokos (used in the Byzantine tradition during Great Lent). Another particular characteristic feature of the Akathist is the extraordinary length of the refrain or ephymnion which conists of a great number of verses beginning with χαῖρε (“Rejoice”) which are called in Greek Chairetismoi (Χαιρετισμοί, “Rejoicings“) or in Arabic Madayeh, respectively; in the Slavic tradition it is known as Akafist. The chairetismoi are only repeated in every second oikos, and from a musical point of view the ephymnion consists just of a short musical phrase, either about the last χαῖρε verse or about allelouia. The writing of akathists (occasionally spelled acathist) developed within the Slavic traditions as a genre of its own as part of the general composition of an akolouthia, although not all compositions are widely known nor translated beyond the original language. Reader Isaac E. Lambertsen has done a large amount of translation work, including many different akathists. Most of the newer akathists are pastiche, that is, a generic form imitating the original 6th-century akathist to the Theotokos into which a particular saint's name is inserted. In the Greek, Arabic, and Russian Old Rite traditions, the only akathist permitted in formal liturgical use is the original akathist.
