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Archive for February, 2012

“…they don’t know what it means…”

I’m way behind in blogging, I realize. I have a lot to say about the Florovsky Symposium as well as my trip to Holy Cross, plus there some other cool things going on I need to talk about, etc. but it’s probably going to have to wait until after my visit to Emmaus.

11 years ago today, Megan and I got married. I must say it was the best stroke of good fortune I’ve ever had; I married the most awesome person I know. Brains, looks, character, portability — she’s got it all. (Maybe not so lucky for her, but I guess that’s how it goes when the man marries up.) The full run-down of the day must wait for another time, but the four things everybody seems to remember are 1) me being a wet drippy faucet as Megan came down the aisle, 2) my father-in-law’s Vito Corleone impression during his toast (the sole reason I wish we had we had had a videographer, at least for the reception), 3) the magic show put on by our dear friend Bill Darkow (aka “The Amazing William”) as a distraction while our caterer* was being good-cop/bad-cop-ed by the dads for being unapologetically two hours late, and 4) the priest saying during his homily, “They’re getting married, and they don’t know what it means.”

Well, eleven years later with, at long last, our first child on the way, I think we still don’t know what it means, really. Neither of us are really the same people who stood in St. Margaret’s Episcopal Church on 24 February 2001 and said “I do”. And you know what? Thank God, on both counts. That means that we’re not prone to the problem of familiarity breeding contempt. God forbid we ever think of ourselves as “done”, or else we most certainly will be in short order.

Love you most, Cadt!

(* Lyle Finley d/b/a Ritz Catering, and perhaps these days as Lyle’s Catering Company; in any event, based on our experience, I not only cannot recommend him, I must actively evangelize against doing business with him, but I’ll tell the whole story another time.)

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Some interesting choir school stuff…

I’ve banged the drum about as loudly as I possibly can for at least starting a conversation about the choir school as a potential model for youth musical education in Orthodox Christianity, and nobody can say that the idea wasn’t given something of a popular hearing; it’s just clear that it isn’t anything anybody wants to talk about any further right now. Well, for a lone blogger, I guess I could have done worse. But what if I’m not just a lone blogger anymore…?

Oh, but I’m getting ahead of myself. Anyway, I’m morally obligated to pass along interesting tidbits about choir schools as I find out about them (I’m kind of the Ain’t It Cool News of the topic, I suppose), so here are a couple of them.

  • A few years ago, the then-blog of Westminster Cathedral in London posted an eight minute promo reel for a proposed documentary series about their choir school. It was a major inspiration to me, even in those eight minutes, but alas, the series never got past the promo reel, and then the rightsholders asked that the video be taken down. Well, recently, it’s been put back up. Here it is:
  • The Choir School of Madeleine Cathedral in Salt Lake City, it has just come to my attention, is also the topic of a forthcoming documentary. The Choir. They are at present finalizing their festival schedule, I’m told, so I have no idea exactly what the release pattern might look like, but I’ll be fascinated to see what the end result looks like. Here’s a trailer:

Part the Third: The Nowhere In Particular Years

Where we last left off, I had been given an immersion, threefold, believer’s baptism at Overlake Christian Church in the spring of 1989, only for my mother and I to stop going entirely.

Why did this happen? Well, it’s complicated, and I’m not completely certain I understand it myself. What seems to have happened is that, as I said, domestically we were in crisis mode, and while Overlake’s services did a nice job of whipping you up into an arm-waving frenzy under their roof, Mom seemed to be weighed down by the disconnect between that stirring up and the despair that we were dealing with in the rest of our life. To a very real extent, I think the unraveling of our collective household well-being was also underscoring for my parents what it meant to be “unequally yoked”. In the midst of all of this trouble, the only two things my parents seemed to really have in common were me and their mutual unhappiness, and I think my mom maybe wanted to de-emphasize the religious difference to see what would happened, and perhaps she just wanted some time away from God to try to understand why he had put her there. On a practical level, between it taking over a year to sell our house, starting to hop from rental property to rental property once every year or so, and also having to go back to work, maybe Mom was just too exhausted to make Sunday mornings work for awhile.

Whatever the case was, she wasn’t going, and that meant I wasn’t going. For us, that changed a lot; absolutely zero changed for my dad, except that he didn’t have to worry that somebody was going to pressure him into doing something he didn’t want to do. (“Why in the hell would somebody who can’t think of a halfway decent way to spend Sunday morning want to live forever?” was one of his memorable lines in this period.)

In the vacuum, I became… I don’t know. Between all the arguing and the stress they were constantly under, all I wanted was to not be part of the problem. So I basically stopped talking to them and did my best to be a good kid, whatever that meant, on my own. In religious terms, I had absolutely no idea how to make that mean anything by myself; the only concrete ideas I had to fall back on were the precepts outlined in Josh McDowell’s Answers book, but those weren’t really holding up very well anymore. There was no community to reinforce anything, and my parents were dealing with their own problems, so I was scrambling.

I became a goth kid of sorts; I started wearing mostly black, I discovered the Cocteau Twins and David Lynch and Gary Numan and Blade Runner and Christian Slater and re-discovered anime, I started playing Rush songs on the guitar, and I got into the major Seattle bands a couple of years early. More about this later.

I have to skip ahead to my junior year of high school, because there really isn’t anything of note between the time we stopped going to Overlake and ’92/’93 in terms of me and Christianity. My grandmother tried to insist to my mom that she needed to find a good old-fashioned Lutheran church, and my mom just smiled and nodded. My dad had made friends with one Rick Snodgrass, an Evangelical pastor who had started a church in Redmond, and my mom and I tried to go there a couple of Sundays, but it just didn’t take. (Rick also offered to let me play guitar in their praise band, but I went to one rehearsal and felt like a square peg in a round hole.) The one major thing I can say, I suppose, is that I never lost my faith; there wasn’t anything in particular supporting it, and it was becoming evident to me that the Evangelicals on a national scale were distinctly interested in pointing fingers at other people as much as they could with no room for disagreement, but that couldn’t mean that Christianity itself was invalid, right? I didn’t really know what that meant for me, since so far as it had been explained to me, there were the real Christians who went to Overlake, explicitly non-Christian cults like Catholicism and Mormonism and Unitarianism, and then the “denominations” which were basically implicitly non-Christian cults made up of people who weren’t really serious about Christ. So where in the world did somebody like me fit in, somebody who believed but who wasn’t thrilled with who appeared to be controlling the conversation? I had no way to answer that question. It was kind of academic anyway, since I didn’t drive until my senior year of high school (I’ll explain later), and couldn’t get anywhere on my own Sunday mornings.

Junior year of high school, I had a crush on a very nice and very pretty Christian girl who went to Overlake. This was, alas, not destined to be my first successful attempt to convince somebody I liked that they liked me back enough to want to actually call ourselves something (that would have to wait a few more months), but she liked me enough at least that when I said that I used to go to Overlake until my mom stopped going, she offered to pick me up on Sunday mornings. Well, okay, then.

It was a curious experience, being back after four years. The high schoolers had their own separate service with their own pastor, which is what my friend and I went to, although it was basically the exact same format as the adult service. The very best thing I remember about the experience is that the high school pastor was a wonderful guy who genuinely cared about kids and had a very real love for God. He also had a heart for the outsider, which meant that the couple of times I specifically went to him because I needed to talk, he knew exactly what to say to me, and he appeared to actually be concerned with what became of me. I’m really grateful for that man, and only wish I could have gotten to know him better.

The rest of it… well, not to put too fine a point on it, but my chief impression was one of conservative rich white kids patting themselves on the back for being conservative rich white kids, and it was plain as day to me that I didn’t fit in with that crowd, no matter how much I wanted to go to church somewhere and no matter how much I wanted to make this girl like me. (She herself also didn’t entirely fit in, but she fit in better and more naturally than I did.) Most of my memories on this point are somewhat impressionistic — I remember a couple of guys who were very reminiscent of Roger and Burt, the two Young Republican groupies from Bob Roberts, getting up and singing a song one day called “All He Needs Is A Few Good Men”. I remember there being this guy who was far, far, far more of a suburban goth-wannabe than I ever was who was bragging one day about having written a “gay-bashing techno song” that he had poetically titled “Hey You Faggot”. I remember Bill Clinton’s candidacy being of great concern, with somebody getting up one Sunday and talking very solemnly and seriously about how we had to consider the possibility that he could be the Anti-Christ, and somebody else saying that the central credit card computer was being openly referred to by the banks as “the Beast”. I remember there being nobody who really talked to me besides my friend (plus a couple of other people I already knew who went there) and the high school pastor. I even tried to do some of the social events like rollerskating and whatnot, but I just felt awkward and didn’t know where to put myself. (Again, the pastor was the main person who talked to me that evening.)

I talked with one of my other friends who went there about feeling lonely at Overlake. “Well,” he said very sincerely, “you’re somebody who’s got a lot of questions. Overlake is really someplace for people who have accepted the answers.” Huh. Okay, then. If even this guy felt I didn’t belong there, then maybe I didn’t belong there. By that point it was also clear that my friend had considered the notion of being more than friends with me and found the idea ultimately wanting, which was making the extra effort for her of picking me up something of a strain. The best thing to do seemed to just stop going, and that’s what I did. I wanted so badly to be a Christian and to have a church to go to — but the feeling wasn’t being reciprocated, apparently, and it seemed really hard to fit in where affluent suburban Evangelicals wanted kids like me to fit in.

Shortly thereafter, during my very first trip to Indiana in fact, the word “girlfriend” actually became a practical word in my vocabulary rather than simply a theoretical construct. She was raised Lutheran, more or less, which, as somebody with Lutheran roots for whom non-denominationalism hadn’t worked, sounded potentially promising to me, only to find out that she herself had no particular interest in it. Ah, well.

A few months after that, another girl was in the picture (oh, the drama that was my senior year of high school) who had been raised Unitarian, sort of. By that point I actually had a driver’s license and could go to church wherever I wanted if I wanted to go; I did so want, and she was okay with going with me. The question was, where to? There was a Baptist church that one of my favorite teachers went to, and I had gone there once with my mom, but it was too much like Overlake. I was completely out of the loop otherwise and had no idea where to go.

One day at school, I overheard a guy, an acquaintance whom I liked and respected but didn’t know all that well, talking with somebody about the sermon they had heard at church the previous Sunday. I can’t remember a thing about what he actually said, but it sounded interesting and thought-provoking at least, so I asked where he went. “Northlake Lutheran,” he said. Huh. Okay. I looked it up, and it was maybe 10 minutes from where I lived. Well, why not.

That’s where I found myself the next Sunday. The first thing that jumped out at me was that the place was small. There were certainly less than 200 people in the nave, which made it smaller than Overlake’s high school service alone. The next thing was that there was some kind of order to the service — “liturgy”, I heard this referred to as, which was a word I couldn’t remember hearing before. The singing free-for-all at the beginning and end wasn’t at all what happened here; there seemed to be specific moments where music happened, and it was regulated. There were hymnals, and we were supposed to be able to pick up the hymnals to follow what was going on. There was an organ and a choir, characteristics that had seemed to be stereotypically “churchy” in the movies but hadn’t ever been part of my experience. The next thing was that the sermon was short — like ten minutes tops, and the pastor seemed to base his homily on something other than his personality, which was hardly magnetic. He was kind of awkward, really, but that actually made the content of his sermon all the more powerful. Well, I did my best to sing along from the hymnal, I stumbled along with service as best as I could, with everything being sort of half-remembered (since it had been ten years since I had been to a Lutheran service), I was sort of scandalized by the use of real wine at Communion, and then that was that — the service was over. Maybe an hour.

The moment that brought me back the following Sunday, though, was that as the congregation filed out of the church, the pastor (Wm. Chris Boerger, now bishop of the ELCA Northwest Washington Synod) greeted everybody personally, and when he got to me, he shook my hand and said, “Hi, I’m Pastor Chris. I don’t know you. What’s your name?”

What? The pastor knew his people well enough to know that there was somebody there he didn’t know? And he cared enough to find out my name? That was beyond my comprehension after what I had been accustomed to at Overlake. The very best part, though, was the next Sunday, when he saw me and said, “Hi, Richard!” Beyond anything else — beyond creationism, tribulation, abortion, whatever, I desperately needed somebody to actually notice that I had shown up, and cared enough to say something about it. Going by myself at the age of seventeen to a church I had no family history at whatsoever was really going out on a limb in ways I think I understand better now, and that notice and welcome kept me in the game at a time when I might not have otherwise felt like I had any reason to stay in it.

I kept going to Northlake up through my high school graduation. It started to actually feel like a “church home”.

Then things became a little complicated.

Gloriose rex Richarde, ora pro nobis

Gloriose rex Richarde, vota damus, tu attende, tui sumus, recognosce, mortem aufer, vitam posce. Ave, quondam rex Anglorum, nunc cohaeres angelorum; placa nobis regem tuum, qui te fecit civem suum.

Glorious king Richard, we give you [our] vows, pay heed. We are yours, recall [and] take away [our] death, request for [our] life. Hail, former king of the English, now you are united with the angels. Assuage your king, who made you his fellow-citizen.

– Antiphona ad Magnificat, ad Vesperas Sancti Richardi, regis Anglosaxonum (Bibliotheca Hagiographica Latinia Antiquae et Mediae Aetatis [BHL], Novum Supplementum, 7207b)

More about St. Richard the Pilgrim, King of Wessex, here. I realized at some point that the Greek equivalent of “Richard”, meaning “king”, is Βασίλης, Vasilis, which of course is anglicized as Basil. So, St. Basil is a perfectly acceptable Orthodox patron for a Richard, but happily, so is St. Richard.

Addenda ad Secundam Partem: In which the CIA and Howard the Duck make an appearance

Basically the years we’re talking about right now are third through seventh grade — two thirds of my elementary school years and my first year of junior high. It’s hard to make those years interesting on their own terms, but I’ll see what I can do.

When we got to the Seattle area, I managed to be placed in a magnet program called TAG, “Talented And Gifted”. (How on the nose can you be?) That took me up through sixth grade, and I discuss that experience somewhat here, so I won’t go over that particular ground again.

At the start of the school year, Wellington Elementary (where the TAG program was housed that first year I was in it) announced a musical — none other than You’re A Good Man, Charlie Brown. Needless to say, I auditioned. I said earlier that I had thoroughly internalized the character, and this must have been evident in the audition process, because I was cast in the title role. It was my first theatrical endeavor of any sort (at least going by chronology of auditions; the first performed was an in-class presentation of “Witling and the Stone Princesses”, an adaptation of the Grimm fairy tale “The Queen Bee”) and certainly my first musical, although one could argue that I had been playing the part for some time by that point. The rehearsal process was fairly lengthy, as I recall, and I think nobody was quite sure how I’d actually do once it became work, but it was the time of my life up to that point. The irony is that I’d identified the character because I was awkward and felt like an outsider most of the time, but I loved the other kids who were in it with me, and tried to stay friends with them. That might have worked better had the magnet programs not all moved to their own school the following year, and I lost touch with everybody pretty quickly (plus I was on the younger side of the cast anyway). Google searches turn up some of those folks — here’s Katie Margeson, my Lucy; and her sister, Anne, was Patty (none of this revisionist “Sally” nonsense in our production!). Chad Afanador, our Linus, actually has an IMDB page, and the Snoopy, Scott Grimm, is now a linguist of some note. (I am blanking on the name of our Schroeder. I’m sorry, man.) Anyway, I’d love to put up some pictures or video of this, but I think my mother has all of the photos. Dad videotaped the dress rehearsal, but the tape has been missing since 1994, when it was loaned to my then-girlfriend’s mother who was considering putting it on with her elementary school class, and I was never able to get it back (and in fact it was later claimed that she never remembered having it in the first place). If you ever find a VHS cassette labeled “Original C.B. Play” with a piece of masking tape on the front, do drop me a line. The thing about the videotape is that at some point during one of the verses of “The Kite Song”, I realized I was being filmed and choked on the words for a line or two, so it was never perfect anyway (but the actual performances were spot on!), but that’s maybe in keeping with the spirit of the character.

In absence of any of those pictures or video, here’s something that I’m pretty sure not every kid on my block had. Short version is that it wasn’t too far of a leap from Sherlock Holmes, Encyclopedia Brown, and The Young Detective’s Handbook to spies, and I started reading everything I could on real-world espionage. A briefcase replaced my backpack to accompany the deerstalker and trenchcoat. When I was nine, I decided that I would be a perfect recruit as an intelligence agent — I was too young for anybody to ever suspect as a spy. With the courage of my convictions on the matter, I did what any normal kid would have done and wrote a letter to the CIA telling them they should bring me aboard.

I got a letter back, dated 5 March 1986, from one G. L. Lamborn, Public Affairs (who, if I’m not mistaken, is the author of this forthcoming book). “Dear Mr. Barrett: Thank you for writing the Central Intelligence Agency. You seem to be a bright, responsible, and ambitious young person. I am afraid, however, that you cannot be an intelligence officer until you are eighteen. We hope you will apply with us when you are older. A college education is useful for many of our positions — so study hard! We need people with your enthusiasm. I have enclosed two publications which will tell you more about the Central Intelligence Agency. Do not forget us.”

Well, obviously it didn’t turn into a career. It’s an interesting souvenir to have, at least, and I’m sure it made for an entertaining story for Mr. Lamborn.

Comic books became a big deal for me in around 1984. I still remember my parents freaking out the day when I decided that I was now collecting them — taking the advice of one collector’s manual to buy a bunch of new comics and see what I liked, I spent around $25 on a stack of new releases about as tall as my belly button (remember that these were the days of a 65-cent cover price). My Batman obsession has been reasonably well-discussed here, but I also quickly fell in love with the back issues of Howard the Duck. Yes, you read that correctly. The thing is, as written in the mid-’70s, Howard the Duck was an experiment on Marvel Comics’ part, a social satire, and it was hysterical. (I mean, c’mon. It took place in Cleveland, for heaven’s sake.) Imagine my bewilderment when I saw it realized on the big screen as kids’ horror-action-comedy. I still don’t quite know what George Lucas was thinking, but the movie’s duck simply wasn’t the same Howard who ran for President for the All Night Party in 1976 and fought Doctor Bong. Not even close. Batman in 1989 was a much happier time at the movies all around, to say the least.

In terms of music, piano lessons continued through the fifth grade, I think. There came a point where I was feeling overstressed; I was doing Columbia Boys Choir, piano lessons, and then my dad had enrolled me in karate lessons two days a week. I think I had one day at home after school a week, and it was getting a bit much. Plus, my voice was breaking, and I didn’t know how to manage that. This was in the middle of our domestic meltdown, so everybody was happy to have me doing less for multiple reasons. I didn’t necessarily give up the activities, just the formal involvement; I played Sir Joseph Porter in a sixth grade production of Gilbert & Sullivan’s HMS Pinafore, and I started learning the guitar.

This meant I also picked up the pace in terms of reading. I read a lot of different kinds of mythology and folktales; Greek mythology, Welsh mythology (inspired somewhat by a book called Dogsbody by Diana Wynne Jones), Nordic mythology, and even French-Canadian folktales (in the form of a little collection called The Golden Phoenix). I read a lot of role-playing games, but I could never quite figure out how to play them myself. Genre fiction became a real love for me in sixth grade, starting with Piers Anthony, with whom I even had a correspondence going for a couple of years (well, with his assistant, anyway, even if he signed the letters). This really picked up momentum in my junior high years, so its flourishing is somewhat beyond the present scope.

“Hey, Richard!” I’m hearing a couple of people say. “That’s awesome that the CIA started a file on you when you were nine, but did you do any, you know, normal kid things?” Eh, I don’t know. I wasn’t a terribly athletic kid, and I didn’t really understand sports or why I was automatically supposed to care about them. I hated fishing — the first time I went, I was having a great time with my dad and my great-uncle until they took the fish I caught and bashed it over the head with a rock. I burst into tears — I was not expecting that in the least. I went to summer camp a few times, the YMCA’s Camp Colman and Camp Orkila. I played with fire once by burning some thread in the sink to see if they’d burn the same way fuses were depicted as doing in cartoons and movies. My parents freaked out when they found me, thought I was trying to burn the house down (the house that they were trying to sell), and I had bruises on my rear end from a plastic spoon for a week. I guess that’s reasonably normal.

I didn’t have a ton of friends in elementary school and was the object of a good amount of merciless bullying, much of it by girls, which meant that other boys generally wanted nothing to do with me. From third to fifth grade, my best friend in the world was Jeff Fletcher, a kid who was one year older than I was and who was simply a kindred spirit in many ways. He was always at my house, and we were inseparable. Then he went to junior high a year before I did (naturally enough), and our paths diverged a bit, coming back together when I got to junior high. There was also Brian Ward, whom I met in sixth grade and whose family also went to Overlake. In seventh grade, there was a bit of peer group that I found, consisting of Matthew Arndt, Brian, Eric Rachner, Eric Stangeland (another friend of mine with an IMDB page), Robert Stevens, and Russ Needham (who, with Brian, is pictured with me on 23 June 1989 at Luxury Alderwood Cinemas for Batman).

And that’s that for now.

Update, 6 February 2012, 3:06pm — I should mention that Jeff Fletcher and I were all-too briefly accompanied in our early years by one Chris Holtorf. He wasn’t around anywhere near as long as we should have liked, since his family moved to California when I was in fourth grade, I believe, but for the short time we were together, were a terrible trio, to say the least.

Chris and I recently (like, in the last few hours) re-established contact via Facebook for the first time in, I believe, twenty-six years, and he wanted me to also pass on that the three of us had a plan to construct a working replica of the Millennium Falcon in my backyard. It’s true. We were generally too busy sliding in sleeping bags down my staircase into Ember, my beloved Bernese Mountain Dog (an activity we generally referred to as “SLEEPING BAG DOGGIE!!!!!!!!!”), to actually get the damn thing built. Oh well.

Review: Cappella Romana, Mt. Sinai: Frontier of Byzantium

Cappella Romana is an ensemble that’s hard to pin down. Are they an early music ensemble? Yes, sort of, but they don’t generally do Bach or Monteverdi. Are they a sacred music ensemble? Yes, but they’re not affiliated with a specific church institution (i. e., a cathedral or parish). Are they a world music ensemble? Sort of, since much of the music they sing originates in the Mediterranean, but not exactly. Are they a contemporary music ensemble? Yes, sort of, but much of the contemporary music they do is decidedly in an older tradition. Are they a pastoral, confessional affair? Of sorts, I suppose, although their membership is by no means entirely composed of Orthodox Christians. Are they a scholarly project? Well, yes, they’re kind of that too, given that the booklets tend to be article-length affairs with footnotes and bibliography. I suppose you could say that they’re an early world contemporary sacred music vocal ensemble that’s run by a musicologist.

They’ve been extraordinarily productive in terms of recorded output in the last eight years; since 2004 they’ve put out some eight discs (ten if you include the compilation for the Royal Academy’s Byzantium exhibit and their contribution to the Choral Settings of Kassiani project) that have run the gamut — medieval Byzantine chant, Russian-American liturgical settings, a long-form concert work by an American master, Western polyphony, Greek-American polyphonic liturgical music, and Christmas carols (of a sort). Their recordings also continue to get better and better; I picked up their discography in 2004 starting with the Music of Byzantium compilation of various live and recorded excerpts, followed by Lay Aside All Earthly Cares, their collection of Fr. Sergei Glagolev’s music, and then 2006’s The Fall of Constantinople, a program I had heard them perform here in Bloomington. Comparing just those three discs to each other, there’s a noticeable jump in quality, and then comparing them to recent releases such as the Peter Michaelides Divine Liturgy, it’s clear that they’ve found a groove in the studio (as well as perhaps in the editing booth) and they’re riding it now. They’re recording music nobody else is really doing, and while that means it’s hard to know what an applicable comparandum for any particular recording might be, it’s clear listening to it that they’re doing it at a very high level regardless, and the good news about the lack of comparable recordings is that it reveals the sheer richness of the Orthodox musical heritage. Arvo Pärt and Rachmaninoff are great, but there’s much, much more that you can do.

Mt. Sinai: The Frontier of Byzantium fits into this scheme by presenting music from late medieval Byzantine chant manuscripts from St. Catherine Monastery at Mt. Sinai, one of the key crossroads for Eastern Christianity. A Chalcedonian monastic outpost dating as far back as the days of Justinian in the middle of non-Chalcedonian Egypt, it is a treasure house of some of our earliest witnesses to the Christian iconographic tradition (since it was a place of refuge from the iconclasts), and its library of manuscripts in virtually every language of the Roman oikoumene is a witness to the catholicity of the Empire that produced them. The musical selections include portions of a Vespers for the monastery’s patronal feast, as well as the Service of the Three Youths in the Fiery Furnace, a quasi-liturgical drama that would have been served between Matins and Divine Liturgy on the Sunday before Christmas.

The Vespers material is interesting, particularly how Psalm 103 is treated. It is something of a mix of reconstructed Palestinian practice and present-day Greek tradition, where the first three verses are sung antiphonally, and then Koukouzelis et al.‘s setting of the Anoixantaria (the section of Ps. 103 that starts with, “Thou openest thine hand, they are filled with good…”) is interpolated with Triadika, short refrains glorifying the Trinity. It’s an approach to psalmody (in the literal sense of the word) that is generally eschewed in modern American parish practice; we tend to treat whole psalms as something to get through as quickly and as plainly as possible. Of course, just singing the Anoixantaria can take as long as 20 minutes depending on whose setting one is doing, so when parishes want to get Vespers done in half an hour or less, that’s the way it is. Elements like this emphasize how, ideally, our worship needs to be unhurried; we’re on God’s time, he’s not on our time.

The Service of the Furnace portion is lovely. It’s a real curiosity, liturgically speaking; the notes refer to it having been part of the practice of Constantinople and Thessaloniki (and subsequently Crete), and something that developed during the so-called “Byzantine ars nova“, where an artistic and spiritual flourishing was paradoxically occurring in the East at the same time as the political collapse. I’m left wanting to know more about how exactly how it developed, and why, and why it didn’t catch on elsewhere in the Orthodox world.

There are several musical textures in the Furnace section, solo to choral, syllabic to highly melismatic, and they’re all handled with beautiful musicianship and and some of the best male ensemble singing you’re ever likely to hear on a CD. One thing I’d point out is that this actually is something that has been commercially recorded before and is more or less available, even if you have to know where to look for it. Lycourgos Angelopoulos and the Greek Byzantine Choir (EBX) recorded parts of it for a Polish release called “Byzantine Hymns”, and while I have yet to actually find this for purchase anywhere, you can find their rendering of the Service of the Furnace hymnody on YouTube.   Obviously there’s a bit of a difference in approach; EBX tends to have a different vocal quality all around that I would describe as a little more suntanned and weatherbeaten, and they’re singing the material the way they sing at church every Sunday. EBX also employs a children’s choir for the Three Youths themselves, which is apparently the historical practice and sounds fantastic, but I can see several reasons why that might be an undesirable layer of complexity for Cappella’s presentation.

One other thought — something that a recording like this might help to give a glimpse of is the vitality of the Christian tradition in the Middle East. St. Catherine’s Monastery is an Egyptian witness to a faithful, diverse, cosmopolitan Christianity in the Roman world, and that Christianity is still there, alive, and hanging on. Projects like this show that it is a witness that has much still to teach us.

A quick shout-out for Daniel Ellsworth and the Great Lakes

Really quick — Timon Kaple was a guy I used to work with at the Archives of Traditional Music, he’s a fantastic guitarist, and the band he’s in, Daniel Ellsworth and the Great Lakes, has an album out that’s really good that you can get as an Amazon.com download for $3.99. It’s worth it.


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adventures in writing alexander lingas all saints bloomington all saints orthodox church american orthodox architecture american orthodox music american orthodoxy Antiochian Archdiocese Antiochian Orthodox Christian Archdiocese of North America Antiochians books byzantine chant cappella romana chant church architecture ecclesiastical chant ethnomusicologists ethnomusicology fellowship of ss. alban and sergius Greece Greek greek food greekness hazards of church music international travel tips ioannis arvanitis joe mckamey john michael boyer kurt sander Latin liturgical adventures liturgical architecture liturgical music liturgical texts and translation liturgy liturgy and life lycourgos angelopoulos medieval byzantine chant Metropolitan PHILIP militant americanist orthodoxy modern byzantine architecture modern greek music music as iconography my kids will latin and greek when they're newborns my kids will learn latin and greek when they're newborns orthodox architecture orthodox architecture is bloody expensive Orthodox choir schools Orthodox Ecclesiology orthodox outreach orthodox travel pascha at the singing school Patriarchate of Antioch Patriarch IGNATIUS IV Patriarch of Antioch publishing random acts of chant richard barrett in greece richard toensing rod dreher sacred music st. vlads st john of damascus society Syriac the Bishop MARK fan club the convert dilemma the dark knight The Episcopacy The Episcopate the only good language is a dead language this american church life travel we need more american saints why do we need beautiful music in churches?

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