Archive for the 'General' Category



Just posted: Hansen and Quinn notes and answers, Unit 5

Yes, believe it or not, I got it done before the fiery death of the universe. It’s amazing what having the semester over with will do for you. I’ll try to have another couple of units up before the end of the break.

(Yes, this break. Why do you ask?)

As always, if you have comments, corrections, or anything else, let me know. If you would like to motivate me to give this project a higher priority, I am all for it; you can PayPal me at richardtenor [AT] gmail.com.

(Crickets chirping)

Ah. Well, I guess I’m doing it my way and on my own time, then.

Review — Cappella Romana The Divine Liturgy by Peter Michaelides and Ensemble Organum: Chant de l’Eglise de Rome: VIe-XIIIe Siecles

My copies of The Divine Liturgy by Peter Michaelides and the latest installment of Ensemble Organum’s Chant de l’Eglise de Rome arrived while I was traveling for Thanksgiving, and upon my return I was neck deep in finishing things up for the semester. Now that fall term of 2009/2010 is in the books, time to give these recordings its due attention.

My experience with a lot of the four-part Orthodox liturgical music that’s out there is that, frankly, it’s either terrible or plain mediocre. I have sometimes heard it said that Western ears are too used to harmony to like unison singing, so we have to add parts to chant melodies, and this attitude seems to be borne out in much of what we sing in our churches today. A lot of what I’ve encountered consists of Byzantine melodies harmonized very badly, as though somebody said suddenly, “Oh! I need a four-part arrangement of this hymn for tomorrow!”, proceeded to bang the melody out on some keyboard instruments, and wrote down whatever progression underneath it that was simplest and most tonal (and which also typically produced part-writing errors). A related problem is an overabundance, at least in some scenarios, of simplistic utility music. At the other end of the spectrum is really overblown, self-consciously polyphonic music — I can think of one example (which I decline to name) that seems to essentially ask the question, “What if Palestrina wrote a Divine Liturgy?” There are, of course, exceptions; Fr. Sergei Glagolev’s music is very nice and singable, for example, and I’ve expressed my appreciation for Kurt Sander before.

I am very happy to add Peter Michaelides’ Divine Liturgy to the list of exceptions. Michaelides’ choral music is certainly prayerful, and while it is certainly not an exercise in compositional excess (like, say, Tchaikovsky’s Divine Liturgy), neither is it so restrained as to simply be an unnecessary sheen over the text. The character of the music is evocative enough of the Byzantine tradition that it is identifiably Orthodox music; some of the melodies of Sakellarides are used as a jumping-off point, but then the medium of the mixed choir is used to its advantage, always sounding like a completion of, rather than an addition to, the melody. That is to say, the music actually needs the harmonies — the vertical and horizontal dimensions of the music are complementary rather than one being tacked on. The Cherubic Hymn of the setting is perfect example of this balance; the different voices intertwine and interlock beautifully but never gratuitously.

The recording strikes a very nice aural balance of clarity of text and resonance of the room, and it is a credit to Cappella Romana that they have the flexibility to sing this kind of choral music and the Byzantine repertoire as beautifully as they consistently do. One thing I am very appreciative of is that the setting is presented practically, as a real Divine Liturgy, with the Very Rev. Archpriest George A. Gray III singing the priest’s parts (including the Gospel reading) and Alexander Lingas chanting the Epistle. This is music that should be presented in a liturgical, rather than a concert, setting. As an additional “realistic” detail, parts of the setting are alternated between Greek, English and Arabic — both a nice touch and a nod towards the pastoral reality in many parishes. It is exactly because of this attention to liturgical authenticity, however, that Lingas speaking the Creed and the Lord’s Prayer by himself, rather than these parts being said by the entire choir, comes off as a bit jarring.

It has been said that, in terms of how Orthodox liturgical music might develop in this country, what the Byzantine repertoire has to offer is a richness of melody, and what the Western idiom has to offer is a richness of harmony. Along these lines, while acknowledging that the Sakellarides material does not necessarily represent the best of what the Byzantine tradition has to offer, Michaelides’ music nonetheless suggests what could be a way forward. Rather than haphazardly forcing modal melodies into a tonal box with sloppy part writing that’s little more than a sop to “that guy” in the congregation who instinctively sings parallel thirds to everything, with the result sounding neither like good chant or good four part music, it is possible for these melodies to serve as a springboard into something more carefully crafted and more, dare I say it, iconographic in quality.

Now, what does any of this have to do with Ensemble Organum’s recording? Hang on for a second and I’ll explain.

Over the last twenty years, Ensemble Organum has put out a series of recordings of Western liturgical music off of manuscripts that represent the so-called “Old Roman” repertoire. I’m probably the wrong guy, at least at this stage of the game, to try to go into all the issues surrounding this music; suffice it to say that the liner notes of these recordings present this is as the older, pre-Gregorian chant repertoire of the Roman church.

Now, these recordings are, essentially, reconstructions of what they think the chants sounded like; knowing what notes the signs represent are only half the battle, of course, there are also the questions of rhythm, tuning, ornamentation, and overall vocal approach. Working with Lycourgos Angelopoulos, Ensemble Organum has taken the approach of interpreting these manuscripts more like Byzantine chant than Gregorian chant, complete with isokratema (drone) and very Greek ornamentation. Are they right? I don’t know — it sure sounds convincing enough. On the other hand, I can imagine that there is no shortage of counterarguments. Maybe something like this: how convenient for Byzantine psaltai that the Old Roman repertoire, which may or may not date from before the sixth century, sounds exactly the same as their music (which of course isn’t really Byzantine at all, but Ottoman, per the “narrative of decline” which I’ve discussed earlier). I’m not a musicologist, so I can’t really argue one way or the other for Ensemble Organum’s performance practice, but I do think that seeing the diversity of liturgical practice within the context of a unified Roman Christian identity is a fascinating idea.

What I can say is that these recordings sound really beautiful. For that reason alone, whatever their musicological merit might be, I find them quite compelling.

The latest in the series is hymnody from Christmas; the Vigil Mass, the Midnight Mass, the Mass at dawn, and the Mass of the day itself. If you’re used to the Gregorian repertoire, something like “Puer natus est nobis,” the introit for the Mass of Christmas day, is going to be quite foreign to you. It’s over twice as long as presented by EO (almost six minutes, as opposed to the two and a half minutes the Gregorian version typically takes), it’s a much more elaborate melody, it’s in a different mode, and the earthy, rich Byzantine approach is very different from the austerity employed by the typical Gregorian schola.

I suppose the value of a recording like this is that it gets people thinking differently about the context in which the Gregorian repertoire emerged and what that might imply for how it should be approached. It also suggests a way we might aurally frame the united Christendom of the Roman world, and how could have been both alike and different from the modern received chant traditions inherited from that world.

In the case of both of these recordings — told you I’d get to this eventually — you have a suggested musical ethos that draws from both the Christian East and West. Michaelides uses Western harmonic vocabulary to elaborate Eastern melodies and does so in a way that creates something new; Ensemble Organum uses Eastern stylistic practice to interpret Western melodies in order to suggest something very old.

These recordings share a common problem, too — essentially, what is the impact either of these recordings could potentially have on modern parish practice? Is there a Catholic church out there that is going to be rushing out to incorporate the Old Roman repertoire in their Christmas festivities? Despite Cappella Romana’s presentation of the Michaelides setting as music for practical use in worship rather than as a concert piece, is it likely to find a place in a church culture that sees the Liturgy as a sing-along and defines “participation” as “everybody sings everything”? Are people going to hear the recording and say, “Wow, our choir should sing this!” or are they going to say, “Boy, that sounds like it would be too hard for the congregation to be able to sing along with.” One thing about bad part-writing that caters to parts people are improvising anyway — it makes congregational singing very easy, if that’s the goal.

At any rate, I would love for the answer for both recordings to be “yes”. I would love to think that this kind of music could find a place in the venue for which it was written, the church, and not be treated as concert pieces best appreciated at arm’s length. I would love for Catholic and Orthodox churches to be striving for musical excellence, and to be incorporating music like this as a way to pursue that excellence. Time will tell.

In any case, both recordings would make excellent stocking stuffers, and consider them recommended.

Richard Barrett, poet

About this time last year there were a couple of moments that struck some kind of a chord with me and got scribbled down in something vaguely resembling verse form. I figured that I might as well see if anybody else thought they were any good, and submitted them to a particular publication with which I was familiar. They said no thanks, but I thought it was worth a second try. The second publication liked one of them enough (with one minor revision) to run it, and it looks like it will be coming out within the next month or two.

My poem “Moments in a Suddenly Fasting Kitchen” will be published in the Winter 2010 (36:3) issue of A Time of Singing: A Magazine of Christian Poetry. I get a contributor’s copy, but if anybody else would like one, please let me know before 19 December so I can get additional copies at contributor prices ($3.33 apiece if I buy them in multiples of three, as opposed to regular cover price of $6).

Strange how things work out sometimes — I never thought that “published poet” would be words that one could apply to me. There still is the one that Lora (Zill, the editor) did not use, plus a couple of others I’ve jotted down here and there, so maybe this could be more than just a one-time fluke, who knows.

(hack) Thanksgiving leftovers (koff)

It’s the first day of December. How the heck did that happen?

On the way out to New Mexico last week, I sat between a married couple who were both sick and kept coughing across me. It was Southwest Airlines, so seating was first come first serve, and they made it clear they would rather have me in the crossfire than give up either an aisle or a window seat. It must have been clear how this came across, because as we were getting off the plane, the wife said to me, “Don’t worry, you won’t catch anything from us — we’ve had this for the last four weeks.”

My stepfather was sick when I got to New Mexico. Flesh of My Flesh was sick on Thanksgiving day. My mom was getting sick over the weekend as we were preparing to leave.

So, perhaps it was inevitable, but Sunday evening I started developing a sore throat on the flight home, yesterday it was getting worse, and today I’m staying home trying to keep from getting worse or giving it to lots of people. I hate to be “that guy” who suspiciously gets sick immediately following a break, but here we are.

As I drink my gallon of Throat Coat tea, there are a few things upon which to muse:

  • My review copy of Cappella Romana’s recording of the Michaelides Divine Liturgy arrived in my absence, as did the Ensemble Organum disc I mentioned earlier. A full review will come shortly; for the moment, I will say only that both are worth your time and represent, in an odd way, flip sides of the same coin.
  • If you do iTunes, Lycourgos Angelopoulos’ 1993 album of Byzantine hymnody for Christmas has been rereleased in that format. It has been out of print for years as an actual disc, although there seem to be some used copies on Amazon. (Note that the iTunes release has a slightly different title: The Glory of Byzantium: Christmas Hymns.)
  • Rod Dreher is leaving the Dallas Morning News to become director of publications for the John Templeton Foundation. Close to four years ago, I started hearing various grumpy old men murmuring about “crunchy cons”. My godson Lucas at some point started reading the book and recommended I read it. It resonated quite a bit with me as somebody who looks more to Russell Kirk than Glenn Beck or Sarah Palin as a model of what conservatism should look like, and the point of the book seemed to me to be to ask how conservatives might, y’know, actually conserve something other than money or power or status. I gave copies of it to a lot of people, and I’m reasonably sure I know everybody in Bloomington who has read it (I’ll let you decide if I’m joking). I’ll fess up that, while a lot of Dreher’s critics had no patience for how he discussed food, I really appreciated what he had to say about a sacramental approach to it, and even if Michael Pollan isn’t using the word “sacramental”, his work and Dreher’s demonstrate that it can be a topic where liberals and conservatives can make common cause (and of course, Dreher interviewed Pollan for The American Conservative last year). Since the book came out, it has seemed as though he was searching unsuccessfully for a way to follow up what should have served as a strong statement of purpose; what he touted as a “sensibility” never quite materialized as a movement, exactly, eventually Crunchy Cons went out of print, and the hinted-at sequel about “the Benedict Option” never materialized, presumably because (as he kept saying in his blog) his newspaper job had become an exercise in self-preservation. A lot of water has flowed under the bridge in the last four years; Dreher converted to Orthodox Christianity, and right now conservatism seems to be floundering on the very cultural essentials the importance of which he was trying to stress, consequently lurching even more towards negativity and hostility. My hope is that a break from political commentary will allow Dreher to follow up on the issues discussed in Crunchy Cons from a more purely cultural perspective, because I think that’s where his heart has wanted to go with it anyway.
  • There was an interesting article in the New York Times this last Sunday about the traditional Latin Mass. Even more interesting has been the discussion of it in places like The New Liturgical Movement and Commonweal. I’m really not sure what a “liturgist” is — a liturgical scholar? a liturgical composer? a person who interprets rubrics? — but what I find striking is how for many modern Catholics, it seems like the rupture from tradition is in fact a selling point. I was in a large, old stone Catholic church once where they were doing a lot of work to restore the interior. The high altar was still in place, and I asked somebody if it ever got used; the person I asked looked highly offended that I would even dare to mention the high altar’s existence, and said, “No, Vatican II turned the altars around and returned the focus of the Mass to the people,” and made it clear that was the end of the conversation. Sometimes it seems like the majority of Westerners truly and actively yearn for their worship to be sentimental, banal, and tacky. At any rate, I don’t have a dog in this fight (except insofar as I strongly disagree with certain parties who think Orthodoxy needs its own Vatican II), but it seems to me that the traditionalist and modernist narratives are irreconcilable, as the comments on Wolfe’s article indicate. What I will say is that the invocation by a commenter at Commonweal of C. S. Lewis (“The modern habit of doing ceremonial things unceremoniously is no proof of humility; rather it proves the offender’s inability to forget himself in the rite, and his readiness to spoil for every one else the proper pleasure of ritual”) seems quite apt, and the apparent need, not just for the 1970 Missal to be embraced but for anything that ever came before it to be wiped from the face of the earth, is very telling — at least to me. At the risk of elevating aesthetics over all other concerns, I’ll point out that the Mass of St. Gregory inspired people like Josquin and Palestrina; the kinds of composers the Novus Ordo appears to have inspired are, shall we say, not even close.

Okay. I need more tea.

Of note: Frontier Orthodoxy

Fr. Oliver Herbel has a new column called Frontier Orthodoxy which looks like it has the potential to be of great interest. There are two posts up now, and my understanding is that he intends it to be a bi-monthly column. That Fr. Oliver reveals in his introductory essay that he is a fencer already means that this is going to be worth watching.

New release from Cappella Romana: The Divine Liturgy by Peter Michaelides

I don’t have my review copy yet (it is on the way), but be aware that this is now available; I’m looking forward to giving it a listen.

(UPDATE, 25 Nov. 8:53am MST: The sound samples the “Post to WordPress” button on my toolbar picked up were for the Toensing Kontakion of the Nativity, not the Michaelides. I think I’ve fixed this. I also added a link to the Cappella Romana site so that people can, y’know, actually buy it. Dangers of blogging when still tired from travelling…)

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This sounds familiar somehow…

Ensemble Organum, singing the Introit for the Midnight Mass of Christmas Day, “Dominus dixit ad me” (Ps. 2:7,1). From the recording Chant de l’Eglise de Rome (VIe – XIIIe Siècles). Old Roman Chant (perhaps c. 6th century) from an 11th century manuscript. (Consider my hat tipped to The New Liturgical Movement.)

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Ochlophobist on the dilemma of being “young, male, and Orthodox”

Owen made the following comment on a recent post:

There is a certain type of young man who generally pursues the priesthood. We dance around it, but in my mind it is unequivocally true. In Orthodoxy there are certain forms and postures that are, aesthetically speaking, humble, but which are easily practiced and replicated, and do not necessarily reveal the inner heart – soft, slightly effete voice, a way of walking in the cassock, a way of mentioning the contrary opinions of others and pleading one’s ignorance on matters even as it is quite clear you’ve got a strong opinion and you want it to be deemed the right one, a slightly affected, sentimentalish manner of being around icons, prayer ropes, the altar &nave, and so forth, a slightly affected manner of quoting sayings or hagiographic tidbits of the saints, etc. But beyond all that, you spend some time with the fellow and you realize that he loves and is naturally given to didacticism – here is a man who likes to be in a position of teaching others. It is also clear that he has a hunger to be in a position of spiritual authority over others. In my opinion, keeping in mind that opinions in Orthodoxy are worth as much as wax stains on nave carpets, a desire to teach in the Church and have spiritual authority over others is usually, but not always, instigated by demons.

Okay. We’re adults here; let’s not be coy and play dumb. We all know what he’s talking about, and we all know people who are more or less like this — assuming we ourselves don’t fit this description! I’m going to let Owen’s words speak for themselves, and I assume that he is savvy enough to know that he has just profiled a chunk of his readership (although I would be hard-pressed to say whether or not he would particularly care if he offended any of them).

So, neither adding nor subtracting nor commenting directly on the particulars Owen discusses, my question is, why are young men who tend to have these characteristics the ones who seem to be drawn to the priesthood like moths to flame? (Perhaps people can weigh in on whether or not the ordination-bound in other confessions/communions also behave this way.)

In the interest of full disclosure, the priesthood is something I feel reasonably certain to not be in God’s plan for me. This is not a conclusion I have reached lightly; in one form or another, the question of pastoral ministry was one that really troubled me, at least off and on, from my teenage years up to late twenties. During my time in Anglican circles, there were a couple of people who were really pushing me to consider seminary, and I think it was only the fact that I did not yet have an undergraduate degree that kept these individuals from forcibly sending me off to someplace like Trinity or Seabury (Nashotah House is not a place one hears about in the Pacific Northwest). Being an excitable young man, of course the question resurfaced for me as an Orthodox Christian, and immediately following my chrismation in February 2005 it seemed (as it does for so many of us) that surely seminary would be the logical next step for Somebody Like Me (particularly since that would make the matter of grad school much simpler). In the fall of 2005, I visited the St. Vladimir’s campus, fell in love… and then the whole issue just seemed to dissipate as a compelling force. It hasn’t resurfaced since. I sometimes wonder if the point was simply to bring me to a place where I would finally be willing to go that route, and then to redirect me elsewhere. At this stage of the game, I am no longer afraid of the priesthood (and haven’t been for awhile), but it seems more likely that, if I were to wind up at a place like St. Vlad’s, it would be as a member of the faculty (or potentially as a visiting student while I’m writing my dissertation) rather than as a candidate for priestly formation. As it is, I have a desire to teach, but not in the Church — at least not as a catechist. No, thank you. That’s not responsibility I care to have. Maybe I could help illuminate a couple of things here and there within my own area of expertise, maybe I could teach a chant lesson or two, but I’m not the person to entrust with forming the holiness of others.

Extending maximum charity to the type of gentleman Owen describes (particularly given that, for all I know, there could be people who read those words and think, “Yep, that’s Richard Barrett!”), what pushes this person onto the path of the priesthood and gives them such a desire for spiritual authority? I am not totally unwilling to discount the explanation of demons, but let us say I feel more at ease discussing what might be the concrete instruments of said demons than the demons themselves.

My favorite ’80s teenage rom-com is Say Anything… In a lot of ways, it’s really more properly considered a ’90s movie than an ’80s movie (it was released in 1989) — rather than somewhere in California, it takes place in a rather idealized and curiously rearranged Seattle four years before Meg Ryan would get from the 520 floating bridge to Sand Point in a matter of seconds (it takes twenty minutes to half an hour assuming no traffic, folks), it’s got Soundgarden and Joe Satriani on the soundtrack, it’s got John Mahoney as the problematic Seattleite father (prefiguring Frasier by about half a decade), and it’s got John Cusack as Lloyd Dobler, in what amounts to his first adult role. Young adult (the script goes out of its way to explain that Lloyd is graduating high school a year older than his classmates because of various familial matters), but he’s not fantasizing about dancing hamburgers at his fast food job anymore. One perhaps could argue that he starts the movie as a kid and finishes as an adult (cf. Lili Taylor telling him, “Don’t be a guy. The world is full of guys. Be a man“). More to the point, you can see Lloyd as potentially growing up to become Martin Blank (and I have occasionally wondered if Say Anything… wasn’t discussed, even if only in jest, as sort of a murky back story for Grosse Point Blank).

Anyway, Lloyd is a nice, if slightly off-center, guy. He wears a Fishbone t-shirt and a trenchoat. He’s a bit disconnected from his family, since his parents are in the military and stationed elsewhere, and he lives with his single-mom sister and her kid while he figures some things out. He’s not intelligent or obviously talented in conventional ways, he’s graduating high school a year late, he has no college plans, but what he does have are some very definite principles (“I don’t want to buy anything, sell anything, or process anything as a career”), and when he’s dedicated to something — like kickboxing, for example — he gives it his all. His guidance counselor buttonholes him at a party to try to persuade him to make some conventional decisions about his future, and he dismisses her advice, saying, “I’m looking for something bigger, you know? I’m looking for a dare-to-be-great situation.”

Let’s just imagine for a moment that Lloyd one day wandered into St. Nicholas Cathedral (ROCOR) in Seattle and found his dare-to-be-great situation there, giving it his all just like he did with kickboxing. I think he’d wind up a lot like the kind of young man Owen describes.

My point is this. I think there are a lot of smart guys with a genuine faith in and love for God, who want to give something the whole of their effort, who maybe just haven’t had the right — or at least the obvious — opportunity come their way and who at least know that there are some specific things they don’t want to do. Maybe they’ve had an interest in various aspects of the humanities and social sciences, enough to be broadly informed about a wide range of topics, but they’ve never had the discipline or the right setting to rise above being a dilettante, or at least an undergrad who shows some promise. Maybe they’ve had something of a taste of church service in another setting, enough so that they put on a cassock or some other kind of vestment and realize that they’re visibly part of something bigger when they do that. Maybe there are other circumstances in their life that make them determined to never do anything halfway, so that they never have to apologize for their own presence or participation.

And when these guys discover Orthodox Christianity, with all of history and all of its richness of faith and practice and all of its demands, with all of the ways it can order one’s life in the service of Christ, the various facets of their person which otherwise make it hard for them to fit in suddenly have a place, a context. They’ve discovered their dare-to-be-great situation. This is their life’s work, they just didn’t know it before. How can the priesthood, if not monasticism, not become a draw, the call that surely was always there if it could only have been perceived?

(By the way, unlike what I suppose about Owen, I care very much about offending people, so I really hope nobody thinks I’m saying this to mock or be critical. I have observed much of the above, yes, but much of it I have observed in myself. I cannot mock without mocking my own person first of all.)

I think what it often (perhaps not always) boils down to is that, for the young, male, zealous convert, it is not difficult to develop the desire to spend as much time in church as possible. Eventually, and naturally, this turns into the question — perhaps unconsciously — “If what I want to do is be in church all day, then wouldn’t a vocation just make sense?” Since there’s really only one way somebody can work for Orthodox Christianity in this country as one’s day-job, the direction becomes pretty clear from there.

Does it have to be this way? Maybe not, and I would hope that a seeming one-to-one ratio of zealot to cassock could be a reasonably short-lived phenomenon. (I say that as a cantor who wears a cassock.) The truth is, there is something that drives young men who behave as Owen outlines. If it might be healthier that not all of them get tonsured as readers the day after their chrismation and start teaching catechism after their second Divine Liturgy as a communicant, then there needs to be some active spiritual guidance about what to do with whatever it is that drives them. I have no doubt that for priests and bishops who have long lists of things to get done, young men with a lot of energy and desire to serve are hard to tell, “You need to sit back and chill for a while.” Still, it raises the question of whether or not the desire specifically to be the one serving in a visible, set-apart fashion can’t itself turn into a passion.

Ultimately, I think Owen is absolutely right from a descriptive standpoint. I’ve remarked before that there’s a certain self-consciousness of the American convert that we’re going to have to figure out how to deal with, and what Owen talks about is part and parcel of this self-consciousness. If there is a sort of contrived and constructed manner of holiness that has been assumed, then the answer is that we need more models of holiness that haven’t been contrived or constructed. Still, I think there are deeper reasons for why this occurs that we’re also going to have to figure out how to understand and deal with, and we will need to do so compassionately and productively.

Review: Fellow Workers With God: Orthodox Thinking on Theosis by Norman Russell

I would like to note that I participated in what was originally going to be a group book review of Owen the Ochlophobist’s, but which ultimately because a review symposium hosted by Unmercenary Readers. We all read Norman Russell’s Fellow Workers With God: Orthodox Thinking on Theosis, and the reviews are being posted this week. Mine is now up.

I had to get a bit tough with them; they tried to force me to use a pseudonym. I pointed out that article #8 of their own manifesto encourages, but expressly does not require, pseudonyms, but suggested “Vassilis Taraxopoios” if they had to use something (a literal translation of the meaning of “Richard Barrett” into Greek — “King Troublemaker”). They were somewhat abashed at having their own manifesto used against them and consequently left it up to me. I had always intended to run it under my own name, and said so. I will be curious to see if I am the only one who does so, and further curious to see if the exercise causes them to revise their manifesto.

Egeria Home Exchange is open for business!

It was an awesome idea eleven months ago. It’s still an awesome idea.

And it is up and running as of about five minutes ago. Go sign up. Now. I did.


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