Archive for the 'General' Category



“When we name our children, we should do so as ones who are identifying them as God’s heirs”

There’s a page from a church website making the usual rounds right now titled about Orthodox practices with a newborn. As somebody who is going through those steps right now and having to explain various things (what’s the difference between churching and baptism? Why do you have to do the churching? What’s the whole naming thing when you’re going to do a christening? etc.), I think it’s pretty good. We wound up churching Theodore after, well, ten days, I suppose — it was sort of curious how it worked out, since our priest came over to do the naming on a Tuesday, and told us, “Well, there’s no hard and fast reason to do 40 days if it’s not practical to do 40 days, but it’s theoretically supposed to be the first real trip outside of the house for the mother and child.” Megan looked sheepish and said, Um, I went to Target yesterday. The priest gave a dismissive wave and said, not a big deal. Let’s just do the churching on Thursday.

Well, the reason we could do the churching on a Thursday was because it was the same day that Fr. Peter E. Gillquist’s body was lying in the center of the church, and we were serving a Divine Liturgy before he was to be taken up to Holy Trinity in Indianapolis for the funeral services proper. (There were around 32 clergy at the altar for his funeral. There’s no freaking way All Saints could have done that.) So, Fr. Peter Jon Gillquist carried Theodore Harvey Barrett II down the aisle, past the body of his own father, Fr. Peter E. Gillquist, into the altar. There was something weirdly normal-seeming about the whole thing — in the midst of death, we are in life — and there were a number of people who said to me that it wasn’t every day that the whole circle of life seemed to get represented like that.

Anyway. Something that hit me about the Orthodox newborn practices piece was this bit about names:

Orthodox Christian naming practices vary. A child is sometimes named after the saint commemorated on the day of birth, sometimes in honour of some other saint or biblical figure. Sometimes, however, the child receives the name of a virtue, an ancestor, or some other name entirely (see for example, early saints who were named after pagan philosophers like Plato). There are no “hard and fast” rules (as there might have been in ancient Judaism), except that Christian parents should name their child in a thoughtful and prayerful manner, not whimsically, idly, or merely according to some prevailing fashion. Our names embody our identities and point to our vocation. When we name our children, we should do so as ones who are identifying them as God’s heirs and dedicating them to His service.

A philosopher (and by a “philosopher” I mean Bruce Willis speaking Roger Avary’s words) once said, “I’m American, honey. Our names don’t mean shit.” Well, that’s not quite right. My name has a meaning; “Richard” means “king” (it’s cognate with rex, Reichert, etc. and it’s the semantic equivalent of the Greek name Βασίλης), “Raymond” means “protector”, and then “Barrett” can mean “strong man”, “hatmaker”, or something like “con man”, depending on what part of Europe your family is from. My family appears to be from the part of Europe where it means “con man” (evidently the only remaining reflex of this meaning in Modern English is the legal term “barratry”, which itself seems to mean something akin to “ambulance chasing”); of course, that doesn’t mean that I’m the strong king of con men (…or does it…?). No, what it means is that my father, Richard Ellis Barrett, wanted me to have his name but didn’t want me to be a junior. My middle name comes from my maternal grandfather, Raymond Myrick, whom I never got to meet.

Theodore is named for his great-great-great-grandfather, about whom I’ve written a decent amount. Theodore means “gift of God” (Theo- “God” doros “gift”, with the appropriate inflected Greek masculine ending), and is apparently semantically equivalent to the Hebrew form of “Matthew”. His namesake was a general (if perhaps not necessarily a great or even a good one, although this much is not entirely clear to me), so it was a no-brainer to us that Theodore the General should be his patron saint. But wait — “Harvey” apparently meant “battle worthy” in Breton. So he’s the battle worthy general who’s a gift from God. Of course, there’s still the whole problem of being a con man — but anyway.

Of course, the point isn’t that our firstborn is going to be a battle-worthy general of an army of con men who all think they’re God’s gift. (Although he might be, I suppose.) The point is that, “Harvey” and “II” and all, he has the best name we could give him, with the best link to his family’s legacy that we could possibly provide, however tenuous of a connection it may be and however forgotten his namesake may have been. The argument could be made that it’s constructed and contrived and trying to revive a memory that had already apparently passed away within two generations, but one doesn’t rebuild bridges by throwing up one’s hands and saying, “I guess we can’t get there from here.”

Perhaps it’s a lot of weight to place on a little boy’s name, but at the same time, there’s no question at the very least that he’s a gift from God. Besides, Theodore has gained 23 ounces and grown an inch since being discharged from the hospital, and he was eight pounds to begin with. I think he’ll manage.

Fr. Peter E. Gillquist and Theodore Harvey Barrett II: In the midst of death we are in life

A little over nine years ago I read Becoming Orthodox: A Journey to the Ancient Christian Faith by Fr. Peter E. Gillquist. It was one of a flurry of books I read around this time, starting with the Ware The Orthodox Church and Pelikan’s The Vindication of Tradition, and including Schmemann’s For the Life of the World and Clark Carlton’s The FaithThe WayThe Truth, and The Life. I wouldn’t say the book had an overabundance of things to say to me, since I didn’t really have the conceptual problems of an evangelical per se, but given where I was at the time (the full story of which will have to wait), and given how I generally approach things, I remember thinking, Well, if this guy’s job is supposed to be missions and evangelism, then maybe he’ll know what to tell me. I wrote him a fairly lengthy letter explaining to him a lot about where I was at, and sent it off not really expecting a response, figuring that he had to get letters from perplexed Catholic-wannabe Protestants all the time.

A couple of weeks later, I got a large envelope in reply from Fr. Peter, containing a copy of Matthew Gallatin’s Thirsting for God in a Land of Shallow Wells, and a handwritten note that advised me to get in touch with a local priest named Fr. James Bernstein. “He will understand you!” the note said.

That turned out to be a fruitful pairing indeed, and I would say that Fr. Peter’s willingness to take me seriously enough to pass along some kind of useful response was a big factor in becoming Orthodox two years later.

I finally met Fr. Peter a few months after his son was assigned to All Saints, the parish in our adopted home of Bloomington, Indiana. He gave a wonderful presentation for IU’s OCF that was also attended by a good 80 people from the greater community. He continued to make appearances at All Saints every so often over the next couple of years, until finally he moved here in 2009.

Fr. Peter and I worked together on a number of projects, related to All Saints’ building project as well as Orthodox Hoosiers, the Orthodox IU alumni association that never quite achieved critical mass. It was Fr. Peter’s brainchild, he and I poured a lot of time and effort into it, and it really was (and is!) a wonderful idea. Alas, it just was the wrong time, and neither of us really had it in us to try to get it going past the first big push. We both hoped that the initial response would be sufficient to get some momentum going and to convince somebody else to take it on, and even with a mailing list of 500 people, that just didn’t turn out to be reality. I think that perhaps we had a shared vision that was nonetheless harder to realize than it could have been given a rather marked difference in methodologies — he was always very up front about trying to approach things from what he understood to be the science of marketing, and I was less trying to get people to “buy”, as such, than I was trying to get them to see the particulars of the vision for themselves. We were further hampered by some broader chicken-and-egg problems at All Saints that Orthodox Hoosiers was at once intended to help solve but also severely limited by itself. In the end, we both tried our hardest, but it was perhaps the right idea at the wrong moment.

Fr. Peter E. Gillquist with his son and baptizands on Lazarus Saturday, 2012.

Fr. Peter passed away earlier this evening after an old struggle with cancer had reared its ugly head again in the last several weeks. It was a blessing and honor to have known him, and I can truthfully say that he made a difference in my life and the lives of those around me. May his memory be eternal, and my heart goes out to his family, particularly Fr. Peter Jon.

Theodore Harvey Barrett II was born at 6:49pm on 25 June 2012; he was born in the same hospital where Fr. Peter was also undergoing some last-minute surgery. Fr. Peter Jon was able to come down to post-partum from his father’s recovery room to give the first blessing to the child after he was born. That is very much its own story, one that I do not have time to detail here in full, except to say that he and his mother are healthy and thriving. I wish that there had been more overlap of time on this earth between Theodore and Fr. Peter than simply the last week. I would have loved for Theodore to have known Fr. Peter, with his gravelly voice, his ability to grab a crowd with either a joke, a prayer, or a Bible quotation, and his insistence on treating you like he’d known you for years even if he just met you.

In the midst of death we are in life. I have more to say about both transitions, but this will have to do for now.

Thoughts on Prometheus

When I was probably five years old at the most (c. 1981), I remember my parents getting this really amazing machine called a VCR. Well, actually, it was an array of machines; there was the VCR unit itself that the tape went into, there was a separate unit that served as the TV tuner and timer (and I remember the hours that we had to spend turning the little knobs for each channel on that thing to get them to actually come in clearly so we could record TV), and then the humongous camera that connected to the VCR (which you then had to carry around with a shoulder strap if you were recording anything).

I don’t know why I remember this particular detail, but I do; the first movie my parents watched on that VCR was Alien. Maybe part of why I remember it is because they allowed me to be in the room, but I had to have my back to the TV the whole time, which I didn’t understand.

I didn’t actually see Alien myself until probably sometime in the early 1990s, perhaps some time after the time I first watched Blade Runner, which itself was probably around 1990 or so. Now is not the time necessarily to write a full-length essay about my love of Blade Runner, but what I will say is that it was a vital step along the way in my movie geekdom. Batman (1989) had gotten me excited about a number of things when it came to film — director as auteur, production design, the importance of the score, and so on — but Blade Runner really got me thinking about the process of filmmaking and how things change, evolve, progress, and yes, sometimes get messed up in the journey from page to screen. It was the first time I was introduced to the idea that there might have been a very different movie left behind somewhere in the process, and that it might be well worthwhile to restore those other concepts. (I’m sure somebody has mused at some point about the parallels between scholarly production of editions of texts based on application of theories of textual criticism to manuscript culture and the phenomenon of multiple existing cuts of a film.) Although I missed the original theatrical run in 1982, I saw it at the Neptune Theater in Seattle once if not twice in 1991, I saw the “Director’s Cut” (that wasn’t really a director’s cut, but never mind) at the Egyptian Theater in 1992, and I was also fortunate enough to see the so-called Workprint at the same theater in 1999. Another thing I remember is that each time I saw it, the place was packed to the gills. And yes, I’ve got one of the Final Cut briefcase sets. It’s right next to the Inception set. Don’t judge me.

Since Blade Runner, I have found Ridley Scott to be always creatively ambitious in the process with the final product being somewhat hit or miss, depending on the film. I still think The Duellists is an incredibly underrated and underappreciated piece of work; Legend (of which I’ve only ever watched the director’s cut with the Jerry Goldsmith score) is a movie with some fascinating ideas and beautiful visuals but that clearly was trying to overreach in terms of what could be done at the time (and in general makes me glad that nobody seriously attempted a live-action Lord of the Rings any sooner than they did); Black Rain and Hannibal are both technically terrific, and I like both movies, but they’re clearly work-for-hire efforts; Gladiator and Kingdom of Heaven (the extended cut, anyway) are both great; I liked American Gangster and Body of Lies well enough even if neither were exactly earth-shattering; Robin Hood seemed like a fantastic idea with epic scope that somewhere along the way got scaled down to an attempt to use some leftover bits from Gladiator and Kingdom of Heaven for a younger audience, and while it had its good points, it never seemed like I was actually watching a final product anybody intended me to see, but rather something that got assembled more or less by committee.

Which brings me to Prometheus.

The idea of Ridley Scott returning to what we might call “fantastic” fiction for the first time since Legend and getting to play in the Alien universe again has been an intriguing one to me from the get-go. He’s certainly a different filmmaker than he was in 1979, and technology has perhaps caught up more to the way somebody like him thinks — so what would he do? He’s said many times in interviews over the years that he would be interested in asking the question where the big guy in the chair in the first Alien came from, so presumably that’s where he would go. How would he get there and what would he do with it? At the same time, the business of filmmaking has changed a lot since 1979, so how would that impact the movie?

I saw Prometheus last night in IMAX 3-D. I’m not really going to write a review of it, as such; I can tell you that I enjoyed it immensely, thought it had a great cast, was stunning visually, told an interesting story that I expect is really just the prologue to the movie Scott really wants to make, and that it’s really more along the lines of SF adventure that has some tense, squirmy moments, rather than being a horror movie set in an SF context the way Alien was — but writing a critical evaluation of it point-by-point isn’t what I’m interested in doing. Right now I’m really quite turned off by a certain subset of movie geekdom that seems to go out of its way to tear down to component atoms anything that dares to not be exactly the same movie they’ve already made in their head (see the comboxes on a site like Ain’t It Cool News, for example — man, that site used to be pure gold; how far the mighty have fallen), and that’s not where I want to go. I’m more interested in talking about the ideas in the film, and how they link up with other things one finds in Scott’s filmography.

I will, however, acknowledge up front the impact that present-day moviemaking economics appears to have had on Prometheus so I can get it out of the way. There was a lot of nattering over the film’s rating; would it be R, like the original Alien, or would it be PG-13? Would the business side of how movies get made today allow for an ambitious R-rated SF film? You could do it back in 1979 for a number of reasons, but with today’s emphasis on the biggest opening weekend possible, it would seem to be a harder sell. When Prometheus was finally announced as having an R rating a few weeks ago, there were some who assumed that it was a “soft” R — that is, it had been edited down as much as possible in hopes of getting a PG-13, but ultimately couldn’t get there, and by that point it was too late to say, “Okay, we’ve got an R movie, it is what it is, let’s go ahead and throw everything back in.” And yes, that in fact seems to be the case. There is a lot of, shall we say, connective tissue that is missing from certain moments in the film that I assume to have been cut out in the quest for a PG-13. There are a couple of events that I suspect are the, shall we say, irreducibly minimal R-rated bits (if you’re a pregnant woman, you’re probably not going to want to see this movie until you’re well past delivery, I’ll say that much), but aside from those, in terms of language, general level of violence, sex, nudity, etc. there’s nothing that makes this a characteristically R-rated movie in the way that, say, Watchmen is. Does it come across as creatively compromised as a result? Not exactly, but I’m very curious to see how the inevitable unrated Director’s Cut differs when it comes out on Blu-Ray.

Warning: spoilers ahead.

I had a conversation the other day with one of my fellow DO summer school students in which the seeming affinity on the part of certain Evangelical Christians for Judaism and Israel came up. My colleague said, “Well, when you’re a kid, if you don’t like what Dad tells you [i.e., Catholicism/Orthodoxy], you go and ask Grandpa [Judaism]. Makes perfect sense.”

Prometheus is a story about going and asking Dad questions, and Dad not really liking that you asked and you not really liking the answers. In this way, it’s really more of a piece with Blade Runner, which in terms of theme is all about the creation getting to ask the creator, “Why did you make me, and why did you make me flawed?” It’s a moment that also crops up in Gladiator, when Commodus demands to know from Marcus Aurelius why he’s getting passed over (which is also paralleled in Prometheus by a scene between Guy Pearce’s Weyland and Charlize Theron’s Vickers). “Your faults as a son is my failure as a father,” Marcus Aurelius tells him, which echoes Tyrell telling Roy Batty, “You were made as well as we could make you.” The consequences are the same for both Tyrell and Marcus Aurelius, with the artificial golden-eyed owl in the former case and the statue heads of the Antonines in the latter case all impersonally witnessing the patricide.

Ellie Shaw has to do the same thing to her creator, her genetic “father”, but in this case it’s because her creator is about to kill her. She has led seventeen people to a far corner of the universe in order to meet the race that she believes engineered the human race, only to find out that God does not like us very much. Why? Well, that’s a question that isn’t directly answered, but the title combined with certain details in the film suggest some intriguing possibilities. Prometheus the Titan gave mankind fire against the will of the gods, and subsequently had to endure being chained to a mountain peak and having his liver eaten by an eagle every day for the rest of eternity. Were we created without permission? Certainly the film makes a visual point of the Engineers’ ship at the very beginning being a completely different design from the ships we see in towards the end, suggesting different factions. Are the Engineers ultimately victims of their own hubris, with their propensity for meddling with natural biologies resulting in weapons they can’t control, among which they count us? Certainly that would tie the iconic image of the xenomorph chestburster (which, yes, we do see in some form) to Prometheus’ mythological fate — which, incidentally, is why I don’t think the film’s final scene is “tacked on” in any way, as some have argued. It is part and parcel of the imagery and themes invoked by the title, and hardly just thrown in to underscore the obvious.

Back to the idea of going to Grandpa when you don’t like what Dad tells you. David, the android that is participating in the mission, is one part Ash (Ian Holm’s murderous robot in Alien), one part Roy Batty, one part HAL 9000, and a bit of Lance Henriksen’s Bishop from Aliens, but Michael Fassbender makes it entirely his own thing, too. He’s not terribly impressed with his creators, but he’s fascinated and delighted by what he encounters of the Engineers. David’s actions are never entirely benign, but neither is he exactly vicious in the way that HAL and Ash are. I’m certain that he was acting under Weyland’s orders to infect Holloway and get the impregnated Shaw into cryosleep as quickly as possible, but he also acts genuinely curious to see what will happen when he carries out those orders — like Ash, he admires what they’ve found, and wants to see the end result. David isn’t all that interested in why humans made him; one gets the impression that he wants to ask the Engineers (i.e., Grandpa) why they bothered making the humans in the first place. My guess is that the Engineer knocks David’s head off because he sees David as the result of humanity’s hubris, the same hubris that seems to have resulted in whatever happened on LV-223’s installation 2,000 years ago (what I assume to be an outbreak of xenomorphs, judging by the burst chests of the Engineer corpses).

I said that I expect Prometheus to be a prologue to the story Ridley Scott really wants to tell. I say that because of the narrative problem of deciding to tell the story of “the big guy in the chair”. In order for such a story to work, it has to be told from the standpoint of a human being, an audience surrogate. This protagonist has to have a reason to seek that race out, and how do you do that in a way that makes sense when, in terms of storytelling logic and what appears to be the framework set up in Alien, there’s no way the protagonist could know they exist? Well, by the end of Prometheus, Ellie Shaw knows they exist and has a reason to seek them out on their own turf, and it’s propelling the story forward into another film.

Miscellaneous comments: Ridley Scott has a thing for closeups of eyes. Instantly-recognizable shot from Blade Runner:

And Holloway in Prometheus:

 

I rather liked that David’s head was leaking milk. Nice visual tie to Ash in Alien. I also noticed that Ellie is dragging his body along as well, so presumably he will be whole again in a sequel.

I assume there is more of Patrick Wilson as Ellie’s father somewhere on the cutting room floor. Otherwise, why bother casting Patrick Wilson? Seems like luxury casting for five lines. Along similar lines, I assume there was footage shot of a younger Peter Weyland, because it doesn’t make sense to me to cast Guy Pearce specifically to put him in old age makeup. I could be wrong on both counts.

In terms of narrative ties to Alien — I’m sure we’ll find out more for certain in any future film, but it seems to me that the Engineers’ rush to leave the installation 2,000 years ago (and I’m intentionally not going to discuss the implications of that date in terms of Earth history) is probably what results in the ship that crash-landed on LV-426. Their weapons stock got out of control, and David mentions that there are “other ships”, plural, so not just the one that he and Ellie are flying to the Engineers’ home planet. The one on LV-426 was perhaps the one that actually was able to take off.

However, one point that I find really intriguing is the possibility of what the star map that David was interacting with might have been. Was it keeping track of every place that the Engineers had interfered or interacted with the evolutionary process? If so, they’ve seeded a lot of worlds. What else is out there to be found in this universe besides xenomorphs?

Even in its clearly toned-down form, Shaw’s self-caesarean was pretty rough going (and I assume it was ultimately one of the barriers for a PG-13 rating). I found it very uncomfortable to watch as a man; I can’t imagine what it would be like for a woman, let alone a pregnant woman. I won’t be suggesting to my wife that she watch it until we’re well past the birth. I’ll note that it is also one of the ways the imagery of Prometheus having his liver pecked out and eaten is invoked; Shaw’s faith and optimism are ultimately used against her, and this is the price. This is maybe overthinking it a touch, but as a name, Προμηθεύς means something like “forethought”, which Shaw seems to lack — she didn’t really think her ideas through sufficiently.

Anyway — Prometheus has my recommendation. Go see it and draw your own conclusions.

Byzantine chant in The Word

In the current issue of The Word one may find an article on Rassem El Massih, a Lebanese-born cantor in the Antiochian archdiocese and a current student at Holy Cross. I reviewed the CD the article mentions back when it first came out, and I also met Rassem on my trip out there back in February. While I didn’t get to chant with him, I found him to be a great person to talk to and I enjoyed getting to know him very much, however briefly. It’s great to see that his star might be on the rise. I should note, as per a discussion going on in the comments of a recent post, that Dr. Grammenos Karanos, a supposed exemplar of “Patriarchal style”, is quoted with very strongly positive words about Rassem, who is steeped in the “patriarchal style” of the Patriarchate of Antioch.

By the way: I’d link directly to the article instead of quoting it in full, but the online version of The Word is distributed only in pdf form. An article of mine that ran in The Word I’ve seen reproduced in full on church websites, so I assume I’m doing nothing untoward here, particularly since I’m not making any money off of it and the Archdiocese distributes The Word to its membership for free. In any event, copyright is acknowledged as belonging to the Archdiocese and authorship is acknowledged as being that of Linda M. Thomas.

Rassem El Massih: A Voice of the Faithful

by Linda M. Thomas

Thousands of miles from the tiny church where he first began to chant, the pure and powerful voice of Rassem El Massih rings out in prayer. The first cantor at St. George Orthodox Church in West Roxbury, Massachusetts, embraced Byzantine music from the time he was a small boy growing up in a town called Anfeh, on the coast of north Lebanon. Today his voice and spiritual presence are felt during Vespers service at Holy Cross Greek Orthodox School of Theology in Brookline, as well as Sunday mornings in nearby West Roxbury.

On October 26, 2009, El Massih led the choir at UN prayer services presided over by the Ecumenical Patriarch BARTHOLOMEW, Archbishop of Constantinople, at the Cathedral of the Holy Trinity of the Greek Archdiocese.

Last December, El Massih and four other seminarians from Holy Cross were invited to perform at Carnegie Hall with the Archdiocesan Byzantine Choir of the Greek Orthodox Archdiocese of America. The concert honored St. Nicholas Greek Orthodox Church at Ground Zero, the only house of worship destroyed on 9/11, and in thanksgiving for the announcement of its rebuilding.

“Rassem’s voice is beautiful,” said His Eminence the Most Reverend Metropolitan PHILIP, Primate of the Antiochian Archdiocese of North America, who said he was “edified” listening to the first-ever Byzantine music concert at Carnegie Hall.

“When he chants, it sounds like a nightingale. His voice is very soothing to the soul and to the heart. Sometimes he is as gentle and soft as an evening summer breeze,” the Metropolitan said of El Massih. “Sometimes he roars like a waterfall.”

Whether he’s chanting inside a celebrated arena like Carnegie Hall or a small, out-of-the-way monastery, however, the thirty-one-year-old divinity student says he feels the same: “My goal is to praise God regardless where I am.”

Drawn to Sacred Music

“I was a very shy and quiet boy who was drawn to church and, specifically, its sacred music,” El Massih said. “After school, I would eat, then try to finish my homework as fast as I could, so I could listen to Byzantine chant. I definitely also wanted to play with my friends, like any other boy my age, but church was as important to me as playing with my friends.”

He began chanting in churches and in school when he was nine. Seeking to perfect his voice, he enrolled at the School of Byzantine Music of the Archdiocese of Tripoli and El-Koura, while at the same time directing the choir of Our Lady of Al- Natour Monastery, a serene sanctuary on the shore of the Mediterranean Sea just outside Anfeh.

“Anything they taught me, I would say, ‘You  don’t have to repeat the melody for me twice.’ Boom. I got it,” he recalled. “Because I was so in love with it, I would do anything to memorize it. I spent hours and hours practicing.”

In 2002 El Massih came with his family to the United States and settled in Boston. At the time, his parents spoke no English, so El Massih got a job to help support them and his two younger sisters while still a full-time student. He earned a Bachelor of Arts degree in religious studies and a minor in human development from Hellenic College in 2010. Currently he is a graduate student at Holy Cross Seminary, and hopes to receive a degree of Master of Divinity in May 2013.

In his 33 years as a priest, said Very Rev. Father Timothy Ferguson, pastor of the West Roxbury parish where El Massih and his family are parishioners, he has not heard Byzantine tonation (or music) of the quality he now hears on a regular basis. “Rassem’s voice is a natural gift of that music – a God-given talent,” he said. “He teaches others and he’s gracious about sharing his talent.”

“He is one of the best cantors in the country,” said El Massih’s teacher, Grammenos Karanos, Assistant Professor of Byzantine Liturgical Music at the Holy Cross Greek Orthodox School of Theology. “He is also one of few people who can perform chant in three languages [Greek, Arabic and English], and may very well be the best at this in the United States.”

In addition to school, work and teaching Byzantine chant, El Massih has produced CDs. He directed a choir of nine for “The Voice of the Lord,” a compilation of hymns from the Feast of Theophany chanted in English with traditional Byzantine melodies.

“When you love something; you want to give it all you can,” El Massih explained. “You have to practice so in the end you focus not on ‘How am I going to read this musical piece?’ but ‘How am I going to pray?’ How will this piece help me pray, understand the words, live the words – and feel the words?”

“Maybe I’ll end up giving a nice performance,” he reflected, “but when I chant on a piece, I am not focusing anymore on the music, I’m just singing from my heart – I’m contemplating the words … I’m living the words while I’m chanting.”

“My teacher can beat up your teacher” throughout the ages

Hello from… well, not Dumbarton Oaks, not quite. I’m in Washington, DC, at the George Washington University Mount Vernon campus, where our housing is. Friday night I went to bed at 12:30am so I could wake up at 2:30am so I could leave for the airport at 3:45am to get on a 6am flight so I could get to DC by 10:30am… except that we couldn’t check in here until 3pm.  Well, my longtime e-acquaintance Ivan Plis took pity on me and hung out with me for lunch, taking me to Nando’s Peri-Peri just off of DuPont Circle, which is easily the flame-grilled Portuguese chicken I have ever had. Yes, it’s also the only flame-grilled Portuguese chicken I’ve ever had, but it was still delicious. After lunch, Ivan walked me around the area a bit, or at least as much as was possible with two suitcases, and then we parted ways. Getting the rest of the way here was a bit of an adventure; my iPhone 3GS just will not hold a charge anymore, and it died just as a bus was coming that may or may not have been the bus I wanted to get on. I got on, only to realize about fifteen minutes later that it was the wrong one. I got off to wait at the stop across the street for the bus going in the opposite direction, which theoretically should have been about a half hour away… except that it was an hour away. It finally appeared, and I was able to get off at the right stop, only to still have a half mile left to walk, with most of it uphill. I guess I got my exercise today. This morning I attended Matins and Liturgy at St. Sophia Greek Orthodox Cathedral, which is about a mile away as the crow flies (but of course it’s not that simple; it’s about 2 miles by cab) and has a new protopsaltis in residence; I spent the afternoon walking around the area, attending Choral Evensong at the National Cathedral (right next door to St. Sophia, as it happens), and had a lovely day all around until I tried to go home and took a shortcut through a park’s forest trails. Zigged when I should have zagged, I had three bags of groceries, and wound up getting stuck with an uphill route I was trying to avoid. All in all, it took me about an hour and a half to get home when it should have taken about twenty minutes. Oh well. Orientation at Dumbarton Oaks is 9am Monday; we’ll see what happens.

By the way, there is going to be a group blog for Andrew Gould‘s expanded New World Byzantine concept, sort of an Orthodox version of the New Liturgical Movement. It looks like there are some definite parallels between what the Saint John of Damascus Society has in mind and what Andrew is trying to get going for liturgical crafts across the board. Should be fascinating to see where it goes. (And incidentally, there are already some big things in the works for SJDS, things that have already started to come together much more quickly than we thought might happen. Announcements to come soon.)

A few months ago I got invited to review a book titled The Past is Always Present: The Revival of the Byzantine Musical Tradition at Mount Athos by Danish ethnomusicologist Tore Tvarnø Lind. My review will be appearing in a future issue of Logos: A Journal of Eastern Christian Studies, but since I was limited to around 2,000 words (yes, I said “limited”), there was a lot that I wanted to say that I didn’t have space for (all good stuff — the book is great). I was going to have a blog post specifically about the book, but then I had to get my paper in order for the North American Patristics Society conference, do what I could to help get the house ready for impending baby, and then pack for D.C., so that didn’t quite happen.

But then, Friday, there was an unexpected post someplace I don’t check all that often.

So, I’ve noted before, perhaps somewhat infamously, that there are ways in which the internet is a problematic venue. Every imaginable cause in the world probably has a website out there run by a person for whom the sun probably only rises and sets because that issue has his voice advocating for it properly; heck, I’m sure probably somebody thinks that about my little corner of the net. Anyway, I’m somewhat reluctant to participate in many online forums, or even to monitor them too often; I’m not sure, to name but one example, that Byzantine chant needs its own version of Facebook. But, you know, it kinda has its own version of Facebook anyway, and it has its utility as a resource. Still, there are a lot of disputes that get hashed over there that I don’t care to get involved with, and the one time that I got noticed enough to be mentioned in that forum it was bad news (although my friend Taso Nassis is somebody I would not have met without that incident, so all’s well that ends well, I suppose).

On Friday, a notice was posted by one of the more argumentative individuals on that forum about a statement released by the Ecumenical Patriarchate. The Greek is here; this is my (somewhat hurried) translation:

Bulletin from the Holy and Sacred Synod on the subject of ecclesiastical music.

The Ecumenical Patriarchate, from the decision of the Holy and Sacred Synod of 29 March 2012, upon relevant public notice of the Patriachal and Synodal commission concerning divine worship, from 23 March 2012 concerning the subject of our ecclesiastical music, because of the fault of some cantors in applying a theoretical work, at first on the one hand imperceptibly, with time on the other hand more systematic, [a work] published in 1982 under the title “Method of Greek Music: A Theoretical Treatise” [by Simon Karas] and [which] created an uneasy situation, declared that:

1. It dismisses and condemns the “Theoretical Treatise”‘s self-willed, irresponsible, showy retractions to the liability and authority of the decisions of the Mother Church, as even an attempt to disseminate something – as characterized above – outdated and abnormal to the prevailing canonical order of the theory and practice of our ecclesiastical music.

2. It denounces every work of difference, adulteration, and forgery in appearance of old musical works of composers formally recognized by the Mother Church that is unlawful and strange to the prevailing works, and

3. As a musical system it recognizes, applies, and teaches according to the theory, practice, and tradition, [the system which] was established in the years 1812-14 by the Three Teachers, Chrysanthos Metropolitan of Prousa, Gregory the Protopsaltis, and Chourmouzios the Archivist, as “The New Method of Analytic Notation of Musical Melodies,” and approved by the Mother Church.

In the Patriarchate, 28 May 2012

From the Chief Secretary of the Holy and Sacred Synod

Okay. Back up a couple centuries.

As Lind’s book lays out quite well (and he’s not Orthodox, so he doesn’t himself have any particular dog in the fight), in the early part of the nineteenth century there was a reform of the notational system we usually call “Byzantine notation” or “psaltic notation”. This reform reduced the number of signs used, and also introduced a way of being able to more accurately notate rhythm, tempo, and accidentals. Well, the problem is obvious: when you change how something is written down, you effectively fork the tradition, and that’s what happened. Cantors who were trained before the reform continued either singing from old notation or singing the new notation as though it were the old notation, thus passing on the pre-reform tradition. Cantors who were trained from books compiled after the reform without any level of pre-reform tradition learned something different. Subtly different, perhaps, but different, and this appears to have become known as “patriarchal style”, as in the style practiced at and endorsed by the Ecumenical Patriarchate. The Three Teachers didn’t really give an account of their system of reform, so were they intending to preserve what came before, only simplifying how it was represented on the page, or were they intending to turn it into something else? This is the crux of the problem, it seems. (Oh, and if I’m over-simplifying or getting things wrong, please jump in. I’m trying to give a reasonably economical account here of what I think I know, but I don’t want to misrepresent anything.)

To give but one example of the practical difference that I have seen: there is a sign in Byzantine notation called a klasma. It’s a little half oval that can appear either above or below a sign depending on the sign.

Now, the way I was taught to realize a klasma by (now-Dr.) Ioannis Arvanitis is that adds a beat to the sign, but that it also has the function of adding an ornament — a little break in the voice. This ornament is suggested by the name klasma, and according to Arvanitis, it’s a holdover from the old notation, with the ornament being what distinguishes it from simply adding a dot (which also extends the sign by one beat). A somewhat clumsy way of realizing this in staff notation might be this:

When I visited Holy Cross Seminary, I got to sit in on Byzantine chant classes with Dr. Grammenos Karanos, who I’m told is an exemplar of patriarchal style. He told his students that the klasma has the principal function of adding a beat, and only in the context of a relatively small number of specific phrases does one add the ornament. Otherwise, it’s the same the thing as an aplē (adding a dot) and is maintained separately from the aplē for orthographic purposes. That would mean the above phrase would look like this in staff notation:

There’s no shortage of other examples.

Anyway, Simon Karas was an ethnomusicologist who was interested in these differences maintained through oral tradition, as well as the relationship to Greek vernacular music, and he tried to systematize what he observed in the 1982 book referenced in the Patriarchate’s bulletin. (I translated an article about him by Lycourgos Angelopoulos last year that goes into some of this.)

One can perhaps see the divide between those who sang as though the new notation were the old notation and those following the new notation more strictly in the Patriarchate’s choice of the word “outdated” (παρωχημένος) in point one. The irony that I see is that both approaches are conservative; one is performatively conservative, the other is notationally conservative. There is almost a sola Scriptura issue here (but even patriarchal style is informed by oral tradition, so not quite).

Among other things, Lind’s book talks about how Karas’ work influences the monastery of Vatopedi on Mount Athos; students of Angelopoulos (“grandstudents” of Karas, then) work with them on manuscripts, vocal style, and so on. The monks want to preserve an authentic tradition going back before the reform, and there is concern that something is lost in how the reform has been realized. One of the things I find interesting is that the tensions surrounding these preservation efforts seem to follow the old theoretical poles of cathedral (or city) and monastery, with an additional pole of the university. Vatopedi is trying to assert a certain authority and pre-eminence regarding psaltic tradition, Constantinople is trying to do the same thing (as represented by “patriarchal style”), and Karas and his legacy represent a line of academic inquiry that influence how both sides act and react. Who “owns” the tradition? Who speaks for it? Certainly there are issues surrounding how Byzantine chant is understood as something authentically “Greek”, with Constantinople looming large for obvious historical reasons, but with Karas perhaps trying to contextualize Constantinople in a larger “Greek” picture. Constantinopolitan cantors (and those faithful to them), Athenian academics, and Athonite monks — I’m not sure I can think of any particular equivalent issue in this country that’s working itself out in precisely the same way.

The thing of it is, speaking from my previous life as an opera singer, none of this is anything new. “My teacher can beat up your teacher” is part of any musician’s game from the first day they step into the studio. I remember the first time I ever took a lesson with my first voice teacher in college, and he asked me to tell him how I was thinking of certain things. I explained it the way Dennis Kruse taught me, and I can still picture the patronizing smile on this guy’s face when he said, “Oh, that’s all wrong. We’ll fix that.” I can also still remember the way Dennis shook his head when I explained to him what the new guy was telling me, saying, “He doesn’t know what he’s talking about. Get out of his studio as soon as you can.”

Heck, just speaking in terms of the Greco-Roman world, none of this is exactly news. If you were a student of rhetoric in what we might broadly call “the ancient world”, you could count on getting hazed by students of other teachers, you could count on getting beaten up by students of other teachers, and there was even a possibility you could get kidnapped upon arrival in the city by students of other teachers and forced to study with somebody other than your intended teacher. Studying something so marinated in tradition that requires a close relationship with a teacher makes this kind of thing simply inevitable.

Still, nobody here has been declared either a heretic or anathema, there’s nothing here that says “Whatever you do, don’t sing a klasma with the ornament lest your soul be in danger”, and on the whole I can’t really imagine how anything in this notice is going to have any practical force whatsoever without something that looks a lot like an Inquisition or HUAC. “Are you now, or have you ever been, influenced by the 1982 Method of Greek Music by Simon Karas?” Nope, I just don’t see that happening. This strikes me as a sop to somebody at most, but I really don’t know enough about the inner workings of the Ecumenical Patriarchate to know to whom or by whom or why. With all due respect to the Patriarchate, this comes across as over-the-top and heavy-handed, to say the least.

In any event, Ioannis Arvanitis, however poor of a student I may have been, was my teacher (and I hope someday he will be again), he’s one of the great cantors and composers of our day, he’s one of the greatest men I’ve ever had the privilege to know or learn from, and he was a Simon Karas student. Given all of this, I’m left scratching my head at what seems to be the disconnect from reality.

Anyway, I may have more to say about Lind’s book later — perhaps when the review is published I’ll put together a “director’s cut” of it. In the meantime, consider it recommended; it’s a very readable work and should be of great interest to people interested in monasticism, Byzantine music, Greece and modernity, and so on.

And a few more…

A Monk of the Eastern Church. The Jesus Prayer. “Fr. A” written on fly-leaf; otherwise clean.

Thomas Hopko. All the Fulness of God. Previous owner’s address label on fly-leaf; minor underlining.

Archimandrite Christoforos Stavropoulos. Partakers of Divine Nature, sixth printing. “12.95” written lightly in pencil on fly-leaf. Otherwise like new.

George C. Michalopulos and Herb Ham. The AMERICAN Orthodox Church: A History of its Beginnings. Some light pencil underscores.

Archimandrite Seraphim Aleksiev. The Forgotten Medicine: The Mystery of Repentance. Previous owner’s seal embossed on fly-leaf. Otherwise clean.

Stanley Samuel Harakas. Exploring Orthodox Christianity: Orthodox Christian Beliefs: Real Answers to Real Questions from Real People. Previous owner’s name and seal on the fly-leaf, otherwise clean.

R. I. Moore. The Formation of a Persecuting Society. Clean throughout.

Marianne E. Kalinke. The Book of Reykjahólar: The Last of the Great Medieval Legendaries. Like new.

Frank Miller and Lynn Varley. The Dark Knight Strikes Again. First printing. One complete set, issues 1-3. Additional copy of issue 1. Clean throughout.

Brian Michael Bendis. Ultimate Spider-Man Vol. 1: Power and Responsibility. Clean throughout.

—. Ultimate Spider-Man Vol. 2: Learning Curve. Clean throughout.

—. Ultimate Spider-Man Vol. 4: Legacy. Clean throughout.

Kevin Smith with Joe Quesada and Jimmy Palmiotti. Daredevil: Visionaries. Clean throughout.

Dan Jolley and Tony Harris. JSA: The Unholy 3, issue 1. Clean throughout.

Adisakdi Tantimedh, P. Craig Russell, and Galen Showman. JLA: Age of Wonder, issue 1. Clean throughout.

Chris Claremont, John Byrne, and Terry Austin. X-Men: The Dark Phoenix Saga. Some wear at top and bottom of spine, small tear in back cover. Interior clean.

John Byrne et alX-Men: Phoenix Rising. Like new.

Also two DVDs: The Dark Knight 2 disc Special Edition, and Blade Runner: The Director’s Cut. Both like new.

As before, I have no fixed prices in mind for any of this stuff and will entertain whatever offers come my way for individual items or for batches. E-mail at rrbarret AT indiana DOT edu.

More shameless commerce

I have these listed in my Amazon store, but I thought perhaps this might be a more direct approach. Send me an e-mail if interested: rrbarret AT indiana DOT edu. In no particular order:

Apostolos Makrakis, The Logos and Holy Spirit in the Unity of Christian Thought, Volumes I-V. All unmarked but with labels saying “Fr. A” on the fly-leaf.

—. Catechesis of the Orthodox Church. Two copies. No underlining or maginalia in either copy; one copy has “Hanania” written in pencil on the fly-leaf. Both copies show some discoloration on the cover.

Frank Schaeffer, Sham Pearls for Real Swine. Unmarked, mylar sleeve for book cover.

William C. Fletcher, The Russian Orthodox Church Underground, 1917-1970. Unmarked, mylar sleeve for book cover.

G. P. Fedotov, The Russian Religious Mind: Kievan Christianity, the 10th to the 13th Centuries. Some underlining. Some wear on spine, binding solid.

Joseph J. Allen, ed. Orthodox Synthesis: The Unity of Theological Thought. Some underlining.

Elder Cleopa of Romania. The Truth of Our Faith. No markings; clean copy.

Serge S. Verhovsky. The Light of the World. Address label and embossed seal for previous owner on fly-leaf; some underlining and marginalia.

Klitos Ioannidis. Elder Porphyrios: Testimonies and Experiences. No markings; clean copy.

Andrew Burnham. A Manual of Anglo-Catholic Devotion. Owner’s name and purchase date written on fly-leaf; otherwise clean copy.

I have no particularly fixed prices in mind on any of these; this is mostly a last ditch effort to see if there’s a good home to be found for any of them after they’ve languished on Amazon for too long. Feel free to make offers for single items or for batches.

Shout-out to Chicago for this weekend

I will be in Chicago this Thursday through Sunday for the North American Patristics Society 2012 Conference at the Holiday Inn Chicago Mart Plaza. I am presenting my paper “Civic Marian Devotions in Late Antique Rome and Constantinople” at 10:15am Friday in the Steamboat Hotel room. If you’re going to be at the conference and want to grab a beer or coffee or dinner etc. please by all means find me. Tall stocky guy with very short hair, beard, glasses.

…and as of next Saturday, 2 June, I will be in Washington, D.C. until 30 June or when my wife goes into labor, whichever comes first. If that’s your neck of the woods and want to hang out, let me know.

A request…

A friend of mine, Michael Ewing, is going to Kenya in July as a short-term OCMC missionary. He will be helping to build churches there, and he hopes to become a permanent missionary for them once he is done with his Master’s degree. For the moment, he has to raise $4,000 for the July trip. Might you consider helping Michael out? Even if it’s only what seems to you to be a drop in the bucket, many drops make an ocean. You can support his mission here. Prayers are, of course, also most appreciated. Many thanks for your support of Michael, whatever form it takes!


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