Archive for the 'music' Category



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.

The ison problem

There’s something about the use of a drone that automatically puts it into the category of Something Not Us for the Western ear, at least on this side of the water. It seems to dislocate the listener either geographically or temporally, maybe both. This seems to be true whether we’re talking about Scottish bagpipes, reconstructions of medieval music, or — you guessed it — Byzantine chant; the drone itself functions as what various disciplines call a “chronotope“, something that represents, or maybe is evocative of, information about time and space. More simply, the drone calls to mind other places and other times for our ears, and if I had to make a really prosaic guess, it’s because American music by and large doesn’t use it. That’s actually more of a significant point than it presently seems; I’ll get there.

The first time I was ever exposed to music that employed a drone where I was aware it was doing so was singing the Byzantine-ish choral compositions of John Tavener in my first concert with The Tudor Choir way back in the fall of 1997. That’s a story for another time, and has an active role in a different narrative presently in progress, but what I can say for now is that that particular bass section wailing away on the drone in the amazingly resonant acoustic of St. James Cathedral in Seattle was transportive. It was so simple, so distinctive, so grounding, and so powerful.

A similar experience was to be had seven years later in Auer Hall at Indiana University, when in May of 2004 Cappella Romana performed their Fall of Constantinople program as part of the Bloomington Early Music Festival. Again — that particular group of singers on the ison, in that hall… it was something else.

As much of a sine qua non as ison seems to be for Byzantine chant on initially hearing it, however, what also seems to be the case is that it is so easy to get wrong. First of all, the so-called “Western ear” (whatever that really means) has the impulse to harmonize the melody, usually by making up a line that moves in parallel thirds, and once you’ve done that, it’s a quick hop to treating the drone as a bass line that needs to move according to the requirements of functional harmony. Follow the Bouncing Ison.

Most music in the world is modal. That means it is categorized and organized according to different kinds of scales that themselves are used for different kinds of melodies. Western music, which frankly represents a small portion of the world’s musical output, is, for the most part, not. It is tonal, which means it has whittled down the modes to two, major and minor, and has instead focused on building vertical sonorities that have particular functions based on building up of harmonic instability and subsequent resolution of that instability.

Something else Western music tends to be, at least on paper, is tuned so that all keys sound exactly the same except for the range. I had a music theory teacher who once said, “Before all of this equal-tempered nonsense, keys actually sounded like themselves and there was actually more of a musical reason to modulate [change keys].” Most modal music, however, is not tuned this way. And, really, in practice, Western music resolutely holds on to some of the old way even if we’re used to sanding off most of the corners. Singers and fretless string players have to carefully tune thirds and distinguish sevenths from leading tones, for example.

Quick demonstration of the difference — here’s the Christmas carol “What Child Is This”, a melody using a minor scale and arranged for choir using rules of tonal harmony:

Now, here’s the original melody, “Greensleeves,” using the Dorian mode rather than our typical minor (that is, Aeolian) scale:  I had a devil of a time actually finding a decent version of Greensleeves on YouTube, so this probably isn’t as clear of a demonstration as I’d like it to be, but hopefully some of the difference of character comes through.

To begin with, Byzantine chant is modal and not tonal. For purposes of liturgical organization, there are eight modes; in actual musical terms, however, depending on how you count them, that number is probably doubled. This is why harmonizing it ultimately doesn’t work, and why the automatic tendency some people with very decent ears have, to place the ison on whatever the lowest note is that they perceive can function as the root of a major or minor scale, is not only wrong, but robs this particular musical idiom of its proper character.

A somewhat more subtle point is why the ison needs to not move in parallel to the melody as though as it’s a bass line, and that’s because it’s not a bass line.

Let me say that again for emphasis: it is not a bass line. Therefore, it doesn’t need to, and in fact shouldn’t, move like one.

Here is an excerpt from the essay, “A Brief Overview of the Psaltic Art”, that starts out the Byzantine Music: Theory and Practice Guide that just came out:

The Psaltic Art is… strictly monophonic [emphasis in the original]. In other words, it is performed by a single cantor or a choir singing one melody in unison… It should also be noted that psaltic melodies are frequently accompanied by the ison (drone), which is a constant humming of a single note (the root of the main tetrachord in which the melody is moving). This… practice is sometimes considered a form of proto-polyphony. However, its primary function seems to be tonal stability rather than “harmonic” enrichment of the melody (p. iv).

So, it is not intended to be harmonized, and the drone is intended to provide stability — that is, a structural foundation — for the melody rather than instability — that is, the harmonic function of a bass line. Not only that, where the drone is pitched has to do with where in the scale the melody is, which itself is a function of what mode the melody employs. If you’re in the first tetrachord (that is, the initial division of four notes of the scale) of sticheraric Plagal Fourth Mode (a/k/a Tone 8), the ison is not  going to be sung on the same pitch as a melody written in irmologic Fourth Mode (a/k/a Tone 4) — and yet, that’s exactly where some people instinctively want to put it, and if you gently point out to them that there actually is a right way to do it, ask them nicely to do it the right way, and even if you sing it the right way in their ear, they will adamantly insist that the two modes must be the same by shoehorning them into the same Western framework of tonal harmony.

It has been suggested to me that this constitutes “organic development”, and that we don’t need to treat the Byzantine modes as anything special when there are twelve major and twelve minor keys in Western music. I cannot agree; what this constitutes is, plain and simple, doing it wrong.

Can we agree that there is a right way and a wrong way to do this stuff, and that stubornly improvising harmonies in thirds and making up drone notes that are on the wrong pitches and not functioning within the musical texture the way they’re supposed to, no matter how much you may like to sing that way for yourself personally, represents singing it the wrong way? We can deal with equal-temperament later — first we have to at least come to terms on the fundamental approach towards the music. Are we going to learn to sing it the way it’s supposed to be learned, or are we going to insist that we get to sing it in a way foreign to its nature because we’re American and thus special?

And please don’t bring up Russian music. If Obikhod is what you’re thinking of, well, there is Russian liturgical music composed before Russians started learning composition from the Italians that would singe the hair of your toes.

Why does this matter? Is it because we musicians want to control everything and force all of the regular folks in the congregation to either shut up or to do things our way? No, it matters for the same reason that you don’t get to make up your own version of the Lord’s Prayer to say when the time comes in the Liturgy for the congregation to say the Lord’s Prayer, or your own version of the Creed. It matters for the same reason that iconographers are supposed to depict the Mother of God’s veil as red and the rest of her clothing as blue, and not make up a paisley print and polka-dot pattern. It matters for the same reason that we’re supposed to use a particular kind of stamp on the Eucharistic bread rather than carving our names into the loaf. There is a way things are to be done, decently and in order, and we don’t just get to make up our own way of doing things, even in the name of “participation”. There is this impulse among some people to special-case music so that these concerns don’t apply in that sphere, and I really don’t get it. On a broader level, how I might put it is that I have never myself experienced a musical scenario where people can successfully argue that they have the right to sing wrong notes, but that comes very close to what I sometimes hear given as the response to these issues.

Update, 30 January 2012, 7:04am — I made a big point of saying that American music doesn’t generally use drone and that that was something important I’d come back to, and then I forgot to come back to it. Hazards of blogging right before you go to bed.

A related idea — I’ve had some very interesting conversations with people that lead me to believe it is possible to simply be culturally uncomfortable with monophonic music. I don’t have a clue how or why this could be, but I’ve had people tell me before, “Do I have to sing melody? Can’t I just make up a harmony? It feels wrong not to in my voice.” A couple of my attempts at Orthodox hymns that would employ some features of American folk music have met with the reaction from more than one person, “Hey, nice melody. When are you writing parts?” Explaining that I’m intentionally writing a melody to be sung in unison usually generates a confused stare and the question “Why?” asked in such a way that tells me I’m not going to be able to explain it to them.

Back to drone. I’m hardly an expert on anything, let alone American folk music, but I can’t think of any examples off the top of my head that use drone. Drone is usually discussed as a characteristic of either medieval music or “world music”, which subtly makes it a different beast than it would be living in a part of the world where it’s a characteristic of the local “folk music” rather than “world music”. I hesitate to go whole hog and say that we’ve constructed an orientalizing narrative about kinds of music that use drone, or that’s it’s a feature of “primitive” music whereas harmony is how “advanced” societies think of music, but I think there might be some relevant thoughts there.

In any event, because it’s not a feature of American vernacular music, as soon as we hear it, we know it’s either from the old country (whichever old country that might be) or just plain old. That at once seems to validate it as “authentic” and also prompt some people to look for sharp corners that need to be filed off. The chronotope is a double-edged sword.

My solution is education; cantors need to be able and willing to explain what it is, what it’s doing, and what the right way to sing it sounds like. This has to work both ways, however; people need to be willing to ask, “How is this supposed to be done?” and then willing to follow the instruction they’re given. Unfortunately, I’ve seen instances where the attitude is, “If I can’t sing it along with you in a way that seems instinctive and natural to me the first time I hear it, then you’re excluding me from participating.” It’s a tricky business, to be sure.

Lenten retreat at St. Paul Orthodox Church, Emmaus, PA

As I mentioned, Fr. Andrew Damick has been kind enough to invite me to disseminate some of my crazy ideas about Orthodox church music at his parish. I’ll be talking on Saturday, 3 March at St. Paul Orthodox Church in Emmaus, Pennsylvania. Fr. Andrew just posted a schedule for the day on the church website, and he has created a Facebook event. I should note that the flyer marks the first public mention of the St. John of Damascus Society, which hopefully means I’ll be able to talk more about what that is shortly. Anyway, if you’re anywhere close to that neck of the woods, by all means please come!

New release: Byzantine Music: Theory and Practice Guide, Archdiocesan School of Byzantine Music (GOA)

The Greek Orthodox Archdiocese has released for purchase by the general public the textbook used by the Archdiocesan School of Byzantine Music. My copy arrived in the mail today, and while I haven’t had a chance to sing through the whole thing or thoroughly read through its contents, at first glance it looks wonderful and quite handsomely put together. It’s very similar in a lot of respects to the Margaziotis exercise book that’s floating around out there, except that it’s written in English and includes both an overview of some of the theory and an essay outlining the history and key figures relevant to the Byzantine musical tradition. There’s also a CD, and while the Margaziotis pdf has musical examples embedded, the CD introduces all of the exercises in English as well.

Here is the table of contents:

  • Acknowledgments: Archdeacon Pantaleimon Papadopoulos, ASBM Director
  • Foreword: Dr. Demetrios Kehagis, ASBM Instructor
  • Introduction: A Brief Overview of the Psaltic Art, by Grammenos Karanos, Ph.D. in Byzantine Musicology, Assistant Professor of Byzantine Music, Holy Cross Greek Orthodox School of Theology
  • Byzantine music theory and practice
  • Chanting with melos
  • Definition of terms
  • A synoptic theory chart & reference
  • Index of Byzantine music characters

Here is the book opened and compared with the full-size photocopy of the Margaziotis book that I was given:

And, mostly for size purposes, here it is compared with a standard Anastasimatarion:

The CD of musical exercises is nicely and clearly sung, and among other things, I think it will be of help to people who are trying to figure out where the intervals are in their own throats.

Anyway, I’m really impressed with the care that’s gone into presenting this material to an English-speaking audience, and on the whole the exercises seem very consistent with the method used in the Margaziotis. If somebody has worked through Fr. David Barr’s materials and figured out how to understand the version of Byzantine chant that’s filtered through Western music theory well enough that they want a new challenge, this book seems like a worthy next step.

The one potential downside is that the musical examples from actual chants are all in Greek, so you need to either be able to read the Greek characters or have access to somebody who can teach the hymn texts to you phonetically. The next step after this book is going to be a Byzantine music theory and exercise book that’s not just written in English, but also uses English music examples. Factoring that out, this publication looks to be the state of the art in terms of educational materials that make learning Byzantine chant (including notation) accessible in English. I’m quite tempted to order five copies to have on hand for people in my choir.

I would very much like to think that the Antiochian Archdiocese, particularly given some things said recently by higher-ups about wanting a renewed emphasis on the Byzantine chant traditions of the Patriarchate of Antioch, would take some cues from what the Greeks are doing with the Archdiocesan School. Right now there are scattered efforts to do things, but nothing systematic so far as I can tell.

You can order Byzantine Music: Theory and Practice Guide from the link above.

“Encounter” vs. “reception” vs. solutions looking for problems

As has been our custom for the last seven years, New Year’s found me and Flesh of My Flesh in the company of our dear friends Benjamin and Paul for a long weekend of food and movies. We all started out in Bloomington at about the same time, and we all converted to Orthodox Christianity within a year of each other. During academic year ’05/’06 Benjamin and Paul were roommates, and for all intents and purposes there was something of a miniature commune between our two residences, with at least one shared meal virtually daily at either our place or theirs. When they both departed for broader horizons in summer of 2006 — Benjamin to take an adjunct voice teacher position at his alma mater in Cleveland, Paul to pursue different opportunities in New Jersey — we made a point of continuing to spend New Year’s together, and save for ’10/’11 when Megan was in Germany for the year (and therefore I was overseas visiting her for the New Year), we have done so every year since. ’06/’07 and ’07/’08 were in Cleveland, ’08/’09 was here in Bloomington, and then this time we all made the trek out to New Jersey, since Paul has always been good enough to come out to see us in past years. This year the menu was French food, largely inspired by Benjamin and Paul’s respective travels; the films included The King’s Speech (I’d seen it before; it’s good but I can’t say I found it life-changing or worthy of Best Picture) and The White Countess (excellent on every level, and I was left wondering why in the world I’d never heard of it before). I also had the pleasure of introducing Paul to the Steven Moffat/Benedict Cumberbatch/Martin Freeman Sherlock, and I have to say that I have yet to show anybody the first fifteen minutes of “A Study in Pink” who hasn’t both been glued to their chair for the rest and bugging me for the next two or three days about watching the other two episodes. This means I’ve seen “A Study in Pink” now about ten times, but that has yet to be a problem. I will have to write later about how Steven Moffat, Benedict Cumberbatch, and Matt Smith have gradually taken over such TV viewing habits as I have; suffice it to say for the time being that I’m not pleased that I will have to wait until May for “A Scandal in Belgravia” and God-only-knows-when for Series 7 of Doctor Who.

A visit to Paul’s current parish Sunday morning was interesting for a number of reasons. Among them was the choir situation; they appear to be quite blessed with a volunteer choir that can pretty much sing whatever the director puts in front of them, and the director himself is a very capable conductor. He’s given them all very thick binders with multiple options for everything, and he apparently chooses everything on the fly during the service based on whom he happens to have that particular morning. He’s not shy about giving them tougher stuff, either, or about making some, uh, unorthodox musical choices, like Sarum chant and William Byrd.

We had, to say the least, a lively conversation following the Divine Liturgy, prompted in no small part by the director’s mention of the recent publication of the Suchy-Pilalis first Nativity Canon. He brought it up, mentioned that he saw that it was a new melody composed using Byzantine principles for the Lash translation, and I was about to say, “Yes, it’s great work that is one of a few things like that pointing the way forward” when he surprised me with his adamant insistence that it was nonsense. He asserted rather bluntly that composing for English texts using Byzantine compositional principles is no better than keeping an existing melody, whiting out the Greek, and shoehorning in the English. He said over and over again that you absolutely cannot do that — I think he may have even called it “unconscionable” that anybody would think that it’s an acceptable approach. His stance was that Byzantine compositional principles assume an inflected language with particular stress patterns for particular kinds of cadences, and that English doesn’t work that way, so it’s just another way of shoehorning English texts into a context they were never meant to fit. Plus, he said, even if you recompose for English, it doesn’t change the fact that you’re talking about a musical idiom that has zero cultural resonance whatever for the native English speaker, and thus utterly fails in terms of mission. In all fairness, he didn’t really single out Byzantine chant; he seemed to be suggesting that virtually all received forms of Orthodox liturgical music need to be consigned to the dustheap for purposes of English. If they’re going to survive at all, he said, they need to be adapted “organically” for purposes of a culturally American, English-language context, but even when pressed it seemed unclear exactly what he had in mind.

I found myself even more perplexed when it came to what he saw as a better alternative. He was as unsympathetic to the idea of using existing American vernacular musical idioms as a starting point as he was to anything else; “You’re just arbitrarily historicizing something else that way,” was his response. He made it clear that he wasn’t suggesting that we look to Eminem for a example of what “the music of the people” might sound like, but exactly what he thought we should be looking to was never articulated precisely.

He also had unmitigated wrath for anybody who might preserve any kind of Jacobean-style English, arguing that the style has the exact opposite effect from what it was intended to have. Thees and thous were supposed to be familiar, he said, and we now use them to distance ourselves from God and place him higher than ourselves rather than to address him with intimacy. Megan tried to express some appreciation for the style and he would have none of it; “You want Christ’s crucifixion to be meaningless just so you can have your thees and thous!” he told her. (A friend of his started to intervene at this point, only to have him yell, “WE’RE NOT ARGUING!”)

Now, lest I be misleading, I should say that while I intensely disagree with this gentleman on a number of points, he was — believe it or not — good-natured and friendly throughout the conversation, and very well-informed on the whole. There were a couple of things he said where I’m not sure where he’s getting his information, but it’s safe to say that our disagreements are generally informed disagreements, and those are the kind I’d rather have with people.

Megan also asked him, “Why do we need to reinvent the wheel when the wheels we have have done pretty well in every other situation for at least the last 1500 years?” His answer? “Good question. Because those wheels don’t travel on our roads.”

Because those wheels don’t travel on our roads.

Hm.

Matthew Namee’s recent piece over at SOCHA, “Toward and American Orthodox historical narrative”, looks to the concept of “encounter” as a way of talking about American Orthodox history — “Encounter between Orthodoxy and the West; encounter between long-isolated Orthodox ethnic groups; and encounter between the Eastern and Oriental Orthodox.” He expands on the notion of the encounter with the West using Orthodox youth as an example:

From the beginning, American Orthodoxy has struggled to retain its young people. It didn’t help that, for decades (and in some churches, up to the present) Orthodoxy was treated as more of a cultural artifact than a living faith. Old languages were preserved, and English was resisted, and most young people didn’t care about the misguided justifications for using only Greek or Slavonic or Arabic or what have you. Who wants to worship in a language they can’t understand? And no matter how beautiful a language is, if the people can’t understand it, it has failed in its fundamental purpose: to communicate meaning.

He wraps up the “encounter with the West” idea thus:

We encountered the West, and we didn’t know what in the heck to do with it. We weren’t prepared. We flailed about, dancing with the Anglicans, wallowing in our nominalism, ordaining every male American convert who expressed the faintest interest in the priesthood. All too often, we have lacked a vision for our mission in America, and even our identity as the Apostolic Church — the Church. Sentimentalism, ethnic pride, a desire for acceptance, a pleasant feeling of surprise when we are accepted — these things all can be good, and they can have their place. But they can also be our downfall.

The “encounter with the West” notion seems to agree with this New Jersey choir director that “those wheels don’t travel on our roads”. What we had doesn’t work here, and the more we try to make it work here, the more it underscores how badly it doesn’t work here. From a musical point of view this problematizes the whole notion of a “received tradition”; you can’t speak of a “received tradition” when nobody’s receiving it. This appears to be what the New Jersey choir director is getting at: reception isn’t happening, and the more you try to make the existing idioms get along with our language and culture, the more it emphasizes that it can’t be done.

As far as Matthew Namee’s piece goes — I like a lot of what he has to say, and I think what he has to say about the dangers we’ve set up for ourselves with convert clergy being ordained too lightly and too quickly is probably exactly right. Still, there are some over-generalizations that bother me. The language issue — and I’m not even going to go near the bit about the “fundamental purpose” of language, because that’s a significantly complicated matter — certainly gets its exercise in almost any conversation about this stuff, but the flipside is the phenomenon I’ve seen of people who’ve grown up in parishes where a non-vernacular liturgical language is preserved and for whom hearing the services in English is a cheapening experience. It’s great that it’s in English, it’s great that I can understand this or that part of the service, they say, but… something’s wrong. It sounds like English, but it doesn’t sound like church. What I have come to understand from what I’ve experienced in non-English parishes is that, for a significant portion of cradles, it matters that the language they hear in church is the language in which they remember hearing their grandmother pray. It matters because liturgy builds, maintains, and transmits religious identity, and to the extent that liturgy feels like a “family affair” in a broad and a narrow sense of the term, it’s going to be difficult for such people to separate their earthly family from their church family. I recently met an older Greek-American who lives here in Bloomington and was part of what became All Saints in the early days but who declined to continue to be part of it when the community incorporated under the Antiochians. He said, rather bluntly, “Forgive my ethno-centrism, but I just can’t do it. What a Greek person gets out of going to a Greek church is very personal, and it’s not something you can just transplant or translate.” A somewhat more flippant Greek-American friend of mine recently put it, “So often, you just want to say, ‘American Orthodoxy — you’re doing it wrong.'”

But let’s be honest — that’s what’s at the core of King James-style English, too. Even we as English speakers want church to sound like church. That’s the Lord’s Prayer the way we were taught it as kids — once again, the way we we remember hearing our grandmother pray. And the New Jersey choir director is right, sometimes that means the meaning has shifted — take the Paschal greeting the way it’s typically rendered into English: “Christ is risen! Truly he is risen!” And we hear things about how that means that Christ is risen now, today, that it’s an ongoing reality — but that’s not actually what “is risen” means. “Christ is risen” is an archaic way of saying what we would now express in English as “Christ has risen”. It’s a perfect tense — think the Christmas carol “Joy to the world” — “The Lord is come“. It’s still the way you do perfect tenses in German — “Christus ist auferstanden!” — but in English it’s an archaicism, and one we don’t readily grasp as being so. If you translate Χριστὸς ἀνέστη literally, it’s something like “Christ rose”; it’s an aorist tense, past time and simple aspect — the narrative past tense, if you like, which establishes it as a once-and-for-all historical event, which is something very different from understanding “Christ is risen” as being in the present tense. But if we started saying “Christ arose!” on Easter, I’m guessing it really wouldn’t work for most people.

If archaic language is keeping youth out, but English isn’t necessarily solving the problem, then there is more of an issue here, and maybe Namee gets more to the point when he says that Orthodox Christianity “didn’t know what the heck to do” with the West.

Here’s what I think is the hard reality: Orthodox Christianity in the United States, at least as presented up to this point, is a solution looking for a problem.

I don’t think I’m going too far when I say that Americans, by and large, have no interest in being part of Holy Russia, have no interest in re-establishing the Roman Empire, and have no real interest in Russian or Greek cultures except when they can get good poppyseed rolls or have a gyros while watching some kids re-enact Zorba’s dance. Yes, fine, we all know that. Americans want to be Americans.

But you know what? From what I’ve seen, I don’t think Americans, for the most part, have any particular interest in being part of “the one true Church” either. America, like it or lump it, is culturally Protestant, and as soon as you start using that kind of language, you’re already making assumptions that were rejected by our forebears centuries ago. Most Americans are not looking for a “more authentic” liturgical experience; most Americans are not looking for anything “traditional” or that constitutes a “deeper Christian spirituality”, or whatever the other buzzwords are that we all like to use. I have seen with my own eyes what can happen when certain kinds of American Protestants try to speak in that language, and the result is something like theatre for the deaf. Americans, at least some of them, can be well aware of the consequences when those elements of Christianity with even the vaguest of historical roots are traded for a mess of pottage, and in a way this can be seen as a manifestation of the same problem as language — church seems too distinct from your everyday life, which might be a problem, but in updating, it loses an important distinction from everyday life, and thus there ceases to be a compelling reason to go. But, by and large, these are pretty rarefied problems from the standpoint of most Americans trying to figure out where they might go to church on Sunday morning. Even the apparent cultural impulse in which Orthodox Christianity subsists of gilding and ornamenting the things you love and think are important falls totally flat in a culture that thinks you need to strip the things you care about down to bare essentials. As marketed and described, at least, Orthodox Christianity, frankly, is just in the wrong key for American culture, no matter what melody you try to write in that key. It may very well be what America needs, but that’s something completely different.

Orthodox Christianity, in order to succeed in any kind of an American mission, doesn’t first and foremost need to find a musical idiom that will have cultural resonance, it doesn’t first and foremost need to be in English, and it doesn’t first and foremost need a simpler liturgy or reduced vestments or married bishops or anything like this. I have a lot more faith in what has been passed down than that — those things have survived this long under wars and occupation and servitude and so on, and I’m not convinced that America is a worse threat than any of those issues. Does Orthodox Christianity need to preach the Gospel, Christ crucified? Yes, but it’s going to be painfully obvious in doing so that we’re not the only ones who are, and being “the one true Church” isn’t going to sufficiently elevate us over the competing ambient noise, I don’t think.

What Orthodox Christianity needs to do is actually have a way of addressing real problems real people have rather than thinking that Joe Average is going to care about Arianism or Iconoclasm. I think I’m on safe ground in saying that most people don’t think they have a “true Church” problem. Most people don’t think they have a liturgy problem or a filioque problem. Most people these days are just trying to get through the day with some amount of sanity and dignity and without going broke, and when they go to church they want to feel like they’re getting comfort of some kind. Solace. Some sense of belonging, of acceptance of and respite from their daily struggle the rest of the week. Some sense that God’s in control even if they’re not.

How does Orthodox Christianity do this? I don’t know. Our services don’t really do catharsis, and I don’t think we’ll serve ourselves or anybody else well to try. I don’t think we do it via self-conscious “accessibility” efforts; I could say something really obvious and pithy like, we have to do it by loving other people, and while that’s true, what does that look like so that, as C. S. Lewis might have put it, in aiming for it, the ecclesial, liturgical, and spiritual issues get thrown in? Certainly organizations like IOCC and OCMC already perform valuable social services and missions and so on, but the narrative of “Orthodoxy doesn’t do those things” already exists, rightly or wrongly, and efforts in those areas are seen as confirming their scarcity rather than speaking to their abundance or efficacy.

By the way, what I’m not arguing here is that we somehow need to come up with a “strategy”. I’m actually trying to say that the strategies we’ve come up with up to this point aren’t actually accomplishing what we think they should be. Some of you may recall that over a year ago, I was trying to get an Orthodox IU alumni association going. Well, we put together a mailing list of 500 people, and somebody got involved who himself had a lot of experience at what he called the “science” of marketing and fundraising. He gave a lot of specific advice about what the mailing should and should not do and look like, and what actually went out in the mail, even though it bore my signature, was more based on his concept than mine. In any event, he believed very strongly that what we sent out should have really grabbed a lot of attention and gotten a lot of people involved. It was a well-strategized effort, to say the least — and there was absolutely zero response. Zero. The strategy accomplished nothing. Why? Again, because we were a solution looking for a problem — for a good chunk of the people we were trying to reach, there would be no association of Orthodoxy with their time at IU because there was no church here in those days. There would be no reason for them to be sold on an Orthodox alumni association if they were already members of the regular alumni association and didn’t have any particular already-established goodwill towards the parish here. Strategies do nothing if you aren’t actually addressing an issue somebody has, unless you’re Steve Jobs, in which case you are magically able to convince people they need something they’ve never heard of before. Orthodoxy in this country has not had a lot of luck being Steve Jobs, although the reason why he was so good at it was because the designs produced under his name were useful and elegant and beautiful. We haven’t yet convinced ourselves that we have the resources to do all three of those things the way they would actually need to be done.

To come back to liturgy and music — I myself do not play to English exceptionalism. English is important, yes, sure, fine, but catering to it to the extent of throwing out large chunks of historical practice with the justification that we have to do it because it’s English can hardly be priority zero. (I’ve already said what I think about the textuality of the liturgy.) I don’t hear anybody arguing that icons need to look more like Norman Rockwell painted them. I think the wheels we have do travel on our roads — I think the simple fact is that we aren’t building the wheels well enough for the most part. If we’d actually build them as designed with skill and attention to quality, they’d work just fine. We need to do what we do and what makes us distinctive as well as we possibly can, not decide for everybody else that they won’t like it anyway. What form of music will play in Peoria is, honestly, a side issue. If the Orthodox Church can actually reach an average person in Peoria who is struggling with just getting through the day, love that person unconditionally, and proclaim the Gospel to that average person in a way that sticks, then that person isn’t going to care that the music is Byzantine chant — rather, he or she will associate that music with the difference that is made in his/her life. (That’s something I have seen, I should hasten to add.) If we don’t take our own practices seriously enough to do them well and with care, then such a hypothetical person will sense that we don’t care about them, and he/she won’t care about them either.

Anyway — all of that is to say, Orthodoxy in America as a solution looking for a problem. Discuss.

Kanon of St. Kosmas for the Nativity of Christ by Jessica Suchy-Pilalis

Happy new year! Christ is baptized! For those of you on the Old Calendar — well, hope Nativity Eve is treating you well and you get all the All-Night Vigil you’re able to handle. Theophany falls on Sunday next year on the New Calendar, and I’ve suggested to the priest here that we do a full All-Night Vigil for it. I’m not sure how seriously he took it, and I’m not sure how seriously I meant it, but we’ll see. I figure if you start at 9pm, you’re done by 5am, and then you just sleep all day. What’s the problem?

It is a bit late, and I have been somewhat otherwise occupied to give this the full attention it deserved before Christmas, but in all fairness it didn’t come to my attention until rather late in the game in the first place. Dr. Jessica Suchy-Pilalis — herself an IU alumna — has published her setting of the first Nativity canon using Archimandrite Ephrem Lash’s translation, having recomposed the melodies by applying the Byzantine compositional principles to the English text. While I’m not enough of an expert in the formulae to be able to evaluate the setting at that level, I can say that it is very singable — certainly much more singable than the Kazan equivalent. Be aware that there is a small handful of typographical errors in the psaltic notation — I believe it will be shipping with an errata sheet in the future — but they are quite minor and if you follow the line where you think it’s going rather than what the notation says in these cases, you’ll wind up in the right spot.

One person made the comment to me that they found it odd that Lash’s translation doesn’t include the Nativity greeting in its customary English form, “Christ is born, glorify him!” and that as a result, strictly from a textual standpoint, they found Dr. Suchy-Pilalis’ setting unusable, even if it may be a more accurate rendering of the Greek. “Christ is born, give glory” is how Lash translates Χριστὸς γεννᾶται, δοξάσατε, and yes, it’s closer to the Greek. Lash’s translations are excellent renderings into modern English, but he does tend to disregard established ways of saying things in English when he thinks they’re wrong. As has been discussed here before, he makes an excellent argument for why the Trisagion is better translated as “Holy God, Holy Strong, Holy Immortal, have mercy on us”, but it still apparently sounds wrong to a lot of people. He also translates Χριστὸς ἀνέστη as “Christ HAS risen,” which better conveys the past tense of ἀνέστη (more literally, “Christ rose” or “Christ stood up”). “Christ is risen” is an archaic form of the perfect tense in English (think “Joy to the world! The Lord is come” or “Spring is sprung, the grass is ris”), but we don’t use it that way anymore, so there’s some shift of meaning. For me, the more “traditional” English translations can be quite awkward from time to time (Nasser’s Mode III Resurrectional Theotokion, for example — “Thee, who art the Mediatrix for the salvation of our race, we praise, O Virgin Theotokos” etc.), and I tend to find that Lash knows what he’s talking about, so I’m happy enough to use his translations when I have the chance.

Anyway, I got this in time to sing it at our Nativity Matins — the katabasiae, anyway, since we don’t do full canons at All Saints — and it worked well, even if the second canon was in pseudo-Jacobean (or “hieratic”, as my godson Lucas puts it) English. The pronouns didn’t match, but nobody died. Nobody has ever complained about pronouns not matching (at All Saints, we don’t have a uniform English approach in our Sunday morning Divine Liturgy to begin with, let alone the rest of our liturgical practice) but if anybody ever does complain, I want to find a nice way of saying, “This is the current state of Orthodox liturgical translation in English. If you don’t like it, please send a note with your suggested solutions to the bishop along with a check that says ‘Translation Fund’ in the memo. No? Then you can live with the pronouns not matching.”

There are a couple of little things I might criticize — I’ve had English rules of choral diction hammered into my head enough over the years that I really don’t like it when people set diphthongs as two syllables. It might make sense from a standpoint of compositional principles, but to sing it that way sounds terribly strange to my ears. I also wish she had included slow katabasiae. Still, these are quibbles that don’t take away from the excellent work Dr. Suchy-Pilalis has done. It’s too late for this year, but do keep it in mind for next year. It’s the kind of effort that needs to be encouraged and rewarded, and most importantly, actually sung in parishes.

In which the author keeps the Mass in Christmas and shares other various thoughts

Christ is born, glorify him!

I got a phone call from my priest a week after Thanksgiving with a proposed Nativity schedule of Royal Hours with Divine Liturgy Friday morning, with Matins and Divine Liturgy Saturday evening. I gently suggested in return that it would be good to verify that the Divine Liturgy he was suggesting for Friday morning wasn’t the one we weren’t supposed to have Friday morning, since Nativity fell on a Sunday this year. More importantly, however, I asked him, why would we not want to have our festal liturgy the morning of, the one time in six years when our usual reasons for not doing so aren’t applicable?

This reasoning apparently made sense, because when the December calendar for the parish was published, the Nativity weekend included Royal Hours Friday morning, Divine Liturgy Saturday morning, Vespers Saturday evening, and Matins and Liturgy Sunday morning.

Then, the Friday before last, I asked him, hey, if I can guarantee the presence of bread and wine, would you be up for doing Litya/Artoklasia the next couple of Saturdays, given that they are festal observances where it would be appropriate? Yes, he said, and so I baked the five loaves both Saturdays and donated a bottle of Greek ecclesiastical wine I still had in the house.

For the Vespers and the Liturgy for Nativity, I even did something I don’t normally do for purposes of voice saving, the Old Testament and Epistle readings. My cardinal rule with those is — thank you, John Boyer — “If you think you’re going too slow, slow down,” and it’s really tempting in a space with no resonance whatsoever to speed up, but I didn’t. Saturday evening, even with only three of the Old Testament readings, my — shall we say — unhurried ekphonesis plus Litya and Artoklasia and all of the extra stuff for Nativity meant that Vespers clocked in at an hour and forty-five minutes, easily the longest Vespers service that has ever been served at All Saints. It was probably about nine hours of singing all told, from Friday through Sunday morning. Next year, with Christmas falling on a Monday, I may suggest that we just do a real All-Night Vigil (Small Compline, Great Vespers, Matins, Divine Liturgy), but I suspect that will go over like a lead balloon.

Anyway, as soon as we got home after church on Sunday we had to start in on the goose. Cooking plus company meant that it was about 10:45pm before we actually got around to any gift unwrapping.

I’ll note that I find the whole discussion about whether or not churches should close on Christmas when it falls on Sunday a little odd. To the extent that Christmas (or Easter, for that matter) are components of a liturgical year that has been largely abandoned, why should Christmas be given any special treatment one way or the other? 25 December is less “Jesus’ birthday” than it is the first day of the twelve day liturgical celebration of the Feast of the Nativity of Christ, which really is something a bit different, coming as it does after a penitential fasting season and coming right before Epiphany/Theophany. I suppose Christmas really does primarily function as a family holiday without that context, so it may as well be one. Jesus may certainly be the reason for the season, but the expression of that season is based in an ecclesiastical setting, and if you don’t have that setting (and/or if your first criterion is whether or not service times are “kid friendly”, which I’ve heard as a reason for why Midnight Mass in Catholic circles is downplayed these days), what’s all the fuss about whether or not the churches are open? Can you keep the Christ in Christmas without also keeping the Mass in it, at least and have it mean the same thing? If we’re taking the liturgical celebration of the Incarnation of Christ with all of its beautiful and glorious imagery and theology and reversals of human wisdom and so on and having to recast it as Jesus’ birthday party in order for it to make any sense in our current world, then is it really Christmas, or is it basically a cultural winter holiday with distant Christian roots where it would be nice if we emphasized them more?

On the “kid-friendly” point — my recollection is that I didn’t sleep much Christmas Eve as a little kid because of the anticipation of Christmas morning. So if your kid is going to be up all night with a lot of nervous energy to begin with, it seems to me an All-Night Vigil starting at 10pm Christmas Eve and going until 5am is perfect. You’ll all be getting home right about the time the kid was going to be up anyway, so what’s the problem?

A commenter recently weighed in on one of my postings on church architecture that Christ chose to be born in a lowly cave, so I’ll use that as the pivot from Christmas to my next set of thoughts.

St. Andrew’s Orthodox Church in Riverside, CA has gotten a fair amount of attention lately over their new church building. It is worth pointing out, however, that not all of the attention has been positive. There’s a good amount here worth thinking about, and I’ve been part of the discussion about building at my own parish for the last six years, so here goes.

A good twelve years or so ago, when I was attending St. Margaret’s Episcopal Church in Factoria, one of Bellevue’s commercial districts, they were embarking on a capital campaign to tear down the old nave and build a new one. The priest talked about the vision, what it would cost, and what the timeline was.

A woman raised her hand. “I have a question,” she said. “What if we waited? There are so many needs, in terms of supporting missions and giving to the poor. Why can’t we say, ‘We’re going to do that first,’ and put off building until we’ve done more in those areas?”

The priest was clearly expecting the question. “Well,” he said, “a couple of years ago we went through the exercise of asking, where do we think God is calling us to be as a parish in ten years? We looked at the ministries we support, how we’re going to continue supporting them, how we expect them to grow, and the other ministries we want to be able to support, and it was clear to us that in order to do these things, our current facilities were inadequate. So, that’s why the plan is to build.” The woman who asked the question clearly wasn’t buying the answer, but at least there was an answer.

Now, in my time in Episcopal circles, one thing you could never fault them on was process. Results — well, there they could be a little shakier. St. Margaret’s built a new church, most certainly — but they fell noticeably short of the ten year goal, from everything I’ve seen since I moved away in 2003. They lost people while they were building, the priest who married us left under some very unpleasant circumstances which caused more people to leave, and the series of interim leaders who followed meant that more people left because of uncertainty about where the parish was going. Bottom line is, the priest gave a good answer to a good question, that there was a plan and they were following it, and this plan will allow a both/and approach, but it still turned out to be the wrong thing to do, and right now the parish is drowning in debt (at least, that’s the picture I get from the website devoted to their debt reduction initiative).

I’ve written about this before, but one thing I experienced in Greece was that the poor congregate around churches. They hang out by the entrance of the narthex, some will sit quietly with hands up, some will hustle you, some will have something to try to sell, but the simple fact of the matter is that you can’t go into an urban church without having to interact with those whom Christ told you to feed and clothe on your way in. This is a good thing; their presence convicts you and hopefully prompts you to do something about it. We’re isolated from that experience in suburban churches, and to our own detriment.

At All Saints, we’re not a suburban church, we’re more of an exurban church. We’re in the middle of nowhere — no nice way to put it. There’s no way to get there if you don’t have a car — we’re in unincorporated county, so the closest bus stop is two and a half miles away, and trying to ride a bicycle or walk on these roads would be insane. We’re at the intersection of rural roads that are such that, even if I lived across the street, I’d still drive. We had a visiting priest tell us once, “Your remote location is a gift — it means you aren’t bothered by the concerns of being in a city like drug dealers and gangs and things like that.” This was some time after my return from Greece, and the first thing that went through my head was that this priest had sorely missed the point. The Church and the church building are not supposed to isolate us from the people we’re serving; they are supposed to help us serve them better. Right?

In Orthodox Christianity, as I understand it, the building is supposed to serve a number of functions — iconographic, practical, liturgical, and so on. Unfortunately, it seems like the conversations we have to have about building are required to assume that those functions have little to no bearing on what you’re actually going to be able to build, because we’re not actually building Orthodox churches in an Orthodox context — we’re building Orthodox shells in a Protestant context. What do I mean by that? Well, St. Irene Church in Athens does not have a fellowship hall, it does not have a set of Sunday school classrooms, it does not have a gym. It has offices for the priest; beyond that, it’s a church. By contrast, in the setting we have in this country, we’re supposed to have all of these other auxiliary services, and the fact is that they’re often the tail that wags the dog. At All Saints, we built a shoebox that looks like an office building first. It was envisioned as being the classroom wing of a three-wing facility that included a church; we built that first because the conventional wisdom was — so I’m told — “People come to church for church, but they stay for everything else a church does. This building allows us to do some of those other things while getting by as a church.” I had a conversation a week ago or so about another Orthodox building project where they’re building the hall first — the priest has evidently said that there’s simply no advantage in starting out by building the church, precisely because it’s the part everybody wants. Without that carrot to dangle, there will be no incentive to finish the project. So, we’re marginalizing our primary liturgical function because it’s just not practical when everybody is conditioned by the Protestant landscape to expect a buffet of secondary functions.

But, nonetheless, we’ve got a theology of how the church building functions iconographically and liturgically beyond merely the practical concern of needing a room in which to gather. Theoretically, we’re supposed to give the best of what we have to support those functions. We don’t do that to the exclusion of our duty to feed and clothe the poor — that is, to show mercy on our brothers and sisters — rather, it is part and parcel of it. Part of the function of the church building, as I am given to understand it (and as Lotar alludes to), is to be the property of the poor — something they have that is beautiful and divine in the midst of a life of hardship. (Which is why I’m a little less than impressed when I hear about churches that build facilities that they then go out of their way, with things like cardkey lock systems and whatnot, to make sure poor people can’t ever enter.)

Okay, so, fine, that’s the theological theory. All Saints has a complex relationship with those in need. First of all, we’re mostly a lower-middle to lower-class parish, so many of the needy whom the parish serves are its own parishioners. Second, we’re the first church listed in the Yellow Pages, so we tend to be the first called when people are calling churches looking for assistance of some kind. Our priest does what he can; our previous priest had a secular retirement plus the stipend the parish gave him, so he was in something of a position to give out of his own pocket to such people, but such are not the current priest’s circumstances. He tries to have a stock of prepaid debit cards and food on hand to be able to do something when people call; we used to have a relationship with a local homeless mission, and I’m not certain why we don’t anymore. A few years ago there was a discussion about trying to form some kind of an ecumenical effort in Bloomington to do more for the homeless, but the response the priest got from other pastors was, “Sorry, that’s just not going to work in this town.” Something the priest has started doing with catechumens is instructing them to have a bag of food in their cars that they can give to people who approach them on the street, and I think that’s a great step to be taking. Could we do more? Doubtless — who couldn’t? — but the structures aren’t really in place, and All Saints is not in a position to bear the administrative weight. We could hold a soup kitchen at All Saints, but who would come, and how would they get there? You need to do such things in the places where the people are, and that’s something we can’t do under current conditions.

The relationship with building is even more complex. Anything we build will take a capital campaign, and those are scary words for a lot of our people. The hard reality is that even more than St. Margaret’s in 1999, we have very little we’re able to do in our current facility. It doesn’t serve our needs liturgically, iconographically, or practically, beyond simply being four walls and a roof that’s sort of able to house services. At the very least, we can’t really grow without building, but there are parishioners who are adamant that we must grow before we can build. In a smallish community like ours, the big killer of any effort is apathy rather than opposition — opposition is at least engaging in the conversation. Apathy is not even acknowledging that there’s a conversation. Despite efforts over the years to get a conversation going about moving towards the permanent church building, there’s really no popular impetus to do anything. Some people have suggested that it might be better to talk about how we can expand the current space, but it just wasn’t designed in a way that would make that possible and cost-effective. 11 years ago, when they built it, they figured that it would allow them to grow to a point where they would be able to build the rest of it within five years, but neither the location nor the facilities are conducive to growth, and the realities of a college town with no real economic diversity to speak of have left the All Saints demographic in a position where many of them have had to leave Bloomington rather than stay and help grow the community they were part of establishing. Somebody told me a few days ago that the parcel of land in the middle of nowhere was partially justified as being someplace where maybe an archdiocesan retreat center could eventually be built, thus being a source of some income for the parish, but… well, it all takes money, money that people have not been thrilled about parting with for the last 11 years. So, six years ago, our priest said, “Now’s the time, we’re going to do it,” and six years later, we haven’t pounded a single nail. Will we ever? Hard to say. All Saints is an experiment, some say, in seeing if you can successfully plant an Orthodox church someplace in America where there have never been the usual reasons to have one. This is something of a strange way to put it to me; it’s clear that there has been a large community of Greeks in Bloomington since the early 20th century, they just apparently never felt terribly compelled to build a church. In any event, it seems to remain an open question as to whether or not the experiment was truly successful.

So, back to St. Andrew’s. It sounds to me like Lotar is probably a lot like the woman who asked the St. Margaret’s people, back in 1999, do we really have to do this now? Is building our dream church in the suburbs really so pressing a need that we’ve got to spend millions of dollars on it that could be spent on the things Christ actually told us to do? I’m torn, because I understand his point, but I also understand the point of building. Now, that said, he makes some swipes that strike me — as someone admittedly unfamiliar with the situation, particularly in contrast to Lotar — as uncalled for; it’s simply not true that “the whole of world Orthodoxy” does Italianate-style iconography while it’s only crazy American converts that want “Byzantine anachronisms”. What is true is that there are different styles that have been employed over the centuries, it’s somewhat cyclical, and right now there is a revival of the “Byzantine style” going on, not only among American “pseudo-pious” crazies, but certainly in Greece and in Russia as well. In Athens, yes, any church that was built in the nineteenth century is going to have western-looking icons, but anything painted in the last few decades isn’t going to look like that. If his story about the Georgian family is accurate, then that hardly makes it excusable, but I’m left wondering if there might not be more to the story because of how he has otherwise oversimplified some things.

My gut instinct is that there’s no way the Riverside project would have ever been justifiable in Lotar’s eyes; perhaps I’m wrong on that point, but I’m pretty sure that the answer the priest gave the woman at St. Margaret’s in 1999 didn’t turn her into a believer in the project, and from what I’ve encountered in various instances of these kinds of conversations, there are some disagreements that can only end in an angry standoff, with one side or the other bitterly claiming to having not been heard.

That said, reading the piece Lotar links to, I wish the priest had given an answer that was more like the one the Episcopal priest gave twelve years ago — that there’s a plan that is getting us to where we think we need to be in order to do the things we’re supposed to do as a parish, and this building is part of that plan. It’s not that what he says is wrong, exactly — and I can’t speak one way or the other to Lotar’s rebuttal on St. Andrew’s involvement with ministries for the poor — but it does seem easily read as unnecessarily self-justifying. It doesn’t seem to me to have been intended that way, but publicly dismissing those with questions as “small-souled” comes across as awkwardly off-message to say the least. There is a way to answer the concerns that people have in the context of a building project, but marginalizing them isn’t the way to do it. As I say, I get the impression that Lotar’s contempt for the project was probably a given from the get-go (and was probably a function of contempt for the community itself, or at least some segment of it), so maybe there’s no way that the outcome would have been different.

And maybe the thing that is unavoidable is that building projects are divisive. You’re not going to make everybody happy, you’re not going to be able to convince everybody that it needs to be done, you’re even not going to be able to convince everything that it isn’t a huge mistake. Yes, sometimes the naysayers are right; maybe they’re even right more often than we’d like to admit. I don’t know what the answer is; I don’t know if the Riverside church is a huge waste of money by a bunch of anachronistic and silly white people who are willfully skirting their obligations to the poor by building themselves a pretty toybox. I don’t know if All Saints needs to just get used to the idea that Orthodox Christianity in south central Indiana is a solution looking for a problem.

I believe the concerns of somebody like Lotar need to be heard and taken seriously. I also believe that Fr. Josiah is right in that the answer to those concerns is “both/and” — but the question is, how do you articulate the “both/and” such that the the person who believes they need to ask, “What if we waited?” actually believes that they’ve been heard and taken seriously, and so that the “both/and” actually gets realized? That’s a lot harder.

I feel compelled, for reasons I’m not entirely sure I can explain, to close with this passage from the ninth ode of the first canon for the Nativity:

A strange and wonderful mystery I see, the Cave is heaven, the Virgin the Cherubic throne, the Manger the Place in which Christ, the God whom nothing can contain, is laid. Him we praise and magnify.

Christ is born, glorify him! Merry Christmas!

Some last-minute gift ideas…

Obviously it’s Thursday, and Christmas is Sunday, so this isn’t even last-minute but last-second. Last-millisecond, even. Nonetheless, here are some suggestions for those of you foolish enough to think that my taste might be the slightest bit relevant:

Consider giving a gift to International Orthodox Christian Charities. Their mission: “IOCC, in the spirit of Christ’s love, offers emergency relief and development programs to those in need worldwide, without discrimination, and strengthens the capacity of the Orthodox Church to so respond.” They do a lot of wonderful work throughout the world like Palestine, Syria, Romania, Ethiopia, and more — including the United States.
A Tom Bihn Checkpoint Flyer. My Samsonite leather satchel fell apart on me over the summer, and I contemplated whether or not I could swing a Saddleback classic briefcase (my godson Lucas has one and it is a thing of beauty), but then Larry Anderson suggested I check out the options from Tom Bihn. I got a great traveling laptop briefcase for about a third of what the Saddleback bag I was considering would have cost, it’s got a lifetime guarantee, and it’s been perfect for when I’ve needed to travel with my 15″ MacBook Pro. Of course, the day after the bag arrived I bought an iPad 2 (yeah, yeah, earlier than I said I would, but no regrets, let me tell you), so I have tended to need to transport the laptop less (short version: to the extent that laptops have become desktop replacements, iPads are laptop replacements), but it’s stil been exactly right for what I need. It’s very elegantly designed, and it’s very good at making sure there is a place for everything. The one caveat I might add is that while the bag is plenty sturdy, the stretchy shoulder strap may feel like it’s more stressed than it actually is if you overload it. Not an issue if you don’t, well, overload it, and the bounce the shoulder stap provides makes the bag a lot easier to carry once you get used to it (it basically seems to function as a shock absorber).

Cappella Romana’s new disc Mt. Sinai: Frontier of Byzantium. A full review of this is forthcoming, but for right now suffice it to say that it’s a beautifully-sung account of medieval Byzantine chant manuscripts from St. Catherine’s Monastery in Sinai. Repertoire includes material for Vespers of the Feast of St. Catherine, as well as from the Service of the Three Youths in the Fiery Furnace, which used to be served on the Sunday before Nativity. Some of this has been recorded before by Lycourgos Angelopoulos and the Greek Byzantine Choir for a disc called “Byzantine Hymns” (and one can find the audio on YouTube but I can’t find out anything about the disc, so if anybody knows anything about it, please let me know), but Cappella Romana is a very different ensemble from GBC in a number of ways, and their rendering of the material is very much worth hearing. Like I said, full review coming, but this is a great stocking stuffer. For that matter, so is the reissue of the Epiphany disc under their own label. And, of course, their recording of Richard Toensing’s Kontakion on the Nativity of Christ is a must-have. One can also make a gift to Cappella Romana, either to their general operating fund or to support one of their several in-the-works recordings.

If you’re an iPad user who thinks that the soft-tipped styli that you’re likely to find at Best Buy don’t really do what you need them to do, I highly recommend the Jot-Pro. It makes handwriting and drawing much easier.

For another music suggestion, Marcel Peres/Ensemble Organum’s recording of Christmas music from the Old Roman Chant repertory, Chant de l’Eglise de Rome: VIe-XIIIe Siècles, is a fascinating and beautiful reconstruction of a time when East and West had a lot more in common, culturally and spiritually, than we’re used to now. “Reconstruction” is often a euphemism in early music circles for “making nonsense up”, but as I’ve noted before, I think Peres (collaborating with Lycourgos Angelopoulos) makes a pretty compelling case.

If you’re a Mac user and a writer who needs to manage a decent amount of research, notes, ideas, dates, etc., Scrivener and Tinderbox are a pretty powerful one-two punch. If you’re already a Scrivener user, there’s also deal on Tinderbox. I’m new to Tinderbox myself, but I’ve been using Scrivener for several years now, and I find it to be fantastically helpful in terms of its set of writing tools. I’ve written (and am still revising) a children’s book and several academic papers with it. The only thing I wish it had was cleaner EndNote integration, and I also have to make sure I remember to not send compiled *.rtf documents as finished drafts (must save as a Word doc or a *.pdf), lest the person on the other end simply open it in a text editor by default and think I’ve made the rookie mistake of not including any footnotes. (Yes, this has happened. Recently.)

Horrified as I am by the K-Cup craze, I’m going to suggest the paleocafephile route (I think I just invented a word) — the briki/ibrik, with which one makes Greek/Turkish/Arabic coffee. You don’t have little plastic containers that keep you from ever handling grounds; nonononono. Heh. No. Instead, you grind the beans to powder, boil the grounds directly (no filter), pour it into a cup, add sugar (and maybe cardamom if you’re Cypriot), and then you deal with the sludge at the bottom of the cup. It’s the only way to fly in a word that wants to make your coffee experience as safe and plastic and single-serving-sized as possible.

Michael Uslan is, without doubt, the comic book geek made good to end all comic book geeks made good. His memoir, The Boy Who Loved Batman, is tremendously inspiring, and is a must-read for anybody, whether they’ve read a comic book or not, who has ever been told, “Kid, you can’t get there from here.”

All right — may the last few days of the fast treat everybody well!

Unlikely realities

Something that occasionally can seem like lazy historiography to me is when scholars call something “unlikely” to explain why they think it probably didn’t happen. It’s a way to argue with something that may show up in a primary source without necessarily having to reason your way through the disagreement; oh, well, such-and-such gives X account of this event but that’s “unlikely”, so we’ll assume it didn’t happen.

Here’s the thing. At the risk of getting all Dr. Manhattan on both of my regular readers, “unlikely” things happen all the time. I am an extraordinarily unlikely occurrence, given who my parents are, their personalities, their respective stations in life when they met, etc. It’s highly unlikely that my randomly going to a party one night while nearing emotional rock bottom should result, six years later, in me getting married to a person I met there (principally as somebody another friend of mine had a crush on). It’s highly unlikely that a college choir director deciding she was going plan a European tour should start a chain of events that would result in a conversion to Orthodox Christianity nine years later. And yet, these things defiantly happen nonetheless with callous disregard to whether or not a historian will later believe that they did.

A couple of other fairly unlikely things have happened to me in the last two or three weeks: for example, Megan and I, along with our godchildren Matt and Erin and our dear friend Anna, attended Lyric Opera of Chicago’s recent production of Tales of Hoffman. Not necessarily unlikely in and of itself (but since the last time we went to the Lyric was 9 years ago for Bryn Terfel’s Sweeney Todd, certainly not a regular occurrence), but consider the following: Hoffman was supposed to be produced at my first undergraduate institution, Western Washington University, my freshman year. WWU had put on a production of La Boheme a couple of years previous that had received national attention, was developing something of a reputation for being a good undergrad program for people who wanted to do opera, and Hoffman was going to be the big followup that would prove that Boheme wasn’t a fluke. Well — as the story was told to me in dribs and drabs from a few different people — political, economic, and practical concerns meant that this didn’t happen. Hoffman was nonetheless on my radar for the first time, and in short order the 1989 recording with Placido Domingo was the very first opera recording I ever owned. That disc featured people I’d never heard of before like Edita Gruberova and James Morris, and I played it over and over again.

Somebody who was in my freshman class was a soprano and cellist named Erin Wall. She was in 8am Music Theory with me the very first day of classes, we were in the same voice studio, and she was one of a group of Canadian students who were in Western’s music department for voice. She had a nice, full voice at a time when there were a lot of soubrettes hanging around; the last time I heard her during my time there was when she was one of the Flower Girls in The Marriage of Figaro in 1996, but after I dropped out I believe she got to do the title role in Susannah. Over the years I found out she was having quite the meteoric rise; she was a finalist for Canada in the Cardiff Singer of the World, she was part of Lyric Opera of Chicago’s young artist program, and then she started to get really busy.

A few months after leaving Western in ’97 I went to work for a Major Software Company and, shall we say, did a reasonable impersonation of a tester for a few years while trying to get to the next step as a singer. One of the things I tested had to do with web browsing, and one day I happened upon a student website for a soprano at Rice University named Anna Christy. There wasn’t anything particularly distinctive about the website, but I always remembered that I had hit it, particularly when I started seeing her name in Opera News a few years later as somebody who would be singing at Wolf Trap and so on.

Fall of 2003, after just starting at IU, I was flown back to Seattle to sing as the tenor soloist for a concert of Bach cantatas with the Seattle Symphony, John Harbison conducting. It was the biggest professional thing I ever got to do, and except for the check, it was a real waste for me and for the Seattle Symphony people. I was cast in a role at IU that I was removed from over this; the Seattle contract had been signed months ago, and I was to be gone the second to last week before opening. I didn’t even know I was up for anything in this particular show, and I explained my situation as soon as I found out I was cast. “Take it up with the stage director when staging rehearsals start,” I was told. Well, as soon as the stage manager said at the first staging rehearsal, “We’re not excusing anybody for any reason from any rehearsals,” I knew I had a problem, and sure enough, I was kicked out. (This was, of course, considered to be my fault from the standpoint of the opera administration, but never mind that now.) Not only that, but as soon as I got off the plane in Seattle, I came down with probably the worst sore throat I’ve ever had in my life, and my ability to phonate, still reasonable at the first rehearsal, was in tatters by the concerts. It was the first (well, only) time I’d ever been on a gig like this, I had no idea whom to talk to or what to do, and while I managed to sort of scrape by in the concerts — well, funny thing, the Seattle Symphony folks never called me again. (My voice teacher in Seattle, who had sent Seattle Symphony my way in the first place, said that from what he had heard it wasn’t exactly a “He’ll never sing in this town again” kind of thing, but that I was remembered as somebody who had problems, and he’d have to specifically arrange an audition for me down the road when the time came. Needless to say, the time never came, and thank God.)

Anyway, the bass in the solo quartet was one Christian Van Horn, who had just won the Met auditions. I doubt he would have any memory of who I am, and if he did remember me I doubt he’d remember me well, given the circumstances, but he was a tough guy to forget — physically and vocally imposing, to say the least.

My second year at IU, a mezzo-soprano named Jamie Barton started her Masters. She distinguished herself quickly in operas like La Cenerentola, but she was also a frequent guest at Chez Barrett, back in the day when I used to host large gatherings of IU voice people over nachos on a weekly basis. (Hey, that’s how I made friends when I first moved here — I fed people.) She won the Mets a few years ago, and since then, she’s been one popular mezzo.

So Chicago’s Hoffman featured James Morris (from that first recording) as the four villains, Erin Wall as Antonia, Anna Christy as Olympia, Christian Van Horn as Crespel, and Jamie Barton as Antonia’s Mother. (As well as Matthew Polenzani as Hoffman, whom I had last heard ten years ago in Seattle as Almaviva in Barber of Seville.) And with me in the audience — what an unlikely confluence of people and circumstances! If I took a time machine back to that first day of freshman year in September of 1994 and told the 19 year old Erin what would be happening in seventeen years, she’d laugh in my face, I’m sure. (The set looking like it was reproduced from a Chris Van Allsburg book was also pretty unlikely. Fascinating looking at times, but unlikely.)

The second unlikely thing to occur was a week ago today. I’ve written here and there about my lifelong fascination with Batman; well, as I had known for some time, Michael Uslan, the Executive Producer of the Batman films starting with the 1989 Tim Burton effort — and really the guy without whom a modern Batman on screen doesn’t happen — was an IU alumnus. He’s spoken on campus a few times since I’ve been here, but I’d never been able to go, so when I heard that there would be a screening of The Dark Knight in the new IU Cinema facility with Michael Uslan introducing the film, I made it a point to clear my calendar for the day and to order a copy of his memoir, The Boy Who Loved Batmanin time for the screening. As it happened, he gave a lecture in the afternoon in addition to the screening, and I was able to go to both. There is a brief account of the day here (hmmm — “RRB”, familiar initials, aren’t they?) so I’ll just say that the guy is one hell of an inspirational speaker, to say nothing of one hell of a self-promoter; he’s basically a comic book geek who has figured out how to make being so respectable, lucrative, and attractive. He was incredibly generous with his time at both the lecture and the screening; he kept answering questions until he was hooked off the stage, and during the book signing he talked to everybody.

So, chain of events — I find a book called Collecting Comic Books by Marcia Leiter at the Redmond Library in 1985, and my life is forever changed. Four years later on 23 June 1989, Batman introduces me to a way of thinking about movies that cares who’s in them, who directs them, who writes them, who designs the sets, who writes the music, and so on. I had been a Star Wars kid and then some, but I couldn’t have told you who George Lucas was. After the summer of 1989, though, damn skippy I cared who Tim Burton was and what else he had done and was going to do, who Danny Elfman was and what kind of music he did (followed by an obsession with Oingo Boingo for awhile), who Sam Hamm was and why it seemed he never wrote another movie anybody cared about, who Jon Peters was and why a former hairstylist was suddenly one of the most powerful producers in Hollywood, etc. At the very least, without Danny Elfman’s score, my interest in classical music probably doesn’t happen. (And then there’s something about a girl in high school that gets me starting to take voice lessons, but that’s somewhat beside the point at present.) Anyway, I then go to Indiana University in 2003 for music, which just happens to be Uslan’s beloved alma mater, leading to last week’s events. Again — how incredibly unlikely!

No historian will ever care about any of these things, I’m certain. If one were to ever to try to reconstruct these chains of events and concurrences of people and places and things, surely it would strain credibility. This doesn’t mean we have to interpret all of these things teleologically, necessarily, but it also means that just dismissing them is not really reflecting on how life works and how things play out.


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?

Blog Stats

  • 263,805 hits

Flickr Photos