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Review Essay: The Oecumenical Patriarchate in the Orthodox Church

maxresdefault A couple of years ago, I contributed this piece to the sadly-now-defunct Red Egg Review. It seems quite relevant now, so I repost it in full here.

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I find it curious that, amidst a series of heavier news reports of import to Orthodox Christians being covered in American media, such as the conflict between Ukraine and Russia and the civil war in Syria, the recent synaxis of the Orthodox primates at the Ecumenical Patriarchate made the Huffington Post via a Reuters story (although somebody at the HuffPo concocted an ill-informed headline on the piece, announcing that the synaxis had planned a new “ecumenical council” for 2016, and I’m not the only one who noticed this). As can be typical, the writers of the piece seemed to stumble a bit when it came to explaining the role of the Ecumenical Patriarch; +Bartholomew is “the spiritual leader” of the Orthodox, the “senior-most Orthodox leader” who has a “prestige” position but a “tiny” church, with “no authority over other churches” and “none of the resources the large Russian church enjoys”.

The Ecumenical Patriarch is often a lightning rod for confusion and criticism by Anglophones, Orthodox and non-Orthodox alike. Not only is the American media not certain in what box to put him, but online chatter about the Patriarchate among American Orthodox converts is often sharply negative. He is critiqued for his support of environmental concerns and framing of them as a matter of Christian stewardship, for his willingness to interact with the Pope, for what the critics portray as a penchant for consolidating his own power, for a willingness to embrace political expediency in Turkey rather than bravely face martyrdom (as was at the heart of some critical reviews of his book, such as those by Rod Dreher and Charlotte Allen), and for a lack of concern for American issues besides shoring up support for the position of the Greek Orthodox Archdiocese. Fr. Peter Gillquist’s allegation of the EP’s (+Demetrios in those days) poor treatment of the delegation from the Evangelical Orthodox Church is a story that is not easily forgotten, and it is trotted out with some regularity. Others offer the hypothesis that the Patriarchate seeks to establish itself as the “Orthodox papacy” specifically so that, when (so this line of thinking goes) +Bartholomew enters into reunion with Rome, it will be no conceptual difficulty to hand that authority over to the Roman Pope. Uncompromising reassertions of the primacy of the Ecumenical Patriarchate by Metropolitan Elpidophoros (Lambrianides) of Bursa have not helped the matter (at the same time, neither have similarly aggressive-sounding words from Moscow).

There are parallels here to the situation in 1970s. Greece had just emerged from its military dictatorship in 1974, the same year as the coup in Cyprus and subsequent Turkish invasion Lebanon’s civil war started in 1975; Soviet Russia was at its height – and the Orthodox world was preparing for a council. Preparatory meetings had been held since 1961, at Rhodes and at Chambesy, and in 1972, the same year that Patriarch Athenagoras passed away and a year after the Theological School in Halki was closed, a collection of the introductory reports of the Preparatory Commission were published under the title Towards the Great Council, the introduction to which contains the rather charming and confident statement that “[t]he Great and Holy Council of the Orthodox Church is planned to be held in all probability some time during 1974[.]”

The same year, Metropolitan Maximos of Sardes of blessed memory published a work of historical theology titled The Œcumenical Patriarchate in the Orthodox Church: A Study in the History and Canons of the Church, published by the Patriarchal Institute for Patristic Studies (Thessaloniki). The work begins in the Apostolic era, tracing the historical development of the office of the bishop through the Council of Nicea in 325, at which point +Maximos looks specifically at the episcopate as it developed in Constantinople. He spends quite a bit of time on the Council of Chalcedon, and then studies the way the role of the Patriarchate, as articulated at Chalcedon, was realized from the end of late antiquity up until the twentieth century. The book appears to have been conceived of in the context of an impending Great Council; +Maximos specifically has as his framing device the (then) recent memory of the first Conference at Rhodes in 1961, at which he was a delegate:

The conference was held primarily to demonstrate the unity which has held the Orthodox Church together in faith and service throughout the centuries, despite what at times has been considered as its injurious decentralization and the independence of the individual churches… No doubt as a result of [such] misunderstandings, some curious articles have been published… about antagonism between the Oecumenical Patriarchate and the Russian Church, and about the victory of one over the other. Nothing could be further from the truth. No one scored a victory at Rhodes. Rhodes saw but one victory; the triumph of Orthodoxy (p. 15).

Space only permits a brief summary of +Maximos’ 327 pages’ worth of observations and conclusions; in a nutshell, the Church is a divinely-instituted, mystical (as in sacramental) Body; at the same time, it is a historical reality, with visible power and authority being given to the Apostles. The episcopate is a charismatic office that is derived from Apostolic origin but is not, essentially, apostolic in character; in other words, the Apostles had a fundamentally missionary role, whereas the episcopate has a fundamentally liturgical and pastoral role. Ultimately it is Christ who is the divine founder of the Church; it is the bishop who is the earthly – that is to say, historical – head; this power is properly considered to be within, rather than over, the Church, and the bishop is the personification of the organic unity of the Church.

As Christianity spread, and the need for bishops to decide things in synod developed, a system of precedence emerged out of necessity, with preference being given to the “mother church” of a given synod. As new communities started emerging in the periphery rather than the metropolitan centers, this practice of customary precedence came to represent concrete administrative power, but these prerogatives were accompanied with a “reciprocity” of obligation. As the 34^th Apostolic Canon prescribed, the bishops in a given synod are not to do anything without their head, but neither is the head to act without his bishops, “because harmony and love must prevail amongst the bishops as an example to the clergy and people and for ‘the glory of God, through the Lord, by the Holy Ghost’” (322).

Within this system emerged metropolitans, then patriarchs of autocephalous churches, then the patriarchates of Rome and New Rome. This is a historical development that still must be seen as an organic necessity:

[O]nly in this organization can the Church continue to exist in the midst of human societies… Thus even the highest institutions of its historical development, such as the emergence of the office of patriarch in the oecumenical Church, must be seen as vitally necessary phenomena, deriving in ecclesiastical life by a gradual and continuous process from the ecclesiastical idea of order, organization, and perfection in administration, under the same conditions as those under which the whole administration of the oecumenical Church has evolved; phenomena fully in accord with the internal presuppositions of ecclesiastical order as these were recognized by the Church itself and were developed in its legislation… Thus even if all the bishops are equal by divine institution, enjoying to the same degree the gift of the episcopal grace and share the same unbroken Apostolic succession, they are not all equal-in-honor in the canonical system of the ecclesiastical administration… Some bishops emerge as senior to the others…Enjoying special privileges, they take the initiative in general ecclesiastical issues. (324-25)

In this context, the Patriarch of Constantinople has a precedence of honor that is related to his administrative function. This is not, +Maximos insists, a supremacy in all aspects of ecclesiastical life (the way he would define “neo-Papism”), but an authority in the context of the dual principles of “conciliarity and collegiality” and “non-intervention in the internal affairs of other churches” (326).

History does interfere, however. The Ottoman takeover of the former Empire is well-covered territory; more recently, +Maximos examines the problem of the rise of nationalism in the Balkans and Europe, where the boundaries of local churches were now being drawn according to self-consciously secular and political criteria – division by tribe; that is to say, racism. It was in this context that the Patriarchate condemned ethnophyletism in 1872: “We renounce, censure, and condemn racism, that is racial discrimination, ethnic feuds, hatreds, and dissensions within the Church of Christ, as contrary to the teaching of the Gospel and the holy canons of our blessed fathers which ‘support the holy Church and the entire Christian world, embellish it, and lead it to divine godliness’.” (300-309)

+Maximos also spends some time on the question of the diaspora (a loaded word for some in 2014 that presumably was assumed merely to be descriptive in the 1970s). He acknowledges the problem that the emphasis on national origins has posed in Europe, Canada, Australia, and North America: “This makes Orthodoxy appear divided and at odds with itself… with disastrous consequences when it comes to projecting its unity to the outside world” (309). +Maximos here suggests that the diaspora represents three problems to be solved: what the local principle in the organization of the Church means as an issue of dogma, the canonical jurisdiction of Constantinople over Orthodox Christians outside of the boundaries of established churches (per Chalcedon 28, which +Maximos deals with at great length in his fourth chapter), and the “so-called psychological question of ecclesiastical unity” (311). An article of Fr. Alexander Schmemann’s, dating from 1954 – sixteen years before Moscow’s granting of autocephaly to the Orthodox Church in America – is brought to bear in support of the Ecumenical Patriarch’s role in establishing unity in the diaspora. Apparently Schmemann was for the EP before he was against it.

The legacy of +Maximos’ book, particularly in Anglophone literature, is curious. The English translation was published in 1976. The Patriarchal Institute for Patristic Studies had commissioned Gamon McLellan, an Anglican who had been a student of +Kallistos Ware’s (now Metropolitan of Diokleia) and who was working with a team of paleographers at the Institute at the time of the commission. In preparation for writing this piece, I was fortunate enough to speak with Mr. McLellan by Skype, and I am indebted to him for his comments and his help in providing useful historical context for his work. He had a great deal of personal access to +Maximos, and they discussed his translation extensively. Mr. McLellan’s work was also reviewed by a team of senior theologians at the Patriarchal Institute. As much care as was put into the publication of the translation, however, it is unclear what the reception to the work was amongst English readers. WorldCat lists only forty-one libraries worldwide with a copy of Mr. McLellan’s translation in circulation, and the Patriarchal Institute in Thessaloniki has let the English edition go out of print. Indeed, while a second edition of the book was published in Greece in 1989, three years after +Maximos’ repose, no English translation has been published of that, and the Greek edition has proven impossible to acquire via Western interlibrary loan systems. On the whole, +Maximos does not appear to have been cited very much in English, save for a very small handful of scholarly works and a couple of essays on the Greek Orthodox Archdiocese of America website. And yet, a note of inquiry to +Elpidophoros of Bursa regarding the current appraisal of +Maximos’ study by the Patriarchate yields the following response: “…it does not merely reflect the thinking of the Ecumenical Patriarchate, it describes the Ecumenical Patriarchate as it is. After saying that I do not see any space for any Patriarch to change something about that.”

The book is, to be sure, a dense read. +Maximos’ command of historical sources is exhaustive. At the same time, Mr. McLellan’s translation renders the recounting of canons and Councils into English that is as readable as it could be, and it is rewarding and informative reading. While it is a different world today in terms of Anglophone scholarship than it was in 1976 – the translation of Metropolitan John (Zizioulas) of Pergamum’s ecclesiological studies into English has been monumental all by itself (and +Maximos relies on him greatly in the early chapters) – surely a refreshed translation of the 1989 second edition, along with perhaps a scholarly afterword bringing the study up to date, would be a worthwhile project for a publisher like Holy Cross Orthodox Press.

A thought that emerges in my reading of this work is the applicability of the Byzantine love of paradox;[1] certainly, +Maximos is careful to acknowledge the paradoxical nature of the picture he paints. “Power and service are indeed mutually contradictory,” he writes, “power usually destroying any idea of service… However, when the Oecumenical throne exercises the power given it by the canons and by history, the aspect which predominates is that of offering service in the entire Orthodox economy, thus imitating and carrying on the unique example of Our Lord Jesus Christ” (327). Mutual contradiction – that is to say, paradox – does not represent an impossibility; it represents the chance for Christ to make Himself known (and one need only attend a Salutations service during Great Lent to hear the manifold ways this is expressed regarding the Mother of God in the Akathistos hymn).

+Maximos’ presentation of the Ecumenical Patriarchate on its own terms serves as a useful corrective to the all-too-convenient picture that can be presented of a weak, ethnocentric, would-be Pope, and for that even if for no other reason, it is a work that deserves more of a hearing amongst Anglophone Orthodox than it seems to have received. Seen in the light of the picture +Maximos paints, +Bartholomew is an Ecumenical Patriarch who is trying to serve the oecumene – that is, the civilized world – not take it over and hand it to Rome in a neatly-wrapped package. Even if the reader, after giving him a fair hearing, still disagrees with +Maximos’ conclusions, it will be an exercise that, by the end, will make the reader more informed about Orthodox ecclesiological theology and the historical nature of Orthodox ecclesiastical structure, and will also be greatly illuminating in terms of where the Patriarchate and Patriarch are locating themselves in the scheme of Christian history.

[1] See, for example, Anthony Kaldellis’ exploration of this theme with respect to the Mother of God: ‘“A Union of Opposites”: The Moral Logic and Corporeal Presence of the Theotokos on the Field of Battle,’ in C. Gastgeber et al., eds., Pour l’amour de Byzance: Hommage à Paolo Odorico (Frankfurt am Main: Peter Lang, 2013) 131-144.

Hey! Kids! Byzantine music books!

Published 10 May 2016 General , Media , music , The Orthodox Faith Leave a Comment
Tags: byzantine chant, Byzantine Music Books North America, byzantine notation, chant, ecclesiastical chant, Greek, hazards of church music, liturgical music, liturgy, music, random acts of chant, sacred music

There’s a story here to be told another time, but this is another venture I’m helping out with. Interested in buying Byzantine music books in North America without the retail import and shipping premiums? Talk to us. Visit http://www.byzantinemusicbooks.com, and e-mail me at richardbarrett AT johnofdamascus SPACE org.

The present-day relevance of Byzantine history

Published 28 March 2015 Academia , General , The Orthodox Faith Leave a Comment
Tags: byzantine matters

A few months ago, an opportunity came up to pitch an essay explaining the relevance of my subject area to a public audience. I made a pitch about Byzantine history, the editors liked the pitch, and I wrote a draft. Two drafts later, even cutting the things they asked me to cut and changing the things they asked me to change, it became clear that what I was trying to say wasn’t working for the forum as the editors envisioned it; from my perspective, what they wanted was an apologia for Byzantine history that somehow strictly avoided any actual discussion of Byzantine history or the perspectives of current scholars in the field, and I rather feel like their objections to what I wrote only proved the point I was trying to make.

Oh well; the beauty of having a personal blog is I can put up whatever I like, so I’ve thrown back in a lot of the things they asked me to take out, updated it a little bit more, and I present it to you here. Doubtless the audience will be much smaller, but whatever. It’s Akathistos Saturday, and I discuss the modern significance of the events commemorated therein in this essay, so it seems appropriate to publish it today. Enjoy.

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The word “Byzantine” is pejorative in the vast majority of English-language contexts. As a Byzantine historian, this always leaps off the page at me, and it strikes me that our conceptions and misconceptions about the distant past influence our attitudes towards present-day matters. Recent citations provides no shortage of examples.

Consider a 22 January 2015 headline from the Canadian newspaper National Post: “Shawn Rehn case shows Byzantine criminal justice ‘system’ built to avoid accountability.” In the body of the article itself one finds the declaration that “A lot of facts can’t be established in the… case because the paperwork… is Byzantine and emanates from multiple arms of the beast that pretends to be a system.”

For example, a 26 January 2015 Huffington Post piece by Rebecca Orchant on the settlement between The Hershey Company and an import company that effectively prohibits the import of several brands of chocolate made overseas, in which Orchant, a retailer, says that her choices now are to “turn to more Byzantine measures to get our British chocolate, or sell an inferior product.”

There is also a Heritage Foundation report from 26 January 2015 titled “Reforming DHS: Missed Opportunity calls for Congress to Intervene,” which calls the oversight of the Department of Homeland Security not just “byzantine” but “balkanized and dysfunctional”.

“Byzantine”, for these writers, means overly ornate, unnecessarily — but possibly intentionally — complicated, corrupt. The Heritage Foundation juxtaposes it with “balkanized”, another geographic term (describing a former portion of the Byzantine Empire) that has been turned into a pejorative, here meaning a whole divided into small, mutually-opposed parts.

“Byzantine”, in fact, is a word that the so-called “Byzantines” did not use to describe themselves; “Byzantium” was the old name of the port town on the Bosphorus at the intersection of eastern Europe and Asia Minor where the Roman emperor Constantine decided to establish his new capital city in 325. He called it “New Rome”, it came to be known as Constantinople, “Constantine’s City”, today known as Istanbul (probably from the Greek phrase eis tin poli — “to the city”). While Romulus Augustus, the last Roman emperor in the West, abdicated to Germanic forces in 476, by that point the Roman Empire had re-centered itself around Constantine’s capital. Eventually its borders began to shrink irrevocably, but nonetheless, the transplanted eastern empire survived in one form or another until 1453, when the city fell to the Ottomans.

For a Byzantine historian in the West, the pejorative use of “Byzantine” in our vernacular represents a never-ending series of “teachable moments”, opportunities to examine the myopic privileging of the immediate present by our media at the very least, but also to interrogate the way various fields reflexively treat that which is “Eastern” as something inherently “foreign”, “mysterious” – or worse, “mystical”. That Byzantine history is by definition a pre-modern subject already guarantees its marginalization by the mainstream, but even among medievalists, it is not sufficiently “Western” for a discipline that tends to privilege Latin and French subjects, being situated in the “Greek East”. At the same time, it is also not really sufficiently “Eastern” for most historians who work with Middle Eastern or Far Eastern topics; Edward Said, for example, sees Christianity, even that of the “Greek East”, as being fundamentally “Western”.^{^[1]} These barriers can tend to ghettoize Byzantine issues, placing them off to the side in survey courses and textbooks. To the extent that the Byzantine world is talked about in those contexts, they are largely informed by biased Western sources — such as the tenth century Liutprand of Cremona, who after an embassy to Constantinople described the Emperor Nicephorus Phocas as “a monstrosity of a man… [and] in color an Ethiopian” dressed in royal robes that were “old, foul smelling, and discolored by age” — resulting in an Orientalizing overemphasis on the perceived differences between the “Byzantine east” and the “Latin west”. The discourse emphasizes the tawdry excess of supposed cultural discontinuities – aesthetics, politics, art, religion, and so on – and discusses them as misunderstood, abstract distortions rather than as concrete realities. The picture of the Roman East that emerges is really a straw man, representing everything that the we Westerners pat ourselves as having left behind after the Renaissance, the Reformation, and the Enlightenment — ugly aesthetics that take the worst elements of the classical world and distort them, corrupt politics represented by the machinations of the monarchical emperors, a state-subject church that combines the most patriarchal and superstitious elements of paganism and Christianity. It is not a fully-qualified subject of interest in its own right; it is a gaudy red-headed stepchild of Western history cloaked in a cloud of incense.

Recent scholarship, thankfully, is showing that many of these characteristics, so distasteful to a Western intellectual ethos, are misunderstood and mischaracterized, such as the claim that Eastern Empire was an absolute imperial theocracy.^{^[2]} As well, an informed understanding of many of today’s pressing international issues — ISIS’ violence against religious minorities in Mosul and Libya, the civil war in Syria, the Israeli–Palestinian conflict, the complexity of Turkey’s application to the European Union, Greece’s economic woes, even elements of the current conflict between Russia and Ukraine — must acknowledge a sense of the sweep of history that includes, rather than dismisses, Byzantium.

To give but one example, the demonstration by tens of thousands of Muslims in front of Hagia Sophia in Istanbul on 31 May 2014 makes far more sense if you understand that what is today a museum was built by the emperor Justinian in the sixth century as the Empire’s largest church. This exemplar of Byzantine sacred architecture was the largest cathedral in the world for nearly a thousand years; it was repurposed as a mosque by the sultan Mehmed II after 1453, inspired sultan Ahmet I to build the so-called Blue Mosque as a copy just a few hundred meters away in 1609, and then was decommissioned and turned into a secular museum by Ataturk in 1934. Today, besides the Muslims who hope to persuade the Turkish government to re-open the monument as a mosque, there are Greeks who want to see the monument returned to the Greek Orthodox Church. Hagia Sophia may be little more than a museum to some, but it is a Byzantine foundation that still has considerable discursive power in 2015, resonating for present-day adherents of Islam and Orthodox Christianity, as well as being a symbol of two past empires for their would-be inheritors. The discursive weight of such symbols stretches far beyond modern-day Turkey, extending throughout the Mediterranean, Asia Minor, the Middle East, the Balkans, and Russia.

The recent episodes of violence by ISIS against Christian minority groups in Mosul and Libya are also rooted in chapters of Byzantine history. Coptic Christians, like those beheaded in Libya in February 2015, are the modern Christian group that count themselves as the present-day successors of the historic Church in Alexandria, Egypt. They were part of the Roman Empire in the East only to be separated ecclesiastically by theological disputes. Assyrian Christians, like those kidnapped in Tal Tamer on 23 February 2015, are the modern Middle Eastern Christian group that claims continuity with the so-called Church of the East or Catholicosate of Seleucia-Ktesiphon of antiquity, a Christian group that straddled the frontier between the Roman and Persian empires. They were cut off more because of geography and political boundaries than because of theological disputes. In the seventh century, both groups were permanently separated from the Byzantine mainstream by Arab invaders.

To say the least, this background is not at all well-understood by our media; even well-intentioned pieces, like Graeme Wood’s recent “What ISIS Really Wants” for The Atlantic, demonstrate serious ignorance in passages such as this, where Byzantium is nothing more than a transitional stage between ancient Rome and present-day Turkey, not even worth mentioning by name:

Who “Rome” is, now that the pope has no army, remains a matter of debate. But Cerantonio makes a case that Rome meant the Eastern Roman empire, which had its capital in what is now Istanbul. We should think of Rome as the Republic of Turkey—the same republic that ended the last self-identified caliphate, 90 years ago.

In terms of my specific area of research — I am writing a dissertation on public devotions to the Virgin Mary in Constantinople between the fifth and seventh centuries. The Byzantine image of the Theotokos, the Mother of God, is another kind of symbol with powerful religious and political resonance, and the memory of seventh century events associated with the Virgin are still present in today’s discourse. For example, on 22 April 2013, The New York Times reported that the Syriac and Greek Orthodox bishops of Aleppo were kidnapped in the village of Kfar Dael.^{^[3]} As of this writing, that situation has not been resolved, and tensions and violence have, obviously, continued to escalate otherwise there. In response to the kidnapping as well as the overall time of hardship, Greek Orthodox Patriarch of Antioch John X gave a fascinating instruction in an encyclical for Orthodox Palm Sunday: “Let our [Palm Sunday] processions be this year with candles tied with black ribbons, chanting the hymn: ‘To Thee O Champion Leader…,’ instead of the hymn “Rejoice O Bethany…,” asking the Virgin Mary to keep our Church as a fortified city.”^{^[4]}

John’s instructions are rooted in matters of the Eastern Romans’ historical record. “To Thee O Champion Leader” refers to a seventh century hymn that was appended as a proemium to the beginning of a much longer hymn, a fifth century sung theological poem called the Akathistos (“not seated”, referring to the practice of standing while it is sung) hymn. The proemium was composed after Constantinople’s successful repulsion of the Avar attack in 626 with, according to some accounts, the Virgin Mary herself fighting on the walls of the city. It is a first-person statement of civic devotion and gratitude on the part of Constantinople itself to the Virgin:

To you, all-victorious general, I your city, O Mother of God, having been delivered from terrible things, ascribe to you thank-offerings of victory. But as you have invincible power, free me from all dangers, so that I may cry to you: rejoice, O bride unwedded.^{^[5]}

The entire text of the Akathistos has a particular liturgical relationship to the Lenten season that precedes Palm Sunday; during the five Sundays of Lent the proemium is sung during the Sunday Divine Liturgy (or Mass), and then the Akathistos hymn is sung three times in its entirety throughout the course of the Lenten season. However, by the time of Palm Sunday, the services are properly considered those of Holy Week rather than Lent, and the time for people to have “To Thee O Champion Leader” on their lips has passed.^{^[6]} Patriarch John’s instruction, then, is disregarding the liturgical season and instead looking back to the historical circumstances surrounding the proemium’s composition. Just as the Virgin was the defender of the City then, John is saying, Christians now in this time of crisis may make a point of singing this hymn to the Mother of God outside of its proper time to appeal to her as the defender of the Church, the heavenly city.

Late antique Constantinople’s explicit identification of itself as the Virgin’s city, then, is extended and repurposed for the present day in the context of a liturgical celebration of high solemnity,^{^[7]} with the population of Christians under Patriarch John now being the Virgin’s city. John is discursively engaging current circumstances through the liturgy, through music, through Orthodox Christianity’s own sense of late antique events as sacred history, and doing so in a way clearly focused on the person of the Mother of God and rooted in Constantinople’s devotion to her at the level of the city itself.

In conclusion, I would echo Dame Averil Cameron’s recent insistence that Byzantine history is in fact mainstream history, and that to treat it as otherwise is to treat it as “subaltern”.^{^[8]} I maintain that Byzantine history is not simply an irrelevant distorted mirror image of the West, a chapter best forgotten except when we need a pejorative to describe things that are helplessly tangled and complex, but in fact an area of inquiry that is vital to understanding the world in which we find ourselves today.

^{^[1]} E.g. Edward Said, Orientalism (New York: Vintage Books, 1994; reprint, 2003), 59.

^{^[2]} Anthony Kaldellis, The Byzantine Republic: People and Power in New Rome (Cambridge: Harvard University Press, 2015).

^{^[3]} Hania Mourtada and Rick Gladstone, “Two Archbishops Abducted Outside Northern Syrian City,” The New York Times, 23 April 2013 2013.

^{^[4]} Greek Orthodox Patriarch of Antioch and All the East John X, “Pastoral Letter,” (Our Lady of Balamand Monastery, Tripoli, Lebanon: The Greek Orthodox Patriarchate of Antioch, 2013).

^{^[5]} Akathistos, Prooemium II. Translation mine.

^{^[6]} For a discussion of the rubrics, see Archimandrite Job Getcha, The Typikon decoded: An explanation of Byzantine liturgical practice, ed. Paul Meyendorff, trans. Paul Meyendorff, Orthodox Liturgy Series (Yonkers: Saint Vladimir’s Seminary Press, 2012), 199-201.

^{^[7]} Ibid., 209-11.

^{^[8]} Averil Cameron, Byzantine Matters (Princeton: Princeton University Press, 2014), 115.

Pastitsio and Byzantine chant: in which one finds, at the very least, the best pastitsio recipe ever (also the worst)

Published 10 March 2015 General , music , The Orthodox Faith 4 Comments
Tags: american orthodoxy, byzantine chant, liturgical music, militant americanist orthodoxy, pastitsio, random acts of chant, sacred music, this american church life

Some friends the other night made a Moroccan chickpea stew for us. One of them said that he had altered the recipe a little bit with what he’d had on hand; I turned to Flesh of My Flesh and said, “See? He makes stew with what he has.”

Good joke. Everybody laugh. Roll on snare drum. Curtains.

I didn’t come here to tell you that.

One of the topics I’m frequently musing about in this venue is, what does it mean to sing “Byzantine chant”, and how best to teach it to a variety of people? Specifically in terms of that variety — what might it mean to have a pedagogical approach that assumes some knowledge of how to do it, an approach that tries to convey best practices to a person knowledgeable about music, just not Byzantine music, and then, what would constitute a misguided approach that throws misunderstood elements together haphazardly? For illumination on this point, I turn to — strange as it may seem during the third week of Lent — pastitsio.

When Anna, Theodore’s nona, was first getting to know us back in fall of 2006, she asked us one day — “Can I come and make Greek food in your kitchen sometime?” Wow, twist our arms. What she made for us, and what she has made for us and others many times since, and what we also have learned how to make ourselves on a fairly regular basis, was pastitsio.

You can call it “Greek lasagna” if you like; many do, including Michael Psilakis. To do so is kind of like calling Syriac “the language of Jesus”, though; there’s a certain sense that it makes, but it’s kind of misleading, and it doesn’t acknowledge the dish on its own terms. Pastitsio has multiple layers of long, hollow noodles (ideally, Misko #2 Pastitsio Noodles) with a flour-based Béchamel-cheese sauce and a meat sauce. It’s a Greek comfort food to be sure; not exactly the dish one is talking about in a conversation about the health benefits of the Mediterranean diet. All the same, my goodness is it delicious when made right, and a pan of pastitsio on the table is, in my experience, one of the best signs of a hospitable house, Greek or otherwise.

Classic Pastitsio

Like all dishes, there are regional, familial, and maybe even political differences. To the right is Anna’s foundational recipe, a pretty basic, classic version that allows for some variation based on what you have on hand and what you prefer. It’s nothing particularly fancy, and it doesn’t take that long to make. You could do this with beef, veal, or lamb; you could do it with whatever cheese you have handy (and it doesn’t make any particular suggestions where that’s concerned); and it’s not picky about pasta. Maybe it’s a recipe that assumes, if you’re a Greek person who already knows how to cook this, you’ll know how to take this and, mutatis mutandis, turn it into “the way YiaYia made it”. And, if you’re not, well, you’ll use what you have handy and you’ll make it work in your own way.

That’s one approach. There’s another way, somewhat more complicated, what we might call the “foodie” approach. Here is how Michael Psilakis frames the recipe in his cookbook, How to Roast a Lamb:

This is a classic Greek dish, which I often refer to as a Greek version of lasagna. You will need a deep, lasagna-style pan, and it may be hard to find the pastitsio noodles called for here. Try a Greek or Middle Eastern market or, of course, the Internet. The crucial thing is that the noodles be both hollow and straight, so you may substitute bucatini, perciatelli, ditali, or long, straight ziti laid end-to-end. This casserole, as with lasagna, must rest before serving to set, or it will be difficult to serve.

Okay, already there’s a different tone here. This is a recipe written for somebody who knows food, but maybe doesn’t know Greek food all that well (and there’s the “Greek version of lasagna” shorthand). He details the essentials, and tells you where you need to find them.

Ingredients:

3 tablespoons blended oil (90 percent canola, 10 percent extra-virgin olive)

1 large Spanish or sweet onion, finely chopped

3 fresh bay leaves or 6 dried leaves

2 cinnamon sticks

2 pounds ground beef

1 1/4 teaspoons ground cinnamon

Pinch ground nutmeg (optional)

Pinch ground cloves (optional)

1/4 cup tomato paste

2 1/4 quarts water

1 (28-ounce) can plum tomatoes, crushed slightly, with all the juices

1 tablespoon red wine vinegar

1 teaspoon sugar

Kosher salt and cracked black pepper

1 (500-gram) package Misko Macaroni Pastitsio no. 2 (see above)

1 3/4 quarts Greek Béchamel Sauce (page 274, with eggs)

1 cup coarsely grated graviera cheese

And this is definitely a little different. Oil instead of butter (he goes into his reasons for cutting olive oil with canola oil earlier in the book; basically it’s a cost issue, and you can use all olive oil if you really want to), the seasoning is a little more robust (and more characteristic of a Constantinopolitan approach, perhaps), and he’s more specific about the meat, the noodles, and the cheese. Elsewhere he talks about possible substitutes for cheeses; gruyere is his principal recommendation. This is an ingredients list that wants to show an American cook how to be faithful to the model using the best of what’s available.

Going on:

Make the kima sauce: in a large, heavy pot over medium-high heat, add the oil and the onion with the bay leaves and cinnamon sticks for 3 to 5 minutes. Add the ground beef and brown thoroughly. Add all the spices and the tomato paste and stir for 1 to 2 minutes. Add the water, tomatoes, vinegar, sugar, about 2 tablespoons of kosher salt, and a generous grinding of pepper. Bring to a boil.

Reduce the heat, partially cover, and simmer for 65 to 75 minutes. Skim off the fat once or twice. Reduce until the sauce is almost completely dry. Proceed with the recipe, or cool and refrigerate.

Preheat the oven to 350 degrees F. In a large pot of generously salted boiling water, cook the macaroni until almost tender, a minute or so before the al dente stage. Drain well. Spread 1 cup of the Greek Béchamel Sauce on the bottom of a deep roasting pan or lasagna pan, and sprinkle with 1/3 cup graviera. Lay half of the noodles out on top of the béchamel. You should have 2 to 3 layers of noodles. Spread another cup of the béchamel over the noodles, without disturbing the direction of the noodles, to bind them. Scatter with 1/3 cup of the graviera. Spoon all of the kima sauce over the top and smooth flat. Spread 1 more cup of the béchamel over the kima sauce, scatter with 1/3 cup graviera.

Layer remaining pasta noodles over the béchamel. Spoon on the remaining béchamel and scatter with the remaining 1/3 cup of graviera. Bake uncovered until crusty, golden, and set, about 1 hour. If you don’t have a convection oven, you may want to increase the heat to 400 degrees F at the end, to brown the top. Cool for at least 40 minutes, to allow the custard to set so that the squares will remain intact when you cut them. Or, cool to room temperature, then refrigerate overnight.

And since he gives it its own recipe, here’s the Béchamel sauce:

Greek béchamel differs from French béchamel or Italian besciamella due to the inclusion of whole eggs. When a dish is baked, the eggs in the sauce create a custard. This basic ingredient is what makes many Greek dishes so special. Because of the large quantity of flour and the resulting thickness of the roux, you really can’t step away from the stove while you are preparing the sauce. Plus, you’ll need muscle to stir it thoroughly.

Ingredients:

5 ounces unsalted butter

10 ounces all-purpose flour

1 1/2 quarts whole milk, warm

2 1/2 teaspoons ground cinnamon

Large pinch nutmeg, preferably freshly ground

1 1/2 to 2 teaspoons kosher salt

Cracked black pepper

5 large eggs, lightly beaten

In a large heavy pot, melt the butter over low heat, whisking with a large balloon whisk. Add the flour and whisk to a very crumbly roux, not a smooth paste. Whisk constantly and energetically or about 5 minutes to cook off the raw flour taste, but do not allow to brown (slide the pot off and on the heat every now and then if you sense it is getting too hot).

Still whisking constantly, drizzle in the warm milk until smooth. Continue cooking, adjusting the heat as necessary to keep the mixture at a very low simmer, until very thick. Whisk in the cinnamon, nutmeg, kosher salt to taste, and a generous amount of pepper.

Scoop out about 1/4 cup of the warm sauce. In a bowl, whisk the sauce into the eggs to temper them. Remove the pan from the heat and whisk all the egg mixture back into the béchamel.

Dude. I’m hungry. Maybe I shouldn’t be writing this during Lent. Dang it all.

Anyway, some observations — first and foremost, this is not the quick ‘n dirty way to make pastitsio. The meat sauce, I can tell you from experience, takes more like 2-3 hours to reduce than the 65-75 minutes advertised, at least on the stoves I’ve used. At the same time — oh my goodness is the end result amazing and flavorful (such that Anna now uses Psilakis’ meat sauce in combination with her foundational recipe). Now, if you want to shave off time, just skip adding the water. With the basic recipe, if you know what you’re doing you might elaborate the bare bones instructions somewhat; by contrast, here, if you’re familiar with the dish, then you might simplify this version a bit. Both recipes, in the end, faithfully (I hate the word “authentically”) reproduce what is understood as “pastitsio”; one does so by presenting a basic, easy to reproduce (and vary) method, and the other does so by breaking the dish down and building it back up using the language and ingredients of American foodie culture.

Now, you can have an argument over just how “Greek” pastitsio is. Real Greeks didn’t use Béchamel sauce until a hundred, hundred and fifty years ago, one argument might go. There’s something there with the meat sauce and the cheese and the noodles, maybe, but Béchamel? That’s an Italian or French corruption, not Greek.

You might also have a conversation about some of the details. There are pastitsio recipes you can find that are adamant that no real pastitsio ever has had any kind of cinnamon or nutmeg or anything else in the meat sauce, because it doesn’t need it, period, and that’s not how YiaYia did it, dammit.

However, what you’re probably not going to have much of a disagreement about is whether or not this recipe is pastitsio:

1 lb. lean ground beef

1 small onion, chopped

1 jar (24 oz.) spaghetti sauce

2 Tbsp. red wine vinegar

2 Tbsp. butter

1-1/2 cups milk

1 cup plain nonfat Greek-style yogurt

1/4 tsp. ground nutmeg

2 cups elbow macaroni, cooked

1/4 cup DI GIORNO Grated Parmesan Cheese

BROWN meat with onions in large skillet; drain. Stir in spaghetti sauce and vinegar; simmer on low heat 15 min., stirring occasionally.

MEANWHILE, melt butter in large saucepan on low heat. Add milk; bring to boil on medium heat, stirring constantly. Simmer on low heat 3 to 5 min. or until thickened, stirring frequently. Remove from heat. Stir in yogurt and nutmeg. Add macaroni; mix lightly.

HEAT oven to 350ºF. Spread meat sauce onto bottom of 13×9-inch baking dish; top with macaroni mixture and cheese.

BAKE 45 to 50 min. or until macaroni mixture is heated through and top is lightly browned.

Um, no. No, no, no, no, no. You want to insult a Greek person? Put this in front of them and call it “pastitsio”. This is beyond parody, really. This is macaroni and spaghetti sauce layered with yogurt and had some cheese sprinkled on it; no Béchamel, no attention to cheese, no nothing. This is a clueless American who vaguely remembers that there was a dish he had at a Greek festival or something that had noodles, meat sauce, some white stuff, and maybe a pinch of spice in it, making something up that sort of fits the general description, and adding “Greek yogurt” (nonfat? That’s not Greek yogurt, folks) and nutmeg to justify claiming that it’s “Greek food”.

And, here’s the thing — by this point, pastitsio has been made at Chez Barrett a sufficient number of times that it isn’t really “Greek food”. It’s just “food you’re likely to eat when you’re a guest of the Barretts”. Or, for that matter, when we’re your guests; I made Psilakis’ recipe for Christmas Eve dinner one year at my mom’s house. Call it trying to pass on the tradition.

Okay, back to the question raised at the outset about Byzantine chant. How might the analogy of pastitsio be applicable here? What’s the equivalent of Anna’s foundational recipe, what’s the equivalent of Michael Psilakis’ recipe, and what’s the equivalent of the Kraft recipe?

Well, what are the fundamental ingredients of Byzantine chant, and what’s variable for, shall we say, ingredients that one has on hand? For present purposes, maybe we’ll say that the fundamental ingredients of Byzantine chant are:

it is a cappella,
it is monophonic (that is, not harmonized by multiple voices),
it employs drone that does not function as a harmonic bass line,
it employs a sacred text, drawn predominantly from the liturgical cycle of the Orthodox Church,
it employs the system of Byzantine modes, a centuries-old musical system with which the modern theoretical understanding as described by Chrysanthos of Madytos and clarified/affirmed by the 1881 Musical Committee of the Ecumenical Patriarchate is in continuity,
the melodies are composed formulaically — that is, there is a vocabulary of musical phrases (theses) proper to each mode, and the composer formulates compositions according to this vocabulary of phrases so as to fit the accentuation and rhetoric of the sacred text appropriately and in the intended musical texture (fast, slow, syllabic, melismatic, etc.),
and the melodies are notated using psaltic, or Byzantine, notation, and the notation is meant to be interpreted via a layer of oral tradition absorbed from one’s teacher.

Now, I’ve phrased much of that carefully. Not all Byzantine chant necessarily employs a liturgical text; there are examples that set paraliturgical poetic texts. The description of Byzantine modes allows for some leeway depending on local tradition; Lebanese and Syrian cantors might do certain things differently, as might some Romanian cantors. It also allows for a way of talking about medieval repertoire that was composed before Chrysanthos or the 1881 Committee. The point about notation might perhaps be controversial to some, but I would leave it there, simply because, as a prosodic and musical system intended specifically for that purpose, psaltic notation is the symbolic system that best expresses the musical and hymnographic repertoire we call “Byzantine chant”.

So what are ingredients that might be variable? Language, certainly; there’s nothing in that list that says that anything has to be in Greek or Arabic. It might be a lone man’s voice singing; it might be a choir of women. The point about oral tradition suggests that there is some level of acceptable variation of interpretation in some cases. There are different genres of hymns you can compose and sing within this framework; anything from quick, short, declamatory, syllabic hymns to long, slow, drawn-out compositions.

And, certainly, there are lots of arguments about some of the details. This, that, or the other musical development in the repertoire isn’t “really” Byzantine music, but rather a corruption arising from Turkish influence. No cantor who knows what they’re doing would ever sing this phrase the way you just did it. Some would argue that language actually isn’t an acceptable variable, at least not the way described above; it either has to be in Greek, or it has to adapt a Greek original in a way that favors the Greek version over the target language of the translated text at every point. Alternately, language may be generally variable to an extent, but there’s no way no how English is an acceptable language for this music. That kind of thing.

Whatever details one might argue about, however, here’s an indisputable example of a composition that is identifies itself as “Byzantine chant” but is, by any definition, the equivalent of the Kraft pastitsio recipe:

thy martyrs o lord, bad version

That’s from the pen of yours truly, written about ten years ago (do note that I do not credit a composer in the score, partially because even then I knew enough to know that I didn’t want to be blamed later). I cringe to show it to anybody because there is so much that it gets wrong, but in the spirit of being the chief of sinners, I’d rather hold up my own mistakes than point fingers at those of other people.

First, it’s the wrong mode. Yes, fine, fourth mode is the mode appointed for this apolytikion, but this is the wrong version of fourth mode — it is diatonic (legetos) rather than soft chromatic, because apolytikia in fourth mode use soft chromatic.

The second and third things wrong are related — this text actually is supposed to be metered for a model melody, usually known in English as “Be quick to anticipate”, which the melody I wrote doesn’t follow; alas, the text is not in fact metered, and the service book from which I got this translation doesn’t include a rubric for a model melody. You don’t know what you don’t know.

Fourth, if you look at the model melody (Byz notation version in English here, staff notation here, or get them from 27 September here if those links don’t work) it really is one note per syllable for the vast majority of the hymn. What I wrote isn’t obnoxiously melismatic, but neither is it sufficiently consistent in being syllabic.

Fifth, it’s not a terribly sensitive setting of the text. I have no idea what I was thinking on “our God”, for example.

Sixth, the use of drone is all over the place. It’s clear that this is by someone who has no idea what they’re doing on this point.

Seventh, my use of the theses bears basically no resemblance to the reality of how classical scores use them, and since at that point I was almost entirely influenced by Kazan, it is probably is more Sakellarides-esque (if we can even aim that high) than anything. You can sort of see what I thought I was doing, but I may as well be using yogurt instead of Béchamel.

Eighth, I made a deliberate choice to eliminate measures, partially because I felt that the “tyranny of the bar line” actually made Kazan much harder to use. This wound up obscuring the rhythmic structure that the piece should have had, and it had the technical effect, due to how Sibelius works, of obscuring how the accidentals function.

Ninth, because I was just writing note to note in staff notation, with no understanding of how the rhetoric of the theses was constructed in psaltic notation, it’s made an even lesser effort than it otherwise was. If I had had even some knowledge of the notation and the orthography, a few of the problems could have been minimized a bit.

In all of this, I was doing the best I could with what I knew, and I was doing so with foundational materials that were less than ideal but were what was available to me, to be sure, but that’s just the point — by way of comparison, I had had a taste of pastitsio at a Greek festival and thought, hey, I’m a good enough cook that I can replicate that — and I came up with a random combination of pasta, meat, cheese, and yogurt based on ingredients I had on hand. Yes, sometimes one makes stew with what one has (you knew I’d get back to that eventually), and one might argue that it’s not that bad on its on merits (if one were being maximally charitable), but you can’t really call it pastitsio, at least with no disclaimers or scare quotes.

Thankfully, these days there are more resources that allow one to go a route that is more along the lines of Michael Psilakis, taking apart the tradition and putting it back together for an Anglophone Orthodox audience that perhaps has decent musical sense but needs detailed help for Byzantine music. What is still needed is greater access to teachers who can provide enough of a living connection to the material, such that that one can manage with a more bare-bones set of resources, like the basic pastitsio recipe, but we’re getting there. In taking advantage of such resources, ideally we would produce a body of Anglophone repertoire that is both composed and sung knowledgeably and faithfully, and as a result, Byzantine chant would eventually become something that is no longer perceived as “Greek” or “Arab” or foreign in general, but simply “what we sing”.

We can apply this, really, to any Orthodox musical idiom, and even any element of Orthodox tradition; a confused jumble of ingredients put together out of a lack of understanding doesn’t actually cultivate a real “American” expression of anything. It’s exactly that — a confused jumble of ingredients. We’re far better off putting in the time and the humility to learn from people who know what they’re doing and have a living connection to the tradition. Yes, it will take longer, yes, it may take trying some things that don’t work the first time, yes, you may have to un-learn and re-learn some things.

Be that as it may — certainly, in the case of pastitsio, the end result tastes a heck of a lot better.

Who are the Assyrian Christians?

Published 25 February 2015 Academia , General , Media , The Orthodox Faith 2 Comments
Tags: assyrian church of the east, church of the east, Syriac

(Once again, this post is intended for a more general audience than what I usually do. You can see yesterday’s post for some helpful background; unfortunately, current events dictated a more immediate followup than I really had in mind.)

CNN reports that ISIS militants are presently holding as many as 150 “Assyrian” Christians hostage and are threatening to kill them. Yesterday, there were news stories that ISIS militants took some 90 Assyrians in northeastern Syria as they retreated from Kurdish forces, but the number appears to have been underestimated. The BBC’s account says that the incident took place in a town called Tal Tamr, which it locates on a map as shown to the left.

The BBC describes the “Assyrian” Christians thusly:

Assyrians, of whom there were about 40,000 in Syria, are Nestorian Christians and speak Syriac, a form of Aramaic, the language of Christ.

The largest concentration of Assyrians in Syria is in Hassakeh province, but there are also smaller communities in Aleppo, Homs and Damascus.

Again, as I tried to explain in yesterday’s piece on Coptic Christians, this is not altogether wrong, but neither is it as clear as would be ideal about who they are or why they are considered a separate group. The short version is that the Assyrian Church of the East is the modern Middle Eastern Christian group that claims continuity with the so-called Church of the East or Catholicosate of Seleucia-Ktesiphon of antiquity, a Christian group that was isolated from the Roman mainstream by the seventh century, although more because of geography and political boundaries than because of theological disputes.

To recap a couple of things from yesterday: Christianity in the early centuries emerged in a Mediterranean, Roman context where two things mattered — what major city you were in or closest to, and how close to the sea that city was. Egypt’s Alexandria and Syria’s Antioch were cities that pretty much ruled the roost as far as intellectual culture and theological thought were concerned, and represented the major poles that governed the development of orthodox (intentional lower-case “o”) Christianity. The major common language of education in this period was Greek, a language that already had a well-developed vocabulary and rhetorical approach for talking about complicated and nuanced philosophical ideas. At the same time, Latin was the language of the state, and there were of course local languages. Semitic languages were the linguae francae in the eastern part of the empire with their own gravitational pull, including Aramaic (the so-called “language of Jesus”) and its dialects, like Syriac. These languages were often employed for monastic writing and other kinds of sacred literary production, although it was not at all uncommon for authors in these languages to borrow Greek theological terminology outright rather than attempt to translate them.

Another point is that from the standpoint of this Mediterranean, Roman world, the other major player of importance was the Persian Empire. Maps are always tricky, and the nature of frontier borders is that they’re contested and always moving, but here’s a broad — if simplified — sense of the parameters of the Roman Mediterranean in the first part of the fourth century:

Basically, in terms of present-day national identities, it was England, Spain, and North Africa on the Western side to Egypt, and Israel, Turkey, Lebanon, and Syria on the Eastern side, with the Mediterranean Sea smack dab in the middle — “frogs around a pond”, as Plato put it. To the north were various Germanic tribes; to the south was desert; to the East were a handful of small kingdoms, and then Persia. Again, maps are tricky, but here’s a pretty good one showing what the Roman-Persian frontier looked like over time:

Based on what I said earlier about proximity to major cities and proximity to the sea, it should be evident that, while the Roman/Persian frontier was of strategic importance, it wasn’t really anyplace anybody from the big cities would have been excited about being in, it was pretty far removed from the Greco-Roman culture of the area more central to the Mediterranean, and local languages like Syriac were far more prevalent than Greek. And, despite its strategic importance, it was at times a hard place for emperors to justify the cost of defending; Arab the sixth century saw the frontier left to its own devices on more than one occasion when Justinian was too busy trying to reclaim the Italian peninsula. It fell to allied Arab tribes and border kingdoms to defend Roman territories in the frontier.

Christianity on the frontier was intellectually and spiritually vibrant nonetheless, even if life on the border was uncertain. The fourth century produced one of the greatest Christian poets in history, Ephrem the Syrian, who worked first in the border town of Nisibis and then moved to the somewhat more centralized Syriac city of Edessa when Nisibis was surrendered to the Persians in 363 and the Christian communities expelled.

At the same time, there were Christian communities that emerged in Persia in antiquity, and the Persian capital of Seleucia-Ktesiphon was home to its own bishopric starting in the third century. This church was obviously isolated, and while Christian communities appear to have formed there in the first couple of centuries AD, it doesn’t seem to have been until 280 that visiting bishops were able to establish a working ecclesiastical structure there. Still, they were isolated, and tended be focused further East than towards the Mediterranean centers of ecclesial activity. (How far East? They sent missionaries to the Mongols in Central Asia and to China starting in the sixth and seventh centuries.) As such, many of the theological arguments swirling around Constantinople, Alexandria, and Antioch simply weren’t terribly relevant to the churches on the border or in Persia, and the remained loyal to what they saw as their own tradition. They identified with the Council of Nicea, perhaps, since that was everybody’s major point of reference following Constantine’s legalization of Christianity, but beyond that it got a little obscure.

There was a thread of intellectual continuity that made it from Byzantium to Ktesiphon, to be sure, but the supply lines were a bit tangled and on the thin side. A major theological figure of the Syrian East, the fourth/early fifth century Theodore of Mopsuestia (close to the southeastern border of modern-day Turkey), had been the student of Libanius, a major teacher of rhetoric in Antioch. Theodore appears to have had significant influence on the thought of Nestorius, whom you may recall from yesterday’s post as the Constantinopolitan bishop on the losing side at the Council of Ephesus in 431. In the aftermath of the Christological disputes of the fifth century, Nestorius’ followers relocated to Persia; the Persians perceived in their position a fundamental continuity with Theodore and their own strongly Antiochene perspective, and they welcomed the Nestorians with open arms.

There continued to be some awareness and mutual sympathy between Persian and Roman Christianity; as late as 614, the Persian Emperor Khosroes appears to have had a Christian wife (“but after the heresy of Nestorius”, the witness is clear to specify) who did much to aid Christian prisoners of war after Khosroes’ sack of Jerusalem. The writings of the seventh century Christian ascetic figure Isaac of Nineveh (modern Mosul, in Iraq), despite Isaac formally being a part of the Persian church, were nonetheless eagerly received in Byzantium and translated into Greek. (And, as the best sign of admiration, Greek authors wrote spurious works under Isaac’s name.)

Still, in 644, the Arab invaders under Umar overthrew — or perhaps subsumed — the Persian Empire, and the church under Seleucia-Ktesiphon was permanently isolated. Over time the Persian church came to be known variously as the Nestorian Church, the Church of the East, and the Assyrian Church of the East. Syriac (more about which in a moment) remains their predominant liturgical language, and like the Copts, they have a distinctive liturgical tradition. You can get a sense of it from this video (which is in English):

From the eighth to the thirteenth centuries, the Church of the East was at the center of the intellectual life in the Islamic world and played an important role in the translation of Greek texts into Arabic. Following the Mongol sacking of Baghdad in 1258, they retreated to the relative safety of the mountains of Northern Iraq. Their period of flourishing and expansion was over, and they were isolated again in northern Mesopotamia. Since then, their relatively small size, internal divisions, shifting ecclesial ties, and political instability in the region have meant that they’ve been forced to move around a lot over the last several centuries, and they have been largely concentrated in pockets of Iran, Iraq, and Syria. Their patriarch, or chief bishop, is at present in exile in Chicago.

A last point for the moment. Concerning language: Syriac is often referred to in Western media as “the language of Christ”. This is fundamentally misleading, but it also reveals a certain myopia of our media outlets and worldview. Jesus, as a Jew in Roman Judea, probably spoke the Galilean dialect of Aramaic as his native language, a Semitic language related to Hebrew and modern Arabic. More than likely, he spoke some Greek as well, since that was the common language of business and society for a Roman province. Classical Syriac began as the dialect of Aramaic of the city of Edessa, and it developed into a key literary and liturgical language perhaps in the second century; certainly the Old Testament was translated from Hebrew to Syriac in the second century (although a complete New Testament has murkier origins, without a clear appearance until the fifth century). It should be clear, however, that a form of Syriac remains a living, albeit endangered, language in some Assyrian communities, which means that it has developed and evolved from its classical iteration. Much as calling Modern Greek “the language of Homer”, or modern Italian “the language of Virgil”, or modern English “the language of Beowulf” misleadingly elides centuries of language change, calling Syriac “the language of Christ” does the same. It also ignores the far more interesting linguistic relationship between ancient Aramaic, classical Syriac, and the modern language known by its speakers as Assyrian, and also implies that these people, their culture, their history, and their language are only of secondary interest to an imaginary reconstruction of the world of the New Testament. That is to do sufficient justice neither to the Syriac/Assyrian people and heritage, which are under significant and immediate attack now (besides the kidnapping, there’s also Sunday’s burning of Mosul’s library), nor to Christianity and its history, nor to the history of the Roman East and the Roman/Persian frontier in antiquity as its own fully-qualified subject of interest. There is far more going on in current events with far deeper roots than these one-paragraph summaries would have you believe, and pithy statements like “Syriac is the language of Christ” do nothing to illuminate that.

Lord have mercy on the Assyrian Christians!

(I am grateful to Sam Noble, Eric Jobe, David Maldonado-Rivera, Fr. Andrew Damick, and Lucas Christensen for their helpful comments on yesterday’s piece as well as today’s. Any errors that remain are, of course, my own.)

Who are the Copts?

Published 24 February 2015 Academia , General , Media , The Orthodox Faith 9 Comments
Tags: coptic martyrs, copts

(Note: this piece is intended for a general audience, not necessarily my normal two readers, whom I would expect would be familiar with at least some of the issues discussed here.)

On or before 14 Feburary, an “affiliate” of ISIS beheaded 21 Coptic Orthodox Christians on a beach in Libya, as depicted in a video the ISIS affiliate released to the public. The story made international news, and the Coptic Pope Tawadros (Theodore) II declared that they were to remembered as martyr saints and added them to the Coptic Synaxarion, the book that lists the saints commemorated by calendar day. Their future commemoration will be on 15 February.

CNN’s story on the beheading had this brief statement explaining Coptic Christian identity:

Coptic Christians are part of the Orthodox Christian tradition, one of three main traditions under the Christian umbrella, alongside Catholicism and Protestantism. Copts split from other Christians in the fifth century over the definition of the divinity of Jesus Christ.

Well, that’s not entirely wrong, but it could do with some unpacking. The short version is that Copts are the modern Christian group that count themselves as the present-day successors of the historic Church in Alexandria, Egypt, one of the five major episcopates in late antiquity, the others being Rome, Constantinople, Antioch, and Jerusalem. Copts are generally understood as belonging to the so-called Oriental Orthodox tradition, as opposed to the Greek or Eastern Orthodox tradition; The Oriental Orthodox communion includes the Syriac, Ethiopian, Eritrean, Armenian, and Indian Orthodox Churches. Oriental Orthodox recognize the first three Ecumenical Councils — Nicea, Constantinople, and Ephesus; by contrast, the Greek Orthodox are normally said to recognize the first seven, and Roman Catholics recognize twenty-one, up to Vatican II in the 20th century. Copts remain principally Egyptian in terms of modern national heritage. They have their own distinctive liturgical tradition that is separate from the Byzantine and Roman/Frankish rites, and you can get a sense of the current practice of it here.

Why do the Copts exist as a separate group? To make a complicated story a little shorter, Christianity in the early centuries emerged in a Mediterranean, Roman context where two things mattered — what major city you were in or closest to, and how close to the sea that city was. Egypt’s Alexandria and Syria’s Antioch were cities that pretty much ruled the roost as far as intellectual culture and theological thought were concerned, and represented the major poles that governed the development of orthodox (intentional lower-case “o”) Christianity. The major common language of education in this period was Greek, a language that already had a well-developed vocabulary and rhetorical approach for talking about complicated and nuanced philosophical ideas. At the same time, Latin was the language of the state, and there were of course local languages. Semitic languages were common in the eastern part of the empire, including Aramaic (the so-called “language of Jesus”) and its dialects, like Syriac. Egypt still spoke Egyptian, with a major literary dialect known as Bohairic, commonly known as “Coptic”. This dialect had been used continuously going back to the pharaohs, and for historical reasons, it adopted the Greek alphabet and some Greek vocabulary. These local languages were often employed for monastic writing and other kinds of sacred literary production, although it was not at all uncommon for authors in these languages to borrow Greek theological terminology outright rather than attempt to translate them.

In 325, Constantine started to build his New Rome at the site of Byzantium, a port town that straddled the western edge of Europe and the eastern edge of Asia Minor. Constantinople may have been the new capital by fiat, but it had to earn its intellectual credibility, and while the first two ecumenical councils were held in or near Constantinople, the theological and ecclesial powers at play were Antiochene and Alexandrian. The arguments were certainly about the nature of Christ in content; inter-city Roman politics were part of the context nonetheless.

In the early decades of the 400s, Constantinople was ready to try its hand at theology, and it was a disaster. Nestorius, the capital’s archbishop, got involved in a Christological argument, and in 431 at the Council of Ephesus (the third Ecumenical Council) he got his head handed to him by Cyril, the Patriarch of Alexandria and heavyweight champion of theological disputes. Incidentally, it is because of the Council of Ephesus that the Virgin Mary’s status as “Mother of God” is a dogmatic point for Oriental and Greek Orthodox, as well as for Roman Catholics; the base question, despite an awkward appellation in English (the Greek word, Theotokos, is more literally, if woodenly, rendered as “One who carried God in her womb”), is strictly whether the child to whom Mary gave birth was God from conception or not, not a matter of Mary as the source of Christ’s divinity.

In any event, the memory of Cyril as the voice of authority at Ephesus was powerful, and over the next twenty years there was jockeying for control of his memory amongst successors and putative successors in Constantinople, Rome, and Alexandria. In addition, there were residual issues left over from Ephesus, as Cyril’s Christological formulations that dogmatized the Virgin Mary as Theotokos also raised new questions. A council in 449 convened by Emperor Theodosius II to address the new theological disputes seemed inclined to favor Dioscorus, Cyril’s successor as Patriarch of Alexandria, and to do at the expense of Flavian, Constantinople’s own patriarch. Then Theodosius died, and his successor, Marcian, convened a council in Chalcedon (modern-day Kadıköy in Turkey) that favored Rome and Constantinople at Dioscorus’ expense. Dioscorus was exiled, and Constantinople appointed their own Patriarch of Alexandria. He didn’t last long; the Alexandrians forced him out to elect whom they wanted as Dioscorus’ successor.

The disputes were made worse by the linguistic issues; the Christological formulations relied on specific vocabulary in Greek that was difficult to render in other languages. Monks in Palestine, Egypt, and Syria felt that the faith of their beloved Cyril was being sacrificed at the altar of politics in favor of settled heresy being rehabilitated by sophistry. The so-called Tome of Pope Leo I, a sort of “friend of the court” briefing for the Second Council of Ephesus (although not read until Chalcedon) that was written in Latin, only made things worse in its (possibly deliberately) clumsy approximation of Greek theological vocabulary. Imperial fiat did not fix the problem either; a compromise decree by the Emperor Zeno in 482 made nobody happy, and hardened the division between those who adhered to Chalcedon and those who were, by now, fairly described as anti-Chalcedonian.

Emperors and bishops continued waging these internal battles for another century before the non-Chalcedonians became a separate ecclesial entity; the sixth century emperor Justinian held several “heretical” bishops from Alexandria and Syria under house arrest in Constantinople, and they consecrated a monk named Jacob as a bishop. Jacob traveled in rags throughout the regions sympathetic to Alexandria, consecrating close to a hundred bishops and perhaps thousands of priests. An ecclesial structure parallel to, but separate from, the Church of the Roman Empire had been established.

Whatever hope there may have been at reunification and reconciliation was lost in the seventh century, when the Rashidun Caliphate captured Alexandria, Antioch, and other major regions in the East where there had been anti-Chalcedonian sentiment and a non-Chalcedonian church structure. Egypt remained predominantly Christian for some time, but by the 12th century the Christian community was a minority.

The Oriental and Greek Orthodox remain separated and “out of communion” in the present day; there have been theological discussions in the last several decades to attempt to resolve the issues once and for all, but the division remains an official reality. In the Middle East, however, there is a great deal of practical cooperation between Christian groups, regardless of official structural division.

In modern Egypt, Coptic Orthodox make up perhaps 7-10% of the country’s population, and in recent years there have been a number of reports of violent attacks in Alexandria. A bomb at the Coptic church of Al-Qiddissin on New Year’s Day 2011 killed twenty-one people, for example, and there have been additional attacks throughout the cities and countryside.

In Libya, where the beheadings took place, Copts are the largest Christian group.

Coptic New Martyrs of Libya, pray for us!

Follow up on choir schools, with a suggested course of action

Published 22 December 2014 General , Media , music , The Orthodox Faith Leave a Comment
Tags: american orthodox music, american orthodoxy, byzantine chant, cappella romana, chant, choir school at westminster cathedral, daniel james mcgrath, ecclesiastical chant, gregory glenn, hazards of church music, liturgical adventures, liturgical music, liturgy, liturgy and life, lucas matthew tappan, madeleine choir school, music, Orthodox choir schools, random acts of chant, sacred music, st. paul's choir school harvard square, the choir documentary, this american church life

Well, the spike in traffic the last few days leads me to believe that maybe the idea of an Orthodox choir school has drawn the attention of more than my usual two readers. Cool. If that’s so, then let me go into some more detail, and let me suggest a course of action.

First of all, thanks for all of the positive reactions. It’s great to see that there’s a way to describe this vision so that people get it and get excited about it; I hope that this is a sign of things to come. Please continue to share these posts far and wide; it’s an idea that has to gain a certain critical mass before it can go anywhere besides this blog.

Also, there have been a number of excellent suggestions that have come from my “Orthodox choir school: how I’d do it” post. Suggestions about cities, about teaching methods, about other schools to look at, and so on. I appreciate all of that, and I’m all ears for that kind of input. When (I repeat, when) the time comes, that will all be extremely useful — keep it coming!

Something that has been brought up is that there have been people who have toiled in Orthodox children’s music education for years, and there are existing programs that struggle to stay afloat. Wouldn’t it be better to try to build everybody up rather than concentrating efforts in one location? Might putting all the eggs in one basket be a well-intentioned, but ultimately misplaced, idea?

I had a response to this, but before I go into that, I want to make everybody aware of some valuable resources that should be looked at if this subject is going to be taken seriously. There is the Choir Schools’ Association in the UK, and they have a document titled “Reaching Out”, which is a great overview of the current state of the tradition in England. One is a doctoral thesis by one Daniel James McGrath titled “The Choir School in the American Church: a study of the choir school and other current chorister training models in Episcopal and Anglican parishes”. There’s also a doctoral thesis by Lucas Matthew Tappan, “The Madeleine Choir School (Salt Lake City, Utah): A Contemporary American Choral Foundation”.

Something that, alas, I can’t link to but that you should be able to acquire if you want a copy, is the 50th anniversary season brochure for St. Paul”s Choir School. They have them out for the taking in the narthex at St. Paul’s; I got a copy when I went to their Christmas concert on Friday. If you contact the school and ask for one, I have to imagine they’ll send it to you.

Nota bene — with all of these resources, one has to make sure that one takes them mutatis mutandis to a certain extent. McGrath and St. Paul’s are dealing with a context of boys’ choirs, and I’m talking about a co-ed approach, for example. The Madeleine Choir School and St. Paul’s are Catholic, and McGrath is writing from an Anglican perspective. Nonetheless, all are extremely useful in terms of how they talk about organization, curriculum, challenges, and so on — Tappan in particular explicitly has the objective of serving as a “road map” (his words) for those who might want to follow the Madeleine’s lead. Handy, that.

One of the main things I want to put forth here is this passage from Tappan’s thesis on the Madeleine as the justification for a choir school:

…a choir school consists of an institution where children are given a well-rounded musical education as well as liturgical formation in the ars celebrandi, and where they put these skills at the service of the sacred liturgy on a regular basis within a specific community (often that of a cathedral or collegiate chapel). In return, these children are given an outstanding elementary and religious education.

Even though these qualities constitute the basic elements of a choir school, each institution is a unique place where the choir school tradition exists within a particular time and culture… Perhaps the church musician will find in the choir school a model for training young people in an art that has the power to transform lives and to bring many out of the isolation of modern living into a living community of musicians and believers, forming young musicians “for the lifelong praise and worship of God” (p. 2).

But then there’s the epiphany of Gregory Glenn, the founder of the Madeleine Choir School, when he spent three months at Westminster Cathedral Choir School in London:

What Glenn realized was that the institution itself was the formator (emphasis mine). The incessant rounds of daily rehearsals and liturgies in the cathedrals and the process of going through a massive amount of repertoire year after year was crucial to being able to sing, for example, a Poulenc Mass on short notice. The choristers sight-read so easily that rehearsal time was never spent learning notes. There might be a false note or two the first time through a work, but the boys usually corrected themselves the second time around. Choir masters were able to spend the majority of rehearsal time working toward a more musical performance of the repertoire. According to Glenn, the Madeleine Choir School is still working toward this goal, but it becomes more of a reality with time. (Tappan, p. 26)

Here was my answer to the concern about concentrating efforts in one location:

I spent 11 years in a location that was, theoretically, fairly central in the United States, but as far as Orthodox Christianity went, was about as isolated as you could be without being in Wyoming. Almost anything and everything the parish there took on could be (and often was) fairly described as “being a lot of effort for one location”, right down to building a church. It still needed to be done. Along the same lines, the Madeleine school is certainly “a lot of effort for one location” (in Salt Lake City, no less!), but it’s still worth doing.

The other thing I’ll say is that musical efforts in particular often get problematized in “American Orthodoxy” (whatever we mean by that) as “reinventing the wheel”, that reduplication of effort doesn’t accomplish anything… What needs to be recognized is that not all wheels will travel on the same roads[…], people and institutions need to play to their strengths, and dispersion of effort that hangs everything on the energies of either one person or a tiny handful of people is a disaster waiting to happen. The Madeleine Choir School is not the only Catholic school in the Salt Lake City metro area, for example, but its existence allows for the faculty and students to play to a particular set of strengths, and the result is an example that is inspiring. Supporting music education in existing Orthodox schools is a great thing to do, but it also seems to me that establishing a model school that focuses particularly on that aspect will allow for a level of excellence to develop and be made manifest publicly. I think we accomplish a lot more when we’re able to work together than when we’re isolated; my experience is that most of us Orthodox musicians are too isolated from each other as it is, and that that is a bad thing.

Beyond that — as I said earlier, I attended a Christmas concert sung by the choirs of the St. Paul’s Choir School Friday evening with Megan and Theodore; one of the big takeaways was that Theodore was absolutely enrapt when the boys processed in, wearing black cassocks and singing “One in Royal David’s City”. I’ll say that the evening was was mostly the work of the the preparatory choir (the main choir had their big concert yesterday with Britten’s “A Ceremony of Carols”), but everybody did something, and they’ve got a good thing going there.

So, where to, folks? How do we get there from here? I’ve told you how I’d do it — and, I have to say, it’s remarkably similar to what Tappan describes Gregory Glenn, the Madeleine Choir School’s founder, as having done (and I discovered Tappan after I wrote that post) — he put a great deal of time in visiting model institutions and putting together a feasibility study/planning document with a proposed budget. Realistically, I think this is going to be somebody’s full-time task for at least six months.

My modest proposal, then, is this — a great Christmas gift to me, to your kids, and to our Church, would be a gift in support of this initial effort. Somebody shared the post saying, “I wish I had a million or two to give to such an undertaking”; well, it doesn’t need a million or two, not yet, and while you might not be in a position to give a million or two, maybe you can do something (particularly since it’s near year-end — taxes are coming!). It doesn’t really matter how much you might be able to do; if everybody who saw my posts over the last week even gave something relatively small, it would go a long way towards making this possible. Anyway, I don’t want to do a hard sell on giving right now. Rather, this is just the trial balloon — the question is, can we fund the initial planning activities, yes or no? You tell me. If we can, then maybe we can do this for real.

The way to give is through The Saint John of Damascus Society; click here, click on the donate button, and you’ll be taken to PayPal. The Society is a tax-exempt (501(c)3) non-profit, so all gifts are tax-deductible to the extent allowed by law. If you want to do something but don’t want to do it via PayPal, drop me a line at richardbarrett AT johnofdamascus DOT org.

I’m really not interested in asking for money right now, so we’re clear. This isn’t about money to me. At the same time, without some money, the next steps are really out of reach.

This is an open forum on the topic, so please, any questions, suggestions, comments, requests for more information, anything — keep it coming! And if you want one of the The Choir DVDs, e-mail me with an address.

Okay, my friends. I’ve made my pitch. You’ve all told me you’re interested and supportive; pray for us, tell me what we’re doing next, and share this far and wide if this is important to you. Thanks for sticking with me so far.

An Orthodox choir school: how I’d do it

Published 19 December 2014 Media , music , The Orthodox Faith 14 Comments
Tags: american orthodox music, american orthodoxy, byzantine chant, cappella romana, chant, choir school at westminster cathedral, ecclesiastical chant, hazards of church music, liturgical adventures, liturgical music, liturgy, liturgy and life, madeleine choir school, music, Orthodox choir schools, random acts of chant, sacred music, st. paul's choir school harvard square, the choir documentary, this american church life

Since I’ve just run a couple of posts that have touched upon the topic of choir schools, and last week I had occasion to run the pitch — such as it presently is — past a couple of friends, maybe I can take a moment to go into detail about how I could see an Orthodox choir school coming together.

First, what have I already done? Well, in 2005, I went to New York for the first time. While I was there, I visited St. Thomas Episcopal Church on 5th Ave, and heard their choir of men and boys for the first time. I learned more about the St. Thomas Choir School (there’s a video here that I can’t embed), and became fascinated by the model and its heritage, and convinced that it would be fantastically worthwhile to adapt it for Orthodox use. In 2007, I published this piece as a blog post (it originally had been intended for The Word, although, alas, the submission was never acknowledged). In 2009, it was picked up by AGAIN Magazine as an article titled “Teach a child to sing: Thoughts about Orthodox choir schools”. Fr. Chris Metropulos noticed the article, and interviewed me on the OCN show Come Receive the Light. All of this really amounted to me throwing the broad strokes of a big idea out there to see if anybody would run with it; I can’t really say I wasn’t given a platform, because I was, but nobody ran with it.

Which isn’t to say that nobody responded at all. I got an e-mail from a Mover and Shaker who was really intrigued, but who said, frankly, we’re so far away from being able to speak meaningfully of what a school could accomplish that there’s just no conversation to be had with anybody right now.

And that was that, until 2013, when a documentary on the Madeleine Choir School in Salt Lake City titled The Choir was released on DVD. I immediately bought ten copies in bulk and sent them out to various musical leaders on the American Orthodox scene with a copy of my AGAIN article saying, in essence, This is exactly what I was talking about. This is what we should be doing. Watch this and then let’s talk.

The same Mover and Shaker who had responded positively to the article was the sole person to respond to the mailing, and this person continued to respond positively. In fact, this person said — that’s great; now, here are another ten people who need to see this. So, I sent out another ten copies of the DVD with the article to the suggested names; no response.

Well, now there’s been a piece on a Catholic choir school that has run on CBS Good Morning. It’s a moment, a fleeting one, but I may as well try to take advantage of it.

So, I’m going to give you my pitch. If it inspires you, makes you want to help, please talk to me. This is a vision, to be clear, that I want to see succeed because I want there to be just such a school I can send my kids to. Certainly I want to facilitate the vision, but I want to be a participant, not an overlord. I’ll do whatever I have to, but I don’t need to run the show. I’m shouting it from the rooftops as much as I can until there’s a critical mass of others to do it, and then if there’s a capacity I can serve in that I’m actually suited to, I will, but I’ll be happy just to be a parent of a student. This is my vision thus far, but it need not be mine alone, and it need not be my baby that I guard jealously.

An Orthodox choir school is a parochial school attached to a parish or a cathedral that has as its educational mission the training of primary school-aged children from all Orthodox jurisdictions for excellence in Orthodox Christian musical service. They will receive, as part of their standard curriculum, a high level of musical education, both in terms of general musical skills as well as skills specific to Orthodox musical service, and they will be exposed broadly to the rich heritage of Eastern Orthodox liturgical music — Byzantine chant, Slavic chant and polyphony, Greek-American choral music, modern composers who engage Orthodox spirituality in concert works, and so on. The students will contribute regularly to the liturgical life of the parish/cathedral by singing services throughout the week; they will function as outreach to the community at large by means of concerts and recordings; they will also represent the school, the parish/cathedral, and the musical traditions of Orthodox Christianity by touring. Historically, many such schools are made up of boy trebles, who must then leave when their voices change; the vision here is that an Orthodox choir school will be co-educational, and there will be choirs for students to sing in as they get older.

The value of such a school hopefully is obvious. The next generation of musical leaders in America’s Orthodox churches is not going to fall out of the sky, and the major concern expressed at every Orthodox musical event I have ever attended is, “How do we get our kids involved?” This is a way to do it.

What is necessary to move forward? Well, a lot. How I’d do it, if resources were no object, is this:

I would first form a planning committee made up of people familiar with the broad range of Orthodox musical repertories and who had experience with working with children in particular. This planning committee would make an initial presentation to the Assembly of Canonical Orthodox Bishops and get their blessing to proceed. The committee would also seek to talk to organizations like PaTRAM, Cappella Romana, the National Forum of Greek Orthodox Church Musicians, Axion Estin, the Antiochian Department of Sacred Music, and so on, as well as music faculty at the Orthodox seminaries, and others, to get their input. From there, the job of this committee would be to assess how choir schools operate in this country and how Orthodox schools operate in this country. For the choir schools, we’d visit the Madeleine, St. Paul’s, St. Thomas Choir School in New York, and then also for perspective we’d go to England and spend some time at Westminster Cathedral’s choir school, as well as the Brompton Oratory’s choir school and a couple of others. For Orthodox schools, we’d look at Agia Sophia Academy in Portland, the Theophany School in Boston, the school of St. George Cathedral in Wichita, and then there are, I think, some in California we’d look at as well. (I’m already going to be visiting St. Paul’s at Harvard Square in January for an initial observation.)

The kinds of questions we’d be asking everybody are these: what’s the curriculum? How do you find students? How do you find teachers? What are the benefits and pitfalls for kids — spiritual, physical, emotional, otherwise? What are the benefits and pitfalls for the church communities that are served? How does everything get paid for? How do you keep it financially accessible for students, assuming that’s an objective? How does everything keep runing smoothly? How does accreditation work?

The next question we’d have to answer would be location. My guess is, at this point, such a school would need to be someplace where there is a diverse and sizable Orthodox community already, and where there would be a parish or cathedral big enough to be able to accommodate such an undertaking, given that in all likelihood such a school would not have its own classroom facilities at first. Perhaps the choir school could represent an expansion of a school that already existed. I’m not sure. In any event, I’m guessing there are very few places in the United States where this could be done successfully the first time, and that would have to be very carefully considered.

Probably, the committee would zero in on three candidate locations, and then survey Orthodox communities in those locations to see where there might be the largest concentration of prospective students.

Then, there would need to be a careful consideration of staffing. Who are the teachers? Where are they going to come from? What will they need to be paid? I anticipate that here, the committee would put together a wish list of faculty, and then make informal inquiries about interest, willingness to move if necessary, what it would take for them to accept an offer, and so on.

We’d then take our findings from all of these inquiries and create a planning document. This document would include the faculty/staff wish list, a projected budget for 5-10 years of operations, a narrative of what the school would do in its first five years from an academic standpoint, a musical standpoint, a recruiting standpoint, a facilities standpoint, and a development/fundraising standpoint. There would a curriculum plan as well, and sample concert programming.

This planning document would then serve as the basis for a major gifts campaign, at which point we would open our doors when we could do so responsibly.

Most, if not all, of these tasks could be undertaken under the aegis of the Saint John of Damascus Society; it would be well within the Society’s mission, and it would certainly be easier to perform these initial tasks via the mechanism of a nonprofit that already exists. Certainly, when it came time to move beyond planning stages, in all likelihood it would be ideal to spin the school off as its own entity, perhaps with its own foundation.

So, there you go. That’s the sketch of what I think would need to happen to move forward. There’s much more I could say, but that’s the backbone.

The Madeleine Choir School sends out a season booklet every summer, and last year that inspired me to try to put something together that’s similar, as kind of a proof of concept. I didn’t quite finish it — I have a dissertation to write, after all — but here are some pages from what I did finish. The names I list are nobody I’ve actually asked to do anything; they’re simply there to indicate real people who could serve this kind of school were it to be up and running. The concert programs are also strictly intended to be representative ideas. Nonetheless, see what you think.

If I might make a plea from the heart — if you’ve read anything I’ve written or seen anything I’ve done that has to do with Orthodox music, you know that this is a labor of love for me. Nowhere in that brochure mockup do you see my name; I am not trying to promote myself by any stretch of the imagination. I believe strongly that there is a desperate need that this fills — a desperate need for our churches, certainly, but also a desperate need for our world — and I hope to see that need filled. No more, no less.

If this is of any interest to you at all, let me know. If you want a copy of anything, ask — I’ve got a lot of resources related to choir schools, including somebody’s dissertation about the use of the choir school model in America. I’ve still got copies of the DVD of The Choir I can give out if that helps. I’m entirely and absolutely serious about wanting to see this happen; if you’re at least halfway serious about wanting to help, I’m all ears.

Okay, back to work for me.

St. Paul’s Choir School, Harvard Square

Published 17 December 2014 Media , music , The Orthodox Faith 3 Comments
Tags: american orthodox music, chant, hazards of church music, liturgical adventures, liturgical music, madeleine choir school, Orthodox choir schools, orthodox outreach, random acts of chant, sacred music, st. paul's choir school harvard square, this american church life

As a brief follow-up to yesterday’s post — I made reference there to my advocacy for Orthodox use of the choir school model. As part of that, I give you the video from this morning’s appearance of St. Paul’s Choir School at Harvard Square on CBS This Morning.

http://www.cbsnews.com/videos/catholic-boys-choir-brings-its-music-to-the-masses/

It’s a pretty good summary of what I maintain are the opportunities and advantages of such an approach — a high level of musical education, liturgical participation, spiritual formation, and overall engagement with the tradition starting from a young age, a focus on excellence and discipline, an excellent means of outreach via performance and recording, and traveling to perform in amazing places. I’d advocate a co-educational school along the lines of the Choir School of the Madeleine (see my comments about that institution here), but regardless, this clip is another excellent “proof of concept”.

I’m working on setting up a meeting with John Robinson, St. Paul’s music director, sometime in January. I want to chat with him and also observe how the school works. What would you like to know about such a place? How might you envision such an undertaking moving forward in an Orthodox setting? Talk to me — I’m very serious about wanting to see something like this come together. I’d love to be able to send Theodore to a school just like this — how can that happen?

How you get better as an Orthodox musician

Published 16 December 2014 General , music , The Orthodox Faith 19 Comments
Tags: american orthodox music, american orthodoxy, byzantine chant, cappella romana, chant, ecclesiastical chant, hazards of church music, kurt sander, liturgical music, music, Orthodox choir schools, patram, patriarch tikhon choir, random acts of chant, sacred music, st john of damascus society, this american church life

Theodore, at two and a half, has started chanting. He loves to stand at the psalterion in the Holy Cross chapel, and sing along to the best of his ability. He had already started saying “Alleluia” as “Allya” a year ago, and then during this last Paschaltide, he started singing “‘stos ‘nesti” with the Paschal apolytikion in church. He’s since started trying to chant “Alleluia” and “Kyrie eleison. No less of an authority than Alexander Lingas even said when he heard him, “Well, he’s got yphos!”

theodoros protopsaltis

Theodore has even started developing a notation system for “Alleluia”. He sits in my lap, I’ll write a phrase of something in Byzantine neumes, and then he’ll write something using his own signs.

He’ll even explain to you — sort of — how it works.

All of this is great, it really is. It’s so awesome to watch him work these things out on his own, to try new things, and to respond to what he sees and hears. His two-and-a-half year old brain is a little sponge, soaking it all up.

Here’s the thing: he’s two and a half. What he’s doing is wonderful and age-appropriate for a two-and-a-half year old. It’s really more than I would figure I could expect from a two-and-a-half year old. Still, there will come a time when it is no longer age-appropriate. There will come a time when he needs to start developing an understanding that goes beyond simply doing something and grows into an understanding of what it means to do it right. Then, eventually, an understanding of what it means to do it well. If he isn’t willing to do that by a certain point — which will be his prerogative entirely; I’m not going to force anything on him — then certainly the age-appropriate thing for him won’t be to continue to do what amounts to yelling in church. It will be better for him to do something else if he’s decides he doesn’t want to get better beyond “Alleluia”. That’s not a problem; that’s exactly what one would expect when it comes to seeing a toddler grow up and develop — that they will continue doing some things and do them in more sophisticated ways, and they will discard doing other things and take up new things. Wash, rinse, repeat.

In other words, it is normal that there be a pattern of development when one learns a new skill, and it is to be expected that one will follow that pattern if they continue to do something that requires that skill, or they will do something else that doesn’t require that skill. This is really easy when you’re dealing with kids; the trouble is when adults decide that they aren’t interested in getting better at something but they want to continue to do it anyway.

There’s a truism amongst musicians — the way you get better is to play with people who are better than you. This is something that, if you’re an Orthodox musician, is kind of a problem. Let’s be honest — a lot of us are in situations where we’re isolated, where we’re either one of the only competent musicians, or even the only competent musician, or if we’re not, then we’re one of the only ones who is really involved. And, for many of us, we spend so much time, not even trying to bring people up to our level, but just trying to explain to people that there is a level. Forget phrasing, musicianship, dynamics, whatever — we’re working on getting people to sing a majority of right notes. We put the majority of our efforts into trying to communicate the fundamentals of the fundamentals, and doing so in contexts where some people are receptive, some are hostile, and some are benign but unable to be productive for one reason or another. To put it another way, we spend a lot of our time working with adults who are, relatively speaking, at the level of my son Theodore, and who are faced with the choice of learning to do it better or needing to stop. Here I note that it seems inescapable that we speak about singing in church as a clerical calling, something set apart; consider the petition during the Divine Liturgy — “Again we pray for those who bear fruit and do good in this holy and all-venerable Temple; for those who serve and those who sing (ψαλλόντων); and for all the people here present, who await thy great and rich mercy”. Such a point of view has been espoused by no less than the Ecumenical Patriarch. So, if we’re going to talk like that, then we also need to speak frankly about what it means not to be called to sing. It is nonetheless a choice a lot of adults don’t want to make; beyond that, we work in such situations under circumstances where clergy may or may not be supportive, we may or may not be being paid, and we may or may not have adequate resources otherwise to do what we need to do.

To frame this in terms of personal experience — I am hardly one of the “greats”. I stopped pursuing music performance as a full-time profession because I knew I wasn’t, and knew I couldn’t be. Still, I am a well-trained musician. I can sing pretty much what you put in front of me, be it in staff notation or Byzantine notation, I can do it in English, Latin, French, Italian, German, and Greek, and if it’s Church Slavonic then I can do it well enough to blend with somebody who is proficient. Some of my ability comes from what I had to do for my music degree; some of it comes from experiences in Episcopal church choirs, where you’re singing new repertoire every week, some of it comes from experiences with other performing ensembles like opera choruses and early music chamber ensembles, some of it comes from doing a lot of recording sessions where you’re sightreading music you’re seeing for the first time and have to record within the next half hour so you can get through the other fifteen things you have on the docket that day. I am not amazing; there is nothing remarkable about being able to do any of that. It is simply what is expected if you are to be considered a reliable, garden-variety professional.

And what did I do with my church choir? Generally, I had to teach notes by rote and hope it stuck; I had to explain things repeatedly like the necessity of turning the page when you reach the end of it; I had to beg people to come to rehearsal and come to church on time; overall, I had to put 15-20 hours a week into that kind of undertaking, and it compensated me far less than I would have received were I merely a paid member of a choir at a Protestant church. Towards the end of my tenure, I had experiences like telling my choir that they needed to watch me for entrances during the anaphora, and one person responding by stomping out, proclaiming that “You’re totally focused on all the wrong things and have completely lost the spirit”; this person never spoke to me again, and instead lodged some kind of complaint against me with the priest (the priest declined to discuss any specifics of the matter with me, and I left the parish shortly thereafter).

I have had to go out of my way over the years to make my own opportunities to play with people who are better than me so that I myself can get better. Sometimes that meant paying people to come to me. Sometimes that meant people paying me to come to them. I took various pro singing gigs here and there. I found a way to go to Greece to learn Byzantine chant, since the alternatives were all a five hour drive away. I also went to gatherings of other people who were in my shoes. hoping to learn things that I could bring back to my parish. I went to PSALM in 2006. I went to the Antiochian Village Sacred Music Institute a couple of times. In all of this, I hoped to learn something that could inspire people to want to see things the way I did, and to want to get better, to make music for the worship of God that was always seeking to be as good as it could be rather than “good enough”. The response was always the same — “What does any of that have to do with us? I mean, fine that you had fun, and great that all of you musicians were able to sanctify each other’s preferences, but what happens there stays there; we’re not interested.” People, in the main, had no interest in being inspired; no interest in being reached; no interest in being worked with; no interest in learning. That was for “musicians” outside of church; it had nothing to do with what they wanted in church.

If this is how you’re spending most of your life and your energy, as a musician, your A-game is going to suffer. And, truly, for many of us, when we do get together, the once or twice a year that the opportunities come about, we’re so thrilled that there’s another honest-to-God person in the room who gets it, to whom we don’t have to explain anything, who is singing the right notes and speaking our language without translation, that we’re not thinking about our A-game; we’re just having fun making music with people who share some understanding of what that means. Never mind “playing with people better than you are”; it’s a miracle when we get to play with other people who get it, let alone who are better.

So then, when we do get to play with people better than we are, it’s a ball game we aren’t prepared for. We don’t perform at our best because we don’t even remember what that is. Our A-game is irrelevant to our regular existence as church musicians.

Really, what I think we face is that there is a particular kind of poverty that we’ve had in our parishes for a long time for various historical reasons. Rather than try to improve the matter, various voices have spiritualized, if not fetishized, this poverty, given a particular moral weight to it, and what perhaps was non-professionalism out of necessity has become anti-professionalism out of choice, replete with nonsensical pietistic platitudes like “Orthodox music isn’t performed, and it would be better if we didn’t think of it as having composers, let alone professionals; Orthodoxy doesn’t do art.” Add to that what I believe is an American distaste for anything that smacks of “being told what to do” and a preference for being self-taught over learning from a teacher (something I certainly encountered when I was playing guitar seriously, 20+ years ago), and you have the perfect storm of a musical anti-culture in American Orthodoxy.

This has not gone completely unnoticed or unremarked on. At the 2006 PSALM conference, Fr. Thomas Hopko said very bluntly, “The Orthodox Church seems to be the only place on earth where you don’t have to be competent to be asked to do something. How does this come about? What happened? Why will people join a community choir, not miss a rehearsal, pay attention to the choir director, and then then not do the same in their parish choir? If we’re not taking church and everything we do in it seriously, then we’re just re-arranging deck chairs on the Titanic. You can’t raise the bar when you still have to convince people that there’s a bar to be raised in the first place.” Along similar lines, I had a conversation recently with a longtime Orthodox choir director, somebody with a doctorate in conducting and decades of experience, who remarked that in a conversation with Fr. Ivan Moody, it came up that in Finland one must have a Masters degree in choral conducting to be choir director. “What a concept,” this person said. “Yeah,” I replied, “here it would be more like a disqualification.”

The difficult reality is that the circumstances we face in the world of American Orthodox church music are such that, in the main, they weigh the overall level down; the efforts of the would-be musical leaders do not pull it up. And, as long as this is the case, we Orthodox musicians in America are going to be hard-pressed to make much of a case for the best that Orthodox music can be with our own efforts. We will rely on non-Orthodox musicians to bring out the best elements of our liturgical music, we will have to record and perform in non-Orthodox churches because we have not adequately provided for the acoustic environment in our own — in short, we will be the audience for the professional performances and recordings of our own music, not the singers, and it will be because, frankly, we’re not good enough for it to be otherwise.

And we haven’t even begun to talk about issues like professional levels of pay. I am going to guess that there are 10 people in the United States who are able to make anything like a living off of being Orthodox church musicians, and that’s rounding up from the cases I know about for sure. I’ll limit my comments here, but a place to start is the simple fact that a decent undergraduate musical education isn’t cheap, let alone any level of education beyond that, and it would be nice to think that people who are serving the Church with such an education could at least make their student loan payments with what they’re paid. I’ll leave that there for now; a lot of parishes obviously struggle to pay priests (if they pay their priest), let alone anything else, so compensation is complicated, but it’s still something that needs to be addressed. There is a connection between time, talent, and treasure that must be acknowledged as part and parcel of the solution to the overall problem I’m discussing.

Orthodox musicians, ultimately I’m talking to you here, and we have a lot of work to do. As I used to tell my choir, I’m not asking you to do anything I don’t also expect of myself. Our task is complex, and while concerts, recordings, and conferences are great, the need is long-term and must be addressed in ways that are systemic and cultural, too. We must inspire the non-musician to do better, inspire the congregation to care, inspire ourselves and our colleagues to stay sharp, and somehow to get a culture in place that will form future generations of church musicians as singers, as composers, as teachers, and as leaders. We have to do all of that prayerfully and in love, and we must be mindful that our ultimate goal is service to God, just as it is for the priest and for the member of the congregation.

Cappella Romana is proof that it can be done at a professional level. PaTRAM also exists for this purpose, as did PSALM, and it’s also why Kurt Sander organized his Pan-Orthodox Liturgical Music Symposium this last June. I helped to found The Saint John of Damascus Society because I most certainly believe this is worthwhile, and I have advocated a particular model that would help with a big chunk of what we have to do, both in terms of teaching the next generation to sing and to understand why we need to learn to sing. In general, we all need to find ways of playing with people better than we are, and using those opportunities to get better ourselves.

How do we do that? As a place to start, visit parishes, monasteries, seminaries, etc. where those people are. Get to know them. Sing with them if they’ll let you, and see what you learn by worshiping with them at the psalterion or in the choir loft. Buy them coffee and ask them questions. That’s really hard when your parish isn’t anywhere close to anybody else, no question, so then you have to make it a point to attend gatherings of Orthodox church musicians so you can have a chance to get to know people. Go to choir conventions, sacred music institutes, liturgical singing seminars, symposia. That’s often not easy or cheap, but if you can’t afford it, ask for help, either from your parish as a whole or from individuals who are sympathetic. Present it as something along the lines of a mission trip, only for music. Hopefully they can at least get the costs down to something manageable. Better yet, if you can, bring at least one choir member with you so that they, too, can see that there’s a bigger world out there. Then, don’t stop there; start going to the things that will challenge you, and don’t just go to the events where your friends will be. (You’ll make friends at everything you go to, I promise.) You’ll learn even more that way. And when you do see your friends, don’t just revel in making a decent sound with somebody else who can make a decent sound; yes, it’s fun and feels great to bathe in a sound that’s resonant and in tune, but go beyond that. Force yourself beyond relaxing and enjoying so that you are listening and watching, and subsequently learning from what you hear and see. That’s how you get better, or at least that’s where you can start.

Now, if you’ll excuse me, Theodore wants to write some more “Alleluia” while sitting on my lap. Gotta start somewhere.

Leitourgeia kai Qurbana: Contra den Zeitgeist

Archive for the 'The Orthodox Faith' Category

Review Essay: The Oecumenical Patriarchate in the Orthodox Church

Hey! Kids! Byzantine music books!

The present-day relevance of Byzantine history

Pastitsio and Byzantine chant: in which one finds, at the very least, the best pastitsio recipe ever (also the worst)

Who are the Assyrian Christians?

Who are the Copts?

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An Orthodox choir school: how I’d do it

St. Paul’s Choir School, Harvard Square

How you get better as an Orthodox musician

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