Archive for the 'The Orthodox Faith' Category



Brief recap of recent travels

Last month I was fortunate enough to be able to attend, and present a paper at, the Patristic Symposium of the Florovsky Society at Princeton University. I had also been looking for the right opportunity to visit Holy Cross Greek Orthodox Theological Seminary for about the last year or so, and while I missed the opportunity that I had really wanted (I had wanted to coincide with Ioannis Arvanitis’ campus visit, but I wasn’t told it was happening until after it had already happened), I decided that since I was going to be out on the East Coast anyway, I may as well roll a trip to Boston into the travel for the Florovsky Symposium.

I had never been to Princeton before. It was reasonably easy to get there from Newark Airport via train, it’s a lovely little town, and the campus is quite picturesque. It was a good opportunity to see some people I don’t get to see very often; I was able to catch up with an old Jacobs School of Music buddy of mine, Ben Eley, who now works for the university in a decidedly non-musical capacity and whom I hadn’t seen since summer of 2006, and I also was able to stay with our friend Paul who lives nearby. Alexis and Eugenia Torrance, with whom I’ve crossed paths a number of times over the last few years, were there, as was Seraphim Danckaert, whom I first met in the summer of 2004 when he was studying Romanian here. Ioana Patuleanu, a former All Saints-er who relocated to New Jersey last year, was there. My friends John and Katherine, both students at Holy Cross, also came down for the conference, and I rode back to Boston with them afterward.

It was also a chance to finally meet Fr. Andrew Damick in person, with whom I have been friends in the digital world for the last few years. We met for breakfast at PJ’s Pancake House Friday morning before heading over to the conference, and I think found that we are reasonably like-minded on a number of points.

As we walked over to the conference, I saw Fr. Benedict Churchill and Dn. Gregory Hatrak of SVS Press unloading boxes of books. I had met them at Oxford last summer, so I made a point of saying hi and taking one of the boxes to be of help. Well, no good deed goes unpunished; as I set the box down where they told me to put it, I managed to catch something at exactly the wrong angle with exactly the wrong amount of tension, and ripped open the crotch of my trousers.

Do note that this was also the day on which I was presenting my paper. Since I was staying with Paul, whose house was some 5 miles away, there was very little I could do except make sure my jacket was draped strategically and deliver my paper from behind a lectern. This is the kind of thing that happens to me.

Nonetheless, the paper was well-received and got a couple of good, productive questions. The rest of the conference was really interesting, although it was a curious reversal for me; usually I’m a little too ecclesiastical in my focus to neatly fit in with my history colleagues, but here, I was clearly a historian amongst theologians. Well, there we go.

Saturday evening John, Fr. Andrew, Alexis, and I were able to help chant Vespers for the Princeton Orthodox chaplaincy — for that service, in no less of a location than the Princeton Chapel itself. That didn’t suck (although the choir director looked a little shell-shocked at the end and said, “It’ll be lovely to have you all in the choir tomorrow morning, but I think maybe we’ll do a little less Greek chant”). I also got to briefly see an acquaintance I had made in Athens 3 years ago, who just happens to now be at Princeton and was at Vespers (even though she herself is Catholic). Small world. Following Vespers, Paul, Fr. Andrew, and I had really good Indian food for dinner, and then it was back to Emmaus for Fr. Andrew.

Sunday morning, following Divine Liturgy at the chaplaincy, Paul, John, Katherine, and I had breakfast at PJ’s (I just had to do it one more time), at which point the New Jersey leg of the trip had to come to a close, and it was time to head to Boston.

Holy Cross was a great trip; I met some neat people, including fellow blogger Kevin Edgecomb, I had some very good and productive conversations with members of the faculty (I’m contemplating spending a year there while I’m writing my dissertation), I was able to sit in on a number of good classes, especially the Byzantine chant classes, I got to sing in the left choir for a handful of chapel services, and, as with Princeton, I was able to make some new friends and catch up with some existing friends whom I don’t get to see all that often. Something that was a little unsetting was that there were people I met who said, “Oh, I know you! I read your blog!” Well, there we go.

Alas, I wasn’t able to get a Holy Cross shirt; I was told that they only place one order a year, and the larger sizes go quickly, so thus is life. I had to get some item of HCHC swag, though, so I bought a scarf.

One of the great things about the Holy Cross visit was seeing the current level of Antiochian representation there amongst the seminarians. There are 12 AOCANA guys there right now who are all getting a good grounding in Byzantine chant from Grammenos Karanos, good liturgics in the chapel (including the experience of antiphonal choirs being normative), and exposure to Greek and Arabic. This all seems like good stuff to have happening. One of the Antiochian seminarians I met was Rassem El-Massih, whom I’ve heard about for years but had not yet met — he’s an excellent cantor from Lebanon and all around good guy, it seems, and we had a really positive conversation my last morning there. He had some very encouraging things to say about the future of traditional Byzantine chant in the Antiochian Archdiocese, and I told him a bit about the objectives of the St. John of Damascus Society. Hopefully the Society can be part of the efforts he was talking about.

By the way, if you’re a single person considering going to Holy Cross, do be aware that the dorm rooms are tiny. And I mean tiny. Word to the wise.

Anyway, after three far-too-short days in Boston (which, honestly, I didn’t get to see much of because the seminary trip took up all the time I had), it was time to take the train back to Newark and fly home.

And then it was time to start preparing for my next trip, this time to Emmaus, Pennsylvania to give a couple of talks on music at a Lenten retreat at St. Paul’s Orthodox Church, Fr. Andrew Damick’s parish.

I arrived at St. Paul’s the evening of Friday, 2 March, just in time to help sing an Akathist service. Their building is a repurposed valve machine shop; in terms of layout, it’s not unlike All Saints, low ceilings and all, except that enough surfaces are sufficiently reflective that it’s actually a reasonably decent acoustic environment. I was quite surprised.

Saturday morning I sang Matins and Divine Liturgy for St. Theodore the Tyro (we also did the Blessing of the Kollyva). The morning was pretty much up to me, and having such an uncustomary free reign, I sang an all-Byzantine liturgy. It was really nice to sing that repertoire in that room, I have to say.

Following Liturgy, I gave the first talk. There were about 15-20 people, and they had good questions (although some of the questions were such that, the frank way I had to answer them, it was best to omit the Q&A from the online version). Not bad attendance and participation, considering that Fr. Andrew made the mistake of putting my name on the flyer (see for yourself).

During the afternoon, Fr. Andrew gave me a bit of tour of Emmaus, and I have to say, as a town, the place is cute as a bug’s ear. I’d love to have more of a chance to get to know the place sometime.

After Vespers, I gave the second talk. There was about half the attendance, and about half of those people hadn’t been there in the afternoon. Again, some good questions, and all things considered pretty good given that my face was used for advertising. In any event, my job was done, Fr. Andrew took me out for Chinese food, and once again we had a great conversation over a wide range of topics.

Sunday morning, it was back to Kazan and their usual polyphonic mix of things; Gail Ortner is a capable choir director, and truthfully, it was nice to just stand there and sing and not have to worry about everything being my problem.

Thanks to a flight delay, I was able to attend the Lehigh Valley Pan-Orthodox Vespers for Sunday of Orthodoxy at St. Nicholas Cathedral (GOA). It’s a beautiful church, and it was a very nice way to end the visit. It worked out perfectly, and I got to the airport with plenty of time to catch my plane.

And now I’m home until May.

I’ll say this — getting to know Fr. Andrew a bit has been one of the real highlights of the last six weeks. He’s one of the good guys — he appears to have a genuine love of God, the Church, Tradition, and the people he serves; he is able to use his theatrical background and intellectual acuity to great effect (as opposed to great affect, which I’ve seen happen all too often); he seems to very much care about the place he is in and wants to serve it to the best of his ability; he seems to have a very good handle on where his parish is at and what they need to be doing; and — very important — he has a supportive group of parishioners behind him, and a really awesome family at home. I hope to have more of a chance to get to know him down the road.

Choral Masterclass and Workshop at St. Vladimir’s Seminary

I have been terribly remiss in posting about this; I got an e-mail about it just as I was making my way to Princeton last month, and I was quickly occupied with other things even once I was back.

Dr. Vladimir Gorbik, director of choral music at the Podvorye (“representation church”, the parish dependency of a monastery) of the Trinity-Sergius Lavra in Moscow, will be giving a masterclass and workshop at St. Vladimir’s 25-29 June. One must audition to be able to participate, and there are three ways to take part — as a conductor, as a singer, and as an auditor. There are four slots for conductors and 40 (10 for each voice type) for singers. Registration fees are $350 for the course and $250 for room and board on the seminary campus, which I have to say, is a fantastic deal for this kind of thing. Registration links and more information can be found here.

I’d love to go myself, but there are a couple of things that I will be occupied with right around that timeframe, one I’ve announced and one I haven’t yet. Nonetheless, this looks like it’ll be a great opportunity for any and all choral musicians with an interest in Russian Orthodox repertoire.

Here’s Dr. Gorbik’s choir singing Rachmaninoff’s Great Doxology:

“Learning to chant” vs. “learning to sing” – or, do you learn to play Mendelssohn or do you learn to play the violin?

I’m working through the recently-released Byzantine Music Theory and Practice Guide with members of my choir. Part of the motivation is to try to make them a little less intimidated by “the squiggles”; I’m also curious to see just how well the book actually works as a textbook for people of a range of musical backgrounds, everything from basically zero up to a degree in music education. It’s an interesting exercise; we’ve only had two meetings thus far, but I’ve been surprised by the level of willingness to participate. We’ll see where it all goes.

Last month, I was fortunate enough to get to spend a few days at Holy Cross Greek Orthodox Theological Seminary. I’ve got more to say about that trip, but among other things, I sat in on a couple of the chant classes taught by their new permanent Byzantine chant instructor, Dr. Grammenos Karanos (also credited as providing the “academic oversight” for the Byzantine Music Theory and Practice Guide), and I also got to sing in the left choir for a few services. Dr. Karanos is doing some nice work, and as somebody who for the time being attends an Antiochian parish, I’m really happy that there are twelve Antiochian seminarians there right now who are benefiting from his efforts.

Something that I’ve wondered about in recent months is the relationship between learning Byzantine chant and learning, more generally, how to sing. To put it another way — I’ve encountered people who can read the notation, understand the modal theory, can do this, can do that, but what they can’t actually do is sing terribly well. This is by no means the rule — I also know cantors who can pretty much sing whatever you put in front of them, whatever the repertoire, whatever the notation, whatever the style — but there does seem to be some kind of phenomenon of “learning to chant” without any additional context of “learning to sing”.

There are some, I expect, who might argue that that’s not only okay, that’s preferable. I’ve heard a counterargument that goes something like this: Byzantine chant isn’t only music; there’s an ethos and a spirituality that goes along with it, and you have to learn the technical end of it within the context of that ethos and spirituality. Otherwise, if you come in with a musical education that you’re figuring out how to “apply” to Byzantine chant, then you’re always going to be approximating what it’s supposed to be rather than actually chanting the repertoire the way you would have if you had just received the tradition from the ground up without preconceived notions or grafted onto an existing set of musical concepts. Notation, vocal technique, performance practice, modal theory — it’s a whole package that you have to receive as a whole package, preferably by imitating the psaltis at the parish you grew up at from young age rather than by doing things like going to classes or learning from books. Conservative imitation starting as child. Any other way is really departing from the tradition.

Now, there are parts of this that I can see. The more I force myself to sing off of scores written in neumatic notation, the more it is apparent to me why transcription into staff notation can only ever be a halfway measure at best. If you’re trying to write in every last bit of ornamentation that you want somebody to sing using staff notation, your score is going to get really busy really fast. Intervals become problematic. And, to be honest, at least speaking for myself, there’s a “look and feel” issue, where the psaltic notation is a good visual cue that you shouldn’t sing this the same why you might sing Mozart.

Vocal technique becomes a trickier matter, however. There are people who are 100% “natural voices”. They’ve never needed a voice teacher, they’ve always instinctively known how to use the instrument that they have to great effect, and they can use it to do whatever they want. I am not, emphatically not, one of those people. Singing has been a 100% learned skill for me. I have had to solve a lot of vocal problems, and often the worst trouble I’ve ever been in vocally has been when my teacher has said, “Sing it like this,” and has me imitate him/her. I’d say that as I have gradually learned some of the things to do and things not to do with the Byzantine repertoire, what has changed the least has been the fundamentals of how I sing; I breathe the same way, in general I produce my tone the same way. Musicality and phrasing are still important. Projection, placement, and resonance is still important. (Incidentally, here I might say that I question the characterization of the proper Byzantine vocal quality as “nasal”. I’ve sung next to people who insist that it’s “nasal”, but to my ear, they’re not singing nasally. They’re singing brightly, with a good deal of pharyngeal resonance, but that’s not the same thing as “nasal”. Nasality is often a poor shortcut in solving resonance problems, so it seems to me necessary to make this distinction.) What’s different is a matter of doing less rather than doing more. For example, vibrato becomes an ornament, a choice to be employed judiciously, rather than where you’re living all the time. Nonetheless, it’s still important to drop your jaw and raise your soft palate on higher notes, it’s still important to keep your tongue forward, it’s still important to keep your vowels in line, and you still have a passaggio that has to be negotiated properly. I don’t think those issues magically go away just because it’s Byzantine chant, and I don’t think, unless you’re one of those 100% “natural voices”, you’re going to figure those things out instinctively by standing next to your psaltis starting at age 5.

To put it another way, if you want to learn to play the Mendelssohn violin concerto, you first have to learn to play the violin. You don’t just say, as somebody who’s never picked up the instrument before, “I want to learn the Mendelssohn violin concerto.”

Anyway, the point I’m making is that I think it’s probably necessary to learn to sing as a component of “learning to chant”. That said, I grant that there aren’t a lot of voice teachers out there who are equipped to teach vocal technique in a way that’s obviously applicable to a chant context. Somebody who wants to learn to chant probably is going to feel like their time is wasted on the 24 Italian Songs and Arias book, and Joe NATS Voice Teacher isn’t likely to have the slightest idea what to do with an Anastasimatarion.

Incidentally — as somebody with a voice degree, I had to do a term apiece of Italian, German, and French diction with no actual language comprehension; in addition, I also had to do a year apiece of normal language study of those languages. For me, then, it’s simply intuitive that learning Byzantine chant would involve some Greek and Arabic. Language study — diction and comprehension — is just part of the deal, and it has the extra added bonus of improving your ear and makes you more aware of how your apparatus is actually working while you use it. Yes, fine, there are those of us at English-language parishes who don’t understand why we as Americans need to learn anything in a different language, but there’s almost no musical study of any kind that doesn’t involve having to learn some kind of specialized vocabulary that isn’t in English. Even if you’re a Western musician, you need to know what diminuendo and pianissimo mean. If you sing Byzantine chant, you need to know what a kentemata and a petaste are.

I will say I like the “starting as young as possible” part of the “conservative imitation starting as young as possible” pedagogical model. If only there were some kind of model of a school that existed where that kind of thing was done…

Update, 6:28pmSomething I forgot to mention — amplification. Proper church acoustics + knowing how to sing = no need for microphones. My first semi-scholarly publication had to do with the impact amplification has had on both singers and listeners, and while I’d probably write the piece differently now 8 years later, my rather strong opinions haven’t changed. “Strong opinions” — as in, it shouldn’t exist in certain settings. This is where I have a certain sympathy for the guys who want to call electric lights in church a heresy; the trouble with certain kinds of technology is that it makes it too easy for people to do a bad job and have nobody notice. Church is one of them as far as I’m concerned. If the architect does his/her job properly, and the singer/speaker does his/her job properly, and the teacher of singing/speaking does his/her job properly, then there should be absolutely no need for “acoustic enhancement”.

Follow up on Angelic Light

I mentioned in my review of Angelic Light: Music from Eastern Cathedrals that the copy I had provided no information other than track names, and I was left to guess names of composers based on my own familiarity with the recordings. Mark Powell, Cappella Romana’s executive director, was kind enough to pass along the complete track listing:

1. As many of you as have been baptised (I) 3:07
Composer: Frank Desby (died 1992)
CD: When Augustus Reigned
Taken from Dr. Desby’s 1951 “Divine Liturgy”…is an arrangement of Sakellarides’ simplified version of the traditional chant. (Sakellarides: 1853–1938)

2. O Great and most sacred Pascha 1:38
Composer: Hieronymos Tragodistes of Cyprus (fl. 1550–60)
CD: Music of Byzantium

3. Cherubic Hymn, Mode Plagal IV 3:56
Composer: Tikey Zes (Born 1927)
CD: Tikey Zes Choral Works
A setting for mixed chorus of one of Sakellarides’ simplified melodies for the Byzantine Eucharist’s ordinary offertory chant. (Sakellarides: 1853–1938)

4. Communion Verse for Sundays 3:59
Composer: Peter Michaelides (born 1930)
CD: The Divine Liturgy of St. John Chrystostom

5. Cherubic Hymn (Opening section) 3:49
Composer: Peter Michaelides (born 1930)
CD: The Divine Liturgy of St. John Chrystostom

6. Offertory and Communion Hymn for Holy Thursday, Mode Plagal IV 2:58
Composer: Tikey Zes (Born 1927)
CD: Tikey Zes Choral Works
English setting of a melody by Sakellarides (Sakellarides: 1853–1938)

7. Communion Verse for Sundays, Mode Plagal I
Composer: Tikey Zes (Born 1927) 4:24
CD: Tikey Zes Choral Works
An intricate arrangement of a chant by Sakellarides (Sakellarides: 1853–1938)

8. Now the Powers of heaven 3:43
Composer: Father Sergei Glagolev (born 1927)
CD: Lay Aside All Earthly Cares – Orthodox Choral Works in English

9. Cherubic Hymn – Special Melody, The thief beheld 4:25
Composer: Father Sergei Glagolev (born 1927)
CD: Lay Aside All Earthly Cares – Orthodox Choral Works in English

10. Let all mortal flesh 3:20
Composer: Father Sergei Glagolev (born 1927)
CD: Lay Aside All Earthly Cares – Orthodox Choral Works in English

11. Megalynarion for Nativity (from Three Christmas Hymns) 1:47
Composer: Peter Michaelides (born 1930)
CD: When Augustus Reigned
“Megalynarion” is a Marian hymn from the Ninth Ode of the Christmas Kanon by St. Kosmas the Melodist

12. Ikos Six 2:18 (new piece–replaces “Kontakion for Mother of God”, since KMG duplicates “Hierarchichal Entrance”)
Composer: Ivan Moody (born 1964)
CD: The Akathistos Hymn
COPYRIGHTS: The Akathistos Hymn, O Tebe raduetsya
c Vanderbeek and Imrie Ltd,1999,1990

13. Hierarchical Entrance Rite for a Byzantine Divine Liturgy: V. Kontakion of the Mother of God, Mode Plagal 4 4:06
Composer: Anonymous (c. 1450)
CD: The Fall of Constantinople
Musical edition from medieval Byzantine sources c. Alexander Lingas

14. O Tebe raduetsya 4:02
Composer: Ivan Moody (born 1964)
CD: The Akathistos Hymn
COPYRIGHTS: The Akathistos Hymn, O Tebe raduetsya
c Vanderbeek and Imrie Ltd,1999,1990

15. What Shall We Call You Full of Grace 2:04
Composer: Richard Toensing (born 1940)
CD: Kontakion for the Nativity of Christ, New Orthodox Christmas Carols

16. Cherubic Hymn, Mode Plagal IV 5:52
Composer: Tikey Zes (Born 1927)
CD: When Augustus Reigned
A setting for mixed chorus of one of Sakellarides’ simplified melodies for the Byzantine Eucharist’s ordinary offertory chant. (Sakellarides: 1853–1938)

The comment was also made that, pace my remarks, the subtitle “Music from Eastern Cathedrals” is accurate because much of this music was composed for GOA cathedrals (and one Antiochian cathedral) in this country. Yes, fine, I get that the idea is that they’re “Eastern Cathedrals” because of communion, not because of geography (and I wonder if the booklet makes that explicit — the copy I was sent came with an temporary insert  that consisted of a listing of track names and the cover rather than the booklet I was assured accompanies the final product). As I said, I know I’m taking the title too literally, and it’s a minor point — I just wonder if the average person who doesn’t know anything about this repertoire who just sees the title of the album will understand what’s actually intended. If I were picking the title, it would have been something like “Eastern Cathedrals in the New World” or something like that (and I’m sure somebody would have instantly shot it down as being too wordy). For my part, I can think of instances where somebody has bought a CD based on my recommendation, then come back to me and been upset because they didn’t realize the recording was in English. “I don’t want to understand it!” they tell me. “If I can actually understand the words, I feel wrong somehow if I’m listening to it while doing the dishes!” Anyway, it still seems to me to be a point worth bringing up; I could be wrong.

As a side note, recordings seem to have a curious impact on musical practice in the American Orthodox world; my own impression, at least from my informal survey of parishes in the Midwest over the last several years, is that the most influential recording to have been released for English-speakers is the St. Vladimir’s Divine Liturgy disc, in terms of repertoire chosen and how that repertoire is sung. And, I have to say, it is a middle-of-the-road disc at best in terms of recording quality, repertoire, and performance, even taking into account the fact that it’s live and an actual service. Maybe the problem is one of expectation; the SVS folks picked repertoire that seems attainable and sang it in a way that doesn’t represent the material so perfectly that the average listener assumes that their choir couldn’t do it. By contrast, I can think of times when I’ve played more polished recordings with better repertoire for people and gotten the response, “Well, that sounds great, but who’s ever going to actually be able to sing it?”

Site redesign: Kurt Sander’s Orthodox Choral Music

It is a moral imperative that I inform all three of my regular readers (we’ve grown) about the redesign of Orthodox Choral Music, the website of Kurt Sander, composer of Orthodox liturgical music in the Russian idiom, scholar, Advisory Board member for the St. John of Damascus Society (website coming soon!), and all around good guy and valued colleague (insofar as I may be presumptuous enough to consider myself as having “colleagues”). Content is still being added, it would appear, but I’d say that the main treasure right now is the page of his scores. There’s a lot of really beautiful music there, and while I wouldn’t call it easy repertoire for an average choir, it’s very much worthwhile for, say, the intermediate choir that has a decent acoustic in which to sing and that can put it in the time to learn it well. It’s “American Orthodox music” in what I would consider to be the best sense of that term — settings of English texts by a native speaker in a received idiom, re-articulating the beauty of that idiom without assuming that the shift in language requires a total reconsideration of the form. Kurt understands very well the relationship between music and iconography (and based on things I’ve heard him say, he gets the difference between καιρός and χρόνος as well), and that comes out in his compositions.

Go check out Kurt’s site — it’s worth your time.

So it has come to this.

As I suspected might happen, the talks I gave as a Lenten retreat at St. Paul’s Orthodox Church in Emmaus, PA this last weekend have been posted to Ancient Faith Radio.

A few things: I’ll have a full write-up of the Emmaus trip a little later, but I had a lovely time. Fr. Andrew Damick is a wonderful priest with a wonderful parish, and I very much enjoyed getting to know all of them.

Nobody needs to tell me that there are some baubles in both talks, certainly in the musical examples, and then there are a couple of points that I certainly simplified for purposes of time. I also got a couple of things wrong (Philotheos Kokkinos is in fact a saint, as Fr. Andrew pointed out to me afterward, and Timothy McGee appears to be Canadian, not American, but at least he’s North American, I suppose). Fr. Andrew also mentions in my introduction that I’m “fluent” in Greek, which I most certainly am not, but he was being kind. On the musical baubles, I was also there as a guest cantor, by the time the first talk happened I had already sung three services, and while I was just mentally waking up by the time I went on, I was starting to lose a bit of musical steam. I know, excuses, excuses. Nonetheless, on the whole, I’m pleased with how they turned out.

This does represent at least a “soft opening” for the Saint John of Damascus Society, and while we’re still waiting for our tax-exempt status to come back before we really unveil everything, I can say that http://www.johnofdamascus.org is registered and will be live once tax-exempt status is in hand and we can really be open for business, as it were. In the meantime, if you’re intrigued by anything you hear in these talks, by all means ask me.

Gloriose rex Richarde, ora pro nobis

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

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

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

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

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

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

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

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

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

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

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

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

Secunda Pars, the Overlake years

Here’s how we got here, and here’s some corroborative detail intended to give artistic verisimilitude to an otherwise bald and unconvincing narrative.

The whole point of moving to Wenatchee in the first place was that my parents wanted to get out of Anchorage, and my dad wanted to try to set himself up as a successful small business owner in a small town. After four years in Wenatchee, he still liked the small business owner idea but was done with the small town part, and in 1984 we passed westward over the mountains and wound up in Seattle. Well, Woodinville, which back then was barely no longer rural. Dad bought a small business furniture concern called Redmond Office Supply and we built a house maybe five minutes from Chateau Ste. Michelle Winery, the house that I still remember my mother describing, on the day we moved in, as the house in which she and my dad would grow old.

Church was a question mark now that we were in something vaguely resembling a major metropolitan area. The truth is, I don’t think my mother ever had any particular love for the Augsburg Confession, and thought of it perhaps as mostly a default. My grandmother Helen (departed this life last September with her beloved husband Donald ten days previous, αἰωνία αὐτῶν ἡ μνήμη) had passed on some level of Danish-American consciousness to Mom, but nothing overwhelming, and nothing that I don’t think she got out of her system by living in Copenhagen for a year after high school. Since Dad certainly wasn’t going to church with us, there wasn’t any particular family cohesion to be maintained, so now that we lived someplace with more options, my mother wanted to explore them. I remember her taking me church-shopping several Sundays in a row; I don’t remember where, but I don’t recall that we ever went to the same place twice.

Somewhere along the way, we wound up at Overlake Christian Church, and I got saved for the first time. These were unrelated events.

This may be ancient history for some readers, but 30 years ago, kids actually would go trick or treating in a door to door fashion in neighborhoods rather than going to the mall. 1984-5 was the height of my Charlie Brown identification (which had a very interesting denouement I’ll go into later), so my recollection is that my costume in 1984 was the sheet-over-the-head ghost. Anyway, among the takings was a little card giving a phone number that you could call if you really loved Jesus and wanted to be saved. I really loved Jesus, so I asked Mom if I could call, she was thrilled to say yes, and a nice man on the other end of the line prayed with me that Jesus would come into my heart, and that was that.

Meanwhile, church shopping was going nowhere for us. At some point, my mom discovered KCIS, “The Christian Information Station”, on which Pastor Bob Moorehead’s sermons were broadcast. These connected with her well enough that one Sunday, we found ourselves in the middle of the humongous melee that was Overlake.

At the time, I believe, Overlake was the largest independent congregation in Washington state, with some ungodly huge number like 3,000 people. (Yes, I know, that seems like a small, quaint country church in present-day Evangelical terms.) They did something like three or four services a weekend, so their auditorium had around 1,000 people in it at any given moment in the course of a weekend. My recollection is that there was a huge cross on the wall with the text, “Go forth and make ye disciple of all nations…” You came in, and half an hour of lively singing to words projected on the walls was followed by some announcements, special music while an offering was taken, a 45 minute sermon, maybe communion, and then another twenty minutes to half an hour of congregational singing, usually wrapping up with an altar call. It was completely different from what I had experienced in our little Lutheran congregation back in Wenatchee, and it seemed to be exactly what my mother was looking for.

I remember asking my mom, “Does this mean we’re not Lutheran anymore?” “No, honey, we’re just Christians now,” she said.

One of the interesting things about Overlake — and to this day I don’t have a great sense about how common this is or is not for Protestant groups — was that a baptized Protestant Christian couldn’t just start going there and bam, they were a member. First you had to have a believer’s baptism — infant baptism didn’t count — then you had to go through the six-week “Basic Beliefs” class (so, yes, you had to undergo an action that, by virtue of its appellation — believer’s baptism — strongly implied belief in something, and then you had to take a class to find out what you had just professed to believe), and then you were welcomed as a member. My mother, who seemed to embrace what Overlake was all about fairly quickly, responded to an altar call one Sunday, took the class, and was welcomed as a member. I did not; I didn’t really understand why all of this was necessary — wasn’t I already baptized, and didn’t we make a big deal out of it? But there we were.

Even as a little kid, I can’t say I ever felt like a totally natural fit at Overlake. It seemed weird to me that you never sat next to the same people twice, I didn’t understand how it seemed that everybody knew the songs we were singing except me, particularly when all they projected were the words and no music? (This was also right towards the beginning of my boy alto period.) Why was all the music so incredibly different from what we had had at Grace Lutheran? Why was the music… well… stupid? Why was the sermon so long? Why couldn’t I leave to go to the bathroom? (Seriously. I got blocked at the doors by the ushers.) Who actually got to talk to Pastor Bob? Why did everything seem so centered around him? Why, if being saved was something that happened to us once, was a big point always made of saying the prayer to let Jesus into our hearts as personal savior at the end of every service?

Still, it was where we were going. Sometimes I went to the adult service with Mom, sometimes I went to the kids’ service. At the kids’ service, sometimes they showed things like the Christian anime Superbook (which went well with my love of Star Blazers), and a movie called “Music Box” that I’ve talked about before. I also remember them talking to us about evolution and AIDS, and sometimes in the adult service hearing them talk about abortion and how there were no Christians in Russia (keeping in mind that this was the mid-1980s).

Strange Stories, Amazing Facts, as I mentioned, had some interesting bits on various supernatural phenomena (including an article on demon possession that absolutely freaked me out). Among other things, there was a riveting, lengthy piece on the Shroud of Turin. I remember showing it to my mom, who said, “Well, most Christians don’t think it’s real.” In support of her answer, she gave me the book Answers to Tough Questions Skeptics Ask About the Christian Faith by Josh McDowell, which had roughly a 30-page section debunking the Shroud. (Curiously, I discovered about ten years ago that newer editions of the book no longer have this section. I’ve not encountered any comment or explanation as to why; it just seems to have been quietly dropped. Perhaps McDowell changed his mind. If anybody knows anything about that, I’d love to hear more.)

I’m trying to remember how old I actually was when I read McDowell’s book for the first time. Maybe eight? Nine? Anyway, much of the Shroud of Turin stuff seemed a little over my head, but a lot of the evolution/creationism material was gripping for an eight year old, particularly since we were doing a unit on Jericho at school that could serve as a bridge between the “historical” past and the “creationist” past. I was inspired to try to calculate the age of the earth counting what seemed to be the Biblical chronology backward from the historical dates we were talking about in class. I can’t remember what I came up with — a 10,000 year old earth, maybe a 15,000 year old earth. My dad pointed out that even that was far older than what most creationists seemed to want to talk about.

McDowell aside, there was a nagging question that I had that nobody could seem to quite answer for me. I was becoming aware through certain cinematic tropes and articles in — again — Strange Stories, Amazing Facts that what seemed to be the Christianity of history and the Christianity I experienced at Overlake Christian Church were two different things. Why was this? I mean, I got what seems to have been the standard fundamentalist lines about Catholicism and Mormonism being in the same category as “non-Christian cults”, and I also was starting to become aware that Christian bookstores usually had a shelf devoted to the subject of Why Catholics Were Wrong, but I didn’t understand who the Pope was supposed to be (beyond my dad saying once, “He’s an old Polish man who believes that he has a direct link to God”), and I didn’t understand the disconnect at all between past and present. The way some people talked, it sounded like we were to understand that there were no Christians between the time of the apostles and Martin Luther. Could that actually be? The way other people tried to explain it, however, it sounded like their way around it was to say that if there were Christians during those centuries when the Roman Catholic Church was all there was and they were leading everybody astray, they were saved by the grace of God and that was incidental to their being Catholic. Well, whatever the case, I had to admit to myself, even at the tender age of nine or ten, that as far as Overlake was concerned, that I didn’t understand all the hand waving and I hated the music. Regardless, since Overlake was where the real Christians were going in the Seattle area, that’s where we were going.

An anecdote that, while random-seeming, demonstrates even a small way that I felt this disconnect — in sixth and seventh grade, I was big into Piers Anthony. I’ll go into how big in a different post. Suffice it to say, for the moment, that there is a key moment in On A Pale Horse that involves the singing of the hymn “Holy, Holy, Holy”, and depends on its near-universal familiarity. I had never heard of it before, I could not place it, all I knew is that for all the book implied its fame, it was never sung at Overlake. It was easily another eight or nine years before I heard it, and of course by now it has achieved “old chestnut” status, but it’s an example of the gulf between the Christian culture that Overlake promoted and “recognizable” Christian culture.

Another thread in all of this was that starting in 1986, our lives were falling apart. The really short version is that Dad’s livelihood was not coming from being a small businessman in a Seattle suburb; that was a hobby. Rather, to the extent that we were at all affluent, it was a result of Dad’s interest in a commercial building in Anchorage, and this is around the time that the price of oil collapsed, tanking Alaska’s economy. Some of this I talk about here. The house my parents built for $250,000 in 1984 was sold in 1988 for something absurd like $150,000 after more than a year on the market — and one of the tragedies there is that, had they been able to hold onto it for another few months, they would have been able to catch the rebound of the Seattle housing market which just went up and up and up and up for the next twenty years. As you can see for yourself if you check out the Zillow link I provided, the house sold again for $425k in 1994 and peaked in value in 2007 at around a million. It’s now sitting somewhere around $625k, I think. And we, the family that built it as our dream home, had to take a $100k loss. Before my parents got divorced and when I still thought I might walk away from the software industry with something worth having, I had a dream that someday I might be able to buy back that house for them — just show up on the doorstep with a blank check, ask whomever lived there, “Hey, I think I can convince you to sell,” and give them whatever they wanted. Ah well. Anyway, we lost our shirts, to say the least, and to call it a strain on our family doesn’t even begin to describe the hell that the three of us were collectively in from 1986-1993.

And when I say strain, I’m not necessarily talking in terms of subsistence. The money was what it was — the real tragedy was the irreparable damage done to relationships, some of it immediately, some of it long-term. I’m not going to go into the details of that here, although I’ve alluded to some of the permanent consequences of it here and there throughout the life of this blog. The point is, my mom was starting to discover that the emotional high she got from Overlake’s services simply did not prepare her for what the reality of the rest of her week actually was.

In the spring of 1989, I got baptized again. As I said, each service at Overlake ended with an altar call, and one Sunday, for reasons still unknown to me, I felt compelled to respond. My mom, as noted earlier, had gone through the membership process, but I never had. This was, theoretically, the first step. A nice man took me back to an office, we talked a little bit, I explained that I had been baptized when I was little, and he asked if I wanted to be baptized again. I said yes. He said the same prayer with me then that the other nice man had said with me over the phone at Halloween in 1984, so once again I was saved, and I agreed to be baptized the next Sunday.

Dad didn’t understand. “Wasn’t he already baptized?” he grumbled, but he came anyway. (Ironically, he, the grouchy atheist, has attended three out of my four reception ceremonies, thus holding the record of any of my friends or family members for such things.) I showed up early the next Sunday, I was led through the back to a changing room where I was given a white robe. During the service I was led to the baptistery — a pool built into the stage — and somebody, not Pastor Bob but a different member of the ministry team, baptized me by threefold immersion in the name of the Father… <dunk> …and of the Son… <dunk> …and of the Holy Spirit <dunk>. <applause>

That was that; when I got back to where my mom was sitting, Dad had already left to go sit in the car for the rest of the service (somehow getting past the reverse bouncers at the doors).

So, supposedly, after getting baptized, I should have gone on to take the Basic Beliefs class, and then I would have been a member of Overlake. Shortly after my second baptism, however, we stopped going to Overlake altogether.

More to come.

Abp. Lazar Puhalo: “When you moralize a social issue, you have no hope of ever solving it”

In the comments for the “No religion, please, we’re postmodern” bit from last week, I suggested the following:

The trouble seems to be — and this is one of the things that I might take from the problems that these “young people” are expressing about church — that churches in the present-day have thrown out so much of what made them what they were in order to be “relevant”, and are thus left with not much more than a collection of moral shibboleths and Bible verses that seem virtually impossible to take seriously in the world that they’ve accommodated in their trappings, that there’s just no “there” there anymore.

With that in mind, I give you Abp. Lazar (Puhalo) on a Canadian program called The Standard (not entirely sure when this ran):

At 1:32:

When we… reduce religion down to a moral code, or to externally appropriate behavior, then morality as a legal code like that becomes a heresy because it’s a substitute for a life in Christ, and it’s also a substitute for an inner transformation of the heart. Anything which leads us to arrogance, condescension, pride, to judge and condemn other people, is completely contrary to the teachings of Christ, therefore it’s a heresy. So morality can become a heresy as a substitute for a life in Christ, as an alternative to an inner transformation of your own heart, and as a platform from which you can judge and condemn other people… Another problem, really, is that when you moralize a social issue, you have no hope of ever solving it… we’re really putting our foot on their head and shoving them down deeper into the darkness.

I find some of Abp. Lazar’s jurisdictional history a bit, shall we say, colorful, and I would want him to clarify a few things in a setting not quite so ruled by the clock, but I do wonder if there isn’t something worth pondering here. I have heard it suggested that his view is simplistic and unscriptural; I would say that it is simple, perhaps, but I’m not sure about simplistic, and while it may be simple, it’s definitely not easy. Unscriptural… well, among other things, I am reminded of verse 1:22 of the Epistle of St. James, which my friend Hal Sabbagh has been quoting a lot lately: “Be ye doers of the word and not hearers only, thereby deceiving your own selves.”

Anyway, I’m not going to get into a line-by-line analysis right now, but this seemed worth throwing out there given recent discussion.


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