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Posts Tagged 'finnish orthodox church'

This year’s gift ideas

Christmas gift ideas are something I’ve done before, and it’s that time again, to say the least. Christmas is a week from tomorrow, so probably you want to order whatever it is you’re going to order in the next couple of days if you want to make sure it’s received on time. Here are this year’s gift suggestions, from me to you:

– Fr. Ivan Moody’s new book, Modernism and Orthodox Spirituality in Contemporary Music. I’ll be review this book shortly for Orthodox Arts Journal, but I’ll go ahead and recommend it to you now. It’s a fascinating look at how 20th/21st century art music from around the world engages Orthodox liturgical music and vice versa, and really turns on its head the idea that “Orthodoxy doesn’t do art”.

 

– Keeping with the theme, the CD Arctic Light: Finnish Orthodox Music, with Fr. Ivan Moody conducting Cappella Romana. I reviewed it here, and it’s a terrific stocking stuffer for the lover of choral music who might like something a little different.

 

– The world-music collective Dünya has a really fascinating recording out titled A Story of the City: Constantinople, Istanbul. It’s a collection of Byzantine music, Ottoman classical music, and more; I highly recommend it.

 

 

– One more CD suggestion: Christmas in Harvard Square, by the St. Paul’s Choir School, Harvard Square. I just blogged something about the school, so they’re on my mind; plus, it’s a really nice treble sound.

 

 

The Tom Bihn Checkpoint Flyer briefcase was a gift suggestion here three years ago; this year, I’m pleased that I can finally suggest the Parental Unit, their brand spanking new diaper bag. I remain pleased with my Checkpoint Flyer three and a half years after buying it (as well as with Tom Bihn’s customer service; they’ve been as good as their word on the lifetime guarantee), and while the Parental Unit came along a little late for our needs with Theodore (as in two and a half years late), it looks like it’ll be great for future consideration. (Not an announcement, by the way.)

– Sometime in, I think, 1989, I read an interview in the long-defunct Comics Scene magazine with an animator named Richard Williams. He had just won two Oscars for his work on Who Framed Roger Rabbit, and he talked about how this was allowing him to finish, at long last, his decades-in-the-making masterpiece, The Thief and the Cobbler. The story of why this turned out not, in fact, to be case, why instead Disney released its, shall we say, fascinatingly similar film a few years later (arguably getting away with murder), and why you might find a $2 DVD in grocery store bargain bins titled Arabian Knight using some of the animation produced for Cobbler is nothing less than one of the artistic tragedies of the twentieth century. Over the last few years years, there has been something of a renaissance of interest in Cobbler, with an unofficial, so-called “recobbled” cut having been produced by one Garrett Gilchrist. Over the last year, there have been a couple of screenings of Williams’ workprint, both at the Academy of Motion Picture Arts and Sciences and at the British Film Institute. Filmmaker Kevin Schreck has also produced a documentary about Cobbler and why you never saw it titled The Persistence of Vision, and it has been very well-received in the festival circuit for the last year or so. While it’s a difficult film to license commercially for a number of reasons, Kevin has been able to produce a limited edition 2-disc DVD release of the documentary, and it also includes Williams’ workprint among the special features. It is available for what it is officially being called a donation of $25, and I recommend it highly — it really is fascinating.

– Averil Cameron’s new book, Byzantine Matters, is a concise, readable overview of the state of the field of Byzantine studies, as she sees it. There’s a lot here that’s worth thinking about, and while much of it is prompted by her ongoing feud with Byzantinists who work a bit later than she does, she is up front about that disagreement and what she thinks the problem is.

 

– Twin Peaks: The Entire Mystery. I’ve spoken my piece about Twin Peaks here already, so hopefully this speaks for itself. Just get it.

 

 

– If Twin Peaks is your thing, there’s also Reflections: An Oral History of Twin Peaks, a behind-the-scenes treatment of the series by Brad Dukes. I haven’t read this yet, but it looks really interesting.

 

 

 

StJohnDamascus-logo-color-420x230– Finally, if none of these speak to you, I offer the possibility that you could make a donation to The Saint John of Damascus Society. We’ve got a lot of different things that we’re working on, including the Psalm 103 project but also much more, and making a gift in the name of somebody you care about would be a lovely gesture for all concerned. All gifts are tax-deductible to the extent allowed by law. The above link will take you to our website’s “Support” page; click the “Donate” button and PayPal will take care of the rest. If you’re interested in giving a gift but want to have a conversation with a person about it, get in touch with me (either via the combox here or by e-mailing richardbarrett AT johnofdamascus . org), and I’ll be happy to talk to you.

And, should you for some unknown reason be looking to give me a Christmas gift, well — you can certainly give something to the Saint John of Damascus Society, and it will definitely make me happy. I also wouldn’t sneeze at Twin Peaks: The Entire Mystery, and there’s also a book called 75 Years of DC Comics that would be right up my alley. And, hey, this blog has its own “Make a Donation” button. If those options don’t speak to you, well, there’s always this. Or even this.

Okay — Christ is born! Glorify Him! May you all stay well the rest of the fast (and beyond, of course)!

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CD Review: Cappella Romana, Arctic Light: Finnish Orthodox Music

arctic_light_finnish_orthodox_import-cappella_romana-26407367-859743431-frntSo, occasionally I wake up in the middle of the night in a cold sweat because I think I’m going to have to learn Finnish. I have this harebrained research idea about analyzing the Byzantine liturgical cycle as a national epic (I would still need to figure out the “for whom”, “where”, and “when” aspects of the matter), and since the Kalevala is the prototypical national epic, I’d have to be able to read Finnish to be able to do it properly.

Then my wife and my advisor both take turns in slapping me, yelling, “YOU HAVE ENOUGH TO DO!”

Still, I find the case of Finland fascinating. To break out a couple of academic buzz words, it’s an oddly liminal and contested place; the language, of course, is not Indo-European but rather Finno-Ugric (as the joke goes, Finnish and Hungarian used to be married, and when they got a divorce, Finnish got all the vowels), and it’s right smack dab in middle between Russia and Scandinavia, with whom there are contentious histories, as well as contentious identity issues. The Finns are decidedly not Scandinavians or Russians — there is much more affinity with Estonia, which of course has its own issues with respect to contested identity — but the cultural contact happened, and there are imprints of both them to be found in Finland. They are not Russian, they are not Scandinavian (or Germanic at all) — they are Finnish.

Religion is a part of this strange mix; Karelia is the part of Finland that is traditionally Orthodox (so I’m told), which is also the homeland of the Kalevala poetry, in which we see odd references to Orthodoxy, like “standing in front of the icons” being used as a description of a wedding service. It’s enough of a part of the cultural fabric that it’s one of the two state religions of Finland; at the same time, there’s a cultural Protestantism that is also enshrined into law with the Lutheran church being the other state religion. I’m reminded, vaguely, of Germany’s religious schizophrenia as the birthplace of Lutheranism but also home to some fierce cultural Catholicism depending on geography. That’s got an entirely different history than Finland’s religious culture, but it’s the only comparandum I can really call to mind.

Where there is an intriguing religious culture, one hopes there will also be an intriguing culture of religious music, and Fr. Ivan Moody, conducting Cappella Romana, makes the case for the music of the Orthodox Church of Finland on the disc Arctic Light: Finnish Orthodox Music. Finland represents an Orthodox musical culture still very much in its infancy, far moreso than the United States; it has been an independent state only since 1917, with the Church having been granted autonomy in 1921, subsequently coming under the wing of the Ecumenical Patriarchate in 1923. The transition to Finnish from Slavonic as the liturgical language then helped a unique Finnish musical voice begin to emerge. Basic parish repertoire, I am told, remains St. Petersburg Court Chant sung in Finnish, but over the last century a variety of composers have written music for the Church, contributing to a rich, beautiful body of repertoire. If it’s a bit “anything goes” still, well, they have some top-tier composers writing for them while they figure it out.

Fr. Ivan and Cappella Romana present a survey of the 20th/early 21st century Finnish repertory, starting with early experiments by Pekka Attinen (1885-1956) and Boris Jakubov (1894-1923), followed by Paschal music from the present-day “elder statesman” Leonid Bashmakov (1927-), a Psalm 103 excerpt and Trisagion from Timo Ruottinen (1947-), a Cherubikon from a young Finnish composer, Mikko Sorodoff (1985-), and then festal hymns from the Dormition of the Virgin from Peter Mirolybov (1918-2004), who is presented as the composer in the group most connected to the Finnish Church’s Russian musical inheritance, as well as perhaps the one most attentive to this music’s liturgical context. In addition, Fr. Ivan himself (1964-) contributes a concert setting of the Exaposteilarion for Dormition.

I have to say, this has been a very difficult recording for me to figure out how to review, for many of the same reasons that Tikey Zes’ Divine Liturgy recording required an entire blog post’s worth of a prologue before I could talk about how I evaluate its musical merits. The problem is, of course, is that it’s not just a matter of evaluating musical merit; it’s also a matter of talking about how it functions as liturgical music, which is a sensitive conversation for Anglophone, North American Orthodox. This recording, much as with the Zes disc, is largely unconcerned with the categories of that conversation (although Fr. Ivan’s excellent liner notes touch on them briefly) while seeking to maximize the musical quality of the compositions performed. That’s a touchy thing to address when one is an American writing about an American composer in an American context, as with Tikey Zes; I’m writing as much more of an outsider in this case.

Still, there was something I realized while reading Fr. Ivan’s notes, particularly concerning the biographies of the composers. The American anxieties about the categories of “art music” and “liturgical music” overlapping are, frankly, minority concerns borne out of poverty — poverty when it comes to our music, who writes it in many cases, how we’re used to hearing it sung, and how our musicians and composers interact with the outside world, so to speak. There are notable exceptions, of course, but even some of those notable exceptions have to be a bit self-conscious because they’re the exceptions. Plus, there is something of a discourse about “Orthodoxy doesn’t do art”, problematizing concert pieces and such, meaning that when Orthodox Christians here do in fact do art, there’s some way in which they have to apologize for it, defend it, explain it, etc. In terms of how it presents Orthodoxy, this “Orthodoxy doesn’t do art” position is a defensive stance, culturally speaking, and it has consequences. I know composers who are Orthodox, very good composers who are renowned in secular music circles in fact, who absolutely refuse to pick up their pen to write music that could be sung in church; there’s simply too much baggage.

In the case of Finland, however, what the music on the recording suggests — and what the biographical notes in the booklet confirm — is that we’re talking about “real” composers, as it were, for whom there’s nothing necessarily self-conscious about writing Orthodox church music; it’s just one of the things you do if you’re a composer who happens to be Orthodox in Finland. Attinen, for example, taught in conservatories, wrote film music, and taught at the Orthodox seminary in Helsinki; his Cherubikon sounds very much like it is in dialogue with late 19th/early 20th century Romanticism, while still being a Cherubic Hymn meant to be sung in a Divine Liturgy (although it is evidently difficult enough that this is a rare occurrence). In any event, the hard and fast distinctions we want enforced here about “liturgical” vs. “concert” music don’t really apply; it’s a question of “good” vs. “bad” music, and that’s informed by tradition and liturgical function, but it’s also informed by musical education and exposure to the broader artistic conversation.

So, from that perspective, Arctic Light then becomes a relatively easy recording to review; it’s an aural treat in every way, with the vowel-rich language sparkling in the voices of Cappella’s singers. One can hear the Finnish language “in dialogue” with the ecclesiastical past of its country; fragments of Russian chant melodies echo in Bashmakov’s Paschal Ikos, for example, but they are transformed by the needs of the language and augmented by a harmonic vocabulary employed by an expert composer, and the result is something that “sounds Orthodox” (whatever that means — more to come on that later), but that also sounds like something new, and that could be as easily at home on the concert stage as well as in the choir loft. Sidoroff’s Cherubikon is a highlight, being perhaps a bit more conservative in terms of the sonorities he’s willing to use, but his use of different vocal textures — such as moving back and forth from men only, women only, and the full choir — makes it a rich contribution. Ruottinen is the most experimental of the group; he makes the least effort when it comes to invoking a chant foundation (he uses bits of the same melody as Rachmaninoff used for Psalm 103 in the All-Night Vigil), and at times he writes chords that sound like vocal jazz. The result is not unpleasant by any means, but it does stand out as one of the aesthetic oddities on the disc, and underscores that even within a musical culture that doesn’t feel the need to be self-conscious, perhaps some boundaries need to be kept in mind.

Fr. Ivan’s own contribution is noteworthy for multiple reasons; he is a non-native speaker of the language, and he uses the third mode Byzantine melody for the basis of his setting of the Exaposteilarion for the Dormition (“O you Apostles…”). The result is something that is clearly not operating in the same context as the rest of the repertoire on the disc, but the irony is that it is also the centerpiece of the program. It was written as a concert work, and despite using a different melodic vocabulary than that of the other composers presented, he is able to manipulate the Byzantine melody and build harmonies around it so that it sounds very much of a piece with Attinen and Bashmakov.

Fr. Ivan as the conductor gets Cappella Romana singing this kind of polyphonic repertoire as well as they have in years; the choir sounds bright, clear, and musical. At times the clarity and power of individual voices comes at the cost of blend — particularly in some of the higher voices — but it’s a tradeoff that allows the ensemble to play to their strengths.

If there’s something curious that I find in this collection — well, I should say it’s more about what I don’t find. There doesn’t seem to be a connection to a vernacular kind of singing in this music (although, ironically enough, elements of Ruottinen’s “vocal jazz”-ish choices sound somewhat like stereotypically Balkan folk music), and to the extent that there’s a musical conversation going on here about Finnish national and religious identity, that strikes me as strange. There is Finnish folk singing that has played what I would describe as an archetypal role in the building of national identity (such as what got compiled into the Kalevala); why would such elements be absent from this other project of identity-building? I may misunderstand the issues so much as to have come up with a meaningless question, but in any event, I am left curious about the interaction of Finnish Orthodoxy with Finnish folk culture.

In sum — Arctic Light is a complicated program. Finland, Finnish Orthodoxy, and Finnish Orthodox music have a complex history, and this disc is, in its own way, a document of some of that history. The result is that Fr. Ivan and Cappella Romana are able make some beautiful, engaging music within that context, and provide a fascinating snapshot of an Orthodox musical culture that is developing its own very strong voice. Recommended.


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