Posts Tagged 'greek orthodox archdiocese of america'

CD Review: A Concert of Syro-Byzantine Music by the St. Romanos the Melodist Byzantine Choir

Last fall, the St. Romanos Byzantine Choir of Beirut did a concert tour of the eastern part of the United States, from Chicago to New York. (I’m still enough of a Northwesterner to think of Chicago as “eastern”.) I had really hoped to be able to go to one of the stops, but the only real possibilities were Chicago and Cleveland, and the dates just weren’t friendly to either option. Hopefully, the next they come to the States, the St. John of Damascus Society can help bring them to Indianapolis (I can’t imagine Bloomington being a reasonable possibility without resorting to putting them in a straight-up concert hall, which would sound great, but it really wouldn’t feel right).

A live recording of the final stop on the tour at St. Nicholas Cathedral (Antiochian) in Brooklyn has been released as a two-disc set; this particular concert also happened to feature the GOA Archdiocesan Byzantine Choir, both as a featured choir and with the two groups singing some combined and antiphonal things.

The program represents a nice sample of the Byzantine repertoire throughout the liturgical year, largely in Arabic, and in a variety of textures; the Megalynarion for Pascha, the Kontakion for Annunciation, and the Katavasiae for Theophany, for example. The Greek choir does a lovely handful of things such as “A Good Word” with kratema, and “Before Thy Cross” with Dynamis, and then the combined choir sings a short program including hymns like the Varys Great Prokeimenon and an alternating Greek/Arabic Great Doxology.

The musical ability on display here is top-shelf indeed; St. Romanos is a great choir made up of first class singers. There is the characteristic strength of individual voices that one finds with good Byzantine choirs, but there is also a blend, a unity to the sound achieved by strong direction and solidity of musicianship throughout the ensemble, that one only hears with exceptional choirs, regardless of repertoire or geography. They achieve this in faster, syllabic textures, such as the Theophany Katavasiae, as well as in slower, melismatic textures, like the Holy Saturday Doxastikon of the Praises “The Great Moses”.

Production values are quite high; the recording is very clean with minimal background noise (always a potential problem), and the presentation of the CD itself is very handsome and professional. The whole package represents a nice step forward for this kind of product, and I hope that this is not merely a one-off but the first of multiple such efforts out of the Antiochian Archdiocese.

I’m only just in the last year or so starting to get to know Arabic as a liturgical language (entirely passively thus far, to be sure), and this recording (as well as Sam Cohlmia’s Dormition CD that came out last year) is helping my ear start to become accustomed to it. Both Dr. Cohlmia and the St. Romanos Choir give a moving account of the liturgical use of Arabic; when sung well — as on this CD — the language comes to life beautifully in Byzantine chant. The music is identifiably the same “language”, as it were, but in a different “dialect”. The style adapts itself to the language when both are given proper attention, it seems to me. I am certainly not one to argue that one should “have” to learn Greek or Arabic or Russian or Finnish or Romanian to be Orthodox; not at all. However, I would say that to me, these represent wonderful opportunities to learn a language in a particular context, as well as to get to know an additional (not necessarily better, don’t misunderstand) dimension of the faith. None of these are “God’s language”, as such, of course (any more than, say, King James-style English is), but each perhaps has something to teach about how we worship God. In the world of classical voice, languages have different things to teach us about singing; it seems to me the same could be true of worship.

Overall, this recording is a lovely document of what seems to have been an amazing event to have participated in; I wish even more than I did that I could have been there, and I am left hoping that it happens again soon. Recommended.


Greek Orthodox Archdiocese releases standard version of Paschal apolytikion

About a year ago, Vicki Pappas, national chair of the National Forum of Greek Orthodox Church Musicians, circulated an e-mail asking for people to send her the English translations of the apolytikion for Pascha (Χριστὸς ἀνέστη/”Christ is risen”) that were used in their parishes. This would be in aid of a standard English text for the entire Greek Orthodox Archdiocese. Despite not being at a GOA parish, I sent her the translation we use at All Saints.

Somewhere around late fall or early winter, following a St. John of Damascus Society board meeting, she asked if I would be willing to round up a few of my choir members to record the version that they were trying to settle on as the final draft. The recording would serve as a model, principally for priests. After Christmas, I put together a quartet, we learned it and recorded it, Vicki liked it, and said that the Synod still had to decide if it was the final version or not.

Earlier this week, the standard English version of the hymn for GOA was released. You can find it here. Alas, that’s not us singing on the model recording — it would appear that it went through at least one more round of revision, because that’s a different text than what we had, but oh well.

I am appreciative that a Synod would take the time to try to get everybody on the same page with respect to a particular hymn text, and I suppose this is as good as any to start with. I am also appreciative that GOA would go to the trouble of making sure that it is available in both staff notation as well as neumatic notation. There has been some discussion in some circles about how closely it follows proper compositional conventions; I would never dare to argue proper application of formulae with some of the people talking about this, but my guess is that the main point raised was probably known, and that preference was given to where people would be likely to breathe. It’s an issue that I suggest stems from the translation more than anything, and from what Vicki has told me, every nuance of the translation was discussed thoroughly, so what I think I know at least is that it’s a version of the text that says exactly what the Synod wants it to say. I’ll acknowledge that I don’t find this text to be note-perfect compared to how I might translate the Greek; to begin with, in modern English, “is risen”, while it used to be how you do a perfect tense in English, doesn’t really convey the same sense of the action as preterite ἀνέστη or even qam for the Arabic speakers — “Christ rose” would be the literal sense, but that doesn’t really “sing” the same way. “Christ has/hath risen” is an acceptable compromise, since the distinction between simple past and perfect is muddier in English than it is in Greek. And “trampled down upon” seems to me to be a little bit overthought as a way of rendering πατήσας. Still, I’d much rather sing this version than the one that’s normative for my parish, where the Greek melody is left as is, requiring “Christ is risen from the dead” to be repeated, usually with a rhetorical, campfire-style “Oh!” thrown in beforehand — “Christ is risen from the dead, oh! Christ is risen from the dead!” etc. Ack.

In any event, between being willing to argue about a standard text and acknowledging the neumatic notational tradition, there is much I wish the Antiochian Archdiocese would emulate here, and I congratulate GOA on taking the time and energy to at least make the effort, even if there wind up being tweaks down the road. I’m a little disheartened by the response I’ve observed in certain fora that basically criticizes GOA for making their standard version a brand new variant that nobody outside of GOA will ever use, that that’s hardly a unifying move across jurisdictions, not when there are translations that are common to both the OCA and AOANA. Well, maybe, but kudos for GOA for at least trying to get their own house in order first, even if maybe it winds up being a beta test.

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

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

Here is the table of contents:

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

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

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

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

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

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

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

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

Week 5 of grad school and all is well

The last couple of times I had a hiatus in blogging, it was because things weren’t altogether well for me.

This time, to be honest, I’ve got nothing to complain about. Things are going really well.

I’m going to repeat that, just for emphasis and the sheer joy of being able to say that truthfully and unreservedly, perhaps for the first time since moving out here over six years ago:

Things are going really well.

The last several weeks have been something of a whirlwind; after getting back from Greece I had two papers to finish, a godson’s wedding to hold crowns for, my wife to murder, and Guilder to frame for it — er, wait. That is to say, two days after the wedding, Orientation Week started, during which I had to take a Latin and a Greek diagnostic exam; then the semester started for real, and it was off to the races.

Im photographing them being photographed. Theres something kind of uncomfortable meta about this, dont you think?

I'm photographing Matthew and Erin being photographed. There's something kind of uncomfortably "meta" about this, don't you think?

Matthew and Erin’s wedding was wonderful; we were in South Bend for the three days leading up to it to help out with various things, and it was a joy to be part of it at every step. Fr. George Konstantopoulos at St. Andrew’s Greek Orthodox Church in South Bend served with Fr. Peter, and this was a lucky match for everybody — Fr. George has decades of experience and knows all of the little things that often get left out in the simplified versions of services that are often done these days. For example, I was a lot busier as the koumvaros at this wedding than I was for another one at All Saints last year — at that wedding, I just stood there. Here, I did the crown exchange and the ring exchange — and let me tell you, I was sweating it during the ring exchange. Oh, I thought. These rings are very small, and my fingers are very big. And all three sets of hands are shaking. If I drop them it will be very bad. Now I remember why I don’t do brain surgery. Fr. George also had the gravity and authority (to say nothing of the beard) that comes from many years of doing this, and it complemented well Fr. Peter’s still-youthful energy (he’s 35, I guess it’s not inappropriate to say that, right?).

The next morning, the newly-crowned Mr. and Mrs. Wells met us at St. Andrew’s for Divine Liturgy, and Fr. George gave them a big ol’ head pat during the announcements — “Matthew and Erin from Bloomington were married here yesterday,” he said, “and this morning they were here for Divine Liturgy. To me, that is an example of what living life as an Orthodox Christian is all about.” His meaning could hardly be plainer had he hoisted a neon sign saying, Please take being here as seriously as they do.

I need a calculator to adequately express in mathematical terms how much shorter than me you are, Megan...

"I need a calculator to adequately express in mathematical terms how much shorter than me you are, Megan..."

Before driving home, we headed to Chicago to see our friend Tessa Studebaker, an old singing colleague of mine from Seattle whom we hadn’t seen since before we moved to Indiana. When I met her ten and a half years ago, she worked at Barnes and Noble for the discount and was still in high school; now she’s in her upper twenties, is a college graduate, took a job in France for a while, moved back, and is possibly getting serious about somebody. It’s incredible to think that the last ten years have gone by so quickly that all of that could have happened, but there we are. It’s even more incredible that the majority of that ten years has been spent here in Bloomington — it means I’ve spent more time here than I spent in Seattle after dropping out of college the first time. It means that the address I’ve had the longest in my entire life (four years) has been here. It means that by the time I’m done with my PhD, I’ll have spent probably over ten years at a place I thought maybe I’d spend three years at the very most.

But enough with the existential pondering for the moment. I guess seeing old friends has a way of bringing that out of me.

Orientation was more or less a non-event; I’ve been here for six years, I know where the library is, my e-mail account hasn’t changed in all of that time, so there wasn’t really any particular novelty for which I required context. That said, a couple of things stick out for me — one, Ed Watts, the Director of Graduate Studies for the History department here (who also happens to be my PhD advisor), strongly impressed on everybody to find a schedule for working, a rhythm of grad school life, that gets the job done and can be adhered to, and then to stick to it. Coming from a situation where I was trying to fit being a half-time (or more like three-quarter time) student in around having a fulltime 8-5 job, that advice really resonated with me; I’ve done my best to take that to heart, and I think it’s served me well thus far.

Secondly, I observed this kind of thing while students were introducing themselves:

“Hi, I’m Jacob Goldstein, and I’m doing Jewish history with an emphasis on Holocaust education.”

“My name is Sankar Ramasubramanian, and I’m interested in modern Indian history.”

“I’m Ramon Santiago, and I do early modern Latin American history.”

Do you see where I’m going with this? It seems that who one is can’t help but inform their research interests, and the correlation there appears to be entirely natural and predictable. That said, the same correlation appears to be viewed with some amount of suspicion when it comes to Christians doing Christian history. I haven’t directly experienced that among my cohort yet, but I’ve seen it in other contexts, and something I’ve picked up on a bit is a certain point of view, perhaps almost subconsciously held, that can be expressed as, I’m interested in history because I want to prove that everybody has always been as petty, nasty, and not to be trusted as they are now. It’s a fundamental skepticism of humanity bordering on loathing (but ironically, I think its proponents would probably self-identify as humanists), and it seems to cross disciplinary and ideological lines. I’m not exactly sure what to make of it.

My Greek and Latin exams evidently went well enough; for each language, I had three passages, a dictionary, and an hour. In each case I got through more or less the first passage and the first third to the first half of the second. I don’t remember what the passages were, but they didn’t generate any particular concern. I was worried, when I next saw Watts, that he’d get a concerned look on his face and say, “We need to talk,” but that didn’t happen. He just said I did very well with the Greek, and while the Latin wasn’t as good, it was still pretty good. I figured the Latin would be the weaker of the two anyway.

Then it was time to actually start classes.

So, I’m taking three classes for real, sitting in on two, and then doing some individual reading with Watts for one credit. I’m taking third year Modern Greek, a mandatory “Welcome to the History Department” course called “Introduction to the Professional Study of History,” and then a course in Classical Studies where we’re reading Ancient Greek judicial oratory — Antiphon, Lysias, and Demosthenes, namely. Modern Greek I have to take for my funding (and I should be doing as much with it as I can, anyway), and then Watts wanted me to take some upper-level Classical Studies courses so I could have a chance to sharpen my Greek a bit. The one credit of individual reading we’re doing finds us reading St. Jerome’s Life of St. Hilarion, so I’m also getting some Latin in this semester. Since I’m ahead of the game a bit in terms of my coursework, Watts thought it was important to give my languages some extra time, and he’s right — it’s been a good thing.

(Watts and I have had a couple of simpatico moments with our iPhones — today, for example, we were reading Jerome and needed to look up a word. I pulled out my sketchy little pocket dictionary, and he said, “I’ll one-up you there.” With a gleam in the eye only recognizable by the fellow geek, he pulled out his iPhone and asked, “Do you know about the Latin Dictionary app?” I didn’t, but within two minutes I had it along with its companion Greek Lexicon by the same developer.)

I’m also sitting in on an undergraduate survey Watts is teaching on the Late Antique Roman Empire, as well as a seminar in Art History called Problems in Early Christian Art. The former is really useful background, and I’m doing it instead of taking Watts’ actual graduate seminar on the same material (since I’m actually at a point where it’s vital I take seminars from people other than him). The latter is a result of recognizing a) that my interests, the way I want to talk about them, are interdisciplinary, and b) given certain realities, I will be best served doing some of the interdisciplinary work on my own time. The course is basically dealing with Christian art up to Iconoclasm; the reading is actually highly useful stuff for me, and I’m learning a lot, with certain things I can already talk about being discussed in a very different context than that to which I’m accustomed.

Anyway, it’s a lot, but it’s not a back-breaker of a schedule by any means. Yes, it’s a good amount of work, but I’m finding it easier to manage now than I found it to manage less work while having to juggle a fulltime job. It means I’ve had less time for blogging, yes, but it’s been for a good reason. I think I’m at a point where I understand the rhythm well enough that I can post a bit again.

So, in brief, that’s where I’ve been and what I’ve been doing. Coming up, there’s another wedding this weekend, that of a certain Daniel Maximus Greeson and Chelsea Coil, plus I’m also supposed to run a book review for these folks by 10 November. Plus there are any number of other things for me to talk about regarding what I’ve been reading and what I’m thinking about — it’s more “Where the heck do I begin?” than “What do I have to say?” Let me tell you, these are all problems I am thrilled to have.

I will close this post in the manner which I think I may start closing for the time being — that is, with a rundown of what I’ve recently finished reading and what I’m currently reading.

Recently finished:

Currently reading:

GOArch Paleologos Graduate Scholarship

The deadline for this is today, so it won’t be terribly useful for this year, but I will keep my eyes open and look for the announcement for next year. In the meantime, if you’re an Orthodox Christian looking for money for graduate school, it is at least worthwile knowing that the Paleologos Graduate Scholarship exists and is administered by the Greek Orthodox Archdiocese of America. Details here, and details for other scholarships administered by GOArch can be found here.


Richard’s Twitter

adventures in writing alexander lingas all saints bloomington all saints orthodox church american orthodox architecture american orthodox music american orthodoxy Antiochian Archdiocese Antiochian Orthodox Christian Archdiocese of North America Antiochians books byzantine chant cappella romana chant church architecture ecclesiastical chant ethnomusicologists ethnomusicology fellowship of ss. alban and sergius Greece Greek greek food greekness hazards of church music international travel tips ioannis arvanitis joe mckamey john michael boyer kurt sander Latin liturgical adventures liturgical architecture liturgical music liturgical texts and translation liturgy liturgy and life lycourgos angelopoulos medieval byzantine chant Metropolitan PHILIP militant americanist orthodoxy modern byzantine architecture modern greek music music as iconography my kids will latin and greek when they're newborns my kids will learn latin and greek when they're newborns orthodox architecture orthodox architecture is bloody expensive Orthodox choir schools Orthodox Ecclesiology orthodox outreach orthodox travel pascha at the singing school Patriarchate of Antioch Patriarch IGNATIUS IV Patriarch of Antioch publishing random acts of chant richard barrett in greece richard toensing rod dreher sacred music st. vlads st john of damascus society Syriac the Bishop MARK fan club the convert dilemma the dark knight The Episcopacy The Episcopate the only good language is a dead language this american church life travel we need more american saints why do we need beautiful music in churches?

Blog Stats

  • 226,828 hits

Flickr Photos