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Posts Tagged 'ivan moody'

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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Review: Richard Toensing: Kontakion on the Nativity of Christ, by Cappella Romana

About four years ago, I was lucky enough to get to sing in concert performances of both the Gretchaninoff and Rachmaninoff settings of the Vigil (more commonly, and incompletely, known as “Vespers” to Western audiences because they don’t know what a Vigil is). Something that was very difficult about the experiences of singing them, however, was knowing that we English-speaking Orthodox Christians do not yet have equivalent works, and that to sing such things in translation would be to largely destroy much what makes the settings so beautiful, since they’re so tied to the Slavonic texts. Subsequent conversations about this with friends of mine who are composers and Orthodox Christians revealed a very real reluctance to become “Orthodox composers” — and I’m still not sure I totally get why, but there we are. Since then, I’ve discovered the music of people like Kurt Sander, whose setting of the Nunc dimittis in English is itself a mini-masterwork, and Ivan Moody, to say nothing of Fr. Sergei Glagolev — and while as a whole we are miles from maturity, it would not be at all fair to say that there are no English-language Orthodox composers attempting to pick up the gauntlet thrown down by some of their old-world counterparts.

Richard Toensing’s Kontakion on the Nativity of Christ is a large-scale work by a fully mature composer which picks up that gauntlet and throws it down again, quite honestly. The intended scope of the piece is indicated by its subtitle, “A Choral Concerto,” and one important point to make before we get any further — this is not, repeat not, a liturgical work. I suppose there might be, hypothetically speaking, a cathedral somewhere with an absolutely amazing choir who could pull it off liturgically, but who actually does the full Nativity kontakion liturgically anyway, these days?

(You might be thinking to yourself one of three things right now. If either 1 — “What’s a kontakion and why do I care?” — or 2 — “Don’t we sing different kontakia for various liturgical seasons?” — then I can tell you that a kontakion in its original form was a very lengthy kind of hymn with many stanzas and a refrain, and the proper kontakia we sing now are only the first stanzas of the applicable full-length versions. If 3 — “Well, we do sing a kontakion every time we do an Akathist” — then please pat yourself on the head and have a cookie.)

As a work intended explicitly for the concert stage rather than the parish choir, much like the Rachmaninoff Vigil setting, Toensing is free to paint on a vast, expansive canvas, and does he ever. He liberally employs text painting, use of soloists and small ensembles, an extensive harmonic vocabulary, adept counterpoint, tone clusters, and so on. Great — but does it sound like music? Yes, most definitely — glorious, lush, beautiful, dramatic, and demanding music. The press materials state that Toensing is “indebted to Slavic traditions,” and perhaps that’s true to some extent, but what I also hear is a master composer, fully on top of his game, synthesizing many of the best influences of 20th century choral writing, including Francis Poulenc, William Harris, Ralph Vaughan Williams, even Lloyd Pfautsch. The wordy text is set in a very sensitive but expressive manner often evocative of the deftness which made Benjamin Britten such a master with English. At some points I found myself thinking, “This is what Morten Lauridsen would sound like if he had more than one trick up his sleeve.” At the same time, the way Toensing uses the music to support the text is strongly suggestive, not just of well-trained artistic sensibility, but also of a deep faith informing his compositional choices, much like Bach.

Toensing shifts from one color to another with ease and control, and is as much an expert with different choral textures. For example, the first stanza begins with a solo cantor on a chant melody, joined gradually by the rest of the ensemble, building until finally the choir is all together on the refrain (“He who from eternity is God”). One stanza transitions smoothly into another, no matter how stark the contrast — in Movement III, Stanza IX (“Receive then, O Holy Lady”) he renders the refrain (“He who from eternity is God”) as a heart-stopping, everybody singing out, vocal-folds-to-the-wall climax, only to begin the next movement immediately with a simple, peaceful melody introduced by the women, without it ever feeling like any kind of a disconnect.

The members of Cappella Romana bring their usual high standard into the game, delivering Toensing’s “poeticized” version of St. Romanos the Melodist’s text with crispness and clarity. Too often choirs sing modern choral works like they’re just trying to get the notes right and they’ll let somebody else figure out how to make music with it later; in this premiere recording of Toensing’s work, Alexander Lingas refuses to take that route, and the ensemble makes music with it now, taking Toensing’s sonic palette firmly in hand and detailing the peaks and valleys rather than just sketching them in. Soprano LeeAnne DenBeste sings the Theotokos’ lines (I really hesitate to call “the part of the Theotokos”) with a crystal clear timbre and laserlike accuracy, and the other soloists acquit themselves admirably as well.

All of that said, I am not convinced that the depths of Toensing’s piece are fully plumbed, and the disc is not flawless. In the case of the former — well, no, of course not. A recording like this is hopefully the beginning of a conversation, rather than just a monologue. It would a rarity indeed for a premiere to be both the first and last word on a given piece (expressively speaking, at least — it is quite common for such recordings to be the first and last word from a commercial standpoint). This recording is without doubt a very strong opening statement to the conversation, but I would be very curious to know what the Kontakion might sound like using boys and men (with boys singing the solo soprano parts as well, not just the choral sections), and I would also love to hear, just for the sake of knowing the difference, what kind of nuances an English conductor might discover in the piece.

My criticisms of the disc itself center around one particular technical point — the acoustic is on the dry side, and there are times where the singers are clearly not loving the dryness of the room as much as they might — which I can well understand, singing services every week as I do in a church where the ceiling of acoustic tiles is inches from my head. My guess is that they chose the less-reverberant approach to clarify the text as much as possible, which I can also appreciate, but there are times where the vocal writing sounds like some reverberation of the chord has been assumed by the composer to be there, so when it doesn’t happen it sounds like something is missing. With nothing but admiration and respect for the effort as presented here, this is another reason why I’d be interested in a performance by somebody native to the English choral tradition — I would like to hear their solution.

One thing I am obliged to mention — something we forget sometimes in a world where we hear music in every kind of room and venue and in every medium imaginable except live in the hall is that music like this is intended to be heard, well, live in the hall. That’s really where the Kontakion needs to be heard, not on an iPod or in the car. It is difficult, therefore, to fairly judge this recording without knowing firsthand what it should sound like in person. I don’t say that to qualify my criticisms or to de-emphasize the praise; I’m just saying that to have a premiere recording three months before the premiere performance is putting the cart before the horse, particularly for somebody wanting to write as honest a review of the music as possible — it is unavoidable in the music landscape of today, unfortunately, but I sincerely hope I can have the chance at some point to experience Toensing’s music as it was intended rather than an electronic simulation of same. It would be akin to writing a review of The Dark Knight based on a pan-and-scan DVD screener watched on a 20″ TV. It doesn’t change the plot, the dialogue, the performances, or anything like that, but it is clear enough from the smaller-scale experience that “there’s a lot more ‘there’ there,” if you know what I mean, and without actually seeing it in IMAX to catch everything, you don’t know exactly what it is.

Besides the Kontakion are several “Orthodox Christmas carols,” Toensing’s settings of Fr. Jack Sparks’ metrical translations of Nativity hymnody. These are all positively delightful and inventive, surprisingly so, and good luck getting them out of your head once you’re familiar with them (particularly “What Shall We Call You,” from the Royal Hours of the Nativity, and “O Let Creation All Rejoice,” from the First Canon of Nativity Eve Matins). I could easily see these settings as having a place within the liturgical life of Orthodox Christianity, as well as possibly being adopted as anthems by church choirs in other communions. As with parts of the Kontakion, many of these are particularly evocative of the best of English choral writing, but there are also clearly some American folk influences (“Now Christ is Born Upon the Earth,” from the Canon of Nativity Matins, particularly has shapenote-esque things going on) suggesting that elements of both sung traditions may ultimately be useful as “American Orthodox music,” whatever it winds up being, coalesces.

In summary, Toensing’s Kontakion is an epic choral masterwork by a composer who is both American and Orthodox, and as a result it is perhaps the first such piece we might dub “American Orthodox.” If it is not quite on par with the best of its Russian Orthodox counterparts, it is only because it does not have the centuries of native Orthodox Christian tradition upon which to draw, not because of anything lacking in Toensing’s abilities as a composer or in the piece itself. The performance itself is, despite a key technical choice which is probably arguable one way or the other, a very compelling case for the work to have a life beyond Cappella Romana’s advocacy and championing, and I very much hope this happens. Recommended.

(Kurt Sander, I think you’re next up at bat.)


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