Posts Tagged 'lycourgos angelopoulos'



Hello from Athens — er, rather, “Γεια σας”: in which the author just learns to process the thought, “Hey! I’m in Greece!

(That’s pronounced “Ya sas” for those of you who can’t read Greek letters.)

I checked in online on Tuesday; I was flying Indianapolis to Newark, with a nonstop from Newark to Athens. I had a window seat, and the plane was empty enough that I had two empty seats between me and the aisle. I thought I’d probably only need to check one bag, but I indicated two just to be on the safe side — I had packed an empty carry-on suitcase in my big suitcase, both to keep myself from overpacking as well as to have a carry-on for side trips, and to give myself room to pack gifts on the way back. I had an empty duffel bag in which to pack overflow if it actually turned out the suitcase was over.

Wednesday morning, when I actually checked in at the airport, I was told that they were a bit concerned about me not having enough time in Newark to make my connection, but not to worry — they would reroute me through Charles de Gaulle Airport in Paris if there was a problem. Still, everything looked good for the Indianapolis flight to be on time, so looked like everything would be all right. I wound up having to move a few things into the duffel bag after weighing the suitcase, and I checked both bags.

Saying goodbye to Flesh of My Flesh at the airport with me being the one taking off for the summer was very strange feeling. She’s gone away four summers in a row; now it was my turn to go off and have an international adventure and for her to stay home. How would this time be different, with our roles reversed? Ask me again in two months.

The plane boarded, we pushed off from the gate only slightly late, taxied off… and parked on the tarmac for an hour and fifteen minutes. Air Traffic Control had issued a new wheels-up time just as we closed up the plane for an hour and a half later, so there we sat. It was a tiny aircraft, and even with nobody in the seat next to me it was cramped. Air travel FAIL.

My flight to Athens was at 5:30pm; perhaps it would be delayed as well and it would be no big deal. Arriving in Newark at 5:26pm, the gate agent looked up my flight — “It’s still listed as on time,” she told me. “But who knows — you might still make it.” Of course, the gate for the Athens flight was all the way on the other side of the airport. Even with a shuttle bus, it took twenty minutes to get over there, by which time the flight was long gone. Air travel FAIL.

I was rebooked for the Paris connection; that meant waiting in Newark for another four hours, and it would also mean arriving in Athens at 4:30pm rather than 10:30am. Air travel FAIL.

Turned out I wasn’t alone; I met an IU undergrad named Alex Edwards who was on her way to participate in an archaeological dig on the island of Aevia, and for whom this was her first major international trip. “Well,” I said as we stood in line to get our flights rebooked, “the good news about this kind of rough start is that there’s someplace for the rest of the trip to go.”

The good people at the Archives of Traditional Music had gotten me a rather hefty iTunes gift card as a parting gift, so I decided to buy a pair of video glasses for my iPod and download some movies to watch on the flight to Paris. I bought Burn After Reading, Star Trek the Motion Picture, and Star Trek II: The Wrath of Khan. Unfortunately, it turned out that, at the speed of the Boingo hotspot at Newark, it would take about three hours to download the movies, and by this point I had less than an hour. I’d have to finish downloading them once I got to Greece. Also, the goggles themselves would require charging overnight before I could use them. Finally, I discovered in horror that my iPod power/sync cable had managed to be left at home, so I had to buy one of those too. Wi-Fi FAIL; Inflight entertainment options FAIL; Richard packing FAIL.

The flight to Paris boarded late; it was also jam packed. I still had my window, but boy oh boy was I crammed right up against it for the duration of the trip. Flying Northwest I’ve become accustomed to international flights being noticeably better and more comfortable than domestic flights; this is not the case with Continental Airlines, it would seem — word to the wise. Rather than any additional legroom, with the couple sitting next to me I had exactly one inch short of enough room to extend my leg at all comfortably; as a result I had a bad cramp in my knee two hours into the flight about which I could do exactly nothing. A good number of people on that flight seemed to be there because they had missed another plane, and were all in the resulting absolutely sunny mood. Even when I went to the bathroom, within two minutes there were angry pounds on the door. Needless to say, I didn’t sleep. Air travel FAIL.

Flying in over Paris really is lovely, I will say that; the countryside is green and open and seems like a place I’d be very interested to explore. On the other hand, Charles de Gaulle Airport is nothing I really needed to see under the circumstances. The best thing I can say is that between getting a coffee and croissant and navigating through the barely-organized chaos that was boarding the flight to Athens, I got to use un petit peu of my French. I will also say that I got to see the humorous sight of a group of nuns going through security and having to take out laptops.

The Paris-to-Athens leg of the trip had me, once again, packed in with the rest of the sardines, meaning I didn’t sleep — or rather, I did sleep for a bit until the flight attendant dropped a can of tomato juice into my lap. Air travel FAIL. (That said, we did get real food on the Air France flight.)

Landing at Athens International Airport, I noticed with some amusement that I could see a very large IKEA from the air, with an Orthodox church at the end of the parking lot. Yep, I thought, this is Greece.

My big suitcase was the first bag off the conveyor belt; after twenty minutes, though, it became clear that the duffel bag hadn’t made it (and neither had any of Alex’s luggage). After another twenty minutes in line at customer service, I found out the bag was still in Newark (Air travel FAIL FAIL FAIL) and would be delivered to me the next day.

So it was that at long last, my friend Anna Pougas and her dad Giorgos found me, a bedraggled, sweaty, tired Anglo in a Panama hat, ultimately about seven hours later than originally planned. Nonetheless, when Giorgos asked if I wanted to see anything before we went home, I said yes, absolutely.

We walked around Porto-Rafti, a lovely bay with beaches and swimming, as well as old trenches from World War II. We also drove by the temple of Artemis where Iphigenia is said to have been buried, and then had very decent seafood in a restaurant by the harbor. Interestingly enough, there’s a music store in the area called “Ριχάρδος Μουσικός Οίκος” (Ριχάρδος being a Hellenicization of Richard — “Rihardhos”). If I had been sharp enough at the time, I would have taken a picture. Perhaps later.

By the way — if you ever plan on coming to Greece, be aware that the culture of driving is much different from what it is in the States. Chalk Athens up as another European city in which I would never want to drive (so far, that’s just about all of them in which I’ve travelled), and here it’s because drivers here are simply much more aggressive by custom. I suppose we could say that here the rules of the road really are guidelines at best. The other side of this is that, when you’re talking about people who have driven this way all their lives, it’s not really a problem — they know what they’re doing. For me, however, I think my inexperience with that kind of driving would just make me a hazard on the road.

When we got to the Pougas’ house in Halandri, I immediately jumped in the shower and subsequently collapsed in bed. Jet lag? What jet lag?

The next day I woke up around noon. After my bag was delivered, around 3pm, Anna and I walked into the downtown part of Halandri to see if I we could get my cell phone situation straightened out. (Side note: there are pomegranate and orange trees just growing in people’s yards and on the sidewalks.) I’m an AT&T customer so my phone — a Samsung SGH-A437 — is quad-band, and they had given me an unlock code so I could replace the SIM card overseas. We went into a Vodafone store, I unlocked the phone, put in the card they gave me, and… “Wrong card,” the phone’s display told me, even after entering the PIN for the card. I tried again. “Wrong card,” the phone’s display stubbornly repeated. “It’s difficult with Samsung phones,” they told me. Cell phone FAIL. Anna said that they had an old unused phone at home that I could use for the time being; ironically, it turned out to be the same Nokia phone that Megan has loathed for the last two years.

One thing I discovered really quickly: much like London, where Anglican churches are virtually around every corner, so it is here with Orthodox churches. You can’t swing a dead cat without hitting a church. It’s also clear that, in most instances, the churches were here first, and people built around them (with one case in particular being a remarkable demonstration of this, but I’ll get to that later). The central church in Halandri is St. Nicholas Church, and we attended Vespers there. There’s a lot of restoration of the frescoes going on inside; on the north wall are very bright icons which have clearly been cleaned up, and scaffolds are around indicating that work is being done. From the darkness hanging over a lot of the iconography, it’s apparent that a lot of work is needed — I don’t know if it’s particulate from incense or just what happens to egg tempera after a century or so.

It was a Friday evening, and much like the States, weekday services are clearly expected to have, er, light attendance — the priest did it entirely as a reader’s service, and I mean as a reader’s service. Nothing was sung at all except for the apolytikion for Pentecost — everything else was simply read, and quickly. We were out in less than half an hour.

We walked around afterwards — Anna showed me the new church which is being built in Halandri, St. George, which she said has been under construction all of her life (her brother was baptized in the basement, where they’ve held services up until a few years ago when the nave was finally ready) and for which Giorgos later said he remembered helping to dig the foundations as a boy. Only (“only,” I say as an American who worships presently in a church that’s just trying to figure out how to not look like an office building) the apse and dome are frescoed at this point, and the bell tower is still being finished; “That’s still a lot farther ahead than many churches in America,” I said.

After our little walking tour of Halandri, we headed back to the house to find Giorgos. We were meeting Anna’s brother, Stephen, and his girlfriend Liana to go out to a movie — and I mean out. As in outdoors. Drive-in without the cars. The movie? Well, it was Angels and Demons (Dan Brown FAIL), but never mind that now. Beyond the novelty of watching it in the open air with a concession stand where I could have ordered a martini if I had wanted one, it was also a useful exercise to listen to the English soundtrack while trying to follow along with the Greek subtitles.

Saturday, Anna and I decided to head into downtown Athens and attend Vespers at St. Irene, which is Lycourgos Angelopoulos’ church. (Gavin Shearer, this paragraph is for you.) Athens’ gradually expanding metro system is really nice; on the whole, I have to give a big thumbs-up to the public transportation system here, which seems to be very useful and quite economical. I’m paying 35 Euros for a monthly pass that gives me access to everything — buses, the metro, streetcars, even some of the regional rail I think — as opposed to the 30 pounds we paid apiece for the weekly Tube pass in London. As I said, the system is new (I think it opened in 2001) and thus is still expanding, so there is no metro station near where I’m staying (but there will be one a five minute walk away in a year or so!), but the buses also aren’t too bad. (And hey, the Athens metro even has its own version of “Mind the gap”.) As it is, we made it to Syndagma Station, in central Athens right by the National Gardens, without a whole heck of a lot of muss or fuss. Real cities have trains.

Here’s some useful advice about walking around downtown Athens: there is no such thing as a soft sell there. If you’re walking around the tourist-heavy areas, everybody will be trying to get you to come into their shop or sit down at one of their tables; if you go into a shop, they will do everything they can to get you to leave some of your money there. I was more-or-less prepared for this and only went into a shop because there was something specific I wanted (a little triptych in this case), and only discussed with the saleslady the exact item I was buying, no matter what else she tried putting in front of me. Interestingly enough, she assumed I was Russian; this is not the first time Greeks have jumped to this particular conclusion about me (such as when I visited the Greek cathedral in London a couple of years ago). I’m not sure what that’s all about, but never mind. “Ευχαριστώ, όχι” (Efharisto, ohi “Thank you, no”) coming from the lips of an Anglo raised more than a few eyebrows, and not all of them with respect; I got more than one snarky “Μιλάς καλά Ελληνικά!” (Milas kala Ellinika “You speak Greek well!”) After a couple of those I wanted to reply, “Όχι, δεν μιλώ καλά και το ξέρω!” (Ohi, dhen milo kala ke to xero “No, I don’t speak well and I know it!”)

We got much-needed coffee from Χατζή (“Chatzi’s”), and soon found a rather stark example of a church being there first and people building around it. Here is the chapel of the Holy Power of the Virgin, a chapel of the monastery of the Dormition at Pendeli. In the United States, obviously developers would do everything they could to buy and demolish the property; that they don’t do that here may lead to what look like awkward solutions, but they are definitely conversation starters.

Just a little further down is the Cathedral of the Annunciation, the cathedral of Athens. Services are not being held right now while renovations are happening, but it is still open to the public. Among other things, they have the relics of Patriarch St. Grigorios V (the icon over his reliquary even depicts him hanging in front of the Phanar) and Athenian St. Philothei.

By the way — even the phone booths here are with LEMON!

And how much do you have to love being able to stand on one street corner and see a centuries-old church (foreground), a centuries-old mosque (right), and the Acropolis (hill in background)?

After walking around a bit, we ate a late lunch at Thanasis, a souvlaki place a few blocks from the Cathedral. There I developed a new love: tirokaftiri. ‘Nuff said.

As might be expected, Vespers at St. Irene Church with Lycourgos Angelopoulos as the protopsaltis was a much different experience from the Friday night Vespers at St. Nicholas, to say the least. All I can say is that was the fullest Great Vespers I have ever experienced, in every sense of the word. The church is beautiful, it was celebrated reverently without a single thing cut (although, curiously, “Gladsome light” was read, not sung — as was the Nunc dimittis, for that matter, but I already knew that to be read in Byzantine practice), and it was sung by left and right Byzantine choirs. All told, it was about an hour and a half.

Observations about churches in Greece: all but one I’ve been in so far have a left/right choir setup in front of the iconostasis in the part of the church which would actually have the architectural term of “choir” — that is, between the altar (the iconostasis in this case) and the nave, with a rail in front of the nave. This has the positive effect, particularly when one sees how the two choirs interact with each other, the clergy, and the congregation during a service, of making the two choirs integral parts of the church architecture in a way that reflects the basic cruciform structure of the building. This also strongly emphasizes that the clergy, left choir, right choir, and congregation all have distinct roles in a given service, very much unlike how in many American churches the two choirs have been collapsed into one, which is then for all intents and purposes collapsed into the congregation.

This also has a couple of effects which no doubt many Americans would immediately find distasteful: it means that the altar is farther away from the congregation than it would be without the choir, and it also means that the congregation’s role, generally, does not involve singing — at least nowhere near as much as one finds in many American parishes. While acknowledging that I say this as a church musician who has the role of singing during services one way or the other, I would like to stress that, in context, these are not the Very Bad Things that some might already be thinking they are. When it is working, there is not only no confusion, but there is really no particular reason for the congregation to sing along. The choirs are leading the worship in a different way, and to a very real extent it would seem arrogant in this context for a member of the congregation to try to sing along — the piety of the congregation is largely silent and inwardly-focused, and these are people who would be scandalized by it going any other way. Seen thus in action, I would be hard-pressed to describe the members of the congregation as not participating — it is only that participation means something else than what we often mean as Westerners. It will perhaps be no surprise to find out that I think there’s something there we Americans learning to be Orthodox can draw from this manner of piety — certainly something more than we’ve convinced ourselves is worth taking from it.

The churches also all have galleries (i.e., upper levels in which to stand in the nave), there is a tendency (but by no means a rule) to have the women standing on the left and the men on the right, they all use amplification, they all have rows of chairs, and there’s a good bit of Western-style iconography in most of the older churches. I asked Anna about the chairs; she said that as long as she can remember, churches have had rows of chairs in Greece. (Notice I didn’t say “pews”.) I am curious to find out if this a recent, urban development, or if the simple truth is that, quite frankly, the churches I’ve been in so far have been populated mostly by people over sixty. Yes, it’s true; Orthodox Christianity in Greece seems to be pretty much the faith of the elderly. God bless their steadfastness, but somewhere along the way the faith didn’t get passed on to their children or grandchildren except in a handful of instances.

The poor also tend to congregate outside of churches here. This makes sense; the churches are in population centers, and there is reason to believe that people going into the churches might be willing to be instruments of charity. This is convicting to me, accustomed as I am to the local church being well away from the rest of the world and inaccessible to the poor and being culturally accustomed to ignoring the people we deem “panhandlers”. Can I go into a church and in good conscience worship the God-man who told me to clothe the naked and feed the hungry while ignoring those very people at the door? How do I know that they are truly in need? Do I have the right to judge? What do I do? I do what I can at any given moment, I suppose, whatever that is, make the Sign of the Cross, and pray I’ve done the right thing, whatever that is.

Sunday morning, we attended Divine Liturgy at a little church in downtown Athens, St. Nicholas (there are just a few of those in the area). It was quite different from St. Irene; it was very small — perhaps seventy or eighty people would fit in there total — small enough so that they didn’t have sufficient space for left and right choirs, nor the extended choir area in front of the iconostasis. There was a very different character of service here than I found at St. Irene; there were liberal cuts all over the place (during Orthros they jumped from the Gospel reading to “More honorable than the cherubim…”, the Great Doxology was trimmed down significantly, there were only two iterations of the Trisagion instead of three, only the Resurrectional apolytikion was sung followed by the kontakion and all the festal apolytikia were omitted, etc.), and while the choir was all men, they sang almost entirely four-part music. It was somewhat disconcerting; the sound approximated that of a barbershop ensemble singing Russian music in Greek. That said, they sang with as much gusto and enthusiasm as they could muster, and it was beautiful even if it left me scratching my head a bit. The priest did not question my coming up to the chalice at all, although I did not realize unil after I had received that, with no servers, it was up to me to hold the napkin to my chin. Richard taking Holy Communion FAIL (although, thankfully, knowing the ins and outs of local parish practice are not a general requirement for partaking so far as I know).

Following Liturgy, we went across the street to the Byzantine Museum. Reading their brochure, it said that students of non-EU universities who were doing Classical Studies or Fine Arts could get in for free with a student ID; I showed my ID at the door and was told I would have to pay because I was a non-EU student. Right, I explained, having anticipated the misunderstanding; your brochure says that’s fine, given my area of study (which I didn’t think was too much of a stretch of the truth). The woman’s brow furrowed and she picked up a Greek version of the brochure. Finally she nodded, but still had a confused look on her face. “I guess that’s what it says,” she told me, and waved me in. Glad I read the fine print more closely than she did.

The exhibit there is decidedly more modest than that at the Royal Academy of Arts back in February, but it had the advantage of not presenting it as “Look at how these crazy, backwards, superstitious Byzantines did things”. It is far more matter-of-fact with less editorializing. The exhibit guide was going at far more leisurely a pace at each section than I had patience for, however, so I worked my way through it on my own. Definitely worth the visit for the iconography portion; it’s also fun to see prosphora seals from Late Antiquity.

Lunch was in an Athenian suburb a little bit north of Halandri called Kifisia; for those of you with a point of reference in the Pacific Northwest, this would be the Attiki Bellevue. We went to a souvlaki place (“Dear Lord, thank you for our daily souvlaki,” Giorgos said) called Gourounakia Kifisias (“The Little Pigs of Kifisia”), and I once again swooned over my latest crush, tirokafteri. (Food here will be an entirely separate posting, as will, I think, travel tips for the heat sensitive.)

Back at home, I called Ioannis Arvanitis and set up a meeting for Monday; shortly thereafter, I started to fall asleep while e-mailing somebody, and I decided retreat was the wiser part of valor, particularly since the next day would be my first day of school.

More to come.

The Divine Liturgy in English — one last comment (for now)

Many thanks to Esteban Vázquez, proprietor of The Voice of Stefan, who has been kind enough to notice a couple of recent postings.

One last comment about The Divine Liturgy in English for the moment that doesn’t directly have to do with The Divine Liturgy in English — can somebody once and for all clarify what the deal is with the response “Most Holy Theotokos, save us” being chanted during litanies at “Commemorating our most holy, pure, blessed, and glorious Lady, the Theotokos and Ever-Virgin Mary…”? It was something which leapt out at me the very first Divine Liturgy I ever attended because it spoke to a fundamentally non-linear approach to worship, and I’ve been struggling to figure out the rhyme and reason to why some parishes do it, and some don’t. My parish does it, the first couple of parishes I visited did it, it’s done on the Angelopoulos, Mount Lebanon Choir, and Boston Byzantine Choir recordings of the Divine Liturgy, but it was conspicuously absent during the Hierarchical Divine Liturgy which Pope Benedict XVI attended a couple of years ago, and it’s not done on the Cappella Romana disc. It strikes me as a curious omission, given how exhaustive they’ve tried to be otherwise in terms of making sure that this Liturgy is presented as complete. Anybody want to take a stab at clearing this up for me?

The Divine Liturgy in English by Cappella Romana: the review and other thoughts

As someone who has sung in church at a more-or-less professional level for many years and who always had a deep love and appreciation for, shall we say, more historic forms of liturgical music, when I first became aware of Orthodox Christianity it was a very natural instinct for me to seek out this aspect of the faith. The trick here, of course, is that when you don’t know what you’re looking for it’s a bit difficult to find it, but eventually what I found was the Boston Byzantine Choir‘s recording of the Divine Liturgy, called Mystical Supper: Byzantine Chant in English. I was quite struck at how similar the approach on this recording sounded to something like Shapenote/Sacred Harp singing, to say nothing just how much of the service was sung rather than spoken. When I told my friend Mark Powell about this, he said simply, “Listen to the Greek Byzantine Choir’s recording of the Divine Liturgy in Greek. Then we’ll talk.” It was not an easy recording to find in the States in 2003; I wound up having to order it from a Canada-based Hellenic specialist, as I recall. (It’s much easier to find these days, at least for the moment. Amazon seems to no longer sell it directly — which has changed from a month ago — which suggests to me that the current pressing is gone, the distributor is out of stock, and whoever has it, has it, whoever doesn’t, doesn’t.) This recording really blew the lid off of my nice, safe, clean world of church singing, and redefined a lot of my expectations. Between that and getting to hear Cappella Romana‘s Fall of Constantinople program in the summer of 2004, I began to develop a strong affinity for the Byzantine repertoire.

What I didn’t learn, and what I wouldn’t fully appreciate until I was leading an Orthodox parish choir myself for the first time, from these exposures to Byzantine music — which are, admittedly, highly-idealized “best case scenario” presentations; as one musicologist told me, “Field recordings made at monasteries in Greece don’t sound anywhere close to the Greek Byzantine Choir” — is how divisive the repertoire can be for some people. It is clear that for certain ears, the otherworldly musical characteristics are, to say the least, less transcendent than foreign — “music to whip camels by” and “the nasal-sounding stuff the old man sings before the Divine Liturgy” being among the characterizations I’ve heard. I’ve even heard somebody say that Byzantine music “sounds more like the Muslim call to prayer than Christian singing.” The common assertion appears to be that there’s no way to make Byzantine music sound “friendly” to Western ears — it’s always going to sound like an ethnic import, “too Arabic” or “too Greek” or too something. A related concern is that it’s unison singing (save for the ison, the drone underneath), and Western ears expect four-part harmony as a non-negotiable given, period. It is certainly fair to say that Byzantine music is not appropriate for harmonization; this is for the simple reason that the conventions of four-part harmony are based on a tonal system, and Byzantine music is modal. You can’t harmonize a modal melody according to tonal conventions (i. e., “What Would Bach Do?”) without largely eliminating the distinctives of the given mode (as can be made clear when a new cantor instinctively, but erroneously, assumes that the ison for Byzantine Modes 2 and 4 is supposed to be C/Ne instead of G/Dhi and E/Vou, respectively).

There’s also the more specific complaint that Byzantine music doesn’t play well with English. This is a view shared by some rather visible and influential people; for example, the Preface of Mother Mary and Metropolitan Kallistos (Ware)’s edition of The Festal Menaion (St. Tikhon’s Press, 1969) says the following:

In course of time English-speaking Orthodox will doubtless evolve a musical tradition of their own, which will takes its place alongside those of Greece, Russia, and the other Orthodox nations. As yet, no such tradition has had time to develop: and Orthodox of English language must therefore draw for the present upon some existing musical heritage within Orthodoxy. The best adapted for this purpose seems to be that of Russia. Byzantine chant is too intricate: if it is to be used, then the stress and rhythm of the Greek original must be preserved almost exactly in English translation, and this raises insuperable difficulties. But Russian music is far more flexible; and in particular the simpler Russian monastic chants can easily be adapted to an English text. (p. 13, emphasis mine)

I have to be honest and say that I find this to be an odd claim (and yet one which seems to have influenced the assumptions and thinking of many people since its publication); it seems to me that Byzantine music is far more extensible and expressive when it comes to being adapted to English texts, where many forms of Russian chant, at least as presently used in English adaptation, tend to utterly disrespect the needs and conventions of English. It’s true that in many of the attempts to adapt the Byzantine repertoire to English — Kazan’s Byzantine Project, for example, being the one I use week in, week out — it seems like one winds up with melismas on odd words or emphases on the wrong syllables and so on, but I’d argue only that this means we haven’t perfected the system of adaptation yet (or perfected the English version of the text, for that matter), not that it fundamentally can’t work or that somehow we need to “file the corners off” of Byzantine chant, or in general make it something it isn’t, in order to make it work for English-speakers.

But nonetheless, the assumption is held by many that Byzantine chant fundamentally won’t work for English-language, Western Orthodox folks. The lengths to which some marginalize Byzantine music as being merely one of those pesky, overly ethnic, “little-t traditions” which drive away people who are culturally Western is demonstrated by a recent discussion on the PSALM Yahoo! group which involved speculation as to whether or not use of Byzantine chant might contribute to a decline in attendance in parishes.

Which brings me, at last, to Cappella Romana’s masterful, ground-breaking new release, The Divine Liturgy in English, which serves as the definitive response to all of these concerns, providing a fantastic model to emulate, transparency enough in the process to make it replicable, and, for the foreseeable future, the standard to meet for liturgical singing.

This is the recording of Byzantine chant in English which says, “Yes, we can.” This is the CD which you will see wearing black body armor and fighting off Rottweilers on an IMAX screen and telling Michael Caine, “Byzantine chant in English has no limits.”

Several years in the making and part of Cappella Romana’s “Excellence in Orthodox Liturgical Music in English” project — which includes the delightful Lay Aside All Earthly Cares, a collection of the liturgical music of Fr. Sergei Glagolev, which I’ll say more about shortly, and a future release of a Divine Liturgy setting by Peter Michaelides — this 2-disc set represents the monumental effort of adapting the traditional Byzantine repertoire so that it fits the English language idiomatically, often recomposing melodies from scratch in order to match the text. Conducted by Artistic Director Alexander Lingas, these settings are presented in a natural church acoustic, using native English speakers, and in their proper liturgical context, with Archimandrite Meletios (Webber) and Dn. John Chryssavgis serving as the clergy. The result is at once prayerful and phenomenally well-sung, full, rich, and in tune, and entirely Byzantine in character while never straying from understandable, natural-sounding English. It is ecclesiastical ensemble singing of the highest order, easily ranking with the recordings of Lycourgos Angelopoulos and the Greek Byzantine Choir, as well as with the best of English-language recordings of liturgical music such as those by the Choir of King’s College, Cambridge.

Because it is a Divine Liturgy entirely sung in one musical idiom, and therefore comes across as a seamless garment of whole cloth as it were, it is difficult, if not inappropriate, to make critiques of particular sections, so I’m not going to do that. I would say that the best way to get a sense of exactly what has been accomplished with this recording is to become familiar with a recording of the traditional Greek repertoire such as Angelopoulos’, getting a sense for the function and aesthetic which govern hymns such as the Trisagion or the Cherubikon, and then to listen to this recording and hear how those principles are maintained in the English language adaptation. The exact notes of the Greek versions are not preserved because they’ve applied the Byzantine compositional process to the English text, not simply slapped the existing Byzantine melody over the English text and then figured out how to make the syllables fit. The result is a new melody which is completely faithful to the spirit of the model and the conventions of Byzantine music, and fits the English text like a glove at the same time. These adaptations — which Cappella Romana are publishing on their website in both Byzantine and Western notation — range from simple and syllabic (such as the troparia and the Anaphora) to florid and melismatic (the Dynamis of the Trisagion, the Cherubic Hymn), according to the rubrics and intended liturgical function. The booklet credits John Boyer, Protopsaltis of the Greek Orthodox Metropolis of San Francisco, with much of the work of adapting of the chants, and his sensitivity to the English text while maintaining the Byzantine ethos is to be highly commended.

Let’s be clear — The Divine Liturgy in English is not intended as a musicological curiosity for specialists, but rather as a practical liturgical model for the wider Church. In other words, this is meant to be a clear demonstration of how we can do things now, not an obscure example of how some people used to do it. As such, the set presents a complete Divine Liturgy as would be found on a typical, non-festal Sunday after Pentecost (a “vanilla Sunday” as some choir directors jokingly call it). This includes the celebrant’s spoken prayers, the Epistle and the Gospel, as well as the full Alleluia and Prokeimenon with verses — only a homily is omitted. (An argument can be made that the way they’ve harmonized the various Typika, they’ve in fact left some things out such as the Beatitudes, but this is addressed in the liner notes.)

Among the many delights of this recording is the text. The official translation of the Archdiocese of Thyateira and Great Britain is used, the product of a panel involving scholars and clergy such as Archimandrite Ephrem (Lash), Metropolitan Kallistos, and Fr. Andrew Louth. Certain renderings are initially unfamiliar — in particular, the use of “Mother of God” instead of Theotokos, and “Holy Strong” in the Trisagion — but It is nonetheless a wonderful translation which adheres quite closely to the Greek text. The booklet includes a helpful essay by Archimandrite Ephrem about the methodology and pastoral principles guiding the Thyateira translation. “Holy Strong” is arguably closer to the actual meaning of the Greek text than “Holy Mighty,” despite the English tradition of the text; see this paper for a thorough look at translating the hymn. I would have liked the “Mother of God” usage to have been addressed in the liner notes; as it is, it is unclear why the Greek word Theotokos, surely standard usage for English-speaking Orthodox by now, is not retained when Greek words such as Dynamis are. Such questions aside, the Thyateira text is an incredible effort which would ideally influence future undertakings of the translation of liturgical texts. 

I will admit to being somewhat puzzled as to why, given the clearly considerable vocal resources Cappella Romana has at its disposal, antiphonal choirs were not used; the liner notes say that “some elements of of the traditional interchange between two choirs are preserved through the use of alternating soloists”, but this strikes me as an unnecessary reduction given everything else they go out of their way to achieve on the recording.

Another major plus of this recording is something which actually isn’t sung — it includes the entire ensemble speaking the Creed and Lord’s Prayer with conviction. This is sadly lacking on the Mount Lebanon Choir recording, where one guy limply reading the prayers into a microphone is too-obviously spliced in after the fact.

Can the musical level achieved on this set, and/or the acoustic in which it was recorded, truly be seen as practical or normative? To be sure, the kind of training needed to meet this standard is not yet widely available in the United States, and many parishes do not have the resources to either provide such musical instruction or to give attention to proper acoustics in their building design. Nonetheless, The Divine Liturgy in English should be understood as a presentation of the “best-case scenario” to which liturgical singers may aspire. As well, Lingas opts for an all-male ensemble — the traditional arrangement, certainly, but unlikely to be the pastoral reality in most places.

The Divine Liturgy in English also shows the way for future adaptations of other Orthodox liturgical music into English, not just Byzantine. To slavishly preserve music written for a different language when adapting it to English is to miss the point of adaptation; that approach does violence to the language and, eventually, the music as well. Rather, those who would adapt the chants for use in a different language must understand the principles which guided the composition in the first place, and then apply those to the new text, while preserving the spirit of the original as much as possible. The music on the previously-mentioned disc of Fr. Sergei Glagolev’s liturgical settings — I said I’d get back to him, didn’t I? — demonstrates his own mastery of how this works for music in a Russian idiom; it is identifiably Slavic in terms of musical character, while still being sung, and sung well, in natural-sounding English in a way which does not obscure the meaning of the text. Perhaps with both the Glagolev settings as well these Byzantine adaptations, one inevitably runs into the objection, “Nobody knows them!” That will simply take time to overcome.

Cappella Romana’s recording is no less than a gift to the English-speaking Orthodox world which will inspire and instruct. Thyateira’s Archbishop Gregorios writes in the liner notes that The Divine Liturgy in English is intended to “increase the understanding and appreciation of both the spirituality of Orthodox worship and the heights of musical expression to which its chanting aspires”; this it does stunningly well. Highly recommended (in case that wasn’t clear by now).

The moment you’ve all been waiting for…

At long last, Cappella Romana is releasing their recording of the Divine Liturgy in English:

To be released this July
The Divine Liturgy in English
In Byzantine Chant – A 2-CD set

RELEASE DATE: JULY 14, 2008

The highly anticipated release of Cappella Romana’s groundbreaking recording of the complete Divine Liturgy in English, set to traditional Byzantine chant, will be released on July 14 at the Clergy-Laity Congress of the Greek Orthodox Church of America in Washington, DC.

The CD will first be available at the congress, and orders may be placed online beginning July 14. Shipments will begin July 19.

ABOUT THE RECORDING

Employing the official English translation of the Greek Orthodox Archdiocese of Thyateira and Great Britain, this 2-disc set presents the complete service (ακολουθία) of the Divine Liturgy of St John Chrysostom. Litanies and prayers pertaining to the entire Eucharistic assembly are rendered in full. The hymns and responses represent the central traditions of Byzantine chanting, including works adapted from Petros Peloponnesios, Nileus Kamarados, and St. John Koukouzelis.

A collection of musical scores for the chants on this recording will be available in Byzantine and Western (staff) notation through our website.

This recording was made possible by major grants from the Virginia H. Farah Foundation, the A.G. Leventis Foundation, the Fellowship of St. Alban and St. Sergius, and the National Forum of Greek Orthodox Church Musicians.

I realize that there are two of you pumping your fists right now cheering “Right ON!” and the remaining three of you who are wondering what the heck this is and why it’s important. That’s okay. Basically, this recording, has the potential to set the standard for what Byzantine chant should sound like in English. Right now there’s kind of a range of poor to really good — the best example in English of which I can think right now being the Mt. Lebanon Choir’s recording (but which doesn’t quite set the standard, at least for me, because it’s clear it’s being sung by non-native English speakers), and I’d really rather not go into which ones I don’t exactly find optimal, at least not in a public forum.

Let’s put it this way — it’s clear to me that the English recordings of the St. Vladimir’s Seminary Chapel Choir over the years have had a huge impact on what people expect to hear. I’m very hopeful that this recording, intentionally a thorough effort to match a good English translation to the traditional settings, sung by a professional choir which counts several faithful Orthodox Christians among its membership and staff (including its artistic and executive directors), can have a similar impact. If the entire recording is as good as excerpts to which I was treated a couple of years ago, it should also settle once and for all the silly question of whether or not Byzantine chant can sound good in English or if it will always sound like “camel-whipping music” (a particular friend’s term).

For my own part, I will say that I believe this recording was announced four years ago, and was completed two years ago or so, and I’ve definitely been one of the people “highly anticipating” its release that whole time. (I think I’ve been posting annoying “When does it come out?” comments on the CR blog for roughly the last year.) I’ll also briefly mention that the friendship of the executive director, Mark Powell, along with his wife Kathleen, to say nothing of the willingness to talk about his faith and to answer questions, was one of the major instruments by means of which Megan and I were initially exposed to Orthodox Christianity, and it’s been an example we’ve tried to follow since — but that’s a story for another time.

I will also note that Cappella Romana also has a sale going on where the Lycourgos Angelopoulos recording of the Divine Liturgy is available for roughly 20% off. This is one of the recordings which really captivated me early on, and I can’t recommend it highly enough. It was very difficult to find in this country five years ago, and could very well be so again with the way non-pop recordings come in and out of print, so I encourage you to get it while you can!


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