Posts Tagged 'random acts of chant'

Hey! Kids! Byzantine music books!

There’s a story here to be told another time, but this is another venture I’m helping out with. Interested in buying Byzantine music books in North America without the retail import and shipping premiums? Talk to us. Visit http://www.byzantinemusicbooks.com, and e-mail me at richardbarrett AT johnofdamascus SPACE org.

byz chant books flyer

Pastitsio and Byzantine chant: in which one finds, at the very least, the best pastitsio recipe ever (also the worst)

Some friends the other night made a Moroccan chickpea stew for us. One of them said that he had altered the recipe a little bit with what he’d had on hand; I turned to Flesh of My Flesh and said, “See? He makes stew with what he has.”

Good joke. Everybody laugh. Roll on snare drum. Curtains.

I didn’t come here to tell you that.

One of the topics I’m frequently musing about in this venue is, what does it mean to sing “Byzantine chant”, and how best to teach it to a variety of people? Specifically in terms of that variety — what might it mean to have a pedagogical approach that assumes some knowledge of how to do it, an approach that tries to convey best practices to a person knowledgeable about music, just not Byzantine music, and then, what would constitute a misguided approach that throws misunderstood elements together haphazardly? For illumination on this point, I turn to — strange as it may seem during the third week of Lent — pastitsio.

IMG_0359When Anna, Theodore’s nona, was first getting to know us back in fall of 2006, she asked us one day — “Can I come and make Greek food in your kitchen sometime?” Wow, twist our arms. What she made for us, and what she has made for us and others many times since, and what we also have learned how to make ourselves on a fairly regular basis, was pastitsio.

You can call it “Greek lasagna” if you like; many do, including Michael Psilakis. To do so is kind of like calling Syriac “the language of Jesus”, though; there’s a certain sense that it makes, but it’s kind of misleading, and it doesn’t acknowledge the dish on its own terms. Pastitsio has multiple layers of long, hollow noodles (ideally, Misko #2 Pastitsio Noodles) with a flour-based Béchamel-cheese sauce and a meat sauce. It’s a Greek comfort food to be sure; not exactly the dish one is talking about in a conversation about the health benefits of the Mediterranean diet. All the same, my goodness is it delicious when made right, and a pan of pastitsio on the table is, in my experience, one of the best signs of a hospitable house, Greek or otherwise.

classic pastitsio recipe

Classic Pastitsio

Like all dishes, there are regional, familial, and maybe even political differences. To the right is Anna’s foundational recipe, a pretty basic, classic version that allows for some variation based on what you have on hand and what you prefer. It’s nothing particularly fancy, and it doesn’t take that long to make. You could do this with beef, veal, or lamb; you could do it with whatever cheese you have handy (and it doesn’t make any particular suggestions where that’s concerned); and it’s not picky about pasta. Maybe it’s a recipe that assumes, if you’re a Greek person who already knows how to cook this, you’ll know how to take this and, mutatis mutandis, turn it into “the way YiaYia made it”. And, if you’re not, well, you’ll use what you have handy and you’ll make it work in your own way.

That’s one approach. There’s another way, somewhat more complicated, what we might call the “foodie” approach. Here is how Michael Psilakis frames the recipe in his cookbook, How to Roast a Lamb:

This is a classic Greek dish, which I often refer to as a Greek version of lasagna. You will need a deep, lasagna-style pan, and it may be hard to find the pastitsio noodles called for here. Try a Greek or Middle Eastern market or, of course, the Internet. The crucial thing is that the noodles be both hollow and straight, so you may substitute bucatini, perciatelli, ditali, or long, straight ziti laid end-to-end. This casserole, as with lasagna, must rest before serving to set, or it will be difficult to serve.

Okay, already there’s a different tone here. This is a recipe written for somebody who knows food, but maybe doesn’t know Greek food all that well (and there’s the “Greek version of lasagna” shorthand). He details the essentials, and tells you where you need to find them.

Ingredients:

  • 3 tablespoons blended oil (90 percent canola, 10 percent extra-virgin olive)
  • 1 large Spanish or sweet onion, finely chopped
  • 3 fresh bay leaves or 6 dried leaves
  • 2 cinnamon sticks
  • 2 pounds ground beef
  • 1 1/4 teaspoons ground cinnamon
  • Pinch ground nutmeg (optional)
  • Pinch ground cloves (optional)
  • 1/4 cup tomato paste
  • 2 1/4 quarts water
  • 1 (28-ounce) can plum tomatoes, crushed slightly, with all the juices
  • 1 tablespoon red wine vinegar
  • 1 teaspoon sugar
  • Kosher salt and cracked black pepper
  • 1 (500-gram) package Misko Macaroni Pastitsio no. 2 (see above)
  • 1 3/4 quarts Greek Béchamel Sauce (page 274, with eggs)
  • 1 cup coarsely grated graviera cheese

And this is definitely a little different. Oil instead of butter (he goes into his reasons for cutting olive oil with canola oil earlier in the book; basically it’s a cost issue, and you can use all olive oil if you really want to), the seasoning is a little more robust (and more characteristic of a Constantinopolitan approach, perhaps), and he’s more specific about the meat, the noodles, and the cheese. Elsewhere he talks about possible substitutes for cheeses; gruyere is his principal recommendation. This is an ingredients list that wants to show an American cook how to be faithful to the model using the best of what’s available.

Going on:

Make the kima sauce: in a large, heavy pot over medium-high heat, add the oil and the onion with the bay leaves and cinnamon sticks for 3 to 5 minutes. Add the ground beef and brown thoroughly. Add all the spices and the tomato paste and stir for 1 to 2 minutes. Add the water, tomatoes, vinegar, sugar, about 2 tablespoons of kosher salt, and a generous grinding of pepper. Bring to a boil.

Reduce the heat, partially cover, and simmer for 65 to 75 minutes. Skim off the fat once or twice. Reduce until the sauce is almost completely dry. Proceed with the recipe, or cool and refrigerate.

Preheat the oven to 350 degrees F. In a large pot of generously salted boiling water, cook the macaroni until almost tender, a minute or so before the al dente stage. Drain well. Spread 1 cup of the Greek Béchamel Sauce on the bottom of a deep roasting pan or lasagna pan, and sprinkle with 1/3 cup graviera. Lay half of the noodles out on top of the béchamel. You should have 2 to 3 layers of noodles. Spread another cup of the béchamel over the noodles, without disturbing the direction of the noodles, to bind them. Scatter with 1/3 cup of the graviera. Spoon all of the kima sauce over the top and smooth flat. Spread 1 more cup of the béchamel over the kima sauce, scatter with 1/3 cup graviera.

Layer remaining pasta noodles over the béchamel. Spoon on the remaining béchamel and scatter with the remaining 1/3 cup of graviera. Bake uncovered until crusty, golden, and set, about 1 hour. If you don’t have a convection oven, you may want to increase the heat to 400 degrees F at the end, to brown the top. Cool for at least 40 minutes, to allow the custard to set so that the squares will remain intact when you cut them. Or, cool to room temperature, then refrigerate overnight.

And since he gives it its own recipe, here’s the Béchamel sauce:

Greek béchamel differs from French béchamel or Italian besciamella due to the inclusion of whole eggs. When a dish is baked, the eggs in the sauce create a custard. This basic ingredient is what makes many Greek dishes so special. Because of the large quantity of flour and the resulting thickness of the roux, you really can’t step away from the stove while you are preparing the sauce. Plus, you’ll need muscle to stir it thoroughly.

Ingredients:

  • 5 ounces unsalted butter
  • 10 ounces all-purpose flour
  • 1 1/2 quarts whole milk, warm
  • 2 1/2 teaspoons ground cinnamon
  • Large pinch nutmeg, preferably freshly ground
  • 1 1/2 to 2 teaspoons kosher salt
  • Cracked black pepper
  • 5 large eggs, lightly beaten

In a large heavy pot, melt the butter over low heat, whisking with a large balloon whisk. Add the flour and whisk to a very crumbly roux, not a smooth paste. Whisk constantly and energetically or about 5 minutes to cook off the raw flour taste, but do not allow to brown (slide the pot off and on the heat every now and then if you sense it is getting too hot).

Still whisking constantly, drizzle in the warm milk until smooth. Continue cooking, adjusting the heat as necessary to keep the mixture at a very low simmer, until very thick. Whisk in the cinnamon, nutmeg, kosher salt to taste, and a generous amount of pepper.

Scoop out about 1/4 cup of the warm sauce. In a bowl, whisk the sauce into the eggs to temper them. Remove the pan from the heat and whisk all the egg mixture back into the béchamel.

Dude. I’m hungry. Maybe I shouldn’t be writing this during Lent. Dang it all.

Anyway, some observations — first and foremost, this is not the quick ‘n dirty way to make pastitsio. The meat sauce, I can tell you from experience, takes more like 2-3 hours to reduce than the 65-75 minutes advertised, at least on the stoves I’ve used. At the same time — oh my goodness is the end result amazing and flavorful (such that Anna now uses Psilakis’ meat sauce in combination with her foundational recipe). Now, if you want to shave off time, just skip adding the water. With the basic recipe, if you know what you’re doing you might elaborate the bare bones instructions somewhat; by contrast, here, if you’re familiar with the dish, then you might simplify this version a bit. Both recipes, in the end, faithfully (I hate the word “authentically”) reproduce what is understood as “pastitsio”; one does so by presenting a basic, easy to reproduce (and vary) method, and the other does so by breaking the dish down and building it back up using the language and ingredients of American foodie culture.

Now, you can have an argument over just how “Greek” pastitsio is. Real Greeks didn’t use Béchamel sauce until a hundred, hundred and fifty years ago, one argument might go. There’s something there with the meat sauce and the cheese and the noodles, maybe, but Béchamel? That’s an Italian or French corruption, not Greek.

You might also have a conversation about some of the details. There are pastitsio recipes you can find that are adamant that no real pastitsio ever has had any kind of cinnamon or nutmeg or anything else in the meat sauce, because it doesn’t need it, period, and that’s not how YiaYia did it, dammit.

However, what you’re probably not going to have much of a disagreement about is whether or not this recipe is pastitsio:

  • 1 lb.  lean ground beef
  • 1 small  onion, chopped
  • 1 jar  (24 oz.) spaghetti sauce
  • 2 Tbsp.  red wine vinegar
  • 2 Tbsp.  butter
  • 1-1/2 cups  milk
  • 1 cup  plain nonfat Greek-style yogurt
  • 1/4 tsp.  ground nutmeg
  • 2 cups  elbow macaroni, cooked
  • 1/4 cup  DI GIORNO Grated Parmesan Cheese

BROWN meat with onions in large skillet; drain. Stir in spaghetti sauce and vinegar; simmer on low heat 15 min., stirring occasionally.

MEANWHILE, melt butter in large saucepan on low heat. Add milk; bring to boil on medium heat, stirring constantly. Simmer on low heat 3 to 5 min. or until thickened, stirring frequently. Remove from heat. Stir in yogurt and nutmeg. Add macaroni; mix lightly.

HEAT oven to 350ºF. Spread meat sauce onto bottom of 13×9-inch baking dish; top with macaroni mixture and cheese.

BAKE 45 to 50 min. or until macaroni mixture is heated through and top is lightly browned.

Um, no. No, no, no, no, no. You want to insult a Greek person? Put this in front of them and call it “pastitsio”. This is beyond parody, really. This is macaroni and spaghetti sauce layered with yogurt and had some cheese sprinkled on it; no Béchamel, no attention to cheese, no nothing. This is a clueless American who vaguely remembers that there was a dish he had at a Greek festival or something that had noodles, meat sauce, some white stuff, and maybe a pinch of spice in it, making something up that sort of fits the general description, and adding “Greek yogurt” (nonfat? That’s not Greek yogurt, folks) and nutmeg to justify claiming that it’s “Greek food”.

And, here’s the thing — by this point, pastitsio has been made at Chez Barrett a sufficient number of times that it isn’t really “Greek food”. It’s just “food you’re likely to eat when you’re a guest of the Barretts”. Or, for that matter, when we’re your guests; I made Psilakis’ recipe for Christmas Eve dinner one year at my mom’s house. Call it trying to pass on the tradition.

Okay, back to the question raised at the outset about Byzantine chant. How might the analogy of pastitsio be applicable here? What’s the equivalent of Anna’s foundational recipe, what’s the equivalent of Michael Psilakis’ recipe, and what’s the equivalent of the Kraft recipe?

Well, what are the fundamental ingredients of Byzantine chant, and what’s variable for, shall we say, ingredients that one has on hand? For present purposes, maybe we’ll say that the fundamental ingredients of Byzantine chant are:

  • it is a cappella,
  • it is monophonic (that is, not harmonized by multiple voices),
  • it employs drone that does not function as a harmonic bass line,
  • it employs a sacred text, drawn predominantly from the liturgical cycle of the Orthodox Church,
  • it employs the system of Byzantine modes, a centuries-old musical system with which the modern theoretical understanding as described by Chrysanthos of Madytos and clarified/affirmed by the 1881 Musical Committee of the Ecumenical Patriarchate is in continuity,
  • the melodies are composed formulaically — that is, there is a vocabulary of musical phrases (theses) proper to each mode, and the composer formulates compositions according to this vocabulary of phrases so as to fit the accentuation and rhetoric of the sacred text appropriately and in the intended musical texture (fast, slow, syllabic, melismatic, etc.),
  • and the melodies are notated using psaltic, or Byzantine, notation, and the notation is meant to be interpreted via a layer of oral tradition absorbed from one’s teacher.

Now, I’ve phrased much of that carefully. Not all Byzantine chant necessarily employs a liturgical text; there are examples that set paraliturgical poetic texts. The description of Byzantine modes allows for some leeway depending on local tradition; Lebanese and Syrian cantors might do certain things differently, as might some Romanian cantors. It also allows for a way of talking about medieval repertoire that was composed before Chrysanthos or the 1881 Committee. The point about notation might perhaps be controversial to some, but I would leave it there, simply because, as a prosodic and musical system intended specifically for that purpose, psaltic notation is the symbolic system that best expresses the musical and hymnographic repertoire we call “Byzantine chant”.

So what are ingredients that might be variable? Language, certainly; there’s nothing in that list that says that anything has to be in Greek or Arabic. It might be a lone man’s voice singing; it might be a choir of women. The point about oral tradition suggests that there is some level of acceptable variation of interpretation in some cases. There are different genres of hymns you can compose and sing within this framework; anything from quick, short, declamatory, syllabic hymns to long, slow, drawn-out compositions.

And, certainly, there are lots of arguments about some of the details. This, that, or the other musical development in the repertoire isn’t “really” Byzantine music, but rather a corruption arising from Turkish influence. No cantor who knows what they’re doing would ever sing this phrase the way you just did it. Some would argue that language actually isn’t an acceptable variable, at least not the way described above; it either has to be in Greek, or it has to adapt a Greek original in a way that favors the Greek version over the target language of the translated text at every point. Alternately, language may be generally variable to an extent, but there’s no way no how English is an acceptable language for this music. That kind of thing.

Whatever details one might argue about, however, here’s an indisputable example of a composition that is identifies itself as “Byzantine chant” but is, by any definition, the equivalent of the Kraft pastitsio recipe:

thy martyrs o lord, bad version

That’s from the pen of yours truly, written about ten years ago (do note that I do not credit a composer in the score, partially because even then I knew enough to know that I didn’t want to be blamed later). I cringe to show it to anybody because there is so much that it gets wrong, but in the spirit of being the chief of sinners, I’d rather hold up my own mistakes than point fingers at those of other people.

First, it’s the wrong mode. Yes, fine, fourth mode is the mode appointed for this apolytikion, but this is the wrong version of fourth mode — it is diatonic (legetos) rather than soft chromatic, because apolytikia in fourth mode use soft chromatic.

The second and third things wrong are related — this text actually is supposed to be metered for a model melody, usually known in English as “Be quick to anticipate”, which the melody I wrote doesn’t follow; alas, the text is not in fact metered, and the service book from which I got this translation doesn’t include a rubric for a model melody. You don’t know what you don’t know.

Fourth, if you look at the model melody (Byz notation version in English here, staff notation here, or get them from 27 September here if those links don’t work) it really is one note per syllable for the vast majority of the hymn. What I wrote isn’t obnoxiously melismatic, but neither is it sufficiently consistent in being syllabic.

Fifth, it’s not a terribly sensitive setting of the text. I have no idea what I was thinking on “our God”, for example.

Sixth, the use of drone is all over the place. It’s clear that this is by someone who has no idea what they’re doing on this point.

Seventh, my use of the theses bears basically no resemblance to the reality of how classical scores use them, and since at that point I was almost entirely influenced by Kazan, it is probably is more Sakellarides-esque (if we can even aim that high) than anything. You can sort of see what I thought I was doing, but I may as well be using yogurt instead of Béchamel.

Eighth, I made a deliberate choice to eliminate measures, partially because I felt that the “tyranny of the bar line” actually made Kazan much harder to use. This wound up obscuring the rhythmic structure that the piece should have had, and it had the technical effect, due to how Sibelius works, of obscuring how the accidentals function.

Ninth, because I was just writing note to note in staff notation, with no understanding of how the rhetoric of the theses was constructed in psaltic notation, it’s made an even lesser effort than it otherwise was. If I had had even some knowledge of the notation and the orthography, a few of the problems could have been minimized a bit.

In all of this, I was doing the best I could with what I knew, and I was doing so with foundational materials that were less than ideal but were what was available to me, to be sure, but that’s just the point — by way of comparison, I had had a taste of pastitsio at a Greek festival and thought, hey, I’m a good enough cook that I can replicate that — and I came up with a random combination of pasta, meat, cheese, and yogurt based on ingredients I had on hand. Yes, sometimes one makes stew with what one has (you knew I’d get back to that eventually), and one might argue that it’s not that bad on its on merits (if one were being maximally charitable), but you can’t really call it pastitsio, at least with no disclaimers or scare quotes.

Thankfully, these days there are more resources that allow one to go a route that is more along the lines of Michael Psilakis, taking apart the tradition and putting it back together for an Anglophone Orthodox audience that perhaps has decent musical sense but needs detailed help for Byzantine music. What is still needed is greater access to teachers who can provide enough of a living connection to the material, such that that one can manage with a more bare-bones set of resources, like the basic pastitsio recipe, but we’re getting there. In taking advantage of such resources, ideally we would produce a body of Anglophone repertoire that is both composed and sung knowledgeably and faithfully, and as a result, Byzantine chant would eventually become something that is no longer perceived as “Greek” or “Arab” or foreign in general, but simply “what we sing”.

We can apply this, really, to any Orthodox musical idiom, and even any element of Orthodox tradition; a confused jumble of ingredients put together out of a lack of understanding doesn’t actually cultivate a real “American” expression of anything. It’s exactly that — a confused jumble of ingredients. We’re far better off putting in the time and the humility to learn from people who know what they’re doing and have a living connection to the tradition. Yes, it will take longer, yes, it may take trying some things that don’t work the first time, yes, you may have to un-learn and re-learn some things.

Be that as it may — certainly, in the case of pastitsio, the end result tastes a heck of a lot better.

Follow up on choir schools, with a suggested course of action

Well, the spike in traffic the last few days leads me to believe that maybe the idea of an Orthodox choir school has drawn the attention of more than my usual two readers. Cool. If that’s so, then let me go into some more detail, and let me suggest a course of action.

First of all, thanks for all of the positive reactions. It’s great to see that there’s a way to describe this vision so that people get it and get excited about it; I hope that this is a sign of things to come. Please continue to share these posts far and wide; it’s an idea that has to gain a certain critical mass before it can go anywhere besides this blog.

Also, there have been a number of excellent suggestions that have come from my “Orthodox choir school: how I’d do it” post. Suggestions about cities, about teaching methods, about other schools to look at, and so on. I appreciate all of that, and I’m all ears for that kind of input. When (I repeat, when) the time comes, that will all be extremely useful — keep it coming!

Something that has been brought up is that there have been people who have toiled in Orthodox children’s music education for years, and there are existing programs that struggle to stay afloat. Wouldn’t it be better to try to build everybody up rather than concentrating efforts in one location? Might putting all the eggs in one basket be a well-intentioned, but ultimately misplaced, idea?

I had a response to this, but before I go into that, I want to make everybody aware of some valuable resources that should be looked at if this subject is going to be taken seriously. There is the Choir Schools’ Association in the UK, and they have a document titled “Reaching Out”, which is a great overview of the current state of the tradition in England. One is a doctoral thesis by one Daniel James McGrath titled “The Choir School in the American Church: a study of the choir school and other current chorister training models in Episcopal and Anglican parishes”. There’s also a doctoral thesis by Lucas Matthew Tappan, “The Madeleine Choir School (Salt Lake City, Utah): A Contemporary American Choral Foundation”.

IMG_3755Something that, alas, I can’t link to but that you should be able to acquire if you want a copy, is the 50th anniversary season brochure for St. Paul”s Choir School. They have them out for the taking in the narthex at St. Paul’s; I got a copy when I went to their Christmas concert on Friday. If you contact the school and ask for one, I have to imagine they’ll send it to you.

Nota bene — with all of these resources, one has to make sure that one takes them mutatis mutandis to a certain extent. McGrath and St. Paul’s are dealing with a context of boys’ choirs, and I’m talking about a co-ed approach, for example. The Madeleine Choir School and St. Paul’s are Catholic, and McGrath is writing from an Anglican perspective. Nonetheless, all are extremely useful in terms of how they talk about organization, curriculum, challenges, and so on — Tappan in particular explicitly has the objective of serving as a “road map” (his words) for those who might want to follow the Madeleine’s lead. Handy, that.

One of the main things I want to put forth here is this passage from Tappan’s thesis on the Madeleine as the justification for a choir school:

…a choir school consists of an institution where children are given a well-rounded musical education as well as liturgical formation in the ars celebrandi, and where they put these skills at the service of the sacred liturgy on a regular basis within a specific community (often that of a cathedral or collegiate chapel). In return, these children are given an outstanding elementary and religious education.

Even though these qualities constitute the basic elements of a choir school, each institution is a unique place where the choir school tradition exists within a particular time and culture… Perhaps the church musician will find in the choir school a model for training young people in an art that has the power to transform lives and to bring many out of the isolation of modern living into a living community of musicians and believers, forming young musicians “for the lifelong praise and worship of God” (p. 2).

But then there’s the epiphany of Gregory Glenn, the founder of the Madeleine Choir School, when he spent three months at Westminster Cathedral Choir School in London:

What Glenn realized was that the institution itself was the formator (emphasis mine). The incessant rounds of daily rehearsals and liturgies in the cathedrals and the process of going through a massive amount of repertoire year after year was crucial to being able to sing, for example, a Poulenc Mass on short notice. The choristers sight-read so easily that rehearsal time was never spent learning notes. There might be a false note or two the first time through a work, but the boys usually corrected themselves the second time around. Choir masters were able to spend the majority of rehearsal time working toward a more musical performance of the repertoire. According to Glenn, the Madeleine Choir School is still working toward this goal, but it becomes more of a reality with time. (Tappan, p. 26)

Here was my answer to the concern about concentrating efforts in one location:

I spent 11 years in a location that was, theoretically, fairly central in the United States, but as far as Orthodox Christianity went, was about as isolated as you could be without being in Wyoming. Almost anything and everything the parish there took on could be (and often was) fairly described as “being a lot of effort for one location”, right down to building a church. It still needed to be done. Along the same lines, the Madeleine school is certainly “a lot of effort for one location” (in Salt Lake City, no less!), but it’s still worth doing.

The other thing I’ll say is that musical efforts in particular often get problematized in “American Orthodoxy” (whatever we mean by that) as “reinventing the wheel”, that reduplication of effort doesn’t accomplish anything… What needs to be recognized is that not all wheels will travel on the same roads[…], people and institutions need to play to their strengths, and dispersion of effort that hangs everything on the energies of either one person or a tiny handful of people is a disaster waiting to happen. The Madeleine Choir School is not the only Catholic school in the Salt Lake City metro area, for example, but its existence allows for the faculty and students to play to a particular set of strengths, and the result is an example that is inspiring. Supporting music education in existing Orthodox schools is a great thing to do, but it also seems to me that establishing a model school that focuses particularly on that aspect will allow for a level of excellence to develop and be made manifest publicly. I think we accomplish a lot more when we’re able to work together than when we’re isolated; my experience is that most of us Orthodox musicians are too isolated from each other as it is, and that that is a bad thing.

Beyond that — as I said earlier, I attended a Christmas concert sung by the choirs of the St. Paul’s Choir School Friday evening with Megan and Theodore; one of the big takeaways was that Theodore was absolutely enrapt when the boys processed in, wearing black cassocks and singing “One in Royal David’s City”. I’ll say that the evening was was mostly the work of the the preparatory choir (the main choir had their big concert yesterday with Britten’s “A Ceremony of Carols”), but everybody did something, and they’ve got a good thing going there.

So, where to, folks? How do we get there from here? I’ve told you how I’d do it — and, I have to say, it’s remarkably similar to what Tappan describes Gregory Glenn, the Madeleine Choir School’s founder, as having done (and I discovered Tappan after I wrote that post) — he put a great deal of time in visiting model institutions and putting together a feasibility study/planning document with a proposed budget. Realistically, I think this is going to be somebody’s full-time task for at least six months.

My modest proposal, then, is this — a great Christmas gift to me, to your kids, and to our Church, would be a gift in support of this initial effort. Somebody shared the post saying, “I wish I had a million or two to give to such an undertaking”; well, it doesn’t need a million or two, not yet, and while you might not be in a position to give a million or two, maybe you can do something (particularly since it’s near year-end — taxes are coming!). It doesn’t really matter how much you might be able to do; if everybody who saw my posts over the last week even gave something relatively small, it would go a long way towards making this possible. Anyway, I don’t want to do a hard sell on giving right now. Rather, this is just the trial balloon — the question is, can we fund the initial planning activities, yes or no? You tell me. If we can, then maybe we can do this for real.

The way to give is through The Saint John of Damascus Society; click here, click on the donate button, and you’ll be taken to PayPal. The Society is a tax-exempt (501(c)3) non-profit, so all gifts are tax-deductible to the extent allowed by law. If you want to do something but don’t want to do it via PayPal, drop me a line at richardbarrett AT johnofdamascus DOT org.

I’m really not interested in asking for money right now, so we’re clear. This isn’t about money to me. At the same time, without some money, the next steps are really out of reach.

This is an open forum on the topic, so please, any questions, suggestions, comments, requests for more information, anything — keep it coming! And if you want one of the The Choir DVDs, e-mail me with an address.

Okay, my friends. I’ve made my pitch. You’ve all told me you’re interested and supportive; pray for us, tell me what we’re doing next, and share this far and wide if this is important to you. Thanks for sticking with me so far.

An Orthodox choir school: how I’d do it

Since I’ve just run a couple of posts that have touched upon the topic of choir schools, and last week I had occasion to run the pitch — such as it presently is — past a couple of friends, maybe I can take a moment to go into detail about how I could see an Orthodox choir school coming together.

First, what have I already done? Well, in 2005, I went to New York for the first time. While I was there, I visited St. Thomas Episcopal Church on 5th Ave, and heard their choir of men and boys for the first time. I learned more about the St. Thomas Choir School (there’s a video here that I can’t embed), and became fascinated by the model and its heritage, and convinced that it would be fantastically worthwhile to adapt it for Orthodox use. In 2007, I published this piece as a blog post (it originally had been intended for The Word, although, alas, the submission was never acknowledged). In 2009, it was picked up by AGAIN Magazine as an article titled “Teach a child to sing: Thoughts about Orthodox choir schools”. Fr. Chris Metropulos noticed the article, and interviewed me on the OCN show Come Receive the Light. All of this really amounted to me throwing the broad strokes of a big idea out there to see if anybody would run with it; I can’t really say I wasn’t given a platform, because I was, but nobody ran with it.

Which isn’t to say that nobody responded at all. I got an e-mail from a Mover and Shaker who was really intrigued, but who said, frankly, we’re so far away from being able to speak meaningfully of what a school could accomplish that there’s just no conversation to be had with anybody right now.

And that was that, until 2013, when a documentary on the Madeleine Choir School in Salt Lake City titled The Choir was released on DVD. I immediately bought ten copies in bulk and sent them out to various musical leaders on the American Orthodox scene with a copy of my AGAIN article saying, in essence, This is exactly what I was talking about. This is what we should be doing. Watch this and then let’s talk.

The same Mover and Shaker who had responded positively to the article was the sole person to respond to the mailing, and this person continued to respond positively. In fact, this person said — that’s great; now, here are another ten people who need to see this. So, I sent out another ten copies of the DVD with the article to the suggested names; no response.

Well, now there’s been a piece on a Catholic choir school that has run on CBS Good Morning. It’s a moment, a fleeting one, but I may as well try to take advantage of it.

So, I’m going to give you my pitch. If it inspires you, makes you want to help, please talk to me. This is a vision, to be clear, that I want to see succeed because I want there to be just such a school I can send my kids to. Certainly I want to facilitate the vision, but I want to be a participant, not an overlord. I’ll do whatever I have to, but I don’t need to run the show. I’m shouting it from the rooftops as much as I can until there’s a critical mass of others to do it, and then if there’s a capacity I can serve in that I’m actually suited to, I will, but I’ll be happy just to be a parent of a student. This is my vision thus far, but it need not be mine alone, and it need not be my baby that I guard jealously.

An Orthodox choir school is a parochial school attached to a parish or a cathedral that has as its educational mission the training of primary school-aged children from all Orthodox jurisdictions for excellence in Orthodox Christian musical service. They will receive, as part of their standard curriculum, a high level of musical education, both in terms of general musical skills as well as skills specific to Orthodox musical service, and they will be exposed broadly to the rich heritage of Eastern Orthodox liturgical music — Byzantine chant, Slavic chant and polyphony, Greek-American choral music, modern composers who engage Orthodox spirituality in concert works, and so on. The students will contribute regularly to the liturgical life of the parish/cathedral by singing services throughout the week; they will function as outreach to the community at large by means of concerts and recordings; they will also represent the school, the parish/cathedral, and the musical traditions of Orthodox Christianity by touring. Historically, many such schools are made up of boy trebles, who must then leave when their voices change; the vision here is that an Orthodox choir school will be co-educational, and there will be choirs for students to sing in as they get older.

The value of such a school hopefully is obvious. The next generation of musical leaders in America’s Orthodox churches is not going to fall out of the sky, and the major concern expressed at every Orthodox musical event I have ever attended is, “How do we get our kids involved?” This is a way to do it.

What is necessary to move forward? Well, a lot. How I’d do it, if resources were no object, is this:

I would first form a planning committee made up of people familiar with the broad range of Orthodox musical repertories and who had experience with working with children in particular. This planning committee would make an initial presentation to the Assembly of Canonical Orthodox Bishops and get their blessing to proceed. The committee would also seek to talk to organizations like PaTRAM, Cappella Romana, the National Forum of Greek Orthodox Church Musicians, Axion Estin, the Antiochian Department of Sacred Music, and so on, as well as music faculty at the Orthodox seminaries, and others, to get their input. From there, the job of this committee would be to assess how choir schools operate in this country and how Orthodox schools operate in this country. For the choir schools, we’d visit the Madeleine, St. Paul’s, St. Thomas Choir School in New York, and then also for perspective we’d go to England and spend some time at Westminster Cathedral’s choir school, as well as the Brompton Oratory’s choir school and a couple of others. For Orthodox schools, we’d look at Agia Sophia Academy in Portland, the Theophany School in Boston, the school of St. George Cathedral in Wichita, and then there are, I think, some in California we’d look at as well. (I’m already going to be visiting St. Paul’s at Harvard Square in January for an initial observation.)

The kinds of questions we’d be asking everybody are these: what’s the curriculum? How do you find students? How do you find teachers? What are the benefits and pitfalls for kids — spiritual, physical, emotional, otherwise? What are the benefits and pitfalls for the church communities that are served? How does everything get paid for? How do you keep it financially accessible for students, assuming that’s an objective? How does everything keep runing smoothly? How does accreditation work?

The next question we’d have to answer would be location. My guess is, at this point, such a school would need to be someplace where there is a diverse and sizable Orthodox community already, and where there would be a parish or cathedral big enough to be able to accommodate such an undertaking, given that in all likelihood such a school would not have its own classroom facilities at first. Perhaps the choir school could represent an expansion of a school that already existed. I’m not sure. In any event, I’m guessing there are very few places in the United States where this could be done successfully the first time, and that would have to be very carefully considered.

Probably, the committee would zero in on three candidate locations, and then survey Orthodox communities in those locations to see where there might be the largest concentration of prospective students.

Then, there would need to be a careful consideration of staffing. Who are the teachers? Where are they going to come from? What will they need to be paid? I anticipate that here, the committee would put together a wish list of faculty, and then make informal inquiries about interest, willingness to move if necessary, what it would take for them to accept an offer, and so on.

We’d then take our findings from all of these inquiries and create a planning document. This document would include the faculty/staff wish list, a projected budget for 5-10 years of operations, a narrative of what the school would do in its first five years from an academic standpoint, a musical standpoint, a recruiting standpoint, a facilities standpoint, and a development/fundraising standpoint. There would a curriculum plan as well, and sample concert programming.

This planning document would then serve as the basis for a major gifts campaign, at which point we would open our doors when we could do so responsibly.

Most, if not all, of these tasks could be undertaken under the aegis of the Saint John of Damascus Society; it would be well within the Society’s mission, and it would certainly be easier to perform these initial tasks via the mechanism of a nonprofit that already exists. Certainly, when it came time to move beyond planning stages, in all likelihood it would be ideal to spin the school off as its own entity, perhaps with its own foundation.

So, there you go. That’s the sketch of what I think would need to happen to move forward. There’s much more I could say, but that’s the backbone.

The Madeleine Choir School sends out a season booklet every summer, and last year that inspired me to try to put something together that’s similar, as kind of a proof of concept. I didn’t quite finish it — I have a dissertation to write, after all — but here are some pages from what I did finish. The names I list are nobody I’ve actually asked to do anything; they’re simply there to indicate real people who could serve this kind of school were it to be up and running. The concert programs are also strictly intended to be representative ideas. Nonetheless, see what you think.

If I might make a plea from the heart — if you’ve read anything I’ve written or seen anything I’ve done that has to do with Orthodox music, you know that this is a labor of love for me. Nowhere in that brochure mockup do you see my name; I am not trying to promote myself by any stretch of the imagination. I believe strongly that there is a desperate need that this fills — a desperate need for our churches, certainly, but also a desperate need for our world — and I hope to see that need filled. No more, no less.

If this is of any interest to you at all, let me know. If you want a copy of anything, ask — I’ve got a lot of resources related to choir schools, including somebody’s dissertation about the use of the choir school model in America. I’ve still got copies of the DVD of The Choir I can give out if that helps. I’m entirely and absolutely serious about wanting to see this happen; if you’re at least halfway serious about wanting to help, I’m all ears.

Okay, back to work for me.

St. Paul’s Choir School, Harvard Square

As a brief follow-up to yesterday’s post — I made reference there to my advocacy for Orthodox use of the choir school model. As part of that, I give you the video from this morning’s appearance of St. Paul’s Choir School at Harvard Square on CBS This Morning.

http://www.cbsnews.com/videos/catholic-boys-choir-brings-its-music-to-the-masses/

It’s a pretty good summary of what I maintain are the opportunities and advantages of such an approach — a high level of musical education, liturgical participation, spiritual formation, and overall engagement with the tradition starting from a young age, a focus on excellence and discipline, an excellent means of outreach via performance and recording, and traveling to perform in amazing places. I’d advocate a co-educational school along the lines of the Choir School of the Madeleine (see my comments about that institution here), but regardless, this clip is another excellent “proof of concept”.

I’m working on setting up a meeting with John Robinson, St. Paul’s music director, sometime in January. I want to chat with him and also observe how the school works. What would you like to know about such a place? How might you envision such an undertaking moving forward in an Orthodox setting? Talk to me — I’m very serious about wanting to see something like this come together. I’d love to be able to send Theodore to a school just like this — how can that happen?

How you get better as an Orthodox musician

Theodore, at two and a half, has started chanting. He loves to stand at the psalterion in the Holy Cross chapel, and sing along to the best of his ability. He had already started saying “Alleluia” as “Allya” a year ago, and then during this last Paschaltide, he started singing “‘stos ‘nesti” with the Paschal apolytikion in church. He’s since started trying to chant “Alleluia” and “Kyrie eleison. No less of an authority than Alexander Lingas even said when he heard him, “Well, he’s got yphos!”

theodoros protopsaltis

Theodore has even started developing a notation system for “Alleluia”. He sits in my lap, I’ll write a phrase of something in Byzantine neumes, and then he’ll write something using his own signs.

THBII alleluia notation

He’ll even explain to you — sort of — how it works.

All of this is great, it really is. It’s so awesome to watch him work these things out on his own, to try new things, and to respond to what he sees and hears. His two-and-a-half year old brain is a little sponge, soaking it all up.

Here’s the thing: he’s two and a half. What he’s doing is wonderful and age-appropriate for a two-and-a-half year old. It’s really more than I would figure I could expect from a two-and-a-half year old. Still, there will come a time when it is no longer age-appropriate. There will come a time when he needs to start developing an understanding that goes beyond simply doing something and grows into an understanding of what it means to do it right. Then, eventually, an understanding of what it means to do it well. If he isn’t willing to do that by a certain point — which will be his prerogative entirely; I’m not going to force anything on him — then certainly the age-appropriate thing for him won’t be to continue to do what amounts to yelling in church. It will be better for him to do something else if he’s decides he doesn’t want to get better beyond “Alleluia”. That’s not a problem; that’s exactly what one would expect when it comes to seeing a toddler grow up and develop — that they will continue doing some things and do them in more sophisticated ways, and they will discard doing other things and take up new things. Wash, rinse, repeat.

In other words, it is normal that there be a pattern of development when one learns a new skill, and it is to be expected that one will follow that pattern if they continue to do something that requires that skill, or they will do something else that doesn’t require that skill. This is really easy when you’re dealing with kids; the trouble is when adults decide that they aren’t interested in getting better at something but they want to continue to do it anyway.

There’s a truism amongst musicians — the way you get better is to play with people who are better than you. This is something that, if you’re an Orthodox musician, is kind of a problem. Let’s be honest — a lot of us are in situations where we’re isolated, where we’re either one of the only competent musicians, or even the only competent musician, or if we’re not, then we’re one of the only ones who is really involved. And, for many of us, we spend so much time, not even trying to bring people up to our level, but just trying to explain to people that there is a level. Forget phrasing, musicianship, dynamics, whatever — we’re working on getting people to sing a majority of right notes. We put the majority of our efforts into trying to communicate the fundamentals of the fundamentals, and doing so in contexts where some people are receptive, some are hostile, and some are benign but unable to be productive for one reason or another. To put it another way, we spend a lot of our time working with adults who are, relatively speaking, at the level of my son Theodore, and who are faced with the choice of learning to do it better or needing to stop. Here I note that it seems inescapable that we speak about singing in church as a clerical calling, something set apart; consider the petition during the Divine Liturgy — “Again we pray for those who bear fruit and do good in this holy and all-venerable Temple; for those who serve and those who sing (ψαλλόντων); and for all the people here present, who await thy great and rich mercy”. Such a point of view has been espoused by no less than the Ecumenical Patriarch. So, if we’re going to talk like that, then we also need to speak frankly about what it means not to be called to sing. It is nonetheless a choice a lot of adults don’t want to make; beyond that, we work in such situations under circumstances where clergy may or may not be supportive, we may or may not be being paid, and we may or may not have adequate resources otherwise to do what we need to do.

To frame this in terms of personal experience — I am hardly one of the “greats”. I stopped pursuing music performance as a full-time profession because I knew I wasn’t, and knew I couldn’t be. Still, I am a well-trained musician. I can sing pretty much what you put in front of me, be it in staff notation or Byzantine notation, I can do it in English, Latin, French, Italian, German, and Greek, and if it’s Church Slavonic then I can do it well enough to blend with somebody who is proficient. Some of my ability comes from what I had to do for my music degree; some of it comes from experiences in Episcopal church choirs, where you’re singing new repertoire every week, some of it comes from experiences with other performing ensembles like opera choruses and early music chamber ensembles, some of it comes from doing a lot of recording sessions where you’re sightreading music you’re seeing for the first time and have to record within the next half hour so you can get through the other fifteen things you have on the docket that day. I am not amazing; there is nothing remarkable about being able to do any of that. It is simply what is expected if you are to be considered a reliable, garden-variety professional.

And what did I do with my church choir? Generally, I had to teach notes by rote and hope it stuck; I had to explain things repeatedly like the necessity of turning the page when you reach the end of it; I had to beg people to come to rehearsal and come to church on time; overall, I had to put 15-20 hours a week into that kind of undertaking, and it compensated me far less than I would have received were I merely a paid member of a choir at a Protestant church. Towards the end of my tenure, I had experiences like telling my choir that they needed to watch me for entrances during the anaphora, and one person responding by stomping out, proclaiming that “You’re totally focused on all the wrong things and have completely lost the spirit”; this person never spoke to me again, and instead lodged some kind of complaint against me with the priest (the priest declined to discuss any specifics of the matter with me, and I left the parish shortly thereafter).

I have had to go out of my way over the years to make my own opportunities to play with people who are better than me so that I myself can get better. Sometimes that meant paying people to come to me. Sometimes that meant people paying me to come to them. I took various pro singing gigs here and there. I found a way to go to Greece to learn Byzantine chant, since the alternatives were all a five hour drive away. I also went to gatherings of other people who were in my shoes. hoping to learn things that I could bring back to my parish. I went to PSALM in 2006. I went to the Antiochian Village Sacred Music Institute a couple of times. In all of this, I hoped to learn something that could inspire people to want to see things the way I did, and to want to get better, to make music for the worship of God that was always seeking to be as good as it could be rather than “good enough”. The response was always the same — “What does any of that have to do with us? I mean, fine that you had fun, and great that all of you musicians were able to sanctify each other’s preferences, but what happens there stays there; we’re not interested.” People, in the main, had no interest in being inspired; no interest in being reached; no interest in being worked with; no interest in learning. That was for “musicians” outside of church; it had nothing to do with what they wanted in church.

If this is how you’re spending most of your life and your energy, as a musician, your A-game is going to suffer. And, truly, for many of us, when we do get together, the once or twice a year that the opportunities come about, we’re so thrilled that there’s another honest-to-God person in the room who gets it, to whom we don’t have to explain anything, who is singing the right notes and speaking our language without translation, that we’re not thinking about our A-game; we’re just having fun making music with people who share some understanding of what that means. Never mind “playing with people better than you are”; it’s a miracle when we get to play with other people who get it, let alone who are better.

So then, when we do get to play with people better than we are, it’s a ball game we aren’t prepared for. We don’t perform at our best because we don’t even remember what that is. Our A-game is irrelevant to our regular existence as church musicians.

Really, what I think we face is that there is a particular kind of poverty that we’ve had in our parishes for a long time for various historical reasons. Rather than try to improve the matter, various voices have spiritualized, if not fetishized, this poverty, given a particular moral weight to it, and what perhaps was non-professionalism out of necessity has become anti-professionalism out of choice, replete with nonsensical pietistic platitudes like “Orthodox music isn’t performed, and it would be better if we didn’t think of it as having composers, let alone professionals; Orthodoxy doesn’t do art.” Add to that what I believe is an American distaste for anything that smacks of “being told what to do” and a preference for being self-taught over learning from a teacher (something I certainly encountered when I was playing guitar seriously, 20+ years ago), and you have the perfect storm of a musical anti-culture in American Orthodoxy.

This has not gone completely unnoticed or unremarked on. At the 2006 PSALM conference, Fr. Thomas Hopko said very bluntly, “The Orthodox Church seems to be the only place on earth where you don’t have to be competent to be asked to do something. How does this come about? What happened? Why will people join a community choir, not miss a rehearsal, pay attention to the choir director, and then then not do the same in their parish choir? If we’re not taking church and everything we do in it seriously, then we’re just re-arranging deck chairs on the Titanic. You can’t raise the bar when you still have to convince people that there’s a bar to be raised in the first place.” Along similar lines, I had a conversation recently with a longtime Orthodox choir director, somebody with a doctorate in conducting and decades of experience, who remarked that in a conversation with Fr. Ivan Moody, it came up that in Finland one must have a Masters degree in choral conducting to be choir director. “What a concept,” this person said. “Yeah,” I replied, “here it would be more like a disqualification.”

The difficult reality is that the circumstances we face in the world of American Orthodox church music are such that, in the main, they weigh the overall level down; the efforts of the would-be musical leaders do not pull it up. And, as long as this is the case, we Orthodox musicians in America are going to be hard-pressed to make much of a case for the best that Orthodox music can be with our own efforts. We will rely on non-Orthodox musicians to bring out the best elements of our liturgical music, we will have to record and perform in non-Orthodox churches because we have not adequately provided for the acoustic environment in our own — in short, we will be the audience for the professional performances and recordings of our own music, not the singers, and it will be because, frankly, we’re not good enough for it to be otherwise.

And we haven’t even begun to talk about issues like professional levels of pay. I am going to guess that there are 10 people in the United States who are able to make anything like a living off of being Orthodox church musicians, and that’s rounding up from the cases I know about for sure. I’ll limit my comments here, but a place to start is the simple fact that a decent undergraduate musical education isn’t cheap, let alone any level of education beyond that, and it would be nice to think that people who are serving the Church with such an education could at least make their student loan payments with what they’re paid. I’ll leave that there for now; a lot of parishes obviously struggle to pay priests (if they pay their priest), let alone anything else, so compensation is complicated, but it’s still something that needs to be addressed. There is a connection between time, talent, and treasure that must be acknowledged as part and parcel of the solution to the overall problem I’m discussing.

Orthodox musicians, ultimately I’m talking to you here, and we have a lot of work to do. As I used to tell my choir, I’m not asking you to do anything I don’t also expect of myself. Our task is complex, and while concerts, recordings, and conferences are great, the need is long-term and must be addressed in ways that are systemic and cultural, too. We must inspire the non-musician to do better, inspire the congregation to care, inspire ourselves and our colleagues to stay sharp, and somehow to get a culture in place that will form future generations of church musicians as singers, as composers, as teachers, and as leaders. We have to do all of that prayerfully and in love, and we must be mindful that our ultimate goal is service to God, just as it is for the priest and for the member of the congregation.

Cappella Romana is proof that it can be done at a professional level. PaTRAM also exists for this purpose, as did PSALM, and it’s also why Kurt Sander organized his Pan-Orthodox Liturgical Music Symposium this last June. I helped to found The Saint John of Damascus Society because I most certainly believe this is worthwhile, and I have advocated a particular model that would help with a big chunk of what we have to do, both in terms of teaching the next generation to sing and to understand why we need to learn to sing. In general, we all need to find ways of playing with people better than we are, and using those opportunities to get better ourselves.

How do we do that? As a place to start, visit parishes, monasteries, seminaries, etc. where those people are. Get to know them. Sing with them if they’ll let you, and see what you learn by worshiping with them at the psalterion or in the choir loft. Buy them coffee and ask them questions. That’s really hard when your parish isn’t anywhere close to anybody else, no question, so then you have to make it a point to attend gatherings of Orthodox church musicians so you can have a chance to get to know people. Go to choir conventions, sacred music institutes, liturgical singing seminars, symposia. That’s often not easy or cheap, but if you can’t afford it, ask for help, either from your parish as a whole or from individuals who are sympathetic. Present it as something along the lines of a mission trip, only for music. Hopefully they can at least get the costs down to something manageable. Better yet, if you can, bring at least one choir member with you so that they, too, can see that there’s a bigger world out there. Then, don’t stop there; start going to the things that will challenge you, and don’t just go to the events where your friends will be. (You’ll make friends at everything you go to, I promise.) You’ll learn even more that way. And when you do see your friends, don’t just revel in making a decent sound with somebody else who can make a decent sound; yes, it’s fun and feels great to bathe in a sound that’s resonant and in tune, but go beyond that. Force yourself beyond relaxing and enjoying so that you are listening and watching, and subsequently learning from what you hear and see. That’s how you get better, or at least that’s where you can start.

Now, if you’ll excuse me, Theodore wants to write some more “Alleluia” while sitting on my lap. Gotta start somewhere.

Review: Cappella Romana’s Tikey Zes: The Divine Liturgy of St. John Chrysostom

Having mused on some of the issues in the background of Cappella Romana‘s new recording, Tikey Zes: The Divine Liturgy of St. Chrysostom, now allow me actually to review the disc.

In 1991, Tikey Zes published a score titled The Choral Music for Mixed Voices for the Divine Liturgy that was intended to be more or less “complete” (with some abbreviations customary in West Coast parishes of the Greek Orthodox Archdiocese of America), with all eight Resurrectional apolytikia, the Antitrisagia (“As many as have been baptized”, “Before your cross”), variants for a Divine Liturgy of St. Basil, several patronal apolytikia for parishes, as well as variants for a hierarchical service. Although up to this point Zes had relied primarily on John Sakellarides’ simplifications of Byzantine melodies as his source material, for this setting he composed his own melodies, employing a variety of polyphonic textures and different kinds of counterpoint as well. The express intent, according to the CD’s booklet, is a musical style that is less a harmonized melody and is rather polyphonic in the sense that one typically means when describing Renaissance music. The score also uses organ accompaniment, but principally to accompany unison vocal lines and only occasionally being used independently of the choir.

Cappella Romana gave Zes’ score its concert debut in 1992, prompting him to revise and expand it in 1996, with the new edition dedicated to the ensemble. It is this new edition that Cappella presents on the recording; they have supposed the second Sunday after Pentecost, when the Resurrectional cycle of modes will have reset to the First Mode — the first so-called “vanilla Sunday” since before the Lenten cycle began — and they have also included the apolytikion for St. Nicholas in the place of the parish’s patronal troparion (Zes’ home church is St. Nicholas Greek Orthodox Church in San Jose, California). As with previous Divine Liturgy recordings, they present a good deal of the liturgical context, with the celebrant’s and deacon’s parts here presented by, respectively, Fr. John Bakas of St. Sophia Cathedral in Los Angeles (and who, coincidentally, is discussed at some length in this post from last week) and Fr. John Kariotakis of St. John the Baptist Church in Anaheim, California; in addition, parishioners of Holy Trinity Cathedral in Portland, Oregon are featured reciting the Creed and the Lord’s Prayer. Some things are abbreviated; unlike The Divine Liturgy in English, the 2008 Byzantine chant release, there is not the luxury of a double-disc treatment. Nonetheless, the presentation goes to some pains to be something other than another recording of disconnected, individual pieces of music; rather, this is a Divine Liturgy that happens to be using Zes’ score.

Let’s be clear: the music isn’t “Byzantine music”, and both Zes and the choir are well aware of this (despite a comment in the booklet that is easily misunderstood, and I’ll come back to that). My previous post covered just what the implications are of that, and I suggested that Greek American polyphonic choral music might better be understood as cousin of rebetiko — that is, a folk repertoire that comes into its own in a context of emigration. That’s one aspect, perhaps, of what Zes is doing, although he is elevating it considerably; this is maybe the equivalent of somebody writing a bouzouki concerto. He is taking the music he knows from the context of the Greek American choir loft — Desby and Sakellarides and so on — and re-articulating the ethos in the musical language of an artistic high point in Western sacred music. It’s as though the Byzantines who fled to Venice eventually managed to capture the attention of Monteverdi and convince him to convert and compose for the Orthodox Church — which, again, fits pretty well with the idea of a repertoire of émigrés (although I may be stretching the notion beyond its utility).

That isn’t to say that there’s something self-conscious about how Zes uses polyphony. I don’t get the impression that he’s saying, “Hey, let’s imagine what would happen if Italian Renaissance composers wrote music for the Divine Liturgy.” I rather get the idea of a very gifted and highly-skilled composer asking, no more and no less, “What’s going to be the best that I’m able to do for the service of the Church, and what’s going to be the most fitting musical vocabulary that I know how to use for such a project?” (I refer you back to my previous post for the arguments over whether or not that’s an appropriate question to ask in the first place; I’m reviewing the recording on its own terms.) The result does not sound like Tikey Zes “doing” Palestrina or Monteverdi; at least as sung by Cappella Romana, it just sounds like beautiful church music.

Now, to be honest, I have absolutely no idea if any churches use this particular score liturgically. Obviously lots of GOA parishes use Zes’ music (for that matter, so do Antiochian parishes), but I don’t know how commonly used this particular setting is. The disc suggests that the choir that could sing it properly would certainly be a luxury ensemble; while the responses and shorter hymns are kept simple, the liturgical high points are when Zes does not shy away from gilding the things he loves. I’m trying to imagine the parish choir that could sing the longer hymns like the Trisagion or the Cherubikon, both absolutely glorious pieces of choral writing, without it being an overreach. Which brings me to the one thing I’ll say in terms of the whole organ/choir question in this review — if I close my eyes and imagine the church in which I would hear this liturgy being sung, it’s King’s College Chapel with a dome and iconostasis. This is not necessarily a bad thing, musically — in fact, I’d go so far as to say, if you’re going to go the organ/choir route, if that’s really the aesthetic you want to embrace, then you need to do it at least as well as it’s done on this recording. Yes, my consultant was quite right, Cappella Romana does sing Zes’ music like it’s Palestrina — but that also sounds like that’s exactly how it’s written to be sung. If that means the sound is like Anglican choirs singing in Greek instead of Latin or Elizabethan English — well, fine, then, so be it. Run with it. But do it well. Because if you can’t sing it at least this well, then there’s no point in using it. If you’re going to use luxury repertoire like this in your parish choir, then your parish choir better be able to fight its weight. Otherwise it isn’t going to be pleasant experience for anybody, and it will be a distraction in church, drawing attention to itself by virtue of being badly done.

Now, maybe, this score could be said to be like the Rachmaninoff All-night Vigil, which was written as a concert piece but occasionally gets broken out for liturgical use for special occasions. I will say that the Fathers John, as the celebrant and deacon, are both exceptional singers, and the net effect of the two of them plus Cappella Romana is not unlike a Bach Passion, with the celebrant and deacon perhaps in the Evangelist role. That is, there is a sense of the Divine Liturgy-as-drama with what the two clergy bring to their “roles”, so to speak, with the choral ensemble commenting on the liturgical action. Lord knows there has been sufficient analysis of the Great Entrance alone as a “dramatic” moment that maybe that’s not altogether uncalled-for; what I would say is, if you’re going to go for that, make sure you have forces at the altar and in the choir loft that can actually do it.

I said earlier that this isn’t “Byzantine music”; the booklet might seem to suggest otherwise, with the very last sentence of Alexander Lingas’ essay apparently referring to the score as “thoroughly Byzantine”. However, Lingas is not here referring to musical style or compositional technique. He is by no means offering a psaltic apologia for Zes, arguing that the music is, in fact, actually in continuity with Byzantine chant if we would just listen to it the right way. He can be doing no such thing, since this very last section of the essay is his analysis of how thoroughly un-Byzantine the music is, with its imitative and invertible counterpoint, for example. The observation that Lingas is making is that, in spite of musical discontinuity with the received tradition that we have that is in continuity with Byzantine music, it is clear that Zes is re-articulating the ethos of the Byzantine aesthetic in a Western musical language. Zes, in other words, while he is using a different musical language than Byzantine music, is nonetheless bringing considerable technical skill to bear, using counterpoint and polyphony and organ to ornament and to expand and to demonstrate virtuosity where Byzantine music ornaments and expands and demonstrates virtuosity.

(Something that I think would be very informative would be a composers’ master class, where somebody like Ioannis Arvanitis and somebody like Tikey Zes could do a detailed analysis of their own settings of the same texts with the other person, to demonstrate explicitly for an audience as well as for each other just where the points of continuity are as well as the points of divergence. Perhaps there will be an opportunity to do something like that here.)

To make a brief point relating this disc to my previous two posts — I got the following comment in a note from a friend of mine about the Zes recording: “[…]it might actually be the most ‘American’ setting…with influences from various cultures (eastern and Western Europe like our own culture here), organ etc. the irony of course is that it’s not even in English.” Looked at from a standpoint of what we might call “acculturation” or cultural adaptation, then, yes, I’d agree — and even the retention of Greek is, in its own way, a very American thing to do, since we like to emphasize and privilege our “pre-American” heritage, even in — perhaps especially in — an American context. At the same time, going by Fr. Oliver’s analysis, then the impulse to “restore” Byzantine chant is also a very “American” thing to do, given our “restorationist” tendencies.

It is telling to me that Cappella Romana has dedicated a total of four discs over the last five years to recordings that present more-or-less complete settings of the Divine Liturgy — the 2-disc set The Divine Liturgy in English for Byzantine chant, and then the Michaelides and Zes recordings. All three of these releases strike me as “pastoral projects”, as attempts to change the game in terms of the ideal of sound that’s thought of as possible — Byzantine chant in English? Yes, it can be done perfectly well in English in a way that’s still perfectly acceptable Byzantine chant, and here’s how good it can sound, too. Greek American polyphony? Yes, actually, here’s some music in that genre you’re probably not doing that you should at least think about (the Michaelides), and here’s how the really good stuff by the composer you all say you like could sound.

All of this is to say, Zes’ score is a remarkable piece of sacred choral composition on its own terms, and Cappella Romana is up to its usual high standards in terms of presentation of it. I don’t mean “presentation” to only mean singing; it’s an extraordinarily well-sung recording by all involved. Rather, the care to use the recording as the opportunity to make the case for what its liturgical use could sound like (I hesitate to use the word “should”) is also remarkable, and a hallmark of the recording. Another hallmark of the release is an exceptionally informative booklet that provides the Greek and English text of the Divine Liturgy, as well as Lingas’ essay positioning Zes’ music in the context of Byzantine music, Orthodox music more generally, and Greek emigration to the United States. Again, I will leave the argument over whether or not it “should” be used liturgically, or even recorded by an ensemble by Cappella Romana for that matter, to others in other settings; I find it to be a worthy recording of some exceptionally beautiful music composed by a man who sincerely wants to give the best of what he has, and judge it on those terms.

A word about Cappella Romana’s Tikey Zes: The Divine Liturgy of St. John Chrysostom before I review it

“Although there now exist polyphonic choral settings of the Divine Liturgy by composers representing nearly the full cultural spectrum of Eastern Orthodoxy,” writes Cappella Romana‘s Artistic Director Alexander Lingas in the liner notes of their new recording, Tikey Zes: The Divine Liturgy of St. Chrysostom,

those produced by Greek American composers remain little known. Indeed, Orthodox Christians from Europe or the Middle East visiting Greek Orthodox churches of the United States are frequently surprised or even scandalized to hear the Sunday Divine Liturgy sung not by cantors employing Byzantine chant, but by a mixed choir singing harmonized or polyphonic music that is often accompanied by an organ. Viewed from such an outside perspective, Greek American liturgical choral music would seem to be little more than a peculiar — or, as some critics of polyphony would maintain, an ill-judged and extreme — instance of inculturation. While there can be little doubt that ideologies promoting cultural adaptation (or even assimilation) to prevailing cultural norms have influenced the development of liturgical singing in Greek America, emphasis on these aspects of its history can all to easily lead to facile dismissals that ignore its many complexities of provenance and expression.

Wow, that’s a mouthful for a CD booklet, isn’t it? And yet, there it is. As one tasked with reviewing this particular disc, I feel that I must unpack this a bit to give the recording proper context for people who may not be familiar with the issues to which Lingas refers. This is going to be rather subjective and impressionistic, but I think it all has to be said before I can write my review.

Who gets the final say of what constitutes what something “should” sound like? What is “authenticity”? What’s “authentically” American? What’s “authentically” Orthodox? What’s “authentically” “authentic tradition” or, more specifically, “authentic sacred music”? Can something be “authentic” to the “lived experience” of some Orthodox but not others? How do you work out the question of the authority to resolve such questions? We can appeal to Tradition — but interpreted by whom? Is it up to bishops? Bishops can be wrong. Is it up to musicians? Musicians can be wrong. Is it up to “the people”, whatever we mean by that? “The people” can be wrong. How do you deal with change within a rubric of Tradition so that you are neither unnecessarily reactionary nor unnecessarily innovative?

These questions are vexing for Orthodox Christians in this country. I didn’t really understand just how vexing when I first started attending services; I had initially thought that Orthodox musical issues were largely free of strife. (Stop laughing. Seriously.) I came from a high church, or at least sacramental and liturgical, Protestant setting where the jockeying was over pride of place in the  schedule between the spoken service, the “contemporary” service, and the organ-and-choir service. The church where I was going had had the music-free service at 8:30am, the praise band service at 10am, and then the organ-and-choir service at 11:15, and the demographics basically amounted to the blue-hairs (and the Barretts) going to the 11:15 service and all the young/youngish middle/upper-class families going to the 10am service. (All of the really old people went to the quiet service.) The priest really favored the 10am service, and the musicians who played for that service were the ones who had his ear; the organist and the choir were rather treated as a necessary evil at best by most of the 10am crowd (I remember that the guy who led the praise band wouldn’t even say “hi” to people in the choir if our paths were to cross), and in all fairness, the organist tended to act like the praise band people were in the way. (Which, again in all fairness, from her perspective, they kind of were, with amplifiers and instruments obstructing traffic patterns for the choir if they were left out.) It really meant that there were two different church communities, and you were defined by which service you attended. (Ironically, as much as the 10am people thought the 11:15am people were snooty dinosaurs, the 11:15am service was really pretty “contemporary”-feeling in retrospect, or at least pretty low-church. As somebody who had been confirmed in more of a high-church context, my Anglo-Catholic instincts tended to be smiled at but ignored.)

In 2004, my second year in the School of Music at IU, I was asked to write a set of program notes for a choral performance I was singing in of Gretchianinoff’s setting of the All-Night Vigil, outlining the liturgical context of the service. I did the best I could with what I thought I knew at the time, and I included the following discussion of the a cappella tradition within Orthodoxy:

Historically, instruments have no place in Orthodox worship; organs are a recent development in some Greek parish churches in the United States, but those are generally examples of communities that have moved into pre-existing buildings that already had organs, and then simply adapted to what was there.

My first glimpse into just what disagreements there could be over Orthodox church music was when Vicki Pappas, the then-National Chair of the National Forum of Greek Orthodox Church Musicians, came to the Gretchianinoff concert. She talked to me about the notes afterward and said, “Very good on the whole, Richard, but that’s just not true about organs. Greeks love their organs, and have built many churches with the intent of having them.” That seemed quite contrary to what I had been told up to that point about a cappella singing being normative, and I wasn’t clear on where the disconnect was. Little did I know.

Last year, the Saint John of Damascus Society was asked to write a script for an hourlong special on Orthodox Christmas music that would have been aired on NPR. I wrote the script, but for various reasons the full program shrunk down to a segment on Harmonia instead. Anyway, as I was writing the segment and assembling the program for it, one of the people I was consulting with objected to Cappella Romana‘s recordings being used for some of the contemporary Greek-American polyphonic composers like Tikey Zes. “They sing Tikey’s music like it’s Palestrina,” this person told me. “Real Greek Orthodox choirs don’t sound like that. Let me get you some more representative recordings.” The problem, though, was that the recordings this person preferred weren’t really up to broadcast quality. They were more “authentic” to this person’s experience of how the music is used in church, but they were problematic to use in a setting where one needed to put the best foot forward.

Coming from an Anglican background, this struck me as an odd criticism, and it still does. My church choir in Bellevue didn’t sound anything like the Choir of King’s College at Cambridge, but I would certainly rather give somebody a King’s CD if I wanted them to get an idea of what Anglican music sounds like rather than get an ambient recording of a service of my old choir. Is it representative of what it “really” sounds like? Is it representative of what it should sound like? I can’t definitively answer either question, but it’s the ideal of sound I have in my ear for that repertoire. Whether or not the average parish choir sounds like that isn’t really the point. Still, that’s an argument that doesn’t satisfy the “lived experience” criterion.

At the same time, the presence of robed choirs and organs means that there’s some jostling that happens with people for whom the Orthodox Church’s traditional repertoire is chant, period, with opinions strongly held on both sides. There’s the issue that the Ecumenical Patriarchate issued an edict in 1846 forbidding the liturgical use of polyphonic music, and I don’t think that anybody denies that this exists, but it seems to me that there’s a good deal of disagreement about just what it means for American congregations in 2013. In any event, the fact that Orthodoxy still usually follows the one-Eucharist-per-altar-per-day canon means that you can’t split a church community along musical lines exactly, but nonetheless the solution in a lot of places is to institute aesthetic fault lines between services. Generally, what this looks like is that that Matins/Orthros is the domain of a lone cantor (or two or three) up until perhaps the Great Doxology, at which point it’s taken over by the choir. This interrupts the intrinsic unity of the services as they are intended to be served according to present-day service books, but it’s a solution. Speaking personally, I have put a good deal of time and effort over the last several years trying to become at least a competent cantor, and I’ve experienced the glory that is Orthros and Divine Liturgy being treated as a seamless garment sung in one musical idiom by the same people throughout, but I’m also not fundamentally thrown off by the presence of a polyphonic choir singing polyphonic repertoire.

While I’m thinking about it — I was surprised to discover that there is not, exactly, agreement over what exactly constitutes “Byzantine chant”. As I was taught, “Byzantine chant” indicates a particular process of composition of monophonic melodies for Orthodox liturgical text, employing a particular musical idiom with its own relationship to the text, theoretical characteristics, notational system, vocal style, and practice of ornamentation, informed by oral tradition (or, to use words perhaps more familiar to Western musicians, “performance practice”). In other words, it is not a fixed, bounded repertoire, but rather a living tradition; you can compose “Byzantine chant” for English texts by following the compositional process and sing the result with the proper style and performance practice. For English, this perspective probably prefers the work of Ioannis Arvanitis, Basil Crow, Papa Ephraim at St. Anthony’s Monastery, John Michael Boyer, and the like. This is also essentially the point of view presently taught at Holy Cross Greek Orthodox School of Theology by Dr. Grammenos Karanos (more about them here).

At the same time, I’ve encountered the point of view — from both cradles and converts, people who are theoretically knowledgeable and people who aren’t — that that’s not Byzantine chant at all. Byzantine chant, according to some, actually is a fixed, bounded repertoire for Greek and Arabic; for one reason or another, so this point of view goes, a fresh setting for an English text might be a number of things, but it isn’t Byzantine chant anymore. (Either because the compositional process is imperfect for English, doesn’t work at all for English, or is irrelevant in the first place, depending on to whom one speaks.) The whole idea of formulaic composition here is set aside; it’s the melody that already exists that’s important, not the relationship of the melody to the text by way of those melodic formulae, and that melody needs to be preserved for it to still be “Byzantine chant”, even at the expense of proper formulae or orthography. This perspective would find, for example, Fr. Charles Baz’s transcriptions of the Basil Kazan Byzantine Project into Byzantine notation not just acceptable, but preferable to the work of the composers mentioned above.

And then there are still other “sides” within what I’ve outlined above. The bottom line is, there is more than plenty to argue about where music is concerned. For my own part, I try to be a specialist but not a partisan, and I think context matters. I don’t think that means “anything goes”, but to the extent that traditions of liturgical crafts have historical contexts (even Byzantine chant!), I’m not sure how much it accomplishes to pick fights. Part of the problem, as I’ve experienced myself, is that there aren’t a lot of people who are sufficiently well-trained Western musicians and Byzantine cantors, such that they can adequately participate in, or even comprehend or relate to, both contexts. There are some, but not many, and there’s generally not a lot of interest on the part of one “side” in learning about how the other “side” does things. I am able to go back and forth between the psalterion and the choir loft to some extent — I suppose I’d say I’m equally clumsy in both contexts — and I’m interested in what goes on in both, but I have my own opinions that I bring with me, certainly. (You don’t say, you’re both thinking.) I don’t like the hodgepodge of whatever random music might be thrown together that it seems to me that the choir loft can become. I don’t like a structure of liturgical responsibility that effectively tells a cantor, “We want you to cover all of the services that nobody comes to” (let’s be honest here). At the same time, if “Byzantine chant” is understood principally as “what the old guy whose voice is nasal and can’t stabilize on a single pitch, and who should have stepped down 25 years ago but didn’t because there wasn’t anybody to take his place, does before Divine Liturgy”, then that’s its own problem, one that we cantors need to be proactive about fixing. In general, we church musicians, cantors and choristers alike, need to be a lot more proactive about, shall we say, reaching across the nave and educating ourselves about our own musical heritage and where the stuff we might individually prefer actually fits in.

Okay, so then there’s the question of how an ensemble like Cappella Romana fits into this picture. As a professional choral ensemble that specializes in a particular kind of repertoire — Orthodox liturgical music in all of its variety — but one that is also led by a Greek Orthodox Christian and that has a substantial, though not exclusive, Orthodox membership on its roster, what is their role? Do they have a responsibility to follow a particular ecclesiastical agenda, even though they’re not an ecclesiastical organization? To put it one way, is their job descriptive or prescriptive? Are they a de facto liturgical choir that is only to record and perform in concerts the music that “should” be done in churches? Or, as a performing ensemble first and foremost, are they perhaps the kind of ensemble that should be exploring repertoire like Peter Michaelides, medieval Byzantine chant, Fr. Ivan Moody, and so on? Maybe they get to be the King’s College Choir, as it were, that records and performs things that would likely never be used liturgically, nor be appropriate to be used liturgically. But then, just as the Choir of King’s still sings daily services, Cappella has its “pastoral” projects, like The Divine Liturgy in English, where they are most definitely trying to disseminate an ideal of sound for churches to emulate. Alas, in some circles this argument of a two-sphere approach generates the the rather grumpy insistence that “Orthodoxy doesn’t do art”, or at the very least that art is a luxury that Orthodoxy cannot afford in in its current context in the New World. To me, that’s absurd, but as I have my own Orthodox artistic music project in the works, perhaps I’m not the most objective of critics where that point of view is concerned. At the very least, even if one is to ultimately dismiss liturgical use of the repertoire, I might suggest that Greek-American choral repertoire, not unlike the Greek idiom of vernacular music known as rebetiko, is worth understanding on its own terms at a musical and sociological level. (If you’re wondering what I mean by that, a full discussion is perhaps beyond our present scope, but I might submit that Greek American choral music, like what I understand is the case with rebetiko, can be seen as essentially a folk repertoire born in a context of emigration.) At any rate, thank God that it’s an ensemble like Cappella Romana taking it on, where the leadership and at least some of the membership have an intimate understanding themselves of the various elements at play.

And finally to the CD itself, which, because of the reasons mentioned by Lingas in the essay and what I discuss above, is in the unenviable position of not being able simply to be a recording of sacred music, but rather a recording that must be interpreted as a statement of something by people who don’t want the music contained therein legitimized, AND by people for whom this is the right music, but the wrong way to sing it. Jeffers Engelhardt, can you help me out here?

Well, to give you a capsule review (full review will be in the next post, now that I’ve got all of this stuff off my chest), if you come to the disc without needing it to be a statement of anything in particular, you will find that it is a beautifully-sung recording of some gorgeous music. The essay in the booklet about the music’s historical context is fascinating, both for what it says as well as what it doesn’t say. And yes, Cappella sings Tikey’s music like it’s Palestrina, and you know what? It sounds glorious. So, “authentic” or not, works for me.

Be right back.

“Always start out with a few good jokes” — a choir director’s initial and parting thoughts

I had my last rehearsal with the All Saints choir last night, and I gave a little bit of a farewell speech. I found some prepared notes from my very first rehearsal with the All Saints choir seven and a half years ago, and they still seemed relevant, if clearly pre-dating some things that I’ve learned in the intervening time. I prefaced all of this by mentioning that my favorite quote from my teaching evaluations this fall was, “Needs dumbed down”, which I find wonderful on several levels. Anyway, I didn’t read all of this last night, just some select chunks, but here’s the whole thing:

2 July 2005, All Saints Choir Rehearsal #1

Always start out with a few good jokes:

Music vocabulary—

Bar line: A gathering of people, usually among which may be found a church musician or two (usually Episcopalians).

Tenors: Most choirs have either a) none, or b) too many. When wholly absent they leave an aching void. When too numerous, they fill the void without removing the ache. Tenors rarely sing words and often produce regional sensations rather than actual notes. During the mating season, they draw attention to themselves by sustaining high notes while the rest of the choir has gone on with the phrase.

Seen in a church bulletin: “At the evening service tonight, the sermon topic will be ‘What is hell?’ Come early and listen to our choir practice.

The Scriptures on singing in worship

Romans 15:9—And that the Gentiles might glorify God for his mercy; as it is written, For this cause I will confess to thee among the Gentiles, and sing unto thy name.

1 Cor 14:15—What is it then? I will pray with the spirit, and I will pray with the understanding also: I will sing with the spirit, and I will sing with the understanding also.

Ephesians 5:19—Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord

Colossians 3:16—Let the word of Christ dwell in you richly in all wisdom; teaching and admonishing one another in psalms and hymns and spiritual songs, singing with grace in your hearts to the Lord.

Hebrews 2:12–Saying, I will declare thy name unto my brethren, in the midst of the church will I sing praise unto thee.

James 5:13—Is any among you afflicted? let him pray. Is any merry? let him sing psalms.

The Church Fathers on singing in worship

“Let us consider the entire multitude of angels, how standing by you they minister to his will. For the Scripture says: ‘Ten thousand stood by him and a thousand ministered to him and cried out, ‘Holy, holy, holy is the Lord of Sabaoth, the whole creation is full of his glory.’ (Isaiah 6:3) Let us, therefore, gathered together in concord by conscience, cry out earnestly to Him as if with one voice, so that we might come to share in his great and glorious promises.” (St. Clement of Rome (c. 96 A.D.), First Epistle to the Corinthians, italics mine)

“…you make up a chorus, so that joined together in harmony, and having received the godly strain in unison, you might sing in one voice through Christ to the Father, so that He might hear you and recognize you through your good deeds as members of His Son…” (St. Ignatius of Antioch (c. 100 A.D.), Epistle to the Ephesians, italics mine)

“We want to strive so that we, the many, may be brought together into one love, according to the union of the essential unity. As we do good may be similarly pursue unity….The union of many, which the divine harmony has called forth out of a medley of sounds and division, becomes one symphony, following the one leader of the choir and teacher, the Word, resting in that same truth and crying out, ‘Abba, Father.’” (St. Clement of Alexandria (c. 200 A.D.), Protrepticus)

A modern Christian writer on singing in worship:

All quotes from Why Catholics can’t sing by Thomas Day.

“[T]he sung ritual [is] a symbol of a burning faith […] The [sung] liturgy in any language [is] the symbol of faith so intense and filled with joy that it [has] to burst forth in almost continuous song.”

The Great Unwritten Law of Church Music: “[M]usic for the church must not clash with the liturgical function; it must take its place in the objective liturgical setting and not seem like an intrusion. [It] must display a degree of quality and craftsmanship which will be agreeable to a prince and peasant, male and female, young and old. Everyone who […] hears the music must sense a group endeavor, a group prayer: maybe something performed by the assembly or by a choir acting in the name of the assembly […] that seems to sum up the highest religious aspirations of a whole people. [T]he icon painters [pray] and [fast] as they [struggle] to put the holy images into the exacting forms prescribed by tradition. You must try to do something similar.”

Music in the Church is best when it “(1) expresses the noblest aspirations of the communal, cultural, tribal consciousness and (2) seems to submit to the higher purposes of the rite itself.”

So, what does this mean for us?

As an Orthodox choir, our job is not to sing one or two “anthems” or “offertories” at specific points in the service as in a Protestant church. Our job is to help the congregation sing the entire service. With a 90% sung liturgy lasting close to an hour and a half, that’s no small feat. We sing liturgical music, which means we sing the music that comes out of the work of the people (the literal meaning of “liturgy”) [NOTE, 21 Dec 2012: this is the main spot where obviously my thinking has changed, and I would find a different way of putting this today]. That means, simply put, our worship is work. Given our leadership role in the work, our job is not to be individuals who just happen to stand in a different place in the nave from everybody else; our job is to lead the rest of the congregation into the ideal of “one voice” in worship. By definition, to do this takes time, effort, and commitment to taking that leadership role seriously.

It also takes the choir functioning as a community within the community. From one perspective, the expectation is quite high: we’ve gotten up early so our voices haven’t completely woken up yet, and if we’re receiving the Eucharist we haven’t been able to do the normal things that help get the throat and vocal cords going the way they need to—drink water, coffee, tea, eat something, and so on—but we still have nearly an hour and a half worth of singing to do, more if we’re singing in the Matins service. The only way we can do that well, not to mention healthfully, is to support each other, personally and vocally, so that no one person in any section is carrying everybody else for the entire Divine Liturgy. What it takes is simply time, effort, and commitment from all who are willing to give it. It’s that difficult and that easy.

To that end: In consultation with Fr. Athanasius, while I am directing the choir, we will take the following steps:

1) Incorporate the choir into Saturday evening Vespers for the four-part portions of the service, and rehearse either before or after Vespers. We will try rehearsing after Vespers for the time being; we might very possibly try it before Vespers if it is found that this works better all around. I have deliberately scheduled the rehearsal around an already existing service, and I will never take up more than an hour of your time at any given rehearsal. Ideally, there will be rehearsals where my agenda for the evening will take up less time than that, and we will only continue through to the end of the hour if there is something that the group wishes to work on. These rehearsals will consist of a combination of vocal warm-ups, sight-singing warm-ups, announcements, polishing music we already know and learning new music. The balance of these various components will vary from week to week, based on the service requirements for that week and coming weeks.

2) Warm up as a group either at 9:35am on Sunday morning or after the Matins Gospel, whichever comes first. Starting Sunday, 17 July 2005 (that’s two weeks from now), this will be the skeletal minimum with respect to my expectation of you if you intend to sing that morning. If you cannot make a Saturday evening rehearsal at this time, then I absolutely need you to warm up with the group Sunday morning. For those of you who sing in the Matins service, we will devise a regular rotation so that one week you may finish out Matins, the next week you will warm up with the choir, and so on.

3) Gradually phase out the use of soloists for verses and replace them with unison chanting. We will talk about this more as we go, but for Psalm verses and whatnot, I would like to see an alternating “left choir/right choir” approach, where perhaps the women sing one verse, the men sing the next verse, etc. We will experiment with this over time to see how it best works with this group. The vocal and acoustic circumstances are simply not ideal for solo voices, and where it is practical to use an ensemble, we will.

I will also do the following:

1) Put out a calendar outlining rehearsals and services coming up a month out (perhaps two months out, if I find that it’s necessary). If you know you won’t be at a rehearsal or a service, please sign out on the calendar. Additionally, if you plan to attend a service or a rehearsal, should something happen at the last minute preventing your attendance please call me or e-mail me as soon as you possibly can so that I know what to expect for that rehearsal or service. I offer you all the same courtesy—if something happens to me, I will let you all know as soon as I possibly can.

2) Make myself available for work outside of regularly scheduled rehearsals and services. For example—if you need help with something musically, want extra sight-singing practice, if the tenor section needs extra help and wants a section rehearsal, if you need to talk to me about something privately, or if you just want to chat, please give me a call or send me an e-mail and we will find time to do so.

3) Make rehearsals as fun as I possibly can. I want you all to want to come to rehearsal, not feel like you have to come, which in my experience will only ensure that you want to come even less. I want our rehearsals to be a friendly, positive working environment, because I think we’ll all get more done that way.

My final point for now is this: a no is as good as a yes, as far as I’m concerned. If, after hearing all of this, you are thinking to yourself, “He’s going to have to count me out,” that’s fine. I’m not mad at you, and neither is anybody else. What I ask, however, is that you not make a snap judgment now. I ask that you give it some time to see how it will work—perhaps you’ll surprise yourself.

I believe this is a group who is capable of a lot. If we can commit to putting in the time and the effort, and remember that this is not about us but about the glorification of God, I believe we will be able to accomplish a lot.

Okay, I’m done talking now. Let’s sing.

I also mentioned some passages from +BASIL’s essay, “The Ministry of Church Singers”. I think parts of this have to be contextualized as a bishop being pastoral and pious, but there are nonetheless some things he says unequivocally:

There are few ministries of the Church that require the devotion and the dedication that church singing does. You who lead the singing as well as you who follow the leader are precious gifts to your parishes. You are as important to the parish as is the holy table itself. As there can be no liturgy without the holy table, there can be no liturgy without you. This is not to compliment you or increase your pride, but rather to put a little fear and awe in you, so you know what your responsibilities are. Church singing is not a hobby. Being a choir director is not something one does for personal fulfillment. It is first and foremost a duty, a duty of those to whom God has given musical talents. It is sinful, in my opinion, for someone not to sing who has been given the gift to sing. Sinful! You join the angels, and do that which the angels do perpetually. That’s not an interest, avocation, or a hobby; it is a duty. Angels were created to serve and to praise, and you have been given voices for that same purpose.

[…] It’s a holiness. It’s not your ministry. It’s a ministry that belongs to the Church, and you respond to the call as well as recognize that the gift which you specifically fulfill in the church was, traditionally, and in some sense still is, an ordained ministry. The choir was not some club that existed in Church for those with some particular musical talent. To be a church singer was an ordained office within the Church. Canon 15, from the Council of Nicea, the Council of the 4th century, makes its point clear that only canonical singers should be appointed for that kind of ministry in the Church. That means “one set apart” for that particular ministry. Today we might call them Readers. While I’m not saying that every choir member must be a tonsured Reader, I do say that if we fulfill at least the spirit, if not the law of the Canon, that each choir member ought to see his/her participation in the choir as seriously as the ordained clergy take their ministry. I don’t know any priest who thinks that he can say on some Sunday, “I don’t want to serve because I want to sit with my wife,” or, “I don’t feel like serving today,” or, “I’m angry, one of the altar boys offended me, so I don’t want to serve this morning.”

[…] We jump in and we jump out. Some of us jump in on time and some of us jump in a little bit late. In my opinion, being in church for that first “Amen” is a sign, an indication of one’s humility. And where humility is, indeed, a virtue, its opposite is a sin. The sin is not disturbing other people. The other people in the church are not the object of our worship. It is rude, but not necessarily sinful, to disturb other people. But it is sinful to be presumptuous and prideful that one can jump in and sing with thousands of archangels and ten-thousands of angels at one’s own whim. “This Sunday I feel like singing, and next Sunday I won’t sing. I want to sit with my wife.” Leave that Hallmark—card kind of sentimentality for restaurants, concerts, and cinemas. You sing with angels, that’s secondary to sitting with any husband or wife or children. We stand before the throne of God, and when we realize that, every other consideration, all of our own personal likes and dislikes, become secondary. I’m giving my opinion now, and hopefully it humbles all of us. It’s a humiliation, that in its end, should be something that elevates us, that exalts us, something that gives us wing.

[…] You and your choir need be as aesthetically perfect as you are able. God not only expects, but He accepts only our best.

As I said to the choir last night, I’m a convert, not a cradle, and every convert brings with them some baggage from their previous experience. My background is one that places a high value on liturgical beauty and music, and that value is practical, not just theoretical. Church music is a profession. It is not unheard-of for church musicians in my former communion to have terminal degrees and to have half-time, if not full-time, salaries. While I have always known that such a set of circumstances would never even come close to being reality at All Saints, I have always tried to fulfill the musical function at All Saints as though those were the expectations of me — and I should stress the “of me” part, because certainly the point was never to turn the All Saints choir into an opera chorus. Rather, the point was that, if I was excited about what I did and took it seriously in the way +BASIL describes, hopefully everybody else would catch the spark, too, and get excited about it along with me. It was an experiment to see if one could build a fully-functioning music ministry at the only Orthodox parish in a town that was home to a Big Ten university and one of the best schools of music in the country. I’m happy that the experiment has borne fruit, even if it won’t specifically be attached to the parish anymore. All told, this (as well as the ongoing annotation and discussion of it here) represents a pretty good snapshot of my thinking of how the effort worked, and how I would approach such a project if I were to start afresh now.

Δόξα τῷ Θεῷ πάντων ἔνεκεν. As always, we’ll see what happens next. I thank All Saints, Fr. Peter, and those who sang with me for the chance to serve over the years, I hope that I was able to communicate some small element of what I love about our Church’s music despite all of my own faults and foibles, and I wish all of them, as well as whomever my successor will be, many blessings. Again, I crave your prayers for myself and my family as we make this transition.

Review and a mini-interview: Dr. Sam Cohlmia, Byzantine Chants to the Dormition of the Most Holy Theotokos

Blogging has been light the last couple of months for what I hope are obvious reasons. The new school year starts up the week after next, so we’re all going to have to start making the adjustment back to the normal swing of things soon, so hopefully I can catch up then on some posts I’d intended to write over the summer but didn’t. (Of course, there’s also the matter of qualifying exams needing to happen sometime in the next twelve months.)


In the meantime, Dr. Sam Cohlmia, protopsaltis of the Antiochian Diocese of Wichita and the Midwest as well as St. George Cathedral in Wichita, was kind enough to send me a review copy of his new recording, Byzantine Chants to the Dormition of the Most Holy Theotokos. It contains many of the festal hymns for the Feast of the Dormition, with Dr. Cohlmia as solo cantor throughout (and providing his own isokratima via the miracle of modern recording technology).

The disc is fairly evenly split between English and Arabic, with Dr. Cohlmia using the Holy Transfiguration Monastery Menaion for most (not quite all) of the metered hymns (prosomoia), and Nassar (apparently modified in spots) for the non-metered hymns as well as the stichera at the Praises. In terms of musical sources, Dr. Cohlmia is using Arabic scores by composers such as Mitri El Murr and Andraos Mouaikel, and adapting those into English himself. The melodies for the Lamentations are a bit of a puzzlement to me — not necessarily on this disc, but in general — since what’s sung here represents the third set of permutations that I have been told are the “authentic” Antiochian melodies, so I’m not sure what that means.

There is a great deal to like on this disc; Dr. Cohlmia has a clear and lovely voice, and handles the vocal requirements of both languages nicely. Although Lebanese-born, his sung English diction is excellent, and all the texts sound smooth and natural throughout. He is able to bring a good sense of style to the presentation; while his approach as a solo cantor makes for a different realization of “Antiochian style” than one hears on, say, The Voice of the Lord (which represents the chant tradition of the Patriarchate of Antioch applied to an English-language choral context), the two recordings clearly share and are honoring the same heritage. That said, some of the differences in approach are evident in spots where the recordings are using the same melody — for example, in the Kathismata for both feasts, the nenano melody “Κατεπλάγη Ἰωσήφ” (“Joseph was amazed” in the HTM books) is employed, and the contrast between the choral and solo realizations is subtle, but interesting.

One thing that both recordings do that’s particularly nice for learning purposes is proper use of metered model hymns. This is a system that can be a bit opaque for cantors who are having to cut their teeth in the Antiochian Archdiocese; neither Kazan nor Nassar make note of their use, Nassar is unmetered anyway, and Kazan just writes them out and shoehorns the texts into them without telling the singer that that’s what’s happening. For metered translations one must turn to the Holy Transfiguration Monastery books, which seems to have something of a “Don’t Ask, Don’t Tell” status in the Antiochian Archdiocese, and which also aren’t complete outside of the Menaion. A metered Octoechos doesn’t appear to exist, neither does a metered Triodion, and the Pentecostarion has been being revised and “due any day now” for several years. Even if you have metered texts, however, sources for the melodies are tricky. HTM’s book of melodies is a bit idiosyncratic in terms of musical material, and while Fr. Seraphim Dedes’ is better in terms of being better-grounded in “classical” sources (like the Irmologion of John the Protopsaltis), it’s harder to use with the HTM books because the melody titles are different — sometimes marginally so, sometimes significantly so — and the translations are idiosyncratic. It’s better, frankly, to just learn Byzantine notation and learn the model melodies out of the Irmologion, but then there’s the problem of not getting the sung tradition in addition to the notated tradition. There’s this site, and the recordings are instructive, but not exactly stellar. All of this is to say, Dr. Cohlmia’s recording, as with the Theophany School disc, provides an English-language model for realizing a nice little handful of the model melodies realized with metered translations, and that makes it useful as well as enjoyable and prayerful to listen to. I’m not clear as to why he doesn’t use the metered translation for the stichera at the Praises, and the model melody is quite a bit different from the one that’s in the Greek books (“Ὡς γενναῖον ἐν μάρτυσιν”, “As one valiant”), but the others employed are wonderfully practical learning tools.

Anyway, I’d love to get Dr. Cohlmia and Rassem El Massih in the same church at some point for a Liturgy, and perhaps I will. The CD can be purchased through the Wichita Chancery (details here).

I also present Dr. Cohlmia’s responses to some follow-up questions that he was good enough to take the time to answer. I find them very illuminating, and I appreciate the perspective he brings to the table. I will be curious to hear what others think.

1) How were you trained as a cantor?

I self-trained beginning in 1991 out of interest.  Being born in Beirut and going to church there and being exposed to excellent chanting, it was relatively easy for me to understand the melodies, since several of them are derived from the 11 basic Oriental melodies, such as Hijaz (Tone 6), Nahawand (Tone 5), Bayyat (Tone 1), and so on.  I was not formally trained to become a chanter, but simply practiced constantly.

2) For this recording, did you sing off of notated scores, or did you just have texts that you knew how to sing from memory? If notated scores, did you use staff notation or Byzantine notation?

I wrote the music for the entire Orthros service of the feast of the Dormition (in Western notations).  For some of those pieces of music, I simply transcribed the Byzantine notations from Mitri Murr’s arrangements in Arabic to Western notations in English.

3) How do you approach chanting in English differently from how you approach chanting in Arabic or Greek?

Chanting in English is rather tricky when compared to doing the same in Arabic or Greek.  In English, you have to be extremely careful with the pronunciation of the various syllables in addition to the lack of enough vowels makes chanting challenging.  In Arabic, especially, there are lots of vowels, and generally it is easy to chant words without placing particular emphasis on specific syllables (that’s simply a general statement, of course).

4) Do you have a sense of how Byzantine chant in the Patriarchate of Antioch is distinct from, say, under the Church of Greece or the Ecumenical Patriarchate? How do you see how you chant as being different from how a Greek cantor might approach it, if at all?

Overall, Arabic Byzantine chant in our patriarchate differs, in my opinion, than Greek Byzantine chant in the ecumenical patriarchate.  To me, Arabic chanting is certainly more melodic and, horizontal (if you will) than Greek chanting, which at times sounds choppy.  It simply flows better and sounds more soothing, although Greek chanting is very beautiful.  My chanting style is certainly more based on the Arabic, as I use Mitri Murr’s and Fr. Nicholas Malek’s arrangements as a guideline.  I do also have Protopsaltis Kharilaos Taliadoros’ anastasimatarion (in Greek), and it is beautiful, but not as melodic as the Arabic arragements.  The arrangements of Mitri Murr, and Fr. Malek (new arrangements), truly bring the words to life, as the music is written to mirror the words.  His work is very brilliant.

5) In week-to-week services at the Cathedral, what materials do you use? Are you using the chant books of Mitri El-Murr for Arabic, for example, or something else? What do you use for English? Kazan/Nassar? Or something else?

I put together the Typikon Notes from the Arabic and Greek Typikon each week for the Sunday services.  The text that I use is a combination of that from Nassar’s book as well as the HTM Menaion.  At times, if the text does not exist, and it is called for in the Typikon, I simply translate it into English.  So, we basically use the book of Nassar, HTM Menaion, HTM Pentecostarion, +Kallistos Ware’s Lenten Triodion, to name a few.  For chanting purposes, we use the Byzantine music project put out by the Archdiocese (for English) and Mitri Murr’s work (for Arabic).  Rarely would I use Taliadoros’ anastasimatarion (for Greek) unless there are Greek parishoners at Vespers or Orthros.

6) What’s your sense of how Kazan/Nassar have represented and transmitted Antiochian tradition for English-language Orthodox Christians? What could be better? What would you hate to see changed?

Kazan’s music, like any other individual’s music, is one representation of Byzantine chant.  It is certainly very simplistic, but good enough for the minimally trained or unfamiliar chanter.  Most “chanters” in the US are not true chanters, but singers instead, so that music works fine for them.  In my opinion, true chanters need to fully learn Byzantine music.  As far as Nassar’s book, it is alright for the most part, although there are a few mis-interpretations, where the English could be better.  The best work is HTM’s Menaion and Pentecostarion, since the interpretation in extremely accurate and the special melodies are perfectly metered.  As far as what I would hate to see changed, I would hate to see the Church lose its Antiochian tradition.  I would hate to see the music being watered down from the original humble Byzantine to the more dramatic and grandiose choral.  Don’t get me wrong.  The church needs the two, but there needs to be more emphasis on Byzantine chant, because it seems that it gets put on the back-burner at times.  Furthermore, chanters need to learn Byzantine chanting and music, in addition to preserving some of the Arabic used in the church (depending on the individual church).

7) What’s the future of Byzantine chant in our Archdiocese, as you see it?

Hopefully the same if not better.  I would like to see emphasis on Byzantine chanting at the various seminaries (not just Holy Cross), as well as Byzantine courses being offered for ALL chanters.  Any person who plans to approach the Psaltyrion to chant needs to have a good education on Byzantine chanting, which hopefully could be learned at some Byzantine school or course of some kind.


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