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Posts Tagged 'st. vlads'

Choral Masterclass and Workshop at St. Vladimir’s Seminary

I have been terribly remiss in posting about this; I got an e-mail about it just as I was making my way to Princeton last month, and I was quickly occupied with other things even once I was back.

Dr. Vladimir Gorbik, director of choral music at the Podvorye (“representation church”, the parish dependency of a monastery) of the Trinity-Sergius Lavra in Moscow, will be giving a masterclass and workshop at St. Vladimir’s 25-29 June. One must audition to be able to participate, and there are three ways to take part — as a conductor, as a singer, and as an auditor. There are four slots for conductors and 40 (10 for each voice type) for singers. Registration fees are $350 for the course and $250 for room and board on the seminary campus, which I have to say, is a fantastic deal for this kind of thing. Registration links and more information can be found here.

I’d love to go myself, but there are a couple of things that I will be occupied with right around that timeframe, one I’ve announced and one I haven’t yet. Nonetheless, this looks like it’ll be a great opportunity for any and all choral musicians with an interest in Russian Orthodox repertoire.

Here’s Dr. Gorbik’s choir singing Rachmaninoff’s Great Doxology:

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If you needed a gift idea for me…

So, because I know my loyal readers (both of them) are desperately wondering what in the world to get the man who always seems to buy everything well in advance of his birthday and/or Christmas, or are looking for a late nameday gift, I thought I’d pass this on:

The Case Against Diodore and Theodore: Texts and Their Contexts, edited with a translation and a historical and theological introduction by John Behr.

This is a landmark work, providing the first complete collection of the remaining excerpts from the writings of Diodore of Tarsus and Theodore of Mopsuestia together with a ground-breaking study of the controversy regarding the person of Christ that raged from the fourth to the sixth century, and which still divides the Christian Church. Destroyed after their condemnation, all that remains of the dogmatic writings of Diodore and Theodore are the passages quoted by their supporters and opponents. John Behr brings together all these excerpts, from the time of Theodore’s death until his condemnation at the Second Council of Constantinople (553) – including newly-edited Syriac texts (from florilegium in Cod. Add. 12156, and the fragmentary remains of Theodore’s On the Incarnation in Cod. Add. 14669) and many translated for the first time – and examines their interrelationship, to determine who was borrowing from whom, locating the source of the polemic with Cyril of Alexandria.

On the basis of this textual work, Behr presents a historical and theological analysis that completely revises the picture of these ‘Antiochenes’ and the controversy regarding them. Twentieth-century scholarship often found these two ‘Antiochenes’ sympathetic characters for their aversion to allegory and their concern for the ‘historical Jesus’, and regarded their condemnation as an unfortunate incident motivated by desire for retaliation amidst ‘Neo-Chalcedonian’ advances in Christology. This study shows how, grounded in the ecclesial and theological strife that had already beset Antioch for over a century, Diodore and Theodore, in opposition to Julian the Apostate and Apollinarius, were led to separate the New Testament from the Old and ‘the man’ from the Word of God, resulting in a very limited understanding of Incarnation and circumscribing the importance of the Passion. The result is a comprehensive and cogent account of the controversy, both Christological and exegetical together, of the early fifth century, the way it stemmed from earlier tensions and continued through the Councils of Ephesus, Chalcedon, and Constantinople II.

About the Author

Fr John Behr is the Dean of St Vladimir’s Seminary and Professor of Patristics, teaching courses in patristics, dogmatics and scriptural exegesis at the seminary, and also at Fordham University, where he is the Distinguished Lecturer in Patristics.

His early work was on issues of asceticism and anthropology, focusing on St Irenaeus of Lyons and Clement of Alexandria. After spending almost a decade in the second century, Fr John began the publication of a series on the Formation of Christian Theology, and has now reached the fifth and sixth centuries. He has recently completed an edition and translation of, and introduction to, the remaining texts of Diodore of Tarsus and Theodore of Mopsuestia. He has also published a synthetic presentation of the theology of the early centuries, focused on the mystery of Christ.

If, perhaps, you’re looking for something a little less spendy, the book on Ss. Irenaeus and Clement would also work. There’s also the amusing anecdote in which I see somebody whom I think might be an usher at a Broadway musical who actually turns out to be Fr. John Behr (to whom I’m still quite grateful for his encouragement, I might add, even if I didn’t wind up going to St. Vlad’s and even if I decided to not go with his more specific research-related questions… yet).

The Sander/Lapaev sessions, 1-4 August 2010

About six years ago or so maybe, while I, then a catechumen (sort of), was poking around the Internet in a reasonably ill-advised attempt to give myself an online crash course in Orthodox liturgical music, I discovered the website of a composer named Kurt Sander. His dissertation, The Musical Icon, sounded fascinating, but most importantly, he was working on a song cycle for tenor. At the time, I was hoping to put together a recital of song cycles by Orthodox composers — my godfather had written one for me, my friend Jonathan Wey was working on something, and John Muehleisen also had a cycle he had written for high baritone he thought he could rework for tenor for me. (The recital never happened, by the way, but it was a nice thought.)

Then I started reading through some of the scores of choral music posted on Kurt’s website. I didn’t exactly have a wide range of Orthodox musical experience with which to compare it, but it seemed like really nice, sensitively-set, singable music and the kind of thing that would be worth looking at more if I ever were conducting my own choir. Being who I am, I sent him an unsolicited e-mail asking where I might be able to find a copy of his dissertation and when his song cycle might be done.

I think I probably pestered him for about a year before he finally sent me a copy of his dissertation, and he also said that he would let me know when the song cycle was finished. I would have just bought a copy from ProQuest, except they didn’t (and still don’t) appear to have access to it to distribute.

In June of 2005, four months after my chrismation, the St. Vlad’s touring ensemble was coming through the Midwest. At the time, I was seriously considering trying to enroll at SVS for fall of 2006 for sacred music, and it seemed like a good idea to catch one of their stops. The closest they were coming to Bloomington was Cincinnati, however, and I found this out on the day of the concert. Well, turned out Cincinnati was a lot closer to Bloomington than I had realized, all of two and a half hours, and so I, Megan, the previously-mentioned Jonathan Wey, and our friend Paul Bauer all hopped in the car at the last minute and headed off to Christ the Savior Orthodox Church in Cincinnati.

While there, somebody walked in who looked really familiar, and I realized — hey! That’s Kurt Sander! After the evening’s proceedings were over, I went up and introduced myself. “Hi,” I said. “I’m Richard Barrett, the guy who was bugging you for a copy of your dissertation.” He looked blank for a moment, and then laughed. “Oh, yeah, I know who you are,” he said. “Nice to meet you.” We chatted a little bit, but before long we needed to get back on the road, so that was that.

A little over a year later, I was at the PSALM national conference in Chicago, and part of the program was a concert sung by the St. Romanos Cappella, including the music of Fr. Ivan Moody, Fr. Sergei Glagolev, Mark Bailey, and — what do you know — Kurt Sander. Hearing his settings actually sung by a choir and not just in the limitations of my own head, I started to get a sense of just what he had actually accomplished — they easily stood with the best of what was presented. He was actually there for the performance and the conference, and I made a point of saying hello.

That was the summer that Fr. Athanasius got his knees replaced so he could go start another mission retired from All Saints, and while I was planning the music for the dinner in his honor, I decided that doing Kurt’s settings of “O Gladsome Light” and the Prayer of St. Symeon would be nice to do with a quartet. This meant leaving some divisi out, unfortunately, but I had learned enough to know by this point that more than 4 parts was quite beyond where my full choir was for the moment. They turned out really beautifully even with the missing parts, and while things being what they were there was no way I would ever be able to use them liturgically at All Saints without big things changing, I made a mental note that this really was The Good Stuff. Even if it wasn’t “what everybody knows” (a very peculiar category of music I’m always hearing about, but which always seems to refer to different music depending on who’s talking), it probably should be, and this is where I was coming from in my brief mention of Kurt in the review of Cappella Romana’s Richard Toensing disc a couple of years ago.

In March of this year, I got an e-mail from Kurt, saying that in August he was moving ahead with a recording project of his music as well as that of Russian composer Gennadiy Lapaev, had funding to bring singers out for it, and would I be interested in participating? Well, that was a no-brainer. Once I knew for sure I was going to be in the States over the summer, I sent him my commitment letter. (Incidentally, this also opened the door for something else, which I hope to able to talk about here very shortly.)

On Sunday after Divine Liturgy, I hopped in the car and headed off to Northern Kentucky University, with no real idea what to expect beyond making music. Except for Kurt, I didn’t know if I was going to know anybody there — I had an idea of a few people who might be there, but I was going into unfamiliar territory, one way or the other.

As I walked into the NKU dorm to check in, the fire alarm went off. This involved standing out in the hot sun for 20 minutes while firefighters determined that somebody had burned popcorn. There were others standing outside who were chatting as though they knew each other and looked like they could plausibly be there to record Russian Orthodox choral music, but it was sort of the wrong context to try to insert myself.

Dinner, on the other hand, where there was air conditioning, food, and wine, was a much better context, and while as it worked out I really didn’t know anybody else there besides Kurt, by the end of the meal I had met several people. Gregg Staples from St. Andrew’s Cathedral (MP) in Philadelphia, Nicholas Androsoff from St. Nicholas Cathedral (ROCOR) in Montreal, Zhenya Temidis and Maria Greendyk from Holy Virgin Protection Church (ROCOR) in New York — and this was just for starters. There was also a non-Orthodox contingent, made up of NKU students and singers from the Cincinnati scene — Anna Egan, Will Huffer, Tim Oliver, and Tim Bruno were people I met from amongst this group.

A pattern perhaps emerges from the above paragraph, and it was clear pretty fast that amongst the Orthodox contingent, I was the only Antiochian (in the sense of AOCNA being my “home jurisdiction” — there was a Bulgarian woman there, Sasha Rascia, whose husband directs the choir at an AOCNA parish in Chicago), I was one of two New Calendar people (the other was a guy from an OCA parish in Cleveland), and everybody else was MP or ROCOR — I’m also pretty sure I was the only person whose principal exposure with the liturgical texts has been in English rather than Slavonic.

And you know what? I had a ball. The four days I spent singing, eating, and drinking with the crazy Old Calendar Russians were absolutely great, even if I couldn’t sing along with the 100 Greatest Russian Drinking Songs.

The music was glorious, and singing it with a 40-piece (well, 39) underscored for many of us just how glorious it was. Lapaev’s and Kurt’s music complemented each other well, and Lapaev even went so far as to say, at our last dinner together, that “Kurt Sander is the most talented composer in the Russian Orthodox Church.” Not “Russian Orthodox Church in America” or “Russian Orthodox Church outside of Russia,” but “Russian Orthodox Church.” Even for people who have known Kurt for years, there was an oft-expressed reaction of “I never knew what your music really sounded like before now!”

We got everything recorded in the 24 hours of recording time we had, which was a major accomplishment — we had received an e-mail from the conductor a week or so beforehand that told us cuts were likely, it was extremely ambitious to think we could get through all twenty selections in so little time, and if we didn’t already know our music by the time we arrived we were going to be sunk. Nevertheless, despite some pieces taking some more time than others, we still got through everything with a half hour left on the schedule. It remains to be seen if everything winds up on the finished product, but I felt like we were in pretty good shape at the end of the last session.

The conductor was Dr. Peter Jermihov, the conductor of the aforementioned St. Romanos Cappella, to whom I had been introduced once in passing at PSALM. He has a personal history with Kurt and his wife Larissa, but Kurt also made it clear from the get-go that musically, there was nobody else to whom he would want to entrust the direction of this project, and I can see why. Dr. Jermihov brought a lifetime of experience with the Russian choral idiom to the table, and was a fantastic, expressive conductor. He had some crazy ways of getting things across, but they worked.

The tenor section was a real joy to sing with; behind me was Gregg, the choir director from Philadelphia, a big man with a big beautiful voice. We got to know each other a bit; he had a goal to visit all fifty states by the age of fifty, and since Cincinnati is so close to the Indiana border I drove him to St. Leon, just a few miles across the state line. There wasn’t much to see there (particularly at 10:30 at night), and the picture didn’t exactly turn out so that the sign that said “Hoosier Liquor” was readable, but it was one more state for him and good company regardless. To my right was Nicky Kotar from the ROCOR cathedral in San Francisco (who is also the nephew of the priest at St. Nicholas Cathedral in Seattle, the very first Orthodox church in which I ever set foot). Nicholas Androsoff, the Montreal choir director, also sang in the tenor section, as did Scott Wyatt, a member of the NKU voice faculty who had a rather illustrious career on the operatic stage before becoming a voice teacher and a pastor. A lot of different kinds of voices, but I think we were able to sing together well.

I’ll also note that the bass section, between one Vadim Gan (apparently the protodeacon at the ROCOR cathedral in Chicago, and who sang the petitions in the Great Litany for the recording), Will, my suitemate Joseph Milos of Chicago, Kurt himself, and others, was a singularity. How is it that you can have a section where the second basses are droning away on a highly present low B flat, and yet it’s still possible for them to go flat in the course of a run-through? How in the world can there be room for it to sag any lower? And yet these guys had enough under there for that to be possible. Any chance I could convince any of them to move to Bloomington and switch to Byzantine chant? Probably not. Oh well.

Larissa, Kurt’s wife, was amazing, I have to say. She was functioning as the “project manager,” as often happens — Flesh of My Flesh has often been in the same role for my crazy schemes — as well as singing in the soprano section. The amount of work she put in during those four days was incredible, and I daresay her dedication to the project matched her husband’s. She was kind enough to give me Advil and supply me with Orthodox thank you cards (one of which went right back to her). I found out over the course of the stay that she is a music educator who works with young children, which perked my interest. I chatted with her briefly about the choir school idea; she seemed to get it, and even expressed some interest in helping me develop the idea further. We’ll see if it goes anywhere, but regardless, the recording effort would have been over before it ever begun without Larissa.

I had a couple of good conversations with Kurt while I was out there. He still hopes to finish the tenor song cycle, and he also talked about how he went with ROCOR when he converted because he felt it was necessary to receive the Tradition in an Orthodox cultural context, rather than as an abstraction over which any sheen could be laid. He said he struggled with that for a few years, but he’s become very much at home in a Russian cultural setting — “I feel like they’re my people,” he said. (I suppose it helps that his wife’s family is Russian.) We also discussed his music and the development of the recording project a bit  — in terms of assembling singers, he said that it was very important to him to have good voices, yes, but also to have singers who knew life at the kliros and who understood what this music meant. He filled it out from there with ringers as needed, but that was where he felt it was necessary to start. What’s interesting, and I told him this, is that while his music is obviously within a Slavic idiom, there are touches here and there where it’s going to be hard to know exactly what to do with it as a singer if you haven’t sung, say, Palestrina. “Yeah,” he said, “that’s my love of counterpoint coming out.” In this sense, I suppose this is where one can point to his music as a melding of styles. On the one hand, I’d be really curious to know what an Anglican choir might make of it, on the other hand, I fear that their approach would make it a bit sterile. Ideally, I guess you’d have singers doing it who can go back and forth between the Russian idiom and Renaissance polyphony. I think the mix of people we had made it work, but I also think that what he’s written presents some unique challenges. I must say that I would love to be able to present Kurt’s music in a liturgical context — but I’d also love to have a choir, a church building, and the kind of liturgical practice where it would be possible for it to fit in liturgically. All in good time, I guess.

It was interesting hearing perceptions of the OCA from some of the MP/ROCOR people; there were a couple of people who pretty consistently described OCA musical practice as “dry,” “white,” “flat,” etc. In all fairness, it was also pretty clear that these were folks who were quite accustomed to an approach that they called “with glory,” but might perhaps might strike OCA people as “bombastic.”

Which brings me to the following observation: there was nothing joyless, humorless, or austere about these people. It was pretty clear from watching them interact over food, drink, and song that the stereotype of Russian Orthodox as this cold, frowning, silent people is just not the whole story. The cultural context that Kurt was talking about isn’t sackcloth, ashes, brown rice, and harsh winters. For the after party Wednesday night, we went to an Austrian-themed brewhouse in Cincinnati that had an accordion band playing with drums and amplification — and between beers, vodka shots (courtesy Kurt’s father-in-law), laughter and drinking songs, the Russian Orthodox table drowned out the house band with ease. I’m not saying I know what they’d be like during Lent, but I think I definitely got a taste of what they’re like for Pascha.

My summer has been bookended by musical experiences, one with Greeks and one with Russians. I think for those of us who might specialize to some extent in a particular idiom but who are able to switch to another if need be, it’s a worthy thing to be able to lend support, build bridges and be a good colleague to all sides, at least as far as is possible. Being a specialist is fine; I’m not sure about being a partisan.

All in all, this recording project was a wonderful experience and a real blessing. I expect that it will take 1-2 years or so for the CD to actually come out, but I’m really looking forward to hearing it (although, as I told Kurt, ethically I can’t really write a review of it!). Details will be available here, of course, as soon as I have them. I hope for future collaborations with all of these people, whatever they might be. Larissa said as I was leaving on Wednesday that the way things such as this are really built on is through the connections that are made — we’ll just have to see what that winds up looking like. Thank you Kurt, Larissa, Maestro Jermihov, Maestro Lapaev, Jonathan (“JONATHAN!”) the recording engineer, and absolutely everybody else there who helped make this so memorable.

(And a very special thanks, before I forget, to Alix Ptichka for translating one of my thank you cards into Russian.)

St. Vlad’s symposium next week

A brief post for the moment (with a longer post coming) — anybody out there planning on going to the St. Vladimir’s Annual Summer Symposium next week? I am strongly considering going, last minute though it may be, and am curious who else might be there. Let me know.

That unwelcome guest known as Reality

So, grad school was going to be one thing when I would be able to start this fall, as a funded student, with roughly half of the coursework done. I could finish a Masters in 2-3 semesters, do so without having taken on a ginormous amount of debt, and be set up to move on to a PhD program, theoretically being able to have that done before age 40, depending on how long it took to complete my dissertation. Obviously, this scenario has not panned out, and from what I was told after the fact, was nowhere near ever being the realistic possibility which it was presented as by those giving me counsel (who, in theory, should have known what they were talking about, which is why I trusted them in the first place).

The possibilities which have been presented to me as my best bets from here are St. Vlad’s, Yale Divinity School, and Princeton Theological Seminary. What it boils down to is, as one person put it, “You’re going to have to go someplace where they aren’t freaked out by a music degree,” said degree evidently being seen as maybe slightly better than a G. E. D. in terms of preparation for a humanities graduate program. And, as reported here before, I’ve spent some time at St. Vlad’s and had some really encouraging conversations with their faculty.

However, the fact is that the options open to me from here are essentially “pay-to-play” venues. To use St. Vladimir’s as an example, tuition there is $10,000/year, and then housing for a married student is going to be in the ballpark of another $10,000. The maximum award St. Vlad’s gives out in-house (at least according to their materials) is a 50% tuition waiver, which still leaves one on the hook for $15,000 per year just to be there, to say nothing of books or other living expenses. Yes, I could go as a sponsored seminarian and bring that number down significantly, but the honest truth is that I cannot honestly acknowledge any particular call to the priesthood at this point, and would be going that route just to get somebody to pay for my education. Nope, no can do.

Another fun fact is that right now I’ve got somewhere around 30 graduate credits. By the end of this next year I’ll have close to 40. Guess how many of them will be transferable, wherever I go? Basically zero. I will have to start from scratch, which at St. Vlad’s at least will mean three years. Getting back to the financial aspect, that means potentially coming out of there with around $60,000 – 90,000 of additional debt — just for the Masters degree. Considering there’s a $120,000 cap on federal student loans for graduate students, that doesn’t leave a lot of wiggle room for the PhD. At all. Plus there’s the matter of the $38,000 I already have from my undergraduate days, plus the loans Megan has taken out as a graduate student.

The final nail in the coffin is that, while Megan in theory will be ABD after this coming year, we’re looking at the strong possibility of spending perhaps as much as two years in Germany for research purposes after she reaches ABD status. After that, there’s the likelihood that she would need to come back to Bloomington for another year to be able to spend some quality time with her advisor. This means even being able to start a program someplace is as much as four years off, meaning I’d finish a Masters at 38, perhaps. Depending on how long it takes to finish the dissertation, that would mean having the PhD done roughly in my mid-40s sometime. Maybe I’d be up for tenure by 50. That doesn’t exactly spell a long, fruitful working life as an academic.

I think the inescapable conclusion is that my only options from here for graduate school, given the way things have worked out (or not worked out, rather), are those which are going to be the most expensive in every way. This is simply not reasonable, rational, realistic, or responsible given my present circumstances, particularly not with the possibility of children in the near future being in the mix. Rather, the limitations which I have encountered, and which do not seem to be able to be overcome, make me wonder if it wouldn’t be more responsible for me to start saving now for the education of our children, even before they are conceived. I find myself in largely the same place where I was when I had to acknowledge that singing wasn’t going to work out — the options I’m left with would be far more feasible for a younger man with no attachments. The idea of being a scholar of Late Antique Christianity and liturgy was a nice fantasy and seemed to make sense given other factors, but I think the hard truth is that at some point, you’re either well set up to play the game or you’re not. The conclusions I reached in 2005 about what my strengths and interests actually were came about five to ten years too late to be able to go this route with any particular success — the irony being that I would have never come to those conclusions had I not gone after singing as long as I did. It just wasn’t meant to be, and I am at a point in life where I have to be honest, perhaps brutally so, with myself about what I can and cannot do from here. Batman may have no limits, but I sure do, and I can’t afford to not know them. Perhaps I could have been an academic, and a good one, but the tough reality with which I am faced is that it doesn’t seem possible to get there from here.

So, having established what I can’t do, what can I do? I have a degree which nobody really cares I have, including the institution which granted it, basically qualifying me to push papers, giving me a pretty low earning capacity in general. I have a background that demonstrates within five seconds that, depending on how you spin it, either I’ve failed pretty spectacularly at virtually everything I’ve tried to do, or I’ve had pretty spectacularly bad luck. I have obscure interests which don’t exactly set the world on fire. In many respects it seems like the best bet from here is to do what I have to until Megan’s PhD is done, she is gainfully employed, and we have kids, at which point I try to be the best stay-at-home homeschooling dad I can possibly be.

It’s hard to say; I guess we watch this space for details.

Fellowship of Ss. Alban & Sergius: More pictures

Just a note: pictures which are much better than what I was able to get of the Conference may be found here. The problem I consistently had was taking pictures while trying to not make a nuisance of myself, which usually meant trying to take them from a fair distance off using the zoom, but which also made the pictures fairly susceptible to the slightest shake of my hand. Anyway, most of these pictures were, I believe, taken by Sofia Lopoukhine, the St. Vlad’s staffer who really made the whole thing happen (at least from a participant’s perspective). I encourage you to take a look.

The moment you’ve all been waiting for…

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

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

RELEASE DATE: JULY 14, 2008

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

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

ABOUT THE RECORDING

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

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

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

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

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

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

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


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