Orthodox church music

[Alexander T.]

Hi everybody. I just read the new article about church music. Has anyone else read it yet? It seems really good.

I have one question, and may be someone can help me: The author of the article mentions "polyphonic" and "monophonic" music. But is Greek music really "monophonic?" It seems like there are harmonies in it too.

-- Alexander

[John Wilson]

From the article:
Singing an ison against a melody is already a polyphonic musical gesture.

John.

[John Wilson]

Personally, I find that the Byzantine form of chant or singing well expresses the joyful sorrow that is also present in icons. I have had the opportunity to hear the triphonic singing of the Georgian tradition as well as the tetraphonic tradition of a small orthodox community in the north of Moldavia (I think, alas I can't remember for certain) and both are inexpressably beautiful. In Georgia, however, there is a move by some bishops and priests (and chanters of course) to return to the Byzantine tradition because they believe it better expresses the joyful sorrow we know as we struggle together in the church militant. The Georgians are justifiably proud of their tradition for it is extremely beautiful, but there are those who feel that this pride is spiritually harmful and consider that as another reason to return to the Byzantine tradition. I had the pleasure of meeting a young chanter from Georgia some months ago when he came to Greece to spend some time on Mt. Athos, learning what he could of Byzantine music so he could go back and teach others. Eventually they wish to open a school of Byzantine chant in Georgia so that priests and chanters alike can learn if they wish.

I recently read the book "Elder Joseph the Hesychast". The esteemed elder was blessed a number of times in his struggles with visions of heaven, and in one of these he describes hearing inexpressably beautiful singing. His description reminded me of the Georgian tradition and I can't help but wonder if they give us a glimpse of the singing in the church triumphant.

Something else I think is appropriate to this topic. I read recently that the reason the scripture readings are chanted during the service and not simply read, is to safegaurd against the reader imposing his own particular interpretation of the passage being read by way of his emphasis and intonation. I had never come across this before and wonder if anyone else can shed light on this. Is this a tradition that was held in the Jewish temple and carried over into the church or is it specific to christianity.

John.

[Ryan Palmer]

John - I enjoyed your post. I'm just now reading the new article on chanting.

You wrote: I find that the Byzantine form of chant or singing well expresses the joyful sorrow that is also present in icons.

Do you think this is true more in byzantine chanting than in Russian chanting? If so, what are your reasons?

I'm very curious about such things.

ryan

[Ryan Palmer]

I have had the opportunity to hear the triphonic singing of the Georgian tradition as well as the tetraphonic tradition of a small orthodox community in the north of Moldavia (I think, alas I can't remember for certain) and both are inexpressably beautiful.

Did these retain their Byzantine flavor, even in "tetraphonic" form? Or were they more like Russian chanting? (which is also usually in four parts)

ryan

[John Wilson]

Ryan, I'm not certain that the Moldavian orthodox community (if they are indeed Moldavian, my memory is extremely fuzzy on this) has the same vocal tradition as the Russians although I suspect this is the case. However, since I have not had the opportunity to hear Russian chanting/singing I really can't answer. The Georgian tradition is very distinct from the Byzantine. I have only heard a little of the Georgian style (very beautiful and uplifting) so I am mostly going by what my Georgian friends have told me. I think the best thing if you are interested, is to try and get yourself exposed to as much of the various traditions as you can. It is something that is hard to convey unless you experience it yourself.

John.

[Kostas]

Hi everyone. I've really enjoyed reading the article on byzantine church music. I've been looking for something like this for a long time now. I was surprised to find it online!

I'm really interested to know what other people think about the idea that choir directors shouldn't be paid? This seems nice in theory....

I would also like to know if anyone has comments about how "reading" (chanting) a text is by a reader supposed to be emotionless and "straight," but by a choir should show the mood, festivity, and so forth. I'd like to know how this dichotomy appeared? (and when).

The article is wonderful. I don't know if the author will read these messages, but my thanks many times to him if he does.

--- KOSTAS

[John Wilson]

Kostas, my understanding is that the reading of the Gospels and the Epistles in church in "chant" is to safeguard against the reader placing, through particular emphasis of certain words, his own personal interpretation of the passage being read.

John.

[Moses Anthony]

Kostas,
One of my first responsibilities at Church was to read/chant. At www.orthodox.net/ustav (http://www.orthodox.net/ustav) you should find an 11 page missive to Readers. I think it is quite good.

My former priest once said this to myself, and to a deacon, "Remember, everyone is at a different point in their worship experience."

t.u.s

[Brian Fink]

Dear James,

I was looking for that article on orthodox.net and cannot find it but I am interested in reading it.

Chrysostom

[Deiniol Clarke]

Hey,

Well I wouldn't say that Greek Orthodox music was polyphonic - however it is in some ways. An exceedingly classic example of polyphonia, lies in the monotones of the gregorian chant, which of course, is used, or rather, "was" used in the Roman Catholic Church. I would say, rather we are monophonic - the underlaying tone of the music, moving together while at the same time, obtaining many different parts! <<That's GCSE course in music come in handy! hehe.

Yours in Christ,
Your brother Deiniol

[Felipe Flores Morelos]

I'm a mexican who is orthodox christian for almost 10 years now. At the nineties I was a dominican priest and was gregorian choir director for the University of St. Thomas Aquinas in Rome (So, I'm somehow sick of the "gregorian modes" living in my head). I also play clasic guitar and know how to read european music.

But now I'm happily orthodox and try to be "psaltis" in obedience to my bishop. But I cannot read bizantine music and find it rather difficult. So, I'm looking for two kind of things: first, I need urgently to have for all services, the music in european notation system for chanting in greek language (english translations are good but not resolving my problem, I must chant in greek but can only read european notation). I neet to know where can I buy corresponding books for that. And second, is there any method, book or way to learn how to read and chant bizantine notation without a teacher? I know that those are difficult questions but neccesary ones. The work we need is not only for me or for Mexico City Orthodox Church, but for all the greek or bizantine Churches that are in Latin America: Colombia, Cuba, Venezuela, Guatemala, etc.

Your help will be highly appreciated.

[John Wilson]

Christos Anesti! Christ is Risen!

This might be just what you need Felipe.
Byzantine Chant in European notation (http://www.church-music.co.uk/EOChant.htm)
It also has a manual on reading modern Byzantine notation over here (http://www.church-music.co.uk/reading.htm)

John.

[M. Rallis]

Christ is risen!

http://users.forthnet.gr/ath/frc/

This is the web address for Psaltic Notes Homepage. On this site you will find some beginning lessons in reading byzantine notation. But in addition to the theory, what you will really need is someone to learn from who can chant the scales properly, as the intervals between notes in the eight different scales, or tones, are not analagous to the western scale and are not reproducible on a piano, for instance. Perhaps you can work with your bishop, sort of like being an apprentice, learning from observing how he chants, the style, reverence, etc.

[M. Rallis]

Christ is risen!

Felipe: here is another web site regarding byzantine ecclesiastical music:

http://www.cmkon.org/index.htm

on this site you will find excellent examples of most hymns from vespers, orthros, and liturgy chanted in a very tradtional style. There is also much available on this site in terms of greek text with byzatnine notation, but not western notation. You should be able to learn by memorizing from this site, and get the different tones in you "ear".

[Victor]

I'm wondering if anyone can answer a question I have about Byzantine chant and the way it is performed. I've been listening to some recordings of Byzantine Chant and it seems that one of the hallmarks of this form of music is what seems to be a long "drone" note held for what seems like minutes during some of the chants. My question is: how do the chanters learn or train to chant such long notes? Are there any books available in English that explain the method of singing such long notes?

[Arsenios]

Dear Fr. Morelos -

Go to this page:
[Link] (http://www.byzantine-musics.com/WelcomePage.htm)

Click on: Byzantine Music Notation

You will find there the entire system of Byzantine notation, all laid out and explained, together with sound files illustrating it so you can hear it, and beginning to teach it both audibly and notationally...

!!!YES!!!

I cannot tell you how excited I am to find this page. I have been looking for it for about a year now... So I am a just a wee tad 'over the top' emotionally! Dispassion will follow despair as I get clobbered trying to sing it, no doubt!

Enjoy!

Rdr. Arsenios

[Sergei M. Fadeyev]

Do you think this is true more in byzantine chanting than in Russian chanting? If so, what are your reasons?

Concerning Russian chant
Just some food for thought...

We can't speak of the Russian chanting tradition without specifying the period, school or style. Such terms as "Byzantine (=Athonite) chant" or "Georgian chant" are much more distinct. In Russian church they practiced monodic singing (original znamenny raspev etc.), then came different ways of harmonization choral triphonic and polyphonic linear (especially for devestvo). Western influences (mostly since 18th century) brought Italian system and esthetics, which are most vivid in the liturgical and circa-liturgical music of the composers of the end of 18th and the beginning of 19th centuries (Bortnyansky, Berezovsky). It was further developed in the compositions of classical period, occasionally involving folklore themes (Tchaikovsky, Glinka etc.). This music often doesn't have even the slightest resemblance with the previous epochs and principles of znamenny chant. It was very arguable by many for its "operatic" style, "italian" vocals which are strikingly dissonant with the Eastern Orthodox liturgy. The first composer to use mixed choir (consiting of male and female voices) was Arkhangelsky in the last part of the 19th century. The changes took place in the transition epoch of the close of 19th century and the pre-revolutionary period of 20th century. They were connected with the opening of church tradition by the intelligentsia and development of "pseudo-Byzantine" and "pseudo-Russian" styles in art. These trends drew attention to the authentic aspects of the style, but in a completely different manner (as to compare "Stabat Mater" by Francis Poulenc to the original medieval material) (such composers of Chesnokoff, Rachmaninoff). This new manner solved the problem of the most dissonant features of Italian-like style and now it's widely used in Russian parishes (except Rachmaninoff, because of its "concert style", length and overwhelming complexity). But most wide-spread and regarded music today comes from monastery schools -- mostly Kiev Lavra and St Sergius Lavra. For Western Russia St Sergius Lavra music is the most custom. This is due to the specific conditions of the development of church culture during the years of official atheism when it was concentrated behind the walls of the few monasteries which also served as a school for choir directors. The most distinguished person of that period is archimandrite Matthew (Mormyl) who is still alive. He collected an enormous number of themes from the monasteries all over Russia, made harmonizations and arranged them into standard sets (obikhod). The modern way of singing 8 modes of Oktoich in the most Russian parishes and monasteries was defined by him as well. The end of 20th century caused a new wave of ascetic and pseudo-ascetic trends, inspiring the rebirth of znammeny chant in many places. Provided even the material is accessible the manner of chanting is sometimes very arguable. For example many recordings of Valaam monastery are very doubtful and "trendy", designed for the amateur, neophyte listener, making them commercially successful and wide-spread. In other words, renovated material lost its organic and natural manner of performance, its actual connection to life. In most parishes the use of original znamenny chants are almost unreal, because of their length and spiritually concentrated spirit, which is found very "drowsy". That's why most caring choir directors usually use various remakings though based on traditional themes.

Sergei.

[Irene]

A Documentary about the Church and it's music

http://www.bbc.co.uk/radio4/musicfeature/pip/srr3u/?focuswin

The Link was originally posted on one of the Orthodox groups that I belong to, but I've accidently deleted emails. ...Irene

[Elizabeth Riggs]

Kostas,
One of my first responsibilities at Church was to read/chant. At www.orthodox.net/ustav (http://www.orthodox.net/ustav) you should find an 11 page missive to Readers. I think it is quite good.


Actually, you will find the article HERE (http://www.orthodox.net/ustav/instructions-to-readers.html).

There also are a number of good articles for Readers HERE (http://www.saintjonah.org/services/).

Love in Christ,
Elizabeth

[Patrick Lee]

I'm wondering if anyone can answer a question I have about Byzantine chant and the way it is performed. I've been listening to some recordings of Byzantine Chant and it seems that one of the hallmarks of this form of music is what seems to be a long "drone" note held for what seems like minutes during some of the chants. My question is: how do the chanters learn or train to chant such long notes? Are there any books available in English that explain the method of singing such long notes?

Known as an ison. It may not be going on for as long as you think :). I've not tried it yet, but my chant instructor tells me that the trick is to take breaks at appropriate times.

[Patrick Lee]

Kostas, my understanding is that the reading of the Gospels and the Epistles in church in "chant" is to safeguard against the reader placing, through particular emphasis of certain words, his own personal interpretation of the passage being read.

John.

I think its true only to an extent. Within the tones there is enough flexibility that the Psaltis can be quite expressive. So, as I've been instructed, the Psaltis is at some small level responsible for teaching, and thus part of the reason that it is still a tonsured position.

Again, this is my understanding, as I've only begun to to study chant, and my head is so close to exploding with just the musical information after class, that I don't think I well retain all of the other information our teacher gives us.

BTW, there was a request for good resources for Byzantine Chant and Western notation, so here are a couple of good sites:

Book (http://www.kelfar.net/orthodoxiaradio/ByzBooks/divinehymnal.html) (in English, however), with Western and Byzantine notation.

St. Anthony's Liturgy Project (http://stanthonysmonastery.org/music/Index.html). Great books - a little pricey to print out at Kinkos, but not bad all in all. This, too, is intended to be predominantly English, but does have Greek as well. My understanding is that Elder Ephraim is an extremely strong theorist, so his work here is of the highest caliber.