[personal update: in meantime I decided from experience, that it is at moment practically impossible, to be born German and move in Russian-orthodox surroundings without causing misunderstandings on each and every side, so that I returned to my born Roman Catholic, in which we have within the GREEK CATHOLICS of southern Poland and of Ukrainia NEARLY EXACTLY an IDENTICAL BYZANTINE RITE as with the Russians under the jurisdiction of the Patriarchate of Moscow. My personal decision to SIMPLY WITHDRAW especially will EXCLUDE the possibility of STRANGE POLITICAL UNDERCURRENTS to MISUSE my mainly Christian based inclination to especially Ukrainian music from FAMILY history of some tragical sort. And please make no mistake: It is my personal view, that there is but only ONE SINGLE possibility to TRULY serve the interests of the PEOPLE in ALL RUSSIA, which is the restauration of RUSSIAN TSAR – because there will come a time, when the FREE-MASON and CAPITALIST based type of US-american socalled “democracy” will be disclosed as one of the really GREAT LIES in history. So in actual socalled “crisis in Ukrainia”: AMI GO HOME, you are too stupid to understand the peculiarities of the Ukrainian-Russian SOUL! You Americans even will not understand, that UNTIL TODAY there are COSACKS, that would give their lives to the rightful and consecrated TSAR – and NOT to mainly PROTESTANT of QUESTIONABLE sort US-Americans!]
There has been SEVERE critics, that we dealt here with some sort of MUSICAL ANALPHABETISM, which NOBODY “professional” in the know of BASIC RULES should do …
THESE CRITICS WE ANSWER:
a) We found – and produced – some NICE MUSIC, which
b) had to be prepared for PRACTICAL use in our Parish`s choir and elsewhere.
c) There is NOTHING WRONG with it, if we find some confusion in POPULAR TRADITIONS of socalled “popular tunes” – and you need SCIENTIFIC EXPERTISE – from indeed 30 years of study in this field – to GET RESPONSIBLE RESULTS, THAT MAY BE IN A RESPONSIBLE MANNER PRESENTED TO THE DEPARTMENTS OF ETHNOGRAPHY elsewhere!
1.1 Much material and many version have been checked from Russian internet-sources
www.kliros.ru and www.ikliros.com (just type in google “kliros” or ikliros” – both pages reacted somewhat near to “not amused”, which of course is nothing important enough to deal with ) and from elsewhere in Orthodox pages in the U.S…
1.2 Versions presented here are – if not indicated otherwise – NOT from composed music, but from LITURGICAL practice as is reflected by quite popular shoutings.
1.3 For AUTHENTICAL texts in AUTHENTICAL writing using foreign letters it has been made use of free Wikipedia.
1.4 ADDED help for pronunciation for Westerners is NOT SCIENTIFIC TRANSLITTERATION IN WHATEVER SENSE, but hopefully PRACTICAL and – partly – is based upon the tremendous work of MALTZEV, Russian Emperial Embassy, ca. 1890 – 1916, Berlin, but little bit modified to have a better help for native speakers of other Western languages than German.
1.5 Sometimes we had to rely upon our MEMORY from MUSIC USAGE in DIASPORA RUSSIAN ORTHODOX PARISH in Neuss, Germany.
1.6 A more general source has been applied, that is the ORTHODOX CANONICAL LAW and ORTHODOX PRACTISE for those in ARTISTIC OCCUPATIONS for LITURGICAL use.
2.1 English – (rather professional adaption from Russian “Cathedral” from the U.S.)
2.2 French – anonymus – Buike arrangement with linguistic corrections (see documents)
2.3 German (adaption from Polish / Russian I) – Buike arrangement from memory (rather problematical result, but similar indeed in use) – (see another German in documents)
2.4 Greek (music from Russia)
2.5 Hungarian – anonymus – adaption from Byzantine “monodic” (Byzantine) Greek (not presented here) – Buike arrangement (see documents)
2.6 Latin, with music from Russia
2.7 Polish and Russian I – from memory
2.8 Polish and Russian II – Buike arrangement (see documents)
2.9 Romanian, music from Russia, but perhaps based upon a Romanian original – Buike reduction to 4-voices-setting (see documents)
2.10 Russian – version “Cathedral”
2.11 Russian – version “quickly” – corrected from memory edition (see documents)
3. edition report
3.1 The general rule is, that “ed.” (edidit) is indicating VERY FEW changings to “originals” or “templates”, consisting mainly of mainly MUSICAL socalled emendations (correction of self-evident writing and spelling errors). If however it was used “arr.”, then this indicates, that there are changings to the extent of COMPLETELY REWRITING the arrangement or music setting.
3.2 For all settings as general rule has been applied as some sort of STANDARD:
– MIXED choir SATB
– with measure-system
– with DOUBLE pronunciation help, lots of versions with foreign language notated in Russian Cyrillic letters as well (only few people will remember the great works of Russian ETHNOGRAPHY, part of which was to NOTATE FOR FIRST TIME quite a lot of languages of former illiterate minorities and tribes based upon – sometimes modified – Cyrillic letters)
– with ORIGINAL letters of ORGINAL languages.
3.3 This more editorial work has been NECESSARY – in spite of versions numbering into the legions – for to ELIMINATE lots of misunderstandings, misspellings in music-writing, music-setting-technique and handling of texts.
3.4 Overall GOAL of editions has been, to give the MUSICAL PRACTITIONER materials which a) can be relied upon in a more scientific sense and b) therefore are PRACTICAL “out of the box” or on an instance.
3.5 In a SCIENTIFIC way interesting is the setting for HUNGARIAN, because the melody CLEARLY is derived from a BYZANTINE GREEK melody of rather old antiquity – in use in any Greek Parish until today, see documents for version 2.5. Here occurred in the course of LANGUAGE translation a SHIFT in RHYTHM of language, which was VITAL for the musical effect, that our arrangement NOW is sounding QUITE “Western-type” and so much so, so that Greek people very probably not even may recognize easily the Greek origin from their LISTENING experience of liturgical Greek music!
3.6 There may be felt some alienation about a LATIN version, which however is FIXED TRADITION especially in the PRACTISE UNDER THE MOSCOW PATRIARCHATE .
3.7 Although the Orthodox Canonical Law is very flexible – see keyword “oikonomia” – and although we avoided socalled “great words”, we in the end may somehow conclude:
– This our undertaking was not only musical exercise based on old handcrafted traditions but a SPIRITUAL exercise as well with regard to PHILOSOPHICAL problems of treating a CORE CHRISTIAN DOCTRINE – the resurrection of Christ – with music and language and THEIR RELATION, which is MYSTERY.
– This our work has something to do INDEED with all the proposals presented TODAY to quite a lot of SMALL or “UNIMPORTANT” peoples with some followers of the Orthodox Christian denomination and coming from EUROPEAN INSTITUTIONS IN BRUSSELS – and based upon TENDENCIES OF A SOULLESS AND GODLESS TECHNOCRACY. We do not just contradict those tendencies, but hopefully may indicate AN ALTERNATIVE, which may be RE-ELABORATED from TREASURES of experience and wisdom as preserved within Orthodoxy for the urgent needs of our today situation seemingly going the WRONG way, to SUPERIMPOSE something on the peoples, which in the end may turn out, to be NOT WORTH THE EFFORT (in a philosophical sense) … At least we understood the Orthodox Canonical Law regarding handling of NATIONAL LANGUAGE in that way, that the intention behind this may be the experience of the centuries, that TO PRESVERVE THE PEOPLES it all starts with PAYING RESPECT TO NATIONAL LANGUAGES, which are something BEYOND just MANMADE TECHNOCRATICAL EXERCISING AND EXECUTING OF POWER, may be even something near to MYSTERY!
And not only this! IN THE END WE MAY DERIVE FROM ORTHODOXY, THAT IT WAS AND IS THE LITURGY, THAT PRESERVES THE PEOPLES AND HUMAN LIFE THAT IS HUMAN IN AN ACCEPTABLE PHILOSOPHICAL SENSE – which CANNOT be other in OUR cultural context than BASED UPON GREEK PHILOSOPHY OF PLATO AND ARISTOTLE – which at moment are reevaluated by today HYPERPHYSICS, see authors Joseph P. Farrell, Tom Baerden etc. – , from which fact we easily may conclude, that it was a STRATEGICAL FAULT, to restrict and even strangulate the LEARNING OF LATIN AND GREEK in most of socalled “progressive” Western countries, such missing the point, that LATIN and GREEK are SISTERLY CONNECTED and would have been a GOOD FUNDAMENT for building SISTERLY CORDIALITY AMONG THE PEOPLES OF EUROPE, now in DANGER, to be REDUCED to technocratical factors of unimportance! Or to put it into words of St.Paul (from letters to the Corinthians): IF THERE IS NO LOVE, EVERYTHING BECOMES ONLY LOUD AND SENSELESS NOISE! Love among Humans is known to be a difficult and even complicated if not impossible matter – IF THERE WERE NOT THE LOVE OF GOD FIRST, a love not shying away from DEATH and TRIUMPHING in RESURRECTION, such ENCOURAGING us humans, to INDEED at least TRY a “RESURRECTION” for all those SMALL and/or HUMILIATED peoples, which we introduced here in HONORING their AUTHENTIC languages as used in AUTHENTICAL musical expression !
3.8 Our approach may seem to be CONSERVATIVE – with the rather surprising result, that in the end we now have NEW SETTINGS with NEW SOUND and not only
corrections, so that the terms “authentical” and “original” may be understood in a more precise modified sense. And by the way: Our approach is nothing really “new”, but is continuation of the work of the so much laborious 19th century, in which we find such a lot of especially RUSSIAN COMPOSERS – and others from other Orthodox countries -treating LIVING TRADITIONS from a more PROFESSIONAL angel … It will be a FUTURE TASK to MAKE KNOWN THIS WEALTH OF GOOD MUSIC to socalled “Westerners” being not even aware, what VALUES escaped their attention!
3.9 This work is presented
– for registration in German National Library online-catalogue
– to some FREE OF CHARGE ORTHODOX MUSIC PAGES in the web
– to Austrian Folksong Archives, Vienna
– to German Folksong Archives, Freiburg/Brsg.
– to Hungarian National Library, Budapest
– to Orthodox Skite, St. Spyridion (under Serbian Patriarchate), Geilnau, Germany
3.10 As every time this musical work has explaining text in ENGLISH and not in German to HONOR THE MEMORY of my mother (and her brother), which nearly fell victim to NAZI-murder, just because our French-originated family-branch managed in the long run of the centuries to collect from somewhere few JEWISH GENETICS, as we have to state from very probable circumstantial evidence.
Selected documents from original materials have been attached, so to give a self-evident impression of all the PRACTICAL PROBLEMS our new editions had to overcome. To these was added a GERMAN version with music from A. Glasunov – which is RARE source – , which was found in a free Russian website – but is an edition from a SWISS publisher in BASEL, who did answer the request for clearing of copyrights, but in the end was skipped, because we were not really convinced of the adapton.
– see 2 .2 – French, anonymus, 3 voices with odd musical quirks and faulty French prononciation
– see 2 .3 – German, other version, with music by Russian A.Glasunov, rare source – bibliographical informations :
“Moskauer Oster-Troparien” – (Greek, Latin, Russian, German) – Verein für ostkirchliche Musik 2009 “. About this society for eastchristian music we collected the following informations from the internet: Verein für ostkirchliche Musik – „VOM“ – http://www.ostkirchenmusik.ch – Publisher: Vitovec (from Serbia?) in Basel/CH.
– see 2 .5 – Hungarian and Byzantine Greek, original version
– see 2 .8 – Polish and Russian II, original version
– see 2 .9 – Romanian original version (up to 8 voices)
– see 2 .11 – Russian „quickly“ original version