Standing
room only – Ivan Moody’s Akáthistos Hymn
www.iclassics.com (Interview given in May
2003)
Ancient melodies and a sixth-century poetic meditation form the
ground of Ivan Moody’s setting of The
Akáthistos Hymn, one of the most beloved devotional hymns in the Orthodox
tradition of Christianity. This world-premiere recording by Cappella Romana
under the direction of Alexander Lingas will appeal to listeners interested in
chant and early music, as well as to lovers of choral music. The CD booklet
includes the full text of the hymn; the cover image is a traditional icon of
the Annunciation, from the icon screen of Holy Trinity Greek Orthodox Church in
Portland, Oregon.
The Akáthistos Hymn is a meditation in 24 stanzas (one for each letter
of the Greek alphabet) on the cosmic role of the Virgin Mary as mother of the
incarnate Word of God. The popularity of the devotion is especially associated
with the raising of the siege of Constantinople in the sixth century, a miracle
attributed to the intervention of Mary as the protector of the city. In
gratitude, the citizens of Constantinople gathered in the Holy Temple of Saint
Sofia and sang the hymn while standing (hence the name Akáthistos, which
means "not sitting").
Moody's setting makes use of a celebrated contemporary English translation by
Bishop Kallistos Ware and Mother Mary; the refrains are sung in Greek to
traditional Byzantine chant, with its characteristic microtonal ornaments.
Moody is the first to compose music for the entire hymn since the Middle Ages.
The companion work on the CD is Moody's setting of the Slavonic-language hymn, O
Tebe raduetsya ("In you all creation rejoices"). Moody commented
on the piece and the recording for iClassics.com:
iClassics.com: What was the genesis of this composition?
Ivan Moody: Having worked with Cappella Romana in the past - they gave
the North American premiere of my oratorio, Passion & Resurrection,
for example - I wanted to write a large-scale work especially for them. The
Akáthistos Hymn is one of the great poetic compositions of the Orthodox
Church, and I see that it is increasingly used in the Roman Catholic Church
too. It is full of astounding imagery that just cries out for music.
Much of your music comes out of your interest in the traditions of the
Orthodox church.
I'm a practicing Orthodox Christian; when I set words from our liturgical
tradition, I'm always keenly aware of the historical riches we have stored up
in musical terms. As a performing church and concert musician I've researched a
number of Orthodox musical traditions, and feel privileged to be in a position
to absorb all this.
However, I'm not Russian, or Greek, or Serbian: I was born in London, England.
I think that the challenge for me is to reconcile all those musical traditions,
which I love, with my own heritage and my own voice. I don't do this
consciously - if I may say this without sounding too pompous, there's a period
during the course of composition when one is just "digesting,"
thinking subconsciously, and then all these things come together really quite
spontaneously. If it doesn't work that way, then it's a sure sign that I should
throw what I've written away...
How did you go about setting the Akáthistos Hymn? What were some of the
special challenges?
Liturgically, nowadays most of this is intoned by a priest or deacon, the choir
singing just the opening and closing sections and the refrains
("Rejoice" and "Alleluia"). However, it was not always
thus: there are some extant mediaeval settings of the entire hymn in Byzantine
chant. So, I bit the bullet and decided to set the whole text. The finished
piece lasts for more than 90 minutes, making it the largest piece I'd ever
written.
The first and biggest challenge was simply finding musical notes to correspond
to the richness of the text! It's so full of images that one can hardly find
music for each idea - that would simply become tediously madrigalistic. It was
a question of responding, simultaneously, to words, spiritual "ambience"
and long-range architecture.
The second was how to structure the piece: it's divided into four sections, and
that helped me organize a harmonic scheme, but there are numerous
sub-divisions, so one strategy that I adopted right from the beginning was the
alternation of three inter-related styles. One was audibly related to Russian
mediaeval music, the other was clearly Byzantine, and the third was, well - me.
And that "me" is, in part, a result of those other two.
How did the recording come about?
Alex Lingas thought initially that I was nuts to undertake such a project, but
once he had the score in his hands, he programmed it for Cappella Romana and
made it a real success. I was present at the world premičre, in Portland OR,
and it was quite one of the most extraordinarily moving occasions of my life.
It was repeated in a subsequent concert season, and enthusiasm was then running
at such a high level that the idea of recording it came about. If anyone was
going to record it, Cappella was the choir.
This is an enormous work - can you describe the impact this project has had
on you?
The Akáthistos Hymn was, in many respects, both a summing-up and a
turning point for me, rather as Passion & Resurrection had been in
1992. On the one hand, I was fusing together a whole series of techniques and
traditions, methods and manners that I been investigating and experimenting
with for something like ten years. On the other, the mere fact of this fusing
signalled the end of a phase and the start of another...this is difficult to
explain, but my more recent pieces would have sounded very different without
the experience of the Akáthistos.
What about the other piece on the CD, O Tebe Raduetsya?
This is a setting of a Lenten hymn to the Virgin, "In thee all creation
rejoices", based on a Russian chant. The chant itself is very beautiful, I
think. I wanted, in setting it, to amplify the element of cosmic joy present in
both the words and the chant. I wrote it for a concert I conducted in London in
1990, and it has proved to be one of my most popular pieces, I'm happy to say.
Do you have more recordings coming out in near future?
Trio Mediaeval, who recorded Words of the Angel for ECM in 2001, are
recording a second disc for ECM. This will include more recent music of mine
specially written for them. Also, the German group Singer Pur will release a CD
this year which includes my Lament of the Mother of God. There are many
other plans in the pipeline, as well, so "stay tuned."
Back to Homepage
© 2003, 2004 Ivan Moody, iclassics.com