Ναταλία
@natalia-carnazzo
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1st example: The ornamentation that IS done is simple and subtle. There does not seem to be much “manipulation” of the music. It is very controlled which gives it a simple beauty and a peaceful sound.
2nd example: A lot more ornamented then the first example but the execution is smooth and seamless. I liked the particular ornaments in which he “attacked” the pitch from the top. I noticed that he did a bit of manipulation of the indicated rhythm, personally I really like listening to chanters executing that option.
I got so carried away with listening and analyzing his interpretation that I listened to the full 18 min of it! 🙂
One thing I noticed was that he took many liberties with the actual written notation. This being second nature to him, he was able to “own” the formulas to the point that he could interpret beyond them while still preserving the “spirit” of them. Its hard to describe, but I have observed this a few times. My initial reaction when i first saw this a while back was: “Maybe he dosnt actually know how to read notation….” Or “do I have the wrong sheet music?” Now, I am recognizing it differently and highly respect the ability and gift to do such a thing!The first time I listened to both recordings I did not perceive any difference between the two, other then the fact that the second one had a quicker tempo, which goes to prove what im pretty sure was the point of this exercise.
I listened to them both again phrase by phrase this time, pausing to compare them and it was only then that I noticed the differences.1st recording:
Vocal manipulation and execution of the transferring from note to note was smoother then the 2nd recording. The “scoop” into the ornaments which “bounced” high off the top of the notes where more felt, obviously this was prob due to him being the master of the two, but it sounded “easier.” He also did less smaller trills then his student.
In the third and second to last phrases (συν η θροιμενοις η δητρανως εχηρυτον σου την αναστασιν) he slowed down and gave a very noticeable and solemn emphasis on many of the down beats and used the beauty of the composition to lift up the text.2nd recording:
Faster then the first. I bit more elaborately ornamented and the little trills where much more frequently placed, then in his teachers performance. He did though, imitate almost exactly the interpretations and choice of ornamentation that his teacher used. He was a bit less emphatic on the ornamentations that “sprung” off of the notes.1st recording:
The down beats were very emphasized and the pull back from each of them was very strong. He had a lot of vocal control and maintained a steady larynx movement (ornamentation and rhythmic feel) throughout the entirety of the scale. Something I thought was interesting was that he used his entire throat to manipulate and project the desired sound but he maintained excellent control over the front of his mouth, achieving through this a clear and articulate pronunciation. Obviously that is ideal, but I particularly noticed it because it is something that I struggle with. The endings and beginnings of each melodic formula were clearly distinguishable. It seemed like he “scooped” into the notes very frequently, but it was still pleasant to hear each time.2nd recording:
A lot of the same principles of ornamentation and rhythmic emphasis were employed in this second recording as were used in the first, except that they were done in a much more subtle and blended way. The words seemed to be given more attention, the melody supporting and beautifying them, whereas in the first recording the attention that was given to the melody almost drowned out the poetry of the words.Using the HTM Menaion
January 18th Our Fathers Among the Saints Athanasius and Cyril, Patriarchs of Alexandria
Celebrated to 8
Reason: 3 readings at Vespers, Orthros Kathismata, Polyeleos, 3rd Kathisma, Praises stichera, Great DoxologyJanuary 19th Our Righteous Father Makarios the Great of Egypt
Semi-Celebrated to 6
Reason: Doxastikon of the ApostichaJanuary 24th Our Righteous Mother Xenia of Rome
Uncelebrated
Reason: 3 Prosomia at Vespers, no Praises Stichera or Praises DoxastikonThe Service follows festal rubrics if it is the feast of the Master, a feast of the Theotokos, or a Saint is celebrated to the 8th
The Service follows the Daily rubrics if the Saint is Semi-celebrated (to the 6th) or if the Saint is uncelebrated. Another indicator of a daily service is if the Octoechos is needed to complete the service.
I will begin the answer to the second question by saying that I wish our church did more daily services and I pray that we will soon, by the grace of God, have the ability to do so. We have been in tricky renting situation since covid and so somethings like our Wednesday vespers and bible study had to be temporarily stopped. By the intercession of St. Elias, our patronal Saint, and the mercy of God we have finally, a few weeks ago, purchased a building. I am hoping that since we now have an adequate facility to use we will be able to hold more services in addition to our current celebration of Sundays and Feast days.
CHRIST IS RISEN!
Hello everyone! My name is Natalia Carnazzo. I have been leading the chant at St. Elias Church in San Jose California for about 6 years. I greatly enjoy chanting and I absolutely love studying the Typikon, building services, and learning the rules that govern them. I am so excited to take Typikon 102! I have taken Typikon 101 twice, simply because it was so much fun!
I have a basic knowledge of classical and koine Greek. I have been taking classes with TSBM for about 2 years, and I love them! As far as other musical training goes, I have taken piano since I was 5 yrs old and can read western notation fluently.I am excited to deepen my knowledge of the Typikon! Thank you Mr. George for offering this class!!!😄
On the topic of Liturgy: The final hymn that you mentioned. Beseeching many years for the priest who blesses and sanctifies us. Would that be called the polychronion for the priest?
In an ideal Orthros I would love to have two full choirs. Each choir having a protopsalties/lampadarios, a domestikos, at least 3 Isokrati, and at least 5 psalti. I think that Orthros or any service can be experienced in its full beauty when two full choirs are present.
-To prevent the “round robin syndrome” of Poetic kathismata, Anavathmi, etc. It would be nice, given the factor of having only one choir, to at least have a few people sing as a group that alternate with a separate small group to preserve the right and left choir rubrics.
-It would be preferable to have at least two priest and a deacon so as to smoothly be able to complete all the parts in a timely manner.
-I agree with Katie about the “no competition/no tension” while, thank God, we do not currently have the issue at our church, I have chanted many times with others in which this was the sad case. I believe that if, as chanters, we are leading the people in worship, we too need to be worshiping. If we are harboring anger against our brother then, I know at least speaking for myself, that worshiping the Lord in fullness is impossible.
-I agree that at least chanting a few odes of the canon would be a drastic improvement. With the hopes of building up to a full canon.
-If we could know that every chanter that presents themselves at the Analogion was completely prepared for every part of every service for the day it would make it a lot easier for the other psalti and it would provide a better musical quality.
-It would also be a true blessing if every person in the congregation knew of the great gift and treasure of theological wealth that is prayed in Orthros, to the point where they desired to make the extra effort to come at the beginning with no time limitations on the end.
-I haven’t really touched on many rubric “ideals” but the points listed above would open the doors and make it possible for every fine point of the Holy Typikon to be executed.
