On Tuesday, March 15, 2016, Archimandrite Ephrem (Lash) fell asleep in the Lord. Father Ephrem was well-known in the English speaking world for his translation work and desire to provide the church with accurate and prayerful liturgical texts which clearly articulated the beauty of our Orthodox Faith.
John Michael Boyer, one of our presenters at the upcoming 2016 Pan-Orthodox Music Symposium in Minneapolis, MN shares his thoughts in a reflection on the impact Father Ephrem had on John's training and life as a church musician.
May Father Ephrem's memory be eternal!
I thought about calling him yesterday, but it would have been too l...
In France, the vast majority of parishes that worship according to the Russian tradition (by which I mean that they follow the Russian expression of the Byzantine rite and use Russian melodies and tones, whether or not the services are in Slavonic or French) belong to the Archdiocese of Russian Orthodox Churches in Western Europe (hereafter referred to as the Exarchate). This sub-jurisdiction, headquartered at the Cathedral of Alexander Nevsky, Rue Daru, Paris, left the Moscow Patriarchate at the height of the Soviet persecution of the mother Church, and found refuge under the protection of the Ecumenical Patriarchate in 1931. The Exarc...
If one of the fundamental goals of “reasonable” liturgical worship is the effective
proclamation of the Gospel in spoken and sung words, the effective audible
communication must be the concern of every liturgical musician. Effective audible
communication is dependent
on many factors—among them, voices of good quality, well
developed diction skills, favorable acoustics. But even more basic, the starting point, if
you will, is a good musical setting of the text—one that takes into account
the cognitive meaning and theological content of the text