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Time Suspended: the Crossroads of Ancient Orthodox Liturgical Music with English Experimental Technique in the Works of Composer, Conductor, and Priest Fr Ivan Moody

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Time Suspended: the Crossroads of Ancient Orthodox Liturgical Music with English Experimental Technique in the Works of Composer, Conductor, and Priest Fr Ivan Moody Time suspended: The crossroads of Ancient Orthodox Liturgical Music with English experimental technique in the works of composer, conductor, and priest Fr Ivan Moody A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Ensembles and Conducting Division of the College-Conservatory of Music 2018 by Kevin L. Coker B.M.E., Belmont University, 2004 M.M., Florida State University, 2009 Committee Chair: Dr. L. Brett Scott, D.M.A. i ABSTRACT This document has four major aspects. The first chapter will outline the life of internationally-known composer Fr Ivan Moody. The biography will focus on Moody’s educational experiences and influences; his commentary on music, theology, and composition; and his service as a priest in the Russian Orthodox Church. The second chapter examines the impact of Orthodox practices on Fr Moody’s music. This chapter focuses on Orthodox rite practices, requirements of music within these conventions, and their influence on Moody’s compositional output. A brief discussion on Moody’s theological writings on mystical music is also included. Moody has composed a wide variety of choral works, and the third chapter will delve into his compositional influences and practices. This chapter will draw connections between educational and theological influences and their role in the development of Moody’s unique compositional voice. Each aspect is reflected through dialog and analysis of musical examples from various periods of his compositional career. The final chapter contains an annotated catalogue of Moody’s extensive choral output. The catalogue is organized chronologically and contains information pertaining to duration, inception, forces, text, and premiere performance. ii Copyright © 2018 by Kevin L. Coker All rights reserved iii I would like to offer my appreciation for several people who have supported me throughout this endeavor. Thank you to the Tangeman Sacred Music Center and University of Cincinnati College- Conservatory of Music for providing funding which made this research possible. Fr Ivan Moody: Thank you for giving generously of your time. Your kind spirit and candor have made this a most enjoyable experience. I will always remember our time together in Cascais and Estoril which was filled with wonderful food and stimulating conversation. I am thankful for our continued friendship and look forward to future collaborations. Dr. Eva Floyd: Thank you for being a role model for effective teaching. Your instructional technique is something I strive to imitate in my own instruction. You are a truly inspirational educator, and I am grateful for your encouragement throughout this process. I am a better teacher, writer, and person because of your guidance. Dr. Earl Rivers: From our first meeting, your constant belief and support of me has made this journey possible. Thank you for inviting me to be a part of the graduate studies program at CCM and entrusting me with the University of Cincinnati Men’s Chorus. It has been an honor to learn from you, and I am a better conductor, musician, and teacher due to the opportunities you created for me. Dr. L. Brett Scott: Thank you for all the time and energy you provided in supporting the development of this document. Your insightful comments, patience, and support of this research allowed this document to come to fruition. Thank you also for your ongoing guidance and encouragement throughout my coursework and beyond. Your support has taught me just as much about genuine mentorship and friendship as it has good writing. This journey would not have been possible without the support of wonderful friends and family. I am grateful to Paul Mayhew, who provided editing, encouragement, and numerous conversations throughout the proposal and writing of this document. You are always in my corner and Emma, Becky, and I are fortunate to have you in our lives. Thank you to my parents who instilled a desire to work hard and a follow my dreams. Words cannot express the gratitude I have for you both, and I am thankful for the wonderful relationship we have. Finally, thank you to my wife, Becky. Without your unwavering support, this would have not been possible. I am fortunate to have you as a partner in this journey and am excited for adventures to come. iv Table of Contents Chapter 1 A musical biography of Ivan Moody 1 Chapter 2 Theological convention and its implication on Moody’s 9 compositional voice Chapter 3 Moody’s compositional influences and practices 15 Analysis of selected choral works Canticum Canticorum I, II, III, and IV 17 Hymn of the Transfiguration 23 The Meeting in the Garden 25 Passion Populare 28 Angel Vopiyashe 31 Chapter 4 An annotated catalogue of Moody’s choral compositions 34 Bibliography 86 Appendix I Prepared interview questions for Moody 88 v List of Figures Figure 1 Canticum Canticorum I 53 Figure 2 Canticum Canticorum II 54 Figure 3 Canticum Canticorum IV 55 Figure 4 Canticum Canticorum II 56 Figure 5 Canticum Canticorum II 57 Figure 6 Canticum Canticorum II 58 Figure 7 Canticum Canticorum II 59 Figure 8 Canticum Canticorum II 60 Figure 9 Canticum Canticorum I 61 Figure 10 Canticum Canticorum I 62 Figure 11 Canticum Canticorum II 63 Figure 12 Canticum Canticorum IV 64 Figure 13 Canticum Canticorum IV 67 Figure 14 Hymn of the Transfiguration 68 Figure 15 Hymn of the Transfiguration 69 Figure 16 Hymn of the Transfiguration 69 Figure 17 Hymn of the Transfiguration 70 Figure 18 The Meeting in the Garden 70 Figure 19 The Meeting in the Garden 71 Figure 20 The Meeting in the Garden 71 Figure 21 The Meeting in the Garden 72 Figure 22 The Meeting in the Garden 73 Figure 23 Passion Populare 73 Figure 24 Passion Populare 75 Figure 25 Passion Populare 77 Figure 26 Passion Populare 78 Figure 27 Passion Populare 78 Figure 28 Passion Populare 79 Figure 29 Passion Populare 79 Figure 30 Angel Vopiyashe 80 Figure 31 Angel Vopiyashe 81 Figure 32 Angel Vopiyashe 82 Figure 33 Angel Vopiyashe 82 Figure 34 Angel Vopiyashe 84 Figure 35 Angel Vopiyashe 85 vi CHAPTER I Introduction Ivan Moody is an English composer, choral conductor, and musicologist. Born in London in 1964, Moody has studied composition at London University with Brian Dennis, at York University with William Brooks, and in private study with renowned composer Sir John Tavener. His relationship with Tavener, a prolific composer of religious choral works, and his exposure to Eastern liturgical chant have had a profound influence on his music. Fr Moody’s compositions blend Eastern liturgical chant and Greek Orthodox Church styles with elements of sixteenth-century polyphony, invoking a sense of the icons of the Eastern Orthodox Church, though his is far from limited to these resources. Although his output is primarily vocal, Moody has several works scored for Renaissance and Baroque instruments and has written a large number of works for orchestral forces. His works have gained considerable recognition through performances by ensembles and performers dedicated to early music such as The King’s Singers and the Hilliard Ensemble. His most frequently-performed work, Canticum Canticorum I, was written for and premiered by the Hilliard Ensemble in 1987. Fr Moody’s compositions have been performed across Europe, Japan, the United States, and South America by such ensembles as the Tapiola Choir of Finland and the Estonian Philharmonic Chamber Choir. Early Life and Education Although Moody was born in London, his family relocated to the Essex countryside when he was five years old, a shift from city life to rural countryside near the sea that Moody describes as playing a large role in the development of his creative imagination. His parents were not trained musicians, but they were lovers of music, and there was always music in the household. Moody’s father had a substantial record collection including Beethoven 1 symphonies, Tchaikovsky’s 1812 Overture, and works of Sibelius’ works. These were Moody’s first exposure to classical music, and he soon began borrowing recordings from his father’s collection. Moody also listened to contemporary music and jazz programs on BBC Radio 3 during his childhood. This attraction to various forms of classical and contemporary music continued to flourish throughout his primary and secondary education where Moody sang in the school choir, received music instruction, and piano and recorder lessons. Later, he took trumpet lessons for a brief time, but found more enjoyment playing the double bass. From an early age, Moody had an affinity for languages, and his early compositions reflect a wonderful blend of his love for language and passion for music. As a young boy, he intended to study French and Spanish at the university level to become a translator; however, one particular evening, Moody recalls listening to a program with Anthony Hopkins. Hopkins was analyzing a Debussy song for voice and piano and elaborating on how the music reflected the poetry. Moody was thirteen at the time, and this analysis helped him to see how music could be reflective of text. This program spurred Moody to write his first composition, a setting of William Blake’s poem, The Garden of Love. Following this formative experience, Moody decided he would go to the university to study music. From this point forward, Moody was set on a trajectory that would lead him to composing, conducting, and writing on music. Formal Compositional Training and Professional Beginnings Moody studied music at Royal Holloway College, a constituent college of London University located in Surrey, England. During his second year of study, he began studying composition with English experimentalist Brian Dennis and became particularly interested in Renaissance music, which began to lay the framework for his style of blending Renaissance and twentieth century compositional traits in his own works.
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