Fr. Romanos Al Osta is the Archprotopsalte of the holy see of Antioch of the Greek Melkite Church. He holds a diploma in Byzantine Music from the conservatory of Yorgos Foudoulis and a post graduate diploma in Byzantine Musicology from the conservatory of Athens. He chanted in several churches in Greece while he was studying there. He also holds a Bachelor in History from the Lebanese University as well as working on his Master's in Medieval History. He taught in the National Lebanese Conservatory from 2004 till 2023 and was the instructor of Byzantine Music and Greek Language. He was also the First Cantor and Director of the Choir of the St Anne Patriarchal Seminary, as well as the leader of the Choir and First Cantor of the Parish of the Annunciation in Raboueh, Lebanon.
He is the founder of the choir of St. Stephanos the Melode, a Patriarchal affiliate, and he established the School of Byzantine Music in the Eparchy of Saida and Deir El Qamar under the name of St. Theophanis the Melode and directed its choir. Moreover, he founded the Panayia Choir under the patronage of the Patriarchate; this choir gathered a large number of lay cantors, first cantors and monks from various musical references in the Melkite Church. Fr. Romanos was also an instructor at the University of the Holy Spirit – Kaslik as a Visiting Professor and published his book “The Comprehensive Methodology in the Byzantine Ecclesiastical Music”.
He presented many recitals in Lebanon and abroad (Italy, France) and issued several works such as CD’s and research in the field of Liturgy and Church Music.
He holds the first prize of the International Festival of Music in 2009 and 2011 as he participated in several congregations in Lebanon and Europe. He also composed many Byzantine chants, and his works have begun to be known and published.
He moved with his wife Ghada and their four children to Sydney, Australia in 2023 and established the school of St. Cosmas the Melode under the patronage of the Eparch and Eparchy of Australia and New Zealand. There he began teaching and forming the member of its choir. He also serves as the Director of the School and its Choir, being additionally responsible of the Liturgical chant in the Eparchy.
He currently serves as assistant priest at St John the Beloved parish in Sydney and works with the youth of the Parish and the wider State of New South Wales.
Interview:
1. What is the general role of Byzantine Chant in the Liturgy?
Liturgical music and chanting serve a specific purpose. They help and serve the human being, the believer, to rise to a divine state and taste the upper kingdom while still in this world; it is an act that helps the human being enter in a relationship with the Creator, in the communion of the saints and the Church. They transmit to us the ontological beauty which strengthens and teaches the entire Church. Through the melodies, we learn theology and divine teachings; this in turn develops us to reach unity in faith and in the knowledge of the Son of God, to the measure of the stature of the fullness of Christ. We must say that Byzantine music and chant introduce the believer to the Mystery of God by clarifying the concepts of theology and the symbolism of rituals, especially the Mysteries of entry into Christian life.
2. Can Byzantine Chant be “modernised”? Why is it not favourable to replace it with more “modern” and “catchy” songs or hymns?
In the concept of the Byzantine tradition, there is no modernisation in the way that we all think! Byzantine Chant and Music are a part of the tradition, and to understand the tradition, we must do so in the right concept and meaning. Tradition is not "Old Fashion" as modernised people think. Tradition in the mind of our Church means the Faith handed down from the Apostles, through their disciples: the Apostles to the Holy Fathers, the Saints, and finally ourselves, without corruption or manipulation. Besides, delivering what is entrusted to us is one of the main pillars of handing down the Faith. Byzantine Music functions with the same principal, because as the Holy Spirit worked in preserving the Faith, He also worked in handing this faith through chanting, experienced by the Saints and the Holy Fathers, themselves inspired by that same Spirit. As their teaching was one and the same, inspired and preserved by the revelation of The Holy Spirit, so the chanting and the music that bears that teaching, these prayers and that theology is and should be one. As such, if there is a place and way for modernisation in Byzantine Chant, it is simply to refer to and be faithful to its origin as much as possible!
3. Is there a distinction between Melkite and Antiochian chant? What, if any?
Distinction always exists. Even between the composers of the same order or church, it differs. Basically, all the old composers of the Melkite and Antiochian Church are referred to the Greek Compositions as the original ones, as well as to the new composers, of course.
The difference lies in the source of the Greek compositions and composers that our Antiochian composers refer to. For example, we refer to the compositions of John Sakellaridis, and his compositions are simplified and have a character condemned by the traditional Greek composers and chanters. The Antiochian Orthodox refer to the traditional compositions and composers recognised by the Ecumenical Patriarchate in Constantinople. Mitri El Murr, the first cantor of the Antiochian Orthodox, referred in most of his compositions to the recognised books as mentioned, as well as the compositions of Petros Lampadarios, Theodore Focaeos, Constantinos Protopsaltis, etc.
4. What is an Archon Protopsaltis, and what is his role or vocation in the Church?
Archon Protopsaltis, is a Greek word. Arch means Head or Chief, and Protopsaltis is composed of Protos: the First and Psaltis: Cantor. The role of the Archon Protopsaltis is to defend and preserve the musical tradition of the Church. This is a big responsibility, as we know, that he must have a very good culture and an excellent formation in Byzantine Chant, Music and Liturgy. This title is granted by the Patriarch of Antioch and remains with its bearer.
5. Based on your expertise, is Byzantine Chant in the Melkite Church dying out or being rejuvenated and renewed?
Based on the last 20 years, Byzantine Music in the Melkite Church has been revived in its classical traditional version, in compositions and establishments of music schools and choirs. Despite of the presence of choirs in parishes and eparchies, the music schools (that we founded) played an essential role in revival, rebirth and renaissance in the life of our Church. Not to forget the imperative roles played by the teachers in Lebanon such as the First Cantor of the Beirut Eparchy in Lebanon, Dr. Alain Al Osta, the First Cantor of the Zahle Eparchy in Lebanon, Mr. George Riachi, and the Cantor Mr. Levon Abajian in Syria, Damascus.
6. How did the schism of 1724 affect the richness of the Melkite Church and its preservation of Byzantine tradition? Can the loss of so much heritage be recovered?
At the time of schism, monks and monasteries were using both Greek and Arabic (some of them used Syriac), especially in chanting. Monks chanted in Greek, while the reading remained in Arabic. According to references in the Melkite monasteries in the late 19th century and early 20th century, each priest-monk had his own book of chanting in Greek, sealed with his own seal, with the titles of the chants handwritten in Arabic. The presence of several orders in the Melkite Church marked a revival of the Byzantine tradition in the 1960’s, each creating an image of righteousness and loyalty. But this, unfortunately, went on to distract the unity of the Melkite Church, especially in our times, because each of the orders do not actually recognise the compositions of others, barely even accepting to chant a composition of another order. The attempt of the Patriarchate of His Beatitude Gregory Laham to unify the chants under the slogan of One Greek Melkite Catholic Church proved this separation between the orders, given that none of them accepted the new editions of the musical holds issued by the Patriarchate. Maybe it will take time, maybe they were not prepared, but the aspects and the environment didn’t give a taste of positivity. Maybe some felt that these compositions were being imposed on them by other orders. As for me, I worked positively by establishing the Panyia Choir which aims to unify the cantors from various musical references, and this choir played a prominent role by issuing some musical works and performing with a high level of expertise.
7. Some claim that Byzantine Chant should be the area of men only, especially given that Readers can be ordained. What are your views on the opportunities for women in regards to Chant?
Byzantine chant, whether we like it or not, took a masculine character. This is because of many reasons that helped and played an essential role. One of these roles is the Ecumenical Councils, and the complementary councils that condemned the false way of performing, especially in the higher notes. The first 4 tones where performed on higher notes or bases, which was against the rules of the prayers in providing dignity and reverence. The discussions came to clear up such deviation and to correct the mistakes. They moved the higher bases of the tones to lower pitches and forbade what is called “androgynous voices”, the voices that can be performed on high pitches.
In many ways, this has affected the role of both children and women. Despite the case that the Church was facing, and without doubt having taken the right decision, we can also note that the role of the women was not completely banned from the service of chanting. We can look at the role of the nuns in the service of chanting and performing, which was not abolished, but on the contrary restored the balance between the male cantors (who were part of the clergy) and the nuns.
Today, the role of the women in the service of the Church has proven that they are bearers of the faith, like the women who accompanied Jesus and the Apostles and the Saints in the life of the Church. They have proven that they can chant and perform, sometimes better than men. However, as mentioned, the character imprinted by the voices of male cantors differs a bit from the female character. That being said, there should be more attention given to female choirs.
8. Can you tell us more about the Byzantine Chant Schools and Choirs you have founded and worked with? What is their purpose and role?
I believe that every organisation, community or meeting not founded on good basis does not last long. Founding choirs is very essential in parishes, but these students must have some formation and study according to the requirement of Byzantine Chant. The schools are the “reservoir” of the choirs and parishes, and of course of the school's choir. The school provides students with the basics and with information, details, practice and theory, studying and skill development. The choir of the school comes to complete the formation of the student by applying in a professional way the learned theory, performing with specific technique and teaching him the basics and the characteristics of the choir. Of course the choir serves Liturgies, Matins, Vespers and Divine Liturgies presided by the Patriarch or Bishops, but it does not impose on its members to leave the service of their own parishes, because the aim is to prepare them particularly for that: serving their parishes as adequately and skilfully as possible.
9. How do you see the future of Byzantine Chant in the Melkite Church in the next decade?
There are things that I don’t like to talk about, for several reasons, such as being misunderstood, and some things will never change easily. A Church without spirituality is a human without a soul. Despite the renaissance of the musical heritage and tradition that the schools and choir mentioned have already achieved, we still do not act as a unified church with a common vision and purpose, a Church that knows its tradition and spirituality. We have excellent individuals with marvellous skills, and we need to respect the norms of love towards each other.
The future of our ecclesial music needs the full support of the Head of this Church; I mean not only our beloved Patriarch but also the Bishops and the Holy Synod. What upsets me is that Byzantine Music and Liturgical Issues are never mentioned in the Holy Synod. There is no vision or steps being taken for the sustainability of such a vital sector in the life of the Church. This needs to be reconsidered by the Synod.
10. What advice would you give to new cantors trying to develop their chant, but who are not musically talented? What chanting skills should be developed for those who are in formation to be priests or deacons?
For those blessed by God Almighty with the gift of a heavenly voice, do not repeat the mistakes of the former and present cantors. Byzantine chant is preserved by your knowledge of music, not only by reciting a few chants!
For the deacons and priests, I repeat the same idea; do not repeat the mistakes of other priests. Try your best, God does not condemn you if you just “tried”. Our life is spiritual and it is indeed a struggle, but we do struggle for good things. Praising God is an act of angels, their first church before the perceptible world, for his Glory forever and ever.
Pictures shared with permission from the Facebook page of St. Stephanos the Melode Choir.
Comentarios