RESOURCES

Last updated: 28 September 2024. Check back often for more updates


YouTube videos about the English-language liturgical resource, The Divine Liturgy: An Anthology for Worship (Ottawa: Sheptytsky Institute, 2004) by Fr. Peter Galadza

Joseph Roll has kindly shared his classic work Music of the Ukrainian Catholic Church for Congregational Singing, digitzed version with further revision (Stamford, Ct.: St. Basil’s Seminary, 2014). The book provides music in Ukrainian for the Divine Liturgies, Baptisms, Weddings, parts of the liturgical year, and more. Click the button above for a pdf.


Despite of the turmoil of the Second World War, Metropolitan Andrey Sheptytsky felt it was necessary to explain liturgical prayer to his flock and to emphasize the importance of singing in church and its connection to prayer.

A presentation by Deacon Daniel Galadza at the Sheptytsky Institute in Toronto from 2018 on the church singing traditions of the Kyiv Caves Lavra and the Lviv Stavropegial Brotherhood and how the two centres of liturgical life preserved and transmitted their traditions.

A lecture by Daniel Galadza, part of a webinar series on "Eastern Catholic Theology in Action" presented by the Lumen Christi Institute and the Godbearer Institute.
From the fourth to eighth centuries, liturgical commentaries flourished to explain the meaning of the sacramental life of the Church. Notably after the fourth century, the tradition of Jerusalem developed another genre for mystagogy, namely hymnography. As part of the structure of the liturgical services, they explain to the faithful what is happening during the services, rather than before or after the celebration. In this way, hymnography has an exegetical function, commenting on scripture and the mystery of salvation in Christ. Dr. Galadza will explore this hymnographic tradition and its relation to the formation of liturgical theology.

Metropolitan Andrey Sheptytsky

Decree of the Lviv Archeparchial Council "Regarding Church Singing"
April 25, 1941.


English translation by Archpriest Peter Galadza from: 

Peter Galadza, The Theology and Liturgical Work of Andrei Sheptytsky (1865–1944), Orientalia Christiana Analecta 272 (Rome–Ottawa: Pontificio Istituto Orientale/Metropolitan Andrey Sheptytsky Institute of Eastern Christian Studies, 2004), pp. 382–391.


In accordance with the prescriptions of Church law, and according to the practice maintained in our Church from antiquity, the divine office [tserkovne pravylo] is to be sung. In order that we might render the fullest possible and most devout honour to the Most High by this divine office, and in order in part to acquire for the faithful all the benefits derived from a splendid and beautiful celebration of divine services, it is necessary to cultivate church singing with great assiduousness, and to spare nothing to augment its artistic beauty. In order to raise the level of the artistic value of church singing in the Archeparchy, this Archeparchial Council reminds the clergy of the principles which they must meticulously adhere to in order to attain that goal.

The service which we render to the Most High should embrace everything that God has given us. People should pray not only in spirit, that is, with their mind and heart, but also in body and with everything that they assess both in their souls and bodies, with everything that they can use to praise the Most High . In song humans give their lungs, hands, knees, all their body, voice, tongue; their sense of beauty, of melody, rhythm and harmony, in short — their whole selves - in service to the Lord. Sung prayer corresponds to human nature and to the natural obligations of humankind towards the Most High.

In sung prayer, especially in the sung divine office, the holy Church provides people with a kind of augmentation of the gospel proclamation. The very appearance of people who are praying, as well as the very words, and even more so the style of their prayer, encourages others to imitate them; and [their appearance, the words and the style] also teach others how to pray. To perform the divine office, as well as all church singing, in a holy way is one of the many ways that we can cause "the name of our most high God, the heavenly Father, to be glorified" with our limited abilities. 

Church singing focuses one's attention, turning it away from frivolous and vain images, from the world's luxuries. It raises the mind and heart to the kind of beauty which in a deeply aesthetic way is, as it were, an image of spiritual, supernatural, and eternal beauty. Church singing can and should strengthen, and in appropriate relief, present, the meaning of the words used in prayer. Frequently these are the words by which the Most High deigned to transmit pre-eternal truth to humanity through the teaching of Divine Revelation.

In addition, singing is a most wondrous symbol of prayer, for just as in singing one's voice rises to high tones, and then again falls to lower ones, so also in prayer, the soul, standing before the Most High, raises itself to heaven by acts of hope and love, then again lowers itself to a humble acknowledgement of sins and repentance for them. Just as in singing the melody spreads in all directions and aspires, as it were, to engulf the universe, so also in prayer the human soul extends itself over the whole world, in order to embrace all its brothers in the love of neighbour. Just as in song a melody raises the soul and leads it into infinite spaces, in which the soul is submerged, intuiting more than actually knowing various mysteries of beauty and harmony, so also in prayer, the soul rises to heaven, the eyes are turned to the Father in heaven, and in him and his service - in his gifts, his love - finds an infinite depth of thoughts, feelings and a yet unknown, but expected, future life. Just as in singing the soul and body and all the powers of the soul participate, along with all the nerves and muscles of the body, so also in proper prayer, a person commits himself entirely — prays with his whole life. And just as in singing a person, who in the whirl of life is broken and anguished by incessant chaos and disharmony, by internal struggle and external blows, finds life's ideal — that is, order and harmony - and at the sight and thought of these emerges from himself and extends his arms to embrace that which he must necessarily consider blessedness and happiness; so also in prayer, he raises his soul and hands to heaven, and in a global harmony of divine order and divine goodness comes to know the goal of life and, as it were, embraces that goal. To put it briefly: just as singing is an elevated artistic action of the spiritual essence of humans engaging the human body, so also prayer is the highest function of the mind to which it is raised along those gradations which are the most spiritual functions of the body.

But singing is this kind of symbol of prayer only when it is church singing in the true sense of the word. And singing is church singing when it is sung prayer. In that single word ["prayer"] are contained all the qualities of authentic church singing, and the profound, almost infinite, difference between church and secular singing.

Before all else, church singing must be distinguished by an ethical character. Already in ancient times, philosophers differentiated various kinds of music (Aristotle, Politics, Book 8, sec. 7), and among these, ethical music (ta ethika ton melon) on the one hand, and theatrical music on the other. The former speaks to feeling, the latter desires to please and speaks to sensual passions.


Second, just as prayer, so also church music must be sincere, that is, it must proceed from a simple and pure heart, and not be an expression of compositional or vocal showmanship achieved by contrived intricacy. Church singing should be the direct outpouring of a soul submissively saturated by prayer [vylyvom rozmolenoii dushi]. In certain respects sincerity is a characteristic of every art form and artistic work. But in church singing this is a pre-condition without which the latter becomes simply annoying. A true artist cannot pretend; he must be himself. But while an artist may be allowed to show off and vaunt his abilities, in a Christian such behaviour is always repulsive. Such behaviour, therefore, will also be repulsive in church singing.


The same must be said regarding self-control. Church singing must be controlled not only in the sense that it avoids expressing sensuality and passion, but in the sense — a sense even more profoundly Christian — that whether in composition or in performance, the church music retains proper measure; so that without undue effort, without bellowing, the church singer uses his art form in such a way that there remains a depth of strength, never entirely exhausted, as well as the depth of a hidden art. This is also a characteristic of every true and great artist, but in a Christian and in that prayer which church singing rightfully is, this takes on the form of the Christian virtue of modestyand humility, and in fact constitutes this virtue. While it is actually possible for compositions whose energy and power cannot be contained in the closed space of a small church to be pleasing — they will never touch the heart. Possiblythey would be suitable for a large space, or a grandiose church. However, up close they certainly create the impression of blustering.

Church singing must also faithfully preserve the heritage of the Fathers. Among Christians this kind of continuity is a true and great virtue. A composer must perceive as if by intuition, the actual spirit of his native Church (which does not prevent him from being himself), and not only imitate old patterns.

A Christian demands of church music that it elevate the soul into a kind of supersensual, supernatural world, so that even in this respect the singing should give him an example of that Christian life which, in the words of theApostle, is in heaven. Sung prayer must create the impression of a higher reality — superterrestrial, angelic. Church harmonies must possess something cherubically immaculate, something pure, uplifting, noble. Besides this, church singing must also be as it were a [suitable] background for our magnificent rites; that is, they must be attuned to their nobility, to the majesty of faith proclaimed by all the rites; they must be an echo of ancient times as it were, of the first centuries of Christianity with their primitive Christian mode of expression. The Rite coupled with appropriate church singing — this is something eternal, ancient, ancestral, like everything in our Church: persecuted from antiquity but still alive, developing, and sometimes even manifesting brilliant victories.

Finally, church singing must be a ministry, for in fact all of Christianity and every work of priests, the ministers of the altar, is first and foremost service to the Most High, as well as a service to neighbours, to brothers, to one's people as well. Just as Christ came to serve, so also everything within us must be a service to the Lord and to the people. For its part, church singing is primarily subservient to the idea expressed by the prayer's text. This singing must confine itself to an interpretation of that text. And since this singing is to be prayer as such, it is never to supplant, alter, or destroy the text, nor should it vie for pre-eminence.

The only reason we use singing in church is to inspire the faithful to godliness. Granted, the melody by itself could do this, but it will certainly not accomplish this if it conflicts with the words. This would be a form of disharmony. Singing which in its melody emphasizes and brings to the fore the words of the prayer, inspires the very singers themselves as well as the listening faithful, and ends up achieving its goal because as a result of this it becomes real prayer.

From antiquity it has been established by law in our Church that musical instruments are not used. In the Old Testament various instruments were employed, for example the zither, similar to our husly, and the ten-stringedharp, etc. (cf. Psalm 33, or 32). The Church of Christ accepted from the Jews almost the entire original [Jewish] liturgy, for example, the reading of Holy Scripture and the Psalter. Saint Paul commends church singing to the Ephesians and assigns this singing considerable significance when he says, “Be filled with the Spirit, conversing with one another in psalms, hymns and spiritual songs, singing and making melody in your hearts before the Lord” (Ephesians 5: 18, 19). Even though the Apostle is speaking of spiritual songs and commends singing in the heart, there can be no doubt that he is also speaking of vocalized singing, stipulating only that the songs be spiritual, and, of course, not only in content, but also in the manner of execution. In other words, he demands spiritual singing, or singing directed towards the awakening of a spiritual disposition within the listeners. He also demands such a disposition in the singers, for the words "Sing in your hearts" signify that the singing is not to be with the lips alone, but also with the heart. The phrase "making melody" [hraiuchy, a word which in Ukrainian literally means "playing"] could create the impression that a musical instrument, that is, a ten-stringed harp called a "psalter," was used in church at this time. However, this is not the case, for while the word psallere or psallein rendered by our hraiuchy does indeed mean to pluck the strings of an instrument (called a psalterion), it is possible that even in Saint Paul's day the meaning of that word had changed to that which it came to have: to sing psalms from the Psalter. In either case one must note that in repeating the same advice elsewhere, the holy apostle Paul does not mention "playing." He writes to the Colossians: “Let the word of Christ abide in you abundantly, so that you might mutually teach and admonish one another in all wisdom with psalms, hymns, and spiritual songs; that you might sing to the Lord in your hearts with thanksgiving" (Colossians 3: 16). It may be that these two texts bear witness to the evolution apparently taking place at the time when the apostle Paul began his preaching of the gospel in Judaean synagogues, and then started directing his attention more clearly to the pagans, leaving behind the Jews (Acts 13: 46).

In this evolution, Christians, while accepting from the synagogue the practice of singing, nonetheless rejected musical instruments . It is also possible that the text to the Ephesians presents a situation in which Christians who had not yet been separated from the synagogue were still using the psalter as a musical instrument. Saint Thomas [Aquinas] is of the opinion that the Church rejected musical instruments from the very beginning (II – 11, q. 91, 2). His arguments are the following: In the Old Testament instruments were used because the Jews were a coarse and sensual nation [sic]. Therefore it was necessary to speak to them with promises of temporal goods and with music, which exercise greater influence on the senses. And musical instruments stimulate pleasure more that they evoke a disposition to godliness. Precisely because of this the Christian Church did not accept instruments, but did accept singing, because the latter, in the words of Aristotle, "makes people good" (Politics, Book 8, 6).

The use of singing in church as well as its significance are illustrated by Saint Thomas using excerpts from Saint Augustine, who recounts (Confessions, Book 9, 7) how Saint Ambrose introduced singing throughout Milan. Saint Augustine himself describes the impression this singing made on him: "Moved to the depth of my soul, I cried, O God, hearing the hymns and songs sung in your Church" (ibid., chapter 6). In order to characterize that singing let us add also Augustine's phrase: "When it so happens that the singing itself moves me more than that which is being sung, I admit that I thereby sin, and would prefer not to hear the singing" (Confessions, Book 10, Chapter 23).

When exactly the organ was introduced into the Latin Church is something we do not know. It seems that even during the time of Saint Thomas, that is, as late as the thirteenth century, the Latin Church also did not permit musical instruments. Saint Thomas says, "ne iudaisare videamur" (cf. the "Tabula aurea" in the Vives edition of Saint Thomas, vol. 1, p. 682).

In our Church it is the character of our church music that also opposes the use of musical instruments. This Eparchial [sic] Council strongly encourages an exact adherence to our practice and law; no one should employ any musical instruments whatsoever to accompany church singing. Our Rite also requires that all the people sing, and in this way take part effectively in church services. This participation is a very important characteristic of our Rite; through it people learn the Christian life. After the sermon and catechization, church rites and divine services are the most important school of Christian life. In some respects they are even more important than the sermon and catechization, because they teach that which it is difficult for a sermon to teach: they teach prayer. And prayer is the first and most important facet of the Christian life. Divine services teach us how to pray precisely by including the people in the sacrifice and prayer of the priest. That participation is entirely lacking when congregational singing is not practiced. Therefore, congregational singing is a requirement of every divine service. This Council considers one of the most important obligations of the priest to be the introduction of congregational singing, and it also considers the first and most important obligation of cantors to be the instruction of the people in liturgical participation through common singing. Cantors, who after several years of work at a church have not managed to bring about total popular participation in the services should not be certified [systematyzovani].

For congregational singing one must choose appropriate melodies, that is, those that correspond to the traditions of our ecclesiastical music. And certainly one must absolutely avoid and forbid theatrical, vaulting melodies, and any others that are inappropriate and foreign to the Church’s spirit. However, even though we fervently commend samoilka [Galician congregational plain chant], we in no way want to displace choral ecclesiastical singing. The latter has an ancient and illustrious pedigree in our Church. Also, by stressing a thorough preservation of the link with tradition, we do not expect a slavish repetition of one and the same established models developed during the last several centuries. By faithfulness to tradition we understand instead a sensitivity to our Rite's spirit, and the transfusion of our ancient ecclesio-ritual mentality into forms, which although modem, are tied to antiquity by their ethos. Specialists in this area state that even though at first glance the choral works of Bortniansky and the entire golden age of Ukrainian choral singing seem to be grounded in principles that are diametrically opposed to our ecclesiastical monody [odnoholossia], or plain chant, in fact the bond between the two is discernable. It is precisely the spirit of our oldest melodic constructions that prevented the old classics of our ecclesiastical choral singing from falling prey to the tempting Italianate of the period.

Our divine services contain sections which, according to our Rite, should be sung by one or more lectors or singers alone. However, the boundary between the parts sung by all the people and those sung by a group of singers can be shifted so that certain things are sung by the whole congregation while others by the choir. It is important that at the Divine Liturgy the whole congregation recite or sing the Creed and the "Our Father." It is also possible to have a choir sing (and this probably should be standard practice) on greater feasts, while letting the entire assembly sing on other occasions. Occasionally it would be good for the choir to use simple two-part arrangements, thereby drawing all the people into the singing.

To the extent that our noble and truly aesthetic choral works inspire people to godly prayer and teach them to sing prayerfully, these will influence even congregational singing by ennobling it. The only crucial consideration is that the choral singing be authentic high art, flowing from a sincere ecclesial spirit grounded in tradition. It is forbidden for people who are poor conductors to direct choirs, and for choirs to perform when they have no aesthetic sense. And certainly under no circumstances is it permissible to tolerate works of a theatrical nature. These are foreign to, and contradict, the spirit of church singing and church aesthetics.

 

 MUSIC RESOURCES

SCORES AND AUDIO

Sources for Galician Chant

In Church Slavonic

Irmologion (Suprasl, 1598–1601) on the website of the Vernadsky Library in Kyiv

Irmologion (Lviv, 1709) pdf

Irmologion (Lviv, 1816) zip

Kiprian, Matins of Pascha (Lviv, 1883) pdf

Kiprian, Liturgy of St. Basil the Great and Great Lent (Lviv, 1893) pdf

Dolnytsky, Hlasopisnets (Lviv, 1894) zip

Polotniuk, Napivnyk Tserkovnyj (Przemyśl, 1902) pdf

Irmologion (Lviv, 1904) pdf on the page of Andrew Protopsaltes (Andriy Shkrabiuk)

Ostheim-Dzerowycz, Napivnyk Tsekovnyj (Rome, 1959) pdf

In Ukrainian

Roll, Music of the Ukrainian Catholic Church for Congregational Singing (Stamford, 1980) pdf

General Resources for Galician Chant

Unmercenary Sacred Music Galician Chant page by Fr. Silouan Rolando

Scanned books and articles by Jopi Harri, including his thesis on the origins of St. Petersburg Court Chant (“Obikhod”) with many references to Kievan and Galician chant.

Article and lecture by Deacon Daniel Galadza on church singing in Galicia

Oktoechos – the Eight Tones

The Octoechos, A Kliros Handbook for the Eight Tones

A DRAFT VERSION of Reader Ilya Galadza’s summary of the eight tones in Galician, Kievan, and Znamenny Chant, in English, which includes sticheron (“samohlasni”), troparion (“resurrectional”), prokeimenon, and alleluia melodies, including the Dogmatikon and Bulgarian melodies. The notes are written in “Kievan notation” or “square notation”, which was common notation of the liturgical music books of our Church in from roughly the sixteenth to twentieth centuries. For more on Kievan notation, read this primer by Nikita Simmons here. If you find any typos or have corrections, please send them to the SingCon e-mail address.

Tone 1 Tone 2 Tone 3 Tone 4 Tone 5 Tone 6 Tone 7 Tone 8

Galician Tones Cheat-Sheets

Seminarian Julian Savaryn’s three-page summary of the eight tones in Galician chant. Download it here.

A table by Deacon Daniel Galadza with introductory texts of the hymnography for Troparia, Kontakia, and Prokeimena for the eight tones. Download it here. It prints on US Legal size paper.

Octoechos Guide for Galician Chant

A complete overview of the eight tones in Galician Chant by Fr. Silouan Rolando that includes Troparion, Kontakion, and Prokeimenon melodies as well as Sticheron melodies for the Samohlas, Podoben, and Bulgarian melodies, some even in four-part harmony. Download it here.

Sticheron (Samohlas) Melodies: “O Lord, I have cried to You” (Psalm 140)

A helpful resource for the stichera melodies can be found at the Unmercenary Sacred Music page of Fr. Silouan Rolando. These recordings were made in October 2020 by the Kliros of St. Elias Church in Brampton, Ontario, directed by Reader Ilya Galadza.

Tone 1

Melody and verses for Psalm 140 at Vespers pdf
St. Elias Church, Brampton pdf audio
SATB harm. Fr. C. Dachuk pdf audio
SATB harm. D. Galadza pdf audio

Tone 2

St. Elias Church, Brampton pdf audio

Tone 3

St. Elias Church, Brampton pdf audio

Tone 4

St. Elias Church, Brampton pdf audio

Tone 5

St. Elias Church, Brampton pdf audio

Tone 6

St. Elias Church, Brampton pdf audio

Tone 7

St. Elias Church, Brampton pdf audio

Tone 8

St. Elias Church, Brampton pdf audio

Theotokia Dogmatika

The eight Dogmatika for Vespers are sung while the clergy process from the sanctuary into the nave of the church before the culmination of Vespers with the entrance and the hymn “Tranquil Light” (Phos hilarion, Світе тихий). They are sung as the final sticheron at Psalm 140 on Saturday evening, depending on the tone of the week, as well as on Friday evening (as the “leave-taking” of the tone of the week) and usually for Vespers for polyeleos rank commemorations.

The Church Slavonic originals are from the Lviv Irmologion (1904), Ukrainian translations and adaptations are available from Andrew Protopsaltis (Andriy Shkrabiuk), and the English translations from Byzantine Daily Worship arranged by Fr. Roman Galadza, with his own audio recordings.

Tone 1: English pdf audio

Tone 2: English pdf audio

Tone 3: English pdf audio

Tone 4: English pdf audio

Tone 5: English pdf audio

Tone 6: English pdf audio

Tone 7: English pdf audio

Tone 8: English pdf audio

Vespers

Great Vespers With Propers for Saturday Evening, 4th Edition – Supplemented, ed. Fr. Peter Galadza (Ottawa: The Metropolitan Andrey Sheptytsky Institute of Eastern Christian Studies, 2013) – order here.

Psalm 103

“Blessed is the man” (First Kathisma)

Saturday evening is the beginning of Sunday and the beginning of the weekly cycle of the Psalter, which is read once in its entirety (twice a week during Great Lent) in the Byzantine Rite. Psalm 1 begins with the words “Blessed is the man…,” whom Church Fathers explain is Christ, the model of our lives as Christians. In parish practice, selected verses from the first part of the First Kathisma are sung on Saturday evenings and the eves of feasts when “Blessed is the man…” is prescribed.

Kievan Obikhod Chant: SATB pdf audio SAA/TTBB pdf audio

Kievan Obikhod Chant, harm. N. Kedrov Jr.: pdf audio

Pochaiv Lavra Chant

“O Lord, I have cried to You” (Psalm 140) and Dogmatika

See above.

Tranquil Light

One of the most ancient hymns of the Byzantine tradition, “Tranquil Light” (Phos hilarion, Світе тихий) is sung every day of the year at Vespers. The hymn, or at least certain phrases from it, was known by St. Basil the Great already in the fourth century. The text praises Christ, the “tranquil light” Who is the glory of the Father, Whom we praise as we come upon the sunset at the end of the day.

Galician Chant, harm. Fr. Conrad Dachuk: English pdf audio Church Slavonic pdf

Kievan Chant, (arr. S. Dvoretsky: English pdf Church Slavonic pdf

Chant of St. Elias Skete, Mount Athos: English pdf Church Slavonic pdf

Prokeimena

A helpful resource for Prokeimena can be found at the Unmercenary Sacred Music page of Fr. Silouan Rolando

Galician Chant, harm. St. Elias Church: English pdf audio

Canticle of Symeon

Galician Bulgarian Chant, Tone 5, harm. Fr. Roman Galadza, English trans. Fr. Conrad Dachuk: pdf audio

Galician Bulgarian Chant, Tone 3, harm. Metropolitan Ionafan (Eletskykh): pdf audio

Matins

Polyeleos

Chant of the Yablochynsky Monastery: English pdf audio

Lviv Irmologion (1904), arr. Ilya Galadza: Church Slavonic pdf audio

Divine Liturgy

Just as with Vespers and Matins, there are numerous chants and melodies for the Divine Liturgy. The most common melodies sung in the Ukrainian Greco-Catholic Church are Galician Chant “Samoilka” (audio examples; article on Galician Chant “Samoilka”) which are well suited for congregational singing. There are also many choral arrangements, provided in the list below, that are sung by a choir or kliros and often imitated by congregations as well.

Great Litany

Antiphons

“Only-begotten Son”

“Holy God” (Trisagion)

M. Berezovsky (1745–1777): English pdf audio

Cherubic Hymn

“No. 5,” D. Bortniansky (1751–1825): English pdf audio
Congregational adaptation found in Divine Liturgy: An Anthology for Worship (Ottawa: Sheptytsky Institute, 2004), p. 275 and p. 280

Staro-Simonov Chant, also attributed to H. Skovoroda (1722–1794), harm. P. Chesnokov (–1944): English pdf audio
Congregational adaptation found in Divine Liturgy: An Anthology for Worship (Ottawa: Sheptytsky Institute, 2004), p. 221 and p. 224

B. Ledkovsky (1895–1975): English pdf audio

“The mercy of peace” (Anaphora)

D. Christov (1875–1941): English pdf audio

A. Arkhangelsky (1846–1924): English pdf audio

“It is truly right to Bless you” (Hymn to the Mother of God)

Galician Chant, harm. M. Leontovych (1877–1921): English pdf audio
Congregational adaptation found in Divine Liturgy: An Anthology for Worship (Ottawa: Sheptytsky Institute, 2004), p. 151

Galician Chant (Funeral Variant), harm. Metropolitan Ionafan (Yeletskykh): English pdf audio

Our Father

Galician Chant (Samoilka): SATB English pdf audio

N. Rimsky-Korsakov (1844–1908): English pdf audio
Congregational adaptation found in Divine Liturgy: An Anthology for Worship (Ottawa: Sheptytsky Institute, 2004), p. 301

Post-Communion

“Blessed be the name of the Lord”

D. Sichynsky (1865–1909): Ukrainian/English/French pdf audio

D. Bortniansky (1751–1825): Ukrainian/English/French pdf audio




A Short History of SingCon

 

The Ukrainian Greco-Catholic Church Singing Conference, lovingly referred to as SingCon, began as a response to needs in the Ukrainian Greco-Catholic Church in North America to bring people together to glorify God through the traditional liturgical worship of our Church. The goal was (and remains) to do so beautifully, in English, sharing with participants  the experience and resources of the past, and enlivening our worship today, with hope for a renewal throughout our Church in the future.

The inaugural and first annual SingCon gathered over 100 people interested in church singing at Pokrova Ukrainian Greco-Catholic Church and St. Josaphat Ukrainian Greco-Catholic Cathedral in Parma, Ohio (5–7 October 2018). The gathering was organized with the blessing of the Patriarchal Liturgical Commission of the UGCC, presided over by His Grace Bishop Benedict of Chicago, and hosted by His Grace Bishop Bohdan of Parma. The members of the first organizing committee included Larisa Cronin, Reader Ilya Galadza, Deacon Daniel Galadza, Roman Hurko, Deacon Cyril Kennedy, Father Joseph Matlak, and Melita Mudri-Zubacz. Cantors and choir directors had a chance to meet one another, network, share resources, discuss various issues, and—most importantly—to pray together. People attended from every corner of Canada and the United States, from almost every Eparchy of the UGCC in North America, with an even age distribution of participants from under 18 to over 60 and all ages in between. The conference also saw a high level of youth participation.

The schedule included daily Vespers, Panakhyda, a Town Hall discussion, hierarchical Vigil on Saturday evening, and hierarchical Divine Liturgy on Sunday morning, as well as workshops, rehearsals, fellowship, and keynote lectures. Audio and video recordings were prepared by Julian Hayda. All of these became part of the regular schedule of SingCon in subsequent years, continuing the enthusiasm, zeal, and large attendance of the first gathering.

The second annual SingCon gathered at St. Basil’s Seminary in Stamford, Connecticut (26–29 September 2019), hosted by His Grace Bishop Paul of Stamford and Fr. Bohdan Tymchyshyn, rector of St. Basil’s Seminary. Participants had a chance to visit the Stamford Seminary Museum and Library, sing under the direction of composer Roman Hurko, and hear a keynote lecture by cantor Joseph Roll about the history of liturgical music at the Stamford Seminary.

The SingCon scheduled for October 2020 in Philadelphia, Pennsylvania, hosted by His Eminence Metropolitan Borys and the Philadelphia Archeparchy, had to be postponed due to the Covid-19 pandemic. Instead, various initiatives were organized online, such as the weekly "Name That Tone" webinar, and smaller gatherings took place at St. Elias Church in Brampton, Ontario.

In 2023, gatherings were able to continue with the third annual SingCon in Welland, Ontario, hosted by St. Michael the Archangel Ukrainian Catholic Church (28 September–1 October 2023) and the pastor, Fr. Jaroslaw Lazoryk. Professor Brian Butcher, ecumenical relations secretary for the Canadian Conference of Catholic Bishops, gave a stimulating talk addressing the intersection between the psychology and sociology of singing within our own experience of worship and understanding of beauty.

In 2024, we were able to gather for the fourth annual SingCon at Assumption of the Blessed Virgin Mary Church in Calgary, Alberta (19–22 September 2024), hosted by Fr. Roman Planchak and the parishioners. Over 100 participants, this time mainly from Western Canada, gathered to pray and learn more about their church singing tradition. Thanks to the sponsorship of various organizations in the Edmonton Eparchy, draft books, resources, and bags were printed for the use of participants. Presvytera Melita Mudri-Zubacz, director of music at Fresno Pacific University, gave the keynote lecture, entitled “Aural Icons: Unlocking the Transformative Power of Liturgical Music.” Bishop Bohdan of Parma and Reader Ilya Galadza were unable to attend SingCon, because of the the funeral of the newly-reposed Bishop Basil (Losten) in Stamford; since Fr Joseph Matlak was also unable to attend,  the main services at SingCon were presided over by Hieromonk Herman.

In preparation for the fourth gathering, the SingCon Organizing Committee commissioned Oleksiy Chekal to design the new SingCon logos that now adorn the website, social media (Facebook, Instagram, YouTube, SoundCloud), and booklets, succeeding the previous logos and designs by Anastasia Galadza and Ivanka Galadza.

As we continue to gather, we ask God to guide our work of praising Him in song and helping us to organize future gatherings, summer schools, publications, recordings, and videos, to the glory of the Father, Son, and Holy Spirit. Amen.