Page 92 - Studia Universitatis Hereditati, vol 12(2) (2024)

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this has its theology’ (Biès 1997, 74). Biès em- them with what he described as ‘this abomina-
phasized that the analysis ‘includes an alchem- ble Greek chant for which the nose bears all the
22
ical aspect, concerning the spiritualization of costs’ (Miller 1889, 15). This apparent disdain
matter: this is its transfiguring function; a sym- for Greek Byzantine chant may be linked to his
bolic aspect, concerning the transposition of ar- expertise in Byzantine manuscripts, yet a further
chetypes into visible images: this is the purifying examination of Abbot Stanislas Neyrat’s obser-
function; finally, a liturgical aspect, concerning vations reveals an equally critical perspective.
the ‘descent of heaven onto earth,’ and this is its Neyrat, serving as Chapel Master during the cel-
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cultural function’ (Biès 1997, 74). ebration of the feast of Saint John Prodromos,
It is evident that travel writers of the 1970s recounted (Neyrat 1884, 125–126):
began to adopt a novel perspective on Byzantine (..) the office of the great vigils or agripnias
and post-Byzantine art, a shift that appears to begins before ten o’clock and lasts until the
92 correlate with the increasing frequency of their morning. We go there as curious people,
stays at the Holy Mountain. These prolonged en- hoping for masterpieces. But what a disap-
studia universitatis hereditati, letnik 12 (2024), številka 2 / volume 12 (2024), number 2
gagements encouraged a more profound explora- pointment! Nasal melodies performed by
tion of the essential elements of monastic life, six or eight monks placed in the two arms of
with the Orthodox imagery of icons and fres- the cross. Two or three sing a monotonous,
coes emerging as a crucial focal point in their interminable hymn, the vague tone of which
analyses.
one would hardly recognise; while another
Sounds Impressions voice, no less nasal, performs a droning hold
on a single note, in tune or not with the mel-
In his 1555 work, the French naturalist, writer, ody: which recalls quite well, but much less
diplomat, and traveller Pierre Belon du Mans musically and much more unpleasantly the
(1517–1564) observed that ‘the caloières go every effect of our Savoyard oldies.
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day to sing the service’ (Belon du Mans 1555, f.
66. v.). However, he offered merely a factual ac- Notably, art historian Jean Décarreaux,
count without delving into further details. It writing in the following century, echoed the sen-
was not until the 19th century that a more re- timents of both Miller and Neyrat, characteriz-
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flective narrative emerged regarding the liturgi- ing the chants as ‘ugly’ (Décarreaux 1954, 94).
cal practices, particularly as Father Braconnier’s Despite being a specialist in Western religious
travel report from 1706 included no commen- chant, Neyrat struggled to appreciate this new
tary on this subject. form of liturgical music, merely noting its du-
The earliest substantial testimony can be ration. Vendômois Eugène Mercier, in the early
attributed to the manuscript specialist Mill- 1930s, articulated a more poetic response to the
er, who, upon his arrival at the Russian site of 22 ‘d’aller entendre la messe russe. » « Les chants sont beaux,
Saint Andrew on a Sunday, expressed his inten- et contrastent avec cet abominable chant grec dont le nez
fait tous les frais’
tion to attend the Russian ‘mass’ [sic]. He re- 23 ‘(..) l’office des grandes vigiles ou agripnies commence
marked, ‘The chants are beautiful,’ contrasting avant dix heures pour durer jusqu’au matin. Nous y allons
en curieux, espérant des chefs-d’œuvre. Mais quelle décep-
19 ‘Il n’existe pas seulement une esthétique de l’icône; celle-ci tion! Des mélodies nasillardes exécutées par six ou huit re-
a sa théologie.’ ligieux placés dans les deux bras de croix. Deux ou trois
20 ‘... comporte un aspect alchimique, concernant la spiritual- chantent une hymne monotone, interminable, dont on re-
isation de la matière: c’est là sa fonction transfigurante; un connaîtrait à peine la tonalité indécise; tandis qu’une autre
aspect symbolique, concernant la transposition des arché- voix, non moins nasillarde, fait une tenue bourdonnante
types en images visibles: c’est la fonction purificatrice; un sur une note unique, juste ou non avec la mélodie: ce qui
aspect liturgique enfin, concernant la ‘descente du ciel sur rappelle assez bien, mais bien moins musicalement et bien
la terre’, et c’est sa fonction culturelle’ plus désagréablement l’effet de nos vielles savoyardes.’
21 ‘les caloières vont tous les jours chanter le service’ 24 ‘Les chants sont laids’