PDF

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 14 Hymn of the Transfiguration 68
Figure 18 The Meeting in the Garden 70
Figure 23 Passion Populare 73
Figure 30 Angel Vopiyashe 80
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. In his third year at Royal Holloway,
2
Moody wrote to Sir John Tavener requesting private composition lessons. In his interview with
journalist James Altena, Moody said Tavener was “… the only composer in Britain at that point
with whom I thought I could learn to shape my own musical voice.”1 Tavener consented, and
Moody began taking regular lessons with him. Tavener instilled the idea that music –
particularly choral music – should be as transparent as possible and that all nonessential notes
should be discarded. These lessons influenced Moody’s compositional style well beyond his
early works in the 1980s and into the present day. The conversations during their lessons
expanded into theology, including extraordinarily wide-ranging conversations on the decadence
of the West and its influence on Orthodox thought. It was also during this third year that Moody
founded his own choral ensemble, Voces Angelicae, later known as the Kastalsky Chamber
Choir, which primarily focused on the performance of Renaissance and Orthodox music. This
ensemble went on to perform several of Moody’s compositions and to give the London
premieres of parts of Tavener’s Orthodox Vigil Service.
In 1994, Moody relocated to Estoril, Portugal, and in 2005 began his doctoral studies at
the University of York in York, England where he studied with William Brooks. Moody
maintained his primary residence in Portugal throughout his study and would make frequent trips
to England. During his doctoral studies, Moody began experimenting with heterophonic
techniques, the simultaneous varying of a single melodic line either by rhythmic or melodic
variation. Following his graduation from York, he was approached by the head of the research
unit CESEM at the Universidade Nova in Lisbon about doing post-doctoral work. The result
was a series of articles that eventually were consolidated to form his book Modernism and
Orthodox Spirituality in Contemporary Orthodox Music.
1
James Altena, “Mystical Light from Arctic Climes: An Interview with Fr. Ivan Moody, Composer, Conductor,
Musicologist, Priest,” Fanfare, 03/01/2014, 99-103.
3
Conversion to Orthodoxy
A significant landmark in Moody’s life was his conversion to Orthodoxy at the age of 23
when he became a member of the choir of the Russian Orthodox Cathedral in London. He
served as cantor in both Greek and Bulgarian parishes and served as a cantor in Lisbon for 20
years. In 2007, several members of the parish in Lisbon wrote to the bishop on Moody’s behalf
asking that he be ordained. The request was granted, and Moody was ordained deacon and later
priest in the same year. The church restructured to sanction a new parish, St. John the Russian in
Estoril, Portugal. This was Fr Moody’s first appointment as priest, and he continues to serve at
this parish. Moody’s conversion to the Orthodox religion played a large role in his compositional
voice. The entire Orthodox service is chanted, even if it is just on a recitation note, though in
Greek practice psalms and some other texts are more usually read in a speaking voice. The
singing within Russian Orthodox services is grounded in several forms of chant, which serve as
the basis for both monophonic and polyphonic liturgical music for the service. When Fr Moody
was asked about how he came to write liturgical music, he replied, “Well, being a composer
already and then becoming Orthodox, I suppose it was inevitable.” Orthodox services revolve
around music and cannot be completed without it. This marriage of Orthodox theology and
liturgical music grounded firmly in chant creates an ideal environment for Moody’s
compositional style.
It is also imperative to delineate that instruments are not permitted in Orthodox liturgical
music. This restriction is founded upon the idea that the human voice is the only way to praise
God, much like the American Sacred Harp tradition. This single restriction plays a profound role
in Fr Moody’s compositions.
4
Musicological and Theological Writings
Moody has numerous publications in the fields of musicology and theology. He regularly
contributes to Gramophone and International Record Review, and has published articles on both
contemporary and early music in periodicals such as Contact, Composer, Musical Times, and
Contemporary Music Review.2 Moody has also edited a large number of performing editions of
sacred music. His performance editions include sixteenth-century music from England, Spain,
Portugal, Mexico, and Russian Orthodox repertoire. In addition to his music editions, Fr Moody
has published research on prominent twentieth-century composers, Greek Orthodox church
music, and twentieth-century contemporary music from Russia and the Balkans. Because of his
scholarly activity in these areas, Moody has served as musicological and program consultant for
such performers as The Tallis Scholars, The Sixteen, the Orlando Consort, the Hilliard
Ensemble, and the Westminster Cathedral Choir.
Fr Moody is well-published in the field of theology and has written on several topics
surrounding Orthodox Church music. In his book, Modernism and Orthodox Spirituality in
Contemporary Music, Moody explores “what happens when musical modernism and the
spirituality of the Church meet each other.”3 He identifies the conflict between traditional
Orthodox music, where there is “no room for imagination of the individual; rather, the artist
becomes a channel for the reception and transmission of divine realities,”4 and the uniting
Modernism view that the “untried is markedly superior to the familiar, the rare to the ordinary,
2
www.ivanmoody.co.uk
3
Ivan Moody, Modernism and Orthodox Spirituality in Contemporary Music (Estonia: International Society for
Orthodox Church Music and the Serbian Science Academy, 2014), 9.
4
Ivan Moody, Modernism and Orthodox Spirituality in Contemporary Music (Estonia: International Society for
Orthodox Church Music and the Serbian Science Academy, 2014), 21-22.
5
the experimental to the routine.”5 This intersection has influenced the works of several
composers who wrote within the framework of Orthodox theology including Igor Stravinsky,
Galina Ustovolskaya, Sofia Gubaidulina, Arvo Pärt, John Tavener, and Ivan Spassov. Moody’s
writing highlights the intersection of modernism through these composers’ works.
In his 1995 article, Music as a Sacred Art, Moody elaborates on the challenges of modern
composers choosing to compose in any kind of sacred tradition. He states:
“The frequently expressed idea that the constant search for new, for ‘originality’,
which has formed so much a part of the cultural history of the twentieth century
has taken music to a point at which it is an intellectual conceit for the composer,
leaving the listener in a state of bewilderment, as a very specific application to
those concerned with the writing of sacred music. For this unremitting attempt to
create something entirely new has a consequence precisely opposed to the
purpose of sacred art, in that it of necessity requires the exaltation of the ego of
the artist, and as a further consequence of this, the elevation of man to the place of
God.”6
This realization of ego and a composer’s personal desires applied to their compositions is a
running theme throughout Moody’s writings. He elaborates that if a composer wants to truly
develop music composed within a sacred tradition, they must first come to terms with a creative
relationship with sacred chant. Moody cites chant as the ‘innocence’ of sacred musical art.7
This ‘innocence’ is the primary basis upon which sacred traditions may be continued and built
upon to create new and truly divine art deprived of vanity. To strengthen his stance, Moody
5
Peter Gay, Modernism: The Lure of Heresy from Baudelaire to Beckett and Beyond (London: Heinemann, 2007),
2.
6
Ivan Moody, “Music as a Sacred Art,” Contemporary Music Review 12 (1995): 23.
7
6
returned to the words of his teacher, John Tavener, as he pointed out, “theology (in any tradition)
cannot be used – it must ‘use’ us.”8
It is imperative to specify that Fr Moody is referencing music created for the context of
the liturgy. The hidden assumption in the literature is that works outside the context of the
liturgy are more worthy of examination or that they transcend in ways that chant cannot. This
leads to a view of the role of chant being purely functional. Jeanette Winterson draws a similar
comparison to visual art by stating, “Canonizing pictures is one way of killing them. When the
sense of familiarity becomes too great, history, popularity, association, all crowd in between the
viewer and the picture and block it out. Not only pictures suffer like this, all the arts suffer like
this.”9
Moody questions whether such a view might possibly be true if applied to music. Is it
possible that concert music speaks “more directly of the sacred than music designed specifically
for the words of the liturgy, sung in liturgical time and space?”10 He comments that the success
of paraliturgical music such as that by Sir John Tavener, Arvo Pärt, James MacMillian and
others could be seen as a supporting view; however, it cannot function as a general rule for all
liturgical works. To strengthen his argument, Moody asserts that if this truly were the case, then
the Church would never have become so involved in questioning and defining the proper use of
liturgical music through the council of Trent and Vatican II.11
Although Fr Moody has written extensively on Orthodox Church Music, he rarely
provides public commentary on his own compositions. The most detailed offering is found in an
8
9
Jeanette Winterson, Art Objects: Essays On Ecstasy and Effrontery (London: Jonathan Cape, 1997), 12.
10
Ivan Moody, “The Seraphim Above: Some Perspectives On the Theology of Orthodox Church Music,” Religions6
(2 April 2015): 350-64, hit;://www.mdpi.com/journal/religions.
11
Ivan Moody, “The Seraphim Above: Some Perspectives On the Theology of Orthodox Church
Music,” Religions6 (2 April 2015): 350-64, hit;://www.mdpi.com/journal/religions.
7
examination of his Passion and Resurrection (1992).12 Fr Moody discusses the mysticism of
time suspended and harmonic stasis within the work. He draws comparisons between
iconography and the separate movements from the Passion as they can be “expressed as a series
of stylized ritual scenes in the manner of ikonstasis (ikon screen) in a church.”13 Moody is also
quick to point out his belief that music cannot actually be an ikon. The final item highlighted is
his selection of text for Passion and Resurrection. Fr Moody elected to employ three languages,
English, Greek, and Church Slavonic. Setting texts from multiple languages is representative
throughout Moody’s compositions. Each has symbolic meaning. In this case, the languages
represented the three elements (liturgical, musical, and linguistic) upon which he could draw in
the tradition of Orthodoxy in England.
12
Ivan Moody, “The Mind and the Heart: Mysticism and Music in the Experience of Contemporary Eastern
Orthodox Composers,” Contemporary Music Review 14 (20 Aug 2009): 65-79, accessed February 20,
2017, http://dx.doi.org/ 10.1080/07494469600640291.
13
2017, http://dx.doi.org/ 10.1080/07494469600640291.
8
CHAPTER II
Theological Convention and Its Implications on Moody’s Compositional Voice
The Orthodox Church service is deeply connected to music. David Drillock, Professor of
Liturgical Music, Emeritus at St. Vladimir’s Orthodox Theological Seminary writes,
“When Orthodox worshippers gather together as the Church of God they truly believe
that not only is Christ there in the midst of them, but so is the whole church as the body
of Christ (1 Corinthians xii.27), including the dead and especially the saints and the
angels. Worship here on earth is joined with the heavenly worship. Singing brings the
inhabitants of heaven and earth together in a common assembly where there is one
thanksgiving and one joyful chorus.”14
All liturgical services within the Orthodox Church are performed through extensive singing and
chanting. In many instances, the chant is carried by the priest or cantor with the congregation
signing when possible. As mentioned in Chapter 1, instruments are not permitted in Orthodox
liturgical music, thus, all music within the service is unaccompanied with the exception of some
Greek Orthodox churches in the United States.
The Orthodox Rite is highly regulated, and liturgical convention and traditions have
greatly impacted Moody’s compositional output. Three types of works can be identified within
Moody’s sacred music. The first type is liturgical works which are intended for use within
worship and follow the official liturgical canon. The second type is para-liturgical works, are
defined as music that can be used within worship that does not follow the official liturgical
canon. The third type is concert works that utilize a sacred text but were not conceived to
function within the worship service. Of these three, the largest number of Moody’s works are
considered liturgical works. The predominance of liturgical works in Moody’s catalogue impact
his compositional tendencies related to the use of chant, forces, languages, and texts.
14
David Drillock, Orthodox Church (Grove Music Online. Oxford Music Online: Oxford University Press).
9
A key theological element of liturgical music within the Orthodox Church is the origin of
chant. Byzantine mystical thought stressed the belief that angels transmitted chants from one
order rank to the next until they were received by the hymnographer. Once received, these chants
were “viewed as ‘echoes’ or ‘models’ of the heavenly songs and serve as the foundation for all
musical creativity.”15 Byzantine chant continues to serve an integral role in both liturgical and
para-liturgical works, and Moody frequently returns to Byzantine chant and various other types
of chant as the basis for his compositions.
Moody uses chant to provide a solid framework for his melodies. It is important to
stipulate that chant serves as a framework because he frequently strays from traditional chant
melodies or uses only fragments of a chant. Moody also has compositions that sound like chant,
but are completely newly composed in his own melodic style much like the writings of Duruflé
and Pärt. Moody’s music arises from melody. He considers melody to be the most important
aspect of music, and harmonies are derived from the melody during his compositional process.
Moody’s practices align with the Orthodox belief that chant serves as ‘the foundation for all
musical creativity.’ While Moody is hesitant to say that his melodic style is influenced by chant,
utilizing chant allows him to symbiotically intertwine various types of chant with his own
original melodies to create a unique liturgical composition.
The restriction pertaining to the use of instruments within the Orthodox Church service
has had a profound impact on Moody’s choral output. Removing instrumentation from the
palate of colors available can confine a composer’s ability to effectively create their ideal
product. However, Moody is uniquely equipped for composing in such a manner due to his
15
David Drillock, Orthodox Church (Grove Music Online. Oxford Music Online: Oxford University Press).
10
educational background and training. Moody specifically cites the impact Sir John Tavener had
on his compositional voice as it relates to transparent textures.
“I discovered that you could actually write much more transparent music when I was
studying with Tavener. He was an absolutely massive influence on me and my music
became much simpler and much more texturally sparse.”16
Subsequently, it appears that his compositional training with John Tavener allows Moody to
thrive within the constraints of composing strictly for human voices without accompaniment.
Moody cites Orthodox sacred rites and practices as having a huge impact on the texts he
chooses to set. The connection to text delves deeper than the relationship between text and
Orthodox liturgy. Moody’s music revolves around the focal point of the Resurrection.
Spiritually speaking, his works are a reflection on the Resurrection and the impact the
Resurrection and rebirth has on believers’ lives.17 This idea of the Resurrection and rebirth is
what often structures a piece. In A Brief Interview with Myself, Moody states,
“there is a passion, a death, and a rebirth, or transfiguration, or a baptism… and that

Stravinskian stasis that ends so many works is to do with a new state of being. I can’t
really see the point of writing music, actually, unless it brings you to a new state of
being.”18
The commissioning process also greatly influences Moody’s liturgical compositions.
Each of Moody’s compositions are commissioned works, and many of these commissions are for
works needed in active Orthodox Churches. These commissions require particular sections of
the liturgy and are crafted for a specific group of performers, on a particular occasion, and in the
required language. Personalizing his writing to meet the needs of the director and the technical
limitations of the ensemble impacts each composition. However, it also deepens the personal
16
Ivan Moody (Composer), interviewed by Kevin L. Coker at Cascais, Portugal, June 13, 2017.
17
18
Ivan Moody, “Brief Interview with Myself” from “Portfolio of Compositions” doctoral thesis, University of York,
2008.
11
connection between Moody and the music because it engages him in writing for people and
voices he personally knows. He views this as a wonderful process and embraces how each piece
of music has “a life of its own” through each performance and interpretation.19
Moody embraces the restrictions of Orthodox liturgical music and views the limitations
as catalysts to spark his own imagination. He likens the compositional limitations to the process
of building a home because they provide the framework. Within that framework, however, the
composer is able to place the walls and furniture within the rooms. He believes the more
limitations one has, the more creative one can be. When questioned further on this topic, Moody
was quick to point to Stravinsky’s words:
“My freedom will be so much greater and more meaningful the more narrowly I limit my
field of action and the more I surround myself with obstacles. Whatever diminishes
constraint diminishes strength. The more constraints one imposes, the more frees one’s
self of the chains that shackle the spirit.”20
These words, from a man whom Moody points to as influencing his own work, are
reflected in numerous ways through Moody’s writing. Each composition embraces the
framework and limitations set before them. Yet, each is unique, vibrant, and continue to live
their own life with each performance.
Icons, Iconostasis, and Mysticism
In his interview with Altena, Moody reflected on his conversion to Orthodoxy.
“I was initially attracted at the age of 19 or so, like so many, by the music, by the
experience of standing in a dark, incense-heavy church with icons glowing on the wall. I
had found a need for a ritual expression of theology which was absent for me in the
Anglican Church—or, at least, most Anglican parishes—and so when I was 23 I was
chrismated at the Russian Cathedral.”21
19
20
Igor Stravinsky, Poetics of Music in the Form of Six Lessons (Cambridge, MA: Harvard University Press, 1970),
65.
21
James Altena, “Mystical Light from Arctic Climes: An Interview with Fr. Ivan Moody, Composer, Conductor,
Musicologist, Priest,” Fanfare, 03/01/2014, 99-103.
12
Icons of the Orthodox Church have also influenced Moody’s compositions and
theological commentary. In their simplest form, icons are religious works of art. From a
compositional standpoint, Moody does not believe that music can be an icon, as it is a different
medium. However, he does feel that music can invoke a sense of icons and one can inspire the
other. For example, in his Passion and Resurrection, Moody’s intent was to create a sense of
iconostasis. An iconostasis is a wall of icons and religious paintings. Moody’s composed a
series of “icons” that narrate the Passion story. Each section is called an icon, but Moody
doesn’t recognize them as such due to the fact that icons are works of art, not musical
compositions.
Moody’s theological commentary on icons explores their connection with mystical
music. He writes, “An ikon, for an Orthodox Christian, is a holy presence to be venerated. It is
not a religious picture, and it cannot be truly apprehended in terms of art history only: in that
sense it is mystical.”22 A true definition of “mystical music” cannot be reached, but Moody
examines the idea of gnosis, which is defined as a hidden knowledge, a meaning obscure except
to initiates.23
Furthermore, Moody investigates the concept of time in relationship to icons and mystic
music. Citing Pärt’s De profundis (1989) and Stabat Mater (1985) as pieces where the text is
‘set with absolutely no word painting, but with a stylized ritual solemnity…”, Moody identifies
the concept of suspending time through compositional practices.
22
2017, http://dx.doi.org/ 10.1080/07494469600640291.
23
2017, http://dx.doi.org/ 10.1080/07494469600640291.
13
“Time is suspended, and that is another important element of mysticism. In an ikon there
is no perspective, that is to say, it is not situated in reality. Similarly, mystical music
must suspend real time in order to create its own ‘two-dimensional’ level into whose
metaphorical simplification the initiate may enter in order to understand the multi-
dimensional mystery thus presented.”24
It is possible that Moody’s view of interconnected relationships between Orthodox art
and music may allude to further compositional practices within his writing. Icons and
iconostasis provide a sense of narrative and static at the same time. This same stasis is apparent
in his vocal works in the form of drones and non-developmental chords with slow harmonic
motion. Several representative pieces will be discussed further in Chapter 3.
24
2017, http://dx.doi.org/ 10.1080/07494469600640291.
14
CHAPTER III
Moody’s Compositional Influences and Practices
Aside from his teachers, Sir John Tavener, Brian Dennis, and William Brooks, Moody points
to Britten and Tchaikovsky as composers who influenced his own writing. Moody describes
Britten as his “real musical hero” during the time when he was first encouraged to begin
composing, and his early works reflect this admiration. Tchaikovsky’s influence had a longer-
lasting impact on Moody’s compositional voice. Moody’s music doesn’t sound like
Tchaikovsky, but Moody credits Tchaikovsky with imparting a love of lyricism within his
works.
As discussed in Chapter 2, Moody’s sacred music is divided into three categories: liturgical
works, para-liturgical works, and concert works. To date, Moody has published 112 choral
works, and a majority of these compositions are liturgical works. As a result, his choral
compositions are predominantly a cappella, but his catalogue does contain works for full
orchestra and various other instrumental combinations. Some works reflect his interest in
writing for varying and sometimes exotic forces, including his Lamentations, which is a 35-
minute piece for AATTTTBB chorus and two trombones.
Moody demonstrates a command of multiple languages in his writing. A majority of his
works use English, Greek, Russian, and Slavonic texts but he also has several compositions with
German, Spanish, Finnish and Portuguese texts. While these texts are primarily sacred, it is the
source and liturgical nature of the text that dictate how the composition is utilized.
Moody’s compositional style has undergone some large changes throughout his career.
He has experimented with dodecaphonic, serial, and heterophonic techniques and cites each as
instilling important disciplines that shaped his compositional voice. Composing in dodecaphonic
15
and serial styles caused Moody to “learn how to work with very limited groups of material, being
very economical.”25 Moody had a phase during his doctoral work where several of his works
were composed using heterophonic techniques. Heterophonic music utilizes simultaneous
variants of similar or identical melodies to blur structural pillars within his compositions.
Heterophony is particularly challenging for singers as voices are slightly out of sync with other
parts, but it works very well with instruments, and several of his instrumental pieces feature
extensive heterophony techniques. Moody described his use of heterophonic techniques as a
way to “obliterate structural clarity”26. To further elaborate, Moody states:
“You know my pieces are very much A, then there’s a pillar, and then there’s A prime,
then there’s a pillar, then there’s B, then a pillar, then A again. You have a large
structure with these very clear pillars, and by using heterophony, you blur the edges.”27
Examples of heterophonic techniques can be found in Passion Populare (2005) and
Canticum Canticorum IV (2010). Both of these compositions are discussed in greater detail
below.
Each of these phases of his compositional career offered new challenges and
opportunities for Moody to explore his compositional voice; however, the idea of transparent
music is most prevalent in his writing style. As discussed in Chapter 2, Moody sites as Sir John
Tavener as having an “absolutely massive influence”28 on his music. When questioned about the
development of his own transparent style, Moody said:
“As I carried on with this very transparent style, I began to feel very much at home with
it. It began to develop and it began to become harmonically more complex and richer and
rhythmically more active as well. (And) I felt I could do that because I’d stripped everything
back and started again.”29
25
26
27
28
29
16
As previously discussed, Moody often uses chant as the framework for his melodies.
The term ‘framework’ is an apt description as Moody frequently strays from the traditional
chant. Since the melody dictates the harmony in his writing, the result is a unique harmonic
language that is neither strictly tonal or modal. Moody describes his own music as modal rather
than tonal, but he is quick to mention that his compositions may contain standard modes or
modes that he created which often do not reflect a specific key or tonality.
Moody’s expansive choral catalogue explores a wide variety of compositional
techniques. The following passage will elaborate on prominent compositional practices and
recurring devices within eight of his works, namely, Canticum Canticorum I (1985), Canticum
Canticorum II (1994), Canticum Canticorum III (1997), Canticum Canticorum IV (2010), Hymn
of the Transfiguration (1988), The Meeting in the Garden (1996), Passione Popolare (2005), and
Angel Vopiyashe (2011). These compositions were selected to demonstrate the development of
Moody’s compositional voice throughout his compositional career.
For the purpose of this document, Moody’s Canticum Canticorum I, II, III, and IV will be
discussed as a unified set. The remaining choral works will be analyzed individually with
commentary concerning compositional techniques, symbolism within his works, and links to
compositional influences as seen through his writing style.
Analysis of Moody’s Canticum Canticorum Settings
Duration and Inception
Moody’s compositional voice has broadened throughout his career, and several aspects of
his development can be displayed through the four separate works all titled Canticum
Canticorum. The title is Latin for “Song of Songs,” also known as the “Song of Solomon” or
17
“Canticles,” found in the last section of the Hebrew Bible. It is also the fifth book of Wisdom in
the Old Testament of the Christian Bible. Moody returned to the same source text for each of
these compositions, but each work provides a wealth of contrast in compositional techniques.
The works differ in their duration, language, and performance forces. In addition, the four works
are a wonderful illustration of the development of Moody’s musical language over a 25-year
span. The first two works, Canticum I and Canticum II, are multi-movement works with three
and five movements respectively. Canticum III and Canticum IV are single-movement works.
The durations for the four settings are 6 minutes, 12 minutes, 4 minutes, and 10 minutes,
respectively.
The genesis of each work had a large impact on Moody’s choices related to performance
forces, texture, and stylistic techniques. Canticum I, completed in 1985, was Moody’s first
published choral work. It was inspired by recordings of a choral ensemble named Pro Cantione
Antiqua, an ensemble that specialized in Renaissance music. They had recorded a setting of Ego
dilecto meo by the Portuguese composer Estêvão Lopes Morago. Moody was drawn to the text
and decided to expand it into three short texts which became Canticum I. Following its
completion, Moody sent the score to Paul Hillier, director of the British male quartet, the Hilliard
Ensemble, which specialized in the performance of early music. Hillier was impressed with the
pieces and programmed the work in its entirety in 1987.
Nine years later, the Hilliard ensemble commissioned Moody to compose another setting
of a portion of the text from the Song of Songs. This work, Canticum II, was completed and
premiered in 1994. Upon viewing the scores and listening to one of the numerous recordings of
Canticum II, it can easily be concluded that the musical style, part-writing, and textures were all
greatly impacted due to these works being composed for such a unique ensemble.
18
Canticum III has perhaps the most interesting story behind its inception. Moody wanted
to compose a piece to celebrate his parents’ 40th wedding anniversary. Throughout the time
following his collaboration on Canticum II, Moody had developed a friendship with tenor and
core member of the Hilliard Ensemble, John Potter. At the time, Potter was performing as a
soloist and working with a harpist, and he asked Moody for a new composition for tenor and
harp. Canticum III was completed and received its first and only performance by John Potter in
1997.
Karen P. Thomas, the Conductor and Artistic Director of Seattle Pro Musica, was the
driving force behind commissioning Moody to compose the final of his four Canticum
Canticorum. As is the case with many modern professional ensembles, Seattle Pro Musica can
adjust the size of the ensemble to suit the needs of the performance literature. This aspect alone
had a profound impact on Canticum IV, which has a much denser texture with less transparency.
Canticum IV was completed and premiered in 2010.
Forces
Since each work was composed for a specific ensemble or performer, the four works
utilize a variety of performance forces. Canticum I and Canticum II are composed for ATTB
chorus, which reflects the voicing of the Hilliard Ensemble. The ATTB voicing meets the needs
of ensembles like the Hilliard Ensemble; however, it provides programming challenges for
conductors with a mixed chorus or gender-specific chorus. The shortest of the works, Canticum
III, is set for tenor and harp. Moody has considered adapting Canticum III for chorus, but he has
not done so at the time of this lecture. Finally, the commission for Canticum IV by the Seattle
Pro Musica ensemble resulted in a densely-textured and largely homophonic piece for
SSAATTBB chorus.
19
Texts
The unifying text for these four settings is The Song of Songs; however, it appears that
Moody used different methods to select text for each of the Canticum Canticorum. Canticum I
consists of selected verses taken from the second, sixth, and seventh chapters. Each verse is
unified by the action of travel. The selection from the second chapter features the popular,
“Arise my love, my beautiful one, and come away” (Song of Songs 2:10), the second movement
utilizes a text from chapter six, “My beloved has gone down to his garden…” (6:2), and the final
movement sets a text from chapter 7, “Come, my beloved, let us go out into the fields…” (7:11).
Of the four settings, Canticum I is the only work that has text taken from multiple chapters.
Canticum II is set with the text from Song of Songs chapter 1, verses 1-5 and verse 7. Canticum
III is set with the text from Song of Songs chapter 5, verses 1-2. Finally, the text for Canticum IV
is entirely from chapter 6, verses 1-4 and verses 9-13.
In addition to employing different verses for each of his Canticum Canticorum settings,
Moody utilizes different languages. Canticum I is composed in Latin, Canticum II in English,
Canticum III in Greek, and Canticum IV in Hebrew. These compositions continue his past
compositional practice of setting multiple languages as he did in his Passion and Resurrection,
but his Canticum Canticorum settings are the only example of Moody returning to a single
source for the text. They exhibit his familiarity with the languages and create new textures
throughout due to his significant linguistic background.
Tempo
It is rare that Moody omits tempo indications for his compositions, however, there are no
tempo markings for Canticum I, II, and III. This exclusion was intentional as Moody never
dictated tempos to the Hilliard Ensemble or Potter. He believed they would be able to create the
20
perfect interpretation of his music. Recordings of Canticum I and II help inform conductors and
performers concerning tempo practices, but no recording exists of Canticum III. While
interviewing Moody, I inquired about the tempo for Canticum III, and he sang a bit of the piece
for me. After reviewing the recording, his tempo reflected the half note = 56. Moody also
indicated that the tempo may be varied depending on the “decay of the harp.” In contrast,
Moody returned to his common practice of dictating tempo markings for Canticum IV as it
contains metric and vocabulary-driven tempo indications.
Musical Language
As mentioned previously, these compositions span a 25-year period in Moody’s life.
Each work is indicative of his evolution as a composer, but each of the choral settings
demonstrate his unique blend of Eastern liturgical chant and Greek Orthodox Church styles with
elements of sixteenth-century polyphony. His use of pedal points is apparent in each work and
he sets brief melodic motifs above the drone. This is most apparent in the opening movement of
Canticum I, as the lower voices sustain an E for the duration of the movement. The opening 12
measures can be seen in Figure 1. Moody also uses the pedal point as a unifying agent for the
entirety of the work because the basses rarely change pitches to accommodate harmonies from
the upper three voices. Similar use of the lower voices serving as a drone can be seen in
Canticum II and Canticum IV (Figures 2 & 3).
Another distinctive trait of these compositions is the seamless exchange of short melodic
fragments passed between voices (Figure 4). These traits are most apparent in Canticum II
where Moody frequently uses repeated melodic and rhythmic fragments (Figures 5 & 6). The
fragments reflect variations of how Moody uses rhythm within each movement of Canticum II,
and it is quite common for Moody to shift between compound and simple rhythms (Figure 7 &
21
8). In contrast, Canticum I is composed entirely within the framework of duple meter, with no
use of compound meter rhythms. Instead, Moody constantly shifts the number of beats in a
measure without an indication of time signature change.
While the approach to use of rhythm is quite different between Canticum I and II,
Moody’s transparent writing style allows for the rhythmic variety while maintaining clear,
delineated text. Canticum I is primarily homophonic (Figure 9) with short passages of
intertwining voices presenting individual syllables at various points within the same measure
(Figure 10). He delineates the text in Canticum II by assigning text to the voice parts with the
predominant melodic material. The remaining voices perform their line on prescribed neutral
syllables (Figure 11). Canticum IV exhibits the least restraint in use of rhythm and text
delineation. The text is still found in the melodic lines with the other voices sustaining
prescribed neutral syllables, however, Moody blurs the text with staggered entrances and canons
that contain a mixture of duple and triple rhythmic patterns (Figure 12). As the piece evolves,
the sustaining voices are given text while the upper voices create a polyphonic texture that nearly
renders the text indiscernible (Figure 13).
Each work’s harmonic rhythm is unique, and Moody provides a sense of variety without
the indication of altering the tempo or pulse. Instead, he shifts tempi by adding smaller note
values in various voices. These shifts in harmonic rhythm are typically found in the treble voices
while the bass voices sustain. Each of these compositional features display Moody’s ability to
vary textures throughout a work without disconnecting any one section from the work as a
whole.
22
Analysis of Moody’s Hymn of the Transfiguration (1988):
Moody’s Hymn of the Transfiguration (1988) is a clear example of Tavener’s influences
on Moody’s early choral works. This influence can be seen through Moody’s use of drones and
repetitive harmonic material. The work is divided into four refrains and three verses, providing
an ABABABA structure. Each refrain features identical musical material, a divided tenor line
where the two voice parts are inversions of each other, and a modification to Moody’s
implementation of the drone. Each verse features a slight adjustment to harmonic language as it
relates to modality and a clear cadence.
The piece opens with a six-second drone from the basses on low G, followed by extended
silence, then the drone reappears while the tenors state the refrain. This onset foreshadows the
music to come as drones can be found throughout the entire work. The only phrase without a
drone can be found in the final verse on the text “Angels ministered with fear and trembling: the
heavens were affrighted and the earth did quake, when they behold on earth the Lord of Glory.”
This glorious allusion to text painting and symbolism seems appropriate that the single moment
without a grounded drone would occur when the “earth did quake”.
A second interesting aspect of his use of a drone occurs at the beginning of each refrain.
As previously stated, the work opens with a six second drone followed by the refrain. Each
repetition of the refrain between verses occurs in the same sequence, a drone followed by text
presented by the tenor, but, Moody alters the duration of each drone that precedes the refrain.
The opening contains a six-second drone, the second refrain contains a four-second drone, the
third refrain contains a two-second drone, and the drone occurs at the same time as the text
presentation for the final refrain.
23
In addition to the drone variation on the final refrain, Moody sets the final refrain as a
canon between the treble and bass voices (Figure 14). This marks the first time that the treble
voices perform the refrain material. It also is the first and only canon in the work.
Each of the verses are set for full SSAATTBB chorus and feature parallel triads. The
drone on G continually creates harmonic tension as Moody oscillates between G minor and A
flat major (Figure 15). This sequence is altered in the second verse and the drone is assigned to
the tenor line (Figure 16). The writing still contains parallel triads as before, but Moody expands
the oscillation to include five chords (E flat major, F major, G minor, A flat major, and B flat
major) before a final cadence on B flat major.
Moody’s harmonic language throughout the piece is quite interesting. The piece
seamlessly transitions between G minor and G major, and each of the refrains open and cadence
on an open fifth (G and D). These cadential pillars strengthen the connection to G as the tonal
center, but Moody avoids using either a B flat or B natural in any of his refrain material, which
further obscures a sense of either major or minor modality. To contrast this, the verses
consistently feature complete major and minor chords. The first verse cadences on G minor, and
the second verse cadences on B flat major. This is interesting as the work immediately returns to
the ambiguous modality of the refrain.
Moody reserves the use of B natural until the final verse and refrain. The initial
appearance provides stark contrast to the preceding sections. The opening of the final verse
quickly gives the impression of shifting to G major, but reappearing F naturals suggest a
mixolydian modality (Figure 17). Moody slightly modifies the final refrain melody in the alto
line to provide a final cadence on G major.
24
Hymn of the Transfiguration is one of Moody’s earliest multi-language works. The text
is a troparion from the Orthodox Matins of the Transfiguration. All but one line of the text is in
English. Moody employs one line of Russian text, Slava Tyebye Bozhe (Glory to thee O God), as
a refrain to separate the English verses. This is the first example of Moody using more than one
language within the same composition, and it has become a practice that has continued
throughout his career.
The cover page contains the quote “I cannot look at you, Father, because lightning flashes
from your eyes. Your face has become brighter than the sun, and my eyes ache.” from Nicholas
Motovilov, a 19th century Russian saint. “Brighter than the sun” refers to the Light of Tabor. In
Eastern Orthodoxy, the Light of Tabor is revealed at the transfiguration of Jesus on Mount
Tabor. It appears that the words of Saint Motovilov and the theology of the Light of Tabor
played a large role in the work as the Hymn of the Transfiguration is both luminescent and
reflective.
Analysis of Moody’s The Meeting in the Garden (1996):
The Meeting in the Garden (1996) is a work for SSMTBarBass set to text from the
Gospels and Orthodox Matins of the Resurrection. Moody continued his previous practice of
blending languages, this time setting both Greek and English text in the same work. The Meeting
in the Garden also highlights Moody’s broadening and eclectic compositional voice as he
seamlessly intertwines Greek Orthodox and Russian Orthodox compositional techniques with the
compositional style of John Tavener while maintaining his own broadening use of symbolism.
25
The work features five major compositional practices: the use of Greek Byzantine chant;
the use of Russian Orthodox style recitation tone; the use of drones; the controlling of harmonic
rhythm through note duration; and the use of canon.
The first two practices – the use of Greek Byzantine chant and use of Russian Orthodox
style recitation tone blend two aspects of Eastern Orthodox services. The Meeting in the Garden
opens with a Greek Byzantine chant, “Defte lávetephos” which is traditionally sung at the
beginning of the resurrection ritual in the Greek Orthodox Church (Figure 18). The chant is
presented in its entirety three times throughout the work and is always followed by a cantor. The
cantor provides the gospel narrative sung on a recitation tone which reflects Russian Orthodox
practices (Figure 19). The third practice, Moody’s use of drones, is exhibited in each restatement
of the Greek Byzantine chant. The appearance of a drone supporting the Greek Byzantine chant
is a reflection of both Orthodox practices and Moody’s compositional decision. It is tradition to
have an ison (drone or slow-moving vocal line) supporting the priest’s chant, but there are
parishes that do not adhere to these practices. Since Hymn of the Transfiguration was conceived
as a concert work, Moody decided to include the ison.
The fourth compositional practice of controlling harmonic rhythm through note duration
is a signature trait in Moody’s developing compositional voice. Moody provides a sense of
variety without altering tempo or pulse. The same technique can be found in Canticum
Canticorum II, completed two years prior to The Meeting in the Garden. In this instance, Moody
lengthens the line by adding larger note values. This variation accentuates the phrase length and
provides stark contrast in the texture with the dense, chordal writing for the four-part treble
voices (Figure 20).
26
Similar to his previous works, Moody sets a canon at the octave and unison to accentuate
the final narrative which includes “but go to my brethren, and say unto them” spoken by Christ.
This is the only polyphonic texture in the work, and the effect creates forward motions on
Christ’s encouragement to proclaim his ascension to Heaven (Figure 21).
Moody is consistent with his text division. The Greek Byzantine chant is given to a tenor
soloist accompanied by a baritone/bass drone. The gospel narration is presented by a baritone
cantor through recitation tone, and the words of Mary Magdalene and Christ are conveyed by the
chorus.
Perhaps the most important aspect of The Meeting in the Garden is Moody’s attention to
various aspects of symbolism within the work. He thoughtfully allocated Mary’s lamenting text,
“Because they have taken away my Lord” and “Sir, if thou have borne him hence, tell me where
thou hast laid him and I will take him away.” to the treble voices of the ensemble. The writing is
dense, tearful, and cadences on an unresolved chord (Figure 20), which heightens the sense of
mourning. Moody also displays thoughtful conveyance of text through his depiction of Christ’s
dialog. The first time the men of the chorus sing is as the voice of Christ, yet seven measures
later, Moody sets Christs words as a duet for the altos and tenors. This reflects his fondness for
the idea of more than one voice representing one person, and conveys symbolism through the
representation of Christ through more than one person or voice part.
One final example of symbolism in The Meeting in the Garden is found in measure 25 as
Mary realizes Jesus has risen from the dead. The opening 24 measures are composed in a natural
minor modality centering in D with an occasional lowered second scale degree. He strengthens
the tonal center with his use of the drone on D. In measure 25, Moody symbolizes the
extraordinary event by including an F sharp, forming a D major cadence, as Mary exclaims,
27
“Rabboni!” (Figure 22) This alteration expresses surprise and a great change within the piece.
After restating the Greek Byzantine chant, Moody continues to demonstrate change with the first
presentation of new material since the opening measures of the work.
Analysis of Moody’s Passione Popolare (2005):
Passione Popolare was commissioned for the Antidogma Festival in Turin, Italy in 2005.
Moody had long been fascinated by the traditional music of various parts of Italy, and he took
this opportunity to explore connections from his own Greek Orthodox background and
traditional religious music of various parts of Italy, particularly Sardinia.
The text was originally inspired by Moody’s discovery of a recording of the Passiùna ti
Cristù from Martano, in the Grecanico language of that region. Moody assembled the text for
Passion Populare as a narrative this Passiùna that included hymns from the Greek liturgy for
Holy Week, and complete and fragmented texts from Sardinia, Sicily, Salento, and a mediaeval
lauda. In his doctoral thesis, Moody elaborated on the implications of joining together texts from
such eclectic backgrounds.
“In doing so, I did not attempt to string together a set of popular melodies,
although there is certainly direct reference to and quotation of the original
music, but rather to suggest a soundworld from which they all emerge
naturally, as a celebration of popular piety.”30
In many senses, Passion Popolare displays Moody’s sensitivity to language, blending
various international styles, use of canons, and exhibits his transparent choral writing. In
addition to these aspects, the work demonstrates new developments as Moody amalgamates a
more rhythmically active heterophonic style into his choral writing.
30
Ivan Moody, “Portfolio of Compositions: A Commentary” from “Portfolio of Compositions” doctoral thesis,
University of York, 2008.
28
Passion Popolare is scored for soprano solo, baritone solo, SATB chorus, oboe, violin,
viola, and cello. Structurally, the extensive work is divided into five contrasting sections which
Moody named “Prologue”, “The Betrayal”, “Peter’s Denial”, “The (Sicilian) Lament”, and “The
Crucifixion”. Each section depicts a different portion of the Passion text. The soloists portray
several characters including Christ, Peter, and the Virgin Mary, while the chorus provides
narration and dramatic support. In addition to the vocal lines, Moody uses the oboe as a textless
“commentator” as it frames and responds to the narrative as it unfolds throughout the work.31
As in The Meeting in the Garden, the work opens with Greek chant from the Byzantine
tradition. To parallel these openings further, Moody sets a drone, based on a D, in the strings
supporting the unison chant line performed by the tenors and basses. To contrast his previous
practice, Moody includes a brief two-measure commentary from the oboe preceding the opening
chant, and he creates tension in the droning strings as the violin and viola lines sustain
dissonance of a major second and remain unresolved until measure four.
The full SATB chorus joins at measure 16 and the Greek Byzantine chant concludes in
measure 28, where the oboe reappears. The remaining measures of the opening section feature a
brief Russian recitation tone chant (Figure 23), and beginning in measure 43, Moody makes his
first oblique reference to the original melody from the Passiùna, which was a recitative-like
ballad sung by solo voice and accompanied by a guitar in the original recording. Moody’s
setting is a homophonic statement by the full chorus on the passion text, “Ma ìsan Angelon ìu di
canto.” (Figure 24)
“The Betrayal” and “Peter’s Denial” are a mixture of soloistic passages framed by oboe
and choral commentary. The Betrayal is built on two Sicilian texts and one Greek text. The
31
29
tessitura and range of the baritone is extraordinarily high as it regularly sits between D4 to F
sharp 4. But the score contains markings, in the composer’s hand, that lowering the solo lines by
one octave is permissible. The opening of Peter’s Denial is marked by the reappearance of oboe
commentary. This section returns to the text of the Passiùna, but Moody employs harmonically
static chords in the instruments under the solo duet.
The fourth section, “The (Sicilian) Lament”, opens with the oboe presenting a descending
motive, which develops into a three-part canon at the octave between the soprano soloist, altos,
and tenors (Figure 25). The oboe departs from the canon and plays a freely composed line above
the canon with brief moments of mirroring with the soprano soloist (Figure 26). The section
derives its name from the Sicilian text, “E figliu ca ti partisti o comu gigliu, ora ti trovu tutu
fragilla tu...” presented by the soprano soloist as Mary in measure 163. This also marks the first
implementation of heterophonic techniques as the oboe shadows the soprano (Figure 27). The
section ends with the baritone providing commentary on the events leading up to the
Crucifixion32 supported by drones in the strings.
The closing section of Passion Popolare is marked by a brief heterophonic opening in the
orchestration that is derived from the preceding chant (Figure 28). The chorus and baritone
soloist are tasked with describing the Crucifixion using two different overlapping texts. The
chorus performs a Sardinian text from the Passiùna while the baritone simultaneously performs a
Greek fragment (Figure 29). Both lines translate to “Author of Life.” The work concludes with
a fragment from a mediaeval Lauda which represents the lamentation of the Virgin over the dead
32
30
Christ and a final chorale in Greek, sung by the full choir. 33 Moody returns to prior convention
in this final chorale as he alters the harmonic rhythm through longer note durations as the work
cadences on an E, a whole-step above the opening tonal center of D.
Analysis of Moody’s Angel Vopiyashe (2011):
Moody’s Angel Vopiyashe, scored for SATB chorus with brief soprano and tenor solos,
was commissioned by the Kamerkoor Oktoich under the direction of Aliona Ovsiannikova-
Voogd. The first performance a part of a concert illustrating the history of Russian church music
at the Muziekgebouw aan't IJ in Amsterdam. The commission and premiere impacted Moody’s
approach to the work.
Angel Vopiyashe (The Angle Cried) is built on an alternating sequence of freely treated
Russian Znamenny chant and fluid, dance-like lines. Moody’s decision to include Znamenny
chant is an obvious reference to the history of Russian Orthodox church music as well as his own
compositional conventions. The dancing and moving lines that follow each section of chant,
however, are a subtler nod to the style of Sergei Rachmaninoff and, more specifically, his All
Night Vigil (1915).
The text is entirely in Russian, and is addressed to Mary the Mother of God by an angel
declaring that Jesus was no longer in the tomb and had risen from the grave. The work opens
with the tenor 1 and baritone presenting the Znamenny chant over a tenor 2 and bass ison on F
(Figure 30). This opening aligns with many of Moody’s previous compositions, including The
Meeting in the Garden and Passion Popolare, which display a span of 15 years prior to Angel
33
31
Vopiyashe. Following the chant, the texture immediately changes to flowing parallel thirds, then
expands to sixths in the soprano voices. This transition is Moody’s allusion to Rachmaninoff’s
style within his own writing.
As the sequence continues to unfold, Moody returns to the Znamenny chant. Returning
to the transparent nature of the chant allows Moody to set the exciting news “you Son is risen
from his three-day sojourn in the grave,” with pristine text delineation (Figure 31). This is
another example of Moody’s practice of using multiple voices to represent one character as the
sopranos carry the angel’s dialogue in the opening measures, and it is now found in the tenor
line.
To accentuate the significance of the news, Moody presents a newly composed four-part
texture in the tenor and bass lines on the text “and has raised up the dead.” (Figure 32) These two
measures constitute the only moment where Moody breaks the cycle of chant followed by
dancing lines.
Moody’s next development combines the original chant with a rhythmic tenor 2 line on
the text “shine.” (Figure 33) This style is immediately mimicked by the treble voices and works
seamlessly back into his sets of running eighth notes. At measure 44, the alto lines emerge to
create a new denser section of running lines. The new texture doubles the amount of moving
parts and creates a sequence of seventh chords and first inversion triads (Figure 34).
The closing measures demonstrate two previously compositional techniques. First,
Moody builds a cluster departing from a single note (Figure 35). He used this same technique in
the second movement of his first choral work, Canticum Canticorum I (Figure 10). In this
instance, the cluster is approached in an ascending stepwise motion with the exception of the
32
bass. Second, as common in Moody’s writing, he controls harmonic rhythm through extending
note durations leading to the final cadence in F.
33
CHAPTER IV
Annotated catalogue of Ivan Moody’s choral compositions
The format of this catalogue is as follows:
Title
Compositional Date
Duration
Choral, Vocal Solo, and Instrumental requirements
Text source
Commissioning and First Performance information
This catalogue is arranged chronologically
Canticum Canticorum I
1985
6’
ATTB
Song of Songs (Latin)
FP Hilliard Ensemble, Vienna, Austira 1987
Nunc Dimittis
1986, revision 1996
2’
SATB
English, Slavonic, or Greek
FP Kingston Polytechnic Chamber Choir/Peter Johnson, Worcester Cathedral 1988
Two Hymns for the Office of Holy Unction

1986
10’
SATB
Orthodox Office of Holy Unction (English)
FP Voces Angelicae/Ivan Moody, St Alban’s Church, Holborn, London 1986
Orthodox Wedding Hymn

1986
4’
SSATTB
Orthodox Service of Holy Matrimony
FP Voices Angelicae/Ivan Moody, Little Missenden Festival 1987
Canticle of the Mother of God

1987
11’
34
SSAATTBB
Magnificat with Byzantine-rite troparia (Greek)
FP Pegasus/Richard Crossland, London 1988
Canticle at the Parting of the Soul from the Body

1987
7’
ATTB
Orthodox Office at the Parting of the Soul from the Body (English)
FP Voces Angelicae/Ivan Moody, Russian Orthodox Cathedral, London 1987
Christmas Ikos
1987
3’
SSATTB
Orthodox Christmas Matins (English)
FP Voces Angelicae/Ivan Moody, London, December 1987
The Wild Swans at Coole

1988
8’
AATTBB
Poem by W.B. Yeats (English)
FP Singer Pur, Cambridge, July 1995
Hymn of the Transfiguration

1988
SSAATTBB
Troparion from Orthodox Matins of the Transfiguration (English)
FP Voces Angelicae/Ivan Moody, Oxford, May 1988
Canticle of Simeon
1988
5’
SSAATTBB
Troparion from Orthodox Vespers of the Meeting of the Lord (English)
FP Choir of St Matthew’s, Northampton/Andrew Shenton, February 2, 1989
Miserere
1988
11’
SSAATTBB
Psalm 50 (English and Greek)
FP Choir of Christ Church Cathedral/Stephen Darlington, Oxford, April 1990
Arkhangelos
35
1989
5’
ATTB
Poem by Agathius Scholasticus (Greek)
FP Hilliard Ensemble, HItchin, August 1991
Mariposa del Aire

1989
20’
Children’s choir, SATB, chamber orchestra
Federico Garcia Lorca (English translation)
FP Burnham Music Group/Peter Dale, Burnham-on-Crouch, September 1989
Lament for Christ

1989
22’
SSAATTBB (with soli)
Early 15th century poem (Greek)
PF English Chamber Choir/Guy Protheroe, QEH, London, March 8, 2001
El Amor y la Sierra
1989
15’
SSATBB
Poems by Anonymous, Lorca, Vicente, Machado (Spanish)
FP I Fagiolini, Presteigne Festival, August 1991
O tebe raduetysa
1990
4’
SATTBB
Divine Liturgy of St Basil (Slavonic)
FP Voces Angelicae/Ivan Moody, St Bride’s Church, London, May 1990
Prayer for the Forests

1990
5’
SSA (Children)
Poem by Alberto Caeiro/Fernando Pessoa (English or Portuguese)
FP Tapiola Choir/Erkki Pohjola, Espoo, Finland, April 1993
The Divine Liturgy of St John Chrysostom

1990-91
90’ (may be shortened for concert use)
SATB
English, Greek, and Slavonic
36
FP Chamber Choir of Orthodox Church Music, Tallinn 1995
Anamnisis
1990-91
6’
ATTB
Texts from Cavafy and the Orthodox Funeral Service (Greek and English)
FP Hilliard Ensemble, Hitchin, August 19, 1991
Hymn to Christ the Saviour

1991
17’
STTB, viol consort
Text by St Clement of Alexandria (English)
FP Red Byrd and the Rose Consort of Viols, St James’, Piccadilly, London, February 7, 1993
Passion and Resurrection

1992
70’
STB soli, SATB choir, tubular bells, 2 vl, vla, vcl, cb
Gospels and Orthodox Holy Week services (English, Greek, and Slavonic)
FP Red Byrd, Estonian Philharmonic Chamber Choir/Tõnu Kaljuste, Tampere, Finland, June 5,
1993
Darkness: The Legend of Bluebeard

1992-93
15’
SSATTBB
Text by Ivan Moody after Hungarian ballad (English)
FP I Fagiolini, Thaxted Festival, July 3, 1993
Cantos Mozárabes
1993
17’
SATB with optional amplification
Mozarabic jarchas (Mozarabic Spanish)
FP Singcircle, Spitalfields Festival, London, June 14, 1995
Canticum Canticorum II
1994
12’
ATTB
Song of Songs (English)
FP Hilliard Ensemble, Frankfurt, March 21, 1995
Hymn to the Light
37
1994
7’
SATTB soli, SSAATTBB
Hymn from Orthodox Vespers (Slavonic)
FP Amanda Morrison, Linda Hirst, Hilliard Ensemble, Choir/Ivan Moody, Cambridge, July 30
1994
Le Renard et le Buste
1995
5’
La Fontaine (French)
FP Singer Pur, Bayreuth, June 1995
Lamentation of the Virgin

1995
13’
SATTBB
Mediaeval German poem and Trisagion (German, Greek, and Slavonic)
FP Singer Pur, Nuremberg, May 19, 1995
Revelation
1995
60’
Narrator, male chamber choir, 2 viols, 2 sackbuts, chamber organ
Book of Revelation and Orthodox Matins of the Last Judgement (English)
FP Fr Philip Steer, Taverner Consort/Andrew Parrott, London, November 23, 1995
Lamentations
1995
Commissioned by Bruno Turner
35’
AATTTTBB, 2 trb
Lamentations of Jeremiah and Orthodox Matins of Holy Saturday (Greek, Latin, and English)
Unperformed
Endechas y Canciones
1996
13’
ATTB
Early Spanish poetry
FP Hilliard Ensemble, Boxgrove Priory, March 6, 1996
John in the Desert

1996
10’
Counter-tenor, SATB, viol consort
38
Poem by Yannis Ifantis (Greek)
FP Michael Chance, choir and ensemble/Ivan Moody, Prokopi, Evia, Greece, August 31, 1996
The Meeting in the Garden

1996
8’
SSM-SATBB
Gospels and Orthodox Matins of the Resurection (English and Greek)
FP Grupo Vocal Olissipo, Church of S. Roque, Lisbon, November 1998
Monumento (Per Frank Sinatra)

1’
ATTB
Text compiled by Ivan Moody
FP Hilliard Ensemble, Trinity Hall, Cambridge, August 7, 1998
Words of the Angel

1998
5’
SSS
Orthodox Easter Liturgy (English and Greek)
FP Trio Mediaeval Oslo, December 11, 1998
Prayer for the Departed (In memory of Brian Dennis)

1998
5’
SSAATTBB
Orthodox Funeral Service (English and Greek)
FP Chapel Choir of Royal Holloway, University of London/Lionel Pike, January 17, 1999
Akathistos Hymn
1998
95’
Tenor solo and SATB choir
The Akathistos Hymn (English and Greek)
FP Cappella Romana/Alexander Lingas, St Phillip Neri Church, Portland, Oregon, January 19,
1999
Apokathilosis
1999
10’
TTBBB
Orthodox Vespers of Holy Friday (English and Greek)
FP Amarcord, Leipzig, May 7, 1999
39
The Troparion of Kassiani
1999
7’
SSS
Orthodox Matins of Holy Wednesday (English and Greek)
FP Trio Mediaeval, Sandefjord, Norway, March 26, 2000
The Bright Star

1999
4’
Russian kolyadka and Great Vespers for the Nativity (English)
SSS/SAB
FP Choir of St John’s-Ravencourt School, Winnipeg, Canada, December 3, 1999
Polyeleos
1999
6’
SSAATTBB
Orthodox Vespers (English)
FP Chapel Choir of Royal Holloway, University of London/Lionel Pike, June 11, 2000
Canticle of Light
1999
5’
SSA, SSAATTBB
Canticle of Simeon and Orthodox Matins of the Nativity (English)
FP Invocation, Horsham, December 31, 1999
Psalm of Crowning
2000
6’
SSAATTBB
Orthodox Marriage Service (English and Greek)
FP Cappella Romana, Tudor Singers, Seattle, Washington, July 9, 2000
The Adoration of the Lamb

2000
10’
SSMSMSAATTBB
The Book of Revelation, Trisagion (English and Greek)
FP The Tallis Scholars/Peter Phillips, Dorchester, July 28, 2000
Prayer at the Close of Day

SSSSAATTBB
4’
Written for the Tallis Scholars
40
Orthodox Prayer Book (English)
FP The Tallis Scholars/Peter Phillips, 2001
The Manger
2000
4’
SATB
Traditional carol, Kontakion for the Nativity and Compline for the Nativity (English)
FP English Chamber Choir/Guy Protheroe, London, December 19, 2000
Slova (Words)
2001
SSA
Poem by Anna Akhmatova (Russian)
FP Tapestry, First Church Congregational, Cambridge, Massachusetts, October 28, 2006
The Prophecy of Symeon

2001
9’
Commissioned by Porto 2001
SATTB
Gospels of Megalynarion for Theophany (English and Greek)
FP Grupo Vocal Olisipo, Convento de São Bento, Oporto, October 14, 2001
Vecheri Tvoeya
2001
2’ 30”
SATB
Communion Hymn for Pascha
FP Pravoslava Chamber Choir/Ivan Moody, Palácio Foz, Lisbon, Noveber 13, 2001
Make ready, Bethlehem/Dormi Iesu

2001
1’ 30”
SSAATBB
Apolytikion of the Preparation of the Nativity/Anonymous Christmas carol (English and Latin)
FP English Chamber Choir/Guy Protheroe, London, December 12, 2001
Carol of the Magi

2001
2’
Written for the Oriana Ensemble
SSMA
Aposticha from Vespers of the Nativity (English and Greek)
FP Ensemble Vocale Tempus Floridum/Joan Yakkey as part of the “Lunedi del Conservatorio”
series at the Luigi Cherubini Music Conservatory, Florence, Italy, October 13, 2004
41
The Blessed Among Women, Weeping (A Passion Carol)
2002
5’
TTTB
John of Euchaita, translated by Elizabeth Barrett Browning, Matins of Holy Saturday (English
and Greek)
FP Red Byrd, Sheffield, November 15, 2005
Chalice of Wisdom
2002
7’
Written for Amarcord
TTBBB
Gospels and Matins of the Feast of St Thomas (English and Greek)
FP Amarcord, Gamle Aker Kirke, Oslo Church Music Festival, Oslo, March 18, 2005
In Paradise of Old
2002
6’
Written for Schola Cantorum of St Peter the Apostle, Chicago
SSAATTBB
Kathisma from Matins of the Exaltation of the Cross
FP Schola Cantorum of St Peter the Apostle, Chicago/J. Michael Thompson, September 2002
Isconsolada
2002
10’
SSATB
Matins of Holy Friday, Sardinian devotional chant (Greek and Sardinian)
FP Winterthur Vocal Ensemble/Ivan Moody, Oberwinterhur, June 13, 2003
The Canon for Theophany

2002
30’
SSAATTBB
Canon for Matins of Holy Theophany
FP Orthodox Choir of the University of Joensuu/Ivan Moody, Joensuu, May 22, 2003
Erimos
2003
8’
SSAA
Psalm 103, Forgiveness Sunday Vespers and the Apolytikion for Holy Ascetics (English)
FP Canty, Old St Paul’s Episcopal Church, Edinburgh, June 6, 2003
42
Bogoroditse Devo
2003
3’
SSAATTBB
Hymn to the Virgin (Slavonic)
FP St George’s Cathedral Choir/Bogdan Djakovic, Novi Sad, Yugoslavia, May 14, 2003
Lament of Adam
2003
4’
TTBB
Sikthiron at the Praises of Matins for Forgiveness Sunday
FP Choir of the Russion Orthodox Cathedral of the Holy Virgin Protection, New York City,
March 9, 2003
Exaposteilarion for Pascha

2003
2’
SSAATTBB
Exaposteilarion from Paschal Matins (Finnish or English)
FP Orthodox Choir of the Univerisy of Joensuu/Ivan Moody, Joensuu, May 22, 2003
The Dormition of the Virgin

2003
45’
Commissioned by the BBC for the BBC Singers
STB soloists, SATB chorus, 2 cornetti (or trumpets), strings
Transitus Mariae, Matins of the Dormition and other liturgical sources (English)
FP Michaela Haslam (soprano), Robert Johnston (tenor), Stephen Charlesworth (bass), BBC
Singers, ST James Baroque/Stephen Layton, London, May 21, 2004
Crocifissione
2003
5’
SSATB, 2 horns, 2 trombones
Lamentations of Jeremiah (Latin and Greek)
FP DolciAure Ensemble/Willy Merz, Abbazia di Staffarda, June 19, 2004
Inês e o Rei (Madrigal Dramático)

2004
10’
Commissioned by Camerata Fiorentia
SSAATB
Text by António Ferreira (Portuguese)
Unperformed
43
Salmo de Matrimonio
2004
5’
Alto solo, SATB chorus
Orthodox Wedding Service (Spanish)
FP Susana Diniz Moody, Coro Audite, Madrid, September 17, 2004
He Who Clothed Himself with Light

2004
7’
SSAATTBB
Matins for Holy Friday (English)
FP Cappella Nova/Alan Tavener, Aberdeen, March 23, 2005
Aurora Radius
2004
8’
SSAATTBB
Matins of the Resurrection and text by William Dunbar (Slavonic and Scots)
FP Cappella Nova/Alan Tavener, Aberdeen, March 23, 2005
O Viridissima Virga
2004
8’
SATB
Text by Hildegard of Bingen (Latin)
FP St Louis Chamber Chorus/Philip Barnes, St Louis, Missouri, December 19, 2004
Passione Popolare
2005
30’
Soprano solo, Baritone solo, SATB, Ob, Vl, Vla, Vc
Orthodox Services for Holy Week and Popular Italian Devotional Songs (Greek, Italian,
Sardinian, and Italian dialects)
FP Linda Campanella, soprano, Matteo Pierone, baritone, DolciAure Consort, Ensemble
Antidogma/Ivano Scavino, Festival Antidogma, Abbazia di Staffarda, Italy, June 28, 2005
Ossetian Requiem
2005
14’
Chamber choir, 8 Cellos
Orthodox Funeral Service
FP Valencia Chamber Choir, Cello Octet Conjunto Ibérico/Elias Arizcuren, Templo la
Valenciana, Guanajuato (Festival Cervantino) Mexico, October 15, 2005
Arktos
44
2005
8’
S, A, T, T, Bar, B soli, SSSSAAAA chorus
Kalevala, Edmund Spenser (English)
FP Singer Pur, Arktouros Chamber Chorus/John Potter, York, June 15, 2005
Venerabilis Galis
2005
8’
Commissioned by the Peñalosa Ensemble, Switzerland
STBB
Office of St Gall (Latin)
Unperformed
Bagpipe Dance
2005
5’
Commissioned by Ian Mikirtoumov
Children’s choir, SATB, Piano
Greek folk Song (English)
FP Junior Choir of the Conservatoire of Albuferia and the Choir of the Moraitis School/Yan
Mikirtoumov accompanied by Iannis Antonopoulos, Auditório Municipal, Albuferia, Portugal,
June 10, 2016
Te Apostolit…
2005
10’
Commissioned by Rajaton, Helsinki
SM-SATBB
Exaposteilarion of the Dormition (Finnish)
FP Cappella Romana, St Mary’s Cathedral, Portland, Oregon, January 11, 2007
Funeral Trisagion (Kendrick Perala in memoriam)

2006
2’
SATB
Trisagion from the Funeral Service (English)
FP Cappella Romana Westminster Chancel Choir, Oregon Repertory Singers, Westminster
Presbyterian Church, Portland Oregon, February 20, 2006
Sedam Himni Svetom Savi (Seven Hyms for St Sava)

2006
14’
SSAATTBB
Stichera from Vespers for the Feast of St Sava (Slavonic)
45
FP Camerata Academica/Bogdan Djakovic, Matica Srpska Gallery, Novi Sad, Serbia, November
11, 2006
O Quam Mirabilis
2006
4’
Commissioned by Mandala
SSA
Text by Hildegard of Bingen (Latin)
Funeral Trisagion (Kendrick Perala in memoriam)

2006
2’
SATB
Trisagion (Greek)
FP Cappella Romana, Portland, Oregon, March 2, 2007
Edi beo the hevene queen

2006
4’
SSAATTBB
Mediaeval English
FP Chanticleer, George Mason University, Fairfax, Virginia, November 27, 2010
Vigilia (Vigil Service)

2006
40’
SSAATTBB
Orthodox Vigil Service (Finish)
Sections performed by various choirs in Finland, 2006
Ecce Homo
2007
4’
SSATB, Organ
Gospel of St John (Greek and Latin)
FP Concertus Antiquus/Victor Roque Amaro, Lisbon Cathedral, April 26, 2007
Anástasis
2007
10’
SAATTTTBBB
Orthodox Liturgy for Holy Week and Pascha (English and Greek)
FP Hilliard Ensemble, Singer Pur, Regensburg, October 3, 2007
Kleine Geistliche Konzerte
46
2007
Various scorings
Psalms (German and Latin)
FP Sete Lágrimas, Palácio da Fronteira, Lisbon, October 2007
Led by the Light

2008
10’
Commissioned by Lumen Valo
SSAATTBB
Orthodox Vespers of the Nativity (English)
FP Lumen Valo, Uspensky, Cathedral, Helsinki, Finland, December 2008
Moon and Suns

2008
25’
Commissioned by Ars Nova Copenhagen and the Raschèr Quartet
SSSAAATTTBBB, Saxophone Quartet
The Kalevala (English)
FP Ars Nova, Raschèr Quartet/Paul Hillier, Copenhagen, September 14, 2008
Stabat Mater
2008
30’
Commissioned by the Oslo Festival of Church Music
SSSSAAAATTTTBBBB, String Quartet
Roman Liturgy, Orthodox Matins of Holy Friday, and Anna Akhmatova text (Latin, Greek, and
Russian)
FP Norwegian Soloists’ Choir, Vertavo Quartet/Grete Pedersen, Oslo, March 22, 2009
Canti della Rosa

2008
15’
Commissioned by the King’s Singers
Ct, Ct, T, Bar, Bar, B
Dante, popular devotional texts, Orthodox Matins of Holy Friday (Italian and Sardinian)
FP The King’s Singers, Cadogan Hall, London, November 2009
Hymn to St Nicholas
2009
15’
Commissioned by the KotorArt Festival
Sticheron from Vespers for the Feast of St Nicholas, Trisagion (Slavonic and Greek)
FP KotorArt Festival Choir/Ivan Moody, Kotor, Montenegro, August 11, 2009
Canticum Canticorum IV
47
2010
10’
Commissioned by Seattle Pro Musica
SSAATTBB
Song of Songs (Hebrew)
FP Seattle Pro Musica/Karen P. Thomas, Seattle, Washington, May 2010
Angelus Domini descendit

2010
7’
Commissioned by the Choir of Royal Holloway, University of London
SSAATTBB
Responsory for Pascha (Latin)
FP Choir of Royal Holloway/Rupert Gough, Royal Holloway, April 7, 2010 (Live BBC
broadcast of choral evensong)
Sub tuum Praesidium

2010
12’
Commissioned by the English Chamber Choir
SSAATTBB
Devotional prayer (Latin, Slavonic, and Greek)
FP English Chamber Choir, Brighton Festival, May 11, 2012
Vespers
2011
30’
Commissioed by the Children’s Choir of St Vladimir’s Orthodox Seminary, New York
SSA (children’s voices)
Byzantine rite Vespers (English)
FP St Vladimir’s Orthodox Seminary at the request of Arvo Pärt, New York, May 31, 2014
Magnificat & Nunc dimittis (The Pacific Canticles)

2011
9’
Commissioned by the Chapel College Men & Boys Ensemble of Pacific Collegium
SSAATTBB
FP Chapel College Men and Boys Ensemble of Pacific Collegium/Christopher Kula, St Paul’s
Episcopal Church, Oakland, California, May 22, 2012
Angel Vopiyashe
2011
Commissioned by Kamerkoor Oktoich
SSAATTBB
“The Angel Cried” from the Canon of Paschal Matins
48
FP Oktoich Chamber Choir/Aliona Ovsiannikova-Voogd, Muziekgebouw aan’t IJ, Amsterdam,
May 29, 2011
The Paschal Canon: Ode VIII

2012
5’ (part of a multi-composer work)
Commissioned by Cappella Romana
SSAATTBB
Paschal Canon
FP Cappella Romana/Alexander Lingas, Lincoln City Cultural Centre, May 18, 2012
Baladilla de los Tres Ríos

2012
4’ 30”
Written for Cor Aglepta
SSAA
Federico García Lorca text (Spanish)
Unperformed
Noc Prekrasna
2012
2’
SSATBB
Kontakion of the Nativity, St Nikolaj Velimirovic (Slavonic and Serbian)
FP Choir of the Cathedral of St George, Novi Sad/Bgdan Djakovic, Synagogue, Novi Sad,
Serbia, January 2013
Te lucis ante terminum

2012
3’ 30”
SSATBB
Office Hymn (Latin)
FP Choir of Merton College, Oxford/Peter Phillips, Merton College, Oxford, May 9, 2014
Ottakaa vastaan
2013
4’ 30”
Written for the Orthodox Chamber Choir of the University of Eastern Finland
SATB
Sunday Communion Hymn (Finnish)
FP Orthodox Chamber Choir of the University of Eastern Finland, Joensuu, November 21, 2013
Qohelt
2013
50’
Commissioned by De Labyrintho
49
SSAATTBB, Consort of viols
Ecclesiastes (Hebrew, Greek, Latin, and English)
Unperformed
Aposticha for the Dormition

2013
9’
SATB
Vespers for the Dormition of the Mother of God (English)
FP Orthodox Choir of the University of Eastern Finland/Petri Nykänen, Monastery of New
Valamo, Finland, February 16, 2014
Thy Fatherly Embrace

2014
3’
SATB with divisions
Kathisma Hymn of the Canon for Sunday of the Prodigal Son (English)
FP St Romanos Choir/Peter Jermihov, St Peter & St Paul Orthodox Church, Burr Ridge, Illinois,
April 6, 2014
The Land which is Not

2014
15’
SATB with divisions (24vv)
Edith Södergran (English)
FP BBC Singers, Nicolas Alstaedt/Stephen Cleobury, Milton Court, London, October 21, 2014
Liturgy of St John Chrysostom No. 2 (Greek Liturgy)

2014
60’
Commissioned by the Society of St Romanos
SATB with divisions
Divine Liturgy of St John Chrysostom (Greek)
FP St Romanos Choir/Peter Jermihov, Autumn 2014
O Luce Etterna (Dante Trilogy Part I)

2014
SSAATTBB
Il Paradiso by Dante Alighieri (Italian
FP Cappella Musical Cupertino de Miranda, Cistermusica Festival, Alcobaca, July 11, 2014
Oltre la Spera (Dante Trilogy Part II)

2014
7’
SSATTBB, fl., b.cl., vib., pno., vl., vla., vcl.
Vita Nuova by Dante Alighieri (Italian)
50
FP Grupo musical Olisio, Grupo de Música Contemporânea de Lisboa, Palácio Foz, Lisbon, June
27, 2014
Cielo della Luna (Dante Trilogy Part III)

2014
10’
Commissioned by the Biola Conservatory of Music
SSAATTBB, a.fl., vib., pno., vl., vcl.
Il Paradiso by Dante Alighieri (Italian)
FP Biola Chorale, Cadillac Moon, Paul Barnes, Biola Conservatory of Music, La Mirada,
California, October 10, 2014
O Isplendor (In Memory of Sir John Tavener)

2014
10’
Commissioned by Cappella Nova
SATB soli + SATB
Canto XXX Il Paradiso by Dante Alighieri (Italian); Kontakion for the Departed (Greek)
FP Cappella Nova/Alan Tavener, November 2014
The Holy Spirit

2014
4’
SSATB
Manuel Phile, “To the Holy Spirit”, translated Elizabeth Barrett Browning (English)
FP The Byrd Ensemble, St Mark’s Cathedral, Seattle, Washington January 31, 2013
…grace upon her heart…

2015
Commissioned by the Sheppard Ensemble
10’
SATB + SATB
John of Euchaita, “The Transfiguration”, translated by Elizabeth Barrett Browning (English)
FP Sheppard Ensemble/Bernhard Schmidt, Porvoo, Finland September 2, 2015
Le Vergine
2016
12’
Commissioned by Stimmwerck
SATTB, Consort of viols
Petrarch (Italian)
FP Stimmwerck, Adlersburg, Regensburg, June 29-30, 2016
Vespers Sequence
2016
35’
51
Commissioned by New York Polyphony
ATBarB
FP New York Polyphony, Church of St. Mary the Virgin, New York, NY, January 21, 2017
Psalm 1 and Antiphon for Psalm 1

2017
8’ + 2’
Commissioned by Singer Pur
STTTBarB + SATB with div
FP Singer Pur, Regensburger Domspatz/Roland Büchner, Rathaussaal im Alten Rathaus,
Regensburg, May 18, 2017
Psalm Antiphon
2017
10’
Commissioned by the Chamber Choir of Lisbon University
SATB with divisi, picc., 2 fl., 2 ob., ca., bsn., cbsn., 2 hn., 2 tpt., trb., b trb., hp., 2 pno., cb.
FP Lisbon University Chamber Choir, Banda de Música da Armada Portuguese/Délio
Gonçalves, July 14, 2017
52
VAN 907
w
w
Ivan Moody
Canticum Canticorum I
w All music examples © Vanderbeek & Imrie and used by permission
Three Motets from the Song of Songs
Figure 1. Canticum Canticorum I, movement 1, m. 1-12
#˙
œ œ 1. S urge propera am ica m ea
a - mur
p
œ
A & œ . #œ #œ œ œ
p
#œ œ œ œ œ #œ œ œ œ œ
Co - lum - ba
T1 V œ ˙ #w œ
p pro - pe - ra a - mi - ca me - a, me -
T2 V œ . # œj # œ œ œ œ ˙ w w œ w œ
pSur
? w.
- ge, a - - - mi -
B
w w œ w œ
Sur - - - ge, a - - - mi -
& #œ œ œ #˙
5
#˙ œ œ ˙
œ #˙ œ œ ˙ œ œ . # Jœ œ œ œ ˙
me - a, for - mo - sa me - a,
V #w
œ #˙ œ œ ˙ œ . #œ œ œ œ œ #œ œ
- a, for - mo - sa me - a, et ve - ni.
V w œ w ˙
? w
- ca, for - mo - sa me - a, et ve - ni. Iam e - nim i - ems
œ ˙ œ œ ˙ œ w ˙ w ˙.
- ca, for - mo - sa me - a, et ve - ni. Iam
U 9
& œ œ œ #œ œ
U
#˙ œ ˙ œ #œ œ ˙ œ œ #œ œ ˙
trans - i - it, im - ber a - bi - it, et re - ces - sit.
V ˙ œ ˙ ˙ ˙ œ œ ˙ œ œ ˙ ˙
U
V ˙ œ ˙ ˙ ˙ œ œ ˙ œ œ ˙ ˙
U
? ˙
œ ˙ ˙ ˙ œ œ ˙ œ œ ˙ ˙
& solar system

Source: Moody, Ivan,
© Copyright Canticum
1990 Canticorum
Vanderbeek & Imrie Ltd, I,
15(Vanderbeek
Marvig, Lochs, &
IsleImrie Ltd.,
of Lewis, 1990),HS2
Scotland 1. 9QP
All rights reserved for the world & solar system ISMN M 57011-907-3
VAN 907
53
Figure 2. Canticum Canticorum II, m. 33-39
33
& ∑ ∑
p , πb ˙ ˙ bw ˙ w
V ›
π b˙
[Ah] of Je - ru - sa-lem,
V ∑ b˙ bw ˙ w
F πof Je - ru - sa-lem,
? ˙ ˙ ˙ ˙ ˙ ˙ ˙ œœ ˙ b˙ w ˙ ˙ w ˙ w
˙
b Jœ nœ œ nœ œ
O ye daugh - - - ters of Je - ru - sa-lem,
F
˙
35
b˙ b˙ n˙
j
& b˙ ˙ ˙ b Jœ ˙ bw b˙ ˙ bœ
˙ b Jœ b˙ b˙ w
as the tents of Ke - dar, as the cur - tains of So - lo - mon.
V › ›
F
V b˙ ˙ b˙ ˙ ˙ b˙ b œj ˙ ˙ n˙ b˙
bœ
J ˙ bw b˙
b Jœ
b˙ w
as the tents of Ke - dar, as the cur - tains of So - lo - mon.
? › ›
37
& ∑ ∑
π b˙ ˙ ˙ w
V ∑ bw
F ˙ ˙ b˙
, π̇be - cause
b˙
I am black,
V ˙ b œj ˙ nœœ ˙ ˙ ˙ ˙ nœœ ˙ œœ
w b bw ˙ w
Look not up - on me
πbe - cause I am black,
? ∑ ˙ ˙ w ˙ w
be - cause I am black,
F
˙
39
b˙ n˙
j
& b˙ ˙ bœ
˙ b Jœ b˙ bw ›
›
be - cause the sun hath looked up - on me.
V ›
F
V b˙ ˙ b˙ b œj ˙ ˙ n˙ b˙ ›
bw
b Jœ
be - cause the sun hath looked up - on me.

? ›
›
-6-
Source: Moody, Ivan, Canticum Canticorum IV, (Vanderbeek & Imrie Ltd., 1994), 6.
54
p U 3 . .
[Ah.] Ia-fá, ia -fá,
? # # # 7 [solo] 4 w
4 w ˙. w ˙. w ˙. 4 w 4 œ ˙ œ ˙
[tutti]
B1
[Ah.] Ia-fá, ia -fá,
? # # # 74 44 43 œ. ˙
B2 œ. ˙
Ia-fá, ia -fá,
Figure 3. Canticum Canticorum IV, m. 37-55
#
37
#
S1 & #
# #
S2 & #
# #
A1 & #
# #
A2 & #
f >˙ . >˙ .
œ œœœœœ ˙
###
œ ˙
j
œ. œ œœ ˙ œ ˙ Œ œ œ œ ˙ Œ
[tutti]
T1 V
Ia -fá at ra -ia - tí ke - tir -
###
T2 V œ. ˙ œ. ˙ œ. ˙ œ. ˙ œ. ˙ œ. ˙ œ. ˙ œ. ˙ œ. ˙ œ. ˙ œ. ˙ œ. ˙
? # # # œ. ˙ . . . œ. ˙ œ. ˙ œ. ˙ œ. ˙ œ. ˙ œ. ˙ œ. ˙ œ. ˙
ia-fá, ia-fá, ia-fá, ia-fá, ia-fá, ia -fá, ia - fá, ia-fá, ia-fá, ia-fá, ia-fá, ia-fá,
B1 œ ˙ œ ˙ œ ˙
? ###
B2 œ. ˙ œ. ˙ œ. ˙ œ. ˙ œ. ˙ œ. ˙ œ. ˙ œ. ˙ œ. ˙ œ. ˙ œ. ˙ œ. ˙
-4-
#
49
# 5 3 6 3
S1 & # 4 4 4 4
# # 5 3 6 3
S2 & # 4 4 4 4
### p
5 3 6 œœœœœœ 3
4 ˙. œ œ w
[tutti]
A1 & œ ˙ 4 ˙. ˙ 4 œ ˙ 4
### p
na-vá ki - ru - sha - lá - im
& 45 43 ˙ . 64
˙ ˙ ˙ #œ nœ w 43
œ ˙ ˙. ˙
A2
>
### ˙ . ˙. œ ˙ pna-vá
6 ˙ ˙ ˙
ki - ru - sha - lá - im
5 3 3
T1 V ˙. ˙. 4 ˙. ˙ 4 ˙. 4 ˙ w 4
tzá na - - - vá ki - ru - sha - lá - im
### 5 3 6 œœœœœœ 3
T2 V œ. ˙ œ. ˙ œ ˙
.
œ ˙
. ˙. 4 ˙. ˙ 4 ˙. 4 œ ˙ œ œ w 4
? # # # œ. ˙ œ. ˙ œ. ˙ œ. ˙
ia -fá, ia -fá, ia -fá, ia -fá, na - - - vá ki - ru - sha - lá - im
˙. 5 3 ˙. 6 ˙ ˙ ˙ 3
B1 4 ˙. ˙ 4 4 #œ œ w 4
ia -fá, ia -fá, ia -fá, ia - fá na - - - vá ki - ru - sha - lá - im
? ### œ ˙ œ. ˙ œ. ˙ œ. ˙ 45 ˙ . 43 ˙ . 64 ˙ ˙ ˙ œ œ 43
B2
. ˙. ˙ w
ia -fá, ia -fá, ia -fá, ia - fá na - - - vá ki - ru - sha - lá - im
F œ œ œ œœœ ˙ œ œœœœœ œ œœœœœ œ œœœ œœ

Source:58Moody, Ivan, Canticum Canticorum IV, (Vanderbeek & Imrie Ltd., 2010), 4-5.
# # 3 œ œ œ ˙ Œ
S1 & # 4
Fœ ˙ œ œœ œœœ ˙ ˙.
a - iu - má ka - nig - da -
### 3 ˙. ˙.
S2 & 4 œ œ Œ
a - iu - má ka - nig - da -
# # 3 F
A1 & # 4 œœ ˙ œœ ˙ œœ ˙ œœ ˙ œ œ 55
˙ œœ ˙ œ œœœœœ œ œœœ œœ
### 3 F
a-iu-má, a-iu-má, a-iu- má, a-iu-má, a-iu-má, a-iu-má, ka - nig -
A2 & 4 œœ ˙ œœ ˙ œœ ˙ œœ ˙ œœ ˙ œœ ˙ ˙. ˙.
Figure 4. Canticum Canticorum II, movement 4, m. 40-50
40 p
& ∑ œ b˙ œw ∑ œ b˙ œ w
b˙
,
œw › œ b˙ œ bœ œ œ œ ˙ ›
Draw me, we will run
V œ
IV Draw me,
, we will run
V w w › ˙. œ w ›
? ∑ bœ ˙ œw ∑ bœ ˙ œ bœ œ œ œ ˙
, ,
p
& bœ bœ œ œ ˙
44
˙ bœ œ ˙ .
œ b˙ œw › œ b˙ œ bœ œ œ œ ˙
bw
af -
b˙ ter
w
thee: the King
pb œ ˙ œw
hath brought me
V ∑ ∑
af - ter thee: the King
p
V bœ bœ œ œ ˙ ˙ bœ œ ˙ . ∑ œ b˙ œw ∑
af -
b˙
ter
w
thee:
, pw w ›
the King
, œ ˙. w
? bw
af - ter thee: the King hath brought me
48 , f> f
& › b˙ œ ˙ œ ˙. ∑ Œ bœ b˙ œ
bœ ˙ œ bœ œ œ œ ˙ , in - to his
f
cham - bers. , Fb œ ˙ œ œ w
We
V bœ œœœ ˙ bœ œ ˙ .
bœ >
hath brought me
, in - to his
f>
cham - bers:
, FWe b ˙ will be glad
bœ œ w
V œ b˙ œ w œ
b˙ œ ˙ œ ˙.
? ›
, f>
Œ fb œ b ˙
hath brought me in - to his cham - bers: We will be glad
b œb œ œ œ œ ˙ bœ œ ˙ . ∑ œ
in - to his cham - bers: We
P
Source: Moody, Ivan, Canticum Canticorum II, (Vanderbeek & Imrie Ltd., 1994), 7.
˙ ˙ ˙
51
& œ œ b˙ œ bœ ˙ ∑ œ b˙ œ œ ˙ ˙
b˙ w P b˙ ,
bœ œ œ œ w œ œ ˙ ˙ ›
will be glad and re - joice in thee, We will re-mem - ber
V œ
and re - joice in thee,
P
we will re-mem - ber
,
V ˙ w bœ bœ œ œ w ˙. œ œ ˙ ˙ ›
and re - joice in thee, we will re-mem - ber
P
? ˙ ˙ ˙ ∑ bœ ˙ œ œ ˙ ˙
œ œ b˙ œ bœ ˙
will be glad and re - joice in thee, we will re-mem - ber
-7-
56
P P
T2 V bw . › bw . › ∑ bw . › b›
The Song of Songs So - lo - mon's.
P b˙ w w bw P b˙ w w bw b›
B ? ∑ Ó bw w bw
of Songs which is So - lo - mon's.
5 p ,
& œ bœ œ œ œ œ œ œ œ œ œ œ œ œ ˙ b˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙
3 3 3 3
p ˙ b˙ ˙ ˙ œ œ ˙ ˙ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ,
[Ô]
˙ ˙ ˙
V
,
3 3 3
bP bœ œ ˙
[Ô]
w (sopra) w bœ œ w bw w ˙ w
V
Let him kiss me
P (sopra)
with the kis - ses of his mouth: ,
? ∑ w bœ œ b˙
bw ˙ w
with the kis- ses of his mouth:
P ,p
& ˙ bœ bœ ˙ œ œ ˙
7
˙ œ œ w b˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
3 3 3 3 3 3
P , Ṗ[Ô]
˙ b˙ ˙ ˙ ˙ œ œ œ œ ˙
for thy love is bet - ter than wine.
b˙ bœ bœ ˙ œ œ ˙ ˙ œ œ w b ˙ œ œ ˙
V
p
for thy love is bet - ter than wine. Be - cause of the sa- vour of thy good oint-ments thy name
V b˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ∑
3 3 3 3
p
? œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
[Ô]
∑
[Ô]
Source:
© Moody, Ivan,
Copyright Canticum
1994 Canticorum
Vanderbeek & ImrieII,
Ltd(Vanderbeek & Imriefor
All rights reserved Ltd.,
the1994),
world &3. solar system ISMN M-57011-929-5
57
58
F
& 8ˆ 8 ∑ ∑ ∑
6 2
˙. œ b˙ . œ
Fb˙ . œ b˙ . œ
Tell me,
V 68ˆ28 ∑ ∑ ∑
F , Tell me,
œ. œ. œ œ. œ. œ œ. bœ . œ. œ. œ œ. œ. œ
V
6ˆ2 œ
V 8 8
F
? 6ˆ2 œ .
Tell me,
œ.
O
œ
thou,
œ.
whom
œ.
my
œ bœ .
soul
œ.
lo - veth,
œ , Tell
œ.
me,
œ.
O
œ
thou, whom
œ. œ.
my
œ
8 8
Tell me, O thou, whom my soul lo - veth, Tell me, O thou, whom my
œ. œ
63
& b˙ . œ œ . bœ œ bœ . bœ . œ. œ w 6
4 ∑
b˙ . œ bœ . œ. œ bœ . œ. œ bœ . œ. œ w
O thou, whom my soul lo - veth,
V 6
4 ∑
O
, thou, whom my soul lo - veth,
,6p
V œ . bœ . œ œ. œ. œ œ. œ. œ œ . bœ . œ w 4
w.
,
? bœ . œ. œ œ. œ. œ. œ. œ bœ . œ. œ w
soul lo - veth, Tell me, O thou, whom my soul lo - veth, where
œ 6 ∑
4
soul lo - veth, Tell me, O thou, whom my soul lo - veth,
-8-
58
P P
T2 V bw . › bw . › ∑ bw . › b›
The Song of Songs So - lo - mon's.
P b˙ w w bw P b˙ w w bw b›
B ? ∑ Ó bw w bw
of Songs which is So - lo - mon's.
5 p ,
& œ bœ œ œ œ œ œ œ œ œ œ œ œ œ ˙ b˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙
3 3 3 3
p ˙ b˙ ˙ ˙ œ œ ˙ ˙ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ,
[Ô]
˙ ˙ ˙
V
,
3 3 3
bP bœ œ ˙
[Ô]
w (sopra) w bœ œ w bw w ˙ w
V
Let him kiss me
P (sopra)
with the kis - ses of his mouth: ,
? ∑ w bœ œ b˙
bw ˙ w
with the kis- ses of his mouth:
P ,p
& ˙ bœ bœ ˙ œ œ ˙
7
˙ œ œ w b˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
3 3 3 3 3 3
P , Ṗ[Ô]
˙ b˙ ˙ ˙ ˙ œ œ œ œ ˙
for thy love is bet - ter than wine.
b˙ bœ bœ ˙ œ œ ˙ ˙ œ œ w b ˙ œ œ ˙
V
p
for thy love is bet - ter than wine. Be - cause of the sa- vour of thy good oint-ments thy name
V b˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ∑
3 3 3 3
p
? œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
[Ô]
∑
[Ô]
© Moody,
Source: Copyright 1994
Ivan, Vanderbeek
Canticum & ImrieII,
Canticorum Ltd All rights reserved
(Vanderbeek & Imriefor the1994),
Ltd., world &3. solar system ISMN M-57011-929-5
59
58
F
& 8ˆ 8 ∑ ∑ ∑
6 2
˙. œ b˙ . œ
Fb˙ . œ b˙ . œ
Tell me,
V 68ˆ28 ∑ ∑ ∑
F , Tell me,
V
6ˆ2 œ
V 8 8
F
? 6ˆ2 œ .
Tell me,
œ.
O
œ
thou,
œ.
whom
œ.
my
œ bœ .
soul
œ.
lo - veth,
œ , Tell
œ.
me,
œ.
O
œ
thou, whom
œ. œ.
my
œ
8 8
œ. œ
63
& b˙ . œ œ . bœ œ bœ . bœ . œ. œ w 6
4 ∑
V 6
4 ∑
O
,6p
w.
,
? bœ . œ. œ œ. œ. œ. œ. œ bœ . œ. œ w
œ 6 ∑
4
-8-
60
V œ . # œj # œ œ œ œ ˙
ap - pa - ru - e - runt in ter - ra;
˙. ˙. w œ w
T2 V
? w.
Flo - res in ter - - - ra;
˙. ˙. w œ w ?
B
Flo - Canticorum
Figure 9. Canticum - - res 1, m. 17-25
I, movement in ter - - - ra;
& œ ˙ œ# œ œ œ ˙ & Œ
17 6
œ ˙ ˙ #˙ œ œ ˙
œ ˙ œ œ œ#œ ˙ œ ˙ ˙ #w
œ œ . # Jœ œ œ œ ˙
tem - pus pu-ta - ti - o - nis ad-ve - nit; ter - ra no - stra;
V ˙ œ œ ˙ V
si
œ œ œ#œ ˙ œ ˙ œ . #œœœ œ œ #˙ V Œ
tem - pus pu-ta - ti - o-nis ad-ve - nit; vox tur - tu - ris ter - ra no-stra;
V œ ˙ ˙ œ ˙. œ ˙ œ ˙ œ œ ˙
?œ ˙ ? Ó
tem - pus pu-ta - ti - o - nis ad-ve - nit; vox tur - tu - ris au - di - ta est in ter - ra no-stra;
œ œœ œ ˙ œ ˙ ˙ œ ˙. œ ˙ ˙. œ œ ˙ œ ˙ œ œ ˙
tem - pus pu-ta - ti - o - nis ad-ve - nit; vox tur - tu - ris au - di - ta est in ter - ra no-stra;
11
21
& #˙
& œ œ#œ œ œ œ œ #œ œ œ ˙
œ
˙
Su
V
fi - cus pro - tu - lit gros - sos su - os;
V œ œ œ œ ˙ œ œ œ ˙
˙
Su
V
j œ
fi - cus pro - tu - lit gros - sos su - os;
V œ œ œ œ ˙ œ œ œ ˙ œ. #œ œ œ œ #œ ˙
? ˙
Su
? œ
fi - cus pro - tu - lit gros - sos su - os; vi - ne flo - ren - tes
œ œ œ ˙ œ œ œ ˙ w w Su
fi - cus pro - tu - lit gros - sos su - os; vi - ne
f
© Copyri
U
œ#œ œ w
poco più
œ . #œ #œ œ œ
24
& #œ œ œ ˙
œ ˙ œ œ #œ
de - de - runt o - do - rem su - um.
˙.
Al -
œ œ œ w
le - lu - i - a.
U &
V œ œ ˙
A
œ œ ˙ œ ˙
de - de - runt o - do - rem su - um. Al - le - lu - i - a.
U V
#œ œ w
T1
V œ œ ˙ nœ œ ˙ œ ˙ œ . #œ #œ œ œ œ
V
U
T2
? œ
de - de - runt o - do - rem su - um. Al - le - lu - i - a.
œ ˙ œ œ ˙ œ ˙ ˙. œ œ œ w
?
f
de - de - runt o - do - rem su - um. Al - le - lu - i - a. B
poco più
Source: Moody, Ivan, Canticum Canticorum I, (Vanderbeek & Imrie Ltd., 1990), 2.
61
Figure 10. Canticum Canticorum I, movement 1, m. 1-15
2. Descendi in hortum m eum
∏
A & Ó ˙. œ ˙ œ ˙ Ó ˙ Œ Ó œ ˙ ˙. Œ Ó ˙.
∏ #w w œ w.
w œ œ ˙ œ ˙ w
- di hor-tum me-um - de - con - val - - ce -
T1 V
∏
Œ ˙. Œ ˙. w œ Œ œ w
De - hor-tum me-um ut po - et
w œ ˙ œ ˙
T2 V Œ
- scen -
∏ œ œ ˙
hor-tum
œ ˙
me-um vi -
œ
- ma
œ˙ in - spi -
˙
B
? Ó Ó Ó Œ Œ Ó Œ Ó Ó Ó
in hor - tum me-um - rem - li-um - rem
& Œ Œ ˙. œ œ ˙ Œ Œ w Œ Œ #w ‰ # œj œj œj œ . j j j
6
œ ˙ œœ œ ˙
#w œ #œ œ ˙ w. w. ‰ Jœ Jœ Jœ œ . œœ œ ˙
- ru - vi - ne - a, - mi - pu - Re-ver-te-re, re-ver -te- re,
no - stra;
œ ˙ V JJ J
w œ œ ˙ Œ #œ ˙ Œ œ ˙ ‰ Jœ Jœ Jœ œ . œœ œ ˙
si vi - ne - a, et ma - Re-ver-te-re, re-ver -te- re,
V Œ Ó Ó
no-stra;
œ ˙ JJ J
flo -
œ œ viœ - neœ - a,˙ œ wnas-sent œ w œ œ œ œ. œœ œ ˙
- ni-ca. Re-ver-te-re, re-ver -te- re,
? Ó Œ Œ Œ ‰ JJ J JJ J
no-stra;
œ ˙
,
- is- set vi - ne - a, ger - - la Re-ver-te-re, re-ver -te- re,
no-stra;
Ó Œ #˙ . Œ Œ w
11
& #˙ œ œ ˙ #œ œ œ ˙ œ œ œ ˙ #˙ .
˙ œ œ ˙ , œ œ œ ˙ œ œ œ ˙ w. ˙. w.
Su - na-mi-tis; Re-ver - te - re, re- ver - te - re - e- te. - lu -
V
˙ œ œ ˙ , œ œ œ ˙ œ œ œ ˙ Œ œ w ˙. Œ œ w
Su - na-mi-tis; Re-ver - te - re, re- ver - te - re ut te. Al -
V
œ œ ˙ , œ œ œ ˙ œ œ œ ˙ œ œ ˙. ˙.
? ˙
Su - na-mi-tis; Re-ver - te - re, re- ver - te - re in - tu - te. - le -
s Ó Ó Œ Ó
Su - na-mi-tis; Re-ver - te - re, re- ver - te - re - a-mur te. - ia.
© Copyright 1990 Vanderbeek & Imrie Ltd. All rights reserved for the world & solar system
U Source: Moody, Ivan, Canticum Canticorum I, (Vanderbeek & Imrie Ltd., 1990), 3.
Ego dilecto m eo
f
3.
& #˙ œ œ œ #˙ œ œ œ #˙ #˙ œœœœœ
U ˙ ˙ ˙ œ œ ˙
A
f
œ œ #œ ˙. w.
E - go di - le - cto me - o, et ad me con - ver - si - o
U T1 V w œ ˙ w w
f E - go di - le - cto me -
V #w ˙. #w œ œ œ #w ˙. #w .
U
T2
f
? w ˙. w œ ˙ w ˙. w.
E - go di - le - cto me -
B
E - go di - le - cto me -
62
58
F
& 8ˆ 8 ∑ ∑ ∑
6 2
˙. œ b˙ . œ
Fb˙ . œ b˙ . œ
Tell me,
V 68ˆ28 ∑ ∑ ∑
F , Tell me,
V
6ˆ2 œ
V 8 8
F
? 6ˆ2 œ .
Tell me,
œ.
O
œ
thou,
œ.
whom
œ.
my
œ bœ .
soul
œ.
lo - veth,
œ , Tell
œ.
me,
œ.
O
œ
thou, whom
œ. œ.
my
œ
8 8
œ. œ
63
& b˙ . œ œ . bœ œ bœ . bœ . œ. œ w 6
4 ∑
V 6
4 ∑
O
,6p
w.
,
? bœ . œ. œ œ. œ. œ. œ. œ bœ . œ. œ w
œ 6 ∑
4
-8-
63
ƒ
, a-iu-má, a-iu - má, a-iu -má, a-iu-má, a-iu-má, ka - nig -
œœ˙ œœ ˙ œœ˙ œœ˙ œœ˙ ˙. ˙.

, a-iu-má, a-iu - má, a-iu-má, a-iu-má, a-iu-má, ka - nig -
ƒ
œœ˙ œœ ˙ œœ˙ œœ˙ œœ˙ ˙. ˙.
, a-iu-má, a-iu-má, a-iu-má, a-iu-má, a-iu-má, ka - nig -
˙. U̇ . f
5 œ œ 44
4 œ . œj œ œ ˙ œ ˙ œ œ œ œ˙
U̇ f
El gi - nát e - góz ia -
˙. . 45 Ó Œ j
œ. œ œ œ ˙ œ œ 4
œ œ œ œ œœ 4
f
El gi - nát e - góz
U 5 4
œ œ ˙ ˙. 4 Œ œ œœœœœ œ œ ˙ œ 4
U f
lót El gi - nát e-
45 œ œ œœœ˙ œ 44
œ ˙ ˙.
lót
U̇ 5
El gi -
4
˙ œ . 4 4
U
lót
˙. ˙. 45 44
U
˙. ˙. 45 44
U 5 4
˙. ˙. 4 4
-9-
64
# # 4 5 œ œ œ 44 ˙ œœœ
134
& # 4 œ œ ˙ 4 œ ˙ ˙
3
S1 œœœ w w
- rád - ti li - rót bei - béi ha - na - chal
# # 4 5 4
& # 4 œ œ œ œ 4 œ ˙ œ œ 4 œ œœœœ œ œœœ œ œ
3
S2 œœœ œ w
ia - rád - ti li - rót bei - béi ha - nachal
# # 4 5 4 œ œœ ˙
& # 4 œ œ œ˙ 4 œ œ œ œ œ 4 œ œ ˙ œœœ˙
3
A1 œœœ ˙
### 4
- góz ia - rád - ti li - rót bei - béi ha - nachal
-
5 ˙ 44 œ œj œj œ ˙ œœ œ ˙
& 4 ˙ œ œ 4 œ œ œ œ œ ˙
3 3
A2 œ œ ˙ œœ
# # 4
- nát e - góz ia - rád - ti li - - rót bei - béi ha -
5 4
T1 V # 4 4 4
# # 4 5 4
T2 V # 4 4 4
? ### 4 5 4
B1 4 4 4
B2
? # # # 44 45 44
# # p
5 3 5 4
4 œ . œj œ œ ˙
140
& # w œ ˙ 4 œ œœ œ 4 œ œ œ œ œ 4 œ œ
subito
S1
œ œ ˙
p
li - rót ha - far - chá ha - gué - fen he - né - tzu
### 5 j
45 œ œ œ œj œ . j3 j 4 3
œ œ œ . œ 4 œ œ œ 4 œ œ . œ œ . œ œ 4 œ œ œ œJ ˙
subito
& œJ œ œ
3
S2
w J
li - rót ha - far - chá ha - gué - fen he - né - tzu
### 5 3 5 4
A1 & w 4 4 4 4
# #
A2 & # œ ˙. 45 43 45 44
### ⇥
5 ˙. ˙ ˙. ˙ 3 ˙. 5 ˙. ˙ 4 w
- na-chal
T1 V 4 4 4 4
⇥
[Ah.]
### 5 ˙. ˙ ˙. ˙ ˙. ˙. ˙ 44 w
T2 V 4 43 45
⇥
[Ah.]
B1
? ### 45 ˙ . ˙ ˙. ˙ 43 ˙ . 45 ˙ . ˙ 44 w
[Ah.]
⇥
? ### 5 3 5 4 w
B2 4 ˙. ˙ ˙. ˙ 4 ˙. 4 ˙. ˙ 4
[Ah.]
- 10 -
65
### p
œœœ ˙ 6 5
4 œ . œj œ œ ˙
146
& œœœ˙ 4 œ œœ w
3
S1
p
ha - ri - mo - ním, li - rót
### œ œ œ œ 64 5
S2 & œ œ œœ ˙ œ œ œ . œj ˙ . 4 œ œ œ œj
### p
ha - ri - mo - ním, li - r
6 5
A1 & 4 4 Ó Œ
œ.
###
li
A2 & 64 45
### w w p
6 ˙ Ó ˙. ˙. w. 5
T1 V 4 ˙ 4 ˙. ˙
p
ha - ri - mo - ním, ha -
# # w w 6 ˙ 5
T2 V # 4 Ó ˙ ˙. ˙. w. 4 ˙. ˙
p
? ### w w 6 ˙ Ó w. 5
B1 4 ˙ ˙. ˙. 4 ˙. ˙
p
? ### w w 64 ˙ Ó 45
B2
˙ ˙. ˙. w. ˙. ˙
Source: Moody, Ivan, Canticum Canticorum IV, (Vanderbeek & Imrie Ltd., 2010), 9-11.
# # 3 5 4 œ œœ ˙
152
& # œ ˙ 4 œ œœ œ 4 œ œ œ œ œ 4 œ œ ˙ œœœ ˙
3
S1
œ œ
ha - far - chá ha - gué - fen he - né - tzu ha - ri - mo -
### j
& œ œ œ œ œ . œj 43 œ œ œ 45 œ œ . œj œ œ œ 44
œœ œJ˙ œ œ ˙ œ œ œœ
3 3
œJ œ
.J
S2 œœ

### 3 5 4
& œ œ˙ œ œ 4 œ œœ 4 œ œœ œ œ œ 4 œ œ œ œ œ ˙ œ œj j
œ œ˙ œ
3 3
A1
###
- rót ha - far - chá ha-gué - fen he - né - tzu ha - ri - m
j j 3 j 5 4
& œ œ œ œ . œJ œ œ 4 œ œ œ œ 4 œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œJ ˙ œ œ œœ ˙
3 3 3
A2
J
### 5 ˙. ˙
- rót ha - far - chá ha-gué - fen he - né - tzu ha - ri
3 4
T1 V ˙. ˙ 4 ˙. 4 4 w w w
- ri - mo - ním, ha - ri - mo -
###
T2 V ˙. ˙ 43 ˙ . 45 ˙ . ˙
44
w w w
B1
? ### ˙. ˙ 43 ˙ . 45
66 ˙. ˙ 44 w w w
#
# # p
œœœ ˙ 6 5
4 œ . œj œ œ ˙
146
& # œœœ˙ 4 œ œœ w
3
S1
5p
### œ œ œ œ 64
S2 & œ œ œœ ˙ œ œ œ . œj ˙ . 4 œ œ œ œj œ .
### p
6 5
A1 & 4 4 Ó Œ
œ. œj
### p
li -
& 64 45
A2
œ
### w w p
6 ˙ w.
li -
Ó ˙. ˙. 5
T1 V 4 ˙ 4 ˙. ˙
p
# # w w 6 ˙ 5
T2 V # 4 Ó ˙ ˙. ˙. w. 4 ˙. ˙
p
? ### w w 6 ˙ Ó w. 5
B1 4 ˙ ˙. ˙. 4 ˙. ˙
p
? ### w w 64 ˙ Ó 45
B2
˙ ˙. ˙. w. ˙. ˙
# # 3 5 4 6
œ œœ ˙
152
& # œ ˙ 4 œ œœ œ 4 œ œ œ œ œ 4 œ œ ˙ œœœ ˙ 4
3
S1
œ œ
### j
& œ œ œ œ œ . œj 43 œ œ œ 45 œ œ . œj œ œ œ 44 3 œ œ ˙ œ œ œœ˙ œ œ œ œ 64
3
œœ J
œJ
.J
S2

### 3 5 4
& œ œ˙ œ œ 4 œ œœ 4 œ œœ œ œ œ 4 œ œ œ œ œ ˙ œ œj j3
œ œ˙ œ œ 64
3
A1
###
- rót ha - far - chá ha-gué - fen he - né - tzu ha - ri - mo -
j j 3 j3 5 4 64
& œ œ œ œ . Jœ œ œ 4 œ œ œ œ 4 œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ Jœ ˙ œ œ œœ ˙
3 3
A2
J
# 5 ˙. ˙
- rót ha - far - chá ha-gué - fen he - né - tzu ha - ri -
# 3 4 6
T1 V # ˙. ˙ 4 ˙. 4 4 w w w 4
###
T2 V ˙. ˙ 43 ˙ . 45 ˙ . ˙
44
w w w
64
B1
? ### ˙. ˙ 43 ˙ . 45 ˙ . ˙ 44 w w w 64
? ### 3 5 4 6
B2
˙. ˙ 4 ˙. 4 ˙. ˙ 4 w w w 4
- 11 -
Source: Moody, Ivan, Canticum Canticorum IV, (Vanderbeek & Imrie Ltd., 2010), 11.
67
Figure 14. Hymn of the Transfiguration (unmeasured)
Source: Moody, Ivan, Hymn of the Transfiguration, (Vanderbeek & Imrie Ltd., 1990), 5.
68
69
Source: Moody, Ivan, Hymn of the Transfiguration, (Vanderbeek & Vocal

para o Grupo Imrie Olisipo
Ltd., 1990), 5.
Figure 18. The Meeting in the Garden, m. 1-3

Ivan Moody
the meeting in the garden
Misterioso h =75
F , ,
T V ˙ b˙ ˙ ˙ ˙ ˙ w ˙ ˙ w ˙ ˙ ˙ b˙ ˙ ˙ ˙ ˙ w ˙ ˙ w
Def - te lá - ve - te phos ek tou a - ne - spé - rou pho - tós
? PW
ƒÂı-ÙÂ Î‹ - ‚Â - ÙÂ ˆ˘Ú ÂÍ ÙÔı · - ÌÂ -ÛππÂ - ÒÔı ˆ˘ - Ù¸Ú
Bar/B
Ah,
w ˙ œ œ œn œ œ œ ˙
,
˙
3
T V ˙ ˙ ˙. œ œ œ œ bœ œ œ ˙ ˙ œœœœœœ˙ W
,
ke dho - xá - sa - te Khri - stón ton a - na-stán - da ek ne - krón.
Í·È ‰Ô - Ê‹ - Ûα
α - ÙÂ Χ ÒÈ - ÛÙÔÌ ÙÔı ·-Ì·-ÛÙ‹v - Ù· ÂÍ ÌÂ - ÍÒ˘Ì.
? W
Bar/B
B
[Ah]
? Pœ dœ dœ œ dœ œ dœ
4
Source:
Bar œ (Vanderbeek & Imrie Ltd., 1996), 1.
Moody, Ivan, The Meeting in the Garden,
But Mary stood without at the sepulchre weeping: and as she wept, she stooped down, and looked into the sepulchre, and seeth
? dœ œ dœ œ œ dœ
6
Bar
two Angels in white sitting, the one at the head, and the other at the feet, where the body of Jesus had lain. And they say unto her:
8 F
w w w w W w ˙ w w W
,
& ∑ ∑
,
S1
70
F
Be-cause they have ta - ken a-way my Lord,
S2 & ∑ ∑ w bw ˙ b˙ ˙ ˙ w bw w ˙ w w bW
,
V ˙ ˙ ww ˙ ˙ œ œ œn œ œ œ ˙ ˙ . œ œ œ b œ œ œ ˙ ,
3
œ
˙ ˙ œ œ œn œ œ œ ˙ ˙ . œ œ œ œ b œ œ œ ˙ ˙ œœ œ œ œ œ ˙ W
T 14
T V ˙ke dho
˙ - xá stón ton œa - na-stán - ˙da œek œ œ œne œ ˙- krón.
W
,
- sa - te Khri -
Í·È ‰Ô - Ê‹ - Ûα
α - ÙÂ Χ ÒÈ - ÛÙÔÌ ÙÔı ·-Ì·-ÛÙ‹v - Ù· ÂÍ ÌÂ - ÍÒ˘Ì.
ke dho - xá - sa - te Khri - stón ton a - na - stán - da ek ne - krón.
? W
Bar/B
Bar/B
BB
[Ah]
[Ah]
P
?Pœ œdœ dœ œ dœ œ dœ œ dœ œ dœ œ dœ Uœ
4
? œ dœ
15
Bar
Bar
But Mary stood without at the sepulchre weeping: and as she wept, she stooped down, and looked into the sepulchre, and seeth
And when she had thus said, she turned herself back, and saw Jesus standing, and knew not that it was Jesus. Je - sus saith unto her:
? F dœ , w w w œWdœ œ œ dœ
6
˙ ˙ w
17
b˙ w
V ˙ two b˙ ˙ bw w ∑
Bar
T
Angels in white sitting, the one at the head, and the other at the feet, where the body of Jesus had lain. And they say unto her:
? œ Fdœ œ dœ˙
Uœ
,
Wo - man, why wee-pest thou? Whom see - kest thou?
∑ ∑
w w1. w w W w w w W
8
S1 & ∑ ∑
,
Bar
Source: Moody, Ivan, The Meeting in the Garden, (Vanderbeek & Imrie Ltd., 1996),
?
F
˙ w b˙ ˙ ˙ ˙ w ˙ œ œ w ∑ ta - ken a-way my Lord,,
She, supposing him to be the garde - ner, saith unto him:
˙ ˙ ˙ w w W F
Be-cause they have
B
& The ∑ ∑ w bw ˙ b˙ ˙ ˙ w bw w ˙ w w bW
,
Figure
S2 20.
Wo - Meeting
man, whyin the Garden,
wee-pestm. 20-21
thou? Whom see - kest thou?
F
,
& Fw ∑ ∑ w w w w W w W
w W w w w W w w w ˙ ˙ w w w w w ww ˙ ˙w ˙ W
Ms 20
&
,
,
S1
F
&F ∑ ∑
w b ˙ w ˙ w w wb w ww w W
b wW w wwb ˙ ˙w ˙ W
Sir, if thou have borne him hence, tell me where thou hast laid him and I will take him a - way.
A
& ˙ b ˙ ˙ ˙ w b w w w ˙ ˙ b W w b w
,
S2
P if thou
˙ w
VF ˙
Sir,
b ˙ w ˙ b ˙ ˙ b w w
have borne him hence,
∑
tell me where thou hast laid him and
∑
I will take him a - way.
& wWo -w man, Wwhy W w w w ˙ ˙ w w w

w weew- pest ˙ ˙thou? w w w ˙ ˙ W
T
F U
∑ borne him hence, , œtelldœ me whereœ thou hast laid him and
Ms
Bar
?FSir, if thou have I ∑ will take him a - way.
&Pw w W ˙ W Shewsaithwunto wthem: ˙ ˙ w w w

b ˙ ˙ ˙ w wb w ˙ ˙ œ
? Sir,˙ ˙if w thou
w w bw ˙ ˙ W
A
B ˙ borne him
have œ hence,
w tell me∑ where thou hast laid him and I ∑ will take him a - way.
Wo - man, why wee - pest thou?
Source:© Copyright
Moody, Ivan, 1996 Vanderbeek
The Meeting & Imrie(Vanderbeek
in the Garden, Ltd All rights reserved
& Imrie Ltd., for the 2.
1996), world & solar system
71
-4-
F
33
˙ ˙ ˙ ˙ ˙ ˙ W ˙ ˙ ˙ ˙
S1 & b˙ ˙ ∑ b˙ ˙
F˙ ˙ ˙ ˙ ˙ ˙ w w ˙ ˙ ˙ ˙
but go to my bre - thren, and say
S2 & ∑ b˙ ˙ ∑ ∑ ∑
F
but go to my bre - thren, and say
A & ∑ ∑ ˙ ˙ ˙ ˙ b˙ ˙ ˙ ˙ W ∑ ∑ ∑ ˙ ˙
F ˙ ˙ ˙ ˙ ˙ W
but go to my bre - thren, and
T V ∑ ˙ b˙ ˙ ∑
? F˙ ˙ ˙ w w
but go to my bre - thren,
B ∑ ∑ ˙ ˙ ˙ b˙ ˙ ∑ ∑
? F ˙ ˙ ˙ ˙ b˙ ˙ ˙ ˙ W
B ∑ ∑ ∑
37
˙ ˙ W f
˙ ˙ w ˙ ˙ w w
S1 & ∑ ∑
˙ ˙ w w f
˙ ˙ w ˙ ˙ w w
un - to them, I a - scend to my Fa - ther,
S2 & b˙ ˙ ∑ ∑ ∑
un - to them,
f I a - scend to my Fa - ther,
& ˙ ˙ ∑ ∑ ˙ ˙ w w
˙ b˙ ˙ ˙ W ˙ ˙ w
A
˙ ˙ ˙ ˙ b˙ ˙ ˙ W f
say un - to them, I a - scend to my Fa - ther,
T V ˙ ∑ ˙ ˙ w ˙ ˙ w w
f w w
˙ ˙ w ˙ ˙
and say un - to them, I a - scend to my Fa - ther,
? ∑ ˙ ˙ ˙ ˙ b˙ w ∑ ∑ ˙ ˙ w
B ˙
f
? ∑ ˙ ˙ ˙ ˙ b˙ ˙ ˙ ˙ ˙
∑ ˙ ˙ w w w
B
˙ w ˙ ˙
˙ ˙ w w W
,
Source:41Moody, Ivan, The Meeting in the Garden, (Vanderbeek &wImrie Ltd.,W1996), 4.
w w w w w w W W U
W
&
, andw
S1
w w W U
and to your Fa - ther, to my God, and your God.
& ˙ ˙ w w W w w W W W W
, and
S2
and to your Fa - ther, to my God, and your
U
God.
A & ˙ ˙ w w W w w w w w W W w w W W
, U
w w W W
and to your Fa - ther, and to my God, and your God.
V ˙ ˙ w w W w w w W W W
,
T
w W W U
w W w W
? ˙ ˙ w w w w W W
,
B
? ˙ ˙ w U
w W w w w w w W W W
B
W W
72
-3-
22 f w w W
S1 & ∑ ∑ ∑
f w #W
Rab - bo - ni!
S2 & ∑ ∑ ∑ w
f Rab
w W
- bo - ni!
Ms & ∑ ∑ ∑ w
P f Rab - bo - ni!
& ∑ w w W ∑ w
A
w W
P w
w W
Ma - ry. Rab - bo - ni!
T V ∑ ∑ ∑
P bw w W
Ma - ry.
Bar
? œ dœ œ dœ ∑
Je - sus saith unto her: Ma - ry. She turned herself, and saith unto him:
, ,
Source: Moody, Ivan, The Meeting in the Garden, (Vanderbeek & Imrie Ltd., 1996), 3.
26 F
T V ∑ ˙ b˙ ˙ ˙ ˙ ˙ w ˙ ˙ w ˙ ˙ ˙ b˙ ˙ ˙ ˙ ˙ w ˙ ˙ w
Figure 23. Passion Populare, m. 35-42
Def - te lá -
5 ve - te phos ek tou a - ne-spé - rou pho - tós
? dœ U U P
œ œ œ
Bar/B
W W
F
Incisivo
Bar
∑ œ3 œis toœsay, œMa - ster:œ Ahœ œ œ œ 3

4 œ Which
4 4
F Ma ce_i Ma-don - na stin o- raz-ziù - na
,
∑ 4 œ œ œ œw œ ˙ ˙œ œœ œœ œ nœœ œ œ3
4T V ˙ ˙ œ 4˙ ˙ . œ œ œ œ b œ œ œ ˙ ˙ œ œ œ œ œ œ ˙ W
29 3
,
Ma ce_i Ma-don - na stin o- raz-ziù - na
˙ Œ ˙ 4 B ?Bar/BW ∑ 3
ke dho - xá - sa - te Khri - stón ton a - na - stán - da ek ne - krón.
4 ∑ 4
[Ah]
44 ∑ ∑ 43
P ,
44 w& ww w w W 3 w ˙ ˙ w ˙ ˙ w w ˙ ˙ ˙ ˙ w
30
∑
4 , for I am not yet a - scen - ded to my Fa - ther,
A
PTouch
W w W ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ b˙ b˙ ˙
me not,
V ∑ ˙ w w
œj ˙ ˙. 44 ∑ 3
∑ me not, 4 for I am not yet a - scen - ded to my Fa - ther,
T
? œ dœ
Touch
Bar ∑ ∑
Je - sus saith unto her:
œ œ œ œ œ 3 œ œ œ œ 4 œ œ œœ 5
4 4 ‰ Jœ 4
ci - ni_en ì - che ma ti' ffur-tu - na Ma 'sti cci - lì - at -
œ œ œ œ œ 3 œ œ œ œ 4 ‰ Jœ œ œ œ œ 5
4 4 4 73
ci - ni_en ì - che ma ti' ffur-tu - na Ma 'sti cci - lì - at -
B ˙ ‰. œ œ ˙ . ˙. ˙. w. w w
& J ˙ ˙ Œ ˙. ˙ œ œ œj ˙ 44 ˙ . 44 ∑ 43 ∑ 43
114
Vla.
Vc.
& ‰ Jœ œ ˙ ˙ Œ ˙. ˙ œ œ œj ˙ ˙. 44 ∑ ∑ 43
2
Vc.
˙2
22
3 œ œ œ œ 4 œ œ œ œ 5 œ œ œ œ œ 3
37
V34 ‰œ Jœ œ œ 4 œ4 œ œœ œ 5 œ œ4 ‰œ Jœ œ 3 œ œ œ œ4 œ œ œ œ 44 ‰ œ œ œ œ œ 5
-
2- 4
˙2 2 4 ‰ œ œ œ œ œ 5J
37
T
V 4 ‰ J Ma ce cun-tàm 4 - œples - se to 4Pe-dì ‰ J œ œ
e
2 T Ce ci - ni_en4 ì - che ma 4 ffur-tu

ti' J - na 4Ma 'sti cci - lì - at -
-
2- ? 3 ‰Maœ Jœceœ œcun-tàm
œ -œ ples4 - se œ to Pe-dì
œ œ œ œCe ci5- ni_en
‰ œ ì -œche maœ œ ti'œffur-tu
J œ - na3 œ œ œ œ 4 ‰ Jœ œ œ œ œ 5
˙ 2 22
4 4 4 œ œ4 4 ‰ Jœ œ œ œ4 œ 5 4
Ma 'sti cci - lì - at -
o
?3 ‰ J œ œ 4 œ œ œ œ œ œ
5 ‰ J œ œ œ œ œ 3 œ œ
4 4 4 4 4 4Ma 'sti
B
B
Ma ce cun-tàm - ples - se to Pe-dì Ce ci - ni_en ì - che ma ti' ffur-tu - na cci - lì - at -
- Ma ce cun-tàm - ples - se to Pe-dì Ce ci - ni_en ì - che ma ti' ffur-tu - na Ma 'sti cci - lì - at -
22 2 .˙ . . 34 ˙4 . ˙ ˙
44 w44 w 54 ˙ . 45 ˙ ˙ ˙ ˙. ˙ 4 ˙5
o -
2 Vla.
Vla. BB4343 ˙ 43 4 & 4 4 & 45
2 22
2
,
4 œ œ œ ,œ 6
42
5 ∑ œ œ
4 ˙ Dolce 6 ˙ ˙ ˙ œ
œ4 œ 6 ˙ ˙ œ˙ ˙
42 Dolce
& 45 4 4 ˙
&4 ∑ p Ma4 ì - san œ˙ œ 4 ˙ ˙ 44 4 œ œ œ œ 64
An - 4
S
S
4 ˙ p Ma
, Pu mas sa - lù -
5 6ì - san 4
,œ 4 64Pu mas sa - lù
ge - lon ìu di can - to
&4 ∑ 4 œ œ 4 ˙ ˙ An ˙ - ge œ- lonœ ˙ ˙ di 4canœ - œ to œ

5 Ma4 ì˙- san œ Anœ - 64ge -˙ lon ˙ œ œ, ˙Pu mas˙ sa - lù 4 - œ œ œ œ 64
ìu -
p
A
&54 ∑ 4 ìu ˙
di can - to
4 ˙ pœ œ 6 4 6
A
V4 œ œ œ œ ˙ ˙ ˙ ˙ œ œ œ œ 4
T 4
p Ma ì - san
4ì - san An - ge œ- lon
œ ˙ ˙ di 4can - to
,4
œ˙ œ, 4 ˙œ œ ˙ œ œ 4 6 œ œ œ œ 64
Ma ìu Pu mas sa - lù -
5 4 œ6 ˙œ 64˙ ˙ ˙ ˙ œ œ˙ ˙
V54 œ œ œ œ œ œœ ˙œ ˙ 4 ˙ 4 œ˙ œ
?
ti na 'ncar-net - tì An - ge - lon ìu di can - to Pu mas sa - lù -
4 4 p Ma 4 4 4
T
˙. - tì - tì p Ma ,
B
? 45 ˙ œ œ ˙ . œ œ ˙ 44 ˙ œ œ 6 ˙ ˙ ˙ œ œ ˙ ˙ 44 œ œ œ œ 64
ti ti na na 'ncar-net
'ncar-net ì - san ì - An
san - ge An
- lon- ge ìu
- lon
di can - ìu
to di can - to sa - lù
Pu mas - Pu mas sa - lù -
4∑
& 45 44
p ∑Ma 6 ∑ 4 ∑ 64
B
Vla.
ti na 'ncar-net - tì 4ì - san An - ge - lon ìu di 4can - to Pu mas sa - lù -
˙ ˙.
Vla. & 45 44 ∑ 64 ∑ ∑ 44 ∑ 64
Source: Moody, Ivan, Passion Popolare, (Vanderbeek & Imrie Ltd., 2005), 5.
74
ce cun-tàm - ples - se to Pe-dì Ce ci - ni_en ì - che ma ti' ffur-tu - na Ma 'sti cci - lì - at -
44 w 54 ˙ . ˙ 34 ˙ . 44 ˙ ˙
& 45
œ œ 6 ˙ ˙
,
∑ 4 ˙ ˙ œ œ ˙ 4 œ œ œ œ 6
Dolce
4 4 ˙ 4 4
p Ma
4 ˙
,4
œ œ 64 ˙ 6
ì - san An - ge - lon ìu di can - to Pu mas sa - lù -
∑ 4 ˙ ˙ œ œ ˙ ˙ 4 œ œ œ œ 4
p Ma
4 ˙
ì - san An - ge - lon ìu di can - to
,4 Pu mas sa - lù -
œ œ ˙ 4 œ œ 64 ˙ ˙ ˙ œ œ ˙ ˙
6
4 œ œ œ œ 4
p Ma
œ œ ˙
'ncar-net - tì
44 ˙ œ œ 6 ˙
ì - san An - ge - lon
˙ ˙ œ œ ˙
ìu di can - to
˙ ,4 œ œ œ œ 6
Pu mas sa - lù -
4 4 4
'ncar-net - tì p Ma ì - san An - ge - lon ìu di can - to Pu mas sa - lù -
˙. 44 64 44 64
∑ ∑ ∑ ∑
6
198
, , & 45
œ œ œ 4 ˙
47 S
œ œ 4 ˙ ˙
& 64 ˙ ˙ 4 43 4 œ œ œ œ ˙ w œ œ œ œ
& 45
S
,3 , A
& 64 ˙ œ œ 44 ˙ 4 œ œ œ 44 ˙
tes - se ti' Mma - rì - a Ce_o ve- ron ì - sa' ttu Spir-dus Sàn - tu Pu 'is en-car -
˙ ˙ œ œ œ œ ˙ œ œ œ œ
w
V 45
A
6 ˙
tes - se ti' Mma - rì - a
,3 œ œ œ 4 ˙
Ce_o ve- ron ì - sa' ttu Spir-dus Sàn - tu
, Pu 'is en-car - T
V4 ˙ œ œ 44 ˙ ˙
4 4 œ œ œ œ ˙ w œ œ œ œ
? 45
T
,3 œ œ œ 4 ˙ , B
œ œ 44 ˙ œ œ œ œ œ œ
tes - se ti' Mma - rì - a Ce_o ve- ron ì - sa' ttu Spir-dus Sàn - tu Pu 'is en-car -
? 64 ˙ ˙ ˙
4 4 œ œ ˙ w
& 45
B
tes - se ti' Mma - rì - a Ce_o ve- ron ì - sa' ttu Spir-dus Sàn - tu Pu 'is en-car - Ob.
œ œ œ œ #œ
202
3
54
? ∑ ∑ ∑ 6 ∑ 4 ∑ &2
4 4
S
F
Bar.
Solo
F
& 23
Ge-suz-zu ca nti'
S & ˙ ˙ œ œ œ ˙
3
w 64 ∑ 44 ∑ ∑ A
F
3
net - tin es ti' cci-lì - a.
F &2
& ˙ 64 ∑ 44 ∑ ∑
Ob.
˙ œ œ œ ˙
3
w
A

F
V ˙ ˙ 64 ∑ 44 ∑ ∑
œ œ œ ˙ w
3 205
?4
T
Bar.
2
F
Solo
? ˙ ˙ œ œ3 œ ˙ 64 ∑ 44 ∑ ∑
w V 42
B
T
œœœ
˙ ? 42
Ob. & ∑ Ó œjw
64 75
∑ 44 ∑ ∑ B
f P ˙ w
@w 4
œ œ œ 4 ˙
B
? 64 ˙ ˙ œ œ 44 ˙ ˙
43 4
œ œ œ œ ˙ w œ œ œ œ
tes - se ti' Mma - rì - a Ce_o ve- ron ì - sa' ttu Spir-dus Sàn - tu Pu 'is en-car
54
œ œ œ œ #œ
? ∑ ∑ ∑ 6 ∑ 4 ∑
Bar.
Solo 4 4
F Ge-suz-zu ca nti
S & ˙ ˙ œ œ œ ˙
3
w 64 ∑ 44 ∑ ∑
F
& ˙ 64 ∑ 44 ∑ ∑
˙ œ œ œ ˙
3
w
A

F
V ˙ ˙ 64 ∑ 44 ∑ ∑
œ œ œ ˙ w
3
T
F
? ˙ ˙ œ œ3 œ ˙ 64 ∑ 44 ∑ ∑
B
w
œœœ
˙ 64 44
Ob. & ∑ Ó œjw ∑ ∑ ∑
f P ˙ w
@
∑ ∑ ∑ 6 w @ 4 ∑
Vln. & 4 4
f
∑ ∑ ∑ 6 w@ ˙ 4 w ∑
Vla. & 4 @ 4
f
& ∑ ∑ ∑ 64 Œ 4
œ œ b Jœ œ # œ œ œ œ . œj 4 # ˙ œœœ
˙ w
Vc.
f
Source: Moody, Ivan, Passion Popolare, (Vanderbeek & Imrie Ltd., 2005), 5-6.
76
Vln. & 2 4 2
π
B 42 45 ˙ 42 ˙
w. W ˙. W ˙ w
Vla.
f π
139
? 4 5 4 w w
Vc. w. 2 W 4 ˙ ˙. 2 W S solo &
f Populare, m. 132-135
Figure 25. Passion π
A &
p˙
42 œ ˙ œ ˙
132 Desolato
˙
& ∑ 23 ∑ œ œ w Ó d
V
S solo
p
T
Chian - ci, chian - ci Ma - ri - a,
∑ 3 ∑ 4 ∑ ∑.
A & 2 2 ˙
p ˙ œ ˙ œ ˙ &
23 42 ∑ . œ œ
Chian -
∑ ∑
Ob.
T V
&
Chian - ci, chian - ci Ma -
œ ˙ œ ˙ œ ˙ œ ˙
Œ 23 œ ˙ ˙. 42 Ó œ ˙ ˙.
Vln.
Ob. & Œ Ó
p B
W w. 42 W W
Vla.
Vln. & 23 ?
.
Vc.
Vla. B W 23 w 42 W W
W w. W W
? 3 4
Vc. 2 2
77
Vla. B W W
W W W
Vc.
?
Œ œ
π
˙
F
œ
139
œ œ œ œ ˙ œ ˙ œ ˙.
S solo & Œ œ Ó ˙ œ œ œ. Jœ
Cun- nan- na_un es - ti no, chi chiù nun tor - na, e' nca - sa di Pi -
& œ ˙. œ œ œ œ œ Œ œ
œ œ œ œ ˙
3 3
˙ œ œ œ œ ˙.
A
Ó œ œ ˙
˙ œ œ3 œ œ Œ œ œ œ œ ˙ œ œ ˙.
don - na, chi_a-vi lu fig - ghiu so a la cun-nan - na. Cun-nan-na_un es - ti no,
V ˙.
p
T
˙ œ ˙.
so a la cun-nan - na. Cun- nan- na_un es - ti no, chi chiù nun tor - na,
œ
15
œ œ œ œ œw . œ œ œ ˙ œ j
& Œw . ˙. w Ó .
3 wœ . œ œ œ œ7
154
∑œ œ 7
Chian - Ob.
Vln. & F 4 2 4
W. W W
& w
& œ œ. ˙ 74 œ œ ˙ 23 œ . Jœ ˙ 74
ci Ma -
∑ œ œ œj˙ ˙
œbœ œ œ œ œ J ˙
Vln.
Ó
Vla.
B œW W W
j˙ f
b˙ ‰ b œj 7 3 7
Vla.
& œ w. 4 ˙. w 2 w. 4
˙.
Vc.
W W FW
Vc.
?
∑ ˙. w 52 w
. w 42 W W
158
7
&4
π
Vln.
P
∑ œ . œ #œ
B 7
Vla. & 4 # œ œ ˙
˙ 5
2 ‰ œ bImrie
œ œj# œLtd., ‰ 4213.# ˙
. # ˙ 2005), ‰ œ . ˙ #˙ œ Œ ˙ ˙. Œ
bœ œ œ œ
Source: Moody, Ivan, Passion Popolare, (Vanderbeek &
F P π
Vc. & 4
7 25 w . 42
˙ . Populare,
Figure 27. Passion w m. 162-166 w W W
P π
42 F ƒ>
3P˙ 4 Œ œ Jœ œ . ˙ œ#œ œ 3
162
Jœ # œ . ˙ 7
Dolente
˙ & ∑ 2 2 2 b˙ ˙ #˙ 4
S solo
œ œ ˙ ˙
œ . œ #œ 3 œ
si
42 P
3
42 Œ ˙ . j
E fi - gliu ca ti par - ti - - sti o co - mu gi - gliu,
˙
& ∑ 23 Œ ˙ #œ ˙ Jœ 2 bœ œ #œ . #˙ œœœ ˙
74
3
˙
Ob.
F P
4
˙ 2 W 3 ∑ 4 ∑ 3 ∑ ∑ 7
Vla. & 2
2 2 4
42
˙ 3 ∑ 4 ∑ 3 ∑ ∑ 7
Vc. & W 2 2 2 4
˙ 42
P
167
& 74 Œ œ œ œ ˙ œ. ‰ 25 b œ œ Œ # œ œ ˙ ˙ Œ b b 23 ∑ 10
4
3
S solo
3 f
2 Œ œ 10
o - ra ti tro - vu tut - tu fra - gil - la - tu...
Bar. ? 74 ∑ 25 ∑ 3
bb 2 ∑ 4
Solo
j Œ
23
Ex -
7 5 bb 3 10
&4 Ó œ œ. œ œ 2 b˙ Jœ # œ œ œ ˙ œ œ Ó 2 ∑ 4
3
Ob.
23 & 74 ∑ 25 ∑ b b 23 10
4
.
Fw
Vln.
78
3
2 Vla. & 74 ∑ 25 ∑ B bb 23 w . 10
4
F
p˙
∑ n n 22 ∑ ∑ ∑ Ó ˙ #˙ 45
#˙ œ œ œnœ
p
60
n n 22
?
∑ ∑ ∑ ∑ Ó 45
Ci - sò Cris -
˙ ˙ ˙ Bar.
Solo
p Ci˙ l'uor - tu fu
nn 2 #˙ 45
- sò Cris -
∑ 2 ∑ ∑ ∑ Ó ˙ ∑
S &
2 p Ci˙ ˙ ˙
45
- sò Cris -
∑ nn 2 ∑ ∑ ∑ Ó
& ∑
œ.
A
œ. œ. 5
Ci - sò Cris -
œ œ Jœ œ . Ó n n 22 ∑ ∑ ∑ Ó Œ œœ # œ.
3
4
20
p V ∑
˙ 11# œ œ ˙ œf w w
œ # œ∑. œ œ
T
#œ œ . ˙
212
n 2 3 œ ˙ œ #œ 9 œ ˙ J5 Œ Œ 42
&4 J 2 ŒŒ 4
32
n 2 bœœ 4 ? ∑ V
S solo
P ? 11 , f B T
23 ˙ œ w˙ 94 w# ˙ œ œ œ. ˙
chin tres ciaos l'in - cla - ve - sin.
2 ˙. 4
n Solo ˙# œ # œ ˙ ˙
œ# œ œ wj ˙ J5 œ œ 42
&n 2 ˙ œ œ . 4- ?
Bar.
42 &
B
P ? 11 bœ œ
w
má - me-non, é - le-ghen: "I mi The - ós i - pírg khe sar - ko -
Vc. w 4
32 ˙ ww 94 w
Vc.
˙. #œW ˙ œ œ œ œ w. w ˙.
nn 2
2 F
bœœ
w 5.
4 Ob. &
P215
&
Bar. ? 4
˙ œ #œ œ œ œ œ œ œ œ 5 #˙ ‰ Jœ # œ œ 42 # œ œ # œ œ œ œ œ œ œ . Jœ ˙ 11 Vln.
2 4 4
˙ ˙ #œ œ œ œ œ
Solo
œ œ 22 ˙Vc. ?œ42 œ 74 5 Œ œ œ œ B
45
3 66
?
3
∑
3 3
Source: Moody, Ivan, Passion
o sin Popolare,
i - mín (Vanderbeek
stav - ro - &thís,
Imrie Ltd.,ouk
2005),
an 18.
∑
thís o 3í - - - li- os
42 114
Vla.
4
Bar.
vli - oW - me - no ˙ Ca˙ . ìb - bi - e 'mbèn-non-ta

W 'ss_an - Solo
&
mma cci - sò
œ œ 22 ˙ œ œ ˙ ˙ ∑ 7 Œ œ - œ- œ œ œ œ œ œ 45
Figure 29. Passion Populare, m. 218-222 Vc.
4 ∑
3 3
ƒ # œ œ œ- -̇ # œ ˙ #˙ œ œ ˙ #˙
S &
œ ˙ œ 2 ˙ Ó œ
218
?vli114- o# ˙ - œme˙ - no˙ 3 2

3
mma cci - sò
2 2 3
Ca ìb - bi - e 'mbèn-non-ta 'ss_an -
Œ 2
œ œ 22 ˙ œ œtas ak˙- tí - ˙nas ∑ 74 ˙ 5
Bar.
œ œi ghi
œ œ siœ- o -œmé œ- ni 4 e- ki-mé - ne -A & ∑
3
Solo 3
37
2 f ˙ #Ca
œ œ #œ 3
a - pé - kri - psen, óu-dhe
vli11- o - ∑ œ ìb -œbi - e˙ 'mbèn-non-ta

3 ˙ œ ˙ #˙ œ œ ˙ 2 V4
mma cci - sòS
&4 me - no
2 2 3 'ss_an -
2 T
œ #œ 2 #˙ œ œ #˙ ˙ ∑ 7e pro˙ nois œ œ tot œ 45 su

œ œ- tuœ œpa-ghe-sit
2 22 f ˙4 œ œ ∑? 3
3
V
&vli114- o 3 T2
Cri - a - do -
A ∑ œ ìb -œbi - e˙ 'mbèn-non-ta
2 ˙ œ'ss_an
œ ˙ - ˙ œ œ ˙ 2 B 4
œ œœ
mma cci - sò - me - no Ca
œ œ œ œ # œ 2 Vla. œ ˙ ?
11 œ ˙ w74 Œ œ œw œ # œ œ œ23 wœ. œ œ ∑ 3
e pro nois tot - tu pa-ghe-sit su Cri - a - do -
2 œ œ& 4 BÓ 2
45 w .
B2
Œ∑ 2 2 B4
3 3 3
F
Vla.
˙ wVc. ? 11 w w 2 3 2
3 3
4 2 w w 2 w. w. Ob. & # œ œ œ œ b Jœ n
2
3
2 ˙. W 7 5
2 4 ∑ 4 42
˙ Source: Moody,wIvan, Passion Popolare, (Vanderbeek & Imrie Ltd., 2005), 20. 5
22 wBar. ? 22 w w &4
223
∑ ∑ 74 ∑ ∑ ∑ ∑ 45∑ ∑ & ∑
S
Vla.
5
Solo
˙˙ wwS w ww ww ∑ &4
to.
2 ∑ ∑ 79 ∑ ∑ 54∑ ∑
A
22 &2 74 ∑
& ∑ 5
V4
Vc.
2
re.
&2 w ∑ ∑ ∑ ∑ ∑ ∑ ∑
T
A
Commisioned by Kamerkoor Oktoich
Ivan Moody
Figure 30. Angel Vopiyashe, m. 1-2 ANGEL VOPIYASHE

Adagio, misterioso q = 66 p [solo]
& b 42 ✓ ✓ ˙ ˙ œ œ œ œ ˙ ˙ œ œ 23
poco
S ˙
An - gel vo - pi - ya - she Bla - go -
4 3
A &b 2 ✓ ✓ ✓ ✓ 2
p
T b 4
V 2 ˙W ˙ œ œ œ œ wW w wW w ˙W w ˙ 23
p
*An - gel vo - pi - ya - she Ah.
? b 42 ˙ ˙ w w ˙ w 23
B
W œ œ œ œ wW W
w
W
˙
*An - gel vo - pi - ya - she Ah.
P
Source: Moody, Ivan, Angel Vopiyashe, (Vanderbeek & Imrie Ltd., 2011), 2.
F
[tutti]
& b 23 œ œ ˙ 42 W 44 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
5
˙
P
- dat - - - ney: Chi - sta -
& b 23 ✓ 42 ✓ 44
w ww
Chi - sta -
V b 23 ˙w . w 42 ˙
w ˙ ww 44 ✓ ✓
? b 23 ˙ w 42 ww w 44 ✓ ✓
w.
œ F
œ œ œ œ œ œ œ œ œ œ
& b œ œœ œ œœ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ww
œ œ œ œ œ œ œ œ
9
F
- ya De - - - vo, ra - - -
& b ww ww ww ww
F
- ya De - - - vo, ra - - -
Vb ✓ ✓ ✓ ww
F
ra - - -
?b ✓ ✓ ✓ œœ œœ œœ œœ œœ œœ œœ œœ
80 ra - - -
* Note: Tenor 2 and Bass 2 should sing on "ah" during bars 1-6.
f œ œ œ œ œ œ œ œ
ra - - -
✓ ✓ œ œ œ œ œ œ œ œ
ra - - -
Figure 31. Angel Vopiyashe, m. 23-26
ww P
4 3 4
2 WW 2 ww .. 2
P
sya, Ah.
ww 42 23 ww .. 42
W
F
sya, Ah.
w 4 ˙
[solo]
˙. œ œ œ 3 ˙ ˙ œ œ 4
w 2 2 2
PW
42 W ww ..
sya, Tvoy Syn vos - kre - se tri -
w
23
42
w
sya, Ah.
.
& b 42 W 25 ww .
ww 62
25
44
25 rit. . . . . . . . . . . . . . . . a tempo
W ✓ ✓
-3-
& b 42 W 25 w .
62
25
✓ ✓ 44
W w
p [tutti]
˙. œ œ œ ˙ ˙. œ œ œ w 62 Ó ˙ œ œ ˙ ˙
V b 42 25 25 ˙w ˙ œ˙ œ œ ww
˙˙ 44
Ó
Ó p
dne - ven ot gro - ba, i mert - vy - ya vozd - vig - nu - vy;
? b 42 .
25 ww .
ww 62 ˙˙ œœ œœ ˙˙ ˙˙
25 ˙w ˙ ˙˙
✓ ˙˙ ww 44
Ó
i mert - vy - ya vozd - vig - nu - vy;
Source: Moody, Ivan, Angel Vopiyashe, (Vanderbeek & Imrie Ltd., 2011), 3-4.
F
& b 44 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
29
F
lyu - - - di - - - e, ve - -
4
&b 4 w ww ww ww
lyu - - - di - - - e, ve - -
V b 44 ✓ ✓ ✓ ✓
? b 44 ✓ ✓ ✓ ✓
81
33
Figure 32. Angel Vopiyashe, m. 27-28
ww 6 5 4
............. a tempo
2 ✓ 2 ✓ 4
62 ✓ 25 ✓ 44
w
p [tutti]
œœœw 6 Ó ˙ œ œ˙ ˙ 5 4
2 Ó ˙˙ 2 ˙w ˙ œ˙ œ œ ww 4
Óp
- ba, i mert - vy - ya vozd - vig - nu - vy;
ww 62 ˙˙ œœ œœ ˙˙ ˙˙ ˙˙ 25 ˙w ˙ ˙˙ ww 44
Ó
i mert - vy - ya vozd - vig - nu - vy;
œœ œœ œœ œœ œœ œœ Source:
œœ œœ Moody,
œœ œœIvan, œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœ Angel Vopiyashe, (Vanderbeek & Imrie Ltd., 2011), 4.
i - - Figure- 33. Angel

e, Vopiyashe, m. 37-41 ve - -
F œ ˙˙ œœ œœ
ww & b 24w
w 44 ww✓ œ
37
✓ Ó Œ
i - - - e, ve - -
Ó Œ F Sve - ti - sya, sve -
✓ & b 24 ✓ ✓ 44 ✓ ✓ Ó Œ œœ œ˙ œ œ œ œœ œœ
Œ p F
Sve - ti - sya, sve -
✓ V b 24 œœ 4 œ
✓ 4 ˙œ œ œ œ œ œœ
✓ ˙œ œ œ œ ˙˙ ˙w œ œ
Œ
p F
Sve - ti - sya, sve - ti - sya,
? b 24 Œ œœ 44 ˙ œœ œœ ˙˙ ˙˙ ˙˙ œœ œœ
˙
ww ww 24
˙ ˙˙ fœ œ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œ œœ
& b- ˙ œ œ œœ- œœ sya.
41
- - te - - œ œ œ œ œ
ww- 24
ww
- ti - sya, no - - vy I - - -
f
- - & b - œ˙ œte œ œ- ˙˙ - ww - sya. ww œœ œœ œœ œœ œœ œœ œœ œœ
ww - w- 24
- ti sya,
f
no -
w - vy I - - -
V b ww w ww ww
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ noœœ œœ - œœ w-
- - - te - - - sya.
2 f
4
- vy I - - -
? w ✓w ✓ ww
b w
- - - te - - - sya. 82 I - - -
p F
? 2 Œ œœ 4 ˙ œœ œœ ˙˙ ˙˙ ˙˙ œœ œœ
b 4 4 ˙
˙ ˙˙ fœ œ
œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
&b ˙
41
- ti - sya, no - - - vy I - - -
f
& b œ˙ œ œ œ ˙˙ ww ww œœ œœ œœ œœ œœ œœ œœ œœ
- ti
f
- sya, no - - - vy I - - -
V b ww w ww ww
f
no - - - vy I - - -
?b w ✓ ✓ ww
w
I - - -
45
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ww ww
& b
-e - - - ru - - - sa - - - li - - -
˙˙
& b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ww ˙˙
-e - - - ru - - - sa - - - li - - -
ww œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
V b ww œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
-e - - - ru - - - sa - - - li - - -
? w
b ww w œw œ œ œ œ œ œ œ œw œ œ œ œ œ œ œ
-e - - - ru - - - sa - - - li - - -
-5-
83
p
Sve - ti ?- b 24 sya,
Œ sve
œœ
- 44ti ˙ - sya,
œœ œœ F ˙˙ ˙˙ ˙˙ œœ œœ
œœ 44 ˙
˙
œœ Sve
œœ ˙˙
- ˙ ti -
˙˙ sya, ˙
sve -˙ ti -
œœsya, œœ
˙˙ ˙˙ fœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œœ œœ œœ
4134. Angel Vopiyashe, m. 44-46
f œ&œb
Figure
˙˙ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
- ti - sya, no - - - vy I - - -
vyf
f &b œ œ œ œ ˙ œœ œœ œ œœ œœ œœ œ œœ
- sya, no - - - I - - -
ww w œ œ
œ œ ˙ ˙
ww
˙
ww œœ œœw œœ œœ œœ œœ œœ œœ
˙ - ti
f
- sya, no - - - vy I - - -
f V b ww w w-w ww
- sya, no - - - vy I - -
w ww ww vy
f
no - - - I - - -
? ✓ ✓ ww
b ww f
no - - - vy I - - -
✓ ✓ ww
I - - -
I - - -
œœ œœ œ œœ œœ œœ œ œ œœ œœ œœ œœ œœ œœ œœ œœ ww ww
œ œ wwœ
45
œ œ b
œœ œœ œ œœ œœ œœ &œ œœ œœ œœ œœ œœ œœ œœ ww
-e - - - ru - - - sa - - - li - - -
- -
&œ b œœ œœ œœ œ œœ œœ œœ œœ
- ru - - - sa
œ œœ œœ œœ œœ œœ œœ œœ ˙œœ ww
- - - li - - -
˙˙ ˙˙
œœ œœ œœ œœ œœ œœ œ œœ- e œœ œœ- œ œœ - œœ œœ wwœ ˙ ˙˙
- ru - - - sa - - - li - - -
Vw b ww w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
- - - ru - - - sa - - - li - - -
œ œ wœ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
w -e - -
œ
- œruœ œ-
œ œ -œ œ œ- œ saœ œ- œ -œ œ - li - - -
? w w- œw œ œ œ œ œ œ œ œw œ œ œ œ œ œ œ
wb w w
- - - ru - - - sa - - li - - -
w -e œw œ œ œ œ œ œ œ œw œ saœ œ- œ œ -œ œ - li -
- - - ru - - - - -
- - - ru - - - sa - - - li - - -
-5-
-5-
84
? ˙ ˙
b ˙˙ ˙˙ ˙ ˙ œw œ œ œ œ œ œ œ œw œ œ œ œ œ œ œ
ve - se - li - sya, Si - - - o - - -
ww , Figure 35. Angel Vopiyashe, m. 66-68 p

4 6 Ó 4
&b 2 ✓ ✓ 2 ˙ w w 2
, ◆
- ne;
p
kra - suy - sya,
42 62 42
& b ww ✓
w ˙ ˙ ˙˙ ˙˙ ww ww
, ◆ p
- ne; Chi - sta - ya, kra - suy - sya,
42 w 62 ˙˙ 42
V b ww ww ww ˙˙ ˙˙ ˙˙ ww ww
- ne;
, p-
Ty zhe, Chi - sta - ya, kra suy - sya,
?b w 42 ✓ ✓ 62 Ó ˙ w w 42
w
- ne; kra - suy - sya,
P F f
w
& 42 ˙˙
b ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ww ˙ ˙ ˙ ˙
˙˙ ˙˙
P F
Bo - go - ro - dit - se, o vo - sta - ni - i
& 42 ww
b ww ww ww ww ww WW
P
Bo - go - ro - dit - se, Ah.
F
V 42 ww
b ww ww ww ww
ww WW
P F ww ww
Bo - go - ro - dit - se, Ah.
? b 42 w w ww ✓ ✓
Bo - go - ro - dit - se,
-7-
85
Bibliography
Adkins, Imogen. Review of Modernism and Orthodox Spirituality in Contemporary Music, by

Ivan Moody. Reviews in Religion and Theology 22, no. 4 (09/01/2015): 355-57.
Aletna, James. “Mystical Light from Arctic Climes: An Interview with Fr. Ivan Moody,
Composer, Conductor, Musicologist, Priest.” Fanfare, 03/01/2014.
Chater, James. "Moody, Ivan." Grove Music Online. Oxford Music Online. Oxford University
Press.
Drillock, David. “Orthodox Church.” Grove Music Online. Oxford Music Online. Oxford
University Press.
Gay, Peter. Modernism: The Lure of Heresy from Baudelaire to Beckett and Beyond. London:
Heinemann, 2007.
Grimes, Ronald. Review of Arctic Light: Finnish Orthodox Music, Ivan Moody, Conductor,
Cappella Romana Ensemble. Fanfare, 03/01/2014.
Hillier, Paul. Arvo Pärt. New York: Oxford University Press, 1997.
Moody, Ivan. “Assuming Identities.” Early Music 41, no. 1 (02/01/2013): 49-51.
Moody, Ivan. Composer website. (http://www.ivanmoody.co.uk).
Moody, Ivan (Composer), interviewed by Kevin L. Coker at Cascais, Portugal, June 13, 15, 17,
2017.
Moody, Ivan. Modernism and Orthodox Spirituality in Contemporary Music. Estonia:

International Society for Orthodox Church Music and the Serbian Science Academy,
2014.
Moody, Ivan. “Music as a Sacred Art.” Contemporary Music Review 12, (1995): 23-34.
Moody, Ivan “Portfolio of Compositions” doctoral thesis, University of York, 2008.
Moody, Ivan. “Tavener, John.” Grove Music Online. Oxford Music Online. Oxford University
Press.
Moody, Ivan. “Integration and disintegration: Serbian Monophony in a polyphonic context.”

Muzikologija 11 (01/01/2011): 147-158.
Moody, Ivan. “'Mensagens': Portuguese Music in the 20th Century.” Tempo no. 198 (Oct., 1996):
2-10.
86
Moody, Ivan. “The Mind and the Heart: Mysticism and Music in the Experience of
Contemporary Eastern Orthodox Composers.” Contemporary Music Review 14 (20 Aug
2009): 65-79. Accessed February 20, 2017. http://dx.doi.org/
10.1080/07494469600640291.
Moody, Ivan. “Portuguese 'mannerism': A Case for an Aesthetic Inquisition.” Early Music 23,
no. 3 (Aut., 1995): 450-58.
Moody, Ivan. “The Seraphim Above: Some Perspectives on the Theology of Orthodox Church
Music.” Religions 6 (2 April 2015): 350-64. hit;://www.mdpi.com/journal/religions.
Moody, Ivan. “the Space of the Soul’: An Interview with Sofia Gubaidulina.” Tempo 66 (Jan
2012): 31-35.
Phillips, Peter. Review of Modernism and Orthodox Spirituality in Contemporary Music, by Ivan
Moody. The Musical Times(Winter 2015): 106-107.
Stravinsky, Igor. Poetics of Music in the Form of Six Lessons. Cambridge, MA: Harvard
University Press, 1970.
Tavener, John. The Music of Silence. New York: Faber and Faber, 1999.
Winterson, Jeanette. Art Objects: Essays On Ecstasy and Effrontery. London: Jonathan Cape,
1997.
87
Appendix I:
Prepared interview questions for Fr Ivan Moody
Interview Session 1: Biographical
What would you like to share concerning your childhood and life prior to your collegiate study?
What was the role of music in your home while you were growing up?
Did you grow up singing?
Describe the most memorable aspects of your early musical experiences and education.
Is there anyone else in your family that pursued a career in music?
Was your family supportive of your musical endeavors?
At what age did you begin composing?
What was your first composition?
When did you know you had a gift for composing?
What were some of your early musical influences? How have they influenced your work?
Tell me about your college education experience.
During your study, were there any events, or circumstances there that played a key role your
development as a composer?
During your study in London, you formed your own chamber choir to perform Medieval and
Renaissance repertoire as well as your own music. Choir Can you describe this process? How
did it impact your musical development?
What types of memorable musical influences or experiences did you have during your collegiate
that shaped your early professional career?
Who was the teacher that has had the most impact on your choral music?
Describe your residency at the University of Joensuu. How did this opportunity develop?
How would you describe your compositional style?
What pieces or genres do you consider to be most important to the choral repertoire?
88
Aside from your teachers, who have been your compositional inspirations?
What elements of your compositional style or technique did you learn from Brian Dennis, Sir
John Tavener, and William Brooks?
In your interview with Altena, you said that Tavener was, “the only composer in Britain at that
point with whom I thought I could learn to shape my own musical voice.” Can you expound on
this?
In what ways was your time studying with Tavener a success? Are there any aspects in which
you struggled?
In your interview with Altena, you discuss the impact of Stravinsky’s Symphony of Psalms and
how the final movement presents a transformational moment you have always sought to reach.
What did you mean by this?
Your newest composition, Psalm Antiphon utilizes the same forces as Stravinsky’s Symphony of
Psalms. To what extent are there intentional similarities?
Which compositional schools of thought have had the most impact on your choral works?
Renaissance/Tavener
What would be your desert island list of your own compositions and/or compositions of other
composers?
Which composers do you most admire? (Have you met them? If so, please tell me about that
experience.)
What languages do you speak?
When and how did you come to learn each of these?
Have you studied the Old Slavonic language of the Orthodox Church? If so, when/where?
Is there anything that you wish there was more of in choral music today?
When did you start using Vanderbeek & Imrie Ltd as your publishing company?
Interview Session 2: Philosophy on music and its role in the Orthodox Church
To which religion was your affiliation prior to your conversion to the Orthodoxy?
At what age did you convert to the Orthodox Church?
89
What drew you to the Orthodox Church?
Prior to becoming ordained, what positions or affiliations did you have within the Orthodox
Church?
Describe the circumstances that led to you becoming ordained.
Describe some aspects and characteristics of music in the Orthodox Church.
How did you first become involved with composing liturgical music?
How has writing for the Orthodox Church impacted your compositions?
How does traditional Orthodox singing contrast with Finish Orthodox singing?
How have your roles at St John the Russian influenced your composing?
A great number of your choral works have utilized liturgy from the Russian or Greek Orthodox
Church. Could you speak a bit about why you continue to return to liturgical sources for your
music?
Is there a spiritual connection to your composition and/or compositional process?
What is the relationship between icons and music? In your opinion, can music be an icon?
What motivates you to continue to compose liturgical music?
How has your background as cantor impacted your choral compositions?
Do you make any theological statements through your compositions?
Do you believe that one’s faith or lack of faith influences the writing of sacred choral
compositions in any way?
Is there one set of Orthodox chant that appear in your music more than others?
When composing a new piece, do you consider the impact it may have on the performer and
listener?
Do you ever use symbolism in your works? If so, how?
Your interview with Sofia Gubaidulina concerning mysticism within her writing was incredibly
insightful. I was hoping you might be willing to elaborate on some of your own thoughts on
your own works. How do you view the role of modernism and its link to the human spirit?
90
You mention in the same interview that “when I am asked for liturgical music, I write simply
what is necessary, and when I am working as an ‘artist’, I write in a different way.” Can you
further explain this statement?
What factors influenced your decision to publish your book, Modernism and Orthodox
Spirituality in Contemporary Music? Great answer to this.
In your book, you investigate the intersection of musical modernism and the spirituality of the
Orthodox Church through the music of such composers as John Tavener and Arvo Pärt;
however, you do not mention any of your own compositions. Why is this?
You state that you selected Pärt and Tavener because “they came from essentially Western
milieux (background) and made conscious choices to become members of the Orthodox
Church…”(p.11) Do you feel any connection to these two due to your own personal
background?
One of your teachers, John Tavener, stated that “sacred art has gone downhill since the Middle
Ages.” Do you agree with this sentiment?
What are your thoughts on the term “holy minimalism?”
Could you describe how you balance time to compose and travel to conduct and clinic while
serving as a reverend of St John the Russian in Estoril, Portugal?
What are ways you blend multiple languages into your services at St John the Russian? How
does this relate to the liturgical music?
What changes have you noticed in church music over your lifetime?
What are things that I need to know for Sunday’s service?
Compositional influences and practices
Describe your creative process when writing choral music?
Do you select a text prior to discovering the melody or after?
In your compositions, what is the relationship between the music and text?
How do you begin setting your texts to music? Do you have any instances where you alter the
text to better fit the vocal line?
Is there anything you look for specifically in texts prior to setting them to music?
Do you find yourself returning to a specific poet to use for the text for your music?
91
Is there a particular language with which you prefer working?
Do you compose at the piano or with the using some other method?
Is there an extra-musical thing that you return to for inspiration?
How did you learn to notate your scores?
Do you have a specific location where you prefer to write?
You have lived in a variety of locations throughout Europe. Do you find your setting, where you
live, to influence your writing?
You have an extensive catalogue of instrumental works, yet you still have over 100 works for
choruses of various voicings with diverse accompaniments. What inspires you to continue to
return to the choral medium?
What features of music or composition are most important to you?
What is it that you strive to create in your choral works?
What are the most challenging and enjoyable aspects to your creative process?
Can you provide some insight on your approach for engaging and writing for the voice?
What do you think is the most important thing for a composer to consider when writing for
voices as opposed to instruments?
Do you find it helpful when you’re beginning a composition to have a particular artist or
ensemble in mind?
Do you have a time of the year (or season) in which you are most productive?
Do you schedule time to work on a composition each day over time, or do you work extensively
over the course of a few days?
What is the timeframe it takes for you to complete a work?
Several of your works are set for “non-traditional” voicings. Please talk about the differences in
writing for various voice-part combinations.
Have you written a piece that you felt was unsuccessful? Would you be willing to share about
this experience? What did you learn?
Was there a certain piece that was a struggle to complete?
92
Of all the pieces you’ve written, which one is your favorite, and why?
You have held many conducting positions throughout your career Kastalsky Chamber Choir,
Cappella Romana, and the Orthodox Chamber Choir at the University of Eastern Finland. When
did you begin conducting?
How have your relationships with these ensembles developed over your career?
You also have developed relationships with professional ensembles such as The Hilliard
Ensemble, the BBC Singers, Trio Mediaeval, and Seattle Pro Musica. Is there anything you
would like to share about collaborations with these ensembles?
How does it feel to hear your music performed for the first time?
Do you ever change aspects of one of your pieces while you are in front of a choir?
Do you prefer to conduct your own music or have someone else conduct it?
Can you speak to the specific tone quality that you prefer when conducting your own works?
You are also an accomplished conductor. In what ways has your career as a composer prepared
you for conducting?
What areas of study are important in relation to performance practice?
Do you have any advice for conductors seeking to program your music?
What insights can you offer about conducting and interpreting your music?
What role, does the commissioning process currently play in your career?
What aspects of a commission are discussed in advance?
Have you ever been commissioned to set a text that does not appeal to you? If so, how did you
handle this situation?
How do you view the relationship between the composers, conductor, and ensemble? Second
half really nice.
What are your current compositional projects? Are there any specific genres or works you want
to write in the future?
Your life is marked by many successes and achievements in various fields. With all of your
success, what continues to inspire and motivate you?
93
Do you have a favorite work of another composer?
Is there any advice you have for young composers and conductors?
You have interviewed other composers and have been interviewed several times throughout your
lifetime. Are there any important aspects I have missed during this process that you feel should
be included or may be of interest?
94

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Time suspended: The crossroads of Ancient Orthodox Liturgical Music with English

A document submitted to the

in partial fulfillment of the

DOCTOR OF MUSICAL ARTS

in the Ensembles and Conducting Division

B.M.E., Belmont University, 2004

M.M., Florida State University, 2009

Committee Chair: Dr. L. Brett Scott, D.M.A.

internationally-known composer Fr Ivan Moody. The biography will focus on Moody’s

compositional output. A brief discussion on Moody’s theological writings on mystical music is

annotated catalogue of Moody’s extensive choral output. The catalogue is organized

Chapter 1 A musical biography of Ivan Moody 1

Chapter 2 Theological convention and its implication on Moody’s 9

Chapter 3 Moody’s compositional influences and practices 15

Canticum Canticorum I, II, III, and IV 17

Hymn of the Transfiguration 23

The Meeting in the Garden 25

Chapter 4 An annotated catalogue of Moody’s choral compositions 34

Appendix I Prepared interview questions for Moody 88

Figure 1 Canticum Canticorum I 53

Ivan Moody is an English composer, choral conductor, and musicologist. Born in

Early Life and Education

household. Moody’s father had a substantial record collection including Beethoven

Formal Compositional Training and Professional Beginnings

Moody studied music at Royal Holloway College, a constituent college of London

expanded into theology, including extraordinarily wide-ranging conversations on the decadence

premieres of parts of Tavener’s Orthodox Vigil Service.

Orthodox Spirituality in Contemporary Orthodox Music.

has published research on prominent twentieth-century composers, Greek Orthodox church

Ensemble, and the Westminster Cathedral Choir.

writing highlights the intersection of modernism through these composers’ works.

composers choosing to compose in any kind of sacred tradition. He states:

leaving the listener in a state of bewilderment, as a very specific application to

create something entirely new has a consequence precisely opposed to the

cannot be used – it must ‘use’ us.”8

liturgical music through the council of Trent and Vatican II.11

Although Fr Moody has written extensively on Orthodox Church Music, he rarely

the tradition of Orthodoxy in England.

Theological Convention and Its Implications on Moody’s Compositional Voice

Liturgical Music, Emeritus at St. Vladimir’s Orthodox Theological Seminary writes,

Greek Orthodox churches in the United States.

of chant as the basis for his compositions.

original melodies to create a unique liturgical composition.

on his compositional voice as it relates to transparent textures.

“there is a passion, a death, and a rebirth, or transfiguration, or a baptism… and that

The commissioning process also greatly influences Moody’s liturgical compositions.

was quick to point to Stravinsky’s words:

their own life with each performance.

Icons, Iconostasis, and Mysticism

In his interview with Altena, Moody reflected on his conversion to Orthodoxy.

iconostasis. An iconostasis is a wall of icons and religious paintings. Moody’s composed a

Moody’s theological commentary on icons explores their connection with mystical

the concept of suspending time through compositional practices.

It is possible that Moody’s view of interconnected relationships between Orthodox art

motion. Several representative pieces will be discussed further in Chapter 3.

Moody’s Compositional Influences and Practices

minute piece for AATTTTBB chorus and two trombones.

Moody demonstrates a command of multiple languages in his writing. A majority of his

were composed using heterophonic techniques. Heterophonic music utilizes simultaneous

extensive heterophony techniques. Moody described his use of heterophonic techniques as a

way to “obliterate structural clarity”26. To further elaborate, Moody states:

development of his own transparent style, Moody said:

Moody’s expansive choral catalogue explores a wide variety of compositional