Why does the style of liturgical singing in some Orthodox churches differ so greatly from that heard in other churches? This is a question that has probably puzzled many newcomers to the Church, perhaps even without their realizing it. For “cradle Orthodox,” the difference is especially noticeable if they move away from the parish where they grew up and move somewhere far away, perhaps to a mission parish.

Using different recordings of the Paschal Canon, this episode of “Icons in Sound ” explores the historical circumstances that led to the adoption of Western European-style harmonic part singing in churches of the Eastern Slavs, the Russians and Ukrainians, in place of the unison chant singing that had been received from Byzantium.

After opening with a beautiful chant recording that incorporates elements of the Byzantine style, we move to settings of the Paschal Canon by Ukrainian composers Artemy Vedel (1767-1807), Mykola Dyletskiy (c. 1630-1680). Vedel’s Paschal Canon, is performed by the Cantus Ensemble of Moscow, under the direction of Liudmila Arshavskaya, on a CD that is now out of print. The Dyletskiy setting, for double mixed chorus, is part of an excellent anthology entitled “Ukrainian Sacred Music,” sung by the “Kiev” Chamber Choir under the direction of Mykola Hobdych (CD K39). Finally, after the “musical fireworks” from Vedel and Dyletskiy, the program concludes with a stunningly beautiful CD released in 2007, entitled “Pascha of Ancient Rus’” (CD B102), performed by the Choir of the Protection of the Mother of God Church; Kiev, Ukraine, under the direction Elena Radko. This CD brings back music that has not been heard in Russia or Ukraine literally for centuries, but indicates that the Church in those lands may be ready to embrace, once again, the liturgical chant it had originally received from Byzantium.

If you are interested in learning more about the history of liturgical singing as it developed in the Eastern Slavic lands, you will enjoy reading Choral Performance in Pre-Revolutionary Russia, available from www.musicarussica.com. The first three chapters are particularly rich in historical information and can easily be read by the general reader.