| Abstract: | When in 1875 Queen Olga of Greece insisted a multi‐part chant be introduced in the Athens Cathedral, a widespread debate about the influence of Western European culture upon Greek‐Orthodox tradition was initiated in Athens. With a significant part of this debate originating in mid‐century Vienna, and Russian musical influences affecting the form of the otherwise ancient Byzantine chant, the issue of polyphony acquired cultural‐historical dimensions intimately connected to historical continuity and the Orthodox‐Christian musical tradition. The debate transformed rapidly from a musicological enquiry into a matter of national identity, and an otherwise innocent aesthetic choice showcased the musical dimensions of Greek national claims at continuity. This article examines the historical contingencies that fuelled this debate, showcases the importance of patronage for musical transference and highlights the potency of Greek national Orthodoxy as a carrier of historical continuity for the ethnic group, here seen through music. |
