Blogtrotters

Showing posts with label spiritual. Show all posts
Showing posts with label spiritual. Show all posts

Saturday, May 9, 2015

v.a. - Ethiopia - Bagana Songs (Éthiopie Les chants de bagana) [2006] [ethiopia]








1

The disc recorded by Stephanie Weisser between March 2002 and December 2005 in Addis Ababa is the fourth CD of traditional Ethiopian music in the backup program intangible heritage of this country, "Ethiopia: Traditional music, dance and instruments , a systematic survey "led by Olivier Tourny. Indeed, following the disk Polyphonies Ari published by Ocora (Fournel 2002) as well as two discs of Unreleased collection of Maale Music (Ferran 2005) and 'aqwaqwam (Damon 2005), Stephanie Weisser shows us one of three famous Ethiopian chordophones the bagana, it has specifically studied in his thesis.




Alemu Aga - "Besmeab - Abatachin Hoy"
 playing the Begenna, the Harp of David from Ethiopia



2

The disc echoes of hope for the revival of the instrument in Ethiopia for the interest of its author for bagana, which was endangered in Addis Ababa, allowed its rehabilitation and the foundation of schools and transmission structures while promoting the creativity of musicians, since all the compositions on this disc are original. It also pays tribute to the greatest performers of Ethiopian bagana, including Tafese Tesfaye (tracks 1 and 2) between deceased time.

3

Recordings that Stephanie Weisser introduces us was collected in Addis Ababa among the performers themselves, which reports to a tour de force in this large African capital where the activity never stops and where is hard to find a silent place. The extensive research that the author has synthesized here illuminates the amateur as professional, who may be interested in the specifics of sound bagana. Indeed, the leaflet, synthetic and clear, in French and English, allows to approach the musical characteristics of bagana songs, their formal structure, rhythm that underlies them, the contents of the texts or vocal techniques specifically associated with these religious songs.

4

The first piece, the listener is swept away by the individual sound bagana, big ten-stringed lyre whose sizzling character is the result of adding leather pieces between the strings and the bridge, but also by the vocal stamp both soft and veiled that seeks to mimic that of the instrument. On this disc tour de force also lies in its ability to make sensitive to both the emotional power of the songs of bagana and intimate character. Indeed, the live performance of songs by Alem Marefia Na'at Alemu Aga (track 9) or of Sebsebo by Yetemwork Mulat (track 8) is very moving. The quality of the recordings and the balance between voice and bagana are very successful and music acts on us as if the interpreter was facing us. This emotional capacity bagana songs is also recognized in Ethiopia, and it contributes to their specificity. Thus, any provision of Alemu Aga brings tears of auditors and participates in a form of collective devotion.



5

The wealth of different facets of bagana songs highlighted in this record gives it a special interest. Indeed, six performers follow one another, with two compositions each, giving a glimpse of their dexterity and their vocal timbres. In addition, two female performers, Gebre Yesus Sosenna and Yetemwork Mulat, highlight the rare successes of women in the interpretation of traditional music Ethiopian, who often remain the prerogative of men.

6

ON also noted the diversity of instrumental timbres, including the difference between the instrument of Tafese Tesfaye (tracks 1 and 2), whose sound box is made entirely of wood, and that of Alemu Aga (tracks 9 and 10), the soundboard is skin.

7

The professional master of Alemu Aga, the most famous master of bagana, known worldwide thanks to the disk 11 of the Ethiopiques collection, is also highlighted in this record because we propose two techniques for game. Exhibit 9 is interpreted bare hand and begins with the traditional invocation before the first song of the provision: "In the name of Father, Son and Holy Spirit, Amen." Exhibit 10 is against extremely rare since it involves playing with plectrum (megrafia) goat horn. This technique is extremely difficult endangered and only Alemu Aga practice yet. It is therefore interesting to compare the two game modes to capture the virtuosity of mixed game.

8

The variety of musicians playing techniques contributes to the interest of this disc. It may well linger compared virtuosity and technical skill of the masters of the instrument are Tafese Tesfaye, Alemu Aga and with the game slower but still very expressive women (tracks 3, 4, 7 and 8) or even with the strong play of young Abiy Seyoum (track 5 and 6).

9

Enfin, the last piece on this disc gives us an original interpretation since it involves a chorus of two deacons, which is extremely rare for bagana songs which are, as the disk we heard, very intimate. Moreover, this final piece, Manimeramere, has many vocal ornaments similar to those of the Ethiopian Orthodox song or secular pieces of azmari, the troubadours of this country.

10

To his faculties to make us travel to unveil a part of the Amhara imagination to move us and also, in some way, to elevate our soul, this drive is to listen. However, it would have been interesting to see the whole texts in Amharic accompanied by a translation in order to highlight the particular taste of Ethiopians for word games and semantics research. But as we explained Stephanie Weisser, poetic forms of bagana songs are very elaborate and remain impenetrable to the uninitiated and therefore have no place in a disc. Comments are effective and photos and help inform the listener about this fascinating instrument. Be transported by yebagana mezmour (bagana songs) and their ostinati always renewed.









01 - Tafese Tesfaye - Ergebe na Wane (The Dove and the Pigeon) (6:03)
02 - Tafese Tesfaye - Wodadje Wodadje (You Who Take Good Care of Me) (5:59)
03 - Sosenna Gebre Yesus - Adeneyn Kemote (Save Us from Our Death) (6:11)
04 - Sosenna Gebre Yesus - Dengel Sele Esbe (When I Say Your Name) (6:16)
05 - Abiy Seyoum - Deggwa Tsome Deggwa (The Last Judgement) (2:56)
06 - Abiy Seyoum - Nastemaselke (We Are All Mortals) (3:44)
07 - Yetemwork Mulat - Semayi na Meder (Heaven and Earth) (5:45)
08 - Yetemwork Mulat - Sebsebo (The Second Coming of Christ) (4:58)
09 - Alèmu Aga - Alem Marefia Na'at (The World Is But a Place of Survival) (4:42)
10 - Alèmu Aga - Selamta be Megrafia (Song of Praise Played With a Plectrum) (3:51)
11 - Akalu Yossef - Abatatchen Hoy (Our Father) (4:29)
12 - Akalu Yossef - Manimeramere (Who Can Doubt ) (6:35)




Thursday, April 30, 2015

v.a. - [2009] - Southern Ethiopia - music of the Maale [praises and blessings] [ethiopia]










Maale are one the 40 ethnic groups of southern Ethiopia. 

The Maale music is very rich. It encompasses a cappella polyphonic singing, vocal polyphonies accompanied on the lyre, whistled polyphonies, solo flute playing, flute orchestras, horns, drums, and it displays a great originality in the vocal and instrumental techniques. 

For the Maale, music is the mean of a constant exchange between generations. The youngest ('children') praises the eldest ('fathers') and the eldest bless the youngest. Thus the music appears as a strong factor of social cohesion.




01 - Southern Ethiopia - Music of the Maale - Maale Zoro (2:44)
02 - Southern Ethiopia - Music of the Maale - Andalko (5:05)
03 - Southern Ethiopia - Music of the Maale - Abi (4:01)
04 - Southern Ethiopia - Music of the Maale - Dami (4:03)
05 - Southern Ethiopia - Music of the Maale - Irbe wala (2:37)
06 - Southern Ethiopia - Music of the Maale - Haya Haya Bolado (2:46)
07 - Southern Ethiopia - Music of the Maale - Nay malkiti (0:52)
08 - Southern Ethiopia - Music of the Maale - Gaade (4:08)
09 - Southern Ethiopia - Music of the Maale - Meni merti (3:30)
10 - Southern Ethiopia - Music of the Maale - Alo be (2:07)
11 - Southern Ethiopia - Music of the Maale - Shulungo (0:59)
12 - Southern Ethiopia - Music of the Maale - Aleko (3:34)
13 - Southern Ethiopia - Music of the Maale - Ank'ado (1:29)
14 - Southern Ethiopia - Music of the Maale - Are Indo (Pele) (3:42)
15 - Southern Ethiopia - Music of the Maale - Are Indo (Golo) (4:57)
16 - Southern Ethiopia - Music of the Maale - Salo (3:03)
17 - Southern Ethiopia - Music of the Maale - Durungo (1:34)
18 - Southern Ethiopia - Music of the Maale - Irbo Nay Koysi (3:49)
19 - Southern Ethiopia - Music of the Maale - Be Ta Belio & Olize (4:40)
20 - Southern Ethiopia - Music of the Maale - Kaye (1:16)
21 - Southern Ethiopia - Music of the Maale - Sorayti (1:17)
22 - Southern Ethiopia - Music of the Maale - Makanka dorba (2:40)
23 - Southern Ethiopia - Music of the Maale - Osta (2:59)







Friday, January 23, 2015

v.a. - Music of Ethiopian Orthodox Tewahedo Church [2007]





New Ethiopian orthodox mezmur



       Ethiopian Orthodox Tewahedo Church, autocephalous Oriental Orthodox church in Ethiopia. Headquarters are in Addis Ababa, the country’s capital.





       Ethiopia was Christianized in the 4th century ce by two brothers from Tyre—St. Frumentius, later consecrated the first Ethiopian bishop, and Aedesius. They won the confidence of King Ezana at Aksum (a powerful kingdom in northern Ethiopia) and were allowed to evangelize. Toward the end of the 5th century, nine monks from Syria are said to have brought monasticism to Ethiopia and encouraged the translation of the Scriptures into the Geʿez language.

       The Ethiopian church followed the Coptic (Egyptian) church (now called the Coptic Orthodox Church of Alexandria) in rejecting the Christological decision issued by the Council of Chalcedon in 451 ce that the human and divine natures of Jesus Christ were equally present in one person without commingling. Opposed to this dyophysitism, or two-nature doctrine, the Coptic and Ethiopian churches held that the human and divine natures were equally present through the mystery of the Incarnation within a single nature. This position—called miaphysitism, or single-nature doctrine—was interpreted by the Roman and Greek churches as a heresy called monophysitism, the belief that Christ had only one nature, which was divine. The Ethiopian church included into its name the word tewahedo, a Geʿez word meaning unity and expressing the churchs miaphysite belief. Like other so-called non-Chalcedonian (also referred to as Oriental Orthodox) churches, it was cut off from dialogue with the Roman Catholic and Eastern Orthodox churches until the mid-20th century, when many of the Christological disputes that arose from Chalcedon were resolved through ecumenical dialogue.

              In the 7th century the conquests of the Muslim Arabs cut off the Ethiopian church from contact with most of its Christian neighbours. The church absorbed various syncretic beliefs in the following centuries, but contact with the outside Christian world was maintained through the Ethiopian monastery in Jerusalem.

       Beginning in the 12th century, the patriarch of Alexandria appointed the Ethiopian archbishop, known as the abuna (Arabic: “our father”), who was always an Egyptian Coptic monk; this created a rivalry with the native itshage (abbot general) of the strong Ethiopian monastic community. Attempts to shake Egyptian Coptic control were made from time to time, but it was not until 1929 that a compromise was effected: an Egyptian monk was again appointed abuna, but four Ethiopian bishops were also consecrated as his auxiliaries. A native Ethiopian abuna, Basil, was finally appointed in 1950, and in 1959 an autonomous Ethiopian patriarchate was established, although the church continued to recognize the honorary primacy of the Coptic patriarch. When neighbouring Eritrea gained independence from Ethiopia in 1993, it appealed to Pope Shenouda III, the patriarch of the Coptic church, for autocephaly. This was granted in 1994; the Ethiopian church assented in 1998 to the independence of the new Eritrean Orthodox Tewahedo Church.

       The Amhara and Tigray peoples of the northern and central highlands have historically been the principal adherents of the Ethiopian Orthodox church, and the church’s religious forms and beliefs have been the dominant element in Amhara culture. Under the Amhara-dominated Ethiopian monarchy, the Ethiopian Orthodox church was declared to be the state church of the country, and it was a bulwark of the regime of Emperor Haile Selassie I. Upon the abolition of the monarchy and the institution of socialism in the country beginning in 1974, the church was disestablished. Its patriarch was executed, and the church was divested of its extensive landholdings. The church was placed on a footing of equality with Islam and other religions in the country, but it nevertheless remained Ethiopia’s most influential religious body.

        The clergy is composed of priests, who conduct the religious services and perform exorcisms; deacons, who assist in the services; and debtera, who, though not ordained, perform the music and dance associated with church services and also function as astrologers, fortune-tellers, and healers. Ethiopian Christianity blends Christian conceptions of saints and angels with pre-Christian beliefs in benevolent and malevolent spirits and imps. Considerable emphasis is placed on the Hebrew Bible (Old Testament). Further, the church recognizes a wider canon of scripture that includes such texts as the apocalyptic First Book of Enoch. Circumcision is almost universally practiced; the Saturday Sabbath (in addition to Sunday) is observed by some devout believers; the ark is an essential item in every church; and rigorous fasting is still practiced.

        The priesthood of the Ethiopian church, on the whole, is not learned, though there are theological seminaries in Addis Ababa and Harer. Monasticism is widespread, and individual monasteries often teach special subjects in theology or church music. Each community also has its own church school, which until 1900 was the sole source of Ethiopian education. The liturgy and scriptures are typically in Geʿez, though both have been translated into Amharic, the principal modern language of Ethiopia. In the early 21st century the church claimed more than 30 million adherents in Ethiopia.


Music

            According to tradition, the central body of hymns used in the Ethiopian liturgy was composed by the sixth-century musician Yared, who is venerated as one of the greatest saints of the Ethiopian Church. Hagiography records that Yared was inspired to compose his hymns after being led up to heaven and hearing the songs of angels. St. Yared is also credited with having invented a notational system, though scholars usually date the introduction of musical notation in Ethiopia to the sixteenth century.

            Ethiopian chant consists of melodies alone, unembellished by harmonies. These melodies follow one of three modes, known as Geez, Ezel, and Ararai; the modes correspond respectively to  “plain chant for ordinary days,” “a more measured beat for funerals,” and “a lighter, free mood for great festivals” (Giday). 

          A skilled chanter will improvise on set melodies within these modes. In processions and in special hymns sung after the liturgy proper, drums and sistrums (a kind of rattle) are used for rhythmic accompaniment. Ethiopian church music is also remarkable for its incorporation of sacred dance, ranging from a rhythmic swaying of the choir with hands upturned in prayer to more elaborate dances performed with two choirs holding staffs and sistrums. 



Thursday, January 15, 2015

v.a. - Ethio podcast - Begena [2006] [ethiopia]







Alemu Aga - "Besmeab - Abatachin Hoy"
playing the Begenna, the Harp of David from Ethiopia


       The begena (or bèguèna, as in French) is an Eritrean and Ethiopian string instrument with ten strings belonging to the family of the lyre. According to oral tradition, Menelik I brought the instrument to the region from Israel, where David played on it to soothe King Saul's nerves and heal him of insomnia. Its actual origin remains in doubt, though local manuscripts depict the instrument at the beginning of the 15th century (Kimberlin 1978: 13).






      Known as the instrument of noblemen, monks and the upper class and performed by both men and women, the begena was used primarily as an accompaniment during meditation and prayer. Though commonly played in the home, it is sometimes played in the framework of festive occasions. During Lent, the instrument is often heard on the radio and around churches. 

   Begena is accompanied by singing voice only. The singer may compose his or her own texts or they may be taken from the Bible, from the Book of Proverbs, or from the Book of Qine, an anthology of proverbs and love poems. Subject matter includes the futility of life, the inevitability of death, saints, mores, morality, prayer, and praises to God. The song's duration varies according to the text, the audience, and the persistence of the player. Though many texts are of a religious nature, the instrument is not used in the Ethiopian Orthodox church services, even if it is seen occasionally in religious processions outside the church.



     Because of the instrument's relatively intimate and sacred role in society, the begena is not very common to find. Meditation and prayer are very private, personal endeavors, and hearsay suggests that the instrument is played by very few and is a dying art. However, in 1972, the Yared Music School in Addis Ababa began formal instruction in the begena. Since 2004, evening courses are organized and the begena is still played.


    The begena has ten strings. However, different musicians use varying numbers of strings to play the begena. For example, begena teacher Memhr Sisay Demissae uses all ten strings to play the begena, while other players may use five or six of the strings. The left hand is used to pluck the strings.





 When all ten strings are plucked, one method of tuning the begena is to tune each pair of strings to one of the pitches in a pentatonic scale. When using five of the stings, only the first, fourth, sixth, eighth and tenth strings are tuned and plucked to give sound. Finally, while playing the begena using six strings, the left hand plucks strings one, three, four, six, eight, and ten (starting from the left side when facing the instrument). The pointing finger plucks strings three and four while the other fingers are in charge of controlling one string each. The remaining strings are used for the finger rests or stops after the strings have been plucked, allowing the plucked string to vibrate.




          The begena may also be played using a system called girf, wherein a plectrum made of horn or wood is used to pluck the ten strings of the begena. Megabe Sebhat Alemu Aga plays begena both by using his fingertips and girf.


       
      





The begena is characterized by a very specific buzzing sound, due to U-shaped leather pieces placed between each string and the bridge. The thong for each string is adjusted up or down along the bridge so that the string, when plucked, repeatedly vibrates against the edge of the bridge.










01 - unknown - Begena 9 (5:17)
02 - Zerfu Demisie - Tewoledelin (5:23)
03 - Merigeta Fikru Sahelu - Simih Yemesgen (7:34)
04 - Akalu - Bene Tsidk Aydelem (7:11)
05 - Yilma Hailu - Silasie Kesemay (4:14)
06 - Tadiwos Girma - Temesgen (6:05)
07 - Yilam Hailu - Eninesalen (3:55)
08 - Mirtnesh Tilahun - Rehoboth (5:11)
09 - Engidawork Bekele - Alefkugne Dingil (6:00)
10 - Fekadu Amare - Egziabher Hayal New (5:20)


Tuesday, September 30, 2014

Wednesday, April 2, 2014

Sofia Shibabaw - Fikir Kemekbir Belayi [1996]



   R   E   U   P   L   O   A   D   


       Sofia Shibabaw is Amharic gospel singer (mezmur) from Ethiopia with an extraordinary singing voice. She is one of the best recent Christian artist. So far she have two fantastic albums and also have many records with various Christian artists in different albums.



01. Sofia Shibabaw - Oh Enie Man Negne (6:50)
02. Sofia Shibabaw - Leka Alie Dagna (5:24)
03. Sofia Shibabaw - Keberigne (6:04)
04. Sofia Shibabaw - Alemayehu (5:41)
05. Sofia Shibabaw - Ethiopia (5:51)
06. Sofia Shibabaw - Fikir Kemekbir Belayi (5:03)
07. Sofia Shibabaw - Fikir Chemere (4:46)
08. Sofia Shibabaw - Endantie Yele (7:00)
09. Sofia Shibabaw - Yelewetgne (7:09)
10. Sofia Shibabaw - Edil Fenitaye (6:25)
11. Sofia Shibabaw - Lehiyiwetihe Waga Site (6:01)






Monday, February 17, 2014

Sofia Shibabaw & Tekeste Getnet - Eyesus Eyalefe New [2005]


   R   E   U   P   L   O   A   D   







01. Sofia Shibabaw &Tekeste Getnet - Eyesus Eyalefe New (7:25)
02. Sofia Shibabaw &Tekeste Getnet - Endegena Lebe Tenesa (5:15)
03. Sofia Shibabaw &Tekeste Getnet - Yechinket Qen Saymeta (6:46)
04. Sofia Shibabaw &Tekeste Getnet - Track 04 (5:33)
05. Sofia Shibabaw &Tekeste Getnet - Man New (4:36)
06. Sofia Shibabaw &Tekeste Getnet - Setngale Getaye (7:33)
07. Sofia Shibabaw &Tekeste Getnet - Bkoras Men Alle (6:15)
08. Sofia Shibabaw &Tekeste Getnet - Re Aewkut Kuter (6:22)
09. Sofia Shibabaw &Tekeste Getnet - Zarem Dagm Lawra (3:43)
10. Sofia Shibabaw &Tekeste Getnet - Askedmie (5:56)

Friday, February 7, 2014

Ethiopian jewish liturgy [1993, re-rel. 2003]

     
   R   E   U   P   L   O   A   D   


       Ethiopian Jews were an integral part of Ethiopia, and in most of their customs resembled their neighbors. 

       Their religious music, sung by the "Kess" (priests) was very similar to their neighbors', as well. However, the wonderful music on this CD was recorded in 1986 in Jerusalem, Israel. The performers were all Ethiopian Jews and the liturgies were all from the Ethiopian Jewish tradition. The music on this CD is very spiritual. It is fully within the Ethiopian musical tradition, and the vocals sometimes remind me of the sound of the masinko instrument (one string fiddle). 

       I heartily recommend it to anyone interested in Ethiopian Music. 


1. Hale-Luya  [Morning office for the New Year Hale-luya Composed by Ethiopian Jewish Liturgical Chant Anonymous]

2. Zegevre   [Morning office for the New Year Zegevre, Composed by Ethiopian Jewish Liturgical Chant Anonymous]

3. Prieres Pour La Cloture De Kippour  [Prayers for the closing of Yom Kippur, Composed by Ethiopian Jewish Liturgical Chant Anonymous]

4. Wi' Itu Amlakeeye Isebho  [Morning office for Pessah Wi'itu amlakeeye isebho, Composed by Ethiopian Jewish Liturgical Chant Anonymous]

5. Qil'E Tsilat   [Morning office for Shavuot Qil'e tsilat, Composed by Ethiopian Jewish Liturgical Chant Anonymous]

6. Wanevivo Egzee Aviher Limusye   [Morning office for Rosh-Hodesh Wanevivo egzee'aviher limusye, Composed by Ethiopian Jewish Liturgical Chant Anonymous]

7. Bila'Wotsegiv   [Bila'wotsegiv (song for the closing of the Sabbath meal),
Composed by Ethiopian Jewish Liturgical Chant Anonymous] 

8. Yitbarek   [Yibarek (blessing of the sacred Sabbath bread),Composed by Ethiopian Jewish Liturgical Chant Anonymous] 

9. Bihateetu    [Morning office for the Sabbath Bihateetu, Composed by Ethiopian Jewish Liturgical Chant Anonymous] 

10. Sibhatat   [Sibhatat (song for the Sabbath), Composed by Ethiopian Jewish Liturgical Chant Anonymous] 

11. Afgirnaki   [Morning office for the Sabbath Afqirnaki, Composed by Ethiopian Jewish Liturgical Chant Anonymous] 

12. Tsiwa Ikuki Egzee O Eetitsimmeni  [Morning office for the Sabbath Tsiwa'ikuki 'egzee'o eetitsimimeni, Composed by Ethiopian Jewish Liturgical Chant Anonymous] 

13. Chants Pour La Circoncision   [Songs for circumcision, Composed by Ethiopian Jewish Liturgical Chant Anonymous] 

14. Prieres Pour La Ceremonte Du Mariage  [Prayers for the marriage ceremony

Composed by Ethiopian Jewish Liturgical Chant Anonymous]


--------------------------------------------------------------------------------





Friday, January 24, 2014

L'eglise orthodoxe Ethiopienne de Jerusalem - [1992]



   R   E   U   P   L   O   A   D   



       According to an ancient tradition, the first great evangelizer of the Ethiopians was St. Frumentius, a Roman citizen from Tyre who had been shipwrecked along the African coast of the Red Sea. He gained the confidence of the emperor at Aksum and eventually brought about the conversion of his son, who later became Emperor Ezana. Ezana later introduced Christianity as the state religion around the year 330. Frumentius was ordained a bishop by St. Athanasius of Alexandria and returned to Ethiopia to help with the continued evangelization of the country.


       Around the year 480 the “Nine Saints” arrived in Ethiopia and began missionary activities. According to tradition they were from Rome, Constantinople and Syria. They had left their countries because of their opposition to Chalcedonian christology and had probably resided for a time at St. Pachomius monastery in Egypt. Their influence, along with its traditional links with the Copts in Egypt, probably explains the origin of the Ethiopian Church’s rejection of Chalcedon. The Nine Saints are credited with largely wiping out the remaining paganism in Ethiopia, with introducing the monastic tradition, and with making a substantial contribution to the development of Ge’ez religious literature by translating the Bible and religious works into that classical Ethiopian language. Monasteries quickly sprang up throughout the country and became important intellectual centers.


       The Ethiopian Church reached its zenith in the 15th century when much creative theological and spiritual literature was produced and the church was engaged in extensive missionary activity.

        The very negative experience of contact with Portuguese Roman Catholic missionaries in the 16th century [Ethiopian Catholic Church] was followed by centuries of isolation from which the Ethiopian Church has only recently emerged.


        This church is unique in retaining several Jewish practices such as circumcision and the observance of dietary laws and Saturday as well as Sunday sabbath. This is probably due to the fact that the earliest presence of Christianity in Ethiopia had come directly from Palestine through southern Arabia. But there is a tradition that Judaism was practiced by some Ethiopians even before the arrival of Christianity. There have also been some unusual christological developments, including a school of thought that holds that the union of Christ’s divine and human natures took place only upon his anointing at Baptism. These teachings were never officially adopted and have mostly died out.

       The Ethiopian liturgy is of Alexandrian (Coptic) origin and influenced by the Syriac tradition. The liturgy was always celebrated in the ancient Ge’ez language until very recent times. Today a translation of the liturgy into modern Amharic is being used increasingly in the parishes. A strong monastic tradition continues.


       From ancient times, all bishops in Ethiopia were Egyptian Copts appointed by the Coptic Patriarchate. Indeed, for many centuries the only bishop in Ethiopia was the Coptic Metropolitan. In the early 20th century the Ethiopian Church began to press for greater autonomy and the election of native Ethiopian bishops. In 1929 four native Ethiopian bishops were ordained to assist the Coptic Metropolitan. With the support of Emperor Haile Selassie (reigned 1930-1974), an agreement was reached with the Copts in 1948 which provided for the election of an ethnic Ethiopian Metropolitan upon the death of Metropolitan Qerillos. Thus when he died in 1951, an assembly of clergy and laity elected an Ethiopian, Basilios, as Metropolitan, and the autonomy of the Ethiopian Church was established. In 1959 the Coptic Patriarchate confirmed Metropolitan Basilios as the first Patriarch of the Ethiopian Orthodox Church.



1. L'Eglise Orthodoxe Ethiopienne de Jérusalem - Du chant d’entrée à la doxologie solennelle (8:39)
2. L'Eglise Orthodoxe Ethiopienne de Jérusalem - S’alwota-’at’ân. Doxologie et adoration, au cours de la "Prière de l’Encens" (5:42)
3. L'Eglise Orthodoxe Ethiopienne de Jérusalem - Hymne à la Mère de Dieu et le Tri sagion (5:36)
4. L'Eglise Orthodoxe Ethiopienne de Jérusalem - "Notre Père" (4:21)
5. L'Eglise Orthodoxe Ethiopienne de Jérusalem - Prière de pénitence et les quarante et une invocations "Seigneur prends pitié de nous, ô Christ" (6:51)
6. L'Eglise Orthodoxe Ethiopienne de Jérusalem - "Seigneur prends pitié de nous, ô Christ" (6:28)
7. L'Eglise Orthodoxe Ethiopienne de Jérusalem - Chant de communion et chant d’actions de grâces (4:39)
8. L'Eglise Orthodoxe Ethiopienne de Jérusalem - Extrait de la 5e grande litanie avec tambour et sistres. Veillée du "Felseta Maryam" (Assomption) (15:17)
9. L'Eglise Orthodoxe Ethiopienne de Jérusalem - La première partie des Vêpres (28:44)
10. L'Eglise Orthodoxe Ethiopienne de Jérusalem - Seconde partie des Vêpres du Temps ordinaire (8:39)
11. L'Eglise Orthodoxe Ethiopienne de Jérusalem - 11e jour du carême de l’Assomption. Les deux premiers choeurs litaniques des Vêpres anticipées (31:20)

Eglise orthodoxe ethiopienne de jerusalem: l'Assomption à Däbrä Gännät, monastère du Paradis - Jérusalem, Israël.