Sacred Treasures - Sacred Treasures V: From a Russian Cathedral
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release date: Tue Oct 09 2007
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Track Listing
- Lord's Prayer (Archbishop Ionafan)
- Our Father (N. Kedrov, Sr.)
- Ektenia of Fervent Supplication (N. Frunza)
- Grant This, O Lord (Sergei Rachmaninov)
- Bless the Lord, Praise the Lord, Amen (Archbishop Ionafan)
- The Sound of Spirit-Choral Epilogue (Georgia Kelly)
- Holy God (Georgiy Sviridov)
- To Thee We Sing (Dobri Christov)
- Ektenia (Sergei Rachmaninov)
- Dominus Vobiscum (Urmas Sisask)
- O Gentle Light (17th Century Traditional)
- To Thee We Sing (P. Tchaikovsky)
- It Is Truly Meet (harmonized by M. Konstantinov)
- Shen Khar Venakhi (Traditional Polyphony)
- Praise the Lord, Amen (Archbishop Ionafan)
- Amen, Alleluia (Sergei Rachmaninov)
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SACRED TREASURES V: FROM A RUSSIAN CATHEDRAL features mainly 20th century and
contemporary composers. There are several selections from "Liturgy of Peace" by Archbishop
lonafan (Yeletskyh) of Kiev in which the eastern "Liturgy of St. John Chrysostom" is sung to the
melodies of Western Gregorian chants, creating a musical synthesis of the two traditions.
Nikolai Kedrov Sr.'s famous setting of "The Lord's Prayer" is sung by the Eva Quartet in
traditional Bulgarian women's folk style. They appear again in "To Thee We Sing" by Dobri
Christov, Bulgaria's greatest sacred music composer.
The "Ektenia" by N. Frunza is an exquisite example of the Slavonic style in which a single
angelic voice floats above a dense carpet of a cappella voices. "The Sound of Spirit" by American
composer Georgia Kelly is not from the Orthodox tradition, yet is similar in structure and feeling
to the Ektenia. Kiev's Credo Chamber Choir gives a passionate rendition of "Holy God" by Russia's
Georgiy Sviridov. Three hymns from Rachmaninov's version of the "Liturgy of St. John Chrysostom"
and one from Tchaikovsky's version, along with "O Gentle Light," are powerful examples of singing
by Russia's massive mixed choirs.
Estonian Urmas Sisask's spectacular "Dominus Vobiscum," though not Orthodox, reveals
the influence of Orthodox chant. "It is Truly Meet" is one of many pieces by composers who left
the USSR and continued to create abroad. "Shen Khar Venakhi" is a lovely 12th century Georgian
hymn in honor of the Mother of God. The numerous repetitions of "Amen," "Alleluia" and "Gospodi
pomilui" ("Lord have mercy") throughout the compilation create a unifying theme.
All the pieces and performances are infused with a solemn and deeply devotional quality.
The singing is spacious and warm, creating an atmosphere of holiness and benediction. The
intention was to weave hymns and verses into a seamless tapestry in which the whole is greater
than the sum of its parts, and the individual elements of the compilation become movements in
a choral symphony of timeless beauty.
ELLEN HOLMES, PRODUCER
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Sacred Treasures - Sacred Treasures
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Track Listing
- Russian Cathedral Bells 0:22
- Great Ektenia 3:48 (MP3)
- Hymn of Praise 3:04 (MP3)
- Hymn of the Cherubim 4:42
- Hymn of the Cherubim 4:01
- Our Father 3:55 (MP3)
- Fervent Supplication 3:10
- The Noble Joseph 2:38
- Amen. And with Thy Spirit 1:19
- Russian Monastic Vespers 1:28
- Bless the Lord, O My Soul 5:13
- Hymn of the Cherubim 7:40
- Hymn of the Cherubim 6:39
- Our Father 3:33
- I Have Chosen The Blissful 4:52
- Hymn of the Cherubim 5:00
- Final Bells 0:40
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- Sung by the finest Russian and Bulgarian choirs, this extraordinary collection of transcendent prayers and hymns highlights a timeless Russian tradition of faith and devotion. For sheer beauty, there is little to match it anywhere in the world. The solemn ecstasy in the music of the Russian Orthodox Church can trace its roots back to the earliest days of Christian worship, via the great Byzantine Empire of the Near East. It presents an uncompromising search for peaks and depths of expressive fervor, aloof from all gimmicks. That was true of the music's multi-cultural roots as monastic chant, and was maintained as it evolved into full choral harmony in the late Romantic period.
This survey of Orthodox music is not intended to be historically inclusive. Nor is it programmed to fit Russian liturgical services. What is offered is a selection extracted from the liturgical music of the 19th and early 20th centuries and focusing on the world of angelic inner quiet.
Much of what you hear sounds suspended in mid-air. Tempos are broad, and rhythmic features never much apparent. The music seems to levitate, floating effortlessly from piece to piece while showing very little sense of urgency. These scores seek nothing beyond a beautiful existence. Like true faith, it simply is. In that sense, there is something akin to the emotions experienced while hearing modern ambient music.
One of the first things you will likely notice in this collection is the number of versions of the traditional angelic hymn, here translated as Hymn of the Cherubim. Both the titles and sonic vistas of this music reflect the high respect which angels hold in Orthodox Church thought. In the Eastern Church, angels occupy a place similar to the importance of the saints in Western Christianity - only slightly higher.
Angels, after all, have been Gods, warriors and messengers as well as attendants. They have been pictured in Orthodox iconography as neither male nor female, but immortals of tremendous power. Orthodox angels are enormous, mysterious creatures, able to intercede for us. They are non judgmental, neither scowling in disapproval nor smiling benignly. They stand for perfect tranquility and neutrality, existing in that calm certainty aspired to but rarely attained by human beings, not even saints.
The music of the Eastern Orthodox Church is thus literally and emotionally tied to the effort to create the music of the angelic host. It is music designed not to trouble the mind, but rather to act as a medium between God and man.
Of course, no one can say what angels sound like. But in their effort to hint at an art free from ego, Russian composers have often achieved an art form which comes close to the ideals of the music of the spheres. It's a music of transport to a world beyond care. One has only to consider the power in these settings of well-known prayers such as The Lord's Prayer (Our Father) or Great Ektenia (Lord Have Mercy, or in the Latin Mass, Kyrie Eleison).
Historically, the old Eastern Roman Empire became known as Byzantium after the fall of Rome in A.D. 476. With Constantinople (modern Istanbul) as its capital, Byzantine music drew on all surrounding cultures Armenian, Egyptian, Greek, Hebrew, Syrian and Ukrainian. Thus the early religious music of the Orthodox (or Byzantine) Church reflected many influences of the regions cultures.
For a thousand years, the music was single-line chant, sung exclusively by male singers. They had a full notation system before the West, and some of these ancient manuscripts still survive. All this began to evolve little by little, as Western trained composers such as Glinka insisted on reintroducing modal melody, supported by Romantic harmonies, but in a simple and direct fashion free of complex embellishments.
Throughout its history, however, Russian Church music has maintained its tradition as a purely human medium. No machines were allowedthat is, no instruments. It is pure music for unaccompanied human voices.
Church bells large and small are employed for processionals, to call the congregation or escort them back into the outside world. But the music remains purely vocal. [Although you can hear the percussive tinkling of the swinging censers (incense pots) during the excerpt sung by the Belgian monks of the Chevetogne Monastery on track 10.]
That purely vocal tradition was even observed by composers such as Tchaikovsky and Rachmaninoff. Neither was notably devout, yet neither gave way to their normal inclination toward lavish display when setting the Orthodox liturgy. Both as great musicians, and as members of the Russian culture, they grasped the perfection of the medium as it existed. Its power transcends even its original function for religious services.
It is in that spirit that this tapestry of Orthodox classics has been woven together. The intent of producer ELLEN HOLMES was to garner outstanding examples of a great art form onto one disc, not as liturgy, but as a meaningful listening experience. Weaving the set was a labor of love for all involved, intended as a secular act of respect for some of the most beautiful music the world has produced.
Concept, music selection, sequence and track notes: ELLEN HOLMES
1 Russian Cathedral Bells
Before entering the Cathedral, we hear the sound of the great bells - this is part of the Russian Orthodox tradition.
2 Great Ektenia Sergei Rachmaninov
Liturgy of Saint John Chrysostom, Op. 31
The Russian State Symphony Cappella,
directed by Valery Polyansky
(Licensed from Consonance Inc.)
We are inside the sanctuary, enveloped by the most cherished and timeless prayer in the liturgy: "Gospodi pomilui," which means "Lord, have mercy!" It is an exact parallel to the "Kyrie eleison" of the Western mass. The words "Gospodi pomilui!" are repeated many times throughout the liturgy, sometimes occupying just one part of a hymn and sometimes, as in this setting of the prayer by Rachmaninov, comprising the entire hymn.
3 Hymn of Praise Sergei Rachmaninov
Liturgy of Saint John Chrysostom, Op. 31
The Russian State Symphony Cappella,
directed by Valery Polyansky
(Licensed from Consonance Inc.)
This prayer of adoration is one of Rachmaninov's most exquisite pieces. A single, angelic voice floats above a dense, richly textured carpet of sound.
4 Hymn of the Cherubim (excerpt)
Sergei Rachmaninov
Liturgy of Saint John Chrysostom, Op. 31
The Russian State Symphony Cappella,
directed by Valery Polyansky
(Licensed from Consonance Inc.)
Rachmaninov's setting of the angelic hymn is one of the most tenderly beautiful pieces in the entire repertoire of European sacred choral music.
The prayer, which says "Let us now lay aside all cares of this life," expresses the essence of the liturgy.
5 Hymn of the Cherubim (excerpt)
Dimitri Bortniansky
The Leningrad Glinka State Academic Choir, directed by Vladislav Chernushenko
(Licensed from Consonance Inc.)
This eloquent setting of the angelic hymn by Ukrainian composer Dimitri Bortniansky is much loved and often sung by contemporary Russian Orthodox choirs. It conveys a mood of sublime peace and safety.
6 Our Father Nikolai Kedrov Sr.
"Svetoslav Obretenov" Bulgarian National Choir conducted by Georgi Robev
(Licensed from Balkanton Ltd.)
This version of the "Our Father" by Nikolai Kedrov, Sr. is unquestionably the best-loved setting of the prayer. It is very well known, not only by choirs but by everyone who attends the Orthodox liturgy. The vast Bulgarian National Choir, directed by Georgi Robev, creates a mood of devotion and peace.
7 Fervent Supplication (excerpt)
Sergei Rachmaninov
Liturgy of Saint John Chrysostom, Op. 31
The Russian State Symphony Cappella,
directed by Valery Polyansky
(Licensed from Consonance Inc.)
In this profound setting of the prayer "Gospodi pomilui" Rachmaninov again conveys the heart and soul of Russian spirituality. The choir under the direction of Valery Polyansky is close to perfection.
8 The Noble Joseph The Bulgarsky
Rospev, arranged by P. Turchaninov
Men's Chamber Choir of Sofia,
directed by Dimitre Rouskov
(Licensed from Balkanton Ltd.)
A lyrical arrangement of an ancient Bulgarian chant usually sung during Easter Week, the holiest time in the Russian Orthodox year.
9 Amen. And with Thy Spirit
Peter Tchaikovsky
Liturgy of Saint John Chrysostom
The USSR Ministry of Culture Chamber Choir conducted by Valery Polyansky
(Licensed from Consonance Inc.)
This short excerpt from Tchaikovsky's "Liturgy of St. John Chrysostom" brings us again the "Gospodi pomilui." It is sung passionately and with that hallmark of Orthodox sacred music, the powerful "Amen!"
10 Russian Monastic Vespers (excerpt)
Choir of Monks from the Chevetogne Monastery, directed by R.P. Philippe Baer OSB
(Licensed from Koch International)
We hear the enchanting ringing of small bells attached to censers which are swung about, filling the air with the perfume of frankincense. The singers are not Russian Orthodox, but Benedictine monks from the Chevetogne Monastery in Belgium. Remarkably, they specialize in chanting their own unique style of Russian sacred choral music.
11 Bless the Lord, O my Soul
Sergei Rachmaninov
Liturgy Of Saint John Chrysostom
Choir of the Moscow Church "Joy to All Sorrows" conducted by Nikolai Matveyev
Soloist - Irina Arkhipova
(Licensed from Consonance Inc.)
A solemn and deeply introspective piece. This magnificent performance is unusual in that it fades into silence at just the point where most choirs begin a dramatic ascent of intensity and thunderous volume.
12 Hymn of the Cherubim (excerpt) Peter Tchaikovsky
Liturgy of Saint John Chrysostom, Op.41
The USSR Ministry of Culture Chamber Choir conducted by Valery Polyansky
(Licensed from Consonance Inc.)
Stately and serene, Tchaikovsky's setting of this angelic invocation has an other-worldly quality like no other version. Here, one truly feels the presence of angels. As always, the direction of Valery Polyansky brings out subtle nuances and depth in the music.
13 Hymn of the Cherubim (excerpts/edited) Dobri Christov
"Svetoslav Obretenov" Bulgarian National Choir, directed by Georgi Robev
(Licensed from Balkanton Ltd.)
Bulgarian composer Dobri Christov's setting of the angelic prayer - just one of many he composed - conveys a profound expression of faith. The 100 member Bulgarian National Choir, directed by the brilliant Georgi Robev and performing in the vast space of the Alexander Nevsky Cathedral in Sofia, creates an ocean of resonance.
14 Our Father Peter Tchaikovsky
Liturgy of Saint John Chrysostom, Op.41
The USSR Ministry of Culture Chamber Choir conducted by Valery Polyansky
(Licensed from Consonance Inc.)
The "Our Father" is one of the prayers most often set to music and Tchaikovsky's version is among the most beautiful of them - especially when performed under the direction of Valery Polyansky.
15 I Have Chosen the Blissful
Alexander Gretchaninov
Bulgarian Radio and Television Mixed Choir
directed by Mikhail Milkov
(Licensed from Balkanton Ltd.)
The solemn tolling of the Great Bell is heard inside the cathedral and its call is soon answered by the choir in an exaltation of joyous alleluias.
16 Hymn of the Cherubim
Grigory Lvovski
Bulgarian Radio and Television Men's Choir directed by Mikhail Milkov
(Licensed from Balkanton Ltd.)
A final experience of the Angelic hymn. The Bulgarian RTV Men's choir offers a hushed and reverent invocation.
17 Final Bells
Our journey ends as it began, with the solemn and sustaining resonance of the Great Russian Bell.
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Sacred Treasures - Sacred Treasures II: Choral Masterworks from the Sistine Chapel
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Track Listing
- Miserere: Miserere Mei (MP3)
- Miserere: Et Secundum (MP3)
- Miserere: Amplius (MP3)
- Miserere: Tibi Soli
- Miserere: Ecce Enim
- Miserere: Asperges Me
- Miserere: Averte Faciem
- Miserere: Cor Mundum
- Miserere: Danza I
- Miserere: Quoniam Si Voluisses
- Miserere: Tunc Acceptabis
- Miserere: Sofferenza
- Miserere: Tunc Imponent
- Miserere: Danza II
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The psalm "Miserere mei Deus" is a prayer for mercy, contrition and renewal. Since the 1630s, Gregorio Allegri's famous setting has been sung at dawn during Holy Week, while the Pope kneels in prayer in the solemn candlelit atmosphere of the Sistine Chapel. This contemporary version, recorded in the spectral grandeur of Osnabruck Cathedral, adds new material composed by Vladimir Ivanoff to the ethereal harmonies of the Osnabruck Youth Choir and the elegiac brass tones of the cornetto, recreating the mysterious beauty of this sacred classic
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Sacred Treasures - Sacred Treasures III: Choral Masterworks from Russia and Beyond
release date: Sun Feb 20 2022
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Track Listing
- Alleluia, Behold the Bridegroom - Nikolai Korniev (MP3)
- Sorup Sorup (Holy Holy) - Nikolai Korniev (MP3)
- Lord Have Mercy [Liturgy of St. John Chryostom, Op. 31] - Valery Polyansky (MP3)
- Mercy of Peace [Excerpts] - Valery Polyansky
- Komm Susser Tod
- Serenade
- Grant Us This O Lord [Liturgy of St. John Chryostom, Op. 31]
- Our Father - St. Petersburg Chamber Choir
- Gloria [All Night Vigil, Op.37][Excerpt] - USSR Ministry of Culture Chamber Choir
- Peaceful Light (Kiev Chant) [(All Night Vigil, Op. 37)] - USSR Ministry of Culture Chamber Choir
- Praise the Lord O My Soul (Greek Chant) [(All Night Vigil, Op. 37)] - USSR Ministry of Culture Chamber Choir
- Blessed Art Thou O Lord (Kiev Chant) [Ancient Tune from the Reqiem Litu
- Chorale - Nikolai Korniev
- Amen, Alleluia [Liturgy of St. John Chryostom, Op. 31] - Valery Polyansky
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There's an old musician's joke that if you die and go to Heaven, the first thing they do is hand you a harp; if you go to Hell, they hand you an accordion. But with the release of Sacred Treasures III, that joke can now be amended: upon entering Heaven, you'll be handed a Russian liturgical score.
The fourteen selections comprising Sacred Treasures III feature music from the Russian liturgical canon recorded in sumptuously reverberant settings by leading Russian choruses. With a state-of-the-art mastering job to fully display the subtle harmonic interplay of the singers, this release offers pure balm for the ear and soul.
The music covers a wide burst of historically important pieces, from ancient Greek Orthodox chant through early 20th Century choral masterpieces of Rachmaninov, plus one modern fantasy setting of Bach's Apollonian masterpiece "Komm Susser Tod" ("Come Sweet Death") by Scandinavian composer Gunnar Eriksson.
The collection opens with an anonymous 13th Century Russian "Alleluia," set in the calmest tradition of the Orthodox service, followed by a "Sourp, Sourp" ("Holy, Holy") from the Divine Liturgy. Both are sung by the ST. PETERSBURG CHAMBER CHOIR, directed by Nikolai Korniev. More familiar, perhaps, are the four sections of Rachmaninov's Liturgy of St. John Chrysostom from 1910, sung by the large Russian State Symphony capella. There are three additional sections from Rachmaninov's Vespers collection of 1915, sung by the USSR MINISTRY OF CULTURE CHAMBER CHOIR under Valery Polyansky's direction. Should you know of savage beasts in need of calming, the Kiev Chant "Peaceful Light" (track 10) from Rachmaninov's Vespers will turn away all monsters.
The recording also aims to represent the reverential dignity of the music. Following the traditions of the Orthodox Church, no instruments are sounded - not even bells. Everything about the music and the physical setting in which it is heard is designed to produce a feeling of heavenly peace. The music is never harsh, but rather blends into the richly decorated surroundings, lit primarily by candle light. All of these selections are designed to fit within the soft golden glow of ecclesiastical tranquillity.
Rachmaninov's seven pieces are spread among a variety of other unusual works ranging from the wordless "Chorale" by Josef Ketchakmadze to the little "Serenade" by Rachmaninov's composition teacher, Sergei Taneyev (1850-1915), sung by the LEGE ARTIS CHAMBER CHOIR under Boris Abalian's direction in St. Catherine's Lutheran Church, St. Petersburg. (Yes, they have Protestant and Catholic churches in Russia.)
Easily the most unusual and unexpected item in the collection is the setting of "The Lord's Prayer" by of all people Rimsky-Korsakov. Known for his virtuoso orchestral music, few will expect so deeply devout and reverent a piece from this composer. Although his choral music is rarely performed or recorded, he published several collections of religious texts, as well as 39 superb choral settings of Russian folk tunes. This version of "Our Father" is drawn from Rimsky's Opus 22 collection.
Only with the fall of the Iron Curtain ten years ago has much music of this warmly spiritual type made inroads into the Western world. That which has emerged has indeed proven to be a sacred treasury, individual in that it combines spiritual dignity with unabashed human emotion music reflecting aspiration and pure love. All are couched within pure syllabic settings, free of formal counterpoint. While this music offers a high level of artistry, at the same time it refuses to call attention to its internal workings. (When first you encounter Sacred Treasures III, listen to Track 10 and you'll hear what I mean.)
Hearts of Space enjoyed healthy sales of the first two volumes in their Sacred Treasures series. There is every reason, judging from the music compiled in the most recent installment, to expect at least the same level of success from Sacred Treasures III. Expertly chosen by producer ELLEN HOLMES, beautifully recorded and lovingly mastered, these are works of timeless magnificence.
ELLEN HOLMES, concept, music selection and track notes
1. "Alleluia, Behold The Bridegroom"
Anonymous (c. XVIII cent.) St. Petersburg Chamber Choir dir. by Nikolai Korniev
This beautiful prayer from the Russian Easter Liturgy, recorded especially for this compilation, floats gently through space and then ascends like the frankincense that fills the cathedral.
2. "Sourp Sourp (Holy Holy)"
Divine Liturgy / Komitas
St. Petersburg Chamber Choir dir. by Nikolai Korniev
The ethnomusicologist, monk, and choir master Komitas, who lived from 1869-1935, was one of Armenia's greatest composers. His setting of the "Patarag," the Armenian Divine Liturgy, includes this lyrical jewel. Usually sung by an all-male or all-female choir, the piece is performed here by a mixed choir, recorded especially for this compilation.
3. "Lord Have Mercy"
Liturgy of St. John Chrysostom, Op.31 / Rachmaninov;
The Russian State Symphony Cappella dir.by Valery Polyansky
An eloquent setting of the most pervasive and emotional prayer in the Russian Liturgy. The words "Gospodi pomilui" which mean "Lord have mercy" are an exact parallel to the "Kyrie eleison" of the Western mass and are repeated constantly throughout the liturgy. Rachmaninov's setting of this most-cherished prayer is magnificently performed under the direction of Valery Polyansky.
4. "The Mercy Of Peace (excerpts)"
Liturgy of St. John Chrysostom, Op.31 / Rachmaninov; The Russian State Symphony Cappella, dir.by Valery Polyansky
Angelic and serene, this exceptionally beautiful performance by Russia's greatest mixed choir truly invokes "the mercy of peace."
5. "Komm Susser Tod"
Gunnar Eriksson (after J.S. Bach)
The Erik Westberg Vocal Ensemble dir. by Erik Westberg
This prayer of surrender is based upon one of J.S. Bach's most touching pieces. The original Bach chorale was arranged by two Scandinavian composers in turn first, Knut Nystedt, and then Gunnar Eriksson whose elaborations create a series of haunting dissonances seemingly suspended in timelessness, adding an otherworldly dimension to this exquisite piece.
6. "Serenade"
Sergei Taneyev
Lege Artis Chamber Choir dir. by Boris Abalian
This tenderly lyrical setting of text by the poet A. Fet is a miniature by one of Rachmaninov's most important teachers.
7. "Grant Us This O Lord"
Liturgy of St. John Chrysostom, Op.31 / Rachmaninov
The Russian State Symphony Cappella dir. by Valery Polyansky
From Rachmaninov's setting of the Divine Liturgy, this is a particularly beautiful and compelling rendition of the invocation for mercy.
8. "Our Father"
Rimsky-Korsakov; St. Petersburg Chamber Choir dir. by Nikolai Korniev
The orchestral music of Rimsky-Korsakov is far better known than his sacred choral music, but this intimate setting of the "Our Father," recorded especially for this compilation, reveals his mastery in composing heartfelt music for Russian cathedrals as well as for concert halls. Thanks to Musica Russica for the score.
9. "Gloria (excerpt)"
All-Night Vigil, Op.37 / Rachmaninov
USSR Ministry of Culture Chamber Choir dir. by Valery Polyansky
This final verse of Rachmaninov's setting of the Gloria, in a majestically serene performance by Valery Polyansky's great choir, conveys a feeling of assurance that ultimately, all is well.
10. "Peaceful Light (Kiev Chant)"
All-Night Vigil, Op.37 / Rachmaninov
USSR Ministry of Culture Chamber Choir dir. by Valery Polyansky. Victor Rumantsev, tenor
Rachmaninov's All-Night Vigil, commonly translated as Vespers consists of 15 motets, 9 of them based upon ancient Byzantine chants. While this piece is being sung, all the candles and lamps in the cathedral are lit.
11. "Praise The Lord O My Soul (Greek Chant)"
All-Night Vigil, Op.37 / Rachmaninov
USSR Ministry of Culture Chamber Choir dir. by Valery Polyansky. Irina Arkhipova, mezzo-soprano
Both of Rachmaninov's major sacred choral compositions the Liturgy of St. John Chrysostom and the later All-Night Vigil include the prayer "Praise the Lord O My Soul" in a solemn melody for female solo and full choir. Soloist Irina Arkhipova is one of Russia's most important singers.
12. "Blessed Art Thou O Lord (Kiev Chant)"
Ancient tune from the Requiem Liturgy
Harmonized by hieromonk Nafanail (Bachkalo); Choir of the Trinity-St. Sergius Laura dir. by Fr. Matfei Mormyl
This performance of the ancient chant was part of the historic Kulikovo 600th jubilee memorial service in 1980, at the Trinity-St. Sergius Laura on the feast day of the Nativity of the Most Holy Mother of God. With its hypnotic repetition and gradually building emotional intensity, it is a powerful expression of deep faith and ultimate affirmation.
13. "Chorale"
Josef Ketchakhmadze
St. Petersburg Chamber Choir dir. by Nikolai Korniev
This beautiful contemporary Georgian piece, recorded especially for this compilation, is a prayer without words which quietly immerses the listener in a mood of deep peace and benediction.
14. "Amen, Alleluia"
Liturgy of St. John Chrysostom, Op.31 / Rachmaninov. State Symphony Cappella
dir. by Valery Polyansky
This "Amen, Alleluia" from Rachmaninov's monumental Liturgy, suggests the tolling of a great cathedral bell. It is a summation of the Liturgy's innermost essence and of this musical journey.
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Sacred Treasures - Sacred Treasures IV: Choral Masterworks:Quiet Prayers
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Track Listing
- PART: O Weisheit 2:18 (MP3)
- KEDROV: Otche Nash 2:27 (MP3)
- VICTORIA: Jesu Dulcis 1:58 (MP3)
- LAURIDSEN: Contre Qui, Rose 4:06 (MP3)
- FAURE: Benedictus 2:37 (MP3)
- CHRISTOV: Cherubic Hymn #4 4:42
- DURUFLE: In Paradisum 3:12
- LAURIDSEN: O Nata Lux 4:54
- FAURE: In Paradisum 3:46
- LAURIDSEN: OMM 6:36
- PART: Spiegel Im Spiegel 8:35
- PART: Pari Intervallo 7:25
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SACRED TREASURES IV is a richly textured compilation of some of the most tenderly beautiful pieces from the vast repository of Western sacred choral music, all but one piece dating from the early 20th century to the present. As the title suggests, these choral masterworks are truly quiet prayers.
In choosing the music, much emphasis was placed upon finding the most exquisite rendition of each piece, after comparing numerous performances by different choirs. As a result, every track is sublime! Another signature feature of Sacred Treasures IV--as in the entire Sacred Treasures series (all of which is the handiwork of producer Ellen Holmes)--is the intentional sequencing of the pieces. Rather than being simply a random collection of beautiful music, Sacred Treasures IV is designed to be an inward journey or tone poem.
Among the most notable pieces are three jewels each from beloved contemporary composers Morten Lauridsen and Arvo Part. The Lauridsen offerings are all stand-outs: the radiant "O NATA LUX", the heavenly "O MAGNUM MYSTERIUM", and the poignant "CONTRE QUI, ROSE" which is based upon a poem by Rilke about love.
Opening the album is Arvo Part's powerful invocation to wisdom "O WEISHEIT", which is infused with expansive natural resonance from the ancient stone church where the piece was recorded. The two concluding instrumental pieces are also by Arvo Part: "SPIEGEL IM SPIEGEL"--a deep meditation for violin and piano--and"PARI INTERVALLO"--a masterpiece for pipe organ in its quietest mood. From 20th century France, there are two exquisite classics by Gabriel Faure'--"IN PARADISUM" from his Requiem and "BENEDICTUS" from the much less famous Messe Basse--and Maurice Durufle's ethereal "IN PARADISUM" from his Requiem. In addition, there are two angelic pieces from the RUSSIAN ORTHODOX tradition, and a heart-melting, rarely performed gem from the Renaissance--Victoria's "JESU DULCIS MEMORIA"--which sounds as if it could have been written yesterday. This is truly a sanctuary for the soul, a haven for the listener to return to over and over again...
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