Five Stars for Hymns of Kassianí

Hymns of Kassianí gives Hymns of Kassianí a five-star rating in both performance and sonics!

“The importance of this new release is to allow us to go back in time to discover more about the origins of sacred choral music, and – perhaps a revelation for uninitiated – that Hildegard von Bingen wasn’t the first female composer. Three centuries (!) before her, St. Kassía of Constantinople (now Istanbul) composed “texts and music for Byzantine public worship”. … What struck me right away, is the high degree of professionalism of the mixed male-female chorale… For me, it is the spiritual force that emanates from these chants that make them so impressively intense and foreboding.… The full mystic weight invades your spirit like being back in the Eastern Orthodox time. Proof of Cappella Romana’s authenticity? For me, no doubt. We owe it to Alexander Lingas that these and other Byzantine memories from the mist of times are brought to life and recorded for eternity.”

—Adrian Quanjer,

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First Reviews for Hymns of Kassianí!

Cappella Romana’s new recording, Hymns of Kassianí comes out the 16th April, and reviewers are already excited:

“Cappella Romana are specialists in Byzantine chant, and this album is a stunner. The release is an SACD hybrid multichannel recording. If possible, opt for the physical disc rather than the digital download for this one. The release has both 2-channel and 5.0 surround formats, with 192k/24bit resolution. Hearing this recording in surround made me feel like I was standing in the Hagia Sofia when these hymns were new. I am so looking forward to the next installment.” —Ralph Graves, WTJU (full review)

“Especially when the men and women sing together, with the flowing melodies accompanied by a droning single note, it has a singularly powerful effect. If you turn it up and close your eyes you feel like you’re in a vast church or cathedral in the presence of something greater than the sum of the individual human voices surrounding you… sit back and listen, and let Cappella Romana’s superb singers transport you back to the Byzantine Empire.” —Jon Sobel, BlogCritics (full review)

“The music is rather striking with pedal points that provide a base line against the chant lines that stay mostly syllabic with little melismas for extra emphasis.  Listeners more familiar with Gregorian Chant will also notice a decidedly different modal quality with the unique lines turning in unique ways that have closer parallels in Middle Eastern chant styles. … The performances transport the listener back in time to experience this music in stunning sound.  Notes and additional information in the accompanying booklet help further bring Kassiani’s music to life by the premiere ensemble performing these ancient Byzantine music.  More music from the woman canonized as Kassiani the Hymnographer is forthcoming this year. … Highly Recommended!” —Steven A. Kennedy, Cinemusical

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Lost Voices of Hagia Sophia in Choir and Organ

The March/April 2021 issue of Choir and Organ Magazine has a review for our Lost Voices of Hagia Sophia recording:

“Lost Voices of Hagia Sophia from Cappella Romana, directed by Alexander Lingas, is an extraordinary feat – the first vocal album ever to be recorded in live virtual acoustics. … Stunningly convincing sounds emerge as these accomplished experts in medieval Byzantine chant flow seamlessly through eastern inflections with marmoreal vocal qualities in material impeccably researched and unimpeachably convincing. … They claim that this will ‘transport you back in time’ – a clichéd boast which for once is under-inflated. No chant enthusiast should be without it.”

—Rebecca Tavener, Choir and Organ

See the full review in the March/April issue of Choir and Organ Magazine

Benedict Sheehan’s Liturgy of Saint John Chrysostom in The Living Church Magazine

Geoffrey Williams reviews Benedict Sheehan and The Saint Tikhon Choir’s recording of Benedict Sheehan’s Liturgy of Saint John Chrysostom for The Living Church Magazine:

“Sheehan and his fine singers have brought to life a new piece that bridges the gap both between the centuries and between the traditions of East and West. The choir is a blend of seminarians and professional choral artists from across the country. This blend is apparent in the cohesive singing, but also in the clear, shared intent of interpretation, a credit to the composer as conductor. … this performance sets a new standard for excellence in the American choral landscape. … this performance expresses text with a fresh clarity of intention from movement to movement. … Sheehan’s compositional voice follows in the footsteps of the 20th and 21st century phenomena Arvo Pärt, Jon Tavener, and Ivan Moody, taking a uniquely American approach and color when paired with the influence of ancient chant. This approach is remarkably unsentimental, which reflects a real sense of compositional maturity. … [a] vibrant contribution to the choral repertoire both in and outside of the Lord’s temple.”

—Geoffrey Williams, The Living Church

Five Stars for Benedict Sheehan’s Liturgy from Audiophile Audition

Audiophile Audition‘s Steven Ritter gives a five-star rating to Benedict Sheehan and the Saint Tikhon Choir’s recording of Benedict Sheehan’s Divine Liturgy of Saint John Chrysostom:

“The work itself is fresh and vibrant… Orthodox worship is not to play solely to the emotions, but to provoke gratitude and compunction in the hearers. The above statement is perhaps what I like best about Sheehan’s liturgy. … This is a testament to the power of this offering in that it doesn’t draw attention to itself, but to the functional worship of God in a liturgical setting. There are memorable moments in the piece, but they are encountered in the context of the immediate worship experience. … This is a superb effort on many fronts, not least of which is the quality of the work itself. The production is engineered by the wonderful technicians at Soundmirror, which is self-recommending, and the St. Tikhon’s ensemble is spot on, captured in brilliant surround sound. Here’s hoping that more releases like this, from Sheehan and others, are in the offing for the near future.”

—Steven Ritter, Audiophile Audition

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Fanfare Magazine Reviews Benedict Sheehan’s Liturgy of Saint John Chrysostom

Alongside a must-read interview with Benedict Sheehan, Fanfare Magazine’s March/April 2021 Issue features THREE reviews of his Divine Liturgy of Saint John Chrysostom recording with the St. Tikhon Choir on Cappella Records:

James A. Altena:

“I own a goodly number of settings of the Liturgy by various composers—Chesnokov, Grechaninov, Ippolitov-Ivanov, Kastalsky, Rachmaninoff, Shvedov, Stoyanov, and Tchaikovsky—but not one of them sustains without surcease the atmosphere and spirit of radiant, exultant joy that Sheehan so masterfully accomplishes here. Even in the most quiet and deeply meditative sections, such as the Hymn of Justinian, “Only Begotten Son,” that sense of ethereal rapture is pervasive. Sheehan also has a very distinctive harmonic and stylistic footprint that immediately sets him apart as an individual voice, and yet is fully within the traditional ambit of Russian Orthodoxy, even with the innovative touches noted in the accompanying interview. … the Saint Tikhon Choir under the composer’s direction is simply beyond praise for excellence (including some superb basso profundos). The recorded sound of the CD is exquisite in warmth and amplitude; the booklet provides extensive notes by the composer, the complete text of the liturgy, artist bios (including the complete choir roster), and photos. … The CD alone would make this release a must-have; the accompanying Blu-ray disc is even more of a knock-out. First there come the world premiere performances of two movements from the Liturgy, recorded at St. Stephen’s Pro-Cathedral (Episcopal) in Wilkes-Barre, PA. That is followed by the premiere live performance of the entire setting as part of a primatial liturgy celebrated at St. Nicholas Cathedral (Orthodox Church in America) in Washington, DC by Metropolitan Tikhon. The church is visually stunning; I was particularly intrigued by the use of some non-traditional colors (e.g., a lovely forest green) in some of the ikons. And, as a non-Orthodox Christian who has nonetheless attended many celebrations of the liturgy, I personally found the filming of the complete primatial rite to be entirely engrossing. … My draft 2021 Want List is beginning to burst at the seams, but this release is definitely a major contender. If you were to have only one recording of the Orthodox liturgy in your collection, I would unhesitatingly recommend that this be it; urgently, glowingly recommended.”

—James A. Altena

Daniel Morrison

“the music Sheehan has created for this Liturgy is of extraordinary beauty, depth of feeling, and spiritual exaltation. Although it sometimes rises to the heights of ecstasy, the predominant mood, conveyed by beautiful, gently undulating melodic lines, is one of serenity and contemplation, permeated by a sense of awe and otherworldly mystery. As one would expect from his background and experience, Sheehan’s handling of choral writing is expert, but it is also inspired. I am at a loss to pick out individual numbers as highlights because there are so many of them. … while the CD is quite good, the stereo Blu-ray sound predictably offers greater spaciousness, clarity, definition, and color. … the Saint Tikhon Choir sings beautifully, with luminous, blended tone, excellent intonation, and deep commitment. There is in their renditions an intensely devotional quality that I have noticed as well in other religiously affiliated choruses, such as Gloriæ Dei Cantores and those of PaTRAM, a quality that derives from profound belief in the message of the music and words they are singing. One senses that they are not just performing music but also engaging in an act of worship. 

In his notes for this release, Benedict Sheehan writes that he offers this music “for the enjoyment and consolation of every soul.” I found both of these in his beautiful and moving work.”

—Daniel Morrison

Colin Clarke

“One can hear sincerity and belief in music regardless of one’s own beliefs, and that in itself can become a spiritual and transformative experience. Certainly, that is the case here, as the radiance of Benedict Sheehan’s piece is beyond doubt. … The performances do the seemingly impossible: they bring the liturgy to vibrant, immediate life while referencing, upholding, and above all respecting the tradition they represent and, in the very act of performance itself, prolong. The choral sound is lush and impeccably balanced, solo contributions confident, forthright, and ever spiritual. Regarding format, there is one performance on compact disc (disc one); the second is a Blu-ray of that recorded performance plus the premieres of two short hymns from the Liturgy and the liturgical premiere of the complete Liturgy. …

The choir certainly has the sound required, including basses that could easily have been shipped across from Saint Petersburg, so earth-tremblingly grounding are they. Some techniques are taken across from this music’s rich history: the use of double choir is one such. One can identify influences from Schütz to Pärt, and to do so underscores the historical lineage; but one has to remember the freshness of the now that is a vital part of this music also.…

The music’s warmth and, above all, its assurance that what the performers sing is true is remarkable. The idea of a 21st century American Orthodox liturgy built upon the Russian Orthodox tradition is a mouth-watering one… Musically, of course, it is to the compact disc performance that I will most often return; but as an experience, the Blu-ray service is unforgettable. This could constitute a rare entry of religious music into my Wants List … who knows?”

—Colin Clarke

See the full reviews in the March/April 2021 issue Fanfare Magazine

Fanfare Magazine Interviews Benedict Sheehan

Fanfare Magazine’s James A. Altena has a new must-read interview with Benedict Sheehan after the release of his Divine Liturgy of Saint John Chrysostom recording with the St. Tikhon Choir on Cappella Records:

Benedict Sheehan is the artistic director of the Saint Tikhon Choir, at St. Tikhon’s Orthodox Monastery in South Canaan, PA (in the far northeast corner of the state). He has also performed extensively with Cappella Romana and has been featured as a composer by the Skylark Vocal Ensemble. He is also active as a composer, primarily of sacred music. Cappella Romana’s own label, Cappella Records, has just released a combination CD/Blu-ray set comprising the premiere studio recording of Sheehan’s setting of the Divine Liturgy, along with its premiere live performance in October 2019 as part of a primatial liturgy celebrated at St. Nicholas Cathedral in Washington, DC, by Metropolitan Tikhon of the Orthodox Church in America (OCA). Mr. Sheehan has kindly taken the time to discuss all this, and more, with Fanfare. 

As I’m sure you know, I’ve previously interviewed a number of your colleagues in the Eastern Orthodox musical word: Vladimir Gorbik, Alexis Lukianov, Katia Lukianov, and Kurt Sander with Peter Jermihov. Your name has come up in all or most of those prior interviews, so it’s a pleasure finally to make direct contact. As I have done with those previous interviews, I like to begin with questions about your personal background. Like Kurt, you are a convert to Orthodoxy instead of cradle Orthodox; unlike him, you came into Orthodoxy at the age of five when your parents converted, rather than on your own as an adult. To what faith tradition if any did your parents previously belong, and what caused them to move from that to Orthodoxy? Do you have any memories of making a transition yourself? Was your surrounding milieu one in which Orthodoxy was a rarity, and if so how did you relate to non-Orthodox peers growing up? 

My dad started becoming interested in Orthodoxy when I was about four years old. He had a powerful conversion experience involving the Jesus Prayer, a prayer central to the Orthodox spiritual tradition. It’s a really amazing story. You can read about it in the introduction to one of his books of essays—The Grace of Incorruption, I think. At the time neither of my parents were particularly religious, at least in a formal sense. My dad was an academic and my mom was a therapist and a practicing astrologer, among other things, which she incorporated into her therapy work. (Her clients were mostly female victims of childhood sexual abuse.) After my dad converted, my parents gave me the choice to either go to church with dad, or stay at home with mom. I chose to go to church with my dad, and was received into the Church at the age of five. My mom eventually converted too, about four years later, and remains a devout Orthodox Christian to this day. I suppose, then, that my childhood was really a long process of conversion. I remember not being Orthodox, but most of my conscious life has involved church-going in some capacity. 

I didn’t really make Orthodoxy my own, though, until I was in my early teens. Until then it was mostly something my parents did. I guess everyone has to make a conscious choice about their identity and beliefs during their adolescence. Mine actually came about through music and music’s connection to the Church. But more on that later! 

Yes, Orthodoxy was definitely a rarity where I grew up. For the longest time I was pretty much the only Orthodox kid that I knew. I started going to church camp when I was 10, so that helped to broaden my world a bit. We also moved at about that same time and started going to a church that had more young people, so that helped too. But I certainly always felt a little unusual. (I still do!) There really aren’t a lot of practicing Orthodox Christians in America. 

To those unfamiliar with Orthodoxy, how would you describe your own commitment to the Orthodox faith, and what you find fulfilling in it? 

As I said earlier, my personal connection to the Church really came about through my interest in music. For me, Orthodoxy is inseparable from the Liturgy. Everything comes together there. Everything springs from there. And in Orthodoxy the Liturgy is so much about beauty—the beauty of holiness, the beauty of humanity freed from all things that enslave us, the beauty of God. So I guess I would say that my commitment to Orthodoxy is really a commitment to this beauty. I can’t think of another way to say it. As time has gone by, I’ve experienced many aspects of the life of the Church, and I’ve certainly seen how people can be drawn to other things about Orthodoxy. I’ve also seen people drawn to things about the Church that are less than inspiring—I’ve been there too—or drawn to Orthodoxy because they have an irresistible urge to tell other people why they’re wrong! At this point, I have basically zero interest in that kind of Orthodoxy. People can amuse themselves in online chat groups if they want to. But the beauty of God and the beauty of our neighbor as revealed in transcendentally beautiful worship? That’s what keeps me going. And that’s what I think Orthodoxy has to offer the world. 

Let’s turn now to more directly musical matters. Was your family a musical one? How did you become interested in music, and decide to pursue it for a vocation? At what schools did you study and earn your degrees? Who were the teachers who most shaped and influenced your development as a musician, and what specifically do you owe to each of them? 

I would not say I came from a musical family. My dad loved music, but he grew up in an era when a teacher would tell a kid just to mouth the words if she didn’t like his voice—that actually happened to him—so he always believed he couldn’t sing. My mom had a better experience—she actually took piano lessons from Ruth Crawford Seeger as a kid—but she didn’t really continue doing music seriously in adulthood, aside from singing in the church choir after she became Orthodox. My older brother studied guitar pretty seriously in his teens, but I didn’t really have any interest at the time. 

My own connection to music came about rather suddenly, and rather late, at least for someone hoping to become a professional musician. When I was 12 or 13 my grandmother (actually my grandfather’s second wife), who was neither a musician nor a religious person, sent me a cassette tape of Russian church music for male choir. To this day I have no idea why she thought to give me that tape. I was the last kid you would expect to be interested in something like that. My tastes ran to rap and punk and other kinds of things an adolescent boy might reasonably be drawn to. But something about this music absolutely riveted me. I played that tape until it literally wore out, and it sparked in me a burning passion for sacred choral music that has never gone out. 

From that point on, I started studying music more and more seriously. After my freshman year of high school I asked my parents if I could be homeschooled in order to focus more intensively on music. My dad was teaching at Dartmouth College at the time, and my mom was working as an editor, but they figured it out. I used a little office in a friend’s house to study while my parents were at work—we were actually living in an off-grid Vermont homestead during those years, and I needed electricity so I could use a computer! So, holed up in that little office, I just worked on learning music. With my dad’s connections, I also took full advantage of the Dartmouth music department. I took theory with a visiting professor from London, Roderick Swanston; I took some history classes with Bill Summers; I sang in the Dartmouth Handel Society under Melinda O’Neal, and in the Dartmouth Chamber Singers; and I took piano lessons for three years from Gregory Haynes, who also gave me my first real composition lessons. 

I also benefited a great deal from the musical culture at our church, Holy Resurrection Orthodox Church in Claremont, NH. The priest there, Fr. Andrew Tregubov (who’s still there), is a real music lover and he instilled that love in the whole community. At the time, Fr. Andrew’s dad, Semyon Tregubov, was living at the rectory, and he was a former opera singer and voice teacher from the Moscow Conservatory. So I and a number of other young people from the church took voice lessons with him. We all really grew a lot—he was an excellent teacher and he really devoted himself to his students. He was the first person who taught me to sing. It’s really quite amazing, when I think back on it, how much musical culture happened in that little New Hampshire parish. In addition to having a pretty serious church choir, we did concerts and even staged little opera scenes. A number of the people who came from that church are still active professional musicians today, including Anton Belov and Laryssa Doohovskoy. Ignat Solzhenitsyn, son of Alexander Solzhenitsyn and a famous pianist and conductor, was also a member of the parish during those years. It shows you how influential a church can be when it takes music seriously. 

When I was 15, the choir director at our church died suddenly, and I was one of the people who got asked to help direct services. That was my first foray into conducting, and I’ve been doing it ever since. Around that same time I met another person who’s been extremely influential in my development as a musician, Vladimir Morosan. We first met at a music workshop at St. Vladimir’s Seminary, but once I turned 16 and could drive myself around I started commuting once a month to meet with Vlad at his home in Connecticut. He really introduced me to the whole world of Russian church music. He also instilled in me a love for chant and for the subtle relationship between text and music. I’ve stayed in touch with Vlad ever since. He really invested in me during those years, and I will always owe him a debt of gratitude for that. 

The path I was on naturally led to conservatory. In 1997 I went to Westminster Choir College on a composition scholarship—I entered their composers’ contest on a whim and won—and absolutely loved the experience. It was a thrilling place to be. I also met the woman who I would very shortly thereafter marry (as a college Junior), Talia Darville (now Sheehan). A fabulous singer, pianist, and educator, Talia continues to be my closest companion in all my musical endeavors. While at Westminster I studied conducting with James Jordan, who showed me that there was more to conducting than just waving your arms at the right speed—it was about human connection. I did my composition studies under Joel Phillips. Joel was a wonderful teacher who, among many other things, taught me how to limit myself to just one or two strong ideas and let them shape an entire piece. He also helped me learn to silence my inner critic—one of the hardest things a creative artist has to do—and to believe in whatever ideas intuitively came out. He always said that the first idea is usually the right one, and I’ve seen him proved right more times than I can count. 

Fast-forward a decade or so—where’s a montage when you need one?—I started a family, spent a couple years at St. Tikhon’s as a student, moved several times, worked as a pre-school teacher and a carpenter, had some more kids, and moved back to St. Tikhon’s to teach. I also met and worked with Vladimir Gorbik for a year, from 2012–13. He taught me some very valuable things about the architecture of conducting gesture, and he definitely bolstered my confidence as a conductor. I’m very grateful for the time I spent with him. Then, in 2014, I decided to go back to grad school at Bard College Conservatory of Music in Annandale-on-Hudson, NY. This was one of the best decisions I ever made. I had a fabulous two years there studying conducting under James Bagwell, who taught me more than I can say—how to run a rehearsal, how to be crystal clear with gesture, how to treat people like human beings while demanding their best from them. James also helped me establish connections in the New York choral scene, which has been a huge benefit for me ever since. I also studied composition with Kyle Gann, who basically told me, “Keep doing what you’re doing.” Sometimes a student just needs to hear that. Kyle also gave me feedback on my first drafts of the Liturgy. 

What do you consider to be the most important lessons, techniques, and values you have acquired as a composer and conductor? How do you endeavor to pass those on to members of the choirs you conduct? 

As a composer, I think the most important thing is what I said earlier: trust your instincts. Your unconscious mind is a lot more powerful than your conscious mind, so you should listen to it when it talks to you. That’s not to say you don’t work on your technique—every composer needs to do that—but you have to believe in your ideas as they come. 

As far as technique, though, I think one of the best things a composer can do is study Species Counterpoint. I believe all harmony is actually counterpoint, and further, that counterpoint is the art of civilization. Counterpoint teaches you how to follow rules and conform to a larger structure without destroying your individuality and personal freedom. This is so hard to do, and it takes a lot of patience and negotiation. I think a lot of composers shy away from counterpoint—probably because it’s so challenging to do well, or perhaps because they think it sounds too old-fashioned—but I encourage my composition students to dive in and really work at it. Species Counterpoint is the place to start. They say Brahms did Species Counterpoint exercises every day. So maybe it’s not such a bad idea! 

As a conductor, I really believe in a collaborative approach. Conducting is a strange art form that always teeters on the edge of the unnecessary. I mean, do we need conductors at all? In an ideal world, I would actually say no. We certainly haven’t always had them, and many ensembles do fine without them. I think conductors are a convenient solution to the fact that it’s very difficult for a given group of people to arrive at perfect consensus in real time. But it’s not impossible. Thus, my goal as a conductor is always to encourage the ensemble to take ownership of what they’re doing. The more they do that, the less I have to control things, and the better the music sounds. Now, this is not easy to do. It’s the art of leadership, and God knows how hard that can be. But leadership works so much better when you’re trying to encourage people to want what you want, rather than trying to force people to do what you want. This is what I tell my conducting students, and this is how I try to operate. 

The Saint Tikhon Choir was founded by you and Abbot Sergius in 2015. It is the first professional choir associated with an Orthodox monastery in the USA. Would you please tell us both how this came about, and a bit about Abbot Sergius as well? 

I actually began working on the idea of starting a professional choir to sing Orthodox repertoire after I met Vladimir Gorbik in 2012. We put a group together to do a couple of projects in 2013 and 2014, and this group eventually developed into the PaTRAM Institute Choir after our paths crossed with Alex Lukianov. But it had always been in my mind, and in the mind of Fr. Sergius, that there should be a group associated with St. Tikhon’s Monastery. Fr. Sergius is actually a musician himself—he was the choir director at St. Tikhon’s for the 10 years before I took the job—and he has a real heart for the importance of music in the Church. He dedicated himself to music before he became Abbot of St. Tikhon’s, and since becoming Abbot he has dedicated significant resources to supporting my work and to building up a music staff here. So in 2015, about halfway through my first year at Bard, I put a group together from some of the graduate vocal students at Bard, a handful of people from the St. Tikhon’s community, several of my old friends from college, and a number of professional singers from the New York area that I had met through Bard. I asked Fr. Sergius what repertoire he thought we should do, and he said, “Do an album of your own music.” So, in May of 2015, we recorded an album called Till Morn Eternal Breaks: Sacred Choral Music of Benedict Sheehan, a kind of clearing-the-backlog album of stuff I had composed over the preceding 15 years. (On that album we actually called the group “The Chamber Choir of St. Tikhon’s Monastery.” We later realized this was a little laborious, and changed it in 2018 to the current name, “The Saint Tikhon Choir.”) This was the beginning of our group.

How large is the choir? From where does it draw its members, and is that membership generally constant or does it have a fairly regular turnover? How many seminarians from St. Tikhon’s, if any, are typically members of the choir? 

Like most American professional choirs today, the Saint Tikhon Choir is project-based, so it varies in size depending on the project. For the recording of my Liturgy, we actually used the largest group we’d ever put together, 39 singers as I recall. (By way of a comparison, our first album was only 18 singers.) A good proportion of the members come from the New York area and sing in other groups around the city. We also typically have five to 10 fly-ins from around the country on any given project, people who sing in other professional groups—a number of folks from Cappella Romana, actually—or people who have some connection to St. Tikhon’s but have moved elsewhere. There’s a core group of about six people, including my wife, who sing with us and live full time at St. Tikhon’s. Typically seminarians aren’t members of the group, but every now and then I’ll invite a particularly talented student to join us. On the Liturgy recording there were, I think, four or five current seminarians and/or spouses of seminarians, and about the same number of alumni. My two eldest daughters, Miriam and Irene, are also quite talented singers, and they’re on the Liturgy recording as well. Miriam is actually a music student right now, studying vocal performance at Portland State University on a full scholarship under Ethan Sperry. They’re building an excellent music program there, and we’re thrilled to have her in it. 

A core group of the people who sang on our first project in 2015 have been with us for every project since. Jason Thoms, who is currently the choral director at Bismarck State College in North Dakota and the bass soloist on the Liturgy recording, has sung on everything thus far. A number of others have too. There’s always turnover from project to project, but we’ve managed to maintain a fairly consistent culture over the last five years. One of the really important things to me in recruiting people is not merely looking for the most talented or accomplished singers, but also looking for people who really get what we’re about and are open to the ethos of St. Tikhon’s. We don’t require our singers to be Orthodox or even to be religious, but we do require people to be open-hearted and open-minded. So far, I feel this approach has worked extremely well. We have an absolutely amazing group of human beings who have formed bonds with one another that extend far beyond music-making. I feel incredibly privileged to have these people in my life. 

What is your typical work schedule with your choir? Are the services of divine worship at the seminary conducted primarily in English, or in Church Slavonic and Russian, or in some mixture of these? And, what has been the impact of the COVID-19 pandemic on both the choir’s activities and your personal and professional schedule? 

When we gather a group for a project, we typically maintain a pretty intense schedule. We put in about 12 hours of rehearsal over the course of two or three days, and then perform and/or tour and/or record for another few days. A number of our projects have coincided with the Monastery’s annual Memorial Day Pilgrimage, so we also often sing a few services during our time together. Our services are nearly all in English, with maybe a little bit of Church Slavonic mixed in here and there. 

COVID-19 has, as it has done for nearly every choral group, ground things pretty much to a halt. Services have continued at the Monastery and Seminary in reduced form, but there has been no real choral singing. We’re hoping to restart the Saint Tikhon Choir with a recording project this coming July. 

As far as my own schedule goes, I’ve actually stayed about as busy as I’ve ever been. As I said, services have continued, so even though there are far fewer people singing at any given time, I still have to coordinate a lot of it. I’ve also continued teaching at the Seminary. My wife and I had been doing monthly choir workshops around the country, so those have stopped, naturally. But I’ve actually picked up a number of substantial commissions in the meantime, so that has kept me very busy. My wife also has about 20 or so students that she teaches online. I have a handful as well. 

How often do you work with other ensembles, such as Cappella Romana and Skylark? What sorts of projects have you undertaken with them? 

I started working as a guest conductor with Cappella Romana in 2017, and I’ve done a project with them every season since. We even managed to squeeze in a performance of Tchaikovsky’s Liturgy in Portland literally days before everything locked down this past March! We got home from Portland and went straight into a three-month quarantine. Other past projects with Cappella have been the Tchaikovsky All-Night Vigiland the Rachmaninoff All-Night Vigil. I was supposed to do a run of performances of my Liturgy with them this past November, but that’s been tentatively moved to the fall of 2021. 

In January of 2018 I worked as consultant with conductor Steven Fox and the Clarion Choir on a recording of Kastalsky’s Memory Eternal to the Fallen Heroes. I’m credited on the album as Associate Conductor. That recording was actually nominated for a Grammy in 2019. This project grew into a much bigger undertaking over the course of 2018, with a plan to perform the full choral-orchestral version of Kastalsky’s piece, called Requiem for Fallen Brothers, in the Washington National Cathedral in conjunction with the centennial of the World War I Armistice. The project culminated in a wonderful concert and recording in October of 2018, involving the Saint Tikhon Choir, the Cathedral Choral Society, the Clarion Choir, the Kansas City Chorale, the Orchestra of St. Luke’s, and conductor Leonard Slatkin. I’m credited on that album as a chorus master, along with Steven Fox and Charles Bruffy, and as an executive producer. That album just got nominated for a Grammy this past November (my first real nomination). 

My work with Skylark is fairly new. I met their director, Matthew Guard, at a PaTRAM event in 2018 and we hit it off. We actually toyed with the idea of having them premiere and record my Liturgy, but it ended up working better timing-wise for me to do it myself. Matthew still wanted to perform some of my music, though, so in January of 2019 we cooked up the idea of me composing choral under-scoring for their fairy tales program that they had designed together with narrator Sarah Walker. We actually came up with what I think is a totally original concept—a composed choral accompaniment for a narrator that ties together set pieces of choral music. We called it a “storyscore.” I worked on that piece over the course of the winter, working together with Matthew and Sarah, and then Skylark premiered and recorded it in Boston in June of 2019. That album, called Once Upon A Time, came out in February of 2020 and just got nominated for a Grammy this past November as well! Skylark was so pleased with the project that they turned right around and commissioned another storyscore from me, this time based on Dickens’s Christmas Carol. This is actually a much bigger piece—they wanted me to write all the music, not just the interstitial elements—but I had plenty of composing time during the lockdown, so I finished it this past July. They’re planning to record it this coming summer at last report—basically, as soon as they can get a group together safely. 

You were commissioned to compose your setting of the Divine Liturgy of St. John Chrysostom at the end of 2015. Who commissioned the work, and how did the idea for that originate? How long did it take you to complete the work? Your colleague Kurt Sander began to compose his own English-language setting a few months after you, in 2016. Did the two of you work entirely independently of each other, or were there any discussions or perhaps even constructive exchanges of ideas between the two of you? 

The work was commissioned by the folks at PaTRAM. I think the idea must have come from Alex and Katya Lukianov initially. I’m incredibly grateful to them for their vision and support—it’s through people like them that artistic culture can grow and develop. They’re doing heroic work, and with some pretty amazing successes. I started composing right at the beginning of 2016. I knew it wasn’t slated to be recorded until 2018 at the earliest, and the terms of the commission gave me two years to compose, so I took my time. I worked on it off and on over the next year or so, and finished in June of 2018. I knew Kurt was working on his piece, but no, we never communicated about it. I actually got to sing Kurt’s piece when PaTRAM did the liturgical premiere of it in the fall of 2017, but that was the first time I’d ever seen his score. It was really neat to look at the choices he’d made and see where we had thought alike, and where we had thought differently. That’s the great thing about music—there’s never just one answer. In my book, though, more is more. We need more good Orthodox music in English, written for English, and I’m thrilled with what Kurt has offered us. It’s a beautiful piece. 

You conducted the world premiere offering of your setting for the primatial celebration of the Divine Liturgy by Metropolitan Tikhon. I’ll say that in the video, you appear to be positively radiating joy and confidence. But I’m curious: Were you also nervous or apprehensive? And, how did your choir members feel on such an important occasion? Did the Metropolitan or any other hierarchs present make any memorable comments on your work that you can share? 

To be perfectly honest, I was having the time of my life. I’ve certainly been nervous conducting in church before, maybe even more so in church than in a concert, but it’s almost always been because I’ve had doubts as to whether things are going to go well. Not this time! At that service I was so deeply sure of the choir in front of me that I felt totally relaxed. I did have a few nagging thoughts at the beginning, like “Does this piece actually work in church?” I know I also thought during the First Antiphon, “God, this is a long movement!” But generally, I was just having an absolute blast. I think the singers had a blast too. We were actually joined by 10 or so members of the St. Nicholas Cathedral Choir, along with their director, Kevin Fritts. They did a wonderful job, and I think it was a great experience for them. After the Liturgy, Metropolitan Tikhon made some lovely remarks and called the piece “a new milestone for Orthodoxy in America.” More importantly for me, though, he also told me he thought the piece worked. That means a lot coming from him. 

One of the other celebrants at the Liturgy is now a bishop, Bishop Alexis (Trader), and he was deeply moved. You can see it on his face in the video! He has been a big advocate of the piece, and of my work generally, since our paths crossed a couple years ago. He wrote a beautiful reflection on the world premiere performance for Orthodox Arts Journal. In it, he says, “the bar for Orthodox liturgical music in the English-speaking world has now been set, definitively.” I was really thrilled to read that. Archbishop David of Alaska—who, very sadly, just passed away after Thanksgiving—was also at the premiere concert and had high praise for the piece. I feel very blessed to have support from some of our church hierarchs, along with many members of the clergy and faithful. Doing work like I’m trying to do, it’s incredibly important to feel like you’re connecting with people on the other side. I’m really grateful for all the encouragement I’ve gotten. 

In your booklet notes for the release, you state: “I have endeavored to build a 21st-century American Orthodox Liturgy upon the resistant foundation of the Russian Orthodox musical tradition.” (I will note for readers that this was one of the specific requirements of the commission.) In addition to that, however, “… I allowed myself to reach out into musical vocabularies not necessarily found in Russian sacred music…. Sounds at once reminiscent of medieval Eastern chant and of 20th-century minimalism, of American folk singing, and of the high tradition of Western church music.” That’s a far-reaching and interesting array of stylistic references. For our readers, could you point to specific moments in your setting where each of these can be heard? 

I really love the rhythm of English. Maybe it’s because I’ve always had a soft spot for Rap and Hip Hop—or maybe it’s because I’ve always had a stutter and could never quite manage to speak with a steady rhythm myself—but I think there’s something incredibly compelling about the irregular, yet incessant, rhythms of English. To me, this kind of effect comes out in the dance-like passages of the First Antiphon (Track 2). Setting my dad’s translations here made this even easier to bring out, given that he paid such careful attention to the cadential patterns of language. Also, towards the end of that same movement, beginning with the text “Bless the Lord, all you his angels,” I was very consciously channeling Sacred Harp style psalm-singing. 

Another couple spots to look at, perhaps for some Arvo Pärt-esque moments, are in the Second Antiphon (Track 3), on the words “on that day all his thoughts shall crumble”; and in the Third Antiphon (Track 5), in the phrase beginning with the words “Blessed are you when men shall revile you and persecute you.” In both of those moments I use broken triads with accented dissonances that I’m pretty sure were inspired by Arvo Pärt in some way (though I couldn’t say which pieces). There are other moments like these. 

The fourth movement, “Only-Begotten Son” (Track 4), I quite deliberately wrote to sound like a Byzantine Chant melody. I was inspired by the idea of the text having been written by Emperor Justinian, and I wanted to write a melody that sounded like something from the ancient world. There are some Arvo Pärt-esque moments in this movement as well, on the words “and wast crucified, O Christ our God.” 

Other moments that come to mind are the seventh movement, “Holy God” (Track 7), where I was consciously inspired by some of the early American rounds, like the William Billings tune “When Jesus Wept”; and the 12th movement, “It Is Truly Meet” (Track 12), which I obliquely modeled on a Bulgarian Byzantine melody at the beginning, and then changed into a quasi-Georgian mode towards the end. But perhaps the most overtly “American” movement is the “Liturgy Ending” (Track 16), which is strongly pentatonic and has some folksy harmonies. I even quote the hymn All Creatures of our God and King on the “Alleluias” towards the end! 

In your booklet notes, you aptly quote Igor Stravinsky (himself an Orthodox believer) and Leonardo da Vinci on how constraints and limitations, and unity rather than “mere variety,” actually foster rather than limit creativity, as boundaries provide parameters that constructively direct inspiration. Russian Orthodox chant traditionally has strict rules governing adherence to znamenny chants for liturgical music. What are some examples of the specific constraints you had to work within, and how did you respond to those, in order to avoid static repetition of the past and, as you put it, “communicating with both past and present in a totally organic way”? 

In one of his lectures Jordan Peterson talks about the idea of “canonicity.” Essentially, he argues, and I think rightly, that canonicity equals influence. At least in the realm of art, he explains, those works may be deemed canonical which have had the greatest influence upon the works that came after. I think this principle holds true in Orthodox music. You mention strict rules governing Orthodox chant, but I’m honestly not aware of anything in the tradition of Orthodox music that could properly be called a rule. I know some people believe that such rules exist—I’ve argued with them plenty of times—but I defy anyone to find something in Orthodoxy that amounts to a genuine universal musical rule. If you dig deep, you might find things like the Canon 75 from the Quinisext Council in 692 that says, “We wish those who attend church for the purpose of chanting neither to employ disorderly cries and to force nature to cry aloud, not to foist in anything that is not becoming and proper to a church.” But how does one apply that? What does “disorderly cries” even mean? Music simply isn’t dogma, regardless of how much one might want it to be. Ivan Moody has a really excellent article about this problem called “The Idea of Canonicity in Orthodox Liturgical Art.” It’s definitely worth reading. 

What there are in abundance in Orthodox music are long-established norms. These norms are the result of highly influential works, or bodies of work, that can be seen in retrospect to have shaped whole swaths of tradition thereafter. In order to understand these norms, though, or even just to notice them, you have to really look closely and spend time working in the art form. This is what I’ve done over the last 25 years. I should also add that these norms exist on a macro level within the Orthodox tradition as a whole, but they also exist on a micro level within a specific jurisdiction or even a specific parish. It’s the composer’s job, I think, to identify and understand these norms and then endeavor to either work within them or work in relationship to them. Those are the constraints I’m talking about. 

Let me try to give you an example of what I mean by these norms, at least as far as they affect a composer. It kind of helps to think of it like an organizational chart. On the macro level, at the top, you have a specific text. As a rule, in Orthodoxy, the texts are fixed quantities. They haven’t substantially changed since the 15th century, though they changed quite a bit before that. This is your first constraint. Then, on the next level down you’ve got the fact that typically Orthodox music doesn’t use instruments. (Some people think this is a canon written down somewhere—it’s not. It’s just a long-established norm with plenty of exceptions.) So you’re dealing with just vocal music and the limitations that go along with that. Below that, you have pre-existing examples of how that text has been set in the past. The farther back in time you go, though, the murkier things get—really ancient chants can be very strange and mysterious, if they’re even readable—so you definitely have to decide what to look at as a model. (Rachmaninoff, for example, when he assembled chant melodies to use in his All-Night Vigil, universally picked the most straightforward and common melodies he possibly could have. There are much more complicated and interesting melodies he could have used, and didn’t for whatever reason.) I generally focus on more recent predecessors—Russian music from the last couple of centuries—simply because they have more force in current practice. But I do also spend a lot of time looking at old chants, and at music from a variety of traditions. Finally, at the lowest level, you have the various musical details contained within your set of immediate precedents. For example, the fact that a lot of commonly used music in Russian-tradition churches tends to be harmonizations of chant. And further, the harmonic vocabulary tends to be limited to diatonic chords in root position, and that the melodies almost universally proceed in a step-wise fashion. 

All of these things are what I mean by the constraints a composer is subject to, and I took all of these things into account when I composed my Liturgy. The goal, in my book, is for the music you compose to sound like “church” to the people who go to your church. If you can create something original within these constraints it’s a pretty wonderful thing, I think. And I believe the result will be infinitely stronger than a piece of music composed without any constraints. You’ll have a piece of music that your audience understands, because they can hear how it’s related to music they already know. But they’ll also genuinely appreciate your originality, because they can hear, and in pretty high resolution, how what you’re doing is new. This is what I mean by “communicating with past and present in a totally organic way.” 

In your booklet notes, you explain how the entire setting came to be based on a single pentatonic thematic motif as a unitary device. What are some of the specific ways you varied use of that motif for different aspects of the Liturgy, such as the litanies, the Lord’s Prayer, the Communion hymn, and so on? 

The motif is introduced melodically by the first sopranos in the opening “Amen.” It gets quoted melodically a bunch of times after that, especially on passages of text that I wanted to bring out. Starting with “Holy God” (Track 7), a number of whole movements are based on the motif as a melodic element. I also work it in as an inner harmony part, such as in the altos in the “Alleluia” (Track 8). That movement has also a statement of the motif in the bass part that I bring in imitatively immediately after the motif is stated by the altos. You can find it again in the alto harmonies in the “Our Father” (Track 13). 

The melody of the “Cherubic Hymn” (Track 9) is entirely based on the motif, but I managed to work it in in diminution as a textural element in the tenors in the final measures, on “Alleluia.” It creates kind of a bell-like effect there. 

The “Anaphora” (Track 11) is again entirely based on the motif. This movement is the dramatic climax of the whole piece, being as it is the most solemn moment of the Divine Liturgy. Statements of the motif gradually build up over the course of the movement until, in the “We praise thee” section—really the climax of the movement—statements of the motif just pile up, one after the other. Listen in particular to the moment that occurs on the words “we pray unto thee”—every moving part is echoing the falling La-Sol-Mi or the rising Mi-Sol of the motif. This is my favorite part of the whole piece. 

In “Praise the Lord from the Heavens” (Track 15), the motif appears in the countertenor solo on the words “for he spoke and they came to be, he commanded and they were created.” After that it starts appearing way down low in the basses, in long augmented rhythms, and as echoes in the baritones. 

Really the motif is all over the Liturgy. It happens too many times to recount here! But perhaps the final really significant moment is the very end of the last movement, where the altos sing the motif on the words “for evermore.” They then carry it into the final “Amen,” which echoes the opening “Amen,” but is lower, deeper, longer, almost endless. A fun note about the opening and closing “Amens”: The first one is in B Major, but I don’t use the A♯, so the key remains a little ambiguous; the last one is in E Major, now with a clear D♯ in the V-chord. Basically, the two “Amens” work together as bookends to create a huge V-I (Dominant-Tonic) movement from the beginning to the end of the piece. I had fun coming up with that! 

Your answer to the previous question brings me to another point that really piqued my curiosity. I don’t believe I’ve ever seen an Orthodox liturgical composition before with a part for a solo countertenor. What inspired you to include that, and have you had any particular reactions to that element? 

I’ve never seen Orthodox liturgical repertoire for solo countertenor either! Initially, I just envisioned that movement for an alto soloist and double chorus, and didn’t think specifically as to whether the soloist needed to be a man or a woman. It just says “Alto Solo” in the score. However, as the piece developed, I began to realize that the soloist would really have to be a distinctive color in order to adequately cut through the thick double-choir texture, so I began thinking countertenor. I had met Tim Parsons, our countertenor soloist, in January of 2018 while working with the Clarion Choir, and had been really impressed by his voice. He has an immensely powerful sound for a male falsettist—I believe the San Francisco Chronicle coined the term “heldencountertenor” to describe him—and I realized he’d be perfect for the movement. I asked Tim to send me a recording of himself singing a section, and when I listened to it, I nearly shouted aloud for joy! It was amazing. Fr. Sergius thought so too. So I asked Tim to sing the part, and away we went. It developed kind of organically, I guess, but Tim ended up really making that movement what it is. A lot of people have told me it’s their favorite movement in the piece. One of the most exciting moments in my life was when Tim and I stepped out in front of the choir to perform that movement during the premiere concert—I remember thinking, “these people have no idea what’s about to hit them!” I’ve scored an even bigger part for Tim in a new piece I’m working on right now. So yes, not a lot of Orthodox liturgical music for countertenor solo, but I feel like there soon will be a lot more! 

In watching and listening to the Divine Liturgy on the Blu-ray disc, I noted that there were certain elements that you did not set, such as the Symbolon (Nicene Creed), for which well-known traditional chants were used instead, although everything fitted together seamlessly. What were the reasons you did not set those texts? Might you consider revising your liturgy to include setting those as well? Due to the 80-minute standard timing constraint of a CD, were there any elements of your setting that are heard on the Blu-ray disc but not on the CD? 

Basically, I was trying to constrain myself to writing about 76 minutes of music (it clocked in at 75:33). I wanted to be sure it would fit on a single CD. Of course, I could have fit a lot more on the Blu-ray, but no, the musical material between the CD and the Blu-ray is identical. (The Blu-ray does offer a number of audio formats, though, including 192 kHz/24-bit 5.1 Surround.) You mention the Creed: in most Orthodox traditions other than the Russian the Creed is actually not sung, but is simply spoken by the congregation. Even in the Russian tradition, it is often sung to a very simple melody by the whole congregation. Big composed settings of the Creed like you get in the 19th and early 20th centuries have largely fallen out of use today, even in Russia, so I opted to skip it for this piece. I left out a number of other elements as well, such as litanies and short responses, along with most of the changeable elements. I did compose settings of the Sunday Prokimenon (a short set of psalm verses used to introduce a scripture reading) in all Eight Tones, but I ended up deciding not to include those in the final score. I might publish them later. 

For the actual live liturgical performance we did in Washington, I did compose a number of the missing parts in order to fill out the service. If there’s sufficient interest I might consider publishing a separate supplement to the Liturgy that would make it easier to sing in church, but I’m not currently planning to add material to the score as we recorded it. I’m anticipating that most of the interest in the piece, at least in the near future, will be as a concert work. 

What immediate and long-term future plans do you have for composing, conducting, and recording? 

As I said earlier, I’ve been pretty busy with commissions over the course of this past year. I’m very excited for the Christmas Carol to get recorded by Skylark next summer. I’m currently working on another Liturgy, commissioned by St. Michael the Archangel Orthodox Church in Louisville, KY for their church choir. This will be a somewhat more approachable score for a church choir, but in other ways even more innovative than the 2018 Liturgy in terms of musical content. I’m about 60 percent done with it, and really happy with it so far. The plan is to get that piece recorded next August in Louisville. 

I’m also working on a large-scale Vespers, at the request of Abbot Sergius. This will be the follow-up piece to the 2018 Liturgy. I’m about 75 percent done with composition right now. It’s pretty epic! The first movement is a complete setting of Psalm 104 based on a chant from the Valaam Monastery, and it’s about 25 pages long—one of my most ambitious scores to date. The Prayer of St. Symeon (Nunc Dimittis), which I have yet to compose, will incorporate a basso profundo solo. I’ve already spoken to Glenn Miller about doing this, and he’s thrilled to sing it. As of right now, I’m planning to gather singers from the Saint Tikhon Choir to record in July of 2021, but that will depend on how things unfold pandemic-wise over the next few months. 

I’m really excited to announce that I will also start working in early 2021 on a choral-orchestral work based on the Akathist “Glory to God for All Things,” a really beautiful Russian para-liturgical text from the early 20th century. It’s kind of an ode to gratitude. This piece was commissioned by an individual patron, so there are as yet no plans for performance and recording, but I’ll be working on those as I go. Another great feature of this commission is that I’ll be collaborating on it with my close friend, the fantasy novelist and musician Nicholas Kotar. Nicholas will be crafting a kind of mythic narrative frame within which the Akathist will be set. A lot of threads will come together in this piece—American history, the struggle against totalitarianism, gratitude as the answer to suffering—so I can’t wait to share our work with the world over the next few years. Stay tuned! 

As far as hopes for the future, one of my goals is to find a way to perform my Liturgy in Russia in the next year or so. I’d really like to introduce this piece to a Russian audience. I’ve already found some interest over there, and a few of us are working on a possible plan as we speak, so stay tuned for news on that as well! 

Long-term plans? My wife and I very much want to build a school of music at St. Tikhon’s. This has been an idea very dear to our hearts for a long time now, and I’m hoping that pieces will start falling into place soon. We think that St. Tikhon’s, sustained as it is by a daily liturgical life, is really an ideal place to train musicians. And not just Orthodox musicians, but really anyone interested to study and practice sacred music in a traditional liturgical context. Music education has come to a crossroads, I think, especially during the pandemic, and we think it’s a good time to start something new, something with a different focus and a different ethos, something focused not just on how to do music, but on why and where. So we’ve begun working on this idea, but it’s still in the early stages.

See the interview in the March/April 2021 issue of Fanfare Magazine

MusicWeb International Recommends Sheehan’s Liturgy of Saint John Chrysostom

MusicWeb International critic John Quinn gives the Recommended distinction to St. Tikhon Choir’s recording of Benedict Sheehan: Liturgy of Saint John Chrysostom:

“Sheehan’s music is very beautiful and inventive. … Sheehan’s Liturgy of Saint John Chrysostom is best heard as an uninterrupted sequence; such listening does full justice to his conception. However, if I were asked to recommend one movement for a prospective listener to hear as a sampler, I would unhesitatingly propose the ninth movement, Cherubic Hymn. This is a hypnotically beautiful creation. The music is hushed and slow-moving, allowing the luxuriant harmonies and lovely part-writing to unfold expansively. I could easily see this piece becoming a standalone concert item. Mind you, it would require an expert choir to do it justice for the music clearly requires expert breath control and superb discipline. Fortunately, Sheehan’s choir is ideally equipped for the assignment and they give a fantastic, dedicated performance. The music is radiant, especially at around 3:35. Eventually, at 5:40, the pace is increased somewhat and the volume grows louder as the choir sings ‘that we may receive the King of all’. Then the music subsides during the closing ‘Alleluias’; these are the alleluias of angels. Try this movement and I predict you’ll be hooked. … the level of invention and musical dedication is consistently high throughout. … Benedict Sheehan’s music is wonderful but so too is the performance by The Saint Tikhon Choir. The singers make a fantastic sound which consistently delights the ear. As a group they are capable of outbursts of great fervour – the last two movements, for example, contain joyful, even forthright music – and in such passages the choir’s singing is genuinely exciting. On the other hand, they are just as adept at delighting the listener with firm-bodied soft singing. The blend is excellent and I particularly appreciate the fullness of the bass sound… I’ve found listening to this setting of Liturgy of Saint John Chrysostom an enriching experience. The music is very fine and seems to me to fit the words like a glove. The standard of performance is superb and makes me keen to hear more of this gifted choir and conductor. … Anyone interested in the music of the Orthodox church should investigate this high-quality release to discover how a composer of today is successfully building on and respecting the tradition of the past while renewing and expanding that tradition for our times.”

—John Quinn, MusicWeb International

See the full review and recommendation at!

Christmas with Cappella Romana

Christmas with Cappella Romana

FREE Premiere

Saturday, December 12, 7:30 pm Pacific

We have a pre-Christmas gift for you!

Before Thanksgiving, we created a COVID-free “bubble” in which the singers were tested twice and quarantined for two weeks. After rehearsals, the day before Thanksgiving we recorded a recital of Christmas music in Greek, English, and Slavonic. The singers were so happy to sing together again safely!

On Saturday, December 12 at 7:30 pm (Pacific), I hope you, your family, and friends will gather with us for Christmas music you won’t hear anywhere else.

The evening will include selections from our Christmas recordings including When Augustus Reigned, Sun of Justice and carols from Richard Toensing’s Kontakion on the Nativity & Orthodox Christmas Carols.

You’ll also see interviews with a number of your favorite Cappella Romana singers.

Mark your calendars now! The event will be a free premiere on YouTube and Facebook, and will be available through December 31!

Lost Voices of Hagia Sophia Named a 2020 Recording of the Year!

MusicWeb International‘s John Quinn names Lost Voices of Hagia Sophia one of his 2020 Recordings of the Year!

“This is a recording unlike any other I’ve heard. Cappella Romana sing a
programme of Medieval Byzantine Chant. Thanks to ingenious use of technology their performances have been ‘placed’ in the virtual acoustics of the vast Hagia Sophia in Istanbul. The music is astonishing, the performances are superb and the sound is demonstration quality. This is a formidable achievement.”

—John Quinn

See his original review here