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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
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In the Footsteps of St. Demetrios
World première program In the Footsteps of St. Demetrios Cappella Romana Alexander LingasFounder & Director Cappella Romana brings to life the vibrant soundscape of medieval Thessaloniki. Hear ancient hymns honoring the city’s patron: the ever-popular St. Demetrios, sung on the weekend of his annual feast day. Experience ecstatic Byzantine chants for the saint adorning the
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Arctic Light II: Northern Exposure – Program Notes
The genesis of this concert program occurred last season in January 2017 after renowned Finnish choral conductor Timo Nuoranne was slated to appear with Cappella Romana to direct Einojuhani Rautavaara’s Vigilia (All-Night Vigil). Timo Nuoranne has championed that work in particular throughout his career, having performed it with both Finnish and non-Finnish choirs, and made
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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
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Tudor Choir receives rave review
Tudor Choir’s performance in Portland was attended by over 550 people. Here is the first review to appear: On Northwest Reverb. Sunday, March 30, 2008Review: Tudor Choir reaches for the sublime in concert of early music The Tudor Choir gave an outstanding concert of sacred music from Tudor England and the Sistine Chapel on Saturday
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Sacred Songs of Serbia — Program Notes: Part Two
Sacred Songs of Serbia Serbian Chant and Church Choral Music Part One Polyphonic singing appeared for the first time in Serbian churches in the 1830s as a result of European and Russian influence. The expansion of newly organized Serbian church choirs was enormous and very soon the main problem was the lack of indigenous sacred
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Ave Maria: Program Notes
Josquin des Prez and Heinrich Isaac were two Renaissance composers with two quite different characters, in music and in life. We know what Isaac’s signature looked like because he dutifully signed the account books as a musical servant of the Emperor Maximilian. We know what Josquin’s signature looked like because he carved it (not at
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Ivan Moody Talks Akáthistos Hymn With iClassics
“The harmonies are lush and dark in Russian style, though periodically the shadows disperse as in a cloud-break and the sound brightens. The effect over the whole hymn is of a slow revelation of light and warmth over an ancient musical ground.” (Willamette Week) “Something new, substantial, and profound” (Sunday Oregonian) Standing Room Only — Ivan
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Requiem for the Forgotten, Cantus Missae (Program Notes by Mark Powell and Frank La Rocca)
Requiem for the Forgotten, Cantus Missae Program Notes by Mark Powell and Frank La Rocca Josef Rheinberger: Cantus Missae in E-flat major, Op. 109 SEATTLE Friday, March 28 @ 7:30pmSt. James Cathedral PORTLAND Saturday, March 29 @ 2:00pmSt. Mary’s Cathedral LAKE OSWEGO Sunday, March 30 @ 3pmOur Lady of the Lake Parish Josef Gabriel Rheinberger
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Somewhere In Between: Ivan Moody’s Greek Liturgy
For someone familiar with Greek Orthodox liturgy, today’s performance will echo the experience of actual services, with abbreviations appropriate to a concert. At the same time, those new to the form may experience the performance as though it were liturgically complete even with the adjustments made for a concert context. Cappella Romana presents here the
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Tchaikovsky’s Divine Liturgy: Program Notes
Russian choral artistry, and especially its sacred choral singing, has long enjoyed the admiration of the Western musical world. After hearing the Choir of the Imperial Chapel of St. Petersburg in 1844, Robert Schumann wrote in his diary that “the Chapel is the most wonderful choir we have ever had the occasion of hearing.” Tchaikovsky
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Latin Music in Cyprus
Literary witnesses to the cultivation of music by the French kings of Cyprus are found in a variety of sources, but nearly all of the surviving music associated with the Lusignan court is contained in a single manuscript: Torino Biblioteca Nazionale Universitaria J.II.9. This remarkable document was, according to Karl Kügle (2012), evidently copied between
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