Kurt Sander (b. 1969)
Liturgy of St John Chrysostom (2017)
Canticum Festum/Liubov Shangina
rec. 2021/22, Viktor Popov Choral Academy, Moscow
Sung texts included
Orthodox Recordings [2 CDs: 87]

In 2019, I reviewed a recording of Kurt Sander’s Liturgy of St John Chrysostom recorded in the USA by the PaTRAM Institute Singers. That excellent performance and recording presented the work in its original English language version. Now, the new label Orthodox Recordings has issued, as its first release, Sander’s Liturgy sung in Church Slavonic.  This new version has been made by the composer working with the conductor of this present recording, Liubov Shangina

When I received the discs, I enquired of the label whether the two releases were texturally identical, apart from the question of language. In reply, the producer, Aaron Seraphim Hanisch explained: “As to the music, it is essentially the same as what you would hear in the English-language original, though, according to our tradition, text is dominant, so that means that occasionally the musical forms are slightly different to properly adorn the text they carry.” He added: “The pace is different – this recording generally has a somewhat faster tempo, as befits the spirit of the conductor and group that performs it.” Whilst I didn’t do a movement-by-movement comparison of the two recordings, I noticed a few textural differences. One such comes at the very end, in the concluding ‘Many Years’ movement. On the English recording, this consists of an incantation by the Deacon followed by a short choral response; on this new recording the movement is sung by the choir. However, I can’t tell you whether the words that are sung in this closing movement are the same; that’s due to an important presentational issue with the Russian recording which I may as well address now.

In the booklet, the texts are printed in the language in which they are sung. Inexplicably, however, no English translation is provided; there isn’t even a transliterated version of the text. I was somewhat fortunate in that I had the PaTRAM booklet to hand in which the full English text is printed (even though the choir’s diction is very good). Other listeners may not be so fortunate and I think Orthodox Recordings have made a significant misjudgement here. It’s all the more confusing because the rest of the booklet – useful notes, artists biographies and the like – are provided in English, and in no other language.

While we’re on the question of presentation, some readers who already possess the PaTRAM recording may be a little confused by references to tracks in the following paragraphs. The layout of the Orthodox Recordings disc is somewhat different to the one adopted on the PaTRAM discs. For one thing, the new recording divides the work into two parts, ‘Liturgy of the Catechumens’ and ‘Liturgy of the Faithful’. Each Part is contained on one disc; ‘Liturgy of the Faithful’ opens with the ‘Cherubic Hymn’. PaTRAM don’t make that distinction and their disc break comes quite a bit later on in the score.     

The new performance is sung by Canticum Festum, an SATB ensemble formed in 2011; their artistic director Liubov Shangina joined them the following year. It’s clear that she’s made a fine job of preparing them for this assignment – the singing is superb from start to finish – and she conducts the music really well. The choir comprises four sopranos, four altos, five tenors, three baritones and three basses. They make a wonderful sound; the blend is excellent and their dynamic range is very exciting, ranging from many exquisite but firm-toned passages of quiet singing to fervent loud acclamations. The PaTRAM ensemble is a somewhat larger: six sopranos, six altos, five tenors and eight basses, one of whom is Kurt Sander himself. Frankly, it would be invidious to say that one choir is better than the other: both ensembles are highly accomplished and, in all honesty, I can’t really express a preference for one over the other.

I discussed the music itself in some detail in my review of the PaTRAM recording, so I hope I will be forgiven if I don’t go over old ground again. I think, though that a couple of general observations are appropriate. One is to repeat the comment in the first review that, unlike some other composers, Sander sets the complete text of the Liturgy. By definition, this includes quite a number of movements that are either litanies or else litany-like in construction, involving incantations by a Priest or Deacon with choral responses. This might make for dull, repetitious listening but that’s definitely not the case here. It’s a major achievement on Sander’s part that these litanies are consistently interesting, not least because the choral responses are varied, eloquent and beautiful – on occasion, the responses overlap with the incantation, which is an interesting effect. I also have the impression that Liubov Shangina paces the music exceptionally well, imparting a lot of momentum into the music; perhaps she has a slight edge in this respect over Peter Jermihov, who conducts the PaTRAM performance.

The second general observation is that Kurt Sander’s music is inventive and very beautiful. His harmonic language is securely rooted in the Orthodox tradition but with a definite modern accent; I love the richness and expression of the harmonic writing. His melodies, several of which recur in the manner of leitmotifs, are wonderful too; I don’t know if he has incorporated any traditional Orthodox chants; possibly he hasn’t but, my goodness, the melodies still sound authentic. For me, the musical highlight of the entire Liturgy is the ‘Cherubic Hymn’, which opens the ‘Liturgy of the Faithful’ (CD 2, tr 1 on the Canticum Festum recording). The music is, for the most part, slow, rapt and exceedingly beautiful. Canticum Festum sing this music outstandingly well; their control is highly impressive. Towards the end of the Hymn (at ‘That we may receive the King of all’) the pace quickens and the music grows in fervent urgency; the Russian singers are no less impressive here, though in a different way. On the PaTRAM disc (CD 1, tr 16), the dynamics are even more daringly hushed at first and the pacing is, if anything, even more spacious (for what it’s worth Peter Jermihov’s performance takes 7:34 while Liubov Shangina takes 6:04). It would be invidious to express a preference for one performance over the other – both feature outstanding singing – though you may feel that Jermihov’s daring dynamics give him the slightest of edges. If there is any justice in this world, Sander’s ‘Cherubic Hymn’ should become a modern choral classic as has happened to ‘Bogoroditse Devo’ from Rachmaninov’s All-Night Vigil.

Other notable sections include Sander’s lovely setting of ‘The Beatitudes’, which Canticum Festum sing wonderfully (CD 1, tr 5). The ‘Liturgy of the Faithful’ includes a slow, devotional setting of ‘The Lord’s Prayer’; this is beautiful music which the Russian choir sings most expressively (CD 2, tr 7). I also love ‘Praise the Lord from the Heavens’ (CD 2, tr 10). At the start we hear a mysterious melodic line for high voices underpinned by a low bass drone; later the music is reprised but this time clothed in gorgeously rich full-choir harmonies. Here, the discipline and unanimity of Canticum Festum ensure that the textures, though rich, are clear. The music which accompanies the Eucharist (tracks 11-12) is slow and prayerful, as one would expect, and then in the closing movements, Sander sets the texts to exuberant, joyful music which Canticum Festum deliver with full-throated fervour.

As you will have gathered, I’m greatly impressed by Kurt Sander’s Liturgy of St John Chrysostom; it’s an eloquent, beautifully crafted work of liturgical music. I also esteem this new performance very highly. It’s time, though, to give prospective purchasers some guidance since there are two differing versions from which to choose. Whichever version you add to your collection, I think you’ll be delighted by the performances; both choirs are superb. The sound is also equally impressive on both recordings. In each case, the engineers have given us a clear and realistic impression of the respective choirs and they’ve also taken full advantage of the acoustics in the venues to add a warm resonance to each recording. The Canticum Festum recording was engineered by producer Aaron Seraphim Hanisch while the mastering was undertaken by Anastasia Lukina of Soundmirror Inc. Soundmirror were responsible for the PaTRAM recording, so it’s perhaps unsurprising that both of these versions feature comparably excellent sound. The fact that the PaTRAM version is sung in English may well influence choice but I have to say that the authenticity of hearing this music setting the Orthodox Slavonic words exerts a strong pull. I’ve already mentioned the significant flaw in the lack of an English translation in the Orthodox Recordings booklet but if you can overcome that handicap you may feel, as I do, the strong pull of experiencing the music with Orthodox Slavonic words. On the other hand, for English speaking listeners the immediacy of communication that comes from the English language version is an important consideration. What I would say is that if you already have the PaTRAM recording, the Canticum Festum version offers a sufficiently different experience that you should try to hear it. It’s important to remember that both versions of the work are equally valid.

Above all, I’d encourage anyone with an interest in Orthodox religious music – or, indeed, in fine choral music – to hear Kurt Sander’s eloquent and beautiful score. We’re lucky to have it available in two such fine and complementary recorded versions.

John Quinn

Buying this recording via a link below generates revenue for MWI and helps us keep free access to the site