CD Review of Fire of the Soul
By KOOB - American Record Guide
The collapse of communism has opened more than one musical door to us. Not only are we now being inundated with the suppressed music of modern Russian and east-European sacred composers, but scholars are still in the early stages of exploring the musty hoards of ancient music being unearthed in the in the region's historic cathedrals and monasteries. Get ready for more. The current flow will no doubt become a flood in coming years.
Among the notable vocal groups championing this music are Paul Hiller's various and esteemed choirs, most lately the Estonian Philharmonic Chamber Choir (see The Powers of Heaven, HM 907318 S/O 2003: 249) and even Chanticleer. And now we're hearing it, thrillingly performed, from The Rose Ensemble - an American mini-choir from the Twin Cities that specializes in this burgeoning sub-genre.
Of the two composers sampled in depth in this compact program, the Polish late-Renaissance wizard Mikolaj Zielenski (c 1550-c 1616) offers evidence of the widespread Italian influence. His period of study in Venice with the elder Gabrieli is readily apparent in each of his six pieces: a searing 12-part Magnificat plus five ethereal motets. He adheres rather closely to the signature modalities and antiphonal style of the Italian masters, but adds hints of north-European severity, plus a stylistic overcast of dark Slavic passion and pathos. While the notes advise that these pieces were usually performed in their day with instruments (Zielenski was also an organist and bandmaster), these performers have decided to let the vocal parts stand alone in pure sonic splendor.
The other composer honored with multiple selections is the Muscovite Vasily Titov (c 1650-c 1715), a member of Russia's most famous choir, the Czar's Singing Clerics. He was one of the first to bring European influences to bear on Russian sacred music, writing in a style often reminiscent of Schutz and even Monteverdi. But the ancient Russian Orthodox idiom is still dominant in his three-movement Divine Service from the Russian Orthodox liturgy for 12 voices, with its rich and weighty sonorities, intense Slavic spirituality, and unique harmonic stamp. Other top choirs have recorded him, most notably Chanticleer in their superb Magnificat collection (Teldec 81829).
We also get 'Cruxifixus Surrexit', an attractive miniature from Zielenski's contemporary Andrzej Rohaczewski. he program concludes with a modern sacred gem commissioned by the performers. 'Bogoroditse Devo Raduysia' by Sergey Khvoshchinskiy (b 1957), a Russian transplant to the Twin Cities.
As for the singers: what a group! With only 12 voices, often singing one to a part, they produce the kind of richness and volume of sound that you would normally expect from a much larger ensemble. They absolutely raise the roof in Zielenski's 12-part Magnificat, with its ringing multi-choir antiphony. I was shocked after hearing them to learn their actual size. Each section, each voice, is strong and secure, with particularly powerful basses: at least one of them is a true "oktavist". Jordan Sramek, their founder-Director, has obviously coached his American singers thoroughly in Slavic vocal styles and techniques, and they come across like the genuine article. Even their Russian diction is flawless.
If you've heard the Powers of Heaven release, you'll have a better notion of what to expect. Sound quality is plendid, even though the singers were apparently miked rather closely, and in a reverberant acoustic probably contributing to their larger-than-life sonic impression. Notes and texts are adequate. You are well advised to hear these singers and this music.