CD Review of Fire of the Soul
Group's Performance Full of Simple Beauty
By Craig Zeichner
Early Music America Magazine - Spring 2004
Two composers dominate Fire of the Soul: the Polish master Mikolaj Zieleski (fl. 1611) and the Russian Vasily Polikarpovich Titov (c. 1650-c.1715). The balance of the program is rounded out with music by another Pole, Andrzej Rohaczewski (fl. c. 1620) and a gorgeous contemporary work by the ensemble from Sergey Khvoshchinsky (b. 1957), a Russian-born composer living in Minneapolis.
Zieleski's voice is firmly based in the Venetian style popularized by Giovanni Gabrieli (it's been suggested that Zieleski studied with him.) While there's quite a bit of Gabrieli in Zieleski's Magnificat, a large-scale setting for 12 voices, the composer's communion motets reflect the virtuoso style of Monteverdi.
The Russians yield the biggest surprises. Titov, one of Moscow's most famous Baroque composers, is best represented by a Gloria setting that has some interesting harmonic turns and is bathed in dark bass notes that are solidly sung by the Ensemble's low voices. Even more remarkable is the energetic Cherubic Hymn painted in bold chiaroscuro tones. There's no escaping the influence of Schütz in Titov's music, but there is also a distinctly Russian flavor, perhaps an early example of a Russian national style?
The Rose Ensemble sings this music brilliantly with all the hallmarks in place: an almost supernatural blend of voices, beauty of tone, and rhythmic acuity. When the programming and singing is as good as this on a self-produced recording, you wonder why some of the more high-profile record labels can't do as well.