[…] that has been made available in recorded form before, Ikon of Light by Sir John Tavener (1944-2013).… Although the composers’ treatment of the textual material differs – there are, for example, notable stylistic differences between “He Waters the Mountains” (Khalil) and the following “He Made the Moon” (Sander) – the use of the same underlying text […]
[…] Eastern Orthodox chant, Cappella Romana are ideally suited to the task, combining deep familiarity with the tradition and advances in scholarship relating to historic performance practice (involving, for example, the use of drones, ornamentation and rhythmic articulation and countervailing distortions resulting from the Western lens of Gregorian chant). What makes this album so remarkable, […]
Cappella Romana continues to turn out sensational recordings that are state-of-the-art in sound quality. … This is a landmark recording that will still retain its importance for many years to come.
[…] 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 […]
[…] we remained in touch. He conducted some of my pieces with the group, especially my lengthy oratorio Passion & Resurrection, and I subsequently wrote my Akáthistos Hymn for the group, and they performed it in concert and recorded it. After that I was invited back to conduct concerts and, apart from my own music, […]
[…] and already in 1931 he supported the survey of Thomas Whittemore and the Byzantine Institute of America. Based on the results of this initial study, the plan for the secularization of Hagia Sophia progressed and on November 24, 1934 the decree for the conversion of the building into a museum was announced by the […]
[…] It’s not Super Audio format but it is “super” audio, each of their recordings showing the highest level of technical achievement and always finding the perfect acoustic for the presentation of their programs. … “…one comes away fairly impressed with the piety of the work and its ability to support the Byzantine liturgy. … […]
[…] fluid, florid way through the issues explored. The use of drone is effective, implying perhaps an out-of-time-itself aspect to the music. The music acts as a plea for us to remember who we are, and does so in the most eloquent way possible. That the soloists (taken from Capella Romana) are so excellent helps, […]
[…] sections in a variety of configurations, are equally varied and have a certain mystical streak that’s very appealing. The work is nicely balanced by Rimsky-Korsakov’s Chant Arrangements for Holy Week, another example of the intriguing flowering of Russian sacred music that occurred before and around the advent of Communism. Recommended, with something of a […]
I highly recommend this album to those who enjoy liturgical music especially music that is rich in history and tradition. Let the voices of the Saint Tikhon’s Choir bring the liturgy to you especially during these difficult times.
This is a recording unlike any other I’ve heard.… The music is astonishing, the performances are superb and the sound is demonstration quality. This is a formidable achievement.
[…] 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 Lost Voices of Hagia Sophia: Medieval Byzantine Chant
