Fanfare: VESPERS A Work of "Unique Musical Genius"

Just over a year ago, in issue 44:4, I interviewed composer Benedict Sheehan upon the premiere studio recording and live performance of his Liturgy of St. John Chrysostom, only the third English-language setting of the Orthodox liturgy to be recorded. The score was an absolute knock-out, and was an alternate choice for my 2021 Want List. In his interview, Sheehan mentioned that he was hard at work on this Vespers setting, which at the time was about 75 per cent completed, and here we have the full final results. This score is fully a match for its predecessor in quality, and cements Sheehan’s place in the front ranks of Orthodox liturgical composers not only in the USA, but throughout the world.

Sheehan’s unique musical genius lies in how, without departing from the Russian Orthodox tradition, he nonetheless manages to infuse a distinctively American musical flavor into his music. This is immediately evident in the opening movement, a setting of Psalm 103 (104 in the Orthodox Psalter, though for whatever reason the booklet unexpectedly uses the Protestant numbering of the Psalms instead). Those who suppose that all Orthodox liturgical music must be solemn, slow, and sustained will be knocked sideways by the rollicking, exuberant energy of joyous celebration on display here, including the interjection of occasional syncopation and off-beat accents. If later portions of the Psalm are more sedate, and the ensuing “Great Litany” and “Small Litany” quite traditional in cast, the upbeat vibrancy returns in “Blessed is the Man,” “The Lord is King,” and the concluding Psalm 33 that reprises material from the opening for a triumphant close. Variety of timbre and texture is further achieved by sub-division of the scoring in two movements—“The Lamp-Lighting Psalms” and “Stikhira of the Resurrection”—between the full chorus and a smaller semi-chorus, and the assignments of lines in several other movements to solo voices. As in his previous Liturgy, Sheehan breaks new ground in Orthodox music in writing a solo part for male counter-tenor.

All of the soloists are skilled executants, though oktavist Glenn Miller regrettably has now developed a wobble. The St. Tikhon Choir, here 46 members strong, sings with robust power, technical security, and fervent commitment. The recorded sound offers depth, amplitude, and resonance; the booklet provides a complete text, detailed notes, and artist bios for the composer, eight soloists, and choir. Without departing from holy tradition, Sheehan is managing to move the Eastern liturgies forward into the 21st century. As with its predecessor, devotees of Orthodox choral music will want to snap up this release without delay; enthusiastically recommended. James A. Altena

Five stars: Once again, Sheehan scores with a vibrant Orthodox liturgical setting in English

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