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| FEATURED CDs |
 SOLVEIG'S SONG by ORIGEN  AVE MARIA by ORIGEN 
Russian sacred choral music by Kiev Chamber Choir  Monks Choir of Kiev Pechersk Monastery |
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Ukrainian Divine Liturgy Still preserving Holy Byzantine Liturgical canons the Ukrainian nation toiled, exerted and sowed its own linguistic-musical systems into the Liturgy thus strengthening and perfecting its own voice in the universal choral veneration and praise of the Lord God. |
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CD: UKRAINIAN DIVINE LITURGY BUY CD mp3 download mp3 download on iTunes |
The historical distance between the most ancient and contemporary musical texts represented on the this CD spans five centuries in which we observe the spectacular stylistic wholeness of the artistic masterpieces of the Ukrainian Divine liturgy.
The beginning and the first proclamation “Litany of Peace” by Mykola Leontovych (1877- 1921)- recreates the individuality of ancient church singing. One of the most popular and contemporary Ukrainian worship is the anthiphon “Bless the Lord, O my Soul” by Kyrylo Stetsenko (1882- 1922). It seems that the composer in this first great Liturgical choral response aspired to concentrate the most essential features of the Ukrainian spirit. Herein, we hear the eminently deep and sincere gratitude’s for the many and the magnificence of our Gogly-inspired exultations. |
A misunderstood warmth fills the singing of The Only Begotten Son by Mykola Diletsky (1630?-1690?). Sculptured and embodied here is the charm of Ukrainian music of the baroque era.
In Thy Kingdom by M.Leontovych (1877- 1921) with all its might reveals the very ancient foundations and origin of choral church song. After being filled with sincere hope and humbleness of the primary supplications we hear the vocal and singing resonance and delights of mounted text from sermons.
The psalmody traditions of early choral baroque era are represented in the moving “Come Let us Worship”. M.Fedorov’s Sunday Troparion which deeply and full bloodely wires the sounds and traditions of male monastic singing that was cultivated in Ukraine for many centuries.
All aspects and sights of song – psalmody reading, multi-voice imitations, morality and delightful singing have been accepted into the Ukrainian Church and are united in “O Holy God – The Trisagion Hymn” by Maxim Berezovsky (1745-1777). Then after the Epistle reading we hear the uniquely exclusive and festivly elevated sounds of the “Alleluia” of Olexsandr Koshytz (1875-1944). “Litany of Fervent Supplication” by M.Leontovych slowly creates a great zone of stability yet deepening the concentration of prayer. This change is felt from the first sounds of “Herubic Hymn” of M.Berezovsky.
The triumph of faith is conveyed in the “Creed” of M.Leontovych. A bass soloist proclaims one of the main Christian prayers. The low voice and timber of mail voice best conveys fundamental feelings and strength of faith.
Following this vibrates “A Marcy of Peace. We Hymn Thee” by Mychailo Verbytskyi (1815-1870) and “It is Meet and Right” by Dimity Bortnyansky (1751-1825) – Ukraine’s greatest exponent of its “golden age” of church music.
More information about CD: Ukrainian divine liturgy by Kyiv Chamber choir available on 28 pages CD booklet in English, German, France and Ukrainian.
More music by Kyiv Chamber Choir In Thy Kingdom by M.Leontovych (1877- 1921) with all its might reveals the very ancient foundations and origin of choral church song. After being filled with sincere hope and humbleness of the primary supplications we hear the vocal and singing resonance and delights of mounted text from sermons.
The psalmody traditions of early choral baroque era are represented in the moving “Come Let us Worship”. M.Fedorov’s Sunday Troparion which deeply and full bloodely wires the sounds and traditions of male monastic singing that was cultivated in Ukraine for many centuries.
All aspects and sights of song – psalmody reading, multi-voice imitations, morality and delightful singing have been accepted into the Ukrainian Church and are united in “O Holy God – The Trisagion Hymn” by Maxim Berezovsky (1745-1777). Then after the Epistle reading we hear the uniquely exclusive and festivly elevated sounds of the “Alleluia” of Olexsandr Koshytz (1875-1944). “Litany of Fervent Supplication” by M.Leontovych slowly creates a great zone of stability yet deepening the concentration of prayer. This change is felt from the first sounds of “Herubic Hymn” of M.Berezovsky.
The triumph of faith is conveyed in the “Creed” of M.Leontovych. A bass soloist proclaims one of the main Christian prayers. The low voice and timber of mail voice best conveys fundamental feelings and strength of faith.
Following this vibrates “A Marcy of Peace. We Hymn Thee” by Mychailo Verbytskyi (1815-1870) and “It is Meet and Right” by Dimity Bortnyansky (1751-1825) – Ukraine’s greatest exponent of its “golden age” of church music.
More information about CD: Ukrainian divine liturgy by Kyiv Chamber choir available on 28 pages CD booklet in English, German, France and Ukrainian.