Liturgy No. 2 - The Saint Michael's Service
SATB (div) a cappella, with piano reduction
A new setting of the Eastern Orthodox Divine Liturgy written for St. Michael’s Church in Louisville, KY. Starting from a foundation of four-part choral music in the common Westernized Slavic style, while at the same drawing deeply from the well of Greek and Arabic Byzantine Chant, the piece represents in a unified and organic way the wide range of cultures present in American Orthodoxy. Finished in the summer of 2021, the piece includes themes and textures drawn from American folk music and psalmody, Protestant hymns, African-American Gospel, Malankara Indian music, Gregorian Chant, Carpatho-Rusyn Chant, Renaissance polyphony, and many other musical styles, all set into an idiom that will sound familiar to present-day Orthodox churchgoers in America and that a skilled “real-world” church choir can sing.
SATB (div) a cappella, with piano reduction
A new setting of the Eastern Orthodox Divine Liturgy written for St. Michael’s Church in Louisville, KY. Starting from a foundation of four-part choral music in the common Westernized Slavic style, while at the same drawing deeply from the well of Greek and Arabic Byzantine Chant, the piece represents in a unified and organic way the wide range of cultures present in American Orthodoxy. Finished in the summer of 2021, the piece includes themes and textures drawn from American folk music and psalmody, Protestant hymns, African-American Gospel, Malankara Indian music, Gregorian Chant, Carpatho-Rusyn Chant, Renaissance polyphony, and many other musical styles, all set into an idiom that will sound familiar to present-day Orthodox churchgoers in America and that a skilled “real-world” church choir can sing.
SATB (div) a cappella, with piano reduction
A new setting of the Eastern Orthodox Divine Liturgy written for St. Michael’s Church in Louisville, KY. Starting from a foundation of four-part choral music in the common Westernized Slavic style, while at the same drawing deeply from the well of Greek and Arabic Byzantine Chant, the piece represents in a unified and organic way the wide range of cultures present in American Orthodoxy. Finished in the summer of 2021, the piece includes themes and textures drawn from American folk music and psalmody, Protestant hymns, African-American Gospel, Malankara Indian music, Gregorian Chant, Carpatho-Rusyn Chant, Renaissance polyphony, and many other musical styles, all set into an idiom that will sound familiar to present-day Orthodox churchgoers in America and that a skilled “real-world” church choir can sing.
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