Rachmaninov: Liturgy of St John Chrysostom, Op. 31

Glossa: GCDSA922203

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Rachmaninov: Liturgy of St John Chrysostom, Op. 31

Awards:

Gramophone Magazine

Editor's Choice - January 2007

Label:

Glossa

Catalogue No:

GCDSA922203

Discs:

1

Release date:

30th Oct 2006

Barcode:

8424562222038

Length:

65 minutes

Medium:

SACD (download also available)

Format:

Hybrid Multi-channel
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Rachmaninov: Liturgy of St John Chrysostom, Op. 31


Flemish Radio Choir, Kaspars Putninsh

Recorded at Jezuïetenkerk, Heverlee, Belgium, in March 2006

SACD

$17.75

(also available to download from $10.50)

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Sergei Rachmaninov: Liturgy of St. John Chrysostom, Op. 31

playThe Great Litany

playBless the Lord, O my soul

playGlory be to the Father

playIn Thy Kingdom

playCome, let us Worship

playO, Lord

playThe Augmented and Subsequent Litanies

playThe Cherubic Hymn

playThe Litany of Supplication

playThe Creed

playA Mercy of Peace

playTo Thee We Sing

playIt is Truly Meet

playThe Lord's Prayer

playThe Communion Hymn, "Praise the Lord of the Heavens"

playBlessed is He - We Have Seen the True Light

playMay our Mouths be Filled

playBlessed be the Name of the Lord

playGlory to the Father

Gramophone Classical Music Guide

2010

“Rachmaninov's Liturgy is less well known than his Vigil ('Vespers'), but has nevertheless gained in popularity with western choirs as a concert item in recent years, though the double-choir setting of the Lord's Prayer has always enjoyed a certain renown, often being sung in an English paraphrase. It is far more than a mere sketch for the more famous work, too, though the links are clear – anyone hearing the opening psalm, 'Blagoslovi, dushe moya', for the first time will immediately make the connection.
The Flemish Radio Choir's rendition is very fine indeed, reverent, well paced and at the same time electrically atmospheric (and also including sufficient of the celebrant's petitions that it comes across neither as an artificial celebration nor a concert suite) and the magnificent SACD sound is just what such a riveting performance merits. The only criticism is of their very light 'l' sound, which truly gives them away as non-Russians.
There is strong competition but, curiously, none is Russian; indeed, the King's College recording is as unrepentantly and beautifully English as you could wish for. In an ideal world one would have to have all of them, and if you have room on your shelves for one more, do add this new recording to your collection. There is one aspect in which the other three score, however – they include full texts and translations, while for the new disc they must be downloaded.”

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