Tchaikovsky: Liturgy of Saint John Chrysostom

On this CD:

1. Liturgy of St John Chrysostom, for chorus, Op. 41
Composed by Pyotr Il'yich Tchaikovsky

2. Legend (When Jesus Christ was but a child), song for voice & piano or orchestra (16 Children's Songs), Op. 54/5 No 5, Legende
Composed by Pyotr Il'yich Tchaikovsky

3. Work(s) Qu ma priere s'eleve vers toi
Composed by Pyotr Il'yich Tchaikovsky

4. Our Father (No. 3 of "6 Church Songs"), for chorus or chorus & piano Pater Noster
Composed by Pyotr Il'yich Tchaikovsky

5. Work(s) L'ange clamait
Composed by Pyotr Il'yich Tchaikovsky

Tracks:

Liturgy Of Saint John Chrysostom: Great Litany
Liturgy Of Saint John Chrysostom: Glory To The Father And The Son
Liturgy Of Saint John Chrysostom: Come, Let Us Bow
Liturgy Of Saint John Chrysostom: Cherubic Song
Liturgy Of Saint John Chrysostom: The Grace Of Peace
Liturgy Of Saint John Chrysostom: We Sing Unto Thee
Liturgy Of Saint John Chrysostom: It Is Worthy Praise Thee
Liturgy Of Saint John Chrysostom: Pater Noster
Liturgy Of Saint John Chrysostom: Praise The Lord
Liturgy Of Saint John Chrysostom: Praised Is He Who Comes
Liturgy Of Saint John Chrysostom: Praised Is He Who Comes
Quatre Choeurs: Pater Noster
Quatre Choeurs: Legende (Transcribed From Op.54 No.5)
Quatre Choeurs: May Prayer Rise To THee
Quatre Choeurs: The Angel Said

Customer Reviews:

Very good, boys and men as intended........2006-05-29

This recording by a high quality boys and men choir is one of the best available, and closer to Tchaikovsky's intentions than most. Tchaikovsky wrote the Liturgy to be performed in the Russian Orthodox churches, which would not include women in their choirs.

Most choirs do not have the boys available to sing this difficult work, so they use women. In most cases this is a disaster as the women are allowed to use their full voices and they overwhelm the piece, blowing the men out and introducing a tamber that Tchaikovsky never intended. This is especially problematic in the upper registers.

Here we have the rare pleasure of well trained boy singers instead, and the difference is obvious and welcome. Aside from the occasional small problems of a smeared consonant from inexact rhythm, the singers and the conductor give a very good, sensitive, emotionally committed, and artistic interpretation of Tchaikovsky's work.

The only notable issue is the lack of Deacon and Celebrant parts, which would have been sung if the piece were performed as a true Liturgy in an Orthodox Church.

My other favourite recording of this piece, which I sang on, is by the Russian Chamber Chorus of New York. While women replace the boys, a big emphasis was placed on singing as much like boys as possible for women with some success. While boys would have still been an improvement, the piece remains well within the spirit and intentions of Tchaikovsky. As the recording includes the Deacon and Celebrant, as well as the traditional first antiphon which would have been sung in any religious performance of the Liturgy, it is in some ways more true to Tchaikovsky's intent.

I think that both recordings deserve to be heard, far more than the score available with women blasting away operatic high notes.