University of Florida Performing Arts

There will be a pre-performance discussion with Galina Rylkova at 6:45 p.m.

Listen to the choir on Liturgica.com

Read the program notes for the Russian Patriarchate Choir. 

Raising the “iron curtain,” the Russian Patriarchate Choir led the way in the re-discovery of Orthodox Church music.  This feat is made even more impressive since it occurred during the late years of the Soviet Regime.  After spending decades decoding manuscripts of works that had spent centuries in obscurity, the choir now performs these lost treasures for audiences around the world.

About the Russian Patriarchate Choir

The Russian Patriarchate Choir of Moscow was founded by Anatoly Grindenko in Trotse-Sergieva Lavra (near Moscow) in 1983.  In the traditional manner, it consists of 12-13 members including Mr. Grindenko.  In addition to performing both in Russia (where the choir is an actual church choir) and internationally, the singers are dedicated scholars of the repertoire for male voices, who led the way in the re-discovery of Orthodox Church music in the late years of the Soviet Regime. 

At this time – when music was far from approved by the government – the choir spent years decoding ancient manuscripts that had lain in obscurity for centuries.  With the collapse of the Soviet Union came the opportunity for the choir to perform internationally and bring this music to a wide public.  Through its live performances and many recordings, it has reached a huge worldwide audience, attracted first and foremost by the sheer beauty of the choir’s singing.  The group has appeared throughout Europe and Scandinavia; at festivals in Utrecht, London, Paris, Maastricht, Barcelona and Ravenna; and at Les Folles Journées in Nancy.

In addition to its church music, the choir performs traditional Russian folk songs that it has restored to their original richness and emotion.  The choir performs full Vespers or Vigil services, which may feature repertoire from the 16th to the 19th centuries. 

The choir is not permitted to perform with instruments in a liturgical setting, but it has successfully collaborated with instrumental ensembles to present sequences of orchestra/instrumental works and a cappella vocal music.  For example, Jukka-Pekka Saraste created a sequence of music juxtaposing Russian Orthodox works with such disparate orchestral works as Schubert’s “Unfinished” Symphony and Arvo Pärt’s Tabula Rosa.