Cappella Records’ release of Benedikt Sheehan’s Ukrainian War Requiem marks, this coming 21st of February 2025, the third anniversary of the Russian invasion of Ukraine. It comes at an awkward moment as many fear that external, politically motivated aspirations, might soon seal the victim’s fate by rewarding aggression.

The Requiem is about the courage of the Ukrainian people to defend their independence and mourn those who died for it. It mirrors the sad tradition of other requiems written to commemorate aberrations of mankind like the ‘Polskie Requiem’ by Krzysztof Penderecki and the ‘War Requiem’ by Benjamin Britten, both accusing oppressive human behaviour. But whilst these two were written to celebrate victory, Ukraine's victorious outcome, as it stands now, seems farther away than ever.

From a compositional standpoint, Sheehan’s requiem is as impressive as the two mentioned above, thereby confirming Benedikt’s stature as one of today's best liturgical composers. His style is not one of innovation but rather of transposing traditional orthodox chant into current liturgical musical and finely tuned harmonious language. In substance, it’s a brilliant blend of “ancient Ukrainian prayers, Latin texts, and Jewish melodies, symbolising Ukraine’s complex past, present, and future”. I recommend reading Dr. Deacon Nicholas Denysenko’s foreword and Sheehan’s introductory liner notes, explaining in more academic detail what it is about. The informative Programme Notes are written by Dushan Bednarsky, summarising that “The Ukrainian War Requiem bears witness to democracy, freedom, liberty, justice, and the joy of life that represents the Ukrainian spirit.”

The interpretation is breathtakingly monumental. Swiss-born conductor Michael Zaugg, directing the Ukrainian Yuliia Zasimova, Soprano, the Canadian John Tessie, tenor, and the supreme male choral support from Alberta, Canada, does full justice to the Ukrainian ‘Dies Irae’ in modern times. Listening to this ‘memorial service for the dead’ one is immediately drawn into the spiritually motivated cry for respecting those who died for a just cause. A spine-chilling ‘Our Father, who art in heaven, hallowed be Thy name’ sung in Ukrainian (translation provided in the booklet) sets the tone for an experience that lingers on in one’s memory long after it's finished. The other 11 parts are sung in English.

Connoisseurs of orthodox chant will be profoundly touched by the Canadian choristers from the Axios Men’s Ensemble and Pro Coro, which also provides the traditional deep basses. The well-balanced harmonics, deeply rooted in East-European multi-cultural religious traditions and superbly captured and developed by Benedict Sheehan, rank this addition to religious choral music, as I see it, in a class comparable to similar compositions by Tchaikovsky and Rachmaninoff.

Only just over three years ago, who could have thought of an unprovoked invasion from one European country into another for the sole purpose of vanity, arrogance, and despotism? Yet, it happened. In the wider context, Sheehan’s powerful Ukrainian War Requiem is a stark reminder of what's in store if greed, intolerance, and disrespect are not timely halted, and where lies, hate and grudges go without limits. Under the present circumstances, Sheehan’s Ukrainian War Requiem becomes a ‘real life’ reflection that should find its way to all committed to justice and peace in support of all courageous men and women dying for a proud and independent Ukrainian Nation.

As customary with Cappella Records, much care has been put into every detail of this towering production. The recording is as good as the performance. Blanton Alspaugh and Mark Donahue of Soundmirror stand for it. Though the stereo soundstage is perfect, it is best listened to in the excellent multi-channel sound mix, to feel the power of the St. Basil the Great Ukrainian Catholic Parish church in Edmonton, Canada.

Blangy le Château, Normandy, France.

Copyright © 2025 Adrian Quanjer and HRAudio.net

Performance:

Sonics (Stereo):

Sonics (Multichannel):