In the vast, resonant expanse of the Cathedral of St. John the Divine, Musica Sacra, under the inspired direction of Kent Tritle, delivered a SurRound II concert of such ethereal beauty that time itself seemed suspended. The packed audience sat transfixed, many with eyes closed, as waves of a cappella voices washed over them from different points in the magnificent space. This innovative surround sound concept transformed the impressive cathedral into an immersive sonic environment that elevated the sacred texts to extraordinary heights.

Allegri’s “Miserere”: Transcendent Sonic Prayers

The concert began with Gregorio Allegri’s legendary “Miserere,” a work of such jealously guarded beauty that the Vatican once forbade its transcription. Nevertheless, as musical lore recounts, a young Wolfgang Amadeus Mozart famously committed the entire piece to memory after a single hearing at the Sistine Chapel. Rachel Doehring Jackson’s soprano soared effortlessly to the work’s famous high C, her crystalline tone floating above the perfectly balanced choir with angelic purity.

The “Miserere,” a penitential setting of Psalm 51, has been a centerpiece of Holy Week services for centuries. Its alternating choirs created a spatial dialogue that perfectly suited the surround sound concept. Jackson’s soprano rode above the ensemble with flawless intonation, her expressive phrasing illuminating the text’s pleas for mercy and spiritual cleansing. The choir’s supporting voices created a velvet cushion of sound. Their precision in dynamics and articulation revealed musical sophistication and spiritual depth.

Stellar Soloists Shine Throughout SurRound II

Each soloist brought distinctive artistry to the SurRound II program. Following the Gregorian chant “Da Pacem, Domine,” Kathryn McCreary’s soprano and Oliver Holt’s warm, resonant baritone brought profound emotion to Adolphus Hailstork’s “Motherless Child.” Their voices complemented each other perfectly, and the spiritual lament was rendered with authentic feeling and technical excellence.

Helen Karloski’s mezzo-soprano proved particularly moving in Tavener’s “Lament of the Mother of God.” Her rich, burnished tone conveyed Mary’s aching grief at the crucifixion with remarkable emotional intensity. Moreover, her flawless control of the work’s demanding extended lines created a hypnotic effect that held the audience spellbound.

Later in the program, Katherine Wessinger’s soprano and Paul D’Arcy’s tenor illuminated Holst’s “Nunc Dimittis.” Their voices emerged from and blended into the choir seamlessly, exemplifying the ensemble’s extraordinary attention to balance and blend.

Medieval Masterworks: SurRound II’s Journey Through Time

Perhaps the evening’s most fascinating historical offering was Perotin’s “Sederunt,” a revolutionary work from the 12th century. The voices of Musica Sacra created an extraordinary drone effect, supporting the soloist with perfect pitch matching that transported listeners to the medieval Notre Dame Cathedral. This revolutionary four-voice organum, with its intricate triplet figures, received a performance of remarkable historical accuracy and expressive power.

The SurRound II program masterfully interwove ancient and modern works. Gregorian chants served as palate-cleansing interludes between more complex compositions. “Pange lingua gloriosi” led seamlessly into Sarah MacDonald’s contemporary “Crux Fidelis,” a striking juxtaposition that illustrated how modern composers continue to find inspiration in ancient sacred texts.

The Cathedral: Perfect Vessel for SurRound II’s Sonic Explorations

The Cathedral of St. John the Divine’s 601-foot length and soaring 124-foot ceiling provided the ideal acoustic environment for this ambitious SurRound II presentation. Though still technically unfinished, the world’s largest Gothic cathedral offers a reverberant acoustic that enhances rather than muddles choral sound. Consequently, even the most complex polyphonic textures remained distinct while gaining a luminous glow from the space.

As choir members moved to different positions throughout the cathedral during the SurRound II performance, listeners experienced an actual surround-sound effect that electronically amplified performances can never replicate. The singers occasionally positioned themselves among the audience, creating an extraordinary sense of inclusion in the sonic experience. This innovative approach transformed the concert from a mere performance to a communal ritual.

O Nata Lux: Immersed in Radiance

One of the evening’s most intimate and powerful moments came during Eric Whitacre’s “O nata lux.” The choir positioned themselves directly among the audience, surrounding listeners with crystalline harmonies from all directions. This configuration created an extraordinary sense of being enveloped in sonic light, perfectly complementing the text’s invocation of divine radiance. Several audience members visibly wept during this profoundly moving performance.

The SurRound II program skillfully traced a journey from penitence to illumination, mirroring the Lenten season’s progression toward Easter’s promise of renewal. William L. Dawson’s spiritual “Soon ah will be done” and Joanna Forbes L’Estrange’s “Give Us Grace” provided contrasting expressions of spiritual yearning, both performed with impeccable attention to rhythmic vitality and textual clarity.

SurRound II: Sonic Time Travel Through Sacred Music

The diverse SurRound II program created what can be described as musical time travel, spanning nearly a millennium of sacred composition. From Perotin’s 12th-century innovations to contemporary works by Whitacre and MacDonald, the concert demonstrated the evolution and continuity of sacred choral traditions. Furthermore, including spirituals alongside European sacred music emphasized the universal human impulse to express spiritual longing through song.

Many listeners appeared overcome by the music’s emotional power, transported beyond everyday concerns into contemplative states. This transcendent effect—difficult to achieve in our distraction-filled world—testifies to both the repertoire’s inherent power and the exceptional artistry of the performers. The SurRound II concept amplified this effect by literally surrounding the audience with sound from multiple directions, creating an immersive experience impossible to replicate through recordings.

Kent Tritle: Masterful Architect of Sound and Space

Kent Tritle’s masterful direction revealed his exceptional understanding of musical architecture and acoustic space. His expressive conducting elicited performances of remarkable precision and emotional depth. Moreover, his innovative use of the cathedral’s geography in this SurRound II presentation demonstrated why he remains one of America’s most respected choral conductors.

Tritle’s imaginative programming created a cohesive journey through disparate musical eras and styles. Each work received its distinct character while contributing to the overall spiritual and musical narrative. His deep knowledge of sacred music traditions informed every performance aspect, from tempi to text emphasis to spatial positioning.

The choir responded to his nuanced direction with extraordinary sensitivity and technical expertise. Their unified articulation, dynamics, and phrasing approach revealed intensive preparation and in-the-moment responsiveness. Even in the cathedral’s challenging acoustic, entrances remained crisp, consonants clear, and harmonies perfectly tuned.

A Transcendent SurRound II Experience

As the final notes of “O nata lux” faded into the cathedral’s vaulted heights, a profound silence held the audience motionless before erupting into heartfelt applause. Musica Sacra’s SurRound II had achieved that rarest of musical experiences—a performance that transcends technical excellence to become spiritual communication.

In our fragmented modern world, such moments of unified attention and shared emotion have become increasingly precious. This extraordinary surround sound concert demonstrated why live choral music in sacred spaces continues to move human hearts across centuries and cultures. As audience members reluctantly departed the cathedral after a well-earned encore, many lingered, clearly hoping to extend the evening’s enchantment just a little longer.

For those fortunate enough to experience this remarkable SurRound II presentation, the memory will remain a touchstone of musical and spiritual transcendence—a reminder of music’s power to illuminate our shared humanity and connect us to something beyond ourselves.

SurRound II: Divine Sonic Tapestry at St. John the Divine

Mark Hanke, Executive Director
Kent Tritle, Music Director
Michael Sheetz, Assistant Music Director

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For information and tickets, go to https://musicasacrany.com/

The Cathedral Church of St. John the Divine

1047 Amsterdam Avenue (at 112th Street)
New York, NY 10025
(212) 316-7540
info@stjohndivine.org

Readers may also enjoy our reviews of BLIND INJUSTICE: A Riveting Tour de Force by MasterVoices and American Classical Orchestra: J. S. Bach’s St. John Passion.