32nd Russian Orthodox Church Musicians Conference
Participants and Clergy at the 32nd Russian Orthodox Church Musicians Conference, St. Vladimir’s Memorial Church, Jackson, NJ
On October 8-12, the ROCM32 Conference took place under the auspices of the Synodal Liturgical Music Commission of the Russian Orthodox Church Outside of Russia (ROCOR) and thanks in large part to the inspired leadership and tireless organizational efforts of this year’s local committee, chaired by Elizabeth Ledkovsky, based at St. Vladimir Memorial Church (Jackson, NJ), where Fr. Serge Ledkovsky is the rector. ROCM32 brought together choir conductors and singers devoted to the sacred choral art within the Russian Orthodox tradition from across the United States and Canada, as well as Europe. The conference proceedings took place at Princeton Marriott at Forrestal, NJ, while the services were held at St. Vladimir’s.
Participants received profound spiritual nourishment and fellowship through prayer, study, and communal singing. The event was graced by the presence of the wonderworking Kursk Root Icon of the Most Holy Mother of God and featured the introduction of newly composed hymnography dedicated to the feast of the uncovering of the relics of St. John of Shanghai and San Francisco. Metropolitan Nicholas (Olhovsky) of Eastern America and New York, First Hierarch of ROCOR, presided at the divine services.
The conference provided rich intellectual engagement through a variety of lectures and panels on Russian sacred music and its history. Special attention was given to Russian composers Dmitry Bortniansky and Boris Ledkovsky, commemorating the 200th anniversary of Bortniansky’s repose (October 10, 1825) and the 50th anniversary of Ledkovsky’s repose (August 6, 1975). The repertoire reflected this focus. The conference materials provided to each participant included an article on prominent émigré conductor E.I. Evetz (1905–1990) from the inaugural issue of Orthodox Music Journal, and an announcement was made regarding Dr.
Vladimir Morosan’s revival of the Pan-Orthodoxy Society for the Advancement of Liturgical Music (PSALM), which oversees the said journal. In her remarks, Elizabeth Ledkovsky, chair of the local organizing committee, expressed strong support for this worthy initiative and encouraged all present to participate actively in its development.
The lectures and talks included:
Bortniansky: Well-Known & Obscure by Dr. Antonina Lebedeva-Emelina;
Early Slavic Polyphony by Anastasia Shmytova, which was accompanied by demonstrations by the Demestvo Ensemble;
Pedagogy of E.I. Evetz: The Paris Years by Protodeacon Ioann Drobot;
Ledkovsky: Newly Discovered by Dr. Katya Ermolaeva;
Singing Between the Lines – Bortniansky by John Arlievsky;
and the keynote lecture, entitled
Homegrown Kliros: National Identity in Orthodox Music by Dr. Kurt Sander.
Workshops included:
Solfege & Audiation by Timothy Morrow;
Discovering the “Other” Ledkovsky by Vadim Gan and Elizabeth Ledkovsky;
and
Tones/Obihod by Dr. Irina du Quenoy.
Du Quenoy also gave a brief talk acquainting the attendees with the work of the Synodal Liturgical Music Committee. A roundtable was devoted to opportunities and challenges related to attracting young singers—Herding Kittens: Cultivating NextGen, with Protodeacon Serge Arlievsky, Laryssa Doohovskoy, and Gregory Ivanov.
A central highlight of ROCM32 was the 100-voice choral ensemble that sang during the liturgical services. The singers were divided into two choirs, performing antiphonally for many hymns of the All-Night Vigil (Vespers and Matins) and the Divine Liturgy. When both choirs united in song, the spiritual beauty and depth of the music uplifted all present in profound prayer and joy. This joy was epitomized during Matins for “Holy is the Lord our God,” when conductors Dr. Katya Ermolaeva and Timothy Morrow, leading the choirs antiphonally, turned toward one another with radiant smiles, embodying the spirit of joy and love with which all church singers should strive to sing. The conference also brought together “Ensemble32”—a choir composed of conference singers aged 32 and under directed by John Arlievsky—which sang Bortniansky’s Lord, Make Me to Know Mine End as a Communion hymn at the Liturgy.
Beyond its musical and educational dimensions, ROCM32 fostered a spirit of unity and fellowship among participants. Attendees renewed old friendships, formed new connections, and engaged in meaningful dialogue with fellow church musicians. While the event focused primarily on the sacred music tradition of the ROCOR, participants from other Orthodox jurisdictions also took part, seeking to deepen their understanding of Russian liturgical music and choral practice. In closing, many participants expressed heartfelt gratitude to Elizabeth Ledkovsky and the local committee for their vision, gracious hospitality, and tireless work in making ROCM32 a spiritually uplifting and artistically inspiring experience.
