RENTAL/PURCHASE
Not available. This work is under an exclusivity contract with the commissioner until March 2026.

The Litany of St. Joseph
Litaniae Sancti Ioseph

For 4 Soloists, Chorus, Orchestra, and Organ

Premiere: March 17, 2025
Jack Singer Concert Hall – Calgary, Canada

Conducted by the Composer
Organist: Gary Tong

Soloists:
Kathleen Morrison
Maryna Szojka
Martin Renner-Wallace
Aaron Durand

Composer’s Notes

In 1624, St. Joseph was declared the Patron Saint of Canada, a title that has shaped our nation’s spiritual and cultural identity for over four centuries. The Litany of St. Joseph commemorates this milestone through a multi-movement work that fuses ancient traditions with a distinctly Canadian perspective. Scored for orchestra, chorus, four operatic soloists, and organ, this composition has offered me an opportunity to meditate on faith, heritage, and unity.

A born-and-raised Albertan, raised in the foothills of the Rockies, the soundscape reflects the geography of our land and my experience living in this beautiful corner of the world. I’ve tried to weave a tapestry of sound that captures the essence of rolling hills and gentle rivers, the heat of our summers, the harshness of winter, and the overwhelming majesty of the Rocky Mountains themselves. Mountains have long been regarded as 'closer to God,' evoking awe and reverence in those who stand at their summits. This sense of transcendence aligns with Bl. Pier Giorgio Frassati's concept of Verso l'Alto—‘toward the heights’—which symbolizes a striving toward the divine and the elevation of the spirit. Anyone who has experienced the vastness from a mountaintop can understand the call to reach higher, both physically and spiritually.

The entire work is sung in Latin, the universal language of the Catholic Church for thousands of years. The text follows the revised Litany of St. Joseph, which incorporates the seven new invocations added by Pope Francis in 2021.

The Music

The piece is divided into 13 movements—an instrumental prelude and 12 sections of text, each section treated with a slight variation on a musical idea, all inspired by the centuries-old melodies that comprise the plainsong version of the litany.. The 13 movements of The Litany of St. Joseph symbolize the 13 modern-day provinces and territories of Canada. However, we must remember that the lines delineating territory are a modern convention. For thousands of years, territories were demarcated by the landscape, rivers, and forests. Through the entire work, the drumming patterns in the timpani plays an important role, representing the ongoing journey of reconciliation. The hypnotic sounds of the drums lends a crucial voice representing the our brothers and sisters who have not been always been privileged to have their voices heard.

The prelude to The Litany of St. Joseph begins, fittingly, with the timpani, followed by a direct quote the of the Introit to the Mass of the Holy Family, widely regarded as the first music ever composed in Canada. It is first quoted in the bells, interrupted by the solo oboe intoning the chant for the Ave Maria. The introit then returns in its entirety, played by a plaintive solo cello, the instrument regarded to be most like the human voice. Several well-known Gregorian chant themes —familiar to all the faithful—intertwine through the entire work, including Ave Maria, Pater Noster, and the Easter sequence Victimae Paschali Laudes. These chant incipits, presented in subtle variations, guide the listener into deep thought and prayer, setting the tone for the spiritual journey ahead. Following the introduction, the timpani returns, where it is joined by the grand organ in a dramatic crescendo, ultimately leading to a bold declamation of Kyrie Eleison in the Trombones and Organ.

The piece begins in, and often retreats to, the deepest registers of the orchestra. The double basses and cellos provide a rich foundation, bolstered by the ethereal contrabassoon. In moments of even greater gravity, the organ’s largest pipes—some stretching 32 feet in length—deliver a deep, resonant rumble that is felt more than heard. These deep sonorities symbolize St. Joseph’s unwavering faith and his quiet, humble role as the steadfast head of the Holy Family. Most of the time, you can feel it more than hear it. Other times, the organ erupts in bursts of righteous anger, defending the church and the world.

Pope Benedict XVI, in 2006, said the following about the importance of the organ in worship: "The organ has always been considered, and rightly so, the king of musical instruments, because it takes up all the sounds of creation and gives resonance to the fullness of human sentiments, from joy to sadness, from praise to lamentation. By transcending the merely human sphere, as all music of quality does, it evokes the divine. The organ’s great range of timbre, from piano through to a thundering fortissimo, makes it an instrument superior to all others. It is capable of echoing and expressing all the experiences of human life. The manifold possibilities of the organ in some way remind us of the immensity and the magnificence of God.”

The 13 movements vary in length, from nearly 8 minutes to only a few seconds. The 9th movement, Terror of Demons, stands out for its dramatic portrayal of demonic chaos. The orchestra erupts with frenetic energy, reflecting a world in turmoil, only to be interrupted by the commanding and dominating presence of the organ. This powerful clash between chaos and divine order mirrors the spiritual battle between fear and faith, with St. Joseph depicted as the protector who drives away evil. A grand fugue concludes the litany, leading to the final Amen. This powerful ending contrasts the contrapuntal style of the Baroque with modern sounds and harmonies, bringing the work to a triumphant close.

Symbolism

For those interested in musical symbolism, there is a striking tonal shift to E-flat major for only two words in the entire litany: Sancte Trinitas. E-flat major, with its three flats, naturally aligns with the sacred numerology of the Holy Trinity. There are also 3 cymbal crashes on these words. Additionally, the four vocal sections divide into three lines each, creating a total of 12 independent vocal lines—echoing the 12 apostles, 12 Tribes of Israel, and the 12 stars in Mary’s crown––and symbolizing the Trinity’s presence within each of us. This brief yet potent musical moment highlights the deep theological connections woven throughout the work. Another highly symbolic moment occurs in the bells, which chime 25 times, combining the 13 provinces/territories and the 12 (Apostles, Tribes of Israel, Star) into 25…the number of years between Jubilee Year celebrations.

This premiere marks 400 years of St. Joseph’s patronage, standing as a testament to the enduring power of sacred music in uniting communities, inspiring reflection, and elevating the spirit.

Press

  • https://www.catholicregister.org/item/1803-an-opus-to-our-steadfast-patron

  • https://www.airdriecityview.com/rocky-view-news/rocky-view-composer-brings-the-litany-of-st-joseph-to-the-stage-10341615

  • https://www.youtube.com/watch?v=6TH_qnQGB3U