The Art of Sacred Music: Inside Archimandrite Matthew’s Choir Room

In the hearts of many, the resounding chorales of traditional Russian church singing evoke images of the majestic choir of the Trinity-Sergius Lavra. At the helm of this choir stood Archimandrite Matthew (Mormyl), a figure whose influence on church music extended well beyond the borders of Russia. His compilations of chants are still embraced by Orthodox churches worldwide, and his methodologies in training choir singers remain foundational. Devoting over three decades to the monastery of St. Sergius, Father Matthew dedicated his life to the art of church music, echoing the words of the Psalms: ‘I will sing to the Lord as long as I live’. 

This article delves into the key moments of his life, exploring his profound impact on the Lavra Choir’s style, repertoire, and the distinctive approach to clerical singer training.

A Legacy Rooted in Song

Born on March 5, 1938, in the quaint village of Arkhonskaya, on the outskirts of Vladikavkaz, Father Matthew (born Lev Vasilievich Mormyl) was cradled in a lineage rich with musical tradition. “I hail from the fourth generation of singers in my family,” he would often recount with pride. His grandfather, a versatile singer, graced not only church choirs but also the opera stage, while his mother maintained her choir participation well into her later years. 

In spite of the oppressive scrutiny from Soviet authorities towards the Church and its followers, the Mormyl household fervently observed significant religious celebrations. They diligently rehearsed hymns and spiritual verses, ensuring that the essence of Christmas and Easter remained alive through their melodious renditions of traditional carols and the Paschal Canon. 

Father Matthew fondly remembered his grandmothers, who were revered not only for their hospitality but also for their devout spirituality. Despite their illiteracy, they had the Gospel etched into their hearts and could recall sermons with astonishing accuracy. Their home was a sanctuary for wanderers seeking refuge, often greeted with the warmth of Cossack borscht and an assurance of shelter. These formative experiences deeply influenced Father Matthew, embedding a profound reverence for sacred traditions and familial legacies in song.

Early Ministry and Ascension to Lavra Regency

Leo Mormyl’s spiritual journey commenced at an early age, taking root in a humble church established in 1945 within a house in his native village. At merely seven years old, Leo began serving at the altar and joined the choir, where he sang alongside his mother and was deeply inspired by two blind singers.  

Despite the challenges of balancing his ecclesiastical duties with secular education, Leo remained committed to his church activities, enduring mockery from schoolmates and even physical assaults due to his faith. 

His resolve only strengthened with time, and after completing school, Leo embarked on a more formal path to divinity by enrolling in the Stavropol Theological Seminary. It was during a holiday assignment in Essentuki that he first assumed the role of a regent under the guidance of the rector. There, he honed his skills in musical direction, working alongside the revered Deacon Pavel Zvonik, whose mastery in musical expression and articulation profoundly influenced the young seminarian. 

The necessity of manually transcribing music due to the absence of modern copying facilities sharpened his memory and deepened his understanding of liturgical intricacies.

Monastic Calling and Joining the Lavra

Leo’s aspiration towards monastic life led him to the Moscow Theological Academy in 1959, where he spent two years immersed in choir singing and monastic contemplation. 

A pivotal moment occurred during a confession with Father Tikhon at the Assumption Cathedral of the Lavra. Revealing his monastic ambitions, Leo received prophetic encouragement and a small Gospel, marking a divine appointment that would see him join the monastery precisely three years later.

Upon completing his second year at the academy, Leo sought admittance into the Trinity-St. Sergius Lavra. Despite stringent restrictions under Nikita Khrushchev’s regime, which saw the expulsion of many young aspirants, Leo was accepted and quickly rose to prominence within the monastic community. His initial roles as senior chorister and regent set the stage for a distinguished career that would see him eventually assume leadership over both the mixed and men’s choirs.

In late 1962, Leo took monastic tonsure, adopting the name Matthew in honor of the Apostle and Evangelist. His consecration continued rapidly: he was ordained a hierodeacon and, within a year, a hieromonk. His profound commitment to church music and monastic life earned him the titles of hegumen and later archimandrite, culminating in his recognition as a professor emeritus of the Moscow Theological Academy. Throughout his service, Archimandrite Matthew received numerous patriarchal letters and orders, each a testament to his enduring dedication and impact on the spiritual and musical life of the Lavra. 

Archimandrite Matthew (Mormyl): A Life Dedicated to Sacred Music

In 1964, Archimandrite Matthew assumed the role of senior regent at the Trinity-Sergius Lavra during a period of considerable neglect by the authorities. Tasked with revitalizing the choir from the ground up, Father Matthew embarked on a meticulous exploration of local liturgical traditions, discovering that the same chants were often sung differently across various churches. He famously asserted that the essence of a choir’s ecclesiastical spirit could be discerned through their rendition of the simple “obikhod” chant, which he believed should form the foundational style of all church music. 

Father Matthew was instrumental in reconstructing the Lavra’s once-rich musical library, which had suffered under Bolshevik devastation. He painstakingly gathered scores and chants from various sources, including contributions from his choristers and local residents, some discovered in forgotten attics. 

His dedication extended into his personal time, often seen revising scores and crafting new chants, a labor of love that left his hands perennially calloused from his pen.

His profound appreciation for monastic singing styles was enriched by visits to monasteries known for their choral traditions, such as the Pochaev Lavra and the Kiev-Pechersk Lavra, prior to their persecution and closure in the early 1960s. These experiences imbued him with a deep spiritual and artistic sensibility, allowing him to preserve and continue the monastic chanting traditions of many monasteries that had been shut down during years of religious suppression. 

Character and Leadership

Archimandrite Matthew was known for his uncompromising standards in liturgical singing, striving to reflect divine and historical reverence in every performance. His approach sometimes led to misunderstandings with the choir members who felt the sting of his critical remarks. However, his intentions were always rooted in a desire to see each individual fulfil their potential in praising God. Confessions from those who felt aggrieved often revealed Father Matthew’s own deep feelings of responsibility and piety, as recounted by fellow clerics who knew the depth of his humility and dedication.

Educational Rigour and Paternal Care

His dedication to high standards sometimes resulted in harsh interactions. For instance, Priest Maxim Burdin recalled an incident where Father Matthew dismissed an entire class for failing to learn a chant he had assigned. The students, filled with remorse, learned the chant by the next class, and Father Matthew apologised for his outburst.

Despite his stern facade, Archimandrite Matthew exuded warmth and generosity, often bringing gifts from his homeland to his students, whom he knew by name and treated with fatherly affection. His support extended beyond the choir loft, helping students with personal difficulties whenever he could. 

Archimandrite Matthew’s choir was a coveted assignment among seminarians, though he often remarked humorously that the most talented were selected by other regents. Unfazed, he relied on his faith, often praying to St. Sergius for guidance in nurturing his choir, which saw a complete turnover every two years.  

His unwavering commitment to the choir and its discipline reflected his view that the only valid excuse for missing choir practice was death, a testament to his life’s dedication to the ministry of sacred music. 

Revolutionizing Choir Rehearsals

Archimandrite Matthew was a consummate perfectionist whose musical direction was not merely about memorization but an immersive experience into the liturgical text. He insisted that singers not only know their notes but also deeply understand and feel each word, allowing the sound to be subservient to the spiritual message of the hymns. His approach involved making choristers reflect on and discuss the verses, emphasizing that each performance might be their last, thereby instilling a profound sense of purpose and dedication in their singing. 

Father Matthew’s rehearsal sessions were meticulously structured to foster collective critique and self-improvement, often focusing on the most impactful or challenging segments of a piece first. 

His ability to convey complex musical corrections through vivid, relatable imagery was legendary. In one instance, to correct the sopranos’ tone, he used the analogy of leaping over a puddle in pristine attire, which miraculously transformed their delivery into a beautifully resonant sound.

Newcomers under his tutelage were initially asked to observe silently for six months to absorb the choir’s ethos before actively participating. This period of listening was crucial for understanding the depth of Lavra’s musical tradition. For those with prior singing experience, Father Matthew often undertook the rigorous task of retraining them to unlearn habits incompatible with his standards.

Global Influence and Spiritual Leadership

Despite having no formal training in conducting, Archimandrite Matthew evolved into a renowned choir conductor, leading the Trinity-Sergius Lavra Choir to international acclaim. The choir’s performances across Europe and beyond were celebrated for their spiritual depth and artistic excellence. Father Matthew was also proactive in fostering international relationships, enriching the Lavra’s musical archives through exchanges with foreign clergy.

Archimandrite Matthew’s impact extended beyond music; he was a spiritual father to hundreds of choristers, many of whom went on to serve as clergy around the world, spreading the Orthodox chant traditions he had meticulously cultivated. 

His contributions to the monastic singing repertoire at the Trinity-Sergius Lavra are considered foundational, establishing a distinct school of church music known today as Lavra chants.

Remaining dedicated to his ministry until his final days, Father Matthew continued to teach and lead rehearsals even while gravely ill. He passed away on 15 September 2009, leaving behind a rich legacy celebrated by thousands at his funeral. His life’s work was honoured as choristers and colleagues sang traditional Orthodox hymns of farewell, ensuring his memory and influence would resonate through the ages. Father Matthew was laid to rest behind the altar of the Holy Spirit Church within the grounds of the Trinity-Sergius Lavra, forever a part of the spiritual and musical life of the monastery he loved so dearly.