In music, timing is everything.

In one sense, this is one of the most obvious platitudes one can express.

Anyone exposed to music understands the paramount importance of a troupe of instrumentalists and vocalists being utterly harmonious as they tackle pieces in 2/2, 4/4 or 12/8 rhythm.

On the other hand, the weightier interpretation of the phrase timing is everything in music signifies the emotive and transformative power induced when you hear a song at the exact right moment of your life. It seems downright providential. 

This phenomenon appears at work with Carlos Foggin’s new Litany of St. Joseph. The Rocky Mountain Symphony Orchestra founder is ready to debut his ambitious homage to Canada's patron saint with a premiere concert March 17 at Jack Singer Concert Hall in Calgary. It is an occasion of pure serendipity as the humble carpenter, the spouse of Mary and the earthly father of Christ Jesus became Canada’s saintly protector 400 years ago.

The Litany of St. Joseph’s “written-in-the-stars” bona fides is augmented when considering Foggin was first commissioned to pen a composition in reverence to St. Joseph back in 2020 amid the COVID-19 pandemic.

Sean Lynn, the executive director of the God Squad Canada Society, proposed the project to Foggin, who served as organist and choirmaster of St. Dennis Catholic Church from 2008 to 2019. Lynn was driven to honour St. Joseph as Pope Francis declared a special year of intercession and devotion to this patron of the Universal Church starting on Dec. 8, 2020, the Solemnity of the Immaculate Conception.

Foggin, delighted to be gifted with this opportunity, illustrated how commissioned music signifies being empowered to create something truly special and, ideally, timeless.

“You do not need to create something that sells or needs to be popular,” said Foggin. “It tends to be if it's popular, it is probably, quote-unquote, not too good to begin with. It is going to be appealing to people, but that loses an opportunity to create something artistic. For thousands of years, the Church has embraced artists and given them freedom and license to create beautiful architecture, fine art and sculpture.”

Originally, Foggin and Lynn agreed to terms that an eight-10 minute litany would be rendered and submitted within a year. Immersed in his creative process, Foggin added a section he envisioned would be perfect for his acquaintance Kathleen Morrison, an operatic soprano starring in Berlin, Germany, for much of the past decade. This passage added four extra minutes to the runtime.

Since the rate for the work was already established, Foggin felt driven to add more movements and vocal lines to manifest an engrossing—and hopefully transcendent—opus. If the organist, four soloists and orchestra that Foggin is conducting perform the litany at “a pretty brisk tempo,” the entire performance should clock in around 32 minutes.  

Lynn felt no impulse whatsoever to disrupt Foggin’s torrent of imagination. The only notes he provided Foggin was for him to take notice of the seven new invocations Pope Francis added to the Litany to St. Joseph.

“That was my only note,” said Lynn. “I’m not the creator. If you ask somebody to do a job you give them room to do it. He has that creative talent, and that is why he was commissioned."

The litany's ever-increasing ambition is not the only reason why the journey from idea to curtain time took several years. Securing a coveted venue like the Jack Singer Concert Hall is not easy. It is also exceedingly tricky to lock in a performance date when all the singers and players hired to bring your vision to life have very busy and differing schedules.

Notably, the entire ensemble met for its first rehearsal on March 9—eight days before the premiere public performance.  

Now, the debut synchronizes with the 400th anniversary week, but, as Lynn explained, there are other reasons why the timing is ripe for people to hear Foggin’s Litany of St. Joseph.

“Given where the world is and the divisions within Canada, who better to turn to than St. Joseph, patron of Canada and the Universal Church? You look at where Pope Francis is, (St. Joseph) is patron of the sick and dying,” said Lynn. “I can’t think of a better time to have this particular concert. That is why I think the other dates didn't work. God wanted it right now as our country's talking about elections and new prime ministers.

“We need St. Joseph to intercede on our behalf as a country, as a ministry, as a nation, as a Church.”

Foggin honoured his country by arranging the Litany of St. Joseph into 13 movements to symbolize Canada’s 13 provinces and territories. He also pays an ode to the musical heritage of Canada by melodically quoting the Introit for the Feast of the Holy Family—considered to be the first music ever composed within this nation-state.  

Another significant dimension to the score is the timpani drum patterns symbolizing ongoing reconciliation efforts with Canada’s Indigenous peoples. The drums are detached from the orchestra at the beginning of the score, but the sounds become increasingly integrated.

“(It’s about) reconciliation and true apology for some of the things that did happen that were unfair and frankly of men and perhaps not of God,” said Foggin. “Just people coming and doing things of their own will instead of what God intended. The orchestra, the choir and everything does come to kind of a resolution and harmonic cohesion.”

Foggin assigned the organ to represent St. Joseph. He deemed it the ideal musical vehicle to accentuate the Nazarene’s repute as a “model of steadfastness.”

“It's powerful. It requires no breath. It can just go forever,” said Foggin. “As long as the guys are up there pumping the bellows, so to speak, or until the electricity fails, the organ can just keep playing.”

The organ’s impact reaches its apex during the ninth movement called the “Terror of Demons.” Foggin’s detailed composer notes characterize this section as a “dramatic portrayal of demonic chaos.”

The orchestra bursts with chaotic energy to depict a world in tumult. The organ powerfully interrupts the frenzy with its commanding sound. Foggin wrote that “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.”

That composition featuring 12 vocal lines is also significant. It symbolizes the 12 apostles, the 12 tribes of Israel and the Crown of 12 Stars of the Blessed Virgin Mary.

There are also 25 bell chimes throughout The Litany of St. Joseph to represent the number of years in a Jubilee.

Following the March 17 debut at Jack Singer Concert Hall, God Squad Canada Society plans to post the litany to selected online platforms on a yet-to-be-determined date.