The news keeps getting better and better for Seraphic Fire.

On Wednesday, the Miami concert choir born nine years ago at the Church of the Epiphany in South Miami was informed that it had been nominated for two Grammy awards. Its newest recording, the “London” version of the Brahms “German Requiem,” is nominated in the Best Choral Performance category, and its “A Seraphic Fire Christmas” album is nominated in the category of Best Small Ensemble Performance.

The choir also notes that the producer of the “German Requiem” album, Peter Rutenberg, has been nominated for Best Classical Producer of the Year, in part for the work he did on the Seraphic Fire disc.

In the Choral Performance category, the choir is up against some formidable competition, including two of the most celebrated choral conductors working today: Stephen Layton (nominated for “Beyond All Mortal Dreams,” an album of American a cappella music recorded at Trinity College, Cambridge) and Paul Hillier (nominated for “The Natural World of Pelle Gudmundsen-Holmgreen,” a disc of music by the contemporary Danish composer). Also in that category is a disc (“Light & Gold”) of music by the American choral composer Eric Whitacre, and one called “Kind,” an album of Norwegian lullabies sung by Ensemble 96 and directed by Kjetil Almenning.

The Seraphic Fire Christmas album is facing “Hilos,” a disc featuring music by the American composer Gabriela Lena Frank; “The Kingdoms of Castille,” an album of Spanish Baroque music from Richard Savino’s El Mundo ensemble; “Slide,” a song cycle by the American composer Steven Mackey; and “Sound the Bells!,” an album of new American music by composers such as John Williams and Michael Tilson Thomas, recorded by San Francisco’s Bay Brass ensemble.

Seraphic Fire founder Patrick Dupré Quigley has a lot to be proud of, having brought the choir from foundation to Grammy heights in less than a decade, and while still in his early 30s (the choir points out that the announcement came an hour before Quigley’s 34th birthday). Its first concert of the season, a tribute to the Spanish Renaissance master Tomas Luis de Victoria, demonstrated Quigley’s omnivorous programming sense and the willingness of his singers to try any challenge he wants to set them.

Quigley is, of course, delighted to receive this recognition from his peers.

“I hope that it shows that American choirs are making just as good a music as the traditional European powerhouses,” he said Sunday from San Antonio, Tex., where he’s directing Handel’s “Messiah” with the San Antonio Symphony. “We have an incredible tradition of choral singing in the United States, and so this is a real honor for us.

“I think it’s also an eye-opener in that it shows we’re on the same level as the European choirs, and it’s nice to have confirmation of that,” he said.

Members of the choir are assembling this week for the group’s new Christmas concerts, of which it is giving no fewer than 10 from the coming Wednesday through Dec. 20. The concerts, which begin at St. Jude Melkite Catholic Church in Miami, also will be presented in venues in Palm Beach, Broward and Monroe counties. Featured will be Quigley’s own new arrangements of Adolphe Adam’s “O Holy Night” and Franz Gruber’s”Silent Night,” as well as Victoria’s setting of “O Magnum Mysterium.”

I’m looking forward in particular to the three performances he’s scheduled of the Bach Mass in B minor this coming February. As it turns out, the group will be performing the mass Feb. 12 at St. Gregory’s in Boca Raton, the very night the Grammy Awards are handed out. Classical awards aren’t televised anymore, so perhaps everyone in the church that night will know whether they’re listening to a Grammy-winning choir.

As it stands, Quigley plans to be in Los Angeles that day for the awards ceremony, so someone else will have to lead the Bach performance.

“That’s one of the things we’re still trying to figure out,” he said. “We don’t know yet what we’re going to do.”

But even if the group doesn’t win, the nominations themselves are a game changer for Seraphic Fire, which I would bet won’t need to release discs under its own label anymore after this. And pressure will surely increase for a substantial national tour. It could be that this season might be South Floridians’ best chance to see a lot of the chorus before other audiences make their bids to hear more of this remarkable Miami institution.