By Hal B. Blackwelder. Printed in the program to the 2000 Chorus pro Musica performance of the Vespers.
Sergei Vasilievich Rachmaninoff was born on April 1, 1873, in Semyonovo, Russia to a musical (if unstable) family. He came early to Russian Orthodox Church choral music and was especially fond of bell-ringing. His early musical studies at the St. Petersburg Conservatory were dilatory at best—in part, perhaps, because of debilitating bouts with depression—but he later blossomed as a pianist under the tutelage of Nikolai Sverev in Moscow. There he grew interested in composition and studied with Taneyev and Arensky. After graduation Rachmaninoff earned considerable acclaim touring in Europe, principally as a pianist, occasionally as a conductor. He visited the United States in 1909, beginning a successful tour at Smith College and performing in Boston, New York, and other cities. After the Bolshevik Revolution he emigrated from Russia, settling in 1918 in New York, where he mainly lived thereafter, with periods in Paris, Dresden, and Switzerland. Rachmaninoff twice turned down offers to become Music Director of the Boston Symphony Orchestra, citing insufficient knowledge of the standard repertoire. He died in Beverly Hills on March 28, 1943, only weeks after becoming an American citizen.
Rachmaninoff’s fame endures chiefly as a composer. His compositions run the gamut of ensembles: 3 operas, 3 symphonies, 1 symphonic poem plus a Capriccio and the Symphonic Dances, 4 piano concerti and a rhapsody, choral works, chamber music, piano pieces, and songs. We consider him the prime Russian exemplar of late Romanticism, with his Second Piano Concerto being arguably the quintessence of that style.
Rachmaninoff composed the All-Night Vigil, Op. 37 during two weeks in January and February 1915. He dedicated it to Stepan Vasilevich Smolensky, who had tutored him in early Russian church music. The score calls for mixed choms a cappella, subdivided into as many as eleven voices, and alto and tenor soloists. The Moscow Synodical Choir (with boy trebles) premiered the work on March 10, 1915, with soloist S. Yudin, Nikolai M. Danilin conducting. Jeffrey Rink led the only previous Chorus pro Musica performance on November 19, 1993, at the Church of the Advent in Boston with soloists Elizabeth Anker and Rockland Osgood.
Rachmaninoff shunned affiliation with the organized religious establishment (necessitating some serious smoothing-over to achieve a church wedding in 1903), but he was by no means irreligious. His sacred compositions include the motet Deus meus (1890); the “concerto” O Mother of God, Vigilantly Praying for a cappella choir (1893); the Liturgy of St. John Chrysostom (1910); and the All-Night Vigil, frequently referred to as the Vesper Mass or just Vespers. Many of his secular works contain themes derived from Russian Orthodox chants, the First Symphony and the Symphonic Dances principal among them. Others, such as the Fantaisie-tableaux, Op. 5 for two pianos and the cantata The Bells evoke church bells. His lifelong fascination with the Latin Dies irae melody has been widely remarked.
For those familiar mainly with his symphonies and piano concerti, the All-Night Vigil comes as a surprise, with its basis in simple ancient chant. Perhaps it is “easier to say what this music is not than what it actually is. It is neither melodic with accompaniment nor contrapuntal. It is not dramatic in the sense of using tension and release to structure the experience. It does not have a four-square beat, does not neatly resolve its harmonies.” [Smith] Rachmaninoff dearly loved the work, esteeming it second only to The Bells. In it he believed he had finally achieved the “union between the melodies of the Oktoechos [Byzantine modes] and the Western counterpoint, a dream which had long before been cherished by Glinka” and Tchaikovsky. [von Riesemann]
The work, comprising Vespers and Matins, is for the night-long service celebrated on the eves of holy days. Before reforms shortened these services, they began late in the evening, concluded after sunrise with the First Hour Service, and led straight into the Liturgy Service. (Mercifully, Rachmaninoff lived post-reform.)
The service begins with traditional exclamations by the deacon and priest followed by a congregational “amen” firmly in C major.
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D’akon: Blagoslovi, vladiko. Sv’ashchennik: Slava sviatey, Prikhozhan’e: Amin. |
Deacon: Bless us, Master. Priest: Glory to the holy, Congregation: Amen. |
The first movement is a call to prayer. It is freely composed—that is, not derived from an actual chant but rather “a conscious counterfeit of the ritual.” [Rach.] It declaims in a way reminiscent of Borodin’s opera choruses.
| 1. Priidite, Poklonimsya | Come, Let Us Worship |
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Priidite, poklonimsia Tsarevi nashemu Bogu. Priidite, poklonimsia i pripadem Priidite. poklonimsia i pripadem samomu Priidite, poklonimsia i pripadem Yemu. |
Come, let us worship God, our King. Come, let us worship and fall down Come, let us worship and fall down Come, let us worship and fall down before Him. |
The second movement derives from what the Russians call “Greek chant,” a seventeenth-century form involving single-note recitatives and simple melismas. The six verses represent the first six days of Creation recited by the solo alto over lower voice drones, with distant angelic upper-voice refrains. Man having been created on the sixth day, the basses reprise a portion of the sixth refrain emphasizing “created all.”
| 2. Blagoslovi, Dushe Moya | Bless the Lord, O My Soul |
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Blagoslovi, dushe moya, Ghospoda. Bozhe moy, vozvelichilsia yesi zelo. Vo ispovedaniye i v velelepotu obleklsia yesi. Na gora stanut vodi. Posrede gor proydut vodi. Fsia premudrosliyu sotvoril yesi. |
Bless the Lord, O my soul. My Lord, Thou art very great. Thou art clothed with honor and majesty. The waters stand upon the mountains. The waters flow between the hills. In wisdom hast Thou made all things. |
Up until the sixteenth century, when Western musicians flocked to the court of Peter the Great bringing with them modem musical notation, Russian chant was sung in unison based on znamenniy—“signs” or “hooks.” The next movement is freely composed, but it is inspired by Znamenny chant. Rachmaninoff sets portions of Psalms 1 and 2, depicting salvation through repentance, for the upper voices, followed by ever-changing tutti threefold glorifications of the Trinity.
| 3. Blazhen Muzh | Blessed Be the Man |
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Blazhen muzh, izhe ne ide na sovet Alliluya, alliluya, alliluya. Yako vest Ghospod plll pravednih, Alliluya ... Rabotayte Ghospodevi so strahom, Alliluya ... Blazheni fsi nadeyushchiisia nan. Alliluya ... Voskresni, Ghospodi spasi mia. Bozhe moy. Alliluya ... Ghospodne yest spaseniye, Alliluya ... Slava Ottsu, i Sinu, Alliluya, alliluya, alliluya, slava Tebe. Bozhe. Alliluya, alliluya, alliluya, slava Tebe. Bozhe. Alliluya, alliluya, alliluya, slava Tebe. Bozhe. |
Blessed be the man who walks not in Alleluia, alleluia, alleluia. For the Lord knows the way of the righteous, Alleluia ... Serve the Lord with fear, Alleluia ... Blessed are all who take refuge in him. Alleluia ... Arise, 0 Lord. Save me, 0 my God. Alleluia ... Salvation is of the Lord; Alleluia ... Glory be to the Father, and to the Son, Alleluia, alleluia, alleluia, glory to Thee, O God. Alleluia, alleluia, alleluia, glory to Thee, O God. Alleluia, alleluia, alleluia, glory to Thee, O God. |
Kiev chant, much like Ukrainian folk songs, finds the music alternating between recitative and melodic sections. “Serene Light” is based on a Kiev chant. Rachmaninoff engages in some word-painting in the opening to conjure up translucent images. “The sinuous line floats up and down, unresolved.” [Smith]
| 4. Svete Tikhyi | Serene Light |
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Svete tikhyi sviatiya slavi Bessmertnago, Ottsa Nebesnago, Sviatago. Blazhennago, Prishedshe na zapad solntsa, poyem Ottsa, Sina i Sviatago Duha, Boga. Dostoin yesi vo fsia vremena Sine Bozhiy, zhivot dayay, |
Serene Light of the holy glory of the Immortal, the Heavenly Father, holy and blessed, Now that we have come to the setting of the sun we praise the Father, Son, and Holy Spirit, God. Thou art worthy at every moment O Son of God, Thou art the Giver of Life; |
The Nunc dimittis that follows is also based on Kiev chant. The solo tenor begins chanting St. Simeon’s prayer over swelling chords in the middle voices that “approximate human breathing” [Roudenko], then the section expands with the first appearance of polyphony to emphasize “salvation ... before the face of all people.” The movement concludes with the bass line descending to a low B-flat pianissimo death and burial preparatory to salvation and afterlife. On first seeing the score, conductor Danilin gasped, “Where on earth are we to find such basses? They are as rare as asparagus at Christmas!” [Rach.] This was Rachmaninoff’s favorite movement, the one he requested be sung at his funeral; how strangely fitting that it should sound so like a cradlesong.
| 5. Nynye Otpushchayeshi | Now Let Thy Servant Depart |
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Nynye otpushchayeshi raba Tvoyego, Vladiko, po glagolu Tvoyemu s mirom, yako videsta ochi moi spaseniye Tvoye, yezhe yesi ugotoval pred litsem vseh svet vo olkroveniye yazikov, i slavu liudey Tvoih lzrailia. |
Lord, now lettest Thou Thy servant depart in peace, according to Thy word, for mine eyes have seen Thy salvation, which Thou hast prepared before the face of all a light to enlighten the Gentiles, and the glory of Thy people Israel. |
The concept of “Theotokos”—originally mother-goddess, evolving into Mother of God (Greek “God-bearer”), then Virgin Mother of God—was appropriated for Mary from Artemis (who was herself the cultural extension of the Anatolian mothergoddess Cybele) by the Ephesians in the year 431. Since this was the Byzantine period, the Roman Catholic Church went essentially unaffected by the concept. With the conquest of Anatolia by the Muslims, and with the emergence of the Russian Orthodox Church, the Theotokos idea became influential in Islam and in both Greek and Russian Orthodox theology. The hymn to the Theotokos, Ave Maria to Westerners, is free composition. The angel (here plural) begins softly, building to “for Thou hast borne the Savior of our souls,” then diminishing, disappearing into heaven.
| 6. Bogoroditsye Devo, Raduisya | Rejoice, O Virgin |
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Bogoroditsye Devo, raduysia. Blagodatnaya Mariye, Ghospod s Toboyu. Blagoslovenna Ti v zhenah, |
O Virgin Theotokos, rejoice. Mary full of grace, the Lord is with Thee. Blessed art Thou among women, |
If the Vespers service is all Old Testament in its emphasis (Creation, the Fall, repentance, promise), the Matins service is New Testament in feeling (the Coming and the Resurrection), though it opens with six psalms which Rachmaninoff originally titled “The Lesser Doxology.” The opening psalm is freely composed. Listen for the bell-ringing and for the almost Bach chorale-like finish.
| 7. Slava V Vyshnikh Bogu | Glory to God in the Highest |
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Siava v vishnih Bogu, Siava v vishnih Bogu, Slava v vishnih Bogu, Ghospodi, ustne moi otverzeshi |
Glory to God in the highest, Glory to God in the highest, Glory to God in the highest, O Lord, open Thou my lips, |
The Polyeleos movement derives from Znamenny chant. The all-male middle section must surely have sprung from Rachmaninoff’s memories of monasteries.
| 8. Hvalite Imya Gospodne | Praise the Name of the Lord |
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Hvalite imya Ghospodne. Alliluia. Hvalite, rabi Ghospoda. Blagosloven Ghospod ot Siona, Ispovedaytesia Ghospodevi, yako blag. Yako v vek milost Yego. Alliluia. Isopovedaytesia Bogu nebesnomu. Yako v vek milost Yego. Alliluia. |
Praise the name of the Lord. Alleluia. Praise the Lord, O you His servants. Blessed be the Lord from Zion, O give thanks unto the Lord, for He is good. For His mercy endures forever. Alleluia. O give thanks unto the God of Heaven. For His mercy endures forever. Alleluia. |
Rachmaninoff treats the next psalm in oratorio-like fashion: the host of angels comprises the altos, tenors, and solo tenor, each of whom gets recitatives between ever more urgent choruses. It is intricate, “tying diverse elements together with drones.” [Smith] This movement also derives from Znamenny chant.
| 9. Blagosloven Yesi, Gospodi | Blessed art Thou, O Lord |
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Blagosloven yesi, Ghospodi, Angelskiy sobor udivisia, Blagsloven yesi, Ghospodi. “Pochto mira s milostivnimi slezami, Blagosloven yesi, Ghospodi. Zelo rano mironositsi teehahu Blagosloven yesi, Ghospodi, Mironositsi zheni smiri prishedshiya Slava Ottsu, i Sinu, Poklonimsia Ottsu, i Yego Sinovi, I nine, i prisno, i vo veki vekov. Amin. Zhiznodavtsa rozhdshi, greha, Devo, Alliluiya, alliluiya, alliluiya, Alliluiya, alliluiya, alliluiya, Alliluiya, alliluiya, alliluiya, |
Blessed art Thou, O Lord. The angelic host was filled with awe Blessed art Thou, O Lord. “Why do you women dilute the myrrh Blessed art Thou, O Lord. Very early in the morning the myrrhbearers Blessed art Thou, O Lord. The sorrowful myrrhbearers Glory be to the Father, and to the Son, We worship the Father, and His Son, Both now and ever, and unto ages of ages. Amen. By giving birth to the Giver of Life, O Virgin, Alleluia, alleluia, alleluia! Alleluia, alleluia, alleluia! Alleluia, alleluia, alleluia! |
In an actual service, there would be a break here for the reading of the Gospel. In performance, we take an intermission.
The next movement, while freely composed, employs the intonation-response form typical of Russian psalm singing. Here the lower voices intone in octaves, the upper voices responding in four-part harmony. The lower voices grow in richness. The piece builds to a joyous fortissimo climax at “Ever blessing the Lord” then subsides in awe.
| 10. Voskreseniye Khristovo Videvshe | Hymn of the Resurrection |
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Voskreseniye Hristovo videvshe, Krestu Tvoyemu pokloniayemsia, Hriste, Ti bo yesi Bog nash, razve Tebe inogo ne Priidite fsi vernii, |
Having beheld the resurrection of Christ, We venerate Thy Cross, O Christ, for Thou art our God, and we know no other; Come, all you faithful, For, behold, through the cross |
The Magnificat, a free composition, follows. Atypically, Rachmaninoff gives Mary’s words to the men and altos. “His rationale was that Mary felt this text in such depth that this could only be reflected in the deepest voices.” [Roudenko] The upper voices, when they appear alone leading the refrain, represent the angels, who seem to dance.
| 11. Velichit Dusha Moya Gospoda | My Soul Doth Magnify the Lord |
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Velichit dusha Maya Ghospoda, Pripev: Chestneyshuyu Heruvim Yako prizre na smireniye Pripev. Yako sotvori Mne velichiye Silniy, Pripev. Nizlozhi silniya so prestol, Pripev. Vospriyat Izrailia, olroka Svoyego, Pripev. |
My soul doth magnify the Lord, Refrain: More honorable than the Cherubim For He hath regarded the low estate Refrain. For He who is mighty hath done great things for me, Refrain. He hath put down the mighty from their thrones Refrain. He hath holpen His servant Israel, Refrain. |
The Great Doxology, Gloria in excelsis, is the most polyphonic movement of the work. It is the last of the Latin hymns (together with Nos. 5, 6, and 11) familiar to Westerners. It is based on Znamenny chant, passes from voice to voice, settles into chorale-like sections, and once more employs church bell effects. It builds very nearly to ecstasy and requires Beethovenian stamina. In a real all-night vigil, this movement occurred at sunrise.
| 12. Slava V Vyshnikh Bogu | Glory to God in the Highest |
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Siava v vishnih Bogu, i na zemli mir, Hvalim Tia, blagoslovim Tia, Ghospodi, Tsariu Nebesniy, Bozhe Otche Ghospodi, Sine Yedinorodniy, lisuse Hriste, Ghospodi Bozhe, Agnche Bozhiy, Sine Otech, Sediay odesnuyu Ottsa, Yako Ti yesi yedin sviat, Ti yesi yedni Ghospod, lisus Hristos, Na fsiak den blagoslovliu Tia Spodobi, Ghospodi, v den sey bez greha Blagosloven yesi, Ghospodi, Budi, Ghospodi, milost Tvoya na nas, Blagosloven yesi, Ghospodi, nauchi mia Blagosloven yesi, Ghospodi, nauchi mia Blagosloven yesi, Ghospodi, nauchi mia Ghospodi, pribezhishche bil yesi nam Az reh: Ghospodi, pomiluy mia, Ghospodi, k Tebe pribegoh, Probavi milost Tvoyu vedushchim Tia. Sviatiy Bozhe, Sviatiy Krepkiy, Sviatiy Bozhe, Sviatiy Krepkiy, Sviatiy Bozhe, Sviatiy Krepkiy, Siava Ottsu i Sinu Sviatiy Bessmertniy, pomiluy nas. Sviatiy Bozhe, Sviatiy Krepkiy, |
Glory to God in the highest, and on earth peace, We praise Thee, we bless Thee, O Lord, Heavenly King, God the Father O Lord, the only begotten Son, Jesus Christ, O Lord God, Lamb of God, Son of the Father, Thou who sittest at the right hand of the Father, For Thou only art holy, Thou alone art the Lord, Jesus Christ, Every day I will bless Thee Vouchsafe, O Lord, to keep us this day Blessed art Thou, O Lord, Let Thy mercy, O Lord, be upon us, Blessed art Thou, O Lord. Teach me Blessed art Thou, O Lord. Teach me Blessed art Thou, O Lord. Teach me Lord, Thou has been our refuge I said: Lord, have mercy on me; Lord, I flee to Thee. Continue Thy mercy on those who know Thee. Holy God, Holy Mighty, Holy God, Holy Mighty, Holy God, Holy Mighty, Glory be to the Father, and to the Son, Holy Immortal, have mercy on us. Holy God, Holy Mighty, |
A troparion is a short hymn explaining the meaning of a church feast, a saint’s life, or an important event. It shares a root with trope—“any interpolation of a new melody and text, which is then sung together with a traditional chant.” [Harvard] In real services, these two Znamenny chant-based anthems would appear on alternate weeks in the Orthodox Church calendar, not together as here. If everything up to this point has copied traditional Russian Orthodox chant—either explicitly or as a “conscious counterfeit”—now the luscious Romantic Rachmaninoff harmonies emerge. The first-time listener could be forgiven for guessing Maurice Durufle as the composer.
| 13. Dnes Spaseniye Miru Byst | Troparia of the Day of Salvation |
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Dnes spaseniye miru bisl, |
Today salvation has come to the world. |
| 14. Voskres Iz Groba | Troparia of the Resurrection |
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Voskres iz groba |
Thou didst rise from the tomb |
The final movement is a bell-ringing Greek chant giving thanks to the Virgin as protector of mankind from evil (and, it is tempting to think, as protector of choristers from the rigors of the Liturgy Service that might follow).
| 15. Vzbrannoy Voyevode | Thanksgiving to the Mother of God |
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Vzbrannoy voyevode pobeditelnaya, |
Victorious Leader of triumphant hosts, |