Rachmaninoff Vespers

Written at the height of the renaissance of Russian sacred choral music, Rachmaninoff’s few sacred works remain the unrivaled jewels in the crown of the Orthodox musical tradition and epitomize the work of the New Russian Choral School. Click here to read the full album notes of Rachmaninoff Vespers.

01 Come, Let Us Worship 2 minutes, 14 seconds "01 Come, Let Us Worship"
02 Bless The Lord, O My Soul 4 minutes, 04 seconds "02 Bless The Lord, O My Soul"
03 Blessed Is The Man 4 minutes, 12 seconds "03 Blessed Is The Man"
04 Gladsome Light 3 minutes, 12 seconds "04 Gladsome Light"
05 Lord, Now Lettest Thou 3 minutes, 14 seconds "05 Lord, Now Lettest Thou"
06 Rejoice, O Virgin 3 minutes, 11 seconds "06 Rejoice, O Virgin"
07 The Six Psalms 2 minutes, 29 seconds "07 The Six Psalms"
08 Praise The Name Of The Lord 2 minutes, 14 seconds "08 Praise The Name Of The Lord"
09 Blessed Art Thou, O Lord 6 minutes, 14 seconds "09 Blessed Art Thou, O Lord"
10 Having Beheld The Resurrection Of 2 minutes, 53 seconds "10 Having Beheld The Resurrection Of"
11 My Soul Magnifies The Lord 7 minutes, 18 seconds "11 My Soul Magnifies The Lord"
12 The Great Doxology 5 minutes, 51 seconds "12 The Great Doxology"
13 The Troparion_ _Today Salvation H 1 minutes, 58 seconds "13 The Troparion_ _Today Salvation H"
14 The Troparion_ _Thou Didst Rise F 3 minutes, 24 seconds "14 The Troparion_ _Thou Didst Rise F"
15 To Thee, The Victorious Leader 1 minutes, 32 seconds "15 To Thee, The Victorious Leader"

Select CD title


Download album from CD Baby or iTunes.  $9.99


Track Listing

1. Come, Let Us Worship – Приидите, поклонимся

2. Bless the Lord, O My Soul – Благослови, душе моя, Господа

3. Blessed Is the Man – Блажен муж

4. Gladsome Light – Свете тихий

5. Lord, Now Lettest Thou – Ныне отпущаеши

6. Rejoice, O Virgin – Богородице Дево

7. The Six Psalms – Шестопсалмие

8. Praise the Name of the Lord – Хвалите имя  Господне

9. Blessed Art Thou, O Lord – Благословен еси, Господи

10. Having Beheld the Resurrection of Christ – Воскресение Христово видевше

11. My Soul Magnifies the Lord – Величит душа моя Господа

12. The Great Doxology – Славословие великое

13. The Troparion “Today Salvation Has Come” – Тропарь ‹‹Днесь спасение››

14. The Troparion “Thou Didst Rise from the Tomb” – Тропарь ‹‹Воскрес из гроба››

15. To Thee, the Victorious Leader – Взбранной воеводе

Bass intonation: Tim Graham
Tenor soloist: Mike Byrley

Download CD from cdbaby

Album Notes

Written at the height of the renaissance of Russian sacred choral music, Rachmaninoff’s few sacred works remain the unrivaled jewels in the crown of the Orthodox musical tradition and epitomize the work of the New Russian Choral School. Composers of the school (including Kastalsky, Gretchaninoff, and Chesnokov) drew their inspiration from Old Church Slavonic chant and Russian choral folk song, departing from a century and a half of domination by Italian and German models. Led by musicologist Stepan Smolensky, who headed the Moscow Synodical School of Church Singing and pioneered the historical study of ancient chant, these composers created an entirely Russian choral style marked by an endless array of dynamic nuances and choral timbres.

Rachmaninoff’s Vespers (All-Night Vigil, op. 37) was composed over just two weeks in January and February of 1915 and dedicated to Smolensky, the composer’s tutor. Johann von Gardner has proclaimed it a “liturgical symphony,” and indeed, Rachmaninoff masterfully exploits the New School’s technique of “choral orchestration,” varying the choral color extensively, dividing the choir into as many as eleven parts, calling for precise articulations, and dictating a vivid spectrum of dynamic gradations. From the tradition of Russian folk song, Rachmaninoff borrows the technique of “counter-voice polyphony,” skillfully integrating into his composition parallel voice-leading, melodic lines above a drone, and imitation between a constantly changing number of voices. And yet, Rachmaninoff’s dazzling technique never calls attention to itself; rather, it serves at all times to sustain the sacred text in its position of prime importance.

The All-Night Vigil service was introduced to Russia in the fourteenth century. In the words of Vladimir Moroson, it is a “curious liturgical concatenation” combining the services of Vespers, Matins, and Prime. Celebrated on the eves of holy days, it lasted from sunset to sunrise in the medieval Church (although modern reforms have shortened the service). Remarkably, Rachmaninoff sets the entire thing—all fifteen hymns, psalms, and prayers of the Resurrectional Vigil. Though deeply spiritual, Rachmaninoff was at odds with the organized religious establishment (which opposed his marriage to his first cousin, Natalie Satin) and not intimately familiar with the traditional musical settings of the Church’s liturgy. This may help explain his original and inventive approach in the All-Night Vigil.

Rachmaninoff’s use of melodic material is both innovative and exhaustive, at once original and steeped in tradition. Drawing from all three ancient chant traditions (Znamenny, meaning “notated with neumes,” Greek School, and Kiev School), nine of the fifteen movements are based on actual chant melodies. For the remaining six, Rachmaninoff composed new material, inspired by chants; he called these movements “conscious counterfeits.” The resulting fusion of new and old material overflows with an intensely expressive melodic richness. As the voices by turns rise heavenward and sink into the depths, Rachmaninoff portrays the essence of humankind’s worship of the Divine, from its most exuberant exultation to its most sincere supplication.

Such sumptuous sounds illumine the epic grandeur of the events commemorated in the All-Night Vigil. After the opening call to worship, the Vespers section depicts the Creation and incarnation of Christ. The Matins portion turns to a celebration of the central event in Christian cosmology: Christ’s resurrection. Thus, spiritually, liturgically, textually, and musically, the work operates on an immense and expansive scale. Francis Maes positions it at the summit of the Orthodox tradition, stating that, “The work satisfies all liturgical demands, but goes beyond them in the same way that Bach’s B Minor Mass and Beethoven’s Missa Solemnis do.” As those works serve as capstones to their respective traditions, so Russian choral music culminates in Rachmaninoff’s All-Night Vigil.

– Justin Flosi

 

Comments are closed.