All-Night Vigil (Rachmaninoff) Explained

All-Night Vigil
Type:Sacred choral music
Opus:37
Text:All-night vigil
Language:Church Slavonic
Dedication:Stepan Smolensky
Movements:15
Scoring: choir

The All-Night Vigil (Pre-reform Russian: Всенощное бдѣніе, Vsénoshchnoye bdéniye; Modern Russian: Всенощное бдение) is an a cappella choral composition by Sergei Rachmaninoff, his Op. 37, premiered on 10/23 March 1915 in Moscow.

The piece consists of settings of texts taken from the Russian Orthodox All-night vigil ceremony. It has been praised as Rachmaninoff's finest achievement[1] and "the greatest musical achievement of the Russian Orthodox Church".[2] It was one of Rachmaninoff's two favorite compositions along with The Bells, and the composer requested that its fifth movement (Нынѣ отпущаеши, Nunc dimittis) be sung at his funeral.[3]

The title of the work is often mis-translated as Vespers. This is both literally and conceptually incorrect as applied to the entire work; only the first six of its fifteen movements set texts from the Russian Orthodox canonical hour of Vespers.

History

Composition history

Rachmaninoff composed the All-Night Vigil in less than two weeks in January and February 1915.[4] The All-Night Vigil is perhaps notable as one of two liturgical settings (the other being the Liturgy of St. John Chrysostom) by a composer who had stopped attending church services. As required by the Russian Orthodox Church, Rachmaninoff based ten of the fifteen sections on chant. However, the five original sections (numbers 1, 3, 6, 10, & 11) were so heavily influenced by chant that the composer called them "conscious counterfeits".

Rachmaninoff's work is a culmination of the preceding two decades of interest in Russian sacred music, as initiated by Tchaikovsky's setting of the all-night vigil.[5] [6] The similarities between the works, such as the extensive use of traditional chants, demonstrates the extent of Tchaikovsky's influence; however, Rachmaninoff's setting is much more complex in its use of harmony, textual variety and polyphony.[7]

Performance history

The first performance was given in Moscow on 10/23 March 1915, partly to benefit the Russian war effort. Nikolai Danilin conducted the all-male Moscow Synodal Choir at the premiere. It was received warmly by critics and audiences alike, and was so successful that it was performed five more times within a month.[8] However the Russian Revolution of 1917 and the rise of the Soviet Union led to the government condemnation of religious music,[9] and on 22 July 1918 the Synodal Choir was replaced by a non-religious "People's Choir Academy".[10] It has been written that "no composition represents the end of an era so clearly as this liturgical work".[11]

Individual movements of Rachmaninoff’s Vigil are incorporated by conductors into the actual sacred performance, or celebration (to use the proper Orthodox term), of the All-Night Vigil. On the night of April 2, 2022, Metropolitan Hilarion Alfeyev, celebrated a hierarchical All-Night Vigil that included all of the movements of Rachmaninoff’s work, incorporated with the complete order of the service.

Analysis

The Vigil includes three styles of chant: znamenny (in numbers 8, 9, 12, 13 and 14), a more recitational Greek style (numbers 2 and 15), and "Kiev" chant — a chant developed in Kiev in the 16th and 17th centuries (numbers 4 and 5). Before writing, Rachmaninoff had studied ancient chant under Stepan Smolensky, to whom he dedicated the piece. It is written for a four-part choir, complete with basso profondo. However, in many parts there is three-, five-, six-, or eight-part harmony; at one point in the seventh movement, the choir is divided into eleven parts. Movements 4 and 9 each contain a brief tenor solo, while movements 2 and 5 feature lengthy solos respectively for alto and tenor. The fifth movement, Nunc dimittis (Nyne otpushchayeshi), has gained notoriety for its ending in which the low basses must negotiate a descending scale that ends with a low B-flat (the third B-flat below middle C). When Rachmaninoff initially played this passage through to Kastalsky and Danilin in preparation for the first performance, Rachmaninoff recalled that:

Danilin shook his head, saying, "Now where on earth are we to find such basses? They are as rare as asparagus at Christmas!" Nevertheless, he did find them. I knew the voices of my countrymen...[3]

Movements

See also: All-night vigil. Note: Numbers 1–6 contain settings from the Russian Orthodox Vespers service (Russian: Вечерня, Večérnja), numbers 7–14 settings from Matins (Утреня, Útrenja), and number 15 from The First Hour (Первый час, Pérvyj čas).

Seq.Church SlavonicTransliterationEnglish equivalent
Пріидите, поклонимся.Priidite, poklonimsya.Come, Let Us Worship.
Благослови, душе моя, Господа.
Греческаго распѣва.
Blagoslovi, dushe moya, Gospoda.
Grecheskago raspeva.
Bless the Lord, O My Soul.
Greek Chant.
Блаженъ мужъ.Blazhen muzh.Blessed is the Man.
Свѣте тихій.
Кiевскаго распѣва.
Svete tikhiy.
Kievskago raspeva.
O Gladsome Light.
Kyiv Chant.
Нынѣ отпущаеши.
Кiевскаго распѣва.
Nïne otpushchayeshi.
Kievskago raspeva.
Now Lettest Thou.
Kyiv Chant.
Богородице Дѣво.Bogoroditse Devo.Rejoice, O Virgin.
Слава въ вышнихъ Богу (шестопсалміе).Slava v vïshnikh Bogu (shestopsalmiye).Glory To God in the Highest (the six psalms).
Хвалите Имя Господне.
Знаменнаго распѣва.
Khvalite Imya Gospodne.
Znamennago raspeva.
Praise the Name of the Lord.
Znamennïy Chant.
Благословенъ еси, Господи.
Знаменнаго распѣва.
Blagosloven yesi, Gospodi.
Znamennago raspeva.
Blessed Art Thou, O Lord.
Znamennïy Chant.
Воскресеніе Христово видѣвше.Voskreseniye Khristovo videvshe.Having Beheld the Resurrection of Christ.
Величитъ душа моя Господа.Velichit dusha moya Gospoda.My Soul Doth Magnify the Lord.
Великое славословіе.
Знаменнаго распѣва.
Velikoye slavosloviye.
Znamennago raspeva.
The Great Doxology.
Znamennïy Chant.
Тропарь. Днесь спасеніе.
Знаменнаго распѣва.
Tropar'. Dnes spaseniye.
Znamennago raspeva.
Troparion. Today Salvation is Come.
Znamennïy Chant.
Тропарь. Воскресъ изъ гроба.
Знаменнаго распѣва.
Tropar'. Voskres iz groba.
Znamennago raspeva.
Troparion. Thou Didst Rise from the Tomb.
Znamennïy Chant.
Взбранной воеводѣ.
Греческаго распѣва.
Vzbrannoy voyevode.
Grecheskago raspeva.
To Thee, Victorious Leader.
Greek Chant.

Recordings

The first recording of the Vigil was made by Aleksandr Sveshnikov with the State Academic Russian Choir of the USSR for the Soviet Melodiya label in 1965 – exactly half a century after the work's first performance. Because of Soviet anti-religious policies, this record was never available for sale within the USSR, but was only made for the export market and private study. This recording still has a legendary reputation, in part because of its extremely strong low basses, but also because of the solos by Klara Korkan and Konstantin Ognevoi.[12] The recording was first released in the United States in 1973 on the Melodiya-Angel label. The March 1974 edition of Stereo Review noted that Angel's general manager Robert E. Myers had "tracked down the recording" and "had to prevail rather heavily on the Soviet powers that be to make it part of their trade agreement with Angel".[13]

YearConductorChoirSoloistsLabel
1965Aleksandr SveshnikovState Academic Russian Choir of the USSRKlara Korkan (mezzo-soprano)
Konstantin Ognevoy (tenor)
Melodiya
1967Karl LinkeJohannes-Damascenus-Chor für Ostkirchliche LiturgieMarie-Louise Gilles
Günter Schmitz
Christophorus
1978Georgi RobevSvetoslav Obretenov ChoirNatalia Peneva (alto)
Todor Grigorov-Tres (tenor)
Vanguard
1983Yevgeny SvetlanovSvetoslav Obretenov ChoirRussian Disc
1984Kenneth MontgomeryGroot OmroepkoorWil Boekel (alto)
Frank Hameleers (tenor)
KRO-klassiek
1986Valery PolyanskyChamber Choir of the Ministry of Culture of the USSRIrina Arkhipova (mezzo-soprano)
Viktor Rumantsev (tenor)
Yuriy Vishnyakov (basso profundo)
Melodiya/Moscow Studio Archives
1986Vladislav ChernushenkoSt. Petersburg CappellaZhanna Polevtsova (mezzo-soprano)
Sergei Rokozitsa (tenor)
Chant du Monde/IML
1987Mstislav RostropovichChoral Arts Society of WashingtonMaureen Forrester (mezzo-soprano)
Gene Tucker (tenor)
Erato
1989Robert ShawThe Robert Shaw Festival SingersKarl Dent (tenor)Telarc
1990Matthew BestCorydon SingersJoya Logan (alto)
John Bowen (tenor)
Hyperion
1991Oleg ShepelVoronezh State Institute of Arts Chamber ChoirYelena Necheporenko (mezzo-soprano)
Aleksandr Zlobin (tenor)
Ruben Sevostyanov (tenor)
Aleksandr Nazarov (bass)
Globe
1993David HillThe Philharmonia ChorusSarah Fryer (mezzo-soprano)
Peter Butterfield (tenor)
Nimbus
1993Nikolai KornievSt. Petersburg Chamber ChoirOlga Borodina (alto)
Vladimir Mostovoy (tenor)
Philips
1994Robin GrittonBerlin Radio ChorusTatjana Sotin (alto)
Thomas Kober (tenor)
CPO
1994Tõnu KaljusteSwedish Radio ChoirMalena Ernman (alto)
Per Björslund (tenor)
Nils Högman (tenor)
Virgin
1994Georgi RobevBulgarian National ChoirCapriccio
1995William HallWilliam Hall Master ChoraleJonathan Mack (tenor)
1997Aleksey PuzakovChoir of St Nicholas Church TolmachiTatiana Gerange (alto)
Dmitriy Borisov (tenor)
Nikolay Sokolov (archpriest)
Boheme
1998Stephen CleoburyChoir of King's College, CambridgeMargaret Cameron (alto)
Richard Eteson (Tenor)
James Gilchrist (tenor)
Jan Lochmann (bass)
EMI
1998Karen P. ThomasSeattle Pro MusicaYelena Posrednikov (alto)
Stuart Lutzenhiser (tenor)
Misha Myznikov (baritone)
1998Roger McMurrinThe Kyiv Symphonic ChoirValentyna Svitylnyk (mezzo-soprano)
Anatoliy Glavin (tenor)
Music Kiev
2000Aleksandr GovorovAccordance (male choir)Dmitriy Popov (tenor)
Vladimir Pasyukov (basso Profundo)
2000Yevhen SavchukUkrainian National Capella "Dumka"Olga Borusene (soprano)
Mykhaylo Tyshchenko (tenor)
Yuri Korinnyk (tenor)
Regis/Brilliant Classics
2000Howard ArmanLeipzig Radio ChorusKlaudia Zeiner (alto)
Mikhail Agafonov (tenor)
Lew Maidarschewski (bass)
Berlin Classics
2000Torsten MariegaardCopenhagen Oratorio ChoirLotte Hovman (alto)
Poul Emborg (tenor)
Classico
2001Jaroslav BrychPrague Philharmonic ChorusPraga
2003Dale WarlandDale Warland SingersRezound
2004Eric-Olof SöderströmFinnish National Opera ChorusRaissa Palmu (soprano)
Erja Wimeri (contralto)
Eugen Antoni (tenor)
Naxos
2004Paul HillierEstonian Philharmonic Chamber ChoirIris Oja (alto)
Vladimir Miller (bass)
Mati Turi (tenor)
Tiit Kogerman (tenor)
Harmonia Mundi
2004Nigel ShortTenebraeFrances Jellard (alto)
Paul Badley (tenor)
Signum U.k.
2004Michael GläserriChor des Bayerischen RundfunksTheresa Blank (alto)
Anton Rosner (tenor)
Oehms
2005Thomas Edward MorganArs Nova SingersAdam Finkel (tenor)
J.R. Humbert (tenor)
Philip Judge (bass)
Brian du Fresne (chimes)
New Art Recordings
2007Marcus CreedSWR Vokalensemble StuttgartHänssler
2008Viktor PopovAcademy of Choral Art, MoscowA. Timofeeva (mezzo-soprano)
D. Kortchak (tenor)
Delos
2010Pasi HyökkiTalla Vocal EnsembleFuga
2012Sigvards KļavaLatvian Radio ChoirOndine
2012Andrew ClarkHarvard-Radcliffe Collegium Musicum
2013Peter BroadbentJoyful Company of SingersLorna Perry (alto)
Andrew Shepstone (tenor)
Nimbus Records
2014Teemu HonkanenKey EnsembleKristina Raudanen (alto)
Mats Lillhannus (tenor)
Reino Kotaviita (bass)
Fuga
2014Kaspars PutniņšNetherlands Radio ChoirMatthew Minter
Pierrette de Zwaan
Eyjólfur Eyjólfsson
Gert-Jan Alders
BIS
2014Charles BruffyPhoenix Chorale and Kansas City ChoraleFrank Fleschner (tenor)
Julia Scozzafava (mezzo-soprano)
Paul Davidson (bass)
Toby Vaughn Kidd (bass)
Bryan Pinkall (tenor)
Bryan Taylor (bass)
Joseph Warner (bass)
Chandos Records
2016Nicolas FinkWDR Rundfunkchor Beate Koepp (alto)
Kwon-Shik Lee (tenor)
Clarus
2016Janos DobraBudapest Tomkins Vocal EnsembleJudit Rajk (contralto)
Tamas Dubno (tenor)
Hungaroton
2016Stefan ParkmanAcademy Chamber Choir of UppsalaPatrik Wallin (tenor)
Annika Hudak (mezzo-soprano)
Footprint Records
2017Risto JoostMDR RundfunkchorKlaudia Zeiner (alto)
Falk Hoffmann (tenor)
Genuin
2017Marcel VerhoeffGreat Russian Academic Boys- and MalechoirOlga Marinova (alto)
Nikolay Almazov (tenor)
VMS
2017Peter Jermihov The Gloriæ Dei Cantores
with members of:
St. Romanos Cappella,
The Patriarch Tikhon Choir,
The Washington Master Chorale
Mariya Berezovska (alto)
Dmitry Ivanchenko (tenor)
Vadim Gan (clergy exclamations)
Gloriae Dei Cantores Recordings
2017Jeremy BackhouseVasari SingersCatherine Wyn-Rogers (alto)
Adam Tunnicliffe (tenor)
VasariMedia
2018Irina BogdanovichUniversity of Warsaw ChoirJadwiga Rappé (alto)
Mateusz Markuszewski (tenor)
2018Violetta BieleckaChoir of the Podlaskie Opera and PhilharmonicAgnieszka Rehlis (mezzo-soprano)
Rafal Bartminski (tenor)
Krzysztof Drugow (bass)
Dux Recording Producers
2020David WolfswinkelKoorinsidentMinette du Toit-Pearce (alto)
Vasti Zeeman-Knoessen (alto)
Nathan Zachary Lewis (tenor)
Koorinsident Recordings

2021Michael SlonUniversity Singers of Virginia and the Virginia Oratorio Society

2023Joseph Fort Choir of King's College LondonCaitlin Goreing (alto)
Chris O'Leary (tenor)
Delphian Records
2023Steven FoxThe Clarion ChoirPentatone
2023Andrei PetrenkoYekaterinburg Philharmonic ChoirDiliza Nadyrova (alto)
Victor Galler (tenor)
Dmitry Kharpov (tenor)
Fuga Libera

In popular culture

The Russian feminist protest punk rock group Pussy Riot used the sixth movement as the basis for its protest song "Mother of God, Chase Putin Away".[14]

External links

Notes and References

  1. Francis Maes, tr. Arnold J. Pomerans, Erica Pomerans, A History of Russian Music: From Kamarinskaya to Babi Yar, University of California Press, 2002, p. 206
  2. http://www.seattlepromusica.org/Rachmaninovs_Vespers.htm Rachmaninov's All Night Vigil: Vespers
  3. Sergei Bertensson, Jay Leyda, Sophia Satina, Sergei Rachmaninoff: A Lifetime in Music, Indiana University Press, 2001, p. 191
  4. Sergei Bertensson, Jay Leyda, Sophia Satina, Sergei Rachmaninoff: A Lifetime in Music, Indiana University Press, 2001, p. 190
  5. Book: The Cambridge History of Russia: Volume 2, Imperial Russia, 1689–1917. Maureen. Perrie. Maureen Perrie. Dominic. Lieven. Dominic Lieven. Ronald G.. Suny. Ronald Grigor Suny. 2006. 115. Cambridge University Press . 9780521815291.
  6. Book: Clark, Duncan. Classical Music: The Rough Guide. Rachmaninov. 2001. 390. Rough Guides . 9781858287218.
  7. Book: Harrison, Max. Rachmaninoff: Life, Works, Recordings. 2006. 197–198. Bloomsbury Academic . 9780826493125.
  8. Sergei Bertensson, Jay Leyda, Sophia Satina, Sergei Rachmaninoff: A Lifetime in Music, Indiana University Press, 2001, p. 192
  9. Book: The Encyclopedia of Censorship. Jonathon. Green. Jonathon Green. Nicholas J.. Karolides. 2009. 590. Infobase . 9781438110011.
  10. Svetlana Zvereva, tr. Stuart Campbell, Alexander Kastalsky: His Life and Music, Ashgate Publishing, Ltd., 2003, p. 204
  11. Francis Maes, tr. Arnold J.Pomerans, Erica Pomerans, A History of Russian Music: From Kamarinskaya to Babi Yar, University of California Press, 2002, p. 206
  12. http://classicalcdreview.com/MC60.html Rachmaninoff Vespers/Concerto/Rhapsody
  13. Vespers, Op. 37, Records in Review, 1975 edition, Wyeth Press, p. 317
  14. Oxford Research Encyclopedia of Criminology & Criminal Justice . Pussy Riot and the Politics of Resistance in Contemporary Russia . Yuliya . Zabyelina . Roman . Ivashkiv . January 2017. 10.1093/acrefore/9780190264079.013.208 . 978-0-19-026407-9 .