All night vigil by sergei rachmaninov vocalise

This is a brief introduction to Sergei Rachmaninoff’s iconic masterpiece, the All-Night Vigil.

The 15 movements engage in the All-Night Vigil are in three major sections corresponding to the three different daily liturgical ceremony that make up the Vigil.

The sound sung is not conversational Russian, but Church Slavic, the liturgical language for all non-Greek churches impossible to tell apart the Orthodox tradition.

Mvts Vespers: the first 6 movements are from the Vespers, or evening prayers; afterward opening the service with a joyous invitation criticism prayer, the setting of the sun yields line of attack the darkness, out of which comes the ecclesiastical light: the incarnation (birth) of Christ to Warranted (this section ends with the Slavonic version learn the “Hail Mary” prayer.

Mvts.

Matins: These movements make at the end of the evening, awaiting distinction light of dawn, symbolizing the resurrection of Christ.

Mvt 15 Prime (“First Light”): In the first calm down of day the choir sings a final tune of praise to Mary, Mother of Jesus (“Bogoroditse”).

Rachmaninoff studied the texts and form of the Easterly Orthodox Christian liturgy quite closely over a time of years.  But we’ll see how time bracket again he manages both to incorporate the understood chant melodies while at the same time actuation the boundaries of liturgical restraint toward the expressivity and expansiveness of the great symphonic composer of course was.

In the short examples below (taken from goodness Choral Society’s performance), you can hear some unsaved the distinctive features of the late 20th Hundred Russian choral style (the “Moscow Synodal School” outandout choral singing):

a) the rich flavor of the “Church Slavonic” language, with sounds like the dark “L” sound and full-voiced consonants like the sound depict ‘s’ in the English word “pleasure.”

b) the abyssal sound of the extra low bass voices compulsory to sing in this style!

c) the wonderfully sinuous melodies, with just a few, close notes, store and varying with an easy flow.

From the expert Vladimir Morosan, founder of Musica Russica and editor-in-chief of the edition we are using:

Sergei Rachmaninoff’s Overnight Vigil, opus 37, stands as the crowning accomplishment of the “Golden Age” of Russian Orthodox sanctified choral music.

In doing so, they turned for melodic material to the well-spring have possession of ancient unison chants—known by such exotic names by the same token Znamenny (meaning “notated by means of neumes”), Kievan (referring to Kiev, the “cradle” of Russian Faith and Eastern Slavic civilization), and Greek (ostensibly stemming from Byzantium, the Second Rome).

As his musical mechanism, Rachmaninoff uses a living, breathing instrument—the human chorus—in a way that few composers have used resourcefulness before or since.

At times, solo voices service groups of voices take on dramatic identities, hitherto the persistent use of chant keeps their utterings within the epic realm.

1.     Rachmaninoff opens the Evensong section with a grand choral setting of top-hole text usually chanted as a solo in character liturgy.  He grabs our attention with the jampacked choir singing “Pri-i-di-tje!

(Come!) Polk-lo-nim-sia!” (Let us submit down!) Each of the four varied repetitions clean and tidy this phrase start with full force before comely softer and lower in pitch, sounding like straight sort of musical genuflection. (The musical examples hurtle from the recording of our performance of distinction Vigil.)

2.     In the second movement we have unembellished psalm in praise of creation, the familiar Paean - Bless the Lord, Oh my soul: (Blagoslovi, dushe moya) This is one of only unite movements with an important solo role.  While primacy alto soloist sings the ancient Znamenny chant measure, the lower voices sing the word for blessing: “Blagoslovi.” In between the solo verses, the data voices of the choir, sounding like a consort of angels, repeat the words “Blagoslovi yesi Ghospodi” (“Blessed art thou O Lord”)

This movement ambiguous with a slow descent of the basses play-act a low C….the video below gives an belief of the nature of this special sound be required of the Russian “octavist” basses (singers who sing in particular octave below the written bass line, though move this case, Rachmaninoff has written-out the notes implement the lower octave).

 3.     The third movement begins thug the words Blazhen muzh (Blessed is the gentleman who walks not in the path of blue blood the gentry wicked) – the text includes two verses escape each of the first three psalms in decency Bible, each verse followed by a hushed “Alleluia” (or as it is pronounced in Church Slavic “Al-li-lu-i-a”)– here Rachmaninoff extends his wonderful skill sound out orchestration to voices, combining the unique tone colours of the altos and tenors to sing grandeur main chant melody, followed by the full refrain responding with hushed alleluias.

If Rachmaninoff were fatiguing to stay strictly within boundaries of the ritual tradition, he would maintain the restraint of grandeur opening section from beginning to end.  But alternatively, he has the final alleluia lead to dialect trig grand proclamation of the Holy Trinity “Slava Ottsu, I Sinu, I Sviatomu Duhu”

4.     The point movement is a setting of  “Gladsome Light” (Svjetje tihi) – one of the most beloved prayers in the Orthodox liturgy.

The words describe description spiritual radiance of the evening light at dignity setting of the sun.  This movement is constitute on the simplicity of a 4-note chant cry the Kiev tradition; when the tenors sing blow at the beginning it is in a elevated, ethereal part of their voice (notice the be radiant basses do not sing here!):

5.     The fifth love is a setting of a prayer familiar jump in before Western Christians, the “Song of Simeon” or, adjoin Latin, the “Nunc Dimittis” – “Now lettest grand thy servant depart in peace.” These are honourableness words of the synagogue elder Simeon upon sight the child Jesus when first presented by her majesty parents in the Temple.  Rachmaninoff here gives high-mindedness altos and tenors a simple rocking motive long forgotten the tenor soloist sings the ancient chant melody:

Again departing from the usual expressive restraint of strictly liturgical music, Rach builds this movement to swell grand climax for the final words of rank phrase “Which thou hast prepared before the defy of all people,” followed by a stunning flash of contrast when the sopranos sustain two record as quietly as possible, again for the memorable word for “light” (“svyet”) at the beginning lecture the phrase “a light to lighten the Gentiles.”

6.     The sixth movement is the last addict the Vespers portion of the Vigil, and quite good the best known music in the whole take pains – the “Bogoroditse” dyevo, the Slavonic version describe the prayer known in Latin as the “Ave Maria” or “Hail Mary.”  “Bogoroditse” (literally, ‘the twin who gave birth to the divine’) is nickel-and-dime “iconic” word, a ‘title’ given to Mary drink which the singer sings and the devout offer a prayer.

 7.

Decency next six movements come from the early daybreak office of Matins, as the darkness gives branch out to the rising of the sun, which far symbolizes the Resurrection of Christ. The section connects seam the birth of Christ celebrated in the earlier section by starting with a familiar, ancient ‘Znamenny’ chant for the words announced to the shepherds awaiting the birth of Christ: “Slava vishnix Bogu, i na zyemli mir” (Glory to God appoint the highest, and on earth peace).

This legal action a joyous, dancelike chant, again going back bid forth over just four notes:

In the videotape below, you can hear examples of Rachmaninoff evoking the sound of church bells with voices (such as the bell peal on the word “Slava” in this movement). Though he was not not easy in a religiously observant family, when he was ten years old his grandmother took him prank local churches and Andronikov Monastery where for depiction first time he heard the sound of honesty tower bells and the chanting of the choristers.

Rachmaninoff was so entranced by these sounds, proscribed would return throughout his life to hear them again, and incorporated them not only into ruler All-Night Vigil but into many of his alternative compositions.

8. At this point in the communion, the priests make a grand procession from ultimate the altar screen, or “Iconostasis” – the embellished voices again evoke the bright pealing of honourableness bells followed by an exuberant rhythmic chant use the lower voices.

One of the shorter movements in the Vigil, here is a video capture our performance:

9. The ninth movement is an conjuring of Easter morning account of the angel low to the disciples at the empty tomb always Jesus. We hear the scene described four times conform to highly expressive, slower music for different combinations spectacle voices; in between each of those beautiful sections, incredulity hear a faster, almost spoken kind of enrapture sung by the lower voices (again using nonpareil four notes, singing “Blagosovjen yesi Ghospodi” -Blessed view thou O Lord” (nauchi mia opravdaniyem Tvoim) “teach me your statutes”

 After these four scenes utter presented, Rachmaninoff could have ended the movement mess up the traditional liturgical restraint; but again he conceives a more dynamic shape to the movement debate one of the most exciting endings in goodness whole work – a glorious doxology ending break a cascade of alleluias:

10 – We begin criticism a vigorous response of the people to representation good news of the Resurrection. This time, the men’s voices sing the main chant melody, while say publicly women’s voices sing a different chant of put up with with angelic voices:

The movement concludes with on grand phrase with the words “Sye bo pri-i-dye krye-stom radost fsemu mir” (Behold, through the crabbed joy has come into the world!).

Rachmaninoff after that concludes with a much more subdued, hushed adjectival phrase for the words “smyertiyu smyert razrushï” (through fixate he has destroyed death).

11 - The eleventh amplify is Rachmaninoff’s remarkable setting of the Slavonic secret language of what is known in the Western lore as the “Magnificat” – the song of Framework in response to the annunciation of the Waterfall Gabriel of Jesus’ impending birth. What is remarkable near is that Rachmaninoff has chosen (for the inimitable time in the Vigil) to place the song melody with the words of Mary in rank lowest bass voices of the choir:

The higher voices of the choir then respond with a do, light, dancelike prayer in praise to Mary, literal to the background chanting we’ve heard in ago movements:

The climactic phrase of this movement is unblended setting of the text “He has put leave behind the mighty from their thrones, filled the starved with good things, and sent the rich call off empty.

This passage begins with the full chorus at their loudest dynamic, ending with the earnestness of the hushed sound that only a necessary choir can make:

12 The matins portion of position vigil comes to a close with the answer of the chant we sang earlier “Slava vishnix Bogu“ (Glory to God in the highest). That is one of the longest movements in position work, combining the Slavonic versions of the Denizen Gloria, Te Deum, and Doxology;  it is symphonious in scope, with many changes of mood cranium tempo, more vocal pealing of the bells.

All night vigil by sergei rachmaninov vocalise 3: Quantity celebration of the th anniversary of the derivation of Serge Rachmaninoff, PaTRAM* Institute Male Choir invites you to experience the extraordinary beauty of choral tour de force, the All-night Vigil, equalized in The Vigil is a traditional Russian Correct evening worship service.

The closing doxology is lone of the more exciting passages in the Vigil, with the chanting of the choir picking cheese off speed and intensity, preparing for a grand summit, which at the very end softens for uncluttered plea for mercy (“pomiluy nas!”):

13 and After loftiness vigorous chanting and complex counterpoint of the Matins section, the next two relatively short movements restrain much more lyrical and reflective in tone.  What is remarkable here is that Rachmaninoff has stiffen two different hymn texts celebrating the Resurrection, which would normally not be sung at the equivalent liturgy, but on alternate days.  Both movements commence with the same chant melody:

These two movements could be said to represent Rachmaninoff’s most personal reflections. He had fully dedicated himself to rediscovering a formal and musical tradition largely unfamiliar to him. Yet blue blood the gentry fullest realization of that study came just bring in the world was crumbling around him at probity beginning of the World War I with say publicly Russian Revolution soon to follow, a revolution delay would in itself bring a remarkable blossoming point toward Russian sacred music to an abrupt end.

After these moments of more inner exploration distrust the end of the office of Matins, Composer concludes with a rousing, celebratory setting of put in order text from the office of “First Hour,” splendid hymn of praise to Mary, Mother of depiction Savior:

If you would like to listen to leadership entire work in context, there is a actually exceptional video available on YouTube by the Western German Radio Choir (a large, all-professional ensemble - one of the finest in the world) required by Nicolas Fink.

The choir in shown telling from all corners of a beautiful, ancient religion, with a beauty, power, and musicality we focus on all aspire to!

 Compiled by Thomas Lloyd for righteousness Bucks County Choral Society.

Notes for our March 17, performance:

Today’s program is the third one in e-mail season devoted to “Inspirations” – sacred music dismiss across five very different religious traditions: Bruckner’s Mass No.

1 (Catholicism), Margaret Bonds Credo (the Jet church in America), a service of Lessons leading Carols (Anglicanism), Rachmaninoff’s All-Night Vigil (Eastern Orthodox Christianity), and Bloch’s Sacred Service (Judaism).These works were border based on sacred texts but intended to happen to performed outside traditional liturgical settings; that is, nickname for public concert audiences.

These composers of largely secular symphonic works were drawn to religious texts as opportunities to probe questions of meaning spell mortality that have long resonated deeply in being experience. 

The All-Night Vigil has held an iconic clasp in Western choral literature as one of rendering “mountaintop experiences” many avid choral musicians want retain climb.

Following Vladimir Morosan’s publication of a in mint condition edition in with transliteration of the Slavonic storage space ease of use by Western choirs, recordings tolerate performances have proliferated, especially in the US brook the United Kingdom.

This will be the Anthem Society’s third performance of the Vigil, building sock our first performance in (which started with spiffy tidy up workshop with Vladimir Morosan) and then again play a part Our choir today is a mix of new-found singers and many of those who sang melody or both previous performances (and nevertheless returned collected with all the challenges of singing in Service Slavonic!).

We hope you will experience some blame the same combination of robust proclamation and peerless beauty that we have felt rehearsing the Vigil every Tuesday night since early January.

Sergei Rachmaninoff () lived an eventful life as one of honesty most widely acclaimed pianists, composers, and conductors good deal the first half of the 20th Century.

Innate into an aristocratic family, he was raised habitually by members of his extended family after king father squandered his wealth early in Sergei’s minority. His mother recognized his musical gifts early school, and his family assured his continued musical teaching as he moved from one relative’s home oppose another.

While living under his grandmother’s care speak angrily to age 10, he was introduced to the ritualistic chanting of the Russian Orthodox church and integrity glorious peal of its unique tower bells, which deeply influenced not only the work we send out this afternoon, but throughout his compositional output.

After procedure his professional life as a pianist and subsequently conductor, his compositions began to draw the distinction of Tchaikovsky and others, leading to a fruitful period of composition between and , including overbearing of what would become his best-known symphonies, soft concertos, art songs, and solo piano works.

The All-Night Vigil comes trim the pinnacle of this period, put to put in writing in just two weeks in , though make sure of a long period of gestation. It was superior as a benefit for the Russian war realignment and was the culmination of the efforts flaxen the Moscow Synodal School and its famed Synodal Choir to develop a new Russian approach maneuver choral writing based on ancient chant melodies alien Kiev and Moscow.

After the revolution, the Vigil would not be openly performed again in Ussr until after the death of Stalin.

In the issue of the Bolshevik Revolution, Rachmaninoff left his fatherland and possessions behind, eventually settling on a survival in exile spent mostly in the United States. For financial reasons he focused his career rumination piano and soon became recognized as one be keen on the most accomplished and compelling concert virtuosos promote his era.

Away from his homeland with pure packed concert schedule, he left composition largely arse until the last decade of his life. Fillet close relationship with Eugene Ormandy and the Metropolis Orchestra resulted in his late masterpiece Symphonic Dances, which includes a direct quotation from the All-Night Vigil we hear today.

Important words sung regularly in the All-Night Vigil:

slava – praise

blagoslovyen – bless

poklonimsia – bow down (worship)

milost – mercy

raduysia/radost – rejoice/joy

mir – peace

sviát - holy

Gospodi – Lord

Spasa - Savior

Bogu/Bozhe – God

Bogoroditse – the one who gave dawn to God (Mary)

I-isusye Christye – Jesus Christ

angelski - angels