Album insights
Rachmaninov's essential contribution to the history of Russian sacred music, known generally as the "Vespers Liturgy", is, in fact, a setting of the Vespers, Matins, and First Hour services known as the All-Night Vigil in the Russian Orthodox Church. Matins and First Hour, for the following day, are read after Vespers (which starts around sunset), as a typical practice in the Russian Orthodox Church. In cathedrals and parish churches, the Vigil service is usually abbreviated on Saturdays and on the eve of major feast days, lasting two hours or more, while in monasteries, they are conducted in full length as per tradition.
Rachmaninov's relationship with the Church was complex, though not hostile, contrasting but similar to Tchaikovsky's relationship. Tchaikovsky's legal success in publishing his church music paved the way for the wider dissemination of sacred compositions in Russia. Rachmaninov's interest in church music and rituals is evident in various works, like his focus on Russian church bells in "The Bells" cantata and the "Dies Irae" from the Roman Catholic liturgy featured in several works. Moreover, Russian choral singing influences themes in his First Symphony and symphonic dances, drawing from pieces like "Blessed Be the Lord" from his Vespers Liturgy.
In 1890, Rachmaninov composed a motet called "Deus Meus", marking his initial approach to choral composition. This was followed by the church concert "The Mother of God, Everlasting in Prayer" in 1893, preparing for his major piece, the Liturgy of St. John Chrysostom, Op. 31, completed in 1910. The completion of the All-Night Vigil within two weeks in January and February of 1915 marked a peak in the tradition of Russian church music. The work was dedicated to the esteemed theorist Smolenski and premiered by the Moscow Synodal Choir under Danilin, earning public and critical acclaim, with demand for repeat performances.
The All-Night Vigil, honoring the memory of Smolenski, integrates communal chants from various Russian traditions, reflecting Rachmaninov's deep connection to congregational singing. The work captures a sense of liturgical expression and ritual simulation, exemplified in pieces like "Resurrection Troparion." The dramatic impact and unity in the composition are derived from a compressed presentation, absent of the full liturgical array present in an actual service. Rachmaninov's affection for the "Nunc Dimittis" section is notable, where he challenged the basses with demanding yet resonant passages.
Rachmaninov's desire for the fifth piece of the Vigil, the "Nunc Dimittis," to be performed at his funeral serves as a poignant anecdote, highlighting the profound impact of his music.