All-Night Vigil (Vespers), Sergei Rachmaninoff (1873-1943)
Bell preludes: Jeffrey Skidmore
Programme Note
Introduction
Rachmaninoff’s ‘Vespers’ is one of the great, iconic choral works which Ex Cathedra has performed many times and which has taken on a special significance in our development.
Our very first performance was on May 16th 1986 in St Francis Church, Bournville. It was in English using an American edition sanctioned by Rachmaninoff. John Joubert (the work was one of his favourites) was an enthusiastic member of the audience and Jim Clulee sang the tenor solo. Jim was a founder member of Ex Cathedra and we were both choristers together at St Francis, Bournville, a long time ago! Shortly after this performance Ex Cathedra performed the Magnificat and Nunc Dimittis in a BBC Radio Three Choral Evensong, broadcast live from St Paul’s Church in Birmingham’s famous Jewellery Quarter. In a telephone conversation afterwards, John Rutter commended the boldness of our exciting programming.
Finding a usable Russian edition proved difficult. In 1978 Boosey & Hawkes had published a transliterated edition by Bill Tamblyn, which confessed to not being ‘scholarly’ and unfortunately raised as many issues as it solved. We struggled with this edition through several performances. In 1989, during the period of perestroika and glasnost, Irina Artamonova (Walters), a first-class graduate of choral conducting at the Tchaikovsky Conservatoire in Moscow, came to Birmingham to briefly work with me, Ex Cathedra and Birmingham Schools’ Chorale. I learnt much from her and she gave me a newly published Cyrillic edition of the All Night-Vigil. This was extremely valuable and interesting but of little practical use, because it was not transliterated. It was not until 1992 that Musica Russica, based in the USA, published a wonderful new edition which puts the work in the reach of good ‘Western’ choirs.
We have performed ‘Vespers’ as a late night concert in Symphony Hall and Lichfield Cathedral, throughout the region and in Ireland. It was the work I chose for our first Summer Vespers by Candlelight in Birmingham Oratory in 1993.
In 2015 Ex Cathedra celebrated the 100th anniversary of the composition of this wonderful work with a series of five performances beginning in Birmingham and visiting Southwell (a BBC Radio Three live broadcast), Oswestry, Ryedale and London, where we were joined for a second time by the renowned pianist Steven Osborne playing a selection of Rachmaninoff’s Preludes and Etudes-Tableaux interspersed in the liturgical gaps.
In July 2019 Ex Cathedra performed ‘Vespers’ to a packed Gloucester Cathedral as part of the Three Choirs Festival and subsequently started our 50th anniversary season with the work.
Why is it such a special piece? It is challenging technically, linguistically, emotionally, and interpretively. It requires great stamina and each performance gives the performer and listener something new. We have never looked back and now we look forward, with great anticipation, to sharing our most recent thinking and research with new audiences.
Orthodox chant and bells
Written within two years of each other in 1913 and 1915 The Bells Op. 35 and All-Night Vigil Op.37 were Rachmaninoff’s two favourite pieces. They capture the Russian spirit found in the ubiquitous use of Orthodox chant (comparable to the use of chorales in Bach’s Cantatas and Passions, or plainchant in Monteverdi’s 1610 Vespers) and the sound of bells, which from his childhood in Novgorod and throughout his life were an essential, ever-present part of his sound world and whose sonorities can be found in his piano works, choral pieces, symphonies and concertos. In fact bells permeate all Russian music and there are many well-known examples in the works of Glinka, Mussorgsky, Rimsky-Korsakov, Tchaikovsky, Stravinsky and Shostakovich.
Having performed ‘Vespers’ with many different interpolations – poems, translations read out loud, Rachmaninoff piano works and singing the ancient chant on which almost all the movements are based – it seemed like an interesting proposition to incorporate ‘bell’ preludes into the liturgical gaps. This idea was much inspired by my association with Michael Pushkin who enthusiastically introduced me to Andrei Tarkovsky’s powerful film Andrei Rublev (1966) with its mesmerising final sequence showing the recasting of a huge medieval bell. Bells were banned in Russia from 1918 because they ‘disturbed public order’ and represented spiritual authority. The ban was lifted in 1991.
My ‘bell preludes’ make reference to the Orthodox chants and Rachmaninoff’s piano and orchestral works and are scored in three parts for a sustained, fundamental note, here played by a tubular bell, a set of chromatic tubular bells and an octave of chromatic crotales, small antique cymbals.
The All-Night Vigil – the first performance
There have always been several important questions, until recently mostly unanswered, related to the first performance of All-Night Vigil. It was known that it took place in a secular venue in Moscow but were there any other pieces in the concert? And with its unusual sequence of keys and stamina sapping segues the work did not seem to flow as a continuous piece. What was the size of the hall? What was the size of the choir and its make up? It is very exciting that this performance introduces some new information which has come to my attention with the help of Michael Pushkin. Michael is a friend and colleague at the Royal Birmingham Conservatoire. He taught Russian Language and Literature at the University of Birmingham for 35 years and at the RBC he teaches beginners’ and continuers’ classes in Russian pronunciation for singing. The students love working with him and he continues to achieve remarkable results. On several occasions in the past he has helped Ex Cathedra with pronunciation, most notably in our involvement in the Stravinsky project with CBSO and our recent performances of ‘Vespers’. As he modestly commented ‘ I came across a copy of the original printed programme for the premiere!’ Wow! It shows that the performance took place in the Great Hall of the Russian Noble Assembly. This spectacular late 18th century hall with its 28 internal Corinthian columns had been the scene of many illustrious concerts since 1860. The concert started at 8 o’clock in the evening and it categorically states APPLAUSE IS NOT PERMITTED.
The programme lists 12 movements (15 were published) in two clearly marked sections, interestingly not following the liturgical division of Vespers and Matins. The two short hymns (troparia), published as movements 13 and 14 were performed together with published movement 9 which begins the second section of the original programme. Published movement 1 – the stunning invitation and welcome to worship – was not listed, but begins our performance! We could not miss it out! This original order makes sense tonally and in terms of balance and stamina.
Another result of Michael’s ‘digging’, as he calls it, was the size of the choir. In 1915 the Synodal Choir performed the ‘All-Night’ with a full complement – 90 people: 30 adults and 60 boys. Another wow! One day I should like to recreate this choir for a performance. I think Ex Cathedra’s 50 singers will, however, fill Town Hall!
The liturgy
The Orthodox liturgy known as the All-Night Vigil combines elements of Vespers and Matins. It sets texts from the Russian Orthodox which in its purest monastic form could last 12 hours (from sunset to sunrise) and include bell-ringing, processions, prayers, readings, meditation, chanting and polyphony. It began on the eve of major feasts. Rachmaninoff’s setting lasts just over an hour and was first performed in a concert hall! In the West, Rachmaninoff’s setting of this service is usually, slightly misleadingly, abbreviated to Vespers. Written in under two months and published in 1915 the All-Night Vigil was given its first performance in Moscow at a charity concert for the war-wounded later in the same year.
The performance was given by the chorus of the Synodal Institute, a very distinguished and influential establishment which had been responsible for extensive research into traditional Russian chant. The setting is for mixed-voice unaccompanied choir in accordance with the accepted practices of the Orthodox Church. Although Rachmaninoff was only a nominal member of the Church, he was clearly influenced by its music and his setting was accepted by the Patriarchs and Metropolitan of the Orthodox Church as being within their rules and traditions.
The work is published in fifteen sections, the first eight of which are for Vespers and the remainder are for a Festival Matins and Prime. In the Orthodox monastic tradition, the first part would have been sung at night-fall and a long period of meditation would have followed before the second part began at first light on the following morning. Ten of the sections are based on traditional Orthodox chant, including several which make use of Znamenny, which was the first Russian music ever to be written down, Greek and Kievan chants. These chants were an essential part of Rachmaninoff’s Russian soul and his first audiences would also have had a profound familiarity with the texts and melodies.
The music
Rachmaninoff demands a great deal from the singers. The vocal range of the choir is extremely wide with bottom basses being required to sing low B flat on a number of occasions. The texture varies from four parts to as many as eleven and, at different times, each voice divides into three parts. Rachmaninoff also indicates tempo and dynamics in meticulous detail and there are frequent changes from triple forte to triple piano! The choral orchestration is amongst the most imaginative in the repertoire and there are many moments of exquisite and almost unbearable beauty. The spiritual dimension is irresistible.
In many respects, ‘Vespers’ may be said to be the high point of Russian Orthodox church music. After the Revolution in 1917 sacred music was not encouraged by the new regime. Rachmaninoff himself left Russia that year and later, in 1931, his music was banned in the USSR. The All-Night Vigil was again published in Russia in 1989.
This evening’s performance will be sung in the original Church Slavonic.
Note from 2023, copyright Jeffrey Skidmore
Translations
BELL PRELUDE 1
1. Priidite poklonimsya
Come, let us worship
Come, let us worship God, our King.
Come, let us worship and fall down
before Christ, our King and our God.
Come, let us worship and fall down
before the very Christ, our King and our God.
Come, let us worship and fall down before Him.
BELL PRELUDE 2
2. Blagoslovi dushe moya
Bless the Lord, O my soul
Bless the Lord O my soul,
blessed art thou, O Lord.
O Lord my God, thou art very great.
Blessed art thou, O Lord.
Thou art clothed with honour and majesty.
Blessed art thou, O Lord.
The waters stand upon the mountains.
Marvellous are thy works, O Lord.
The waters flow between the hills.
Marvellous are thy works, O Lord.
In wisdom hast thou made all things,
Glory to thee, O Lord, who hast created all!
3. Blazhen muzh
Blessed is the man
Blessed is the man, who walks not in the counsel
of the wicked. Alleluia…
For the Lord knows the way of the righteous,
But the way of the wicked will perish. Alleluia…
Serve the Lord with fear
and rejoice in Him with trembling. Alleluia…
Blessed are all who take refuge in Him. Alleluia…
Arise, O Lord; save me, O my God. Alleluia…
Salvation is of the Lord;
And thy blessing is upon thy people. Alleluia…
Glory to the Father, and the Son, and the Holy Spirit,
both now and ever and unto the ages of ages. Amen.
Alleluia. Glory to thee, O God!
BELL PRELUDE 3
4. Svete tikhiy
Gladsome light
Gladsome light of the holy glory of the Immortal One –
the Heavenly Father, holy and blessed – O Jesus Christ!
Now that we have come to the setting of the sun,
and behold the light of the evening light,
we praise the Father, Son, and Holy Spirit – God.
Thou art worthy at every moment
to be praised in hymns by reverent voices.
O Son of God, thou art the Giver of Life;
Therefore all the world glorifies thee.
BELL PRELUDE 4
5. Nyne otpushchayeshi
Lord, now lettest thou thy servant
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 people
to be a light to lighten the Gentiles,
and to be the glory of thy people Israel.
6. Bogoroditse devo, raduisya
Rejoice O Virgin
Rejoice O Virgin Theotokos,
Mary full of Grace, the Lord is with thee.
Blessed art thou among women,
and blessed is the Fruit of thy womb,
for thou hast borne the Saviour of our souls.
7. Shestopsalmive
The Lesser Doxology
Glory to God in the Highest,
and on earth peace, goodwill toward men.
O Lord, open thou my lips,
and my mouth shall proclaim thy praise.
BELL PRELUDE 5
8. Khvalite imya Gospodne
Praise the name of the Lord
Praise the name of the Lord. Alleluia.
Praise the Lord, O you His servants. Alleluia.
Blessed be the Lord from Zion,
He who dwells in Jerusalem. Alleluia.
O give thanks unto the Lord, for He is good.
Alleluia. Alleluia.
For His mercy endures forever. Alleluia.
O give thanks unto the God of Heaven,
For His mercy endures forever. Alleluia.
— INTERVAL (20 minutes) —
BELL PRELUDE 6
CHANT 9. Blessed art thou O Lord
13. Dnes spaseniye miru
Troparion: Today salvation has come to the world
Today salvation has come to the world.
Let us sing to Him who rose from the dead,
The Author of our life.
Having destroyed death by death,
He has given us the victory and great mercy.
14. Voskres iz groba
Troparion: Thou didst rise from the tomb
Thou didst rise from the tomb and burst the bonds of Hades!,
Thou didst destroy the condemnation of death, O Lord,
Releasing all mankind from the snares of the enemy!
Thou didst show thyself to thine Apostles,
And didst send them forth to proclaim thee;
And through them thou hast granted thy peace to the world,
O thou who are plenteous in mercy!
9. Blagosloven yesi, Ghospodi
Blessed art thou O Lord
Blessed art thou O Lord, teach me thy statutes.
The angelic host was filled with awe,
When it saw thee among the dead.
By destroying the power of death, O Saviour,
Thou didst raise Adam, and save all men from Hell!
Blessed art thou, O Lord, teach me thy statutes.
“Why do you mingle myrrh with your tears of compassion,
O ye women disciples?” cried the radiant angel in the tomb
to the myrrhbearers.
“Behold the tomb and understand:
the Saviour is risen from the dead!”
Blessed art thou, O Lord, teach me thy statutes.
Very early in the morning
The Myrrh-bearers ran with sorrow to Thy tomb,
But an angel came to them and said:
“The time for sorrow has come to an end!
Do not weep, but announce the resurrection to the apostles!”
Blessed art thou, O Lord, teach me thy statutes.
The Myrrh-bearers were sorrowful
as they neared thy tomb,
but the angel said unto them:
“why do you number the living among the dead?
Since He is God, He is risen from the tomb!”
Glory to the Father and to the Son and to the Holy Spirit.
We worship the Father, and His Son, and the Holy Spirit:
the Holy Trinity, one in essence!
We cry with the Seraphim,
“Holy, Holy, Holy art thou, O Lord!”
Since thou didst give birth to the Giver of Life, O Virgin,
Thou didst redeem Adam from sin!
Thou gavest joy to Eve instead of sadness!
The God-man who was born of thee
has restored to life those who had fallen from it!
Alleluia, alleluia, alleluia! Glory to thee, O God!
10. Voskreseniye Khristovo videyshe
Having beheld the resurrection of Christ
Having beheld the resurrection of Christ,
let us worship the holy Lord Jesus
the only Sinless One
We venerate thy cross, O Christ,
and hymn and glorify thy holy resurrection,
for thou art our God, and we know no other than thee;
we call on thy name.
Come all you faithful,
let us venerate Christ’s holy resurrection.
For, behold, through the cross
joy has come into the world. Ever blessing the Lord,
let us praise His resurrection,
for by enduring the cross for us
He has destroyed death by death.
11. Velichit dusha moya Gospoda
My soul magnifies the Lord
My soul magnifies the Lord,
and my spirit rejoices in God my Saviour.
Refrain: More honourable than the Cherubim
and more glorious beyond compare than the Seraphim,
without defilement thou gavest birth
to God the Word,
true Theotokos of God, we magnify thee.
For He has regarded the low estate of His handmaiden
For behold, henceforth all generations will call me blessed.
Refrain
For He that is mighty hath done great things for me,
and Holy is His name; and His mercy is on those who
fear Him from generation to generation.
Refrain
He has put down the mighty from their thrones and has exalted those of
low degree;
He has filled the hungry with
good things and the rich He has sent empty away.
Refrain
He has helped His servant Israel,
in remembrance of His mercy,
as He spoke to our fathers,
to Abraham and to his posterity forever.
Refrain
BELL PRELUDE 7
12. Slabosloviye velikoye
The Great Doxology
Glory to God in the highest and on earth peace,
goodwill toward men.
We praise thee, we bless thee,
we worship thee, we glorify thee.
We give thanks to thee for thy great glory.
O Lord, Heavenly King, God the Father almighty.
O Lord, thou only begotten Son, Jesus Christ,
and the Holy Spirit.
O Lord God, Lamb of God, Son of the Father,
who takest away the sin of the world, have mercy on us.
Thou who takest away the sin of the world,
receive our prayer.
Thou who sittest at the right hand of the Father,
have mercy on us.
For thou alone art holy,
Thou alone art the Lord, Jesus Christ,
to the glory of God the Father. Amen.
Every day will I bless thee
and praise thy name forever, and ever.
Vouchsafe, O Lord, to keep us this day without sin.
Blessed art thou, O Lord, God of our fathers,
and praised and glorified is thy name forever. Amen.
Let thy mercy, O Lord, be upon us,
as we have set our hope on thee.
Blessed art thou, O Lord, teach me thy statutes.
Lord, thou has been our refuge
from generation to generation.
I said: Lord, have mercy on me;
heal my soul, for I have sinned against thee.
O Lord, I flee to thee,
teach me to do thy will, for thou art my God;
for with thee is the fountain of life;
and in thy light shall we see light. Continue thy mercy unto those who know thee.
O Holy God, Holy Mighty, Holy Immortal, have mercy on us.
Glory to the Father, and to the Son, and to the Holy Spirit, now and ever and unto ages of ages. Amen.
Holy Immortal, have mercy on us.
Holy God, Holy Mighty, Holy Immortal,
have mercy on us.
15. Vzbrannoy voyevode
To thee, the victorious leader
To thee, the victorious leader of triumphant hosts,
We thy servants, delivered from evil,
offer hymns of thanksgiving, O Theotokos!
Since thou dost possess invincible might,
set us free from all calamities,
so that we may cry to thee:
“Rejoice, O unwedded Bride!”
Bell preludes by Jeffrey Skidmore
Performers
EX CATHEDRA Choir
Jeffrey Skidmore conductor
Martha McLorinan mezzo soprano
James Robinson tenor
Simone Rebello bells
HEREFORD (10 February)
SOLOISTS: Martha McLorinan (mezzo soprano), James Robinson (tenor)
Soprano: Marianne Ayling, Alexandra Burstow, Sarah Colgan, Ros Crouch, Sophie Henderson*, Margaret Lingas, Ciará Preston Myakicheff, Imogen Russell, Sally Spencer, Beth Taylor, Katie Trethewey, Clover Willis**, Maria Willsher
Alto: Mercè Bruguera Abelló, Hannah Cooke, Andrew Round, Anna Semple, Nicola Starkie, Ellie Stamp**, Laura Toomey*
Tenor: Isaac Boulter, Steve Davis, Tony Dean, Tom Hawkey-Soar*, Sid Imanol, Dan Marles^, James Wells**
Bass: Robert Asher, Jeremy Burrows, John Cotterill, Richard Green, Jimmy Holliday, Ollie Neale, Matt Pandya*, Nick Perfect, Bill Robinson, David Smith, Lawrence White
Bells: Simone Rebello
**denotes 2023-24 Graduate Scholar
* denotes 2023-24 RBC Student Scholar
^ denotes 2023-24 Enhanced Scholar
ST MARTIN-IN-THE-FIELDS (27 February)
SOLOISTS: Martha McLorinan (mezzo soprano), James Robinson (tenor)
Soprano: Marianne Ayling, Alison Burnett, Alexandra Burstow, Sarah Colgan, Ros Crouch, Rebecca Ledgard, Margaret Lingas, Ciará Preston Myakicheff, Imogen Russell, Sally Spencer, Beth Taylor, Katie Trethewey, Clover Willis**
Alto: Mercè Bruguera Abelló, Hannah Cooke, Andrew Round, Anna Semple, Nicola Starkie, Ellie Stamp**
Tenor: Declan Costello, Steve Davis, Tom Hawkey-Soar*, Sid Imanol, Dan Marles^, Jeremy Reid, Iain Sloan, James Wells**
Bass: Robert Asher, Jeremy Burrows, John Cotterill, Richard Green, John Johnston**, Tom Lowen, Nick Perfect, Bill Robinson, David Smith, Jeff Sutherland-Kay, Lawrence White
Bells: Simone Rebello
**denotes 2023-24 Graduate Scholar
* denotes 2023-24 RBC Student Scholar
^ denotes 2023-24 Enhanced Scholar
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