Sergei Rachmaninoff’s All-night vigil was not Gloræ Dei Cantores first Russian voyage. In 1990 the release of Sacred Songs of Russia showcased the liturgical and sacred music inspired by the Russian Orthodox church
They perform nineteen choral pieces from composers: Alexander Kastalsky, Pavel Chesnokov, Vasily Titov, d. Bortnainsky, Mikhail Glinka, Peter Tchaikivsky, Stepan Smolensky, Alexander Arkhangel’sky, Nikolai Kedrov and Rachmaninoff.
This is a diverse collection, many of these pieces composed for a liturgical setting, though Sviridov’s three choruses were composed for a play, and several pieces were created for the Russian Imperial court. Stylistically there is some rage, there are liturgical call and responses with a baritone deacon and choral response, there are unison chants, contrapuntal and harmonic forms, as well as the incorporation of Russian folk melodies.
This is a hauntingly beautiful collection. The first time I listened I put it on as background music, a soundtrack for my working life and once, only once while my son was napping. However, the Russian melodies and liturgical call demanded attention. It is dynamic with climatic elements. This is the sort of recording which is best if you put everything aside and just take it in. —★★★★★
Gloriæ Dei Cantores (Singers to the Glory of God), of the Church of the Transfiguration in Orleans, Massachusetts, has an impressive repertoire ranging from Americana to Gregorian Chant, both contemporary masterworks, and the classics. Their newest recording, Sergei Rachmaninoff’s All-Night Vigil, Opus 37 is produced by Richard Pugsley (their director) and conducted by Peter Jermihov, a specialist in Russian and Orthodox liturgical music. For this recording, they are joined by members of three other choral ensembles: St. Romanos Cappella, The Patriarch Tikhon Choir and the Washington Master Chorale. The seventy-seven singer ensemble also includes soloists Dmitry Ivanchenk and Mariya Berezovska from the National Opera of Ukraine and Vadim Gan, protodeacon under the First Hierarch of the Russian Orthodox church.
The fifteen songs of Rachmaninoff’s Opus 37 are fifteen movements to prayer (these works are sometimes Identified as Vespers, but this only the first few songs. The whole collection is richer). In ten songs Rachmaninoff blends the Greek, Kievan and the Great Znamenny chant (from linear notes) He blends this with singable melodies, symphonic elements, and climactic flourishes. Rachmaninoff was not a regular church goer but this is profoundly Christian work, stamped by the spirituality of the Russian Christian East.
Gloriæ Dei Cantores, Jermihov, and the joint choir labored to be true to Rachmaninoff’s vision, inhabiting the sacred space he provides—devout and liturgical, neither theatrical or unresponsive.
I am no expert in Russian composers or choral music in general, I only know what I like. This is well executed and beautiful. I already appreciate Gloriæ Dei Cantores fine recordings but this is amazing and definitely one of my favorites. —★★★★★
Notice of material connection: I received a copy of this music from Paraclete Recordings in exchange for my honest review