Notes on the Vespers

*The ten movements marked with asterisks are based on traditional chants that are now at least 400 years old and possibly much older. The other chants are Rachmaninoff's “deliberate counterfeits.”

1. After a solemn “Amen” comes a fourfold call to worship.

2*. After another “Amen” the altos firmly intone the chant in praise of God's handiwork in creation; men's voices provide a quiet background. Refrain sections of the chant are sung by the tenors and later an octave higher by the sopranos.

3. Altos and tenors sing verses from the Psalms, alternating with alleluias sung by all voices. Just as in Roman liturgy a Psalm is followed by “Gloria Patri” (Glory be to the Father...), there is a vigorous Gloria, ending with more quiet alleluias.

4*. During this hymn for the time of sunset, all of the lamps in the church are lit. The Greek chant, one of the oldest of the Church, is first taken up by the tenors, then successive phrases are sung by the sopranos, a tenor soloist, the first basses, and the sopranos again.

5*. Daily vespers services in both the Roman and Russian rites include this text, known as “Nunc dimittis” in Latin. In Luke's gospel these words are spoken by the aged Simeon when he holds the Christ child in his arms. A tenor soloist sings the chant.

6. “Ave Maria” is one of the simplest songs in Vespers. In the middle section, altos sing the chant in duet form while sopranos and tenors surround them with another “halo” melody.

7*. Texts from this point on are associated with the morning service of Matins, traditionally held at sunrise. In this “Lesser Doxology” (song in praise of God), a brief chant is heard three times. On the word “Glory” the choir, divided into 11 separate parts, evokes the sound of morning bells. A quiet Psalm verse follows.

8*. Oil lamps in the church are re-lighted to symbolize the brilliance of Christ's resurrection, and the clergy enter in procession. Altos and basses sing a powerful chant while sopranos and tenors accompany them with softer counterpoint. Again, Psalm verses alternate with alleluias.

9*. This text retells the Easter story, partly in the form of a dialogue between an angel and the women, interrupted by a refrain. Another “Gloria Patri” and alleluias conclude.

10. This hymn extols Jesus' resurrection and acknowledges his suffering. The contrasting phrases test the dynamic limits of every section of the chorus.

11. Called the “Magnificat” in Latin, these words come from Luke's gospel, where Mary speaks them in joyful anticipation of motherhood. Rachmaninoff gives the melody to the lowest basses. The higher voices sing a dance-like refrain in praise of Mary.

12*. The “Greater Doxology” uses the full length of the melody first heard in no. 7. The poem recalls the Gloria of a Latin mass, which climaxes strongly and ends with an Amen. Other prayers follow with successive climaxes, leading to a final “Gloria Patri.” This is the longest movement and the high point of Vespers.

13*. The first of two more hymns in praise of the resurrection, reminding us that in the Eastern Church, Easter is a far more important festival than Christmas. In the final three, short movements, all voices sing continuously as they did in the first movement.

14*. The sopranos carry the chant melody except for one phrase each given to the basses and the tenors.

15*. A vigorous affirmation of spiritual victory, looking forward to the new day that follows the all-night vigil.

Notes by John Glenn Paton