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Rundfunkchor Berlin Simon Halsey , Conductor Judith Simonis , Alto Robert Franke , Tenor

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Rundfunkchor Berlin Simon Halsey , Conductor Judith Simonis , Alto Robert Franke , Tenor 10-10 Vespers_GP 9/26/14 11:39 AM Page 1 Friday Evening, October 10, 2014, at 7:30 Vespers Rundfunkchor Berlin Simon Halsey , Conductor Judith Simonis , Alto Robert Franke , Tenor RACHMANINOFF All-Night Vigil (1915) Priidite, poklonimsia Blagoslovi, dushe moya Blazhen muzh Svete tihiy Nïne otpushchayeshï Bogoroditse Devo Slava v vïshnih Bogu Hvalite imia Ghospodne Blagosloven yesi, Ghospodi Voskreseniye Hristovo videvshe Velichit dusha moya Ghospoda Slava v vïshnih Bogu Dnes’ spaseniye Voskres iz groba Vzbrannoy voyevode This program is approximately one hour long and will be performed without intermission. Please hold your applause until its conclusion. Please join the artists immediately following the performance for a White Light Lounge. The White Light Festival is sponsored by Time Warner Inc. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Church of St. Mary the Virgin Please make certain all your electronic devices are switched off. WhiteLightFestival.org 10-10 Vespers_GP 9/26/14 11:39 AM Page 2 Additional support is provided by The Fan Fox and Upcoming White Light Festival Events: Leslie R. Samuels Foundation, Inc. Saturday, October 11, at 7:30 in the Endowment support is provided by the American New York Society for Ethical Culture Express Cultural Preservation Fund. Ecstatic Journeys Rizwan-Muazzam Qawwali MetLife is the National Sponsor of Lincoln Center. Pre-concert discussion at 6:15 Movado is an Official Sponsor of Lincoln Center. Wednesday–Friday, October 15–17, at 7:30, and Saturday, October 18, at 2:00 and 7:30 in United Airlines is the Official Airline of Lincoln Rose Theater Center. The Rite of Spring (New York premiere) Basil Twist , Director and Designer WABC-TV is the Official Broadcast Partner of Orchestra of St. Luke’s Lincoln Center. Jayce Ogren , Conductor ALL-STRAVINSKY PROGRAM William Hill Estate Winery is the Official Wine of Fireworks; Pulcinella Suite; The Rite of Spring Lincoln Center. Pre-concert discussion with Basil Twist and Jane Moss on Friday, October 17, at 6:15 at the Irene Artist Catering is provided by Zabar’s and Diamond Education Center Zabars.com. Wednesday–Friday, October 22–24, at 7:30 in James Memorial Chapel, Union Theological Seminary How Like an Angel (U.S. premiere) A unique melding of acrobatics by the troupe Circa and sacred song performed by I Fagiolini Post-performance discussion with Robert Hollingworth on Thursday, October 23 Friday–Sunday, October 24–26, in the Walter Reade Theater White Light on Film: The Decalogue Krzysztof Kie slowski , Director The complete ´cycle of 10 films is screened over a weekend. Introduced by Annette Insdorf on October 24 at 7:30 Presented in association with the Film Society of Lincoln Center For tickets, call (212) 721-6500 or visit WhiteLightFestival.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about pro - gram cancellations or to request a White Light Festival brochure. Visit WhiteLightFestival.org for more information relating to the Festival’s programs. Join the conversation: #LCWhiteLight We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. 10-10 Vespers_GP 9/26/14 11:39 AM Page 3 Note on the Program 20th centuries, in a Western European musical culture dominated increasingly by by Vladimir Morosan instrumental music, the Russians continued to adhere to their ancestral legacy of unac - All-Night Vigil , Op. 37 (1915) companied choral sound—the musically SERGE RACHMANINOFF Born April 1, 1873, in Oneg, Russia declaimed word—as the primary vehicle for Died March 28, 1943, in Beverly Hills liturgical worship and soulful, poetic expres - sion. Led by Tchaikovsky, composers such Approximate length: 60 minutes as Rachmaninoff, Kastalsky, Gretchaninoff, and Chesnokov reached into the national Within the broad range of styles that char - Russian treasure trove of chants and the acterize the world of choral music today, traditions of vocal expression to create new the Russian Orthodox choral tradition con - choral works of unprecedented color and tinues to stand out as one of humanity’s textural richness. most compelling creative achievements. The music remains to this day the music of Rachmaninoff’s All-Night Vigil , Op. 37, worship, as well as music of beauty and of stands as the crowning achievement of the the word. Thus, rather than serving merely golden age of Russian Orthodox sacred as a means of entertainment, Russian choral music. This period, which began in Orthodox choral music envelops the the 1880s and lasted until the Communist hearer in a remarkable artistic experi - takeover in 1917, was a time when dozens ence—one that calls to mind the right rela - of Russian composers turned their creative tionship between God and man, provides a energies to composing choral music on glimpse of heavenly beauty, and engages texts drawn from the Russian Orthodox that unique intellectual capacity which dis - liturgy. In doing so, they turned for melodic tinguishes human beings from all other liv - material to the wellspring of ancient unison ing creatures: verbal expression. chants—known by such names as Znamenny, Kievan, and Greek. Composers and artists in Russia have long been inspired by the report of 10th-century To use these chants in modern-day liturgi - pagan Slav emissaries sent by Prince cal circumstances, however, required Vladimir of Kiev to find a new religion for dressing them up in new polyphonic attire. his people. Describing their experience of A long-standing problem that preoccupied divine beauty in the Hagia Sophia church in Russian composers towards the end of the Constantinople, they reported: “We knew 19th century was what form this attire not whether we were in heaven or on should take so that Russian church music earth. One thing we do know is that God would sound characteristically Russian and dwells here among His people.” These not Italian or German. Important new direc - words convinced St. Vladimir to adopt the tions were set forth by the musicologist Byzantine Orthodox form of Christianity Stepan Smolensky, who spearheaded the and to baptize his Rus’ people—the com - historical study of ancient chants, and the mon ancestors of Russians, Ukrainians, composer Alexander Kastalsky, who in his and Byelorussians—in the year 988. choral arrangements borrowed part-writing techniques from the Russian choral folk Over the next ten centuries, the continuous song. Both men at various times headed development in Russia of a purely vocal the Moscow Synodal School of Church tradition of sacred liturgical chant and Singing, whose splendid 80-voice choir of choral singing constantly referenced this men and boys emerged as a virtuoso image of beauty and majesty of heavenly choral instrument capable of a vast range worship. Towards the late 19th and early of dynamic nuances and choral timbres. WhiteLightFestival.org 10-10 Vespers_GP 9/26/14 11:39 AM Page 4 Such were the formative influences that Within these seemingly austere limits, shaped the creation of Rachmaninoff’s Rachmaninoff created a monumental work choral masterpieces, the Liturgy of St. John that elevates the spirit by its lofty expres - Chrysostom , written in 1910, and the All- siveness and captivates the ear by its Night Vigil , written in 1915. The latter work sheer beauty. Through the fixed texts of was dedicated to the memory of Smo - the Vigil—the sung prayers, psalms, and lensky, who had been Rachmaninoff’s hymns—the composer depicts the epic teacher at one point and attempted, unsuc - grandeur of humanity’s worshipful cessfully, to recruit his student into the field encounter with its Creator. The vesperal of church music. When Rachmaninoff did portion of the service (movements 1 in fact turn to church composition, he through 6) focuses on the themes of the sought Kastalsky’s advice on the use of Creation and the coming into it of the ancient chants. The work premiered on Eternal Light—the Incarnation of Christ. The March 10, 1915, in a concert by the matins portion (movements 7 through 15) Moscow Synodal Choir under the direction has a different emphasis: the weekly cele - of Nikolai Danilin, a friend and classmate of bration, every Sunday, of the single most Rachmaninoff’s at the Moscow Philhar - important event in Christian cosmology— monic Society’s Musical School. the Resurrection of Christ. (The Russian word for Sunday is voskresen’ye , which Viewed in the broad context of 20th- means Resurrection.) century European music, Rachmaninoff’s work is quite conservative and at the same As his musical vehicle, Rachmaninoff uses time quintessentially Russian. For his set - a living, breathing instrument—the human ting, Rachmaninoff chose 15 major psalms chorus—in a way that few composers have and hymns that form the unchanging used it before or since. His choral writing framework of the Resurrectional All-Night makes full use of the rich sonority and tim - Vigil (the service celebrated every Saturday bral colors that were first pioneered by his evening in Orthodox churches). The music predecessors in the Russian choral school is for chorus a cappella , the traditional of the late 19th to early 20th centuries. vocal complement in the Russian Voices combine and divide in a seemingly Orthodox Church, which has maintained endless variety of ways, soaring heaven - the ancient Christian prohibition against ward and plunging into the depths, praising musical instruments of any kind. and supplicating, as the liturgical text and the individual vision of the composer direct Ten of the 15 hymns are based on unison them.
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