View source for All-Night Vigil (Rachmaninoff)

{{short description|1915 a cappella choral composition by Sergei Rachmaninoff}}
{{for|the liturgical service|All-night vigil}}
{{Infobox musical composition
| name              = ''All-Night Vigil''
| type              = Sacred choral music
| composer          = {{nowrap|[[Sergei Rachmaninoff]]}}
| image             = Sergei Rachmaninoff, 1910s.jpg
| image_upright     = 
| caption           = The composer
| key               = 
| opus              = 37
| form              = 
| text              = [[All-night vigil]]
| language          = [[Church Slavonic]]
| composed          = 
| dedication        = [[Stepan Smolensky]]
| performed         = {{Timeline-event|date={{Start date|1915|03|23|df=y}}|location=Moscow}}
| movements         = 15
| scoring           = [[SATB|{{abbr|SATB|soprano, alto, tenor and bass}}]] choir
}}
The '''''All-Night Vigil''''' ([[Reforms of Russian orthography|Pre-reform Russian]]: '''''Всенощное бдѣніе''''', ''Vsénoshchnoye bdéniye''; Modern Russian: '''''Всенощное бдение''''') is an [[a cappella]] [[choir|choral]] composition by [[Sergei Rachmaninoff]], his [[Opus number|Op]].&nbsp;37, premiered on 10/23 March 1915 in Moscow.

The piece consists of settings of texts taken from the [[Russian Orthodox Church|Russian Orthodox]] [[All-night vigil]] ceremony. It has been praised as Rachmaninoff's finest achievement<ref>Francis Maes, tr. [[Arnold J. Pomerans]], Erica Pomerans, ''A History of Russian Music: From Kamarinskaya to Babi Yar'', University of California Press, 2002, [https://archive.org/details/historyofrussian0000maes/page/206 <!-- quote="all-night vigil" rachmaninoff. --> p. 206]</ref> and "the greatest musical achievement of the Russian Orthodox Church".<ref>[http://www.seattlepromusica.org/Rachmaninovs_Vespers.htm Rachmaninov's All Night Vigil: Vespers<!-- Bot generated title -->] {{webarchive|url=https://web.archive.org/web/20060429162907/http://seattlepromusica.org/Rachmaninovs_Vespers.htm |date=2006-04-29 }}</ref>  It was one of Rachmaninoff's two favorite compositions<ref name="satina"/> along with ''[[The Bells (symphony)|The Bells]]'', and the composer requested that its fifth movement (Нынѣ отпущаеши, ''[[Nunc dimittis]]'') be sung at his funeral.<ref name="satina">Sergei Bertensson, Jay Leyda, Sophia Satina, ''Sergei Rachmaninoff: A Lifetime in Music'', Indiana University Press, 2001, [https://books.google.com/books?id=KM-dgfOaIIkC&q=funeral&pg=PA191 p. 191]</ref>

The title of the work is often mis-translated as ''Vespers''. This is both literally and conceptually incorrect as applied to the entire work; only the first six of its fifteen movements set texts from the Russian Orthodox [[canonical hour]] of [[Vespers]].

==History==

===Composition history===
Rachmaninoff composed the ''All-Night Vigil'' in less than two weeks in January and February 1915.<ref>Sergei Bertensson, Jay Leyda, Sophia Satina, ''Sergei Rachmaninoff: A Lifetime in Music'', Indiana University Press, 2001, [https://books.google.com/books?id=KM-dgfOaIIkC&dq=rachmaninoff+vespers&pg=PA190 p. 190]</ref> The ''All-Night Vigil'' is perhaps notable as one of two liturgical settings (the other being the ''[[Liturgy of St. John Chrysostom (Rachmaninoff)|Liturgy of St. John Chrysostom]]'') by a composer who had stopped attending church services.  As required by the [[Russian Orthodox Church]], Rachmaninoff based ten of the fifteen sections on [[chant]].  However, the five original sections (numbers 1, 3, 6, 10, & 11) were so heavily influenced by chant that the composer called them "conscious counterfeits".

Rachmaninoff's work is a culmination of the preceding two decades of interest in Russian sacred music, as initiated by [[Tchaikovsky]]'s [[All-Night Vigil (Tchaikovsky)|setting]] of the all-night vigil.<ref>{{cite book|title=The Cambridge History of Russia: Volume 2, Imperial Russia, 1689–1917|editor1-first=Maureen|editor1-last=Perrie|editor1-link=Maureen Perrie|editor2-first=Dominic|editor2-last=Lieven|editor2-link=Dominic Lieven|editor3-first=Ronald G.|editor3-last=Suny|editor3-link=Ronald Grigor Suny|year=2006|url=https://books.google.com/books?id=NzR0cmnP3J8C|page=115|publisher=Cambridge University Press |isbn=9780521815291}}</ref><ref>{{cite book|title=Classical Music: The Rough Guide|chapter=Rachmaninov|first=Duncan|last=Clark|year=2001|url=https://books.google.com/books?id=-seWjlH17dsC|page=390|publisher=Rough Guides |isbn=9781858287218}}</ref> The similarities between the works, such as the extensive use of traditional chants, demonstrates the extent of Tchaikovsky's influence; however, Rachmaninoff's setting is much more complex in its use of harmony, textual variety and polyphony.<ref>{{cite book|title=Rachmaninoff: Life, Works, Recordings|first=Max|last=Harrison|year=2006|url=https://books.google.com/books?id=HwSvhu1kLikC|pages=197–198|publisher=Bloomsbury Academic |isbn=9780826493125}}</ref>

===Performance history===
The first performance was given in [[Moscow]] on 10/23 March 1915, partly to benefit the [[Russia]]n [[First World War|war effort]]. [[Nikolai Danilin]] conducted the all-male [[Moscow Synodal Choir]] at the premiere.  It was received warmly by critics and audiences alike, and was so successful that it was performed five more times within a month.<ref>Sergei Bertensson, Jay Leyda, Sophia Satina, ''Sergei Rachmaninoff: A Lifetime in Music'', Indiana University Press, 2001, [https://books.google.com/books?id=KM-dgfOaIIkC&dq=rachmaninoff+vespers&pg=PA192 p. 192]</ref>  However the [[Russian Revolution of 1917]] and the rise of the [[Soviet Union]] led to the government condemnation of religious music,<ref>{{cite book|title=The Encyclopedia of Censorship|author1-first=Jonathon|author1-last=Green|author1-link=Jonathon Green|author2-first=Nicholas J.|author2-last=Karolides|year=2009|page=590|publisher=Infobase |isbn=9781438110011|url=https://books.google.com/books?id=bunHURgi7FcC}}</ref> and on 22 July 1918 the Synodal Choir was replaced by a non-religious "People's Choir Academy".<ref>Svetlana Zvereva, tr. Stuart Campbell, ''Alexander Kastalsky: His Life and Music'', Ashgate Publishing, Ltd., 2003, [https://books.google.com/books?id=6J7HvfHrRp0C&dq=rachmaninoff+night+vigil+greatest+orthodox&pg=PA204 p. 204]</ref>  It has been written that "no composition represents the end of an era so clearly as this liturgical work".<ref>Francis Maes, tr. Arnold J.
Pomerans, Erica Pomerans, ''A History of Russian Music: From Kamarinskaya to Babi Yar'', University of California Press, 2002, [https://archive.org/details/historyofrussian0000maes/page/206 <!-- quote="all-night vigil" rachmaninoff. --> p. 206]</ref>

Individual movements of Rachmaninoff’s ''Vigil'' are incorporated by conductors into the actual sacred performance, or celebration (to use the proper Orthodox term), of the ''All-Night Vigil.'' On the night of April 2, 2022, Metropolitan [[Hilarion Alfeyev]], celebrated a hierarchical ''All-Night Vigil'' that included all of the movements of Rachmaninoff’s work, incorporated with the complete order of the service.<ref>{{Citation |title=Прямая трансляция {{!}} Всенощное бдение. Митрополит Иларион. 02.04.2022 | date=2 April 2022 |url=https://www.youtube.com/watch?v=f1vfKXJY3nw |language=en |access-date=2022-04-03}}</ref>

==Analysis==
The ''Vigil'' includes three styles of chant: ''[[znamenny]]'' (in numbers 8, 9, 12, 13 and 14), a more recitational Greek style (numbers 2 and 15), and "Kiev" chant&nbsp;— a chant developed in Kiev in the 16th and 17th centuries (numbers 4 and 5).  Before writing, Rachmaninoff had studied ancient chant under [[Stepan Smolensky]], to whom he dedicated the piece.  It is written for a four-part choir, complete with [[basso profondo]].  However, in many parts there is three-, five-, six-, or eight-part [[harmony]]; at one point in the seventh movement, the choir is divided into eleven parts. Movements 4 and 9 each contain a brief tenor solo, while movements 2 and 5 feature lengthy solos respectively for alto and tenor.  The fifth movement, ''Nunc dimittis'' (''Nyne otpushchayeshi''), has gained notoriety for its ending in which the low basses must negotiate a descending scale that ends with a low B-flat (the third B-flat below middle C).  When Rachmaninoff initially played this passage through to Kastalsky and Danilin in preparation for the first performance, Rachmaninoff recalled that:
<blockquote>
Danilin shook his head, saying, "Now where on earth are we to find such basses?  They are as rare as [[asparagus]] at [[Christmas]]!"  Nevertheless, he did find them.  I knew the voices of my countrymen...<ref name="satina"/>
</blockquote>

==Movements==
{{see also|All-night vigil}}
''Note:'' Numbers 1–6 contain settings from the [[Russian Orthodox Church|Russian Orthodox]] [[Vespers]] service ({{langx|ru|Вечерня}}, ''Večérnja''), numbers 7–14 settings from [[Matins]] (Утреня, ''Útrenja''), and number 15 from [[Prime (liturgy)|The First Hour]] (Первый час, ''Pérvyj čas'').

{| class="wikitable" border="1"
!style="width:4%;"|Seq.
!style="width:30%;"|[[Church Slavonic]]
!style="width:30%;"|Transliteration
!style="width:36%;"|English equivalent
|-
|{{center|1}}
|Пріидите, поклонимся.
|Priidite, poklonimsya.
|Come, Let Us Worship.
|-
|{{center|2}}
|Благослови, душе моя, Господа.<br>''Греческаго распѣва.''
|Blagoslovi, dushe moya, Gospoda.<br>''Grecheskago raspeva.''
|[[Psalm 104|Bless the Lord, O My Soul]].<br>''Greek Chant.''
|-
|{{center|3}}
|Блаженъ мужъ.
|Blazhen muzh.
|[[Blazhen Muzh|Blessed is the Man.]]
|-
|{{center|4}}
|Свѣте тихій.<br>''Кiевскаго распѣва.''
|Svete tikhiy.<br>''Kievskago raspeva.''
|[[Phos Hilaron|O Gladsome Light]].<br>''Kyiv Chant.''
|-
|{{center|5}}
|Нынѣ отпущаеши.<br>''Кiевскаго распѣва.''
|Nïne otpushchayeshi.<br>''Kievskago raspeva.''
| [[Nunc dimittis|Now Lettest Thou]].<br>''Kyiv Chant.''
|-
|{{center|6}}
|Богородице Дѣво.
|Bogoroditse Devo.
|[[Hail Mary|Rejoice, O Virgin.]]
|-
|{{center|7}}
|Слава въ вышнихъ Богу (шестопсалміе).
|Slava v vïshnikh Bogu (shestopsalmiye).
|Glory To God in the Highest (the six psalms).
|-
|{{center|8}}
|Хвалите Имя Господне.<br>''Знаменнаго распѣва.''
|Khvalite Imya Gospodne.<br>''Znamennago raspeva.''
|[[Polyeleos|Praise the Name of the Lord]].<br>''Znamennïy Chant.''
|-
|{{center|9}}
|Благословенъ еси, Господи.<br>''Знаменнаго распѣва.''
|Blagosloven yesi, Gospodi.<br>''Znamennago raspeva.''
|Blessed Art Thou, O Lord.<br>''Znamennïy Chant.''
|-
|{{center|10}}
|Воскресеніе Христово видѣвше.
|Voskreseniye Khristovo videvshe.
|Having Beheld the Resurrection of Christ.
|-
|{{center|11}}
|Величитъ душа моя Господа.
|Velichit dusha moya Gospoda.
|[[Magnificat|My Soul Doth Magnify the Lord]].
|-
|{{center|12}}
|Великое славословіе.<br>''Знаменнаго распѣва.''
|Velikoye slavosloviye.<br>''Znamennago raspeva.''
|[[Gloria in excelsis Deo|The Great Doxology]].<br>''Znamennïy Chant.''
|-
|{{center|13}}
|Тропарь. Днесь спасеніе.<br>''Знаменнаго распѣва.''
|Tropar'. Dnes spaseniye.<br>''Znamennago raspeva.''
|[[Troparion]]. Today Salvation is Come.<br>''Znamennïy Chant.''
|-
|{{center|14}}
|Тропарь. Воскресъ изъ гроба.<br>''Знаменнаго распѣва.''
|Tropar'. Voskres iz groba.<br>''Znamennago raspeva.''
|[[Troparion]]. Thou Didst Rise from the Tomb.<br>''Znamennïy Chant.''
|-
|{{center|15}}
|Взбранной воеводѣ.<br>''Греческаго распѣва.''
|Vzbrannoy voyevode.<br>''Grecheskago raspeva.''
|To Thee, Victorious Leader.<br>''Greek Chant.''
|}

==Recordings==

The first recording of the ''Vigil'' was made by [[Aleksandr Sveshnikov]] with the State Academic Russian Choir of the USSR for the Soviet [[Melodiya]] label in 1965 – exactly half a century after the work's first performance.  Because of [[Religion in the Soviet Union|Soviet anti-religious policies]], this record was never available for sale within the USSR, but was only made for the export market and private study. This recording still has a legendary reputation, in part because of its extremely strong low basses, but also because of the solos by [[Klara Korkan]] and [[Konstantin Ognevoi]].<ref>[http://classicalcdreview.com/MC60.html Rachmaninoff Vespers/Concerto/Rhapsody<!-- Bot generated title -->] {{webarchive|url=https://web.archive.org/web/20070202213943/http://www.classicalcdreview.com/MC60.html |date=2007-02-02 }}</ref> The recording was first released in the United States in 1973 on the Melodiya-Angel label.  The March 1974 edition of ''Stereo Review'' noted that Angel's general manager [[Robert E. Myers (record producer)|Robert E. Myers]] had "tracked down the recording" and "had to prevail rather heavily on the Soviet powers that be to make it part of their trade agreement with Angel".<ref>Vespers, Op. 37, Records in Review, 1975 edition, Wyeth Press, p. 317</ref>
{| class="wikitable" border="1"; style="width:65em;
!style="width:4%;"|Year
!style="width:18%;"|Conductor
!style="width:32%;"|Choir
!style="width:30%;"|Soloists
!style="width:16%;"|Label
|-
|1965
|[[Aleksandr Sveshnikov]]
|State Academic Russian Choir of the USSR
|Klara Korkan (mezzo-soprano)<br>Konstantin Ognevoy (tenor)
|Melodiya
|-
|1967
|Karl Linke
|Johannes-Damascenus-Chor für Ostkirchliche Liturgie
|Marie-Louise Gilles<br>Günter Schmitz
|Christophorus
|-
|1978
|Georgi Robev
|Svetoslav Obretenov Choir
|Natalia Peneva (alto)<br>Todor Grigorov-Tres (tenor)
|Vanguard
|-
|1983
|[[Yevgeny Svetlanov]]
|Svetoslav Obretenov Choir
|
|Russian Disc
|-
|1984
|[[Kenneth Montgomery]]
|Groot Omroepkoor
|Wil Boekel (alto)<br>Frank Hameleers (tenor)
|KRO-klassiek
|-
|1986
|[[Valery Polyansky]]
|Chamber Choir of the Ministry of Culture of the USSR
| [[Irina Arkhipova]] (mezzo-soprano)<br>Viktor Rumantsev (tenor)<br>[[Yuri Wichniakov|Yuriy Vishnyakov]] ([[Octavist|basso profundo]])
|Melodiya/Moscow Studio Archives
|-
|1986
|Vladislav Chernushenko
|St. Petersburg Cappella
|Zhanna Polevtsova (mezzo-soprano)<br>Sergei Rokozitsa (tenor)
|Chant du Monde/IML
|-
|1987
|[[Mstislav Rostropovich]]
|[[The Choral Arts Society of Washington|Choral Arts Society of Washington]]
|[[Maureen Forrester]] (mezzo-soprano)<br>[[Gene Tucker]] (tenor)
|Erato
|-
|1989
|[[Robert Shaw (conductor)|Robert Shaw]]
|[[The Robert Shaw Festival Singers]]
|Karl Dent (tenor)
|Telarc
|-
|1990
|[[Matthew Best (conductor)|Matthew Best]]
|[[Corydon Singers]]
|Joya Logan (alto)<br>[[John Bowen (tenor)|John Bowen]] (tenor)
|Hyperion
|-
|1991
|[[Oleg Shepel]]
|Voronezh State Institute of Arts Chamber Choir
|Yelena Necheporenko (mezzo-soprano)<br>Aleksandr Zlobin (tenor)<br>Ruben Sevostyanov (tenor)<br>Aleksandr Nazarov (bass)
|Globe
|-
|1993
|[[David Hill (choral director)|David Hill]]
|The Philharmonia Chorus
|Sarah Fryer (mezzo-soprano)<br>[[Peter Butterfield]] (tenor)
|Nimbus
|-
|1993
|[[Nikolai Korniev]]
|[[St. Petersburg Chamber Choir]]
|[[Olga Borodina]] (alto)<br>Vladimir Mostovoy (tenor)
|Philips
|-
|1994
|Robin Gritton
|Berlin Radio Chorus
|Tatjana Sotin (alto)<br>Thomas Kober (tenor)
|CPO
|-
|1994
|[[Tõnu Kaljuste]]
|[[Swedish Radio Choir]]
|[[Malena Ernman]] (alto)<br>Per Björslund (tenor)<br>Nils Högman (tenor)
|Virgin
|-
|1994
|Georgi Robev
|Bulgarian National Choir
|
|Capriccio
|-
|1995
|William Hall
|William Hall Master Chorale
|Jonathan Mack (tenor)
|
|-
|1997
|Aleksey Puzakov
|Choir of St Nicholas Church Tolmachi
|Tatiana Gerange (alto)<br>Dmitriy Borisov (tenor)<br>Nikolay Sokolov (archpriest)
|Boheme
|-
|1998
|[[Stephen Cleobury]]
|Choir of [[King's College, Cambridge]]
|Margaret Cameron (alto)<br>Richard Eteson (Tenor)<br>[[James Gilchrist (tenor)]]<br>Jan Lochmann (bass)
|EMI
|-
|1998
|[[Karen P. Thomas]]
|[[Seattle Pro Musica]]
|Yelena Posrednikov (alto)<br>Stuart Lutzenhiser (tenor)<br>Misha Myznikov (baritone)
|
|-
|1998
|[[Roger McMurrin]]
|The Kyiv Symphonic Choir
|Valentyna Svitylnyk (mezzo-soprano)<br>Anatoliy Glavin (tenor)
|Music Kiev
|-
|2000
|Aleksandr Govorov
|Accordance (male choir)
|Dmitriy Popov (tenor)<br>Vladimir Pasyukov (basso Profundo)
|
|-
|2000
|[[Yevhen Savchuk]]
|Ukrainian National Capella "Dumka"
|Olga Borusene (soprano)<br>Mykhaylo Tyshchenko (tenor)<br>Yuri Korinnyk (tenor)
|Regis/Brilliant Classics
|-
|2000
|[[Howard Arman]]
|Leipzig Radio Chorus
|Klaudia Zeiner (alto)<br>Mikhail Agafonov (tenor)<br>Lew Maidarschewski (bass)
|Berlin Classics
|-
|2000
|Torsten Mariegaard
|Copenhagen Oratorio Choir
|Lotte Hovman (alto)<br>Poul Emborg (tenor)
|Classico
|-
|2001
|Jaroslav Brych
|Prague Philharmonic Chorus
|
|Praga
|-
|2003
|[[Dale Warland]]
|[[Dale Warland Singers]]
|
|Rezound
|-
|2004
|Eric-Olof Söderström
|Finnish National Opera Chorus
|Raissa Palmu (soprano)<br>Erja Wimeri (contralto)<br>Eugen Antoni (tenor)
|Naxos
|-
|2004
|[[Paul Hillier]]
|[[Estonian Philharmonic Chamber Choir]]
|Iris Oja (alto)<br>Vladimir Miller (bass)<br>Mati Turi (tenor)<br>Tiit Kogerman (tenor)
|Harmonia Mundi
|-
|2004
|Nigel Short
|Tenebrae
|Frances Jellard (alto)<br>Paul Badley (tenor)
|Signum U.k.
|-
|2004
|Michael Gläserri
|Chor des Bayerischen Rundfunks
|Theresa Blank (alto)<br>Anton Rosner (tenor)
|Oehms
|-
|2005
|Thomas Edward Morgan
|Ars Nova Singers
|Adam Finkel (tenor)<br>J.R. Humbert (tenor)<br>Philip Judge (bass)<br>Brian du Fresne (chimes)
|New Art Recordings
|-
|2007
|[[Marcus Creed]]
|[[SWR Vokalensemble]] Stuttgart
|
|[[Hänssler Classic|Hänssler]]
|-
|2008
|Viktor Popov
|Academy of Choral Art, Moscow
|A. Timofeeva (mezzo-soprano)<br>D. Kortchak (tenor)
|Delos
|-
|2010
|Pasi Hyökki
|Talla Vocal Ensemble
|
|Fuga
|-
|2012
|Sigvards Kļava
|Latvian Radio Choir
|
|Ondine
|-
|2012
|Andrew Clark
|Harvard-Radcliffe Collegium Musicum
|
|
|-
|2013
|Peter Broadbent
|Joyful Company of Singers
|Lorna Perry (alto)<br>Andrew Shepstone (tenor)
|[[Nimbus Records]]
|-
|2014
|Teemu Honkanen
|[[:fi:Key Ensemble|Key Ensemble]]
|Kristina Raudanen (alto)<br>Mats Lillhannus (tenor)<br>Reino Kotaviita (bass)
|Fuga
|-
|2014
|Kaspars Putniņš
|Netherlands Radio Choir
|Matthew Minter<br>Pierrette de Zwaan<br>Eyjólfur Eyjólfsson<br>Gert-Jan Alders
|BIS
|-
|2014
|[[Charles Bruffy]]
|[[Phoenix Chorale]] and [[Kansas City Chorale]]
|Frank Fleschner (tenor)<br>Julia Scozzafava (mezzo-soprano)<br>Paul Davidson (bass)<br>Toby Vaughn Kidd (bass)<br> Bryan Pinkall (tenor)<br> Bryan Taylor (bass)<br>Joseph Warner (bass)
|[[Chandos Records]]
|-
|2016
|Nicolas Fink
|WDR Rundfunkchor 
|Beate Koepp (alto)<br>Kwon-Shik Lee (tenor)
|Clarus
|-
|2016
|Janos Dobra
|Budapest Tomkins Vocal Ensemble
|Judit Rajk (contralto)<br>Tamas Dubno (tenor)
|Hungaroton
|-
|2016
|[[Stefan Parkman]]
|[[Academy Chamber Choir of Uppsala]]
|Patrik Wallin (tenor)<br>Annika Hudak (mezzo-soprano)
|[[Footprint Records]]
|-
|2017
|[[Risto Joost]]
|[[MDR Rundfunkchor]]
|Klaudia Zeiner (alto)<br>Falk Hoffmann (tenor)
|[[Genuin (record label)|Genuin]]
|-
|2017
|Marcel Verhoeff
|Great Russian Academic Boys- and Malechoir
|Olga Marinova (alto)<br>Nikolay Almazov (tenor)
|VMS
|-
|2017
|Peter Jermihov 
|The Gloriæ Dei Cantores<br>''with members of:''<br>St. Romanos Cappella,<br>The Patriarch Tikhon Choir,<br>The Washington Master Chorale
|Mariya Berezovska (alto)<br>Dmitry Ivanchenko (tenor)<br>Vadim Gan (clergy exclamations)
|[https://gdcrecordings.com/ Gloriae Dei Cantores Recordings]
|-
|2017
|Jeremy Backhouse
|[[Vasari Singers]]
|Catherine Wyn-Rogers (alto)<br>Adam Tunnicliffe (tenor)
|VasariMedia
|-
|2018
|Irina Bogdanovich
|[[Www.chor.uw.edu.pl|University of Warsaw Choir]]
|Jadwiga Rappé (alto)<br>Mateusz Markuszewski (tenor)
|
|-
|2018
|Violetta Bielecka
|Choir of the Podlaskie Opera and Philharmonic
|Agnieszka Rehlis (mezzo-soprano)<br>Rafal Bartminski (tenor)<br>Krzysztof Drugow (bass)
|Dux Recording Producers
|-
|2020
|David Wolfswinkel
|Koorinsident
|Minette du Toit-Pearce (alto)<br>Vasti Zeeman-Knoessen (alto)<br>Nathan Zachary Lewis (tenor)
|Koorinsident Recordings

2021
Michael Slon
University Singers of Virginia and the Virginia Oratorio Society
|-
|2023
|Joseph Fort 
|[[Choir of King's College London]]
|Caitlin Goreing (alto)<br>Chris O'Leary (tenor)
|[[Delphian Records]]
|-
|2023
|Steven Fox
|The Clarion Choir
|
|[[Pentatone (record label)|Pentatone]]
|-
|2023
|Andrei Petrenko
|Yekaterinburg Philharmonic Choir
|Diliza Nadyrova (alto)<br>Victor Galler (tenor)<br>Dmitry Kharpov (tenor)
|[[Outhere|Fuga Libera]]
|}

==In popular culture==
The Russian feminist protest punk rock group [[Pussy Riot]] used the sixth movement as the basis for its protest song "Mother of God, Chase Putin Away".<ref>{{cite journal |work=Oxford Research Encyclopedia of Criminology & Criminal Justice  |title=Pussy Riot and the Politics of Resistance in Contemporary Russia |first1=Yuliya |last1=Zabyelina |first2=Roman |last2=Ivashkiv |url=http://criminology.oxfordre.com/view/10.1093/acrefore/9780190264079.001.0001/acrefore-9780190264079-e-208 |date=January 2017|doi=10.1093/acrefore/9780190264079.013.208 |isbn=978-0-19-026407-9 }}</ref>

==References==
{{reflist}}

==External links==
* [http://www.choralarts.org/data/files/community/rachmaninoff%20vespers%20transliteration%20translation%20formatted.pdf Rachmaninoff Vespers: Transliteration and translation] ([https://web.archive.org/web/20120905025609if_/http://www.choralarts.org/data/files/community/rachmaninoff%20vespers%20transliteration%20translation%20formatted.pdf archived 2012])
* {{IMSLP2|work=Vespers, Op.37 (Rachmaninoff, Sergei)|cname=All-Night Vigil}}
* Rhodes College Mastersingers, directed by Tony Lee Garner, live recording from February,1998 at St. Mary's Cathedral, Memphis Tennessee. [http://www.patriciagray.net/Musichtmls/vespers/vespers.html Free mp3s of complete performance]
* [http://staroe.predanie.ru/muz/duhovnye_pesnopenija_russkih_kompozitorov/s-rahmaninov/ All-Night Vigil of Rachmaninoff in Russian at Predanie.ru archive]

{{Sergei Rachmaninoff}}
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[[Category:Compositions by Sergei Rachmaninoff]]
[[Category:Choral compositions]]
[[Category:1915 compositions]]
[[Category:Eastern Orthodox liturgical music]]
[[Category:Magnificat settings]]
[[Category:United States National Recording Registry recordings]]