Rachmaninoff Vespers Text and Translations
No. 1 Priidite, poklonimsia
The Vigil opens with a proclamation of “Glory to the Holy, Consubstantial, Life – creating an Undivided Trinity,”
followed by a majestic choral call to worship, Pridite, poklonimsia (Psalm 95:6). The multilayered melody is of Rachmaninoff’s invention,
but its undulating, step-wise movement and unsymmetric, text-related structure at once establish its kinship with the ancient
Znamenny Chant.
Amen. 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.
No. 2 Blagoslovi, dushe moya, Ghospoda
Vespers begins, as it does every day, with Psalm 104: Blogoslovi, dushe moya, Ghospoda,
which hymns the wonders of God’s creation. The solo voice personalizes this song of praise, while the choral voices
depict two contrasting realms – the earthly and the heavenly.
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 honor and majesty.
Blessed art Thou, O Lord.
The waters stand upon the mountains.
Marvelous are Thy works, O Lord.
The waters flow between the hills.
Marvelous are Thy works, O Lord.
In wisdom hast Thou made all things.
Glory to Thee, O Lord, who hast created all!
—Psalm 103[104]:1-2, 6, 24
No. 3 Blazhen muzh
The recitation of psalms is an essential element of every Orthodox service; on Saturdays verses from Psalms 1, 2 and 3,
Blazhen muzh, are always sung. Significantly, they speak of righteousness within a world in which evil (“the council of the wicked”)
already exists. The three-fold alleluia refrains are reminiscent of those once sung by the entire congregation.
Blessed is the man,
who walks not in the counsel of the wicked.
Alleluia, alleluia, 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 belongs to the Lord,
and Thy blessing be upon Thy people.
Alleluia…
Glory to Father, Son, and Holy Spirit,
both now and ever, and unto ages of ages. Amen.
Alleluia, alleluia, alleluia.
Glory to Thee, O God! (3x)
—Psalm 1:1, 6; 2:11, 12; 3:8, 9
No. 4 Svete tihiy
Next comes the “hymn of light” – Svete tihiy, an ancient Christian hymn that dates at least to the third century.
The hymn originally accompanied the entrance of the clergy and the lighting of the lamp at sunset.
The simple four-note motive of the Kievan chant is transmuted into a shimmering musical evocation of the Light Eternal.
A solo voice lifts up a song of praise to the Trinity.
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 evening,
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.
No. 5 Nïne otpushchayeshi
Having encountered the Savior, the Light of the world, the Church sings in the words of St. Symeon,
Nïne otpushchayeshi (Lord, now lettest Thou Thy servant depart in peace).
The soloist personifies the venerable elder against a lullaby-like motif in the choral parts.
It is understandable why Rachmaninoff wished for this hymn to be sung at his funeral.
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:
a light to enlighten the Gentiles,
and to be the glory of Thy people Israel.
—St. Luke 2:29-32
No. 6 Bogoroditse Devo
After giving due praise to God, the Orthodox Church always pays homage to the Virgin. Bogoroditse Devo,
perhaps the most widely known hymn from Rachmaninoff’s cycle, captures both the gentle simplicity of the
angelic greeting and the awe-struck glorification of her response to God.
Rejoice, O Virgin Mother of God,
Mary full of grace, the Lord is with Thee.
Blessed art Thee among women,
and blessed is the Fruit of Thy womb,
for Thou hast borne the Savior of our souls.
No. 7 Slava v vïshnih Bogu
At this point the vesperal portion of the All-Night Vigil draws to a close. Matins begins with the invitatory verses
“Glory to God in the highest…” Slava v vïshnih Bogu… (Luke 2:14) and “O Lord, open Thou my lips…”
Ghospodi, ustne moi otverzeshi… (Ps. 51:15), and the ringing of bells, which Rachmaninoff masterfully
depicts in layering and juxtaposing the choral voices.
Glory to God in the highest,
and on earth peace,
good will among men. (3x)
O Lord, open Thou my lips,
and my mouth shall proclaim Thy praise. (2x)
—St. Luke 2:14; Ps. 51:15
No. 8 Hvalite imia Ghospodne
One of the musical high points of the Vigil is Hvalite imia Ghospodne (Ps. 135-136), the hymn of “many mercies.”
All the lights in the church are turned on, the doors are opened, and the clergy in full vestments proceed to the center
of the church to stand with the people. Musically, two layers are evident: the virile, earthy Znamenny chant melody
sung by the altos and basses and above it, the sopranos and tenors, wafting like choirs of cherubim and seraphim.
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.
For His mercy endures forever. Alleluia.
O give thanks unto the God of Heaven. Alleluia.
for His mercy endures forever. Alleluia.
—Psalm 135:1, 21; 136:1, 26
No. 9 Blagosloven yesi, Ghospodi
The dramatic events of the Resurrection now unfold in a set of narrative hymns, each introduced by the piously
whispered refrain: Blagosloven yesi, Ghospodi. Contrasts in the vocal scoring depict the cosmic drama occurring
simultaneously in the heavenly realm (“The angelic council was amazed…”) and on earth among the myrrh-bearing women,
as they journey early in the morning to anoint Christ’s body and instead encounter an angelic messenger.
As the joyous message is reinforced again and again, the murmuring crowd of faithful emerges and joins in a
universal hymn of praise “Alleuia.”
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 Savior,
Thou didst raise Adam,
and save all men from hell!
Blessed art Thou, O Lord,
teach me Thy statutes.
“Why do you women
mingle myrrh with your tears?”
cried the radiant angel in the tomb to the myrrhbearers.
Behold the tomb and understand!
The Savior is risen from the dead!”
Blessed art Thou, O Lord,
teach me Thy statutes.
Very early in the morning
the myrrhbearers 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; announce the resurrection to the apostles!”
Blessed art Thou, O Lord,
teach me Thy statutes.
The myrrhbearers were sorrowful
as they neared Thy tomb,
but the Angel said to 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!”
Both now and ever, and unto ages of ages. Amen.
Since Thou didst give birth to the Giver of Life, O Virgin,
Thou didst deliver Adam from his 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! (3x)
No. 10 Voskreseniye Hristovo videvshe
The faithful’s response to the Resurrection continues in the next hymn, Voskreseniye Hristovo videvshe.
Some of the most austere and powerful music occurs in this section, as the text recalls the terrible sacrifice on the
cross that preceded the ultimate triumph over death.
Having beheld the resurrection of Christ,
let us worship the holy Lord Jesus,
the only Sinless One.
We venerate Thy Cross, O Christ,
and we 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 all the world.
Ever blessing the Lord,
let us praise His resurrection,
for by enduring the cross for us,
He has destroyed death by death.
No. 11 Velichit dusha moya Ghospoda
By composing a heavy chant-like melody that mainly resides in the basses, Rachmaninoff treats the Canticle of Mary,
Velichit dusha moya Ghospoda, as an epic, prophetic utterance, which is taken up by all.
Contrasted with this is the refrain “Chestneyshuyu Heruvim…” in which Mary’s high rank in the heavenly hierarchy is exalted.
My soul magnifies the Lord,
and my spirit rejoices in God my Savior.
Refrain:
More honorable than the Cherubim
and more glorious beyond compare than the Seraphim,
without corruption Thou gavest birth to God the Word,
true Theotokos, 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 who is mighty has 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, remembering His mercy,
as He spoke to our fathers,
to Abraham and to his posterity forever.
Refrain.
—St. Luke, 1:46–55No. 12 Slava v vïshnih Bogu (The Great Doxology)
In terms of textual depth and musical complexity, the Great Doxology Slava v vïshnih Bogu stands out as the main
hymn of the entire All-Night Vigil. The text is carried by a simple Znamenny Chant melody, which Rachmaninoff masterfully
distributes to different voices. Every Christian theme, from glorification and thanksgiving to repentance and supplication,
is contained in the text of this ancient fourth-century hymn; and Rachmaninoff’s music at every turn seems to
resonate appropriately. As the hymn drives towards its culmination in the closing “Thrice-holy,” Rachmaninoff’s treatment
of the chorus becomes truly orchestral, again evoking images of bells.
Glory to God in the highest, and on earth peace,
Good will 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, the 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, hear our prayer.
Thou who sits 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 I will 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. (3x)
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.
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 we shall see light.
Continue Thy mercy on those who know Thee.
Holy God, Holy Mighty, Holy Immortal,
have mercy on us. (3x)
Glory to the Father, and to the Son, and to the Holy Spirit,
both now and ever and unto ages of ages. Amen.
Holy Immortal, have mercy on us.
No. 13 Dnes’ spaseniye miru bïst
After the musical intensity of the Doxology, these two hymns serve as a point of repose, inviting one to meditate upon
the exalted mystery of the Resurrection. The two chant themes are quite similar, and quoted in their entirety, providing
two of the most serene sections of the Vigil. The writing in No. 14 becomes increasing romantic, straying just a bit
from the harmonic language present throughout the other movements.
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.
No. 14 Voskres iz groba i uzï
Thou didst rise from the tomb,
bursting the bonds of Hades.
Thou didst destroy the condemnation of death, O Lord,
releasing all from the snares of the enemy.
Thou didst show Thyself to Thine Apostles,
and didst send them forth to proclaim Thee;
and through them didst grant Thy peace to the world,
O Thou Who art plenteous in mercy!
No. 15 Vzbrannoy voyevode
At the end of the Matins service, it is a Russian custom to sing a hymn from the feast of Annunciation,
Vzbrannoy voyevode, again in honor of the Mother of God. Rachmaninoff uses this triumphant hymn of
victory to bring his All-Night Vigil to a resounding close.
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!”
Transliterations and translations copyright Musica Russica, 2005.
Special thanks to Dr. Vladimir Morosan.
