Rundfunkchor Berlin

With archaic chants in unison, “Baroque” concert performance, chordal movements similar to those that made up most 19th century Russian church music and even original tone painting such as imitating the ringing of church bells, the musical range in Rachmaninoff’s “All-Night Vigil” appears to know no bounds. In the history of Russian sacred music that came to a violent end with the outbreak of the October Revolution, it is regarded as the crowning finale – the culmination of almost a thousand years of development that was partly independent of the West and partly influenced by it. Of course, Rachmaninoff’s glorious “Vespers” are based on traditional melodies from the Russian Orthodox songbook. And they also derive one of their special features from the Russian vocal tradition: the group of so-called octavists, the deepest of bass voices, give the work an unmistakable flavour. And for the Rundfunkchor Berlin, which will present Rachmaninoff’s “All-Night Vigil” in the Gethsemane Church under Principal Conductor Gijs Leenaars, they also represent an unusual challenge. Even Nikolai Danilin, who conducted the world premiere, complained: “Where on earth are we supposed to get basses like that?” The Song of Simeon, in which the music expands from a solo tenor to a powerful full chorus was acknowledged as Rachmaninoff’s own personal favourite. It was no coincidence that he wanted it played at his own funeral.