Rachmaninov Vespers
View record and artist detailsRecord and Artist Details
Composer or Director: Sergey Rachmaninov
Label: EMI
Magazine Review Date: 4/1999
Media Format: CD or Download
Media Runtime: 61
Mastering:
DDD
Catalogue Number: 556752-2
Tracks:
| Composition | Artist Credit |
|---|---|
| Vespers, 'All-Night Vigil' |
Sergey Rachmaninov, Composer
King's College Choir, Cambridge Sergey Rachmaninov, Composer Stephen Cleobury, Conductor |
Author: John Warrack
With choirs of many nationalities now including Rachmaninov’s All-Night Vigil (or Vespers) in their repertories, and half a dozen ‘foreign’ ensembles having recorded it, the work need no longer be seen as an exclusively Russian property. Yet there are problems: the references are deeply rooted in Orthodox tradition (the iconic nature of the old chants, above all), and some of the actual sounds which Rachmaninov had in mind are particularly Russian. Stephen Cleobury does not attempt to Russify the King’s sound (though the singing language is Russian, too often almost undetectably). He does have an excellent solo tenor with a somewhat resiny tone and a fine feeling for Russian timbre. He can also muster basses who possess strong low E flats and are capable of taking on the notorious scale descending to a bottom B flat (there is usually a bit of fall-out on the way in English performances, and I am not sure how many stay the course here, but at least one hero certainly does). However, the famed, much-loved King’s trebles are entirely themselves, and they cannot help intruding a disconcertingly Anglican touch into the Orthodox world.
Cleobury does, however, use the vocal variety to make the most of Rachmaninov’s wonderful choral ‘orchestration’, though the recording does not always help him as much as it might (some of the climaxes bluster). He keeps a light touch with the faster music, allows much flexibility (as Rachmaninov marks) and makes use of plentiful rubato especially in the quasi-recitative passages: this gives him the manner for shaping the longer movements, in particular the longest of them all, the ‘Velichit dusha moya’ (Magnificat), with great fluency and strength. There is one place in the ‘Nyne otuschayeshi’ (Nunc dimittis) where the choirs appear to sing through what should be a dramatic rest. This is an interesting version, even if, of the other English performances, loyalties can hold to Matthew Best and the Corydon Singers; and even if there is still something special about Russian choirs in this music.'
Cleobury does, however, use the vocal variety to make the most of Rachmaninov’s wonderful choral ‘orchestration’, though the recording does not always help him as much as it might (some of the climaxes bluster). He keeps a light touch with the faster music, allows much flexibility (as Rachmaninov marks) and makes use of plentiful rubato especially in the quasi-recitative passages: this gives him the manner for shaping the longer movements, in particular the longest of them all, the ‘Velichit dusha moya’ (Magnificat), with great fluency and strength. There is one place in the ‘Nyne otuschayeshi’ (Nunc dimittis) where the choirs appear to sing through what should be a dramatic rest. This is an interesting version, even if, of the other English performances, loyalties can hold to Matthew Best and the Corydon Singers; and even if there is still something special about Russian choirs in this music.'
Rachmaninov Vespers
Discover the world's largest classical music catalogue with Presto Music.
Gramophone Digital Club
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £8.75 / month
Subscribe
Gramophone Full Club
- Print Edition
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £11.00 / month
Subscribe
If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.