Russian Sacred Music for Choirs

2
Russian
Sacred Music
for Choirs
Compiled and edited by Noëlle Mann

Lent and Easter
Organ Music
Russian
including music for Lent, Palm Sunday,
Sacred
Holy Week, Easter, Ascension,
Music
and Pentecost
for Choirs
Compiled by
Robert Gower
Compiled and edited
by Noëlle Mann
A

3
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First published 2013
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preface
This anthology has been conceived to open up some of the wonderful repertoire of Russian
sacred music, which so far has not reached the core choral repertoire outside Russia. To
this day the greater part of this repertoire is available in Church Slavonic only, the arcane
language of the Russian Orthodox Church, and few choir masters are familiar with Eastern
Orthodoxy, its music and rituals, its composers, or indeed with the performance style of the
Orthodox repertoire. Consequently, selecting works for performance can be a bewildering
and intimidating experience to the non-specialist choral director who possesses neither the
language nor the basic liturgical knowledge to perform this repertoire without guidance.
The anthology addresses these issues in a number of ways:
• It introduces composers who, although central to musical developments in Russian
sacred music, have remained little- or un-known outside Russia. Each composer is
introduced within his historical context.
• It makes available a system of pronunciation that should provide non-Russian-speaking
choir directors and singers with a degree of confidence, allowing them to concentrate
on the musical aspect of performance.
• It provides an English translation for every piece so that choirs are able to understand
the meaning of the text.
• The majority of the works in the anthology can be performed either in concert or
during Church services. In the introductory notes, each work is placed within its
liturgical context.
This anthology does not aspire to give a full account of all the styles that
evolved throughout the centuries—it is not an academic historical anthology
but a singing tool for choirs who seek a new, inspiring repertoire. It nevertheless covers
a wide-ranging repertoire spanning from the eighteenth century to the twentieth
century. All pieces are for mixed chorus, with the exception of the monodic chants in the
appendix, which should be performed in unison. There is also one alternative version for
male voices only.
Most of the repertoire is liturgical. Orthodox liturgical music comprises broadly two
categories: a wide range of hymns and prayers traditionally sung by the choir; and
acclamations and dialogues exchanged between the choir and deacon or congregation. This
anthology concentrates on the most common hymns and prayers of the Divine Liturgy
and the All-night Vigil, but also includes a few non-liturgical pieces that are particularly
appropriate for concert performance. While I have included at least one example of some
of the prayers that correspond to the musical parts of Western Christian services, such
as the Lord’s Prayer, Hail Mary, and Gloria, I have endeavoured to illustrate the amazing
range and beauty of the texts sung during Orthodox services, with musical settings that
belong to different historical periods. Some texts, such as the Lord’s Prayer, the Cherubic
Hymn from the Liturgy, and ‘Gentle Light’ from the Vigil, have been set over the centuries
by a great many composers, priests, and monks. They are therefore given a predominant
place in this collection.
Some eminent composers who contributed to this repertoire—such as Mikhail Glinka,
Nikolai Rimsky-Korsakov, and Mily Balakirev—have been omitted to the benefit of less
well-known composers, namely Alexander Kastalsky, Pavel Chesnokov, and Alexander
Grechaninov, who proved to be more innovative, prolific, and influential than their famous
counterparts. Over years of practice as a choir director, I have come to recognise the immense
craftsmanship and originality of these three composers, and consequently their works make
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up the core of this collection. In the case of the two towering masters, Tchaikovsky and
Rakhmaninov, I have avoided their most famous works such as their Divine Liturgy and Allnight
Vigil, which are widely available in the West, in favour of lesser-known pieces, two of
which stand out as representative of their unique style.
Finally, a word about the post-revolution twentieth century. After the watershed of
1917, most churches and monasteries were either destroyed or taken over as military
storehouses. Religious services all but disappeared and sacred music was no more heard in
concert, especially under Stalin. Like so many artistic endeavours in Soviet Russia, sacred
music went underground or moved abroad with the exiled Church, mainly to France
and the USA. In Russia, where religious centres were fast vanishing, church composers
disappeared, and the few secular composers who secretly approached sacred music, such as
Georgy Sviridov, did so as a private response to the absence of spirituality that characterized
Soviet life. Consequently, their style followed a new path and reflected the developments
that were taking place in secular music, rather than those in Orthodox life.
NOËLLE MANN
About the Editor
Noëlle Mann was born in 1946 in south-west France. Having trained first as a concert
pianist, she moved to the UK and read music at Goldsmiths College (University of London),
where she began researching the znamenny chant of the Russian Orthodox Church. Noëlle’s
interest in the Russian choral tradition led her in 1993 to establish the Kalina Choir, the
first UK choir exclusively dedicated to performing Russian choral music. Through this and
subsequent choral directing, she developed her research and performance practice in this
area. As a musicologist, Noëlle’s interests embraced both Russian choral music and the life
and work of Sergei Prokofiev. She became the Founding Curator of the Prokofiev Archive in
1994 and established the academic Centre for Russian Music at Goldsmiths College in 1997.
In 2001, Noëlle founded and became Editor of Three Oranges, an academic journal dedicated
to the study of the life and times of Prokofiev.
Publisher’s Note
Noëlle Mann died in 2010, having completed her research, selection, and editing of the
pieces in this anthology, but before the work was put into production and published.
The publishers are therefore grateful to the following individuals for all their help in this
process: Peter Owens, for copyediting the volume and bringing his considerable expertise
in the sphere of Russian choral music to the task; Tatiana Soloviova, for creating the
substantial preliminary material based on Noëlle’s notes and her own research; and Evgeny
Tugarinov, for lending his voice to create an accurate audio pronunciation guide.
Before her death, Noëlle tasked Julia and Kristian Hibberd, her daughter and son-in-law,
with the completion of the anthology. Kristian, in particular, has contributed to all aspects
of the production. The publishers, as well as other members of Noëlle’s close family, are
especially grateful for their wholehearted support of the project and for ensuring that
Noëlle’s vision was honoured.
The published collection serves as a fitting tribute to Noëlle’s expertise, passion, and
dedication, and reflects a lifetime’s work on this important and largely unexplored
catalogue of works.
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contents
Introduction
Editorial method
Pronunciation guide
vi
xiii
xiv
1. Kastalsky A Mercy of Peace (Milost’ mira) 2
2. Grechaninov Bless the Lord, O My Soul (Blagoslovi, dushe moya, Gospoda) 8
3. Chesnokov Blessed is the Man (Blazhen muzh) 22
4. Vedel Blessed is the Man (Blazhen muzh) 33
5. Chesnokov Cherubic Hymn (Kheruvimskaya pyesn’) 42
6. Kastalsky Cherubic Hymn (Kheruvimskaya pyesn’) 49
7. Berezovsky Do Not Reject Me in My Old Age
(Nye otvyerzhi menye vo vryemya starosti) 58
8. Grechaninov Gentle Light (Svyetye tikhiy) 79
9. Kastalsky Gentle Light (Svyetye tikhiy No. 3) 87
10. Arkhangelsky I Cry Aloud With My Voice Unto the Lord
(Glasom moim ko Gospodu vozzvakh) 93
11. Znamenny chant It is Truly Meet (Dostoyno yest’) 98
12. Grechaninov It is Truly Meet (Dostoyno yest’) 100
13. Tchaikovsky Let My Prayer Arise (Da ispravitsya molitva moya) 104
14. Chesnokov ‘Lord, Save the Faithful’ and Trisagion
(‘Gospodi, spasi’ i Trisvyatoye) 111
15. Bortniansky Many Years (Mnogaya lyeta) 114
16. Prokofiev Many Years (Mnogaya lyeta) [TTBB] 115
17. Prokofiev Many Years (Mnogaya lyeta) [SATB] 116
18. Golovanov Our Father (Otche nash) 117
19. Grechaninov Our Father (Otche nash) 122
20. Schnittke Our Father (Otche nash) 128
21. Grechaninov Praise the Name of the Lord (Khvalitye imya Gospodnye) 134
22. Viskov Rejoice, Nicholas, Great Miracle-Worker
(Iz Akafista Svyatityelyu Nikolayu) 147
23. Kalinnikov Rejoice, O Virgin Mother of God (Bogoroditse Dyevo) 150
24. Sviridov Sacred Love (Lyubov svyataya) 152
25. Rakhmaninov The Ever-Vigilant Mother of God
(V molitvakh nyeusïpayuschuyu Bogoroditsu) 156
26. Chesnokov The Great Doxology (Slavosloviye vyelikoye) 164
27. Kastalsky The Great Doxology (Slavosloviye vyelikoye No. 2) 180
Notes on the composers and their works 191
Appendix 1: Monodic chants 200
Appendix 2: Cyrillic texts 203
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introduction
Russian Sacred Music: From Oblivion to the Forefront of
Cultural Life
‘No one who has ever heard Russian church music properly rendered can refrain from an
expression of admiration and exaltation’, wrote the American musician Lindsay Norden
following a visit to Russia at the beginning of the twentieth century. 1 This collection,
while covering a period from the eighteenth to the twentieth century, pays particular
attention to music written at that very time—described by musicologists as a ‘Golden
Age’ of Russian sacred music—by such composers as Alexander Kastalsky, Alexander
Grechaninov, and Pavel Chesnokov. If during previous epochs church music was a
marginalized area confined mostly to services, with little relevance to the mainstream
of Russian culture, from 1890 to 1917 it was becoming a major cultural phenomenon
admired by Russians and foreigners alike.
When describing their work, Kastalsky, Grechaninov, and Chesnokov used the terms
‘New Direction’ and the ‘Moscow School’, since this renaissance of church music was
centred on the Moscow Synodal School—the leading educational institution for litur -
gical music, with which all three composers were closely connected. Formulating the goals
of the New Direction, they stated that sacred compositions should be based on authentic
traditional chants, be national in spirit, and be a true church music, ‘as distinct from
secular music as the church vestments are from the dress of the laity’. 2 Their compositions
resurrected that which had been forgotten but was not meant to die: ancient Russian
sacred chants.
After conversion to Christianity in AD 988, Russia was for some time under the
influence of Byzantine music. However, highly original traditional chants, such as znamenny,
putevoy, and demestvenny, were soon developed. The origins of these chants are yet to be fully
explored, but it is beyond doubt that they comprise a corpus melodiarum ‘unlike anything else
whether in the Middle Ages or in more modern times’. 3
Early harmonization and Western domination
The first Western-style harmonizations of these chants appeared in the seventeenth century,
and were mostly influenced by contemporary Polish and Ukrainian music. This development
was connected with political changes at the time, when Russia was progressively opening
itself to other nations, as well as with the reforms inside the church under the Patriarch
Nikon. Following the radical changes of Peter the Great in the early eighteenth century,
enforced westernization of Russian life, and increased foreign influence among the Russian
upper classes, traditional liturgical singing began to be suppressed by new compositions in
a free style, with no connection to the old chants. The chants soon became the preserve of
provincial monasteries, villages, and poor towns that could not afford a trained choir to sing
music in the fashionable Italian style. This estrangement of church music from its proper
source is considered one of the great and tragic enigmas of Russian musical history.
During the eighteenth century, the Imperial Chapel in St Petersburg, the new capital,
became the centre of excellence for church singing and officially sanctioned the style of
music to be sung throughout the immense Russian Empire. Italian composers Francesco
Araja, Baldassare Galuppi, Giuseppe Sarti, and others were invited to teach in Russia. The
successive styles established by the Imperial Chapel subsequently moved from the Italian
flourish of the sacred concerto (dukhovny contsert) under Dmitry Bortniansky to the more
homophonic textures of German hymnography under Alexei Lvov. Dazzling examples of
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Russian musical classicism are exhibited in this anthology in works by Maxim Berezovsky
(‘Do Not Reject Me in My Old Age’, No. 7) and Artem Vedel (‘Blessed is the Man’, No. 4). Works
such as these are expressive, emotional, and masterly in their use of vocal resources, yet
they had little in common with Russia’s native liturgical singing. After nearly two hundred
years of dominating foreign influence, Russian sacred music had not only nearly lost its
character, it did not correspond with the spirit of the Orthodox Church: ‘I appreciate certain
merits in Bortniansky, Berezovsky, and others; but how little their music is in keeping with
the Byzantine architecture, the ikons, and the whole spirit of the Orthodox Liturgy!’, wrote
Tchaikovsky in 1878. 4
In 1772, the Holy Synod (the governing body of the Russian Church) published a collection
of traditional chants that made up the most common services of the Orthodox Church. This
unprecedented publication was a Russian protest aiming to save the national heritage at
the time when music was totally subjugated to foreign styles. In the nineteenth century,
medieval scholars such as Vladimir Odoevsky, Dmitry Razumovsky, and Stepan Smolensky
carried out extensive research on the ancient chants and their unique neumatic notation.
They laboured continuously to familiarize the Russian public with their musical heritage,
which was eventually followed by a phenomenal rise in interest in the traditional chants.
The principles of the New Direction
The most important and controversial issue in the reintroduction of traditional chants
(with their free asymmetrical rhythms and austere diatonic tunes) was the question of their
harmonization, which for many years could not be satisfactorily resolved. 5 Kastalsky commented:
‘Our original church tunes when laid out chorally lose all their individuality; what
distinction they have when sung in unison as they were by the old-believers, and how insipid
they are in the conventional four-part arrangements of our classics’. 6
The composers and theorists of the New Direction found the way forward in the development
of the theory of ‘national counterpoint’, which meant harmonizing the chants using
podgolosok polyphony (podgolosochnaya polifoniya), as typically exhibited in Russian, Ukrainian,
and Belorussian folk singing. The musical fabric is formed from the fundamental voice,
accompanied by ‘under-voicelets’ (translated from podgolosok), which are themselves variants
of the basic melody. Characteristic features include the use of dissonance (within a
consonant framework), crossing parts, and the simultaneous pronunciation of syllables. One
of the many examples of podgolosok polyphony in this anthology can be found in Kastalsky’s
‘A Mercy of Peace’ (No. 1).
Among the most successful representatives of the New Direction were Kastalsky,
Grechaninov, Chesnokov, Rakhmaninov, Kalinnikov, and Smolensky. Despite some diversity—
Kastalsky generally avoided changing the chants (see Nos. 1, 6, and 27), while Grechaninov
was freer, composing in the style of Russian antiquity (see Nos. 2 and 21)—the movement
had its definite character. Smolensky (Director of the Moscow Synodal School) and Professor
Antonin Preobrazhensky—the main ideologists of the New Direction—summed up their
guiding principles:
• The use of ancient sacred chants, so that ‘in new compositions the chants kept their life,
flexibility, the mighty force of their expressiveness and beauty’. The chants were not
just cantus firmi for harmony, as in harmonizations of the early nineteenth century: ‘they
began to be the main criteria of the style, they dictated the style’.
• The creation of new melodies using typical melodic and rhythmic formulae of ancient
chants, thus ‘combining the historic approach, national heritage, and free creativity’.
• Developing ‘national counterpoint’ and arranging sacred chants in the style of folk
songs: ‘we can consider Russian only those elements that have crystallized in Russian
folk music’. 7
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Alongside the unprecedented flowering in the number of compositions, this renaissance of
sacred music in Russia included several other simultaneous developments, among which
were:
• the opening of a ‘History of Church Singing’ department at the Moscow Conservatoire
in 1867, and later at St Petersburg University, thus establishing church music on a par
with secular music;
• growing attention and debate regarding spirituality and nationality of sacred music
among the general public in leading newspapers; 8
• the new and unusual practice of performing sacred music in concert halls, beginning
around 1865, which included many triumphant visits of Russian choirs abroad.
The nationalist resurgence
The New Direction certainly established a national style in sacred music, and this should
be viewed within the context of the national revival in the other arts around the same
time. 9 While composers were reviving ancient chants, archaeologists and painters were
restoring old icons, cleaning the ‘black boards’ of centuries of dirt and later additions to
reveal the bright colours and amazing expressiveness of ancient art. In 1903, for example,
Vasily Guryanov and his team discovered the now famous fifteenth-century ‘Trinity’ icon by
Andrei Rublyov.
In a broader context, the renaissance of Russian sacred music and the neo-Russian style in
art can be compared with movements in other European countries, such as:
• the Oxford Movement, which started as a theological development in 1833 in the
Anglican Church and had a profound influence on the arts and music in England;
• the ideals of the École Niedermeyer in Paris, formulated around 1853;
• the Caecilian movement in German-speaking Roman Catholicism during the final
decades of the nineteenth century. 10
Sacred music in modern Russia
By the beginning of the twentieth century, sacred music in Russia was no longer the
exclusive domain of the church. It had moved to the forefront of cultural life and was seen
by many as an important part of the national heritage—the ultimate expression of national
consciousness. It became one of the country’s chief musical attractions, alongside ballet
and opera.
In August 1917, the All-Russian Sobor (the General Council of the Russian Church) was
summoned for the first time after the reformation of the church under Peter the Great, and
Patriarch Tikhon was elected as the new leader. The Sobor, which concluded in September
1918, paid much attention to the future of church music. However, the October Revolution
of 1917 brought with it a fatal break with the past, followed by the most aggressive antireligious
politics, mass destruction of churches, and executions of thousands of believers.
Religious rituals and liturgical music were pronounced as relics of the past, incompatible
with the new Communist ideology. During the reign of Stalin, any connection with the
church meant risking lives and careers.
Khrushchev’s ‘thaw’ in the 1960s had little effect on the oppressive anti-religious politics;
indeed, the Communist Party leader promised to show to the world the last priest in
Russia. In the late 1970s and 1980s, the situation became a little milder. Though the country
still officially confessed atheism, it became acceptable to perform Russian sacred music in
concert halls as an example of national heritage. However, the only way to compose sacred
viii

music ‘legally’ and safely was in connection with history. It was in this way that, a few
decades earlier, Sergei Prokofiev was able to present his setting of ‘Many Years’ (Nos. 16 and
17), composed for the film Ivan the Terrible, and Georgy Sviridov his Three Choruses (including
‘Sacred Love’, No. 24), for Tolstoy’s historic play Tsar Feodor Ioannovich.
The perestroika reforms of 1986 and the collapse of the Communist regime in 1991
were followed by a religious renaissance, and the composition and performance of sacred
music in Russia is nowadays very prevalent. Several composers, including Anton Viskov (see
‘Rejoice, Nicholas, Great Miracle-Worker’, No. 22), Metropolitan Hilarion Alfeyev, Sergei
Trubachev, Archimandrite Matfei Mormyl, and Vladimir Martynov, have followed in the
footsteps of the Moscow School. However, recent research has uncovered further mysteries
of Russian liturgical singing, and composers are even better equipped with knowledge of the
past. For some of these modern composers, the principles of the New Direction are by no
means the only solution to the problem of reconciling ancient monody and harmonization.
Others believe that it is impossible to arrange ancient chants without distorting them, and
that attempts to reconcile antiquity and modernity are only an illusion. 11
Notes on the Choral Tradition
Constituency of the choral ensemble
At the beginning of the twentieth century, the art of choral singing was at its peak in
Russia. Among the greatest exponents were the choir of the Imperial Chapel and the
Moscow Synodal Choir. The Imperial Chapel originated in 1479 in Moscow, though in 1703
it was relocated to the new city of St Petersburg. Initially the choir was made up of men
only, but in the seventeenth century, with development of part-singing, boys were also
included. Choristers benefitted from a thorough general and musical education alongside
their duties in the choir. The Imperial Chapel was the first Russian choir to gain an international
reputation, particularly under the directorship of Bortniansky, performing both
Russian and European masterpieces. Indeed, in 1824 the choir gave the world premiere of
Beethoven’s Missa Solemnis. The reputation of the Imperial Chapel was such that the Prussian
King Frederick William III is said to have used it as a model for his own choir in Berlin. In
1829, the choir was made up of forty men and fifty boys.
The equivalent in Moscow was the Synodal Choir, dating from 1721. Nearly all compositions
of the New Direction were given their premiere by the Synodal Choir in the Cathedral of the
Dormition of the Mother of God in the Kremlin. By the end of the nineteenth century it was
considered to be the best choir in Russia, and consisted of over a hundred boys and men,
trained to a high standard. The tours of the Synodal Choir in Europe, starting with their first
visit to Vienna in 1899, were always a triumph.
Another remarkable choir of that time in Moscow was the Choral Chapel, under the
leadership of conductor and composer Feodor Ivanov, which included two hundred men
and boys. In contrast, the hugely popular choir directed by Ivan Yukhov consisted of only
thirty singers. To accommodate groups of different sizes, composers occasionally provided
two versions of the same piece (Kastalsky’s setting of the Great Doxology, No. 27, is one such
example; the version included in this anthology is for a larger choir).
In the 1880s, mixed-voice choirs began to appear in Russia, and they quickly established
a strong position. In 1905 an experimental ‘Symphonic Choir’ was formed by Moscow
conductor Vyacheslav Bulychev, who wished to explore the expressive effects of mixing
different vocal timbres. Bulychev was a long-term friend of Grechaninov, whose concept of
‘symphonization of the choir’ was certainly influenced by Bulychev’s experimentations. In
1925, the choir of the Imperial Chapel, now renamed the State Academic Kapella, was made
up of thirty men, twenty-eight women, forty boys, and thirty girls.
Modern performances of Russian sacred music are generally sung by mixed choirs of
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various sizes. Thus, the Moscow Synodal Choir (disbanded in 1919 and re-established in
2008) now consists of eighty singers, both men and women. There is also an extensive
repertoire of arrangements for all-female or all-male ensembles (see Prokofiev’s male-voice
version of ‘Many Years’, No. 16).
Challenges for performers
Russian church music presents certain difficulties for both choir directors and singers.
Firstly, the greatest challenge of a cappella singing is to produce a smooth and well-blended
ensemble. Secondly, as this is indeed choral music in the fullest sense of the word, the group
of voices should give forth almost as much variety of tone-colour as does the orchestra.
Then there is an importance of procuring the line of low basses, which have a particular
significance in this type of music. Finally, it is most important to get the style, or rather
the spirit, of this music, including the difference between liturgical music and sacred music.
Liturgical music is based on canonical texts and performed as part of a religious service (in
the Orthodox Church most services are sung rather than read), while sacred music, music
with a spiritual content, is more often than not performed in concert. Sacred music can
and often does require personal self-expression, while the sole role of liturgical music is to
illumine, to elevate the Word, which must remain at all times clear and understandable to
the community. In fact the liturgical singing of the Orthodox Church is a form of worship
in itself. This requires a style of performance that tends to negate individual emotion. The
choral sound in Orthodox music is merged and rounded, without a hint of solo vibrancy or
virtuosity. It is a sound that can be described as ‘ascetic’. 12
The Russian Orthodox repertoire offers many marvellous examples of this ascetic sound,
and a large discography is available to explore, including recordings by the State Academic
Symphony Capella of Russia, the Russian Patriarch Choir of Moscow, the St Petersburg
Chamber Choir, and the male-voice choir Drevnerussky Raspev.
Liturgical Context
The central services of the Orthodox Church
The two most important services of the Russian Orthodox Church are:
• the All-night Vigil, celebrated on Saturday evening (when Sunday begins) and on the
eve of the great feasts. The name is reminiscent of the fact that early Christians often
celebrated at night, to meet the rising of the sun. In the Russian tradition the Vigil combines
the Vespers and the Matins;
• the Divine Liturgy of Saint John Chrysostom, celebrated on Sunday (every Sunday in the
Orthodox Church is the day of Resurrection, ‘Little Easter’) and on weekdays to commemorate
certain events in the lives of Christ and the saints.
The layout of an Orthodox church plays an important part in the services. The sanctuary,
representing heaven, is separated from the body of the church by a screen (ikonostasis), in
which there are three doors. In the centre are the Royal Doors, representing the gateway
between earth and heaven.
The central hymns of the All-night Vigil
Vespers
‘Bless the Lord, O My Soul’ (Psalm 104), also known as the opening psalm, symbolizes the
creation of the world and is sung in a major key. While it is being sung, the Royal Doors to
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the altar are opened—a symbol of heaven—and a priest censes the church, which represents
the world and humanity. It is a solemn piece reflecting the joyful harmony between the
spirtitual and physical, Creator and creation. ‘Blessed is the Man’ (Psalms 1 and 2) is sung
after the Royals Doors have been closed; this represents the arrival of evil and sin, and the
estrangement of humanity from God. It symbolizes the repentance of Adam and the hope
for the salvation of the world through the promised Messiah.
‘Gentle Light’, one of the earliest Christian texts, is central to the Vespers, and represents
the coming of the Saviour promised to the forefathers. The Royal Doors are opened once
more, symbolizing that heaven is again open to mankind. A priest comes from the altar, yet
through the side door rather than the Royal Doors, representing the coming of Christ not
in royal glory but in humility.
The well-known prayer of Simeon from the Gospel of St Luke (Nunc Dimittis) is then
performed, followed by the final setting, ‘Rejoice, O Virgin Mother of God’, which is an
important thanksgiving prayer to Mary.
Matins
‘Praise the Name of the Lord’ (verses from Psalms 135 and 136) is a joyful thanksgiving to
God. At this climatic moment churches are brightly lit and incensed to symbolize the Light
of Christ that illumines all, and the faithful are annointed with oil. This part is known as
Polyeleos, meaning ‘much oil’ or ‘much light’ in Greek. The Great Doxology is a final song
of praise at the end of the Vigil, and is a thanksgiving to God for receiving the gift of Light,
both spiritual and material. In the days of early Christianity, the priest’s exclamation ‘Glory
to thee who has shown us the Light’ and the Great Doxology would be sung as the sun was
rising. This hymn combines the song of the shepherds at the birth of Christ (‘Glory be to
God on high, and on earth peace’), verses from the Psalms, and the Trisagion prayer (which
is also sung at the Liturgy).
The central hymns of the Divine Liturgy
The Liturgy is divided into two parts. The first, called the Liturgy of the Catechumens and
open to all, is centred on the mystery of God’s Word in sacred scripture, and its central
point is the reading of the Gospel. The second, the Liturgy of the Faithful, consists of the
Eucharistic offering in the strict sense: thanksgiving, blessing, and consecration of the
Holy Gifts, followed by Communion. As the name emphasizes, only confirmed Orthodox
Christians may take part in Holy Communion.
The Liturgy of the Catechumens begins with the singing of three antiphons (Psalms 103
and 146, and the Beatitudes), which comprise the preparatory stage. Then the Royal Doors
open and the Gospel is brought out from the altar. This is followed by the singing of the
Trisagion hymn (‘the Angels’ prayer’—not to be confused with the Sanctus of the Eucharistic
prayer), which is believed to be of heavenly inspiration and was attested for the first time
at the Council of Chalcedon in AD 451. With this hymn, Orthodox believers glorify the Holy
Trinity. While it is being sung, a priest, on behalf of all, silently prays for the forgiveness
of sins. The Trisagion is sometimes preceded by the prayer ‘Lord, Save the Faithful’ (as in
Chesnokov’s setting, No. 14), which is a short version of the priest’s silent prayer.
The Cherubic Hymn begins the Liturgy of the Faithful. Having ‘laid aside all terrestrial
cares’, believers are preparing to receive the King of All: Christ. The text is based on St John’s
vision of cherubims worshipping God as described in the book of Revelation.
‘A Mercy of Peace’ (the Eucharistic prayer—the name refers to the mercy of God, who
brings peace to the world through Jesus Christ) is sung straight after a setting of the Credo.
It marks the very heart of the mystery that is being celebrated. The beginning is sung as a
dialogue between a priest and the choir, which represents the faithful. The choir then
xi

chants over the priest as he recites the Eucharistic prayer and invokes the Holy Spirit.
Church bells ring at this moment.
‘It is Truly Meet’—a hymn in honour of Mary, the Mother of God—is performed next,
followed by ‘Our Father’, the Lord’s Prayer, which forms the last stage of the liturgical
sequence that leads up to Communion.
‘Many Years’ is a hymn frequently sung at the end of the Liturgy for a parishioner, lay
or clergy, on a day of special celebration in their life—a form of well-wishing in a solemn
and festive way. In the Byzantine Empire, it was usually reserved for Emperors, but in
Russia it is sung for any Orthodox person, and not necessarily following the Liturgy. It may,
for example, be performed after a celebratory meal. For a more authentic performance,
‘Many Years’ may be preceded by a priest’s exclamation (preferably sung by a deep bass
voice with gradual rising of pitch and volume): ‘Grant unto thy servants, O Lord, a long
and peaceful life, health, salvation, and prosperity in all things, and preserve them for
many years!’ (‘Blagodyenstvyennoye i mirnoye zhitiye, zdraviye i spaseniye, i vo vsyem
blagoye pospyesheniye podazhd, Gospodi, rabam tvoim i sokhrani ikh na mnogaya lyeta!
Благоденственное и мирное житие, здравие и спасение, и во всем благое поспешение
подаждь, Господи, рабам твоим и сохрани их на многая лета!’) In traditional settings, the
choral response would then be repeated three times by the choir.
TATIANA SOLOVIOVA
endnotes
1
Norden, N. L., ‘A Brief Study of the Russian Liturgy and Its Music’, The Musical Quarterly, vol. V, no. 3 (1919), p. 450
2
Kastalsky, A. D., ‘My Musical Career and My Thoughts on Church Music’, trans. S.W. Pring, The Musical Quarterly,
vol. XI, no. 2 (1925), pp. 245
3
Swan, A. J., Russian Music and its sources in chant and folk-song, London: John Baker (1973), p. 37
4
Tchaikovsky, M., The Life and Letters of Peter Ilich Tchaikovsky, ed. R. Newmarch, London: John Lane (1905),
pp. 298–9
5
See Swan, A. J., ‘Harmonizations of the Old Russian Chants’, Journal of the American Musicological Society,
vol. II, no. 2 (1949), pp. 83–6
6
Kastalsky, Op. cit., p. 238
7
Preobrazhensky, A., ‘Kul’tovaya musyka v Rossii’ [Ritual Music in Russia], Russkaya dukhovnaya muzyka,
vol. III (1924), pp. 664–7; Smolensky, S., O blizhaishikh prakticheskikh zadachakh i nauchnykh razyskaniyakh v oblasti russkoi
tserkovno-pevcheskoi arkheologii [On the Immediate Practical Goals and Research Tasks in the Field of Church Singing
Archaeology], St Petersburg (1904), pp. 11–12
8
This was exemplified by many monographs and articles, including a stream in the newspaper Moskovskie Vedomosti
between 1899 and 1903, and also through the establishment of such bodies as the Obshchestvo drevnerusskogo iskusstva
[Society of Ancient Russian Art] in 1864 and the Obshchestvo lubitelei tserkovnogo peniya [Society for Lovers of Church
Singing] in 1880.
9
The birth of the ‘New Russian Style’ goes back to 1882, when, in Abramtsevo near Moscow, an artistic colony
was established to revive Russian folk handicrafts. The colony united painters, sculptors, architects, and musicians,
including Viktor Vasnetsov, Mikhail Vrubel, Nicholas Roerich, Alexei Shchusev, and Savva Mamontov. Contemporaries
certainly saw the renaissance of sacred music and these movements as united in spirit and, to reinforce this connection,
Kastalsky was proclaimed ‘Vasnetsov in music’ and Rakhmaninov’s setting of the All-night Vigil was compared
with the rediscovery of ancient icons.
10
Campbell, S., Foreword to S. Zvereva, Alexander Kastalsky: His Life and Music, trans. S. Campbell, Aldershot:
Ashgate (2003), pp. xi–xii. Campbell also compares the developments of the New Direction with the
publication of the English Hymnal in 1906, ‘with its emphasis on plainsong, on the one hand, and folk melodies, on
the other, and its compilers’ desire to offer an alternative to the worldly values of excessive sentimentality or jovial
muscularity found in the music of some Victorian hymns’; and the Schola Cantorum that opened in Paris in 1894,
which also expected ‘to discover a road to a better future via the past’ and ‘had a foot in the camp of ethnography’.
11
Paisov, Y., ‘Besedy s kompositorami’ [Conversations with Composers], Traditsionnye zhanry russkoi dukhovnoi muzyki
i sovremennost, Moscow: Kompositor (1999), pp. 229–32
12
Gardner, J. von, Russian Church Singing: Orthodox Worship and Hymnography (Vol. 1), New York: St Vladimirs Seminary
Press (1980), pp. 24–5
xii

editorial method
The policy throughout the anthology has been to use the best available sources, meaning,
predominantly, early printed editions, originating from pre-revolutionary Russia; where
possible, these have been first editions, published during their composers’ lifetimes (exceptionally,
for Prokofiev’s settings (Nos. 16 and 17), autograph manuscript material was consulted).
The aim has been above all to serve the needs of non-specialist choirs, keeping the
music pages as clean and uncluttered as possible. Obvious printing errors have been silently
corrected. Beaming, stemming, and syllabic slurs have been made consistent with modern
practice. Tempo markings in Italian reproduce those of the sources, except in cases where
Russian was preferred: here, a transliteration of the original is placed in parentheses, after
an English or Italian translation. Editorial metronome marks, where considered helpful,
have been added in square brackets. Dynamics are as found in the sources, although more
liberal interventions have been made with respect to the pieces by Vedel and Berezovsky
(Nos. 4 and 7) to reflect 18th-century performance practice, which conductors should feel
correspondingly free in interpreting. Similar licence may be exercised in the deployment
of solo voices, as indicated in the ‘choral concertos’ by Berezovsky and Rachmaninov (Nos.
7 and 25). The dotted barlines in Chesnokov’s ‘Blessed is the Man’ (No. 3) have been added
editorially to serve as structural reference points, though, otherwise, a flowing chant-like
rendition would be appropriate (cf. Appendix Ia). Texts from the Divine Liturgy and Allnight
Vigil are translated by Isabel Hapgood (1851–1928), as is ‘The Ever-Vigilant Mother
of God’ (No. 25), and psalm translations are from the World English Bible, all with some
minor alterations.
Psalm numbering in the headings follows Protestant usage. Punctuation, capitalization,
and spelling of Cyrillic texts have been modernized according to post-1917 authographical
reforms, before transliteration according to the following system:
А а
Б б
В в
Г г
Д д
Е е
Ѣ ѣ
Ж ж
З з
И и
Й й
К к
Л л
М м
Н н
О о
a
b
v
g
d
ye; e, following zh, kh,
ts, ch, sh, sch
(as above)
zh
z
i
y
k
l
m
n
o
П п p
Р р r
С с s
Т т t
У у u
Ф ф f
Х х kh
Ц ц ts
Ч ч ch
Ш ш sh
Щ щ sch
Ъ ъ – (i.e., no symbol)
Ы ы ï
Ь ь ’
Ю ю yu
Я я ya
The treatment of Аллилуйя is dependent upon its particular musical setting:
four syllables: al – li – luy – ya
five syllables: al – li – lu – i – ya
xiii

pronunciation guide
Regardless of the nationality of the composers whose works appear in the anthology, sung
texts have been transcribed to reflect a Russian pronunciation of Church Slavonic.
Vowels
Transcription
a
e
i
o
u
ï
Pronunciation
as in between bat and jar. Not too open; not too closed.
as in fed, net
as in meet
as in core (deep sound in Church Slavonic)
as in boot (deep sound in Church Slavonic)
No English equivalent. To practise this sound, keep the lips spread
as in ‘ee’ and try to say the ‘oo’ vowel.
NB: all vowels have a single, sustained sound
Consonants
Transcription
g
zh
r
s
kh
ts
ch
sh
sch
Pronunciation
as in give: hard ‘g’ (never as in angel)
as in pleasure
as in error and rolled as much as possible
as in sit (it should never be pronounced ‘z’)
as in Scottish loch or German ach
as in Tsar, tsunami
as in check
as in shall
as in fresh, sheep: a slightly longer and harder sound than ‘sh’
Combination of letters
Transcription
yu
ya
ye
ey
ay
iy
oy
uy
ïy
an
Pronunciation
as in you
as in yam
as in yesterday
as in hey
as in buy, but closer to French maille
as in the French fille
as in boy
as in the French nouille
No English equivalent. See above re ‘ï’, and follow this with a ‘y’
sound, as in yet.
as in anger (never ‘ein’ as in angel)
NB: ‘oy’ must always be pronounced as in ‘boy’. Do not confuse with ‘oi’, which produces
two separate vowel sounds (tro-i-tse).
xiv

Softening of consonants
The softening, or palatization, of some consonants (indicated by an apostrophe written
straight after the consonant) needs to be worked at in singing. It is achieved by placing the
tip of the tongue on the ridge of the lower teeth and articulating with the front of the tongue
against the hard palate, producing a fleeting ‘y’ sound simultaneously with the preceding
consonant (there should only be one sound). Here are some suggestions for the
pronunciation of softened consonants:
Transcription
Pronunciation
d’ as in dew
n’ as in the French poigne
r’ No English equivalent
s’ as in seed, sew
t’ as in stew
l’ as in leak. It is important to keep this ‘clear’ sound distinct from
the ‘dark’ variety of ‘l’, as in the end of lull.
Letters not included in these tables should be pronounced as their British-English
equivalents.
Devoicing of consonants
Voiced consonants (i.e., those accompanied with a vibration of the vocal folds), apart from
‘l’, ‘m’, ‘n’, and ‘r’, tend to lose their voicing (i) at the end of words, so that:
lyubov sounds close to lyubof
muzh sounds close to mush
and (ii) when immediately followed by a voiceless consonant, so that:
vsyekh sounds close to fsyekh
sotvorivshemu sounds close to sotvorifshemu
Guidance from a good model will be helpful in mastering the subtleties of this point.
To download a free audio pronunciation guide to all the texts used in this collection, spoken
by Evgeny Tugarinov, visit the Russian Sacred Music for Choirs page of www.oup.com and click
on the link to the Companion Website.
xv

to Nicolas Ossorguine

RUSSIAN SACRED MUSIC
FOR CHOIRS

Divine Liturgy
SOPRANO
ALTO
TENOR
BASS
Moderato (Umerenno)
mf
1
V # # 34 ‰ Š Š ‰
Š. Š Š ‰ Š ŠŠ f Š Š Š Š Š
B## 34 ‰ Š. Š ‰ Š ŠŠ f Š Š Š. Š f Š Š ‰
Š
Š Š Š Š
Mi - - lost’ mi - ra. Zher - tvu khva -
mf
1. A Mercy of Peace
(Milost’ mira)
A mercy of peace.
A sacrifice of praise.
2
V #
5
# Š F
‰ Š Š ‰ ‰. 24 Š
Š Š Š Š‰
Š Š
- lye - - ni - ya. I so du -
B## ‰ Š Š ‰ ‰. 24 E Š Š Š Š Š Š Š
mf
mf
And with thy spirit.
3
V #
10
# F
34 Š . Še Š Š F
Š Š ‰ Š. Š ‰ Š f ŠŠ Š Š Š Š Š Š ‰ ‰.
- khom tvo - im. I - ma-mï ko Go - - spo - du.
B## Š Š ‰ 34 Š Š. . Še
Š ŠŠ Š Š f
Š Š Š Š Š f
Š Š f
‰
E > > E
‰.
mf
We lift them up unto the Lord.
mf
ALEXANDER KASTALSKY
(1856–1926)
The choir responds to the following phrases, sung by the clergy (see p.195 for notes on concert performance)––
1 Deacon: Stanyem dobrye, stanyem so strakhom:
vonmyem, svyatoye voznosheniye v mirye prinositi.
2 Celebrant: Blagodat’ Gospoda nashego Iisusa Khrista,
i Lyubï Boga i Ottsa, i prichastiye Svyatago Dukha
budi so vsyemi vami.
3 Celebrant: Gorye imyeim syerdtsa.
1 Deacon: Let us stand aright! Let us stand with fear! Let
us attend, that we may offer the Holy Oblation in peace.
2 Celebrant: The grace of our Lord Jesus Christ, and the
love of God, and the fellowship of the Holy Spirit be
with you all.
3 Celebrant: Lift up your hearts.
© Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.

4
V # 16
# r p p r r Š Š Š.
Š Š ŠeŠŠ Š ‰ Š Š Š Š Š
po-kla - nya - ti-sya Ot - tsu, i
B## Š Š Š. ŠeŠ Š
Š Š Š Š Š Š ‰ Š Š Š Š Š Š Š Š Š Š Š
Do - stoy - no i pra-vyed - no yest’
It is meet and right
mf
that we should adore the Father, and the Son, and
V #
22
# Š. ŠeŠŠ ‰ >
Š Š Š Š ŠŠ Š Š Š Š ‰ Š Š Š Š Š Š
Š Š Š Š Š Š. ‰ ŠeŠ
>
Š
B##
Š. Še ŠŠ >
Š Š Š Š Š Š Š Š Š ‰ Š Š Š Š Š Š
Š Š Š Š ‰ Š Š Š Š
>
Sï - nu, i Svya - to - mu Du - khu, Tro - i - tse Ye - di - no - susch - nyey
the Holy Spirit,
the Trinity, one in essence and undivided.
V #
28
# >
Š Š Š Š Š ‰ ‰. ‰.‰ Š Š ‰. Š Š Š Š Š Š ‰ Š. Š Š Š ŠŠ. Š ŠeŠ
>
f
Š Š Š
i Nye-ra - zdyel’ - - nyey.
B## ‰ >
Š Š Š Š ŠŠ Š Š. ŠeŠ Š
Š Š ‰. Š. Š Š Š Š Š Š Š > f
Š ‰ Š Š. Š Š ‰ f
Š Š
V # rall. (zamedlyaya)
35
# Š Š Š F
‰. ‰. ‰. ‰. ‰. ‰ Š Š Š ‰.
4
B## Š‰ Š Š Š Š ‰. Š Š
Š Š Š Š Š Š. Š
Š #Š#Š ‰. f Š Š Š Š ‰ Š Š Š
E
‰. 4
mf
Kastalsky: A Mercy of Peace 3
4 Celebrant: Blagodarim Gospoda. 4 Celebrant: Let us give thanks unto the Lord.

4 Kastalsky: A Mercy of Peace
f
5
V #
42 Lively (Ozhivlenno)
# 4 q p > >
Š. ŠeŠ. Š. Še Š. Še Še ŠŠŠŠ
f f Š Š Š. Š f ‰ Š Š Š Š
> >
Svyat, Svyat, Svyat,
f
B## 4 Š. Še Š. Še‰ Še Š
q >
‰ Š. Še‰ Š Š Š Š. Š ŠeŠ Še
Š Š Š Š ‰ Š Š f
Š Š
f
Holy, holy, holy, Lord of Sabaoth,
Svyat, Go - spod’ Sa - va - of, is - poln’ nye-bo i zyem-
f
heaven and earth are full of thy
glory.
V #
47
# ‰ Š‰ Š Š Š Š Š ŠŠ‰ Š Š ‰. Š t Š Š Š Š r q p Š ‰ Š Š
SOP. 2f>
- lya sla - vï Tvo-ye - ya, O - san - na,
B## Š Š ‰
Š Š Š Š Š
r q
f ALTOS
V Š Š Š Š ‰ Š Š Š Š
O-san - na v vïsh - nikh, bla-go-slo-vyen Grya-dïy
SOP. 1
O - san - na v vïsh - nikh bla-go - slo -
Hosanna in the highest!
Blessed is he that cometh in
vo i - mya Go - spod - nye,
V #
52
unis.
# Š Š Š Š Š Š ŠŠ Š ŠŠŠŠ Š Š Š‰ Š Š Š Š Š
ALTOS
bla - go - slo-vyen Grya-dïy vo i - mya Go-spod - nye, o - san - na
V # # Š Š Š Š Š ŠŠ Š Š Š Š
B Š ‰ p Š
> >
BASSES
- vyen Grya-dïy vo i - mya Go - spod - nye, o - san - na
the name of the Lord.
Hosanna in the highest!
v vïsh - nikh, o - san - na
V #
55
# Š Š Š Š ‰ Š >
Š Š Š Š Š Š Š Š Š Š ‰ Š Š Š Š >
Š ‰
> > > >
Š Š Š
v vïsh - nikh o - san - na, o - san - na, o - san - na
o - san - na, v vïsh - nikh, o - san - na
p
B##
Š Š Š Š Š Š ‰ Š Š ‰ Š Š Š Š >
‰ >
f>
>
Š ‰ Š Š
TENORS
> >
> >
v vïsh - nikh o - san - na, v vïsh - nikh, o - san - na
f
5 Celebrant: Pobyeduyu pysen’ poyusche, vopiyusche,
vzïvayusche i glagolyusche:
5 Celebrant: Singing the triumphant song, crying, calling
aloud, and saying:

v vïsh - - - - -
V #
59
#ˆ>
Š. Š Š Š Š ˆ‰ q ˆ ˆ
f
‰ Š Š Š Š Š Š Š
>
f>
> > - - - - -
v vïsh - nikh, o - san - na v vïsh -
v vïsh - - nikh, o -
B## ˆ >
Š. Š Š Š Š Š ‰
Š r f Š Š Š ‰ Š Š Š Š Š Š Š Š Š f >
>
> - - - - -
‰
> >
f
v vïsh - nikh, o - san - na v vïsh - - -
- - - - - - -
V #
63
# ˆŠ Š ˆ ˆ ˆ
f t ‰ Š Š Š Š Š Š Š Š
> > >
Š
>
‰ Š Š
- nikh, o - san - na v vïsh - - - - -
- san - na v vïsh - - - - -
>
B##
>
Š Š Š Š Š Š Š Š Š Š Š Š Š >
Š Š ‰ ˆ ˆ ‰ Š >
Š
> >
- nikh.
- nikh.
V #
67
# Š. Še
Š Š Š ŠŠŠ Š Š Š Š Š Š. Š Š ‰ Š Š ‰
f f Š Š ‰ Š Š
B##
p
- nikh.
- nikh.
Š
ˆ
‰.
ˆ ˆ
‰ q
ˆ
p
p
pp
rall. (zamedlyaya)
Kastalsky: A Mercy of Peace 5
V #
71
# Š‰. Š Š‰ Š ‰
Š Š Š Š ˆ Š Š Š
F
Š
ˆ
24
B## ˆ pp ˆ ˆ F
p p p ˆ pE 24

6 Kastalsky: A Mercy of Peace
6
V # # 24 Š. Š Š Š Še ŠeŠ Š. Š Š ‰ Š Š F
Calm (Pokoyno)
75 mp
‰ 34
A - - min’.
B## 24 ‰ Š Š Š Š ‰ Š Š Š Š Š ‰ 34
mp
E
7 Amen.
V #
79 p
#34 r Š Š ‰. Š ŠeŠ Š Š
Š
Š ŠeŠ Š ‰. ‰ ‰.
24
A - min’. A - min’.
B##34 r ‰. ‰ ‰ ‰ Š Š Š Š Š Š Š ‰ ‰.
p Amen.
8 Tye - bye po - yem,
V #
84 Calm and broad (Pokoyno i shiroko)
# 24
p p r Š r Š Š Š Š Š Š Š Š
>
>
Š Š
>
Š
p>
>
Š
B## 24 r
Š Š Š Š Š Š
Š Š
Š
Š
Š ‰ Š Š Š Š Š
p> > >
Š>
We praise thee,
V #
89
# > >
p cresc.
Š Š ŠŠŠ Še Š Š. f Š Š Š Š Š Š Š Š
>
Š
>
Š
B## Š Š Š ‰ Š Š Š Š
Š
Š
Š Š Š Š Š. ŠeŠ Š
f Š
Š Š Š Š Š ŠŠŠŠ
>
Tye - bye po - yem, Tye -
24
we bless thee,
- bye bla- go - slo - vim, Tye - bye bla- go - da -
> p cresc.
we give thanks unto thee, O Lord,
6 Celebrant: Priimitye, yaditye, siye yest’ Tyelo Moye,
yezhe za vï lomimoye vo ostavlyeniye gryekhov.
7 Celebrant: Piytye ot nyeya vsi, siya yest’ Krov’ Moya
novago zavyeta, yazhe za vï i za mnogi izlivayemaya
vo ostavlyeniye gryekhov.
8 Celebrant: Tvoya ot Tvoikh Tyebye prinosyasche o
vsyekh i za vsya.
6 Celebrant: Take, eat. This is my Body, which is broken for
you for the remission of sins.
7 Celebrant: Drink ye all of this, for this is my Blood of the
New Testament, which is shed for you and for many, for
the remission of sins.
8 Celebrant: Thine own of thine own we offer unto thee on
behalf of all and for all.
Note: lines 6–8 may be omitted in a concert performance (see p.195)

f
i mo - lim Tï sya,
V #
95 F
# p
Š Š Š Š ‰
Š. Š Š Š Š Š Š
Š Š Š Š Š Š Š Š Š
- rim,
Go - spo - di, i mo - lim
Tï sya, Bo -
Go - spo - di, i mo - lim
B## Š Š Š ‰
Š Š Š Š. Š Š t Š Š f Š Š Š
Š Š Š Š Š Š
E
f
p
Go - spo - di, i - mo - lim Tï sya,
and we pray unto thee, O our God.
V #
101
#ŠŠ ŠŠ Š‰ Š Š Š ‰ Š Š Š Š Še
Š Še Š r f Š Š f Š. Š
- zhe, Bo-zhe nash, Bo - zhe, Bo - zhe nash,
f
Š Š
B##
Š ŠŠ Š Š Š Š Š Š Š Š Š Š Še
Š Še ‰ f Š Š f
Š. Š
p f
Bo - zhe nash, i mo - -
V #
107
# p p t
Še Š
>
Š Š Š ‰ Š Š ‰ Še Š Še >
Še Še
f f f t r Š Š Š f f Š Š Š Š Š Š
Bo - zhe nash, i mo - lim Tï sya, Bo -
Bo - zhe nash,
B## Š. ‰ Še Š Š
ŠŠŠ Š Š‰ Š Š Š Š Š ‰ ‰ f Š Š Š Š f
Š Š Š
Bo - zhe, Bo - zhe nash, i mo - lim Tï sya, Bo -
rall. (zamedlyaya)
- lim Tï sya, mo - lim Tï sya, Bo - zhe nash.
pp
V #
113
# Š. Še Š F
Š Š Š f >
Š Š f Š Š Š Š Š. Še f ‰
- zhe nash, i mo - lim Tï sya, Bo - zhe nash.
i mo - lim Tï sya, mo - lim Tï sya, Bo - zhe nash.
B###Še Š Š Š Še #Š Š =Š Š. Še Š . Š f Š Š Š Š Š . pp
Š Šf E ‰
- zhe nash, i mo - lim Tï sya, Bo - zhe nash.
f
f
Kastalsky: A Mercy of Peace 7
p

8
All-night Vigil
SOPRANO
ALTO
TENOR
BASS
( for
rehearsal
only)
Moderato tranquillo
pp
h = 60
V # #### 2 ˆ ˆ ‰ ‰ ˆ
Bla - - - - go - slo - vi,
V # p #### 2 r
>
Š Š Š Š‰. Š Š Š Š Š Š Š Š Š.
>
‰ ŠeŠŠ Š Š
V
[
# pp #### 2 ‰. Š ˆ ‰ Š Š > ‰ Š Š
Bla - - - - go - slo - vi,
p
B##### 2 r
Š
Š Š ‰ Š Š Š Š Š Š > ‰ Š Š Bla - go - slo - vi, du - she mo - ya, Go - spo -
Bla - go - slo - vi, du - she mo - ya, Go - spo -
V #
Moderato tranquillo h = 60
#### 2 ˆ
Š Š Š Š ˆŠ Š Š Š Š ‰ Š Š ‰ Š Š
ˆŠ. Š Š ŠŠ
{
f Š
p
B##### 2 r
Š
Š Š ‰ Š Š Š Š Š Š ‰ Š Š
Bless the Lord, O my soul.
V #
5
#### Š Š Š Š ˆ ˆ ˆ
Bla - go - slo - vyen.
V # ####
>
Š Š Š Š ˆŠ Š Š Š Š Š Š Š Š Š.
>
‰ Še Š Š Š
V
[
# #### Š Š Š Š ˆ ‰ Š Š > ‰ Š Š
Bla - go - slo - vyen.
B##### Š
Š
Š Š ‰ Š Š Š Š Š Š > ‰ Š Š V # #### Š
{ B##### Š
- da. Bla - go - slo - vyen ye - si, Go - spo -
- da. Bla - go - slo - vyen ye - si, Go - spo -
Š
Š
2. Bless the Lord, O My Soul
(Blagoslovi, dushe moya, Gospoda)
Š ŠŠ ˆŠ Š Š Š Š ˆ
Š Š Š Š
ˆŠ. Š Š ŠŠ
f Š
Š Š ‰ Š Š Š Š Š Š ‰ Š Š
Blessed art thou, O Lord.
© Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.
ALEXANDER GRECHANINOV
(1864–1956)
Op. 59 No. 1

9
V # #### Š Š Š Š ‰ Š Š Š Š Š Š ‰ Š Š
Bla - go - slo - vi, du - she mo - ya, Go - spo -
V # #### Š Š Š Š Š Š Š Š Š ‰ Š Š Š Š Š Š Š
Š Š Š Š
- di. Bla - go - slo - vi, du - she mo - ya, Go - spo -
V
[
# #### Š Š Š Š ‰. Š Š Š‰ Š Š Š ‰. Š Š
B##### Š Š Š Š ‰ . Š ‰ Š Š ‰ . Š
{ V # ####
Bla - go - slo - vi, du - she mo - ya, Go - spo -
- di. Bla - go - slo - vi, du - she mo - ya, Go - spo -
Š
B##### Š
Š
Š
mf
Š Š ‰ Š Š Š Š ŠŠ ŠŠŠ ‰ Š Š Š ‰ Š Š Š Š ŠŠ
Š
Š ‰ . Š ‰ Š Š ‰ . Š
V #
13
####
>
dim.
Š Š Š Š ‰. Š Š ‰ Š Š 32 Š Š Š Š Š Š Š 2
mf
- da. Go - spo - di Bo - zhe moy, voz - vye - li - chil - sya ye - si zye -
V # dim.
#### Š > Š Š Š #‰. Š #‰ Š Š 32 #Š Š Š Š Š Š 2
- da. Go - spo - di Bo - zhe moy, voz - vye - li - chil - sya ye - si zye -
V [
##### mf >
Š >
Š Š Š ‰. Š ‰ Š Š 32 Š Š Š Š Š Š Š dim.
2
- da. Go - spo - di Bo - zhe moy, voz - vye - li - chil - sya ye - si zye -
B##### Š mf
Š Š Š Š ‰ . Š ‰ Š Š 32 Š Š Š Š dim.
>
Š Š Š 2
- da. Go - spo - di Bo - zhe moy, voz - vye - li - chil - sya ye - si zye -
V # #### Š Š Š Š #‰ . Š
Š #‰ Š Š 32 # Š Š Š
Š Š Š Š Š 2
{ B##### Š mf
Š Š Š Š ‰ . Š ‰ Š Š 32 Š Š Š Š dim.
Š Š Š 2
O Lord, my God,
Grechaninov: Bless the Lord, O My Soul 9
thou art become exceedingly glorious.

10 Grechaninov: Bless the Lord, O My Soul
pp
V #
17
####22
Še t Š Š Š ‰ Š Š Š Š Š Š ‰ Š Š
- lo. Bla - go - slo - vyen ye - si, Go - spo -
V # ####2 Še t pp
Š Š Š Š =Š Š ‰ Š Š Š Š Š Š Š Š Š
- lo. Bla - go - slo - vyen ye - si, Go - spo -
V
[
# pp
####2 Še t Š Š Š ‰. Š Š ‰ Š Š ‰. Š Š
- lo. Bla - go - slo - vyen ye - si, Go - spo -
B#####2 Š e t pp
Š
Š
Š
‰ . Š
‰ Š Š ‰ . Š
V # #### 2 Še t
{ B##### 2 Š e t
- lo. Bla - go - slo - vyen ye - si, Go - spo -
Š
pp
Š
Š Š ‰ Š =Š Š Š ŠŠ Š
‰ Š Š Š ‰ Š Š Š Š ŠŠ
Š
Š ‰ . Š ‰ Š Š ‰ . Š
Blessed art thou, O Lord.
V # molto ritardando
21
cresc.
#### Š Š Š Š Š Š Š Š Š ‰ Š Š. Š f Š Š Š
- di. Bla - go - slo - vyen ye - si, Go - - - spo -
V # cresc.
#### Š Š Š Š Š Š Š Š Š ‰ Š ‰ Š Š
- di. Bla - go - slo - vyen ye - si, Go - - - spo -
V
[
# cresc.
#### Š Š Š Š Š
ff
Š Š Š Š ‰. ‰ Š ‰ Š. Še Š Š Š
- di. Bla - go - slo - vyen ye - si, Go - - - spo -
B##### Š Š Š Š Š ‰ Š Š cresc.
ff
‰ Š ‰ Š Š - di. Bla - go - slo - vyen ye - si, Go - - - spo -
V #
molto ritardando
#### Š Š Š Š Š Š Š Š Š ‰ Š ‰ Š . Š e
Š
Š Š
{ B##### Š cresc.
Š Š Š Š ‰ Š ff
Š ‰ Š ‰ Š Š ff
ff

SEMI-CHORUS
S.
A.
V # 4 SOPRANOS
25
#### Fˆ Š
pp poco misterioso
r Š Š ˆ ‰ = ‰ =ˆŠ ‰. ˆˆ
Poco meno mosso
Grechaninov: Bless the Lord, O My Soul 11
- di. Na go - rakh sta - nut vo - -
V # 4 ALTOS
#### F pp poco misterioso
ˆ Š r =Š Š =ˆ =‰ =‰ =Š =‰. ˆ
- di. Na go - rakh sta - nut vo - -
S.
A.
T.
B.
V # Poco meno mosso
#### Fˆ Š r q p p pp
r ‰ =Š Š Š =Š Š Š
B##### F
ˆˆ
- di. Div - - nï dye -
V # #### F
ˆ Š r q p p pp
r =‰ ‰. Š ‰ Š Š
- di. Div - - nï dye -
V
[
# #### Fˆ Š r q p p pp
r ‰ Š =‰ =Š Š
- di. Div - - nï dye -
Š r q p p r ==‰. ˆ
- di. Div - -
pp
{
V # #### Fˆ
B#####
Eˆˆ
Poco meno mosso
Š r =Š Š =ˆ =‰ ‰ ==Š ‰. = Š ˆŠ Š=Š Š Š Š
pp
Š r q p q =‰ r ==‰ ‰.
Š =‰ ˆ =ŠŠ Š
The waters stand upon the mountains.
How marvellous are thy works, O
Lord.

12 Grechaninov: Bless the Lord, O My Soul
V # ritard.
a tempo
31
####ˆˆ ˆ ˆ =Š r
Fq r =‰ Š =ˆ =‰ Š Š
V # ####
- - - dï. Po - srye - dye gor proy-dut
‰ Š =Š ‰ =‰ =Š r
Fq pp
r =‰ Š =ˆ =‰ Š Š
- - - dï. Po - srye - dye gor proy-dut
V # ritard.
a tempo
#### Š =Š =Š Š Š. =ŠeŠ =Š =ˆ F
Š Š Š Š r q p p
- la Tvo-i, Go - spo - di.
V # #### F
Š =Š Š Š =Š. ŠeŠ Š Š =ˆ Š r q p p
- la Tvo-i, Go - spo - di.
V
[
# #### =Š Š Š Š =‰ =ŠŠ Š Š =ˆ F ˆ Š r q p
- la Tvo-i, Go - spo - di.
B##### ˆ ˆ
F
==ˆ ˆ Š r q p
- - - nï
pp
pp
pp
{
V # ritard.
#### ˆ Š =Š =Š Š =Š. ‰. Š Š =Š == =ˆ F
f
Š Š
B##### =Š ˆ Š Š =Š =‰ ˆ =ŠŠ ŠŠ
==ˆ
E
a tempo
Š ==‰ Š ==ˆ ==‰ Š Š
ˆ
pp
Š r q p
The waters flow between the hills.

FULL CHORUS
S.
A.
T.
B.
Grechaninov: Bless the Lord, O My Soul 13
V #
37
cre - scen - do
#### ˆ ˆ ˆ ‰ ‰ r ‰ Š Š Š Š Š Š
V # cre - scen - do
#### ‰. #Š ˆ ‰ Š Š ‰ ‰ r =‰ Š ‰ #ŠŠ Š
V # pp cre - scen - do
#### r #‰ Š Š Š Š Š Š Š Š Š Š Š. Še Š Š Š Š ‰ Š Š Š Š Š Š
vo - - - dï. Vsya prye - mu - dro-sti -
vo - - - dï. Vsya prye - mu - dro-sti -
Div - nï dye - la Tvo-i, Go - spo - di. Vsya prye - mu - dro-sti -
pp cre - scen - do
V # #### r ‰. #‰ Š Š #Š Š Š Š Š. Še#ŠŠ Š Š =‰ Š ‰ #ŠŠ Š
V
[
# pp
cre - scen - do
#### r #‰ Š ‰ Š Š Š Š Š Š ‰ ŠŠ ŠŠ
Š ‰ Š ‰ Š Š
pp cre - scen - do
B##### r ‰. ˆ ˆ ˆ ˆ ˆ‰ ‰
Div - nï dye - la Tvo-i, Go - spo - di. Vsya prye - mu - dro-sti -
Div - nï dye - la Tvo-i, Go - spo - di. Vsya prye - mu - dro-sti -
V #
dye - - - la, Di - -
#### ˆ
Š # ‰ #Š #Š ˆ ŠŠŠ
Š Š #Š ˆ Š Š Š ‰ Š. Š #ŠŠ Š = ‰ Š Š Š Š Š {
f
Š Š ‰ #Š Š Š
cre - scen - do
B##### r #‰. Š ˆ‰ Š Š ˆŠ Š Š Š ˆ‰ Š ŠŠ ˆŠ ‰ Š ˆ‰ Š Š
In wisdom hast thou made
all things.
43 poco a poco ff
ritard.
V # #### Š ‰ Š Š Š Š Š Š Š ‰ #Š ˆ #Š Š ‰ Fˆ bbb
- yu so - tvo - ril ye - si, so - tvo - ril ye - si.
V # poco a poco ff
#### Š =‰ Š ‰.‰ #Š Š Š ‰ Š ˆ #Š‰ Š F
‰ #ˆ bbb
- yu so - tvo - ril ye - si, so - tvo - ril ye - si.
V
[
# poco a poco
####Š ‰ Š ‰. Š Š
ff
‰ Š ˆ ‰ ‰ kˆ F bbb
- yu so - tvo - ril ye - si, so - tvo - ril ye - si.
poco a poco
B##### ˆ ‰ ‰ Š
ff ‰ Š ˆ ‰ ‰ Fˆ ˆ
bbb
- vnï dye - la, so - tvo - ril ye - si.
V # #### Š = ‰ Š Š Š Š Š Š ‰ #Š ˆ # ritard.
‰ #Š Š Š Š ‰
Š ‰ F
#ˆ bbb
{
poco a poco ff
B##### ˆŠ ‰ Š ˆ‰. Š Š ‰ Š ˆ ‰ ‰ kˆ
E bbb

SEMI-CHORUS
S.
A.
T.
S.
A.
T.
B.
14 Grechaninov: Bless the Lord, O My Soul
Tempo I
49 4 SOPRANOS
Vbbb ˆp
ˆ ˆ ˆ Š t f
‰.
Sla - - - va so -
p
4 ALTOS
Vbbb ˆ ‰. Š Š Š Š Š > ‰ ‰ Še t ‰.
4 TENORS
Vbbb [
r‰ Š ‰. Š Š Š Š Š ‰ Š Š Šet ‰.
mf
poco marcato
Sla - - - va so -
p
>
Sla - - va Tï, Go - spo - di, so -
p
mf
mf
poco marcato
Tempo I
Vbbb r‰ Š Š Š Š Š Š Š Š Š Š Š. ŠeŠ Š Š Šet ‰ Š
>
Sla - - va Tï, Go - spo - di, so -
p
Vbbb r ‰. ‰ Š Š Š Š Š Š Š. ŠeŠ Š Š Šet ‰ .
>
Sla - - va Tï, Go - spo - di, so -
p
Vbbb
[
r‰ Š ‰. Š Š Š Š Š > ‰ Š Š Šet ‰ Š
Sla - - va Tï, Go - spo - di, so -
p
Bbbb r ‰. ˆ ˆ ˆ Šet ‰.
Sla - - - - va, sla -
mf
mf
mf
mf
{
Tempo I
V bbb ˆˆ ‰ Š ˆ ˆ ˆ Šet ‰.
r
Š Š Š Š Š Š Š Š Š Š. Š Š f
Š Š ‰ Š
p
B bbb r ‰. Š ˆ‰. Š ˆŠ Š Š Š ˆ ‰ Š Š Š t ‰ Š f
‰.
Glory to thee, O Lord,

54 ritard. a
Vbbb ‰ Š Š Š ‰ Š Š. ŠeŠ Š Š ˆ 32 ‰ tempo
Š Š Š Š
- tvo - riv - - she - mu vsya. Sla - va Ot - tsu, i
Vbbb ‰ Š Š Š ‰ Š ‰ Š Š Š ˆ 32 ‰ Š Š Š Š
- tvo - riv - - she - mu vsya. Sla - va Ot - tsu, i
Vbbb ‰ Š Š
[
Š ‰ Š Š. ŠeŠ Š Š ˆ 32=‰ Š Š Š Š
- tvo - riv - - she - mu vsya. Sla - va Ot - tsu, i
ritard.
a
Vbbb Š Š Š Š Š ˆ ‰ Š Š Š ˆ 32 ‰ tempo
Š Š Š Š
- tvo - riv - - she - mu vsya. Sla - va Ot - tsu, i
Vbbb ‰ Š Š Š ‰ Š ‰ Š Š Š ˆ 32 ‰ Š Š Š Š
- tvo - riv - - she - mu vsya. Sla - va Ot - tsu, i
Vbbb‰
[
Š Š Š ‰ Š ‰ Š Š Š ˆ 32=‰ Š Š Š Š
- tvo - riv - - she - mu vsya. Sla - va Ot - tsu, i
Bbbb ˆ ˆ ˆ ˆ 32 ‰ Š Š Š Š {
- - - va. Sla - va Ot - tsu, i
ritard.
a tempo
V bbb Š‰ Š Š Š Š ˆ Š ‰ Š ‰ Š. Še Š Š Š ˆ 32 ‰ Š Š Š Š
B ‰ Š Š Š
bbb
‰ Š Š. Še Š Š ŠŠ ˆ 32 = f
ˆ ˆ ˆ
‰ Š Š Š Š
who hast created all!
Grechaninov: Bless the Lord, O My Soul 15
f
f
f
f
f
f
f
Glory to the Father, and

16 Grechaninov: Bless the Lord, O My Soul
ritard.
Vbbb Š Š Š Š Š=ŠŠ 2 ‰ a tempo
59
. Š ‰ ‰ ˆ ˆ ˆ
Sï-nu, i Svay-to - mu Du - khu. Sla - va,
p
Vbbb Š Š Š Š Š Š 2 ‰. Š ‰ ‰ ˆ ‰. Š Š Š Š Š
Sï-nu, i Svay-to - mu Du - khu. Sla - va,
p
p
Vbbb Š =Š
[
=Š Š Š=Š Š 2=‰. Š ˆ ‰. Š ‰. Š Š Š Š Š
Sï-nu, i Svya-to - mu Du - khu. Sla - - - va Tï,
ritard.
Vbbb Š Š Š Š Š=ŠŠ 2 ‰ a tempo
. Š p r‰ Š Š Š Š Š Š Š Š Š Š
Sï-nu, i Svya-to - mu Du - khu. Sla - - va Tï,
Vbbb Š Š Š Š Š Š 2 ‰. Š p r ‰. ‰ Š Š Š Š Š Š
Sï-nu, i Svya-to - mu Du - khu. Sla - - va Tï,
Vbbb Š =Š
[
=Š Š Š=Š Š 2=‰. Š ˆ ‰. Š ‰. Š Š Š Š Š
Sï-nu, i Svya-to - mu Du - khu. Sla - - - va Tï,
Bbbb Š Š Š Š Š Š 2 ‰ . Š ‰ ‰ ˆ ˆ ˆ
Sï-nu, i Svya-to - mu Du - khu. Sla - va,
p
p
mf
mf
mf
mf
mf
{
ritard.
a tempo
V bbb Š Š Š Š Š =Š Š 2 ‰. Š ‰ ‰ Š ˆ ‰ Š ˆŠ ŠŠŠ Š Š ˆŠ Š Š Š
B bbb Š =Š = ŠŠ
ŠŠ
ŠŠ
ŠŠŠ
2 = p mf
‰.
Š ˆ ‰ ‰ ˆ‰. Š ˆ‰ Š Š ˆŠ Š Š Š
to the Son, and to the Holy Spirit.

itard.
65
poco marcato
Vbbb ˆ Š t f
‰. ‰ Š Š Š ‰ Š Š. ŠeŠ Š Š ˆ
so - - tvo - riv - - she-mu vsya.
Vbbb ‰ ‰ Še t ‰. ‰ Š Š Š ‰ Š ‰ Š Š Š ˆ Š Š
>
so - - tvo - riv - - she-mu vsya.
Vbbb‰ Š
[
Š Šet ‰. ‰ Š Š Š ‰ Š Š. ŠeŠ Š Š ˆ
>
Go - spo - di, so - - tvo - riv - - she-mu vsya.
Vbbb Š. ŠeŠ Š Š Šet ‰ Š Š Š Š Š Š Š ‰ Š ‰
ritard.
poco marcato
>
Š Š Š ˆ
Go - spo - di, so - - tvo - riv - - she-mu vsya.
Vbbb Š. ŠeŠ Š Š Šet ‰ . ‰ Š Š Š ‰ Š ‰ Š Š Š ˆ Š Š
>
Go - spo - di, so - - tvo - riv - - she-mu vsya.
Vbbb‰ Š
[ > Š Šet ‰ Š ‰ Š Š Š ‰ Š ‰ Š Š Š ˆ
Go - spo - di, so - - tvo - riv - - she-mu vsya.
Bbbb ˆ Šet ‰. ˆ ˆ ˆ ˆ
{
Grechaninov: Bless the Lord, O My Soul 17
sla - - - va.
ritard.
V bbb ˆ Šet ‰. ‰ Š ‰
Š. Š Š Š Š. Še Š ˆ
f
Š Š ‰ Š Š Š Š Š Š ‰ Š Š
B bbb ˆ ‰ Š ŠŠ Š t ‰ Š ‰ Š Š Š ‰ Š Š. Še Š Š ŠŠ f
‰. ˆ ˆ ˆ ˆ

FULL CHORUS
S.
A.
T.
B.
18 Grechaninov: Bless the Lord, O My Soul
f
a tempo
poco rit.
71
Vbbb Š Š Š Š Š =Š Š Š Š Š=Š Š Š ˆ ‰ =‰ #####
f
I nï - nye i pri - sno i vo vye - ki vye - kov. A -
Vbbb Š Š Š Š Š Š Š Š ‰ Š Š ˆ ‰ ‰ #####
f
I nï - nye i pri - sno i vo vye - ki vye - kov. A -
vye - kov. A -
Vbbb =Š Š Š
[
=Š =Š =Š Š Š =Š =Š=Š Š Š =ˆ ‰ =‰ Š r
#####
I nï - nye i pri - sno i vo vye - ki vye - kov.
vye - kov.
Bbbb Š f
Š Š Š Š Š Š Š ‰ Š Š ˆˆ ‰ = =‰ Š ‰ r #####
I nï - nye i pri - sno i vo vye - ki vye - kov. A -
V
a tempo
poco rit.
bbb Š Š Š Š Š =Š Š Š Š‰
Š =Š Š Š ˆ ‰ = =‰ #####
{
f
B bbb
=Š Š Š = Š Š = Š Š =Š Š Š Š =Š Š. =Š Š ŠŠ
Š =ˆ ‰ Š f =‰ r #####
Both now and ever, and unto ages of ages.
ff
V # a tempo
76
#### ˆ ˆ ‰ ‰ ˆ
ff
V # #### =(
=( ˆ
)
- min’. Sla -
ff
Amen.
ˆ ‰ ‰
ˆ
‰ Š Š Š
- min’. Sla - -
- min’. Sla - -
V [
##### ˆ r ‰ Š ˆ Š Š Š Š Š ‰ Š Š ‰ Š Š ˆ Š. Š Š f
Š Š
ff
B##### r ‰ Š Š Š Š Š Š Š Š Š Š Š. Še Š Š
ˆ
ˆ
ˆ
ˆ
- min’.
>
Sla - - - va Tï Go - spo -
Sla - - - va Tï Go - spo -
V #
a tempo
#### ˆ ˆ ‰ ‰ ˆ
ff
{ B##### r ‰ Š Š Š Š Š Š Š Š Š Š Š . Še Š ŠŠŠ Š
ˆ
ˆ
ˆ
ˆ
Glory to thee, O Lord,

CHOIR I
S.
A.
T.
B.
Divide into
2 choirs
V # allargando
#### Š f t ‰ Š Š Š Š Š Š 32 Š ritard.
80
‰ Š Š Š 2 ‰. Š Š Š ‰ ˆF
V # #### Š ff et=‰ Š =Š Š Š Š Š 32 Š ‰ Š Š Š 2ˆ ‰ ‰ kˆF
B#####
ff
- va so - - tvo - riv - she - mu vsya.
ff
- va so - - tvo - riv - she - mu vsya.
- va
V
[
# #### Šet‰. Š f
t=‰ Š =Š Š Š Š Š 32 Š ‰ Š Š Š 2 ˆ ‰. Š Š‰ Š ‰ #ˆ F
- di, so - - tvo - riv - she - mu vsya.
- di, so - - tvo - riv - she - mu vsya.
ff
ff
Šet ‰. 32ˆ ˆ
ˆ
ˆ
‰
‰ 2ˆˆ
So - - tvo - riv - she - mu vsya.
V #
allargando
#### Š t =‰ Š =Š Š Š Š Š f
32 Š
ritard.
‰ Š Š Š 2 ˆ ‰. Š Š‰
Š ‰ kˆ F
{
Še t B#####
=‰ Š =Š Š Š Š Š 32 Š ‰ Š Š Š
2 ‰ . Š Š Š ‰ #ˆ
ˆ
Š
‰. ˆ ‰ ˆ ‰ E
ff
who hast created all!
V # Molto maestoso
86
#### ˆ Š ‰ Š ˆ ‰ ‰ ˆ q ‰ ‰ ‰ ‰. Š Š Š ‰
ff
Sla - va Tï Go - spo - di, so - tvo - riv - she - mu
V # #### ˆ Š ‰ Š #ˆ ‰ ‰ ˆ q ‰ ‰ ‰ ˆ ‰ ‰
V
[
# #####ˆ
ff
Š#‰ Š ˆ ‰ #‰ #ˆ q#‰ ‰ #‰ ‰. #Š Š‰ Š ‰
ff
B##### ˆˆ
Š ‰ Š
ˆ
‰
‰
ˆ q ‰ ‰ ‰ ‰. Š ‰ ‰ Sla - va Tï Go - spo - di, so - tvo - riv - she - mu
Sla - va Tï Go - spo - di, so - tvo - riv - she - mu
Sla - va Tï Go - spo - di, so - tvo - riv - she - mu
V #
Molto maestoso
#### ˆ Š ‰ Š #ˆ ‰ ‰ ˆ q ‰ ‰ ‰ ˆ ‰ . Š ‰ Š Š ‰
{
ff
B#####
#ˆ Š #‰ Š ˆ ‰ ‰ #‰ #ˆ q # ‰ ‰ #‰ ‰ . #Š
r
‰
Š ‰
Glory to thee, O Lord,
Grechaninov: Bless the Lord, O My Soul 19
‰
who hast created all!
‰
F
ˆ

CHOIR I
CHOIR II
S.
A.
T.
B.
S.
A.
T.
B.
20 Grechaninov: Bless the Lord, O My Soul
V # #### ˆ Š
95
r q p p p p p
vsya.
V # #### ˆ Š r q p p p p p
vsya.
V
[
#### ˆ
vsya.
Š r q p p p p p
B##### ˆ Š r q p p p p p
vsya.
fff
V # #### q ‰ ‰ ‰ ‰ ‰ ˆ ‰ ‰ ˆ ˆ
fff
So - tvo - riv - - she - mu
V # #### q ‰ ‰ ‰ ˆ‰ ‰ ˆ ˆ‰ ‰ ˆ ˆ
So - tvo - riv - - she - mu
fff
V
[
# #### q ‰ ‰ ‰ ‰ ‰ ˆ ‰ ‰ ˆ ˆ
fff
B##### q ˆ ˆ
‰
‰
‰
‰ ‰ ‰ ‰
ˆ
ˆ
ˆ ˆ ˆ
So - tvo - riv - - she - mu
So - tvo - riv - - she - mu
{
V # #### ‰
B##### ‰
‰
fff
‰
‰
‰
‰ ‰ ‰ ˆ ‰ ‰
‰
‰
ˆ
‰ ˆ ‰ ‰
ˆ
ˆ
ˆ
ˆ

V # ritard.
102
#### ˆ
p
=ˆ =ˆ =Š =Š ‰ ˆ ˆ ‰ ‰ ˆ ˆ ˆF
So - - - tvo - riv - - she - mu vsya.
V # p #### ˆ ˆ =ˆ ‰ ‰ #ˆ ˆ ‰ ‰ ˆ ˆ ˆF
So - - - tvo - riv - - she - mu vsya.
V
[
# #### ˆ
p
=ˆ =ˆ ˆ =Š ‰ =Š ‰ ˆ #ˆ ˆ ˆ‰ ‰ ˆ ˆ Fˆ
p
B##### ˆˆ
ˆ
ˆ
‰
‰
ˆ
ˆ
ˆ
ˆ
ˆ
F
ˆ
So - - - tvo - riv - - she - mu vsya.
So - - - tvo - riv - - she - mu vsya.
V # #### ˆ Š ritard.
r q p p p p p p p pF
vsya.
V # #### ˆ Š r q p p p p p p p pF
vsya.
V
[
# #### ˆ Š r q p p p p p p p pF
vsya.
B##### r q p p p p p p p p
ˆ
F
Š
vsya.
ritard.
V # #### ˆ = =ˆ == =ˆ = ‰ Š = Š ‰ #ˆ ˆˆˆ ˆ‰ ‰
{
p
B##### ˆ
ˆ
ˆ
‰
‰
ˆ
ˆ
ˆ
Grechaninov: Bless the Lord, O My Soul 21
ˆ
ˆ
ˆˆˆ
ˆ
F
ˆ
ˆ
E

22
All-night Vigil
SOPRANO
ALTO
TENOR
BASS
( for
rehearsal
only)
3. Blessed is the Man
(Blazhen muzh)
Lively (Ozhivlenno) i = 108
mf
Vbbbbb Š Š Š Š Š Š Š Š Š ‰ Š Š Š
mf
Bla - zhen muzh, al - li - lu - i - ya, i - zhe nye
Vbbbbb p Š Š Š Š =‰ Š Š =Š Š
mf
Vbbbbb Š Š Š Š Š Š Š Š
[ Š Š Š Š ‰
Bbbbbb
p p p
al - li - lu - i - ya, i - zhe nye
Bla - zhen muzh, al - li - lu - i - ya, i - zhe nye
V
Lively (Ozhivlenno) i = 108
bbbbb Š Š Š Š Š Š Š Š Š =‰ =Š ŠŠ
mf
{ B Š Š Š Š Š
bbbbb
Š Š Š Š ‰ Š Š Š
Blessed is the man,
alleluia,
that hath not walked
4
Vbbbbb Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š
i - dye na so - vyet nye - ches - ti - vïkh, i na pu -
Vbbbbb=Š Š Š Š Š ‰ Š Š Š Š Š =Š Š Š
i - dye na so - vyet nye - ches - ti - vïkh, i na pu -
Vbbbbb Š Š Š Š Š Š =Š bŠ Š Š Š Š Š Š Š Š Š
[
i - dye na so - vyet nye - ches - ti - vïkh, i na pu -
mf Š
Bbbbbb
f
Š Š f
ŠŠŠ =Š Š =Š bŠ Š Š Š Š q r
i - zhe nye i - dye na so - vyet nye - ches - ti - vïkh,
PAVEL CHESNOKOV
(1877–1944)
Op. 11 No. 2
V bbbbb =ŠŠ Š Š Š Š Š‰ Š Š Š ŠŠ Š Š Š =Š ŠŠ Š
{ B Š Š Š
bbbbb
ŠŠŠ =Š Š = = Š b Š Š Š Š Š Š Š Š Š
f
Š Š f
in the counsel of the ungodly,
nor lingered in the way
© Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.

7
Vbbbbb ‰ Š Š Š ŠŠŠ Š Š Š ŠŠ Š Š Š Š Š
- ti gryesh - nïkh nye sta, i na sye - da - li - schi
Vbbbbb Š Š ‰ ŠŠŠ bŠ Š Š Š Š Š Š Š
Vbbbbb Š Š =Š bŠ ŠŠŠ Šf
Š Š Š Š Š Š Š
[
Bbbbbb Š =Š ŠŠ =Š bŠ Š Š Š q r
Šf
Š ‰
- ti gryesh - nïkh nye sta, i na sye - da - li - schi
- ti gryesh - nïkh nye sta, i na sye - da - li - schi
i na pu - ti gryesh - nïkh nye sta, gu - bi -
V bbbbb ‰ Š Š Š‰ Š Š Š Š Š bŠŠ Š Š ŠŠ Š Š Š Š
{ B bbbbb
ŠŠ = = Š b f
Š =Š Š Š Š Š
Š Š Š Š Š Š ‰
of sinners,
f
f
Chesnokov: Blessed is the Man 23
nor sat in the company of scorners.
Vbbbbb ŠŠ Š Š Š ŠŠ ŠŠ Š Š Š. ŠeŠ f Š Š ‰ Š Š Š‰ Š Š Š F
10
‰
gu - bi - tye - lyey nye sye - - dye. Al-li - lu - - i - ya.
Vbbbbb =Š bŠ Š bŠ Š Š Š Š Š Š=Š Š ‰ ŠŠŠ Š Š Š Š F ‰
gu - bi - tye - lyey nye sye - - dye. Al-li - lu - - i - ya.
Vbbbbb Š Š Š Š Š Š Š Š Š. ‰ ŠeŠŠ Š Š ‰ Š Š Š ‰. ‰
[
Š Š F
‰
gu - bi - tye - lyey nye sye - - dye. Al-li - lu - - i - ya.
Š bŠ Š
Bbbbbb
Š Š Š Š Š Š Š Š Š ‰ ŠŠ‰. Š F ‰
- tye - lyey nye sye - - dye. Al-li - lu - - i - ya.
V bbbbb =Š Š Š Š Š bŠŠŠ
ŠŠŠ
Š Š Š . Š Š Š e Š =Š Š ‰ ŠŠ
Š Š F
Š Š ŠŠ Š ‰
{ B Š Š b Š Š
bbbbb
Š Š Š ‰ Š Š Š Š =Š Š ‰ ŠŠ
Š Š
‰.
‰ Š Š
‰
E
Alleluia.
Š

24 Chesnokov: Blessed is the Man
13
Vbbbbb
f
p p p p
Vbbbbb Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š
f
Ya - ko vyest’ Go - spod’ put’ pra - vyed-nïkh, i put’ nye - ches -
Ya - ko i put’
Vbbbbb Š Š Š Š Š Š Š Š Š Š Š Š
[ r
Š Š Š Š ‰ Š Š Š Š Š r ŠŠŠ Š
mf
Bbbbbb r Š Š Š r ŠŠŠ Š Š ‰ Š Š Š Š Š Š Š Š
Ya - ko vyest’ Go - spod’ put’ pra - vyed-nïkh, i put’ nye - ches -
Ya - ko vyest’ Go - spod’ put’ pra - vyed-nïkh, i put’ nye - ches -
V bbbbb Š Š Š Š Š Š ŠŠ Š Š‰ Š ŠŠ Š Š Š Š Š Š Š Š ŠŠ
Š
{
f
B bbbbb r Š Š Š Š ‰ Š Š Š Š r Š Š Š Š
For the Lord knoweth the way of the righteous,
and the way of the ungodly
17 Vbbbbb p p p
[rit.]
mf p
Vbbbbb Š Š Š Š Š Š Š. ŠeŠ Š ‰ Š Š Š Š Š Š Š F ‰
- ti - vïkh po - gib - - nyet. Al - li - lu - - i - ya.
Ali-li - lu - i - ya.
Vbbbbb ‰ Š Š ŠŠ Š Š. ŠeŠ
[
q mf p
Š Š Š Š Š Š Š ‰ r Š Š f Š Š f Š Š F
‰
- ti - vïkh po - gib - - nyet. Al- li - lu - i - ya.
Bbbbbb
Š Š. Še‰ r q
p
‰ Š Š Š Š Š Š Š Š ‰ ŠŠŠ Š ŠŠ‰ F
- ti - vïkh po - gib - - nyet. Al - li - lu - i - ya.
V
[rit.]
bbbbb Š‰ Š ŠŠ Š
Š Š. Še Š Š Š Š Š Š Š ‰
{ Š Š Š Š Š Š Š ‰
F
mf p
B bbbbb ‰ Š Š Š
Š. Š Še Š. Še ‰ r Š
Š Š Š Š f Š t Š Š Š Š
E
‰
shall perish.
Alleluia.

f
(ie = ie )
a tempo (1 skorost’)
Vbbbbb Š Š‰ Š Š Š ŠŠ Š Š Š ŠŠ Š ŠŠ Š bŠŠ Š Š 38 Š 20
Še f
58
Ra - bo - tay - tye Go - spo - dye - vi so stra - khom i
Vbbbbb Š
f
‰ Š =Š bŠ Š bŠ Š Š Š
f
Š Š 38Š Še 58
Ra - bo - tay - tye Go - spo - dye - vi so stra - khom i
Vbbbbb Š
f Š Š Š Š Š Š Š Š Š Š Š Š Š
[
38 Š Š f
58
Ra - bo - tay - tye Go - spo - dye - vi so stra - khom i
Bbbbbb r r
Šf
Š Š Š Š bŠ Š Š Š Š Š 38 Š Šf
Šf 58
Ra - bo- tay-tye Go - spo - dye - vi so stra - khom i
(ie = ie )
V a tempo (1 skorost’)
bbbbb Š Š‰ Š Š Š =Š Š Š Š Š bŠŠŠ
Š ŠŠ Š Š Š
Š 38 Š Še 58
f
{ B Š Š Š Š Š Š Š Š Š b Š Š
bbbbb
Š Š Š Š 38 Š Š Šf 58
Serve the Lord with fear,
mf
Vbbbbb58 ŠŠŠŠŠ Š ‰ Š Š
23
Š ŠŠ‰. Š ‰
mf
ra-duy-tye-sya Ye - mu s trye - pye - tom. Al - li - lu - - i - ya.
Vbbbbb58 bŠ Š Š ŠŠ bŠ ‰ Š ‰ Š Š Š Š Š Š Š ‰
ra-duy-tye-sya Ye - mu s trye - pye -tom. Al - li - lu - - i - ya.
Vbbbbb58 [
ŠŠŠŠŠ Š mf Š Š Š Š ‰ p
ŠŠ‰. ŠŠŠ Š Š Š Š Š ‰
ra-duy-tye-sya Ye - mu s trye - pye -tom. Al - li - lu - - i - ya.
Bbbbbb58 b >
Š > Š >
Š bb
bbŠ > > Š
Š > Š mf
‰ Š ‰ pŠ Š ‰. Š ‰
ra-duy-tye-say Ye - mu s trye - pye -tom. Al - li - lu - - i - ya.
V bbbbb 58 b Š Š Š Š Š b Š ‰ Š Š Š ŠŠ Š ‰. Š Š Š Š Š ‰
{ B bbbbb 58 b Š mf
Š Š bb
bbŠ Š
Š Š Š Š Š p
‰ Š ‰ Š Š ‰ Š. Š Š Š Š Š ‰
and rejoice unto him with reverence.
p
p
Alleluia.
Chesnokov: Blessed is the Man 25
f

26 Chesnokov: Blessed is the Man
26
Vbbbbb Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š ‰
Vbbbbb
[
Bbbbbb
p
p
Bla - zhe - ni vsi na - dye - yu - schi - i - sya nan’.
Vbbbbb Š Š Š ‰ Š Š Š Š Š Š Š Š ‰
p
p
p
p
Bla - zhe - ni vsi na - dye - yu - schi - i - sya nan’.
V bbbbb Š Š Š Š Š Š‰ Š ŠŠ Š Š Š ŠŠ Š Š Š Š Š ‰
p
{ B bbbbb p p
p
Blessed are all they that put their trust in him.
p
p
Al-li - lu - - i - ya,
29
Vbbbbb Š Š Š Š Š Š Š ‰ Šet Š ‰. Š ‰. Š Š Š ‰
q Š Š Š Š ‰ Š f
>
Al-li-lu - i - ya, al - - li - lu - - i - ya,
Vbbbbb r ŠeŠ Še Š Š ‰ Šet Š ‰ Š Š Š Š Š Š Š Š Š ‰
Vbbbbb q q
[
r Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š ‰
Bbbbbb
p p p
p
p
Al-li - lu - i - ya, al - - li - lu - - i - ya,
mf
p
Vos - kryes-ni, Go - spo-di, spa - si mya, Bo - zhe moy.
V bbbbb Š Š Š Š Š Š Š Š ‰ Šet Š Š ‰.‰ Š ŠŠ Š‰. Š Š Š Š Š Š Š ‰
mf p
{
(
B bbbbb q q
Š )
r
Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š ‰
Alleluia.
Arise, Lord,
save me, O my God.

32
Vbbbbb Š Š Š Š Š Š Š Š ‰ t Š f
ŠŠŠ Š
al - li - lu - - i - ya, Go-spod-nye yest’ spa -
Vbbbbb Š Š Š Š Š Š Š ‰ t Še ŠŠŠ Š Š
al - li - lu - - i - ya, Go-spod-nye yest’ spa -
Vbbbbb
[
Š ŠŠ Š Š Š Š Š ‰ t Š f
ŠŠŠ Š
Bbbbbb q. q Šf
Š Š Š Š Š Š Š
al - li - lu - - i - ya, Go-spod-nye yest’ spa -
mf
mf
mf
Go - spod - nye yest’ spa -
V bbbbb Š Š Š Š Š Š Š Š ‰ t Še Š Š Š Š Š
{ B bbbbb
Š Š Š Š Š mf
Š Š Š ‰ Š Š Š Š t Še Š Š Š Š Š
Salvation is of the Lord,
34
Vbbbbb Š Š Š Š Š Š Š Š Š ŠŠ
Š Š
- sye - ni - ye i na - lyu - dyekh Tvo - ikh bla - go - slo -
VbbbbbŠ Š Š Š Š Š Š Š Š Š Š Š Š
- sye - ni - ye i na - lyu - dyekh Tvo - ikh bla - go - slo -
Vbbbbb Š Š Š Š Š Š Š Š Š ŠŠ
Š Š
[
- sye - ni - ye i na - lyu - dyekh Tvo - ikh bla - go slo -
Bbbbbb Š Š Š Š Š Š Š Š Š Š Š Š Š Š
- sye - ni - ye i na - lyu - dyekh Tvo - ikh bla - go - slo -
V bbbbb Š Š Š Š Š Š Š Š Š Š ŠŠ Š Š
{ B bbbbb Š Š Š Š Š Š Š Š Š Š Š ŠŠŠ
Š Š
and thy blessing is upon thy people.
Chesnokov: Blessed is the Man 27

28 Chesnokov: Blessed is the Man
37
Vbbbbb Š Š Š Š Š Š Š Š Š Š Š. ŠeŠ Š Š Š f
Š Š Š Š ‰
- vye - ni - ye Tvo - ye. Al - li - lu - i - ya.
VbbbbbŠ Š Š Š Š Š Š Š Š Š ‰ Š ‰ Š Š =‰
- vye - ni - ye Tvo - ye. Al - li - lu - i - ya.
Vbbbbb Š Š Š
[ Š Š Š Š Š Š Š Š. ŠeŠ f Š Š Š Š Š ‰
Bbbbbb Š Š Š Š Š ‰
Š ‰ f Š ‰ Š ‰
- vye - ni - ye Tvo - ye. Al - li - lu - i - ya.
- vye - ni - ye Tvo - ye. Al - li - lu - i - ya.
V bbbbb Š Š Š Š ŠŠ Š Š Š
{ B bbbbb Š Š Š Š Š ‰
mf
Š
f
f
f
Š Š Š. ‰ Še Š Š‰ Š Š Š Š Š =‰
f
Š Š. ‰ Še Š Š‰
Š Š Š ‰
Alleluia.
40
Vbbbbb Š Š Š Š Š Š Š Š Š Š Š Š ŠŠŠ Š Š Š Š Š ‰
mf
Sla - va Ot - tsu, i Sï - nu, i Svya-to - mu Du - khu.
Vbbbbb ‰ Š Š ‰ Š Š Š Š Š Š Š Š ‰ Š ‰
mf
Sla - va Ot - tsu, i Sï - nu, i Svya-to - mu Du - khu.
Vbbbbb Š Š Š Š =Š bŠ Š Š Š Š Š ŠŠŠ Š Š Š Š
[
Š ‰
mf
Bbbbbb r Š Š Š =Š bŠ Š Š Š Š Š Š Š Š Š ‰ Š ‰
Sla - va Ot - tsu, i Sï - nu, i Svya-to - mu Du - khu.
Sla - va Ot - tsu, i Sï - nu, i Svya-to - mu Du - khu.
V bbbbb Š‰ Š Š Š ŠŠ Š Š‰ Š ŠŠ Š Š Š ŠŠ Š Š Š Š Š‰ Š Š Š ‰
mf
{ B Š Š bbbbb
Š = = Š b Š Š Š
Š r Š Š Š Š ŠŠ Š Š Š Š Š‰ Š Š Š ‰
Glory to the Father, and to the Son, and to the Holy Spirit.

44
Vbbbbb Š Š Š Š Š Š Š ‰ Š Š Š Š ŠŠ Š Š Š ŠŠ ŠŠ
Al - li - lu - - i - ya. I nï - ye i pri - sno i vo
Vbbbbb ŠŠ‰ Š Š Š Š ‰ Š Š Š =Š bŠ Š bŠ Š
Vbbbbb
[
Š Š Š Š Š Š Š ‰ Š Š Š Š Š Š Š Š Š Š
Bbbbbb
ŠŠ‰. Š ‰ r
Šf
Š Š Š Š bŠ Š Š Š
f
f
f
Al - li - lu - - i - ya. I nï - ye i pri - sno i vo
Al - li - lu - - i - ya. I nï - ye i pri - sno i vo
Al - li - lu - - i - ya. I nï - ye i pri - sno i vo
V bbbbb ŠŠŠ Š‰ Š Š ŠŠ ŠŠŠ Š ‰ Š Š Š Š =Š Š Š Š Š bŠŠŠ
ŠŠŠ
f
{ B bbbbb
Š ŠŠ
Š Š Š Š Š Š Š ‰ Š Š b
( )
‰. Š Š Š Š Š Š Š Š Š Š
47
Vbbbbb
Alleluia.
Both now and ever, and unto ages of ages.
Š Š ŠŠŠ. Še ‰. f Š Š ‰ Š Š Š Š Š Š Š Š Š ‰
vye - ki vye - kov. A - min’. Al - li - lu - - i - ya.
Vbbbbb Š ŠŠbŠ Š ‰ Š b‰ ŠŠŠ Š Š Š Š ‰
Vbbbbb
Š Š ŠŠŠ. Š
[ f Š Š ‰ Šf
Š Š Š Š Š Š ‰
Bbbbbb Š
Šp
Š bŠ Š ‰ Š b‰ Šf
Š ‰. Š ‰
vye - ki vye - kov. A - min’. Al - li - lu - - i - ya.
vye - ki vye - kov. A - min’. Al - li - lu - - i - ya.
vye - ki vye - kov. A - min’. Al - li - lu - - i - ya.
V bbbbb Š Š ŠŠŠ. ŠŠbŠ Š ‰ Še Š Š b‰ ‰ Š Š Š ‰.
Š Š Š Š ŠŠ
Š ŠŠ
=‰
{ B bbbbb Š
Š ŠŠ
Š. Še Š ‰ Šf
bŠ Š ‰ Š b‰ ŠŠ
Š‰.
Š Š Š Š ‰
Amen.
f
f
Alleluia.
Chesnokov: Blessed is the Man 29

30 Chesnokov: Blessed is the Man
50 Slower (Medlennee)
Vbbbbb
p p p
mf
Vbbbbb Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š ‰
Al - li - lu - i - ya, al - li - lu - i - ya, al - li - lu - i - ya.
mf
Vbbbbb Š Š b‰ ‰ Š Š bŠŠ Š Š Š Š Š Š Š Š =‰
[
Š Š Al - li - lu - i - ya, al - li - lu - i - ya, al - li - lu - i - ya.
mf
Bbbbbb
Š Š Šb‰ Š bŠ Š Š Š Š Š Š Š Š Š Š Š Š Š ‰
Al - li - lu - i - ya, al - li - lu - i - ya, al - li - lu - i - ya.
V
Slower (Medlennee)
bbbbb Š Š Š‰ Š Š bŠ Š b Š ŠŠ Š Š Š Š Š Š Š Š Š Š =‰
{
mf
B bbbbb
Š Š Š b ‰
Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š ‰
53
Vbbbbb p p r ‰ Š ˆ
Al - li - lu -
Vbbbbb Š Š Š Š ‰ Š Š ‰ ‰ ‰ Š Š Š Š Š Š Š
Sla - va Tye - bye, Bo - zhe. Al - li - lu - i - ya,
Vbbbbb
[
‰. b‰ Š Š Š Š Š Š =Š Š Š =‰ ‰ Š Š b‰ ‰ Š Š
Bbbbbb
‰ Š Š Š Š Š Š Š Š Š Š Š bŠ
‰ Š ‰ ‰ ‰ Š Š ŠbŠ
Š Š
Sla - va Tye - bye, Bo - zhe. Al - li - lu - i - ya,
Sla - va Tye - bye, Bo - zhe. Al - li - lu - i - ya,
V bbbbb Š Š Š Š ‰ Š Š ‰ ‰ r ‰ ˆ
‰. b‰ Š Š Š Š =Š Š =‰ Š Š Š Š Š Š Š
{ B bbbbb
‰ Š Š Š Š Š Š Š Š Š Š Š b bŠ
Š ŠŠ
‰ Š ‰ ‰ ‰ Š Š Š Š
Glory to thee, O Lord.
mf

56
Vbbbbb ‰ Š Š Š ‰. Š Š Š Š ‰ Š Š Š
- - i - ya, al - - li - - lu - i - ya,
Vbbbbb Š Š Š Š Š Š Š Š Š Š ‰ Š Š Š Š ‰
al - li - lu - i - ya, al - li - lu - i - ya. Sla - va
VbbbbbbŠŠ Š ŠŠ Š Š Š Š Š =‰ b‰
[
Š Š ‰. al - li - lu - i - ya, al - li - lu - i - ya. Sla - va
Bbbbbb Š Š Š Š Š Š Š Š Š Š Š ‰ ‰ Š Š‰
Š Š
al - li - lu - i - ya, al - li - lu - i - ya. Sla - va
V bbbbb Š
ŠŠ Š Š Š Š ‰. Š Š Š Š Š‰ Š Š Š ‰ Š Š b ‰
Š Š Š
{ B b
bbbbb Š Š Š Š Š Š Š Š Š Š Š = ‰ ‰.‰ Š Š‰
Š Š
59
Vbbbbb r Š Š Š Š Š Š Š Š Š Š Š Š Š Š ŠŠŠ Š Š Š Š
al - li - lu - i - ya, al - li - lu - i - ya, al - li - lu - i - ya,
Vbbbbb Š Š ‰ ‰ ‰ Š Š ŠbŠ. Š f Š Š Š bŠ Š Š Š Š Š Š
Tye-bye, Bo - zhe. Al - li - lu - i - ya, al - li - lu - i - ya,
Vbbbbb Š Š Š=Š ‰
[
Š Š Š Š Š Š=‰
Bbbbbb Š Š Š‰ Š Š Š‰ Š ‰
Š Š bŠŠ Š Š Š Š Š ŠŠŠ Š Š Š Š
Tye - bye, Bo - zhe. Al - li - lu - i - ya, al - li - lu - i - ya,
Š
Š ŠbŠ.
Chesnokov: Blessed is the Man 31
Š f Š Š Š b Š Š Š Š Š Š Š
Tye - bye, Bo - zhe. Al - li - lu - i - ya, al - li - lu - i - ya,
V bbbbb Š Š Š Š Š Š Š Š Š
Š Š Š Š Š Š =Š Š ‰ Š
Š Š bŠ. Š f Š Š Š bŠ Š Š Š Š Š Š Š
{ B bbbbb Š Š Š Š Š =‰ Š
Š Š Š b Š ‰ Š Š
Š Š Š Š Š
‰
bŠ. Š f Š Š Š Š Š Š Š

32 Chesnokov: Blessed is the Man
62
Vbbbbb
Š Š Š Š ‰ Š Š Š Š ‰ Š Š ‰
Š Š Š Š ‰ b‰ Š ‰ Š Š Š Š Š
al - li - lu - i - ya. Sla - va Tye - bye,
VbbbbbŠ Š Š Š Š Š bŠ Š Š Š Š bŠ Š ‰ Š Š ‰ Š Š Š
al - li - lu - i - ya. Sla - va Tye - bye,
Vbbbbb Š Š Š Š ‰ b‰ Š Š Š Š ‰ Š Š Š Š Š
[
al - li - lu - i - ya. Sla - va Tye - bye,
Bbbbbb Š Š Š Š Š Š bŠ Š Š Š ‰ Š b‰ Š ‰
V bbbbb
{ B bbbbb
65
Vbbbbb
al - li - lu - i - ya. Sla - va Tye - bye,
Š ŠŠ Š Š Š Š bŠ‰ Š Š Š bŠŠ Š Š Š ‰ Š Š Š
‰ Š Š
Š Š Š Š Š Š bŠ ‰ Š Š Š b‰ Š Š Š Š ‰ Š Š Š‰
Š Š
Š Š Š =‰ ‰ r q ŠŠŠŠ‰ ‰ r
Bo - zhe. Sla - va Tye-bye, Bo - zhe.
Vbbbbb Š Š Š ‰ r q Š Š Š Š ‰ ‰ r
Bo - zhe. Sla - va Tye-bye, Bo - zhe.
Vbbbbb
Š Š Še Š Še ŠŠŠ [ f =Š Š f
Š Š Š Š ŠŠŠŠ‰ ‰ r
Bo - zhe. Sla - va Tye-bye, Bo - zhe. Sla - va Tye-bye, Bo - zhe.
Š Š
Bbbbbb
Š f
Š Š f Š Š Š Š Š Š Š Š ‰
‰ r
Bo - zhe. Sla - va Tye-bye, Bo - zhe. Sla - va Tye-bye, Bo - zhe.
V bbbbb Š Š Š Š Š =‰ Š Š Š Š Š ŠŠ
Š ŠŠ Š ‰ ‰ r
{ B Š Š
bbbbb
Š f
=Š Š f Š Š Š Š Š ŠŠ
Š ŠŠ Š ‰
‰ r

33
SOPRANO
ALTO
TENOR
BASS
Maestoso [i = 108]
f
Vb C #Š Š ‰ #‰‰ Š ŠŠ#Š ŠŠŠ Š Š Š Š ŠŠ
Bb C Š ‰ ‰ Š
Š Š
ŠŠŠ Š Š Š Š Š
Š Š ŠŠ
Bla - zhen muzh, i - zhe nye i - dye na so - vyet nye-ches -
f
p
Blessed is the man that hath not walked in the counsel of the ungodly.
al - - li -
4
Vb ‰ Š #Š ‰ t #ŠŠ Š Š #Š Š ‰. Š
f
Š Š t Š Š f
Š Š ‰ ‰
- ti - vïkh. Al - li - luy - ya, al - li- luy - ya, al - li -
t Š Š Š Š Š t Š Š Š Š Š ‰ ‰
Bb
Š
Š ‰ ‰ ‰ ‰ ‰ Š Š Š Š Š Š Š Š
All-night Vigil
Al - li - luy - ya, al - - li -
Alleluia.
- lu - i - ya.
8
Vb ‰ #‰ ˆ ‰ ‰ Š. Še Š Š ‰ ‰ ‰ r Š
Bb
p
mf
‰ ‰
F
ˆ ‰ ‰ Š. Š Š Š ‰ ‰ ‰ r Š
f ‰
p p p q rŠ
‰ Eˆ ‰ ‰ Š. Š f
Š Š ‰ ‰ ‰ r Š
- lu - i - ya. Ya - ko vyest’ Go-spod’ put’ pra - vyed - nïkh, i
mf
- lu - i - ya. Ya - ko vyest’ Go-spod’ put’ pra - vyed - nïkh,
For the Lord knoweth the way of the righteous,
14
Vb‰ ‰ Š Š Š‰ Š Š Š Š Š Š Š ‰ Š Š Š‰ Š Š Š Š Š Š Š
‰ Š Bb
Š Š Š ŠbŠ Š Š ŠbŠ Š Š Š ‰ Š Š ŠbŠ Š Š Š Š ‰ Š Š Š Š Š ŠbŠ Š Š Š ‰ Š Š Š
put’ nye - ches - ti - vïkh, i put’ nye - ches - ti - vïkh po -
and the way of the ungodly shall perish.
4. Blessed is the Man
(Blazhen muzh)
f
f
ARTEM VEDEL
(1767–1808)
© Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.

34 Vedel: Blessed is the Man
18
Vb‰ ‰ Š
t Še Š Še Še Še
f
‰ Š t Š f
‰ Š
t Š f
‰ Š t Š f
Bb
- gib - nyet, po - gib - nyet, po - gib - nyet, po - gib - nyet, po -
‰
Še b‰ Še Še b‰
Š t Š ‰
Še
f Š
tŠ ‰ f Š t Š ‰ f Š
tŠ f
22
Vb‰ ‰ ‰‰ ‰ ‰ ‰ Š Š Š Š ‰ ‰
Bb
- gib - - - - - nyet,
po - gib -
‰ Š Š Š Š
‰
=Š Š Š Š
ˆ
Š Š
Š Š ‰
Š
‰
Š Š Š Š Š ‰ Š Š ˆ
po - gib -
po - gib -
p f p
26
Vb ŠŠŠ Š Š Š t Š Š Š Š Š ‰ ‰ ‰ ‰ ˆF
- nyet. Al - li-luy - ya, al - li-luy - ya,
al - li - lu - i - ya.
- nyet.
‰ ‰ Bb
ˆ ˆ Š Š Š Š Š Š Š Š ‰
‰ E
ˆ
p f p
- nyet. Al - li - lu - i - ya.
Alleluia.
f
32
Vb#Še Š Š #Š #Š =Š #Š f
Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š
Ra - bo - - - - - -
Bb Še Š f Š Š t ŠeŠ Š Š Še Še
f Š t Š f
Š Š t Š f
Ra - bo - tay - tye, ra - bo - tay - tye, ra - bo - tay - tye, ra -
f
Ra - bo - tay - tye, ra - bo - tay - tye, ra - bo - tay - tye, ra -
Serve the Lord with fear,

36
Vb#Š Š =ŠŠ Š Š Š Š Š Š Š ŠŠŠ Š #‰‰ Š Š
- - - - tay - tye
Go - spod - ye - vi so
- bo - tay - tye, ra - bo - tay - tye
Bb Š Š Še Š t Š f
ŠŠŠ Š ‰ Š Š
- bo - tay - tye, ra - bo - tay - tye Go - spod - ye - vi so
39
Vb Š #ŠŠ Š Š ‰ Š Š Š Š Š #ŠŠ Š Š ‰ Š Š Š Š ˆ
Bb
stra - - - - -
Š‰ Š Š Š Š Š Š t #ŠŠ Š‰ Š Š Š Š Š #Š ‰ ‰
f
Š t Š Š #Š Š =Š Š f
Š Š Š
stra - khom, so stra - khom, so stra - -
42
Vb ˆ ˆ ‰ ‰ ‰. t ŠeŠ f
Bb
- - - - - khom,
Vedel: Blessed is the Man 35
‰ Š #Š Š =Š ‰ Š Š Š Š
ˆ Š Š Š Š Š Š Š Š ‰
‰ ‰. t Še
Š
- - - - - khom,
f
i
46
Vb Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š
i
i
Bb
ra - - - - -
ra - duy-tye-sya, i ra - duy-tye-sya, i ra - duy-tye-sya, i
Š Š Š Š Še Š Š Š Še Š Š Š Še
ŠŠŠ
t
Š Š ŠŠŠ t Š Š
f f
ŠŠŠ
t
Š f
ra - duy-tye-sya, i ra - duy-tye-sya, i ra - duy-tye-sya, i
and rejoice unto him with reverence.

36 Vedel: Blessed is the Man
49
Vb Š Š Š Š Š Š Š Š Š ŠŠŠ Š ‰ Š Š
Bb
- - - - duy - tye - sya
Ye - mu, Ye - mu
ra - duy - tye - sya, i ra - duy - tye - sya
Š
Š
ŠŠŠ
Š Š t Še
Š Š ŠŠŠŠ Š Š f
‰ Š Š
ra - duy - tye - sya, i ra - duy - tye - sya Ye - mu, Ye - mu
52
VbŠŠŠ Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š ˆ‰ ‰
s trye - - - - - -
Bb
ŠŠ. Š Š ‰ Š Š Š ‰ ˆ
Š Š f r
Š. Š Š f r
Š =Š Š Š Š Š Š Š
s trye - pye-tom, s trye - pye-tom, s trye - -
55
Vb ˆ ‰ ‰ ˆ ‰ ‰ ‰. #‰ Š Š Š. Š Š #ŠŠ
ˆ ‰ ‰ Bb
Š Š Š Š Š Š Š bŠ Š =Š#Š Š Š Š Š Š ‰
‰ Š bŠ ‰
Š
- - - - - pye - tom, s trye - pye -
- - - - - pye - tom,
59
Vb Š Š. Š Š #ŠŠ ˆ t #ŠŠ Š Š f
Š Š
Bb
bŠ ˆ
t Š Š Š Š
Š ‰
Š Š Š Š Š ‰ ‰
- tom, s trye - pye - tom. Al - li - luy - ya,
p
p
Al - li -
Alleluia.
Š

62
Vb t #ŠŠ Š Š ‰. Š #‰ ˆ
f
Š Š ‰ ‰ ‰ ‰ ˆF
al - - li - lu - i - ya.
al - li - luy - ya, al - li - lu - i - ya.
t Š Š Š Š Š ‰ ‰ Bb
‰ ‰ Š =Š bŠ Š Š Š Š Š ‰
‰
ˆ
Ê
- luy - ya, al - - li - lu - i - ya.
mf
66
Vb Še f
‰ ‰ ‰ ‰ Š ŠŠŠ Š ‰.
t ŠeŠ f
Bb
Še Š f
‰ ‰ ‰ q p ‰.
‰. t Še
Š f
Bla - zhen - i vsi, na - dye - yu-schi - i - sya nan’, bla -
Blessed are all they that put their trust in him.
71
Vb‰ ‰ ‰ ‰ ‰ Š ŠŠŠ Š ŠeŠ f
Š Š Š Š Š
Bb
mf
‰ ‰ ‰ q p
ˆ
- zhen - i vsi, na - dye - yu-schi - i - sya
f
p
nan’. Al - li - luy - ya,
nan’.
nan’.
Alleluia.
75
Vb t Š Š Š Š Š ‰ ‰ ‰ ‰ ˆF
al - li - luy - ya,
al - li - lu - i - ya.
ˆ ‰ ‰ ‰ ‰ ˆ
Bb
ˆ Š Š Š Š Š Š Š Š ‰
f
Vedel: Blessed is the Man 37
p
p
‰ Ê
Al - - - li - lu - i - ya.
p

38 Vedel: Blessed is the Man
79
Vb#ŠŠ Š ˆ‰ Š #Š Š Š ˆ‰ Š Š Š #Š ˆ
Bb
mf
Vos-kryes - ni, vos - kryes - ni, vos - kryes - ni,
Vos-kryes - ni,
Š Š ‰ Š Š Š #Š ‰ Š #Š Š Š ˆ
Š Š Š #Š Š Š Š Š
mf
Vos-kryes - ni, vos - kryes - ni, vos - kryes - ni,
Arise, Lord,
83
Vb Š #ŠŠ Š t Še
Š ‰ f
#‰‰ Š. Še
Š #Š Še f Š t Š ‰ f
#‰‰
Bb
Š
Š Š t Še
Š
‰
f
ˆ
‰
ˆ
Š. Še Š t Še
ˆ
‰ ‰
Go - spo - di, spa - si mya, Bo - zhe moy, spa - si mya,
spa - si mya,
save me, O my God.
87
Vb Še #Š
F
Š. Š Še #‰ f Š t Š Š Š Š Š Š Š Š Š ‰ f
‰ ˆ
spa - si mya, Bo - zhe moy.
Bo - zhe moy,
spa - si mya, Bo - zhe moy.
Bb Š. Še F
‰.
Š t Še ‰ f ‰ ‰
‰
ˆŠ Š Š Š
E
p
spa - si mya, Bo - zhe moy.
al - li - lu - i - ya.
91
Vb t#ŠŠ Š Š t#Š Š ‰. Š ‰ #‰ ˆ
f
Š Š Š Š f
Š Š ‰ ‰ ‰. Š ˆF
Bb
Al - li-luy - ya, al - li-luy - ya, al - li - lu - i - ya.
‰
t Š Š Š Š‰ Š ‰
t Š Š Š Š‰ Š ‰ Š =Š Š Š ‰
Š Š Š Š ‰
‰ Eˆ
p
Al - li - luy - ya, al - - li - lu - i - ya.
Alleluia.

mf
Vedel: Blessed is the Man 39
96
Vb#Še Š #‰ q
f
‰ ‰ ‰ ‰ ‰ ‰ ‰
Bb
Še Š ‰ f
‰ ‰ ‰ ‰
‰ ‰
Go - spod - nye yest’ spa - sye - ni - ye
mf
Salvation is of the Lord,
q
i na lyu-dyekh Tvo - ikh bla - go-slo-vye-ni-ye Tvo - ye,
101
Vb#Š. ŠeŠ Š Š ‰ q
# #Š Š
SOLO
p Š. Š Š Š. Š Š Š ‰ q
f Š Š Š Š ‰ q Š Š Š Š Š Š Š
Bb
SOLI
SOLI
i na lyu-dyekh Tvo - ikh bla - go-slo-vye-ni-ye Tvoi
na lyu-dyekh Tvo - ikh bla - go-slo-vye-ni-ye Tvo - ye,
ˆŠ. ŠeŠ Š Š ˆ‰ q ˆŠ Š Š Š. Š Š Š ˆ‰ q
i na lyu - - dyekh,
and thy blessing is on thy people.
f
105 TUTTI
Vb t #Š Še Š Š Š Š #Š Š Š Š #Š f f
Š Š Š ŠŠŠ Š Š. Š ŠŠ
F
ˆ
- ye, i na lyu - dyekh Tvo - ikh bla - go - slo - vye - ni-ye Tvo - ye.
TUTTI
Bb t Š Še
Š Š Š Š ˆ
f Š Š Š #Š Š Š Š Š Š. Š F ŠŠ Š Š Š
E
Š
p
f
al - li - lu - i - ya.
108
Vb t#ŠŠ Š Š t#Š Š ‰. Š ‰. #Š ˆ
f
Š Š Š Š f
Š Š ‰ ‰ ‰ ‰ ˆF
Bb
Al - li-luy - ya, al - li-luy - ya, al - li - lu - i - ya.
‰
t Š Š Š Š‰ Š ‰
t Š Š Š Š‰ Š ‰ Š=Š Š Š ‰
Š Š Š Š ‰
‰ Eˆ
p
Al - li - luy - ya, al - li - lu - i - ya.
Alleluia.

40 Vedel: Blessed is the Man
113
Vb ‰ ‰ ‰ ‰ Š ŠŠŠ Š ‰ #‰‰
Bb
f
Sla - va, sla - va, sla - va Ot - tsu, i Sï - nu,
‰
‰
‰
‰
Glory to the Father,
p p
and to the Son,
117
Vb#‰ ‰ ‰ #‰‰ ‰ #Š. Še
Š Š #Š #Š f
Š Š ‰ Š Š
Bb
f
Sla - va, sla - va, i Svya - to - mu Du - khu, i
‰
‰
‰
‰ p q r
and to the Holy Spirit,
121
Vb ‰ Š Š =ŠŠ Š Š Š Š ŠŠŠ ŠŠ Š
Š
A -
Bb
nï - nye i pri - sno i vo vye - ki vye-kov. A -
‰ Š =Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š #ŠŠ Š
Both now and ever,
p
and unto ages of ages.
- min’.
124
Vb ˆ ˆ tŠ Še Š Š
Š Š Š Š Š Š t Š Š Š Š Š Š Š f
Š Š
- min’. Al - li - luy - ya, al - li - luy - ya, al - li - luy - ya.
Bb #Š ˆ Š Š Š Š Š ˆ
t Š Š #Š Š Š t
Še Š Š Š Š
Š
p
- min’.
Alleluia.
A -
Amen.

127
Vb Š. ŠeŠ #Š t Š Š #Š Š Š t Š Š #Š Š Š
f
Š Š Š Š ‰ ‰ ‰ ‰ ‰
Bb
Sla - va Tye - bye, Bo - zhe.
mf
Al - li - luy - ya, al - li - luy - ya,
Al - li - luy - ya,
Š. Še t Š Š Š Š Š t
Š. Š
Š Š Š Š Š
f
Š Š Š
Š ‰ ‰ ‰ ‰ ‰
Glory to thee, O Lord.
mf
Vedel: Blessed is the Man 41
Al - li - luy - ya, al - li - luy - ya,
Al - li - luy - ya,
Allelulia.
131
Vb t Š ŠeŠ Še Š #Š f
Š Š Š. Š f
Š Š ‰ ‰
Bb t
al - li - luy - ya. Sla - va Tye - bye, Bo - zhe.
Še Š. Še Š Š Š Š
Š Š. Š f
Š Š Š
Š ‰
Al - li - luy - ya, al - li - luy - ya,
134
Vb ‰
t Š Š #Š Š‰ Š ‰
t Š Š #Š Š‰ Š tŠŠ ŠeŠ f
Š Š
Bb
f
Al - li - luy - ya,
Al - li - luy - ya, al - li - luy - ya,
t Š Š Š Š Š t Š Š Š Š Š t
f
Al - li - luy - ya,
al - li - luy - ya.
‰ ‰ ‰ ‰ Še Š Š Š Š
Š
137
Vb Š. ŠeŠ ‰ #‰ ˆ
f
Š Š Š Š Š Š Š Š Š Š ˆF
Bb
Sla - va Tye - bye, Bo - - - zhe.
Š. Še Š Š Š Š Š Š Š Š #Š Š ˆ
Š. Š f
Š Š ‰ ‰ ‰ Ê

42
Divine Liturgy
SOPRANO
ALTO
TENOR
BASS
( for
rehearsal
only)
Very slow (Ochen’ medlenno)
p
[h = 40]
Vbb 42 Š Š Š Š Š ˆ Š Š Š Š ‰ Š Š
p
I - - zhe, i - zhe khe - ru -
Vbb 42 ‰ ‰ Š Š Š Š Š ‰ ‰ ‰ ‰
p
I - - - zhe khe - - - ru -
Vbb
[
42 ˆ Š Š Š Š Š ˆ Š Š Š Š
Bbb 42 ˆ p
‰ ‰ ‰ ‰
I - - - zhe khe - - - ru -
I - - - - zhe khe - ru -
V
Very slow (Ochen’ medlenno) [h = 40]
bb 42 Š‰ Š Š‰ Š Š ˆŠ Š Š Š Š Š‰ Š Š‰ Š ‰ Š‰
Š
{ B bb 42 p
ˆ Š Š Š Š Š ˆ‰ ‰ Š‰ Š Š‰
Š
Let us, mystically representing the Cherubim,
p
Vbb ˆ ˆ ˆ ˆ ‰ ‰ ‰ Š Š
- vi - mï, tay - no, tay - no ob - ra -
p mf
Vbb
Š Š Š Š Š Š Š Š Š ‰ ‰ Š Š Š Š Š Š Š Š Š Š Š Š Š
3
5. Cherubic Hymn
(Kheruvimskaya pyesn’)
p
- vi - mï, tay - - no, tay - no ob - ra -
Vbb‰
[
Š Š Š Š Š Š Š Š Š Š Š ˆ ‰ ‰ ‰ ‰
Bbb ˆ ˆ Šp
Š Š Š Š ‰ Š Š mf ‰ ‰ Š Š ‰
- vi - mï, tay - no, tay - no ob - ra -
- vi - mï, tay - no, tay - no ob - ra -
V bb ˆŠ ŠŠ
Š Š Š ˆŠ Š Š
ˆ ˆ ‰ ‰ ‰
Š ‰ ‰ Š Š Š Š Š Š Š Š Š Š Š Š ( )
Š
( )
{ B bb q ˆ Š Š ˆ Š Š
p
Š Š Š Š Š Š Š ˆ ‰ Š Š mf
‰ ‰ ‰ Š Š ‰
mf
mf
PAVEL CHESNOKOV
(1877–1944)
Op. 33 No. 6
© Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.

p
6
Vbb ‰. Š Š. Š f Š Š Š Š Š Š Š ˆ Š Š Š Š ‰ Š Š
p
- zu - yu - sche, tay - no, tay - no ob - ra -
Vbb Š ‰ Š #ˆ ‰ =‰ Š Š Š Š Š ‰ ‰ ‰ ‰
p
- zu - yu-sche, tay - - no, ob - - ra -
Vbb ‰
[
‰ Š Š Š Š ˆ Š Š Š Š Š ˆ Š Š Š Š
Bbb‰ ‰ ˆ ˆ p ‰ ‰ ‰ ‰
- zu - yu - sche, tay - - no ob - - ra -
- zu - yu - sche, tay - - - no, ob - ra -
V bb ‰. Š ‰ Š #ˆ Š. Še Š Š Š‰ Š =‰ Š Š Š ˆŠ Š Š Š Š Š‰ Š Š‰ Š ‰ Š‰
Š
{ B bb ‰ ‰ ˆ Š Š Š Š ˆ p
Š Š Š Š Š ˆ ‰ ‰ Š ‰ Š Š ‰ Š
mf
9
Vbb ‰. Š ˆ Š Š Š Š ‰ ‰ Š Š Š Š Š ‰. Š Š
mf
Chesnokov: Cherubic Hymn 43
- zu - yu - sche, i zhi-vo-tvo-rya - schey, i zhi-vo - tvo-rya - schey
Vbb
Š Š Š Š Š Š Š Š Š ˆ Š Š Š Š Š Š ‰ Š Š Š Š
- zu - yu - sche, i zhi-vo-tvo - rya - - schey
Vbb‰
[
Š Š Š Š
mf
Š Š Š Š Š Š ‰ Š Š Š Š Š Š ‰ Š Š
- zu - yu - sche, i zhi-vo-tvo-rya - schey, i zhi-vo-tvo - rya - schey
Bbb mf
‰ ‰ ˆ ˆ >
ˆ >
ˆ >
ˆ>
- zu - yu - sche, i zhi - vo - tvo -
V bb ‰. ˆ Š Š Š Š ‰ ‰ Š
Š ŠŠ
Š Š Š
Š Š ‰.
Š Š Š Š ˆ Š Š Š Š Š Š ‰ Š ŠŠ
Š Š Š
{ B bb q‰ Š‰ Š p mf
ˆ ˆ Š Š Š Š ˆ ‰ q ˆ Š Š Š Š q ˆ Š Š
and intoning the Thrice-Holy chant unto the Life-giving Trinity,

44 Chesnokov: Cherubic Hymn
f
12
Vbb Š Š ‰ ‰ Š r q Š Š Š Š Š Š Š Š Š Š Š Š ‰ Š Š
f
Tro - i - tse tri-svya - tu - yu pyesn’, tri-svya-tu-yu pyesn’ pri-pye -
Vbb Š Š ‰ ‰ Š r q Š Š Š Š ‰ Š Š Š Š ‰ Š Š
Tro - i - tse tri-svya - tu-yu pyesn’, tri-svya-tu-yu pyesn’ pri-pye -
f
Vbb
[
Š Š Š Š Š Š ‰.‰ Š Š Š Š Š Š ˆ Š Š Š Š ‰ Š Š Š Š
Tro - i - tse tri-svya-tu - yu pyesn’, tri-svya-tu-yu pyesn’ pri-pye -
Bbb ˆ ‰ Š Š f
Š Š
Š Š Š ˆ Š Š Š Š ‰ Š Š
>
- rya - schey, tri-svya-tu - yu pyesn’, tri-svya-tu-yu pyesn’ pri-pye -
V bb Š Š ‰ Š ‰ Š Š
Š
Š
Š Š Š Š Š Š Š Š
Š Š ‰ Š Š
Š Š ‰. Š Š ‰
{
f
B bb ˆ ‰ Š Š Š Š
Š Š Š ˆ Š ŠŠ
Š Š Š‰
Š Š Š
mf
15
Vbb ‰. Š Š. Š f Š Š Š Š Š Š Š ˆ Š Š Š Š ‰ Š Š
mf
- va - yu - sche, tri-svya-tu - yu pyesn’, tri-svya-tu - yu pyesn’ pri-pye -
Vbb ‰. Š Š Š ‰ Š Š Š Š Š Š Š Š Š ‰ ‰ Š Š Š Š
mf
- va - yu - sche, tri-svya-tu - yu, tri-svya-tu - yu pyesn’ pri-pye -
Vbb
[
‰ ‰ Š Š Š Š Š Š Š Š Š Š Š Š Š Š ˆ Š Š Š Š
Bbb ‰ ‰ ˆ
mf Š Š Š Š ˆ Š Š Š Š ‰ Š Š
- va - yu - sche, tri-svya-tu - yu, tri-svya-tu - yu pyesn’ pri-pye -
- va - yu - sche, tri-svya-tu - yu pyesn’, tri svya-tu - yu pyesn’ pri-pye -
V bb ‰. Š Š.
Š Š ŠeŠ ‰ Š Š ŠŠ Š Š Š ˆŠ Š Š Š Š Š‰ Š Š‰ Š ‰ Š Š Š Š
mf
{ B bb ‰ ‰ qˆ Š Š Š Š Š Š Š Š
Š Š ˆ Š Š ˆŠ Š Š Š Š‰
Š Š Š

p
18
Vbb Š ‰ Š ˆ Š Š Š Š Š ‰ ‰ Š Š Š Š ‰ Š Š
Vbb
p
- va - yu-sche, vsya - ko - ye nï - nye, vsya - ko - ye nï - nye zhi -
‰. Š Š Š Š Š ‰ ‰ Š Š Š Š Š ‰ ‰ ‰ Š Š
p
- va - yu - sche, vsya - - ko - ye nï - - nye zhi -
Vbb
[
‰ ‰ Š Š Š Š ˆ Š Š Š Š Š ˆ Š Š Š Š
Bbb ‰ ‰ ˆ ˆ p ‰ Š Š ‰ Š Š
- va - yu - sche, vsya - - ko - ye nï - - nye zhi -
- va - yu - sche, vsya - - - ko - ye nï - nye zhi -
V bb Š ‰. ‰ Š ˆŠ Š Š Š Š‰ Š Š‰ Š Š ‰ Š Š ‰ Š Š Š Š‰ Š Š‰ Š ‰ Š Š
p
{ B bb ‰ ‰ ˆŠ Š Š Š ˆ Š Š Š Š Š ˆ‰ Š Š Š‰
Š Š
Š
now lay aside all terrestrial cares.
p
21
Vbb ‰. Š ˆ ˆ ‰ ‰ ‰ Š Š ‰ Š Š
Vbb
p
- tyey - sko - ye, vsya - ko - ye, vsya - ko - ye nï - nye zhi -
Š Š Š Š Š Š Š Š Š ‰ ‰ Š Š Š Š Š Š Š Š Š Š Š Š Š
p
Chesnokov: Cherubic Hymn 45
- tyey - sko - ye, vsya - - ko - ye, vsya - ko - ye nï - nye zhi -
Vbb‰
[
Š Š Š Š Š Š Š Š Š Š Š ‰ ‰ ‰ Š Š ‰ Š Š
Bbb ‰ ‰ ˆ Šp
Š Š Š Š ‰ Š Š mf ‰ Š Š Š Š Š Š
- tyey - sko - ye, vsya - ko - ye nï - nye, vsya - ko - ye nï - nye zhi -
- tyey - sko - ye, vsya - ko - ye nï - nye, vsya - ko - ye nï - nye zhi -
V bb ‰. Š ŠŠ
Š Š Š ˆŠ Š Š
ˆ ‰ ‰ ‰ Š Š ‰
Š ‰ ‰ Š Š Š Š Š Š Š Š Š Š Š
( )
( )
{ B bb q ‰ Š ‰ Š ˆ p
Š Š Š Š Š Š Š Š Š ‰ ‰ Š Š mf
‰ Š Š ‰ Š Š Š Š
mf
mf
mf

46 Chesnokov: Cherubic Hymn
p
24
Vbb ‰. Š Š. Š f Š Š Š Š Š Š Š ˆ Š Š Š Š ‰ Š Š
p
- tyey - sko - ye ot - lo -zhim, ot - lo-zhim po-pye -
Vbb Š ‰ Š #ˆ ‰ =‰ Š Š Š Š Š ‰ ‰ ‰ Š Š
p
- tyey - sko-ye ot - - - lo - zhim po-pye -
Vbb ‰
[
‰ Š Š Š Š ˆ Š Š Š Š Š ˆ Š Š Š Š
Bbb‰ ‰ ˆ ˆ p ‰ ‰ ‰ Š Š
- tyey - sko - ye ot - - - lo - zhim po-pye -
- tyey - sko - ye ot - - - - lo - zhim po-pye -
V bb ‰. Š ‰ Š #ˆ Š. ŠeŠ Š Š‰ Š =‰ Š Š Š ˆŠ Š Š Š Š Š‰ Š Š‰ Š ‰ Š Š
p
{ B bb ‰ ‰ ˆ
Š Š Š Š ˆ Š Š Š Š Š ˆ‰ ‰ ‰ Š Š Š
Š
p
[ritenuto]
27
Vbb ‰. Š ˆ ‰ ‰ ‰ Š Š ‰. Š ‰ Š r
Vbb
p
- che - ni - ye, ot - lo - zhim po - pye - che - ni - ye.
Š Š Š Š Š Š Š Š Š ‰ ‰ ‰ Š Š ‰. Š ‰ Š r
p
- che - ni - ye, ot - lo - zhim po - pye - che - ni - ye.
Vbb‰
[
Š Š Š Š Š Š ‰ ‰ ‰ Š Š ‰. Š ‰ Š r
- che - ni - ye, ot - lo - zhim po - pye - che - ni - ye.
Bbb ‰ ‰ ˆ ‰ p ‰ ‰ Š Š ‰. Š ‰ Š r
- che - ni - ye, ot - lo - zhim po - pye - che - ni - ye.
V
[ritenuto]
bb ‰. Š ŠŠ
Š Š Š ˆ Š Š Š Š ‰ ‰ ‰‰ Š Š ‰. Š ‰ Š r
{ B bb q Š Š Š Š Š
p
‰ ‰ ˆ Š ‰‰
‰ ‰ Š Š ‰ . Š ‰ Š r

f
[più mosso h = 48]
30
Vbb Š Š Š Š ‰ ‰ Š Š Š Š Š ‰ Š Š Š Š Š ‰ ‰ Š r
f
Ya - ko da Tsa-rya vsyekh, ya - ko da Tsa-rya vsyekh po - dï - myem,
Vbb ˆ Š Š Š Š Š Š ‰ Š Š Š Š Š Š ‰ ‰ Š r
Ya - - ko da Tsa - rya vsyekh po - dï - - myem,
f
Vbb
[
Š Š Š Š ‰ Š Š Š Š Š Š ‰ Š Š Š Š Š Š Š Š ‰.‰ Š
Ya - ko da Tsa-rya vsyekh, ya - ko - da Tsa - rya vsyekh po - dï - - myem,
Bbb ˆ
f
ˆ ‰ ‰ ‰ Š Š ˆ ‰ Š Š
>
>Ya - ko da Tsa - rya vsyekh po - dï - - myem,
V
[più mosso h = 48]
bb ˆŠ Š Š Š ‰ ‰ Š Š Š Š
Š Š Š
Š
Š ‰ ‰
Š ŠŠ
Š Š Š Š Š ‰ Š Š Š Š ‰. ‰ f
Š
{ B bb Š Š Š Š ‰ q Š Š Š Š q
ˆ ˆ ‰ ‰ ‰ Š
Š ˆ ‰ Š Š
That we may raise on high the King of all,
f
33
Vbb q ‰ Š Š Š Š Š Š ‰ Š Š ‰ Š Š ‰. Š Š Š Š Š
f
An - gyel - ski - mi, an - gyel-ski - mi nye - vi - di - mo
Vbb q ‰ Š Š ‰ ‰ Š Š ‰ Š Š ‰. Š Š Š ‰
An - gyel-ski - mi, an - gyel-ski - mi nye - vi - di - mo
Vbb Š Š Š Š Š ˆ ‰ Š Š ‰ Š Š Š
[
Š Š Š ‰ ‰ Š Š ‰
An - gyel - ski - mi, an - gyel-ski - mi nye - vi - di - mo
Bbb f
‰
Š Š Š ˆ Š Š Š Š ‰ Š Š ‰ ‰ Š Š Š Š
V bb
Š Š
{
f
B bb ‰
An - gyel - ski - mi, an - gyel-ski - mi nye - vi - di - mo
‰
Š Š Š Š Š Š‰ Š Š ‰ Š
Š ‰ Š Š ‰. Š Š Š ‰ Š Š Š Š Š ˆ ‰ Š Š Š Š Š‰ Š Š Š ‰ ‰ Š Š ‰ Š Š
who is invisibly up-borne by the Angelic Hosts.
Chesnokov: Cherubic Hymn 47

48 Chesnokov: Cherubic Hymn
f
36
Vbb Š Š Š Š Š ‰ Š Š Š Š Š Š ‰
f
Š Š ‰ Š Š Š Š Š
do - ri - no - si - ma, do - ri - no - si - ma chin - mi.
Vbb ‰ Š Š ‰ ‰ ‰ Š Š ‰ Š Š ˆ Š Š Š Š
do - ri - no - si - ma, do - ri - no - si - ma chin - mi.
Vbb Šf
‰ Š Š Š Š ‰ Š Š Š Š ‰
Š ‰ Š
[
‰ ‰ ‰ Š Š ‰ Š Š ˆ ˆˆ
do - ri - no - si - ma, do - ri - no - si - ma chin - mi.
Bbb f
‰ Š Š Š Š Š ‰ ‰ ‰ Š Š‰ Š Š Š Š ‰ ‰ Š Š ˆ Š ‰ Š ‰ ‰
do - ri - no - si - ma, do - ri - no - si - ma chin - mi.
V bb ‰ Š Š Š Š ‰ Š ‰ ‰ Š ‰ Š Š Š Š ‰ Š ‰ Š Š ˆŠ ‰ Š Š Š Š Š
{ B bb ‰ Š f Š Š Š ‰ Š ‰ ‰ Š ‰ Š Š Š Š
‰ Š ‰ Š Š Š ˆˆ ‰ Š ˆ
‰ ‰
mf
39
Vbb ˆ Š Š Š Š Š Š ŠŠŠ ŠŠ‰ Š Š Š Š ‰ ‰ Š r
mf
Al - li - lu - i - ya, al-li-lu - i-ya, al - li - lu - i - ya.
Vbb Š Š Š Š Š ‰
p
Š Š Š Š Š ŠŠŠ Š Š Š Š Š Š Š Š ‰ Š r
Al - li - lu - i - ya, al - li - lu - i-ya, al - li - lu - i - ya.
Vbb
[
ˆ ˆ ˆ ˆ ˆ ‰ Š r
Al - li - lu - i - ya.
Bbb ˆ
p
ˆ ˆ ˆ ˆ ‰ Š r
Al - li - lu - i - ya.
V bb ˆŠ Š Š Š Š ‰ Š Š Š Š Š Š ŠŠŠŠ Š Š ‰ Š Š Š Š Š Š Š ‰ Š Š ‰ Š r
{ B bb ˆ p
ˆ ˆ ˆ ˆ ‰ Š r
Alleluia.

49
Divine Liturgy
SOPRANO 1 2
6. Cherubic Hymn
based on the chant ‘The Ravaging of Moscow’
(Kheruvimskaya pysen’ ‘Na razoryeniye Moskvï’)
Slow (Medlenno) [i = 72]
p
ALEXANDER KASTALSKY
(1856–1926)
Vbb C ˆŠ Š Š Š Š‰
Š Š Š Š Š. ŠeŠŠ Š Š ‰ ‰ f
Š Š Š Š Š Š Š Š Š Š
ALTO
TENOR
BASS
( for
rehearsal
only)
Vbb C Š Š Š Š Š Š Š Š Š
p
‰ Š Š ‰ ‰ ‰ =Š Š
Bbb C p p p p p
I - - - zhe khe-ru - vi - - - -
V
Slow (Medlenno) [i = 72]
bb C ˆŠ Š Š Š Š Š Š Š Š Š. Še Š Š ‰ Š Š Š Š Š Š Š Š Š Š
p
{ V bb C Š Š Š Š Š. Še Š Š ‰ Š Š ‰ ‰ ‰ =Š Š
Let us, mystically representing the Cherubim,
6
Vbb ‰ Š Š Š Š ‰ Š Š Š Š Š Š Š Š Š Š Š‰ Š Š Š =Š Š ‰ Š Š
Vbb
- mï, khe - ru - vi - mï, i - zhe khe-ru - vi - - -
Š Š bŠ Š ‰ Š Š ‰ ‰ Š Š Š Š Š Š Š ‰ ˆ
p
I - zhe khe-ru - vi - - -
Bbb p p q ‰ Š Š Š Š ‰ Š Š p p q ‰ Š Š Š Š
I - zhe khe-ru -
V bb ‰ Š Š Š Š ‰ Š Š Š Š Š Š Š Š Š Š Š Š
r ‰ Š Š ‰ =Š ˆ‰ Š Š
{ V bb
Š Š bŠ Š ‰ Š Š B
‰
‰ p
Š Š Š Š ‰ Š ‰ (
Š Š )
Š Š Š
© Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.
p

50 Kastalsky: Cherubic Hymn
12
Vbb ‰ Š Š ‰ ˆˆ Š r q Š.
=
=ŠeŠ ˆ Š. Š Š Š ‰ Š Š f
Vbb
- - mï, tay - - no, tay -
‰. =Š Š =Š ‰ Š r q ˆ ‰ Š =Š ˆ
- - mï,
Bbb Š Š ‰ ˆ r q ŠeŠ ‰ Š Š ‰ Š =Š Š =Š Š Š Š Š Š Š Š Š Š Š Š Š. Š f Š Š
- vi - - - mï, tay - - no, tay -
V bb Š Š ‰ ˆ Š r q ˆˆ
Š
Š. . = Š e Š Š ‰
‰. =Š Š =Š ‰ ˆ Š Š
{
p
B bb Š
‰ Š ‰ Š ˆ Š =Š Š Š Š Š Š Š Š Š Š Š = Š Š. Š f Š Š
Š ‰ Š =Š
p
p
p
pp
18
Vbb Š Š Š Š Š ‰. Š Š Š Š ‰ ‰ Š Š ‰ Š Š ‰. Š Š Š Š Š Š Š Š
- - - - no ob - ra - zu - yu - sche,
Vbb ‰. ŠbŠ ˆ ‰ ‰ ‰ ‰ ‰. Š ‰. Š
pp
Bbb ‰ Š Š Š Š ‰. Š ‰ Š ‰ Š Š Š
‰ Š Š Š ‰ Š Š Š Š Š Š Š Š Š Š
ˆ
- - - - no ob - ra - zu - yu - sche,
V bb Š‰ Š ŠŠ. Š bŠŠ ‰ Š Š Š Š ‰ ‰ ‰ . Š Š Š Š f ˆ ‰ ‰ Š Š Š Š Š Š Š ‰. Š
{ B bb ‰ Š Š Š Š ‰. Š ‰ Š ‰ Š Š Š ‰ Š Š Š ‰ Š Š Š Š Š Š ˆ Š Š Š Š

24
Vbb ‰. Š Š Š Š Š ‰. Š ‰ ‰ ‰ Š Š Š‰ Š Š Š Š Š Š Š Š
Vbb
tay - no ob - ra - zu - yu - sche, ob - ra - zu - yu-sche, i zhi - vo- tvo -
‰ Š Š ‰. Š ‰ ‰ ‰ Š Š ‰ Š Š Š Š Š Š
Bbb Š Š Š Š ‰. ‰ q p ‰.
Š ‰ Š Š Š Š ‰ ‰ Š Š Š Š
{
Kastalsky: Cherubic Hymn 51
tay - no ob - ra - zu - yu - sche, i zhi - vo- tvo -
V bb Š‰ Š Š ŠŠ Š ‰. Š ‰ ‰ ‰ Š Š Š‰ Š Š Š Š Š Š Š Š
B bb Š Š Š Š ‰. ‰ ‰ q p Š
‰.
Š ‰ Š Š Š Š ‰
Š Š Š
f
f
f
f
and intoning the
30
unis.
VbbŠŠ Š Š Š Š. ŠeŠ Š Š Š Š ‰. Š ‰ Š f Š Š ‰
Š Š Š
Bbb
- rya - - - - schey Tro - - i -
Vbb Š ‰ Š ‰. Š=Š Š Š bŠ Š Š ˆ ‰ Š Š Š Š
Š Š Š Š Š Š Š Š Š ‰ Š Š Š #‰. Š #‰ ‰
Š Š Š Š Š Š Š Š ‰ ‰ ‰ Š Š Š Š Š Š Š Š
- rya - - - - schey Tro - - i -
V bb Š Š‰ Š Š Š. ‰. Še Š Š =Š ‰ Š Š bŠŠ Š Š Š
‰. Š ‰
Š Š Š Š
{ B bb Š Š Š Š Š Š Š Š Š ‰ Š‰ Š Š #‰.‰ Š Š Š #‰ Š Š ‰ Š Š Š
Thrice-Holy chant unto the Life-giving Trinity,

52 Kastalsky: Cherubic Hymn
f
35
Vbb ‰ Š Š Š‰ Š Š Š Š ‰ Š Š Š‰ Š Š Š Š. ŠeŠ f Š Š
Vbb
- tse tri - svya - tu - yu pyesn’, tri - svya - tu - yu pyesn’
‰ Š Š =‰ Š Š ‰ Š Š Š ‰ Š ‰. Š=Š
f
f
Bbb #‰‰ Š Š =‰ Š‰ Š Š Š Š
‰ Š Š ‰ Š Š Š Š Š Š Š Š Š
- tse tri - svya - tu - yu pyesn’, tri - svya - tu - yu pyesn’
V bb ‰ Š Š Š‰ Š Š Š Š ‰ Š Š Š Š‰ Š Š Š. ‰. Še Š Š =Š
f
{ B bb #‰ Š Š =‰ Š Š Š Š Š ‰ Š Š Š Š Š Š Š Š Š Š Š
40
Vbb ‰ Š Š Š Š ‰. Š ‰ Š Š Š Š ‰ Š Š Š‰. Š Š #ŠŠ
pri - pye - va - - yu - sche, tri-svya - tu - yu
Vbb Š Š bŠ Š Š ˆ ‰ Š Š Š Š ‰ Š Š Š Š Š Š
Bbb ‰ Š Š Š #‰.‰ Š Š Š #‰ Š Š ‰ Š Š Š #‰‰ Š Š ‰. Š Š Š Š
pri - pye - va - - yu - sche, tri-svya - tu - yu
V bb ‰ Š Š bŠŠ Š Š Š ˆ ‰. Š ‰ Š Š Š Š ‰ Š Š ‰. Š Š Š #Š
mp
{ B bb ‰ Š‰ Š Š #‰.‰ Š Š Š #‰ Š Š ‰ Š Š Š #‰ Š Š ‰. Š Š Š Š
mp
mp
mp

p unis.
pp
45
Vbb ‰
Š Š Š Š Š Š ‰ Š Š Š Š Š Š ‰. r
Vbb
pyesn’ pri - pye - va - - - yu - sche,
ˆ ‰ Š Š Š #‰ ‰ Š Š Š Š #Š ‰. r
p
p
Bbb Š Š Š Š Š Š Š Š Š ˆ
‰
Š
Š ‰ Š Š ‰ ‰ ‰.
{
Kastalsky: Cherubic Hymn 53
pyesn’ pri - pye - va - - - yu - sche,
V bb ‰ Š ‰. Š Š Š‰ Š Š Š Š #‰ Š‰ Š Š Š Š Š #Š ‰. r
p
pp
(
B bb Š Š)
Š Š Š Š Š
Š
Š ‰ Š Š Š Š ‰
ˆ
‰ ‰
‰. r
pp
pp
r
mp
unis.
50
Vbb ‰. Š Š Š Š Š‰
Š Š Š Š Š. Š f Š Š ‰ Š Š Š Š ‰.
Vbb
vsya - - - ko - ye, vsya - - ko - ye
‰. Š ‰ Š Š ˆ ‰ Š Š Š Š ˆ
mp
mp
Bbb Š Š Š Š Š Š Š ‰. ‰ #Š Š Š Š ˆ
‰
Š Š Š. Š f Š Š ‰ Š Š Š ‰. Š =Š
{
vsya - - - ko - ye, vsya - - ko - ye
V bb Š‰. Š Š Š Š‰ Š Š Š Š ˆŠ. Še Š Š ‰
Š Š Š Š ‰. Š ‰. Š
B bb Š Š Š Š Š Š Š Š Š ‰. ‰ #Š Š ( Š)
Š ˆ ‰
Š. Š f Š Š ‰ Š Š Š ‰. Š =Š
now lay aside all terrestrial cares.
Š

55
Vbb ‰ Š Š Š Š ‰ Š‰ Š Š‰ Š Š Š Š‰. Š Š Š Š‰ Š Š =( Š )Š =Š Š ‰. Š
Vbb
nï - - nye zhi - tyey - sko - ye, nï - nye zhi - tyey - -
Š Š Š Š Š ‰ ‰ Š Š ‰ ‰. Š Š Š Š Š Š ˆ
zhi - tyey - sko - ye, nï - nye zhi - tyey - -
Bbb Š‰. Š ‰ Š Š #‰‰ ‰ ‰ Š Š Š Š Š Š ‰ Š Š Š Š
Š Š Š Š ‰ ‰ q q ‰ ‰ Š Š
{
54 Kastalsky: Cherubic Hymn
nï - nye zhi - tyey - sko - ye, nï - nye zhi -
V bb ‰
Š Š Š Š Š Š ‰ Š‰ Š ‰ Š Š Š‰ Š Š ‰. Š Š Š ‰ Š Š Š Š =ŠŠŠ ˆ‰.
B bb ‰. Š Š ‰ Š Š #‰‰ ‰ ‰ Š r r Š Š Š ‰ Š Š Š Š
Š Š Š Š ‰ ‰ q q ‰ ‰ ( )
Š Š
p
p
p
p
p
Š
mp unis.
61
Vbb ‰ ‰ ˆˆ Š r q Š Š ‰ ‰ Š Š ‰. Š
Vbb
- sko - ye ot - lo - zhim po-pye - che -
‰ Š =Š Š =Š ‰ Š r q ‰ ‰ Š. =ŠeŠ Š ‰. Š
- sko - ye
Bbb Š Š ‰ ˆ r q Š ŠeŠ ‰ Š Š ‰ Š =Š Š =Š Š Š Š Š Š =( )Š Š Š Š Š Š Š Š. Š f Š Š
{
- tyey - sko - ye, zhi - tyey - sko-ye ot - lo - zhim po-pye - che -
V bb ‰ ‰ Š =Š ˆŠ =Š ‰ Š r q Š‰ Š ‰ ‰ Š. =Š Š ‰. Š f
Š
B bb Š Š ‰ ˆ Š =Š Š Š Š Š Š Š Š Š Š Š Š Š. Š f Š Š
‰ Š Š ‰ Š =Š Š Š
mp
mp
mp

p unis. p
rit. (zamedl.)
67
Vbb Š Š Š Š Š Š Š‰. Š Š Š ‰ ‰ Š Š Š Š Š Š Š Š Fˆ
- - ni - ye, ot - lo - zhim po-pye - che - ni - ye,
Vbb ‰. ŠbŠ ‰. =Š ‰ b‰ ‰ Š Š ‰ Š Š
p
p Ê
Bbb ‰ Š Š Š Š ‰. Š ‰ Š ‰ Š
‰ Š Š Š ‰ Š Š Š ‰ Š‰
Š #ŠŠ
F
Eˆ
{
- - ni - ye, ot - lo - zhim po-pye - che - ni - ye,
rit. (zamedl.)
V bb Š‰. Š Š Š Š bŠ Š‰. Š Š =Š Š ‰ b‰ Š
‰ Š Š Š Š‰
Š Š Š Fˆ
p
Kastalsky: Cherubic Hymn 55
B bb ‰ Š Š Š Š ‰. Š ‰ Š ‰ Š
‰ Š Š Š ‰ Š Š Š Š‰ Š #ŠŠ
ˆ
E
p
p
mf
a little faster but without rushing (ne spesha) [i = 96]
73
Vbb #‰‰ Š Š #ˆˆ Š Š Š Š Š‰ Š Š Š Š Š. Še f Š Š
Vbb
A - min’. Ya - ko da Tsa - rya vsyekh po - dï - myem, po -
‰ ‰ ˆ Š Š Š Š ‰ Š Š ‰ Š Š
p
mf
mf
Bbb p p Š Š Š Š ‰ Š
Š
Š
Š
‰
Š
Š
Š . Š Šf Š Š
{
Ya - ko da Tsa - rya vsyekh po - dï - myem, po -
a little faster but without rushing (ne spesha) [i = 96]
V bb #‰ Š Š #ˆ Š Š Š Š Š‰ Š
Š ŠŠŠ Š Š.
‰ Še Š Š
p
mf
B ‰
bb ‰ ˆ Š ŠŠ
Š
Š Š Še t
Š
Š Š . Š e
‰ ‰
Š Š
Amen.
That we may raise on high the King of all,

56 Kastalsky: Cherubic Hymn
mp
78
Vbb ‰ Š Š Š Š Š‰. Š Š Š ‰ Š Š Š Š ‰ Š Š Š Š Š Š
- dï - - myem, An - - - gyel - ski - mi nye -
Vbb Š Š Š Š Š ˆ Š Š Š Š ‰ Š Š ‰ Š Š
Bbb ‰ Š‰ Š Š #‰‰
q p p p
- dï - - myem,
mp
V bb ‰ Š Š Š Š Š Š ˆ Š Š Š Š ‰ Š Š Š Š ‰ Š Š Š Š Š Š
{ B bb ‰ Š Š Š #‰ q mp
‰
Š Š Š Š ‰ q
‰ Š Š
who is invisibly up-borne by the Angelic Hosts.
83
Vbb Š‰.
Š Š Š Š ŠŠ Š Š Š Š. ŠeŠŠ Š f Š Š ‰ Š Š =( )Š Š ‰ Š Š
- vi - di - mo do - ri - no - si - ma chin - - mi. Al - li -
Vbb Š Š Š Š Š Š Š Š Š ‰. Š ‰ ‰ ‰ Š Š
Bbb p p p p q Š Š
p
p
p
Al - li -
V bb ‰. Š Š Š Š Š ŠŠ Š Š Š Š. ‰. Še Š Š ‰ Š
‰ Š Š Š ‰ Š Š
p
{ B bb p p p p q Š Š
Alleluia.

f
88
Vbb ‰ Š Š Š Š Š ‰ Š Š Š Š Š Š Š. ŠeŠ f Š Š ‰ Š Š Š Š
- lu - i - ya, al - li - lu - i - ya, al - li - lu - i -
Vbb ‰ Š Š ‰. Š Š Š Š Š ‰. Š=Š Š Š bŠ Š Š
f
Bbb Š‰ Š Š Š Š ‰ Š Š Š Š Š Š Š Š Š Š Š Š Š ‰ Š Š Š
{
- lu - i - ya, al - li - lu - i - ya, al - li - lu - i -
V bb Š‰ Š Š Š Š ‰. Š Š Š Š Š Š Š. ‰. Še Š Š =Š ‰ Š Š bŠŠ Š Š Š
f
Kastalsky: Cherubic Hymn 57
B bb Š‰ Š Š Š Š ‰
Š Š Š Š Š Š Š Š Š Š Š Š Š ‰ Š Š Š
f
rit.
93
Vbb ‰. Š ‰ Š Š Š Š ‰ Š Š Š Š Š Š ˆF
Vbb
- ya, al - li - lu - - - i - ya.
ˆ ‰ Š Š Š Š ‰. Š ‰ Š Š ˆF
f
f
Bbb#‰. ‰ Š Š Š #‰ Š Š ‰ Š Š Š #‰‰ Š =ŠŠ ‰ Š
Š Š Š #ŠŠ F
Eˆ
{
- ya, al - li - lu - - - i - ya.
rit.
V bb
ˆ ‰. Š ‰ Š Š Š Š ‰. Š Š Š‰
Š Š Š Fˆ
f
B bb #‰.‰ Š Š Š #‰ Š Š ‰ Š Š Š #‰ Š =Š ‰ Š Š Š #Š ˆ
E

58
Psalm 71: 9–13
SOPRANO
ALTO
TENOR
BASS
( for
rehearsal
only)
7. Do Not Reject Me in My Old Age
Adagio
Vb C p p p
Vb C p p p
Vb
[
C p p
Š Š #Š =Š Š ‰ Š =Š ŠŠ
p
Bb C Š Š Š Š Š ‰ Š Š ŠŠŠ. Š Š #Š Š
Nye ot - vyer - zhi me - nye vo vrye-mya
Nye ot - vyer - zhi me - nye vo vrye-mya sta - ros-ti, nye ot -
Adagio
V b C p q #Š =Š Š ‰ Š =Š Š Š
p
{ B b C Š Š Š Š Š Š Š Š Š Š Š Š. Š Š #Š Š
Do not reject me in my old age.
4
Vb p p q Š Š #Š =Š Š ‰
p
Nye ot - vyer - zhi me - nye
Vb p q Š Š Š Š Š ‰ Š Š ŠŠŠ. Š Š
Nye ot - vyer - zhi me-nye vo vrye-mya sta-ros-ti,
Vb=Š. Š Š Š#Š Š Š #Š Š ‰ p p
[
sta-ros-ti, nye ot - vyer - zhi me-nye
Bb ‰. =Š Š ŠŠ‰ p p
- vyer - - zhi me-nye
(Nye otvyerzhi menye vo vryemya starosti)
V b =Š. Š Š Š #Š Š Š #Š Š Š Š
p #Š =Š Š ‰
{ B b ‰. =Š Š ŠŠ‰ V Š Š Š Š Š Š Š Š Š Š. Š Š
p
MAXIM BEREZOVSKY
(1745–77)
f
© Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.

8
Vb Š=Š ŠŠ=Š. Š Š Š #Š ‰ ŠŠ Š r q p
vo vrye-mya sta-ros-ti, nye ot - vyer - zhi me - nye
Vb#Š Š ‰ Š =Š Š ŠŠ Š Š ŠŠŠ. Š Š Š Š Š #Š Š
nye ot - vyer - - zhi me - nye vo vrye-mya sta-ros-ti, nye ot - vyer-zhi me -
Vb p p t Š
[
f
ŠŠŠ. Š Š Š Š Š ŠŠ
Bb p p t Šf
Š Š #Š. Š Š Š =Š Š ŠŠ
f
f
vo vrye-mya sta-ros-ti, nye ot - vyer-zhi me -
vo vrye-mya sta-ros-ti, nye ot - vyer-zhi me -
V b Š =Š Š Š =Š. Š Š Š #Š ‰ ŠŠ Š r Š. Š Š Š Š Š #Š Š
f
{ V b #Š Š ‰ Š =Š Š ŠŠ ŠŠ Š Š # Š. Š Š Š =Š Š Š Š
p
12
Vb q tŠ f
ŠŠ #Š =Š t Š f
ŠŠ=Š bŠ t Š f
ŠŠŠ Š ‰
p
o-sku-dye - va - ti, o-sku-dye - va - ti, o-sku-dye-va - ti krye -
Vb Š. Še Šet r t ŠeŠ ŠŠ Š Š Š ŠŠŠ Š Š Š ŠŠŠ Š
- nye vnye-gda o-sku-dye-va - ti, o-sku-dye-va - ti, o-sku-dye-va - ti
Vb #Š Š ŠŠŠŠ p Š Š ‰ ‰ ‰ Š ŠŠŠ Š
[
- nye vnye - gda o-sku-dye - va - ti krye - po - sti, o - sku-dye-va - ti
Bb Š #Š Š f t r t Šp
f
ŠŠ#Š Š t Š f
ŠŠŠ Š tŠ f
ŠŠŠ Š
- nye vnye - gda o-sku-dye-va - ti, o-sku-dye-va - ti, o-sku-dye-va - ti
V b Š. Še Š Š Š Š #Š t Š =Š t Š e Š =Š bŠ t Š e Š f
Š Š Š Š ŠŠ Š Š Š Š ŠŠŠ Š Š ‰ Š Š
{
p
V b #Š Š ŠŠŠ Š B Š t Š ‰ ‰ ‰ Š f
Š Š #Š Š t Š f
Š Š Š Š tŠ f
Š Š Š Š
Do not forsake me when my strength fails.
Berezovsky: Do Not Reject Me in My Old Age 59

60 Berezovsky: Do Not Reject Me in My Old Age
f
16
Vb#Š. Š ŠŠ‰ p q Š Š Š =Š Š ‰
f
- po-sti mo-yey, Nye ot - vyer - zhi me - nye
Vb Š. Š ŠŠ‰ p p q Š Š
krye - po-sti mo-yey, Nye ot -
f
Vb=Š. Š ŠŠ‰ Šp
Š Š. Š Š Š =Š Š
[
‰ p
krye - po-sti mo-yey, nye o - sta - - vi me-nye.
Bb Š. f
Š ŠŠ‰ Š
p
=Š Š #‰ Š ŠŠ‰ p
krye - po-sti mo-yey, nye o - sta - - vi me-nye.
V b #Š. Š Š Š ‰ Š Š Š. Š Š Š =Š Š Š Š Š =Š Š ‰
f
{ B b
= Š . Š Š Š ‰
p
Š =Š Š #‰ Š ŠŠ ‰ V q Š Š
f
20
Vb Š Š ŠŠŠ. Š Š #‰
f
Vb#Š #Š Š ‰ Š =Š ŠŠ#Š. Š Š Š =Š Š Š Š Š Š Š
- vyer - zhi me - nye vo vrye-mya sta-ros-ti, nye ot - vyer-zhi, nye ot - vyer-zhi,
Vb p p p p
[
Bb p p p p
p
Š =Š =Š Š Š Š Š Š =Š Š
vo vrye-mya sta-ros-ti, nye ot - vyer-zhi, nye ot - vyer-zhi, nye ot -
f
V b Š Š Š Š Š. Š Š #‰ Š =Š =Š Š Š Š Š Š =Š Š
{ V b #Š #Š Š ‰ Š =Š f
Š Š #Š. Š Š Š =Š Š Š Š Š Š Š
p

p
24
cresc.
Vb#Š ŠŠŠ#Š ŠŠ =Š Š ‰ ‰ ‰ Š ŠŠ Š Š Š
- vyer-zhi vnye-gda o-sku-dye - va - ti krye - po - sti, o - sku-dye-va-ti
cresc.
Vb Š Š #Š ŠŠ Š r tŠeŠ ŠŠ Š tŠeŠ ŠŠ Š ‰
p
nye ot - vyer - zhi, vnye - gda o-sku-dye - va - ti, o-sku-dye-va - ti krye -
cresc.
Vb p t Š
[ f
ŠŠ#Š Š tŠ f
ŠŠ=Š Š Š =Š Š Š Š
o-sku-dye-va - ti, o-sku-dye-va - ti, o - sku-dye-va-ti
Bb q t pŠ cresc.
f
ŠŠ#Š =Š tŠ f
ŠŠ#Š =Š tŠ f
ŠŠŠ Š ‰
p
o-sku-dye - va - ti, o-sku-dye - va - ti, o-sku-dye-va - ti krye -
V b #Š Š Š Š #Š Š Š =Š Š ‰ t Š ‰ ‰ Š Š Š Š
f
Š Š Š Š tŠ f
Š Š Š Š ‰
p
{ V b Š Š #Š Š Š Š B #Š Š Š =ŠŠ Š #Š t Š t Še Š Š =Š =Š Š Š Š
f Š Š #Š =Š tŠ f Š Š Š
cresc.
Š ‰
f
28
Vb Š. Š ŠŠ‰ p p p
f
krye - po-sti mo-yey,
p
SOLO
Vb Š. bŠ ŠŠ‰ Š Š Š. Š Š Š ŠŠ‰ p
f
p
- po-sti mo-yey, nye o - sta - - vi me-nye.
Berezovsky: Do Not Reject Me in My Old Age 61
SOLO
Vb Š. Š ŠŠ‰ Š
[
Š Š ‰ Š ŠŠ‰ q Š Š
f
SOLO
Bb Š. Š ŠŠ‰ p q
pŠ Š Š Š Š ‰
krye - po-sti mo-yey, nye o - sta - - vi me-nye. Nye ot -
- po-sti mo-yey, Nye ot - vyer - zhi me - nye
V b Š. bŠ Š Š ‰ Š Š Š. Š Š Š ŠŠ ‰ p
{ B b
Š f . Š
Š
Š
p
‰ Š Š Š ‰ Š Š Š ‰ Š Š Š Š Š Š Š

62 Berezovsky: Do Not Reject Me in My Old Age
32
SOLO
Vb p p p q t Š f
ŠŠ
- vyer - zhi me - nye vo vrye-mya sta-ros-ti, nye ot - vyer-zhi, vnye-gda o-sku-dye-
Vb p p p p
Vb Š Š Š ‰ ŠbŠf
ŠŠŠ. Š Š ‰ p bŠ Š #Š ŠŠŠŠŠŠ
[
Bb
Š Šf
ŠŠŠ. Š Š Š Š Š Š Š Šp
Š ‰ Š ŠŠŠ r
vo vrye-mya sta-ros-ti, nye ot - vyer - zhi, nye ot - vyer - zhi, vnye-gda
V b Š Š Š ‰ Š bŠ Š Š Š. Š Š ‰ bŠ Š #Š r t Š f
Š Š
{ B b
Š
f
p
Š Š Š Š. Š Š Š Š Š Š Š Š Š ‰ Š #Š Š Š Š Š Š
r
36
Vb Š Š ‰ ‰ ‰ Š ŠŠŠ Š p
- va - ti krye - po - sti, o - sku-dye-va - ti
Vb t ŠeŠ ŠŠ Š Š Š ŠŠŠ Š Š Š ŠŠŠ Š Š. Š ŠŠ Š
o-sku-dye-va - ti, o-sku-dye-va - ti, o-sku-dye-va - ti krye - po - sti mo -
Vb#Š =Š t Š
[ f
ŠŠ=Š bŠ t Š f
ŠŠ‰ ‰ p
- va - ti, o-sku-dye - va - ti, o-sku-dye - va - ti
Bb t Š f
ŠŠ#Š Š t Š f
ŠŠŠ Š tŠ f
ŠŠŠ Š #Š Š Š Š
o-sku-dye-va - ti, o-sku-dye-va - ti, o-sku-dye-va - ti krye-po - sti mo -
V b Št Š ‰ ‰ ‰ Š Š Š. f
Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š
{ B b #Š t Š =Š t Še Š =Š bŠ t Še Š f Š Š #Š Š t Š ‰ ‰ #Š Š Š Š
f Š Š Š Š t Š f Š Š Š Š
o-sku-dyep

40
TUTTI
Vb p p t Š f
ŠŠŠ. Š ŠŠ bŠ. Š ŠŠŠ =Š
vo vrye-mya sta-ros-ti, vnye - gda o-sku-dye-va -
TUTTI
Vb ‰ q p t =Š f
ŠŠŠ. Š ŠŠ Š. Š ŠŠŠ Š
p
- yey, vo vrye-mya sta-ros-ti, vnye - gda o-sku-dye-va -
TUTTI
Vb p
[
Š Š #Š =Š Š ŠŠŠŠ#Š. Š ŠŠ =Š. Š ŠŠ=Š bŠ
Nye ot - vyer-zhi me - nye vo vrye-mya sta-ros-ti, vnye - gda o-sku-dye-va - ti
- yey,
Bb ‰ Š Š q Š Š ‰ q t #Šf
Š
ŠŠŠ. Š ŠŠ#Š. Š ŠŠŠ #Š
p
TUTTI
Nye ot - vyer-zhi me - nye
f
f
f
vo vrye-mya sta-ros-ti, vnye - gda o-sku-dye-va - ti
V b ‰ q p t =Š Š Š Š. Š Š Š bŠ. Š Š Š Š = Š
{ B b ‰ Š Š Š Š Š #Š =Š Š Š
f
Š Š
#Š Š Š #Š. Š Š Š #=Š. Š Š Š =Š # b Š
44
Vb Š Š Š. #Š ŠŠ ‰ p Fq #Šp
Š Š. Š Š. f
Š Š#Š ŠŠ 34
- ti krye- po-sti mo - yey, nye o - sta - - - vi me -
p
Vb Š Š
F
Š. Š ŠŠ ‰ q
p
Š Š Š. Še Š. Š Š Š ŠŠ 34
- ti krye- po-sti mo - yey, nye o - sta - - - vi me -
p
Vb
[
‰ Š. Š ŠŠ #‰
Fq p p 34
krye - po-sti mo - yey,
Bb Š Š Š Š Š. p
Š ŠŠ ‰
Fq p p 34
krye - po-sti mo - yey,
Berezovsky: Do Not Reject Me in My Old Age 63
V b Š Š Š . #Š Š Š ‰ Fq #Š Š Š . Š Š. f
Š Š #Š Š Š 34
{ B b Š ‰ Š Š Š p p
Š. Š Š Š # ‰ Eq p p 34

S.
A.
T.
B.
64 Berezovsky: Do Not Reject Me in My Old Age
Allegro
48
Vb 34 Š Š Š Š Š Š ‰ ‰.. Š ŠŠ ŠŠ Š Šr Šr
Bb 34 r
f
- nye. Ya - ko rye - sha vra - zi mo - i mnye, i strye -
#ŠŠ Š #ŠŠ Š Š ‰. Š #ŠŠ Š Š
f
For my enemies talk about me,
r r
and those who
53
Vbb‰. p Š. bŠ p p p p
f
Š b‰ Š #Š Š Š Š ‰.
- gu - - schi - i du - shu mo - yu, i strye - gu - -
p p
Bb
p p p
r
Š Š Š. Š f Š #‰ ŠŠ #Š r r r
Š Š
i strye - gu - schi - i du - shu mo - yu, i strye -
watch for my soul
58
Vb Š. Šp p p p p
f
Š ‰ Š =Š Š Š Š ‰. Š. Š f
Š
Bb
- schi - i du - shu mo - yu, i strye - gu - - schi - i
Š. Šp p p p p
f =Š =‰ ŠŠ Š r r r Š Š #Š. Š f =Š
- gu - schi - i du - shu mo - yu, i strye - gu - schi - i
63
Vb ‰ pŠ Š Š Šp Š Š Š
p
Š #‰. r Š Š Š‰.
Š Š
Bb
so - vye - scha - sha
du - shu mo - yu, so - vye - scha - sha vku - pye,
p p p p p
‰ ŠŠ ‰ r
du - shu mo - yu,
f
conspire together, saying:
f

68
Vb#‰. ‰ Š ‰ .
‰ Š b‰.
r
Š Š Š Š ‰
vku - pye, so - vye - scha - - -
so - vye - scha - sha, so - - vye -
Bb r fŠ Š Š Š Š #‰. Š
p p
Š Š‰. Š Š Š
r
‰.
Š Š
so - vye - scha - sha vku - pye, so - vye -
f
Berezovsky: Do Not Reject Me in My Old Age 65
so - vye - scha - sha vku - -
- sha
73
Vb ‰ Š ‰ Š #ŠŠ Š Š Š. ŠeŠ Še p
f
ŠŠ Š. Š f
Š
Bb
- scha - sha
- scha - sha
vku - pye, gla - go - lyu-sche, gla - go - lyu-sche:
Š #‰ Š #Š. Še Š Š #Š. Še ‰. bŠ Š Š Š. Š f
ŠŠ Š. Š f
Š
- pye,
p
78
Vb ‰ Š ‰ Š #‰‰ Š ‰ Š ‰ Š
Bb
‰ Š b =‰
=Š ‰ Š ‰ Š ‰ Š ‰ Š
Bog o - sta - vil yest’ ye - go, o - sta - vil
God has forsaken him;
83
Vb ‰‰ Š Š #‰‰ =Š Š ‰ Š ‰ Š ‰ r
Bb
=
# b‰ Š Š Š
‰ Š ‰ Š ‰ Š ‰ Š ‰ r
yest’ ye - go, o - sta - vil yest’ ye - go, po - zhe -
f
pursue and

S.
A.
T.
B.
66 Berezovsky: Do Not Reject Me in My Old Age
88
Vb p p p p p r Š Š
f
po - zhe -
Vb p p r Š Š Š. Š f Š Š Š. ŠeŠ Š ‰ Š
po - zhe - ni - tye i i - mi - tye ye - go, ya -
Vb Š. Š
[ f bŠ Š Š. ŠbŠ Š f ‰ r r Š Š Š =Š Š ‰ Š
- ni - tye i i - mi - tye ye - go, ya - ko nyest’ iz - ba - vlya -
Bb p p p p p p
V b p p r Š Š Š. Š f Š Š Š. Še Š Š ‰ r Š Š
{ B
Š. Š bŠ
b f
Š Š. Š bŠ Š f ‰ Š Š Š =Š Š ‰ Š
r r
take him,
for no one will rescue him.
94
Vb Š. Š f bŠ Š Š. ŠbŠ Š f
‰ r r Š Š Š =Š Š Š. Š f ŠbŠ
- ni - tye i i - mi - tye ye - go, ya - ko nyest’ iz - ba - vlya -
VbŠ Š Š Š Š Š ‰. ‰. ‰. ‰.
- ko nyest’ iz - ba - vlya - - - - yay,
Vbb‰. ‰. ‰. Š Š Š Š Š Š ‰.
[
Bb p p r
Šf
Š Š. Š f Š Š Š. Š Š Š f ‰
- - - - yay, nyest’ iz - ba - vlya -
po - zhe - ni - tye i i - mi - tye ye - go,
V b Š. Š ŠebŠŠ Š Š. Š Š ŠebŠŠ Š ‰. r ‰. r Š Š Š ‰. =Š Š Š. ‰. Še Š bŠ
{ B b b‰ . ‰. ‰. r
Š Š Š Š. Š Š Š Š Š ‰. f Š Š Š. Š Š Š f ‰ r
f
r

Berezovsky: Do Not Reject Me in My Old Age 67
100
Vb ‰. ‰. r Š Š Š Š Š ‰. ‰ r
- yay, nyest’, ya - ko nyest’ iz - ba - vlya - yay,
VbŠ Š Š Š ‰ ‰. ‰. ‰. Š bŠ r
nyest’ iz - ba - vlya - yay, po - zhe - ni - tye
Vb Š. Š
[ f bŠ Š b‰. ‰. ‰. ‰. Š. ŠeŠ Š
Bb r
Š Š Š Š Š ‰. ‰. Š. ŠeŠ Š bŠ Š r
- - - - - yay, po - zhe -
ya - ko nyest’ iz - ba - vlya - yay, po - zhe - ni - tye,
V b Š‰. ŠŠŠ ‰. r Š Š Š Š Š ( )
Š ‰ ‰. ‰. ‰. ‰ Š bŠ r
{ B Š. ŠebŠ Š b‰.
b r
Š Š Š Š Š ‰. ‰. ‰. Š. Š Š Š bŠ. Š Še Š Š
f r
106
Vb r Š Š Š Š r r Š Š Š Š r r bŠ Š bŠ Š Š
po - zhe - ni - tye i i - mi - tye, i i - mi - tye ye -
Vb ‰ Š Š Š r ‰ Š Š Š r ‰ Š ‰.
i i - mi - tye, po - zhe - ni - tye i i - mi -
Vb Š Š
[
r Š. ŠeŠ Š Š Š r Š. Š Š Š bŠ Š f r ‰ Š
- ni - tye, po - zhe - ni - tye, po - zhe - ni - tye i i -
BbbŠ. ŠeŠ Š Š Š r Š. ŠbŠ Š Š Š f r Š. bŠ Š Š Š. Š Š Š f f
po - zhe - ni - tye, po - zhe - ni - tye, po - zhe - ni - tye i i -
V b ‰ r Š Š ŠŠ Š r ‰ r Š Š ŠŠ Š r ‰ r bŠ Š bŠ‰.
Š Š
{ B b bŠ. Š Š Š Š r Š Š. Š Š Še Š Š Š Š r Š. Še Š Š bŠ Š r ‰ f r Š. Š bŠ Š Š Š f r
Š. bŠ Š Š Š. Š Š Š f f

68 Berezovsky: Do Not Reject Me in My Old Age
112
Vb Š Š Š Š Š Š Š Š Š Š Š Š ‰ Š Š r r
- go, i i - mi - tye ye - go, ya - ko nyest’ iz - ba - vlya - yay, nyest’,
Vb‰ Š Š Š Š Š Š Š ‰. Š ‰ Š r r
- tye ye - go, ya - ko nyest’ iz - ba - vlya - - yay, nyest’,
Vb ‰. ‰ Š Š Š Š Š Š Š ‰ bŠ Š
[
r r
- mi - tye ye - go, ya - ko nyest’ iz - ba - vlya - yay, nyest’,
Bb
‰. Š Š =Š Š Š bŠ Š Š Š ‰ Š Š r r
- mi - - tye ye - go, ya - ko nyest’ iz - ba - vlya - yay, nyest’,
V b ‰ Š Š Š Š‰ Š Š Š Š Š ‰. Š Š Š ‰ Š ‰ Š Š r r
{ B b
‰. Š Š =Š Š Š bŠ Š Š Š ‰ b Š Š r r
Vb Š r r bŠ Š Š b‰ Š ‰ Š Š ‰ ‰ F
118
r
nyest’, nyest’ iz - ba - vlya - - - - yay.
VbŠ r r Š Š Š ‰ Š Š Š Š ‰ Š ‰ F r
nyest’, nyest’ iz - ba - vlya - - - - yay.
Vb Š
[
r r
Š Š Š ‰. ‰. ‰. ‰ F r
nyest’, nyest’ iz - ba - vlya - - - - yay.
Bb Š r r Š Š Š ‰. ‰. ‰. ‰ F r
nyest’, nyest’ iz - ba - vlya - - - - yay.
V b Š r r b Š Š Š b‰ ‰ Š ‰ Š Š Š Š ‰ ‰ Š ‰ F
r
{ B
‰
b Š r r Š Š Š ‰. ‰ . ‰ . ‰ rE

S.
A.
T.
B.
124 Adagio
Vb ‰ p
Š ‰ p
r p p p
Bb
p
Bo - zhe moy,
Š SOLI
‰ #Š ‰ r
Š #ŠŠ Š ‰ Š #‰ Š Š Š
p
O my God, do not be far from me,
Berezovsky: Do Not Reject Me in My Old Age 69
nye u - da - li - sya ot me -
Bo - zhe moy, nye u - da - li - sya,
129
SOLO
Vb r Šp Š =‰. r Š Š =‰. Š Š Š bŠ Š‰. Š Š bŠ ‰. Š Š | Š Š Š #Š
SOLO
Bo - zhe moy, nye u - da - li - sya, nye u - da -
Bb#‰ ‰ r p p p p
- nye.
nye u - da - li - - - sya ot me - nye.
cresc. f p
134
VbbŠ Š/Š Š =Š ‰. Š
p
‰ Š Š Š Š | Š Š Š #‰
Š/ Š bŠŠ Š Š/ ŠbŠ #‰‰ Š TUTTI
Š Š
- li - sya, nye u - da - li - sya ot me - nye. Bo - zhe
Bb p p p p r
TUTTI
Š Š
O my God,
Rinforzato
139
cresc.
f p
Vb‰ ‰ r =ŠŠ Š Š =‰ ‰ Š F
‰ r ‰. #‰.
24
Bb
‰ b
r Š Š Š ‰ Š ‰
b‰. ‰.
r ‰.
E
‰.
moy, v po-mosch mo - yu von - mi, von - mi.
hurry to help me.
cresc. f p
p
24

S.
A.
T.
B.
70 Berezovsky: Do Not Reject Me in My Old Age
145
Vb [Moderato]
24 p p p p p p
Vb 24 p p p t Še ŠŠ b‰ Š Š Š
Vb
[
24 tŠ f
ŠŠ ‰ Š Š Š Š. =Š Še t t Š f
ŠŠ#Š. Š ŠŠ
Da po - sti - dyat - sya i iz - chez - nut o - klye-vye - ta - yu schi - i
Bb 24 p p p p p p
f
Da po - sti - dyat - sya i iz -
V
[Moderato]
b 24 p p p t Še ŠŠ b‰ Š Š Š
{ B b 24 t Šf
f
Š Š ‰ Š Š Š Š. =Š Š f t t
Š Š Š f #Š. Š Š Š
f
Let my accusers be disappointed and consumed.
151
Vb tŠ f
ŠŠ ‰ Š Š Š Š. =ŠŠe t t Š f
ŠŠ#Š. Š ŠŠ
Da po-sti - dyat - sya i iz - chez - nut o-klye-vye - ta - yu-schi - i
Vb Š. Š Še t tŠ f
ŠŠ#Š. Š ŠŠ Š Š p Š ŠŠ
- chez - nut o-klye-vye - ta - yu-schi - i du - shu, du - shu mo -
Vb Š Š p Š ŠŠ ‰ ‰ Š Š
[
du - shu, du - shu mo - yu, da po - sti -
Bb p p p t Šf
ŠŠ b‰ Š Š Š
Da po-sti - dyat - sya i iz -
V b tŠ f
ŠŠ ‰ t Š Š Š Š Š. =Š Š t Š f
Š Š f
Š Š #Š. Š ŠŠ Š #Š. Š Š ŠŠ
{ B Š. Š Š
b p Š Š Š ‰ t Š b‰ f
ŠŠ Š Š Š

Berezovsky: Do Not Reject Me in My Old Age 71
157
Vb Š ŠŠ Š Š Š Š Š =Š ‰ Š Š
du - shu mo - yu, da po - sti - dyat - sya, da po - sti -
Vb Š Š Š Š =‰ Š r Š Š ‰
- yu, da po - sti - dyat - sya, i iz - chez -
Vb ŠŠŠŠ ‰ ‰ t Š
[
f
ŠŠ‰ Š Š
Bb Š. Š Š t t Š
f
f
Š Š #Š. Š ŠŠ Š Š t Š f
Š Š #Š. Š ŠŠ
- dyat-sya i iz - chez - nut o-klye-vye - ta - yu - schi -
- chez - nut o-klye-vye - ta - yu-schi -i du - shu, o-klye-vye - ta - yu-schi -i
V b Š Š Š Š Š‰ Š =‰ Š Š Š =Š ‰ Š Š Š‰
Š
{ B b Š. Š Š t t Š
f
f
Š Š t
#Š. Š ŠŠ Š Še Š Š ‰ t Š Š Š f
Š Š #Š. Š ŠŠ
163
Vb Š Š ‰ Š Š Š Š Š Š #‰
- dyat - sya, da po - sti - dyat - sya i iz - chez -
Vb ‰ Š Š ‰ ‰ Š ŠŠ Š ŠŠ
- nut, i iz - chez - nut o - klye-vye - ta - yu-schi -
Vb ŠŠŠŠ ‰ Š Š ŠŠŠŠ Š. Š ŠŠ Š =Š Š
[
- i, o-klye-vye - ta - yu - schi - i, o-klye-vye - ta - yu-schi - i du - shu mo -
Bb Š Š t Š f
ŠŠ Š. Š ŠŠ Š Š Š ŠŠ ‰
du - shu, o-klye-vye - ta - yu-schi - i du - shu, du - shu mo - yu,
V b ‰ Š Š ‰ Š Š Š‰ Š Š‰ Š Š Š Š #‰ Š ŠŠ
{ B Š Š ‰
b Š Š t Š Š Š Š Š Š. Š Š Š Š f
Š Š Š. Š ŠŠ Š Š Š ‰ =Š Š

72 Berezovsky: Do Not Reject Me in My Old Age
169
Vb ‰ t Š f
Š Š #Š. Š ŠŠ Š Š p r Š Š Š
- nut o-klye-vye - ta - yu-schi-i du - shu, du - shu mo -
Vb ‰ p p r Š Š Š =‰ t Še ŠŠ
- i du - shu mo - yu, da po-sti -
Vb Š Š Š Š #‰ t Š
[
f
ŠŠ=‰ Š Š Š Š.=ŠŠe t
- yu, du - shu mo - yu, da po-sti - dyat - sya i iz - chez-nut
Bb t Š f
ŠŠ ‰ =Š Š Š =Š.#ŠŠ t t Š f
f Š Š #Š. Š ŠŠ Š Š
f
da po-sti- dyat - sya i iz - chez-nut o-klye-vye - ta - yu-schi-i du - shu,
V b ‰ t Š f
Š Š #Š. Š ŠŠ Št Š
Š Š Š r Š Š Š
f
ŠŠ =‰ =‰ t Š f
ŠŠ
{ B b
Št Š Š Š Š =#‰ =Š. #Š Š t t Š f f
Š Š Š Š Š Š. f
ŠŠ ‰ Š Š Š #Š. Š ŠŠ Š =ŠŠ
f
176
Vb Š r p t Š f
ŠŠ=‰ Š Š Š Š. =ŠŠe t r Š
- yu, da po-sti - dyat - sya i iz - chez-nut, i
Vb ‰ =Š Š Š Š. #ŠŠe t tŠ f
ŠŠ#Š. Š ŠŠ ‰ Š Š
- dyat - sya i iz - chez-nut, o-klye-vye - ta-yu-schi-i du - shu mo -
Vb t Š
[ f
Š Š #Š. Š ŠŠ Š Š p r Š Š Š Š r
o-klye-vye - ta-yu-schi-i du - shu, du - shu mo - yu,
Bb r Š =Š Š ‰ r Š Š Š Š Š Š Š #Š. Š ŠŠ
du - shu mo - yu, du - shu mo - yu, o-klye-vye - ta-yu-schi-i
V b ‰ Š r =Š Š Š
t
Š. Še
#Š ŠŠ=‰ Š Š
r t Š f
Š Š #Š. Š ŠŠŠ Š. Š =ŠŠ Š Š
t Še
{ Š
B b
=#Š. Š Š Š Š
r Š Š
Š
Š
r Š Š Š ‰ Š Š Š Š #Š. Š ŠŠ r
f

183
Vb Š Š Š Š t Š f
ŠŠ =Š. Š ŠŠ ‰ Š =Š
iz - chez - nut o-klye-vye - ta - yu-schi-i du - shu mo -
Vb b( ) ‰ ‰ ‰ ‰ ‰ ‰
- yu, da po - sti - dyat - sya
Vb t Š
[ f
ŠŠ#Š. Š ŠŠ ‰ Š Š Š r r
Š
o-klye-vye - ta - yu-schi-i du - shu mo - yu, da
Bb Š Š ‰ =Š Š ‰ ŠŠŠŠŠ. Š ŠŠ
du - shu, da po - sti - dyat - sya o-klye-vye - ta - yu-schi-i
V b ‰ Š Š Š‰ Š ‰
t Še Š Š =Š. ŠŠ
Š Š ŠŠ Š ‰ Š ‰ =Š
{ B
tŠe Š
b Š Š #Š. ‰ Š Š Š ‰ Š Š ‰
Š
ŠŠŠr Š Š. Š ŠŠ
189
Vb ŠŠŠŠbŠ. Š ŠŠ Š Š p p t Š f
ŠŠ
f
Berezovsky: Do Not Reject Me in My Old Age 73
- yu, o-klye-vye - ta - yu-schi - i du - shu, da po- sti -
Vb Š Š Š Š t Še ŠŠ ‰ Š Š Š Š. Š Še t
i iz - chez - nut, da po- sti - dyat - sya i iz - chez - nut
Vb Š Š Š Š Š Š t Š
[
f
ŠŠ=Š. Š ŠŠ Š Š
Bb ‰ Š ŠŠ ‰ r Š Š Š ‰
po - sti - dyat - sya o-klye-vye - ta - yu-schi - i du - shu,
du - - shu mo - yu, du - shu mo - yu,
V b ŠŠŠŠ Š bŠ. Š Š ŠŠŠ ŠŠŠŠŠ ‰ t Š Š Š Š
t Še ŠŠ
f
Š Š Š. Š r
{ B b ‰ Š ŠŠ Š Š r Š =Š. Š Š ŠŠŠ Š
‰
Š
f

74 Berezovsky: Do Not Reject Me in My Old Age
195
Vb ‰ Š Š Š Š. Š Še t t Š f
ŠŠ=Š. Š ŠŠ Š Š
- dyat - sya i iz - chez - nut o-klye-vye - ta - yu-schi - i du - shu,
Vb t Še ŠŠ Š. Š ŠŠ Š Š p r Š Š Š
o-klye-vye - ta - yu-schi - i du - shu, du - shu mo -
Vb p ‰ Š Š ‰ ‰ t Š
[
f
ŠŠ
Bb p p tŠf
ŠŠ ‰ Š Š Š Š. Š Še t
da po - sti - dyat - sya, da po- sti -
da po- sti - dyat - sya i iz - chez - nut
V b ‰ t Š Š Š Š Š. Š Š t Š f
Š Š =Š. Š ŠŠ Š Š
f
Š Š ‰ r Š
{ B b p Š. Š Š Š Š
tŠŠ ‰ ‰ t Še Š
f
ŠŠ Š Š Š Š. Š Š t f
201
Vb p p t Š f
ŠŠbŠ.Š ŠŠ‰ ‰ t Š f
ŠŠ
o-klye-vye - ta-yu-schi - i du - shu, o-klye-vye-
Vb ‰ ‰ ‰ Š Š Š r r Š Š Š
Vb ‰ Š ŠbŠ
[
Š. Š Še t p t Š f
ŠŠŠ. Š ŠŠ=‰
Bb tbŠ f
ŠŠŠ.Š ŠŠ ‰ Š ŠŠŠ Š =Š Š ‰
- yu, du - shu mo - yu, da po - sti -
- dyat - sya i iz - chez-nut o-klye-vye - ta-yu-schi-i du -
o-klye-vye - ta-yu-schi-i du - - shu mo-yu, da po - sti - dyat -
V b ‰
t Še Š Š bŠ. Š ŠŠ‰ ‰ t
‰ Š e
Š r ‰ Š Š Š r r Š Š Š
Š
{ B b t bŠ f
Š Š Š. Š Š Š Š.
t
Š Š Š Š ŠŠŠ Še
Š Š =Š. Š Š Š ‰
f

208
VbŠ. Š ŠŠ Š Š tŠ f
ŠŠ Š. Š ŠŠ =‰ =Š Š
- ta - yu-schi - i du - shu, o-klye-vye - ta - yu-schi - i du - shu mo -
Vb ‰ Š Š Š Š ‰ ‰ ‰
- dyat - sya, da po - sti - dyat - sya i
Vb Š Š Š Š ‰ #Š Š Š Š ‰
[
- shu mo - yu, du - - shu mo - yu, da po -
Bb
Š
Š tŠ f
ŠŠ ‰ ‰ t Š f
ŠŠ Š. Š ŠŠ
- sya, da po-sti - dyat - sya o-klye-vye - ta - yu-schi -i
V bŠ. Š Š ŠŠ Š Š
t
Š Š Še
Š Š #Š. Š ŠŠ Š =‰ =Š Š
r Š ‰
{ B b
Š
Š tŠ f
ŠŠ ‰ ‰ t Š f
Š Š Š. Š ŠŠ
214
Vb ŠŠŠŠ#‰ #Š Š ‰ p p p
- yu, o-klye-vye - ta - yu - schi - i,
Berezovsky: Do Not Reject Me in My Old Age 75
Vb ‰ ‰ ‰ ‰ p r Š Š Š
iz - chez - - - nut, i iz -
Vb ‰ ‰ ‰ tŠ
[
f
ŠŠ ‰ ‰ Š Š
Bb Š Š t Š f
ŠŠ Š. Š ŠŠ Š Š p t Šf
ŠŠ b‰
- sti - dyat - sya, da po-sti - dyat - sya i iz -
du - shu, o-klye-vye - ta - yu-schi-i du - shu, da po-sti - dyat -
V b ‰ ŠŠŠ Š #‰ #Š ‰ Š ‰ ‰ ‰ r Š Š Š
{ B b Š ‰ Š ‰ t Š ‰ t Še Š p t Š f
ŠŠ b‰
f Š Š Š. Š ŠŠ Š f
Š
f

76 Berezovsky: Do Not Reject Me in My Old Age
f
221
Vb p tŠ f
ŠŠ ‰ ‰ ‰ #Š Š ‰
da po-sti - dyat - sya i iz - chez - nut
Vb ‰ ‰ p t Še ŠŠ ‰ Š Š Š Š. Š Še t
- chez - nut, da po-sti - dyat - sya i iz - chez - nut
p cresc.
Vb#‰ ‰ ‰ #Š
[
r p p r Š
- chez - - - nut, i
Bb Š Š Š Š. Š Š ŠŠŠŠ ‰ Š Š Š #Š ŠŠŠŠ
p
f
- sya i iz - chez - nut, da po-sti - dyat - - - sya o - klye-vye -
V b # ‰ ‰
t Še ŠŠ ‰ ‰ t Š ‰ #Š f
ŠŠ Š Š Š ‰ Š. Š Š
{ B b Š Š Š ‰ Š. ŠŠ
‰
ŠŠŠŠ #Š‰
r Š
p cresc.
Š Š #Š ŠŠŠ Š
p cresc.
228
Vb p p p t Še ŠŠŠ. Š ŠŠ t#Š f
ŠŠ
p cresc.
o-klye-vye - ta - yu-schi - i, o-klye-vye -
Vb t Še ŠŠŠ. Š ŠŠt Š f
ŠŠ ‰ Š ŠŠ ŠŠŠŠ
Vb Š #Š ‰ ‰ #Š Š ŠŠŠ. Š ŠŠ t Š
[
f
ŠŠ
cresc.
Bb Š. Š ŠŠtŠ f
ŠŠŠ. Š ŠŠ ‰ ‰ ‰
o - klye-vye - ta - yu-schi - i, o - klye-vye - ta - - yu-schi - i, da po - sti -
iz - chez - - - nut, o-klye-vye - ta - yu-schi - i, o-klye-vye -
- ta - yu-schi - i, o - klye-vye - ta - yu-schi - i du - shu mo -
V b t Še Š Š Š. Š Š Š t
Š #Š ‰ ‰ Še Š Š ŠŠŠ Š Š. Š Š ŠŠ Š #Š Š Š
{ B b Š. Š Š Š tŠ f Š Š Š. Š Š Š #Š ‰ Š Š Š Š. ‰ Š Š Š ‰

234
Vb Š. Š ŠŠ t Š f
ŠŠ Š Š Š Š Š Š Š Š
- ta - yu-schi-i, o-klye-vye - ta - - - - -
Vb Š Š Š #Š ‰ t Š f
ŠŠ Š. Š ŠŠ t Še ŠŠ
- dyat - - sya o-klye-vye - ta - yu-schi-i, o-klye-vye -
Vb Š. Š ŠŠ ‰ Š. Š
[
f Š Š #Š Š =Š Š#Š Š
Bb ‰ ‰ ‰ ‰ ‰ ‰
- ta - yu-schi - i du - shu mo - yu, du - shu mo - yu, o-klye-vye -
- - - - - - -
V b Š . Š Š Š Š
t
Še #Š Š Š Š‰ Š ŠtŠ Š Š Š f
Š Š Š. Š ŠŠ t Š f
Š Š
{ B b ‰ ‰ Š. ‰ Še Š‰ Š #Š‰ Š =Š‰
Š #Š Š
f
240
Vb Š Š Š #Š Š ŠŠŠŠ ‰ ‰ ‰ #‰
f
Berezovsky: Do Not Reject Me in My Old Age 77
- - yu-schi - i, da po-sti - dyat - - - -
Vb Š. Š ŠŠ Š ŠŠ ‰
p t ŠeŠ Š ‰ ‰
- ta - yu-schi-i du - shu mo - yu, da po-sti - dyat - -
Vb Š Š Š Š Š ŠŠ ‰ f p p tŠ
[
f
ŠŠ ‰
- ta - - yu-schi - i, da po-sti - dyat -
Bb ‰ ‰ ‰
f
ŠŠŠŠ ‰ Š Š Š Š Š Š
- - - yu, da po-sti - dyat - - -
V b Š. Š Š ŠŠ Š #Š Š ŠŠŠŠ ‰
‰
‰ t Š #‰ f
ŠŠ ‰ ‰
{ B Š Š Š Š
b ‰ ‰ ŠŠŠŠ ‰
t
( )
‰ Š Še Š Š ‰ Š Š Š Š

78 Berezovsky: Do Not Reject Me in My Old Age
247
Vb ŠŠŠŠ Š. Š ŠŠ Šp
ŠŠ#Š Š ŠŠ #Š Š ŠŠ f ŠŠr
F
- sya o-klye-vye - ta - yu-schi - i du - shu mo - yu, da-po-sti - dyat-sya i iz - chez-nut
p
Vb ŠŠŠŠ Š. Š ŠŠ
f
Š ŠŠ ŠŠŠŠ ŠŠŠŠ ŠŠr
F
- sya o-klye-vye - ta - yu-schi - i du - shu mo - yu, da-po-sti - dyat-sya i iz - chez-nut
Vb ŠŠŠŠ Š. Š ŠŠ Šp
ŠŠ ŠŠŠŠ ŠŠŠŠ f
[
ŠŠr
F
- sya o-klye-vye - ta - yu-schi - i du - shu mo - yu, da-po-sti - dyat-sya i iz - chez-nut
Bb ŠŠŠŠ Š. Š ŠŠ Šp
ŠŠ ŠŠŠŠ Š f
Š ŠŠ ŠŠr
F
- sya o-klye-vye - ta - yu-schi - i du - shu mo - yu, da po-sti - dyat-sya i iz - chez-nut
V b Š Š Š Š Š . Š Š Š Š Š Š #Š Š Š Š #Š Š Š Š Š Š F
r
{ B b ŠŠŠ Š Š. Š ŠŠ Šp
ŠŠ ŠŠŠŠ Š f
Š ŠŠ Š Š Er
C
C
C
C
C
C
253
Vb C tŠ p
f
ŠŠ‰ Š. Š ŠŠ#Š Š Š #Š Š ‰F
Adagio
o - klye-vye - ta - - yu-schi - i du - - shu mo - yu.
Vb C q t =Š
p
f
ŠŠ Š. Š ŠŠ‰ Š. Še F ‰
o - klye-vye - ta - yu-schi - i du - shu mo - yu.
Vb
[
C tp
(1)
Š f
ŠŠ‰ Š. Š ŠŠŠ Š Š ŠŠ‰ F
o - klye-vye - ta - - yu-schi - i du - - shu mo - yu.
Bb C q t #Šp
(2)
f
ŠŠ Š. Š Š Š ‰ Š ŠŠ
F‰
o - klye-vye - ta - yu-schi - i du - - shu mo - yu.
V b C t Š f
Š Š ‰ t =Š #Š Š Š #Š Š f
Š Š Š. Š Š Š ‰ Š. F
Adagio
‰
{ B b C t
Šp
Š Š ‰ Š Š
f t #Š f
Š Š Š. Š Š Š ‰
Š. Še ‰
E
(1) Manuscript ADD. 24288 in the British Library includes three E quavers instead of three Fs (a semitone lower). This
version of the tenor line is not followed in the extant published editions.
(2) This same manuscript has: B b Š. Š ŠŠ‰
Š. Še ‰ F
- ta - yu-schi-i du - shu mo-yu.

79
All-night Vigil
SOPRANO
ALTO
TENOR
BASS
( for
rehearsal
p
Andante molto sostenuto
cresc. poco a poco
Vbbb 42 ‰. Š ‰ Š Š ‰. Š Š ŠŠŠ Š Š ŠŠŠ Š Š Š Š Š 32
Svye - tye ti - khiy svya - tï - ya sla - vï Byez - smyert - na - go, Ot-tsa Nyep
cresc. poco a poco
Vbbb 42 ‰. Š ‰ Š Š Š ‰ Š ‰ Š Š ‰. Š Š Š Š Š 32
Svye - tye ti - khiy svya - tï - ya sla - vï Byez-smyert - na - go, Ot-tsa Nyep
cresc. poco a poco
Vbbb
[
42 ‰. Š ‰ Š Š Š ‰ Š ‰ Š Š ‰. Š ŠŠŠ Š Š Š Š Š 32
Svye - tye ti - khiy svya - tï - ya sla - vï Byez - smyert - na - go, Ot-tsa Nyep
cresc. poco a poco
Bbbb 42 ‰. Š ‰ Š Š Š ‰ Š ‰ Š Š ‰ . ŠŠŠ Š Š Š 32
V bbb 42 ‰ .
Š
{ B bbb 42 ‰ . Š
Svye - tye ti - khiy svya - tï - ya sla - vï Byez-smyert - na-go, Ot-tsa Nye-
‰
‰
Andante molto sostenuto
Š Š ‰. Š Š Š Š ŠŠ ‰ . Š Š Š Š Š
Š ‰ Š ‰ Š Š Š Š 32
Š Š Š ‰ Š ‰ Š Š ‰ . Š Š Š Š Š Š 32
only)
p cresc. poco a poco
Gentle light of the holy glory of the Father immortal, heavenly, holy, blessed Jesus Christ!
4
Vbbb32 ‰. Š Š Š
> ‰ Š Š Š Š Š ‰ Š Š Š Š
> ‰ Š Š Š Š Š
mf
Vbbb32 Š Š Š Š Š Š Š ˆ Š Š Š Š Š
f
> ‰ Š Š Š Š ˆ>
Š Š
Vbbb32 [
‰.
Bbbb32 ‰ . mf
- byes - na-go, Svya - ta - go Bla - zhen - na-go, I - i - su - sye Khri -
mf
8. Gentle Light
(Svyetye tikhiy)
- byes - na-go, Svya - ta - go Bla - zhen - na-go, I - i - su - sye Khri -
Š Š Š ˆ‰ Š Š Š Š Š Š Š Š Š ŠŠ ŠŠ Š ‰ Š Š ˆ>
Š Š Š
Š Š Š mf
f
ˆ Š Š ‰ Š Š Š Š ˆ Š Š
>
>
>
- byes - na-go, Svya - ta - go Bla - zhen - na-go, I - i - su - sye Khri -
- byes - na-go, Svya - ta - go Bla - zhen - na-go, I - i - su - sye Khri -
V bbb 32 ‰ Š Š Š Š ŠŠŠ
ŠŠŠ
Š ˆ‰ Š Š Š Š Š
‰ Š Š Š Š ŠŠŠ
ŠŠŠ
Š ˆ‰ Š Š Š Š
{ B bbb 32 ‰ . Š Š Š mf
ˆ Š Š ‰ Š Š Š
f
Š ˆ Š
>
>
© Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.
ALEXANDER GRECHANINOV
(1864–1956)
Op. 23 No. 2
f
f
Š
Š

80 Grechaninov: Gentle Light
Vbbb ˆ 42‰ ‰ ‰ 32 Š
8
‰ ‰ ‰
> f > >
Š Š Š Š ‰. Š Š Š Š Š‰
Š
>
42
- stye! Pri - shed - she na za - pad soln - tsa,
Vbbb Š Š Š Š Š Š
> f > >
ˆ ‰ Š 42‰ ‰ Š 32Š Š Š Š ‰ ‰ Š Š Š Š Š Š Š 42
- stye! Pri - shed - she na za - pad soln - tsa,
Vbbb Š [
Š Š ‰ ‰ f>
42 >
>
Š Š Š Š ‰ ‰ Š ‰ Š Š Š 32‰. Š Š Š Š Š Š > > >
Š 42
- stye! Pri - shed - she na za - pad soln - tsa,
f
Bbbb ˆ ‰ 42‰ > > ‰ > Š Š Š Š 32Š ‰ Š Š Š 42
- stye! Pri - shed - she na za - pad soln - tsa,
V bbb ˆˆ Š Š Š Š ŠŠ
‰ Š Š 42 ‰ ‰
‰ Š Š Š 32 Š Š Š
Š ‰. Š Š ‰ Š Š 42
{ B bbb
q Š ŠŠ Š Š 42 ‰ f
‰ r
ˆ ‰ ˆ Š Š Š Š 32 Š Š‰ Š Š Š Š Š 42
In that we now are come unto the setting of the sun,
> > > p
F
mf dolce
Vbbb42 ‰ 32 Š
11
‰ ‰ Š Š Š Š Š Š Š > > >
Š ‰ ‰ Š r 42 p q r Š
32
vi - dyev - she svyet vye - cher - niy, po -
po - yem,
> > > p
Vbbb42 ‰ ‰ ‰ Š Š ŠŠ Š 32 Š‰ Š Š ‰ Š Š Š
Š 42 ‰ Šet r
Fq r
r Š
> > >
32
vi - dyev - she svyet vye - cher - niy, po -
> po - yem,
Vbbb42 [
>
>
Š Š p
‰ ‰ ‰ Š Š 32 ˆ ‰ ‰ Š Š 42 ‰ Šet r
Fp > > >
r
32
vi - dyev - she svyet vye - cher - niy,
p
Bbbb42 ‰ ‰ Š Š Š Š 32 ‰ ‰ Š r 42 q r Š F
> > >
‰ Š et r 32
vi - dyev - she svyet vye - cher - niy, po - yem,
mf dolce
V bbb 42 ‰ ‰ Š‰ Š Š Š 32 ‰ Š Š Š ‰ Š Š Š Š 42 ‰ Še t r
Fq r Š 32
mf
{
dolce
B bbb 42 ‰ f
‰ r
Š Š 32 ˆ p
ˆ Š Š Š Š 42 ‰ Š f t Š ‰ Š e
‰ ‰
t
E r 32
and behold the light of even,

Vbbb32 ‰
14
‰. Š Š ‰ Š Š Š Š Š Š ˆ ‰ q q Š Š 42
- yem Ot-tsa, Sï - na i Svya - ta - go Du - kha, Ot -
pp
Vbbb32 ‰ Š Š Š Š Š Š Š Š Š Š Š Š ˆ ‰
q q
Š Š 42
- yem Ot - tsa, Sï - na i Svya-ta - go Du - kha, Ot -
Vbbb32 p q q
mf dolce
Š
[
Š ‰ Š Š ‰ Š Š Š Š Š Š 42
po - yem Ot-tsa, Sï - na i Svya - ta - go
Bbbb32 p q q
mf dolce
‰ ‰ Š Š Š Š Š Š Š Š Š Š Š Š 42
pp
po - yem Ot - tsa, Sï - na i Svya-ta - go
V bbb 32 ‰. ‰ Š Š ‰ Š Š Š Š Š Š Š Š Š Š ˆ
‰ Š Š
‰
Š Š Š Š Š Š 42
{ B bbb 32 ‰ Š Š Š Š Š Š Š Š Š Š
mf dolce pp
Š
‰ Š ‰ Š Š Š Š Š Š Š Š Š Š Š Š 42
we hymn thee, Father, Son, and Holy Spirit, God.
rit.
Vbbb42 ‰ Š Š Š Š Š Š 32 ˆ
18
- - - - ˆ. ‰ ‰ p ff
r Š-
Š-
Š - ‰-
Š Š Š Š 2
a tempo, ma pochissimo più sostenuto
- tsa, Sï - na i Svya-ta - go Du - kha, po-yem Ot - tsa, Sï - na i Svya -
Vbbb42 ‰ Š Š Š-
Š-
Š-
Š-
32 ˆ ‰ ‰ r Š-
Š-
Š - ‰-
Š Š Š Š 2
- tsa, Sï - na i Svya-ta - go Du - kha, po-yem Ot - tsa, Sï - na i Svya -
Vbbb42 ‰. Š Š
[ - Š-
Š
- Š-
32 ˆ ˆ. ‰ ‰ r Š-
Š-
Š - ‰-
Š Š Š Š 2
Du - kha, i Svya-ta - go Du - kha, po-yem Ot - tsa, Sï - na i Svya -
Bbbb42 ‰ Š Š Š-
Š-
p ff
Š Š 32 ˆˆ. . ‰ r Š Š Š-
‰-
Š Š Š Š
- - - -
2
V bbb 42 ‰
{ B bbb 42 ‰
Du - kha, i Svya-ta - go Du - kha, po-yem Ot - tsa, Sï - na i Svya -
rit.
Š Š Š Š Š Š 32 ˆ ‰‰
Š
p
p
ff
ff
a tempo, ma pochissimo più sostenuto
‰ r Š Š Š ‰ Š Š Š Š 2
p
Š Š Š Š Š Š 32 ˆˆ. . ‰ ‰ r Š Š Š Š Š Š
‰ ‰ Š Š Š Š Š Š
Š Š 2
ff
Grechaninov: Gentle Light 81

82 Grechaninov: Gentle Light
Vbbb2 2 Š ‰ Š 32 Š rit.
22
Š Š Š Š Š Š ˆ >
‰ ˆ. Š r
Fq q ===
- ta - go Du - kha, Bo - ga.
Vbbb2 ‰. Š 32 ˆ ‰ ˆ ‰ ˆ. Š r
F
> q q ===
- ta - go Du - kha, Bo - ga.
Vbbb2 [
Š ‰ Š 32 Š Š Š Š Š Š Š ˆ >
‰ ˆ. Š r
Fq q ===
- ta - go Du - kha, Bo - ga.
Bbbb2 ‰ . Š 32 ˆˆ
‰
ˆ. > ˆ. Š
r
F ppp
q
‰ ===
molto misterioso
- ta - go Du - kha, Bo - ga. Do -
V bbb 2 Š ‰ ‰ Š 32 Š rit.
molto miserioso
ˆ Š Š Š Š ‰ Š Š ˆ ‰ ˆ. Š r
Fq q ===
{ B bbb 2 ‰ . Š 32 Š Š Š Š Š Š Š ˆ ‰ ˆ. Š ppp
ˆ ‰ ˆ.
r Eq
‰ ===
27
V Fp q Fq ppp
poco a
‰ Fˆ. Fˆ Št f r p
Do - sto - in,
V
Fp q Fq ppp F F
‰ ˆ. ˆ Šet r p
Do - sto - in,
V
Fp q F ppp
q
[
‰
F F pp
ˆ. ˆ Šet Š Š Š Š Š Š Š Š
Do - sto - in, do - sto - in ye - si vo
do - sto - in ye - si vo
B F F ˆˆ. ˆˆ
Š
Šet r
Fp q Fq pp
r Š ˆ. Š Š Š Š Š Š Š
- sto - in, do - sto - -
poco a
F F F F
V p q q ‰ ˆ. ˆ Še t
Š Š Š Š Š Š Š Š
{
pp
B ˆˆ. ˆˆ ‰ Eˆ. Eˆ Š t f
Š ˆ. Š Š Š Š Š Š Š
E E
For meet is it, that at all times,

poco
cre - scen - do
ed
ac - ce - le -
32
V p p p
pp
q q r Š
do -
do - sto - - in,
V q q r Š ˆ. ˆ Š Š
Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š
do - sto - in ye - si vo vsya vrye-mye - na, do -
do - sto - in ye - si vo vysa vrye-mye - na,
VŠ
[
Š Š Š Š Š Š ˆ. Š Š Š Š Š Š Š ˆŠ Š Š Š Š Š Š
vsya vrye-mye - na, do - sto - in ye - si vo vsya vrye-mye - na,
B ˆŠ Š Š Š Š Š Š ˆ. Š Š Š Š Š Š Š ˆŠ Š Š Š Š Š Š
vsya vrye-mye - na, do - sto - - in, do -
- in, do - sto - - in, do -
V
poco
cre - scen - do
ed
ac - ce - le -
Š Š Š Š Š Š Š Šˆ
ˆ. . Š Š Š Š Š Š Š ˆˆ Š Š Š Š Š
Š
{ B ˆŠ Š Š Š Š Š Š ˆ. Š Š Š Š Š Š Š ˆŠ Š Š Š Š Š Š
35
V Š Š Š Š pŠ Š Š qŠ Š Š qŠ Š Šr Š Š Š Š Š Š Š Š
- ran - do - - - - - - - - - - -
- sto - in ye - si vo vsya vrye-mye - na, do - sto - in ye - si vo
V #Š Š Š Š Š Š Š #Š Š Š Š Š Š Š ˆ.
- sto - in ye - si vo vsya vrye-mye - na, do - sto - -
V
[
Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š
B ˆ. ˆ Š Š ‰ Š Š Š Š
- sto - in ye - si vo vsya vrye-mye - na, do - sto - in ye - si vo
- sto - - in, do - sto - in ye - si vo
V #Š Š Š Š Š Š Š #Š Š Š Š Š Š Š Š Š Š Š Š Š Š
{ B Š‰
Š Š Š Š Š Š Š Š Š Š
‰. . Š Š
Š ‰ . Š Š
Š ‰ Š Š Š Š
- ran - do - - - - - - - - - - -
ˆ.
mf
Grechaninov: Gentle Light 83
pp

84 Grechaninov: Gentle Light
ff
- - - - -
V Š quasi allegro
38
Š Š Š Š Š r ‰ ‰ ‰ Š Š Š Š Š Š Š
ff
vsya vrye - mye - na pyet bï - ti gla - sï prye - po -
Vˆ Š r ‰ ‰ ‰ Š #Š Š Š Š Š Š
V Š Š
[
Š Š Š Š
ff
r ‰ ‰‰
‰ > Š Š Š Š Š Š Š
B ‰ Š Š Š
ff
r
‰ ‰ ‰
ˆ
ˆ. >
>
- in, pyet bï - ti gla - sï prye - po -
vsya vrye - mye - na pyet bï - ti gla - sï prye - po -
vsya vrye - mye - na pyet bï - ti gla - -
V
- Š - - - - quasi allegro
ˆ Š Š Š Š Š r ‰ ‰ ‰ Š #Š Š Š Š Š Š
{ B Š Š Š
ff
‰ Š Š Š r
‰ ‰‰‰
‰ ˆ.
Š Š Š Š Š Š Š
thou shouldest be magnified by voices propitious,
rit.
41
>
V Š Š Š Š Š Š Š fff
42 r Š Š Š Š Š Š Š
V Š Š#Š Š Š Š
fff
Š 42 r Š Š Š Š Š Š Š
‰.
‰.
Š ˆ
Š ˆ
V
>
[
fff
42 r Š Š Š Š Š Š Š ‰. Š ˆ
B ˆˆ
Š Š fff
42 r
Š Š Š Š Š Š Š ‰. Š ˆ
- dob - nï - mi, pyet bï - ti gla - sï prye - po - dob - nï - mi,
>
- dob - nï - mi, pyet bï - ti gla - sï prye - po - dob - nï - mi,
- dob - nï - mi, pyet bï - ti gla - sï prye - po - dob - nï - mi,
- - sï pyet bï - ti gla - sï prye - po - dob - nï - mi,
V Š Š #Š Š Š Š Š 42 r Š Š ŠŠ
{ B ‰ . Š ‰
fff
ˆ Š Š 42 r
Š Š ŠŠ
rit.
ŠŠ
ŠŠ
Š ŠŠ
Š ŠŠ
>
Š Š ‰. Š ˆ
Š Š ‰. Š ˆ

p
p
‰ b‰ b‰ Š Š ‰. bŠ
moderato assai
cresc. e molto rit.
44 zhi - - vot da - yay;
V ˆ ‰. Š
S.
bˆ ‰ ‰ Š bŠ Š Š bbb
A.
T.
1
B.
2
3
Sï - nye Bo - zhïy, zhi - vot da - yay; tyem - zhe mir Tya
V ˆ ‰ ‰ ˆ p bbb
zhi - - vot da - yay;
V ‰ p
b‰
[
b‰ Š Š ‰. bŠŠ
bˆ b‰ ‰ ‰ ‰ bbb
Sï - nye Bo - zhïy, zhi - vot da - yay; tyem - zhe mir Tya
B p p p bbb
B p p ‰ p ‰ b‰ ‰ bbb
tyem - zhe mir Tya
V
moderato assai
cresc. e molto rit.
ˆ ‰ b‰ b‰ Š Š q ‰. ‰ bŠŠ bˆ ˆ
‰ ‰‰ Š‰ bŠ Š‰
Š bbb
{ B ˆ
p‰ b‰ b‰ Š Š ‰. bŠŠ
bˆ b‰ ‰ b‰ ‰ bbb
O Son of God, who bestowest life:
mf dolce marcato p
for which cause all the world doth glorify
thee.
tempo I
47
Vbbb ˆ. ‰ 32 Š Š Š Š Š Š Š 42ˆ. ‰ 32
sla - vit, tyem - zhe mir Tya
mf dolce marcato p marcato
Vbbb ‰. Š Š Š Š Š 32 ‰. Š ‰ 42 ‰. Š Š Š Š Š 32
mf
Sï - nye Bo - zhïy, zhi - vot da - yay; tyem - zhe mir Tya
Vbbb
[
ˆ. ‰ 32 ˆ Š Š 42ˆ. ‰ 32
sla - vit, tyem - zhe mir Tya
mf Bbbb ‰. Š Š Š Š Š 32 ‰. Š ‰ 42 ‰.
dolce marcato
marcatoŠ Š Š Š Š 32
Sï - nye Bo - zhïy, zhi - vot da - yay; tyem - zhe mir Tya
mf
Bbbb ˆ 32 ˆˆ. 42ˆ 32
sla - vit, Tya
V
tempo I
bbb ‰. ˆ. Š Š Š Š‰ Š 32 ˆ Š Š Š ŠŠ Š ‰ Š Š 42 ˆ. ‰. Š Š Š Š‰ Š 32
{
p marcato
B bbb ˆ
‰. Š Š Š Š Š 32 ˆ. ‰. Š ‰ 42 ˆ
‰. Š Š Š Š Š 32
p
Grechaninov: Gentle Light 85

S.
A.
T.
B.
86 Grechaninov: Gentle Light
p
rit.
Vbbb32 Š Š Š Š Š Š Š 42‰ ‰ ‰ ‰ 2 ‰ a
. 42 ‰ tempo
50
Š ‰ Š ‰ ‰ ‰ 4
p p ff
sla - vit, tyem - zhe mir Tya sla - vit, tyem - zhe mir Tya
Vbbb32 ˆ ‰ 42‰ ‰ ‰ ‰ 2 ‰. Š 42 ‰ ‰ ‰ ‰ 4
sla - vit, tyem - zhe mir Tya sla - vit, tyem - zhe mir Tya
p
Vbbb32 [
ˆ Š Š 42‰ ‰ ‰ ‰ ff
2 ‰ Š . ‰ Š 42 ‰ ‰ ‰ ‰ 4
sla - vit, tyem - zhe mir Tya sla - vit, tyem - zhe mir Tya
p
Bbbb32 ˆˆ
‰ 42 ‰ ‰ ‰ ‰ ff
2 ‰. Š 42 ‰ ‰ ‰ ‰
4
sla - vit, tyem - zhe mir Tya sla - vit, tyem - zhe mir Tya
V
rit.
bbb 32 Š Š Š ŠŠ Š Š Š 42 ‰ ‰ ‰ ‰ 2 ‰ a tempo
.
ˆ ‰
Š ‰ Š 42 ‰ ‰ ‰ ‰ 4
{ B bbb 32 ˆˆ
‰ 42 ‰ p
‰ ff
‰ ‰
2 ‰ . Š ‰ Š 42 ‰ ‰ ‰ ‰
4
rit.
Vbbb4 4 ‰. a tempo rit.
54
Š Š Š Š Š
42ˆ
mf
ˆ Fˆ
sla - vit, sla - - - vit.
mf
Vbbb4 ‰. Š 42ˆ ˆ ˆF
sla - vit, sla - - - vit.
Vbbb4 [
‰. mf marcato
Š Š Š Š ŠŠ
42 ‰. Š ‰ ‰ ˆ. ˆ ‰
Fˆ
sla - vit, tyem - zhe mir Tya sla - vit.
Bbbb4 ‰ .
mf
Š 42 ‰ marcato
. Š ‰ ‰ ˆˆ. ‰ Fˆ
sla - vit, tyem - zhe mir Tya sla - vit.
V
rit.
bbb 4 ‰ a tempo rit.
. Š Š Š Š Š 42 ˆ ˆ Fˆ
{ B bbb 4 ‰ . Š Š Š Š Š mf
Š 42 ‰. marcato
Š ‰ ‰ ˆ. ‰ ˆ
E
ff

87
All-night Vigil
SOPRANO
ALTO
TENOR
BASS
( for
rehearsal
only)
Very peaceful (Ochen’ pokoyno)
mf
V # # C Š Š Š Š Š Š Š Š Š Š Š Š
mf
Svye - tye ti - khiy svya - tï - ya sla - vï Byez -
V # # C Š Š Š Š Š Š Š Š Š Š Š Š
V
[
# # C p p
B## C p p
Svye - tye ti - khiy svya - tï - ya sla - vï Byez -
V #
Very peaceful (Ochen’ pokoyno)
# C Š. Š Š Še Š Š Š Š. Š Š Še Š Š Š
mf
{ B## C p p
Gentle light of the holy glory of the Father immortal,
V #
3
# -
Š Š Š
-
Š
- -
- -
Š Š Š Š Š Š Š Š
- smyert - na - go, Ot - tsa Nye - byes-na - go, Svya-
V # # Š-
Š Š Š-
Š-
Š Š Š Š Š
- smyert - na - go, Ot - tsa Nye - byes-na - go, Svyapp
(Like a reverential address, in an undertone and short)
V
[
# # ŠŠŠŠ Š ŠŠŠŠŠ Š ŠŠŠŠŠŠŠŠ ŠŠŠŠŠ Š ŠŠ
pp (Like a reverential address, in an undertone and short)
B## Š Š Š ŠŠŠ Š Š Š Š Š Š ŠŠŠ Š Š ŠŠ Š Š Š Š Š ŠŠŠ
Svye-tye ti-khiy svya-tï-ya sla-vï Byez-smyert-na-go, Ot -tsa Nye-byes-na-go, Svya-ta - go Bla-zhen-na-go,
Svye-tye ti-khiy svya-tï-ya sla-vï Byez-smyert-na-go, Ot -tsa Nye-byes-na-go, Svya-ta - go Bla-zhen-na-go,
V # # Š Š Š Š Š Š Š Š Š Š Š Š
Š
Š
{ B## Š Š Š Š Š
Š Š Š Š Š Š Š
Š
Š Š Š Š Š Š Š Š Š Š Š Š Š Š
pp
9. Gentle Light
(Svyetye tikhiy No. 3)
heavenly, holy, blessed Jesus Christ!
© Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.
ALEXANDER KASTALSKY
(1856–1926)
Š
Š

88 Kastalsky: Gentle Light
V #
5
# Š Š Š Š Š Š Š Š Š Š ŠŠ
V
[
# # Še t r q r Š Š #Š Š Š
B## Še t
p
r q r
Š Š Š #Š Š
mp
Š
Khri -
- ta - go Bla - zheh - na - go, I - i - su - sye Khri -
V # # Š Š Š Š Š Š Š Š Š Š #Š Š
- ta - go Bla - zheh - na - go, I - i - su - sye Khri -
mp
p
I - i - su - sye Khri -
I - i - su - sye Khri -
V # # Š Š Š Š Š
Š
Š Š Š Š # ŠŠŠ
Š
{ B## Š t f
r q r
Šmp
Š Š Š #Š #Š Š
- stye!
V #
7
##Š Š #Š‰
Š ‰
Š
ˆ
Š Š =Š Š. Š ˆ f Š. Š Š Š f
Š
mp
- stye! Pri - shed - she na za - pad soln - - tsa,
mp
V # # Š Š Š #Š Š Š Š =Š Š. Še Š. Še Š Š Š
- stye! Pri - shed - she na za - pad soln - - tsa,
V
[
# ##Š‰
Š Š Š t f
Š Š Š Š Š Š Š Š Š Š Š Š Š
- stye! Pri - shed - she na za - pad soln - - tsa,
B## Š Š Š Š Š Š Š p q r tŠ f
pp (undertone)
- stye, I - i - su - sye Khri-stye! pri -
V # # #ŠŠ Š Š #Š ‰
Š
ˆ
Š Š =Š Š. Š ˆ
{
f Š. Š Š Š Š f
B## Š
‰
Š Š Š Š Š Š r Š Š Š Š Š r Š Š Š Š Š
In that we now are come unto the setting of the sun,

V # rall.
10
# Š Š Š Š Š
>
Š Š Š Š Š. > Š ####
> > > > >
vi - dyev - she svyet vye - cher - niy, po-yem, po
f
-
V # #
f
Š Š Š Š Š Š Š Š Š
####
> > > > > > Š. > Še
vi - dyev - she svyet vye - cher - niy, po-yem, po -
V
[
# # pp
Š Š Š Š Š Š ŠŠŠ q ####
vi - dyev - she svyet vye - cher-niy, po-yem.
B## Š Š
pp
Š ŠŠŠŠŠŠŠ ŠŠŠ ŠŠ Š q ####
- shyed-she na za-pad soln-tsa, vi - dyev-she svyet vye-cher - niy, po - yem.
V #
rall.
# Š Š Š Š Š Š Š Š Š Š . Š
Še ####
{ B## Š Š Š ŠŠ f
Š Š Š ŠŠŠ ŠŠ Š Š Š Š Š Š Š Š q ####
and behold the light of even,
V #
12
### Š. Še Š
>
> >
Š Š Š. ‰ ŠeŠ Š Š. Še Š Š Š Š. ‰ Še Š
>
Š Š
- yem Ot-tsa, Sï - - na, po - yem Ot-tsa, Sï - - na i Svya-
po - yem Ot-tsa, Sï - - na i Svya-
V # ###
> Š. ŠeŠ > > Š Š Š. ŠeŠ Š ŠŠŠŠŠeŠ > > > > > Še ŠŠŠŠŠŠŠŠ
V
[
# ### p q r Šf
Š. Še Š
>
> > >
Š Š Š. ‰ Še Š Š Š
>
B#### p q r Šf
> Š. >
Še
>
Š Š Š ‰ Š. Š Š ŠŠ
> f
- yem Ot-tsa, Sï - - na, po - yem, po-yem Ot-tsa, Sï - na i Svya-ta-go Du-kha, i Svya-
po - yem Ot-tsa, Sï - - na i Svya-
V # ### Š. Še Š Š Š Š. Še Š Š ŠŠŠŠ Š .
Še ŠŠ Š Š Š .
Še Š Š Š
f
Š Š f
ŠŠ ŠŠŠ Š
{ B####
Š. Š Š Š f f t Š. Š Š f Š Š. Š Š Š Š ‰ Š. f
Š e Š Š Š
we hymn thee, Father, Son, and Holy Spirit, God.
Kastalsky: Gentle Light 89
f

90 Kastalsky: Gentle Light
V #
16
### Š. Š f Š Š Š Š ‰ ‰ t Š Š f
Š ŠŠŠŠ
Š Š Š ŠŠ
- ta - go Du - kha, Bo - ga. Dos - to - in ye - si vo
V # ### Š. Š Š ŠeŠ
Š Š Š Š ‰ Š Š Š Š ‰ Š Š ŠŠ ŠŠ
r Š ŠŠŠ Š
{ B#### Š Š Š Š Š Š Š Š Š Š Š f
Š. Š f
Š. Š f
‰
Š Š Š Š Š
- ta - go Du - kha, Bo - ga. Dos-to - in ye-si vo vsya vrye-myef
V # ### Š Š Š Š Š Š ŠŠ Š Š Š Š ‰ t
Še Š ŠŠŠŠŠŠŠ
- ta - go Du - kha, Bo - ga. Dos-to - in ye-si vo vsya vrye-mye-
V
[
# ### Š Š Š Š Š Š Š Š Š Š Š Š Š Šf
Š Š Š Š Š Š
- ta - go Du - kha, Bo - ga. Dos - to - in ye - si vo
B#### Š . Š e Š . Š e ‰ Š > f >
Š Š
> >
Š
>
Š
>
Š
Š
f
For meet is it, that at all times,
Š Š ŠŠ
Š
V #
19
### Š Š ŠŠ
ŠŠ
ŠŠ
Š Š Š ŠŠ Š Š Š Š Š Š Š Š
- na, do - sto - in ye - si vo vsya vrye-mye - na pyet bï - ti gla - sï prye - po -
V # ### Š Š Š ŠŠŠ Š ŠŠŠ Š Š Š Š Š Š Š Š
- na, do - sto - in ye - si vo vsya vrye-mye - na pyet bï - ti gla - sï prye - po -
V
[
# ### Š Š Š Š Š Š Š Š Š Š Š Š Š
B#### >
Š
>
Š
>
Š
> >
Š
Š > Š > Š > Š Š>
{ V # ### Š
B#### Š
vsya vrye - mye - na pyet bï - ti gla - sï prye - po -
vsya vrye - mye - na pyet bï - ti gla - sï
Š ŠŠ ŠŠ ŠŠ Š Š Š Š ŠŠŠ
Š Š ŠŠ
ŠŠ
Š Š ŠŠ
Š
Š Š Š
Š Š Š Š
Š Š Š
thou shouldest be magnified by voices propitious,

V #
21
### Š ŠŠŠ Š Š Š Š Š Š ‰ ‰ ##
- dob - nï - mi, pyet bï - ti gla - sï prye - po - dob - nï -
V # ### Š ŠŠŠ ŠŠŠ Š Š Š ‰ ‰ ##
- dob - nï - mi, pyet bï - ti gla - sï prye - po - dob - nï -
V
[
# ### Š Š Š Š Š Š ‰ ‰ ##
- dob - nï - mi, prye - po - dob - nï -
B#### Š Š Š Š ‰ ‰ ##
gla - sï prye - po - dob - nï -
V # ### Š Š Š ŠŠ
Š Š Š Š Š Š ‰ ‰ ##
{ B#### Š Š Š Š ŠŠ Š
‰
‰ ##
mp
V #
23
# ˆ ŠŠ. Š Še Š Š Š ŠŠ. Š Še‰
Š Š
V # # ˆ
mp
- mi, Sï - nye Bo-zhïy, zhi - vot da - yay:
Š Š Š Š Š Š Š Š Š ‰Š
- mi, Sï - nye Bo-zhïy, zhi - vot da - yay:
Kastalsky: Gentle Light 91
- mi, pyet bï - ti gla-sï prye-po-dob-nï - mi, Sï-nye Bo-zhï, zhi-vot da-
V
[
# # ˆ Š t f r q p
- mi.
B## Š Š Š Š Š Š Š Š Š. Š Š t f
r q q
pp
Š Š Š Š Š Š Š
V # # ˆ Š. Š Š Še
Š Š Š Š Š. Š Š Še
Š Š
‰ Š
mp
{ B## ˆ
Š Š Š Š Š Š Š Š Š. Š
Še
Š t r q q
fO
Š Š Š Š Š Š Š
Son of God, who bestowest life:
Š

V #
26
# Š Š Š Š Š Š ‰ #Š Š Š Š
tyem - zhe mir Tya sla - - - vit, mir Tya
V # # Š Š Š Š Š Š Š #‰ Š Š #Š Š Š
tyem - zhe mir Tya sla - - - vit, mir Tya
V
[
# # Š Š Š Š Š Š Š Š #‰‰ #ŠŠ Š Š Š Š
tyem - zhe mir Tya sla - - - vit, mir Tya
B## Š
Š
Š Š Š f
Š Š ‰ Š Š #Š Š #Š
{
92 Kastalsky: Gentle Light
V # # Š
- yay: tyem-zhe mir Tya sla - - - vit, tyem - zhe
Š
Š
Š Š Š Š ‰ # #Š
f
f
f
Š
Š
Š Š
B## Š Š Š Š Š Š #‰ Š Š Š ‰
Š Š #Š Š #Š
for which cause all the world doth glorify thee.
p
V #
29
# #‰ ‰ #Š Š Š Š ˆ ˆF
sla - - - vit, mir Tya sla - vit.
V # # p #Š Š Š Š. Še #Š Š Š Š Š #ˆ #ˆF
sla - - - vit, mir Tya sla - vit.
V
[
# # Š. p
#Še Š. Š f Š Š #Š Š #Š ˆ ˆF
sla - - - vit, mir Tya sla - vit.
p
B## #Š Š Š #Š Š #Š #Š Š Š #Š Š ˆ ˆF
mir Tya sla - - vit, mir Tya sla - vit.
V # # # #‰ ‰ ##Š Š
F
Š Š #Š Š. Š ŠŠŠ #ˆ #ˆ
{
f Š Š #Š
p
B## #Š Š Š #Š Š #Š #Š Š Š #Š #Š ˆ Ê
f

93
SOPRANO
ALTO
TENOR
BASS
Adagio (Medlenno) i = 63
Vbbbb C p p p p p
TUTTI
p
SOLO
Bbbbb C ‰ Š Š ‰ r Š Š. Š f Š Š ˆ
‰ Š Š
p
Gla - som mo - im ko Go - spo-du voz - zvakh, gla - som mo -
I cry aloud with my voice unto the Lord.
With my voice,
6
Vbbbb p p p p
‰ Š Š Š ‰ r Š
Bbbbb
‰. Š ‰. Š =Š r =Š Š Š Š Š Š ‰ Š ‰ Š Š ‰ r Š
- im ko Go - spo-du po - mo - likh - sya.
I ask the Lord for mercy.
Gla - som mo - im ko
11
Vbbbb Š. ŠeŠ r Š f Š Š ‰. ‰ Š Š ‰. Š =Š ŠŠŠ Š
Bbbbb
10. I Cry Aloud With My Voice Unto The Lord
(Glasom moim ko Gospodu vozzvakh)
Psalms 142: 1, 2, 6, & 13: 3
ALEXANDER ARKHANGELSKY
(1846–1924)
Š. ŠeŠ Š r =Š ‰. Š Š Š Š f
Š =Š ‰. ‰ Š Š ‰. bŠ Š ŠŠŠ Š
Go - spo-du voz - zvakh, gla - som mo - im ko Go - spo-du po - mo -
16
p
Vbbbb =Š r Še Š >
‰ Š Š. Š Š Še Še f =Š >
Š. =Š Š Š Š. Š Š Š f f
- likh - sya.
Bbbbb Š r p p
‰ ‰ ‰ Še q > Š. Š Š > f Š =‰. Š
Gla - som mo - im ko Go - spo-du, ko
- likh - sya. Gla - som mo - im ko
© Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.

94 Arkhangelsky: I Cry Aloud With My Voice Unto The Lord
20
Vbbbb Š. =Še Š Š Š r Š Š Š =Š
f
=‰. ‰ =Š Š ‰ r Š
Go - spo-du voz - zvakh, gla - som mo - im ko
Bbbbb Š. ŠeŠ Š Š ‰.
r
Š Š
f ‰ Š Š ‰ r Š
24
Vbbbb Š bŠŠŠ ŠŠ Š Š ‰. ‰ =Š ‰ q p
Bbbbb
f
f
Go - spo-du po - mo - likh - sya. Pro - li - yu pryed Nim mo - lye - ni -
Š Š Š Š Š ‰ ‰ Š Š Š Š Š Š =Š Š Š
Š ŠŠŠ Š ˆ ‰ q p
28
Vbbbb q
p
r Š >
=Š Š Š Š Š =ŠŠ >
Š Š Š Š Š Š =‰ ‰ q
p
Pro-li - yu pryed Nim mo - lye - ni - ye mo - ye,
- ye mo - ye,
Bbbbb Š Š ‰ ˆ ˆ p
p p p r
Š Š Š Š
f
I pour out my complaints before him.
32
Vbbbb p p p p
Bbbbb
pro-li - yu pryed
Š =Š pŠ Š q r =Š Š Š Š Š =Š bŠ Š Š Š
Š
Š Š
Š ‰ ˆ ˆ
Nim mo - lye - ni - ye mo - ye,
p
p
pro - li - yu pryed Nim mo - lye - ni - ye mo -
cresc.
mf

dim.
36
Vbbbb q r Š =ŠŠ Š Š Š Š Š =‰ ‰ Š Š ‰‰
- ye,
mf
pye - chal’ mo - yu, pye - chal’ mo - yu pryed Nim
Bbbbb=‰ r Š =Š ‰ r Š Š bŠ Š Š Š Š Š Š ‰ Š
Š ‰
mf
pye - chal’ mo - yu, pye - chal’ mo - yu pryed Nim,
I tell him of my troubles.
40
Vbbbb Š r q
p >
=Š Š Š r r Š Š Š Š Š Š Š ‰ =ŠŠ p >
Š
Bbbbb r q p
r =Š
>
Š Š Š ‰ Š Š Š Š Š Š
>
Š =Š Š Š Š ŠŠ Š Š
voz - vye - schu, pye-chal’, pye - chal’ mo - yu pryed Nim voz - vye -
p
dim.
pye - chal’ mo - yu, pye - chal’ mo - yu pryed Nim vo-zvye-schu, pye -
44
pp
Vbbbb r r
>
Š Š Š =ŠŠ Š Š Š Š ˆ ‰‰ =‰ ‰
pp
>
ˆ
pp >
Bbbbb Š Šr r Š
Š
Š Š =Š Š Š ˆ ‰ ‰ >
ˆ
- schu, pye - chal’, pye - chal’ mo - yu pryed Nim voz - vye - schu.
- chal’ mo - yu,
pp
same tempo (v tom zhe tempe)
49
Vbbbb ‰ Š Š ‰ Š Š ‰ Š Š =‰. Š Š r bŠŠ Š
Bbbbb b‰ ‰. =Š ‰ Š Š ‰ Š Š ‰ Š Š ‰. Š Š r Š Š
Priz - ri u - slï - shi mya, Go - spo - di Bo - zhe moy: pro - svye -
pp
Consider and hear me, my God:
Arkhangelsky: I Cry Aloud With My Voice Unto The Lord 95
pp
give light

96 Arkhangelsky: I Cry Aloud With My Voice Unto The Lord
54
Vbbbb b‰. ˆ Š ‰ Š Š bˆ ˆ b‰ ‰ Š Š b ‰‰.. Š
- ti o - chi mo - i, da nye kog - da u -
Bbbbb =ˆ ‰. Š b=‰ ‰ ŠŠ Š =ˆˆ b‰ ‰ Š Š ‰. Š
to my eyes, lest I sleep in death.
59
Vbbbb ˆ >
>
=ˆ =‰. Š ‰. Š >
‰. Š ‰ Š >
Š
Bbbbb
>
>
ˆ ‰. Š ‰. ‰. > Š >
‰. Š ‰ Š Š
- snu v smyert’. Von - mi, von - mi mo - lye - ni - yu
Listen to my cry,
64 a little faster (nemnogo skoree)
Vbbbb ‰‰.. =Š Š ‰ q p p
p
mo - ye - mu. Von - mi, von - mi mo -
Bbbbb ‰ r Š =Š Š Š = Š Š Š Š Š
‰. Š Š
Š ‰ ˆ ˆ
p
Von - mi mo - -
Von - mi, von - mi mo -
Vbbbb p q r Š =Š Š Š = Š
68
r Š ‰ ˆ ˆŠ Š Š Š
p
Von - mi mo - - lye - -
- lye - ni - yu mo - ye - mu, mo - lye - ni - yu
Bbbbb bŠ ˆ
Š Š Š =‰. ˆ Š ˆ‰. Š ˆ
Š Š Š Š
p
cresc.
- lye - - ni - - yu mo - -

72
VbbbbbŠ ‰
Š Š Š =‰. Š ‰ r Š =ŠŠ Š Š‰
Š
- lye - ni - yu mo - ye - mu, von - mi mo -
- ni - yu mo - ye - mu, von - mi
f
Arkhangelsky: I Cry Aloud With My Voice Unto The Lord 97
mo - ye - mu, von - mi, von - mi
Bbbbb =Š ˆ Š Š =ŠŠ ‰. =Š Š
‰. Š Š Š Š Š ‰. Š =‰ Š
- ye - - mu, von - mi, von - mi mo -
f
dim e rit.
- lye - - - ni - yu
76
Vbbbb ˆ Š Š =Š Š =‰ ‰ Š Š Š ‰ ‰ ‰ =‰ ‰
mo - - lye - - ni - yu mo - ye -
Bbbbb =Š ˆ Š ‰ Š‰. Š Š =Š Š ‰ ‰ ‰ ‰
- lye - - - ni - yu mo - ye -
p
adagio (medlenno)
80
Vbbbb =ŠŠ ‰.
Š Š Š ‰. Š Š Š Š =Š‰ Š Š Š ˆ
p
- mu, ya - ko smi - rikh - sya zye - lo,
Bbbbb ˆŠ Š Š Š ˆŠ Š Š Š ˆ
‰ Š Š
ˆ
Š Š Š Š
p
- mu, ya - - ko smi - -
for I am in the depths of resignation.
84 rit.
pp
Vbbbb Š
F
ˆ ‰. Š ‰ =Š Š Š
Š ˆ
ya - ko smi - rikh - sya zye - lo.
Bbbbb ˆ Š =Š Š Š ‰. Š ‰ Š Š
E
- rikh - - sya, smi - rikh - sya zye - lo.
pp
ˆ

98
11. It is Truly Meet
(Dostoyno yest’)
Divine Liturgy
SOPRANO
ALTO
p
Anon. Znamenny chant
harm. N. M. OSSORGUINE and
N. N. KEDROV Jr
[Adagio i = 72]
Vb Š Š‰ Š. Š ŠŠŠ Š Š Š Š Š Š‰ Š ‰ Š. Š Š Š Š
TENOR
BASS
Do - stoy - no yest’, ya - ko vo - i - sti - nu,
Bb Š Š‰ Š. ŠŠŠŠŠ Š
Š ŠŠ‰ Š Š Š Š. ‰ ŠŠ Š Š
p
It is truly meet and right
3
Vb Š Š Š ŠŠ Š Š ŠŠ. Š Š Š Š‰ ‰ Š ŠŠŠ Š Š Š Š
bla - zhi - ti Tya Bo - go - ro - di - tsu, pri - sno-bla-zhen - nu - yu
Bb Š Š Š ŠŠ Š ŠŠ Š. Š ŠŠŠ‰ Š ‰
Š
Š
ŠŠŠŠ Š Š Š Š
to bless thee, O Birth-giver of God,
ever-blessed and pure one,
5
Vb ŠŠŠŠ ŠŠŠŠ. Š ŠŠŠ Š Š Š Š Š ŠŠŠ Š ŠŠ. Š ŠŠ‰
Š ‰
i prye-nye-po - roch - nu-yu, i Ma - tyer’ Bo - ga na - she-go.
Bb ŠŠŠŠŠ. ŠŠŠŠŠ Š Š Š Š ŠŠŠ ŠŠ Š. Š ŠŠŠ‰
Š ‰
and the Mother of our God.
© Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.

mf
7
Vb r Š Š Š ŠŠŠŠŠ ŠŠŠŠ‰ Š Š Š Š Š Š. Š Š Š Š
Chest - nyey - shu - yu khe - ru - vim, i slav - nyey-shu - yu
Bb r Š Š Š ŠŠŠŠ‰ Š Š Š Š Š Š Š Š Š Š Š Š Š
More honourable than the Cherubim
and beyond compare more glorious
9
Vb Š Š Š Š Š Š Š Š. Š Š Š Š ‰
Bb
mf
Š Š Š Š Š Š Š Š. Š Š Š Še ‰
byez srav - nye - ni - ya sye - ra - fim,
than the Seraphim,
10
Vb Š ŠŠ Š ŠŠ ŠŠ Š Š Š Š ŠŠ. Š Š Š Š ‰
Bb
Š Š Š Š Š Š Š ŠŠ ŠŠ Š. Š Š Š Š ‰
byez is - tlye - ni - ya Bo - ga Slo - va rozhd - shu - yu,
thou who without corruption barest God the Word;
Anon.: It is Truly Meet 99
rit.
11
Vb F p
Š Š Š. ŠŠ Š F
Š Š Š Š Š Š Š Š Š ŠŠŠŠŠŠ Š Š Š Š Š Š. ‰ ŠŠ Š ˆ
Bb
Š
Š
ŠŠŠŠ Š Š Š. Š ŠŠŠŠŠ Š ‰ Š Š ŠŠŠŠŠŠŠ ŠŠŠŠŠŠ‰ ŠŠŠ Š E
ˆ
su - schu-yu Bo - go - ro - di-tsu, Tya vye-li-cha-yem, vye-li - cha - yem.
true Birth-giver of God,
E p
we magnify thee.
pp
pp

100
12. It is Truly Meet
(Dostoyno yest’)
Divine Liturgy
SOPRANO
ALTO
TENOR
BASS
Allegretto semplice
mf
Do - stoy - no yest’, ya - ko vo - i - -
V # 24 Š Š Š Š Š Š Š Š ‰ Š Š Š Š Š Š
p p p ‰ Š Š Š Š Š
B#24 p p p p p p
It is truly meet and right
ALEXANDER GRECHANINOV
(1864–1956)
Op. 29 No. 10
ya - ko vo - i -
V #
7
Š. Š Š Š Š ‰ Š Š Š. Še Še Š Še f ‰ ‰ Š Š ‰
- sti - nu, bla - zhi - - ti Tya
- - sti - nu, bla - zhi - ti Tya
B# p p Š Š ‰
Š Š Š Š ‰
Š Š Š Š Š Š
f
to bless thee, O Birth-giver of God,
Bo -
V #
13
Š Š Š Š Š Š Š Š Š ‰ p
#‰ Š Š ŠŠ ŠŠ
Š
Bo - go - ro - di - tsu,
mf
pri - sno- bla -
B# Š Š Š Š Š Š ‰ Š Š Š Š Š Š Š
‰ mf
p p
Š
f
- go - ro - di - tsu,
mf
mf
pri - sno - bla -
pri - sno - bla -
ever-blessed and pure one,
© Boosey & Hawkes Music Publishers Ltd. Used by permission. All rights reserved. Photocopying this copyright material is
ILLEGAL.

- zhen - nu - yu
V #
19
Š Š Š Š Š Š Š ‰ Š Š Š Š Š Š Š Š
Š Š Š Š Š Š Š Š Š Š ‰
- zhen - - nu - yu i prye-nye - po - roch -
B# Š Š Š Š Š Š Š Š Š Š Š Š
p p p r Š Š Š
mfprye - nye - po -
V #
24
‰ Š Š Š Š Š Š Š ‰ Š‰ Š Š. ‰
Še ‰
- - - nu - yu, i Ma - tyer’
B# ‰ Š Š Š Š Š Š Š ‰ ‰ ‰ Š. Še
Š Š
Š . Š Šf ‰
- roch - - nu - yu,
f
and the Mother of our God.
V # poco piu p largo
30 ff
dim.
Š p
Š ŠŠ
Š #Š Š #Š Š ‰ ‰ Š F
Š Š. t
mf
Bo - ga, Bo - ga na - - she - go.
B# Š ŠŠŠ Š #ŠŠ ŠŠ Š ‰‰ ‰ Š #ŠŠŠ Š.
Š. t
E
mf ff dim. p
V # a tempo
p p p 37
Š.
=Š Š Š Š Š Š Š Š Š Š Š Še ‰
f
Chest - nyey - shu - yu
pp
Chest - nyey - shu - yu khe - ru - vim, chest - nyey - shu - yu
B# p p p p r #Š ‰
Š
Š
Š
Š. . Š Š f
Š Š Š
p
p
Grechaninov: It is Truly Meet 101
chest - nyey -
Chest - nyey - shu - yu
More honourable than the Cherubim
p

102 Grechaninov: It is Truly Meet
khe - ru - vim, i
V #
43
Š Š Š Še t p p r Š Š
Š ŠŠ Š Š ŠŠ Š
ppŠ Š Š Š Š Š
khe - ru - vim, i slav - nyey - shu - yu, i slav -
- shu - yu,
B# =Š Še t p p p
Š Š Š Š f r Š Š Š ‰
khe - ru - vim, i slav -
p
and beyond compare more glorious than the Seraphim,
‰ Š Š Š Š Š ‰ Š Š Š Š Š. Š f
slav - nyey - shu - yu
V #
48
Š Š Š Š Š Š ‰ Š Š Š Š Š. Še
- - nyey - shu - yu byez srav - nye -
B# r p Š Š Š Š
Š
Š
Š Š ‰ ‰ ‰
slav - nyey - shu - yu byez srav -
- - nyey - shu - yu sye - - -
sempre mf
V #
53
Š Š ‰ Š Š Š Š Š Š Š Š Š Š Š. Š Š Š Š Š ‰ f
- ni - ya sye - ra - fim, byez is - tlye - ni - ya
- nye - ni - ya, byez is - tlye - ni - ya
B# ‰ Š Š Š ‰ Š Š Š Š ‰
Š Š Š Š Š Š ‰
‰ Š Š Š Š Š
- - ra - fim, byez is -
thou who without corruption barest God the Word;
V #
59
Š Š Š Š Š Š Š Š Š‰ Š Š Š Š Š Š ‰
Bo - ga Slo - va rozhd - - - shu - yu,
B# Š Š Š Š Š Š Š
Š Š Š Š ‰ Š Š ‰
- tlye - ni - ya, Bo - ga rozhd - - shu - yu,
p
mf

f
V # 64
‰ Š Š Š Š Š Š‰ Š Š‰ Š #ŠŠ Š
su - schu - yu Bo - go - ro -
B# ‰
Š
Š Š #
#Š Š Š Š ‰ Š Š ‰ Š Š
f
true Birth-giver of God,
rit.
a tempo
mf dolce
V #
69
#ŠŠ Š Š Š Š ‰ Š Š ‰
Š Š Š Š Š Š Š
- - di - tsu, Tya vye - li -
B# Š #Š Š
Š Š Š
Š
Š Š Š
#Š Š Š Š Š ‰ Š Š
we magnify thee.
V # (tranquillo)
74
‰ Š Š Š Š‰ Š Š Š Š‰ Š Š Š Š Š Š
- cha - - - - - yem,
B# Š Š Š ‰ ‰ Š Š Š Š Š
‰
Š Š ŠŠ Š Š
V # meno mosso
‰ #‰‰ Š #Š Š #‰‰ #‰‰ Š‰ Š #‰ F
78
‰
B# ŠŠ #‰ # ‰ ‰ Š Š ‰ #‰
‰ Š‰
Š ‰ vye - - li - cha - - - yem.
mf
Grechaninov: It is Truly Meet 103
p
E p

104
Psalm 141: 2, 1, 3, 4
SOPRANO
ALTO
( for
rehearsal
only)
1
2
VERSE 1
Slow (Medlenno) [i = 76]
Vb 4 ‰ pSOLO
. Š Š Š Š Š Š Š Š ‰ Š t f r q
Da is - pra - vit - sya mo - lit - va mo-ya,
pSOLO
Vb 4 p p r ŠŠŠŠŠŠŠ Š Š Š Š Š
SOLOp
13. Let My Prayer Arise
(Da ispravitsya molitva moya)
Vb 4 q Š. Še Š. Še Š. Še Š Š Š ‰
Da is - pra - vit-sya mo - lit - va mo-ya,
Da is-pra-vit-sya mo - lit - va mo -
Šet r q
V
Slow
b 4 ‰ (Medlenno) [i = 76]
. Š Š Š Š Š Š ŠŠŠŠŠŠ Š Š Š Š Š Š
p
{ V b 4 q Š. Še Š. Še Š. Še Š Š Š ‰ Šet r q
Let my prayer arise before thee like incense,
PYOTR TCHAIKOVSKY
(1840–93)
p p cresc.
5
Vb r Š Š Š Š Š Š Š Š Š Š ‰ Š t f r Š Š Š ‰. Š Š
p p cresc.
ya - ko ka - di - lo pryed To - bo - yu: voz- dye - ya - ni -
Vb ˆ Šet r q tŠ f
ŠŠŠŠ ŠŠŠ Š Š ‰ Š Š Š Š
- ya, ya-ko ka-di-lo pryed To - bo - yu: voz - dye -
p
p cresc.
Vb ‰ Š. Še Š. Še Š. Še Š Š Š ‰ Šet r q ‰. Š
ya - ko ka - di - lo pryed To - bo - yu: voz - dye -
V b ˆrŠŠ Š Š Š Š Š tŠ f
ŠŠŠŠ Š Š Š Š Š ‰ Š Š Š Š Š
{
cresc.
V b ‰ Š. Še Š. Še Š. Še Š Š Š ‰ Šetr Š Š Š ‰. Š
© Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.
and the lifting up of my hands

f
10
Vb Š Š Š Š =Š. Še#Š Š Š ‰ ‰ ‰ Š Š ‰. Š ˆF
- ye ru - ku mo - ye - yu, zhert - va vye - cher - nya - ya.
f
p
Vb Š ‰ Š Š Š Š Š Š Š ‰ ‰ ‰ #Š Š ‰. Š ˆF
- ya - ni - ye ru - ku mo - ye - yu, zhert - va vye - cher - nya - ya.
Vb
‰. Š Š Š f Š
p
=Š Š#Š Š =Š Š Š Š Š =Š Š ‰. Š ˆF
S.
A.
T.
B.
- ya - ni - ye ru - ku mo - ye - yu, zhert - va vye - cher - nya - ya.
{ V b Š Š Š Š =Š. Še #Š Š Š ‰ ‰ ‰ #Š Š ‰. Š F
f
ˆp
V b Š ‰ Š Š Š Š Š Š Š Š ( Š ) =Š Š Š Š Š =Š Š ‰. Š Eˆ
‰.
like the evening sacrifice.
CHORUS after each verse
p sf p cresc.
Lively (Ozhivlenno) [i = 108]
16
TUTTI
Vbq r Š Š Š. ŠeŠ ŠŠŠ ŠŠŠ f Š Š Š Š Š Š Š Š ŠŠ#Š Š
Da is - pra - vit-sya mo - lit - va mo-ya, ya - ko ka - di - lo
Bb q r Š Š Š. ŠeŠ Š Š
f Š Š Š ŠŠŠ Š Š bŠ Š Š #Š
TUTTI
p
sf p cresc.
Let my prayer arise before thee like incense,
20
Vb ff dim.
Š ŠŠ ŠŠ
> p
Š Š Š Š Š #Š Š Š
>
Š ŠŠŠŠ Š Š Š ‰ Š Š
Š Š =Š Š. Še >
Š Š Š
Bb
Š =Š =Š Š #Š Š Š Š Š Š ŠŠŠ #Š Š ‰ Š Š
>
pryed To - bo - yu: voz - dye - ya - ni - ye ru - ku mo-ye - yu, zhert - va vye -
ff
ff dim. p
>
and the lifting up of my hands like the evening sacrifice.
F
24
Vb Še Š.
‰
#Š
‰ #‰ f
‰ ‰ Š Š Š. Š f Š Š Š ‰ Š Š ‰. Š ˆ
>
- cher - nya-ya, zhert - va vye - cher - - - - nya - ya.
>
Bb Š. Še #‰ #‰ ‰ Š Š Š Š Š ‰. f
‰ ‰ Š Š ‰ Š Š Š Š ‰ ‰
>
‰. Š Eˆ
ff
Tchaikovsky: Let My Prayer Arise 105
p

1
S.
2
A.
106 Tchaikovsky: Let My Prayer Arise
VERSE 2
Slow
p
SOLO
30
Vb Š. Š f
Š Š ‰ Š Š Š Š Š ‰ Š t f r q r Š Š Š
Go - spo-di, voz - zvakh, voz - zvakh k tye-bye, u - slï - shi
pSOLO
Vb p p r Š ŠŠ ŠŠŠ Š Š Š Š Š ˆ
p
Go - spo-di, voz - zvakh k tye - bye,
SOLO
Vbq Š. Še Š. Še Š. Še Š Š Š ‰ Šet r rŠ ‰ Š. Še
Go - spo - di, voz-zvakh, voz-zvakh k tye-bye, u - slï - shi, u -
V
Slow
b Š. Š f
Š Š ‰ Š Š Š Š ŠŠ ŠŠ Š Š Š Š Š Š ˆrŠŠ Š
p
{ V bq Š. Še Š. Še Š. Še Š Š Š ‰ Šet r rŠ ‰ Š. Še
Lord, I have cried to thee, hear me;
35
cresc.
Vb ‰ Š Š Š Š Š ‰ Š t f r Š Š Š ‰. Š Š Š Š Š Š
mya, u - slï - shi mya: von - mi, von - mi
p p cresc.
Vb Šet r q tŠ f
Š ŠŠ ŠŠŠ Š Š Š Š Š Š Š Š Š ‰ Š
Vb Š. Še Š. Še Š Š Š ‰ Šet r q ‰. Š ‰. Š Š
p
u-slï - shi mya, u - slï - shi mya: von - mi gla-su, von -
p cresc.
- slï - shi mya, u - slï - shi mya: von - mi, von -
V b ‰ Š Š tŠ f
Š ŠŠ ŠŠŠ Š Š Š Š Š Š Š Š Š Š Š Š Š
{
cresc.
V b Š. Še Š. Še Š Š Š ‰ Šet r Š Š Š ‰. Š Š ‰. ‰ Š Š
listen to my voice when I call to thee.
p
p

Tchaikovsky: Let My Prayer Arise 107
CHORUS
p
40
f
Vb=Š. Še#Š Š Š ‰ ‰ ‰ ‰ ‰. Š ˆF
gla - su mo - lye - ni - ya mo - ye - go.
f
Vb ‰ Š Š Š Š ‰ ‰ ‰ #‰ ‰. Š ˆF
- mi gla - su mo - lye - ni - ya mo - ye - go.
f
Vb Š Š =Š Š #Š Š =Š Š Š Š Š =Š Š ‰. Š ˆF
- mi gla - su mo - lye - ni - ya mo - ye - go.
V b =Š. Še #Š Š Š ˆ ‰ #‰ ‰. Š ˆF
{
f
p
V b ‰ Š Š Š Š Š Š ( Š ) =Š Š Š Š Š =Š Š ‰. Š Eˆ
p
p
VERSE 3
Slow
45 pSOLO
Vb ‰ ‰ ‰ Š Š Š Š Š ‰ Š t f r r Š ‰. Š
Po - lo - zhi, Go - spo - di, khra - nye - ni -
pSOLO
Vb p p r Š Š Š Š Š Š Š Š Š ˆ
p
Po - lo - zhi, Go - spo - di,
SOLO
Vbq Š. Še ‰ Š Š Š Š Š ‰ Šet r rŠ Š. ŠeŠ Š Š Š
Po - lo - zhi, Go - spo - di, khra - nye - ni -
V
Slow
b ‰ ‰ ‰ Š Š Š Š Š Š Š Š Š Š Š Š ˆ‰. Š
p
{ V bq Š. Še ‰ Š Š Š Š Š ‰ Šet r r Š Š. Še Š Š Š Š
Keep watch, O Lord, before my mouth;
p
p

108 Tchaikovsky: Let My Prayer Arise
50
cresc.
Vb ‰ Š Š Š Š Š ‰ Š t f r Š Š Š ‰. Š Š Š Š Š Š
- ye us - tom mo - im, i dvyer’, i dvyer’ o - gra -
p p cresc.
Vb Šet r q r Š ŠŠŠŠ Š Š Š Š Š Š Š Š Š Š ‰ Š
Vb Š Š Š Š Š Š Š ‰ Šet r q ‰ ‰ ‰. Š Š
p
khra - nye-ni-ye us - tom mo-im, i dvyer’ o - gra - zhdye - ni -
p cresc.
- ye us - tom mo - im, i dvyer’, i
V b ‰ Š Š Š Š ŠŠŠŠ Š Š Š Š Š Š Š Š Š Š Š Š Š Š
{
cresc.
V b Š Š Š Š Š Š Š ‰ Šet r Š Š Š ‰.‰ ‰ Š Š ‰. ‰ Š Š
keep the door of my lips.
f
55
Vb=Š. Še#Š Š Š ‰ ‰ ‰ ‰ ‰. Š ˆF
- zhdye - ni - ya o ust - nakh mo - ikh.
f
Vb ‰ Š Š Š Š ‰ ‰ ‰ #‰ ‰. Š ˆF
- ya o ust - nakh, ust - nakh mo - ikh.
f
Vb Š Š =Š Š #Š Š =Š Š Š Š Š =Š Š ‰. Š ˆF
dvyer’ o gra - zhdye - ni - ya o ust - nakh mo - ikh.
V b =Š. Še #Š Š Š ˆ ‰ #‰ ‰. Š ˆF
f
p
{ V b ‰ Š Š Š Š Š Š ( Š ) =Š Š Š Š Š =Š Š ‰. Š Eˆ
p CHORUS
p
p

VERSE 4
Slow
p
SOLO
60
Vb ‰ Š Š ‰ Š Š Š Š Š ‰ Š t f r q ‰. Š
Nye u - klo - ni syer-tse mo-ye v slo - vye -
pSOLO
Vb p p q ŠŠŠŠ Š Š Š Š Š Š ˆ
p
Nye u-klo-ni syer - tse mo - ye
SOLO
Vb r Š Š. Še ‰ Š Š Š Š Š ‰ Šet r q Š. ŠeŠ Š Š Š
Nye u - klo - ni syer-tse mo-ye v slo - vye -
V
Slow
b ‰ Š Š ‰ Š Š Š Š Š ŠŠŠŠ Š Š Š Š Š Š ˆ‰. Š
{
p
V b r Š Š. Še ‰ Š Š Š Š Š ‰ Šet r q Š. Še Š Š Š Š
Do not incline my heart to evil;
Tchaikovsky: Let My Prayer Arise 109
p
p
65
cresc.
Vb ‰ Š Š Š Š Š ‰ Š t f r Š Š Š ‰ Š Š Š
- sa lu - kav - stvi - ya, nye - psche - va - ti vi -
p p cresc.
Vb Še t r q q ŠŠŠŠ Š Š Š Š Š Š Š Š Š
p
v slo-vye-sa lu - kav - stvi-ya, nye-psche - va - ti vi -
p cresc.
Vb Š Š Š Š Š Š Š ‰ Še t r q ‰ ‰
- sa lu - kav - stvi - ya, nye - psche -
V b ‰ Š Š Š Š Š ŠŠŠŠ Š Š Š Š Š Š Š Š Š Š
{
cresc.
V b Š Š Š Š Š Š Š ‰ Še t r Š Š Š ‰ Š‰
Š
make no excuses for my sins.

f
69
Vb Š Š Š Š =Š. Še#Š Š Š ‰ q r ‰.
- nï o grye - syekh, nye - -
f
Vb Š ‰ Š ‰ Š Š Š Š ‰ Š =Š Š Š Š Š Š #Š
- nï, vi - nï o grye - syekh, nye psche - va - ti, nye - psche -
f
Vb
‰ Š Š Š Š Š =Š Š #Š ‰ q q Š Š
- va - ti vi - nï o grye - syekh, nye psche -
{
110 Tchaikovsky: Let My Prayer Arise
V b Š Š Š Š =Š. Še #Š Š Š ‰ Š =Š Šr Š‰.
Š Š Š #Š
f
V b Š ‰ Š
Š Š Š Š Š Š Š ‰ q q
‰. ‰ ( )
r Š
f
f
f
73
dim.
Vb ‰ ‰ ‰ Š Š ‰ #Š Š ˆ ˆF
- psche - va - ti vi - nï o grye - syekh.
dim.
Vb Š. Še Š Š ˆ ‰ ‰ ˆ ˆF
- va - ti vi - nï o grye - syekh.
Vb Š Š Š Š
{
dim.
Š ‰ ‰ ‰. Š ˆ ˆF
- va - ti vi - nï o grye - syekh.
V b Š. ‰ Š Š‰ Š ‰ Š Š #Š Š ˆ ˆ
f
ˆ ‰ ‰
F
V b Š
Š Š Š
dim.
Š ‰ ‰ ‰. Š ˆ Ê
p CHORUS
p
p

111
Divine Liturgy
mf
[Andante]* i = 96
Vbb C Š. ŠeŠ Šet Še f
Š f
Š Š Š Š Š ‰. Š Š Š t f Š Š
Go - spo-di, spa - si bla - go - che - sti - vï - ya i u -
Bbb C
Š. Še Še ‰. Še f
Š f t Š Š Š Š Š ‰. Š Š Š t q
mf
Lord, save the faithful,
f
=Š #ˆ r q
p mf
‰. ˆ ‰. ‰ =‰ ‰ Še Š t r r Š ‰ Š Š Š f
SOPRANO
ALTO
5
Vbb
TENOR
BASS
14. ‘Lord, Save the Faithful’ and Trisagion
p
(‘Gospodi, spasi’ i Trisvyatoye)
- slï - shi nï. A - min’. Svya -tïy
Bbb q ‰. ‰.
r q Še r r Š ‰
Š Š ‰ . Š ‰ . ‰ ‰ Š tŠ f Š ˆ>
i u - slï - shi nï. A - min’. Svya - tïy
Amen.
O Holy God,
mf
and hear us.
11
Vbb ‰ Š Š Š Š ŠetŠ r Š ‰ Š Š Š Šet r Š Š f
Š Š Š ‰ Š Š Š Š Š ‰ Š f Š
Bbb
Šet r Š ‰ Šet r Š ‰ Š Š ˆ ‰ Š Š ‰ Š Š ‰ Š
>
Š
Bo - zhe, Svya -tïy Kryep - kiy, Svya-tïy Byez - smyert-nïy, po -
>
Bo - zhe, Svya - tïy Kryep - kiy, Svya - tïy Byez-smyert - nïy,
Holy mighty,
Holy Immortal One, have mercy upon us.
16
Vbb ‰. Š Š Š Š Š #‰‰ ŠetŠ r rŠ‰
Š Š Š Šet rŠ‰
f
=Š Š Š ‰ Š Š Š Š Š f
- mi - luy nas.
Svya - tïy Bo - zhe, Svya - tïy
Bbb ‰. Š Š Š Š Š ‰ ŠetŠ Š ˆ >
‰ Š
Š ˆ
f r p
>
p p
p
p
PAVEL CHESNOKOV
(1877–1944)
Op. 38, No. 1
Svya - tïy Bo - zhe, Svya - tïy
* Chesnokov noted: this work should be performed in a light, calm, prayerful, and happy spirit.
© Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.

112 Chesnokov: ‘Lord, Save the Faithful’ and Trisagion
21
Vbb ‰ Š Š Š Š ŠeŠ t r Š Š Š Š‰ Š Š Š Š f
‰ Š ŠŠ
Bbb ‰
Kryep - kiy, Svya - tïy Byez - smyert - nïy,
Š
Š >
‰ Š Š ‰ Š Š Š Š Š Š
p p p p Š
Kryep - kiy, Svya - tïy Byez - smyert - nïy,
p
mf
po - mi - luy
25
Vbb ‰ Š Š Š r r Š ‰ Š Š Š Š‰ Š Š Š ŠetŠ r Š ‰ Š Š Š Šet
f
Š Š Š ‰ Š Š f
nas. Svya-tïy Bo - zhe, Svya-tïy Kryep - kiy,
Bbb ‰ Š r r Š ‰ Šet r Š ‰ Šet
q r
Š ˆ > ‰ Š Š ˆ > ‰ Š Š Svya - tïy Bo - zhe, Svya - tïy Kryep - kiy, Svya -
f
30
Vbb r Š Š Š Š Š Š Š Š ‰. Š Š Š Š Š Š ‰ Š r 34
Svya - tïy Byez - smyert - nïy, po - mi - luy nas.
Bbb r Š Š ‰. ‰ Š Š Š Š
Š Š Š Š Š Š ‰ Š
>
- tïy Byez - smyert - nïy,
r 34
p
>
Vbb34 Š ŠŠŠŠ =ŠŠŠŠŠŠŠŠ Š ŠŠŠŠ#Š ŠeŠ t
Š Š f
Š =Š Š #Š
>
Š ŠetŠ Š Š f
ŠŠ
>
Bbb34 # ŠŠŠŠŠŠ Še Š Š Š Š Š Š Š Š Š Š Š Š Š Š t Š Š Š Š
>
Šf Š ŠeŠ Š Š f t ŠŠ
Sla - va Ot-tsu, i Sï-nu, i Svya-to- mu Du-khu, i nï - nye i pri - sno i vo
p
Glory to the Father, and to the Son, and to the Holy Spirit, both now and ever, and unto ages of ages.
p
p

mf
p
39
Vbb‰ ‰ ŠŠ Š ŠetŠ rr C r Š Š Š f Š ‰. Š Š Š Š ‰ Š Š
Bbb Šet rr C r Š Š Š ‰ ŠŠ Š Š Š Š
f
Š ‰. Š
r
Š
ˆ
‰
‰
vye - ki vye - kov, A - min’. Svya-tïy Byez - smyert - nïy, po -
mf
p
p
Amen.
p
Svya - tïy, po -
Holy Immortal One, have mercy upon us.
45
Vbb ‰ Š Š Š ‰ Š Š Š r r Š ‰ Š Š Š Š‰ Š Š Š ŠetŠ r Š ‰ f
Š Š Š
- mi - luy nas. Svya -tïy Bo - zhe, Svya -tïy
Bbb Š Š Š Š ‰ Š r r Š Šet r Š ‰ . Š Š rr
Š
ˆ ‰ ‰ ‰ Š Š ˆ
>
>
‰ ‰
mf
- mi - luy nas. Svya - tïy Bo - zhe, Svya - tïy
O Holy God,
Holy mighty,
mf
po - mi - luy, Svya - tïy
50
Vbb ‰ Š Š Š Š ŠetŠ r Š Š Š Š Š Š Š Š ‰ Š Š Š f
Š Š ‰ Š Š
Bbb
f
Kryep - kiy, Svya-tïy Byez - smyert - nïy, po - mi - luy, po - mi - luy, po -
Šet r Š Š ‰ Š Š
‰ Š Š ‰ Š Š Š Š Š Š Š Š Š Š Š Š Š bŠ
>
Kryep - kiy, Svya - tïy Byez - smyert - nïy, po - mi - - - luy, po -
Holy Immortal One,
have mercy upon us.
mf
Chesnokov: ‘Lord, Save the Faithful’ and Trisagion 113
55
VbbŠ ‰ Š Š ŠŠ r r Š Š Š Š Š‰ Š Š Š Š ‰. Š ‰ Š r
Bbb
Š Š Š Š r r Š Š Š Š
‰. ˆˆ
‰
Š
> Š ‰. Š ‰ Š
- mi - luy, Svya-tïy Byez - smyert - nïy, po - mi - luy nas.
p
- mi - luy, po - mi - - - luy,
r

114
Traditional acclamation
SOPRANO
ALTO
TENOR
BASS
Maestoso
f
V # # 4 ‰ Š Š Š ‰. Še ‰ ‰ Š Š Š. ‰ #Še ‰
Mno - ga - ya lye - ta, mno - ga - ya lye - ta,
B## 4 ‰ Š Š Š. ‰ Še Š. Še ‰ ‰ Š Š ‰ ‰
f
15. Many Years
(Mnogaya lyeta)
[May the Lord grant] many years!
V #
5
# ˆ Š Š Š Š =‰ Š Š Š Š Š Š ˆ‰ ‰ Š ‰ ‰ ‰ Š
Da capo
lye - - - ta!
mno - - - ga - ya lye - - ta!
B## ˆŠ Š Š Š Š Š Š Š Š
Š ˆ‰ ‰ ‰ ‰
V #
9
# ‰ Š Š Š. ‰ Še ‰ ‰ Š Š Š. ‰ #Še ‰
Mno - ga - ya lye - ta, mno - ga - ya lye - ta,
Š. Še B##
‰ Š Š ‰
Š. Še ‰ ‰ Š Š ‰ ‰
V # # ˆ Š Š Š Š =‰ Š Š Š Š Š Š ˆ‰ ‰ Š ‰ ‰ ‰ Š F ff
13
‰ q
mno - - ga - ya lye - - ta!
DMITRY BORTNIANSKY
(1751–1825)
B## ˆŠ Š Š Š Š Š Š Š Š
Š ˆ‰ ‰ ‰ ‰
ˆ
‰ q
‰ ‰Eff
© Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.

115
Traditional acclamation
TENOR 1 2
BASS
1
2
Allegro moderato [i = 112]
f
Vbbbbb [
C Š Š Š Š Š Š Š Š Š Š Š ŠŠŠ Š ŠŠŠ
Mno - ga - ya lye - ta, mno - ga - ya lye - ta, mno - ga-ya, mno - ga-ya,
f
16. Many Years
(Mnogaya lyeta)
Bbbbbb C Š Š Š Š Š p Š Š Š Š Š Š ŠŠŠ Š ŠŠŠ
f
[May the Lord grant] many years!
SERGEI PROKOFIEV
(1891–1953)
4
Vbbbbb Š Š Š [
Š Š Š Š Š Š ŠŠŠ Š Š Š Š Š Š Š Š
Bbbbbb
mno - ga - ya lye - ta! Mno - ga - ya lye - ta, mno - ga - ya lye - ta,
Š Š ŠŠŠŠ Š Š Š
Š ŠŠŠ Š Š ŠŠŠ Š
poco rit.
Vbbbbb ‰
[
Š Š Š Š Š Š Š Š Š Š Š. Še - F
Š ‰
-
7
f
mno - ga - ya lye - - - ta!
Bbbbbb Še Š.
-
‰ Š Š ‰ Š. Š Še f ‰ ‰
ff
E ff
© Boosey & Hawkes Music Publishers Ltd. Used by permission. All rights reserved. Photocopying this copyright material is
ILLEGAL.

116
Traditional acclamation
SOPRANO
ALTO
TENOR
BASS
( for
rehearsal
only)
Allegro moderato
f
[i = 112]
Vbbbbb C Š Š Š Š Š Š Š Š Š Š Š ŠŠŠŠ Š Š Š Š Š Š Š ŠŠ
Mno-ga-ya lye-ta, mno-ga-ya lye-ta, mno-ga-ya, mno-ga-ya,
Vbbbbb C Š
f
Š Š Š Š Š Š Š Š Š Š Š Š ŠŠ ŠŠŠ Š Š ŠŠ ŠŠŠŠ Š ŠŠŠ
f
mno-ga-ya lye-ta!
Mno-ga-ya lye-ta, mno-ga-ya lye-ta, mno-ga-ya, mno-ga-ya,
Vbbbbb
[
C Š Š Š Š Š Š Š Š Š Š Š Š Š ŠŠŠ ŠŠŠŠ Š Š Š ŠŠŠ Š Š ŠŠŠ
Mno-ga-ya lye-ta, mno-ga-ya lye-ta, mno-ga-ya, mno-ga-ya,
Bbbbbb C Š f Š Š Š Š p Š Š Š Š Š Š Š Š ŠŠ ŠŠŠŠ Š Š Š ŠŠŠŠ Š ŠŠŠ
Mno-ga-ya lye-ta, mno-ga-ya lye-ta, mno-ga-ya, mno-ga-ya,
V
Allegro moderato [i = 112]
bbbbb C Š Š Š Š Š Š Š Š Š Š Š
{ B bbbbb C Š f Š Š Š Š Š Š Š Š Š Š
Š
Š
mno-ga-ya lye-ta!
mno-ga-ya lye-ta!
mno-ga-ya lye-ta!
Š Š Š ŠŠŠ Š ŠŠŠ Š ŠŠ Š
Š Š
Š Š Š ŠŠ
Š ŠŠŠ Š Š Š Š Š
[May the Lord grant] many years!
poco rit.
5
Vbbbbb Š ŠŠŠ Š Š Š Š Š Š Š Š ‰ Š Š Š Š Š Š Š Š Š Š Š. Š- F f ‰
Mno-ga-ya lye - ta, mno-ga-ya lye - ta, mno - ga - ya lye - - - ta!
Vbbbbb Š ŠŠŠ Š Š ŠŠŠ Š ‰ Š Š ˆŠ Š Š Š Š Š Š Š Š. Š- Fff
f
‰
Mno-ga-ya lye - ta, mno - ga-ya lye - ta, mno - ga - ya lye - - - ta!
Vbbbbb Š Š Š Š Š Š Š Š Š Š Š Š ‰ Š Š Š Š
[
Š Š Š Š Š Š Š. Š
- Fff
‰
Mno-ga-ya lye - ta, mno-ga-ya lye - ta, mno - ga - ya lye - - -
f
ta!
Bbbbbb
Š Š Š Š Š Š ŠŠŠ Š ‰ Š Š ˆ Š.
-
‰ Š. Š Še f ‰ F ff
‰
Mno-ga-ya lye - ta, mno - ga-ya lye - ta, mno - ga - ya lye - - - ta!
V bbbbb Š Š Š Š Š
{ B bbbbb
Š Š Š Š Š
17. Many Years
(Mnogaya lyeta)
SERGEI PROKOFIEV
(1891–1953)
Š Š ŠŠŠŠ Š Š Š Š ‰ Š Š Š Š Š‰.
Š Š Š Š Š Š. Š
F
f ‰
Š Š Š Š Š Š Š ‰ Š Š ˆ Š. Še ff
ŠŠŠ ‰ Š. Š f ‰ ‰
E
© Boosey & Hawkes Music Publishers Ltd. Used by permission. All rights reserved. Photocopying this copyright material is
ILLEGAL.
ff

117
Divine Liturgy
SOPRANO
ALTO
TENOR
BASS
( for
rehearsal
Religioso i = 88
p sotto voce
V # ## C Š ŠŠ‰ >
V # ## p sotto voce
C Š ŠŠ‰ >
V
[
# ## p sotto voce
C Š ŠŠ‰
B### p sotto voce
C Š >
ŠŠ‰
>
pp
t
ŠeŠ Š Š Š Š Š Š Še . Š-
Še Š. Še
t pp
ŠeŠ Š Š Š Š Š Š Še . Š-
Še Š. Š Š
t pp
Š f
Š Š Š Š Š Š Š.
f
Š-
Š f
Š. Še
tŠ pp Š f
Š Š ŠŠŠ Š.
Š-
f
Š f Š. Še
Ot - che nash, i - zhe ye - si na nye-bye-syekh, da svya-tit - sya
Ot - che nash, i - zhe ye - si na nye-bye-syekh, da svya-tit - sya
>
Ot - che nash, i - zhe ye - si na nye-bye-syekh, da svya-tit - sya
Ot - che nash, i - zhe ye - si na nye-bye-syekh, da svya-tit - sya
V #
Religioso i = 88
##
C Š Š Š ‰
{ B### C Š Š Š ‰
only)
p pp
Our Father, who art in heaven,
t
Še Š Š Š Š
Š Š Š Še Š Še Š. ŠeŠ Š
t Š ŠŠ
f
Š Š Š Š Š Š ŠŠ
f
Š f Š. Š
hallowed be thy name,
f
V #
4
## Š-
Š Š Še . Š-
Še Š. Še Š. Š Š Š Š t Še Š. Še
i - mya Tvo-ye, da pri - i - dyet Tsar- stvi-ye Tvo - ye, da bu - dyet
V # ##
Š ŠŠŠ Še . Š Še Š. Š Š Š. ŠŠ Š Š t Še Š. Še
ī - mya Tvo-ye, da pri - i - dyet Tsar- stvi-ye Tvo - ye, da bu - dyet
V
da bu - dyet
[
### -
ŠŠŠe .
Š Š Š Š Š
-
Š Še Š Š. Š Š Š. ŠeŠ f
Š. Š Š Š Š
- -
‰ Š Š
i - mya Tvo-ye, da pri - i - dyet Tsar- stvi-ye Tvo - ye, da
B###
Š ŠŠŠ.
Š-
Š Š Š. Š f
Š.Š Š Š Š Š Š Š V # ##
{ B###
18. Our Father
(Otche nash)
-
i - mya Tvo-ye, da pri - i - dyet Tsar- stvi-ye Tvo - ye, da
ŠŠ Š Š Š Še Š Še Še Š . Š Š Š Š
t
Š. Š Š Š. Še
Š Š
Š. Š
Š Š f
Š Š Š Š Š Š. Š Š Š f Š. Š Š Š
Š
Š
Š Š thy Kingdom come,
© Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.
NIKOLAI GOLOVANOV
(1891–1953)
Op. 9, No. 3
Še
thy will be done,

118 Golovanov: Our Father
f
V # rall.
7
## Š Š Š Š Š > f
Š Š Š-
Š Š-
Š - f
‰ ŠŠŠ ,
Š Š F
‰
vo - lya Tvo-ya, ya - ko na nye-bye - si i na zyem-li.
V # ##
Š Š Š Še Š Še Š-
f
Š Š-
Š - ‰ Š Š ŠŠŠ
, pp
>
Š Š Š Š Š
F
‰
vo - lya Tvo-ya, ya - ko na nye-bye - si i na zyem-li.
vo - lya Tvo-ya, ya - ko na nye-bye - si i na zyem - li.
V
[
# ## > f
Še Še Š -
Š
-
pp
Š Š Š Š f
Š Š Š Š Š Š Š Š Š Š Š
F
‰
bu - dyet vo - lya Tvo - ya na zyem - li.
B### Š Š Š f
Š
f
pp
Š f Š Š Š Š Š Š Š ‰
bu - dyet vo - lya Tvo - ya na zyem - li.
V # ## Š Š Še Š Še Š Š Š Š ‰
Š Š Š Š F
Š Š Š Š Š Š ‰
{ B### Š Š Še Š f
pp
Š Š f
Š Š f Š Š Š Š Š Š Š
E
‰
on earth as it is in heaven.
V #
10
##
V # ##
pp
V
[
# ##
B###
p
Š
V # ##
{ B###
a tempo
‰ ‰ Š Š Š Š ‰ ˆ
mm
pp
‰ ‰ =Š Š Š #Š ‰ ˆ
mm
p
Š Š Š =Š. - Še
= Š =Š Š #( Š )# ‰ Š Šf t Š Š Š Š Š
Khlyeb nash na-susch - nïy dazhd’ nam dnyes’, i o - sta - vi nam
dnyes’, i o - sta - vi nam
Š
Š Š. Še = =Š ‰ Še >
- Š Š Š #( ) ŠŠ ŠŠ ‰
Š Še =Š Š
Š Š
- -
Khlyeb nash na-susch - nïy dazhd’ nam dnyes’, i o - sta - vi nam
a tempo
‰ ‰
Š Š Š =Š. Š =Š = Š #Š ‰ ˆ
f Š Š t f
Š Š =Š Š Š
p
Š Š Š Š. Še
= Š Š Š ##Š ‰
Š Š Š
Še
‰
Š Še Š
Š Š
Give us this day our daily bread,
and forgive us our trespasses,
pp

p
V # 13
## ˆ ŠŠŠ - Š Š ‰ > Š Š Š Š-
Š-
Š-
V # ## p mf
ˆ ŠŠŠ - Š Š ‰ > Š Š Š Š-
Š Š-
Š-
V
ya - ko-zhe i mï o - sta - vlya - yem,
mp
ya - ko-zhe i mï o - sta - vlya - yem,
mï o - sta - vlya - yem,
V
[
# ## Š Š #‰ Š #Š Š =ŠŠ Š Š ŠŠŠ Š Š ŠŠŠŠ Š Š Š Š
dol - gi na - sha, ya - - ko-zhe i mï
B###
Š #Š Š V
#Š Š ‰ p
‰ Š Š Š
f
- Š -
{
V # ##
B###
dol - gi na - sha, ya - ko - zhe i mï
ˆŠ #Š #Š #Š Š =ŠŠŠŠ Š Š Š ‰ Š Š Š Š Š Š Š Š ŠŠ
Š Š Š Š
Š Š Š #Š V t
Š
p ‰ Še =Š ŠŠŠ ‰
Š Š Š Š f
Š Š
o - sta - vlya - yem dolzh - ni - kom na - shim: i nye vvye -
mf
as we forgive those who trespass against us;
Golovanov: Our Father 119
V #
16
## p
Š Š Š Š Š Š Š
> f
Š Š
p
Š
, pp
> - - Š-
Š Š ŠŠŠŠ- - -
V # ## p
Š Š Š Š Š Š Š
> f
Š Š
p
> - Š-
Š-
Š Še t pp
Š Š
o - sta - vlya - yem dolzh - ni - kom na - shim: i
V
[
# mp
## Še Š Š Š Še Š Še Š Š Š Š
p
Š Š Š Š‰ Š ‰
o - sta - vlya - yem dolzh - ni - kom na - shim:
p
B###
‰
p
‰ ‰ ‰ Š Š-
Š-
Š-
o - sta - vlya - yem, dolzh - ni - kom
V # ##
Š Š Š Š Š Š
{
f
Š Š Š f Š Š Š Š Š Š Š f
Š Š Š Š Š Š
B### p
Še Š Š Š Še Š Še Š Š Š
p
‰
Š
‰
Š Š Š ‰ ‰
‰ ‰ Š Š Š Š
and lead us not

120 Golovanov: Our Father
p mf f
poco
a
poco cresc. molto
V #
19
## Š Š Š Š Š Š Š Š Š Š Š Š 24
- di nas vo is - ku - she - ni - ye,
V # ## p mf
Š Š Š Š Š Š Š Š Še Š Š f Š Š Š-
f >
Š Š f Še Š-
Š-
> f
24
nye vvye - di nas, i nye vvye-di nas vo is - ku-she - ni - ye,
vo is - ku-she - ni -
p mf f
V
[
# ##
Še t Š Š Š Š Š ŠeŠ Š Še ŠŠŠ Š f f f Š Š Š Š Š Š f
24
i nye vvye - di nas vo is - ku-she - ni - ye,
f
B### pp p mf
ˆ ˆ Š Š Šf
Š 24
na - - - shim: i nye vvye -
V # ## Š
Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š f f Š Š Š Š f f f
Š Š Š Š Š f f f
24
{ B### Še t Š Š Š Š Š q f
ˆ ˆ Š Š Š Še Š Š Š Še
cresc.
24
into temptation,
con disperazione,
sostenuto molto
fff
allargando
V # ## 2 424 Š Š ŠŠ
4 Š
22 ff>
> Š Š Š Š Š Š Š Š Š
V
no iz - ba - vi nas, iz -
V # ff
## 2 4 Š > Š ŠŠ > fff
4 ˆ ff
Š Š Š Š Š Š Š Š
no iz - ba - - - vi nas, iz -
- ye, no iz - ba - vi
V [
### 2 4 Š
, ff >
>
4 fff
Š Š Š
>
Š Š Š Š Š Š >
Š Š
no iz - ba - vi nas, iz -
B###24 Š ff> Š > Š fff
4 ˆ ‰. Š Š Š
ff
Š Š
- di, no iz - ba - - - - vi
con disperazione,
allargando
sostenuto molto
V # ## 2 4 Š Š Š Š
Š Š 4 ‰. Š Š Š Š Š f
Š Š Š Š Š Š Š V
Š Š
{ B### 24 fff
Š Š Š Š ˆ
4 Š r r Š Š Š Š Š
but deliver us from evil.
V

f mp p
V # rit. a tempo
25
## Š Š Š Š Š ‰ Š Š-
Š ‰. Š ‰ ‰
f mp p
- ba - vi, iz - ba - vi nas ot lu - ka - va -
V # ## Š Š Š Š Š Š Š Š. #Še Š =Š Š Š Š Š ‰ ‰
- ba - vi nas, iz - ba - vi nas ot lu - ka - va -
V
[
# f
## Š Š Š , mp
Š Š Š Š ‰
p
Š Š Š =Š ‰. Š Š Š Š #Š
- ba - vi, iz - ba - vi nas ot lu - ka - va -
f
B### Š Š Š ,
mp
Š Š ‰ Š p
Š Š
Š Š Š ‰ Š Š ‰ Š Š
- - - -
nas, iz - ba - vi nas ot lu - ka - va -
V #
rit. a tempo
## Š Š Š Š Š Š Š Š ‰
Š Š#Š Š =Š
Š Š ‰ . Š Š Š ‰ Š Š ‰ Š #Š
{
f mp p
B### Š Š Š Š Š Š Š Š Š
‰ Š =Š
Š
Š
Š
Š ‰ Š Š ‰ Š Š
misterioso
mo - ren - do
V # ## ˆ ˆ ˆ Š e t r F
29
pp
ppp
q
- go.
V # ## pp
ppp
ˆ ˆ ˆ Š e t r F q
- go.
V
[
# ## Še t
pp
Š Š Š Š Š Š ppp
. - - - Š ˆ Š t f r
Fq
- go, ot lu - ka - va - go.
B### .
ŠeŠ t -
-
- - ppp
ˆ Še t r q
f ‰ Š Š Š Š Š
F
. - - - Š-
V # ##
{ B###
ˆ ˆ ˆ Še t r
F
Š t q
f Š Š Š Š Š Š Š
pp
Še t ‰ Š Š Š Š
Š ˆ Še t r E q
- go, ot lu - ka - va - go.
Golovanov: Our Father 121

122
Divine Liturgy
SOPRANO
ALTO
TENOR
BASS
( for
rehearsal
only)
Moderato
mf
Vbbb F
2 ‰. Š Š Š Š Š Š Š Š Š Š Š ‰ Š Š
mf
Vbbb F
2 ‰. Š Š Š Š Š Š Š Š Š Š Š ‰ Š Š
mf
Vbbb
[ 2 Š F
‰. Š Š Š Š Š Š Š Š Š ‰ Š Š
mf
Bbbb 2 ‰. Š Š F
Š Š Š Š Š Š Š Š Š ‰ Š Š
Ot - che nash, i - zhe ye - si na nye - bye - syekh, da svya -
Ot - che nash, i - zhe ye - si na nye - bye - syekh, da svya -
Ot - che nash, i - zhe ye - si na nye - bye - syekh, da svya -
‰. Š Š Š Š
Š Š
Š Š Š Š Š
V bbb F
2 ‰ . Š Š Š Š Š Š Š Š Š Š Š ‰ Š Š
{
mf
B bbb 2 ‰ . Š Š Š
Š Š Š
Š
Š Š Š Š ‰ Š Š
E
Ot - che nash, i - zhe ye - si na nye - bye - syekh, da svya -
Moderato
Our Father, who art in heaven,
5
Vbbb Š Š Š Š Š 32 Š Š Š Š Š. t 2Š Š Š Š Š Š Š Š Š Š Š
Vbbb Š Š Š Š Š 32 ‰ Š Š Š.
t 2‰. Š Š ‰ Š
Vbbb ‰. Š >
[
32 Š Š Š Š Š. t 2Š Š ‰ Š Š Š Š Š
Bbbb ‰. Š 32 ‰ Š Š Š. t 2‰. Š Š Š Š Š
hallowed be
>
- tit - sya i - mya Tvo - ye, da pri - i - dyet,
>
- tit - sya i - mya Tvo - ye, da pri - i - dyet,
- tit - sya i - mya Tvo - ye, da pri - i - dyet,
>
- tit - sya i - mya Tvo - ye, da pri - i - dyet,
{ V bbb Š Š Š Š 32 Š Š Š Š.
t
‰. Š ‰ 2 ŠŠ Š Š‰ Š Š Š Š‰
Š
B bbb ‰. Š 32 ‰ Š
Š
Š
Š. t 2 ‰. Š
Š Š Š Š thy name,
19. Our Father
(Otche nash)
thy Kingdom come,
ALEXANDER GRECHANINOV
(1864–1956)
Op. 29, No. 11
© Boosey & Hawkes Music Publishers Ltd. Used by permission. All rights reserved. Photocopying this copyright material is
ILLEGAL.
‰

9
Vbbb ‰ Š Š Š Š Š Š ‰. Š ‰ ‰
F
Š. Š Š ‰ q
f
Š Š
da pri - i - dyet Tsar - stvi - ye Tvo - ye,
Vbbb ‰ Š Š Š
F ff
Š Š Š ‰ Š Š ‰ ‰ ‰ r Š
da pri - i - dyet Tsar - stvi - ye Tvo - ye, da
Vbbb ‰
[
Š Š Š Š Š Š Š ˆ Š. ŠeŠ Š Š
F
‰ q
da pri - i - dyet Tsar - - stvi-ye Tvo - ye,
Bbbb Š Š Š Š Š Š Š Š Š Š Š
F ff
‰ ‰ ‰. Š ‰ r Š
da pri - i - dyet Tsar - stvi - ye Tvo - ye, da
V bbb ‰ Š Š Š Š
F
ŠŠŠ
Š ‰ Š. Š Š ŠŠ ‰ ‰ ‰ f
ŠŠ
r Š
{ B bbb Š Š Š Š Š Š Š Š Š Š Š
ˆ Š. Še Š Š Š
ff
‰ ‰
‰ r Š
ˆ E
ff
14
Vbbb q r Š ‰. Š Š Š Š Š Š ˆ Š. ŠeŠ Š Š ‰ Š Š Š Š ‰. r 32
da bu - dyet vo - - lya Tvo - ya,
Vbbb ‰ > ‰ ˆ ˆ ‰ Š Š ‰. r 32
>bu - dyet vo - - - - lya Tvo - ya,
ff
Vbbb q
[
r Š ‰. Š Š Š Š Š Š ˆ Š. ŠeŠ Š Š ‰ Š Š Š =Š ‰. r 32
da bu - dyet vo - - lya Tvo - ya,
Bbbb ‰ ‰
ˆ
ˆ
‰
Š
Š
‰
> >
. r 32
bu - dyet vo - - - - lya Tvo - ya,
V bbb ‰ Š Š ‰. Š Š Š Š Š Š ˆ Š. Še Š Š Š ‰ Š Š Š Š ‰. r 32
{ B bbb ‰ Š Š Š Š Š Š Š Š. Še Š Š Š Š
‰ ˆ
‰. Š
ˆ
‰
Š
Š =Š Š Š ‰ . r 32
thy will be done,
Grechaninov: Our Father 123

124 Grechaninov: Our Father
19
cresc.
Vbbb32 p 2 p r Š Š Š ‰ =Š Š Š
mf
da bu - dyet vo - lya Tvo -
cresc.
Vbbb32 ‰ Š Š Š Š Š 2ˆ Š Š Š Š ‰ Š Š Š Š
mf
ya - ko na nye - bye - si, da bu - dyet vo - lya Tvo -
Vbbb32 [ ‰ Š Š Š Š Š 2 Š =Š Š Šet Š Š cresc.
Š Š Š Š Š Š ‰ Š Š
f
mf
Bbbb32 ‰ Š Š Š Š Š cresc.
2ˆˆ
ˆ
ˆ
ya - ko na nye - bye - si i na zyem - li, da bu - dyet vo - lya Tvo -
ya - ko na nye - bye - si,
V bbb 32 ‰ Š Š Š Š Š 2 ˆ Š ŠŠ Š ‰‰ =Š Š r Š =Š Š Š Š
{
f
t Š Š Š Š
mf
B bbb 32 ‰ Š Š Š Š Š 2 Š Š Š cresc.
Š Še t
ˆ ˆ Š Š Š
ˆ
‰ Š Š
on earth as it is in heaven.
23
Vbbb Š
f
Š Š Š Š =Š Š Š Š Š Š Š Š Š ˆ ˆF
- ya, ya - ko na nye - bye - si i na zyem - li.
f
Vbbb ‰ ‰ Š Š Š Š Š
Fp
Š Š Š Š Š Š Š Š Š Š ˆ
- ya, ya - ko na nye - bye - si i na zyem - li, i na zyem - li.
f
p
Vbbb
[ Š Š =Š Š =‰ Š Š ‰ q r Š Š Š ˆF
- ya, ya - ko na nye - bye - si i na zyem - li.
Bbbb Š f
‰ Š ‰ Š Š ‰ . Š ‰ ‰ p
ˆˆF
ya - ko na nye - bye - si i na zyem - li.
V bbb Š ‰ Š Š Š Š ‰ =Š Š Š Š Š Š Š Š Š ˆŠ Š Š Š ˆF
{
f
B bbb Š =Š =‰ Š Š ‰ . Š ‰ p
Š Š
Š
‰ Š ‰ Eˆ
mf
p

f
molto maestoso
28
Vbbb ‰ Š Š Š‰. Š Š Š Š Š Š Š Š Š Š. t Š Š Š Š Š Š Š
f
Khlyeb nash na - susch - nïy dazhd’ nam dnyes’, i o - sta - vi nam
Vbbb ‰ Š Š ‰ . Š ‰. Š Š Š Š Š Š .
f
Vbbb
[
‰ Š Š Š‰. Š Š Š Š Š‰. Š Š Š Š Š. t Š Š Š Š Š Š Š
Bbbb ‰
f
Š Š ‰. Š Š Š Š Š Š Š .
t Š Š ‰ Š Š
Š Š Š Š Š
ˆˆ
V bbb ‰
{
f
B bbb ‰
t Š Š
Š ‰
Š Š
Khlyeb nash na - susch - nïy dazhd’ nam dnyes’, i o - sta - vi nam
Khlyeb nash na - susch - nïy dazhd’ nam dnyes’, i o - sta - vi nam
i o - sta - vi nam
Khlyeb nash na - susch - nïy dazhd’ nam dnyes’, i o - sta -
Š
Š
molto maestoso
Š
Š
Give us this day our daily bread,
Grechaninov: Our Father 125
Š‰. Š Š Š Š
Š‰. Š Š Š Š Š . t Š Š Š‰
Š Š Š Š
Š
Š Š Š Š
Š
Š Š Š Š Š .
t Š Š Š Š Š Š Š
‰. ˆ
and forgive us our trespasses,
33
Vbbb
‰ Š Š Š Š Š. ‰ ŠeŠ‰
Š Š ‰. r ‰ Š Š Š Š Š ‰
dol - gi na - sha, ya - ko - zhe i mï
Vbbb Š Š Š Š ‰ ‰ ‰. r Š Š Š Š Š Š Š Š ‰
dol - gi na - sha, ya - ko - zhe i mï
Vbbb ‰ Š Š Š Š Š. ‰ ŠeŠ‰ Š Š ‰.
[
r Š Š Š Š Š Š Š Š Š ‰
dol - gi na - sha, ya - ko - zhe i mï
dol - gi na - sha,
Bbbb
‰.
r ‰ . Š ‰
‰
ˆ
‰ .
Š Š ‰
- vi nam, ya - ko - zhe i mï
V bbb
Š Š
Š Š Š . Š e Š Š Š ‰. r ‰ Š Š Š ‰
Š ‰ ‰ ‰ Š Š Š Š Š { B
Š Š Š ‰ ‰
bbb
‰ ‰ ˆ ‰.
r ‰. Š Š Š Š Š Š Š Š Š ‰
as we forgive those who trespass against us;

126 Grechaninov: Our Father
mf
38
Vbbb Š Š Š Š Š Š Š Š Š Š ˆŠ. Š Š ˆ f
Š Š ‰ ‰ ‰. r
mf
o - sta - vlya-yem dolzh-ni - kom na - shim:
Vbbb Š Š Š Š Š Š Š Š Š Š ‰ Š Š ‰ ‰ ‰. r
mf
o - sta - vlya-yem dolzh-ni - kom na - shim:
Vbbb ‰. Š Š Š
[
Š Š ˆ Š. ŠeŠ Š Š ‰. r
o - sta - vlya-yem dolzh-ni - kom na - shim:
mf
Bbbb ‰ . Š Š Š Š Š Š ‰ ‰ ˆ ‰ . r
o - sta - vlya-yem dolzh-ni - kom na - shim:
V bbb ‰. Š Š Š Š Š Š Š Š Š Š ˆ
‰
Š. Še Š Š Š Š.
‰ t ‰ ‰ q
{
mf
B bbb ‰ . Š Š Š Š Š Š ‰ ‰ r t Š e Š Š Š ‰
ˆ q
p
43
Vbbb ‰ Š Š Š Š. Š f Š Š Š Š Š Š Š Š. Š f Š Š Š ‰
p
i nye vvye - di nas vo is - ku - she - ni - ye, no iz -
Vbbb ‰ Š Š Š ‰ ‰ ‰ Š Š Š ‰ Š Š ‰ Š Š
i nye vvye - di nas vo is - ku - she - ni - ye, no iz -
i nye vvye - di nas vo is - ku - she -
Vbbb ‰ p Š Š Š Š. ŠeŠ Š Š Š
[
‰ ‰ ‰ ‰ ‰ ‰ Š Š Š Š mf
‰ ‰ ‰
p
p
i nye vvye - di, no iz -
Bbbb ˆ
‰ ‰ ˆ
‰ ‰ ˆ
‰ ‰ ˆ
‰ ‰ ‰ Š Š i nye vvye - di, no iz -
V bbb ‰ Š Š Š Š. ‰ Še Š‰ Š Š Š Š Š Š Š. Še
Š. ŠŠ
‰ Š Š Š ‰ f
‰ Š Š
{ B ‰ p
mf
bbb ˆ ‰ ‰ Š
‰
Š Š
ˆ
‰ ‰ Š
‰
Š Š
‰
Š Š ‰
‰ Š Š
and lead us not into temptation,
mf
mf
mf
Š
but deliver us from
evil.

f
48
Vbbb Š Š Š Š ‰ ‰ ‰.. Š f
ˆ ‰ ‰ ‰ ‰
f
- ba - vi nas, no iz - ba - vi nas ot lu -
- ba - vi nas, no iz - ba - vi nas,
- ni - ye,
Vbbb ‰ [
Š Š ‰ ‰ ‰.. Š f
ˆ ‰ ‰ ‰ ‰
- ba - vi nas, no iz - ba - vi nas ot lu -
Bbbb ‰ Š Š f
‰ ‰ ‰ . . Š
Še
ˆ ff
ˆ
ˆ
ff
poco rit.
Vbbb Š Š Š Š ‰ ‰ ‰.. Še ˆ p p
f
- ba - vi nas, no iz - ba - vi nas ot lu -
V bbb Š Š Š Š ‰
f
{ B bbb ‰ Š Š ‰
‰ ‰ .. Še
‰ ‰ ‰ . .
. . Š
Še
ff
Grechaninov: Our Father 127
poco rit.
ˆ ‰ ‰ ‰ ‰
ff
ˆ q ‰ q ‰
ˆ
ˆ
a tempo
54
Vbbb ˆ
p
ˆ ‰. Š ˆ
pp
ˆ ˆ ˆ ‰ ‰ ˆF
- ka - - va - go, ot lu - ka - va - go.
f marc.
pp poco marc.
Vbbb ˆ‰ ‰ ‰ ‰ ‰. Š ˆ
ˆ ˆ ˆ ‰ ‰
F
ˆ
no iz - ba - vi nas ot lu - ka - va - go.
Vbbb ˆ ˆ ˆ
pp ˆ ˆ
[
‰. Š ˆ ‰ ‰
F
ˆ
- ka - - va - go, ot lu - ka - va - go.
p
pp
Bbbb ˆ ˆ ‰. Š ˆ ˆ ˆ ˆˆ
‰
‰
ˆ
ˆF
- ka - - va - go, ot lu - ka - va - go.
V
a tempo
bbb ˆ
‰ ‰
ˆ
‰
‰. Š ˆ ˆ .
ˆˆ ˆ ‰ ‰ Fˆ
‰ ‰
{ B
p
pp poco marc.
bbb ˆ ˆ ‰. Š ˆ ˆ ˆ ˆ ‰ ‰ ˆ
E

128
Divine Liturgy
SOPRANO
ALTO
TENOR
BASS
( for
rehearsal
only)
Largo
Vbbb 4 p p p
Vbbb 4 p p p
p
Vbbb
[ 4 ‰. - Š-
ˆ-
Š Š Š Š Š ŠŠ
Š
p
Bbbb 4 ‰. -
Š
- =ˆ-
Š Š Š Š Š Š Š
Ot - che nash, i - zhe ye - si na nye - bye -
Ot - che nash, i - zhe ye - si na nye - bye -
Largo
V bbb 4 ‰. Š ˆ Š Š Š Š Š ŠŠ Š
{ B bbb 4 ‰. p
Š =ˆ Š Š Š Š Š Š Š
Our Father, who art in heaven,
4
Vbbb p p p
Vbbb q
mp
mf
r Š Š Š Š Š Š Š ‰. Š Š
da svya - tit - sya i - mya Tvo - ye, da pri -
Vbbb ‰. mp
mf
Š Š Š Š Š Š Š Š Š ‰. Š ŠŠ
[
- syekh, da svya - tit - sya i - mya Tvo - ye, da pri -
mp
Bbbb ‰. Š Š Š Š Š Š Š Š
‰. . r q Š Š Š Š =‰. r
da svya - tit - sya i - mya Tvo - ye, da pri -
- syekh, i - mya Tvo - ye,
V bbb ‰ . Š ŠŠ Š Š Š Š Š Š Š ‰. Š ŠŠ
{ B bbb ‰ mp
. r
Š
mf
Š Š Š Š Š Š
Š Š
Š
Š
=‰.
hallowed be thy name,
20. Our Father
(Otche nash)
ALFRED SCHNITTKE
(1934–98)
mf
thy Kingdom
come,
No. 3 from Three Sacred Songs © 1984 by permission of Musikverlag Haus Sikorski GmbH & Co. KG, Hamburg. Used by
permission. Photocopying this copyright material is ILLEGAL.

7
Vbbb p q r Š ‰ Š Š
f
da bu - dyet
Vbbb Š. Še ŠŠŠ Š ‰. Š ‰ Š Š
- i - dyet Tsar-stvi - ye Tvo - ye, da bu - dyet
Vbbb ŠŠ. Š Š Še Š ŠŠŠb‰. Š Š Š =Š Š Š
[
Š Š Š Š
- i - dyet Tsar-stvi - ye Tvo - ye, da bu - dyet
- i - dyet Tsar-stvi - ye Tvo - ye,
Š
Bbbb
q Š Š Š Š r ‰ f
Š Š Š ‰. ˆ ‰
{
Tsar-stvi - ye Tvo - ye, vo - - -
V bbb Š. Še Š ŠŠŠ ŠŠŠ ŠŠŠ b ‰ . Š ŠŠ ‰
Š =Š Š Š
Št Š Š f
Š
f
B Š
bbb
Š Š Š Š
Š
Š
ŠŠ
Š Š ‰. ˆ‰ r Š Š Š‰
Š Še t
10
Vbbb Š Š Š Š 24 ‰ 4 p
vo - lya Tvo - ya,
Vbbb Š Š Š Š Š Š Š Š
[
24 ‰ 4 q ŠŠŠŠŠ
Bbbb Š
Š Š =Š =Š 24 b‰ 4 p
{
f
f
thy will be done,
Vbbb Š Š Š Š 24 ‰ 4 ŠŠŠŠŠ‰
vo - lya Tvo - ya, ya - ko na nye - bye - si
V
vo - - lya Tvo - ya, ya - ko na nye - bye -
- - lya Tvo - ya,
V bbb Š Š ŠŠ Š Š Š Š Š 24 ‰ 4 ŠŠŠŠ Š ‰
B r bbb
Š Š =Š =Š 24 b‰ mf
Š Š Š Š Š
4 q ŠŠŠŠ Š
mf
V
V
mf
on earth as it is in heaven.
Schnittke: Our Father 129
V

130 Schnittke: Our Father
13
Vbbb p 34 p f
4 ŠŠŠŠŠb‰
VbbbŠ Š Š Š 34‰. 4 q ŠŠŠŠŠ
Vbbb Š Š Š Š
[
34 ‰. 4 p
- si i na zyem - li,
ya - ko na nye-bye - si i na zyem - li,
mf
Bbbb ŠŠŠŠŠŠŠŠŠ V
q Š Š Š 34 ‰. 4 p
V
ya - ko na nye-bye - si
i na zyem - li, ya - ko na nye-bye -
mf
na zyem - li,
V bbb Š Š Š ŠŠ 34 ‰. 4 ŠŠŠŠ Š b‰
{ B bbb ŠŠŠŠ Š Š 34 ‰. f
4 q
Š Š Š Š Š
Š Š Š V
V
16
Vbbb Š bŠ Š Š 34 ‰. 4 ‰ Š =Š 34Š ‰ 4
i na zyem - li. Khlyeb nash na - susch - nïy
p
VbbbŠ Š Š Š 34‰. 4‰ Š Š 34Š ‰ 4
- si i na zyem - li. Khlyeb nash na - susch - nïy
Vbbb ŠŠŠŠŠŠŠŠŠ f
[
34 ‰. p
4 ‰ Š Š 34Š ‰
V
4
ya-ko na nye-bye - si i na zyem - li. Khlyeb nash na - susch - nïy
Bbbb q Šf
Š Š 34 ‰ .
4 p 34 p 4
na zyem - li.
V bbb Š bŠ Š ŠŠ 34 ‰. 4 ‰ Š =Š 34 Š ‰ 4
{ B bbb
ŠŠŠŠ Š Š 34 ‰ .
4 ‰ p
Š Š
V Š Š Š
34 Š ‰ 4
p
V
Give us this day our daily bread,
f
V

20
Vbbb4 4 ‰ ‰ 34 ‰. 68 t p
Š Š Š Š Š 24Š. Še 34
dazhd’ nam dnyes’, i o - sta - vi nam dol - gi
Vbbb4 b‰ =‰ 34b‰. 68 t Š Š Š Š Š 24Š. Še 34
dazhd’ nam dnyes’, i o - sta - vi nam dol - gi
Vbbb4 ‰ ‰
[
34 ‰. 68 t pŠ Š Š Š Š 24 Š. Š f 34
dazhd’ nam dnyes’, i o - sta - vi nam dol - gi
Bbbb4 p 34 p 68 t p Š Š bŠ Š Š 24 Š. Š f 34
p
i o - sta - vi nam dol - gi
V bbb 4 ‰ =‰ 34 b‰. 68 t Š ŠŠ Š ŠŠ Š 24 Š. Še 34
{ B bbb 4 b ‰ ‰ 34 ‰ . 68 t Š p
Š bŠ Š Š 24 Š. Š f 34
mp
and forgive us our trespasses,
24
Vbbb34 Š ‰ 24Š Š Š Š 78Š Š Š Š Š Š Š 24 b‰ 34
na - sha, ya - ko - zhe i mï o - sta - vlya-yem dolzh-ni - kom
mp
Vbbb34 Š ‰ 24Š ŠŠŠ 78Š ŠŠŠŠŠŠ 24 ‰ 34
na - sha, ya - ko - zhe i mï o - sta - vlya-yem dolzh-ni - kom
Vbbb34 [
Š ‰ mp 24 ŠŠŠŠ 78 ŠŠŠŠŠŠŠ 24 ‰ 34
na - sha, ya - ko - zhe i mï o - sta - vlya-yem dolzh-ni - kom
Bbbb34 =Š ‰ mp
24 Š bŠ bŠ Š 78 Š Š Š Š Š Š Š 24 ‰ 34
na - sha, ya - ko - zhe i mï o - sta - vlya-yem dolzh-ni - kom
V bbb 34 ŠŠ ‰ 24 Š ŠŠ Š ŠŠ 78 Š ŠŠ Š Š Š Š Š 24 b‰ 34
{ B bbb 34 =Š mp
‰ 24 Š Š bŠ Š 78 Š Š Š Š Š Š Š ‰ 24 ‰ 34
as we forgive those who trespass against us;
Schnittke: Our Father 131

132 Schnittke: Our Father
Vbbb34 Š ‰ 24 Š Š Š =Š 34 Š
28
, mf f Š. Š f 24 Š Š Š
, mf
Vbbb34 Š ‰ 24Š Š Š 34 Š f
Š . Še 24 ‰ V
Š
Vbbb34 [
Š ‰ , mf
24 Š Š Š 34 Š f Š. Š f 24 Š ‰ V
Š Š
Bbbb34 Š ‰ , mf
24 Š Š Š Š 34 Š f
Š. Š f 24 Š ŠV
Š
na - shim: i nye vvye - di nas vo is - ku -
na - shim: i nye vvye - di nas vo is - ku -
na - shim: i nye vvye - di nas vo is - ku -
na - shim: i nye vvye - di nas vo is - ku -
V bbb 34 Š ‰ 24 Š Š Š =Š 34 Š Š. Š f
24 ŠŠ Š Š ŠŠŠ
{ B bbb 34 Š mf
‰ 24 Š ŠŠ
34 Š f
Š Š Š. Š f 24 Š Š Š
and lead us not into temptation,
dim. mp p
32
Vbbb Š. - bŠ-
f 34 bŠ - bbŠ-
Š-
24=‰ -
4 r Š Š Š =( )Š 34
- she - - - ni - ye, no iz - ba - vi
VbbbbŠ. - Še
- 34bŠ-
Š-
Š-
24b‰ - 4 r Š Š bŠ Š 34
- she - - ni - ye, no iz - ba - vi
Vbbb
[
b dim.
Š. - Š-
f 34 Š - bŠ - =Š-
24 b‰ mp -
4 r bŠp
Š Š Š 34
- she - - ni - ye, no iz - ba - vi
Š.
Bbbb
Š f 34 bŠ dim.
- - - bŠ-
bŠ-
mp
24 ‰ - p
4 r Š Š bŠ Š 34
dim. mp p
- she - - - ni - ye, no iz - ba - vi
V bbb bŠ. bŠe 34bbŠ bbŠ Š 24b=‰‰ 4 r Š Š bŠ =( ŠŠ)
34
{ B Š.
bbb
Š f 34 bŠ dim.
bbŠ =Š 24 b mp p
‰
4 r
bŠ Š bŠ Š 34
but deliver us from evil;
V
V
V

pp
36
Vbbb34 bŠ Š Š 32 Š. Še ˆ 4 p p
pp
nas ot lu - ka - va - go.
Vbbb34 bŠ Š Š 32 Š. Še ˆ 4 p ‰ Š Š
pp
nas ot lu - ka - va - go. Ya - ko Tvo -
Vbbb34 [
32 Š. Š f
ˆ 4‰ Š Š ‰. Š
Bbbb34 r r 32 p 4 ‰ p Š Š =‰. Š
nas ot lu - ka - va - go. Ya - ko Tvo - ye yest’
nas Ya - ko Tvo - ye yest’
V bbb 34 bbŠŠ Š Š 32=ŠŠ. ŠŠe ˆ 4 ‰ Š Š ‰
‰.
Š Š
{ B bbb 34 bŠ Š Š pp
32 Š. Š p
f
ˆ
4 ‰ cresc.
Š Š =‰. Š
for thine is the Kingdom,
mf f ff
Vbbb ‰ Š Š ‰ Š Š ‰ =Š Š 32 ‰
40
b‰ ‰ Fˆ.
Vbbb ‰. Š ‰
f
Š Š ‰ Š Š ff
32 ‰ ‰ =‰‰ bˆ. F
Vbbb
[
‰ Š Š ‰ f ŠŠ
Š ‰ =Š Š
ff
32 ‰ b‰ =‰ bˆ. F
Bbbb ‰ Š Š f
‰ Š Š ‰
ff
Š Š 32 ‰ ‰ ‰ F
ˆˆ.
Tsar - stvo i si - la i sla - va vo vye - ki. A - min’.
- ye i si - la i sla - va vo vye - ki. A - min’.
Tsar - stvo i si - la i sla - va vo vye - ki. A - min’.
Tsar - stvo i si - la i sla - va vo vye - ki. A - min’.
V bbb ‰. ‰ Š Š ‰
{
f
B bbb ‰ Š Š ‰
ŠŠ Š ‰
=
=Š
Š Š ‰ Š
the power, and the glory for ever.
p
mp
Š 32 ‰ b ‰ = ‰‰
F
bˆ.
ff
Schnittke: Our Father 133
Š 32 ‰ ‰ ‰ Eˆˆ.
Amen.

134
All-night Vigil
SOPRANO
ALTO
TENOR
BASS
( for
rehearsal
21. Praise the Name of the Lord
(Khvalitye imya Gospodnye)
V # Moderato tranquillo h = 64
##### p 2 ‰ ‰. Š ‰ Š Š ˆ
Khva - li - - tye i - -
V # ##### p
mf
2 ‰ ˆ Š Š Š Š Š Š Š Š Š
Khva - li - - tye i - -
V
[
# ##### p 2 ‰ Š Š
mf
‰. Š ‰ ‰ ˆ
Khva - li - - tye i - -
B###### 2 ‰ p
‰ ‰ Š Š Š Š k mf
Š Š Š Š Khva - li - - tye i - -
Moderato tranquillo h = 64
V # #####
2 ‰ ˆ ‰. Š Š‰ Š Š
‰ Š ˆˆ Š Š Š Š Š
{ B###### 2 ‰ ‰ ‰ Š Š Š Š k Š Š Š Š only)
p mf
Praise the name of the Lord.
pochissimo a tempo
rit.
V #
4
##### ‰ Š Š ˆ ‰ Š Š ‰. Š ‰ Š Š
- mya Go - spod - - nye, khva - li - - tye, ra -
V # #####
p
‰ Š Š Š Š Š Š Š ‰ ‰ ˆ Š Š Š Š
- mya Go - spod - - nye, khva - li - - tye, ra -
V
[
# ##### Š Š ˆ Š
p
‰ ‰ ‰ ‰ Š ‰. Š ‰ Š Š
- mya Go - spod - - nye, khva - li - - tye, ra -
B###### ‰ Š Š k Š Š Š Š ‰
‰ ‰ p
‰ Š Š Š Š - mya Go - spod - - nye, khva - li - - tye, ra -
pochissimo a tempo
rit.
V # ##### ‰ Š Š
ˆŠ Š Š Š Š ‰ ‰ Š Š ˆ ‰. Š Š‰ Š Š
‰ Š { B###### ‰ Š Š k Š Š Š Š ‰
‰ ‰ p
‰ Š Š Š Š © Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.
p
ALEXANDER GRECHANINOV
(1864–1956)
Op. 59 No. 5
mf
Praise him, O ye servants of the Lord.

mf
V # 9
##### ˆ ‰ Š Š ‰. Š ‰ Š Š Š‰. Š Š Š Š Š
V # #####
mf
- bi Go - - spo - da. Al - li - lu - i -
Š Š Š Š Š ‰ Š Š Š Š Š Š Š ‰ Š Š ‰ Š Š
mf
- bi Go - - spo - da. Al - li - lu - i -
V
[
# ##### ˆ ‰ Š‰ Š ‰. Š ‰ Š Š ‰. ŠŠ
B###### mf
k Š Š Š Š ‰ Š Š k Š Š Š Š ‰
mf
q q
Š
Š
{ V # #####
B######
- bi Go - - spo - da. Al - li - lu - i -
- bi Go - - spo - da. Al - li -
ˆŠ Š Š Š Š ‰ Š Š
‰ . Š Š Š Š Š ‰ Š Š ‰ Š Š
r
Š Š ŠŠ Š
k mf
Š Š Š Š ‰ Š Š k Š Š Š Š ‰ Š Š ‰
Š
Š
V #
14
##### Š ‰
Š Š‰. Š Š Š Š Š Š ‰ Š ‰. Š Š Š. t‰
- ya, al - li - lu - i - ya, al - li - lu - i - ya, al -
V
[
# ##### Š ‰ Š ‰ Š ŠŠ
Š ‰ Š k‰. Š#Š kŠ. t ‰
B###### ˆˆ
‰ . Š Š ‰ f
Š ‰ . Š Š . t ‰ f
Alleluia.
V # ##### Š ‰ Š ‰ Š Š Š ‰ Š ‰. Š Š Š.
t ‰
{ V # #####
B######
- ya, al - li - lu - i - ya, al - li - lu - i - ya, al -
- ya, al - li - lu - i - ya, al - li - lu - i - ya, al -
- lu - - i - ya, al - li - lu - i - ya, al -
Š
ˆ
‰ Š ‰‰‰ Š Š Š ŠŠŠ ŠŠ
Š ‰ Š ‰ . Š
Š Š . t ‰
‰ . Š Š f
‰ Š k‰. Š #Š kŠ. t ‰
f
f
Grechaninov: Praise the Name of the Lord 135

136 Grechaninov: Praise the Name of the Lord
V #
19
##### ‰ ‰ ‰. Š dim.
Š Š. t ‰ 32 Š ‰ Š ‰ 2ˆ 32
- li - lu - i - ya, al - - li - lu -
V # dim.
##### ‰ ‰ ‰. Š Š Š.
t ‰ 32 Š ‰. ‰ 2 ‰ ‰ 32
- li - lu - i - ya, al - - li - lu -
V
[
# ##### ‰ ‰ k‰. Š#Š kŠ. t ‰ 32 Š dim.
‰. =#‰ ‰ 2ˆ ‰ ‰ 32
- li - lu - i - ya, al - - li - lu -
al - - li - lu -
B######
‰ ‰ ‰ . Š Š . t ‰ 32 Š dim.
q q
‰.
q ‰ 2 ‰ ‰
32
- li - lu - i - ya, al - li - lu -
V # ##### ‰ ‰ ‰ . Š Š Š . t ‰ 32 Š ‰ Š ‰ 2 ‰ ˆˆ ‰ 32
{
dim.
B###### ‰ ‰ k‰. Š
#Š kŠ. t ‰ 32 Š ‰. ‰ 2 ‰ ‰ 32
pochissimo a tempo
rit.
V #
24
#####32 ˆ ‰ 2 ˆ ‰ ‰ ‰. Š ‰ Š Š
V # #####32 ˆ ‰ 2 ˆ r Š Š Š ‰ ‰ Š Š Š Š
- i - ya. Bla - go - slo - vyen, bla - go - slo -
V
[
# #####32 2 p
ˆ ‰ ˆ ‰ ‰ ‰. Š ‰ Š‰
Š
- i - ya. Bla - - go - slo -
- i - ya. p
B######32 ˆ
‰ 2 ˆˆ
‰
‰ ‰ ‰ Š Š Š Š { V # ##### 32 ˆ
B###### 32 ˆˆ
p
p
- i - ya. Bla - - go - slo -
- i - ya. Bla - - go - slo -
pochissimo
a tempo
rit.
‰‰‰ 2 ˆ
‰ 2 ˆˆ
Š‰
Š Š‰ Š ‰.
‰ Š
‰ Š Š Š
‰ Š p
‰
‰ ‰ ‰ Š Š Š Š Praised be the Lord out of Zion,

mf
pochissimo
rit.
V #
29
##### ‰. Š ‰ Š Š ˆ ‰ Š Š
V # ##### mf
Š Š Š Š Š ‰ Š Š Š Š Š Š Š ‰ ‰
- vyen Go - spod’ ot Si - o - - na, zhi -
mf
- vyen Go - spod’ ot Si - o - - na, zhi -
V
[
# ##### ‰. Š ‰ Š Š ˆ ‰ Š
‰ Š
B###### mf
k Š Š Š Š ‰ Š Š k Š Š Š Š ‰
‰
{ V # #####
B######
- vyen Go - spod’ ot Si - o - - na, zhi -
- vyen Go - spod’ ot Si - o - - na, zhi -
pochissimo
rit.
‰ . Š Š Š Š Š ‰ Š Š
ˆŠ Š Š Š Š ‰ ‰ Š Š
k mf
Š Š Š Š ‰ Š Š k Š Š Š Š ‰
‰
p
V # a tempo
33
##### ‰. Š ‰ Š Š ‰. Š ‰ Š Š ˆ
p
mf
mf
- vïy vo I - ye - ru - sa - li -
who dwelleth
V # ##### ˆ Š Š Š Š Š Š Š Š Š ‰ Š Š Š Š Š Š Š
- vïy vo I - ye - ru - sa - li -
V
[
# ##### p
Š Š
mf
‰. Š ‰ ‰ ‰. Š ‰ Š‰
Š ˆ
- vïy vo I - ye - ru - sa - li -
B###### ‰ p
‰ Š Š Š Š k mf
Š Š Š Š ‰ Š Š k Š Š Š Š - vïy vo I - ye - ru - sa - li -
V #
a tempo
##### ˆ ‰ Š Š ‰ . Š ‰ Š Š
‰. Š Š Š ‰ Š Š Š Š ˆŠ Š Š Š Š
{
p
B###### ‰ ‰ Š Š Š Š k mf
Š Š Š Š ‰ Š Š k Š Š Š Š at Jerusalem.
Grechaninov: Praise the Name of the Lord 137

138 Grechaninov: Praise the Name of the Lord
V #
38
##### ‰ Š Š Š‰. Š Š Š Š Š Š ‰ Š Š‰. Š Š Š Š Š Š ‰ Š
V # #####
- mye. Al - li - lu - i - ya, al - li - lu - i - ya, al - li -
‰ Š Š ‰ Š Š Š ‰ Š ‰ Š Š Š ‰ Š
- mye. Al - li - lu - i - ya, al - li - lu - i - ya, al - li -
V
[
# ##### ‰ Š Š ‰.
B###### ‰ q q
mf
ŠŠ
Š ‰ Š ‰ Š ŠŠ
f
mf
Š ‰ Š
- mye. Al - li - lu - i - ya, al - li - lu - i - ya, al - li -
Š
Š
ˆ
‰ . Š Š ‰ Š - mye. Al - li - lu - - i - ya, al - li -
V # ##### ‰ Š Š ‰
r Š Š ŠŠŠ ŠŠ
{ B###### ‰ Š Š ‰
Š
Š
Alleluia.
Š
ˆ
‰ Š ‰‰‰ Š Š Š ŠŠŠ ŠŠ
Š ‰ Š
‰ . Š Š f
‰ Š
V #
43
##### ‰. Š Š Š. t‰ ‰ ‰ ‰. Š Š Š. t ‰ 32
- lu - i - ya, al - li - lu - i - ya, al -
V # ##### ‰. Š Š Š.
t
‰ ‰ ‰ ‰. Š Š Š.
t ‰ 32
- lu - i - ya, al - li - lu - i - ya, al -
V
[
# #####k‰. Š#Š kŠ. t ‰ ‰ ‰ k‰. Š#Š kŠ. t ‰ 32
- lu - i - ya, al - li - lu - i - ya, al -
al -
B###### ‰ . Š Š . t
‰
‰ ‰ ‰ . Š Š . t q
‰ 32
- lu - i - ya, al - li - lu - i - ya,
V # ##### ‰ . Š
Š Š . t ‰ ‰ ‰ ‰ . Š
Š Š . t ‰ 32
{ B###### k‰. Š
#Š kŠ. t ‰ ‰ ‰ k‰. Š #Š kŠ. t ‰ 32
f
f

V #
48
#####32 Š ‰ Š ‰ 2 ‰ > ‰ 32ˆ ‰ F
2ˆ ##
- - li - lu - - i - ya.
V # #####32 Š ‰. ‰ 2ˆ‰ ‰ 32ˆ ˆ ‰
F
2ˆ
##
>
- - li - lu - - i - ya.
V
[
# #####32 Š ‰. =#‰ ‰ 2 ‰ ‰ 32ˆ ‰ F
> 2ˆ ##
- - li - lu - - i - ya.
- - li - lu - - i - ya.
B######32 Š ‰. ‰ 2ˆˆ 32ˆˆ
‰ F
q q Š Š
2ˆˆ # #
al - li - lu - - i - ya.
V # ##### 32 Š ‰ Š ‰ 2 ‰ ‰‰‰ 32 ˆˆˆ ‰ F
2 ˆ ##
{ B###### 32 Š ‰. ‰ Š Š 2 ˆˆ 32 ˆˆ
‰ 2 Eˆˆ # #
V #
52
# mf
r ‰ Š ‰. Š ‰ ‰ ˆ ‰. Š ‰ Š Š ‰
mf
Is - po - vye - day - tye - sya Go - spo - dye -
V # # r ‰ Š ‰ ‰ Š Š ‰ ˆ ‰ ‰
mf
Is - po - vye - day - tye - sya Go - spo - dye -
V
[
# # r ‰ Š ‰. Š ‰ ‰ ˆ ‰ ‰‰
B## mf
r ‰ Š ‰ ‰ Š Š ‰ ˆ ‰. Š ‰ ‰
Is - po - vye - day - tye - sya Go - spo - dye -
Is - po - vye - day - tye - sya Go - spo - dye -
V # # r ‰ Š ‰.‰ ‰ Š ‰ Š Š ‰ ˆ ‰. Š ‰ Š Š ‰
mf
{ B## r ‰ Š ‰.‰ ‰ Š ‰ Š Š ‰ ˆ
‰. Š
‰ ‰
O give thanks unto the Lord,
Grechaninov: Praise the Name of the Lord 139

140 Grechaninov: Praise the Name of the Lord
ff
V # # ‰ ‰ ‰ ‰ 32ˆ Š
57
r ‰ ‰ ‰ 2
- vi, ya - ko blag, ya - ko v vyek
V # # ‰ ‰ ‰ ‰
ff
32ˆ Š r ‰ ‰ ‰ 2
- vi, ya - ko blag, ya - ko v vyek
V
[
# #
ff
‰ ‰ ‰ ‰ 32ˆ Š r ‰ ‰ ‰ 2
- vi, ya - ko blag, ya - ko v vyek
B## ‰ ‰ ‰ ‰ ff
32ˆ r ˆ Š ‰ ‰ ‰ 2
- vi, ya - ko blag, ya - ko v vyek
V # # ‰ ‰
{ B## ‰ ‰
for he is gracious,
‰ ‰ 32 ˆ
ff
‰ ‰ ‰ 32 ˆ
Š r ‰
Š r ‰
‰ ‰ 2
‰ ‰ ‰ 2
V # # 2 ‰.
61
Š Š Š ‰ ‰. Š ‰ ‰ ˆ Š r q
mi - - - lost’ Ye - go.
for his mercy endureth forever.
V # # 2 ˆ ‰ ‰ ˆ ‰ ‰ ˆ Š r Š Š
mi - - - lost’ Ye - go. Al - li -
V
[
# # 2 ‰. Š Š Š ‰ #‰. Š #‰ ‰ #ˆ Š r q Š Š
B##2 ‰ . Š ‰ ‰ ‰ . Š ‰ ‰ ˆˆ
Š r q
mf
mi - - - lost’ Ye - go. Al - li -
mi - - - lost’ Ye - go.
V # # 2 ˆ ‰. Š ‰ Š Š ‰ #‰. ˆ
Š #‰ ‰
#ˆ
{ B## 2 ‰ . Š Š ‰ Š ‰ ‰
‰. . Š ‰ ‰ ˆˆ
mf
Š r Š Š
mf
Š r Š Š
Alleluia.

mf
V # 67
# ‰ ‰ ˆ ‰ ‰ Š ‰ Š
Al - li - lu - i - ya, al - li -
V # # Š Š Š Š Š Š Š ‰ Š Š Š Š Š Š Š Š ‰ Š
- lu - i - ya, al - li - lu - i - ya, al - li -
mf
Grechaninov: Praise the Name of the Lord 141
Al - li - lu - ya,
V
[
# # =Š ‰ Š Š ‰ Š Š Š ˆ Š ‰ Š ‰ Š Š Š ‰ Š Š Š Š ‰ Š
B## mf ‰ ‰ ˆ ‰ ‰ Š f
‰ Š - lu - i - ya, al - li - lu - i - ya, al - li -
Al - li - lu - i - ya, al - li -
V # # ‰ Š Š Š ‰ Š Š Š Š ˆˆ ‰ Š ‰ Š Š Š ‰ Š Š Š Š ‰ Š
{ B## Š Š Š Š Š Š Š ‰ Š Š Š Š Š Š Š
f
‰ ‰ ‰ ‰ Š ‰ Š
V #
71
# ‰. Š Š Š r ‰ ‰ ‰ ‰. Š Š Š r ‰ 32
- lu - i - ya, al - li - lu - i - ya, al -
V # # ‰. Š Š Š r ‰ ‰ ‰ ‰. Š Š Š r ‰ 32
- lu - i - ya, al - li - lu - i - ya, al -
V
[
# ##‰. Š #Š #Š r ‰ ‰ ‰ #‰. Š #Š #Š r ‰ 32
- lu - i - ya, al - li - lu - i - ya, al -
B## ‰ . Š Š r ‰ ‰ ‰ ‰ . Š Š r ‰
32
- lu - i - ya, al - li - lu - i - ya, al -
V # # ‰. Š Š Š r ‰ ‰ ‰ ‰. Š Š Š r ‰ 32
{ B## # ‰. Š
#Š #Š r ‰ ‰ ‰ #‰. Š #Š #Š r ‰ 32
f
f
f

142 Grechaninov: Praise the Name of the Lord
V # #32 Š ‰ Š ‰ 2 ‰
76
>
ˆ ‰ 32ˆ ˆ ‰
F
2ˆ
- - li - lu - - i - ya.
V # #32 ˆ #‰ 2 >
Š ‰. ‰ ‰ ‰ 32ˆ ˆ
F
> ‰ 2ˆ
- - li - lu - - i - ya.
V
[
# #32 Š ‰. ‰ 2 ‰ > ‰ 32ˆ ‰ F
2ˆ
- - li - lu - - i - ya.
B##32 ˆ 2ˆ 32ˆ ‰ F
Š ‰. ‰ ˆ ˆ
2ˆˆ
- - li - lu - - i - ya.
V # # 32 ˆŠ ‰ Š # ‰ 2 ‰ ˆ ‰ 32 ˆ ‰ F
2
ˆ
{ B## 32 ˆ Š ‰ . ‰ 2
ˆ ‰ ‰
32
ˆ ‰
2 E ˆˆ
commodo
V # 4 SOPRANOS
80
#
mf
r ‰ Š Š Š Š Š ˆ #‰‰ ‰ # ‰ . Š F
#ˆ ######
Is - po - vye- day - tye - sya Bo - gu Nye - byes - no - mu.
V # 4 ALTOS
# mf
r
F ######
‰ Š Š Š Š Š ˆˆ ‰‰ ‰‰ ‰. Š ˆ
Is - po - vye- day - tye - sya Bo - gu Nye - byes - no - mu.
V
[
# # p p p p p Fp ######
B## p p p p p Fp ######
V #
commodo
# r ‰ Š Š Š Š Š ˆ #‰‰ ‰ ‰. Š Fˆ ######
mf
{ B## r ‰ Š Š Š Š Š ˆ ‰ ‰ ‰‰
#‰. Š #ˆ
E
######
O give thanks unto the Lord of heaven,

V #
86
#####
V # #####
Š
p
tempo I
TUTTI
‰ Š ‰. Š ‰ Š Š ˆ
p
Is - po - vye - day - tye - sya Bo - -
TUTTI
Š ‰ Š ‰. Š Š Š Š Š Š Š Š Š Š
p
Is - po - vye - day - tye - sya Bo - -
V
[
# ##### r ‰ Š ‰. Š ‰ Š‰
Š ˆ
Is - po - vye - day - tye - sya Bo - -
B###### r ‰ p
Š ‰ ‰ Š Š Š Š k mf
Š Š Š Š V # ##### Š
{ B###### Š
tempo I
Grechaninov: Praise the Name of the Lord 143
Is - po - vye - day - tye - sya Bo - -
‰ ŠŠ ˆ ‰. Š Š‰ Š Š
‰ Š ˆˆ Š Š Š Š Š
p
‰
Š
ŠŠ ‰ ‰ Š Š Š Š k mf
Š Š Š Š mf
mf
mf
pochissimo
rit.
a tempo
V #
90
##### ‰ Š Š ‰. Š ‰ Š Š ‰. Š
- gu Nye - byes - no - mu, ya - -
V # #####
p
‰ Š Š Š Š Š Š Š ‰ ‰ ˆ
- gu Nye - byes - no - mu, ya - -
V
[
# p
##### ‰ Š‰ Š ‰. Š ‰ Š
‰ Š ‰. Š
- gu Nye - byes - no - mu, ya - -
B###### ‰ Š Š k Š Š Š Š ‰
‰ ‰ p
‰ - gu Nye - byes - no - mu, ya - -
a tempo
V # pochissimo
rit.
##### ‰ Š Š Š ‰ . Š Š Š Š ‰ ‰ Š Š ˆ‰.
{ B###### ‰ Š Š k Š Š Š Š ‰
‰ ‰ p
‰ for his mercy endureth forever.
p
Š

144 Grechaninov: Praise the Name of the Lord
mf
V #
94
##### ‰ Š Š ˆ ‰ Š Š ‰ Š Š
mf
- ko v vyek mi - - lost’ Ye -
V # ##### Š Š Š Š Š Š Š Š Š ‰ Š Š Š Š Š Š Š
- ko v vyek mi - - lost’ Ye -
V
[
# ##### Š Š
mf
‰ ‰ ˆ ˆ ‰ Š‰ Š ‰ Š Š
- ko v vyek mi - - lost’ Ye -
B###### Š Š Š Š k mf
Š Š Š Š ‰ Š Š k Š Š Š Š - ko v vyek mi - - lost’ Ye -
V # ##### ‰ Š Š Š Š ˆˆ ‰ Š Š
‰ Š Š Š Š Š ‰ Š Š Š Š Š
{ B###### Š Š Š Š k mf
Š Š Š Š ‰ Š Š k Š Š Š Š V #
98
##### ‰ Š Š Š‰. Š Š Š Š Š Š ‰ Š Š‰. Š Š Š Š Š Š ‰ Š
V # #####
- go. Al - li - lu - i - ya, al - li - lu - i - ya, al - li -
‰ Š Š ‰ Š Š Š ‰ Š ‰ Š Š Š ‰ Š
- go. Al - li - lu - i - ya, al - li - lu - i - ya, al - li -
V
[
# ##### ‰ Š Š ‰.
B###### ‰ q q
mf
ŠŠ
Š ‰ Š ‰ Š ŠŠ
f
f
Š ‰ Š
- go. Al - li - lu - i - ya, al - li - lu - i - ya, al - li -
Š
Š
ˆ
‰ . Š Š ‰ Š - go. Al - li - lu - - i - ya, al - li -
V # ##### ‰ Š Š ‰
r Š Š ŠŠŠ ŠŠ
{ B###### ‰ Š Š ‰
Š
Š
Alleluia.
Š
ˆ
‰ Š ‰‰‰ Š Š Š ŠŠŠ ŠŠ
Š ‰ Š
‰ . Š Š f
‰ Š
f
f

V #
103
##### ‰. Š Š Š r ‰ Š ‰ Š ‰. Š Š Š r ‰
32
- lu - i - ya, al - li - lu - i - ya, al -
V # ##### ‰. Š Š r ‰ Š ‰ Š ‰. Š Š r ‰ 32
- lu - i - ya, al - li - lu - i - ya, al -
V
[
# ff
######‰. Š Š #Š r ‰ Š ‰ Š #‰. Š Š #Š r ‰ 32
- lu - i - ya, al - li - lu - i - ya, al -
B###### ‰ . Š Š r ‰ Š ‰ Š ‰ . Š Š ff
r
‰ 32
- lu - i - ya, al - li - lu - i - ya, al -
V # ##### ‰ . Š
Š Š r ‰
{ B###### #‰. Š
Š #Š r ‰
Š ‰ Š ‰ . Š
Š Š r ‰ 32
Š ‰ Š #‰. Š
ff
Š #Š r ‰ 32
V #
108
#####32 ˆ. ˆ. =Š Š ŠŠ
ŠŠ
ŠŠ
ŠŠ
Š 2 ‰ =‰ >
32ˆ ‰ 2
- - li - luy - ya, al - li - lu - - i -
V # #####32 Š ‰ Š =‰ Š =Š Š Š Š Š 2 ‰ =‰ > 32ˆ ‰ 2
- - li - luy - ya, al - li - lu - - i -
V
[
# #####32 ˆ. ˆ. =Š Š ŠŠ
ŠŠ
ŠŠ
ŠŠ
Š 2 ‰ =‰ >
32ˆ ‰ 2
- - li - luy - ya, al - li - lu - - i -
B######32 Š ‰ Š = =‰ ‰ ˆ ˆ =‰
ˆ. 2 ˆ ˆˆ
32ˆ ˆ
‰ 2
- - li - lu - - - i -
V # ##### 32 ˆˆ. ‰ Š =‰
r
{ B###### 32 Š ‰ Š = =‰ ‰
Grechaninov: Praise the Name of the Lord 145
=ŠŠ =ŠŠ ŠŠ ŠŠ ŠŠ Š 2 ‰ == ‰ 32 ˆ
qˆ
q =‰
ˆ. 2 ˆˆ 32 ˆˆ
ff
ff
‰ 2
‰ 2

146 Grechaninov: Praise the Name of the Lord
V # poco rit.
tranquillo
112
##### F 2 ˆ Š mf
r ‰ ‰ ‰ a ˆ ‰. tempo
Š ‰ ‰‰ ‰. Š
V # ##### F mf 2 ˆ Š r ‰ ‰ ‰ ˆ Š Š Š Š ‰. Š
V
[
# ##### F 2 ˆ Š mf
r ‰ ‰ ‰ ‰. Š ‰ ‰ ‰. Š
F
B###### ˆ 2 ˆˆ
mf
Š r ‰ ‰ ‰ ‰ ‰ Š Š Š Š ‰ ‰ V # F
#####
2 ˆ
{ B###### 2
Eˆˆ
- ya, al - li - lu - i - ya, al - li -
- ya, al - li - lu - i - ya, al - li -
- ya, al - li - lu - i - ya, al - li -
- ya, al - li - lu - i - ya, al - li -
tranquillo
a tempo
poco
Š r ‰ rit.
‰ ‰ ˆ‰. Š Š‰ Š ‰‰ Š Š ‰. ŠŠ
mf
Š r ‰ ‰ ‰ ‰ ‰ Š Š Š Š ‰ ‰ V # poco ritard.
118
##### ‰ ‰‰ ˆ ‰ ‰ ‰‰ ‰‰ ˆ ˆ ‰ ‰ Fˆ
- luy - ya, al - li - lu - - i - ya.
V # ##### Š Š Š Š ˆ ‰ ‰ ˆˆ
‰ ‰
F
ˆ ˆ
- luy - ya, al - li - lu - - i - ya.
V
[
# ##### ‰ ‰ ‰ ‰ ‰ ‰ ˆ ˆ ‰ ‰ ˆF
- luy - ya, al - li - lu - - i - ya.
B###### Š Š Š Š ‰ ‰ ‰ ‰ ˆˆ
ˆ
‰
‰
ˆ
ˆF
- lu - i - ya, al - li - lu - - i - ya.
V #
poco ritard.
##### Š‰ Š ‰‰ Š Š ˆ
‰ ‰ ‰‰ ‰‰ ˆ ˆ ‰ ‰ Fˆ
{ B###### Š Š Š Š ‰ ‰ ‰ ‰ ˆ ˆ ‰‰
‰
Ê

147
SOPRANO
ALTO
22. Rejoice, Nicholas, Great Miracle-Worker
(Iz Akafista Svyatityelyu Nikolayu)
Akathist to St Nicholas: Kontakion I
trans. Edward Morgan
Andante assai i = 60
p dolce
ANTON VISKOV
(b. 1965)
V # # C r Š Š ŠŠŠ Š Š ‰ ŠŠŠ Š ŠŠ ŠŠŠŠŠŠ Š Š Š24‰
‰
C
TENOR
BASS
Voz-bran-nïy Chu-do-tvor-che
i iz - ryad-nïy u-god-ni-che Khris - tov,
B## C r Š ŠŠŠŠŠ ‰ ŠŠ Š ŠŠŠŠŠ Š 24 ‰
p dolce
Great miracle-worker and mighty servant of Christ,
C
V espressivo
# C Š Š Š Š Š 24Š Š C Š
5
Š Š Š Š Š -
Š ŠŠŠ ŠŠ ŠŠŠŠ ŠŠŠ ŠŠŠ Š -
‰.
24
mi - ru vsye-mu is - to - cha-yay mno-go - tsen-no - ye mi - lo - sti mi - ro,
B## C 24 C #Š -
Š ŠŠŠ ŠŠ ŠŠŠŠ ŠŠŠ ŠŠŠ Š -
‰. 24
espressivo
thou, who for the whole world, art the source of the most precious myrrh of mercy,
poco più mosso i = 70
i chu-dyes, chu-dyes mo - rye,
V #
9
#24 r C ŠŠŠ ŠŠ -
Š Š Š Š Š Š Š Š Š Š
Š Š Š Š Š Š Š Š - ‰ ŠŠŠŠŠŠŠ. Š f
24
i nye-is-cher - pa-ye-mo-ye chu - dyes mo - rye, vos-khva - lya-yu tya lyu-bo - vi -
B##24 C ŠŠŠŠŠŠ -
ŠŠŠŠ Š Š Š Š ‰
Š Š Š Š Š Š Š. Še
- r p 24
and the limitless sea of miracles.
I praise thee with love, Saint Nicholas,
© Anton Viskov, by permission of the composer. All rights reserved. Translation © Oxford University Press 2013.
Photocopying this copyright material is ILLEGAL.

148 Viskov: Rejoice, Nicholas, Great Miracle-Worker
V #
13
#24 Š C Š Š ‰ 24 -
Š Š ŠŠ‰ Š Š Š #ŠŠ C Š Š. #Š Š - Š Š ŠŠ
f
B##24 Š C Š Š Š Š #Š 24 #Š -
r Š Š. Š Š ŠŠ C Še f
Š Š Š. Š
- f Š ŠŠ
Svya - ti - tye-lyu Ni - ko - la - ye:
- yu, Tï zhe ya - ko i -
Svya - ti - tye-lyu Ni - ko - la - ye:
V # # ŠŠ#Š Š Š 24 cantabile
C Š D ‰
17
Š Š
ŠŠŠŠŠŠŠŠ Š Š ‰. Š ˆ Š
- mye-yay dyer-zno-vye - ni - ye ko Go - spo - du, ot vsya - -
B## 24 C D ‰ . ŠŠŠŠŠŠŠŠ Š Š #‰. Š Š ‰. Š
V #
21
# Š‰ Š Š Š Š ‰ Š Š Š ˆ Š #ŠŠ Š Š ˆ
B##
the Lord.
p
mp espressivo
p
as thou hast boldness towards
mya svo - bo - di,
mp espressivo
più mosso i = 85
cantabile
Deliver us from all misfortune,
- kikh mya byed svo - bo - di,
Š Š Š
‰ Š Š Š‰ Š #ŠŠ Š Š #Š. ˆ ŠeŠ Š ˆ Š Š #Š‰
Š
mya
svo - bo - di,
V #
26
# Š ‰
- p
Š Š #Š Š #‰ Š #Š Š ‰. #Š Š ‰. Š -
Š
B## #‰ #Š
-
‰ Š Š
Š Š Š Š Š Š
‰ Š Š ‰. Š ‰.
Š Š
-
mya svo - bo - di, da zo - vu, zo - vu, zo -
p
that we may call unto thee:

poco rit. a tempo i = 85
p poco marcato
V #
30
# Š ‰
>
ˆ Š ‰ Š Š #Š‰ Š C #Še Š Š Š #Š
>
Š. Š ‰ Š
f
Š Š ŠŠ ‰ Š
B## Š Š >
ˆ ‰ ‰ C Š Š. . #Še Š Š ‰ f Š Š Š ŠŠ#‰ Š Š
>
- vu ti: Ra - duy-sya, Ni - ko - la - ye, vye -
mp
p poco marcato
Rejoice, Nicholas, great miracle-worker.
V #
34
# ŠŠ #Š Š Š
>
ŠŠŠ ŠŠ Š Š. #Še Š Š Š ‰ Š Š Š Š Š Š > f Š Š ŠŠ‰ Š Š#Š ŠŠŠ Š
B##
Š Š Š >
ŠŠ#Š Š Š Š Š. #Še Š Š Š Š Š Š f
Š Š#Š ‰ Š Š Š#Š Š Š Š Š
>
- li-kiy Chu-do-tvor-che. Ra - duy-sya, Ni - ko-la-ye, vye - li-kiy Chu-do-tvor-che.
mp
f cantabile mp
Viskov: Rejoice, Nicholas, Great Miracle-Worker 149
V #
38
# Š.
Š. Še Š #ŠŠ Š Š Š Š ‰ Š Š Š Š Š Š Š Š Š f
ŠŠ‰ Š ŠŠŠŠ‰ ‰. ‰ #ŠŠ
B##
Ra - duy-sya, Ni - ko - la-ye, vye - li - kiy Chu-do - tvor - - - che,
Š. ŠeŠ Š Š Š ‰ f #Š Š Š ŠŠ‰ Š Š Š Š Š Š‰ Š #Š Š ‰. ‰ Š
f cantabile mp
V # sostenuto
# Še - i = 75
poco rit.
Š Š Š Še
Š Š Š ‰ Še
Š Š #Še ˆ
- f f ‰ Š Š ‰. Š
F
42
B## -
‰ Š Š Š ‰ #Š Š Š. ŠeŠ ‰. f ˆ ˆ Š ˆ
-
vye - li - kiy Chu - do - tvor - - - che.
p
E p

150
S.
A.
T.
B.
*
All-night Vigil
SOPRANO
ALTO
TENOR
BASS
23. Rejoice, O Virgin Mother of God
Moderato assai
mp
[i = 56]
V 4 Š Š Š Š Š Š. ŠeŠ Še f ŠŠŠ Š t f
Š Š
B mp 4 Š Š Š Š Š Š. Še Š Š Š Še t Š Š
r ‰ ‰ ‰ ‰
Bo - go - ro - di - tse Dye - vo, ra - duy - sya, Bla - go -
Bo - go - ro - - -
Rejoice, O Virgin Mother of God!
Mary, full of
3
V ŠŠŠŠ Š Š Š Š Š Š Š Š Š
- dat - na - ya Ma - ri - ye Go - spod’ s To-bo - yu.
B Š Š Š Š Š Š Š Š Š Š Š Š Š
‰ ‰ ‰ ‰
mp
(Bogoroditse Dyevo)
Bla - go - slo - vyen - na
t Še Š Š Š Š Š Š Š
Š f
ŠŠ ŠŠŠŠ
Bla - go - slo-vyen-na Tï v zhe -
Bla - go - slo - vyen - na
t Še Š Š Š Š Š Š Š
‰ ‰
- di - tse Dye - vo, ra - - -
grace, the Lord is with thee.
Blessed art thou among women,
6
V Š Š Š Š ‰ Š Š Š Š Š. Še ŠŠŠ Š Š ŠŠŠŠ Š
Tï v zhe-nakh, i bla- go - slo - vyen Plod chrye-va Tvo-ye - go, ya - ko
V ‰ Š Š #Š Š Š. Še ŠŠ#Š Š ‰ =Š Š
- nakh, i bla - go - slo - vyen Plod chrye-va Tvo-ye - go, ya - ko
V
[
Š Š Š Š ‰ ‰ ‰ ‰ Š Š Š Š
Tï v zhe-nakh, bla - go - slo - vyen, ya - ko
B ‰ ‰ ‰ ‰ ‰ ‰
- duy - - - sya, ya - ko
{ V ‰ Š Š Š Š Š‰ Š #Š Š Š. Š Š Š Š. ŠŠ#Š Še Š Š Š Š Š Š Š Š Š f =Š Š
B ‰ ‰ ‰ ‰ ‰ ‰
* Keyboard reduction for rehearsal only.
and blessed is the fruit of thy womb;
© Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.
VIKTOR KALINNIKOV
(1870–1927)
for thou hast borne the Saviour of
our souls.

Kalinnikov: Rejoice, O Virgin Mother of God 151
V Š
9
Š. Š Š Š Š Š Š Š Š Š Š f Š Š. Š Š Š f
Š Š
Spa - sa ro - di - la ye - si dush
V Š. Še Š Š Š. Še Š Š Š
Spa - sa ro - di - la ye - si, ro - di -
V
[
Š Š. Š Š Š Š Š Š Š Š Š Š Š Š f Š Š. Š Š Š
Spa - sa ro - di - la ye
f
- si dush
B ‰ ‰ ‰ ‰
Spa - sa ro - di -
V Š. Š Š Š Š Š Š Š Š Š Š Š Š Š f
Š ŠŠŠ
Š. Š Š Š f
{ B ‰ ‰ ‰ ‰
S.
A.
rit.
V ˆŠ Š Š Š Š Š Š Š ˆ Š Š Š #Š Š Š ‰ F
11
‰
na - - - - - shikh.
pp
T.
B.
- la ye - si dush na - - - shikh.
B ˆ
‰
ˆ ‰ ‰ ‰ ‰ E
‰
na - - - - - shikh.
- la ye - si dush na - shikh.
pp

152
Alexei Tolstoy
(1817–75)
trans. Edward Morgan
SOPRANO
SOLO
SOPRANO
ALTO
TENOR
BASS
i = 50
pp dolce
Vbbbb F 4 p 54 Š Š Š Š Š 32ˆ Š r 54 Š Š Š Š Š 32
pp
F
[smooth
Tï lyu - bov, tï lyu -
motion
Vbbbb 4 ˆ 54 ‰ from note to note; staggered breathing]
. ‰ 32ˆ. 54‰. ‰ 32
mm
pp
F
[smooth
motion from note to note; staggered breathing]
Vbbbb 4 ˆ 54 ‰. ‰ 32ˆ. 54‰. ‰ 32
mm
pp
F
[smooth
Vbbbb
[ 4 ˆ motion
54 ‰. from note ‰ to note; 32ˆ. staggered breathing]
54 ‰. ‰ 32
mm
pp
F
[smooth
Bbbbb 4 ˆ motion
54 from note to note; staggered breathing]
ˆ ‰.. ‰ 32ˆ. ˆ. 54 ‰. ‰ . ‰ 32
mm
24. Sacred Love
(Lyubov svyataya)
GEORGY SVIRIDOV
(1915–98)
( for
rehearsal
only)
{
i = 50
V bbbb F
4 ˆ 54 ‰. Š Š Š Š‰ Š 32 ˆ. ˆ Š r 54 Š ‰. Š Š Š‰
Š 32
pp
B bbbb 4 E
ˆ 54 ‰ . ‰ 32 ˆ. 54 ‰. ‰ 32
Thou art sacred love,
© Boosey & Hawkes Music Publishers Ltd. Used by permission. All rights reserved. Translation © Oxford University Press
2013. Photocopying this copyright material is ILLEGAL.

Sviridov: Sacred Love 153
Vbbbb32 ˆ Š
5
r 54 Š Š Š Š Š 32‰ Š r ‰ ‰ ‰ Š r 74
- bov, tï lyu - bov svya - ta - ya:
Vbbbb32 ˆ. 54 Š unis.
‰. rrq‰
32‰ ‰ ‰ ˆ. 74
(mm)
Vbbbb32 ˆ. 54‰. ‰ 32‰ ‰ ‰ ˆ. 74
(mm)
Vbbbb32 [ ˆ. 54 ‰. ‰ 32ˆ. ˆ. 74
(mm)
Bbbbb32 ˆ. 54‰. ‰ 32 ‰ ‰ ‰ ˆ. 74
(mm)
V bbbb 32 ˆ ˆ. Š r 54 Š ‰. Š Š Š‰ Š 32 ‰ ‰ ‰ ‰ ˆ. ‰ Š r 74
{ B bbbb 32 ˆ. 54 ‰. ‰ 32 ‰ ˆ
‰ ‰ ˆ. 74
p
Vbbbb74 Š Š Š Š Š Š Š 84 Š Š Š Š Š Š Š Š 104 bŠ 9
Š Š Š Š Š Š Š Š Š 32
ot na - cha - la tï go - ni - ma, kro - - vyu po - li -
p
Vbbbb74 ˆ ‰. 84 ˆ 104 ˆ ‰. ‰. 32
p
Vbbbb74 ˆ ‰. 84 ˆ 104 bˆ ‰. ‰. 32
p
Vbbbb74 [ ˆ ‰ . 84 ˆ 104 ˆ ‰. ‰. 32
Bbbbb74 ˆˆ p ‰
‰. 84 ˆˆ 104 ˆ ‰. b‰. 32
V bbbb 74 Š Š Š Š Š Š Š 84 Š Š Š Š Š Š Š Š 104 b bŠ Š Š Š Š Š
ˆ ‰. ˆ ˆ ‰. Š Š‰.
Š Š 32
{ B bbbb 74 ˆˆ
p ‰
‰. 84
ˆˆ 104 ˆ ‰. b‰. 32
persecuted from the beginning,
drenched in blood.

154 Sviridov: Sacred Love
Vbbbb32 ‰ ‰ Š
12
r 104 Š Š Š Š Š Š Š Š Š Š 32 ‰ ‰ Š r
- ta - ya, kro - - vyu po - li - ta - ya.
Vbbbb32 ˆ. 104 ˆ ‰. ‰. 32ˆ.
(mm)
Vbbbb32 bˆ. 104 ˆ ‰. ‰. 32ˆ.
(mm)
Vbbbb32 ˆ.
[
104 ˆ ‰ . ‰. 32ˆ.
(mm)
Bbbbb32 ˆ. 104 ˆ ‰. ‰. 32ˆˆ.
V bbbb 32
{ B bbbb 32
(mm)
bˆ. ‰ ‰ Š r 104 ˆ Š Š Š Š ‰. Š Š Š Š ‰. =Š Š 32 ˆ. ‰ ‰ Š r
ˆ. 104 ˆ ‰. ‰. 32 ˆˆ.
15
Vbbbb p p 42 p p p 54
mp molto espress.
cresc.
Vbbbb ‰ ˆ 42ˆ f
- ‰ ‰ ‰ ˆ. ‰ ‰ ˆˆ ˆ
, ˆp
54
ah
mm
4 SOLI
mp cresc. f , p
unis.
Vbbbb ˆ. - ˆ. ‰ ‰ ‰ 42ˆ ˆ ‰ ‰ ˆ ˆˆ
ˆ 54
(TUTTI ALTOS) ah
mm
mp cresc.
Vbbbb ‰-
ˆ ‰ ‰ ‰ 42ˆ f ‰ ‰ ˆ , ˆp
[
54
ah
mm
mp
Bbbbb ‰-
cresc. ˆˆ ‰ ‰ ‰ f unis. 42ˆˆ ˆ
, ˆp
54
ah
V bbbb ‰ ˆ ‰ ˆ‰ ‰ 42 ˆ ‰‰‰ ‰ ˆ ˆ ˆ 54
{ B bbbb mp ‰ ˆˆ ‰ ‰ ‰ 42 ˆˆ
f cresc. ˆ ˆ p
54
mm

Sviridov: Sacred Love 155
pp dolce
Vbbbb54 Š Š Š Š Š 32ˆ Š r 54 Š Š Š Š Š 32ˆ Š
20
r 54
Tï lyu - bov, tï lyu - bov,
pp
Vbbbb54 ‰. ‰ 32ˆ. 54 ‰. ‰ 32ˆ. 54
pp
(mm)
Vbbbb54 ‰. ‰ 32ˆ. 54‰. ‰ 32ˆ. 54
pp
(mm)
Vbbbb54 [
‰. ‰ 32ˆ. 54 ‰. ‰ 32ˆ. 54
(mm)
pp
Bbbbb54 ‰ . ‰ 32ˆ. 54 ‰. ‰ 32ˆ. 54
(mm)
V bbbb 54 Š Š Š Š Š 32 ˆ Š r 54 Š Š Š Š Š 32 ˆ Š r
pp
‰. ‰ ˆ. ‰. ‰ ˆ. 54
{ B bbbb 54 ‰ . ‰ 32 ˆ. 54 ‰. ‰ 32 ˆ. 54
Thou art sacred love.
24
Vbbbb54 Š Š Š Š Š 32 ‰ Š r ‰ ‰ ‰ Š r p
tï lyu - bov svya - ta - ya.
Vbbbb54 Š unis. ten. ppp
‰. rrq‰
32 ‰ ‰ ‰ ˆ. ˆ Š r
ten.
Vbbbb54 ‰. ‰ 32 ‰ ‰ ‰ ˆ. ˆ Š r
Vbbbb54 [
‰. ‰ 32ˆ. ˆ. ten.
ˆ Š r
Bbbbb54 ‰. ‰ 32 ten.
‰ ‰ ‰
ppp
ˆ. ˆ Š r
{ V bbbb 54 Š ten.
‰. Š Š Š‰ Š 32 ‰ ‰ ‰ ‰ ˆ. ‰ Š r ˆ Š r
B bbbb 54 ‰. ‰ 32 ‰ ˆ
‰ ‰ ˆ. ˆ Š r
ppp
ppp

156
Kontakion for the Dormition
SOPRANO
ALTO
TENOR
BASS
Moderato (Umerenno–strogo v takt)
ppp
Vbb 4 Š ‰ ‰
Bbb 4
Š ‰ ‰
rŠŠŠ Š Š ‰ Š Š ‰ Š Š ‰. ‰. Š
V mo - lit - vakh nye - u - sï - pa - yu-schu - yu Bo - go - ro - di -
r
Š Š Š ‰ Š Š ‰ Š Š ‰. ‰. Š
6
Vbb ˆ Š r Š Š ‰ Š Š ‰ ‰ Š rŠŠ Š Š ‰. Š
Bbb ˆ
25. The Ever-Vigilant Mother of God
(V molitvakh nyeusïpayuschuyu Bogoroditsu)
Š r
ppp
The ever-vigilant Mother of God,
Š Š ‰ Š Š ‰ ‰ Š r Š Š ‰. Š
- tsu i v pryed - sta - tyel’-stvakh mi - ra nye-prye - lozh - no -
who is constant in supplications and intercessions,
12
Vbb ‰ Š Š ‰. ‰. Š ˆ Š Š Š Š
r q q‰ Š
r Š ‰ Š‰
Š
v mo - lit-vakh nye - u - sï - pa - yu-schu -
SOLO
- ye u - po - va - ni - ye; v mo - lit - vakh
SOLOp p
Bbb ‰ Š Š ‰. r q q r Š ‰ ‰
‰. Š ˆ Š p p
18
Vbb ˆŠ Š Š Š ˆŠ Š Š Š Š Š ˆŠ Š Š Š Š‰. Š Š Š ‰. Š
r
- yu Bo - go - ro - di -
nye - u - sï - pa - yu - schu - yu Bo - go - ro - di - tsu
Bbb Š Š Š Š
p
Š Š Š
p
Š Š Š Š Š pŠ Š ‰.
p
Š ‰.
p
r
mf
p
p
SERGEI RAKHMANINOV
(1873–1943)
mf
© Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.

S.
A.
T.
B.
23
Vbb ˆ ˆ Š Š Š Š ˆ Š Š Š Š
tsu i v pryed - sta - - tyel’ - stvakh
Vbb r ‰ Š ‰ Š Š ‰ ‰ Š Š Š Š Š Š Š ‰
Bbb r ‰ Š ‰ Š Š ‰ ‰ Š Š Š Š Š Š Š ‰
p p p p p
28
p
pp
Vbb ˆ Š Š Š Š ‰. Š ‰ Š Š ‰. Š
f
f
f
i v pryed - sta - tyel’-stvakh mi - ra nye - prye - lozh - no - ye
mi - ra nye-prye - lozh - no - ye u - po - va - ni -
dim.
Vbb Š Š Š Š Š Š Š ‰ Š Š Š Š Š Š Š ‰ Š Š Š Š
u - po - va - ni - ye; nye - prye - lozh - no - ye u - po -
dim.
Bbb Š Š Š Š Š Š Š ‰ Š Š Š Š Š Š Š
ppp
p p p p
‰ Š Š
pŠ Š
Š Š Š Š r
p
33 - ye;
S.
Vbb Š r q
A.
q r Š ‰ ‰ Š Š Š Š Š‰ Š Š Š Š Š
TUTTI
T.
B.
p
- va - ni - ye; v mo - lit - vakh nye - u - sï - pa - yu - schu -
TUTTI
Bbb Š Š Š r q r ‰ Š Š Š Š Š Š Š Š Š Š
r Š Š Š ‰ Š Š ‰ Š Š ˆ ˆ
mf
v mo - lit - vakh nye - u - sï - pa - yu-schu - yu
p
38
Vbb ‰ Š Š Š Š ‰. Š ‰. r r ‰ Š ‰ Š Š
- yu Bo - go - ro - di - tsu i v pryed - sta - tyel’-stvakh
Bbb ˆŠ Š Š Š ‰. Š Š Š Š ‰. Šr ˆr ‰ Š ˆ‰ Š Š
p
Bo - go - ro - di - tsu
Rakhmaninov: The Ever-Vigilant Mother of God 157
ppp
mf

158 Rakhmaninov: The Ever-Vigilant Mother of God
ff
43
Vbb ‰ ‰ Š Š Š Š Š Š Š ‰ Š Š Š Š Š Š Š ‰
mi - ra nye - prye - lozh - no - ye u - po - va - ni - ye,
Bbb Š
‰
Š
‰ Š Š ˆ
Š Š Š Š
Š Š
Š ‰ Š Š ˆ
Š Š Š Š
Š Š
Š ‰ Š Š
ff
i v pryed - sta - - tyel’ - stvakh mi - - ra nye-prye -
48
Vbb Š Š‰ Š Š Š Š Š ‰ Š Š‰ Š Š ŠŠ Š Š ‰ ‰. Š
dim. mf dim. pp
nye - prye - lozh - no - ye u - po - va - ni - ye, u - po -
Bbb ‰.
Š Š Š Š Š‰ Š Š ‰ Š Š Š‰. Š Š Š ˆ Š Š Š ‰ ‰.‰ ‰ Š
53
Vbb
dim. mf dim. pp
- lozh - no - ye u - po - va - ni - ye,
p
‰. #Š Š #Š Š #Š Š
Š ˆ Š Š Š Š ‰ Š Š ‰ Š =Š
- va - ni - ye, grob i u-myersh - vlye - ni - ye nye u - dyer -
Bbb #Š #ˆ #Š #Š #Š Š
‰. Š ˆ Š Š Š Š Š Š Š Š Š Š Š =Š
f mf ff
58
Vbb ‰ Š‰ Š Š Š Š Š Š‰ Š Š Š Š‰ Š Š #=Š Š ‰ Š ‰ #=Š
- zha - sta, grob i u-myersh - vlye - ni - ye nye u - dyer - zha - sta,
Bbb ‰ Š Š Š Š Š Š Š Š Š Š Š Š Š #=Š Š ‰ Š #=ŠŠ
ff
p
could not be held by either the tomb or death,
f mf ff
ff
ff

Vbb ‰ Š #=Š Š =bŠ Š ff
‰ ‰ >
r Š >
Š >
Š >
‰ >
63
‰ >
r Š >
Š >
> > > > > > > > Š
Bbb Š #=Š Š Š =bŠ Š ‰ ‰ >
r
Š >
Š >
Š >
‰ >
‰ >
r
Š >
Š >
Š > > > > > > > >
nye u - dyer - zha - sta, nye u - dyer - zha - sta, nye u - dyer -
ff
> > ff
68
Vbb‰ ‰ ‰ Š Š ŠŠ Š Š Š Š
> >
Š ‰ Š Š ‰ Š Š ‰ ‰
>
>
‰ Bbb
‰ Š Š Š Š #ŠŠ #ŠŠ Š =ŠŠ Š Š Š Š Š Š ‰ > >
‰
- zha - sta, grob i u-myersh - vlye - ni - ye nye u - dyer - zha - sta,
slower (zamedliaya temp)
SOLO
73
*
Vbb rŠŠŠ Š Š ‰‰ ŠŠ r rŠŠŠ Š Š ‰ #‰
Š ‰
Š Š
Š Š Š Š Š Š Š Š Š
Bbb r
pp
ff
SOLO
nye u-dyer - zha - sta, nye u-dyer - zha - sta,
SOLO
Š Š Š =‰ ‰ Š r r
Š Š Š b‰ ‰ Š Š Š Š Š #Š Š ˆˆ ˆ ˆ Š
pp
2 VOICES
TUTTI
rit.
79
Vbb Š Š Š pp
Š Š Š Š Š Š
F
Š Š Š ‰ Š ŠŠ Š Š ‰ ‰ Š Š Š Š ‰ ‰
bbb
2 VOICES
2 VOICES
TUTTI
Bbb ˆŠ Š Š Š ˆ Š #Š Š Š ‰ Š ŠŠ ‰ ‰ Š Š Š Š ‰ ‰ bbb
pp
E
p
pp
pp
ppp
TUTTI
nye u-dyer-zha - sta, nye u-dyer - zha - sta:
* The SAT tutti voices should stop on the first beat of bar 77, while the solo voices continue.
Rakhmaninov: The Ever-Vigilant Mother of God 159

160 Rakhmaninov: The Ever-Vigilant Mother of God
S.
A.
mf
poco meno mosso (Nemnogo medlennee)
85
Vbbb Š. =Še=Š Š Š Š Š. Š f Š. Š f Š Š Š Š Š =Š Š ˆ ‰ ‰
Ya - ko-zhe bo Zhi-vo - ta Ma - tyer’, k zhi-vo - tu prye - sta - vi,
Vbbb p p p p
for the Mother of the Life is come into the presence of the Life,
mf
Š. Še Š Š Š Š Š. Š
Ya - ko-zhe bo Zhi-vo - ta
f
S.
A.
T.
B.
*
91
Vbbb Š. Š f Š Š Š Š Š Š Š =Š. Š Š Š Š Š Š Š Š. Š ‰ Š f f Š ‰
Ma - tyer’, k zhi-vo-tu prye - sta - vi, k zhi-vo-tu prye-sta -
Vbbb Š. ŠeŠ Š Š Š Š Š Š ˆ ‰ ‰ Š. Š f Š =Š=Š =Š =Š Š Š
Ma - tyer’, k zhi-vo-tu prye - sta - - vi, Ma - tyer’, k zhi-vo - tu prye -
mf
Vbbb p p
[
Š. =Še=Š Š Š Š Š. Š f Š. Š f Š Š Š Š Š =Š Š
Ya - ko-zhe bo Zhi-vo - ta Ma - tyer’, k zhi-vo - tu prye -
Bbbb p p p p p p
V bbb Š. Š f Š Š Š Š Š Š Š =Š. Še Š Š Š Š Š Š
ˆ ‰ ‰ Š. Še Š ‰ Š Š ‰ f Š =Š=Š =Š =Š Š Š
{
V bbb Š. Še Š Š Š Š Š Š Š Š. =Še =Š Š Š Š Š. Še Š. Še Š Š Š Š Š =Š Š B
* Keyboard reduction for rehearsal only.

S.
A.
T.
B.
p
97 rit.
Vbbb Š. Š f Š Š ‰ ‰ Š Š Š ‰ Š ‰ Š ‰ =‰ Fˆ #
p
- vi, k zhi - vo - tu prye - sta - vi,
Vbbb Š. Še Š Š Š Š bŠ Š Š. Š ‰ Š f Š Š Š ‰ Š Š
F
ˆ
#
- sta - vi, k zhi - vo-tu prye-sta - - vi,
p
Vbbb ˆ ‰ ‰ Š. Š
[
f Š Š Š Š Š Š Š ˆ Fˆ #
- sta - vi, Ma - tyer’, k zhi-vo - tu prye - sta - vi,
mf
Bbbb Š. Š Š Š Š Š Š. Š f f Š. Š f Š Š Š Š Š Š Š ‰ ‰ F
ˆ #
{
Ya - ko-zhe bo Zhi-vo - ta Ma - tyer’, k zhi-vo - tu prye - sta - vi,
V bbb Š Š
. .
Š Šf Š Š
B bbb
rit.
ŠŠ
Š bŠ‰ Š Š. Š Š Še Š ‰ Š Š Š Š ‰ =‰ Š Š
Fˆ #
ˆ ‰ ‰
Š. Š Š Š Š Š Š. Š Š. Š f Š Š Š Š Š Š Š ˆ
ˆ #
f f ‰ ‰
E
V # Allegro (Skoro)
103 ff
ŠŠ ‰ Š Š Š Š Š ŠŠ‰ ŠŠ Š Š Š
‰ ŠŠ Š Š Š
‰ ŠŠ Š Š Š
vo u - tro - bu Vsye - li - vïy-sya pri-sno - dyev -stvyen-nu - yu, pri-sno - dyev-stvyen-nu -
B# ŠŠ b‰ Š Š Š Š Š Š Š
Š
ŠŠ‰ Š Š =Š Š Š Š‰ Š Š Š Š‰ Š Š Š
ff
who took up his abode in her ever-virgin womb.
vo u - tro - bu Vsye - li - - vïy - sya,
V # ff unis.
‰. Š
>
109
>
ŠŠ
>
Š Š Š ‰
r ŠŠŠŠ Š Š r
Š Š Š ‰ ‰
> > >
Š Š ‰ Š r
fff
vo u - tro - bu Vsye - li - vïy - sya,
- yu,
vo u - tro - bu Vsye - li - vïy - sya,
B# ‰. Š Š Š
r q fff>
r Š
> >
Š ‰ Š Š
p r ŠŠŠ Š Š ‰
‰ Š ‰ Š
> > >
r
fff
fff
fff
Rakhmaninov: The Ever-Vigilant Mother of God 161
vo u-tro - bu Vsye - li - vïy - sya,

162 Rakhmaninov: The Ever-Vigilant Mother of God
V # tempo giusto (strogo v takt)
114
r ŠŠŠ ŠŠŠ. Še
Š r‰ r f
‰ ‰ Š Š Š Š ‰ ŠŠŠ ŠŠ
B# r
vo u-tro - bu Vsye - li - vïy-sya pri - sno - dyev-stvyen-nu-yu, vo u-tro - bu Vsyeppp
ŠŠŠ ŠŠŠ.
Še
Š r f
‰ ‰ Š Š Š Š ‰
ppp
r
ŠŠŠ ŠŠ
mf p ff
V # rit.
119
Š. Š. Še
Š r‰ f
‰ ‰ Š Š Š Š ‰ ‰. Š ‰ Š Š ‰. ŠŠ
a tempo
- li - vïy-sya pri - sno - dyev-stvyen-nu-yu, pri - sno - dyev-stvyen-nu - yu, vo u -
B# Š. Še r ‰. Š. Š f
‰ ‰ Š Š Š Š ‰
‰ Š Š ‰ Š Š ‰. ŠŠ
ffff
mf p ff
V #
125
‰ Š Š Š Š Š Š Š Š Š Š Š Š ŠŠ‰ ‰ ˆ ‰ Š Š Š Š Š
>
‰. ŠŠ
>
r
- tro - bu Vsye - li - vïy-sya pri-sno - dyev - - - stvyen-nu - yu,
B# b‰ Š Š Š Š Š Š Š Š =‰ ‰ Š Š Š Š Š Š Š Š Š
Š ŠŠ‰
‰ ˆ ‰ Š Š ‰.
ffff
vo u-tro - bu Vsye-
- tro - - - bu Vsye - li - vïy - sya,
V # >
131
ˆ ‰. Š Š Š ppp
r ŠŠŠ
>
Š ‰. Š ‰ ‰ Š Š ‰ Š r r ŠŠŠ fff>
>
ŠŠ
vo u-tro - bu Vsye - li - vïy - sya,
vo u - tro - bu Vsye - li - vïy - sya,
B# q
fff>
r Š
> >
Š ‰ Š Š
p r ŠŠŠ Š Š ‰
‰ Š ‰ Š r r
ŠŠŠ ŠŠ
> > >
fff
Vo u-tro - bu Vsye - li - vïy - sya,
ppp
vo u -
unis. ff
r

V #
136
Š. Š. Še
Š r‰ r Š. Še f
‰ ‰ Š Š Š Š ‰ ŠŠŠ ŠŠ Š. Š f
‰
- li - vïy-sya pri - sno - dyev-stvyen-nu-yu, vo u-tro - bu Vsye - li - vïy-sya
B# Š.
Š. Še
Š r f
‰ ‰ Š Š Š Š ‰
mf
Rakhmaninov: The Ever-Vigilant Mother of God 163
r
ŠŠŠ ŠŠ Š. Š.
Še
Š f
‰
V # rit.
141
r ‰ Š Š Š Š ‰ ‰. Š ‰ Š Š ‰ Š r
p
pri - sno - dyev-stvyen-nu-yu, pri - sno - dyev - stvyen-nu - yu,
B# r ‰ Š ‰. Š Š Š ‰
‰ Š Š ‰ Š Š ‰ Š
mf
p
r
vo u tro - bu Vsye - li - vïy-sya pri - sno - dyev-stvyen-nu-yu, vo u-tro - bu Vsyeppp
V # a tempo
146
r ŠŠŠŠ Š ŠŠŠ. Š Š Š. Še
Š r b‰ r =Š ŠŠ
f
‰ ‰ Š Š Š Š ‰ Š Š Š Š Š
B# r ŠŠŠ ŠŠŠ.
Še
Š r r f
‰ ‰ Š Š Š Š ‰ ŠŠŠ ŠŠ
ppp
pppp
V #
151
Š. Še
Š r b‰ q F
f
‰ ‰ Š Š Š Š ‰ Š Š ˆ ‰ ‰ ˆ
- li - vïy-sya pri - sno - dyev-stvyen-nu-yu, pri-sno - dyev - stvyen-nu - yu.
B# Š.
Š. Še
Š r q f
‰ ‰ Š Š Š Š ‰ Š Š ˆ ‰ ‰ Eˆ
pppp

164
All-night Vigil
SOPRANO
ALTO
TENOR
BASS
( for
rehearsal
only)
f
Maestoso/Solemn
Vbb 4 ‰ (Torzhestvenno) i = 100
Š. . Š ‰. ‰ Š . f Š Š Š Š Š Š Š
t t Š f
ŠŠ‰
f
Sla - va v vïsh - nikh Bo - gu, i na zyem-li
Vbb 4 Š. Š f Š Š Š Š Š Š Š ‰ Š. t t Š eŠ Š ‰
Sla - va v vïsh - nikh Bo - gu, i na zyem-li
Vbb
[ 4 p p mf ‰ Š Š =ˆ
i na zyem - li
Bbb 4 p p mf ‰ Š Š ˆ
i na zyem - li
V
Maestoso/Solemn
bb
4 ‰ (Torzhestvenno) i = 100
Š. . Š Š
‰. Š ‰
Š. t t
f Š Š Š Š Š Š Š =ˆ
f
{
mf
B bb 4 p p ‰ Š Š ˆ
mf
26. The Great Doxology
(Slavosloviye vyelikoye)
Glory be to God on high, and on earth peace,
5
Vbb Š. t Š Š Š. Š f Š Š Š Š Š Š Š Š. Š Š f Š
mir, v che - lo - vye - tsekh bla - go - vo - lye - ni - ye.
p
Vbb
‰. r ˆ ‰ Š Š Š. Še Š Š
mir, bla - - go - vo - lye - ni - ye.
Vbb ‰. p
[
r ‰. Š Š Š Š Š Š ‰ Š Š
mir, bla - - go - vo - lye - ni - ye.
Bbb ‰ . r ˆ p ‰ Š Š ‰ Š Š
mf
mf
Š
Še Š mir, bla - - go - vo - lye - ni - ye.
V bb Š. t Š Š Š. Še Š Š Š Š Š Š Š Š. Še
‰. Š Š
r ˆ ‰
{ B bb ‰ . r ‰. p
ˆ Š Š Š ‰ Š Š Š Š ‰ Š Š
good will towards men.
© Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.
PAVEL CHESNOKOV
(1877–1944)
Op. 44 No. 9
Š
‰

9
Vbb Š. ‰. Š Š f Š Š Š Š Š Š Š ‰ ‰ ŠŠŠŠŠ Š Š
Khva - lim Tya, bla - go - slo - vim Tya, kla-nya-yem Tï sya, sla- vo -
Vbb Š. Š f Š Š Š Š Š Š Š ‰ ‰ ŠŠŠŠŠ ŠŠ
Khva - lim Tya, bla - go - slo - vim Tya, kla-nya-yem Tï sya, sla- vo -
Vbb Š. ‰. Š Š Š Š ˆ
[ f Š Š Š Š Š Š Š ‰ ‰
Bbb Š. Š f Š Š Š Š Š Š Š ‰ Š Š ˆp
Khva - lim Tya, bla - go - slo - vim Tya, kla - - -
Khva - lim Tya, bla - go - slo - vim Tya, kla - - -
V bb ‰. Š. Š Š Š ŠŠŠ
f Š Š Š Š ‰ ‰ ŠŠŠŠŠ ŠŠŠ
{ B
‰.
bb Š. Š Š Š ŠŠŠ
Š ‰ Š Š f Š Š Š ‰ ˆ
We praise thee, we bless thee, we worship thee, we glorify thee,
f
13
Vbb Š Š Š Š Š Š Š Š Š Š Š
Vbb ‰ ŠŠ ŠŠ Š Š Š Š Š ‰ ‰ Š Š Š Š
[
Bbb ‰ ŠŠ ŠŠ Š Š Š Š Š ‰ ‰ ‰. Šf
mf
mf
p
Š Š Š Š Š Š Š Š Š Š Š
- slo - vim Tya, bla - go - da - rim Tya, vye -
Vbb ‰ =Š Š Š Š =Š Š ‰ =‰ ‰. Š
- slo - vim Tya, bla - go - da - rim Tya, vye -
- nya-yem Tï sya, bla - go - da - rim Tya, vye -
- nya-yem Tï sya, bla - go - da - rim Tya, vye -
V bb Š‰ Š Š =ŠŠ Š Š Š Š Š =Š Š Š‰ Š Š =‰ Š Š Š Š Š‰.
Š Š Š
f
{ B bb ‰ Š Š Š Š Š Š Š Š Š ‰ ‰ Š‰.
Š Š Š
we give thanks to thee for thy great glory.
Chesnokov: The Great Doxology 165
f
f

S.
A.
T.
B.
166 Chesnokov: The Great Doxology
17
Vbb Š. ‰ Š ‰. Š f Š Š Š Š Š Š Š Š Š Š Š ‰ ‰ ˆ ˆ ‰.
r
- li - ki - ya ra - di sla - vï Tvo-ye - ya.
Vbb Š. Š f Š Š Š Š Š Š Š Š Š Š Š ‰ ‰ ˆ ‰. r
- li - ki - ya ra - di sla - vï Tvo-ye - ya.
Vbb Š. ‰ Š ‰. Š ŠŠ
Š Š ‰
[ f Š Š Š Š Š Š Š p
‰ Š.
Š.
Š.
Š . ‰. r
- li - ki - ya ra - di sla - vï Tvo-ye - ya, sla - vï Tvo-ye - ya.
Bbb Š. Š f Š Š Š Š Š Š Š Š Š Š Š ˆ p
Š.
Š.
Š
.
Š
. ‰ . r
- li - ki - ya ra - di sla - vï Tvo-ye - ya, sla - vï Tvo-ye - ya.
V bb ‰ Š. Š Š Š ‰. Š Š ŠŠŠ
f Š Š Š Š Š Š ‰ ‰ ˆ Š Š Š Š ‰. r
{ B
‰
bb Š. Š Š Š
‰. Š Š ŠŠŠ
Š Š ‰ f Š Š Š Š ‰ p
ˆ Š Š Š Š ‰ . r
23 Prayerful (Molitvenno)
Vbb Š. Š p p p p
f Š =Š Š Š =Š Š ‰ Š =Š Š. Š f Š =Š
mf
p
Go - spo - di Tsa - ryu Nye - byes - nïy, Bo - zhe
Bbb r ‰.‰ Š Š ˆ Š Š Š Š Š Š Š‰ Š Š Š r ‰.
Go - - - spo - di Bo -
O Lord God, heavenly King,
God the Father Almighty;
Go - spo - di,
27
Vbb Š
p q
Š =Š Š Š Š =Š Š.
r Š Š Š. ŠeŠ Š ŠŠŠ f f Š =Š Š ŠŠ=Š Š
Bbb Š Š Š Š Š Š Š
>
ˆ ‰ Š ‰ r
‰.
‰. >
ˆ
mf
Ot - che Vsye - dyer - zhi - tye - lyu, Go - spo - di, Sï - nye Ye - di - no -
- - - zhe, Go - -
O Lord, the only-begotten Son, Jesus Christ;
p
Š Š

S.
A.
T.
B.
Chesnokov: The Great Doxology 167
Du - she.
31
Vbb ‰ Š Š Š Š. Še Š Š Š ŠŠŠ Š ‰ Š. t
Š Š Š =Š ŠŠ Š. Š f Š =Š Š ŠŠ=Š Š Š Š Š =Š Š Š
- rod - nïy, I - i - su - sye Khri - stye, i Svya-tïy Du - she.
Bbb Š. Še r
Š
.
Š
.
Š. Š
‰ ‰ ‰
f
‰
.
ŠŠ‰
.
‰ Š Š ˆ
- spo-di, I - i - su - sye Khri - stye,
and Holy Spirit.
35
Vbb Š. Š p p p p
f Š Š ŠŠŠŠŠ Š Š ŠŠŠ Š Š. Š f Š Š
mf
Bbb r
p
>
‰.‰ Š Š ˆ Š Š Š Š Š Š ‰ Š Š Š Š r
‰.
Š Š
>
Go - spo - di Bo-zhe, Agn-che Bo - zhïy, Sï - nye O - tyech, Vzyem - lyay gryekh
Go - - - spo - di, Vzyem -
O Lord God, Lamb of God, Son of the Father,
that takest away the sins
mf
39
Vbb p q r Š Š Š. Š f Š Š Š Š ŠŠ Š Š Š
move progressively from contemplation/supplication to acclamation
vzyem - lyay grye-khi mi-ra, pri - i - mi mo -
Vbb Š Š Š Š Š Š Š ‰ ‰ ‰ ‰ Š Š
mi - ra, po - mi - luy nas; vzyem - lyay pri - i -
Vbb Š Š Š Š Š Š Š
mf
Š
[
Š Š Š Š. Š f Š Š Š Š ŠŠ Š Š Š
- - - - lyay, vzyem - lyay grye-khi mi-ra, pri - i - mi mo -
Bbb ˆ ‰ ‰ ‰ ‰ ‰ Š Š
- - lyay, vzyem - lyay pri - i -
V bb Š Š Š Š Š Š Š ‰ r Š Š Š. ‰
Še
‰ Š Š Š Š‰
Š Š Š Š Š
{ B bb ˆ Š Š Š Š Š Š Š ‰ Š Š ‰ mf
Š Š Š. ‰ Še ‰ Š Š Š Š ‰
( )
Š Š Š Š Š
of the world, have mercy upon us;
mf
thou that takest away the sins of the world, receive our prayer.

168 Chesnokov: The Great Doxology
f
43
Vbb ‰ Š Š Š Š Š Š ‰ Š. Š Š Š Š ŠŠ
Š ‰ f Š Š Š Š ‰
f
- li - tvu na - shu. Sye - dyay o - dyes - nu - yu Ot-tsa, po - mi - luy
Vbb Š Š Š Š ‰ Š Š Š. Š f Š Š Š Š Š Š Š Š Š ‰
f
- mi mo - li - tvu na - shu. Sye - dyay o - dyes - nu - yu Ot-tsa, po - mi - luy
Vbb ‰ Š Š
[
Š Š Š Š ‰ Š. Š Š Š Š ŠŠ
Š ‰ f Š Š Š Š ‰
Bbb ‰. Š ‰ Š Šf
Š. Š f Š Š Š Š Š Š Š Š Š ‰
- li - tvu na - shu. Sye - dyay o - dyes - nu - yu Ot-tsa, po - mi - luy
- mi mo - li - tvu. Sye - dyay o - dyes - nu - yu Ot-tsa, po - mi - luy
V bb ‰ Š Š Š Š Š Š ‰ Š Š Š Š Š Š
r Š ‰ Š. Š f
ŠŠ Š
{ B bb ‰ Š Š Š Š Š
f
‰. ‰ Š
‰. Š. Š Š Š Š Š ŠŠŠ
f Š Š
mf
Š ŠŠ Š ‰
Š ŠŠ Š ‰
Thou that sittest at the right hand of the Father, have mercy upon us;
48
Vbb ‰ ‰ Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š
mf
nas. Ya - ko Tï ye - si ye - din Svyat, Tï ye - si ye - din Go -
Vbb ˆ Š Š Š Š Š Š =‰ Š Š =Š Š Š Š =Š Š
nas. Ya - ko Tï ye - si ye - din Svyat, Tï ye - si ye - din Go -
p
Vbb ‰ Š Š ˆ ‰ ‰ ‰ Š Š Š ‰ ‰
[
‰
nas. Svyat, Tï Go - spod’,
Bbb ‰. Š ˆ p ‰ ‰ Š Š Š Š Š ‰ ‰
nas. Svyat, Tï Go - spod’,
V bb ‰ ‰ Š Š Š ŠŠ Š Š Š =ŠŠ Š Š Š Š Š =Š Š Š Š Š =ŠŠ Š Š Š
mf
{ B bb ‰. Š Š ˆ ‰ ‰ ‰ Š Š Š Š Š ‰ ‰ for thou only art holy;
thou only art the Lord,

53
Vbb Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š ‰. Š. Š f Š Š
- spod’, I - i - sus Khri - stos, vo sla - vu
Vbb Š Š =Š Š ‰ =Š Š ‰. Š Š. Š f Š Š
- spod’, I - i - sus Khri - stos, vo sla - vu
Vbb ‰ Š Š Š ‰ Š Š Š Š Š Š ‰. Š. Š [
f Š Š
Bbb Š Š Š Š Š ‰ Š Š ‰. Š Š. Š f Š Š
I - i - sus Khri - stos, vo sla - vu
I - i - sus Khri - stos, vo sla - vu
V bb Š Š =Š Š Š‰ Š Š =ŠŠ Š Š Š Š‰. Š Š Š ‰. Š. Š f Š Š
{ B bb ‰ Š Š Š ‰ Š Š Š Š Š Š
f
Š Š ‰.
‰. Š. Š f Š Š
Jesus Christ,
Vbb Š ‰ Š Š Š Š Š ‰ Š Š
57
‰ ˆ ˆ ˆ ˆ ˆ
Bo - ga Ot - tsa. A - min’.
to the glory of God the Father.
Vbb Š Š Š Š Š Š Š ‰ ˆ ˆ ˆ
Bo - ga Ot - tsa. A - min’.
Vbb Š‰ Š Š ŠŠ Š ‰ Š Š ‰ ‰. mf p
[
Š ‰ ‰ ˆ
Bbb Š Š Š Š Š Š Š ‰ ‰. mf Š ‰
p
‰ ˆ
Bo - ga Ot - tsa. A - min’. A - min’. A - min’.
Bo - ga Ot - tsa. A - min’. A - min’. A - min’.
V bb ‰ Š Š Š ŠŠŠ
Š ‰ Š Š ‰ ˆ ˆ‰ ‰ ˆ
{ B
‰ Š
bb
ŠŠ Š ‰
mf
Š Š Š Š Š ‰ p
‰. Š ‰ ‰ ˆ
Amen.
Chesnokov: The Great Doxology 169

170 Chesnokov: The Great Doxology
p
Calm... prayerful glorification (Tikho... molitvenno slavoslovia)
62
Vbb ‰
r Š ‰ Š Š Š Š Š Š =Š ‰ ‰
p
Na vsyak dyen’ bla - go - slo - vlyu
Vbb ‰ r Š ˆ Š Š Š Š ‰ =‰
p
Na vsyak dyen’ bla - go - slo - vlyu
Vbb
[
‰ r Š ˆ Š Š Š Š ‰ ‰
Na vsyak dyen’ bla - go - slo - vlyu
Bbb ‰ r Š p
‰ ‰ Š Š Š Š ‰ ‰
Na vsyak dyen’ bla - go - slo - vlyu
V
Calm... prayerful glorification (Tikho... molitvenno slavoslovia)
bb ‰ r ŠŠ ˆ‰ Š Š Š Š Š Š =ŠŠ ‰ =‰
p
{ B bb ‰ r Š ˆ‰ ‰ Š Š Š Š ‰ ‰ Every day will I give thanks unto thee,
66
Vbb Š Š Š Š ‰ Š Š Š Š ŠŠŠ =Š Š Š Š Š
Tya, i vos - khva - lyu I - mya Tvo-ye vo vye - ki, i v vyek
Vbb Š Š bŠ Š ˆ Š ŠŠŠ Š Š Š =Š Š
Tya, i vos - khva - lyu I - mya Tvo-ye vo vye - ki, i v vyek
Vbb Š Š Š
[
Š ˆ Š ŠŠŠ Š Š Š Š Š
Tya, i vos - khva - lyu I - mya Tvo-ye vo vye - ki, i v vyek
Bbb Š Š Š Š ‰ ‰ Š ŠŠŠ Š Š Š Š Š
Tya, i vos - khva - lyu I - mya Tvo-ye vo vye - ki, i v vyek
V bb Š Š bŠ ŠŠ ˆ‰ Š Š Š Š Š Š Š =ŠŠ Š Š =Š Š
{ B bb Š Š Š Š ˆ‰ ‰ Š Š Š Š Š Š Š Š Š and praise thy name for ever and ever.

Move progressively towards a majestic glorification
Spo - do - bi, Go-spo-di, v dyen syey byez grye-kha so-khra - ni - ti - sya
mf
70
Vbb ‰ Š Š ˆ ‰ Š Š Š Š‰ Š Š ŠŠ‰ Š ŠŠŠŠ ŠŠŠ Š Š Š ŠŠ
mf
vye - ka. Spo - do - - bi byez grye-kha so-khra - ni - ti - sya
Vbb ‰ Š Š ˆ ‰ Š ŠŠ‰ Š Š ‰ Š Š
vye - ka. Spo - do - - bi byez grye-kha so-khra - ni - ti - sya
Vbb ‰ Š mf
[ Š ‰ Š Š Š Š Š Š Š Š ŠŠŠ ŠŠŠ Š Š Š Š
vye - ka. Spo - do - bi, Go-spo-di, v dyen’ syey byez grye-kha so-khra - ni - ti - sya
mf
Bbb ‰ Š Š
ˆ ‰ Š Š Š Š‰ Š Š
Š ŠŠ‰ Š Š ŠŠŠŠ ŠŠ‰ Š
Spo - do - bi, Go-spo - di, v dyen’ syey byez grye-kha so-khra - ni - ti - sya
Š Š Š Š
vye - ka. Spo - do - - bi byez grye-kha so-khra - ni - ti - sya
V bb ‰ Š Š ˆ ‰ Š Š Š ‰ Š Š Š Š ŠŠ Š ‰ Š Š Š Š Š Š ‰ Š Š Š Š
Š
{ B bb ‰ Š mf
Š ˆ ‰ Š Š Š ‰ Š Š Š Š Š Š Š ‰ Š Š Š ŠŠ‰ Š Š Š Vouchsafe, O Lord, to keep us this day without sin.
Bla - go - slo - vyen, bla - go - slo -
75
Vbb Š Šf
Š Š ˆŠ. Š ˆ Š Š Š
f ŠŠŠ Š Š Š Š
> > >
ŠŠ ‰ Š ŠŠ
f
nam. Bla - go - slo - vyen ye - si, Go - spo-di, Bo - zhe o - tyets na - shikh, i
Vbb Š Š Š Š Š. Š f ŠŠŠ Š Š Š Š ŠŠ ‰ Š ŠŠ
nam. Bla - go - slo - vyen ye - si, Go - spo-di, Bo - zhe o - tyets na - shikh, i
Bla - go - slo - vyen, bla - go - slo -
Vbb Š mf Š Š Š ˆŠ. Š ˆ Š Š Š
[ f ŠŠŠ Š Š Š Š
> > >
ŠŠ ‰ Š ŠŠ
nam. Bla - go - slo - vyen ye - si, Go - spo-di, Bo - zhe o - tyets na - shikh, i
Bbb Š Š f Š Š Š. Š f ŠŠŠ Š Š Š Š ŠŠ ‰ Š ŠŠ
nam. Bla - go - slo - vyen ye - si, Go - spo-di, Bo - zhe o - tyets na - shikh, i
V bb Š Š Š Š ˆŠ. Š ˆ Š Š Š f Š Š Š Š Š Š Š Š Š ‰ Š Š
{ B bb Š Š f
Š Š
ˆŠ. Š ˆ Š Š f Š Š Š Š Š Š Š Š Š ‰ Š Š Š
Blessed art thou, O Lord God of our fathers,
Chesnokov: The Great Doxology 171

172 Chesnokov: The Great Doxology
- vyen. A - min’.
79
Vbb ˆŠ. Š ˆ ‰. Š f Š Š Š Š Š Š ŠŠ Š Š Š ŠŠ ‰ Š. t
khval’ - no i pro - slav - lye-no I - mya Tvo - ye vo vye - ki. A - min’.
Vbb Š. Š f Š Š Š Š Š Š ŠŠ Š Š Š ŠŠ ‰ Š. t
khval’ - no i pro - slav - lye-no I - mya Tvo - ye vo vye - ki. A - min’.
- vyen. A - min’.
Vbb ˆŠ. Š ˆ ‰. Š t
[ f Š Š Š Š Š Š ŠŠ Š Š Š ŠŠ ‰ Š.
khval’ - no i pro - slav - lye-no I - mya Tvo - ye vo vye - ki. A - min’.
Bbb Š. Š f Š Š Š Š Š Š ŠŠ Š Š Š ŠŠ ‰ Š. t
khval’ - no i pro - slav - lye-no I - mya Tvo - ye vo vye - ki. A - min’.
V bb ˆŠ. Š ˆ ‰. ‰ Š. t
f Š Š Š Š Š Š Š Š Š Š Š Š Š
{ B
ˆ ˆ ‰. Š
bb Š. Š f Š Š Š Š Š Š Š Š Š Š Š ŠŠ ‰ Š. t
and praised be thy holy name forever.
Amen.
S.
A.
T.
B.
mf
Calm, prayerful (Tikho, molitvenno)
83
Vbb ‰ ‰ Š. ŠeŠ f Š Š =Š ‰ Š =Š Š Š ‰ ‰. Š
p
Bu - di, Go - spo - di, mi - lost’ Tvo - ya na nas, ya - ko -
Bbb ‰.‰ ‰
Š ‰ Š Š ‰ ‰ Š Š Š Š ‰ ‰ Š Š ‰ ‰
‰
Bu - - - - di, ya - ko -
Let thy merciful kindness, O Lord, be upon us,
as we do put our
88
Vbb Š ‰ Š Š Š Š Š Š =Š Š Š Š ˆ ˆ Š Š .>
Š .>
> . .> .>
Š .>
Bbb Š Š p
=Š Š .
.
‰ Š Š Š Š .
‰ Š Š
Š Š ‰ Š Š
. . .
- zhe u - po - va - khom na Tya. Bla - go - slo -
- zhe u - po - va - khom na Tya. Bla - go - slo - vyen ye - si,
trust in thee.
Blessed art thou, O Lord,

92
Vbb ˆˆ ˆˆ ˆˆ ˆˆ
- vyen.
Bbb ‰ ‰ ‰ Š Š Š Š Š Š Š Š Š Š
Go - spo - di, na - u - chi mya o - prav - da - ni - yem Tvo -
O teach me thy statutes.
mf
96
Vbb Š Š Š Š ‰ Š Š ‰ ‰ ‰ Š Š Š Š Š Š
Bla - go - slo - vyen ye - si, Go - spo - di, na - u - chi mya o - prav -
Bbb Š
Š Š Š ‰ Š Š ‰ ‰ Š Š ‰ Š Š Š Š Š Š
- im.
mf
Chesnokov: The Great Doxology 173
f
f
‰ Š Š ‰ ‰
Bla - go - slo - vyen,
101
VbbŠ Š Š Š Š Š Š Š ˆ ˆ
S.
A.
T.
B.
- da - ni - yem Tvo - im. Bla - go - slo - vyen ye - si, Go - spo -
Vbb Š Š Š Š Š Š Š Š ‰ Š Š ‰ ‰
- da - ni - yem Tvo - im. Bla - go - slo - vyen ye - si, Go - spo -
f
Bla - go - slo - vyen,
VbbŠ Š Š Š
[
Š Š Š Š ˆ ‰ Š Š ‰ ‰
Bbb Š Š Š Š Š Šf
Š Š ‰ Š Š ‰ ‰
- da - ni - yem Tvo - im. Bla - go - slo - vyen ye - si, Go - spo -
- da - ni - yem Tvo - im. Bla - go - slo - vyen ye - si, Go - spo -
V bb Š Š
{
B bb Š Š Š
Š
Š Š Š Š Š ˆ‰ Š Š ˆ‰ ‰
f
Š Š Š Š Š
ˆ ‰ Š Š ‰ ‰

174 Chesnokov: The Great Doxology
bla - go - slo - vyen,
105
Vbb ‰ Š Š Š Š ˆŠ Š Š Š ˆ Š Š Š Š ‰
Vbb ‰ Š Š Š Š ˆ Š Š Š Š ‰ Š Š ‰ Š Š ‰ [
‰
- di, na - u - chi mya o - prav - da - ni - yem Tvo - im.
Bbb ‰ Š Š Š Š Š Š Š Š Š Š ˆˆ
Š Š
- di, na - u - chi mya o - prav - da - ni - yem Tvo - im, na - u -
Vbb ‰ Š Š Š Š Š Š Š Š Š Š ‰ Š Š
- di, na - u - chi mya o - prav - da - ni - yem Tvo - im, na - u -
bla - go - slo - vyen, [-] im.
- di, na - u - chi mya o - prav - da - ni - yem Tvo - im.
V bb Š‰ Š Š Š ˆŠ Š Š Š ˆ Š Š Š Š ‰ Š
{ B
Š Š
bb ‰ Š Š
ˆŠ Š Š Š Š Š Š Š ˆ‰ ‰
109
Vbb Š Š Š Š Š Š Š Š ˆ ‰. r
- chi mya o - prav - da - ni - yem Tvo - im.
Vbb Š Š Š Š Š Š Š Š ˆ ‰. r
- chi mya o - prav - da - ni - yem Tvo - im.
p
Vbb
[
ˆ ˆ ˆ ‰.
r
Bbb ˆ p
ˆ ˆ
‰.
‰. r
V bb
ˆŠ Š Š Š ˆŠ Š Š Š ˆ ‰. r
{ B bb ˆ ˆ
ˆ
‰ . r
mf
mf
mf
Š

S.
A.
T.
B.
113 Calm, prayerful
Vbb Š. Š p p p p p
f Š =Š Š Š =Š Š ‰ Š =Š Š. Š f Š =Š Š Š =Š Š
mf
p
Go - spo - di, pri - bye - zhi-sche bïl ye - si nam
Bbb r ‰.‰
Š Š ˆ Š Š Š Š Š Š ‰ Š Š Š Š r Š Š‰ Š Š ˆŠ Š Š Š Š Š
Go - - - spo - di, pri - bye - -
Lord, thou hast been our refuge from one generation to another.
118
Vbb qŠ Š =Š Š
r
Š Š Š. ŠeŠ Š Š Š Š f Š =Š Š Š =Š Š Š Š Š =Š ŠŠŠ
p
Chesnokov: The Great Doxology 175
Bbb >
Š Š ‰ r
‰.
‰. ˆ Š Š >
‰
v rod i rod. Az ryekh: Go - - spo - di, po - mi - luy mya, is - tse -
- zhi - sche. Go - - - spo - di,
I said: Lord, be merciful unto me,
122
Vbb Še ŠŠ ŠŠŠ Š. t
Š. Š p
f Š =Š Š Š ŠŠ=Š Š Š Š Š =Š Š Š Š. Š f Š Š
- li du - shu mo - yu, ya-ko so - grye - shikh Tye - bye. Go -
Bbb Š
.
Š
.
‰ ‰
p
‰
r
‰ Š
Š ŠŠ‰ ˆ ˆ ‰. Š
. .
is - tse - li, Go -
heal my soul, for I have sinned against thee. Lord, I flee unto thee.
126
Vbb Š Š
pŠ Š ‰ p
Š Š Š Š Š pŠ ŠŠ Š Š
pŠ Š
- spo - di, k Tye - bye pri - bye - gokh, na - u -chi mya tvo - ri - ti
Bbb ˆ Š Š Š Š Š Š Š‰ Š Š Š r ŠŠ‰ Š Š Š Š Š ˆŠ Š Š Š Š Š
- - - spo - di, na - u - chi,
Teach me to do the things that pleaseth thee,
mf

S.
A.
T.
B.
176 Chesnokov: The Great Doxology
mf
move progressively from contemplation to glorification
130
Vbb q r Š Š Š. Š f Š Š Š ŠŠ Š Š Š Š Š Š Š Š Š
mf
ya-ko Tï ye - si Bog moy: ya-ko u Tye - bye is - toch-nik zhi-vo -
Vbb Š Š Š Š ŠŠ ˆ ‰ ŠŠŠŠ Š Š Š Š
mf
vo - lyu Tvo-yu, ya-ko Tï Bog: ya-ko u Tye - bye is -
Vbb Š Š
[
Š Š Š Š. Š f Š Š Š ŠŠ Š Š Š Š Š Š Š Š Š
Bbb ‰. mf ŠŠ ˆ ‰ ŠŠŠŠ ‰. Š
ya-ko Tï ye - si Bog moy: ya-ko u Tye - bye is - toch-nik zhi-vo -
ya-ko Tï Bog: ya-ko u Tye - bye is -
V bb Š Š Š Š Š Š ˆ Š. Še Š Š ‰ Š Š Š Š ŠŠŠŠŠ Š Š
r Š Š Š Š
r
{ B Š
bb Š
mf
‰. Š Š Š ˆ Š. Še Š Š ‰ Š Š Š Š ŠŠŠŠ Š Š
‰.
Š Š Š Š Š
for thou art my God:
for with thee is the well of life;
f
134
Vbb Š Š Š Š ‰ Š. Š ˆ ‰ f Š Š Š Š Š Š Š Š Š ‰
f
- ta, vo svye - tye Tvo - yem u - zrim
Vbb ŠŠŠŠŠ Š Š. Š f Š Š Š Š Š Š Š Š Š ‰
f
- toch-nik zhi-vo - ta, vo svye - tye Tvo - yem u - zrim
Vbb Š Š Š Š ‰ Š. Š ˆ ‰ [
f Š Š Š Š Š Š Š Š Š ‰
Bbb ŠŠŠŠŠ Šf
Š. Š f Š Š Š Š Š Š Š Š Š ‰
- ta, vo svye - tye Tvo - yem u - zrim
- toch-nik zhi-vo - ta, vo svye - tye Tvo - yem u - zrim
V bb Š Š ŠŠŠ Š Š
‰ Š. Š Š Š ˆ ‰ f Š Š Š Š Š Š Š ‰
{ B bb Š f
Š Š ŠŠ Š Š
‰ Š. Š Š Š
ˆ ‰ f Š Š Š Š Š Š Š ‰
and in thy light we shall see light.

S.
A.
T.
B.
mf
Calm
138
Vbb ‰ Še
Š t f Š ‰. Š Š ŠŠŠ Š =Š. ŠeŠ Š f
Š Š
svyet. Pro - ba - vi mi - lost’ Tvo-yu vye - du - schim
Bbb ‰ Še
Š Š Š Š f
t Š ‰ ‰ Š ŠŠŠ Š ‰ Š Š
p
O continue forth thy loving kindness unto those who know thee.
Chesnokov: The Great Doxology 177
142 Tya.
Vbb ˆ r q p p
qˆ
r ŠŠŠŠ ŠŠŠŠ ŠŠŠ Š ‰ ‰ ˆ
ALTO f r q V
SOLO
Svya-tïy Bo-zhe, Svya-tïy Kryep-kiy, Svya-tïy Byez-smyert - nïy,
Bbb ˆ Š r q q r Š ‰ ‰
Tya. po - mi - luy
O Holy God, Holy Mighty, Holy Immortal One,
have mercy upon us.
146
Vbb ‰ r
p
ŠŠŠ ŠŠŠŠ
p
ŠŠŠ
p p
Š ‰ ‰ ˆ
Bbb ˆ
f
Svya-tïy
V
Bo-zhe, Svya-tïy Kryep-kiy, Svya-tïy Byez-smyert - nïy,
Š
r q q r Š ‰ ‰
nas. po - mi - luy
p
p
150
Vbb ‰ r
p
ŠŠŠ ŠŠŠŠ
p
ŠŠŠ
p p
Š ‰ ‰ ‰. r
Bbb ˆ
f
Svya-tïy
V
Bo-zhe, Svya-tïy Kryep-kiy, Svya-tïy Byez-smyert - nïy,
Š
r q q r Š ‰ ‰
nas. po - mi - luy
p

S.
A.
T.
B.
178 Chesnokov: The Great Doxology
154
Vbb Š ŠŠŠ p
ŠŠŠ ŠŠŠŠŠ
p
ŠŠŠŠŠ ŠŠŠŠŠ
p
Š Š
f
Sla - va Ot-tsu, i Sï-nu, i Svya-to- mu Du-khu, i nï-nye i pri-sno i vo vye - ki vye -
Bbb ‰.
ˆ ‰ .
nas.
Glory to the Father, and to the Son, and to the Holy Spirit, both now and ever, and unto ages of ages.
157
Vbb ˆ
p q t p
Š
p p
f
ŠŠ ‰ ‰ ˆ
f
- kov. Svya-tïy Byez-smyert - nïy,
p
Bbb q ‰.
r q r ‰ ‰ . Š ‰ ‰
A - min’. po - mi - luy
Amen. Holy Immortal One, have mercy upon us.
f
Svya - tïy, svya - tïy Bo - zhe, Svya - tïy, svya - tïy
161
Vbb q r Š Š‰ Š ‰ Š Š ‰ Š Š Š‰ Š ‰ Š Š
f
Svya - tïy Bo - zhe, Svya - tïy
TUTTI
Vbb ‰. Š ‰ Š Š ‰ Š Š ‰ Š Š
Svya - tïy Bo - zhe, Svya - tïy
f
Svya - tïy, svya - tïy Bo - zhe, Svya - tïy, svya - tïy
Vbb
[
‰. Š Š‰ Š ‰ Š Š ‰ Š Š Š‰ Š ‰ Š Š
nas. Svya - tïy Bo - zhe, Svya - tïy
Bbb ‰ .
Š f ‰ Š Š ‰ Š Š ‰ Š Š
V bb ‰.
{ B bb ‰ .
nas. Svya - tïy Bo - zhe, Svya - tïy
V
Š Š‰ Š ‰ Š Š ‰ Š Š Š‰ Š ‰ Š Š
f
Š
Š‰ Š ‰ Š Š ‰ Š Š
Š‰ Š ‰ Š Š
O Holy God,
r
V
p
Holy Mighty,
p

165
Vbb ‰ Š Š Š Š Š Š ‰ Š Š ‰ Š Š ‰
Kryep - kiy, Svya - tïy, svya - tïy Byez - smyert - nïy, po - mi - luy
Vbb ‰ Š Š ‰. Š ‰ Š Š Š Š ‰
Kryep - kiy, Svya - tïy Byez - smyert - nïy, po - mi - luy
Vbb ‰ Š Š Š Š Š Š ‰ Š Š ‰ Š Š ‰
[
Bbb ‰ Š Š ‰. Š ‰ Š Š Š Š Š Š ‰
Kryep - kiy, Svya - tïy, svya - tïy Byez - smyert - nïy, po - mi - luy
Kryep - kiy, Svya - tïy Byez - smyert - nïy, po - mi - luy
V bb ‰ Š Š Š‰. Š Š Š ‰ Š Š
‰ Š Š ‰
{ B bb ‰ Š Š
Š‰. Š Š Š ‰
Š Š Š Š ‰
Š Š ‰
169
Vbb ˆ ˆˆ ˆˆ ˆˆ ˆˆ Š r q
nas.
Holy Immortal One,
have mercy upon us.
Vbb Š Š Š Š ˆ ˆ ˆ ˆ Š r q
nas, po - mi - luy nas.
p
Vbb ˆ
[
‰ ‰ ˆ ‰ ‰ ˆ Š r q
nas, po - mi - luy nas.
p
Bbb ˆ ‰ ‰ ˆ ‰ ‰ ˆ Š r q
nas, po - mi - luy nas.
Chesnokov: The Great Doxology 179
V bb ˆ
Š Š Š Š ˆ ˆ ˆ‰ r q
p
‰ ˆ Š
{ B bb ˆ ‰ ‰ ˆ ‰ ‰ ˆ Š r q

180
S.
A.
T.
All-night Vigil
SOPRANO
ALTO
TENOR
BASS
( for
rehearsal
only)
f
Rather lively (Neskol’ko ozhivlenno) [i = 80–88]
Bo - - - gu,
Vb 34 Š Š Š f f
Š Š Š Š‰. ŠŠŠ Š Š Š ŠŠ
f
Sla - va v vïsh-nikh Bo - gu, i na zyem - li mir, v che-lo -
Vb 34 Š. Še Š Š Š Š ŠŠŠ Š Š Š ŠŠ
Sla - va v vïsh-nikh Bo - gu, i na zyem - li mir, v che-lo -
Vb
[
34 p r t Še Š Š Š ‰
i na zyem - li mir,
Bb 34 p p p
V
Rather lively (Neskol’ko ozhivlenno) [i = 80–88]
b 34 ŠeŠ. Š ŠeŠ Š Š Š ‰. Š Š f Š Š Š Š Š Š Š
f
{ B b 34 p r t Š Š Š Š ‰ f
Glory be to God on high, and on earth peace,
4
VbŠ Š Š f f
Š Š Š ‰ Š. Š Š Š Š
f
Š Š
Khva - lim
V
- vye - tsekh bla - go - vo - lye - - ni - ye. Khva - lim,
V
VbŠ. Š f
Š Š Š Š Š Š Š Š Š Š Š
Vb Š
[
r r t ŠŠŠ Š Š ŠŠ Š Š Š
- vye - tsekh bla - go - vo - lye - - ni - ye. Khva - lim,
f
v che-lo - vye - tsekh bla - go - vo - lye - ni - ye.
V bŠeŠ. Š ŠeŠ Š Š Š ‰ Š f Š
V
Š Š Š Š Š Š
{ B Š
b r r t ŠŠŠ Š Š ŠŠ Š Š Š
goodwill towards men.
27. The Great Doxology
(Slavosloviye vyelikoye No. 2)
© Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.
ALEXANDER KASTALSKY
(1856–1926)
We praise thee,

7
Vb ŠŠŠ ‰. Š Š Š ‰. Š ‰ ‰. ŠŠŠ Š Š ŠŠ ‰ Š
Tya, sla - - vo - - slo - vim
khva-lim Tya, bla-go - slo - vim Tya, kla-nya-yem Tï sya, sla-vo - slo - vim
VbŠ Š Š Š Š Š Š ‰ ŠŠŠ Š Š ŠŠ ‰ Š
khva-lim Tya, bla-go - slo - vim Tya, kla-nya-yem Tï sya, sla-vo - slo - vim
Vb ‰
[
r Š Š Š Š Š Š r r Š Š Š Š Š
kla - nya-yem Tï sya, sla - vo - slo - vim
V b Š‰. Š Š Š Š Š ‰.
Š ‰
‰. Š Š Š Š Š Š Š ‰ Š
{ B ‰
b r Š Š Š Š Š Š
r r Š Š Š Š Š
we bless thee, we worship thee,
Kastalsky: The Great Doxology 181
we glorify thee,
S.
A.
T.
B.
11
Vb ŠŠŠŠŠŠŠ Š Š Š Š Š Š Š Š Š Š Š Š Š. Š. ŠŠe Š Š Š f ŠŠ ‰ r
Bb
Š Š ŠŠŠ Š Š Š Š Š Š Š Š. Še Š =Š p p p ‰ . Tya, bla - go - da - rim Tya, vye - li - ki - ya ra - di sla - vï Tvo - ye - ya.
Go -
15
VbbŠ.
ŠeŠ Š Š Š Š Š Š Š Š f
ŠŠ ŠŠŠ Š Š Š Š ŠŠŠ Š Š Š Š Š
Bb
mp
mp
we give thanks to thee for thy great glory.
Go - spo - di Tsa - ryu Nye-byes - nïy, Bo-zhe Ot-che Vsye-dyer - zhi - tye - lyu,
Š.
‰
Še Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š
‰. . ‰ ‰. . ‰ ‰. . ‰ ‰. .
p
- - - - - - -
O Lord, heavenly King,
God the Father Almighty;
f
r

S.
A.
S.
A.
T.
B.
182 Kastalsky: The Great Doxology
p
19
Vb‰ Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š
p
Go - spo - di, Sï - nye Ye - di - no - rod - nïy, I - i -
Bb ‰ Š Š Š Š Š Š Š Š Š Š Š Š Š
‰. . ‰ ‰. . ‰ ‰. .
- spo - - - -
O Lord, the only-begotten Son, Jesus Christ;
rit.
Du - she, Go - spo - di.
22
Vb Š Š Š.
F
Š Š Š Š Š Š ‰
‰ Š ‰ Še Š
Er
- su - sye Khri-stye, i Svya - tïy Du - she.
Bb Š‰
Š Š Š Š Š ‰ ‰ r
‰. . ‰ ‰. . p
‰ Š pE F
- - - - - di.
and Holy Spirit.
a tempo
Go - spo-di Bo-zhe, Agn-che Bo - zhïy, Sï - nye O-tyech, Vzyem-lyay gryekh mi - ra, po-mi - luy
26
Vb ‰. Š Š Š Š Š Š‰ Š Š Š=ŠŠ Š =ŠŠ Š Š Š Š‰. Š Š Š ŠŠŠŠ bŠ Š
p
p
Go - spo - di Sï - nye O - tyech, po-mi - luy
Vb Š Š Š Š Š Š Š Š Š Š Š ŠŠ Š Š Š Š Š Š Š Š Š
Go - spo-di Bo-zhe, Agn-che Bo - zhïy, Sï - nye O-tyech, Vzyem-lyay gryekh mi - ra, po-mi - luy
O Lord God, Lamb of God, Son of the Father,
that takest away the sins of the world, have
mercy upon us;
nas, po - - mi - -
31
Vb ŠŠŠ Š Š Š ‰. ŠŠŠ Š Š Š ‰. Š Š ŠŠŠ Š ‰. Š ŠŠŠ
pp
nas, po - mi - luy nas; vzyem-lyay grye-khi mi - ra, pri - i - mi mo - li - tvu na - shu. Sye -
Bb p ŠŠŠŠ Š Š Š Š ŠŠŠŠŠŠ Š Š Š =ŠŠ Š Š Š =ŠŠ Š
p
thou that takest away the sins of the world, receive our prayer.

F
Š Š Š Š Š Š Š Š Š Š Š ŠŠŠ Š Š
rit.
a tempo
- luy nas,
35
Vb ‰. ‰. ŠŠŠ Š Š ŠŠŠŠŠŠ Š Š
Bb Š Š Š Š Š Š Š
F
‰. ŠŠŠŠŠŠ Š Š Š Š ‰. Š r
F
r ‰ Š Š
E
- dyay o - dyes-nu - yu Ot - tsa, po - mi - luy nas, po - mi - luy nas. Ya - ko Tï ye - si ye -
- dyay o - dyes-nu - yu Ot - tsa, po - mi - luy nas. Ya - ko ye -
Ya - ko
Thou that sittest at the right hand of the Father, have mercy upon us; for thou only art holy;
Go - spod’, Khri - stos, > f
39
Vb ‰ Š Š Š ŠŠŠ Š Š ‰ Š Š Š Š
Bb
>
Š Š Š Š ŠŠŠŠŠ Š Š Š Š Š Š Š Š >
Š >
Š
- din Svyat, Tï ye - si ye - din Go - spod’, I - i - sus Khri - stos, v sla - vu
Š
ŠŠŠŠ Š Š Š. Še Š Š
Š. Š f
Š Š Š Š Š ŠŠ Š
- din Svyat, Tï ye - din Go - spod’, I - i - sus Khri - stos,
Tï ye - si ye - din Svyat, ye - din Go - spod’, I - i - sus Khri - stos,
thou only art the Lord, Jesus Christ,
f
f
r r
VbŠ F
43
mp
Š Š Š Š Š ‰ Š ‰ t Še ŠŠŠ f Š Š Š Š Š
Bb
Bo - ga Ot - tsa.
v sla - vu Bo - ga Ot - tsa.
to the glory of
A - min’. Na vsyak dyen’ bla - go - slo -
ŠŠŠŠ Š Š Š Š ‰ Š ‰ t Še
Š Š ŠŠŠŠŠ Š
E
Š Š f
f
v sla - vu Bo - ga Ot - tsa.
God the Father. Amen. Every day will I give thanks unto thee,
rit.
vye - -
47
Vb Š Š
ŠŠŠ Š Š Š Š Š Š Š ŠŠŠŠŠŠ Š Š Š Š ‰. Š. Š f Š Š
- vlyu Tya, i vos-khva - lyu I - mya Tvo - ye vo vye - ki, i v vyek vye - ka.
Bb ŠŠŠŠ Š Š ŠŠ=Š =Š Š.
Š
Š Š Š Š Š Š Š Š Š Š Š ŠbŠe ŠŠ
Š
and praise thy name for ever and ever.
mf
Kastalsky: The Great Doxology 183
mp
f
Spo -
Spo -

184 Kastalsky: The Great Doxology
tempo I
- ka. Bla - go - slo -
51
Vb Š‰. r r ‰ p
Š Š
p
Š Š Š Š Š Š Š Š
do
mp
- - bi,
byez grye - kha so - khra - ni - ti - sya nam.
Bb Š Š Š Š Š ŠŠŠ Š Š Š Š Š Š Š Š Š Š Š
- do - bi, Go - spo - di, v dyen syey
Vouchsafe, O Lord, to keep us this day without sin.
- vyen, bla - go - slo - vyen ye - si, i
55
Vb ŠŠŠŠŠ ‰. ‰. Š Š t Še
Bb
Š
tŠ f
ŠŠ Š f
Š Š f Š Š ŠŠŠ Š Š Š Š Š Š ŠŠ
f
Bla- go - slo - vyen ye - si, Go-spo-di, Bo-zhe o - tyets na - shikh, i
Š t ŠeŠ Še f
ŠŠ Š. Š f
Š Š Š ŠŠŠ Š Š Š Š Š ŠŠ
fBlessed art thou, O Lord, the God of our fathers,
59
VbŠeŠ Še Š Š > >
>
Š. Š Š Š f
Š Š Š Š. Š f Š Š Š Š Š ‰‰ Š
> > >
Š
khval’ - no i pro - slav - lye - no I - mya Tvo - ye vo
Bb Še Š Š Š >
Š. Š f
Š Š Š. Š Š Š
> >
Š Š Š f Š Š Š Š
> > >
and praised be thy holy name forever.
p
rit.
a tempo
63
Vb Š. f
‰ Še >
Š =Š
> >
r >
Š. Š ‰ ‰ Š Š Š‰ Š Š Š Š Š >
f ŠŠ Š Š > > >
> Š > Š
Bb
‰ Š. Š >
‰ r ‰ Š Š Š Š Š
f Š >
Š >
Š Š Š Š Š Š Š Š Š >
> > >
Š Š >
Š vye - ki. A - min’. Bu - di, Go - spo-di, mi lost’ Tvo-ya na
f p pp
Amen.
Bu - di, Go - spo - di, mi lost’ Tvo - ya na nas,
Let thy merciful kindness, O Lord, be upon us,
p

S.
A.
T.1
T.2
rit.
68
Vb >
‰ Š Š Š Š Š Š Š ŠŠŠ Š Š Š Š Š Š ‰. >
‰.
nas, ya - ko - zhe up - po - va - khom na Tya.
>
Bb
Š Š Š Š Š Š Š ‰. ‰.
‰
Š
Š
Š
Š
Š
Š
Š
‰
‰. . ‰ . 73
Vb t
ya - ko - zhe u - po - va - khom na Tya.
as we do put our trust in thee.
[Like a recitative i = c.126]
p
Š Š Š Še f ˆ
[rit.]
Še Š f Š Š ŠŠŠ Š ŠŠŠŠ‰ F
Bla - go - slo-vyen ye - si, Go - spo - di, na - u - chi mya o - prav-da - ni - yem Tvo-im.
Bb t ŠŠŠŠe ˆ Še Š Š Š Š Š Š Š Š Š Š ‰
f
Š f
ŠŠŠŠŠŠŠŠŠŠ‰
E
p
(bass tacet)
Blessed art thou, O Lord,
O teach me thy statutes.
[rit.]
Vb t p
ŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠ‰ ŠŠŠ=ŠŠ Š Š Š Š Š =Š Š Š Š ŠŠŠŠ‰
F
74
Bla - go - slo-vyen ye - si, Go - spo - di, na - u - chi mya o - prav-da - ni - yem Tvo-im.
Bb t ŠŠŠˆŠ Š Š Š Š Š Š Š ŠŠŠ ˆ Š Š Š Š Š Š Š ‰ E
p
Bla - go - slo - vyen.
rit.
75
Vb t pp
ŠŠŠbŠ Š Š Š Š Š ŠŠbŠ Š
F
ŠŠŠŠŠŠ#Š Š Š ŠŠŠŠŠŠŠŠŠŠ‰
‰‰
Kastalsky: The Great Doxology 185
Tvo-im.
pˆ
pp
pp
pp
pp
Bb t
ŠŠŠˆŠ Š Š Š Š Š Š Š Š Š Š bŠ ˆ Š Š Š #Š Š Š Š ‰ E
Bla-go-slo-vyen ye - si, Go-spo-di, na - u - chi mya o-prav-da - ni-yem Tvo-im.
pp
Bla-go-slo - vyen.
p

S.
A.
T.
B.
186 Kastalsky: The Great Doxology
tempo I
76
Vb 34 ‰. p Š r p r p r Š -
Š
-
Az
Bb 34 eŠ Še Š ŠŠ Š Š Š Še -
ŠŠ Š Š Š =Š Š ŠŠ ŠŠŠ Š t Š -
Š Š Š Š
f f
Š Š Š f - -
Go - spo - di, pri - bye - zhi-sche bïl ye - si nam v rod i rod.
Lord, thou hast been our refuge from one generation to another.
80
Vb Š. Še Š Š f
Š Š Š Š Š ŠŠ‰ Š ŠŠŠ
Bb
p
Go - spo - di, po - mi - luy mya, is - tes - li
p
pp
I said:
ryekh:
du - shu mo - yu,
Š. ŠeŠ f ŠŠ Š Š Š Š Š Š Š Š Š Š Š Š Š
Lord, be merciful unto me,
rit.
heal my soul,
du - shu mo - yu,
a tempo
Go - spo - di, k Tye -
84
Vb ‰. ‰. ‰ pŠ ‰ p Š
p
Bb ŠeŠ Še Š
Š
ŠŠ Š Š Š ŠŠŠŠ Š
Š Š Š Š Š Š Š
Š Š Š f f
Š Š Š
p
ya - ko so-grye - shikh Tye - bye. Go - spo - di, k Tye - bye pri-bye-gokh, na-u -
for I have sinned against thee.
88 - bye pri - bye - gokh,
Vb Š Š Š ‰. ‰ Š Š Š Š
p p ‰ Š Š Š Š
Bb ŠŠŠ ŠŠŠŠ Š Š Š Š Š Š
Lord, I flee unto thee.
p
ya - ko Tï Bog
Bog
Še Š Še Š Š Š Š Š Š
Š f
Š Š f
Š Š Š Š Š Š
- chi mya tvo - ri - ti vo - lyu Tvo-yu, ya - ko Tï ye - si Bog
Teach me to do the things that pleaseth thee, for thou art my God:

92
Vb ‰ Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š
moy:
f
ya - ko u Tye - bye is - toch - nik zhi - vo -
moy:
Bb Š Š Š Š Š Š Š Š Š Š ‰ Š Š Š Š Š Š Š Š
moy: ya - ko u Tye - bye is -
for with thee is the well of life;
> f
Vb Š Š Š Š F
95
‰ Š Š ŠŠŠŠ Š ‰ Š Š ‰ Š
>
Š Š >
Bb
ŠŠŠŠŠŠŠ Š Š Š Š Š ‰ Š Š ‰ Š
E
Pro -
- ta, vo svye - tye Tvo - yem u - zrim svyet. Pro -
- toch-nik zhi - vo - ta, vo
and in thy light we shall see light.
f
- ba - vi, pro - ba - vi
99
Vb Š
>
Š ŠŠŠ Š Š Š Š Š Š Š >
>
‰ Š Š Š ŠŠŠ Š Š Š ‰ f
‰. .
Bb ‰ Š Š Š Š >
>
Š Š Š >
Š Š ‰.
> > > ‰.
- ba - vi mi - lost’ Tvo - yu vye - du - schim Tya.
O continue forth thy loving kindness unto those who know thee.
103 do not slow down (ne zatyagivaya tempa)
Vb p p p p
Bb Š Š ŠŠ Š Š ‰ Š Š Š Š Š ŠŠŠ Š
‰ Š
p
Kastalsky: The Great Doxology 187
Svya - tïy Bo - zhe, Svya - tïy Kryep - kiy,
O Holy God,
Holy Mighty,
f

188 Kastalsky: The Great Doxology
107
p
Vb Š Š Š Š Š =Š Š Š‰ Š Š Š ‰.
pp
Bb
Svya - tïy Byez - smyert - nïy, po - mi - luy nas.
Š Š Š Š Š Š Š Š Š Š Š Š ‰.
Holy Immortal One,
have mercy upon us.
pp
p
espressivo
111
Vb Š Š p Š Š Š Š p Š Š Š Šp Š ‰ pŠ
Svya - tïy Bo - zhe, Svya - tïy Kryep - kiy,
Bb Š Š ŠŠ Š Š ‰ Š Š Š Š Š ŠŠŠ Š
‰ Š
p
115
Vb Š Š bŠŠ Š Š =Š Š Š‰ Š Š Š ‰.
pp
Bb
Svya - tïy Byez - smyert - nïy, po - mi - luy nas.
Š Š Š Š Š Š Š Š Š Š Š Š ‰.
pp
p
119
Vb Š Š ŠŠ Š Š ‰ Š Š Š Š Š ŠŠŠ Š
‰ Š
Svya - tïy Bo - zhe, Svya - tïy Kryep - kiy,
Bb p p p p

it.
123
VbŠŠ Š Š Š Š Š Š =Š Š Š‰ Š Š Š Š ‰.
Bb
p
Svya - tïy Byez - smyert - nïy, po - mi - luy nas.
Š Š Š bŠ Š Š Š ‰
p
Š
p Š Š
pŠ
Š ‰.
r
pp
pp
r
Š
po -
127
pp
Vb >
pŠe ˆ p p ŠeŠ Š ŠŠŠŠŠŠt Še r f ŠŠŠŠŠ
Bb Še ˆ Še Š Š Š Š Š Š >
Š Š t Še Š Š Š Š Š
ˆ
Š f
ˆˆ
Š
ˆ
Sla - vaOt - tsu, i Sï- nu, i Svya-to - mu Du-khu, i nï - nye i pri-sno
- mi - - luy nas.
Glory to the Father, and to the Son, and to the Holy Spirit,
both now and ever,
Vb Š Š Š Š Š Š Š Š F
128
‰
i vo vye - ki vye - kov. A - min’.
Bb Š Š Š Š Š ‰ Š ˆ
E
‰
and unto ages of ages.
Amen.
129
Vb34 Š Š Š Š Š Š Š =Š Š Š‰ Š Š Š Š ‰.
Svya - tïy Byez - smyert - nïy, po - mi - luy nas.
Bb34 Š Š Š bŠ Š Š Š ‰
p
Š
p Š Š
pŠ Š ‰. p
Holy Immortal One,
have mercy upon us.
Kastalsky: The Great Doxology 189
pp
pp
p

S.
A.
T.
B.
190 Kastalsky: The Great Doxology
mf
a little slower (neskol’ko medlennee)
133
Vb Š Š Š Š Š Š Š Š Š Š Š Š ŠŠ Š > ‰ Š Š Š Š
mf
Svya - tïy Bo - zhe, Svya - tïy Kryep - kiy, Svya - tïy Byez -
>
Svya - tïy Bo - zhe, Svya - tïy Kryep - kiy, Svya - tïy Byez -
Vb Š Š Š Š Š Š Š Š Š Š Š Š ‰ Š Š Š bŠ
mf
Vb
[ Š Š Š Š Š ‰ Š Š Š Š Š ŠŠ Š >
‰ Š Š Š Š Š Š
mf
Bb Š Š Š Š Š Š Š Š Š Š Š Š >
‰ Š Š Š Š Š bŠŠ
Svya - tïy Bo - zhe, Svya - tïy Kryep - kiy, Svya - tïy Byez -
Svya - tïy Bo - zhe, Svya - tïy Kryep - kiy, Svya - tïy Byez -
V
a little slower (neskol’ko medlennee)
b Š Š Š Š Š Š Š Š Š Š Š Š ŠŠ Š ‰ Š Š Š Š Š bŠ
{
mf
B b Š Š Š Š Š ‰ Š Š Š Š Š ŠŠŠ
Š ‰ Š Š Š Š Š b Š
O Holy God, Holy Mighty, Holy Immortal One,
pp
138
VbŠ Š Š Š ‰ Š ‰ F
Š ‰. ‰. ‰.
pp
Vb Š Š =Š Š Š Š Š ‰
F
Š ‰. ‰. ‰.
pp
Vb Š Š Š
[
Š Š
F
‰ Š Š ‰ Š ‰. ‰. ‰.
BbŠ Š Š Š Š Š Š ‰ Š ‰ pp F
. ‰. ‰ . - smyert - nïy, po - mi - luy nas, po - mi - luy nas.
- smyert-nïy, po - mi - luy nas, po - mi - luy nas.
- smyert-nïy, po - mi - luy nas, po - mi - luy nas.
- smyert-nïy, po - mi - luy nas, po - mi - luy nas.
V b Š Š
Š = Š ‰ Š Š Š ŠŠ ‰
F
Š ‰. ‰ . ‰.
{ B b Š Š Š
Š Š Š Š ‰ Š ‰ pp
. ‰. ‰ .
E
have mercy upon us.

notes on the composers and
their works
Alexander Arkhangelsky (1846–1924) was born into the family of a priest in the village of
Staroe Tezikovo near Penza, and received his education at the Penza Theological Seminary. He
later obtained a diploma in choral conducting from the Imperial Chapel in St Petersburg, and
from 1873 worked as a conductor with various choirs in the city. In 1880, he became the first
conductor to establish a choir with women’s voices rather than boys’. His mixed choir, considered
among the best in the country, sang in churches and concert halls throughout Russia and abroad,
performing European masterpieces, Russian liturgical music, and folk-song arrangements by
Arkhangelsky himself. After the 1917 Revolution, the Arkhangelsky choir was renamed as the State
Academic Choir, and was conducted by its founder for the last time in December 1921. From 1922,
Arkhangelsky lived in Prague, where he died in 1924. The Penza College of Music now takes the
name of its famous former resident.
As a composer, Arkhangelsky was known for his church music. He wrote two settings of the
Liturgy, an All-night Vigil, and many smaller-scale pieces to be performed during Communion.
Along with composers Grigory Lvovsky, Alexei Lvov, Nikolai Rimsky-Korsakov, and Mily Balakirev,
he belonged to the St Petersburg School of Russian sacred music. In contrast to the Moscow School,
these composers did not insist on using traditional chants as the one and only criteria of spirituality
(although Arkhangelsky did make some arrangements of znamenny chant), and instead freely
applied the principles of Western polyphony to their work. Their compositions, with all their
charm, do not therefore sound so unmistakably Russian.
‘I Cry Aloud With My Voice Unto the Lord’ is a setting of Psalm 142, which is frequently read
in the Orthodox Church at the service of Fervent Supplication. Arkhangelsky’s version belongs
to the category of the sacred concerto, which can be performed in the Liturgy during the priests’
Communion, for which there are no ‘set’ pieces, and at concerts of sacred music.
Maxim Berezovsky (1745–77) received his singing training, and probably was born, in Glukhov
in Ukraine (at that time known as Malorussia). Glukhov was renowned for producing fine singers,
and the Imperial Chapel and other choirs in St Petersburg often recruited their choristers from the
region. In 1759, Berezovsky was invited to join the choir of Prince Pyotr Fedorovich, and in 1762
he became a member of the Imperial Chapel. Alongside his singing, he studied composition with
the Italian masters living in Russia at the time (primarily Baldassare Galuppi), and wrote many
sacred works. ‘He composed superlative church concertos for the Imperial Chapel with such taste
and such outstanding harmony that the performances provoked the connoisseur’s delight and the
royal court’s approval’, wrote Jacob von Stählin in his Nachtichten von der Musik in Russland (‘News
about Music in Russia’, 1769).
In c.1765, Berezovsky travelled to Italy to study with renowned teacher Padre Giovanni Battista
Marini at the Bologna Philharmonic Academy. He graduated with distinction, and became an
honourary member of the academia. Upon his return to St Petersburg in 1774, he was appointed as
a Kapellmeister of the Imperial Chapel. His premature death at the age of 32 gave rise to rumours
of suicide. However, so little is known about him that no such suggestion can be accepted with any
certainty. Recent discoveries of Berezovsky’s secular works (his Symphony in C from the 1770s was
discovered in the Vatican archives in 2002) demonstrate his great artistic gift, which arguably has
not yet been fully appreciated.
Berezovsky became the first great master of the sacred concerto, a Classical-style choral work
blending the traditions of Russian a cappella church singing with those of the choral psalm motet

192
of the Venetian and Bolognese schools. Sadly, only three of Berezovsky’s eighteen known concertos
have been located. The greatest is the concerto for four voices, ‘Do Not Reject Me in My Old Age’
(Psalm 71: 9–13), which was composed before 1769. The work can be divided into four sections: the
slow introit, reflecting the grief and despair of the opening words; the ‘evil fugato’ of the turbae
from bar 48; the adagio prayer ‘Bozhe moy’ (‘O my God’) from bar 124; and the fugal section from
bar 145, reflecting the hope for revenge and deliverance. The tragic emotional intensity of this
masterpiece ensured its role in the development of Russian music, both sacred and secular.
Dmitry Bortniansky (1751–1825), known as the master of Russian Classicism, was born into the
family of a Ukrainian Cossack. He received his first musical training in Glukhov, Ukraine, before
being sent to St Petersburg at the age of 7 to sing at the Imperial Chapel, where he studied theory
and composition with Baldassare Galuppi. In 1768, at his teacher’s recommendation, he travelled
to Venice, where he wrote his first operas, cantatas, and sonatas. On his return to St Petersburg in
1779 he was appointed as a Kapellmeister in the Imperial Chapel, and in 1796 became Director,
retaining that influential position until his death in 1825. Under his directorship, the Imperial
Chapel became one of the finest choirs in Europe.
A prolific composer, Bortniansky produced over a hundred works for the church, among them
ten concertos for double choir, thirty-five four-part concertos, and several settings of the Liturgy.
His unique choral style gained many admirers across Europe, both during his lifetime and after
his death. Writing in his diary during a trip to Russia in 1847, Berlioz praised Bortniansky’s ‘rare
skills of arranging choral resources, wonderful combinations of nuances, and extremely rich
harmonies’. However, others criticized Bortniansky for his ‘blind’ adherence to the foreign school
and the excessive sentimentality of his music.
In fact, Bortniansky was one of the first to speak out about the necessity of returning Russian
sacred music to its roots. Years after Bortniansky’s death, Stepan Smolensky proved that the
composer was behind the anonymous ‘Project on printing ancient Russian neumatic singing’,
published in 1810 (later known as ‘Bortniansky’s Project’). At the time, when fashion dominated
lives, Bortniansky was compelled to produce compositions in the popular style and manner that
was expected from him. In his free time, however, he harmonized traditional chants. ‘He had
enough intellect and tact to sort out infatuations of his time, to master the science of foreign music,
and to understand the true road for Russian music—the need to return to the native chants’, wrote
Smolensky in his essay In memory of Bortniansky (1901). ‘Many Years’ is one such example, in which
the traditional tune is preserved without a change. This short piece can hardly bear witness to those
qualities of Bortniansky’s music that Berlioz so admired, yet it is significant in demonstrating an
initial return to the harmonization of traditional chants.
Pavel Chesnokov (1877–1944) was born in Voskresensk, near Moscow, where his father was
a church choir conductor. Musically gifted as a boy, he attended the Moscow Synodal School,
from where he graduated in 1885 with a gold medal. He studied composition with Stepan
Smolensky (‘my first and most important teacher’) and later with Sergei Taneyev. Chesnokov’s first
compositions, written while he was still at school, were immediately successful, and he continued
composing while working as a conductor and teacher. Already an established composer and choir
director, he became a student at the Moscow Conservatoire at the age of 36, where he strived to
improve his mastery of composition even further. A younger representative of the New Direction,
Chesnokov followed in the footsteps of Kastalsky and Grechaninov. Like Kastalsky, he treated
traditional chants with utmost respect and, like Grechaninov, aspired to ‘symphonize’ the sound
of the choir, achieving his own variety of ‘orchestral’ tone colours within his choral music. By 1917
he was acknowledged as a giant of Russian sacred music.
After the Revolution, many of Chesnokov’s friends and colleagues emigrated, including his
brother Alexander, who was also a composer. Chesnokov remained in Russia and continued

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conducting church music; he was the choir director at the Cathedral of Christ the Saviour in
Moscow until it was demolished in 1931. At the same time, he tried to integrate into the life of the
new Soviet Union and conducted, among other secular groups, the choir of the Bolshoi Theatre, as
well as teaching at the Moscow Conservatoire. However, these secular positions were limited, for
his continuing involvement with the church meant that he was never considered entirely loyal to
the new regime.
In 1940, after years of delay, Chesnokov’s book Khor i upravlenie im (‘The Choir and How to Direct
It’), dedicated to Smolensky, was authorized for publication. Reflecting the vast experience of its
author, the book was designed as a theoretical foundation and encyclopedia for young conductors.
It proved very popular and was reprinted several times. Somewhat tellingly, this famous conductor
of sacred music referred only once to a sacred work: Maxim Berezovsky’s ‘Do Not Reject Me in My
Old Age’. Such was the price to pay for publication.
Setting a text from the All-night Vigil, ‘Blessed is the Man’ (Op. 11 No. 2) was composed in 1907
and is an arrangement of the so-called Greek chant, which takes its origin in seventeenth-century
Russia (see Appendix Ia, page 200). From a similar period (c.1910) is the Cherubic Hymn (Op. 33
No. 6), which sets words from the Liturgy to the chant known as ‘The Repentant Thief’ (see
Appendix Ib, page 201). Both works represent Chesnokov’s early style, which is simpler and more
archaic in spirit than that of his later output. They demonstrate the composer’s knowledge of
traditional chants, as well as his considerable skill in arranging an existing melody in a tactful
yet musically interesting way. ‘Lord, Save the Faithful’ and Trisagion, Op. 38 No. 1, is another
of Chesnokov’s earlier works (c.1912), written before he attended the Moscow Conservatoire.
Many of his original compositions could be described as expressive and even somewhat
sentimental (especially in contrast to Kastalsky), yet the melody of this particular piece is much
closer in style to that of a Russian folk song. The Great Doxology, Op. 44 No. 9, is from the
All-night Vigil cycle of 1915—one of Chesnokov’s greatest works, demonstrating a more mature,
elaborate style.
Nikolai Golovanov (1891–1953), the son of a tailor, was born in Moscow. He received a free education
at the Moscow Synodal School, where he was a boy soloist in the choir, and it was here that
his first compositions were performed. He continued his studies at the Moscow Conservatoire and
additionally with Mikhail Ippolitov-Ivanov.
From 1915 Golovanov worked at the Bolshoi Theatre, first as a choir master and later as chief
conductor. In 1928 he was accused of conservatism and ‘bourgeois moralism’, and was dismissed
from his position. The campaign against him, known as Golovanshchina (‘the Golovanov case’), was
widely followed by the press, and served as a warning to others. He returned to the Bolshoi as chief
conductor between 1948 and 1953, where he performed well-known masterpieces and premiered
works by Prokofiev, Shostakovich, Myaskovsky, Khrennikov, and others. He was awarded four
Stalin Prizes, as well as many other medals and titles.
Despite all the risks, Golovanov remained an Orthodox Christian throughout his life, and his
sacred works were among the last to be published before the Revolution. He played an important
part in preserving the archives of the Moscow Synodal School (sadly the greater part of the library
has now perished), saved many items associated with church rituals (which he disguised as his
‘art collection’), gave financial help to Archbishop Trifon Turkestanov, and supported church
conductors and composers, including Danilin and Chesnokov. Many of his sacred works, including
his setting of ‘Our Father’ (Op. 9 No. 3), demonstrate his affiliation with composers of the New
Direction (indeed, many of his compositions are dedicated to Smolensky and Kastalsky).
Golovanov composed several symphonic works, two operas, over two hundred romances,
and many folk-song arrangements. He was married to the legendary Russian soprano Antonina
Nezhdanova and often performed as her piano accompanist.

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Alexander Grechaninov (1864–1956) was born into the family of a Moscow merchant, who had
relocated from the provincial town of Kaluga. Despite coming to music rather late (he claimed
to have not set eyes on a piano until the age of 14), and against his father’s will, he went on to
graduate as a pianist and composer from the Moscow and St Petersburg Conservatoires
respect ively. Grechaninov was determined to pursue the idea of Russianness in his music, and his
first symphonies and romances, and the opera Dobrïnya Nikitich, bear witness to this. From 1903
he was actively involved with the Music Ethnographic Society at Moscow University, where he
enjoyed researching Russian folklore.
Having had a religious upbringing, Grechaninov was naturally inclined towards composing for
the church. From 1897, he developed a close friendship and collaboration with Stepan Smolensky,
the Director of the Moscow Synodal School, and the composer often had the opportunity to
hear his new works performed by the Synodal Choir and to make adjustments where necessary.
He also contributed profusely to discussions in the press on the questions of spirituality and
nationality in music.
Grechaninov enjoyed his position of popularity with the Russian royal family. His songs were
performed by the Empress and, on Tsar Nicholas II’s orders, his setting of the Credo was sung at
court every Sunday. Conversely, his Hymn of Free Russia, composed after the events of February 1917
and the abdication of the Tsar, was widely praised. Although Grechaninov was initially determined
to stay in his motherland, the chaos and hardships of the civil war proved too much. In 1925 he
left Russia for France, and in 1939 emigrated to the United States. His memoirs, entitled My Life,
were published first in Paris and later in New York.
Grechaninov was a prolific composer of both sacred and secular music. Among his works are
five symphonies, six operas (three for children), orchestral works, sonatas for various instruments,
cantatas, and over two hundred songs (he has been dubbed ‘the Russian Schubert’). Yet
Grechaninov considered himself primarily a composer of sacred music, and it was this genre
in particular (including Orthodox liturgical music, Catholic masses, Protestant hymns, and works
in Hebrew) that brought him fame both in Russia and abroad.
Two of Grechaninov’s most celebrated achievements are his settings of the ‘Passion Week’
(Strastnaya Sedmitsa, Op. 58, 1911) and the All-night Vigil (Op. 59, 1912). Combining Russian
antiquity and European Renaissance textures, his compositional style in these two cycles is sometimes
described as Russian Choral Neo-Baroque. Grechaninov himself referred to his extremely
colourful and rich part-writing as the ‘symphonization of the choir’.
As with some other pieces in the Op. 59 All-night Vigil cycle, ‘Bless the Lord, O My Soul’
(Op. 59 No. 1) is designed with a multi-layered structure: at the Poco meno mosso (bar 26), the choir
continues to sing the main melody and text while a group of soloists begins a new motif, providing
a contrast by picturing the ‘waters upon the mountains’. The dividing of the choir in such
a way hints at the Orthodox tradition of using two choirs antiphonally (as described in the Old
Testament). One of the highlights of the All-night Vigil cycle, the majestic ‘Praise the Name of
the Lord’ (Op. 59 No. 5) is reminiscent of Russian liturgical and folk singing, though it is entirely
original. Also setting a text from the All-night Vigil, Grechaninov’s ‘Gentle Light’ (Op. 23 No. 2)
is an earlier work, from 1900, that already exhibits the lush chordal writing characteristic of his
future ‘symphonic’ style.
Taken from Grechaninov’s second setting of the Liturgy, ‘It is Truly Meet’ (Op. 29 No. 10, 1902),
is a simple and diatonic harmonization of the old demestvenny chant; only the majestic ending in
a different tonality discloses the fact that the composer was searching for new paths in his choral
writing. In contrast, the next work in the Liturgy cycle, ‘Our Father’ (Op. 29 No. 11), is an original
composition in the style of Russian antiquity. The second Liturgy established Grechaninov as one
of the leading exponents of the New Direction.

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Viktor Kalinnikov (1870–1927) was born in the Russian district of Mtsensk, into the family of a
policeman. He studied at the Oryol Theological Seminary and later the Moscow College of Music
and Drama, and upon graduation taught music and conducted the orchestra at the college. In 1897
he joined the teaching staff at the Moscow Synodal School, and from 1922 was a professor of music
theory at the Moscow Conservatoire. Kalinnikov began composing while at the Synodal School,
where he was greatly influenced by the ideas of the New Direction. Unlike other representatives
of the movement, Kalinnikov rarely used traditional chants, but instead created his own melodies
using the characteristic features of Russian liturgical music. As well as sacred works, Kalinnikov
composed much secular choral music based on Russian literature, including many songs for
children. His brother Vasily Kalinnikov, also a composer, followed the traditions of the Mighty
Handful, and wrote mostly secular music in the national style, including two symphonies.
‘Rejoice, O Virgin Mother of God’ (All-night Vigil) is based on words from St Luke’s Gospel.
Here Kalinnikov creates his own style, combining melodic elements characteristic of Russian
liturgical chants and folk songs.
Alexander Kastalsky (1856–1926) was born in Moscow, where his father was a much-respected
archpriest and writer, and the founder of a diocesan college for women. Having graduated from
the Moscow Conservatoire, Kastalsky worked for some time as a music teacher in the provincial
town of Kozlov (now Michurinsk). Upon his return to Moscow in 1886 he taught at the Moscow
Synodal School, where he stayed for thirty-seven years; in 1903 he became the conductor of the
Synodal Choir, and in 1910 was made Director. He began studying and harmonizing traditional
chants under the guidance of Stepan Smolensky, and his first experimental compositions at the
age of 40 exceeded all expectations. After the Revolution, Kastalsky had a choice: to leave his
homeland or to integrate into the new Soviet society. He accepted an invitation to teach at
the Moscow Conservatoire, and continued composing, but from that point onwards he concentrated
mostly on secular music in the style of Russian folk song. He was described by some as ‘the
Red Professor’.
Kastalsky composed a broad spectrum of over four hundred sacred compositions, from a
multitude of common liturgical hymns to majestic works for festive services and special occasions.
Among his secular works are an opera (Klara Milich), several cantatas, and numerous works for
children, most of which were based on Russian literature and folklore. Despite his full-time job
as a teacher, he left a substantial legacy not only in music but also in other fields: poetry, articles,
letters, memoirs, and many paintings.
Kastalsky’s guiding compositional principle was to free Russian music from the yoke of
Europeanism. As with other composers of the New Direction, he battled with the pivotal issue
of how to harmonize traditional monodic chants. His answer was to develop the theory and
practice of ‘national counterpoint’, which involved applying the podgolosok polyphony of Russian folk
singing to sacred music (see page vii). Later on, the reputation of Kastalsky was such that the New
Direction was often described ‘Kastalsky’s Direction’.
Written in 1898, ‘A Mercy of Peace’ (Divine Liturgy) was one of Kastalsky’s first attempts at harmonizing
znamenny chant using podgolosok polyphony. In this work, the choir responds to phrases
chanted by the clergy, the words of which are presented in the score. Although the meaning of the
sung text is technically incomplete without the words of the Deacon/Celebrant, it is not uncommon
for concert performances to include only the choral parts. Alternatively, the chanted parts may be
performed by a member of the choir, possibly omitting lines 6–8, either on a monotone (usually
the tonic or dominant) or using a more elaborate style of intonation.
The Cherubic Hymn (Divine Liturgy) is based on a popular anonymous chant that goes back to
the seventeenth century and was later called ‘The Ravaging of Moscow’ (Na razoryeniye Moskvï) in

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remembrance of the devastation of Moscow by the French in 1812. It was Smolensky who brought
the tune to Kastalsky’s attention in 1898, encouraging him to use the style of Russian antiquity
to give it an artistic form. Like ‘A Mercy of Peace’, the Cherubic Hymn was one of Kastalsky’s first
harmonizations in this style.
In 1903–4, Kastalsky wrote several pieces for the All-night Vigil service, and ‘Gentle Light’ was
set three times. No. 3, the most festive and emotionally powerful setting, opens with the upper
voices, with men reciting the text beneath. The gentle and elegiac melodic material representing
Christ is followed by the solemn glorification of the Redeemer by the whole choir, creating a
powerful effect reminiscent of Russian church bells ringing.
Among the last works of the 1904 All-night Vigil cycle were two versions of the Great Doxology
No. 2 (one for large choir, included here, and one for small choir), based on znamenny chant in a
major tonality. Many of the choral devices typical of Kastalsky can be found in this piece: interchanges
between choral groups and brilliant ‘orchestral’ tuttis for the whole choir, low ‘pedals’
in the basses, rapid choral reciting, and sonorous fanfares in same-voice parts. This work is an
example of how the composer treated a lengthy and capricious znamenny chant melody while
preserving its originality. Kastalsky was the first of the New Direction composers to complete a
choral All-night Vigil setting, and his work paved the way for the others.
Nicolas Ossorguine (b. 1924) and Nikolai Kedrov Jr (1905–81) represent the many Russians
who were brought up outside their homeland, after both families emigrated to France following
the Revolution. Like his father Mikhail, Nicolas Ossorguine taught at the St Sergius Orthodox
Theological Institute in Paris, and was a choir director and an expert in traditional chants. Kedrov’s
father, Nikolai Kedrov Sr, was a well-known opera singer before the Revolution, performing in
both the Bolshoi and the Mariinsky Theatres, and taught at the St Petersburg Conservatoire. In
1897 he founded a male-voice vocal quartet, which was highly successful throughout Russia and
abroad, and the group continued to perform after the family’s relocation in 1922. Kedrov Jr headed
the quartet following his father’s death, and the ensemble has continued under the direction of
Kedrov’s descendents.
Ossorguine and Kedrov Jr collaborated in harmonizing traditional monodic chants, continuing
the traditions of the Moscow School outside Russia. In 2008, at the conference ‘Russian Diaspora:
Music and Orthodoxy’, Patriarch Kirill commented that it was thanks to such émigrés that ‘Russian
sacred music in the Diaspora was not only preserved, but developed, revealing to the non-Orthodox
the magnificence and beauty of Holy Orthodoxy’.
‘It is Truly Meet’, from the Liturgy, is a harmonization of an anonymous znamenny chant (see
Appendix Ic, page 202). One of the most ancient and complete Russian chants, znamenny is now the
symbol of the Orthodox Church and is often called ‘theology in sound’. The name comes from the
word znamya, meaning ‘neuma’—a sign depicting the music in plainchant notation. The original
znamenny chant had a special system of neumatic notation, which was developed under the
influence of Byzantine notation and later became independent. Znamenny melodies are known
for their smooth, step-like movement and free asymmetrical rhythms. They are diatonic, yet the
absence of an underlying scale and a definite tonic makes it difficult to define the prevailing mood.
Sergei Prokofiev (1891–1953) enriched Russian culture with the innovative music of his ballets,
operas, symphonies, piano compositions, and settings of words by great poets. He was also
interested in Russian folklore, as demonstrated by his ballets The Tale of the Buffoon and The Tale of the
Stone Flower, as well as his attractive arrangements of Russian folk songs. Another prominent theme
in Prokofiev’s music is history: he wrote symphonic suites for the films Alexander Nevsky and Ivan the
Terrible, the opera War and Peace, and the cantatas Alexander Nevsky and For the 20th Anniversary of the
October Revolution. Sacred music was the only area that he did not touch.

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Having left Russia for the USA in 1918, Prokofiev finally returned to the USSR in 1936 as a
celebrity, known both in Europe and America. While he conformed to the Communist ideology,
he later found that his creativity was limited by the strict Soviet censorship. He still managed
to experiment with tradition and modernity in his music, but this often resulted in oppressive
criticism by the authorities.
‘Many Years’ was written as part of the film score for Ivan the Terrible (1945). Following their
productive partnership on the film Alexander Nevsky, the famous producer Sergei Eisenstein invited
Prokofiev to collaborate once again in 1942. The film was described by the press as ‘a music and
cinema epic’, and its great success was due to a large extent to its captivating music. Though not
sacred music in the traditional sense of the word, but rather a historic illustration, ‘Many Years’
sounds entirely authentic, revealing Prokofiev’s ability to master different styles.
Sergei Rakhmaninov (1873–1943) remains one of the most well-known and widely performed
composers of his age. An unparalleled concert pianist, he contributed a substantial and important
body of works to the piano repertory, including numerous preludes and sonatas and three
concertos, and his momentous symphonic works have proved to be equally significant in the
orchestral canon. Rakhmaninov left Russia following the Revolution, spending the rest of his life
in Europe and America, although he never lost sight of the customs and traditions of his Russian
upbringing.
Highly secretive, Rakhmaninov always kept his religious views to himself. However, his setting
of the Liturgy of 1910 was the first to which he added the epigraph ‘Thanks be to God’, suggesting
that by that time he may have considered himself as religious in outlook if not in strict practice.
Rakhmaninov composed a number of other Orthodox works, including a setting of the All-night
Vigil, which has arguably become the best-known work in the Russian Orthodox repertoire. Written
in 1915, when the composer was at the height of his fame, the Vigil was eagerly awaited by all
lovers of sacred music and supporters of the New Direction, for it was known that Rakhmaninov
was under the influence of the Moscow School. Indeed, the work was dedicated to Stepan
Smolensky, with whom Rakhmaninov studied the traditional chants.
‘The Ever-Vigilant Mother of God’ was written in 1893, well before the young composer
was influenced by the ideas of the New Direction (he first met with Smolensky in 1897). It is a
composition in a free style—possibly just an exercise in part-writing following the a cappella motet
Deus meus, which was Rakhmaninov’s counterpoint examination piece at the Moscow Conservatoire.
The text is a kontakion (a short hymn) from the service commemorating the Dormition of the Mother
of God (the ‘falling asleep’ of Mary, or the Assumption in the Western tradition).
Alfred Schnittke (1934–98) was born into a Jewish–German family in the Russian city of Engels
on the Volga river. He travelled widely during his lifetime, spending his early years studying in
Vienna and much of his later life in Hamburg, but always considered himself to be a Russian composer.
He graduated from the Moscow Conservertoire in 1961, and went on to teach there until
1972. Schnittke’s early composing career revolved around the Soviet film industry, securing him
a good income and reputation while also allowing him the freedom to work on other
compositional genres. He was one of the last to pursue the great symphonic tradition, taking
influence from Mahler and Shostakovich. In the 1970s and 80s he enjoyed enormous popularity in
Russia, and he gradually became one of the most prominent composers of the second half of the
twentieth century.
Schnittke had a great interest in the mystical traditions of different religions, including Kaballah
and I Ching, and this influenced much of his work. He first quoted from traditional Russian chants
in his four Hymns for solo cello and instrumental ensemble (1979), and went on to use the chants
more frequently in his later works. In his Fourth Symphony (1983), he reconciled his religious

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dilemma by using Christian chants from different traditions as well as Jewish melodies. His intense
spiritual search eventually led him to Christianity and, although the Orthodox Church was to
become his spiritual home, he took the decision to be baptized in a Catholic church in Vienna
in 1982. The somewhat shocking clashes of his style and the symbolism of his music remain the
subject of many discussions.
In 1984, in a single night, Schnittke composed his Three Sacred Songs, setting texts from the
Divine Liturgy; ‘Our Father’ is the third in the set. Though original, the songs are very close in
mood and style to genuine Russian Orthodox music.
Georgy Sviridov (1915–98), the son of a postman and a teacher, was born in the Russian province
of Kursk. As a young boy he fell in love with the balalaika and, encouraged by his school teachers,
enrolled at the Leningrad Conservatoire, where he studied composition with Shostakovich and gradu -
ated in 1941 as a pianist and composer. Vocal music (both choral and solo) became his favourite
compositional genre; passionate about Russian literature, he set to music the works of some of
Russia’s finest poets, including Pushkin, Lermontov, Yesenin, Blok, Mayakovsky, and Tvardovsky.
Sviridov’s prize-spangled career as a great Soviet artist may suggest that he was an ‘official
composer’—one of the cogs in the Communist wheel. The truth is not so black and white. While
he did compose monuments in the style of ‘socialist realism’, at the same time he wrote what he
wanted, expressing his attachment to Russia’s slavic roots, and was a leading figure in the ‘new
folklore trend’ of the mid-1960s. The Communist ideology prohibited the composition of sacred
music, so Sviridov cleverly disguised his works under a historic theme. In his later years, he was
able to compose more for the church, and his sacred compositions are a logical continuation of the
choral tradition of the Moscow School.
‘Sacred Love’ is the second of the Three Choruses, written in 1973, from the incidental music for
Tolstoy’s play Tsar Feodor Ioannovich (the story of a kind and sensitive man who is unable to become
the ‘proper’ ruler of the country). This chorus, unlike the other two, sets a non-liturgical text. Its
chant-like melody is carried by soprano solo over a drone in the other voices.
Pyotr Tchaikovsky (1840–93) has become one of the most popular and well-known composers
of all time, with a vast catalogue of works that includes symphonies, concertos, operas, chamber
music, songs, and compositions for piano. Tchaikovsky enjoyed attending services of the Orthodox
Church and had a great passion for its music. He was a zealous campaigner for the revival of
traditional Russian chants, and when the New Direction assumed its definitive shape, Tchaikovsky
was proclaimed as one of its founders. In 1878, he wrote a letter to the Metropolitan of Kiev:
As a result of fatal circumstances, the abominable, sugary sweet, and over-sentimental style was forced into
our church, and our sacred music is currently in a most miserable state. As a musician and as an Orthodox
Christian, I cannot be satisfied with this situation, regardless of how beautiful and well balanced are the
singers’ voices, regardless of how masterly is the conductor. We have after all the traditional chants, which
are not only musically beautiful but also highly original.
Right up until his death, he followed the activities of the Moscow Synodal School and Choir with
great interest, and was a member of the Supervisory Council attached to the school.
Tchaikovsky’s first work for the church—his setting of the Divine Liturgy—was completed in
Ukraine in 1878, and it went on to play an important role in the history of Russian sacred music.
The legislation then in force in Russia forbade the singing and writing of church music unless it
was approved by the Imperial Chapel. Tchaikovsky’s Liturgy was published by Jurgenson in spite
of the law, and the director of the Chapel, Nikolai Bakhmetev, protested against it. The matter
ended up in court, and in 1880 Jurgenson finally won the battle, thus opening the floodgates for
new sacred compositions.
Tchaikovsky completed a setting of the All-night Vigil in 1881. His Nine Sacred Pieces followed in
1885, after the composer promised to the Emperor Alexander III during their meeting in 1884 that

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he would continue to write sacred music. Setting a text from Psalm 141, ‘Let My Prayer Arise’ is
the eighth work in the latter cycle. It is one of the highlights of the Liturgy of the Presanctified
Gifts, which is celebrated during the weekdays of Great Lent and is sung after the priest’s
exclamation ‘The Light of Christ illumines all!’ It is usually performed by three singers in the
middle of the church in front of the Royal Doors. During the singing the congregation are on their
knees as a sign of their realization of their unworthiness before God.
Artem Vedel (1767–1808) was born in Kiev, where his father worked as a wood carver. He studied
at the Kiev Theological Academy, and was renowned for his fine tenor voice. He began conducting
choirs in Kiev, and was later invited to Moscow to direct the choir of Governor-General Eropkin;
he also studied composition with Giuseppe Sarti. After Eropkin’s death, Vedel returned to Kiev to
conduct the military choir of General Levanidov and, through his musical service, obtained the
army rank of Captain. He spent his last years in an asylum.
Together with Maxim Berezovsky and Dmitry Bortniansky, Vedel is recognized as one of the big
three composers of the Russian Empire at the end of the eighteenth century. He wrote twenty-nine
sacred choral concertos in the style of the fashionable Italian opera so popular with the Russian–
Ukranian elite, as well as ten concertos for four voices. While his works are sometimes criticized
for being too sentimental, too operatic, and therefore non-spiritual, a number are still performed in
Russian churches. His manuscripts, many of which are still to be explored, are kept in the library
of the Kiev Theological Academy.
Vedel’s ‘Blessed is the Man’ is strategically placed in this collection immediately after Pavel
Chesnokov’s setting of the same text (from the All-night Vigil), which is based on a traditional
chant, allowing a comparison between the ‘Italianized’ compositions of the eighteenth century and
the ‘truly Russian’ style of the New Direction.
Anton Viskov (b. 1965) was born in Moscow. His grandfather was a church singer, and under
his influence Viskov developed a passion for sacred music. He went on to study composition with
Georgy Sviridov at the Moscow Conservatoire, and has since composed over two hundred works,
including both sacred and secular choral music. He is heavily involved in the organization of
Russian music festivals and educational concert projects, is the author of numerous publications
on Russian music, and is a keen researcher of Russian folklore. He works closely with the Blagovest
Sacred Music Ensemble, the repertoire of which focuses on the works of the New Direction.
Viskov’s music is widely performed, including by the Moscow Synodal Choir.
Composed in 2003 for the Moscow chamber choir Resurrection, ‘Rejoice, Nicholas, Great
Miracle-Worker’ is a setting of the first kontakion from the Akathist to St Nicholas. An akathist is
a genre of Orthodox hymnography that appeared in Byzantine practice some time before the sixth
century (when the well-known Akathist to the Mother of God was written). Consisting of twelve
parts, it is a service for the commemoration and glorification of God, or a saint, and should be
performed with the choir and congregation standing as a sign of respect (as its Greek name
implies: ‘akathistos’ translates as ‘not seated’). The characteristic feature of an akathist hymn is the
repetition of the word ‘rejoice’ (raduysya).
TATIANA SOLOVIOVA

appendix i: monodic chants
Ia: Blessed is the Man
(Blazhen muzh)
V ‰ Š Š ‰ ‰ ‰ ‰ ‰ ‰ ˆ ‰ ‰ ‰ Š Š ‰ ‰
([)
Bla - zhen muzh, al - li - lu - i - ya, i - zhe nye i - dye
V ‰ ‰ Š Š ‰ ‰ ‰ Š Š ‰ ‰ ‰ Š Š ‰ Š Š ‰ ‰ ‰
([)
na so - vyet nye - ches - ti - vïkh, i na pu - ti gryesh - nïkh nye
V Š Š ‰ ‰ Š Š ‰ ‰ ‰ ‰ Š Š ‰ ‰ Š Š ‰ ‰ ‰ ˆ
([)
sta, i na sye - da - li - schi gu - bi - tye - lyey nye sye - dye.
V Š Š ‰ Š Š ‰ ‰ ˆ Š Š ‰ ‰ ‰ Š Š
([)
Al - li - lu - i - ya. Ya - ko vyest’ Go -
V‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ Š Š ‰ ‰ ‰
([)
- spod’ put’ pra - vyed - nïkh, i put’ nye - ches - ti - vïkh
V ‰ Š Š ‰. Š ‰ ‰ ˆ Š Š ‰ Š Š ‰ ‰ ˆ
([)
po - gib - nyet. Al - li - lu - i - ya.
Greek chant
© Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.

201
Ib: Cherubic Hymn
(Kheruvimskaya pyesn’)
‘The Repentant Thief’ chant
V 4
([) Š Š Š ŠŠˆ Š Š Š Š ‰ Š Š ˆ ˆ Š Š Š ŠŠˆ Š Š Š Š ‰ Š Š ˆ ˆ
I - zhe, i - zhe khe - ru-vi - mï, i - zhe, i - zhe khe - ru-vi - mï,
V ˆ ˆ ‰ ‰ ‰ Š Š ‰. Š Š. ŠeŠ Š
([)
Š Š Š ŠŠˆ Š Š Š Š ‰ Š Š ‰. Š ˆ
tay - no, tay- no ob - ra-zu - yu-sche, tay - no, tay - no ob - ra-zu - yu-sche,
V
([) Š Š Š Š ˆ ˆ Š Š Š Š ‰ Š Š ‰. Š ˆ Š Š Š Š ˆ ˆ
([)
i zhi-vo-tvo-rya - schey, i zhi-vo-tvo-rya - schey Tro - i - tse, i zhi-vo-tvo-rya - schey,
V Š Š Š Š ‰ Š Š ‰. Š ˆ Š Š Š Š Š ˆ Š Š Š Š ‰ Š Š
i zhi-vo-tvo - rya - schey Tro - i - tse, tri-svya-tu - yu pyesn’, tri-svya-tu - yu pyesn’ pri-pye -
V ‰. Š Š. ŠeŠ Š
([) Š Š Š Š Š ˆ
Š Š Š Š ‰ Š Š ‰. Š ˆ
- va - yu - sche, tri-svya-tu - yu pyesn’, tri-svya-tu - yu pyesn’ pri-pye-va - yu-sche,
V
([) Š Š Š Š ˆ ˆ Š Š Š Š ‰ Š Š ‰. Š ˆ Š Š Š Š ˆ ˆ Š Š Š Š
vsya -ko-ye nï - nye, vsya -ko-ye nï - nye zhi-tyey - sko-ye, vsya -ko-ye nï - nye, vsya -ko-ye
V ‰ Š Š ‰. Š
([) ˆ Š Š Š Š Šˆ ‰ ‰ ‰ Š Š ‰. Š Š Š Š Š Š Š Š Š ‰
nï - nye zhi-tyey - sko-ye ot - lo-zhim, ot - lo-zhim po-pye-che - ni-ye, ot - lo-zhim,
V
F
Š Š Š Š ‰ Š Š ‰. Š
([) ˆ ‰ ˆ Š Š Š Š ˆ ˆ Š Š Š Š ‰ Š Š
ot - lo-zhim po-pye-che - ni-ye. A-min’. Ya-ko da Tsa-rya vsyekh, ya-ko da Tsa-rya vsyekh po -
V
([) ˆ ˆ Š Š Š Š ‰ ‰ Š Š Š Š ‰ Š Š ‰. Š ˆ ‰ Š Š ‰ ‰
V ‰ Š Š ‰ Š Š ˆ Š Š Š Š Š Š Š ŠŠˆ Š Š Š ŠŠ‰ Š Š ‰. Š ˆF
([)
- dï - myem, An - gyel-ski - mi, an - gyel-ski - mi-nye-vi - di-mo do - ri-no-si - ma,
do - ri-no-si - ma chin - mi. Al-li - lu - i - ya, al - li - lu - i-ya, al - li - lu - i- ya.
© Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.

202
V ˆ ‰ Š. ŠeŠ Š ‰ ‰ Š Š ‰ ‰ Š. ŠeŠ Š ˆ Š Š ‰ Š Š
([)
Do - stoy - no yest’, ya - ko vo - i - sti - nu, bla - zhi - ti Tya
V ‰ Š Š. ŠeŠ Š ˆ ‰ Š Š b‰ bŠŠ Š ˆ Š Š Š Š Š. ŠeŠ Š ˆ
([)
Bo - go - ro - di-tsu, pri - sno-bla-zhen - nu - yu i prye-nye-po - roch - nu-yu,
V Š Š ‰ Š Š ‰ ‰ Š. ŠeŠ Š ˆ
([)
Ic: It is Truly Meet
(Dostoyno yest’)
Znamenny chant
Š Š ‰ Š Š Š Š
i Ma - tyer’ Bo - ga na - she - go. Chest - nyey - shu - yu khe - ru -
V b‰ Š Š Š ˆ
([)
‰ Š. ŠeŠ Š ‰ Š Š Š Š ‰ Š Š Š. ŠeŠ Š ˆ
- vim, i slav - nyey-shu-yu byez srav-nye-ni - ya sye-ra - fim,
V ‰ ‰ ‰ Š Š Š Š Š Š Š. ŠeŠ Š ˆ ‰ Š Š ‰ ‰
([)
byez is - tlye - ni - ya Bo - ga Slo - va rozhd - shu-yu, su - schu-yu Bo - go -
V Š. ŠeŠ Š ˆ
([)
Š Š ‰ Š Š Š Š Š Š Š. ŠeŠ Š ˆ
- ro - di - tsu, Tya vye - li - cha-yem, vye - li - cha - yem.
© Oxford University Press 2013. Photocopying this copyright material is ILLEGAL.

appendix ii: cyrillic texts
Милость мира
Milost’ mira
A Mercy of Peace
Милость мира. Жертву хваления.
И со духом твоим.
Имамы ко Господу.
Достойно и праведно есть покланятися
Отцу и Сыну и Святому Духу,
Троице Единосущней и Нераздельней.
Свят, Свят, Свят Господь Саваоф, исполнь Небо и земля славы Твоея;
Осанна в вышних, благословен Грядый во Имя Господне,
Oсанна в вышних. Аминь.
Тебе поем. Тебе благословим, Тебе благодарим.
Господи, и молим Ти ся. Боже наш.
Благослови, душе моя, Господа
Blagoslovi, dushe moya, Gospoda
Bless the Lord, O My Soul
Благослови, душе моя, Господа.
Благословен еси, Господи.
Господи Боже мой, возвеличился еси зело
Благословен еси, Господи.
На горах станут воды.
Дивны дела Твои, Господи.
Посреде гор пройдут воды.
Вся премудростию сотворил еси
Слава Ти, Господи, сотворившему вся.
Слава Отцу и Сыну и Святому Духу,
и ныне и присно и во веки веков. Аминь.
Слава Ти, Господи, сотворившему вся.
Блажен муж
Blazhen muzh
Blessed is the Man
Блажен муж, иже не иде на совет нечестивых.
Аллилуй(и)я, Аллилуй(и)я, Аллилуй(и)я,
и на пути грешных не ста, и на седалищи губителей не седе. [Chesnokov only]
Яко весть Господь путь праведных, и путь нечестивых погибнет.
Работайте Господеви со страхом и радуйтеся Ему с трепетом.
Блажени вси надеющиися Нань.
Воскpесни, Господи, спаси мя, Боже мой
Господне есть спасение, и на людех Твоих благословение Твое.

204
Слава Отцу и Сыну и Святому Духу
и ныне и присно и во веки веков. Аминь.
Аллилуй(и)я, Аллилуй(и)я, Аллилуй(и)я, Слава Тебе, Боже.
Херувимская песнъ
Kheruvimskaya pyesn’
Cherubic Hymn
Иже херувимы тайно образующе
и животворящей Троице трисвятую песнь припевающе,
всякое ныне житейское отложим попечение.
Яко да Царя всех подъимем,
Ангельскими невидимо дориносима чинми.
Аллилуйия, aллилуйия, aллилуйия.
Не отвержи мене во время старости
Nye otvyerzhi menye vo vryemya starosti
Do Not Reject Me in My Old Age
Не отвержи мене во время старости,
внегда оскудевати крепости моей, не остави мене.
Яко реша врази мои мне,
и стрегущии душу мою совещаша вкупе, глаголюще:
Бог оставил есть его, пожените и имите его, яко несть избавляяй.
Боже мой, не удалися от мене,
Боже мой, в помощь мою вонми.
Да постыдятся и исчезнут
оклеветающии душу мою.
Cвете тихий
Svyetye tikhiy
Gentle Light
Свете тихий святыя славы Безсмертнаго,
Отца Небеснаго, Святаго, Блаженнаго, Иисусе Христе!
Пришедше на запад солнца,
видевше свет вечерний,
поем Отца, Сына и Святаго Духа, Бога.
Достоин еси во вся времена
пет быти преподобными,
Сыне Божий, живот даяй;
темже мир Тя славит.

205
Гласом моим к Господу воззвах
Glasom moim ko Gospodu vozzvakh
I Cry Aloud With My Voice Unto the Lord
Гласом моим ко Господу воззвах
Гласом моим ко Господу помолихся
Пролию пред Ним моление мое,
Печаль мою пред Ним возвещу.
Призри, услыши мя, Господи Боже мой,
Просвети очи мои, да не когда усну в смерть
Вонми молению моему
Яко смирихся зело.
Достойно есть
Dostoyno yest’
It is Truly Meet
Достойно есть, яко воистинну блажити Тя, Богородицу,
присноблаженную и пренепорочную
и Матерь Бога нашего.
Честнейшую Херувим и славнейшую без сравнения Серафим,
без истления Бога Слова рождшую,
сущую Богородицу Тя величаем.
Да исправится молитва моя
Da ispravitsya molitva moya
Let My Prayer Arise
Да исправится молитва моя яко кадило пред тобою: воздeяние руку моею, жертва вечерняя.
Господи, воззвах к тебe, услыши мя: вонми гласу моления моего.
Положи, Господи, хранение устом моим и дверь ограждения о устнах моих.
Не уклони сердце мое в словеса лукавствия, непщевати вины о грeсeх.
Господи, спаси и Трисвятое
‘Gospodi, spasi’ i Trisvyatoye
‘Lord, Save the Faithful’ and Trisagion
Господи, спаси благочестивыя и услыши ны.
Святый Боже, Святый Крепкий, Святый Безсмертный, помилуй нас. [Трижды]
Слава Отцу и Сыну и Святому Духу, и ныне и присно и во веки веков. Аминь.
Святый Безсмертный, помилуй нас.
Святый Боже, Святый Крепкий, Святый Безсмертный, помилуй нас. [Трижды]

206
Многая лета
Mnogaya lyeta
Many Years
Многая лета.
Отче наш
Otche nash
Our Father
Отче наш, Иже еси на небесех,
да святится имя Твое,
да приидет Царствие Твое:
да будет воля Твоя,
яко на небеси и на земли.
Хлеб наш насущный даждь нам днесь;
и остави нам долги наша,
яко же и мы оставляем должником нашим;
и не введи нас во искушение,
но избави нас от лукавaго.
Яко Твое есть Царство, и сила, и слава во веки. Аминь. [Schnittke only]
Хвалите имя Господне
Khvalitye imya Gospodnye
Praise the Name of the Lord
Хвалите имя Господне,
Хвалите, раби Господа. Аллилуия.
Благословен Господь от Сиона,
живый во Иерусалиме. Аллилуия.
Исповедайтеся Господеви, яко благ,
яко в век милость Его. Аллилуия.
Исповедайтеся Богу Небесному,
яко в век милость Его. Аллилуия.
Из Акафиста Святителю Николаю
Iz Akafista Svyatityelyu Nikolayu
Rejoice, Nicholas, Great Miracle-Worker
Возбранный Чудотворче и изрядный угодниче Христов,
миру всему источаяй многоценное милости миро,
и неисчерпаемое чудес море,
восхваляю тя любовию, Святителю Николае:
ты же яко имеяй дерзновение ко Господу,
от всяких мя бед свободи, да зову ти:
Радуйся, Николае, великий Чудотворче.

207
Богородице Дево
Bogoroditse Dyevo
Rejoice, O Virgin Mother of God
Богородице Дево, радуйся,
Благодатная Марие, Господь с Тобою.
Благословенна Ты в женах
и благословен Плод чрева Твоего,
яко Спаса родила еси душ наших.
Любовь святая
Lyubov svyataya
Sacred Love
Ты любовь святая
От начала ты гонима,
Кровью политая
Ты любовь святая.
В молитвах неусыпающую Богородицу
V molitvakh nyeusïpayuschuyu Bogoroditsu
The Ever-Vigilant Mother of God
В молитвах неусыпающую Богородицу
и в представительствах мира непреложное упование.
Гроб и умерщвление не удержаста:
якоже бо Живота Матерь, к животу престави,
во утробу Вселивыйся приснодевственную.
Славословие великое
Slavosloviye vyelikoye
The Great Doxology
Слава в вышних Богу, и на земли мир,
в человецех благоволение.
Хвалим Тя, благословим Тя, кланяем Ти ся, славословим Тя,
Благодарим Тя, великия ради славы Твоея.
Господи Царю небесный, Боже Отче Вседержителю,
Господи, Сыне Единородный, Иисусе Христе, и Святый Душе.
Господи Боже, Агнче Божий, Сыне Отечь,
Вземляй грех мира, помилуй нас;
Вземляй грехи мира, приими молитву нашу;
Седяй одесную Отца, помилуй нас.
Яко Ты еси един Свят, Ты еси един Господь, Иисус Христос,
в славу Бога Отца. Аминь.
На всяк день благословлю Тя,
и восхвалю Имя Твое во веки, и в век века.

208
Сподоби, Господи, в день сей без греха сохранитися нам.
Благословен еси, Господи, Боже отец наших,
и хвально и прославлено Имя Твое во веки. Аминь.
Буди, Господи, милость Твоя на нас, якоже уповахом на Тя.
Благословен еси, Господи, научи мя оправданием Твоим. [Трижды]
Господи, прибежище был еси нам в род и род
Аз рех: Господи, помилуй мя,
исцели душу мою, яко согреших Тебе.
Господи, к Тебе прибегох, научи мя творити волю Твою,
Яко Ты еси Бог мой: яко у Тебе источник живота,
во свете Твоем узрим свет. Пробави милость Твою ведущим Тя.
Святый Боже, Святый Крепкий, Святый Безсмертный, помилуй нас [Трижды]
Слава Отцу, и Сыну и Святому Духу,
и ныне и присно и во веки веков. Аминь.
Святый Безсмертный, помилуй нас.
Святый Боже, Святый Крепкий, Святый Безсмертный, помилуй нас.

Russian Sacred Music for Choirs is a comprehensive anthology presenting the wonderful
repertoire of Russian sacred choral music for unaccompanied mixed voices. Expertly
compiled and edited by Noëlle Mann, it is the perfect performance collection for all
choirs looking to explore this rich and enchanting seam of the choral repertoire.
Covers a wide-ranging repertoire spanning the eighteenth to twentieth centuries
Suitable for performance in concert or during Church services
Introduces composers who were central to musical developments yet little known
outside Russia, including Chesnokov, Grechaninov, and Kastalsky, alongside familiar
names such as Tchaikovsky, Rakhmaninov, and Prokofiev
Includes a simple system of transliteration and a pronunciation guide for
non-Russian-speaking directors and singers
Audio pronunciation guide available to download
Non-singing translation for every piece
Introduction to the history of the repertoire, liturgical context, and performance
traditions
Notes on the pieces and composers
Noëlle Mann (1946–2010) read music at Goldsmiths College, London, where she began
researching the znamenny chant of the Russian Orthodox Church. Noëlle’s interest in the
Russian choral tradition led her in 1993 to establish the Kalina Choir, the first UK choir
exclusively dedicated to performing Russian choral music. Through this and subsequent
choral directing, she developed her research and performance practice in this area. As
a musicologist, Noëlle’s interests embraced both Russian choral music and the life and
work of Sergei Prokofiev.
Also available from Oxford University press
Oxford Choral Classics: European Sacred Music
Oxford Choral Classics: English Church Music, Vols 1 & 2
The New Church Anthem Book
Advent for Choirs
Epiphany to All Saints for Choirs
Ash Wednesday to Easter for Choirs
Cover image: Christ ‘Pantocrator’ Smolensky, surrounded by various Saints
© The Trustees of the British Museum. All rights reserved.