Russian Inok


	№20 (183) April, 2004 RUSSIAN LITURGICAL CHORAL AESTHETICS: ITS PAST IN TRADITION AND PRESENT IN RUINS Olga Dolskaya (Continued from "Russian Inok", March 2004) Chapter 4 (Conclusion) The Rise of National Expression in the Nineteenth Century Peter Illich Tchaikovsky (1840-1893) needs no introduction. One of the most beloved composers internationally, he is also considered as the most intrinsically Russian. Tchaikovsky was a deeply religious man183 who had a child-like, profoundly sincere love for church services and always tried to make time in his busy schedule to attend them. He was especially fond of monastic services and although he was critical of the "frequent abuses of the dominant seventh"184 that had infiltrated chant harmonizations, he was deeply moved by the beauty of the services: I very often go to the Eucharist; the Liturgy of St. John Chrysostom, in my opinion, is one of the greatest of all artistic creations. If you follow the service very carefully and try to grasp the meaning of every ritual, it is impossible not to be moved in spirit when present at one of our Orthodox services. I am also fond of the Vigil Service. To go to some ancient, small church on Saturday, stand in semi-darkness, the air thick with the smoke of incense, to withdraw into oneself, and ponder the eternal questions: what for? when? whither? why?., and then to be drawn out of oneself again by the choir singing: "From my youth up many passions afflict me" and surrender oneself to the effect of the fascinating poetry of the psalm, to be filled with a quiet delight when the Royal Doors [of the Iconostasis] are flung open and Praise the Lord from the heavens! rings out - oh, I love it all very much, it is one of my supreme pleasures!"185 "The new Roman Catholic church impressed me favorably. However, I much prefer the Orthodox Liturgy to the Catholic Mass, especially the so-called Low Mass, which lacks solemnity.186 Okunev was also impressed by the beauty of Orthodox services. Surrounded by nothing but destruction of everything that had to do with the Russian Orthodox church, and longing for pre-revolutionary life, he wrote in his diary in 1919: The Orthodox Service, when it was performed properly, upliftingly, with grandeur, and the singing by masters - was such beauty and joy, that it can never be replaced by the new life.187 While living in Nadezhda von Mecks's Brailov Estate, Tchaikovsky paints, once again, as in many of his thousands of letters, a vivid picture of life surrounding the church: It is Ascension Day. I have just been to the convent. There were crowds of people, both local and from surrounding districts. There was not a place to be found in the church, but through the kindness of a nun I got into the gallery… The choir today was in the gallery and I was interested to watch the choirmistress, an old lady with characteristic nun's features still bearing traces of great beauty… Some of the things were sung from music, very well, so this old woman knows her music. But how? I wonder…I am very fond of the folk costume here…the girls have little caps of artificial flowers and other more or less brightly colored ornaments. Almost all of them have magnificent coral beads. The whole yard was full of people sitting down eating. Blind men played their hurdy-gurdies and sang kanty. Blind women were all sitting together singing in chorus; in spite of the fact that they are beggars, some of them had beautiful new dresses and coral beads. Men and women selling all sorts of cheap goods thronged around the entrance of the church.188 Even in his secular music, Tchaikovsky was "particularly Russian in its deeply serious and intensely introverted, self-examining character."189 His sense of nationalism was not blatant nor did it in any way espouse that of the fashionable moguchaia kuchka, also known as The Russian Five; Tchaikovsky believed that artistic truth was of a higher constitution than the common pursuit of realism with which the kuchkisty aligned themselves. To Musorgsky, Tchaikovsky kept saying "we should aim for beauty,"190 a concept Musorgsky found idealistic. Indeed, Tchaikovsky reached for that higher essence and wrote for all mankind, well beyond class-consciousness. "What pleases us in a person's face, walk, mannerisms, movements, glance, is something elusive, not amenable to definition. This something is, in essence, a reflection of spiritual beauty… Beauty in a human being means the external reflection of inner qualities…. Music is not a deception, it is a revelation. And it is precisely in this that we see the triumph of its power: that it reveals to us otherwise inaccessible elements of beauty, the contemplation of which reconciles us with life not just for the moment but for good."191 In letters to his benefactor Nadezhda von Meck, Tchaikovsky often expressed admiration for his native land and its Orthodoxy: …I will always remain faithful to Russia. I have never come across anyone more in love than I am with Mother Russia and Great Russia especially… I love passionately the Russian people, the Russian language, the Russian way of thinking, the beauty of Russian faces, Russian customs. Lermontov says he is unmoved by the "sacred legends of the dim and distant past." But I love even these. I think that my liking for Orthodoxy… is directly related to the fact that I am congenitally in love with Russianness in general… This is why I am so exasperated by those gentlemen who are prepared to die of cold in some corner of Paris, who seem to derive pleasure from abusing everything Russian and are able, without the slightest regret, to live all their lives abroad on the grounds that Russia has fewer conveniences and luxuries. I detest people like that; what I hold most sacred and dear they trample in the mud.192 Nationalistic attributes in Tchaikovsky's compositions surface in a rich soaring lyricism that emanates from the expansive nature of Russian chant or the slow protracted folk song, manifested by phrase repetition through variations of a thematic curve, the ability to support a vast melodic span through lengthy sections, and finally Russian style development in on-going variations of prominent cell ideas. His music is also full of major/minor fluctuation, parallel motion, emphasized subdominants with their sense of anticipation so much a part of the musical language of solemnity, melodic mutation, and a rich multi-layered texture - all features recognized by Glinka as typical of Russian expression.193 Tchaikovsky's recollection of the arrival of the bishop is very vivid: From the beginning of the school year we used to prepare for the solemn day. The choristers were very good; I had a splendid treble voice then and sang the top part in the trio which was sung by the three boys at the altar. The Liturgy, particularly when it was performed by the bishop, always made a profound aesthetic impression on me. How proud I was to take part in the Service and how happy when the bishop thanked and blessed us for our singing. We were then asked to sit and eat at the same table as the bishop and the Prince of Oldenburg. During the course of the year we would reminisce about this wonderful day and wish it would soon occur again.194 Tchaikovsky was able to capture that solemnity in his Liturgy Op. 41,196 first performed by the Moscow Conservatory Choir in 1880. The Liturgy is a work that is in great need of serious re-evaluation today.197 Born in the midst of conflicts and even a court trial, questions as to whether it was at all meant to be sung in a church, and subject to harassment from administrators for reasons that remain dubious to this day, the Liturgy is an uplifting example of Russian solemnity. The service of the Liturgy, in its textual substance as well as in its ceremonial aspect, is a majestic example of a holistic and finished work, religious and poetic in nature. This is precisely why the music of the Liturgy must tower above the musical content of other church services, through its uniquely artistic integrity. It must be a totally accomplished and spiritually whole musical work. 198 In Tchaikovsky's setting of the Liturgy, the music transmits the mystical and aesthetic splendor of the text. Tchaikovsky's sense of the total compositional design in the Liturgy guides us to think not of individual pieces, but to connect all the sections into a homogeneous whole, as was done in Byzantium, when music was at the zenith of its sacred spiritual function. When the Metropolitan Singers of the Alexander Nevsky Lavra, led by I. Ternov sang Tchaikovsky's Liturgy with delicate grace and elegance (which until 1912 they did yearly on the anniversary of Tchaikovsky's death, October 25), a critic wrote: "In order to sing the way the Lavra choristers do, one first has to learn a great deal."199 Known as the famous interpreter of Tchaikovsky's music, Ternov was a perfect companion to the composer's compositional thinking, as both artists were endowed with profound sincerity, sensitivity to detail, clear diction, and a certain naivete in their enormous inspirational power.200 The responses in the Litanies were performed by the male choir so softly, bringing out the voice of the deacon, so delicately and harmoniously, that they served as a wonderful background, on which more radiant was the beauty of the Cherubic Hymn. How worthwhile it would be for choir directors to listen to the enormous musical effect of such a performance of the Litany… The singers know how to emit sounds of different characters, they know how to pronounce the words clearly. The Beatitudes were sung with such elegance and grace that one might safely say that opera soloists would have to attend many of Ternov's rehearsals in order to acquire such art. 201 While the boys rested their voices, the responses were sung by the male ensemble so calmly, that the "perfectly pronounced deacon's petitions refreshed the attention of the worshippers and were imprinted in their soul. The choir of the Alexander Nevsky Lavra compels the most rigid human heart to reflection."202 We can take solace in the words of a foreigner who attended church services in pre-revolutionary Russia. May they serve as an inspiration today. It is this quality of reverence and worship which has entered into the Music of the Russian Church, giving it (in its best forms) a wonderful quality of elevation, nobility and beauty, which at once lift the hearer above all material things…These are surely qualities greatly to be desired in our own Church music, especially at a time when so much is tolerated that is utterly trivial, cheap, and unworthy.203 The high tessitura of the sopranos that appears in some sections of the Liturgy should not prevail, but be de-emphasized. Flexibility, smoothness with that certain elasticity so typical of Russian expression, is crucial in this particular work. A sound stimulated by inner voices can lead to a very different Liturgy than the one we are accustomed to hearing in our present-day recordings. It is not that Tchaikovsky's Liturgy is inappropriate for the church, but that we are incapable of singing it properly so it can be sung in a church. Straining and screaming due to faulty vocal training, conductors insensitive to the relationship of the text to the music - those are the problems, not Tchaikovsky's creation. As to tempo, the presence of bar lines and regularity of meter should in no way dictate the pace of the text or the phrasing. Tchaikovsky consciously tried to free Russian church music from Italian and German cliches, and in its austere, straight chordal formation, put it back on the national track. I gave myself up to my work with utmost diligence and sincerity, in order, to the best of my ability, to contribute to our church music's return to the spirit of ancient simplicity [noble disposition], inherent in the chant books, preserved and published by the Synod.204 Tchaikovsky's Liturgy reveals a genuine, spiritual nobility, possible only in great composers. As we listen, let us keep in mind that words (not accents), have the leading role in the rhythm of the musical phrase. Tchaikovsky was way ahead of us in his profound understanding of the beauty of our singing. In 1882 he wrote: In the characteristic spirit of its ancient melodies, its stately, simple, sober beauty, lies the rebirth of our church singing.205 Let us remind ourselves of the role the Trisagion plays in the Liturgy: A composer who is musically complementing a Liturgy, must give it a character that is partly festive and exalted, and partly gratefully meek… The Trisagion is singing not of earthly origin. Because one must show particular respect for the Trisagion, as singing that is heavenly in nature, it is usually sung in the East by the Greeks very majestically and slowly/broadly… In general, it is advised that in the musical setting of a Liturgy, the Trisagion be reserved a most prominent place, and if possible, let it be distinct from the other sections of the Liturgy.206 Austerity and a fullness of choral sound, together with a restraint of emotions which dictate to the voice of the singer a greater objectivity in the transmission of the text and music, a straightforwardness and slight flexibility, a dependence of all musical forms on the language of the ritual text… it impels the performer to consider his ideal to be what one can call an "organ-like" sound… it demands the strictest togetherness of voices and their meticulous containment to the point of an "elastic malleability"; an objective presentation demands a predetermined coldness and impassiveness, as does rhythm devoid of liveliness and diversity. In general, church music is the expression of an affection, which in and of itself shuns the impetuous emotions of its lavish expansiveness.209 Tchaikovsky knew Razumovsky210 well and collaborated with him and Smolensky, the director of the Synodal School, in the struggle to recapture the innately authentic style that would tap into the rich melodic sources the Russian Church had in its chants. "We need a Messiah," Tchaikovsky stated,"who will lead the way to a restoration of our heritage, and to the appropriate choral settings of the chants."211 In his Preface to the Vigil, Tchaikovsky is full of hope and inspiration: 212 "Russian church music is beginning, I believe, to free itself from the chains to which it had been forcibly fastened, in the form of the secular style of the Western European composers of the past century." This should serve as a lesson to us today, once again having fallen under the influence of the Western Protestant (or is it now "international"?) style of singing, due to a lack of focus on the Russian national musical language. Searching for answers, Tchaikovsky fervently immersed himself in that direction in 1882, setting Kievan and Greek chant melodies for the All-Night Vigil, op. 52. He consciously avoided chromaticisms and dissonances, and worked diligently towards a return to the noble spiritual simplicity he fostered. Tchaikovsky's love of tradition manifested itself in subconscious ties to the Russian choral tradition, the mystery behind the innate language of his orchestral work, and dignity associated with festive solemnity which he experienced in his beloved Russia and its Church.213 As to his contribution to Russian church music, it can be summarized in the following words: "Tchaikovsky, by the sheer force of his musical authority, literally upgraded the whole field, and convinced everyone that church music could and should live up to the highest artistic standards."214 Inspiring even today are the words that Prot. Razumovsky wrote to Tchaikovsky as the composer was about to immerse himself in Russian Orthodox music: " "The Lord will bless your work and turn it into the appropriate fruit; as to you, good health and strength!"215 That noble simplicity, the fervent spiritual Russian spirit, which has been so thoroughly and utterly exterminated by communism over the course of this century, was an important ingredient of Tchaikovsky's music. How prophetic are his words on communism (see Introduction) to us today, after we lost Russia. Appalled at the atrocities of French and Russian revolutionaries and terrorists, he wrote: The degraded band of anarchists who perpetrated the most unheard-of crimes before the eyes of the nation, which was paralyzed with astonishment. It applies also to the Nihilists. The attempt to convince the Nihilists is useless. They must be exterminated; there is no other remedy against this evil."216And on socialism: "That the socialists should speak for all of Russia is foolish and insolent, but not less disgusting are their lies: they seem to extend their hands to moderate liberals of all shades by saying that they will leave the Czar in peace if he organizes a Parliament. But they do not really want that: they go much further, they would like a socialist republic and even anarchy…These gentlemen do not realize that we all hate them as much (and maybe more) as does the sovereign, in whose person they insult all the Russian people… One has to rejoice when the government is forced to take hard measures.217 If such words had been taken more seriously, we might have avoided the loss of millions of lives this century. Tchaikovsky and the Czar had mutual respect for one another.After having been granted a pension for life by Alexander III, Tchaikovsky wrote: I cannot avoid being eternally grateful to the Emperor who attaches importance not only to military and government service, but to artistic activities as well."218 "From time to time great men - benefactors of mankind - appear, who rule justly and care more for the common welfare than for their own. But these are very exceptional. Therefore I am firmly convinced that the welfare of the great majority is not dependent upon principles and theories, but upon those individuals who, by the accident of their birth, or for some other reason, stand at the head of affairs… Have we a man upon whom we can stake our hopes? I answer, Yes, and this man is the Emperor… I am pleased with the caution with which he introduces the new and does away with the old order. He does not seek popularity; and I take pleasure also in his blameless life, and in the fact that he is an honorable and good man."219 Prophetic are Tchaikovsky's words which were so amazingly fulfilled during the Soviet period: A religious procession -… It is not what people want now - not religious banners but red flags lead them now. And that is very sad - hearts are hardening, egoism is evolving, vanished is the beauty of life.220 Nikolai Rimsky-Korsakov (1844-1910) remains as one of the most important transitional figures in the search for Russia's national style. He is known to have said: Russian Orthodox singing - like a folk song, flows in an expansive, free stream from the national bosom, and the freer it is, the more abundantly it speaks to the heart. Our melodies are analogous to those of the Greeks, but the Russian people sing them differently, because they have put their Russian soul into them. Whoever wants to hear how this soul is manifested needs to do so in a good monastery…there he will hear how the festive Eirmos flows from the Russian bosom in a sweeping free current, with what uplifting poetry the dogmatik is sung, how sticheras blend with the canonarch, with what inspired ecstasy is imbued the Easter or Christmas Canon… Quite a noble matter, this singing. 221 He was aided, in this turning point of utmost importance, by Balakirev222 who recognized his genius, and by K. P. Pobedonostsev of the Holy Synod, who although not a musician, had great reverence for the artistic traditions related to Russian Orthodoxy. Pobedonostsev was a keen advocate of quality singing in the national style. Armed by Pobedonostsev's support, as well as that of Alexander III who was a fervent defender of his nation's spiritual and artistic endeavors, Balakirev encouraged Rimsky-Korsakov to harmonize the Obikhod, which came out in Collections over a number of years in the mid-1880s.223 It is in Rimsky-Korsakov's works that we encounter those awe-inspiring parallelisms that remained part of clergy singing throughout the centuries (still attempted today), and settled as a major trademark of the Synodal School style of the late nineteenth century. It is here that we encounter features such as the use of the chant complemented by diatonic counterpoint, lowered sevenths with cadences that end on the unison or octave, hollow fifths (without the third), all of which will come to maturation in the works of Kastalsky, Chesnokov and Rachmaninov. In the 1880s, these features appear unrefined, composers are too aware of the pressure they are experiencing in sounding Russian. Thus, while searching for that new musical language and its ties to "folk" tradition, elements from the secular realm regrettably infiltrate the music, and one gets the impression that the singing is too manneristic. In their solemn simplicity (diatonic and uncomplicated by "modern" harmonies), these open fifths and parallelisms were heard in Russia sung by clergy for hundreds of years. Rimsky-Korsakov became very impressed by them during his visit to the Donskoi Monastery in Moscow.224 His compositions for the Church are permeated by this monastic Muscovite style, with its pure, unadorned but solemn simplicity. Rimsky-Korsakov (like Tchaikovsky) was especially fond of monastery singing:" The Tikhvin monastic rite of the clergy and monastic singing always impressed me with their beauty and solemnity."225 Inspired by the singing at Moscow's Donskoi Monastery, Rimsky-Korsakov sought to create the same sound in his music for Holy Week. To be continued. Note: The article above, edited by Holy Trinity Monastery, is one installment in a series of extracts from the original book, Russian Liturgical Choral Aesthetics: Its Past in Tradition and Present in Ruins, by Olga Dolskaya, Associate Professor at the Conservatory of Music, University of Missouri, Kansas City. The extracts published here contain the main historical section of the original book and only some important excerpts from the analysis and interpretation of specific Liturgical compositions. The full version of the book, including cassette tapes, may be ordered from: Olga Dolskaya The Conservatory of Music University of Missouri Kansas City, 4949 Cherry St., Kansas City, MO 64110-2499 or by e-mail at AckerlyO@umkc.edu FOOTNOTES: [Gaps in the footnote numbers are due to the omitted interpretations and analysis of recordings supplied with the full version of the book. Ed.] 183) L. Pariiskii, "Otnoshenie P.I. Chaikovskogo k vere I tserkvi I ego znachenie v russkoi tserkovnoi muzyke," Vestnik russkogo Zapadno-Evropeiskogo patriarshego Ekzarkhata, nos. 46-47 (Paris: 1964), pp. 176-177. 184) Letter to N.F von Meck, July 6, 1880. In Catherine Drinker Bowen and Barbara von Meck, "Beloved Friend:" The Story of Tchaikovsky and Nadejda von Meck (New York: 1937), p. 372. 185) Letter to N.F. von Meck, 23 November, 1877. Edward Garden and Nigel Gotteri, eds. "To My Best Friend:" Correspondence Between Tchaikovsky and Nadezhda von Meck 1876-1878 (Oxford: 1993), p. 80. 186) Letter to N. von Meck, July 18, 1880. In Catherine Drinker Bowen and Barbara von Meck, "Beloved Friend:" The Story of Tchaikowsky and Nadejda von Meck (New York: 1937), p. 372. 187) N. Ogunev, Dnevnik Moskvicha, p. 293. 188) Letter to Mme von Meck, 25 May, 1878. "To My Best Friend," ed. by Edward Garden and Nigel Gotteri (Oxford: 1993), pp. 277-278. 189) Douglass Seaton, Ideas and Styles in the Western Musical Tradition (Mountain View, CA: 1991), p. 339. 190) Catherine Drinker Bowen and Barbara von Meck, "Beloved Friend", p. 175. For the letters in Russian, see P.I. Chaikovskii: Perepiska s N.F. fon Mekk (1876-1890), Vladimir Zhdanov and Nikolai Zhegin, eds. 3 vols. (Moscow-Leningrad: 1934-1936), and Polnoe sobraniie sochinenii: Literaturnye proizvedeniia i perepiska, vols. 1-17, 1953-1981. 191) Quoted in Alexandra Orlova, Tchaikovsky: A Self-Portrait (New York: 1990), p.88. 192) Letter to N.F. von Meck, February 9, 1878. In E. Garden, ed. "To My Best Friend," p. 174. 193) Nikolai Findeisen, Ocherki po istorii muzyki v Rossii, vol. 1 (Moscow: 1928), pp. 296-297. 194) P.I. Chaikovskii: Perepiska s N.F. fon Mekk (1876-1890), ed. Vladimir Zhdanov and Nikolai Zhegin, 3 vols. (Moscow-Leningrad: 1934-1936), vol. 2, p. 262. Also see Alexander Poznansky, Tchaikovsky: The Quest for the inner Man (New York: 1991), p. 27. 196) For a modern edition, with English transliteration of the text and historical assessment of Tchaikovsky's works see, V. Morosan, Editor-in-Chief, Peter Tchaikovsky: The Complete Sacred Choral Works, Monuments of Russian Sacred Music, Series II, Volumes _/3, 1966. For a modern edition with commentaries in Russian see, L.Z. Korabel'nikova and M.P. Rakhmanova, eds. P. Chaikovskii: Sochineniia dlia khora (Moscow, 1990). 197) See Smolensky, S. "O `Liturgii op. 41', Chaikovskago," Russkaia muzykal'naia gazeta, no. 42-43 (1903), pp. 991-1023. 198) Prot. S.V. Protopopov, O khudozhestvennom elemente v pravoslavnom tserkovnom penii (St. Petersburg 1905), p. 65. 199) N. Kompaneisky, "Zaupakoinaia Liturgiia v den' konchiny Chaikovskago," Russkaia muzykal'naia gazeta (1902), p. 1073. 200) Ibid, p. 1072. 201) Kompaneisky, "Zaupakoinaia Liturgiia," p. 1073. 202) Kompaneisky, "Zaupakoinaia Liturgiia," p. 1073. 203) A.M. Henderson, "Russian Church Music," Proceedings of the Royal Musical Association (London, 1919), pp. 3, 10. 204) P. Tchaikovsky, Predislovie P.I. Chaikovskogo k pervomu izdaniu "Vsenoshchnogo Bdeniia" (Tchaikovsky's Preface to the First Edition of the Vigil), written in 1882, but first published in L. Korabel'nikova and M. Rakhmanova, eds. Chaikovskii: Polnoe sobranie sochinenii (Moscow: 1990), p. 273. 205) Ibid, p. 274. 206) Prot. S.V. Protopopov, O khudozhestvennom elemente v pravoslavnom tserkovnom penii, pp. 67, 72. 209) A. Nikolsky, "O stiliakh khorovogo peniia: "tserkovnom" I "svetskom," Muzyka I revolutsiia, no. 9 (1926), p. 14. 210) Founder of the Kafedra Tserkovnoi Muzyki (Church Music Department) at the Moscow Conservatory and leading musicologist of the nineteenth century who made a major contribution to the restoration of chants and paleography. 211) Russkaia muzykal'naia gazeta, no. 2 (1899), p. 51. Quoted in V. Metallov, Ocherk istorii Pravoslavnago tserkovnago peniia (Moscow: 1900), p. 155. 212) This Introduction to the Vigil was written in 1882 but first published by M. Rakhmanova and L. Korabel'nikova, eds. in Tchaikovskii: Polnoe sobranie sochinenii (Moscow: 1990), pp. 273-274. 213) O. Dolskaya, "'Torzhestvennost' and Tchaikovsky's Roots in Russian Choral Tradition" (New York: Greenwood Press), forthcoming. 214) Antonin Preobrazhensky, Kul'tovaia muzyka v Rossii (Leningrad, 1924). English translation provided by R. Sterling Beckwith, "Choral Music in the Liturgy: How to Write a Russian Mass" in American Choral Review, vol. 10, no. 4 (1967-68), p. 180. 215) L. Korabel'nikova and M. Rakhmanova, eds. Chaikovskii: Polnoe sobranie sochinenii (Moscow: 1990), p. 275. 216) From Letters to Nadezhda von Meck, quoted in Vladimir Volkoff, Tchaikovsky: A Self Portrait (Boston: 1975), p. 157. 217) Ibid., p. 157. 218) Quoted in Orlova, Tchaikovsky: A Self Portrait, p. 328. 219) From letters to Nadezhda von Meck, quoted in Vladimir Volkoff, Tchaikovsky: A Self Portrait, Boston: 1975, p. 156. 220) N. Okunev, Dnevnik Moskvicha (1917-1924) (Paris: 1990), p. 70. 221) Quoted in M. Rakhmanova, "Dukhovnaia muzyka," Muzykal'naia akademiia, no. 2 (1994), pp. 52-53. 222) Balakirev was appointed as director of the St. Petersburg Kapella after Bakhmetiev, in 1883, He worked with Jurgenson on the publication of Tchaikovsky's Liturgy. 223) For further information on various publications of Rimsky-Korsakov's sacred choral works, see M. Rakhmanova, "Dukhovnaia muzyka," Muzykal'naia akademiia, no. 2 (1994), pp. 51-64. 224) M. Rakhmanova, "Dukhovnaia muzyka," p. 59. 225) Ibid., p. 60.