RECIEVE ME, O WILDERNESS

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RECIEVE ME, O WILDERNESS







FULL CATALOG

Monastic Choir
of the Valaam Monastery
Precentor Hierodeacon German (Ryabtsev)
Hierodeacon German (Ryabtsev)
Hierodeacon German (Ryabtsev)
The Twelve Great Feasts
The Choir Of The Don Cossacks conducted by SERGE ZHAROV
Monastic Choir
of the Valaam Monastery
Precentor Hierodeacon David
Choir of the Moscow Theological Academy and the Laura
of the Holy Trinity
Choir of the Representation Church
of the Laura of the Holy Trinity
and St.Sergius in Moscow
Precentor Vladimir Gorbik
Hymns of the Twelve and other Great Feasts of the Russian Orthodox Church
The Choir of the Church of the Nativity of the Most Holy Mother of God in the village of Tarychevo
Precentor Lyudmila Arshavskaya
The combined Choir of the Laura of the Caves in Kiev and the Kiev Theological Academy and Seminary conducted by Hierodeacon Kirill (Borisevich)
The Metropolitan Choir of the Holy Assumption Laura of the Caves
in Kiev conducted by M.S.Litvinenko
The Choir of St.Jonahs Monastery
of the Holy Trinity
Precentor Dmitry Bolgarsky
The Choir of the Laura of the Caves in Kiev conducted by Dmitry Bolgarsky
Divine Services celebrated by His Holiness Patriarch Alexy II of Moscow
Hymns of the Byzantine tradition
The St.John of Damascus childrens and youth choir at the Cathedral of the Vladimir Icon of the Mother of God in St.Petersburg
Precentor Irina Boldysheva
The Moscow Churches" Choir of Singers
Precentor Anatoly Kuleshov
BELL RINGING
THE SVETILEN Ensemble of Folk and Religious Music
The choir of the church of. st. Nicholas in Tallinn. Conducted by Igor Vrona
THE AKATHIST MALE CHAMBER CHOIR
The choir of the Sanaksar monastery of the Nativity of the Mother of God
THE VLADIMDIR SINGERS

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RECIEVE ME, O WILDERNESS

Hierodeacon German (Ryabtsev)

 2006 The Igor Matvienko Production Centre

The verses are penitential, tearful and moving, so that they call the soul to repentance" — this title in chant manuscripts relates to particular works. First of all, these texts appeared in chant books at the end of the fifteenth century. They were not connected to the Church"s Ordo and liturgical practice. They are an ancient layer of Russian para-liturgical religious poetry. The purpose of the verses was to lead the singers and listeners to a pure repentance of sins, once committed or imagined, that would benefit the soul.

The freedom of melody, its beauty and divine inspiration, the lofty sensitivity of its poetry, and the power of all these component parts were so great that the penitential verses survived the medieval tradition by receiving embodiment at the end of the seventeenth century in the new genres of para-liturgical lyric poetry of psalms and religious verses, and in the twentieth century — in the great artistic works of the Russian composers Georgy Sviridov, Valery Gavrilin and Vladimir Martynov.

A.N. Kruchinina, Professor of the St. Petersburg Conservatoire

1.	 Behold, the time of repentance Tone four
2.	 Receive me, O wilderness Tone eight
3.	 Whence go I? Tone five
4.	 Thus spake the Lord to Cain Tone six
5.	 I have not found compunction Tone eight
6.	 Behold, O man, thy lawless deeds Tone seven
7.	 O divine paradise Tone two
8.	 Let us receive God"s commandments Tone seven
9.	 Adam wept Tone three
10.	 O most-honourable paradise Tone one
11.	 Woe is me Tone five
12.	 I behold thee, O tomb Tone six*
13.	 I wish for this age Tone eight
14.	 The abode of the Most Holy Mother of God Part 1 (vocal)**
15.	 The abode of the Most Holy Mother of God Part 2 (instrumental)***


The	 Znamenny chant notation 
was	 deciphered and arranged by hierodeacon German
Sound	 engineer: hierodeacon German
*Arrangement for two voices by hierodeacon German
**	 Music and words by hierodeacon German.
***	 Music by hierodeacon German

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religious

Penitential verses in Znamenny Chant (17 th century) arranged for