Pyotr Tchaikovsky created severel church music choral compositions. They were published by Poytr Jurgenson in the form of scores and individual parts for different voices. However, not only publications were widespread. Choristers rewrote their parts by hand in music books to perform hymns during the church service. These notebooks contains chants on the same texts, composed by different authors. One of the notebooks, with the part for bass I, includes the hymn ««The All-Night Vigil»» by A. Arkhangelsky, G. Lvovsky, G. Lomakin and others. It also contains two hymns from «The All-Night Vigil» by P. Tchaikovsky:
«The Hail Mary prayer (Mother of God and Virgin, rejoice,)» and «O Gladsome Light based on the Kiev chant».
As we know from the letters of Pyotr Tchaikovsky and his preface to P. Jurgenson's publication, while working on «The All-Night Vigil», he thoroughly studied all sorts of materials related to the history and tradition of church singing. He ordered to P. Jurgenson the book «Church Singing in Russia» by D. Razumovsky. Tchaikovsky also referred to the printed music published by the Holy Synod, which, to a certain extent, were based on chants, originally written in manuscripts.
Creating «The All-Night Vigil», Tchaikovsky wrote, 'I am not an independent artist but a rewriter of ancient chants'.
One of these chants, named «Kiev», was known in Russia from the middle of the 17th century. It was included into a variety of manuscripts, and in particular, «Irmologion» written by Priest Gregory in 1759. In this book, «The All-Night Vigil» containing the hymn «O Gladsome Light» is set to the Kiev chant.
Pyotr Tchaikovsky. Photographic portrait with a dedication to Baron Rudolf Ottonovich Buxhoevden. 6 March 1891. – F. 834. P.I. Tchaikovsky, № 48.
Catalogue of P. I. Tchaikovsky's works published by P. I. Jurgenson. – F. 773. G. N. Timofeev, M. V. Janova, № 1156.
P. Jurgenson. Letter to Stasov dated to 19 December 1894. – F. 738. V. V. Stasov, № 234.
Modest Tchaikovsky. Photographic portrait with a dedication to Baron Rudolf Ottonovich Buxhoevden. 1 June1891. – F. 834. P.I. Tchaikovsky, № 49.
P.I. Tchaikovsky. Pyotr Tchaikovsky. Letter to his Aunt Elizaveta Schobert. 1848. – Ф. 834. P.I. Tchaikovsky, № 2, fols. 3.–3 v.
The house where Elizaveta Schobert's furnished rooms were located.
P.I. Tchaikovsky Letter to Frederick Dürbach. 1848. – F. 834. P.I. Tchaikovsky, № 2, fol. 5.
Maria Loginova. Maria Loginova. Variations for Piano on a Romance «Why do you become silent». – OSRK. F.XII.27, fol. 3.
Maria Loginova. Maria Loginova. Variations for Piano on a Romance «Why do you become silent». Text of the dedication to Empress Maria Alexandrovna. – OSRK F.XII.27, fol. 2.
Mark Palchikov. Cantata «Alexander! The Whole World Glorifies Your Deeds». – OSRK. F.XII.26, fol. 4 об.
Mark Palchikov. Text of the dedication to Emperor Alexander II. – OSRK. F.XII.26, fol. 2.
Mark Palchikov. Text of the dedication to Emperor Alexander II. – OSRK. F.XII.26, fol. 2 v.
Mark Palchikov. Mark Palchikov. Marsh, composed on the occasion of His Imperial Highness Duke Maximilian Leuchtenberg' visit of the city Malmyzh on 30 August 1845. Moscow, 1846. – ONIiMZ RNB. М 560-4/828.
Maria Loginova. Letter to Pyotr Tchaikovsky, dated to 22 December 1882. – F. 834. P.I. Tchaikovsky, № 38.
Pyotr Tchaikovsky. Letter to Pyotr Jurgenson, dated to 9 January 1883. – F. 834. P.I. Tchaikovsky, № 38.
Imperial School of Jurisprudence.
Vladimir Stasov – a student of the School of Jurisprudence.
Church of St. Catherine at the Imperial School of Jurisprudence.
«Bulletin of the Church of Holy Great Martyr Catherine at the Imperial School of Jurisprudence». – F. 1000. Collection of individual arrivals, op. 1, № 240, fol. 2–3.
Archpriest Mikhail Bogoslovsky.
«Bulletin of the Church of Holy Great Martyr Catherine at the Imperial School of Jurisprudence. About the clergy of the mentioned church». – F. 1000. Collection of individual arrivals, op. 1, № 240, fol. 3 v.–5
Gavrila Lomakin. – F. 816. N.F. Findeyzen, № 3555.
Gavrila Lomakin. Farewell Song [ for students of the Imperial School of Jurisprudence]. Part for treble. An authorized copy. – F. 1021. Collection of individual music arrivals, op. 2, № 67, fol. 1.
P.I. Tchaikovsky. «O Gladsome Light» based on the Kiev chant. Part for bass I. – F. 1021. Collection of individual music arrivals, оп. 1, № 8, fol. 46.
«O Gladsome Light» based on the Kiev chant in the book Irmologion for liturgical singing. 1759. – OLDP. F.510.
Vladimir Stasov. Letter to Poytr Tchaikovsky dated to 30 December 1872. – F. 384. P.I. Tchaikovsky, № 45, fol. 1.
Vladimir Stasov. Letter to Poytr Tchaikovsky dated to 30 December 1872. – F. 384. P.I. Tchaikovsky, № 45, fols. 1 v.-2.
Vladimir Stasov. Letter to Poytr Tchaikovsky dated to 30 December 1872. – F. 384. P.I. Tchaikovsky, № 45, fol. 2 v.
Pyotr Tchaikovsky. Pyotr Tchaikovsky. Letter to Vladimir Stasov, dated 15 January 1873. – F. 738. V. V. Stasov, № 343, fols. 1–2 v.
P.I. Tchaikovsky The Tempest. Fantasia for Grand Orchestra. Four-, three- and two-lines summary of the composition with directions for its instrumentation. – F. 834. P.I. Tchaikovsky, № 5, fol. 1.
P.I. Tchaikovsky The Tempest. Fantasia for Grand Orchestra. Four-, three- and two-lines summary of the composition with directions for its instrumentation. – F. 834. P.I. Tchaikovsky, № 5, fol. 1 v.
P.I. Tchaikovsky The Tempest. Fantasia for Grand Orchestra. Four-, three- and two-lines summary of the composition with directions for its instrumentation. – F. 834. P.I. Tchaikovsky, № 5, fol. 2.
Tchaikovsky's Monogram of 1873–1875.
Anatoly Tchaikovsky's Monogram. Pyotr Tchaikovsky. Letter to Alexey Sofronov, dated to 9 October 1878. – F. 384. P.I. Tchaikovsky, № 25, fol. 14.
Tchaikovsky's Monogram in 1876–1881.
4/16 January [1880]. Rome. Pyotr Tchaikovsky. Letter to Lev Davydov. – F. 384. P.I. Tchaikovsky, № 19, fol. 23.
19/31 January 1882. Rome. Pyotr Tchaikovsky. Letter to Leonty Tkachenko. – F. 384. P.I. Tchaikovsky, № 29, fol. 10.
10 August. Kamenka. Pyotr Tchaikovsky. Letter to Leonty Tkachenko. – F. 384. P.I. Tchaikovsky, № 29, fol. 4.
6 May 1882. Kamenka. Pyotr Tchaikovsky. Letter to Leonty Tkachenko. – F. 384. P.I. Tchaikovsky, № 29, fol. 13.
19 June 1882. Kamenka. Pyotr Tchaikovsky. Letter to Leonty Tkachenko. – F. 384. P.I. Tchaikovsky, № 29, fol. 17.
8 November 1882. Kamenka. Pyotr Tchaikovsky. Letter to Leonty Tkachenko. – F. 384. P.I. Tchaikovsky, № 29, fol. 26.
Pyotr Tchaikovsky. Letter to Lev Davydov, dated to 15 June 1883. – F. 834. P.I. Tchaikovsky, № 19, fol. 45.
14 December 1883. Moscow. Pyotr Tchaikovsky. Letter to Mily Balakirev. – F. 834. P.I. Tchaikovsky, № 12, fol. 12.
13 September 1885. Klin. Maydanovo. Pyotr Tchaikovsky. Letter to Mily Balakirev. – F. 384. P.I. Tchaikovsky, № 12, fol. 21.
21 November 1885. Klin. Maydanovo. Pyotr Tchaikovsky. Letter to Mily Balakirev. – F. 384. P.I. Tchaikovsky, № 12, fol. 28.
11 March 1887. Pyotr Tchaikovsky. Letter to Mily Balakirev. – F. 384. P.I. Tchaikovsky, № 12, fol. 37.
29 April 1887. Pyotr Tchaikovsky. Letter to Vladimir Stasov. – F. 738. V. Stasov, № 343, fol. 62.
1 August 1888. Frolovskoe. Pyotr Tchaikovsky. Letter to Vladimir Vasiliev-Shilovsky. – F. 384. P.I. Tchaikovsky, № 14, fol. 18.
21 April 1884. Kamenka. Pyotr Tchaikovsky. Letter to Anna Alexandrova-Levenson. – F. 384. P.I. Tchaikovsky, № 9, fol. 1.
23 June 1884. Grankino. Pyotr Tchaikovsky. Letter to Lev Davydov. – F. 384. P.I. Tchaikovsky, № 19, fol. 49.
9 November 1887. Pyotr Tchaikovsky. Letter to [Peterson?] written on the paper with the monogram of his elder brother Nikolay. – F. 654. N. G. Rubinstein, № 118.
Pyotr Tchaikovsky's letter to his brother Modest. 17/29 April 1874. – F. 834. P.I. Tchaikovsky, № 36, fol. 52.
Lucien Guitry. Photographic portrait. – F. 965. P. Vaksel, № 1143.
Vsevolod Prokofiev. 1940. – F. 1175. V. and Ju. Prokofievs, № 359, fol. 3.
Vsevolod Prokofiev. Letter to Nikolay Zhegin dated to 16 March 1936. – F. 1175. V. and Ju. Prokofievs, № 348, fol. 1.
Nikolay Zhegin. Letter to Vsevolod Prokofiev. 22 March 1936. – F. 1175. V. and Ju. Prokofievs, № 353.
Nikolay Zhegin. 1932. Director of the Tchaikovsky Museum in Klin. – F. 1575. I. Semenov, № 232.
Pyotr Tchaikovsky. Iolanta's Arioso from the opera of the same name. Fragment. – F. 834. P.I. Tchaikovsky, № 6.
Maria Anderson in the role of the Wite Cat in the ballet «The Sleeping Beauty». – F. 1021. Collection of individual music arrivals, оп. 4, № 5, fol. 30.
Photographic portraits of Pyotr Tchaikovsky and Maria Anderson, pasted in her notebook. – F. 1021. Collection of individual music arrivals, op. 4, № 5, fol. 29 v.
Pyotr Tchaikovsky with Nikolay and Medeya Figners. – F. 1534. N. and R. Figners, № 176.
Nikolay Figners in the role of Lensky in the Pyotr Tchaikovsky opera «Eugene Onegin». – F. 1534. N. and R. Figners, № 155, fols. 1–3.
Medeya Figner in the role of Tatyana in the Pyotr Tchaikovsky opera «Eugene Onegin». Mariinsky Theatre, St. Petersburg, 1880s. – F. 1534. N. and R. Figners, № 179, fols. 1–2.
Leonid Sobinov in the role of Onegin in the Pyotr Tchaikovsky opera «Eugene Onegin». 1900s. – F. 1575. B. Semenov, № 178.
Alexander Smirnov as Lensky in the Pyotr Tchaikovsky opera «Eugene Onegin». 1903. – F. 1033. E. Vizel, № 288.
Konstantin Serebryakov as Gremin in the Pyotr Tchaikovsky opera «Eugene Onegin». 1903. – F. 1033. E. Vizel, № 286.
Nikolay Pechkovsky as Herman in the Pyotr Tchaikovsky opera «The Queen of Spades». 1930. – F. 1033. E. Vizel, № 284.
Pyotr Tchaikovsky created severel church music choral compositions. They were published by Poytr Jurgenson in the form of scores and individual parts for different voices. However, not only publications were widespread. Choristers rewrote their parts by hand in music books to perform hymns during the church service. These notebooks contains chants on the same texts, composed by different authors. One of the notebooks, with the part for bass I, includes the hymn ««The All-Night Vigil»» by A. Arkhangelsky, G. Lvovsky, G. Lomakin and others. It also contains two hymns from «The All-Night Vigil» by P. Tchaikovsky:
«The Hail Mary prayer (Mother of God and Virgin, rejoice,)» and «O Gladsome Light based on the Kiev chant».
As we know from the letters of Pyotr Tchaikovsky and his preface to P. Jurgenson's publication, while working on «The All-Night Vigil», he thoroughly studied all sorts of materials related to the history and tradition of church singing. He ordered to P. Jurgenson the book «Church Singing in Russia» by D. Razumovsky. Tchaikovsky also referred to the printed music published by the Holy Synod, which, to a certain extent, were based on chants, originally written in manuscripts.