Symphony of Psalms
Encyclopedia
The Symphony of Psalms by Igor Stravinsky
was written in 1930 and was commissioned by Serge Koussevitzky
to celebrate the 50th anniversary of the Boston Symphony Orchestra
. This piece is a three-movement choral symphony
and was composed during Stravinsky's neoclassical
period. The symphony derives its name from the use of Psalm texts in the choral parts. The commission for the work came about from a routine suggestion from Stravinsky's publisher that he write something "popular" for orchestra without chorus, but Stravinsky insisted on the psalm-symphony idea, which he had had in mind for some time. The choice of Psalm 150, however, was in part because of the popularity of that text. The symphony was written in Nice and Echarvines, which was Stravinsky's summer home in those years. The three movements are performed without a break, and the texts sung by the chorus are drawn from the Vulgate
versions in Latin
. Unlike many pieces composed for chorus and orchestra, Stravinsky said that “it is not a symphony in which I have included Psalms to be sung. On the contrary, it is the singing of the Psalms that I am symphonizing.”
Although the piece was written for the Boston Symphony Orchestra, the world premiere was actually given in Brussels
by the Société Philharmonique de Bruxelles on December 13, 1930, under the direction of Ernest Ansermet
. The American premiere of the piece was given soon afterwards by Koussevitzky and the Boston Symphony Orchestra, with the chorus of the Cecilia Society
(trained by Arthur Fiedler
) on December 19, 1930. The first recording was made by Stravinsky himself with the Orchestre des Concerts Straram and the Alexis Vlassay Choir at the Théâtre des Champs-Élysées
in Paris
on February 17 and 18, 1931. "The choir, throaty, full-blooded, darkly, inwardly passionate, sing with liturgical conviction and intensity in a memorable performance."
s (5th doubling piccolo
), 4 oboe
s, cor anglais
, 3 bassoon
s, and contrabassoon
; 4 horn
s in F, piccolo trumpet
, 4 trumpet
s in C, 3 trombone
s, and tuba
; timpani
, bass drum
, 2 piano
s, and harp
; cello
s and contrabass
es; and a four-part chorus (soprano
, alto
, tenor
, bass). In the score preface, Stravinsky stated a preference for children's voices for the upper two choral parts.
Notably, the score omits clarinet
s, violin
s, and viola
s.
, the Symphony of Psalms occasionally employs the octatonic scale
(which alternates whole steps and half steps), the longest stretch being eleven bars between rehearsal numbers 4 and 6 in the first movement. Stravinsky stated that the root of the entire symphony is "the sequences of two minor thirds joined by a major third . . . derived from the trumpet-harp motive at the beginning of the allegro in Psalm 150". Because of the religious nature of this work, each movement is devoted to one of the hortatory virtues
. The first movement represents love, the second movement represents hope, and the third movement represents faith. Interestingly, this reverses St. Paul's
hortatory virtues, which were in the order: faith, hope, love. [The hortatory virtues referred to here do not appear in Symphony of Psalms, but in his Canticum Sacrum
.
Stravinsky portrays the religious nature of the text through his compositional techniques. He wrote substantial portions of the piece in fugal counterpoint, which was used widely in the church in the Renaissance
and Baroque periods. He also uses the large chorus to create a ritual atmosphere like that of the Church.
", which stop the constant motion. The first ostinato section in measure 2, which is played in the oboe and bassoon, could be six notes from the octatonic scale starting C-D-E-F, etc., but incomplete sets such as this illustrate the controversial nature of the extent of its use. Stravinsky himself regarded this ostinato as "the root idea of the whole symphony", a four-note set consisting of a sequence of "two minor thirds joined by a major third", and stated that it initiated in the trumpet-harp motive at the beginning of the allegro section of the third movement, which was composed first.
If a liturgical character is produced by the use of modal scales even before the chorus's entrance (in measures 12–13, the piano plays an F-dorian scale
and in measures 15–16, the piano plays in the E-phrygian mode
), it was not a conscious decision:
There are various ways of analyzing the tonal structure of the first movement. The most popular analysis is to view the movement in E minor, pronounced at the opening chord. The following arpeggios on B7 and G7 act as dominants to the other tonal centers in the next two movements, E and C respectively. However, the strong presence of G in the movement also points to another tonal center. The opening chord is orchestrated in such a way so that the third of E minor, G, is emphasized. Moreover, the movement concludes with a loud G major chord, which becomes the dominant to C minor at the start of the second movement.
The first fugue theme is based on the same four-note cell used in the first movement, and begins in the oboe in measure one.
The first entrance of the second theme starts in measure 29 in the soprano, followed by an entrance in the alto in measure 33 a fourth down, which is harmonically equivalent to an entrance a fifth up. The third and fourth entrances are in the tenor in measure 39 and bass in measure 43. Meanwhile, the first fugue theme can be heard in the bass instruments at the entrance of the soprano at measure 29.
A stretto is heard in measure 52 based on the second fugal theme.
At measure 71, the voices sing in homophony on the text "He hath put a new song in my mouth". In the accompaniment, a variation of the first fugue theme is played in stretto.
Finally, unison is heard in the voices in measure 84 on the text "and shall put their trust in the Lord." This completes the gradual clarification of texture from counterpoint to unison. The piece concludes with E as the tonal center. Some analyses interpret the E as being part of an inverted C minor chord which creates a suitable transition into the third movement in C.
Of the third movement, Stravinsky wrote
The second part of the slow opening introduction, setting the word "Laudate Dominum", was originally composed to the Old Slavonic words "Gospedi Pamili", and Stravinsky regarded this as his personal prayer to the Russian Ecumenical image of the Infant Christ with the scepter and the Globe.
Igor Stravinsky
Igor Fyodorovich Stravinsky ; 6 April 1971) was a Russian, later naturalized French, and then naturalized American composer, pianist, and conductor....
was written in 1930 and was commissioned by Serge Koussevitzky
Serge Koussevitzky
Serge Koussevitzky , was a Russian-born Jewish conductor, composer and double-bassist, known for his long tenure as music director of the Boston Symphony Orchestra from 1924 to 1949.-Early career:...
to celebrate the 50th anniversary of the Boston Symphony Orchestra
Boston Symphony Orchestra
The Boston Symphony Orchestra is an orchestra based in Boston, Massachusetts. It is one of the five American orchestras commonly referred to as the "Big Five". Founded in 1881, the BSO plays most of its concerts at Boston's Symphony Hall and in the summer performs at the Tanglewood Music Center...
. This piece is a three-movement choral symphony
Choral symphony
A choral symphony is a musical composition for orchestra, choir, sometimes with solo vocalists, which in its internal workings and overall musical architecture adheres broadly to symphonic musical form. The term "choral symphony" in this context was coined by Hector Berlioz when describing his...
and was composed during Stravinsky's neoclassical
Neoclassicism (music)
Neoclassicism in music was a twentieth-century trend, particularly current in the period between the two World Wars, in which composers sought to return to aesthetic precepts associated with the broadly defined concept of "classicism", namely order, balance, clarity, economy, and emotional restraint...
period. The symphony derives its name from the use of Psalm texts in the choral parts. The commission for the work came about from a routine suggestion from Stravinsky's publisher that he write something "popular" for orchestra without chorus, but Stravinsky insisted on the psalm-symphony idea, which he had had in mind for some time. The choice of Psalm 150, however, was in part because of the popularity of that text. The symphony was written in Nice and Echarvines, which was Stravinsky's summer home in those years. The three movements are performed without a break, and the texts sung by the chorus are drawn from the Vulgate
Vulgate
The Vulgate is a late 4th-century Latin translation of the Bible. It was largely the work of St. Jerome, who was commissioned by Pope Damasus I in 382 to make a revision of the old Latin translations...
versions in Latin
Latin
Latin is an Italic language originally spoken in Latium and Ancient Rome. It, along with most European languages, is a descendant of the ancient Proto-Indo-European language. Although it is considered a dead language, a number of scholars and members of the Christian clergy speak it fluently, and...
. Unlike many pieces composed for chorus and orchestra, Stravinsky said that “it is not a symphony in which I have included Psalms to be sung. On the contrary, it is the singing of the Psalms that I am symphonizing.”
Although the piece was written for the Boston Symphony Orchestra, the world premiere was actually given in Brussels
Brussels
Brussels , officially the Brussels Region or Brussels-Capital Region , is the capital of Belgium and the de facto capital of the European Union...
by the Société Philharmonique de Bruxelles on December 13, 1930, under the direction of Ernest Ansermet
Ernest Ansermet
Ernest Alexandre Ansermet was a Swiss conductor.- Biography :Ansermet was born in Vevey, Switzerland. Although he was a contemporary of Wilhelm Furtwängler and Otto Klemperer, Ansermet represents in most ways a very different tradition and approach from those two musicians. Originally he was a...
. The American premiere of the piece was given soon afterwards by Koussevitzky and the Boston Symphony Orchestra, with the chorus of the Cecilia Society
Boston Cecilia
The Boston Cecilia is a choral society in Boston, Massachusetts, which is in its 132nd season. Founded in 1876, the ensemble has enjoyed historic relationships with the Boston Symphony Orchestra and famous conductors and composers, such as Arthur Fiedler, Igor Stravinsky, and Antonín Dvořák...
(trained by Arthur Fiedler
Arthur Fiedler
Arthur Fiedler was a long-time conductor of the Boston Pops Orchestra, a symphony orchestra that specializes in popular and light classical music. With a combination of musicianship and showmanship, he made the Boston Pops one of the best-known orchestras in the country...
) on December 19, 1930. The first recording was made by Stravinsky himself with the Orchestre des Concerts Straram and the Alexis Vlassay Choir at the Théâtre des Champs-Élysées
Théâtre des Champs-Élysées
The Théâtre des Champs-Élysées is a theatre at 15 avenue Montaigne. Despite its name, the theatre is not on the Champs-Élysées but nearby in another part of the 8th arrondissement of Paris....
in Paris
Paris
Paris is the capital and largest city in France, situated on the river Seine, in northern France, at the heart of the Île-de-France region...
on February 17 and 18, 1931. "The choir, throaty, full-blooded, darkly, inwardly passionate, sing with liturgical conviction and intensity in a memorable performance."
Instrumentation
The work is scored for 5 fluteFlute
The flute is a musical instrument of the woodwind family. Unlike woodwind instruments with reeds, a flute is an aerophone or reedless wind instrument that produces its sound from the flow of air across an opening...
s (5th doubling piccolo
Piccolo
The piccolo is a half-size flute, and a member of the woodwind family of musical instruments. The piccolo has the same fingerings as its larger sibling, the standard transverse flute, but the sound it produces is an octave higher than written...
), 4 oboe
Oboe
The oboe is a double reed musical instrument of the woodwind family. In English, prior to 1770, the instrument was called "hautbois" , "hoboy", or "French hoboy". The spelling "oboe" was adopted into English ca...
s, cor anglais
Cor anglais
The cor anglais , or English horn , is a double-reed woodwind instrument in the oboe family....
, 3 bassoon
Bassoon
The bassoon is a woodwind instrument in the double reed family that typically plays music written in the bass and tenor registers, and occasionally higher. Appearing in its modern form in the 19th century, the bassoon figures prominently in orchestral, concert band and chamber music literature...
s, and contrabassoon
Contrabassoon
The contrabassoon, also known as the double bassoon or double-bassoon, is a larger version of the bassoon, sounding an octave lower...
; 4 horn
Horn (instrument)
The horn is a brass instrument consisting of about of tubing wrapped into a coil with a flared bell. A musician who plays the horn is called a horn player ....
s in F, piccolo trumpet
Piccolo trumpet
The smallest of the trumpet family is the piccolo trumpet, pitched one octave higher than the standard B trumpet. Most piccolo trumpets are built to play in either B or A, using a separate leadpipe for each key. The tubing in the B piccolo trumpet is one-half the length of that in a standard B...
, 4 trumpet
Trumpet
The trumpet is the musical instrument with the highest register in the brass family. Trumpets are among the oldest musical instruments, dating back to at least 1500 BCE. They are played by blowing air through closed lips, producing a "buzzing" sound which starts a standing wave vibration in the air...
s in C, 3 trombone
Trombone
The trombone is a musical instrument in the brass family. Like all brass instruments, sound is produced when the player’s vibrating lips cause the air column inside the instrument to vibrate...
s, and tuba
Tuba
The tuba is the largest and lowest-pitched brass instrument. Sound is produced by vibrating or "buzzing" the lips into a large cupped mouthpiece. It is one of the most recent additions to the modern symphony orchestra, first appearing in the mid-19th century, when it largely replaced the...
; timpani
Timpani
Timpani, or kettledrums, are musical instruments in the percussion family. A type of drum, they consist of a skin called a head stretched over a large bowl traditionally made of copper. They are played by striking the head with a specialized drum stick called a timpani stick or timpani mallet...
, bass drum
Bass drum
Bass drums are percussion instruments that can vary in size and are used in several musical genres. Three major types of bass drums can be distinguished. The type usually seen or heard in orchestral, ensemble or concert band music is the orchestral, or concert bass drum . It is the largest drum of...
, 2 piano
Piano
The piano is a musical instrument played by means of a keyboard. It is one of the most popular instruments in the world. Widely used in classical and jazz music for solo performances, ensemble use, chamber music and accompaniment, the piano is also very popular as an aid to composing and rehearsal...
s, and harp
Harp
The harp is a multi-stringed instrument which has the plane of its strings positioned perpendicularly to the soundboard. Organologically, it is in the general category of chordophones and has its own sub category . All harps have a neck, resonator and strings...
; cello
Cello
The cello is a bowed string instrument with four strings tuned in perfect fifths. It is a member of the violin family of musical instruments, which also includes the violin, viola, and double bass. Old forms of the instrument in the Baroque era are baryton and viol .A person who plays a cello is...
s and contrabass
Contrabass
Contrabass refers to a musical instrument of very low pitch; generally those pitched one octave below instruments of the bass register...
es; and a four-part chorus (soprano
Soprano
A soprano is a voice type with a vocal range from approximately middle C to "high A" in choral music, or to "soprano C" or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody...
, alto
Alto
Alto is a musical term, derived from the Latin word altus, meaning "high" in Italian, that has several possible interpretations.When designating instruments, "alto" frequently refers to a member of an instrumental family that has the second highest range, below that of the treble or soprano. Hence,...
, tenor
Tenor
The tenor is a type of male singing voice and is the highest male voice within the modal register. The typical tenor voice lies between C3, the C one octave below middle C, to the A above middle C in choral music, and up to high C in solo work. The low extreme for tenors is roughly B2...
, bass). In the score preface, Stravinsky stated a preference for children's voices for the upper two choral parts.
Notably, the score omits clarinet
Clarinet
The clarinet is a musical instrument of woodwind type. The name derives from adding the suffix -et to the Italian word clarino , as the first clarinets had a strident tone similar to that of a trumpet. The instrument has an approximately cylindrical bore, and uses a single reed...
s, violin
Violin
The violin is a string instrument, usually with four strings tuned in perfect fifths. It is the smallest, highest-pitched member of the violin family of string instruments, which includes the viola and cello....
s, and viola
Viola
The viola is a bowed string instrument. It is the middle voice of the violin family, between the violin and the cello.- Form :The viola is similar in material and construction to the violin. A full-size viola's body is between and longer than the body of a full-size violin , with an average...
s.
General analysis
Like many of Stravinsky's other works, including Petrushka and The Rite of SpringThe Rite of Spring
The Rite of Spring, original French title Le sacre du printemps , is a ballet with music by Igor Stravinsky; choreography by Vaslav Nijinsky; and concept, set design and costumes by Nicholas Roerich...
, the Symphony of Psalms occasionally employs the octatonic scale
Octatonic scale
An octatonic scale is any eight-note musical scale. Among the most famous of these is a scale in which the notes ascend in alternating intervals of a whole step and a half step, creating a symmetric scale...
(which alternates whole steps and half steps), the longest stretch being eleven bars between rehearsal numbers 4 and 6 in the first movement. Stravinsky stated that the root of the entire symphony is "the sequences of two minor thirds joined by a major third . . . derived from the trumpet-harp motive at the beginning of the allegro in Psalm 150". Because of the religious nature of this work, each movement is devoted to one of the hortatory virtues
Theological virtues
Theological virtues - in theology and Christian philosophy, are the character qualities associated with salvation, resulting from the grace of God, which enlightens human mind.- In the Bible :The three theological virtues are:...
. The first movement represents love, the second movement represents hope, and the third movement represents faith. Interestingly, this reverses St. Paul's
Paul of Tarsus
Paul the Apostle , also known as Saul of Tarsus, is described in the Christian New Testament as one of the most influential early Christian missionaries, with the writings ascribed to him by the church forming a considerable portion of the New Testament...
hortatory virtues, which were in the order: faith, hope, love. [The hortatory virtues referred to here do not appear in Symphony of Psalms, but in his Canticum Sacrum
Canticum Sacrum
Canticum Sacrum ad Honorem Sancti Marci Nominis is a 17-minute choral-orchestral piece composed in 1955 by Igor Stravinsky in tribute "To the City of Venice, in praise of its Patron Saint, the Blessed Mark, Apostle." The piece is compact and stylistically varied, ranging from established...
.
Stravinsky portrays the religious nature of the text through his compositional techniques. He wrote substantial portions of the piece in fugal counterpoint, which was used widely in the church in the Renaissance
Renaissance
The Renaissance was a cultural movement that spanned roughly the 14th to the 17th century, beginning in Italy in the Late Middle Ages and later spreading to the rest of Europe. The term is also used more loosely to refer to the historical era, but since the changes of the Renaissance were not...
and Baroque periods. He also uses the large chorus to create a ritual atmosphere like that of the Church.
First movement
The first movement of the Symphony of Psalms is marked "Tempo ♩ = 92” and uses the text from Psalm 39, verses 13 and 14. This movement was finished on August 15, 1930, which is Assumption Day in the Roman Church and is written as a prelude to the second movement, a double fugue. The movement is basically composed with flowing ostinato sections punctuated with E-minor block chords, in a voicing known as the "Psalms chordPsalms chord
In music, the Psalms chord is "the famous opening chord" of Igor Stravinsky's Symphony of Psalms, a "barking E minor triad - characteristically spaced", "like no E-minor triad that was ever known before"...
", which stop the constant motion. The first ostinato section in measure 2, which is played in the oboe and bassoon, could be six notes from the octatonic scale starting C-D-E-F, etc., but incomplete sets such as this illustrate the controversial nature of the extent of its use. Stravinsky himself regarded this ostinato as "the root idea of the whole symphony", a four-note set consisting of a sequence of "two minor thirds joined by a major third", and stated that it initiated in the trumpet-harp motive at the beginning of the allegro section of the third movement, which was composed first.
If a liturgical character is produced by the use of modal scales even before the chorus's entrance (in measures 12–13, the piano plays an F-dorian scale
Dorian mode
Due to historical confusion, Dorian mode or Doric mode can refer to three very different musical modes or diatonic scales, the Greek, the medieval, and the modern.- Greek Dorian mode :...
and in measures 15–16, the piano plays in the E-phrygian mode
Phrygian mode
The Phrygian mode can refer to three different musical modes: the ancient Greek tonos or harmonia sometimes called Phrygian, formed on a particular set octave species or scales; the Medieval Phrygian mode, and the modern conception of the Phrygian mode as a diatonic scale, based on the latter...
), it was not a conscious decision:
I was not aware of "Phrygian modes," "Gregorian chants," "Byzantinisms," or anything else of the sort, while composing this music, though, of course, the "influences" said to be denoted by such script-writers' baggage-stickers may very well have been operative.The presence of the chorus is used to create a church-like atmosphere in this piece as well as to appropriately set the Psalm. It enters with a minor 2nd motif, which is used both to emphasize the C/D octatonic scale and set the pleading text. The minor second motif in the chorus is continued throughout the movement. The use of the octatonic scale and the church modes pervade the sound of the movement, contributing to both the ritual feel of the piece and the plaintive setting of the text.
There are various ways of analyzing the tonal structure of the first movement. The most popular analysis is to view the movement in E minor, pronounced at the opening chord. The following arpeggios on B7 and G7 act as dominants to the other tonal centers in the next two movements, E and C respectively. However, the strong presence of G in the movement also points to another tonal center. The opening chord is orchestrated in such a way so that the third of E minor, G, is emphasized. Moreover, the movement concludes with a loud G major chord, which becomes the dominant to C minor at the start of the second movement.
Text (Psalm 39, verses 13 and 14)
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Second movement
The second movement of the Symphony of Psalms is a double fugue in C minor, and uses as text Psalm 40, verses 2, 3, and 4.The first fugue theme is based on the same four-note cell used in the first movement, and begins in the oboe in measure one.
The first entrance of the second theme starts in measure 29 in the soprano, followed by an entrance in the alto in measure 33 a fourth down, which is harmonically equivalent to an entrance a fifth up. The third and fourth entrances are in the tenor in measure 39 and bass in measure 43. Meanwhile, the first fugue theme can be heard in the bass instruments at the entrance of the soprano at measure 29.
A stretto is heard in measure 52 based on the second fugal theme.
At measure 71, the voices sing in homophony on the text "He hath put a new song in my mouth". In the accompaniment, a variation of the first fugue theme is played in stretto.
Finally, unison is heard in the voices in measure 84 on the text "and shall put their trust in the Lord." This completes the gradual clarification of texture from counterpoint to unison. The piece concludes with E as the tonal center. Some analyses interpret the E as being part of an inverted C minor chord which creates a suitable transition into the third movement in C.
Text (Psalm 40, verses 2, 3 and 4)
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Third movement
The third movement of the Symphony of Psalms alternates "Tempo ♩= 48" and "Tempo ♩= 80", and uses nearly the complete text of Psalm 150.Of the third movement, Stravinsky wrote
The allegro in Psalm 150 was inspired by a vision of Elijah's chariot climbing the Heavens; never before had I written anything quite so literal as the triplets for horns and piano to suggest the horses and chariot.
The final hymn of praise must be thought of as issuing from the skies; agitation is followed by the calm of praise. In setting the words of this final hymn I cared only for the sounds of the syllables and I have indulged to the limit my besetting pleasure of regulating prosody in my own way..
The second part of the slow opening introduction, setting the word "Laudate Dominum", was originally composed to the Old Slavonic words "Gospedi Pamili", and Stravinsky regarded this as his personal prayer to the Russian Ecumenical image of the Infant Christ with the scepter and the Globe.
Text (Psalm 150)
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External links
- Symphony of Psalms Pronunciation Guide Guide to pronunciation of the LatinLatinLatin is an Italic language originally spoken in Latium and Ancient Rome. It, along with most European languages, is a descendant of the ancient Proto-Indo-European language. Although it is considered a dead language, a number of scholars and members of the Christian clergy speak it fluently, and...
text for singers, by Richard Robbins. - Symphony of Psalms - Analysis, background, and texts, by Victor Huang.