Symphony of Psalms
by
Jasmine Little
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Symphony of Psalms
Context
Igor Stravinsky - Russian C20th Composer
Influenced by Russian Orthodox
"It is not a symphony in which i have included psalms to be sung. On the contrary, it is singing of psalms that i am symphonising"
Moved away from extreme sophistication of rhythm and instrumentation towards economy and simplicity
Common use of repeated short melodic and rhythmic patterns
Symphony - Sounding together
Orchestra too large for church, more for concert platform
Inspiration - "A vision of Elijah's chariot climbing the heavens... never before had i written anything quite so literal as the triplets... to suggest horses and chariots."
Four part chorus and large orchestra as equal partners
Word Setting
Creates music with ideas rather than words
Individual phrases are often set with the syllables in the wrong place
More interested in sound of words than meaning
Dynamics
b31 - sforzando chord
b36-40 - crescendo to 'Laudate Dominum' rhythm
b48 - tutti loud chords
b50-52 - sopranos marked 'cantabile non forte'
b10 - 'In sanctis ejus' slow minim movement
b40-47 - triplet figures representing the rise of the chariot and horses to heaven
b65 - the rhythm of idea 2 is shifted forward a quaver to form the setting of the key words of the movement - 'Laudate Dominum' (praise the lord)
b65-98 - homorhythmic scales leading to a second climax at b98
b126-134 - triplets against quavers of 'Laudate Eum'
b146 - 3/2 - in response to the text 'choro' (dance) the minim beat becomes extremely slow from b150 (48bpm) so the dotted rhythms are solemn
Setting of Psalm 150
General
Bar Refences
3rd and last movement of the symphony
Each section corresponds with the setting of a phrase or sentence of the psalm
An orchestral interlude may appear between choral passages. These are based on similar melodic or rhythmic patterns
b144-146 - Climax
b2, 102, 205 - Three statements of acclamation 'Alleluia' marks the start and end of sections in the movement
b23-52 - first orchestral interlude
b99-149 - varied repeats of earlier material
Orchestral Interludes
Six Key Motifs
Two Main Ideas
Slowly revolving melodies are reminiscent of cells of Russian folk music and orthodox chant
Constant thread of slowly revolving ostinato patterns - hypnotic effect
b205 - alleluia returns once, followed by complete resolution of all tonal tension with simple C major triad with which symphony ends
Constantly changing
Instruments/Timbre
Forces
Ensemble consists of a choral and instrumental section, each treated independently and equally
No upper strings - too much vibrato
Stravinsky preferred clear tone of trebles to sopranos for their 'coolness of timbre'
No organ/clarinets - timbre too warm
Wind and brass sections enlargened
Unique orchestra
Although text refers to cymbals, none present
Two pianos add percussive incisiveness
Stravinsky displays innovative handling of natural harmonics which produce different timbres
Texture
Textures dominated by ostinati
Hard-edged clarity is a hallmark of Stravinsky's style
Layered textures and sudden textural changes maybe reflect his knowledge of late renaissance and early baroque music
Bar References
Tonality
Stravinsky's treatment of tonality described to be 'an escape from the excesses of late Romantic chromaticism'
Use of bitonality
Many factors contributing to the cacophony of dissonance to be heard during parts of the movement
Bar References
Harmony
b1-3 - Voice parts slide around chromatically leading to a cadence into C minor
b4-11 - Clashing chords (BITONALITY) resolve to C major triad (tonic) in b7 on latin word for God
b6(3) - Shock E natural in bass part. FALSE RELATION between Eb in the voices and E natural in instrumental parts (bass and timp)
b7-8 - Tutti chord over 5 8ves
b10 - 'In Sanctis Ejus' - slow minim movement, Eb voice clash with E natural bass
b10-11 - FALSE RELATION in soprano and alto parts, E nat and Eb
b21-22 - 'Laudate Dominum' quiet C major chord almost tutti. 1st section ends with TIERCE DE PICARDIE
b23-24 - Drops to just dble bass and cellos who have flattened 7th Bb which is a v.modern sound, no 5th in chord
b32-43 - chords used to generate excitement as it steps up in the horns from C major triad to a D major triad (secondary dominant' then an E major triad (secondary dominant of D)
b40-47 - triplet figures culminate in massive D major chords with bass G#
b51(4) - loud tonic chord C major
b144-146 - massive E major chords with A# bass
b149 - F# major triad
b150-156 - G major arpeggio in bass trombone and dble bassoon heard against different arpeggiated chords in voices
b155 - FALSE RELATION bass trombone and dble bassoon Bb against B natural
b205 onwards - Complete resolution of all tonal tension with final tonic C major triad ending the movement. Only root and 3rd (accentuates major)
