Igor Stravinsky wrote once that Psalms are poems of exaltation but also of anger and judgment and even of curses. The work was commissioned by Serge Koussevitzky to celebrate the 50th anniversary of the Boston Symphony Orchestra. Meant to celebrate the 50th year of the orchestra, there are no violins, cellos or clarinets included. Word painting is when the music sounds like the words being sung. The harmony is non-functional because there is no sense of the piece building towards cadences (7th chords don’t need to resolve). The ‘Alleluia’ at bar 205-6 is understated: it is not an outburst of joy. It does however feature a three note ostinato again in four beats creating syncopation. Links ]. Feel free to skip to the parts most relevant to you. The double bass features pizzicato ostinatoes (repeating phrase) which sound like a walking bass line in jazz. He now runs others websites such as PoemAnalysis.com and RestoringMamods.com . by full choir and orchestra Another three note ostinato is heard in the Violoncello at bar 115 too. This is clear from the start seeming to hint towards E flat major and E minor. The notes played are in minor 3rds. Note that the three movements which make up the Symphony of As noted earlier, the basic ‘Symphony’ and ‘Psalms’ do not go together. form in the classical sense of the word. The voices are chanting like a Russian Orthodox Church. The time meter changes from 2/2 to 3/2 at bar 71 and then changes back to 2/2 a bar later. The instruments used were dominated by the wind which was typical of a jazz band. The three note ostinatoes at 15-19 produce cross rhythms because they are being played in four beats to the bar. At bar 55, there is a two part texture otherwise known as a contrapuntal texture. The second subject is off the beat starting with a crochet rest. There is a diminished triad in bar 3. This results in a clash where Stravinsky is trying to be classical and 20th century at the same time (bitonality is common in 20th century music). However, with the use of chords G, D, E flat major and A minor, we hint towards to the tonal parts of the piece to be in C major (because the cadences are also on C). of Hymn of Praise on the text of Psalm 150. Symphony of Psalms | The key is difficult to identify from the bitonality. Oboes and flute then also play the leading to a final Alleluia going into the third movement, a sort Biography | The symphony derives its name from the use of Psalm texts in the choral parts. There is a whole tone scale at 62-63 in the Soprano. Note that the three movements which make up the Symphony ofPsalmsfollow each other without a break, and that as in thecase of the Symphonies of Wind Instrumentsthe termsymphonyis used here to merely to indicate anensembleof musical strands and does not imply any particularform in the classical sense of the word. is stated by the trebles, contraltos, tenors, and basses; then a From that moment onwards, the time meter keeps changing to 2/2, 3/2, 2/2, 4/4, 3/2, 4/4, 2/4, 3/4, 4/4, 3/2 and. stretto Expectans expectavi Dominum from the second Fugue leads into a passage for choir The time signature changes from 4/4 to 2/2. Therefore, there is a recapitulation and coda with movements including different ideas and motifs. There is a climax at bars 144-146 ending on an E major chord with a bass of A sharp. At bar 161 in the Soprano, there is an enharmonically diminished 7th octave which is very ‘Churchy’. This is reverse word painting because we expect word painting but there isn’t. Index | Chord In octaves *Empasis on scalar motion Piano 1 All Bassoon 1 All Chord Chord All A All Bassoon 1 Bassoon 1 Symphony of Psalms A Chord A Clarinet The structure takes parts from a symphony as well as a psalm. There is imitation here at bars 151-155 in the Soprano and Bass. Stravinsky was commissioned to compose a piece to celebrate the 50th anniversary of the orchestra. Stravinsky was commissioned to compose a piece to celebrate the 50th anniversary of the orchestra. There is the use of triplet rhythms at bar 41 while Horns 1 and 2 play the quaver motif with E major triads. With the the Soprano singing ‘tim-pa-no’, we expect to here a timpani but there is no timpani present. There is a D major triad at bar 37 in Horns 1 and 2. At the start, there is a homophonic texture for the voices. Mass | Bar 15 features a three note ostinato of the repeating low C, high C, G. However, Flute 1 and 2 are playing the ostinato he wrong way being low G, C, high G. A consonant chord appears at bar 22 of C major. This will help very much if you have the score of Symphony of Psalms: movement III. instruments. The `act of hope', Et immisit in os meum canticum novum, is stated There is the use of quintuple instruments: 5 flutes and 5 trumpets. is followed by a sudden hush with Et sperabunt in Domino in unison Igor Stravinsky Undulating arpeggios, emphasis on m3 interval (16th notes) In octaves *Em chords bring the continuous motion to a complete stop. We are building up to a climax with higher rising chords at bar 130. This movement was finished on August 15, 1930, which is the feast of the Assumption in the Catholic Church and is written as a prelude to the second movement, a double fugue. Reverse word painting is present again because there are no cymbals in the orchestra and at the time of saying this the music is very quite. ensemble of musical strands and does not imply any particular It is written to be performed at a concert hall: not in a Church. The piece begins where it started with the slow moving Alleluia section. Will created AskWillOnline.com back in 2010 to help students revise and bloggers make money developing himself into an expert in PPC, blogging, and online marketing. case of the Symphonies of Wind Instruments the term The Alto is not very big on the melody at bar 56 where there is a contrapuntal texture.

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