Symphony of Psalms

Symphony of Psalms. A major choral-symphonic work composed by Igor Stravinsky in 1930, commissioned by Serge Koussevitzky for the Boston Symphony Orchestra's 50th anniversary. Setting texts from the Vulgate version of Psalms 38, 39, and 150, it represents a pivotal synthesis of Stravinsky's neoclassicism with profound spiritual expression. The work is renowned for its austere power, distinctive instrumentation omitting violins and violas, and its enduring influence on 20th-century sacred music.

Composition and premiere

The commission originated with Serge Koussevitzky, the renowned conductor of the Boston Symphony Orchestra, who sought a work to celebrate the ensemble's half-centennial. Stravinsky, then deeply engaged in his neoclassical period, accepted and composed the piece rapidly between January and August 1930 in Nice and Charavines, France. He dedicated it to the Boston Symphony Orchestra, though the premiere was actually given in Brussels on December 13, 1930, by the Orchestre de la Société Philharmonique de Bruxelles and the Choral Society of Brussels under Ernest Ansermet. The first American performance followed shortly after in December 1930 by the Boston Symphony Orchestra under Serge Koussevitzky in Boston and at Carnegie Hall in New York City.

Structure and analysis

The work is structured in three continuous movements, each corresponding to a specific psalm. The first movement, using text from Psalm 39, is a solemn prelude and double fugue characterized by stark, pulsating rhythms and austere counterpoint. The second movement, a setting of Psalm 40, is a serene and contemplative double fugue for instruments and voices, often considered the emotional core. The triumphant finale, based on the jubilant Psalm 150, integrates a vibrant Alleluia and a monumental passacaglia, culminating in a transcendent, quiet coda. Stylistically, it blends Baroque formal procedures like the fugue and passacaglia with Stravinsky's distinctive rhythmic drive and modal harmonies, moving away from the Romantic tradition toward a more objective, ritualistic expression of faith.

Instrumentation and vocal forces

Stravinsky specified a unique orchestral palette, deliberately omitting the entire violin and viola sections to achieve a darker, more solemn timbre. The orchestra features a substantial woodwind section, including five flutes, four oboes, and a prominent bassoon contingent. The brass section is powerful, with four horns, four trumpets, and three trombones, complemented by a robust percussion battery including timpani, bass drum, and cymbals. The keyboard presence is marked by both piano and harp. A full four-part mixed choir sings the Latin text, treated not as a soloistic body but as an integral, often contrapuntal, orchestral voice of equal importance to the instruments.

Reception and legacy

Initial reception was mixed, with some audiences and critics perplexed by its severe beauty and departure from conventional symphonic grandeur. However, it was quickly recognized by figures like Sergei Prokofiev and Olivier Messiaen as a masterpiece. The work solidified Stravinsky's stature as a composer capable of profound spiritual depth within his neoclassical idiom and has since become a cornerstone of the 20th-century choral repertoire. Its influence is evident in the sacred works of later composers such as Benjamin Britten, Krzysztof Penderecki, and Arvo Pärt. It is frequently performed by major orchestras and choirs worldwide, including the Berlin Philharmonic, the Chicago Symphony Orchestra, and the BBC Symphony Orchestra.

Notable recordings

Many celebrated conductors have left definitive interpretations on record. Igor Stravinsky himself recorded it with the CBC Symphony Orchestra and the Festival Singers of Toronto in the 1960s. Pierre Boulez delivered a characteristically precise and analytical reading with the BBC Symphony Orchestra and the BBC Singers. Robert Craft, Stravinsky's assistant, recorded it multiple times, including with the Philharmonia Orchestra and the Simon Joly Chorale. Other highly regarded versions include those by Herbert von Karajan with the Berlin Philharmonic and the Deutsche Oper Berlin chorus, and by Sir Colin Davis with the London Symphony Orchestra and the London Symphony Chorus. A notable period-instrument interpretation was led by John Eliot Gardiner with his Monteverdi Choir and the London Symphony Orchestra.

Category:Compositions by Igor Stravinsky Category:Choral symphonies Category:1930 compositions