Symphony of Psalms

The first movement of the Symphony of Psalms is marked "Tempo = 92" and uses the text from Psalm 38, verses 13 and 14. 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.

The movement is composed of flowing ostinato sections punctuated with E-minor block chords, in a voicing known as the "Psalms chord", 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.[8] 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.[7]

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:

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.[7]

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-second 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.[9] The following arpeggios on B♭⁷ 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.[10]

The second movement is a double fugue in C minor,[11] and uses as text Psalm 39, verses 2, 3, and 4. The first fugue theme is based on the same four-note cell used in the first movement,[11] 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:

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.[12] 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.[13]

The third movement of the Symphony of Psalms alternates "Tempo = 48" and "Tempo = 80", and uses nearly the complete text of Psalm 150. 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.[14]

The triplets passage is:

Stravinsky continues by saying:

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.[15]

The second part of the slow opening introduction, setting the word "Laudate Dominum", was originally composed to the Old Slavonic words "Gospodi Pomiluy", and Stravinsky regarded this as his personal prayer to the Russian Ecumenical image of the Infant Christ with the scepter and the Globe.[15]