Describe how the opening of Stravinsky’s 'Symphony of Psalms Movement III' sets a religious atmosphere within a secular symphonic genre
Stravinsky was commissioned to compose Symphony of Psalms by Serge Koussevitsky for the 50thanniversary of the Boston Symphony Orchestra (1930). Although adhering to the formal design of a secular genre (the symphony), the work’s title and biblical text imply it was also intended for spiritual purposes.
Stravinsky chose to write his ‘Symphony’ for a chorus, but the orchestra lacks violins, violas and clarinets. The reduced orchestra suggests 'Symphony of Psalms' was composed during his neo-classicist phase; a period characterised by a departure from the lush, sensual sounds of Romanticism. The rejection of forceful emotions in music is shown in the opening of 'Symphony of Psalms’'s third movement; the soft dynamic and hints of C minor convey restraint, in contrast with the joyful expressions usually associated with ‘Alleluia’. This subversion of expectations further plays to the secular/sacred juxtaposition which echoes throughout the work, and its tranquillity introduces an atmosphere of religious piety and devotion. Furthermore, Stravinsky chooses to establish the tonic major (C major) via chordal homophony on the word ‘Dominum’ (‘God’) in bar 7, whose octave unision suggests confidence and thus affirms divine reverence. This solid harmonic grounding therefore points to unwavering belief: cementing the religious motivation behind the work.
