Overview
Introduction
The Symphony of Psalms is a three-movement choral symphony composed by Igor Stravinsky in 1930 during his neoclassical period. The work was commissioned by Serge Koussevitzky to celebrate the 50th anniversary of the Boston Symphony Orchestra. The symphony derives its name from the use of Psalm texts in the choral parts.
According to Stravinsky, the commission for the work came about from "a routine suggestion" from Koussevitzky, who was also Stravinsky's publisher, that he write something "popular" for orchestra without chorus. Stravinsky, however, insisted on the psalm-symphony idea, which he had had in mind for some time. The choice of Psalm 150, however, was in part because of the popularity of that text. The symphony was written in Nice and Echarvines, which was Stravinsky's summer home in those years.
Although the piece was written for the Boston Symphony Orchestra, the world premiere was actually given in Brussels by the Société Philharmonique de Bruxelles on December 13, 1930, under the direction of Ernest Ansermet. The American premiere of the piece was given soon afterwards by Koussevitzky and the Boston Symphony Orchestra, with the chorus of the Cecilia Society (trained by Arthur Fiedler) on December 19, 1930. "The choir, throaty, full-blooded, darkly, inwardly passionate, sing with liturgical conviction and intensity in a memorable performance."
Instrumentation
The work is scored for 5 flutes (5th doubling piccolo), 4 oboes, cor anglais, 3 bassoons, and contrabassoon; 4 horns in F, piccolo trumpet, 4 trumpets in C, 3 trombones, and tuba; timpani, bass drum, 2 pianos, and harp; low strings (celli, double basses); and a four-part chorus (soprano, alto, tenor, bass). In the score preface, Stravinsky stated a preference for children's voices for the upper two choral parts.
Notably, the score omits clarinets, violins, and violas.
General analysis
Like many of Stravinsky's other works, including Petrushka and The Rite of Spring, the Symphony of Psalms occasionally employs the octatonic scale (which alternates whole steps and half steps), the longest stretch being eleven bars between rehearsal numbers 4 and 6 in the first movement.
Stravinsky portrays the religious nature of the text through his compositional techniques. He wrote substantial portions of the piece in fugal counterpoint, which was used widely in the church in the Renaissance and Baroque periods. He also uses the large chorus to create a ritual atmosphere like that of the Church.
