225:
movement shadows the first, beginning with a modified retrograde of the instrumental introduction. This is followed by section E, another choral section that develops further the canonic and serial techniques used in the corresponding section B from the first half. Once again, the four horns sustain the concluding chord while the solo tenor and a bass from the choir sing a single complete melodic statement of the basic twelve-tone series, repeating the last line of the previous section's text: "then do we with patience wait for it." The last two sections are a literal repetition, including the text, of sections C and D from the first half.
30:
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with the same note. For example, the first hexachord of the inverse form of the row has an interval succession of 11–4–10–1–3 semitones, plus an interval 7, wrapping around from the last back to the first note. By moving the first note in each hexachord to the end and then transposing the result to begin on E
258:
of pitches. Outside of these arrays, Stravinsky uses only the untransposed forms of the prime, retrograde, inverse, and inverse-retrograde forms of his series. The arrays are constructed by taking progressive rotations of each hexachord and then transposing the result so that each six-note set begins
219:
This is followed immediately by the first choral section, B, a rather obscure and difficult passage of intricate serial construction, mostly accompanied by the four horns. Over the concluding chord in the horns, a short solo for the tenor leads to section C, spoken by the choir to an accompaniment of
237:
for the narrator (making his first appearance in the work) and soloists, accompanied by the orchestra, describing the trial and stoning of St
Stephen. Canonic passages continue to be featured, now introducing first the oboes and bassoons in double canon, and then the piano and tuba in a three-part
224:
strings, playing simultaneously the retrograde and retrograde inversion of the basic series. These same two forms of the series, transposed a semitone higher, recur in section D, now one after the other in a passage of two-part counterpoint between chorus and orchestra. The second half of the
538:
At the end of this canon, the chorus enters with the four forms of the basic series. Double basses, piano, harp, and gongs, continue their ostinato from the opening canonic section, based on the first hexachord of the inversion. The two soloists in unison introduce the final choral
Alleluia,
519:, but the hexachords are displaced, the tenor leading with hexachords II–II–IV–V–VI and the alto following, but with hexachords I–II–II–IV–V, and the pitches within corresponding hexachords are in retrograde order. This type of procedure suggests the canons used by
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passage in the alto and tenor voices on the words "Oh My God, if it Bee Thy pleasure to cut me off before night", in bars 226–238 near the beginning of the third movement (Prayer). This passage is a strict, "direct"
81:, who commissioned it—the third movement bears an additional dedication: "In memoriam the Reverend James McLane (†1960)". It was published later in the same year, and the work's first performance was given by the
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The opening Sermon is divided into eight sections, in an A B C D A E C D pattern. The basic series used in the work is presented melodically in section A, an instrumental prelude opening the first movement:
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canon. The movement concludes with an eight-bar instrumental coda in which all four basic forms of the row are combined in a series of somber chords.
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alternating with passages in the strings, once again combining the four forms of the series, only now with the first hexachord of each retrograded.
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Stravinsky then in many cases would travel systematically through the array to derive long melodic lines, as he does with this array to produce the
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Van den Toorn, Pieter C. 1983. "The Music of Igor
Stravinsky". Composers of the Twentieth Century. New Haven: Yale University Press.
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The full orchestra never sounds together anywhere in the work, and the chorus is silent throughout the second movement.
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According to a note sent by the composer to Paul Sacher on 7 August 1961, Stravinsky regarded this cantata as a
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in
Hollywood in 1960, and finished it on 31 January 1961. The score is dedicated to the Swiss conductor
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204:–F The first five notes of this row are a permuted form of the five-note row Stravinsky used for
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754:, edited by Jann Pasler, 217–246. Berkeley and Los Angeles: University of California Press.
713:. Cambridge Studies in Music Theory and Analysis 16. Cambridge University Press. pp. 11–18.
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Smyth, David. 1999. "Stravinsky's Second Crisis: Reading the Early Serial
Sketches".
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used for the
Biblical passages. The full titles of the cantata’s three movements are:
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139:, written in a style of English contemporary with that of the translations from the
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771:, second edition. Berkeley and Los Angeles: The University of California Press.
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period, and lasts a little over a quarter of an hour in performance.
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for alto and tenor singers, a narrator, chorus, and orchestra by
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85:, conducted by the dedicatee, on 23 February 1962 in Basel.
527:, rather than the procedures of earlier composers such as
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First-hexachord array from the inverse form of the series
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A Narrative: The
Stoning of St. Stephen (from the "Acts")
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rotation, which he learned from the works of his friend
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Throughout the cantata, Stravinsky employs a method of
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750:. 1986. "The Canon and Stravinsky's Late Style". In
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61:, composed in 1960–61. It belongs to the composer’s
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806:. London and New York: Routledge. See esp. 235–238.
127:. For his text, Stravinsky chose passages from the
97:Stoning of St Stephen by Jacopo & Domenico
135:, as well as a prayer by the Elizabethan poet
825:
698:Mason, Colin. 1961. "Stravinsky's New Work".
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1166:Concerto for Piano and Wind Instruments
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769:Stravinsky: The Composer and His Works
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154:A Prayer (from Thomas Dekkar [
1516:Double Canon (in Memoriam Raoul Dufy)
1145:Variations: Aldous Huxley in memoriam
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212:consisting of the notes bounded by a
119:, composed three years earlier to an
7:
704:, New Series, no. 59 (Autumn): 5–14.
233:The second movement is an elaborate
33:Stravinsky (right) with Kai Maasalo
1320:A Sermon, a Narrative, and a Prayer
18:A Sermon, a Narrative, and a Prayer
1895:Religious music by Igor Stravinsky
75:A Sermon, a Narrative and a Prayer
50:A Sermon, a Narrative and a Prayer
25:
1905:Music commissioned by Paul Sacher
1746:Coco Chanel & Igor Stravinsky
1171:Capriccio for Piano and Orchestra
1139:Movements for Piano and Orchestra
44:(middle), Helsinki, Finland, 1961
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265:, the rotation scheme produces:
1470:Three Pieces for String Quartet
1150:Canon on a Russian Popular Tune
272:
1910:Music dedicated to Paul Sacher
1533:Symphonies of Wind Instruments
1475:Three Pieces for Solo Clarinet
1417:Three Movements from Petrushka
1:
1900:Compositions with a narrator
796:37, no. 2 (Summer): 117–146.
1890:Cantatas by Igor Stravinsky
1104:The Song of the Nightingale
1059:Symphony in Three Movements
1931:
767:White, Eric Walter. 1979.
1821:
1540:Fanfare for a New Theatre
1451:Two Sketches for a Sonata
1257:The Owl and the Pussy Cat
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793:Perspectives of New Music
73:Stravinsky began work on
1915:Music based on the Bible
709:Straus, Joseph N. 2001.
206:In Memoriam Dylan Thomas
148:A Sermon (from St. Paul)
125:Lamentations of Jeremiah
1803:Charles Ferdinand Ramuz
1773:Monday Evening Concerts
1576:Monumentum pro Gesualdo
1433:Concerto for Two Pianos
804:The Music of Stravinsky
711:Stravinsky's Late Music
752:Confronting Stravinsky
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83:Basler Kammerorchester
45:
1445:Sonata for Two Pianos
533:Johann Sebastian Bach
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32:
1778:New York City Ballet
1674:Named for Stravinsky
1558:Bluebird Pas de Deux
1176:Violin Concerto in D
850:List of compositions
133:Acts of the Apostles
103:San Giorgio Maggiore
1699:Stravinsky Fountain
1694:Stravinsky (crater)
1690:(river cruise ship)
1645:Théodore Strawinsky
1568:The Sleeping Beauty
1076:Scherzo fantastique
999:Danses concertantes
913:The Rake's Progress
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1640:Soulima Stravinsky
1617:Yekaterina Nosenko
1125:Scherzo à la russe
1048:Symphony of Psalms
952:The Rite of Spring
885:The Soldier's Tale
599:Van den Toorn 1983
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141:King James Version
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1730:George Balanchine
1720:Earnest Andersson
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1600:Fyodor Stravinsky
1396:Étude for Pianola
1382:Three Easy Pieces
1358:Piano Sonata in F
1327:Requiem Canticles
1243:Abraham and Isaac
1236:Berceuses du chat
649:, 28–29, 103–104.
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16:(Redirected from
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101:, altarpiece of
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1687:Igor Stravinsky
1681:4382 Stravinsky
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1181:Concerto in E
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1120:
1119:
1115:
1113:
1112:
1108:
1106:
1105:
1101:
1099:
1098:
1094:
1092:
1091:
1087:
1085:
1084:
1080:
1078:
1077:
1073:
1072:
1070:
1066:
1060:
1057:
1055:
1054:Symphony in C
1052:
1050:
1049:
1045:
1043:
1037:Symphony in E
1035:
1034:
1032:
1028:
1022:
1021:
1017:
1015:
1014:
1010:
1008:
1007:
1003:
1001:
1000:
996:
994:
993:
992:Jeu de cartes
989:
987:
986:
982:
980:
979:
975:
973:
972:
968:
966:
965:
961:
958:
954:
953:
949:
947:
946:
942:
940:
939:
935:
934:
932:
928:
922:
921:
917:
915:
914:
910:
908:
907:
903:
901:
900:
896:
894:
893:
889:
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886:
882:
880:
879:
875:
873:
872:
868:
867:
865:
859:
855:
851:
846:
842:
835:
830:
828:
823:
821:
816:
815:
812:
805:
801:
798:
795:
794:
789:
788:
784:
778:
777:0-520-03985-8
774:
770:
765:
761:
760:0-520-05403-2
757:
753:
749:
745:
741:
740:9780300038842
737:
733:
732:9780300026931
729:
724:
720:
719:9780521602884
716:
712:
707:
703:
702:
696:
695:
691:
684:
679:
676:
672:
667:
664:
660:
655:
652:
648:
643:
640:
636:
631:
628:
624:
619:
616:
612:
607:
604:
600:
595:
592:
588:
583:
581:
579:
575:
571:
566:
563:
559:
554:
552:
548:
542:
540:
536:
534:
530:
526:
525:Pierre Boulez
522:
518:
513:
503:
500:
492:
489:
481:
473:
470:
469:
465:
462:
459:
451:
443:
435:
432:
431:
427:
419:
416:
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410:
402:
399:
398:
394:
391:
388:
385:
377:
369:
366:
365:
361:
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344:
336:
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323:
320:
317:
309:
306:
298:
295:
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287:
284:
281:
278:
275:
273:
266:
257:
253:
249:
241:
239:
236:
228:
226:
223:
217:
215:
211:
208:—a chromatic
207:
168:
166:
159:
158:
153:
150:
147:
146:
144:
142:
138:
137:Thomas Dekker
134:
130:
126:
122:
121:Old-Testament
118:
117:
112:
111:New-Testament
104:
100:
95:
88:
86:
84:
80:
76:
68:
66:
64:
60:
56:
52:
51:
41:
36:
31:
27:
19:
1798:Psalms chord
1753:Jean Cocteau
1744:
1685:
1661:Robert Craft
1574:
1566:
1556:
1550:Arrangements
1538:
1531:
1508:
1496:
1479:
1449:
1437:
1423:Piano Sonata
1415:
1408:
1401:
1394:
1387:
1380:
1325:
1318:
1311:
1304:
1287:
1280:
1273:
1248:
1241:
1234:
1227:
1220:
1195:
1188:
1137:
1130:
1123:
1116:
1111:Circus Polka
1109:
1102:
1095:
1090:Funeral Song
1088:
1081:
1074:
1046:
1018:
1011:
1004:
997:
990:
983:
976:
969:
962:
950:
943:
938:The Firebird
936:
919:
911:
905:
898:
890:
883:
877:
870:
803:
791:
768:
751:
710:
699:
678:
671:Watkins 1986
666:
654:
642:
630:
618:
606:
594:
565:
537:
509:
252:Ernst Krenek
245:
232:
221:
218:
205:
172:
164:
155:
114:
108:
74:
72:
49:
48:
47:
26:
1563:Tchaikovsky
1369:Four Études
1097:Four Études
957:discography
899:Oedipus rex
854:Discography
659:Straus 2001
647:Straus 2001
248:hexachordal
214:major third
79:Paul Sacher
38: [
35:Kai Maasalo
1879:Categories
1654:Amanuensis
1510:Epitaphium
1347:Tarantella
1275:Zvezdoliki
1229:Pribaoutki
1030:Symphonies
971:Pulcinella
906:Perséphone
861:Operas and
683:Mason 1961
661:, 104–106.
635:White 1979
623:Mason 1961
613:, 510–511.
611:White 1979
587:Mason 1961
570:Mason 1961
558:White 1979
210:pentachord
123:text, the
99:Tintoretto
1813:Serialism
1337:Piano and
1282:Ave Maria
1222:Pastorale
1159:Concertos
1083:Fireworks
964:Les noces
945:Petrushka
920:The Flood
734:(cloth);
543:Footnotes
229:Narrative
1832:Category
1633:Children
1625:(second)
1602:(father)
1361:♯
1184:♭
1040:♭
802:. 1988.
496:♭
485:♭
477:♭
455:♭
447:♭
439:♭
423:♭
406:♭
381:♭
373:♭
354:♭
340:♭
327:♭
313:♭
302:♭
262:♭
220:tremolo
201:♭
195:♯
189:♭
183:♭
180:–E–C–D–D
177:♭
131:and the
105:, Venice
89:Analysis
1713:Related
1619:(first)
1593:Parents
1461:Chamber
1353:Scherzo
1339:pianola
1300:Cantata
1013:Orpheus
930:Ballets
692:Sources
512:canonic
69:History
55:cantata
1855:Portal
1830:
1749:(film)
1586:Family
1561:(from
1504:Septet
1313:Threni
1267:Choral
978:Apollo
878:Renard
775:
758:
742:(pbk).
738:
730:
717:
637:, 514.
625:, 7–8.
601:, 435.
560:, 510.
256:arrays
242:Prayer
198:–G–A–A
169:Sermon
160:])
116:Threni
63:serial
1842:Audio
1610:Wives
1525:Other
1498:Elegy
1487:Octet
1463:music
1439:Tango
1364:minor
1289:Babel
1214:vocal
892:Mavra
701:Tempo
685:, 14.
235:scena
53:is a
42:]
1295:Mass
1212:Solo
1020:Agon
773:ISBN
756:ISBN
736:ISBN
728:ISBN
715:ISBN
589:, 6.
572:, 5.
531:and
523:and
192:–B–F
1565:'s
1118:Ode
367:III
157:sic
1881::
577:^
550:^
504:C
471:VI
466:D
428:F
400:IV
395:B
362:E
334:II
291:6
186:–B
40:fi
1857::
1571:)
1377:"
1373:"
1349:"
1345:"
1259:"
1255:"
1191:)
1187:(
959:)
955:(
833:e
826:t
819:v
779:.
762:.
721:.
501:B
493:D
490:A
482:B
474:E
463:E
460:C
452:D
444:G
436:E
433:V
420:D
417:D
414:G
411:E
403:E
392:C
389:F
386:D
378:D
370:E
359:A
351:G
348:F
345:G
337:E
324:A
321:F
318:E
310:G
307:D
299:E
296:I
288:5
285:4
282:3
279:2
276:1
174:E
20:)
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