Listening Log – [Pt. I- Proj.2]-Stravinsky’s Mass
Listening Log – [Pt. I- Proj.2]-Stravinsky’s Mass (Published 1948)
Igor Stravinsky’s Mass (published 1948)
Igor Stravinsky (1882 1971) composed his (Roman Catholic) Mass in the U.S, towards the end of his Neoclassical period, between the years of 1944, 1947-48. The general consensus amongst his biographers is that it was the result of a spiritual crisis, perhaps brought on by his wife’s illness. There are also anecdotes about Stravinsky reacting against Mozart’s overly embellished and somewhat vulgar ‘Rococo’ Masses by writing a cleaner, purer Mass to be performed in Church rather than on the concert stage.
‘As I played through these rococo-operatic sweets-of-sin, I knew I had to write a Mass of my own, but a real one’. (Stravinsky, 1979:407)
‘My Mass was not composed for concert performances but for use in the church. It is liturgical and almost without ornament.’ (Stravinsky, 2005:272)
Stravinsky was a religious man and had previously shown his disdain for elevating music or art to a religion.
’the principle of putting a work of art on the same level as the sacred and symbolic ritual which constitutes a religious service. And, indeed, is not all this comedy of Bayreuth, with its ridiculous formalities, simply an unconscious aping of a religious rite?’ (Stravinsky, 1935:503)
When asked why he, as a Russian Orthodox, was writing a Latin mass he replied that Orthodox churches did not allow any instrumentation other than voices and bells in the Byzantine church, hence he decided on the Roman Rites instead. He had settled on using chorus and a wind ensemble consisting of two oboes, an English horn, two bassoons, two trumpets, and three trombones.
Stravinsky also had a fondness for the Latin language which he explained in his autobiography;
‘What a joy it is to compose music to a language of convention, almost of ritual, the very nature of which imposes a lofty dignity! One no longer feels dominated by the phrase, the literal meaning of the words. Cast in an immutable mould which adequately expresses their value, they do not require any further commentary. The text thus becomes purely phonetic material for the composer. He can dissect it at will and concentrate all his attention on its primary constituent element— that is to say, on the syllable. Was not this method of treating the text that of the old masters of austere style? This, too, has for centuries been the Church’s attitude towards music, and has prevented it from falling into sentimentalism, and consequently into individualism’ (Stravinsky, 1935:1705)
Unfortunately, Stravinsky did not get his way in terms of his Mass being performed by mixed and boys’ choirs in a church, but rather on the stage. The complete mass was premiered at the Teatro alla Scala, Milan, 27 October 1948, conducted by Ernest Ansermet, and was met with a lukewarm response. It had not been performed to Stravinsky’s instructions nor to a receptive spiritual audience. The mismatch was obvious. It is a shame that the fullness of his vision wasn’t to be realised at the premier and that he could not make use of the intended sonorities. The solemn beauty and inward-looking mysticism that Stravinsky was looking for had been depleted by the setting and these compromises.
When I first heard the Mass, I was struck by some of the melodic and atmospheric similarities to Orthodox Church music. My family is originally Serbian, where Greek Orthodoxy is the national religion. I grew up attending ceremonies in Serbian Orthodox churches and I even have one of those personal family anecdotes from when I was baptised. Apparently I was a very ‘screamy’ baby and didn’t like all the fuss. However, whenever the priest sung I would go quiet but when he stopped singing I would immediately resume crying and pulling his beard in order to make him sing again. Orthodox priests are quite strict looking, with very long beards so this story paints a pretty comical image in my mind.
The Orthodox sermon is generally delivered in the shape of a monodic, monotonous chant and has a very irregular meter- following the text freely. Some of the unusual intervals I am used to hearing, with a lot of seconds (including neutral seconds), seem to be present within Stravinsky’s Mass, albeit presented in a very Western way with canonical singing and polyphony.
Stikharion, mode 6 , by E, Johnson. (from E. Johnson‘s MA Thesis: ‘Stravinsky’s Ikons: The Influence of Seventeenth-Century Russian Polyphonic Chant on Stravinsky’s Sacred Oeuvre’ at University of Cincinnati). (2008)
The structure and compositional devises are indeed very much like a Latin Mass, but the flavour is that of an Orthodox Mass with a lot more dissonance, stacked tetra chords and unconventionally resolved progressions.
I thought I’d research if there are any music critics or musicologists who have made the same connection between Stravinsky’s Mass and Russian Orthodox music and there has indeed been a small amount of research, with a lot of disagreeing views, into this possible influence. Most views fail to recognise a connection, whereas some see a clear correlation. I found an MA Thesis on the subject; ‘Stravinsky’s Ikons: The Influence of Seventeenth-Century Russian Polyphonic Chant on Stravinsky’s Sacred Oeuvre ‘ written by Eric Thomas Johnson for Cincinatti University in 2005. In this Thesis E. Johnson had done extensive research into both 17th Century Russian polyphony and into Stravinsky’s Mass. I have used several examples from his research and investigated some of his source material like Taruskin. I’ve also added my own examples and observations below.
Taruskin compares ‘Georgian Canticles for the Liturgy of St. John of Damascus in Folk Harmonization’ with Stravinsky’s sacred works and found similarities in style and compositional devises such as;
‘chords in which seconds and fourths are treated as stable, parallel triads, upward resolving sevenths and a calculated formal disunity and disjunction—drobnost’ in Russian, meaning the quality of being a sum-of-parts, and that this idea is specifically a Russian-Eurasian concept…’ (Taruskin, 1997: 383, 416, 428)
‘Example 6.8: Conclusion in Agnus Dei from Igor Stravinsky, Mass, Full Score (London: Boosey & Hawkes, 1948), 29. ‘ (from E. Johnson‘s MA Thesis: ‘Stravinsky’s Ikons: The Influence of Seventeenth-Century Russian Polyphonic Chant on Stravinsky’s Sacred Oeuvre’ at University of Cincinnati). (2008)
Others prefer to explain the Mass using theories based on an Octatonic system (which only partially works). Stravinsky himself denied any specific influence when writing the Mass, but it is clear that he did have knowledge of early Russian Orthodox music through both personal experience and through previous research he had done. Quoting Stravinsky in reference to this research;
‘They are simple and severe; wishing to try to establish connections with a tradition of Church music earlier than the utterly Italianate Bortnyansky’. (Stravinsky, 1966:31)
Personally, I am convinced there is a clearly audible influence of early Russian Orthodox music and that the Mass is a combination of styles both Catholic and Orthodox. I’ve included both my own and some of the observations of these above-mentioned critics in the sectioned listening log below.
Mass
The Mass is approximately 17 min long and has the typical five movements of the Roman Rites. The Credo forming the longest middle section creating a Palindromic symmetrical composition much like the architecture of a Cathedral. This symbolic way of structuring the Latin Mass had been used before, for instance by Bach in ‘Mass in B minor, BWV 232’. As mentioned above it’s set for a mixed choir and double wind quintet with Stravinsky’s usual predilection for the nasal, organ like sound of the double-reeds. He uses typical compositional devices commonly used in both the Latin Mass (plainsong, antiphony) and Renaissance counterpoint (troping, fauxbourdon). The key and meter change frequently, as is typical for Stravinsky.
I. Kyrie
| Kyrie, eleison. | Lord, have mercy. |
| Christe, eleison. | Christ have mercy. |
| Kyrie, eleison. | Lord, have mercy. |
The Kyrie consists of 9 brief separate segments alternating between orchestra and chorus. Opening with a homophonic choral section it quickly leads to a more ‘canon’ like section only to give way to an orchestral segment 3, with a very typical Stravinsky staccato/marcato wind figure- giving a sort of dancing or skipping impression. This particular segment really stands out as being very untraditional in terms of Mass music and very much announces it as a Stravinsky work.
Another signature feature is the key change accompanying every episode, covering no less than seven keys in the span of 2.30 min. The tonal centre is in fact pretty ambitious in places and perhaps an example of bi tonality or Polyvalency in Stravinsky’s music. Polyvalency was not uncommon is some Russian film music and is perhaps the influence here also. The instrumentation also changes from episode to episode giving a lot of variation to the timbre and colour. The outro phrases mimic the intro phrases.
II. Gloria
| Gloria in excelsis Deo, | Glory to God in the highest |
| et in terra pax hominibus bonae voluntatis. | And on earth peace to men of goodwill. |
| Laudamus te. Benedicimus te. | We praise You. We bless You. |
| Adoramus te. Glorificamus te. | We adore you. We glorify You. |
| Gratias agimus tibi propter magnam gloriam tuam. | We give you thanks for Your great glory. |
| Domine Deus, Rex coelestis, | Lord God, Heavenly King, |
| Deus Pater omnipotens, | Almighty God the Father, |
| Domine Fili unigenite, Iesu Christe; | Lord Jesus Christ, only Son of the Father; |
| Domine Deus, Agnus Dei, Filius Patris: | Lord God, Lamb of God, Son of the Father, |
| qui tollis peccata mundi, | You take away the sins of the world; |
| miserere nobis; | have mercy on us; |
| qui tollis peccata mundi, | You take away the sins of the world; |
| suscipe deprecationem nostram; | receive our prayer; |
| qui sedes ad dexteram Patris, | You sit at the right hand of the Father; |
| miserere nobis. | have mercy on us. |
| Quoniam tu solus Sanctus, | For you alone are holy, |
| tu colus Dominus, | You alone are the Lord, |
| tu solus Altissimus, Iesu Christe. | You alone are the Most High, Jesus Christ, |
| Cum Sancto Spiritu in gloria Dei Patris. | with the Holy Spirit, in the glory of God the Father. |
| Amen. | Amen. |
The Gloria movement is altogether more lyrical sounding with two solo voices (resembling Byzantine chants) weaving through very melodic independent oboe and trumpet lines. The soprano line taking over beautifully (in an inversion) from the alto voice.
This section is then punctuated by a choral section singing homorhythmically together with the orchestra. starts with a dialogue between oboe and trumpet. Solo alto joins and is answered by solo treble with an inversion of the alto’s theme. The end of the movement from section 22 all the way until the final choral “Amen” has a distinctly different and more solemn flavour.
III. Credo
| Credo in unum Deum, Patrem omnipotentem, factorem coeli et terrae, visibilium omnium, et invisibilium. | I believe in one God, the Father, the Almighty, maker of heaven and earth, Of all that is seen and unseen. |
| Et in unum Dominum Iesum Christum Filium Dei unigenitum. | I believe in one Lord Jesus Christ, the only Son of God, |
| Et ex Patre natum ante omnia saecula. | eternally begotten of the Father. |
| Deum de Deo, lumen de lumine, Deum verum de Deo vero. | God from God, Light from Light, True God from true God; |
| Genitum, non factum, consubstantialem Patri: per quem onmia facta sunt. | begotten, not made; of one being with the Father; through Him all things were made. |
| Qui propter nos homines et propter nostram salutem descendit de coelis. | For us men, and for our salvation, He came down from heaven; |
| Et incarnatus est de Spiritu Sancto ex Maria Virgine: | by the power of the Holy Spirit He became incarnate from the Virgin Mary |
| et homo factus est. | and was made man. |
| Crucifixus etiam pro nobis: sub Pontio Pilato passus, et sepultus est. | for our sake He was crucified under Pontius Pilate, He suffered death and was buried. |
| Et resurrexit tertia die, secundum Scripturas. | On the third day He rose again in accordance with the Scriptures; |
| Et ascendit in coelum: sedet ad dexteram Patris. | He ascended into heaven, and is seated at the right hand of the Father. |
| Et iterum venturus est cum gloria judicare vivos et mortuos: | He shall come again in glory to judge both the living and dead, |
| cujus regni non erit finis. | and His kingdom shall have no end. |
| Et in Spiritum Sanctum, Dominum et vivificantem: | I believe in the Holy Spirit, the Lord, the giver of life, |
| qui ex Patre Filioque procedit. | Who proceeds from the Father and the Son; |
| Qui cum Patre et Filio simul adoratur et conglorificatur: | with the Father and the Son, He is worshipped and glorified; |
| qui locutus est per Prophetas. | He has spoken through the prophets. |
| Et unam sanctam catholicam et apostlicam Ecclesiam. | I believe in one holy, catholic and apostolic Church, |
| Confiteor unum baptisma in remissionem peccatorum. | I acknowledge one baptism for the forgiveness of sins, |
| Et exspecto resurrectionem mortuorum. | and I look for the resurrection of the dead, |
| Et vitam venturi saeculi. Amen. | And the life of the world to come. Amen. |
“One composes a march to facilitate marching men, so with my Credo I hope to provide an aid to the text. The Credo is the longest movement. There is much to believe.” (Stravinsky, 2005: 272)
The Credo opens with a plainsong during ‘Credo n unum Deum’ (accompanied by instruments in subsequent sections) and is answered by the choir, singing a single chord, as is typical of the Latin mass. The Credo is the central section of the Latin Mass and as such has the longest text. The Credo is however very much a Russian Creed type.
He varies the relatively monotonous, almost spoken syllabic text (all at piano dynamic) by emphasising certain words such as ‘ecclesiam’, ‘peccatorum’, ‘mortuorum’ using dynamics (poco più forte) finally crescendoing on ‘cujus regni non erit finis’.
The Credo culminates in a 6 bar long canonical Amen.
IV. Sanctus (including Benedictus)
| Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth: | Holy, holy, holy Lord, God of power and might; |
| Pleni sunt caeli et terragloria tua. | Heaven and earth are full of your glory. |
| Hosanna in excelsis. | Hosanna in the highest. |
| Benedictus quit venit in nomine Domini: | Blessed is he who comes in the name of the Lord. |
| Hosanna in excelsis. | Hosanna in the highest. |
The melody of this chant feels very Slavonic to me. The chant in Episodes 45 -47 sounds nearly identical to chants I heard growing up. Stravinsky does not stick to one chant, but keeps adding voices contrapuntally, using intervals not commonly found in Western counterpoint. These sections crescendo into a completely different sounding Hosanna section in the shape of a four-part fugue accompanied by trumpet and trombone. The Benedictus which follows is altogether more hushed and subdued but crescendos in a louder climactic Hosanna section, again with a Russian melodic flavour.
V. Agnus Dei
| Agnus Dei, qui tollis peccata mundi, miserere nobis. | Lamb of God, you take away the sins of the world; have mercy on us. |
| Agnus Dei, qui tollis peccata mundi, dona nobis pacem. | Lamb of God, you take away the sins of the world; grant us peace. |
Agnus Dei movement repeatedly alternates a Capella duets in trebles, basses and then all voices.
Summary;
I will chose to trust my ears alongside the research listed above and conclude that there is indeed some influence of Orthodox Church music in Stravinsky’s Mass, whether this was his intention or not. I feel that the Mass is in fact a very happy marriage of the two styles and that both Roman and Orthodox influences can be heard. I think that the combination is highly successful, innovative and typically ‘Stravinsky ‘ sounding. I love both the blended styles and the juxtaposition and contrast between the different sections. Stravinsky had a unique. and in my opinion unsurpassed talent for bringing disparate styles together and connecting seemingly jarring sections of music into a fluid whole. This is one of my favourite Masses and I’m quiet frankly surprised that it is one of Stravinsky’s less known and important works. I also wish that it would be used more frequently in a Church Mass setting like he had hoped, because I do feel it is a deeply spiritual work.
LIST OF ILLUSTRATIONS
Figure 1. Old Holy Resurrection. (2019) Serbian Orthodox priest. [Image] At: https://www.serbianohr.org/ (Accessed on 01 August 2019)
Figure 2. Johnson, E. Common sonorities found in Stikharion, mode 6, by E, Johnson. (from MA Thesis: ‘Stravinsky’s Ikons: The Influence of Seventeenth-Century Russian Polyphonic Chant on Stravinsky’s Sacred Oeuvre’ at University of Cincinnati). (2008)[Illustration] At: https://etd.ohiolink.edu/!etd.send_file?accession=ucin1218690824&disposition=inline (Accessed on 01 August 2019)
Figure 3. Johnson, E. Cherubic Hymn, 17th Century in ‘One Thousand Years’ by Morosan. (from MA Thesis: ‘Stravinsky’s Ikons: The Influence of Seventeenth-Century Russian Polyphonic Chant on Stravinsky’s Sacred Oeuvre’ at University of Cincinnati). (2008) [Illustration] At: https://etd.ohiolink.edu/!etd.send_file?accession=ucin1218690824&disposition=inline (Accessed on 01 August 2019)
Figure 4. Johnson, E.17th Century Russian Polyphony, von Gardner. (from MA Thesis: ‘Stravinsky’s Ikons: The Influence of Seventeenth-Century Russian Polyphonic Chant on Stravinsky’s Sacred Oeuvre’ at University of Cincinnati). (2008) [Illustration] At: https://etd.ohiolink.edu/!etd.send_file?accession=ucin1218690824&disposition=inline (Accessed on 01 August 2019)
Figure 5. Johnson, E.‘Example 6.8: Conclusion in Agnus Dei from Igor Stravinsky, Mass, Full Score (London: Boosey & Hawkes, 1948), 29.’. (from MA Thesis: ‘Stravinsky’s Ikons: The Influence of Seventeenth-Century Russian Polyphonic Chant on Stravinsky’s Sacred Oeuvre’ at University of Cincinnati). (2008) [Illustration] At: https://etd.ohiolink.edu/!etd.send_file?accession=ucin1218690824&disposition=inline (Accessed on 01 August 2019)
Figure 6. Johnson, E. Russian 17th Century Polyphony from ‘Russian Music’ by Swan. (from MA Thesis: ‘Stravinsky’s Ikons: The Influence of Seventeenth-Century Russian Polyphonic Chant on Stravinsky’s Sacred Oeuvre’ at University of Cincinnati). (2008) [Illustration] At: https://etd.ohiolink.edu/!etd.send_file?accession=ucin1218690824&disposition=inline (Accessed on 01 August 2019)
Figure 7. Sunny, L. (2019) Kyrie, ‘dancey’ wind figure. (from Igor Stravinsky, Mass, Full Score. London: Boosey & Hawkes, 1948). [Illustration] In: possession of: The author: London.
Figure 8. Sunny, L. (2019) Kyrie Polyvalency. (from Igor Stravinsky, Mass, Full Score. London: Boosey & Hawkes, 1948). [Illustration] In: possession of: The author: London.
Figure 9. Sunny, L. (2019) Gloria Byzantine flavoured melodies. (from Igor Stravinsky, Mass, Full Score. London: Boosey & Hawkes, 1948). [Illustration] In: possession of: The author: London.
Figure 10. Sunny, L. (2019) Gloria Final Amen chord. (from Igor Stravinsky, Mass, Full Score. London: Boosey & Hawkes, 1948). [Illustration] In: possession of: The author: London.
Figure 11. Sunny, L. (2019) Credo opening chant. (from Igor Stravinsky, Mass, Full Score. London: Boosey & Hawkes, 1948). [Illustration] In: possession of: The author: London.
Figure 12. Sunny, L. (2019) Credo word emphasis using dynamic. (from Igor Stravinsky, Mass, Full Score. London: Boosey & Hawkes, 1948). [Illustration] In: possession of: The author: London.
Figure 13. Sunny, L. (2019) Credo end Canon [Illustration] In: possession of: The author: London.
Figure 14. Sunny, L. (2019) Sanctus Very Russian sounding melodies.(from Igor Stravinsky, Mass, Full Score. London: Boosey & Hawkes, 1948). [Illustration] In: possession of: The author: London.
Figure 15. Sunny, L. (2019) Agnus Dei Alternating parts. (from Igor Stravinsky, Mass, Full Score. London: Boosey & Hawkes, 1948). [Illustration] In: possession of: The author: London.
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