이글은 제가 http://www.geocities.com/Vienna/1807/strav.html 에서 찾은 스트라빈스키의 성음악곡들입니다... 이 곡들중에서 여러분의 감상소감이나, 견해또는 곡분석에 대해 듣고 싶습니다.

Pater Noster  주의기도

year completed:  1926    

duration:  1 minute    

instrumentation:  mixed a capella choir   혼성 무반주 곡입니다.

alternate versions:  rearranged for the more familiar Latin text in 1949    

for mixed a cappella choir. Church Slavonic was the language of worship for Stravinsky as a boy. Indeed, he admitted later in life that did not even know the words to the Pater Noster in Russian. The Pater Noster was essentially a personal exercise for Stravinsky, who was at the time, as he was to remain for the rest of his life, intensely religious, and the work was not to be published until some 6 years later or performed before Stravinsky for a decade. It eventually became a companion to the Credo and Ave Maria, which were composed in the 1930s and which are in a homologous style.

Credo     사도신경

year completed:  1932    

duration:  3 minutes    

instrumentation:  mixed a cappella choir    혼성 무반주 곡입니다.

alternate versions:  revised in 1949 (with Latin text) and 1964 (small revisions to the Slavonic version)    

See the discussion of the Pater Noster above. This is another of Stravinsky’s efforts to set a traditional Christian text in Church Slavonic, the religious language of his childhood.

Ave Maria  성모마리아

year completed:  1934    

duration:  1 minute    

instrumentation:  mixed a cappella choir    혼성 무반주 곡입니다.

alternate versions:  Revised 1949 with a Latin text and some minimal compositional changes    

for mixed a cappella choir. See the discussion of the Pater Noster above. This is the last in Stravinsky’s set of traditional Christian prayers set in Church Slavonic, the religious language of his childhood. The piece is written in the obscure mode of D Phrygian, with occasional modulations into Aeolian mode

Mass   <-----제가 들었던 곡 :)

year completed:  1947    

duration:  17 minutes    

instrumentation:  mixed chorus and double wind quintet (2 ob, cor, 2 bn, 2 tpt, 3 tbn)    

alternate versions:     

Cantata  칸타타

year completed:  1952    

duration:  30 minutes    

instrumentation:  sop, ten, female chorus, and small ensemble (2 fl, ob, cor, vc)    

alternate versions:     

The Cantata, though not his most significant work, represents something of a watershed in Stravinsky’s musical development, the beginnings of a thaw in his attitude toward serialism and the first work of the last phase of his creative life.

We have it from Otto Klemperer (by way of EWW) that Bach’s Well-Tempered Clavier was Stravinsky’s "daily fare" during the two years, 1951-52, that he composed his Cantata. It is not difficult to see, even by simply glancing at the score, how the dense counterpoint and long melodic lines could have been directly influenced by Bach. There is a striking similarity of appearance between "Tomorrow shall be my dancing day" and, say, a passage from one of those melismatic arias in the B minor mass or the Matthew Passion, and the reprise of "This ae nighte" is alike in harmony and function to a Bach chorale.

But the Cantata owes something to another tradition--that of the second Viennese school. With the death of his Los Angeles neighbor, Arnold Schoenberg, in 1951, the famed (and exaggerated) cold war between the "Stravinsky camp" and the "Schoenberg camp" was over. In the 1950s, serialism seemed to be the ineluctable future of music, and for a long time Stravinsky felt as if he were losing touch with the younger generation of composers. His backward-looking Rake’s Progress had only further alienated him from younger composers. As Stravinsky later said:

I suffer...as rarely before and as I have never admitted, from my musical isolation, as well as from a feeling of loneliness--this for the first time in my life--for my generation: all of my contemporaries are dead. It is not so much old friends or individuals that I regret, and certainly not the mentality of my generation, but the background as a whole, the habits of the home, the social intercourse, or call it the body. I am obliged to live now at a detached and strictly mind-level of exchange with younger people who represent, as they say, wholly different belief systems and who see me as an elderly crackpot always in a snit.

If it were ego that, for so long, drove him from the new thinking in music, namely serialism, it was now, in a sense, ego that was forcing him to capitulate. More than anything, Stravinsky seems to have felt like a wallflower at a party of strangers, and he desperately wanted to be included in the conversation.

It was Robert Craft who introduced Straivnsky to the works of Webern and Schoenberg, of which he had known next to nothing before their friendship. For the first time, in the Cantata, Stravinsky begins to toy with serialist techniques. To quote EWW, "the way the cantus in the second Ricercar makes various appearances in its original version, inversion, retrograde version and retrograde inversion, it seems as if he were beginning...to show an interest in serial processes of composition". Anyone who is aware of Stravinsky’s monumental stubbornness and ego can’t help but be impressed by this capitulation to the serialist technique, however small. The Cantata is the beginning of the end of conventional tonality for Straivnsky, and the Septet of the following year is the last work he will write with a key signature. It would not be, however, until Threni, six years later, that Stravinsky would write a completely serial composition.

It’s interesting to note that both the Cantata and The Flood (composed a decade later) use antique English texts that were also set (and set earlier) by Benjamin Britten, in his Serenade and Noye’s Fludde, respectively. The MS score bears the dedication "...to the Los Angeles Symphony Society which performed it under my direction and for the first time on November 11th, 1952".

Choral Variations on "Vom Himmel Hoch" (arrangement)  칸타타(세바스챤 바하곡의 편곡)

year completed:  1956    

duration:  10.5 minutes    

instrumentation:  mixed chorus and orchestra (2.3.0.3 - 0.3.3.0 - harp - vls, cbs)    

alternate versions:     

Johann Sebastian Bach wrote his set of "canonic variations" on the chorale tune "Vom Himmel hoch ich her" in 1747 as his application to the Societ?t der Musikalischen Wissenschaften (Society of the Music Sciences). As such, and so as not to disappoint his former pupil, Lorenz Christoph Mizler, who was the society’s founder and sponsor of Bach’s application, Bach devoted all of the mastery and skill of his venerable 65 years to the elaboration of his subject. These exceptional variations, though relatively little known, deserve pride of place among the Kunst der Fuge and Musikalische Opfer as one of the masterpieces of Bach’s last years.

As was typical of Bach, rather than offering a treatise on composition, as would be expected in an application to a society that devoted itself mainly to problems of musical theory, he offered only an example of his work, as if to imply that music needed no commentary or explanation but itself. This musical absolutism surely appealed to Stravinsky, as did the quality of and canonic nature of the variations themselves.

The work was created, at Robert Craft’s suggestion, as a companion piece to the Canticum Sactrum, and it uses nearly the same instrumentation as that work. Stravinsky takes some creative liberties with Bach’s original, the most radical of which is the addition of some counterpoint throughout--and his straying into G major and Db major, a key Bach’s generation generally avoided, in the three middle variations (all of Bach’s variations are in the key of C major). Additionally, he begins the work with a quotation of the chorale from one of Bach’s settings in the Christmas Oratorio.

This one of two great transcriptions included in this catalog of otherwise original compositions of Stravinsky. Along with the Monumentum, this arrangement deserves such special placement, in my opinion.

A Sermon, a Narrative and a Prayer 칸타타

year completed:  1961    

duration:  16 minutes    

instrumentation:  alto, ten, speaker, chorus and orchestra (2.2.2.2 - 4.3.3.1 - 3 tam- tams, piano, harp - string 5tet)    

alternate versions:     

In August of 1961, Stravinsky wrote Paul Sacher to say that he was writing a new cantata, a sequel to Threni, but one that, unlike Threni, would b based in the faith of the New Testament. The text comes from St. Paul’s Epistles and the Acts of the Apostles, and much of it was in fact chosen by Robert Craft. The work is dedicated to Paul Sacher and the "Prayer" portion commemorates the Reverend James McLane, a friend of Stravinsky’s

Requiem Canticles  레퀴엠칸티클

year completed:  1966    

duration:     

instrumentation:  contr, bass, chorus and orchestra (4.0.0.2 - 4.2.3.0 - timp., xylo., vibra., campane, harp, piano, celesta - string 5tet)    

alternate versions:  choreography by Balanchine in 1968; by Jerome Robbins in 1972