Robert Copeland - The Christian Message of Igor Stravinsky

The Christian Message of Igor Stravinsky Author(s): Robert M. Copeland Source: The Musical Quarterly, Vol. 68, No.
4 (Oct., 1982), pp. 563-579 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/742158 . Accessed: 06/12/2013 03:52
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The Christian Message of Igor Stravinsky

ROBERT M. COPELAND
"preaching" tendency of Igor Stravinsky, and correctly observes that
his notable survey, Music in the 20th Century, William W. IN Austin comments on a in the laterworks
formanyprospective hearers ofStravinsky's itwas hardenoughtoreconcile sermons, wit and his dancinggustowithsincerepiety;ifreligiousassociations his irreverent impelled them to look foran intimatewarm feelingof consolation,or a vague senseoftranscendence, ora reassuring withthehallowedforms of mystical solidarity rebuffed them more churches, organized Stravinsky sharplythan unbelievers ... his toughintegrity, and They could not be blamedforfailingto grasphis truefaith, his genuinehumility before God.'
and unbelievers have foundit difficult to Indeed, both believers understand faith and its in his As music. a Stravinsky's expression it"has notbeenproperly result, bymostofhiscommentaappreciated or else it has been ill-judgedand even misinterpreted."2 tors, denies outright For example,an eminentmusicologist theexistenceof a genuinefaithin Stravinsky:
some sortofvision,somegift ofpoetry or revelation which ... One looks in vain for his oeuvrewitha significance would invest deniedto lesser composers.... Of latehe has turnedto religioussubjects-is he a genuinelyreligiouscomposerof "sacred" music?No, he could not be, forhis ideal worldis too littleconcerned withthefinal of life.3 inwardness
I (N.Y., 1966), p. 534. 2 Roman Vlad, Stravinsky, trans.Frederick and Ann Fuller,3rded. (London, 1978),pp. 153-54. 3 Paul HenryLang, Introduction, in Stravinsky: A New Appraisal of His Work(New York, 1963),pp. 10, 18.
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The Musical Quarterly
A recentbiographer the composer'sfaithas simply"a describes cheerful in "the oftheChurch," acquiescence" dogmasand discipline and places him in thewrongchurch.4 Even RobertCraft admitsthat he understands of little Stravinsky's religiousside.5 On the otherhand, thereare evidencesof a genuine and deep Christianfaith, evidenceswhich need to be collectedand evaluated. include own statements and acts of faith,the tesThey Stravinsky's of those who him and knew his well, timony compositions. I was broughtup in the Russian Orthodox Church, Stravinsky morefrom customthanfrom faith. thoughapparently
I do not think my parents were believers. They were not practicing churchgoers, in any case, and judging from the absence of relevant discussion at home, theycannot have entertained strong religious feelings. Their attitude must have been more indifference than opposition, however, for the least hint of impiety horrifiedthem.6
at birth Igor Fedorovich, sickly (1882),was immediately baptized but laterthatmonthwas baptizedin the usual Orby sprinkling, thodoxmanner(immersion) and chrismated (anointed)in the Nikin Cathedral St. a When olsky Petersburg. boy,he was requiredto attend churchservices, readtheBible,and observe thefasts and feasts of theChurchYear. However,in adolescencehe rebelled againstthe Churchand abandonedit by thetimehe finished Gymnasium.7 his collaboraThus, his musical studieswithRimsky-Korsakov, tionwithDiaghilev,his risetointernational and his turning to fame, Classical subjectsand musical forms all occurred duringa periodin whichhe was largely from But thebreakseems estranged Christianity. not tohavebeenquite complete, becausehe had hischildren baptized
The UnknownCountry: A LifeofIgor Stravinsky 4 Neil Tierney, (London, 1977), p. 120. his second marriagehe switchedhis allegiance to the Tierneyalleges that "some timeafter Roman Catholic Church." This is absurdin lightof Stravinsky's statements thathe repeated was Russian Orthodox, as well as his knownfidelity to thatchurch.His funeral was conducted and he is buriedin the byan Orthodoxarchimandrite (althoughin a Roman Catholicchurch), Orthodoxsectionof theSan Michelecemetery in Venice. 5 Igor Stravinsky and Robert and Conclusions(New York,1969),p. Craft, Retrospectives 198. 6 IgorStravinsky and Robert Craft, Expositionsand Developments (GardenCity,1962), p. 60.
7 Ibid., pp. 61-63.
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in accordancewith Church practice.8 By his forty-second year,for a profound reasonswhichare not now clear,Stravinsky had entered repudiatingthe spiritualcrisis. "Then in 1923 we findhim finally no longerpermitting him to employ ballet,his religiousconvictions his art in anythingso base as theatrical ballet. (Indeed a letterto du Christ'.)"9 Diaghilevat thistimespeaksoftheballetas 'l'anatheme he abandonedthisextreme (Withina fewyears positionand resumed at about thetimehe movedfrom thecompositionofballets.)In 1924, to Nice, he becameacquaintedwitha Russian priest, Biarritz Father he "was a of member household our Nicolas, who, says, practically a 1925,he experienced duringa periodoffive years."'9In September, answertoprayer whichhe felt at thetimewas miraculous: dramatic an healed at thebeginningofa piano abscessedforefinger was suddenly in Venice." he rejoinedtheRussian thereafter, Shortly performance an OrthodoxChurch, event about whichhe wrote toDiaghilevand to alluded in his last letter to Stravinsky.'2 which thelatter to all this,Stravinsky, In reference said: nearingeighty,
at theend of thosethirty made me ... I cannot now evaluate theeventsthat, years, of religiousbelief.I was not reasonedinto my disposition. discoverthe necessity (Anselm'sproofin theFides Though I admirethe structured thoughtof theology Quaerens Intellectum,for instance) it is to religion no more than counterpoint are to music.I do notbelievein bridges ofreasonor,indeed,in anyform exercises of in I can matters.... thatforsome years before however, say, extrapolation religious a mood ofacceptancehad beencultivated in mebya reading myactual "conversion," of theGospels and byotherreligiousliterature ... .
ofhis long life,Stravinsky For theremainder gave evidenceto his and associates of a deep Christianfaith.RobertCrafthas friends on a numberofoccasions to thecomposer'sreligiousnature referred and practices-for example, attendingchurch serviceson various he says,prayeddaily,prayedbefore special occasions.'4Stravinsky, and after and whenfacing "He believed composing, prayed difficulty.
unpaginated. The White, Lifar, (London,1940), Diaghilev quotedin ErieWalter Stravinsky: 9 Serge andRobert anda Diary Craft, (London, 1968), Dialogues p. 26. 11IgorStravinsky
8 Theodore Stravinsky, Catherine and Igor Stravinsky: A FamilyAlbum (London, 1973),
2nd ed. (London, 1979),p. 85. Composerand His Works, 10Expositions,p. 64.
1960), p. 51.
12 Printed in Igor Stravinsky and RobertCraft, Memoriesand Commentaries (New York,
'3 Expositions,pp. 63-64. 14 Igor Stravinsky and RobertCraft, Themesand Episodes (New York,1966),pp. 172-75.
566
theworld;he believed in all oftheevents thatGod had created literally ceased to attend in theBible."'5Late in life, buthe services, Stravinsky this to laziness ratherthan to any loss of faith;he still attributed himself as a Russian Orthodox.16 regarded In his writings and publishedconversations, also made Stravinsky which reflect a numberof comments a Christianworld view. Such in his autobiography are widelyscattered comments (1936),his Norat Harvard(1939),and his six volumesofconversations tonLectures with RobertCraft.During the course of these,his religiousbeliefs His beliefin theafterlife and judgment, for emergequite naturally. when he answersa questionabout thefuture of example,is reflected to worry about it. "The RecordingAngel I am his music: he refuses concernedwith is not CBS, in any case, but the One with the Big Book."1'7 was also sufficiently todiscern insincerStravinsky discriminating hisElegyfor ofW. H. J.F.K.,composedtoa text ity.Whiledescribing Auden,he commented:
doesn'tcarein theleastaboutJ.F.K.,buthe does careabout theform, and itis Wystan the same withhis Christianity: what interests and his gifts him, what his intellect of Christianity; or, to go a littledeeper,theuniform.'1 requireis theform
The aesthetic articulated viewpointswhich Stravinsky comport Forexample,he saw thatGod is at theheart faith. well withChristian In his NortonLectures, ofthemusicalenterprise. he toldtheHarvard aim... is topromote music's"essential audiencethat a communion, a and withtheSupremeBeing."'9 union of man withhis fellow-man ofGod's creation: He explainedthecreative processin musicin terms "Since I myselfwas created,I cannot help having the desire to He defended thecomposer'sartistic create."20 inspiration byquoting "The moves it wherever wishes" 3:8, Spirit ("Spiritusubi vult John
15 Robert broadcast theMan," NationalPublic Radio program in "Stravinsky 2, Craft, July Kansas. on StationKSAC, Manhattan, 1979, 16 Expositions,p. 65. Cf.his son Theodore'scomments of Catherine in theForeword and Stravinsky. Igor 17 Retrospectives, p. 82. 18 Themes,p. 306. 19 IgorStravinsky, PoeticsofMusic in theFormofSix Lessons, trans. Arthur Knodeland arefrom thebilingualedition, in Mass., 1970), IngolfDahl (Cambridge, pp. 24-25.All citations whichtheFrenchand Englishare on facingpages. 20 Poetics, pp. 64-65.
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spirat").21 He acknowledgedboth the Divine sourceof his creative of thoseabilities: as a steward abilitiesand his responsibility
and I havealwaysprayed to Him for as God-given, touse I regard strength mytalents thatI had been made thecustodianof them.When in earlychildhood I discovered of theirdevelopment, musical aptitudes,I pledged myselfto God to be worthy life,and thoughthe custodianhas too oftenkeptfaithon his own all-too-worldly
broken the andreceived ofcourse, I have uncovenanted all my mercies pledge though, terms.22
toglorify God through is explicitin His effort theuse ofhis talents the dedicationsof some of his works.Although the Symphonyof Psalms was commissionedfor the Boston Symphony,the score is ofGod." Likewiseon theSymphony inscribed "composedtotheglory "This symphony, in C (1940)he wrote, ofGod, composedto theglory Orchestra" is dedicatedto theChicago Symphony (forwhom it had been commissioned). musical beliefs show a striking Some ofStravinsky's to similarity Most is his otherChristian view of the noticeable, concepts. perhaps, oflimits, and disciplinein theactofcomposing. controls, importance Unlike many composersof this century, believed that Stravinsky was essential. This sense of artistic one discipline disciplineis in fact of thekeysto his adoption of theserialtechnique.In an interview in else serial music may be, it is discipline that I respect.Whatever certainly pure music.'"23 had composedwith life,Stravinsky Throughouthis professional in the absence of limits.24 felt he the aid of discipline; frightened ofthecompositional component Disciplinewas notonlyan essential Late in life,he with infused it was theological significance. process, in current music is thattheabsenceof a "mainstream" commented In the of God: man without the as same "the irresponsibility. problem intothatmostunusableofgoals, total domain ofartthisis translated
freedom... .."25 May, 1952, he said, ".... the serial composers are the only ones with a
ofchurch also heldstrong opinionsabout thecharacter Stravinsky for thegenres of he expressed admiration music.In hisConversations,
21 Ibid., pp. 60-61. 22 Dialogues, p. 25.
23 Quoted in White,p. 133. 24 See his extended in Poetics,pp. 84-85, 86-87. comments 25 Retrospectives, p. 103.
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sacredmusicof thepast-Masses, motets, passions,cantatas."These defunct he "but arenotsimply ofthemusicalspirit forms," said, parts in [now] disuse."
The Churchknewwhat the Psalmistknew:music praisesGod. Music is as well or able topraiseHim thanthebuildingofthechurch and all itsdecoration; better itis the themusicofOrlando Lassus' motet ornament. Church'sgreatest Glory, glory, glory; "glory"does notexistin secularmusic.Andnotonly praisesGod, and thisparticular the glory. . . but prayerand penitenceand many other[actions]cannot be secularized.The spiritdisappearswiththeform.26
in themannerof Paul Tillich, distinguishes between Stravinsky, what he calls religiousreligiousmusic and secularreligiousmusic. he says,"is inspiredbyhumanity in general,byart,by "The latter," Ubermensch, by goodness,and by goodnessknowswhat. Religious musicwithoutreligionis almostalwaysvulgar.... I hope, too,that againstthePlatonictradition...ofmusic mysacredmusicis a protest He was thenaskedifone mustbe a believer tocompose as anti-moral." and not in the greatforms of sacredmusic. He replied,"Certainly, in in but a the Person of the believer Lord, 'symbolic merely figures,' thePersonof theDevil, and theMiraclesof theChurch."27 had at thattimealready SinceStravinsky he composedin theforms is discussing-Mass (1948), motet(the threesacred choruses),and cantata (e.g., Babel, 1944;Canticum Sacrum, 1955)-it seems clear himself as one who believes in the that he is hereidentifying genuinely in Person of the Lord, the Devil, and the Miracles.His statement, a "profession offaith," constitutes whenseenin the short, particularly of his lifeand otherstatements. context does not speak of his faithin direct, Nevertheless, Stravinsky in least not terms-at attitudes print.However, Stravinsky's personal of his faith mustbe toward God, and his methods expressing verbally, in thecontext of his spiritualenvironment, theRussian understood OrthodoxChurch. Orthodoxthoughtpatterns, shaped by theearly on GreekFathersand placing greater emphasis mystical experience in important are different from thanon systematic theology, respects both Catholic and Protestant. The conceptof thoseof Westerners, "salvation," forexample, is expressedquite differently by the OrthodoxChurchthanbyWestern Churches. In theOrthodoxChurch,
124.
26 IgorStravinsky and Robert withIgorStravinsky Conversations Craft, (London, 1959), p. 27 Conversations, pp. 124,125.
569
As it is the word "salvation" is used less oftenthan "redemption." is conceived as primarily redemption applied in thelifeofthebeliever, of translated the united theosis(often "deification"), process becoming withGod, of beingtransformed bydivinegraceinto "a personaland God and man-God dwellingin us and we in organicunion between for This conceptof theosisarisesfrom, him."28 example,John 17:21, whereJesusprayed"thatall of themmaybe one, Father, just as you also be in us ." (Translation are in me and I am in you. May they ... is II Peter 1:4, fromthe New International Version.)Anotherbase in thedivinenature.""29 "through youmayparticipate [these promises] A contemporary theologian, explainingtheosisas expoundedby St. Palamus (d. 1359),says: Gregory
to His acts:He thusbecomesavailable not merely catedHimselfvoluntarily through of the of or because but sharable communicable, hypostatic unity divinity knowledge, since He remainstranscendent, in JesusChrist.Even then,however, and humanity is only possible to the in His Being or deification thisis His nature:participation oracts.This participation thatHe willsitand in accordancewithHis energies extent is thesourceofall the sincethePersonof theWordincarnate is totalin JesusChrist, divineoperations.s0
isalsoa living Godwhocommuniandtranscendent, unsharable ... God,essentially
The Orthodox Church also believesthattheosisapplies to the bodyas well as thesoul, and to all of materialcreationas well as the takes intoaccountsuchpassages belief humanbody." Thus Orthodox as Romans 8:19-23 ("the creationitselfwill be liberatedfromits of thechilbondage to decayand broughtinto thegloriousfreedom a moreholistic drenofGod," NIV), and demonstrates comprehension who concentrate Christians thando thoseWestern of Scripture only on thesalvationof thesoul. oftheosisaffects also pointout thatthedoctrine Orthodoxwriters not fora selectfew;it forall believers, all of life.Theosis is intended of thecontinuingsin in his aware and repentant makes thebeliever life;and since it involveslove of one's fellowman as well as love of The ordinary meansby God it is a social as well as a personalforce.
29 Thedoctrine oftheosis with should notbeconfused Oriental or pantheism, mysticism, whichOrthodoxtheologians of similarnon-Christian "Deified"man partakes reject. concepts, thedivine "energies"(actions)but notof thedivineessence. The Orthodox Church:ItsPastand ItsRole in theWorldToday,trans. 30 JeanMeyendorff, JohnChapin (New York,1962),pp. 205-6. 31 Ware,pp. 238-39.
28 Timothy Md.,1964),p. 236. Ware,The OrthodoxChurch,rev.ed. (Baltimore,
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theosis when he said that its "essential aim ... is to promote a ... union of man with . . . the Supreme Being." At the same time, he
whichtheosisis effected includeworship,thesacraments, the prayer, and obedienceto theCommandments.32 Scriptures, Thus "deification"includes two doctrineswhich in Western are always separated: and sanctification. theology justification ". ... continues to as a 'gradualdevelopOrthodoxy regard justification withit as thedevelopment ment'and 'linkssanctification and extenthattheosisis basedupon Scripsion ofjustification.' "33 It is evident heldbyall Christians claim tobe ), thatit ture (as mostofthedoctrines to same realities as thecorresponding the refers recognizably spiritual and that itattributes oftheWestern to doctrines churches, redemption the"ordinary meansof grace." thegraceof God operatingthrough The doctrine oftheosiscan shed lighton whyStravinsky did not and the Western of in "salvation" write Evangelicalmanner, whyhis in and work devotion was Christian (comexpressed prayer, worship, seemsto have suggested thatmusichas a rolein position).Stravinsky
a concern linkedmusic to "ontological time"-that is, he exhibited oftheultimate ofbeing.Manyyears nature for musicas an expression belief in theultimate hiscontinuing of he confirmed later, significance "Lucifertookhis musicwithhim from musicwhen he commented, Paradiseand Paradise,and evenin Hell ... musicis able to represent "34 of the the 'bride cosmos.' become the Orthodox Church Like many of its Westerncounterparts, This is reflected in the on faith. heavy personal emphasis places which used Stravinsky daily: morning apparently prayer,
ifitwereThy will tosavemeaccording me;for ... O mySaviour,byThy gracedeliver butonlya burden.Thou hastsaid, thatwould be neither to myworks, gracenorgift "He thatbelievethin me shall live." ... Since, then,it is faithin Thee thatsaves, be countedtomefor saveme! ... O, myGod, letmyfaith behold:"I believe,"therefore fortheworkswhichshouldjustify works.Do notask me from me, myown strength letitanswerforme,letit makemea partaker of butlet thismyfaithbe all-sufficient, Thine eternal glory.35
DavidLewis(Philadelphia, trans. Churches, 1962), pp. 137-43. Ekklesia K. Niesel, 142, 1939). Kyobouniotes, (Leipzig, quoting p. SS
34Conversations, p. 125. in Niesel, p. 142. 35 Quoted
32 Ware, Niesel,The Gospeland the pp. 240-41;Meyendorff, pp. 192,206; Wilhelm
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is revealed tohavebeenintensely Thus, Stravinsky's religiousfaith in consistent with Russian Orthodoxy. and mystical, ways personal read and thoughtabout the to be a Christianbeliever, He professed and conprayedregularly, Gospels and other religious writings, to reflect theistic-Christian sciouslyattempted spiritualvalues in his approach to composition.
II
to music suitableforchurchservices, If "sacred" is takento refer little ofit:three wrote short choruses for theOrthodox thenStravinsky a Ave for the Roman Mass Maria, Credo), liturgy(Pater Noster, an anthem and on a textby T. S. Eliot. If Catholic service, English morebroadlyto includeconcert workswitha "sacred"is understood thenStravinskycomposed a great biblicalorother deal Christian text, of sacredmusic.36 The small quantityof actual churchmusic is one of the oftenmisunderstood comaspectsofStravinsky's output.Of 104completed five are for suitable use. Most who only liturgical composers positions, have produceda significant have been knownas believers amountof churchmusic; Bach's output was prodigous,but,of course,he was employedas a churchmusicianformostof his career.But although himself withthespirit was not,he identified of theCantor Stravinsky of Leipzig:
and talentI would have been I was bornout oftimein thesensethatbytemperament service and for God. I did weather theworldI was bornto,weathered for an established itwell,youwill say,and I havesurvived-thoughnotuncorrupted-the hucksterism musicfestivals, ofpublishers, critics. recording companies,publicity... conductors, timesas much music.37 ... But thesmall Bach mighthave composedthree
ofa smallBach, inanonymity for life suited the andcomposing more living regularly
Even withouteconomic stimulus,it mightseem thatStravinsky could haveproducedmorechurchmusicthanhe did,for noteveryone who composeschurchmusic is employedby thechurch. As a Russian Orthodox,however,Stravinsky faced two major unknowntomusiciansin mostWestern churches: problems language
36 For a discussion ofsome ofthese seeGerald R. Hoekstra, of works, "Stravinsky's Settings Texts" Religious (unpublished 1970). paper,
37 Dialogues, pp. 123-24.
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and medium.The languageofRussian Orthodoxworshipand devotionis ChurchSlavonic,an archaicancestor ofRussian,and virtually unknownin theWest.This renders Russian churchmusicunusable ofChristendom. in other branches Yetfor Slavonicalways Stravinsky, remained"the language of prayer."38 in manyofhisChristian So Stravinsky, toLatin,the turned works, of the West and the of "universal" language language the Roman sacredchoruses, Catholic church.The three composedoriginallyto Slavonic texts,were later reissuedin Latin with some revisions.39 concert and dramatic works-forexample,Oedipus Several Rex--use Latin. He explainedhis use of it thus:
that a speciallanguage,and notthatofcurrent I havealwaysconsidered converse, was requiredforsubjectstouchingon thesublime..... The choice[ofLatin] had the great advantage of giving me a medium not dead, but turnedto stone and so as to have becomeimmunefrom all riskof vulgarization.... monumentalized Whata joy itis tocomposemusictoa languageofconvention, almostofritual, the a nature of which One no feels dominatedbythe imposes lofty dignity! very longer phrase,the literalmeaningof the words.Cast in an immutablemold which adetheir do notrequireany further The text value, they quatelyexpresses commentary. forthecomposer.He can dissect thusbecomespurely itat willand phoneticmaterial constituent all hisattention on itsprimary element-thatis tosay,on the concentrate the textthatof theold masters of austere syllable.Was not thismethodof treating towards beentheChurch'sattitude This, too,has forcenturies music,and has style? intoindividualism.40 itfrom intosentimentalism, and consequently falling prevented
and ritualvalues,Latin also appealed In additionto itsuniversal as a-"sacred"language. "'Sacred' mightmean no more to Stravinsky than 'older,'as one could say thatthe language of the King James Bible is moresacredthan thelanguage of theNew English Bible, if onlybecauseof itsgreater age."41 Anothermajor problemwhich confronted as an OrStravinsky of medium.Only unaccompathodoxcomposerwas thelimitation
38 Expositions, thepossibility of translation. In all his vocalmusic, p. 65. This omits of theword(thesyllable,to be moreprecise)thatin was so insistent on theprimacy Stravinsky in translation several cases he specifically prohibited performance (e.g.,Symphony of Psalms, in translation.Cf. his Abraham and Isaac). Most of his works would suffer significantly in Dialogues, p. 22, and in Conversations, comments pp. 34-35. he did not"expunge" theSlavonic versions, pace Tierney(who,incidentally, 39 However, thelanguageof theoriginalversion to have been Russian). In 1964,wellafter also mistakes the theSlavonic version of theCredo,which(ifproofwereneeded) he rewrote 1949Latin versions, or withdraw thathe did not repudiate theSlavonic versions. demonstrates 40 Igor Stravinsky, An Autobiography (New York,1936),pp. 196,202. 41 Dialogues, p. 21.
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in theOrthodoxliturgy, nied vocal musicis permitted butexceptfor of unaccomdisliked the sound music, Stravinsky extremely simple out he found himself Thus aesthetically oftunewith panied voices.42 musicforit. his churchand unable to provideinteresting did not abandon the attemptto praise his God But Stravinsky his music. Rather,he adoptedthemethodchosen byCalvithrough and seventeenth of thesixteenth who faced nistcomposers centuries, of medium:he setabout to provideconcert music similarlimitations towardGod. whichwould bringgloryto God and point listeners In his choices of subjectand text,as well as in theirtreatment, hisChristian revealed Fromthetime Stravinsky viewpoint. frequently themes occurtimeand again, presenting certain his ofhis conversion, both and Christianmessage directly indirectly. themesis death.Over a sixty-year One of theserecurring period, eleven works which are "funeral music" in one composed Stravinsky of various senseor anotherand which are dedicatedto the memory thecomposer's choice and acquaintances.In several friends instances, of textis particularly appropriateforthe personal faithof the desetone ofThomas' own ceased.WhenDylanThomas died,Stravinsky "Do not into Gentle thatGood Night."For as a memorial: go poems set the Introitfromthe Mass forthe Dead T. S. Eliot, Stravinsky thepoet nor thecomposerwas Roman Catholic): (althoughneither
befits Granthimeternal rest, lightshineupon him.A hymn O Lord; and letperpetual Hear myprayer; You in Zion,O God, and a vow shall be paid toYou in Jerusalem. all shall come to you. flesh
commemorated the unorthodoxbut mystical When Stravinsky Aldous Huxley,themusichad no textat all. on deathis theRequiem Canticles Stravinsky's longeststatement The texts are selected from (1966),forsoloists,chorus,and orchestra. of the Introit, the Roman funeralMass: the last sentence of the five eighteenstanzasof the Sequence "Dies Irae," and thecompleteRethetheme ("Libera me"). In theSequence and Responsory, sponsory of theLast Judgment these arerepresentative: predominates; excerpts
will be whentheJudgeshall come to try there Whata trembling all thingstruly! who freely savesttheredeemed, save me,O fountain of O King ofdreadmajesty, goodness. deathin thatdreadful Deliverme,O Lord, from everlasting day,whentheheaven and theearthshall quake, whenThou shaltcome tojudge theearthbyfire. I tremble
42 Expositions,p. 65.
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me.43 ... Deliver
and am soreafraidforthejudgmentand thewrathto come.
theworkcannotbe called a liturgiis incomplete, Because thetext it was own funeral. even It cal Requiem, sungat Stravinsky's though workin whichStravinsky madea statement-even a concert is,rather, a statement whichis Chrisa warning-about deathand judgment, tian in itsconceptand content. lastpublishedworkwas an orchestration In addition, Stravinsky's of twosongsofHugo Wolfon thesubjectofdeath. Roman Vlad has shown the close musical relationshipbetweenthesesongs and the Requiem Canticles.44 in Stravinsky's musicis thatofrependiscernible A secondtheme tance.The textof "Dies Irae" was originallyintendedto move the had earlier to repent. hearer Stravinsky (1958)composedwhatmaybe from is selected viewedas an exampleofrepentance, Threni.The text of of the ritual a bookwhichforms ofJeremiah, theLamentations part commemoratboththeJewish Synagogue(fortheninthofAb,a fast the Roman Catholic Church and of the the destruction Temple) ing of The a number been set and has composers. by (duringHoly Week) of from are Chapter1:1,parts 2, 5, 11, portionschosenbyStravinsky and 20; from Chapter Chapter3:1-6, 16-27,34-36,40-45,49-66; from 5:1, 19,21. These passagesincludenotonlylamentforthedestruction of as a symbol and itsTemple (understood ofJerusalem byChristians for the sin which had but Christ's death;cf.John2:19-22), repentance about thatdestruction: brought
ofhertransgressions.... themultitude her["thecity"]for The Lord hathafflicted rebelled.... ... forI have grievously Behold,O Lord, forI am in greatdistress becausehis compassionsfail thatwe are notconsumed, It is of theLord's mercies with and turn untoGod; letus lift ourways, and try not.... Let us search up ourhearts and haverebelled: thouhast ourhandsuntoGod in theheavens.We havetransgressed not pardoned.
At thesame time,thetextbearsthebiblical messageof hope:

near I called upon thy name,O Lord ... thouhastheardmyvoice... thoudrewest in the day thatI called upon thee:thou saidst,Fear Not. O Lord, . . . thou hast renew redeemed mylife.... Turn thouus untothee, O Lord,and we shall be turned; our daysas of old.
ed. ChoralMusic:A Symposium 1963), (Baltimore, pp. 399-401. Jacobs, 43 Trans.in Arthur 44 Vlad, pp. 260-66.
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in Stravinsky's A thirdthemeprominent music is the Christian thethree in thethirteenth ofI virtues, emphasized particularly chapter is foundmost Corinthians: faith, hope,and love(caritas).This theme in CanticumSacrum(1955),wherethese and succinctly virtues clearly as the verycore of the Gospel. The work is in five are presented in size and weightand balanced whichare symmetrical movements, thesetting: The first movement establishes Christ's commiscontent.45 sion to his disciples,"Go yeintoall theworld,and preachthegospel to everycreature"(Mark 16:7). The finalmovement completesthe action by indicating theirobedience: "And theywent forth, and the Lord workingwith them,confirming the preachedeverywhere, word with signs following" (Mark 16:20). The intervening movementsare based on relatedpassages fromtheSong of Songs,DeuteI John,Psalms,and Mark.The centralmovement and the ronomy, sections whichareexhortations to "Carilongestis dividedintothree tas," "Spes," and "Fides." in theimportance offaith belief Stravinsky's (heavilyemphasized in Orthodoxteaching)is also expressedin thefirst movement ofA and A Prayer(1961),whose textis takenfrom Sermon,A Narrative, Romans 8:24 and Hebrews11:1and 12:29:
We are saved by hope, but hope that is seen is not hope, forwhat a man sees why does he yet hope for?The substance of things hoped for,the evidence of things not If we hope forwhat we see not, then do seen, is faith.And our God is a consuming fire. we with patience wait for it. The substance, etc.
to faith are presented in theform Otherexhortations of indirectly, For narratives. the second movement of A Sermon, example, symbolic and A Prayerrecountsthestoningof Stephen,thefirst A Narrative, Christianmartyr (fromthe book of Acts),an example of faiththat firm underadversity. Another suchwork, remained his "dance drama The Flood, is called "a Biblicalallegory."46 fortelevision," He considto be an image of catastrophe. eredit specifically
Why did I call my work The Flood, instead of Noah? Because Noah is mere history. As a genuine antedeluvian he is great curiosity, of course, but a side-show curiosity. And even as "eternal man," the second Adam, the-to Augustinians-Old ofthisworkaresymbolic. It is dedicated "To theCity ofVenice, in praiseof 45 Manyaspects its Patron Saint, the Blessed Mark, Apostle," and intendedforperformance in St. Mark's The structure oftheCanticumis symbolic ofthefive-domed Cathedral. architecture of Byzantine St. Mark's.The Gospel quotationsused are from theGospel of Mark. 46 White, p. 517,n. 1.
576
Christ thantheEternal The Flood Testament image,he is lessimportant Catastrophe. is also The Bomb. 47
But what is "Eternal Catastrophe?"And in what sense is The To precludemisunderstanding, later Flood its allegory? Stravinsky his views. clarified
To metheNoah story is symbolic, and I think ofNoah as an Old Testament Christ The subjectof The Flood is notthestory, figure sense)like Melchizidek. (Auerbach's butSin. Whereas themusicofPetrushka to create however, resemblances, attempted The Flood musicis, structurally speaking,all symbolic.48
The EternalCatastrophe, is sin,and itis sin whichprovokes then, terrestrial thespecific Flood but catastrophe-notonly thehistorical Bomb. in As the flood the also today's salvation impending only layin God's graceto Noah, so (byimplication)onlyGod can preserve man thenextcatastrophe. through Not onlyis thestory itself so too are manydetailsofthe symbolic; score.Forexample,onlythe"terrestrials" speak-including theNarratorNoah and his family-whereasthe"celestials"sing-God, Satan,and theangelic choir.God is heardbut of coursenot seen.The ofa manimpersonating thevoiceof questionableanthropomorphism God is avoidedbyassigningHis wordstoa duetofbasses.Since He is and eternal, "God mustalwayssingin thesamemanner, unchanging in the same tempo."49 Satan's voice, in contrast, is to be "a high, tenor Satan is rate, (at any pederastic sexuallyless "sure" than slightly and his music is and The work God)," sophisticated."50 "complex with a Prelude after which the Chaos, representing opens heavenly choirsingstheancienthymn"Te Deum Laudamus" in thestyle ofa chant.In theopening tableau,theangelsarearranged like Byzantine to relate the iconson an Orthodoxaltar-a deliberate attempt piece to the Church.At the conclusion,afterGod establishesHis covenant withNoah and blesseshim,thechoirreturns, singingthephrasesof the hymnin reverse order,fadinginto silenceas it disappearsfrom view. Another its narrative forallegorical compositionwhich presents reasonsis Abrahamand Isaac (1963),a "sacredballad" forbaritone It is Stravinsky's and chamberorchestra. only work with a textin
48 Dialogues, p. 72.
47Expositions,p. 144.
49Expositions,p. 140. 50 Ibid., p. 141.
577
Hebrewand is dedicatedto thepeople of theStateof Israel.The text, ofAbraham'swillingthestory takenfrom Genesis22:1-19,recounts ness to sacrifice Isaac, the heir that God had promised,at God's to and God thenintervenes command.Abrahamexercises greatfaith, musical of spare Isaac. AlthoughAbrahamand Isaac lacks thekind as an foundin The Flood, theworkas a whole serves illustrations text it." act "Have and faith, is, whose upon point allegory but only in The second virtue,hope, is not treatedseparately, faith and love (as or with in (as Threni) conjunctionwithrepentance is sound,inasmuchas senseofChristian theology Again,Stravinsky's and faith. of in context the cannot existexcept repentance "hope" is more and symlove The third virtue, (caritas), presented subtly bolically than faithand hope. It servesas the basic themeof two operas: Vlad has pointedout thatbothPersephone(1934) and The loveas the Rake's Progress self-sacrificing (1951)hingeon a Christian, meansof salvation.51 worksis thedual one ofpraiseand A fourth themein Stravinsky's his music of of musical theater he was a master prayer.Although itstandsin Thus of dramatic effects. devoid and is prayer largely praise of the two music centuries. of the most past to religious sharpcontrast butrather or piety, The reason,it seemsclear,was not a lack of faith him to ofGod and ofmusic,whichwould notpermit his conceptions are characterized works of and His either. prayer by"a praise vulgarize sense of sublime calm, of freedomfrom the bonds of human thisqualityin signifiThe Symphony ofPsalms (1930) illustrates movements of itsthree are takenrespectively cant measure.The texts theVulgate(withinstrucPsalms 39:12-13;40:1-3;and 150,from from in translation). In thefirst, "Hear myprayer, tionsnevertoperform O is static, ritualin character, and Lord," themelodicmaterial majestic, of twopitchesa semitone based on thealternation apart.The second is is full of it also double fugue, the a a movement, symbolism; prayer, is the the first in second first limited and instrumental, vocal; range thesecondexpandsbothin rangeand in to thetreble confined register, whosetext is a jubilantPsalm ofpraise, The third movement, register. in itsquietness."Praise theLord" and even"Alleluia" are is startling
51 Vlad, pp. 114, 172. 52Ibid., p. 163.
in Canticum Sacrum and A Sermon, A Narrative, and A Prayer).
passion."52
578
section very reserved-quietand slow; thefinal developsquietlyovera long ostinato,and the symphonyends with a sublime "Laudate of this textis extremely unlike Dominum," piano. Such treatment that and at first seems of,for Bruckner, example, hearing incongruous. The composer,however,has again provideda clue to the correct ofhis workwhen he wrotethathe too thought of the understanding final sectionat a too-rapid and untilI understood that tempo,"at first, no God mustnot be praisedin fast, matter how often the music, forte better again: quiet confidence expressesgenuine praise than loud, emotionalfrenzy. His Mass (1948),another ofpraiseand prayer, is much expression is moreausterethantheSymphony Psalms. The text the of Ordinary of theRoman Mass, and theworkwas intendedby Stravinsky to be used in actual services (as in factit has been).The ensemblehe chose children's ofhighdrama:men'schoir, thepossibility choir, precludes cor two two and tenwind instruments bassoons; oboes, anglais, (two from The while far lacks three music, trombones). simple, trumpets, and virtuosity. bothflamboyance
of the It is liturgicaland almost withoutornament.In making a musical setting thetextin a special way. One composesa marchto Credo I wishedonly to preserve The facilitate marchingmen,so withmyCredo I hope to providean aid to thetext. There is much to believe.54 Credo is thelongestmovement.
text specifies, 'loud'.
.. ."53 Stravinsky's spiritual insights emerge
A movingand intensely dramapersonalprayer bytheElizabethan of A Sermon,A tistThomas Dekkerservesas the finalmovement and A Prayer: Narrative,
before Yetmakeme,MyGratious night, O myGod, ifitBee Thy Pleasuretocutmeoff one ofThy Lambs towhomThou WiltSay,"Come You Blessed,"and for Sheepherd, that I maybe one ofthosesingers who shall clothmein a whiterobeofrighteousness, cryto Thee, Allelluia.
of thisprayercontrasts with the Once again, the calm restraint and concludeswith a drama which has precededit (the Narrative), oftheconclusionoftheSymphony sublime"Alleluia" reminiscent of Psalms.
53Dialogues, pp. 44-45.
from in White, comment toEvelyn Robert Craft Waugh, quoted p. 447. 54Stravinsky's
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579
The Christian becomesmanifest messageofIgor Stravinsky upon of life The his and ofWilliamA. music. comment perusal thoughtful Drynessabout GeorgesRoualt is apropos here:"One need not be a monk to understand what thisartistdoes, but one mustbe patient enough to listen to the man as well as the work. And one must not listen to each alone, but to both together,carefully,and thoughtfully."55 Even beforethe bulk of Stravinsky's religious workswas composed,his son Theodorefoundhis faithto be an indispensable keyto his his believes; understanding message."Stravinsky firmly praying of his deepestself.Though personal,this and adoringare functions sideofStravinsky essence ofhisart, evento helpstorevealtheultimate thosetowhomspiritual orchimerical. questionshavebecomeforeign attitudeto art is unequivocallyreligious,thatis, metaStravinsky's and or intellectual."56 ontological,not sentimental physical It appears,then, thatthosewho havelooked"in vain for somesort ofvision,some gift ofpoetry or revelation," haveeither failedto look orhavefailedtorecognize far thevisionwhenthey encountered it. very The evidences are everywhere.
55 Dryness, Roualt: A VisionofSuffering and Salvation(GrandRapids, Mich.,1971), p. 17. 56 Theodore Strawinsky, The Message ofIgor Strawinsky, trans.RobertCraft and Andre Marion (London, 1953),p. 19.

Robert Copeland - The Christian Message of Igor Stravinsky

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Robert Copeland - The Christian Message of Igor Stravinsky

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The Christian Message of Igor Stravinsky Author(s): Robert M. Copeland Source: The Musical Quarterly, Vol. 68, No.

The Christian Message of Igor Stravinsky

"preaching" tendency of Igor Stravinsky, and correctly observes that

The Musical Quarterly

The Christian Message

12 Printed in Igor Stravinsky and RobertCraft, Memoriesand Commentaries (New York,

The Musical Quarterly

The Musical Quarterly

isalsoa living Godwhocommuniandtranscendent, unsharable ... God,essentially

The Musical Quarterly

32 Ware, Niesel,The Gospeland the pp. 240-41;Meyendorff, pp. 192,206; Wilhelm

37 Dialogues, pp. 123-24.

The Musical Quarterly

The Musical Quarterly

and am soreafraidforthejudgmentand thewrathto come.

At thesame time,thetextbearsthebiblical messageof hope:

The Christian Message

The Musical Quarterly

49Expositions,p. 140. 50 Ibid., p. 141.

in Canticum Sacrum and A Sermon, A Narrative, and A Prayer).

The Musical Quarterly

text specifies, 'loud'.

.. ."53 Stravinsky's spiritual insights emerge

53Dialogues, pp. 44-45.

The ChristianMessage III

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