Stravinsky and His Latin Texts Author(s) : Ruth Zinar Source: College Music Symposium, Vol. 18, No. 2 (Fall, 1978), Pp. 176-188 Published By: College Music Society Accessed: 21-09-2017 11:27 UTC

Stravinsky and His Latin Texts
Author(s): Ruth Zinar

Source: College Music Symposium, Vol. 18, No. 2 (Fall, 1978), pp. 176-188
Published by: College Music Society
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Fresh and Historical Approaches to Analysis
Stravinsky and
His Latin Texts
Ruth Zinar
York College, C.U.N.Y.
Dwight Allen states in Philosophies of Music History, "The ne-

glect of music with words is the most glaring defect of modern text-
books on musical appreciation."1 Song has primarily been analyzed for it
forms rather than for the way in which the composer has attempted to express
the words. "Music and drama [and hence, the relationship of music and words]
have therefore gone their respective ways in American music education."2
prime concern of music theorists has been with the ". . . grammar and syntax
of music rather than with its meaning."3
Because of Stravinsky's strong feelings regarding the expressive powers of
music and the relationship of music and ideas, it is of special value to deter
mine how he met this aesthetic problem in the difficult task of setting ancient
Latin to music written in a variety of modern styles.
Writing in his autobiography in 1936, Stravinsky declared:
... I consider that music is, by its very nature, essentially powerless to express
anything at all, whether a feeling, an attitude of mind, a psychological mood, a
phenomenon of nature. . . .
If ... music appears to express something, this is only an illusion and not a
reality.4
Stravinsky had already shaken the world of music in 1923 with his Octet
for Wind Instruments with its objectivity and its return to the forms of the earlier
centuries. Now the composer put into words the aesthetic principles of Neo-
Classicism, and he saw this aesthetic principle as applying not only to instru-
mental music, but also to the setting of texts to music: "From the moment song
'Warren Dwight Allen, Philosophies of Music History (New York: Dover Publications, Inc.,
revised, 1962), p. 299.
2Ibid., p. 303.
3Leonard B. Meyer, Emotion and Meaning in Music (Chicago: University of Chicago Press,
1966), p. 6.
4lgor Stravinsky, An Autobiography (New York: Simon and Schuster, 1936), pp. 83.
STRAVINSKY AND HIS LATIN TEXTS 177
assumes as its calling the expression of the meaning of the di

the realm of music and has nothing more in common with it.
In 1962, however, he amended his previous statements, exp
garding that] overpublicized bit about expression ... It was
notion that . . . exact sets of correlatives must exist between
ings and his notation . . . but even the stupider critics could h
did not deny musical expressivity, but only. . . a type of verba
musical expressivity. . . ."6 Some recent criticism sees validity
modification of his original statements. Rodriguez, for examp
critics are obsessed with his own self-explanations, forgetting
that musicians are most fallible when they venture to eluc
through . . . the spoken or printed word that is ... strange to
In 1926-7, when Stravinsky composed his opera-oratorio Oe
chose Latin as the language of the libretto and Oedipus was fo
settings of Latin texts, among them Symphony of Psalms, Thr
Sacrum. By using Latin, he had avoided being bound to the
it is to compose to a language of convention . . ." he wrote. "O
dominated by the phrase, the literal meaning of the words. .
becomes purely phonetic material for the composer. He can
and concentrate all his attention on ... the syllable."8
"It is this . . . which has often caused Stravinsky to ignore
setting. . . . And it is for this reason that he has most often ch
the language would not interfere with demands of the mus
in his study of compositional techniques in Stravinsky's chora
man found that "his treatment of the text in Oedipus Rex cor
to his theoretical conception,"10 and Schaeffner adds, "In fact
not of any importance to Stravinsky; all he needed was the po
peating them at will no matter how idiotic they might sound
There is no doubt that in Oedipus Rex Stravinsky sought an
dom from dependence upon word accents and that he frequ
5Igor Stravinsky, Poetics of Music, trans. Arthur Knodel and Ingolf Da

tage Books, 1947), p. 46.
6Igor Stravinsky and Robert Craft, Expositions and Developments (New Yo
Company, 1962), p. 101.
7 Jose Rodriguez, Chapter 8, Igor Stravinsky: Articles and Critiques, ed. M
York: G. Schirmer, Inc., 1936), p. 43.
8Stravinsky, Autobiography, p. 202.
9Ralph E. Hart, "Compositional Techniques in Choral Works of Strav
Honegger, and Britten" (unpublished doctoral dissertation, Northwester
pp. 153-54.
10Alexandre Tansman, Igor Stravinsky- The Man and His Music (New York: G.P. Putnam's
Sons, 1949), p. 20.
"Nicolas Slonimsky, Music Since 1900 (New York: Coleman-Ross, 1949), p. 291, citing A.
Schaeffner, Stravinsky, 1931.
178 COLLEGE MUSIC SYMPOSIUM
the text as "phonetic material," concentrating h

element- the syllable. But did Stravinsky, in fac
texts? He used Latin, rather than Greek, he said
how to treat Greek musically (or Latin, Latinist
least have my idea)."12 Stravinsky had studied
working on Oedipus Rex, found that his knowledge
fore, although the vast majority of his audiences c
Stravinsky did. Although he voiced opposition to t
ing ". . . Do not change the sound and the stress of
posed to precisely certain music at precisely certai
tion is essential in seeking the specific relationship
Oedipus Rex14
Cocteau's concise libretto suggests Oedipus' pe

quickness to anger, pride, and desire for truth. Hi
fact that the only protagonist in addition to Oedip
the Messenger. Figure 1 illustrates the manner in w
in this case:15
Fig. 1. Rapid, unaccented treatment of

word "ego" in the Messenger's part.
735,4
eg' at- tu- le-ram
In Oedipus' solos, the great stress placed on this word exemplifies his self-
assurance and pride and through the employment of accents and melismas
represents a form of "word-painting." (See Fig. 2.)
The chorus parts of Oedipus are generally stable, covering a limited pitch
range with few consecutive large melodic intervals. A notable exception- and
the only one in the score- is at 21 when there are sudden octave displacements,
sometimes with false relationships (D-flat against D) sung "f" or "ff" with
woodwind, brass, and piano accompaniment. These last for five measures un-
12Igor Stravinsky and Robert Craft, Dialogues and a Diary (New York: Doubleday and Com-
pany, 1963), p. 14.
13Igor Stravinsky and Robert Craft, Conversations with Igor Stravinsky (New York: Doubleday
and Company, 1959), p. 35.
l4Igor Stravinsky and Jean Cocteau, Oedipus Rex (London: Boosey and Hawkes, Ltd., 1949).
A detailed analysis of other aspects of text-music relationships is presented in this author's doc-
toral dissertation, "Greek Tragedy in Theatre Pieces of Stravinsky and Milhaud" (New York
University, 1968), pp. 157-222.
15 An italicized digit indicates the rehearsal number in the score. The second digit indicates
the measure count of the rehearsal section.
STRAVINSKY AND HIS LATIN TEXTS 1 79
Fig. 2. Emphasis on word "ego" in Oedipus' role.
E- - go eg* Oe- di- - pus - -
f mLlj- > i I'nnnnnn

EgOe-di- pus e- go eg' Oe- di- pus
E- - - go
til, at the e
rest, the ce
disappear, a
den and ma
"Quid fakie
["What shal
The discords and the "f" last until the word "liberemur" when the chorus
is "freed" from the harshness and violence of the previous measures. There is
a quiet resolution to the major triad. Stravinsky has used change in dynamics,
orchestration, melodic intervals, and movement from dissonance to conso-
nance in this word-music relationship (see Example I).
Ex. I. "Quid fakiendum. . . ." (Sudden "diminuendo," end of discords, and large
melodic intervals to represent "liberemur.")
r- 3"^ t
nit j j A/MaM .*! ^i^ i iM i i i , i . .^f^=
'"ifllli'ii Ij IjjIijI^J-
u r7irj it nnt J7it j ij r ^^^
< Quid fa- ki- en-dum Quid fa- ki- en-dum.Oe- di- pus ut li- be- re-mur?
1?* f f fif'r It f fly t E' t ^ r m^ 1 ii

Another example of word-music relationship which uses several parame-
ters-in this case, dynamics, melody, and orchestration- is at 94, 7-8, during
Jocasta's recitative. She has sung quietly ("p") unt^ then, calming Oedipus,
the accompaniment based on the g minor chord. At the words "clamare,"
1 80 COLLEGE MUSIC SYMPOSIUM
"ululare" ["clamoring," "howling"], there are crescen

in the orchestral accompaniment to "f," and dim
played on the harp and piano, which, when combine
represent an imitation of the ideas of the words (se
Ex. II. "Clamare, ululare." (Melodic contour, "crescen

tion to suggest "howling," "clamoring.")
)
cla- ma- re u- lu- la- re
(clamoring) (howling)
Among all the usual methods of relating words and m

are probably the most obvious. The specific words suggest t
be accomplished through imitation of sounds or motion alth
images are also employed. Stravinsky states that he was "
whole subject. "I have used such images myself," he declared
the 'false relation' of the tritone at falsus pater in Oedipus R
Several other examples of tonal images which use only on
can be found in the score. Creon's aria, "Respondit deus,"
phatic. At 33, the dynamic markings of the vocal part sudd
(the instruments play "pp") for the first time in the song.
"Thebis peremptor latet" ["In Thebes the slayer is concea
emphasizing the image of the murderer's secret presence.
Jocasta's aria contains a passage (104,5 - 106) with a vo
tone d1 is repeated twenty-nine times- an unusual melody a
curs nowhere else in the score. The words here are, "Oracula
sunt oracula, mentita sunt, mentita sunt, oracula." As sh
ever lie, ever lie ... ," she is "ever" singing the same tone.
Rhythm is used at times to represent the ideas of specif
ipus sings, "I am afraid suddenly," the sudden speed of the
lets paints the word subito ["suddenly"]:
Fig. 3. Sudden, rapid notes to illustrate subito.

117,4 3 3 .
Pa- ve- - sco su-bi-to Jo- ca- sta Pa- ve- sco su-bi-to
I am afraid suddenly
l6Stravinsky and Craft, Expositions a
(The same melody is used starting at 129 and at 13

without this device, emphasizing the fact that the speed
is sung is based on the meaning of the word.)
A similar use of rhythm exists at 68, 5-6 when the Ch
Fig. 4. Rapid notes after pauses to illustrate idea of "quickl
die! ki- to
[Say! quickly]
Specific word-music relationships in Oedipus Rex were found to be based

on a number of parameters- rhythm, dynamics, melodic contour, discord, in
tervallic structure, and orchestration. In a number of examples, only one tec
nical device is used to create the relationships, although as many as four may
be used at one time. Dynamics and melodic contour are the most frequen
employed aspects of composition in the creation of these examples of the liter
setting of words.
Symphony of Psalms11
Stravinsky prefaced the score of Symphony of Psalms with the following

structions: "The words of the Psalms are those of the Vulgate and should [al-
ways] be sung in Latin." Certainly the deeply moving spirit of the work
the associations it calls forth would be affected if it were sung in the vernacul
At 9, 1-4 of the first movement, the psalmist cries out, "Ne sileas!" ["Do
not be silent!"]. The music, until this point, has been performed cantabile ex
pressivo and the dynamics have been mostly "mf" or up." Suddenly
changes. Every note played by the second piano is accented, the score
marked "f" and ben marcato, the flute, which has primarily played sustaine
tones parallels the piano, playing sixteenth note figures. The "Ne sileas" is ex
pressed by additional sound created through a combination of increased inte
sity and more notes per beat.
"Quoniam advena ego sum" ["For I am a stranger"], the text continu
"et peregrinus" ["and a wanderer"] "sicut omnes patries mei" ["as were all my
fathers"]. At "peregrinus," 11, 2-6, the melodic structure of the choral part
changes from a diatonic one with very narrow range and small intervals (usu
ally seconds, thirds, or repeated tones). The melodies become chromatic w
wide ranges (an octave for basses, a seventh for sopranos) and large inter
(e.g.: octave and major seventh) and, in addition to this disjunct contour,
previous legato accompaniment has become staccato. The "wandering" ch
matic melody, resultant dissonant harmonies, and changed accompanime
l7Igor Stravinsky, Symphony of Psalms, new revision (London: Boosey and Hawkes, Lt
1948); composed 1930.
style form a musical expression of the words "

["stranger" and "wanderer"]. This verse completed,
repeated tones and the harsh dissonances disappe
The first part of the second movement is a co
oboes opening with the subject of the instrumental
ducing the subject of the choral fugue. At 5, the te
Lord: "He inclined to me and heard my entreaty
. . . ." This section (5 - 14) ends with a diminuendo
cantabile, "mf," p ma marcato. Then, following a pau
instrumental subject, begins. The texture is dense,
cented and the timpani play for the first time, out
"Et immisit in os meum canticum novum . . . c
placed in my mouth a new song . . . the song of
"ff." The sudden change in texture, dynamics, instr
reference to the "new song."
Ex. III.
(Characteristic choral parts: repeated tones, small range.)
Do- mine
. Oh Lord. and [hear]... supplication., [my] Give ear to my tears]
y ' ' ' ' r ' '
ht - 1 Irr rlrrrr
(Disjunct melodic contour, chromaticism, an
. ben cant. . , i i I i I I I cresc I jfl^l I
Via . ben cant. ] i Jm . ij i, Ji.. , iiiLJrJijpji^ i i I i I I jig I cresc ^ia^=, I jfl^l I
*> y r r r r w r ' ' ' ' '

e- go sum a- - pud te et pe- re-gri- nus sicut omnes pa- tres me-i.
[...I am before... thee... stranger (wanderer as were all my fathers]
ft ben cant. \ *> i >o U **
ben cant. i |2 i. MA7 >
Bbii- ben cant. rlirrlifjrr rl^n[jrl^rlrrrinrli^ i |2 i. MA7 >

As the third movement- the new song- begins, it is peaceful and serene.
The psalmist sings the praises of the Lord: "Hallelujah, prais

tuary." Then another change occurs (5, third movement).
strong ("ff") as the whole orchestra plays. There are viol
triplet passages and glissandos. Immediately following th
chorus sings again and the text explains the previous power
date Eum in virtutibus Ejus . . . multitudinem magni" ["
valor (His mighty acts) . . . abundant greatness"]. Temp
chestration have all combined to express the power, the valo
tiness of the Lord.
Among other musical representations of specific words is the climactic
use, at 11, of the full orchestra on the words "multitudinem magni" ["abun-
dant greatness"] as they are sung "f ' repeatedly, together with "Laudate Eum
in sono tubae" ["Praise Him with sounds of the trumpet"]. These words are
followed by a flourish on E-flat from the horns. The use of dynamics, full or-
chestration, and horns to indicate "abundant greatness" and "sound of trum-
pets" is obvious. According to Stravinsky, this section was inspired by a vision
of Elijah's chariot climbing the Heavens. "Never before had I written anything
quite so literal as the triplets for horns and piano to suggest horses and chariot,"
the composer said. 18
Threni (id est Lamentationes Jeremiae Prophetae)19
Latin, Stravinsky wrote in his autobiography, is "... a medium not dead

but turned to stone and . . . monumentalized."20 Threni followed Oedipus Rex by
about thirty years. The composer had developed an interest in atonality and
an affinity for chromaticism. But some of the same techniques of word-music
relationships are here as those used in the past.
In Memories and Conversations, published in 1959, shortly after the composer
had completed Threni, the following dialogue is reported:
R.C. You often associate "pathos" with chromaticism. Do you really be-
lieve in this . . . association?
I.S. Of course not: the association is entirely due to conventions. . . . Never-

theless, "chromaticism" and "pathos" are connected.21
Stravinsky also suggested an association between "pathos" and chroma-

ticism in Themes and Episodes, where he notes a plaintive quality which was first
detected in the Orpheus music. "... But the quality I believe to be meant is, in
18Stravinsky and Craft, Dialogues and a Diary, p. 46.
19Igor Stravinsky, Threni (id est Lamentationes Jeremaie Prophetae) (London: Boosey and
Hawkes, Lt, 1958).
20Stravinsky, An Autobiography, op. cit., p. 195.
2 'Igor Stravinsky and Robert Craft, Memories and Commentaries (New York: Doubleday and
Company, 1959), p. 111.
fact, already present in my String Concerto,"22

measures of the Concerto which contain the plain
a descending minor second melody in slow tem
harmonies.
It is the descending minor second in slow tempo which provides the ele-
ment of "pathos" in Stravinsky's example and it is the descending minor sec-
ond which dominates a large part of Threni. This interval is used, on occasion,
in conjunction with words specifying "grief or "pathos" (e.g.: Measure 66-
"Plorans ploravit" ["She weepeth sore"]; Measure 262- "Ocules meus afflictus
est" ["My eye is afflicted, weeps"]; Measure 189- "recordare paupertatis"
["remembering affliction"]), and it also occurs repeatedly as a motif through-
out the work. Its presence as introductory chant before many of the verses helps
to create the feeling of desolation expressed by the text.
At the words "ut conteret sub pedibus" ["to crush underfoot"] in Measure
218, we find the piano used for the second time in the score, and the timpani
join the piano as they play repeated E-flats. This is highlighted as the solo bass
sings the first tone in falsetto voice and then in unison on the E-flat with the
piano. The dynamics are subito p and the piano plays staccato. The E-flats are
sung in steady, rhythmic eighth note patterns. The repeated low pitch per-
formed by piano, timpani, and bass create a startling hammering effect. Thus,
Stravinsky achieves the representation of "crushing underfoot" against the
earth.
Later, as the singers cry out, "Tu inexorablis est" ["Thou art inexorable,"
"unforgiving," "relentless"] (Measures 244-45), repeated tones are used again.
This time, they are sung "ff," the syllables accented, accompanied by strings,
piano, and timpani. The strong dynamics and ostinati describe the idea of a
relentless, unmoved God.
Immediately following this, at Measure 246, the second tenor sings "Op-
eruisti in furore" ["Thou hast covered in fury"]. The melody is disjunct and is
based on the opening motif of the descending octave plus semi-tone. This time,
however, instead of the previous dynamics (f>p), every note is accented and
the disjunct, anguished melody takes on a different quality. As the sopranos
sing, "et percussisti nos . . . pepercisti" ["and persecuted us ... (not) pitied"],
the same sort of dynamics ("ancor piu f," <~~- - H, and accents) and disjunct
melodic contour combine to portray the revengeful Lord.
Other word-music relationships can be found in this highly complex
work. One finds use of accents to proclaim truth and hope. In Measures 205-7,
for example, on the words "Bonus est Dominus sperantibus in Eum" ["Good
is the Lord to hopers in Him"], accented repeated C's are sung Stesso, J> = 208,
22Igor Stravinsky and Robert Craft, Themes and Episodes (New York: Alfred A. Knopf, 1966),
p. 46.
by the altos against sustained E's played by tuba and flu

ends as the alto and tenor soloists outline the major triad. T
their suggestions of major harmonies, appear to represen
trayal of the ideas of "hope" and "good."
A similar use of simpler harmonies occurs at the end of
miae Prophetae" ["The Prayer of the Prophet Jeremiah"]. H
structure is used to express the words in a manner similar t
vinsky in Oedipus Rex (see Example I) when the Chorus c
"What shall we do ... to be freed?" The text reads, "Conv
te, et convertemur" ["Turn thou us unto thee, and we sh
nova dies nostros sicut a principio" ["renew our days, as
405-419). This passage is a highly dissonant, chromatic one.
words of Threni-"a. principio" ["as of old"]- are reached,
the whole composition to the "old" takes place. The only to
chorus on the last syllable are E-flat and G-flat. There is a
sonance, another resolution, and the final tones of Threni
A and C. The "old" is the modal- the minor third (see E
Ex. IV.
(Final resolution to minor third from dissonance to represent return to "old.")
dies nostros, sicut a
I renew our days, as of old.
A 9 j \ jw W '"^'t ii J J J*Jjt J y * i ~ i
dies nostros, sicut a prin- ci- pi- o
T<jJrfJlriiJf- II
dies nostros, sicut a prin- ci- pi- o
di- esnost- ros,
A 414
Canticum Sacrum2*
In Canticum Sacrum, Stravinsky used serial tech

agreed with Robert Craft that the "choral canons [i
difficult to hear harmonically than any earlier mu
word-music relationships are also more difficult t
nevertheless, some can be found.
As Canticum Sacrum opens with the "Dedicati
chant with a few added accidentals (Measures 1-9
ingly chromatic. In the third section, "Caritas," th
ten in serial techniques. As the tenor sings of love
ond part, "Surge, aquilo," the melody is flowing
sung J> = 92, espressivo, dolce, cantabile.
It is not until the fourth part, "Spes," that wor
come close. This section uses twelve-tone technique
bile, nonfy as the tenors and basses sing, "Qui c
trusts in the Lord"] "sicut mons Sion" ["shall be lik
"be like Mt. Zion" (Measures 148-153), the perf
music is subito piuf, every tone is accented, and t
"poco marcato." The accents and dynamics help
strength of Mt. Zion. (The return to "mf" immedi
anima mea" ["Sustain my soul"] highlights the i
dynamics.)
The first words of the fifth section "Fides" are "Credidi" ["I believed"].
All voices sing the descending minor second, the "pathos" or "lament" motif.
Over and over, we hear B-flat to A- ten times in all. The frequent use of this
melodic fragment (which recurs three times in Measure 214) is explained start-
ing at the end of Measure 221: "Ego autem humiliatus sum nimis" ["I was
afflicted greatly"]. Although twelve-tone techniques are used in the major por-
tion of this section, the descending minor second occurs repeatedly at the rep-
etitions of "Credidi" (Measures 214, 227, 228, 230, 231, 234) and during the
orchestral portion following (Measures 237,238, 239, 244), emphasizing the pa-
thos of the text.
Part IV of Canticum Sacrum is a dialogue between Jesus and the father of

an afflicted child. Jesus declares, "If thou canst believe, all things are possible
to him that believeth." "Et continuo exclamens pater pueri" ["And straight-
way exclaimed the father of the child"] continues the text. The music (Mea-
sures 274-278) becomes piu agitato at these words and it is performed piuttostof
e risoluto, the tempo increasing from J = 88 to J = 96. Here, Stravinsky uses
"Igor Stravinsky, Canticum Sacrum (London: Boosey and Hawkes, Ltd., 1956); composed
1955.
"Stravinsky and Craft, Conversations with Igor Stravinsky, p. 25.
dynamics and tempo to indicate "exclaiming," "crying ou

rimis aiebat" ["With tears he said"] follows, Doppiamento
tempo change indicating the changing mood of the words (M
Then, "Credo, credo, credo, credo, Domine," the father (bari
"Adjuva, adjuva, adjuva, adjuva incredulitatem meam
Lord; Help . . . my unbelief']. The descending minor second r
passage (Measures 284-287, 295, 303) as the father declare
knowing that he does not and pleading with God to help
are few texts more pathetic than this. Stravinsky has captur
pathos through his use of chromaticism, and, especially, thro
minor second combined with a slow tempo ( J = 60) and e
ance {quasi rubato, con discrezione e nonf).
Conclusions
Five works by Igor Stravinsky in which he used Latin tex

Symphony of Psalms, Threni, Canticum Sacrum, and Mass25- w
termine whether the composer related specific words of the t
Each of these compositions stems from a different period of
ative life, ranging from the Neo-Classical Oedipus to the seria
Specific word-music relationships were not found by this w
but in the other settings of Latin texts considered by this w
does use some conventional and traditional methods of ass
music.
Dynamics and melody are the two most frequently used parameters of
composition in Stravinsky's literal musical representation of words in the works
studied. Stravinsky believed melody to be the most essential of musical ele-
ments, ". . . not only because it is more immediately perceptible, but because
it is the dominant voice . . . not only in the specific sense, but also figuratively
speaking."26 He appears to have felt the need for melodic expression outside
the practices of serial composition, as in Canticum Sacrum, and in the highly
chromatic Threni. In both of these works, Stravinsky returned to repeated use
of the descending minor second, a motif used frequently in music history by
other composers to denote pathos, anguish, and grief.
Of dynamics, Stravinsky declared, "My musical structure does not de-
pend on dynamics - though my 'expression' employs them."27 Nevertheless, he
also wrote that the gradations in volume (in Oedipus) are structurally impor-
25Igor Stravinsky, Mass (London: Boosey and Hawkes, Ltd., 1948).

26Stravinsky,"/W/f of Musky p. 43.
"Stravinsky and Craft, Conversations with Igor Stravinsky, p. 151.
tant28 and that "the Oedipus singer must exploit d

numerous and precise, careful dynamics indica
works must all be followed to achieve a valid perf
this study, it is through the dynamics that the m
and action."30
A good deal of the commentary on Stravinsky's works has been of a gen-

eral nature with writers stating that he either did or did not carry out in his
musical compositions the precept that music is powerless to express anything
and that it is not within the realm of music to express the meaning of the text
of song. The analysis undertaken here has determined that there are word-mu-
sic relationships in selected settings of Latin texts with specific devices used in
association with specific aspects of the text. In these works, at any rate, Stravin-
sky was concerned with the expression of the thoughts, moods, and words of
the text.
The composer's use of these word-music relatioships, however, does not,
in and of itself, disprove his claims and belief in the non-expressive power of
music. He saw these purely musical techniques as "conventions," which, "un-
consciously or by force of habit," we have "lent to music," "thrust upon it."31
Nevertheless, the results of this study clearly demonstrate that he did, at times,
use conventional methods of relating words and music.
The important position that works such as Oedipus, Threni, Symphony of
PsalntSy and Canticum Sacrum occupy result from all the devices, and all the orig-
inality, power, and magnificence the composer brought to them.
28Igor Stravinsky, program notes, Oedipus Rex, Stravinsky, recording, Columbia Master-
works, ML 5872, 1963.
29Stravinsky and Craft, Dialogues and a Diary, p. 1 3.
30Stravinsky, An Autobiography, p. 195.
31Ibid.,p. 83.

Stravinsky and His Latin Texts Author(s) : Ruth Zinar Source: College Music Symposium, Vol. 18, No. 2 (Fall, 1978), Pp. 176-188 Published By: College Music Society Accessed: 21-09-2017 11:27 UTC

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Stravinsky and His Latin Texts Author(s) : Ruth Zinar Source: College Music Symposium, Vol. 18, No. 2 (Fall, 1978), Pp. 176-188 Published By: College Music Society Accessed: 21-09-2017 11:27 UTC

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Stravinsky and His Latin Texts

Author(s): Ruth Zinar

Dwight Allen states in Philosophies of Music History, "The ne-

assumes as its calling the expression of the meaning of the di

5Igor Stravinsky, Poetics of Music, trans. Arthur Knodel and Ingolf Da

the text as "phonetic material," concentrating h

Cocteau's concise libretto suggests Oedipus' pe

Fig. 1. Rapid, unaccented treatment of

eg' at- tu- le-ram

Fig. 2. Emphasis on word "ego" in Oedipus' role.

E- - go eg* Oe- di- - pus - -

f mLlj- > i I'nnnnnn

nit j j A/MaM .*! ^i^ i iM i i i , i . .^f^=

1?* f f fif'r It f fly t E' t ^ r m^ 1 ii

"ululare" ["clamoring," "howling"], there are crescen

Ex. II. "Clamare, ululare." (Melodic contour, "crescen

cla- ma- re u- lu- la- re

Among all the usual methods of relating words and m

Fig. 3. Sudden, rapid notes to illustrate subito.

l6Stravinsky and Craft, Expositions a

(The same melody is used starting at 129 and at 13

Specific word-music relationships in Oedipus Rex were found to be based

Stravinsky prefaced the score of Symphony of Psalms with the following

style form a musical expression of the words "

. Oh Lord. and [hear]... supplication., [my] Give ear to my tears]

y ' ' ' ' r ' '

*> y r r r r w r ' ' ' ' '

ben cant. i |2 i. MA7 >

Bbii- ben cant. rlirrlifjrr rl^n[jrl^rlrrrinrli^ i |2 i. MA7 >

The psalmist sings the praises of the Lord: "Hallelujah, prais

Threni (id est Lamentationes Jeremiae Prophetae)19

Latin, Stravinsky wrote in his autobiography, is "... a medium not dead

I.S. Of course not: the association is entirely due to conventions. . . . Never-

Stravinsky also suggested an association between "pathos" and chroma-

fact, already present in my String Concerto,"22

by the altos against sustained E's played by tuba and flu

(Final resolution to minor third from dissonance to represent return to "old.")

di- es nost- ros, si- cut a

I renew our days, as of old.

di- esnost- ros,

In Canticum Sacrum, Stravinsky used serial tech

Part IV of Canticum Sacrum is a dialogue between Jesus and the father of

dynamics and tempo to indicate "exclaiming," "crying ou

Five works by Igor Stravinsky in which he used Latin tex

25Igor Stravinsky, Mass (London: Boosey and Hawkes, Ltd., 1948).

tant28 and that "the Oedipus singer must exploit d

A good deal of the commentary on Stravinsky's works has been of a gen-

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