{"id":82965,"date":"2020-11-08T16:59:52","date_gmt":"2020-11-08T14:59:52","guid":{"rendered":"https:\/\/wp.929.org.il\/?p=82965"},"modified":"2020-11-08T16:59:52","modified_gmt":"2020-11-08T14:59:52","slug":"innovative-religious-neo-classicist-modernism","status":"publish","type":"post","link":"https:\/\/wp.929.org.il\/en\/innovative-religious-neo-classicist-modernism\/","title":{"rendered":"Innovative Religious Neo-Classicist Modernism"},"content":{"rendered":"
<\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":7,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[281],"tags":[],"acf":{"old_id":"82965","type":"no","iframe":"","writer":79834,"related_cahpter":"607","type_929":"2","show_author_image":false,"old_create_date":"","old_url":"","post_main_content":{"description":"A new series - this time: Igor Stravinsky\r\n\r\n","content":"

Igor Stravinsky, Symphony of Psalms (1930), part 2, Psalms 40:2-4<\/span><\/p>\n

Igor Stravinsky (1882-1971) traversed a lot of ground in his path-breaking compositions. After his sensationalist ballets (such as the Rites of Spring, 1913), his work underwent a transition, influenced by, among other things, the War, and he became a \u201cneo-classicist.\u201d<\/span><\/p>\n

He focused on erasing everything that could be construed as romantic in music, and returned to the old, classic forms, compact ensembles, strived to recreate a sense of humor that was lost with Wagner and Tchaikovsky, and gradually began to establish a dry and accurate form of expression, rhythmic and unexpected, that sounded very \u201cclassical,\u201d but was also different and uniquely his.\u00a0<\/span><\/p>\n

It wasn\u2019t until the thirties that new style became more prominent, and turned to expressing more of the sublime in music – and the Symphony of Psalms is one of the first indications of this. The work reflects the tendency of Stravinsky and other neo-classicists (mainly in France) to seek inspiration in the ancient world.\u00a0<\/span><\/p>\n

For most of his life, Stravinsky was not known to be a particularly religious person, but beginning in the mid-twenties, he led the life of a believing Christian. The combination of Stravinsky\u2019s style, his faith and the Latin text gave birth to a creation that immediately became a recognized masterpiece, and an icon of modernism of the interwar years.\u00a0<\/span><\/p>\n

According to Stravinsky, the Symphony of Psalms\u00a0 is not \u201ca symphony which includes within it chapters of psalms, but rather chapters of psalms that are arranged in a symphonic style.\u201d And, in fact, the work is built of three psalms in Latin, which become three symphonic movements. First is Psalm 39, pessimistic and full of suffering, and here, in the second movement, Psalm 40, which takes the suffering person to new heights of ecstasy and belief.\u00a0<\/span><\/p>\n

This division between verses 2-3 and 4 is very evident in the structure of the movement. It is primarily a fugue for woodwinds, which is heard for the first two minutes without the choir. The theme is essentially new-classical; it sounds like Bach, but with a very modern melody. The choral voices integrate into the fugal imitations, which reflect the person, struggling and suffering, who then transcends them, and in the end, breaks out with \u201ca new song.\u201d<\/span><\/p>\n

The Yale Symphony Orchestra and Yale Glee Club conducted by Toshiyuki Shimada at Yale University, Woolsey Hall in New Haven CT.<\/span><\/p>\n

Text: Psalm 40: 2-4<\/span><\/p>\n\n\n\n
\n

Expectans expectavi Dominum,<\/span><\/p>\n

et intendit mihi.\u00a0 Et exaudivit preces meas; et eduxit me de lacu miseriae, et de luto f\u00e6cis.<\/span><\/p>\n

Et statuit super petram pedes meos: et direxit gressus meos.<\/span><\/p>\n

Et immisit in os meum canticum novum, carmen Deo nostro. Videbunt multi, videbunt et timebunt: et sperabunt in Domino.<\/span><\/p>\n<\/td>\n

\n

\u05e7\u05b7\u05d5\u05bc\u05ba\u05a3\u05d4 \u05e7\u05b4\u05d5\u05bc\u05b4\u05a3\u05d9\u05ea\u05b4\u05d9 \u05d9\u05b0\u05d4\u05d5\u05b8\u0591\u05d4 \u05d5\u05b7\u05d9\u05bc\u05b5\u05a5\u05d8 \u05d0\u05b5\u059d\u05dc\u05b7\u0597\u05d9 \u05d5\u05b7\u05d9\u05bc\u05b4\u05e9\u05c1\u05b0\u05de\u05b7\u05a5\u05e2 \u05e9\u05c1\u05b7\u05d5\u05b0\u05e2\u05b8\u05ea\u05b4\u05bd\u05d9\u05c3<\/span><\/p>\n

I put my hope in the LORD; He inclined toward me, and heeded my cry.<\/span><\/p>\n

\u05d5\u05b7\u05d9\u05bc\u05b7\u05e2\u05b2\u05dc\u05b5\u05a4\u05e0\u05b4\u05d9 \u05c0 \u05de\u05b4\u05d1\u05bc\u05a5\u05d5\u05b9\u05e8 \u05e9\u05c1\u05b8\u05d0\u05d5\u05b9\u05df\u05ae \u05de\u05b4\u05d8\u05bc\u05b4\u05aa\u05d9\u05d8 \u05d4\u05b7\u05d9\u05bc\u05b8\u05ab\u05d5\u05b5\u05a5\u05df \u05d5\u05b7\u05d9\u05bc\u05b8\u0596\u05e7\u05b6\u05dd \u05e2\u05b7\u05dc\u05be\u05e1\u05b6\u05a5\u05dc\u05b7\u05e2 \u05e8\u05b7\u05d2\u05b0\u05dc\u05b7\u0597\u05d9 \u05db\u05bc\u05d5\u05b9\u05e0\u05b5\u05a5\u05df \u05d0\u05b2\u05e9\u05c1\u05bb\u05e8\u05b8\u05bd\u05d9\u05c3<\/span><\/p>\n

He lifted me out of the miry pit, the slimy clay, and set my feet on a rock, steadied my legs.<\/span><\/p>\n

\u05d5\u05b7\u05d9\u05bc\u05b4\u05ea\u05bc\u05b5\u05ac\u05df \u05d1\u05bc\u05b0\u05e4\u05b4\u05a8\u05d9 \u05c0 \u05e9\u05c1\u05b4\u05a5\u05d9\u05e8 \u05d7\u05b8\u05d3\u05b8\u05e9\u05c1\u05ae \u05ea\u05bc\u05b0\u05d4\u05b4\u05dc\u05bc\u05b8\u05aa\u05d4 \u05dc\u05b5\u05bd\u05d0\u05dc\u05b9\u05ab\u05d4\u05b5\u05a5\u05d9\u05e0\u05d5\u05bc \u05d9\u05b4\u05e8\u05b0\u05d0\u05a3\u05d5\u05bc \u05e8\u05b7\u05d1\u05bc\u05b4\u05a3\u05d9\u05dd \u05d5\u05b0\u05d9\u05b4\u05d9\u05e8\u05b8\u0591\u05d0\u05d5\u05bc \u05d5\u05b0\u059d\u05d9\u05b4\u05d1\u05b0\u05d8\u05b0\u05d7\u0597\u05d5\u05bc \u05d1\u05bc\u05b7\u05d9\u05d4\u05d5\u05b8\u05bd\u05d4\u05c3<\/span><\/p>\n

He put a new song into my mouth, a hymn to our God. May many see it and stand in awe, and trust in the LORD.<\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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