||Alleluia (recurs at bars 102
Cadence into c minor
|Note how the voice parts slide around
chromatically, and how Stravinsky prepares for their entry with orchestral c
minor and F major chords.
||C major ostinato in bass, but
c minor (or E-flat major) in treble tune.
||Shock E-natural in bass part (bar 6
beat 4). The contrast and combination of the keys C and E-flat is important in
||in sanctis Ejus
Slow, minim movement
|E-flat in voice part clashes with
E-natural in bass.
||Laudate Eum in firmamento virtutis
Bass ostinato on C and G in groups of 3 on lower strings, pianos and harp,
doubled by flutes.
Horns fill out texture (bars 14-19).
Movement is slow
The 'offensive' bass E-natural is not repeated in bar 20.
Quiet C major chord, almost tutti.
|Flattened 7th (B-flat), played
quietly by 2nd cellos.
||Laudate eum in virtutibus ejus.
Laudate DOMINUM in virtutibus Ejus, laudate DOMINUM in sanctis Ejus.
||Notice how often the choir parts move
around the page, as a kaleidoscopic range of mainly woodwind, brass and
percussion instruments is employed.
section/introduction to choir
Speed almost doubles
||Laudate DOMINUM rhythm (see
bar 65) and double bass ostinato presented
||Repeat of 24-27 (with more activity:
horns play Laudate DOMINUM rhythm)
||... repeated, and combined....
||New countermelody on harp and
||... so we are ready for yet more new
||... full stop.
||More of the same, but Stravinsky
fragments the harp and trumpet call, and there are interjections from the
pianos and woodwind.
||E.T. Cone calls this sort of
compositional technique 'Stratification, Interlock and Synthesis'.
||Crescendo to Laudate DOMINUM
rhythm, in E major chords, on horns.
||Piano and woodwind triplet
||Whirlwind effect, of growing
||Tutti, loud chords
||... clinched by loud chords...
||Oboes, trombones and piano only
||... and now winds down. The sopranos
are specifically marked cant., non f (i.e. smoothly, not loud).
||Choral section: sopranos
and altos enter first
||Smooth cantabile style.C major
tonality (with B-flats).
||Angular staccato style.
E minor tonality.
||Smooth choral writing accompanied by
angular orchestral sounds. Crescendo to bar 99 (=bar of silence!)
Gentle woodwind-and-brass gurgling.
Moment of repose.
||Altered recapitulation of angular
music from 65-99.
Tonality:104 E-flat major
115 C major
118 G major
126 E major
131 F major/B-flat major
142 G major
144 A sharps introduced
147 F major chords hint at enharmonic change
148-150 to D major via F sharp major triad.
|Exciting new horn solo (bars 134-138)
and 'clinching' chords of greater dissonance (bar 141).
The tonal manoeuvres this section achieves are somewhat complex.
||Laudate eum in cordis
Link passage with new rhythm (dotted crotchet, quaver).
Crescendos into final section.
|Acerbic counterpoint: note how the D
major tonality is constantly undermined, such as at bar 154 (by an
|Bar 157-163 includes a chromatic
ascent in the soprano. Compare the complexity of this to the simplicity of the
double-bass ostinato which underpins it: this is why bar 163 does not sound
jarring: the bass has been emphasising B-flats, so E-flat is not too far
||Laudate eum in cymbalis,
Laudate eum in cymbalis, jubilationibus
Laudate DOMINUM, laudate Eum
Omnis spiritus laudet DOMINUM.
|Stephen Walsh writes: "The limpid
setting of 'Laudate Eum in cymbalis', with its almost mystical ecstasy, gets
its richness every bit as much from the balancing of tension between E-flat and
C as from the harmonic blend of threes and fours in the rhythmic ostinato."
[Music of Stravinsky, London 1988, p.154]
Part of the work's status as a masterpiece derives from its distanced treatment
of these joyous words.
||Shock E-natural in bass part
(again).The last chord has an attractive 'growl' made by the bottom C of both