Igor Stravinsky In his 'Chroniques de ma vie', published in 1935 and 1936, Igor Stravinsky sharply criticized a Parsifal performance he had seen in Bayreuth in 1912.[1][4] He rejected the notion that art should serve as religion and theater as a temple. His sacred music demonstrates his appreciation for medieval clarity, which clearly delineates the boundaries between these realms. After a period of distancing himself from the Orthodox Church, he returned to it between 1925 and 1926, prompted by the poor quality of the liturgical music he heard. This led to the creation of sacred choral works such as Pater Noster, Credo, and Ave Maria. These simple compositions demonstrate Stravinsky's connection to the church music tradition, which he further developed through his own innovations and recollections of church services from his youth.
[1][4] Stravinsky began completing these choral works in 1926, 1932, and 1934. His compositions are characterized by simplicity, strive for modal harmony, and are deeply moving in their simplicity. The Latin text and a clear version of the Credo from 1964 are based on his work. While working on the Credo, the idea arose to set the complete Mass to music, which he finally realized in 1948. In the meantime, he completed the Symphony of Psalms and the cantata Babel. The Mass, composed for wind instruments as well as male and boy voices, represents a remarkable fusion of diverse musical influences. Stravinsky's works are characterized by originality and artistic versatility in both sacred and secular music.
Stravinsky's Symphony of Psalms was composed in 1930 and revised in 1948. The selection of psalms reveals a profound emotional connection and offers glimmers of hope amidst human suffering. The music radiates an inner strength characteristic of true liturgical music. Both the Mass and the Symphony of Psalms speak a unique musical language, drawing on Byzantine music and the Catholic polyphonic repertoire. Stravinsky used Church Slavonic and Latin texts, and the instrumentation of woodwind and brass instruments is significant.
A trip to Rome inspired Stravinsky to compose the 'Canticum Sacrum ad honorem Sancti Marci Nominis'. In this work, he explores the life of Saint Mark and uses Latin texts from various parts of the Bible. The structure of the five movements reflects the layout of St. Mark's Basilica in Venice. Word and number symbolism permeate the composition, setting striking accents. Stravinsky's music testifies to his profound connection with diverse cultural and spiritual influences, which merge in a fascinating way in his works.