Composed in 1930 and premiered on December 13, 1930 at the Palais des Beaux-Arts in Brussels by the Brussels Philharmonic Society under the direction of Ernest Ansermet. At the head of the score of the Symphony of Psalms, Stravinsky places this dedication: “This symphony composed to the glory of GOD is dedicated to the Boston Symphony Orchestra on the occasion of the fiftieth anniversary of its existence. » Although he accepted the commission from conductor Serge Koussevitzky (who would conduct the work a few days after its creation by Ernest Ansermet), he nonetheless refused the symphonic heritage of the 19th century. By including voices singing extracts from Psalms Nos. 38, 39 and 150 (according to the Vulgate numbering), it approaches the genre of the cantata: “My point of view on the mutual relationships of the vocal and instrumental parts coincided with that of the old masters of contrapuntal music who, too, treated them as equals and reduced neither the role of the choirs to homophonous singing, nor the function of the instrumental ensemble to that of accompaniment. » The orchestra, with its singular complement, reinforces the sacred dimension, since it often stylizes the sounds of organ and bells: numerous winds (but no clarinets), particularly in the high register; only bass strings (cellos and double basses); a harp, percussion and two pianos.
The work, which favors rigorous contrapuntal writing, testifies to the search for solemnity and simplicity that Stravinsky has been pursuing for several years. It is also distinguished by its structure, movements 2 and 3 lasting approximately twice as long as the movement which precedes them. In the first position, Exaudi orationem meam, Domine plays the role of a brief prelude to the marching rhythm, where the choir often sings its text in a psalmodic manner. Expectans expectavi Dominum gives rise to a fugue combining two main thematic elements (two “subjects”). The ample Alleluia, laudate Dominum includes several contrasting sections, juxtaposed without transition (a frequent type of construction for the composer), and ends with a lullaby that is both luminous and hieratic. Returning to the Orthodox faith in 1926, Stravinsky would subsequently compose several religious works, including his Mass, Canticum sacrum, Threni and, in 1966, Requiem Canticles, his last completed work.
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