Stravinsky Symphony of Psalms Poulenc Gloria Robert Shaw Vinyl LP Record VG+

Description: Yes we combine shipping for multiple purchases.Add multiple items to your cart and the combined shipping total will automatically be calculated. Stravinsky Symphony of Psalms Poulenc Gloria Robert Shaw Vinyl LP Record VG+ Vinyl / Jacket Grade per Goldmine Standard: VG+ / VG+; Jacket still in shrink Stravinsky, Poulenc, Saramae Endich, The Robert Shaw Chorale, RCA Victor Symphony Orchestra, Robert Shaw – Stravinsky: Symphony Of Psalms / Poulenc: Gloria Stravinsky - SYMPHONY OF PSALMSPoulenc-GLORIASaramae Endich, Soprano SoloTHE ROBERT SHAW CHORALERCA Victor Symphony OrchestraRobert Shaw, ConductorTwo significant religious works of the twentiethcentury meet here-not face to face, but back toback. One may take this as symbolic, for withfew exceptions they set out toward the same goalon diametrically opposite paths. Even in theiruse of Latin they are parallels that never meet.Yet their double dedication is remarkably simi-lar, and Francis Poulenc would have been thefirst to acknowledge his musical indebtedness tocertain phrases owned by Igor Stravinsky.While the Symphony of Psalms was dedicated in1930 to the Boston Symphony Orchestra, it was—so the score states—“composed to the glory ofGOD.” Thirty years later, the Gloria was dedi-cated to the memory of Serge and Natalie Kous-sevitzky, but the composer observed that in thisscore he had “tried to write a joyous hymn to theglory of God.”As it says in the Gospel of St. John, “in myfather’s house are many mansions.” These twoworks—while sharing reverence and daring, indi-viduality and maturity—are drastically differentin their approach to religious art. In its own way,each is valid, each inspired.For Stravinsky, who experienced in the year pre-ceding this composition a kind of re-conversion(to the Orthodox Church of his youth), the Sym-phony became a testament of his return to thefaith. Poulenc had never left his Catholicism, al-though he liked to describe himself as “halfmonk, half bounder.” The Russian-born inter-nationalist composer has always been at homewherever he could work; he wrote the Psalmslargely in Nice. Poulenc could compose nowhereelse but at his home in Touraine; to him, musicwas “like wine that can grow only in its ownsoil.” Stravinsky is moved to creation by a con-cept of form; he shapes a ritual—austere, delim-ited, impersonal. Poulenc celebrates his joy infaith with gestures that are expressive, indulgent,personal. Stravinsky’s ritualistic mode, innate tohim, recurs in the later Mass, Canticum Sacrumand Threni. Poulenc’s Mass in G and StabatMater are much earlier, and so are many otherreligious pieces culminating in his opera, LesDialogues des Carmelites (1956).For Stravinsky, the task was to write a sym-phony, and a text had to be sought to fit the con-ception; thus he rigorously resists the temptationto sound-paint or to dramatize the words. ForPoulenc, the design was virtually predeterminedby the fixed words of the liturgy, and he allowshis music to be guided as well as stimulated bythe text. Stravinsky, the master of the orchestra,thinks instrumentally; Poulenc, the master songcomposer, bears the human voice in constantmind. Yet Stravinsky, the greatest of all balletcomposers, this time forswears the dance almostcompletely, is utterly in earnest; Poulenc remainsfor the most part as playful as ever.The Russian, long resident abroad, builds nearthe mid-point of his career a synthesis of the neo-baroque language he has developed and taughtto Western music; the stylistic result is homo-geneous and ultimately inimitable. The French-man is eclectic and unconcerned; near the closeof his life, he continues to make music with Mo-zartean directness and charm. As against Stra-vinsky’s striving for a profound monumentality,Poulenc provides what a noted critic has called“a delightfully sophisticated exercise in seemingnaivete”; he incorporates folk-song and city-song (indeed, the Parisian chanson), with all thesmiling trust of the Jongleur de Notre Dame.Where Stravinsky’s music is ascetic, forbiddingand proud, Poulenc’s is attractive, ingratiatingand humble. Color as such means little to Stra-vinsky in this instance; there are no violins andviolas in his orchestra, and polyphonic texturesof Byzantine severity are aimed for. Poulencspeaks of his colors here as “primary—rude, vio-lent, like the Provence Chapel of Matisse.” Inthe Symphony of Psalms, Stravinsky profferspenance, redemption and a closing ritual ofpraise that is powerful and compelling; religionand esthetics join in a deep and perhaps historicexperience. In the Gloria, Poulenc sings of hisown irrepressible foie de vivre, gives rein to hisgenerous instincts, and offers the warmth of hisheart to the service of God and the delectationof man. lp1026s-1643g lp5493-BB

Price: 7.96 USD

Location: Kingsport, Tennessee

End Time: 2024-12-17T01:31:18.000Z

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