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Describe the stylistic features of the

third movement of Stravinskys

symphony of psalms that show it wascomposed in the 20thCentury

The last movement of Stravinskys Symphony of Psalms contains many of the quintessential features

of a large scale 20th

century orchestral composition. Written in 1930, during Stravinskys neoclassical

period, it is written for large symphony orchestra (without, somewhat puzzlingly, the inclusion of any

violins or violas) and the text used is psalm 150.

One of the main 20th century features of the Stravinsky is the move away from a traditional sense oftonality and having a sold definite key at all times. The piece also slips into bitonality at times. For

example, in bar 6 the harp, pianos and timpani play a bass ostinat o in C major while the melody

sung by the chorus is in Eb major, this is an example of bitonality. The same thing happens again

after the key change in bar 163, the melody suggests C minor while the bass line contains E naturals,

which suggest C major. Similarly, in bar 150 to 156 the tonality becomes unclear. A G major triad

ostinato is played by the bass trombone and the contrabassoon while seemingly unrelated chords,

such as D major, E minor and A minor are outlined by the sopranos and basses (who are, in turn,

imitated by the 1st

bassoon). Previous to the 20th

Century, practically all music had had a definite

tonal centre, making this sort of ambiguous tonality a common feature of 20th

Century music.

Another key 20th

Century feature of the last movement of the symphony of Psalms is the

extremely dissonant and complex use of harmony by Stravinsky. Stravinsky uses deliberately clashing

notes to create harmonic interest and raise tension. For example, in bar 48, he uses G#s that clash

against the D major harmony. In contrast to this dissonant harmony, that is characteristic of the 20th

century period, Stravinsky also makes uses full orchestral tutti, consonant C major chords (such as in

bars 22-23) that are very un-stylistic of the 20th

century period, but perhaps hints at the neoclassical.

Another 20th

century feature of the work is Stravinskys use of melody. He makes full use of the

octatonic scale, such as in the soprano part in bars 157-160. The melodic material in the quick

section at bar 24 is very stylistic of the 20

th

century. The horns and bassoons play a series ofrepeated notes that are very syncopated. This short syncopated phrase makes a large part of the

melodic material for this section of the movement. This contrasts with a lot of pre 20th

century music

where melodic material would be more phrased and melodic.

In conclusion, the third movement of Stravinskys symphony of psalms while containing many

features characteristic of the 20th

century period; it does certain features that hint at an earlier

period suggesting that there are elements of neoclassicism in this work.