s u t t o n c o n c e r t s e r i e s STRAVINSKY SACRAL E S N O /C E PROFANAS & S Y M P H O N Y O F P S A L M S SUNDAY, APRIL 29, 2018 8:00 PM SHARP CONCERT HALL — 1 — The University of Oklahoma School of Music presents Sacra/Profana: Choral Works by Igor Stravinsky SELECTIONS AND MUSICIANS Les Noces (1923) Part One Scene 1: At the Bride’s House Scene 2: At the Bridegroom’s House Scene 3: The Bride’s Departure Part Two Scene 4: The Wedding Feast Featuring University Chorale ∙ Oklahoma Festival Ballet Nicole Van Every, Jaquelin Matava, Joel Burcham, Mark McCory, soloists Jonathan Shames, Stephanie Shames, Jeongwon Ham, Igor Lipinski, piano DJ Handy, Louie Fehl, Colton Kirton, Danny Kocher, Grayson Rushing, Zac Simons, Jamie Whitmarsh, percussion Nilas Martins, choreography Monique Meunier, assistant choreography Boyko Dossev, ballet master Neil Whyte, stage manager Lloyd Cracknell, costume designer Cast Family One Family Two Bride – Katie Wolfe Groom – Robert Montgomery Mother – Ruby Mather Mother – Amanda Evans Father – Kieran King Father – Boyko Dossev Girl 1 – Colleen Reed Boy 1 – Micah Bullard Girl 2 – Chiara Ruff Boy 2 – Aedan Donovan Girl 3 – Hannah LeComte Boy 3 – Noah Klarck Intermission Symphony of Psalms (1930, rev. 1948) I. PSALM 38: 13-14 II. PSALM 39: 2-4 III. PSALM 150 Featuring University Chorale ∙ Women’s Chorus ∙ Men’s Glee Club ∙ The Norman Philharmonic — 2 — PROGRAM NOTES Les Noces Igor Stravinsky (1882-1971) conceived quotations of Russian folk melodies Goncharova (1881-1962) created the of the idea of the dance-cantata, Les retaining classical tonality and creating a original plain costumes and colorless Noces (Svadebka - The Wedding) on the kaleidoscope of fragments. decor. Les noces was performed three subject of a Russian peasant wedding as years later in London and was panned by early as 1912, completing the work after Stravinsky described Les Noces as, “… critics. However, the famous writer H.G. several scoring revisions in April 1923. a suite of typical wedding episodes told Wells (1866-1946) was a member of the Stravinsky subtitled the work, “Russian through quotations of typical talk. The audience at the London performance Choreographic Scenes with Singing and latter, whether the bride’s, the groom’s, and objected to the virulent attacks, Music.” Commenting on the genesis of the parents’, or the guests’, is always penning an open letter to the critics on the work, Stravinsky observed, ritualistic.” In commenting on the June 18, 1926: symbolism represented in Les Noces, “As my conception developed, I Margarita Mazo, professor emeritus and “Writing as an old-fashioned popular began to see that it did not indicate distinguished scholar at The Ohio State writer, not at all of the highbrow sect, I the dramatization of a wedding or the University wrote, feel bound to bear my witness on the accompaniment of a staged wedding other side. I do not know of any other spectacle with descriptive music. My “From the many rituals surrounding the ballet so interesting, so amusing, so fresh wish was, instead, to present actual preparations of the bride and groom, or nearly so exciting as Les Noces. I want wedding material through direct Stravinsky abstracted one parallel: the to see it again and again, and because quotations of popular — i.e., non-literary combing of the bride’s kosa (tress) and I want to do so I protest this conspiracy — verse.” the groom’s kudri (curls). As the eventual of willful stupidity that may succeed in rebirth of the bride and groom into a driving it out of the programme.... Stravinsky selected and adapted poems single entity is the purpose of the entire from a collection by folklorist Pyotr ritual, a third symbol was abstracted: That ballet is a rendering in sound and Kirievsky (1808-1856), organizing the krovat’ (bed), an episode in which vision of the peasant soul, in its gravity, work into four tableau or scenes in two the young couple are seen off to the in its deliberate and simpleminded parts. bedchamber.” intricacy, in its subtly varied rhythms in its deep undercurrents of excitement, that In part one, the first tableau is “at the Although Stravinsky completed the will astonish and delight every intelligent bride’s” or “the braid” and depicts the sketch of Les Noces in October 1917, man or woman who goes to see it. The ritual braiding or tressing of the bride’s he did not complete the scoring for silly pretty-pretty tradition of Watteau hair in preparation for the wedding another five years. Not until 1921, while and Fragonard is flung aside. Instead of ceremony. Elements of ritual lamentation staying as a guest in the home of Coco fancy dress peasants we have peasants (loss of virginity, children, etc.) and prayer Chanel did Stravinsky settle on the in plain black and white, and the form the thematic heart of the scene. In scoring of four pianos and percussion, smirking flirtatiousness of Daphnis and the second tableau, the episode unfolds feeling that this would, “…fulfill all my Chloe gives place to a richly humorous “in the groom’s house.” Central to this conditions…. It would be at the same solemnity. scene is the ritual adoration of the groom time perfectly homogeneous, perfectly and the invocation of blessings from impersonal, and perfectly mechanical.” It was an amazing experience to come God and of Orthodox saints. Leaving This period of experimentation lead the out from this delightful display with the groom’s house, the third tableau, conductor Robert Craft to note, “… of all the warp and woof of music and vision the parents lament “the departure of Stravinsky’s works, Les Noces underwent still running and interweaving in one’s the bride,” observing that children leave the most extensive metamorphosis.” mind, and find a little group of critics the nest never to return. “Let her depart Craft conjectures that Les Noces may flushed with resentment and ransacking from those she loves” well have taken Stravinsky the longest the stores of their minds for cheap time to compose of any work. trite depreciation of the freshest and In part two, the fourth tableau is “the strongest thing that they had a chance to wedding feast” in which the slightly Les Noces received it’s premiere by praise for a long time.” coarse and tipsy fun of the guests is the Ballet Russes on June 13, 1923 at highlighted by various soloists and the Théâtre de la Gaîté in Paris with This evening, Les Noces is sung in groups of soloists representing the choreography by Bronislava Nijinska English. characters varied and irregular meters. (1891-1972), who referred to the work Stravinsky now includes only occasional as “a choreographic concerto.” Natalia — 3 — PROGRAM NOTES Symphony of Psalms The mid-1920’s marks the beginning of personally, of the years between the In commenting on the end of the the Neo-classical period of Stravinsky’s World Wars. Symphony of Psalms, Stravinsky wrote, compositional approach, a period “I decided to end the work with this which revealed most clearly Stravinsky’s Stravinsky’s use of “academic formulas” music [Alleluia] too, as an apotheosis of appreciation of older musical traditions. is most clearly seen in the second the sort that had become a pattern in Of these approaches, Stravinsky wrote, movement, in which he employs the my music since the epithalamium at the “The more art is controlled, limited, highly-controlled imitative polyphonic end of Les Noces.” Stravinsky dedicated worked over, the more it is free.” He structure, the double fugue. Indeed, the Psalms, “To the glory of God and also observed, “…I always use academic Stravinsky referred to this movement as the Boston Symphony.” He once told a formulas knowingly as I would folk an, “upside-down pyramid of fugues.” reporter, “The more you cut yourself off knowingly and voluntarily…. They are Stravinsky begins the movement with a from the canons of the Christian church, raw materials for my work.” slow fugal subject played by solo treble the more you cut yourself off from the instruments, which vividly paints the text truth.” Stravinsky’s publisher, Serge Koussevitsky of Psalm 40:1-3 (Vulgate, 39): “I waited (1874-1951), the conductor of the Boston patiently for the Lord.” Commenting on The first performance of Symphony Symphony Orchestra, commissioned the text, Stravinsky wrote, “Psalm 40 is of Psalms was not given in Boston, Stravinsky to compose a work for the a prayer that a new canticle may be put but rather in Belgium by the Société fiftieth anniversary of the Orchestra. into our mouths. The Alleluia [Mvmt. 3] is Philharmonique de Bruxelles on Having considered a psalm-symphony that canticle….” December 13, 1930, under the direction idea for some time, Stravinsky composed of the Swiss conductor, Ernest Ansermet the Symphony of Psalms in 1930 (rev. The choice of Psalm 150 and the (1883-1969). A provision in Stravinsky’s 1948), describing the work as, “…not corresponding fast music from the third contract stipulated that, should the a symphony in which I have included movement (Laudate Dominum), were premiere not be given by the Boston Psalms to be sung. On the contrary, it the first ideas to occur to Stravinsky in Symphony by late November 1930, a is the singing of the Psalms that I am composing the Symphony of Psalms. European premiere could instead take symphonizing.” Reinterpreting Koussevitsky’s request place. Koussevitsky’s illness delayed the for “something popular,” Stravinsky performance by the Boston Symphony Stravinsky’s interest in focusing attention chose Psalm 150, which he viewed and the chorus of the Cecilia Society on the text, and his desire to depart from to be universally admired.