Basic Analysis on the Stravinsky’s Mass

2.9.13
Hanjin Sa

! ! ! ! ! Stravinsky Mass! !

Overview

-composed between 1944 and 1948 (Neoclassical peorid; anti Romatic aesthetic)
-inspired by Mozart’s Masses
-first performed in 1948 at the Teatro alla Scala, Milan by the La Scala orchestra and
chorus conducted by Ernest Ansermet
-follows the Roman Catholic Mass’ liturgical setting
-Instrumentation: mixed choir, two oboes, cor anglais, two bassoons, two trumpets and
three trombones
-Structure: Kyrie-Gloria-Credo-Sanctus-Agnus Dei
In large scale, the Mass forms a symmetrical plan. The outer movements (the Kyrie and
the Agnus Dei) contain homophonic choral statements with instrumental interludes, and
share a tonal vocabulary including octatonic, diatonic, and modal scales. By contrast,
the inner movements (the Gloria and the Sanctus) feature florid solo lines which
alternate with the choral statements, and the harmony is diatonic. The center
movement, Credo is the longest. It features static, syllabic, and declamatory text-setting
with a limited harmonic and rhythmic vocabulary. Long stretches of text often repeat a
single chord, evoking the reciting tone of Gregorian chant or the Orthodox liturgical
chant.

I. Kyrie (ABA; A (beginning to 3), B (3-two bars before 6), A (two bars before 6-the end)

The Kyrie contains nine short contrasted episodes for full chorus, accompanied by
orchestra. Each episodes are introduced by one bar orchestral interludes except 8 bar
the transition in the orchestra which brings back the text from Criste eleison to Kyrie
eleison. The Kyrie starts with the church bell like octaves in E flat from the orchestra.
The harmony is traditional, but every episode finishes with different chords. 1. A flat and
F, 2. B flat, 3,4. D (before 4 chorus ends on A making a half cadence to the orchestra to
finish on D), 5.A, 6. F9 with B flat, 7. F9, 8. E7, 9. G6 (before the end on G, there’s a
Tritone in Alto and Tenor)
The Instrumentation changes constantly in the different sections in the form. It starts
with the bell like octaves, then motor like in the B section played by oboes and
bassoons. At 4, it goes back to bell like motive in imitative form. At 5, 8 bar transition in
the orchestra sets up the chorus to recapitulate to the Kyrie eleison.
Basic Analysis on the Stravinsky’s Mass
2.9.13
Hanjin Sa
II. Gloria (idea of Flourishing and Embellishments like Pre-Renaissance Style)

The Gloria begins with a dialogue between oboe and trumpet; an alto solo joins and is
answered by solo soprano with an inversion of the alto's theme. The choir responds with
a chanted chord in changing meter with diminished note value, alternating with snatches
from the duet which is autonomous from the choir.

III. Credo

ABA; A (25-32)-B (32-36)-A (36-42)-Coda (42-the End)

Stravinsky noted: 'My Mass was not composed for concert performances but for use in
the church. It is liturgical and almost without ornament. In making a musical setting of
the Credo, I wished only to preserve the text in a special way. One composes a march
to facilitate marching men, so with my Credo I hope to provide an aid to the text. The
Credo is the longest movement. There is much to believe'.
Stravinsky resorts to the use of choral chant, the instruments providing background
color. The dynamic is at a constant piano, except at three marcato passages (poco piu
forte) in order to emphasize the words Ecclesiam (people)-peccatorum(sins)-mortuorum
(death). The movement then moves abruptly into the canonic a cappella Amen.

IV. Sanctus (Return to the florid style of the Gloria)

AB; A (43-48)-B (48-the End)

The oboes and trumpet declare the short-long rhythm at the beginning of the Sanctus;
this is followed by an answer of florid chant from two solo tenors; the full chorus then
takes up the short-long rhythm, which is further echoed by the trombones. This pattern
is repeated twice. A four-part fugue follows for solo voices, trumpet and trombone,
leading to the Hosanna in G major. At the end of the Hosanna, it finishes with B9 chord
on the fermata. The quiet and devotional Benedictus (with double dotted rhythm
accompaniment in bassoons which resemble the figures in the Symphony of Psalm)
begins and is developed and intensified to conclude with a repeat of the Hosanna
finishing in A major chord.

V. Agnus Dei

The Agnus Dei consists of three a cappella passages alternated with the orchestra. In
each repeat, the orchestral passages remain the same, but the choral passage is
developed firstly for the high voices, then the low voices then all together. The work
concludes on a breathless, unresolved chord consisting of three fifths.
Basic Analysis on the Stravinsky’s Mass
2.9.13
Hanjin Sa