Stravinsky in Boston

Seventeen years ago the primitive, pagan rhythms of Le Sacre du Printemps established Russian Igor Stravinsky as the most original, most compelling of modern composers. Last week in Boston his Symphonic de Psaumes (Symphony of Psalms), in spirit far removed from his sensual celebration of fertility, was given as a part of the Boston Symphony's ambitious semicentennial program. The new Stravinsky takes as text three excerpts from the Psalms (in the English version: Psalm XXXIX, Verses 12, 13; XL: 1, 2, 3; CL complete), uses a chorus to describe in Latin the transition from abject penitence to exultant praise. In the orchestra are no violins, violas or clarinets but five flutes, many other wind instruments, drums, two pianos and a harp. Bostonians, though for the most part baffled by Stravinsky's new designs, sensed their importance, wanted another hearing. More immediate was Boston's grasp and appreciation of Stravinsky's scintillant Caprice for piano and orchestra, given its U. S. premiere the same afternoon.

This file is automatically generated by a robot program, so reader's discretion is required.