Threni is dedicated to the memory of Alessandro Piovesan and commissioned by Norddeutschen Rundfunk. The premiere on 23 September 1958 in the Sala della Scuole Grande di San Rocco, Venice was conducted by Stravinsky.
The work is scored for SATTBB soloists, mixed choir, 2 flutes, 2 oboes, English horn, 2 clarinets in Bb and A (one doubling on alto clarinet in F), bass clarinet, sarrusophone, 4 horns, 3 trombones, Bb flugelhorn, tuba, timpani, tam-tam, piano, celeste, harp, and strings.
int: +5 -1 +3 +3 -4 +5 -3 +5 -4 +5 +1
I-0 I-5 I-4 I-7 I-10 I-6 I-11 I-8 I-1 I-9 I-2 I-3
P-0 Eb Ab G Bb C# A D B E C F F#
P-7 Bb Eb D F Ab E A F# B G C C#
P-8 B E Eb F# A F Bb G C Ab C# D
P-5 Ab C# C Eb F# D G E A F Bb B
P-2 F Bb A C Eb B E C# F# D G Ab
P-6 A D C# E G Eb Ab F Bb F# B C
P-1 E A Ab B D Bb Eb C F C# F# G
P-4 G C B D F C# F# Eb Ab E A Bb
P-11 D G F# A C Ab C# Bb Eb B E F
P-3 F# B Bb C# E C F D G Eb Ab A
P-10 C# F# F Ab B G C A D Bb Eb E
P-9 C F E G Bb F# B Ab C# A D Eb
The row contains many minor seconds which some commentators interpret as weeping or deep sighs.
The English translation below is from the King James version of the Bible as it appears in the preface of the miniature score. The Latin text is from the Vulgate, and includes Stravinsky's capitalization and punctuation. Where Stravinsky does not set an entire verse, the remaining translation of each verse is given in brackets.
| Incipit lamentatio Jeremiae Prophetae. | The beginning of the Lamentations of the Prophet Jeremiah. |
The text of the incipit is sung by alto and soprano soli.
Row use: ms. 1-18, R-0, RI-6,R-9, RI-3, RI-6.
1:1 ALEPH (ms. 19-61, RI-6 letter, text spoken in chorus, I-0 and I-6 in orchestra, at 42 singing with R-0 and RI-0)
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Quomodo sedet sola civitas plena populo! Facta est quasi vidua domina gentium: princeps provinciarum facta est sub tributo. |
How doth the city sit solitary, that was full of people! How is she has become as a widow! she that was great among the nations, and princess among the provinces, how is she become tributary! |
Stravinsky sets the text twice, once in Choral speaking, then for SA chor and Ten I solo.
1:2 BETH (ms. 62-67, RI-10 letter, Diophona I: R-0, RI-6, I-0, P-0)
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Plorans ploravit in nocte et lacrimae eius in maxillis eius [non est qui consoletur eam ex omnibus caris eius omnes amici eius spreverunt eam et facti sunt ei inimici] |
She weepeth sore in the night, and her tears are on her cheeks: [among all her lovers she hath none to comfort her: all her friends have dealt treacherously with her, and have become her enemies.] |
Stravinsky sets only the first third of the verse. "Plorans" descending minor second symbolizes pathetic weeping.
1:5 HE (ms. 68-107, P-7 & I-0 letter, the rest very similar to 19-61 with new text.)
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Facti sunt hostes eius in capite, inimici eius [Vulgate: "illius"] locupletati sunt. Quia Dominus locutus est super eam propter multitudinem iniquitatum eius. [parvuli eius ducti sunt captivi ante faciem tribulantis] |
Her adversaries are the chief, her enemies prosper; for the Lord hath afflicted her for the multitude of her transgressions. [Her children have gone into captivity before the enemy.] |
Stravinsky sets the text twice, once in Choral speaking, then for SA cor and Ten I solo.
1:11 CAPH (ms. 108-113, Diphona II: P-11, RI-0, R-0a; singing R-11, I-0, P-0, RI-5)
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[omnis populus eius gemens et quaerens panem dederunt pretiosa quaeque pro cibo ad refocilandam animam] vide Domine [et] considera quoniam facta sum vilis. |
[All her people sigh, they seek bread; they have given their pleasant things for meat to relieve the soul:] See, O Lord, and consider; for I am become vile. |
1:20 RES(H) (ms. 114-165, letter uses all forms of row starting on F# P-3, I-3, R-0, RI-6, the rest as 19-61.)
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Vide, Domine, quoniam tribulor, venter meus conturbatus est, [Stravinsky alters order here] subversum est cor meum in memet ipsa quoniam amaritudine plena sum. Foris interfecit gladius, et domi mors similis est |
Behold, O Lord, for I am in distress: my bowels are troubled; mine heart is turned within me; for I have grievously rebelled: abroad the sword bereaveth, at home there is as death. |
Stravinsky sets the text twice, once in Choral speaking, then for SA cor and Ten I solo.
Three statements for each letter in chapter three
3:1-3 ALEPH (ms. 166-172, monodia RI-6rot2, P-0rot3; R-0, I-0; R-0)
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Ego vir videns paupertatem meam in virga indignationis eius. Me minavit; et adduxit in tenebris, et non in lucem. [Stravinsky repeats] Tantum in me vertit, et convertit manum suam tota die. |
I am the man that hath seen affliction by the rod of his wrath. He hath led me, and brought me into darkness, but not into light. Surely against me is he turned; he turneth his hand against me all the day. |
3:4-6 BETH (ms. 173-178, canon a2 set rotation beginning on 2nd note of row: P-0rot1, I-6rot1, P-4rot1, I-10rot1; I-8rot2, RI-3rot2, I-0rot2, RI-7rot2; P-5(5-10), RI-0(4-12), R-0, P-11(5-10), RI-6(4-12), R-2)
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Vetustam fecit pellem meam et carnem meam, contrivit [Stravinsky repeats] ossa mea Aedificavit in gyro meo et circumdedit me felle et labore. In tenebrosis conlocavit me, quasi mortuos sempiternos. |
My flesh and my skin hath he made old; he hath broken my bones. He hath builded against me, and compassed me with gall and travail. He hath set me in dark places, as they that be dead of old. |
3:16-18 VAV (VAU) (letter R-0, ms. 179-187, canon a3: R-2(4,3,2,1,6,5), P-0(8-12), R-9(4,3,2,1,6,5), P-7(8-12), R-4(4,3,2,1,6,5), P-2(8-12); P-2(5-12,4-1), P-7(5-12,4-1), P-0(5-12,4-1); RI-10(7-1,8-12), RI-6(7-1,8-12), RI-2(7-1,8-12))
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Et fregit ad numerum dentes meos, cibavit me cinere. Et repulsa est a pace anima mea, oblitus sum bonorum. Et dixi: Periit finis meus, et spes mea a Domino. |
He hath also broken my teeth with gravel stones, he hath covered me with ashes. And thou hast removed my soul far off from peace; I forgat prosperity. And I said, My strength and my hope is perished from the Lord. |
3:19-21 ZAIN (ZAI) (ms. 188-143, letter P-0 and I-0, canon a4, duplex: RI-0rot3, RI-10rot3, RI-6rot3, RI-3rot3; RI-1, RI-4, P-4, R-4, P-10, R-10, RI-4, RI-7; R-9, RI-0rot5, R-8)
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Recordare paupertatis, et transgressionis meae, absinthii et fellis. Memoria memor ero, et tabescet in me anima mea. Haec [Vulgate: "hoc"] recolens in corde meo, ideo sperabo. |
Remembering mine affliction and my misery, the wormwood and the gall. My soul hath them still in remembrance, and is humbled in me. This I recall to my mind, therefore have I hope. |
Some analyists: minor second descent for pathos "Recordare"
Each letter is on one pitch or group of pitches, repeated three times. The letters from this section are made up of the RI-3 row form.
3:22-24 HETH (ms. 144-203, letter RI-3(1); I-0, RI-6rot2; I-0; RI-6)
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Misericordiae Domini [Stravinsky: "Domini-i"], quia non sumus consumpti; quia non defecerunt miserationes eius. Novi [Vulgate: "novae"] diluculo, multa est fides tua. Pars mea Dominus, dixit anima mea; propterea expectabo eum. |
It is of the Lord's mercies that we are not consumed, because his compassions fail not. They are new every morning: great is thy faithfulness. The Lord is my portion, saith my soul; therefore will I hope in him. |
3:25-27 TETH (ms. 204-216, letter RI-3(2); I-2(1-4), P-9(5-12), I-0)
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Bonus est Dominus sperantibus in eum, animae quaerenti illum. Bonum est praestolari cum silentio salutare Domini. Bonum est viro, cum portaverit iugum {ab adulescentia sua}. |
The Lord is good unto them that wait for him, to the soul that seeketh him. It is good that a man should both hope and quietly wait for the salvation of the Lord. It is good for a man that he bear the yoke in his youth. |
Some analysts: major harmonies in Teth symbolize hope and goodness. The last section of text in {curvy brackets} begin before "Bonum est viro" in the last line.
3:34-36 LAMED (ms. 217-230, letter RI-3(3-4); P-7(1-4), I-11(5-12), RI-5(no G, 4))
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Ut contereret sub pedibus suis omnes vinctos terrae; ut declinaret iudicium viri in conspectu vultus Altissimi; ut perverteret hominem in iudicio suo, Dominus ignoravit. |
To crush under his feet all the prisoners of the earth, To turn aside the right of a man before the face of the most High, To subvert a man in his cause, the Lord approveth not. |
Some analysts: epeated low notes after a wide leap symbolize crushing under feet, and subversion.
3:40-42 NUN (ms. 231-245, letter RI-3(5); R-0, I-0, P-0, I-0(1-3), RI-6)
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Scrutemur vias nostras, et quaeramus, et revertamur ad Dominum. Levemus corda nostra cum manibus ad Dominum in caelos. Nos inique egimus, et ad iracundiam provocavimus; idcirco tu inexorabilis es. |
Let us search and try our ways, and turn again to the Lord. Let us lift up our heart with our hands unto God in the heavens. We have transgressed and have rebelled: thou hast not pardoned. |
3:43-45 SAMECH (ms. 246-259, letter RI-3(6-7); R-0(12-7), P-0(7-12); RI-6(12-7), RI-0(6-1); RI-6(12-8), R-0(12-7), I-0(1-8), P-0(5-9), fragmented rows)
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Operuisti in furore, et percussisti nos, occidisti, nec pepercisti. Opposuisti nubem tibi, ne transeat oratio Eradicationem et abiectionem posuisti me in medio, populorum. [Stravinsky: "populo(o)rum"] |
Thou hast covered with anger, and persecuted us; thou hast slain, thou hast not pitied. Thou hast covered thyself with a cloud, that our prayer should not pass through. Thou hast made us as the offscouring and refuse in the midst of the people. |
Some analysits: wide leaps symbolize anger.
3:49-51 AIN (ms. 260-281, letter RI-3(8-9); R-9, R-9(3,2,1,12,11,10))
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Oculus meus adflictus est, nec tacuit, eo quod non esset requies. Donec respiceret et videret Dominus de caelis Oculus meus depraedatus est animam meam in cunctis filiabus urbis meae. |
Mine eye trickleth down, and ceaseth not, without any intermission. Till the Lord look down, and behold from heaven. Mine eye affecteth mine heart because of all the daughters of my city. |
3:52-54 SADE (ms.282-309, letter RI-3(10-11); RI-6, R-5; R-0, P-11, I-0; I-0, RI-5, P-11, I-1; Mixed row ends all pitches but A)
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Venatione ceperunt me quasi avem inimici mei gratis. Lapsa est in lacu vita mea, et posuerunt lapidem super me. Inundaverunt aquae super caput meum; dixi: perii. |
Mine enemies chased me sore, like a bird, without cause. They have cut off my life in the dungeon, and cast a stone upon me. Waters flowed over mine head; then I said, I am cut off. |
"Perii" is cut off from articulation and is in a straight rhythm.
3:55-57 COPH (ms. 310-321, letter RI-3(12); R-1, I-1, P-1; R-1, I-1, I-1, P-1; I-1, mixed row forms as 309, but including A)
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Invocavi nomen tuum, Domine, de lacis novissimo. [Vulgate: "novissimis"] Vocem meam audisti; ne avertas aurem tuam a singultu meo {et clamoribus.} Appropinquasti [Vulgate : "adpropinquasti"] in die quando invocavi te; dixisti: Ne timeas. |
I called upon thy name, O Lord, out of the low dungeon. Thou hast heard my voice: hide not thine ear at my breathing, at my cry. Thou drewest near in the day that I called upon thee: thou saidst, Fear not. |
3:58-60 RES
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Iudicasti, Domine, causam animae meae, redemptor vitae meae. Vidisti, [Stravinsky repeats] Domine, iniquitatem illorum adversum me. [Vulgate: "adversum me iudica iudicium meum"] Vidisti omnem furorem universas cogitationes eorum adversum me. |
O Lord, thou hast pleaded the causes of my soul; thou hast redeemed my life. O Lord, thou hast seen my wrong: [judge thou my cause.] Thou hast seen all their vengeance and all their imaginations against me. |
3:58 Res (measures 322-327): P-0rot3, RI-0 in orch. Soprano R-0, RI-6. Alto I-5, R-5.
3:59 Res (measures 328-335): Soprano I-0, RI-6. Alto RI-1, I-7. Instruments as measures 321-327.
3:60 Res (measures 336-343): Soprano R-11, RI-9. Alto I-2, P-11. Instruments as measures 321-327.
3:61-63 SIN (SEN)
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Audisti obprobria eorum Domine {omnes cogitationes eorum adversum me.} Labia [Stravinsky repeats] insurgentium mihi {et meditationes eorum adversum me tota die.} Sessionem eorum, et resurrectionem eorum vide. {Ego [Stravinsky repeats] sum psalmus eorum.} |
Thou hast heard their reproach, O Lord, and all their imaginations against me. The lips of those that rose up against me, and their device against me all the day. Behold their sitting down, and their rising up; I am their musick. |
The text in {curvy brackets} is sung simultaneously with the preceding text.
Set permutation: use of every 2nd or 3rd note in set.
3:61 Sin (measures 344-347): Tenor RI-6 Permutation every other note, then retrograde (1-3-5-7-9-11-12-10-8-6-4-2). Bass R-0 Permutation every other note, then retrograde. Horns R-0 Permutation every third note, then begin again (1-4-7-10-2-5-8-11-3-6-9-12).
3:62 Sin (measures 347-352): Tenor R-0 Permutation every other note, then retrograde. Bass RI-6 Permutation every other note, then retrograde. Horns I-5?
3:63 Sin (measures 353-357): Tenor R-0 Permutation every other note, then retrograde. Bass RI-6 Permutation every other note, then retrograde. Horns I-5?
3:64-66 THAU (THAV)
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Reddes [Stravinsky : "Re(e)ddes"] eis vicem, Domine, iuxta opera manuum suarum. Dabis [Stravinsky: "Da(a-a)bis"] eis scutum cordis, laborem tuum. Persequeris [Stravinsky: "Perseque(e)ris"] in furore, et conteres eos sub caelis, Domine. |
Render unto them a recompence, O Lord, according to the work of their hands. Give them sorrow of heart, thy curse unto them. Persecute and destroy them in anger from under the heavens of the Lord. |
Vocal doublings interesting.
Letters in chorus four notes at a time I-0. Strings echo chorus four notes at a time R-0
3:64 Thau (measures 358-366): Soprano and Tenor solos in octaves P-11 (no 8th note), RI-5. Alto I-11. Bass R-0, I-6(6-12).
3:65 Thau (measures 367-375): Alto and Bass solos in octaves P-0 (no 8th note), RI-6. Soprano P-2. Tenor RI-6(6-1), RI-0(6-1).
3:66 Thau (measures 376-383): Soprano and Tenor solos in octaves P-1 (no 8th note), RI-7. Bass I-10. Alto RI-0(1-4), R-6(5-12).
No letters in chapter five.
"Oratio" (ms. 384, I-0, P-0)
| Oratio Jeremiae Prophetae. | The prayer of the Prophet Jeremiah. |
5:1 (ms. 385-390, I-6rot1, R-1)
| Recordare, Domine, quid acciderit nobis; intuere et respice obprobrium nostrum. | Remember, O Lord, what is come upon us; consider, and behold our reproach. |
Stravinsky sets half of the verse to Choir speaking and the other half to Soli.
5:19 (ms. 391-404, RI-2, RI-2, P-6, P-0)
| Tu autem, Domnine, in aeternum permanebis, solium tuum in generationem et generationem. [Vulgate: "generatione et generatione"] | Thou, O Lord, remainst for ever; thy throne from generation to generation. |
Stravinsky sets half of the verse to Choir speaking and the other half to Soli.
5:21 (ms. 405-411, Thick polyphonic row use. Orch: RI-3, RI-8) (ms. 412-419, R-0, P-0, RI-0, I-6; I-0, R-9, RI-6, P-3, much row sharing.)
| Converte nos, Domine, ad te, et convertemur; innova dies nostros, sicut a principio. | Turn thou us unto thee, O Lord, and we shall be turned; renew our days as of old. |
Stravinsky sets the final verse for tutti voices, homorhythmically.