Prayers of Kierkegaard

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Prayers of Kierkegaard was written between 1942 and 1954 by Samuel Barber. It is a one movement extended cantata, with four main subdivisions and is based on prayers by Soren Kierkegaard. It is not one of his more well known pieces.

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[edit] Origins

Samuel Barber began writing his one movement, multi sectioned extended cantata Prayers of Kierkegaard in 1942 and took 12 years to complete this work with the commission of the Koussevitzky Music Foundation. The piece is written for chorus, large orchestra, soprano solo and incidental tenor and alto solos. It was premiered on December 3rd 1954 by the Boston Symphony Orchestra, the Cecilia Society Chorus and soprano Leontyne Price for which the piece was actually written, with Charles Munch conducting. The piece was given its New York premiere four days later, and both concerts were received with critical acclaim.

[edit] Historical Significance

Samuel Barber chose a selection of prayers by philosopher and theologian Soren Kierkegaard, derived from his books Journals, The Unchangeableness of God and Christian Discourses. These words were a harsh discourse of the vague practices of the Danish church, and were a direct reflection of Barber's orthodox Presbyterian-Quaker background.[1] In direct correlation with the Hermit Songs (1953) Barber began to use sacred texts to show the realistic but extremely hopeful outlook of American Christianity, especially Protestantism during this period. Barber once said when speaking about the piece, "One finds here three basic truths, imagination, dialectic, and religious melancholy. The truth Soren Kierkegaard sought after was a truth which was a truth for me. Can any definition of a faith be clearer?" This quotation depicts his desire to show once and for all that he was a good Presbyterian and also that he could depict this through concise musical ideas, simplifying the texts.

[edit] Musical Significance

Prayers of Kierkegaard was an unequivocal religious statement that Samuel Barber divided into 4 distinct parts each representing a different prayer, although they were within one movement. The first section speaks of God the unchangeable and begins in one of the oldest musical thoughts, unaccompanied chant which Barber was once quoted to say was the "only religious music possible." It then continues with the orchestra responding to the chant in imitative counterpoint till the chorus and orchestra join in climax on the words "Thou Art Unchanging" repeating the theme of the text. In the second section, which is recited in first person, the soprano solo receives the melody from an oboe solo. This minimalism is changed in the third movement that reflects Russian chorus writing(1)in the thickness of the lines. This prayer grows in both the chorus and the orchestra, until it expands into a dance which ends with the sempre forte "Father In Heaven" by the chorus. The forth section then gradually loses momentum becoming distant memories of the bells and strings that dominated moments before. The four part chorale that ends the piece reflects the beauty and hopeful nature of Barber's religious views. The piece's constant momentum, through many different mediums and musical ideas. His deciphering of the text and reflection of said text in the music is what makes this piece so extraordinary. The composer was also quoted as saying "one finds his three basic traits of imagination, dialectic and religious melancholy. The truth he sought after was a truth for me, one that demanded sacrifice and personal response. This is one of Samuel Barber's most personal works and it is shown though this amazing music as "the prayers Barber chose to set were taken from Kierkegaard’s journals and sermons, and reflect both Kierkegaard’s and Barber’s belief in the power of God’s redemption through affirmative human deeds and personal self-awareness."[2]

[edit] External links