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Symphony No. 3

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I have read the data protection statement and agree to its validity. This website uses cookies to ensure you get the best experience on our website. Profanation; and III. The first two movements are instrumental and the third features a mezzo-soprano soloist, singing a Hebrew text from the anguished poems of Jeremiah's Book of Lamentations.

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While not as explicitly theatrical as his later symphonies, The Age of Anxiety and Kaddish , Jeremiah is clearly motivated by a strong dramatic impulse. As Bernstein described it in his program notes for the March New York Philharmonic performances:. Thus the first movement 'Prophecy' aims only to parallel in feeling the intensity of the prophet's pleas with his people; and the Scherzo 'Profanation' to give a general sense of the destruction and chaos brought on by the pagan corruption within the priesthood and the people.

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The third movement 'Lamentation' , being a setting of poetic text, is naturally a more literary conception. It is the cry of Jeremiah, as he mourns his beloved Jerusalem, ruined, pillaged and dishonored after his desperate efforts to save it.


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  • The first theme of the Scherzo is paraphrased from a traditional Hebrew chant, and the opening phrase of the vocal part in the Lamentation is based on a liturgical cadence still sung today in commemoration of the destruction of Jerusalem by Babylon. Other resemblances to Hebrew liturgical music are a matter of emotional quality rather than of the notes themselves. Bernstein's longtime associate Jack Gottlieb has pointed out that Jeremiah contains more motives based on specific Jewish liturgical sources than Bernstein was consciously aware—a testament to his religious upbringing, which had been deeply infused with synagogue music and Hebrew studies.

    Most notably, each movement uses variations on two combined themes, one that comes from the Amidah a solemn prayer of the 'Eighteen Blessings,' used on festival mornings , and one from the K'rovoh the poetic expansion of the 'Eighteen Blessings' by the cantor.

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    Musically, each new section develops thematic material from the previous one. As Gottlieb has noted, the three movements constitute "a giant sonata-form wherein the movements are, successively, the exposition, development and recapitulation. Related Works Symphony No. Profanation from Symphony No. Frank Bencriscutto.

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