The Rite of Spring

2156: 975:, caused controversy and near-scandal because of the dancer's novel stylised movements and his overtly sexual gesture at the work's end. It is apparent from contemporary correspondence that, at least initially, Stravinsky viewed Nijinsky's talents as a choreographer with approval; a letter he sent to Findeyzen praises the dancer's "passionate zeal and complete self-effacement". However, in his 1936 memoirs Stravinsky writes that the decision to employ Nijinsky in this role filled him with apprehension; although he admired Nijinsky as a dancer he had no confidence in him as a choreographer: "the poor boy knew nothing of music. He could neither read it nor play any instrument". Later still, Stravinsky would ridicule Nijinsky's dancing maidens as "knock-kneed and long-braided Lolitas". 1213: 356: 2436:

in balance and sonority" to the earlier versions. A less musical motive for the revisions and corrected editions was copyright law. The composer had left Galaxy Music Corporation (agents for Editions Russe de la Musique, the original publisher) for Associated Music Publishers at the time, and orchestras would be reluctant to pay a second rental charge from two publishers to match the full work and the revised Sacrificial Dance; moreover, the revised dance could only be published in America. The 1948 score provided copyright protection to the work in America, where it had lapsed, but Boosey (who acquired the Editions Russe catalogue) did not have the rights to the revised finale.

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on strings and flutes. The transition into the "Mystic Circles" is almost imperceptible; the main theme of the section has been prefigured in the Introduction. A loud repeated chord, which Berger likens to a call to order, announces the moment for choosing the sacrificial victim. The "Glorification of the Chosen One" is brief and violent; in the "Evocation of the Ancestors" that follows, short phrases are interspersed with drum rolls. The "Ritual Action of the Ancestors" begins quietly, but slowly builds to a series of climaxes before subsiding suddenly into the quiet phrases that began the episode.

937: 1097:, who was working as an assistant to Nijinsky, recalled later that it was soon impossible to hear the music on the stage. In his autobiography, Stravinsky writes that the derisive laughter that greeted the first bars of the Introduction disgusted him, and that he left the auditorium to watch the rest of the performance from the stage wings. The demonstrations, he says, grew into "a terrific uproar" which, along with the on-stage noises, drowned out the voice of Nijinsky who was shouting the step numbers to the dancers. Two years after the premiere the journalist and photographer 1131:

direction, but we continued to play on". Around forty of the worst offenders were ejected—possibly with the intervention of the police, although this is uncorroborated. Through all the disturbances the performance continued without interruption. The unrest receded significantly during Part II, and by some accounts Maria Piltz's rendering of the final "Sacrificial Dance" was watched in reasonable silence. At the end there were several curtain calls for the dancers, for Monteux and the orchestra, and for Stravinsky and Nijinsky before the evening's programme continued.

1268:. In his memoirs, Stravinsky is equivocal about the Massine production; the young choreographer, he writes, showed "unquestionable talent", but there was something "forced and artificial" in his choreography, which lacked the necessary organic relationship with the music. Sokolova, in her later account, recalled some of the tensions surrounding the production, with Stravinsky, "wearing an expression that would have frightened a hundred Chosen Virgins, pranc up and down the centre aisle" while Ansermet rehearsed the orchestra. 1385: 1012:

fortnight before the opening, after Stravinsky's arrival in Paris on 13 May. The music contained so many unusual note combinations that Monteux had to ask the musicians to stop interrupting when they thought they had found mistakes in the score, saying he would tell them if something was played incorrectly. According to Doris Monteux, "The musicians thought it absolutely crazy". At one point—a climactic brass fortissimo—the orchestra broke into nervous laughter at the sound, causing Stravinsky to intervene angrily.

1309: 844: 55: 2428:, Stravinsky rewrote the "Evocation of the Ancestors" section and made substantial changes to the "Sacrificial Dance". The extent of these revisions, together with Ansermet's recommendations, convinced Stravinsky that a new edition was necessary, and this appeared in large and pocket form in 1929. It did not, however, incorporate all of Ansermet's amendments and, confusingly, bore the date and RV code of the 1921 edition, making the new edition hard to identify. 11483: 8212: 7814: 7257: 247:, developed by Roerich from Stravinsky's outline idea, is suggested by its subtitle, "Pictures of Pagan Russia in Two Parts"; the scenario depicts various primitive rituals celebrating the advent of spring, after which a young girl is chosen as a sacrificial victim and dances herself to death. After a mixed critical reception for its original run and a short London tour, the ballet was not performed again until the 1920s, when a version choreographed by 1033: 224:. Many have called the first-night reaction a "riot" or "near-riot", though this wording did not come about until reviews of later performances in 1924, over a decade later. Although designed as a work for the stage, with specific passages accompanying characters and action, the music achieved equal if not greater recognition as a concert piece and is widely considered to be one of the most influential musical works of the 20th century. 722: 7268: 2144: 2127: 995:, after hearing Stravinsky play a piano version, was to leave the room and find a quiet corner. He drew Diaghilev aside and said he would never conduct music like that; Diaghilev managed to change his mind. Although he would perform his duties with conscientious professionalism, he never came to enjoy the work; nearly fifty years after the premiere he told enquirers that he detested it. In old age he said to Sir 8222: 452:. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, "the very essence of a great personality". 11507: 1965: 2190:

century's most influential compositions, providing "endless stimulation for performers and listeners". Taruskin writes that "one of the marks of The Rite's unique status is the number of books that have been devoted to it—certainly a greater number than have been devoted to any other ballet, possibly to any other individual musical composition ..." According to

1182:. Stravinsky merely recalled a celebratory dinner with Diaghilev and Nijinsky, at which the impresario expressed his entire satisfaction with the outcome. To Maximilien Steinberg, a former fellow-pupil under Rimsky-Korsakov, Stravinsky wrote that Nijinsky's choreography had been "incomparable: with the exception of a few places, everything was as I wanted it". 2173:

especially with the final bars that conclude the work. The abrupt ending displeased several critics, one of whom wrote that the music "suddenly falls over on its side". Stravinsky himself referred to the final chord disparagingly as "a noise", but in his various attempts to amend or rewrite the section, was unable to produce a more acceptable solution.

2420:, RV196), dated 1913. Publication of the full orchestral score was prevented by the outbreak of war in August 1914. After the revival of the work in 1920 Stravinsky, who had not heard the music for seven years, made numerous revisions to the score, which was finally published in 1921 (Edition Russe de Musique, RV 197/197b. large and pocket scores). 2101: 2405: 375:, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera 2389:(1963), was "less good than I had hoped ... very bad tempi and some tasteless alterations". He praised a 1962 recording by The Moscow State Symphony Orchestra for making the music sound Russian, "which is just right", but Stravinsky's concluding judgement was that none of these three performances was worth preserving. 823:, culminating in a frenzied dance as the people embraced the spring. Part Two, "The Sacrifice", would have a darker aspect; secret night games of maidens, leading to the choice of one for sacrifice and her eventual dance to the death before the sages. The original working title was changed to "Holy Spring" (Russian: 1198:, who attended the second performance on 2 June, described the choreography as ridiculous and the music cacophonous—"the work of a madman. The public hissed, laughed—and applauded". Stravinsky, confined to his bed by typhoid fever, did not join the company when it went to London for four performances at the 2172:

The final transition introduces the "Sacrificial Dance". This is written as a more disciplined ritual than the extravagant dance that ended Part I, though it contains some wild moments, with the large percussion section of the orchestra given full voice. Stravinsky had difficulties with this section,

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Brass and percussion predominate as the "Ritual of the Rival Tribes" begins. A tune emerges on tenor and bass tubas, leading after much repetition to the entry of the Sage's procession. The music then comes to a virtual halt, "bleached free of colour" (Hill), as the Sage blesses the earth. The "Dance

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According to Roger Nichols "At first sight there seems no pattern in the distribution of accents to the stamping chords. Taking the initial quaver of bar 1 as a natural accent we have for the first outburst the following groups of quavers: 9, 2, 6, 3, 4, 5, 3. However, these apparently random numbers

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With the disruption following the outbreak of the First World War in August 1914 and the dispersal of many artistes, Diaghilev was ready to re-engage Nijinsky as both dancer and choreographer, but Nijinsky had been placed under house arrest in Hungary as an enemy Russian citizen. Diaghilev negotiated

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critic was impressed how different elements of the work came together to form a coherent whole, but was less enthusiastic about the music itself, opining that Stravinsky had entirely sacrificed melody and harmony for rhythm: "If M. Stravinsky had wished to be really primitive, he would have been wise

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Part II has a greater cohesion than its predecessor. Hill describes the music as following an arc stretching from the beginning of the Introduction to the conclusion of the final dance. Woodwind and muted trumpets are prominent throughout the Introduction, which ends with a number of rising cadences

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Clearly the top line is decreasing, the bottom line increasing, and by respectively decreasing and increasing amounts ...Whether Stravinsky worked them out like this we shall probably never know. But the way two different rhythmic 'orders' interfere with each other to produced apparent chaos is... a

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in Paris for two performances under his baton. Of these occasions he later wrote that "thanks to the experience I had gained with all kinds of orchestras ... I had reached a point where I could obtain exactly what I wanted, as I wanted it". Commentators have broadly agreed that the work has had

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episodes. Stravinsky amended these passages, and as late as April was still revising and rewriting the final bars of the "Sacrificial Dance". Revision of the score did not end with the version prepared for the 1913 premiere; rather, Stravinsky continued to make changes for the next 30 years or more.

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replaced Nijinsky's original, which saw only eight performances. Massine's was the forerunner of many innovative productions directed by the world's leading choreographers, gaining the work worldwide acceptance. In the 1980s, Nijinsky's original choreography, long believed lost, was reconstructed by

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Music Publishers brought out an edition where former Philadelphia Orchestra librarian Clint Nieweg made over 21,000 corrections to the score and parts. Since then a published errata list added some 310 more corrections. Then in 2021, Serenissima Music published a newer Nieweg edition, incorporating

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issued a corrected version of the 1929 score (B&H 16333), although Stravinsky's substantial 1943 amendment of the "Sacrificial Dance" was not incorporated into the new version and remained unperformed, to the composer's disappointment. He considered it "much easier to play ... and superior

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was of special significance; he constantly analysed and expounded on the work, which gave him an enduring model for rhythmic drive and assembly of material. Stravinsky was sceptical about over-intellectual analysis of the work. "The man has found reasons for every note and that the clarinet line in

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is undoubtedly the most famous composition of the early 20th century ... it had the effect of an explosion that so scattered the elements of musical language that they could never again be put together as before". The academic and critic Jan Smaczny, echoing Bernstein, calls it one of the 20th

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in Switzerland, where in a tiny and sparsely-furnished room—an 8-by-8-foot (2.4 by 2.4 m) closet, with only a muted upright piano, a table and two chairs—he worked throughout the 1911–12 winter on the score. By March 1912, according to the sketchbook chronology, Stravinsky had completed Part I

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s centenary celebrations, their intention to publish the 1913 autograph score, as used in early performances. After being kept in Russia for decades, the autograph score was acquired by Boosey & Hawkes in 1947. The firm presented the score to Stravinsky in 1962, on his 80th birthday. After the

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as a prophetic work, presaging the "second avant-garde" era in classical composition—music of the body rather than of the mind, in which "elodies would follow the patterns of speech; rhythms would match the energy of dance ... sonorities would have the hardness of life as it is really lived".

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The "Ritual of Abduction" which follows is described by Hill as "the most terrifying of musical hunts". It concludes in a series of flute trills that usher in the "Spring Rounds", in which a slow and laborious theme gradually rises to a dissonant fortissimo, a "ghastly caricature" of the episode's

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was ending; composer and conductor shared a warm embrace in front of the unaware, wildly cheering audience. Monteux's biographer John Canarina provides a different slant on this occasion, recording that by the end of the evening Stravinsky had asserted that "Monteux, almost alone among conductors,

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in the autumn; the sketchbooks indicate that he had finished the outline of the final sacrificial dance on 17 November 1912. During the remaining months of winter he worked on the full orchestral score, which he signed and dated as "completed in Clarens, March 8, 1913". He showed the manuscript to

2040:. White suggests that this bitonal combination, which Stravinsky considered the focal point of the entire work, was devised on the piano, since the constituent chords are comfortable fits for the hands on a keyboard. The rhythm of the stamping is disturbed by Stravinsky's constant shifting of the 1231:

while the Ballets Russes was on tour without Diaghilev in South America. When Diaghilev found out he was distraught and furious that his lover had married, and dismissed Nijinsky. Diaghilev was then obliged to re-hire Fokine, who had resigned in 1912 because Nijinsky had been asked to choreograph

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Stravinsky's autobiographical account refers to many "painful incidents" between the choreographer and the dancers during the rehearsal period. By the beginning of 1913, when Nijinsky was badly behind schedule, Stravinsky was warned by Diaghilev that "unless you come here immediately ... the

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followed. Some eyewitnesses and commentators said that the disturbances in the audience began during the Introduction, and grew noisier when the curtain rose on the stamping dancers in "Augurs of Spring". But Taruskin asserts, "it was not Stravinsky's music that did the shocking. It was the ugly

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After the first part of the ballet received two full orchestral rehearsals in March, Monteux and the company departed to perform in Monte Carlo. Rehearsals resumed when they returned; the unusually large number of rehearsals—seventeen solely orchestral and five with the dancers—were fit into the

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will not take place". The problems were slowly overcome, and when the final rehearsals were held in May 1913, the dancers appeared to have mastered the work's difficulties. Even the Ballets Russes's sceptical stage director, Serge Grigoriev, was full of praise for the originality and dynamism of

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Stravinsky acknowledged that the work's opening bassoon melody was derived from an anthology of Lithuanian folk songs, but maintained that this was his only borrowing from such sources; if other elements sounded like aboriginal folk music, he said, it was due to "some unconscious 'folk' memory".

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asserted, would "acclaim, right or wrong, anything that is new because of their hatred of the boxes". Monteux believed that the trouble began when the two factions began attacking each other, but their mutual anger was soon diverted towards the orchestra: "Everything available was tossed in our

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a masterpiece that had created "the decade of the displaced accent and the polytonal chord". Copland adopted Stravinsky's technique of composing in small sections which he then shuffled and rearranged, rather than working through from beginning to end. Ross cites the music of Copland's ballet

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based on a reconstruction of Nijinsky's 1913 choreography, until then thought lost beyond recall. The performance resulted from years of research, primarily by Millicent Hodson, who pieced the choreography together from the original prompt books, contemporary sketches and photographs, and the

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Stravinsky's relationship with his other main collaborator, Nijinsky, was more complicated. Diaghilev had decided that Nijinsky's genius as a dancer would translate into the role of choreographer and ballet master; he was not dissuaded when Nijinsky's first attempt at choreography, Debussy's

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The opening melody is played by a solo bassoon in a very high register, which renders the instrument almost unidentifiable; gradually other woodwind instruments are sounded and are eventually joined by strings. The sound builds up before stopping suddenly, Hill says, "just as it is bursting

911:. After the orchestral rehearsals began in late March, Monteux drew the composer's attention to several passages which were causing problems: inaudible horns, a flute solo drowned out by brass and strings, and multiple problems with the balance among instruments in the brass section during 2443:

Boosey & Hawkes reissued their 1948 edition in 1965, and produced a newly engraved edition (B&H 19441) in 1967. The firm also issued an unmodified reprint of the 1913 piano reduction in 1952 (B&H 17271) and a revised piano version, incorporating the 1929 revisions, in 1967.

762:. In a 1920 article he stressed that the musical ideas had come first, that the pagan setting had been suggested by the music rather than the other way round. However, in his 1936 autobiography he described the origin of the work thus: "One day , when I was finishing the last pages of 1288:

dancing the role of the Chosen One. The production moved to New York, where Massine was relieved to find the audiences receptive, a sign, he thought, that New Yorkers were finally beginning to take ballet seriously. The first American-designed production, in 1937, was that of the

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a greater impact in the concert hall than it has on the stage; many of Stravinsky's revisions to the music were made with the concert hall rather than the theatre in mind. The work has become a staple in the repertoires of all the leading orchestras, and has been cited by

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that the person behind him became carried away with excitement, and "began to beat rhythmically on top of my head with his fists". In 1916, in a letter not published until 2013, Van Vechten admitted he had actually attended the second night, among other changes of fact.

1070:. Ticket sales for the evening, ticket prices being doubled for a premiere, amounted to 35,000 francs. A dress rehearsal was held in the presence of members of the press and assorted invited guests. According to Stravinsky, all went peacefully. However, the critic of 766:

in Saint Petersburg, I had a fleeting vision ... I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of the

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has described the irregular process whereby Stravinsky adapted and absorbed traditional Russian folk material into the score. He "proceeded to pulverize them into motivic bits, pile them up in layers, and reassemble them in cubistic collages and montages".

2304:, musicians who might otherwise never have heard the work, or at least not until many years later". In later life Stravinsky claimed distaste for the adaptation, though as Ross remarks, he said nothing critical at the time; according to Ross, the composer 1660:

acknowledged the uniqueness of the work negatively: it demonstrated Stravinsky's "abhorrence of everything for which music has stood these many centuries ... all human endeavour and progress are being swept aside to make room for hideous sounds".

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had stormed out of the premiere, Stravinsky observed that this was impossible; Saint-Saëns did not attend. Stravinsky also rejected Cocteau's story that, after the performance, Stravinsky, Nijinsky, Diaghilev and Cocteau himself took a cab to the

1147:, who called the work "a laborious and puerile barbarity" and added "We are sorry to see an artist such as M. Stravinsky involve himself in this disconcerting adventure". On the other hand, Gustav Linor, writing in the leading theatrical magazine 1052:, was determined to house the 1913 Ballets Russes season, and paid Diaghilev the large sum of 25,000 francs per performance, double what he had paid the previous year. The programme for 29 May 1913, as well as the Stravinsky premiere, included 4013: 1003:

then. I have conducted it fifty times since. I do not like it now". On 30 March Monteux informed Stravinsky of modifications he thought were necessary to the score, all of which the composer implemented. The orchestra, drawn mainly from the

1381:, and introduced a storyline that provided the Chosen One with a lover who wreaks vengeance on the elders after the sacrifice. Johnson describes the production as "a product of state atheism ... Soviet propaganda at its best". 965:'s study of peasant folklore and pagan prehistory. The Princess Tenisheva's collection of costumes was an early source of inspiration. When the designs were complete, Stravinsky expressed delight and declared them "a real miracle". 1209:

to ... score his ballet for nothing but drums". The ballet historian Cyril Beaumont commented on the "slow, uncouth movements" of the dancers, finding these "in complete opposition to the traditions of classical ballet".

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In many early editions of the score, the closing section of this episode, in which the Sage blesses the earth, is separated into its own piece, either called "Embrasse de la terre" (The Kiss of the Earth), or "Le sage" (The

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On the evening of 29 May, Gustav Linor reported, "Never ... has the hall been so full, or so resplendent; the stairways and the corridors were crowded with spectators eager to see and to hear". The evening began with

1604:, a close friend of the composer, Stravinsky informed him that he had no intention of hearing his music being "murdered by that frightful butcher". Instead he arranged tickets for that particular evening's performance of 326:. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908, Stravinsky had produced several works, among them a 2356:

in a recording for the Columbia label, at the same time Monteux was recording it for the HMV label. Stokowski's version followed in 1930. Stravinsky made two more recordings, in 1940 and 1960. According to the critic

1157:, who had barely heard the music, wrote: "Couldn't we ask M. Astruc ... to set aside one performance for well-intentioned spectators? ... We could at least propose to evict the female element". The composer 1450:

critic declared the performance "a triumph ... totally elemental, as primal in expression of basic emotion as any tribal ceremony, as hauntingly staged in its deliberate bleakness as it is rich in implication".

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used Stravinsky's four-hand piano version of the score as the background for a scenario based on child murder and gangster film images. In February 1984 Martha Graham, in her 90th year, resumed her association with

493:

The French titles are given in the form as written in the four-part piano score published in 1913. There have been numerous variants of the English translations; those shown are from the 1967 edition of the score.

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In 1922 Ansermet, who was preparing to perform the work in Berlin, sent to Stravinsky a list of errors he had found in the published score. In 1926, as part of his preparation for that year's performance with the

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have estimated that since its premiere, the ballet has been the subject of at least 150 productions, many of which have become classics and have been performed worldwide. Among the more radical interpretations is

1647:

s music in vivid terms; Paul Rosenfeld, in 1920, wrote of it "pound with the rhythm of engines, whirls and spirals like screws and fly-wheels, grinds and shrieks like laboring metal". In a more recent analysis,

1404:, caused a stir in the dance world with her stark depiction, played out on an earth-covered stage, in which the Chosen One is sacrificed to gratify the misogyny of the surrounding men. At the end, according to 757:

developed, including pagan rites, sage elders, and the propitiatory sacrifice of a young maiden: "The likeness is too close to be coincidental". Stravinsky himself gave contradictory accounts of the genesis of

306:, Saint Petersburg, and Anna, née Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including 1244:

his release in 1916 for a tour in the United States, but the dancer's mental health steadily declined and he took no further part in professional ballet after 1917. In 1920, when Diaghilev decided to revive

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At that time, a Parisian ballet audience typically consisted of two diverse groups: the wealthy and fashionable set, who would be expecting to see a traditional performance with beautiful music, and a

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the 1913 premiere might be considered "the most important single moment in the history of 20th-century music", and its repercussions continue to reverberate in the 21st century. Ross has described

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describes as "so striking, so outrageous, so frail as to its preservation", did not appear again until attempts were made to reconstruct it in the 1980s. On 19 September 1913 Nijinsky married

1165:, who wrote: "The idea was excellent, but was not successfully carried out". Calvocoressi failed to observe any direct hostility to the composer—unlike, he said, the premiere of Debussy's 863:

and had drafted much of Part II. He also prepared a two-hand piano version, subsequently lost, which he may have used to demonstrate the work to Diaghilev and the Ballets Russes conductor

1153:, thought the performance was superb, especially that of Maria Piltz; the disturbances, while deplorable, were merely "a rowdy debate" between two ill-mannered factions. Emile Raudin, of 786:); Diaghilev gave his blessing to the work, although the collaboration was put on hold for a year while Stravinsky was occupied with his second major commission for Diaghilev, the ballet 778:, the foremost Russian expert on folk art and ancient rituals. Roerich had a reputation as an artist and mystic, and had provided the stage designs for Diaghilev's 1909 production of the 3833: 2118:

of the Earth" then begins, bringing Part I to a close in a series of phrases of the utmost vigour which are abruptly terminated in what Hill describes as a "blunt, brutal amputation".

221: 1240:, Stravinsky wrote, "he possibility has gone for some time of seeing anything valuable in the field of dance and, still more important, of again seeing this offspring of mine". 2459:

composer's death in 1971 the manuscript was acquired by the Paul Sacher Foundation. As well as the autograph score, they have published the manuscript piano four-hands score.

1320:

In 1944 Massine began a new collaboration with Roerich, who before his death in 1947 completed a number of sketches for a new production which Massine brought to fruition at

5364: 1248:, he found that no one now remembered the choreography. After spending most of the war years in Switzerland, and becoming a permanent exile from his homeland after the 1917 753:. Another poem in the anthology, which Stravinsky did not set but is likely to have read, is "Yarila" which, Morton observes, contains many of the basic elements from which 3417: 1557:

as a concert work, at the Casino de Paris. After the performance, again under Monteux, the composer was carried in triumph from the hall on the shoulders of his admirers.

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at the Théâtre des Champs-Élysées, the last on 13 June. Although these occasions were relatively peaceful, something of the mood of the first night remained; the composer

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in Brussels (1959). Béjart's representation replaced the culminating sacrifice with a depiction of what the critic Robert Johnson describes as "ceremonial coitus". The

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premiere, suggests that the two-part pagan scenario that emerged was primarily devised by Roerich. Stravinsky later explained to Nikolai Findeyzen, the editor of the

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where, as the analyst E.W. White explains, he "pushed to its logical conclusion". White also observes the music's complex metrical character, with combinations of

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as "a musical-choreographic work, pagan Russia ... unified by a single idea: the mystery and great surge of the creative power of Spring". In his analysis of

7271: 4263: 1569:. Its American premiere occurred on 3 March 1922, when Stokowski included it in a Philadelphia Orchestra programme. Goossens was also responsible for introducing 413:. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard 2296:

sequence, he says, overwhelmed him and determined his future career in music: "I hope appreciated that hundreds—perhaps thousands—of musicians were turned onto

1080:, foresaw possible trouble; he wondered how the public would receive the work, and suggested that they might react badly if they thought they were being mocked. 1048:

was a new structure, which had opened on 2 April 1913 with a programme celebrating the works of many of the leading composers of the day. The theatre's manager,

2044:, on and off the beat, before the dance ends in a collapse, as if from exhaustion. Alex Ross has summed up the pattern (italics = rhythmic accents) as follows: 8225: 2601:

both cite Henri Girard, a member of the double-bass section. According to Truman Bullard, the section referred to is at the conclusion of the "Spring Rounds".

1618:. Under pressure from his friends, Stravinsky was persuaded to leave the opera after the first act. He arrived at the Albert Hall just as the performance of 1348:, was first performed on 3 May and was a critical triumph. It has remained in the company's repertoire for more than 50 years; after its revival in May 2011 6595: 10234: 11567: 1236:. Fokine made it a condition of his re-employment that none of Nijinsky's choreography would be performed. In a letter to the art critic and historian 819:, that the first part of the work would be called "The Kiss of the Earth", and would consist of games and ritual dances interrupted by a procession of 2341:, with whom he signed two contracts in April and May 1921, under which many of his early works were reproduced on this medium. The Pleyela version of 1471:

in 2003 and later that year at Covent Garden. In its 2012–13 season the Joffrey Ballet gave centennial performances at numerous venues, including the

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in the main role, and was a great public success. This ensured that the Diaghilev–Stravinsky collaboration would continue, in the first instance with

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After the opening Paris run and the London performances, events conspired to prevent further stagings of the ballet. Nijinsky's choreography, which

490:, Pieter van den Toorn writes that the work lacks a specific plot or narrative, and should be considered as a succession of choreographed episodes. 666:

One of the young girls is selected by fate, being twice caught in the perpetual circle, and is honoured as the "Chosen One" with a forceful dance.

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commercially available, and many more held in library sound archives. It has become one of the most recorded of all 20th century musical works.

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Despite the large orchestra, much of the score is written chamber-fashion, with individual instruments and small groups having distinct roles.

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discovered in the score an adapted tune from one of Rimsky-Korsakov's "One Hundred Russian National Songs". Taruskin notes the paradox whereby

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opined that Stravinsky had written music 30 years ahead of its time, suitable to be heard in 1940. Coincidentally, it was in that year that

2214:, who had attended the 1913 premiere. Varèse, according to Ross, was particularly drawn to the "cruel harmonies and stimulating rhythms" of 283:

works, the music influenced many of the 20th-century's leading composers and is one of the most recorded works in the classical repertoire.

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in Ukraine in September 1911, he worked on two movements, the "Augurs of Spring" and the "Spring Rounds". In October he left Ustilug for

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in Paris, comprised 99 players, much larger than normally employed at the theatre, and had difficulty fitting into the orchestra pit.

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Except as indicated by a specific citation, the synopsis information is taken from Stravinsky's February 1914 note to Koussevitsky.

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However, Morton has identified several more melodies in Part I as having their origins in the Lithuanian collection. More recently

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A holy procession leads to the entry of the wise elders, headed by the Sage who brings the games to a pause and blesses the earth.

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to stage a performance of the ballet with a cast of 250 children recruited from Berlin's public schools, from 25 countries. In

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The conductor Pierre Monteux had worked with Diaghilev since 1911 and had been in charge of the orchestra at the premiere of

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thought that the demonstrations were aimed at Nijinsky's choreography rather than at the music, a view shared by the critic

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The first dance, "Augurs of Spring", is characterised by a repetitive stamping chord in the horns and strings, based on E

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Nijinsky's sister Bronislava Nijinska later insisted that her brother could play a number of instruments, including the

227:

Stravinsky was a young, virtually unknown composer when Diaghilev recruited him to create works for the Ballets Russes.

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In 1963, 50 years after the premiere, Monteux (then aged 88) agreed to conduct a commemorative performance at London's

1495:'s 1974 version, in which the Chosen One is a young male. More recently there have been solo dance versions devised by 1302: 6554: 4522: 11027: 8026: 7916: 6987: 6600: 6568: 907: 319: 10246: 531:

Before the curtain rises, an orchestral introduction resembles, according to Stravinsky, "a swarm of spring pipes "

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The ballet was first shown in the United States on 11 April 1930, when Massine's 1920 version was performed by the

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segment of the film depicted the Earth's prehistory, with the creation of life, leading to the extinction of the

2251:

page 3 is the inverted counterpoint of the horn in page 19. I never thought about that", he allegedly replied to

1656:

refers to "great crunching, snarling chords from the brass and thundering thumps from the timpani". The composer

337: 31: 1982:

ecstatically into bloom". There is then a reiteration of the opening bassoon solo, now played a semitone lower.

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According to Van den Toorn, "o other work of Stravinsky's underwent such a series of post-premiere revisions".

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Catalogue of Music for the 'Pianola' & 'Pianola' Piano, The Aeolian Company Ltd, London, July 1924, p. 88.

955:

Taruskin has listed a number of sources that Roerich consulted when creating his designs. Among these are the

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2,200 more corrections based on Stravinsky's autograph manuscript score, superseding the older 2000 edition.

2224:(1921), scored for a massive orchestra with added sound effects including a lion's roar and a wailing siren. 1880: 6526: 2348:

In 1929 Stravinsky and Monteux vied with each other to conduct the first orchestral gramophone recording of

11582: 10270: 8384: 7778: 7657: 6997: 6605: 3893: 3771: 3710: 2386: 1019:; when she became pregnant during rehearsals, she was replaced by the then relatively unknown Maria Piltz. 589:

The people divide into two groups in opposition to each other, and begin the "Ritual of the Rival Tribes".

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Monteux's biographer records that Saint-Saëns walked out of the Paris premiere of the concert version of

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or looked for his own glory in it, and he continued to play it all his life with the greatest fidelity".

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Stravinsky worked through the winter of 1909–10, in close association with Fokine who was choreographing

8138: 3921: 2361:, Stravinsky was not technically a great conductor but, Greenfield says, in the 1960 recording with the 11532: 11497: 11290: 11199: 7996: 7499: 7461: 7405: 7340: 6632: 6483: 6421: 4917: 3649: 1370: 428: 6334: 4900: 4188: 2365:

the composer inspired a performance with "extraordinary thrust and resilience". In conversations with

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in April 1912. He also made a four-hand piano arrangement which became the first published version of

544:

The celebration of spring begins in the hills. An old woman enters and begins to foretell the future.

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Nijinsky's Crime Against Grace: Reconstruction of the Original Choreography for Le Sacre du printemps

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D'Aoust, Renée E. "Lowenberg at Pacific Northwest Ballet & School", The Dance Insider. July 2007.

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recollections of Marie Rambert and other survivors. Hodson's version has since been performed by the

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was issued in 1921; the British pianolist Rex Lawson first recorded the work in this form in 1990.

1689: 1417:, "the cast is sweat-streaked, filthy and audibly panting". Part of this dance appears in the film 798: 8847: 5803: 5109: 3705: 1357:

s critic Mark Monahan called it one of the Royal Ballet's greatest achievements. Moscow first saw

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writes that Stravinsky arrived at the end of the first part, rather than at the end of the piece.

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received its first concert performance (the music without the ballet), in Saint Petersburg under

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The Chosen One dances to death in the presence of the old men, in the great "Sacrificial Dance".

318:, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at 307: 4951: 4350: 2543:

was their first major project, Stravinsky's first collaboration with Diaghilev was creating new

1328:

in Berlin (1957) followed Horton in highlighting the erotic aspects of virgin sacrifice, as did

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aside during the summer of 1912. He enjoyed the Paris season, and accompanied Diaghilev to the

371:

was performed at a concert in Saint Petersburg. Among those in the audience was the impresario

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Stravinsky continued to revise the work, and in 1943 rewrote the "Sacrificial Dance". In 1948

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time in which a strong irregular beat is emphasised by powerful percussion. The music critic

1530: 1401: 1062: 901:, who was enthusiastic and predicted, in a letter to a friend, that the first performance of 377: 10568: 1072: 557:

Young girls arrive from the river, in single file. They begin the "Dance of the Abduction".

11587: 11468: 11255: 11111: 9964: 8318: 8123: 8065: 8038: 7650: 7480: 7327: 7314: 7207: 6782: 6729: 5674: 5621: 4433: 4149: 2594: 2272: 2228:, to whom Stravinsky was a particular inspiration in the former's student days, considered 2191: 1378: 1224: 1057: 859: 808: 418: 10554: 9999: 6825: 6084: 8: 11313: 10770: 10763: 10342: 10138: 10052: 9971: 9726: 9719: 9475: 8666: 8368: 8157: 8048: 7128: 7123: 6933: 6742: 6505: 6414: 6400: 6327: 6306: 4493: 3828: 2513: 2378: 2374: 1518: 1480: 1472: 1350: 1252:, Stravinsky resumed his partnership with Diaghilev when the war ended. In December 1920 1016: 962: 941: 807:. Here, over several days, Stravinsky and Roerich finalised the structure of the ballet. 10330: 9594: 11486: 11297: 11192: 11149: 11087: 10991: 10666: 10624: 10215: 9950: 9768: 9307: 9293: 9188: 9043: 9019: 8903: 8489: 8244: 8164: 7771: 7693: 7467: 7069: 6916: 6868: 6718: 6477: 6374: 6054: 5973: 5760: 5662: 5368: 5325: 5317: 5198:

Original contracts at the Paul Sacher-Stiftung, Basel, microfilm nos. 390018 to 390021.

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in Milan in 1948. This heralded a number of significant post-war European productions.

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The people break into a passionate dance, sanctifying and becoming one with the earth.

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Stravinsky's score contains many novel features for its time, including experiments in

239: 11015: 10923: 10777: 4895: 2614:, which Monteux conducted in April 1914; Saint-Saëns opined that Stravinsky was "mad". 1257: 1216: 417:

he approached Stravinsky, initially with a request for help in orchestrating music by

248: 11220: 11123: 10860: 10812: 10784: 10691: 10652: 10617: 10440: 9908: 9880: 9740: 9433: 9349: 9251: 9216: 8983: 8763: 8729: 7717: 7358: 7159: 7149: 7029: 6756: 6724: 6665: 6512: 6135: 6116: 6097: 6071: 6038: 6016: 5995: 5937: 5916: 5897: 5891: 5874: 5852: 5831: 5825: 5809: 5790: 5767: 5733: 5704: 5682: 5629: 5609: 5587: 5579: 5552: 5546: 5527: 5505: 5499: 5486: 5466: 5447: 5425: 5329: 5231: 5082: 5020: 3557: 2892: 2793: 2747: 2358: 2200: 1615: 1597: 1590: 1537:, Aboriginal perceptions of the elements of earth, air, fire and water are featured. 1468: 1366: 1341: 1298: 1281: 1228: 1179: 957: 883: 746: 386: 348: 315: 311: 303: 299: 295: 280: 10526: 8610: 8197: 5969: 5394: 4203:"Joffrey Ballet to perform Rite of Spring and other works at UMass Fine Arts Center" 4090: 1329: 11453: 11446: 11185: 10965: 10874: 10867: 10798: 10700: 10610: 10456: 10366: 10258: 10152: 10145: 9978: 9803: 9761: 9580: 9496: 9391: 9300: 9160: 9132: 8747: 8617: 8582: 8575: 8540: 8455: 8348: 8113: 7679: 7512: 7187: 7133: 6679: 6561: 6547: 6442: 6063: 5965: 5951: 5749: 5725: 5654: 5575: 5541: 5309: 5074: 5012: 4237: 4086: 3779: 3401: 2880: 2785: 2492: 2289: 2244: 2182: 1798: 1753: 1500: 1464: 1374: 1261: 1237: 1175: 1098: 1005: 921: 775: 725: 457: 372: 209: 197: 173: 60: 10659: 10561: 9398: 9384: 9377: 9202: 8561: 7197: 2211: 1672:(the use of two different keys simultaneously). He took this technique further in 1573:

to Australia on 23 August 1946 at the Sydney Town Hall, as guest conductor of the

1553:. On 5 April that year, Stravinsky experienced for himself the popular success of 11439: 11390: 11376: 11369: 10930: 10833: 10645: 10638: 10540: 10512: 10505: 10477: 10429: 10282: 10201: 10173: 10068: 9992: 9943: 9831: 9796: 9684: 9677: 9621: 9573: 9482: 9370: 9223: 9195: 8995: 8917: 8910: 8889: 8826: 8784: 8694: 8687: 8645: 8589: 8480: 8128: 8103: 8081: 8033: 8021: 7947: 7876: 7237: 7222: 7169: 7154: 6839: 6832: 6735: 6407: 6270: 5986: 5931: 5910: 5866: 5645: 5601: 5304: 4322: 4036: 4008: 3549: 2875: 2523: 2463: 2439:

The 1929 score as revised in 1948 forms the basis of most modern performances of

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The role of the sacrificial victim was to have been danced by Nijinsky's sister,

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Following Diaghilev's decision to delay the premiere until 1913, Stravinsky put

843: 435:; his reward was a much bigger commission, to write the music for a new ballet, 11397: 11327: 11320: 11262: 11206: 11176: 11039: 10951: 10881: 10826: 10805: 10728: 10721: 10714: 10575: 10533: 10519: 10498: 10449: 10194: 10187: 10166: 10159: 10110: 10089: 10082: 9845: 9656: 9649: 9628: 9612: 9545: 9531: 9419: 9258: 9237: 9230: 9153: 9139: 9125: 9007: 8875: 8756: 8736: 8715: 8652: 8512: 8282: 8192: 8175: 7742: 7627: 7441: 7212: 7192: 7164: 7052: 6921: 6910: 6115:(Original ed.). Berkeley and Los Angeles: University of California Press. 5519: 5439: 5137: 4994: 3515: 2305: 2252: 2041: 1919: 1704:

The score calls for a large orchestra consisting of the following instruments:

1496: 1455: 1362: 1265: 1144: 1049: 996: 872: 864: 730: 382: 268: 253: 201: 163: 10006: 9663: 9328: 8938: 8819: 6010: 5794: 5658: 5313: 4123: 2884: 2263: 1308: 782:. The pair quickly agreed on a working title, "The Great Sacrifice" (Russian: 11521: 11418: 11383: 11276: 10958: 10902: 10888: 10735: 10596: 10491: 10484: 10470: 10180: 10061: 9929: 9824: 9782: 9733: 9566: 9559: 9524: 9489: 9440: 9412: 9335: 8931: 8861: 8833: 8805: 8708: 8624: 8568: 8554: 8547: 8533: 8441: 8421: 8339: 8311: 8118: 7505: 7334: 6449: 6187: 6101: 5718:

Neff, Severine; Carr, Maureen; Horlacher, Gretchen; Reef, John, eds. (2013).

4589: 4489: 3889: 2549: 2544: 2451:, in association with Boosey & Hawkes, announced in May 2013, as part of 2382: 2338: 2256: 2225: 2015: 1791: 1778: 1653: 1601: 1509: 1414: 1294: 1285: 1094: 1037: 898: 803: 423: 402: 360: 264: 9691: 8596: 8359: 6231: 735: 406: 11213: 11051: 10944: 10916: 10851: 10819: 10791: 10756: 10749: 10742: 10707: 10673: 10589: 10547: 10398: 10387: 10377: 10306: 10124: 10096: 10034: 10027: 10013: 9985: 9957: 9922: 9915: 9887: 9873: 9859: 9838: 9747: 9705: 9698: 9538: 9510: 9461: 9447: 9321: 9286: 9181: 9167: 9104: 9031: 8924: 8882: 8680: 8505: 8151: 7798: 7566: 7543: 7374: 7368: 7227: 7182: 7090: 6540: 6367: 6224: 5887: 5878: 5490: 5295: 5236: 4531: 4229:"Cleveland Orchestra, Joffrey Ballet striving for authenticity in upcoming 4154: 4145: 3926: 3898: 3694:

Walsh 1999, p. 219, quoting letter to Benois of 20 September/3 October 1913

2366: 1828: 1685: 1669: 1585: 1514: 1406: 1384: 1345: 1333: 1290: 1127: 820: 437: 323: 233: 9426: 6134:(2nd ed.). Berkeley and Los Angeles: University of California Press. 6120: 5901: 5813: 5719: 5613: 5470: 2220: 11425: 11306: 11165: 11156: 10972: 10895: 9936: 9901: 9817: 9810: 9552: 9454: 9342: 9272: 9209: 9086: 8952: 8812: 8770: 8722: 8659: 8638: 8631: 8603: 8519: 8462: 8302: 8108: 8098: 8070: 7643: 7571: 6219: 6191: 5786: 5746:

Levitz, Tamara. "Racism at the Rite". In Neff et al. (2013), pp. 146–178.

5729: 5604:(1934). "The Orchestra and Orchestral Music". In Bacharach, A. L. (ed.). 3561: 2267: 1942: 1810: 1806: 1747: 1681: 1492: 1419: 1397: 1389: 1325: 1123: 391: 217: 54: 7829: 279:, a relationship Stravinsky tended to deny. Regarded as among the first 11355: 10909: 10680: 10603: 10582: 10463: 10131: 10117: 9866: 9852: 9789: 9712: 9601: 9468: 9405: 9265: 9095: 8896: 8854: 8791: 8448: 8187: 8182: 8093: 8044: 7967: 7792: 7729: 7711: 7576: 7116: 6704: 6658: 6012:

Stravinsky and the Rite of Spring: The Beginnings of a Musical Language

5666: 1885: 1856: 1734: 1580:

Stravinsky first conducted the work in 1926, in a concert given by the

912: 346:(1907), which he catalogued as "Opus 1", and a short orchestral piece, 5977: 5321: 5114: 4098: 3535: 3464:, edited by Edward Burns, Columbia University Press, 2013, pp. 850–851 3384: 3344: 1149: 1036:

Dancers in Nicholas Roerich's original costumes. From left, Julitska,

1032: 11404: 11362: 11227: 10937: 10020: 9775: 9642: 9363: 9314: 9279: 8840: 8267: 7889: 7882: 7242: 6393: 3520: 2582: 1870: 1423:. Bausch's version had also been danced by two ballet companies, the 1204: 1136: 3006: 3004: 2528:

Le Sacre du printemps: tableaux de la Russie païenne en deux parties

9244: 9111: 8469: 8430: 8414: 8400: 8291: 7921: 7686: 2285: 2143: 1895: 1841: 1824: 1713: 1321: 1297:, whose version replaced the original pagan Russian setting with a 888: 801:, a noted patron of the arts and a sponsor of Diaghilev's magazine 794: 572: 260: 127: 6239: 6092:

White, Eric Walter (1961). "Stravinsky". In Hartog, Howard (ed.).

1912: 854:

Stravinsky's sketchbooks show that after returning to his home at

721: 192:) is a ballet and orchestral concert work by the Russian composer 11003: 10041: 9503: 9118: 8407: 8391: 8377: 7735: 3001: 2330: 1875: 1864: 1784: 1721: 1561:

had its first British concert performance on 7 June 1921, at the

855: 827:), but the work became generally known by the French translation 745:, records that in 1907–08 Stravinsky set to music two poems from 653:

The young girls engage in mysterious games, walking in circles.

8325: 7953: 5234:(20 May 1988). "Distinctive movements in the rites of rivals". 2416:

The first published score was the four-hand piano arrangement (

1926: 1890: 401:. To present these works Diaghilev recruited the choreographer 7267: 5954:(Autumn 1980). "Russian Folk Melodies in The Rite of Spring". 5465:. Ann Arbor, Michigan: Ann Arbor University (microfilm copy). 3999:, Sadler's Wells, London, review: This is the best staging of 2714:

Walsh 2012, § 11: Posthumous reputation and legacy: Works

2280:

and other classical compositions, conducted by Stokowski. The

1093:

earthbound lurching and stomping devised by Vaslav Nijinsky."

275:. Analysts have noted in the score a significant grounding in 6321: 5805:

Musical Portraits: Interpretations of Twenty Modern Composers

5586:(3rd ed.). London and Melbourne: J. M. Dent & Sons. 5463:

The first performance of Igor Stravinsky's Sacre du printemps

5365:"Stravinsky: Rite of Spring centenary publications announced" 4983:(Compact Disc). London: Academy Sound and Vision Ltd QS 8031. 4846:

David Atherton conducting the BBC National Orchestra of Wales

2738:

Kennedy, Michael; Kennedy, Joyce (2012). "Diaghilev, Serge".

1937: 1932: 1727: 1118:

reported the sensational premiere, nine days after the event.

692:

The Chosen One is entrusted to the care of the old wise men.

8236: 6015:. Berkeley and Los Angeles: University of California Press. 5994:. Berkeley and Los Angeles: University of California Press. 5936:. Berkeley and Los Angeles: University of California Press. 5915:. Berkeley and Los Angeles: University of California Press. 2980: 2978: 2623:

In a different account of the incident, the music historian

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As of 2013 there were well over 100 different recordings of

1593:

as "the most important piece of music of the 20th century".

1316:

was described by a critic as "Soviet propaganda at its best"

1312:

The Bolshoi Theatre in Moscow, where the 1965 production of

8798: 8332: 7282: 6181:

Performance of Stravinsky's four-hand piano arrangement of

5851:. Cranbury, New Jersey: Association of University Presses. 5752:. "Resisting The Rite". In Neff et al. (2013), pp. 417–446. 3772:"Painting in the Key of Color: The Art of Nicholas Roerich" 2692:

Walsh 2012, § 1: Background and early years, 1882–1905

2520:

The Rite of Spring: Pictures from Pagan Russia in Two Parts

1847: 1740: 4713:

Antal Dorati conducting the Minneapolis Symphony Orchestra

2828:

Walsh 2012, § 3: The early Diaghilev ballets, 1910–14

1190:

The premiere was followed by five further performances of

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