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The Rite of Spring  

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For other uses, see Rites of Spring (disambiguation). 

Part of Nicholas Roerich's designs for Diaghilev’s 1913 production of  Le Sacre du Printemps 

The Rite of Spr ing , French title Le Sacre du printemps  (Russian: «Веснасвященная», Vesna svyashchennaya) is a ballet and orchestral concert work by theRussian composer  Igor Stravinsky. It was written for the 1913 Paris season of  SergeiDiaghilev's Ballets Russes company, with choreography by Vaslav Nijinsky and stage

designs and costumes by  Nicholas Roerich. When the ballet was first performed, at theThéâtre des Champs-Élysées on 29 May 1913, the avant-garde nature of the music andchoreography caused a near-riot in the audience. Although designed as a work for thestage, with specific pasages accompanying characters and action, the music achievedgrowing success as a concert piece and later became recognised as one of the mostinfluential musical works of the 20th century. It is widely performed in the concert hall,and is frequently revived on the stage.

Stravinsky was a young, virtually unknown composer when Diaghilev recruited him tocreate works for the Ballets Russes. The Rite was the third such project, after theacclaimed The Firebird  (1910) and  Petrushka (1911). The concept behind The Rite,

developed by Roerich from Stravinsky's outline idea, is suggested by its subtitle,"Pictures of Pagan Russia"; in the scenario, after various primitive rituals celebratingthe advent of spring, a young girl is chosen as a sacrificial victim and dances herself todeath. After a mixed critical reception for its original run and a short London tour, the

 ballet was unperformed until the 1920s, when a version choreographed by LéonideMassine replaced Nijinsky's original. Massine's was the forerunner of many innovative

 productions directed by the world's leading ballet-masters, which gained the work worldwide acceptance. In the 1980s, Nijinsky's original choreography, long believedlost, was reconstructed by the Joffrey Ballet in Los Angeles.

Stravinsky's score contains many features that were novel for its time, includingexperiments in tonality, metre, rhythm, stress and dissonance. Analysts have noted inthe score a significant grounding in Russian folk music, a relationship which Stravinsky

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tended to deny. The music has influenced many of the 20th century's leading composersand is one of the most recorded works in the classical repertoire.

Contents

  1 Background   2 Synopsis and structure   3 Creation 

o  3.1 Conception o  3.2 Composition o  3.3 Realisation 

  4 Performance history and reception o  4.1 Premiere o  4.2 Initial run and Joffrey revival o  4.3 The Rite with other choreographies 

o  4.4 Concert performances   5 Music 

o  5.1 General character and instrumentation o  5.2 Part I: The Adoration of the Earth o  5.3 Part II: The Sacrifice 

  6 Influence and adaptations   7 Recordings   8 Editions   9 Notes and references   10 Further reading   11 External links 

Background

Stravinsky, sketched by Picasso 

Igor Stravinsky was the son of Fyodor Stravinsky, the principal  bass at the ImperialOpera, St Petersburg, and Anna, née Kholodovskaya, a competent amateur singer and

 pianist from an old-established Russian family. Fyodor's association with many of theleading figures in Russian music, including Rimsky-Korsakov, Borodin and

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Mussorgsky, meant that Igor grew up in an intensely musical home.[1] In 1901Stravinsky began to study law at St Petersburg University, while taking private lessonsin harmony and counterpoint. Having impressed Rimsky-Korsakov with some of hisearly compositional efforts, Stravinsky worked under the guidance of the older composer. By the time of his mentor's death in 1908 Stravinsky had produced several

works, among them a Piano Sonata in F-sharp minor  (1903 – 04), a Symphony in E-flatmajor  (1907), which he catalogued as "Opus 1", and in 1908 a short orchestral piece, Feu d'artifice ("Fireworks").[2][3] 

In 1909 Feu d'artifice was performed at a concert in St Petersburg. Among those in theaudience was the impresario Sergei Diaghilev, who at that time was planning tointroduce Russian music and art to western audiences.[4] Like Stravinsky, Diaghilev hadinitially studied law, but had gravitated via journalism into the theatrical world.[5] In1907 he began his theatrical career by presenting five concerts in Paris; in the followingyear he introduced Mussorgsky's opera  Boris Godunov. In 1909, still in Paris, helaunched the Ballets Russes, initially with Borodin's Polovtsian Dances from  Prince

 Igor  and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruitedthe choreographer  Michel Fokine, the designer  Léon Bakst and the dancer  Vaslav

 Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively20th century style, and he was looking for fresh compositional talent.[6] Having heard

 Feu d'artifice he approached Stravinsky, initially with a request for help in orchestratingmusic by Chopin to create the ballet  Les Sylphides. Stravinsky worked on the opening"Nocturne" and the closing "Valse Brillante"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird  ( L'oiseau de feu) for the1910 season.[4] 

Stravinsky worked through the winter of 1909 – 10, in close association with Fokine whowas choreographing The Firebird . During this period Stravinsky made the acquaintanceof Nijinsky who, although not dancing in the ballet, was a keen observer of itsdevelopment. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). Onthe other hand Stravinsky found Diaghilev an inspiration, "the very essence of a great

 personality".[7] The Firebird was premiered on 25 June 1910, with Tamara Karsavina inthe main role, and was a great public success.[8] This ensured that the Diaghilev – 

Stravinsky collaboration would continue, in the first instance with  Petrushka (1911) andthen The Rite of Spring .[4] 

Synopsis and structure

Stravinsky has described The Rite of Spring as "a musical-choreographic work,[representing] pagan Russia ... unified by a single idea: the mystery and great surge of the creative power of Spring". The work has no specific plot or narrative, but should beconsidered as a succession of choreographed episodes.[9] 

The French titles of parts and movements are given in the form established in 1913.There have been numerous variants of the English translations; those shown are fromthe 1967 edition of the score.[9] 

Movement English Synopsis

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Number (Original

French)

translation

Part I: L 'Adoration de la Terr e (Adoration of the Earth)

1  Introduction Introduction

2 Les Augures printaniers 

Augurs of SpringThe celebration of spring begins in thehills, with pipers piping and young mentelling fortunes.

3  Jeu du rapt  Ritual of 

Abduction

An old woman enters and begins toforetell the future. Young girls arrivefrom the river, in single file. They beginthe "Dance of the Abduction".

4 Rondes

 printanières Spring Rounds

The young girls dance the Khorovod ,the "Spring Rounds".

5 Jeux des cités

rivales Ritual of theRival Tribes

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

6Cortège du sage:

 Le Sage Procession of theSage: The Sage

A holy procession leads to the entry of the wise elders, headed by the Sage who

 brings the games to a pause and blessesthe earth.

7  Danse de la terre Dance of the

Earth

The people break into a passionatedance, sanctifying and becoming onewith the earth.

Part II: Le Sacri fi ce (The Sacrifice)

8  Introduction Introduction

9Cercles

mystérieux desadolescentes 

Mystic Circles of the Young Girls

The young girls engage in mysteriousgames, walking in circles.

10Glorification de

l'élue Glorification of the Chosen One

One of the young girls is selected byfate, being twice caught in the perpetualcircle, and is honoured as the "ChosenOne" with a marital dance.

11 Evocation des

ancêtres Evocation of the

AncestorsIn a brief dance, the young girls invokethe ancestors.

12 Action rituelle des

ancêtres Ritual Action of 

the AncestorsThe Chosen One is entrusted to the careof the old wise men.

13 Danse sacrale

(L'Elue) Sacrificial Dance

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

Creation

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the choice of one for sacrifice and her eventual dance to the death before the sages.[14] The original working title was changed to "Holy Spring" (Russian: Vesna

 sviashchennaia), but the work became generally known by the French rendering LeSacre du Printemps or its English equivalent The Rite of Spring , with the subtitle"Pictures of Pagan Russia".[15][18] 

Composition

Clarens, in Switzerland (modern photograph), where most of The Rite of Spring wascomposed

Stravinsky's sketchbooks show that after returning to his home at Ustilug in the Ukrainein September 1911, he worked on two movements, the "Augurs of Spring" and the"Spring Rounds".[19] In October he left Ustilug for  Clarens in Switzerland, where in atiny and sparsely-furnished room – eight feet square, with only a piano, a table and twochairs — he worked throughout the 1911 – 12 winter on the score.[20] By March 1912,according to the sketchbook chronology, Stravinsky had completed Part I and haddrafted much of Part II.[19] He also prepared a two-hand piano version, subsequentlylost,[20] which he may have used to demonstrate the work to Diaghilev and the BalletRusses conductor  Pierre Monteux in April 1912.[21] He also made a four-hand pianoarrangement which became the first published version of The Rite; he and the composer Claude Debussy  played the first half of this together, in June 1912.[20] 

Following Diaghilev's decision to delay the premiere until 1913, Stravinsky put The Rite aside during the summer of 1912.[22] He enjoyed the Paris season, and accompaniedDiaghilev to the Bayreuth Festival to attend a performance of   Parsifal .[23] Stravinskyresumed work on The Rite in the autumn; the sketchbooks indicate that he had finished

the outline of the final sacrificial dance on 17 November 1912.[19]

 During the remainingmonths of winter he worked on the full orchestral score, which he signed and dated as"completed in Clarens, March 8, 1913". Collaborating in Clarens at the time withMaurice Ravel on an adaptation of  Mussorgsky's  Khovanshchina, he showed themanuscript to Ravel, who was very enthusiastic about it and predicted in a letter to afriend that the first performance of the Sacre would be as important as the premiere of Debussy's  Pelléas et Mélisande.[24] 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 fortissimo episodes.[25] 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 endwith the version prepared for the 1913 premiere; rather, Stravinsky continued to make

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changes for the next 30 years or more. According to Van den Toorn, "[n]o other work of Stravinsky's underwent such a series of post-premiere revisions".[26] 

Stravinsky acknowledged that the work's opening bassoon melody was derived from ananthology of Lithuanian folk songs,[27]  but maintained that this was his only borrowing

from such sources;[28]

 if other elements sounded like aboriginal folk music, he said, itwas due to "some unconscious 'folk' memory".[29] However, the Stravinsky scholar Lawrence Morton has identified several more melodies in Part I as having their originsin the Lithuanian collection.[30][31] More recently Richard Taruskin has discovered thetransposition into the work of one of Rimsky-Korsakov's "One Hundred Russian

 National Songs".[29][32] Taruskin notes the paradox whereby The Rite, generallyacknowledged the most revolutionary of the composer's early works, is in fact rooted inthe traditions of Russian music.[33] 

Realisation

 Nijinsky in 1911, depicted by John Singer Sargent in costume for his role in  NikolaiTcherepnin's ballet Le Pavillion d'Armide.

Taruskin has listed a number of sources that Roerich consulted when creating hisdesigns. Among these are The Primary Chronicle, a 12th-century compendium of early

 pagan customs, and Alexander Afanasyev's study of peasant folklore and pagan prehistory.[34] The Princess Tenisheva's collection of costumes was an early source of inspiration.[14] When the designs were complete, Stravinsky expressed delight and

declared them "a real miracle".[34]

 

Stravinsky's relationship with his other main collaborator, Nijinsky, was morecomplicated. Diaghilev had decided that Nijinsky's genius as a dancer would translateinto the role of ballet-master; he was not dissuaded when Nijinsky's first attempt atchoreography, Debussy's  L'après-midi d'un faune, caused controversy and near-scandal

 because of the dancer's novel stylised movements and his overtly sexual gesture at thework's end.[35][36] It is apparent from contemporary correspondence that, at leastinitially, 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".[37] 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

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knew nothing of music. He could neither read it nor play any instrument".[38][n 1] Later still, Stravinsky would ridicule Nijinsky's dancing maidens as "knock-kneed and long-

 braided Lolitas".[40] Stephen Walsh, a leading Stravinsky analyst, has suggested that the belated disavowal of Nijinsky's choreography, together with the denial of folk musicinfluences, was part of an attempt by the composer, then in exile, to downplay the

music's Russian roots and influences.[41]

 

Stravinsky's autobiographical account refers to many "painful incidents" between the ballet-master and the dancers during the rehearsal period.[42] By the beginning of 1913,when Nijinsky was badly behind schedule, Stravinsky was warned by Diaghilev that"unless you come here immediately ... the Sacre will not take place". The problemswere slowly overcome, and when the final rehearsals were held in May 1913 thedancers appeared to have mastered the work's difficulties. Even the Ballets Russes'ssceptical stage director, Serge Grigoriev, was full of praise for the originality anddynamism of Nijinsky's choreography.[43] 

The conductor Pierre Monteux had worked with Diaghilev since 1911, and had been incharge of the orchestra at the premiere of  Petrushka. Monteux's first reaction to The

 Rite, after hearing Stravinsky play a piano version, was to leave the room and find aquiet corner. Although he would perform his duties with conscientious professionalism,he never came to enjoy the work; nearly fifty years after the premiere he told enquirersthat he detested it. On 30 March Monteux informed Stravinsky of modifications hethought were necessary,[44] and perhaps only received the final completed score towardsthe end of April 1913.[45] The orchestra, drawn mainly from the Concerts Colonne inParis, contained 99 players.[46] The first part of the ballet received two full orchestralrehearsals in March, before Monteux and the company departed to perform in MonteCarlo. Rehearsals resumed when they returned, Stravinsky only arriving in Paris on 13May, so the unusually large number of rehearsals, seventeen solely orchestral and fivewith the dancers, had to be fitted into the fortnight before the opening, while

 performances and rehearsals of other music continued.[47] 

The music contained so many unusual note combinations that Monteux had to ask themusicians to stop interrupting when they thought they had found mistakes in the score,saying he would tell them if something was played incorrectly. "The musicians thoughtit absolutely crazy";.[48] At one point, a climactic brass fortissimo, the orchestra brokeup in nervous laughter at the sound, causing Stravinsky to intervene angrily.[49][n 2] 

The role of the sacrificial victim was to have been danced by Nijinsky's sister,Bronislava Nijinska; when she became pregnant during rehearsals she was replaced bythe then relatively unknown Maria Piltz.[39] 

Performance history and reception

Premiere

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The New York Times reports the sensational Rite premiere, nine days after the event

Paris's Théâtre des Champs-Élysées was a new structure, which had opened on 2 April1913 with a programme celebrating the works of many of the leading composers of theday. The theatre's manager, Gabriel Astruc, was determined to house the 1913 BalletsRusses season, and paid Diaghilev the large sum of 25,000 francs per performance,double what he had paid the previous year .[51] Ticket sales for the evening, ticket prices

 being doubled for a premiere, amounted to 35,000 francs.[52] The programme for 29May 1913 also included Les Sylphides, Weber 's  Le Spectre de la Rose and Borodin's

 Polovtsian Dances.[53] 

At the time, a Parisian ballet audience typically consisted of two diverse groups: thewealthy and fashionable set, who would be expecting to see a traditional performancewith beautiful music, and a "Bohemian" group who, the poet-philosopher  Jean Cocteau asserted, would "acclaim, right or wrong, anything that is new because of their hatred of the boxes".[54] Final rehearsals were held on the day before the premiere, in the presenceof members of the press and assorted invited guests. According to Stravinsky all went

 peacefully.[55] However, the critic of  L'Écho de Paris, Adolphe Boschot, 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.

[56]

 On the evening of the 29 May the theatre was packed: Gustav Linor reported,"Never...has the hall been so full, or so resplendent; the stairways and the corridors werecrowded with spectators eager to see and to hear".[57] The evening began with LesSylphides, in which Nijinsky and Karsavina danced the main roles.[53] The Rite followed; there is general agreement among eyewitnesses and commentators that thedisturbances in the audience began during the Introduction, and grew into a crescendowhen the curtain rose on the stamping dancers in "Augurs of Spring". Marie Rambert, who was working as an assistant to Nijinsky, recalled later that it was soon impossibleto hear the music on the stage.[58] In his autobiographical account, Stravinsky writes that

the derisive laughter that greeted the first bars of the Introduction disgusted him, andthat he left the auditorium to watch the rest of the performance from the stage wings ("I

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have never again been that angry").[59] The demonstrations, he says, grew into "a terrificuproar" which, along with the on-stage noises, drowned out the voice of Nijinsky whowas shouting the step numbers to the dancers.[55] The journalist and photographer  CarlVan Vechten recorded that the person behind him got carried away with excitement, and"began to beat rhythmically on top of my head", though Van Vechten failed to notice

this at first, his own emotion being so great.[60]

 

Dancers in Nicholas Roerich's original costumes. From left, Julitska, Marie Rambert, Jejerska, Boni, Boniecka, Faithful

Monteux believed that the trouble began when the two factions in the audience beganattacking each other, but their mutual anger was soon diverted towards the orchestra:"Everything available was tossed in our direction, but we continued to play on". Aroundforty of the worst offenders were ejected, either by the police or by the management.Through all the disturbances the performance continued without interruption. Thingsgrew noticeably quieter 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 wereseveral curtain calls for the dancers, for Monteux and the orchestra, and for Stravinsky

and Nijinsky before the evening's programme continued.[61]

 

Among the more hostile press reviews was that of   Le Figaro's critic, Henri Quittard,who called the work "a laborious and puerile barbarity" and added "We are sorry to seean artist such as M. Stravinsky involve himself in this disconcerting adventure".[62] Onthe other hand Gustav Linor, writing in the leading theatrical magazine Comoedia,thought the performance was superb, especially that of Maria Piltz; the disturbances,while deplorable, were merely "a rowdy debate" between two ill-mannered factions.[63] Emile Raudin, of  Les Marges, who had barely heard the music, wrote: "Couldn't we ask M. Astruc ... to set aside one performance for well-intentioned spectators? ... We couldat least propose to evict the female element".[61] The composer  Alfredo Casella thought

that the demonstrations were aimed at Nijinsky's choreography rather than at themusic,[64] a view shared by the critic Michel-Dimitri Calvocoressi, who wrote: "Theidea was excellent, but was not successfully carried out". Calvocoressi failed to observeany direct hostility to the composer  — unlike, he said, the premiere of Debussy's  Pelléasand Mélisande in 1902.[65] Of later reports that the veteran composer  Camille Saint-Saëns had stormed out of the premiere, Stravinsky observed that this was impossible;Saint-Saëns did not attend.[66][n 3] Stravinsky also rejected Cocteau's story that, after the

 performance, Stravinsky, Nijinsky, Diaghilev and Cocteau himself took a cab to theBois de Boulogne where a tearful Diaghilev recited poems by Pushkin. Stravinskymerely recalled a celebratory dinner with Diaghilev and Nijinsky, at which theimpresario expressed his entire satisfaction with the outcome.[68] To MaximilienSteinberg, a former fellow-pupil under Rimsky-Korsakov, Stravinsky wrote that

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 Nijinsky's choreography had been "incomparable: with the exception of a few places,everything was as I wanted it".[37] 

Initial run and Joffrey revival

After the premiere there were five further performances of The Rite in Paris, the last on13 June. Although these occasions were relatively peaceful, something of the mood of the first night remained; the composer  Puccini, who attended the second performance on2 June,[69][70] described the choreography as ridiculous and the music cacophonous — 

"the work of a madman. The public hissed, laughed – and applauded".[71] Stravinsky,confined to his bed by typhoid fever ,[72] did not join the company when it went toLondon for four performances at the Theatre Royal, Drury Lane.[73] Reviewing theLondon production, The Times 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 to ... score his

 ballet for nothing but drums".[74] The ballet historian Cyril Beaumont commented on the"slow, uncouth movements" of the dancers, finding these "in complete opposition to thetraditions of classical ballet".[60] 

After the London and Paris performances, events conspired to prevent further stagings. Nijinsky's choreography, which Kelly describes as "so striking, so outrageous, so frailas to its preservation", did not appear again until attempts were made to reconstruct it inthe 1980s.[61] On 19 September 1913 Nijinsky married Romola de Pulszky while theBallets Russes was on tour without Diaghilev in South America. When Diaghilev foundout 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 Faune. Fokine made it a condition of his re-employment that none of Nijinsky's choreography would be performed.[75] In a letter tothe art critic and historian Alexandre Benois, Stravinsky wrote, "[T]he possibility hasgone for some time of seeing anything valuable in the field of dance and, still moreimportant, of again seeing this offspring of mine".[76] 

The outbreak of the First World War  in August 1914 disrupted the established touringcircuit, which included countries now on opposing sides, and caused a number of dancers, including Fokine, to return to their own countries. Diaghilev was reconciled tore-engaging Nijinsky as both dancer and choreographer, but Nijinsky had been placed

under house arrest in Hungary as an enemy Russian citizen. His release was obtained byDiaghilev in a prisoner exchange with the United States in 1916, for a tour there, but hismental health steadily declined and he took no further part in professional ballet after 1917. In 1920, when Diaghilev decided to revive The Rite, he found that no one nowremembered the choreography.[77] 

On 30 September 1987, the Joffrey Ballet in Los Angeles performed The Rite based ona 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, contemporarysketches and photographs, and the recollections of Marie Rambert and other 

survivors.[78]

 Hodson's version has since been performed by the Kirov Ballet, at theMariinsky Theatre in 2003 and later that year at Covent Garden.[79][80] The Joffrey Ballet

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is planning a commemorative performance in March 2013, in Austin, Texas, to mark the work's centenary.[81] 

The Rite with other choreographies

Léonide Massine, who choreographed the 1920 revival

Stravinsky spent most of the war years in Switzerland, and became a permanent exilefrom his homeland after the 1917 Russian Revolution. When the war ended he resumedhis partnership with Diaghilev. In December 1920 Ernest Ansermet conducted a new

 production in Paris, choreographed by Léonide Massine, with the  Nicholas Roerich designs retained; the lead dancer was Lydia Sokolova.[60] In his memoirs, Stravinsky is

equivocal about the Massine production; the young ballet-master, he writes, showed"unquestionable talent", but there was something "forced and artificial" in hischoreography, which lacked the necessary organic relationship with the music.[82] Sokolova, in her later account, recalled some of the tensions surrounding the

 production, with Stravinsky, "wearing an expression that would have frightened ahundred Chosen Virgins, pranc[ing] up and down the centre aisle" while Ansermetrehearsed the orchestra.[83] 

The ballet was first shown in the United States on 11 April 1930, when Massine's 1920version was performed in Philadelphia under  Leopold Stokowski, with Martha Graham dancing the role of the Chosen One.[84] The production moved to New York, where

Massine was relieved to find the audiences receptive, a sign, he thought, that NewYorkers were finally beginning to take ballet seriously.[85] The first American-designed production, in 1937, was that of the Modern Dance exponent Lester Horton, whoseversion replaced the original pagan Russian setting with a Wild West  background andthe use of   Native American dances.[85] 

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The Bolshoi Theatre in Moscow, where the 1965 production of The Rite was described by a critic as "Soviet propaganda at its best"

In 1944 Massine began a new collaboration with Roerich, who before his death in 1947completed a number of sketches for a new production which Massine brought to fruitionat La Scala, Milan in 1948.[84] This heralded a number of significant postwar European

 productions. Mary Wigman in Berlin (1957) followed Horton in highlighting the erotic

aspects of virgin sacrifice, as did Maurice Béjart in Brussels (1959). Béjart' srepresentation replaced the culminating sacrifice with a depiction of what the criticRobert Johnson describes as "ceremonial coitus".[85] The Royal Ballet's 1962

 production, choreographed by Kenneth MacMillan and designed by Sidney Nolan, wasfirst performed on 3 May and was a critical triumph. It has remained in the company'srepertoire for more than 50 years; after its revival in May 2011 the  Daily Telegraph' critic Mark Monahan called it one of the Royal Ballet's greatest achievements.[86] Moscow first saw The Rite in 1965, in a version choreographed for the Bolshoi Ballet 

 by  Natalia Kasatkina and Vladimir Vasiliev. This production was shown in Leningrad four years later, at the Maly Opera Theatre,[87] and introduced a storyline that providedthe 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 atits best".[85] 

In 1975 Pina Bausch, who had taken over the Wuppertal  ballet company, caused a stir in the ballet world with her stark depiction, played out on an earth-covered stage, inwhich the Chosen One is sacrificed to gratify the misogyny of the surrounding men.[88] At the end, according to The Guardian's Luke Jennings, "the cast is sweat-streaked,filthy and audibly panting".[89] In America, in 1980, Paul Taylor used Stravinsky's four-hand piano version of the score as the background for a scenario based on child murder and gangster film images.[85] In February 1984 Martha Graham, in her 90th year,

resumed her association with The Rite by choreographing a new production at NewYork's State Theater .[90] The New York Times critic declared the performance "atriumph ... totally elemental, as primal in expression of basic emotion as any tribalceremony, as hauntingly staged in its deliberate bleakness as it is rich in implication".[91] 

The music publishers Boosey and Hawkes have estimated that since its premiere, the ballet has been the subject of at least 150 productions, many of which have becomeclassics and have been performed worldwide.[92] Among the more radical interpretationsis Glen Tetley's 1974 version, in which the Chosen One is a young male.[93] Morerecently there has been a solo dance version devised by Javier de Frutos, a punk rock interpretation from Michael Clark ,[92] and Rites (2008), by The Australian Ballet in

conjunction with Bangarra Dance Theatre, which represents Aboriginal perceptions of the elements of earth, air, fire and water .[94] 

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Concert performances

Commentators have broadly agreed that, following enthusiastic receptions of concert performances in Moscow, Paris, London and Philadelphia, the work has had a greater impact in the concert hall than on the stage. Many of Stravinsky's revisions to the music

have been with the concert hall rather than the theatre in mind.[95] 

On 18 February 1914 The Rite received its first concert performance (the music withoutthe ballet), in St Petersburg under  Serge Koussevitzky.[96] On 5 April that year,Stravinsky experienced for himself the popular success of The Rite as a concert work, atthe Casino de Paris. After the performance, again under Monteux, the composer wascarried in triumph from the hall on the shoulders of his admirers.[97] The Rite had its firstBritish concert performance on 7 June 1921, at the Queen's Hall in London under Eugene Goossens. Its American premiere occurred on 3 March 1922, when LeopoldStokowski included it in a Philadelphia Orchestra  programme.[98] Goossens was alsoresponsible for introducing The Rite to Australia in 1946, as guest conductor of the

Sydney Symphony Orchestra.[99] 

Stravinsky first conducted the work in 1926, in a concert given by the ConcertgebouwOrchestra in Amsterdam;[26][100] two years later he brought it to the Salle Pleyel in Parisfor two performances under his baton. Of these occasions he later wrote that "thanks tothe experience I had gained with all kinds of orchestras ... I had reached a point where Icould obtain exactly what I wanted, as I wanted it".[101] The work has since become astaple in the repertoires of all the leading orchestras, and has been cited by LeonardBernstein as "the most important piece of music of the 20th century".[102] 

In 1963, 50 years after the premiere, Monteux (then aged 88) agreed to conduct acommemorative performance at London's Royal Albert Hall. According to IsaiahBerlin, a close friend of the composer, Stravinsky informed him that he had no intentionof hearing his music being "murdered by that frightful butcher". Instead he arrangedtickets for that particular evening's performance of  Mozart's opera The Marriage of 

 Figaro, at Covent Garden. Under pressure from his friends, Stravinsky was persuadedto leave the opera after the first act. He arrived at the Albert Hall just as the performanceof The Rite was ending;[n 4] composer and conductor shared a warm embrace in front of the unaware, wildly cheering audience.[104] Monteux's biographer John Canarina

 provides a different slant on this occasion, recording that by the end of the eveningStravinsky had asserted that "Monteux, almost alone among conductors, never 

cheapened Rite or looked for his own glory in it, and he continued to play it all his lifewith the greatest fidelity".[105] 

Music

General character and instrumentation

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Cover of the 1913 four-hand piano reduction of The Rite of Spring , the first publishedversion of the work 

Commentators have often described The Rite's music in vivid terms; Paul Rosenfeld, in1920, wrote of it "pound[ing] with the rhythm of engines, whirls and spirals like screwsand fly-wheels, grinds and shrieks like laboring metal".[106] In a more recent analysis,The New York Times critic Donal Henahan refers to "great crunching, snarling chordsfrom the brass and thundering thumps from the timpani".[107] The composer  JuliusHarrison acknowledged the uniqueness of the work negatively: it demonstratedStravinsky's "abhorrence of everything for which music has stood these manycenturies ... all human endeavour and progress are being swept aside to make room for hideous sounds..."[108] 

In The Firebird , Stravinsky had begun to experiment with  bitonality (the use of twodifferent keys simultaneously). He took this technique further in Petrushka, but reservedits full effect for The Rite where, as the analyst E.W. White explains, he "pushed [it] toits logical conclusion".[109] White also observes the music's complex metrical character,with combinations of  duple and triple time in which a strong irregular beat isemphasised by powerful percussion.[110] The music critic Alex Ross has described theirregular process whereby Stravinsky adapted and absorbed traditional Russian folk material into the score. He "proceeded to pulverize them into motivic bits, pile them upin layers, and reassemble them in cubistic collages and montages".[111] 

The duration of the work is about 35 minutes. The score calls for one  piccolo, three

flutes (third doubling second piccolo), one alto flute, four  oboes (fourth doublingsecond English horn), English horn, three clarinets in B♭ and A (third doubling second bass clarinet),  piccolo clarinet in E♭ and D, one  bass clarinet, four   bassoons (fourthdoubling second contrabassoon), one contrabassoon; eight horns (seventh and eighthdoubling tenor  Wagner tubas[112]), four  trumpets in C, small trumpet in D,  bass trumpet in E♭, three trombones, two bass tubas; a percussion section with 5 timpani (requiringtwo players),  bass drum, gong, triangle, tambourine, cymbals, antique cymbals in A♭ and B♭, güiro; and strings.[113] Despite the large orchestra, much of the score is writtenchamber-fashion, with individual instruments and small groups having distinct roles.[46] 

Part I: The Adoration of the Earth

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The opening melody is played by a solo bassoon in a very high register, which rendersthe instrument almost unidentifiable;[114] gradually other woodwind instruments aresounded and are eventually joined by strings.[115] The sound builds up before stoppingsuddenly, Hill says, "just as it is bursting ecstatically into bloom". There is then areiteration of the opening bassoon solo, now played a semitone lower .[116] 

The first dance, "Augurs of Spring", is characterised by a repetitive stamping chord inthe horns and strings, based on E-flat superimposed on an E-major  triad.[117] Whitesuggests that this bitonal combination, which Stravinsky considered the focal point of the entire work, was devised on the piano, since the constituent chords are comfortablefits for the hands on a keyboard.[118] The rhythm of the stamping is disturbed byStravinsky's constant shifting of the accent, on and off the beat,[119]  before the danceends in a collapse, as if from exhaustion.[115] The "Ritual of Abduction" which followsis 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 themegradually rises to a dissonant fortissimo, a "ghastly caricature" of the episode's main

tune.[115][120] 

Brass and percussion predominate as the "Ritual of the Rival Tribes" begins. A tuneemerges on tenor and bass tubas, leading after much repetition to the entry of the Sage's

 procession.[115] The music then comes to a virtual halt, "bleached free of colour"(Hill),[121] as the Sage blesses the earth. The "Dance of the Earth" then begins, bringingPart I to a close in a series of phrases of the utmost vigour which are abruptlyterminated in what Hill describes as a "blunt, brutal amputation".[122] 

Part II: The Sacrifice

Sketches of Maria Piltz performing the sacrificial dance

Part II has a greater cohesion than its predecessor. Hill describes the music as followingan arc stretching from the beginning of the Introduction to the conclusion of the finaldance.[122] Woodwind and muted trumpets are prominent throughout the Introduction,which ends with a number of rising cadences on strings and flutes. The transition intothe "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 toorder, announces the moment for choosing the sacrificial victim. The "Glorification of 

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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 intothe quiet phrases that began the episode.[115] 

The final transition introduces the "Sacrificial Dance". This is written as a moredisciplined ritual than the extravagant dance that ended Part I, though it contains somewild moments, with the large percussion section of the orchestra given full voice.Stravinsky had difficulties with this section, especially with the final bars that concludethe work. The abrupt ending displeased several critics, one of whom wrote that themusic "suddenly falls over on its side". Stravinsky himself referred to the final chorddisparagingly as "a noise", but in his various attempts to amend or rewrite the section,was unable to produce a more acceptable solution.[83] 

Influence and adaptations

The three pieces written for Diaghilev to be performed as ballets, The Rite of Spring , Petrushka and The Firebird , have become more popular as concert pieces than any of Stravinsky's works intended to be unaccompanied music. The Rite has been described as" the most famous composition of the early twentieth century";[123] the academic andcritic Jan Smaczny, echoing Bernstein, calls it one of the 20th century's most influentialcompositions, providing "endless stimulation for performers and listeners".[102][124] According to Kelly the 1913 premiere might be considered "the most important singlemoment in the history of 20th century music", and its repercussions continue toreverberate in the 21st century.[125] Ross has described The Rite as a prophetic work,

 presaging the "second avant-garde" era in classical composition — music of the body

rather than of the mind, in which "[m]elodies would follow the patterns of speech;rhythms would match the energy of dance ... sonorities would have the hardness of lifeas it is really lived".[126] 

Among 20th century composers most influenced by The Rite is Stravinsky's near contemporary, Edgard Varèse, who had attended the 1913 premiere. Varèse, accordingto Ross, was particularly drawn to the "cruel harmonies and stimulating rhythms" of The

 Rite, which he employed to full effect in his concert work   Amériques (1921), scored for a massive orchestra with added sound effects including a lion's roar and a wailingsiren.[127][128] Aaron Copland, to whom Stravinsky was a particular inspiration in theformer's student days, considered The Rite a masterpiece that had created "the decade of 

the displaced accent and the polytonal chord".[129] Copland adopted Stravinsky'stechnique of composing in small sections which he then shuffled and rearranged, rather than working through from beginning to end.[130] Ross cites the music of Copland's

 ballet  Billy the Kid  as coming directly from the "Spring Rounds" section of The Rite.[131] For  Olivier Messiaen The Rite was of special significance; he constantly analysed andexpounded on the work, which gave him an enduring model for rhythmic drive andassembly of material.[132] 

After the premiere the writer Leon Vallas opined that Stravinsky had written music 30years ahead of its time, suitable to be heard in 1940. Coincidentally, it was in that year that Walt Disney released  Fantasia, an animated feature film based on music from The

 Rite and other classical compositions.[125] The Rite segment of the film depicted theEarth's prehistory, leading to the extinction of the dinosaurs. Among those impressed by

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the film was Gunther Schuller , later a composer, conductor and jazz scholar. The Rite of Spring sequence, he says, overwhelmed him and determined his future career in music:"I hope [Stravinsky] appreciated that hundreds —  perhaps thousands — of musicians wereturned onto The Rite of Spring ... through Fantasia, musicians who might otherwisenever have heard the work, or at least not until many years later".[133] In later life

Stravinsky claimed distaste for the adaptation, though as Ross remarks, he said nothingcritical at the time; according to Ross, the composer  Paul Hindemith observed that "Igor appears to love it".[134] 

Recordings

Main article: The Rite of Spring discography 

Before the first gramophone disc recordings of The Rite were issued in 1929, Stravinskyhad helped to produce a  pianola version of the work for the Aeolian Company. He also

created a much more comprehensive arrangement for the French  player piano companyPleyel, with whom he signed a contract in 1923 under which many of his early workswere reproduced on this medium.[135] The Pleyel version of The Rite of Spring wasissued in 1921; the British pianolist Rex Lawson recorded the work in this form in1990[136] 

In 1929 Stravinsky and Monteux vied with each other to conduct the first gramophonerecording of The Rite. While Stravinsky led L'Orchestre des Concerts Straram in arecording for the Columbia label, at the same time Monteux was recording it for theHMV label. Stokowski's version followed in 1930. Stravinsky made two morerecordings, in 1940 and 1960.[136][137] According to the critic Edward Greenfield, 

Stravinsky was not technically a great conductor but, Greenfield says, in the 1960recording with the Columbia Symphony Orchestra the composer inspired a performancewith "extraordinary thrust and resilience".[138] In conversations with Robert Craft, Stravinsky reviewed several recordings of The Rite made in the 1960s. Of  Herbert vonKarajan's 1963 recording with the Berlin Philharmonic, Stravinsky commented: "Therecording is generally good, the performance is ... too polished, a pet savage rather thana real one". Pierre Boulez, with the Orchestre National de France (1963), was "less goodthan I had hoped ... very bad tempi and some tasteless alterations". A recording by TheMoscow State Symphony Orchestra in 1962 was complimented on making the musicsound Russian "which is just right", but Stravinsky's concluding judgement is that noneof these three performances is worth preserving.[139] 

As of 2012 there are well over 100 different recordings of The Rite commerciallyavailable, and many more held in library sound archives. It has became one of the mostrecorded of all 20th century musical works.[136][140] Addressing this wealth of recordedversions, Stefan Goldmann  produced an electronically edited version cutting throughdozens of recordings, while claiming that the score itself wasn't altered.[141] 

Editions

The 1913 autograph score, used in the premiere and other early performances, has never 

 been published.[n 5]

 The first published score was the four-hand piano arrangement(Edition Russe de Musique, RV196), dated 1913. Publication of the full orchestral score

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was prevented by the outbreak of war in August 1914. After the revival of the work in1920 Stravinsky, who had not heard the music for seven years, made numerousrevisions to the score, which was finally published in 1921 (Edition Russe de Musique,RV 197/197b. large and pocket scores).[26][144] 

In 1922 Ansermet, who was preparing to perform the work in Berlin, sent to Stravinskya list of errors he had found in the published score.[144] In 1926, as part of his preparation for that year's performance with the Concertgebouw Orchestra, Stravinskyrewrote the "Evocation of the Ancestors" section and made substantial changes to the"Sacrificial Dance". The extent of these revisions, together with Ansermet'srecommendations, convinced Stravinsky that a new edition was necessary, and thisappeared 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 1921edition, making the new edition hard to identify.[26] 

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

1948 Boosey and Hawkes issued a corrected version of the 1929 score (B&H 16333);Stravinsky's 1943 amendment of the "Sacrificial Dance" was not incorporated into thenew version and remained unperformed, to the composer's disappointment. Heconsidered it "much easier to play ... and superior in balance and sonority" to the earlier versions.[144] 

The 1929 score forms the basis of most performances of The Rite. Boosey and Hawkesreissued their 1948 edition in 1965, and produced a newly engraved edition (B&H19441) in 1967. The firm also issued an unmodified reprint of the 1913 piano reductionin 1952 (B&H 17271) and a revised piano version, incorporating the 1929 revisions, in1967.[26] 

Notes and references

Notes 

1.  ^  Nijinsky's sister Bronislava Nijinska later insisted that her brother could play anumber of instruments, including the  balalaika, the clarinet and the piano.[39] 

2.  ^ Kelly and Walsh 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".[50] 

3.  ^ Monteux's biographer records that Saint-Saëns walked out of the Paris premiere of the concert version of The Rite, which Monteux conducted in April1914; Saint-Saëns opined that Stravinsky was "mad".[67] 

4.  ^ In a different account of the incident, the music historian Richard Morrisonwrites that Stravinsky arrived at the end of the first part, rather than at the end of the piece.[103] 

5.  ^ After being kept in Russia for decades, the autograph score was acquired byBoosey and Hawkes in 1947. The firm presented the score to Stravinsky in1962, on his 80th birthday. After the composer's death in 1971 the manuscriptwas acquired by the Paul Sacher Foundation.[142][143] 

Citations 

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1.  ^ Walsh, Stephen (2012). "Stravinsky, Igor, §1: Background and early years,1882 – 1905". Grove Music Online. Retrieved 9 August 2012. (subscriptionrequired) 

2.  ^ Walsh, Stephen (2012). "Stravinsky, Igor, §2: Towards The Firebird , 1902 – 

09". Grove Music Online. Retrieved 9 August 2012. (subscription required) 

3.  ^ "Stravinsky, Igor, §11: Posthumous reputation and legacy: Works". GroveMusic Online. 2012. Retrieved 9 August 2012. (subscription required) 4.  ^ a  b  c  White 1961, pp. 52 – 535.  ^ "Diaghilev, Serge". The Oxford Dictionary of Music Online edition. 2012.

Retrieved 9 August 2012. (subscription required) 6.  ^ Griffiths, Paul (2012). "Diaghilev (Dyagilev), Sergey Pavlovich". Grove

Music Online. Retrieved 9 August 2012. (subscription required) 7.  ^ Stravinsky, pp. 24 – 288.  ^ Walsh, Stephen (2012). "Stravinsky, Igor, §3: The early Diaghilev ballets,

1910 – 14". Grove Music Online. Retrieved 9 August 2012. (subscription required) 9.  ^ a  b  c  d  Van den Toorn, pp. 26 – 27

10. ^ Hill, p. 311. ^ Stravinsky, p. 3112. ^ Hill, p. 10813. ^ Hill pp. 102 – 104 citing Lawrence Morton, Tempo 128, March 1979, pp. 10 – 

1214. ^ a  b  c  d  Hill, pp. 4 – 815. ^ a  b  Van den Toorn, p. 216. ^ Stravinsky, pp. 35 – 3617. ^ Kelly, p. 29718. ^ Grout, p. 71219. ^ a  b  c  Van den Toorn, p. 24

20. ^ a  b  c  Hill, p. 1321. ^ Van den Toorn, p. 3522. ^ Van den Toorn, p. 3423. ^ Stravinsky, pp. 37 – 3924. ^ Arbie Orenstein, Ravel: Man and Musician, Columbia University Press, 1975,

 p. 6625. ^ Van den Toorn, pp. 37 – 3826. ^ a  b  c  d  e  Van den Toorn, pp. 39 – 4227. ^ Taruskin 1980, p. 50228. ^ Van den Toorn, p. 1029. ^ a  b  Van den Toorn, p. 1230. ^ Taruskin 1980, p. 51031. ^ Hill, pp. vii – viii32. ^ Taruskin 1980, p. 51333. ^ Taruskin 1980, p. 54334. ^ a  b  Van den Toorn, pp. 14 – 1535. ^ Stravinsky, p. 3636. ^ Kelly, p. 26337. ^ a  b  Hill, p. 10938. ^ Stravinsky, pp. 40 – 4139. ^ a  b  Kelly, pp. 273 – 77

40. ^ Stravinsky and Craft 1981, p. 143

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41. ^ Walsh, Stephen. "Proms 2012: Programme note: Stravinsky – The Rite of Spring". BBC. Retrieved 11 August 2012.

42. ^ Stravinsky, p. 4243. ^ Gregoriev, p. 8444. ^ Hill p. 29

45. ^ Walsh p. 19846. ^ a  b  Kelly, p. 28047. ^ Walsh, p. 20248. ^ Walsh p. 202, citing Doris Monteux, Its all in the music, p. 91, 1966, London,

William Kimber 49. ^ Kelly, p. 281, Walsh, p. 20350. ^ Bullard, pp. 97 – 9851. ^ Kelly p. 27652. ^ Kelly, p. 305, 315 Gustave Linor, Comoedia May 30, 1913, reported 38,000,

while a later review in Comoedia on 5 June reported 35,00053. ^ a  b  Kelly, pp. 284 – 85

54. ^ Ross, p. 7455. ^ a  b  Stravinsky, pp. 46 – 4756. ^ Kelly, p. 28257. ^ Kelly, p304, quoting Gustav Linor writing in Comoedia, May 30, 1913, At the

Théâtre des Champs-Elysées: Le Sacre du printemps 58. ^ Hill, pp. 28 – 3059. ^ Walsh p. 204, citing Stravinsky and Craft, Expositions and and Developments,

London, Faber and Faber, 1962, p. 14360. ^ a  b  c  White 1966, pp. 177 – 7861. ^ a  b  c  Kelly, pp. 292 – 9462. ^ Kelly p. 307, quoting Quittard's report in Le Figaro, 31 May 191363. ^ Kelly pp. 304 – 05, quoting Linor's report in Comoedia, 30 May 191364. ^ Kelly, pp. 327 – 28, translated from Casella, Alfredo: Strawinski. La Scuola,

Brescia 1961. OCLC 12830261 65. ^ Calvocoressi, pp. 244 – 4566. ^ Kelly, p. 28367. ^ Canarina, p. 4768. ^ Stravinsky and Craft 1959, pp. 47 – 4869. ^ Kelly, p. 29470. ^ Hill, p. 11671. ^ Adami (ed.), p. 251

72. ^ Stravinsky, p. 4973. ^ "Diaghilev London Walk". Victoria and Albert Museum. Retrieved 27 August2012.

74. ^ "The Fusion of Music and Dancing". The Times: p. 8. 26 July 1913.75. ^ Buckle, p. 26876. ^ Walsh p.219, citing letter to Benois of 20 Sept/3 Oct 1913, published in I.F.

Stravinsky: Stat'i i materiali, ed. L.S. Dyachkova, moscow, SovietskiyKompozitor, 1973 p.477-8

77. ^ Buckle, p. 36678. ^ Fink, Robert (Summer 1999). "The Rite of Spring and the Forging of a

Modern Style". Journal of the American Musicological Society 52 (2): p. 299.

doi:10.1525/jams.1999.52.2.03a00030. JSTOR  832000. (subscription required) 

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79. ^ "The Joffrey Ballet Resurrects The Rite of Spring". National Endowment for the Arts. Retrieved 18 August 2012.

80. ^ Kennedy, Maev (5 August 2003). "Kirov revive Nijinsky's wonder". TheGuardian.

81. ^ "The Joffrey Ballet: The Rite of Spring". The University of Texas at Austin.

Retrieved 18 August 2012.82. ^ Stravinsky, pp. 92 – 9383. ^ a  b  Hill, pp. 86 – 8984. ^ a  b  Berman, Greta (May 2008). "Painting in the Key of Color: The Art of 

 Nicholas Roerich". the Juilliard Journal Online. The Juilliard School.Retrieved !8 August 2012.

85. ^ a  b  c  d  e  Johnson, pp. 233 – 3486. ^ Monahan, Mark (30 May 2011). "Covent Garden and Salisbury Playhouse,

review". The Telegraph online. Retrieved 18 August 2011.87. ^ Solominskaya, Elena (January – February 2003). "The Ballet Time".  Ballet 

magazine.

88. ^ Wakin, Daniel J. (30 June 2009). "Pina Bausch, German Choreographer, Diesat 68". The New York Times.

89. ^ Jennings, Luke (1 July 2009). "Obituary: Pina Bausch". The Guardian.90. ^ Johnson, pp. 235 – 3691. ^ Kisselgoff, Anna (29 February 1984). "Dance: The Rite, by Martha Graham". 

The New York Times.92. ^ a  b  "Stravinsky: towards The Rite of Spring's centenary". Boosey & Hawkes.

March 2011. Retrieved 17 August 2012.93. ^ "The Rite of Spring". Pacific Northwest Ballet. Retrieved 17 August 2012.94. ^ "Aboriginal ballet hits Paris stage". Australian Broadcast Company. 3 October 

2008. Retrieved 17 August 2012.95. ^ Freed, Richard (20 November 2004). "The Rite of Spring: About the work". 

The Kennedy Center. Retrieved 12 August 2012.96. ^ Hill, p. 897. ^ Van den Toorn, p. 698. ^ Smith, p. 9499. ^ "Australian Composition 1945 – 1959". Australian Music Centre. Retrieved 18

August 2012.100.  ^ Stravinsky, p. 129101.  ^ Stravinsky, p. 137102.  ^ a  b  "The Rite of Spring at 100; The History". Carolina Performing Arts:

The University of North Carolina. Retrieved 12 August 2012.103.  ^ Morrison, pp. 137 – 38104.  ^ Hill, p. 102105.  ^ Canarina, p. 301106.  ^ Rosenfeld, p. 202107.  ^ Henahan, Donal (23 March 1984). "Philharmonic: Incarnations of 

Spring". The New York Times.108.  ^ Harrison, p. 168109.  ^ White 1961, p. 59110.  ^ White 1961, p. 61111.  ^ Ross, p. 90

112.  ^ Del Mar, Norman (1981). Anatomy of the Orchestra. London: Faber &Faber. p. 266. ISBN 0-571-11552-7. 

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Further reading

  Hodson, Millicent. 1996. Nijinsky's Crime Against Grace: Reconstruction of  theOriginal Choreography for Le sacre du printemps. Pendragon Press. ISBN 0-945193-43-2. 

External links

Wikiquote has a collection of quotations related to: The Rite of Spring  

  Video of a performance of the Sacrificial Dance from the reconstructed Nijinskychoreography (1987) 

  Multimedia Web Site – Keeping Score: Revolutions in Music: Stravinsky's TheRite of Spring 

  Performance of Stravinsky's four-hand piano arrangement of The Rite of Spring  

 by Jonathan Biss and Jeremy Denk  from the Isabella Stewart Gardner Museum in MP3 format

  The Rite of Spring: Free scores at the International Music Score Library Project