Best 11 igor stravinsky the rite of spring

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Stravinsky’s The Rite of Spring: Keeping Score | PBS

Stravinsky’s The Rite of Spring | Music 101 – Lumen Learning …

Igor Stravinsky – The Rite of Spring project – London …

The Rite of Spring Themes by Igor Stravinsky/arr. – JW Pepper

Igor Stravinsky – The Rite of Spring – Boosey & Hawkes

Stravinsky – The Rite of Spring | RNZ

Igor Stravinky’s The Rite of Spring – Music Animation Machine

Stravinsky’s Rite of Spring, arranged for woodwind quintet

The Story Behind The Rite Of Spring – Classic FM

Milestones of the Millennium: The Rite of Spring – NPR

The Rite of Spring (1913): Part 2: “Mystic circles of the young …

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It’s hard to underestimate the impactSpring Ritualson the next road. The jarring rhythms and unconventional use of traditional instruments paved the way for the experiments of later composers. ThisShort article on the website for the PBS program “Hold Scores”provides a very accessible account of the historical background of the first performance. More importantly, you can watch it all.Spring RitualsFree sections on the site. While you can get all the information you need for our course from this article, I recommend you take a look at this program now or in the future. You’ll learn more about the music of the day and see both orchestral musicians and ballet dancers at work. After all, the work was originally written for performance combined with dance.

Here is some material to support the “Keep Scores” website. The music we listen to presents us stage by stage. The music tells and the dancers tell a story. It is important that you know the specifics of this story. You should also not forget thatSpring Ritualsconsists of two parts and we only have the first one on our playlist.

To introduce

Figure 1. Some of Nicholas Roerich’s designs for Diaghilev’s 1913 production of Le Sacre du printemps

Rite of Spring(French:Le Sacre du printemps, Russian:«Весна ая», Vesna svyashchennaya) is a ballet and concert work by Russian composer Igor Stravinsky. Written for the 1913 Paris season of Sergei Diaghilev’s company Ballets Russes; The original choreography was by Vaslav Nijinsky, and the stage designs and costumes were by Nicholas Roerich. When performed for the first time at the Théâtre des Champs-Élysées on May 29, 1913, the avant-garde nature of music and dance caused a sensation and almost an uproar in the audience. Despite being conceived as a theatrical piece, the music, with certain passages accompanying the characters and acts, was equally, if not all, accepted and accepted as part of an ensemble. Considered by many to be one of the most influential musical works of the 20th century. century.

Stravinsky was a young composer, not well known when Diaghilev recruited him to create works for Russian Ballets.ceremonyIt is the third such project after.fire Bird(1910) andPetrushka(in 1911). The concept behindRite of SpringDeveloped by Roerich from Stravinsky’s outlines, proposed by its subtitle “The Two-Part Image of Pagan Russia”; In the scenario, after various primitive rituals to celebrate the arrival of spring, a young girl is chosen as a victim and dances herself to death. After a mixed critical reception for its first performance and brief tour of London, the ballet was not performed again until the 1920s, when a version choreographed by Léonide Massine replaced the original Nijinsky. Massine’s has been the pioneer of many globally recognized innovative works led by the world’s leading ballet artists. In the 1980s, Nijinsky’s original choreography, long thought to be lost, was reconstructed in Los Angeles by Joffrey Ballet.

Stravinsky included many new features for time, including tests of note, timbre, clock, rhythm, tension, and dissonance. Analysts noted an important history in Russian folk music, a relationship Stravinsky tended to deny. The music influenced many of the leading composers of the 20th century and is one of the most recorded works in the classical repertoire.

Summary of content and structure

In a February 1914 note to chief Serge Koussevitzky, Stravinsky described:Rite of Spring“It is a musical-choreographic work [representing] pagan Russia. . . united by a single idea: the mystery and great enthusiasm of the creativity of spring”.ceremonyPieter van den Toorn writes that the work has no specific plot or story and should be seen as a continuation of the staged episodes.

The French titles are given in the format given in the four-part piano work published in 1913. There have been many variations of the English translations; shown are from the 1967 version of the track.

Release

Figure 2. The New York Times reported the sensational Rite launch nine days after the event.

The Théâtre des Champs-Élysées in Paris is a new building that opened on April 2, 1913, with a program celebrating the works of many of the leading composers of the day. The theater’s director, Gabriel Astruc, was determined to organize the Russian Ballet season in 1913 and paid Diaghilev huge sums of 25,000 francs per performance, double what he had paid the previous year. Tickets sold for the evening amounted to 35,000 francs, doubling the price of an early show. The May 29, 1913 program also included:Les Sylphides, Weber’sLe Specter de la Roseand Borodin’sPolovtsian dances.

At that time, ballet audiences in Paris were generally made up of two different groups: the wealthy and trendy group who expected to see a traditional performance with great music, and the “Bohemian” group, as poet-philosopher Jean Cocteau claimed. Right or wrong, they hate boxes, so they welcome everything new.” The final rehearsal was held the day before the premiere in the presence of members of the press and various guests. According to Stravinsky, everything went smoothly. However, criticsL’Echo de Paris, Adolphe Bobot, predicted potential problems; He wondered how the public would welcome the work, and suggested that they might react badly if they thought they were being mocked.

On the evening of May 29, the theater was packed: Gustav Linor said, “Never. . . the hall was full or very bright; The stairs and corridors were filled with spectators eager to see and hear. “evening beginsLes SylphidesIn which Nijinsky and Karsavina took the main roles.ceremonyfollow. Several witnesses and commentators say that the tumult of the audience began at the entrance and ended with the curtain lifting of the dancers dancing in the “Prophecy of Spring.” But music historian Richard Taruskin says, “It wasn’t Stravinsky’s music that caused the shock. It is the ugly world that lurks and is crushed in the place designed by Vaslav Nijinsky. “Marie Rambert, who worked as Nijinsky’s assistant, later recounted that it didn’t take long for the music to be heard on stage. In her autobiography, Stravinsky wrote that the mocking laughter greeted the first bar of the Introduction with disgust. shouting the number of steps to the dancers, journalist and photographer Carl Van Vechten noted that the person behind him was excited and “started to beat rhythmically above my head,” although Van Vechten didn’t realize it at first, his own feelings were tremendous.

Figure 3. Dancers in original Nicholas Roerich costumes. Left to right, Julitska, Marie Rambert, Jejerska, Boni, Boniecka, Loyal

Monteux believes the problem started when the two groups in the auditorium started attacking each other, but their anger quickly turned to the orchestra: “Everything that was available was thrown at us, but we continue to play anyway”. About forty of the worst offenders were evicted from their homes – possibly with police intervention – although this has not been confirmed. Despite all the inconveniences, the performance continued uninterrupted. In Episode II, things visibly calmed down, and according to some accounts, Maria Piltz’s show “The Sacrifice Dance” was finally watched in reasonable silence. Finally, several curtain calls were made for the dancers, Monteux and the orchestra, and Stravinsky and Nijinsky before the evening program continued.

Among the more hostile press reviews,le figaroDescribing the work as “hard work and barbaric labor”, critic Henri Quittard said, “We regret that an artist like M. Stravinsky has rejoined the adventure to save this mess.” On the other hand, Gustav Linor, writing for the leading theater magazinecommode, thought the performance was great, especially Maria Piltz’s; The turmoil, however reprehensible, is merely a “noisy discussion” between two evil factions. Emile Raudin, in totalles margesThe one who could barely hear the music writes: “M. We couldn’t ask Astruc. . . to record a performance for a bona fide audience? . . . We can at least offer to remove the woman. Composer Alfredo Casella felt that the performances were aimed more at Nijinsky’s choreography than at the music. Unlike Debussy’s premiere, Calvocoressi did not observe any direct hostility towards the composer.Pelléas and Melisandin 1902. In later reports that senior composer Camille Saint-Saëns was quickly leaving the premiere, Stravinsky stated that this was unlikely; Saint-Saens did not participate. Stravinsky also refutes Cocteau’s story that after the performance Stravinsky, Nijinsky, Diaghilev and Cocteau took a taxi to the Bois of Boulogne on their own, and Diaghilev recited Pushkin’s poems in tears. Stravinsky remembers a celebratory dinner with Diaghilev and Nijinsky, where the manager expressed his satisfaction with the outcome. As for Maximilien Steinberg, a former student of Rimsky-Korsakov, Stravinsky wrote that Nijinsky’s choreography was “unique: everything was like I wanted it to be, except in a few places.”

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Sir Simon Rattle conducts the London Symphony Orchestra in Stravinsky’s The Rite of Spring, recorded live at the Barbican Centre on Sunday 24 September 2017.

Programme notes:

-https://lso.co.uk/images/pdf/21-Sep-17-Stravinsky-pages-from-This-is-Rattle-programme.pdf

Concert generously supported by Reignwood

Recommended by Classic FM

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