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The Rite of Spring [n 1] (French: Le Sacre du printemps) is a ballet and orchestral concert work by the Russian composer Igor Stravinsky.It was written for the 1913 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Vaslav Nijinsky with stage designs and costumes by Nicholas Roerich.
While completing The Firebird during the spring of 1910, Stravinsky had a "vision" of 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 Rite of Spring. [4]
Béla Bartók considered Stravinsky's Russian period to have begun in 1913 with The Rite of Spring due to its use of Russian folk songs, themes, and techniques. [214] The use of duple or triple meters was especially prevalent in Stravinsky's Russian period music; while the pulse may have remained constant, the time signature would often change ...
This is a sound and video discography of Igor Stravinsky's ballet The Rite of Spring. The work was premiered in Paris on May 29, 1913 at the Théâtre des Champs-Élysées. It was presented by Sergei Diaghilev's Ballets Russes with choreography by Vaslav Nijinsky and was conducted by Pierre Monteux. The list includes many of the most noted ...
Indifferently received by the public, Jeux was eclipsed two weeks later by the premiere of Igor Stravinsky's The Rite of Spring (Le Sacre du printemps), also choreographed by Nijinsky. Nijinsky eventually retired from dance and choreography, after he was diagnosed with schizophrenia in 1919.
Stravinsky heard Jeux d'eau and several other works by Ravel no later than 1907 at the "Evenings for Contemporary Music" program. [9] Stravinsky used the chord repeatedly throughout the ballet Petrushka to represent the puppet and devised the chord to represent the puppet's mocking of the crowd at the Shrovetide Fair. [10]
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Stravinsky's The Rite of Spring is widely credited with popularizing bitonality, and contemporary writers such as Casella (1924) describe him as the progenitor of the technique: "the first work presenting polytonality in typical completeness—not merely in the guise of a more or less happy 'experiment', but responding throughout to the demands ...