Kakophonie. Das Werk eines Wahnsinnigen. Ein von Idioten gemachtes Ding. Solche Schmähungen musste Igor Strawinsky für "Le sacre du. Le sacre du printemps, Zweiteiliger Ballettabend von Bryan Arias und Edward Clug, Choreografie: Edward Clug, Musikalische Leitung: GMD Patrick Lange. Le sacre du printemps (Das Frühlingsopfer). Termine & Tickets; Video; Besetzung. Infos. Zweiteiliger Ballettabend von Bryan Arias und.
BR-KLASSIKEs ist einer der größten Skandale der Musikgeschichte: Die Uraufführung von Strawinskys "Le Sacre du Printemps" am in der. Le sacre du printemps, Zweiteiliger Ballettabend von Bryan Arias und Edward Clug, Choreografie: Edward Clug, Musikalische Leitung: GMD Patrick Lange. Kakophonie. Das Werk eines Wahnsinnigen. Ein von Idioten gemachtes Ding. Solche Schmähungen musste Igor Strawinsky für "Le sacre du.
Le Sacre Du Printemps Navigation menu VideoLe Sacre du printemps (Pina Bausch) - Extrait Wetter Verkehr. Die Schritte, die wirklich weggingen von dem üblichen Tanz: Es wurde auf der Sullivan Stapleton gestampft, man hat die Beine nicht mehr gesehen, und die Kostüme waren bewusst hässlich und primitiv. Daniel Cohen. Und was bedeutet dir Tradition?
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".
Taruskin has listed a number of sources that Roerich consulted when creating his designs. 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.
Stravinsky's relationship with his other main collaborator, Nijinsky, was more complicated. He could neither read it nor play any instrument".
Stravinsky's autobiographical account refers to many "painful incidents" between the ballet-master and the dancers during the rehearsal period.
The problems were slowly overcome, and when the final rehearsals were held in May , 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 Nijinsky's choreography.
The conductor Pierre Monteux had worked with Diaghilev since and had been in charge 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 a quiet corner.
He drew Diaghilev aside and said he would never conduct music like that; Diaghilev managed to change his mind. I have conducted it fifty times since.
I do not like it now". 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 fortnight before the opening, after Stravinsky's arrival in Paris on 13 May.
According to Doris Monteux, "The musicians thought it absolutely crazy". 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 by the then relatively unknown Maria Piltz.
The theatre's manager, Gabriel Astruc , was determined to house the Ballets Russes season, and paid Diaghilev the large sum of 25, francs per performance, double what he had paid the previous year.
According to Stravinsky, all went peacefully. On the evening of 29 May, Gustav Linor reported, "Never 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 earthbound lurching and stomping devised by Vaslav Nijinsky.
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.
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 "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".
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.
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 see an artist such as M.
Stravinsky involve himself in this disconcerting adventure". We could at least propose to evict the female element".
Stravinsky merely recalled a celebratory dinner with Diaghilev and Nijinsky, at which the impresario expressed his entire satisfaction with the outcome.
Although these occasions were relatively peaceful, something of the mood of the first night remained; the composer Puccini , who attended the second performance on 2 June,   described the choreography as ridiculous and the music cacophonous—"the work of a madman.
Stravinsky had wished to be really primitive, he would have been wise to After the opening Paris run and the London performances, events conspired to prevent further stagings of the ballet.
Nijinsky's choreography, which Kelly 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 s.
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 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. With the disruption following the outbreak of the First World War in August 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 his release in 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 The ballet was first shown in the United States on 11 April , when Massine's version was performed by the Philadelphia Orchestra in Philadelphia under Leopold Stokowski , with Martha Graham dancing the role of the Chosen One.
In Massine began a new collaboration with Roerich, who before his death in completed a number of sketches for a new production which Massine brought to fruition at La Scala , Milan in It has remained in the company's repertoire for more than 50 years; after its revival in May The Daily Telegraph ' s critic Mark Monahan called it one of the Royal Ballet's greatest achievements.
This production was shown in Leningrad four years later, at the Maly Opera Theatre ,  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". In 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, in which the Chosen One is sacrificed to gratify the misogyny of the surrounding men.
In America, in , 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.
On 30 September , the Joffrey Ballet performed in Los Angeles The Rite based on a reconstruction of Nijinsky's 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 recollections of Marie Rambert and other survivors.
On 18 February The Rite received its first concert performance the music without the ballet , in Saint Petersburg under Serge Koussevitzky.
After the performance, again under Monteux, the composer was carried in triumph from the hall on the shoulders of his admirers.
Its American premiere occurred on 3 March , when Stokowski included it in a Philadelphia Orchestra programme. Stravinsky first conducted the work in , in a concert given by the Concertgebouw Orchestra in Amsterdam;   two years later he brought it to the Salle Pleyel 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".
In , 50 years after the premiere, Monteux then aged 88 agreed to conduct a commemorative performance at London's Royal Albert Hall.
According to Isaiah Berlin , 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 Mozart 's opera The Marriage of Figaro , at Covent Garden.
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 The Rite was ending; [n 6] composer and conductor shared a warm embrace in front of the unaware, wildly cheering audience.
Commentators have often described The Rite ' s music in vivid terms; Paul Rosenfeld, in , wrote of it "pound[ing] with the rhythm of engines, whirls and spirals like screws and fly-wheels, grinds and shrieks like laboring metal".
In The Firebird , Stravinsky had begun to experiment with bitonality the use of two different keys simultaneously. He took this technique further in Petrushka , but reserved its full effect for The Rite where, as the analyst E.
White explains, he "pushed [it] to its logical conclusion". He "proceeded to pulverize them into motivic bits, pile them up in layers, and reassemble them in cubistic collages and montages".
The score calls for a large orchestra consisting of the following instruments. Despite the large orchestra, much of the score is written chamber-fashion, with individual instruments and small groups having distinct roles.
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.
There is then a reiteration of the opening bassoon solo, now played a semitone lower. According to Roger Nichols , p7 "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 make sense when split into two groups:. 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 The "Ritual of Abduction" which follows is described by Hill as "the most terrifying of musical hunts".
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 "Dance 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".
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.
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.
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, 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.
The music historian Donald Jay Grout has written: " The Sacre is undoubtedly the most famous composition of the early 20th century I never thought about that", he allegedly replied to Michel Legrand when asked about Pierre Boulez 's take on the matter.
Coincidentally, it was in that year that Walt Disney released Fantasia , an animated feature film using music from The Rite and other classical compositions, conducted by Stokowski.
Among those impressed by 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 were turned onto The Rite of Spring Before the first gramophone disc recordings of The Rite were issued in , Stravinsky had helped to produce a pianola version of the work for the London branch of the Aeolian Company.
In Stravinsky and Monteux vied with each other to conduct the first orchestral gramophone recording of The Rite. While Stravinsky led L'Orchestre des Concerts Straram in a recording for the Columbia label, at the same time Monteux was recording it for the HMV label.
Stokowski's version followed in Stravinsky made two more recordings, in and He thought Herbert von Karajan 's recording with the Berlin Philharmonic , was good, but "the performance is Stravinsky thought that Pierre Boulez , with the Orchestre National de France , was "less good than I had hoped He praised a 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.
As of there were well over different recordings of The Rite commercially available, and many more held in library sound archives.
It has become one of the most recorded of all 20th century musical works. The first published score was the four-hand piano arrangement Edition Russe de Musique , RV , dated Publication of the full orchestral score was prevented by the outbreak of war in August In Ansermet, who was preparing to perform the work in Berlin, sent to Stravinsky a list of errors he had found in the published score.
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 It did not, however, incorporate all of Ansermet's amendments and, confusingly, bore the date and RV code of the edition, making the new edition hard to identify.
Stravinsky continued to revise the work, and in rewrote the "Sacrificial Dance". He considered it "much easier to play 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 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.
The score as revised in forms the basis of most modern performances of The Rite. The firm presented the score to Stravinsky in , on his 80th birthday.
After the composer's death in the manuscript was acquired by the Paul Sacher Foundation. As well as the autograph score, they have published the manuscript piano four-hands score.
In , Kalmus Music Publishers brought out an edition where former Philadelphia Orchestra librarian Clint Nieweg made over 21, corrections to the score and parts.
Since then a published errata list has added some more corrections, and this is considered to be the most accurate version of the work as of From Wikipedia, the free encyclopedia.
Ballet by Igor Stravinsky. For other uses, see Rite of Spring disambiguation. Concept design for act 1, part of Nicholas Roerich 's designs for Diaghilev 's production of Le Sacre du printemps.
Main article: The Rite of Spring discography. According to Truman Bullard, the section referred to is at the conclusion of the "Spring Rounds". Retrieved 7 December The Rite of Spring at Indiana University Press.
The First Moderns: Profiles in the Origins of Twentieth-Century Thought. University of Chicago Press. The Oxford Dictionary of Music Online edition.
Retrieved 9 August Grove Music Online. New Series : 9— Retrieved 4 November The New York Times. Kalmus Pages with First Editions Scores engraved by C.
Röder Manuscripts from the 00s Composers' holographs from the 00s Pages with MssAu template Manuscripts Scores Stravinsky, Igor Early 20th century style Early 20th century Ballets Theatrical Works For orchestra Scores featuring the orchestra For piano 4 hands arr Scores featuring the piano arr Scores featuring the piano 4 hands arr For 2 players arr Pages with arrangements Works first published in Works first published in the 20th century Pages with commercial recordings Pages with commercial recordings Naxos collection Pages with commercial recordings BnF collection Pages with parts for purchase Scores with links to Sheet Music Plus Scordatura Pages with missing scores.
Ballets ; Theatrical Works ; For orchestra ; Scores featuring the orchestra ; For piano 4 hands arr ; Scores featuring the piano arr ; Scores featuring the piano 4 hands arr ; For 2 players arr.
Kiev: Musytschna Ukraina , n. Editing: re-sampled to dpi, converted to black-and-white tif files, deskewed, and set uniform margins.
Berlin: Editions Russes de Musique , New York: E. Kalmus , n. Missing antique cymbals crotales and guiro parts. Originally submitted by Daphnis on 17 March Editor First edition reprint.
Berlin: Editions Russes de Musique , n. Plate R. The Rite of Spring for Piano Four Hands Mineola: Dover Publications , The piano reduction was issued in late , but reprinted with corrections the next year.