Online Resource

The Rite of Spring

(1913)

Igor Stravinsky



Duration 33:00 minutes


Orchestration

Woodwind

Brass

Percussion

Strings
Piccolo
3 Flutes (3
rd
doubling
Piccolo 2)
Alto Flute
4 Oboes (4
th
doubling Cor
Anglais 2)
Cor Anglais
Piccolo Clarinet in D & Eb
3 Clarinets in Bb & A
(2
nd
doubling Bass
Clarinet 2)
Bass Clarinet
4 Bassoons (4
th
doubling
Contrabassoon 2)
Contrabassoon

8 Horns in F (7
th
and 8
th

doubling Tenor Tuba)
Piccolo Trumpet in D
4 Trumpets in C
(4
th
doubling Bass
Trumpet in Eb)
3 Trombones
2 Tuba
Timpani (2 players)
Bass Drum
Tam-tam
Triangle
Tambourine
Guiro
Antique Cymbals in Ab & Bb
Violin I
Violin II
Viola
Cello
Double Bass



Activities designed for Elective Music Students




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Resources

Use your schools recording and score of Stravinskys Rite of Spring to assist you complete these classroom
activities.

Sound Excerpts

The sound excerpts referred to in this resource are:

Excerpt Bars Section
Excerpt 1 1-14 First Part: Introduction
Excerpt 2 1-71 Augurs of Spring
Excerpt 3 27-37 Ritual of Abduction
Excerpt 4 1-42 Spring Rounds
Excerpt 5 13-21 Procession of the Sage
Excerpt 6 1-33 Sacrificial Dance
Excerpt 7 34-92 Sacrificial Dance
Excerpt 8 149-173 Sacrificial Dance



Score Extracts

Score extracts referred to are:

Extract Bars Section
Extract 1 1-14 First Part: Introduction
Extract 2 1-71 Augurs of Spring
Extract 3 1-42 Spring Rounds
Extract 4 13-21 Procession of the Sage






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Background



Igor Stravinsky
(1882-1971)

Russian born Stravinsky was the son of a leading bass in St Petersburg. His
early years until 1910 were spent in Russia absorbing influences from elder
compatriots and others, including Rimsky-Korsakov, Tchaikovsky, Borodin,
Glazunov, Debussy and Dukas. It was these influences Stravinsky carried when
commissioned to compose for Diaghilevs Ballets Russes in Paris: Firebird
(1910), followed by Petrushka (1911) and The Rite of Spring (1913).

Stravinsky moved to France in 1910 and remained there until 1939, except for
the years of World War I which he spent in Switzerland. In the later part of his
life he lived in the USA. He did not visit Russia again until 1962, although his
music always bore a connection with his homeland.

Serge Diaghilev
(1872-1929)
Diaghilev was the founder-director of the Ballets Russes. Though not himself a dancer, choreographer,
musician or designer, Diaghilev had as great an influence on the arts of his time as any primarily creative
person. He was a true artistic director, not just an impresario as he is sometimes called. Through his
knowledge and ambition he pushed the frontiers of taste towards a new and untried world
1
. As a student,
he was part of a forward looking set of young intellectuals much influenced by Rimsky-Korsakov. He
travelled to Paris where at first he became involved in the new world of French painting, honed his skills as
an organiser and became editor of a new magazine. However, his roots were in the theatre. In 1908 he
took the Imperial Opera to Paris. He planned a repeat tour in 1909. However, lack of money led to a
season of ballet instead. This was the beginning of 25 years of innovation and achievement in theatre, ballet
and music.



The Rite of Spring

Music of the modern age is often dated from the historic and hysterical premiere of The Rite of Spring in May
1913. There were riots as members of the audience were either totally absorbed or totally abhorred by what
they saw and heard. The composer Saint-Sans reportedly yelled abuse, while Ravel defended Stravinsky
as a genius. Debussy was in the middle, trying to get some quiet so the music could actually be heard,
especially by the dancers. Stravinsky rushed out of the hall and back stage. For the rest of the
performance I stood in the wigs behind Nijinsky (the choreographer), holding the tails of his jacket while he
stood on a chair shouting numbers to the dancers like a coxswain.
2


1
J.Drummond, Dancing Revolution, Sydney Morning Herald, 31 July-1 August, 2004
2
From The Idiots Guide to Classical Music




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Stravinsky was completing Firebird in the spring of 1910 when he experienced a vision of a solemn pagan
rite: wise elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her
to propitiate the god of spring. He collaborated with Nicholas Roerich, a set and costume designer, who
was also a painter and an archaeologist well versed in folklore. Diaghilev gave his full support to the project
and chose Vaslav Nijinsky to choreograph. However, Nijinsky could barely deal with the intricate rhythmic
schemes, and so regardless of the shocking new music, the questionable footwork, together with the
primitive costumes designed by Roerich, were enough to test any audience on opening night.

Of the music, Harold Schonberg wrote: Le Sacre with its metrical shiftings and shuttering force, its near-
total dissonance and breakaway from established canons of harmony and melody, was a genuine explosion.
For decades there were repercussions, as composers all over the world imitated the new Stravinsky rhythms
and sonorities
3
It is interesting to note, however, that Stravinsky never wrote in the same style again.

The Rite of Spring is structured in two parts:

First Part: Adoration of the Earth
1. Introduction
2. The Augurs of Spring: Dances of the Young Girls
3. Ritual of Abduction
4. Spring Rounds
5. Ritual of the Rival Tribes
6. Procession of the Sage
7. The Sage
8. Dance of the Earth

Second Part: The Sacrifice
1. Introduction
2. Mystic Circles of the Young Girls
3. Glorification of the Chosen One
4. Evocation of the Ancestors
5. Ritual Action of the Ancestors
6. Sacrificial Dance (The Chosen One)


Syllabus links

The Rite of Spring by Igor Stravinsky covers a range of topics from the NSW syllabuses:

Art Music of the 20
th
and 21
st
Centuries
Music for Large Ensembles (Group 1)
Music and the Related Arts
Music of the 20
th
and 21
st
Centuries
Theatre Music
Music 1900-1945



3
H. Schonberg





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Analysis


First Part: Adoration of the Earth

Introduction

Bar Features
1-38 Lento tempo rubato
A penetrating solo bassoon in high register plays a fragment of a Lithuanian folk tune.
Rubato and ad lib markings along with fermata, mixed metre and irregular rhythmic
groupings give a sense of freetime improvisation.
Woodwinds, violins and horns join the bassoon with repeated fragments of there own.

39-65 A sense of metred time provided by a triplet offbeat ostinato in solo cello.
Addition of more layers in the form of woodwind, brass and string fragments as the
music builds to a piercing climax.

66-75 Sudden silence followed by a return of the solo bassoon.
Pizzicato violins introduce a repeated 4 note figure based on a minor 3rd and Perfect
4th in anticipation of what is to come.


The Augurs of Spring: Dances of the Young Girls

Bar Features
1-42 Tempo giusto
Percussive, dissonant string ostinato forte, staccato, down bow, double stopped,
polychord. Lower strings play an Fb (E) major chord against Eb7 in the violins and
violas. Displaced accents emphasised by jabbing chords by the eight horns.
A succession of melodic fragments in woodwinds and brass follow, beginning with the
cor anglais playing the 4-note figure played by the violins at the end of the first section.
Simultaneous use of contrasting articulations in similar instruments, eg pizzicato vs.
arco, legato vs. flutter tonguing.
Muted brass chords built on the Perfect 5th in Bars 26, 28 and 29.

43-71 New bassoon theme enters over sub p string ostinato.
Contrasting high flute grace note figure.
General pause pizzicato string chord, brass chord, descending triplet figure by
timpani and lower strings, then tuba fermata.

72-172 Immediately contrasting grace note figures descend through woodwinds with return to
various melodic fragments.
New horn theme is introduced.
Texture builds with continued rhythmic excitement.
New trumpet theme introduced at Bar 119. The trumpets play in parallel major 3rds
and Perfect 4ths.







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Ritual Abduction

Bar Features
1-66 Presto
Frenzy grows out of previous section.
Violent strokes on timpani and bass drum.
Powerful accents and rapid changes of metre.
Closing high flute trill leads to next section.


Spring Rounds

Bar Features
1-6 Tranquillo
Flute trills over clarinet theme.
Note changes of metre.

7-54 Sostenuto e pesante
Ponderous ostinato in strings with half the violas, the cellos and bass clarinet
on the off beat.
Violins and horns return to trumpet theme from second section.
Becomes increasingly aggressive as dynamics and texture build.
Increased use of heavy accents and dissonance.

55-62 Tranquillo
Clarinet theme returns doubled by alto flute.


Ritual of the Rival Tribes

Bar Features
1-74 Molto Allegro
Three contrasting ideas.
Trombones, tuba and timpani play short motives based on minor 2nds,
diminished 5ths and major 7th.
Theme in the horns is stated a number of times with slight variations.
Woodwinds introduce a third legato idea at Bar 23.
Texture and dynamics build with accents interspersed.
At Bar 63 the strings and woodwinds return to the third idea. The tubas super
impose a new melodic ostinato in anticipation of the next section.
Sustained horn notes create dissonance against the two ideas.







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Procession of the Sage

Bar Features
1-21 Texture continues from the end of the previous section.
Pulsating quaver motives in the bassoons, lower strings and timpani involving dissonant
melodic and harmonic intervals 2nds, 7ths, 9ths, diminished 5ths.
Tuba melodic ostinato and sustained horn notes continue.
Texture and dynamics build with the addition of woodwind ostinatos.
Rhythmically complex from Bar 13 with cross rhythms and a polymetric effect achieved
through use of accents, ties, groupings of 2 and 3, duplets and quadruplets.
Silence.


The Sage

Bar Features
1-4 Lento
Bassoons and one contrabassoon play a soft sustained chord cluster.
Second contrabassoon, timpani and muted double bass play a quaver pulse on beats 2 and 4.
A short respite from the surrounding frenzy concludes with a ppp string harmonic cluster.


Dance of the Earth

Bar Features
1-60 Prestissimo
Timpani triplets begin a fast and furious series of repeated accented chords, short motives,
rhythmic ostinatos and glissandos.
Rhythmic intensity and dynamics build to finish the first part.



Second Part: The Sacrifice
Introduction
Bar Features
1-18 Largo
Exploration of various colours and sonorities.
Metric ambiguity as the time shifts between 3, 4 and 2.
Horns sustain a D minor chord over which the woodwinds pulsate between a D# minor and C#
minor.
String motives using various techniques including harmonics, over the finger board, on the
bridge
Rising and falling scalic motives in contrary motion become a feature.

19-36 The alto flute and solo violin introduce a new theme.
37-61 Time shifts to 5 and 6.
Ties across the beat in one of two trumpet parts create a cross rhythm.
Contrasting percussive motive provided by the strings.
Horns and strings close the section with a statement of the earlier theme and the trumpets
cross rhythm idea.





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Mystic Circles of the Young Girls

Bar Features
1-64 Andante con moto
Violins open with the theme from the introduction which is extended. Note the ambiguous
harmony as both the major and minor thirds of the triad are used simultaneously.
Alto flute introduces a new folk like theme before it is passed to various woodwind and string
colours, and later the horns.
Pizzicato lower strings return to a syncopated ostinato.
Muted brass lead a crescendo and accelerando up to a bar of 11 beats of timpani and down
bow strings playing a repeated cluster.


Glorification of the Chosen One

Bar Features
1-58 Vivo
Changing metre.
Shifting accents.
Mixed note groupings.
Syncopated ostinatos.
Flourishes and bursts of colour.
Various colours and techniques used glissando, pizzicato, flutter tonguing, mutes.

Evocation of the Ancestors

Bar Features
1-42 General pause.
Timpani motive and bass clarinet and lower string pedal.
Woodwinds and brass play a fanfare-like theme.
Shifting accents and changing metre.
Contrast in colour towards the end of the short section as bassoon presents the theme.


Ritual Action of the Ancestors

Bar Features
1-14 Pizzicato strings and horns play a soft chord cluster ostinato on the beat with timpani and
tambourine on the off beat.
Cor anglais and alto flute motives.

14-51 Rolling semiquavers played by the alto flute.
Bassoon quaver ostinato minor 6th.
Cor anglais pedal on the beat with viola off the beat.
Muted trumpets introduce new theme.
Short muted tremolo string motives follow the theme.
Fortissimo tutti as horns present the theme against accented dissonant trumpet chords.
Dynamics reduce as a series of short motives are presented.
Return to tutti accented ostinato accompaniment as the theme is presented a third time fff by
the horns.






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Bar Features
52-66 Return to opening idea, but with bass trumpet replacing the cor anglais.
Bass clarinet brings the section to a close.


Sacrificial Dance (The Chosen One)

Bar Features
1-33 Section A
Changing metre.
Irregular accents.
Harsh dissonance.
Harsh articulation and dynamics horns marked sempre cuivre.
Percussive orchestration.
Organised symmetrically around recurring 3 semiquaver motive.

34-115 Section B
Sudden drop in dynamics.
Changing metre continues with irregularly grouped ostinatos in rhythmic unison across
bassoons, horns and string.
Contrasting forte quintuplet motive in brass.
Ostinato builds to fortissimo and tutti.

116-148 Section A
1

149-173 Section C
Lower instruments - contrabassoon, tuba, cellos, double basses and percussion play
ostinatos.
Rhythmic, low register horn pedal.
New motive.

174-180 Section A
2

181-202 Section C

203-275 Section A
3





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Musicology


Translate the French names of the orchestration of The Rite of Spring into English.
Give the abbreviation for each instrument (refer to the Score Extracts).
Explain the transposition for each instrument. (Some answers are given.)

French English Translation Abbreviation Transposition
3 Flauti grandi

Fl.gr
Flauto piccolo


Flauto alto


4 Oboi

Sounds as written
Corno inglese


Clarinetto piccolo in Re e Mi b


3 Clarinetti in Si b e La


4 Fagotti

4 bassoons
Contrafagotto


8 Corni in Fa


Tromba piccola in Re Sounds major 2nd higher than
written
4 Trombe in Do


3 Tromboni


2 Tube bassi


Timpani (2 esecutori)


Batteria: Gran cassa
Tam-tam
Triangolo
Tamburo di Basque
Guero
Piatti antichi in La b e Si b

Not applicable
Archi












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Composition



1. Experiment with the white notes of the keyboard to construct a six note scale.

For example, degrees of the scale could be:

1 2 3 5 6 7 (1)

or

1 2 3 4 5 6 (1)


2. Improvise a melodic shape in free time using the scale.


3. Vary the length of the phrases.


4. Select a home note on which to end each phrase (need not be 1).


5. (a) Experiment by adding an accidental to one note of the scale.

(b) Use this new version of the scale to extend the melody a little further.

(c) What effect does this note have on the melody? Does it alter the mood?


6. (a) Notate the melody.

(b) Maintain the effect of an improvised melody in free time by changing time signatures and using
irregular note groupings, ties, fermatas and so on.




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Musicology/Aural
First Part: Introduction
Sound Excerpt 1
Score Extract 1
Bars 1-14



Listen to Sound Excerpt 1 while following Score Extract 1 and answer the following questions.

1. The opening of The Rite of Spring has an improvised free time feel. List the ways Stravinsky has
achieved this with reference to duration and expressive techniques.



2. How has Stravinsky used tone colour to attract the listeners attention in the opening?



3. (a) Describe the melody.

(b) Comment on the structure of the melody.






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Aural/Performance
The Augurs of Spring
Sound Excerpt 2
Bars 1-71



1. (a) Mark the quavers that are normally accented in
2
4 time.



(b) Perform this rhythm on classroom percussion instruments:
wooden instruments play the quaver pulse with the marked accents;
drums play only the accented notes.



2. (a) Listen to Bars 1-8 of Sound Excerpt 2, CD cue 0:00-0:09, and indicate where Stravinsky has
placed the accents.




(b) Perform the rhythm on classroom percussion instruments:
wooden instruments play the quaver pulse with the marked accents;
drums play only the accented notes.

(c) Perform the rhythms with Bars 1-8 of Sound Excerpt 2.





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Aural/Musicology
The Augurs of Spring
Sound Excerpt 2
Score Extract 2
Bars 1-71



Listen to Sound Excerpt 2 while following Score Extract 2 and answer the following questions.

A polychord is where two or more chords are combined to make a more complex chord.

1. The chord that Stravinsky repeats in Bars 1-8 is an example of a polychord.

(a) Notate the chords played by the cello/double bass and the violin/viola in the table below.

(b) Identify the two chords that are combined to make the polychord.


Cello/Double Bass Chord Violin/Viola chord

Chord: Chord:



A tone-cluster is a chord that is used to create a physical and psychological impact. The sounds combined
are irrelevant as pitch, eg large clusters built in 2nds have this effect.

2. Discuss whether Stravinsky intended the chord above to be a tone cluster or a polychord.



3. Identify the intervals used in the cor anglais ostinato in Bars 9-12.



4. Comment on the broken chords in the bassoon and cello parts in Bars 9-12.



5. Describe the playing techniques used by the strings in Sound Excerpt 2.



6. Comment on the role of the trumpet, oboes and violin I in Bars 18-22.






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7. In Bars 26 and 28-29 the muted trumpets and horn 4 repeat a chord that has an unusual structure.

(a) Write the notes of the chord in order from lowest to highest. (Remember to transpose the
trumpet in D and the horn in F to actual pitch.)



(b) Comment on the way this chord is structured.



8. (a) Which instrument(s) have the melodic interest after Bar 43?

(b) How has Stravinsky ensured the melody is not overpowered by the accompaniment?



9. Transpose the trombone part from Bars 65-67 to sounding pitch.





10. (a) Describe how Stravinsky has treated the melodic material in Bars 60-69.

(b) What compositional device has he used?






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Performance
Ritual of Abduction
Sound Excerpt 3
Bars 27-37


1. (a) Perform the rhythm from Sound Excerpt 3 which contains changing metres below:
Say the counts written under the notes, emphasising every 1.
Perform the rhythm on percussion instruments with strong accents.





2. Perform the rhythm with Sound Excerpt 3.







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Aural/Composition/Musicology
Spring Rounds
Sound Excerpt 4
Score Extract 3
Bars 1-42



1. (a) Listen to Bars 1-6 of Sound Excerpt 4 several times and notate the melody below.




(b) Check your answer from the score remembering to transpose the part to sounding pitch.


2. Harmonise the melody. Experiment with devices such as drones and parallel motion at the intervals
of a 2nd, 3rd, 4th, 5th, 6
th
and 7th.


An ostinato pattern which sets up a strong, heavy pulse begins at Bar 7 of Spring Rounds. Listen to Sound
Excerpt 4 from Bar 7 while following Score Extract 3 and answer the following questions.

3. Identify performance directions from the score that create the heavy feeling of the music.


4. There are two other reasons for this heavy, dragging quality: frequent use of parallel 5ths and a
syncopated ostinato rhythm that drags behind the beat.

(a) Identify the instruments that play in 5ths.

(b) Notate the one bar rhythm pattern of the ostinato.


5. At Bar 17 the theme and harmony parts in rhythmic unison are played above the ostinato
accompaniment patterns.

(a) Identify the instruments that play the melody/harmony in the first phrase.

(b) Identify the intervals used in the parallel motion of the harmony.

(c) What is the interval between the two inner parts? What is the effect of this interval?


6. Discuss the similarities and differences between Bars 15-31 and Bars 32-42.




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Performance/Musicology
Procession of the Sage
Sound Excerpt 5
Score Extract 4
Bars 13-21

This excerpt features polyrhythm and cross rhythms. Rhythms of different metres and in some cases
tempos are combined although they are all notated in
6
4.


Part 1 (effectively
4
4 because of rhythm):


Part 2 (2 bar ostinato effectively in
4
4):


Part 3 (grouped normally in
6
4 - compound duple time):


Part 4 (grouped in
12
8 - compound quadruple time):


Part 5 (quaver quadruplets produces
4
4, but at a slower tempo):


Part 6 (crotchet duplets produces
4
4 at an even slower tempo than Part 5):


1. Learn to play the rhythms:

Perform each line separately, emphasising the accents;
Perform two parts together, eg Parts 5 and 6; Parts 1 and 2; Parts 4 and 6 and so on;
Try playing the more difficult pairings, eg Parts 4 and 5 and Parts 3 and 5;
Perform the rhythms with Sound Excerpt 7.





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Composition

Stravinsky used unusual pitch devices including:
tone clusters
polychords
polytonality


1. Experiment with each device, notating ideas that sound most effective.



2. Experiment with applying different tone colours to each device. Evaluate their effect on the sound
and mood.
same or similar instruments;
contrasting colours;
different registers;
different playing techniques, eg pizzicato, arco, harmonics, flutter tonguing, flautando, sul
ponticello and so on
different combinations of all of the above.



3. Notate your ideas and use them as the basis of a short composition.





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Aural
Sacrificial Dance
Sound Excerpt 6
Bars 1-33
Sound Excerpt 7
Bars 34-92
Sound Excerpt 8
Bars 149-173


Sacrificial Dance is in rondo form. Listen to the three contrasting sections (Sound Excerpts 6-8) and
describe the features of each section with reference to the concepts of music.

Section Musical Features
A (Sound Excerpt 6)









B (Sound Excerpt 7)











C (Sound Excerpt 8)

















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Resources

Stravinsky

www.teachnet.ie/adonaghermcgowan/listresp/stravinsky.html
www.teachersparadise.com/ency/en/wikipedia/i/ig/igor-stravinsky.html
www.artsalive.ca/en/mus/greatcomposers/stravinsky.html


Film

http://www.rhythmisit.de/php/index_flash.php
http://www.rhythmisit.de/php/index_noflash.php
http://www.german-cinema.de/archive/film_view.php?film_id=1104


Related Arts

www.ncmoa.org/matisse/lessons/activities/activities3.html