The Rite of spring at 100

When Igor Stravinsky's ballet Le Sacre du printemps ( The Rite of Spring ) premiered during the 1913 Paris season of Sergei Diaghilev's Ballets Russes , its avant-garde music and jarring choreography scandalized audiences. Today it is considered one of the most influential musical works of the twentieth century. In this volume, the ballet finally receives the full critical attention it deserves, as distinguished music and dance scholars discuss the meaning of the work and its far-reaching influence on world music, performance, and culture. Essays explore four key facets of the ballet: its choreography and movement; the cultural and historical contexts of its performance and reception in France; its structure and use of innovative rhythmic and tonal features; and the reception of the work in Russian music history and theory.

• List of Audiovisual Materials p. xiii
• Foreword: A Total Artwork: Memorable Resonances and Reverberations in The Rite p. xix Stephen Walsh
• Acknowledgments p. xxiii
• Editorial Notes p. xxvii
• Introductory Essay: Stravinsky's Russia and the Politics of Cultural Ferment p. 1 Donald J. Raleigh
• Part I Dancing Le sacre across the Century
• 1 A Century of Rites: The Making of an Avant-Garde Tradition p. 17 Lynn Garafola
• 2 Vie Rite of Spring as a Dance: Recent Re-visions p. 29 Stephanie Jordan
• 3 Re-sourcing Nijinsky: The Rite of Spring and Yvonne Rainer's RoS Indexical p. 39 Gabriele Brandstetter
• 4 Death by Dancing in Nijinsky's Rite p. 47 Millicent Hodson
• Part II Le sacre and Stravinsky in France
• 5 Le sacre du printemps: A Ballet for Paris p. 83 Annegret Fauser
• 6 Styling Le sacre: The Rite's Role in French Fashion p. 98 Mary E. Davis
• 7 The Rite of Spring, National Narratives, and Estrangement p. 129 Brigid Cohen
• 8 Formalizing a "Purely Acoustic" Musical Objectivity: Another Look at a 1915 Interview with Stravinsky p. 138 William Robin
• 9 Racism at The Rite p. 146 Tamara Levitz
• Part III Observations on Le sacre in Russia
• 10 Commentary and Observations on Le sacre in Russia: An Overview p. 181 Kevin Bartig
• 11 Stravinsky, Roerich, and Old Slavic Rituals in The Rite of Spring p. 189 Tatiana Baranova Monighetti
• 12 Orchestral Sketches of Le sacre du printemps in the National Library of Russia p. 199 Natalia Braginskaya'
• 13 Yuri Nikolaevich Kholopov: His Analytical Comments on The Rite of Spring p. 211 Grigory Lyzhov
• 14 Leonard Bernstein's 1959 Triumph in the Soviet Union p. 219 Olga Manulkina
• 15 The Rite of Spring in Russia p. 237 Svetlana Savenko
• 16 "I Penetrated the Mystery of the Spring Lapidary Rhythms": Baroque Topoi in The Rite of Spring p. 246 Elena Vereshchagina
• 17 "The Great Sacrifice": Contextualizing the Dream p. 272 Tatiana Vereshchagina
• 18 An Interview with Composer Vladimir Tarnopolski / Edited and with an Introductory Note p. 279 Christy Keele and John Reef
• Part IV The Sounds of le sacre
• 19 The Physicality of The Rite: Remarks on the Forces of Meter and Their Disruption p. 285 Pieter C. van den Toorn
• 20 How Not to Hear Le sacre du printemps? Schoenberg's Theories, Leibowitz's Recording p. 304 Severine Neff
• 21 Rethinking Blocks and Superimposition: Form in the "Ritual of the Two Rival Tribes" p. 331 Gretchen Horlacher
• 22 Stravinsky at the Crossroads after The Rite: "Jeu de rossignol mécanique" (Performance of the Mechanical Nightingale) (1 August 1913) p. 339 Maureen Carr
• 23 Dissonant Bells: The Rites "Sacrificial Dance" 1913/2013 p. 354 Marianne Kielian-Gilbert
• 24 Revisiting The Rite in Stravinsky's Later Serial Music p. 380 Lynne Rogers
• 25 Dionysos Monometrikos p. 402 Stephen Walsh
• Plenary Essay: Resisting The Rite p. 417 Richard Taruskiu
• Bibliography / Compiled p. 447 Sara Hoffee and Letitia Glozer and John Reef
• List of Contributors p. 489
• General Index p. 497
• Index of Composers and Their Works p. 515
• Index of Choreographers p. 519