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The Rite Of Spring. The Rite Of Spring. The Rite Of Spring is broken into
two parts, the Adoration of The Earth and The Sacrafice. ...
Rite of Spring. Almost definitely imitating the act of new life waking in
the spring soil, Stravinsky starts the haunting introduction ...
... of the piece. Some of his well-known works are: "The Firebird", "The Rite
of Spring" and "The Wedding". Stravinsky drew his melodic ...
... While The Firebird, similar to Petrushka and The Rite Of Spring, is unquestionably
one of Stravinsky's masterpieces, if considered strictly historically it can ...
... When his piece The Rite of Spring was first played in public, it caused a
riot. ... The Rite of Spring was the beginning of modern music. ...
Submitted by nrvnaman on May 10, 2005
Category: Music and Movies
Words: 855 | Pages: 4
Views: 203
Popularity Rank: 58,427
Average Member Grade: N/A (Add a Comment / Grade this Paper)
Almost definitely imitating the act of new life waking in the spring soil, Stravinsky starts the haunting introduction to his world-renown ballet, Rite of Spring, with a high-pitched lone bassoon. The unstable eeriness continues as a horn and pair of clarinets join in the rubato tempo. Just as everything wakes and bursts into life in spring, so does the piece as more and more instruments join in. Each instrument seems to have a different theme, but seems necessary in portraying the thick texture needed to symbolize the inevitable climactic arrival of Spring. After the orchestra has finished its first outburst and almost all instruments have initially come in, a strange harmonic effect is applied to the viola. As the orchestra draws to a climax the sound is cut-off, and the eerie feeling returns as the bassoon takes its initial theme. This time the orchestra does not burst in afterwards. Instead, a string bridge appears and the next movement greets us. The main emphasis of the orchestration in this movement seems to appear in the strings and the Horns. The initial chord is a polychord of Eb 7 and F minor. Heavy strings accompany horns that do not play when expected (polyrhytms). There are accented off beats everywhere (I counted accents on 9, 2, 6, 3, 4, 5 and 3). Thick homophonic strings appear, and are followed by a sudden surge in bassoons and cellos (in different keys- C major and E minor arpeggios all following each other). This thin sound lasts for four bars exactly before we are yet again plunged into the loud chords. This is typical of Stravinsky, as he liked quick transposition between episodes so one never knows quite what one is expecting. Next, a fanfare-like figure is introduced on the trumpets and is passed around the orchestra. Soon after, everything stops (typical Stravinsky) and the chords in the string section returns. The chords now persist for a little longer and there are no bassoon solos. Instead of having a break every now and...
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