The Rite of Spring

The Rite of Spring (Le Sacre du Printemps)

Contributors of the Rite of Spring:

  • Igor Stravinsky composed the music and co-wrote the story
  • Sergei Diaghilev founded the Ballet Russes and commissioned The Rite of Spring
  • Vaslav Nijinsky choreographed the radical ballet, with its emphasis on primitive, earth-bound movements, complex rhythms, and an intense physicality.
  • Nicholas Roerich co-wrote the story and designed the sets and costumes for the ballet

Ideation:

  • The idea for "The Rite of Spring" was born out of Stravinsky's desire to explore themes of ancient Russian rituals and paganism. Stravinsky envisioned a work that depicted the primitive rites and ceremonies of ancient Slavic peoples, particularly focusing on a scenario where a young maiden is sacrificed to the god of spring.
  • Stravinsky collaborated with Nicholas Roerich, a Russian painter, archaeologist, and ethnographer, who shared his interest in ancient Slavic culture. Roerich was instrumental in developing the visual and thematic elements of the ballet, contributing ideas about the set design and costumes that would reflect the prehistoric setting.
  • The project was commissioned by Sergei Diaghilev, the impresario of the Ballets Russes, who had previously worked with Stravinsky on successful productions like "The Firebird" and "Petrushka." Diaghilev was known for his avant-garde approach and was enthusiastic about pushing the boundaries of traditional ballet.
  • Stravinsky composed the music between 1911 and 1913, creating a score that was revolutionary in its rhythmic complexity, dissonance, and use of folk motifs. The choreography, by Vaslav Nijinsky, was equally groundbreaking, characterized by its unconventional and often violent movements, which deviated significantly from classical ballet norms.

Composition & Story:

  • "The Rite of Spring" is structured into two parts, each containing several sections that together narrate the story of an ancient pagan ritual. The ballet’s narrative is centered on a sacrificial rite held to ensure the coming of spring, culminating in the dance to death of a chosen maiden.
Part I: Adoration of the Earth
  1. Introduction - A musical depiction of the awakening of nature, evoking the primordial landscape.
  2. The Augurs of Spring (Dances of the Young Girls) - Young girls dance in anticipation of the coming spring.
  3. Ritual of Abduction - Young girls are seized and carried away by young men.
  4. Spring Rounds - The young girls dance in circles, performing a ritualistic dance.
  5. Ritual of the Rival Tribes - Two opposing tribes engage in a ceremonial conflict.
  6. Procession of the Sage - The Sage enters, marking a moment of reverence and anticipation.
  7. The Sage’s Kiss of the Earth - The Sage blesses the earth by kissing it, symbolizing the sanctity of the ritual.
  8. Dance of the Earth - A frenzied, ecstatic dance celebrating the earth and its fertility.
Part II: The Sacrifice
  1. Introduction - Sets a somber and mysterious tone for the sacrificial rites to follow.
  2. Mystic Circles of the Young Girls - The chosen maiden is selected from a circle of young girls.
  3. Glorification of the Chosen One - The chosen maiden is honored and prepared for the sacrifice.
  4. Evocation of the Ancestors - The ancient spirits are invoked to witness the ritual.
  5. Ritual Action of the Ancestors - The ancestors take part in the ritual proceedings.
  6. Sacrificial Dance (The Chosen One) - The climax of the ballet, where the chosen maiden dances herself to death as a sacrifice to the god of spring.
  • The story of "The Rite of Spring" is centered around a series of pagan rituals celebrating the advent of spring and ensuring the fertility of the earth. Here's a more detailed narrative:
Part I: Adoration of the Earth
  • The ballet opens with a depiction of the earth's awakening in early spring. The community gathers to celebrate the renewal of nature through various dances and rituals. Young girls dance the "Augurs of Spring," symbolizing the fertility and vitality of the season. The "Ritual of Abduction" follows, where young men seize the girls in a symbolic enactment of the primal forces of nature. The tribes engage in the "Ritual of the Rival Tribes," showcasing their strength and unity. The Sage arrives in a solemn procession and blesses the earth by kissing it, marking the earth as sacred and preparing it for the rituals to come. The part concludes with the "Dance of the Earth," a powerful and energetic celebration of the land's fertility.
Part II: The Sacrifice
  • The second part shifts to the sacrificial rites. The mood becomes more solemn and mystical. The chosen maiden is selected during the "Mystic Circles of the Young Girls." She is then glorified in the "Glorification of the Chosen One," where she is honored and prepared for her sacrificial role. The "Evocation of the Ancestors" calls upon the ancient spirits to witness and bless the ritual. The "Ritual Action of the Ancestors" sees the ancestors participating in the ceremony, adding a sense of timelessness and spiritual depth to the proceedings. The ballet reaches its dramatic climax with the "Sacrificial Dance," where the chosen maiden dances herself to death, offering her life to ensure the earth’s fertility and the community's prosperity.

Premier/ Reception:

The premiere of "The Rite of Spring" on May 29, 1913, at the Théâtre des Champs-Élysées in Paris is one of the most famous and tumultuous events in the history of classical music and ballet. The reaction to the performance was extreme and polarized, with the audience comprising a mix of Parisian high society, artists, critics, and general music and ballet enthusiasts. Here’s a detailed look at the premiere and the varied reactions:

The Audience

Social Composition
  1. High Society: The premiere attracted members of the Parisian elite, including aristocrats and wealthy patrons of the arts. These individuals were often accustomed to the traditional forms of ballet and opera.
  2. Artists and Intellectuals: Many artists, composers, writers, and intellectuals were present, including avant-garde figures who were more receptive to experimental art.
  3. General Public: Ballet and music enthusiasts who regularly attended performances at the Théâtre des Champs-Élysées were also in attendance.

Reactions to the Premiere

Initial Response
  • Surprise and Confusion: From the beginning, the audience was taken aback by the dissonant music and unconventional choreography. The unusual rhythms, harsh dissonances, and the primitive, angular movements of the dancers were a stark departure from the graceful and harmonious ballets they were used to.
Outbreak of Chaos
  • Audience Reaction: The shock quickly turned into vocal reactions. Some audience members began to boo and jeer, while others tried to shout them down in support of the performance. This clash of reactions soon escalated into a full-blown uproar.
  • Physical Altercations: Accounts from the night describe how the chaos spilled over into physical altercations, with members of the audience yelling at each other, throwing objects, and even engaging in fistfights.
  • Stravinsky’s Reaction: Stravinsky himself was reportedly so disturbed by the audience's reaction that he left the theater and spent much of the evening in the wings, unable to bear watching the turmoil.
Varied Reactions by Class and Group
  1. Conservative Patrons: Many of the more conservative patrons and members of high society were outraged by the avant-garde nature of the performance. They found the music cacophonous and the choreography grotesque, feeling it was an affront to their traditional tastes.
  2. Avant-Garde Supporters: In contrast, members of the artistic and intellectual avant-garde were more likely to appreciate the groundbreaking nature of the work. They saw it as a bold and innovative statement, aligning with their own desire to break from tradition and explore new artistic frontiers.
  3. General Public: The reactions among the general public were mixed. Some were curious and fascinated by the novelty of the performance, while others sided with the more conservative patrons in their disapproval.

Critical Reception

  • Immediate Critiques: The immediate critical response was as polarized as the audience's reactions. Some critics praised the innovation and daring of Stravinsky’s music and Nijinsky’s choreography, recognizing the work as a significant departure from the norm that heralded new artistic possibilities.
  • Negative Reviews: Conversely, other critics lambasted the production, describing it as chaotic, incomprehensible, and offensive to the sensibilities of traditional ballet and music.

Legacy

  • Despite its tumultuous debut, "The Rite of Spring" went on to become one of the most influential works of the 20th century, heralding new directions in music and dance. It challenged the boundaries of artistic expression and paved the way for modernism in the performing arts.