What Spring celebration would be complete without a romp through pagan ritual?

Igor Stravinsky‘s Rite of Spring is one of a few modern pieces that doesn’t require an introduction. (but if you need an short introduction – it’s a ballet piece that depicts ancient Russian equinox rituals of fertility, war, and human sacrifice.) I’d say it has already become the stuff of legend; there are many anecdotal stories about it. Its premiere ended in somewhat of a riot – but the music and the primal dancing were more of a spark that ignited the fuel laid by early 20th-century French social issues and class warfare. I’ve read both that Stravinsky was hurt that people laughed at the introductory bassoon solo, and that he himself laughed at “knock-kneed Lolitas” who were dancing.

And then there’s the dancing dinos of Disney. Copyright law wasn’t strong in 1940, and there’s a story of Walt Disney calling Stravinsky and demanding permission to use The Rite in his film, Fantasia – because Disney was going to use it regardless of Stravinsky’s answer, he had little choice but to agree. Having a film which included this score lead to lawsuits by the Philadelphia Orchestra and a music publisher, who sued Disney for a share of their massive profits.

Nowadays, The Rite continues its crazy influence. My favorite is a new cult of hosting Rite Dance Parties – bring your glow stick and your drugs.

So here it is, with a Ballet performance which attempts to recreate the legendary 1913 Paris premiere.

In the late 19th century, Richard Strauss became the champion composer of tone poems – musical pieces which illustrate non-musical ideas, such as poetry, stories, or even philosophy. Tone poems can be representational (like Berlioz‘s March to the Scaffold, in Symphonie Fantastique) or abstract (most of Also Sprach Zarathustra); you can listen carefully for specific events in the story portrayed, or just sit back and enjoy the music.

Till Eulenspiegel’s Merry Pranks is a representational tone poem – Strauss has taken a number of scenes from Till’s life and set them into easily recognizable sections.

Wait … you don’t know who Till Eulenspiegel is? Let me “Till” you …

Till Eulenspiegel is pretty easy to sum up – he’s a wily trickster who loves to play jokes on everybody. I’d also recommend reading his history – especially the origin of his name and his *ahem* crappier tricks (not for children! or maybe, more appropriate for children …). Like many tricksters, he is tolerated for a time, and then despised as people tire of his foolishness.

The work begins with a legendary musical statement by the strings that supposedly says “once upon a time” in German. We then hear the merry prank theme in the horn – easy to recognize, and returns often. Till is represented by the Eb Clarinet – a squeaky little thing that should never have been invented – which represents the goofy character perfectly. We hear a number of his tricks: knocking things over in the market (3:07), dressing up as a priest (7:06), chasing after women (8:43). Eventually he is caught and sentences to death (12:27), pleads for his life a couple of times (12:43 & 13:00). We think he has died (14:15), but in the end, he escapes! (15:31)