Stravinsky’s famous springtime piece is so famous, powerful, and legendary, that it’s easy to forget that it didn’t just materialize out of nowhere. The Rite of Spring sounds the way it does because music had actually been headed in that direction for a quite while. Don’t believe me? Well, a couple years before The Rite was premiered, Claude Debussy wrote Images for Orchestra, which, though not as primitive and raw, sounds very similar. Coincidentally, both pieces have a section called “Spring Rounds.”

what goes around, comes around?

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.