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.

The Reproaches are a set of responses traditionally sung on Good Friday. The text contrasts the graces of God with the evils done to Jesus: “I gave you saving water from the rock; you gave me vinegar to drink” or “I parted the [Red] sea before you; you parted my side with a spear.”

English composer John Sanders‘ setting of the Reproaches is haunting, perfectly capturing the emotions expressed in the words. The music is simultaneously liturgically functional and stunningly beautiful.

Holy Week continues …

Yesterday I praised the beauty of Bach’s Passions. The problem is, those pieces are huge productions, requiring an orchestra (sometimes two), choir (sometime three), and a dozen excellent soloists. That sort of performance takes lots of people, time, and money.

The good news is that beauty can be found in the small as well as the large. Equally moving are Healey Willan‘s very functional musical settings for Tenebrae, a service where light slowly gives way to darkness. Willan sets the traditional responses for the service in a textbook choral style, making it accessible to small choirs and liturgically practical. The effect of the music is perfect – you can feel the weight and gravity of the day pulling on you. As an added bonus, you can hear and understand the text perfectly – something which can easily become lost in the counterpoint of the Bach passions.