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The first orchestral recording of The Firebird was released by Columbia Records in 1928 with Stravinsky conducting L'Orchestre des Concerts Straram. [129] [130] The 78 rpm record consisted of the 1911 suite with the Lullaby and Finale from the 1919 suite, as well as a recording of The Rite of Spring. [130]
The Rite of Spring [n 1] (French: Le Sacre du printemps) is a ballet and orchestral concert work by the Russian composer Igor Stravinsky.It was written for the 1913 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Vaslav Nijinsky with stage designs and costumes by Nicholas Roerich.
Opening measures of the "Sacrificial Dance" from The Rite of Spring, showing the odd meters and chords [g] While composing The Firebird, Stravinsky conceived an idea for a work about what he called "a solemn pagan rite: sage elders, seated in a circle, watched a young girl dance herself to death". [60]
The Firebird (1910) was seen as an astonishingly accomplished work for such a young artist (Debussy is said to have remarked drily: "Well, you've got to start somewhere!"). Many contemporary audiences found Petrushka (1911) to be almost unbearably dissonant and confused. The Rite of Spring (1913) nearly caused an audience riot. It stunned ...
This is a sound and video discography of Igor Stravinsky's ballet The Rite of Spring. The work was premiered in Paris on May 29, 1913 at the Théâtre des Champs-Élysées. It was presented by Sergei Diaghilev's Ballets Russes with choreography by Vaslav Nijinsky and was conducted by Pierre Monteux. The list includes many of the most noted ...
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In the fall of 1910, Diaghilev came to visit Stravinsky, who at that time was living in Lausanne, Switzerland, expecting to hear the beginning of The Rite of Spring, but instead was greeted with Petrushka. Diaghilev immediately recognized the possibilities of developing this orchestral work into a full length stage work.
Part of his recording of The Rite of Spring, augmented by a rehearsal recording unobtainable elsewhere, was used by Decca on the company's 1957 stereo demonstration LP, A Journey into Stereo Sound. The conductor's clear and methodical counting of beats is a distinct feature of this rehearsal sequence.