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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.
In The Rite of Spring (Le Sacre du Printemps), with music by Igor Stravinsky (1913), Nijinsky created choreography that exceeded the limits of traditional ballet and propriety. The radically angular movements expressed the heart of Stravinsky's radically modern score. Violence broke out in the audience as The Rite of Spring premiered. The theme ...
Béla Bartók considered Stravinsky's Russian period to have begun in 1913 with The Rite of Spring due to its use of Russian folk songs, themes, and techniques. [214] The use of duple or triple meters was especially prevalent in Stravinsky's Russian period music; while the pulse may have remained constant, the time signature would often change ...
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.
Following the Russian Revolution, Nijinska fled again to Poland, and then, in 1921, re-joined the Ballets Russes in Paris. In 1923, Diaghilev assigned her the choreography of Stravinsky's Les Noces. The result combines elements of her brother's choreography for The Rite of Spring with more traditional aspects of ballet, such as dancing en pointe.
The Rite of Spring; S. Scènes de ballet (Stravinsky) Scènes de ballet (Ashton) Scènes de ballet (Wheeldon)
For the Amish people, Rumspringa means something completely different than what you often see in popular media.
Stravinsky's music is typically divided into three style periods: the Russian period (c. 1907–1919), the neoclassical period (c. 1920–1954), and the serial period (1954–1968). Stravinsky's Russian period is characterized by the use of Russian folk tunes and the influence of Rimsky-Korsakov, Tchaikovsky, Glazunov, and Taneyev.