Acknowledgments

The idea for this book came to me shortly after I completed The Music of Igor Stravinsky (1983). I had wanted to develop and in certain instances reshape a number of ideas in that earlier volume in terms of a single work, The Rite of Spring . The choice of The Rite was at least partially determined by the surfacing of a wealth of source material in recent decades. My idea was, quite simply, to expand on earlier formulations within the context of The Rite 's conception as a ballet, the sketches, the emergence of a critical tradition, and the numerous revisions that followed its celebrated premiere on May 29, 1913.

In the fulfillment of this task I am indebted above all to Andrew Imbrie for his careful reading of the text and his many helpful suggestions. Imbrie's ideas on the nature of meter and rhythm were instrumental in sorting out a number of thorny issues.

I am grateful as well to Joseph Kerman, whose editing helped clarify many important points. Simon Karlinsky graciously offered his assistance in tracking down valuable sources and in translating crucial Russian texts.

I would also like to thank the Music Library at the University of California at Berkeley. The final version of the manuscript was prepared with care and skill by Mrs. Dottie Milani of the Novato Secretarial Service.

Finally I extend my thanks to Anna-Marie, Linnea, and Cattarina.