Stravinsky and the Rite of Spring "d0e9934"

Index

A

Adorno, Theodor W., 58 , 61 -64, 67 , 83 , 129

Afanasiev, Alexander, 14

Agon,3 ;

"Bransle Gay," 97 -99

Ansermet, Ernest, 39 , 42 -44

Après-midi d'un faune, L' (Debussy), 35

Associated Music Publishers, 40 , 54

"Augurs of Spring":

scenario, 3 -4, 5 , 21 , 24 , 27 ;

choreography, 4 , 8 , 15 ;

motto chord, 7 , 54 , 67 -71, 132 , 137 -41;

sketches, 24 -27, 31 , 132 -41, 180 ;

early revisions (Monteux), 37 -38;

pitch relations, 151 -55, 174 , 178 -80, 185 -88;

interval-5 cycle, 178 -79

B

Ballets Russes, 1 , 34 , 35 , 38

Beethoven, Ludwig van, 96

Benois, Alexandre, 139

Berceuses du chat,61

Berlin, Germany, 34 , 36 , 38 , 42 , 44

Boosey and Hawkes, 40 , 43 , 44

Boulez, Pierre, 9 ;

on rhythm in The Rite,66 -69, 94 ;

on pitch structure, 128 -29, 131

Brahms, Johannes, 129 -30

Bullard, Truman, 17

C

Canudo, Ricciotto, 4

Chant funèbre,127

Clarens, Switzerland, 24 , 25 , 34 , 36 , 139

Comoedia, 6 -7, 15 , 17

Concertgebouw Orchestra, 44

Concerto in D, 59

Craft, Robert, 4 , 9 , 15 ;

on scenario ("Rival Tribes"), 19 ;

on chronology of early sketches, 34 , 138 , 139 , 196 ;

on first rehearsals, 38 ;

on Symphony of Psalms,212

D

"Dance of the Earth":

scenario, 24 , 25 , 27 , 31 ;

sketches, 34 ;

rhythmic Type II, 100 ;

pitch relations, 164 , 186 , 187 ;

interval-5 cycle, 186

Daphnis et Chloé (Ravel), 35

Debussy, Claude, 35 , 116

Diaghilev, Sergei, 1 , 6 , 22 , 139 ;

1920 revival, 2 , 8 , 39 ;

sketchbook dedication, 9 ;

at early rehearsals, 35 , 36

"Divination with Twigs," 3 , 5 , 24

D-scale (Dorian), 212 ;

in "Augurs of Spring," 179 -80;

in "Abduction," 181 -83.

See also Tetrachord, (0235)

E

Editions, 39 -44. See also Revisions

Elegy to J.F.K.,58

Erwartung (Schoenberg), 63

Evans, Edwin, 8

"Evocation of the Ancestors," 26 , 58 ;

scenario, 24 , 27 ;

revised barrings, 40 -41, 44 -51, 86 -94;

sketches, 45 -51, 86 ;

rhythmic Type II, 45 -49, 85 -86, 97

F

Faun and Shepherdess,116

Findeizen, N. F., 4 , 26

Firebird, The,1 , 22 , 35 , 37 ;

scenario compared to The Rite,3 ;

concert suite, 3 , 17 ;

octatonic pitch relations, 120 -23

Forte, Allen, 207 -11

G

Glinka, Mikhail, 116

"Glorification of the Chosen One," 2 , 94 ;

sketches, 23 , 34 -35, 137 ;

scenario, 24 , 25 , 27 ;

pitch relations, 167 -68, 190 -91

― 220 ―

Gorodetsky, Sergei, 10 , 14 -15

Gray, Cecil, 57 , 61 , 73 , 129 ;

on Stravinsky's rhythm, 58 -60, 67 , 83 ;

on "Sacrificial Dance," 59 -60

H

Histoire du soldat,9 , 211 ;

"Soldier's March," 51 , 61 , 80 -84, 86 , 94 , 96

I

Idut-vedut. See "Procession of the Sage"

Imbrie, Andrew, 67

Interpenetration, octatonic-diatonic, 181 -82

Interval-5 cycle, 178 -79, 183 -88

Introduction (Part I), 4 -5;

folksongs, 11 ;

sketches lost, 32 -33;

pitch relations, 149 -50, 174 , 183 -84

Introduction (Part II):

sketches (sketchbook), 23 , 24 , 34 , 137 ;

early sketches (notebook), 32 , 193 -97;

pitch relations, 165 -66, 191 -201;

rhythmic Type II, 199 -201

J

Juszkiewicz, Anton, 10 -12

K

Kalisch, Alfred, 1

Kastchei the Immortal (Rimsky-Korsakov), 119 -22

Khovanshchina (Mussorgsky), 38

Kochno, Boris, 9

Koussevitsky, Sergei, 4 , 26

L

Lambert, Constant, 57 , 129 ;

on Stravinsky's rhythm, 60 -61, 63 , 67 , 83

Lerdahl, Fred, 54 , 69

Linyova, Evgeniia, 14

London, England, 34 , 38

M

Masque of the Red Death, The (Poe), 22

Massine, Léonide, 6 , 7 , 16

Meyer, André, 9

Monte Carlo, Monaco, 35

Monteux, Pierre:

conducts premiere, 2 , 39 ;

and concert performances, 6 , 17 ;

attends audition, 35 ;

suggests revisions, 37 -38

Montjoie!, 5 , 26

Morton, Lawrence, 10

Mozart, Wolfgang Amadeus, 96

Muzyka, 5

"Mystic Circles of the Young Girls," 2 , 24 , 26 ;

sketches, 23 , 34 , 137

N

Neoclassicism, 211 -13

Newman, Ernest, 1

New York City Ballet, 15

Nightingale, The,34 , 116

Nijinsky, Vaslav, 2 , 6 , 7 , 8 , 16 , 38

Noces, Les (1st tableau), 58 , 59 , 211 ;

scenario compared to The Rite,3 ;

folksongs, 16 ;

revised barring, 71 -75;

rhythmic analysis, 76 -79, 80 , 86 ;

rhythmic Type I, 71

Nocturnes (Debussy), 116

O

Octatonic Pitch Collection:

defined, 119 , 143 ;

Rimsky-Korsakov's use, 119 -23;

in early Stravinsky, 123 -28;

tonal implications, 129 -31;

vocabulary, 140 -43;

in "Ritual Action," 142 ;

interval orderings (scales), 143 -45;

transpositions, 144 ;

partitioning formulae, 145 -48;

in Part I, 148 -89;

in Part II, 190 -211;

in neoclassical works, 211 -13

Octet, 80

Oedipus Rex, 84 -85

One Hundred Russian National Songs (Rimsky-Korsakov), 12

P

Paris, France, 1 , 6 , 22 , 38 , 138

Petrushka, 1 , 17 , 23 , 35 , 37 ;

scenario compared to The Rite,3 ;

folksongs, 20 ;

octatonic pitch relations, 125 -27;

mentioned, 138 , 139

Pierrot Lunaire (Schoenberg), 61

Pitch-class sets, 207 -11

Poe, Edgar Allan, 22

Prélude symphonique (Steinberg), 127

Pribaoutki, 61

Primary Chronicle, The,14

"Procession of the Sage":

scenario, 5 , 19 , 24 , 27 ;

sketches, 27 -31;

rhythmic Type II, 100 , 102 , 104 -8;

pitch relations, 163

Pulcinella, 6 , 17 , 60

R

Ravel, Maurice, 35

Renard, 80

Revisions:

early (Monteux), 37 -38;

chronology of, 39 -56.

See also "Augurs of Spring"; "Evocation of the Ancestors"; "Ritual of Abduction"; "Ritual of the Rival Tribes"; "Sacrificial Dance"

Rhythmic Type I:

explained, 45 -49, 97 -99;

in "Evocation," 45 -49, 85 -86;

compared to Type II, 100 -101;

in Agon, 97 -99;

in Les Noces,101 ;

in "Rival Tribes," 101 -4;

in "Abduction," 108 -11;

in "Sacrificial Dance," 201 -3

Rhythmic Type II:

explained 99 -100;

in "Procession," 99 -100, 102 , 104 -8;

in "Dance of the Earth," 100 ;

compared to Type I, 100 -101;

in Introduction to Part II, 199 -201

Rimsky-Korsakov, André, 116

Rimsky-Korsakov, Nicolai Andreevich, 12 , 14 , 20 ;

as Stravinsky's teacher, 115 -16;

use of symmetrical pitch relations, 116 , 119 -23, 131 ;

dedication of Chant funèbre,127 .

S

"Sacrificial Dance":

scenario, 23 , 27 ;

sketches (sketchbook), 24 , 34 -35, 51 -55, 137 ;

early sketches (notebook), 32 -33, 193 -96;

revisions, 39 -44, 51 -56;

critical reaction to, 59 -60, 63 -64;

rhythmic analysis, 51 -55, 94 -96, 201 -3;

pitch relations, 170 -73, 179 , 188 , 203 -7;

Forte's pitch-class set analysis, 207 -11

Sadko (Rimsky-Korsakov), 119 -20, 131

"Sage, The":

scenario, 5 , 27 , 29 -31;

sketches, 24 , 29 -31

Schaeffner, André, 10 , 139

Scherzo fantastique,123 -25

Schoenberg, Arnold, 61 , 63

Sketchbook, 4 , 9 -13;

chronology of, 23 -33;

composition of, 34 -36.

See also "Augurs of Spring"; "Evocation of the Ancestors"; "Glorification of the Chosen One"; "Procession of the Sage"; "Ritual of Abduction"; "Ritual of the Rival Tribes"; "Sacrificial Dance"

"Soldier's March." See Histoire du soldat

"Spring Rounds":

sketches, 10 , 12 -13, 23 , 31 -32, 136 ;

scenario, 27

Staviat Iarilu (Gorodetsky), 10

Steinberg, Maximilian, 127 , 129

Symphony in Three Movements, 125 , 213

Symphony of Psalms,125 , 211 -13

T

Taruskin, Richard, 126 -27;

on borrowed folksongs, 12 , 13 , 16 -17, 20 ;

on scenario, 14

Tetrachord, (0235):

in Kastchei the Immortal (Rimsky-Korsakov), 119 -21;

in Scherzo fantastique,123 -25;

in "Rival Tribes," 125 -27;

as connecting link, 128 -29, 181 -82;

in Part I, 140 -89;

in Part II, 197 -98, 201 -7.

See also Octatonic Pitch Collection

Thomson, Virgil, 58

"Two Melodies of Gorodetsky," 10 , 15

U

Ulysses (Joyce), 3

Z

Zvezdoliki (The King of the Stars), 207