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Thread: The Rite of Spring

  1. #26
    Member helicase's Avatar
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    Quote Originally Posted by philsunset View Post
    I'll be checking it out. My hats off to you for recording it.
    Seconded.

    Quote Originally Posted by reluctant cannonball View Post
    Absolutely. His "Firebird" album is a classic.
    There are quite a few other abbreviations that are out there - Birdsongs of the Mesozoic, Banyan - plus a full big band version I picked up from Wayside.
    I've got versions by Alice Coltrane:

    And Projeto B from Brazil:

  2. #27
    Didn't Egg base one of their 'symphonies' almost completely on Stravinsky, and particularly on the Rite of Spring?

  3. #28
    Progga mogrooves's Avatar
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    Last edited by mogrooves; 05-30-2013 at 02:29 AM.
    Hell, they ain't even old-timey ! - Homer Stokes

  4. #29
    Member Since: 3/27/2002 MYSTERIOUS TRAVELLER's Avatar
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    A bombastic cacophony of sheer bliss
    Why is it whenever someone mentions an artist that was clearly progressive (yet not the Symph weenie definition of Prog) do certain people feel compelled to snort "thats not Prog" like a whiny 5th grader?

  5. #30
    chalkpie
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    never heard it, but I heard it sucks.

  6. #31
    Member helicase's Avatar
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    Quote Originally Posted by ceuyoyi View Post
    Didn't Egg base one of their 'symphonies' almost completely on Stravinsky, and particularly on the Rite of Spring?
    From the liner notes of the Eclectic (Esoteric) reissue of their first album:
    "The second side of the album was to comprise a suite of improvisations of classical themes by composers such as Grieg and Stravinsky known as "Symphony Number Two". This remarkable musical cycle originally comprised five parts, but "Movement Three" was later to be removed from the final album due to objections from management in Decca's higher echelons who were concerned about possible objections from the administrators of Igor Stravinsky's music in Britain."
    The movement is restored on the reissue.

  7. #32
    Quote Originally Posted by reluctant cannonball View Post
    Happy Anniversary, Igor! I'm so glad someone posted about this. It is an unquestionably amazing piece. And it gives me the opportunity to make a bit of an announcement. I have recorded and am very nearly ready to release my electronic version of The Rite of Spring. Look for a more formal post in the coming weeks. It was done all with synths and touch of Mellotron in the style of Tomita, Carlos, etc. No one I could find ever did this piece in its entirety in this style back in the day and I always wanted to hear one, so I had to do it myself. Please PM me if you have any questions on it. It'll be available through CD Baby, iTunes, etc and hopefully all the usual prog CD sources or from me directly, when the time comes.
    My favorite classical piece. I'd longed for Carlos to do a version, so I'm jazzed to hear yours.

  8. #33
    There is a version by a guitar/bass/drums band, but I don't recall their name.

  9. #34
    The Enid were going to do it at one point but it never materialised

  10. #35
    Larry Coryell recorded a version for solo guitar.

  11. #36
    Member No Pride's Avatar
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    Quote Originally Posted by trurl View Post
    Indeed... ROS was quite possibly the first piece of music in my life that I had to work to "get". My parents turned me on to Firebird and Petrouchka at an early age, but they most definitely did not like Rites. There were probably large chunks of Petrouchka that did nothing for them as well. ROS sounded very dissonant and unpleasant to me too but there was something going on; it had such shades of tonality and contrast, going from almost nothing to huge explosions of sound... it took a few years but it all eventually made sense and it's one of my favorite pieces of music.
    My dad was a percussionist in the Chicago Symphony Orchestra (I've mentioned this here before) and he turned me on to the ROS at an early age too. I didn't have much trouble getting into it, but I attribute that to the fact that young minds are more open in general (and I probably wasn't even 10 at the time). It's indeed a fantastic piece and I think one of the things that makes it work so well is the seamless combination of simplicity and complexity. There's some pretty "extended" harmonic things going on and there's times when the meter changes from measure to measure, but there's some pretty folky, sing-songy melodies in there too. Innocence and savagery, beauty and ugliness, subtle and bombastic; it's all in there! I've loved the piece practically all my life.

    Quote Originally Posted by simon moon View Post
    Now, I have to choose which performance to listen to when I get home tonight. Even though it is not my favorite recorded performance, I might have to go with Stravinsky conducting the Columbia Symphony. But I like the Cleveland Orchestra with Boulez conducting (1991) or Ozawa conducing the Chicago (1968) better.
    My dad is on the Ozawa/CSO recording... not only that, but I got to see them perform it live with Ozawa conducting. I was a lucky kid!

  12. #37
    Quote Originally Posted by No Pride View Post
    My dad is on the Ozawa/CSO recording... not only that, but I got to see them perform it live with Ozawa conducting. I was a lucky kid!

    Super cool!

  13. #38
    Member Zeuhlmate's Avatar
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    The Science Group - a mere coincidence tune: 14. Scale Invarians (3:36) (1999) - the rythm is built over a part from Le Sacre.

    http://www.progarchives.com/album.asp?id=20804

    - Bob Drake / bass, vocals, guitar, drums
    - Stevan Tickmayer / keyboards, samplers, electronics
    - Chris Cutler / drums, low-grade electronics
    - Amy Denio / vocals
    - Fred Frith / guitars
    - Claudio Puntin / bass clarinet

  14. #39
    Member Paulrus's Avatar
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    Quote Originally Posted by mogrooves View Post
    That is beyond cool.

  15. #40
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    In February, I saw the Joffrey Ballet do the recreation of the original production here in Los Angeles. My friend and I thought it was.....boring. I can see why the ballet audience of 1913 might have been upset, because the dancers do stuff that is closer to pure movement, not classical Russian ballet. They form geometric shapes -- a circle, a square etc.-- then don't do anything until they burst in to movement, doing mostly non-balletic movements in big, unwieldy costumes. To the audience of 1913, it must have seemed pretty radical, but in 2013, it looked kind of stiff and cold to me.

    As for the music, let's just say I'm not a Stravinsky fan apart from The Firebird (which I like mostly because it's a pastiche of Rimsky-Korsakov for the most part). I think the "radicalism" of the music is waaaay overrated, helped by the great publicity machine that the Ballets Russe provided. Schoenberg was always bitter that Stravinsky got the credit for Le Sacre du Printemps being "revolutionary" or "the birth of modernism" etc. when he was writing music that was far more radical and "out there" years before. My favorite example is this:

    http://www.youtube.com/watch?v=xXdJfabr-6I

    Listen from about :55 in to about 1:45, where the orchestra just explodes. I heard the Schoenberg years after the Rite of Spring and I thought Schoenberg had stolen that from Stravinsky until I looked at the date of the compositions: 1908 for Schoenberg, 1913 for Stravinsky. Then there's stuff like Erwartung or Die Gluckliche Hand or The Book of the Hanging Gardens or.........

    As for Neo-Classicism *shudder* I heard Pulcinella on the radio the other day and I thought it was horrible, just utterly pointless. Then there's all the "let's wait until Schoenberg is dead until we start using the 12-tone system" stuff like Agon that I just find arid and deadly dull.

    I'll sure be glad when the Wanger and Verdi and Rite of Spring centennials are over.
    ...or you could love

  16. #41
    Member Since: 3/27/2002 MYSTERIOUS TRAVELLER's Avatar
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    Quote Originally Posted by Paulrus View Post
    That is beyond cool.
    man aint that the truth! is that a program or a labor of love? great video!
    Why is it whenever someone mentions an artist that was clearly progressive (yet not the Symph weenie definition of Prog) do certain people feel compelled to snort "thats not Prog" like a whiny 5th grader?

  17. #42
    http://www.salon.com/2013/05/30/comp...pring_partner/

    Stravinsky goes digital
    A software engineer creates "visual music" for the centennial of "The Rite of Spring"
    By Allison Meier

    It’s appropriate then that one of the most transfixing of the projects marking the 100 year occasion is a digital visualization of the piece.

    Created by Stephen Malinowski, a composer and software engineer, the animation attempts to illustrate all the complications that are happening in Stravinsky’s score. The Californian has been working on this type of visual music for decades, sparked by an epiphany involving Bach and LSD, which developed into his Music Animation Machine in the 1980s. As he writes: “Music moves, and can be understood just by listening. But a conventional musical score stands still, and can be understood only after years of training. The Music Animation Machine bridges this gap, with a score that moves — and can be understood just by watching.”

  18. #43
    I read a theory last year that said that the reaction against the ROS was not aesthetic, but political. The disturbance was fomented by a group of French nationalists who disliked the Russian ballet company in a Russian style theater with a Russian impressario, a Russian choreographer, Russian music. And, to top it off, primitive Russian costumes and dancing, that was the antithesis of traditional ballet.

  19. #44
    Quote Originally Posted by Jeremy Bender View Post
    I heard the Schoenberg years after the Rite of Spring and I thought Schoenberg had stolen that from Stravinsky until I looked at the date of the compositions: 1908 for Schoenberg, 1913 for Stravinsky.
    Schoenberg may written it then, but it did not premiere until 1912, in London. Stravinsky started writing the ROS in 1911 and had conceived it early and worked out the structure with Roerich in 1910 and '11.

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