Kedrick Armstrong

Dr. Kastner
April 8, 2014

Do, Re, Mi, FaNO!!!

Scandals in 20th Century Music
Listening to the Fifth Symphony of Ralph Vaughn Williams is like staring at a cow for 45
minutes, commented Aaron Copland (Smith, NY Times). Hed be better off shoveling snow
than scribbling on manuscript paper, stated Richard Strauss in a letter to Alma Mahler about
Schoenberg (Schoenberg, 1964). Throughout history musicians, composers, and audiences have
all shared different opinions about new compositions. Many people thought Beethovens Third
Symphony pushed the limits of classical music until Hector Berlioz introduced his Symphonie
Fantastique. Music continued to push further, develop and expand, and challenge the comfort
zone of the listener. It wasnt until we entered the 20th century when audiences started to act
upon their opinions of this music. As we look at the progression of change in 20th century music,
it moved more rapidly than any other period of music. After a couple centuries of functional
tonality, the weakening of tonal structures had an immense impact on listeners, resulting in a
variety of strong, scandalous reactions to the music. Three musical scandals will be considered
in this paper: Igor Stravinskys The Rite of Spring, Bela Bartoks The Miraculous Mandarin, and
Dimitri Shostakovichs Lady Macbeth of Mtsensk.
Stravinsky was a young, virtually unknown composer when Sergei Diaghilev, a Russian
ballet impresario, recruited him to create works for the ballet company he founded, Ballets
Russes. The Rite of Spring was the third such project, after the highly acclaimed The Firebird
(1910) and Petrsushka (1911). The concept behind The Rite of Spring, developed by stage and
costume designer Nicholas Roerich from Stravinsky's outline idea, is suggested by its subtitle,
"Pictures of Pagan Russia in Two Parts. In the scenario, after various primitive rituals

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celebrating the advent of spring, a young girl is chosen as a sacrificial victim and dances herself
to death. What lead Stravinsky to compose The Rite of Spring is still a big question that even
Stravinsky himself gave contradicting answers. In a 1920 article he stressed that the musical
ideas had come first, that the pagan setting had been suggested by the music rather than the other
way round (Hill 3). However, in his 1936 autobiography he described the origin of the work
thus: "One day, when I was finishing the last pages of L'Oiseau de Feu [The Firebird] in St
Petersburg, I had a fleeting visionI saw in my imagination a solemn pagan rite: sage elders,
seated in a circle, watching a young girl dance herself to death. They were sacrificing her to
propitiate the god of Spring. Such was the theme of the Sacre du Printemps [The Rite of Spring]
(31). Rather it be because of the music or because of the pagan rite, Stravinsky had something to
communicate to his audience but a very new approach to doing so.
On the evening of May 29, 1913 there was a packed audience awaiting the performance of
Stravinskys new ballet. The Thtre des Champs-lyses, a new performance structure in
France, shared in the success of Stravinskys first two ballets, The Firebird and Petruska. The
theatre was packed, and according to Gustav Linor's report: "Never ... has the hall been so full, or
so resplendent; the stairways and the corridors were crowded with spectators eager to see and to
hear (Kelly 304). At the time, the French ballet audience typically consisted of two diverse
groups: the wealthy and fashionable, who would be expecting to see a traditional performance
with beautiful music; and a Bohemian group who accepted, right or wrong, anything new
because of their hatred of the the wealthy class citizens (Keeping Score). Final rehearsals were
held on the day before the premiere, in the presence of some press members and other invited
guests. According to Stravinsky all went peacefully. However, the critic Adolphe Boschot,
foresaw possible trouble and wondered how the public would receive the work, and suggested
that they might react badly if they thought they were being mocked (Kelly 282).
After waiting through the opening pieces of the program, it was finally time for the Rite of
Spring. The bassoon solo started on a high C and slowly the music unfolded, just as Stravinsky
had meticulously written. There is general agreement among eyewitnesses and musicologists
that the disturbances in the audience began during that bassoon solo and grew into a crescendo
when the curtain rose on the stamping dancers during "Augurs of Spring". Marie Rambert, who

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was working as an assistant to Vaslav Nijinsky, recalled later that it was soon impossible to hear
the music on the stage (Hill 29). In his autobiography, Stravinsky writes that the derisive laughter
that greeted the first bars of the Introduction disgusted him, and that he left the auditorium to
watch the rest of the performance from the stage wings (46-47). By the time the ballet picked up
momentum, the audience was in such "a terrific uproar" which, along with everything on-stage,
drowned out the voice of Nijinsky who was shouting the steps to the dancers (Stravinsky
Autobiography 46). Nobody was prepared for the primeval nature of the music Stravinsky wrote
nor the raw nature of the choreography from Nijinsky. Conductor Pierre Monteux recounts that,
Everything available was tossed in our direction, but we continued to play on". Around
forty of the worst offenders were ejectedpossibly with the intervention of the police,
although this is uncorroborated. Through all the disturbances the performance continued
without interruption. Things grew noticeably quieter during Part II, and by some
accounts Maria Piltz's rendering of the final "Sacrificial Dance" was watched in
reasonable silence. At the end there were several curtain calls for the dancers, for
Monteux and the orchestra, and for Stravinsky and Nijinsky before the evening's
program continued (Kelly 293).
Not only was the music a huge shock to listeners but the choreography captivated the
audience in a way that wasnt very pleasing. The first step to understanding the dancing in The
Rite of Spring is to know that it is not about a pleasant spring morning. The ballet depicts a pagan
sacrificial dance and its relationship to the beginnings of earth. After two years of meticulous
composing, Stravinsky wanted choreography that coupled his new ritualistic Russian music.
Stravinsky pointed to the importance of the synchronization of music and choreography in The
Rite of Spring and suggested that the choreographer study his notations regarding the
choreography for the ballet because of the unusual analysis of the rhythmic structure contained
in them (Palser 55). Jean Marnold, a newspaper critic, wrote, One can hardly imagine that the
collaboration between choreographer and composer could have been successive, that their results
dont come from an ever-simultaneous invention and realization, because what one sees on stage
appears so spontaneously appropriate to what is evoked in the music (Palser 54). This is what
The Rite of Spring was suppose to be about: evoking the presence of old Russian rituals and

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lifestyles. Stravinsky wanted to move away from the fantasy-like stories that based his previous
ballets, The Firebird and Petruska and he achieved so at the expense of a scandalous premiere.
Following the very scandalous premiere, The Rite of Spring went on to enjoy five more
performances through June 13, 1913 at the Thtre des Champs-lyses which leaves us to
question what caused such an up roar at the premiere and what made it more acceptable as time
passed. When Stravinskys audience arrived at the theatre, they were expecting Stravinsky to
continue in his Russian nationalistic style, as he had composed The Firebird and Petruska. As the
audience began to hear sounds coming from a now familiar composer that were very unfamiliar,
they responded accordingly; it was as if the Stravinsky they had grown to love completely
abandoned them. This feeling of not knowing and not understanding has been the center of many
other music scandals throughout the 20th century. There were still mixed reviews from people
who could not quite understand the music but audiences and critics did begin to open their eyes
and ears to what Stravinsky and Nijinsky were trying to invoke in this ballet.
About a decade later, over in Hungary, Bela Bartk was also in the midst of composing a
new piece that would also received disapproval from many. Menyhrt Lengyel, an accomplished
Hungarian playwright, had published a new dramatic work, The Miraculous Mandarin, and
Bartk requested permission to set the pantomime (a dramatic entertainment in which performers
express meaning through gestures accompanied by music) to music. Bartk wrote this to his wife
about the opening of the work: It will be hellish music if I succeed. The prelude before the
curtain goes up is going to be very short and sound like the horrible pandemonium, din, racket,
and hotting: I lead the honorable audience from the crewed stress of a metropolis into Apaches
den (Suchoff 90). Musicologist Don Anderson summarized the libretto like so:
The scenario takes place in a rundown area of a large modern city. In order to lure
passersby into a trap designed for robbery and murder, three thugs force an attractive
young woman to stand in a window overlooking a busy street. The first two people to fall
under her spell are an aging gentleman and a shy young man. Since both are penniless,
the villains promptly throw them back into the street. The third victim is a richly dressed
Chinese mandarin, with a weird, unsettling aura of inscrutability about him. At first he
shows indifference to the girl, but gradually her dancing captures his interest. Staring

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fixedly at her, he pursues her, wildly and doggedly. The thugs first rob him, then try
desperately to kill him by smothering him with pillows, stabbing him with a rusty sword,
and hanging him from a light fixture. Yet it is only after the girl satisfies his desire by
embracing him compassionately that his wounds start to bleed and he dies in her
arms (Anderson, Toronto Symphony Orchestra).
From about 1910 onwards, European art began to be populated by inhuman horror and
apocalyptic monsters. These were the creations of a middle-class world in which mans
imagination had been deeply affected by political crises, wars, and the threat to life inherent in
the middle-class society (Uifalussy 154). This resulted in many pieces of art that were very
provocative and vulgar for audiences. Bartk initially had to remove some of the naturalistic and
blood-curdling details from Lengyels original libretto. He chose to delete a number of crude
stage directions such as the skin cracks, the body slumps, the knife comes out of the
mandarins back, and so on; he also omitted the fourth murder from the libretto by adding a
shooting. Despite the revision and many omissions, the summery still conveys something of the
grand horror from the original melodrama.
Bartk, after revising the libretto, now had to figure out how to musically depict the soon to
be pantomime. The score begins with an orchestral depiction of the "concrete jungle." The
violins have rapidly rising and falling, wave-like scales over the very unusual interval of an
augmented octave. One of the central motifs of the work is a 6/8 rhythm in minor seconds which
reappears at the violent actions of the tramps. The thee love calls of the girl are scored for the
clarinet, each one longer and more florid than the last. Bartk uses different musical ideas to
depict each one of the men the girl seduces: the old rake is represented by trombone glissandi
spanning a minor third and the music for the shy young man is a slow dance in 5/4. When the
Mandarin enters the room, the trombones and tuba play downward glissandos. The girl's dance
for the Mandarin contains both a waltz and the viola theme associated with her and the tramps.
When the Mandarin seizes the girl, the minor second is heard again. The chase is represented by
a fugue, whose subject is based roughly off the pentatonic scale. The 6/8 minor second returns
again as the tramps rob the Mandarin and the attempted suffocation and stabbing are illustrated
with great force in the orchestra. As the tramps hang the Mandarin from the lamp, the texture is

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blurred with glissandi on trombones, timpani, piano and cellos. The glowing body of the
Mandarin is represented by the entry of a chorus singing wordlessly. The climax, after the girl
embraces the Mandarin, is a theme given out fortissimo by the low brass against minor-second
tremolos in the woodwinds. As the Mandarin begins to bleed, the downward glissando heard at
his entry is echoed in the trombone, contrabassoon and low strings. The work then stutters
arhythmically to a close (Bartk Score).
Bartk clearly spent an extreme amount of energy trying to create a musical depiction that
corresponded with Lengyels libretto. The piece was premiered on November 27, 1926 in
Cologne, Germany and was subsequently banned because of the lurid, provocative storyline but
what makes Bartks creation such a scandal? The majority of radical Hungarian intellectuals
recognized in the imperial war the legacy of a hateful past and opposed it with all their might. In
March 1916, in the magazine Tett, Lajos Kassk, an important Hungarian intellectual, denoted
the policy of the pro-war group of Italian futurist (Uifalussy 156). It was therefore very
appropriate that Bartks social and artistic outlook doused him to be attracted to those
Hungarian artist who held revolutionary view and were totally opposed to the maintenance of the
old oder. The following is from a German music journal, reporting on the premiere of the the
new dance pantomime: Cologne, a city of churches, monasteries and chapels has lived to see its
first true [musical] scandal. Catcalls, whistling, stamping, and booing did not subside even after
the composers personal appearance, nor even after the safety curtain went down. Members of
the press protest and the clergy of both denominations hold meetings; the mayor of the city
intervenes dictatorially and bans the pantomime from the repertoire [only one performance was
given] while waves of moral outrage engulf the city (Glass, LA Phil). Incidentally, the
outraged mayor of Cologne, who also subjected Bartk to a personal tongue-lashing, was Konrad
Adenauer, who was, after World War II, West Germanys chancellor and one of the worlds most
influential political leaders.
Although the pantomime was successful at its Prague premiere, it was generally performed
during the rest of Bartk's life in the form of a concert suite, which preserves about two-thirds of
the original music. Bartk may have suffered great prosecution for the erotic nature of The
Miraculous Mandarin but, throughout this period, he remained true to his principals and to

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himself. Bartk achieved an entirely new level of musical writing, even if it was at the expense
of being ridiculed by the public.
On January 26 1936, Joseph Stalin went to the opera house in Moscow. The opera was
Lady Macbeth of Mtsensk, by Dmitri Shostakovich, then only 29, and the golden-boy composer
of the Soviet avant garde. A huge success at its Leningrad premiere two years previously, Lady
Macbeth had received up nearly 200 performances in the Soviet Union and been enthusiastically
received in Copenhagen, Prague, New York and London. The piece was so popular that in
January 1936, there were three productions running concurrently in Moscow alone. Shostakovich
was in the audience on the night of Stalin's visit. Any expectations he might have had for
meeting the dictator were squashed when the official delegation swept out with great notice
before the final scene. Two days later on January 29, 1936, Pravda, the Communist Party's
official mouthpiece, released the now-infamous editorial entitled Muddle Instead of Music.
From the first minute, the listener is shocked by deliberate dissonance, by a confused
stream of sound. Snatches of melody, the beginnngs of a musical phrase, are drowned,
emerge again, and disappear in a grinding and squealing roar. To follow this "music" is
most difficult; to remember it, impossibleOur theatres have expended a great deal of
energy on giving Shostakovich's opera a thorough presentation. The actors have shown
exceptional talent in dominating the noise, the screaming, and the roar of the orchestra.
With their dramatic action, they have tried to reinforce the weakness of the melodic
content. Unfortunately, this has served only to bring out the opera's vulgar features more
vividly. The talented acting deserves gratitude, the wasted efforts - regret (Schalks,
Pravda).
Lady Macbeth is an opera in four acts with a libretto written by Alexander Preis and the
composer, which is based on the novel Lady Macbeth of Mtsensk District by Nikolai Leskov.
The opera takes place in Kursk Gubernia, Russia during the mid-19th century. Katerina is bored
of life with her husband Zinovy Ismailov, a rich provincial merchant. When Zinovy leaves on
business, his suspicious father Boris makes her swear faithfulness to his son. Shortly after this,
the workmen in the yard molest the fat cook Aksinia and encourage the foreman Sergei to rape
her for their amusement. Katerina comes out to defend Aksinia whereupon Sergei seizes her hand

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with its wedding-ring on one finger and squeezes it until it hurts. Katerina feels weak before
Sergeis strength. That night Sergei visits Katerina in her bedroom and seduces her. In his sons
absence, Boris decides to sleep with his daughter-in-law. To his rage, he finds Sergei coming out
of her room. He whips the foreman mercilessly, after which he demands food from Katerina. In
revenge, she gives him poisoned mushrooms and he suffers an agonizing death. Making love in
her bedroom with Sergei, Katerina sees the ghost of Boris cursing her, but is unafraid. When her
husband Zinovy returns, she strangles him with Sergeis help, and hides the body in a cellar. Her
regular checking of the cellar is noticed by a drunken peasant who goes there himself, expecting
to find hidden vodka. Seeing Zinovys body, he runs to tell the police. Displeased and bored not
to have been invited to Katerina and Sergeis wedding, the police are delighted to hear about the
body. They rush to interrupt the wedding feast, Katerina confesses everything, and she and
Sergei are arrested. A large group of convicts, including Katerina and Sergei, is traveling to
Siberia and stops for the night beside a lake. Sergei has now tired of Katerina and flirts with the
beautiful young Sonyetka. When Katerina tries to get him back, he asks her for her stockings,
saying he is cold. She gives them to him, but he passes them straight on to Sonyetka and together
he and Sonyetka mock Katerina. In rage and despair, Katerina drags Sonyetka and herself into
the lake, where they both drown (Wilson 94-100).
Shostavovichs opera is one of the great expressionistic works in that is seeks the
truthfulness of subjective feeling without illusions, disguises or euphemisms. This is a very
different type of scandal than weve observed in The Rite of Spring and The Miraculous
Mandarin. Lady McBeth and Shostakovich went from being the most popular in the Soviet
Union to being almost non-existent. The Soviet critics, who first praised the work, evaded the
issue of its eroticism. Shostakovichs friend, Valerian Bordanov-Berezovksy reviewed the opera
in Bukharins newspaper in 1933: In essence, the operas plot is very old and simple: love,
betrayal, jealousy, death. But the theme is broader and deeper than the plot; it is an unvarnished
view of the bestial face of tsarist Russia, a revelation of the brutishness, stinginess, lust, and
cruelty of prerevolutionary society (Volkov 96). Prokofievs friend and confidant Boris Asafiev
developed his viewpoint on when Shostakovich had fallen into disfavor with the authorities: I,
personally, was always surprised by the combination in Shostakovich of Mozartian lightness and

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in the best sensefeckless lightheartedness and youth with a far from youthful, cruel and crude
taste for pathological states instead of revealing humanity (Volkov 97).
No critics words could hurt Shostakovich like Muddle Instead of Music. We can
understand why Shostakovich felt the earth open beneath his feet. His opera, that had just seen
over 200 performances, was unexpectedly subjected to a crude, untrammeled, and illiterate
attack. There are two main layers in the text of Muddle Instead of Music. One is the authors
impression of the music and its production at the Bolshoi Theater Annex, while the other is
completely theoretical. Like some Western critics, the author of the article was very offended by
the operas erotic episodes. The music grunts, moans, pants, and gasps, the better to depict the
love scenes as naturally as possible. And love is smeared throughout the entire opera in the
most vulgar form (Schalks, Pravda). The theoretical and political aspects of the article were
even more important. Shostakovichs opera was accused simultaneously for formalism (used for
complicated works that were too smart by half) and naturalism (applied to excessively frank
passages) (Volkov 103).
The humiliating and offensive style of the article was not unheard of and, in fact, it was the
rule for the attack of those years. What was shocking was Pravdas unexpected interference after
more than two years of growing triumph for the opera. Also, in previous discussions of
naturalism and formalism, one side could attack while the other actively fought back and even
counterattacked (Volkov 105). In Shostakovichs case, the situation had changed sharply and the
tone of Pravda was completely directive. This was underlined by the absence of a signature
under the article (Wilson 97). The presumption was that it represented the opinion not of some
single critic or even a group, but of the Party as a whole.
It is quite probable that in the case of Shostakovich, Stalin was blinded by emotion. Not
only did the plot and music infuriate him, and not only did the opera contradict Stalin's cultural
direction for that period, but on top of that, the composer was hailed as a genius, not just in the
Soviet Union, but in the West. This may have been what pushed Stalin over the top and we will
never know what exactly led Stalin to spare Shostakovich and allow him to continue working.
The significance for Shostakovich of the Lady Macbeth incident is impossible to overestimate. It
might not be an exaggeration to say that in some very important way his entire life and work can

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be divided into two parts - before and after the fateful Pravda editorial. It was said that decades
later, Shostakovich wore a plastic bag with the text of "Muddle Instead of Music" around his
neck, under his shirt, like an anti-talisman" (Volkov, The Telegraph).
So, why the scandals? Was Stravinskys The Rite of Spring really that different from all his
other previous works? Was the story and music of Bartks The Mircaulous Mandarin that
provocative and unrealistic? Was Shostakovichs Lady Macbeth just too powerful and too
popular for Stalin? These are questions that bare very different answers today than when they
were truly considered scandals. One of the great triumphs that came from these scandals was
exposure; after each of these musical scandals, people talked, wrote, and researched these pieces
more than the other works that were accepted by the public. Musicologist continue to research
and analyze this music to figure out what made it resonate with audiences so much that they
could not possibly handle it. Some have discovered that, to some extent, it is not possible to
shock audiences anymore because everything seems to have been done. By the 1960s, composers
had explored the outer extremes of total Serialism, computer music and John Cage-style chance.
The hybrid, postmodern styles embraced by composers in the last few decades, by contrast, are
seldom driven by a need to provoke. Even Minimalism, a style that provoked an uproar with the
1973 premiere of Steve Reich's Four Organs, is now part of the mainstream, featured in film
scores and TV commercials (Levine, WQXR). As long as composers continue to write music that
connects with people on a personal level, there will always be contrasting views about the music.
Even as composers shift to writing music for their own pleasure and to release the musical ideas
and sounds in their head, many audiences will question the validity of the music they compose.
The three pieces I explored in this paper contain much more in their meaning than just their
perspective scandals. As long as there is music, there will always be strong opinion, questioning,
and possibly a few scandals. In the end, music will remain present in audiences minds, ears, and
hearts far beyond the possible scandalous start.

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Sources
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Hill, Peter. Stravinsky: The Rite of Spring. Cambridge: Cambridge UP, 2000. Print.
Kelly, Thomas Forrest. First Nights: Five Musical Premieres. New Haven: Yale UP, 2000. Print.
Pasler, Jann, ed. Confronting Stravinsky: Man, Musician, and Modernist. Berkeley: University of
California, 1986. Print.
Schoenberg, Arnold, and Erwin Stein. Arnold Schoenberg Letters. Berkeley: University of
California, 1987. Print.
Stravinsky, Igor. Stravinsky: An Autobiography. New York: Simon and Schuster, 1936. Print.
Suchoff, Benjamin. "Fusion of National Styles: 19061925." Bla Bartk: Life and Work.
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Ujfalussy, Jzsef. "Theatre Successes. The Miraculous Mandarin. 19171919." Bla Bartk.
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Volkov, Solomon. Shostakovich and Stalin: The Extraordinary Relationship Between the Great
Composer and the Brutal Dictator. Trans. Antonina W. Bouis. New York: Alfred A.
Knopf, 2004. Print.
Wilson, Elizabeth. "Criticism and the Response to Criticism." Shostakovich: A Life Remembered.
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Anderson, Don. "Bartk: The Miraculous Mandarin." Toronto Symphony Orchestra. Toronto
Symphony Orchestra, n.d. Web. 03 Apr. 2014.
Ashley, Tim. "Too Scary for Stalin." The Guardian. Guardian News and Media, 26 Mar. 2004.
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Glass, Herbert. "Miraculous Mandarin Suite." LA Phil. Los Angeles Philharmonic Association,
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Lewin, Naomi. "Can Classical Music Still Shock?" WQXR - New York's Classical Music Radio
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Rothstein, Edward. "'Lady Macbeth,' Hated by Stalin, Finally Has Its Debut at the Met." The
New York Times. The New York Times, 11 Nov. 1994. Web. 07 Apr. 2014.
Scott, Bruce. "Opera Vs. Politics: Shostakovich's Lady Macbeth." NPR. NPR, 15 Jan. 2010.
Web. 06 Apr. 2014.
Smith, Steve. "A Composer Forever English, Cows and All." The New York Times. The New
York Times, 12 July 2008. Web. 08 Apr. 2014.
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Videos
Bartk: The Miraculous Mandarin - Truly Miraculous? Dir. Gerard McBurney. Perf. Chicago
Symphony Orchestra. CSO Sounds & Stories. Chicago Symphony Orchestra Association,
4 Sept. 2013. Web. 07 Apr. 2014.
The Rite of Spring: A Riotous Premiere. Dir. Michael T. Thomas. Perf. San Fransisco Symphony.
Igor Stravinsky: The Rite of Spring. N.p., n.d. Web. 07 Apr. 2014.
Stravinsky: The Rite of Spring. Perf. Joffrey Ballet. YouTube. YouTube, 20 May 2013. Web. 07
Apr. 2014.
Shostakovich: Lady Macbeth of Mtsensk. Dir. Martin Kuej and Mariss Jansons. Perf. The Royal
Concertgebouw Orchestra & Chorus of the Netherlands Opera. Music Online: Opera in
Video. Alexander Street Press, LLC, n.d. Web. 07 Apr. 2014.
Recordings
Bartk, Bla. Concerto for Orchestra, The Miraculous Mandarin. Saint Louis Symphony
Orchestra. Leonard Slatkin. BMG Classics, 1994. CD.
Bartk, Bla. The Miraculous Mandarin Suite, Op. 19; Music for Strings, Percussion and
Celesta. Frankfurt Radio Symphony Orchestra. Georg Solti. Decca, 1964. CD.
Shostakovich, Dmitri Dmitrievich. Lady Macbeth of Mtsensk. London Philharmonic Orchestra.
Mstislav Rostropovich. EMI Records, 1979. CD.
Stravinsky, Igor. Le Sacre Du Printemps. Simn Bolvar Youth Orchestra of Venezuela. Gustavo
Dudamel. Deutsche Grammophon, 2010. MP3.

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Stravinsky, Igor. Stravinsky Conducts Stravinsky: The American Recordings, 1940-1946.

Columbia Symphony Orchestra. Igor Stravinsky. Pavilion Records, 1997. CD.
Scores
Bartok, Bela. The Miraculous Mandarin, Op. 19. New York: Boosey & Hawkes, 1955. Print.
Shostakovich, Dmitri Dmitrievich. Lady Macbeth of Mtsensk: Or, Katerina Izmailova. Vol. 20.
Moscow: State "Music", 1985. Print. Collected Works in Forty-Two Volumes.
Shostakovich, Dmitri Dmitrievich. Lady Macbeth of Mtsensk: Or, Katerina Izmailova. Vol. 21.
Moscow: State "Music", 1985. Print. Collected Works in Forty-Two Volumes.
Stravinsky, Igor. The Rite of Spring. Mineola N.Y.: Dover Publications, 2000. Print.

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