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Zeeb Ra, ‘Ann Arbor, MI 48106et WASHINGTON UNIVERSITY Department of Music Dissertation Committee: Roland Jordan, Chairman John Perkins Orland Johnson THE RITE OF SPRING: A RHYTHMIC PERSPECTIVE by Kathy Maria white A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 1987 Saint Louis, Missouricopyright by Kathy Maria White ‘May 1987* To my parents Leamon and Catherine Whitea ACKNOWLEDGEMENTS: The successful completion of this work has come about through the assistance and efforts of many people, all of whon I sincerely thank. Ir, particular, I would like to give special acknowledgement to Professor van den Toorn of the University of Southern California, for sharing portions of his manuscript on the Rite and Dr. James Bailey of the University of Wisconsin and Dr. Easley Blackwood of the University of Chicago for sharing their time and expertise. Special thanks also goes to members of the dissertation committee, Dr. Johnson, Mr. Perkins and especially chairman, Dr. Jordan for their untiring guidance, assistance and support. Professor Emma Kafalenos also supplied invaluable assistance to this project. My family and friends supplied tremendous support, particularly Mrs. Jeanne Bullock, Evelyn Wooten, Vanessa Woods and Geraldine Hailles. Deep appreciation goes to ny sisters and niece who assisted above and beyond the call of duty, especially Diane. As for mom and dad, words cannot even begin to express ny indeptness for their unrelenting commitment, devotion, and financial and moral support. Thanks to my husband Keith and son Phillip for hanging in there, finally and most importantly, thanks be to God.CONTENTS: PER Pood ppAGE Part 10 Acknowledgements........ List of Illustrations.. Ir Introduction... Note on the Editions... 7) Pitch Structure: Aspects and Approaches. + +26 Rhythmic structure Some Observations and Comparisons..... The Configuration of Materials... Sqooent) Russian Folk Songs and the Rite of Spring.... oes + +90 Russian Folk Songs. ++90 II. The Rite of Spring..... TI: analysis. +101 ee 125) The Introduction to Part I.. 128 "Danses des adolescentes" - PI.. +163 Remaining Dances of Part I.. +183 The Dances of Part II.. 206 Summary and Conclusions..... ae +232 Bibliography........... +250 Appendix I - Examples... +253 iiiii LIST OF ILLUSTRATIONS ‘NUMBER CAPTION PAGE 1 Chronological List of Editions.............24 2 Sets 5-23, 5-Z12.... pee oe) 3 Set 5-16, Subset 4-18..........0004, 4 R50+2 and R53, Ist & 2nd Phrases... 5 R24 Reordering of Cells........0..04 103 6 "Jeux des cités" ~ Phrase Structure.......105 7 "Danses des adol." - Form....... 8 Arsis/Thesis of the Dances...... 9 categories of Dances.........0e.e00 10 Passages Demonstrating Techniques of Reordering and Contrast..... e022 ce Introduction to Part I - sum/chart.. +4130 12 Compositional Patterns in Ré.... +4139 13 Danses des adolescentes - sum/chart.......164 14 Rhythmic Stages of “Danses des adol. pocepou: KK) 15 Comparison of Rhythmic Stages Intro to Part I and Complete Part I... 16 "Jeu du rapt, Jeux des cités-sum/chart. 17 Form Comparison - les "Jeux"....... 1s Rhythmic Stages of les "Jeux"...... 1s "Cortége du sage" - sum/chart.............192 20 Texture - "Cortége".......eee seer eee ee ee 193 22 Rhythmic Stages of "Cortége"..., seed22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 43 44 CAPTION PAGE "Danse de la terre" - sum/chart...........195 Rhythmic Stages of "Danse.."...6.0.0006444198 "Rondes printaniéres" - sum/chart.........199 Rhythmic Stages of "Rondes. + +202 Grouping of Units in "Rondes..".........4.203 Rhythmic stages of Part IZ. seeeeee 1208 Intro to PII & "Cercles Myst."............208 "Glorification de l'elue" - sum/chart.....215 Rhythmic Stages in "Glorification"........218 "Evocation des ancétres" - sum/chart......219 Rhythmic Stage in "Evocation".............221 "Action rituelles des ancétres"...........222 Structure of “Action..".... +223 Arch Form of "Action". Rhythmic Stages of "Action". "Danse sacrale" - sum/chart. Rhythmic Stages of "D. sacrale".. category 1 .. Category 2 .. Category 3... Category 4.......645 Category 5 Rhythmic Stages of entire work. ivPART I CHAPTER ONE Introduction At its first performance on May 29, 1913, the Rite of Spring caused a notorious riot, one which Stravinsky has described on many occasions. Although he attributes that scandalous event largely to Nijinsky's choreography and disturbances by others who were determined to undermine the performance, it is very likely that a scandal would have occurred even without these factors, because of the nature of the piece itself.! The form and content of the work seem radically different from any ballet heard before, including Stravinsky's earlier Elrebird and Petroushka. Its driving rhythms, repeating melodies and jarring sonorities assault the senses in an almost physical bombardment. Only a year later, however, after its first unstaged "concert" performance, the work was being hailed as a masterpiece. Stravinsky said of that second performance, "At the end of the 'Danse sacrale,' the entire audience jumped to its feet and cheered."? Today, of course, the T For Stravinsky's discussion of the first performance of the Rite of Spring, see Igor Stravinsky and Robert Craft, Expositions and Developments (New York: Doubleday, 1962) 163-64; and Conversations With Stravinsky (New York: Doubleday, 1959) 45-7. 2 the first concert performance of the Rite of Spring was held on April 5, 1914, at the Casino de Paris, andRite is regarded as an important landmark in music history. Just a few years earlier, another scandal had taken place, not so very far away. Called the "Scandal in the Bésendorfer Saal," the performance of Schoenberg's Second String Quartet made newspaper headlines in Vienna in December 1908. A scathing review of Schoenberg's piece in the Neue Wiener Abendblatt reads: "out of respect for the composer we will assume that he is tone deaf and thus musically non compos...otherwise the Quartet would have to be declared a public nuisance and its author brought to trial by the Department of Health "3 thus in its own day, Stravinsky's work was not the only one to arouse public controversy. More than seventy-five years later, the Schoenberg piece, far from being a "public nuisance," is easily seen as a continuation of the Germanic tradition, a stage in an orderly process of change. The Rite of Spring, on the other hand, remains an isolated, unique, creative statement, one which for all its influence stands very much alone in the twentieth-century repertoire. directed by Pierre Monteaux (who also conducted the opening ballet performance}. See Stravinsky, Expositions 164. 3 Malcolm MacDonald, Schoenberg (London: Dent & Sons, 1976) 2.The Rite was written during a period of cultural upheaval in the Western world. By the turn of the century, the visual arts were moving away from their traditional reference to natural images with the works of the impressionists and post-impressionists. cubism was born in 1907, with the showing of Picasso's Les Demoiselles d'Avignon, and Wassily Kandinsky's earliest fully abstract works dating from 1910. Literature, likewise, was undergoing major transformations. Novelists were moving from the omniscient narrative voice often found in nineteenth-century fiction, to the less objective narration of Henry James and others who were as concerned with the perception of an event as with the event itself. New ideas in scientific thought, including Einstein's revolutionary special theory of relativity that rocked the world of physics in 1905, suggested radical changes in the concepts of space and tine. Music was changing as rapidly as other creative fields, particularly in Vienna, in the works of Schoenberg, Webern and Berg, and in Paris with Debussy, Ravel and, of course, Stravinsky. There was a heightened interest in non-Western music and culture, reflected, for example, in the International Exposition of Paris in 189 which featured performances by North African and Asiatic (including Balinese) musicians and dancers. In addition, the nationalistic movements of the nineteenth centurythat encouraged research into folk art, including music, generated expanding interest in Eastern European and Russian music. Although the various disciplines and interests continued on separate paths of development, it is clear that a major upheaval in Western thought was taking place. The extent to which specific personalities and events of the time directly influenced stravinsky-- although some certainly did--seems less important than the general climate of radical change which existed throughout the culture. It is in this world of artistic ferment that the Rite was composed. While the Rite is one of the most talked-about works in the history of Western music, few analyses have addressed the questions of its underlying rhythmic structure, the interaction of its functioning elements, and its overall rhythmic and formal design. The analyses that have been done of the Rite of Spring can be generally grouped into three categories: those which are simply general descriptions; those that use pitch structure as the primary reference (the pitch-to-rhythn approach); and those that begin with rhythm (the rhythn- to-pitch approach). Most of the descriptive analyses are brief summaries which discuss the effect of the piece and the predominant characteristics of the work. Such passages concerningthe Rite most often occur in general surveys or overviews of twentieth-century music. These descriptions are valuable because, to the extent that they are accurate, they provide a good basis against which technical analysis may be measured. Too often technical analyses of musical works seem far removed from the works as heard and can be practically applied to the music only with difficulty. One way to measure the significance of a technical analysis is to compare it to insightful descriptive statements about the work. Roman Vlad gives .a powerful description of the Rite in his study of Stravinsky: "It is in every sense an ‘extreme’ work in which expressiveness is raised to a white-hot incandescence, the emancipation of dissonances is complete, and the dynamic violence of the music is without precedent."4 Joan Peyser summarizes the importance of the Rite thus: " 11 that began with Firebird and developed in Petroushka culminated in the Rite of Spring. Its spontaneity, bitonality, unconventional rhythms and irregular balance established the work as one of the artistic landmarks of its time."5 *"Roman Viad, Stravinsky (London: oxford University, 1967) 37. 5 goan Peyser, The New Music (New York: Delacorte, 1971) 102.A more recent analysis by Volker Scherliess highlights the prominent rhythmic and tonal motives in one of the most concise and complete overviews of the Rite.© While he identifies the important motive for each dance, he also demonstrates some of the overall rhythmic relationships which exist. Further, he discusses the role of orchestration, and of textual devices in the composition, as well as providing a synopsis of the manuscripts, editions and the first performance. Portions of his analysis are incorporated and expanded in this study. Eric Salzman, has written with particular acumen about the Rite. of its form and structure he eloquently state: 'Most important, Le Sacre is a music which takes shape, not through the extension of line and counterpoint, but through the juxtaposition of static levels of sound and statement, dividing up and punctuating psychological time with rhythmic and accentual statement, articulation, and interpretation."7 Salzman recognizes the technical mastery that gives the work its power: This is a piece of high artifice in the best sense; the idea that it is a "primitive" work seems to be due--aside from the obvious fact of Sqoor Strawingwred. A Igor Stravinsky: Le Sacre du Printemps, Meisterwerke der Musik (Munchen [Munich]: Wilhelm Fink, 1982). 7 Eric Salzman, ttieth-Century Music (New Jersey: Prentice-Hall], 1967) 29-30.the subject matter of the ballet--to the quality “of disassociated insistence which, combined with the striking use of chordal, Roncontrapuntal dissonance, produces an effect of arbitrary, motionless, elemental power. Pitch-to-rhythm studies of the Rite initially relied on 18th-19th century approaches to pitch analysis with variable success. Horst Scharschuch first discusses the development of traditional tonality, then performs a harmonic and pitch analysis of the Rite.? However, he does not deal with the rhythmic aspect. Nor is the terminology for functional harmony that he uses (which often becomes awkward) capable of describing clearly certain elements in the work, such as quartal chords and polytonal passages. As a result, although his book is filled with charts that classify various keys and tonal centers, it does not explain the pitch structure of the Rite in a way that can clearly be related to the work as it is perceived. Pierre Boulez broadens the application of functional tonality to the Rite, suggesting that the music of the Rite is tonal, based upon an attraction created around —EE Salzman 29. ® Horst Scharschuch, Analyse zu Igor strawinsky's "Sacre du Printemps" (Regensburg [in East Bavaria]: Gustav Bosse, 1960) [Forschungsbeitrage Zur Musikwissenschaft, Bd. VIII].certain poles, the tonic, dominant and subdominant. 1° Greater or lesser tension is obtained by means of unresolved appoggiaturas, passing chords and several modalities over one note. However, he does not make detailed arguments in this area. Allen Forte takes a radically different approach by using set theory to analyze the pitch/harmonic organization. 11 This study is an effective demonstration of the various ways in which set theory (a relatively new technique at that time) may be applied to a large work. After stating the major, recurring sets in the work as a whole, Forte makes a detailed measure-by-measure survey of the Rite, using various set operations. The author himself points out that he is not attempting to include an analysis of the large-scale linear connections or features of tonality, register, and orchestration. }2 Indeed, he does not fully address the overall integrated musical structure. Rather, he provides a model with a wealth of analytical tools which may be applied to and incorporated into future analytical studies. 10 Pierre Boulez, "Stravinsky Remains," Notes of an Apprentice, trans. Herbert Weinstock (New York: A. Knopf, 1968) 72-145. 11 allen Forte, The Harmonic Organization of the Rite of Spring (New Haven: Yale University, 1978). 12 Forte 29.a ‘The point of view concerning pitch structure that seems most helpful in understanding the music of the Rite as a whole is the application of the "octatonic scale," a notion suggested by Olivier Messiaen in 1939. Defining the octatonic scale as a system of alternating whole steps and half steps which ends and begins on the same pitch, Messiaen identifies it in the works of Stravinsky and other composers, including Rimsky-Korsakov and Ravel.13 somewhat later, Arthur Berger devoted a study solely to the pitch organization in Stravinsky's music including consideration of the octatonic scale.+4 pieter van den Toorn, in 1983, expanded upon Berger's concepts concerning the octatonic scale, applying them to a thorough and meticulous study of selected works by stravinsky.15 Discussing the Rite in some detail, van den Toorn documents the usage of the octatonic and octatonic/diatonic scales in the individual dances. This work has been one of the most helpful to date in understanding and clearly defining the pitch structure. Analyses using the rhythmic approach are most pertinent to this study. These analyses consider the TS Olivier Messiaen, ier Messiaen, Technique de mon langage musical, trans. John Satterfield (Paris: Leduc, 1956) 59. 14 arthur Berger, "The Problems of Pitch organization in Stravinsky," Perspectives of New Music 2 (1963): 11-42. 18 Pieter van den Toorn, The Music of Stravinsky (New Haven: Yale University, 1983)._ 10 characteristic rhythmic style and structure of the work. The term "rhythmic structure" can be misleading, however, because rhythmic structure is often regarded as simply the meter and foreground rhythmic patterns. As used here, the rhythmic structure is the overall form of the work. Thus it incorporates a discussion of the large scale temporal characteristics, the way the music moves through time, and the way large passages are related to one another as well as to the local "rhythms" of which they are composed. Used in this sense, then, when one discusses large-scale harmonic structures in a classical sonata, one is in actuality considering the rhythmic structure. Most rhythmic studies in the Rite have focused upon local rhythmic characteristics or elements in the music rather the larger levels of rhythmic organization. In these studies, Olivier Messiaen again led the way, being one of the first to discuss rhythmic style. after having analyzed the Rite several times during the course of his early studies, he later introduced the idea of "personnages rhythniques" or "rhythmic character: Messiaen defines these as thematic fragments which are shortened or lengthened by the subtraction or addition of TS-—Gon ference de Bau, 7 Conference de Bruxelles prononcée a 1'Expositions Universelle de 1958 (Paris: Leduc, 1960); and Claude Samuels, Conv ions wit! ier Messiaen, trans. Felix Aprahamian (London: Stainer & Bell, 1976).a certain number of note-values. This process causes the thematic fragment seemingly to die as it becomes shorter, or be reborn as it lengthens, making the fragments seem to become living, breathing entities -- thus the term “personnages rhythmique" or rhythmic characters. Messiaen further states: In this system of rhythmic characters you have, in ‘principle, several characters present. Let's imagine a scene in a play between three characters: the first acts in a brutal manner by hitting the second; the second character suffers this act, since his actions are dominated by those cf the first; lastly, the third character is present at the conflict but xemains inactive. If we transpose this parable into the field of rhythm, we have three rhythmic groups: the first, whose note-values are always increasing, is’ the character who attacks; the second, whose _note-values decrease, is the character who is attacked; and the third, whose note-values never change, is the character who remains immobile...I ‘know that in analysing The Rite of spring I long xeflected on the rhythmic importance of such passages as the Glorification of the Chosen one and the Ritual Dance and that I finished by understanding that the procedure which endowed these two pieces with all their magie power was that of the rhythmic characters Pierre Boulez expands upon Messiaen's concept of rhythmic characters or essentially, rhythmic cells in the works of Varése, Bartok, Berg and Stravinsky.!® in another study, specifically examining the Rite, he shows how the cells utilize techniques of expansion, deletion, reordering and other forms of variation. However, I7-Samuela 370 Samuels 3 18 Boulez, "Propositions," Polyphonie 2 (1948): 65-6. a~ 12 Boulez! analysis is limited to examining selected examples. He does not attempt a detailed study of the entire work. 19 In one of the most thorough and concise studies of the foreground rhythmic structure in a section of the Rite, James Siddons discusses the form of the "Danse sacrale."20 He demonstrates how the processes of retrograde, deletion and expansion are used to build symmetrical rhythmic structures between phrases and between individual beats or pulses. He also outlines a symmetrical organization of the entire section. siddons' findings are incorporated in this study. Works by Stravinsky other than the Rite have been the subject of studies of rhythmic structures at the larger levels. In particular, Edward Cone describes the organization/juxtaposition of larger units of sound in Stravinsky's music, defining the structural process as stratification, interlock and synthesis.21 this process is applied to excerpts from three of Stravinsky's works: Symphony linds, Serenade in A: Hymne and Symphony of Psalms. Katherine Russell discusses the use of textural 17 Boulez, Notes of an Apprentice 66-8. 20 games Siddons, “Rhythmic Structure in the Rite of Spring, 'Danse sacrale,'" Musical Analysis 1 (1972): 6-8. Chapter 9 for further discussion. 21 Eaward Cone, "Stravinsky: The Progress of a Method," Perspectives of New Music, Fall (1962): 18-26‘ 13 stratification by many twentieth-century composers including stravinsky--rhythmic organization accomplished through the simultaneous and successive placement of "blocks of sound."?? In any musical analysis, the elements of both pitch and rhythm go hand-in-hand. Obviously, one cannot have sound without rhythm (unless perhaps the composition consists of one sustained sonority), and likewise one cannot have rhythmic structure without sound (although the sound may not always be of definite pitch). The one cannot exist in a musical work without the other, they are like two dimensions of the same object. The terms "pitch-to-rhythm" and "rhythm-to-pitch," then, describe different approaches to the same material, different procedures for examining the same elements. Separating the two elements (and other elements, such as timbre and texture), must be understood as simply a methodological strategy to be applied whenever necessary to clarify the musical process. The following study is generated from a descriptive analysis of the piece because it is my belief that it is through an intuitive description of the musical experience that the technical analysis may be clearly evaluated. The analytic procedure considered most valid 72"Xatherine Russell, "Textural stratification in the Twentieth Century," diss., University of Indiana, 1982, 129.14 here is one that grows from and then is reintegrated with the experience of the work itself. The perceived structure of the work is both the source and final measure of the techniques applied to its study. From descriptions of the Rite already quoted, it is clear that the music stands radically outside the German (Western) "Classica: " tradition. As a result, traditional analytical procedures closely related to that tradition are not likely to be fully successful in explaining either the overall or the detailed organization of the piece. Since rhythm in all senses of the word seems to play such a dominant role in the work (as supported by the literature mentioned), it seems most reasonable to center this analytic approach on the nature and structure of the rhythmic organization of the work. The term rhythm has several connotations, one of the most common of which deals with meter, large and small scale time values and patterns formed by these combined values. "Rhythm" also often refers to phrases or passages formed by irregularly and regularly accented patterns. In addition to using these definitions in discussion of rhythm, however, this study will encompass a broader concept of the tern, referring to the passage of the entire work through tine, describing the large scale relationships that form, in essence, the structure of the piece. Rhythn, understood1s in such light, then, is considered to be the primary generating factor of both the local and overall structure in this work. "Rhythmic structure" will be assumed to include both the foreground or stylistic characteristics of the Rite and the large-scale form. Part I of this study will consider aspects of pitch structure, rhythmic organization, and certain features of texture and orchestration. Additionally, there will be a short discussion of the possible influences of Russian folk music on the rhythmic and pitch organization, and an examination of selected musical examples outside of the Western/European art tradition that seem to project similar rhythmic profiles. Part II will consist of a detailed discussion of the entire piece using the rhythm-to-pitch approach. The first and second tableaux of the Rite, Part I and Part II, will be treated as two large movements which are divided into sections or dances. Based on similarities in rhythmic types, function, orchestration and other characteristics, the dances will then be grouped into categories for further study and comparison. After detailed considerations of the various elements and their structure, this analysis will turn in its final stages to ways of reassembling the elements that have been studied, treating their interaction and the way their synthesis creates the overall structure,16 It is this author's contention that through this method the structure and form of the work as a whole as well as the nature of the interaction of its individual elements will be more clearly understocd.17 A Note On The Editions The story of the manuscripts and editions of the Rite of Spring is a nightmare of misprints, reprints and at times utter confusion. Claudio spies explains that because of massive contradictions in the editions, "there is no liklihood of forseeable repair. Ever since the score was first published in 1921, a succession of partly corrected, minimally amended editions has been printed on the basis of the original Edition Russe edition."23 In addition, although the Rite has been performed and recorded innumerable tines, few of the royalties were received by the composer. There was little control over pirated editions because this work, along with Stravinsky's other Russian pieces, was composed when no copyright agreement existed between Russia and the United States or Europe. Thus, for these works, at least in early editions, performers were and continue to be under no obligation to acknowledge royalties to the composer. Louis cyr discusses three important factors that helped increase the number of problems in revisions.24 2-3 SE, Claudio Spies, "Editions of Stravinsky's Music," Perspectives on Schoenberg and Stravinsky, ed. Benjamin Boretz and Edward T. Cone, rev, edition (New York: Norton, 1972) 257. 24 touis cyr, "Le Sacre du Printemps -- Petite histoire d'une grande partition," Stravinsky: Etudes et temoigqnages presentés et reunis par Francois Lesure (Paris: Jean Claude Lattes, 1982) 89-147.18 First, it was Stravinsky's nature to change and revise his works continually. He never considered any of his works as a complete, closed entity. Stravinsky, according to Cyr, "ne peut avoir voulu faire ni de sa partition écrite ni de son enregistrement sonore un modele fige et intouchable."25 Indeed, Stravinsky once said: "I would go on eternally revising my music, however, were I not too busy composing more of it, and I am still far from content with everything in Le Sacre. (The first violin and flute parts in the Cortége du sage, for example, are badly overbalanced)."?6 For this veason, he was continuously revising or making plans for further revisions of the entire work. Second, the orchestration of the work was extrenely demanding and somewhat experimental. It required a huge orchestra, with a nyriad of percussive instruments, and novel instrumental techniques (such as violinists retuning their A strings at the end of "Danse sacrale"). Also, many of the rhythmic passages with shifting meters and shortened time signatures were difficult for instrumentalists to follow. ‘Thus several dances, like the "Danse sacrale" and "Evocation des ancétres," were rewritten with different note values for easier reading 295 ori: ae Cyr 92. 26 igor stravinsky and Robert Craft, Expositions and Developments (New York: Doubleday, 1962) 168-9.1s (for example, the time signature of 2/16 and 3/16 was changed to 2/8, and 3/8). Practical limitations in the size of various orchestras also demanded that accommodations be made for perfornance.?7 Finally, the fate of a score was never assured when it went from one publishing house to another, and when it moved from one continent to another. Le Sacre was party to all of these changes, being composed just before the outbreak of World War I, by a Russian composer whose works were performed all over the world. An example of the discrepancies in revisions is found in instructions on the use of pizzicato in the “Danse sacrale." In the 1913 version, the strings played the passage from R186-189 of the “Danse sacrale," pizzicato. However in the 1922 version of Edition Russe de Musique (ERM), the instructions prepared by Ansermet under the guidance of Stravinsky stated that the strings should play all parts arco (with no pizzicato) from R186 to the end of the work. In confusing contrast, the 1929 revision of ERM re-inserted pizzicato for all strings except the double bass. By 1948 when Boosey & Hawkes, who had acquired ERM in 1947, issued another edition, the pizzicato had again been deleted, except for the second I7-Ty yacty one such i In fact, one such revision was arranged in 1974 by Robert Rudolf for reduced instrumentation, (Belwin-Mills, N.Y., EL 2254). Cyr states that Rudolf, unfortunately, also made changes in the rhythmic content of the music, to the detriment of the work.20 violin part.28 he responsibility for these discrepancies lies with the composer, conductors and publishing houses, and is just one example of the ongoing problems in performance. Stravinsky's most famous manuscript of the sketches is reproduced in the beautifully engraved Sketchbook of the Rite of Spring published in 1969 by Boosey & Hawkes. Although a complete autograph copy of the Rite does exist, it contains several errors, including missing bar lines and errors in the opening theme. A manuscript copy made in 1913 was most likely used by Pierre Monteux for the early performances. While it contains some corrections of the initial manuscript, which were not retained in the following engraved editions, it in turn contains many errors. It is possible that the autograph manuscript of the piano four-hand version of the Rite may be found, although it had not been located as of 1980. Whether an autograph two-hand version for piano exists at this time is more questionable. The only proof of its existence is a letter in which Pierre Monteaux, writing in February of 1913, calls Stravinsky's attention to contradictions SSararsaqaataiiearall i For a detailed discussion and comparison of the xevisions in the string part of "Danse sacrale," see cyr, pages 122-130.21 between Nijinski's two-hand score and the orchestral score. 29 The engraved version of the fouz-hand piano score was first published in May 1913 by ERM. It was not substantially revised and corrected until 1968 when it was published by B&H. However, new engravings in 1972 in the Soviet Union and a reprint in two volumes by Hansen House, are both based upon the original ERM version. Additionally, extracts from the Rite have been published for piano solo. In 1973 and 1975, the complete work was arranged for Piano solo. Of orchestral parts, only wind parts seem to have been written by hand and used for the first performance. The other copies were hand engraved. Later, most of the publishers who handled the orchestral score published parts as well. These parts were not subject to the large number of revisions that are found in the scores. A brief chronological survey of the engraved orchestral (pocket and full size) scores begins with the first printed score occurring in 1922. This score contained many errors and was revised in 1929 with some errors corrected, others left unchanged, and still new errors added. Essentially, “Danse sacrale" and "Evocation des ancétres" are changed. From the 1929 version, several reprints have occured. In 1943, the eri Cyr 114.22 “Danse sacrale" was substantially revised in instrumentation and time values, creating a fuller chord at the ending and shifting or altering some parts in range. It has been recorded in this form only three times, by William Steinberg, Eugene Ormandy and Stravinsky. The next revision of the entire work occurred in 1948 and included substantial changes. It is referred to as the 1947 revised version. By 1950, a new list of errata had been added to the large score, which was incorporated into the next set of reprints by B&H. By 1965, more corrections were added to a version which was called "1947 revised version with corrections of 1965". At least thirteen reprints have been made of this version. The Soviet Union published the same version under the label of their own publishing house adding minor changes in the titles. This same version was then reproduced by International Music with English subtitles. Once again, in 1967, B&H made more corrections, naming this version "revised 1947, new edition 1967." Additionally, a version for reduced instrumentation was Published in 1974. In addition to the completed work, sections of the Rite have been published in various anthologies, the "Danse sacrale" for example, can be found in the Norton Scores: 3° SUraucharteorathevch, i i ‘A chart of the chronological order of various revision and reprints is listed in Illustration. No. 1.original sources are of little importance for purposes of this study in which primary interest centers on the musical work as it is heard, the way the listener experiences and has experienced the work in the concert hall or on recordings. Therefore, the analysis is based upon one of the scores which reflects the work as it is most often heard, the International Edition, basically a reprint of the Boosey & Hawkes version, "revised 1947, corrected, 1965". 23( Illustration w chronological Listing of Orchestral scores a 1914 1922 1925 1927 1929 = 1933 1941 1945 1948 1949 1950 1951-2 1952-64 1964 Ir ‘IE Ir Ir Iv copier RMY 197 RMV 197 UE 8025 KLMS RMV 197b RMV 197 KLMS HMAS V BH 16333, BH V (v) KIMS L78 KLMS 78 HP.B735448 BH vi BH vii-xvii mus 24 fe of Sprin First printing, (pocket score) Qarge score) Vienna Reproduction of UE 8025 (pocket score) Reprint of I RMVb with changes Reprint of IT RMV with changes in "Danse sacrale" and "Evocation"™ Reprint of KLMS I pocket score. “Ballet Suite," Reprint of II KLMS “Danse sacrale", Revised Version 1943 Printed in London Reprint of 1948. Large score, extra p.2, Rprnt of Previous’ KILNS Pocket score new errata, new engraving, p.2 Rprint with errata of 1950 pocket score Rprnt of BH with minimal corr. pocket score "Danse sacrale"stration No. 1 (con! 1965 BH V-VI URSS 1501 1967 BH 19441-r 1974 BM EL2254 1977 BH 19441-1T NS 47-VI 25 "Rev. 1947 ver", "Rprint w corr 1965," large score, incl. 1950 errata. New engraving of BH large score, 1965. New engraving “Revised 1947 & "New Edition 1967" #ii-xi of pocket scores reprinted from this version with English subtitles Revised ed, Reduced Instrumentation Reprnt of large score Included in Norton scores II “Danse Sacrale" in NS. KEY to Abbreviations: AMP Associated Music Publishers, NY BH Boosey & Hawkes BM Belwin-Mills, NY (arr. Robert Rudolf) HMAS Hampton Miniature Arrow Scores HP INT International Music Co., NY KLMS Kalmus (NY) MUS Music Scores Omnibus (USA) NS Norton Scores RMV UE Universal Editions USSR Editions Musique by USSRa 26 CHAPTER TWO Pitch Structure: Aspects And Approaches The diverse surface texture of the Rite includes, among other features, melodic fragments, triads, periodic rhythmic patterns, and regular meters. All of these elements occur in the music with which the Western listener is most familiar, that which is generated fron the system of functional tonality ("tonal" music).) Consequently, theorists have continued to pursue tonal analyses of this work using the pitch-to-rhythm approach.” However on closer examination, the chords and melodies of the Rite do not function in a manner consistent with traditional 1sth- and l9th-century tonality. Melodies, for example, become segmented fragments which occur with seemingly undetermined goals. Triads are superimposed on and juxtaposed to chords or melodic fragments of conflicting tonality. Musical passages either remain static, dominated by one sonority for long periods, or oscillate between tonalities (or tonal poles), without settling on a particular one. Periodic, articulated passages at the local level are often grouped into extremely irregular and asymmetrical Phrases. Are there important structural differences, Ithe tema FET, ‘| ‘The term "tonal" in quotes will be used for all future references to the term "functional tonality."27 then, between a “functionally tona: piece and this work? What are the results of such differences and similarities in the way the work is experienced? In order to address these questions, one must first describe the process experienced when listening to a functionally tonal work.? Initially, the listener approaches the traditional work with certain expectations based upon his previous listening experiences, expectations which are later confirmed (or in some cases altered or contradicted) by the music itself. Fullfiliment of these expectations is achieved by a resolution of tensions or conflicts which have been generated in the music. Therefore, dissonances which generate tension and conflict must resolve by attaining specific and foreseeable goals. These goals may vary. A cadence for example, is one type of goal. The resolution of a pedal point (from dissonance to consonance within the tonality), resolution of a dominant chord to its tonic, and the resolution of one harmonic section or passage into another are other examples. Since harmonic tensions occur at every level, expected goals are defined at all levels--whether between the local pitches or chords or even in some cases between entire movements. QForw detailed ain For a detailed discussion of the perceptual processes in "tonal" music, see Richard Justin, The Time of Music, diss., Washington University (1985) 184-192.28 The movement away from the point of rest, the tonic, creates the expectation of a return. For example, the harmonic movement from a tonic to dominant chord generates instability and a resulting tension because of the friction between the point where the listener is in the music, the dominant, and the place where ultimately he expects the music to go, the tonic. Thus the tonal work is a closed system, its ending is inherent in its beginning. Once the piece begins, the listener knows a great deal about how it must finally end. For example, the listener knows that the opening and predominant theme of a classical sonata and the opening key, the tonic, will return at the conclusion. The musical work, then, is a process of jorking out" in a satisfying and ingenious way, the opening ideas. As a result there is an implied causality in the system. This trait of causality allows the listener immediately to imprint a framework or structure onto the piece. In fact, the background structure, or Urlinie as it has been called, is already in place in the listener's mind. Heinrich Schenker's approach to music is a response to and reflection of this concept. Thus the piece is a method of unfolding or disclosing the manner in which this music fulfills its inherent plan. The beauty of the work is found in following the path thata“ 29 the music takes--the harmonic conflicts generated and resolved--in order to achieve the expected goals. These expectations enable the listener to perceive the work as a growing, evolving process in which one idea leads into the next, or becomes the next. Implied within the concept of growth is the perception that each element and event is an outgrowth of the basic idea upon which the piece is generated. Within the opening motive of a piece, for example, the breadth and character of the entire piece is suggested. "Tonal" music, then, generates its own forn, Because the work is causal, and is perceived as growing from one basic idea, each element is tightly interwoven into the musical fabric. As a result, every pitch has a specific meaning or several meanings--at both the local and large-scale levels. Ideally, a passage, a chord, or even a note, can be defined according to its placement in the musical work at any one moment in time. Therefore, tonal music allows the listener always to know where he is at any given moment in relation to the overall structure. The sequence of events becomes an important (possibly the most important) factor in the traditionally tonal piece. At the local level, for example, the movenent V to I has a very different connotation fron that of I to V. Likewise at the larger level, the30 placement of movements in certain works (such as Brahms! first symphony) can be of importance in defining the harmonic relationship of movements within the entire work. Each movement, though complete within itself, fits securely into the larger structure. All of the elements which occur simultaneously are part of a single chordal or tonal statement. Regardless of the complexity of the texture, the primary harmonic structure will be clear. our sense of the rate of movement or passage of each predominant idea (not to be confused with tempo) is determined by the "harmonic rhythm." The illusion of motion is essential to any musical work. In "tonal" music, there is a sense of unified 2nd consistent motion at both the local and large levels. Perpetual motion is perceived because of the constant growing and evolving of the musical work. This motion is controlled and uni-directional, and proceeds at a fairly uniform pace through the work. Harmonic progression determines the speed at which motion will be perceived, how fast or slow a passage will seem to move. As rhythm and pitch unfold or grow at a specific rate, periodic meter becomes a normal characteristic, one which is generated and supported by the harmonic change. The concept and term "harmonic rhythm" is discussed in Walter Piston's Harmony, 1st edition (New York: Norton, 1941) 41-55.os 31 The Rite does not create this kind of rhythmic process. Although the listener might expect elements of functional harmony to interact in the same way, the Rite quickly dispenses with these assumptions. The usual tensions and conflicts which are generated by elements within "tonal" music are not solved by movement to expected goals. In fact, the expected goals seldom materialize, or possibly we are "taught" early in the work not to expect resolutions. There is no clear example of a "full cadence" in the entire work. Neither do pedal points, or static, dissonant configurations resolve the dissonances they create. Harmonically unstable passages--instead of being resolved--are followed by equally unstable passages which are contrasting in texture, character and tonal center. The Rite is an open rather than a closed structure. Consequently, an event occurring at the beginning of the piece does not necessarily return at the end. The tonal world" in which we begin is not reinstated. At the local level, there is no equivalence of harmonic progression. A passage might be successfully followed by one of several alternatives: it might move to a different melodic passage, it might move to a contrasting tutti phrase, it might broaden into an ostinato or centonic passage, or it might simply stop, pause.* Essentially, *-Ghristomher weistnn ‘ ‘ Christopher Meister defines the term "centonic" as "the use of two or more fragnents--either similar or32 the new event is not caused by the previous one, its structure does not resolve (or sometimes even address) the existing tension. Therefore, the work is not causal. It is not a rhythmic structure in the sense of "tonal" forms. Since it is not causal, the Rite is not a predictable structure. One stage does not harmonically lead into another. While there is a sense of growth in the work, it seems to take place by explosion and interruption from one stage to the next, rather than by an inevitable unfolding or transition. This process of change occurs through juxtaposition and sometimes superimposition of contrasting or differing ideas. what growth occurs is most probably the result of the expansion of the "world" of the piece as more of its disjunct parts are given. In contrast to "tonal" music, each note does not have a special meaning in both the local and large levels. Likewise, the sequence of events is not of primary importance. Melodies can easily be interchanged without affecting the dynamics and the nature of tension and resolution in the passage. Note the passage at dissimilar--combined in various orders to produce constantly different, rarely repeating segments. This is one of three terms used to identify the behavior of elements in the Introduction to PI of the Rite of Spring: iterative, centonic and static. For further discussion, see Christopher Meister's "Textural Analyses," diss. Washington University, St. Louis, MO. 1983, 21.33 Rehearsal R9 in the Introduction to Part I. This descending motive in the oboe is followed two measures later by an answering ascending motive in the piccolo clarinet. (See Example 6.9). Yet in the passage which follows, with the addition of two-note ostinatos by bassoons and sustained harmonics by double basses, the notives are restated and they have exchanged places. This time the ascending motive has taken the lead and is followed or answered by the descending motive. (see chapter 6). Without traditional harmonic relationships, the melodic and chordal elements assume a high degree of independence from other similar structures in the work, and from one another. As Eric Salzman writes, “Everything in Le Sacre is asserted, everything is given by the piece itself, nothing falls into place naturally or by expectation."5 Each new event is "given," it does not evolve from its preceding passage. Just as two objects placed on a table can be seen as related to but not dependent upon one another, successive passages can be seen as related but independent. Because of their harmonic independence, these ideas are heard as separate entities, not as a continuation of a particular process. Within these passages then, melcdic fragments, chords, ee Salzman 30.C 34 and the varying rhythmic cells are combined and recombined both successively and simultaneously. If one were to view the pitches as a mere extension of "tonal" music, one would find a sequence of pitch collections that do not define directionality. Another sequence of pitch collections would just as easily create an acceptable form. Additionally, the collections could be played simultaneously. This could not be seen as successful in traditionally tonal terms. Unlike a "tonal" work, all of the elements that are played simultaneously are not necessarily part of a single harmony or harmonic statement. In fact, several contrasting, independent ideas are often combined, creating "layered" passages. Tension is created then, by superimposing layers as well as juxtaposing textures or passages. Functional tonality is primarily a "rhythmic" system. It generates the conditions through which the rhythmic manipulation and alternation of arsis/thesis can drive or generate teleological forms of extraordinary power. The Rite is not "tonal." Its rhythmic image and structure is radically different from that we have "learned" in music of the standard repertory. The way pitches function, however, is as vital to the overall image of the Rit @ as it is in more familiar "tonal" structures.35 To compare various ways in which theorists have analyzed the pitch structure, we will look at the opening passage of "Jeux des cités rivales" (R57). (see Example 2.1 R57, R57+2 and ing the pitch structures in traditional tonality, it is almost impossible to use one key for a detailed analysis. Defining it in two or three keys is more practical. However, as one moves toward polytonality one moves farther away from the causality and closure that is characteristic of "tonal" music. The opening measure of R57 suggests some sort of dominant function in the bass instruments. A tritone is set up between "F#" and "Cc". The notes suggest a dominant of G major (V7 or VII). The tuba and timpani add to the dominant feeling by introducing the "BY. Tt can be heard as a 13th of the dominant chord, but more likely it is heard as a 4-3 suspension or dissonance over the "Fi" or 7-6 over "C." However, the dissonance never really resolves from "BY to the "A" (although, the local pitch movement from "B" to " "in the melody suggests a partial resolution), nor does the larger dominant passage ever resolve to a tonic "G" chord, or a substitute such as E minor. Instead, the bass passage becomes a pedal sane See, i This system of identifying measures is used by Allen Forte in his study Harmonic Analysis of the Rite of Spring and is incorporated in this study for facility in comparison and discussion.es 36 point, continuing and increasing the tonal instability, and thus increasing the tension. The horns join at R57+2. . Tonally speaking, the two upper voices could have been considered part of F major, were it not for the use of "B" instead of "Bb" and "F#" clashing "F" in the harmony. D minor is suggested, however, a major IV chord followed by the minor V in the minor key is harmonically unclear. Thus, since there is no raised 7th degree to the tonic, D-Dorian modality is Presumed. Consistent with the modal scale, the lower voices suggest the D-lydian followed by the D#-frigian mode. Harmonic confusion continues, however, as the "! 4 clashes against the sounding "D" in the surrounding voices. When the upper pitches move to "G/E" during the passage and at its end, they suggest a dominant harnony, one which never resolves. In the previous example, the horn melody is analyzed in the various ways discussed. [See Example 2.1), The pedal point in the bass instruments outlines the tritone "Cc" - "F#" which is in powerful conflict with the tonic if the tonal center is "F." It can be explained by labeling the pedal point a V of G/IV in D minor, or VII of G/II, major II in F major, but neither explanation is satisfactory. If the tonic is "D", likewise, what relationship is "D#" in the bass--a local tonicization which never resolves? What type of D tonality would be