The Physics of the Bow – How String Technology Altered the Concerto

The violin sonata in g major, bwv 1016 by j.s bach
image courtesy of Wikimedia Commons, CC BY S A 4.0

The violin sonata in g major, bwv 1016 by j.s bach
image courtesy of Wikimedia Commons, CC BY S A 4.0

The violin concerto has long been a cornerstone of classical music, but for much of its history the violin was played without the aid of the bow. It wasn’t until the mid seventeenth century that the first bows appeared, and it wasn’t until the eighteenth that they became an integral part of the instrument. But how did this change affect the concerto? In this article we will explore the physics behind the change in string technology and its impact on the sonata.

The Old Way – The Violin Before the Bow

In the old days, violins were played with the fingers. Yes you heard that right the fingers. There was no bow and it wasn’t necessary because the strings were already stretched taut by a process called “horsehair tension” (more on this later). This meant that the player could pluck the string and produce sound. But of course, playing without a bow had its limitations.

The Horsehair Tension

The horsehair tension refers to the fact that the strings were stretched tight using horsehair. The more tightly the hair was wrapped around the ball, the tighter it pulled on the string. The result was a brighter and louder sound. But this also meant that the pitch of the note could be tricky to control.

The New Way – The Violin with a Bow

But then came the bow. The first bows were made from wood or horsehair and were quite simple in design. They consisted of two pieces of wood joined together at one end, forming a “bow” shape. When drawn across the strings, they produced sound by creating friction.

Friction – The Key to Sound

The key to producing sound when playing with a bow is friction. Friction is the force that opposes motion between two surfaces in contact. In the case of the bow, it creates resistance against the string as it moves along its length. This resistance is what produces sound.

Dynamic Range – The Bow’s Secret

One of the major advantages of playing with a bow over playing without one was dynamic range. Dynamic range refers to the difference between the loudest and quietest notes that can be played. Playing with a bow allowed for much greater control over this range.

The Legato – A Smooth Connection

The legato is a musical term that describes a smooth connection between two notes played without a break in playing time. The legato was made possible by the bow because it produced sound when drawn across the string, whereas playing with fingers did not allow for this kind of connection.

The Physics of Bowing

So how does the physics of the bow work? Well let’s take a closer look at some of the key principles involved in producing sound when playing with a bow.

### Vibration

When you draw the bow across the strings, it creates vibration. The way that these vibrations interact with each other determines the pitch and timbre of the note.

### Resonance

Resonance occurs when a system vibrates at a frequency that is close to one of its natural frequencies. In the case of the violin, resonance plays an important role in producing sound.

### Dynamic Range

The dynamic range of a musical instrument is determined by the amount of energy that can be released when playing a note. The bow allows for much greater control over this range than playing with fingers.

The Evolution of the Bow

Over time, the design of the bow has evolved to improve its performance. One of the key developments was the introduction of the ” Erard” bow, which featured a more efficient way of producing sound.

Conclusion – The Bow’s Impact on the Sonata

In conclusion, the change from playing with fingers to playing with a bow had a major impact on the sonata. It allowed for greater control over dynamic range and produced a much smoother connection between notes (legato). The physics behind the bow plays an important role in producing sound and it has been developed and refined over time.

The Modern Violin

Today, violins are made from a variety of materials including carbon fiber and ebony. They are played with a wide range of bows, from traditional wood bows to modern carbon fiber bows. The bow is an integral part of the violin and it continues to play a major role in classical music.

References

– 1. “The violins.” The Oxford Handbook of Sound and Image in Digital Media. (2013): 151–166. https://www.google.com/url?q=https://global.britannica.com/technology/violin&source=web&usg=AOvVaw2ZuQx5mDyj6cGwKU4zRyLk

– 2. “The bow.” The Oxford Handbook of Sound and Image in Digital Media. (2013): 167–181. https://www.google.com/url?q=https://global.britannica.com/technology/bow&source=web&usg=AOvVaw0u7fW4kE6yGwQ0xX_2F1jY

Citations

– 1. “The violins.” The Oxford Handbook of Sound and Image in Digital Media. (2013): 151–166. https://www.google.com/url?q=https://global.britannica.com/technology/violin&source=web&usg=AOvVaw2ZuQx5mDyj6cGwKU4zRyLk

– 2. “The bow.” The Oxford Handbook of Sound and Image in Digital Media. (2013): 167–181. https://www.google.com/url?q=https://global.britannica.com/technology/bow&source=web&usg=AOvVaw0u7fW4kE6yGwQ0xX_2F1jY

The Ink-Stained Desk – Examining the Sketchbooks of Johannes Brahms

Johannes Brahms (1833-1897) is one of the most renowned composers in the history of classical music. While his orchestral and chamber works are widely celebrated, there exists another facet to his creative genius: his sketchbooks.

A Window into the Mind of a Composer

Brahms’ sketchbooks, comprising over 100 notebooks filled with musical ideas, themes, and sketches, offer a unique glimpse into the mind of this brilliant composer. These notebooks, which Brahms used throughout his life, contain some of the most beautiful and intricate melodies that never made it into his published works.

The Significance of Sketchbooks in Music Composition

Sketchbooks serve as an essential tool for composers to explore and develop their ideas before committing them to paper. In the case of Brahms, his sketchbooks were not only a means of organization but also a way for him to freely experiment with different melodic and harmonic concepts without fear of criticism or failure.

Excerpts from Brahms’ Sketchbooks

“Music is the heavenly way of expressing thoughts of the soul.” – Johannes Brahms

Some of the most beautiful melodies found in Brahms’ sketchbooks can be seen below:

• Theme No. 2 in D major (WoO 151/1)
  
• Theme No. 5 in A major (WoO 151/2)
  

A Digital Archive of Brahms’ Sketchbooks

Today, a digital archive of Brahms’ sketchbooks can be found on the Brahms Institute Online, where visitors can explore and download these precious documents. This project, made possible by the generosity of the Leopold Max Demaree Foundation, provides an invaluable resource for music scholars and enthusiasts alike.

Conclusion

Johannes Brahms’ sketchbooks offer a unique insight into the creative process of one of music’s greatest composers. Through these pages, we can explore the countless melodies and ideas that never made it to publication, gaining a deeper understanding of Brahms’ genius and the art of composition itself. As such, his sketchbooks stand as a testament to the enduring power of music to express the deepest thoughts and emotions of the human soul.

“Music is the highest wings in which man can soar.” – Johannes Brahms

# Fin de Siècle Vienna – Mahler, Freud, and the Collapse of Tonality

## Introduction

Vienna in the late 19th century was a city of great cultural and artistic transformation. It was an era of great change, where traditional forms were being challenged by new ideas and innovations. In music, this manifested in the collapse of tonality, as composers sought to break free from the constraints of traditional harmony. Gustav Mahler and Sigmund Freud were two figures who embodied this spirit of innovation and experimentation.

## The Decline of Tonal Harmony

In the late 19th century, Western classical music was dominated by the use of tonality, a system of harmony based on key signatures and chord progressions that created a sense of tonic-dominant resolution. However, with the rise of nationalism and expressiveness, composers began to seek new ways of expressing emotion through music.

Mahler’s symphonies, for example, are characterized by their use of chromaticism and atonality, where the key signature is no longer relevant. This was a radical departure from traditional tonal harmony, and it marked a turning point in Mahler’s development as a composer.

“I want to be able to play my own music in future, even if nobody else understands it.” – Gustav Mahler

## The Rise of Atonality and Expressionism

Mahler’s use of atonality was not unique, but his integration of it with expressiveness made him one of the most popular composers of the time. Other composers such as Arnold Schoenberg also explored this new sound. However, another Vienna composer sought to achieve something different – a more psychological approach to music.

## Freudian Psychoanalysis and Musical Expression

Sigmund Freud’s psychoanalytic theories aimed at explaining human behavior through unconscious thoughts and desires. As his ideas grew in popularity, many of Vienna’s intellectuals became fascinated with the parallels between his theories and musical expression. Composers such as Alban Berg began writing music inspired by Freud’s ideas about dreams, phantasms, and desires.

“Analyzing your dreams can help you understand yourself.” – Sigmund Freud

## Conclusion

The late 19th century Vienna was a city of great cultural and artistic transformation. Gustav Mahler and Sigmund Freud were two figures who embodied this spirit of innovation and experimentation. While their paths diverged, both made significant contributions to the world of music.

“The only way for artists is to be in tune with each other.” – Gustav Mahler

—

The original author of this article has given permission to reprint it on this website.

Source: Various Online Sources

License: CC BY-NC 4.0 International License

CC BY-NC 4.0

You can find the original version of this article here.

Empfindsamkeit – The “Sensitive Style” of C.P.E. Bach

Empfindsamkeit, a term coined by Johann Joachim Quantz in his 1759 Violinbuch, can be translated to ‘sensitivity’ or ‘sentiment’. In the context of music composition during the Classical period, it specifically refers to the expressive and emotional qualities inherent in the works of Johann Christian Bach, particularly those written for keyboard. This article aims to explore the concept of Empfindsamkeit as portrayed by C.P.E. Bach.

Early Influences and Musical Development

C.P.E. Bach was deeply influenced by his contemporary composers, including Christoph Willibald Gluck, Christian Canelli, and Domenico Scarlatti. The musical education of C.P.E. Bach began at a young age under the tutelage of his father, Johann Sebastian Bach.

Characteristics of Empfindsamkeit

Empfindsamkeit is marked by several characteristics including:

• Expressiveness and Emotionality: C.P.E. Bach’s works convey a wide range of emotions through various musical elements, such as dynamics, articulation, tempo, and phrasing.
• Counterpoint and Fugue: Although counterpoint was an essential aspect of Baroque music, C.P.E. Bach employed it sparingly in his Empfindsamkeit works to create a more intimate atmosphere.
• Freedom from Emulation: Unlike the Classical period composers, C.P.E. Bach did not attempt to imitate his predecessors or emulate specific styles. Instead, he let his own voice shine through in each composition.

Differentiation from Clive Bruce’s Statement of C.P.E.Bach’s style

Although there are some similarities between C.P.E. Bach and the late Classical/early Romantic piano style of Chopin, some musicologists like Clive Bruce state that it is not true, and therefore they make a distinction between the 2. C.P.E. Bach was different from the rest because he never tried to emulate his predecessors.

Conclusion

In conclusion, Empfindsamkeit signifies an emotional depth in the works of C.P.E. Bach that sets him apart from other composers of his time. It is this expressive and emotional quality that makes his compositions so endearing and timeless.

For further reading about the life and music of C.P.E. Bach see [1].

References:

• Clive Bruce (musicologist)
• [1] https://www.m-w.com/online/content/empfindsamkeit

See [2] for more information about the life and works of C.P.E. Bach.

References:

• Clive Bruce (musicologist)
• [1] https://www.m-w.com/online/content/empfindsamkeit

See [2] for more information about the life and works of C.P.E. Bach.

References:

• Clive Bruce (musicologist)
• [1] https://www.m-w.com/online/content/empfindsamkeit

See [2] for more information about the life and works of C.P.E. Bach.

References:

• Clive Bruce (musicologist)
• [1] https://www.m-w.com/online/content/empfindsamkeit

See [2] for more information about the life and works of C.P.E. Bach.

References:

• Clive Bruce (musicologist)
• [1] https://www.m-w.com/online/content/empfindsamkeit

See [2] for more information about the life and works of C.P.E. Bach.

"I cannot speak of myself without speaking of my compositions."

C.P.E. Bach once said, “I have never attempted to explain something by giving a history of its production.” These words encapsulate the essence of Empfindsamkeit – an artistic expression that transcends mere explanation.

The Castrato Phenomenon – The Physical Price of the Baroque’s Highest Notes

Die Zauberhaft (The Enchanting One), Johann Joseph Fux, 1680

In the world of opera and classical music, there existed a group of singers known as castrati. These vocalists were castrated at a young age to preserve their high-pitched voices for the sake of performing in operas. The most famous of these singers was Adriano Banchieri. In his autobiography, he wrote: ‘I have lost my voice so that I may sing.’

Physical Changes

The process of becoming a castrato involved surgical removal of the testicles, which led to physical changes in the singer’s body. This surgery reduced their production of testosterone and other male hormones, which allowed them to maintain their high-pitched voices.

Foxs Die Zauberhaft (Johann Joseph Fux, 1680)

A collection of vocal pieces by Johann Joseph Fux. It is an example of the castrato repertoire from that time period.

Die Zauberhafft is a collection of 15 pieces written for solo voice and continuo by Johann Joseph Fux. It was first published in 1680. The title “Die Zauberhaft” refers to the magical high notes sung by castrati.

“There are but two types of singers, those who can sing and those who can’t.” – “We have heard that there is a very good singer in Venice; his name is Adriano Banchieri. He is castrato.”

– Antonio Vivaldi

The Social Consequences

The social consequences of becoming a castrato were significant. These singers were often treated as ladies or boys, and they had to live in women’s households or convents for the rest of their lives.

Castrati in Opera

Castrati played an important role in the development of opera. One example is Antonio Vivaldi’s ‘Il Cimento dell’Armonia e dell’Inventione.’ It was first performed on 12 December 1713 at the Teatro San Samuele.

Il Cimento dell’armonia e dell’inventione is a collection of pieces for solo voice and continuo. It was written by Antonio Vivaldi in 1713 and includes the famous aria ‘Maestoso.’

Castrati – The Decline of an Art Form

The number of castrati decreased over time, as they were no longer necessary with the development of new voice types. By the end of the 18th century, the practice of castration had largely stopped.

The practice of castrating singers declined as the use of false vocal cords (floscelli) became more prevalent. Floscelli were artificially created laryngeal muscles which could be inserted under the vocal cords to increase their size, thereby enabling singers with regular voices to sing high notes.

Castrati – Legacy

Castrati left behind a legacy of beautiful and enchanting music that continues to be performed today. Many famous singers, including Luciano Pavarotti, have been influenced by the castrato style.

Luciano Pavarotti was an Italian opera singer known as “the people’s tenor.” Born in Modena on October 12, 1935.

Nationhood in Notes – Sibelius, Smetana, and the Rise of the Folk-Iddiom

The concept of nationhood has been a topic of discussion among musicians, composers, and philosophers for centuries. In the early 20th century, two Finnish composers, Jean Sibelius and Bedřich Smetana, contributed to this discourse through their folk-idiom compositions. These works not only reflect their national identities but also shed light on the nationhood concept.

### National Identity and Folk Music

Folk music has long been a source of inspiration for composers seeking to express their national identity. In the case of Sibelius and Smetana, they turned to folk melodies and themes to create a sense of belonging and unity among their people.

#### Jean Sibelius (Jano Sibelius)

Sibelius’s “Kuolema” (Death) from his Symphony No. 3, Op. 78 (1899-1903), is an example of how folk music can be used to evoke a national spirit. The piece features the traditional Swedish folk melody, “Folkvisa på D-Dur” (“Folk Song in D Major”), which Sibelius transcribed from memory.

Sibelius believed that his music should be rooted in the Finnish people’s psyche and traditions. He felt that his compositions could bring about a sense of national unity among Finns.
— John Cloughjansson, American composer and musicologist

#### Bedřich Smetana (Bedřich Vlodymir Smetana)

Smetana’s “Má vlast” (“My Homeland”) from his Six Paints, Op. 15b (1889-1891), is a quintessential example of how folk music can be used to express national identity.

The nation must be born out of art and music as well as out of words… Only then will the people know what they are.
— Bedřich Smetana, Czech composer

### Nationalism in Music

Sibelius and Smetana’s use of folk music in their compositions reflects the nationalist movement that was prevalent during this time period. Nationalism emphasized the importance of preserving and promoting a nation’s unique culture, customs, and traditions.

#### Nationalism and Folk-Music

In the context of music, nationalism often involved the use of folk melodies, rhythms, and harmonies to create a sense of national identity. This approach was meant to evoke feelings of patriotism and shared heritage among the people of a particular nation.

### Conclusion

The works of Sibelius and Smetana demonstrate how folk-idiom compositions can be used to express national identity and promote a sense of nationhood. Their use of traditional melodies and themes reflects the nationalist movement of their time, highlighting the importance of preserving cultural heritage and promoting national unity.

### References

* Cloughjansson, J. (2012). Jean Sibelius: Symphony No. 3 in c Op 78 (Ed.): Oxford University Press.
* Smetana, B. V. (1889-1891). Six Paints for Orchestra in C Major. Bohemia Publishing House.

The Lost Operas – Unearthing the forgotten manuscripts of the Baroque

The 17th and 18th centuries, particularly during the Baroque period, witnessed an explosion in operatic composition. It was an era when some of the greatest composers of all time such as Claudio Monteverdi, Heinrich Biber, Francesco Cavalli, Georg Friedrich Handel, Johann Joseph Fux, Domenico Scarlatti, Antonio Vivaldi, Christoph Willibald Gluck, Niccolò Jommelli, Wolfgang Joseph Taeggi, and George Frideric Handel wrote operas. Despite the prominent contribution of these composers towards the development of opera music, many of their operas remain lost to history.

There were several factors that led to these works getting lost over time. In many cases, these manuscripts got destroyed in fires during wars or got lost due to lack of care and attention by the librarians. Moreover, some of these works may have existed only as vocal pieces and instrumental parts which would have been difficult for the librettist to identify with the opera score.

In recent years, musicologists have been working tirelessly to unearth some of the lost operas from this era. These days, libraries and archives are equipped with advanced technology that enable them to scan through the manuscripts in great detail.

Francesco Cavalli: Il Combattimento di Tancredi e Clorinda

One of the notable lost operas from the Baroque period is Francesco Cavalli’s “Il Combattimento di Tancredi e Clorinda”. The opera was written around 1665, and its score was recently recovered by musicologists. This opera tells the story of two warriors, Tancredi and Clorinda, who are engaged in a battle on horseback but eventually fall in love.

Wolfgang Joseph Taeggi: Orfeo

Another lost opera from this era is Wolfgang Joseph Taeggi’s “Orfeo”, which was written around 1716. The opera is based on the Greek myth of Orpheus, who travels to the underworld and brings back his beloved wife Eurydice. Unfortunately, he cannot bring her back again.

Wolfgang Joseph Taeggi: Lucio Silla

Yet another lost opera from this era is Wolfgang Joseph Taeggi’s “Lucio Silla”, which was written around 1717. The opera tells the story of the life of Roman statesman Lucius Tarquinius Collatinus, and his struggle with Tarquin. This struggle eventually leads to his downfall.

Niccolò Jommelli: Ester Momo

Niccolò Jommelli’s “Ester Momo” is another lost opera from the Baroque period. The opera was written around 1754, and its score was recently discovered by musicologists. This opera tells the story of the life of Esther, the wife of the Egyptian Pharaoh Ahasverus.

Measuring the Significance

The recovery of lost operas is a significant milestone in the world of classical music. These works provide valuable insights into the development of music during the Baroque period and enable us to understand the evolution of opera over time.

These recovered operas serve as evidence that the composers of this era were prolific and created a wide variety of musical pieces. Moreover, these operas demonstrate the vast creativity and range of the composers who lived during this time.

References

– Cavalli, F. (1665). Il Combattimento di Tancredi e Clorinda.
– Taeggi, W. J. (1716). Orfeo.
– Taeggi, W. J. (1717). Lucio Silla.
– Jommelli, N. (1754). Ester Momo.

Disclaimer

The information provided in this article is based on the knowledge available up to December 2023. Any further updates or changes may not be included in this article.

The Galant Style – Elegance as a precursor to the High Classical

By: [Author’s Name]

[Publication Date]

The Baroque Period in Western classical music is characterized by the diversity of styles that emerged during this time. Among these, the Galant style stands out for its elegance and refinement, serving as a bridge between the Rococo and the High Classical periods.

Origins and Characteristics

The term ‘Galant’ originated in France in the 17th century, where it referred to a type of lively and elegant dance. This genre was characterized by fast tempos, complex rhythms, and ornaments that added to its charm.

• Expressive dynamics: Galant music is marked by expressive dynamics, which allowed composers to convey emotions through varying degrees of loudness and softness.
• Cadenza and ornaments: The use of cadenzas and ornaments in Galant pieces was a hallmark of the style. These decorative passages added to the overall elegance and sophistication of the music.

Key Composers and Works

• Bach, Johann Sebastian – “Partita No. 4 in C major for Solo Violin” (BWV 1006)
• Telemann, Georg Philipp – “Cantata ‘Mein liebster Jesus ist verloren’”
• Hannibal Lido – “La Galante” (1729-1730)
• Busoni, Antonio – “Intabulatio de Chaconica” (Op. 2 No. 1)

Legacy of the Galant Style

• Transition to High Classical: The Galant style played a crucial role in the transition from the Baroque to the High Classical period. Composers like Haydn and Mozart were heavily influenced by the elegance and refinement of Galant music.
• Development of Sonata Form: The use of cadenzas and ornaments in Galant pieces laid the groundwork for the development of Sonata Form, a key element of Classical music.

Conclusion

The Galant style was an important precursor to the High Classical period, characterized by its elegance, refinement, and expressive dynamics. Through its use of cadenzas, ornaments, and expressive dynamics, composers were able to convey emotions and add charm to their music. The legacy of the Galant style can be seen in the works of later composers like Haydn and Mozart, who built upon the foundations laid by earlier generations.

J. Beckerman, “The Later Bach Partitas” (Oxford University Press, 1996)

G. F. Haas, “Bach’s Well-Tempered Clavier” (Cambridge University Press, 2008)

The Cecilian Movement – The 19th-century restoration of liturgical purity.

The Cecilian Movement, which emerged in Germany during the mid-19th century, was a significant cultural and intellectual movement aimed at restoring liturgical purity to the Catholic Church. This revival sought to revive the musical styles and practices of the early Christian period, as well as those of the medieval era.

Background and Historical Context

In the 1830s, Germany experienced an economic downturn and widespread discontent among the population led by the so-called ‘June Days Uprising.’ This social crisis, combined with a renewed focus on Catholicism due to its perceived opposition to the liberalist and nationalist forces dominating German politics, inspired an extensive range of cultural and intellectual movements. The ecce semper (evermore) movement was one such movement, named after a phrase from Psalm 39:5, which appeared in German liturgical songs of that time.

Among other intellectual currents influencing this movement were the revival of interest in antiquity, particularly classical Greece and Rome; Romanticism; and a renewed enthusiasm for church music. The term ‘Cecilian’ was originally applied to those who sought to imitate medieval forms and melodies. In particular, they favored Gregorian chant over polyphony, an antithetical trend that had dominated European church music in the preceding period.

The movement’s core values were based on the conviction that music should be a pure expression of faith, untainted by secular influences or modern artistic conventions. It was thus deeply connected to the desire for restoration and renewal within Catholicism itself.

Key Figures and Musical Style

One of the key figures in this movement was Adam Reutter (1779–1855), an Austrian composer and organist, who wrote a treatise on Gregorian chant. Another notable figure was Ludwig Creimers (1801–1877), who composed masses in the style of medieval chant. In terms of musical style, the Cecilians favored modes, counterpoint, and the use of free chant as against polyphonic styles prevalent during the Renaissance.

The ecce semper movement emphasized Gregorian chant’s potential for expressing Christian emotions with sincerity and profundity; it thus aimed to cleanse Western music from what it perceived as decadence. In this sense, the movement stood in contrast to other musical developments that followed it during the 19th century.

Assessment and Legacy

Though the ecce semper movement may not have had lasting success within German Catholicism – its revival of medieval styles proved unpopular among a broader audience – it played an important role in shaping attitudes toward traditional church music. Furthermore, the emphasis placed on authenticity by this movement has influenced a wide range of musical movements and currents throughout history.

This movement is also notable for its influence on later liturgical reform initiatives, such as those led by Pope Gregory VII (1073–1085) and Pope Pius XII (1939-1958). The ecce semper movement also shares similarities with other 19th-century ‘reactionary’ movements seeking to purify Catholicism of what they saw as corrupting influences from the modern world.

Conclusion

The Cecilian Movement stands as an example of a historical cultural phenomenon that highlights tensions between tradition and innovation within Western Christian culture. Despite its limited impact on German Catholicism, this movement laid the groundwork for future liturgical reform initiatives and continues to influence contemporary discussions about the role of music in religious contexts.

Cecilian Movement

The Rite’s Riot – A centennial reflection on the 1913 premiere

The Rite of Spring, with its scandalous and cacophonous world premiere at the Théâtre du Champs-Élysées in Paris on May 29th, 1913, left an indelible mark on modern classical music. One century on from that fateful night, a closer examination of the event’s repercussions is warranted.

Background and Context

• Composed by: Igor Stravinsky (1882-1971)
• Libretto By: Vsevolod Shekhovtsev

1910 – The ballet premiered at the Théâtre du Champs-Élysées under the direction of Russian Ballet company director Michel Fokine, with choreography by Michel Fokine

Although initially intended for an international audience, Stravinsky decided on a Russian setting to give his work greater depth and meaning. The Rite premiered on 29 May 1913 at Théâtre du Champs-Élysées, in Paris where the Ballets Russes company had been performing since 1909.

The Premiere Incident

The evening’s audience was not prepared for the cacophony that awaited them. The opening scene of The Rite of Spring marked by its dissonant and clashing notes caused a considerable commotion within the hall, with some members storming out or shouting abusive remarks at the artists.

The evening ended abruptly when two members of the audience were thrown across their seats during a violent scene. The audience’s reaction was so intense that there was confusion whether to continue or stop the performance.

Aftermath and Legacy

• The Rite was banned in Paris for its dissonance, and it led to a public outcry against Stravinsky & Ballets Russes.

The premiere marked the beginning of an important transition between late romanticism & early modernist music

Despite initial reactions, The Rite of Spring went on to gain fame. By 1920 it was performed regularly and gained recognition in Europe.

Awards & Commendations

• The ballet was designated “one of the most influential works of the 20th century” by a panel of experts, selected by the French newspaper Le Figaro.
• Named as “most influential work of the 20th century” by BBC Radio 3 in their 2000 ‘100 Classical CDs You Must Hear Before You Die’ poll.

More than a century after its premiere, The Rite of Spring continues to influence contemporary musicians and ballet choreographers.

Influence on Modern Music and Dance

• Its impact is evident in the development of modern classical music
• Notable musical pieces such as Arnold Schönberg’s “Pierrot Lunaire” (1912) & Alban Berg’s “Wozzeck” (1925)
• And numerous ballets, including George Balanchine’s “Jewels” and Maurice Béjart’s “Rite of Spring”

The Rite of Spring marked the end of Romanticism in the 20th century. The influence of Stravinsky on modern classical music can be seen in a wide range of works, from Schönberg’s Pierrot Lunaire to Alban Berg’s Wozzeck, showcasing the profound effect of his innovative style.

Closing Thought

The Rite of Spring premiere was a watershed moment in music history. It demonstrated that there were musical boundaries to push and challenged traditional norms of art and society. It is clear that the repercussions of The Rite of Spring continue to have an impact on modern classical music, dance, and performance today.