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Undergraduate Review Undergraduate Review
Volume 9 Issue 1 Article 7
1996
The Compositional Process of Igor Stravinsky's The Rite of Spring The Compositional Process of Igor Stravinsky's The Rite of Spring
Dima Gharaibeh '96 Illinois Wesleyan University
Follow this and additional works at: https://digitalcommons.iwu.edu/rev
Recommended Citation Gharaibeh '96, Dima (1996) "The Compositional Process of Igor Stravinsky's The Rite of Spring," Undergraduate Review: Vol. 9 : Iss. 1 , Article 7. Available at: https://digitalcommons.iwu.edu/rev/vol9/iss1/7
This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document.
The Compositional Process of Igor Stravinsky's The Rite of Spring
Dima Ciharaibeh
37 1
Gharaibeh '96: The Compositional Process of Igor Stravinsky's The Rite of Spring
Published by Digital Commons @ IWU, 1996
38
The Compositional Process of Igor SmThe Undergraduate Review
Out of the many musical works that have been presented in
this century, few have won the fame and notoriety of Igor
Stravinsky's The Rite of Spring. Innovative in concept, rhythm,
pitch, and form, the 1913 premiere of The Rite brought a revolu
tion of ideas into the world of music.
After the uproar concerning Stravinsky's creation had died
down, one can then ask how he accomplished such a task. This
paper will address and define some of the influential compositional
processes that Stravinsky applied when creating the music of The
Rite. With easy access to his sketchbooks, letters, and other docu
ments it becomes possible to trace Stravinsky's conception of his
most innovative work. Several revealing elements are able to
uncover Stravinsky's creative processes, such as early influences,
manner of initially conceiving works, writing style, and its effect on
the new rhythmic concepts in The Rite.
As with the inner workings of any artist, early influences occur
ring in personal life can often have long range implications. For
example, Stravinsky demonstrated a strong independence and a will
ingness to learn for himself, rather than turn to conventional mea
sures. Stravinsky describes himself as a lonely child, with no real
friend or role model to turn to. Also, he exhibited problems with
schoolwork from an early age, and never gained much from acade
mia, unless personally interested in a subject. Even then, Stravinsky
had a unique idea concerning learning processes,
"I always
did, and still do, prefer to achieve
my aims and to
solve any problems which confront me in the course of my
work solely by my own efforts, without having recourse to
established processes which do, it is true, facilitate the task, but
which must first be learned and remembered."1
For Stravinsky, this particular mind-set was to have its rewards. He
became a student of law, and completed his education in that disci
pline. But his interest in music remained,
lessons in harmony and studied counterpc
Stravinsky showed his compositions to Nic
and began receiving weekly lessons, also d
ship to the Rimsky-Korsakov family. Rim~
Stravinsky from entering the music Consel
Stravinsky would not profit from such an I
behind the other, more experienced stude
But
a new world had been opened fo
appreciation for Rimsky-Korsakov's
music
was appearing from the French impressior
Ravel. Rimsky-Korsakov did not approve
forays, but they interested Stravinsky a gn
became very friendly with a group called t
Contemporary Music, which proved to ha
ence.
As
time passed the rift between
Stravi
Korsakov widened as Rimsky-Korsakov he
tional ways in a changing musical environ:
became more experimental. This became
pronounced in later years-"Stravinsky st
of (The Rite) with his hatred of the Consc:
Then
there are the direct influences c
to
The Rite's birth. Stravinsky is well-kne
envisioned a scene where "a chosen virgil:
tribe dances herself to death, the culmina"
tion to the gods of spring."3 There is eve
ing the initial origin of the dream. In 19'
~'Two Melodies of Gorodetsky," using lyr
Gorodetsky. In the same volume in wher
were found there is also a poem called St.
2
Undergraduate Review, Vol. 9, Iss. 1 [1996], Art. 7
https://digitalcommons.iwu.edu/rev/vol9/iss1/7
e Review
musical
works that have been presented in
:won the
fame and notoriety of Igor
ofSpring. Innovative in concept, rhythm,
1913
premiere
of The Rite brought a revolu
world of music.
concerning Stravinsky's creation had died
sk
how he accomplished such a task. This
I define some
of the influential compositional
lIey
applied when creating the music
of The
s to his sketchbooks, letters, and other docu
sible
to trace Stravinsky's conception
of his
. Several revealing elements are able to
reative processes, such as early influences,
1ceiving
works, writing style, and
its effect on
cepts in The Rite.
.workings of any artist, early influences occur
111
often
have long range implications. For
:monstrated a strong independence and a will
mself,
rather than turn to conventional mearibes
himself
as a lonely child, with no real
o turn to. Also, he exhibited problems with
arly
age, and never gained much from acade
interested in a subject. Even then, Stravinsky
.cerning learning processes,
i
still do, prefer to achieve my aims and to
1S
which confront me in the course
of my
{own efforts, without having recourse to
;ses
which do, it
is true, facilitate the task, but
>e
learned and remembered."l
rticular mind-set was to have its rewar,ds. He
lW, and completed his education in that disci-
The Compositional Process of Igor Stravinsky's The Rite of Spring
pline. But his interest in music remained constant, and he received
lessons in harmony and studied counterpoint on his own. In 1905
Stravinsky showed his compositions to Nicolai Rimsky-Korsakov,
and began receiving weekly lessons, also developing a close relation
ship to the Rimsky-Korsakov family. Rimsky-Korsakov deterred
Stravinsky from entering the music Conservatory, as he thought
Stravinsky would not profit from such an education and would lag
behind the other, more experienced students.
But a new world had been opened for Stravinsky, including an
appreciation for Rimsky-Korsakov's music but also new music that
was
appearing from the French impressionists, such
as Debussy and
Ravel. Rimsky-Korsakov did not approve of these less conventional
forays, but they interested Stravinsky a great deal. Stravinsky also
became very friendly with a group called the Soirees of
Contemporary Music, which proved to have a long-lasting influ
ence.
As
time passed the rift between Stravinsky and Rimsky
Korsakov widened
as Rimsky-Korsakov held on to his more conven
tional ways in a changing musical environment and Stravinsky
became more experimental. This became even more
pronounced in later years-"Stravinsky still associates the creation
of (The Rite) with his hatred of the Conservatory..."2
Then
there are the direct influences
of factors that contributed
to The Rite's birth. Stravinsky is well-known to have dreamed or
envisioned a scene where "a chosen virgin of an archaic Russian
tribe dances herself to death, the culmination of rituals of propitia
tion to the gods of spring."3 There is even a possibility of discern
ing the initial origin of the dream. In 1907 Stravinsky composed
"Two
Melodies
of Gorodetsky," using lyrics from the poet Sergei
Gorodetsky. In the same volume in where the "Two Melodies"
were found there is also a poem called Staviat Iarilu, which con
39 3
Gharaibeh '96: The Compositional Process of Igor Stravinsky's The Rite of Spring
Published by Digital Commons @ IWU, 1996
The Undergraduate Review
tains images of "pagan ritual, wise elders, and the sacrifice of a vir
gin maiden."4 This could be a the possible beginning that started
the seeds of development in Stravinsky's mind for a vision of pagan
sacrifice.
Actual "Russian" melodies are also considered an influence in I"
Stravinsky's creation of The Rite. The question of whether or not
i,!
Stravinsky used outside sources remains a mystery
to this day;
Stravinsky himself is uncommitted whether he used melodies from a
direct source. In fact, later in life Stravinsky was very much opposed
to
the whole idea concerning his "Russian period"
music-"If any
of
these pieces sounds like aboriginal folk music, it may be because
my powers
of fabrication were able to tap some unconscious "folk"
memory."5 But there is plausible evidence to suggest the use of
outside melodies, such as the identification by Richard Taruskin of a
melody from Rimsky-Korsakov's One Hundred Russian National
Songs as
being related
to page 8 of Stravinsky's sketchbook.6 This
sketch later becomes part of the "Ritual of Abduction" in the
"Spring Rounds" section. There are also melodies from the
Juszkiewicz anthology of 1,785 Lithuanian folk songs that corre
spond to several different pages in Stravinsky's sketchbook. But
there is more evidence that begins to outweigh even the composer's
personal views concerning the issue of borrowed folk tunes. A pic
ture of Stravinsky at his summer home in Ustilug in 1914 appears
to
have him transcribing the melody
of a folk singer. Admittedly
this is after The Rite's completion, but this picture does show a def
inite interest in regional music.
Some of these discoveries point to an important lesson to be
remembered-primary
sources abound about Stravinsky's
life and
music; documents, letters, sketchbooks. But there is also a personal
factor to consider-the validity of Stravinsky's claims. Many influ
ences may have changed his views from the time of The Rite's con
40
The Compositional Process of Igor Str
ception to his writings, such as personal rl
stances, and the music he admired at the
bination of primary sources along with at1
bring a clearer picture of Stravinsky's crea
In
order
to understand more of the i
Rite, the original sketches must be delved
as
a look at Stravinsky's writing
processes,
nation of his sketches, one is able to sum
Stravinsky's habits. The staves on all pagl
with different colors used at times to indi
articulation. According to the scanty datI
the known dates of the composition of 1'1
Stravinsky composed almost every day re~
banking hours."7 Also, there is the most 1
almost every single sketch written down i
in full in the final score. The initial sketc
exact instrumentation and the main diver
es
and final score are matters
of pitch ane
compositional evolution has not gone un
striking figures not only of this collection
sketchbooks, namely, that virtually every
used."8 Taruskin also notes the unfortur
perfect sketches
"The
pages
of jottings rarely lack an:
final form, nor are there many jottiIl
to anyone who knows the published
disappointing, because we rarely can
process . . . this situation is clearly tl:
well-known working methods. The
ial
took place empirically at the
key!::
idea was entered in the sketchbook,
4
Undergraduate Review, Vol. 9, Iss. 1 [1996], Art. 7
https://digitalcommons.iwu.edu/rev/vol9/iss1/7
Review The Compositional Process of Igor Stravinsky's The Rite of Spring 1ritual, wise elders, and the sacrifice of a vir
,uld be
a the possible beginning that started
:nt in Stravinsky's mind for a vision
of pagan
melodies
are also considered an influence in
f The Rite. The question of whether or not
: sources remains a mystery to this day;
lcommitted whether he used melodies from a
ater in life Stravinsky was very much opposed
erning his "Russian period" music-"If any
like
aboriginal folk music, it may be because >n were
able to tap some unconscious "folk" IS
plausible evidence to suggest the use
of
as
the identification by Richard Taruskin
of a
~orsakov's One Hundred Russian National
to page 8 of Stravinsky's sketchbook.6 This
art of the "Ritual of Abduction" in the
In. There are also melodies from the
of
1,785 Lithuanian folk songs that corre
:nt pages in Stravinsky's sketchbook. But
that begins to outweigh even the composer's
ing the issue
of borrowed folk tunes. A pic
s summer home in Ustilug in 1914 appears
19
the melody
of a folk singer. Admittedly
completion, but this picture does show a def
11
music. :overies
point to an important lesson
to be
sources abound about Stravinsky's life and
~rs,
sketchbooks. But there
is also a personal
validity of Stravinsky's claims. Many .influ
d his views from the time of The Rite's con
ception to his writings, such as personal relationships, political
stances, and the music he admired at the time. So hopefully a com
bination of primary sources along with analysis and evaluation may
bring a clearer picture of Stravinsky's creative mind.
In
order to understand more
of the influences surrounding The
Rite, the original sketches must be delved into and analyzed, as well
as
a look at Stravinsky's writing processes. After a thorough exami
nation
of his sketches, one is able to surmise a great deal about
Stravinsky's habits. The staves on all pages are carefully drawn in,
with different colors used at times to indicate certain markings and
articulation. According to the scanty dates used in the sketches and
the known dates of the composition of The Rite it seems that
Stravinsky composed almost every day regularly, "like a man with
banking hours."7 Also, there is the most remarkable thing of all
almost every single sketch written down in the sketchbook is used
in full in the final score. The initial sketches are written in with
exact instrumentation and the main divergence between the sketch
es
and final score are matters
of pitch and tempo. This remarkable
compositional evolution has not gone unnoticed: "one of the most
striking figures not only of this collection but of all Stravinsky's
sketchbooks, namely, that virtually every scrap in them has been
used."8 Taruskin also notes the unfortunate aspect of Stravinsky's
perfect sketches
"The pages of jottings rarely lack anything that appears in the
final form, nor are there many jottings that will be unfamiliar
to
anyone who knows the published score. In a
way all this is
disappointing, because we rarely can observe a true shaping
process ... this situation is clearly the result of Stravinsky's
well-known working methods. The real development of mater
ial
took place empirically at the keyboard, and by the time an
idea was entered in the sketchbook, it had
no doubt already
41 5
Gharaibeh '96: The Compositional Process of Igor Stravinsky's The Rite of Spring
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42
The Undergraduate Review
gone through many unrecorded stages of crystallization."9
A possible further explanation regarding this unusual feature will be
brought up later, in the discussion regarding rhythm.
The order of the sketches also provides some clues as to
Stravinsky's compositional process. One could easily imagine that a
composer might simply write out a piece from beginning to end.
But Stravinsky, like many other composers, tends to germinate an
idea and then grow from that point. This can be seen from the
order
of the sketches, which are easily identified as primary motives
in the final score. One of Stravinsky's more interesting tendencies
is
that when he
is completing initial work of one movement, a small
motive of the next movement is sketched. This can be seen on page
46 of
the sketch book, where the ends
of the "Dance of the Earth"
are interrupted by a tiny motive of the "Introduction" to Part II.
Stravinsky's order of motives, if initially confusing, does finally
form a logical cohesion and is rather systematic and organized in
output
and initial creation. One rather
odd circumstance does
stand out in the sketchbook, on page 52. This is the first page
marked with a date, and is also marked with the term "New style."
The handwriting on this page is an excited scrawled mess, and is the
middle of the movement "The Naming and Honoring of the
Chosen One." This work is the resumption of composing after a
trip to London to view a performance of Petrushka. Though the
exact effect of the trip is not known, Stravinsky could have con
ceived of new material while traveling or just as he began work on
that particular day.
Another peculiarity concerning the order is the trouble that
Stravinsky had in completing the Introduction, which consists of
the solo bassoon and is considered a more conventional, almost
Debussy-like section of the work as a whole. "The Naming and
Honoring of the Chosen One," a movement with very innovative
-The Compositional Process of Igor Stra1
techniques, seems to have simply jumped c
onto
the sketchbook. Then
there
is the important facet of 81
regarding the compositional process. Man'
ing opinions were published years after Tht
this can possibly be presented as pertinent
One interesting and surprising view of
process is that he stresses the word "discov
"This appetite that is aroused in me at the
in order musical elements that have attractl
all
a fortuitous thing like inspiration, but
ai
not as
constant,
as a natural need."l0 Thi:
that Stravinsky possibly excavates and shapl
ing to be found, rather than the thunderstl
might imagine occurring with the creation
Stravinsky then speaks of another reve:
possibilities for compositional combination
myself, I experience a sort of terror when,
to work and finding myself before the infir
present themselves, I have the feeling that
to me."ll
Faced with such a large amounl
with, Stravinsky limits himself with
musical
overcome my terror and shall be reassured
have seven notes at my disposal, that stron
within my reach, and that in all of these I )
elements which offer me a field of experier
upsetting and dizzy infinitude that had jus
"limitation" technique is easily transferable::
ing process-in his sketches all that is seen
limitation ideas. Stravinsky held strongly t
musical and philosophical way-"If I were
•
6
Undergraduate Review, Vol. 9, Iss. 1 [1996], Art. 7
https://digitalcommons.iwu.edu/rev/vol9/iss1/7
Review The Compositional Process of Igor Stravinsky's The Rite of Spring Tny unrecorded stages of crystallization."9
lanation regarding this unusual feature will be
Ie
discussion regarding rhythm.
;ketches also provides some clues
as to
Jnal
process.
One could easily imagine that a
y write out a piece from beginning to end.
my
other composers, tends
to germinate an
>m
that point. This can be seen from the which
are easily identified
as primary motives
:: of
Stravinsky's more interesting tendencies
pleting initial work
of one movement, a small
Ivement is
sketched. This can be seen
on page
I where the ends of the "Dance of the Earth"
Ily
motive
of the "Introduction" to Part II.
of
motives,
if initially confusing, does finally
11
and
is rather systematic and organized in
tion. One rather odd circumstance does
lbook, on page 52. This is the first page
ld is also marked with the term "New style."
lis
page
is an excited scrawled mess, and is the
:nt "The Naming and Honoring of the
rork is
the resumption
of composing after a
v a performance of Petrushka. Though the
is
not known, Stravinsky could have conwhile
traveling or just
as he began work on
ty
concerning the order
is the trouble that
pleting the Introduction, which consists of
s considered a more conventional, almost
fthe
work
as a whole. "The Naming-and
len
One," a movement with very innovative
I techniques, seems to have simply jumped out of Stravinsky's mind
onto
the sketchbook.
Then there
is the important facet of Stravinsky's personal views
regarding the compositional process. Many of Stravinsky's follow
ing opinions were published years after The Rite was completed but
this can possibly be presented as pertinent document information.
One interesting and surprising view of Stravinsky's creative
process is that he stresses the word "discovery" versus "inspiration."
"This appetite that is aroused in me at the mere thought of putting
in order musical elements that have attracted my attention is not at
all
a fortuitous thing like inspiration,
but as habitual and periodic, if
not as
constant,
as a natural need."l0 This brings to mind the idea
that Stravinsky possibly excavates and shapes ideas that are but wait
ing to be found, rather than the thunderstruck enlightenment one
might imagine occurring with the creation of The Rite.
Stravinsky then speaks of another revealing element-that the
possibilities for compositional combinations are infinite. "As for
myself, I experience a sort of terror when, at the moment of setting
to
work and finding myself before the infinitude
of possibilities that
present themselves, I have the feeling that everything is permissible
to me."Il
Faced with such a large amount
of material to work
with, Stravinsky limits himself with musical boundaries. "I shall
overcome my terror and shall be reassured by the thought that I
have seven notes at my disposal, that strong and weak accents are
within my reach, and that in all of these I possess solid and concrete
elements which offer me a field of experience just as vast as the
upsetting and dizzy infinitude that had just frightened me."12 This
"limitation" technique is easily transferable to Stravinsky's compos
ing process-in his sketches all that is seen are the completed, post
limitation ideas. Stravinsky held strongly to this idea in both a
musical and philosophical way-"If I were asked what I hard
.. , .
43 7
Gharaibeh '96: The Compositional Process of Igor Stravinsky's The Rite of Spring
Published by Digital Commons @ IWU, 1996
I
The Undergraduate Review
i' pressed to say. But I should always give an exact answer when
asked what I did not want."13 Stravinsky goes on to allude to
another rather creative mind, Leonardo da Vinci, who is able to
sum up the whole process-"Strength is born of constraint and dies
in freedom."14
Another resource that seemed to contribute greatly to
Stravinsky's compositional gifts is the manner in which he originally
conceived of ideas. Though no one is able to actually determine
what might have gone through Stravinsky's mind as he wrote, sev
eral theories may be advanced. One theory, already referred to,
concerns the vision that is supposedly the first inklings Stravinsky
had of what was to be The Rite. Stravinsky alludes to many circum
stances involving composition in a highly visual manner. It seems
that
Stravinsky employed this pictorial imagining in a variety
of ways
and for many other works in his life. Some examples inc1ude-"I
wrote the Polka (of Eight Easy Pieces) first, as a caricature of
Diaghilev, whom I saw as a circus animal trainer cracking a long
whip. IS "The Octour began with a dream in which I saw myself in
a small room..."16 Robert Craft asks Stravinsky, " ... has a musical
idea ever occurred to you from a purely visual experience of move
ment, line, or pattern?" Igor Stravinsky answers, "countless times ..
."17 These visual implications account for a great deal of interest
concerning how Stravinsky's creative mind operates. Van den
Toorn suggests a sort of "trigger theory," where a particular set of
images will cause a reaction that produces the desired music.l8
Therefore a presumption could be made that Stravinsky's imag
ination was fueled by his powers of perception. This imagery
seemed to be brought to new heights when creating The Rite. Not
only do we have the initial dream, but once again the sketches are
looked at for further evidence. Many of the sketches have headings
that correspond to ongoing action of the ballet. Also, these sketch
44
... The Compositional Process ofIgor ~
es are often motives starting at points 0
ing. Stravinsky himself relates much irn
themes, as seen in this letter-"The mu
and new. The picture of the old wom3J
I my mind. She is constantly before my,1
Some of the innovations that OCCUI
have stemmed from the visions Stravins
pagan dancers. It seems he wanted to I
pictured dancers, rather than altering tt
nature of music. "As a record of a corn
ography it must be one of the most ex):
the reason that the composer was attem
into
a language
the choreographer coul
goes on to explain that The Rite is meal
rhythm, and not musical rhythm.
This could be a possible link to the
Stravinsky was able to conjure up in thi
never been conceived of in the Western
sketchbooks that are turned to for clue!
Stravinsky's innovations.
Early analysts criticized Stravinsky':
and lack of melodic development as tur
abstract degeneration.21 This does not
Stravinsky's line of thinking, as seen in
where he writes "music exists if there is
is a:
pulse.
"22
One of
the peculiarities
of the rhyt
in general, there are almost no dotted I!
way of thinking might have been neede
intensity and complexity of The Rite.
A more detailed look is needed to
8
Undergraduate Review, Vol. 9, Iss. 1 [1996], Art. 7
https://digitalcommons.iwu.edu/rev/vol9/iss1/7
-Review The Compositional Process of Igor Stravinskys The Rite of Spring
,hould always give an exact answer when es are often motives starting at points of action related to the danc
vant."13
Stravinsky goes
on to allude to ing. Stravinsky himself relates much imagery to corresponding
:mind, Leonardo da Vinci, who is able to themes, as seen in this letter-"The music is coming out very fresh
cess-"Strength is born of constraint and dies and new. The picture of the old woman in a squirrel fur sticks in
that seemed to contribute greatly to
Jnal gifts is
the manner in which he originally lOUgh
no one
is able to actually determine
through Stravinsky's mind as he wrote, sev
ivanced. One theory, already referred to,
It is supposedly the first inklings Stravinsky
The Rite. Stravinsky alludes to many circum
)osition in a highly visual manner. It seems
red
this pictorial imagining in a variety
of ways
)rks in his life.
Some examples
include-"I
ght Easy Pieces) first, as a caricature of
, as a circus animal trainer cracking a long
began with a dream in which I saw myself in
lert Craft asks Stravinsky, ". . . has a musical
,ou from a purely visual experience of move
" Igor Stravinsky answers, "countless times ..
cations
account for a great deal
of interest
nsky's creative mind operates. Van den
of
"trigger theory," where a particular set
of
,ction
that produces the desired music.l
8
mption could be made that Stravinsky's imag
lis powers of perception. This imagery
to new heights when creating The Rite. Not
utial dream, but once again the sketches are
vidence. Many of the sketches have headings
~oing
action
of the ballet. Also, these sketch-
I my mind. She is constantly before my eyes as I compose ..."19
Some of the innovations that occurred in The Rite, then, may
have stemmed from the visions Stravinsky saw in his nlind of wild
pagan dancers. It seems he wanted to record the movements of. his
pictured dancers, rather than altering the technical or theoretical
nature of music. "As a record of a composer's conception of chore
ography it must be one of the most explicit in existence if only for
the reason that the composer was attempting to translate his music
into
a language the choreographer could understand."2o Stravinsky
goes
on to explain that The Rite is meant to be set to choreographic
rhythm, and not musical rhythm.
This could be a possible link to the strange and new rhythms
Stravinsky was able to conjure up in this ballet, rhythms that had
never been conceived of in the Western world. Once again, it is the
sketchbooks that are turned to for clues into the discovery of
Stravinsky's innovations.
I
Early analysts criticized Stravinsky's use of irregular rhythms
and lack of melodic development as turning the piece into a static
abstract degeneration.21 This does not seem to tie in with
Stravinsky's line of thinking, as seen in page 36 of the sketchbook,
where he writes "music exists if there is rhythm, as life exists if there
is a:
pulse.
"22
One of
the peculiarities
of the rhythm is the sketchbook is that
in general, there are almost no dotted rhythms. Therefore a new
way of tllinking might have been needed to generate the rhythmic
intensity and complexity of The Rite.
A more detailed look is needed to support such a theory.
45 9
Gharaibeh '96: The Compositional Process of Igor Stravinsky's The Rite of Spring
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The Undergraduate Review
Stravinsky seemed to have two formulas for developing rhythms.
The first formula takes a motive or "block" of music, often a single
measure, that is usually metrically difficult or unorthodox.
Stravinsky proceeds to take this motive and repeat it with a slight
rhythmic alteration. The outcome of this is not always the incredi
bly
complex rhythmic barring and mathematical configuring one
might think. The second, altered block often uses a compositional
concept where higher and lower pitches are
not placed in the rhyth
mically expected position. Stravinsky explains this himself in a later
dissertation-"A
measure in four beats, for example,
may be com
posed of two groups of two beats, or in three groups: one beat, two
beats, and one beat, and so on ..."23 In one example, in a 3/4 mea
sure, the accents do not fall in an orthodox beat pattern. In atypi
cal 3/4
bar accents are often heard
on the first and third beats. In
this measure, due to the first three notes being repeated, one hears
accents on the first beat and then on the and of two, giving the
measure a 6/8 feel.
The two blocks of this first formula are then played against
each other, thus providing a great deal of musical variation from
one simple motive. The blocks fit together almost like a puzzle
when the music is sectioned off properly.
The second basic type of rhythmic development occurs with
the motives appearing rhythmically steady and behaving within
expected accent boundaries. First one motive is heard, and then
the second and third entirely different motives make their way into
the texture. How does this contribute to metric irregularity? All
three motives are being played out at the same time, but in a cycle
unto themselves rather than in correspondence to the surrounding
motives. In essence, these fragments are ignoring each other, thus
producing a constantly shifting pattern. The listener is helped by
the fact that these motives remain fixed pitchwise. So what is the
46
-The Compositional Process ofIgor Sir
desired end effect? "A sense of "developi
do
with the synchronization and non-syn or
unstable periods
as defined by the reitc
Therefore, a sense of rhythmic devell
would precede that of innovation in pitd
hypothesis regarding these rhythms migh
completeness of the initial sketches and S
the ballet from dancing images, he may h
from this angle, where then the rhythm (
superseded conventional rhythm charaete
sible to discern how exactly Stravinsky co
ideas. There is very little documented an
himself on the conception of ideas from :
can at least allow us to ponder different t
interest concerning The Rite is focused 01
ments. There is possibly room for the idl
choreography-based perception concerniI
creative mind gave him, and the manner
were created, as whole motives and cells;
manipulation, that these may have been I
The
Rite
was able to be cast.
"I
wanted the whole
of the composi
closeness between men and the earth, th.
with the earth, and I sought to do this ir
whole thing must be put on in dance fro
10
Undergraduate Review, Vol. 9, Iss. 1 [1996], Art. 7
https://digitalcommons.iwu.edu/rev/vol9/iss1/7
: Review
lave
two formulas for developing rhythms. ~
a motive or "block"
of music, often a single
y metrically difficult or unorthodox.
, take this motive and repeat it with a slight
~he
outcome
of this is not always the incredi
barring and mathematical configuring one
>nd,
altered block often uses a compositional
and lower pitches are
not placed in the rhyth
ion.
Stravinsky explains this himself in a later
ure in four beats, for example, may be com.f two
beats,
or in three groups: one beat, two
nd so
on
... "23 In one example, in a 3/4 mea
ot fall
in an orthodox beat pattern.
In atypi
e often heard on the first and third beats. In
he first
three notes being repeated, one hears at
and then
on the and of two, giving the
f this first formula are then played against
ding a great deal of musical variation from
he blocks fit together almost like a puzzle
joned off properly.
type of
rhythmic development occurs with
rhythmically steady and behaving within daries.
First one motive
is heard, and then
:ntirely different motives make their way into
:s
this contribute
to metric irregularity? All
19
played
out at the same time, but in a cycle
r than in correspondence to the surrounding
hese fragments are ignoring each other, thus
yshifting pattern. The listener is helped by
rives
remain fixed pitchwise. So what
is the
The Compositional Process of Igor Stravinsky's The Rite of Spring
desired end effect? "A sense of "development" has in large part to
do with the synchronization and non-synchronization of the stable
or
unstable periods
as defined by the reiterating fragments..."24
Therefore, a sense of rhythmic development and consideration
would precede that of innovation in pitch and melody. A possible
hypothesis regarding these rhythms might be that, given the near
completeness of the initial sketches and Stravinsky's perception of
the ballet from dancing images, he may have created the music
from this angle, where then the rhythm of his images may have
superseded conventional rhythm characteristics. It is nearly impos
sible to discern how exactly Stravinsky conceived of these rhythmic
ideas. There is very little documented analysis from the composer
himself on the conception of ideas from The Rite. But the sketches
can at least allow us to ponder different theories. Much of the
interest concerning The Rite is focused on the rhythmic advance
ments. There is possibly room for the idea that due to Stravinsky's
choreography-based perception concerning the vivid pictures his
creative mind gave him, and the manner in which his initial sketches
were created, as whole motives and cells available for rhythmic
manipulation, that these may have been primary motivators for how
The Rite was able to be cast.
"I
wanted the whole
of the composition to give the feeling of
closeness between men and the earth, the community of their lines
with the earth, and I sought to do this in lapidary rhythms. The
whole thing must be put on in dance from beginning to end."25
47 11
Gharaibeh '96: The Compositional Process of Igor Stravinsky's The Rite of Spring
Published by Digital Commons @ IWU, 1996
48
The Undergraduate Review The Compositional Process of Igor Str,
NOTES
1 Igor Stravinsky, Stravinsky: An Autobiography (New York:
Simon & Schuster, 1936),20.
2 Robert Craft, "Genesis of a Masterpiece," The Rite ofSpring:
Sketches 1911-1913 (London: Boosey and Hawkes, 1969), XXIV.
3 Robert Craft, "Genesis of a Masterpiece," The Rite of Spring:
Sketches 1911-1913 (London: Boosey & Hawkes,1969), XVI.
4 Pieter C. van den Toorn, Stravinsky and The Rite of Spring
(Berkeley: University of California Press, 1987),10, quoting Sergei
Gorodetzky, Jar), Lyric and Lyric-Epic Verse (St. Petersburg, 1907).
5 Igor Stravinsky and Robert Craft, Memories and
Commentaries (New York: Doubleday and Co., 1960),92.
6 Richard Taruskin, "Russian Folk Melodies in The Rite of
Spring," Journal of the American Musicological Society 33 (1980):
512-13.
7 Igor Stravinsky and Robert Craft, Dialogues and a Diary
(New York: Doubleday and Co., 1963), 57.
8 Robert Craft, "Commentary to the Sketches," in The Rite of
Spring: Sketches 1911-1913, 18.
9 Richard Taruskin, "Russian Folk Melodies in The Rite of
Spring," Journal ofthe American Musicoloqical Society 33 (1980):
509.
10 Igor
Stravinsky,
Poetics ofMusic, trans. Arthur Knodel and
IngolfDahl
(Cambridge, Massachusetts: Harvard University Press, 1942),
51. 11 Igor
Stravinsky,
Poetics ofMusic, 63.
12 Igor Stravinsky, Poetics ofMusic, 64.
13 Igor Stravinsky, Poetics ofMusic, 69.
14 Igor Stravinsky, Poetics ofMusic, 76.
15 Igor Stravinsky and Robert Craft, Dialogues and a Diary,
72.
16 Igor Stravinsky and Robert Craft, .
70.
17 Igor Stravinsky and Robert Craft, .
Commentaries (New York: Doubleday an
18
Van
den Toorn, Stravinsky and Th,
19 Igor Stravinsky and Robert Craft, .
Roerich and N. F. Findeizen," in The Rit.
1913,30.
20 Igor Stravinsky and Robert Craft,
Roerich and N. F. Findeizen," The Rite o~
1913) 35.
21 Cecil Gray, A Survey ofContempor
Oxford University Press, 1924), 140.
22 Igor
Stravinsky and Robert Craft, 1911-1913,36.
23 Igor
Stravinsky,
Poetics ofMusic, 2:
24 Van den Toorn, Stravinsky and Th
25 Vera Stravinsky and Robert Craft,
Documents (New York: Simon and Schust
12
Undergraduate Review, Vol. 9, Iss. 1 [1996], Art. 7
https://digitalcommons.iwu.edu/rev/vol9/iss1/7
The Compositional Process of Igor Stravinsky's The Rite of Springte Review
NOTES
y, Stravinsky: An Autobiography (New York:
1936),20.
"Genesis of a Masterpiece," The Rite of Spring:
London: Boosey and Hawkes, 1969), XXIV.
"Genesis of a Masterpiece," The Rite of Spring:
: (London: Boosey & Hawkes,1969), XVI.
fen Toorn, Stravinsky and The Rite of Spring
~ of California Press, 1987),10, quoting Sergei
me and Lyric-Epic Verse (St. Petersburg, 1907).
yand Robert Craft, Memories and
f York: Doubleday and Co., 1960),92.
kin,
"Russian Folk Melodies in
The Rite of
the
American Musicological Society
33 (1980):
y and Robert Craft, Dialogues and a Diary
:day and Co., 1963), 57.
"Commentary to the Sketches," in The Rite of
l-1913, 18.
kin, "Russian Folk Melodies in The Rite of
'the American Musicoloqical Society 33 (1980):
Icy, Poetics ofMusic, trans. Arthur Knodel and
idge, Massachusetts: Harvard University Press,
r.y, Poetics ofMusic, 63.
cy, Poetics ofMusic, 64.
cy,
Poetics
of Music, 69.
cy, Poetics ofMusic, 76.
cy
and Robert Craft,
Dialogues and a Diary,
72. 16 Igor Stravinsky and Robert Craft, Dialogues and a Diary,
70.
17 Igor Stravinsky and Robert Craft, Memories and
Commentaries (New York: Doubleday and Co., 1960),89.
18 Van den Toorn, Stravinsky and The Rite of Spring, 21.·
19 Igor Stravinsky and Robert Craft, "Letters to Nicholas
Roerich and N. F. Findeizen," in The Rite of Spring: Sketches 1911
1913, 30.
20 Igor Stravinsky and Robert Craft, "Letters to Nicholas
Roerich and N. F. Findeizen," The Rite of Spring: Sketches 1911
1913, 35.
21 Cecil Gray, A Survey of Contemporary Music (London:
Oxford University Press, 1924), 140.
22 Igor Stravinsky and Robert Craft, The Rite of Spring: Sketches
1911-1913,36.
23 Igor Stravinsky, Poetics of Music, 28.
24 Van den Toorn, Stravinsky and The Rite of Spring, 100.
25 Vera Stravinsky and Robert Craft, Stravinsky in Pictures and
Documents (New York: Simon and Schuster, 1978),92.
49 13
Gharaibeh '96: The Compositional Process of Igor Stravinsky's The Rite of Spring
Published by Digital Commons @ IWU, 1996
The Undergraduate Review
BIBLIOGRAPHY
Craft, Robert, ed. Stravinsky: Selected Correspondence. New York:
Alfred A. Knopf, 1984.
Grout, Donald J.,and Claude V. Palisca. A History of Western
Music. 4th ed. New York: W. W. Norton, 1988.
Smalley, Roger. "The Sketchbook of The Rite of Spring." Tempo
III (1970): 2.
Stravinsky, Igor. Poetics of Music in the Form of Six Lessons.
Translated by Arthur Knodel and Ingolf DaW. Cambridge:
Harvard University Press, 1942.
The Rite of Spring: Sketches 1911-1913. London: Boosey and
Hawkes, 1969.
Stravinsky: An Autobiography. New York: Simon and Schuster,
1936.
Stravinsky, Igor, and Robert Craft. Dialogues and a Diary. New
York:
Doubleday and Co., 1963. Expositions and Developments. New Yor:Doubleday and Co.,
1962.
Memories and Commentaries. New Yor:Doubleday and Co.,
1962.
Stravinsky, Vera, and Robert Craft. Stravinsky in Pictures and
Documents. New York: Simon and Schuster, 1978.
Taruskin, Richard. "Russian Fold Melodies in The Rite of Spring."
Journal of the American Musicological Society 33 (1980): 501
543.
Van
den Toom, Pieter C.
Stravinsky and The Rite of Spring.
Berkeley: University of California Press, 1987.
Winternitz, Emanuel. Musical Autographs from Monteverdi to
Hindemith. New Jersey: Princeton University Press, 1955.
50 14
Undergraduate Review, Vol. 9, Iss. 1 [1996], Art. 7
https://digitalcommons.iwu.edu/rev/vol9/iss1/7