dominates this score and reaches a climax
of violent energy in Part II’s “Glorification of the Chosen One” and the final
“Sacrificial Dance.” Throughout the 19th
century, rhythm had been the stepchild of
European concert music, trailing behind
melodic allure and harmonic richness.
Europeans essentially looked down on
intricate rhythm as belonging to more
“primitive” musical cultures, such as Africa
and Asia. Stravinsky showed them what
they were missing.
Along with pounding percussion
— and in this score even the string
instruments join the percussion section
— Stravinsky created his pagan world
through strikingly original writing for the
wind instruments: the primeval sound of
a high bassoon opening the work, the cool
high woodwinds setting an ominously eerie nocturnal atmosphere at the beginning
of Part II, the “elderly” sounding English
horn leading the penultimate “Ritual of
the Old Men,” and the savagely snarling
brass throughout.
Stravinsky provided his own terse
scenario for The Rite:
“First Part: ‘The Adoration of the
Earth.’ [Daytime] The spring celebration
… the pipers pipe and the young men
tell fortunes. … Young girls with painted
faces come in from the river in single file.
They dance the spring dance. Games
start. The Spring Khorovod [round dances]. The people divide into two groups
opposing each other. The holy procession
of wise old men … i