the compositional process of igor stravinsky's the rite of

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.

http://www.iwu.edu/

http://www.iwu.edu/

https://digitalcommons.iwu.edu/rev

https://digitalcommons.iwu.edu/rev/vol9

https://digitalcommons.iwu.edu/rev/vol9/iss1

https://digitalcommons.iwu.edu/rev/vol9/iss1/7

https://digitalcommons.iwu.edu/rev?utm_source=digitalcommons.iwu.edu%2Frev%2Fvol9%2Fiss1%2F7&utm_medium=PDF&utm_campaign=PDFCoverPages

https://digitalcommons.iwu.edu/rev/vol9/iss1/7?utm_source=digitalcommons.iwu.edu%2Frev%2Fvol9%2Fiss1%2F7&utm_medium=PDF&utm_campaign=PDFCoverPages

mailto:[email protected]

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


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-


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



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



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



42


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



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



I


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



-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




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



: 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


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



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.



15 Igor Stravinsky and Robert Craft, Dialogues and a Diary,

72.

16 Igor Stravinsky and Robert Craft, .

70.


Commentaries (New York: Doubleday an

18

Van

den Toorn, Stravinsky and Th,


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



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




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

