THE RITE OF SPRING

Chapter:

CHAPTER 3 Aristocratic Maximalism

Source:

MUSIC IN THE EARLY TWENTIETH CENTURY

Author(s):

Richard Taruskin

With this rapturous reception of Petrushka in mind, Stravinsky returned to “The Great Sacrifice,” the stone-age ballet he had begun sketching the year before, with a new sense of urgency, knowing what he would now have to top. We can form an idea of what his third ballet would have been like had it been his second—that is, had he composed it right after Firebird. As mentioned earlier, the “Danse russe” from the first tableau in Petrushka had originally been sketched for “The Great Sacrifice” after Stravinsky had consulted with the man who would eventually write its scenario, the painter and archeologist Nikolai Roerich (1874–1947), a matchless connoisseur of Slavic antiquity.

Citation (MLA):

Richard Taruskin. "Chapter 3 Aristocratic Maximalism." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 7 Sep. 2024. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-003009.xml>.

Citation (APA):

Taruskin, R. (n.d.). Chapter 3 Aristocratic Maximalism. In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 7 Sep. 2024, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-003009.xml

Citation (Chicago):

Richard Taruskin. "Chapter 3 Aristocratic Maximalism." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 7 Sep. 2024, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-003009.xml