The Rite of Spring: Scenes from Pagan Russia in Two Parts . It was Igor Stravinsky who dragged classical music, kicking and screaming, into the twentieth century. Sure, his contemporaries had paved the way. No longer was the Romantic melodyrich work the dominant force. The new way was about orchestral colors and tone painting. But it was Stravinsky who broke altogether with the Romantic past and created Modernism. It was almost as if all the old rules had not just been bent, but completely destroyed. In the modern world, anything goes.

Stravinsky made a name for himself at a very early age. In his twenties, his work, Fireworks brought him to the attention of Serge Diaghilev, director of the Ballet Russes, who commissioned from Stravinsky a ballet based on the Firebird legend. It was a huge success and Diaghilev commissioned two more. The results were Petrouchka and The Rite of Spring .

The story of the premier of The Rite of Spring is famous. The audience was first treated to Les Sylphides , a ballet based on the music of Chopin. The Rite of Spring was to follow. No doubt lulled into a pleasant, dreamy state by the earlier work, and expecting something similarly pastoral with the Rite, named after all about the most pleasant of seasons, they were in for a rude shock. A clue comes from its subtitle: Scenes from Pagan Russia. It opened with a bassoon bleating way higher than any bassoon was ever supposed to go and then descended into 30 minutes of barbarism and pagan ritual sacrifice. The music was jarring, dissonant, difficult. The huge percussion sections pounded out primitive rhythms, and Nijinsky’s provocative choreography challenged the audience’s sensibilities.

This version was recorded at the Ballroom of the St. George Hotel, Brooklyn, NY, January 5 & 6, 1960.