This is your morning Open Thread. Pour your favorite beverage and review the past and comment on the future.
Find the past “On This Day in History” here.
May 29 is the 149th day of the year (150th in leap years) in the Gregorian calendar. There are 216 days remaining until the end of the year.
On this day in 1913, Stravinsky’s Le Sacre du printemps makes its infamous world premiere
Some of those in attendance to see the Ballets Russes at the Théâtre des Champs-élysées on May 29, 1913, would already have been familiar with the young Russian composer Igor Stravinsky through his 1910 ballet L’Oiseau de feu (The Firebird). But if they expected his newest work to proceed in the same familiar and pleasing vein as his first, they were in for a surprise. From the moment the premiere performance of Stravinsky’s Le Sacre du printemps (Rite of Spring) began on this night in 1913, it was clear that even an audience of sophisticated Parisians was totally unprepared for something so avant-garde.
Premiere
After undergoing revisions almost up until the very day of its first performance, it was premiered on Thursday, May 29, 1913 at the Théâtre des Champs-Élysées in Paris and was conducted by Pierre Monteux under the Ballets Russes.
The premiere involved one of the most famous classical music riots in history. The intensely rhythmic score and primitive scenario shocked audiences more accustomed to the demure conventions of classical ballet. Vaslav Nijinsky’s choreography was a radical departure from classical ballet. Stravinsky would later write in his autobiography of the process of working with Nijinsky on the choreography, stating that “the poor boy knew nothing of music” and that Nijinsky “had been saddled with a task beyond his capacity.” While Stravinsky praised Nijinsky’s amazing dance talent, he was frustrated working with him on choreography.
This frustration was reciprocated by Nijinsky with regard to Stravinsky’s patronizing attitude: “…so much time is wasted as Stravinsky thinks he is the only one who knows anything about music. In working with me he explains the value of the black notes, the white notes, of quavers and semiquavers, as though I had never studied music at all… I wish he would talk more about his music for Sacre, and not give a lecture on the beginning theory of music.”
The complex music and violent dance steps depicting fertility rites first drew catcalls and whistles from the crowd. At the start, the audience began to boo loudly. There were loud arguments in the audience between supporters and opponents of the work. These were soon followed by shouts and fistfights in the aisles. The unrest in the audience eventually degenerated into a riot. The Paris police arrived by intermission, but they restored only limited order. Chaos reigned for the remainder of the performance. Fellow composer Camille Saint-Saëns famously stormed out of the premiére allegedly infuriated over the misuse of the bassoon in the ballet’s opening bars (though Stravinsky later said “I do not know who invented the story that he was present at, but soon walked out of, the premiere.”) .
Stravinsky ran backstage, where Diaghilev was turning the lights on and off in an attempt to try to calm the audience. Nijinsky stood on a chair, leaned out (far enough that Stravinsky had to grab his coat-tail), and shouted counts to the dancers, who were unable to hear the orchestra (this was challenging because Russian numbers above ten are polysyllabic, such as eighteen: vosemnadsat vs. seventeen: semnadsat).
After the premiere, Diaghilev is reported to have commented to Nijinsky and Stravinsky at dinner that the scandal was “exactly what I wanted.”
