1

Igor Stravinsky
Firebird Suite and The Rite of Spring

by

Ivar Nicholas I. Fojas

DMA Guitar

MUS 696B, Symphonic Literature

John T. Brobeck, Ph.D., Instructor
 2

I. Bibliography
A. Literature

Craft, Robert. Stravinsky: Glimpses of a Life. London: Lime Tree, 1992.

In the preface, the author describes this as half biography and half musical
commentary.

Cross, Jonathan, ed. The Cambridge Companion to Stravinsky. Cambridge:

Cambridge University Press, 2003.

A multi-authored resource, this contains a helpful chart of chronology of

Stravinsky’s life and works.

Hill, Peter. Stravinsky: The Rite of Spring. Cambridge Music Handbooks.

Cambridge: Cambridge University Press, 2000.

This Cambridge Music Handbook focuses on the Rite of Spring, its

origins, the music itself and how it influences music that follows after.

Routh. Francis. Stravinsky. The Master Musician Series. London: J.M. Dent &
Sons Ltd, 1975.

As part of the Master Musician Series, this installment is a condensed

discussion of Stravinsky’s Life and music which is grouped according to
instrumentation and form.

Van Den Toorn, Pieter C. The Music of Igor Stravinsky. New Haven: Yale
University Press, 1983.

This source is part of the Composers of the Twentieth Century with Allan
Forte as the general editor. This focuses on the music of Stravinsky and is
the leading resource for insightful analysis into Stravinsky’s major works.

Walsh, Stephen. The Music of Stravinsky. London: Routledge, 1988.

Walsh focuses on discussions surrounding the works and music of

Stravinsky. An excellent resource for background and information on
Stravinsky’s major works, also contains short analysis of the music.

White, Eric Walter. Stravinsky: The Composer and His Works. London: Faber
and Faber, 1966.

One of the most authoritative and complete resources on Stravinsky’s Life

and Music. Contains a useful appendices section which contains a catalog
of Manuscripts, a selection of letters to Stravinsky from other composers.
 3

B. Music Score

Stravinsky, Igor. Vesna Svyashchennaya. London; New York: Boosey and

Hawkes, 1921.

_____________. Vesna Svyashchennaya. New York: Belwin-Mills Publishing

Corp., 1974.

_____________. Vesna Svyashchennaya. New York: E.F. Kalmus Orchestra

Scores, 1933.

_____________. Zhar-ptitsa Suite. London; New York: Boosey and Hawkes,

1919.1

_____________. Zhar-ptitsa Suite. London: J. & W. Chester ltd., 1920.

_____________. Zhar-ptitsa Suite. New York: Edition Schott, 1947.

C. Websites

Stephen Walsh, “Stravinsky, Igor,” Grove Music Online,

http://www.oxfordmusiconline.com.ezproxy2.library.arizona.edu/subscrib
er/article/grove/music/52818?source=omo_gmo&source=omo_t114&type
=biography&search=quick&q=stravinsky&pos=1&_start=1#firsthit
(accessed November 4, 2012).

_____________, “Stravinsky, Igor: Bibliography,” Grove Music Online,

http://www.oxfordmusiconline.com.ezproxy2.library.arizona.edu/subscrib
er/article/grove/music/52818pg12?source=omo_gmo&source=omo_t114
&type=biography&search=quick&q=stravinsky&pos=4&_start=1#firsthit
(accessed November 4, 2012).

_____________, “Stravinsky, Igor: Towards ‘Firebird’, 1902-09,” Grove

Music Online,
http://www.oxfordmusiconline.com.ezproxy2.library.arizona.edu/subscrib
er/article/grove/music/52818pg2?source=omo_gmo&source=omo_t114&t
ype=biography&search=quick&q=stravinsky&pos=6&_start=1#firsthit
(accessed November 4, 2012).

1
Pocket score, re-orchestrated by the composer in 1919.
 4

D. Sound Recordings

Casadesus, Jean-Claude, cond. Petrushka: The Firebird Suite performed by

Orchestre National de Lille. Fioretti 037. CD 1984.

Ozawa, Seiji, cond. The Rite of Spring ; Fireworks ; Firebird Suite. Chicago
Symphony Orchestra. RCA Silver Seal 60541-2-RV. CD 2005.

Simonov, Yuri, cond. Rite of Spring; Firebird Suite performed by Royal

Philharmonic Orchestra, Royal Philharmonic Orchestra 204504-201. CD
2009.

Picasso, Stravinsky. December 31, 1920. Paris

 5

Biography from birth up to the premiere of the Rite of Spring:

June 17, 1882 (new style) Born in the seaside town of Oranienbaum near St. Petersburg.
Russia.2

His father Fyodor Stravinsky was one of the leading operatic basses in Russia. Stravinsky
seems to have been closer to his nurse than to his mother.

Studied piano and piano as a child but was intended for the study law of law.

1901 Entered the University of Saint Petersburg to study law.

1902 Rimsky-Korsakov, a friend of his father encourages and takes Stravinsky as a pupil
after seeing his first attempts at composition. Rimsky-Korsakov suggests to Stravinsky
that he should take private lessons instead of entering the conservatory due to his age.

January 23, 1906 Marriage to first cousin Yekaterina Gabrielovna Nossenko. In April he
is prevented from taking his final law examinations and instead receives a half-course
diploma. His lessons with Rimsky-Korsakov continue and primarily consist of Stravinsky
showing his and discussing the movements of his works which Rimsky-Korsakov
exercised great control over.

1907-1908 birth of their first two children Fyodor and Ludmila.

1908 Rimksy-Korsakov dies, a few months later the Russian impresario Sergei Diaghilev
commissions him to write for the Ballet Russes after hearing some of Stravinsky’s
orchestral compositions.

1910 Travels to Paris where the Firebird Suite is premiered and moves to Switzerland
where their third child Sviatoslav Soukima was born.

1911 Composes three more works for the Ballet Russes; Pertrushka a ballet in four
scenes, the Rite of Spring a two part ballet (1913) and Pulcinella, a ballet with song in
one act (1920).

1913 Scandalous premiere of the Rite of Spring and the birth his fourth child Maria
Milena. During the pregnancy Yekaterina contracts tuberculosis and is confined to a
sanatorium.

2
Russia followed the old style Julian Calendar until 1917 which had been adopted in western Europe
by 1752. The town of Orainienbaum is now called Lomonosov.
 6

Compositional Genesis of Symphonic Works leading up to The Rite of Spring. 3

1907 Symphony in E-flat major, Works closely with Rimsky-Korsakov 1905-07,
Op. 1 first child, Theodore is born.
1908 Scherzo fantastique, Op. 3 Depicts life cycle of bees in a hive, daughter
Lyudmila is born before Christmas.
Feu d'artifice (Fireworks), Short orchestral piece. Rimsky-Korsakov dies June
Op. 4 8 (O.S.)
1910 Firebird Suite Travels to Paris for the premiere, meets Debussy
and Cocteau, moves to Switzerland in late summer
where son Sviatoslav is born.
1911 Petrushka (Ballet in four Visits Rome with the Ballet Russes and returns to
scenes) Clarens, Switzerland. (September)
1913 The Rite of Spring Attends Strauss’s Elektra, works with Ravel on
(premier) perfoming Mussorgsky’s Kovanshchina.

Despite what Routh describes unexceptional and immature features, the first three early
works served as exercises where Stravinsky hones his technical skills. These works
shows Stravinsky’s early taste for orchestral exuberance paired with the use of material
from folk melodies.4

The Firebird Suite

Background:

Proportion: The 1910 version recorded by the London Symphony Orchestra lasts 48
minutes

Fairy story ballet in two scenes based on the Russian national fairy story by M. Fokine
who choreographed the ballet. The story is a mixing of the mythical Firebird with the
unrelated tale of Kashchei the deathless.5

Story: Prince Ivan (hero) enters the realm of Kashchei the immortal, Ivan sees and
captures the Firebird which agrees to help Iva in exchange for freedom. Prince Ivan fall
in love with one of the thirteen princesses which causes a dispute and quarrel with
Kashchei who sends his magical creatures after Ivan, the Firebird helps Ivan by
bewitching the creatures and making them dance an elaborate infernal dance. The fire

3
Cross. Cambridge Companion. ix.
4
Routh, Stravinsky. 92.
5
Wikipedia. Firebird. Wikipedia. http://en.wikipedia.org/wiki/The_Firebird (accessed November 5,
2012).
 7

bird reveals to Ivan the secret Kashchei’s immortality, a magical egg holds Kashchei’s
soul and destroying it kills him and breaks the spell.

Premiered: June 25 1910 by the Ballet Russes in Paris, with Gabriel Pierne as Conductor.

Scoring: 4 flutes (3rd & 4th also Piccolo); 3 oboes; cor anglais; 3 clarinets (3rd also D
Clarinet) bass clarinet; 3 bassoons (2nd also 2nd contrabassoon); contrabassoon; 4 horns.
Stage band: 3 trumpets (onstage) 4 Wagner tubas. (two tenor and two bass, onstage)
Percussions: timpani, bass drum, cymbals, triangle, tambourine, tamtam, tubular bells,
glockenspiel, xylophone, celesta, 3 harps, pianoforte, strings-quintet. 6

Versions: There are multiple arrangements and versions of the Firebird bird suite. The
following are the composer’s own versions. 7

1910 Ballet Score (original)

1911 Suite –“ Concert Suite for Orchestra 1” same orchestration as the ballet. This
version was recorded by Stravinsky in 1928 for Columbia records. is infact printed form
the same plates as the original, only slightly modified to provide endings for the
movements. Suite: Published by Jurgenson in 1912. Duration: circa 21 minutes.

1919 Suite also referred to as the “Symphonic Suite.” Made for Morges, has a smaller
orchestra published by J. & W. Chester, 26 minutes.

1945 Suite also referred to as “Ballet Suite for Orchestra,” which Stravinsky recorded in
1967 for Columbia records.

Analysis:8

Melody: Diatonic themes are associated with the natural while chromaticism is used to
represent the supernatural, in the case of the opening bar of the introduction as well as
scenes depicting the Firebird and Kashchei are all built on the chromatic interval
augmented fourth.

6 st nd
ibid. The score specifies 16 1 violins, 16 2 violins, 14 violas, 8 cellos and 8 double-basses.
7
White, Stravinsky. 182-192
8
Ibid.
 8

A major and minor third is fitted into the interval of an augmented fourth is developed in
sequence associated with Kashchei.

Below is the 10th -11th bar of the introduction alternating major and minor thirds rise
through two octaves.

Movement Story Music

Introduction: The Mysterious intro, While wandering Mysterious ostinato bass

Firebird and her in the forest Prince Ivan encounters figure.
dance: Variation of the magic Firebird, the prince
the Firebird. captures the Firebird but set her free.

The Princess’ Ivan discovers thirteen beautiful The oboe plays the delicate
Round: Khorovode princesses in the courtyard of an principal melody
enchanted castle, prisoners of the
magician Kashchei.. The princesses
warn Ivan not to enter the castle with
danger of being turned into stone,
which Ivan boldly ignores.

Infernal Dance of Ivan confronts the magicians Violent orchestral chord

King Kashchei servants and the magician himself. contrasts the previous
The Firebird’s magic feather protects section. The bassoons,
Ivan. The firebird appears and forces horns play the same
the Magician and his followers into a menacing and syncopated
frenetic dance. figure.

Berceuse ( The Firebird lulls the exhausted The solo bassoon

Lullaby) Kashchei and his followers to sleep. accompanied by the harp
is followed by the return of the and strings plays a haunting
haunting melody. melody. Ascending harp
glissandos.

Finale Kashchei and his minions are Solo horn plays a variant of
defeated and destroyed. The captives the flute theme during the
are set free including the Thirteenth Princesses’ round, joined by
princess who Ivan marries. other instruments building up
to an orchestral climax.
 9

Rite of Spring

Background:

Stravinsky after writing two successful ballet works for Dhaigilev and the Ballet Russes
would follow up with an entirely new work which similar to the Firebird and Petrushka
draws from folk literature.

The idea of Le Sacre du printemps came to me while I was still composing the
Firebird. I had dreamed a scene of pagan ritual in which a chosen sacrificial virgin
danced herself to death. This vision was not accompanied by concrete musical ideas
however…9

Stravinsky worked closely with Nikolai Roerich, Russia’s leading expert on folk art and
ancient rituals. The Subtitle “Pictures of Pagan Russia” suggests a scenario with various
primitive rituals celebrating the arrival of spring.

The music features novel use of new techniques at the time. Although grounded in
Russian folk music the Sacre exhibits experiments in tonality, rhythm, stress and
dissonance, leading the way for many of the centuries leading composers.

The Original production was choreographed by Vaslav Ninjinsky and stage design and
costume were by Roerich. The May 29 premiere in 1913 met a scandalous reception,
causing a near riot in the audience due to tis avante-garde nature.

The audience at Théâtre des Champs-Élysées had become so loud that it drowned out the
music, causing great difficulty for the dancers, the traditional costumes shocked the
audience who were expecting form fitting tutus and leggings.

9
Hill, The Rite of Spring. 3.
 10

The music’s instrumentation and harmony caused the audience to hiss and talk, and
finally the dancers opening gesture or position caused an audience member in the balcony
to shout “ someone call a dentist.”

Duration: 35 minutes.

Scoring: two piccolos, three flutes, one alto flute, four oboes, two English horns, three
clarinets in B♭ and A, piccolo clarinet in E♭ and D, two bass clarinets, four bassoons,
two contrabassoons; eight horns, four trumpets in C, small trumpet in D, bass trumpet in
E♭, three trombones, two tenor Wagner tubas, two bass tubas; a percussion section
with timpani (two players), bass drum, gong, triangle, tambourine, cymbals, antique
cymbals in A♭ and B♭, guiro and strings.

Commentary:

Even with a large orchestra, individual instruments and small groups having distinct
roles. Stravinsky is clear in introducing his unusual choice of solo instruments. His
unusual choice of the bassoon playing the opening folk melody in a range that would be
more suited for the English horn had Camille Saint-Saën saying his famous line “ If that
is a bassoon, then I am a baboon.” This s followed by the interruption of the Eb Clarinet
then the Bass Clarinet.10

10
Thomas, Keeping Score. Video Documentary.
 11

Analysis:11

Melody: In his autobiography Stravinsky confirms with his biographer Andre Schaeffner
that the opening bassoon is the only folk melody in the work. Contrary to this statement,
Lawrence Morton tracked five tunes to an anthology of Lithuanian folk songs, these were
hand copied by Stravinsky into the sketches of the work. These tunes occur early with in
the work: The Introduction, Augurs of Spring and Spring Rounds.

Two types of melody found in the Rite of Spring.

1. Minor tetra-chord - Step-wise movement using tone-semitone-tone within the

span of a perfect 4th.

2. Intervals of fourths and seconds predominate. These two overlap and combine.

Most of the melodies occur in the Introduction.

The following are the principal melodies found with in the work:

11
Hill, Rite. 35-59.
12
 13

Harmony:

The Augurs chord is made up of two tonal chords in dissonant conjunction. Many of the
dissonances are conceived in this manner, either a triad plus a dissonant note, in this case
a triad juxtaposed against a dominant seventh chord.

In the examples above is the woodwind layer from the introduction to Part II, we see here
triads arranged successively, not in the diatonic sense. Take note that the root notes form
a diminished 7th scale, a clue that it is based on the Octatonic scale.

In Rimsky-Korsakov’s writing, the octatonic has a symbolic function depicting the

magical realm delineating it from the real world symbolized by diatonicism.
 14

Octatonic Scale:

8 steps of alternating semitones and tones. There are only three possible octatonic scales,
called collections.

Stravinsky creates these by combining triads either a tritone or minor third apart as
demonstrated in the passage below.

Stravinsky combines the octatonic with the melodic character of folk-music, he does this
by combining a tetra-chord (lowest four notes of a minor scale) with a similar tetra-chord
a triton higher. The minor tetra-chord as previously mentioned is the basis for many of
the melodies within the work.
 15

Below is a passage that uses this technique of combining two minor tetra-chords a triton
apart.

This is further complicated due to the tune in the upper line is thickened by thirds.

Minor Tetra-Chords a fifth apart create the Dorian mode.

Taruskin refers to the Fourths chord,made up a perfect fourth and an augmented fourth,
as heard in the 11/4 bar that opens the Glorification.
 16

Rhythm:

The Sacrificial Dance exemplifies rhythmic innovation. Stravinsky contrasts rhythmic

disorder with unwavering rhythmic stability as seen in Ritual Action of the Ancestors.

At the closing of Augurs if Spring, the rhythm is made complex by the stacking of the
music into layers. An ostinato figure in 2/4 is layered against pizzicato cellos and basses
in ¾ while the trumpets play a march like tune in 4/4.

The use complex meters such as 5/16, 5/8, 2/16 and 3/16 can be understood better by
employment of Rhythmic Cells.

Conclusion:

Stravinsky attempts to depict the Russian folk-tales in a new and innovative manner.
With the Firebird Suite he uses Diatonicism and Chromaticism to depict the natural and
magical realm while the mystical plot of the Rite of Spring compels Stravinsky to
approach music in a new way.