As Stravinsky circulates in the digital age, his work is valorized in the context of digital transformation—a phenomenon reflected in YouTube mashups.
The composer’s iconic Le sacre du printemps provides a rich basis for such tributes; examples include Beyonce in “Dance of the Single Young Girls” by Igor Stravinsky (posted by Stephen Rathjen on 29 March 2015), Stravinsky meets Steely Dan (FM/Rite of Spring mashup) (posted on 20 June 2021 by the English guitarist Howard Wright), and Adam Neely’s 31 March 2017 All Star, but its the rite of spring by igor stravinsky.
These mashups highlight the ways in which pre-existing content from two sources is amalgamated in the form of hybridization (the very idea of a mashup)—for example, in the crossing between Stravinsky and Beyoncé or Steely Dan or Smash Mouth, all unlikely encounters that show an interest in the flagship ballet of the musical avant-garde and the search for stylistic fusion. The originality of the gesture lies in the choice of Le sacre du printemps and the ensuing process of desacralization.
Above, a Cubist mashup portrait of Stravinsky by Albert Gleizes from 1914, the year after Le sacre’s premiere (WikiArt, public domain); below, the video mashups in question.
Historians have based their explanations for the tumultuous 1913 première of Stravinsky’s Le sacre du printemps on the accounts (none published before 1935) of the participants—Stravinsky, Diaghilev, Nijinsky, and Monteux.
Due to these accounts, for years it has been believed that either the choreography or the revolutionary score was the cause of the riot in the audience, and that the uproar was a spontaneous reaction to the performance.
However, an examination of contemporary newspaper and journal reviews and an understanding of the personal and political characteristics of Sergei Diaghilev reveals that the riot was actually anticipated and encouraged by the management of the Ballets Russes. The earliest reviews published in Paris offer a wealth of material relating to cultural values of the age.
This according to “The riot at the Rite: Not so surprising after all” by Truman C. Bullard, an article included in Essays on music for Charles Warren Fox (Rochester: Eastman School of Music, 1979, pp. 206–211).
Today is the 100th anniversary of Le sacre’s premiere! Above, a photograph from the original Ballets Russes production; below, part of the BBC’s dramatization from 2009.
Stravinsky has been widely characterized as enigmatic, a composer whose stylistic transformations were impossible to anticipate. He cultivated this image, not in a disingenuous way, but because his eccentricity was central to his self-definition.
More than any composer of 20th-century art music, Stravinsky was able to make the leap from a rarefied intellectual world to the status of a pop icon, widely respected by people who largely did not understand his music. He needed to be public, accepted, and popular, and a surprisingly large proportion of his archival documents reflects his efforts toward these goals.
Television producers in Europe and North America found in Stravinsky the ideal nonconformist film icon: droll, quirky, conversational, contentious, and pedestaled as the epitome of the rebellious hero. He was drawn to them as well, as a natural performer who needed and commanded the spotlight.
This according to “Truths and illusions: Rethinking what we know” and “Film documentaries: The composer on and off camera” by Charles M. Joseph, two essays included in Stravinsky inside out (New Haven: Yale University Press, 2001, pp. 1–34 and 162–195, respectively).
Below, the composer works the camera with some of his favorite things to say about Le sacre du printemps.
Although Stravinsky’s transplantation to the glamour-conscious culture of Los Angeles may have seemed completely out of character, he genuinely thrived there. Still, his inability to relinquish control made it impossible for him to work as a film composer, despite his efforts to break into the business.
The notable exceptions are his associations with Walt Disney, who used excerpts from the composer’s works for several films—most notably Le sacre du Printemps for Fantasia—before they had a falling-out over financial arrangements.
This according to “The would-be Hollywood composer: Stravinsky, the literati, and the dream factory” by Charles M. Joseph, an essay included in Stravinsky inside out (New Haven: Yale University Press, 2001, pp. 100–131). Below, the Rite of spring segment in its entirety.
Jordan’s “The demons in a database: Interrogating Stravinsky the global dancer” (Dance researchXXII/1 [summer 2004] pp. 57–83) presents analyses of findings in the database regarding the distribution of new Stravinsky dance productions over the years, incidence of choreographing the narrative vs. the concert scores, distribution by choreographer, and distribution by country, along with case studies of the choreographic histories of Le sacre du printemps, Apollo, and Agon.
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