In September of 1911 the great Russian composer Igor Stravinsky began work on music for a ballet that we now know as the Rite of Spring. Stravinsky’s score, with its polytonality, its violent, dissonant upheavals, its ritualistic, pagan pulses and its raw, almost vulgar power, changed the face of music. It also vividly recreated an ancient, primeval interpretation of spring that swept away the bucolic, peaceful, benevolent image of spring depicted by the impressionists. In Stravinsky’s conception spring is not peaceful; rather it is a primitive and powerful eruption of nature, savage and dynamic, evoking the deepest and most prehistoric human notions of fertility and mortality.
Perhaps it is no coincidence that Stravinsky composed most of The Rite of Spring in Switzerland; where more than mountains does spring evince such characteristics? For that matter he might as well have written it while experiencing spring in the Adirondacks, the full ritual force of which was on display this week at Lost Brook Tract. » Continue Reading.