Le sacre du printemps

The New York Times reported on the premiere on June 8, 1913:
"Parisians are whistling out the new ballet [...] the director has to turn on the lights to end the hostile protests while the dance continues."

Original costume by Nicholas Roerich for the world premiere

Le sacre du printemps. Tableaux de la Russie païenne en deux parties (dt .: The Rite of Spring pictures from pagan Russia in two parts. ; Often The Rite of Spring ) is the 1913 composed the third of the three major ballet music for large orchestra, which Igor Stravinsky before the First World War for composed the Ballets Russes by Sergei Djagilew . Due to its extraordinary rhythmic and tonal structures, it is considered to be a key work of 20th century music , which at the same time aroused overwhelming displeasure with the audience due to its numerous dissonances and multiple cutting and sharp interjections in contrast to Stravinsky's first two ballet music.

Occasion and origin

The creation of the work is hardly conceivable without Djagilew and his “Ballets Russes”, which were an engine of the artistic avant-garde in 1909 until the outbreak of the First World War in Paris . It was Djagilew who brought Stravinsky to Paris to compose the music for The Firebird after Anatol Liadow , who was initially entrusted with it, had fallen behind schedule. The success of the ballet established Stravinsky's world fame almost overnight, which he was able to build on with Petrushka , the second ballet music for Dyagilev. At that time, Stravinsky had long since had a vision for another ballet:

“When I was writing the last pages of the 'Firebird' in St. Petersburg, one day - completely unexpected, because I was busy with completely different things - the vision of a great pagan celebration: old respected men (“ The Wise Men ”) are seated in a circle and watch the dance of death of a young girl who was chosen at random and is to be sacrificed to favor the god of spring. That became the subject of 'Le sacre du printemps'. "

- Igor Stravinsky (translated)

In 1911 Stravinsky traveled to Russia and also visited the Talaschkino artists' colony , where he collected material, wrote down folk songs and, with the set designer Nicholas Roerich, created the story of a spring festival for Russian tribes .

Orchestra line-up and duration

The band consists of five flutes (third and fourth only Piccolo , fifth Altflöte), five oboe (fourth well, fifth only English horn ), five clarinets (three in A and B, third, also, fifth only bass clarinet , fourth in time and D ), five bassoons (fourth also, fifth only contrabassoon ), eight horns (seventh and eighth also tenor Wagner tuba ), five trumpets (four in C, fourth also bass trumpet in E flat, fifth in D), three trombones (third bass trombone), two bass tubers , five timpani (two players), percussion ( bass drum , tam-tam , triangle , tambourine , cymbals , crotales ("ancient cymbals") in A and B, guiro ) and strings .

A performance lasts about 35 minutes.

Scandal at the premiere

The premiere took place on May 29, 1913 in the newly built Théâtre des Champs-Élysées in Paris, after Debussy's Jeux had already been premiered with negative success in Nijinsky's choreography by Djagilev's ballet troupe exactly two weeks earlier . While Dyagilev was secretly hoping for a theater scandal  ^Quelle? , the participants, including Stravinsky, apparently did not expect it. But even after the dress rehearsal, the critic of L'Écho de Paris , Adolphe Boschot, foresaw possible protests; he was curious how the public would perceive the work and suspected that it would react negatively because it might get the impression of being mocked.

At the premiere itself there was already laughter with the opening music, from the first note of the very high bassoon solo. This then intensified to the turmoil when a little later the dancers appeared with ecstatic stamping movements (see the reconstructed original version at the gala in the last web link). It was thanks to the stoic calm of the conductor Pierre Monteux that the performance could even be played to the end.

The events were recorded in many eyewitness accounts, among which those by Igor Stravinsky himself and Jean Cocteau are quoted again and again. The stormy indignation continued, so that the spectacle was worth an article a week after the premiere of the New York Times : "Parisians whistle the new ballet / The last victim of the Russian dancer: 'The spring sacrifice', a failure". The newspaper first quoted the cultural critic Alfred Capus vom Figaro , who made fun of the rich, snobbish, critical ballet audience in Paris and stated that they could not offer everything. Because even these vain, narrow-minded contemporaries noticed the primitiveness of Nijinski's staging of the Sacre unpleasantly, so that they vented their displeasure with whistles:

“The stage represented humanity: on the right, strong young people are picking flowers, while a 300-year-old woman is dancing around like crazy. On the left side of the stage an old man studies the stars while here and there sacrifices are made to the god of light. The audience couldn't swallow that. It whistled off the piece immediately. A few days ago it might have applauded. The Russians, who are not particularly familiar with the decency and customs of the countries they are visiting, did not know that the French will readily start protesting when stupidity reaches its lowest point. "

The Times blamed Capus for the storms of protest that continued over several evenings; he had heated up the mood. Igor Stravinsky - mentioned here for the first time in the American daily - said the uprising was a heavy blow to the piece and that the sensitive Russian dancers may be unable to continue the series of performances.

“Apparently that's all we are given after 100 trials and a year of hard work. Without a doubt, one day you will understand that I landed a surprise coup in Paris, but Paris was indisposed. Soon it will forget its bad mood. "

- New York Times : Igor Stravinsky, June 8, 1913 issue

Even if the scandal finally made Stravinsky famous, the reaction hurt him very much, and not least he blamed Nijinsky, who in his opinion had not mastered the Sacre choreographically . The great success that the work then had in the concert performance , also under Pierre Monteux, in 1914, seems to prove Stravinsky right, although this may have changed the audience's attitude to the challenges of Stravinsky's music (see below) that it was prepared.

Position in Stravinsky's oeuvre

The three ballets show Stravinsky's path, starting with the stylistic devices of the impressionism of Claude Debussy , to come more and more to a sharp “ expressionistic ” sound impression. The treatment of the orchestra is also developing into increasingly self-confident experiments with the possibilities in the instrumentation . The thematic material refers Stravinsky from collections of Eastern European folk songs. In Stravinsky's previous work, the Sacre also represents the most uncompromising “modernity”. Stravinsky pursues the path he has taken here primarily in Les Noces , a stylized Russian peasant wedding, and in L'histoire du soldat , the subject of which is borrowed from the fairy tale collection of Nikolai Afanassjew . The latter work, however, already contains an unmistakable tendency to alienate traditional genres such as march, chorale, waltz or tango and at the same time signifies a departure from explicitly “Russian” material. With the ballet Pulcinella , which is based exclusively on Italian baroque music, mostly by Giovanni Battista Pergolesi , Stravinsky turned to so-called neoclassicism . The move away from the gigantic orchestra is also due to external circumstances that temporarily limited the ability to compose for a large orchestra. Most of all his harmony is preserved in the later work , which is built up from opposing triad layers, even if it will no longer occur in this density.

action

The ballet describes a spring sacrifice in pagan Russia. In this ritual a virgin is sacrificed to the god of spring for reconciliation. The ballet is divided into two parts. In the first part, the adoration of the earth , the ritual sacrifice is prepared: different tribes come together. The actual victim motif is left out in this first part, instead the rival (fighting) games between the tribes and the sexes are depicted and set to music. Only in the second part, entitled The Sacrifice , is the gaze focused on the fate of a single, chosen virgin who dances herself to death after a glorification and ancestral ritual.

Stravinsky himself said:

"In the 'Sacre du Printemps' I wanted to depict the luminous resurrection of nature, which is being awakened to new life [...], the resurrection of the whole world."

- Igor Stravinsky (translated)

Part 1: The Worship of the Earth

Roerich's draft for part 1 of the ballet, with stage design and group of girls

The introduction to the first part surprises with a high bassoon solo , which is gradually joined by the other wood and brass players. Quiet at first, the sound increases to an opaque curtain of fragments of sound that suddenly tear off. The initial bassoon solo, now transposed a semitone down, floats in the void. The second piece, the harbingers of spring - dance of the young girls , with pounding strings and broken rhythms suddenly breaks out of a calm transition . Violent interjections from brass players repeatedly tear the air; Surprisingly, the peg comes to a standstill while the kettledrum and bass drum come out with a crash.

After this incision, the mood builds up again and leads to a frenzied mess, which immediately leads to the kidnapping games . Powerful beats of the big drum and distinctive timpani rhythms dominate this tight part. It is followed by a fluttering transition, consisting of strings and tutti interjections from the orchestra. It comes to a standstill after four beats and makes room for a calm clarinet melody , which is continuously accompanied by trills in the flutes. This phase of relaxation is then taken up by the spring dance. They turn the previous cheerfulness into heavy, gloomy rhythm; this is accompanied - more symbolically than actually audible - by mezzoforte beats of the big drum on the main counting times. The theme, which consists only of a triple repeated chord with rising bass background, is passed from the strings to the brass section and back again without changing its dynamics. Then the kettledrums break through without warning and suddenly whip up the subject to Tutti- Fortissimo , which turns the previous gloomy mood into rage. The brass bite into the subject shrill, while the kettledrums keep pushing the orchestra forward with their four violent crescendo beats.

Just as the theme begins to exhaust itself, the transition that was already heard follows in a somewhat varied manner and also breaks down again into the clarinet melody. Unlike at the beginning of the spring dance, however, the contrast could not be more glaring due to the following games by the rival tribes , which suddenly set in: The prelude and prominent feature of this piece are the timpani, which hammer a sequence of notes with relentless hardness and almost as a soloist. The orchestra's theme, which was developed at the same time, flows after a brief processing and a preliminary climax into the tension-laden, drawn-out tones of the deep brass. At the same time, the big drum sets in with powerful accents and an idiosyncratic rhythm: steadfastly, it sets three-four time against the remaining four-four time. This insistence on one's own meter and the approach of the tam-tam in the atmosphere tense to the breaking point prepares the procession of the old sage , which begins with the piercing cries of the trumpets. At the same moment that this raw-sounding tutti breaks out, the measure changes to 6/4. The dominant brass parts are shifted syncopated in it, and the percussion stumbles in duoles and fourths below the meter. The icing on the cake is the use of a guiro , a ratchet cucumber, as an orchestral instrument. It underlines the swirling action of the brass section with a steady, nerve-racking background noise.

After the procession has stopped abruptly, there is silence for a moment - the kiss of the earth is accompanied by deep, calm tones of the bassoons, pizzicati in the solo double bass and restrained beats on the timpani, while the old sage lowers on his knees and the Kisses earth. The backdrop remains spellbound and motionless until this ritual is completed. Then a vortex of the big drum initiates the dance of the earth , which with constant kettledrum, sharp crescendos of tam-tam and an orchestra “stumbling upwards” strives for a climax, reaches it and suddenly breaks it off. The oppressive silence heralds the end of the first part.

Part 2: the victim

Original stage design by Nicholas Roerich for the second part of the ballet

N. Roerich: Girls' group at the beginning of the ballet. One of them becomes the victim in the end, who has to dance himself to death (see below, Gala Part 1)

The introduction to the second part begins with tortured orchestral passages. A theme is developed in a calm but lamenting manner, which is kept hidden for a while with sometimes sparse orchestration and is picked up by the violas in the sixfold divisi in the subsequent mystical dance of the young girls and spun on until the woodwinds know how to throw in a second, delicate melody . Without mutually permeating, both themes are retained. Suddenly muffled horns dare to throw in, which is unsuccessful the first time, but causes the orchestra to collapse in an upward crescendo the second time .

This is followed by eleven powerful beats of the percussion and the strings, which initiate the glorification of the chosen ones : One of the young girls who previously danced is suddenly placed in the center of the circle and chosen to be the victim. The presentation of this ritual hardly has time to develop any noteworthy topics. Shreds of sound and repeated motifs build the backdrop of this seemingly destructive part, which, after several minutes of silence, leads back to the old style of the Sacre . In the meantime he withdraws into a suppressed pizzicato of the strings, while the timpani find space with a distinctive repetition. But then he goes back to his beginning and repeats the same sequence of rhythms and fragmentary motifs a second time.

Suddenly this ritual comes to a standstill. In invoking the ancestors, the orchestra smashes the silence with drawn out, muffled bass voices, with swirls and beats of the bass drum and the kettledrum. The single theme of this section is distinctive; it is limited to rhythmically characteristic second steps. After a final rebellion, the brutal dynamic collapses and initiates the ritual action of the ancestors , which begins with tambourines and upward scales from deep woodwinds. The subdued, eerie mood is supported by a simple theme in muted trumpets. It is voiced by the entire brass group with increased dynamics. A stretched intermediate section briefly delays the development, until finally the entire orchestra drives the main theme to its climax in a powerful, pulsating pounding. Then it collapses into the subdued mood that prevailed at the beginning of the piece.

After a short, deep transition of the clarinets, the real and final sacrifice begins : the chosen one, who until then has still motionlessly followed her own worship and the ancestral evocation as the focus of all action, begins her sacrificial dance. At first it shows a broken rhythm. The theme is mainly built up by the orchestra's sharp crescendos and rhythmically distinctive thirds in the timpani. After a first complete development of this topic, the mood collapses again. The chaotic rhythmic structure of the piece is retained by stringing a constant string chord with pauses without any recognizable order. A cutting interjection from the trumpets and trombones culminates in hard drumbeats that are reminiscent of those in the harbingers of spring in the first part.

String chords and interjections are developed further with changing dynamics until the orchestra suddenly comes to a standstill after a swirling climax. This is followed by the dance of the chosen ones, transposed a semitone down, similar to the introduction to the first section. Although the beginning of the sacrifice already seems to represent the climax of the chaos, in that, for example, in the dance of the elect, 2/8, 3/8 and 5/16 bars immediately alternate, it becomes clear in the second half of the sacrificial dance that now follows that until then the rite dominated more than the human sacrifice. This is followed by a devastating tutti in which the striking mechanism creates a backdrop of annihilation with merciless effort. Fragments of themes from the previous sacrificial dance are still included, but they no longer have the factual, ritual meaning as they did at the beginning, but in their pure ecstasy now actually characterize the sacrifice, the willful and self-induced death of the girl. Apparently exhausted, the orchestra collapses a little after a short time, builds up again and is driven to a climax by continuous beats of the percussion in a final crescendo. A single flute part holds the tension of the sudden immobility for a moment and then dissolves itself. A mighty tutti beat of the entire orchestra represents the barbaric end of the entire work: the young girl collapses dead.

Compositional peculiarities

Many characteristics of the Sacre can already be demonstrated in the opening bars of the Danse des Adolescentes (German: "Dance of the Young Girls").

Polytonality

Approaches to a polytonality that Debussy already pursued in his work have become a consistent harmonic principle in Stravinsky since the previous great ballet Petrushka , 1911. Characteristic here is the harmony of major triads in tritone spacing (especially C major and F sharp major).

This principle is further developed in Le sacre du printemps : major and minor chords with the same root note are layered on top of one another, seventh chords and their inversions are included in the layering or two minor keys are superimposed with semitone spacing. The excessively repeated string chord of the Danse des Adolescentes is a combination of E major (in the score enharmonically reinterpreted to “Fes major”) and the first inversion of an E flat major seventh chord.

The chord can also be described as two consecutive seventh chords which have the note e ♭ in common or which together form a tredezima chord :

Another method is the parallel shift of a dissonant chord over the notes of a usually diatonic scale .

It is characteristic that in the Sacre a harmony rich in dissonance arises, however, in the impressionistic tradition, the consonant part is emphasized, for example in that the individual triads in position and instrumentation remain audible or the main themes appear in thirds that can be assigned to a diatonic scale. In this respect, Le sacre du printemps is not considered an atonal work in the sense of Arnold Schönberg's piano piece op. 11/3.

Polyrhythmics

Another central element is the layering of different rhythms, the polyrhythm . Different instruments play opposing rhythms at the same time, some of which are notated in different time signature . Stravinsky already used this technique in earlier works (e.g. Petrushka).

Tonal and motivic layering

The impression of the “primitive” in the sense of “prehistoric” is often created through the layering of constantly repeating musical motifs (ostinati). An ostinato of the lower instruments is gradually overlaid by ever more ostinatos from other groups of instruments, to which a dominant melody is then occasionally added (see the description of Rondes printanières ). This too often develops an ostinate character, in that at some point it just seems to revolve around itself. This technique replaces a motivic development in the sense of traditional symphonies and has a much more primitive effect on this - in accordance with the subject - formally.

Use of Eastern European folk tunes

Stravinsky claimed that only the bassoon solo at the beginning goes back to a Lithuanian folk tune. In fact, it has been shown that a considerable number of the melodies used have their origin in a collection of Eastern European folk melodies edited by Nikolai Rimsky-Korsakov , and Stravinsky denied this for unknown reasons.

Choreographies

Many choreographers have brought out the Sacre in their own choreography , including Léonide Massine (1920; 1930, with Martha Graham ), Mary Wigman (1957), Maurice Béjart (1959), Glen Tetley (1974), Pina Bausch (1975) , Mats Ek (1984), Angelin Preljocaj (2001), Uwe Scholz (2003), Emanuel Gat (2004), Wang Xinpeng (2009), Chris Haring (2010, Sacre - The Rite Thing) and Mario Schröder (2018). In 1987 Millicent Hodson and Kenneth Archer tried to reconstruct the first performance for the Joffrey Ballet .

The Theater of Sounds staged Le Sacre du Printemps in 1999 as a reaction to the Kosovo war under the title “The Spring Sacrifice”. The subject of the plot was the sacrifice of a young girl, but not by “wise old men” as in the original, but by young rioters in a lawless situation. The music by Stravinsky was recorded for the first part of the piece in an electronic new version by the composer and director JU Lensing , for the second part the original music by Stravinsky, which he himself conducted in 1960, was recorded for the Columbia Symphony Orchestra .

In 2006, the documentary filmmaker Ralf-Peter Post accompanied the development of the farewell performance for Stephan Thoss , who was a choreographer at the Hanover State Opera at the time , from the first step sequences drawn as sketches to training with the ballet ensemble and the premiere: The film The Choreographer Stephan Thoss and Le Sacre du Printemps was first broadcast in 2007 on the ZDF theater channel.

On May 29, 2013, the centenary of the premiere was celebrated at the Théâtre des Champs-Élysées in Paris . On this occasion, the first version of Nijinsky, reconstructed by Hodson and Archer, was performed by the ballet and orchestra of the St. Petersburg Mariinsky Theater under the musical direction of Valery Gergiev . This was followed by a new choreography of the Sacre du Printemps by Sasha Waltz in the program . The cultural broadcaster arte broadcast the performance live from Paris.

Adaptations

• In the Walt Disney cartoon Fantasia (1940) the sacre was used as backing music for a segment that deals with the formation of the earth and the rise and fall of the dinosaurs .
• In the Rhythm Is It! In 2004, 250 young people from Berlin developed a performance of the Sacre under the direction of dance teacher Royston Maldoom with the Berliner Philharmoniker under Simon Rattle .
• The Berlin electronic artist Stefan Goldmann created an edit of 146 segments in 2009, which is composed of several dozen concert recordings of the Sacre , but faithfully reproduces the composition itself.
• The director and photographer Oliver Herrmann (1963–2003) designed a film in 2003 for the CD recording of the Berliner Philharmoniker under Simon Rattle. Herrmann was inspired by music to create a story that leads into the world of the Santería religion, one of the few archaic ritual religions still practiced today. The film premiered at the 2004 Berlin Film Festival in the Philharmonie with orchestra accompaniment.
• The Austrian composer Bernhard Gander continues the story of Le Sacre with his ensemble work Take Death (2013) insofar as the sacrificed virgin from the underworld returns to earth and takes terrible revenge on her tormentors. The piece, which can be located clearly in the context of contemporary art music, it but also by bonds of Electronic dance music and death metal refers to modern popular culture, was part of the music festival Le Sacre du Printemps 2013 at the Alte Oper in Frankfurt by the Ensemble Modern under Conductor Franck Ollu premiered.

literature

• Igor Stravinsky: Memories, Musical Poetics, Answers to 35 Questions. Atlantis, Zurich / Schott, Mainz 1957.
• Heinrich Lindlar (ed.): Igor Strawinsky. Suhrkamp, ​​Frankfurt am Main 1982, ISBN 3-518-37317-X .
• Shelley C. Berg: Le sacre du printemps. 7 productions from Nijinsky to Martha Graham. UMI Research Press, Ann Arbor 1988, ISBN 0-8357-1842-5 .
• Gabriele Brandstetter , Gabriele Klein (Hrsg.): Methods of dance studies. Model analyzes for Pina Bausch's “Le Sacre du Printemps”. Transcript, Bielefeld 2007, ISBN 978-3-89942-558-1 .
• Pieter C. van den Toorn: Stravinsky and The Rite of Spring: The Beginnings of a Musical Language. University of California Press, Berkeley 1987; ISBN 0-19-315331-9 .
• Assmann, Jan: The cultural memory of the Sacre du printemps: About archaic and modern in: Nieper, Lena and Schmitz, Julian (ed.): Music as a medium of memory. Memory - past - present. transcript-Verlag, Bielefeld 2016, ISBN 978-3-8376-3279-8

Movies

• 1913: The dance on the volcano. The year of “Sacre du Printemps”. (Alternative title: 1913: Danse sur un volcan. L'année du “Sacre du Printemps”. ) Documentary, Germany, 2013, 90 min., Concept: Dag Freyer, production: broadview.tv, Arte , ZDF , series: 100 years Sacre du Printemps, first broadcast: May 29, 2013 by Arte. The historical background of the ballet is interpreted in eleven chapters.

• 100 years of the Sacre du Printemps. About the history of the Sacre du Printemps. Documentary, Germany, 2013, 26 min., Script and director: Olivier Simonnet, production: Arte France, series: 100 years of Sacre du Printemps, first broadcast: May 29, 2013 by arte, by musik heute.

• Gala. 100 years of the Sacre du Printemps. The original choreography by Nijinsky. Live broadcast from the Théâtre des Champs-Élysées , France, ballet and the orchestra of the St. Petersburg Mariinsky Theater under the musical direction of Valery Gergiev , 33:40 min., 2013, production: Arte France, Camera lucida productions, first broadcast: 29. May 2013 at Arte, from musik heute. Choreography reconstructed by Millicent Hodson (1987), stage and costumes reconstructed by Kenneth Archer (1987).

• Coco Chanel & Igor Stravinsky . Feature film, France, 2009, 115 min., Written by Chris Greenhalgh, directed by Jan Kounen . The feature film begins with a reconstruction of the premiere in front of and behind the scenes.

Web links

Commons : Le Sacre du printemps  - Collection of images, videos and audio files

• Audio sample and description
• Semjon Bytschkow conducts "Le Sacre ..." with the WDR Symphony Orchestra, 2010 (AudioVideoLivestream)
• Le sacre du Printemps , choreography Pina Bausch , video at Dailymotion
• Le sacre du Printemps , choreography Angelin Preljocaj , video on YouTube
• Le sacre du printemps , Gala "100 Years of Sacre du Printemps" (Part II): modern choreography ( Sasha Waltz ), performance on May 29, 2013 in Paris, Théâtre des Champs-Elysées , broadcast live on arte (video on YouTube )
• Le sacre du Printemps , Gala “100 Years of the Sacre du Printemps” (part I): original choreography ( Nijinsky ), reconstruction by Millicent Hodson and Ken Archer, conducted by Valery Gergiev , ballet and orchestra of the Mariinsky Theater Saint Petersburg, performance from 29 May 2013 in Paris, Théâtre des Champs-Elysées, broadcast live on "arte" (video on "YouTube")

Individual evidence

1. ↑ Zeit Online 2013 No. 21: Ballet "Le Sacre du Printemps" Fever, Sex and Future , p. 2/3 (accessed on August 7, 2015)
2. ↑ Malcolm MacDonald, preface to the score Boosey & Hawkes 1997
3. ↑ Millicent Hodson: Puzzles choréographiques. Reconstitution du Sacre de Nijinsky. In: Étienne Souriau u. a. (Ed.): Le Sacre du Printemps de Nijinsky , Éditions Cicero, Paris 1990, pp. 45-74.
4. ↑ Theater of Sounds The Sacrifice . Retrieved October 17, 2015.
5. ^ Kerstin Hergt: Die Kraft des Körper / Tanz I: A film about Stephan Toss , in: Hannoversche Allgemeine Zeitung of March 27, 2008, p. 9
6. ↑ Compare the 2007 ZDF yearbook
7. ↑ ^{a b} Recording of the Sacre du printemps 2013 ( Memento of the original from June 7, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , at Arte (recording can no longer be called up) 
8. ↑ Sandra Luzina: "Sacre du printemps": Spring horror ; Tagesspiegel, May 30, 2013
9. ^ Stefan Goldmann: Igor Stravinsky: Le Sacre du Printemps- Stefan Goldmann Edit . In: Stefan Goldmann's website . June 30, 2009. Retrieved June 25, 2012.
10. ^ Arnd Wesemann: Book review. Bausch - a dance analysis. Ballettanz magazine , February 2008, p. 31.
11. ↑ 1913: The dance on the volcano. The year of “Sacre du Printemps” (Arte) ( Memento of the original from June 7, 2013 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. 
12. ↑ ^{a b} 100 years of Le sacre du printemps (Arte)