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[gentle suspenseful music] [dramatic suspenseful music] [intense dramatic music] [dramatic suspenseful music] [dramatic suspenseful music continues] [intense dramatic music] [soft dramatic suspenseful music] [intense dramatic music] [dramatic suspenseful music] [rousing dramatic suspenseful music] [ominous dramatic music] [ominous dramatic music continues] [ominous dramatic music continues] [suspenseful dramatic music] [suspenseful dramatic music continues] [suspenseful dramatic music continues] [suspenseful dramatic music continues] [suspenseful dramatic music continues] [suspenseful dramatic music continues] [suspenseful dramatic music continues] [suspenseful music] [suspenseful dramatic music] [suspenseful dramatic music continues] [gentle bright music] [dramatic music] [gentle dramatic music] - The loudest, most rambunctious pieces.

- We're not gonna be able to do this.

- Chaos.

- Tame the beast.

- There's a young girl, she has to die, and the timpani have to kill her.

- It is a real sort of moment in music.

- Maybe a Pandora's box, depending on your point of view.

[gentle dramatic music] [gentle dramatic music continues] - Probably 16 years old.

And it was one of those kind of thumbing through old CDs.

And I had first, like, I was first figuring out who Mahler was and all these huge composers.

And as a percussionist, just in high school band, I was looking for the loudest, most rambunctious pieces.

And someone had told me, "Well, you've got to check out this Stravinsky piece, it's called 'The Rite of Spring.'"

And intrigued, I put it on and was immediately floored.

- It's one of my favorite pieces to play, in spite of the challenges of the opening.

I find it to be one of the greatest pieces ever written, still to this day, it really has stood the test of time.

- It's one of those landmark pieces that changed the orchestral world completely.

I think of "Beethoven 3" as being another piece that just changed everything for the orchestral world.

- You know, there's music before we heard "The Rite of Spring," and then there's music after it, and they're two totally different universes.

[intense dramatic music] [intense dramatic music continues] - The rhythm is very complicated, yes.

For the orchestra, the score is very dense.

There's a lot going on.

It's almost like a rock song that you know.

It's almost like Queen "Bohemian Rhapsody."

Nobody really knows how that's written out, and there's seven 8 bars and five 16 bars, and it's not really in time, but everyone at a karaoke thing can sing it in time.

And "The Rite of Spring" kind of falls into that category, because of the familiarity, because we've been playing it regularly, and it entering the canon in that way, it's now kind of in everyone's bones.

- There's a moment where, you know, of course, the rhythms of the piece are very complicated and there's a lot going on, but there's always this moment somewhere in the rehearsal process where it stops being a rhythm and it starts being a groove, right?

And you start to actually dance "The Rite of Spring," like, as an orchestra, and sort of that moment, where it goes from one to the other, it's such a magical moment.

It always has to happen at some point before the concert and the moment that it happens is sort of, yeah, it's transformative.

- Yeah, it's interesting.

I mean, rhythmically speaking, other composers have continued sort of what "The Rite of Spring" did, but they've not been able to overtake what was so innovative about it.

[soft slow solemn music] - You're sitting there and the conductor does this, just to let you know that they're ready to go, and then all of a sudden you realize that there's all these eyes looking at you.

- Non-musicians can feel it and don't need to know anything more about music.

It's the feeling that he created.

And to think that that all, from what he said, came to him in a dream, is just, you know, the whole thing is epic.

- Audiences now know what they're getting into with the piece, and there's comfort in that.

Whereas I think in the beginning it was more like, "Oh, what is this piece?"

And then the riot, and then who knows other performances, how those went.

[laughs] But I think it's just, it's a testament to the brilliance of the work, that it's still being played.

- I think we come back to it because there's something sort of eternally eerie and unsettling about it, which in a way was the point.

You know, Stravinsky was writing these three ballets that he was writing at the time for the Ballets Russes in Paris, and one of their sort of musical goals slash marketing ploys, depending on how you wanna frame things, was to exploit the French listening public's desire to think of Russia in a very exoticized way and sort of, you know, the primitive Russian culture.

And this was very alluring to the, you know, upper class French listening audience.

- You know, just thinking about the history, thinking about 1913 and reading about the first performance and, you know, reading about Debussy, yelling "Genius, genius" during the first, you know, performance and Ravel having a similar reaction.

I mean, we love Debussy and Ravel for very different reasons from Stravinsky, but they were there, just like, "Wow, this is an epic life-changing moment."

- One of the great things about listening to "The Rite of Spring," is that he's not hiding the ball.

Like, the thing that you think he's telling you is important, is the thing that's important.

And so, you know, it doesn't, it of course rewards a huge amount of re-listening and study and reinterpretation, but it doesn't require it to have a meaningful artistic experience.

- It never stops surprising me.

I'm like, "Wow, I've never heard that before, or."

It's one of those pieces that keeps giving.

- It stands alone, for sure.

- Almost eternally compelling for an audience.

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