Editing The Rite of Spring (section)

=== Conception ===
[[File:Bakst Diaghilev.jpg|thumb|upright=0.9|[[Sergei Diaghilev]], director of the ''[[Ballets Russes]]'' from 1909 to 1929, as painted by [[Léon Bakst]]]]
Lawrence Morton, in a study of the origins of ''The Rite'', records that in 1907–08 Stravinsky set to music two poems from [[Sergey Gorodetsky]]'s collection ''Yar''. Another poem in the anthology, which Stravinsky did not set but is likely to have read, is "Yarila" which, Morton observes, contains many of the basic elements from which ''The Rite of Spring'' developed, including pagan rites, sage elders, and the propitiatory sacrifice of a young maiden: "The likeness is too close to be coincidental".<ref>{{cite journal|last= Morton|first= Lawrence|title= Footnotes to Stravinsky Studies: ''Le Sacre du printemps''|url= http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=6072712|journal=[[Tempo (journal)|Tempo]]|series=New Series|issue= 128|date= March 1979|pages=9–16|doi= 10.1017/S0040298200030539|s2cid= 145085291}} {{subscription required}}</ref><ref>Hill, pp, 102–104</ref> Stravinsky himself gave contradictory accounts of the genesis of ''The Rite''. In a 1920 article he stressed that the musical ideas had come first, that the pagan setting had been suggested by the music rather than the other way round.<ref>Hill, p. 3</ref> However, in his 1936 autobiography he described the origin of the work thus: "One day [in 1910], when I was finishing the last pages of ''L'Oiseau de Feu'' in Saint Petersburg, I had a fleeting vision&nbsp;... I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of the ''Sacre du printemps''."<ref>Stravinsky 1962, p. 31</ref>

By May 1910 Stravinsky was discussing his idea with [[Nicholas Roerich]], the foremost Russian expert on folk art and ancient rituals. Roerich had a reputation as an artist and mystic, and had provided the stage designs for Diaghilev's 1909 production of the ''Polovtsian Dances''.<ref name=H4 /> The pair quickly agreed on a working title, "The Great Sacrifice" (Russian: ''Velikaia zhertva'');<ref name=VdT2>Van den Toorn, p. 2</ref> Diaghilev gave his blessing to the work, although the collaboration was put on hold for a year while Stravinsky was occupied with his second major commission for Diaghilev, the ballet ''Petrushka''.<ref name=H4>Hill, pp. 4–8</ref>

In July 1911 Stravinsky visited Talashkino, near [[Smolensk]], where Roerich was staying with the [[Princess Maria Tenisheva]], a noted patron of the arts and a sponsor of Diaghilev's magazine ''[[Mir iskusstva|World of Art]]''. Here, over several days, Stravinsky and Roerich finalised the structure of the ballet.<ref>Stravinsky 1962, pp. 35–36</ref> [[Thomas Forrest Kelly|Thomas F. Kelly]], in his history of the ''Rite'' premiere, suggests that the two-part pagan scenario that emerged was primarily devised by Roerich.<ref>Kelly, p. 297</ref> Stravinsky later explained to Nikolai Findeyzen, the editor of the ''Russian Musical Gazette'', that the first part of the work would be called "The Kiss of the Earth", and would consist of games and ritual dances interrupted by a procession of [[Wise old man|sages]], culminating in a frenzied dance as the people embraced the spring. Part Two, "The Sacrifice", would have a darker aspect; secret night games of maidens, leading to the choice of one for sacrifice and her eventual dance to the death before the sages.<ref name=H4 /> The original working title was changed to "Holy Spring" (Russian:'' Vesna sviashchennaia''), but the work became generally known by the French translation ''Le Sacre du printemps'', or its English equivalent ''The Rite of Spring'', with the subtitle "Pictures of Pagan Russia".<ref name=VdT2 /><ref name="Grout and Palisca, p. 713">Grout and Palisca, p. 713</ref>