document_title: Ordeal by Innocence (TV series)

question_text: where is agatha christie ordeal by innocence filmed

text: Ordeal by Innocence (TV series)

text: Synopsis[edit]

text: Set in 1956,[1] the programme opens with the death of Rachel Argyll, a wealthy heiress who, with her husband, Leo Argyll, has adopted five children as they cannot have their own. Initially, son Jack Argyll is accused and awaits trial in prison before he himself is killed at the hands of another prisoner. Eighteen months later and the family is gearing up for a wedding; Leo Argyll is due to marry the Argyll family's former secretary, Gwenda Vaughn, when a mysterious stranger arrives at the door claiming to have an alibi for Jack for the night of the murder. The stranger, Dr Calgary, is unaware that Jack is dead and has come back to help get Jack released from jail. Because the family has received many visits from fraudsters claiming to be Jack's alibi, Dr Calgary's testimony is coldly received, and he is told in no uncertain terms to leave the family alone.

text: Dr Calgary is then threatened by the other son, Mickey Argyll, but is approached by Philip Durrant, the disabled husband of Mary who sees Dr Calgary as a cash cow. Dr Calgary is disgusted, but telephones Leo Argyll and tells him that his wife's murderer is still on the loose.

text: Differences from the novel[edit]

text: Just like many other novels and stories by Agatha Christie, Ordeal by Innocence is set in the West Country of England.[2] This production shifted the location to Scotland and it was filmed in and around Inverkip.[3]

text: The family name in the book is Argyle, whereas it is spelt Argyll in the programme (although the pronunciation is the same).[4] The main suspect character, Jack, is called Jacko in the book,[5] and he dies in prison from pneumonia, not by being beaten to death.

text: With regard to characters, Kirsten Lindstrom, the family's housekeeper, is a middle-aged Nordic woman in the novel—a detail that plays a key role in the book's solution; in the miniseries, she is turned into a Scottish woman in her thirties, who is one of Rachel's foundlings. Dr Calgary is portrayed as mentally disturbed in this version, putting his testimony into doubt, whereas in the book his testimony is seen as reliable from the very beginning. Other characters, such as Gwenda Vaughan, Mary Durrant, and Hester Argyll, are portrayed much more negatively than they were in the novel: Gwenda is bossy and smug, Mary is deeply embittered, and Hester is a secret alcoholic.

text: The solution has also been radically altered. In the book, Kirsten is seduced by Jack, who instructs her to murder Rachel and steal her money so that he can pay off his debts; he, in the meantime, establishes an alibi for himself by hitchhiking into town. His plan backfires when Dr Calgary does not come forward to corroborate his version of events, and Kirsten learns that he is already married. In the programme, it is Leo who murders Rachel after she catches him with Gwenda and demands a divorce. He kills her using an Egyptian statuette, and blames Jack for the crime when his fingerprints are found on Rachel's whisky decanter. Jack is revealed to be completely innocent, and his hitchhiking to town unpremeditated. In this version, Kirsten is not his lover, but his mother. It transpires that Leo impregnated her as a teenager, and allowed her to remain on as the family's housekeeper while Jack was raised with the other children. Jack learns of his parentage shortly before Rachel's murder; while in custody, he correctly guesses that Leo is the murderer and threatens retaliation. In turn, Leo has his corrupt police acquaintance, Bellamy Gould, beat Jack to death while in prison (as Jack had publicly accused Gould of paedophilia and was having an affair with his wife, Lydia). Like Kirsten in the novel, Leo later murders Philip when he begins nosing around too much (only Philip dies by being injected with a morphine overdose; in the novel, he is stabbed in the back of the head). Tina is also stabbed in the novel, though she survives; in the programme, this attack on her life does not occur.

text: The ending is also darker than Christie's original. After uncovering the truth, Kirsten tells the other children, who confront Leo with the real murder weapon. They then stage Leo's suicide so that Gwenda believes that he is dead, while in reality, they lock Leo up in the house's nuclear bunker—presumably for the rest of his life. Also, before he is confronted, Leo has Dr Calgary institutionalized again, but the children are later seen visiting him at the asylum, with the implication that they will attempt to have him released.

text: Cast[edit]

text:
Bill Nighy as Leo Argyll,[6][7] father, murdered Rachel's husband and future husband of Gwenda
Anthony Boyle as Jack Argyll, son and accused muderer
Anna Chancellor as Rachel Argyll,[a] mother and murder victim
Morven Christie as Kirsten Lindstrom, housekeeper
Crystal Clarke as Tina Argyll, daughter
Christian Cooke as Mickey Argyll,[b] son
Alice Eve as Gwenda Vaughn, future wife of Leo
Matthew Goode as Philip Durrant, Mary's husband
Ella Purnell as Hester Argyll, daughter
Eleanor Tomlinson as Mary Durrant, daughter and Philip's wife
Luke Treadaway as Doctor Arthur Calgary, Jack's potential alibi

text:
Brian McCardie as Bellamy Gould, chief detective
Luke Murray as young Jack
Hayden Robertson as young Hester
Catriona McNicholl as young Mary
Abigail Conteh as young Tina
Rhys Lambert as young Mickey
Frances Grey as Lydia Gould,[6] Bellamy's wife
Sammy Moore as Clive[9]
Sandy Welch as Doctor Edwin Morsuch[9]
Sandy Batchelor as Simon[10]
Stuart McQuarrie as Doctor[10]
Alexandra Finnie as young Kirsten[10]

text: Changes in cast

text:
Jump up ^ Catherine Keener was originally cast in the role of Rachel Argyll.[8]
Jump up ^ Ed Westwick was originally cast in the role of Mickey Argyll.[8]

tag: ol

text: Production[edit]

text: The mystery drama was adapted for the screen by Sarah Phelps who was behind the previous two Christie adaptations for the BBC over the Christmas period (And Then There Were None and The Witness for the Prosecution).[11] Phelps has admitted to changing some elements of the story, particularly the ending, and when asked about what the purists might think, she responded "I don’t give a bollocks about people saying it has to be pure. No, it doesn’t. If you want a pure adaptation, go and get someone else to do it."[12] However, the BBC and Phelps have come under criticism for changing the plot with many online users stating that Agatha Christie knew what she was writing about. One user said, "Why doesn't [Phelps] write her own books if she thinks she can do better than someone who's sold millions of books." [sic][recte?][13]

text: The three-parter was filmed in, and around, the town of Inverkip in the Inverclyde district west of Glasgow. Ardgowan House was used as the Argyll family home of Sunny Point.[14]

text: The series was originally supposed to have been broadcast over the Christmas and New Year holidays of 2017/2018, but was cancelled due to the sexual assault allegations against Westwick. Its broadcast over the Eastertide of 2018 has split the series into three episodes across three weeks which has lead to some dubbing it "ordeal by iPlayer".[15]

text: Episodes[edit]

text:
No.
Title
Directed by
Written by
Original air date
UK viewers
(millions)

1
"Episode 1"
Sandra Goldbacher
Sarah Phelps
1 April 2018 (2018-04-01)
7.80

Rachel Argyll falls to the floor, bleeding profusely from a wound to the back of her head caused by a whisky decanter. As her body is being carried off on a stretcher, one of her five adopted children, Jack, is fingerprinted and talks the crime over with his dad, Leo Argyll, at the police station. Jack is later beaten to death in prison and the family buries him. Eighteen months later, Leo Argyll is preparing to marry his secretary, Gwenda Vaughan. This sees the return of son Mickey to the house and the arrival of a strange visitor, Dr Arthur Calgary, who reveals that he gave a lift to Jack at the time that Rachel Argyll was murdered, thus proving belatedly Jack's innocence. The delay in coming forward is explained away by Calgary being a physicist who has been in the Arctic on a research project. Later, whilst Calgary is sleeping in his hotel room, Mickey Argyll goes to question him and warn him off. At the hotel, Philip Durrant, the husband of Rachel's eldest adopted daughter, joins Calgary for dinner to propose a plan to make money from Calgary's revelation by selling the story to the newspapers. Durrant, a former Royal Air Force pilot who was disabled in a car crash, is shown as an abusive husband and a morphine addict. His wife Mary Durrant is also nasty to Tina Argyll and tells Gwenda that she will never replace her mother.

2
"Episode 2"
Sandra Goldbacher
Sarah Phelps
8 April 2018 (2018-04-08)
6.11

Dr Calgary revisits Sunny Point and is spotted by Hester before Mickey forces him into a car and drives him to a railway station. He assaults Calgary and firmly puts him on a train and tells him to leave. Whilst in motion, Calgary gets the train to stop in the middle of nowhere so he can get off and go back. Over breakfast at Sunny Point, Phillip antagonises everyone and causes many arguments between the siblings. He points out that trying to hide the new found evidence from Calgary, would look suspicious to the police. Calgary later telephones the house with the housemaid, Kirsten, picking up the phone at the same time as Leo Argyll. Calgary informs Argyll that he is going to the police with Kirsten overhearing it all but saying nothing. Whilst Calgary is walking on the road, he is stopped by Bellamy Gould, Chief Constable and friend of Leo Argyll, who is driving a car. Gould questions Calgary's statement and seems to leave only to turn around and try to run Calgary down. Gould dies in trying, but Calgary survives. Calgary eventually gets a fair hearing form Leo Argyll and stays overnight at the house giving his version of events over dinner. The four remaining Argyll siblings meet later that night in the woods and argue about where they all were on the night of Rachel's murder and bicker in a display of sibling rivalry with Mary Durrant appearing as the most upset by events and how she feels the other children spoilt her relationship with Rachel. Near the end of the episode, Phillip Durrant is trying to leave the house when he hears footsteps behind him, he turns and says "of course it's you!". In the morning, Calgary reveals he wrote a detonation formula for the bombs dropped on Hiroshima and Nagasaki, this led him to go mad and be detained against his will at an asylum, not away at the Arctic, as he claimed in the first episode. On the night that Rachel died, he escaped and gave a lift to Jack. At breakfast, Calgary mentions that the shower in the Durrant's room has been going for some time. Leo Argyll and Calgary go to investigate and find Phillip Durrant dead on the floor of the shower with a hypodermic needle in his arm.

3
"Episode 3"
Sandra Goldbacher
Sarah Phelps
15 April 2018 (2018-04-15)
5.87

This episode runs over a very short time period but has flashbacks for all the characters and details their reasons for possibly being the killer of Rachel. Hester runs away from the house and when Rachel tracks her down, she drugs her and takes her to hospital where she instructs the doctor to terminate the pregnancy. Jack witnesses Mickey and Tina in a passionate embrace and uses this against Rachel. Later we see Rachel telling Tina that she is filth. When Rachel goes into Leo's study and discovers women's underwear on the floor, she goes to the very top floor of the house and catches Leo and Gwenda on the bed. She informs Gwenda that Leo has a habit of sleeping with the staff and that she is not the first. Gwenda retaliates in kind and Rachel smacks her across the face. Rachel tells Leo she is divorcing him and through the conversation, it is understood that the money is in her name and he will be penniless. When she leaves Leo's study, she is confronted by Mary who is upset that Rachel does not love her. Rachel tells her that she only adopted her because she was sad, and that it wasn't Mary's fault she could not stop her sadness. Jack witnesses this and is aghast, so he confronts his mother and she in turn tells him he is the son of Kirsten, the cook. Jack goes go see Kirsten and through another flashback, Jack is shown in the police station telling Leo that he knows that Leo is his father and that Kirsten is his mother. He tells Leo acidly that he will destroy him and ruin his life. Rachel is then shown being hit on the head with an Egyptian statuette by Leo and soon afterwards, Kirsten goes in to confront her about telling Jack of his parentage. Rachel dies in Kirsten's arms and the policeman, Gould, conspires with Leo to have Jack killed in prison. After Phillip is discovered dead, Leo has Calgary taken away to the asylum and Leo is confronted by his children and Kirsten who show him the statuette as the murder weapon, not the decanter that had Jack's fingerprints on it. Later, Gwenda and the four remaining children are shown on the dock by the lake dressed up for the wedding, but with police divers searching the lake. Gwenda is asking why Leo has killed himself. Later, Leo is shown waking up in the bunker underneath the house and pleading to be let out whilst Kirsten walks way smiling.

text: Sexual assault allegations[edit]

text: After the drama had completed filming, the actor playing the part of Mickey Argyll (Ed Westwick) was accused of sexual assault by two women. In the wake of other sexual assault scandals in 2017, the BBC decided to delay the broadcast pending an investigation into the allegations against Westwick.[16]

text: When two more women came forward to allege impropriety by Westwick, the BBC auditioned a new actor and re-shot Westwick's part with Christian Cooke. The BBC explained that as Ridley Scott had already done something similar with All the Money in the World,[17] they decided to re-shoot too as, as they described it, "hundreds and hundreds of hours of people's hard earned work would have been lost". Westwick has strenuously denied the allegations and had stated that nothing had been proven.[18]

text: Forty-five minutes of footage from 35 scenes was shot over 12 days with Christian Cooke.[12] The other actors in the production were drafted in and whilst most made the time, (one production personality described them all as very busy actors), not all of them were on set together at the same time. Alice Eve, who played Gwenda Vaughn, could not make it back from America and had to be split-screened into the new footage.[19] The actor Christian Cooke, praised the production staff in getting things organised so quickly and apart from one scene where Cooke's character has icy breath (in what was supposedly mid-summer), most critics agreed that the re-shoot went very well and that the production was "seamless".[1][20]

text: Critical reception[edit]

text: Lucy Mangan, writing in The Guardian, gave the first episode a maximum of five stars saying "The latest adaptation, rich, dark, adult and drawing on a backdrop of postwar grief and instability, are a far cry from the sunny – still murderous, but sunny – uplands scattered with millet seed for Joan Hickson to peck at as Miss Marple".[19]

text: Michael Hogan, writing in The Sunday Telegraph, gave the episode four stars out of a possible five saying that "initially, it was ponderous and confusing, with time-hops and a wide cast of characters", but that later "the pace steadily picked up [and] by the end of the hour, this whodunit had its hooks into me".[14] Also in The Sunday Telegraph, Ed Cumming described the series as "taut writing" but questioned the necessity for three episodes. He also noted that "everyone was so unlikeable".[21]

text: The Times gave the first episode four stars out of five and noted that in spite of the production having to have 35 scenes re-shot with new actor Christian Cooke, the production was seamless.[20] Similarly, the second episode was awarded four stars out of five. The reviewer lamented that the series had been "eked out over three weeks instead of a fortnight" but had described the episode as "rattling along rather nicely". Special mention was made of Matthew Goode who "...didn't just steal every scene he was in, he convinced us that the scene belonged to him in the first place".[22] The third episode also garnered four stars out of five from The Times. Carol Midgley said the ending where Leo Argyll ended up being locked away in the bunker by Kirsten, "unexpected". She also said that the plot was "overboiled" and did not show whether the "Argyll children were in on it, or did they think he'd drowned?". Midgley liked it overall and said that "apart from those final shark-jumping moments, I relished every other dark, delicious thing that the writer Sarah Phelps did to the story".[23]

text: The Radio Times reported that viewer feedback was positive although some had commented that the programme was confusing due to its forwards and backwards time jumps. Others criticised its soundtrack music and accused the male characters of looking too similar to each other.[24]


document_title: Norm Smith Medal

question_text: who won the norm smith medal in 2010

question_tokens: who won the norm smith medal in 2010

root

text: Norm Smith Medal

text: Voting and presentation[edit]

text: The winner is voted on by a five-member panel consisting of former players, journalists and media personalities, with one member designated as the chair.[7] Each panellist independently awards 3 votes, 2 votes and 1 vote to the players they regard as the best, second best and third best in the match respectively. These votes are tallied, and the highest number of combined votes wins the medal.[8]

tag: p

text: There is no chance of a tie for the medal; if two players are tied for votes, the following countbacks will apply in order:

text:
the player with the higher number of three-votes;
the player with the higher number of two-votes;
the player deemed best by the panel chair.[8]

tag: ul

text: Paul Chapman is the only player to win on a countback,[9] after he and Jason Gram tied with nine votes apiece in 2009.[10][11]

text: In some years judges were required to lodge their decisions prior to the completion of the match, to ensure votes were compiled in time for the ceremony.[12] This was changed following the 2002 AFL Grand Final, after Michael Voss had five crucial possessions in the last five minutes of the close game which could have swayed the voting, but eventually placed fourth behind Nathan Buckley.[12] After the match, three of the five judges suggested they would have voted differently if they had lodged their votes after the final siren.[12]

text: Prior to the 2016 season, if the Grand Final resulted in a draw, the game would be replayed the following week.[13] In such instances, a separate Norm Smith Medal was awarded in each game.[14] Since 2016, a drawn Grand Final would result in the use of extra time to determine the winner, rather than a full match replay.[13]

text: The medal is presented in a post-match ceremony held immediately after the conclusion of the match. Since 2004, former Norm Smith medallists have presented the award, in the order of the year in which they won;[15] as of 2017, Gary Ablett Sr. is the only former winner to decline presenting the award.[15]

text: Recipients[edit]

text:
Table key

^

Player was member of losing team

tag: table

text:
Table of recipients

Year

Recipient

Club

Ref

1979

Wayne Harmes

Carlton

[2]

1980

Kevin Bartlett

Richmond

[16]

1981

Bruce Doull

Carlton

[17]

1982

Maurice Rioli^

Richmond

[18]

1983

Colin Robertson

Hawthorn

[19]

1984

Billy Duckworth

Essendon

[20]

1985

Simon Madden

Essendon

[21]

1986

Gary Ayres

Hawthorn

[22]

1987

David Rhys-Jones

Carlton

[23]

1988

Gary Ayres (2)

Hawthorn

[22]

1989

Gary Ablett Sr.^

Geelong

[24]

1990

Tony Shaw

Collingwood

[25]

1991

Paul Dear

Hawthorn

[26]

1992

Peter Matera

West Coast

[27]

1993

Michael Long

Essendon

[28]

1994

Dean Kemp

West Coast

[29]

1995

Greg Williams

Carlton

[30]

1996

Glenn Archer

North Melbourne

[31]

1997

Andrew McLeod

Adelaide

[6]

1998

Andrew McLeod (2)

Adelaide

[6]

1999

Shannon Grant

North Melbourne

[32]

2000

James Hird

Essendon

[15]

2001

Shaun Hart

Brisbane Lions

[33]

2002

Nathan Buckley^

Collingwood

[34]

2003

Simon Black

Brisbane Lions

[35]

2004

Byron Pickett

Port Adelaide

[36]

2005

Chris Judd^

West Coast

[37]

2006

Andrew Embley

West Coast

[38]

2007

Steve Johnson

Geelong

[39]

2008

Luke Hodge

Hawthorn

[40]

2009

Paul Chapman

Geelong

[41]

2010[b]

Lenny Hayes

St Kilda

[42]

Scott Pendlebury

Collingwood

[43]

2011

Jimmy Bartel

Geelong

[44]

2012

Ryan O'Keefe

Sydney

[45]

2013

Brian Lake

Hawthorn

[46]

2014

Luke Hodge (2)

Hawthorn

[47]

2015

Cyril Rioli

Hawthorn

[48]

2016

Jason Johannisen

Western Bulldogs

[49]

2017

Dustin Martin

Richmond

[50]

2018

Luke Shuey

West Coast

[1]

text: Players with multiple wins[edit]

text:
Table of multiple recipients

Player

Geelong

Medals

Years

Gary Ayres

Hawthorn

2

1986, 1988

Andrew McLeod

Adelaide

2

1997, 1998

Luke Hodge

Hawthorn

2

2008, 2014

text: Club totals[edit]

text:
Table key

†

Club no longer participates in the AFL

text:
Table of clubs' totals

Club

Total

Years

Hawthorn

8

1983, 1986, 1988, 1991, 2008, 2013, 2014, 2015

West Coast

5

1992, 1994, 2005, 2006, 2018

Carlton

4

1979, 1981, 1987, 1995

Essendon

4

1984, 1985, 1993, 2000

Geelong

4

1989, 2007, 2009, 2011

Collingwood

3

1990, 2002, 2010[b]

Richmond

3

1980, 1982, 2017

Adelaide

2

1997, 1998

North Melbourne

2

1996, 1999

Brisbane Lions

2

2001, 2003

Port Adelaide

1

2004

St Kilda

1

2010[b]

Sydney

1

2012

Western Bulldogs

1

2016

Melbourne

0[c]

—

Fremantle

0[d]

—

Gold Coast

—[e]

—

Greater Western Sydney

—[e]

—

Fitzroy†

—[f]

—

Brisbane Bears†

—[g]

—


document_title: Turkey at the FIFA World Cup

question_text: when was the last time turkey was in the world cup

text: Turkey at the FIFA World Cup

text: Record at the FIFA World Cup[edit]

text:
Year
Round
Position
GP
W
D*
L
GF
GA

 1930
Did not enter

 1934
Withdrew

 1938
Did not enter

 1950
Withdrew

 1954
Group stage
9th
3
1
0
2
10
11

 1958
Withdrew

 1962
Did not qualify

 1966

 1970

 1974

 1978

 1982

 1986

 1990

 1994

 1998

  2002
Semi-finals
3rd
7
4
1
2
10
6

 2006
Did not qualify

 2010

 2014

 2018

 2022
To be determined

   2026

Total
2/21
-
10
5
1
4
20
17

text: By Match[edit]

text:
World Cup

Round

Opponent

Score

Result

Venue

Scorers

1954
Group stage
 West Germany
1–4
L
Bern
S. Mamat

 South Korea
7–0
W
Geneva
B. Sargun (3), S. Mamat (2), L. Küçükandonyadis, E. Keskin

 West Germany
2–7
L
Zürich
M. Ertan, L. Küçükandonyadis

2002
Group stage
 Brazil
1–2
L
Ulsan
H. Şaş

 Costa Rica
1–1
D
Incheon
E. Belözoğlu

 China PR
3–0
W
Seoul
H. Şaş, B. Korkmaz, Ü. Davala

Round of 16
 Japan
1–0
W
Rifu
Ü. Davala

Quarter-finals
 Senegal
1–0 (a.e.t.)
W
Osaka
İ. Mansız

Semi-finals
 Brazil
0–1
L
Saitama
&—

Third place play-off
 South Korea
3–2
W
Daegu
İ. Mansız (2), H. Şükür

text: Record by Opponent[edit]

text:
FIFA World Cup matches (by team)

Opponent

Wins

Draws

Losses

Total

Goals Scored

Goals Conceded

 Brazil
0
0
2
2
1
3

 China PR
1
0
0
1
3
0

 Costa Rica
0
1
0
1
1
1

 Japan
1
0
0
1
1
0

 Senegal
1
0
0
1
1
0

 South Korea
2
0
0
2
10
2

 West Germany
0
0
2
2
3
11

text: Turkey at 1954 FIFA World Cup[edit]

text: Head coach:  Sandro Puppo

text:
No.

Pos.

Player

Date of birth (age)

Caps

Club

1

1GK

Turgay Şeren (captain)

 (1932-05-15)15 May 1932 (aged 22)

11

 Galatasaray S.K.

2

2DF

Rıdvan Bolatlı

 (1928-12-02)2 December 1928 (aged 25)

2

 MKE Ankaragücü SK

3

2DF

Basri Dirimlili

 (1929-06-07)7 June 1929 (aged 25)

3

 Fenerbahçe SK

4

2DF

Mustafa Ertan

 (1926-04-21)21 April 1926 (aged 28)

4

 MKE Ankaragücü SK

5

3MF

Çetin Zeybek

 (1932-09-12)12 September 1932 (aged 21)

2

 Kasımpaşa SK

6

3MF

Rober Eryol

 (1930-12-21)21 December 1930 (aged 23)

5

 Galatasaray S.K.

7

4FW

Erol Keskin

 (1927-03-02)2 March 1927 (aged 27)

1

 Adalet SK Istanbul

8

4FW

Suat Mamat

 (1930-11-08)8 November 1930 (aged 23)

2

 Galatasaray S.K.

9

4FW

Feridun Buğeker

 (1933-04-05)5 April 1933 (aged 21)

3

 Fenerbahçe SK

10

4FW

Burhan Sargun

 (1929-02-11)11 February 1929 (aged 25)

5

 Fenerbahçe SK

11

4FW

Lefter Küçükandonyadis

 (1925-12-22)22 December 1925 (aged 28)

3

 Fenerbahçe SK

12

1GK

Şükrü Ersoy

 (1934-01-14)14 January 1934 (aged 20)

3

 Vefa SK

13

2DF

Bülent Eken

 (1923-01-26)26 January 1923 (aged 31)

11

 Galatasaray S.K.

14

2DF

Ali Beratlıgil

 (1931-10-21)21 October 1931 (aged 22)

2

 Galatasaray S.K.

15

3MF

Mehmet Dinçer

 (1933-02-20)20 February 1933 (aged 21)

0

 Fenerbahçe SK

16

2DF

Nedim Günar

 (1932-01-02)2 January 1932 (aged 22)

0

 Fenerbahçe SK

17

2DF

Naci Erdem

 (1931-01-28)28 January 1931 (aged 23)

0

 Fenerbahçe SK

18

2DF

Kaçmaz Akgün

 (1935-02-19)19 February 1935 (aged 19)

1

 MKE Ankaragücü SK

19

2DF

Ahmet Berman

 (1932-01-01)1 January 1932 (aged 22)

0

 Beşiktaş J.K.

20

4FW

Necmi Onarıcı

 (1925-11-02)2 November 1925 (aged 28)

0

 Adalet SK Istanbul

21

4FW

Kadri Aytaç

 (1931-08-06)6 August 1931 (aged 22)

0

 Galatasaray S.K.

22

4FW

Coşkun Taş

 (1935-04-23)23 April 1935 (aged 19)

2

 Beşiktaş J.K.

text: Group Stage[edit]

text:
Team

Pld

W

D

L

GF

GA

Pts

 Hungary

2
2
0
0
17
3
4

 West Germany

2
1
0
1
7
9
2

 Turkey

2
1
0
1
8
4
2

 South Korea

2
0
0
2
0
16
0

text: West Germany finished ahead of Turkey by winning a play-off

text:
West Germany

4 – 1

 Turkey

Schäfer  14'Klodt  52'O. Walter  60'Morlock  84'

Report

Suat  2'

text:
Turkey

7 – 0

 South Korea

Suat  10', 30'Lefter  24'Burhan  37', 64', 70'Erol  76'

Report

text: Play-off[edit]

text:
West Germany

7 – 2

 Turkey

O. Walter  7'Schäfer  12', 79'Morlock  30', 60', 77'F. Walter  62'

Report

Mustafa  21'Lefter  82'

text: Turkey at 2002 FIFA World Cup[edit]

text: Head coach: Şenol Güneş

text:
No.

Pos.

Player

Date of birth (age)

Caps

Club

1

1GK

Rüştü Reçber

 (1973-05-10)10 May 1973 (aged 29)

64

 Fenerbahçe

2

2DF

Emre Aşık

 (1973-12-13)13 December 1973 (aged 28)

16

 Galatasaray

3

2DF

Bülent Korkmaz

 (1968-11-24)24 November 1968 (aged 33)

68

 Galatasaray

4

2DF

Fatih Akyel

 (1977-12-26)26 December 1977 (aged 24)

36

 Fenerbahçe

5

2DF

Alpay Özalan

 (1973-05-29)29 May 1973 (aged 29)

62

 Aston Villa

6

4FW

Arif Erdem

 (1972-01-02)2 January 1972 (aged 30)

50

 Galatasaray

7

3MF

Okan Buruk

 (1973-10-19)19 October 1973 (aged 28)

26

 Inter

8

3MF

Tugay Kerimoğlu

 (1970-08-24)24 August 1970 (aged 31)

69

 Blackburn Rovers

9

4FW

Hakan Şükür (c)

 (1971-09-01)1 September 1971 (aged 30)

73

 Parma

10

3MF

Yıldıray Baştürk

 (1978-12-24)24 December 1978 (aged 23)

13

 Bayer 04 Leverkusen

11

4FW

Hasan Şaş

 (1976-08-01)1 August 1976 (aged 25)

14

 Galatasaray

12

1GK

Ömer Çatkıç

 (1974-10-15)15 October 1974 (aged 27)

6

 Gaziantepspor

13

3MF

Mustafa İzzet

 (1974-10-31)31 October 1974 (aged 27)

7

 Leicester City

14

3MF

Tayfur Havutçu

 (1970-04-23)23 April 1970 (aged 32)

39

 Beşiktaş

15

4FW

Nihat Kahveci

 (1979-11-23)23 November 1979 (aged 22)

11

 Real Sociedad

16

2DF

Ümit Özat

 (1976-10-30)30 October 1976 (aged 25)

14

 Fenerbahçe

17

4FW

İlhan Mansız

 (1975-08-10)10 August 1975 (aged 26)

6

 Beşiktaş

18

3MF

Ergün Penbe

 (1972-05-17)17 May 1972 (aged 30)

21

 Galatasaray

19

3MF

Abdullah Ercan

 (1971-12-08)8 December 1971 (aged 30)

70

 Fenerbahçe

20

2DF

Hakan Ünsal

 (1973-05-14)14 May 1973 (aged 29)

25

 Galatasaray

21

3MF

Emre Belözoğlu

 (1980-09-07)7 September 1980 (aged 21)

11

 Inter

22

3MF

Ümit Davala

 (1973-07-30)30 July 1973 (aged 28)

24

 A.C. Milan

23

1GK

Zafer Özgültekin

 (1975-03-10)10 March 1975 (aged 27)

1

 Ankaragücü

text:
Pos

Team[ vte ]

Pld

W

D

L

GF

GA

GD

Pts

Qualification

1

 Brazil

3

3

0

0

11

3

+8

9

Advance to knockout stage

2

 Turkey

3

1

1

1

5

3

+2

4

3

 Costa Rica

3

1

1

1

5

6

−1

4

4

 China PR

3

0

0

3

0

9

−9

0

text: Brazil vs Turkey[edit]

text:
Brazil

2–1

 Turkey

Ronaldo  50'Rivaldo  87' (pen.)

Report

Hasan Şaş  45+2'

text:
Brazil

Turkey

text:
GK
1
Marcos

CB
4
Roque Júnior

CB
3
Lúcio

CB
5
Edmílson

RWB
2
Cafu (c)

LWB
6
Roberto Carlos

CM
8
Gilberto Silva

CM
19
Juninho Paulista

 72'

RF
11
Ronaldinho

 67'

CF
9
Ronaldo

 73'

LF
10
Rivaldo

Substitutions:

FW
17
Denílson
 73'
 67'

MF
18
Vampeta

 72'

FW
21
Luizão

 73'

Manager:

Luiz Felipe Scolari

GK
1
Rüştü Reçber

CB
5
Alpay Özalan
 44', 86'

CB
16
Ümit Özat

CB
3
Bülent Korkmaz

 66'

RM
4
Fatih Akyel
 21'

CM
8
Tugay Kerimoğlu

 88'

LM
20
Hakan Ünsal
 24', 90+4'

RW
21
Emre Belözoğlu

AM
10
Yıldıray Baştürk

 66'

LW
11
Hasan Şaş

CF
9
Hakan Şükür (c)

Substitutions:

FW
17
İlhan Mansız

 66'

MF
22
Ümit Davala

 66'

FW
6
Arif Erdem

 88'

Manager:

Şenol Güneş

text:
Man of the Match:
Rivaldo (Brazil)
Assistant referees:
Visva Krishnan (Singapore)
Vladimir Fernández (El Salvador)
Fourth official:
Vítor Melo Pereira (Portugal)

text: Costa Rica vs Turkey[edit]

text:
Costa Rica

1–1

 Turkey

Parks  86'

Report

Emre  56'

text:
Costa Rica

Turkey

text:
GK
1
Erick Lonnis (c)

CB
5
Gilberto Martínez
 24'

CB
4
Mauricio Wright

CB
3
Luis Marín

RM
15
Harold Wallace

 77'

CM
10
Walter Centeno

 66'

CM
8
Mauricio Solís

CM
6
Wilmer López

 77'

CM
11
Rónald Gómez

LM
22
Carlos Castro
 43'

CF
9
Paulo Wanchope

Substitutions:

FW
17
Hernán Medford

 66'

MF
12
Winston Parks

 77'

FW
16
Steven Bryce

 77'

Manager:

Alexandre Guimarães

GK
1
Rüştü Reçber

CB
16
Ümit Özat

CB
2
Emre Aşık
 20'

CB
18
Ergün Penbe

RM
4
Fatih Akyel

CM
8
Tugay Kerimoğlu
 45'
 88'

LM
21
Emre Belözoğlu
 89'

RW
22
Ümit Davala

AM
10
Yıldıray Baştürk

 79'

LW
11
Hasan Şaş

CF
9
Hakan Şükür (c)

 75'

Substitutions:

FW
17
İlhan Mansız

 75'

FW
15
Nihat Kahveci

 79'

FW
6
Arif Erdem

 88'

Manager:

Şenol Güneş

text:
Man of the Match:
Paulo Wanchope (Costa Rica)
Assistant referees:
Dramane Danté (Mali)
Brighton Mudzamiri (Zimbabwe)
Fourth official:
Óscar Ruiz (Colombia)

text: Turkey vs China PR[edit]

text:
Turkey

3–0

 China PR

Hasan Şaş  6'Bülent  9'Ümit  85'

Report

text:
Turkey

China PR

text:
GK
1
Rüştü Reçber

 35'

CB
4
Fatih Akyel

CB
2
Emre Aşık
 19'

CB
3
Bülent Korkmaz

RM
22
Ümit Davala

CM
8
Tugay Kerimoğlu

 84'

LM
20
Hakan Ünsal

RW
10
Yıldıray Baştürk

 70'

AM
11
Hasan Şaş
 81'

LW
21
Emre Belözoğlu
 30'

CF
9
Hakan Şükür (c)

Substitutions:

GK
12
Ömer Çatkıç

 35'

FW
17
İlhan Mansız

 70'

MF
14
Tayfur Havutçu

 84'

Manager:

Şenol Güneş

GK
22
Jiang Jin (c)

RB
21
Xu Yunlong

CB
17
Du Wei

CB
14
Li Weifeng
 62'

LB
4
Wu Chengying

 46'

RM
18
Li Xiaopeng

CM
8
Li Tie

CM
15
Zhao Junzhe

LM
3
Yang Pu
 45+1'

CF
10
Hao Haidong

 73'

CF
20
Yang Chen

 73'

Substitutions:

MF
6
Shao Jiayi
 58'
 46'

MF
11
Yu Genwei

 73'

FW
16
Qu Bo

 73'

Manager:

 Bora Milutinović

text:
Man of the Match:
Hasan Şaş (Turkey)
Assistant referees:
Ali Tomusange (Uganda)
Curtis Charles (Antigua and Barbuda)
Fourth official:
Byron Moreno (Ecuador)

text: Second Round Japan vs Turkey[edit]

text:
Japan

0–1

 Turkey

Report

Ümit Davala  12'

text:
Japan

Turkey

text:
GK
12
Seigo Narazaki

CB
3
Naoki Matsuda

CB
17
Tsuneyasu Miyamoto (c)

CB
16
Kōji Nakata

RM
20
Tomokazu Myojin

CM
21
Kazuyuki Toda
 45'

CM
7
Hidetoshi Nakata

CM
5
Junichi Inamoto

 46'

LM
18
Shinji Ono

CF
9
Akinori Nishizawa

CF
14
Alex

 46'

Substitutions:

FW
11
Takayuki Suzuki

 46'

MF
22
Daisuke Ichikawa

 46'
 86'

MF
8
Hiroaki Morishima

 86'

Manager:

 Philippe Troussier

GK
1
Rüştü Reçber

RB
5
Alpay Özalan
 21'

CB
3
Bülent Korkmaz

LB
20
Hakan Ünsal

CM
4
Fatih Akyel

CM
8
Tugay Kerimoğlu

CM
18
Ergün Penbe
 44'

RW
22
Ümit Davala

 74'

AM
10
Yıldıray Baştürk

 90'

LW
11
Hasan Şaş

 85'

CF
9
Hakan Şükür (c)
 90'

Substitutions:

MF
15
Nihat Kahveci

 74'

FW
14
Tayfur Havutçu

 85'

FW
17
İlhan Mansız

 90'

Manager:

Şenol Güneş

text:
Man of the Match:
Alpay Özalan (Turkey)
Assistant referees:
Maciej Wierzbowski (Poland)
Paul Smith (New Zealand)
Fourth official:
Graham Poll (England)

text: Quarter-Final Senegal vs Turkey[edit]

text:
Senegal

0–1 (a.e.t.)

 Turkey

Report

İlhan  94'

text:
Senegal

Turkey

text:
GK
1
Tony Sylva

RB
17
Ferdinand Coly

CB
13
Lamine Diatta

CB
4
Papa Malick Diop

LB
2
Omar Daf
 12'

CM
19
Papa Bouba Diop

CM
6
Aliou Cissé (c)
 63'

CM
15
Salif Diao

RF
7
Henri Camara

CF
11
El Hadji Diouf

LF
10
Khalilou Fadiga

Manager:

 Bruno Metsu

GK
1
Rüştü Reçber

RB
4
Fatih Akyel

CB
5
Alpay Özalan

CB
3
Bülent Korkmaz

LB
18
Ergün Penbe

RM
22
Ümit Davala

CM
8
Tugay Kerimoğlu

LM
21
Emre Belözoğlu
 22'
 91'

AM
10
Yıldıray Baştürk

AM
11
Hasan Şaş

CF
9
Hakan Şükür (c)

 67'

Substitutions:

FW
17
İlhan Mansız
 87'
 67'

FW
6
Arif Erdem

 91'

Manager:

Şenol Güneş

text:
Man of the Match:
Hasan Şaş (Turkey)
Assistant referees:
Jorge Rattalino (Argentina)
Miguel Giacomuzzi (Paraguay)
Fourth official:
Gilles Veissière (France)

text: Semi-Final Brazil vs Turkey[edit]

text:
Brazil

1-0

 Turkey

Ronaldo

Report

text:
Brazil

Turkey

text:
GK
1
Marcos

CB
3
Lúcio

CB
4
Roque Júnior

CB
5
Edmílson

RM
2
Cafu (c)

CM
15
Kléberson

 85'

CM
8
Gilberto Silva
 41'

LM
6
Roberto Carlos

RF
20
Edílson

 75'

CF
9
Ronaldo

 68'

LF
10
Rivaldo

Substitutions:

FW
21
Luizão

 68'

MF
17
Denílson

 75'

DF
13
Belletti

 85'

Manager:

Luiz Felipe Scolari

GK
1
Rüştü Reçber

RB
4
Fatih Akyel

CB
5
Alpay Özalan

CB
3
Bülent Korkmaz

LB
18
Ergün Penbe

DM
8
Tugay Kerimoğlu
 59'

RM
22
Ümit Davala

 74'

CM
10
Yıldıray Baştürk

 88'

LM
21
Emre Belözoğlu

 62'

CF
11
Hasan Şaş
 90'

CF
9
Hakan Şükür (c)

Substitutions:

FW
17
İlhan Mansız

 62'

MF
13
Muzzy Izzet

 74'

FW
6
Arif Erdem

 88'

Manager:

Şenol Güneş

text:
Man of the Match:
Ronaldo (Brazil)
Assistant referees:
Maciej Wierzbowski (Poland)
Igor Sramka (Slovakia)
Fourth official:
Brian Hall (United States)

text: Third place play-off[edit]

text: Hakan Şükür scored the fastest goal in World Cup finals history with a low left footed shot past the goalkeeper from the edge of the penalty box after 11 seconds.[5]

text:
South Korea

2–3

 Turkey

Lee Eul-yong  9'Song Chong-gug  90+3'

Report

Hakan Şükür  1'İlhan  13', 32'

text:
South Korea

Turkey

text:
GK
1
Lee Woon-jae

CB
6
Yoo Sang-chul

CB
20
Hong Myung-bo (c)

 46'

CB
15
Lee Min-sung

RM
22
Song Chong-gug

CM
21
Park Ji-sung

CM
10
Lee Young-pyo

LM
13
Lee Eul-yong
 23'
 65'

RF
9
Seol Ki-hyeon

 79'

CF
19
Ahn Jung-hwan

LF
14
Lee Chun-soo

Substitutions:

DF
7
Kim Tae-Young

 46'

FW
16
Cha Du-ri

 65'

MF
8
Choi Tae-uk

 79'

Manager:

 Guus Hiddink

GK
1
Rüştü Reçber
 83'

RB
4
Fatih Akyel

CB
5
Alpay Özalan

CB
3
Bülent Korkmaz

LB
18
Ergün Penbe

RM
22
Ümit Davala

 76'

CM
8
Tugay Kerimoğlu
 50'

CM
10
Yıldıray Baştürk

 86'

LM
21
Emre Belözoğlu

 41'

CF
9
Hakan Şükür (c)

CF
17
İlhan Mansız

Substitutions:

MF
20
Hakan Ünsal

 41'

MF
7
Okan Buruk

 76'

MF
14
Tayfur Havutçu

 86'

Manager:

Şenol Güneş

text:
Man of the Match:
Hakan Şükür (Turkey)
Assistant referees:
Ali Al Traifi (Saudi Arabia)
Héctor Vergara (Canada)
Fourth official:
Felipe Ramos (Mexico)

text: Record players[edit]

text: Seven players have been fielded in all seven matches in Turkey's Third-Place-run in 2002. Of those seven, only Fatih Akyel has played every minute of the tournament.

text:
No.

Name

Matches

World Cups

1

Fatih Akyel
7
2002

Hakan Şükür
7
2002

İlhan Mansız
7
2002

Rüştü Reçber
7
2002

Tugay Kerimoğlu
7
2002

Ümit Davala
7
2002

Yıldıray Baştürk
7
2002

8

Bülent Korkmaz
6
2002

Emre Belözoğlu
6
2002

Hasan Şaş
6
2002

text: Top goalscorers[edit]

text: A notable goal has been scored by Hakan Şükür in the Third Place match against South Korea, when he scored after only 10.89 seconds. It is the fastest goal in FIFA World Cup history, breaking Czechoslovakian striker Václav Mašek's 40-year-old record of 16 seconds.

text:
No.

Name

Goals

World Cup

1

Burhan Sargun
3
1954

Suat Mamat
3
1954

İlhan Mansız
3
2002

4

Lefter Küçükandonyadis
2
1954

Hasan Şaş
2
2002

Ümit Davala
2
2002

7

Erol Keskin
1
1954

Mustafa Ertan
1
1954

Bülent Korkmaz
1
2002

Emre Belözoğlu
1
2002

Hakan Şükür
1
2002


document_title: The Rite of Spring

question_text: the introduction to stravinsky’s the rite of spring begins with a melody played on the

question_tokens: the introduction to stravinsky 's the rite of spring begins with a melody played on the

text: The Rite of Spring

text: Background[edit]

text: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, née Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home.[1] In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F♯ minor (1903–04), a Symphony in E♭ major (1907), which he catalogued as "Opus 1", and a short orchestral piece, Feu d'artifice ("Fireworks", composed in 1908).[2][3]

text: In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences.[4] Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world.[5] In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer Léon Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent.[6] Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening "Nocturne" and the closing "Valse Brillante"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.[4]

text: Stravinsky worked through the winter of 1909–10, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, "the very essence of a great personality".[7] The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success.[8] This ensured that the Diaghilev–Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring.[4]

text: Synopsis and structure[edit]

text: In a note to the conductor Serge Koussevitzky in February 1914, Stravinsky described The Rite of Spring as "a musical-choreographic work, [representing] pagan Russia ... unified by a single idea: the mystery and great surge of the creative power of Spring". In his analysis of The Rite, Pieter van den Toorn writes that the work lacks a specific plot or narrative, and should be considered as a succession of choreographed episodes.[9]

text: The French titles are given in the form given in the four-part piano score published in 1913. There have been numerous variants of the English translations; those shown are from the 1967 edition of the score.[9]

text:
Episode

English translation

Synopsis[n 1]

Part I: L'Adoration de la Terre (Adoration of the Earth)[9]

Introduction

Introduction

Before the curtain rises, an orchestral introduction resembles, according to Stravinsky, "a swarm of spring pipes [dudki]"[10]

Les Augures printaniers

Augurs of Spring

The celebration of spring begins in the hills. An old woman enters and begins to foretell the future.

Jeu du rapt

Ritual of Abduction

Young girls arrive from the river, in single file. They begin the "Dance of the Abduction".

Rondes printanières

Spring Rounds

The young girls dance the Khorovod, the "Spring Rounds".

Jeux des cités rivales

Ritual of the Rival Tribes

The people divide into two groups in opposition to each other, and begin the "Ritual of the Rival Tribes".

Cortège du sage: Le Sage

Procession of the Sage: The Sage

A holy procession leads to the entry of the wise elders, headed by the Sage who brings the games to a pause and blesses the earth.[n 2]

Danse de la terre

Dance of the Earth

The people break into a passionate dance, sanctifying and becoming one with the earth.

Part II: Le Sacrifice (The Sacrifice)[9]

Introduction

Introduction

Cercles mystérieux des adolescentes

Mystic Circles of the Young Girls

The young girls engage in mysterious games, walking in circles.

Glorification de l'élue

Glorification of the Chosen One

One of the young girls is selected by fate, being twice caught in the perpetual circle, and is honoured as the "Chosen One" with a martial dance.

Évocation des ancêtres

Evocation of the Ancestors

In a brief dance, the young girls invoke the ancestors.

Action rituelle des ancêtres

Ritual Action of the Ancestors

The Chosen One is entrusted to the care of the old wise men.

Danse sacrale (L'Élue)

Sacrificial Dance

The Chosen One dances to death in the presence of the old men, in the great "Sacrificial Dance".

text: Creation[edit]

text: Conception[edit]

text: 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".[11][12] 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.[13] 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 St Petersburg, I had a fleeting vision ... 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".[14]

text: 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.[15] The pair quickly agreed on a working title, "The Great Sacrifice" (Russian: Velikaia zhertva);[16] 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.[15]

text: 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 World of Art. Here, over several days, Stravinsky and Roerich finalised the structure of the ballet.[17] Thomas F. Kelly, in his history of the Rite premiere, suggests that the two-part pagan scenario that emerged was primarily devised by Roerich.[18] 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 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.[15] 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".[16][19]

text: Composition[edit]

text: Stravinsky's sketchbooks show that after returning to his home at Ustilug in Ukraine in September 1911, he worked on two movements, the "Augurs of Spring" and the "Spring Rounds".[20] In October he left Ustilug for Clarens in Switzerland, where in a tiny and sparsely-furnished room—an 8-by-8-foot (2.4 by 2.4 m) closet, with only a muted upright piano, a table and two chairs[21]—he worked throughout the 1911–12 winter on the score.[22] By March 1912, according to the sketchbook chronology, Stravinsky had completed Part I and had drafted much of Part II.[20] He also prepared a two-hand piano version, subsequently lost,[22] which he may have used to demonstrate the work to Diaghilev and the Ballet Russes conductor Pierre Monteux in April 1912.[23] He also made a four-hand piano arrangement which became the first published version of The Rite; he and the composer Claude Debussy played the first half of this together, in June 1912.[22]

text: Following Diaghilev's decision to delay the premiere until 1913, Stravinsky put  The Rite aside during the summer of 1912.[24] He enjoyed the Paris season, and accompanied Diaghilev to the Bayreuth Festival to attend a performance of Parsifal.[25] Stravinsky resumed work on The Rite in the autumn; the sketchbooks indicate that he had finished the outline of the final sacrificial dance on 17 November 1912.[20] During the remaining months of winter he worked on the full orchestral score, which he signed and dated as "completed in Clarens, March 8, 1913".[26] He showed the manuscript to Maurice Ravel, who was enthusiastic and predicted, in a letter to a friend, that the first performance of the Le Sacre would be as important as the 1902 premiere of Debussy's Pelléas et Mélisande.[27] After the orchestral rehearsals began in late March, Monteux drew the composer's attention to several passages which were causing problems: inaudible horns, a flute solo drowned out by brass and strings, and multiple problems with the balance among instruments in the brass section during fortissimo episodes.[26] Stravinsky amended these passages, and as late as April was still revising and rewriting the final bars of the "Sacrificial Dance". Revision of the score did not end with the version prepared for the 1913 premiere; rather, Stravinsky continued to make changes for the next 30 years or more. According to Van den Toorn, "[n]o other work of Stravinsky's underwent such a series of post-premiere revisions".[28]

text: Stravinsky acknowledged that the work's opening bassoon melody was derived from an anthology of Lithuanian folk songs,[29] but maintained that this was his only borrowing from such sources;[30] if other elements sounded like aboriginal folk music, he said, it was due to "some unconscious 'folk' memory".[31] However, Morton has identified several more melodies in Part I as having their origins in the Lithuanian collection.[32][33] More recently Richard Taruskin has discovered in the score an adapted tune from one of Rimsky-Korsakov's "One Hundred Russian National Songs".[31][34] Taruskin notes the paradox whereby The Rite, generally acknowledged as the most revolutionary of the composer's early works, is in fact rooted in the traditions of Russian music.[35]

text: Realisation[edit]

text: Taruskin has listed a number of sources that Roerich consulted when creating his designs. Among these are the Primary Chronicle, a 12th-century compendium of early pagan customs, and Alexander Afanasyev's study of peasant folklore and pagan prehistory.[36] The Princess Tenisheva's collection of costumes was an early source of inspiration.[15] When the designs were complete, Stravinsky expressed delight and declared them "a real miracle".[36]

text:
Stravinsky's relationship with his other main collaborator, Nijinsky, was more complicated. Diaghilev had decided that
Nijinsky's genius as a dancer would translate into the role of ballet-master; he was not dissuaded when Nijinsky's first attempt at choreography, Debussy's L'après-midi d'un faune, caused controversy and near-scandal because of the dancer's novel stylised movements and his overtly sexual gesture at the work's end.[37][38] It is apparent from contemporary correspondence that, at least initially, Stravinsky viewed Nijinsky's talents as a choreographer with approval; a letter he sent to Findeyzen praises the dancer's "passionate zeal and complete self-effacement".[39] However, in his 1936 memoirs Stravinsky writes that the decision to employ Nijinsky in this role filled him with apprehension; although he admired Nijinsky as a dancer he had no confidence in him as a choreographer: "... the poor boy knew nothing of music. He could neither read it nor play any instrument".[40][n 3] Later still, Stravinsky would ridicule Nijinsky's dancing maidens as "knock-kneed and long-braided Lolitas".[21]

text: Stravinsky's autobiographical account refers to many "painful incidents" between the ballet-master and the dancers during the rehearsal period.[42] By the beginning of 1913, when Nijinsky was badly behind schedule, Stravinsky was warned by Diaghilev that "unless you come here immediately ... the Sacre will not take place". The problems were slowly overcome, and when the final rehearsals were held in May 1913, the dancers appeared to have mastered the work's difficulties. Even the Ballets Russes's sceptical stage director, Serge Grigoriev, was full of praise for the originality and dynamism of Nijinsky's choreography.[43]

text: The conductor Pierre Monteux had worked with Diaghilev since 1911 and had been in charge of the orchestra at the premiere of Petrushka. Monteux's first reaction to The Rite, after hearing Stravinsky play a piano version, was to leave the room and find a quiet corner. He drew Diaghilev aside and said he would never conduct music like that; Diaghilev managed to change his mind.[44] Although he would perform his duties with conscientious professionalism, he never came to enjoy the work; nearly fifty years after the premiere he told enquirers that he detested it.[45] In old age he said to Sir Thomas Beecham's biographer Charles Reid: "I did not like Le Sacre then.  I have conducted it fifty times since.  I do not like it now".[44] On 30 March Monteux informed Stravinsky of modifications he thought were necessary to the score, all of which the composer implemented.[46] The orchestra, drawn mainly from the Concerts Colonne in Paris, comprised 99 players, much larger than normally employed at the theatre, and had difficulty fitting into the orchestra pit.[47]

text: After the first part of the ballet received two full orchestral rehearsals in March, Monteux and the company departed to perform in Monte Carlo. Rehearsals resumed when they returned; the unusually large number of rehearsals—seventeen solely orchestral and five with the dancers—were fit into the fortnight before the opening, after Stravinsky's arrival in Paris on 13 May.[48] The music contained so many unusual note combinations that Monteux had to ask the musicians to stop interrupting when they thought they had found mistakes in the score, saying he would tell them if something was played incorrectly. According to Doris Monteux, "The musicians thought it absolutely crazy".[48] At one point—a climactic brass fortissimo—the orchestra broke into nervous laughter at the sound, causing Stravinsky to intervene angrily.[49][n 4]

text: The role of the sacrificial victim was to have been danced by Nijinsky's sister, Bronislava Nijinska; when she became pregnant during rehearsals, she was replaced by the then relatively unknown Maria Piltz.[41]

text: Performance history and reception[edit]

text: Premiere[edit]

text: Paris's Théâtre des Champs-Élysées was a new structure, which had opened on 2 April 1913 with a programme celebrating the works of many of the leading composers of the day. The theatre's manager, Gabriel Astruc, was determined to house the 1913 Ballets Russes season, and paid Diaghilev the large sum of 25,000 francs per performance, double what he had paid the previous year.[52]  The programme for 29 May 1913, as well as the Stravinsky premiere,  included Les Sylphides, Weber's Le Spectre de la Rose and Borodin's Polovtsian Dances.[53] Ticket sales for the evening, ticket prices being doubled for a premiere, amounted to 35,000 francs.[54] A dress rehearsal was held in the presence of members of the press and assorted invited guests. According to Stravinsky all went peacefully.[55] However, the critic of L'Écho de Paris, Adolphe Boschot, foresaw possible trouble; he wondered how the public would receive the work, and suggested that they might react badly if they thought they were being mocked.[56]

text: On the evening of 29 May the theatre was packed. Gustav Linor reported, "Never ... has the hall been so full, or so resplendent; the stairways and the corridors were crowded with spectators eager to see and to hear".[57] The evening began with Les Sylphides, in which Nijinsky and Karsavina danced the main roles.[53] The Rite followed. Some eyewitnesses and commentators said that the disturbances in the audience began during the Introduction, and grew in a crescendo when the curtain rose on the stamping dancers in "Augurs of Spring". But music historian Richard Taruskin asserts, "it was not Stravinsky's music that did the shocking. It was the ugly earthbound lurching and stomping devised by Vaslav Nijinsky."[58] Marie Rambert, who was working as an assistant to Nijinsky, recalled later that it was soon impossible to hear the music on the stage.[59] In his autobiography, Stravinsky writes that the derisive laughter that greeted the first bars of the Introduction disgusted him, and that he left the auditorium to watch the rest of the performance from the stage wings. The demonstrations, he says, grew into "a terrific uproar" which, along with the on-stage noises, drowned out the voice of Nijinsky who was shouting the step numbers to the dancers.[55] The journalist and photographer Carl Van Vechten recorded that the person behind him got carried away with excitement, and "began to beat rhythmically on top of my head", though Van Vechten failed to notice this at first, his own emotion being so great.[60]

text: At that time, a Parisian ballet audience typically consisted of two diverse groups: the wealthy and fashionable set, who would be expecting to see a traditional performance with beautiful music, and a "Bohemian" group who, the poet-philosopher Jean Cocteau asserted, would "acclaim, right or wrong, anything that is new because of their hatred of the boxes".[61] Monteux believed that the trouble began when the two factions   began attacking each other, but their mutual anger was soon diverted towards the orchestra: "Everything available was tossed in our direction, but we continued to play on". Around forty of the worst offenders were ejected—possibly with the intervention of the police, although this is uncorroborated. Through all the disturbances the performance continued without interruption. Things grew noticeably quieter during Part II, and by some accounts Maria Piltz's rendering of the final "Sacrificial Dance" was watched in reasonable silence. At the end there were several curtain calls for the dancers, for Monteux and the orchestra, and for Stravinsky and Nijinsky before the evening's programme continued.[62]

text: Among the more hostile press reviews was that of Le Figaro's critic, Henri Quittard, who called the work "a laborious and puerile barbarity" and added "We are sorry to see an artist such as M. Stravinsky involve himself in this disconcerting adventure".[63] On the other hand, Gustav Linor, writing in the leading theatrical magazine Comoedia, thought the performance was superb, especially that of Maria Piltz; the disturbances, while deplorable, were merely "a rowdy debate" between two ill-mannered factions.[64] Emile Raudin, of Les Marges, who had barely heard the music, wrote: "Couldn't we ask M. Astruc ... to set aside one performance for well-intentioned spectators? ... We could at least propose to evict the female element".[62] The composer Alfredo Casella thought that the demonstrations were aimed at Nijinsky's choreography rather than at the music,[65] a view shared by the critic Michel-Dimitri Calvocoressi, who wrote: "The idea was excellent, but was not successfully carried out". Calvocoressi failed to observe any direct hostility to the composer—unlike, he said, the premiere of Debussy's Pelléas et Mélisande in 1902.[66] Of later reports that the veteran composer Camille Saint-Saëns had stormed out of the premiere, Stravinsky observed that this was impossible; Saint-Saëns did not attend.[67][n 5] Stravinsky also rejected Cocteau's story that, after the performance, Stravinsky, Nijinsky, Diaghilev and Cocteau himself took a cab to the Bois de Boulogne where a tearful Diaghilev recited poems by Pushkin. Stravinsky merely recalled a celebratory dinner with Diaghilev and Nijinsky, at which the impresario expressed his entire satisfaction with the outcome.[69] To Maximilien Steinberg, a former fellow-pupil under Rimsky-Korsakov, Stravinsky wrote that Nijinsky's choreography had been "incomparable: with the exception of a few places, everything was as I wanted it".[39]

text: Initial run and early revivals[edit]

text: The premiere was followed by five further performances of The Rite at the Théâtre des Champs-Élysées, the last on 13 June. Although these occasions were relatively peaceful, something of the mood of the first night remained; the composer Puccini, who attended the second performance on 2 June,[70][71] described the choreography as ridiculous and the music cacophonous—"the work of a madman. The public hissed, laughed – and applauded".[72] Stravinsky, confined to his bed by typhoid fever,[73] did not join the company when it went to London for four performances at the Theatre Royal, Drury Lane.[74] Reviewing the London production, The Times critic was impressed how different elements of the work came together to form a coherent whole, but was less enthusiastic about the music itself, opining that Stravinsky had entirely sacrificed melody and harmony for rhythm: "If M. Stravinsky had wished to be really primitive, he would have been wise to ... score his ballet for nothing but drums".[75] The ballet historian Cyril Beaumont commented on the "slow, uncouth movements" of the dancers, finding these "in complete opposition to the traditions of classical ballet".[60]

text: After the opening Paris run and the London performances, events conspired to prevent further stagings of the ballet. Nijinsky's choreography, which Kelly describes as "so striking, so outrageous, so frail as to its preservation", did not appear again until attempts were made to reconstruct it in the 1980s.[62] On 19 September 1913 Nijinsky married Romola de Pulszky while the Ballets Russes was on tour without Diaghilev in South America. When Diaghilev found out he was distraught and furious that his lover had married, and dismissed Nijinsky. Diaghilev was then obliged to re-hire Fokine, who had resigned in 1912 because Nijinsky had been asked to choreograph Faune. Fokine made it a condition of his re-employment that none of Nijinsky's choreography would be performed.[76] In a letter to the art critic and historian Alexandre Benois, Stravinsky wrote, "[T]he possibility has gone for some time of seeing anything valuable in the field of dance and, still more important, of again seeing this offspring of mine".[77]

text: With the disruption following the outbreak of the First World War in August 1914  and the dispersal of many artistes, Diaghilev was ready to re-engage Nijinsky as both dancer and choreographer, but Nijinsky had been placed under house arrest in Hungary as an enemy Russian citizen. Diaghilev negotiated  his release in 1916 for a tour in the  United States,  but the dancer's mental health steadily declined and he took no further part in professional ballet after 1917.[78] In 1920, when Diaghilev decided to revive The Rite, he found that no one now remembered the choreography.[79] After spending most of the war years in Switzerland, and becoming a permanent exile from his homeland after the 1917 Russian Revolution, Stravinsky resumed his partnership with Diaghilev when the war ended. In December 1920 Ernest Ansermet conducted a new production in Paris, choreographed by Léonide Massine, with the Nicholas Roerich designs retained; the lead dancer was Lydia Sokolova.[60] In his memoirs, Stravinsky is equivocal about the Massine production; the young ballet-master, he writes, showed "unquestionable talent", but there was something "forced and artificial" in his choreography, which lacked the necessary organic relationship with the music.[80] Sokolova, in her later account, recalled some of the tensions surrounding the production, with Stravinsky, "wearing an expression that would have frightened a hundred Chosen Virgins, pranc[ing] up and down the centre aisle" while Ansermet rehearsed the orchestra.[81]

text: Later choreographies[edit]

text: The ballet was first shown in the United States on 11 April 1930, when Massine's 1920 version was performed by the Philadelphia Orchestra in Philadelphia under Leopold Stokowski, with Martha Graham dancing the role of the Chosen One.[82] The production moved to New York, where Massine was relieved to find the audiences receptive, a sign, he thought, that New Yorkers were finally beginning to take ballet seriously.[83] The first American-designed production, in 1937, was that of the Modern Dance exponent Lester Horton, whose version replaced the original pagan Russian setting with a Wild West background and the use of Native American dances.[83]

text: In 1944 Massine began a new collaboration with Roerich, who before his death in 1947 completed a number of sketches for a new production which Massine brought to fruition at La Scala, Milan in 1948.[82] This heralded a number of significant postwar European productions. Mary Wigman in Berlin (1957) followed Horton in highlighting the erotic aspects of virgin sacrifice, as did Maurice Béjart in Brussels (1959). Béjart' s representation replaced the culminating sacrifice with a depiction of what the critic Robert Johnson describes as "ceremonial coitus".[83] The Royal Ballet's 1962 production, choreographed by Kenneth MacMillan and designed by Sidney Nolan, was first performed on 3 May and was a critical triumph. It has remained in the company's repertoire for more than 50 years; after its revival in May 2011 The Daily Telegraph's critic Mark Monahan called it one of the Royal Ballet's greatest achievements.[84] Moscow first saw The Rite in 1965, in a version choreographed for the Bolshoi Ballet by Natalia Kasatkina and Vladimir Vasiliev. This production was shown in Leningrad four years later, at the Maly Opera Theatre,[85] and introduced a storyline that provided the Chosen One with a lover who wreaks vengeance on the elders after the sacrifice. Johnson describes the production as "a product of state atheism ... Soviet propaganda at its best".[83]

text: In 1975 Pina Bausch, who had taken over the Wuppertal ballet company, caused a stir in the ballet world with her stark depiction, played out on an earth-covered stage, in which the Chosen One is sacrificed to gratify the misogyny of the surrounding men.[86] At the end, according to The Guardian's Luke Jennings, "the cast is sweat-streaked, filthy and audibly panting".[87] Part of this dance appears in the movie Pina. In America, in 1980, Paul Taylor used Stravinsky's four-hand piano version of the score as the background for a scenario based on child murder and gangster film images.[83] In February 1984 Martha Graham, in her 90th year, resumed her association with The Rite by choreographing a new production at New York's State Theater.[88] The New York Times critic declared the performance "a triumph ... totally elemental, as primal in expression of basic emotion as any tribal ceremony, as hauntingly staged in its deliberate bleakness as it is rich in implication".[89]

text: On 30 September 1987, the Joffrey Ballet in Los Angeles performed The Rite based on a reconstruction of Nijinsky's 1913 choreography, until then thought lost beyond recall. The performance resulted from years of research, primarily by Millicent Hodson, who pieced the choreography together from the original prompt books, contemporary sketches and photographs, and the recollections of Marie Rambert and other survivors.[90] Hodson's version has since been performed by the Kirov Ballet, at the Mariinsky Theatre in 2003 and later that year at Covent Garden.[91][92] In its 2012–13 season the Joffrey Ballet gave centennial performances at numerous venues, including the University of Texas on 5–6 March 2013, the University of Massachusetts on 14 March 2013, and with The Cleveland Orchestra on 17–18 August 2013.[93][94][95]

text: The music publishers Boosey & Hawkes have estimated that since its premiere, the ballet has been the subject of at least 150 productions, many of which have become classics and have been performed worldwide.[96] Among the more radical interpretations is Glen Tetley's 1974 version, in which the Chosen One is a young male.[97] More recently there have been solo dance versions devised by Molissa Fenley[98][99] and Javier de Frutos, a punk rock interpretation from Michael Clark,[96] and Rites (2008), by The Australian Ballet in conjunction with Bangarra Dance Theatre, which represents Aboriginal perceptions of the elements of earth, air, fire and water.[100]

text: Concert performances[edit]

text: On 18 February 1914 The Rite received its first concert performance (the music without the ballet), in St Petersburg under Serge Koussevitzky.[101] On 5 April that year, Stravinsky experienced for himself the popular success of The Rite as a concert work, at the Casino de Paris. After the performance, again under Monteux, the composer was carried in triumph from the hall on the shoulders of his admirers.[102] The Rite had its first British concert performance on 7 June 1921, at the Queen's Hall in London under Eugene Goossens. Its American premiere occurred on 3 March 1922, when  Stokowski included it in a Philadelphia Orchestra programme.[103] Goossens was also responsible for introducing The Rite to Australia on 23 August 1946 at the Sydney Town Hall, as guest conductor of the Sydney Symphony Orchestra.[104][105]

text: Stravinsky first conducted the work in 1926, in a concert given by the Concertgebouw Orchestra in Amsterdam;[28][106] two years later he brought it to the Salle Pleyel in Paris for two performances under his baton. Of these occasions he later wrote that "thanks to the experience I had gained with all kinds of orchestras ... I had reached a point where I could obtain exactly what I wanted, as I wanted it".[107] Commentators have broadly agreed that the work has had a greater impact in the concert hall than it has on the stage; many of Stravinsky's revisions to the music were made with the concert hall rather than the theatre in mind.[108] The work has become a staple in the repertoires of all the leading orchestras, and has been cited by Leonard Bernstein as "the most important piece of music of the 20th century".[109]

text: In 1963, 50 years after the premiere, Monteux (then aged 88) agreed to conduct a commemorative performance at London's Royal Albert Hall. According to Isaiah Berlin, a close friend of the composer, Stravinsky informed him that he had no intention of hearing his music being "murdered by that frightful butcher". Instead he arranged tickets for that particular evening's performance of Mozart's opera The Marriage of Figaro, at Covent Garden. Under pressure from his friends, Stravinsky was persuaded to leave the opera after the first act. He arrived at the Albert Hall just as the performance of The Rite was ending;[n 6] composer and conductor shared a warm embrace in front of the unaware, wildly cheering audience.[111] Monteux's biographer John Canarina provides a different slant on this occasion, recording that by the end of the evening Stravinsky had asserted that "Monteux, almost alone among conductors, never cheapened Rite or looked for his own glory in it, and he continued to play it all his life with the greatest fidelity".[112]

text: Music[edit]

text: General character[edit]

text: Commentators have often described The Rite's music in vivid terms; Paul Rosenfeld, in 1920, wrote of it "pound[ing] with the rhythm of engines, whirls and spirals like screws and fly-wheels, grinds and shrieks like laboring metal".[113] In a more recent analysis, The New York Times critic Donal Henahan refers to "great crunching, snarling chords from the brass and thundering thumps from the timpani".[114] The composer Julius Harrison acknowledged the uniqueness of the work negatively: it demonstrated Stravinsky's "abhorrence of everything for which music has stood these many centuries ... all human endeavour and progress are being swept aside to make room for hideous sounds ..."[115]

text: In The Firebird, Stravinsky had begun to experiment with bitonality (the use of two different keys simultaneously). He took this technique further in Petrushka, but reserved its full effect for The Rite where, as the analyst E.W. White explains, he "pushed [it] to its logical conclusion".[116] White also observes the music's complex metrical character, with combinations of duple and triple time in which a strong irregular beat is emphasised by powerful percussion.[117] The music critic Alex Ross has described the irregular process whereby Stravinsky adapted and absorbed traditional Russian folk material into the score. He "proceeded to pulverize them into motivic bits, pile them up in layers, and reassemble them in cubistic collages and montages".[118]

text: The duration of the work is about 35 minutes.

text: Instrumentation[edit]

text: The score calls for a large orchestra consisting of the following instruments.

text:
Woodwinds

1 piccolo
3 flutes (third doubling second piccolo)
1 alto flute
4 oboes (fourth doubling second English horn)
1 English horn
3 clarinets in B♭ and A (third doubling second bass clarinet)
1 clarinet in E♭ and D
1 bass clarinet
4 bassoons (fourth doubling second contrabassoon)
1 contrabassoon
Brass

8 horns (seventh and eighth doubling tenor Wagner tubas[119])
1 trumpet in D
4 four trumpets in C (fourth doubling bass trumpet in E♭)
2 trombones
1 bass trombone
2 bass tubas

Percussion

5 timpani (requiring two players)
bass drum
tam-tam
triangle
tambourine
cymbals
antique cymbals in A♭ and B♭
güiro
Strings

Violins I, II
Violas
Cellos
Double basses[120]

text: Despite the large orchestra, much of the score is written chamber-fashion, with individual instruments and small groups having distinct roles.[47]:

text: Part I: The Adoration of the Earth[edit]

text: The opening melody is played by a solo bassoon in a very high register, which renders the instrument almost unidentifiable;[121] gradually other woodwind instruments are sounded and are eventually joined by strings.[122] The sound builds up before stopping suddenly, Hill says, "just as it is bursting ecstatically into bloom". There is then a reiteration of the opening bassoon solo, now played a semitone lower.[123]

text: The first dance, "Augurs of Spring", is characterised by a repetitive stamping chord in the horns and strings, based on E♭ superimposed on a triad of E, G♯ and B.[124] White suggests that this bitonal combination, which Stravinsky considered the focal point of the entire work, was devised on the piano, since the constituent chords are comfortable fits for the hands on a keyboard.[125] The rhythm of the stamping is disturbed by Stravinsky's constant shifting of the accent, on and off the beat,[126] before the dance ends in a collapse, as if from exhaustion.[122] Alex Ross[127] has summed up the pattern as follows:

text: one two three four five six seven eight

text: one two three four five six seven eight

text: According to Roger Nichols (1978, p7) “At first sight there seems no pattern in the distribution of accents to the stamping chords.  Taking the initial quaver of bar 1 as a natural accent we have for the first outburst the following groups of quavers: 9, 2, 6, 3, 4, 5, 3. However, these apparently random numbers make sense when split into two groups:

text: Clearly the top line is decreasing, the bottom line increasing, and by respectively decreasing and increasing amounts …Whether Stravinsky worked them out like this we shall probably never know.  But the way two different rhythmic ‘orders’ interfere with each other to produced apparent chaos is… a typically Stravinskyan notion." [128]

text: The "Ritual of Abduction" which follows is described by Hill as "the most terrifying of musical hunts".[129] It concludes in a series of flute trills that usher in the "Spring Rounds", in which a slow and laborious theme gradually rises to a dissonant fortissimo, a "ghastly caricature" of the episode's main tune.[122]

text: Brass and percussion predominate as the "Ritual of the Rival Tribes" begins. A tune emerges on tenor and bass tubas, leading after much repetition to the entry of the Sage's procession.[122] The music then comes to a virtual halt, "bleached free of colour" (Hill),[130] as the Sage blesses the earth. The "Dance of the Earth" then begins, bringing Part I to a close in a series of phrases of the utmost vigour which are abruptly terminated in what Hill describes as a "blunt, brutal amputation".[131]

text: Part II: The Sacrifice[edit]

text: Part II has a greater cohesion than its predecessor. Hill describes the music as following an arc stretching from the beginning of the Introduction to the conclusion of the final dance.[131] Woodwind and muted trumpets are prominent throughout the Introduction, which ends with a number of rising cadences on strings and flutes. The transition into the "Mystic Circles" is almost imperceptible; the main theme of the section has been prefigured in the Introduction. A loud repeated chord, which Berger likens to a call to order, announces the moment for choosing the sacrificial victim. The "Glorification of the Chosen One" is brief and violent; in the "Evocation of the Ancestors" that follows, short phrases are interspersed with drum rolls. The "Ritual Action of the Ancestors" begins quietly, but slowly builds to a series of climaxes before subsiding suddenly into the quiet phrases that began the episode.[122]

text: The final transition introduces the "Sacrificial Dance". This is written as a more disciplined ritual than the extravagant dance that ended Part I, though it contains some wild moments, with the large percussion section of the orchestra given full voice. Stravinsky had difficulties with this section, especially with the final bars that conclude the work. The abrupt ending displeased several critics, one of whom wrote that the music "suddenly falls over on its side". Stravinsky himself referred to the final chord disparagingly as "a noise", but in his various attempts to amend or rewrite the section, was unable to produce a more acceptable solution.[81]

text: Influence and adaptations[edit]

text: The music historian Donald Jay Grout has written: "The Sacre is undoubtedly the most famous composition of the early 20th century ... it had the effect of an explosion that so scattered the elements of musical language that they could never again be put together as before".[19] The academic and critic Jan Smaczny, echoing Bernstein, calls it one of the 20th century's most influential compositions, providing "endless stimulation for performers and listeners".[109][132] According to Kelly the 1913 premiere might be considered "the most important single moment in the history of 20th century music", and its repercussions continue to reverberate in the 21st century.[133] Ross has described The Rite as a prophetic work, presaging the "second avant-garde" era in classical composition—music of the body rather than of the mind, in which "[m]elodies would follow the patterns of speech; rhythms would match the energy of dance ... sonorities would have the hardness of life as it is really lived".[134]

text: Among 20th-century composers most influenced by The Rite is Stravinsky's near contemporary, Edgard Varèse, who had attended the 1913 premiere. Varèse, according to Ross, was particularly drawn to the "cruel harmonies and stimulating rhythms" of The Rite, which he employed to full effect in his concert work Amériques (1921), scored for a massive orchestra with added sound effects including a lion's roar and a wailing siren.[135][136] Aaron Copland, to whom Stravinsky was a particular inspiration in the former's student days, considered The Rite a masterpiece that had created "the decade of the displaced accent and the polytonal chord".[137] Copland adopted Stravinsky's technique of composing in small sections which he then shuffled and rearranged, rather than working through from beginning to end.[138] Ross cites the music of Copland's ballet Billy the Kid as coming directly from the "Spring Rounds" section of The Rite.[139] For Olivier Messiaen The Rite was of special significance; he constantly analysed and expounded on the work, which gave him an enduring model for rhythmic drive and assembly of material.[140]

text: After the premiere the writer Léon Vallas opined that Stravinsky had written music 30 years ahead of its time, suitable to be heard in 1940. Coincidentally, it was in that year that Walt Disney released Fantasia, an animated feature film using music from The Rite and other classical compositions, conducted by Stokowski.[133] The Rite segment of the film depicted the Earth's prehistory, with the creation of life, leading to the extinction of the dinosaurs as the finale. Among those impressed by the film was Gunther Schuller, later a composer, conductor and jazz scholar. The Rite of Spring sequence, he says, overwhelmed him and determined his future career in music: "I hope [Stravinsky] appreciated that hundreds—perhaps thousands—of musicians were turned onto The Rite of Spring ... through Fantasia, musicians who might otherwise never have heard the work, or at least not until many years later".[141] In later life Stravinsky claimed distaste for the adaptation, though as Ross remarks, he said nothing critical at the time; according to Ross, the composer Paul Hindemith observed that "Igor appears to love it".[142]

text: Recordings[edit]

text: Before the first gramophone disc recordings of The Rite were issued in 1929, Stravinsky had helped to produce a pianola version of the work for the London branch of the Aeolian Company.[143] He also created a much more comprehensive arrangement for the Pleyela, manufactured by the French piano company Pleyel, with whom he signed two contracts in April and May 1921, under which many of his early works were reproduced on this medium.[144][145] The Pleyela version of The Rite of Spring was issued in 1921; the British pianolist Rex Lawson first recorded the work in this form in 1990.[146]

text: In 1929 Stravinsky and Monteux vied with each other to conduct the first orchestral gramophone recording of The Rite. While Stravinsky led L'Orchestre des Concerts Straram in a recording for the Columbia label, at the same time Monteux was recording it for the HMV label. Stokowski's version followed in 1930. Stravinsky made two more recordings, in 1940 and 1960.[146][147] According to the critic Edward Greenfield, Stravinsky was not technically a great conductor but, Greenfield says, in the 1960 recording with the Columbia Symphony Orchestra the composer inspired a performance with "extraordinary thrust and resilience".[148] In conversations with Robert Craft, Stravinsky reviewed several recordings of The Rite made in the 1960s. He thought Herbert von Karajan's 1963 recording with the Berlin Philharmonic, was good, but "the performance is ... too polished, a pet savage rather than a real one". Stravinsky thought that Pierre Boulez, with the Orchestre National de France (1963), was "less good than I had hoped ... very bad tempi and some tasteless alterations". He praised a 1962 recording by The Moscow State Symphony Orchestra   for making the music sound Russian, "which is just right", but Stravinsky's concluding judgement was that none of these three performances was worth preserving.[149]

text: As of 2013 there were well over 100 different recordings of The Rite commercially available, and many more held in library sound archives. It has become one of the most recorded of all 20th century musical works.[146][150]

text: Editions[edit]

text: The first published score was the four-hand piano arrangement (Edition Russe de Musique, RV196), dated 1913. Publication of the full orchestral score was prevented by the outbreak of war in August 1914. After the revival of the work in 1920 Stravinsky, who had not heard the music for seven years, made numerous revisions to the score, which was finally published in 1921 (Edition Russe de Musique, RV 197/197b. large and pocket scores).[28][151]

text: In 1922 Ansermet, who was preparing to perform the work in Berlin, sent to Stravinsky a list of errors he had found in the published score.[151] In 1926, as part of his preparation for that year's performance with the Concertgebouw Orchestra, Stravinsky rewrote the "Evocation of the Ancestors" section and made substantial changes to the "Sacrificial Dance". The extent of these revisions, together with Ansermet's recommendations, convinced Stravinsky that a new edition was necessary, and this appeared in large and pocket form in 1929. It did not, however, incorporate all of Ansermet's amendments and, confusingly, bore the date and RV code of the 1921 edition, making the new edition hard to identify.[28]

text: Stravinsky continued to revise the work, and in 1943 rewrote the "Sacrificial Dance". In 1948 Boosey & Hawkes issued a corrected version of the 1929 score (B&H 16333), although Stravinsky's substantial 1943 amendment of the "Sacrificial Dance" was not incorporated into the new version and remained unperformed, to the composer's disappointment. He considered it "much easier to play ... and superior in balance and sonority" to the earlier versions.[151] A less musical motive for the revisions and corrected editions was copyright law. The composer had left Galaxy Music Corporation (agents for Editions Russe de la Musique, the original publisher) for Associated Music Publishers at the time, and orchestras would be reluctant to pay a second rental charge from two publishers to match the full work and the revised Sacrificial Dance; moreover, the revised dance could only be published in America. The 1948 score provided copyright protection to the work in America, where it had lapsed, but Boosey (who acquired the Editions Russe catalogue) did not have the rights to the revised finale.[152]

text: The 1929 score as revised in 1948 forms the basis of most modern performances of The Rite. Boosey & Hawkes reissued their 1948 edition in 1965, and produced a newly engraved edition (B&H 19441) in 1967. The firm also issued an unmodified reprint of the 1913 piano reduction in 1952 (B&H 17271) and a revised piano version, incorporating the 1929 revisions, in 1967.[28]

text: The Paul Sacher Foundation, in association with Boosey & Hawkes, announced in May 2013, as part of The Rite's centenary celebrations, their intention to publish the 1913 autograph score, as used in early performances. After being kept in Russia for decades, the autograph score was acquired by Boosey & Hawkes in 1947. The firm presented the score to Stravinsky in 1962, on his 80th birthday. After the composer's death in 1971 the manuscript was acquired by the Paul Sacher Foundation. As well as the autograph score, they have published the manuscript piano four-hands score.[153][154]

text: In 2000, Kalmus Music Publishers brought out an edition where former Philadelphia Orchestra librarian Clint Nieweg made over 21,000 corrections to the score and parts. Since then a published errata list has added some 310 more corrections, and this is considered to be the most accurate version of the work as of 2013.[155]


document_title: Hughes (surname)

question_text: where does the last name hughes come from

text: Hughes (surname)

text:
Hughes

Origin

Region of origin
Wales, Ireland

Language(s)
Welsh, Irish Gaelic

Meaning
patronymic name for "son of Hugh" or "fire"

Other names

Variant(s)
Ó hAodha, McHugh, MacHugh, O'Hugh, Ap Huw, Ap Hugh, Huson, Hughs, Hews, Hayes, Pugh

text: Hughes /hjuːz/ is an Anglified spelling of the Welsh and Irish patronymic surname of French origin. The surname may also be the etymologically unrelated Picard variant "Hugh" (Old French "Hue") of the Germanic name "Hugo".

text: Wales[edit]

text: In Wales and other areas of Brythonic Britain, the surname derives from the personal name "Hu" or "Huw", meaning "fire" or "inspiration". At the time of the British Census of 1881, the relative frequency of the surname "Hughes" was highest on the Welsh island of Ynys Môn (Anglesey) (37.2 times the British average), followed by Gwynedd, Flintshire, Denbighshire, Meirionydd, Montgomeryshire, Ceredigion, Radnorshire and Carmarthenshire,[1]

text: Ireland[edit]

text: The surname evolved from the ancient Irish name of "Ó hAodha", "grandson/descendant of Aodh (meaning "fire")." "Aodh" was frequently Anglicized as "Hugh", with "Ó hAodha" in turn being anglicized as "Hughes" or "Hayes". "Hughes" is the 15th most common name in the northern Irish province of Ulster, being especially common in the Ulster counties Armagh, Tyrone, Monaghan, and Fermanagh. It was the 34th most common name in all of Ireland in Matheson's 1890 census of Ireland and the 44th most common surname in Ireland in the 1992–1997 period.[2] In addition to the counties of Ulster, the surname Hughes is also commonly found in the counties Wexford, Donegal, Galway and Cork.[3] There are variant spellings.

text: People with the surname "Hughes" include:

text:
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z

text: A[edit]

text:
Hughes brothers
Hughes Brothers
Aaron Hughes, Northern Irish footballer
Adam Hughes (disambiguation)
Alan Hughes, Irish cricketer
Alan Hughes, Irish TV personality
Alexander Hughes (disambiguation)
Andrew Hughes (disambiguation), several people
Andy Hughes, electronic music producer
Anne Hughes, American restaurateur and art patron
Ann Hughes (politician) (born 1943), American politician
Ann Harriet Hughes (1852-1910), Welsh writer
Anthony Hughes (born 1948), English judge
Archie Hughes (1919–1992), Welsh international footballer
Arthur Hughes (actor) (1894–1982), American actor and radio personality
Arthur Hughes (artist) (1831–1915), English painter
Arwel Hughes (1909–1988), Welsh composer and conductor, father of Owain Arwel Hughes
Augusto Hughes (1931–1993), Argentine Air Force commander and Junta member

text: B[edit]

text:
Barnard Hughes (1915–2006), Irish-American actor
Barry Hughes (born 1937), Welsh former football player and manager
Bettany Hughes (born 1968), English historian
Bill Hughes (first baseman) (1860–1928), baseball player
Bill Hughes (musician) (1930–2018), American jazz musician
Bill Hughes (pitcher) (1896–1963), American baseball player in 1921
Bill Hughes (police officer) (born 1950), Director General of Britain's Serious Organised Crime Agency
Billy Hughes (1862–1952), seventh Prime Minister of Australia

text:
Billy Hughes (actor) (1948–2005), American actor
Billy Hughes (educationist) (1914–1995), British Labour Party politician and educationist
Billy Hughes (footballer, born 1865), Welsh international
Billy Hughes (footballer, born 1918) (died 1981), Birmingham, Chelsea and Wales international footballer
Billy Hughes (footballer, born 1920), Welsh footballer with Hartlepool United
Billy Hughes (footballer, born March 1929) (died 2003), Scottish footballer with York City
Billy Hughes (footballer, born May 1929) (died 2005), Northern Irish international footballer
Billy Hughes (footballer, born 1948), Scottish footballer with Sunderland
Billy Hughes (footballer, born 1960), English footballer with Gillingham
Billy Hughes (musician) (1908–1995) Western Swing musician and songwriter

text:
Brendan Hughes (1948–2008), Irish republican
Brian Hughes (musician) (born 1955), jazz guitarist
Bryan Hughes (born 1969), member of the Texas House of Representatives

text: C[edit]

text:
Charles Evans Hughes (1862–1948), American government official, former United States Secretary of State and Chief Justice of the Supreme Court
Charles Evans Hughes, Jr. (1889–1950), American government official, United States Solicitor General 1929–1930.
Charles Evans Hughes III (1915–1985), American architect.
Chesney Hughes (born 1991), Anguillian cricketer
Chris Hughes (born 1983), co-founder of Facebook
Chrissy Hughes, American figure skater
Christa Hughes, Australian singer
Christopher Hughes (quiz contestant) (born 1947), British quiz champion
Chuck Hughes (1943–1971), NFL player
Clara Hughes (born 1972), Canadian cyclist and speed skater, multiple Olympic medal winner
Cledwyn Hughes (1916–2001), Welsh Labour politician
Curtis Hughes (born 1964), American professional wres
Dante Hughes, NFL cornerback
Darren Hughes (disambiguation), several people
David Hughes (disambiguation), several people
Dennis Hughes, (1931–1990), English footballer
Detrick Hughes (born 1966), American poet
Don B. Hughes (born 1940), Maryland State Delegate
Dorothy B. Hughes (1904–1993), U.S. crime writer

text: E[edit]

text:
Eddie Hughes (disambiguation), several people
Edward Hughes, several people
Edward Hughes Ball Hughes (1798–1863), English dandy
Edwin Hughes (disambiguation), several people
Edwin Holt Hughes (1866–1950), Bishop of the Methodist Episcopal Church
Eleanor Hughes (1882–1952), artist
Emily Hughes (born 1989), American figure skater
Emlyn Hughes (1947–2004), Liverpool F.C. and England national football team captain
Emmett Hughes (born 1987), Irish film actor, writer, producer
Emrys Hughes (1894–1969), a Welsh and the Scottish Labour politician
Ernie Hughes (born 1955), American football player

text: F[edit]

text:
Fountain Hughes, former American slave
Francis Hughes, Irish republican and hunger striker
Fred G. Hughes(1837–1911), five time member of Arizona Territorial Legislature

text: G[edit]

text:
Gareth Hughes Welsh silent screen actor
Gareth Thomas Llewelyn Hughes New-Zealand politician and member of the Green Party
Gary Hughes (born 1967), vocalist, guitarist and songwriter
George O. Hughes painter, performance artist, art educator
Glenn Hughes (born 1951), bassist and vocalist
Graham Hughes (born 1979), adventurer and filmmaker

text: H[edit]

text:
H. Stuart Hughes (1916–1999), American historian, professor and activist
Henry Hughes, nineteenth century British locomotive builder, see Brush Traction
Henry P. Hughes (1904–1968), American jurist
Herbert Bristow Hughes (1821–1892), pioneer pastoralist in South Australia
Howard Hughes (murderer) (born 1965), British paedophile and murderer
Howard Robard Hughes, Jr. (1905–1976), American pilot, movie producer and playboy
Howard Robard Hughes, Sr. (1869–1924), American businessman; father of Howard Robard Hughes, Jr..

text: I[edit]

text:
Ian Hughes (diplomat) (born 1951), British ambassador
Ian Hughes (epredator) (born 1967), English technology evangelist
Ian Hughes (rugby league) (born 1972), British professional rugby player
Ian Hughes (disambiguation), several people

text: J[edit]

text:
James Hughes (disambiguation), several people
James B. Hughes (1805–1873) was an American newsman, politician, and abolitionist
Jason Hughes (disambiguation), several people
Jefferson D. Hughes, III, associate justice of the Louisiana Supreme Court since 2013
Jesse Hughes (disambiguation), several people
John Hughes (disambiguation), several people
John Arthur Hughes, U.S. Marine Corps officer and Medal of Honor recipient
John Joseph Hughes, Irish-born American prelate, first Archbishop of New York City, founder of St. Patrick's Cathedral
Joseph Hughes (disambiguation), several people
Joshua Hughes, Welsh Bishop

text: K[edit]

text: Kelly Hughes (born 1970), Canadian arts promoter

text: L[edit]

text:
Langston Hughes (1902–1967), American poet
Larry Hughes (born 1979), American basketball player for the New York Knicks
Lee Hughes (born 22 May 1976) is an English Footballer who plays for Notts County as a striker.
Lena Hughes, American musician
Lena B. Smithers Hughes, American botanist
Liam Hughes (born 11 September 1988), English football striker
Lloyd Hughes, American silent film actor
Lloyd Herbert Hughes, U.S. Army Air Forces Lieutenant, who was posthumously awarded the Medal of Honor for action in World War II

text: M[edit]

text:
Madison Hughes (born 1992), American rugby sevens player
Mark Hughes (born 1963), Welsh international footballer and football manager
Mark Hughes (basketball) (born 1966), American basketball player and coach
Mark Hughes (Emmerdale), fictional character on the ITV soap opera Emmerdale
Mark Hughes (English footballer) (born 1986), English footballer
Mark Hughes (fighter) (born 1973), American mixed martial arts fighter
Mark Hughes (journalist), English Formula One journalist
Mark Hughes (Northern Ireland footballer) (born 1983), Northern Irish footballer
Mark Hughes (politician) (1932–1993), MP for the city of Durham, 1970–1983
Mark Hughes (rugby league) (born 1976), Australian former professional rugby league player
Mark R. Hughes (1956–2000), American entrepreneur, a founder of Herbalife
Mary Vivian Hughes (1866–1956), British educator and author
Mathew Hughes (1822–1882), Victoria Cross recipient
Matt Hughes (disambiguation)
Meredydd Hughes, Chief Constable of South Yorkshire Police
Merv Hughes (born 1961), Australian cricketer
Michael Anthony Hughes (1988–1994) abducted elementary school student

text: N[edit]

text:
Nerys Hughes (born 1941), Welsh actress
Neil Hughes, UK District Councillor featured in Michael Apted's Up Series
Nicholas Hughes (1962-2009), British fisheries biologist

text: O[edit]

text:
Oliver Hughes, American Civil War recipient of the U.S. Medal of Honor
Owain Arwel Hughes (born 1942), Welsh orchestral conductor, son of Arwel Hughes

text: P[edit]

text:
Pat Hughes (disambiguation), several people
Paul Hughes (disambiguation), several people
Pete Hughes, American college baseball coach
Peter Hughes (disambiguation), several people

text:
G. Philip Hughes (born 1953), American diplomat
Phil Hughes (born 1986), American baseball player
Phil Hughes (cricketer) (born 1991), English cricketer
Phil Hughes (footballer) (born 1964), Northern Irish football player
Philip Hughes (historian) (1895–1967), Roman Catholic priest and historian
Philip Hughes (footballer, born 1981), Irish football player
Philip Edgcumbe Hughes (1915–1990), Anglican clergyman and New Testament scholar
Phillip Hughes (1988–2014), Australian cricketer

text: Q[edit]

text: Quinn Hughes (born 1999), American ice hockey player

text: R[edit]

text:
Rex Hughes, American basketball coach in the NBA
Richard Hughes (disambiguation), several people
Rick Hughes (born 1973), American basketball player
Robert Hughes (disambiguation), several people
Ronan Hughes, Scottish footballer
Roy Hughes (bridge) (born 1954), Canadian bridge player
Russell S. Hughes (1910–1958), American TV and film screenwriter
R. Kent Hughes, Senior Pastor Emeritus of College Church

text: S[edit]

text:
Sam Hughes (1853–1921) Canadian politician
Samuel Hughes (judge) (1913–2002), Canadian judge, grandson of Sam Hughes above
Sarah Hughes (born 1985), an American figure skater and Olympic gold medalist
Sarah T. Hughes (1896–1985), a US district judge who administered oath of office to President Lyndon Johnson
Séamus Hughes (born 1952), an Irish Fianna Fáil politician
Sean Hughes (disambiguation), multiple people
Simon Hughes (born 1951), an English politician
Simon Hughes (cricketer) (born 1959), an English cricketer and journalist
Simon Pollard Hughes, Jr. (1830–1906), a Governor of Arkansas
Spike Hughes (1908–1987), a British jazz musician
Stephen Hughes (footballer, born 1919), English footballer
Stephen Hughes (footballer, born 1982), a Scottish footballer
Stephen Hughes (footballer, born 1976), an English footballer

text: T[edit]

text:
Tanya Hughes (born 1972), American high jumper
Ted Hughes (Edward James Hughes) (1930–1998), English poet
Ted Hughes (judge), Canadian judge
Terry Hughes (disambiguation), several people
Thomas Hughes (disambiguation), several people
Tim Hughes, Christian worship leader and songwriter
Todd Hughes, American writer and film producer
Todd M. Hughes, American attorney and federal judicial nominee
Tyler Hughes (born 1993), soccer player

text: U[edit]

text: V[edit]

text:
Victoria Hughes (1897-1978), British lavatory attendant
Vincent Hughes, American politician

text: W[edit]

text:
Warren Hughes, English racing driver
William Hughes (disambiguation)

text: X[edit]

text: Y[edit]

text: Yolanda Hughes, American female bodybuilder

text: Z[edit]