Moscow State P. I. Tchaikovsky Conservatory

ANNIVERSARY OF A MASTERPIECE: CENTENARY OF THE RITE

The International Conference May 13 – May 15, 2013

The unprecedented scandal at the Théâtre des Champs-Élysées in Paris on 29 May 1913 has launched the story of The Rite of Spring by Igor Stravinsky. This work was destined to become a symbol of the new music of the twentieth century, a beacon for the future generations of composers and listeners. Born on Russian soil, released under the French title Le Sacre du printemps, The Rite of Spring from the very beginning has gained international recognition and worldwide fame. A hundred years after the premiere the artistic and cultural world celebrates the centenary with theatrical performances, exhibitions, books, and conferences. Among those events is the conference now opening at the Moscow State P. I. Tchaikovsky Conservatory. Our academic event is a response to the large-scale conference hosted by the University of North Carolina at Chapel Hill, USA, in October 2012, which brought together prominent scholars and practicing musicians concerned with I.F. Stravinsky’s oeuvre and his great ballet in particular. Participants included Russian musicologists and the Studio for New Music Ensemble with a program of works by Russian composers of the twentieth century. Now we warmly welcome our guests from USA, UK and Germany, from Kiev, St. Petersburg and Nizhniy Novgorod, who will present their papers along with Moscow musicologists and dance scholars. We hope that our conference will contribute to the cultural convergence of different countries and regions. Welcome to the centenary of the great Rite of Spring! Svetlana Savenko

Moscow P.I. Tchaikovsky Conservatory

Center for Contemporary Music (Moscow)

S tory of Stravinsky Opening concert for the conference "Anniversary of a masterpiece.

Centenary of The Rite of Spring"

Rachmaninov Hall of the Moscow Conservatory

Sunday May 12, 2013 19.00. Admission free

Igor STRAVINSKY Three Pieces for String Quartet (1914) Concertino for String Quartet (1920) Pribaoutki for medium voice and 8 instruments (1914) Dumbarton Oaks Concerto in Es for chamber orchestra (1938) Baika (Renard) for soloists and ensemble (1916)

One hundred years ago the curtain went down after the premiere of The Rite of Spring. And the entire history of XX century music seems to be imprinted on that curtain, from Varèse and Hindemith to the minimalists, Lachenmann and Grisey. And the further zigzag career of the composer of The Rite is outlined fairly clearly: our program, including rarely performed works of 1920-30 by Stravinsky, invites you to follow it.

Fedor Sofronov

Svetlana SAVENKO, soprano Oleg DOLGOV, tenor

George FARAJEV, tenor Eugene STAVINSKY, bass

Oleg DIDENKO, bass

STUDIO for NEW MUSIC ensemble

Conductor — Philipp TCHIZHEVSKY

Artistic director – Vladimir TARNOPOLSKI

(495) 690-5181, (495) 629-1365 info@ccmm.ru

SCHEDULE MON, May 13 Moscow Conservatory Conference Hall 10.00 Welcome Prof. Aleksandr Sokolov Rector of Moscow P.I.Tchaikovsky Conservatory 10:30 Key-note Lecture Richard Taruskin (University of California at Berkeley) Resisting The Rite 11:30 Break Session 1 “The Rite of Spring” as historic-cultural phenomenon Prof. Konstantin Zenkin, pro-rector for Musicology of Moscow P.I.Tchaikovsky Conservatory, chair 12.00 – 14.00 Tamara Levaya (Nizhniy Novgorod) “The Rite of Spring" and the metamorphosis of Russian Scythianism Alla Baeva (Moscow) The Phenomenon of “The Rite of Spring”: to hear music with eyes Elena Vereschagina (Moscow) French versus Russian in “The Rite of Spring” Tatiana Baranova (Basle, Switzerland) Word – Myth – Ritual – Mystery (on the genesis of Sacre’s conception) 14.00 – 15.00 Lunch Session 2 “The Rite of Spring”: Contexts and Genesis Svetlana Savenko, chair 15.00 -16.30 Irina Sirotkina (Moscow) How it all began: the mythological plot of “The Rite of Spring” – between “The Rites of Eleusis” by Aleister Crowley and “The Rusalia” by Aleksei Remizov Tatiana Vereschagina (Moscow) Harry Kessler on "The Rite" and the Russian seasons Margarita Katunyan (Moscow) “The Rite of Spring” in Debussy’s Epistolary Heritage 16.30 Break 17.00 – 18.30 Tamara Levitz (University of California at Los Angeles) Why 1913? Yaroslav Timofeev (Moscow) Igor Stravinsky in 1913: Ritual of the Rival Tribes Kevin Bartig (Michigan University) Stravinsky, The Rite and Prokofiev 18.30 Discussion 19.15 Reception TUE, May 14 Session 3 “The Rite of Spring” and Dance Elena Vereschagina, chair 10.00 Key-note Lecture

Linn Garafola (Barnard College, Columbia University) A century of Rites: The Making of an Avant-Garde Tradition 11.00 Break 11:30 – 13.00 Millicent Hodson (London, UK) Death by Dancing in Nijinsky’s Rite Elizabeth Suritz (Moscow) Massine’s «Le Sacre du Printemps » Anna Melovatskaya (Moscow) Debut of “The Rite of Spring” in the USSR 13.00 Break 13.30 – 15.00 Stephanie Jordan (University of Roehampton, London) Sacre as a Dance: Recent Re-visions or How to Make it New Gabriele Brandstetter (Freie Universität, Berlin, Institute of Theater Research) RESOURCING THE RITE: LE SACRE DU PRINTEMPS AND YVONNE RAINER’S RoS INDEXICAL Victoria Khlopova (Moscow) The New French Dance and its vision of the "Rite of Springs": versions of Angelin Preljocaj, Jean-Claude Gallotta and Régis Obadia". 15.00 - 16.00 Lunch Session 4 «The Rite of Spring»: Versions and Documents Kevin Bartig, chair 16.00 – 17.30 Varvara Dokshina (St.Petersburg) and Svetlana Potyomkina (Moscow ) «LE SACRE DE PRINTEMPS» AS NIJINSKY’S ANTICIPATION: the new method of analyzing the famous ballet text Sergey Konaev (Moscow) The Price of Sacre: the Mistery in Circumstances of Diaghilev’s Enterprise Natalia Braginskaya (St.Petersburg) Autographs of «The Rite of Spring» at the National Library of Russia 17.30 Break 18.00 – 19.00 Olga Manulkina (St. Petersburg) Hot Summer of 1959 Eugenia Krivitskaya (Moscow) «The Rite of Spring» as an object of conductors’ interpretations 19.00 Discussion 15 мая Session 5 “The Rite of Spring” and the Music Theory Problems Olga Manulkina, chair 09.30 – 10.30 Key-note Lecture Pieter C. van den Toorn (University of California at Santa Barbara) The Physicality of The Rite: Remarks on the Forces of Meter and their Disruption 10.30 Break 11.00 – 12.30 Stephen Walsh (Cardiff University) The Rite of Spring: DIONYSOS MONOMETRIKOS Eugenia Izotova (Moscow) Three views on the "Rite of Spring"

Severine Neff (The University of North Carolina at Chapel Hill) HOW NOT TO HEAR LE SACRE DU PRINTEMPS?: SCHOENBERG’S THEORIES, LEIBOWITZ’S RECORDING 12.30 Break 13.00 – 14.30 Maureen Carr (Pennsylvania State University) STRAVINSKY AT THE CROSSROADS AFTER THE RITE: JEU DE ROSSIGNOL MECANIQUE [PERFORMANCE OF THE MECHANICAL NIGHTINGALE] (1 AUGUST 1913) Ildar Khannanov (The Peabody Institute of The Johns Hopkins University) RIMSKY-KORSAKOV TO STRAVINSKY: GIFTS OTHER THAN OCTATONICISM Grigoriy Lyzhov (Moscow) The Rite of Spring in the Analytical Essays of Yuri Kholopov 14.30 – 15.30 Lunch Session 6 “The Rite of Spring” and the Twentieth Century Music Natalia Braginskaya, chair 15.30 – 17.00 Valentina Kholopova (Moscow) Stravinsky – the “Folk Music” for Contemporary Composers Elena Zinkevich (Kiev) «The Rite of Spring»: the Ukrainian “topics” Svetlana Savenko (Moscow) Le Sacre du Printemps at Home 17.00 Discussion

Abstracts Alla Baeva. The Phenomenon of “The Rite of Spring”: to hear music with eyes In the peper below the phenomenon of “The Rite of Spring” is presented through the space of Stravinsky’s theatre, parallels being drawn with the composer’s other musical stage works. The emphasis is laid on Stravinsky’s creation from the point of view of his own stage production. Stravinsky’s intentions as a stage director can be spotted on almost all levels of his work – in the script and libretto, in the dramatic concept, in particular mise-en-scène treatment and general composition as well as in the selection of means of musical expressiveness. Tatiana Baranova. Word – Myth – Ritual – Mystery (on the genesis of Sacre’s conception) “The grain which gives rise to the mythic tale is hidden within the primeval word”. This idea forms the foundation stone of the A.Afanasyev’s monumental study Slav's Poetic Outlook on Nature (1865-69) which was called “a pantheistic Bible of the Slavonic peoples”. It was Richard Taruskin’s 1996 book that traced a relation between this “magnum opus of comparative mythology” and Stravinsky’s principal masterpiece. The copy of Afanasyev’s work from the Igor Fyodorovich’s personal library which I found in the Fyodor Stravinsky Geneva Foundation allows me to return to this theme. The book had once belonged to the famous library of the composer’s father (now lost), but Stravinsky took it out of Russia and kept it with him all his life through the revolution, the two world wars, changes of citizenship and endless migrations. The study of the libretto variants of the Sacre, of the composer’s inscriptions in manuscripts, and of the archive materials in Paul Sacher Foundation in Basel provides us with interesting information about the national and universal elements in the ballet conception and its affinity with ethnographic realities which owes a great deal to Afanasyev’s book. Kevin Bartig. Stravinsky, The Rite, and Prokofiev Just days after the premiere of The Rite of Spring, Sergei Prokofiev embarked on his first trip outside of Russia. Stravinsky's ballet was still fresh news when Prokofiev arrived in Paris, and the young composer immediately sought out the impresario behind the succes de scandale. Prokofiev soon gained entry to Diaghilev's circle, and subsequently began a two-decade-long acquaintance with Stravinsky. Scholars have typically characterized the pair's relationship as unequal, with the younger Prokofiev either imitating or rejecting Stravinsky's musical models. But a wealth of newly available source material reveals that Prokofiev held far more nuanced opinions of his compatriot's work. In this presentation, I revisit their creative friendship in light of this evidence, giving particular attention to how musical and audiovisual aspects of The Rite shaped Prokofiev's creative outlook in different and occasionally contradictory ways. Natalia Braginskaya. Autographs of «The Rite of Spring» at the National Library of Russia At the Department of Manuscripts of the National Library of Russia among of many unique musical autographs by Igor Stravinsky there are kept several drafts of orchestration of the ballet “The Rite of Spring” (f. 746, № 101), put down with a pencil on four large-format sheets of score paper. To date, only one piece of the manuscript (p. 1) has been reproduced in the book by Svetlana Savenko “Mir Stravinskogo”/ “World of Stravinsky” (2001) with minimal comments. Meanwhile, undated sketches of the score are of great interest to researchers because they allow to look into the composer’s creative laboratory and observe the process of birth of the orchestral masterpiece “The Rite of Spring” in the phase, which is close to the final one, but doesn’t coincide with it. Attribution of all the fragments of the manuscript, description and interpretation of the important points of differences compared to the printed version of the score, as well as the history of the appearance of the document in the National Library of Russia and the establishment of the name of its former owner, – these are the tasks that the author of this presentation tries to resolve. Gabriele Brandstetter. RESOURCING THE RITE: LE SACRE DU PRINTEMPS AND YVONNE RAINER’S ROS INDEXICAL

What does it mean today for a choreographer to accept the challenge of producing a new version of Le Sacre du Printemps? How would a new production refer to the tradition of Sacre choreographies since 1913 or possibly re-trace the sources of the Stravinsky/Nijinsky masterpiece? My lecture will consider such questions in light of Yvonne Rainer’s production of RoS Indexical (2007). How does Rainer, a postmodernist dancer, choreographer, and filmmaker, reinvent Nijinsky’s choreography? Specifically, how is she interpreting the riot at Le Sacre’s premiere by evoking the work’s performance history in her rethinking of The Rite?

Maureen Karr. Stravinsky at the Crossroads After The Rite: Jeu de Rossignol Meccanique [Performance of the Mechanical Nightingale] (1 August 1913)

He says that he has tried to continue the work in the older style, and that where differences are found they must be taken as the result of unconscious forces which are too strong for him.” –Igor Stravinsky (1914) Soon after the first performance of Le Sacre du printemps (29 May 1913) at the Théâtre des Champs Élysées in Paris, Stravinsky resumed work on Le rossignol [The Nightingale] – an opera that he started in 1908 but abandoned in 1910 during his working on The Rite. In 1913, he completed Le rossignol [The Nightingale] in 1914—the first performance taking place on 26 May 1914 at the Théâtre de l’Opéra in Paris. Evidence that Stravinsky was mediating between the strident nature of The Rite and the mellifluous quality of passages written for The Nightingale before The Rite, is found in a definitive musical sketch (Paul Sacher Stiftung) for Jeu du rossignol mécanique [Performance of the Mechanical Nightingale] where Stravinsky wrote Очень доволен! [I am very satisfied!] 19 vii 1 viii 1913 [7/19 8/1 1913]. A powerpoint presentation will show how Stravinsky moved from sketch to score for this passage, in comparison with earlier sketches for The Nightingale some of which are interspersed with those for The Rite.

Varvara Dokshina, Svetlana Potyomkina «LE SACRE DE PRINTEMPS» AS NIJINSKY’S ANTICIPATION: the new method of analyzing the famous ballet text

The subject of the proposed research is the world known ballet of Vatslav Nijinsky «Le sacre de printemps» as it was reconstructed by Millicent Hodson and Kenneth Archer in Joffrey ballet (1987) and Paris Opera (1994). In this detailed example the authors represent the new approach to the study of ballet art in general and the ballet dancer’s psychology in particular. This first-ever attempt to analyze ballet text combining the two disciplines –Dance History and Process Oriented Psychology – direction that was founded in the late 1970’s by Jungian analyst Arnold Mindell. Process Oriented Psychology focuses particular attention on bodily movements, body symptoms, expressions and especially on the half conscious gestures.

Linn Garafola. A Century of Rites: The Making of an Avant-Garde Tradition

Since the premiere of The Rite of Spring in 1913, scores of choreographic works to the celebrated Stravinsky music have seen the light of day. Most have vanished as quickly as Nijinsky’s original ballet. But they keep coming; seemingly the idea of the now legendary work coupled with its memorable score poses a challenge few could resist. What accounts for the ballet’s staying power? What ideologies and impulses do these Rites seem to espouse and what conventions reject, and why have they retained their imaginative force? This lecture argues that The Rite of Spring, precisely because it is a lost ballet, comprises a body of ideas rather than a detailed choreographic script, and that this conceptual freedom allows both for the ballet’s reinvention and for the persistence of ideas associated with the original. One group of ideas centers on the ballet’s transgressiveness – its primitivism, violence, modernity, and repudiation of traditional ballet aesthetics. From this perspective The Rite is a model of

formal radicalism, a dance that says “no” to the status quo. At the same time The Rite belongs to ballet’s canon. It was produced by Diaghilev’s Ballet Russes, an heir to the nineteenth-century Franco-Russian tradition and the progenitor of its twentieth-century descendants. It was produced on a grand scale, and its central conceit – the death of the maiden – has a long ballet history. From the first, The Rite declared its centrality to ballet history, even as it rejected the conventions of the past. Since 1913, choreographers have approached The Rite from numerous vantage points. Some have emphasized its violence; others its sexuality, primitivism, and terror. A few have thrown out the original scenario and the full score; most have discarded its ethnographic trimmings. Although most productions stress the ensemble, there has been at least one heroic solo version. Initially, ballet choreographers, albeit those identified as modernists, created the versions that followed Nijinsky’s Rite. Subsequently, most of the ballet’s choreographers were associated with modern dance. But whatever the choreographer’s aesthetic position, The Rite continues to be a work that insists upon its modernity, its engagement with the contemporary world. For ultimately, what each new version seeks to resurrect is the ballet’s original transgressive moment, its modernist persona, both as an act of resistance and as a means of claiming membership in a performance tradition that defies the ephemeral nature of dance through continuous reinvention.

Millicent Hodson. Death by Dancing in Nijinsky’s Rite

Millicent Hodson will present video extracts from her reconstruction with Kenneth Archer of the 1913 The Rite of Spring. In relation to these performance extracts from companies in Russia, Finland, Poland, Monaco, Japan and the USA, she will raise the following issues about Nijinsky’s dance: the ethics of sacrifice in the ballet, isolation and collective action as organizing principles of the body and the ensemble and rhythmic formalism as the key to what Nijinsky called “new dance.” Our culture regularly sends its young to die in brutal battle. Jean Cocteau and other contemporaries of Nijinsky claimed that Le Sacre du printemps prefigured the sacrifice of their generation in what they called “The Great War.” What are the ethics of sacrifice revealed in the ballet? What was Nijinsky’s role in shaping the ethics demonstrated on stage? What is the nature of responsibility in The Rite? Individuality and collective action are in constant tension in this ballet. Nijinsky pointed the way to modern dance with his redefinitions of the body, stage space and the very subject of dance. He pointed further to postmodernism by making every dancer a soloist in The Rite. It is a ballet about massed energy, but isolation is as fundamental to the choreography as communal effects: movement of one part of the body while the rest is static; movement of one group while all others remain still; deepening degrees of separation for the Chosen One as the sacrificial solo approaches. Such choreographic methods by Nijinsky will be discussed in the talk. But the focus will be on the significance for audiences then and now of Nijinsky’s methods. The Chosen One’s solo is an ordeal of exhaustion not physical attack. Does it tell us something about his own life as an artist? Why did The Rite provoke chauvinistic responses about Russia, not only in France but also in England, in the run-up to the war? Was the Ballets Russes a forerunner of cultures made migratory by social upheaval in the 20th century? Why was there a riot at the premiere and can we decode its progress during the performance? What is the brutality of Le Sacre? The purpose of the reconstruction by Hodson and Archer was to turn the legend of this ballet back into an artifact. The presentation will not focus on choreographic proof of the

reconstruction, for which Hodson and Archer have widely published their research. Instead it will consider the resulting artifact and ask what it means. Eugenia Izotova. Three views on the “Rite of Spring” Analysis of the XX-century music is still problematic, and musicology is still far from being able to offer reliable algorithms for research. This paper will review three theoretical approaches to the same work based on the comparison of different methods of understanding this music: - a concept of pitch space and time (P.Boulez), the set theory (A.Forte), polyharmony (Yu.Kholopov). Stephanie Jordan. Sacre as a Dance: Recent Re-visions, or How To Make It New No other score can boast such a tradition of dance productions. Hundreds of choreographers over the century have been both thrilled by the power and energy of Stravinsky’s score and shocked by its statement. Fascination with that ambiguity has given rise to a range of treatments: casts both large and small, period as well as contemporary settings, different narrative approaches and cultural diversity. Perhaps prompted by the 1987 Nijinsky reconstruction and a surge of interest in the Sacre legacy, some choreographers, especially since the 1980s, have explored its theme with a new sense of irony and fresh awareness of the burden of its past. According to their terms, no longer can this score be danced “straight.” It is perhaps, too, as if Pina Bausch’s 1975 Sacre, which has achieved classic status, represented the end of a line. Using Bausch’s landmark initiative as a point of contrast, the paper discusses Sacres by such choreographers as Paul Taylor, Jérôme Bel and Xavier Le Roy, work that explores identity, relations between audience and performers, authorial power and dark humor. New ways of asserting the physicality of the score are also considered, such as taking machine motion to an absurd extreme as well as experimenting with a more flexible, or even entirely negative, musicality: not being motorised by Stravinsky. Margarita Katunyan. The Rite of Spring in Debussy’s Epistolary Heritage This paper analyses Debussy’s letters in the aspect of the themes “The Stravinsky Phenomenon” and “The Rite of Spring” which he discusses with a number of his correspondents including Stravinsky himself. What immediately arrests attention in his letters are rather contradictory characteristics of the Rite of Spring, the first impression of which he communicated to Stravinsky himself in the form of the oxymoron “the beautiful nightmare”. On the one hand, we read the acknowledgement of the indisputable talent of young Stravinsky, interest in his successes and concern for his musical career. On the other, there are stinging remarks and the mention of “shock” experienced by the contemporaries. Dubussy would not appear as a critic of The Rite of Spring, but this work came to be an object of his serious reflections, possibly even complexes, and, most importantly, of alarming forecasts concerning the 20th-century music developments. Careful reading of the letters reveals that contradictions like “ice and flame” are often just seeming ones. It is noted in the paper that Debussy placed different accents depending on his addressees (musicians or non-musicians) and, accordingly, changed the tone of discussion, from enthusiastic to analytically aloof. The deeper reasons that caused difficulties in resolving the problem for himself did not lie on the surface; they rather lay in a different plane. This author proposes looking for them not in the Rite of Spring music but in Stravinsky’s attitude to music discerned by Debussy. A number of positions are listed in this paper: entry into the sphere of impersonal in the world view area and, consequently, in the areas of content and idiom; the grown distance between the author and the object; the “shift” toward a new type of artists who do not compose, but construct music. All this was alien to Debussy, a composer of the post-Romantic epoch (with his “ardent passion for music”). However, he appreciated the daring “widening of the limits of the permissible”. lldar Khannanov. Rimsky-Korsakov to Stravinsky: Gifts Other than Octatonicism Both the formalist teachings of American music theorists and the cultural studies of musicologists have failed to acknowledge a uniquely Russian music theory - one based upon a

confluence of theoretical and historical study. Such a rich theory is strongly articulated in the teachings and writings of Nikolay Rimsky-Korsakov. Thus, his music-theoretical wisdom offered his student, Igor Stravinsky, more theoretical gifts than octatonicism. Rimsky's teachings on motivic-thematic structure, melodic strategies, formal function, harmonic idioms, rhythm and meter, and, ultimately, large-scale formal solutions, impacted numerous aspects of Stravinsky's early style. My lecture will specifically show how Stravinsky's education under Rimsky influenced these early works, including The Rite of Spring. Victoria Khlopova. The New French Dance and its vision of the “Rite of Springs”: versions of Angelin Preljocaj, Jean-Claude Gallotta and Régis Obadia. In the 70 years of the 20th century in France formed a new choreography current, called «The New French dance», many choreographers of which are currently masters of modern dance. Despite strong ballet school, modern dance in France did not have a special place and practiced almost in secret. Revolutionary events of May 1968 have allowed young dancers and choreographers came out of the shadows and shine. Later, the state is to help such troupes as the financing and provision of premises for work and assignment of official status. Since the late 90's, the French passed the so-called policy of choreogrqphy decentralization: young dance troupes had opportunity to work in their own theaters, while receiving government subsidies, resulting in the largest cities of France appeared professional modern dance troupes. At the moment, these national choreographic centers in different cities in France number only nineteen, the most famous of them, «Black Pavilion» of Angelin Preljocaj in Aix-en-Provence, "Group Emile Dubois" of Jean-Claude Gallotta in Grenoble, the National Choreographic Centre in Orleans led by Joseph Nadj and others. «New French Dance» choreographers also addressed the theme of «The Rite of Spring» in theirs work. We would like to consider several versions of this ballet: of Preljocaj, Regis Obadia, Jean-Claude Gallotta and touch unusual options proposed by French performer Xavier Le Roy and choreographer Dominique Brun who created his version of «Rite of Spring» for the film «Coco and Igor». Valentina N. Kholopova Stravinsky – the “Folk Music” for Contemporary Composers.

The influence of Igor Stravinsky on the entire 20th century and up to the present day has been continuing for over 100 years. In the entire sphere of Russian music there is only one such composer, and the massiveness of his impact on other composers can be compared only with the influence of Russian folk music on Russian classical music. Most likely, one of the secrets of this phenomenon is in that Stravinsky himself was influenced by Russian folk music, its archaic melodicism and natural, irregular rhythm of the words. The composer influenced Debussy with his innovative polytonal harmony with the distance of an interval of a tritone, he influenced Shostakovich by the theatrical character of the Ballerina’s Waltz, he influenced Prokofiev’s “Scythian Suite” by the primordial quality of the “Rite of Spring,” he influenced Webern by the timbre of the clarinets in his “Pribaoutki,” he influenced the Dance around the Golden Calf in Schoenberg’s Moses und Aron” by the ecstatic quality of some of the movements of the “Rite of Spring,” and his influence on Poulencs Sonata for Oboe with the music of his Violin Concerto (a quotation of which is contained in Poulenc’s sonata). American minimalism also did not evade this influence: the beginning of John Adams’ “Grand Pianola” is quite similar to the beginning of Stravinsky’s “Petroushka.” Stravinsky’s impact affected the younger generation of Russian composers, as well: Edison Denisov and Alfred Schnittke were each commissioned to write a “Canon in Memoriam Stravinsky,” while Nikolai Sidelnikov has a composition, one o f the movements ofwhich is titled “Stravinsky.” An even later vivid inspiration from the music of the unique master can be perceived in Alexander Raskatov’s “Voices of a Frozen Land” and in Vladimir Tarnopolsky’s composition “Foucault’s Pendulum,” where influences from the finale of the “Rite of Spring” can be sensed). Stravinsky was very well entitled to say: “I am in everybody, and everybody is in me.” Sergey Konaev. The Price of Sacre: the Mistery in Circumstances of Diaghilev’s Enterprise

The paper deals with ‘production file’ of the first staging of Sacre du printemps in Ballets Russes de Diaghilew (contracts with authors and performers, cast, process and schedule of rehearsals, estimate and receipts) in connection with artistic ideas and designs of its creators, and also in comparison with a practice of Imperial and private theatres of the time. Eugenia Krivitskaya. «The Rite of Spring» as an object of conductors’ interpretations «The Rite of Spring» is one of the sophisticated score. There are statements and records of the Stravinsky, by which to judge the intentions of the author. However, among his contemporaries were many conductors - such grand personalities like Sergey Kussevitsky, Igor Markevitch, then Leonardo Bernstain, – and their opinions about «The Rite of Spring» are very interested and should be help to find hidden meanings. Tamara Levaya “The Rite of Spring" and the metamorphosis of Russian Scythianism The paper discusses the phenomenon of Russian Scythianism, which originated in the cultural climate of Russia in the early twentieth century and has manifested itself in various works of art. The author analyzes the aesthetic, social and psychological roots of this phenomenon, which ideologically aware of itself on the eve of the First World War. The article reveals the link between the Russian Scythianism and philosophy of dionisism, it allows to draw a parallel between the ecstatic images of Stravinsky and Scriabin. In addition, traces the evolution of the Scythian art sphere in creative activity of younger contemporaries of Stravinsky. This is Prokofiev, who was promoted from the "Scythian Suite" and the cantata "Seven, They are Seven" to the urbanistic Second Symphony and "The Steel Step", as it is Shostakovich, who transformed the rhythmic motor activity of the Scyphian sphere in sinister "machine of death ." Tamara Levitz. “WHY 1913?” In this talk I will explore the historiographic question of how the premiere of Le Sacre du Printemps at the Theatre des Champs-Elysees in Paris on 29 May 1913 came to symbolize the tumultuous birth of musical modernism, and why the centenary of this event is being celebrating around the world. It is rare for the premiere of a musical work to be commemorated in this way. I will examine historical sources to determine first the process by which music critics and historians established the Parisian premiere of Le Sacre as an iconic event in the history of musical modernism, and especially why they favored the Parisian premiere over historic first performances elsewhere. Perhaps their choice related to the violence historically connected to the Parisian performance, or to the place France held and still holds in the North American and European musicological imagination? By critically investigating the question of how the premiere of Le Sacre came to occupy such a unique place in North American and European narratives of the twentieth century, I hope to shed light on what it is that we are actually celebrating at this conference. Grigoriy Lyzhov. The Rite of Spring in the Analytical Essays of Yuri Kholopov In choosing contemporary music as a subject of serious study in the 1960s, Yuri Kholopov removed himself from the ideological sphere of the Soviets –and he was one of the first of his generation to make this choice. He overcame methodological vacuums of such times by using the power of his intuition and intellect to reinvent forgotten traditions of Russian and European music theory. Indeed, Kholopov’s scholarly and analytical apparatus is a synthesis of seemingly conflicting ideas of Hugo Riemann, Sergey Taneyev, Boleslav Yavorsky, Heinrich Schenker, Arnold Schoenberg, and Hermann Erpf. Kholopov’s conflation of these divergent analytic methodologies grew contextually out of the needs of analyzing particular works. Le Sacre was among the provocative works constantly attracting his analytic concerns, and he based most of his thoughts about it on a developing theory of modality. Thus my paper will discuss Yuri Kholopov’s analytical approach to The Rite based on his published and unpublished works on mode. Olga Manulkina. Hot Summer of 1959 In August and September, 1959, Leonard Bernstein conducted New York Philharmonic in Moscow, Leningrad and Kiev. Both the programming and the way Bernstein presented the

programs were radical. The programming of The Rite of Spring that had not been played in USSR for thirty years, was a greatest breakthrough, in the spirit of the work that Bernstein in his famous pre-concert talk called a «revolution» greater than Great October Socialist Revolution. Everything here was a radical political gesture, including the fact that the first American born conductor who appeared before the Soviet audience was born to Jewish parents emigrated from Russia. The paper examines a history of American The Rite of Spring, its reception in the USSR as well as the consequences of this performance. Anna Melovatskaya. Debut of “The Rite of Spring” in the USSR 1. The first performance of “The Rite of Spring” in the USSR was staged at the Bolshoi Theatre in 1965. 2. Choreographers N.Kasatkina and V.Vasilyov wrote their own libretto, combining the musical form of suite with subject matter ballet. 3. The performance had a hard dramatic framework. 4.The choreographers preserved and developed the theme of paganism of Slavonic peoples, laid by I.Stravinsky. 5. Choreography of the performance was based on classical dance, combined with other plastic systems. The main was the synthesis of classical dance with the elements of dance folklore. Choreographers introduced so-called “bestial” and “avian” plastics into female images and elements of fighting arts into male ones. Plastic images of the Possessed and Elder Sage included the elements of ritual dances. Dance on pointes was also used. 6.The main character of the ballet by Kasatkina and Vasilyov the shepherd became a contemporary hero, at the same time being one of the first examples of a hero of a new type of 1960s. Severine Neff. “How Not to Perform Le Sacre du printemps?: Schoenberg’s Theories, Leibowitz’s Recording” On the eve of the 50th birthday of The Rite of Spring, the composer-conductor René Leibowitz and the London Festival Orchestra made a recording of Le Sacre du printemps. Their reading privileges the Austro-German tenets of the Schoenberg-Kolisch school of performance practice—one studied for decades by the rabid Schoenbergian Leibowitz. Thus he highlights organic connections of pitch between juxtaposed sections; he chooses slow, steady tempi that encourage traditional contrapuntal connections between parts; he monitors the dynamics in motions from one instrumental group to another, scrupulously following indications on the score. The result is a contained version of Le Sacre, held in check by the infiltration of Austro-German values into this quintessentially Russian work. Yet, ironically, in following the Schoenberg-Kolisch school of performance, Leibowtiz scrupulously heeds Stravinsky’s 1956 admonition to remain utterly faithful to indications in the score. My lecture will begin with some general comments on Schoenberg’s documented relation to Stravinsky’s early music, a topic largely neglected in the scholarly literature but related to aspects of Schoenberg-Kolisch performance practice. I will then proceed to a discussion of Leibowitz’s performance of the Introduction to Le Sacre that presents the strongly analytic insights of the Schoenberg-Kolisch approach. Finally, I will question the relation of the Leibowitz performance to the Stravinsky-Schoenberg polemics of the first half of the twentieth century. Produced during the heyday of twelve-tone composition, Leibowitz’s Austro-German takeover of Le Sacre now seems to be less an engaging performance than a symbolic attempt to celebrate the end of the Schoenberg-Stravinsky debates and proclaim Schoenberg as victor—at least in 1962. Svetlana Savenko. Le Sacre du printemps at Home

Sergey Koussevitsky performed the concert version of The Rite in Moscow and St.Petersburg in 1914, a year after its infamous premiere. This version continued to be heard every year in Moscow and St.Petersburg berween 1926 and 1930 and became a staple for the concert audience and young composers. All performances came to a halt for more than two decades from the middle of the 1930s to the end of the 1950s. Only after the 1965 premiere of The Right as a ballet did the concert version appear again regularly on programs. Irina Sirotkina. How it all began: the mythological plot of “The Rite of Spring” – between “The Rites of Eleusis” by Aleister Crowley and “The Rusalia” by Aleksei Remizov The birth of the idea of “The Rite of Spring” still remains one of the most obscure episodes in the history of the ballet. As is well known, Igor Stravinsky claimed that the story of a pagan sacrifice of a young woman came to him in a dream. Since then, art historians have emphasised both Stravinsky’s knowledge of Sergei Gorodetsky’s poetry (whose poem, “Erecting Yarila”, was written in 1905 on a similar myth) and Nikolai Roerich’s contribution to the ballet’s plot. I would like to add two more allusions to the mythological resources of “The Rite of Spring”. First, there is the mystery, “The Rites of Eleusis”, staged by the mason, Aleister Crowley, and the actress and musician, Leila Waddell, in London in the spring of 1910. Second, there is the ballet-rusalia “Leila and Alalei” on which the writer Aleksei Remizov worked together with the composer Anatolii Lyadov between 1910 and 1913, and which Vsevolod Meyerhold planned to stage at the Mariinsky Theatre. In my paper, I will try to justify this claim. Elisabeth Suritz. Massine’s «Le Sacre du Printemps» This paper has for subject the Léonide Massine choreography for Igor Stravinsky’s “Le Sacre du Printemps” He choreographed this ballet twice: first in 1920 for Serge Diaghilev’s “Les Ballets Russes”, then in 1930 in Philadelphia. When in 1920 Diaghilev decided to restage this ballet that Vaslav Nijinsky had choreographed in 1913, Nijinsky was already ill beyond hope of recovery and Masine was entrusted with this mission. He has never seen the Nijinsky ballet, so he produced his own version. He also consulted Stravinsky who told him what he thought were the mistakes Nijinsky had made. And Massine took notice of the composer’s advice, Lydia Sokolova who danced the Chosen Virgin in Massine’s ballet has described it at length in her memoirs. In 1930 it was Leopold Stokowsky who invited Massine to choreograph “Le Sacre”. This version is particularly interesting because the Chosen Virgin was danced by Martha Graham, the great American modern dancer. Many dancers who were in the 1930 production have left interesting reminiscences. The 1930 Massine version is especially important because it was one of the first works to break the artificial boundary that existed between ballet and modern dance, and this proved vital not only for the future of American ballet, but also for dance all over the world. Richard Taruskin. Resisting The Rite Near the end of his life, Sergei Diaghilev noted with satisfaction that the Times of London had declared The Rite of Spring to be “to the twentieth century what Beethoven’s Ninth was to the nineteenth.” Time has borne the Times’s pronouncement out. The Rite has indeed achieved that emblematic status, with all that that implies. It has been reinterpreted in countless ways, it has been deformed and caricatured, and it has been resisted, especially by those who claim to uphold it. A quarter of a century ago, in an article titled “Resisting the Ninth,” I tried to summarize the status of Beethoven’s masterpiece in contemporary culture. This time I shall try to do the same for Stravinsky’s. Yaroslav Timofeev. Igor Stravinsky in 1913: Ritual of the Rival Tribes 1913 year was crucial for all civilization which finally took leave of XIX century, as many historians suggest, as well as for European culture (the idea of the Black Square which came to Malevich in 1913 became the symbol of both “the end of art” and the beginning of its new era), and for Igor Stravinsky. His 1913 was a goodbye to the past and opening of the new. The premiere of “The Rite of Spring” appeared the gateway to the future ― it was probably the “loudest” premiere of XX century if not in the whole European music history. The break with

“Rimsky-Korsakov circle” which was the Stravinsky’s own circle once ago, appeared the farewell with the past. The paper consists of two parts. The first part suggests a new, specified chronology of Stravinsky’s 1913 year based on his dated manuscripts which haven’t been examined before. It will be shown that a few days on the border of spring and summer 1913 were the X-point in Stravinsky’s life ― not only because of “The Rite of Spring”. The second part proposes a hypothesis that the conflict between Stravinsky and “Rimsky-Korsakov circle” was one of the critical stages which helped Stravinsky to discover his nature as a composer. Pieter van den Toorn. The Physicality of The Rite and Its Source: remarks on the Forces of Meter and their Disruption With the “Evocation of the Ancestors” in Part II as its point of departure, this paper examines the explosive nature of the rhythmic patterning in The Rite of Spring, tracing much of its explosiveness to the underlying metrical forces of parallelism and displacement, forces which, ultimately irreconcilable, lead to disruption. The argument is that these forces play themselves out on the smallest of scales, conspicuously in the “Evocation,” with the main motive of the top layer and its immediate (shortened and displaced) repeat. An irregular seven quarter-note beats in length (although sometimes shortened by a note or two), the main motive is repeated thirteen times in succession. The sort of development that may be inferred from this invention is discussed, along with the requirements for performance. In effect, features of melody, harmony, rhythm, instrumentation, and articulation that might earlier have been subjected to a “developing variation” are kept intact in order that they might serve as a foil for what does change, namely, alignment. The rationale behind this train of thought is one that Stravinsky’s critics, in condemning the repetitious, static, mechanical, and intransigent qualities of The Rite of Spring and other Stravinsky works, have all but ignored. Elena Vereschagina. French versus Russian in “The Rite of Spring” "I play only French music - yours, Debussy, Ravel" (Stravinsky to F.Shmitt, July 20, 1911). Internal pull of Russian and French art is as strong as ever in the creative years of "The Rite" (1911-13): Paris is described as “The Central Station" of Europe, and Picasso, Stravinsky and Modigliani are named by Cocteau as the most important French artists (none of them ethnically French). International avant-garde and aristocratic trend (aiming to presentation and confirmation of the national tradition) are opposed to each other in the critical opinion, but co-exist on the concert poster, for example, in the practice of the Russian seasons (addressed to the aristocracy and bohemians at the same time) or in the aesthetic programme of Countess de Greffuhle, the main patron of Diaghilev in Paris, which included the revived French antiquity ("Anacreon" Rameau) on the one hand, and Handel, Wagner, Richard Strauss, Elgar and Scriabin on the other. National tradition, enlightened cosmopolitanism and orientalism constitute a whole governmentality (in the terminology of Michel Foucault) determining the pre-war cultural policy. But what in the French context is perceived as an exoticism at the boundaries of the Western world, is an internal affair for the creators of Russian seasons. From this point of view, the tamed ornamental evil spirits of "The Firebird" (an adequate response to the request of Western Orientalism) seems unsatisfactory. "The Rite" integrates chronological layers of its creation period (from initial idea to the premiere night), combines unique approaches of its co-authors (librettist and set designer, choreographer and composer) and becomes a comprehensive study of the national myth. Tatiana Vereschagina. Harry Kessler on "The Rite" and the Russian seasons Brief entry in the diary of Count Harry Kessler immediately after the premiere of "The Rite": "A completely new choreography and music. <...> A thoroughly new vision, something never before seen, enthralling, persuasive, is suddenly there, a new kind of wildness, both un-art and art at the same time. All forms laid waste and new ones emerge suddenly from chaos. "

Memoirs and diaries of Count Kessler are viewed as a chronicle of European intellectual life in its highest manifestations. Meticulous chronicler and a man with a keen eye and impeccable artistic flair, he captures what is really important to the ideology of Russian seasons in the creative years of "The Rite". Kessler too is busy with an idea of a ballet for Diaghilev: "The Legend of Joseph", a biblical story Veronese-style, will be produced in the next, pre-war season. Kessler's position as an observer and at the same time one of the authors for the Enterprise creates a stereoscopic perspective of his diaries and correspondence, which should be estimated not only as an important source of factual information on the immediate context of “The Rite”, but also as a way of (artistic and documentary) justification and verification of a new aesthetics of Les Saisons Russes. Stephen Walsh. The Rite of Spring: DIONYSOS MONOMETRIKOS The idea of the single-beat metric unit, which underlies the experimental rhythms of The Rite of Spring, is one of a number of techniques in that ballet that originate in the work of his kuchka predecessors. It can notably be traced back to, or at least compared with, the speech melody in certain vocal works of Musorgsky. Stravinsky seems to have identified it subsequently as an aspect of The Rite that was worth exploring further, and “monometrics,” as he called the technique, figure in sketches of the Swiss years and characterize much of the music of that period. Stravinsky adapted the idea to a concept of metric modulation in major works of the neoclassical period, most notably Oedipus Rex, in which proportional metronome markings control whole scenes through series of complex changes of tempo. These proportions are seldom if ever observed in performance (including by the composer himself), but their existence in the score shows that, at least when composing, he was a true inheritor of the typically Russian love of formulaic background structures. Elena Zinkevich. «The Rite of Spring»: the Ukrainian “topics” In the fate of «the Rite of Spring» Ukraine is presented with various «topics». Some of them fit into a number of similar, making the common research field with them (for example, stage interpretation of ballet in different countries). But there are unique subjects and the first of them – Ustilug, which in this sense divides his glory with Clarens. In Ustilug the first musical sketches of «Spring» were done, the work on the score was continued, and now it (together with Lutsk under whose jurisdiction it’s located) is a kind of «Stravinsky-center» with annual scientific conferences and festivals. The second subject is the Ukrainian sources of «Spring». Once this topic had a purely virtual character, now it’s greatly enriched by discoveries of G.Golovinsky and M. Lobanov. But the «closing» of the theme is out of the question, it is waiting to continue. Indirect confirmation of Ukrainian folk sources of the «Spring» can give a research of the third Ukrainian subject: the influence of musical potential (in all its complex) of Stravinsky’s ballet on the creativity of Ukrainian composers. The first among them in this respect - Yevhen Stankovych. His relationship with Stravinsky, in particular, the ballet «Olga» with the «The Rite of Spring» is undoubtedly, up to direct parallels between the numbers of ballets. But this typical example of identity in dissimilar is interesting by the fact that Stankovych’s music (without citation, like at Stravinsky’s) is born by Ukrainian folklore. As to such «international subject» as stage interpretations of «Spring», it is presented in Ukraine by Radu Poclitaru’s remake. He staged the ballet in the National Opera house in 2002. This production is debatable, but interesting

BIOGRAPHIES Alla Baeva, Doctor of Musical Arts, principal research officer at the State Institute for Art Studies (SIAS), professor at the Russian University of Theatre Arts (GITIS), member of the Union of Composers of Russia. Tatiana Baranova graduated with distinction from the Moscow Conservatoire and subsequently studied there as a doctoral student in musicology and organ performance . She worked for a long period as a Senior Lecturer in the Music Theory departament at the same institution and was the organiser of the first international conference held in Russia on music of the pre-Classical period. She has given guest lectures in Poland, Portugal and the US and published over fifty articles in scholary journals. Dr. Baranova Monighetti subsequently worked in the Escuela Superior de Musica Reina Sofia in Madrid. In recent years she is living in Basel and undertaking research at the Paul Sacher Stiftung. Kevin Bartig is Assistant Professor of Musicology at Michigan State University. His research interests center on music of Russia and the Soviet Union, with particular interests in film music and transnationalism. He was recently awarded a Kluge Fellowship from the Library of Congress to begin a study of American-Soviet musical exchange. Dr Natalia Braginskaya, is an Associate Professor, the Dean of the Musicology Faculty, the Head of the Department of History of Western Music at the Rimsky-Korsakov St. Petersburg State Conservatory. As a member of the International Musicological Society (IMS) she is a chair of the IMS study group called «Stravinsky: between East and West» (co-chair Valérie Dufour, Belgium). Braginskaya’s research interest includes Stravinsky’s and Shostakovich’s oeuvre, the history of the St. Petersburg Conservatory, intercultural musical connections. She is an author of the monograph «Stravinsky’s Neoclassical Concertos» (after the dissertation materials, St. Petersburg, 2005, 2nd ed. 2008) and above 50 scholarly articles published in Petersburg, Moscow and foreign editions. She is an editor of several academic collections. Braginskaya has taken part in above 30 scientific conferences in Russia, Ukraine, Belarus, Great Britain, Italy as a reporter and an organizer. Scholar of the Paul Sacher Stiftung, Basel, Switzerland (2011). Gabriele Brandstetter is widely recognized as a leader in cultural studies and a pioneer in the interdisciplinary study of dance in Germany. She is currently a Professor at the Institute for Theater Research at the Freie Universitat in Berlin, where she is also codirector of an international research center, “Interweaving Performance Cultures.” She has written over a hundred articles addressing intersections between music, theater, art, and literature. She has edited and authored many books, including a recent study of The Rite of Spring. Her work has been recognized by numerous prizes, including the Gottfried Wilhelm Leibniz Prize awarded by the German Research Foundation. Maureen Carr is a Distinguished Professor of Music at Pennsylvania State University. She is currently at work on After The Rite: Stravinsky’s Path to Neoclassicism from 1914 to 1925 (contracted to Oxford University Press). She is the author of Multiple Masks: Stravinsky’s Neoclassicism in His Dramatic Works on Greek Subjects. She is a contributor to the forthcoming Stravinsky and His World (Ed. Tamara Levitz) and has authored two facsimile editions: Stravinsky’s Pulcinella: A Facsimile of the Sources and Sketches and Stravinsky’s Histoire du soldat: A Facsimile of the Sketches. Lynn Garafola is Professor of Dance at Barnard College. A historian and critic, she is the author of Diaghilev’s Ballets Russes and Legacies of Twentieth-Century Dance, editor of The Ballets Russes and Its World and other books, and curator of the New York Historical Society’s exhibition Dance for a City: Fifty Years of the New York City Ballet, and several shows at the New York Public Library for the Performing Arts, including New York Story: Jerome Robbins

and His World and, most recently, Diaghilev’s Theater of Marvels: The Ballets Russes and Its Aftermath. She is currently working on a book about the choreographer Bronislava Nijinska. Millicent Hodson, an American choreographer and graphic artist, collaborates with the English scenic consultant and art historian Kenneth Archer to reconstruct and stage modern masterpieces of the ballet. They have worked with major companies worldwide and continue to publish their research, lecture, and present workshops. Award-winning documentaries about their reconstructions include films on Nijinsky’s Sacre and Balanchine’s Le Chant du Rossignol. Hodson is author of Nijinsky’s Crime Against Grace: Le Sacre du Printemps and Nijinsky’s Bloomsbury Ballet: Jeux. Her drawings of dance are exhibited and published internationally. Eugenia Izotova Eugenia Izotova has graduated from the Moscow State Conservatory department for musical history and theory in 2000 and completed post-graduate studies in 2003 under Prof. Yu.N. Kholopov. Since 2001, she has taught Modern Harmony at the GMPI M.M.Ippolitov-Ivanov, department for Contemporary Performing Arts, and developed a special course on contemporary music notation. Since 2003, she teaches at the Contemporary Music Department of the Moscow Conservatory (since 2010 - Associate Professor), including courses on "Music of the twentieth century and modern performing art", "The repertoire of the twentieth century". Since 1999, E.Izotova works as an assistant to the artistic director of the Studio for the New Music Ensemble, is a member of the artistic council of the contemporary Moscow Forum music festival. She has edited a number of booklets for the Festival and other publications related to the creative work of the Ensemble. She is the recipient of the Prize of the Ministry of Culture and Mass Communications of the Russian Federation for young scholars in culture and art specializing in art theory and history (2004). Her doctoral thesis is focused on «The set theory in the American musicology of 1960-80-ies» (2008). Stephanie Jordan is Research Professor in Dance at University of Roehampton, London. She is the author of Striding Out: Aspects of Contemporary and New Dance in Britain, Moving Music: Dialogues with Music in Twentieth-Century Ballet, and Stravinsky Dances: Re-Visions Across a Century. In 2010, Jordan was honored with the award for Outstanding Scholarly Research in Dance from the Congress on Research in Dance (U.S.). Currently, she is writing a book on the dancer/choreographer Mark Morris and music. Margarita I. Katunyan, Cand. Sc. (Arts) /Ph. D./, Associate Professor at the Department of Music History and Theory of the Moscow Conservatory, Associate Professor at the Department of Music History and Theory of the Victor Popov Academy of Choral Arts (from 1993), lecturer at the Department of Philology of the Russian State University of the Humanities (from 2009). Published about 200 papers on the subjects: history of composition, Renaissance harmony, various aspects of basso continuo, the aesthetics and poetics of Baroque music, 19th-20th-21st cc., structural anthropology (music, literature), history of music forms and notation, actual practices of contemporary art and contemporary music; research papers on the work of composers Edison Denisov, Arvo Pärt, Roman Ledenyov, Vladimir Martynov, Valentin Silvestrov, Eduard. Artemyev, and Ivan Sokolov, poets Dmitrij A. Prigov and Lev Rubinstein; articles for the Russian Encyclopaedia; reviews, reports on music festivals, interviews with composers and performers. Ildar Khannanov earned his Ph.D. in music theory from the University of California at Santa Barbara and is now Professor of Music Theory at Peabody Conservatory, The Johns Hopkins University. He is Vice-Chair for the Scholarly Council of the Russian Society for Music Theory and is currently the Editor of the Russian journal Problemy Muzykal’noi Nauki. Khlopova Victoria, former dancer at Moiseyev danсe company, an applicant for Ph.D at the Institute of Art Studies (NII Iskousstvoznaniya). Graduated RATI-GITIS, the faculty of theater history in 2005. The superviser of the course was A. Yu. Karas’. Final thesis theme was work of French choreographer Angelin Preljocaj. In 2006 - received a Master 1 diploma in France, in Paris III-Sorbonne Nouvelle, at the faculty of theater (thesis on the «Ballets russes» productions

of Preljocaj). In 2008 - defended a Master 2 degree work in Paris VIII at the choreography department (thesis on the development history of the «New French dance»). The subject of Ph.D thesis is «New French dance: history of new dance movement in France in 70-80 years of the XX century», supervisor of this thesis is Elizabeth Souritz, Ph.D in Art Studies. Research interests: French choreography in 20 century, cross-cultural French-Russian connections. Valentina N. Kholopova Born December 14, 1935 in Ryazan, Russia. In 1954 she completed studies at the Ryazan Music College and enrolled the Department of Composition and Music Theory of the Moscow State Tchaikovsky Conservatory. From 1959 to 1962 she studied at the postgraduate program of the Moscow Conservatory with Leo A. Mazel. From 1959 to 1984 she taught at the Gnesins’ State Music College. Since 1960 she has taught at the Moscow Conservatory (having received the title of Professor in 1980). Since 1991 she has been Head of the Department of Interdisciplinary Specializations for Musicologists, which was established that year upon her initiative. Candidate of Arts; dissertation: “Issues of Rhythm in the Works of 20th Century Composers” (1965/1968). Doctor of Arts; dissertation: “Russian Musical Rhythm” (1985). Over 25 of her books and approximately 550 articles have been published. 70 musicologists claim to be adherents of her school of music theory. Sergey Konaev Russian dance and theatre historian, specializing on the archive research. Since 2002, he works for The State Institute for Art Studies, Moscow, Russia (as a senior researcher), and, since 2008, for Archive of the Music Library of the Bolshoi Theatre of Russia (as an expert on manuscript fond). He was also Choreographer's Assistant on Archive Research and Coordination for two productions made by Yuri Burlaka for the Bolshoi Theatre: Grand pas from Paquita, 2008, and La Esmeralda, 2009. Evgenia Krivitskaya – Doctor of Musicology, professor at the Moscow Tchaikovsky Conservatory, Leading Researcher of State Institute for Arts Studies. Chief in editor of magazine «Musical life». Tamara Levaya finished Gorky (now Nizhny Novgorod) Conservatory and postgraduate studies at the conservatory in the class of Professor D.Zhitomirsky. T.Levaya - Doctor of Art Studies, Professor, Head of the Music History Department, Nizhny Novgorod State Academy of Music named after M. Glinka. She is author of books: "Paul Hindemith. Life and Work" (with O.T.Leontieva), "Russian music of the early twentieth century in the artistic context of the era", "Scriabin and artistic hunt of the twentieth century", "Contrasts of genre: essays and studies about Shostakovich". T.Levaya - author-compiler and co-author of "The History of Russian music of the second half of the twentieth century". She is the author of more than a hundred articles and essays about the problems of the music of the twentieth century, a essential part of them is related to the culture of the Silver Age, many articles devoted to the creative activity of A.Scriabin, P.Hindemith, D.Shostakovich, generation of composers of the "Sixties". T.Levaya participates in various international projects, including such as "Ponyatiynik art of the twentieth century" (University of Zagreb), "German-Russian musical contacts 1917-1930" (Hannover), a mega-project about the art of the twentieth century (Nizhny Novgorod State Academy of Music named after M. Glinka). She currently leads the class of specialty and class of Russian music history of the twentieth century on the Musicology faculty of Nizhny Novgorod State Academy of Music named after M. Glinka. She was awarded the medal "For Services to the Fatherland, II degree". Tamara Levitz is a Professor of Musicology at the University of California at Los Angeles. She has published widely on transnational modernism in the 1920s and ’30s, with a focus on music in Germany, Cuba, and France. She has recently completed a monograph entitled Modernist Mysteries: Persephone. In this book she presents a microhistorical analysis of the premiere of

Stravinsky’s melodrama Persephone at the Paris Opera on 30 April 1934. As scholar-in-residence for the Bard Festival on Stravinsky in 2013, she is currently editing the volume Stravinsky and His World to be published by Princeton University Press. Grigory Lyshov is Associate Professor of Music Theory at Moscow Conservatory. A protégé of the late eminent music theorist Yuri Kholopov, he specializes in Russian music theories of the twentieth century. Olga Manulkina is Associate Professor at the St Petersburg Conservatory, the editor-in-chief of the Conservatory journal Opera musicologica; an associate professor and director of master program on music criticism and curatorial studies at the Faculty of Liberal Arts and Sciences at the St Petersburg University. Olga Manulkina was a music critic of the Russian federal newspaper Kommersant (1995–2002) and Afisha magazine (2003–2009). In 2002 O. Manulkina was a Fulbright scholar at the Graduate Centre of the CUNY. She is a member of the board of the Composers’ Union of St Petersburg, and she is on the board of experts of Pro Arte Foundation. In 2007, 2010 and 2012 O. Manulkina was a member of the award committee for the Golden Mask National Theatre Award. In 2008 she coordinated the music festival American season in St Petersburg. Olga Manulkina is the author of the book From Ives to Adams: American Music of the Twentieth Century (St Petersburg, 2010), numerous articles on Russian and American music, a number of translations, including Shostakovich: A Life Remembered by Elisabeth Wilson (St Petersburg, 2006), and over 500 reviews and articles published in newspapers and magazines. Anna Melovatskaya, choreographer, lecturer of the following subjects: Mastery of Choreographer; Fundamentals of Stage Direction; Theory and Practice of Artistic Skill in Ballet; works at the Bolshoi Ballet Academy and the Institute of Modern Arts. Competitor at the State Institute of Art Criticism, the supervisor of studies is Dr. E.Ya.Surits, the leading ballet critic, historian of ballet. The subject of the thesis is “Creative Works of N.Kasatkina and V.Vasilyov in the Process of Renovation of Soviet Ballet Theatre in 1960-1970”. Severine Neff is Eugene Falk Distinguished Professor of Music at the University of North Carolina at Chapel Hill. Her numerous writings on Arnold Schoenberg’s theories and works include The Musical Idea and The Logic, Technique and Art of Its Presentation and Schoenberg’s String Quartet in F-Sharp Minor, Opus 10: A Norton Critical Score. Currently she is preparing an edition of his writings on counterpoint for Oxford University Press. Neff is also Editor-in-Chief of Music Theory Spectrum. Svetlana Savenko graduated from the Moscow State Tchaikovsky Conservatoire where she studied with Yuri Kholopov. Now she is professor of Russian Music at the Moscow State Conservatoire, author of more than 100 publications (including several books) in Russian, English, and German. The major fields of her specialization are Russian music, music of the 20th century including avant-garde and contemporary music. Among her recent books are Stravinsky’s biography (ARKAIM, Chel’abinsk, 2004) and the Russian publication of Chronique de ma vie und Poétique musicale of Stravinsky with commentary (ROSSPEN, Moscow, 2004; second edition Moscow – St. Petersburg, 2012). She is also a singer; her repertoire embraces compositions of Schoenberg, Berg, Webern (complete set of the songs with Yuri Polubelov: NAXOS, 2007), Cage, Eisler, Krenek and many works of Russian composers (Stravinsky, Prokofiev, Roslavets, Myaskovsky, Shillinger and new generation); several works (among them Vladimir Tarnopolsky’s Chevengur) were written specially for her. Irina Sirotkina is Researcher at the Institute for the History of Science and Technology, of the Russian Academy of Sciences. She holds a Candidate of Science Degree (in Psychology) from the Moscow State University and a PhD (in Sociology) from the University of Manchester. She works on the intersection of the history of ideas and cultural studies. She published books and articles in Russian, English and French; her last monograph (Free Movement and Modern Dance in Russia, 2012) is on the history of dance and movement studies in Russia in the first decades of the twentieth century.

Dr. Elisabeth Suritz is the leading ballet critic, historian of ballet, Principal Researcher at the State Institute for Art Studies in Moscow, author of numerous books and articles; her recent publication is a book about Leonid Massine. Richard Taruskin is The Class of 1955 Professor of Music at the University of California at Berkeley and a frequent contributor to the arts section of The New York Times. He is the author of the texts Stravinsky and the Russian Traditions, and the six volume Oxford History of Western Music. A former director of the Columbia University Collegium Musicum and a viola de gamba player with the Aulos Ensemble, he has written many essays on musical performance, several of which are collected in a volume called Text and Act. His work has received the Noah Greenberg Prize, The Dent Medal of the Royal Musical Association, The ASCAP-Deems Taylor Award, and the Alfred Einstein and Kinkeldey Awards from the American Musicological Society. Yaroslav Timofeev was born in Novgorod, Russia, in 1988. Graduated from Novgorod Rachmaninov Music College, the Department of Music Theory (2005), and from Moscow Tchaikovsky Conservatoire, the Department of Music Theory and History (2010). MMus dissertation title : «Parodies by Igor Stravinsky» (supervisor: Associate Professor R. A. Nassonov). Currently a PhD student at the Department of Music Theory and History, Moscow Conservatoire, working on PhD thesis «A borrowed music in Igor Stravinsky’s heritage», supervisor R. A. Nassonov. An author of about 250 publications in the refereed and popular journals. Worked as a presenter for the «Kultura»[Culture] TV channel (since 2007). At present works as a music critic for the Izvestia newspaper. Head of the section of musicology of the «MolOt» (The Junior Department of Russian Composers Union). Pieter van den Toorn is Professor of Music at the University of California at Santa Barbara. He is the author of The Music of Igor Stravinsky, Stravinsky and “The Rite of Spring,” and Music, Politics and the Academy. His latest book, co-authored with John McGinness, is Stravinsky and the Russian Period: Sound and Legacy of a Musical Idiom. Elena Vereschagina teaches music history and compositional techniques of the XX century at the Musical College at the Moscow State Conservatory. She is the author of numerous articles and reports at the musicological conferences on the compositional techniques of the XX century (Stravinsky, Schoenberg, Berg, Webern) and poetics of baroque music (Handel, Vivaldi, Telemann, Lully, Rameau, Rebel, Marais and others). She has contributed to the programme books of the Moscow State Bolshoi theatre (R. Strauss, Der Rosenkavalier, A.Berg, Wozzeck, I. Stravinsky, The Rake’s Progress and others). She is the co-author of the series of programs on historically-informed performance practice on the State Radio Orfeus. Tatiana Vereschagina, music historian and critic, is the author and editor-in-chief of Alban Berg. WOZZECK, a programme book for the first performance of the opera in the Moscow State Bolshoi theatre. She is the author of numerous articles for programme books of the Moscow State Bolshoi theatre, such as I.Stravinsky, The Rake’s Progress; R. Wagner, Der Fliegende Hollaender; W.A.Mozart, Don Giovanni; Ph.Fenelon, The Cherry Orchard; R.Strauss, Der Rosenkavalier and others; co-author of the series of programs on historically-informed performance practice on the State Radio Orfeus. Stephen Walsh is a well-known English critic and writer on music, the author of a large-scale two-volume biography of Stravinsky, and of smaller volumes on Stravinsky’s music, Stravinsky’s Oedipus Rex, and the work of Schumann and Bartok. He holds a personal chair in the School of Music, Cardiff University, in South Wales. Elena (Yelena, Olena –in Ukrainian) Zinkevych Doctor Hab., professor. Head of the Chair of History of Music and Musical Criticism of the Ukrainian National Tchaikovsky Academy of Music (Kiev). Participant of many international conferences (Ukraine, Russia, Belarus’, Latvia, Lithuania, Germany, Belgium, Switzerland, Netherland). Author of books and numerous scientific articles in Ukrainian and foreign editions. The key topic of the

works connected to a modern musical process, Ukrainian symphonic music, musical postmodern, methodology of historical musicology, history of Russian music. Among the publications: “Symphonic hyperbolas. About Stankovych’s Music” (2002), . Kontsert i park na krutoyare... Kiev musikal’ny X1X-nachala XX veka. (2003); Mundus Musicae. Texty i Contexty. (2007), Music Criticism (Theory and Method).Textbook. (2007), Conversations with Stankovych (2012) and others.

Corresponding Member of the National Academy of Arts of Ukraine, Member of the Ukrainian Composers’ Union.