i ‘Stravinsky ond The Rite of Spring ae citar i: "Bvoeson” s ag pe—— Aa BS echo) a? bs me Swe a8 ro PBS ec 5 an — ao BS (eh a7 b5 a7 3a73b5, m3 (hel “Sacrificial Dance” ‘The kind of repeat structure that initiates Block B in the “Evocation” is by no means unique to this single movement. Similar configurations are found in the opening two bars of the “Ritual of the Rival Tribes,” in the first two { bars of the “‘Glorification of the Chosen One,” and in the initial eight bars of the first section of the “Sacrificial Dance.” Indeed, in the “Sacrificial Dance," a hidden meter leads to a higher-level 1-2-3 triple count, similar to that at no. T2143 in the “Evocation,” and in which connection similar implications of instability arise. In Example 36 attention is drawn to the two principal motives a and b (la beled cells by Boulez).** And, as in Example 25 from the March of Histoire, subsequent repeats of these two units are aligned vertically and then marked off by dotted lines. Thus, too, fixed metric identity imposes itself along farnil- iar lines, For notwithstanding the irregular 2 and}. measures of the tiny sub- motives, a punctuation of D or a sixteenth-note rest always falls on the dowin- beats of these irregular measures, while the reiterating chord itself follows on the second sixteenth-note beat. Hence, as earlier, fixed identity or constancy tends to regulate the irregularity. But neither; of course, are these graphics strictly “mechanical” in conception, for the irregularity reflects an intent £0 retain a second beat “feel” for the reiterating chord—or, in relation to the eighth-néte, an offbeat “feel.” : Still, with the eighth-note inferred initially as the tactus with an assigned : tempo marking of 126, a concealed @ periodicity emerges with little resistance, : especially in view of the immediate, verbatim repeat of the 25~b7 succession ; and its higher-level (and “targeted") 1-2-3 count. Indeed, with subsequent ‘ repeats of motive b7, the details of displacement are similar to those pursued : on behalf of the B-C#-D-(E) sweep in Histoire’s opening March. Here, an : : 3 “bi. pp. 124-27 i 1 3 ——ite of Spring (echo) fecha) (echo) "isby no, found in wo § bars sats of the Dance,” a chat at no. cations of andb (lie F Histoire, n marked ong famil- tiny sub- hedown- ollows on constancy + graphics intent to on to the L assigned sistance, uaccession sbsequent ¢ pursued Here, an ‘Stravinsky Re-bared EKAMPLE: “Sacrificial Dance” 95