Product Details

• Amazon Sales Rank: #1012958 in Books
• Published on: 1996-09
• Original language: English
• Binding: Hardcover
• 205 pages

Review
Using a facsimile of the rehearsal piano score, Millicent Hodson relates steps and spatial figures to musical phrases indicating in detail the sources for her reconstruction. One each page is a sequence of music (usually just a few bars). Headers above the music give the precise orientation for the material at hand: the act and scene number plus the section number from Stravinsky's orchestral score (in brackets) and the exact measures dealt with on that page. Any handwritten block capitals written on the music are in Hodson's hand. If they are boxed (such as "bobbing") they originate with Stravinsky. The block capitals that are noted boxes (e. g. "The Young People") originate with Marie Rambert, Nijinsky's assistant in 1913, translations of the notes she wrote over, under or around the bars, (e. g. "ionoshi"). Ninjinksy's Crime Against Grace: Reconstruction Score of the Original Choreography for "Le Sacre du Printemps" is a masterpiece, showing the reader insights into the minds and art of Stravinsky, Ninjinsky. This is an inestimable service for the history of music and dance. -- Midwest Book Review

Customer Reviews

Superb scholarship
Millicent Hodson changed my life. As a young music/dance undergrad in the early 90's, I became infatuated, still am, with Le Sacre. Every note of music is made flesh. Coming across the reconstruction video, PBS ,led me to Rambert then to Jaques-Dalcroze and a degree from Juilliard in Eurhythmics - All from my exposure to the work of Millicent Hodson. I just received the book and it is perfect. Thank you Dr. Hodson for changing my life!

An absolute must
This book offers a fantastic insight into the 1st performances and preparation of Sacre. Anyone interested in "getting back to the source"
must purchase this book

Magnificent and Critical Reconstruction
Hodson brings back one of History's most controversial ballets after a 20 year research, which included several interviews with Marie Romberg (who danced in the premiere of The Rite), Stravinsky's own annotated score and various sketches from artists who attended rehearsals. The plotless nature of The Rite provided an opportunity to create a unique musical form for Stravinsky, one which still dazzles audiences around the world. A reconstruction was staged by Robert Joffrey, just 6 months before his death.