An introduction to 'The Rite of Spring',
             The part I of the Rite of Spring starts with an "introduction". The texture at the very beginning is extremely thin, and the only instrument in use is the bassoon, in an unusually high tessatura. The bassoon is soon joined by the Horn, and later, a pair of clarinets. This little wind ensemble creates an eerie feeling, and the fact that tempo rubato is employed makes the whole start very unstable, as if the 'grand work' has just had a bad kick-off. However, this cold start doesn't last for long. Before soon as more instruments join in, more or less at random, the texture gets thicker and thicker. Each instrument has its own theme, and they seem to come in regardless of each other, similar to the bird-songs that are heard too many times at dawn and shortly after. The strings do not join in until figure 4, and do not play a major part in the introduction. As the morning progresses, the orchestra gets busier and busier with ever twining melodies. At figure 9 the flutes flourish, but at figure 10 Stravinsky introduces 6 solo Double Basses and a Solo cello. This is where the strings start playing a major part in this movement. Though they could not be heard, when this is performed as an orchestral work the effects can be clearly seen. At figure 11 the orchestra has finished its initial eruption and almost all instruments have come in for the first time. The strange effect of glissando harmonics is applied to the viola. However, none of these minute-details can in fact be heard, and the overall effect resembles that of the 'Representation of Chaos' from the Creation, though Haydn did not sacrifice the beauty of music when it is used to represent chaos. As the orchestra draws to a 'climax' just before figure 12, it sounds as if the sound is cut-off, and the eerie feeling returns as the bassoon takes its initial theme again, with the orchestra silenced. The difference, of course, is that this time t...