The rite of spring was written just before the Russian revolution and the 1^st world war. This music is a symbol of a period of a mighty intellectual, scientific and artistic uproar. It has become popular with time because of its connection with this critical era. Therefore, since then, none of the composers who can overlook this great icon’s shadow of the twentieth century. This music has been able to survive numerous prosecutions in the first period of its hundred years. These trials are not exclusive of the disreputable premier whereby the provocative choreography by Nijinsky caused an abuse volume rendering the music regularly inaudible. The music comprises of different parts that come out clearly in the stage performed dances.

Listening to the rite of spring gives a picture of a unique kind of music. This music is different from other versions of music, in that, it has a unique setting and performance. The composer has portrayed a high sense of creativity and innovation in his music. How the instruments are played in this music is just amazing. For instance, doing a single at the start of the music piece in higher tunes would mention some development in the music and the people’s tradition. The dance movements are also unique and easy to follow as they rhyme perfectly well with the music beats. Regardless of other versions of traditional music having complicated rhythms, the rite of spring has not gone to that extent. It is simple and easy to follow.

How the two staged dance versions, compare in terms of dance styles

In both dance versions, the dancers are wearing unique costumes. In the version choreographed by Pina Bausch for the Tanztheatrewupperthal, the outfits are monotonous while in the other version, the reaction of the original 1913 choreography of the Rite of spring by Nijinsky performed in 2013, the costumes are of mixed colors and makes the dancers look more appealing, and also has an excellent visual effect to the audience. The monotonous tone of costumes inthe choreographed version by Pina Bausch for the Tanztheatrewupperthal, for instance has a less strong visual impact and may not appear attractive to the audience. Both dance versions are performed in a dark setting with some bit of lighting that focuses more on the dancers. The dance styles and movements are almost similar in both dances. The dancers seem to be enjoying every bit of it. The different parts of the music are expressed by different dance styles which in my opinion look to display a similar motive in the two dance versions. The orchestral version represents a modern version of the song. The audience is in their modern costumes and is all dressed in black. How the instruments are played in this version is magical and amazing.

The version choreographed by Pina Bausch for the Tanztheatrewupperthal is the one I like the most as it has a representation of both male and female. The two groups here represent the different roles of both men and women in society. Their energy in the dance is on another level, and they all seem to own every bit of the music. Giving a closer look at the dancers, one will quickly notice that they are passionate about the dance. Lastly, I like the coordination in their dance moves.

In conclusion, the early performance of Igor Stravinsky of the considerably complicated score was most of the time on the collapsed edge. Nevertheless, the music piece is currently amongst the extensive orchestral repertoire. The only threat it experiences nowadays is renditions that renders work that ought to cause shock comfortable and safe.

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