what is the violent moment at the end of rite of spring
Glorification of the Chosen One
title: The Rite of Spring text: of the utmost vigour which are abruptly terminated in what Hill describes as a "blunt, brutal amputation". Part II has a greater cohesion than its predecessor. Hill describes the music as following an arc stretching from the beginning of the Introduction to the conclusion of the final dance. Woodwind and muted trumpets are prominent throughout the Introduction, which ends with a number of rising cadences on strings and flutes. The transition into the "Mystic Circles" is almost imperceptible; the main theme of the section has been prefigured in the Introduction. A loud repeated chord, which Berger likens to a call title: The Rite of Spring text: to order, announces the moment for choosing the sacrificial victim. The "Glorification of the Chosen One" is brief and violent; in the "Evocation of the Ancestors" that follows, short phrases are interspersed with drum rolls. The "Ritual Action of the Ancestors" begins quietly, but slowly builds to a series of climaxes before subsiding suddenly into the quiet phrases that began the episode. The final transition introduces the "Sacrificial Dance". This is written as a more disciplined ritual than the extravagant dance that ended Part I, though it contains some wild moments, with the large percussion section of the orchestra given title: The Rite of Spring text: a series of flute trills that usher in the "Spring Rounds", in which a slow and laborious theme gradually rises to a dissonant fortissimo, a "ghastly caricature" of the episode's main tune. Brass and percussion predominate as the "Ritual of the Rival Tribes" begins. A tune emerges on tenor and bass tubas, leading after much repetition to the entry of the Sage's procession. The music then comes to a virtual halt, "bleached free of colour" (Hill), as the Sage blesses the earth. The "Dance of the Earth" then begins, bringing Part I to a close in a series of phrases title: The Rite of Spring text: roles.: The opening melody is played by a solo bassoon in a very high register, which renders the instrument almost unidentifiable; gradually other woodwind instruments are sounded and are eventually joined by strings. The sound builds up before stopping suddenly, Hill says, "just as it is bursting ecstatically into bloom". There is then a reiteration of the opening bassoon solo, now played a semitone lower. The first dance, "Augurs of Spring", is characterised by a repetitive stamping chord in the horns and strings, based on E superimposed on a triad of E, G and B. White suggests that this bitonal title: The Rite of Spring text: Léon Vallas opined that Stravinsky had written music 30 years ahead of its time, suitable to be heard in 1940. Coincidentally, it was in that year that Walt Disney released "Fantasia", an animated feature film using music from "The Rite" and other classical compositions, conducted by Stokowski. The "Rite" segment of the film depicted the Earth's prehistory, with the creation of life, leading to the extinction of the dinosaurs as the finale. Among those impressed by the film was Gunther Schuller, later a composer, conductor and jazz scholar. The "Rite of Spring" sequence, he says, overwhelmed him and determined his