title: Information security

text: Research has shown that the most vulnerable point in most information systems is the human user, operator, designer, or other human. The ISO/IEC 27002:2005 Code of practice for information security management recommends the following be examined during a risk assessment:


title: Information security

text: For any given risk, management can choose to accept the risk based upon the relative low value of the asset, the relative low frequency of occurrence, and the relative low impact on the business. Or, leadership may choose to mitigate the risk by selecting and implementing appropriate control measures to reduce the risk. In some cases, the risk can be transferred to another business by buying insurance or outsourcing to another business. The reality of some risks may be disputed. In such cases leadership may choose to deny the risk.


title: Information security

text: Selecting and implementing proper security controls will initially help an organization bring down risk to acceptable levels. Control selection should follow and should be based on the risk assessment. Controls can vary in nature, but fundamentally they are ways of protecting the confidentiality, integrity or availability of information. ISO/IEC 27001 has defined controls in different areas. Organizations can implement additional controls according to requirement of the organization. ISO/IEC 27002 offers a guideline for organizational information security standards.


title: Information security

text: Administrative controls (also called procedural controls) consist of approved written policies, procedures, standards, and guidelines. Administrative controls form the framework for running the business and managing people. They inform people on how the business is to be run and how day-to-day operations are to be conducted. Laws and regulations created by government bodies are also a type of administrative control because they inform the business. Some industry sectors have policies, procedures, standards, and guidelines that must be followed – the Payment Card Industry Data Security Standard (PCI DSS) required by Visa and MasterCard is such an example. Other examples of administrative controls include the corporate security policy, password policy, hiring policies, and disciplinary policies.


title: Information security

text: Administrative controls form the basis for the selection and implementation of logical and physical controls. Logical and physical controls are manifestations of administrative controls, which are of paramount importance.


title: Information security

text: Logical controls (also called technical controls) use software and data to monitor and control access to information and computing systems. Passwords, network and host-based firewalls, network intrusion detection systems, access control lists, and data encryption are examples of logical controls.


title: Information security

text: An important logical control that is frequently overlooked is the principle of least privilege, which requires that an individual, program or system process not be granted any more access privileges than are necessary to perform the task. A blatant example of the failure to adhere to the principle of least privilege is logging into Windows as user Administrator to read email and surf the web. Violations of this principle can also occur when an individual collects additional access privileges over time. This happens when employees' job duties change, employees are promoted to a new position, or employees are transferred to another department. The access privileges required by their new duties are frequently added onto their already existing access privileges, which may no longer be necessary or appropriate.


title: Information security

text: Physical controls monitor and control the environment of the work place and computing facilities. They also monitor and control access to and from such facilities and include doors, locks, heating and air conditioning, smoke and fire alarms, fire suppression systems, cameras, barricades, fencing, security guards, cable locks, etc. Separating the network and workplace into functional areas are also physical controls.


title: Information security

text: An important physical control that is frequently overlooked is separation of duties, which ensures that an individual can not complete a critical task by himself. For example, an employee who submits a request for reimbursement should not also be able to authorize payment or print the check. An applications programmer should not also be the server administrator or the database administrator; these roles and responsibilities must be separated from one another.


title: Information security

text: Information security must protect information throughout its lifespan, from the initial creation of the information on through to the final disposal of the information. The information must be protected while in motion and while at rest. During its lifetime, information may pass through many different information processing systems and through many different parts of information processing systems. There are many different ways the information and information systems can be threatened. To fully protect the information during its lifetime, each component of the information processing system must have its own protection mechanisms. The building up, layering on, and overlapping of security measures is called "defense in depth." In contrast to a metal chain, which is famously only as strong as its weakest link, the defense in depth strategy aims at a structure where, should one defensive measure fail, other measures will continue to provide protection.


title: Information security

text: Recall the earlier discussion about administrative controls, logical controls, and physical controls. The three types of controls can be used to form the basis upon which to build a defense in depth strategy. With this approach, defense in depth can be conceptualized as three distinct layers or planes laid one on top of the other. Additional insight into defense in depth can be gained by thinking of it as forming the layers of an onion, with data at the core of the onion, people the next outer layer of the onion, and network security, host-based security, and application security forming the outermost layers of the onion. Both perspectives are equally valid, and each provides valuable insight into the implementation of a good defense in depth strategy.


title: Information security

text: An important aspect of information security and risk management is recognizing the value of information and defining appropriate procedures and protection requirements for the information. Not all information is equal and so not all information requires the same degree of protection. This requires information to be assigned a security classification. The first step in information classification is to identify a member of senior management as the owner of the particular information to be classified. Next, develop a classification policy. The policy should describe the different classification labels, define the criteria for information to be assigned a particular label, and list the required security controls for each classification.


title: Information security

text: Some factors that influence which classification information should be assigned include how much value that information has to the organization, how old the information is and whether or not the information has become obsolete. Laws and other regulatory requirements are also important considerations when classifying information. The Information Systems Audit and Control Association (ISACA) and its "Business Model for Information Security" also serves as a tool for security professionals to examine security from a systems perspective, creating an environment where security can be managed holistically, allowing actual risks to be addressed.


title: Information security

text: The type of information security classification labels selected and used will depend on the nature of the organization, with examples being:


title: Information security

text: All employees in the organization, as well as business partners, must be trained on the classification schema and understand the required security controls and handling procedures for each classification. The classification of a particular information asset that has been assigned should be reviewed periodically to ensure the classification is still appropriate for the information and to ensure the security controls required by the classification are in place and are followed in their right procedures.


title: Information security

text: Access to protected information must be restricted to people who are authorized to access the information. The computer programs, and in many cases the computers that process the information, must also be authorized. This requires that mechanisms be in place to control the access to protected information. The sophistication of the access control mechanisms should be in parity with the value of the information being protected; the more sensitive or valuable the information the stronger the control mechanisms need to be. The foundation on which access control mechanisms are built start with identification and authentication.


title: Information security

text: Access control is generally considered in three steps: identification, authentication, and authorization.


title: Information security

text: Identification is an assertion of who someone is or what something is. If a person makes the statement "Hello, my name is John Doe" they are making a claim of who they are. However, their claim may or may not be true. Before John Doe can be granted access to protected information it will be necessary to verify that the person claiming to be John Doe really is John Doe. Typically the claim is in the form of a username. By entering that username you are claiming "I am the person the username belongs to".


title: Information security

text: Authentication is the act of verifying a claim of identity. When John Doe goes into a bank to make a withdrawal, he tells the bank teller he is John Doe, a claim of identity. The bank teller asks to see a photo ID, so he hands the teller his driver's license. The bank teller checks the license to make sure it has John Doe printed on it and compares the photograph on the license against the person claiming to be John Doe. If the photo and name match the person, then the teller has authenticated that John Doe is who he claimed to be. Similarly, by entering the correct password, the user is providing evidence that he/she is the person the username belongs to.


title: Information security

text: Strong authentication requires providing more than one type of authentication information (two-factor authentication). The username is the most common form of identification on computer systems today and the password is the most common form of authentication. Usernames and passwords have served their purpose, but they are increasingly inadequate. Usernames and passwords are slowly being replaced or supplemented with more sophisticated authentication mechanisms such as Time-based One-time Password algorithms.


title: Information security

text: After a person, program or computer has successfully been identified and authenticated then it must be determined what informational resources they are permitted to access and what actions they will be allowed to perform (run, view, create, delete, or change). This is called authorization. Authorization to access information and other computing services begins with administrative policies and procedures. The policies prescribe what information and computing services can be accessed, by whom, and under what conditions. The access control mechanisms are then configured to enforce these policies. Different computing systems are equipped with different kinds of access control mechanisms. Some may even offer a choice of different access control mechanisms. The access control mechanism a system offers will be based upon one of three approaches to access control, or it may be derived from a combination of the three approaches.


title: Information security

text: The non-discretionary approach consolidates all access control under a centralized administration. The access to information and other resources is usually based on the individuals function (role) in the organization or the tasks the individual must perform. The discretionary approach gives the creator or owner of the information resource the ability to control access to those resources. In the mandatory access control approach, access is granted or denied basing upon the security classification assigned to the information resource.


title: Information security

text: Examples of common access control mechanisms in use today include role-based access control, available in many advanced database management systems; simple file permissions provided in the UNIX and Windows operating systems; Group Policy Objects provided in Windows network systems; and Kerberos, RADIUS, TACACS, and the simple access lists used in many firewalls and routers.


title: Information security

text: To be effective, policies and other security controls must be enforceable and upheld. Effective policies ensure that people are held accountable for their actions. The U.S. Treasury's guidelines for systems processing sensitive or proprietary information, for example, states that all failed and successful authentication and access attempts must be logged, and all access to information must leave some type of audit trail.


title: Information security

text: Also, the need-to-know principle needs to be in effect when talking about access control. This principle gives access rights to a person to perform their job functions. This principle is used in the government when dealing with difference clearances. Even though two employees in different departments have a top-secret clearance, they must have a need-to-know in order for information to be exchanged. Within the need-to-know principle, network administrators grant the employee the least amount of privilege to prevent employees from accessing more than what they are supposed to. Need-to-know helps to enforce the confidentiality-integrity-availability triad. Need-to-know directly impacts the confidential area of the triad.


title: Information security

text: Information security uses cryptography to transform usable information into a form that renders it unusable by anyone other than an authorized user; this process is called encryption. Information that has been encrypted (rendered unusable) can be transformed back into its original usable form by an authorized user who possesses the cryptographic key, through the process of decryption. Cryptography is used in information security to protect information from unauthorized or accidental disclosure while the information is in transit (either electronically or physically) and while information is in storage.


title: Information security

text: Cryptography provides information security with other useful applications as well, including improved authentication methods, message digests, digital signatures, non-repudiation, and encrypted network communications. Older, less secure applications such as Telnet and File Transfer Protocol (FTP) are slowly being replaced with more secure applications such as Secure Shell (SSH) that use encrypted network communications. Wireless communications can be encrypted using protocols such as WPA/WPA2 or the older (and less secure) WEP. Wired communications (such as ITU‑T G.hn) are secured using AES for encryption and X.1035 for authentication and key exchange. Software applications such as GnuPG or PGP can be used to encrypt data files and email.


title: Information security

text: Cryptography can introduce security problems when it is not implemented correctly. Cryptographic solutions need to be implemented using industry-accepted solutions that have undergone rigorous peer review by independent experts in cryptography. The length and strength of the encryption key is also an important consideration. A key that is weak or too short will produce weak encryption. The keys used for encryption and decryption must be protected with the same degree of rigor as any other confidential information. They must be protected from unauthorized disclosure and destruction, and they must be available when needed. Public key infrastructure (PKI) solutions address many of the problems that surround key management.


title: Information security

text: The terms "reasonable and prudent person", "due care", and "due diligence" have been used in the fields of finance, securities, and law for many years. In recent years these terms have found their way into the fields of computing and information security. U.S. Federal Sentencing Guidelines now make it possible to hold corporate officers liable for failing to exercise due care and due diligence in the management of their information systems.


title: Information security

text: In the business world, stockholders, customers, business partners, and governments have the expectation that corporate officers will run the business in accordance with accepted business practices and in compliance with laws and other regulatory requirements. This is often described as the "reasonable and prudent person" rule. A prudent person takes due care to ensure that everything necessary is done to operate the business by sound business principles and in a legal, ethical manner. A prudent person is also diligent (mindful, attentive, ongoing) in their due care of the business.


title: Information security

text: ""Due care are steps that are taken to show that a company has taken responsibility for the activities that take place within the corporation and has taken the necessary steps to help protect the company, its resources, and employees""."" And, <nowiki>[Due diligence are the]</nowiki> ""continual activities that make sure the protection mechanisms are continually maintained and operational.""


title: Information security

text: Attention should be made to two important points in these definitions. First, in due care, steps are taken to show; this means that the steps can be verified, measured, or even produce tangible artifacts. Second, in due diligence, there are continual activities; this means that people are actually doing things to monitor and maintain the protection mechanisms, and these activities are ongoing.


title: Information security

text: Organizations have a responsibility with practicing duty of care when applying information security. The Duty of Care Risk Analysis Standard (DoCRA) provides principles and practices for evaluating risk. It considers all parties that could be affected by those risks. DoCRA helps evaluate safeguards if they are appropriate in protecting others from harm while presenting a reasonable burden. With increased data breach litigation, companies must balance security controls, compliance, and its mission.


title: Information security

text: The Software Engineering Institute at Carnegie Mellon University, in a publication titled "Governing for Enterprise Security (GES) Implementation Guide", defines characteristics of effective security governance. These include:


title: Information security

text: An incident response plan (IRP) is a group of policies that dictate an organizations reaction to a cyber attack. Once an security breach has been identified the plan is initiated. It is important to note that there can be legal implications to a data breach. Knowing local and federal laws is critical. Every plan is unique to the needs of the organization, and it can involve skill sets that are not part of an IT team. For example, a lawyer may be included in the response plan to help navigate legal implications to a data breach.


title: Information security

text: Good preparation includes the development of an Incident Response Team (IRT). Skills need to be used by this team would be, penetration testing, computer forensics, network security, etc. This team should also keep track of trends in cybersecurity and modern attack strategies. A training program for end users is important as well as most modern attack strategies target users on the network.


title: Information security

text: This part of the incident response plan identifies if there was a security event. When an end user reports information or an admin notices irregularities, an investigation is launched. An incident log is a crucial part of this step. All of the members of the team should be updating this log to ensure that information flows as fast as possible. If it has been identified that a security breach has occurred the next step should be activated.


title: Information security

text: In this phase, the IRT works to isolate the areas that the breach took place to limit the scope of the security event. During this phase it is important to preserve information forensically so it can be analyzed later in the process. Containment could be as simple as physically containing a server room or as complex as segmenting a network to not allow the spread of a virus.


title: Information security

text: This is where the threat that was identified is removed from the affected systems. This could include deleting malicious files, terminating compromised accounts, or deleting other components. Some events do not require this step, however it is important to fully understand the event before moving to this step. This will help to ensure that the threat is completely removed.


title: Information security

text: This stage is where the systems are restored back to original operation. This stage could include the recovery of data, changing user access information, or updating firewall rules or policies to prevent a breach in the future. Without executing this step, the system could still be vulnerable to future security threats.


title: Information security

text: In this step information that has been gathered during this process is used to make future decisions on security. This step is crucial to the ensure that future events are prevented. Using this information to further train admins is critical to the process. This step can also be used to process information that is distributed from other entities who have experienced a security event.


title: Information security

text: Change management is a formal process for directing and controlling alterations to the information processing environment. This includes alterations to desktop computers, the network, servers, and software. The objectives of change management are to reduce the risks posed by changes to the information processing environment and improve the stability and reliability of the processing environment as changes are made. It is not the objective of change management to prevent or hinder necessary changes from being implemented.


title: Information security

text: Any change to the information processing environment introduces an element of risk. Even apparently simple changes can have unexpected effects. One of management's many responsibilities is the management of risk. Change management is a tool for managing the risks introduced by changes to the information processing environment. Part of the change management process ensures that changes are not implemented at inopportune times when they may disrupt critical business processes or interfere with other changes being implemented.


title: Information security

text: Not every change needs to be managed. Some kinds of changes are a part of the everyday routine of information processing and adhere to a predefined procedure, which reduces the overall level of risk to the processing environment. Creating a new user account or deploying a new desktop computer are examples of changes that do not generally require change management. However, relocating user file shares, or upgrading the Email server pose a much higher level of risk to the processing environment and are not a normal everyday activity. The critical first steps in change management are (a) defining change (and communicating that definition) and (b) defining the scope of the change system.


title: Information security

text: Change management is usually overseen by a change review board composed of representatives from key business areas, security, networking, systems administrators, database administration, application developers, desktop support, and the help desk. The tasks of the change review board can be facilitated with the use of automated work flow application. The responsibility of the change review board is to ensure the organization's documented change management procedures are followed. The change management process is as follows


title: Information security

text: Change management procedures that are simple to follow and easy to use can greatly reduce the overall risks created when changes are made to the information processing environment. Good change management procedures improve the overall quality and success of changes as they are implemented. This is accomplished through planning, peer review, documentation, and communication.


title: Information security

text: ISO/IEC 20000, The Visible OPS Handbook: Implementing ITIL in 4 Practical and Auditable Steps (Full book summary), and ITIL all provide valuable guidance on implementing an efficient and effective change management program information security.


title: Information security

text: Business continuity management (BCM) concerns arrangements aiming to protect an organization's critical business functions from interruption due to incidents, or at least minimize the effects. BCM is essential to any organization to keep technology and business in line with current threats to the continuation of business as usual. The BCM should be included in an organizations risk analysis plan to ensure that all of the necessary business functions have what they need to keep going in the event of any type of threat to any business function.


title: Information security

text: Whereas BCM takes a broad approach to minimizing disaster-related risks by reducing both the probability and the severity of incidents, a disaster recovery plan (DRP) focuses specifically on resuming business operations as quickly as possible after a disaster. A disaster recovery plan, invoked soon after a disaster occurs, lays out the steps necessary to recover critical information and communications technology (ICT) infrastructure. Disaster recovery planning includes establishing a planning group, performing risk assessment, establishing priorities, developing recovery strategies, preparing inventories and documentation of the plan, developing verification criteria and procedure, and lastly implementing the plan.


title: Information security

text: Below is a partial listing of governmental laws and regulations in various parts of the world that have, had, or will have, a significant effect on data processing and information security. Important industry sector regulations have also been included when they have a significant impact on information security.


title: Information security

text: Describing more than simply how security aware employees are, information security culture is the ideas, customs, and social behaviors of an organization that impact information security in both positive and negative ways. Cultural concepts can help different segments of the organization work effectively or work against effectiveness towards information security within an organization. The way employees think and feel about security and the actions they take can have a big impact on information security in organizations. Roer & Petric (2017) identify seven core dimensions of information security culture in organizations:


title: Information security

text: Andersson and Reimers (2014) found that employees often do not see themselves as part of the organization Information Security "effort" and often take actions that ignore organizational information security best interests. Research shows information security culture needs to be improved continuously. In "Information Security Culture from Analysis to Change", authors commented, "It's a never ending process, a cycle of evaluation and change or maintenance." To manage the information security culture, five steps should be taken: pre-evaluation, strategic planning, operative planning, implementation, and post-evaluation.


title: Information security

text: The International Organization for Standardization (ISO) is an international standards organization organized as a consortium of national standards institutions from 167 countries, coordinated through a secretariat in Geneva, Switzerland. ISO is the world's largest developer of international standards. The International Electrotechnical Commission (IEC) is an international standards organization that deals with electrotechnology and cooperates closely with ISO. ISO/IEC 15443: "Information technology – Security techniques – A framework for IT security assurance", ISO/IEC 27002: "Information technology – Security techniques – Code of practice for information security management", ISO/IEC 20000: "Information technology – Service management", and ISO/IEC 27001: "Information technology – Security techniques – Information security management systems – Requirements" are of particular interest to information security professionals.


title: Information security

text: The US National Institute of Standards and Technology (NIST) is a non-regulatory federal agency within the U.S. Department of Commerce. The NIST Computer Security Division


title: Information security

text: develops standards, metrics, tests, and validation programs as well as publishes standards and guidelines to increase secure IT planning, implementation, management, and operation. NIST is also the custodian of the U.S. Federal Information Processing Standard publications (FIPS).


title: Information security

text: The Internet Society is a professional membership society with more than 100 organizations and over 20,000 individual members in over 180 countries. It provides leadership in addressing issues that confront the future of the internet, and it is the organizational home for the groups responsible for internet infrastructure standards, including the Internet Engineering Task Force (IETF) and the Internet Architecture Board (IAB). The ISOC hosts the Requests for Comments (RFCs) which includes the Official Internet Protocol Standards and the RFC-2196 Site Security Handbook.


title: Information security

text: The Information Security Forum (ISF) is a global nonprofit organization of several hundred leading organizations in financial services, manufacturing, telecommunications, consumer goods, government, and other areas. It undertakes research into information security practices and offers advice in its biannual Standard of Good Practice and more detailed advisories for members.


title: Information security

text: The Institute of Information Security Professionals (IISP) is an independent, non-profit body governed by its members, with the principal objective of advancing the professionalism of information security practitioners and thereby the professionalism of the industry as a whole. The institute developed the IISP Skills Framework. This framework describes the range of competencies expected of information security and information assurance professionals in the effective performance of their roles. It was developed through collaboration between both private and public sector organizations, world-renowned academics, and security leaders.


title: Information security

text: The German Federal Office for Information Security (in German "Bundesamt für Sicherheit in der Informationstechnik (BSI)") BSI-Standards 100–1 to 100-4 are a set of recommendations including "methods, processes, procedures, approaches and measures relating to information security". The BSI-Standard 100-2 "IT-Grundschutz Methodology" describes how information security management can be implemented and operated. The standard includes a very specific guide, the IT Baseline Protection Catalogs (also known as IT-Grundschutz Catalogs). Before 2005, the catalogs were formerly known as "IT Baseline Protection Manual". The Catalogs are a collection of documents useful for detecting and combating security-relevant weak points in the IT environment (IT cluster). The collection encompasses as of September 2013 over 4,400 pages with the introduction and catalogs. The IT-Grundschutz approach is aligned with to the ISO/IEC 2700x family.


title: Information security

text: The European Telecommunications Standards Institute standardized a catalog of information security indicators, headed by the Industrial Specification Group (ISG) ISI.


title: The Rite of Spring

text: The Rite of Spring () is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1913 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Vaslav Nijinsky with stage designs and costumes by Nicholas Roerich. When first performed at the Théâtre des Champs-Élysées on 29 May 1913, the avant-garde nature of the music and choreography caused a sensation. Many have called the first-night reaction a "riot" or "near-riot", though this wording did not come about until reviews of later performances in 1924, over a decade later. Although designed as a work for the stage, with specific passages accompanying characters and action, the music achieved equal if not greater recognition as a concert piece and is widely considered to be one of the most influential musical works of the 20th century.


title: The Rite of Spring

text: Stravinsky was a young, virtually unknown composer when Diaghilev recruited him to create works for the Ballets Russes. "Le Sacre du printemps" was the third such major project, after the acclaimed "Firebird" (1910) and "Petrushka" (1911). The concept behind "The Rite of Spring", developed by Roerich from Stravinsky's outline idea, is suggested by its subtitle, "Pictures of Pagan Russia in Two Parts"; the scenario depicts various primitive rituals celebrating the advent of spring, after which a young girl is chosen as a sacrificial victim and dances herself to death. After a mixed critical reception for its original run and a short London tour, the ballet was not performed again until the 1920s, when a version choreographed by Léonide Massine replaced Nijinsky's original, which saw only eight performances. Massine's was the forerunner of many innovative productions directed by the world's leading choreographers, gaining the work worldwide acceptance. In the 1980s, Nijinsky's original choreography, long believed lost, was reconstructed by the Joffrey Ballet in Los Angeles.


title: The Rite of Spring

text: Stravinsky's score contains many novel features for its time, including experiments in tonality, metre, rhythm, stress and dissonance. Analysts have noted in the score a significant grounding in Russian folk music, a relationship Stravinsky tended to deny. Regarded as among the first modernist works, the music influenced many of the 20th-century's leading composers and is one of the most recorded works in the classical repertoire.


title: The Rite of Spring

text: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, Saint Petersburg, and Anna, née Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908, Stravinsky had produced several works, among them a Piano Sonata in F minor (1903–04), a Symphony in E major (1907), which he catalogued as "Opus 1", and a short orchestral piece, "Feu d'artifice" ("Fireworks", composed in 1908).


title: The Rite of Spring

text: In 1909 "Feu d'artifice" was performed at a concert in Saint Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera "Boris Godunov". In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from "Prince Igor" and Rimsky-Korsakov's "Scheherazade". To present these works Diaghilev recruited the choreographer Michel Fokine, the designer Léon Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard "Feu d'artifice" he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create new arrangements for the ballet "Les Sylphides". Stravinsky worked on the opening Nocturne in A-flat major and the closing Grande valse brillante; his reward was a much bigger commission, to write the music for a new ballet, "The Firebird" ("L'oiseau de feu") for the 1910 season.


title: The Rite of Spring

text: Stravinsky worked through the winter of 1909–10, in close association with Fokine who was choreographing "The Firebird". During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, "the very essence of a great personality". "The Firebird" was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev–Stravinsky collaboration would continue, in the first instance with "Petrushka" (1911) and then "The Rite of Spring".


title: The Rite of Spring

text: In a note to the conductor Serge Koussevitzky in February 1914, Stravinsky described "Le Sacre du printemps" as "a musical-choreographic work, [representing] pagan Russia ... unified by a single idea: the mystery and great surge of the creative power of Spring". In his analysis of "The Rite", Pieter van den Toorn writes that the work lacks a specific plot or narrative, and should be considered as a succession of choreographed episodes.


title: The Rite of Spring

text: The French titles are given in the form given in the four-part piano score published in 1913. There have been numerous variants of the English translations; those shown are from the 1967 edition of the score.


title: The Rite of Spring

text: Lawrence Morton, in a study of the origins of "The Rite", records that in 1907–08 Stravinsky set to music two poems from Sergey Gorodetsky's collection "Yar". Another poem in the anthology, which Stravinsky did not set but is likely to have read, is "Yarila" which, Morton observes, contains many of the basic elements from which "The Rite of Spring" developed, including pagan rites, sage elders, and the propitiatory sacrifice of a young maiden: "The likeness is too close to be coincidental". Stravinsky himself gave contradictory accounts of the genesis of "The Rite". In a 1920 article he stressed that the musical ideas had come first, that the pagan setting had been suggested by the music rather than the other way round. However, in his 1936 autobiography he described the origin of the work thus: "One day [in 1910], when I was finishing the last pages of "L'Oiseau de Feu" in Saint Petersburg, I had a fleeting vision ... I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of the "Sacre du printemps"."


title: The Rite of Spring

text: By May 1910 Stravinsky was discussing his idea with Nicholas Roerich, the foremost Russian expert on folk art and ancient rituals. Roerich had a reputation as an artist and mystic, and had provided the stage designs for Diaghilev's 1909 production of the "Polovtsian Dances". The pair quickly agreed on a working title, "The Great Sacrifice" (Russian: "Velikaia zhertva"); Diaghilev gave his blessing to the work, although the collaboration was put on hold for a year while Stravinsky was occupied with his second major commission for Diaghilev, the ballet "Petrushka".


title: The Rite of Spring

text: In July 1911 Stravinsky visited Talashkino, near Smolensk, where Roerich was staying with the Princess Maria Tenisheva, a noted patron of the arts and a sponsor of Diaghilev's magazine "World of Art". Here, over several days, Stravinsky and Roerich finalised the structure of the ballet. Thomas F. Kelly, in his history of the "Rite" premiere, suggests that the two-part pagan scenario that emerged was primarily devised by Roerich. Stravinsky later explained to Nikolai Findeyzen, the editor of the "Russian Musical Gazette", that the first part of the work would be called "The Kiss of the Earth", and would consist of games and ritual dances interrupted by a procession of sages, culminating in a frenzied dance as the people embraced the spring. Part Two, "The Sacrifice", would have a darker aspect; secret night games of maidens, leading to the choice of one for sacrifice and her eventual dance to the death before the sages. The original working title was changed to "Holy Spring" (Russian:" Vesna sviashchennaia"), but the work became generally known by the French translation "Le Sacre du printemps", or its English equivalent "The Rite of Spring", with the subtitle "Pictures of Pagan Russia".


title: The Rite of Spring

text: Stravinsky's sketchbooks show that after returning to his home at Ustilug in Ukraine in September 1911, he worked on two movements, the "Augurs of Spring" and the "Spring Rounds". In October he left Ustilug for Clarens in Switzerland, where in a tiny and sparsely-furnished room—an closet, with only a muted upright piano, a table and two chairs—he worked throughout the 1911–12 winter on the score. By March 1912, according to the sketchbook chronology, Stravinsky had completed Part I and had drafted much of Part II. He also prepared a two-hand piano version, subsequently lost, which he may have used to demonstrate the work to Diaghilev and the Ballet Russes conductor Pierre Monteux in April 1912. He also made a four-hand piano arrangement which became the first published version of "Le Sacre"; he and the composer Claude Debussy played the first half of this together, in June 1912.


title: The Rite of Spring

text: Following Diaghilev's decision to delay the premiere until 1913, Stravinsky put "The Rite" aside during the summer of 1912. He enjoyed the Paris season, and accompanied Diaghilev to the Bayreuth Festival to attend a performance of "Parsifal". Stravinsky resumed work on "The Rite" in the autumn; the sketchbooks indicate that he had finished the outline of the final sacrificial dance on 17 November 1912. During the remaining months of winter he worked on the full orchestral score, which he signed and dated as "completed in Clarens, March 8, 1913". He showed the manuscript to Maurice Ravel, who was enthusiastic and predicted, in a letter to a friend, that the first performance of "Le Sacre" would be as important as the 1902 premiere of Debussy's "Pelléas et Mélisande". After the orchestral rehearsals began in late March, Monteux drew the composer's attention to several passages which were causing problems: inaudible horns, a flute solo drowned out by brass and strings, and multiple problems with the balance among instruments in the brass section during fortissimo episodes. Stravinsky amended these passages, and as late as April was still revising and rewriting the final bars of the "Sacrificial Dance". Revision of the score did not end with the version prepared for the 1913 premiere; rather, Stravinsky continued to make changes for the next 30 years or more. According to Van den Toorn, "[n]o other work of Stravinsky's underwent such a series of post-premiere revisions".


title: The Rite of Spring

text: Stravinsky acknowledged that the work's opening bassoon melody was derived from an anthology of Lithuanian folk songs, but maintained that this was his only borrowing from such sources; if other elements sounded like aboriginal folk music, he said, it was due to "some unconscious 'folk' memory". However, Morton has identified several more melodies in Part I as having their origins in the Lithuanian collection. More recently Richard Taruskin discovered in the score an adapted tune from one of Rimsky-Korsakov's "One Hundred Russian National Songs". Taruskin notes the paradox whereby "The Rite", generally acknowledged as the most revolutionary of the composer's early works, is in fact rooted in the traditions of Russian music.


title: The Rite of Spring

text: Taruskin has listed a number of sources that Roerich consulted when creating his designs. Among these are the "Primary Chronicle", a 12th-century compendium of early pagan customs, and Alexander Afanasyev's study of peasant folklore and pagan prehistory. The Princess Tenisheva's collection of costumes was an early source of inspiration. When the designs were complete, Stravinsky expressed delight and declared them "a real miracle".


title: The Rite of Spring

text: Stravinsky's relationship with his other main collaborator, Nijinsky, was more complicated. Diaghilev had decided that


title: The Rite of Spring

text: Nijinsky's genius as a dancer would translate into the role of choreographer and ballet master; he was not dissuaded when Nijinsky's first attempt at choreography, Debussy's "L'après-midi d'un faune", caused controversy and near-scandal because of the dancer's novel stylised movements and his overtly sexual gesture at the work's end. It is apparent from contemporary correspondence that, at least initially, Stravinsky viewed Nijinsky's talents as a choreographer with approval; a letter he sent to Findeyzen praises the dancer's "passionate zeal and complete self-effacement". However, in his 1936 memoirs Stravinsky writes that the decision to employ Nijinsky in this role filled him with apprehension; although he admired Nijinsky as a dancer he had no confidence in him as a choreographer: "the poor boy knew nothing of music. He could neither read it nor play any instrument". Later still, Stravinsky would ridicule Nijinsky's dancing maidens as "knock-kneed and long-braided Lolitas".


title: The Rite of Spring

text: Stravinsky's autobiographical account refers to many "painful incidents" between the choreographer and the dancers during the rehearsal period. By the beginning of 1913, when Nijinsky was badly behind schedule, Stravinsky was warned by Diaghilev that "unless you come here immediately ... the "Sacre" will not take place". The problems were slowly overcome, and when the final rehearsals were held in May 1913, the dancers appeared to have mastered the work's difficulties. Even the Ballets Russes's sceptical stage director, Serge Grigoriev, was full of praise for the originality and dynamism of Nijinsky's choreography.


title: The Rite of Spring

text: The conductor Pierre Monteux had worked with Diaghilev since 1911 and had been in charge of the orchestra at the premiere of "Petrushka". Monteux's first reaction to "The Rite", after hearing Stravinsky play a piano version, was to leave the room and find a quiet corner. He drew Diaghilev aside and said he would never conduct music like that; Diaghilev managed to change his mind. Although he would perform his duties with conscientious professionalism, he never came to enjoy the work; nearly fifty years after the premiere he told enquirers that he detested it. In old age he said to Sir Thomas Beecham's biographer Charles Reid: "I did not like "Le Sacre" then. I have conducted it fifty times since. I do not like it now". On 30 March Monteux informed Stravinsky of modifications he thought were necessary to the score, all of which the composer implemented. The orchestra, drawn mainly from the Concerts Colonne in Paris, comprised 99 players, much larger than normally employed at the theatre, and had difficulty fitting into the orchestra pit.


title: The Rite of Spring

text: After the first part of the ballet received two full orchestral rehearsals in March, Monteux and the company departed to perform in Monte Carlo. Rehearsals resumed when they returned; the unusually large number of rehearsals—seventeen solely orchestral and five with the dancers—were fit into the fortnight before the opening, after Stravinsky's arrival in Paris on 13 May. The music contained so many unusual note combinations that Monteux had to ask the musicians to stop interrupting when they thought they had found mistakes in the score, saying he would tell them if something was played incorrectly. According to Doris Monteux, "The musicians thought it absolutely crazy". At one point—a climactic brass fortissimo—the orchestra broke into nervous laughter at the sound, causing Stravinsky to intervene angrily.


title: The Rite of Spring

text: The role of the sacrificial victim was to have been danced by Nijinsky's sister, Bronislava Nijinska; when she became pregnant during rehearsals, she was replaced by the then relatively unknown Maria Piltz.


title: The Rite of Spring

text: Paris's Théâtre des Champs-Élysées was a new structure, which had opened on 2 April 1913 with a programme celebrating the works of many of the leading composers of the day. The theatre's manager, Gabriel Astruc, was determined to house the 1913 Ballets Russes season, and paid Diaghilev the large sum of 25,000 francs per performance, double what he had paid the previous year. The programme for 29 May 1913, as well as the Stravinsky premiere, included "Les Sylphides", Weber's "Le Spectre de la Rose" and Borodin's "Polovtsian Dances". Ticket sales for the evening, ticket prices being doubled for a premiere, amounted to 35,000 francs. A dress rehearsal was held in the presence of members of the press and assorted invited guests. According to Stravinsky, all went peacefully. However, the critic of "L'Écho de Paris", Adolphe Boschot, foresaw possible trouble; he wondered how the public would receive the work, and suggested that they might react badly if they thought they were being mocked.


title: The Rite of Spring

text: On the evening of 29 May, Gustav Linor reported, "Never ... has the hall been so full, or so resplendent; the stairways and the corridors were crowded with spectators eager to see and to hear". The evening began with "Les Sylphides", in which Nijinsky and Karsavina danced the main roles. "Le Sacre" followed. Some eyewitnesses and commentators said that the disturbances in the audience began during the Introduction, and grew noisier when the curtain rose on the stamping dancers in "Augurs of Spring". But Taruskin asserts, "it was not Stravinsky's music that did the shocking. It was the ugly earthbound lurching and stomping devised by Vaslav Nijinsky." Marie Rambert, who was working as an assistant to Nijinsky, recalled later that it was soon impossible to hear the music on the stage. In his autobiography, Stravinsky writes that the derisive laughter that greeted the first bars of the Introduction disgusted him, and that he left the auditorium to watch the rest of the performance from the stage wings. The demonstrations, he says, grew into "a terrific uproar" which, along with the on-stage noises, drowned out the voice of Nijinsky who was shouting the step numbers to the dancers. Two years after the premiere the journalist and photographer Carl Van Vechten claimed in his book "Music After the Great War" that the person behind him became carried away with excitement, and "began to beat rhythmically on top of my head with his fists". In 1916, in a letter not published until 2013, Van Vechten admitted he had actually attended the second night, among other changes of fact.


title: The Rite of Spring

text: At that time, a Parisian ballet audience typically consisted of two diverse groups: the wealthy and fashionable set, who would be expecting to see a traditional performance with beautiful music, and a "Bohemian" group who, the poet-philosopher Jean Cocteau asserted, would "acclaim, right or wrong, anything that is new because of their hatred of the boxes". Monteux believed that the trouble began when the two factions began attacking each other, but their mutual anger was soon diverted towards the orchestra: "Everything available was tossed in our direction, but we continued to play on". Around forty of the worst offenders were ejected—possibly with the intervention of the police, although this is uncorroborated. Through all the disturbances the performance continued without interruption. The unrest receded significantly during Part II, and by some accounts Maria Piltz's rendering of the final "Sacrificial Dance" was watched in reasonable silence. At the end there were several curtain calls for the dancers, for Monteux and the orchestra, and for Stravinsky and Nijinsky before the evening's programme continued.


title: The Rite of Spring

text: Among the more hostile press reviews was that of "Le Figaro"s critic Henri Quittard, who called the work "a laborious and puerile barbarity" and added "We are sorry to see an artist such as M. Stravinsky involve himself in this disconcerting adventure". On the other hand, Gustav Linor, writing in the leading theatrical magazine "Comœdia", thought the performance was superb, especially that of Maria Piltz; the disturbances, while deplorable, were merely "a rowdy debate" between two ill-mannered factions. Emile Raudin, of "Les Marges", who had barely heard the music, wrote: "Couldn't we ask M. Astruc ... to set aside one performance for well-intentioned spectators? ... We could at least propose to evict the female element". The composer Alfredo Casella thought that the demonstrations were aimed at Nijinsky's choreography rather than at the music, a view shared by the critic Michel-Dimitri Calvocoressi, who wrote: "The idea was excellent, but was not successfully carried out". Calvocoressi failed to observe any direct hostility to the composer—unlike, he said, the premiere of Debussy's "Pelléas et Mélisande" in 1902. Of later reports that the veteran composer Camille Saint-Saëns had stormed out of the premiere, Stravinsky observed that this was impossible; Saint-Saëns did not attend. Stravinsky also rejected Cocteau's story that, after the performance, Stravinsky, Nijinsky, Diaghilev and Cocteau himself took a cab to the Bois de Boulogne where a tearful Diaghilev recited poems by Pushkin. Stravinsky merely recalled a celebratory dinner with Diaghilev and Nijinsky, at which the impresario expressed his entire satisfaction with the outcome. To Maximilien Steinberg, a former fellow-pupil under Rimsky-Korsakov, Stravinsky wrote that Nijinsky's choreography had been "incomparable: with the exception of a few places, everything was as I wanted it".


title: The Rite of Spring

text: The premiere was followed by five further performances of "Le Sacre du printemps" at the Théâtre des Champs-Élysées, the last on 13 June. Although these occasions were relatively peaceful, something of the mood of the first night remained; the composer Giacomo Puccini, who attended the second performance on 2 June, described the choreography as ridiculous and the music cacophonous—"the work of a madman. The public hissed, laughed—and applauded". Stravinsky, confined to his bed by typhoid fever, did not join the company when it went to London for four performances at the Theatre Royal, Drury Lane. Reviewing the London production, "The Times" critic was impressed how different elements of the work came together to form a coherent whole, but was less enthusiastic about the music itself, opining that Stravinsky had entirely sacrificed melody and harmony for rhythm: "If M. Stravinsky had wished to be really primitive, he would have been wise to ... score his ballet for nothing but drums". The ballet historian Cyril Beaumont commented on the "slow, uncouth movements" of the dancers, finding these "in complete opposition to the traditions of classical ballet".


title: The Rite of Spring

text: After the opening Paris run and the London performances, events conspired to prevent further stagings of the ballet. Nijinsky's choreography, which Kelly describes as "so striking, so outrageous, so frail as to its preservation", did not appear again until attempts were made to reconstruct it in the 1980s. On 19 September 1913 Nijinsky married Romola de Pulszky while the Ballets Russes was on tour without Diaghilev in South America. When Diaghilev found out he was distraught and furious that his lover had married, and dismissed Nijinsky. Diaghilev was then obliged to re-hire Fokine, who had resigned in 1912 because Nijinsky had been asked to choreograph "Faune". Fokine made it a condition of his re-employment that none of Nijinsky's choreography would be performed. In a letter to the art critic and historian Alexandre Benois, Stravinsky wrote, "[T]he possibility has gone for some time of seeing anything valuable in the field of dance and, still more important, of again seeing this offspring of mine".


title: The Rite of Spring

text: With the disruption following the outbreak of the First World War in August 1914 and the dispersal of many artistes, Diaghilev was ready to re-engage Nijinsky as both dancer and choreographer, but Nijinsky had been placed under house arrest in Hungary as an enemy Russian citizen. Diaghilev negotiated his release in 1916 for a tour in the United States, but the dancer's mental health steadily declined and he took no further part in professional ballet after 1917. In 1920, when Diaghilev decided to revive "The Rite", he found that no one now remembered the choreography. After spending most of the war years in Switzerland, and becoming a permanent exile from his homeland after the 1917 Russian Revolution, Stravinsky resumed his partnership with Diaghilev when the war ended. In December 1920 Ernest Ansermet conducted a new production in Paris, choreographed by Léonide Massine, with the Nicholas Roerich designs retained; the lead dancer was Lydia Sokolova. In his memoirs, Stravinsky is equivocal about the Massine production; the young choreographer, he writes, showed "unquestionable talent", but there was something "forced and artificial" in his choreography, which lacked the necessary organic relationship with the music. Sokolova, in her later account, recalled some of the tensions surrounding the production, with Stravinsky, "wearing an expression that would have frightened a hundred Chosen Virgins, pranc[ing] up and down the centre aisle" while Ansermet rehearsed the orchestra.


title: The Rite of Spring

text: The ballet was first shown in the United States on 11 April 1930, when Massine's 1920 version was performed by the Philadelphia Orchestra in Philadelphia under Leopold Stokowski, with Martha Graham dancing the role of the Chosen One. The production moved to New York, where Massine was relieved to find the audiences receptive, a sign, he thought, that New Yorkers were finally beginning to take ballet seriously. The first American-designed production, in 1937, was that of the modern dance exponent Lester Horton, whose version replaced the original pagan Russian setting with a Wild West background and the use of Native American dances.


title: The Rite of Spring

text: In 1944 Massine began a new collaboration with Roerich, who before his death in 1947 completed a number of sketches for a new production which Massine brought to fruition at La Scala in Milan in 1948. This heralded a number of significant post-war European productions. Mary Wigman in Berlin (1957) followed Horton in highlighting the erotic aspects of virgin sacrifice, as did Maurice Béjart in Brussels (1959). Béjart's representation replaced the culminating sacrifice with a depiction of what the critic Robert Johnson describes as "ceremonial coitus". The Royal Ballet's 1962 production, choreographed by Kenneth MacMillan and designed by Sidney Nolan, was first performed on 3 May and was a critical triumph. It has remained in the company's repertoire for more than 50 years; after its revival in May 2011 "The Daily Telegraph"s critic Mark Monahan called it one of the Royal Ballet's greatest achievements. Moscow first saw "The Rite" in 1965, in a version choreographed for the Bolshoi Ballet by Natalia Kasatkina and Vladimir Vasiliev. This production was shown in Leningrad four years later, at the Maly Opera Theatre, and introduced a storyline that provided the Chosen One with a lover who wreaks vengeance on the elders after the sacrifice. Johnson describes the production as "a product of state atheism ... Soviet propaganda at its best".


title: The Rite of Spring

text: In 1975 modern dance choreographer Pina Bausch, who transformed the Ballett der Wuppertaler Bühnen to Tanztheater Wuppertal, caused a stir in the dance world with her stark depiction, played out on an earth-covered stage, in which the Chosen One is sacrificed to gratify the misogyny of the surrounding men. At the end, according to "The Guardian"s Luke Jennings, "the cast is sweat-streaked, filthy and audibly panting". Part of this dance appears in the film "Pina". Bausch's version had also been danced by two ballet companies, the Paris Opera Ballet and English National Ballet. In America, in 1980, Paul Taylor used Stravinsky's four-hand piano version of the score as the background for a scenario based on child murder and gangster film images. In February 1984 Martha Graham, in her 90th year, resumed her association with "The Rite" by choreographing a new production at New York State Theater. "The New York Times" critic declared the performance "a triumph ... totally elemental, as primal in expression of basic emotion as any tribal ceremony, as hauntingly staged in its deliberate bleakness as it is rich in implication".


title: The Rite of Spring

text: On 30 September 1987, the Joffrey Ballet performed in Los Angeles "The Rite" based on a reconstruction of Nijinsky's 1913 choreography, until then thought lost beyond recall. The performance resulted from years of research, primarily by Millicent Hodson, who pieced the choreography together from the original prompt books, contemporary sketches and photographs, and the recollections of Marie Rambert and other survivors. Hodson's version has since been performed by the Kirov Ballet, at the Mariinsky Theatre in 2003 and later that year at Covent Garden. In its 2012–13 season the Joffrey Ballet gave centennial performances at numerous venues, including the University of Texas on 5–6 March 2013, the University of Massachusetts on 14 March 2013, and with the Cleveland Orchestra on 17–18 August 2013.


title: The Rite of Spring

text: The music publishers Boosey & Hawkes have estimated that since its premiere, the ballet has been the subject of at least 150 productions, many of which have become classics and have been performed worldwide. Among the more radical interpretations is Glen Tetley's 1974 version, in which the Chosen One is a young male. More recently there have been solo dance versions devised by Molissa Fenley and Javier de Frutos and a punk rock interpretation from Michael Clark. The 2004 film "Rhythm Is It!" documents a project by conductor Simon Rattle with the Berlin Philharmonic and choreographer Royston Maldoom to stage a performance of the ballet with a cast of 250 children recruited from Berlin's public schools, from 25 countries. In "Rites" (2008), by The Australian Ballet in conjunction with Bangarra Dance Theatre, Aboriginal perceptions of the elements of earth, air, fire and water are featured.


title: The Rite of Spring

text: On 18 February 1914 "The Rite" received its first concert performance (the music without the ballet), in Saint Petersburg under Serge Koussevitzky. On 5 April that year, Stravinsky experienced for himself the popular success of "Le Sacre" as a concert work, at the Casino de Paris. After the performance, again under Monteux, the composer was carried in triumph from the hall on the shoulders of his admirers. "The Rite" had its first British concert performance on 7 June 1921, at the Queen's Hall in London under Eugene Goossens. Its American premiere occurred on 3 March 1922, when Stokowski included it in a Philadelphia Orchestra programme. Goossens was also responsible for introducing "The Rite" to Australia on 23 August 1946 at the Sydney Town Hall, as guest conductor of the Sydney Symphony Orchestra.


title: The Rite of Spring

text: Stravinsky first conducted the work in 1926, in a concert given by the Concertgebouw Orchestra in Amsterdam; two years later he brought it to the Salle Pleyel in Paris for two performances under his baton. Of these occasions he later wrote that "thanks to the experience I had gained with all kinds of orchestras ... I had reached a point where I could obtain exactly what I wanted, as I wanted it". Commentators have broadly agreed that the work has had a greater impact in the concert hall than it has on the stage; many of Stravinsky's revisions to the music were made with the concert hall rather than the theatre in mind. The work has become a staple in the repertoires of all the leading orchestras, and has been cited by Leonard Bernstein as "the most important piece of music of the 20th century".


title: The Rite of Spring

text: In 1963, 50 years after the premiere, Monteux (then aged 88) agreed to conduct a commemorative performance at London's Royal Albert Hall. According to Isaiah Berlin, a close friend of the composer, Stravinsky informed him that he had no intention of hearing his music being "murdered by that frightful butcher". Instead he arranged tickets for that particular evening's performance of Mozart's opera "The Marriage of Figaro", at Covent Garden. Under pressure from his friends, Stravinsky was persuaded to leave the opera after the first act. He arrived at the Albert Hall just as the performance of "The Rite" was ending; composer and conductor shared a warm embrace in front of the unaware, wildly cheering audience. Monteux's biographer John Canarina provides a different slant on this occasion, recording that by the end of the evening Stravinsky had asserted that "Monteux, almost alone among conductors, never cheapened "Rite" or looked for his own glory in it, and he continued to play it all his life with the greatest fidelity".


title: The Rite of Spring

text: Commentators have often described "The Rite"s music in vivid terms; Paul Rosenfeld, in 1920, wrote of it "pound[ing] with the rhythm of engines, whirls and spirals like screws and fly-wheels, grinds and shrieks like laboring metal". In a more recent analysis, "The New York Times" critic Donal Henahan refers to "great crunching, snarling chords from the brass and thundering thumps from the timpani". The composer Julius Harrison acknowledged the uniqueness of the work negatively: it demonstrated Stravinsky's "abhorrence of everything for which music has stood these many centuries ... all human endeavour and progress are being swept aside to make room for hideous sounds".


title: The Rite of Spring

text: In "The Firebird", Stravinsky had begun to experiment with bitonality (the use of two different keys simultaneously). He took this technique further in "Petrushka", but reserved its full effect for "The Rite" where, as the analyst E.W. White explains, he "pushed [it] to its logical conclusion". White also observes the music's complex metrical character, with combinations of duple and triple time in which a strong irregular beat is emphasised by powerful percussion. The music critic Alex Ross has described the irregular process whereby Stravinsky adapted and absorbed traditional Russian folk material into the score. He "proceeded to pulverize them into motivic bits, pile them up in layers, and reassemble them in cubistic collages and montages".


title: The Rite of Spring

text: Despite the large orchestra, much of the score is written chamber-fashion, with individual instruments and small groups having distinct roles.


title: The Rite of Spring

text: 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.


title: The Rite of Spring

text: The first dance, "Augurs of Spring", is characterised by a repetitive stamping chord in the horns and strings, based on E dominant 7 superimposed on a triad of E, G and B. White suggests that this bitonal combination, which Stravinsky considered the focal point of the entire work, was devised on the piano, since the constituent chords are comfortable fits for the hands on a keyboard. The rhythm of the stamping is disturbed by Stravinsky's constant shifting of the accent, on and off the beat, before the dance ends in a collapse, as if from exhaustion. Alex Ross has summed up the pattern (italics = rhythmic accents) as follows:


title: The Rite of Spring

text: According to Roger Nichols "At first sight there seems no pattern in the distribution of accents to the stamping chords. Taking the initial quaver of bar 1 as a natural accent we have for the first outburst the following groups of quavers: 9, 2, 6, 3, 4, 5, 3. However, these apparently random numbers make sense when split into two groups:


title: The Rite of Spring

text: Clearly the top line is decreasing, the bottom line increasing, and by respectively decreasing and increasing amounts ...Whether Stravinsky worked them out like this we shall probably never know. But the way two different rhythmic 'orders' interfere with each other to produced apparent chaos is... a typically Stravinskyan notion."


title: The Rite of Spring

text: The "Ritual of Abduction" which follows is described by Hill as "the most terrifying of musical hunts". It concludes in 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.


title: The Rite of Spring

text: 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 of the utmost vigour which are abruptly terminated in what Hill describes as a "blunt, brutal amputation".


title: The Rite of Spring

text: 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 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.


title: The Rite of Spring

text: 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 full voice. Stravinsky had difficulties with this section, especially with the final bars that conclude the work. The abrupt ending displeased several critics, one of whom wrote that the music "suddenly falls over on its side". Stravinsky himself referred to the final chord disparagingly as "a noise", but in his various attempts to amend or rewrite the section, was unable to produce a more acceptable solution.


title: The Rite of Spring

text: The music historian Donald Jay Grout has written: ""The Sacre" is undoubtedly the most famous composition of the early 20th century ... it had the effect of an explosion that so scattered the elements of musical language that they could never again be put together as before". The academic and critic Jan Smaczny, echoing Bernstein, calls it one of the 20th century's most influential compositions, providing "endless stimulation for performers and listeners". Taruskin writes that "one of the marks of The Rite's unique status is the number of books that have been devoted to it—certainly a greater number than have been devoted to any other ballet, possibly to any other individual musical composition ..." According to Kelly the 1913 premiere might be considered "the most important single moment in the history of 20th-century music", and its repercussions continue to reverberate in the 21st century. Ross has described "The Rite" as a prophetic work, presaging the "second avant-garde" era in classical composition—music of the body rather than of the mind, in which "[m]elodies would follow the patterns of speech; rhythms would match the energy of dance ... sonorities would have the hardness of life as it is really lived". The work is regarded as among the first examples of modernism in music.


title: The Rite of Spring

text: Among 20th-century composers most influenced by "The Rite" is Stravinsky's near contemporary, Edgard Varèse, who had attended the 1913 premiere. Varèse, according to Ross, was particularly drawn to the "cruel harmonies and stimulating rhythms" of "The Rite", which he employed to full effect in his concert work "Amériques" (1921), scored for a massive orchestra with added sound effects including a lion's roar and a wailing siren. Aaron Copland, to whom Stravinsky was a particular inspiration in the former's student days, considered "The Rite" a masterpiece that had created "the decade of the displaced accent and the polytonal chord". Copland adopted Stravinsky's technique of composing in small sections which he then shuffled and rearranged, rather than working through from beginning to end. Ross cites the music of Copland's ballet "Billy the Kid" as coming directly from the "Spring Rounds" section of "The Rite". For Olivier Messiaen "The Rite" was of special significance; he constantly analysed and expounded on the work, which gave him an enduring model for rhythmic drive and assembly of material. Stravinsky was sceptical about over-intellectual analysis of the work. "The man has found reasons for every note and that the clarinet line in page 3 is the inverted counterpoint of the horn in page 19. I never thought about that", he allegedly replied to Michel Legrand when asked about Pierre Boulez's take on the matter.


title: The Rite of Spring

text: After the premiere the writer 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 future career in music: "I hope [Stravinsky] appreciated that hundreds—perhaps thousands—of musicians were turned onto "The Rite of Spring" ... through "Fantasia", musicians who might otherwise never have heard the work, or at least not until many years later". In later life Stravinsky claimed distaste for the adaptation, though as Ross remarks, he said nothing critical at the time; according to Ross, the composer Paul Hindemith observed that "Igor appears to love it".


title: The Rite of Spring

text: Before the first gramophone disc recordings of "The Rite" were issued in 1929, Stravinsky had helped to produce a pianola version of the work for the London branch of the Aeolian Company. He also created a much more comprehensive arrangement for the Pleyela, manufactured by the French piano company Pleyel, with whom he signed two contracts in April and May 1921, under which many of his early works were reproduced on this medium. The Pleyela version of "The Rite of Spring" was issued in 1921; the British pianolist Rex Lawson first recorded the work in this form in 1990.


title: The Rite of Spring

text: In 1929 Stravinsky and Monteux vied with each other to conduct the first orchestral gramophone recording of "The Rite". While Stravinsky led L'Orchestre des Concerts Straram in a recording for the Columbia label, at the same time Monteux was recording it for the HMV label. Stokowski's version followed in 1930. Stravinsky made two more recordings, in 1940 and 1960. According to the critic Edward Greenfield, Stravinsky was not technically a great conductor but, Greenfield says, in the 1960 recording with the Columbia Symphony Orchestra the composer inspired a performance with "extraordinary thrust and resilience". In conversations with Robert Craft, Stravinsky reviewed several recordings of "The Rite" made in the 1960s. He thought Herbert von Karajan's 1963 recording with the Berlin Philharmonic, was good, but "the performance is ... too polished, a pet savage rather than a real one". Stravinsky thought that Pierre Boulez, with the Orchestre National de France (1963), was "less good than I had hoped ... very bad tempi and some tasteless alterations". He praised a 1962 recording by The Moscow State Symphony Orchestra for making the music sound Russian, "which is just right", but Stravinsky's concluding judgement was that none of these three performances was worth preserving.


title: The Rite of Spring

text: As of 2013 there were well over 100 different recordings of "The Rite" commercially available, and many more held in library sound archives. It has become one of the most recorded of all 20th century musical works.


title: The Rite of Spring

text: The first published score was the four-hand piano arrangement (Edition Russe de Musique, RV196), dated 1913. Publication of the full orchestral score was prevented by the outbreak of war in August 1914. After the revival of the work in 1920 Stravinsky, who had not heard the music for seven years, made numerous revisions to the score, which was finally published in 1921 (Edition Russe de Musique, RV 197/197b. large and pocket scores).


title: The Rite of Spring

text: In 1922 Ansermet, who was preparing to perform the work in Berlin, sent to Stravinsky a list of errors he had found in the published score. In 1926, as part of his preparation for that year's performance with the Concertgebouw Orchestra, Stravinsky rewrote the "Evocation of the Ancestors" section and made substantial changes to the "Sacrificial Dance". The extent of these revisions, together with Ansermet's recommendations, convinced Stravinsky that a new edition was necessary, and this appeared in large and pocket form in 1929. It did not, however, incorporate all of Ansermet's amendments and, confusingly, bore the date and RV code of the 1921 edition, making the new edition hard to identify.


title: The Rite of Spring

text: Stravinsky continued to revise the work, and in 1943 rewrote the "Sacrificial Dance". In 1948 Boosey & Hawkes issued a corrected version of the 1929 score (B&H 16333), although Stravinsky's substantial 1943 amendment of the "Sacrificial Dance" was not incorporated into the new version and remained unperformed, to the composer's disappointment. He considered it "much easier to play ... and superior in balance and sonority" to the earlier versions. A less musical motive for the revisions and corrected editions was copyright law. The composer had left Galaxy Music Corporation (agents for Editions Russe de la Musique, the original publisher) for Associated Music Publishers at the time, and orchestras would be reluctant to pay a second rental charge from two publishers to match the full work and the revised Sacrificial Dance; moreover, the revised dance could only be published in America. The 1948 score provided copyright protection to the work in America, where it had lapsed, but Boosey (who acquired the Editions Russe catalogue) did not have the rights to the revised finale.


title: The Rite of Spring

text: The 1929 score as revised in 1948 forms the basis of most modern performances of "The Rite." Boosey & Hawkes reissued their 1948 edition in 1965, and produced a newly engraved edition (B&H 19441) in 1967. The firm also issued an unmodified reprint of the 1913 piano reduction in 1952 (B&H 17271) and a revised piano version, incorporating the 1929 revisions, in 1967.


title: The Rite of Spring

text: The Paul Sacher Foundation, in association with Boosey & Hawkes, announced in May 2013, as part of "The Rite"s centenary celebrations, their intention to publish the 1913 autograph score, as used in early performances. After being kept in Russia for decades, the autograph score was acquired by Boosey & Hawkes in 1947. The firm presented the score to Stravinsky in 1962, on his 80th birthday. After the composer's death in 1971 the manuscript was acquired by the Paul Sacher Foundation. As well as the autograph score, they have published the manuscript piano four-hands score.


title: The Rite of Spring

text: In 2000, Kalmus Music Publishers brought out an edition where former Philadelphia Orchestra librarian Clint Nieweg made over 21,000 corrections to the score and parts. Since then a published errata list has added some 310 more corrections, and this is considered to be the most accurate version of the work as of 2013.


title: Dr. John

text: Malcolm John Rebennack Jr. (November 20, 1941 – June 6, 2019), better known by his stage name Dr. John, was an American singer and songwriter. His music encompassed New Orleans blues, jazz, funk, and R&B.


title: Dr. John

text: Active as a session musician from the late 1950s until his death, he gained a following in the late 1960s after the release of his album "Gris-Gris" (1968) and his appearance at the Bath Festival of Blues and Progressive Music. He typically performed a lively, theatrical stage show inspired by medicine shows, Mardi Gras costumes, and voodoo ceremonies. Rebennack recorded thirty studio albums and nine live albums, as well as contributing to thousands of other musicians' recordings. In 1973, he achieved a top 10 hit single with "Right Place, Wrong Time".


title: Dr. John

text: Rebennack was born in New Orleans, Louisiana on November 20, 1941. He was the son of Dorothy (Cronin) and Malcolm John Rebennack, and had German, Irish, Spanish, English, and French heritage. His father ran an appliance shop in the East End of New Orleans, fixing radios and televisions and selling records. Growing up in the 3rd Ward of New Orleans, he found early musical inspiration in the minstrel tunes sung by his grandfather and a number of aunts, uncles, sister, and cousins who played piano. He did not take music lessons before his teens and endured only a short stint in choir before getting kicked out. His father exposed him as a young boy to jazz musicians King Oliver and Louis Armstrong, who later inspired his 2014 release, "". Throughout his adolescence, his father's connections enabled him access to the recording rooms of rock artists, including Little Richard and Guitar Slim. Later he began to perform in New Orleans clubs, mainly on guitar, and played on stage with various local artists.


title: Dr. John

text: When he was about 13 years old, Rebennack met Professor Longhair. Impressed by the professor's flamboyant attire and striking musical style, Rebennack soon began performing with him, and began his life as a professional musician. He later recalled that his debut in the studio, in about 1955 or 1956, came when he was signed as a songwriter and artist by Eddie Mesner at Aladdin Records. He joined the musicians' union at the end of 1957, with the help of Danny Kessler, and then considered himself to be a professional musician.


title: Dr. John

text: At age 16, Rebennack was hired by Johnny Vincent as a producer at Ace Records. There, he gained experience working with many artists, including James Booker, Earl King, and Jimmy Clanton. While a struggling student at Jesuit High School, he was already playing in night clubs, something the Jesuit fathers disapproved of. He formed his first band, The Dominoes, while at the school. The priests told him to either stop playing in clubs or leave the school. Rebennack was expelled from the high school in 1954 and from then on focused entirely on music.


title: Dr. John

text: In late 1950s New Orleans, Rebennack gigged with local bands including Mac Rebennack and the Skyliners, (Paul Staehle/Dennis "Bootsie" Cuquet, drums; Earl Stanley, bass; Charlie Miller, trumpet; Charlie Maduell, sax; Roland "Stone" LeBlanc, vocals), Frankie Ford and the Thunderbirds, and Jerry Byrne and the Loafers. His first (co-written) rock and roll song "Lights Out" (1957), sung by Jerry Byrne, was a regional hit. He had a regional hit with a Bo Diddley-influenced instrumental called "Storm Warning" on Rex Records in 1959. At A&R he and Charlie Miller recorded monophonic singles on 45s for Johnny Vincent and Joe Corona for local labels Ace, Ron, and Ric. He oversaw the rhythm section while Miller wrote the horn arrangements and headed up the horns. This continued until Miller moved to New York to study music formally.


title: Dr. John

text: Rebennack's career as a guitarist was stunted around 1960, when the ring finger on his left (guitar fretting) hand was injured by a gunshot during an incident at a Jacksonville, Florida gig. After the injury, Rebennack concentrated on bass guitar before making piano his main instrument, developing a style influenced by Professor Longhair.


title: Dr. John

text: Rebennack became involved in illegal activities in New Orleans, using and selling narcotics and running a brothel. He was arrested on drug charges and sentenced to two years in the Federal Correctional Institution, Fort Worth. His sentence ended in 1965 and he left for Los Angeles.


title: Dr. John

text: Once settled in Los Angeles he became a "first call" session musician in the Los Angeles studio scene in the 1960s and 1970s and was part of the so-called "Wrecking Crew" stable of studio musicians. He provided backing for Sonny & Cher (and some of the incidental music for Cher's first film, "Chastity"), for Canned Heat on their albums "Living the Blues" (1968) and "Future Blues" (1970), and for Frank Zappa and the Mothers of Invention on "Freak Out!" (1966).


title: Dr. John

text: As a young man, Rebennack was interested in New Orleans voodoo, and in Los Angeles, he developed the idea of the Dr. John persona for his old friend Ronnie Barron, based on the life of Dr. John, a Senegalese prince, conjure man, herb doctor, and spiritual healer who came to New Orleans from Haiti. This free man of color lived on Bayou Road and claimed to have 15 wives and over 50 children. He kept an assortment of snakes and lizards, along with embalmed scorpions and animal and human skulls, and sold "gris-gris", voodoo amulets which supposedly protect the wearer from harm.


title: Dr. John

text: Rebennack decided to produce a record and a stage show based on this concept, with Dr. John serving as an emblem of New Orleans heritage. Although initially, the plan was for Barron to front the act assuming the identity of "Dr. John", while Rebennack worked behind the scenes as Dr. John's writer, musician, and producer, this did not come to pass. Barron dropped out of the project, and Rebennack took over the role (and identity) of Dr. John. "Gris-Gris" became the name of Dr. John's debut album, released in January 1968, representing his own form of "voodoo medicine".


title: Dr. John

text: Beginning in the late 1960s, Rebennack gained fame as a solo artist after adopting the persona of "Dr. John, The Night Tripper". Dr. John's act combined New Orleans-style rhythm and blues with psychedelic rock and elaborate stage shows that bordered on voodoo religious ceremonies, including elaborate costumes and headdress. In 1970, when Howard Smith asked him where the name "Dr. John the Night Tripper" came from, he responded, "Before that I was Professor Bizarre. Cats used to call me things like "Bishop" or "Governor" or somethin' but they started callin' me "Doctor" for a while, so I just hung it on myself for keeps." On the earliest Dr. John records, the artist billing was "Dr. John, The Night Tripper", while the songwriting credits billed him as "Dr. John Creaux". Within a few years, the "Night Tripper" subtitle was dropped, and Rebennack resumed using his real name for writing and producing/arranging credits.


title: Dr. John

text: "Gris-Gris", his 1968 debut album combining voodoo rhythms and chants with the New Orleans music tradition, was ranked 143rd on "Rolling Stone"′s "The 500 Greatest Albums of All Time" list.


title: Dr. John

text: Three more albums, "Babylon" (1969), "Remedies" (1970) and "The Sun, Moon & Herbs" (1971), were released in the same vein as "Gris-Gris".


title: Dr. John

text: During early to mid-1969, Dr. John toured extensively, backed by supporting musicians Richard "Didymus" Washington (congas), Richard Crooks (drums), David L. Johnson (bass), Gary Carino (guitar), and singers Eleanor Barooshian, Jeanette Jacobs from The Cake, and Sherry Graddie. A second lineup formed later in the year for an extensive tour of the East Coast with Crooks and Johnson joined by Doug Hastings (guitar) and Don MacAllister (mandolin). The same year, Dr. John contributed to the "Music from Free Creek" "supersession" project, playing on three tracks with Eric Clapton. Washington and Crooks also contributed to the project.


title: Dr. John

text: By the time "The Sun, Moon, and Herbs" was released, he had gained a notable cult following, which included artists such as Eric Clapton and Mick Jagger, who both took part in the sessions for that album. This album served as a transition from his Night Tripper voodoo, psychedelic persona to one more closely associated with traditional New Orleans R&B and funk. His next album, "Dr. John's Gumbo", with drummer Fred Staehle serving as the band's backbone, proved to be a landmark recording and is one of his most popular to this day.


title: Dr. John

text: Along with "Gris-Gris", Dr. John is perhaps best known for his recordings in the period 1972–74. 1972's "Dr. John's Gumbo", an album covering several New Orleans R&B standards with only one original, is considered a cornerstone of New Orleans music. In his 1994 autobiography, "Under a Hoodoo Moon", Dr. John writes, "In 1972, I recorded "Gumbo", an album that was both a tribute to and my interpretation of the music I had grown up with in New Orleans in the late 1940s and 1950s. I tried to keep a lot of little changes that were characteristic of New Orleans, while working my own funknology on piano and guitar." The lead single from the album, "Iko Iko", broke into the "Billboard" Hot 100 singles chart, eventually reaching No. 71. In 2003, "Dr. John's Gumbo" was ranked number 404 on "Rolling Stone" magazine's list of the 500 greatest albums of all time.


title: Dr. John

text: With "Gumbo", Dr. John expanded his career beyond the psychedelic voodoo music and theatrics which had driven his career since he took on the Dr. John persona, although it always remained an integral part of his music and identity. It was not until 1998's "Anutha Zone" that he again concentrated on this aspect of his music wholly for a full album. "After we cut the new record", he wrote, "I decided I'd had enough of the mighty-coo-de-fiyo hoodoo show, so I dumped the Gris-Gris routine we had been touring with since 1967 and worked up a new act—a Mardi Gras revue featuring the New Orleans standards we had covered in "Gumbo"."


title: Dr. John

text: In early 1973 Thomas Jefferson Kaye produced an album featuring a collaboration with Dr. John, Mike Bloomfield and John Paul Hammond. This album, "Triumvirate", was recorded in Columbia Studios, San Francisco, and Village Recorders, Los Angeles.


title: Dr. John

text: In 1973, with Allen Toussaint producing and The Meters backing, Dr. John released the seminal New Orleans funk album "In the Right Place". In the same way that "Gris-Gris" introduced the world to the voodoo-influenced side of his music, and in the manner that "Dr. John's Gumbo" began his career-long reputation as an esteemed interpreter of New Orleans standards, "In the Right Place" established Dr. John as one of the main ambassadors of New Orleans funk. In describing the album, Dr. John stated, "The album had more of a straight-ahead dance feel than ones I had done in the past, although it was still anchored solid in R&B." It rose to No. 24 on the "Billboard" album chart. In July 1973, the single "Right Place, Wrong Time" peaked at No. 9 on the Billboard Hot 100 singles chart, as well as peaking at No. 19 on the Hot Soul Singles chart. A second single, "Such a Night", peaked at No. 42. Still in heavy rotation on most classic rock stations, "Right Place Wrong Time" remains his most recognized song. Artists such as Bob Dylan, Bette Midler, and Doug Sahm contributed single lines to the lyrics, which lists several instances of ironic bad luck and failure.


title: Dr. John

text: Dr. John attempted to capitalize on "In the Right Place"s successful formula, again collaborating with Allen Toussaint and The Meters, for his next album, "Desitively Bonnaroo" – from part of which a Tennessee festival took as its name – released in 1974. Although similar in feel to "In the Right Place", it failed to catch hold in the mainstream as its predecessor had done. It did produce the single "(Everybody Wanna Get Rich) Rite Away", which peaked at No. 92 on the Billboard Hot 100 chart, and to date is the last time he hit the Hot 100. It was his last pure funk album until 1994's "Television", although like his voodoo and traditional New Orleans R&B influences, funk continued to heavily influence most of his work to the end, especially his live concerts.


title: Dr. John

text: In the mid-1970s Dr. John began an almost 20-year-long collaboration with the R&R Hall of Fame/Songwriters Hall of Fame writer Doc Pomus, to create songs for Dr. John's releases "City Lights" and "Tango Palace", and for B.B. King's Stuart Levine-produced "There Must Be a Better World Somewhere", which won a Grammy for Best Ethnic or Traditional Recording in 1982. Dr. John also recorded "I'm On a Roll" – the last song written with Pomus prior to his death in 1991 – for the now out-of-print Rhino/Forward Records 1995 tribute to Pomus titled "Til the Night Is Gone: A Tribute to Doc Pomus". The tribute included covers of Pomus-penned songs by Bob Dylan, John Hiatt, Shawn Colvin, Brian Wilson, The Band, Los Lobos, Dion, Rosanne Cash, Solomon Burke, and Lou Reed. According to Pomus' daughter, Dr. John and her father were very close friends as well as writing partners. Dr. John delivered one of a number of eulogies and performed with singer Jimmy Scott at Pomus' funeral on March 17, 1991 in New York City.


title: Dr. John

text: On Thanksgiving Day 1976 he performed "Such a Night" at the farewell concert for The Band, which was filmed by Martin Scorsese and released as "The Last Waltz". In 1979, he collaborated with the legendary Professor Longhair on Fess's (another nickname for Henry Byrd) last recording "Crawfish Fiesta", as a guitarist. The album was awarded the first W.C. Handy Blues Album of the Year in 1980 and was released shortly after Longhair's death in January 1980.


title: Dr. John

text: By the mid-1970s, Rebennack had begun focusing on a blend of music that touched on blues, New Orleans R&B, Tin Pan Alley standards, and more. In 1975, his manager, Richard Flanzer, hired producer Bob Ezrin, and "Hollywood Be Thy Name" was recorded live at Cherokee Studios in Los Angeles, California. The studio was transformed into a New Orleans nightclub for the sessions. In 1981 and 1983, Dr. John recorded two solo piano albums, Dr. John Plays Mac Rebennack and The Brightest Smile in Town, for the Baltimore-based Clean Cuts label. In these two recordings he played many of his own boogie-woogie compositions.


title: Dr. John

text: Dr. John was also a prominent session musician throughout his career. He provided back-up vocals on the Rolling Stones' 1972 song "Let It Loose", and backed Carly Simon and James Taylor in their duet of "Mockingbird" (from "Hotcakes") in 1974, and Neil Diamond on "Beautiful Noise" in 1976. He also contributed the song "More and More" to Simon's "Playing Possum" album. He played on three songs on Maria Muldaur's 1973 solo debut album, including his composition "Three Dollar Bill". He sang on four songs and played piano on two songs on Muldaur's 1992 "Louisiana Love Call". He was co-producer on Van Morrison's 1977 album "A Period of Transition" and also played keyboards and guitar. He contributed three songs as writer or co-writer ("Washer Woman", "The Ties That Bind", and "That's My Home") and also played guitar and keyboards on Levon Helm's 1977 release, "Levon Helm & the RCO All-Stars". He performed on the March 19, 1977, episode of NBC's "Saturday Night Live".