Stravinsky And The King's Horse

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2011071920120504

The infamous Paris premiere of Stravinsky's Rite of Spring is well known, but its London premiere in July 1913 was both less scandalous and more interesting. News of Stravinsky's radical score and the outrageous production of the Ballets Russes reached London quickly and created a predictable sense of excitement. Yet what made the performance particularly memorable was that just one month earlier, a young suffragette called Emily Davison had taken her own life by throwing herself under the King's Horse at the Derby.

There are intriguing comparisons between Davison's fate and that of the sacrificial heroine in The Rite of Spring, suggesting that radical politics and radical aesthetics had become strangely aligned. With the help of dance expert, Ramsay Burt and voices from the archive, Dr Philip Bullock reviews early British reaction to Stravinsky's ballets to reveal a story far less familiar than the well-documented French scene.

Dr Philip Bullock teaches Russian at the University of Oxford, specialising in Soviet literature, music and culture.

Producer: Marya Burgess.

The infamous Paris premiere of Stravinsky's Rite of Spring is well known, but its London premiere in July 1913 was both less scandalous and more interesting.

News of Stravinsky's radical score and the outrageous production of the Ballets Russes reached London quickly and created a predictable sense of excitement.

Yet what made the performance particularly memorable was that just one month earlier, a young suffragette called Emily Davison had taken her own life by throwing herself under the King's Horse at the Derby.

There are intriguing comparisons between Davison's fate and that of the sacrificial heroine in The Rite of Spring, suggesting that radical politics and radical aesthetics had become strangely aligned.

With the help of dance expert, Ramsay Burt and voices from the archive, Dr Philip Bullock reviews early British reaction to Stravinsky's ballets to reveal a story far less familiar than the well-documented French scene.

Philip Bullock considers sacrificial links between the Rite of Spring and Emily Davison.

2011071920120504

The infamous Paris premiere of Stravinsky's Rite of Spring is well known, but its London premiere in July 1913 was both less scandalous and more interesting. News of Stravinsky's radical score and the outrageous production of the Ballets Russes reached London quickly and created a predictable sense of excitement. Yet what made the performance particularly memorable was that just one month earlier, a young suffragette called Emily Davison had taken her own life by throwing herself under the King's Horse at the Derby.

There are intriguing comparisons between Davison's fate and that of the sacrificial heroine in The Rite of Spring, suggesting that radical politics and radical aesthetics had become strangely aligned. With the help of dance expert, Ramsay Burt and voices from the archive, Dr Philip Bullock reviews early British reaction to Stravinsky's ballets to reveal a story far less familiar than the well-documented French scene.

Dr Philip Bullock teaches Russian at the University of Oxford, specialising in Soviet literature, music and culture.

Producer: Marya Burgess.

The infamous Paris premiere of Stravinsky's Rite of Spring is well known, but its London premiere in July 1913 was both less scandalous and more interesting.

News of Stravinsky's radical score and the outrageous production of the Ballets Russes reached London quickly and created a predictable sense of excitement.

Yet what made the performance particularly memorable was that just one month earlier, a young suffragette called Emily Davison had taken her own life by throwing herself under the King's Horse at the Derby.

There are intriguing comparisons between Davison's fate and that of the sacrificial heroine in The Rite of Spring, suggesting that radical politics and radical aesthetics had become strangely aligned.

With the help of dance expert, Ramsay Burt and voices from the archive, Dr Philip Bullock reviews early British reaction to Stravinsky's ballets to reveal a story far less familiar than the well-documented French scene.

Philip Bullock considers sacrificial links between the Rite of Spring and Emily Davison.