I found this pretty fascinating....

[From the Northeastern University Alumni Magazine]

As I said in the email, what's especially interesting to me is that it makes sense to our modern ears when we listen to it. It doesn't sound like lack of rhythm!

Igor is my main man.

Yeah, I love his works. You can hear his rhythm tension ideas in a lot of contemporary film scoring. It's amazing how we turn to numbers to better understand music concepts and how some brilliant minds actually use the numbers for pure inspiration. (Schoenberg, Webern, Bach, Stravinsky, Debussy, Shostakovich, Schnittke, Stockhausen, Haba, etc...)

The's the European approach, of course.

The thing about Le Sacre is its transitions. It is (especially in the first part) a series of intense rhythmic/melodic ideas delivered in splashes brilliant orchestral color BUT the connections between these bits is not immediately apparent. There is a dramatic flow and an overarching impulse to shock by these transitions. But a structural design for the whole is only something you intuit after you get to the end of it or after repeated listenings.

Very cool.

Waste of a perfectly good virgin, if you ask me.