Igor Stravinsky is a rather controversial name in the music world. His 1913 ballet The Rite of Spring is well known not only for its jarring dissonance and abnormal rhythmic patterns but also for causing one of the most notorious riots in musical history. Audience members booed and walked out of the theater when members of Serge Diaghilev’s dancing troupe Ballets Russes appeared on stage, gesticulating frenetically and stomping in an inelegant manner. Of course, one should expect nothing less, considering Stravinsky’s inspiration. “There arose,” he wrote later on in his life, “a picture of a sacred pagan ritual: the wise elders are seated in a circle and are observing the dance before the death of the girl whom they are offering as a sacrifice to the god of spring in order to gain his benevolence.” The music perfectly reflects the grotesque beauty of this vision: The opening bassoon solo beckons us to a mysterious world that quickly turns violent with frightening string chords, yet also an inner peace survives with the repetition of the simple initial melody.