Stravinsky, The Rite of Spring, Rehearsal Numbers 37-39

Rehearsal number 37

This part of the piece is so loud and so intense that it almost doesn't matter what the strings are doing. You won't hear them.
- At this level of volume, grand aassa makes a great deal of sense as well as having a timpani double it
French horn and trumpets in C, both four instruments each, on a massive sustained sound. Loud as fuck.
- The French horn is playing a C major chord, but the trumpets are playing a Eb7 chord
The trumpet and flute were made for aggressive lines like these! It sounds almost militaristic.
- Noticed the differing articulations between the two instruments. The trumpets are playing a double tongue figure While the flutes are just playing single notes, and the Piccolo clarinet is playing staccato

Again, wall of sound.
The bassoon is playing a major triad with an E7 sharp five at the very end, at least as how I see it. That is, if Stravinsky was thinking about polytonality. Who the fuck knows?!?
Noticed the fingered trills between flute and clarinet… These trills do a contrary motion thing. Nice!

French horn figure right before the rehearsal number sounds more like a glissando than four distinct notes at this tempo.
The trills are passed around, too. From clarinets to violin and viola
Lots of downward polyrhythmic figures (something that he resorts to, and it doesn't matter that they're not heard. It's almost as if he was writing them so he could see them, not hear them)