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longer than on any other score. The ballet had its origins in his final trip to Ustilug. Stravinsky had been working on the idea of a ballet that would re-create the wedding rituals of the peasantry and, knowing that his library contained useful transcriptions of peasant songs, he made a hurried trip to Ustilug to fetch them just before the outbreak of war. The sources became, for him, a sort of talisman of the Russia he had lost. For several years he worked on these folk songs, trying to distil the essence of his people's musical language, and striving to combine it with the austere style which he had first developed in The Rite of Spring. He thinned out his instrumental formula, rejecting the large Romantic orchestra for the small ensemble, using pianos, cimbaloms and percussion instruments to create a simpler, more mechanistic sound. But his truly momentous discovery was that, in contrast to the language and the music of the West, the accents of spoken Russian verse were ignored when that verse was sung. Looking through the song books he had retrieved from Ustilug, Stravinsky suddenly realized that the stress in folk songs often fell on the 'wrong' syllable. 'The recognition of the musical possibilities inherent in this fact was one of the most rejoicing discoveries of my life,' he explained to his musical assistant Robert Craft; 'I was like a man who suddenly finds that his finger can be bent from the second joint as well as from the first.'¹⁴⁷ The freedom of accentuation in the peasant song had a clear affinity with the ever-shifting rhythms of his own music in The Rite of Spring; both had the effect of sparkling play or dance. Stravinsky now began writing music for the pleasure of the sound of individual words, or for the joy of puns and rhyming games, like the Russian limericks (Pribautki) which he set to music in 1918. But beyond such entertainments, his discovery came as a salvation for the exiled composer. It was as if he had found a new homeland in this common language with the Russian peasantry. Through music he could recover the Russia he had lost.

This was the idea behind The Peasant Wedding - an attempt, in his own words, to re-create in art an essential ur-Russia, the ancient peasant Russia that had been concealed by the thin veneer of European civilization since the eighteenth century. It was

the holy Russia of the Orthodox, a Russia stripped of its parasitic vegetation; its bureaucracy from Germany, a certain strain of English liberalism much in

fashion with the aristocracy; its scientism (alas!), its 'intellectuals' and their inane and bookish faith in progress; it is the Russia of before Peter the Great and before Europeanism… a peasant, but above all Christian, Russia, and truly the only Christian land in Europe, the one which laughs and cries (laughs and cries both at once without always really knowing which is which) in The Peasant Wedding, the one we saw awaken to herself in confusion and magnificently full of impurities in The Rite of Spring.¹⁴⁸

Stravinsky had hit upon a form of music that expressed the vital energy and spirit of the people - a truly national music in the Stasovian sense. Stravinsky had drafted the first part of The Peasant Wedding by the end of 1914. When he played it to Diaghilev, the impresario broke down in tears and said it was 'the most beautiful and the most purely Russian creation of our Ballet'.¹⁴⁹

The Peasant Wedding was a work of musical ethnography. In later years Stravinsky tried to deny this. Immersed in the cosmopolitan culture of interwar Paris, and driven by his hatred of the Soviet regime, he made a public show of distancing himself from his Russian heritage. But he was not convincing. The ballet was precisely what Stravinsky claimed that it was not: a direct expression of the music and the culture of the peasantry. Based on a close reading of the folklore sources, and drawing all its music from the peasants' wedding songs, the ballet's whole conception was to re-create the peasant wedding ritual as a work of art on stage.