The Rite of Spring that the Diaghilev–Stravinsky collaboration would continue, in the first instance with "Petrushka" (1911) and then "The Rite of Spring". In a note to the conductor Serge Koussevitzky in February 1914, Stravinsky described "The Rite of Spring" as "a musical-choreographic work, [representing] pagan Russia ... unified by a single idea: the mystery and great surge of the creative power of Spring". In his analysis of "The Rite", Pieter van den Toorn writes that the work lacks a specific plot or narrative, and should be considered as a succession of choreographed episodes. The French titles are given in the form given in
The Rite of Spring of musical language that they could never again be put together as before". The academic and critic Jan Smaczny, echoing Bernstein, calls it one of the 20th century's most influential compositions, providing "endless stimulation for performers and listeners". According to Kelly the 1913 premiere might be considered "the most important single moment in the history of 20th century music", and its repercussions continue to reverberate in the 21st century. Ross has described "The Rite" as a prophetic work, presaging the "second avant-garde" era in classical composition—music of the body rather than of the mind, in which "[m]elodies would follow the