The Rite of Spring Hungary as an enemy Russian citizen. Diaghilev negotiated his release in 1916 for a tour in the United States, but the dancer's mental health steadily declined and he took no further part in professional ballet after 1917. In 1920, when Diaghilev decided to revive "The Rite", he found that no one now remembered the choreography. After spending most of the war years in Switzerland, and becoming a permanent exile from his homeland after the 1917 Russian Revolution, Stravinsky resumed his partnership with Diaghilev when the war ended. In December 1920 Ernest Ansermet conducted a new production in Paris, choreographed by
The Rite of Spring that the work's opening bassoon melody was derived from an anthology of Lithuanian folk songs, but maintained that this was his only borrowing from such sources; if other elements sounded like aboriginal folk music, he said, it was due to "some unconscious 'folk' memory". However, Morton has identified several more melodies in Part I as having their origins in the Lithuanian collection. More recently Richard Taruskin has discovered in the score an adapted tune from one of Rimsky-Korsakov's "One Hundred Russian National Songs". Taruskin notes the paradox whereby "The Rite", generally acknowledged as the most revolutionary of the composer's early