They got a very dark piece with people writhing on the floor.

THOMAS: They would be expecting to see something colorful, exotic, with lots of leaping, lots of diaphanous costumes that would give you occasional lovely glimpses of gorgeous anatomy. What would a Paris audience or this audience in May 1913 reasonably expect at the premiere of a new ballet with new choreography and new music? MICHAEL TILSON THOMAS: My pleasure, Robert. And Michael Tilson Thomas joins us from San Francisco. It's part of Tilson Thomas' 'Keeping Score 'series. SIEGEL: This recording is by the San Francisco Symphony and its music director Michael Tilson Thomas who's also made a documentary about it. But that night, a century ago, the Paris audience wasn't buying. Years later, Stravinsky would be faulted for lacking the innovative spirit of his youth. The composer of the score was in Seat M-20, young Igor Stravinsky. The choreographer was the company's legendary dancer Vaslav Nijinsky. SIEGEL: The setting was a primeval village whose annual ritual culminated in the choice and sacrifice of a young maiden. (SOUNDBITE OF MUSIC, 'THE RITE OF SPRING') It was the premiere of the Ballet Russe's 'The Rite of Spring.' One hundred years ago, on May 29, 1913, a landmark of modern music was unveiled before a Paris audience, an audience that mercilessly, famously greeted it with boos, jeers and hisses. This is ALL THINGS CONSIDERED from NPR News.

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