(arr. for two pianos and two cellos by Giuseppe Andaloro)
The Rite of Spring (French: Le Sacre du printemps) is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1913 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Vaslav Nijinsky, with stage designs and costumes by Nicholas Roerich. When the ballet was first performed, at the Théâtre des Champs-É lysées on 29 May 1913, the avant-garde nature of the music and choreography caused a sensation and a near-riot in the audience. Although designed as a work for the stage, with specific passages accompanying characters and action, the music achieved equal if not greater recognition as a concert piece, and is widely considered as one of the most influential musical works of the 20th century.
In the scenario, after various primitive rituals celebrating the advent of spring, a young girl is chosen as a sacrificial victim and dances herself to death.
Stravinsky's score contains many features that were novel for its time, including experiments in tonality, metre, rhythm, stress and dissonance. Analysts have noted in the score a significant grounding in Russian folk music, a relationship which Stravinsky tended to deny. The music has influenced many of the 20th century's leading composers and is one of the most recorded works in the classical repertoire.

Lutoslawski described musical composition as a search for listeners who think and feel the same way he did – he once called it “fishing for souls”. Lutoslawski began his career as a composer shortly before the Second World War, which disrupted it. During the German occupation of Poland, Polish cultural life went underground. Lutoslawski and his friend Panufnik played piano duets in a Warsaw café, since the Germans had banned public concerts, serious music-making could only be heard in cafes. Included in the repertoire was Lutoslawski’s two piano transcription of Paganini’s Caprice No. 2. W.Lutoslawski said of this piece: “As a basis I took Paganini’s 24th Caprice for solo violin and my Variations closely follow this model. In each Variation I translate the violin line for the keyboard. Polyharmony often occurs between the two keyboards but tonality remains a clear force with frequent traditional dominant-tonic cadences.”

（由安達羅洛改編為雙鋼琴及雙大提琴樂曲）
《春之祭》是俄羅斯作曲家史特拉汶斯基譜寫的管弦芭蕾舞曲，乃1913年受狄亞吉列夫（Sergei Diaghilev）之邀為俄羅斯芭蕾舞團的巴黎巡演而寫；舞劇原由尼金斯基編舞、尼古拉斯萊域設計舞台和戲服。1913年5月29日芭蕾舞劇於巴黎香榭麗舍劇院首演時，前衛的音樂和編舞引起一片譁然，觀眾幾乎騷亂起來。儘管樂曲是為舞劇而寫，某些特定樂章更是為配合角色和情節而設，但它作為一首音樂會演奏樂曲，所獲得的讚賞卻是有過之而無不及，更被普遍認為是二十世紀最具影響力的音樂作品之一。
在劇中，慶祝春天來臨的連場慶典過後，一名少女被選為祭物，狂舞而死。
史特拉汶斯基的樂譜包含許多當時來說非常新穎的處理手法，在調性、格律、節奏、強音與不諧和音上作出了大膽的嘗試。分析家注意到樂曲明顯以俄國民歌為基調，然而史特拉汶斯基傾向否認這點。這首樂曲影響了許多二十世紀的傑出作曲家，是其中一首最常被收錄的經典曲目。

魯托斯拉夫斯基形容作曲是尋找知音的歷程，並一度稱之為「靈魂搜捕」。他展開作曲事業不久，即爆發第二次世界大戰，打斷了其發展。德國佔領波蘭期間，波蘭人的文化生活轉入地下，由於德國禁止舉行公開演奏會，嚴肅的演奏只能於咖啡廳進行，魯托斯拉夫斯基亦與友人柏努夫尼克（Panufnik）在華沙一家咖啡廳組成鋼琴二重奏，演出的曲目包括魯托斯拉夫斯基兩首改編自巴格尼尼第2號隨想曲的鋼琴曲。魯托斯拉夫斯基談及這首樂曲時說：「我創作的變奏曲以巴格尼尼24首小提琴獨奏隨想曲為基礎，緊緊依循其模式編寫，每個鋼琴變奏，均由小提琴譜轉譯而來。兩個鋼琴之間常常出現複和聲，但傳統屬和弦到主和弦的終止式頻繁出現，所以調性仍然明確非常。」