When I was still delivering newspapers (er, okay, fliers) for pocket money, I discovered Stravinsky’s masterpiece, Le Sacre de Printemps, known in English as The Rite of Spring. I immediately found the music somehow bizarrely familiar and comfortable, despite its dissonance, its extremity, the unnatural use of the instruments, and so on. This is hardly surprising, of course: anyone who watches a lot of film knows how influential this ballet by Stravinsky has proven to be on the work of film score composers, and some of what Stravinsky did even entered the common language of orchestral music afterwards. The premiere …