album

Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann)

109 songs (2 hours and 34 minutes) Released on June 9, 2003
Disc 1
1
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Introduction, background and perspective
5:04
2
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): A gentle, other-worldly start; no sign of the violence to come
1:33
3
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Music as mosaic; the composer as constructor
1:57
4
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Two functions of metrical change: going with the flow...
1:23
5
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): ...or disrupting it: a sample of metrical violence
1:02
6
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): A stealthy entry (clarinets)
0:34
7
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Detour: the destabilising properties of chromaticism
4:04
8
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): On melodies, themes and motifs
1:03
9
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): The new cor anglais motif dominates
0:27
10
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): The oboe's rhythmic motif takes over
0:25
11
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): A primeval awakening
0:37
12
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): A panoply of Stravinskyan birdsong
0:58
13
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): A matter of mode
1:15
14
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Cue to Introduction
0:09
15
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Introduction (complete)
3:38
16
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The 'Rite of Spring' chord
0:41
17
Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The great arrival: bitonality
1:35
18
Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Putting the boot in: a metrical mugging
1:45
19
Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The prevalence of ostinatos, and a righting of wrongs
1:51
20
Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Metre restores (briefly) but the 'savage motif' returns
0:50
21
Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The musical savages routed
1:19
22
Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: An important new arrival (the 'horn motif')
1:05
23
Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Another new theme from the horns
0:48
24
Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: A crowded conclusion
1:43
25
Part I: The Adoration of the Earth: Ritual of Abduction: A real study in contrasts
1:31
26
Part I: The Adoration of the Earth: Ritual of Abduction: Panic and pandemonium as timpani open fire
1:10
27
Part I: The Adoration of the Earth: Ritual of Abduction: Climactic melee haunted by 'fear motif'
1:35
28
Part I: The Adoration of the Earth: Spring Rounds: Suddenly another world, as flutes hover over harmonic vapour...
0:59
29
Part I: The Adoration of the Earth: Spring Rounds: ...but a transient one: new movement arises from the deep
0:51
30
Part I: The Adoration of the Earth: Spring Rounds: 'Dragging feet motif' over ostinato violins, twice interrupted
0:42
31
Part I: The Adoration of the Earth: Spring Rounds: 'Marching motif' developed further by flutes and horns
0:45
32
Part I: The Adoration of the Earth: Spring Rounds: A trilling commentary from piccolo and high clarinet
0:25
33
Part I: The Adoration of the Earth: Spring Rounds: 'Marching motif' theme goes polymetric in huge crescendo
1:17
34
Part I: The Adoration of the Earth: Spring Rounds: An unexpected change of pace as tempo doubles
0:52
35
Part I: The Adoration of the Earth: Spring Rounds: And an unexpected reversion, to a quiet close
0:41
36
Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Violent onslaught from brass and timpani launches the 'Rival Tribes'
0:25
37
Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Rival Tribes, rival motifs
0:22
38
Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Sensational violence comes close to chaos
0:38
39
Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Effects, impressions and alteration
1:40
40
Part I: The Adoration of the Earth: Ritual of the Rival Tribes: A surprise re-entry and a change of instrumental clothing
0:55
41
Part I: The Adoration of the Earth: Ritual of the Rival Tribes: A thinning of texture, a new idea, and a rude interruption
0:34
42
Part I: The Adoration of the Earth: Ritual of the Rival Tribes: The new idea developed: a minor earthquake
0:41
43
Part I: The Adoration of the Earth: Ritual of the Rival Tribes: The use of tone colour as an agent of rhythm
1:32
44
Part I: The Adoration of the Earth: Ritual of the Rival Tribes: An unusual climax...
1:31
45
Part I: The Adoration of the Earth: Ritual of the Rival Tribes: ...and a sinister transition
0:51
46
Part I: The Adoration of the Earth: Procession of the Sage: Across the threshold into an instrumental population explosion
1:29
47
Part I: The Adoration of the Earth: Procession of the Sage: A sudden silence and then another world
1:00
48
Part I: The Adoration of the Earth: Procession of the Sage: Catapulted into the 'Dance of the Earth'
0:38
49
Part I: The Adoration of the Earth: Dance of the Earth: Tiny changes, unyielding ostinatos, massive tension
3:19
50
Part I: The Adoration of the Earth: Dance of the Earth: Cue to Part I complete
0:07
51
Part I: The Adoration of the Earth: Dance of the Earth: Part I (complete)
16:08
Disc 2
1
Part II: The Sacrifice: Introduction: Again a muted, subtly coloured start
1:09
2
Part II: The Sacrifice: Introduction: Tone colour as atmosphere - the strings' motif
1:07
3
Part II: The Sacrifice: Introduction: Four solo violas, above gently rocking strings
0:23
4
Part II: The Sacrifice: Introduction: A pregnant pause, and a new motif in muted trumpets
1:14
5
Part II: The Sacrifice: Mystic Circles of the Young Girls: Motif from the Introduction varied and extended
1:28
6
Part II: The Sacrifice: Mystic Circles of the Young Girls: New motif, heralded by clarinets and violins, is introduced by alto flute
0:34
7
Part II: The Sacrifice: Mystic Circles of the Young Girls: Variant of Motif No. 2 given out by two clarinets
0:44
8
Part II: The Sacrifice: Mystic Circles of the Young Girls: Continued by oboes and bassoons; new motif in violins, cellos and bass clarinet
0:33
9
Part II: The Sacrifice: Mystic Circles of the Young Girls: Main motifs yield to new idea from flutes
0:38
10
Part II: The Sacrifice: Mystic Circles of the Young Girls: All change - direction, tone colour, metre - and two new ostinatos
0:40
11
Part II: The Sacrifice: Mystic Circles of the Young Girls: Motif No. 1 returns in horn, then passed to flutes and strings
0:46
12
Part II: The Sacrifice: Mystic Circles of the Young Girls: Texture, balance and tone colour keep changing
0:27
13
Part II: The Sacrifice: Mystic Circles of the Young Girls: Instrumental enrichment, new counterpoint and a bleat of alarm
0:40
14
Part II: The Sacrifice: Mystic Circles of the Young Girls: New derivative of Motif No. 2, a host of new sounds - and again the bleat
0:49
15
Part II: The Sacrifice: Mystic Circles of the Young Girls: Into the finishing stretch, and we know we're in for something big
0:45
16
Part II: The Sacrifice: Mystic Circles of the Young Girls: Putting the movement back together again
0:08
17
Part II: The Sacrifice: Mystic Circles of the Young Girls: Mystic Circles of the Young Girls (complete)
8:16
18
Part II: The Sacrifice: Glorification of the Chosen One: On into one of the most sensational movements ever written
1:36
19
Part II: The Sacrifice: Glorification of the Chosen One: The violence is almost graphic. An example of musical terrorism
0:36
20
Part II: The Sacrifice: Glorification of the Chosen One: Motif No. 2: a terrible, off-beat com-pah from strings, horns and oboes
0:13
21
Part II: The Sacrifice: Glorification of the Chosen One: The air is filled with the fearsome baying of wind and violins
0:20
22
Part II: The Sacrifice: Glorification of the Chosen One: A variant of Motif No. 2, but now descending
0:15
23
Part II: The Sacrifice: Glorification of the Chosen One: A study in the bruality of suspense - a musical mugging
4:12
24
Part II: The Sacrifice: Glorification of the Chosen One: The middle section begins with a massive but unequal confrontation
0:27
25
Part II: The Sacrifice: Glorification of the Chosen One: Against the odds, the 'descending motif' comes out on top
0:23
26
Part II: The Sacrifice: Glorification of the Chosen One: In the midst of the fray, a new 'rising motif' emerges...
1:03
27
Part II: The Sacrifice: Glorification of the Chosen One: ...and undergoes a typcially Stravinskyan expansion and compression
1:04
28
Part II: The Sacrifice: Glorification of the Chosen One: A much-needed breath before the movement entire
0:17
29
Part II: The Sacrifice: Glorification of the Chosen One: Glorification of the Chosen One (complete)
1:45
30
Part II: The Sacrifice: Evocation of the Ancestors: The next movement consists of a single, chordal motif, three times varied
0:59
31
Part II: The Sacrifice: Evocation of the Ancestors: The second statement: breaking the metrical flow
2:13
32
Part II: The Sacrifice: Ritual Action of the Ancestors: At last the establishment of a clear and steady beat, but will it last?
1:21
33
Part II: The Sacrifice: Ritual Action of the Ancestors: A counterpoint of ostinatos lends continuity to changing time signatures
0:42
34
Part II: The Sacrifice: Ritual Action of the Ancestors: Horns introduce the first real motif, destabilised by multiple metres
0:33
35
Part II: The Sacrifice: Ritual Action of the Ancestors: The motif disappears, though the background ostinato continues
0:32
36
Part II: The Sacrifice: Ritual Action of the Ancestors: A change of mood, then the whole orchestra crashes in
0:49
37
Part II: The Sacrifice: Ritual Action of the Ancestors: The steady pulse gives way to a tossed salad of one-bar motifs
0:43
38
Part II: The Sacrifice: Ritual Action of the Ancestors: Lately abandoned, the steady pulse returns, as does the 'trumpet motif'
1:06
39
Part II: The Sacrifice: Ritual Action of the Ancestors: The movement ends with a varied reprise of the opening
0:15
40
Part II: The Sacrifice: Ritual Action of the Ancestors: Evocation of the Ancestors (complete) and Ritual Action of the Ancestors (complete)
4:23
41
Part II: The Sacrifice: Sacrificial Dance: The last movement is based on two motifs, the first most motable for its rhythm
0:20
42
Part II: The Sacrifice: Sacrificial Dance: The second motif is likewise predominatly rhythmical in effect
0:16
43
Part II: The Sacrifice: Sacrificial Dance: Two variants: one a rhythmic simplification, the other an expansion
0:20
44
Part II: The Sacrifice: Sacrificial Dance: A new section, again with two main motifs, the first from wind and strings
0:27
45
Part II: The Sacrifice: Sacrificial Dance: This is joined by another bried but very striking motif from muted brass
0:20
46
Part II: The Sacrifice: Sacrificial Dance: Tension dramatically increased by a violent interruption from timpani and gong
0:34
47
Part II: The Sacrifice: Sacrificial Dance: Motif No. 2 is passed from bassoons to high wind and trumpets...
0:34
48
Part II: The Sacrifice: Sacrificial Dance: ...and is twice interrupted by horns
0:42
49
Part II: The Sacrifice: Sacrificial Dance: Motif No. 1 erupts in full orchestra, then all hell breaks loose
0:48
50
Part II: The Sacrifice: Sacrificial Dance: New ostinato, over implacable repetitions of Motif No. 1, offset by clarinets
0:27
51
Part II: The Sacrifice: Sacrificial Dance: A new section, kick-started by percussion: timpani, bass drum and gong
1:11
52
Part II: The Sacrifice: Sacrificial Dance: Horns, doubled by strings, introduce the main idea of this new section
0:18
53
Part II: The Sacrifice: Sacrificial Dance: The return of the movement's opening section - or so we may think
0:54
54
Part II: The Sacrifice: Sacrificial Dance: Dramatic compression of now-familiar material
0:40
55
Part II: The Sacrifice: Sacrificial Dance: A terrifying cocktail of motifs old and new confounds expectations...
1:00
56
Part II: The Sacrifice: Sacrificial Dance: ...and leads to the coda, the final flourish of the whole work
1:45
57
Part II: The Sacrifice: Sacrificial Dance: Cue to all of Part II and end of CD
0:11
58
Part II: The Sacrifice: Sacrificial Dance: Part II (complete)
18:58