Jeremy Siepmann
Album

Classics Explained: Stravinsky - The Rite of Spring

Jeremy Siepmann

109 SONGS • 2 HOURS AND 34 MINUTES • JUN 08 2003

1
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Introduction, background and perspective
05:04
2
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): A gentle, other-worldly start; no sign of the violence to come
01:33
3
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Music as mosaic; the composer as constructor
01:57
4
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Two functions of metrical change: going with the flow...
01:23
5
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): ...or disrupting it: a sample of metrical violence
01:02
6
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): A stealthy entry (clarinets)
00:34
7
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Detour: the destabilising properties of chromaticism
04:04
8
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): On melodies, themes and motifs
01:03
9
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): The new cor anglais motif dominates
00:27
10
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): The oboe's rhythmic motif takes over
00:25
11
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): A primeval awakening
00:37
12
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): A panoply of Stravinskyan birdsong
00:59
13
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): A matter of mode
01:15
14
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Cue to Introduction
00:09
15
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Introduction (complete)
03:38
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
00:41
17
Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The great arrival: bitonality
01:35
18
Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Putting the boot in: a metrical mugging
01:45
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
01:51
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
00:50
21
Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The musical savages routed
01:19
22
Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: An important new arrival (the 'horn motif')
01:05
23
Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Another new theme from the horns
00:48
24
Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: A crowded conclusion
01:44
25
Part I: The Adoration of the Earth: Ritual of Abduction: A real study in contrasts
01:31
26
Part I: The Adoration of the Earth: Ritual of Abduction: Panic and pandemonium as timpani open fire
01:10
27
Part I: The Adoration of the Earth: Ritual of Abduction: Climactic melee haunted by 'fear motif'
01:35
28
Part I: The Adoration of the Earth: Spring Rounds: Suddenly another world, as flutes hover over harmonic vapour...
00:59
29
Part I: The Adoration of the Earth: Spring Rounds: ...but a transient one: new movement arises from the deep
00:51
30
Part I: The Adoration of the Earth: Spring Rounds: 'Dragging feet motif' over ostinato violins, twice interrupted
00:43
31
Part I: The Adoration of the Earth: Spring Rounds: 'Marching motif' developed further by flutes and horns
00:45
32
Part I: The Adoration of the Earth: Spring Rounds: A trilling commentary from piccolo and high clarinet
00:25
33
Part I: The Adoration of the Earth: Spring Rounds: 'Marching motif' theme goes polymetric in huge crescendo
01:17
34
Part I: The Adoration of the Earth: Spring Rounds: An unexpected change of pace as tempo doubles
00:53
35
Part I: The Adoration of the Earth: Spring Rounds: And an unexpected reversion, to a quiet close
00:41
36
Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Violent onslaught from brass and timpani launches the 'Rival Tribes'
00:25
37
Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Rival Tribes, rival motifs
00:22
38
Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Sensational violence comes close to chaos
00:38
39
Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Effects, impressions and alteration
01:40
40
Part I: The Adoration of the Earth: Ritual of the Rival Tribes: A surprise re-entry and a change of instrumental clothing
00:55
41
Part I: The Adoration of the Earth: Ritual of the Rival Tribes: A thinning of texture, a new idea, and a rude interruption
00:34
42
Part I: The Adoration of the Earth: Ritual of the Rival Tribes: The new idea developed: A Minor earthquake
00:41
43
Part I: The Adoration of the Earth: Ritual of the Rival Tribes: The use of tone colour as an agent of rhythm
01:32
44
Part I: The Adoration of the Earth: Ritual of the Rival Tribes: An unusual climax...
01:31
45
Part I: The Adoration of the Earth: Ritual of the Rival Tribes: ...and a sinister transition
00:51
46
Part I: The Adoration of the Earth: Procession of the Sage: Across the threshold into an instrumental population explosion
01:29
47
Part I: The Adoration of the Earth: Procession of the Sage: A sudden silence and then another world
01:00
48
Part I: The Adoration of the Earth: Procession of the Sage: Catapulted into the 'Dance of the Earth'
00:38
49
Part I: The Adoration of the Earth: Dance of the Earth: Tiny changes, unyielding ostinatos, massive tension
03:19
50
Part I: The Adoration of the Earth: Dance of the Earth: Cue to Part I complete
00:07
51
Part I: The Adoration of the Earth: Dance of the Earth: Part I (complete)
16:08
52
Part II: The Sacrifice: Introduction: Again a muted, subtly coloured start
01:09
53
Part II: The Sacrifice: Introduction: Tone colour as atmosphere - the strings' motif
01:07
54
Part II: The Sacrifice: Introduction: Four solo violas, above gently rocking strings
00:23
55
Part II: The Sacrifice: Introduction: A pregnant pause, and a new motif in muted trumpets
01:14
56
Part II: The Sacrifice: Mystic Circles of the Young Girls: Motif from the Introduction varied and extended
01:28
57
Part II: The Sacrifice: Mystic Circles of the Young Girls: New motif, heralded by clarinets and violins, is introduced by alto flute
00:34
58
Part II: The Sacrifice: Mystic Circles of the Young Girls: Variant of Motif No. 2 given out by two clarinets
00:44
59
Part II: The Sacrifice: Mystic Circles of the Young Girls: Continued by oboes and bassoons; new motif in violins, cellos and bass clarinet
00:33
60
Part II: The Sacrifice: Mystic Circles of the Young Girls: Main motifs yield to new idea from flutes
00:38
61
Part II: The Sacrifice: Mystic Circles of the Young Girls: All change - direction, tone colour, metre - and two new ostinatos
00:40
62
Part II: The Sacrifice: Mystic Circles of the Young Girls: Motif No. 1 returns in horn, then passed to flutes and strings
00:46
63
Part II: The Sacrifice: Mystic Circles of the Young Girls: Texture, balance and tone colour keep changing
00:27
64
Part II: The Sacrifice: Mystic Circles of the Young Girls: Instrumental enrichment, new counterpoint and a bleat of alarm
00:40
65
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
00:49
66
Part II: The Sacrifice: Mystic Circles of the Young Girls: Into the finishing stretch, and we know we're in for something big
00:45
67
Part II: The Sacrifice: Mystic Circles of the Young Girls: Putting the movement back together again
00:08
68
Part II: The Sacrifice: Mystic Circles of the Young Girls: Mystic Circles of the Young Girls (complete)
08:16
69
Part II: The Sacrifice: Glorification of the Chosen One: On into one of the most sensational movements ever written
01:36
70
Part II: The Sacrifice: Glorification of the Chosen One: The violence is almost graphic. An example of musical terrorism
00:36
71
Part II: The Sacrifice: Glorification of the Chosen One: Motif No. 2: a terrible, off-beat com-pah from strings, horns and oboes
00:13
72
Part II: The Sacrifice: Glorification of the Chosen One: The air is filled with the fearsome baying of wind and violins
00:20
73
Part II: The Sacrifice: Glorification of the Chosen One: A variant of Motif No. 2, but now descending
00:15
74
Part II: The Sacrifice: Glorification of the Chosen One: A study in the bruality of suspense - a musical mugging
04:12
75
Part II: The Sacrifice: Glorification of the Chosen One: The middle section begins with a massive but unequal confrontation
00:27
76
Part II: The Sacrifice: Glorification of the Chosen One: Against the odds, the 'descending motif' comes out on top
00:23
77
Part II: The Sacrifice: Glorification of the Chosen One: In the midst of the fray, a new 'rising motif' emerges...
01:03
78
Part II: The Sacrifice: Glorification of the Chosen One: ...and undergoes a typcially Stravinskyan expansion and compression
01:04
79
Part II: The Sacrifice: Glorification of the Chosen One: A much-needed breath before the movement entire
00:17
80
Part II: The Sacrifice: Glorification of the Chosen One: Glorification of the Chosen One (complete)
01:45
81
Part II: The Sacrifice: Evocation of the Ancestors: The next movement consists of a single, chordal motif, three times varied
00:59
82
Part II: The Sacrifice: Evocation of the Ancestors: The second statement: breaking the metrical flow
02:13
83
Part II: The Sacrifice: Ritual Action of the Ancestors: At last the establishment of a clear and steady beat, but will it last?
01:21
84
Part II: The Sacrifice: Ritual Action of the Ancestors: A counterpoint of ostinatos lends continuity to changing time signatures
00:42
85
Part II: The Sacrifice: Ritual Action of the Ancestors: Horns introduce the first real motif, destabilised by multiple metres
00:33
86
Part II: The Sacrifice: Ritual Action of the Ancestors: The motif disappears, though the background ostinato continues
00:32
87
Part II: The Sacrifice: Ritual Action of the Ancestors: A change of mood, then the whole orchestra crashes in
00:49
88
Part II: The Sacrifice: Ritual Action of the Ancestors: The steady pulse gives way to a tossed salad of one-bar motifs
00:43
89
Part II: The Sacrifice: Ritual Action of the Ancestors: Lately abandoned, the steady pulse returns, as does the 'trumpet motif'
01:06
90
Part II: The Sacrifice: Ritual Action of the Ancestors: The movement ends with a varied reprise of the opening
00:15
91
Part II: The Sacrifice: Ritual Action of the Ancestors: Evocation of the Ancestors (complete) and Ritual Action of the Ancestors (complete)
04:23
92
Part II: The Sacrifice: Sacrificial Dance: The last movement is based on two motifs, the first most motable for its rhythm
00:20
93
Part II: The Sacrifice: Sacrificial Dance: The second motif is likewise predominatly rhythmical in effect
00:16
94
Part II: The Sacrifice: Sacrificial Dance: Two variants: one a rhythmic simplification, the other an expansion
00:20
95
Part II: The Sacrifice: Sacrificial Dance: A new section, again with two main motifs, the first from wind and strings
00:27
96
Part II: The Sacrifice: Sacrificial Dance: This is joined by another bried but very striking motif from muted brass
00:20
97
Part II: The Sacrifice: Sacrificial Dance: Tension dramatically increased by a violent interruption from timpani and gong
00:35
98
Part II: The Sacrifice: Sacrificial Dance: Motif No. 2 is passed from bassoons to high wind and trumpets...
00:34
99
Part II: The Sacrifice: Sacrificial Dance: ...and is twice interrupted by horns
00:42
100
Part II: The Sacrifice: Sacrificial Dance: Motif No. 1 erupts in full orchestra, then all hell breaks loose
00:48
101
Part II: The Sacrifice: Sacrificial Dance: New ostinato, over implacable repetitions of Motif No. 1, offset by clarinets
00:27
102
Part II: The Sacrifice: Sacrificial Dance: A new section, kick-started by percussion: timpani, bass drum and gong
01:11
103
Part II: The Sacrifice: Sacrificial Dance: Horns, doubled by strings, introduce the main idea of this new section
00:18
104
Part II: The Sacrifice: Sacrificial Dance: The return of the movement's opening section - or so we may think
00:54
105
Part II: The Sacrifice: Sacrificial Dance: Dramatic compression of now-familiar material
00:40
106
Part II: The Sacrifice: Sacrificial Dance: A terrifying cocktail of motifs old and new confounds expectations...
01:00
107
Part II: The Sacrifice: Sacrificial Dance: ...and leads to the coda, the final flourish of the whole work
01:45
108
Part II: The Sacrifice: Sacrificial Dance: Cue to all of Part II and end of CD
00:11
109
Part II (complete)
18:58
℗© 2003 Naxos

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