|
No. |
Title |
Length |
| 1. |
Introduction, Background and Perspective |
5:04 |
| 2. |
A Gentle, Other-worldly Start; No Sign of the Violence to Come |
1:33 |
| 3. |
Music As Mosaic; The Composer As Constructor |
1:57 |
| 4. |
Two Functions of Metrical Change: Going With the Flow... |
1:23 |
| 5. |
...Or Disrupting It: A Sample of Metrical Violence |
1:02 |
| 6. |
A Stealthy Entry (Clarinets) |
0:34 |
| 7. |
Detour: The Destabilising Properties of Chromaticism |
4:04 |
| 8. |
On Melodies, Themes and Motifs |
1:03 |
| 9. |
The New Cor Anglais Motif Dominates |
0:27 |
| 10. |
The Oboe's Rhythmic Motif Takes Over |
0:25 |
| 11. |
A Primeval Awakening |
0:37 |
| 12. |
A Panoply of Stravinskyan Birdsong |
0:59 |
| 13. |
A Matter of Mode |
1:15 |
| 14. |
Cue to Introduction |
0:08 |
| 15. |
Introduction (Complete) |
3:38 |
| 16. |
Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The 'Rite of Spring' Chord |
0:41 |
| 17. |
The Great Arrival: Bitonality |
1:35 |
| 18. |
Putting the Boot In: A Metrical Mugging |
1:45 |
| 19. |
The Prevalence of Ostinatos, and a Righting of Wrongs |
1:51 |
| 20. |
Metre Restores (Briefly) But the 'savage Motif' Returns |
0:50 |
| 21. |
The Musical Savages Routed |
1:19 |
| 22. |
An Important New Arrival (The 'Horn Motif') |
1:05 |
| 23. |
Another New Theme from the Horns |
0:48 |
| 24. |
A Crowded Conclusion |
1:43 |
| 25. |
A Real Study In Contrasts |
1:31 |
| 26. |
Panic and Pandemonium As Timpani Open Fire |
1:10 |
| 27. |
Climactic Melee Haunted By 'Fear Motif' |
1:34 |
| 28. |
Suddenly Another World, As Flutes Hover Over Harmonic Vapour... |
0:59 |
| 29. |
...But a Transient One: New Movement Arises from the Deep |
0:51 |
| 30. |
'Dragging Feet Motif' Over Ostinato Violins, Twice Interrupted |
0:43 |
| 31. |
'Marching Motif' Developed Further By Flutes and Horns |
0:45 |
| 32. |
A Trilling Commentary from Piccolo and High Clarinet |
0:25 |
| 33. |
'Marching Motif' Theme Goes Polymetric In Huge Crescendo |
1:16 |
| 34. |
An Unexpected Change of Pace As Tempo Doubles |
0:53 |
| 35. |
And an Unexpected Reversion, to a Quiet Close |
0:41 |
| 36. |
Violent Onslaught from Brass and Timpani Launches the 'Rival Tribes' |
0:25 |
| 37. |
Rival Tribes, Rival Motifs |
0:22 |
| 38. |
Sensational Violence Comes Close to Chaos |
0:38 |
| 39. |
Effects, Impressions and Alteration |
1:40 |
| 40. |
A Surprise Re-entry and a Change of Instrumental Clothing |
0:54 |
| 41. |
A Thinning of Texture, a New Idea, and a Rude Interruption |
0:34 |
| 42. |
The New Idea Developed: A Minor Earthquake |
0:41 |
| 43. |
The Use of Tone Colour As an Agent of Rhythm |
1:32 |
| 44. |
An Unusual Climax... |
1:31 |
| 45. |
...And a Sinister Transition |
0:51 |
| 46. |
Across the Threshold Into an Instrumental Population Explosion |
1:29 |
| 47. |
A Sudden Silence and Then Another World |
1:00 |
| 48. |
Catapulted Into the 'Dance of the Earth' |
0:38 |
| 49. |
Tiny Changes, Unyielding Ostinatos, Massive Tension |
3:19 |
| 50. |
Cue to Part I Complete |
0:07 |
| 51. |
Part I (Complete) |
16:08 |
| 52. |
Again a Muted, Subtly Coloured Start |
1:09 |
| 53. |
Tone Colour As Atmosphere - The Strings' Motif |
1:07 |
| 54. |
Four Solo Violas, Above Gently Rocking Strings |
0:23 |
| 55. |
A Pregnant Pause, and a New Motif In Muted Trumpets |
1:14 |
| 56. |
Motif from the Introduction Varied and Extended |
1:28 |
| 57. |
New Motif, Heralded By Clarinets and Violins, Is Introduced By Alto Flute |
0:34 |
| 58. |
Variant of Motif No. 2 Given Out By Two Clarinets |
0:44 |
| 59. |
Continued By Oboes and Bassoons; New Motif In Violins, Cellos and Bass Clarinet |
0:33 |
| 60. |
Main Motifs Yield to New Idea from Flutes |
0:38 |
| 61. |
All Change - Direction, Tone Colour, Metre - And Two New Ostinatos |
0:40 |
| 62. |
Motif No. 1 Returns In Horn, Then Passed to Flutes and Strings |
0:45 |
| 63. |
Texture, Balance and Tone Colour Keep Changing |
0:26 |
| 64. |
Instrumental Enrichment, New Counterpoint and a Bleat of Alarm |
0:40 |
| 65. |
New Derivative of Motif No. 2, a Host of New Sounds - And Again the Bleat |
0:48 |
| 66. |
Into the Finishing Stretch, and We Know We're In for Something Big |
0:44 |
| 67. |
Putting the Movement Back Together Again |
0:08 |
| 68. |
Mystic Circles of the Young Girls (Complete) |
8:16 |
| 69. |
On Into One of the Most Sensational Movements Ever Written |
1:36 |
| 70. |
The Violence Is Almost Graphic. An Example of Musical Terrorism |
0:35 |
| 71. |
Motif No. 2: A Terrible, Off-beat Com-pah from Strings, Horns and Oboes |
0:13 |
| 72. |
The Air Is Filled With the Fearsome Baying of Wind and Violins |
0:20 |
| 73. |
A Variant of Motif No. 2, But Now Descending |
0:15 |
| 74. |
A Study In the Bruality of Suspense - A Musical Mugging |
4:12 |
| 75. |
The Middle Section Begins With a Massive But Unequal Confrontation |
0:27 |
| 76. |
Against the Odds, the 'Descending Motif' Comes Out On Top |
0:23 |
| 77. |
In the Midst of the Fray, a New 'Rising Motif' Emerges... |
1:02 |
| 78. |
...And Undergoes a Typcially Stravinskyan Expansion and Compression |
1:04 |
| 79. |
A Much-needed Breath Before the Movement Entire |
0:17 |
| 80. |
Glorification of the Chosen One (Complete) |
1:45 |
| 81. |
The Next Movement Consists of a Single, Chordal Motif, Three Times Varied |
0:59 |
| 82. |
The Second Statement: Breaking the Metrical Flow |
2:13 |
| 83. |
At Last the Establishment of a Clear and Steady Beat, But Will It Last? |
1:21 |
| 84. |
A Counterpoint of Ostinatos Lends Continuity to Changing Time Signatures |
0:42 |
| 85. |
Horns Introduce the First Real Motif, Destabilised By Multiple Metres |
0:33 |
| 86. |
The Motif Disappears, Though the Background Ostinato Continues |
0:32 |
| 87. |
A Change of Mood, Then the Whole Orchestra Crashes In |
0:49 |
| 88. |
The Steady Pulse Gives Way to a Tossed Salad of One-bar Motifs |
0:43 |
| 89. |
Lately Abandoned, the Steady Pulse Returns, As Does the 'Trumpet Motif' |
1:06 |
| 90. |
The Movement Ends With a Varied Reprise of the Opening |
0:15 |
| 91. |
Evocation of the Ancestors (Complete) and Ritual Action of the Ancestors (Complete) |
4:23 |
| 92. |
The Last Movement Is Based On Two Motifs, the First Most Motable for Its Rhythm |
0:20 |
| 93. |
The Second Motif Is Likewise Predominatly Rhythmical In Effect |
0:16 |
| 94. |
Two Variants: One a Rhythmic Simplification, the Other an Expansion |
0:20 |
| 95. |
A New Section, Again With Two Main Motifs, the First from Wind and Strings |
0:27 |
| 96. |
This Is Joined By Another Bried But Very Striking Motif from Muted Brass |
0:20 |
| 97. |
Tension Dramatically Increased By a Violent Interruption from Timpani and Gong |
0:35 |
| 98. |
Motif No. 2 Is Passed from Bassoons to High Wind and Trumpets... |
0:34 |
| 99. |
...And Is Twice Interrupted By Horns |
0:42 |
| 100. |
Motif No. 1 Erupts In Full Orchestra, Then All Hell Breaks Loose |
0:48 |
| 101. |
New Ostinato, Over Implacable Repetitions of Motif No. 1, Offset By Clarinets |
0:26 |
| 102. |
A New Section, Kick-started By Percussion: Timpani, Bass Drum and Gong |
1:11 |
| 103. |
Horns, Doubled By Strings, Introduce the Main Idea of This New Section |
0:18 |
| 104. |
The Return of the Movement's Opening Section - Or So We May Think |
0:54 |
| 105. |
Dramatic Compression of Now-familiar Material |
0:40 |
| 106. |
A Terrifying Cocktail of Motifs Old and New Confounds Expectations... |
1:00 |
| 107. |
...And Leads to the Coda, the Final Flourish of the Whole Work |
1:45 |
| 108. |
Cue to All of Part II and End |
0:11 |
| 109. |
Part II (Complete) |
18:58 |
