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Classics Explained: Stravinsky - The Rite Of Spring (Siepmann)

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Download links and information about Classics Explained: Stravinsky - The Rite Of Spring (Siepmann) by Jeremy Siepmann. This album was released in 2003 and it belongs to Classical, Poetry, Opera genres. It contains 109 tracks with total duration of 02:34:17 minutes.

Artist: Jeremy Siepmann
Release date: 2003
Genre: Classical, Poetry, Opera
Tracks: 109
Duration: 02:34:17
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Tracks

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No. Title Length
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
52. Part II: The Sacrifice: Introduction: Again a muted, subtly coloured start 1:09
53. Part II: The Sacrifice: Introduction: Tone colour as atmosphere - the strings' motif 1:07
54. Part II: The Sacrifice: Introduction: Four solo violas, above gently rocking strings 0:23
55. Part II: The Sacrifice: Introduction: A pregnant pause, and a new motif in muted trumpets 1:14
56. Part II: The Sacrifice: Mystic Circles of the Young Girls: Motif from the Introduction varied and extended 1:28
57. Part II: The Sacrifice: Mystic Circles of the Young Girls: New motif, heralded by clarinets and violins, is introduced by alto flute 0:34
58. Part II: The Sacrifice: Mystic Circles of the Young Girls: Variant of Motif No. 2 given out by two clarinets 0:44
59. Part II: The Sacrifice: Mystic Circles of the Young Girls: Continued by oboes and bassoons; new motif in violins, cellos and bass clarinet 0:33
60. Part II: The Sacrifice: Mystic Circles of the Young Girls: Main motifs yield to new idea from flutes 0:38
61. Part II: The Sacrifice: Mystic Circles of the Young Girls: All change - direction, tone colour, metre - and two new ostinatos 0:40
62. Part II: The Sacrifice: Mystic Circles of the Young Girls: Motif No. 1 returns in horn, then passed to flutes and strings 0:46
63. Part II: The Sacrifice: Mystic Circles of the Young Girls: Texture, balance and tone colour keep changing 0:27
64. Part II: The Sacrifice: Mystic Circles of the Young Girls: Instrumental enrichment, new counterpoint and a bleat of alarm 0:40
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 0:49
66. Part II: The Sacrifice: Mystic Circles of the Young Girls: Into the finishing stretch, and we know we're in for something big 0:45
67. Part II: The Sacrifice: Mystic Circles of the Young Girls: Putting the movement back together again 0:08
68. Part II: The Sacrifice: Mystic Circles of the Young Girls: Mystic Circles of the Young Girls (complete) 8:16
69. Part II: The Sacrifice: Glorification of the Chosen One: On into one of the most sensational movements ever written 1:36
70. Part II: The Sacrifice: Glorification of the Chosen One: The violence is almost graphic. An example of musical terrorism 0:36
71. Part II: The Sacrifice: Glorification of the Chosen One: Motif No. 2: a terrible, off-beat com-pah from strings, horns and oboes 0:13
72. Part II: The Sacrifice: Glorification of the Chosen One: The air is filled with the fearsome baying of wind and violins 0:20
73. Part II: The Sacrifice: Glorification of the Chosen One: A variant of Motif No. 2, but now descending 0:15
74. Part II: The Sacrifice: Glorification of the Chosen One: A study in the bruality of suspense - a musical mugging 4:12
75. Part II: The Sacrifice: Glorification of the Chosen One: The middle section begins with a massive but unequal confrontation 0:27
76. Part II: The Sacrifice: Glorification of the Chosen One: Against the odds, the 'descending motif' comes out on top 0:23
77. Part II: The Sacrifice: Glorification of the Chosen One: In the midst of the fray, a new 'rising motif' emerges... 1:03
78. Part II: The Sacrifice: Glorification of the Chosen One: ...and undergoes a typcially Stravinskyan expansion and compression 1:04
79. Part II: The Sacrifice: Glorification of the Chosen One: A much-needed breath before the movement entire 0:17
80. Part II: The Sacrifice: Glorification of the Chosen One: Glorification of the Chosen One (complete) 1:45
81. Part II: The Sacrifice: Evocation of the Ancestors: The next movement consists of a single, chordal motif, three times varied 0:59
82. Part II: The Sacrifice: Evocation of the Ancestors: The second statement: breaking the metrical flow 2:13
83. Part II: The Sacrifice: Ritual Action of the Ancestors: At last the establishment of a clear and steady beat, but will it last? 1:21
84. Part II: The Sacrifice: Ritual Action of the Ancestors: A counterpoint of ostinatos lends continuity to changing time signatures 0:42
85. Part II: The Sacrifice: Ritual Action of the Ancestors: Horns introduce the first real motif, destabilised by multiple metres 0:33
86. Part II: The Sacrifice: Ritual Action of the Ancestors: The motif disappears, though the background ostinato continues 0:32
87. Part II: The Sacrifice: Ritual Action of the Ancestors: A change of mood, then the whole orchestra crashes in 0:49
88. Part II: The Sacrifice: Ritual Action of the Ancestors: The steady pulse gives way to a tossed salad of one-bar motifs 0:43
89. Part II: The Sacrifice: Ritual Action of the Ancestors: Lately abandoned, the steady pulse returns, as does the 'trumpet motif' 1:06
90. Part II: The Sacrifice: Ritual Action of the Ancestors: The movement ends with a varied reprise of the opening 0:15
91. Part II: The Sacrifice: Ritual Action of the Ancestors: Evocation of the Ancestors (complete) and Ritual Action of the Ancestors (complete) 4:23
92. Part II: The Sacrifice: Sacrificial Dance: The last movement is based on two motifs, the first most motable for its rhythm 0:20
93. Part II: The Sacrifice: Sacrificial Dance: The second motif is likewise predominatly rhythmical in effect 0:16
94. Part II: The Sacrifice: Sacrificial Dance: Two variants: one a rhythmic simplification, the other an expansion 0:20
95. Part II: The Sacrifice: Sacrificial Dance: A new section, again with two main motifs, the first from wind and strings 0:27
96. Part II: The Sacrifice: Sacrificial Dance: This is joined by another bried but very striking motif from muted brass 0:20
97. Part II: The Sacrifice: Sacrificial Dance: Tension dramatically increased by a violent interruption from timpani and gong 0:34
98. Part II: The Sacrifice: Sacrificial Dance: Motif No. 2 is passed from bassoons to high wind and trumpets... 0:34
99. Part II: The Sacrifice: Sacrificial Dance: ...and is twice interrupted by horns 0:42
100. Part II: The Sacrifice: Sacrificial Dance: Motif No. 1 erupts in full orchestra, then all hell breaks loose 0:48
101. Part II: The Sacrifice: Sacrificial Dance: New ostinato, over implacable repetitions of Motif No. 1, offset by clarinets 0:27
102. Part II: The Sacrifice: Sacrificial Dance: A new section, kick-started by percussion: timpani, bass drum and gong 1:11
103. Part II: The Sacrifice: Sacrificial Dance: Horns, doubled by strings, introduce the main idea of this new section 0:18
104. Part II: The Sacrifice: Sacrificial Dance: The return of the movement's opening section - or so we may think 0:54
105. Part II: The Sacrifice: Sacrificial Dance: Dramatic compression of now-familiar material 0:40
106. Part II: The Sacrifice: Sacrificial Dance: A terrifying cocktail of motifs old and new confounds expectations... 1:00
107. Part II: The Sacrifice: Sacrificial Dance: ...and leads to the coda, the final flourish of the whole work 1:45
108. Part II: The Sacrifice: Sacrificial Dance: Cue to all of Part II and end of CD 0:11
109. Part II: The Sacrifice: Sacrificial Dance: Part II (complete) 18:58

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