MUSIC
Tracks
- 1Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): Introduction, background and perspective5:04
- 2Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): A gentle, other-worldly start; no sign of the violence to come1:33
- 3Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): Music as mosaic; the composer as constructor1:57
- 4Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): Two functions of metrical change: Going with the flow...1:23
- 5Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): ...Or disrupting It: A sample of metrical violence1:02
- 6Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): A stealthy entry [clarinets]0:34
- 7Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): Detour: The destabilising properties of chromaticism4:04
- 8Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): On melodies, themes and motifs1:03
- 9Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): The new cor anglais motif dominates0:27
- 10Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): The oboe's rhythmic motif takes over0:25
- 11Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): A primeval awakening0:37
- 12Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): A panoply of Stravinskyan birdsong0:59
- 13Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): A matter of mode1:15
- 14Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): Cue to Introduction0:09
- 15Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): Introduction [complete]3:38
- 16Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): Pt. I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The 'Rite of Spring' chord0:41
- 17Part I, the Adoration of the Earth, the Augurs of Spring / Dances of the Young Girls: The great arrival: Bitonality1:35
- 18Part I, the Adoration of the Earth, the Augurs of Spring / Dances of the Young Girls: Putting the boot in: A metrical mugging1:45
- 19Part I, the Adoration of the Earth, the Augurs of Spring / Dances of the Young Girls: The prevalence of ostinatos, and a righting of wrongs1:51
- 20Part I, the Adoration of the Earth, the Augurs of Spring / Dances of the Young Girls: Metre restores (briefly) but the 'savage motif' returns0:50
- 21Part I, the Adoration of the Earth, the Augurs of Spring / Dances of the Young Girls: The musical savages routed1:19
- 22Part I, the Adoration of the Earth, the Augurs of Spring / Dances of the Young Girls: An important new arrival (the 'horn motif')1:05
- 23Part I, the Adoration of the Earth, the Augurs of Spring / Dances of the Young Girls: Another new theme from the horns0:48
- 24Part I, the Adoration of the Earth, the Augurs of Spring / Dances of the Young Girls: A crowded conclusion1:44
- 25Part I, the Adoration of the Earth, Ritual of Abduction: A real study in contrasts1:31
- 26Part I, the Adoration of the Earth, Ritual of Abduction: Panic and pandemonium as timpani open fire1:10
- 27Part I, the Adoration of the Earth, Ritual of Abduction: Climactic melee haunted by 'fear motif'1:35
- 28Part I, the Adoration of the Earth, Spring Rounds: Suddenly another world, as flutes hover over harmonic vapour...0:59
- 29Part I, the Adoration of the Earth, Spring Rounds: ...But a transient one: New movement arises from the deep0:51
- 30Part I, the Adoration of the Earth, Spring Rounds: 'Dragging feet motif' over ostinato violins, twice interrupted0:43
- 31Part I, the Adoration of the Earth, Spring Rounds: 'Marching motif' developed further by flutes and horns0:45
- 32Part I, the Adoration of the Earth, Spring Rounds: A trilling commentary from piccolo and high clarinet0:25
- 33Part I, the Adoration of the Earth, Spring Rounds: 'Marching motif' theme goes polymetric in huge crescendo1:17
- 34Part I, the Adoration of the Earth, Spring Rounds: An unexpected change of pace as tempo doubles0:53
- 35Part I, the Adoration of the Earth, Spring Rounds: And an unexpected reversion, to a quiet close0:41
- 36Part I, the Adoration of the Earth, Ritual of the Rival Tribes: Violent onslaught from brass and timpani launches the 'Rival Tribes'0:25
- 37Part I, the Adoration of the Earth, Ritual of the Rival Tribes: Rival Tribes, rival motifs0:22
- 38Part I, the Adoration of the Earth, Ritual of the Rival Tribes: Sensational violence comes close to chaos0:38
- 39Part I, the Adoration of the Earth, Ritual of the Rival Tribes: Effects, impressions and alteration1:40
- 40Part I, the Adoration of the Earth, Ritual of the Rival Tribes: A surprise re-entry and a change of instrumental clothing0:55
- 41Part I, the Adoration of the Earth, Ritual of the Rival Tribes: A thinning of texture, a new idea, and a rude interruption0:34
- 42Part I, the Adoration of the Earth, Ritual of the Rival Tribes: The new idea developed: A Minor earthquake0:41
- 43Part I, the Adoration of the Earth, Ritual of the Rival Tribes: The use of tone colour as an agent of rhythm1:32
- 44Part I, the Adoration of the Earth, Ritual of the Rival Tribes: An unusual climax...1:31
- 45Part I, the Adoration of the Earth, Ritual of the Rival Tribes: ...And a sinister transition0:51
- 46Part I, the Adoration of the Earth, Procession of the Sage: Across the threshold into an instrumental population explosion1:29
- 47Part I, the Adoration of the Earth, Procession of the Sage: A sudden silence and then another world1:00
- 48Part I, the Adoration of the Earth, Procession of the Sage: Catapulted into the 'Dance of the Earth'0:38
- 49Part I, the Adoration of the Earth, Dance of the Earth: Tiny changes, unyielding ostinatos, massive tension3:19
- 50Part I, the Adoration of the Earth, Dance of the Earth: Cue to Pt. I complete0:07
- 51Part I, the Adoration of the Earth, Dance of the Earth: Pt. I (complete)16:08
- 52Part II, the Sacrifice, Introduction: Again a muted, subtly coloured start1:09
- 53Part II, the Sacrifice, Introduction: Tone colour as atmosphere - The strings' motif1:07
- 54Part II, the Sacrifice, Introduction: Four solo violas, above gently rocking strings0:23
- 55Part II, the Sacrifice, Introduction: A pregnant pause, and a new motif in muted trumpets1:14
- 56Part II, the Sacrifice, Mystic Circles of the Young Girls: Motif from the Introduction varied and extended1:28
- 57Part II, the Sacrifice, Mystic Circles of the Young Girls: New motif, heralded by clarinets and violins, Is introduced by alto flute0:34
- 58Part II, the Sacrifice, Mystic Circles of the Young Girls: Variant of Motif No. 2 given out by two clarinets0:44
- 59Part II, the Sacrifice, Mystic Circles of the Young Girls: Continued by oboes and bassoons; new motif in violins, cellos and bass clarinet0:33
- 60Part II, the Sacrifice, Mystic Circles of the Young Girls: Main motifs yield to new idea from flutes0:38
- 61Part II, the Sacrifice, Mystic Circles of the Young Girls: All change - Direction, tone colour, metre - And two new ostinatos0:40
- 62Part II, the Sacrifice, Mystic Circles of the Young Girls: Motif No. 1 returns in horn, then passed to flutes and strings0:46
- 63Part II, the Sacrifice, Mystic Circles of the Young Girls: Texture, balance and tone colour keep changing0:27
- 64Part II, the Sacrifice, Mystic Circles of the Young Girls: Instrumental enrichment, new counterpoint and a bleat of alarm0:40
- 65Part II, the Sacrifice, Mystic Circles of the Young Girls: New derivative of Motif No. 2, A host of new sounds - And again the bleat0:48
- 66Part II, the Sacrifice, Mystic Circles of the Young Girls: Into the finishing stretch, and we know we're in for something big0:45
- 67Part II, the Sacrifice, Mystic Circles of the Young Girls: Putting the movement back together again0:08
- 68Part II, the Sacrifice, Mystic Circles of the Young Girls: Mystic Circles of the Young Girls (complete)8:16
- 69Part II, the Sacrifice, Glorification of the Chosen One: On into one of the most sensational movements ever written1:36
- 70Part II, the Sacrifice, Glorification of the Chosen One: The violence Is almost graphic. An example of musical terrorism0:36
- 71Part II, the Sacrifice, Glorification of the Chosen One: Motif No. 2: A terrible, off-beat com-pah from strings, horns and oboes0:13
- 72Part II, the Sacrifice, Glorification of the Chosen One: The air Is filled with the fearsome baying of wind and violins0:20
- 73Part II, the Sacrifice, Glorification of the Chosen One: A variant of Motif No. 2, But now descending0:15
- 74Part II, the Sacrifice, Glorification of the Chosen One: A study in the bruality of suspense - A musical mugging4:12
- 75Part II, the Sacrifice, Glorification of the Chosen One: The middle section begins with a massive but unequal confrontation0:27
- 76Part II, the Sacrifice, Glorification of the Chosen One: Against the odds, the 'descending motif' comes out on top0:23
- 77Part II, the Sacrifice, Glorification of the Chosen One: In the midst of the fray, a new 'rising motif' emerges...1:03
- 78Part II, the Sacrifice, Glorification of the Chosen One: ...And undergoes a typcially Stravinskyan expansion and compression1:04
- 79Part II, the Sacrifice, Glorification of the Chosen One: A much-needed breath before the movement entire0:17
- 80Part II, the Sacrifice, Glorification of the Chosen One: Glorification of the Chosen One (complete)1:45
- 81Part II, the Sacrifice, Evocation of the Ancestors: The next movement consists of a single, chordal motif, three times varied0:59
- 82Part II, the Sacrifice, Evocation of the Ancestors: The second statement: Breaking the metrical flow2:13
- 83Part II, the Sacrifice, Ritual Action of the Ancestors: At last the establishment of a clear and steady beat, but will It last?1:21
- 84Part II, the Sacrifice, Ritual Action of the Ancestors: A counterpoint of ostinatos lends continuity to changing time signatures0:42
- 85Part II, the Sacrifice, Ritual Action of the Ancestors: Horns introduce the first real motif, destabilised by multiple metres0:33
- 86Part II, the Sacrifice, Ritual Action of the Ancestors: The motif disappears, though the background ostinato continues0:32
- 87Part II, the Sacrifice, Ritual Action of the Ancestors: A change of mood, then the whole orchestra crashes in0:49
- 88Part II, the Sacrifice, Ritual Action of the Ancestors: The steady pulse gives way to a tossed salad of one-bar motifs0:43
- 89Part II, the Sacrifice, Ritual Action of the Ancestors: Lately abandoned, the steady pulse returns, as does the 'trumpet motif'1:06
- 90Part II, the Sacrifice, Ritual Action of the Ancestors: The movement ends with a varied reprise of the opening0:15
- 91Part II, the Sacrifice, Ritual Action of the Ancestors, Evocation of the Ancestors (complete) and Ritual Action of the Ancestors [complete]4:23
- 92Part II, the Sacrifice, Sacrificial Dance: The last movement Is based on two motifs, the first most motable for its rhythm0:20
- 93Part II, the Sacrifice, Sacrificial Dance: The second motif Is likewise predominatly rhythmical in effect0:16
- 94Part II, the Sacrifice, Sacrificial Dance. Two variants: One a rhythmic simplification, the other an expansion0:20
- 95Part II, the Sacrifice, Sacrificial Dance: A new section, again with two main motifs, the first from wind and strings0:27
- 96Part II, the Sacrifice, Sacrificial Dance: This Is joined by another bried but very striking motif from muted brass0:20
- 97Part II, the Sacrifice, Sacrificial Dance: Tension dramatically increased by a violent interruption from timpani and gong0:35
- 98Part II, the Sacrifice, Sacrificial Dance: Motif No. 2 Is passed from bassoons to high wind and trumpets...0:34
- 99Part II, the Sacrifice, Sacrificial Dance: ...And Is twice interrupted by horns0:42
- 100Part II, the Sacrifice, Sacrificial Dance: Motif No. 1 erupts in full orchestra, then all hell breaks loose0:48
- 101Part II, the Sacrifice, Sacrificial Dance: New ostinato, over implacable repetitions of Motif No. 1, Offset by clarinets0:27
- 102Part II, the Sacrifice, Sacrificial Dance. A new section, kick-started by percussion: Timpani, bass drum and gong1:11
- 103Part II, the Sacrifice, Sacrificial Dance: Horns, doubled by strings, introduce the main idea of This new section0:18
- 104Part II, the Sacrifice, Sacrificial Dance: The return of the movement's opening section - Or so we may think0:54
- 105Part II, the Sacrifice, Sacrificial Dance: Dramatic compression of now-familiar material0:40
- 106Part II, the Sacrifice, Sacrificial Dance: A terrifying cocktail of motifs old and new confounds expectations...1:00
- 107Part II, the Sacrifice, Sacrificial Dance: ...And leads to the coda, the final flourish of the whole work1:45
- 108Part II, the Sacrifice, Sacrificial Dance: Cue to all of Pt. II and end of CD0:11
- 109Part II (complete)18:58
Naxos