Classics Explained: Stravinsky - The Rite Of Spring
(e-Music)

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Jeremy Siepmann

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Table of Contents

Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): Introduction, background and perspective (5:04)

Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): A gentle, other-worldly start; no sign of the violence to come (1:33)

Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): Music as mosaic; the composer as constructor (1:57)

Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): Two functions of metrical change: Going with the flow... (1:23)

Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): ...Or disrupting It: A sample of metrical violence (1:02)

Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): A stealthy entry [clarinets] (0:34)

Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): Detour: The destabilising properties of chromaticism (4:04)

Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): On melodies, themes and motifs (1:03)

Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): The new cor anglais motif dominates (0:27)

Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): The oboe's rhythmic motif takes over (0:25)

Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): A primeval awakening (0:37)

Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): A panoply of Stravinskyan birdsong (0:59)

Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): A matter of mode (1:15)

Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): Cue to Introduction (0:09)

Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): Introduction [complete] (3:38)

Classics 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' chord (0:41)

Part I, the Adoration of the Earth, the Augurs of Spring / Dances of the Young Girls: The great arrival: Bitonality (1:35)

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)

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)

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)

Part I, the Adoration of the Earth, the Augurs of Spring / Dances of the Young Girls: The musical savages routed (1:19)

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)

Part I, the Adoration of the Earth, the Augurs of Spring / Dances of the Young Girls: Another new theme from the horns (0:48)

Part I, the Adoration of the Earth, the Augurs of Spring / Dances of the Young Girls: A crowded conclusion (1:44)

Part I, the Adoration of the Earth, Ritual of Abduction: A real study in contrasts (1:31)

Part I, the Adoration of the Earth, Ritual of Abduction: Panic and pandemonium as timpani open fire (1:10)

Part I, the Adoration of the Earth, Ritual of Abduction: Climactic melee haunted by 'fear motif' (1:35)

Part I, the Adoration of the Earth, Spring Rounds: Suddenly another world, as flutes hover over harmonic vapour... (0:59)

Part I, the Adoration of the Earth, Spring Rounds: ...But a transient one: New movement arises from the deep (0:51)

Part I, the Adoration of the Earth, Spring Rounds: 'Dragging feet motif' over ostinato violins, twice interrupted (0:43)

Part I, the Adoration of the Earth, Spring Rounds: 'Marching motif' developed further by flutes and horns (0:45)

Part I, the Adoration of the Earth, Spring Rounds: A trilling commentary from piccolo and high clarinet (0:25)

Part I, the Adoration of the Earth, Spring Rounds: 'Marching motif' theme goes polymetric in huge crescendo (1:17)

Part I, the Adoration of the Earth, Spring Rounds: An unexpected change of pace as tempo doubles (0:53)

Part I, the Adoration of the Earth, Spring Rounds: And an unexpected reversion, to a quiet close (0:41)

Part I, the Adoration of the Earth, Ritual of the Rival Tribes: Violent onslaught from brass and timpani launches the 'Rival Tribes' (0:25)

Part I, the Adoration of the Earth, Ritual of the Rival Tribes: Rival Tribes, rival motifs (0:22)

Part I, the Adoration of the Earth, Ritual of the Rival Tribes: Sensational violence comes close to chaos (0:38)

Part I, the Adoration of the Earth, Ritual of the Rival Tribes: Effects, impressions and alteration (1:40)

Part I, the Adoration of the Earth, Ritual of the Rival Tribes: A surprise re-entry and a change of instrumental clothing (0:55)

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)

Part I, the Adoration of the Earth, Ritual of the Rival Tribes: The new idea developed: A Minor earthquake (0:41)

Part I, the Adoration of the Earth, Ritual of the Rival Tribes: The use of tone colour as an agent of rhythm (1:32)

Part I, the Adoration of the Earth, Ritual of the Rival Tribes: An unusual climax... (1:31)

Part I, the Adoration of the Earth, Ritual of the Rival Tribes: ...And a sinister transition (0:51)

Part I, the Adoration of the Earth, Procession of the Sage: Across the threshold into an instrumental population explosion (1:29)

Part I, the Adoration of the Earth, Procession of the Sage: A sudden silence and then another world (1:00)

Part I, the Adoration of the Earth, Procession of the Sage: Catapulted into the 'Dance of the Earth' (0:38)

Part I, the Adoration of the Earth, Dance of the Earth: Tiny changes, unyielding ostinatos, massive tension (3:19)

Part I, the Adoration of the Earth, Dance of the Earth: Cue to Pt. I complete (0:07)

Part I, the Adoration of the Earth, Dance of the Earth: Pt. I (complete) (16:08)

Part II, the Sacrifice, Introduction: Again a muted, subtly coloured start (1:09)

Part II, the Sacrifice, Introduction: Tone colour as atmosphere - The strings' motif (1:07)

Part II, the Sacrifice, Introduction: Four solo violas, above gently rocking strings (0:23)

Part II, the Sacrifice, Introduction: A pregnant pause, and a new motif in muted trumpets (1:14)

Part II, the Sacrifice, Mystic Circles of the Young Girls: Motif from the Introduction varied and extended (1:28)

Part II, the Sacrifice, Mystic Circles of the Young Girls: New motif, heralded by clarinets and violins, Is introduced by alto flute (0:34)

Part II, the Sacrifice, Mystic Circles of the Young Girls: Variant of Motif No. 2 given out by two clarinets (0:44)

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)

Part II, the Sacrifice, Mystic Circles of the Young Girls: Main motifs yield to new idea from flutes (0:38)

Part II, the Sacrifice, Mystic Circles of the Young Girls: All change - Direction, tone colour, metre - And two new ostinatos (0:40)

Part II, the Sacrifice, Mystic Circles of the Young Girls: Motif No. 1 returns in horn, then passed to flutes and strings (0:46)

Part II, the Sacrifice, Mystic Circles of the Young Girls: Texture, balance and tone colour keep changing (0:27)

Part II, the Sacrifice, Mystic Circles of the Young Girls: Instrumental enrichment, new counterpoint and a bleat of alarm (0:40)

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 (0:48)

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)

Part II, the Sacrifice, Mystic Circles of the Young Girls: Putting the movement back together again (0:08)

Part II, the Sacrifice, Mystic Circles of the Young Girls: Mystic Circles of the Young Girls (complete) (8:16)

Part II, the Sacrifice, Glorification of the Chosen One: On into one of the most sensational movements ever written (1:36)

Part II, the Sacrifice, Glorification of the Chosen One: The violence Is almost graphic. An example of musical terrorism (0:36)

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)

Part II, the Sacrifice, Glorification of the Chosen One: The air Is filled with the fearsome baying of wind and violins (0:20)

Part II, the Sacrifice, Glorification of the Chosen One: A variant of Motif No. 2, But now descending (0:15)

Part II, the Sacrifice, Glorification of the Chosen One: A study in the bruality of suspense - A musical mugging (4:12)

Part II, the Sacrifice, Glorification of the Chosen One: The middle section begins with a massive but unequal confrontation (0:27)

Part II, the Sacrifice, Glorification of the Chosen One: Against the odds, the 'descending motif' comes out on top (0:23)

Part II, the Sacrifice, Glorification of the Chosen One: In the midst of the fray, a new 'rising motif' emerges... (1:03)

Part II, the Sacrifice, Glorification of the Chosen One: ...And undergoes a typcially Stravinskyan expansion and compression (1:04)

Part II, the Sacrifice, Glorification of the Chosen One: A much-needed breath before the movement entire (0:17)

Part II, the Sacrifice, Glorification of the Chosen One: Glorification of the Chosen One (complete) (1:45)

Part II, the Sacrifice, Evocation of the Ancestors: The next movement consists of a single, chordal motif, three times varied (0:59)

Part II, the Sacrifice, Evocation of the Ancestors: The second statement: Breaking the metrical flow (2:13)

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)

Part II, the Sacrifice, Ritual Action of the Ancestors: A counterpoint of ostinatos lends continuity to changing time signatures (0:42)

Part II, the Sacrifice, Ritual Action of the Ancestors: Horns introduce the first real motif, destabilised by multiple metres (0:33)

Part II, the Sacrifice, Ritual Action of the Ancestors: The motif disappears, though the background ostinato continues (0:32)

Part II, the Sacrifice, Ritual Action of the Ancestors: A change of mood, then the whole orchestra crashes in (0:49)

Part II, the Sacrifice, Ritual Action of the Ancestors: The steady pulse gives way to a tossed salad of one-bar motifs (0:43)

Part II, the Sacrifice, Ritual Action of the Ancestors: Lately abandoned, the steady pulse returns, as does the 'trumpet motif' (1:06)

Part II, the Sacrifice, Ritual Action of the Ancestors: The movement ends with a varied reprise of the opening (0:15)

Part II, the Sacrifice, Ritual Action of the Ancestors, Evocation of the Ancestors (complete) and Ritual Action of the Ancestors [complete] (4:23)

Part II, the Sacrifice, Sacrificial Dance: The last movement Is based on two motifs, the first most motable for its rhythm (0:20)

Part II, the Sacrifice, Sacrificial Dance: The second motif Is likewise predominatly rhythmical in effect (0:16)

Part II, the Sacrifice, Sacrificial Dance. Two variants: One a rhythmic simplification, the other an expansion (0:20)

Part II, the Sacrifice, Sacrificial Dance: A new section, again with two main motifs, the first from wind and strings (0:27)

Part II, the Sacrifice, Sacrificial Dance: This Is joined by another bried but very striking motif from muted brass (0:20)

Part II, the Sacrifice, Sacrificial Dance: Tension dramatically increased by a violent interruption from timpani and gong (0:35)

Part II, the Sacrifice, Sacrificial Dance: Motif No. 2 Is passed from bassoons to high wind and trumpets... (0:34)

Part II, the Sacrifice, Sacrificial Dance: ...And Is twice interrupted by horns (0:42)

Part II, the Sacrifice, Sacrificial Dance: Motif No. 1 erupts in full orchestra, then all hell breaks loose (0:48)

Part II, the Sacrifice, Sacrificial Dance: New ostinato, over implacable repetitions of Motif No. 1, Offset by clarinets (0:27)

Part II, the Sacrifice, Sacrificial Dance. A new section, kick-started by percussion: Timpani, bass drum and gong (1:11)

Part II, the Sacrifice, Sacrificial Dance: Horns, doubled by strings, introduce the main idea of This new section (0:18)

Part II, the Sacrifice, Sacrificial Dance: The return of the movement's opening section - Or so we may think (0:54)

Part II, the Sacrifice, Sacrificial Dance: Dramatic compression of now-familiar material (0:40)

Part II, the Sacrifice, Sacrificial Dance: A terrifying cocktail of motifs old and new confounds expectations... (1:00)

Part II, the Sacrifice, Sacrificial Dance: ...And leads to the coda, the final flourish of the whole work (1:45)

Part II, the Sacrifice, Sacrificial Dance: Cue to all of Pt. II and end of CD (0:11)

Part II (complete) (18:58)

More Details

Published

Naxos, 2003.

Physical Description

2h 34m 21s

Format

e-Music

Language

English

Citations

APA Citation, 7th Edition (style guide)

Jeremy Siepmann., & Jeremy Siepmann|ARTIST. (2003). Classics Explained: Stravinsky - The Rite Of Spring . Naxos.

Chicago / Turabian - Author Date Citation, 17th Edition (style guide)

Jeremy Siepmann and Jeremy Siepmann|ARTIST. 2003. Classics Explained: Stravinsky - The Rite Of Spring. Naxos.

Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)

Jeremy Siepmann and Jeremy Siepmann|ARTIST. Classics Explained: Stravinsky - The Rite Of Spring Naxos, 2003.

MLA Citation, 9th Edition (style guide)

Jeremy Siepmann, and Jeremy Siepmann|ARTIST. Classics Explained: Stravinsky - The Rite Of Spring Naxos, 2003.

Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.