Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann)

专辑歌曲列表

发行时间：2003-06-01

Introduction, background and perspective - Jeremy Siepmann
A gentle, other-worldly start; no sign of the violence to come - Jeremy Siepmann
Music as mosaic; the composer as constructor - Jeremy Siepmann
Two functions of metrical change: going with the flow... - Jeremy Siepmann
...or disrupting it: a sample of metrical violence - Jeremy Siepmann
A stealthy entry (clarinets) - Jeremy Siepmann
Detour: the destabilising properties of chromaticism - Jeremy Siepmann
On melodies, themes and motifs - Jeremy Siepmann
The new cor anglais motif dominates - Jeremy Siepmann
The oboe's rhythmic motif takes over - Jeremy Siepmann
A primeval awakening - Jeremy Siepmann
A panoply of Stravinskyan birdsong - Jeremy Siepmann
A matter of mode - Jeremy Siepmann
Cue to Introduction - Jeremy Siepmann
Introduction (complete) - Jeremy Siepmann
Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The 'Rite of Spring' chord - Jeremy Siepmann
The great arrival: bitonality - Jeremy Siepmann
Putting the boot in: a metrical mugging - Jeremy Siepmann
The prevalence of ostinatos, and a righting of wrongs - Jeremy Siepmann
Metre restores (briefly) but the 'savage motif' returns - Jeremy Siepmann
The musical savages routed - Jeremy Siepmann
An important new arrival (the 'horn motif') - Jeremy Siepmann
Another new theme from the horns - Jeremy Siepmann
A crowded conclusion - Jeremy Siepmann
A real study in contrasts - Jeremy Siepmann
Panic and pandemonium as timpani open fire - Jeremy Siepmann
Climactic melee haunted by 'fear motif' - Jeremy Siepmann
Suddenly another world, as flutes hover over harmonic vapour... - Jeremy Siepmann
...but a transient one: new movement arises from the deep - Jeremy Siepmann
'Dragging feet motif' over ostinato violins, twice interrupted - Jeremy Siepmann
'Marching motif' developed further by flutes and horns - Jeremy Siepmann
A trilling commentary from piccolo and high clarinet - Jeremy Siepmann
'Marching motif' theme goes polymetric in huge crescendo - Jeremy Siepmann
An unexpected change of pace as tempo doubles - Jeremy Siepmann
And an unexpected reversion, to a quiet close - Jeremy Siepmann
Violent onslaught from brass and timpani launches the 'Rival Tribes' - Jeremy Siepmann
Rival Tribes, rival motifs - Jeremy Siepmann
Sensational violence comes close to chaos - Jeremy Siepmann
Effects, impressions and alteration - Jeremy Siepmann
A surprise re-entry and a change of instrumental clothing - Jeremy Siepmann
A thinning of texture, a new idea, and a rude interruption - Jeremy Siepmann
The new idea developed: A Minor earthquake - Jeremy Siepmann
The use of tone colour as an agent of rhythm - Jeremy Siepmann
An unusual climax... - Jeremy Siepmann
...and a sinister transition - Jeremy Siepmann
Across the threshold into an instrumental population explosion - Jeremy Siepmann
A sudden silence and then another world - Jeremy Siepmann
Catapulted into the 'Dance of the Earth' - Jeremy Siepmann
Tiny changes, unyielding ostinatos, massive tension - Jeremy Siepmann
Cue to Part I complete - Jeremy Siepmann
Part I (complete) - Jeremy Siepmann
Again a muted, subtly coloured start - Jeremy Siepmann
Tone colour as atmosphere - the strings' motif - Jeremy Siepmann
Four solo violas, above gently rocking strings - Jeremy Siepmann
A pregnant pause, and a new motif in muted trumpets - Jeremy Siepmann
Motif from the Introduction varied and extended - Jeremy Siepmann
New motif, heralded by clarinets and violins, is introduced by alto flute - Jeremy Siepmann
Variant of Motif No. 2 given out by two clarinets - Jeremy Siepmann
Continued by oboes and bassoons; new motif in violins, cellos and bass clarinet - Jeremy Siepmann
Main motifs yield to new idea from flutes - Jeremy Siepmann
All change - direction, tone colour, metre - and two new ostinatos - Jeremy Siepmann
Motif No. 1 returns in horn, then passed to flutes and strings - Jeremy Siepmann
Texture, balance and tone colour keep changing - Jeremy Siepmann
Instrumental enrichment, new counterpoint and a bleat of alarm - Jeremy Siepmann

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