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Jeremy Siepmann
Classics Explained: Stravinsky - The Rite of Spring
Album · Hörspiele · 2003
Classics Explained: Stravinsky - The Rite of Spring
Jeremy Siepmann
Apple Music
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Tracklist for Classics Explained: Stravinsky - The Rite of Spring by Jeremy Siepmann
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
New Derivative of Motif No. 2, a Host of New Sounds - And Again the Bleat
Jeremy Siepmann
Into the Finishing Stretch, and We Know We're In for Something Big
Jeremy Siepmann
Putting the Movement Back Together Again
Jeremy Siepmann
Mystic Circles of the Young Girls (Complete)
Jeremy Siepmann
On Into One of the Most Sensational Movements Ever Written
Jeremy Siepmann
The Violence Is Almost Graphic. An Example of Musical Terrorism
Jeremy Siepmann
Motif No. 2: A Terrible, Off-beat Com-pah from Strings, Horns and Oboes
Jeremy Siepmann
The Air Is Filled With the Fearsome Baying of Wind and Violins
Jeremy Siepmann
A Variant of Motif No. 2, But Now Descending
Jeremy Siepmann
A Study In the Bruality of Suspense - A Musical Mugging
Jeremy Siepmann
The Middle Section Begins With a Massive But Unequal Confrontation
Jeremy Siepmann
Against the Odds, the 'Descending Motif' Comes Out On Top
Jeremy Siepmann
In the Midst of the Fray, a New 'Rising Motif' Emerges...
Jeremy Siepmann
...And Undergoes a Typcially Stravinskyan Expansion and Compression
Jeremy Siepmann
A Much-needed Breath Before the Movement Entire
Jeremy Siepmann
Glorification of the Chosen One (Complete)
Jeremy Siepmann
The Next Movement Consists of a Single, Chordal Motif, Three Times Varied
Jeremy Siepmann
The Second Statement: Breaking the Metrical Flow
Jeremy Siepmann
At Last the Establishment of a Clear and Steady Beat, But Will It Last?
Jeremy Siepmann
A Counterpoint of Ostinatos Lends Continuity to Changing Time Signatures
Jeremy Siepmann
Horns Introduce the First Real Motif, Destabilised By Multiple Metres
Jeremy Siepmann
The Motif Disappears, Though the Background Ostinato Continues
Jeremy Siepmann
A Change of Mood, Then the Whole Orchestra Crashes In
Jeremy Siepmann
The Steady Pulse Gives Way to a Tossed Salad of One-bar Motifs
Jeremy Siepmann
Lately Abandoned, the Steady Pulse Returns, As Does the 'Trumpet Motif'
Jeremy Siepmann
The Movement Ends With a Varied Reprise of the Opening
Jeremy Siepmann
Evocation of the Ancestors (Complete) and Ritual Action of the Ancestors (Complete)
Jeremy Siepmann
The Last Movement Is Based On Two Motifs, the First Most Motable for Its Rhythm
Jeremy Siepmann
The Second Motif Is Likewise Predominatly Rhythmical In Effect
Jeremy Siepmann
Two Variants: One a Rhythmic Simplification, the Other an Expansion
Jeremy Siepmann
A New Section, Again With Two Main Motifs, the First from Wind and Strings
Jeremy Siepmann
This Is Joined By Another Bried But Very Striking Motif from Muted Brass
Jeremy Siepmann
Tension Dramatically Increased By a Violent Interruption from Timpani and Gong
Jeremy Siepmann
Motif No. 2 Is Passed from Bassoons to High Wind and Trumpets...
Jeremy Siepmann
...And Is Twice Interrupted By Horns
Jeremy Siepmann
Motif No. 1 Erupts In Full Orchestra, Then All Hell Breaks Loose
Jeremy Siepmann
New Ostinato, Over Implacable Repetitions of Motif No. 1, Offset By Clarinets
Jeremy Siepmann
A New Section, Kick-started By Percussion: Timpani, Bass Drum and Gong
Jeremy Siepmann
Horns, Doubled By Strings, Introduce the Main Idea of This New Section
Jeremy Siepmann
The Return of the Movement's Opening Section - Or So We May Think
Jeremy Siepmann
Dramatic Compression of Now-familiar Material
Jeremy Siepmann
A Terrifying Cocktail of Motifs Old and New Confounds Expectations...
Jeremy Siepmann
...And Leads to the Coda, the Final Flourish of the Whole Work
Jeremy Siepmann
Cue to All of Part II and End
Jeremy Siepmann
Part II (Complete)
Jeremy Siepmann
More albums from Jeremy Siepmann
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Classics Explained: DVORAK - Symphony No. 9, 'From the New World'
Jeremy Siepmann
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Classics Explained: An Introduction To...Ravel: Bolero & Ma Mere L'oye
Jeremy Siepmann
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