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Classics Explained: Stravinsky - The Rite of Spring
Jeremy Siepmann
Jun 2003
•
109 Songs
Jeremy Siepmann
Tracks
1
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann), Introduction, background and perspective
Jeremy Siepmann
2
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann), A gentle, other-worldly start; no sign of the violence to come
Jeremy Siepmann
3
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann), Music as mosaic; the composer as constructor
Jeremy Siepmann
4
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann), Two functions of metrical change: going with the flow...
Jeremy Siepmann
5
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann), ...or disrupting it: a sample of metrical violence
Jeremy Siepmann
6
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann), A stealthy entry (clarinets)
Jeremy Siepmann
7
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann), Detour: the destabilising properties of chromaticism
Jeremy Siepmann
8
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann), On melodies, themes and motifs
Jeremy Siepmann
9
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann), The new cor anglais motif dominates
Jeremy Siepmann
10
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann), The oboe's rhythmic motif takes over
Jeremy Siepmann
11
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann), A primeval awakening
Jeremy Siepmann
12
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann), A panoply of Stravinskyan birdsong
Jeremy Siepmann
13
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann), A matter of mode
Jeremy Siepmann
14
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann), Cue to Introduction
Jeremy Siepmann
15
Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann), Introduction (complete)
Jeremy Siepmann
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
Jeremy Siepmann
17
Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls, The great arrival: bitonality
Jeremy Siepmann
18
Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls, Putting the boot in: a metrical mugging
Jeremy Siepmann
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
Jeremy Siepmann
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
Jeremy Siepmann
21
Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls, The musical savages routed
Jeremy Siepmann
22
Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls, An important new arrival (the 'horn motif')
Jeremy Siepmann
23
Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls, Another new theme from the horns
Jeremy Siepmann
24
Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls, A crowded conclusion
Jeremy Siepmann
25
Part I: The Adoration of the Earth: Ritual of Abduction, A real study in contrasts
Jeremy Siepmann
26
Part I: The Adoration of the Earth: Ritual of Abduction, Panic and pandemonium as timpani open fire
Jeremy Siepmann
27
Part I: The Adoration of the Earth: Ritual of Abduction, Climactic melee haunted by 'fear motif'
Jeremy Siepmann
28
Part I: The Adoration of the Earth: Spring Rounds, Suddenly another world, as flutes hover over harmonic vapour...
Jeremy Siepmann
29
Part I: The Adoration of the Earth: Spring Rounds, ...but a transient one: new movement arises from the deep
Jeremy Siepmann
30
Part I: The Adoration of the Earth: Spring Rounds, 'Dragging feet motif' over ostinato violins, twice interrupted
Jeremy Siepmann
31
Part I: The Adoration of the Earth: Spring Rounds, 'Marching motif' developed further by flutes and horns
Jeremy Siepmann
32
Part I: The Adoration of the Earth: Spring Rounds, A trilling commentary from piccolo and high clarinet
Jeremy Siepmann
33
Part I: The Adoration of the Earth: Spring Rounds, 'Marching motif' theme goes polymetric in huge crescendo
Jeremy Siepmann
34
Part I: The Adoration of the Earth: Spring Rounds, An unexpected change of pace as tempo doubles
Jeremy Siepmann
35
Part I: The Adoration of the Earth: Spring Rounds, And an unexpected reversion, to a quiet close
Jeremy Siepmann
36
Part I: The Adoration of the Earth: Ritual of the Rival Tribes, Violent onslaught from brass and timpani launches the 'Rival Tribes'
Jeremy Siepmann
37
Part I: The Adoration of the Earth: Ritual of the Rival Tribes, Rival Tribes, rival motifs
Jeremy Siepmann
38
Part I: The Adoration of the Earth: Ritual of the Rival Tribes, Sensational violence comes close to chaos
Jeremy Siepmann
39
Part I: The Adoration of the Earth: Ritual of the Rival Tribes, Effects, impressions and alteration
Jeremy Siepmann
40
Part I: The Adoration of the Earth: Ritual of the Rival Tribes, A surprise re-entry and a change of instrumental clothing
Jeremy Siepmann
41
Part I: The Adoration of the Earth: Ritual of the Rival Tribes, A thinning of texture, a new idea, and a rude interruption
Jeremy Siepmann
42
Part I: The Adoration of the Earth: Ritual of the Rival Tribes, The new idea developed: A Minor earthquake
Jeremy Siepmann
43
Part I: The Adoration of the Earth: Ritual of the Rival Tribes, The use of tone colour as an agent of rhythm
Jeremy Siepmann
44
Part I: The Adoration of the Earth: Ritual of the Rival Tribes, An unusual climax...
Jeremy Siepmann
45
Part I: The Adoration of the Earth: Ritual of the Rival Tribes, ...and a sinister transition
Jeremy Siepmann
46
Part I: The Adoration of the Earth: Procession of the Sage, Across the threshold into an instrumental population explosion
Jeremy Siepmann
47
Part I: The Adoration of the Earth: Procession of the Sage, A sudden silence and then another world
Jeremy Siepmann
48
Part I: The Adoration of the Earth: Procession of the Sage, Catapulted into the 'Dance of the Earth'
Jeremy Siepmann
49
Part I: The Adoration of the Earth: Dance of the Earth, Tiny changes, unyielding ostinatos, massive tension
Jeremy Siepmann
50
Part I: The Adoration of the Earth: Dance of the Earth, Cue to Part I complete
Jeremy Siepmann
51
Part I: The Adoration of the Earth: Dance of the Earth, Part I (complete)
Jeremy Siepmann
1
Part II: The Sacrifice: Introduction, Again a muted, subtly coloured start
Jeremy Siepmann
2
Part II: The Sacrifice: Introduction, Tone colour as atmosphere - the strings' motif
Jeremy Siepmann
3
Part II: The Sacrifice: Introduction, Four solo violas, above gently rocking strings
Jeremy Siepmann
4
Part II: The Sacrifice: Introduction, A pregnant pause, and a new motif in muted trumpets
Jeremy Siepmann
5
Part II: The Sacrifice: Mystic Circles of the Young Girls, Motif from the Introduction varied and extended
Jeremy Siepmann
6
Part II: The Sacrifice: Mystic Circles of the Young Girls, New motif, heralded by clarinets and violins, is introduced by alto flute
Jeremy Siepmann
7
Part II: The Sacrifice: Mystic Circles of the Young Girls, Variant of Motif No. 2 given out by two clarinets
Jeremy Siepmann
8
Part II: The Sacrifice: Mystic Circles of the Young Girls, Continued by oboes and bassoons; new motif in violins, cellos and bass clarinet
Jeremy Siepmann
9
Part II: The Sacrifice: Mystic Circles of the Young Girls, Main motifs yield to new idea from flutes
Jeremy Siepmann
10
Part II: The Sacrifice: Mystic Circles of the Young Girls, All change - direction, tone colour, metre - and two new ostinatos
Jeremy Siepmann
11
Part II: The Sacrifice: Mystic Circles of the Young Girls, Motif No. 1 returns in horn, then passed to flutes and strings
Jeremy Siepmann
12
Part II: The Sacrifice: Mystic Circles of the Young Girls, Texture, balance and tone colour keep changing
Jeremy Siepmann
13
Part II: The Sacrifice: Mystic Circles of the Young Girls, Instrumental enrichment, new counterpoint and a bleat of alarm
Jeremy Siepmann
14
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
Jeremy Siepmann
15
Part II: The Sacrifice: Mystic Circles of the Young Girls, Into the finishing stretch, and we know we're in for something big
Jeremy Siepmann
16
Part II: The Sacrifice: Mystic Circles of the Young Girls, Putting the movement back together again
Jeremy Siepmann
17
Part II: The Sacrifice: Mystic Circles of the Young Girls, Mystic Circles of the Young Girls (complete)
Jeremy Siepmann
18
Part II: The Sacrifice: Glorification of the Chosen One, On into one of the most sensational movements ever written
Jeremy Siepmann
19
Part II: The Sacrifice: Glorification of the Chosen One, The violence is almost graphic. An example of musical terrorism
Jeremy Siepmann
20
Part II: The Sacrifice: Glorification of the Chosen One, Motif No. 2: a terrible, off-beat com-pah from strings, horns and oboes
Jeremy Siepmann
21
Part II: The Sacrifice: Glorification of the Chosen One, The air is filled with the fearsome baying of wind and violins
Jeremy Siepmann
22
Part II: The Sacrifice: Glorification of the Chosen One, A variant of Motif No. 2, but now descending
Jeremy Siepmann
23
Part II: The Sacrifice: Glorification of the Chosen One, A study in the bruality of suspense - a musical mugging
Jeremy Siepmann
24
Part II: The Sacrifice: Glorification of the Chosen One, The middle section begins with a massive but unequal confrontation
Jeremy Siepmann
25
Part II: The Sacrifice: Glorification of the Chosen One, Against the odds, the 'descending motif' comes out on top
Jeremy Siepmann
26
Part II: The Sacrifice: Glorification of the Chosen One, In the midst of the fray, a new 'rising motif' emerges...
Jeremy Siepmann
27
Part II: The Sacrifice: Glorification of the Chosen One, ...and undergoes a typcially Stravinskyan expansion and compression
Jeremy Siepmann
28
Part II: The Sacrifice: Glorification of the Chosen One, A much-needed breath before the movement entire
Jeremy Siepmann
29
Part II: The Sacrifice: Glorification of the Chosen One, Glorification of the Chosen One (complete)
Jeremy Siepmann
30
Part II: The Sacrifice: Evocation of the Ancestors, The next movement consists of a single, chordal motif, three times varied
Jeremy Siepmann
31
Part II: The Sacrifice: Evocation of the Ancestors, The second statement: breaking the metrical flow
Jeremy Siepmann
32
Part II: The Sacrifice: Ritual Action of the Ancestors, At last the establishment of a clear and steady beat, but will it last?
Jeremy Siepmann
33
Part II: The Sacrifice: Ritual Action of the Ancestors, A counterpoint of ostinatos lends continuity to changing time signatures
Jeremy Siepmann
34
Part II: The Sacrifice: Ritual Action of the Ancestors, Horns introduce the first real motif, destabilised by multiple metres
Jeremy Siepmann
35
Part II: The Sacrifice: Ritual Action of the Ancestors, The motif disappears, though the background ostinato continues
Jeremy Siepmann
36
Part II: The Sacrifice: Ritual Action of the Ancestors, A change of mood, then the whole orchestra crashes in
Jeremy Siepmann
37
Part II: The Sacrifice: Ritual Action of the Ancestors, The steady pulse gives way to a tossed salad of one-bar motifs
Jeremy Siepmann
38
Part II: The Sacrifice: Ritual Action of the Ancestors, Lately abandoned, the steady pulse returns, as does the 'trumpet motif'
Jeremy Siepmann
39
Part II: The Sacrifice: Ritual Action of the Ancestors, The movement ends with a varied reprise of the opening
Jeremy Siepmann
40
Part II: The Sacrifice: Ritual Action of the Ancestors, Evocation of the Ancestors (complete) and Ritual Action of the Ancestors (complete)
Jeremy Siepmann
41
Part II: The Sacrifice: Sacrificial Dance, The last movement is based on two motifs, the first most motable for its rhythm
Jeremy Siepmann
42
Part II: The Sacrifice: Sacrificial Dance, The second motif is likewise predominatly rhythmical in effect
Jeremy Siepmann
43
Part II: The Sacrifice: Sacrificial Dance, Two variants: one a rhythmic simplification, the other an expansion
Jeremy Siepmann
44
Part II: The Sacrifice: Sacrificial Dance, A new section, again with two main motifs, the first from wind and strings
Jeremy Siepmann
45
Part II: The Sacrifice: Sacrificial Dance, This is joined by another bried but very striking motif from muted brass
Jeremy Siepmann
46
Part II: The Sacrifice: Sacrificial Dance, Tension dramatically increased by a violent interruption from timpani and gong
Jeremy Siepmann
47
Part II: The Sacrifice: Sacrificial Dance, Motif No. 2 is passed from bassoons to high wind and trumpets...
Jeremy Siepmann
48
Part II: The Sacrifice: Sacrificial Dance, ...and is twice interrupted by horns
Jeremy Siepmann
49
Part II: The Sacrifice: Sacrificial Dance, Motif No. 1 erupts in full orchestra, then all hell breaks loose
Jeremy Siepmann
50
Part II: The Sacrifice: Sacrificial Dance, New ostinato, over implacable repetitions of Motif No. 1, offset by clarinets
Jeremy Siepmann
51
Part II: The Sacrifice: Sacrificial Dance, A new section, kick-started by percussion: timpani, bass drum and gong
Jeremy Siepmann
52
Part II: The Sacrifice: Sacrificial Dance, Horns, doubled by strings, introduce the main idea of this new section
Jeremy Siepmann
53
Part II: The Sacrifice: Sacrificial Dance, The return of the movement's opening section - or so we may think
Jeremy Siepmann
54
Part II: The Sacrifice: Sacrificial Dance, Dramatic compression of now-familiar material
Jeremy Siepmann
55
Part II: The Sacrifice: Sacrificial Dance, A terrifying cocktail of motifs old and new confounds expectations...
Jeremy Siepmann
56
Part II: The Sacrifice: Sacrificial Dance, ...and leads to the coda, the final flourish of the whole work
Jeremy Siepmann
57
Part II: The Sacrifice: Sacrificial Dance, Cue to all of Part II and end of CD
Jeremy Siepmann
58
Part II: The Sacrifice: Sacrificial Dance, Part II (complete)
Jeremy Siepmann
©2003 Naxos
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