Work
Igor Stravinsky Composer
Introduction and Discription of Stravinsky's 'The Rite of Spring,' (Naxos): Narration by Jeremy Siepmann
Performances: 1
Tracks: 103
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Introduction and Discription of Stravinsky's 'The Rite of Spring,' (Naxos): Narration by Jeremy SiepmannPr. Instrument: Narrator
- Part 1. The Adoration of the Earth. 1. Introduction. Introduction, background and perspective
- Part 1. The Adoration of the Earth. 1. Introduction. A gentle, other-worldly start; no sign of the violence to come
- Part 1. The Adoration of the Earth. 1. Introduction. Music as mosaic; the composer as constructor
- Part 1. The Adoration of the Earth. 1. Introduction. Two functions of metrical change: going with the flow...
- Part 1. The Adoration of the Earth. 1. Introduction. Or disrupting it: a sample of metrical violence
- Part 1. The Adoration of the Earth. 1. Introduction. A stealthy entry (clarinets)
- Part 1. The Adoration of the Earth. 1. Introduction. Detour: the destabilising properties of chromaticism
- Part 1. The Adoration of the Earth. 1. Introduction. On melodies, themes and motifs
- Part 1. The Adoration of the Earth. 1. Introduction. The new cor anglais motif dominates
- Part 1. The Adoration of the Earth. 1. Introduction. The oboe's rhythmic motif takes over
- Part 1. The Adoration of the Earth. 1. Introduction. A primeval awakening
- Part 1. The Adoration of the Earth. 1. Introduction. A panoply of Stravinskyan birdsong
- Part 1. The Adoration of the Earth. 1. Introduction. A matter of mode
- Part 1. The Adoration of the Earth. 1. Introduction. Cue to Introduction
- Part 1. The Adoration of the Earth. 2. The Augurs of Spring Dances of the Young Girls. The 'Rite of Spring' chord
- Part 1. The Adoration of the Earth. 2. The Augurs of Spring Dances of the Young Girls. The great arrival: bitonality
- Part 1. The Adoration of the Earth. 2. The Augurs of Spring Dances of the Young Girls. Putting the boot in: a metrical mugging
- Part 1. The Adoration of the Earth. 2. The Augurs of Spring Dances of the Young Girls. The prevalence of ostinatos, and a righting of
- Part 1. The Adoration of the Earth. 2. The Augurs of Spring Dances of the Young Girls. Metre restored (briefly) but the 'savage motif
- Part 1. The Adoration of the Earth. 2. The Augurs of Spring Dances of the Young Girls. The musical savages routed
- Part 1. The Adoration of the Earth. 2. The Augurs of Spring Dances of the Young Girls. An important new arrival (the 'horn motif')
- Part 1. The Adoration of the Earth. 2. The Augurs of Spring Dances of the Young Girls. Another new theme from the horns
- Part 1. The Adoration of the Earth. 2. The Augurs of Spring Dances of the Young Girls. A crowded conclusion
- Part 1. The Adoration of the Earth. 3. Ritual of Abduction. A real study in contrasts
- Part 1. The Adoration of the Earth. 3. Ritual of Abduction. Panic and pandemonium as timpani open fire
- Part 1. The Adoration of the Earth. 3. Ritual of Abduction. Climactic mêlée haunted by 'fear motif'
- Part 1. The Adoration of the Earth. 4. Spring Rounds. Suddenly another world, as flutes hover over harmonic vapour...
- Part 1. The Adoration of the Earth. 4. Spring Rounds. But a transient one: new movement arises from the deep
- Part 1. The Adoration of the Earth. 4. Spring Rounds. 'Dragging feet motif' over ostinato violins, twice interrupted
- Part 1. The Adoration of the Earth. 4. Spring Rounds. 'Matching motif' developed further by flutes and horns
- Part 1. The Adoration of the Earth. 4. Spring Rounds. A trilling commentary from piccolo and high clarinet
- Part 1. The Adoration of the Earth. 4. Spring Rounds. 'Marching motif' theme goes polymetric in huge crescendo
- Part 1. The Adoration of the Earth. 4. Spring Rounds. An unexpected change of pace as tempo doubles
- Part 1. The Adoration of the Earth. 4. Spring Rounds. And an unexpected reversion, to a quiet close
- Part 1. The Adoration of the Earth. 5. Ritual of the Rival Tribes. Violent onslaught from brass and timpani launches the 'Rival Tribe
- Part 1. The Adoration of the Earth. 5. Ritual of the Rival Tribes. Rival Tribes, rival motifs
- Part 1. The Adoration of the Earth. 5. Ritual of the Rival Tribes. Sensational violence comes close to chaos
- Part 1. The Adoration of the Earth. 5. Ritual of the Rival Tribes. Effects, impressions and alteration
- Part 1. The Adoration of the Earth. 5. Ritual of the Rival Tribes. A surprise re-entry and a change of instrumental clothing
- Part 1. The Adoration of the Earth. 5. Ritual of the Rival Tribes. A thinning of texture, a new idea, and a rude interruption
- Part 1. The Adoration of the Earth. 5. Ritual of the Rival Tribes. The new idea developed: a minor earthquake
- Part 1. The Adoration of the Earth. 5. Ritual of the Rival Tribes. The use of tone colour as an agent of rhythm
- Part 1. The Adoration of the Earth. 5. Ritual of the Rival Tribes. An unusual climax...
- Part 1. The Adoration of the Earth. 5. Ritual of the Rival Tribes. And a sinister transition
- Part 1. The Adoration of the Earth. 6. Procession of the Sage. Across the threshold into an instrumental population explosion
- Part 1. The Adoration of the Earth. 6. Procession of the Sage. A sudden silence and then another world
- Part 1. The Adoration of the Earth. 6. Procession of the Sage. Catapulted into the 'Dance of the Earth'
- Part 1. The Adoration of the Earth. 7. Dance of the Earth. Tiny changes, unyielding ostinatos, masive tension
- Part 1. The Adoration of the Earth. 7. Dance of the Earth. Cue to Part One complete
- Part 2. The Sacrifice. 1. Introduction. Again a muted, subtly coloured start
- Part 2. The Sacrifice. 1. Introduction. Tone colour as atmosphere - the strings' motif
- Part 2. The Sacrifice. 1. Introduction. Four solo violas, above gently rocking strings
- Part 2. The Sacrifice. 1. Introduction. A pregnant pause, and a new motif in muted trumpets
- Part 2. The Sacrifice. 2. Mystic Circles of the Young Girls. Motif from the Introduction varied and extended
- Part 2. The Sacrifice. 2. Mystic Circles of the Young Girls. New motif, heralded by clarinets and violins, is introduced by alto flut
- Part 2. The Sacrifice. 2. Mystic Circles of the Young Girls. Variant of Motif No.2 given out by two clarinets
- Part 2. The Sacrifice. 2. Mystic Circles of the Young Girls. Continued by oboes and bassoons; new motif in violins, cellos and bass c
- Part 2. The Sacrifice. 2. Mystic Circles of the Young Girls. Main motifs yield to new idea from flutes
- Part 2. The Sacrifice. 2. Mystic Circles of the Young Girls. All change - direction, tone colour, metre - and two new ostinatos
- Part 2. The Sacrifice. 2. Mystic Circles of the Young Girls. Motif No.1 returns in horn, then passed to flutes and strings
- Part 2. The Sacrifice. 2. Mystic Circles of the Young Girls. Texture, balance and tone colour keep changing
- Part 2. The Sacrifice. 2. Mystic Circles of the Young Girls. Instrumental enrichment, new counterpoint and a bleat of alarm
- Part 2. The Sacrifice. 2. Mystic Circles of the Young Girls. New derivative of Motif No.2, a host of new sounds - and again the blea
- Part 2. The Sacrifice. 2. Mystic Circles of the Young Girls. Into the finishing stretch, and we know we're in for something big
- Part 2. The Sacrifice. 2. Mystic Circles of the Young Girls. Putting the movement back together again
- Part 2. The Sacrifice. 3. Glorification of the Chosen One. On into one of the most sensational movements ever written
- Part 2. The Sacrifice. 3. Glorification of the Chosen One. The violence is almost graphic. An example of musical terroism
- Part 2. The Sacrifice. 3. Glorification of the Chosen One. Motif No.2: a terrible, off-beat oom-pah from strings, horns and oboes
- Part 2. The Sacrifice. 3. Glorification of the Chosen One. The air is filled with the fearsome baying of wind and violins
- Part 2. The Sacrifice. 3. Glorification of the Chosen One. A variant of Motif No.2, but now descending
- Part 2. The Sacrifice. 3. Glorification of the Chosen One. A study in the brutality of suspense - a musical mugging
- Part 2. The Sacrifice. 3. Glorification of the Chosen One. The middle section begins with a massive but unequal confrontation
- Part 2. The Sacrifice. 3. Glorification of the Chosen One. Against the odds, the 'descending motif' comes out on top
- Part 2. The Sacrifice. 3. Glorification of the Chosen One. In the midst of the fray, a new 'rising motif' emerges
- Part 2. The Sacrifice. 3. Glorification of the Chosen One. And undergoes a typically Stravinskyan expansion and compression
- Part 2. The Sacrifice. 3. Glorification of the Chosen One. A much-needed breath before the movement entire
- Part 2. The Sacrifice. 4. Evocation of the Ancestors. The next movement consists of a single, chordal motif, three times varied
- Part 2. The Sacrifice. 4. Evocation of the Ancestors. The second statement: breaking the metrical flow
- Part 2. The Sacrifice. 5. Ritual Action of the Ancestors. At last the establishment of a clear and steady beat, but will it last?
- Part 2. The Sacrifice. 5. Ritual Action of the Ancestors. A counterpoint of ostinatos lends continuity to changing time signatures
- Part 2. The Sacrifice. 5. Ritual Action of the Ancestors. Horns introduce the first real motif, destablised by multiple metres
- Part 2. The Sacrifice. 5. Ritual Action of the Ancestors. The motif disappears, though the background ostinato continues
- Part 2. The Sacrifice. 5. Ritual Action of the Ancestors. A change of mood, then the whole orchestra crashes in
- Part 2. The Sacrifice. 5. Ritual Action of the Ancestors. The steady pulse gives way to a tossed salad of one-bar motifs
- Part 2. The Sacrifice. 5. Ritual Action of the Ancestors. Lately abandoned, the steady pulse returns, as does the 'trumpet motif'
- Part 2. The Sacrifice. 5. Ritual Action of the Ancestors. The movement ends with a varied reprise of the opening
- Part 2. The Sacrifice. 6. Sacrificial Dance. The last movement is based on two motifs, the first most notable for its rhythm
- Part 2. The Sacrifice. 6. Sacrificial Dance. The second motif is likewise predominantly rhythmical in effect
- Part 2. The Sacrifice. 6. Sacrificial Dance. Two variants: one a rhythmic simplification, the other an expansion
- Part 2. The Sacrifice. 6. Sacrificial Dance. A new section, again with two main motifs, the first from wind and strings
- Part 2. The Sacrifice. 6. Sacrificial Dance. This is joined by another brief but very striking motif from muted brass
- Part 2. The Sacrifice. 6. Sacrificial Dance. Tension dramatically increased by a violent interruption from timpani and gong
- Part 2. The Sacrifice. 6. Sacrificial Dance. Motif No.2 is passed from bassoons to high wind and trumpets
- Part 2. The Sacrifice. 6. Sacrificial Dance. And is twice interrupted by horns
- Part 2. The Sacrifice. 6. Sacrificial Dance. Motif No.1 erupts in full orchestra, then all hell breaks loose
- Part 2. The Sacrifice. 6. Sacrificial Dance. New ostinato, over implacable repetitions of Motif No.1, offset by clarinets
- Part 2. The Sacrifice. 6. Sacrificial Dance. A new section, kick-started by percussion: timpani, bass drum and gong
- Part 2. The Sacrifice. 6. Sacrificial Dance. Horns, doubled by strings, introduce the main idea of this new section
- Part 2. The Sacrifice. 6. Sacrificial Dance. The return of the movement's opening section - or so we may think
- Part 2. The Sacrifice. 6. Sacrificial Dance. Dramatic compression of now-familiar material
- Part 2. The Sacrifice. 6. Sacrificial Dance. A terrifying cocktail of motifs old and new confounds expectations
- Part 2. The Sacrifice. 6. Sacrificial Dance. And leads to the coda, the final flourish of the whole work
- Part 2. The Sacrifice. 6. Sacrificial Dance. Cue to all of Part Two and end of CD
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