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Classics Explained: Stravinsky - The Rite of Spring: Jeremy Siepmann; 앱에서 듣기

CD1
01

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

Jeremy Siepmann
02

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

Jeremy Siepmann
03

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

Jeremy Siepmann
04

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

Jeremy Siepmann
05

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

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

Jeremy Siepmann
07

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

Jeremy Siepmann
08

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

Jeremy Siepmann
09

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

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

Jeremy Siepmann
16

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

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
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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
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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
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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
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Part I, the Adoration of the Earth, Ritual of the Rival Tribes: Rival Tribes, rival motifs

Jeremy Siepmann
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Part I, the Adoration of the Earth, Ritual of the Rival Tribes: Sensational violence comes close to chaos

Jeremy Siepmann
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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
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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
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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
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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'

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Part I, the Adoration of the Earth, Dance of the Earth: Tiny changes, unyielding ostinatos, massive tension

Jeremy Siepmann
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Part I, the Adoration of the Earth, Dance of the Earth: Cue to Pt. I complete

Jeremy Siepmann
51

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

Jeremy Siepmann
CD2
01

Part II, the Sacrifice, Introduction: Again a muted, subtly coloured start

Jeremy Siepmann
02

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

Jeremy Siepmann
03

Part II, the Sacrifice, Introduction: Four solo violas, above gently rocking strings

Jeremy Siepmann
04

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

Jeremy Siepmann
05

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

Jeremy Siepmann
06

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

Jeremy Siepmann
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Part II, the Sacrifice, Mystic Circles of the Young Girls: Variant of Motif No. 2 given out by two clarinets

Jeremy Siepmann
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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
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Part II, the Sacrifice, Mystic Circles of the Young Girls: Main motifs yield to new idea from flutes

Jeremy Siepmann
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Part II, the Sacrifice, Mystic Circles of the Young Girls: All change - Direction, tone colour, metre - And two new ostinatos

Jeremy Siepmann
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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
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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
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Part II, the Sacrifice, Mystic Circles of the Young Girls: Putting the movement back together again

Jeremy Siepmann
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Part II, the Sacrifice, Mystic Circles of the Young Girls: Mystic Circles of the Young Girls (complete)

Jeremy Siepmann
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Part II, the Sacrifice, Glorification of the Chosen One: On into one of the most sensational movements ever written

Jeremy Siepmann
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Part II, the Sacrifice, Glorification of the Chosen One: The violence Is almost graphic. An example of musical terrorism

Jeremy Siepmann
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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
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Part II, the Sacrifice, Glorification of the Chosen One: The air Is filled with the fearsome baying of wind and violins

Jeremy Siepmann
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Part II, the Sacrifice, Glorification of the Chosen One: A variant of Motif No. 2, But now descending

Jeremy Siepmann
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Part II, the Sacrifice, Glorification of the Chosen One: A study in the bruality of suspense - A musical mugging

Jeremy Siepmann
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Part II, the Sacrifice, Glorification of the Chosen One: The middle section begins with a massive but unequal confrontation

Jeremy Siepmann
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Part II, the Sacrifice, Glorification of the Chosen One: Against the odds, the 'descending motif' comes out on top

Jeremy Siepmann
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Part II, the Sacrifice, Glorification of the Chosen One: In the midst of the fray, a new 'rising motif' emerges...

Jeremy Siepmann
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Part II, the Sacrifice, Glorification of the Chosen One: ...And undergoes a typcially Stravinskyan expansion and compression

Jeremy Siepmann
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Part II, the Sacrifice, Glorification of the Chosen One: A much-needed breath before the movement entire

Jeremy Siepmann
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Part II, the Sacrifice, Glorification of the Chosen One: Glorification of the Chosen One (complete)

Jeremy Siepmann
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Part II, the Sacrifice, Evocation of the Ancestors: The next movement consists of a single, chordal motif, three times varied

Jeremy Siepmann
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Part II, the Sacrifice, Evocation of the Ancestors: The second statement: Breaking the metrical flow

Jeremy Siepmann
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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
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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
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Part II, the Sacrifice, Sacrificial Dance: The second motif Is likewise predominatly rhythmical in effect

Jeremy Siepmann
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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

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

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

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47

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

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48

Part II, the Sacrifice, Sacrificial Dance: ...And Is twice interrupted by horns

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49

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

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

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

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52

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

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

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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...

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56

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

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

Jeremy Siepmann
58

Part II (complete)

Jeremy Siepmann

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