Further Details
Title: Classics Explained: The Rite of Spring (Siepmann) Condition: New Format: CD EAN: 0636943808528 Edition: Album Genre: Classical Style: 20th Century Release Date: 07/07/2003 No Of Discs: 2 Artist: Igor Stravinsky Run Time: 154 Record Label: Naxos Composer: Igor Stravinsky Conductor: Alexander Rahbari Performer Orchestra: BRT Philharmonic Orchestra MPN: 8558085-86 Release Year: 2003 Tracks:
Disc 1 1: Introduction, background and perspective 2: A gentle, other-worldly start; no sign of the violence to come 3: Music as mosaic; the composer as constructor 4: Two functions of metrical change: going with the flow... 5: ...or disrupting it: a sample of metrical violence 6: A stealthy entry (clarinets) 7: Detour: the destabilising properties of chromaticism 8: On melodies, themes and motifs 9: The new cor anglais motif dominates 10: The oboe's rhythmic motif takes over 11: A primeval awakening 12: A panoply of Stravinskyan birdsong 13: A matter of mode 14: Cue to Introduction 15: Introduction (complete) 16: The 'Rite of Spring' chord 17: The great arrival: bitonality 18: Putting the boot in: a metrical mugging 19: The prevalence of ostinatos, and a righting of wrongs 20: Metre restored (briefly) but the 'savage motif' returns 21: The musical savages routed 22: An important new arrival (the 'horn motif') 23: Another new theme from the horns 24: A crowded conclusion 25: A real study in contrasts 26: Panic and pandemonium as timpani open fire 27: Climactic melee haunted by 'fear motif' 28: Suddenly another world, as flutes hover over harmonic vapour... 29: ...but a transient one: new movement arises from the deep 30: 'Dragging feet motif' over ostinato violins, twice interrupted 31: 'Marching motif' developed further by flutes and horns 32: A trilling commentary from piccolo and high clarinet 33: 'Marching motif' theme goes polymetric in huge crescendo 34: An unexpected change of pace as tempo doubles 35: And an unexpected reversion, to a quiet close 36: Violent onslaught from brass and timpani launches in 'Rival Tribes' 37: Rival Tribes, rival motifs 38: Sensational violence comes close to chaos 39: Effects, impressions and alteration 40: A surprise re-entry and a change of instrumental clothing 41: A thinning of texture, a new idea, and a rude interruption 42: The new idea developed: a minor earthquake 43: The use of tone colour as an agent of rhythm 44: An unusual climax... 45: ... and a sinister transition 46: Across the threshold into an instrumental population explosion 47: A sudden silence and then another world 48: Catapulted into the 'Dance of the Earth' 49: Tiny changes, unyielding ostinatos, massive tension 50: Cue to Part One complete 51: Part One (complete)
Disc 2 1: Again a muted, subtly coloured start 2: Tone colour as atmosphere - the strings' motif 3: Four solo violas, above gently rocking strings 4: A pregnant pause, and a new motif in muted trumpets 5: Motif from the Introduction varied and extended 6: New motif, heralded by clarinets and violins, is introduced by alto flute 7: Variant of Motif No. 2 given out by two clarinets 8: Continued by oboes and bassoons; new motif in violins, cellos and bass clarinet 9: Main motifs yield to new idea from flutes 10: All change - direction, tone colour, metre - and two new ostinatos 11: Motif No. 1 returns in horn, then passed to flutes and strings 12: Texture, balance and tone colour keep changing 13: Instrumental enrichment, new counterpoint and a bleat of alarm 14: New derivative of Motif No. 2, a host of new sounds - and again the bleat 15: Into the finishing stretch, and we know we're in for something big 16: Putting the movement back together again 17: Mystic Circles of the Young Girls (complete) 18: On into one of the most sensational movements ever written 19: The violence is almost graphic. An example of musical terrorism 20: Motif No. 2: a terrible, off-beat oom-pah from strings, horns and oboes 21: The air is filled with the fearsome baying of wind and violins 22: A variant of Motif No. 2, but now descending 23: A study in the brutality of suspense - a musical mugging 24: The middle section begins with a massive but unequal confrontation 25: Against the odds, the 'descending motif' comes out on top 26: In the midst of the fray, a new 'rising motif' emerges... 27: ... and undergoes a typically Stravinskyan expansion and compression 28: A much-needed breath before the movement entire 29: Glorification of the Chosen One (complete) 30: The next movement consists of a single, chordal motif, three times varied 31: The second statement: breaking the metrical flow 32: At last the establishment of a clear and steady beat, but will it last? 33: A counterpoint of ostinatos lends continuity to changing time signatures 34: Horns introduce the first real motif, destabilised by multiple metres 35: The motif disappears, though the background ostinato continues 36: A change of mood, then the whole orchestra crashes in 37: The steady pulse gives way to a tossed salad of one-bar motifs 38: Lately abandoned, the steady pulse returns, as does the 'trumpet motif' 39: The movement ends with a varied reprise of the opening 40: Evocation of the Ancestors (complete) and Ritual Action of the Ancestors (complete) 41: The last movement is based on two motifs, the first most notable for its rhythm 42: The second motif is likewise predominantly rhythmical in effect 43: Two variants: one a rhythmic simplicfication, the other an expansion 44: A new section, again with two main motifs, the first from wind and strings 45: This is joined by another brief but very striking motif from muted brass 46: Tension dramatically increased by a violent interruption from timpani and gong 47: Motif No. 2 is passed from bassoons to high wind and trumpets... 48: ... and is twice interrupted by horns 49: Motif No. 1 erupts in full orchestra, then all hell breaks loose 50: New ostinato, over implacable repetitions of Motif No. 1, offset by clarinets 51: A new section, kick-started by percussion: timpani, bass drum and gong 52: Horns, doubled by strings, introduce the main idea of this new section 53: The return of the movement's opening section - or so we may think 54: Dramatic compression of now-familiar material 55: A terrifying cocktail of motifs old and new confounds expectations... 56: ... and leads to the coda, the final flourish of the whole work 57: Cue to all of Part Two and end of CD 58: Part Two (complete)
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