Classics Explained:Strawinsky/Le Sacre Du Printemps
Classics Explained:Strawinsky/Le Sacre Du Printemps
2
CDs
CD (Compact Disc)
Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.
- Eine Werkeinführung in englischer Sprache mit einem 120-seitigen Booklet. Autor & Sprecher: Jeremy Siepmann
- Künstler: BRT Philharmonic Orchestra Brussels, Rahbari
- Label: Naxos, DDD, 2002
- Bestellnummer: 8016566
- Erscheinungstermin: 15.7.2003
- Tracklisting
- Mitwirkende
Disk 1 von 2 (CD)
- 1 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): Introduction, Background And Perspective
- 2 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): A Gentle, Other-Worldly Start; No Sign Of The Violence T
- 3 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): Music As Mosaic; The Composer As Constructor
- 4 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): Two Functions Of Metrical Change: Going With The Flow...
- 5 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): ...Or Disrupting It: A Sample Of Metrical Violence
- 6 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): A Stealthy Entry (Clarinets)
- 7 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): Detour: The Destabilising Properties Of Chromaticism
- 8 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): On Melodies, Themes And Motifs
- 9 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): The New Cor Anglais Motif Dominates
- 10 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): The Oboe's Rhythmic Motif Takes Over
- 11 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): A Primeval Awakening
- 12 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): A Panoply Of Stravinskyan Birdsong
- 13 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): A Matter Of Mode
- 14 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): Cue To Introduction
- 15 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): Introduction (Complete)
- 16 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): Part I: The Adoration Of The Earth: The Augurs Of Spring
- 17 Jeremy Siepmann: Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The great arrival: bitonality
- 18 Jeremy Siepmann: Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Putting the boot in: a metrical mu
- 19 Jeremy Siepmann: Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The prevalence of ostinatos, and a
- 20 Jeremy Siepmann: Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Metre restores (briefly) but the '
- 21 Jeremy Siepmann: Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The musical savages routed
- 22 Jeremy Siepmann: Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: An important new arrival (the 'hor
- 23 Jeremy Siepmann: Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Another new theme from the horns
- 24 Jeremy Siepmann: Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: A crowded conclusion
- 25 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of Abduction: A real study in contrasts
- 26 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of Abduction: Panic and pandemonium as timpani open fire
- 27 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of Abduction: Climactic melee haunted by 'fear motif'
- 28 Jeremy Siepmann: Part I: The Adoration of the Earth: Spring Rounds: Suddenly another world, as flutes hover over harmonic vapour...
- 29 Jeremy Siepmann: Part I: The Adoration of the Earth: Spring Rounds: ...but a transient one: new movement arises from the deep
- 30 Jeremy Siepmann: Part I: The Adoration of the Earth: Spring Rounds: 'Dragging feet motif' over ostinato violins, twice interrupted
- 31 Jeremy Siepmann: Part I: The Adoration of the Earth: Spring Rounds: 'Marching motif' developed further by flutes and horns
- 32 Jeremy Siepmann: Part I: The Adoration of the Earth: Spring Rounds: A trilling commentary from piccolo and high clarinet
- 33 Jeremy Siepmann: Part I: The Adoration of the Earth: Spring Rounds: 'Marching motif' theme goes polymetric in huge crescendo
- 34 Jeremy Siepmann: Part I: The Adoration of the Earth: Spring Rounds: An unexpected change of pace as tempo doubles
- 35 Jeremy Siepmann: Part I: The Adoration of the Earth: Spring Rounds: And an unexpected reversion, to a quiet close
- 36 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Violent onslaught from brass and timpani launches the 'R
- 37 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Rival Tribes, rival motifs
- 38 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Sensational violence comes close to chaos
- 39 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Effects, impressions and alteration
- 40 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of the Rival Tribes: A surprise re-entry and a change of instrumental clothin
- 41 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of the Rival Tribes: A thinning of texture, a new idea, and a rude interrupti
- 42 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of the Rival Tribes: The new idea developed: a minor earthquake
- 43 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of the Rival Tribes: The use of tone colour as an agent of rhythm
- 44 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of the Rival Tribes: An unusual climax...
- 45 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of the Rival Tribes: ...and a sinister transition
- 46 Jeremy Siepmann: Part I: The Adoration of the Earth: Procession of the Sage: Across the threshold into an instrumental population explosi
- 47 Jeremy Siepmann: Part I: The Adoration of the Earth: Procession of the Sage: A sudden silence and then another world
- 48 Jeremy Siepmann: Part I: The Adoration of the Earth: Procession of the Sage: Catapulted into the 'Dance of the Earth'
- 49 Jeremy Siepmann: Part I: The Adoration of the Earth: Dance of the Earth: Tiny changes, unyielding ostinatos, massive tension
- 50 Jeremy Siepmann: Part I: The Adoration of the Earth: Dance of the Earth: Cue to Part I complete
- 51 Jeremy Siepmann: Part I: The Adoration of the Earth: Dance of the Earth: Part I (complete)
Disk 2 von 2 (CD)
- 1 Jeremy Siepmann: Part II: The Sacrifice: Introduction: Again a muted, subtly coloured start
- 2 Jeremy Siepmann: Part II: The Sacrifice: Introduction: Tone colour as atmosphere - the strings' motif
- 3 Jeremy Siepmann: Part II: The Sacrifice: Introduction: Four solo violas, above gently rocking strings
- 4 Jeremy Siepmann: Part II: The Sacrifice: Introduction: A pregnant pause, and a new motif in muted trumpets
- 5 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: Motif from the Introduction varied and extended
- 6 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: New motif, heralded by clarinets and violins, is introduced b
- 7 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: Variant of Motif No. 2 given out by two clarinets
- 8 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: Continued by oboes and bassoons; new motif in violins, cellos
- 9 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: Main motifs yield to new idea from flutes
- 10 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: All change - direction, tone colour, metre - and two new osti
- 11 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: Motif No. 1 returns in horn, then passed to flutes and string
- 12 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: Texture, balance and tone colour keep changing
- 13 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: Instrumental enrichment, new counterpoint and a bleat of alar
- 14 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: New derivative of Motif No. 2, a host of new sounds - and aga
- 15 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: Into the finishing stretch, and we know we're in for somethin
- 16 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: Putting the movement back together again
- 17 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: Mystic Circles of the Young Girls (complete)
- 18 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: On into one of the most sensational movements ever written
- 19 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: The violence is almost graphic. An example of musical terrorism
- 20 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: Motif No. 2: a terrible, off-beat com-pah from strings, horns a
- 21 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: The air is filled with the fearsome baying of wind and violins
- 22 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: A variant of Motif No. 2, but now descending
- 23 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: A study in the bruality of suspense - a musical mugging
- 24 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: The middle section begins with a massive but unequal confrontat
- 25 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: Against the odds, the 'descending motif' comes out on top
- 26 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: In the midst of the fray, a new 'rising motif' emerges...
- 27 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: ...and undergoes a typcially Stravinskyan expansion and compres
- 28 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: A much-needed breath before the movement entire
- 29 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: Glorification of the Chosen One (complete)
- 30 Jeremy Siepmann: Part II: The Sacrifice: Evocation of the Ancestors: The next movement consists of a single, chordal motif, three times v
- 31 Jeremy Siepmann: Part II: The Sacrifice: Evocation of the Ancestors: The second statement: breaking the metrical flow
- 32 Jeremy Siepmann: Part II: The Sacrifice: Ritual Action of the Ancestors: At last the establishment of a clear and steady beat, but will i
- 33 Jeremy Siepmann: Part II: The Sacrifice: Ritual Action of the Ancestors: A counterpoint of ostinatos lends continuity to changing time si
- 34 Jeremy Siepmann: Part II: The Sacrifice: Ritual Action of the Ancestors: Horns introduce the first real motif, destabilised by multiple m
- 35 Jeremy Siepmann: Part II: The Sacrifice: Ritual Action of the Ancestors: The motif disappears, though the background ostinato continues
- 36 Jeremy Siepmann: Part II: The Sacrifice: Ritual Action of the Ancestors: A change of mood, then the whole orchestra crashes in
- 37 Jeremy Siepmann: Part II: The Sacrifice: Ritual Action of the Ancestors: The steady pulse gives way to a tossed salad of one-bar motifs
- 38 Jeremy Siepmann: Part II: The Sacrifice: Ritual Action of the Ancestors: Lately abandoned, the steady pulse returns, as does the 'trumpet
- 39 Jeremy Siepmann: Part II: The Sacrifice: Ritual Action of the Ancestors: The movement ends with a varied reprise of the opening
- 40 Jeremy Siepmann: Part II: The Sacrifice: Ritual Action of the Ancestors: Evocation of the Ancestors (complete) and Ritual Action of the A
- 41 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: The last movement is based on two motifs, the first most motable for its rhyt
- 42 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: The second motif is likewise predominatly rhythmical in effect
- 43 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: Two variants: one a rhythmic simplification, the other an expansion
- 44 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: A new section, again with two main motifs, the first from wind and strings
- 45 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: This is joined by another bried but very striking motif from muted brass
- 46 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: Tension dramatically increased by a violent interruption from timpani and gon
- 47 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: Motif No. 2 is passed from bassoons to high wind and trumpets...
- 48 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: ...and is twice interrupted by horns
- 49 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: Motif No. 1 erupts in full orchestra, then all hell breaks loose
- 50 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: New ostinato, over implacable repetitions of Motif No. 1, offset by clarinets
- 51 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: A new section, kick-started by percussion: timpani, bass drum and gong
- 52 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: Horns, doubled by strings, introduce the main idea of this new section
- 53 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: The return of the movement's opening section - or so we may think
- 54 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: Dramatic compression of now-familiar material
- 55 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: A terrifying cocktail of motifs old and new confounds expectations...
- 56 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: ...and leads to the coda, the final flourish of the whole work
- 57 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: Cue to all of Part II and end of CD
- 58 Jeremy Siepmann: Part II (complete)
