Classics Explained:Strawinsky/Le Sacre Du Printemps auf 2 CDs

Classics Explained:Strawinsky/Le Sacre Du Printemps

BRT Philharmonic Orchestra Brussels

2 CDs

CD (Compact Disc)

Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.

lieferbar innerhalb 1-2 Wochen
(soweit verfügbar beim Lieferanten)

Aktueller Preis: EUR 34,99

Versandkosten

Eine Werkeinführung in englischer Sprache mit einem 120-seitigen Booklet. Autor & Sprecher: Jeremy Siepmann

Künstler:: BRT Philharmonic Orchestra Brussels, Rahbari
Label:: Naxos
Aufnahmejahr ca.:: 2002
Artikelnummer:: 8016566
UPC/EAN:: 0636943808528
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)