Classics Explained: The Rite of Spring (Siepmann) - CD / Album

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