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Classics Explained: The Rite Of Spring (Siepmann)

STRAVINSKY,I. - RITE OF SPRING-CLASSICAL EXPLAINED (CD)

STRAVINSKY,I. - RITE OF SPRING-CLASSICAL EXPLAINED (CD) 0
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Base SKU: 63694380852
EAN: 0636943808528

Disc 1 Introduction, background and perspective A gentle, other-worldly start
no sign of the violence to come Music as mosaic
the composer as constructor Two functions of metrical change: going with the flow... ...or disrupting it: a sample of metrical violence A stealthy entry (clarinets) Detour: the destabilising properties of chromaticism On melodies, themes and motifs The new cor anglais motif dominates The oboe's rhythmic motif takes over A primeval awakening A panoply of Stravinskyan birdsong A matter of mode Cue to Introduction Introduction (complete) The 'Rite of Spring' chord The great arrival: bitonality Putting the boot in: a metrical mugging The prevalence of ostinatos, and a righting of wrongs Metre restored (briefly) but the 'savage motif' returns The musical savages routed An important new arrival (the 'horn motif') Another new theme from the horns A crowded conclusion A real study in contrasts Panic and pandemonium as timpani open fire Climactic melee haunted by 'fear motif' Suddenly another world, as flutes hover over harmonic vapour... ...but a transient one: new movement arises from the deep 'Dragging feet motif' over ostinato violins, twice interrupted 'Marching motif' developed further by flutes and horns A trilling commentary from piccolo and high clarinet 'Marching motif' theme goes polymetric in huge crescendo An unexpected change of pace as tempo doubles And an unexpected reversion, to a quiet close Violent onslaught from brass and timpani launches in 'Rival Tribes' Rival Tribes, rival motifs Sensational violence comes close to chaos Effects, impressions and alteration A surprise re-entry and a change of instrumental clothing A thinning of texture, a new idea, and a rude interruption The new idea developed: a minor earthquake The use of tone colour as an agent of rhythm An unusual climax... ... and a sinister transition Across the threshold into an instrumental population explosion A sudden silence and then another world Catapulted into the 'Dance of the Earth' Tiny changes, unyielding ostinatos, massive tension Cue to Part One complete Part One (complete) Disc 2 Again a muted, subtly coloured start Tone colour as atmosphere - the strings' motif Four solo violas, above gently rocking strings A pregnant pause, and a new motif in muted trumpets Motif from the Introduction varied and extended New motif, heralded by clarinets and violins, is introduced by alto flute Variant of Motif No. 2 given out by two clarinets Continued by oboes and bassoons
new motif in violins, cellos and bass clarinet Main motifs yield to new idea from flutes All change - direction, tone colour, metre - and two new ostinatos Motif No. 1 returns in horn, then passed to flutes and strings Texture, balance and tone colour keep changing Instrumental enrichment, new counterpoint and a bleat of alarm New derivative of Motif No. 2, a host of new sounds - and again the bleat Into the finishing stretch, and we know we're in for something big Putting the movement back together again Mystic Circles of the Young Girls (complete) On into one of the most sensational movements ever written The violence is almost graphic. An example of musical terrorism Motif No. 2: a terrible, off-beat oom-pah from strings, horns and oboes The air is filled with the fearsome baying of wind and violins A variant of Motif No. 2, but now descending A study in the brutality of suspense - a musical mugging The middle section begins with a massive but unequal confrontation Against the odds, the 'descending motif' comes out on top In the midst of the fray, a new 'rising motif' emerges... ... and undergoes a typically Stravinskyan expansion and compression A much-needed breath before the movement entire ** Plus More **


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