Slacker Logo

Jeremy Siepmann / Album

Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann)

Advertisement
Advertisement

Other albums by Jeremy Siepmann

  1. Life and Works Sampler
  2. Classics Explained: RAVEL - Boléro and Ma Mère l’oye (Smillie)
  3. Classics Explained: SCHUBERT - Piano Quintet in A Major, 'Trout' (Siepmann)
  4. Life and Works of Frédéric Chopin
  5. Life and Works: TCHAIKOVSKY (Siepmann)
Jeremy Siepmann 5/9/2003

Review

Read More Read Less
  1. # Track Artist Length
  2. 1 Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Introduction, background and perspective Jeremy Siepmann 5:4
  3. 2 Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): A gentle, other-worldly start; no sign of the violence to come Jeremy Siepmann 1:33
  4. 3 Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Music as mosaic; the composer as constructor Jeremy Siepmann 1:57
  5. 4 Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Two functions of metrical change: going with the flow... Jeremy Siepmann 1:23
  6. 5 Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): ...or disrupting it: a sample of metrical violence Jeremy Siepmann 1:2
  7. 6 Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): A stealthy entry (clarinets) Jeremy Siepmann 0:34
  8. 7 Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Detour: the destabilising properties of chromaticism Jeremy Siepmann 4:4
  9. 8 Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): On melodies, themes and motifs Jeremy Siepmann 1:3
  10. 9 Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): The new cor anglais motif dominates Jeremy Siepmann 0:27
  11. 10 Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): The oboe's rhythmic motif takes over Jeremy Siepmann 0:25
  12. 11 Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): A primeval awakening Jeremy Siepmann 0:37
  13. 12 Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): A panoply of Stravinskyan birdsong Jeremy Siepmann 0:59
  14. 13 Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): A matter of mode Jeremy Siepmann 1:15
  15. 14 Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Cue to Introduction Jeremy Siepmann 0:9
  16. 15 Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Introduction (complete) Jeremy Siepmann 3:38
  17. 16 Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The 'Rite of Spring' chord Jeremy Siepmann 0:41
  18. 17 Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The great arrival: bitonality Jeremy Siepmann 1:35
  19. 18 Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Putting the boot in: a metrical mugging Jeremy Siepmann 1:45
  20. 19 Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The prevalence of ostinatos, and a righting of wrongs Jeremy Siepmann 1:51
  21. 20 Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Metre restores (briefly) but the 'savage motif' returns Jeremy Siepmann 0:50
  22. 21 Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The musical savages routed Jeremy Siepmann 1:19
  23. 22 Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: An important new arrival (the 'horn motif') Jeremy Siepmann 1:5
  24. 23 Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Another new theme from the horns Jeremy Siepmann 0:48
  25. 24 Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: A crowded conclusion Jeremy Siepmann 1:44
  26. 25 Part I: The Adoration of the Earth: Ritual of Abduction: A real study in contrasts Jeremy Siepmann 1:31
  27. 26 Part I: The Adoration of the Earth: Ritual of Abduction: Panic and pandemonium as timpani open fire Jeremy Siepmann 1:10
  28. 27 Part I: The Adoration of the Earth: Ritual of Abduction: Climactic melee haunted by 'fear motif' Jeremy Siepmann 1:35
  29. 28 Part I: The Adoration of the Earth: Spring Rounds: Suddenly another world, as flutes hover over harmonic vapour... Jeremy Siepmann 0:59
  30. 29 Part I: The Adoration of the Earth: Spring Rounds: ...but a transient one: new movement arises from the deep Jeremy Siepmann 0:51
  31. 30 Part I: The Adoration of the Earth: Spring Rounds: 'Dragging feet motif' over ostinato violins, twice interrupted Jeremy Siepmann 0:43
  32. 31 Part I: The Adoration of the Earth: Spring Rounds: 'Marching motif' developed further by flutes and horns Jeremy Siepmann 0:45
  33. 32 Part I: The Adoration of the Earth: Spring Rounds: A trilling commentary from piccolo and high clarinet Jeremy Siepmann 0:25
  34. 33 Part I: The Adoration of the Earth: Spring Rounds: 'Marching motif' theme goes polymetric in huge crescendo Jeremy Siepmann 1:17
  35. 34 Part I: The Adoration of the Earth: Spring Rounds: An unexpected change of pace as tempo doubles Jeremy Siepmann 0:53
  36. 35 Part I: The Adoration of the Earth: Spring Rounds: And an unexpected reversion, to a quiet close Jeremy Siepmann 0:41
  37. 36 Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Violent onslaught from brass and timpani launches the 'Rival Tribes' Jeremy Siepmann 0:25
  38. 37 Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Rival Tribes, rival motifs Jeremy Siepmann 0:22
  39. 38 Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Sensational violence comes close to chaos Jeremy Siepmann 0:38
  40. 39 Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Effects, impressions and alteration Jeremy Siepmann 1:40
  41. 40 Part I: The Adoration of the Earth: Ritual of the Rival Tribes: A surprise re-entry and a change of instrumental clothing Jeremy Siepmann 0:55
  42. 41 Part I: The Adoration of the Earth: Ritual of the Rival Tribes: A thinning of texture, a new idea, and a rude interruption Jeremy Siepmann 0:34
  43. 42 Part I: The Adoration of the Earth: Ritual of the Rival Tribes: The new idea developed: a minor earthquake Jeremy Siepmann 0:41
  44. 43 Part I: The Adoration of the Earth: Ritual of the Rival Tribes: The use of tone colour as an agent of rhythm Jeremy Siepmann 1:32
  45. 44 Part I: The Adoration of the Earth: Ritual of the Rival Tribes: An unusual climax... Jeremy Siepmann 1:31
  46. 45 Part I: The Adoration of the Earth: Ritual of the Rival Tribes: ...and a sinister transition Jeremy Siepmann 0:51
  47. 46 Part I: The Adoration of the Earth: Procession of the Sage: Across the threshold into an instrumental population explosion Jeremy Siepmann 1:29
  48. 47 Part I: The Adoration of the Earth: Procession of the Sage: A sudden silence and then another world Jeremy Siepmann 1:0
  49. 48 Part I: The Adoration of the Earth: Procession of the Sage: Catapulted into the 'Dance of the Earth' Jeremy Siepmann 0:38
  50. 49 Part I: The Adoration of the Earth: Dance of the Earth: Tiny changes, unyielding ostinatos, massive tension Jeremy Siepmann 3:19
  51. 50 Part I: The Adoration of the Earth: Dance of the Earth: Cue to Part I complete Jeremy Siepmann 0:7
  52. 51 Part I: The Adoration of the Earth: Dance of the Earth: Part I (complete) Jeremy Siepmann 16:8
  53. 1 Part II: The Sacrifice: Introduction: Again a muted, subtly coloured start Jeremy Siepmann 1:9
  54. 2 Part II: The Sacrifice: Introduction: Tone colour as atmosphere - the strings' motif Jeremy Siepmann 1:7
  55. 3 Part II: The Sacrifice: Introduction: Four solo violas, above gently rocking strings Jeremy Siepmann 0:23
  56. 4 Part II: The Sacrifice: Introduction: A pregnant pause, and a new motif in muted trumpets Jeremy Siepmann 1:14
  57. 5 Part II: The Sacrifice: Mystic Circles of the Young Girls: Motif from the Introduction varied and extended Jeremy Siepmann 1:28
  58. 6 Part II: The Sacrifice: Mystic Circles of the Young Girls: New motif, heralded by clarinets and violins, is introduced by alto flute Jeremy Siepmann 0:34
  59. 7 Part II: The Sacrifice: Mystic Circles of the Young Girls: Variant of Motif No. 2 given out by two clarinets Jeremy Siepmann 0:44
  60. 8 Part II: The Sacrifice: Mystic Circles of the Young Girls: Continued by oboes and bassoons; new motif in violins, cellos and bass clarinet Jeremy Siepmann 0:33
  61. 9 Part II: The Sacrifice: Mystic Circles of the Young Girls: Main motifs yield to new idea from flutes Jeremy Siepmann 0:38
  62. 10 Part II: The Sacrifice: Mystic Circles of the Young Girls: All change - direction, tone colour, metre - and two new ostinatos Jeremy Siepmann 0:40
  63. 11 Part II: The Sacrifice: Mystic Circles of the Young Girls: Motif No. 1 returns in horn, then passed to flutes and strings Jeremy Siepmann 0:46
  64. 12 Part II: The Sacrifice: Mystic Circles of the Young Girls: Texture, balance and tone colour keep changing Jeremy Siepmann 0:27
  65. 13 Part II: The Sacrifice: Mystic Circles of the Young Girls: Instrumental enrichment, new counterpoint and a bleat of alarm Jeremy Siepmann 0:40
  66. 14 Part II: The Sacrifice: Mystic Circles of the Young Girls: New derivative of Motif No. 2, a host of new sounds - and again the bleat Jeremy Siepmann 0:48
  67. 15 Part II: The Sacrifice: Mystic Circles of the Young Girls: Into the finishing stretch, and we know we're in for something big Jeremy Siepmann 0:45
  68. 16 Part II: The Sacrifice: Mystic Circles of the Young Girls: Putting the movement back together again Jeremy Siepmann 0:8
  69. 17 Part II: The Sacrifice: Mystic Circles of the Young Girls: Mystic Circles of the Young Girls (complete) Jeremy Siepmann 8:16
  70. 18 Part II: The Sacrifice: Glorification of the Chosen One: On into one of the most sensational movements ever written Jeremy Siepmann 1:36
  71. 19 Part II: The Sacrifice: Glorification of the Chosen One: The violence is almost graphic. An example of musical terrorism Jeremy Siepmann 0:36
  72. 20 Part II: The Sacrifice: Glorification of the Chosen One: Motif No. 2: a terrible, off-beat com-pah from strings, horns and oboes Jeremy Siepmann 0:13
  73. 21 Part II: The Sacrifice: Glorification of the Chosen One: The air is filled with the fearsome baying of wind and violins Jeremy Siepmann 0:20
  74. 22 Part II: The Sacrifice: Glorification of the Chosen One: A variant of Motif No. 2, but now descending Jeremy Siepmann 0:15
  75. 23 Part II: The Sacrifice: Glorification of the Chosen One: A study in the bruality of suspense - a musical mugging Jeremy Siepmann 4:12
  76. 24 Part II: The Sacrifice: Glorification of the Chosen One: The middle section begins with a massive but unequal confrontation Jeremy Siepmann 0:27
  77. 25 Part II: The Sacrifice: Glorification of the Chosen One: Against the odds, the 'descending motif' comes out on top Jeremy Siepmann 0:23
  78. 26 Part II: The Sacrifice: Glorification of the Chosen One: In the midst of the fray, a new 'rising motif' emerges... Jeremy Siepmann 1:3
  79. 27 Part II: The Sacrifice: Glorification of the Chosen One: ...and undergoes a typcially Stravinskyan expansion and compression Jeremy Siepmann 1:4
  80. 28 Part II: The Sacrifice: Glorification of the Chosen One: A much-needed breath before the movement entire Jeremy Siepmann 0:17
  81. 29 Part II: The Sacrifice: Glorification of the Chosen One: Glorification of the Chosen One (complete) Jeremy Siepmann 1:45
  82. 30 Part II: The Sacrifice: Evocation of the Ancestors: The next movement consists of a single, chordal motif, three times varied Jeremy Siepmann 0:59
  83. 31 Part II: The Sacrifice: Evocation of the Ancestors: The second statement: breaking the metrical flow Jeremy Siepmann 2:13
  84. 32 Part II: The Sacrifice: Ritual Action of the Ancestors: At last the establishment of a clear and steady beat, but will it last? Jeremy Siepmann 1:21
  85. 33 Part II: The Sacrifice: Ritual Action of the Ancestors: A counterpoint of ostinatos lends continuity to changing time signatures Jeremy Siepmann 0:42
  86. 34 Part II: The Sacrifice: Ritual Action of the Ancestors: Horns introduce the first real motif, destabilised by multiple metres Jeremy Siepmann 0:33
  87. 35 Part II: The Sacrifice: Ritual Action of the Ancestors: The motif disappears, though the background ostinato continues Jeremy Siepmann 0:32
  88. 36 Part II: The Sacrifice: Ritual Action of the Ancestors: A change of mood, then the whole orchestra crashes in Jeremy Siepmann 0:49
  89. 37 Part II: The Sacrifice: Ritual Action of the Ancestors: The steady pulse gives way to a tossed salad of one-bar motifs Jeremy Siepmann 0:43
  90. 38 Part II: The Sacrifice: Ritual Action of the Ancestors: Lately abandoned, the steady pulse returns, as does the 'trumpet motif' Jeremy Siepmann 1:6
  91. 39 Part II: The Sacrifice: Ritual Action of the Ancestors: The movement ends with a varied reprise of the opening Jeremy Siepmann 0:15
  92. 40 Part II: The Sacrifice: Ritual Action of the Ancestors: Evocation of the Ancestors (complete) and Ritual Action of the Ancestors (complete) Jeremy Siepmann 4:23
  93. 41 Part II: The Sacrifice: Sacrificial Dance: The last movement is based on two motifs, the first most motable for its rhythm Jeremy Siepmann 0:20
  94. 42 Part II: The Sacrifice: Sacrificial Dance: The second motif is likewise predominatly rhythmical in effect Jeremy Siepmann 0:16
  95. 43 Part II: The Sacrifice: Sacrificial Dance: Two variants: one a rhythmic simplification, the other an expansion Jeremy Siepmann 0:20
  96. 44 Part II: The Sacrifice: Sacrificial Dance: A new section, again with two main motifs, the first from wind and strings Jeremy Siepmann 0:27
  97. 45 Part II: The Sacrifice: Sacrificial Dance: This is joined by another bried but very striking motif from muted brass Jeremy Siepmann 0:20
  98. 46 Part II: The Sacrifice: Sacrificial Dance: Tension dramatically increased by a violent interruption from timpani and gong Jeremy Siepmann 0:35
  99. 47 Part II: The Sacrifice: Sacrificial Dance: Motif No. 2 is passed from bassoons to high wind and trumpets... Jeremy Siepmann 0:34
  100. 48 Part II: The Sacrifice: Sacrificial Dance: ...and is twice interrupted by horns Jeremy Siepmann 0:42
  101. 49 Part II: The Sacrifice: Sacrificial Dance: Motif No. 1 erupts in full orchestra, then all hell breaks loose Jeremy Siepmann 0:48
  102. 50 Part II: The Sacrifice: Sacrificial Dance: New ostinato, over implacable repetitions of Motif No. 1, offset by clarinets Jeremy Siepmann 0:27
  103. 51 Part II: The Sacrifice: Sacrificial Dance: A new section, kick-started by percussion: timpani, bass drum and gong Jeremy Siepmann 1:11
  104. 52 Part II: The Sacrifice: Sacrificial Dance: Horns, doubled by strings, introduce the main idea of this new section Jeremy Siepmann 0:18
  105. 53 Part II: The Sacrifice: Sacrificial Dance: The return of the movement's opening section - or so we may think Jeremy Siepmann 0:54
  106. 54 Part II: The Sacrifice: Sacrificial Dance: Dramatic compression of now-familiar material Jeremy Siepmann 0:40
  107. 55 Part II: The Sacrifice: Sacrificial Dance: A terrifying cocktail of motifs old and new confounds expectations... Jeremy Siepmann 1:0
  108. 56 Part II: The Sacrifice: Sacrificial Dance: ...and leads to the coda, the final flourish of the whole work Jeremy Siepmann 1:45
  109. 57 Part II: The Sacrifice: Sacrificial Dance: Cue to all of Part II and end of CD Jeremy Siepmann 0:11
  110. 58 Part II: The Sacrifice: Sacrificial Dance: Part II (complete) Jeremy Siepmann 18:58
Privacy Policy | Terms of Service


·
LIVE STREAM... SOCIAL RADIO STREAM...