Classics Explained: Stravinsky - The Rite Of Spring

1. 1
   Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): Introduction, background and perspective
   5:04
2. 2
   Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): A gentle, other-worldly start; no sign of the violence to come
   1:33
3. 3
   Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): Music as mosaic; the composer as constructor
   1:57
4. 4
   Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): Two functions of metrical change: Going with the flow...
   1:23
5. 5
   Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): ...Or disrupting It: A sample of metrical violence
   1:02
6. 6
   Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): A stealthy entry [clarinets]
   0:34
7. 7
   Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): Detour: The destabilising properties of chromaticism
   4:04
8. 8
   Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): On melodies, themes and motifs
   1:03
9. 9
   Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): The new cor anglais motif dominates
   0:27
10. 10
    Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): The oboe's rhythmic motif takes over
    0:25
11. 11
    Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): A primeval awakening
    0:37
12. 12
    Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): A panoply of Stravinskyan birdsong
    0:59
13. 13
    Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): A matter of mode
    1:15
14. 14
    Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): Cue to Introduction
    0:09
15. 15
    Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): Introduction [complete]
    3:38
16. 16
    Classics Explained, STRAVINSKY - The Rite of Spring (Siepmann): Pt. I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The 'Rite of Spring' chord
    0:41
17. 17
    Part I, the Adoration of the Earth, the Augurs of Spring / Dances of the Young Girls: The great arrival: Bitonality
    1:35
18. 18
    Part I, the Adoration of the Earth, the Augurs of Spring / Dances of the Young Girls: Putting the boot in: A metrical mugging
    1:45
19. 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
    1:51
20. 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
    0:50
21. 21
    Part I, the Adoration of the Earth, the Augurs of Spring / Dances of the Young Girls: The musical savages routed
    1:19
22. 22
    Part I, the Adoration of the Earth, the Augurs of Spring / Dances of the Young Girls: An important new arrival (the 'horn motif')
    1:05
23. 23
    Part I, the Adoration of the Earth, the Augurs of Spring / Dances of the Young Girls: Another new theme from the horns
    0:48
24. 24
    Part I, the Adoration of the Earth, the Augurs of Spring / Dances of the Young Girls: A crowded conclusion
    1:44
25. 25
    Part I, the Adoration of the Earth, Ritual of Abduction: A real study in contrasts
    1:31
26. 26
    Part I, the Adoration of the Earth, Ritual of Abduction: Panic and pandemonium as timpani open fire
    1:10
27. 27
    Part I, the Adoration of the Earth, Ritual of Abduction: Climactic melee haunted by 'fear motif'
    1:35
28. 28
    Part I, the Adoration of the Earth, Spring Rounds: Suddenly another world, as flutes hover over harmonic vapour...
    0:59
29. 29
    Part I, the Adoration of the Earth, Spring Rounds: ...But a transient one: New movement arises from the deep
    0:51
30. 30
    Part I, the Adoration of the Earth, Spring Rounds: 'Dragging feet motif' over ostinato violins, twice interrupted
    0:43
31. 31
    Part I, the Adoration of the Earth, Spring Rounds: 'Marching motif' developed further by flutes and horns
    0:45
32. 32
    Part I, the Adoration of the Earth, Spring Rounds: A trilling commentary from piccolo and high clarinet
    0:25
33. 33
    Part I, the Adoration of the Earth, Spring Rounds: 'Marching motif' theme goes polymetric in huge crescendo
    1:17
34. 34
    Part I, the Adoration of the Earth, Spring Rounds: An unexpected change of pace as tempo doubles
    0:53
35. 35
    Part I, the Adoration of the Earth, Spring Rounds: And an unexpected reversion, to a quiet close
    0:41
36. 36
    Part I, the Adoration of the Earth, Ritual of the Rival Tribes: Violent onslaught from brass and timpani launches the 'Rival Tribes'
    0:25
37. 37
    Part I, the Adoration of the Earth, Ritual of the Rival Tribes: Rival Tribes, rival motifs
    0:22
38. 38
    Part I, the Adoration of the Earth, Ritual of the Rival Tribes: Sensational violence comes close to chaos
    0:38
39. 39
    Part I, the Adoration of the Earth, Ritual of the Rival Tribes: Effects, impressions and alteration
    1:40
40. 40
    Part I, the Adoration of the Earth, Ritual of the Rival Tribes: A surprise re-entry and a change of instrumental clothing
    0:55
41. 41
    Part I, the Adoration of the Earth, Ritual of the Rival Tribes: A thinning of texture, a new idea, and a rude interruption
    0:34
42. 42
    Part I, the Adoration of the Earth, Ritual of the Rival Tribes: The new idea developed: A Minor earthquake
    0:41
43. 43
    Part I, the Adoration of the Earth, Ritual of the Rival Tribes: The use of tone colour as an agent of rhythm
    1:32
44. 44
    Part I, the Adoration of the Earth, Ritual of the Rival Tribes: An unusual climax...
    1:31
45. 45
    Part I, the Adoration of the Earth, Ritual of the Rival Tribes: ...And a sinister transition
    0:51
46. 46
    Part I, the Adoration of the Earth, Procession of the Sage: Across the threshold into an instrumental population explosion
    1:29
47. 47
    Part I, the Adoration of the Earth, Procession of the Sage: A sudden silence and then another world
    1:00
48. 48
    Part I, the Adoration of the Earth, Procession of the Sage: Catapulted into the 'Dance of the Earth'
    0:38
49. 49
    Part I, the Adoration of the Earth, Dance of the Earth: Tiny changes, unyielding ostinatos, massive tension
    3:19
50. 50
    Part I, the Adoration of the Earth, Dance of the Earth: Cue to Pt. I complete
    0:07
51. 51
    Part I, the Adoration of the Earth, Dance of the Earth: Pt. I (complete)
    16:08
52. 52
    Part II, the Sacrifice, Introduction: Again a muted, subtly coloured start
    1:09
53. 53
    Part II, the Sacrifice, Introduction: Tone colour as atmosphere - The strings' motif
    1:07
54. 54
    Part II, the Sacrifice, Introduction: Four solo violas, above gently rocking strings
    0:23
55. 55
    Part II, the Sacrifice, Introduction: A pregnant pause, and a new motif in muted trumpets
    1:14
56. 56
    Part II, the Sacrifice, Mystic Circles of the Young Girls: Motif from the Introduction varied and extended
    1:28
57. 57
    Part II, the Sacrifice, Mystic Circles of the Young Girls: New motif, heralded by clarinets and violins, Is introduced by alto flute
    0:34
58. 58
    Part II, the Sacrifice, Mystic Circles of the Young Girls: Variant of Motif No. 2 given out by two clarinets
    0:44
59. 59
    Part II, the Sacrifice, Mystic Circles of the Young Girls: Continued by oboes and bassoons; new motif in violins, cellos and bass clarinet
    0:33
60. 60
    Part II, the Sacrifice, Mystic Circles of the Young Girls: Main motifs yield to new idea from flutes
    0:38
61. 61
    Part II, the Sacrifice, Mystic Circles of the Young Girls: All change - Direction, tone colour, metre - And two new ostinatos
    0:40
62. 62
    Part II, the Sacrifice, Mystic Circles of the Young Girls: Motif No. 1 returns in horn, then passed to flutes and strings
    0:46
63. 63
    Part II, the Sacrifice, Mystic Circles of the Young Girls: Texture, balance and tone colour keep changing
    0:27
64. 64
    Part II, the Sacrifice, Mystic Circles of the Young Girls: Instrumental enrichment, new counterpoint and a bleat of alarm
    0:40
65. 65
    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
    0:48
66. 66
    Part II, the Sacrifice, Mystic Circles of the Young Girls: Into the finishing stretch, and we know we're in for something big
    0:45
67. 67
    Part II, the Sacrifice, Mystic Circles of the Young Girls: Putting the movement back together again
    0:08
68. 68
    Part II, the Sacrifice, Mystic Circles of the Young Girls: Mystic Circles of the Young Girls (complete)
    8:16
69. 69
    Part II, the Sacrifice, Glorification of the Chosen One: On into one of the most sensational movements ever written
    1:36
70. 70
    Part II, the Sacrifice, Glorification of the Chosen One: The violence Is almost graphic. An example of musical terrorism
    0:36
71. 71
    Part II, the Sacrifice, Glorification of the Chosen One: Motif No. 2: A terrible, off-beat com-pah from strings, horns and oboes
    0:13
72. 72
    Part II, the Sacrifice, Glorification of the Chosen One: The air Is filled with the fearsome baying of wind and violins
    0:20
73. 73
    Part II, the Sacrifice, Glorification of the Chosen One: A variant of Motif No. 2, But now descending
    0:15
74. 74
    Part II, the Sacrifice, Glorification of the Chosen One: A study in the bruality of suspense - A musical mugging
    4:12
75. 75
    Part II, the Sacrifice, Glorification of the Chosen One: The middle section begins with a massive but unequal confrontation
    0:27
76. 76
    Part II, the Sacrifice, Glorification of the Chosen One: Against the odds, the 'descending motif' comes out on top
    0:23
77. 77
    Part II, the Sacrifice, Glorification of the Chosen One: In the midst of the fray, a new 'rising motif' emerges...
    1:03
78. 78
    Part II, the Sacrifice, Glorification of the Chosen One: ...And undergoes a typcially Stravinskyan expansion and compression
    1:04
79. 79
    Part II, the Sacrifice, Glorification of the Chosen One: A much-needed breath before the movement entire
    0:17
80. 80
    Part II, the Sacrifice, Glorification of the Chosen One: Glorification of the Chosen One (complete)
    1:45
81. 81
    Part II, the Sacrifice, Evocation of the Ancestors: The next movement consists of a single, chordal motif, three times varied
    0:59
82. 82
    Part II, the Sacrifice, Evocation of the Ancestors: The second statement: Breaking the metrical flow
    2:13
83. 83
    Part II, the Sacrifice, Ritual Action of the Ancestors: At last the establishment of a clear and steady beat, but will It last?
    1:21
84. 84
    Part II, the Sacrifice, Ritual Action of the Ancestors: A counterpoint of ostinatos lends continuity to changing time signatures
    0:42
85. 85
    Part II, the Sacrifice, Ritual Action of the Ancestors: Horns introduce the first real motif, destabilised by multiple metres
    0:33
86. 86
    Part II, the Sacrifice, Ritual Action of the Ancestors: The motif disappears, though the background ostinato continues
    0:32
87. 87
    Part II, the Sacrifice, Ritual Action of the Ancestors: A change of mood, then the whole orchestra crashes in
    0:49
88. 88
    Part II, the Sacrifice, Ritual Action of the Ancestors: The steady pulse gives way to a tossed salad of one-bar motifs
    0:43
89. 89
    Part II, the Sacrifice, Ritual Action of the Ancestors: Lately abandoned, the steady pulse returns, as does the 'trumpet motif'
    1:06
90. 90
    Part II, the Sacrifice, Ritual Action of the Ancestors: The movement ends with a varied reprise of the opening
    0:15
91. 91
    Part II, the Sacrifice, Ritual Action of the Ancestors, Evocation of the Ancestors (complete) and Ritual Action of the Ancestors [complete]
    4:23
92. 92
    Part II, the Sacrifice, Sacrificial Dance: The last movement Is based on two motifs, the first most motable for its rhythm
    0:20
93. 93
    Part II, the Sacrifice, Sacrificial Dance: The second motif Is likewise predominatly rhythmical in effect
    0:16
94. 94
    Part II, the Sacrifice, Sacrificial Dance. Two variants: One a rhythmic simplification, the other an expansion
    0:20
95. 95
    Part II, the Sacrifice, Sacrificial Dance: A new section, again with two main motifs, the first from wind and strings
    0:27
96. 96
    Part II, the Sacrifice, Sacrificial Dance: This Is joined by another bried but very striking motif from muted brass
    0:20
97. 97
    Part II, the Sacrifice, Sacrificial Dance: Tension dramatically increased by a violent interruption from timpani and gong
    0:35
98. 98
    Part II, the Sacrifice, Sacrificial Dance: Motif No. 2 Is passed from bassoons to high wind and trumpets...
    0:34
99. 99
    Part II, the Sacrifice, Sacrificial Dance: ...And Is twice interrupted by horns
    0:42
100. 100
     Part II, the Sacrifice, Sacrificial Dance: Motif No. 1 erupts in full orchestra, then all hell breaks loose
     0:48
101. 101
     Part II, the Sacrifice, Sacrificial Dance: New ostinato, over implacable repetitions of Motif No. 1, Offset by clarinets
     0:27
102. 102
     Part II, the Sacrifice, Sacrificial Dance. A new section, kick-started by percussion: Timpani, bass drum and gong
     1:11
103. 103
     Part II, the Sacrifice, Sacrificial Dance: Horns, doubled by strings, introduce the main idea of This new section
     0:18
104. 104
     Part II, the Sacrifice, Sacrificial Dance: The return of the movement's opening section - Or so we may think
     0:54
105. 105
     Part II, the Sacrifice, Sacrificial Dance: Dramatic compression of now-familiar material
     0:40
106. 106
     Part II, the Sacrifice, Sacrificial Dance: A terrifying cocktail of motifs old and new confounds expectations...
     1:00
107. 107
     Part II, the Sacrifice, Sacrificial Dance: ...And leads to the coda, the final flourish of the whole work
     1:45
108. 108
     Part II, the Sacrifice, Sacrificial Dance: Cue to all of Pt. II and end of CD
     0:11
109. 109
     Part II (complete)
     18:58

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