Classics Explained: STRAVINSKY - The Rite of Spring - Naxos: 8558085-86 - download

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

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Jeremy Siepmann (reader)

Introduction, background and perspective

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A gentle, other-worldly start; no sign of the violence to come

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Music as mosaic; the composer as constructor

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Two functions of metrical change: going with the flow...

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...or disrupting it: a sample of metrical violence

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A stealthy entry (clarinets)

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Detour: the destabilising properties of chromaticism

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On melodies, themes and motifs

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The new cor anglais motif dominates

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The oboe's rhythmic motif takes over

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A primeval awakening

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A panoply of Stravinskyan birdsong

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A matter of mode

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Cue to Introduction

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Introduction (complete)

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Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The 'Rite of Spring' chord

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Stravinsky: Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls

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Jeremy Siepmann (reader)

The great arrival: bitonality

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Putting the boot in: a metrical mugging

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The prevalence of ostinatos, and a righting of wrongs

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Metre restores (briefly) but the 'savage motif' returns

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The musical savages routed

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An important new arrival (the 'horn motif')

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Another new theme from the horns

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A crowded conclusion

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Stravinsky: Part I: The Adoration of the Earth: Ritual of Abduction

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Jeremy Siepmann (reader)

A real study in contrasts

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Panic and pandemonium as timpani open fire

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Climactic melee haunted by 'fear motif'

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Stravinsky: Part I: The Adoration of the Earth: Spring Rounds

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Jeremy Siepmann (reader)

Suddenly another world, as flutes hover over harmonic vapour...

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...but a transient one: new movement arises from the deep

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'Dragging feet motif' over ostinato violins, twice interrupted

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'Marching motif' developed further by flutes and horns

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A trilling commentary from piccolo and high clarinet

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'Marching motif' theme goes polymetric in huge crescendo

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An unexpected change of pace as tempo doubles

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And an unexpected reversion, to a quiet close

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Stravinsky: Part I: The Adoration of the Earth: Ritual of the Rival Tribes

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Jeremy Siepmann (reader)

Violent onslaught from brass and timpani launches the 'Rival Tribes'

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Rival Tribes, rival motifs

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Sensational violence comes close to chaos

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Effects, impressions and alteration

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A surprise re-entry and a change of instrumental clothing

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A thinning of texture, a new idea, and a rude interruption

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The new idea developed: a minor earthquake

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The use of tone colour as an agent of rhythm

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An unusual climax...

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...and a sinister transition

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Stravinsky: Part I: The Adoration of the Earth: Procession of the Sage

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Jeremy Siepmann (reader)

Across the threshold into an instrumental population explosion

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A sudden silence and then another world

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Catapulted into the 'Dance of the Earth'

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Stravinsky: Part I: The Adoration of the Earth: Dance of the Earth

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Jeremy Siepmann (reader)

Tiny changes, unyielding ostinatos, massive tension

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Cue to Part I complete

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Part I (complete)

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Stravinsky: Part II: The Sacrifice: Introduction

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Jeremy Siepmann (reader)

Again a muted, subtly coloured start

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Tone colour as atmosphere - the strings' motif

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Four solo violas, above gently rocking strings

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A pregnant pause, and a new motif in muted trumpets

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Stravinsky: Part II: The Sacrifice: Mystic Circles of the Young Girls

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Jeremy Siepmann (reader)

Motif from the Introduction varied and extended

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New motif, heralded by clarinets and violins, is introduced by alto flute

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Variant of Motif No. 2 given out by two clarinets

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Continued by oboes and bassoons; new motif in violins, cellos and bass clarinet

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Main motifs yield to new idea from flutes

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All change - direction, tone colour, metre - and two new ostinatos

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Motif No. 1 returns in horn, then passed to flutes and strings

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Texture, balance and tone colour keep changing

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Instrumental enrichment, new counterpoint and a bleat of alarm

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New derivative of Motif No. 2, a host of new sounds - and again the bleat

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Into the finishing stretch, and we know we're in for something big

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Putting the movement back together again

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Mystic Circles of the Young Girls (complete)

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Stravinsky: Part II: The Sacrifice: Glorification of the Chosen One

Work length12:11

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Jeremy Siepmann (reader)

On into one of the most sensational movements ever written

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The violence is almost graphic. An example of musical terrorism

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Motif No. 2: a terrible, off-beat com-pah from strings, horns and oboes

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The air is filled with the fearsome baying of wind and violins

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A variant of Motif No. 2, but now descending

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A study in the bruality of suspense - a musical mugging

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The middle section begins with a massive but unequal confrontation

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Against the odds, the 'descending motif' comes out on top

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In the midst of the fray, a new 'rising motif' emerges...

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...and undergoes a typcially Stravinskyan expansion and compression

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A much-needed breath before the movement entire

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Glorification of the Chosen One (complete)

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Stravinsky: Part II: The Sacrifice: Evocation of the Ancestors

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Jeremy Siepmann (reader)

The next movement consists of a single, chordal motif, three times varied

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The second statement: breaking the metrical flow

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Stravinsky: Part II: The Sacrifice: Ritual Action of the Ancestors

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Jeremy Siepmann (reader)

At last the establishment of a clear and steady beat, but will it last?

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A counterpoint of ostinatos lends continuity to changing time signatures

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Horns introduce the first real motif, destabilised by multiple metres

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The motif disappears, though the background ostinato continues

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A change of mood, then the whole orchestra crashes in

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The steady pulse gives way to a tossed salad of one-bar motifs

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Lately abandoned, the steady pulse returns, as does the 'trumpet motif'

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The movement ends with a varied reprise of the opening

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Evocation of the Ancestors (complete) and Ritual Action of the Ancestors (complete)

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Stravinsky: Part II: The Sacrifice: Sacrificial Dance

Work length29:46

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Jeremy Siepmann (reader)

The last movement is based on two motifs, the first most motable for its rhythm

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The second motif is likewise predominatly rhythmical in effect

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Two variants: one a rhythmic simplification, the other an expansion

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A new section, again with two main motifs, the first from wind and strings

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This is joined by another bried but very striking motif from muted brass

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Tension dramatically increased by a violent interruption from timpani and gong

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Motif No. 2 is passed from bassoons to high wind and trumpets...

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...and is twice interrupted by horns

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Motif No. 1 erupts in full orchestra, then all hell breaks loose

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New ostinato, over implacable repetitions of Motif No. 1, offset by clarinets

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A new section, kick-started by percussion: timpani, bass drum and gong

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Horns, doubled by strings, introduce the main idea of this new section

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The return of the movement's opening section - or so we may think

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Dramatic compression of now-familiar material

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A terrifying cocktail of motifs old and new confounds expectations...

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...and leads to the coda, the final flourish of the whole work

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Cue to all of Part II and end of CD

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Part II (complete)

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Classics Explained: STRAVINSKY - The Rite of Spring

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