Classics Explained: STRAVINSKY - The Rite of Spring
An exploration of Stravinsky's Rite Of Spring narrated by Jeremy Siepmann
Jeremy Siepmann (reader)
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Jeremy Siepmann: Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann)
- Jeremy Siepmann (reader)
Introduction, background and perspective
A gentle, other-worldly start; no sign of the violence to come
Music as mosaic; the composer as constructor
Stravinsky: Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls
- Jeremy Siepmann (reader)
The great arrival: bitonality
Putting the boot in: a metrical mugging
The prevalence of ostinatos, and a righting of wrongs
Stravinsky: Part I: The Adoration of the Earth: Ritual of Abduction
- Jeremy Siepmann (reader)
A real study in contrasts
Panic and pandemonium as timpani open fire
Climactic melee haunted by 'fear motif'
Stravinsky: Part I: The Adoration of the Earth: Spring Rounds
- Jeremy Siepmann (reader)
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
Stravinsky: Part I: The Adoration of the Earth: Ritual of the Rival Tribes
- Jeremy Siepmann (reader)
Violent onslaught from brass and timpani launches the 'Rival Tribes'
Rival Tribes, rival motifs
Sensational violence comes close to chaos
Stravinsky: Part I: The Adoration of the Earth: Procession of the Sage
- Jeremy Siepmann (reader)
Across the threshold into an instrumental population explosion
A sudden silence and then another world
Catapulted into the 'Dance of the Earth'
Stravinsky: Part I: The Adoration of the Earth: Dance of the Earth
- Jeremy Siepmann (reader)
Tiny changes, unyielding ostinatos, massive tension
Cue to Part I complete
Part I (complete)
Stravinsky: Part II: The Sacrifice: Introduction
- Jeremy Siepmann (reader)
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
Stravinsky: Part II: The Sacrifice: Mystic Circles of the Young Girls
- Jeremy Siepmann (reader)
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
Stravinsky: Part II: The Sacrifice: Glorification of the Chosen One
- Jeremy Siepmann (reader)
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 com-pah from strings, horns and oboes
Stravinsky: Part II: The Sacrifice: Evocation of the Ancestors
- Jeremy Siepmann (reader)
The next movement consists of a single, chordal motif, three times varied
The second statement: breaking the metrical flow
Stravinsky: Part II: The Sacrifice: Ritual Action of the Ancestors
- Jeremy Siepmann (reader)
At last the establishment of a clear and steady beat, but will it last?
A counterpoint of ostinatos lends continuity to changing time signatures
Horns introduce the first real motif, destabilised by multiple metres
Stravinsky: Part II: The Sacrifice: Sacrificial Dance
- Jeremy Siepmann (reader)
The last movement is based on two motifs, the first most motable for its rhythm
The second motif is likewise predominatly rhythmical in effect
Two variants: one a rhythmic simplification, the other an expansion