Author(s): Siepmann, Jeremy
Artist(s): Siepmann, Jeremy
Label: Naxos Educational
Genre: Music Education
Catalogue No: 8.558085-86
Barcode: 0636943808528
Release Date: 05/2003

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

Probably the most celebrated score of the twentieth century, The Rite of Spring provoked a full-scale riot at its first performance in 1913. Hardly a single serious composer in the world escaped its influence. Savage and haunting, unearthly and violent, harsh and sensual, it paints a panorama of fantastic instrumental colour, animated by a rhythmic drive and power of irresistible excitement and often astounding complexity. A whole new world of sound in its day, it retains its modernity and fascination, its thrills and its terrors, as much today as it ever did. Here we put it under the aural microscope and explore just what it is that makes it tick, and why it continues to hook listener after listener almost a century later. The work is also played in its entirety.

A series exploring, in words and music, the major classical works of the concert hall. In an accessible and lively manner, Jeremy Siepmann looks at the history and the form of the great masterpieces of Western music.

Tracklist

Disc 1
Siepmann, Jeremy - Author
1Introduction, background and perspective05:03
2A gentle, other-worldly start; no sign of the violence to come01:33
3Music as mosaic; the composer as constructor01:57
4Two functions of metrical change: going with the flow...01:23
5...or disrupting it: a sample of metrical violence01:02
6A stealthy entry (clarinets)00:34
7Detour: the destabilising properties of chromaticism04:04
8On melodies, themes and motifs01:03
9The new cor anglais motif dominates00:27
10The oboe's rhythmic motif takes over00:25
11A primeval awakening00:37
12A panoply of Stravinskyan birdsong00:58
13A matter of mode01:15
14Cue to Introduction00:08
15Introduction (complete)03:38
16Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The 'Rite of Spring' chord00:41
17The great arrival: bitonality01:35
18Putting the boot in: a metrical mugging01:45
19The prevalence of ostinatos, and a righting of wrongs01:51
20Metre restores (briefly) but the 'savage motif' returns00:50
21The musical savages routed01:19
22An important new arrival (the 'horn motif')01:04
23Another new theme from the horns00:48
24A crowded conclusion01:43
25A real study in contrasts01:31
26Panic and pandemonium as timpani open fire01:09
27Climactic melee haunted by 'fear motif'01:34
28Suddenly another world, as flutes hover over harmonic vapour...00:59
29...but a transient one: new movement arises from the deep00:50
30'Dragging feet motif' over ostinato violins, twice interrupted00:42
31'Marching motif' developed further by flutes and horns00:45
32A trilling commentary from piccolo and high clarinet00:25
33'Marching motif' theme goes polymetric in huge crescendo01:16
34An unexpected change of pace as tempo doubles00:53
35And an unexpected reversion, to a quiet close00:41
36Violent onslaught from brass and timpani launches the 'Rival Tribes'00:25
37Rival Tribes, rival motifs00:22
38Sensational violence comes close to chaos00:38
39Effects, impressions and alteration01:39
40A surprise re-entry and a change of instrumental clothing00:54
41A thinning of texture, a new idea, and a rude interruption00:34
42The new idea developed: A Minor earthquake00:41
43The use of tone colour as an agent of rhythm01:32
44An unusual climax...01:30
45...and a sinister transition00:51
46Across the threshold into an instrumental population explosion01:29
47A sudden silence and then another world01:00
48Catapulted into the 'Dance of the Earth'00:38
49Tiny changes, unyielding ostinatos, massive tension03:19
50Cue to Part I complete00:07
51Part I (complete)16:08
Disc 2
1Again a muted, subtly coloured start01:09
2Tone colour as atmosphere - the strings' motif01:07
3Four solo violas, above gently rocking strings00:23
4A pregnant pause, and a new motif in muted trumpets01:14
5Motif from the Introduction varied and extended01:27
6New motif, heralded by clarinets and violins, is introduced by alto flute00:34
7Variant of Motif No. 2 given out by two clarinets00:44
8Continued by oboes and bassoons; new motif in violins, cellos and bass clarinet00:33
9Main motifs yield to new idea from flutes00:38
10All change - direction, tone colour, metre - and two new ostinatos00:40
11Motif No. 1 returns in horn, then passed to flutes and strings00:46
12Texture, balance and tone colour keep changing00:26
13Instrumental enrichment, new counterpoint and a bleat of alarm00:40
14New derivative of Motif No. 2, a host of new sounds - and again the bleat00:48
15Into the finishing stretch, and we know we're in for something big00:40
16Putting the movement back together again00:07
17Mystic Circles of the Young Girls (complete)08:16
18On into one of the most sensational movements ever written01:36
19The violence is almost graphic. An example of musical terrorism00:35
20Motif No. 2: a terrible, off-beat com-pah from strings, horns and oboes00:13
21The air is filled with the fearsome baying of wind and violins00:20
22A variant of Motif No. 2, but now descending00:14
23A study in the bruality of suspense - a musical mugging04:12
24The middle section begins with a massive but unequal confrontation00:27
25Against the odds, the 'descending motif' comes out on top00:23
26In the midst of the fray, a new 'rising motif' emerges...01:02
27...and undergoes a typcially Stravinskyan expansion and compression01:03
28A much-needed breath before the movement entire00:17
29Glorification of the Chosen One (complete)01:45
30The next movement consists of a single, chordal motif, three times varied00:58
31The second statement: breaking the metrical flow02:13
32At last the establishment of a clear and steady beat, but will it last?01:21
33A counterpoint of ostinatos lends continuity to changing time signatures00:42
34Horns introduce the first real motif, destabilised by multiple metres00:32
35The motif disappears, though the background ostinato continues00:32
36A change of mood, then the whole orchestra crashes in00:49
37The steady pulse gives way to a tossed salad of one-bar motifs01:06
38Lately abandoned, the steady pulse returns, as does the 'trumpet motif'01:06
39The movement ends with a varied reprise of the opening00:15
40Evocation of the Ancestors (complete) and Ritual Action of the Ancestors (complete)04:23
41The last movement is based on two motifs, the first most motable for its rhythm00:20
42The second motif is likewise predominatly rhythmical in effect00:16
43Two variants: one a rhythmic simplification, the other an expansion00:20
44A new section, again with two main motifs, the first from wind and strings00:27
45This is joined by another bried but very striking motif from muted brass00:20
46Tension dramatically increased by a violent interruption from timpani and gong00:35
47Motif No. 2 is passed from bassoons to high wind and trumpets...00:34
48...and is twice interrupted by horns00:41
49Motif No. 1 erupts in full orchestra, then all hell breaks loose00:48
50New ostinato, over implacable repetitions of Motif No. 1, offset by clarinets00:26
51A new section, kick-started by percussion: timpani, bass drum and gong01:11
52Horns, doubled by strings, introduce the main idea of this new section00:18
53The return of the movement's opening section - or so we may think00:54
54Dramatic compression of now-familiar material00:40
55A terrifying cocktail of motifs old and new confounds expectations...01:00
56...and leads to the coda, the final flourish of the whole work01:45
57Cue to all of Part II and end of CD00:10
58Part II (complete)18:58

Total Playing Time: 02:34:14