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
1 Introduction, background and perspective 05:03
2 A gentle, other-worldly start; no sign of the violence to come 01:33
3 Music as mosaic; the composer as constructor 01:57
4 Two functions of metrical change: going with the flow... 01:23
5 ...or disrupting it: a sample of metrical violence 01:02
6 A stealthy entry (clarinets) 00:34
7 Detour: the destabilising properties of chromaticism 04:04
8 On melodies, themes and motifs 01:03
9 The new cor anglais motif dominates 00:27
10 The oboe's rhythmic motif takes over 00:25
11 A primeval awakening 00:37
12 A panoply of Stravinskyan birdsong 00:58
13 A matter of mode 01:15
14 Cue to Introduction 00:08
15 Introduction (complete) 03:38
16 Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The 'Rite of Spring' chord 00:41
17 The great arrival: bitonality 01:35
18 Putting the boot in: a metrical mugging 01:45
19 The prevalence of ostinatos, and a righting of wrongs 01:51
20 Metre restores (briefly) but the 'savage motif' returns 00:50
21 The musical savages routed 01:19
22 An important new arrival (the 'horn motif') 01:04
23 Another new theme from the horns 00:48
24 A crowded conclusion 01:43
25 A real study in contrasts 01:31
26 Panic and pandemonium as timpani open fire 01:09
27 Climactic melee haunted by 'fear motif' 01:34
28 Suddenly another world, as flutes hover over harmonic vapour... 00:59
29 ...but a transient one: new movement arises from the deep 00:50
30 'Dragging feet motif' over ostinato violins, twice interrupted 00:42
31 'Marching motif' developed further by flutes and horns 00:45
32 A trilling commentary from piccolo and high clarinet 00:25
33 'Marching motif' theme goes polymetric in huge crescendo 01:16
34 An unexpected change of pace as tempo doubles 00:53
35 And an unexpected reversion, to a quiet close 00:41
36 Violent onslaught from brass and timpani launches the 'Rival Tribes' 00:25
37 Rival Tribes, rival motifs 00:22
38 Sensational violence comes close to chaos 00:38
39 Effects, impressions and alteration 01:39
40 A surprise re-entry and a change of instrumental clothing 00:54
41 A thinning of texture, a new idea, and a rude interruption 00:34
42 The new idea developed: A Minor earthquake 00:41
43 The use of tone colour as an agent of rhythm 01:32
44 An unusual climax... 01:30
45 ...and a sinister transition 00:51
46 Across the threshold into an instrumental population explosion 01:29
47 A sudden silence and then another world 01:00
48 Catapulted into the 'Dance of the Earth' 00:38
49 Tiny changes, unyielding ostinatos, massive tension 03:19
50 Cue to Part I complete 00:07
51 Part I (complete) 16:08
Disc 2
1 Again a muted, subtly coloured start 01:09
2 Tone colour as atmosphere - the strings' motif 01:07
3 Four solo violas, above gently rocking strings 00:23
4 A pregnant pause, and a new motif in muted trumpets 01:14
5 Motif from the Introduction varied and extended 01:27
6 New motif, heralded by clarinets and violins, is introduced by alto flute 00:34
7 Variant of Motif No. 2 given out by two clarinets 00:44
8 Continued by oboes and bassoons; new motif in violins, cellos and bass clarinet 00:33
9 Main motifs yield to new idea from flutes 00:38
10 All change - direction, tone colour, metre - and two new ostinatos 00:40
11 Motif No. 1 returns in horn, then passed to flutes and strings 00:46
12 Texture, balance and tone colour keep changing 00:26
13 Instrumental enrichment, new counterpoint and a bleat of alarm 00:40
14 New derivative of Motif No. 2, a host of new sounds - and again the bleat 00:48
15 Into the finishing stretch, and we know we're in for something big 00:40
16 Putting the movement back together again 00:07
17 Mystic Circles of the Young Girls (complete) 08:16
18 On into one of the most sensational movements ever written 01:36
19 The violence is almost graphic. An example of musical terrorism 00:35
20 Motif No. 2: a terrible, off-beat com-pah from strings, horns and oboes 00:13
21 The air is filled with the fearsome baying of wind and violins 00:20
22 A variant of Motif No. 2, but now descending 00:14
23 A study in the bruality of suspense - a musical mugging 04:12
24 The middle section begins with a massive but unequal confrontation 00:27
25 Against the odds, the 'descending motif' comes out on top 00:23
26 In the midst of the fray, a new 'rising motif' emerges... 01:02
27 ...and undergoes a typcially Stravinskyan expansion and compression 01:03
28 A much-needed breath before the movement entire 00:17
29 Glorification of the Chosen One (complete) 01:45
30 The next movement consists of a single, chordal motif, three times varied 00:58
31 The second statement: breaking the metrical flow 02:13
32 At last the establishment of a clear and steady beat, but will it last? 01:21
33 A counterpoint of ostinatos lends continuity to changing time signatures 00:42
34 Horns introduce the first real motif, destabilised by multiple metres 00:32
35 The motif disappears, though the background ostinato continues 00:32
36 A change of mood, then the whole orchestra crashes in 00:49
37 The steady pulse gives way to a tossed salad of one-bar motifs 01:06
38 Lately abandoned, the steady pulse returns, as does the 'trumpet motif' 01:06
39 The movement ends with a varied reprise of the opening 00:15
40 Evocation of the Ancestors (complete) and Ritual Action of the Ancestors (complete) 04:23
41 The last movement is based on two motifs, the first most motable for its rhythm 00:20
42 The second motif is likewise predominatly rhythmical in effect 00:16
43 Two variants: one a rhythmic simplification, the other an expansion 00:20
44 A new section, again with two main motifs, the first from wind and strings 00:27
45 This is joined by another bried but very striking motif from muted brass 00:20
46 Tension dramatically increased by a violent interruption from timpani and gong 00:35
47 Motif No. 2 is passed from bassoons to high wind and trumpets... 00:34
48 ...and is twice interrupted by horns 00:41
49 Motif No. 1 erupts in full orchestra, then all hell breaks loose 00:48
50 New ostinato, over implacable repetitions of Motif No. 1, offset by clarinets 00:26
51 A new section, kick-started by percussion: timpani, bass drum and gong 01:11
52 Horns, doubled by strings, introduce the main idea of this new section 00:18
53 The return of the movement's opening section - or so we may think 00:54
54 Dramatic compression of now-familiar material 00:40
55 A terrifying cocktail of motifs old and new confounds expectations... 01:00
56 ...and leads to the coda, the final flourish of the whole work 01:45
57 Cue to all of Part II and end of CD 00:10
58 Part II (complete) 18:58

Total Playing Time: 02:34:14