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    Classics Explained:Strawinsky/Le Sacre Du Printemps

    Classics Explained:Strawinsky/Le Sacre Du Printemps
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    • Eine Werkeinführung in englischer Sprache mit einem 120-seitigen Booklet. Autor & Sprecher: Jeremy Siepmann
    • Künstler: BRT Philharmonic Orchestra Brussels, Rahbari
    • Label: Naxos, DDD, 02
    • Bestellnummer: 8016566
    • Erscheinungstermin: 26.5.2003
    • Tracklisting
    • Mitwirkende

    Disk 1 von 2

    1. 1 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): Introduction, Background And Perspective
    2. 2 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): A Gentle, Other-Worldly Start; No Sign Of The Violence T
    3. 3 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): Music As Mosaic; The Composer As Constructor
    4. 4 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): Two Functions Of Metrical Change: Going With The Flow...
    5. 5 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): ...Or Disrupting It: A Sample Of Metrical Violence
    6. 6 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): A Stealthy Entry (Clarinets)
    7. 7 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): Detour: The Destabilising Properties Of Chromaticism
    8. 8 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): On Melodies, Themes And Motifs
    9. 9 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): The New Cor Anglais Motif Dominates
    10. 10 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): The Oboe's Rhythmic Motif Takes Over
    11. 11 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): A Primeval Awakening
    12. 12 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): A Panoply Of Stravinskyan Birdsong
    13. 13 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): A Matter Of Mode
    14. 14 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): Cue To Introduction
    15. 15 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): Introduction (Complete)
    16. 16 Jeremy Siepmann: Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): Part I: The Adoration Of The Earth: The Augurs Of Spring
    17. 17 Jeremy Siepmann: Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The great arrival: bitonality
    18. 18 Jeremy Siepmann: Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Putting the boot in: a metrical mu
    19. 19 Jeremy Siepmann: Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The prevalence of ostinatos, and a
    20. 20 Jeremy Siepmann: Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Metre restores (briefly) but the '
    21. 21 Jeremy Siepmann: Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The musical savages routed
    22. 22 Jeremy Siepmann: Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: An important new arrival (the 'hor
    23. 23 Jeremy Siepmann: Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Another new theme from the horns
    24. 24 Jeremy Siepmann: Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: A crowded conclusion
    25. 25 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of Abduction: A real study in contrasts
    26. 26 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of Abduction: Panic and pandemonium as timpani open fire
    27. 27 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of Abduction: Climactic melee haunted by 'fear motif'
    28. 28 Jeremy Siepmann: Part I: The Adoration of the Earth: Spring Rounds: Suddenly another world, as flutes hover over harmonic vapour...
    29. 29 Jeremy Siepmann: Part I: The Adoration of the Earth: Spring Rounds: ...but a transient one: new movement arises from the deep
    30. 30 Jeremy Siepmann: Part I: The Adoration of the Earth: Spring Rounds: 'Dragging feet motif' over ostinato violins, twice interrupted
    31. 31 Jeremy Siepmann: Part I: The Adoration of the Earth: Spring Rounds: 'Marching motif' developed further by flutes and horns
    32. 32 Jeremy Siepmann: Part I: The Adoration of the Earth: Spring Rounds: A trilling commentary from piccolo and high clarinet
    33. 33 Jeremy Siepmann: Part I: The Adoration of the Earth: Spring Rounds: 'Marching motif' theme goes polymetric in huge crescendo
    34. 34 Jeremy Siepmann: Part I: The Adoration of the Earth: Spring Rounds: An unexpected change of pace as tempo doubles
    35. 35 Jeremy Siepmann: Part I: The Adoration of the Earth: Spring Rounds: And an unexpected reversion, to a quiet close
    36. 36 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Violent onslaught from brass and timpani launches the 'R
    37. 37 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Rival Tribes, rival motifs
    38. 38 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Sensational violence comes close to chaos
    39. 39 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Effects, impressions and alteration
    40. 40 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of the Rival Tribes: A surprise re-entry and a change of instrumental clothin
    41. 41 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of the Rival Tribes: A thinning of texture, a new idea, and a rude interrupti
    42. 42 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of the Rival Tribes: The new idea developed: a minor earthquake
    43. 43 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of the Rival Tribes: The use of tone colour as an agent of rhythm
    44. 44 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of the Rival Tribes: An unusual climax...
    45. 45 Jeremy Siepmann: Part I: The Adoration of the Earth: Ritual of the Rival Tribes: ...and a sinister transition
    46. 46 Jeremy Siepmann: Part I: The Adoration of the Earth: Procession of the Sage: Across the threshold into an instrumental population explosi
    47. 47 Jeremy Siepmann: Part I: The Adoration of the Earth: Procession of the Sage: A sudden silence and then another world
    48. 48 Jeremy Siepmann: Part I: The Adoration of the Earth: Procession of the Sage: Catapulted into the 'Dance of the Earth'
    49. 49 Jeremy Siepmann: Part I: The Adoration of the Earth: Dance of the Earth: Tiny changes, unyielding ostinatos, massive tension
    50. 50 Jeremy Siepmann: Part I: The Adoration of the Earth: Dance of the Earth: Cue to Part I complete
    51. 51 Jeremy Siepmann: Part I: The Adoration of the Earth: Dance of the Earth: Part I (complete)

    Disk 2 von 2

    1. 1 Jeremy Siepmann: Part II: The Sacrifice: Introduction: Again a muted, subtly coloured start
    2. 2 Jeremy Siepmann: Part II: The Sacrifice: Introduction: Tone colour as atmosphere - the strings' motif
    3. 3 Jeremy Siepmann: Part II: The Sacrifice: Introduction: Four solo violas, above gently rocking strings
    4. 4 Jeremy Siepmann: Part II: The Sacrifice: Introduction: A pregnant pause, and a new motif in muted trumpets
    5. 5 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: Motif from the Introduction varied and extended
    6. 6 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: New motif, heralded by clarinets and violins, is introduced b
    7. 7 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: Variant of Motif No. 2 given out by two clarinets
    8. 8 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: Continued by oboes and bassoons; new motif in violins, cellos
    9. 9 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: Main motifs yield to new idea from flutes
    10. 10 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: All change - direction, tone colour, metre - and two new osti
    11. 11 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: Motif No. 1 returns in horn, then passed to flutes and string
    12. 12 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: Texture, balance and tone colour keep changing
    13. 13 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: Instrumental enrichment, new counterpoint and a bleat of alar
    14. 14 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: New derivative of Motif No. 2, a host of new sounds - and aga
    15. 15 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: Into the finishing stretch, and we know we're in for somethin
    16. 16 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: Putting the movement back together again
    17. 17 Jeremy Siepmann: Part II: The Sacrifice: Mystic Circles of the Young Girls: Mystic Circles of the Young Girls (complete)
    18. 18 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: On into one of the most sensational movements ever written
    19. 19 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: The violence is almost graphic. An example of musical terrorism
    20. 20 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: Motif No. 2: a terrible, off-beat com-pah from strings, horns a
    21. 21 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: The air is filled with the fearsome baying of wind and violins
    22. 22 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: A variant of Motif No. 2, but now descending
    23. 23 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: A study in the bruality of suspense - a musical mugging
    24. 24 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: The middle section begins with a massive but unequal confrontat
    25. 25 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: Against the odds, the 'descending motif' comes out on top
    26. 26 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: In the midst of the fray, a new 'rising motif' emerges...
    27. 27 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: ...and undergoes a typcially Stravinskyan expansion and compres
    28. 28 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: A much-needed breath before the movement entire
    29. 29 Jeremy Siepmann: Part II: The Sacrifice: Glorification of the Chosen One: Glorification of the Chosen One (complete)
    30. 30 Jeremy Siepmann: Part II: The Sacrifice: Evocation of the Ancestors: The next movement consists of a single, chordal motif, three times v
    31. 31 Jeremy Siepmann: Part II: The Sacrifice: Evocation of the Ancestors: The second statement: breaking the metrical flow
    32. 32 Jeremy Siepmann: Part II: The Sacrifice: Ritual Action of the Ancestors: At last the establishment of a clear and steady beat, but will i
    33. 33 Jeremy Siepmann: Part II: The Sacrifice: Ritual Action of the Ancestors: A counterpoint of ostinatos lends continuity to changing time si
    34. 34 Jeremy Siepmann: Part II: The Sacrifice: Ritual Action of the Ancestors: Horns introduce the first real motif, destabilised by multiple m
    35. 35 Jeremy Siepmann: Part II: The Sacrifice: Ritual Action of the Ancestors: The motif disappears, though the background ostinato continues
    36. 36 Jeremy Siepmann: Part II: The Sacrifice: Ritual Action of the Ancestors: A change of mood, then the whole orchestra crashes in
    37. 37 Jeremy Siepmann: Part II: The Sacrifice: Ritual Action of the Ancestors: The steady pulse gives way to a tossed salad of one-bar motifs
    38. 38 Jeremy Siepmann: Part II: The Sacrifice: Ritual Action of the Ancestors: Lately abandoned, the steady pulse returns, as does the 'trumpet
    39. 39 Jeremy Siepmann: Part II: The Sacrifice: Ritual Action of the Ancestors: The movement ends with a varied reprise of the opening
    40. 40 Jeremy Siepmann: Part II: The Sacrifice: Ritual Action of the Ancestors: Evocation of the Ancestors (complete) and Ritual Action of the A
    41. 41 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: The last movement is based on two motifs, the first most motable for its rhyt
    42. 42 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: The second motif is likewise predominatly rhythmical in effect
    43. 43 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: Two variants: one a rhythmic simplification, the other an expansion
    44. 44 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: A new section, again with two main motifs, the first from wind and strings
    45. 45 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: This is joined by another bried but very striking motif from muted brass
    46. 46 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: Tension dramatically increased by a violent interruption from timpani and gon
    47. 47 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: Motif No. 2 is passed from bassoons to high wind and trumpets...
    48. 48 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: ...and is twice interrupted by horns
    49. 49 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: Motif No. 1 erupts in full orchestra, then all hell breaks loose
    50. 50 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: New ostinato, over implacable repetitions of Motif No. 1, offset by clarinets
    51. 51 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: A new section, kick-started by percussion: timpani, bass drum and gong
    52. 52 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: Horns, doubled by strings, introduce the main idea of this new section
    53. 53 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: The return of the movement's opening section - or so we may think
    54. 54 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: Dramatic compression of now-familiar material
    55. 55 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: A terrifying cocktail of motifs old and new confounds expectations...
    56. 56 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: ...and leads to the coda, the final flourish of the whole work
    57. 57 Jeremy Siepmann: Part II: The Sacrifice: Sacrificial Dance: Cue to all of Part II and end of CD
    58. 58 Jeremy Siepmann: Part II (complete)