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Direct From Factory Classics Explained: Rite of Spring
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Direct From Factory Classics Explained: Rite of Spring

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DISC: 1

1. Classics Explained: Stravinsky – The Rite of Spring (Siepmann): Introduction, background and perspective
2. Classics Explained: Stravinsky – The Rite of Spring (Siepmann): A gentle, other-worldly start; no sign of the violence to come
3. Classics Explained: Stravinsky – The Rite of Spring (Siepmann): Music as mosaic; the composer as constructor
4. Classics Explained: Stravinsky – The Rite of Spring (Siepmann): Two functions of metrical change: going with the flow…
5. Classics Explained: Stravinsky – The Rite of Spring (Siepmann): …or disrupting it: a sample of metrical violence
6. Classics Explained: Stravinsky – The Rite of Spring (Siepmann): A stealthy entry (clarinets)
7. Classics Explained: Stravinsky – The Rite of Spring (Siepmann): Detour: the destabilising properties of chromaticism
8. Classics Explained: Stravinsky – The Rite of Spring (Siepmann): On melodies, themes and motifs
9. Classics Explained: Stravinsky – The Rite of Spring (Siepmann): The new cor anglais motif dominates
10. Classics Explained: Stravinsky – The Rite of Spring (Siepmann): The oboe’s rhythmic motif takes over
11. Classics Explained: Stravinsky – The Rite of Spring (Siepmann): A primeval awakening
12. Classics Explained: Stravinsky – The Rite of Spring (Siepmann): A panoply of Stravinskyan birdsong
13. Classics Explained: Stravinsky – The Rite of Spring (Siepmann): A matter of mode
14. Classics Explained: Stravinsky – The Rite of Spring (Siepmann): Cue to Introduction
15. Classics Explained: Stravinsky – The Rite of Spring (Siepmann): Introduction (complete)
16. Classics Explained: Stravinsky – The Rite of Spring (Siepmann): Part I: The Adoration of the Earth: The Augurs of Spring / Dance
17. Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The great arrival: bitonality
18. Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Putting the boot in: a metrical mugging
19. Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The prevalence of ostinatos, and a rightin
20. Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Metre restores (briefly) but the ‘savage m
21. Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The musical savages routed
22. Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: An important new arrival (the ‘horn motif’
23. Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Another new theme from the horns
24. Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: A crowded conclusion
25. Part I: The Adoration of the Earth: Ritual of Abduction: A real study in contrasts
26. Part I: The Adoration of the Earth: Ritual of Abduction: Panic and pandemonium as timpani open fire
27. Part I: The Adoration of the Earth: Ritual of Abduction: Climactic melee haunted by ‘fear motif’
28. Part I: The Adoration of the Earth: Spring Rounds: Suddenly another world, as flutes hover over harmonic vapour…
29. Part I: The Adoration of the Earth: Spring Rounds: …but a transient one: new movement arises from the deep
30. Part I: The Adoration of the Earth: Spring Rounds: ‘Dragging feet motif’ over ostinato violins, twice interrupted
31. Part I: The Adoration of the Earth: Spring Rounds: ‘Marching motif’ developed further by flutes and horns
32. Part I: The Adoration of the Earth: Spring Rounds: A trilling commentary from piccolo and high clarinet
33. Part I: The Adoration of the Earth: Spring Rounds: ‘Marching motif’ theme goes polymetric in huge crescendo
34. Part I: The Adoration of the Earth: Spring Rounds: An unexpected change of pace as tempo doubles
35. Part I: The Adoration of the Earth: Spring Rounds: And an unexpected reversion, to a quiet close
36. Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Violent onslaught from brass and timpani launches the ‘Rival Tri
37. Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Rival Tribes, rival motifs
38. Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Sensational violence comes close to chaos
39. Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Effects, impressions and alteration
40. Part I: The Adoration of the Earth: Ritual of the Rival Tribes: A surprise re-entry and a change of instrumental clothing
41. Part I: The Adoration of the Earth: Ritual of the Rival Tribes: A thinning of texture, a new idea, and a rude interruption
42. Part I: The Adoration of the Earth: Ritual of the Rival Tribes: The new idea developed: a minor earthquake
43. Part I: The Adoration of the Earth: Ritual of the Rival Tribes: The use of tone colour as an agent of rhythm
44. Part I: The Adoration of the Earth: Ritual of the Rival Tribes: An unusual climax…
45. Part I: The Adoration of the Earth: Ritual of the Rival Tribes: …and a sinister transition
46. Part I: The Adoration of the Earth: Procession of the Sage: Across the threshold into an instrumental population explosion
47. Part I: The Adoration of the Earth: Procession of the Sage: A sudden silence and then another world
48. Part I: The Adoration of the Earth: Procession of the Sage: Catapulted into the ‘Dance of the Earth’
49. Part I: The Adoration of the Earth: Dance of the Earth: Tiny changes, unyielding ostinatos, massive tension
50. Part I: The Adoration of the Earth: Dance of the Earth: Cue to Part I complete
51. Part I: The Adoration of the Earth: Dance of the Earth: Part I (complete)

DISC: 2

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

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Siepmann*jeremy (nar)
Rahbari/brt po

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