Tracklist:

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)
52. Part II: The Sacrifice: Introduction: Again a muted, subtly coloured start
53. Part II: The Sacrifice: Introduction: Tone colour as atmosphere - the strings' motif
54. Part II: The Sacrifice: Introduction: Four solo violas, above gently rocking strings
55. Part II: The Sacrifice: Introduction: A pregnant pause, and a new motif in muted trumpets
56. Part II: The Sacrifice: Mystic Circles of the Young Girls: Motif from the Introduction varied and extended
57. Part II: The Sacrifice: Mystic Circles of the Young Girls: New motif, heralded by clarinets and violins, is introduced by alto f
58. Part II: The Sacrifice: Mystic Circles of the Young Girls: Variant of Motif No. 2 given out by two clarinets
59. Part II: The Sacrifice: Mystic Circles of the Young Girls: Continued by oboes and bassoons; new motif in violins, cellos and bas
60. Part II: The Sacrifice: Mystic Circles of the Young Girls: Main motifs yield to new idea from flutes
61. Part II: The Sacrifice: Mystic Circles of the Young Girls: All change - direction, tone colour, metre - and two new ostinatos
62. Part II: The Sacrifice: Mystic Circles of the Young Girls: Motif No. 1 returns in horn, then passed to flutes and strings
63. Part II: The Sacrifice: Mystic Circles of the Young Girls: Texture, balance and tone colour keep changing
64. Part II: The Sacrifice: Mystic Circles of the Young Girls: Instrumental enrichment, new counterpoint and a bleat of alarm
65. 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
66. Part II: The Sacrifice: Mystic Circles of the Young Girls: Into the finishing stretch, and we know we're in for something big
67. Part II: The Sacrifice: Mystic Circles of the Young Girls: Putting the movement back together again
68. Part II: The Sacrifice: Mystic Circles of the Young Girls: Mystic Circles of the Young Girls (complete)
69. Part II: The Sacrifice: Glorification of the Chosen One: On into one of the most sensational movements ever written
70. Part II: The Sacrifice: Glorification of the Chosen One: The violence is almost graphic. An example of musical terrorism
71. Part II: The Sacrifice: Glorification of the Chosen One: Motif No. 2: a terrible, off-beat com-pah from strings, horns and oboes
72. Part II: The Sacrifice: Glorification of the Chosen One: The air is filled with the fearsome baying of wind and violins
73. Part II: The Sacrifice: Glorification of the Chosen One: A variant of Motif No. 2, but now descending
74. Part II: The Sacrifice: Glorification of the Chosen One: A study in the bruality of suspense - a musical mugging
75. Part II: The Sacrifice: Glorification of the Chosen One: The middle section begins with a massive but unequal confrontation
76. Part II: The Sacrifice: Glorification of the Chosen One: Against the odds, the 'descending motif' comes out on top
77. Part II: The Sacrifice: Glorification of the Chosen One: In the midst of the fray, a new 'rising motif' emerges...
78. Part II: The Sacrifice: Glorification of the Chosen One: ...and undergoes a typcially Stravinskyan expansion and compression
79. Part II: The Sacrifice: Glorification of the Chosen One: A much-needed breath before the movement entire
80. Part II: The Sacrifice: Glorification of the Chosen One: Glorification of the Chosen One (complete)
81. Part II: The Sacrifice: Evocation of the Ancestors: The next movement consists of a single, chordal motif, three times varied
82. Part II: The Sacrifice: Evocation of the Ancestors: The second statement: breaking the metrical flow
83. Part II: The Sacrifice: Ritual Action of the Ancestors: At last the establishment of a clear and steady beat, but will it last?
84. Part II: The Sacrifice: Ritual Action of the Ancestors: A counterpoint of ostinatos lends continuity to changing time signatures
85. Part II: The Sacrifice: Ritual Action of the Ancestors: Horns introduce the first real motif, destabilised by multiple metres
86. Part II: The Sacrifice: Ritual Action of the Ancestors: The motif disappears, though the background ostinato continues
87. Part II: The Sacrifice: Ritual Action of the Ancestors: A change of mood, then the whole orchestra crashes in
88. Part II: The Sacrifice: Ritual Action of the Ancestors: The steady pulse gives way to a tossed salad of one-bar motifs
89. Part II: The Sacrifice: Ritual Action of the Ancestors: Lately abandoned, the steady pulse returns, as does the 'trumpet motif'
90. Part II: The Sacrifice: Ritual Action of the Ancestors: The movement ends with a varied reprise of the opening
91. Part II: The Sacrifice: Ritual Action of the Ancestors: Evocation of the Ancestors (complete) and Ritual Action of the Ancestors
92. Part II: The Sacrifice: Sacrificial Dance: The last movement is based on two motifs, the first most motable for its rhythm
93. Part II: The Sacrifice: Sacrificial Dance: The second motif is likewise predominatly rhythmical in effect
94. Part II: The Sacrifice: Sacrificial Dance: Two variants: one a rhythmic simplification, the other an expansion
95. Part II: The Sacrifice: Sacrificial Dance: A new section, again with two main motifs, the first from wind and strings
96. Part II: The Sacrifice: Sacrificial Dance: This is joined by another bried but very striking motif from muted brass
97. Part II: The Sacrifice: Sacrificial Dance: Tension dramatically increased by a violent interruption from timpani and gong
98. Part II: The Sacrifice: Sacrificial Dance: Motif No. 2 is passed from bassoons to high wind and trumpets...
99. Part II: The Sacrifice: Sacrificial Dance: ...and is twice interrupted by horns
100. Part II: The Sacrifice: Sacrificial Dance: Motif No. 1 erupts in full orchestra, then all hell breaks loose
101. Part II: The Sacrifice: Sacrificial Dance: New ostinato, over implacable repetitions of Motif No. 1, offset by clarinets
102. Part II: The Sacrifice: Sacrificial Dance: A new section, kick-started by percussion: timpani, bass drum and gong
103. Part II: The Sacrifice: Sacrificial Dance: Horns, doubled by strings, introduce the main idea of this new section
104. Part II: The Sacrifice: Sacrificial Dance: The return of the movement's opening section - or so we may think
105. Part II: The Sacrifice: Sacrificial Dance: Dramatic compression of now-familiar material
106. Part II: The Sacrifice: Sacrificial Dance: A terrifying cocktail of motifs old and new confounds expectations...
107. Part II: The Sacrifice: Sacrificial Dance: ...and leads to the coda, the final flourish of the whole work
108. Part II: The Sacrifice: Sacrificial Dance: Cue to all of Part II and end of CD
109. Part II: The Sacrifice: Sacrificial Dance: Part II (complete)

UPC: 636943808528
Label: Naxos
Release Date: 7.15.03
Format: CD