Classics Explained: Stravinsky - The Rite of Spring (Siepmann)专辑歌曲mp3免费下载-梨梨音乐-无损音乐免费下载网站

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

Jeremy Siepmann

语种: 纯音乐

发布时间: 2003-06-01

专辑《Classics Explained: Stravinsky - The Rite of Spring (Siepmann)》简介

该专辑下的音乐信息共有99首

名称

歌手

Part II (complete)

Jeremy Siepmann

Cue to all of Part II and end of CD

Jeremy Siepmann

...and leads to the coda, the final flourish of the whole work

Jeremy Siepmann

A terrifying cocktail of motifs old and new confounds expectations...

Jeremy Siepmann

Dramatic compression of now-familiar material

Jeremy Siepmann

The return of the movement's opening section - or so we may think

Jeremy Siepmann

Horns, doubled by strings, introduce the main idea of this new section

Jeremy Siepmann

A new section, kick-started by percussion: timpani, bass drum and gong

Jeremy Siepmann

New ostinato, over implacable repetitions of Motif No. 1, offset by clarinets

Jeremy Siepmann

Motif No. 1 erupts in full orchestra, then all hell breaks loose

Jeremy Siepmann

...and is twice interrupted by horns

Jeremy Siepmann

Motif No. 2 is passed from bassoons to high wind and trumpets...

Jeremy Siepmann

Tension dramatically increased by a violent interruption from timpani and gong

Jeremy Siepmann

This is joined by another bried but very striking motif from muted brass

Jeremy Siepmann

A new section, again with two main motifs, the first from wind and strings

Jeremy Siepmann

Two variants: one a rhythmic simplification, the other an expansion

Jeremy Siepmann

The second motif is likewise predominatly rhythmical in effect

Jeremy Siepmann

The last movement is based on two motifs, the first most motable for its rhythm

Jeremy Siepmann

Evocation of the Ancestors (complete) and Ritual Action of the Ancestors (complete)

Jeremy Siepmann

The movement ends with a varied reprise of the opening

Jeremy Siepmann

Lately abandoned, the steady pulse returns, as does the 'trumpet motif'

Jeremy Siepmann

The steady pulse gives way to a tossed salad of one-bar motifs

Jeremy Siepmann

A change of mood, then the whole orchestra crashes in

Jeremy Siepmann

The motif disappears, though the background ostinato continues

Jeremy Siepmann

Horns introduce the first real motif, destabilised by multiple metres

Jeremy Siepmann

A counterpoint of ostinatos lends continuity to changing time signatures

Jeremy Siepmann

At last the establishment of a clear and steady beat, but will it last?

Jeremy Siepmann

The second statement: breaking the metrical flow

Jeremy Siepmann

The next movement consists of a single, chordal motif, three times varied

Jeremy Siepmann

Glorification of the Chosen One (complete)

Jeremy Siepmann

A much-needed breath before the movement entire

Jeremy Siepmann

...and undergoes a typcially Stravinskyan expansion and compression

Jeremy Siepmann

In the midst of the fray, a new 'rising motif' emerges...

Jeremy Siepmann

Against the odds, the 'descending motif' comes out on top

Jeremy Siepmann

The middle section begins with a massive but unequal confrontation

Jeremy Siepmann

A study in the bruality of suspense - a musical mugging

Jeremy Siepmann

A variant of Motif No. 2, but now descending

Jeremy Siepmann

The air is filled with the fearsome baying of wind and violins

Jeremy Siepmann

Motif No. 2: a terrible, off-beat com-pah from strings, horns and oboes

Jeremy Siepmann

The violence is almost graphic. An example of musical terrorism

Jeremy Siepmann

On into one of the most sensational movements ever written

Jeremy Siepmann

Mystic Circles of the Young Girls (complete)

Jeremy Siepmann

Putting the movement back together again

Jeremy Siepmann

Into the finishing stretch, and we know we're in for something big

Jeremy Siepmann

New derivative of Motif No. 2, a host of new sounds - and again the bleat

Jeremy Siepmann

Instrumental enrichment, new counterpoint and a bleat of alarm

Jeremy Siepmann

Texture, balance and tone colour keep changing

Jeremy Siepmann

Motif No. 1 returns in horn, then passed to flutes and strings

Jeremy Siepmann

All change - direction, tone colour, metre - and two new ostinatos

Jeremy Siepmann

Main motifs yield to new idea from flutes

Jeremy Siepmann

Continued by oboes and bassoons; new motif in violins, cellos and bass clarinet

Jeremy Siepmann

Variant of Motif No. 2 given out by two clarinets

Jeremy Siepmann

New motif, heralded by clarinets and violins, is introduced by alto flute

Jeremy Siepmann

Motif from the Introduction varied and extended

Jeremy Siepmann

A pregnant pause, and a new motif in muted trumpets

Jeremy Siepmann

Four solo violas, above gently rocking strings

Jeremy Siepmann

Tone colour as atmosphere - the strings' motif

Jeremy Siepmann

Again a muted, subtly coloured start

Jeremy Siepmann

Part I (complete)

Jeremy Siepmann

Cue to Part I complete

Jeremy Siepmann

Tiny changes, unyielding ostinatos, massive tension

Jeremy Siepmann

Catapulted into the 'Dance of the Earth'

Jeremy Siepmann

A sudden silence and then another world

Jeremy Siepmann

Across the threshold into an instrumental population explosion

Jeremy Siepmann

...and a sinister transition

Jeremy Siepmann

An unusual climax...

Jeremy Siepmann

The use of tone colour as an agent of rhythm

Jeremy Siepmann

The new idea developed: A Minor earthquake

Jeremy Siepmann

A thinning of texture, a new idea, and a rude interruption

Jeremy Siepmann

A surprise re-entry and a change of instrumental clothing

Jeremy Siepmann

Effects, impressions and alteration

Jeremy Siepmann

Sensational violence comes close to chaos

Jeremy Siepmann

Rival Tribes, rival motifs

Jeremy Siepmann

Violent onslaught from brass and timpani launches the 'Rival Tribes'

Jeremy Siepmann

And an unexpected reversion, to a quiet close

Jeremy Siepmann

An unexpected change of pace as tempo doubles

Jeremy Siepmann

'Marching motif' theme goes polymetric in huge crescendo

Jeremy Siepmann

A trilling commentary from piccolo and high clarinet

Jeremy Siepmann

'Marching motif' developed further by flutes and horns

Jeremy Siepmann

'Dragging feet motif' over ostinato violins, twice interrupted

Jeremy Siepmann

...but a transient one: new movement arises from the deep

Jeremy Siepmann

Suddenly another world, as flutes hover over harmonic vapour...

Jeremy Siepmann

Climactic melee haunted by 'fear motif'

Jeremy Siepmann

Panic and pandemonium as timpani open fire

Jeremy Siepmann

A real study in contrasts

Jeremy Siepmann

A crowded conclusion

Jeremy Siepmann

Another new theme from the horns

Jeremy Siepmann

An important new arrival (the 'horn motif')

Jeremy Siepmann

The musical savages routed

Jeremy Siepmann

Metre restores (briefly) but the 'savage motif' returns

Jeremy Siepmann

The prevalence of ostinatos, and a righting of wrongs

Jeremy Siepmann

Putting the boot in: a metrical mugging

Jeremy Siepmann

The great arrival: bitonality

Jeremy Siepmann

Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The 'Rite of Spring' chord

Jeremy Siepmann

Introduction (complete)

Jeremy Siepmann

Cue to Introduction

Jeremy Siepmann

A matter of mode

Jeremy Siepmann

A panoply of Stravinskyan birdsong

Jeremy Siepmann

A primeval awakening

Jeremy Siepmann