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| 1: Introduction, background and perspective |
05:03
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| 2: A gentle, other-worldly start; no sign of the violence to come |
01:33
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| 3: Music as mosaic; the composer as constructor |
01:57
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| 4: Two functions of metrical change: going with the flow... |
01:23
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| 5: ...or disrupting it: a sample of metrical violence |
01:02
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| 6: A stealthy entry (clarinets) |
00:34
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| 7: Detour: the destabilising properties of chromaticism |
04:04
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| 8: On melodies, themes and motifs |
01:03
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| 9: The new cor anglais motif dominates |
00:27
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| 10: The oboes rhythmic motif takes over |
00:25
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| 11: A primeval awakening |
00:37
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| 12: A panoply of Stravinskyan birdsong |
00:58
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| 13: A matter of mode |
01:15
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| 14: Cue to Introduction |
00:08
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| 15: Introduction (complete) |
03:38
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| 16: Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The Rite of Spring chord |
00:41
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| 17: The great arrival: bitonality |
01:35
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| 18: Putting the boot in: a metrical mugging |
01:45
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| 19: The prevalence of ostinatos, and a righting of wrongs |
01:51
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| 20: Metre restores (briefly) but the savage motif returns |
00:50
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| 21: The musical savages routed |
01:19
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| 22: An important new arrival (the horn motif) |
01:04
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| 23: Another new theme from the horns |
00:48
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| 24: A crowded conclusion |
01:43
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| 25: A real study in contrasts |
01:31
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| 26: Panic and pandemonium as timpani open fire |
01:09
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| 27: Climactic melee haunted by fear motif |
01:34
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| 28: Suddenly another world, as flutes hover over harmonic vapour... |
00:59
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| 29: ...but a transient one: new movement arises from the deep |
00:50
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| 30: Dragging feet motif over ostinato violins, twice interrupted |
00:42
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| 31: Marching motif developed further by flutes and horns |
00:45
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| 32: A trilling commentary from piccolo and high clarinet |
00:25
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| 33: Marching motif theme goes polymetric in huge crescendo |
01:16
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| 34: An unexpected change of pace as tempo doubles |
00:53
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| 35: And an unexpected reversion, to a quiet close |
00:41
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| 36: Violent onslaught from brass and timpani launches the Rival Tribes |
00:25
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| 37: Rival Tribes, rival motifs |
00:22
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| 38: Sensational violence comes close to chaos |
00:38
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| 39: Effects, impressions and alteration |
01:39
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| 40: A surprise re-entry and a change of instrumental clothing |
00:54
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| 41: A thinning of texture, a new idea, and a rude interruption |
00:34
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| 42: The new idea developed: a minor earthquake |
00:41
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| 43: The use of tone colour as an agent of rhythm |
01:32
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| 44: An unusual climax... |
01:30
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| 45: ...and a sinister transition |
00:51
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| 46: Across the threshold into an instrumental population explosion |
01:29
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| 47: A sudden silence and then another world |
01:00
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| 48: Catapulted into the Dance of the Earth |
00:38
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| 49: Tiny changes, unyielding ostinatos, massive tension |
03:19
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| 50: Cue to Part I complete |
00:07
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| 51: Part I (complete) |
16:08
|
CD02
| 1: Again a muted, subtly coloured start |
01:09
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| 2: Tone colour as atmosphere - the strings motif |
01:07
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| 3: Four solo violas, above gently rocking strings |
00:23
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| 4: A pregnant pause, and a new motif in muted trumpets |
01:14
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| 5: Motif from the Introduction varied and extended |
01:27
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| 6: New motif, heralded by clarinets and violins, is introduced by alto flute |
00:34
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| 7: Variant of Motif No. 2 given out by two clarinets |
00:44
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| 8: Continued by oboes and bassoons; new motif in violins, cellos and bass clarinet |
00:33
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| 9: Main motifs yield to new idea from flutes |
00:38
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| 10: All change - direction, tone colour, metre - and two new ostinatos |
00:40
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| 11: Motif No. 1 returns in horn, then passed to flutes and strings |
00:46
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| 12: Texture, balance and tone colour keep changing |
00:26
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| 13: Instrumental enrichment, new counterpoint and a bleat of alarm |
00:40
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| 14: New derivative of Motif No. 2, a host of new sounds - and again the bleat |
00:48
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| 15: Into the finishing stretch, and we know were in for something big |
00:40
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| 16: Putting the movement back together again |
00:07
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| 17: Mystic Circles of the Young Girls (complete) |
08:16
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| 18: On into one of the most sensational movements ever written |
01:36
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| 19: The violence is almost graphic. An example of musical terrorism |
00:35
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| 20: Motif No. 2: a terrible, off-beat com-pah from strings, horns and oboes |
00:13
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| 21: The air is filled with the fearsome baying of wind and violins |
00:20
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| 22: A variant of Motif No. 2, but now descending |
00:14
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| 23: A study in the bruality of suspense - a musical mugging |
04:12
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| 24: The middle section begins with a massive but unequal confrontation |
00:27
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| 25: Against the odds, the descending motif comes out on top |
00:23
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| 26: In the midst of the fray, a new rising motif emerges... |
01:02
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| 27: ...and undergoes a typcially Stravinskyan expansion and compression |
01:03
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| 28: A much-needed breath before the movement entire |
00:17
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| 29: Glorification of the Chosen One (complete) |
01:45
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| 30: The next movement consists of a single, chordal motif, three times varied |
00:58
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| 31: The second statement: breaking the metrical flow |
02:13
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| 32: At last the establishment of a clear and steady beat, but will it last? |
01:21
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| 33: A counterpoint of ostinatos lends continuity to changing time signatures |
00:42
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| 34: Horns introduce the first real motif, destabilised by multiple metres |
00:32
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| 35: The motif disappears, though the background ostinato continues |
00:32
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| 36: A change of mood, then the whole orchestra crashes in |
00:49
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| 37: The steady pulse gives way to a tossed salad of one-bar motifs |
01:06
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| 38: Lately abandoned, the steady pulse returns, as does the trumpet motif |
01:06
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| 39: The movement ends with a varied reprise of the opening |
00:15
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