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  • 古典音乐解说: 史特拉汶斯基 - 春之祭 (希普门)
    Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann)
    专辑号：8.558085-86
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• • 古典音乐解说: 史特拉汶斯基 - 春之祭 (希普门)/Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann)
  • [ 介绍 ]
  • Classics ExplainedAn Introduction to... STRAVINSKY: The Rite of SpringAuthor and Narrator: Jeremy Siepmann2 CDs, including the complete work128-page bookletNaxos 8.558085？V86ISBN 1-84379-028-9 Probably the most celebrated score of the twentieth century, The Rite of Spring provoked a full-scale riot at its first performance in 1913. Hardly a single serious composer in the world escaped its influence. Savage and haunting, unearthly and violent, harsh and sensual, it paints a panorama of fantastic instrumental colour, animated by a rhythmic drive and power of irresistible excitement and often astounding complexity. A whole new world of sound in its day, it retains its modernity and fascination, its thrills and its terrors, as much today as it ever did. Here we put it under the aural microscope and explore just what it is that makes it tick, and why it continues to hook listener after listener almost a century later. The work is also played in its entirety. What makes The Rite of Spring sound so remarkable even today? Perhaps it is because while it exudes primitive, earthy, even atavistic rituals, it is a famously complex score. It is difficult to play, difficult to conduct, difficult to analyse ？V and yet we respond to it almost physically. In his masterly way, Jeremy Siepmann sheds light on how it works and why it works. He guides us safely through the maze so that we emerge with a far better understanding of this, one of the greatest works of the twentieth century.
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      CD01

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

      

      1: Introduction, background and perspective

      05:03

      2: A gentle, other-worldly start; no sign of the violence to come

      01:33

      3: Music as mosaic; the composer as constructor

      01:57

      4: Two functions of metrical change: going with the flow...

      01:23

      5: ...or disrupting it: a sample of metrical violence

      01:02

      6: A stealthy entry (clarinets)

      00:34

      7: Detour: the destabilising properties of chromaticism

      04:04

      8: On melodies, themes and motifs

      01:03

      9: The new cor anglais motif dominates

      00:27

      10: The oboes rhythmic motif takes over

      00:25

      11: A primeval awakening

      00:37

      12: A panoply of Stravinskyan birdsong

      00:58

      13: A matter of mode

      01:15

      14: Cue to Introduction

      00:08

      15: Introduction (complete)

      03:38

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

      00:41

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

      

      17: The great arrival: bitonality

      01:35

      18: Putting the boot in: a metrical mugging

      01:45

      19: The prevalence of ostinatos, and a righting of wrongs

      01:51

      20: Metre restores (briefly) but the savage motif returns

      00:50

      21: The musical savages routed

      01:19

      22: An important new arrival (the horn motif)

      01:04

      23: Another new theme from the horns

      00:48

      24: A crowded conclusion

      01:43

      Part I: The Adoration of the Earth: Ritual of Abduction

      

      25: A real study in contrasts

      01:31

      26: Panic and pandemonium as timpani open fire

      01:09

      27: Climactic melee haunted by fear motif

      01:34

      Part I: The Adoration of the Earth: Spring Rounds

      

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

      00:59

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

      00:50

      30: Dragging feet motif over ostinato violins, twice interrupted

      00:42

      31: Marching motif developed further by flutes and horns

      00:45

      32: A trilling commentary from piccolo and high clarinet

      00:25

      33: Marching motif theme goes polymetric in huge crescendo

      01:16

      34: An unexpected change of pace as tempo doubles

      00:53

      35: And an unexpected reversion, to a quiet close

      00:41

      Part I: The Adoration of the Earth: Ritual of the Rival Tribes

      

      36: Violent onslaught from brass and timpani launches the Rival Tribes

      00:25

      37: Rival Tribes, rival motifs

      00:22

      38: Sensational violence comes close to chaos

      00:38

      39: Effects, impressions and alteration

      01:39

      40: A surprise re-entry and a change of instrumental clothing

      00:54

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

      00:34

      42: The new idea developed: a minor earthquake

      00:41

      43: The use of tone colour as an agent of rhythm

      01:32

      44: An unusual climax...

      01:30

      45: ...and a sinister transition

      00:51

      Part I: The Adoration of the Earth: Procession of the Sage

      

      46: Across the threshold into an instrumental population explosion

      01:29

      47: A sudden silence and then another world

      01:00

      48: Catapulted into the Dance of the Earth

      00:38

      Part I: The Adoration of the Earth: Dance of the Earth

      

      49: Tiny changes, unyielding ostinatos, massive tension

      03:19

      50: Cue to Part I complete

      00:07

      51: Part I (complete)

      16:08

      CD02

      Part II: The Sacrifice: Introduction

      

      1: Again a muted, subtly coloured start

      01:09

      2: Tone colour as atmosphere - the strings motif

      01:07

      3: Four solo violas, above gently rocking strings

      00:23

      4: A pregnant pause, and a new motif in muted trumpets

      01:14

      Part II: The Sacrifice: Mystic Circles of the Young Girls

      

      5: Motif from the Introduction varied and extended

      01:27

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

      00:34

      7: Variant of Motif No. 2 given out by two clarinets

      00:44

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

      00:33

      9: Main motifs yield to new idea from flutes

      00:38

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

      00:40

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

      00:46

      12: Texture, balance and tone colour keep changing

      00:26

      13: Instrumental enrichment, new counterpoint and a bleat of alarm

      00:40

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

      00:48

      15: Into the finishing stretch, and we know were in for something big

      00:40

      16: Putting the movement back together again

      00:07

      17: Mystic Circles of the Young Girls (complete)

      08:16

      Part II: The Sacrifice: Glorification of the Chosen One

      

      18: On into one of the most sensational movements ever written

      01:36

      19: The violence is almost graphic. An example of musical terrorism

      00:35

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

      00:13

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

      00:20

      22: A variant of Motif No. 2, but now descending

      00:14

      23: A study in the bruality of suspense - a musical mugging

      04:12

      24: The middle section begins with a massive but unequal confrontation

      00:27

      25: Against the odds, the descending motif comes out on top

      00:23

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

      01:02

      27: ...and undergoes a typcially Stravinskyan expansion and compression

      01:03

      28: A much-needed breath before the movement entire

      00:17

      29: Glorification of the Chosen One (complete)

      01:45

      Part II: The Sacrifice: Evocation of the Ancestors

      

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

      00:58

      31: The second statement: breaking the metrical flow

      02:13

      Part II: The Sacrifice: Ritual Action of the Ancestors

      

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

      01:21

      33: A counterpoint of ostinatos lends continuity to changing time signatures

      00:42

      34: Horns introduce the first real motif, destabilised by multiple metres

      00:32

      35: The motif disappears, though the background ostinato continues

      00:32

      36: A change of mood, then the whole orchestra crashes in

      00:49

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

      01:06

      38: Lately abandoned, the steady pulse returns, as does the trumpet motif

      01:06

      39: The movement ends with a varied reprise of the opening

      00:15