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Introduction, background and perspective
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Jeremy Siepmann
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05:04 |
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A gentle, other-worldly start; no sign of the violence to come
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Jeremy Siepmann
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01:33 |
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Music as mosaic; the composer as constructor
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Jeremy Siepmann
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01:57 |
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Two functions of metrical change: going with the flow...
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Jeremy Siepmann
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01:23 |
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...or disrupting it: a sample of metrical violence
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Jeremy Siepmann
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01:02 |
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A stealthy entry (clarinets)
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Jeremy Siepmann
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00:34 |
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Detour: the destabilising properties of chromaticism
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Jeremy Siepmann
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04:04 |
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On melodies, themes and motifs
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Jeremy Siepmann
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01:03 |
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The new cor anglais motif dominates
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Jeremy Siepmann
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00:27 |
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The oboe's rhythmic motif takes over
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Jeremy Siepmann
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00:25 |
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A primeval awakening
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Jeremy Siepmann
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00:37 |
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A panoply of Stravinskyan birdsong
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Jeremy Siepmann
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00:59 |
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A matter of mode
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Jeremy Siepmann
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01:15 |
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Cue to Introduction
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Jeremy Siepmann
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00:09 |
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Introduction (complete)
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Jeremy Siepmann
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03:38 |
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Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The 'Rite of Spring' chord
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Jeremy Siepmann
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00:41 |
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The great arrival: bitonality
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Jeremy Siepmann
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01:35 |
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Putting the boot in: a metrical mugging
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Jeremy Siepmann
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01:45 |
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The prevalence of ostinatos, and a righting of wrongs
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Jeremy Siepmann
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01:51 |
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Metre restores (briefly) but the 'savage motif' returns
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Jeremy Siepmann
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00:50 |
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The musical savages routed
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Jeremy Siepmann
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01:19 |
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An important new arrival (the 'horn motif')
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Jeremy Siepmann
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01:05 |
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Another new theme from the horns
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Jeremy Siepmann
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00:48 |
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A crowded conclusion
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Jeremy Siepmann
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01:44 |
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A real study in contrasts
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Jeremy Siepmann
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01:31 |
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Panic and pandemonium as timpani open fire
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Jeremy Siepmann
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01:10 |
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Climactic melee haunted by 'fear motif'
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Jeremy Siepmann
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01:35 |
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Suddenly another world, as flutes hover over harmonic vapour...
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Jeremy Siepmann
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00:59 |
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...but a transient one: new movement arises from the deep
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Jeremy Siepmann
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00:51 |
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'Dragging feet motif' over ostinato violins, twice interrupted
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Jeremy Siepmann
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00:43 |