Classics Explained: Rite of Spring (CD) ~ Classics Explained - A... Cover Art

Classics Explained: Rite of Spring (CD)

By: Classics Explained - An Introduction to Stravinsky


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DISC 1 for Classics Explained: Rite of Spring (CD) Album By Classics Explained - An Introd... Amazon.com iTunes CD Universe
1   Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): Introduction, Background And Perspective Buy Buy  
2   Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): A Gentle, Other-Worldly Start; No Sign Of The Violence To Come Buy Buy  
3   Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): Music As Mosaic; The Composer As Constructor Buy Buy  
4   Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): Two Functions Of Metrical Change: Going With The Flow... Buy Buy  
5   Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): ...Or Disrupting It: A Sample Of Metrical Violence Buy Buy  
6   Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): A Stealthy Entry (Clarinets) Buy Buy  
7   Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): Detour: The Destabilising Properties Of Chromaticism Buy Buy  
8   Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): On Melodies, Themes And Motifs Buy Buy  
9   Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): The New Cor Anglais Motif Dominates Buy Buy  
10   Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): The Oboe's Rhythmic Motif Takes Over Buy Buy  
11   Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): A Primeval Awakening Buy Buy  
12   Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): A Panoply Of Stravinskyan Birdsong Buy Buy  
13   Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): A Matter Of Mode Buy Buy  
14   Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): Cue To Introduction Buy Buy  
15   Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): Introduction (Complete) Buy Buy  
16   Classics Explained: Stravinsky - The Rite Of Spring (Siepmann): Part I: The Adoration Of The Earth: The Augurs Of Spring / Dances Of The Young Girls: The 'Rite Of Spring' Chord Buy Buy  
17   Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The great arrival: bitonality Buy Buy  
18   Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Putting the boot in: a metrical mugging Buy Buy  
19   Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The prevalence of ostinatos, and a righting of wrongs Buy Buy  
20   Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Metre restores (briefly) but the 'savage motif' returns Buy Buy  
21   Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The musical savages routed Buy Buy  
22   Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: An important new arrival (the 'horn motif') Buy Buy  
23   Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Another new theme from the horns Buy Buy  
24   Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: A crowded conclusion Buy Buy  
25   Part I: The Adoration of the Earth: Ritual of Abduction: A real study in contrasts Buy Buy  
26   Part I: The Adoration of the Earth: Ritual of Abduction: Panic and pandemonium as timpani open fire Buy Buy  
27   Part I: The Adoration of the Earth: Ritual of Abduction: Climactic melee haunted by 'fear motif' Buy Buy  
28   Part I: The Adoration of the Earth: Spring Rounds: Suddenly another world, as flutes hover over harmonic vapour... Buy Buy  
29   Part I: The Adoration of the Earth: Spring Rounds: ...but a transient one: new movement arises from the deep Buy Buy  
30   Part I: The Adoration of the Earth: Spring Rounds: 'Dragging feet motif' over ostinato violins, twice interrupted Buy Buy  
31   Part I: The Adoration of the Earth: Spring Rounds: 'Marching motif' developed further by flutes and horns Buy Buy  
32   Part I: The Adoration of the Earth: Spring Rounds: A trilling commentary from piccolo and high clarinet Buy Buy  
33   Part I: The Adoration of the Earth: Spring Rounds: 'Marching motif' theme goes polymetric in huge crescendo Buy Buy  
34   Part I: The Adoration of the Earth: Spring Rounds: An unexpected change of pace as tempo doubles Buy Buy  
35   Part I: The Adoration of the Earth: Spring Rounds: And an unexpected reversion, to a quiet close Buy Buy  
36   Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Violent onslaught from brass and timpani launches the 'Rival Tribes' Buy Buy  
37   Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Rival Tribes, rival motifs Buy Buy  
38   Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Sensational violence comes close to chaos Buy Buy  
39   Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Effects, impressions and alteration Buy Buy  
40   Part I: The Adoration of the Earth: Ritual of the Rival Tribes: A surprise re-entry and a change of instrumental clothing Buy Buy  
41   Part I: The Adoration of the Earth: Ritual of the Rival Tribes: A thinning of texture, a new idea, and a rude interruption Buy Buy  
42   Part I: The Adoration of the Earth: Ritual of the Rival Tribes: The new idea developed: a minor earthquake Buy Buy  
43   Part I: The Adoration of the Earth: Ritual of the Rival Tribes: The use of tone colour as an agent of rhythm Buy Buy  
44   Part I: The Adoration of the Earth: Ritual of the Rival Tribes: An unusual climax... Buy Buy  
45   Part I: The Adoration of the Earth: Ritual of the Rival Tribes: ...and a sinister transition Buy Buy  
46   Part I: The Adoration of the Earth: Procession of the Sage: Across the threshold into an instrumental population explosion Buy Buy  
47   Part I: The Adoration of the Earth: Procession of the Sage: A sudden silence and then another world Buy Buy  
48   Part I: The Adoration of the Earth: Procession of the Sage: Catapulted into the 'Dance of the Earth' Buy Buy  
49   Part I: The Adoration of the Earth: Dance of the Earth: Tiny changes, unyielding ostinatos, massive tension Buy Buy  
50   Part I: The Adoration of the Earth: Dance of the Earth: Cue to Part I complete Buy Buy  
51   Part I: The Adoration of the Earth: Dance of the Earth: Part I (complete) Buy    
 
DISC 2 for Classics Explained: Rite of Spring (CD) Album By Classics Explained - An Introd... Amazon.com iTunes CD Universe
1   Part II: The Sacrifice: Introduction: Again a muted, subtly coloured start Buy Buy  
2   Part II: The Sacrifice: Introduction: Tone colour as atmosphere - the strings' motif Buy Buy  
3   Part II: The Sacrifice: Introduction: Four solo violas, above gently rocking strings Buy Buy  
4   Part II: The Sacrifice: Introduction: A pregnant pause, and a new motif in muted trumpets Buy Buy  
5   Part II: The Sacrifice: Mystic Circles of the Young Girls: Motif from the Introduction varied and extended Buy Buy  
6   Part II: The Sacrifice: Mystic Circles of the Young Girls: New motif, heralded by clarinets and violins, is introduced by alto flute Buy Buy  
7   Part II: The Sacrifice: Mystic Circles of the Young Girls: Variant of Motif No. 2 given out by two clarinets Buy Buy  
8   Part II: The Sacrifice: Mystic Circles of the Young Girls: Continued by oboes and bassoons; new motif in violins, cellos and bass clarinet Buy Buy  
9   Part II: The Sacrifice: Mystic Circles of the Young Girls: Main motifs yield to new idea from flutes Buy Buy  
10   Part II: The Sacrifice: Mystic Circles of the Young Girls: All change - direction, tone colour, metre - and two new ostinatos Buy Buy  
11   Part II: The Sacrifice: Mystic Circles of the Young Girls: Motif No. 1 returns in horn, then passed to flutes and strings Buy Buy  
12   Part II: The Sacrifice: Mystic Circles of the Young Girls: Texture, balance and tone colour keep changing Buy Buy  
13   Part II: The Sacrifice: Mystic Circles of the Young Girls: Instrumental enrichment, new counterpoint and a bleat of alarm Buy Buy  
14   Part II: The Sacrifice: Mystic Circles of the Young Girls: New derivative of Motif No. 2, a host of new sounds - and again the bleat Buy Buy  
15   Part II: The Sacrifice: Mystic Circles of the Young Girls: Into the finishing stretch, and we know we're in for something big Buy Buy  
16   Part II: The Sacrifice: Mystic Circles of the Young Girls: Putting the movement back together again Buy Buy  
17   Part II: The Sacrifice: Mystic Circles of the Young Girls: Mystic Circles of the Young Girls (complete) Buy Buy  
18   Part II: The Sacrifice: Glorification of the Chosen One: On into one of the most sensational movements ever written Buy Buy  
19   Part II: The Sacrifice: Glorification of the Chosen One: The violence is almost graphic. An example of musical terrorism Buy Buy  
20   Part II: The Sacrifice: Glorification of the Chosen One: Motif No. 2: a terrible, off-beat com-pah from strings, horns and oboes Buy Buy  
21   Part II: The Sacrifice: Glorification of the Chosen One: The air is filled with the fearsome baying of wind and violins Buy Buy  
22   Part II: The Sacrifice: Glorification of the Chosen One: A variant of Motif No. 2, but now descending Buy Buy  
23   Part II: The Sacrifice: Glorification of the Chosen One: A study in the bruality of suspense - a musical mugging Buy Buy  
24   Part II: The Sacrifice: Glorification of the Chosen One: The middle section begins with a massive but unequal confrontation Buy Buy  
25   Part II: The Sacrifice: Glorification of the Chosen One: Against the odds, the 'descending motif' comes out on top Buy Buy  
26   Part II: The Sacrifice: Glorification of the Chosen One: In the midst of the fray, a new 'rising motif' emerges... Buy Buy  
27   Part II: The Sacrifice: Glorification of the Chosen One: ...and undergoes a typcially Stravinskyan expansion and compression Buy Buy  
28   Part II: The Sacrifice: Glorification of the Chosen One: A much-needed breath before the movement entire Buy Buy  
29   Part II: The Sacrifice: Glorification of the Chosen One: Glorification of the Chosen One (complete) Buy Buy  
30   Part II: The Sacrifice: Evocation of the Ancestors: The next movement consists of a single, chordal motif, three times varied Buy Buy  
31   Part II: The Sacrifice: Evocation of the Ancestors: The second statement: breaking the metrical flow Buy Buy  
32   Part II: The Sacrifice: Ritual Action of the Ancestors: At last the establishment of a clear and steady beat, but will it last? Buy Buy  
33   Part II: The Sacrifice: Ritual Action of the Ancestors: A counterpoint of ostinatos lends continuity to changing time signatures Buy Buy  
34   Part II: The Sacrifice: Ritual Action of the Ancestors: Horns introduce the first real motif, destabilised by multiple metres Buy Buy  
35   Part II: The Sacrifice: Ritual Action of the Ancestors: The motif disappears, though the background ostinato continues Buy Buy  
36   Part II: The Sacrifice: Ritual Action of the Ancestors: A change of mood, then the whole orchestra crashes in Buy Buy  
37   Part II: The Sacrifice: Ritual Action of the Ancestors: The steady pulse gives way to a tossed salad of one-bar motifs Buy Buy  
38   Part II: The Sacrifice: Ritual Action of the Ancestors: Lately abandoned, the steady pulse returns, as does the 'trumpet motif' Buy Buy  
39   Part II: The Sacrifice: Ritual Action of the Ancestors: The movement ends with a varied reprise of the opening Buy Buy  
40   Part II: The Sacrifice: Ritual Action of the Ancestors: Evocation of the Ancestors (complete) and Ritual Action of the Ancestors (complete) Buy Buy  
41   Part II: The Sacrifice: Sacrificial Dance: The last movement is based on two motifs, the first most motable for its rhythm Buy Buy  
42   Part II: The Sacrifice: Sacrificial Dance: The second motif is likewise predominatly rhythmical in effect Buy Buy  
43   Part II: The Sacrifice: Sacrificial Dance: Two variants: one a rhythmic simplification, the other an expansion Buy Buy  
44   Part II: The Sacrifice: Sacrificial Dance: A new section, again with two main motifs, the first from wind and strings Buy Buy  
45   Part II: The Sacrifice: Sacrificial Dance: This is joined by another bried but very striking motif from muted brass Buy Buy  
46   Part II: The Sacrifice: Sacrificial Dance: Tension dramatically increased by a violent interruption from timpani and gong Buy Buy  
47   Part II: The Sacrifice: Sacrificial Dance: Motif No. 2 is passed from bassoons to high wind and trumpets... Buy Buy  
48   Part II: The Sacrifice: Sacrificial Dance: ...and is twice interrupted by horns Buy Buy  
49   Part II: The Sacrifice: Sacrificial Dance: Motif No. 1 erupts in full orchestra, then all hell breaks loose Buy Buy  
50   Part II: The Sacrifice: Sacrificial Dance: New ostinato, over implacable repetitions of Motif No. 1, offset by clarinets Buy Buy  
51   Part II: The Sacrifice: Sacrificial Dance: A new section, kick-started by percussion: timpani, bass drum and gong Buy Buy  
52   Part II: The Sacrifice: Sacrificial Dance: Horns, doubled by strings, introduce the main idea of this new section Buy Buy  
53   Part II: The Sacrifice: Sacrificial Dance: The return of the movement's opening section - or so we may think Buy Buy  
54   Part II: The Sacrifice: Sacrificial Dance: Dramatic compression of now-familiar material Buy Buy  
55   Part II: The Sacrifice: Sacrificial Dance: A terrifying cocktail of motifs old and new confounds expectations... Buy Buy  
56   Part II: The Sacrifice: Sacrificial Dance: ...and leads to the coda, the final flourish of the whole work Buy Buy  
57   Part II: The Sacrifice: Sacrificial Dance: Cue to all of Part II and end of CD Buy Buy  

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