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クラシック解説 - ストラヴィンスキー：バレエ音楽「春の祭典」（シープマン）

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レーベル

Naxos Educational

CD/ダウンロード販売

アルバム情報

カタログ番号
8.558085-86
CD発売時期
2003年6月
資料
ジャンル
朗読
カテゴリ
音楽教育
作曲家
不詳 Anonymous
アーティスト
ジェレミー・シープマン Jeremy Siepmann

クラシック解説 - ストラヴィンスキー：バレエ音楽「春の祭典」（シープマン）

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

このページのURL
https://ml.naxos.jp/album/8.558085-86

全トラック選択/解除

Disc 1

 

**:**
バレエ音楽「春の祭典」

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

この作品のURL
https://ml.naxos.jp/work/37917
**:**
»  Introduction, background and perspective
1.

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

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»  Music as mosaic; the composer as constructor
3.

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

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

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»  A stealthy entry (clarinets)
6.

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»  Detour: the destabilising properties of chromaticism
7.

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»  On melodies, themes and motifs
8.

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»  The new cor anglais motif dominates
9.

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»  The oboe's rhythmic motif takes over
10.

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»  A primeval awakening
11.

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»  A panoply of Stravinskyan birdsong
12.

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»  A matter of mode
13.

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»  Cue to Introduction
14.

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»  Introduction (complete)
15.

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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
16.

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不詳 - Anonymous

**:**
バレエ音楽「春の祭典」 - 第1部 「大地の礼賛」 - 春のきざし（乙女達の踊り）

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

この作品のURL
https://ml.naxos.jp/work/39979
**:**
»  The great arrival: bitonality
17.

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»  Putting the boot in: a metrical mugging
18.

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»  The prevalence of ostinatos, and a righting of wrongs
19.

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»  Metre restores (briefly) but the 'savage motif' returns
20.

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»  The musical savages routed
21.

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»  An important new arrival (the 'horn motif')
22.

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»  Another new theme from the horns
23.

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»  A crowded conclusion
24.

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**:**
バレエ音楽「春の祭典」 - 第1部 「大地の礼賛」 - 誘拐

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

この作品のURL
https://ml.naxos.jp/work/39980
**:**
»  A real study in contrasts
25.

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»  Panic and pandemonium as timpani open fire
26.

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»  Climactic melee haunted by 'fear motif'
27.

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**:**
バレエ音楽「春の祭典」 - 第1部 「大地の礼賛」 - 春のきざし（乙女達の踊り）

Part I: The Adoration of the Earth: Spring Rounds

この作品のURL
https://ml.naxos.jp/work/39981
**:**
»  Suddenly another world, as flutes hover over harmonic vapour...
28.

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

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»  'Dragging feet motif' over ostinato violins, twice interrupted
30.

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»  'Marching motif' developed further by flutes and horns
31.

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»  A trilling commentary from piccolo and high clarinet
32.

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»  'Marching motif' theme goes polymetric in huge crescendo
33.

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»  An unexpected change of pace as tempo doubles
34.

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»  And an unexpected reversion, to a quiet close
35.

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**:**
バレエ音楽「春の祭典」 - 第1部 「大地の礼賛」 - 敵の部族の遊戯

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

この作品のURL
https://ml.naxos.jp/work/39982
**:**
»  Violent onslaught from brass and timpani launches the 'Rival Tribes'
36.

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»  Rival Tribes, rival motifs
37.

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»  Sensational violence comes close to chaos
38.

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»  Effects, impressions and alteration
39.

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

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

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»  The new idea developed: A Minor earthquake
42.

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»  The use of tone colour as an agent of rhythm
43.

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»  An unusual climax...
44.

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»  ...and a sinister transition
45.

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**:**
バレエ音楽「春の祭典」 - 第1部 「大地の礼賛」 - 長老の行進

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

この作品のURL
https://ml.naxos.jp/work/39983
**:**
»  Across the threshold into an instrumental population explosion
46.

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»  A sudden silence and then another world
47.

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»  Catapulted into the 'Dance of the Earth'
48.

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**:**
バレエ音楽「春の祭典」 - 第1部 「大地の礼賛」 - 大地の踊り

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

この作品のURL
https://ml.naxos.jp/work/39984
**:**
»  Tiny changes, unyielding ostinatos, massive tension
49.

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»  Cue to Part I complete
50.

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»  Part I (complete)
51.

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Disc 2

不詳 - Anonymous

**:**
Part II: The Sacrifice: Introduction

この作品のURL
https://ml.naxos.jp/work/39985
**:**
»  Again a muted, subtly coloured start
1.

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»  Tone colour as atmosphere - the strings' motif
2.

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»  Four solo violas, above gently rocking strings
3.

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

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

この作品のURL
https://ml.naxos.jp/work/39986
**:**
»  Motif from the Introduction varied and extended
5.

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

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

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

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»  Main motifs yield to new idea from flutes
9.

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

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

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»  Texture, balance and tone colour keep changing
12.

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»  Instrumental enrichment, new counterpoint and a bleat of alarm
13.

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

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»  Into the finishing stretch, and we know we're in for something big
15.

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»  Putting the movement back together again
16.

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»  Mystic Circles of the Young Girls (complete)
17.

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**:**
バレエ音楽「春の祭典」 - 第2部 犠牲 選ばれし乙女への賛美

Part II: The Sacrifice: Glorification of the Chosen One

この作品のURL
https://ml.naxos.jp/work/39987
**:**
»  On into one of the most sensational movements ever written
18.

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

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

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

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

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

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»  The middle section begins with a massive but unequal confrontation
24.

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»  Against the odds, the 'descending motif' comes out on top
25.

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

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

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»  A much-needed breath before the movement entire
28.

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»  Glorification of the Chosen One (complete)
29.

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**:**
Part II: The Sacrifice: Evocation of the Ancestors

この作品のURL
https://ml.naxos.jp/work/39988
**:**
»  The next movement consists of a single, chordal motif, three times varied
30.

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»  The second statement: breaking the metrical flow
31.

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**:**
Part II: The Sacrifice: Ritual Action of the Ancestors

この作品のURL
https://ml.naxos.jp/work/39989
**:**
»  At last the establishment of a clear and steady beat, but will it last?
32.

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»  A counterpoint of ostinatos lends continuity to changing time signatures
33.

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

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»  The motif disappears, though the background ostinato continues
35.

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

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

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»  Lately abandoned, the steady pulse returns, as does the 'trumpet motif'
38.

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

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**:**
»  Evocation of the Ancestors (complete) and Ritual Action of the Ancestors (complete)
40.

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**:**
バレエ音楽「春の祭典」 - 第2部 生贄の儀式 「生贄の踊り」

Part II: The Sacrifice: Sacrificial Dance

この作品のURL
https://ml.naxos.jp/work/39990
**:**
»  The last movement is based on two motifs, the first most motable for its rhythm
41.

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»  The second motif is likewise predominatly rhythmical in effect
42.

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»  Two variants: one a rhythmic simplification, the other an expansion
43.

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»  A new section, again with two main motifs, the first from wind and strings
44.

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»  This is joined by another bried but very striking motif from muted brass
45.

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»  Tension dramatically increased by a violent interruption from timpani and gong
46.

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»  Motif No. 2 is passed from bassoons to high wind and trumpets...
47.

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»  ...and is twice interrupted by horns
48.

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»  Motif No. 1 erupts in full orchestra, then all hell breaks loose
49.

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»  New ostinato, over implacable repetitions of Motif No. 1, offset by clarinets
50.

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»  A new section, kick-started by percussion: timpani, bass drum and gong
51.

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»  Horns, doubled by strings, introduce the main idea of this new section
52.

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»  The return of the movement's opening section - or so we may think
53.

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»  Dramatic compression of now-familiar material
54.

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»  A terrifying cocktail of motifs old and new confounds expectations...
55.

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»  ...and leads to the coda, the final flourish of the whole work
56.

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»  Cue to all of Part II and end of CD
57.

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**:**
»  Part II (complete)
58.

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