Disc 01 01. "Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Introduction, background and perspective"
02. "Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): A gentle, other-worldly start"
03. "Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Music as mosaic"
04. "Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Two functions of metrical change: going with the flow..."
05. "Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): ...or disrupting it: a sample of metrical violence"
06. "Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): A stealthy entry (clarinets)"
07. "Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Detour: the destabilising properties of chromaticism"
08. "Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): On melodies, themes and motifs"
09. "Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): The new cor anglais motif dominates"
10. "Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): The oboe's rhythmic motif takes over"
11. "Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): A primeval awakening"
12. "Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): A panoply of Stravinskyan birdsong"
13. "Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): A matter of mode"
14. "Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Cue to Introduction"
15. "Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Introduction (complete)"
16. "Classics Explained: STRAVINSKY - The Rite of Spring (Siepmann): Part I: The Adoration of the Earth: The Augurs of Spring"
17. "Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The great arrival: bitonality"
18. "Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Putting the boot in: a metrical mu"
19. "Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The prevalence of ostinatos, and a"
20. "Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Metre restores (briefly) but the '"
21. "Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: The musical savages routed"
22. "Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: An important new arrival (the 'hor"
23. "Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: Another new theme from the horns"
24. "Part I: The Adoration of the Earth: The Augurs of Spring / Dances of the Young Girls: A crowded conclusion"
25. "Part I: The Adoration of the Earth: Ritual of Abduction: A real study in contrasts"
26. "Part I: The Adoration of the Earth: Ritual of Abduction: Panic and pandemonium as timpani open fire"
27. "Part I: The Adoration of the Earth: Ritual of Abduction: Climactic melee haunted by 'fear motif'"
28. "Part I: The Adoration of the Earth: Spring Rounds: Suddenly another world, as flutes hover over harmonic vapour..."
29. "Part I: The Adoration of the Earth: Spring Rounds: ...but a transient one: new movement arises from the deep"
30. "Part I: The Adoration of the Earth: Spring Rounds: 'Dragging feet motif' over ostinato violins, twice interrupted"
31. "Part I: The Adoration of the Earth: Spring Rounds: 'Marching motif' developed further by flutes and horns"
32. "Part I: The Adoration of the Earth: Spring Rounds: A trilling commentary from piccolo and high clarinet"
33. "Part I: The Adoration of the Earth: Spring Rounds: 'Marching motif' theme goes polymetric in huge crescendo"
34. "Part I: The Adoration of the Earth: Spring Rounds: An unexpected change of pace as tempo doubles"
35. "Part I: The Adoration of the Earth: Spring Rounds: And an unexpected reversion, to a quiet close"
36. "Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Violent onslaught from brass and timpani launches the 'R"
37. "Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Rival Tribes, rival motifs"
38. "Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Sensational violence comes close to chaos"
39. "Part I: The Adoration of the Earth: Ritual of the Rival Tribes: Effects, impressions and alteration"
40. "Part I: The Adoration of the Earth: Ritual of the Rival Tribes: A surprise re-entry and a change of instrumental clothin"
41. "Part I: The Adoration of the Earth: Ritual of the Rival Tribes: A thinning of texture, a new idea, and a rude interrupti"
42. "Part I: The Adoration of the Earth: Ritual of the Rival Tribes: The new idea developed: a minor earthquake"
43. "Part I: The Adoration of the Earth: Ritual of the Rival Tribes: The use of tone colour as an agent of rhythm"
44. "Part I: The Adoration of the Earth: Ritual of the Rival Tribes: An unusual climax..."
45. "Part I: The Adoration of the Earth: Ritual of the Rival Tribes: ...and a sinister transition"
46. "Part I: The Adoration of the Earth: Procession of the Sage: Across the threshold into an instrumental population explosi"
47. "Part I: The Adoration of the Earth: Procession of the Sage: A sudden silence and then another world"
48. "Part I: The Adoration of the Earth: Procession of the Sage: Catapulted into the 'Dance of the Earth'"
49. "Part I: The Adoration of the Earth: Dance of the Earth: Tiny changes, unyielding ostinatos, massive tension"
50. "Part I: The Adoration of the Earth: Dance of the Earth: Cue to Part I complete"
51. "Part I: The Adoration of the Earth: Dance of the Earth: Part I (complete)"
Disc 02 01. "Part II: The Sacrifice: Introduction: Again a muted, subtly coloured start"
02. "Part II: The Sacrifice: Introduction: Tone colour as atmosphere - the strings' motif"
03. "Part II: The Sacrifice: Introduction: Four solo violas, above gently rocking strings"
04. "Part II: The Sacrifice: Introduction: A pregnant pause, and a new motif in muted trumpets"
05. "Part II: The Sacrifice: Mystic Circles of the Young Girls: Motif from the Introduction varied and extended"
06. "Part II: The Sacrifice: Mystic Circles of the Young Girls: New motif, heralded by clarinets and violins, is introduced b"
07. "Part II: The Sacrifice: Mystic Circles of the Young Girls: Variant of Motif No. 2 given out by two clarinets"
08. "Part II: The Sacrifice: Mystic Circles of the Young Girls: Continued by oboes and bassoons"
09. "Part II: The Sacrifice: Mystic Circles of the Young Girls: Main motifs yield to new idea from flutes"
10. "Part II: The Sacrifice: Mystic Circles of the Young Girls: All change - direction, tone colour, metre - and two new osti"
11. "Part II: The Sacrifice: Mystic Circles of the Young Girls: Motif No. 1 returns in horn, then passed to flutes and string"
12. "Part II: The Sacrifice: Mystic Circles of the Young Girls: Texture, balance and tone colour keep changing"
13. "Part II: The Sacrifice: Mystic Circles of the Young Girls: Instrumental enrichment, new counterpoint and a bleat of alar"
14. "Part II: The Sacrifice: Mystic Circles of the Young Girls: New derivative of Motif No. 2, a host of new sounds - and aga"
15. "Part II: The Sacrifice: Mystic Circles of the Young Girls: Into the finishing stretch, and we know we're in for somethin"
16. "Part II: The Sacrifice: Mystic Circles of the Young Girls: Putting the movement back together again"
17. "Part II: The Sacrifice: Mystic Circles of the Young Girls: Mystic Circles of the Young Girls (complete)"
18. "Part II: The Sacrifice: Glorification of the Chosen One: On into one of the most sensational movements ever written"
19. "Part II: The Sacrifice: Glorification of the Chosen One: The violence is almost graphic. An example of musical terrorism"
20. "Part II: The Sacrifice: Glorification of the Chosen One: Motif No. 2: a terrible, off-beat com-pah from strings, horns a"
21. "Part II: The Sacrifice: Glorification of the Chosen One: The air is filled with the fearsome baying of wind and violins"
22. "Part II: The Sacrifice: Glorification of the Chosen One: A variant of Motif No. 2, but now descending"
23. "Part II: The Sacrifice: Glorification of the Chosen One: A study in the bruality of suspense - a musical mugging"
24. "Part II: The Sacrifice: Glorification of the Chosen One: The middle section begins with a massive but unequal confrontat"
25. "Part II: The Sacrifice: Glorification of the Chosen One: Against the odds, the 'descending motif' comes out on top"
26. "Part II: The Sacrifice: Glorification of the Chosen One: In the midst of the fray, a new 'rising motif' emerges..."
27. "Part II: The Sacrifice: Glorification of the Chosen One: ...and undergoes a typcially Stravinskyan expansion and compres"
28. "Part II: The Sacrifice: Glorification of the Chosen One: A much-needed breath before the movement entire"
29. "Part II: The Sacrifice: Glorification of the Chosen One: Glorification of the Chosen One (complete)"
30. "Part II: The Sacrifice: Evocation of the Ancestors: The next movement consists of a single, chordal motif, three times v"
31. "Part II: The Sacrifice: Evocation of the Ancestors: The second statement: breaking the metrical flow"
32. "Part II: The Sacrifice: Ritual Action of the Ancestors: At last the establishment of a clear and steady beat, but will i" 33. "Part II: The Sacrifice: Ritual Action of the Ancestors: A counterpoint of ostinatos lends continuity to changing time si" 34. "Part II: The Sacrifice: Ritual Action of the Ancestors: Horns introduce the first real motif, destabilised by multiple m" 35. "Part II: The Sacrifice: Ritual Action of the Ancestors: The motif disappears, though the background ostinato continues" 36. "Part II: The Sacrifice: Ritual Action of the Ancestors: A change of mood, then the whole orchestra crashes in" 37. "Part II: The Sacrifice: Ritual Action of the Ancestors: The steady pulse gives way to a tossed salad of one-bar motifs" 38. "Part II: The Sacrifice: Ritual Action of the Ancestors: Lately abandoned, the steady pulse returns, as does the 'trumpet" 39. "Part II: The Sacrifice: Ritual Action of the Ancestors: The movement ends with a varied reprise of the opening" 40. "Part II: The Sacrifice: Ritual Action of the Ancestors: Evocation of the Ancestors (complete) and Ritual Action of the A" 41. "Part II: The Sacrifice: Sacrificial Dance: The last movement is based on two motifs, the first most motable for its rhyt" 42. "Part II: The Sacrifice: Sacrificial Dance: The second motif is likewise predominatly rhythmical in effect" 43. "Part II: The Sacrifice: Sacrificial Dance: Two variants: one a rhythmic simplification, the other an expansion" 44. "Part II: The Sacrifice: Sacrificial Dance: A new section, again with two main motifs, the first from wind and strings" 45. "Part II: The Sacrifice: Sacrificial Dance: This is joined by another bried but very striking motif from muted brass" 46. "Part II: The Sacrifice: Sacrificial Dance: Tension dramatically increased by a violent interruption from timpani and gon" 47. "Part II: The Sacrifice: Sacrificial Dance: Motif No. 2 is passed from bassoons to high wind and trumpets..." 48. "Part II: The Sacrifice: Sacrificial Dance: ...and is twice interrupted by horns" 49. "Part II: The Sacrifice: Sacrificial Dance: Motif No. 1 erupts in full orchestra, then all hell breaks loose" 50. "Part II: The Sacrifice: Sacrificial Dance: New ostinato, over implacable repetitions of Motif No. 1, offset by clarinets" 51. "Part II: The Sacrifice: Sacrificial Dance: A new section, kick-started by percussion: timpani, bass drum and gong" 52. "Part II: The Sacrifice: Sacrificial Dance: Horns, doubled by strings, introduce the main idea of this new section" 53. "Part II: The Sacrifice: Sacrificial Dance: The return of the movement's opening section - or so we may think" 54. "Part II: The Sacrifice: Sacrificial Dance: Dramatic compression of now-familiar material" 55. "Part II: The Sacrifice: Sacrificial Dance: A terrifying cocktail of motifs old and new confounds expectations..." 56. "Part II: The Sacrifice: Sacrificial Dance: ...and leads to the coda, the final flourish of the whole work" 57. "Part II: The Sacrifice: Sacrificial Dance: Cue to all of Part II and end of CD" 58. "Part II (complete)"
