Part II: The Sacrifice: Glorification of the Chosen One: On into one of the most sensational movements ever writtenJeremy SiepmannMP3 download_Part II: The Sacrifice: Glorification of the Chosen One: On into one of the most sensational movements ever writtenOnline audition

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Part II: The Sacrifice: Glorification of the Chosen One: On into one of the most sensational movements ever written - Jeremy Siepmann.mp3 Online audition

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singer：Jeremy Siepmann

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Jeremy Siepmann1、Part II: The Sacrifice: Glorification of the Chosen One: On into one of the most sensational movements ever written
Jeremy Siepmann2、Part II: The Sacrifice: Ritual Action of the Ancestors: Evocation of the Ancestors (complete) and Ritual Action of the Ancestors (complete)
Jeremy Siepmann3、Part II: The Sacrifice: Ritual Action of the Ancestors: The movement ends with a varied reprise of the opening
Jeremy Siepmann4、Part II: The Sacrifice: Ritual Action of the Ancestors: Horns introduce the first real motif, destabilised by multiple metres
Jeremy Siepmann5、Part II: The Sacrifice: Ritual Action of the Ancestors: At last the establishment of a clear and steady beat, but will it last?
Jeremy Siepmann6、Part II: The Sacrifice: Glorification of the Chosen One: ...and undergoes a typcially Stravinskyan expansion and compression
Jeremy Siepmann7、Part II: The Sacrifice: Evocation of the Ancestors: The second statement: breaking the metrical flow
Jeremy Siepmann8、Part II: The Sacrifice: Glorification of the Chosen One: Against the odds, the 'descending motif' comes out on top
Jeremy Siepmann9、Part II: The Sacrifice: Ritual Action of the Ancestors: A counterpoint of ostinatos lends continuity to changing time signatures
Jeremy Siepmann10、Part II: The Sacrifice: Evocation of the Ancestors: The next movement consists of a single, chordal motif, three times varied
Jeremy Siepmann11、Part II: The Sacrifice: Ritual Action of the Ancestors: A change of mood, then the whole orchestra crashes in
Jeremy Siepmann12、Part II: The Sacrifice: Glorification of the Chosen One: The middle section begins with a massive but unequal confrontation
Jeremy Siepmann13、Part II: The Sacrifice: Glorification of the Chosen One: The violence is almost graphic. An example of musical terrorism
Jeremy Siepmann14、Part II: The Sacrifice: Glorification of the Chosen One: The air is filled with the fearsome baying of wind and violins
Jeremy Siepmann15、Part II: The Sacrifice: Glorification of the Chosen One: A variant of Motif No. 2, but now descending

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