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Part II: The Sacrifice: Introduction: Tone colour as atmosphere - the strings' motif - Jeremy Siepmann.mp3 Online audition
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Jeremy Siepmann
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Jeremy Siepmann
1、Part II: The Sacrifice: Introduction: Tone colour as atmosphere - the strings' motif
Jeremy Siepmann
2、Part II: The Sacrifice: Introduction: Four solo violas, above gently rocking strings
Jeremy Siepmann
3、Part II: The Sacrifice: Introduction: Again a muted, subtly coloured start
Jeremy Siepmann
4、Part II: The Sacrifice: Introduction: A pregnant pause, and a new motif in muted trumpets
Behind the Stone Door
5、Part II: The Sacrifice Introduction
Jeremy Siepmann
6、Part II: The Sacrifice: Ritual Action of the Ancestors: Evocation of the Ancestors (complete) and Ritual Action of the Ancestors (complete)
Jeremy Siepmann
7、Part II: The Sacrifice: Sacrificial Dance: Part II (complete)
Jeremy Siepmann
8、Part II: The Sacrifice: Ritual Action of the Ancestors: The movement ends with a varied reprise of the opening
Jeremy Siepmann
9、Part II: The Sacrifice: Sacrificial Dance: Two variants: one a rhythmic simplification, the other an expansion
Jeremy Siepmann
10、Part II: The Sacrifice: Mystic Circles of the Young Girls: Variant of Motif No. 2 given out by two clarinets
Jeremy Siepmann
11、Part II: The Sacrifice: Mystic Circles of the Young Girls: All change - direction, tone colour, metre - and two new ostinatos
Jeremy Siepmann
12、Part II: The Sacrifice: Mystic Circles of the Young Girls: Putting the movement back together again
Jeremy Siepmann
13、Part II: The Sacrifice: Glorification of the Chosen One: Against the odds, the 'descending motif' comes out on top
Jeremy Siepmann
14、Part II: The Sacrifice: Evocation of the Ancestors: The second statement: breaking the metrical flow
Jeremy Siepmann
15、Part II: The Sacrifice: Ritual Action of the Ancestors: A counterpoint of ostinatos lends continuity to changing time signatures
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