法国舞厅名曲：深受欢迎的舞曲/French Ballroom Favourites: Les Succes de la Danse

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- 法国舞厅名曲：深受欢迎的舞曲
  French Ballroom Favourites: Les Succes de la Danse
  专辑号：8.223801

法国舞厅名曲：深受欢迎的舞曲/French Ballroom Favourites: Les Succes de la Danse
[ 介绍 ]
provide the Frenchorchestration for a currently popular waltz that had travelled from its nativeRomania in piano solo form. This was the waltz originally titled ValurileDunari, which became internationally celebrated as Donauwellen, Waves ofthe Danube or, in French, Flots du Danube. The composer- IonIvanovici, was born in Romania around 1845 and spent most of his careerinvolved with military music in Galati, site of a naval training-school on thenorth bank of the Danube, some eighty miles north-east of Bucharest. In 1901 hemoved to Bucharest but died there the following year. This most famous of hiswaltz compositions was first published in Bucharest in 1880, with a dedicationto Emma Gebauer, the publisher’s wife. In 1946 its distinctive main theme gainedrenewed familiarity when adapted by Al Jolson and saul Chaplin as the ’Anniversary Song’ (’Oh! how we danced on the night we were wed’) in the film TheJolson Story. Ion Ivanovici himself won a composition prize at the 1889Exposition Universelle in Paris, some three years after Emile Waldteufel madethis orchestration. It provides an interesting comparison with the morefrequently heard version. Theearliest composer featured in this collection is Isaac strauss. Known as ’strauss de Paris’, he was unrelatedto the Viennese strausses but cannot have been disadvantaged by the sharedsurname. Like Waldteufel, he hailed from strasbourg, where he was born on 2ndJune 1806. In 1826 he entered the Paris Conservatoire as a violinist, and in1828 was a co-founder of the societe des Concerts du Conservatoire. shortlyafterwards he was engaged as violinist at the Theatre-Italien in Paris, and healso began to build up a reputation as director and composer of dance music.From 1843 to 1863 he was conductor of the spa orchestra at Vichy, and he wasconductor of the Imperial Balls at the Tuileries almost throughout the SecondEmpire, his orchestra latterly sharing the duties there with the Waldteufelorchestra. He then became conductor of the Opera Balls. In his later years he was a generous benefactor to oldand . needy musicians, and he built up an extensive art and archaeologicalcollection, which is now housed in the Salle Strauss of the Cluny Museum, Paris. He died in Paris on 9th August 1888. Thefact that Isaac Strauss’s compositions were published simply under the name of’Strauss’ or ’I. Strauss’has meant that they have often been confused with those of Johann Strauss. That could be particularly easy to do when, aswith Offenbach’s 1858 opera bouffe Orphee aux enfers (Orpheus in theUnderworld), both composers arranged a quadrille on the same material. However,French (and English) quadrilles can be distinguished from Viennese by theformer having just five figures compared with the Viennese six. Cohen haslightened the ’al fresco’ style of scoring of Isaac Strauss’s quadrille, inwhich all the instruments play almost all the time to create a greater volumeof sound outdoors. IsaacStrauss was noted for the frenetic nature of his conducting. By comparison, Olivier Metra was oncedescribed as maintaining a ’dreamily tranquil appearance ...utterly detachedfrom the rollicking joy that he let loose with the tip of his violin bow’. Bornon 2nd Iune 1830 (in Reims according to some sources, in Le Mans according toothers.), Iules-Louis-Olivier Metra initially followed in the footsteps of hisfather as an actor. In 1842 he appeared in Paris in the children’ s company atthe Theatre Comte, which later became the Theatre des Bouffes Parisiens. Hesubsequently played violin, cello and double-bass in various theatreorchestrasand in 1849 was admitted to the Conservatoire, where he gained thefirst violin prize in 1854. By the timehe became conductor at the Theatre Beaumarchais he had also begun a career asdance composer-conductor which saw him successively chef d’orchestre atvarious Parisian dance halls -the BaI Robert, Mabille, Chateau-des-PIeurs, AtheneeMusical, Elysee-Montmartre, Casino-Cadet and BaI Frascati. These engagements and his numerouscompositions gave hirn widespread popularity, and by 1870 he was at the top ofhis profession. He went on to conduct at the Folies-Bergere, for which he alsocomposed numerous baIlets and operettas. In1879 his grand ballet Yedda was produced at the Opera, where he conductedthe masked balls for many years until his death on 22nd October 1889. Metra’smost successful waltzes - Les Roses, La Vague, Les Faunes, La Serenade andEsperance! - date from the 1860s or early 1870s and thus predate themajor Waldteufel successes. Sorepresentative are they of their time that Metra and Les Roses arefeatured in Reynaldo Hahn’s 1923 operetta Ciboulette, set in the Parisof 1867. Most of Metra’s waltzes are in the standard waltz format of fourtwo-part sections preceded by an introduction and rounded off with a codarecapitulating the main themes. Such is the case with Esperance! (Hope!,1872), dedicated to his friend and fellow composer Emile Tedesco, several ofwhose dances Metra orchestrated. By contrast, La Serenade (The Serenade,1869), is distinctive for having a central waltz sequence of just two sections,after which the coda introduces new material. Described as a ’valse espagnole’, the composition has many Spanish touches, including an introduction basedupon a traditional figure that is used in many Spanish compositions. Spanishinfluences were, of course, much in evidence at the Court of Napoleon III, theErnpress Eugenie being herself a Spaniard. Theother comparatively familiar French light music composer represented in thiscollection is Gabriel-Marie -to use the hyphenated form of his name he adoptedprofessionally. His farne restslargely on his ’air dans le style ancien’ La Cinquantaine (1884), buthis other dance compositions seem weIl worth rediscovering, judging by therefreshing charm of his waltz Sous les frnes (Under the Ash Trees, 1884)and the rhythmic ingenuity of the polka Frais minois (Fresh Face). Bornin Paris on 8th January 1852, he studied at the Paris Conservatoire andachieved a prominent position in Parisianmusical life in the late-nineteenthcentury. He was timpanist and then chorus master of the Lamoureux Concerts from1881 to 1887, and conducted the orchestral concerts of the societe Nationale deMusique from 1887 to 1894. A keenWagnerian, Gabriel-Marie was among the early French visitors to Bayreuth andwas chorus master for the production of Lohengrin given by Charles Lamoureuxin Paris in 1887. Gabriel-Mariealso conducted the concerts of Sainte-Cecile in Bordeaux, and then from 1902settled in Marseille, conducting there during the winter months and at theCasino at Vichy during the summer until his retirement in 1912. Besides dances, he also composed music fortheatres in Paris and Marseille and w rote music criticism. He died suddenly atPuigcerda in Spain on 29th August 1928 while travelling in the Pyrenees. Hisson lean Gabriel-Marie was also a composer, whose works included music for Mireio,based on the same Proven<;al poem as Gounod’s opera Mireille, andwho was director of the Institut Gabriel-Marie in Marseille for many yearsuntil his death in 1970. Notonly Gabriel-Marie’s son but also his father was a musician. Thus his earliest works were published underthe names of ’G. Marie’ or ’Marie fils’ , his father evidently being the E. Mariewho composed the schottische La Grande Dame (The Grand Lady). ErnestMarie was a prolific dance composer, whose music was played at the State Ballsat Buckingham Palace in London in 1864. By1872 he was conductor at the Harmonie cafe-concert in the Rue du Faubourg- Saint-Martin in Paris, an establishment described in a contemporary guide-book as ’extremely weIl named, because the chef d’ orchestre is E.Marie, author of so many charming works and ravishing waltzes-polkas’. At the Harmonie, Marie conducted overtures,operatic extracts, operettas, songs and baIlets after the fashion of the Parisrefreshment-entertainment resorts of the time. He died in 1882. EmileTavan, who died in December 1929 aged 80, was active as a prolific arranger andorchestrator of other composers’ music over some fifty years. His name is attached to arrangements forvarious instrumental combinations, but above all to his many fantaisies orselections of themes from operatic and operetta successes of the time. ludgingby the polka Le Carnaval viennois (The Viennese Camival, 1881), hisability as an original composer has been unjustly overshadowed by this work asan arranger. Full of inventive phrasing,the Slovak Radio Symphony Orchestra (Bratislava) The Slovak Radio Symphony Orchestra (Bratislava),the oldest symphonic ensemble in Slovakia, was founded in 1929 at the instance of Milos Ruppeldtand Oskar Nedbal, prominent personalities in the sphere of music. Ondrej Lenard was appointed its conductor in1970 and in 1977 its conductor-in-chief, succeeded recently by RobertStankovsky. The orchestra has given successful concerts both at horne andabroad, in Germany, Russia, Bulgaria, Denmark, France, Spain, Italy, GreatBritain, Hong Kong and Japan. For Marco Polo the orchestra has recorded worksby Glazunov, Gliere, Miaskovsky and other late romantic composers and filmmusic of Honegger, Bliss, Ibert and Khachaturian as well as several volumes ofthe label’s Johann Strauss Edition. Naxos recordings include symphonies andballets by Tchaikovsky, and symphonies by Berlioz and Saint-Saens. Jerome D. Cohen The American conductor, composer and arranger Jerome D.Cohen was born in Spokane, Washington, in 1936 and studied at the New EnglandConservatory of Music. His compositions and arrangements have been widelyperformed in the United States, Canada, Asia and Europe and include anorchestration of Debussy’s Girl with the Flaxen Hair recorded by JohnWilliams and the Boston Pops Orchestra and his Houghton Waltz, based onless weIl known melodies by Strauss and first performed by the MinnesotaOrchestra under Leonard Slatkin. His reconstructions of the waltzes that JohannStrauss n composed for his 1872 visit to America have been included in theMarco Polo complete Strauss Edition, while Les succes de la Danse, musicedited by him for the present recording, marks his conducting debut for thesame company.