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> Jacob Gade "Jealousy - Suites, Tangos and Waltzes", SACD

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Elephantus
post 29/06/2009, 18:23
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Jacob Gade "Jealousy - Suites, Tangos and Waltzes" SACD


Jacob Gade "Jealousy - Suites, Tangos and Waltzes" , SACD

Genre: Classical – Orchestra

Гибридный SACD 5.1

Odense Symphony Orchestra
Matthias Aeschbacher

Bjarne Hansen, violin

JACOB GADE (1879-1963)

  1. Jalousy, Tango Tsigane (1925) 4:06

  2. Leda and the Swan, Legende d'amour (1939) 11:07

    Suite d'amour (1940)
  3. The First Meeting 3:49
  4. In Love 3:26
  5. Red Roses 3:42

  6. Rhapsodietta (1931) 6:58

  7. Romanesca, Tango (1933) 4:38

    Wedding at Himmelpind, Rustic Suite (1937)
  8. Arrival Of The Wedding Guests 2:07
  9. The Bridal Procession 3:00
  10. The Wedding Feast 3:03
  11. Finale 4:01

  12. Valse Capriccio (1943) (arr.: Ole Højer) (1943) 4:43

  13. Copenhagen Life, Waltz (1937) 4:48

  14. Douces Secrets (1919) 6:37


    Total 66:42

Recorded at Odense Concert Hall on 12-16 January 1998
Recording producer: Michael Petersen
Sound engineer: Michael Petersen
Editing engineer: Michael Petersen
SCAD mastering: Michael Petersen


Dacapo Records (6.220509, 7 47313 15096 0), 2008
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Elephantus
post 29/06/2009, 18:37
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Цитата( буклет )
JACOB GADE
Jalousie, Tango Tsigane was the tune that brought the Danish composer Jacob Gade world fame. It is one of the most popular and most played melodies ever composed. But besides this work Jacob Gade left a large output - music in the symphonic style, accompanying music for silent films, music for revues, dances and entertainment music, as well as music for operettas and Singspiele and a string quartet piece.

Jacob Thune Hansen Gade was born in the Danish city of Vejle on 29th November 1879. He came from an old family of village musicians who accompanied dancing at balls and on other festive occasions. So it was quite natural when Jacob Gade began playing music as a child, and at the age of nine made his debut on the trumpet in his father's ten-member band. The next year Jacob was invited to Copenhagen to perform as a guest soloist in the Tivoli Band. At the age of 12-13 he began to take lessons on the violin, first with his father and then with a local organist. But at an early stage he realized that he would have to go elsewhere if he wanted to get on in the world: "However, I did realize that I would not go far enough that way, so I quietly made the decision that I would have to get myself to Copenhagen. And now I had also begun to compose various peasant dances, 'hopsa' tunes, polkas and the like. I thought the time had come to advance on the capital. There was no doubt about my intentions. I wanted to be a conductor and composer - and I had to be a waltz composer. I thought that was a finer and more beautiful type of music than anything else."

Sixteen years old, with a modest starting capital of 80 kroner, Jacob Gade went off to Copenhagen. But the money did not last long. At first he had to sleep out for many nights on the stairways of the city. His engagements were restricted to small hostelries and cafés. The real step up only came when Jacob Gade, at the age of 17-18, was engaged to play in the 'Operetta' at the Lorry Feilberg music hall in Allégade in Frederiksberg, at that time the centre of the popular entertainment scene in Copenhagen. From these years come Gade's first published compositions. The very first appeared in 1900 - a drinking song, Der er sollys i modne druer ("There is sunshine in ripe grapes") - with a text by Lorry Feilberg. The song became hugely popular and was for example sung by Elna From - a ten-year-older actress who became Gade's first great love. With her he had three children. But the couple never married, and by 1906 they had parted. In 1908, during a stay in Oslo, Gade married the actress Mimi Mikkelsen, who remained his wife until her death in 1951.

Jacob Gade played at Lorry Feilberg until 1901. Then he worked for a year or two as a violinist with various orchestras in Copenhagen. In 1903 he was promoted to conductor, and for the next few years Jacob Gade headed several entertainment and dance bands, until 1909, when he became conductor at the fashionable Hotel Bristol on the City Hall Square. As musical director at the Hotel Bristol, Gade was described as a new Lumbye or Strauss, when as Stehgeiger or standing violinist he conducted his orchestra in the entertainment and concert music of the period.

Alongside these engagements Jacob Gade began taking violin lessons with the very popular violin teacher Max Schlüter, who, after concert tours all over the world, had settled down in Copenhagen around 1909. But Gade later said that even then he was too old for the teaching to help him to a career as a classically trained concert violinist. A few years before this Gade had tried unsuccessfully to be admitted to the Royal Danish Academy of Music.

From 1914 Jacob Gade began his many years of activity as a theatre and cinema conductor, beginning with an engagement at the Dagmar Theatre (1914-19). In this period he also gave a number of concerts (among other things playing one of Paganini's violin concerto and Bach's solo sonatas), and at the same time was very productive as a composer. Several waltzes with French titles (Valse Ravissante, Douces Secrets) and his 'Gypsy romances' appeared at this time. These works were incidentally published under the pseudonym Maurice Ribot - foreign names made a good impression and helped to give both the composer and the music an international flavour. Works like these were very successful, and when the newspaper Politiken proclaimed him 'the Danish Waltz King', his youthful dream came true.

In 1919 Jacob Gade went to New York, where he got a job as a violinist in a smallish cinema orchestra. Later he joined the 80-member orchestra of the Capitol Cinema, and was finally lucky enough to win a place in the National Symphony Orchestra (the New York Philharmonic). There he played for two years under the batons of the conductors Artur Bodanzky and Willem Mengelberg. This was the only time in Gade's life when, as a performing musician, he played classical symphonic music for an extended period.

During a holiday in Denmark in 1921 Jacob Gade was offered the job of conductor at the Palads, the biggest cinema theatre in the Nordic countries. There, until 1926, he conducted a 24-member orchestra. The experience Gade had gathered at the Capitol Cinema was now an advantage when he was to put together the accompanying music. It consisted of classical pieces mixed with decided film music, the so-called 'Cinothèque' music, which was meant to evoke various moods in the silent films. In addition he used his own compositions. Gade's masterpiece in this genre, Jalousie, Tango Tsigane, is an example.

In 1926 Jacob Gade took over the management of the Nørrebro Theatre in Copenhagen and at the same time supplied the music for the theatre's shows and revues. But he was no great success as a theatre director, and as early as the end of 1927 he returned to the Palads Theatre as conductor, where he experienced the last flourish of the silent film age. But when the talking film was introduced in Copenhagen in 1929, he soon had to face the fact that the new medium had made the cinema orchestra superfluous.

Jacob Gade left the Palads Theatre in the autumn of 1929. But his popularity continued unabated, and for a while he was engaged with his orchestra by the World Cinema theatre. Then came a season at the large establishment National Scala, which opened in 1931. There Gade headed a 30-member orchestra in the daily entertainment music. It was Gade's last big engagement as a conductor. A new age was on the way, and with it came new sounds - the sounds of jazz. And this was one of the reasons Gade withdrew from the public eye at the beginning of the 1930s to devote himself to his composing work.

In 1925 Gade had bought Tibirke Mill in northern Zealand as a summer house. He liked to get away from the hectic life of the city. His Rhapsodietta and the tango Romanesca were both composed at that time. Both works, besides being published by a Danish publisher, were published in Paris by Max Eschig. The same tendency to look beyond the national borders was expressed by some of the subsequent large orchestral works composed at the end of the 1930s. In 1939, when Gade again travelled to the USA, he contacted an American publisher with a view to publishing his music there. With him he had several of his most recent compositions, including Leda and the Swan, which was accepted for performance at a Broadway theatre. During his stay in New York Gade was lionized by American radio and the big cinema theatres as a world famous name.

On 8th April 1940 - the day before Denmark was occupied by the Germany army -Jacob Gade returned to Denmark. In 1943 he went to live in the small fishing hamlet of Thorøhuse near Assens on Funen. There he lived out his final years in retirement, but continued to compose - among other things the Valse Capriccio.

Jacob Gade had stated in his will that he wanted to found a trust that would benefit young, talented musicians. As guidelines for the executors of the trust he wrote: "I remember to this day the difficulties of a financial and educational nature that faced me when I came as a very young man to Copenhagen intending to carve out a career in the world of music, so I am very concerned to ensure that the earnings that come from the assets I leave will be used to ease the progress of the young, talented musician, so that, when he has shown his abilities, he will be able to train with qualified teachers here and if necessary abroad, without financial difficulties presenting too much of an obstacle."

The earnings from Jacob Gade's popular music formed the basis of his capital and thus of the foundation. After his death on 20th February 1963 the foundation, Jacob Gades Legat, has awarded considerable sums every year to young, talented Danish musicians. And the royalties still come in, for the benefit of coming recipients - first and foremost from Tango Jalousie, but also from Gade's other compositions.


THE WORKS
Jalousie, Tango Tsigan
Jalousie, Tango Tsigane
had its first performance on 14th September 1925 at the Palads Theatre in Copenhagen in connection with the premiere of the silent film Don Q, starring Douglas Fairbanks and Mary Astor. Gade used the theme as accompaniment to the film, and in the intermission the tango was performed in its entirety.

Gade himself wrote about the inspiration for the tune that was to shape his life: "One day the papers were full of a sensational description of a crime of passion, and it impressed me so much that I could not stop thinking about it. On my morning walk across the fields, though, I came to the sensible conclusion that the horrifying drama was really none of my business, so it faded more and more into the background; but the word 'jealousy' remained in my mind as a title around which notes gradually clustered. When I got home, I sat down at my desk, and after a few hours Tango Jalousie was finished."

The title Jalousie, Tango Tsigane, with its French form, emphasizes the international character of the melody. Tsigane - Gypsy - primarily refers to the virtuoso introduction, sounding almost improvised, for the solo violin. By and large the tango can be divided into two main sections - the first temperamental theme in D minor and the subsequent refrain-like lyrical section in D major, which is repeated. Both themes have the characteristic tango rhythm and stand out with their strong melodic profile. The instrumentation is the composer's own, and it shows that Jacob Gade was a master of his craft, although he was self-taught as a composer.

The tango was published the same year by Gade & Warny, a publishing house that Gade had just established with his colleague Jens Warny - a highly esteemed bandleader at the famous Nimb establishment in Copenhagen. The very next year Jalousie was published abroad, for example by Harms in New York and Brull in Paris. Then, in the 1930s, came radio broadcasts and gramophone recordings. Arthur Fiedler's recording with the' Boston Pops Orchestra in 1938 for the Victor label consolidated the success of the tango further. Innumerable other recordings followed, including one by the famous English singer Vera Lynn, who had a hit during the Second World War with a text version written by the American Vera Bloom in 1931.


Leda and the Swan, Légende d'amour
Leda and the Swan
is a piece of ballet music based on the Greek myth of the princess Leda, who married King Tyndareus of Sparta. Zeus, the King of the Gods, fell in love with Leda and came to her in the shape of a swan. Thus Leda gave birth to the beautiful Helen, Clytemnestra and the two Dioscorides (i.e. sons of Zeus) Castor and Polydeuces. In the autumn of 1939, when Gade went to the USA, one of the works he took with him was the newly composed Leda and the Swan. Sutro - a former ballet-master at the Metropolitan and Chicago operas - created the choreography for the production, which was accepted for performance at a Broadway theatre. (Because of illness, however, - "Leda" came down with appendicitis - the premiere had to be postponed until the following season.)


Suite d'amour
Suite d'amour
was composed in the period when Jacob Gade had returned from city life to devote himself to composing. To the question whether he missed the conductor's podium, he answered in 1944: "No, not really. I would rather write music. In the old days one did it blithely for the sake of the money. One was always most inspired towards payday. Now it's a matter of conscience." Gade had primarily seen success as a composer in the dance music and concert entertainment genres, but the orchestral works of the end of the 1930s were to show that the master of light music also mastered some of the elements of classical music, in terms of content, form and instrumentation.


Rhapsodietta
The full Danish title 'Tibirke': Dansk Rhapsodiette refers to Gade's summer house at Tibirke Mill, where he lived at the end of the 1920s. At this time Gade was approaching the end of his career as a violinist and conductor, and with this work he tried his hand for the first time at one of the freer forms of classical music, the rhapsody. Gade undoubtedly had works like Liszt's Hungarian Rhapsodies in his wide repertoire as a musician, and they may have inspired him to write the Danish rhapsody or Rhapsodie danoise (the title of the French edition of 1939). The rhapsody was composed for an extended salon orchestra and consists of five loosely joined sections in potpourri form.


Romanesca, Tango
Jacob Gade composed other tangos than Jalousie, including Romanesca, which he published in 1933 as the first work from his new publishing house Edition Gade. Besides the traditional editions for piano and salon orchestra, the new tango also appeared for a large orchestra in Gade's own arrangement, both from his own publishing house and in Paris from Editions Max Eschig. In the latter edition the tango was also given a French text. The introductory violin solo with cadenzas is if possible more of a virtuoso piece than in its predecessor Jalousie. Although it has often been performed abroad, this tango has nevertheless not succeeded in achieving a similar breakthrough.


Wedding at Himmelpind, Rustic Suite Wedding at Himmelpind is one of Jacob Gade's major orchestral works. It originally consisted of six movements, but was later revised and reduced to four movements in the printed edition of 1941. Of the background for the writing of the suite Gade himself said: "It is a musical version of a number of pictures from my childhood. Himmelpind is a small spot outside Vejle, where I was born, and as a child I played many times there at village weddings." Gade was able to evoke the 'rural' mood of Bryllup på Himmelpind by simple means - both when the church bells ring in the wedding march and when the fiddlers tune their violins in preparation for the feast. With the crowing of the cock in the final movement the feast is approaching its end, and Gade would certainly have remembered his childhood here, when he blew the trumpet as a boy in his father's ten-man band.


Valse Capriccio
Capriccio is the name given to a technically difficult instrumental piece with a scherzando character - features outstandingly manifested by Valse Capriccio. Gade understood how to exploit the potential of the solo instrument in terms of both technical execution (double-stopping, staccato bowing) and acoustic effects (harmonics). The tone of Valse Capriccio is very Vienna-inspired, and since it is at the same time a capriccio, one cannot but be reminded of both Paganini's Capricci per violino solo and Fritz Kreisler's Caprice Viennois. Ole Høyer has arranged Valse Capriccio for a large orchestra.


Copenhagen Life, Walt
In the same period as the large orchestral works, Jacob Gade wrote Copenhagen Life, the only one of his waltzes to have the subtitle 'Vienna waltz'. The form is the classic one found in Franz Lehar's Gold und Silber - an extended introduction followed by three waltzes. Unlike the 'French' waltzes, Gade chose to arrange Copenhagen Life for a large orchestra, i.e. with complete woodwind and brass sections, percussion and strings. Copenhagen Life was probably used as accompaniment to a theatrical piece or Singspiel with the title Det kære København ("Dear Old Copenhagen").


Douces Secrets, Valse lente
This waltz has the subtitle Valse lente par Maurice Ribot, but on the front page of the music, along with the pseudonym, the name of Jacob Gade also appears, which might suggest that the composer wanted to shed his anonymity after his success with the 'French' waltzes had been consolidated. The recurrent and characteristic feature of these waltzes is the instrumentation. Apart from several piano versions they only exist in an edition for salon orchestra, where the instrumentation is restricted to one flute, one clarinet, two trumpets, a trombone, percussion and strings. The sheet music typically appeared with no score, as the piano part was used as the conductor's part. The advantage of such arrangements was that the music could be performed by variable ensembles on very different occasions depending on the needs, the locality and the financial basis. Restaurants and tearooms attracted their clientele with the entertainment music of the period, and Gade knew how to get his music out to the general public this way, even if it was to be performed for example by a piano trio. Søren Friis


Почему- то считается, что Якоб ГАде композитор одного произведения. Это правда, только не совсем, или совсем не. Этот диск от части призван развенчать такое предубеждение. Провинция в Дании, потом Копенгаген, потом уже Нью-Йорк. Он играет на скрипке (а еще учился и на трубе) где придется, почти на улице. В Нью-Йорке играет на скрипке в кино-оркестре. Начинает писать композиции, а потом…, потом уже пишет Цыганское танго ЖалюзИ (Ревность). Позже оно появится более, чем в сотне фильмов. Отчисления за эту композицию обеспечат его (да и не только его, фонд его имени существует и помогает молодым музыкантам) на оставшуюся жизнь. Появляется известность, предложения возглавить театр в Дании и пр. Это произведение оказалось ко времени. Как просто, датский композитор пишет аргентинское танго, но со скрипкой в цыганском стиле, и мир у ног, только хорошо бы чувствовать, где взять этот выигрышный лотерейный билет. Возможно, игра для немого кино подсказала. Обеспеченный человек, он продолжает заниматься композиций, на альбоме только одна пьеса написана до Ревности. Есть еще одно танго – Романеска (и опять романы). У него именно скрипичные вещи с особой чувственностью получаются, как вальс Капричио, например.
Этот альбом переиздается в хай-резе. И есть проблема. Долго не мог понять, что же не так. Звук как бы скруглен, причем высокие чистые и скрипки и ударный медные, и низкие, когда дело до барабанов доходит. Потом сообразил, начальная запись в достаточно звонком зале производилась. Потом эту запись путаются в многоканальность поместить – в глубину растянуть, что не очень получилось, и еще зала добавить. Но МК запись понравилась больше, чем стерео.

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