PDF scanned by Bixio Coll. PDF typeset by arranger Max. This is a free adaptation of Chabrier's piece. Several different instrumentations are listed on the cover, the piano arrangement was published first, though it likely was originally premiered by the composer with his orchestra. Chabrier's page.
|Published (Last):||4 October 2008|
|PDF File Size:||20.70 Mb|
|ePub File Size:||18.57 Mb|
|Price:||Free* [*Free Regsitration Required]|
Despite their Germanic surname, the family were French. This is explained by their German ancestry and the fact that they hailed from Alsace, which despite strong German traditions had been fully integrated into France since Emile Waldteufel was born in Strasbourg on 9th December , just seven weeks after the elder Johann Strauss gave his first concert on French soil in that very city.
Emile Waldteufel was to live in Paris for the rest of his life, and he in turn studied piano at the Conservatoire from to , his classmates there including Jules Massenet. Meanwhile the family dance orchestra was becoming one of the best-known in Paris, increasingly in demand for Society balls during Napoleon III's Second Empire.
Yet so far Emile Waldteufel's dances had been known only to a relatively limited Society audience. By the time international fame came he was almost forty. The Prince complimented him on his waltz Manolo and agreed to help launch his music in London.
So later did the German firm of Litolff, in whose editions the works sometimes appeared under slightly different German names. In addition, to suit Germanic custom, in Litolff retrospectively began an opus numbering system.
This began at to make arbitrary allowance for early works, and for various reasons many works were numbered out of chronological sequence, thereby providing a source of much confusion ever since.
His orchestra continued to provide dance music for Presidential Balls, as well as for other Society functions, until , when he retired.
He continued to compose, but his style was by then outdated. He died in Paris on 12th February at the age of Unlike the music of Johann Strauss, Waldteufel's perhaps scales no great architectural heights, but rather seeks to enchant by the grace and charm of his melodies and their gentle harmonies.
By comparison with Strauss's very masculine creations, there is undoubtedly more of a feminine feel about Waldteufel's waltzes. Unlike Strauss, he conducted with a baton rather than a violin bow, and he composed at the piano, his works being orchestrated later.
The standard Waldteufel orchestration was for strings, double woodwind, two cornets, four horns, three trombones and ophicleide or tuba , plus timpani and percussion.
After Waldteufel's death his music continued to hold a place in the affections of ordinary music-lovers alongside that of Johann Strauss. If in recent decades Emile Waldteufel's music has been overshadowed by that of the Strausses, it is with correspondingly greater freshness that we are able to rediscover its grace and charm today.
Unfortunately Paris newspapers did not report the titles of dances played at Society balls. Thus the best available dating of Emile Waldteufel's works comes from publication records and dates of registration with the French copyright collecting agency S.
In the following notes, the original French titles are given, together with English translations and the titles under which the works were published in Germany. Ice-skating was a popular pastime, and the Cercle des Patineurs in the Bois de Boulogne was a popular Parisian meeting place. The winter of was especially severe, and on 10th December Paris experienced a temperature of The Seine froze over completely, and omnibuses and carriages had to operate on runners.
It was against this background that, some two years later, Emile Waldteufel composed his most famous waltz, Les Patineurs. Of them ail it is the one with the most obvious programmatic content.
The introduction, anticipating the main theme, offers a sense of the sharpness and glitter of a wintry scene, with the flute and answering violin glissandi helping to give the impression of skaters trying out the ice. The main theme in turn presents a readily recognisable picture of skaters gliding around, after which they build up their confidence and try some daring leaps and falls. Then a sleigh, complete with sleigh-bells, arrives to complete the wintry scene.
Note especially the third waltz section, in which the violins flirt deliciously with the trombones, and the broadening of melody in the fourth waltz section, where dotted minims make up 29 of 30 consecutive bars of the bar trio.
In later years Henry Blount was to be a leading figure in a Parisian tragedy. The flames spread rapidly, and there was panic in the crowded arena as everyone pressed for the exit. Emile Waldteufel's evocation has justly remained one of his most popular waltzes. Indeed, of all Waldteufel's waltzes, this was the one that had the greatest initial success in Britain, the piano edition far outselling other Waldteufel titles.
The waltz was first published in London in and introduced there, together with Hommage aux dames, at a State Ball at Buckingham Palace on 22nd May The British title was in turn translated into German when the work was published by Litolff.
Whether associated with jewels or fireworks, the work begins with a suitably dazzling kaleidoscopic display in polonaise rhythm, prefacing another of the best-known and most truly inspired of all Emile Waldteufel's waltzes. The work carries a dedication to the Baroness Hoffmann. In addition to the way in which it builds up progressively from its beautifully dreamy introduction to the superb melodic sweep of the coda, the delicacy of the orchestration is particularly striking.
Dating, like Pomone, from Waldteufel's most inventive period, it was dedicated to Mme Michel Ephrussi, a member of a Parisian banking family. About this Recording 8. Thus it was that the publisher Enoch commissioned him to arrange a set of waltzes around a highly popular duet Estudiantina 'Band of Students' composed by Paul Lacome The actual song was sufficient for only the first one-and-a-half sections of Waldteufel's waltz.
However, since Lacome and his lyricist Comte J. The songs used in the various waltz sections are: 1 Estudiantina refrain ; 2 Estudiantina verse and Chanson d'automne another original Lacome composition ; 3 Jota de la Estudiantina and 'Tirana'; 4 De Cadiz al Puerto and El Tripili. Pomona was an Italian goddess of tree-fruits such as apples hence the word pommes , who was pursued by Vertumnus, god of the ripening fruits of autumn. This is especially true of the second part of the third waltz section, which is marked grandioso and which is repeated fortissimo in the coda to bring the waltz to an especially exhilarating conclusion.
The work bears a dedication to the Comtesse Raphael Cahen d'Anvers. Without for a moment suggesting that Emmauel Chabrier needed any help from Emile Waldteufel, it is a fact that Chabrier's rhapsody and Waldteufel's waltz arrangement have shared popular acclaim for over a hundred years. It was in November that the rhapsody was published, and some two years later that Waldteufel made his waltz arrangement. Not only the themes are taken over, but also details of orchestration such as the distinctive whirring of the cellos in the second waltz section and the famous barking trombone theme in the fourth.
At the same time, so skilfully are the melodies integrated that few realise that not all the material is from the rhapsody. Close the window.
His grandfather and father were both musicians; his mother Flora Neubauer, originally from Bavaria had been a student of Hummel and had met Haydn ; she was a keen singer and dancer also. Waldteufel received his first lessons from his father and the local musician Joseph Heyberger; after his arrival in Paris he was able to take elementary classes from Laurent at the Conservatoire de Paris, followed by advanced studies under Marmontel. He also led the orchestra at state balls. After the defeat of France the Second French Empire was dissolved and his home town became part of Germany for the rest of his life.
España, Op.236 (Waldteufel, Emile)