For
a touch of nostalgia and a winding back
of the memory clock one can do nothing
better than dip into this series. The
first and second volumes must have sold
well enough for this third volume to
be recorded. The Dvořák, Elgar,
Kálman and Massenet pieces will
be well known to anyone who remembers
Max Jaffa or the Palm Court orchestras
from BBC broadcasts in the 1950s and
1960s. Their inception was an extension
to those teahouse, hotel and liner trios
and chamber ensembles.
The Palm Court orchestra
was probably about the size of this
Schwanen Salon Orchestra, numbering
ten players, while the Max Jaffa Orchestra
was substantially larger, with sixteen
instrumentalists. One particular characteristic
of the Max Jaffa sound was the extra
depth of texture provided by full percussion
and timpani. Here the timpani is notable
by its absence and so the sound is lighter.
Although it was quite usual to include
a saxophone and double the clarinet
it is unusual to come across (as here)
an accordion as part of the band.
The dreamy and melancholy
feel to Godard's Berceuse
is enticing and drifts leisurely along
with meandering strings and piano accompaniment.
One can be excused for not recognising
Heuberger's The Opera Ball,
but when you hear the piece you will
remember its engaging charm. Of the
other lesser-known pieces I find the
Florentine March and Storm
Galop most refreshing and well
suited to the style of this ensemble.
They give the impression that they are
being played by an orchestra twice the
size — both are rousing pieces with
good rhythmic interest. Strauss's imaginative
Dragon Fly is catchy in
texture and woodwind effect yet the
violin's contribution is initially too
recessed.
The only track I didn't
care for was the hasty reading of the
usually tranquil Chanson du Matin
with a pulsing emphasis that
interrupts the flow; its elegance is
lost as a result.
The orchestra comprise
very capable musicians. It provides
a reasonably full spectrum of texture
with that unique quality a salon band
offers where the virtuoso violinist
generally maintains the flow of melody
and the piano provides thickening harmonics.
The saxophone is a pleasant voice to
take on a solo role in Elgar's Chanson
de Nuit. My personal preference
for balance is probably conditioned
by those old BBC broadcasts, where the
violin is forward-placed and the piano
is fairly recessed. Here the engineer
places the piano unnecessarily forward
in some of the tracks. At times the
violin is recessed to allow reverberation
and to give more bloom. This is at the
expense of a loss of focus. In the end
it is a matter of taste.
Naxos provide two pages
of notes on the composers. These are
in English and German. There is also
a paragraph on the orchestra and its
accomplishments.
Raymond J. Walker
see also review
by Ian Lace
In the series:
8.554756 Salon Favourites
1: Skater's Waltz; Vienna, City
of my dreams; Matinata; Il bacio; Serenata;
Brise de Mer Reviews:
Ian
Lace Harry
Downey
8.555344 Salon Favourites
2: Blue Tango; Sudich der Alpen;
Avant de mourir; Funiculi, funicula;
Belle of the Ball Review:
Adrian
Smith
Schwanen Salon Orchestra/Georg Huber 
