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Salon Orchestral favourites: Volume 3
Julius FUČÕK (1872-1916)

Florentiner Marsch (1907)
Benjamin GODARD (1849-1895)

Berceuse from the opera Jocelyn (1888)
Oscar STRAUSS (1870-1895)

Liese, ganz leise klingtís durch den Raum from A Waltz Dream (1907)
Franz von SUPPÉ (1819-1895)

Teufelsmarsch (Devilís March)
Richard HEUBERGER (1850-1914)

In chamber séparée, Intermezzo from the operetta The Opera Ball (1898)
Sir Edward ELGAR (1857-1934)

Salut díamour (1888)
Chanson de nuit (1897)
Chanson de matin (1899)
Emmerich KÁLMÁN (1882-1953)

Potpourri from Die Csárdásfürstin (1915)
Anton DVOŘŃK (1841-1904)

Humoresque (1894)
Joseph STRAUSS (1827-1870)

Die Libelle (The Dragon Fly) Polka Mazurka
Karel KOMZÁK (1850-1905)
Storm Gallop

Fritz KREISLER (1875-1962)


Jules MASSENET (1842-1912)

Méditation from the opera Thaïs (1892-3)
Salonorchester Schwanen/George Huber
recorded in the Clara-Wieck-Auditorium, Sandhausen, 15-17 November 2002
NAXOS 8.557048 [63:45]


Here is a third volume of light music favourites performed with élan and affection by Georg Huberís ten-strong Salonorchester Schwanen. Itís the sort of programme that even if you do not know all the items by name you will certainly recognise most of the melodies.

Taking pride of place is the 17-minute ĎPotpourrií from Kálmánís popular operetta, Die Csárdásfürstin (ĎThe Gypsy Princessí), composed in 1915 towards the end of the grand Viennese era. One lovely tune tumbling after another, entrances the ear. Other Viennese representations in this sparkling concert include old favourites: Kreislerís spellbinding Liebesleid and Liebesfreud unashamedly afforded the full old-fashioned sentimental treatment; the haunting ĎIm chamber séparéeí from Heubergerís The Opera Ball, and Oscar Straussís lilting Waltz Dream number. Then there is Suppéís swaggeringly exuberant Devilís March, Josef Staussís buzzing little Dragon Fly and Komzákís amusingly evocative Storm Galop with the horses clearly anxious to get under cover, and FučŪkís equally amusing and cheeky military take-off, the Florentiner Marsch, its trio instantly recognisable.

Moving on to France, we have Godardís lovely ĎBerceuseí from his opera Jocelyn and Massenetís ever-popular ĎMéditationí from Thaïs, given a ripely sentimental and dramatic reading here. A somewhat twee rendition of DvořŠkís Humoresque and rather continental renditions of Elgarís Salut díamour and the Chansons (Matin done in an unseemly rush) with odd saxophone and accordion colourings complete the programme.

On the whole, an entrancing hour of salon favourites played in the unashamed old sentimental style with élan and enthusiasm.

Ian Lace



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