Philippe Musard Videos
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2024-05-21
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Johann Strauss Johann Strauss I Haslinger Pollack Philippe Musard Lanner 1839
Johann Strauss I, Contredanses, Op. 44, Arr. CPE Strauss My orchestration from the first edition Haslinger piano score of this set of contredances by Jean [sic] Strauss. The Contredanses Op. 44 appear in the Marco Polo complete edition of Strauss’s works in volumes 3 and 5. Unfortunately, they appear to be two different works completely. They do have the same sleeve notes though. This version corresponds to the Pollack recording but has the dubious benefit of my orchestration. I assume the recorded version had access to the original manuscript (assuming it exists) although it is unlikely to be a straight transcription due to the difficulty of finding trumpets and trumpet players who can reach the notes of scores of this period. The received internet wisdom is that while on tour in Paris in 1839, Johann Strauss sat in with the orchestra of Philippe Musard, the father of the quadrille, to study how to write one, and then subsequently brought the form back to Vienna. I have a few issues with this. The Viennese quadrille in its final form has six movements – Pantalon, Été, Poule, Trénis, Pastourelle and Finale. The French version only has five. This set of contredanses and a subsequent set by Strauss, both written well before 1839, are Viennese quadrilles in all but name, having the six named movements described above. Lanner also wrote quadrilles, and called them that, before 1839 although they do not conform exactly to either the strict Viennese or French forms. Finally, Strauss is a much better composer than Musard and had no need of lessons. It would be good publicity for the visiting composer to sit in with the most famous dance band in Paris, however. I expect that is all it was. Not true, I think
Philippe Musard Stradella Louis Niedermeyer Johann Strauss I Berlioz Lanner 1837
Lots more music like this on www.cpestrauss.com This is my orchestration of the first of two quadrilles by Philippe Musard on themes from Louis Niedermeyer’s opera Stradella. It’s a curiosity. The opera was first performed in Paris in March 1837. I assume the quadrille was written at about the same time to cash in on the publicity value of the opera. Musard was very popular in Paris at the time, and was renowned for his quadrilles, and his showmanship with his orchestra. Johann Strauss I and his orchestra arrived in Paris on tour in October 1837. Strauss shared concerts with Musard and played violin in his orchestra to learn the art of the quadrille. It must be a fair bet that he played this one. If this quadrille is anything to go by, he didn’t have much to learn. To be fair, it’s not Musard’s fault that most of the tunes are a bit ordinary. That was not my first choice of words. Still, it could be worse. The opera has five acts and I didn’t have to listen to that. According to Wikipedia, Berlioz wrote (of the opera) "In a few days' time I have to find a way of writing indulgent nonsense about an appalling non-work called Stradella of which I saw a rehearsal yesterday evening at the Opéra. A thousand reasons force me to, quite apart from the fact that it would not be decent, in my position, to slate a young composer [Niedermeyer] who has for a long time been in the same situation vis-à-vis the theatre as I am. But I must warn you not to believe a word I say.". The quadrille does end with a bit of energy though. Musard’s orchestra was renowned for its special effects – breaking chairs and the like. I have used the orchestral forces I use for Lanner at the same period - quite a large band but no oddities.
Pour hautbois, saxophone baryton, violon, violoncelle, contrebasse et piano. Oeuvre inspirée par Friedrich Dürrenmatt 1-Prologue et mise en abyme 2-Dialogue de sourds NEC Nouvel Ensemble Contemporain CLAIRE-PASCALE MUSARD, hautbois VINCENT DAOUD, saxophone DANIEL PIORO, violon ESTHER MONNAT, violoncelle JOCELYNE RUDASIGWA, contrebasse ANTOINE FRANÇOISE, piano LENNART DOHMS, direction Centre Dürrenmatt Neuchâtel (CDN), 22.10.2017
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