LUMBYE: Orchestral Works, Vol. 8
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Hans Christian Lumbye (1810-1874)Hans Christian Lumbye, today the internationally best known and most popular Danish composer of dances of the nineteenth century, was born in Copenhagen on 2nd May 1810. While he was still a child his family moved to the provinces, since his father, a military official, was posted first to Jutland and later to Odense, the birthplace of Hans Christian's later world-famous namesake, the fairy-tale writer Hans Christian Andersen. In Odense Lumbye had his first real musical training and at the age of fourteen he succeeded in becoming a trumpeter in the local regimental band. The next year he received his diploma as a trained trumpeter, and at nineteen he returned to his birthplace Copenhagen, where he was employed as a trumpeter in 1829 in the Royal Horse Guard. In the 1830s, besides holding this musical post, Lumbye was a busy musician in the Copenhagen Stadsmusikantorkester or City Orchestra, and his earliest preserved dance compositions come from these years. In 1840 Lumbye put together his own orchestra. The inspiration to take this step had come after he had attended a series of concerts given in Copenhagen by a musical society from Steiermark in Austria, where Johann Strauss's and Joseph Lanner's new dance tunes were heard for the first time in Scandinavia. With his own first Concert ?á la Strauss at the fashionable Raus Hotel in Copenhagen (the later H??tel d'Angleterre) on 4th February 1840, Lumbye definitively began his lifelong activity as Denmark's and Scandinavia's undisputed leading dance composer. Three years later, when the now world-famous amusement park Tivoli opened its gates in Copenhagen, Lumbye acquired the final, permanent setting for his long and prolific composing and conducting career as the leader of the concert hall's orchestra. For this orchestra he composed some seven hundred dances over the next thirty years, first and foremost polkas, waltzes and galops - the last of these genres almost became synonymous with his name. But with his numerous orchestral fantasias, too, and more than 25 ballet-divertissements, Lumbye demonstrated his true mastery. In the best of his works his orchestrations have a distinctive, lyrical, almost pristine Copenhagen sound that differs from the Vienna composers' more hotblooded orchestral tone. Lumbye often has the violins accompanied by limpid flute sounds, while Johann Strauss, for example, liked to have the melody lines of the strings accompanied by instruments with a fuller sound like the oboe and clarinet. Lumbye also created a brighter and lighter orchestral sound than the Vienna composers thanks to his use of glockenspiel, triangle and brass.
A long series of tours abroad to Hamburg, Berlin, Vienna, Paris, St Petersburg and Stockholm brought Lumbye international recognition and fame, but he never abandoned his post in the amusement park, where his jovial figure remained a popular ingredient in Copenhagen's musical life until his death on 20th March, 1874. H.C. Lumbye's importance in the nineteenth century for the creation of a broad, popular musical culture in Northern Europe can hardly be overestimated, but his greatest importance perhaps lies in the fact that his innumerable dance tunes have up to our own day preserved their special freshness and artistic integrity. Knud Arne J??rgensen
Translation: James Manley Complete Orchestral Works Vol. 8  Velkomsthilsen, March [Welcome March] (En avant, Marche) (1851)
The Welcome March, which also bears the subtitle 'Welcome to the Danish Soldiers' in its earliest versions, was composed as a tribute to the soldiers returning home from the Danish-German war of 1849-51. It was first heard at a festival performance in the Casino Theatre for the returning soldiers on 4th February 1851, and quickly became so popular that it also entered Lumbye's permanent repertoire at Tivoli, where it was played for the first time on 29th July of the same year, but now with the title En avant, Marche. It offers a fine example of Lumbye's sure grasp of the genre of military music, and since its first performance has also become a permanent element in Danish military music in arrangements for brass ensemble.  Dobler's Zauber Galop [Dobler's Magic Galop] (1841)
Inspired by the so-called \evening entertainments" of the magician Louis Dobler on the stage of the Royal Theatre and Court Theatre in the spring of 1841, Lumbye composed his Magic Galop, which was first performed at a concert in Rosenborg Gardens on 31st August of that year. Dobler, with his arts of prestidigitation and his so-called "dissolving views", was one of the most famous magicians of the time, and toured the whole of Europe, appearing before royalty, the nobility and the general public. His visit to Copenhagen in 1841 gave the impulse to a whole series of visiting professional conjurers. Lumbye's bubbling galop clearly reflects the enthusiasm created in the public for Dobler's magic performances, and counts among his finest galops. It was published shortly after the first performance in a piano arrangement and as part of a collection of favourite dances under the general title of Terpsichore.  Alhambra, Romantisk Vals [Alhambra, Romantic Waltz] (1847)
It was for an Arabian festival at Tivoli that Lumbye composed his Alhambra suite of romantic waltzes, which were first performed at a concert there on 6th August 1847. The set is introduced by an Andante, followed by five waltzes and a finale, in which many motifs from the second waltz recur, among others. The suite of waltzes is characterized by its very lyrical, and almost mystical, introduction, together with great diversity between the individual waltzes, which together give the suite the character of a miniature tone poem. With the constant shifts in character in each waltz, the work also stands out as one of the most distinctive suites of waltzes that Lumbye wrote.  Tivoli Bazar Tsching-Tching Polka (1843)
At the opening of the Tivoli Garden in the summer of 1843, one of the attractions contained the "Bazaar", where many Far Eastern booths offered their attractions and exotic goods for sale to visitors. The Chinese booth in the Bazaar, which was allegedly built according to a drawing "sent by the Chinese Emperor to the Manager", was among the most popular attractions for the public. Lumbye soon composed his Tsching-Tching Polka as a tribute and an advertisement for this exotic booth. It was completed on 8th September 1843, and first performed at a concert at Tivoli a week later, on 15th September.  Les Zouaves, Galop (1859)
The Zouaves were an elite regiment of French infantry, established after France's conquest of Algeria in 1830. This regiment was enlarged in 1831 to three battalions, and in 1852 Napoleon III made an additional regiment out of each battalion, while the imperial guard from that year itself created a Zouave regiment with two battalions. From that time, the Zouave regiments consisted predominantly of specially selected soldiers from Paris, who had participated and fought with distinction in their country's war. Lumbye composed his bubbling military galop, Les Zouaves, on 8th May 1859 as a tribute to the elite French regiments. His inspiration came from a visiting corps of Zouaves, who appeared in late 1858 in a series of mimed scenes and tableaux vivants at the Folketeater in Copenhagen, where the regiment's achievements on the battlefield were represented to great public acclaim. The work, which was first performed at a public concert in the Tivoli concert hall on 28th May of that year, counts among his best and most brilliantly orchestrated galops. Coda, ging in die Geschichte des Balletts als Danemarks Beitrag zu diesem Genre ein. La Lithuanienne wurde rasch so erfolgreich, dass das St??ck auch in Privattheatern in Kopenhagen getanzt wurde, zunachst im Casino- Theater am 5.