#davidsbundler

Schumann - Davidsbündlertänze

Schumann - Carnaval, Chopin - Les Sylphides

Robert Irving Conducting The Philharmonia Orchestra

Interesting to note: the orchestrators of tracks 12-20 of Carnaval ("Chopin"-"Davidsbündler") are unknown

In ballet, as in the other arts, certain figures stand supreme, and it can be fairly argued that, among modern choreographers, Michael Fokine is the greatest. He was born at St. Petersburg in 1880, and died in New York in 1942. He took to ballet while he was still young, entering the Imperial School of Ballet, attached to the Maryinsky Theatre, when he was only nine. He started his career as a dancer, but in 1905 composed his first ballet, “Acis et Galatée”. From this time onwards he progressed from strength to strength. Not only are the best of his ballets so good that they have been included in the repertoires of every important company, but he also acquired a considerable reputation as a reformer. It will not be amiss to quote him in this connection, for herein lay his originality, and much of his strength. 

“Dancing should be interpretation. It should not degenerate into mere gymnastics. The dance should explain the spirit of the actors in the spectacle. More than that, it should express the whole epoch to which the subject of the ballet belongs.”

“Les Sylphides” and “Carnaval” are two of his most famous creations.

“Carnaval” is based on Schumann’s pianoforte work of the same name. It shares the romantic quality of “Les Sylphides”, yet does not aim at its classical balance and abstraction. It does not have a fully-fledged plot in the manner of some ballets, yet there are definite and recognisable characters, ranging from the forlorn figure of Pierrot to the high-spirited, mischievous Harlequin.

Schumann based the work on the four notes, A, E flat, C and B, which, in German nomenclature, make up the name Asch (A, S, C, H) a village where his friend, Ernestine von Fricken, lived.

It will perhaps be as well to give a brief summary of the action of the ballet. Various dancing couples cross the stage, to be followed by Pierrot, wandering alone, aimless and forlorn. Harlequin then bounds on to the stage, capers around Pierrot, and flicks at him so that he loses his balance and falls over.

After further dancing, Eusebius is seen dreaming of his mistress, who suddenly appears, followed by Estrella, escorted by her admirer, Florestan. These flit away arm-in-arm, and there follows a “pas de deux” between Eusebius and Chiarina. Papillon then comes on to the stage; Pierrot tries to catch her with his conical hat, but dismally fails. 

Further dances follow, with Chiarina and two friends, all masked, and Florestan, in quest of Estrella. To the section Reconnaissance, Columbine and Harlequin dance on to the stage, followed by the pompous Pantalon, who is foiled and offended by these two, but immediately soothed by Columbine. More dancers enter, to congratulate the two lovers, Columbine and Harlequin. Pantolan and Pierrot are entangled together, and all ends in happiness and jollity.

The ballet was first produced at St. Petersburg in Lent, 1910. It has undergone several changes since then, though it remains essentially the same. Its effervescent gaiety has deservedly acquired for it an exceptional populraity, which shows no signs of diminishing.

On ne peut douter de l’intention malicieuse dont se réclame, sous le titre de Pause -c’est-à-dire de repos- l’emprunt fait au Préambule avec le vif épisode qui sert ici d'introduction effervescente au dernier morceau de la série. Plaisante contradiction entre le sens littéral du vocable et son appropriation paradoxale au caractère d’une musique évoquant tout un bouillonnement de jeunesse ardente.

20. Pause & Marche des Davidsbundler Contre Les Philistins

After a brief introductory interlude, Schumann presents the Davidsbundler. In addition to being an exceptional composer, Schumann was also a noted and often severe music critic. He enthusiastically applauded the music he found exceptional and just as enthusiastically denounced the music he found elementary and trite.

Dans cette page, qui termine le cycle en un irrésistible élan d’audacieux enthousiasme, Schumann entendait symboliser le mouvement de conviction révolutionnaire qui l’entrainait, lui et ses amis, compagnons de cette imaginaire confrérie de David, créée de toutes pièces par son esprit inventif, contre les représentants de la tradition, ironiquement personnifiés par le thème du “Gross Vater Tanz” ou “Danse du Grand-Père” déjà utilisé dans la scène finale des Papillons, et qui n’est autre qu’un refrain irrévérencieux par lequel, sur le coup de minuit, dans les réunions joyeuses d’outre-Rhin, la coutume voulait que les jeunes gens signifient aux personnes d’un certain âge qu’il était temps pour eux de s’aller coucher…. Transparente allusion à l’endroit de la routine, tournée ici en dérision sous les aspects des Philistins. On se gardera d’un mouvement trop rapide dans l’exposition du thème fièrement accusé par lequel, non sans une certaine solennité fanfaronne, les compagnons de David semblent porter défi aux conservateurs des formules surannées.