Various Composers’ Light Orchestral Gems: Salonorchester Schwann’s Captivating Interpretations under Georg Huber’s Direction

Composer: Various
Works: Blauer Himmel, Funiculi, funicula, Avant de Mourir, Südlich der Alpen: In einer Hafenstadt, Terrasse am Meer, Blumen-Corso, Tarantella, Blue Tango, Schwarze Augen, A media luz, Mondnacht auf der Alster, Puszta Fox, Ich küsse Ihre Hand, Madame, Belle of the Ball
Performers: Salonorchester Schwann, Georg Huber (conductor)
Recording: Tonstudio Teeje van Geest, Sandhausen, Germany, 9-11 February 2001
Label: NAXOS 8.555344

The compilation of light orchestral music found in “Salon Orchestra Favourites II” serves as an alluring portal into the vibrant musical tapestry of the early 20th century. This collection, under the tender guidance of conductor Georg Huber and the adept Salonorchester Schwann, presents a selection that not only celebrates the effervescent charm of the salon orchestra but also showcases the rich diversity of popular melodies from that era. The works featured, many of which are beloved staples in the light music repertoire, belong to a time when the salon orchestra flourished, offering a refreshing contrast to the symphonic traditions of the concert hall.

The performance itself is a delightful exhibition of both technical prowess and artistic flair. The ensemble, comprising piano, accordion, strings, woodwinds, and percussion, achieves a balanced timbre that is essential for the idiomatic interpretation of these light classics. The ensemble’s sound is characterized by clarity and warmth, allowing the intricate interplay between instruments to shine through, particularly in pieces like Boulanger’s “Avant de Mourir,” where the woodwinds dance playfully against the rich harmonic backdrop provided by the strings. The overall interpretation is marked by a joyful exuberance, especially evident in Leroy Anderson’s “Blue Tango,” where the rhythmic vitality is infectious, drawing the listener into the spirited atmosphere.

Recording quality merits particular attention, as the engineering by Teeje van Geest captures the ensemble’s live essence effectively. The acoustic is both intimate and spacious, allowing for a detailed spatial separation of instruments while maintaining a cohesive sound. In the lively “Tarantella,” the distinct roles of the accordion and strings are particularly well-defined, each note resonating with a crispness that enhances the listener’s engagement. The engineers have ensured that the dynamic range remains intact, with softer passages like “Ich küsse Ihre Hand, Madame” conveying a sense of delicate intimacy that contrasts beautifully with the more robust, celebratory numbers.

In juxtaposition to other notable recordings of similar repertoire, “Salon Orchestra Favourites II” stands out not merely for its selection of pieces but for the sheer vitality of its execution. While other recordings may lean towards a more nostalgic or subdued interpretation, this ensemble embraces a spirited approach, aligning perfectly with the original intent of these compositions—music meant for enjoyment and social gatherings. The inclusion of lesser-known works, such as Edgardo Donato’s “A media luz,” further enriches the listening experience, inviting audiences to explore the lesser-charted waters of the salon repertoire.

This recording is a resounding success, epitomizing the charm and artistry of the salon orchestra. It serves as both a historical document and a celebration of a genre that often resides on the periphery of the concert repertoire. Each track offers a glimpse into a world where music was a communal experience, accessible and joyous. The panache of the Salonorchester Schwann, combined with the thoughtful programming and high-quality production, ensures that this disc is a treasure for both aficionados of light music and newcomers alike.

Tom Fasano has been writing reviews of classical music recordings for the past quarter century. He's finally making them public on this blog.