The most popular episodes from Catalini’s two most famous operas are dances often performed by salon orchestras. “The Dance of the Waves” (Danza delle ondine) and “The Waltz of the Flowers” (Valzer dei fiori) appear in Loreley, an opera introduced in Turin in 1890. In this opera the action takes place on the banks of the Rhine. Walter, about to marry Anna, is loved by the orphan girl, Loreley. When Loreley learns she is about to lose her beloved, she calls upon the nymphs and the sprites of the Rhine to help her; throwing herself into the river, she becomes one of them. During the wedding ceremonies, Loreley appears and entices Walter away from his bride. Anna dies of grief; and Walter meets his doom in the Rhine, to which he is helplessly drawn through enticements by the sprites and by Loreley.
“The Dance of the Waves” takes place in the last act. After Anna’s funeral procession passes by, Walter comes to the edge of the Rhine, grief-stricken. Out of the waters come the sprites to dance seductively before Walter and to beckon him on into the river. “The Waltz of the Flowers” is a graceful, even gentle, dance performed in the second act, during the wedding ceremonies of Walter and Anna.
“The Waltz of the Kiss” (Valzer del bacio) is a segment from La Wally, Catalani’s most famous opera, which was such a particular favorite of Arturo Toscanini that not only did he conduct it frequently in Italy but he also named his son after its heroine. La Wally was introduced at La Scala in Milan in 1892. The text, by Luigi Illica, was based on a novel by Wilhelmine von Hillern. The setting is 19th century Switzerland where Wally and Hagenbach are in love, and meet their death in an avalanche; all the while Wally is being sought after by Gellner, whom she detests. The “Waltz of the Kiss” is a caressing piece of music from the second act which accompanies a dance by Wally and Hagenbach, in which they first discover they are in love and yield to passionate kissing while the hateful Gellner watches.
Otto Cesana
Otto Cesana was born in Brescia, Italy, on July 7, 1899. He came to the United States in boyhood and studied music with private teachers. After working in Hollywood, where he wrote a considerable amount of music for motion pictures, he came to New York to become arranger for Radio City Music Hall, and for several important radio programs. In his own music he has been particularly successful in using within large forms popular American elements, at times folk idioms. In a more serious attitude he has produced half a dozen symphonies and various concertos for solo instruments and orchestra.
Negro Heaven for orchestra is one of his more popular attempts to use an American folk idiom within a symphonic mold. He explains: “Here follows a musical interpretation of the fluctuating moods that seize the colored man—now gay, now sad, always, however migrating towards carefreeness and abandon, as exemplified in the return of the first subject, which is soon followed by one of those superlative moods, a Negro in the throes of nostalgia.”
Swing Septet (1942), for string orchestra, guitar and percussion is in three short movements, the first in sonata form, and the last two in three-part song form. “The chief purpose,” says the composer, “is to give the string players an opportunity to compete with the ad lib boys who, while they improvise the wildest phrases imaginable, are ‘floored’ whenever an approximation of that material is set down on paper.”
Emmanuel Chabrier
Emmanuel Chabrier was born in Ambert, France, on January 18, 1841. He was trained as a lawyer; from 1862 to 1880 he was employed at the Ministry of the Interior in Paris. But he had also received a sound musical training with private teachers. Composition began for him in earnest in the 1870’s, with two of his operettas receiving performances in Paris between 1877 and 1879. In 1879 he made a pilgrimage to Germany to hear Wagner’s music dramas whose impact upon him proved so overwhelming that he finally decided to give up his government work and concentrate on music. Returning to Paris in 1880 he published the Pièces pittoresques for piano. Following a visit to Spain he produced in 1883 his first major work for orchestra and realized with it his first major success as a composer—the rhapsody España. He also wrote two operas, Gwendoline produced in 1886, and Le Roi malgré lui introduced one year later. Some of his best writing was for the piano and included such distinguished works as the Habanera, Bourrée fantasque, and Trois valses romantiques. Chabrier became a victim of paralysis in the last two years of his life, and just before his death he began losing his sanity. He died in Paris on September 13, 1894.
While in his operas he revealed his profound indebtedness to the Wagnerian idiom, Chabrier was at his best either in music that interpreted Spain or to which he brought a natural bent for laughter, gaiety, and the grotesque.