Hidden treasures - Camille Saint-Saens - Javotte (1896) - Selected highlights

Painting: "Lake Nemi" by Sanford Robinson Gifford.

History (based on Keith Anderson' essay that accompanies the Marco Polo recording): By the time of Saint-Saens' death in 1921 the once respected composer had to some extent outlived his reputation, as France embraced with open arms Stravinsky and the Six. Ravel went as far as to suggest rather unkindly that in war-time Saint-Saens who continued composing well into his final years might have been more productively employed. However, like the sentimentality of Gounod, the sometimes cold elegance of Saint-Saens was and is an important part of French music: once known as the "French Mendelssohn", Saint-Saens's works appealed to audiences for their clarity of texture and its attractive powers of invention, calculated to delight rather than to shock. The work in question, "Javotte", an unassuming ballet in one act, is, perhaps, one of the vintage examples of the above-mentioned stylistic gestures, showing us both the best and the worst of Saint-Saens. The compositional history of the ballet, in contrast to the previous work, Beethoven's "Leonore", is briefly told and unpolluted with any kind of drama or intrigue: in 1896 Saint-Saens became interested in a ballet scenario sent him by J.L. Croze who worked at that time at the Folies-Marigny. However, the theatre failed, and when attempts to interest La Monnaie in Brussels in the project came to nothing, the new ballet was eagerly taken on by Lyon where it was first staged. It premiered at the Opera in Paris in 1909, though the work failed to become a part of the main repertoire.

Narrative: The plot of "Javotte" is very much similar to Adam's classic "Giselle", albeit without the supernatural elements: Javotte, a young peasant girl, loves and is loved by Jean and disobeys her parents by leaving for the village festivities and ultimately becoming Queen of the Dance. A bit of confusion occurs when her parents make a surprise appearance in the company of the local constable but the conflict is resolved in a matter of minutes, and the lovers' union is blessed to the delight of all. The narrative is little more than a pretty postcard of rustic dances and lyric love scenes, though again it is the music that truly matters in such cases...

Music: "Javotte", contains, perhaps, the quintessence of Saint-Saens' style, and though it was written at the turn of the century, it sounds distinctively romantic in style, very much like the ballets of Tchaikovsky. One is instantly reminded of Adam and Auber, though their successor's style leans towards much heavier orchestrations, as one could not imagine such a stunningly pensive faux "pas de deux" (Javotte laments the need to disobey her parents, while Jean tries in vain to comfort her) with exquisite interplay between the violins and the cellos and subtle modulations from major to minor being perfectly at home in "Giselle", despite the striking melodic similarities the two works share. In "Javotte" Saint-Saens creates a ballet of the greatest stylistic purity with each scene so vividly drawn out that one can immediately begin to imagine the movements of the dancers. This notion does lead to a certain predictability which is, however, almost completely negated by the beauty and charm of many music sections. Some routine numbers (in particular, a rather heavy bourrée) contrast sharply with several extremely attractive and, at times, deeply affecting pieces: the already noted pas de deux notwithstanding, the first scene features an unforgettable sprightly string leitmotiv that both opens and closes part one of the ballet; the dancing contest scene in part three features not one but four well-defined solo moments for three contestants none of whom are selected as the winners by the judges and, finally Javotte herself, ranging from a light, gentle moderato (graced by a charming oboe solo and featuring numerous echo effects between the winds and the strings) and a humorous allegretto (incorporating giggling flute figures) to a distinctively melodramatic yet undeniably handsome moderato (contrasting a plaintive oboe line with its lower bassoon variant) and a warm grazioso which is first stated by the heroine who is joined, after the judges proclaim her as the winner, by the whole corps de ballet; finally, Saint-Saens blesses his lovers with a carefully crafted adagio pas de deux which slowly grows from a charming rustic motive stated by the clarinet into a glowing romantic melody intoned by the strings and the harp. All in all, a ballet of real charm, and, as one reviewer rightfully points out, "Javotte" is truly a perfect ballet.

Recording: The 1996 Marco Polo recording (the sole version of the score), under the direction of Andrew Mogrelia, leading the Queensland Orchestra, is clear, elegant and self-recommending.

Hope you'll enjoy :)!

Category:

Music

Tags:

• ballet
• romantic
• classic
• classical

[Orchiidify]

I can die for this amazing music. THANK U sooo much for this amazing music!!!!

[baltoman24]

Thank you for posting this beautiful score by one of the great composers- Camille Saint-Saens. His works in every genre are so worthwhile- gorgeous and thoughtful music. This was his only ballet; I wish had written others. Youtube has some excellent examples of his magnificent chamber music too! 

[valzercurio]

c'è un pezzzo che ricorda il terzo movimento della terza sinfonia!

[AngeIake]

Such wonderful music. Thank you!

[vectissimus]

Oh this is delightful.

[Madrabran]

Thank You once again , for sharing delightilled Music .

[Teonareine]

It is a marvel.