Jacob Gade; Gregory Stone. Violin and piano music, Arranged -- Scores and parts. by Jacob Gade ; transcribed and paraphrased by Gregory Stone. 2. TANGO JALOUSIE Tango Tzigane. Moderate. Jacob Gade, ad lib. ad lib. harm. o o o o o. Recitativo molto espr. r^: Energico. Recitativo. Energico. Work Title, Jalousie. Alternative. Title, Tango Tzigane. Composer, Gade, Jacob. I- Catalogue NumberI-Cat. No. IJG 1. Key, D minor - D major. Year/Date of.
|Language:||English, Spanish, French|
|Genre:||Business & Career|
|Distribution:||Free* [*Registration Required]|
Feb 24, Print and download in PDF or MIDI Tango Jalousie. Tango Jalousie for Two Violins (2nd violin complete) and Piano-chords. Jul 20, terney.info About the piece. Title: Jalousie [Jealousy by JACOB GADE for Piano]. [4 PDF] February 20, ) was a Danish violinist and composer, mostly of The tango, written to accompany a silent film when Gade was leader of the Jalousie (Jealousy by JACOB GADE for Piano) Gade, Jacob Piano solo 1 PDF.
His royalties as composer were so ample that in the 70s it was estimated that the song was played, at least, once every minute on some radio of the planet. He returned to the United States of America in where they offered to publish his whole output.
On 8 April he returned to his country. The following day the Nazis invaded Denmark. He endured it by settling on the Fiskerleje island where he continued composing. This is the case of the above-mentioned Vera Bloom for the previously cited Frankie Laine. In Finland a lyric written by Kuliervo is known.
In Great Britain, the then famous orchestra led by Gerald Bright presented his vocalist Monterrey his true name was Montgomery singing a lyric by E.
Way and so appeared many others of the kind. In our[ who? The piece possesses beauty because of its violin solos, without them the number is deprived of its charm. The issue was solved after Gade yielded a part of his royalties. The number was included totally or partially in over movies, in numerous television series and on all new ways of playing back since records appeared.
Estate[ edit ] When he drew up his will in , he included his wish that all his estate and future royalties were granted to a foundation that had to be created under his name to sponsor young talented musicians. With his will he opened a bank account with the deposit of , Agreements had to be respected.
Every year the foundation holds a contest for young violinists in Gade's hometown. On 8 November a postage stamp commemorating the centenary of his birth was issued. Recordings[ edit ] In Dacapo Recordings published a record with a part of his works—some unpublished—, performed by the Odense Symphonic Orchestra conducted by Mathias Aeschbacher featuring the soloist Bjarne Hansen on violin.
Written to accompany the silent era blockbuster Son of Zorro when Gade was leader of the orchestra of the Palads Cinema ,  the tango premiered on 14 September and was an instant international hit. Arthur Fiedler's recording with the' Boston Pops Orchestra in for the Victor label consolidated the success of the tango further.
Innumerable other recordings followed, including one by the famous English singer Vera Lynn, who had a hit during the Second World War with a text version written by the American Vera Bloom in Zeus, the King of the Gods, fell in love with Leda and came to her in the shape of a swan.
Thus Leda gave birth to the beautiful Helen, Clytemnestra and the two Dioscorides i. In the autumn of , when Gade went to the USA, one of the works he took with him was the newly composed Leda and the Swan.
Sutro - a former ballet-master at the Metropolitan and Chicago operas - created the choreography for the production, which was accepted for performance at a Broadway theatre.
Because of illness, however, - "Leda" came down with appendicitis - the premiere had to be postponed until the following season. Suite d'amour Suite d'amour was composed in the period when Jacob Gade had returned from city life to devote himself to composing. To the question whether he missed the conductor's podium, he answered in "No, not really. I would rather write music. In the old days one did it blithely for the sake of the money. One was always most inspired towards payday.
Now it's a matter of conscience. Rhapsodietta The full Danish title 'Tibirke': Dansk Rhapsodiette refers to Gade's summer house at Tibirke Mill, where he lived at the end of the s.
At this time Gade was approaching the end of his career as a violinist and conductor, and with this work he tried his hand for the first time at one of the freer forms of classical music, the rhapsody. Gade undoubtedly had works like Liszt's Hungarian Rhapsodies in his wide repertoire as a musician, and they may have inspired him to write the Danish rhapsody or Rhapsodie danoise the title of the French edition of The rhapsody was composed for an extended salon orchestra and consists of five loosely joined sections in potpourri form.
Romanesca, Tango Jacob Gade composed other tangos than Jalousie, including Romanesca, which he published in as the first work from his new publishing house Edition Gade. Besides the traditional editions for piano and salon orchestra, the new tango also appeared for a large orchestra in Gade's own arrangement, both from his own publishing house and in Paris from Editions Max Eschig.
In the latter edition the tango was also given a French text. The introductory violin solo with cadenzas is if possible more of a virtuoso piece than in its predecessor Jalousie. Although it has often been performed abroad, this tango has nevertheless not succeeded in achieving a similar breakthrough.
It originally consisted of six movements, but was later revised and reduced to four movements in the printed edition of Of the background for the writing of the suite Gade himself said: "It is a musical version of a number of pictures from my childhood.
Himmelpind is a small spot outside Vejle, where I was born, and as a child I played many times there at village weddings. With the crowing of the cock in the final movement the feast is approaching its end, and Gade would certainly have remembered his childhood here, when he blew the trumpet as a boy in his father's ten-man band. Valse Capriccio Capriccio is the name given to a technically difficult instrumental piece with a scherzando character - features outstandingly manifested by Valse Capriccio.
Gade understood how to exploit the potential of the solo instrument in terms of both technical execution double-stopping, staccato bowing and acoustic effects harmonics.
The tone of Valse Capriccio is very Vienna-inspired, and since it is at the same time a capriccio, one cannot but be reminded of both Paganini's Capricci per violino solo and Fritz Kreisler's Caprice Viennois.
Copenhagen Life, Walt In the same period as the large orchestral works, Jacob Gade wrote Copenhagen Life, the only one of his waltzes to have the subtitle 'Vienna waltz'. The form is the classic one found in Franz Lehar's Gold und Silber - an extended introduction followed by three waltzes. Unlike the 'French' waltzes, Gade chose to arrange Copenhagen Life for a large orchestra, i. Douces Secrets, Valse lente This waltz has the subtitle Valse lente par Maurice Ribot, but on the front page of the music, along with the pseudonym, the name of Jacob Gade also appears, which might suggest that the composer wanted to shed his anonymity after his success with the 'French' waltzes had been consolidated.
The recurrent and characteristic feature of these waltzes is the instrumentation. Apart from several piano versions they only exist in an edition for salon orchestra, where the instrumentation is restricted to one flute, one clarinet, two trumpets, a trombone, percussion and strings.
The sheet music typically appeared with no score, as the piano part was used as the conductor's part. A few years before this Gade had tried unsuccessfully to be admitted to the Royal Danish Academy of Music. From Jacob Gade began his many years of activity as a theatre and cinema conductor, beginning with an engagement at the Dagmar Theatre In this period he also gave a number of concerts among other things playing one of Paganini's violin concerto and Bach's solo sonatas , and at the same time was very productive as a composer.
These works were incidentally published under the pseudonym Maurice Ribot - foreign names made a good impression and helped to give both the composer and the music an international flavour. Works like these were very successful, and when the newspaper Politiken proclaimed him 'the Danish Waltz King', his youthful dream came true.
In Jacob Gade went to New York, where he got a job as a violinist in a smallish cinema orchestra. Later he joined the member orchestra of the Capitol Cinema, and was finally lucky enough to win a place in the National Symphony Orchestra the New York Philharmonic.
There he played for two years under the batons of the conductors Artur Bodanzky and Willem Mengelberg. This was the only time in Gade's life when, as a performing musician, he played classical symphonic music for an extended period.
During a holiday in Denmark in Jacob Gade was offered the job of conductor at the Palads, the biggest cinema theatre in the Nordic countries. There, until , he conducted a member orchestra. The experience Gade had gathered at the Capitol Cinema was now an advantage when he was to put together the accompanying music.
In addition he used his own compositions.
Gade's masterpiece in this genre, Jalousie, Tango Tsigane, is an example. But he was no great success as a theatre director, and as early as the end of he returned to the Palads Theatre as conductor, where he experienced the last flourish of the silent film age. But when the talking film was introduced in Copenhagen in , he soon had to face the fact that the new medium had made the cinema orchestra superfluous.
Jacob Gade left the Palads Theatre in the autumn of But his popularity continued unabated, and for a while he was engaged with his orchestra by the World Cinema theatre. Then came a season at the large establishment National Scala, which opened in There Gade headed a member orchestra in the daily entertainment music.
It was Gade's last big engagement as a conductor. A new age was on the way, and with it came new sounds - the sounds of jazz. And this was one of the reasons Gade withdrew from the public eye at the beginning of the s to devote himself to his composing work. In Gade had bought Tibirke Mill in northern Zealand as a summer house. He liked to get away from the hectic life of the city. His Rhapsodietta and the tango Romanesca were both composed at that time. Both works, besides being published by a Danish publisher, were published in Paris by Max Eschig.
The same tendency to look beyond the national borders was expressed by some of the subsequent large orchestral works composed at the end of the s. In , when Gade again travelled to the USA, he contacted an American publisher with a view to publishing his music there.
With him he had several of his most recent compositions, including Leda and the Swan, which was accepted for performance at a Broadway theatre. During his stay in New York Gade was lionized by American radio and the big cinema theatres as a world famous name. There he lived out his final years in retirement, but continued to compose - among other things the Valse Capriccio. Jacob Gade had stated in his will that he wanted to found a trust that would benefit young, talented musicians.
As guidelines for the executors of the trust he wrote: "I remember to this day the difficulties of a financial and educational nature that faced me when I came as a very young man to Copenhagen intending to carve out a career in the world of music, so I am very concerned to ensure that the earnings that come from the assets I leave will be used to ease the progress of the young, talented musician, so that, when he has shown his abilities, he will be able to train with qualified teachers here and if necessary abroad, without financial difficulties presenting too much of an obstacle.
After his death on 20th February the foundation, Jacob Gades Legat, has awarded considerable sums every year to young, talented Danish musicians. And the royalties still come in, for the benefit of coming recipients - first and foremost from Tango Jalousie, but also from Gade's other compositions.