This recording celebrates Sousa's important early associations with dance and the music theatre. Picture a young John Philip Sousa, a tiny young man aged eleven, confidently standing in front of a group of much older musicians, playing his violin in the style of the famous Strauss and leading his own popular dance orchestra as Washington's society swirls and dances in front of him. It is impossible to overestimate the effect this interaction of the young man, his orchestra and the dancers was to have on the later Sousa -the composer to be. He was once quoted as saying, "I want my marches to make a man with a wooden leg stand up and dance." The dance never left him. Dancing rhythms for ever permeated his compositions, marches and dances alike. A young Dance Prince begat the March King. Soon also, his musical activities brought him to the theatre, where he began to experience the close and often raucous give and take of audience and performer that constituted the popular side of nineteenth century American theatre and early vaudeville. By the age of 21 he was the leader, arranger and concert master of the orchestra at Ford's Theatre in Washington. Later he led the Chestnut Street Theatre Orchestra in Philadelphia. Once again the magical chemistry of music and rhythm, as it reaches for audiences, became central to the composer's thinking. While many of the dances found here stem from this early period of Sousa's life, these initial encounters with the infectiousness of music and how it infuses dancers and listeners never left him. Throughout his long and sparkling career he continued to write music for each new craze: waltzes, gallops, two-steps, gavottes, tangos, cakewalks, rags, polkas, marches of course, and sometimes even a foxtrot or two.
14 Three Quotations. Grand March: The King of France
15 Three Quotations. Reverie: I, Too, Was Born in Arcadia
16 Three Quotations. Cakewalk: In Africa
17 March: Venus
18 March: Hail to the Spirit of Liberty
This recording celebrates Sousa's important early associations with dance and the music theatre. Picture a young John Philip Sousa, a tiny young man aged eleven, confidently standing in front of a group of much older musicians, playing his violin in the style of the famous Strauss and leading his own popular dance orchestra as Washington's society swirls and dances in front of him. It is impossible to overestimate the effect this interaction of the young man, his orchestra and the dancers was to have on the later Sousa -the composer to be. He was once quoted as saying, "I want my marches to make a man with a wooden leg stand up and dance." The dance never left him. Dancing rhythms for ever permeated his compositions, marches and dances alike. A young Dance Prince begat the March King. Soon also, his musical activities brought him to the theatre, where he began to experience the close and often raucous give and take of audience and performer that constituted the popular side of nineteenth century American theatre and early vaudeville. By the age of 21 he was the leader, arranger and concert master of the orchestra at Ford's Theatre in Washington. Later he led the Chestnut Street Theatre Orchestra in Philadelphia. Once again the magical chemistry of music and rhythm, as it reaches for audiences, became central to the composer's thinking. While many of the dances found here stem from this early period of Sousa's life, these initial encounters with the infectiousness of music and how it infuses dancers and listeners never left him. Throughout his long and sparkling career he continued to write music for each new craze: waltzes, gallops, two-steps, gavottes, tangos, cakewalks, rags, polkas, marches of course, and sometimes even a foxtrot or two.
