Saint-Saëns: Dances & Ballet Music Residentie Orkest Den Haag & Jun Märkl

• Camille Saint-Saëns (1835 - 1921): Étienne Marcel, R. 209, Act III, The Night of St. John, Before Notre Dame (Excerpts):
• 1 Saint-Saëns: Étienne Marcel, R. 209, Act III, The Night of St. John, Before Notre Dame (Excerpts): Entrée des écoliers et des ribaudes 01:54
• 2 Saint-Saëns: Étienne Marcel, R. 209, Act III, The Night of St. John, Before Notre Dame (Excerpts): Musette guerrière 02:08
• 3 Saint-Saëns: Étienne Marcel, R. 209, Act III, The Night of St. John, Before Notre Dame (Excerpts): Pavane 01:45
• 4 Saint-Saëns: Étienne Marcel, R. 209, Act III, The Night of St. John, Before Notre Dame (Excerpts): Valse 04:49
• 5 Saint-Saëns: Étienne Marcel, R. 209, Act III, The Night of St. John, Before Notre Dame (Excerpts): Entrée des Bohémiens et Bohémiennes 05:56
• 6 Saint-Saëns: Étienne Marcel, R. 209, Act III, The Night of St. John, Before Notre Dame (Excerpts): Final 02:32
• Henry VIII, R. 291 (Excerpts):
• 7 Saint-Saëns: Henry VIII, R. 291 (Excerpts): Prélude 02:38
• Henry VIII, R. 291, Act II (Excerpts):
• 8 Saint-Saëns: Henry VIII, R. 291, Act II (Excerpts): Entracte 03:54
• Henry VIII, R. 291, Act III (Excerpts):
• 9 Saint-Saëns: Henry VIII, R. 291, Act III (Excerpts): Marche du Synode 06:35
• Henry VIII, R. 291, Act IV Scene 1 (Excerpts):
• 10 Saint-Saëns: Henry VIII, R. 291, Act IV Scene 1 (Excerpts): Allegro moderato 02:04
• Henry VIII, R. 291, Act IV Scene 2 (Excerpts):
• 11 Saint-Saëns: Henry VIII, R. 291, Act IV Scene 2 (Excerpts): Andante sostenuto 02:29
• Parysatis, R. 312, Airs de ballet:
• 12 Saint-Saëns: Parysatis, R. 312, Airs de ballet: Entrée. Quasi adagio 00:34
• 13 Saint-Saëns: Parysatis, R. 312, Airs de ballet: No. 1, Allegro non troppo 02:06
• 14 Saint-Saëns: Parysatis, R. 312, Airs de ballet: No. 2, Modéré (Sans lanteur) 03:55
• 15 Saint-Saëns: Parysatis, R. 312, Airs de ballet: No. 3, Molto allegro 01:52
• Henry VIII, R. 291, Act II, Ballet-Divertissement:
• 16 Saint-Saëns: Henry VIII, R. 291, Act II, Ballet-Divertissement: No. 1, Introduction. Entrée des Clans 05:08
• 17 Saint-Saëns: Henry VIII, R. 291, Act II, Ballet-Divertissement: No. 2, Idylle écossaise 05:27
• 18 Saint-Saëns: Henry VIII, R. 291, Act II, Ballet-Divertissement: No. 3, La fête du houblon 04:14
• 19 Saint-Saëns: Henry VIII, R. 291, Act II, Ballet-Divertissement: No. 4, Danse de la gipsy 02:29
• 20 Saint-Saëns: Henry VIII, R. 291, Act II, Ballet-Divertissement: No. 5, Scherzetto 01:49
• 21 Saint-Saëns: Henry VIII, R. 291, Act II, Ballet-Divertissement: No. 6, Gigue et finale 04:04
• Samson et Dalila, Op. 47, R. 288, Act I (Excerpts):
• 22 Saint-Saëns: Samson et Dalila, Op. 47, R. 288, Act I (Excerpts): No. 6, Danse des prêtresses de Dagon 02:23
• Samson et Dalila, Op. 47, R. 288, Act III Scene 2 (Excerpts):
• 23 Saint-Saëns: Samson et Dalila, Op. 47, R. 288, Act III Scene 2 (Excerpts): Danse Bacchanale 07:08
• Total Runtime 01:17:53

Info for Saint-Saëns: Dances & Ballet Music

This album presents a selection of Saint-Saëns’ incidental music and music from his operas. From Samson et Dalila– the only one of Saint-Saëns’ operas to remain in the repertory – we hear two memorable and adrenalin-fueled dances including the famous Bacchanale. Henry VIII drew from the composer music of regal solemnity with plenty of colorful scoring, praised by Gounod. The lukewarm reception to Étienne Marcel came as a bitter disappointment to Saint-Saëns but the customary ballet includes a strong element of delightful 14th-century pastiche. The incidental music to the play Parysatis received tumultuous acclaim at its premiere in 1902 and includes the delightful Airs de ballet flecked by the use of crotales (antique finger-cymbals).

Residentie Orkest Den Haag
Jun Märkl, conductor

Jun Märkl
is a highly-respected interpreter of both symphonic and operatic Germanic repertoire, and also for his idiomatic explorations of the French impressionists. His long-standing relationships at the state operas of Vienna, Berlin, Munich and Semperoper Dresden have been complemented by his directorships of the Nationaltheater Mannheim (1994-2000), Orchestre National de Lyon (2005-11) , MDR Symphony Orchestra Leipzig (2007-2012) and the Basque National Orchestra (2014-17). He is holding positions with the Malaysia Philharmonic Orchestra as Music Director since 2021, National Symphony oRchestra of Taiwan as Music Director from 2022, Artistic Advisor of Indianapolis Symphony Orchestra, Principal Guest Conductor of Resident Orkest Den Haag and Oregon Symphony Orchestra. He appeared with many of the world’s leading orchestras, among others the Bavarian Radio Symphony, Munich, Hamburg, Oslo philharmonics, the Cleveland, Boston, Chicago, Philadelphia, Montreal, Melbourne , Sydney orchestras, NHK Symphony Orchestra Tokyo, Tonhalle Orchester Zürich, Orchestre de Paris. Jun Märkl was a regular guest at the state operas of Vienna, Munich, Berlin and Semperoper Dresden, and was permanent conductor of the Bavarian State Opera until 2006. He made his Royal Opera House Covent Garden debut with Götterdämmerung in 1996 and with Il Trovatore at the Metropolitan Opera in 1998. He conducted complete Ring cycles at the Deutsche Oper Berlin and at the New National Theatre in Tokyo 2001-2004, and toured Japan with Semperoper Dresden and Wiener Staatsoper. Jun Märkl has an extensive discography - among the more than 50 CDs, he has recorded the complete Schumann symphonies with the NHK Symphony, Mendelssohn and Wagner with the MDR, Ravel , Messiaen and a 9 CD recording of Debussy with Lyon which lead to honoration by the French Ministry of Culture in 2012 with the “Chevalier de l’Ordre des Arts et des Lettres.” Recently he recorded 3 CDs with works of Toshio Hosokawa and 4 CDs of rare works by SaintSaens. Born in Munich, Märkl’s father was a distinguished concertmaster and his mother a solo pianist. Jun Märkl studied at the Musikhochschule in Hannover, with Sergiu Celibidache in Munich and Gustav Meier in Michigan. In 1986, he won the conducting competition of the Deutsche Musikrat and a year later won a scholarship from the Boston Symphony Orchestra to study at Tanglewood with Leonard Bernstein and Seiji Ozawa. He is also very dedicated to work with young musicians: regularly he worked as Principal Conductor at the Pacific Music Festival in Sapporo, the Aspen Music Festival, Colorado and he teaches as Guest Professor at the Kunitachi College of Music Tokyo.

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