Kaiser-Walzer op. 437 (Emperor Waltz) is a waltz composed by Johann Strauss II in 1889. The famous waltz was originally titled ‘Hand in Hand’ and was intended as a toast made in August of that year by Austrian emperorFranz Josef on the occasion of his visit to the German Kaiser Wilhelm II where it was symbolic as a ‘toast of friendship’ extended by Austria to Germany.
Clip from the DVD “André Rieu At Schönbrunn, Vienna”. One of André’s biggest and most beautiful special ever.
Tracklist: 01. Einzugsmarsch 02. Trumpet Voluntary 03. Auf der Jagd 04. Fächerpolonaise 05. Rosen aus dem Süden 06. Heia in den Bergen 07. G’schichten aus dem Wienerwald 08. Der dritte Mann 09. Freunde, das Leben ist lebenswert 10. Die Mädis vom Chantant 11. Die Czárdásfürstin Potpourri 12. Ohne Sorgen 13. Feuerfest 14. My Heart Will Go On 15. Wenn ich mit meinem Dackel 16. Heut’ kommen d’Engerln auf Urlaub nach Wien 17. Spiel mir das Lied von Glück und Treu 18. Kaiserwalzer 19. Ich gehör nur mir 20. An der schönen blauen Donau 21. Radetzky Marsch 22. Als flotter Geist 23. Wien du Stadt meiner Träume 24. Musik, Musik! 25. Anton aus Tirol 26. Donauwalzer 27. Strauss Party 28. Adieu, mein kleiner Gardeoffizier
Kaiser-Walzer op. 437 (Emperor Waltz) is a waltz composed by Johann Strauss II in 1889. The famous waltz was originally titled ‘Hand in Hand’ and was intended as a toast made in August of that year by Austrian emperorFranz Josef on the occasion of his visit to the German Kaiser Wilhelm II where it was symbolic as a ‘toast of friendship’ extended by Austria to Germany.
Vienna, the waltz and the Strauss family are inseparable entities. The waltzes of Johann Strauss, Sr. evoked the air of the Viennese countryside, beer gardens and wine from the latest harvest. Those of his eldest son, Johann Jr., at first had the same rhythmic vitality and brief melodies. After 1860, however, this would change. The younger Strauss infused the traditional waltz format and sound with a new vitality and sophistication that reflected the glittery, hedonistic spirit of nineteenth century imperial Vienna. He melded the rhythmic drive of his father’s works with the lyricism of Austrian dance music composer Joseph Lanner.
Strauss, Jr. (1825-1899), known especially for his waltzes, showed remarkable skills early in his childhood, despite his father’s opposition to any career in music. Johann, Sr. wanted him to become a banker, but the younger Strauss had his own ideas, taking violin lessons in secret from a player in his father’s orchestra. When Strauss was 17 his father left the family, thus allowing him to begin serious study without encumbrance. His mother, a good amateur violinist who had always encouraged him, remained supportive.
In 1844 he led his first concert and a year later formed his own ensemble, thereby competing with his father’s orchestra. He was also writing his own quadrilles, mazurkas, polkas, and waltzes for performance by his ensemble, even conducting works by his father, and receiving praise from the press. He was given the honorary position of Bandmaster of the 2nd Vienna Citizens’ Regiment (his father was bandmaster of the 1st regiment) in 1845, and in 1847 began composing for the Vienna Men’s Choral Association. Wine, Women and Song (Wein, Weib und Gesang), published in Vienna in 1869, is a choral waltz he composed for this Association for a performance of February 2, 1869, with text by Josef Weyl.
The real success of Strauss, Jr. began in 1849 after his father Johann Strauss, Sr. died. He then merged his father’s orchestra with his own and took up his father’s contracts. His career moved along smoothly for the next several years, but in 1853 he became seriously ill and turned over conducting duties to his younger brother, Josef, for six months. After his recovery he resumed fully both his conducting and his composing activities, eventually gaining the respect of such composers as Brahms, Wagner, and Verdi for his seemingly unlimited imagination for using melodies.
Strauss married singer Henriette “Jetty” Treffz in August 1862, and they settled in Hietzing, a municipal District of Vienna. Thereafter, she became his business manager and apparently a great inspiration, drawing him toward operetta, just as Viennese theater operators were becoming tired of the works of Jacques Offenbach. His first, Indigo und die vierzig Räuber, came in 1871, and his most famous, Die Fledermaus, was staged three years later with great success. Eine Nacht in Venedig (1883) and Der Zigeunerbaron (1885) were his only other international operetta well-known works.
In 1872, he traveled to the United States and led highly successful concerts in Boston and New York. For all the success that came in the 1870, there was also much grief: his mother and brother Josef died in 1870, and his wife died suddenly of a heart attack in 1878. Her death devastated him, and the suddenly helpless composer unwisely married the much-younger actress Angelika Dittrich, six weeks later. The marriage lasted only four years, though it may have saved the composer from personal disaster in the months following his wife’s death.
Strauss, Jr., a Roman Catholic, left the church and had to give up his Austrian citizenship to marry Adele Deutsch in 1887, owing to the Church’s unwillingness to recognize his divorce. His new wife, with whom he had lived for a long period before their marriage, seemed to inspire him much like his first wife. In his last years, Johann Strauss remained quite productive and active. He was working on a ballet, Cinderella, when he developed a respiratory ailment which grew into pneumonia. He died on June 3, 1899.
Wine, Women and Song, Op.333 Performed by the Budapest Strauss Ensemble Istvan Bogar, Conductor
Robert Stolz himself is known as the last composer of the classical viennese aera. He was the one who knew best how a Strauss waltz has to be arranged and how the orchestra has to play it. That’s why I adore this recording so much! It’s 100% authentic and even the Vienna Philharmonics won’t do it better.
I had to shorten the track coz it was longer than 10 minutes. The intro has been removed. But never mind, the zither theme of the intro is played again at the end of the waltz.”
Aram Khachaturian – Masquerade Waltz(War and Peace version): 00,06 – 04,00 Under the Sky Of Paris(Andre Rieu’s version): 04,00 – 07,22 Johann Strauss II – Voices of Spring Waltz: 07,22 – 13,11 Juventino Rosas – Over the Waves Waltz: 13,11 – 18,01 Iosif Ivanovici – Waves of the Danube: 13,11 – 21,28 Johann Strauss II – Wiener Blut: 21,28 – 27,02 Johann Strauss II – The Fledermaus Waltz: 27,02 – 32,40 Eugen Doga – Gramophone Waltz: 32,40 – 35,12 Eugen Doga – My Sweet and Tender Beast: 35,12 – 37,50 Dmitry Shostakovich – The Second Waltz: 37,50 – 41,33 Piotr Ilych Tchaikovsky – Waltz of the Flowers: 41,33 – 47,14 Piotr Ilych Tchaikovsky – The Swan Lake Waltz: 47,14 – 51,44 Johann Strauss – Tales From the Vienna Woods: 51,44 – 1,00,00
The Blue Danube is the common English title of An der schönen blauen Donau, Op. 314 (German for By the Beautiful Blue Danube), a waltz by the Austrian composer Johann Strauss II, composed in 1866. Originally performed 15 February 1867 at a concert of the Wiener Männergesangsverein (Vienna Men’s Choral Association), it has been one of the most consistently popular pieces of music in the classical repertoire. Its initial performance was only a mild success however and Strauss is reputed to have said “The devil take the waltz, my only regret is for the coda—I wish that had been a success!”
After the original music was written, the words were added by the Choral Association’s poet, Joseph Weyl. Strauss later added more music, and Weyl needed to change some of the words. Strauss adapted it into a purely orchestral version for the World’s Fair in Paris that same year, and it became a great success in this form. The instrumental version is by far the most commonly performed today. An alternate text by Franz von Gernerth, Donau so blau (Danube so blue), is also used on occasion. The Blue Danube premiered in the United States in its instrumental version on 1 July 1867 in New York, and in Great Britain in its choral version on 21 September 1867 in London at the promenade concerts at Covent Garden.
The specifically Viennese sentiments associated with the waltz have made it an unofficial Austrian national anthem. The waltz is traditionally broadcast by all public-law television and radio stations exactly at midnight on New Year’s Eve, and on New Year’s Day it is a customary encore piece at the annual Vienna New Year’s Concert. The first few bars are the interval signal of Österreichischer Rundfunk‘s international programs.
When Strauss’s stepdaughter, Alice von Meyszner-Strauss, asked the composer Johannes Brahms to sign her autograph-fan, he wrote down the first bars of The Blue Danube, but adding “Leider nicht von Johannes Brahms” (Alas! not by Johannes Brahms).
A typical performance lasts around 10 minutes, with the seven-minute main piece, followed by a three-minute coda. —————————————-———– The text above is taken from Wikipedia, under a Creative Commons Attribution-ShareAlike License.
We have done extensive research for each of the pictures and songs used on our channel. To the best of our knowledge, the copyright licenses of this picture and this song allow for their use in these circumstances. If we have made a mistake, and that is not the case, please contact us at hdclassicalmusic@outlook.com, and we will take immediate measures. Also, if you want to make any suggestions, just contact us at the same address.
Johann Strauss II or Johann Baptist Strauss – Die Fledermaus (Exceperts) “O Morcego” Title : Johann Strauss II – Die Fledermaus Overture
From Wikipedia, Die Fledermaus (in English: The Bat;’ in French: La Chauve-souris’) is an operetta composed by Johann Strauss II to a German libretto by Carl Haffner and Richard Genée.
The original source for Die Fledermaus is a farce by German playwright Julius Roderich Benedix (1811–1873), Das Gefängnis (The Prison). Continue reading →
Wein, Weib und Gesang (Wine, Woman, and Song), Op. 333, is a waltz by Johann Strauss II. It is a choral waltz in its original form,[1] although it is seldom heard in this version today. It was commissioned for the Vienna Men’s Choral Association’s so-called Fools’ Evening on 2 February 1869 with a dedication to the Association’s honorary chorus-master Johann Herbeck. Its fanciful title was drawn from an old adage: “Who loves not wine, women and song remains a fool his whole life long.”[2]
Strauss’ works at this age displays the Waltz King at the height of his creative powers, and it was no less evident in this waltz with its 137-bar introduction, combining tranquil melodies with superb orchestration. Its admirers include the famous opera composer Richard Wagner and Strauss’ good friend Johannes Brahms.
The waltz’s primary home key is in E-flat major, with its Introduction interpolating with B-flat major as well as B major. The first waltz melody, with its tapping quality is quintessentially Viennese in nature. Further waltz themes alternate between lush passion and good-humored cheekiness, ending with a swirling finish in the principal home key underlined by a brass fanfare and snare drumroll, as is the usual style of concluding a piece in Strauss’ works dating around that period.
Besides being a waltz, the title is also a German expression for having fun.
[caption id="attachment_99163" align="alignnone" width="300"] CIDSE – TOGETHER FOR GLOBAL JUSTICE (CHANGE FOR THE PLANET -CARE FOR THE PROPLE-ACCESS THIS NEW WEBSITE FROM EUZICASA)[/caption]
CIDSE - TOGETHER FOR GLOBAL JUSTICE (CHANGE FOR THE PLANET -CARE FOR THE PROPLE-ACCESS THIS NEW WEBSITE FROM EUZICASA)
euzicasa 