STRAUSS I, J.: Edition - Vol. 1 (Camerata Cassovia/ Camerata Cassovia/ Christian Pollack/ Rudolf Hentsel) (Marco Polo: 8.225213)
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Johann Strauss Snr Edition Vol. 1
 Täuberln-Walzer (Little Doves Waltz), Op. 1
The first edition by Anton Diabelli & Co., of the Täuberln-Walzer announced on 10th February 1829 is not the first waltz composition in this form by Johann Strauss. Already on 21st November 1825, some four weeks after the birth of his first son, Johann, there was an advertisement for Johann Strauss père, member of the ensemble directed by Joseph Lanner, by the Anton Diabelli publishing company in the official Wiener Zeitung. In a series of new compositions was a line with his name: Johann Strauss: Seven Waltzes for the Pianoforte. The publisher offered no further information. The work appeared in print, but evidently no copy of it has been found.
As Johann Strauss was not yet known to the public, Anton Diabelli for the moment gave no further information, but kept the manuscript in his archive. This was not the only example of work by the busy young musician, who had joined the small group led by the violinist Joseph Lanner, not only as a viola-player but as a collaborator with Lanner, as his son Johann Strauss testified in 1887 in the foreword to a new edition of his fathers music. When the twenty-year-old Strauss had completed his service as a territorial reservist in the Vienna Hoch und Deutschmeister No.4 Regiment, he intensified his creative work and contributed to the repertoire of the ensemble by composing arrangements, some of operatic extracts. His son Johann was fully justified in writing: My father was a musician by the grace of God.
In 1826 Johann Strauss, with the Lanner ensemble, embarked on an engagement at the Zum schwarzen Bock (The Black Buck), in the lower Wieden, in the neighbourhood of the famous Karlskirche, a first-rate baroque building, and took part in the activities of the small band of musicians in balls and soirées, that is reunions. To the year 1826 he also dated the waltz that was issued as Opus 2, the Döblinger Reunion Waltz.
No other possible activities were yet open to him. When he applied for permission to marry Anna Streim, he called himself a music teacher and appears as such in the document of his marriage on 11th July 1825 at the brides parish church, the Schubert church of the suburb of Liechtenthal. He remained, however, with Lanner, and made his contribution so that the ensemble could be enlarged from twelve to fourteen musicians. Positions in Viennese musical life were given to experienced music directors, to Joseph Wilde, Michael Pamer and Johann Faistenberger. At the Zu den zwey Tauben (The Two Doves) restaurant in Count Trauns house at the corner of Marokkaner-Gasse and the Haymarket, the orchestra, as the landlord Michael Deiss advertised in the Wiener Zeitung, offered varied music every day, whatever that may mean. Johann Strauss had for the time being not, as was long reported, parted from Lanner at the birth of his son Johann (Lanners Trennungs-Walzer (Parting Waltz), Op.19, is a wonderful work with attractive minor harmonies, but belongs to a quite different connection).
On 7th May 1827 the landlord notified his guests in an advertisement: From now on at the Zwey Tauben every Wednesday and Saturday there will be music under the direction of Johann Strauss with a full ensemble of twelve musicians on wind and string instruments.
The first concert was on 11th May 1827. Whether on this occasion the waltz, later published as Opus 1 was played, cannot be verified, but possibly it was, since the autograph of the Täuberln-Walzer bears the date 826. In that year there were changes among the Vienna music sellers and publishers. On 15th May Tobias Haslinger took over the direction of the traditional Imperial Music business in the Paternoster Gasse of the inner city, when his partner Sigmund Josef Steiner withdrew and gave up his concession. Born in Upper Austria, Tobias Haslinger, now owner of the Imperial Music business and publisher, angled at once for young talented Viennese composers, who hitherto had been dealt with by the publishers Cappi and Czerny, and particularly by Anton Diabelli, who came from Salzburg. When Haslinger in 1828 published the Wiener Carnevals-Walzer (Vienna Carnival Waltz) and the Kettenbrücke-Walzer, Diabelli reacted with energy. He took compositions by Johann Strauss from his archive and published first, after the Gesellschafts-Walzer, Op.5, on 19th February 1829, a waltz in E major by Johann Strauss to which he gave the title Täuberln-Walzer, referring to the composers début at the Zwey Tauben, and the numbering Opus 1, to show his position as the first publisher of the young music director. It was, however, as already explained, not the first composition by Johann Strauss in this form. It is not noted on the title-page of the piano edition, but in the advertisement of 19th February 1829 in the Wiener Zeitung, where it is described as a new edition.
For his contemporaries, and later too for his son Johann, the Täuberln-Walzer was regarded as the first work of Johann Strauss père. The work has some claim to this. The varied seven waltzes without an introduction and coda are rightly admired and frequently performed.
Denkmäler der Tonkunst in Õsterreich, XXXV/2, Vol.68 (1960), Op.1, Revisionsbericht.
 Alpenkönig-Galopp (King of the Alps Galop), Op. 7 No. 1
On 22nd September 1828 Johann Strauss wrote quite awkwardly to his publisher Anton Diabelli:
Herr v. Diabelli!
Since from now on I am tied by a contract with Herr Haslinger in so far as to hand over to him each of my compositions, I cannot in the future be at your service, as I hereby notify you. One can imagine how annoyed the ambitious Salzburg-born publisher Diabelli was, when he received this letter and Johann Strauss sent him back fourteen gulden that he had paid him for the next piece. The business with the dance melodies of Joseph Lanner and Johann Strauss was already profitable and he had been glad to have it for his publishing house. Diabelli reacted by publishing all the galops that Strauss had given him in an edition with the title Neueste Sammlung beliebter Galoppen für das Pianoforte (Newest Collection of Favourite Galops for the Pianoforte). This collection was advertised in the Wiener Zeitung on 15th December 1828. It included Johann Strausss Alpenkönig-Galopp, the Champagner-Galopp, the Chineser-Galopp, the Gesellschafts-Galopp and the Seufzer-Galopp (Sighs Galop), together with galops by Adolph and Wenzel Müller, Josef Hüttenbrenner, Fr. Fraus, F.X. Chotek and S. Leithner.
At the top of this group stood the relatively new Alpenkönig-Galopp which was simply put together from motifs from Wenzel Müllers music for Ferdinand Raimunds romantic-comic magic play Der Alpenkönig und der Menschenfeind (The King of the Alps and the Misanthropist). Ferdinand Raimunds successful and immediately popular masterpiece was given for the first time on 17th October 1828 at the Leopoldstadt Theatre with the author in the rôle of the crank. The Alpenkönig-Galopp could still have been written before the première of the stage work. Since the young Strauss had been familiar with the Leopoldstadt Theatre from childhood, the music of the theatre Kapellmeister, Wenzel Müller, could have been known to him from the start of the rehearsals.
The galop, to which Diabelli assigned the number Opus 7, consists of the following motifs: No.1 Scene: So leb denn wohl, die stilles Haus (So farewell, quiet house), wh