Johann Strauss Snr Edition Vol. 2
 Walzer (?á la Paganini), Op.11
The Genoa-born Italian violin virtuoso Nicol?? Paganini(1782-1860) on the first of his extended concert tours through central Europearrived in Vienna in March 1828. A sensational reputation preceded him. Therewere articles in all the newspapers about the witchcraft of his art thatPaganini could elicit from his instrument, the fascination of his gloomycharacter and of the varied fortunes of his life hitherto. Music-lovers inVienna expected wonders from his appearance. His arrival in the city wascarefully recorded on 18th March in the official Wiener Zeitung: \Arrived on16th March: Cav. Niklas Paganini, Professor of Music, travelling from Milan".
For his first appearance Paganini allowed time. He made anumber of carefully prepared courtesy visits. He appeared 'polite andwell-mannered'. When he gave his first concert on 29th March 1828 in theRedoutensaal, the room was nevertheless not too full. The ticket prices that heoffered were too high for music-lovers: Paganini asked for two gulden. Since atthe time there were a relatively large number of virtuoso concerts in Vienna,music-lovers thought this was just too much and the following concerts werecheaper. The artistic success of the performance, however, was overwhelming.The applause was almost endless and whole-hearted. Paganini shone not onlythrough a perfect technique achieved at the time by no other artist, but alsowith the soulful delivery of lyrical passages. All Vienna spoke of his success.Above all the news of the captivating rondo La campanella from Paganini'sViolin Concerto No.2 in B minor, Op.7, made the rounds.
Paganini's second concert on 13th April, also given at theRedoutensaal in the Hofburg, was filled to capacity. The first members of theaudience were there an hour and a half before the start of the concert at noon.The Empress Karoline Augusta, fourth wife of the 'good Emperor' Franz I,Archduke Carl with his wife Henriette, Archduchess Sophie and Archduke AntonVictor, patron of the Philharmonic Society, appeared with the nobility. Theleading musicians of Vienna, publishers and composers crowded into theremaining places. Franz Schubert too attended Paganini's concerts. He thoughtthat in the Adagio (of the Violin Concerto) he had 'heard an angel sing'. Theless culturally aware members of the public were enthusiastic about Paganini'stechnical perfection and La campanella sold in large numbers.
The 24-year-old Johann Strauss forestalled all theenthusiasts and dealers of Vienna. He had immediately written a waltz, scoringthe rondo La campanella with the accompaniment of an F sharp bell, embellishedwith artistic turns of all kinds and played ?á la Paganini. Since it was to behad at his concerts at The Two Pigeons for only a kreuzer, Strauss had a hugesuccess.
Paganini was in Vienna until the summer. The Waltz ?á laPaganini (to which Joseph Lanner had written a counterpart in the form of aquotation in the Second Vienna Quodlibet), stayed much longer in Strauss'srepertoire.
 Krapfen-Waldel-Walzer, Op.12 (Krapfenwaldel Waltz)
The former excursion inn in the Krapfenwaldel on the way upfrom Grinzing to the Kahlenberg has long disappeared and become part of anupmarket bathing establishment. In the Biedermeier period it was a modestrestaurant set among trees. The illustration on the piano edition of the waltzby Johann Strauss makes that quite clear. The composition by the future musicdirector is as simple as the inn itself. The work consists of six waltzsections without an introduction, with a short coda that repeats, at first, themotif of the first part, as later was usual in all the waltzes and those of hisson. The particularly attractive second part (in which one may imagine the cryof a bird), and the third and sixth waltzes have the character of Landler. Itwas said to have been one of the favourite waltzes of the music-loving CrownPrince and later Emperor Ferdinand I.
The work was announced by the publisher Tobias Haslinger on28th July 1828 in the Wiener Zeitung. It was written at the latest in thespring of that year and first performed either at a reunion of the band in TheWhite Swan in Rossau or in the garden of the Krapfenwaldel inn. In thenewspapers of 1828 there is no mention either of the Krapfenwaldel or of thewaltz. In 1834 for the first time the Theaterzeitung gave its readers a veryamusing and detailed description of the inn and the way there, leading fromGrinzing through the vineyards to Krapfenwaldel. Famous too was the view of theDanube, then divided into several channels, in Marchfeld and up to the start ofthe mountain range that leads from the Danube to Moravia.
Anyone who knows this impressive vista can, when he hearsthe Krapfenwaldel Waltz, picture himself again in Biedermeier Vienna. Theyounger Johann Strauss also paid his homage to the Krapfenwaldel. He had thepolka he wrote in the summer of 1869 in Russia, In the Pavlovsk Woods, Op.336, performedin Vienna under the title it has since borne, In the Krapfenwaldel. In thosedays there was still bird-song and the call of the cuckoo to be heard on theheights above Grinzing.
 Die beliebten Trompeten-Walzer, Op.13 (The PopularTrumpet Waltz)
The Trumpet Waltz, which appeared from Tobias Haslinger asStrauss's Opus 13, was among the earliest compositions of the young musicdirector. The date of 11th February 1828 given in the Wiener Zeitung isslightly misleading. Haslinger first issued the work when it had already becomepopular through repeated performances by the small Strauss ensemble at dancesand was known to musicians.
The Trumpet Waltz, advertising itself in the announcement as'the so very popular Trumpet Waltz', is a relatively simple composition,striking only in its skilful instrumentation. It consists of six waltzes with alonger coda in which the trumpet comes in with prominent signal calls, verydifferent from the flute imitations of the second waltz.
Johann Strauss served as music director in 1828 at The WhiteSwan in Rossau, in the Danube quarter. He was also still appearing in Lanner'sdance orchestra. The Trumpet Waltz was an attraction at The White Swan atCarnival in 1828. Whether it was also played by Lanner's orchestra is notknown, as the newspapers still gave no attention to the dance music of theVienna conductors. This was also the case with the novelties offered by theleading conductor Joseph Wilde, who played for dances in the long-famousMehlgrube in the inner city (today Neuer Markt - Karntnerstrasse, HotelAmbassador) and in the Redoutensaal in the Hofburg, as well as for court balls.Mozart too had given concerts at the Mehlgrube. Dance festivities broughttogether, throughout the year, leading circles of Vienna society. Theseoccasions also provided a favourite topic of conversation in aristocratic andupper middle class circles. In spite of this they were ignored by thenewspapers. Balls and reunions in the suburbs, for example at The Black Buck onthe Wi