Johann Strauss Snr Edition Vol. 3
 Es ist nur ein Wien! Walzer, Op. 22 (There is only oneVienna! Waltz)
For his benefit ball in the Chain-Bridge ballroom, which washeld on 17th February 1829, Johann Strauss wrote his first tribute to hisnative city, the Es ist nur ein Wien! waltz. It is very simply orchestrated forflute, two clarinets, two horns, one trumpet, percussion, two violins, viola,and bass. The structure too is uncomplicated with six waltzes of sixteen oreight bars, one following another, with only the third waltz in three parts,with the third part exceptionally having ten bars. The energetic 43-bar coda isvery effective. There is an apt title-page for the piano edition, published byTobias Haslinger on 27th May 1829, with a silhouette of Vienna, with its towersrising up to the sky, and the hills of the Vienna woods, Kahlenberg andLeopoldsberg, clearly recognisable.
There are pleasing motifs that give this declaration of lovefor his native city a particular charm. The strings provide a pizzicatoaccompaniment to the Viennese melody of the first waltz, followed by the otherparts varying in mood from the high-spirited and somewhat elegiac to motifsreminiscent of Landler.
In the performance of the waltz it can clearly be heard thatthe period of grinding out short motifs in triple time was past. CertainlyJohann Strauss had not yet discovered the definitive form of the waltz. Hisfriend and now often his rival Joseph Lanner, whom Strauss was to supersede inOctober 1829 at the Sperl, a famous establishment much respected for its musicdirectors, was also not yet at that point. Nevertheless the development of thesimple dance into an art work had begun and would lead to internationallyacclaimed results and to the master-works of the Strauss family and Lanner.Perhaps it can be said that Es ist nur ein Wien! stands at the beginning of thespread of Austrian music beyond national borders and to the world.
 Hirten-Galoppe, Op. 28 (Shepherd Galop)
Johann Strauss composed his Shepherd Galop for a largerensemble. He wrote parts for one flute, one oboe, two clarinets, two horns, onebassoon, two trumpets and one trombone. The work was written either during thecarnival or in the summer of 1829. In these months Johann Strauss was againmusic director at The Two Pigeons and at The Chain-Bridge. From October 1829 hewas music director at the then already famous Sperl, a position he held, with ashort interruption, until his death in 1849. The appearance of the pianoedition of the work was announced in the Wiener Zeitung on 20th November 1829and of course it was included in the collection Favourite Galops for the Piano.
Strauss had not taken too much trouble over this galop.After the first part, consisting of twice eight bars, which is repeated, comesa simple but very effective trio, also with eight bars twice. The slightlyvaried finale of 32 bars offers a brilliant conclusion. It is not hard toimagine how the dancers romped through the ball-room to these tunes.
 Josephstadter-Tanze [Walzer], Op. 23 (JosephstadtDances, Waltz)
Performed in the Garden Salon of the Theatre Building
The title-page of the piano edition of the JosephstadtDances, which was issued by Tobias Haslinger on 12th August 1829, indicates theplace of the first performance, the Garden Salon in the Josephstadt theatrebuilding, which then belonged to a subsequently extended and famous inn, The[Golden] Ostrich. The flightless African bird can also be seen on thetitle-page. The date of the first performance, however, is not known, althoughthe instrumentation for small orchestra suggests 1828.
The waltz is a simple, but agreeable and cheerful work,firmly rooted in Viennese tradition, but includes so many individual accents,as in the melodic structure in Waltz 3a of the six-part work, which starts upstrongly at once without introduction and also ends with a strong, short coda.In the years from 1845 to 1847 the younger Johann Strauss played the dance inthe then much larger ball-room of the same Golden Ostrich. For this place hewrote some cheerful polkas and interesting waltzes. His father later onlyseldom returned to this establishment and gave no more first performancesthere.
 Wettrennen-Galoppe, Op. 29[a] (Races Galop)
The publisher Tobias Haslinger had included the galopswritten in 1829 by Johann Strauss as No.28 and No.29 in his Favourite Galops,which was announced in the Wiener Zeitung on 20th November 1829.
The races introduced to Vienna by English gentlemen butpromoted by the excellent horsemen of the Austrian nobility were first held inthe Vienna Prater, but then exiled to the Simmering fields, since at the racesthe many spectators made so much noise with their attempts to cheer the riderson that it seemed to be disturbing the hunting and game on the Imperial Prater.It was of no concern to the friends and followers of the sport whether theraces should be held in the Prater or Simmering. They did not let it botherthem and the winners were also given in the newspapers.
Whether Johann Strauss had attended such races is not known.His spirited, rhythmic, originally arranged Races Galop reflects the mood onthe battlefield and remains an element in Viennese musical repertoire.
 Hietzinger-Reunion-Walzer (Hietzing Reunion Waltz) or
Weissgarber-Kirchweih-Tanze, Op. 24 (Weissgarb Parish Fair Dances)
On 11th September 1829 the publisher Tobias Haslingerissued, as he had announced in the Wiener Zeitung, a new waltz by JohannStrauss as Op.24 with the double title Hietzing Reunion Waltz or WeissgarbParish Fair Dances. This indicates the districts in which this work was heard.The suburb of Hietzing, near Schonbrunn, was under the then parishadministration of Klosterneuburg and provided two places for the Straussorchestra:
1.The inn opposite the Kaiserstockl, which in 1823 was taken over by FerdinandDonmayer and quickly attracted a large number of visitors. The newly builtball-room of the casino was first opened, however, on 16th June 1833, with aStrauss concert.
2.The old Vienna room at The White Angel opposite the Platzl parish church. It isnot known in which of these Johann Strauss could have appeared at reunions inthe summer of 1829.
Somewhat simpler is the interpretation of the WeissgarbParish Fair. The suburb of Weissgarb was built on the west bank of an arm ofthe Danube, now known as the Danube canal. Today Weissgarber Street andWeissgarber Lande in the Landstrasse district into which Weissgarb wasincorporated are reminders of the once quickly growing settlement. In The GoodShepherd there were reunions and balls until well into the nineteenth century.The old Weissgarb parish church was dedicated to St Margaret, whose feast-daywas celebrated on 20th July. In this month in 1829 the Parish Fair Dances byJohann Strauss must have been performed for the first time.
The waltz is scored for one flute, one oboe, two clarinets,two horns, two trumpets, one trombone, percussion and strings. Strauss hadenlarged his orchestra. The structure of the work is simple. It consists of anintroduction of four bars, five waltz sections with general Landler-stylemotifs and a comprehensive coda. The waltz offers a further step in