STRAUSS I, J.: Edition - Vol. 8

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Johann Strauss I Edition, Vol. 8   [Track 1] Tausendsapperment-Walzer, Op. 61 (Devil Take It Waltz) During the 1833 Carnival in Vienna the craze for dancing was particularly strong. According to the evidence of the writer of the folk-style Hans Jorgel Letters the large number of placards on which balls in Vienna were announced alone was confusing. In spite of this Johann Strauss thought up something new to attract the interest of the public for his benefit ball on 13 February 1833 at the Sperl in Leopoldstadt. He had written a new waltz and invited visitors to the ball to find a title for the work. The idea proved very effective. Strauss was able to enjoy lively encouragement. All the rooms at the Sperl were overfilled and in the large ball-room there was such a press that barely a third of the dancers found enough room to move around. At the entrance to the establishment every visitor had taken a slip of paper and was asked to write on it a title for the dedication waltz by the music director Johann Strauss. This waltz was played for the first time. When the coda was over, the chest was opened. A girl, blindfold, picked out a slip of paper. On this, to general astonishment, was Tausendsapperment-Walzer (Devil Take It Waltz). Although the guests immediately raised objection to this title for a charming Viennese waltz as unsuitable, and suggested other names, Johann Strauss kept to the proposed title and let the work be published by Tobias Haslinger as Opus 61 under the title Tausendsapperment-Walzer. When Joseph Lanner copied the example of his successful rival Johann Strauss and also arranged for a choice of title, he had more luck. For his new waltz, which he introduced on 18 February at The Roman Emperor, the attractive title Flowers of Pleasure was given, confidently used for his Opus 73. [Track 2] Ballnacht-Galopp, Op. 86 (Ball Night Galop) On the same day as the Reise-Galopp (Journey Galop) appeared, on 15 February 1836 the publisher Tobias Haslinger also issued Strauss's Ball Night Galop. The themes of this plain but very effective work were taken by the composer from the opera Le bal masque by Daniel-Fran?ºois-Esprit Auber. The first performance of the opera had been given on 27 February 1833 at the Paris Grand Opera. The German version was given from 26 September 1836 at the Royal and Imperial Theatre at the Karntnertor. Johann Strauss very quickly arranged motifs from the opera and played them to visitors to the balls he organized. The Ball Night Galop was an occasional composition for the 1836 ball season and was subsequently seldom played. [Track 3] Der Frohsinn, mein Ziel, Walzer, Op. 63 (Gaiety My Aim) At the Sophia Festival on 16 May 1833 Johann Strauss played at the Tivoli. It was a glorious spring day, and the establishment was host to a large number of visitors. This was an ideal opportunity for Strauss to present his latest waltz. He gave the work the title Gaiety My Aim and confirmed with this title the motto that characterized his whole work as a composer and music director. It was always his aim to create and spread gaiety. He always achieved this goal, even in the year of crisis 1848 when, with his waltz Sorgenbrecher, Op. 230 (Worry Dispeller) at Carnival, shortly before the outbreak of the March revolution, he alleviated the very considerable worries of people in Vienna and once again achieved his goal of spreading gaiety. On 16 May 1833 the supporting programme at the Tivoli helped his motto come true. After the first performance of his waltz, transparent balloons were released over the hill and wafted away into the night sky. Strauss, however, had actually no need of help of this kind. His waltz enchanted the public at the Sophia Festival, which was naturally a celebration for Archduchess Sophie, and for the wife of Archduke Franz Carl and mother of his sons Franz Joseph and Carl Ludwig. The dedication waltz by Johann Strauss had no need to show off its merits by too great an outlay on musical effects. The work achieved its aim through a festive introduction (Andante) and, to begin with, a gently swaying first waltz, followed by a powerful continuation. This concentrated energy, which was a characteristic of Johann Strauss, already noted by Richard Wagner and soon to be described by Heinrich Laube as 'demonic', was communicated to the public, compelling the couples almost by magic to dance. The jaunty fifth waltz was followed by an extended coda in which the most effective parts of the work were quoted once more. Immediately before the powerful final chords Strauss had the trumpet and horn play a miniature yodel. Naturally, the listeners were enchanted by Johann Strauss's new waltz. When they set out home after the end of the Tivoli festival, there were many visitors who felt sorry that Strauss did not play there more often. The glory days of the Tivoli, however, were over and things went down from then on not only for the little carriages that rolled down the Green Hill, but for the whole enterprise. This was not the case with Strauss. His glory days lay ahead, his fame increased further and spread steadily beyond the frontiers of the Empire. Strauss took the opportunity to achieve gaiety also in Germany and later too in Holland, France and England, and that was also his aim. [Track 4] Paris-Polka (without Opus number)
Dedicated to H. Willis Esq.
Johann Strauss's Paris Polka was published in 1841 by R. Cocks & Co. in London. The piano edition has the inside title: Pariser-Polka/On English Airs. On the title-page of the edition it is noted that numerous compositions by Johann Strauss had already been issued by this publisher, up to the waltz Die Tanzmeister, Op. 135, (The Dance Master), first performed at the Katharine Ball at the Sperl on 24 November 1841, and Stadt- und Landleben, Op. 136, (Town and Country Life), first performed at a garden festival at the Sperl on 5 July 1841. As is clear from a letter that Johann Strauss wrote on 20 April 1839 to the Paris publisher Maurice Schlesinger, he had, before his tour to France and England in October 1837, reserved the right to choose a publisher for his new works in Paris and London. He then obviously made use of this right. No performance of this certainly interesting if not sensational work is known. That it is a composition by Johann Strauss is witnessed by the fact that an original score of the work was found in the music section of the Vienna City and District Library. This made the present first performance of the Paris Polka possible. Thanks are due to the English Strauss researcher Peter Kemp for the story of the work's origin. He offers the following information: 'The cheerful opening melody of the polka comes from The Ploughboy by William Shields (1787). The melodies of the two trios of the polka are songs from The Beggar's Opera by John Christopher Pepusch from 1828. (The first performance of the popular work took place in London on 9 February 1728.)' This may suffice for the understanding of this interesting composition by Johann Strauss. [Track 5] Robert-Tanze, Op. 64, nach beliebten Motiven aus Meyerbeer's Oper "Robert der Teufel"
(Robert Dances, on favourite motifs from Meyerbeer's opera Robert le Diable) On 29 July 1833 Johann Strauss celebrated one of the greatest successes of his comparatively short career as music director. On the evening of this day he arranged a diversion together with his friend and adviser (who might today be called 'manager') Carl Friedrich Hirsch, known as 'Lamperl-Hirsch' since he knew how to achieve magical lighting effects with various methods of gas or electric illumination. He demonstrated his kn
Item number 8225284
Barcode 636943528426
Release date 01/01/2006
Category Romantic
Label Marco Polo
Media type CD
Number of units 1
Composers I, Johann Strauss
I, Johann Strauss
Conductors Pollack, Christian
Pollack, Christian
Orchestras Slovak Sinfonietta Zilina
Slovak Sinfonietta Zilina
Disc: 1
Gitana-Galopp, Op. 108
1 Tausendsapperment-Walzer, Op. 61
2 Ballnacht-Galopp, Op. 86
3 Der Frohsinn, mein Ziel, Walzer, Op. 63
4 Pariser-Polka nach engl Motiven, o op
5 Robert-Tanze nach beliebten Motiven aus Meyerbeer’
6 Marianka-Polka, Op. 173
7 Elisabethen-Walzer, Op. 71
8 Militar-Quadrille, o op
9 Cotillons nach beliebten Motiven aus der Oper Der
10 Versailler-Galopp, Op. 107
11 Rosa-Walzer, Op. 76
12 Gitana-Galopp, Op. 108
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