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Playlist of Strauss Jr

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  • The best of Johann Strauss II

    1:13:51

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    Johann Strauss II (1825 - 1899)


    1.Voices of Spring, Op. 410, 0:00
    2.Tritsch-Tratsch Polka, Op. 214 6:59
    3.Emperor Waltz, Op. 437 9:42
    4.Annen Polka, Op. 117 21:45
    5.Enjoy Your Life, Waltz, Op. 340 24:46
    6.Egyptian March, Op. 335 33:10
    7.Vienna Blood Waltz, Op. 354 37:18
    8.Thunder & Lightning, Op. 324 46:47
    9.Die Fledermaus Waltz, Op. 367 50:06
    10.Perpetuum Mobile, Op. 257 57:00
    11.Bandit's Gallop, Op. 276 1:00:09
    12.Blue Danube, Op. 314 1:02:57

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  • Strauss Jr - STRAUSS THE BEST OF POLKAS

    2:1:06

    STRAUSS THE BEST OF POLKAS
    1. Auf der Jagd, Op. 373 00:00
    2. Pizzicato-Polka 2:08
    3. Tritsch-Tratsch-Polka, Op. 214 4:44
    4. Die Schwatzerin, Op. 144 7:22
    5. Annen-Polka, Op. 117 11:04
    6. Jokey-Polka 15:03
    7. Feuerfest 17:11
    8. Eingesendet, Op. 240 20:07
    9. Demolirer-Polka, Op. 269 21:55
    10. Brennende Liebe, Op. 129 25:32
    11. Bahn frei!, Op. 45 29:49
    12. Aquarellen, Op. 258 32:14
    13. Sturmisch in Lieb' und Tanz, Op. 393 39:52
    14. Frauenherz, Op. 166 41:57
    15. Piefke und Pufke, Op. 235 46:00
    16. Im Krapfenwaldl, Op. 336 47:58
    17. Die Libelle, Op. 204 52:03
    18. Moulinet 56:27
    19. So angstlich sind wir nicht!, Op. 413 59:47
    20. Lob der Frauen, Op. 315 1:02:06
    21. Explosions-Polka, Op. 43 1:05:54
    22. Heiterer Mut, Op. 281 1:08:03
    23. Champagner-Polka, Op. 211 1:11:11
    24. Neue Pizzicato-Polka, Op. 449 1:13:17
    25. Eljien a Magyar!, Op. 332 1:16:51
    26. Unter Donner und Blitz, Op. 324 1:19:28
    27. Auf Ferienreisen, Op. 133 1:22:34
    28. Vergnugungszug, Op. 281 1:25:06
    29. Leichtes Blut, Op. 319 1:27:56
    30. Die Emancipirte, Op. 282 1:30:26
    31. Accelerationen, Op. 234 1:33:51
    32. Bitte schon!, Op. 372 1:41:37
    33. Tik-Tak-Polka, Op. 365 1:45:41
    34. Ohne Sorgen, Op. 271 1:48:26
    35. Im Fluge, Op. 230 1:50:06
    36. Extempore, Op. 241 1:51:55
    37. Freikugeln, Op. 326 1:55:08
    38. Rudolfsheimer-Polka, Op. 152 1:57:58

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  • Strauss II - Waltzes, Polkas & Operettas | Classical Music Collection

    2:47:19

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    STRAUSS II
    WALTZES, POLKAS & OPERETTAS

    01. Voices of Spring (Frühlingsstimmen), Waltz Op. 410 00:00
    02. Roses from the South (Rosen aus dem Süden), Waltz Op. 388 07:31
    03. On the Beautiful Blue Danube (An der schönen blauen Donau), Waltz Op. 314 17:11
    04. Acceleration (Accelerationen) Waltz Op. 234 28:35
    05. Treasure Waltz (Schatz-Walzer), Op. 418 37:29
    06. Where the Lemon Trees Bloom (Wo die Citronen blüh'n), Waltz Op. 346 45:53
    07. Be Embraced, You Millions! (Seid umschlungen, Millionen!) Waltz Op. 443 55:36
    08. Viennese Sweets (Wiener Bonbons), Waltz Op. 307 01:05:32
    09. Artist's Life (Künstlerleben) Waltz Op. 316 01:14:56
    10. Tales from the Vienna Woods (G'schichten aus dem Wienerwald) Waltz Op. 325 01:25:18
    11. Wine, Women and Song (Wein, Weib und Gesang) Waltz Op. 333 01:38:04
    12. Morning Journals (Morgenblätter), Op. 279 01:43:40
    13. Love Songs (Liebeslieder), Waltz Op. 114 01:54:48
    14. Viennese Blood (Wiener Blut) Waltz Op. 354 02:04:20
    15. Annen-Polka Op. 117 02:13.33
    16. Light Blood (Leichtes Blut) Polka Op. 319 02:16:36
    17. Tritsch-Tratsch Polka Op. 214 02:19:17
    18. Thunder & Lightning (Unter Donner und Blitz) Polka Op. 324 02:21:50
    19. Long live the Magyar (Éljen a Magyar! ), Polka Op. 332 02:24:53
    20. The Gypsy Baron: Ouverture 02:27:38
    21. The Gypsy Baron, Act III: March. Hurrah, die Schlacht 02:29:55
    22. The Gypsy Baron, Act III: Finale. Reich' ihm die Hand 02:32:44
    23. Persian March, Op. 289 02:33:47
    24. Perpetuum Mobile, Op. 257 02:36:04
    25. The Bat (Die Fledermaus): Ouverture 02:38:58

    Tracks 1-2, 10 & 25 performed by Vilnius Orchestra, Silvano Frontalini
    Tracks 3, 20 & 22 performed by Donetsk Orchestra, Silvano Frontalini
    Tracks 4-9, 11-19 & 23-24 performed by Stettino Philharmonic Orchestra, Stefan Marzcik
    Track 21 performed by Stettino Philharmonic Orchestra, Donetsk Chorus, Stefan Marzcik

    Johann Strauss II (October 25, 1825 – June 3, 1899), was an Austrian composer of light music, particularly dance music and operettas. He composed over 500 waltzes, polkas, quadrilles, and other types of dance music, as well as several operettas and a ballet. In his lifetime, he was known as The Waltz King, and was largely then responsible for the popularity of the waltz in Vienna during the 19th century. Strauss was admired by other prominent composers: Richard Wagner once admitted that he liked the waltz Wein, Weib und Gesang Op. 333. Johannes Brahms was a personal friend of Strauss; the latter dedicated his waltz Be Embraced, You Millions!, Op. 443, to him.

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    #classicalmusic #strauss #waltz #polka #operetta

  • The Best of Strauss

    2:43

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    THE BEST OF STRAUSS II

    01. Emperor Waltz (Kaiser-Walzer) Op. 437 00:00
    02. Strauss I - Radetzky March Op. 228 11:57
    03. Voices of Spring (Frühlingsstimmen) Waltz, Op. 410 14:54
    04. On the Beautiful Blue Danube (An der Schönen Blauen Donau) Waltz, Op. 314 21:49
    05. Chit-Chat (Tritsch-Tratsch) Polka, Op. 214 32:42
    06. Viennese Blood (Wiener Blut) Waltz, Op. 354 35:21
    07. Viennese Sweets (Wiener Bonbons) Waltz, Op. 307 44:10
    08. Tales from the Vienna Woods (G'schichten aus dem Wienerwald) Waltz, Op. 325 53:46
    09. Love Songs (Liebeslieder) Waltz, Op. 114 1:06:20
    10. Roses from the South (Rosen aus dem Süden) Waltz, Op. 388 1:15:10
    11. Be Embraced, You Millions! (Seid umschlungen, Millionen!) Waltz, Op. 443 1:24:26
    12. Acceleration (Accelerationen) Waltz, Op. 234 1:33:56
    13. Viennese Blood (Wiener Blut) Waltz, Op. 354 1:42:55
    14. Light Blood (Leichtes Blut) Polka, Op. 139 1:52:21
    15. Pizzicato Polka, Op. 234 1:55:06
    16. Polka Schnell, Op. 281 1:57:49

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    #classicalmusic #classical #waltz #strauss

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  • Strauss II - Greatest Waltzes Collection

    2:25:57

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    STRAUSS II
    Greatest Waltzes Collection

    01 Schatz-Walzer (Treasure Waltz) Op. 418 00:00
    02 Rosen aus dem Süden (Roses from the South) Op. 388 08:25
    03 Frühlingsstimmen (Voices of Spring), Op. 410 18:07
    04 Wein, Weib und Gesang (Wine, Women and Song) Op. 333 25:40
    05 An der Schonen Blauen Donau (On the Beautiful Blue Danube) Op. 314 31:18
    06 Kaiser Walzer (Emperor Waltz), Op. 437 42:42
    07 Wiener Bonbons (Vienna Sweets) Waltz Op. 307 54:36
    08 Wo die Citronen Blüh'n! (Where the Lemon Trees Bloom), Op. 364 1:04:02
    09 Seid umschlungen, Millionen! (Be Embraced, You Millions!) Waltz Op. 443 1:13:48
    10 Accellerationen (Accelerations) Waltz, Op. 234 1:23:49
    11 Künstlerleben (Artist’s Life) Op. 316 1:32:44
    12 Morgenblätter (Morning Journals), Op. 279 1:43:10
    13 Wiener Blut (Viennese Blood) Op. 354 1:54:20
    14 Geschichten aus dem Wienerwald (Tales from the Vienna Woods) Op. 325 2:03:36
    15 Liebeslieder (Love Songs) Op. 114 2:16:24

    1, 4, 8-13: performed by Stettino Philharmonic Orchestra, Stefan Marzcik
    2, 3, 6 & 14: performed by Vilnius Orchestra cond. by Silvano Frontalini
    5 performed by Donetsk Philharmonic Orchestra cond. by Silvano Frontalini
    15 performed by Donetsk Philharmonic Orchestra cond. by Silvano Frontalini

    Johann Strauss II (October 25, 1825 – June 3, 1899), was an Austrian composer of light music, particularly dance music and operettas. He composed over 500 waltzes, polkas, quadrilles, and other types of dance music, as well as several operettas and a ballet. In his lifetime, he was known as The Waltz King, and was largely then responsible for the popularity of the waltz in Vienna during the 19th century. Strauss was admired by other prominent composers: Richard Wagner once admitted that he liked the waltz Wein, Weib und Gesang Op. 333. Johannes Brahms was a personal friend of Strauss; the latter dedicated his waltz Be Embraced, You Millions!, Op. 443, to him.

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    All the best classical music ever on Halidon Music Youtube Channel: the very best of Mozart, Beethoven, Bach, Chopin, Tchaikovsky, Vivaldi, Schubert, Handel, Liszt, Haydn, Strauss, Verdi, Brahms, Wagner, Mahler, Rossini, Ravel, Grieg, Dvorák…

    #classicalmusic #classical #straussii

  • Johann Strauss II - The Blue Danube Waltz

    10:59

    Disscuss/Review The Blue Danube Waltz at

    Title : Johann Strauss II , The Blue Danube Waltz
    Date : 1867

    From Wikipedia,The Blue Danube is the common English title of An der schönen blauen Donau op. 314 (On the Beautiful Blue Danube), a waltz by Johann Strauss II, composed in 1867. Originally performed 9 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!

    The waltz originally had an accompanying song text written by Josef Weyl. 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 sentimental Viennese connotations of the piece have made it into a sort of unofficial Austrian national anthem. It is a traditional encore piece at the annual Vienna New Year's Concert. The first few bars are also the interval signal of Osterreich Rundfunk's overseas programs.

    It is reported by composer Norman Lloyd in his Golden Encyclopedia of Music that when asked by Frau Strauss for an autograph, the composer Johannes Brahms autographed Mrs. Strauss's fan by writing on it the first few bars of the Blue Danube. Under it he wrote Unfortunately not by Johannes Brahms.The work commences with an extended introduction in the key of A major with shimmering (tremolo) violins and a French horn spelling out the familiar waltz theme, answered by staccato wind chords, in a subdued mood. It rises briefly into a loud passage but quickly dies down into the same restful nature of the opening bars. A contrasting and quick phrase in D major anticipates the waltz before 3 quiet downward-moving bass notes usher in the first principal waltz melody.

    The first waltz theme is familiar gently rising triad motif in cellos and horns in the tonic D major, accompanied by harps; the Viennese waltz beat is accentuated at the end of each 3-note phrase. The Waltz 1A triumphantly ends its rounds of the motif, and waltz 1B follows in the same key; the genial mood is still apparent.

    Waltz 2A glides in quietly (still in D major) before a short contrasting middle section in B flat major. The entire section is repeated.

    A more dour waltz 3A is introduced in G major before a fleeting eighth-note melodic phrase (waltz 3B). An loud Intrada (introduction) is then played. Waltz 4A starts off in a romantic mood (F major) before a more joyous waltz 4B in the same key.

    After another short Intrada in A, cadencing in F-sharp minor, sonorous clarinets spell out the poignant melody of waltz 5A in A. Waltz 5B is the climax, punctuated by cymbal crashes. Each of these may be repeated at the discretion of the performer.

    The coda recalls earlier sections (3A and 2A) before furious chords usher in a recap of the romantic Waltz 4A. The idyll is cut short as the waltz hurries back to the famous waltz theme 1A again. This statement is cut short, however, by the final codetta: a variation of 1A is presented, connecting to a rushing eighth-note passage in the final few bars: repeated tonic chords underlined by a snare drumroll and a bright-sounding flourish.

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  • The Blue Danube Waltz - Johann Strauss Jr

    9:56

    The Blue Danube Waltz - Johann Strauss Jr

  • Strauss ~ The Blue Danube Waltz

    9:24

    Classical music : Johann Strauss II - The Blue Danube Waltz op. 314 - With paintings slideshow background

    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.

    All the paintings in this video are in the public domain

    Thank you for watching! Have a great day! :)

  • Johann Strauss II - An der schönen, blauen Donau - Walzer, Op. 314

    9:40

    It is interesting to reflect that Johann Strauss II's An der schönen blauen Donau (By the beautiful blue Danube), the most famous of all orchestral waltzes, was conceived and first performed as a showpiece for male voice choir. The work was Johann's first choral waltz, written as a commission for the Wiener Mannergesang-Verein (Vienna Men's Choral Association) with whom he was to enjoy a close association over the years, creating for the choir a total of six choral master waltzes, two polkas and a march.

    Strauss began sketching themes for the waltz, which would eventually bear the title An der schönen blauen Donau, in autumn 1866, and originally submitted to the Association a four-part unaccompanied chorus comprising just four waltz sections and a brief Coda, but without Introduction. A hastily written piano accompaniment followed soon afterwards, and then a fifth waltz section. The orchestral accompaniment, together with the distinctive Introduction, was provided only shortly before the first performance which took place at Vienna's Dianabad-Saal ballroom during the Association's Faschings-Liedertafel (Carnival Programme of Songs) on 15 February 1867. In the absence of the composer, who was appearing with the Strauss Orchestra at the Imperial Court on the night of the première, the members of the Wiener Männergesang-Verein were conducted by their chorus-master, Rudolf Weinwurm, and accompanied by the orchestra of the 'Georg V, König von Hannover' Infantry Regiment No. 42, which was temporarily stationed in Vienna. The original, satirical, text had been furnished by the Association's own 'house poet', Josef Weyl (1821-95), although a new text was added in 1890 by Franz von Gernerth (1821-1900) which was more suited to non-carnival occasions and commenced with the now familiar words: Donau so blau ... (Danube so blue...)

    The Viennese were treated to the first purely orchestral rendition of An der schönen blauen Donau - complete with Introduction and full-length Coda - on Sunday 10 March 1867 in the Volksgarten at the Strauss Orchestra's annual Carnival Revue, which took the form a Benefit Concert by Josef and Eduard Strauss, with the participation of Johann Strauss, Imperial-Royal Court Ball Music Director. This date is further confirmed by an entry in Josef Strauss's diary. Johann himself conducted this performance of his waltz, which featured as the third item on a programme presenting no less than twenty-four novelties composed for that year's carnival celebrations by the three Strauss brothers. Perhaps surprisingly, in view of the unanimous praise lavished by the Viennese press upon the choral première of the work, the orchestral version of An der schönen blauen Donau did not attract special attention from the critics, the Neues Fremden-Blatt (11.03.1867) merely noting that every piece met with the most undivided applause, which now and then increased to tempestuous enthusiasm, and everything had to be repeated. The three brothers celebrated in this concert the greatest triumph in the sphere of Viennese dance music.

    During the 1867 Carnival, An der schönen blauen Donau was merely regarded as a pearl amongst many others, and only a little later did the unique position which it was to assume, and maintain, as the unofficial national anthem of both Vienna and Austria, become evident. The new waltz was in the composer's luggage which he took with him to Paris in summer 1867, where it was played on 28 May at the glittering Austrian Embassy Ball given by the Ambassador, Prince Richard Metternich, and his wife, Princess Pauline, benefiting considerably from an attendance by the élite of international society. An Englishwoman who was present at this event, Mrs Charles Moulton (later Madame de Hegermann-Lindencrone), wrote home enthusiastically the following day: The famous Johann Strauss, brought from Vienna especially for this occasion, stood waiting with uplifted baton and struck up the 'Blue Danube', heard for the first time in Paris... And how Strauss played it!... With what fire and 'entrain'!. It did not take long for the reputation of the work to spread much further afield, and on 1 July 1867 Theodore Thomas conducted its first American performance in New York with his own orchestra, an ensemble which later became the Chicago Symphony Orchestra. A little less than twelve weeks later, on 21 September 1867, the composer conducted the British première of the work (in a choral version with a 100-strong male voice choir) at London's Royal Italian Opera House, Covent Garden, afterwards noting in his diary: tremendous tumult and rejoicing!!!.

    Conductor: Franz Welser-Most
    Orchestra: London Philarmonic Orchestra

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  • J. Strauss II: Nordseebilder - Waltz, Op. 390

    8:10

    Provided to YouTube by Universal Music Group

    J. Strauss II: Nordseebilder - Waltz, Op. 390 · Wiener Philharmoniker · Willi Boskovsky

    Strauss, J.II: Waltzes, Polkas & Marches

    ℗ 1971 Decca Music Group Limited

    Released on: 1997-01-01

    Producer, Recording Producer: Christopher Raeburn
    Studio Personnel, Balance Engineer: Gordon Parry
    Composer: Johann Strauss II

    Auto-generated by YouTube.

  • Johann Strauss II - Frühlingsstimmen - Walzer, op. 410

    6:00

    In the winter of 1882/83 Johann Strauss was invited to compose a vocal waltz for the Heidelberg-born coloratura soprano, Bianca Bianchi (1855-1947) - real name, Bertha Schwarz - who was at that time an acclaimed member of the Wiener Hofoperntheater (Vienna Court Opera Theatre). The waltz was to be given its first performance on 1 March 1883 at a grand matinée charity performance at the Theater an der Wien in aid of the '[Emperor] Franz Joseph and [Empress] Elisabeth Foundation for Indigent Austro-Hungarian Subjects in Leipzig'. Strauss, after his success with choral waltzes, was excited by the challenge of writing a waltz for solo voice. The librettist, Richard Genée, with whom the composer was at that time collaborating on the operetta Eine Nacht in Venedig (1883), signified his willingness to provide the text to the waltz. In the event he was responsible also for the vocal setting of the new work.

    Late autumn 1882 saw Johann Strauss in Budapest, Vienna's sister city on the River Danube, for the first performance there of his operetta Der lustige Krieg (The Merry War, 1881). He was accompanied for the first time by Adèle Strauss (née Deutsch), a young widow who was to become his third wife. According to contemporary reports, it was at one of the private soirées given in his honour during this visit that Johann gave an impromptu concert and played piano duets with another of the guests, Franz Liszt. The two men had known each other well for more than thirty years (Strauss had dedicated his waltz Abschieds-Rufe op. 179 to Liszt in January 1856) and had met on a number of occasions. It seerns highly probable that it was this visit which provided the impetus for writing the waltz Frühlingsstimmen, a work which is by no means a typical 'Violin waltz' but rather a waltz for the piano. The following February Strauss returned to Budapest to conduct another performance of Der lustige Krieg and, on 4 February , met Liszt again when the two men were among the guests at a soirée hosted by the Hungarian writer Gustav Tarnoczy. The Fremdenblatt (7.02.1883) was one of several Viennese newspapers which carried a report, reprinted frorn the Hungarian press, of the improvised concert which took place on this evening. The entertainment began with Weber's Jubel Overture, played as a piano duet by Liszt and the lady of the house. Strauss turned the pages. After this Strauss sat down at the piano and played his latest, as yet unpublished, compositions. [Another report refers specifically to the Bianchi-Walzer!] After the concert there was a whist party, at which Liszt and Strauss sat opposite Messrs Moriz Wahlmann and Ignaz Brüll; as always, here also luck smiled on the Piano King [= Liszt]. The soirée ended with dancing, for the commencernent of which Strauss himself gave the signal by sitting at the piano and playing several of his waltzes. After that a gypsy band played until four o'clock in the morning.

    Johann was justifiably pleased with his Frühlingsstimmen Walzer and in February he notified interested parties of its publication by Cranz. He even sent a copy to a member of the Austrian Imperial Household, the Archduke Wilhelm Franz Karl who, on 17 February, replied to Dear Strauss!, thanking him for his exquisitely successful concert waltz. He continued: Yesterday evening I couldn't get enough of playing these capitivating melodies and had to begin again and again da capo. Please number among the most ardent and oldest adherents of your musical creations your grateful Archduke Wilhelm.

    Johann Strauss himself conducted the theatre orchestra at the première of Frühlingsstimmen on 1 March in the Theater an der Wien, and the performance was so well received by the audience that Bianca Bianchi had to repeat it immediately.

  • Strauss Jr - STRAUSS THE BEST OF MARCHES

    51:39

    STRAUSS THE BEST OF MARCHES

    1. Egyptischer Marsch, Op. 353 00:00
    2. Wettrennen-Galopp, Op. 29a 4:00
    3. Radetzky-Marsch, Op. 228 5:53
    4. Spanischer Marsch, Op. 433 8:50
    5. Napoleon-Marsch, Op. 156 13:33
    6. Sperl-Galopp, Op. 42 16:21
    7. Banditen-Galopp, Op. 378 18:23
    8. Russischer Marsch, Op. 426 20:37
    9. Mit Extrapost, Op. 259 24:00
    10. Persischer Marsch. Op. 289 55:59
    11. Delirien, Op. 212 27:57
    12. Orpheus-Quadrille, Op. 236 36:08
    13. Schutzen-Quadrille 42:14
    14. Aufs Korn, Op. 478 49:05

  • Johann Strauss II - Die Fledermaus Overture

    8:31

    Discuss/review/recommend the work at

    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). Another source is a French vaudeville play, Le réveillon, by Henri Meilhac and Ludovic Halévy. This was first translated by Carl Haffner into a non-musical play to be produced in Vienna. However, the peculiarly French custom of the réveillon (a midnight supper party) caused problems, which were solved by the decision to adapt the play as a libretto for Johann Strauss, with the réveillon replaced by a Viennese ball. At this point Haffner's translation was handed over for adaptation to Richard Genée, who subsequently claimed not only that he had made a fresh translation from scratch but that he had never even met Haffner.

    The operetta premièred on April 5, 1874 at the Theater an der Wien in Vienna, Austria and has been part of the regular operetta repertoire ever since. It currently appears as number 19 on Opera America's list of the 20 most-performed operatic works in North America.

  • Johann Strauss:Emperor Waltz Op. 437

    11:56

    Berliner Philharmoniker

  • Johann Strauss II - Voices of Spring Waltz

    5:33

    In the winter of 1882/83 Johann Strauss was invited to compose a vocal waltz for the Heidelberg-born coloratura soprano, Bianca Bianchi (1855-1947) - real name, Bertha Schwarz - who was at that time an acclaimed member of the Wiener Hofoperntheater (Vienna Court Opera Theatre). The waltz was to be given its first performance on 1 March 1883 at a grand matinée charity performance at the Theater an der Wien in aid of the '[Emperor] Franz Joseph and [Empress] Elisabeth Foundation for Indigent Austro-Hungarian Subjects in Leipzig'. Strauss, after his success with choral waltzes, was excited by the challenge of writing a waltz for solo voice. The librettist, Richard Genée, with whom the composer was at that time collaborating on the operetta Eine Nacht in Venedig (1883), signified his willingness to provide the text to the waltz. In the event he was responsible also for the vocal setting of the new work.

    Late autumn 1882 saw Johann Strauss in Budapest, Vienna's sister city on the River Danube, for the first performance there of his operetta Der lustige Krieg (The Merry War, 1881). He was accompanied for the first time by Adèle Strauss (née Deutsch), a young widow who was to become his third wife. According to contemporary reports, it was at one of the private soirées given in his honour during this visit that Johann gave an impromptu concert and played piano duets with another of the guests, Franz Liszt. The two men had known each other well for more than thirty years (Strauss had dedicated his waltz Abschieds-Rufe op. 179 to Liszt in January 1856) and had met on a number of occasions. It seerns highly probable that it was this visit which provided the impetus for writing the waltz Frühlingsstimmen, a work which is by no means a typical 'Violin waltz' but rather a waltz for the piano. The following February Strauss returned to Budapest to conduct another performance of Der lustige Krieg and, on 4 February , met Liszt again when the two men were among the guests at a soirée hosted by the Hungarian writer Gustav Tarnoczy. The Fremdenblatt (7.02.1883) was one of several Viennese newspapers which carried a report, reprinted frorn the Hungarian press, of the improvised concert which took place on this evening. The entertainment began with Weber's Jubel Overture, played as a piano duet by Liszt and the lady of the house. Strauss turned the pages. After this Strauss sat down at the piano and played his latest, as yet unpublished, compositions. [Another report refers specifically to the Bianchi-Walzer!] After the concert there was a whist party, at which Liszt and Strauss sat opposite Messrs Moriz Wahlmann and Ignaz Brüll; as always, here also luck smiled on the Piano King [= Liszt]. The soirée ended with dancing, for the commencernent of which Strauss himself gave the signal by sitting at the piano and playing several of his waltzes. After that a gypsy band played until four o'clock in the morning.

    Johann was justifiably pleased with his Frühlingsstimmen Walzer and in February he notified interested parties of its publication by Cranz. He even sent a copy to a member of the Austrian Imperial Household, the Archduke Wilhelm Franz Karl who, on 17 February, replied to Dear Strauss!, thanking him for his exquisitely successful concert waltz. He continued: Yesterday evening I couldn't get enough of playing these capitivating melodies and had to begin again and again da capo. Please number among the most ardent and oldest adherents of your musical creations your grateful Archduke Wilhelm.

    Johann Strauss himself conducted the theatre orchestra at the première of Frühlingsstimmen on 1 March in the Theater an der Wien, and the performance was so well received by the audience that Bianca Bianchi had to repeat it immediately.

    In its purely orchestral version the Frühlingsstimmen Walzer was played for the first time on 18 March 1883 when the composer's brother, Eduard Strauss, conducted it with the Strauss Orchestra at one of his regular Sunday afternoon concerts in the Goldene Saal (Golden Hall) of the Musikverein building in Vienna. This première also met with great success and the waltz had to be encored.

  • Frühlingsstimmen op. 410 - Johann Strauss II

    5:48

    Frühlingsstimmen, walzer op. 410 (Voices of Spring). Author: Johann Strauss II (1825-1899).

  • The Beautiful Blue Danube - André Rieu

    8:14

    André Rieu & his Johann Strauss Orchestra playing The Beautiful Blue Danube (An der schönen blauen Donau) by composer Johann Strauss II. Recorded live at Empress Sisi's castle; Schönbrunn Palace Vienna, Austria with dancers from the famous Austrian Elmayer Dancing School.

    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

    For tour dates visit:



  • Blue Danube Waltz by Johann Strauss, Jr./arr. Robert Longfield

    3:36

    To purchase print edition or for more info:
    To purchase, download and print instantly:

    Easy Music for Strings - Grade 2
    One of the most famous orchestral works of all time and now available in a setting for younger players, Blue Danube Waltz will introduce your players to one of the most performed genres in orchestral playing, the grand waltz.
    HL04490596
    HL04490597

  • Johann STRAUSS - The Greatest Hits

    1:14:06

    Johann Strauss - The Greatest Hits (Full album) 2014 / FULL HD
    State Symphony Orchestra of the USSR Ministry of Culture & Pavel Kogan

    01. Sounds of Spring Waltz, Op. 410
    02. Viennese Waltz, Op. 307
    03. Backgammon Polka, Op. 214
    04. Radetzky March, Op. 228
    05. Blue Danube, Op. 314
    06. Pizzicato Polka, Op. 449
    07. The Gypsy Baron Quadrille, Op. 422
    08. Polka-Mazurka, Fata Morgana, Op. 330
    09. In Krapfenvale, Op. 336
    10. A woman's heart, Op. 166
    11. Feast of Fire, Polka, Op. 269
    12. Artist's Life, Op. 316
    13. Hunting Polka, Op. 373
    14. You are my treasure, Op. 418
    15. Polka thunder and lightning, Op. 324
    16. Vienna, woman and song, Op. 333

  • Johann Strauss - Vienna Waltz

    2:21

    One wonderful waltz of Johann Strauss
    Johann Strauss II (October 25, 1825 -- June 3, 1899; also known as fully Johann Baptist Strauss, and Johann Strauss, Jr. was an Austrian composer of light music, particularly dance music and operettas. He composed over 500 waltzes, polkas, quadrilles, and other types of dance music, as well as several operettas and a ballet. In his lifetime, he was known as The Waltz King, and was largely responsible for the popularity of the waltz in Vienna during the 19th century.
    Strauss was born in St. Ulrich (now a part of Neubau), the son of Johann Strauss I, another composer of dance music. His father did not wish him to become a composer, but rather a banker; however, the son defied his father's wishes, and went on to study music with the composer Joseph Drechsler and the violin with Anton Kollmann, the ballet répétiteur of the Vienna Court Opera. Strauss had two younger brothers, Josef and Eduard Strauss, who became composers of light music as well, although they were never as well-known as their elder brother.
    Some of Johann Strauss's most famous works include The Blue Danube, Vienna Waltz, Kaiser-Walzer, Tales from the Vienna Woods, the Tritsch-Tratsch-Polka, and the Pizzicato Polka. Among his operettas, Die Fledermaus and Der Zigeunerbaron are the most well-known.

  • x
  • J. Strauss Jr. - The Blue Danube Waltz - Leonard Bernstein - 1969

    10:22

    Leonard Bernstein - New York Philharmonic - 1969

  • Voices Of Spring Waltz ???????? - Johann Strauss Jr.

    4:09

    Voices Of Spring Waltz - Johann Strauss Jr.

  • Johann Strauss II - Pizzicato Polka

    2:48

    The second of the Strauss brothers, Josef (1827-70), had been the first to tread the path of matrimony. Though very happily married since 1857, Josef constantly strove to become financially independent so he could break free from the oppressive confines of the Strauss family apartments in the massive 'Hirschenhaus' in Leopoldstadt and establish a home of his own with his wife and daughter. This possibility appeared to him to advance a step closer when, in 1868, brother Johann reached agreement with the management of the St Petersburg Tsarskoye-Selo Railway Company for Josef and himself to share the conducting of concerts at Pavlovsk during the summer months of 1869.

    The two Strauss brothers were accompanied on their 1869 venture to Russia by Johann's wife, Jetty (1818-78), whose letters home show that the underlying disharmony which had long existed between 'Jean' (Johann) and 'Pepi' (Josef) had largely given way to a spirit of mutual co-operation. As the two musical directors were now able to divide the workload of rehearsing and conducting the orchestra, both had sufficient time to compose. On 13 June 1869 (= 1 June, Russian calendar), Jetty wrote from Pavlovsk to Josef¡¦s wife Caroline (1831-1900) in Vienna: Pepi & Jean are now writing a polka together - that again will be something new. Almost twenty-three years later, on 1 April 1892, Johann detailed in a letter to his publisher Fritz Simrock the events which had culminated in this fraternal collaboration: I advised my brother Josef - so that he could secure the St Petersburg engagement (I have been there 10 times and earned a lot of money) [-] to compose something which would catch on in St Petersburg, and suggested he should prepare a pizzicato polka. He did not want to do it - he was always indecisive - finally I proposed to him that the polka should be created by the two of us. He agreed, and just look - the polka caused a furore in the true sense of the word.

    Johann Strauss was not exaggerating. The records kept by the diarist F.A. Zimmermann, a viola-player in the 47-strong orchestra at Pavlovsk, show clearly that the work was played no less than nine times on the evening it was first introduced to the Russian public - 24 June 1869 (= 12 June). One can only guess at the scenes which must have ensued as the public demonstrated its wild enthusiasm for this novelty item which, according to Johann, was the very first of its kind. (Léo Delibes's famous Pizzicato-Polka for his ballet Sylvia, ou La Nymphe de Diane was not heard until 1876.) In view of the work's success, it is strange that Johann and Josef omitted the Pizzicato-Polka from their next eleven concerts and only reintroduced it at their benefit performance on 6 July 1869 (= 24 June), when the piece had to be played a total of seven times. At subsequent performances during the remainder of the Pavlovsk season, the Pizzicato-Polka continued to exert its extraordinary effect upon the public.

    Outside the lands of the Tsar, the Pizzicato-Polka began its conquest of the world when Josef Strauss conducted its Viennese première on 14 November 1869 during the first of his promenade concerts that season with the Strauss Orchestra at the Sofienbad-Saal. In addition to the Pizzicato-Polka - which was given by a quartet of players - Josef also introduced the first Viennese performances of three other works written by him for that year's Pavlovsk concerts: Ohne Sorgen! Polka schnell op. 271, Frohes Leben, Walzer op. 272 and En passant, Polka française op. 273.

  • Johann Strauss Jr - Waltz medley

    4:56

    Love classical music? Learn to play the best PIANO pieces the easiest way:

    Johann Strauss Jr

    Waltz medley

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  • J.Strauss II - Frühlingsstimmen

    8:23

    Buy the Sheet Music or MIDI:
    klafas.bogdan@mail.ru
    klafas.bogdan@gmail.com

  • Johann Strauss II - Tales from the Vienna Woods Waltz

    11:01

    The decorative first piano edition of Johann Strauss's evocative waltz Geschichten aus dem Wienerwald carries the composer's respectful dedication to his Highness Prince Constantin Hohenlohe-Schillingsfürst (1828-1896), and the work was almost certainly given its world première at a private soirée in the prince's 16th-century palace in the Augarten, Vienna, during summer 1868. An undated letter from that year, written to the composer by Princess Marie Hohenlohe-Schillingsfürst, reads: Dear Sir, The performance of your beautiful waltz gave me such pleasure recently -- that I cannot help asking you kindly to accept a small memento of the unforgettable evening. It is to remind you of another of your finely-chiselled masterpieces, by the blue Danube -- whose sound reminds us all of happy hours. With repeated thanks and greatest respect. Fürstin zu Hohenlohe. (The nature of the Princess's memento is unfortunately not known). Since May 1867 Prince Constantin had held the position of First Master of the Royal Household and had lived in the Augarten residence with his wife Marie (née Princess Sayn-Wittgenstein), the daughter of Franz Liszt's long-term mistress Princess Carolyne Wittgenstein. Through Marie's connections the Augarten Palace, situated on the opposite side of the Danube Canal from the inner city of Vienna, became a focal point of cultural life in the Austrian capital. (After the Second World War it became, and has remained, the home of the Vienna Boys' Choir).

    On 22 June 1868 Johann Strauss conducted a public performance of Geschichten aus dem Wienerwald before an audience of five thousand at the 'Sommerliedertafel' (Summer Song Programme) of the Wiener Männergesang-Verein (Vienna Men's Choral Association) held in Karl Schwender's 'Neue Welt' entertainment establishment in the Vienna suburb of Hietzing. Yet this was no public première: three days earlier in the Volksgarten, at an 'Extraordinary Novelty Festival with Fireworks, for the Benefit of Josef and Eduard Strauss' on 19 June, Johann himself conducted the new work to great applause and was obliged to repeat it four times. A particularly strong impression was made by the waltz's expansive Introduction of 122 bars, a rustic tone-poem evocative of the countryside of the Wienerwald, the wooded eastern foothills of the Alps, situated just north-west of Vienna. It is curious to reflect, therefore, that at no time in his life did the composer himself undertake walks in the Vienna Woods -- indeed, he expressed a lifelong fear of climbing even the most gentle of hills! Through the use of zither (replaced on this recording by an optional string ensemble) and Ländler-style rhythms in the Introduction and Coda, Strauss emphasises the close ties between the Viennese Waltz and the peasant music of Lower Austria. A zither-player pictured in a vignette on the cover of the first piano edition further underlines this connection, while the artist also depicts other commonplace scenes and pleasures to be enjoyed in the countryside -- shooting on a rifle range, a pair of lovers enjoying rural seclusion, and young men bowling at an outdoor skittle alley.

  • Tritsch-Tratsch-Polka - Johann Strauss II

    2:39

    Tritsch-Tratsch-Polka, Polka schnell Op. 214 von Johann Strauss II (1825 - 1899)

  • Voices Of Spring Waltz - Johann Strauss Jr.

    5:56

    Voices Of Spring Waltz

    Johann Strauss, Jr.

  • Johann Strauss II - Frühlingsstimmen Waltz, Op. 410 Voices of Spring

    8:37

    Zygmunt Nitkiewicz - conductor
    Symphony Orchestra of The Józef Marcin Żebrowski Music School in Częstochowa, Poland
    La Folle Journée de Varsovie
    recorded at Polish National Opera House in Warsaw, september 27, 2016

  • Vienna Blood Waltz - Johann Strauss Jr.

    7:11

    Vienna Blood Waltz

    Johann Strauss, Jr.

  • Johann Strauss, Jr - Six Polkas

    17:43

    Johann Strauss, Jr - Six Polkas

    Armenian Philharmonic Orchestra

    Conducted by
    Loris Tjeknavorian

    Aram Khachaturian Concert Hall
    Yerevan - Armenia

  • Johann Strauss - Overture Die Fledermaus

    8:58

    From the Heldenplatz in Vienna, 29. May 1999

    Vienna Philharmonic Orchestra (Wiener Philharmoniker)
    Zubin Mehta - conductor

    Johann Strauss II - Overture Die Fledermaus

    Watch the complete concert:

    Johann Strauss II (October 25, 1825 – June 3, 1899), also known as Johann Strauss, Jr., the Younger, the Son (German: Sohn), Johann Baptist Strauss, was an Austrian composer of light music, particularly dance music and operettas. He composed over 500 waltzes, polkas, quadrilles, and other types of dance music, as well as several operettas and a ballet. In his lifetime, he was known as The Waltz King, and was largely then responsible for the popularity of the waltz in Vienna during the 19th century.
    Some of Johann Strauss' most famous works include The Blue Danube, Kaiser-Walzer, Tales from the Vienna Woods, and the Tritsch-Tratsch-Polka. Among his operettas, Die Fledermaus and Der Zigeunerbaron are the best known.

  • Johann Strauss II - Persian March, Op. 289 conducted by Maciej Tomasiewicz

    2:51

    Special Winners Concert of 3rd Polish Nationwide Music Schools' Symphonic Orchestras Competition
    Audition Award - Polish Youth Symphony Orchestra in Bytom, Maciej Tomasiewicz - conductor
    Zdobywca nagrody publiczności - Polska Młodzieżowa Orkiestra Symfoniczna –
    Orkiestra Ogólnokształcącej Szkoły Muzycznej I i II stopnia im. Fryderyka Chopina w Bytomiu,
    pod dyrekcją Macieja Tomasiewicza

  • Johann Strauss Jr - Treasure Waltz

    8:41

    Johann Strauss Jr

    Treasure Waltz

  • Strauss II - Emperor Waltz

    10:33

    Kaiser-Walzer, Op. 437 (Emperor Waltz) is a waltz composed by Johann Strauss II in 1889. The waltz was originally titled Hand in Hand and was intended as a toast made in August of that year by Emperor of Austria Franz Joseph I on the occasion of his visit to the German Emperor Wilhelm II where it was symbolic as a 'toast of friendship' extended by Austria-Hungary to the German Empire.

    Strauss' publisher, Fritz Simrock, suggested the title Kaiser-Walzer since the title could allude to either monarch, and thus satisfy the vanity of both rulers. The waltz was first performed in Berlin on 21 October 1889. The original cover of the piano edition bore the illustration of the Austrian Imperial Crown.

    Johann Strauss

    Emperor Waltz
    Valsa do Imperador

    For more:

  • Johann Strauss II - On the Beautiful Blue Danube, Opus 314

    5:37

    An der schönen blauen Donau, Op. 314 (English translation: On the Beautiful Blue Danube) is a waltz by the Austrian composer Johann Strauss II (1825-1899), 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.

  • Johann Strauss II - Wiener Blut - Walzer, Op. 354

    8:59

    On 20 April 1873, the Archduchess Gisela Louise Maria (1856-1932), eldest daughter of the Austrian Emperor Franz Josef and the Empress Elisabeth, married Prince Leopold of Bavaria (1846-1930) in Vienna. To commemorate this major occasion a series of glittering festivities was arranged around the date of the Imperial wedding, including a Court Ball in the Hofburg Palace and a festival in the Prater, and the most important organisations of the nobility and citizenry, as well as the authorities of the City of Vienna itself, vied with each other in the organising of numerous celebrations and festive events.

    For their part, the personnel of the Wiener Hof-Operntheater (Vienna Court Opera Theatre) devised a very special attraction and announced for 22 April 1873 a Court Opera Ball - a forerunner of the present-day Vienna Opera Ball - the proceeds from which were destined for the theatre's Pensions Institute, which arranged the event. However, since at this time the Austrian Emperor was unprepared to sanction dancing in the Hof-Operntheater, which he looked upon as 'his' opera house, the event was instead held in the Golden Hall of the Musikverein building - home of the Gesellschaft der Musikfreunde (Society of the Friends of Music) and today the setting for the annual New Year's Day Concerts of the Vienna Philharmonic. As hosts of the Court Opera Ball, the artistes of the Hof-Operntheater were keen to present themselves as favourably as possible to their public, and so offered their guests a particularly beguiling programme. They engaged the Strauss Orchestra and its conductor, 'Court Ball Music Director' Eduard Strauss, to provide the music for dancing, but withheld their pièce de résistance until around midnight, when a break in proceedings of one hour¡¦s duration was announced for the benefit of both orchestra and dancers.

    Now the highlight of the evening was revealed as the resident orchestra of the Vienna Court Opera, the Vienna Philharmonic, presented a short concert of music. Since the Director of the Wiener Philharmoniker, Johann Herbeck, had been taken ill shortly before the ball, the first item - Carl Maria von Weber's Aufforderung zum Tanz (Invitation to the Dance), in Hector Berlioz's orchestration - was conducted by Otto Dessoff, who at that time was also leader of the Philharmonic Concerts. The critic of the Fremden-Blatt (24.04.1873) observed of this performance that it was played with such verve and precision that perhaps nobody will be able to recall having heard this piece of music better [played]. The journalist continued: After this, Johann Strauss stepped up to the conductor's podium to perform his latest waltz, 'Wiener Blut'. We do not believe that we are overstating our praise if we count this work amongst the best by the beloved Waltz King. This dance piece is a collection of genuine Viennese tunes, full of melody and electrifying rhythm. On tempestuous demand the waltz had to be repeated. The reviewer for the Neues Wiener Tagblatt (23.04.1873) was equally enthusiastic, numbering the waltz Wiener Blut amongst the most beautiful which Strauss has written in recent years. In these three-four bars, sometimes cheeky, sometimes sentimental, flows fresh, free and red Viennese blood.

    This performance of the waltz Wiener Blut, on the night of 22/23 April 1873, marked the first occasion on which the Viennese Waltz King conducted the renowned Vienna Philharmonic Orchestra, and thus also the commencement of the orchestra's 'Strauss tradition'. (Some six months later, on 4 November 1873, the Wiener Philharmoniker would cement this relationship still further when, under the composer's direction, they performed Strauss's waltz An der schönen blauen Donau for the very first time at a concert in the Golden Hall of the Musikverein, hosted by the Committee of the Chinese World Exhibition.)

  • Patricia JANEČKOVÁ: Mein Herr Marquis

    3:42

    Johann Strauss II: Mein Herr Marquis (Die Fledermaus)
    Soprano: Patricia JANEČKOVÁ - New Years Concert in Vienna Style“

    Janáček Philharmonic Ostrava, Chief conductor: Heiko Mathias Förster
    January 7, 2016, Ostrava, Czech Republic

  • Johann Strauss II Tales From The Vienna Woods Geschichten aus dem Wienerwald FULL

    14:31

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  • Sul bel Danubio blu, Johann Strauss

    3:59

  • Johann Strauss - Annen-Polka

    4:27

    After you've enjoyed this video, you may checkout this video:



    New Year's Concert of the Vienna Philharmonic 2009
    The venerable live concert is the largest world-wide event in classical music reaching over a billion people annually thru radio & tv in up to 100 countries. Since the concert takes well too long, we just cut out & share with you: The Annen-Polka by Johann Strauss (Son).

  • Johann Strauss II. - Geschichten aus dem Wiener Wald

    7:39



    This is my personal favourite orchestral version of this terrific masterpiece. Played by Vienna Symphony Orchestra, Conductor: Robert Stolz (!)

    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.

    ___________________

    Tales from the Vienna woods
    ウィーンの森の物語
    小约翰·施特劳斯
    योहान स्ट्रॉस दुसरा
    ヨハン・シュトラウス2世

  • Johann Strauss II: Tales from the Vienna Woods - Walz

    15:18

    Performance: May 2008, Belo Horizonte, MG, Brazil
    Orquestra Filarmônica de Minas Gerais
    Fabio Costa, conductor

  • Johann Strauss II - Künstlerleben - Walzer, op. 316

    9:28

    Like the waltz An der schönen blauen Donau (By the beautiful blue Danube) op. 314, the waltz Künstler-Leben belongs to the dance music of 1867 which had the almost impossible task of injecting an element of gaiety and joie de vivre into that year's Vienna Carnival, and Viennese life in general, following the crippling shock of events during summer 1866 when Austria was overthrown by Prussian military supremacy at the Battle of Königgrätz. Many of the capital's grand 'Representation Balls' organised by the major professions and associations were cancelled, and the prevailing mood at those which did take place was, at least to begin with, lacklustre. As the chronicler of the Wiener Zeitung wrote at that time: Nowadays, nobody steps on to the smoothly polished parquet of the dance hall in a bright, witty or jocular frame of mind; everyone merely hopes to find the like there.

    The three Strauss brothers summoned their full creative powers in order to conjure up that immense jollity which, in happier times, had arisen spontaneously during carnival-time. They succeeded beyond all expectation -- especially so in the case of Johann and Josef -- by crafting a whole series of masterworks which re-awoke in the Viennese their lust for living. The waltz Künstler-Leben, which Johann Strauss himself conducted for the first time at the 'Hesperus' Ball in the Dianabad-Saal on 18 February 1867 -- just three nights after the première of An der schönen blauen Donau in the same venue -- was dedicated to the ball's organising committee, and paid homage to all those sculptors, painters, poets, authors, performers and musicians who had helped Vienna on its rise to prominence. The Vienna Artists' Association, 'Hesperus', to which belonged numerous renowned actors, singers, members of the great Viennese orchestras and choral associations as well as the leading writers of the age and, not least, all three Strauss brothers, only existed for a short time. Founded in 1859, this strictly apolitical gathering soon secured its place in Austria's musical life simply because Johann, Josef and Eduard Strauss showered its annual ball festivities with a cornucopia of delightful dance compositions. The sequence began with Johann's Hesperus-Polka op. 249, written for the modest first ball of the Society in 1861, and ended with Josef's waltz Hesperus-Klänge op. 279 for what proved to be the Society's last ball in 1870. Johann's waltz Künstler-Leben occupies a central position in this group of compositions. It was sketched out in the late autumn of 1866, at about the same time as An der schönen blauen Donau, and even contemporaries regarded Künstler-Leben as the distinguished twin of the popular Donauwalzer (Danube Waltz). At the time of the 1867 'Hesperus' Ball (to which Josef Strauss contributed the Jocus-Polka schnell op. 216 and Eduard the Apollo Polka française op. 25) it had already become a tradition that dance compositions written especially for such events by the Strauss brothers would first be played in a concert performance, usually during the interval, permitting the guests to listen attentively to the new work. Such pieces would be repeated later during the course of the ball, and only then would they be played for dancing. Thus it was with Künstler-Leben, whose ingenious Introduction belongs to the very best inspirations of its composer.

    Künstler-Leben at once established itself as a masterpiece of the 1867 Vienna Carnival, and when Strauss travelled to Paris at the end of May to commence a series of concerts, his wife, Jetty, who accompanied him, was able to enthuse in a letter to a friend in Vienna on 15 June about her husband's triumph in the French capital: Jean [Johann] plays all the favourite pieces now, and I couldn't tell you which please the most. The 'Donau', 'Morgenbl[ätter] 'Künstlerl[eben]', 'Wienerbonbons', 'Bürgerweisen', ditto -- 'Sinn', 'Flugschrift[en]', 'Carneval-Botsch[after]', 'Nachtfalter', these are already hits. 'Kaiserstadt', 'Prozess', 'Parforce', 'Annen' -- 'Maskenzug', 'train de plaisir', 'Tritsch[-Tratsch]' -- one pleases more than the other. They are simply crazy for this Viennese music.

  • Vienna New Years Concert 2010, Die Fledermaus Overture, Johann Strauss

    9:20

    From the New Years Day concert 2010 in Vienna. Johann Strauss' Die Fledermaus Overture. Upscaled to 720p.

    Recorded from the BBC on 01 January 2010.

  • Johann Strauss Jr.s Overtures - Der lustige Krieg

    5:53

    Johann Strauss II - The Merry War (1881).

    Throughout much of 1881 Vienna's pressmen enjoyed a field day recording the various musical projects upon which Johann Strauss was reported to be working. By no means did all these projects come to fruition: for example, in April he was reported to have promised a ballet score for the Hof-Operntheater and in March he was understood to have started composing an operetta by the French librettist Néolès Alfred Hennequin (1842-87). On 16 February 1881, however, the Fremden-Blatt accurately stated that the highly successful librettist firm of F. Zell (real name: Camillo Walzel, 1829-95) and Richard Genée (1823-95) had drafted a new libretto for the composer. Indeed, Strauss had begun work on Zell and Genée's latest offering immediately after the 150th jubilee performance of Die Fledermaus at the Theater an der Wien on 8 February 1881, an event which the eminent conductor and composer Hans von Bülow (1830-94) had attended as Johann's special guest.

    As is clear from a report in the Fremden-Blatt on 2 July 1881, Strauss made rapid progress with the new operetta, the title of which had been revealed in May to be Der lustige Krieg (The Merry War). At a gathering on 30 June 1881 at Johann's country retreat in Schonau-bei-Leobersdorf, Lower Austria, the composer was joined by Franz Steiner (1855-1920), Director of the Theater an der Wien, and the two librettists. Zell passed around the complete libretto, while Strauss astonished his guests by announcing that he had already composed two acts of the operetta. It was thereupon agreed that Der lustige Krieg would be presented as the theatre's main attraction during its next season, probably around December 1881. Only a month after its initial report the Fremden-Blatt (3.08.1881) announced that work on the operetta had progressed so swiftly that it was hoped to present it during November 1881.

    Rehearsals for Der lustige Krieg commenced on 31 October, and the curtain of the Theater an der Wien duly rose on the premiere of the new three-act Strauss operetta on Friday 25 November 1881. The performance and the work exceeded all expectation, and there was universal praise for the cast which included Therese von Braunecker-Schäfer (as Artemisia), Caroline Finaly (Violetta), Alexander Girardi (Marchese Filippo Sebastiani), Ferdinand Schütz (Umberto Spinola) and Felix Schweighofer (Balthasar Groot). The stage work is set in and around the garrisoned Mediterranean city of Massa during the first half of the 18th century, and concerns a dispute between two states. The 'war' between them is played out as a game of love between, on the one side, the widowed Countess Violetta and, on the other side, the commander-in-chief of the Genoese army, Colonel Umberto Spinola. To add to the carefree atmosphere of this unwarlike and highly improbable tale, there is no bloodshed among the opposing troops of Massa-Carrara and Genoa, for there is no actual fighting in this merry war.

    Johannes Brahms (1833-97), who attended the dress rehearsal on 24 November, enthused to the composer and critic Richard Heuberger (1850-1914) about all kinds of fine stuff to be heard in Der lustige Krieg, though strangely he could not detect one 'hit' in the score. (Quoted from Richard Heuberger: Erinnerungen an Johannes Brahms. Edited by Kurt Hofmann, Tutzing 1976). The reporter for the Fremden-Blatt newspaper (26.11.1881), however, expressed no such reservations, and plundered his lexicon for pertinent martial terms: 'The war' [= Der Krieg] to which Johann Strauss has supplied the merry [= lustige] music, ended with a thoroughly splendid victory and a complete triumph for the celebrated, popular Viennese maestro. On this occasion the composer has selected the surest weapons from the arsenal of his invention and imagination, has sent into battle a legion of charming melodies and has totally captivated the public with them. The public, however, was awarded a victory prize in the memory of the superb music which will this season dominate the concert- and ball room, the programmes of the military bands, and will be played and sung in all possible arrangements wherever a piano is to be found ... The operetta was received enthusiastically. Johann Strauss was greeted by a long-lasting storm of applause, which was repeated during the overture when the first waltz [the Act 1 Quintet, Kommen und geh'n, ohne zu seh'n] resounded, and at the end of it.

    Johann Strauss, who conducted the première of Der lustige Krieg on 25 November 1881, was applauded tempestuously after the playing of the overture. Just over two weeks later, on 11 December 1881, the piece triumphed again when the composer also conducted its first concert performance during his brother Eduard's Sunday benefit concert with the Strauss Orchestra in the Golden Hall of the Musikverein.

  • Johann Strauss Jr - Wine, Women and Song

    6:26

    Johann Strauss Jr

    Wine Women and Song

  • Johann Strauss Jr.-Tritsch-Tratsch-Polka - New Years Concert 2012

    3:21

    Mariss Jansons, conductor
    Vienna Philharmonic Orchestra

  • Carlos Kleiber - Johann Strauss II - Frühlingsstimmen Op. 410

    6:50

    Johann Strauss II - Frühlingsstimmen (Voices of Spring)
    New Year's Concert 1989
    Wiener Philharmoniker
    Carlos Kleiber

  • Voices of Spring Waltz - Johann Strauss Jr

    7:14

    Voices of Spring Waltz, Johann Strauss Jr., performed by the Tampa Bay Symphony, November 7, 2017, at the Palladium Theater in St. Petersburg, FL.

    For more information on upcoming events, please see

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