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  • 施特劳斯，小约翰：专辑系列－第35辑
    STRAUSS II, J.: Edition - Vol. 35
    专辑号：8.223235
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• • 施特劳斯，小约翰：专辑系列－第35辑/STRAUSS II, J.: Edition - Vol. 35
  • [ 介绍 ]
  • The Johann Strauss Edition JohannStrauss II, the most famous and enduringly successful of 19th-century lightmusic composers, was born in Vienna on 25 October 1825.Building upon the firm musical foundations laid by his father, Johann Strauss I(1804-1849) and Joseph Lanner (1801-1843), the younger Johann (along with hisbrothers, Joseph and Eduard) achieved so high a development of the classicalViennese waltz that it became as much a feature of the concert hall as of theballroom. For more than half a century Johann II captivated not only Vienna but also the whole of Europe and America with his abundantlytuneful waltzes, polkas, quadrilles and marches. The thrice-married ’WaltzKing’ later turned his attention to the composition of operetta, and completed16 stage works besides more than 500 orchestral compositions - including themost famous of all waltzes, The Blue Danube (1867). Johann Strauss II died in Vienna on 3 June 1899. TheMarco Polo Strauss Edition is a milestone in recording history, presenting, forthe first time ever, the entire orchestral output of the ’Waltz King’. Despitetheir supremely high standard of musical invention, the majority of thecompositions have never before been commercially recorded and have beenpainstakingly assembled from archives around the world. All performancesfeatured in this series are complete and, wherever possible, the works areplayed in their original instrumentation as conceived by the masterorchestrator himself, Johann Strauss II. Živio!Marsch (Your health! March) op. 456 Jabuka(Das Apfelfest) - ’Jabuka (The Apple Festival)’ - was the only one of JohannStrauss’s sixteen stage works to be published by Gustav Lewy (1824-1901), hisold friend from his schooldays. The operetta, with its setting in Serbiansouth-Hungary, opened on the stage of Vienna’s Theater an der Wien on 12 October 1894, and signified thecommencement of a series of large-scale celebrations marking the fiftiethanniversary of the day on which the younger Johann Strauss had made hisauspicious début as conductor and composer at Dommayer’s Casino in Hietzing. Despitethe longstanding friendship between Strauss and Lewy, their association overJabuka was very much that of composer and publisher. Johann had a jaundiced -and not altogether unjustified - view of publishers: his relationship with aformer publisher, Carl Haslinger, had foundered over what he viewed as thelatter’s penny-pinching ways, and a similar criticism marred his dealings withLewy over his Jubilee operetta. The terms of his contract with Lewy stipulatedthat, aside from delivering the operetta itself, Johann would also arrange anorchestral waltz (op. 455 "Ich bin dir gut!") on themes from Jabuka.After looking through the score of the stage work, the composer notified hispublisher in summer 1894 that, in his view, there was sufficient additionalmaterial to furnish "2 excellent schnell-polkas, a polka française ofequally high standard [and] an extremely effective quadrille. Perhaps I caneven produce a polka-mazurka". He demanded for each piece a fee of 300gulden, as he had done with his former publishers, C.A. Spina and Cranz, addingthat he required two months to arrange and orchestrate the four pieces. Lewydeclined to make Strauss any additional payment for this work, despite thelatter’s belief that "the material - if it is well handled - can bring youa lot of money. I consider the extracts far more lucrative than those from’Zigeunerbaron’ [The Gypsy Baron, 1885]". Strauss fiercely rejected acounter-proposal by Lewy: "Moreover, I can also not allow that a dancenumber, instrumented by someone else, should be brought out under my name ...Each dance number can only be presented to the public if the name of thearranger, or orchestrator, is given on the title page" (Letter, 2September 1894). Inthe event, Lewy nominated the trustworthy conductor and composer Louis Roth(1843-1929) to make the arrangements of the other Jabuka pieces, and these werechecked and corrected by Strauss himself before being published in piano soloedition only. From Johann’s original suggestion of two quick polkas, a Frenchpolka and a quadrille - in addition to the waltz - there in fact emerged apolka schnell (Das Comitat geht in die Hohe! op. 457), a polka française (Tanzemit dem Besenstiel! op. 458), a polka-mazurka (Sonnenblume op. 459), theJabuka-Quadrille (op. 460) - and surely one of the composer’s most exhilaratingcreations in march tempo: the splendid Živio! Marsch. The work takes its title,as well as the second theme (2B) of its Trio section, from the Act 1 (No. 4)sextet "Wir trinken Živio" - a Serbo-Croat toast, equivalent to theViennese "Prost!" (’May you prosper!’) or the British "Yourhealth!". Theremaining themes for the Živio! Marsch are to be found in the operetta asfollows: Theme 1A & 1 B - Act 2 Couplet (No. 12), Joschko: "Wo die Chroniken vermelden" and "Alle uns’re Ahnen" Trio 2A - Act 1 Finale (No. 8), chorus: "Ei, wohl Einer von Allen wird mein Schatz" Sincethe Živio! Marsch was published only in a version for piano, and no orchestraltranscription was made at the time, the Strauss Orchestra was unable to givethe work its first performance. Nor does the march feature in Eduard Strauss’sprogrammes during his 1895 concert season in London, although he did play theJabuka-Walzer (op. 455), the Vorspiel to Act 3 of the operetta (under the title"Intermezzo") and a purely orchestral version of one of theoperetta’s "Couplets" (presumably the Act 2 Bilder-Couplet, No. 12). Thepresent recording features an arrangement of the Živio! Marsch made from thepiano score by Professor Gustav Fischer, founder and conductor of Vienna’scelebrated ensemble, Stadtmusik Wien. Architecten-BallTänze. Walzer (Architects’ Ball Dances. Waltz) op. 36 "This year’s carnival is one of the most patronised,that is, by the dance music composers. Strauss Father, alone, has furnishedseven compositions, and Strauss Son five. Strauss (Father) has composed 4waltzes, 2 quadrilles and 1 polka. A waltz consists of 10 melodies, a quadrilleof 12 and a polka of 3, therefore he has provided a total of 67 melodies. - Howmany composers of opera would be able to do this in the course of six weeks?Strauss Son has furnished 2 waltzes, 2 quadrilles and a polka, thus a total of47 melodies, and with neither [man] are the Introductions and Codas taken intoaccount. The Viennese have received from Strauss Father and Son alone 114melodies; is it therefore any wonder that everywhere one hears nothing butsinging and whistling? Moreover, it would be interesting to know how manywaltzes altogether are produced in a Viennese carnival season". Thisilluminating paragraph appeared in the Wiener Allgemeine Theaterzeitung on 13February 1847, just before the close of that year’s Vienna Carnival. The elderJohann Strauss had again dominated the proceedings, conducting at balls for theCourt and nobility and at such venues as the Sofienbad-Saal, the ’Sperl’ andthe Odeon. His 21-year-old son, meanwhile, confined his carnival appearances tothe suburbs of Vienna: Dommayer’s Casino in Hietzing and ’Zum goldenen Strauss’in Josefstadt. The younger Johann was thus responsible for providing the musicwhen Vienna’s architects held their ’Representation Ball’ on 27 January 1847 inHerr Stern’s newly refurbished Goldener Strauss - an establishment described byDer Wanderer (8.02.1847) as "the true Mecca, an excellent treasure-troveof amusement ...[and] because of the association balls, often the meeting placeof the most distinguished society". "As far as the music isconcerned", the paper continued, "it is always under the direction ofStrauss Son, whose excellence is recognised". Johann’scontribution to the architects’ ball was his appropriately entitled waltzArchitecten-Ball Tänze, his first dedication for a society ball in the Imperialcapital, H.F. Müller’s publishing house issued the piano edition of the newwork on 2 September 1847, bearing the composer’s dedication "to theStudents of Architecture at the Imperial-Royal Academy of Fine Arts inVienna". It was these students of architecture and their teachers who weresubsequently responsible for the construction, notably in the area of what wasto become Vienna’s Ringstrasse, of several imposing buildings which were to givethe Austrian capital its highly regarded and individual appearance. Johann’sArchitecten-Ball Tänze attracted no attention from the press of the day.Nevertheless, it was performed frequently in its original form and in variousdifferent arrangements, re-emerging in print from Bosworth’s Leipzig publishinghouse around 1900 with a new title: Memories. Erinnerungen. Walzer. Jäger-Polka.Polka française (Riflemen Polka. French polka) op. 229 Twonovelties appeared for the first time on the programme of Johann Strauss’sbenefit concert at the Vauxhall Pavilion in Pavlovsk on 14 July 1859 (= 2 July,Russian calendar). One of these, the Niko-Polka (op. 228, Volume 34 of this CDseries), was dedicated "to his Highness Prince Nicolas Dadian"[sic!]. According to the printed programme, the other work - the TirallieurPolka (in later programmes correctly amended to Tirailleur Polka) - bore thecomposer’s dedication to "the Officers’ Corps of the Batallion of Marksmenof the Tsarskoye-Selo Guards". It was under the title Tirailleur-Polka(Marksmen Polka) that the piece was published by A. Büttner in St. Petersburg. JohannStrauss was still in Russia during late summer 1859 when the first referencesto the new polka began to appear in the Viennese press. Der Zwischen-Akt(15.09.1859), for example, included the Tirailleur-Polka among severalnovelties by the composer "which we would bring to the attention of themusical public", and which would "shortly" be issued by CarlHaslinger’s publishing house. The paper added: "The Tirailleur-Polka isthe favourite piece of this year’s season in [St.] Petersburg". However,when Johann played the work for the first time in the Vienna Volksgarten onSunday 20 November 1859, soon after his return from Russia, it had undergone achange of title to Jäger-Polka française, under which name the piece was alsopublished by Haslinger - without dedication - on 18 December that year. Themilitary flavour of this charming polka, reflected in its use of snare drum andtrumpets, is admirably suited to its dedicatees and to its alternative titlesof Tirailleur and Jäger. Whilst the German word ’Jäger’ may be translated as’huntsmen’ (perhaps indicated by the horn in the first part of the Triosection), the term may also be used militarily to denote ’riflemen’, as forexample in the variousJäger-Corps (Rifle Corps) - see note on Johann’s Kaiser-Jäger-Marsch op. 93(Volume 20 of this CD series). The cover illustration adorning Haslinger’sfirst piano edition of the Jäger-Polka française further depicts a group ofinfantrymen, dressed in the uniform of the Biedermeier period and bearingrifles. Particularly noteworthy is the unusual closing section of the polka,with its military flourish on trumpets and drum-roll heralding a pistol (!)shot. Accelerationen.Walzer (Accelerations. Waltz) op. 234 "Aperson who never has any ideas cannot create a waltz - whereas operas andsymphonies have in the past been written in these circumstances ...". EduardHanslick’s keen observation is especially pertinent to the inspired waltz whichthe younger Johann Strauss wrote for the ball of the student engineers atVienna University, held in the magnificent Sofienbad-Saal ballroom on St.Valentine’s Day 1860. Johann’s choice of title for the new waltz - Accelerationen- was one of the more obvious choices from the wide vocabulary of theengineering profession, and in the work’s Introduction and opening waltz heeffectively portrays the gathering momentum of a powerful machine. The firstpiano edition of the work, published by Carl Haslinger on 1 June 1860, bearsthe composer’s dedication "to the Gentlemen Students of Engineering atVienna University" and features a detailed cover illustration portrayingthe notion of ’acceleration’: Zephyrus (the Greek god of the west wind), apaddle-steamer, hot-air balloon, steam train and telegraph wires. Thework, clearly a spontaneous idea on the part of the composer, is the subject ofan anecdote to be found in such landmarks of Strauss literature as thebiographies by Rudolph Freiherr von Procházka (1900), Erich Wilhelm Engel(1911) and Ernst Decsey (1922). According to the story, in the early hours of14 February 1860 an exhausted Johann was relaxing with a glass of wine afterconducting for a night-long ball at the Sofienbad-Saal. A committee member fromthe Engineers’ Ball approached him, enquiring whether he had completed thewaltz he had promised them for their dance festivity that very evening.Realising he had entirely overlooked the matter, Strauss took just half an hourto note down the waltz on the back of a menu. When this tale later came toJohann’s attention during the 1890s, he dismissed it. Although he (and JosefStrauss) had certainly spent the entire night of 13/14 February 1860 in theSofienbad-Saal jointly conducting their "Monster Ball", and whileJohann was the swiftest of the three Strauss brothers at orchestration, hesaid, quite reasonably: "It may well be that I somewhere noted down thebasic idea for the work, perhaps even on the back of a menu, but even I couldnot write down a waltz in the twinkling of an eye". Thecritic for the Wiener Allgemeine Theaterzeitung (16.02.1860), reporting on theEngineering Students’ Ball, noted its attendance "by a very selectsociety. The room, not very overcrowded, permitted lady and gentlemen dancersto devote themselves to pleasure to their hearts’ content, to which the waltz’Accelerationen’, composed by Strauss for this evening, and which had to berepeated several times, contributed significantly". Assessing the work ofthe two Strauss brothers in its issue of 6 March 1860, the theatrical paper DerZwischen-Akt noted of their carnival compositions: "Each of these piecesof music contains a plethora of charming melodies, and it is difficult to saywhich of them is the most successful. If we had to give preference to just one,it would be to the vigorous ’Accelerationen’, which is of equally high value tothe musician and the dancer". The words of the Zwischen-Akt reviewer,Eugene Eiserle, were to find an echo in the views of the German composer andauthor, Peter Cornelius (1824-74), who was living and working in Vienna in1861. In mid March of that year, following a visit to the Dianabad-Saal, hewrote to his confidante, Marie Gärtner: "We had supper there, heardStrauss, a charming waltz in G major. [Karl] Tausig said it was ’Thermen’. Makesure you hear this one and the ’Akzelerationswalzer’ [sic!]! Also ’Wellen undWogen’ is beautiful, and many others too. I like these things very much". Thewaltz Accelerationen subsequently became part of the Strauss Orchestra’sstandard repertoire, and rightfully maintains its place in Viennese concerts tothe present day. Much later its success even led to the publication of aversion for male voice chorus: entitled "Zeit ist Geld!" (Time isMoney!), this was an arrangement by Victor Keldorfer (1873-1959) with words byDr. Gustav Mayer. A footnote in this edition, published by SchlesingerscheBuch- & Musikhandlung of Berlin, perpetuates the anecdote of the work’s creation.In 1940, the Accelerations Waltz surfaced anew - almost complete, but for theomission of waltz sections 4A and 5A - in Antal Dorati’s pastiche ballet,Graduation Ball, where it accompanies the opening dance sequence, ’Introductionand Assembly of Girls’. Quadrillenach Motiven der Oper: Der Liebesbrunnen (Quadrilleon themes from the opera ’The Well of Love’) op. 10 Vienneseaudiences were first treated to the delights of an opera by the Dublin-bornsinger and composer Michael William Balfe (1808-70) when Les Quatre Fils Aymon(The Four Aymon Sons) opened at the Theater in der Josefstadt on 14 December1844. Under the German title Die vier Haimonskinder (The Four Children ofAymon), the carefully staged piece enjoyed a sensational success, and further productionsfollowed at the Theater an der Wien on 24 September 1845 and, three days later,at the k.k. Hof-Theater (27 September 1845), the latter being given under theamended title Die vier Haimons-Söhne (The Four Sons of Aymon). Theelder Johann Strauss (1804-49) capitalised on the successful Viennese premièreof Balfe’s stage work by concocting a quadrille from its themes and firstperforming his Haimonskinder-Quadrille (op.169) on 19 January 1845 at the ballof the Gesellschaft der Musikfreunde (Society of the Friends of Music) in theGreat Hall of Vienna’s Imperial Redoutensaal. So great was the public responseto this quadrille that within four weeks of the first piano edition being puton sale the entire print run of 10,000 copies was sold out, and a secondprinting was necessary. JohannFather’s commercial coup did not escape the attention of his son - especiallywhen the latter learned from Der Wanderer on 3 February 1845 that Balfe hadsent the score of another opera, Le Puits d’amour, to the Josefstädter Theaterfor consideration by its director. Le Puits d’amour (The Well of Love), likeLes Quatre Fils Aymon (1844), had been composed in Paris, and was rapturouslyacclaimed at its world première there on 20 April 1843 at the Opéra-Comique. Thestage work had also triumphed at its London première on 8 August 1843, underthe title Geraldine. On 23 September 1845 Der Sammler reported: "Balfe’s’Liebesbrunnen’ [The Well of Love] is already in rehearsal at the Theater ander Wien, and Strauss Son is already composing a new quadrille on themes fromthis opera". Clearly anticipating a successful outcome for Balfe’s comicopera at its première on 4 November 1845, the younger Johann must have beentaken aback when the production and the prima donna in the rôle of Geraldine,Jetty Treffz (whom he would marry some seventeen years later), proved adisappointment. The critic of the Wiener Zeitschrift (6.11.1845) consideredthat "The music is not always what it could and should be, andunfortunately betrays only too much the composer of ’Haimonskinder’",while the reviewer for the Wiener Allgemeine Theaterzeitung (6.11.1845) wasblunter still: "Even a gifted person has his bad moments, and it wascertainly during some of these that Balfe composed this opera". After onlythree performances, Der Liebesbrunnen was dropped from the repertoire. Meanwhile,Johann had completed his quadrille on melodies from the score of this Balfeopera. Father Strauss had in fact given the first Viennese performance of theOverture to Der Liebesbrunnen on 12 October 1845, before leaving Vienna for aconcert tour with his orchestra, and on 28 October readers of Vienna’sIllustrirte Theaterzeitung were able to read: "Without doubt, Strauss[Father] will send from afar a little bouquet to his innumerable admirers, andthis could well consist of a ’Liebesbrunnen-Quadrille’". In the event nosuch composition appeared in the catalogue of Strauss Father’s published works,and the younger Johann had the field to himself when, on 9 November 1845, heconducted the first performance of his own Liebesbrunnen-Quadrille at a crowdedmusical "Conversazione" in Ignaz Wagner’s ’Zweites Kaffeehaus’ in thePrater. Der Wanderer reported on 12 November: "For a long time ourconversation has revolved around nothing but Balfe. Will his ’Liebesbrunnen’ bebetter than ’Haimonskinder’, will a quadrille be written on its melodies, andwho will write it, Strauss Father or Strauss Son? Who will be the first toperform it and when? Will he [Strauss Father] send it here from foreign partsor wait until he himself returns, will both pieces compete and who will steal amarch on the other? They were all important questions, but now, thanks heavens,decided, and our salon society will have to look around for fresh conversationfodder. It, i.e. the ’Liebesbrunnen-Quadrille’, has now been played, in fact onSunday the 9th of this month at Wagner’s by Strauss Son. I should like todescribe this quadrille as the quintessence of Balfe’s opera, for all thedelightful, pleasing themes are united in it. For the public at large, thisquadrille may be regarded as saving the honour of the opera, and Balfe shouldnow thank our gifted Strauss Son for it". The critic for Der Sammler(13.11.1845) agreed with the views of his journalist colleague: "Thisquadrille honours Strauss Son, for throughout it displays intelligent use ofthe themes and their effective instrumentation for the requirements of dancing,and it is all the more worthy of praise because this opera offers a smaller numberof themes than the earlier ones which have been used for dance arrangements.From performance to performance the applause increased and it had to be playedfive times". Inthe light of this latter report, it is all the more regrettable that Strauss’soriginal orchestration has been lost. Professor Ludwig Babinski has thereforemade the present arrangement of the Liebesbrunnen-Quadrille from the publishedpiano score. DieZeitlose. Polka française (The Timeless One. French polka) op. 302 TheViennese publishing house of C.A. Spina issued the first piano edition ofJohann Strauss’s French polka Die Zeitloseon 6 December 1865. In seeking avisual portrayal of the work’s title, the illustrator depicted a large clockface, with a winged maiden, representing the spirit of timelessness, fillingthe void where the hands should be. The artist might well have visualised thetitle in another way, for ’Zeitlose’ is the German name for an autumn-floweringplant known in Britain as the ’Meadow saffron’ (Colchicum autumnale). Thestar-shaped pale rosy-lilac flowers appear in clusters before the leaves form,and the plant is found particularly in the sub-Alpine meadows of mainlandEurope. Thepolka had, in fact, been written earlier in 1865 for Johann’s concert season inRussia that year, and had been published in St. Petersburg by A. Büttner underthe title Reconnaissance-Polka. Indeed, it was under this title - which may betranslated as ’Gratitude Polka’ - that the piece had delighted the audienceattending Strauss’s farewell appearance at the Vauxhall Pavilion in Pavlovsk on1 October 1865 (= 19 September, Russian calendar), and an encore wasimmediately demanded after this first performance. It was an apt choice oftitle for Johann’s final concert, for with it Vienna’s Waltz King was able toexpress his gratitude to the Russian public for the friendship and adulationthey had showered upon him during the ten summer seasons he had spent in Russiasince making his Pavlovsk début. With a flourish of his pen, the orchestra’sviola-player diarist, F.A. Zimmermann, wrote beneath the details of this finalconcert: "Ende gut alles gut" (All’s well that ends well). Whenthe Viennese public was first introduced to this graceful polka on Sunday 12November 1865 at a benefit concert in the Volksgarten for the brothers Josefand Eduard Strauss, it bore a new title: Die Zeitlose. The event markedJohann’s first public appearance since returning from his Russian engagement,and he took the opportunity to conduct not only Die Zeitlose, but also thefirst Viennese performance of another work written for Russian audiences, theBal champêtre Quadrille (op. 303, Volume 14 of this CD series). The reviewerfor the Fremden-Blatt (14.11.1865) observed: "The rooms of the gardensalon were barely able to contain the numerous public who had thronged there tolisten to the music of the waltz prince. Numerous visitors had to turn back,many more contented themselves with standing crammed in the spaces between theindividual tables. The orchestra and their conductor played with the greatestanimation, the ’Hofballtänze’ [op. 298, Volume 12] and the new polka ’DieZeitlose’ achieving especially great applause". Themes1A and 1B of Die Zeitlose later resurfaced in the Johann Strauss pasticheoperetta Wiener Blut (1899), where they may be heard (together with a melodyfrom Johann’s waltz Wein, Weib und Gesang! op. 333) in the Act 3 duet "Sowollen wir uns den verbinden!", sung by Franzi and the Countess. Königslieder.Walzer (Songs for a King. Waltz) op. 334 Inthe summer of 1862 Josef Strauss had been forced, very much against his will,to deputise for his brother Johann in Pavlovsk, near St. Petersburg, when thelatter cut short his concert season there and returned to Vienna on spuriousmedical grounds. Seven years later, in 1869, Josef prepared to travel withJohann to Pavlovsk, this time in his own right, to share in the conducting of afurther series of concerts at the Vauxhall Pavilion. Josef hoped - vainly as ittranspired - to secure further seasons in Pavlovsk for himself. Beforetheir planned departure for Russia on 7 April, Johann and Josef joined forceswith brother Eduard Strauss to present a "Farewell Concert" on Sunday4 April 1869 in the Blumen-Säle der Gartenbaugesellschaft (Floral Halls of theHorticultural Association) on Vienna’s Parkring, in close proximity to thePalais Coburg. The event attracted an audience of around 3,000 people, and theNeues Fremden-Blatt (6.04.1869) declared that "this public attendance insuch extraordinary numbers is the best yardstick for the widespread popularityenjoyed by the Strausses. Moreover, the public did not stint in its applause,and not only did the waltz ’Königslieder’ and the polka-mazurka ’Fata morgana’by Johann Strauss, as well as the waltz ’Huldigungslieder’ by Josef Strauss -extremely successful compositions performed for the first time - have to berepeated several times, but also the older pieces by the Strauss brothersenjoyed the most favourable reception". Thetwo new waltzes - Johann’s Königslieder and Josef’s Huldigungslieder - were infact sharing more than just their respective premières: the two works alsoshared the same royal dedicatee - his Majesty King Luis I of Portugal(1838-89). Luis, who reigned from 1861 until his death in 1889, was a member ofthe House of Saxe-Coburg-Braganza in Portugal, founded in 1836 by his father,Prince Ferdinand of Saxe-Coburg-Kohary (1816-85), who became Ferdinand II, thetitular King of Portugal. Luis Philip thus belonged to that group of regentsconnected with the House of Coburg for whose far-flung members the Straussfamily dedicated numerous compositions, commencing with Strauss Father’s waltzHuldigung der Königin Victoria von Grossbritannien op. 103 (1838) andconcluding with Johann III’s Krönungs-Walzer op. 40 (1902), written for KingEdward VII and Queen Alexandra. In 1862 Luis I married Princess Maria Pia ofSavoy (1847-1911), a daughter of King Victor Emmanuel II of Italy, and thecouple had two sons, Carlos and Manuel. Quitewhy the two Strauss brothers chose this specific date on which to honour LuisPhilip remains unclear: we may rule out birthday celebrations, since the Kingwas born on 31 October 1838, and he was not visiting Vienna at the time of theconcert. Moreover, a renowned authority at Lisbon’s Palácio Nacional da Ajuda,Signora Dottora Graça Mendes Pinto, has been unable to determine anycontemporary event involving King Luis I which might have given rise either tothe dedications or to the particular choice of date for the first performance. Of possible interest in this connection, therefore, is aletter addressed to Johann Strauss by Baroness von Ruttenstein, the formerchild prodigy, Constanze Geiger (see note on Grillenbanner Walzer op. 247,Volume 14 of this CD series), and from 1861 the wife of Prince Leopold ofSaxe-Coburg-Gotha. The letter, written from Gotha on 27 January 1869, reads inpart: "I find it good that you are waiting until the carnival is over tosend your own and your dear brother’s compositions to Lisbon - the set can thusbecome only more valuable for his Majesty! - Please advise me in good time sothat his Highness, my most worthy husband, can inform his exalted and noblenephew, King Luis, of their despatch!". It remains unknown whether the compositionsreferred to are the waltzes Königslieder and Huldigungslieder, or another groupof dances by the Strauss brothers. Likeits companion piece, Huldigungslieder, Johann’s Königslieder Walzer is a workof considerable lyricism, though, in spite of the beautiful Introduction, itsthematic material seems to lack the originality and invention found elsewherein compositions dating from this, Johann’s ’golden’ period of creativity. Thesuggestion by the eminent Professor Dr. Max Schönherr that Johann wove into theCoda of his Königslieder Walzer a quotation from theme 3B of brother Josef’swaltz Wiener Fresken op. 249 is not borne out by a comparison of the two works. ImSturmschritt! Schnellpolka (At the double! Quick polka) op. 348 Atthe insistence of his first wife, the celebrated opera singer Jetty Treffz(1818-78), Johann Strauss finally made the successful transition from ballroomto theatre stage in 1870, and signed his first contract with the management ofVienna’s Theater an der Wien on 26 May of that year. Thereafter he withdrewmore and more from the strenuous task of conducting at balls and concerts andconcentrated his efforts on the composition of operetta. In January 1871 heeven resigned his honorary post of ’Imperial-Royal Court Ball Music Director’on the grounds of "ill-health", whereupon the Emperor Franz Josef ofAustria at once conferred upon him the Knight’s Cross of the Franz JosefOrder" in recognition of his merit as Conductor of Court Ball Music and ascomposer". Johann’sfirst operetta for the Theater an der Wien was Indigo und die vierzig Räuber(Indigo and the Forty Thieves), which eventually opened at that house on 10February 1871 - with Johann conducting. The new work was quite deliberatelyfashioned by the authors, composer and director after the French style solucratively popularised by the Cologne-born Parisian, Jacques Offenbach(1819-80), a point not missed by many of the journalists who attended theoperetta’s triumphant première. Nor did Johann shy away from acknowledging theinfluence of Offenbach on his music when he subsequently began selecting andarranging material from the score of Indigo as separate orchestral numbers withwhich to maintain his presence in the ballrooms and concert halls of the Austriancapital. Just as a lively can-can was frequently a feature of an Offenbachstage work, so too Strauss determined to compose an unremitting quick polkawhich would compete with this breathless dance. The resulting piece also borean appropriate title: Im Sturmschritt! The composer drew the thematic materialfor this dance from the following sources: Theme 1A - Act 3 Finale (No. 23): "Was mag in den Säcken drinne stecken?" Theme 1B - Act 3 Market chorus (No. 18): "Kaufet noch heut!" Trio 2A - Act 2 Finale (No. 17): "Freiheit, Freiheit lasst die Losung sein" Trio 2B - Act 2 Battle music (No. 15) Thefirst performance of Im Sturmschritt! took place on 19 May 1871 when, two daysafter Johann had appeared as guest conductor for a performance of Indigo unddie vierzig Räuber at the Stadt-Theater in Graz, Eduard Strauss and the StraussOrchestra delighted the public in the Vienna Volksgarten with a "MayFestival". Alongside works by Eduard himself and Richard Genée, theprogramme also featured three numbers which owed their origins to his brother’soperetta Indigo: apart from the quick polka Im Sturmschritt!, Eduard conductedthe waltz Tausend und eine Nacht (op. 346, Volume 29 of this CD series) and theAct 3 ballet music (No. 18a). Quadrillenach Motiven der Oper: Der Blitz (Quadrilleon themes from the opera ’Der Blitz’) op. 59 Morethan a quarter of a century before Ludovic Halévy’s vaudeville comedy LeRéveillon (1872: co-written with Henri Meilhac) became the inspiration forJohann Strauss’s operetta Die Fledermaus (1874), the Viennese composer had beenattracted to the Muse of Halévy’s famous uncle, Jacques Francois FromentalÉlias Halévy(1799-1862), and had crafted a quadrille from themes in thelatter’s opera Der Blitz. This charming three-act stage work, which had enjoyedits world première at the Paris Opéra-Comique on 16 December 1835 under thetitle L’Éclair (The Lightning Flash), with a libretto by J.H. Vernoy de St.Georges and F.A.E. de Planard, was mounted at Vienna’s Theater in der Josefstadton 23 November 1848 in a German translation by Josef von Ribics. DerBlitz was well received by a public largely starved of theatrical and musicalnovelty at a time when the Austrian capital was still under a state of siegefollowing the suppression of the Revolution in Vienna, and the critic of DerWanderer (25.11.1848) voiced the general opinion when he stated that "theopera is rich in pleasing musical pieces", observing that "many hadto be repeated". Johann Strauss, who was braving as best he could theadverse effects of the siege conditions on his career as a ’Musikdirektor’,made immediate use of the opera’s Viennese presentation to concoct a quadrilleon its melodies. Since Dommayer’s Casino in the suburb of Hietzing was the onlyestablishment regularly available to him for his concerts during the lateautumn of 1848, it was naturally here that he launched the first performance ofhis Blitz-Quadrille, probably at an "Afternoon Conversazione" on 8December 1848. On 2 December the Wiener Zeitung had advertised the event,complete with the first performance of the quadrille, as taking place on 3December, subject to "favourable weather". Since the sameadvertisement appeared in the paper on 7 December, now announcing the event for8 December, it seems most probable that inclement weather postponed the earlierconcert. Together with the Neue Steirische Tänze (op. 61), the Blitz-Quadrillewas for a long time the only new piece which the younger Johann Straussannounced, a fact borne out by advertisements for his afternoon performances atDommayer’s as late as 11 March 1849 which promised a programme including"a new quadrille from the opera ’Der Blitz"’. SinceStrauss’s publisher, Pietro Mechetti, never issued orchestral parts for thisquadrille, Professor Ludwig Babinski has arranged the work from the piano scorewhich was published by Mechetti on 3 December 1848. Heut’ist heut’. Walzer (Today is today. Waltz) op. 471 JohannStrauss was seventy-years old when, in summer 1896, he advised Alexandrine vonSchönerer, directrix of Vienna’s Theater an der Wien, that he had accepted alibretto by Dr. Alfred Maria Willner (1859-1929) and Bernhard Buchbinder(1871-1922) for a new operetta entitled Die Gottin der Vernunft (The Goddess ofReason). Before long, however, serious differences of opinion arose, sinceStrauss was far from pleased with the scenario for the new work, whichattempted to extract an amusing side from the bloody days of the FrenchRevolution. When the composer attempted to dissociate himself from the project,Willner wrote to him sternly on 9 August 1896: "Herr Buchbinder will in noway assent to the abrogation of the contract made between the three of us ...and I feel obliged, on my part, to insist on performance of the contract. Accordingly,I shall allow myself to send you further texts". Johann was thereforeforced to complete the composition, but absented himself on grounds ofindisposition from the première at the Theater an der Wien on 13 March 1897.The reviewer for the Wiener Rundschau (1.04.1897) expressed the views of manywhen he condemned the choice of libretto, but went on to say:"Nevertheless, the score of course has many fine features, in particularin the instrumentation, even though the hits in waltz form, keenly awaited bythe audience at the première, did not appear". TheViennese publishers of Die Göttin der Vernunft, Emil Berté & Cie, showedlittle initiative throughout their dealings with the composer, and were almostpitched into a state of paralysis when the stage work was withdrawn by theTheater an der Wien after just 36 performances. It has yet to be determinedwhether, on this occasion, Strauss himself troubled to arrange the by nowtraditional separate orchestral numbers from themes in the operetta, since fiveof the six pieces were announced by the publisher only in piano edition. Thewaltz Heut’ ist heut’ appeared with the composer’s "most amicable"dedication to the portrait painter, Leopold Horowitz (1838-1917). On theoccasion of Strauss’s Golden Jubilee in 1894, Horowitz had presented themaestro with his visiting card as "a voucher for a drawing as beautiful aspossible of your fine head". Strauss had redeemed this "voucher"at Bad Ischl in the summer of 1896, and Horowitz sent him the magnificent completedpastel drawing on 17 December that same year. Atthe Strauss Orchestra’s last concert of the 1896/97 season in the ViennaMusikverein on Sunday 28 March 1897, the composer’s brother, Eduard, conductedthe first performance of the new waltz, shown in the printed programme as"Heut’ ist heut’, Walzer from Johann Strauss’s operetta ’Die Göttin derVernunft’. Orchestral arrangement by Eduard Strauss". Two months later, on29 May 1897, Eduard conducted the orchestra in the British première of thewaltz at his evening concert at London’s Imperial Institute, where theprogramme again read: "Arranged for Orchestra by Eduard Strauss".Regrettably it seems that Eduard probably destroyed this arrangement when heconsigned the entire archive of the Strauss Orchestra to the flames of afurnace in October 1907, and Professor Ludwig Babinski has thereforeorchestrated the version on this present recording from the printed pianoedition. Thereservations of the critic for the Wiener Rundschau notwithstanding, a numberof delightful waltz themes are brought together in Heut’ ist heut’. The gentleIntroduction presents material from two duets in Act 2, "O Nachtigall, esist die Liebe!" (No. 8) and "Da nicken die Giebel" (No. 11),while Waltz 1A also draws from Act 2, specifically from Bonhomme’s solo waltz"Schöne, wilde Jugendzeit" (No. 9). Waltz 2A comprises material fromErnestine’s "sharply syncopated" Act 1 (No. 7a) entrance aria,"Das Weib muss verstehen", while Waltz themes 4A and 4B are to befound in the Act 2 (No. 8) duet for the Countess and Robert, to the words"O sing, o sing". Waltz 2B is traceable only in the Overture (whichStrauss did not provide until the twenty-fifth performance of the operetta),and one must assume that the material for this and waltz themes 1B, 3A, 3B and4C were discarded from the stage work either before the première or veryshortly afterwards, since they are not to be found in the published piano/vocalscore of the operetta. DieWahrsagerin. Polka-Mazur (The Fortune-Teller. Polka-mazurka) op. 420 Thepolka-mazurka Die Wahrsagerin belongs to that group of orchestral compositionswhich Johann Strauss arranged from the score of his operetta Der Zigeunerbaron(The Gypsy Baron) after its opening night at Vienna’s Theater an der Wien on 24October 1885. The polka’s title recalls the prophetic powers of a key characterin the stage work, the gypsy woman, Czipra, a rôle created at the première bythe young Viennese singer Antonie Hartmann (1861-1940). Two years laterFräulein Hartmann took the part of Hildegard at the première of Strauss’s nextstage work, Simplicius, and in 1889 married the journalist and later theatricalhistorian and Strauss biographer, Siegfried Loewy (1857-1931). Appropriately,it is Czipra’s Act 1 aria (No. 3), "Verloren hast du einen Schatz"(’You have lost a treasure’), which provides the thematic material for theprincipal section of Die Wahrsagerin. In this number the soothsayer prophesiesto the disbelieving Royal Commissioner, Count Carnero, that he will recover aprecious jewel he has lost. For the first melody in the Trio of hispolka-mazurka, Strauss borrowed material from the second half of the famous Act2 (No. 12) ’Sittencommissions Couplets’ (Morality Commission’s couplets):"Und weh’ dem armen Erdensohn", sung by Carnero, Mirabella andZsupán. Surprisingly, the second melody in the Trio section is not traceable inthe published piano/vocal score, and may have been discarded during rehearsalsor immediately following the première. JohannStrauss, who had conducted the opening night of Der Zigeunerbaron, alsopresented the first performance of Die Wahrsagerin. The occasion for this wasduring his brother Eduard’s concert with the Strauss Orchestra in the GoldenHall of Vienna’s Musikverein building on 26 December 1885, and the new work metwith spontaneous applause. Programmenotes © 1993 Peter Kemp. The Johann Strauss Society of Great Britain. Theauthor is indebted to Professor Franz Mailer for his assistance in thepreparation of these notes. SlovakState Philharmonic Orchestra (Košice) TheEast Slovakian town of Košice boasts a long and distinguished musicaltradition, as part of a province that once provided Vienna with musicians. TheState Philharmonic Orchestra is of relatively recent origin and was establishedin 1968 under the conductor Bystrik Rezucha. Subsequent principal conductorshave included Stanislav Macura and Ladislav Slovák, the latter succeeded in1985 by his pupil Richard Zimmer. The orchestra has toured widely in Eastern andWestern Europe and plays an important part in the Košice Musical Spring and theKošice International Organ Festival. ForMarco Polo the orchestra has made the first compact disc recordings of rareworks by Granville Bantock and Joachim Raff. Writing on the last of these, onecritic praised the orchestra for its competence comparable to that of the majororchestras of Vienna and Prague. The orchestra has contributed many successfulvolumes to the complete compact disc Johann Strauss II and for Naxos has recordeda varied repertoire. JohannesWildner JohannesWildner was born in the Austrian resort of Mürzzuschlag in 1956 and studiedviolin and conducting, taking his diploma at the Vienna Musikhochschule andproceeding to a doctorate in musicology. A member of the Vienna PhilharmonicOrchestra, he has toured widely as leader of the Vienna Symphony Orchestra’sJohann Strauss Ensemble and of the Vienna Mozart Academy. As a conductor he hasdirected the Orchestra Sinfonica dell’Emilia Romagna Arturo Toscanini, theBudapest State Opera Orchestra, the Silesian Philharmonic, the Malmo SymphonyOrchestra, the Dresden Philharmonic and others. He has recorded works bySchumann, Wagner and Mozart for Naxos and is one of the main conductors in theMarco Polo Johann Strauss II complete edition.
  • • 专辑列表
    • 祝你健康！进行曲，作品456（G·菲舍尔配器） Zivio!, Marsch, Op. 456 (orch. G. Fischer)

      

      1:祝你健康！进行曲，作品456（G·菲舍尔配器） Zivio!, Marsch, Op. 456 (orch. G. Fischer)

      03:28

      建筑师大厅舞会圆舞曲，作品36 Architecten Ball-Tanze, Walzer, Op. 36

      

      2:建筑师大厅舞会圆舞曲，作品36 Architecten-Ball-Tanze, Walzer, Op. 36

      09:22

      猎人法兰西波尔卡舞曲，作品229 Jager-Polka francaise, Op. 229

      

      3:猎人法兰西波尔卡舞曲，作品229 Jager-Polka francaise, Op. 229

      03:17

      加速圆舞曲，作品234 Accelerationen, Walzer, Op. 234

      

      4:加速圆舞曲，作品234 Accelerationen, Walzer, Op. 234

      10:36

      爱之源泉方阵舞曲，作品10（L·巴宾斯基配器） Der Liebesbrunnen, Quadrille, Op. 10 (orch. L. Babinski)

      

      5:爱之源泉方阵舞曲，作品10（L·巴宾斯基配器） Der Liebesbrunnen, Quadrille, Op. 10 (orch. L. Babinski)

      05:39

      永恒法兰西波尔卡舞曲，作品302 Der Zeitlose, Polka francaise, Op. 302

      

      6:永恒法兰西波尔卡舞曲，作品302 Die Zeitlose, Polka francaise, Op. 302

      04:48

      国王之歌圆舞曲，作品334 Konigslieder, Walzer, Op. 334

      

      7:国王之歌圆舞曲，作品334 Konigslieder, Walzer, Op. 334

      12:11

      飞奔快速波尔卡舞曲，作品348 Im Sturmschritt!, Polka schnell, Op. 348

      

      8:飞奔快速波尔卡舞曲，作品348 Im Sturmschritt!, Polka schnell, Op. 348

      02:35

      闪电方阵舞曲，作品59（L·巴宾斯基配器） Der Blitz, Quadrille, Op. 59 (orch. L. Babinski)

      

      9:闪电方阵舞曲，作品59（L·巴宾斯基配器） Der Blitz, Quadrille, Op. 59 (orch. L. Babinski)

      06:37

      “今天就是今天”圆舞曲，作品471（L·巴宾斯基配器） Heut ist heut, Walzer, Op. 471 (orch. L. Babinski)

      

      10:“今天就是今天”圆舞曲，作品471（L·巴宾斯基配器） Heut ist heut, Waltzer, Op. 471 (orch. L. Babinski)

      09:47

      女占卜者波尔卡玛祖卡舞曲，作品420 Die Wahrsagerin, Polka mazurka, Op. 420

      

      11:女占卜者波尔卡玛祖卡舞曲，作品420 Die Wahrsagerin, Polka mazurka, Op. 420

      05:30