Johann Straus II - Vergnügungszug (Pleasure Train), op. 281

Johann Strauss II , known for his waltzes and lively compositions, had a unique approach to his creative process. He consistently sought contemporary and relevant themes to serve as the driving force behind his new musical compositions. This approach ensured that his work remained fresh and connected with the audiences of his time.  One notable instance of this creative approach was the composition of this polka, composed in 1864. This piece of music was specifically crafted for a summer concert held in the picturesque Russian town of Pavlovsk. It's fascinating to note that Strauss drew inspiration for this composition from the world around him. In this case, he found it in the emerging technology of the time, namely, the steam locomotive. The composition itself is a testament to Strauss's ability to capture the essence and energy of the subject matter. The rhythm of this dance piece mirrors the rhythmic chugging and movements of the old-fashioned steam trains that were prevale
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Antonín Dvořák - Introduction


Although the founder of the Czech national music school was Bedřich Smetana, it was Antonín Leopold Dvořák who tossed the inexhaustible wealth of the musical tradition of bohemian land throughout the Western world. His compositions are dominated by a happy combination of academic rules, instinctive technique and folk sound colors.

An excellent recipient of every useful influence, the composer effectively assimilated and exploited creatively all the musical stimuli he received, either as a diligent student or as a nostalgic traveler.

Following the orders of emotion rather than logic, Dvořák composed music that is sincere, spontaneous that often reflects the smile of ordinary people, without, however, disregarding the sensitivity and needs of genuine and demanding friend.

A bridgemaker between folk and scholar, skillful in the application of the teachings of classical education, he completed work miraculous in variety, quality and purity.

His peaceful life and emotionally balanced, allowed him to devote himself seamlessly to the service of the art of sounds. The musical credit given to him is neither that of innovation nor that of uniqueness. He managed to mix with absolute success the melodies and rhythms of the old and new worlds, without subjugating one to another, without acknowledging the superiority of anyone.


(George Monemvasitis)



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