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

Mendelssohn - Wedding March in C Major

Mendelsohn composed the introduction to Shakespear's play"A Midsummer Night's Dream" in 1826, when he was just 17 years old. It was, however, in October 1843 that he added various parts of music for a performance of his work in Potsdam, near Berlin. All 11 parties have had tremendous success. Indeed, it is a sign of Mendelssohn's genius that despite 17 years of mediation, the style of the late compositions of stage music is entirely consistent with that of the introduction.

The "Wedding March" is played after the end of the IV act and celebrates the simultaneous marriage of three couples. Today, the Wedding March is the melody that accompanies almost exclusively every wedding ceremony.

It begins with a fanfare and then sinks majestically into the excellent procession that has accompanied so many marriages.

A lighter, less imposing march continues as if the fairies of Shakespeare's work themselves were crossing the temple. The ritual music is repeated twice more, inters with a kinder, lyrical section.

The last iteration is heard from afar and fades gradually until it becomes completely imperceptible in the flicker of ethereal music emitted by the woodwind.