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

Ricercar (or ricercare)

An Italian term derived from the verb “ricercare” (I’m looking for), which is about an old kind of organic composition of free form, but with mainly a contrapuntal style and character. Also, the term might imply a search for contrapuntal processing, but this is just a hypothesis.

The instruments to which ricercare are mainly dedicated are the lite, the organ, the clavecin and other keyboard instruments.

Ricercare was used as an introductory piece that indicated the search for the tonality of the price that followed it.

Ricercare was widespread in polyphonic form from the 16th century thanks to Marco Antonio Cavazzoni, Luzzasco Luzzaschi and Claudio Merulo, while the homophonic form thanks to A. and G.Gabrieli and preceded the fugue.

However, the greatest artistic flourish of the ricercare observed in the 17th century with Girolamo Frescobaldi, followed by Alessandro Poglieti, Bernardo Pasquini, Johann Kaspar Kerll and Johann Jacob Froberger.

The term was often used in the 29th century by Alfredo Casella and Freancesco Malipiero.