Johann Strauss II - Kaiser-Walzer (Emperor Waltz), Op. 437

Strauss often played in the glittering Imperial balls, conducting the orchestra and playing the first violin at the same time.   The majestic launch of this fascinating waltz presents the backdrop of the celebration of the 40th anniversary of the hegemony of the Austrian Emperor Franz Joseph in 1888. Johann Strauss II was Music Director of the Dance Hesperides of the Imperial Court from 1863 to 1872 and composed on occasion for the celebration of an imperial anniversary. The ingenuity of the melody of the Emperor Waltz, which was originally orchestrated for a full orchestra, is such that it was easily adapted for the four or five instruments of a chamber ensemble by the Austrian composer Arnold Schoenberg in 1925. This waltz is a tender and somewhat melancholic work, which at times turns its gaze nostalgically to the old Vienna. The waltz praises the majesty and dignity of the old monarch, who was fully devoted to his people. It begins with a majestic, magnificent march, which soon re

Chopin - Waltzes Op. 64, No.3

Chopin was not the first composer to compose waltz for piano, but his approach was particularly unique. Many composers had written similar works, but Chopin's waltzes were not intended for dance.

Chopin composed approximately twenty waltzes, bus only half were issued while he was alive. The rest of his work was published after his death and many even in a highly curated edition.

One minute Waltz, Op. 63, No. 1

The "One Minute Waltz" needs considerable technical boldness. This work was meant to last about a minute, although it is not known whether any pianist - other than Chopin himself - ever achieved that.

Waltz No. 7 in C minor, Op. 64, No. 2

This waltz is unusually expressive, drawing much of its effect from the interaction of different rhythmic patterns. It also includes a melody of exceptional beauty and emotion.

Waltz in A flat Major, Op. 64, No.3

This waltz is simple and short and the thythm is relaxed. Here Chopin has chosen a pure structure. The solf central section presents a short passage with trills, where the music is relocated. The unusual element here is that the melody is interpreted by the low-key part of the instrument.