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
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Beethoven - Piano Concerto No. 5 in E-flat major, Opus 73, “Emperor”

- Allegro
- Adagio un poco mosso
- Rondo: Allegro

The "Emperor Concerto", written in 1809, is Beethoven’s last work of this genre - and arguably the most popular. It is dedicated to Archduke Rudolf of Austria, Beethoven’s pupil and patron.

The first presentation of the work took place in Leipzig on 28 November 1811. In the first Viennese performance of the concerto, the composer, pianist and former student of Beethoven, Carl Caernarfon, was the soloist. The epithet “Emperor” was given to the work by Johann Baptist Cramer, the English publisher of the concerto and reflects the magnificence of music.

Allegro

The first part, Allegro, includes a musical dialogue between the orchestra and the piano. The orchestra plays loud resonant chords, while the piano processes grandiose responses. The orchestra continues the long introduction alone, introducing the two main themes. The first melody played by the violins is strong and unequivocal. The second theme consisting of a short series of unconnected notes, is also introduced by the violins. The horns follow with a gentle variation of this melody. Then the soloist shows up and brings the themes together. All material comes back with great results:


Adagio un poco mosso

The second part, Adagio un poco mosso, is built around a hymnal melody, originally announced by violins. Beethoven soothes the sound of violins with "surdina." The piano soothes the theme in a free, polite and moving way. Later the soloist repeats the melody accompanied by a chord of string pizzicato. Towards the end of the part, the orchestra regains control of the melody, while the piano decorates and enriches it.


Rondo: Allegro

In the third part, Rondo: Allegro, the piano that plays only with a chord of horns, introduces the energetic finale. Later, maintaining the part's lightly playful mood, Beethoven introduces a few metres of a popular folk song. The piano is firmly in the spotlight throughout the part, delivered in a multitude of craftsmanships that lead the work to a dynamic conclusion.



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