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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Mozart - Andante in C Major for Flute and Orchestra, K315

In December 1777, Mozart wrote to his father in Salzburg about an order he had received from the amateur flute and music patron, Ferdinand De Jean. The order included, among other things, "three short, simple flute concertos".

Mozart wrote two concertos in 1778, but problems arose when the works reached his patron. It is alleged that De Jean rejected  first concert's Andante and asked for its replacement. Mozart responded to this request and wrote an alternative slow part, while the original - shown here - remained independent.

We find it hard to believe that this brilliantly written Andante, with its fluid, melodic flute, is an example of Mozart's composition for his least beloved instrument.

A brief orchestral introduction leads to a slow, lyrical original theme of the flute. The orchestral accompaniment is rich and full, but without ever exceeding the soloist. A string pizzicato leads to a final section - here the flute emerges from its lowest extent to a high point of its range, singing high above the other instruments. A short orchestral part gushing from the last note of the flute.

New, different, rather sad music follows - but no less beautiful. However it does not last long. The earlier ideas are repeated and lead to a cadenza, after which the whole completes the work.  
                           


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