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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Verdi - Il Trovatore

The vague plot of this opera of Giuseppe Verdi, with libretto based on a Spanish play, did not prevent its success at all when it was first played in Rome. As in the past, there were problems with church censorship about Leonora's suicide in the end. The problem was solved in an almost comical way: Leonora does not take the poison on stage, but the words of the suicide scene remained!

- Coro di Zingari

It is the story of a goung troubadour, Manrico, his gypsy family and his conflict with an enemy and erotic rival, Di Luna, who at the time of Manrico's execution turns out to be his brother. One of the famous hits of this opera is the wonderful Coro di Zingari (Anvil Chorus), an exciting and enthusiastic vocal creation.


- Squilli, echeggi la tomba guerriera

Another masterful choral is heard later in the strong and edgy song of the soldiers, Squilli, echeggi la tomba guerriera (Let the trumpet sound of war songs).


- Ah si, ben mio

On the contrary, Manrico's love song to the heroine, Leonora, Ah si, ben mio (Oh yes, darling), is almost Mozart in his austerity and noble lyricism.



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