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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Handel - Concerto for Organ and Orchestra No.13 in F Major, HWV 295, "The Cuckoo and The Nahtingale"

In this Organ concerto, Handel reproduces the song of the birds that gives his work its famous subtitle. It was one of the few occasions where he used music as a means of imitation.

Like Handel's other Organ concertos, this concerto No.13 was written as music played during the breaks of the acts of the oratories. It was first presented two days after its completion, at the Royal Theatre in London, on April 4, 1739, along with the oratorio Israel in Egypt.

Many of these concertos, including the 13th, had large "ad libitum" sections. In them, the organist spontaneously improvised and the melody simply played the role of guide. Hendel himself was an excellent organist and surprised his listeners with his virtuosity improvisations.

Movements:

- Larghetto

In the first part, Larghetto, the orchestra presents in a brief introduction the expressive theme. The Organt then interprets the same theme with high notes. The orchestra echoes the Organ's interpretation until the first part is completed peacefully.

- Allegro

In the second part, Allegro, the orchestra presents a new, lively melody. The Organ and the orchestra echo each other. The Organ then presents and develops the two descendant notes that mimic the chirping of a cuckoo, interwoven with the cellared trills of a nightingale. The Organ itself interprets the song of the birds, while the orchestra repeats the original theme inserted between the sections of the "cuckoo and the nightingale".

- Organo ad libitum

Improvisation

- Largetto

In the mournful third part, Larghetto, the orchestra first presents the mournful theme, followed by the Organ. Once again the Organ and the orchestra share the same melody, until the Organ completes the third part with a minor chord.

- Allegro

Some slow, simple chords performed by the orchestra introduce the final fourth part, Allegro. The strings interpret a lively, highly toned theme, repeating the Organ and then being re-formulated sequentially by the  Organ and orchestra. Among the interpretations emerge musical phrases that lead to new harmonies. In the end, the melodies return to the main tonality of the concerto in F Major and share the final chord.




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