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

Liszt - Piano Concerto No.1 in E-flat Major

Liszt was first involved in this concerto in 1832, when he was young. However, his tours as a virtuosian pianist throughout Europe did not allow him to compose comfortably, so he managed to complete the concerto only in 1849. Even then, he kept revising the score. The premiere was given in Weimar in 1855, under the direction of another great composer, Berlioz.

The concerto is romantic in every way. It moves away in form and style from Mozart's and Beethoven's most "classic" concertos with three parts. Its form is circular: the same musical ideas circulate throughout the work.


I. Allegro maestoso

The first part of the concerto, Allegro maestoso, begins with an imposing theme played by strings in unison, followed by two resonant chords in woodwinds and brass. This is a "pattern", i.e. an important idea that reverts to the whole project. The piano stands out soon before leading the music back to the original theme. Here is a noticeable change in mood: the piano quietly develops a new theme, accompanied first by the clarinet soles and then by violins and cellos. The mood changes again with a great orchestral escalation, based on the original theme, followed by a few quick octaves, which Liszt loved so much. The part, which is surprisingly short for the multitude of ideas and moods it contains, ends quietly and cheerfully.

II. Quasi adagio

The second part, Quasi adagio, begins after a short pause. First the cellos and double basses and then the violins, introduce a new, tender theme, which then develops the piano into an extensive and enthusiastic solo part. After a more restless episode, a long piano trill accompanies a series of soft, tender soles of flute, clarinet and oboe, followed again by the clarinet.

III. Allegretto vivace - Allegro animato

The third part, Allegretto vivace - Allegro animato, is famous for the part of the triangle - one of the few cases where the triangle stands out. His polite ringing underscores the light, dance mood of the music. Then the piano invokes the original pattern of the entire concerto and another great escalation leads directly to.. 

IV. Allegrio marziale animato - Presto

... the finale, Allegro marziale animato - Presto, which also appears with a dynamic, military rhythm played by woodwinds and strings, while they process themes from the previous parts. An accelerated tempo leads the part and the concerto to its scintillating outcome.