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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Georg Philipp Telemann - Trumpet concerto in D major

Georg Philipp Telemann composed a single Concerto for a solo trumpet. This is indeed surprising since the trumpet was particularly popular at the time. The instrument that dominated Telemann's days was the high trumpet in D, with characteristic piercing brilliance. He did, however, include the trumpet in other orchestral combinations. Besides, there's also a three-trumpet concerto.

Μovements:

Ι. Andante

The orchestral introduction is absent from the short begining Andante of this concerto. The solo trumpet sounds immediately, playing a long, flowing melody, while strings and harpsichord hastily measure the normal, almost hymnal rhythm of the accompaniment.



ΙΙ. Allegro

In the second part the strings start the Allegro. Unlike the previous melody that is direct - strong and lively rhythms replace Andante's restrained magnificence. Strings and soloists share the melody - strings comment on the trumpet melody and occasionally suggest their own new and exciting melody.



ΙΙΙ. Grave

The slow and formal Grave is intended only for strings and shortening. The high and piercing sounds of the trumpet of the previous part are replaced here by the calm melody of the violin in minor tonality.



IV. Allegro

After a unique note played by the nearby, the trumpet again leads to the concluding Allegro. The melody played by the solo instrument has an almost military connotation. Although strings have their own role in this place, undoubtedly the trumpet dominates. This is by no means more evident than the moment she takes off at the top of her musical spectrum on a high closing note.



You can watch the whole concert, here:



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