Johann Straus II - Vergnügungszug (Pleasure Train), op. 281

Johann Strauss II , known for his waltzes and lively compositions, had a unique approach to his creative process. He consistently sought contemporary and relevant themes to serve as the driving force behind his new musical compositions. This approach ensured that his work remained fresh and connected with the audiences of his time.  One notable instance of this creative approach was the composition of this polka, composed in 1864. This piece of music was specifically crafted for a summer concert held in the picturesque Russian town of Pavlovsk. It's fascinating to note that Strauss drew inspiration for this composition from the world around him. In this case, he found it in the emerging technology of the time, namely, the steam locomotive. The composition itself is a testament to Strauss's ability to capture the essence and energy of the subject matter. The rhythm of this dance piece mirrors the rhythmic chugging and movements of the old-fashioned steam trains that were prevale

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.


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: