Richard Wagner - Introduction

Rebel, pioneer, demagogue, revisionist, heretic. Anyone who, honorably or disparagingly, is offended by the German composer Richard Wagner cannot deny his genius. He proposed a different expression of opera, an expression that dominated the second half of the 19th century creating supporters and opponents, who apparently still have not solved their differences.

He called for the mix of music and drama to be in one, considering the ancient Greek reality, envisioned the whole of the musical drama going beyond the theoretical data, since it offered shaped the values for its realization. The art of opera transformed by Wagner yielded new fruits sufficiently differentiated from those folk music of bel canto. The dynamics of Wagner's opera evoke reflection rather than emotion, without, of course, aiming to detox from it.

The music of Richard Wagner, the main but not his only component of his lyrical dramas, rich in expressive power, with a strong descriptive capacity, has been completely consistent with the ideology of its creator. Its magnificence and volume are in the same way as the theme of the myths he himself elaborated. He didn't allow anyone to share the glory of his works. But he also took full responsibility for his work, even when he could not be sure of the happy ending of his musical experiments. The experiments succeeded and the music took a step forward.

(George Monemvasitis)

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Johann Strauss II - Tritsch-Tratsch-Polka, Op. 214 in A major

The Tritsch-Tratsch-Polka , Op. 214, was composed in 1858 by Johann Strauss II following a highly successful concert tour in Russia. During the summer season, Strauss performed regularly at Pavlovsk, near Saint Petersburg, a fashionable venue for open-air concerts that played a crucial role in shaping his international reputation. Shortly after his return, the polka was premiered in Vienna on 24 November 1858. The title itself reveals Strauss’s playful wit. In German, “Tratsch” refers to gossip or idle chatter, while “Tritsch” carries no literal meaning. Together, the words form an onomatopoeic pun, imitating the sound of lively conversation—much like the English expression “chit-chat.” Such wordplay was characteristic of Strauss, who delighted in pairing light-hearted music with humorous or evocative titles. True to its name, the Tritsch-Tratsch-Polka bursts with energy and rhythmic vitality. Strauss once remarked that dancers might happily pause their movements, engaging in anima...

Robert Schumann - "Träumerei" or "Dreaming" (from the album Kinderszenen or "Scenes from Childhood"), Op. 15, No. 7

'The Woodman's Child' painting of Arthur Hughes, expresses wonderfully the dreamy quality of "Dreaming" from Schumann's "Scenes from Childhood". For Robert Schumann , music was almost always a personal expression of contemplation, feelings and poetic contemplation and that is exactly what makes him one of the most important romantic composers. The piano was Schumann's first love and his compositions for this instrument are among the most resistant through the passage of time. Schumann composed "Scenes from Childhood" album, the best-known of all his pianistic circles, in 1838. It consists of 13 "peculiarly small works", as described by the composer, each with its own title, which expresses a specific childhood memory. These works are all simple and charming, but Dreaming ( Träumerei) is the most popular and best known of all. It is often included in musical collections for solo piano and often the virtuoso performers includ...

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

Johann Strauss II , celebrated for his waltzes and lively dance music, followed a distinctive creative approach. He consistently sought contemporary and recognizable themes as the inspiration for his compositions, ensuring that his music remained fresh and closely connected to the everyday experiences of his audiences. A characteristic example of this approach can be found in Vergnügungszug (Pleasure Train), a fast polka ( Polka schnell ) composed in 1864. The work was written for one of the famous summer concerts Strauss conducted in Pavlovsk, near St. Petersburg, where he spent several seasons presenting new compositions. For this particular piece, Strauss drew inspiration from a symbol of modern progress at the time: the steam locomotive. The composition vividly captures the energy and motion of a train in full operation. Its driving rhythm evokes the steady chugging of a steam engine, while short, repeated figures suggest the mechanical movement of the wheels along the tracks. Str...

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