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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Claude Debussy and the Piano

Claude Debussy playing the piano at Ernest Chausson 's home.

Claude Debussy was one of the greatest composers of piano music. The "Pianoforte" (soft-loud) as is its original Italian name, evolved from the harpsichord during the 18th century. Only in the next century, however, did it grow in size, wealth and tonal power. Beethoven, Schumann, Chopin, Liszt and Brahms wrote their best compositions for it.

At the time of Debussy, that is, at the beginning of the 20th century, the piano had reached the peak of its development. Debussy took full advantage of this fact, writing music that made full use of the spectrum of the keyboard and the dynamics of the piano (the degree of softness and intensity). 

He also used the pedals in a special way, giving duration to certain notes or chords at the same time as others are played, thus mixing their sounds. In this way he utilized the piano as the composers before him had not even imagined.

Some of his pianistic compositions, with impressionistic titles such as "Goldfish", "Estampes", "Fireworks", were among the most revolutionary compositions of his time. For many listeners of that time, it was one of the strangest works they had ever heard.

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