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
Maurice Ravel - Piano Concerto in G major
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The Piano Concerto in G major was composed between 1929 and 1931. Ravel was ill at the time and did not perform at the premiere himself, although he conducted the orchestra. Ravel claimed that the work was composed in the manner of Mozart and Saint-Saëns, although influences from Stravinsky and Gershwin, as well as from the Spanish folk music of the composer's hometown, the Basque region, can be seen. The concerto was Ravel's penultimate composition.
Μovements:
Ι. Allergamente
This concerto has no orchestral introduction. At the beginning of the first part marked Allegramente, the piano appears immediately, although the original theme in a folk style, is introduced by the piccolo. The melody is repeated by the trumpet. In the theme of the piano that follows, the influence of jazz, which exists throughout the work, is felt for the first time.
The piano then introduces a third theme, which adopts the saxophone and the trumpet. The lively part of the development continues the strong, rhythmic feeling of the first part and a part in the form of a canteenza for a solo harp moves mainly in the harmonics. Later, a solo piano cadenza completes the part with a deliberately dissonant descending scale.
ΙΙ. Adagio assai
The slow and lyrical second part, Adagio assai, begins with a theme surprisingly beautiful and simple. A trill completes the extensive piano solo. The music that follows is dominated by woodwinds with the flute in front. The piano, when it does not play a solo role, accompanies.
Towards the end, the English horn appears as a solo instrument, while the piano weaves and decorates. During an extended piano trill, the strings with sourdina reflect the original theme for the last time and complete the part.
ΙΙΙ. Presto
The third part, Presto, begins with a fanfare for tambourine and trumpet. The strange, screeching first theme is presented by the clarinet, while the piano provides the joyful accompaniment. The atmosphere is generally light and happy, with a cheerfulness reminiscent of the music of the circus and reflecting the influence of jazz.Then the music is restless, while the piano passages are combined with the strings and the bassoon.
Later the music is lowered and a quick return of the piano follows. An extensive scale where all the instruments are combined, leads to strong, dissonant chords that complete the work.
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