Johann Strauss Gunstwerber, Op. 4 Video
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2024-03-20
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Johann Strauss II Neto Bai Beethoven Chopin Tchaikovsky Bach Vivaldi Brahms Haydn Liszt Schumann
#straussii #musicaclasica #vals Serailtanze es un vals de Johann Strauss II (op. 5). El vals Serailtanze también se realizó en el Casino Dommayer en Hietzing cinco semanas después del debut musical de Johann Strauss II. Esta vez, sin embargo, se trató de un llamado concierto benéfico, un festival cuyo beneficio neto no fue para el organizador sino para el artista invitado (en este caso, Johann Strauss II). El vals fue compuesto de una manera clásica vienesa. Su rápida introducción se convirtió en una de las melodías más populares del joven Strauss y también se abrió camino en la opereta Wiener Blut. Suscríbete a nuestro canal Mundo Sinfónico ➥ (http•••) También escucha♫➥Gunstwerber, Vals (Op. 4): (http•••) También escucha♫➥Cytheren-Quadrille. Cuadrilla (Op. 6): (http•••) ★ Más de Strauss II♫➥ (http•••) ★ Escucha a Beethoven♫➥ (http•••) ★ Escucha a Mozart♫➥(http•••) ★ Escucha a Chopin♫➥(http•••) ★ Escucha a Tchaikovsky♫➥(http•••) ★ Escucha a Bach♫➥(http•••) ★ Escucha a Vivaldi♫➥(http•••) ★ Escucha a Brahms ♫➥(http•••) ★ Escucha a Wagner♫➥(http•••) ★ Escucha a Haydn♫➥(http•••) ★ Escucha a Liszt♫➥(http•••) ★ Escucha a Schumann♫➥ (http•••) REDES SOCIALES Síguenos en Instagram: (http•••) Danos like en Facebook: (http•••) ☛ ¿Quieres escuchar más música como ésta. Lo podemos hacer! Apoya a nuestro Canal con una Donación Apóyanos con una Donación en Paypal (http•••)
Johann Strauss II Suppé Meyerbeer Mechetti Gunst 1844
Johann Strauss II debut: - Gunstwerber, Waltz, Op.4 - Herzenlust, Polka, Op.3 - Debut-Quadrille, Op.2 - Sinnediche, Waltz, Op.1 History: One can scarcely imagine today the excitement and intrigue which must have greeted the first press reports in the Austrian capital that Johann Strauss junior, the unknown son of Europe's most celebrated dance music composer and conductor, was to make his public musical début with his own orchestra on 15 October 1844 at a "Soirée dansante", and moreover that the event was to be held at one of his father's regular venues / Dommayer's Casino. After obtaining permission from the Vienna municipal council on 5 September 1844 to his request to "perform with an orchestra of twelve to fifteen players in restaurants and, indeed, at Dommayer's in Hietzing, who has already assured me that I can hold musical entertainments there as soon as my orchestra is in order", the 18-year-old youngster assembled his instrumentalists from the work-hungry players who thronged Vienna's 'musicians' exchange', the tavern 'Zur Stadt Belgrad' in the suburb of Josefstadt. The first announcement of the younger Johann's intentions had appeared in the Wiener Allgemeine Theaterzeitung on 2 October 1844 under the heading: "Quick, what's new in Vienna? A new Capellmeister Strauss" / the term 'Capellmeister' referring to a conductor in charge of his own orchestra. The paper ended its report: "One will be able to hear five [sic!] new compositions by him: we expect very much of this young man, and the public will certainly bestow upon the son just as much favour as it has for years granted his father". The sentiment of "good luck!" was echoed in many journals, although the elder Johann's reaction to this blatant act of filial defiance can merely be surmised / he had forbidden his sons to pursue a musical career and intended that his eldest should join a bank. Unlike his wife, he did not attend Johann's début at Dommayer's, and if the son's actions took him by surprise, he must surely have been left wondering if some divine intervention had guided his choice, just a month earlier, of the title for his latest waltz: Geheimnisse aus der Wiener Tanzwelt (Secrets from the Viennese Dance World) op. 176. With actual dancing ruled out by the sheer numbers of people clamouring for admission to Dommayer's elegant, if small (it accommodated around 600 persons), premises for the younger Johann's début on 15 October, the "Soirée dansante" in reality took the form of a straight orchestral concert. While naturally there was interest in the youngster's interpretations of works by his father, Auber, Suppé, and Meyerbeer, it was his own compositions which the audience wanted most to hear. They were not disappointed, and each of the four works written especially for the occasion excited genuinely enthusiastic and tumultuous applause. Johann's publisher, Pietro Mechetti, subsequently allotted opus numbers to the four pieces in reverse order to that in which the works were introduced at the début: Gunst-Werber Walzer op. 4, Herzenslust Polka op. 3, Debut-Quadrille op. 2 and Sinngedichte Walzer op. 1. Good listening by MikoNatt!
My orchestration from the Mechetti piano score of this waltz by Johann Strauss. I had a request to do another early Johann Strauss II after my attempt at Sinngedichte for an orchestra about the size of the one Strauss had early in his career. I’ve done this one, as opposed to the suggested Gunstwerber, because the original orchestration has been lost and the complete edition recording is not very satisfactory in my opinion. I have used the same small orchestra as for Sinngedichte with the addition of a trombone, a few bars of piccolo to be played by the flautist and some notes for cymbals and bass drum to be played by the timpanist when not otherwise occupied. I’ve also used valved brass instruments. I think I was wrong to use natural brass in Sinngedichte. The complete edition version is scored for a full orchestra. Nothing wrong with that, but I think it is worth listening to on the approximate orchestra Strauss had available. One has to approach the instrumentation in a completely different way when one only has a few instruments to play with. Strauss must have done the same. Apart from that, the complete edition has some misplaced chords in the introduction, some missing chords in the coda and some repeats that are not in the score. Some dynamics are not as in the score I have either. Some directly contradict the printed ones. It could be that they had better sources than I have, although I have a good, contemporary piano score and what is printed does work, albeit to different effect. The tempo is a bit pedestrian too, and some of the phrasing and articulation is stodgy, and not as printed. It’s not a bad waltz. The introduction is maybe a bit overdramatic, especially on a small orchestra, but once the waltz starts we are in familiar territory. It is at least interesting, and 3A easily stands comparison with his later work.
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Gunstwerber, Op. 4 ? Non abbiamo ancora raccolto molti contenuti su questo argomento, ma continuiamo a cercare.
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