Johann Strauss III Video
compositore e direttore d'orchestra austriaco
- violino
- opera
- Austria
- compositore, direttore d'orchestra, violinista
Ultimo aggiornamento
2024-05-04
Aggiorna
Johann Strauss II Johann Strauss III Johannes Brahms 1892
Strauss dedicated this waltz to his friend Johannes Brahms. It was first premiered in 1892. This is a hand-played recording made by Johann Strauss III for the Frankfurter Musik-Werke Fabrik JD Philipps and Sons. Roll : PHILAG 591. / Please subscribe and share this music around the world! If you've enjoyed this music please leave a comment below also :) STEINWAY MODEL K 65/88 NOTE PIANOLA PLAYER PIANO PIANOLIST : ADAM RAMET
Lots more music like this on www.cpestrauss.com My orchestration of a polka schnell written for piano by Johann Strauss III. The manuscript is in pencil, undated and has no title other than Polka Schnell. I don’t know enough Johann Strauss III to say whether he later orchestrated and published this. I think at this point I’m supposed to write “reminiscent of his father”, but I think that would be unfair and untrue. It might not be the best polka ever written, but it has a style of its own and rattles along quite nicely.
Johann Strauss III Maus Johann Strauss II Josef Strauss Johann Strauss I Franz Lehár Oscar Straus Johann Strauss Orchestra Theater Wien 1866 1898 1901 1903 1927 1939
Recorded on 6/1/1927. Johann Strauss Orchestra Thanks to Rolf for allowing me to use his excellent transfers. You can find this and many other wonderful selections and information at his website: (http•••) Johann Strauss III (February 16, 1866 – January 9, 1939; German: Johann Strauß III; also known as Johann Eduard Strauss) was an Austrian composer whose father was Eduard Despite his keen interest in composing, he was better remembered as a conductor. His only stage work, the three-act operetta Katze und Maus, composed in 1898, premiered in Vienna on 23 December 1898, at the Theater an der Wien. Its public reaction bordered on utter dislike, and music critics called for the distraught composer to reassess himself and to appear under a pseudonym, in order not to tarnish the name of his famous relatives. He salvaged the music score and produced independent pieces of which the waltzes Sylvianen Op. 1 and Leonie Op. 2 survived obscurity. Strauss, whose uncles were Johann Strauss II & Josef Strauss, and whose grandfather was Johann Strauss I. He was unofficially entrusted with the task of upholding his family's tradition after the dissolution of the Strauss Orchestra by his father in 1901. His talents were not fully realised during his lifetime as musical tastes had changed in the Silver Age with more popular composers such as Franz Lehár and Oscar Straus dominating the Viennese musical scene with their operettas, although his uncle, Johann Strauss II, supervised his development as a musician, a fact disputed by Eduard Strauss. He also conducted from the violin in the style of the Vorgeiger and of his family. In 1903, he elevated the Strauss family to a new age of development when the Deutsche Grammophon AG of Germany recorded his conducting of the Johann Strauss Orchestra on eight single-sided records of works by his family. Principally, he was the first conductor in the Strauss family to actively conduct works to be recorded by prominent recording companies. His later works, such as Dem Muthigen gehört die Welt (The World Belongs to the Brave), Op. 25, and Krönungs-Walzer (Coronation Waltz), Op. 40, (the latter celebrating the coronation of King Edward VII) were also considerably more popular than his earlier efforts. The family dominated the Viennese light music world for decades, creating many waltzes and polkas for many Austrian nobility as well as well as dance-music enthusiasts around Europe. He was affectionately known in his family as 'Edi'.
Johann Strauss II Heed Falke Johann Strauss III Theater Wien Johann Strauss Orchestra 1866 1874 1910 1939
Die Fledermaus, the third Johann Strauss operetta to reach production, opened at Vienna's Theater an der Wien on Easter Sunday 5 April 1874. In complete contrast to the assertion of numerous Strauss biographers, the total success of the work was assured from its first performance, although only with the passage of time has the piece come to be regarded as the premier stage, work in the entire operetta genre. On 1 May 1874, less than four weeks after the première of Die Fledermaus, Johann Strauss departed Vienna to commence a concert tour of Italy with the Julius Langenbach Orchestra of Germany. His preoccupation with the organization of this project limited the time available to him for composing the eagerly-awaited dance pieces arranged from the score of his operetta masterpiece, and only three of the eventual seven works were rushed on to the market by his publisher, Friedrich Schreiber. Amongst these was the Fledermaus-Quadrille, which went on sale on 13 May 1874—a 'rest-day' for Strauss and the orchestra in Italy. The programmes of music Johann played to his Italian audiences do not include the Fledermaus-Quadrille, and it has so far proved impossible to establish a firm date for the first performance of the new piece in Vienna. Since Schreiber issued the quadrille in May, however, its first performance could well have taken place in the Austrian capital during June 1874. The Fledermaus-Quadrille provides the listener with an exhaustive tour of the delights in this, the most celebrated operetta of all time. The ear is charmed by a relentless succession of its rhythmic melodies, the selection of which paid heed only to the strict demands imposed by the six distinct sections (or 'figures') of Viennese quadrille form—No. 1 'Pantalon', No, 2 'Eté', No. 3 'Poule', No. 4 'Trénis', No. 5 'Pastourelle' and No. 6 'Finale'. The quadrille was one of the most popular ballroom dances of the nineteenth century, and was executed by sets of four, six or eight couples. Each dance section comprised rigid eight- or sixteen-bar melodic phrases, and even though these were repeated frequently within a section, the quadrille demanded a large number of separate themes, thus providing operetta composers with an ideal vehicle for exploiting the musical highlights of their stage works. Johann's Fledermaus-Quadrille accordingly presents material from the following sources: Pantalon / Act 2 (No. 7) Orlofsky's couplet; Act3 (No. 15) Trio for Rosalinde, Alfred and Eisenstein; Act 3 (No. 14) Adele's aria Eté / Act 2 (No. 7) Orlofsky's couplet; Rosalinde's arietta in Act 1 Finale (No. 5) Poule / Act 1 Finale (No. 5) Trio section; Act 3 (No. 14) Adele's aria; Act 1 (No. 1a) Alfred's serenade Trénis / Act 1 (No. 3) Duet for Eisenstein and Falke Pastourelle / Act 1 (No. 2) Trio; Act 2 Finale (No. 11a) Finale / Act 1 (No. 4) Trio for Adele, Rosalinde and Eisenstein; Act 1 Finale (No. 5) An item of historical interest is an acoustic recording of a Contre-Fledetmaus Quadrille (complete with shouted dance calls!) conducted by the composer's nephew, Johann Strauss III +••.••(...)), with the Johann Strauss Orchestra. The recording, issued by the Edison Company in December 1910, covers three 4-minute Wax Amberol Cylinders. The musical content of this work differs from Johann Il's original Fledermaus-Quadrille in, omitting certain themes and including quotations from the "Champagne Trio", the "Watch Duet' and opening chorus from Act 2 of the operetta, and a melody from the Trio (No. 15) of Act 3. Picture: Caricature of Johann Strauss II after The Bat's premiere (1874).
o
- cronologia: Compositori (Europa). Direttori d'orchestra (Europa). Interpreti (Europa).
- Indici (per ordine alfabetico): S...