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I listened to "Theory of Laws" Op.111. It's been almost a year since I last listened to Strauss's new music, and I'm immersed in the fresh joy. I really liked it. I had no idea there were so many more sophisticated pieces, and I'm once again impressed by the splendor of this grand project. The introduction starts in F sharp minor, which is typical of Eduard. I wonder if the rhythm is a parody of 3A. After the eighth rest in the second half, the scattered eighth notes create a rhythm of five consecutive notes, which can be said to allude to the second half of 1A and 4A. This is layered with a variation of 4B, which is very elaborate. Of the waltz melody, I liked this 4A the most. It reminded me a little of the 3A in Lanner's "Die Romantiker Walzer op.167” ruclips.net/video/B6N1_k4bx_E/видео.html, but this Eduard is much better. Above all, I think the ascending sixth from the second beat to the third beat is the source of its charm. Similarly, the ascending sixth in the first two bars of 4B is nice. In comparison, 1A is a little hard to get into, or rather, it leaves a weak impression. The simple descending of Do-Ti-La-So from the second bar of 1B, and Mi-Re-Do-Ti from the sixth bar, is a technique often seen in Eduardo's work. I haven't seen the orchestral score yet, but it seems that the obbligato is effective. I was wondering why 4A in Op.111 is so fascinating, and it turns out that in the eight-bar phrase in which five scattered eighth notes are repeated four times, only the second ascending sixth is a minor sixth. And the left hand in the following third and fourth bars is a minor chord. This makes it sound somewhat melancholy. Also, I am once again satisfied with how The Pianist's playing here is outstandingly good, full of emotion. By the way, the first ascending sixth in my favorite piece, Op.300 ruclips.net/video/Al-veAUd-6Y/видео.html , 1A, is a major sixth, but the second and third are minor sixths. I think that's why it sounds so melancholic, even though the second chord in the left hand is the tonic chord in A major. I think this technique is the secret of the Strauss Brothers. Tetsuro Nakamura, Member of the Japan Johann Strauss Society op. 342

「法理論」Op.111を聞きました。です。ほぼ一年ぶりにシュトラウスの新曲に接し、新鮮な歓びに浸っています。とにかく気にいってしまいました。これだけ洗練された曲がまだまだあるのですね、改めてこの壮大な企画のすばらしさに感動を覚えます。　序奏は嬰へ短調から入るあたりエドワルトらしいと思われます。リズムは３Aをもじったものでしょうか。後半の八分休符のあとに八分音符の分散が五つ連なるリズム、１A後半と４Aを暗示しているとも言えますね。これに４Bの変形が重なっていて凝っていますね。　ワルツ・メロディーではこの４Aが飛び切り気に入りました。ちょっとランナーの「ロマンチックな人々」の３Aを連想しましたが、このエドワルトの方がずっといいですね。なんといっても二拍目から三拍目への六度上行が魅力の本源のような気がします。同じく４Bの最初の二小節での六度上行、いいですね。　それに比して、１Aがやや取っ付きにくいというか、印象が薄いです。１Bの2小節目からのド-シ-ラ-ソ、６小節目からのミ-レ-ド-シと単純に下行するのはエドワルトにしばしば見られる手法ですね。　まだオケ譜を見ていませんが、オブリガートが効いているようです。 Op.111の４Aがなぜこうも魅かれるのだろうと、つらつら考えていましたが、八分音符五つの分散が８小節フレーズで四回繰り返されるところ、二度目の六度上行だけが短六度なのですね。そしてそれに続く３〜４小節目の左手が短調コードになっている。そのせいでいくぶんメランコリーに聞こえるんですね。また、ここのザ・ピアニストの弾き方が気持ちが込もっていて抜群にいい、と改めて満足しています。ちなみに私のお気に入りのOp.300 ruclips.net/video/Al-veAUd-6Y/видео.html の１Aも最初の六度上行は長六度なのですが、二度目と三度目は短六度なんですよね、だからメランコリーな感じに受け取られるのかなと思いました、二度目の左手はイ長調主和音であるにもかかわらず。この手法、シュトラウス３兄弟の極意かと思われます。 中村哲郎, 日本ヨハン･シュトラウス協会会員op. 342

Both your own piano recording and the orchestral version belong to the absolute best interpretations of this masterpiece. Thank you very much for your invaluable work!

I read your detailed Notes. Your detailed explanation has given me a better understanding of how Eduard managed his opus numbers in his later years. Your explanation of the Intermezzo was also helpful. I couldn't help but laugh at the amazing photo at the end. It's a piece that I'm convinced of its greatness every time I listen to it. Tetsuro Nakamura The harmony in the Fourth Waltz is incredible. Sixths, sevenths, ninths, elevenths!!! (Heavy) chords = the Eduard sound (!!). There were many audience members who fell asleep at concerts in Eduard's time and in modern times. Perhaps Queen Victoria was asleep (like in this (famous) photo of Princess Diana) at Eduard's concert in England in 1885!? So perhaps Eduard planned to perform Op. 319 in front of Queen Victoria (for revenge!?) at his (second) concert in London in 1895? Perhaps he made the piece short because he thought it would be a problem if the piece was too long and caused snoring (laughs)!? That's actually a surprising motivation for composing. It's the world of Haydn's Surprise Symphony and Mozart's Musical Joke, K.522. Still, performing in front of Queen Victoria in the 19th century, when Britain was the "British Empire," was quite an accomplishment! Regarding the opus number, the last waltz to premiere in America in 1900 was Op.300 ruclips.net/video/Al-veAUd-6Y/видео.html, and this little waltz from 1894 is Op.319, which means that Eduard probably "desperately" looked for a publisher after returning from America at the end of February 1901 (he didn't retire immediately). (There must have been a lot of letters exchanged) Die Wienerin (Vienna Girls) Pf (1891) and waltz "Dancing Waves" (1892) ruclips.net/video/hZaX7Sqcz1o/видео.html were published in 1893 without opus numbers, just the piano scores. Perhaps by 1907 he had barely found a publisher, and finally gave up, became desperate (?), and burned all the scores? (There is also the issue that if only the manuscript is available (as the general public would not know about it), it is easy for plagiarism to occur) I am really glad that I (after much effort!) recorded Op. 319. The Pianist (Dr. Taka S. Otagawa)

From what I've heard, I'm not sure how it relates to the title of the piece, but perhaps the fourth waltz is a song about falling asleep before you know it, which is nice. This melody is the same as the motif of the fourth waltz A in my favorite waltz, "Emperor's 50th Anniversary Waltz," Op. 296 ruclips.net/video/ZSV1icsDka4/видео.html, and I really like it. Eduard often uses a melody and rhythm development with half notes + quarter notes at the end of a waltz series, that is, in the A of the fifth or fourth waltz, and he follows that same pattern here as well. The first waltz is still charming. What's amazing about the Strauss Brothers is that the first waltz A is undoubtedly the most charming. This one is also true. Moreover, it is permeated with the melody and rhythm that Eduard is good at. The second waltz ends in a minor key, which is unique. Tetsuro Nakamura, Member of the Japan Johann Strauss Society op. 342

this piece reminds me of the day i had my college entrance exam i was so nervous so i listened to this on my way to the exam place to calm down

This recording is another example of a perfect interpretation of Vienna waltz by the excellent Otto Schulz-Biedermeier Orchestra.

What an amazing reording, thank you for sharing this gem! I always considered Op. 461 to be one of the best late watlzes by Walzerkönig.

Very nice lively interpretation on piano! Orchestral recording by Otto Schulz-Biedermeier Orchestra is also top notch, much better than interpretation of this piece by Naxos.

It's a great piece, I've just revisited it. It's amazing how different it sounds when performed by the Pianist and by Scholz. The key point is that the composer, Johann, himself does not say whether it is a warning siren or a sea siren. The fun of this piece is listening to it and imagining which parts represent the siren, and which parts are the siren's song seducing the sailor. The contributor points out the sound of a siren in 1A and 2B, but some people think that the 5th Waltz is the siren's song. Tetsuro Nakamura, Member of the Japanese Johann Strauss Society (since 1975) Op. 342

いい曲ですね、見直しました。ザピアニストやショルツが演じるとこうも違うものかと言ったところです。 警報機のサイレンか、海の精セイレーンかどちらとも作曲者ヨハン自身が語っていないところがみそですね。どの部分がサイレンを表しているか、どこが船人を誘惑するセイレーンの歌声か、思い描いて聞いてみるのがこの曲の楽しさです。投稿者は１A、２Bにサイレンの響きを指摘していますが、第5ワルツがセイレーンの歌だとの見方があるようです。 中村哲郎, 日本ヨハン･シュトラウス協会会員(１９７５年以来) op. 342

Prachtig!!!!

this piece sounds so bittersweet... it's like a long forgotten happy memory from your childhood it's giving inside out vibes

A new late J. Strauss II piece I haven't heard before!

The student song in the Introduction to the "Great Hall Songs" op.113 was also used by Johann, so it must have been a familiar melody at the time. I was impressed by Eduard's technique of building up the melody with elegance. The phrase 1A is reminiscent of the Danube Waltz, and although the harmony is significantly different and has a solemn sound, unfortunately it is not a melody that I would call "good". On the contrary, 1B is good, as the commentary says, it is energetic. | A dotted quarter note is followed by an eighth note lowered by a sixth, fifth, or seventh, and then a quarter note raised by a third. | This shape is one of Eduard's specialties. It also appears in 4B. I liked 2A the most. It is a gentle melody that makes you feel somewhat melancholy. You can feel The Pianist's dedication to the piano. It is also nice to see it repeated in three-part form. 2B has a rhythm that is characteristic of Eduard Strauss, which I like, with an eighth note ㊡ ㊡ eighth note ㊡ ㊡ ㊡ , which is also characteristic of Eduard Strauss. The cello countermelody in the second half of 3A is also Eduard Strauss. It's great! It feels very different with this in it than without it as in the piano score. 3B is another Eduard Strauss specialty, a series of six eighth notes in the style of Ländler. With the rhythm of 2B mixed in, this piece is unmistakably Eduard Strauss himself. I also love how the cello casually plays a canon-like sound for three or four bars in 4A. This 4A is mainly quarter notes and whole notes, giving it a waltz-like feel at the end. I thought it would be normal to go with f, but it's consistently p, including 4B. I thought this was characteristic of Eduard Strauss. The way the coda comes in made me happy. The way in which the variation of 4A is expressed in ff, contrasting with this waltz, is outstandingly well done. And the climax just before the reappearance of 1A was also particularly wonderful. Tetsuro Nakamura, Member of the Japan Johann Strauss Society op. 342

「大講堂の歌」Op.113の序奏の学生歌はヨハンも用いているように、かなり当時は馴染んでいたメロディーなんでしょうね。　格調高く盛り上げていく技はさすがエドワルトだと感心しました。　ドナウ・ワルツを連想させる１Aのフレーズ、和声は大幅に違い荘厳な響きがありますが、残念ながらいいなあという感じまではいかないメロディーです。　むしろ１Bはいいですね、解説にもエナジックとあるように。｜　付点四分音符に続き、六度か五度もしくは七度下げた八分音符、そして三度上げた四分音符　｜の形、エドワルトの得意とするところですね。　４Bにも出てきます。　２Aが一番気に入りました。　優しくいくぶんメランコリーな気持ちになるメロディーです。　ザ・ピアニストのｐへの入魂が感じられました。三部形式で繰り返すのが、またうれしいですね。　２Bは｜八分㊡　㊡八分　八分㊡　｜のこれもエドワルトに特徴的なリズムで、好きですね。　３A後半のチェロの対旋律、これもエドワルトですね。　いいですね、これは！　これが入るのと、ピアノ譜のように入らないのでは随分感じが違うでしょう。　３Bはこれまたエドワルト十八番のレントラー風の八分音符六つの連発です。　それに２Bのリズムが混ざってまさにこの曲は紛れもなくエドワルト・シュトラウスそのものですね。　４Aもさりげなくチェロが3〜４小節でカノンぽく奏でるのが憎いです。　この４Aは四分音符と全音符主体で、最後のワルツらしさを醸し出しています。ｆで行くのが普通かなと思ったのですが、４Bも含めて一貫してｐで通していますね。この辺もエドワルトらしさかなと思いました。　コーダの入り方で納得しました。　４Aの変形をｆｆで表現している、この本ワルツとの対比の仕方、抜群にうまいです。　そして１Aの再現直前の盛り上がりがまた格別にすばらしいと感じました。　 中村哲郎, 日本ヨハン･シュトラウス協会会員op. 342

I was interested to read in your note that Arthur Fiedler played first violin under Johann Strauss III. Where is the proof of this claim, please?

It's a really well-composed quadrille. Both these beautiful piano and orchestral versions of this lesser-known quadrille sound very fresh and lively.

Perfect interpretation of that absolute masterpiece of Vienna waltz

The Polka Mazurka "Flower Language" Op.258 that The Pianist recommended is a truly wonderful piece. I am overwhelmed by the cello's obbligatos. Such a series of rich obbligatos is rare even for Edward. The main polka section A starts in D minor, but from the third bar it changes to F major. But why does it have a somewhat melancholic quality? It will be interesting to see how the pianist plays the cello's pizzicato for the first four bars, and how it plays from the fifth bar onwards. It is also interesting to see the melody progression of Trio A, where the cello follows in the same rhythm. I am looking forward to hearing the actual sound of this part as well. Is it also Edward's style to end the last six bars in D minor? Tetsuro Nakamura, Member of the Johann Strauss Society of Japan op. 342

ご推奨のポルカ・マズルカ「花言葉」Op.258、ほんとにすばらしい曲ですね。 チェロのオブリガートに圧倒されそうです。 ここまで濃厚なオブリガートの連続は、エドワルトでも珍しいんではないでしょうか。ポルカ主部A、ニ短調で始まりますが、三小節目からヘ長調になりますね。でもどことなくメランコリーなのはなぜでしょう。 チェロが最初四小節、ピチカートですね、五小節目以降とザ・ピアニストがどう弾き分けられるのか、興味深いです。 トリオAのメロディー進行、チェロが同じリズムで後追いするのも面白いですね。この辺も実際の音が楽しみです。 最後の六小節がニ短調で終止するのも、やはりエドワルト流でしょうか。 中村哲郎, 日本ヨハン･シュトラウス協会会員op. 342

The more I listen to "Candidaten" Op. 2, the more I realize how great it is. First of all, the flow of the waltz series is very good. In fact, Eduard's playing sometimes felt monotonous in his later years. The melody of 1A is a little hard to remember compared to Johan's bouncy feel that makes a strong impact, but it is very elegant. Next, the minor key of the second waltz is very melancholic, showing Eduard's true character from his debut. 2B is in a minor key all the way to the end, which is amazing. Anyway, I'm hooked on this second waltz at the moment. Another thing to note is 4A. I remember hearing this phrase somewhere before in the first four bars, and it is also used in bars 5-8 of 3A of "Enjoy a free life, Op. 164" ruclips.net/video/SuwLztjELTk/видео.html . It is "Mi Mi | La Sofa Mi | Mi | Re". I really liked this melody, which is very Eduard-like, and I was really impressed that he used it in his debut. On the other hand, 4B is a Dal Segno without a repeat, despite the motif presented in the introduction. Perhaps it's because the melody wasn't very interesting. The rhythmic progression of the melody in 3B is also a characteristic often seen in Eduard. Compared to Johann's Op. 1, it may be more fulfilling. Johann's 4A is an outstandingly wonderful melody, but the sequence of 4B, 5A, and 5B is monotonous and unsatisfying. However, I think Johann's coda is still the winner. I just listened to "Candidaten" for the first time in a while. I was surprised by the succession of melodies that are rich in variety and full of charm, even though it's the first waltz. Johann's debut piece is also much clearer than his father's, but compared to Eduard's, it somehow retains a youthfulness. In this respect, it can be said that Eduard has been performing at a high level from the very beginning. Tetsuro Nakamura, Member of the Johann Strauss Society of Japan (since 1975) op. 342

「カンディダーテン」Ｏｐ．２　は、聞けば聞くほど名曲ですね。　まずワルツ連環の流れがとてもいいですね。　むしろ晩年になる方が時々単調に感じるときが、エドワルトはあるのですが。１Ａはヨハンのピョンピョン跳ねるような感じでインパクトを強く与えるのと比べると、メロディーもやや覚えにくいですが、その分格調高いですね。　次に第２ワルツの短調が何ともメランコリックで、エドワルトの真骨頂をデビューから示しているというところでしょうか。　２Ｂに至っては末尾まで短調だから、何ともすごい。　ともかくこの第二ワルツに今はまっています。　もう一つ注目するのは４Ａです。最初の４小節、このフレーズどこかで聞いたことがあるなと思い起こしてみると、「自由な生活を楽しまんＯｐ．１６４ ruclips.net/video/SuwLztjELTk/видео.html の３Ａの５〜８小節でも用いていますね。　「ミ　ミ｜ラ　ソファミ｜ミ　　｜レ　　」です。　このメロディー、とてもエドワルトらしく気にいっていたのですが、デビューでも使っていたとは、なんとも感激しています。　一方４Ｂは序奏で提示したモチーフにもかかわらず、リピートなしでダルセーニョですね。　あまりメロディーとしては面白くなかったからですかね。　他に３Ｂのメロディーのリズム進行、これもよくエドワルトにみられる特徴ではないでしょうか。　ヨハンのＯｐ.１と比べると充実感では優っているかもしれませんね。　ヨハンのは４Ａが抜群に素晴らしいメロディーであるのに、４B，５A，５Bの連環が単調で物足らないんですよね。　ただコーダの作りはやはりヨハンに軍配が上がるかと思います。　 先ほど久しぶりに「カンディダーテン」を聞きました。　改めて最初のワルツにもかかわらず、変化に富み魅力あふれるメロディーの連続に驚いています。ヨハンのデビュー曲も、父と比べればそれはそれは格段の冴えを見せていますが、このエドワルトと比較すると、なんとなく青臭さを引きずるところがありますね。その点、エドワルトは出だしからハイレベルに行っていると言えそうです。 中村哲郎, 日本ヨハン･シュトラウス協会会員op. 342

As the first waltz A flows gently, the opening phrase progresses with a minor third chord, as the Pianist’s Commentary states, which is very appealing. The same motif develops in the key of E minor from the 15th bar, and so, unusually for Johann, a repeat is added, even though the piece is 32 bars long. It is pleasing to see that both the pianist and the orchestra have managed this. The tempo progression is also superbly determined on both sides. A wonderful performance. Also, the contrast between |♩.♪♩| in 4A and |♩ ♩.♪| in 4B and 5A is interesting. Tetsuro Nakamura, Member of the Japanese Johann Strauss Society (since 1975) Op. 342

第1ワルツAが緩やかに流れていく中に、解説にもあるように冒頭のフレーズが短3度和音で推移していくところが魅力的です。同じモチーフが15小節目からはホ短調になって展開する形をとっているため、ヨハンにしては珍しく32小節であるにもかかわらずリピート符号が付けられています。これをザ・ピアニストもオケも共に実行しているところがうれしい。またテンポの運びが双方ともに見事に決まっていますね。素晴らしい演奏です。それから４Aの｜♩.♪♩｜と,４B 及び５A の｜♩ ♩.♪｜の対比がおもしろいですね。 中村哲郎, 日本ヨハン･シュトラウス協会会員（１９７５年以来） op. 342

The waltz "Toast", op. 270, is a piece composed in his later years, and shows a technical side. First of all, it is unusual to use a polka française in the introduction, the second phrase. I don't think Johann or Joseph even used one. The commentary says it is a short march, but this rhythm is a polka française. Moreover, it is a parody of 3A. The first phrase, which suggests 4A, is also technical. And the third sound, I felt, is Eduard. 1A is also a unique progression. Melodic progressions with eighth note dispersions like this are common, but I don't think there has been a repeat of three ascending notes at the same interval. 1B boldly uses dispersions going down an octave, but the subsequent processing is good, so it sounds dynamic and pleasant. 2A also incorporates the hemiola technique, which is elaborate as well as the obbligatos are brilliant. Johann's Reiseabenteuer Walzer op. 227 ruclips.net/video/xwC06PfRlgg/видео.html has been cited as a similar development in 3B, but I think there were other pieces by Eduardo that were very similar. The feeling I got from the melody was Eduardo himself. The 4th waltz modulates to a flat key, changing the mood. It has a similar atmosphere to "Doctrines" op.79 ruclips.net/video/TR4Dmthblnw/видео.html , where the 4th waltz is in a flat key, and the 5th waltz changes to a sharp key. The rhythm of the melody progression and the transition in a relatively low range are also the same. Johann often changes the mood in this way in the final waltz, making it seem like a completely different thing. However, I hate how the melody of 4A is deliberately in A major in the coda! It is also in the beginning of the introduction, so I'm sure he really wanted to reproduce it. I'd like to add a few more things about op. 270. This waltz has a rare tempo divergence, but I really like the way it flows into it from the end of the introduction, or the way it builds up. Even in Johann, there aren't that many tempo divergences that use contrast. The contrast in "The Blue Danube" is wonderful. "Fairy Tale" ruclips.net/video/8gABE-V8e1M/видео.html is similar, and of course "Tales from the Vienna Woods" is also good. The cello plays a major role here. It's a simple but effective obbligato to the unique 1A rhythm. 2B also appears in part in the piano score, and I think it's wonderful. And the contrast of the counter like dialogue in 3B is great, but the counter melody in 4B is the highlight. And as for the diminished seventh chord in 4B, isn't it the same in bar 7 (in D minor) as in bar 10 (in C minor)? Tetsuro Nakamura, Member of the Japan Johann Strauss Society op. 342

ワルツ「乾杯の辞」Op.270は、さすが晩年の曲だけあって技巧的な面が感じられます。　まず序奏、二番目のフレーズにポルカ・フランセーズが出てくるのは珍しいですね。　ヨハン、ヨーゼフにもないんではないですか。　解説にはショートマーチとありましたが、このリズムはポルカ・フランセーズですね。　しかも３Ａをもじっている。　４Ａを暗示している一番目のフレーズもそうですが、この辺技巧的ですね。　そして三番目の響き、これはエドワルトだという感じしました。　１Ａがまた何ともユニークな進行です。　こうした八分音符の分散のメロディー進行は良くありますが、三音上行を同じ音程で繰り返すという形はなかったのではないかと思います。１Ｂが思い切ってオクターブ下行へ向けての分散を使っていますが、その後の処理がいいため躍動的で心地よく聞こえました。　２Ａはヘミオラの技法も取り入れ、やはり手が込んでいるとともに、オブリガートが冴えていますね。　３Ｂのこの展開、ヨハンの「旅の冒険」op.227 ruclips.net/video/xwC06PfRlgg/видео.html が類似として引かれてありますが、エドワルトの他の曲に、すごく似たものがあったように思います。 メロディーから受ける感じはエドワルトそのものという感じがしました。 第4ワルツは♭系に転調し気分を変えています。 「女医さん」op.79 ruclips.net/video/TR4Dmthblnw/видео.html で第4ワルツまでは♭系で、第5ワルツに入ると♯系に変えたのと雰囲気がそっくりです。 メロディー進行のリズムと比較的低い音域で推移する点も同じですね。 最後のワルツでこうして気分を変えて別物のように変えるのは、ヨハンでもしばしば見られますね。 しかしこの４Ａのメロディー、コーダではわざわざイ長調でやっているところが憎い！ 序奏の冒頭にもあるし、ぜひ再現したかったのでしょう。　Ｏｐ．２７０で付け加えたいことをもう少し書きます。 このワルツは珍しくテンポディヴァルスがありますが、序奏の最後からそれに入っていくところの流れというか、盛り上がっていくところがとても好きですね。 ヨハンでもコントラストを聞かせたテンポディヴァルスってそんな多くないですよ。 何といっても「青きドナウ」の対比がすばらしい。「おとぎ話」 ruclips.net/video/8gABE-V8e1M/видео.html も似ていていいですね。 もちろん「ウィーンの森の物語」もいいです。　チェロの大活躍が光っています。 ユニークな１Ａの刻みに対して、シンプルですが効果的なオブリガートですね。 ２Ｂもピアノ譜に一部出ていますが、とても素晴らしいと思います。 そして３Ｂの掛け合いのようなカウンターの対比もそうですが、４Ｂの対旋律が白眉です。 あと４Ｂの減七和音ですが、１０小節目(ハ短調の)の他に、７小節目(ニ短調の)もそうではないですか。　 中村哲郎, 日本ヨハン･シュトラウス協会会員op. 342

I was surprised to see two of my favorite motifs in the Vienna Stereoscopic Mirror, Op. 31. Eduard must have been very fond of it, and I'm glad that it matches my own. The first four bars of 1A are exactly the same as the 1A of Op. 300 ruclips.net/video/Al-veAUd-6Y/видео.html . The development after that is probably a step above that of Op. 300. Another thing is that the first four bars of 3A are exactly the same as the 3A of Op. 164 ruclips.net/video/SuwLztjELTk/видео.html , and even the key is A-flat major. This 3A was also used in the Candidate, Op. 2 ruclips.net/video/IXDThmhrwWc/видео.html . The motif of the introduction is in a different scale, so I didn't notice it at first, but I think it imitates the progression of this 3A. This 3A is also reproduced in the coda, so it can be said to be the second theme of this piece. By the way, the repetition of 1A and the introduction that sounds like a harp at the discretion of The Pianist are very effective. When I heard that, I was impressed that it was "3D". Moving on to 2A, I thought it was similar to Johann's early sound. I think it has the same atmosphere as 2A from the waltz "Moth", Op.157 ruclips.net/video/wtxap9pggzc/видео.html . It has a simple sound. As for 3B, it says it is full of the scent of Vienna. I see, this is the Viennese style. The rhythm of this melody, although it is a different topic, seems to be similar to 1B from Waldteufel's waltz "Tre Jolie" ruclips.net/video/BYNdJHJYxgM/видео.html . This is the only one in Waldteufel that I have always thought sounds like Strauss. I hardly listen to Waldteufel, but sometimes when I come across a melody that reminds me of Strauss, I think Waldteufel is surprisingly good. Anyway, going back to the topic, the 4th waltz changes from flats to C major, becoming bright and lively. There is also an ascending sixth in bars 6-7, which is like Johann. The next 4B has a rhythm that is somewhat similar to polka mazurka. I like 5A because of its gentle melody. The eighth note Re-Do#-Re-Mi | Re in bars 3 and 10 is absolutely wonderful. 5B uses dotted whole notes to really express the atmosphere just before the coda. It's the same in Op. 300. The coda also starts in a traditional 5B variation, which is nice. Tetsuro Nakamura, Member of the Japan Johann Strauss Society op. 342

「ウィーンの立体鏡」Ｏｐ．31、私の飛び切り好きなモチーフが二つ、そのまま出てきてとにかく驚きです。　エドワルトもよほど気に入っていたのでしょう、自分と一致するところがうれしいですね。　１Ａは冒頭4小節、Op.300 ruclips.net/video/Al-veAUd-6Y/видео.html の１Ａそのものですね。　その後の展開はやはりOp.300の方が一枚上でしょうかね。　もう一つ、３ＡもOp.164 ruclips.net/video/SuwLztjELTk/видео.html の３Ａと冒頭4小節まったく同じで、調まで変イ長調で同じですね。　この３Ａは「カンディダーテン」Op.２ ruclips.net/video/IXDThmhrwWc/видео.html でも使っていましたね。　序奏のモチーフも音階が違うので初め気が付かなかったんですが、この３Aの進行を模していると思われます。　コーダでもこの３Aは再現していることですし、この曲の第２テーマと言えるでしょう。　ところで、１Aの繰り返しでザ・ピアニストの裁量でハープらしき序奏を入れるところ、効果的ですね。　言われると、なるほど「３D」なのかと感心しました。　２Ａに移ったところ、ヨハンの初期の響きに似ていると思いました。　確かワルツ「蛾」Op.157 ruclips.net/video/wtxap9pggzc/видео.html の２Ａに雰囲気に通じます。　素朴な響きがあります。　３Bですが、ウィーンの香り満載とありますね、やっぱりそうですか、これがウィーン節なんですね。　このメロディーのリズム、話は変りますが、ワルトトイフェルのワルツ「トレジョリ」 ruclips.net/video/BYNdJHJYxgM/видео.html の１Bに通じる気がするんです。　ワルトトイフェルの中で、唯一シュトラウスっぽいなと昔から気になっていたのがこれなんです。 ワルトトイフェルはほとんど聞いていませんが、たまにシュトラウスを彷彿させるメロディに出っくわすと、ワルトトイフェルも意外にいいかななどと思うことがあります。　さて話を戻して、第4ワルツからフラット系からハ長調に変わり、明朗快活になっていますね。　6〜７小節では六度上行も見られ、ヨハンぽくなっています。　その次の4Bは少しポルカ・マズルカのリズムに通じるところがあります。　５Aは何とも優しいメロディーで好きです。3，10小節の八分音符のレ-ド＃-レ-ミ｜レ　がたまらなくいいです。　５Bは付点全音符を使ってコーダの直前の雰囲気をよく表していますね。Op.300もそうでした。　コーダの入り方も５B変形でオーソドックスでいい感じです。　　 中村哲郎, 日本ヨハン･シュトラウス協会会員op. 342

The first theme of the Fantaisie-Piece "Something Small" Op.183 is charming, and it's exactly Eduardo's melody. It's like a déjà vu, or maybe a melody I've heard somewhere before. It's similar to the waltz or polka melody in this Piano Edition - Eldorado (Golden Symphony) It's similar to the melody of Polka française Op. 5 ruclips.net/video/PpGQYWlRMcE/видео.html . By the way, this motif is the Polka française itself. It's in 4 beats, but if you divide it in half it becomes 2 beats, and the rhythm of the melody progression is designed so that there is a breath between the 3rd and 4th beats (the weak beats). The left-hand accompaniment is exactly like that, and if you play the quarter notes on the weak beats as eighth notes and the other half as eighth rests, it becomes the Polka française itself. Eduardo is a great dance composer after all. Incidentally, the theme of Johann's Fantaisie-Piece "Traumbild I" ruclips.net/video/0AZQGFtdCkg/видео.html is also in the style of a polka mazurka. I think Johann is also a dance composer at heart. I think "Phantoms" is an excellent symphonic poem that is no less excellent than the others. This work by Eduardo is also short, but I think it is a persuasive little symphonic poem, although I may be biased. If you listen to it three or four times, it becomes even more profound. Tetsuro Nakamura, Member of the Japan Johann Strauss Society op. 342

幻想小曲「何か小さな物」Op.183の最初のテーマ、魅力的ですね、まさにエドワルトのメロディーですよ。既視感というか、どこかで聞いたことのあるメロディーですね。このピアノ・エディションにあるワルツかポルカのメロディーに似ていますー Eldorado 〔黄金響） Polka française Op. 5 ruclips.net/video/PpGQYWlRMcE/видео.html の旋律に似ています。　ところでこのモチーフ、ポルカ・フランセーズそのものですね。 4拍子になっていますが、半分に割れば2拍子で、メロディー進行のリズムがまさに三拍と四拍(弱拍部)の間に息継ぎが入るようにできている。左手の伴奏部がまさにそうで、弱拍部の四分音符を八分音符にして、あと半分を八分休符にするように演奏すれば、ポルカ・フランセーズそのものです。 やはりエドワルトは大した舞踊作曲家です。ちなみにヨハンも幻想小曲の「幻影」ruclips.net/video/0AZQGFtdCkg/видео.html のテーマがポルカ・マズルカ調ですね。 ヨハンも根っからの舞踊作曲家なんだと思います。 「幻影」は他に劣らぬすぐれた交響詩だと思っています。 このエドワルトも短いですが、説得力のある小交響詩になっているように、ひいき目ですが思えてきます。 三回、四回と聞くと一層味わい深さが出て来ますね。　 中村哲郎, 日本ヨハン･シュトラウス協会会員op. 342

As a pianist of some sort I simply cannot play in the key of A. Flat Major. I wonder why Johann chose this key and yet his more familair items are in the key of C. Major like Kaiser, Weiner Blut, Schatz

Am I correct in saying that Johann's waltze Bells of Vienna is a pot pouree of his other works? This piece was played on the radio a lot back in the 1970s and 1980s

Sorry my mistake with the opus number. I meant opus 461 - Gartenlaube

Love this pastoral waltz. Johann wrote a few waltzes with a rural connection. Opus 89 and 462 spring to mind.

Good waltz not the greatest but should not be ignored

It's been a while since I last listened to this piece. The first and second waltzes are Ländler. The third waltz is a pure waltz, as indicated in the score, so I think this is a valuable piece that allows you to compare and feel the two types of music. The fourth waltz B through the fifth waltz also seem to have a strong Ländler flavor. I definitely prefer the third waltz, which gives a sense of the momentum of the waltz revolution. Tetsuro Nakamura, Member of the Japan Johann Strauss Society (since 1975) op. 342

久しぶりにこの曲を聞きました。第1ワルツ、第2ワルツはレントラーですね。第3ワルツが譜面にも指示があるように純然たるワルツのようですから、二つの曲種を対比して感じ取ることのできる貴重な作品と言えるのではないでしょうか。第4ワルツBから第5ワルツにかけてもやはりレントラー色が強いようです。私はやはりワルツ旋回の勢いを感じる第3ワルツが断然好きですね。 中村哲郎, 日本ヨハン･シュトラウス協会会員(１９７５年以来) op. 342

The main polka section A of "Greetings to Budapest", Op.229, not only starts in a minor key, but also exudes a unique sound. Moreover, when I entered the third measure and found a slight resistance on the weak beat, I looked at the score and found that the D minor key had changed to A minor (borrowed?) and that it was a diminished seventh chord. I thought so! When I looked at the commentary, I saw that it was the "Wagner effect." The final part is the dominant seventh to tonic chord in F major, as per the standard. Polka B is also mainly in minor keys, and similarly ends in F major. The way the final two measures are connected with Si, Do, Mi, La, Sol, Fa, Re, Mi, and Do, I think it is a melody development unique to Eduardo, not found in Johann and Josef. The trio starts in a major key. What I found interesting is that before the repeat of Trio A, the key changes from B-flat major to F major in the second to last measure, but at the conclusion of the repeat, the key is already F major from the weak beat in the third to last measure of the melody section. It's a subtle difference. That may be why there is no repeat sign. Trio B is also extremely busy, with C major - F major - B-flat major - F major - B-flat major. The overall impression is that it is a rather unusual piece. I think the cello in the trio is certainly effective. It is particularly interesting how the sixteenth notes are dispersed in the first four measures of Trio B, and then carried over to the dispersed melody in measures six and seven. I also understand the reason for the "rit" at the end of Trio B (it's written in the part score). The more I listen to it, the more familiar it becomes. Tetsuro Nakamura, Member of the Japan Johann Strauss Society op. 342

「ブダペストへご挨拶」Op.229のポルカ主部Ａは短調で始まっているということだけでなく、なんともユニークな響きを醸し出していますね。　しかも、三小節目に入り弱拍部で、おやっと言う若干の抵抗を感じたので楽譜を見てみると、なんとニ短調がさらにイ短調に転じていて(借用？)、減七和音になっています。 やはり！と思いました。 [解説]を見たら、なるほど“ワグナー効果”とありました。 最後の結びだけは定石通り、ヘ長調の属七〜主和音になっていますね。 ポルカＢも短調が主体で、同様に最後はヘ長調。 最後の二小節　｜シ　ド　ミ　ラ　 ソ　ファ　レ　ミ｜　ド　　の結び方はヨハンとヨーゼフにはない、エドワルト特有のメロディー展開かと思います。 トリオは長調から入っていますね。 面白いと思ったのは、トリオＡが繰り返しの前は、最後から２小節の所で変ロ長調からヘ長調に変わっているのに、繰り返し後の結びでは、メロディー部分の最後から３小節目の弱拍部からすでにヘ長調になっていることです。 微妙に違うものですね。 リピート符号にしていないのはその辺も関係あるかもしれませんね。 トリオＢも、ハ長調〜ヘ長調〜変ロ長調〜ヘ長調〜変ロ長調と、忙しいことこの上ない。 とにかく一風変わった曲という全体の印象です。 トリオのチェロ、確かに効果的だと思います。 特にトリオＢ最初の４小節で十六分音符の分散を行い、６〜７小節のメロディーの分散に受け継いでいるのがおもしろいですね。 またトリオＢの最後で ｒｉｔ した理由が分かりました(パート譜に書いてある)。 聞き込むにつれ、だんだん馴染んで来る曲です。　 中村哲郎, 日本ヨハン･シュトラウス協会会員op. 342

After reviewing the Piano score several times, I'm beginning to appreciate the quality of the piece. If you start 1A really slowly and maintain that for a while, it will become more flavorful. Muti's rendition of Op. 298 (Court Ball) ruclips.net/video/piYLQXJ44KI/видео.html is a perfect example of this, bringing out the best in 1A. Eduard is different from his father Johann I, who I never get any enjoyment from no matter how many times I listen to it, and I think Eduard is truly impressive. The Pianist's performance is perfect at the tempo of 1A. It gave me the impression that there are still many good pieces left. 2A also has a refined sound, and I was reminded that it is STRAUSS. Nakamura Tetsuro, Member of the Japan Johann Strauss Society (since 1975) Op. 342

楽譜を何回か見直すうちに、たしかにだんだん良さが分かってきましたね。１Aもほんとにゆっくり入り、しばらくそれを保つように進めると、味わいが出てきそうです。 ムーティのOp. 298 （宮廷舞踏会））ruclips.net/video/piYLQXJ44KI/видео.html の表現がまさにそれで、１Aの良さを最大限に引き出しています。何回聞いてもよいと思えてこない父ヨハンとは、やはり違うな、さすがだなと勝手に思っています。ザ・ピアニストの演奏、１Aのテンポでばっちり決まっていますよ。改めてまだまだいい曲が残っているなあという印象を持ちました。２Aも洗練された感じの響きで、シュトラウスだなと再確認しました。 中村哲郎, 日本ヨハン･シュトラウス協会会員（１９７５年以来） op. 342

Deze wals is prachtig op de piano gespeeld. Met veel gevoel! Mijn dank hiervoor!

The charm of this piece is the somewhat sad melody of the first Waltz A! It is not in a minor key, but I think this is due to the fact that it makes consistent use of Strauss's favorite chromatic scale from the beginning. This is Strauss in his later years! The tempo of The Pianist's 1A is outstanding. Tetsuro Nakamura, Member of the Johann Strauss Society of Japan (since 1975) Op. 342

何と言ってもこの曲の魅力は第1ワルツAのいくぶん物悲しさを感じさせる旋律ではないでしょうか！！ 短調ではないですが、冒頭からシュトラウス得意の半音階を一貫して駆使している点に由来するのではと思います。これぞ晩年のシュトラウスですね！！　ザ・ピアニストの１Aのテンポ、抜群にいいです。　 中村哲郎, 日本ヨハン･シュトラウス協会会員（１９７５年以来） op. 342

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What a BEAUTIFUL performance!!!! Thank you!!! Dr. Luis de la Vega U.S.A.

"Dance as if I were singing", Op. 266, does not have a particularly catchy or attractive melody, and I got a rather plain impression, but it is a sophisticated piece. The motif in the left hand from the opening fourth bar is reminiscent of "Vienna, the City of My Dreams". I remember a similar motif in the introduction of some waltz before. The 1st Waltz A has a difficult melody to remember, and you can't even hum it without listening to it several times. The opening is monotonous and not very melodic, but the arpeggio in the left hand is effective. As the commentary says, 1B has an attractive rhythmic progression that is often seen in " Love Song", Op. 114. The one I liked the most was the 3rd Waltz. I felt that the atmosphere of 3A in particular was similar to 2A of "Chronology of the Ball", Op. 167. It has a solemn, peaceful and calm feeling. The dynamic excitement of 3B in contrast to that is nice. The rhythmic progression of 4A reminds me of 1A from my favorite Op.300 ruclips.net/video/Al-veAUd-6Y/видео.html . In 4B, the sforzando that appears in bars 3 and 11 is very strong. It would be better if it was done to that extent to create more impact. On the other hand, the structure of this waltz seems to have been very carefully constructed. It seems to have been created to build up to a peak at the octave of the dominant F in the key of B flat major and the octave of the dominant G in C minor. I think that this appears in 1B, 3B, and 4A on the F note at the beginning of the introduction, and in 1A and 2B on the G note from bars 13 to 16 of the introduction. Another is the descending sixth that appears in 1A. This is hinted at from bar 5 of the Andantino introduction. It is carried over and lives on in bars 2 and 10 of 2A. In 2B, the leap to the fifth bar is made by using an ascending sixth, which seems to express both suppleness and strength. The technique of using a sixth progression at this crucial point seems to be unconsciously influenced by Johann. From bar 1 to bar 2 of 4A, the tension is further increased, and an ascending seventh is used, and from bar 3 to bar 4, a sixth is also used. And in the second big block of the coda, from bar 17, there is a descending Mi-Re-Do-Si (the same as the beginning of 3B in "Nice Feeling", Op. 75), which makes it seem like a new melody is appearing, but in fact from bar 18, a spiral based on a descending sixth is drawn, suggesting 1A. When you look at it this way, it seems that the overall structure was really well thought out and composed. As with "Free Thought", Op. 39 ruclips.net/video/M79s0BQJcm8/видео.html , Eduardo is indeed an excellent composer. Nakamura Tetsuro, Member of the Japanese Johann Strauss Society op. 342

「歌うように踊ろう」Ｏｐ．２６６は、強烈に耳に残るような魅力的なメロディーはなく、地味な印象を受けましたが洗練された曲ですね。　冒頭四小節目からの左手のモチーフ、「わが夢の街ウィーン」を彷彿させます。　前にも何かのワルツの序奏にそれらしいモチーフがある記憶があります。　第１ワルツＡ、何度か聞かな　いと口ずさむところまで行かない覚えにくいメロディーですね。　ちょっとメロディックとはいいがたい単調な出だしですが、左手のアルペジオが効果的ですね。　１Ｂは「解説」にもあるように「愛の歌」Op.114などよく出てくるリズム進行で魅力的です。　一番気に入ったのは第３ワルツです。　特に３Ａの雰囲気は「舞踏会の編年史」Op.167の２Aに似ていると感じました。　厳かで和やかな落ち着いた気分です。　それに対比する３Bの躍動的な盛り上がりがいいですね。　そして４Aのリズム進行は私の好きなOp.300 ruclips.net/video/Al-veAUd-6Y/видео.html の１Aを思い起こさせます。　４Bは3小節、11小節に現れるスフォルツァンドが強烈ですね。　あのくらいやってくれた方がインパクトがあっていいです。　一方このワルツ、構造的には実に念入りに作られていることが窺われます。基調の変ロ長調の属音ヘ音のオクターブとハ短調の属音ト音のオクターブを頂点として盛り上げるように作ってあるようで、序奏冒頭のヘ音では、１Ｂ、３Ｂ，４Ａに，序奏13〜16小節のト音では、１Ａ，２Ｂにそれが現れているかと思いました。もう一つは１Ａに現れる六度下行です。序奏のアンダンティーノの５小節目からがそれを暗示させますね。２Ａの２小節目、１０小節目にもそれが受け継がれ生きています。　２Ｂでは今度は５小節目に飛躍するところで今度は六度上行を用いてしなやかさ、かつ力強さを表現しているようです。　このここぞというところで六度進行を使う手法は、やはり知らずしらずのうちにヨハンの影響を受けているのではないでしょうか。 ４Ａの１小節から２小節はさらに緊迫の度合いを深め、七度上行を使い、３小節から４小節でも六度を用いています。そしてコーダの二つ目の大きな塊、17小節目から一瞬新しいメロディーの登場かと思わせるミ-レ-ド-シという下行(「素敵な感じ」Op.75の３Bの出だしと同じ)がありますが、実は18小節から六度下行を基調とする螺旋が描かれ、１Aを暗示させているんですね。　こうしてみると本当によく全体の構成を工夫して作曲してあると見受けました。　「自由思想」Op.39 ruclips.net/video/M79s0BQJcm8/видео.html もそうでしたが、エドワルトはやはり優れた作曲家です。　 中村哲郎, 日本ヨハン･シュトラウス協会会員op. 342

"Brazilian Glory" Op.63 is a march with a Strauss-like flavor. Tetsuro Nakamura, Member of the Japan Johann Strauss Society op. 342