Gartenlaube (Garden-Bower 東屋) Walzer op.461 (1895) The original version based on the Autograph Score

Johann Strauβ BICENTENNIAL CELEBRATION (1825-2025) 祝ワルツ王生誕２００年
Johann Strauss II (1825-1899): Gartenlaube (Garden-Bower 東屋) Walzer Op. 461 (1895) - The original version based on the Autograph Score [RECONSTRUCTED by The Pianist]
1st Performance: Sunday January 6, 1895 in the Musikvereins - performed by the Strauβkapelle conducted by Johann Strauss II
Sources: Johann II’s Autograph Score of op.461 [1st version] drive.google.c...
Piano Score [2nd version] (arranged by Johann II) published in “Die Gartenlaube 1895 No.1” (2.12.1895) = 1st edition Piano Score [2nd version] published by Ernst Keil’s Nachfolger, Leipzig Plate No. 3 (1895) Strauss Edition Wien Score 1 10A 461A/B/C [1st & 2nd versions]
Orchestral performance (2nd version): Courtesy of Otto Schulz-Biedermeier Orchestra (1950s) drive.google.c...
A careful study of the Autograph Score reveals that when Johann II prepared the Piano reduction score, Bars 11-18 in the INTRODUCTION (of the 2nd version) were ADDed (!!!). However, Bars 421-422 in the CODA were deleted, which were “restored” in the published orchestral parts (!!!).
“Die Gartenlaube” [“The Garden Arbor 東屋” - illustrated Family Magazine published in Germany] en.wikipedia.o...
From the original Marco Polo CD NOTEs about op.461 [written by Herr PETER KEMP, Honorary Life President of The Johann Strauss Society of Great Britain]:
The waltz Gartenlaube dates from 1894, the year of Johann Strauss's Golden Jubilee celebrations. It was composed as the result of an agreement reached with the proprietors of the widely distributed family magazine Die Gartenlaube, which had been founded in Leipzig by Ernst Keil (1816-78) in 1853 and whose readership encompassed German-speakers from all parts of the world, including the United States of America. The illustrated magazine had celebrated its 40th anniversary in 1893, and the following year one of its journalists, Gerhard Ramberg, had marked Strauss's forthcoming Golden Jubilee with some laudatory words, in which he voiced his opinion that the Viennese composer "could call himself: Johann II, by the grace of God - King in the vast Realm of the Waltz". The contract was dated 14 November 1894 and was signed by Johann Strauss two days later, on 16 November. By that time the composition had already been completed while, in Munich, the artist Oscar Gräf had created a delightful illustrated cover for the work showing a garden scene with couples and children merrily dancing to a violinist, while a group of men cheerfully raise their wine glasses to one another. Thus it was that the piano edition of Johann's Gartenlaube-Walzer appeared for the first time on 12 February 1895 as a special supplement to Die Gartenlaube (1895, No. 1), bearing the warning: "The retail sale of this free supplement is prohibited". A separate edition, destined for the music shops, was issued shortly afterwards by the same publisher. Both editions bore the inscription: "Dedicated by Johann Strauss to the Readers of the Gartenlaube".
The Neue Freie Presse of 8 January 1895 carried an enlightening review of the première of Gartenlaube, which it considered "a musical piece of the most winning charm, the most original inventiveness and piquant rhythms". The paper continued: "Upon his appearance, Maestro [Johann] Strauss was greeted with enthusiastic applause by the tightly-packed audience, which increased to hurricane force at the end of the waltz. Strauss had to repeat the waltz and, when the enthusiasm showed no sign of abating, gave as an encore the picture couplet [ = Bildercouplet] from 'Jabuka'. This musical composition was also rewarded by great applause and, likewise, had to be repeated. In the director's box the composers [Carl] Goldmark, Brahms and Heuberger witnessed the concert, in which also the novelties by Eduard Strauss, especially the intermezzo 'Im hypnotischen Schlummer' [In Hypnotic Slumber, o. op. • Eduard Strauss: Hypno... ], met with plentiful applause". What makes this report all the more interesting is the corroborative eye-witness account which one of the three composers, Richard Heuberger (1850-1914), noted down at the time and later published in his Erinnerungen (Memoirs): "After a dinner [at the house of Viktor Miller in Aichholz] I went with Brahms and Goldmark to a Strauss concert in the director's box at the hall of the Gesellschaft der Musikfreunde. Strauss was conducting his 'Gartenlaube-Walzer' for the first time. Brahms commented that it was remarkable that waltzes, ostensibly easily understood compositions, are only being accorded due attention after a fairly long time. - Brahms finds little in the new 'Gartenlaube-Walzer'. 'Yes, all very Straussian, but there's nothing more to it. My pleasure is the orchestration. That is wonderfully handled'".

[@strausspilled]

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

[@Adamov1]

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.

[@antares7880]

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

[@dr.takaotagawa2812]

「ガウテンラウベ誌」(これ、協会の訳語ですが、四阿もしくは東屋の方がいいと私は思っています)、いま一番ウィーン・フィルにやってほしい曲です。最晩年の最後の傑作です。 なんといっても、曲の構成力が見事だし、それにコーダが充実している点は「もろびと手を取り」ruclips.net/video/XvWqHzTKPao/видео.html や「エルベ川のほとり」 ruclips.net/video/By180bgki-Y/видео.html を上回りますね。まず、第1ワルツAのメロディーが抜群にすばらしい。ヨハンの多用する半音推移から始まり、同じく多用する6度跳躍で進展することで、物悲しくもあるがなにか憧れを感じさせる、とにかく聞き手を魅了させるのです。 構成では序奏の八分休符を使ったリズムが実は４Bのリズムを暗示させている。その４Bが曲を締め括る。序奏で提示したテーマはコーダでも必ず再現するというヨハンの手法の典型ですね。１Aが第一テーマなら、４Bが第二テーマと言ってもいいかもしれない。第4ワルツに入る経過句がこれまた刺激的です。これから山場、頂点に行くぞという感じでワクワクさせますね。 コーダでおもしろいのは１A・Bを再現した後、３Aの変形から４Bのリズムを出した後そのまま一気に４Bの回想で終わるかと見せかけて、実は２Aを再現させてまだ終わらないとするところが憎いです、まったく。そしてもったいぶって結局４Bを回想させて勢いよく終結に至る。よくできています。ブラームスが評価しないのが解せません！
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

[@dr.takaotagawa2812]

"Gautenlaube Magazine" (this is the society's translation, but I think "Azumaya" is better) is the piece I most want the Vienna Philharmonic to perform. It is the last masterpiece of his final years. Above all, the composition of the piece is superb, and the fact that the coda is so rich makes it surpass "Be embraced millions” ruclips.net/video/XvWqHzTKPao/видео.html and "On the Banks of the Elbe" ruclips.net/video/By180bgki-Y/видео.html . First of all, the melody of the first waltz A is outstandingly wonderful. It starts with a semitone transition, which Johann often uses, and progresses with a sixth leap, which he also often uses, making it sad but somehow yearning, and it just captivates the listener. In the composition, the rhythm of the introduction using eighth rests actually suggests the rhythm of 4B. That 4B concludes the piece. It is a typical example of Johann's technique of always reproducing the theme presented in the introduction in the coda. If 1A is the first theme, 4B could be said to be the second theme. The transition phrase that enters the fourth waltz is also stimulating. It's exciting, as if we're about to reach the climax. What's interesting about the coda is that after reproducing 1A and B, it goes from a variation of 3A to a rhythm of 4B, and then it seems as if it's going to end with a flashback to 4B, but in fact it reproduces 2A and it's not over yet, which I hate, really. And after all the pretense, it recalls 4B and brings the piece to a powerful conclusion. It's well done. I don't understand why Brahms didn't rate it highly!
Tetsuro Nakamura, Member of the Japanese Johann Strauss Society (since 1975) Op. 342