Johann Strauss II: WIEN, mein SINN! (Vienna, my soul! ウィーン、私の心!) Walzer Op. 192 - 1st & 2nd versions
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Johann Strauss II (1825-1899): WIEN, mein SINN! (Vienna, my soul! ウィーン、私の心!) Walzer Op. 192 (1857) - 1st & 2nd [7:37] versions
1st version [WORLD PREMIÈRE RECORDING]:
1st Performance: Monday February 23, 1857 - STRAUSS Benefit Ball at the SPERL Dance Hall - performed by the Strauβkapelle conducted by Johann Strauss II [Josef Strauss presented his “Masken Polka op.33” for the 1st time: • Masken - Polka mazur, ... ]
Source: 1st edition Piano Score published by Carl Haslinger, Wien Plate no. C. H. 12,011 (7.19.1857)
Performed by Dr. Taka S. Otagawa drive.google.c...
Recorded LIVE (11.5.1977) at Herr Karasawa (唐澤俊三)* Residence, Yokohama, JAPAN
[* Founder/Director of the Tokyo Johann Strauβ Ensemble]
Equipment: Top-of-the-line Yamaha Upright Piano, TEAC Reel-to-Reel Tape Recorder, Professional Recording Microphone
ANALYSIS of “The HISTORICAL PIANO RECORDINGS” by Herr Karasawa drive.google.c...
2nd version:
Source: Strauβ Edition Wien Score 1 10A 192 W
The Orchestral performance: Courtesy of Otto Schulz-Biedermeier Orchestra (1950s)
Although nearly forgotten today, this Waltz would mark the very 1st true “STRAUSS Viennese Waltz” by Johann II, incorporating his beautiful “song-like” melodies. [NOTE: Johann II marked “Tempo di Valse” for the 1st 4 Bars of the Introduction] In addition, in the Waltz 3B and in the Waltz 4B Johann II managed to incorporate the “Ländler-inspired” melodies comprising ♫♫♫ (slurred), which later Eduard Strauss will incorporate in his Waltzes often.
In the 2nd version (published set of orchestral parts), in Bar 12 of the Introduction “forte (f)“ is changed to “piano (p)“. In Bar 8 of the Waltz 3A “longer trill (tr)“ is added. It should be noted that in the Waltz 3A of the Otto Schulz's performance the 1st 8th note of the “slurred ♫“ is played like“16th note“, following the STRAUSS Waltz performance tradition. In Bar 14 of the Waltz 5A the half note and the 1st 8th note are “slurred (tied)”.
Further, the chord progression of the 1st 6 Bars of the "melancholy-sounding" Waltz 1B is: C → Augmented (増和音) C+5 [CEG#] → Am → Dm, which 10 years later in 1867 Johann II will apply, excluding the Am chord, to the Waltz 1A of his “great hit”: • Künstlerleben, Op. 316
Without doubt, the 1st Bar of the principal theme of the Waltz 5A inspired the principal theme of the Waltz 1A of Josef’s early “hit” written a year later in 1858: • Wiener Kinder, Walzer,...
The tempo and nuance of the first waltz A are quite different between the piano and orchestral performances, so this is the highlight of the piece. In the piano performance, if you listen carefully to the bass notes in the right hand in measures 9 and 13 of 1A [Sol-Do-Si], you will feel like you have heard this phrase from measure 8 onward somewhere before, perhaps a scene from "Congress Dances"? You can't hear it in the orchestral performance, though. I like the melody of 3A. Here too, there is an interesting difference between the piano and the orchestra. The stately sound of 5B is also worth listening to as it is the last waltz. As it is being performed at the SPERL venue from Johann's time, 3B and 4B incorporate Ländler-style waltzes, but the rest are pure Strauss waltzes, and the contrast is interesting.
Tetsuro Nakamura, Member of the Japanese Johann Strauss Society (since 1975) op. 342
Zo mooi!!
❤❤❤
第1ワルツAのテンポ、ニュアンスがピアノ演奏とオケ演奏で随分違うので、ここがまず聞きどころです。ピアノ演奏では１Aの9小節、13小節目の右手の低音部「ソ ド シ」に耳を傾けると、この8小節目以降のフレーズ、どこかで聞いたことがあるような気がします、「会議は踊る」の一場面だったかな？ オケ演奏では聞き取れませんが。３Aのメロディーが好きですね。ここも、ピアノとオケで違いがあり、興味深いです。５Bの堂々とした響きも最後のワルツということで聞きごたえがありますね。父ヨハン時代のシュペール会場で演奏しているので、３Bと４Bでレントラー風ワルツを取り入れていますが、その他は純然たるシュトラウス・ワルツで、その対比も面白いです。
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