I listened to Eduard Strauss's Waltz "Dream Images", Op. 170, from the Strauss Piano Edition, Volume 8. The way the first waltz transitioned after the introduction was truly exquisite. Not only that, but the tempo rubato used overall was very comfortable, natural and wonderful. The more I listen to Eduard's work, the more delicious it becomes, and the more I listen to it, the more appealing it seems to me. I feel that the minor chords in particular add spice and a hidden flavor to the work, making it a delicious piece of music. Maestro Sato Hideyoshi, Strauss specialist conductor, director of the Japan Johann Strauss Society, Op. 473
As the CD Note says, the Waltz "Images of Dreams" Op. 170 is a very unified piece with (1) eighth note quadruplet ♫♫ and (2) ♩ ♩. ♪ at its core. I don't think Johan or Josef could have created such a clearly consistent waltz. Simply put, it's wonderful. In 1A, 2B, and 3A, (1) eighth note quadruplet, and in 2B, the first three notes are changed to ascending #ReMiFaMi, which is a clever touch. The way The Pianist enters the ritardando at the beginning of 1A is truly exquisite. It's as amazing as the Mehta of the Elbe Waltz from last year (2015). ruclips.net/video/By180bgki-Y/видео.html This would be rit even without the rit, but because it is here, it is emphasized even more. In this 1A, eighth note quadruplets and triplets are scattered with variation, but the ascending sixth is used well. 1B is lively and bouncy and powerful, which is pleasant. This 1B also uses ascending sixths in four places, which is very Johann-like. In 2A, the rhythm of Eduard changes from 5 to 6, and it is an explosion of Eduard's style, right? 3A is (1) with descending eighth note quadruplets, which Eduard is good at, and here too there is a little variation. 3B is dynamic, and the cello's following is effective. 4A is good as it is forte. This brings out the pianissimo of 4B. (2) is used in 1B, 3B, and 4B, but it is interesting to see how it is used subtly. 4B is an extension of 4A, with the eighth note after the dotted quarter note being the same note. And the forte to pianissimo, something we don't see often in Johann's work. The coda is also well done. After the first waltz, the core (2) and (1) are not forgotten. It's unusual to deviate from the waltz tempo, which strengthens the final impression. I wonder what instrument is playing here. It sounds like "Wiener Woods" or "Emperor Waltz." Nakamura Tetsuro, Member of the Japan Johann Strauss Society since 1975 op. 342
I listened to Eduard Strauss's Waltz "Dream Images", Op. 170, from the Strauss Piano Edition, Volume 8. The way the first waltz transitioned after the introduction was truly exquisite. Not only that, but the tempo rubato used overall was very comfortable, natural and wonderful. The more I listen to Eduard's work, the more delicious it becomes, and the more I listen to it, the more appealing it seems to me. I feel that the minor chords in particular add spice and a hidden flavor to the work, making it a delicious piece of music.
Maestro Sato Hideyoshi, Strauss specialist conductor, director of the Japan Johann Strauss Society, Op. 473
ワルツ「夢の心象」Op.１７０ はなんといっても解説にもありますように （１） 8分音符の４連符 ♫♫ と （２） ♩ ♩. ♪ が核をなしている極めて統一感のある曲に出来上がっていますね。 これだけ明確に一貫性のあるワルツはヨハンやヨーゼフでもないのではないですか。 とにかく素晴らしいの一言です。 １A、２B、３Aで（１） 8分音符の4連符、２Bでは＃レミファミと最初の三音を上行にして少し変えているところ、工夫してありますね。 １Ａ冒頭のリタルダンドの入り方、ザ・ピアニストはほんとに絶妙です。 昨年（２０１５）のエルベ・ワルツのメータ並みにすごい 。ruclips.net/video/By180bgki-Y/видео.html ｒｉｔがなくてもここはｒｉｔですが、ここはあるからなおさら強調していますね。 この１Ａ、八分音符の4連符、3連符を変化をつけて散らしていますが、六度上行をうまく使っています。 １Ｂは快活で弾むように力強いのが心地よいです。 この１Ｂも六度上行を四カ所で用い、非常にヨハン的です。 ２Ａではエドワルトのリズムに５〜６の強弱の落差、エドワルト節炸裂というところですか、まさに。 ３Ａはエドワルトの得意な8分音符4連符の下行を交えた（１）で、ここも少し変化を持たせていますね。 ３Ｂはダイナミックで、チェロの後追いが効果的です。 ４Ａがそのままフォルテであるのがいいですね。これで４Ｂのピアニッシモが生きてきます。（２）は１Ｂ、３Ｂ、４Ｂで用いていますが、ここも微妙に使い分けているところがにくい。４Ｂは４Ａの延長として、付点四分音符の後の八分音符を同音にしている。 そしてフォルテからのピアニシシモ、こういうのはヨハンではあまり見ませんよね。 コーダもさすがによくできていますね。 ちゃんと第1ワルツを出した後、核となる（２）と（１）を忘れていない。ワルツテンポをはずすところが珍しいし、そのことが最後に印象を強めています。 ここは何の楽器がやるんでしょうね。 「ウィーンの森」や「皇帝円舞曲」のようですね。
中村哲郎, 日本ヨハン･シュトラウス協会会員op. 342
シュトラウス・ピアノ・エディション8巻のエドゥアルト・シュトラウス: ワルツ「夢の心象」Op. 170 を拝聴致しました。 前奏明けの第１ワルツへの入り方が本当に絶妙でございました。 それだけでなく、全体的にテンポ・ルバートのかけ方がとても心地良く、自然で素晴らしいです。 エドゥアルトの作品は噛めば噛むほど旨味が出てくるかの如く、聴けば聴くほど魅力的に思えてきます。 特にマイナー・コードが作品へのスパイス・隠し味となって美味しい音楽にさせてる様に感じます。
マエストロ佐藤秀義、シュトラウス専門指揮者、日本ヨハン・シュトラウス協会理事、op. 473
As the CD Note says, the Waltz "Images of Dreams" Op. 170 is a very unified piece with (1) eighth note quadruplet ♫♫ and (2) ♩ ♩. ♪ at its core. I don't think Johan or Josef could have created such a clearly consistent waltz. Simply put, it's wonderful. In 1A, 2B, and 3A, (1) eighth note quadruplet, and in 2B, the first three notes are changed to ascending #ReMiFaMi, which is a clever touch. The way The Pianist enters the ritardando at the beginning of 1A is truly exquisite. It's as amazing as the Mehta of the Elbe Waltz from last year (2015). ruclips.net/video/By180bgki-Y/видео.html This would be rit even without the rit, but because it is here, it is emphasized even more. In this 1A, eighth note quadruplets and triplets are scattered with variation, but the ascending sixth is used well. 1B is lively and bouncy and powerful, which is pleasant. This 1B also uses ascending sixths in four places, which is very Johann-like. In 2A, the rhythm of Eduard changes from 5 to 6, and it is an explosion of Eduard's style, right? 3A is (1) with descending eighth note quadruplets, which Eduard is good at, and here too there is a little variation. 3B is dynamic, and the cello's following is effective. 4A is good as it is forte. This brings out the pianissimo of 4B. (2) is used in 1B, 3B, and 4B, but it is interesting to see how it is used subtly. 4B is an extension of 4A, with the eighth note after the dotted quarter note being the same note. And the forte to pianissimo, something we don't see often in Johann's work. The coda is also well done. After the first waltz, the core (2) and (1) are not forgotten. It's unusual to deviate from the waltz tempo, which strengthens the final impression. I wonder what instrument is playing here. It sounds like "Wiener Woods" or "Emperor Waltz."
Nakamura Tetsuro, Member of the Japan Johann Strauss Society since 1975 op. 342