I listened to "Dreaming Maidens" Op.208. I was completely captivated by the melody of the main polka section A. How gentle and sad at the same time. The A sharp in the third bar is the deciding factor. This point is truly wonderful, this is Strauss. The scale name G# is a perfect introduction to the minor scale. And it reminds me that it is an augmented chord, just like the third bar of 1A in Johann II's "In the Middle" Op.387!! The fourth and fifth bars are also minor chords!! Eduardo really often uses the II as a subdominant. I think it's fair to say that it is on the same track as "Ballades" Op.156 ruclips.net/video/TrAdJpfft7c/видео.html , "Carnival Flowers" Op.32 ruclips.net/video/9qCwgruOinU/видео.html and "Pearl of Love" Op.84. ruclips.net/video/kHNj1nnJDYY/видео.html However, in the case of this piece, if we look at the chord in the fifth bar, it might be better to say that the key has changed to E minor from the fourth bar. From the seventh bar it returns to major. Perhaps this is where Strauss's true essence shines. Tetsuro Nakamura, Member of the Japan Johann Strauss Society, op. 342
「夢見る乙女」Op.208を聞きました。 ポルカ主部Ａのメロディーにすっかり魅せられました。 なんて穏やかでかつもの悲しいのでしょうか。 ３小節目の嬰イ音がずばり決め手ですね。 この一点が実にすばらしい、これぞシュトラウスです。 階名のソ＃で、まさに短音階への呼び水になっている。 しかもそこが増和音になっているのは、ヨハン２世の「ど真ん中」Op.387の１Ａの３小節目と同じだ！！と思い出しました。 ４、５小節が短調コードになっているのも同じです！！ サブドミナントとしてのIIを持ってくるパターンは、エドワルトはほんとに多いですね。 「バラード」Op.156 ruclips.net/video/TrAdJpfft7c/видео.html や「謝肉祭の花」Op.32 ruclips.net/video/9qCwgruOinU/видео.html , 「愛の真珠」Op.84 ruclips.net/video/kHNj1nnJDYY/видео.html などと全く軌を一にしているといってもいいのではないでしょうか。 ただこの曲の場合５小節目の和音を見ると、４小節目からホ短調になったといった方がいいかもしれません。 ７小節目からまた長調に戻っている。 この辺がまたシュトラウスの真骨頂だといえるのでしょうか。
中村哲郎, 日本ヨハン･シュトラウス協会会員op. 342
I listened to "Dreaming Maidens" Op.208. I was completely captivated by the melody of the main polka section A. How gentle and sad at the same time. The A sharp in the third bar is the deciding factor. This point is truly wonderful, this is Strauss. The scale name G# is a perfect introduction to the minor scale. And it reminds me that it is an augmented chord, just like the third bar of 1A in Johann II's "In the Middle" Op.387!! The fourth and fifth bars are also minor chords!! Eduardo really often uses the II as a subdominant. I think it's fair to say that it is on the same track as "Ballades" Op.156 ruclips.net/video/TrAdJpfft7c/видео.html , "Carnival Flowers" Op.32 ruclips.net/video/9qCwgruOinU/видео.html and "Pearl of Love" Op.84. ruclips.net/video/kHNj1nnJDYY/видео.html However, in the case of this piece, if we look at the chord in the fifth bar, it might be better to say that the key has changed to E minor from the fourth bar. From the seventh bar it returns to major. Perhaps this is where Strauss's true essence shines.
Tetsuro Nakamura, Member of the Japan Johann Strauss Society, op. 342