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The first waltz theme is a familiar gently rising triad motif played by cellos and horns in the tonic (D major), accompanied by the harp; the Viennese waltz beat is accentuated at the end of each 3-note phrase. The Waltz 1A triumphantly ends its rounds of the motif, and waltz 1B follows in the same key; the genial mood is still apparent.
Künstlerleben ("Artist's Life"), Op. 316 is a waltz written by Johann Strauss II in 1867, following closely on the success of the popular "The Blue Danube". Austria was severely shaken the previous year 1866 by the crushing defeat that the Austrian army suffered in the Battle of Königgrätz and many of the year's festivities and balls were cancelled as the prevalent depressing mood affected ...
The principal waltz theme in C major is also in the style of The Blue Danube, where three notes in rising melody starts off the waltz proper. Waltz 2A carries the principal key in C major as well but quickly interpolates with a more thoughtful passage in E-flat major .
An der schönen blauen Donau, Op. 314, On the Beautiful Blue Danube, or The Blue Danube (1866) Künstlerleben, Op. 316, Artists' Life (1867) Telegramme , Op. 318, Telegrams (1867) Die Publicisten, Op. 321, The Publicists (1868) G'schichten aus dem Wienerwald, Op. 325, Tales from the Vienna Woods (1868) Illustrationen, Op. 331, Illustrations (1869)
Tales of the Vienna Waltz - 4:04 (All music composed by Johann Strauss II) On the Beautiful Blue Danube Waltz, Op. 314; Die Fledermaus Overture; Roses From the South Waltz, Op. 388; On the Beautiful Blue Danube Waltz, Op. 314; Vienna Blood Waltz, Op. 354; On the Beautiful Blue Danube Waltz, Op. 314; Artists' Life Waltz, Op. 316
Of the encores, the unannounced first encore is often a fast polka. The second is Johann Strauss II's waltz "The Blue Danube", whose introduction is interrupted by light applause of recognition and a New Year's greeting in German (originally added by Willi Boskovsky) from the conductor and orchestra to the audience. The origin of this tradition ...
Adolf Andrey [1] Schulz-Evler (12 December 1852 – 15 May 1905) was a Polish-born composer.. Born in Radom, Poland (at that time part of the Russian Empire), he studied at the Warsaw Conservatory, then under Carl Tausig in Berlin. [2]
In the Baroque period, D major was regarded as "the key of glory"; [1] hence many trumpet concertos were in D major, such as those by Johann Friedrich Fasch, Gross, Molter (No. 2), Leopold Mozart, Telemann (No. 2), and Giuseppe Torelli. Many trumpet sonatas were in D major, too, such as those by Corelli, Petronio Franceschini, Purcell, and
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