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Mein Herr Marquis", sometimes called "Adele's Laughing Song", is an aria for soprano with choral accompaniment from act 2 of the operetta Die Fledermaus by Johann Strauss II. It appears in many anthologies of music for soprano singers, and is frequently performed in recitals.
The original literary source for Die Fledermaus was Das Gefängnis (The Prison), a farce by German playwright Julius Roderich Benedix [1] that premiered in Berlin in 1851. On 10 September 1872, a three-act French vaudeville play by Henri Meilhac and Ludovic Halévy, Le Réveillon, loosely based on the Benedix farce, opened at the Théâtre du Palais-Royal. [2]
Instead he wants to dance to waltzes by father and son Strauss. The lyrics reference three of Strauss's best known compositions, namely An der schönen blauen Donau ("Let the Danube flow along"), Die Fledermaus ("and the Fledermaus") and Wein, Weib und Gesang ("Keep the wine and give me song"). [1]
"The Laughing Song" was number one for ten weeks from April to June 1891, while "The Whistling Coon" was number one for five weeks in July and August 1891. Johnson was the first African American to appear on the pop chart, and his song on the chart was the first to have been written by an African American. [7]
The song was dedicated to the principal tenor of the Munich Court Opera, Heinrich Vogl. [3] Strauss promised to later write some songs for Aunt Johanna. "Zueignung" was the first of eight songs by Strauss published as Op. 10, [4] which were all settings of Gilm's poems. In 1885, they were the first songs Strauss ever published. [4]
Rasbach composed two operettas, around 20 published songs, solos for student pianists, and a few arrangements and instrumental pieces.His most important musical composition was his 1922 setting of Trees, the popular poem by Joyce Kilmer, published by G. Schirmer.
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"Sehnsucht" ("Longing" or "Yearning") is an art song for voice and piano composed by Richard Strauss in 1896, setting a poem of the same title by the German poet Detlev von Liliencron (1844–1909). It is the second song in his collection Five songs for voice and piano , Op. 32, TrV 174.