Kuss-Walzer Op.400 - Piano

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The introduction consists of arresting chords in the key of G major before proceeding discreetly into a quiet yet poignant waltz theme. The Kiss Waltz differs from Strauss' other waltzes in that the first theme recurs very often, and there are only three other waltz sections of which the first theme would be played again after concluding those successive sections. Despite being of such an economical structure, the waltz was well received at its first performance.

Used with permission. Angelika Dittrich. Eduard Strauss, the composer's brother, first conducted the orchestral piece at the Court Ball in Vienna in Introduction The introduction consists of arresting chords in the key of G major before proceeding discreetly into a quiet yet poignant waltz theme. He composed over waltzes, polkas, quadrilles, and other types of dance music, as well as several operettas and a ballet. In his lifetime, he was known as "The Waltz King", and was largely responsible for the popularity of the waltz in Vienna during the 19th century.

Johann Strauss Sohn - Kuss-walzer, Op. 400

Strauss had two younger brothers, Josef and Eduard Strauss, who became composers of light music as well, although they were never as well known as their elder brother. Among his operettas, Die Fledermaus and Der Zigeunerbaron are the best known. Spelling of name Although the name Strauss can be found in reference books frequ. A kiss is a touch with the lips, usually to express love or affection, or as part of a greeting. Its initial performance was considered only a mild success,[1] however, and Strauss is reputed to have said, "The devil take the waltz, my only regret is for the coda—I wish that had been a success!

It was first performed in a concert in Vienna on 24 November Strauss may also have been referencing the burlesque Der Tritschtratsch by the famous Austrian dramatist and actor Johann Nestroy, which premiered in and was still in the stage repertoire when the polka was written. The mood of the piece is jaunty and high-spirited, as were many of Strauss' polkas.

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Composed in , "Geschichten aus dem Wienerwald", Op. The title of Strauss' dance recalls the folk music of the inhabitants of the Vienna Woods. The waltz's introduction is one of the longest he ever wrote for a waltz, bars in the musical score. It starts in C major, intertwining with F major before gaining ascendancy in volume and mood, finishing with a long pause. The second part is in the key of G major, with a solo violin incorporating material which appears again in successive waltz sections.

A short flute cadenza evoking birdsong comes in, and moves on to the zither solo, marked moderato. It was first performed on 4 December at the Theater an der Wien. Strauss, Jr. Retrieved 11 October Sources Casaglia, Gherardo During the composer's lifetime, the operetta enjoyed great success, second only to the popularity of Die Fledermaus. The scoring and the nature of Strauss's music have also led many music critics to consider this work a comic opera or a lyric opera. Its genesis was rather swift and smooth, as Strauss was no stranger to the Hungarian influences apparent in the music score.

Originally, Strauss and Schnitzer intended the operetta as an opera but further revisions were made and the idea of a comic opera was conceived. Strauss's work on the operetta was interrupted in autumn due to nicotine poisoning and fainting fits and he was to re. This article is about the waltz. Piano score. A series of loud chords precedes the gentle first waltz section. The second section is more animated with a second part in D major. The wistful nature of the waltz is further expanded in the third section. A lively coda recalls earlier melodies and the first waltz section makes another entry.

Near the end of the work, the introduction's solo violin melody returns before the waltz rises to a forte and climaxes with a timpani drumroll. Hungarian for "Long live the Magyar! It was first performed at the Redoutensaal building in Pest in March The work was dedicated "to the Hungarian Nation. Twillie and Flower Belle Lee check into a hotel.

References "Strauss II, J. Retrieved 9 October Title page "Auf der Jagd" "On the Hunt" , op. Archived from the original on 14 July Retrieved 26 June It was initially granted a warm reception by Vienna's theatre-going public, but the press was more divided in opinion. Typical published reactions were: "It consists of dance music on which Strauss has overlaid text and characters A man of Strauss' reputation should never have allowed his name to be associated with such a venture It is an interesting production and is a foretaste of great things to come.

Finally, after Strauss' death, the operetta was entirely reworked in by Max Steine. The Emperor commissioned the waltz in order to celebrate the progress of Vienna and the prosperity of Austria and its colonies in the Balkan. The numerous celebrations planned were withheld out of respect of the death of the Emperor's father-in-law, although Strauss was permitted to proceed with the dedication. He conducted the Strauss Orchestra in the first performance of the waltz at the Musikverein where brother Eduard Strauss was having his own benefit concert at the same day of the official royal celebrations.

Explosions-Polka, op. The Viennese press eagerly reported this discovery many years later in , describing many products that can then be made 'explosive'. The polka is one of Strauss's novelty pieces, capturing a vogue. The polka incorporates many explosion effects throughout the piece, and is one of the most popular early pieces of the composer.

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It was Strauss' second operetta and based on Victorien Sardou's comedy Piccolino. Figaro-Polka op. De Villemessant, the dedicatee of the 'Figaro-Polka', championed Strauss in his newspaper. Strauss acknowledged de Villemessant's role in his Paris success and therefore dedicated the new polka to the latter. The polka is in the 'French-polka' style.

The piece begins with chords in F major, and proceeds at a relaxed pace, with a lively finale. At the opening of the new banqueting hall Festsaal on 12 February two rival orchestras were commissioned to provide dance music for the occasion; the Strauss Orchestra under the direction of Eduard Strauss, and that of rival Kapellmeister Karl Michael Ziehrer who was head of the Vienna House Regiment 'Hoch und Deutschmeister No.

The waltz incorporates many snatches of The Blue Danube waltz op. As a consequence the coda is one of the first in a Strauss not to recall themes from earlier sections. Tell a friend or remind yourself about this product. We'll instantly send an email containing product info and a link to it. You may also enter a personal message. We do not use or store email addresses from this form for any other purpose than sending your share email. Sorry but your review could not be submitted, please verify the form and try again. Make a wish list for gifts, suggest standard repertoire, let students know which books to buy, boast about pieces you've mastered: Music Lists are as unique as the musician!

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