Johann Straus II - Vergnügungszug (Pleasure Train), op. 281

Johann Strauss II , known for his waltzes and lively compositions, had a unique approach to his creative process. He consistently sought contemporary and relevant themes to serve as the driving force behind his new musical compositions. This approach ensured that his work remained fresh and connected with the audiences of his time.  One notable instance of this creative approach was the composition of this polka, composed in 1864. This piece of music was specifically crafted for a summer concert held in the picturesque Russian town of Pavlovsk. It's fascinating to note that Strauss drew inspiration for this composition from the world around him. In this case, he found it in the emerging technology of the time, namely, the steam locomotive. The composition itself is a testament to Strauss's ability to capture the essence and energy of the subject matter. The rhythm of this dance piece mirrors the rhythmic chugging and movements of the old-fashioned steam trains that were prevale
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Chopin - Waltzes Op. 64, No.3

Chopin was not the first composer to compose waltz for piano, but his approach was particularly unique. Many composers had written similar works, but Chopin's waltzes were not intended for dance.

Chopin composed approximately twenty waltzes, bus only half were issued while he was alive. The rest of his work was published after his death and many even in a highly curated edition.


One minute Waltz, Op. 63, No. 1

The "One Minute Waltz" needs considerable technical boldness. This work was meant to last about a minute, although it is not known whether any pianist - other than Chopin himself - ever achieved that.


Waltz No. 7 in C minor, Op. 64, No. 2

This waltz is unusually expressive, drawing much of its effect from the interaction of different rhythmic patterns. It also includes a melody of exceptional beauty and emotion.


Waltz in A flat Major, Op. 64, No.3

This waltz is simple and short and the thythm is relaxed. Here Chopin has chosen a pure structure. The solf central section presents a short passage with trills, where the music is relocated. The unusual element here is that the melody is interpreted by the low-key part of the instrument.






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