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. 70

At Chopin's time, the composition of a "waltz concerto" was not new - composers like Mozart had helped shape this form. However, the elements, introduced by Chopin, was new. He turned the waltz into a musical genre of exceptional subtlety and kindness, dominated by the piano. The composer was still a teenager when he composed his first work in this form and continued to compose waltzes almost until the end of his life. 


Waltz in G-flat major, Op. 70, No.1

In this waltz, the melody is full of vibrancy. Then a slow dreamy musical idea is presented and the rhythm changes abruptly. But the new mood doesn't last long. The first melody returns, now like a coda, completing the work serenely.




Waltz in F minor, Op. 70, No. 2

Although this waltz is particularly lively, the prevailing mood is melancholy. The two melodies on which the work is based are the first in minor tonality and the second in major and are interpreted twice. The waltz is calmly completed in a major tonality.



Waltz in D-flat major, Op. 70, No. 3

In this work the expressive melody shows no sudden contrasts - the rhythm remains the same and the dynamics of the work are limited. Although this particular work is not clearly a waltz directly connected to the ballroom, the triple meter is permanently present, relaxed and distinctive.


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