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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Mozart - Andante in C Major for Flute and Orchestra, K315

In December 1777, Mozart wrote to his father in Salzburg about an order he had received from the amateur flute and music patron, Ferdinand De Jean. The order included, among other things, "three short, simple flute concertos".

Mozart wrote two concertos in 1778, but problems arose when the works reached his patron. It is alleged that De Jean rejected  first concert's Andante and asked for its replacement. Mozart responded to this request and wrote an alternative slow part, while the original - shown here - remained independent.

We find it hard to believe that this brilliantly written Andante, with its fluid, melodic flute, is an example of Mozart's composition for his least beloved instrument.

A brief orchestral introduction leads to a slow, lyrical original theme of the flute. The orchestral accompaniment is rich and full, but without ever exceeding the soloist. A string pizzicato leads to a final section - here the flute emerges from its lowest extent to a high point of its range, singing high above the other instruments. A short orchestral part gushing from the last note of the flute.

New, different, rather sad music follows - but no less beautiful. However it does not last long. The earlier ideas are repeated and lead to a cadenza, after which the whole completes the work.  
                           


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