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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Johann Strauss II - Introduction


The works made up by members of the Strauss family are a wondrous as well as valuable bridge between folk and scholarly expressions of music.

Spearheaded by the numerous waltzes prepared by Johann Strauss II - in the catalogue of his works there are about four hundred - the most famous Viennese musical dynasty of the 19th century, was the only catalyst thanks to which a dance of rather humble origin was transformed into the all-light object of the desire for entertainment of the entire Austro-Hungarian, aristocracy initially, and ultimately, regardless of discrimination and stratifications, the whole civilized world.

Johan Strauss, the son, transformed the waltz into a great expression of the art of music, with a symphonic character, capable of captivating both the concert halls and the dance halls. He was rightly called the King of Waltz. The waltz dominated the thought and heart of the younger Strauss, but he did not fail to endow with his inspirations and other short works of musical or dance magnificence such as marches, polkas, cantrilies.

But the operettas he signed are not of minor value.

His elegant, witty music was challenged and considered light and naive. But what greater vindication than the well-confessed admiration of Brahms, Wagner, Shenberg, Berg and Webern?


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