Відео

Спасибо! Я считаю, что Кода во 2-й версии композиционно более совершенна, чем в 1-й

Nice! Thank you for this video👍

I am very grateful to you for both wonderful versions of one of my favorite waltzes by Johann II!

Thank you for that extremely interesting series of recordings! I am very impressed with the original version of op. 418. Indeed, it is much better than the final version due to the masterly composed coda. Why did Johann Strauss change it to a shorter and rather weaker one? What is also curious, in Act 2 of the operetta's recording directed by Nikolaus Harnoncourt, in the scene "Nach Wien?" (see ua-cam.com/video/bSo_k0DZ7p8/v-deo.html) the melody of waltz 1A sung by the singers is slighthy different from a purely orchestral waltz. However, in the original closing scene of act 2, the melody of "O voll Fröhlichkeit" (ua-cam.com/video/I4ISJwYmy_o/v-deo.html) is the same as waltz 1A in op. 418.

You finally did it, I'm impressed. It was well thought out to use Otto Schultz and Paulik to synthesize it. I'm very happy to hear the sound based on the original score. The addition of 4A-2A following 1A-1B adds to the fullness of the coda. I wonder why Strauss himself stopped it. The current transition in the first waltz is better, because as you say, it's more dance-like. Herr Tetsuro Nakamura, a prominent member of the Johann Strauss Society of Japan since 1975

ついにやりましたね、恐れ入りました。オットー・シュルツ、それにパウリクを用いて合成するとは、よく考えられましたね。自筆スコアに基づく音が実際に聞かれることになったのは、誠に喜ばしい限りです。1A－１Bに続いて４A－２Aが加わることで、コーダの充実感は増しています。どうしてシュトラウス自身は止めてしまったのでしょうかね。第1ワルツのトランジッションは現行の方がいいですね、言われる通り踊りらしくなっていますから。 中村哲郎, 日本ヨハン･シュトラウス協会会員op. 342

Bravo

Thank you again

Beautiful!!!!!! Keep them coming! Thank you!

Gut Heil Turnvater Jahn!

Beautiful, Thank you!!!

Another great creation by the master.

The world seems a perfect place to live in when you listen to this kind of amazing music. Another one of Strauss's greats. Such depth to this waltz. Brilliant waltz melodies makes this a marvellous creation

Lo mejor que hay 🧚🏽‍♀️🌊 Es tan hermoso. Que alegría encontrarme esta divina obra.

影のある第一のワルツのなんと素晴らしいことよ。大好きなワルツです。

In één woord: prachtig!

Heel mooi en gevoelvol gespeeld!

"Dragonflies Op.180" has ten (10) melodies, all of which are fascinating. The idea of 2A, which seems to depict the unique movement of dragonflies, is wonderful. 4B, which starts in B minor, is a change of pace, as expected. I also like the generous and leisurely 5B. The coda also has a strong first flashback in 4A, which is good. And from 4B to 5B, Strauss himself must have been a fan of this melody. And the way it develops before 1A is skillful. I'm used to hearing it in Binder's performance, but The Pianist plays the dotted quarter note on the second beat of 1A by extending it even further. Binder plays it simply once, but Muti will surely do it in The Pianist's style. Herr Tetsuro Nakamura, a prominent member of the Johann Strauss Society of Japan since 1975

「とんぼ」は十種のメロディー、すべてが魅力的です。２Aのとんぼの独特の動きを描いたと思われる着想が素晴らしい。４Bがロ短調で始まるのも変化があってさすがと言うところです。それに５Bのおおらかで悠々たる様が好きですね。コーダも最初の回想が４Aで強く入るのがいいですね。そして４B〜５Bと、シュトラウス自身もこの旋律がお気に入りだったのでしょう。そして１Aを出す前の展開の仕方が技巧的です。ビンダーの演奏で聞きなれていましたが、ザ・ピアニストは１Aの2拍目の付点四分音符をいっそう伸ばして演じていますね。ビンダーは一度だけであっさりしていますが、ムーティならこのザ・ピアニスト流にやることでしょう。 中村哲郎, 日本ヨハン･シュトラウス協会会員op. 342

Thank you very much for your very interesting, beautiful performance of the excellent op. 180 along with a truly fantastic orchestral recording. The waltz itself is one of my favorites, I am grateful for the opportunity to listen to both of these interpretations!

One of the most underrated waltzes by Strauss II. Both piano and orchestral interpretations are really awesome, orchestral one is much better than one from Complete Edition by Marco Polo!

この曲のアレンジ？？ルイ・ガランの「娘」マズルカ・ジャポネエズという舞踏用の音楽がありますよ。

これはぜひオーケストラ演奏してほしい曲です。

レアな曲のアップありがとうございます。当方✿欧州文化研究会ウイーンクラブ✿を主催しています。 欧米諸国の文化研究とウイーン式の舞踏会を日本に広める活動をしています。シュトラウスの曲は踊れないと 上手く演奏できないと言われています。今日演奏されるシュトラウスファミリーの曲はすべてダンス音楽です。 ポルカは日本の社交ダンス教室では教えられていませんが、ウイーンでは定番ダンスとして現在でも舞踏会で 踊ります。ぜひ一度はウイーンの冬の風物詩＝舞踏会にご参加ください。あのニューイヤーコンサートで有名な 楽友協会ホールも毎年１月の第２週の週末に華麗な舞踏会会場になります。

Thanks, Take.

Thank you

Love this waltz one his best works

Op. 387 belongs to one of my favorite original waltzes by Johann II from the period dominated by his operetta's compositions. And what is interesting, perhaps among all Strauss's masterpieces, it is stylistically closest to Ziehrer's waltzes. The march melody in introduction, later transformed into waltz 2A section, is awesome!

This excellent waltz is still relatively little known, although it was created at the height of Johann's activity as a dance composer. Practically all waltzes from that period are musically unique and often the subsequent masterpieces differ from each other in terms of musical mood and atmosphere, e.g. op. 321, 325, 329, 331, 333, 334. Thank you for sharing both recordings! It is very good idea to present the audio material along with the piano score.

Very nice interpretations! The orchestral version sounds indetical to recording by Boskovsky & WJSO but with added repeats of waltz sections.

Bravo!!!!

Wonderful performance ! Very nice!

There is one recording in the orchestral version and is the worst performance I have ever heard regarding tempi. This version for piano is much better. Its a fine waltze but totally unknown. If you can quicken the tempi from the orchestral versions as well as the Schwungrader opus 239 in which Christian Pollack conducts too slowly that would be great. Did Goldshmitdt conduct the Schwungrader back in the 1970s?

Indeed, although the title mentions a soldier, it is a real polka for peace. Absolutely charming piece!

The performance of the waltz “Flywheels” Op.223 reminded me of Carlos Kleiber! I liked Kleiber’s characteristic of intentionally shortening the double 8th notes ♫ on the 1st beat so that they “stick together”, and that's exactly what I liked about the Pianist’s performance. Likewise, when the 8th notes are dispersed, they are played in a somewhat rushed and stuttering manner. For example, the Waltz 2A of Josef’s "Village Swallows" Op.164. ua-cam.com/video/QuBT1BS_iTU/v-deo.html You can tell right away that it's Kleiber just by listening there. That unique interpretation can be seen not only in Strauss waltzes, but also in Beethoven's and Schubert's symphonies. By the way, the other day, I was playing the CD by Dr. Otagawa (=The Pianist) at home without telling my wife about the performer. It sounded so Strauss-like that my Wife wondered who was playing. My wife was very, very impressed as she had been “forced to” listen to a lot of Strauss music so she seemed to understand the Strauss Music very well! There is no doubt about it that Dr. Otagawa (=The Pianist) is a certainly "TRUE STRAUSS performer ", being cultivated since he was 11 years old! These new recordings seem to be the very 1st CD of the STRAUSS PIANO EDITION Collection. I hope that The Pianist will update it as much as possible and leave more and more recordings as they will be our "treasure". (2013) Herr Tetsuro Nakamura, a prominent member of the Johann Strauss Society of Japan since 1975

ワルツ「はずみ車」Op. 233 の演奏は、カルロス・クライバーを彷彿させましたよ！　１拍目の八分音符の並び ♫、意識的にくっつくように短く表現する特徴、気に入っていたのですが、まさにそれでした。　それと同類だと思うのですが、八分音符の分散の時はやや急いだ感じでつんのめるように演奏してますね。　　例えば「村燕」Op.164 の第２ワルツA。　ua-cam.com/video/QuBT1BS_iTU/v-deo.html あそこだけで直ぐにクライバーだと解ります。　あの独特の節回しは、シュトラウスに限らず、ベートーベンやシューベルトのシンフォニーでも見られます。　所で、先日小田川さん（＝ザ・ピアニスト）のCDを知らん顔をして家でかけていたら、うちのがあまりにもシュトラウスらしいので、それ誰？と訊いてきました。　うちの女房も私にさんざんシュトラウスを聴かされてきた関係上よく解るらしく、吃驚してました！　間違えありません、小田川さん（＝ザ・ピアニスト）のは確かに１１歳から培われた“本物”です！　今回の新録音が第１集のようですから、出来る限り更新して頂いて、どんどん録音を残していって欲しいと願います。　我々の“宝”ですから。 (2013年) 中村哲郎, 日本ヨハン･シュトラウス協会会員op. 342

``Soldier's Greetings'' Op.85 is a wonderful polka française. The CD NOTEs says that it doesn't suit the military, and that's true. I especially fell in love with the Trio A. Here too, The Pianist shows his true potential in the way he adds nuance. It sounded like the crescendo in Measure 11 started from Measure 9, but I guess it was because they thought it would be better to start from the second appearance of the motif. I was glad that they properly repeated Polka B in the finale (reproduction of the main part). After all, repeating the 8-measure Polka B gives the song more weight and persuasive power. 　(2014) The Musical Structure of "Soldier's Greetings" Op.85: The main part of the Polka A starts with an ascending 6th from Auftakt to the first Measure (in E-flat major, from G to E). Then, in Measures 1-2, Measures 5-6, and Measures 9-10, there is an 6th rest on the third beat, which matches well with the rhythm of the accompaniment section. In addition, the interval progression is the same, and progressions of 2nd and 3rd are also standard. The main Polka B has a unique dispersion of 16th notes, especially in Measures 4 and 5, which changes to C minor, giving it a very “Eduardo sound”. The Trio A is especially attractive. After an introductory transition phrase that changes to A-flat major, it also begins with the ascending 6th of the auftakt (also from G to E), but the E (C) is repeated until the 3rd beat, and then from So to Re, and Re (B flat) is repeated three times in the same way. This series of same sounds is very comfortable. Additionally, The Pianist's interpretation of rhythm is extremely stylish, and the melody progresses in a loving and gentle way that makes me feel happy when I listen to it. (2016) Herr Tetsuro Nakamura, a prominent member of the Johann Strauss Society of Japan since 1975

「兵隊のご挨拶」Op.85は、すばらしいポルカ・フランセーズですね。　軍隊に似合わずと解説に書かれていますが、そのとおりですね。　トリオAに特別に惚れ込みました。　ここでもザ・ピアニストのニュアンスの付け方で本領が発揮されていますね。　１１小節目にあるクレシェンドを９小節から始めているように聞こえましたが、やはりモチーフの２度目の現れのところからとした方がよいと考えられたからですかね。　フィナーレ（主部の再現）のポルカBのリピートをちゃんとしてくれてうれしく思いました。　やはり８小節のところはリピートをした方が曲に重みと説得力が出ます。（2014年） 「兵隊の挨拶」Op.85の曲の構成：　ポルカ主部Ａは定石のようにアウフタクトから1小節目にかけて六度上行でスタートする(変ホ長調でソ→ミ)。　そして1〜2小節、５〜６小節、９〜10小節で３拍目に八分休符が入り、伴奏部のリズムとうまく呼応している。　さらに音程も同音進行、二、三度での進行も定石である。　ポルカ主部Ｂは例の十六分音符の分散音がやはり独特で、特に４〜５小節はハ短調に転じまさにエドゥアルト・サウンドになっている。　トリオＡが格別に魅力的だ。変イ長調に転じる導入の経過句を挟み、やはりアウフタクトの六度上行(同じくソ→ミ)で始まるのだが、ミ(ハ音)が３拍目まで反復され、さらにソ→レと続き、このレ(変ロ音)が同じように三回繰り返される。この同音の連続がとても心地よい。　それにザ・ピアニストのリズムの取り方がこの上なく粋で、加えてメロディー進行は慈しむように優しく奏で、聞いていて何か幸せな気分になる。（2016年） 中村哲郎, 日本ヨハン･シュトラウス協会会員op. 342

So schön!!!

Balin!!!!

“Female Doctor'' Op. 79 has a long trill at the beginning of the first waltz (1A), which sounds completely different from what I've heard before. Another reason for that (sounds different) may be that there is a Tempo rubato at the entrance of each waltz, whereas past commercially available performances by Fiedler, Dorati, and Angerer are all in tempo. In an “authentic STRAUSS performance” 1A should be played at a tempo like this. It was no wonder that 2A was also played with care in each note, slowing down the tempo somewhat. On the third beat of measure 7, it's a B-flat note, and I thought it was a normal accent or forte, but when I looked at the score, there was nothing there. This aspect also looked fresh. Regarding 2B, I could clearly hear the obbligato in the coda played by the cello, but in the waltz 2B it was a little weaker and less noticeable. Was this done intentionally? 3A, I really ‘appreciate’ that there is a slight pause when moving from the two eighth notes on the third beat of measure 0 to the first beat of measure 1. There is no such ‘pause’ in all the existing recordings. I felt that the sound of the 13th measure of 3B was a little different from what I had heard with the existing orchestral recordings. The dispersion of the eighth notes in measures 3, 7, and 11 of 4A, and the way they are played ‘somewhat quickly’, which is the style of Carlos Kleiber, and I was really impressed. What's more, on the contrary, measures 0 and 16 are ‘Tempo rubatoed’ making the notes crisper. The contrast is wonderful. 5A is the main theme in the introduction, but for some reason in this waltz 5A it always sounded ‘cheap’. I guess it's because the existing performances are played in-tempo and bland. It was the first time for me that 5A ‘sounded different and more sophisticate’ in The Pianist's performance. However, what about 5B? I think it would have been better to speed up the tempo and rush like the 5B of Op.75 performed by the Vienna Philharmonic. I think the coda that follows would be better if it were to run faster, but I guess I'm just being dragged along by the existing performances, or maybe The Pianist can see the Forest, not just individual Trees. Thus, there may be a difference in interpretation. I would be happy if he could give me some commentary on that.　　　　　 (2016)　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　 Herr Tetsuro Nakamura, a prominent member of the Johann Strauss Society of Japan since 1975

「女医さん」Op. 79は、何といっても第１ワルツの冒頭のロングトリルで、今までとはがらっと違ったイメージに聞こえました。そして過去の市販の演奏はフィードラー、ドラティ、それにアンゲラー、いずれもインテンポであるのに対して、各ワルツの入り口でルバートがあることもその一因かなと思いました。　１Ａはこのぐらいのテンポでためこんで演奏するのがやっぱり本来のシュトラウスですよね。　第２ワルツＡも一つ一つの音符を慈しむように弾いてテンポを幾分落としているのも頷けました。　７小節目の三拍目、変ロ音で、普通アクセントかフォルテがあったように自分の中には染み込んでいたんですが、楽譜を見ると何もないんですね。　この辺も新鮮に映りました。２Ｂですが、例のチェロの奏でるところのオブリガート、コーダでは鮮明に聞こえたのですが、本ワルツではやや弱めであまり目立たない印象でした。　ここは何か意図するところがあって弾き分けたのでしょうか。　３Ａ、最初の０小節三拍目の二つの八分音符から１小節１拍目に移る際に、心持ち間を取っているのはやはり憎いですね。既存のものは皆そっけないです。３Ｂの１３小節目の響きは既存のオケで聞いていたたのとやや違うかなと感じました。　４Ａの３小節、７小節、１１小節の八分音符の分散、幾分早めにつんのめった感じにやるところはカルロス・クライバーばりで、流石だと感心しました。　しかも０小節、１６小節は逆にルバートし、粒立ちをよくしている、この対比とてもすばらしいです。　５Ａは序奏の主役であるのに、本ワルツではなぜか今まで安っぽい感じに聞こえていました。　既存の演奏がインテンポでそっけないからなのでしょうね。　ザ・ピアニストの演奏で初めて別物に聞こえました。　ただ５Ｂはどうでしょう、ウィーンフィルのやるOp.75の５Ｂのようにもっとテンポを速めてラッシュしてもよかったのではないでしょうか。　そして続くコーダも疾走した方がいいと思っているのですが、やっぱり私が既存の演奏に引きずられているんでしょうか、　ザ・ピアニストには全体の中における位置付けがちゃんとあってのことでしょうから、解釈の違いかもしれません。　その辺、講釈していただけるとうれしい限りです。 　　　 （2016年） 中村哲郎, 日本ヨハン･シュトラウス協会会員op. 342

Thank you

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WOW - I LOVE IT!

Thank you for uploading Beautiful Waltz

Thank you for the upload, hope you will consider Op227 of Johann strauss II

Love the intro

The piano score for "Citizen's Song" Op.306 was not a simplification! I was surprised. In the 1st version, the 3rd waltz of the familiar 2nd version was the waltz 1! I noticed the 3A (of the familiar 2nd version) variant that often appeared in the Introduction and Coda, but now I understand why. There is no trace of the 1A (of the familiar 2nd version) in the Introduction, and in the Coda it does appear as a reenactment waltz, but it does not appear in the transformation, so I interpreted that the 2A and the 3A were important second themes. It seems that the Introduction has not been changed. First of all, I feel like I've finally found a legitimate interpretation of The Pianist, where Alfred Walter's performance is the worst. ua-cam.com/video/jmJfrk0o3qc/v-deo.html Even though it's a great song, I always felt irritated when I listened to it because of Walter’s interpretation, so I've finally gotten rid of that problem. Anyway, thank you very much. However, I thought that the atmosphere of the song of the 1st version was quite different. The fact that the counter melody (or rather, the main melody) of 4A (2A in the familiar 2nd version) does not appear is a bit unsatisfactory, as I already knew it. [In the 1st version, the melody was simply played as an obbligato by cello! In the familiar 2nd version, it was changed to the “main melody” played by violin! The Pianist] Regarding the melody of the Waltz 3A of the familiar 2nd edition, which “reigns” as the 1A in the 1st version, I think this melody progression would be more appropriate for the 3rd waltz. It reminds me of the 3rd waltz of "Wiener Blut" Op. 354. I guess that Strauss thought so too and changed it to the back, but what do you think? The strong, jumping feeling at the beginning of the melody of the 1A of the 1st version) is reminiscent of the Waltz 1A of "The Journalist" Op.321. The same goes for starting with mf. I have always thought that this ``Journalist'' 1A was unique. ua-cam.com/video/gad89HdG3ps/v-deo.html (2014) Herr Tetsuro Nakamura, a prominent member of the Johann Strauss Society of Japan since 1975

「市民の歌」Op.306のピアノ譜は錯簡ではなかったのですね！　驚きました。 第1版では、第2版の第３ワルツが、第１ワルツだったのですか。 どおりで序奏とコーダに３Aの変形がたびたび顔を出すんで気になっていたんですが、納得しました。 １Aの片鱗は序奏にはなく、コーダではさすがに再現ワルツとしては登場しますが変形では現れないんで、２A,３Aが重要な第二テーマかなと解釈していましたが。　序奏は作り変えていないようですね。 まずなによりもアルフレッド・ワルターの最悪な演奏しかないところ、ようやくザ・ピアニストの正当な解釈に出会えたという感じです。　大変な名曲なのに、ワルターのせいで聴くといつもイライラしていましたのでやっとそれが解消されました。 とにかく感謝、感謝です。 ただ曲の雰囲気は随分印象が違うなとやはり思いました。 ４A（通常２A）のカウンターメロディー（というより主旋律か）が出て来ないのは、知っているだけにやや物足りなさを感じました。 （このメロディは、第1版ではチェロによる単なるオブリガートーちゃんと演奏･録音されてます！－でした。　第2版ではヴァイオリンが弾く“主旋律”に変わったのです！ ザ・ピアニスト）　第1版では１Aに君臨する、通常（第2版の）３Aですが、このメロディー進行は、やはり第3ワルツあたりがふさわしいんではないでしょうか。　「ウィーン気質」Op. 354の第３ワルツがイメージされます。　シュトラウスもそう考えて、後ろに変えたのだと推測しましたが、いかがでしょう。　出だしの力強く跳躍するような感じは、「ジャーナリスト」Oｐ.32１を彷彿させます。　ｍｆ　で始まる点も同じです。　この「ジャーナリスト」の１Aは異色だなとかねがね思っていました。 中村哲郎, 日本ヨハン･シュトラウス協会会員op. 342 (２０１４年)