The waltz "Better Times" is an easy-to-understand STRAUSS waltz. The first two bars are entered in a minor chord, which is unique to the Strauss Waltzes. At the end of the Introduction, “Tempo di Valse” is the style that enters into the first waltz. There are only a few examples in Eduard’s Waltzes. Good examples of the use of “Tempo di Valse” include Johann's "Blue Danube op.314" and "Fairy Tale op.312". You can feel the contrast that you are about to enter the waltz, which I like. And this 1A is a charming melody. In The Pianist’s performance, the tempo is slowed down enough in the first two bars, and it slowly becomes in-tempo. Riccardo Muti is good at this way of carrying. For example, the beginning of 1A of Johann's "Court Ball op.298". The obbligato characteristic of Eduardo can be seen prominently in 2B and 4A. 2B is by a horn, which is rare in STRAUSS Waltzes, but as mentioned in the Notes, it certainly appears in 3A of the masterpiece "Nice feeling op.75". I don't think Johann II does obbligato by horn. 4A appears in the form of the cello and horn chasing the main melody do-re-mi motif. I'd like to hear these bars by a real orchestra. The 3B Hemiola is unique and shows Eduardo's skill. You can see the Hemiola technique in 2A and 3A as well. Herr Tetsuro Nakamura, a prominent member of the Johann Strauss Society of Japan since 1975
![Seid umschlungen Millionen Walzer op.443 - 1st (original 3B [D] + 4A/4B) 2nd (3B [D]) & 3rd versions](http://i.ytimg.com/vi/XvWqHzTKPao/mqdefault.jpg)
![Seid umschlungen Millionen Walzer op.443 – 1st (original 3B [D] + 4A/4B) 2nd (3B [D]) & 3rd versions](/img/tr.png)
Een prachtige wals!
Echt Eduard Strauss!!!
ワルツ「良き時代」ですが、分かりやすい曲ですね。冒頭二小節、短調コードで入るあたり、シュトラウス特有ですね。序奏の最後テンポディヴァルスとなって第1ワルツに入るスタイル、エドゥアルトは少ないんですが、ヨハンの「青きドナウ」や「おとぎ話」などのようで、いかにもこれからワルツに入るぞというコントラストが感じられて、好きですね。そしてこの１A、魅力的なメロディーです。冒頭2小節、十二分にテンポを落として、ゆっくりインテンポにしていく様、さすがザピアニストです。この持って行き方はムーティがうまいですね。たとえばヨハンの「宮廷舞踏会」の１A冒頭です。エドゥアルトに特徴的なオブリガートが２B,４Aで顕著に見られますね。２Bはホルンという珍しいものですが、解説にも触れてあるように、確かに代表作「素敵な感じ」の３Aに出てきますね。ヨハンにはない気がします。４Aは主旋律のドレミのモチーフをチェロとホルンが追いかける形で出てきます。こうした辺りは本物のオケで聞いてみたいものです。３Bのヘミオラが独特で、エドゥアルトの技巧を示していますね。 ２Aや３Aでもヘミオラの手法が見て取れますね。
中村哲郎, 日本ヨハン･シュトラウス協会会員op. 342
The waltz "Better Times" is an easy-to-understand STRAUSS waltz. The first two bars are entered in a minor chord, which is unique to the Strauss Waltzes. At the end of the Introduction, “Tempo di Valse” is the style that enters into the first waltz. There are only a few examples in Eduard’s Waltzes. Good examples of the use of “Tempo di Valse” include Johann's "Blue Danube op.314" and "Fairy Tale op.312". You can feel the contrast that you are about to enter the waltz, which I like. And this 1A is a charming melody. In The Pianist’s performance, the tempo is slowed down enough in the first two bars, and it slowly becomes in-tempo. Riccardo Muti is good at this way of carrying. For example, the beginning of 1A of Johann's "Court Ball op.298". The obbligato characteristic of Eduardo can be seen prominently in 2B and 4A. 2B is by a horn, which is rare in STRAUSS Waltzes, but as mentioned in the Notes, it certainly appears in 3A of the masterpiece "Nice feeling op.75". I don't think Johann II does obbligato by horn. 4A appears in the form of the cello and horn chasing the main melody do-re-mi motif. I'd like to hear these bars by a real orchestra. The 3B Hemiola is unique and shows Eduardo's skill. You can see the Hemiola technique in 2A and 3A as well.
Herr Tetsuro Nakamura, a prominent member of the Johann Strauss Society of Japan since 1975
W wersjii na fortepian lepiej słyszy się akcenty walca !