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Strauss Collection - Early Recordings On 78s (1901-1951)


Release Date: 04/12/2011 
Label:  Opus Kura   Catalog #: 1006/13   Spars Code: n/a 
Composer:  Johann Strauss Jr.Spoken WordJosef StraussJohann Strauss Sr.
Performer:  Irene EisingerDajos BelaBarnabas Von GeczyMarcella Sembrich,   ... 
Conductor:  Clemens KraussHoward BarlowErich LeinsdorfHarry Horlick,   ... 
Orchestra/Ensemble:  Kölner Klavier-Trio
Number of Discs: 8 
Recorded in: Mono 
Length: 9 Hours 30 Mins. 

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Notes and Editorial Reviews



JOHANN STRAUSS COLLECTION: EARLY RECORDINGS ON 78s (1901–1951) WITH NEW YEAR’S CONCERT 1954 (PART 2) Karl Alwin, Howard Barlow, Leo Blech, Karl Böhm, Dol Dauber, Otto Dobrindt, Carl Drescher, Arthur Fiedler, Wilhelm Furtwängler, Wilhelm Grosz, Robert Heger, Josef Holzer, Herbert von Karajan, Erich Kleiber, Hans Knappertsbusch, Andre Kostelanetz, Serge Koussevitsky, Clemens Krauss, Erich Leinsdorf, Ferdinand Leitner, Alois Melichar, Willem Mengelberg, Selmar Meyrowitz, Rudolf Moralt, Eugene Ormandy, Hansgeorg Otto, Charles Prince, Julius Prüwer, Wilhelm Reuss, Albert Sandler, Rolf Schröder, Johannes Schüler, Bruno Read more Seidler-Winkler, Frederick Stock, Leopold Stokowski, Johann Strauss III, George Szell, Arturo Toscanini, Bruno Walter, Felix Weingartner, Frieder Weissmann (cond); Maria Barrientos, Max Bloch, Karin Branzell, Maria Cebotari, Bing Crosby, Irene Eisinger, Friedrich Engels, Elena Gerhardt, Rupert Glawitsch, Herbert Gloh, Frieda Hempel, Maria Ivogün, Adele Kern, Miliza Korjus, Erich Kunz, Selma Kurz, Lotte Lehmann, Karl Meister, Grete Merrem-Nikisch, Lea Piltti, Lily Pons, Rosa Ponselle, Elisabeth Rethberg, Luise Sabo, Erna Sack, Josef Schmidt, Lotte Schöne, Elisabeth Schumann, Leo Schützendorf, Elisabeth Schwarzkopf, Marcella Sembrich, Waldemar Stegemann, Richard Tauber, Josephine Tumminia, Shige Yano (voc); Alfred Grünfeld, Josef Lhévinne (pn); Adalbert Lutter O; Adolf Wreege O; Alfred Rode & His Gypsies; Arthur Pryor’s Band; Barnabas von Géczy Dance O; Berlin German Op O; Berlin Grand SO; Berlin Municipal Op O; Berlin-Neuköln Teachers’ Chorus; Berlin PO; Berlin St O; Boston Pops O; Boston SO; British SO; Carmen Cavallaro O; Chicago SO; Cleveland O; Cologne Piano Trio; Columbia Broadcasting SO; Comedian Harmonists; Concertgebouw O; Dajos Béla O; Hans Bund Large Dance O; Harry Horlick O; Haydn O; Jimmy Dorsey O; Künstlerkapelle of the Hotel Adlon, Berlin; Large Odeon Str O; Marek Weber O; Minneapolis SO; NBC SO; New York PO; Palm Court O; Paris Conservatory O; Paul Godwin O; Philadelphia O; Royal Marimba Band of Guatemala; Royal PO; Sousa’s Band; Tommy Dorsey O; Victor Dance O; Victor Female Chorus, Japan; Victor Young & His O; Vienna Boheme O; Vienna Boys’ Choir; Vienna Drescher O; Vienna Men’s Chorus; Vienna PO; Vienna St Op O; Württemberg St O, Stuttgart OPUS KURA 1006–13, mono (8 CDs: 570:25) CD 8: Live: Vienna 1/1/1954


What a treasure trove! Seven of the eight discs here derive from the personal holdings of Japanese Strauss enthusiast Mayumi Cho, whose collection of the composer runs to more than 700 78s, including more than 100 versions of the Blue Danube waltz (from which we’re treated to a mere 22 here!). Repertoire-wise, there is little off the beaten track; those in search of rarities from Strauss’s prodigious output should look elsewhere. Instead we have many of the evergreen waltzes, polkas, and operetta excerpts presented both in their original form and in a great variety of arrangements and adaptations, documenting a cornucopia of idiomatic performance styles and interpretive/re-creative traditions over the first half of the 20th century—much of it directly from younger contemporaries of the composer (d.1899). Aside from a few items in the supplementary New Year’s Concert (disc 8), all the music is by Johann II himself. Although some of the orchestral (and a few of the vocal) items are famous recordings that have appeared in historic collections on other labels, most of the material is new to CD.


CD 1 ( An der schönen, blauen Donau ): A whole disc devoted to Strauss’s most immortal creation mirrors the eclectic diversity of the set as a whole. The earliest recording represented preserves a crisp, no-nonsense performance from Sousa’s Band, the 1905 acoustic recording sounding amazingly vivid. Among orchestral versions from the electrical era, of particular interest is one from Johann Strauss III (son of the composer’s younger brother Eduard), made in London with a generic “Symphony Orchestra” in 1927. The style is very plain, with little or no concession to idiomatic Viennese inflection—rather similar to, if less subtle than, Weingartner’s clear-headed light touch with the Royal Philharmonic, recorded in the same year. Neither is much competition for Kleiber’s incomparable aristocratic Schwung, in his famous 1931 version with the Berlin Philharmonic (transferred a semitone sharp here). The Vienna Philharmonic is represented by Krauss in 1941—not the orchestra’s finest hour, reflected in a mellow, rather subdued performance with little of the electricity so evident in the postwar work of this partnership (cf. CD 8). The vocal versions document the period’s rage for a distinctive genre of arrangement for virtuoso solo soprano (with or without chorus, usually to words in German or French, sometimes English—once in Japanese here!). Some of these merely apply vocal overlays and elementary embellishments to an otherwise fairly faithful rendition of the score, as in Frieda Hempel’s beautifully classical performance from 1916, pure-toned with little vibrato. Others (see Maria Ivogün’s version from 1932) are crudely rearranged medleys of the “big tunes,” often capriciously reordered, transposed, reharmonized, with interpolated cadenzas. Trills, virtuoso roulades, and show-stopping high notes are very much the order of the day; the record high for the set belonging to Erna Sack’s 1936 Blue Danube, ascending at the final cadential flourish to a scarcely credible A6 (that’s the A five spaces above the treble staff!). Another popular genre (though not much represented in this set) was the virtuoso waltz medley or “paraphrase” for piano, where the free rein for 10-fingered embellishment could sometimes be a little too much of a good thing, overloading Strauss’s elegant creations as I feel Schulz-Evler does in his Arabesques on the Blue Danube, though Josef Lhévinne is in technically stupendous form for this 1928 recording. A different kind of license with the score can be heard in the big-band treatment from Victor Young & His Orchestra (1935), great fun with added countermelodies and freely composed bridges. On the other hand, Barnabas von Géczy’s Dance Orchestra (1933) is surprisingly faithful to the original, the small orchestra (strings, winds, percussion, with piano, accordion, and banjo) delivering a real tangy, exuberant Schwung —irresistible!


CDs 2, 3 ( Great Conductors ): The contents of these two discs will be the most familiar to collectors, with many classic performances having made previous CD appearances on DG, Teldec, Tahra, Preiser, and other labels. The Vienna Philharmonic tradition is represented by Krauss (his light, urbane Annen Polka from 1929, with that famous low-vibrato, high-portamento string style), Szell (lean, razor-sharp in Tritsch-Tratsch, 1934), Karajan ( Künstlerleben from 1946, memorably combining legato refinement and idiomatic rhythmic license), and Böhm ( Morgenblätter, 1949); less well known is a stylish 1931 Wo die Citronen blüh’n from the underrated Karl Alwin. The Berlin Philharmonic always played this repertoire with a distinctive “Prussian accent”—weightier and more brilliant than their Viennese counterparts, if (often) no less inflected and rhythmically idiomatic—as persuasively demonstrated by Walter ( Rosen aus dem Süden, 1930), Kleiber ( Tausend und eine Nacht, 1932), Reuss ( Pizzicato Polka, 1934—a refreshingly robust antidote to the affectedly mannered treatment that later became the norm in this piece), Furtwängler ( Die Fledermaus Overture, 1937), and Melichar ( O Schöner Mai, 1938). Two earlier Berlin recordings reflect a more relaxed, lower-key Old World charm: Julius Prüwer’s soft, sweet gut-strung violins in Geschichten aus dem Wienerwald (Municipal Opera Orchestra), and Leo Blech’s translucent, minimal-vibrato Kaiserwalzer (Staatskapelle), untidy but immensely characterful (both recorded 1928). The American perspective is fascinatingly varied: Toscanini’s famous 1941 NBC Blue Danube, full of exuberant élan and by no means inflexible, in contrast to Koussevitsky’s resplendently polished but metrically straitjacketed Wiener Blut (Boston Symphony Orchestra, 1928). Less well known are Ormandy’s stylish, sharply pointed Accelerations (Minneapolis Symphony Orchestra, 1935); Leinsdorf’s spare, modernist-sounding Unter Donner und Blitz (Cleveland, 1946); a robust, zesty Neu-Wien from Fiedler’s Boston Pops (1938); Du und du from Stock and the Chicago Symphony Orchestra (1930), richly colored and delivered with real Schwung; and an unremarkable Champagne Polka from the forgotten Howard Barlow and the Columbia Broadcasting Symphony Orchestra (1941). Other highlights include Mengelberg’s unhurried, richly detailed Perpetuum Mobile (Concertgebouw, 1932); an objective, un-“interpreted,” but naturally authoritative Freut euch des Lebens from J. Strauss III again (1927); and Knappertsbusch’s larger-than-life treatment of the Kuss-Walzer (Berlin Grand Symphony Orchestra, 1930, but of a character more Bavarian than Prussian, let alone Viennese).


CD 4 ( Operetta ): The lion’s share is given to Die Fledermaus and Der Zigeunerbaron. From the former we have Walter’s 1938 Paris recording of the overture, brilliant, hard-driven, and mercurial. Vocal excerpts include Lotte Schöne (1928), rich, fruity, and vibrantly characterful in “Mein Herr, was dächten sie von mir”; Erna Sack’s “Mein Herr Marquis,” with added high G at the end (1938); Maria Ivogün, authoritative and characterful in the Czardas (1932); and Elisabeth Schumann’s casual, impulsive charm, with her idiosyncratic combination of bell-like straight tone and liberal slides in “Spiel ich die Unschuld vom Lande” (1927). A longer ensemble excerpt from the end of act II features Lotte Lehmann and Richard Tauber, with conductor Frieder Weissmann—refreshingly straight, zesty, and unsentimental. From Der Zigeunerbaron we’re treated to Kleiber’s famous recording of the overture (Berlin Philharmonic, 1933) and a racy Entrance March from Hansgeorg Otto and the Berlin Staatskapelle (1937). Sopranos include Elisabeth Rethberg, who dispatches the Czárdás with gleaming instrumental precision and her typical high seriousness (1930); and Elena Gerhardt, straight and pure-toned in “Wer uns getraut” (1916). Tenor Josef Schmidt delivers “Als flotter Geist” with crisp, debonair patter, and real panache in the high Cs (1932), complemented by some memorable high camp from baritone Leo Schützendorf, in the ode to pig-farming, “Mein idealer Lebenszweck ist Borstenvieh” (1930). Other gems here include the overture to Das Spitzentuch der Königin, conducted by Dol Dauber with crackling wit, lightness, and point; and a 1940 medley from Wiener Blut, featuring a young, and not very recognizable, Elisabeth Schwarzkopf—hard-toned, soubrettish, and surprisingly unsubtle.


CD 5 ( Singing Johann Strauss ): Virtuoso soprano waltz arrangements predominate here. Further Blue Danube medleys are contributed by Americans Rosa Ponselle (sung in English, in magnificent voice in 1921) and Lily Pons (1939, in French, with stunning instrumental agility). Frieda Hempel is pure-toned and technically authoritative in Wein, Weib, und Gesang (1923); Maria Ivogün strong and secure in O schöner Mai (1924), her small, fast vibrato here reminiscent of Schwarzkopf (whom she later taught). Maria Sabo’s light, wistful charm in Liebeslieder (1930) nicely complements Adele Kern’s sumptuous, rose-tinted Geschichten aus dem Wienerwald from the same year. Less attractive is Miliza Korjus’s medley on Tausend und eine Nacht (1935), rather thick and unsubtle in expression, though also possessed of an amazing high register. In contrast, Erna Sack’s Kaiserwalzer (1938) is notably faithful to the original (notwithstanding her penchant for show-stopping high Gs). The soaring florid melody of Frühlingsstimmen is naturally conducive to vocal treatment, and Maria Cebotari is highly individual, with her trademark fast, intense vibrato (1936)—quite a contrast with Irene Eisinger, who is all tea-room coziness in the Annen Polka, sung in English (1937). Richard Tauber’s Rosen aus dem Süden displays his customary roguish charm and vocal limitations, involving alteration of the tune to stay in his registral comfort zone (1938). No surprises from the Vienna Men’s ( Wein, Weib, und Gesang, 1930) and Boys’ ( Kaiserwalzer, 1938) Choirs, but a delightful one from the Comedian Harmonists (a German proto-King’s Singers before the war), who serve up a deliciously witty Perpetuum Mobile (1937).


CD 6 ( Strauss Salon Concert ): This documents the immense popularity and variety of light-music adaptations in the interwar years, ranging from straightforward rescorings of the originals to radical reworkings of the melodic material in the popular style of the day. Among the most memorable exponents of the former type were Barnabas von Géczy, whose trademark zest and inventively pungent instrumental combinations are on display in Morgenblätter and Frühlingsstimmen (1933); Adalbert Lutter, with sharp, spare sonorities in Künstlerleben (1936); and Adolf Wreege, with a light, witty touch in Wo die Citronen blüh’n (1950). Dajos Béla plays Accelerations very faithfully (1928), but perversely without the accelerandos from which the waltz takes its name! Hans Bund’s straight, uninflected rhythmic style ( Wiener Bonbons, 1941) is salvaged by piquant midphrase changes of instrumental color, lending the result an almost Webernian character. The Cologne Piano Trio ( Tritsch-Tratsch, 1936) is not a piano trio in the usual sense, but three pianos (or perhaps six hands on two pianos). Across the Atlantic, the “big band” treatment brings an ironic, and amusing, paradox in that the style does not naturally accommodate triple meter—witness Tommy Dorsey iron out the Blue Danube to duple time (1937), as if it were the most natural thing to do with it! Brother Jimmy (Dorsey) can be heard in another Blue Danube arrangement from the same year, with Josephine Tumminia, in an ingenious jazz variation on the virtuoso-soprano genre. Harry Horlick ( Wine, Women, and Song, 1938) manages to combine the Hollywood sound (muted brass, swooning strings, harp) with a real rhythmic snap and brio (and in triple time!). Less compelling, to my ears, are Paul Godwin’s slow treatment of the Schatz Waltz (1931) and Carmen Cavallaro’s placidly easy-listening piano in Vienna Life (1942). As for Bing Crosby (1947), he merely croons two phrases of the Emperor Waltz (“Love is a dream ...”) as a frame for its sumptuously upholstered treatment by the Victor Young Orchestra. The Palm Court Orchestra’s rich divided-strings sonorities make for an attractive Rosen aus dem Süden (1945). “Le célèbre violiniste Rode et ses Tziganes” take us for a walk on the wilder side in Geschichten aus dem Wienerwald —intense, pungent, and bracingly astringent, with a captivating rhythmic swagger. Marek Weber’s medleys (“quodlibets”) from Die Fledermaus and Der Ziguenerbaron are zesty, peppery, with an irresistibly light touch (1927). And the Vienna Boheme Orchestra’s Waltz Medley (1932) is once heard, never forgotten—magnificently zany, including organ (!), zither, and a wild variety of tuned percussion.


CD 7 ( Historical Acoustic Recordings, 1901–1924 ): The earliest recording in the set is a rather rough-and-ready Blue Danube from the Vienna Drescher Orchestra in 1901. Other early ensemble recordings (on brass, strings, and marimbas) are obviously constrained by the limitations of the medium at this time. Recordings of the great American orchestras came later in the acoustic period. Given the stylishness of their later Strauss recordings, Stock and the Chicago Symphony are surprisingly unsubtle in 1001 Nights (1917), while Stokowski delivers a brilliant, hard-driven Blue Danube in Philadelphia (1919). Best, by far, is an intensely characterful, highly inflected Geschichten aus dem Wienerwald from Mengelberg and the New York Philharmonic (1923). Early-1920s light-orchestra arrangements from Dajos Béla ( Künstlerleben ) and Marek Weber ( Schatz ) are captivating in their idiomatic rhythmic lift; in a Kaiserwalzer from the Berlin Künstlerkapelle, the extreme portamento of the violin style is something to behold. We’re treated to more soprano waltz arrangements; the earliest is Marcella Sembrich (1905), who sings Geschichten aus dem Wienerwald in French with a pure “white” tone and very little vibrato. Maria Barrientos’s 1917 Frühlingsstimmen is of stunning soufflé lightness and agility. Operetta excerpts are represented by Selma Kurz’s 1911 Czárdás from Die Fledermaus (fast and straight, before surprising us at the end with a primal animal screech on high D), and the ubiquitous Maria Ivogün in “Mein Herr Marquis” (1924). Pianist Alfred Grünfeld knew Strauss personally, and his version of Frühlingsstimmen (1913) is treasurable, with a nonchalant lightness and none of the showy textural overloading that became so fashionable with later virtuoso arrangers. There’s a priceless charm to the way he adds an extra note to the beginning of the tune every time, as if mis-remembering it.


CD 8 ( Appendix: New Year’s Concert 1954, Part 2 ): The decision to round out the collection in this way is questionable, since this duplicates half of Opus Kura’s own previous release of the complete concert as a two-disc set—redundant for those of us who already have it, and will shortly be for those who don’t, as they will assuredly want it when they hear the Krauss/Vienna Philharmonic partnership at its incomparable best: a life-enhancing combination of outsize Schwung and lightness of touch, served up with a breathtaking unanimity of orchestral inflection (including what must be the raciest, most exuberant Perpetuum Mobile ever). Full radio announcements, applause, and instant encores (of the two fast polkas) add to the atmosphere. Absolutely tremendous, but I’d much rather have had another disc’s worth from Mr. Cho’s voluminous stash of 78s.


The transfers reflect Opus Kura’s house style: open, realistic, the vividness of the original recordings uncompromised by any intrusive noise reduction. Documentation is idiosyncratic as ever from this label: engaging introductory essays on the history of the waltz, early recording techniques, and Cho’s collection, with discographic documentation of 78 sources. Thumbnail biographical sketches are cursory but useful, though afflicted by comically inept English translation. All in all, this is an incredibly tasty feast for lovers of the Waltz King, by far the most engrossing historic collection of this repertoire I have ever encountered. Don’t miss it!


FANFARE: Boyd Pomeroy
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Works on This Recording

1.
An der schönen, blauen Donau, Op. 314 by Johann Strauss Jr.
Conductor:  Clemens Krauss
Period: Romantic 
Written: 1867; Vienna, Austria 
Length: 3 Minutes 48 Secs. 
2.
Annen-Polka, Op. 117 by Johann Strauss Jr.
Performer:  Irene Eisinger ()
Period: Romantic 
Written: 1852; Vienna, Austria 
Length: 3 Minutes 30 Secs. 
3.
Champagner-Polka, Op. 211 by Johann Strauss Jr.
Conductor:  Howard Barlow
Period: Romantic 
Written: 1858; Vienna, Austria 
Length: 3 Minutes 1 Secs. 
4.
Tritsch-Tratsch-Polka, Op. 214 by Johann Strauss Jr.
Orchestra/Ensemble:  Kölner Klavier-Trio
Period: Romantic 
Written: 1858; Vienna, Austria 
Length: 2 Minutes 33 Secs. 
5.
Accelerationen, Op. 234 by Johann Strauss Jr.
Performer:  Dajos Bela (Violin)
Period: Romantic 
Written: 1860; Vienna, Austria 
Length: 7 Minutes 58 Secs. 
6.
Perpetuum mobile, Op. 257 "Musikalischer Scherz" by Johann Strauss Jr.
Conductor:  Clemens Krauss
Period: Romantic 
Written: 1862; Vienna, Austria 
Length: 4 Minutes 3 Secs. 
7.
Morgenblätter, Op. 279 by Johann Strauss Jr.
Performer:  Barnabas Von Geczy (Violin)
Period: Romantic 
Written: 1864; Vienna, Austria 
Length: 8 Minutes 21 Secs. 
8.
Künstlerleben, Op. 316 by Johann Strauss Jr.
Period: Romantic 
Written: 1867; Vienna, Austria 
Length: 8 Minutes 0 Secs. 
9.
Unter Donner und Blitz, Op. 324 by Johann Strauss Jr.
Conductor:  Erich Leinsdorf
Period: Romantic 
Written: 1868; Vienna, Austria 
Length: 2 Minutes 24 Secs. 
10.
Geschichten aus dem Wienerwald, Op. 325 by Johann Strauss Jr.
Performer:  Marcella Sembrich ()
Period: Romantic 
Written: 1868; Vienna, Austria 
Length: 12 Minutes 18 Secs. 
11.
Wein, Weib und Gesang, Op. 333 by Johann Strauss Jr.
Conductor:  Harry Horlick
Period: Romantic 
Written: 1869; Vienna, Austria 
Length: 8 Minutes 10 Secs. 
12.
Pizzicato Polka by Johann Strauss Jr.
Conductor:  Wilhelm Franz Reuss
Period: Romantic 
Written: 1870; Vienna, Austria 
Length: 2 Minutes 10 Secs. 
13.
Freut euch des Lebens, Op. 340 by Johann Strauss Jr.
Conductor:  Johann Strauss Jr.
Period: Romantic 
Written: 1870; Vienna, Austria 
Length: 3 Minutes 38 Secs. 
14.
Neu-Wien, Op. 342 by Johann Strauss Jr.
Conductor:  Arthur Fiedler
Period: Romantic 
Written: 1870; Vienna, Austria 
Length: 6 Minutes 55 Secs. 
15.
Indigo und die vierzig Räuber: Tausend und eine Nacht, Op. 346 by Johann Strauss Jr.
Conductor:  David Stock
Period: Romantic 
Written: 1871; Vienna, Austria 
Length: 7 Minutes 42 Secs. 
16.
Wiener Blut, Op. 354 by Johann Strauss Jr.
Conductor:  Serge Koussevitzky
Period: Romantic 
Written: 1873; Vienna, Austria 
Length: 4 Minutes 27 Secs. 
17.
Wo die Zitronen blühn, Op. 364 by Johann Strauss Jr.
Performer:  Adolf Wreege (Violin)
Period: Romantic 
Written: 1874; Vienna, Austria 
Length: 4 Minutes 20 Secs. 
18.
Die Fledermaus: Du und Du, Op. 367 by Johann Strauss Jr.
Conductor:  David Stock
Period: Romantic 
Written: 1874; Vienna, Austria 
Length: 6 Minutes 13 Secs. 
19.
Prinz Methusalem: O schöner Mai, Op. 375 by Johann Strauss Jr.
Performer:  Maria Ivogün ()
Period: Romantic 
Written: 1877; Vienna, Austria 
Length: 7 Minutes 23 Secs. 
20.
Das Spitzentuch der Königin: Rosen aus dem Süden Waltzes, Op. 388 by Johann Strauss Jr.
Period: Romantic 
Written: 1880; Vienna, Austria 
Length: 7 Minutes 40 Secs. 
21.
Der lustige Krieg: Kuss-Walzer, Op. 400 by Johann Strauss Jr.
Conductor:  Hans Knappertsbusch
Period: Romantic 
Written: 1881; Vienna, Austria 
Length: 5 Minutes 59 Secs. 
22.
Frühlingsstimmen, Op. 410 by Johann Strauss Jr.
Conductor:  Clemens Krauss
Period: Romantic 
Written: by 1883; Vienna, Austria 
Length: 6 Minutes 23 Secs. 
23.
Kaiser-Walzer, Op. 437 by Johann Strauss Jr.
Period: Romantic 
Written: 1889; Vienna, Austria 
Length: 8 Minutes 20 Secs. 
24.
Die Fledermaus: Overture by Johann Strauss Jr.
Performer:  Marek Weber (Violin)
Period: Romantic 
Written: 1874; Vienna, Austria 
Length: 5 Minutes 54 Secs. 
25.
Die Fledermaus: Mein Herr, was dächten Sie by Johann Strauss Jr.
Performer:  Lotte Schoene ()
Conductor:  Leo Blech
Period: Romantic 
Written: 1874; Vienna, Austria 
Length: 3 Minutes 3 Secs. 
26.
Die Fledermaus: Mein Herr Marquis by Johann Strauss Jr.
Performer:  Erna Sack ()
Conductor:  Rolf Schroder
Period: Romantic 
Written: 1874; Vienna, Austria 
Length: 3 Minutes 27 Secs. 
27.
Die Fledermaus: Klänge der Heimat "Czardas" by Johann Strauss Jr.
Conductor:  Leo Blech
Period: Romantic 
Written: 1874; Vienna, Austria 
Length: 2 Minutes 49 Secs. 
28.
Die Fledermaus: Herr Chevalier by Johann Strauss Jr.
Performer:  Waldemar Stegemann (), Karin Branzell (), Richard Tauber (),
Lotte Lehmann (), Grete Merrem-Nikisch ()
Conductor:  Sven Weisemann
Period: Romantic 
Written: 1874; Vienna, Austria 
Length: 7 Minutes 54 Secs. 
29.
Die Fledermaus: Spiel' ich die Unschuld vom Lande by Johann Strauss Jr.
Performer:  Elisabeth [Lyric Soprano] Schumann ()
Conductor:  Karl Alwin
Period: Romantic 
Written: 1874; Vienna, Austria 
Length: 3 Minutes 29 Secs. 
30.
Das Spitzentuch der Königin: Overture by Johann Strauss Jr.
Conductor:  Dol Dauber
Period: Romantic 
Written: 1880; Vienna, Austria 
Length: 4 Minutes 31 Secs. 
31.
Der lustige Krieg: Nur für Natur by Johann Strauss Jr.
Performer:  Erich Kunz ()
Conductor:  Rudolf Moralt
Period: Romantic 
Written: 1881; Hamburg, Germany 
Length: 3 Minutes 9 Secs. 
32.
Eine Nacht in Venedig: Excerpt(s) by Johann Strauss Jr.
Performer:  Friedrich Eugen Engels ()
Period: Romantic 
Written: 1883; Vienna, Austria 
Length: 8 Minutes 53 Secs. 
33.
Der Zigeunerbaron: Overture by Johann Strauss Jr.
Performer:  Marek Weber (Violin)
Period: Romantic 
Written: 1885; Vienna, Austria 
Length: 6 Minutes 46 Secs. 
34.
Der Zigeunerbaron: Als flotter Geist by Johann Strauss Jr.
Performer:  Joseph Schmidt ()
Conductor:  Sven Weisemann
Period: Romantic 
Written: 1885; Vienna, Austria 
Length: 2 Minutes 43 Secs. 
35.
Der Zigeunerbaron: So elend und so treu by Johann Strauss Jr.
Performer:  Elisabeth Rethberg ()
Conductor:  Sven Weisemann
Period: Romantic 
Written: 1885; Vienna, Austria 
Length: 2 Minutes 44 Secs. 
36.
Der Zigeunerbaron: Wer uns getraut by Johann Strauss Jr.
Performer:  Max Bloch (), Elena Gerhardt ()
Period: Romantic 
Written: 1885; Vienna, Austria 
Length: 3 Minutes 35 Secs. 
37.
Der Zigeunerbaron: Mein idealer Lebenszweck ist Borstenvieh by Johann Strauss Jr.
Performer:  Leo Schutzendorf ()
Period: Romantic 
Written: 10/24/1885 
Length: 2 Minutes 48 Secs. 
38.
Der Zigeunerbaron: Einzugsmarsch by Johann Strauss Jr.
Conductor:  Hansgeorg Otto
Period: Romantic 
Written: 10/24/1885 
Length: 2 Minutes 38 Secs. 
39.
Wiener Blut: Excerpt(s) by Johann Strauss Jr.
Performer:  Rupert Glawitsch (), Elisabeth Schwarzkopf ()
Period: Romantic 
Written: 1899; Vienna, Austria 
Length: 8 Minutes 19 Secs. 
40.
Liebeslieder, Op. 114 by Johann Strauss Jr.
Performer:  Luise Sabo ()
Conductor:  Wilhelm Grosz
Period: Romantic 
Written: 1852; Vienna, Austria 
Length: 4 Minutes 53 Secs. 
41.
Wiener Bonbons, Op. 307 by Johann Strauss Jr.
Conductor:  Hans Bund
Period: Romantic 
Written: 1866; Vienna, Austria 
Length: 2 Minutes 56 Secs. 
42.
Wiener Jubel-Gruss-Marsch, Op. 115 by Johann Strauss Jr.
Performer:  Carmen Cavallaro (Piano)
Period: Romantic 
Written: 1852; Vienna, Austria 
Length: 3 Minutes 14 Secs. 
43.
Der Zigeunerbaron: Schatz-Walzer, Op. 418 by Johann Strauss Jr.
Period: Romantic 
Written: 1885; Vienna, Austria 
Length: 3 Minutes 29 Secs. 
44.
Work(s): Waltz Medley by Johann Strauss Jr.
Period: Romantic 
Written: 1844-1899 
Length: 6 Minutes 16 Secs. 
45.
Die Fledermaus: Mein Herr Marquis by Johann Strauss Jr.
Performer:  Maria Ivogün ()
Period: Romantic 
Written: 1874; Vienna, Austria 
Length: 4 Minutes 9 Secs. 
46.
Die Fledermaus: Klänge der Heimat "Czardas" by Johann Strauss Jr.
Performer:  Selma Kurz ()
Period: Romantic 
Written: 1874; Vienna, Austria 
Length: 3 Minutes 40 Secs. 
47.
Das Spitzentuch der Königin: Waltz(es) by Johann Strauss Jr.
Performer:  Karl Meister ()
Period: Romantic 
Written: 1880 
Length: 2 Minutes 58 Secs. 
48.
Broadcast commentary, Vienna Philharmonic Orchestra New Year's Concert, 1954 by Spoken Word
Length: 0 Minutes 40 Secs. 
49.
Sphären-Klänge, Op. 235 by Josef Strauss
Conductor:  Clemens Krauss
Period: Romantic 
Written: 1868; Vienna, Austria 
Length: 8 Minutes 24 Secs. 
50.
Mailust, Op. 182 by Josef Strauss
Conductor:  Clemens Krauss
Period: Romantic 
Written: 1865; Vienna, Austria 
Length: 3 Minutes 25 Secs. 
51.
Plappermäulchen, Op. 245 by Josef Strauss
Conductor:  Clemens Krauss
Period: Romantic 
Written: 1868; Vienna, Austria 
Length: 2 Minutes 45 Secs. 
52.
Im Krapfenwaldl, Op. 336 by Johann Strauss Jr.
Conductor:  Clemens Krauss
Period: Romantic 
Written: 1870; Vienna, Austria 
Length: 4 Minutes 2 Secs. 
53.
Cagliostro in Wien: Auf der Jagd Polka, Op. 373 by Johann Strauss Jr.
Conductor:  Clemens Krauss
Period: Romantic 
Written: 1875; Vienna, Austria 
Length: 2 Minutes 14 Secs. 
54.
Radetzky March, Op. 228 by Johann Strauss Sr.
Conductor:  Clemens Krauss
Period: Romantic 
Written: 1848; Vienna, Austria 
Length: 3 Minutes 15 Secs. 

Customer Reviews

Average Customer Review:  1 Customer Review )
 Excellent body of work September 4, 2012 By Matthew Dougherty (Houston, TX) See All My Reviews "Whether you are an archivist, an audio engineer, or student, this production has a lot to offer in understanding the development of musical recordings.

Strauss, particularly Blue Danube, was highly recorded by the various Gramaphone companies because of its popularity and was in the public domain. Subsequently the recordists were familiar enough with its dynamics to explore the recording technology in order to create better takes over decades. In a sense it became a standard measure on the road to high fidelity recording, 78 records being the essential link between cylinders and audio quality that we know today.

Many of the recordings are obscure, so putting such a collection together is not only a tribute to the history of recorded music, it also must have been a labor of love by the producers of this set and the recordists who preceded them."
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