Notes and Editorial Reviews
At the end of Johann Strauss' 1874 opereta Die Fledermaus, all of the characters drink a toast to the real culprit of the story - 'Champagner hat's verschuldet' - a fitting conclusion to this most renowned and potent evocation of the carefree life of post-revolution imperial Vienna. Strauss' sparkling score (never mind that the liberetto is an amalgam of German and French sources), infused with that most famous of Viennese dances, the waltz, lent eloquent expression to the transitory atmosphere of confidence and prosperity induced by the Hapsburg monarchs. 'The Emperor Franz Joseph I,' it would later be said 'only reigned until the death of Johann Strauss.' And what could have provided more perfect source material than the music of Strauss,
for the pastiche creations of the illustrious composer-pianists who roamed the world on the later 19th and early 20th centuries, forever seeking vehicles with which to exploit the possibilities of their instument and display their pianistic powers? - Thomas Labé Read less
Works on This Recording
Carnaval de Vienne by Moritz Rosenthal
Thomas Labé (Piano)
Period: 20th Century
Date of Recording: 09/1991
Venue: Troy Savings Bank Music Hall, Troy, NY
Length: 6 Minutes 38 Secs.
Carnaval de Vienne sur des themes de Johann Strauss
Strauss - Valse Caprice No. 3, Op. 250, "Wahlstimmen"
Wein, Weib und Gesang! (Wine, Women and Song!), Op. 333 (arr. L. Godowsky)
Valse Caprice No. 2, Op. 167, "Man lebt nur einmal" (arr. C. Tausig for piano): Valse Caprice No. 2, Op. 167, "Man lebt nur einmal" (arr. C. Tausig)
3 Symphonische Metamorphosen Johann Strauss'scher Themen: No. 2. Die Fledermaus
Valse Caprice in A major, Op. posth.
Nachtfalter, Op. 157 (arr. C. Tausig)
Arabeskan uber Themen des Walzers An der schonen blauen Donau von Johann Strauss
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