Irenen-Walzer, Op. 32 (1847) - Johann Strauss II - Robert Stolz & Berliner Symphoniker

[@antares7880]

The early waltzes of Johann II, although overshadowed by many of his later, better-known masterpieces, are in fact really good and deserve much more attention. Op. 32 and such works as op. 7, 12, 18, 21, 25, 41, 42 (to name just a few) belong to strikingly beautiful dances created by young Waltz King.

[@user-no9fz6yz3e]

0:02 Интродукция: Andante 0:22 Adagio (Чардаш): Тема А 0:43 Тема В 1:06 Вальсовый предыкт 1:36 Вальс 1А 2:11 Вальс 1В 2:45 Вальс 2А 3:16 Вальс 2В 3:51 Вальс 3А 4:25 Вальс 3В 4:58 Вальс 4А 5:31 Вальс 4В 6:04 Вальс 5А 6:37 Вальс 5В 7:11 Кода: Оригинальный материал 7:29 реприза Вальса 3А 7:50 реприза Вальса 2А 8:06 реприза Вальса 2В 8:26 реприза Вальса 1А 8:43 Заключение

[@michaelnavarro1810]

That's a really beautiful waltz of Irene by Johann Strauss Sohn ever. And I know another type of music with the same name Irene. Josef Strauss' French Polka of Irene from the 2007 Vienna New Year's Concert.

[@Adamov1]

Yes, that polka is one of the Josef's finest, especially in Zubin Mehta's interpretation.

[@ijgyartozoltan2345]

Almost like a pre- 1848 Hungarian Revolution precursor to what Herr Johannes Brahms would start discovering from the 1850's - The Hungarian Dances! If we take original waltzes aimed at Hofburg-type places though - whether it is the Hofball in Vienna or the Ungarische-Altenburg Castle so nicely pictured here on the painting - this still counts as a pre-Verbunkos, Csárdás or Palotás ode to the Strauss family's closest reminder of 'Austro-Hungarian nobility ties'. With the Baroness Irén von Meskó (Irene) in the title, who happened to marry a prominent noble family where a prominent Imperial Russian painter (Mihály von Zichy) and a viceroy of the lordship hanged for treason in 1848 AKA Ödön (Eugen) von Zichy, would hail from. It starts of really slow-paced and with harmoniously elegant timing of the strings-percussion-brass sections and then develops into a vivid, fast paced and rhythmic brass play heading towards the quintessential waltz ending as we know it. The painting comes alive with the music and is reminiscent of a Magyaróvár ('Hungarian Old Fortress', Ungarische Altenburg) which was mainly German in its language and population, just like its 'German counterpart', Bad Deutsch-Altenburg, which must have also been visited by Johann Strauss II. By the way, the town of Mosonmagyaróvár as it is known today is worth a visit not just for the Castle itself but also for one of the most pleasant sections on the Danube river best exprienced on a canoe or boat trip - with all of this music in the ears. Once again a beautiful rendition and thanks for the upload!

[@PerCPH2200]

Note that the material Robert Stolz used for the recording is not the newer Babinski-orchestration. In fact - all attempts to trace the material Stolz used for the early 1970s-recordings have been without success. The really puzzling part is that when Stolz was asked about the material used for the recordings back in the days, his response was something in the line of "for a project like this I use original material only". Exactly what that entails is something we likely never will know. The hitch is that there is no record of a harp in Johann Strauss' orchestra at the time when this work was composed - but again, other conductors back then had no problem in asking their musicians to add parts as needed if they had larger orchestras available.

[@user-no9fz6yz3e]

Мой топ-3: 🥉 6:37 Вальс 5В 🥈 4:25 Вальс 3В 🥇 2:45 Вальс 2А

[@tamitamini]

how do you find the backstory behind all these pieces? especially the ones by johann ii, i'd like to learn more about this guy