Carl Michael Ziehrer was one of the greatest 
                rivals of the Viennese Strauss family. He was at three times in 
                his career a bandmaster and therefore it may not be surprising 
                that so many of his compositions have a certain brashness and 
                swagger as well as elegance. Ziehrer enjoyed a very successful 
                career composing operettas which found their way into most continental 
                European cities and some were performed on Broadway. These operettas 
                maintained the form of the so-called Golden Era, soon to be overtaken 
                by the more romantic style of the Silver Age started by his friend 
                Franz Lehár. 
              
 
              
Ziehrer’s waltzes, polkas, marches and mazurkas 
                are written in the very familiar Viennese style of Johann Strauss. 
                All are elegantly tuneful and a reminder of a bygone age of innocence 
                (?) and refinement. 
              
 
              
The English titles given above hint at the composer’s 
                sense of humour. The thundering bass drum of the Take Cover 
                March might suggest gunfire and the wickedly ironically titled 
                Without a Care Quick Polka would need, I think, a lot of 
                skill and care for dancers to keep up with its headlong pace. 
                And the bouncy Secret Loves Waltz, suggests a furtiveness 
                and, in its more explosive chords, illicit love discovered. The 
                delightful opening of Lover’s Waltz might suggest a romantic 
                carriage ride through a Viennese park. Here magical use is made 
                of the xylophone and harp. Ziehrer introduced novelties into some 
                of his pieces: the most substantial work here, the opening Viennese 
                Girls’ Waltz, has a whistling sequence and Nature 
                Singers’ Waltz begins with lots of birdsong. The waltzes have 
                such a wonderfully romantic lilt. One can easily imagine women 
                in gorgeous ball gowns with their moustachioed and probably resplendent 
                uniformed beaux swirling under giant candelabra in the ballrooms 
                of fin de siècle Vienna. 
              
 
              
All these little gems are performed with great 
                charm and élan by the Razumovsky Orchestra a special Naxos/Marco 
                Polo recording orchestra comprising the best players of the Slovak 
                Philharmonic, Slovak Radio Symphony Orchestra (Bratislava), Slovak 
                Chamber Orchestra and the Opera Theatre Orchestra. An undemanding 
                treat.
              
 
              
Ian Lace