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Wien bleibt Wien Johann SCHRAMMEL (1850–1893) Wien bleibt Wien, March [2:51] Joseph LANNER (1801–1843) Die Romantiker, Waltz Op. 167 [10:16] Cerrito-Polka Op. 189 [5:12] Abendsterne, Waltz Op. 180 [9:29] Johann STRAUSS I (1804–1849) Sperl-Polka Op. 133 [2:31] Chineser-Galopp Op. 20 [1:41] Kettenbrücke-Walzer Op. 4 [6:19] Johann STRAUSS II (1825–1899) Annen-Polka Op. 117 [4:11] Johann STRAUSS I Wiener-Gemüths-Walzer Op. 116 [7:59] Johann STRAUSS II and
Joseph STRAUSS (1827–1870) Pizzicato-Polka [2:54] Joseph LANNER Die Werber, Waltz Op. 103 [10:29] Eduard STRAUSS (1835–1916) Unter der Enns, Polka schnell Op. 121 [1:57]
Thomas Christian
Ensemble
rec. 2-4 January 2007, Festsaal des Landesbildungszentrums
Schloss Weinberg, Austria MUSIKPRODUKTION
DABRINGHAUS UND GRIMM MDG603 1466-2 [66:51]
Transcribing and arranging music for available instrumental
groups has been the order of the day throughout music history.
The
purist view that the composer’s intention must not be tampered
with is of somewhat later date. The composers themselves
normally didn’t mind. Arrangements were at least a guarantee
that their music was performed. While arrangements naturally
change the character of the music this is not necessarily
for the worse. Playing Viennese waltzes and polkas from the
19th century with a small string ensemble removes
some of the orchestral colours of the original. On the other
hand it can impart to the music a lightness and transparency
- refreshing after having heard too many big band versions.
The present disc is not the only one of its kind; these arrangements
have been around for quite some time. Almost twenty years
ago I bought a disc (Denon CO-72587) with the Biedermeier
Ensemble Wien. It had similar repertoire and in some cases
the same arrangements by Alexander Weinmann. The Biedermeier
Ensemble was even smaller than the group on this disc. The
Thomas Christian Ensemble features a string quartet plus
a double-bass while the Biedermeier has no cello. On both
these discs the playing is con amore, the players
very clearly loving the music deeply. The intimate format
allows them to add small interpretative touches, elegant
ritardandi and accelerandi that keep the music very much
alive.
By the way, isn’t it a strange phenomenon that the Viennese Waltz and
its sibling the polka can be varied, within broad formal
limitations, to such an extent as never to feel staid? The
rhythms are there once and for all and there is little room
for adventurous harmonic excursions. In this collection one
of the earliest pieces, the brief Chinese Gallop by
Johann Strauss I, with a first documented performance in
1828, is quite the boldest. It has some off-key harmonies
that may not be all that Chinese but they are at least slightly
exotic.
The playing is constantly sweet and elegant and when required
there is also sufficient power. There is also enough variation
in the programme to make it, across a single sitting, a thoroughly
enjoyable hour’s listen. One also has to be grateful for
the inclusion of several pieces by Lanner, by Eduard Strauss,
the youngest of his three sons and by Johann Strauss I. Of
the latter only the Radetzky March, written in 1848,
the year before his death, is frequently heard.
There are interesting notes by Hans Winking and the track-list
gives dates for first known performances and information
about
dedicatees. Thus Lanner’s Abendsterne Walzer was dedicated
to Leopold, Prince of the two Sicilies. Politics was often
present in the musical world. Of the music I didn’t know
before Johann Strauss I’s Wiener-Gemüths-Walzer was
dedicated “dem Herrn Fürsten Nikolaus Esterhazy-Galantha” – in
all likelihood an offspring of the Esterhazy family which
Joseph Haydn had served for so long; probably a collateral
branch.
Eduard Strauss’s Polka schnell Under der Enns, which features
some collective vocal efforts, is a rousing finale to this
utterly delightful programme.
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