วีดีโอ

how did you get the picture on the thumbnail without watermarks TT_TT

This is a great and grand experiment! Pay attention to the transition to the third waltz! I definitely felt that it was subtly different from usual. The original modulation was from G major to C major, but it goes up once and then modulates to D major. I was surprised, this is how Johann originally did it. Even in the coda, when moving to the recollection of 3A, it modulates from A major to D major instead of C major. This is another thing to listen for. But why did the current version (the third version) use C major? The melody progression of 3B is also slightly different. It is extremely interesting to get a glimpse of the trial and error that Strauss went through in the creation process. Furthermore, the melody and rhythm of 4A are completely different from the current version, which is also surprising. However, this may be because I am not used to hearing it, but I still think the current version is much better. Still, I am very grateful for this world-first attempt. Tetsuro Nakamura, Member of the Johann Strauss Society of Japan (since 1975) op. 342

これは偉大で壮大な実験ですぞ！　第３ワルツに移行する際に注目！　いつもと微妙に違うと確かに感じました。本来はト長調からハ長調への転調であったのが、一度上がってニ長調へ転調してるんですね。驚きです、ヨハンは当初はこうだったんですね。コーダでも３Aの回想へ移行する際、イ長調からハ長調でなくニ長調に転調してますね。ここももう一つ聞きどころです。でもどうして現行版 （第3版）はハ長調にしたのでしょうか？　また３Bのメロディー進行もやや違うんですね。シュトラウスの制作過程での試行錯誤が垣間見えて、きわめて興味深いです。さらに４Aはメロディーもリズムも現行版とまるで違うんで、これまたびっくりしています。ただこれは聞きなれていないせいもありますが、やはり現行版の方がずっといい気がします。それにしてもこの世界初の試みに感謝、感謝です。 中村哲郎, 日本ヨハン･シュトラウス協会会員（１９７５年以来）op. 342

Интересно. Спасибо за проделанную работу! С точки зрения типичного для JSII тонального плана, Ре-мажор более подходит как для Вальса 3, так и для финального раздела Коды. В известной всем версии вальс заканчивается в До-мажоре, имея начало Интродукции и главную тему Вальс 1А в Ля-мажоре, что довольно странно

Thank you, interesting to hear the difference to the version played nowadays

"Arts Section" is a large-scale piece. The 3rd Waltz A is the one to listen to. It rises like a roller coaster, then suddenly sinks, and the thrilling progression of ascending and descending movements captivates the listener. This 3A has a repeat, and since it is in ternary form, it is repeated once more, and also appears in the coda, so it can be enjoyed four times in total. The progression of 1B also feels like a high jump, and is just as fascinating as 3B.　　　　 Nakamura Tetsuro, Member of the Johann Strauss Society of Japan (since 1975) op. 342.

「文芸欄」スケールの大きい曲です。なんといっても第3ワルツAが聞きものですね。まるでジェットコースターに乗ったように昇ったと思ったら急に沈み、上行と下行を繰り返すスリリングな推移が、聞き手を魅了します。この３Ａはリピートがあってそのうえ三部形式なのでもう一度繰り返し、さらにコーダでもそのまま顔を出しますから、都合4回も味わうことができるんです。もう一つ１Ｂの進行の仕方も跳躍して高跳びするような感覚で、３Ｂに劣らず魅力的です。 　　中村哲郎, 日本ヨハン･シュトラウス協会会員（１９７５年以来）op. 342.

Thank you for both beautiful, high-quality recordings of Johannn II's excellent opus 250!

Great piano interpretation, enjoyed it very much, tone is very good for a upright.

1:14 this part has been stuck in my head since yesterday lol

Prachtig!!!

Could you play Bürgerweisen?

Kunt u deze gehele wals op de piano spelen? Zo prachtig is dit werk!

Very nice waltz. Did Goldshmidtt record this and also did he conduct opus 167- You only live Once Waltz? I seem to remember hearing these works on radio 3 back in the 1980s. In fact it was on Melodies for you that opus 167 was played.

Thanks a lot Taka, Is the orchestral version from the Marco Polo series? I very much appreciate your playing and the orchestral going back to back.

Absolutely beautiful performance of one of the greatest Strauss II's waltzes he composed in the 1850s.

I listened to Johann's "Legal Amendment". It's a Wagner-esque waltz that is in line with Op. 148, about which Hanslick issued a warning. Anyway, I didn't listen to it much because Alfred Walter's performance of Marco Polo was extremely bad and boring. First of all, I was relieved to finally encounter the Strauss-like style of The Pianist. The sound is really amazing from bar 11 of the introduction. I know that the tonic note of D major is the base, but after reading the commentary, I understood that it was that kind of chord. 1A incorporates both the cello in the repeat and the cello counter melody in 1B. 1B is a parade of diminished sevenths. I think the A#dim7 in bars 1 and 9 is like that, but what do you think? Also, I suddenly thought that it was unusual that the 7th bar of 1A is a normal dominant chord (dominant fifth) instead of a dominant seventh. 2A, the second clarinet's afterbeat is properly included. The long trill in bars 2 and 8 of 3A is not unusual for Johan. The transition from the 3rd Waltz to the 4th Waltz is somehow lacking. The melody rhythm is different if you look closely, but the syncopation style is the same, and it feels a little lacking in variation. I've been wondering about it for a while. Of course, each waltz is wonderful, just to be sure. 4B in particular has a fascinating melody. I didn't realize that the beginning of 4A is mf and the return from 4B is p. The orchestral score of the second edition is definitely p for both. The modulation to E-flat major for the 5th Waltz never feels quite right, no matter how many times I listen to it. I do think that Johan often uses techniques for the 5th Waltz that are different in style from the previous waltz series. But 5A was the true essence of The Pianist, and the heavy sound of the trombone and trumpet was conveyed even through the piano. Tetsuro Nakamura, a prominent member of the Johann Strauss Society of Japan since 1975 op. 342

ヨハンの「修正条項」を聞いてみました。ワグナー風でハンスリックが警告を発したOp.148と軌を一にするワルツですね。 とにかくマルコポーロのアルフレッド・ワルターの演奏が極端に酷く、つまらないのであまり聞きこんでいませんでした。 まずはザ・ピアニストによるシュトラウス風のスタイルに、ようやく遭遇したことに安堵いたしました。 序奏の１１小節からはほんとに凄まじい響きですね。二長調の主音がベースにあることは分かるんですが、解説を読ませてもらってなるほどそういう和音かと納得しました。１Ａは繰り返しでのチェロ、１Ｂのチェロ対旋律、いずれも採りこんでいますね。１Ｂは減七のオンパレードですね。１、９小節のＡ＃dim7もそうかと思うのですが、いかがでしょう。また１Ａの７小節目、属七でなく普通の属和音(属五)なのは珍しいと、ふと思いました。 ２Ａ、第２クラリネットの後打ちをちゃんと入れていますね。３Ａの２，８小節のロングトリルは、ヨハンでは珍しくありませんか。 この曲、第３ワルツから第４ワルツへの移行が、何か物足りないんですね、メロディーリズムはよく見ると違うんですが、シンコペーションのスタイルが同じで、どこか変化に乏しい感じです。前から気になっていました。もちろん個々のワルツはどれも素晴らしいです、念のため。特に４Ｂは魅力的なメロディーです。４Ａの出だしがｍｆで、４Ｂから戻るときはｐというのは気が付きませんでした。第２版のオケ譜は確かに共にｐですね。 第５ワルツへの変ホ長調への転調が、いつ聞いてもいま一つしっくりしない印象です。 第５ワルツは、それまでのワルツ連環と趣を異にする手法は、確かにヨハンには多いとは思いますが。 しかし５Ａ、ザ・ピアニストにとってここは真骨頂でしたね、トロンボーン、トランペットの重厚な響きがピアノでも伝わっていました。　 中村哲郎, 日本ヨハン･シュトラウス協会会員（１９７５年以来）op. 342.

[Why was this masterpiece, which was performed as the first waltz at the court ball in 1864, never performed again? Did Strauss sense the change in the audience's tastes? Did you notice that an extra bar was added to the beginning of this Rubinstein quotation to "lengthen the A"? It was already common knowledge at the time that "Strauss waltzes should be played slowly at the beginning"! Did you notice that an extra bar was added to the beginning of this Rubinstein quotation to "lengthen the A"? It was already common knowledge at the time that "Strauss waltzes should be played slowly at the beginning"! The Pianist] I'm not sure, but in the Rubinstein's quatation this is the 5th or 6th bar of the Waltz 1A, right? I don't think it's the beginning, so is it a question of whether to play it slowly at the beginning? I'm not sure about that, so please explain in detail. Mehta's performance is certainly in tempo, so I think it should be played more slowly like The Pianist. th-cam.com/video/kxC03FEAlws/w-d-xo.html I am not well informed about the subsequent programs at the court ball, but "The Moth" Op.157 was not performed. "Nachtfalter" has a second meaning of "night-player". It brings to mind the world of the demimonde, which the court had an extreme aversion to. It is known that the court shunned it because his first wife, Jetty, had been involved with that world when she was a young singer. This is just a guess, but I think they probably stopped performing it out of consideration for this. Nakamura Tetsuro, Member of the Japan Johann Strauss Society Op.342 [Most likely for this reason, Johann II wrote a new Waltz appropriately entitled: “Hofballtänze Walzer Op. 298” for the Court Ball of 1865. th-cam.com/video/w2Tf1gfaCJ4/w-d-xo.html The Pianist]

[１８６４年の宮廷舞踏会の最初のワルツとして演奏されるほどの名曲が、その後全く演奏されなくなってしまったのはどういう理由でしょうか？？ シュトラウスが聴衆の好みの変化を察したのですかね？？ このルービンシュタインの引用譜、冒頭に１小節加えて「ラの音を長くしている」のは気づかれましたか？　当時既に「シュトラウス・ワルツの最初はゆっくり演奏する」というのが、定着（常識）だったのですね！ このルービンシュタインの引用譜、冒頭に１小節加えて「ラの音を長くしている」のは気づかれましたか？　当時既に「シュトラウス・ワルツの最初はゆっくり演奏する」というのが、定着（常識）だったのですね！　 ザ・ピアニスト]　 よく分からないのですが、ルービンシュタインのこれ５～6小節目ですよね。冒頭ではないと思うので、最初ゆっくり演奏するかどうかの話になりますか。そのあたりがはっきりしないので詳しく教えてください。たしかにメータの演奏はインテンポですから、ザ・ピアニストのようにもっとゆっくりと運ぶべきかとは思います。th-cam.com/video/kxC03FEAlws/w-d-xo.html それから宮廷舞踏会でのその後の演目というのは寡聞にして知らないのですが、「蛾」Op.157は取り上げられなかったのですね。「Nachtfalter」って、二番目の意味に「夜遊びする人」というのがあるんですよね。デミモンドの世界を連想しますが、宮廷はデミモンドの世界を極端に忌み嫌っていますね。最初の夫人のイェティがそういう世界と若き歌手であった頃かかわっていたということから、宮廷では忌避していたということが知られています。まったくの思い付きの推測ですが、たぶんそういうことを忖度して演奏しなくなったのかなと思います。 中村哲郎, 日本ヨハン･シュトラウス協会会員op.342 [おそらくこの理由から、ヨハン2世は1865年の宮廷舞踏会のために「宮廷舞踏会作品298」という適切なタイトルの新しいワルツを作曲したのですね。th-cam.com/video/w2Tf1gfaCJ4/w-d-xo.html ピアニスト]

Hyk Be è gr gry CE few gr😅

This is a precious performance, as the only recording available for this piece is the Marco Polo recording. The Marco Polo recording is in even 3/4 time, and the performance is cramped and rough, which unfortunately only serves to diminish the beauty of Strauss, and has the opposite effect. So this piano recording brings to mind a very different picture, and it is clear that this is such a fascinating piece. The tempo at the beginning of the first waltz is as slow as possible, and gradually becomes more normal, just like Riccardo Muti, and it is a performance that captures the essence of Strauss. I also like the 2B melody that appears in the introduction. Tetsuro Nakamura, Member of the Japan Johann Strauss Society op.342

この曲は音源がマルコポーロ盤しかないので貴重な演奏です。マルコポーロ盤は均等三拍子で、しかもせせこましく荒っぽい演奏で、残念ながらシュトラウスの良さを失わせる、まさに逆効果の役割しか与えていません。だからこのピアノ録音からは随分と違った景色が浮かんできましたね、こんなに魅力的な曲であったのだと。第1ワルツの入りのテンポ、極力ゆっくりで徐々に普通になっていく、まさにリッカルド・ムーティばりで、シュトラウスの壺を押さえた演奏です。あと序奏でも登場する２Bの旋律が気にいっています。 中村哲郎, 日本ヨハン･シュトラウス協会会員op.342

Mooi!

I was VERY moved by your rendition of “Myrtle-Kränze”, one of my favorite by Johann II. 　　Dr. Luis de la Vega, U.S.A.

I was so careless that I didn't realize that there was such a difference in "Crackling Balls". After doing some research, I found that the treatment of 2B seems to differ depending on the version. The reproduction of 2B in the coda of the second version (piano version) should not be in the orchestra version, and it is certainly cut in the Otto Schulz version, but it has been cleverly pieced together. The 2B in the waltz series was copied and reproduced. It worked well because the key is the same. In fact, I had this Schulz version of "Crackling Balls", so I was surprised when I listened to it again. I think this was the world premiere of adding the 20 bars of the introduction from the first version, playing 2B from the first version, and playing the 2B recollection in the coda from the first version. This is an amazing attempt, and I would like to loudly proclaim the value of this video once again. By the way, why did Strauss himself change 2B in the second version? This is because this piece is a Ländler-style waltz, with ascending and descending eighth notes and a succession of sixteenth notes ♬ , and there are few flowing, waltz-like melodies. 2B in the first version has a Ländler-style melody rhythm with three evenly spaced quarter notes, so the only parts that sound like Strauss waltzes are 1B, 3A, and 5A, which makes it 3/11 of the total. 2B in the second version has been transformed into a singing, Strauss-like melody. The coda in the second version is also far better. In the first version, the only flowing melody is the recollection of 1B. Nakamura Tetsuro, Member of the Japan Johann Strauss Society op.342

「癇癪玉」、うかつにもこんな違いがあるなんて気が付きませんでしたね。改めていろいろ調べてみたら２Bの扱いが版によって違うようですね。第2版(ピアノ版)のコーダでの２Bの再現、オケ版ではないはずで、確かにオットーシュルツ盤でもカットしているのに、うまくつなぎ合わせたものですね。ワルツ連環のなかの２Bをコピーして再現したんですね。調が同じなのでうまくいきましたね。実はこのシュルツ盤の「癇癪玉」は私の手元にもあったので、それを聞き直してびっくりしました。この第1版の序奏２０小節を加え、２Bを第1版、コーダでの２B回想も第1版のをもって演奏したのは世界初演ではないですか。これは凄い試みですよ、改めてこの動画の価値を声高に唱えたいと思います。ところでなぜシュトラウス自身は２Bを第2版では変えてしまったのでしょうか。この曲はレントラー風ワルツのため、八分音符の上行･下行と、十六分音符♬の連発で、伸びやかでいかにもワルツらしいメロディーが少ないからだと思います。第1版の２Bは四分音符を均等に三つ刻んだ形の、やはりレントラー風のメロディーリズムなため、シュトラウス・ワルツらしいのは１B,３A,５Aだけで、全体の11分の３になってしまうからではないでしょうか。第2版の２Bは歌うようなシュトラウスらしいメロディーに成り変わっていますね。コーダも第2版のほうが断然いいです。第1版だと伸びやかなメロディーは１Bの回想だけになってしまいますから。 中村哲郎, 日本ヨハン･シュトラウス協会会員op.342

I listened to "Myrtle Wreaths". Although the only difference is in the 14th bar of 3B, there is a subtle difference in nuance, and this attempt is significant in proposing to those who tend to think that "Johann Strauss is music that you just let your ears wander," that "it is only by listening closely that you can truly appreciate the beauty of Strauss's music and feel its greatness." Not only are all the melodies in this piece attractive, but I also like the rich coda and the abundance of reminiscent melodies. Nakamura Tetsuro, Member of the Japan Johann Strauss Society op.342

「ミルテの冠」を聞きました。相違点は３Bの14小節目だけとはいえ、微妙なニュンスの違いがあり、こうした試みは、ともすると「ヨハン・シュトラウスなんて聞き流す音楽だ」などという向きに対して、「細かく聞いてこそ真のシュトラウス音楽のよさが分かり、その凄さが感じ取られるのだ」と提起する意義がありますね。この曲はどのメロディーも魅力的なうえに、コーダが充実していて、回想するメロディーが豊富なのも気に入っています。　 中村哲郎, 日本ヨハン･シュトラウス協会会員op.342

Belíssima interpretação.

Prachtig

Dr. Taka Otagawa, I would like to say that I greatly appreciate these videos you put out. I know they don't get much engagement, and that's a shame, but I for one am glad it's here anyway. You post so many lovely waltzes I would have never heard of otherwise, and different versions of them too. Someday your channel will get its due. Until then, please keep up the good work!

Nice recordings of one of the finest late waltzes by the Walzerkönig.

Wonderful. Surprising song!

Prachtig! Is dit lied de originele instrumentatie van Johann Strauss of door anderen georchestreerd?

Magnífico

Simplesmente Lindo

I am delighted to announce the world premiere and first recording of the ball version of "Pictures from the North Sea," the third piece in the “new format”. It feels quite fresh, quite different from what I've been used to. This coda starts unobtrusively with a variation of 1B, then moves straight into a variation of 2A, and after 22 bars, it effortlessly leads to a recollection of the first waltz A. On the other hand, it lacks the uniqueness of Coda II, which takes 60 bars to depict raging waves, but I think it can be said that this is a coda that exudes the typical Johann Strauss-like style. I look forward to seeing more examples like this. Tetsuro Nakamura, Member of the Japan Johann Strauss Society op. 342

新規格の第３弾、「北海の絵」の舞踏会用編、世界初演、及び初録音、お慶び申します。今までなじんできたものとはおよそ違い、なかなか新鮮な感じを受けました。このコーダはさりげなく１Bの変形から入り、そのまま２Aの変形に移って22小節を経過して、あっさり第1ワルツAの回想に至るんですね。かたや60小節を費やして怒涛の荒波を描くコーダⅡのユニークさはない反面、これはこれで通常のヨハン・シュトラウスらしさが滲み出ているコーダに仕上がっていると言えるんではないでしょうか。他にもまだこうした事例がありますか、期待してしまいます。 中村哲郎, 日本ヨハン･シュトラウス協会会員op. 342

You finally did it! I think the synthesis method, similar to that of the Treasure Waltz, is very interesting. th-cam.com/video/VZrRUBV-LqU/w-d-xo.html 　 I imagine it took a lot of time and effort to create it, and I would like to express my sincere respect for the fact that the first version was released as the world premiere. After all, Strauss himself intervened and pointed out the problem to Bock, and had them change and rearrange the waltz chain in the first version to make it the second version, and listening to the actual sound made me realize that it was the right decision. The melody 2B in the first version, taken from the <Trio in No. 9> in the play, is hard to throw away, but I think it would have been better not to use it as an independent waltz piece. The Pianist plays this 2B in the first version at a somewhat faster tempo. In the play, No. 9 says <at a moderate waltz tempo>, but since this is an independent waltz, I think it was good that it was performed at a normal waltz tempo. Operettas are often created with melodies that have a rhythm and tempo that are suitable for singing, so when creating an independent waltz, there are limitations to the melodies that can be selected. If I had to say, I think the weakness is most evident in the "Ninetta Waltz" Op. 445. th-cam.com/video/FFYbFHAujso/w-d-xo.html 1A, 2A, 3A, and 4A are all beautiful and flowing, but they sound almost the same. Well, there is a rhythmic contrast with the individual B melodies, but for some reason the overall sound is monotonous. The individual melodies are, of course, superb. 4A is exactly the same as 2B in the first edition of Op. 463 in that it transitions with "half notes + quarter notes". There is a letter to the publisher Bote & Bock, who commissioned the first edition, calling for a halt. At this time, Johann Strauss was also physically limited, so he commissioned other arrangers to create independent dance pieces. But if he didn't like it, he would make changes to suit his own satisfaction, like in the second edition. Only Strauss himself could have come up with the choice of 1B in the second edition, since it is taken from the accompaniment phrase of No. 14. Tetsuro Nakamura, Member of the Johann Strauss Society of Japan op. 342

ついに実行されましたね。宝のワルツと同じような合成方式、とても面白いと思います。th-cam.com/video/VZrRUBV-LqU/w-d-xo.html 制作するに当たってとにかく時間と労力を要したかと察します、改めて第1版を世界初演として発信したことに心から敬意を表したく思います。やはり、シュトラウス自身がボック社に横やりを入れて指摘し、第1版のワルツ連環を変更、組み直しさせて、第2版にしたのは正解だと、実際の音を聞いて実感しましたね。劇中＜No.9の三重唱＞から採っている第1版の２B、捨てがたいメロディーですが、独立のワルツ曲としては未採用としてよかったのではないでしょうか。ザ・ピアニストはこの第1版の２B、幾分は早めのテンポでやっていますね。劇中No.9では＜程よいワルツ・テンポで＞とありますが、これは独立ワルツですからこのように普通のワルツテンポで演じたのはよかったと思います。どうしてもオペレッタは歌にふさわしいリズムとテンポになるメロディーで作られることが多いため、独立ワルツを作る際、選択メロディーに限界が生じます。あえて言えばその弱点が出ているのが「ニネッタ・ワルツ」Op.445ではないでしょうか。th-cam.com/video/FFYbFHAujso/w-d-xo.html １A、２A、３A、４Aがどれも伸びやかで美しいんですが、ほぼ同じ調子に聞こえるんですね。まあ個々のBのメロディーとのリズムの対比はできているんですが、なぜか全体的には単調に聞こえる。個々のメロディーはもちろん言うまでもなく極上ですが。４AがちょうどこのOp.463第1版の２Bと「二分音符＋四分音符」で推移する点で同じなんですね。第1版は依頼したボート＆ボック社に待ったをかけている手紙があるんです。この時期のヨハン・シュトラウスは、体力的な限界もあり、他の編曲者に独立舞曲の作成を依頼しているんですね。でも気に入らないと、この第2版のように自分で納得がいくように変更する。第２版の１Bの選択、シュトラウス本人でなければ思いつきませんよ、No.14の伴奏のフレーズから採っているんですから。 中村哲郎, 日本ヨハン･シュトラウス協会会員op. 342

Спасибо! Я считаю, что Кода во 2-й версии композиционно более совершенна, чем в 1-й

Nice! Thank you for this video👍

I am very grateful to you for both wonderful versions of one of my favorite waltzes by Johann II!

Thank you for that extremely interesting series of recordings! I am very impressed with the original version of op. 418. Indeed, it is much better than the final version due to the masterly composed coda. Why did Johann Strauss change it to a shorter and rather weaker one? What is also curious, in Act 2 of the operetta's recording directed by Nikolaus Harnoncourt, in the scene "Nach Wien?" (see th-cam.com/video/bSo_k0DZ7p8/w-d-xo.html) the melody of waltz 1A sung by the singers is slighthy different from a purely orchestral waltz. However, in the original closing scene of act 2, the melody of "O voll Fröhlichkeit" (th-cam.com/video/I4ISJwYmy_o/w-d-xo.html) is the same as waltz 1A in op. 418.

You finally did it, I'm impressed. It was well thought out to use Otto Schultz and Paulik to synthesize it. I'm very happy to hear the sound based on the original score. The addition of 4A-2A following 1A-1B adds to the fullness of the coda. I wonder why Strauss himself stopped it. The current transition in the first waltz is better, because as you say, it's more dance-like. Herr Tetsuro Nakamura, a prominent member of the Johann Strauss Society of Japan since 1975

ついにやりましたね、恐れ入りました。オットー・シュルツ、それにパウリクを用いて合成するとは、よく考えられましたね。自筆スコアに基づく音が実際に聞かれることになったのは、誠に喜ばしい限りです。1A－１Bに続いて４A－２Aが加わることで、コーダの充実感は増しています。どうしてシュトラウス自身は止めてしまったのでしょうかね。第1ワルツのトランジッションは現行の方がいいですね、言われる通り踊りらしくなっていますから。 中村哲郎, 日本ヨハン･シュトラウス協会会員op. 342

Bravo

Thank you again

Beautiful!!!!!! Keep them coming! Thank you!