1/16/2024 0 Comments Pizzicato polka op. 234![]() OPERETTAS: Indigo und die vierzig Räuber (1871) Der Karneval in Rom (1873) Die Fledermaus (1873-4) Cagliostro in Wien (1875) Prinz Methusalem (1877) Blindekuh (1878) Das Spitzentuch der Königin (1880) Der lustige Krieg (1881) Eine Nacht in Venedig (1883) Der Zigeunerbaron (1885) Simplicuis (1887) Ritter Pazman (1892) Fürstin Ninetta (1893) Jauka (1894) Waldmeister (1895) Die Götten der Vernunft (1897).īALLET: Cinderella (1899 completed as Aschenbrödel by J. Schoenberg, were what we should now call ‘fans’ of Strauss, recognizing a supreme master of a genre who comp. Was friend and admirer of Wagner, who, like Brahms and other composers incl. is played, as are his polkas and other dances. Of his waltzes, the Blue Danube (1867), Roses from the South (1880), the great Emperor Waltz (1888), and Tales from the Vienna Woods (1868) are beloved wherever mus. Turned to stage 1871, when first of a series of successful operettas was produced at the Theater an der Wien, the most famous being Die Fledermaus (1874). nearly 400 waltzes which have come to epitomize Viennese gaiety and sentiment. In 1855 engaged to direct summer concerts in Petropaulovsky Park, St Petersburg, for 10 years. When his father died, amalgamated both orchs. of his own and his father's waltzes in rivalry to his father (they also supported opposing sides in the 1848 revolution). as career, worked as bank clerk but learned vn. Because his father did not want his sons to choose mus. Austrian composer, conductor, and violinist, eldest son of Johann Strauss, and deservedly known as ‘the Waltz King’. A full return of section A and a brief coda of descending scales closes the piece.Strauss, Johann II ( b Vienna, 1825 d Vienna, 1899). Each melody of the B section is repeated. Broken chords played on all instruments open the contrasting tune, the second half of which consists of descending scales. The central section features the glockenspiel in the first of its two melodies, which derives its identity more from color than from melodic shape. A literal return of the first melody rounds out the A section. The second melody is quite different, with its falling scales, constant eighth note pulse and occasional rests. After a brief introduction, the first eight-measure tune falls into two sections and outlines chords with alternating eighth and sixteenth note rhythms. Possibly because of the limited instrumentation, Strauss seems to have attempted to provide as much contrast as possible in other ways, such as the rhythm and shape of melodies. As the title suggests, the entirety of the piece is scored for plucked strings, although a glockenspiel appears for the first half of the central section. Like other works on which Strauss collaborated with one or both of his brothers, the Pizzicato-Polka bears no opus number.Ĭonsisting of four melodies, the Pizzicato-Polka is arranged in ternary form. ![]() Scored for strings and glockenspiel, the polka was published in Vienna the next year and became very popular, especially in Italy, where Strauss included it on the program of every one of his tours. With his brother Josef, Johann Strauss had composed the Pizzicato-Polka in 1869 for one of his several visits to Russia. It exhibits a ternary (ABA) form with eight-measure subsections and sometimes includes an introduction and a coda. A French dictionary of dance terms dating from 1847 describes the polka as having a tempo of 104 beats per minute with an emphasis on the second beat of the measure. The polka was very popular in the late nineteenth century and examples were penned by nearly every major composer of dance music, performed by almost all military bands and distributed in the form of sheet music throughout the world. Local musicians created variants of the dance, and in the 1850s in Vienna, the elegant Polka française and the lively Schnell-Polka developed. By 1843-1844 it was the favorite dance of Parisians and in May, 1844, it was first performed in the U.S. The dance was exported to Vienna in 1839 by a Bohemian regiment band, precipitating its rapid spread throughout Europe. ![]() Whatever its origins, it is certain that the polka first appeared in Prague in 1837. The name may be derived from the Czech pulka (half) or polska, the Czech word for a Polish girl. A couple-dance in 2/4 meter, it seems the polka developed in Bohemia as a type of round-dance with three short, heel-and-toe half-steps on the first three half-beats and a rest on the fourth. Some of the characteristics of the polka appear in music performed by and written for Bohemian village musicians around 1800 aside from this, the dance's origins are obscure. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |