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Waltzes from Vienna begins with the sound of a fire brigade horn and the clip-clop of horses’ hooves, as the firemen race towards a fire at Ebezeder's Café. Upstairs from the café, Resi and Schani are oblivious to the danger, lost in a love duet that concludes with Schani telling Resi that he has dedicated his newest song to her.
A section from Johann Strauss' Waltz from Die Fledermaus. A waltz, [a] probably deriving from German Ländler, is dance music in triple meter, often written in 3 4 time.A waltz typically sounds one chord per measure, and the accompaniment style particularly associated with the waltz is (as seen in the example to the right) to play the root of the chord on the first beat, the upper notes on the ...
The three waltz episodes are surrounded by slower music forming an introduction, interludes, and a coda; this slower music, too, sometimes alludes to Rosenkavalier." Stucky continued: But in Dreamwaltzes the past proves elusive; the waltz music is always slipping away almost as soon as it has begun. The point is clearest in the crucial third ...
The first waltz theme is a familiar gently rising triad motif played by cellos and horns in the tonic (D major), accompanied by the harp; the Viennese waltz beat is accentuated at the end of each 3-note phrase. The Waltz 1A triumphantly ends its rounds of the motif, and waltz 1B follows in the same key; the genial mood is still apparent.
Waves of the Danube" (Romanian: Valurile Dunării) is a waltz composed by Iosif Ivanovici in 1880, and is one of the most famous Romanian tunes in the world. The song has many variations throughout the piece, reminiscent of the music of Johann Strauss. Through the Viennese style variations, there is still a distinct Slavic style.
The word Viking in the sense in which it is commonly used is derived from the Old Norse víkingr signifying a sea-rover or pirate. [1] [2] Thus, a modern understanding of "Viking" history is shaped by the views of the people of the Romantic era, who studied and wrote about "the Vikings" as seen from their point of view.
Chabrier began the composition in mid 1880, completing the first two; the third was not completed until the summer of 1883. Chabrier wrote his friend Paul Lacôme that he was damned if he knew why he was writing them, as the Enochs (his publishers) will find them too long, too difficult; but that he thought they might sell well, particularly to young ladies who play the piano seriously.
The work begins in C major, in a march-like tune ("Du kannst den Zigeunern getrost vertrau'n") before the "So voll Fröhlichkeit" first waltz section melodies enter. The first part of the second waltz section is the trio ("Ha, seht es winkt, es blinkt, es klingt"), which is followed by the second part ("Nun will ich des Lebens mich freuen") in G major.