听蓝色多瑙河起床
很久以前就有个愿望，早晨起来能听着蓝色多瑙河起床，该是多么美好的一天
现在终于实现了，感觉果然Wonderful~!
美中不足的是我CD没有定时奏乐功能～
睡眼朦胧ing^^手动按下play~
顺便一提的是，收的这张CD，版本貌似一般，西单图书大厦买的，介绍说DECCA是世界三大唱片公司之一，只不过是其中最次的那个而已……
因本人求乐心切，只好先拿下，看来要收个好版本，不是件容易的事啊
个人认为不值128米，虽然是德国原装进口，但录音距离太远，或者当时就专门录的这么小声？反正我要把音量开到很大，才能听到；并且底噪较明显，也许是因为录音声太小？反正不尽我意
介绍里的德文看不懂，只好找来英文读，为了小施特劳斯和精致生活，看来下一步要开始学习德语了？恩，这个问题再议～
最近在看一本书《缺自行车的鱼》说的就是德国女人是怎样把日子过的津津有味，浪漫优雅的，争取这两天看完把书评写出来^^
Strauss Waltzes
Vienna has long been considered the hub of musical activity in Europe. A city of gaiety and elegance, of architectural magnificence, of glittering ballrooms and open-air restaurants, of colourful inns and beergardens and, above all, the waltz. For many years the waltz dominated the city, reaching its peak during the nineteenth century. The true origins of the waltz are uncertain. Ir is probable that various sources contributed to its introduction, but its roots would seem to be based in the old peasant dances and in particular the Landler, which the waltz, in its early form, closely resembled. During the latter part of eighteenth century many leading composers, amangst them Mozart and Haydn, were producing waltzes written for orchestra or piano. These were included in dance sets and were written entirely as dance music and not intended for concert presentation. It was Hummel who first composed concert dances for the piano and although these in themselves are of no great artistic merit, they are important in that they created the precedent which led to the concert waltzes of Weber, Chopin, Brahms, Lizt and other Romantic composers.
Much more successful than Hummel in this early form of concert dances for the piano was Schubert, whose waltzes best represent the style of the Viennese waltz at the beginning of the nineteenth century. But it was Weber who, with his popular Invitation to the Dance(1819), really established the waltz as a concert work, creating a prototype for the romantic concert waltz which was to be employed later by the waltz kings of Vienna.
The popularity of the Viennese waltz came about through the innsand beergardens of the city's suburbs and the areas stretching along the banks of Danube. It was Vienna's lower classes who filled these venues, and they came to hear small bends consisting of three of four players -- probablt two violins, guitar and double bass -- play Landler, waltzes, dolksongs and other familiar melodies. Dance orchestras, larger in size, spread to the city's coffee houses and restaurants, and as a result there seemed to be music everywhere; all Vienna was waltzing. The men responsible for the flowering of this musical state of affairs in Vienna were waltz kings, Josef Lanner (1801-43) and John Strauss senior (1804-49), who was eventually outclassed by his eldest son Johann junior. The fine Strauss orchestra became an indispensable part of Vienna and her people, playing the master works of the leading Austrian composers, and always with waltzes inserted in the programmes. But when it came to the grand balls, which happened in profusion in Vienna, it was teh dance music of the Strauss family which predominated. The most exotic of these balls took place in the Sofiensaal, a building of exceptional splendour which was noted in its day for the daring roof structure of its gigantic central hall. The Sofiensaal was originally intended to be a swimming-bath and Turkish baths, but people's lack of enthusiasm for winter bathing prompted its transformation into ballroom for season. It was here that the members of the Strauss family conducted at various balls and carnivals and gave the first performances of many of their own compositions.
Johann Strauss Jnr was undoubtedly the greatest member of Strauss family. Born in Vienna on 25 October 1825, he was a mere six years of age when he wrote his first waltz. His father did all in his power to arrange a career for him which was as far removed from music as possible (he was strongly opposed to the precariousness of a musical career for any of his children), and after the boy had finished his general education he found himself respectably installed in a bank. But his interest in music was too deeply rooted to be completely stamped out, and after some subterfuge -- and maternal intervention -- he made his debut with his own small orchestra at Dommayer's Casino in Hietsing on 15 October 1844. On that occasion he played many of his own compositions. At first greeted with a certain amount of scepticism, he gradually won his audience over, and by the end of evening took his bow to cheers. His fame spread with great repidly and during the ensuring years his orchestra became a serious rival to that of his father. However, when Johann Snr died, the two orchestras were amalgamated under the baton of his son, who took his players on extensive European tours and was dubbed everywhere he went 'The king of the Waltz'.
Josef Strauss, the second son, is also represented on this recording. He initially pursued a career as an architect, but never lost touch with his musical background, and eventually devoted himself full-time to the family tradition, writing some very fine dances in consequence. He died at the early age of forty-three, leaving behind music of genuine depth and craftsmanship -- of which Spharen-Klange is an outstanding example -- a bequest worthy of his uniquely gifted and enduring family.
DECCA 1994
现在终于实现了，感觉果然Wonderful~!
美中不足的是我CD没有定时奏乐功能～
睡眼朦胧ing^^手动按下play~
顺便一提的是，收的这张CD，版本貌似一般，西单图书大厦买的，介绍说DECCA是世界三大唱片公司之一，只不过是其中最次的那个而已……
因本人求乐心切，只好先拿下，看来要收个好版本，不是件容易的事啊
个人认为不值128米，虽然是德国原装进口，但录音距离太远，或者当时就专门录的这么小声？反正我要把音量开到很大，才能听到；并且底噪较明显，也许是因为录音声太小？反正不尽我意
介绍里的德文看不懂，只好找来英文读，为了小施特劳斯和精致生活，看来下一步要开始学习德语了？恩，这个问题再议～
最近在看一本书《缺自行车的鱼》说的就是德国女人是怎样把日子过的津津有味，浪漫优雅的，争取这两天看完把书评写出来^^
Strauss Waltzes
Vienna has long been considered the hub of musical activity in Europe. A city of gaiety and elegance, of architectural magnificence, of glittering ballrooms and open-air restaurants, of colourful inns and beergardens and, above all, the waltz. For many years the waltz dominated the city, reaching its peak during the nineteenth century. The true origins of the waltz are uncertain. Ir is probable that various sources contributed to its introduction, but its roots would seem to be based in the old peasant dances and in particular the Landler, which the waltz, in its early form, closely resembled. During the latter part of eighteenth century many leading composers, amangst them Mozart and Haydn, were producing waltzes written for orchestra or piano. These were included in dance sets and were written entirely as dance music and not intended for concert presentation. It was Hummel who first composed concert dances for the piano and although these in themselves are of no great artistic merit, they are important in that they created the precedent which led to the concert waltzes of Weber, Chopin, Brahms, Lizt and other Romantic composers.
Much more successful than Hummel in this early form of concert dances for the piano was Schubert, whose waltzes best represent the style of the Viennese waltz at the beginning of the nineteenth century. But it was Weber who, with his popular Invitation to the Dance(1819), really established the waltz as a concert work, creating a prototype for the romantic concert waltz which was to be employed later by the waltz kings of Vienna.
The popularity of the Viennese waltz came about through the innsand beergardens of the city's suburbs and the areas stretching along the banks of Danube. It was Vienna's lower classes who filled these venues, and they came to hear small bends consisting of three of four players -- probablt two violins, guitar and double bass -- play Landler, waltzes, dolksongs and other familiar melodies. Dance orchestras, larger in size, spread to the city's coffee houses and restaurants, and as a result there seemed to be music everywhere; all Vienna was waltzing. The men responsible for the flowering of this musical state of affairs in Vienna were waltz kings, Josef Lanner (1801-43) and John Strauss senior (1804-49), who was eventually outclassed by his eldest son Johann junior. The fine Strauss orchestra became an indispensable part of Vienna and her people, playing the master works of the leading Austrian composers, and always with waltzes inserted in the programmes. But when it came to the grand balls, which happened in profusion in Vienna, it was teh dance music of the Strauss family which predominated. The most exotic of these balls took place in the Sofiensaal, a building of exceptional splendour which was noted in its day for the daring roof structure of its gigantic central hall. The Sofiensaal was originally intended to be a swimming-bath and Turkish baths, but people's lack of enthusiasm for winter bathing prompted its transformation into ballroom for season. It was here that the members of the Strauss family conducted at various balls and carnivals and gave the first performances of many of their own compositions.
Johann Strauss Jnr was undoubtedly the greatest member of Strauss family. Born in Vienna on 25 October 1825, he was a mere six years of age when he wrote his first waltz. His father did all in his power to arrange a career for him which was as far removed from music as possible (he was strongly opposed to the precariousness of a musical career for any of his children), and after the boy had finished his general education he found himself respectably installed in a bank. But his interest in music was too deeply rooted to be completely stamped out, and after some subterfuge -- and maternal intervention -- he made his debut with his own small orchestra at Dommayer's Casino in Hietsing on 15 October 1844. On that occasion he played many of his own compositions. At first greeted with a certain amount of scepticism, he gradually won his audience over, and by the end of evening took his bow to cheers. His fame spread with great repidly and during the ensuring years his orchestra became a serious rival to that of his father. However, when Johann Snr died, the two orchestras were amalgamated under the baton of his son, who took his players on extensive European tours and was dubbed everywhere he went 'The king of the Waltz'.
Josef Strauss, the second son, is also represented on this recording. He initially pursued a career as an architect, but never lost touch with his musical background, and eventually devoted himself full-time to the family tradition, writing some very fine dances in consequence. He died at the early age of forty-three, leaving behind music of genuine depth and craftsmanship -- of which Spharen-Klange is an outstanding example -- a bequest worthy of his uniquely gifted and enduring family.
DECCA 1994
