terça-feira, 23 de março de 2010

Royal Philharmonic Orchestra - Strauss

  1. The Emperor Waltz, Op. 437 (Johann Jr.)
  2. Waltz: On the beautiful Blue Danube, Op. 314 (Johann Jr.)
  3. Overture to "Die Fledermaus", Op. 362 (Johann Jr.)
  4. Feuerfest Polka, Op. 269 (Josef)
  5. Tritsch-Tratsch Polka, Op. 214 (Johann Jr.)
  6. Pizzicato Polka (Johann & Josef)
  7. Perpetuum Mobile, Op. 257 (Johann Jr.)
  8. Bahn frei Polka, Op.45 (Eduard)
  9. Radetsky March, Op. 228 (Johann Sr.)
  10. Tales from the Vienna Woods, Op. 325 (Johann Jr.)
  11. Thunder & Lightning Polka, Op. 324 (Johann Jr.)
  12. Waltz: Roses from the South, Op. 388 (Johann Jr.)
Strauss
Royal Philharmonic Orchestra

Patron: Her Majesty Queen Elizabeth The Queen Mother
President/Associate Conductor: The Lord Menuhin OM KBE
Music Director: Vladimir Ashkenazy
Principal Conductor: Yuri Temirkanov
Principal Guest Conductor: Sir Charles Mackerras CBE
Associate Conductor/Composer: Sir Peter Maxwell Davies CBE
Associate Conductor: Vernon Handley
Associate Conductor: Gennadi Rozhdestvensky

The Royal Philharmonic Orchestra was founded in 1946 by Sir Thomas Beecham who was the Music Director until his death in 1961. The Orchestra's first concert, conducted by Sir Thomas, took place in the Davis Theatre, Croydon on 15 September 1946.

By handpicking the personnel of his Royal Philharmonic Orchestra Sir Thomas attracted some of Britain's most outstanding musicians. Through its many concerts, recordings and broadcasts, the Royal Philharmonic Orchestra became internationally established as a virtuoso body quite unlike any other orchestra, founding a unique tradition in which there was a combination of discipline and flexibility, individual artistry, virtuosity and ensemble that stemmed from Beecham's relationship with his chosen players.

The tradition subsequently attracted conductors of the greatest quality and diversity. During the latter part of the Beecham era, the Royal Philharmonic Orchestra formed particularly fruitful relationships with three very different conductors: Artur Rodzinski, George Prêtre and Rudolf Kempe.

In 1961 after Sir Thomas's death, Rudolf Kempe became Music Director and established new artistic and professional directions for the Orchestra. It was also during this period, in 1963, that the Orchestra became a self-governing body. The members incorporated themselves into a limited liability company with a Board of Directors elected by the shareholders. This has been the Royal Philharmonic Orchestra's form of constitution ever since; and in 1966 Her Majesty The Queen conferred the Royal title upon the Orchestra.

Rudolf Kempe remained with the Royal Philharmonic Orchestra until 1975, and during his era the Orchestra had important associations with Sir Malcolm Sargent and Sir Charles Groves and special relationships with such international conductors as Leopold Stokowski, Erich Leinsdorf, Kyril Kondrashin, Charles Dutoit and Jean Martinon. In 1964 Igor Stravinsky chose the Royal Philharmonic Orchestra for the recording of his opera "The Rake's Progress".

Following Rudolf Kempe, the Orchestra continued to attract some of the world's most outstanding conductors as Music Directors including Antal Dorati, Walter Weller, André Previn and Vladimir Ashkenazy, the Orchestra's current Music Director. The Orchestra has also formed special associations with Lord Menuhin, Yuri Temirkanov and Sir Charles Mackerras. With these and other artists the Orchestra continues to make major recordings for the international market, some of which have been made for the Orchestra's own label.

The Royal Philharmonic Concert Orchestra, formerly the Royal Philharmonic Pops Orchestra was established in 1987 to meet the increasing demand for light classical music, in tours throughout the UK and abroad providing a versatile blend of entertainment ranging from Viennese Nights, Opera Galas, Last Night of the Proms evenings and Grand Tchaikovsky Fireworks Concerts.

The Royal Philharmonic Orchestra is profoundly committed to the future. Sir Peter Maxwell Davies was appointed Associate Conductor/Composer of the Orchestra from the beginning of the 1992/93 season, creating an important opportunity for the players to collaborate closely with a major contemporary composer. The Orchestra will continue to give concerts in London and abroad and, additionally, will renew its commitment to national touring in Britain and to its already flourishing program of community and educational work, to bring music with international artists to as wide an audience as possible throughout the United Kingdom and the world.

Peter Guth

Educated in Vienna and at the Moscow Conservatory, where he studied with David Oistrakh for three years, Peter Guth first appeared on the international concert scene as a soloist and with the Vienna Trio. Educational work and publications on modern violin methodology, active interest in nwe music and unusual concert planning, as well as his earlier position as first concert-master of the ORF-Symphony Orchestra give a comprehensive picture of this versatile and renowned Austrian musician.

Already as leader of the Johann Strauss Ensemble of the Vienna Symphony Orchestra, he was able to contribute significantly to the renewed popularity of classic Viennese dance music. In 1978 he founded his own Strauss-Festival-Orchestra Vienna, a leading group of Vienna's best musicians, which performs at important international festivals, records and tours in many countries and recently has outstanding success with its second visit to China.

Peter Guth is repeatedly invited as guest conductor by over 50 renowned symphony orchestras and he is internationally regarde as one of the most important exponents of Viennese music. His recent activities include concert series and recordings with the Royal Philharmonic Orchestra London and the NHK Symphony Orchestra Tokyo, Musical Director of the first Viennese Operetta Festival in Japan as well as a sensational American début with the San Francisco Symphony.

 Johann Strauss Sr.

Johann Strauss Jr.

Josef Strauss

Eduard Strauss

"Vienna without Strauss is like Austria without the Danube" - quoted by Hector Berlioz

The above quotation appeared in Berlioz's heartfelt tribute to the founder of the musical Strauss dynasty on his death in 1849, and reflected the sense of profound loss experienced by all who had come into contact with him and his music. The Strauss in question was Johann, whose three sons, Josef, Eduard and Johann II, all continued the family business, and whose descendants are still active today in the promotion of Straussiana. It was Johann II, sometimes referred to as "The Waltz King", who made the biggest name for himself, and who is remembered today for his glorious waltz sequences and operettas. Nevertheless, each member of the Strauss family made his own distinct contribution to the success of the Strauss orchestra, turning it into a hugely successful music business that thrived until its dissolution in 1901.

It all began when the first Johann Strauss (1804-1849) was given his first violin. Johann had grown up in his father's tavern, and had been fascinated by the playing of the groups of itinerant musicians that frequented the place. His father died when the boy was in his early teens, and it was his step-father who finally gave in to the boy's pleading and bought him a small Bavarian fiddle. By the age of fifteen he was playing in a small dance orchestra, and before long was leading his own band in the dance halls and cafes that were so popular in Vienna. His orchestra and, more particularly, the music he wrote for it, became immensely popular, and Strauss took his music around the world, visiting Germany, the Netherlands, Belgium, Paris and London.

Sadly, little of his music is heard today, although most of it is of a consistently high standard. One work, however, has remained constantly in the repertoire - the ever popular "Radetsky March". Field-Marshal Johann Josef Wenzel (alias Count Radetsky von Radetz) was the Commander-in-Chief of the Austrian army, and led a successful attack against the Italian troops at Custozza in 1848. A festival was arranged to celebrate this important victory, and Strauss senoir was asked to compose something new for the occasion. The result was this inspiring march, which became an immediate success, and which has eclipsed his fine dance music. The score incorporates popular Viennese folk songs of the day, and was evidently the result of a collaboration between Strauss and a flautist in his orchestra, Philipp Fahrbach.

Johann tried to discourage his children from following in his footsteps, and attempted to push them into careers that would bring greater financial security. Consequently, his eldest son Johann II (1825-1899) took violin lessons in secret, and his father was apparently quite shocked when he discovered the musicality of the son. Strauss set up his own orchestra, and for a time there was some rivalry between the two. At his father's death Johann II amalgamated the two orchestras, and made enormously successful concert tours through Austria, Germany, Poland and Russia. The four famous waltz sequences on this recording demonstrate his prowess both as a melodist and as an orchestrator, and show how he could turn a simple string of waltzes into a large, coherent structure. Many of the Strauss family's shorter dances are characterized by gimmicks, or by commemorating contemporary figures, institutions and events, which of course helped their audiences to distinguish one piece from another. The lively "Tritsch-Tratsch Polka" was named after a Viennese satirical newspaper, and the "Thunder and Lightning Polka" and "Pizzicato Polka" are self-explanatory, the latter piece being a collaboration with his brother Josef. The delightful "Perpetuum Mobile" is a 'musical joke' that wittily celebrates the art of going on forever with nothing particular to say. Johann II eventually cut down on his conducting activities to concentrate on composition, particularly in the field of operetta. By far his most popular work for the theatre was "Die Fledermaus (The Bat)", whose lilting melodies and captivating rhythms have enchanted generations of music lovers. The "Overture" incorporates several of the show's biggest hits, and has deservedly become a firm orchestral favorite.

Although Johann II was by far the most successful member of the Strauss family, he always maintained that his younger brother Josef was the most gifted of all of the three brothers. Josef Strauss (1827-1870) never intended to follow a musical profession, having set himself up as an inventor of some distinction. (He invented a street cleaning machine that was actually purchased by the Vienna city council). He was persuaded to take over the orchestra briefly when Johann II suffered a serious collapse, and he eventually resigned himself to the inevitable. He composed over 300 original works, including the French polka "Feuerfest! (Fireprof!)", which was written to commemorate the 20,000th safe made by a Viennese manufacturer.

The youngest of the three brothers was Eduard Strauss (1835-1916), who managed to keep the orchestra going until 1901, when it was finally dissolved. Much of his work compares unfavorably with that of his two brothers, although his fast polkas became quite celebrated. One of the best of these was "Bahn frei! (Clear the track!)", one of a number of Strauss family compositions to refer to contemporary transportation systems. Eduard's other claim to fame is that he remorselessly consigned cartloads of original Strauss manuscripts and arrangements to the flames, in compliance with instructions contained in Johann II's will. Seemingly, this was done to prevent unscrupulous persons from profiting from the hard labors of the Strauss family, but it has also deprived posterity of countless original works.

(Brendan Beales, from original album lines)

2 comentários:

  1. why I can't download the Strauss by the
    Royal Phillarmonic Orchestra?

    ResponderExcluir
  2. Poderiam nos oferecer o link deste álbum?

    ResponderExcluir

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