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Dorian Discovery


The Virtuoso Johann Strauss
Paraphrases and Arrangements of Favorite Strauss Melodies
by Rosenthal, Tausig, Godowsky and Schulz-Evler

Thomas Labé, Piano

DIS-80102 Cover - 14114 Bytes At the end of Johann Strauss' 1874 opereta Die Fledermaus, all of the characters drink a toast to the real culprit of the story - "Champagner hat's verschuldet" - a fitting conclusion to this most renowned and potent evocation of the carefree life of post-revolution imperial Vienna.   Strauss' sparkling score (never mind that the liberetto is an amalgam of German and French sources), infused with that most famous of Viennese dances, the waltz, lent eloquent expression to the transitory atmosphere of confidence and prosperity induced by the Hapsburg monarchs.   "The Emperor Franz Joseph I," it would later be said "only reigned until the death of Johann Strauss."
And what could have provided more perfect source material than the music of Strauss, for the pastiche creations of the illustrious composer-pianists who roamed the world on the later 19th and early 20th centuries, forever seeking vehicles with which to exploit the possibilities of their instument and display their pianistic powers?
- Thomas Labé

[1] Carnaval de Vienne / Moriz Rosenthal
[2] Wahlstimmen / Karl Tausig
[3] Symphonic Metamorphosis of Wein, Weib and Gesang
     (Wine, Women and Song) / Leopold Godowsky
[4] Man lebt nur einmal (One Lives but Once) / Karl Tausig
[5] Symphonic Metamorphosis of Die Federmaus / Leopold Godowsky
[6] Valse-Caprice in A Minor (Op. Posth.) / Karl Tausig
[7] Nachtfalter (The Moth) / Karl Tausig
[8] Arabesques on By the Beautiful Blue Danube / Adolf Schulz-Evler

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